Film vs Film Podcast

Steven Spielberg Films - Catch Me If You Can vs Jaws

December 11, 2021 Martin Harries Episode 55
Film vs Film Podcast
Steven Spielberg Films - Catch Me If You Can vs Jaws
Show Notes Transcript

This week on the pod, we are relating our podcast to a ruddy legend! This man has yet another instant classic on his hands with his own version of West Side Story hitting the big screen. I am of course writing about about the one and only Steven Spielberg. So we are picking our favourite Steven Spielberg films.

Warning we will be talking SPOILERS.

Boaz's pick for this week he wanted to avoid the obvious films and chose a film that probably doesn't get talked about enough, Catch Me If You Can. Spielbergs answer to a Martin Scorsese film in our eyes. On this one when we stop confusing it with Jurassic Park, we talk about the incredible script, performances and just marvel at the directional prowess of the man himself. IMDB page

Martin's pick this week is the film that defined the term, Block Buster, Jaws. On this one we talk about the incredible trio of Roy Scheider, Richard Dreyfuss and Robert Shaw and how brilliantly they work and play off each other in this film. We talk about how this film showed that Spielberg is a master of suspense. IMDB page


As ever please enjoy. 

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Hello film fans welcome to the film versus film podcast. My name is Martin Harries your host and I'm joined by the filmic Cyclopedia man pious Dix. We are a couple of filmmakers on occasion but mainly Can't Stop yapping about movies. On this podcast every episode, we pick a topic from a film that's coming out at the cinema, or on VOD, myself and buyers pick our favourite film from that topic, and we battle out to decide which film will become the greatest film of all time. According to two film geeks from Wiltshire, England, if you enjoy this podcast please leave us a review and subscribe. Hello Potter Rooney's as West Side Story is hit in cinemas across the world. And of course, it is directed by probably one of if not the most famous director of all time. Steven Spielberg, so we'll be picking our favourite Steven Spielberg films. And as always, I'm joined by our local shark. And that is Mr. Boaz. Dix. How are you sir? I'm good. Thanks. Good. Good. Yeah, I am splendid. As ever, you might already already know we have a buy me a coffee account. So if you really like what you hear and you want to say a big thank you follow the show notes below, click the link and you can buy us a coffee. That would be amazing. So what film did you go with? Bounce for? Seems I went with, Catch Me If You Can. Alright, why did you go with Kashmir? So I the main reason, actually is because I've watched this maybe, like twice, and not in a very long time. And I do remember it was good. Yeah. I've also gotten really into, like crime in general. Not doing it. Okay. Like, research, not a criminal law. No hands, people. Just need some Cliff Notes. Fraud check for? Yeah, check fraud. But yeah, so I'd actually watched some interviews with Frank Abigaille, Jr. I really, and yeah, he's just an fascinating character. And, uh, you know, I've been watching other stuff, you know, with the mafia and jewellers and all this. jewel thieves and all this other stuff. So I've been well into crime anyway. And I've seen some stuff with Frank Ave. So it just kind of fit. So that's kind of the main reason I picked this film, you know, I would have picked something more like, you know, safe, but that would bore me. Like, I've watched way too many Spielberg films, like the classics too many times. Like, they're, like, I could pick Jurassic Park Jurassic Park. Amazing movie. But I've seen that. And I did. Initially when you asked, you know, what film is addressing? And then you were like, well, I've watched that million times. I was like, Yeah, I've watched that probably a billion times. I don't even need to watch it. I've gotten I said that in a good way. But you know, I was just like, Did I see now that you've said that it just kind of makes me sick to to even think about watching it again. I've watched it way too many times. So I don't really want to I don't really want to review it. Maybe Maybe some other time. If we do like a dinosaur themed day. I'd definitely pick that. Yeah, I've got that on the schedule for next. Dinosaur films. Jesus, okay. Yeah. Jurassic World dominion. Oh, yeah. Okay. So what happens in a house Can he catch me if he can? Well, hello, in this film, a dinosaur. Check for Sam Neill is held on his case. Dr. Grant I Triceratops is trying to rip off the park with Yeah, he's dressing as a flight attendant. is on. Exactly the horns give him away. And his pan-am Philosoraptor is next to him. Yeah, yes. Yes. Sexy, sexy cheerleader Velociraptor stewardesses. Yeah, so anyway, what the fuck are we talking about? I think if anybody goes in on this, they immediately click off like what the hell are these people doing? Sexy dinosaurs. Movie podcasting gold. What do you want? Yeah, so the film is about Leonardo DiCaprio plays Frank Aberg now JR. He's a 16 year old boy who basically goes on a kind of binge of like fraud. So check fraud and identity fraud and many other kinds of fraud mainly because he's father gets investigated by the IRS for you know, tax evasion and all this other stuff. And they've really squeezed him tight. So they had a very luxurious lifestyle. And now, him and his family are dirt poor. So that's how the film starts, but you know, still loves his family and his parents love each other. But then his mother basically wants to split with his father. They get a divorce, and he's got to decide who to live with. And rather than decide, he just runs, you know, runs through his life, gets on a train, fakes his ID, and he doesn't have any money, but he starts check fraud, because his father gave him a chequebook. So you know, putting amounts like, Oh, I'll pay for the night at a hotel, or whatever, with $1,000 I'll pay you in a check. And he just comes up with this very elaborate system. So he can just basically buy whatever the hell he likes, and live how he wants, you know, and then it gets on it gets more and more crazy as the film goes on. You know, he pretends to be a pilot. You know, fakes his ID pretends to be a doctor pretends to be a lawyer at the same time. Tom Hanks is playing an FBI detective who is after him is you know chasing after call handwriting. So what did you make of this one then? Yeah, quite like it was pretty fun. Yeah, I really liked it as well. I really enjoyed the scripts. The end is really satisfying, even though is a true story, but it's still very, very satisfying. The ending again, just like so many great Spielberg flourishes with the camerawork, Tom Hanks, and, you know, DiCaprio are on top form. I think they really bounce off each other really well when they are on screen together. Yeah, I really liked it. I'm not sure. It's like classic Spielberg. But it's right up there, you know, on the edges of classic Spielberg Yeah, no, I agree. Yeah, I think it is a kind of unsung kind of forgotten gem. I think it's really really good. Yeah, I do think it does get overshadowed by you know, his better works. But I still don't think it's you know, when you should, you know, just miss right directing then the pace of this film is like super quick, especially when like Frank is constantly learning more information about being a pan and pilot and getting better at track fraud. And there's some brilliant like fast cutting with close up shots and reveals of like, lots of models of Pan Am planes in the bathtub and then loads of like checks on the floor. All perfectly placed. And a lot of seen certainly in the first half of the film are all mostly long Warner's or composed for efficiency in mind. So each shot can tell you a lot of information, and then move on quickly to the next scene. You never get lost. Like one of my favourite shots is just after Frank has discovered sex. And he goes into a bank and looking at like, all the bank clerks are all girls obviously. And the camera like whips across to each girl and then pans around them a little bit and then whips to the next girl pans around them. And then