The mayor probably loses reelection, though a joking campaign defense stresses the rest of the tourist season and shared recovery.
Quint’s intervening decades are imagined through heavy drinking, trauma and shark hunting.
The barrel-and-harpoon plan is questioned and compared with the novel’s ending.
The status of Jaws 2 is disputed, leading to a forty-years-later proposal in which the youngest Brody is police chief and Alex Kintner’s younger brother is a vengeful mayor.
Hooper is imagined as mayor or head of an oceanographic institute, with a joke about adopting the mast-dare behavior.
Spielberg, Shaw, Scheider, Dreyfuss, Williams and the shark are nominated; Dreyfuss is mentioned with an immediate probably-not qualification.
The first Spielberg choice credits a career-launching, industry-changing and exceptionally entertaining movie while acknowledging luck.
Spielberg’s repeated practical and artistic decisions rescued a production another director might have lost: the unseen shark, effective small score, replacement actors and repeated script rewrites all worked. — Sean Fennessey
The final response agrees with Spielberg but makes a substantial case for Quint as an irreplaceable supporting character.
Coogler is compared with the young director, whose early television experience is cited as years of preparation.
Studios reportedly pursued the property with Burton, Donner and Dante attached; Verhoeven is also recalled as a possibility.
One response does not want the Burton version; another is particularly interested in seeing it.
Making this film first was reportedly a condition for greenlighting Schindler’s List.
Spielberg’s simultaneous work and two landmark releases are proposed as perhaps the greatest single filmmaker year.
The success reportedly increased interest in studying paleontology, followed by the profitable ER collaboration.
The reported Jurassic examples are transcribed as brociosaurus, dilaphasaurus, Matriacanathosaurus and Stegosaurus, with spelling uncertainty retained.
The rights payment is clarified as one-and-a-half million plus half a million for the first script, followed by a rewrite.
The T. rex roar reportedly layers dog, penguin, tiger, alligator and elephant sounds.
A Psycho story about selecting a stabbed melon sound illustrates meticulous effects work, with the story’s literal truth explicitly uncertain.
A guitar string under the dashboard reportedly created the glass-of-water ripple.
Chip Kidd’s skeleton cover is credited and praised; a childhood memory recalls carrying an advance-release pamphlet because the design was arresting.
An abandoned idea had the children riding a Tyrannosaur; the speakers are unsure whether the prop was built and say the attempt did not look credible.
Grant is reportedly modeled on technical adviser Horner; a stated two-hundred-fifty-million-dollar Spielberg payment is judged deserved.
The Lost World receives both harsh disappointment and a qualified defense as a fine, watchable film despite uneven performances.
Dante is imagined making a cheaper, fast, fun version and Donner a lower-rent Spielberg-like version.
A Donner version jokingly gives the too-old-for-this line to Danny Glover as Arnold, or even to the dinosaur.
The replacement screenwriter is discussed as a recurring Spielberg collaborator with a varied career.
