” He said, “Sure,” so he went over to the art department where I was prepping Jurassic Park and I put on the three-quarter inch cassette into the big machine and Ray and I watched the Gallimimus (scene).

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The Raptors have a very stop motion quality, they remind me a lot of Ray Harryhausen’s creatures.

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So, the first thing Jaws did for me was it allowed a studio, namely Columbia, to greenlight Close Encounters.

For number two, it gave me final cut for the rest of my career.

But what I really owe to Jaws was creating in me a great deal of humility, about tempering my imagination with just sort of the facts of life.

CLICK HERE TO FOLLOW ALONG WITH THE NEXT BIT IN AMAZING SOUND-O-TEXT! ” What was going down was not human error, it was just the conditions at sea that made it untenable to really be doing what we were somehow doing. Everything I shot on any form of land went like a normal movie.

Of course I had to watch Jaws while compiling a list of questions, so that gave me a little more than 4 hours of sleep before the interview. I mean, JJ Abrams’ Super 8 is obviously a loving tribute to your films, down to a very specific look.

I went in not knowing how much time I had with Spielberg… but I was bound and determined to milk my time for as much as humanly possible. Could I somehow not be Chris Farley in this scenario? But, like my brief encounter with the man on the set of War of the Worlds, once the conversation began the nerves went away and I was just excited to have the opportunity to talk with Steven Spielberg about Jaws. The conversation occasionally splinters off to his other films, including Jurassic Park, Indiana Jones, E. Steven Spielberg: JJ was raised in those decades of movies that all of my colleagues made and continue to make.

I certainly have done my share of CG since I was at the forefront of the revolution as a producer of YOUNG SHERLOCK HOLMES, that had the first CG shot ever, and then JURASSIC PARK that the first CG characters ever.

Jim Cameron in-between did brilliant CG work on THE ABYSS and then T2…

When the words, “Eric, I’m transferring you to Steven Spielberg’s office. So, JJ (was brought up in) the same way I was raised, by a decade of filmmakers who I am beholden to. Quint: Obviously the movie means a lot to me and going through that new making of book, Jaws: Memories From Martha’s Vineyard, it really did strike me just how important it was that you made the personality Amity that of Martha’s Vineyard. So, I was wondering if we could talk a little bit about how you pulled so many locals into the movie and how much of that was a creative choice and how much of that was political to help you ease the troubled waters of filming on location.