another whip and it's just a great like POV shot of Frank deciding on which girl to take advantage of and learn more about, you know, tracks, check fraud, you could say us checking them out. It looks like a really like complex shot. But you know exactly what's going on, you know, some really great composed shots in this film. I like how Spielberg makes a joke using his camera choices, especially during the first like courtroom scene. And throughout the film, Frank has learned you know how to be a pilot, a doctor and now a lawyer from watching films on TV in some degree, like, you know how they act. So he does the same thing in court and acts just like a lawyer from that film he was watching earlier, you know, the shots adjust on Frank and the judge. That's it. And then the judge gets annoyed and says this is a preliminary preliminary hearing, and says there is no defendant, there is no jury. It's just me. And then each line, there's a long pan across the room to reveal there's nobody there. And then when he gets really pissed off, it cuts to a big wide shot to reveal this empty courtroom. And it's just a really funny way to reveal that and it just wouldn't work without those camera choices. Yeah, definitely. So I liked when he basically makes the crucial decision to leave his family and to start Oh, yeah. And he sees this guy's coat and he sees this guy come in, and he's very confused, you know? And then we need you to come here, son. And then it's got like close ups of each of his parents, you know, and and just so much going on. It's like darting around the room to all these faces. And they're trying to explain this to him. And you could just see he's confused but you're confused and disoriented because everything's just moving around. And it's like What the hell's going on? And then they giving him the paper it's back to the paper back to them back to him back to and then you just see him running down the street but then it still in cuts with you need to make a choice who you need to live with and he's still running. I need to make a choice. But like it's it's showing it in retrospect, you know, like, you know, he's still thinking about it as he's running down the street, you know? Yeah, I quite like that was pretty good thing. When when he gets he escapes the landing gear or escapes the plane that was amazing when he goes through the goes through the toilet and he finds like all the screws are undone and he's just like a duck down to the and then Tom Hanks tries to go down the Yeah, I know what it's like to just flailing that's quite funny. Yeah, that would have been crazy to shoot because they show it from below the plane. You know, there's shots from below the plane as he's coming out the landing gear jumps. I mean, my God, that must have been a dangerous shoot. Yeah. And then also, you know, when he gets caught outside of his mother's I mean, that was that was also pretty. That was that was quite quite emotional. That was really emotional. And then you know, when he's taken in the cop car and you just see his face on the, you know, mirror, the Black Mirror, whatever. Yeah. I love the Miami Airport sequence where Frank discovers that the FBI are using Brenda to create a trap for him. It's a trap. So Frank becomes a pan-am pilot again, but personally hires loads of new stewardesses, mainly the previous ones obviously, Frank literally just rocks up to the airport with loads of pan-am girls shielding shielding him as he walks right to the gate to the right gate. Then the cutting is really quick between franking calls man and I think the best shot is when Carl is on the phone to one of his men in the airport saying they've seen him in a pan am uniform in a car outside while the camera tracks round Carl on the phone. You know slightly following Frank in the past and the Pan Am girls in the background. Again, just a great fast paced cutting. And the sequence ends with a great jig with the guy in the car holding a sign saying he's going to pick up and ready. I feel like the more I was watching this film, it's it felt like Spielberg is doing his Mark Martin Scorsese film just without the writing a little bit. It definitely does have Wolf of Wall Street fives, but just without all the swearing in this. So yeah, that was brilliant. That was brilliant saying, Have you got a favourite shot or seen? Yeah, I think I see. I think that would probably be my favourite scene that when you just said the pan on the Pan Am goes. Yeah, that was pretty damn good. Yeah, that was was a genius idea. And it was it was just a well constructed scene. And as you said, it comes with the end of them rushing out to you know the car, and it's actually just the show for and it's just a it's just a great scripted moment. It's, it makes you feel pretty good. For me. I've kind of gone with a lot of scenes recently. But in this there's so many short scenes, so many really good ones in isolation, but I've kind of gone with a shot actually for this one. Again, there's so many great shots as well. But there's one particular one where Spielberg kind of just makes this film feel like a really fast paced caper. There's one great shot when Carl and his men tried to find his latest address for the second time and Cole's gun appears straight into shot and he walks through the door then another gun comes into shot from behind the first one then and another gun comes right in front of the shot coming from the other direction and all you see is the agents holding the guns you know nothing else it's just a great like choreograph stylized shot of agents searching a room. Rather than using a simple wide shot Spielberg goes out of his way to make like a simple scene looks so cool, just great gun choreography without firing anything. I just really love that so score for directing for me on Catch Me If You Can. Yeah, I really like it the just the fast paced nature of it greatly crafted shots. Again, so many great signature wonders from Spielberg you know, he just does efficiency in telling the story so well. So am I go 8.9 I think about Yeah, no, I completely agree. I'll go in 8.8 right screenplay that I like the way this film starts as this very like hold game show. Basically like would I lie to you over here they basically tell Frank epic nails whole life story and and the contestants have to ask questions to try and work out who the real guy is from a lineup of these three guys all dressed the same as you know, Palm Pilots, I think and it's just a fun way to get around the fact that this is a true story and and you know, and they explain what happened to him you know in this Quick way, then they jump cut to Tom Hanks his character, Carl, and ready an FBI agent and he visits Frank in a French prison to take him back to America. Frank tries to escape one of the contestants asks him who what was the name of the man that caught you? Yeah. And he's like, you know, Carl, Oh, yeah. From you know, he wants to take him back to America, then like Frank tries to escape. Hanks, does this smirk. And you get the sense that there's this mutual respect there between the two characters. And when eventually called, catches Frank, then they do the whole many years later thing and go right from the start. You know, the story is about, you know, how these two got this mutual respect for each other? I think one of my favourite scenes in this and you know, to do with the writing more than Yeah, well, I mean, it's even directed well, so I could have put this on directing as well. But the first time they meet, I think he's absolutely Oh, yeah. In the hotel room. Yeah, we're in the hotel room. That's such a sweet scene, where he just rushes in and I Avigail comes out of the bathroom and he's holding his gun up to him. And you're like, oh, shit, you know, he's been cool. How does that work? You know, cuz this how we got caught. You know, it's pretty early on film. We still got a while. And I love how he just spins it into like, he's working with the Secret Service. And they have the real lambic. Now, you know, you're too late. We just got him. I love are we talking to it? Because there's they set up that there's a blind guy at the swimming pool. Yeah, the hotel is a blind guy there. He's got a caretaker. He's