On Pretty Much Pop, a philosopher, an actor, and a sci-fi writer (often with entertainment industry guests) talk about media and how we consume it: TV, film, music, novels, games, comics, comedy, theater, podcasts, and more. Most of what (other) people like is pretty weird when you think about it, so thinking about it is what we do.
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Purported the first summer blockbuster, Jaws has now hit 50 years, and so we discuss this wonderful early Spielberg film, its ill-conceived sequels, some of the making-of docs, and the legacy of shark/big carnivore films that it spawned.
Is the film as flawless as it’s made out to be? Are the sequels as awful as typically described? Mark, Lawrence, Sarahlyn, and Al discuss!
Follow us @law_writes, @sarahlynbruck, @MarkLinsenmayer. Al is on a boat in Antarctica and is not available for your social media following.
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Greetings, gang! I listened to your Jaws appreciation in annoyance—and some dismay (a stance that is standard for film buffs, admittedly). All of you attributed every kinetic drive of the movie to Steven Spielberg, including its famous sense of dread and menace. Would you not agree that some mention might have been made of Verna Fields, a legend thanks to Jaws in how she cut that film together after a famously difficult shoot. https://engines.egr.uh.edu/episode/3235. The movie won three awards: Best Film Editing, Best Original Score, and Best Sound. This was your chance to applaud the vitally collaborative nature of pre-digital filmmaking. You could argue—and should have—that these post-production players were essential to Spielberg’s Eureka! moment for greatness: appreciating the total filmmaking arts apart from what’s in front of the camera. PS: I never miss your pop culture takes, so appreciation of one sort or another is always positive.
Hi Shaffin, Very very good point. Maybe we can have an episode specifically about editors, e.g. what a terrible film Star Wars was before its edit…
I will try to remember to raise this in the next Aftertalk!