like, see, we've taken him into the car right now. The guy is still the blind man into the back of a car. He's like, Yeah, cuz obviously in the scene before you, Frank meets that blind guy. So you know, it's great writing there. And then when like DiCaprio turns away from him, he looks like really nervous just taking a moment to breathe. The scene is made more plausible because before with Carl in the car with the other FBI agents, the other two that he's with, they discussed that they were both transferred to his department and and Carl has never met those two before. So Carla's assuming the same thing with Frank, that was really clever writing there. Plus the details are great too. With Hanks acting, he looks really nervous, you know, struggling to get his gun out, showing his badge to a made backwards. You know Spielberg has established that call will be suspect trouble to a confidence trick, you know, because he's really nervous. Just great attention to detail that I quite like the way Rankin Carl's relationship develops throughout the film. And the way each of their scenes are like kind of spaced out because Carl's first scene without, you know, the flash falls at the beginning is about 40 minutes into the film, the main focus is on Frank really the star. But when you get into the final act, the final third of the film, each scene is with Frank and then a scene with Carl. And then near the end, there scenes are all into cut, you know during the same scene until they basically share the screen at the end. You know, throughout the film, you can tell Carl is learning from Frank's tricks and moves to get away each time then the scene in the printing factory in France, called bluffs to Frank saying, if he steps outside, he'll get shot and Frank just can't read him like before, and it believes him and he believes him by making Carl swear on his daughter. But of course Carl was lying. And there's mutual respect there. And because Carl realises Frank is only running because that's all he knows, like himself, and all Carl knows is to catch the sky. And because it's just a kid running scared, you know, when the French take him away, Carl is desperate to bring him back to the States. Yeah, so I kind of just like how Cole is kind of learning from Frank's hunting tricks to to actually catch Frank. Yeah, just quite clever how that's developed? Yeah, no, definitely, definitely. Because he gets, you know, as I said, at the beginning, very easily tricked by him and always outsmarted. But yeah, he is he is learning and I do like that sort of cat and mouse thing. So I like the scene where basically, he's going over the pseudonym that he gave him as a secret service agent. I just loved the detective work of his character of car. And I like that scene where he's he's just like, because he said his name was Barry Allen. Barry Allen tech. No flash. Yeah. And then this, this this guy, he's just doing it in a diner and the waiter comes over the you know, busboy or whatever. And he's like, Oh, you're into the flash or something. You know, he starts talking about the flash. He's like, What the hell are you talking about? Like, that's the name of the flash, you know, the cap for the character. Yeah, is his real name. And he's like, Oh, shit. So he's like, you know, We must be looking for a kid look for runaways. And because he phoned him up as well. Like to turn him or whatever. Yeah. And he was talking about like the New York Knicks or some football team or something. Some American football team, New York Knicks. Yeah, yeah, he must be from New York, he must be a kid. I just love how he sort of narrows it down more and more, you know, yeah, where he is what he's doing. And I quite like at the end, when Cole meets Frank in prison, and he gives him some Flash comic books. I thought that was quite a sweet moment as well. And in the last few scenes, they become like good friends, where Frank works for Cole in the FBI trying to catch the new check fraudsters. But what's interesting is that Frank has every opportunity to escape now, and calm knows it. And when Cole catches Frank again, at the airport as a well pretending to be a pan pilot, cause like, you can go if you want, I won't try and catch you. Because Carl knows Frank has nothing to run for now, because his father is dead. And Frank eventually comes back. And I just love the fact that even now Frank and Carl are still good friends. And that was just so satisfying to read at the end. Yeah, I think that was really well written and done. Like, when he leaves, you know, he's like, you know, listen, I'm not gonna catch you, and you're gonna come back. And he's like, Well, how do you know? How do you know, I'm gonna be back Monday, like, look at me, like, look behind me, you know, nobody's catching you. And then he just leaves. And then I love how the next day, he's is so much suspense on that last scene. And he's looking at the clock. He's asking, you know, the Secretary, as he called him, you know, he's starting the meeting. And then I love how you get this first person shot of somebody running up there, you know, and then you see his feet. And the thing is, Frank opens the door, it's someone else. And then as he's doing another lesson, analysing checks, when you know, someone comes up and goes over him. Yeah, someone comes over him. Like, man, if I have a look in this frame, I was really well done. Yeah. What's great is the fact that Cole really wants him to come back. Yeah, you know, after spending so much time and energy trying to catch this guy. He really wants him to work for him. Still, I think they really connected also, like their conversations over the phone, and stuff like that. You know, they talk about each other very personally, but you know, they're trying to, he's trying to catch him. But you can tell like they've almost become, do you know what I mean? Like, as you were saying, mutual respect and understanding. I think one of my favourite relationships in this film is actually between Frank and his dad, played by Christopher Walken. Yeah, it's definitely the emotional heart of the film. Because as the film progresses, you're wondering what is his motivation for doing this? Just can't be that he's good at it. But you realise he's doing it for his dad and his mum, but his relationship between his dad especially is interesting, because he looks up to his dad, in a way, and he just wants to be like him, but better to pay all the money back. But what's interesting about their conversations, is that they're both kind of like lying to each other about what they're doing. But you get the sense, they both know that they're lying to each other. It's really great acting as well. His dad makes no attempt to stop Frank, because he's so good at the you know, the calling thing. But in their last conversation, his dad says the FBI have been asking about Frank and Frank dares him to ask him to stop, but he can't because he knows he'll go to prison for a long time. If he stops and they'll catch him. And I guess he just doesn't want to live that, you know, long enough to see that. And obviously, he does die off screen. So it's just a really interesting relationship there. And definitely the emotional heart of the story. That's always kind of lingering there in the background. There's some cool lines in this. Your son held a teacher parent conference yesterday and was planning a class field trip to a French bread factory in Trenton. Do you see the problem we have? Yeah, that was brilliant. Would you like a drink after takeoff? Milk? From Tom Hanks. Knock knock. Who's there? Go fuck yourself. Yeah, that's, that's, I think my favourite line and yeah, I really cool. It's just a great sum up of his character. He's like, got no time for this shit. And they're both telling each other jokes in China. He's like, I'm just got work to do. He's like, what was it? We didn't loosen you guys up more if I told the joke. Like yourselves. Even says that to his boss. I love like cut that as well. Because he gets chewed out by his boss and he goes, would you like to hear a joke? Yeah, Frank's mother to call. Just tell me how much he owes and I'll pay you back. So far. It's about $1.3 million. His mom's like, oh yeah, that's pretty But I think my favourite line is from Frank and then one of the stewardesses. Marcy, did you drop this must have slipped right off your neck? No, no, no. No cut to Yes, yes. Yes. That was hilarious. I feel pretty cool. Cut to them making a mess on that table. So your screenplay score for me. You know, I think it's really satisfying at the end, because sometimes with true stories, it just kind of peters out of it sometimes, but not with this one. It's a really satisfying and with these two characters who are our complete opposites, they really don't like each other at the start, and then they come to be great friends. It's just a great, great story. And one that I'm really glad that Spielberg told really. And it comes together so well. So am I good? The same actually. 8.9 for screen fun. How about you sir? Actually, I'll go nine. I'll go and I'll go nine acting. I love the moment from Leo when he first gets on a plane as actually I'll get Tyler and he's just blogging his way through it and looking for the special seat at the back of the cockpit and then the stewardess just pulls the seat out. And when the plane takes off, he's just like, oh, shit, you know? Against the wall. That was funny. Yeah, I find that funny because he's been pretending to be a pilot for a while. He's he's graduated all these skills. He's done this. He's done that it's all bullshit. It's his first time. I just love that reaction of Oh my god. Yeah, on this tiny sea of a tiny strap. I love the Goldfinger appearance in the film, but not the John Connery impression. The whole eyebrow thing not great. Sorry, Leo. Not impressed. I love the acting from Leo when he's pretending to be a doctor. And he's called into the emergency room. And a kid has had a bicycle accident and there's blood everywhere and looks more and more uncomfortable. asked his fellow doctors like Do you concur? He puts like the dressing on his mouth a few times. Like what the fuck are you doing? And then there's a long like pushing on the kids bloody injury and he sees face turn like he's about to throw up. But he doesn't turn into the lizard cuz he's called Dr. Connors. Yeah. I mean, there's a lot of Spider Man stuff out at the moment. So I kind of have a swipe my dragon. Yeah, I can't help it. So was that a dinosaur? So the I love the first scene. DiCaprio has with Martin Sheen. He plays Roger strong, the father of Amy Adams character, Brenda Strong, whom Frank is now engaged to. And Frank says he's going to take up being a lawyer again and not a doctor because obviously he's hates but Frank says he studied at law at Berkeley and mine Jean asked Frank questions about an old teacher there then. Oh, yeah, that's brilliant about the guy's dog. And Frank's is slow to answer and just says the dog is dead. And Martin Sheen subtle acting is brilliant. Trying to work out if this guy is too good to be true, you know, for his daughter. But he hardly gives anything away. It's just brilliant stuff from my machine. While Leo looks uncomfortable and just smiles. You know? I thought it's great stuff from Martin Sheen in that scene. I like Christopher Walken. In this. I thought he was great. As we were even saying that the relationship is really good. And yeah, no, no, did you lose this necklace. And I love how his speech makes it through the film many many times is essentially a say, even Martin Sheen's where he asked him to do a prayer. And it's like the phrase he's heard the most from his dad, you know, to my eyes fell into a bucket of cream isn't one mouse, he drowned the other mouse. He worked his you know, he worked his little feet until he turned that cream into butter. And then he walked out. I am that second mouse. With plenty of punctuation in there, too. Yeah. And also changing to quiet tones like being loud. And you know, mouse. Yeah, he does that a lot. My favourite performance though, is probably Leonardo DiCaprio. I think he's great in this. What's yours? I might go like Christopher Walken, actually, okay. Yeah, yeah. But Leonardo DiCaprio. I mean, you know, he's great. And, and obviously he it's his film. He's in most of it. And Christopher Walken isn't in it very much. But you know, I just like his heart, I suppose. So yeah, I mean, it would either be here Leonardo DiCaprio or Tom Hanks I mean, they're all good. Certainly woke in brings certainly the emotional heart of the film and he he brings a kind of a gravitas as well to the whole picture. So score for acting for me. It's again, it's really good. I can't I'm struggling to separate like the directing the screenplay and the acting. I think they're all you know, on par with each other. They're all as good as each other. So I might just get 8.9 again. It's all really good to be honest. Yeah. I don't know if that's just sitting on the fence, but I think they're just as good as each other. I do think they are, like, all really great. Yeah, it's very, as you said, very hard to separate one from the other. Like, they all just seem like they're together. You know, they're all very much intertwined. I'll go 8.7 Cool, right, let's add up the scores then for Catch Me If You Can. Please don't, by the way, as well. Catch me if you can get a very, very respectable 53.2. Right, my pick then, is yours. And the camera gap man gets kneed in the face. Yeah, my pick is Joe Johnson. I found it so difficult to choose. Which Spielberg film to go with. Because there are so many to choose from. Like, I love all the Indiana Jones films again, you know, Jurassic Park is great. I like a lot of his war films. I really like Saving Private Ryan. Munich is a really, really great film. It's just so many. I found it very difficult to choose. But ultimately, I went with JAWS because I think it's the first one. Well, it's the first film that kind of created the term blockbuster film, you know, because it literally broke the blockbusters. I mean, you know, the block where you get the tickets, you know, in the cinemas, so they run it, you know, there's just streams of people trying to see this film at the time in 1977, or whenever it was 75. Yeah, and I think it's just one of the first films other than deal where he kind of showed his directional prowess in such difficult conditions as well. I'm pretty sure I don't know whether this is true, but I'm pretty sure that I don't think Spielberg has shot such a long sequence on a boat since this because it was so hard to shoot it because Brucey the the animatronic shark kept breaking all the time. Robert Shaw was pretty much drunk through the whole shoot and really didn't like Richard Dreyfuss as Hooper they did not get on whatsoever. Of course, because they didn't get on well at all makes for just great. A great dynamic in the film was so yeah, I think it was a hell issue. But to make something this good in such a hellish conditions is quite remarkable. So I went with JAWS. So what happens in Jaws? Well, the first scene is kind of at night with all these kinds of students in Amity Island, and this girl decides to go swimming naked and her boyfriend or a boy just trying to chase her, you know, struggling to get his clothes off revolving, and and of course, John Williams eats the girl with the music. Pretty much because the shark didn't work at the time. And then we kind of get introduced to Roy Schneider's character Chief Brody. He hasn't been in Almaty that long. It's his first summer in Almaty and he here he hears about the shark attack of this girl and they find just her hand you know, in the medical adviser says this is a shark attack. So he's about to close the beaches but then the mayor of the town airy says no, you can't close the beaches. You know, he managed to convince the medical officer that it could have been a boating accident. So then there's basically these, this battle between Brody and Harry to like, save the summer. You know, Brody wants to keep everyone safe, whereas Harry wants to keep ameneties economy alive. And then characters like Quint and Hooper arrive. And these two characters are really interesting because there's a point in the story where a group of fishermen think they've caught the shark. But Hooper and Quint don't believe they have caught of the shark, just a shark so people keep dying from the shark attacks from BRUCEI. So, Chief Brody, Hooper and Quinn decide to go out and hunt down their shark and kill it for It is just a great classic monster film. Great classic horror monster film. I just I love this film so much. And I don't really give a shit that the shark looks really fucking fake at some points, but I don't care. It still looks amazing and feels really really good. So, you know, what do you think about this film then? Yeah, man, I thought it was great. You know, it's definitely on the spot as a movie classic. I mean, it is a movie classic, isn't it? So? Yeah, yeah. And watching it again. You know? Yeah, I enjoyed it. I actually especially enjoyed one I enjoyed the suspense of the whole film. But I really enjoyed the dynamic between the three main actors Robert Shaw, Richard Dreyfus, and Roy shot slider and their performances. really tense chase scene basically them trying to find and destroy the, the shock of the last third of the film. All right directing then I love how Spielberg uses loads of fake outs and fills the scene with so many things going on to distract Brody before the iconic dolly zoom shot. In the first proper beach scene. You know, that made dolly zoom shots popular to use a guy is like trying to keep control of his dog cuts away to a large woman floating in the sea. And Brody sees a dark figure swarm swimming towards her. Just an old man. You know, a girl screaming in the water, her boyfriend is has her on his shoulders, lifting her out of the water. Brody's in the you know, trying to appear over a guy's shoulder trying to watch the beach and ignoring what he's saying. You know, his wife reassures him a bit, then the guy's dog goes missing. And you're like, that's weird. Where could it be? We're gonna be then you have John Williams score with these great POV shots underwater getting closer and closer to a kid's leg and the camera man probably getting kneed in the face. Then we get a few wide shots of the attack the first attack and shots of people on the beach, then the iconic dolly zoom shot on Brody, and you get a strong sense that the realisation of what's happening is happening at different times for people like the suspense is still building in a way long after the attack. It's gone from you know, the shark attack to panic, you know, and yet Spielberg still has time to put a few like tight shots on the on the kid being eaten for lunch, just really skilled at editing, I think in well, the second beach scene, but the first one in daylight, you know, then when you get to the second beach scene on the Fourth of July, when Harry is stupidly encouraging everyone to get in the water and the suspenseful shots are all fairly similar to the the previous beach scene. You know, we have a lot of wide shots and underwater shots, heavy underwater shots, and you even get glimpses of even in the water. But there's one big difference from the previous beach attack as no music. You know, when we learned that it was just a kid with a fake fin, the iconic music starts and the real shark appears and you get a closer look at what the shark looks like. But it's only like a little quick flash, you know? Yeah, that was cool. Because there's a guy in a little rowboat trying to tell these boys get get the hell off the beat, you know. And this, this lady is like screaming her head off. There is a real shock behind you. He's just see this fin behind telling these kids throws his bow goes out and I kind of just like the progression for the film. Have you just used to just see a little bit more of the shark throughout kind of like what we talked about in alien in space films. Yeah, you just see a little bit of the alien until the end. You know, same here you know, the jumpscare where the severed head appears in the hole in the abandoned bow always makes me jump. Yeah, and I really tried to prepare myself this time even though I've had I've seen it a million times. And I still felt the need to mentally prepare myself but because Spielberg is so goddamn good at it. It still feels like he's taking your sweet time to get to that moment of all the you know long tracking shots going around the boat showing the light trails in the mess making it feel super creepy. You know, Hooper seems to take an age to get to that hole then finally happens and I felt fine. It was okay. Just a mild skin when the head comes out just a mild heart attack again like the suspense building is brilliant. Did that see make you jump or not? Yeah, maybe. won't lie. I think the only minor criticism I have or the direction is during the scene when Hooper goes into the shark cage. And they photograph you know real sharks for the most part. They get the scale right but the shot after Bruce hits the cage from behind. They use a real shark with him back around in front of the camera. And the shark does feel really small only like 10 feet if that but the following shots using Bruce were very intense with the real like tight shots on that attack. He probably should have gotten eaten but poor Bruce he can't get his big head through the door blessing I love the whole idea of tying you know cuz that's how they track him where they shoot him with the inflatable barrels. Yeah the bounce I like the first time that they shot him like they see him first of all you get your first full on look at him when Brody is throwing chum over the boat. And again because there's always been a build up to him showing up and now and you know of music and he just looked appears like I just love you know, and then obviously Brody very slowly backs on the camera goes into the cabin with Quinn. And then you get the very iconic we're gonna need a bigger boat and then they see the fin and then there's this whole chase for it, but I love how it's coming right at them. And when he's like aiming the harpoon Hooper he's like trying to tie the rope tie the tie the knot and He keeps getting it wrong and it goes from him to like, Come on, hurry up. It's just the camera darting from one character to the other to the shark to and he keeps getting the rope and he finally gets it right. Like go and then shoots it gets him in the fence. Yeah, tie the bar. All right. Yeah. And I mean, like, you know, that's what Spielberg is obviously very good at is just like building suspense and like, Oh, God, they're not gonna do it. And then you know, it happens and it's just a huge relief. That was like a really great scene. I still really like quince death scene when Bruce decides I've had enough of this mess and about I'm starting to get really angry. Bruce does a quite an awkward belly flop onto the bow and breaks the back of the bow probably doesn't have the strength anymore to fly himself, you know, into the boat properly, or perhaps probably an old fella. Now, in that moment, it does look a bit fake. But when Spielberg goes tighter in on Quinn and Bruce, you know, filling the frame, you know, that still feels like really intense and it hides the fakery a bit more. And when you see and hear the final crunch, and Quint burst out blood, you know, that was a great moment. But I think you know, too many wide shots at the start of that scene, I think because it does look a bit bit mechanical during most of the attacks, the consistent use of blood sprays while basically you know, the water turning red underneath them and then bubbling up. I always found that yeah, that's a lot of blood. Yeah, it's a lot of blood. And I kind of forgot like, you know, I wouldn't say the film is necessarily like that gory, but that it takes you back of like, oh my god, there's a lot of blood coming out of this person. Especially when like they blow up. Bruce at the end. Oh, yeah. Like shitloads of blood in that was Yeah, little chunks of tuna and just as you see his thin like, come in and out of the misty blood. That was a great moment. I kind of echoes is his one of his first films. Do you all when the lorry goes over the cliff. And the lorry comes in and out of the dust. That's a bit of a cool bag. Yeah, I heard the book that this film was based on you know, which obviously that was one of the major changes they made from the the book to the film is the death of the shark. I think apparently in the book, he just gets really just get shot and then gets weak and then dies and that's about it. You know, so it just has this kind of, you know, it's just get you know, he just he dies like you know if you just shot a shot, but they invented the whole pressurised gas. I love how they you know they make mention of that before when Brody Yeah, yeah, when Brody almost hits one of the bloody canisters like they flop around the deck. He's like for the love of God man. This is pressurised air it'll go up and then I love it. You know smile you son of a bit. Yeah. Blows up sky high. You know, that's a great way to kill that thing. Yeah, brilliantly placed that because it's the first it's basically the first scene in the Orca. And you kind of forget about it until the end. You know, and you know when then he shoots him so it's greatly placed foreshadowing there. If you've got a favourite shot then or scene I would say my favourite scene I think is actually then as I said shooting the I was gonna say dinosaur jog. Yeah shock shooting those when they around during the dinosaur era. Yeah, I think so. Yeah, possibly. I think perfect killing machine hasn't really changed this design and millions and millions of you. It would be cool Eisley should they do like Jaws versus Jurassic Park. You just have an army. Sharks attack Jurassic Park shark NATO attack, stressing. Yeah Although all the T rex is would have to somehow jump into the water right swing, because otherwise it just wouldn't work. Anyway. Sorry. I don't know what the hell I'm talking about. So yeah, no, I would say my favourite TV show. Yeah, my fate my favourite scene or slash shot or whatever is what you were talking about what we were talking about of the first time they shoot the yellow barrels onto the shark. I just love the suspense of that moment. I've just, that's my favourite scene. My favourite shot. It might be the dolly zoom. I know that's like, you know, whatever has been done classic. Yeah, but it is a classic. It's like, yeah, what this film is known for you see that scene, you know, you know, it's just yours. And if you see it in another film, a dolly zoom, you're like, hey, that's from Jaws. He touched on it a little bit. But my favourite shot is actually one of my favourite shots of all time as well, is when Brody is like, just chucking charm into the ocean. And it's a very simple place up on Brody. We've just ocean in the background. And he's saying, slow ahead, I can go slow ahead, come down here and charming some of this shit. And Bruce just takes a nice quiet nibble at some of the appetisers. And it's just such a great moment because you don't expect it at all, you know, and to see the shark in full view with no suspense at all. It's just that's an unexpected moment and works really really well because you're expecting another big drawn out suspense sequence when you expect to see the the shark in full view, for the first time like the previous suspense scene that comes to nothing. Plus the reaction show where Brody stands up really quick is amazing. Of course, as one of the most iconic lines in cinema history, you're gonna need a bigger boat. I think one of the few things I know about that line is he improvised that that's like, you know, trivia 101 on on Jersey just made that up. So score bar as we're going for for directing. I'll give it an 8.9 I think. Feel like you want to go up into the 9.10 Yeah, yes. You're not persuasion. Yeah. It was it was just me looking into those into those dark black eyes of yours. Yeah, black like adults. I turned white. Hey, fuck me. There are so many great lines. I think my favourite lines on scripts. From Quinn from you know the shark. Oh, yeah. Shark guy. He has like the best line. So my directing score. I'm going to a pretty high and I think it's it's just quite remarkable that this is one of Spielberg's first films. And yeah, it was such a hellish experience. And yet, the outcome is so fucking good. Still, you know, they've they've got a play on the west end about Yeah, yeah. About the making of I really want to see is it called something like the shark doesn't work or something? Yeah, something like that. So yeah, I'm gonna go like 9.5 I think. Yeah, it's called the shock is broken. I really write a screenplay then. I like how the film sets up the character dynamics right from the start between Brody and Harry, the mayor of the town. You know, Brody has only been the chief of police for less than a year. This is his first summer. And his chief medical person has said that it looks like a shark attack and he's trying to, he's trying to close the beaches. There Moments later, Harry is talking to Brody essentially saying that if you close the beaches, people won't come to the town and spend their money. Also, Harry's persuaded the medical person that the girl that died in the first scene could have been caused by a fishing boat. And Harry says, Martin, it's all psychological. You yell barracuda. And they all say, want, you yell shark, and you've got a panic on your hands on the Fourth of July. So the battle lines have been drawn where Brody is still convinced that there's a shark out there and is trying to protect the people while Harry is trying to protect MIT's economy. I can't say that he commonly you can't say that word. And seize money that you like Porky Pig and cow money I kind of gone any Nina money. That's sometimes Oh, yes. Then Brody, and Hooper's like last plea to hurry to close the beaches. You really just want to shake that some sense into Harry and it does make you feel quite angry. And that seems just like you're dealing with people's lives. Bruce is really really hungry. When someone's graffiti to sharkfin on the billboard that scene make you pissed off? Yeah, no, it made him it made me want to scissor kick him straight in the face. Literally just drag him into the ocean. Just like ah, yeah, throw him off. Put them out of the open jaws of jaws. That's what I should have said. But yeah, Yeah, no, that was very infuriating. It's like he's still trying to play off that the the shark that they caught was the shark, even in the scene before, like, they could have sussed it out right there and then and showed the town because hopper is like, we need to cut it open, because then we can see. Yeah. And he's like you're not cutting that damn thing open. He's like, you know, we're not going to have the mother see her like little son, you know, all over the deck? I don't think all over Yeah, I don't think that's what he's concerned about. It's just, he's afraid that it's not the shark. And it really isn't. But you know, it's like he wants it to be and doesn't you know, yeah, he is a dick and he is definitely responsible. And when the second attack happens, I do love like the change in his character of just very speechless. And all this time, he's just been giving such huge pushback from Brody and protease like you can never win in an argument with him to Brody is just telling him how it is. It's like the dynamics got to kill. You got to kill the shot. You're closing the damn beaches, and you are paying that guy $10,000 To find the chart, he just kind of takes control. He takes control. And it really takes the wind out of that. Wangka you know, the mayor? Yeah, I like that scene. I like that sort of development of that character. I like how the emotional stakes go up a notch when they think they've caught the right shark and everyone is sure they've caught the right shark. But the only characters that doubt that are Quint giggling away in the boat lurking in the background and Hooper, who is measuring the mouth radius and an Uber is trying to convince Brody that it might not be the right shark. But then Mrs. Kitten arrives and slaps Brody in the face and it's like everyone has just forgotten that her child died. While everyone is celebrating catching a shark, you know, the wrong one. For Brody, he's like screw Harry, as he said, he has to be sure that they get the right shark. Brody can't have any more blood on his hands. This is the last straw. He can't have any more dead kids get dead people on his hands, you know, as chief of police. So I just like that little scene of just ramping up the emotional states. I quite like how the scenes in the Orca are structured. At first you think it's a matter of time until they hunt down Bruce, because you don't realise how strong and powerful he is yet. Then after the Indianapolis scene, the the pace of the action goes up a notch. You see Bruce a lot more. They attach three bow arrows on him but nothing stopping Bruce, you go from the Orca chasing Bruce to Bruce chasing the Orca, and Bruce becomes more and more powerful for them and it's like Bruce is playing with his food before eating them kind of thing. But when the engine breaks down, Quint is all out of options and is forced to go with Hooper's plan of going in the shark cage which Quinn you know, laughed off at the start before they set off. But now because they've been through so much it's kill or be killed showed it's like kill or be killed showdown you know? Yeah, no, I love that as well. Because basically, Quinn, he's done everything now. He's literally tried everything. He's meant to be the expert. And the shark is best to them. And I like that conversation with he just picks up the tranquilliser he has. So again, all this scientific stuff and medicals that he's you know, he's never been interested in all this. This stuff, you know, prefers guns, and you know, he vows and like, offensive weapon. And all of that failed. And he just, you know, goes to him. Like, do you reckon you can pay a sim with that, you know, will that slow it down? Do you know? Yeah, he's like, yeah, it should slow down. It's like, Can you place its hide with this? It's like, no, but I like how he's opening to the idea of asking for help because he didn't even want them on his boat. It was very vocal that they you know, they leave him alone and be just like, how all the Orca stuff is structured. Like they're all pretty confident of, of killing Bruce but, but you know, as the story goes on, on the boat, Bruce becomes more and more powerful. And Quinn is like, I've never seen a shark like this, you know, I know it's very unrealistic that a shark can pull down three barrels, but it wouldn't make a very good film. If this film was really realistic. So be I just like how that structured there are so many really cool lines in this. You know, rather star I can swim. I just can't walk or undress mice and dress myself. That's some bad hat, Harry. Oh, yeah, that was good. Because that's the that's the guy who had the who he thought was the shark as well. He had the black swimming cap. This shark will swallow you whole little shaken a little tenderising down below. Can you tell me if there's a good restaurant or hotel on the island? Yeah, you walk straight ahead. They're all gonna die. Tigershark Uh, wow. You got any Like, okay, I'll just go over my because, you know, I do have a few, you know, with the charm and the, you know, we're gonna need a bigger bow and you know, all the kind of classics, you know where she slapped me you just went over that, you know, my son died because of you and all this other stuff. There are very good lines through throughout the thing. My favourite though, and I'm just gonna do part of it because it's a huge speech, but it's way okay, but it's you know, I'm just gonna do the part that I really love the Indianapolis Yeah, the USS Indianapolis. So they get really, really drunk and singing and dancing and trying to get on even though there's, you know, some, okay, they're talking about, you know, scars that they had here. And he says, Where was what was that? And he said, I used to have a tattoo there he goes, you know, what was it a tattoo of your mother or something? And and then he stops laughing like it was all happy and stuff. And it's like, no, it was a tattoo of the USS Indianapolis. Like you were on the Indianapolis. He's like, what, what what happened? Brody is because he's got no idea. And you know, they tell he goes through the story of how it was a it was a real ship. It did really happen. Yeah, real ship on a Sikh secret mission. In the Pacific World War Two got sunk by a Japanese submarine. And a lot of the people were basically swimming out in the Pacific Ocean for days. And a lot of people got eaten by sharks, you know, that was pretty horrible. And he was part of that. And I like how the part of his giant speech the description of a shark is like he goes you know the thing about a shark he's got lifeless eyes, black eyes, like adults eyes, when he comes at you doesn't seem to be living until he bites you. And those black eyes roll over white and then oh, then you hear that terrible high pitch screaming the ocean turns red in spite of all the put in in the holler. And they all come in and they rip them to rip you to pieces. It's like you know, that's just so fucking cool. Yeah, well, no, pretty hard, but it's pretty horrible. pretty horrible. But it's It's haunting. Like he has seen it is many people die. You've seen them get Yeah, and the ribbons by shot given I haven't seen under acting. I was listening to another podcast the other day about whether it's best to show something that's happened previously in the story in a flashback or just let the character just explain it and talk about it. And most people would say it's better and more impactful if you show a flashback scene. But I don't think it's the case in this film. When Quinn is talking about the Indianapolis the atmosphere Robert shore creates when he's talking about the sharks in the water is incredible. You could hear a pin drop on that boat you know sure becomes a lot quieter and even become slightly emotional towards the end. You know what she would not expect whatsoever following this character in this film, and if we go into a flashback it would feel more detached from the rest of the film. You know you need Hooper and Brody just staring at him doing nothing to create this atmosphere and it's just a long isn't long scene, but it didn't feel long at all because Robert shows acting is so captivating. The other problem I would have of like unnecessary flashbacks is specifically that flashback. It's like, you know, if you read that story is he's talking about how hundreds of guys got eaten by sharks. You we know in the film that people have been eaten by sharks, you've had two characters, you know what being eaten by a shark is and Laters some more, another person's gonna get eaten by a shark. I think it's better that he explained it because he adds a poetic flair to what a shark attack is and what being eaten. It's a badass line. I think you deprive people of a great, you know, explanation. And you know, and and a piece of acting rather than, you know, you just and one thing I hate in films, and I've seen this way too many times in TV shows and films, and I think it's just to justify the budget or just because they can, but when you have somebody say something like a story, and then it shows you the flashback, and then it goes back to you telling them telling it. Like why don't don't need both can people stop doing this really annoys me? If somebody tells me a story about what happened to them, I don't need to see it. You know, I've been told that Yeah, and if I'm looking at it, don't finish it off, you know, drives me crazy anyway, but either don't say what happened in your past and then show it through flashback. Or just say it and then don't show it like I just don't like both. I just feels a bit redundant, you know, again, going back to lines. There's so many I'm not drunk enough to go on that bow. Yes, you are. No I'm not. Yes, you are. I can't do that. Yes, again. It's only an island if you look at it from the water. That makes no sense. Yeah. Oh, that makes a lot of sense. If you open the beaches on the Fourth of July, you're ringing the dinner bell for Christ's sake. I think I'm familiar with the fact that you are going to ignore this particular problem until it swims up and bites you in the ass. Let's say goodbye I'm not wasting my time arguing with a man who's lining up to be a hot lunch. I are sir our gym by our I won't have to take this abuse Smith's longer Quint smashes the radio, and said excuse me, Chief. That's quite funny. But I think my favourite line I mean, I mean, of course my favourite line is always going to be you're going to need a bigger bow. I think that's probably everyone's favourite line but one that definitely made me laugh out loud was when when they kind of first see Bruce for the first time and Hooper is trying to take a picture of the of the shark and tries to get Brody on the parapet to get some scale and he's like, I need something up there in the foreground to give it some scale for ground my ass. And that just walks off. That was great. So that was kind of just a funny one I picked out off so many really on a different day. I could have picked a different one. School bias for screenplay. What you going for screenplays? You know it's tonnes of fun. Three tonnes of fun 25 footer. Catch Me If You Can. You gave a nine. I gave it a nine. All right. Yeah. Okay, give us a nine as well then I kind of love how simple this script is. And yet it's really quite clever with the the dynamics between Harry and Brody. And there's so many great lines as well. Iconic lines. So I'll go like a 9.2 I think probably acting then. I'm not sure you can get a better character introduction than Quint play play Robert Shaw, where everyone in the town hall is meeting and talking about what they're going to do about the shark. Then it just breaks down into everyone arguing then suddenly you hear this high pitched noise. And all you see is a hand scraping his fingernails down at Blackboard then cuts Robert shore and he seems so different from everyone else like he's from a different time. You know, he has this very like gruff, old fashioned persona about him just just a great character and a great character introduction. I hate it when you know that type of high pitched noise. It's just horrible in your ears. I think my worst is polystyrene. I really. I love the little moment from Roy Schneider and his son the scene after you get slapped by the grieving Mrs. kitna. And Roy is looking like really depressed and his son is mimicking all his movements. And when Roy notices his son copying him, he turns his face brilliantly slowly. He's trying to scare scare him by just, you know, playing with him and it's just a nice, charming moment to show he really loves his family and it just gives Brody something to lose going up against the shark. But then when he arrives for dinner, he's still looking quite depressed and just ignores Hooper and his wife talking about the shark. We're talking about sharks, you know, just looking into space. And it's funny when Brody pours Hooper's wine in a tall glass and Hoopoe says, Are you going to let that breathe and then it's Roy Snyder doesn't change his expression one bit and just has this tired, cold smile on his face like I don't give a fuck. I just want to kill this shark and drink. And I'm all out of drink. I love the first suspense scene on the Orca, where quince fishing line begins to go, tick, tick, tick, tick. You know, the shots are grey, and there's a brilliant like subtle score there from John Williams as well. But it's all from Robert shores acting his eyes just look at the wire without even moving his face. And he keeps his eyes on the wire that the whole time while he's strapping himself into this chair. And it comes to nothing but it's just a great moment from Quinn and just great suspense building. And Hooper at the end of the scene is just like pulling faces at him behind his back. That was quite funny. Yeah, I I liked I liked Hooper. I liked Richard Dreyfuss and I just liked one how irritable he could get just how like, I don't know, it's like he gets really passionate and very sort of, you know, angry, you know, the situation. I liked when he's, you know, they have him examining what's left to the body and he's like, you know, this was obviously a shark attack. Yeah. And I just love how he's, you know, sweating he's very uncomfortable looking at all this stuff and getting more and more frustrated that they just let they let the beach open. I love his acting of just like, how like infuriated he is but he's trying to keep it back. And then obviously him and Quinn and just how much they hate each other. They fucking hate each other and and in real life in real life, but I think that's great because you can feel the hate. Yeah, doesn't feel like you can really feel the dislike. I wouldn't be surprised if Spielberg was like, You want another drink? Robert? Yeah, I think it really improves the scene. I think it's also it's quite nice when they they get on when they're getting really drunk, because it's like they're getting on begrudgingly. And I should have said this in lines, but I like when they're comparing battle scars, you know, from what they've had with, you know, sharks and different animals. Oh, I like that way. Yeah. So I like were they talking about the injured legs. I had a sting ray through the leg. I had this through the leg. And he goes, like, I'll drink to you. If you want to drink Drink to your leg and Hooper's like, I'll drink to your leg. I love that moment as well, from Roy Schneider. He doesn't say anything. He just lifts up his shirt and there's a massive scar down his belly. And he's probably got the biggest one. Yeah, but he doesn't say humble. Way to humble. So favourite performance Bower yeah. J actually. Man, this is gonna it's gonna be difficult. Like I like I like all three of them. I think they're all you know, do a phenomenal job. And it's very hard to pick. Which one's my favourite like, I like Hooper how he gets quite annoyed and especially Uber. You know, if we're talking about the actors, Richard Dreyfuss, I like Richard Dreyfuss and how he gets annoyed. I like Martin. I like Rob shut Roy Scheider. And Roy Roy Schneider. Shut the hell up. He prefers cider cider. Yeah, I know. He's a friend. But anyway. So Roy Schneider. I you know, I like his, you know, he's a stoic sort of hero and he's going through a lot and he does a very good job. And Robert Shaw. He's fucking crazy. Like his character. He's, he's really amusing to see. So I don't know, it's really hard to pick one. Well, my favourite is Robert shore is Quinn just a great character? Just a great like crazy, old fashioned character. I think he's an excellent character. And I also think he has the best lines, in my opinion. Like he has just the best lines. So that might be that might be my pick. But I think like acting chops, they're all very equal. So I think it's quite hard. But yeah, maybe maybe I'll go with you there. I'll go Robert Shaw score bar as we go in for for acting. I'll go 9.3 Nice for a trio of actors in a final scene. I'm not sure you can beat that. Really, when you've just got three actors for pretty much 1/3 Or even half of your film, you know, towards the end. So it's just great stuff. One isn't being like put in the background. And they've all got something to do got something to say. No one's really dominating either. Yeah, no one is too dominant. So I think that's just they work off well against each other. Yeah, I think I'll go 9.2 I think, right. Let's add up the scores then for George. George gets 55.3. So that's pretty high. We have been very generous. So Jaws comes in at third. I just so pleased that we neither of us were too bothered that the shark looks really fake. Yeah. And I think it deserves to be that highest. It's such a classic film. Yeah. And I think people forget that. It's not just the directing that makes this film amazing. The script is awesome. The acting is awesome, too. Just so good in those areas as well. So it's a worthy winner in my eyes next week as we are returning to the matrix in the matrix. resurrections with added John Wick, apparently, yes. According to Keanu Reeves has died. Because I think he was allowed to cut it because he was filming John. Zack same time. So we are doing Keanu Reeves films for next week. So that's very exciting. I think it would be the greatest plot twist. If it turns out they are connected. They are just it's literally the same series. Alright, bow as you have been Jaws testing. Bye, bye. Yeah, I'll catch you some other time. That's really bad. Yeah, that was that was fucking awful. Bye. Bye. That's it for this week's pod. Thank you for listening. We hope you enjoyed it. If you would like to find out more about the podcast or suggest future topics for us to discuss related to upcoming releases. 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