logo
'Make the magic happen.' Vineyard Museum opens 'Jaws' exhibition with local insights

'Make the magic happen.' Vineyard Museum opens 'Jaws' exhibition with local insights

Yahoo5 hours ago

VINEYARD HAVEN — In 1974, then 11-year-old A. Bowdoin 'Bow' Van Riper splashed in the waters off Joseph Sylvia State Beach in Oak Bluffs with dozens of others to serve as extras filling out an iconic moment in the movie "Jaws."
The scene featured two children using a cardboard fin to spark panic about a shark in the water. Van Riper and a friend were there to watch the filming of Steven Spielberg's blockbuster, when an assistant used a bullhorn to put the call out for volunteers.
Van Riper is now a Martha's Vineyard Museum research librarian and film scholar. As part of the museum's celebration of the 50th anniversary of the movie's premiere, he will give a talk about the elements, from his perspective, that make the movie a classic.
'Who'd have thought that 50 years later I'd still be talking about 'Jaws'?' Van Riper laughed during a phone interview on Sunday, May 18.
"Jaws" was originally released on June 20, 1975, and was filmed on Martha's Vineyard from May through October 1974.
The film depicts a fictional New England beach town Amity Island terrorized by a great white shark.
Van Riper's sold-out talk will be held on June 20 from 9:30 a.m. to 12:30 p.m. Through selected clips and stills, he will explore different aspects of the film, such as how Amity Island becomes a living, breathing character.
'Part of the reason why 'Jaws' has remained a classic when a lot of other 'nature runs amok' movies from the 70s have faded way into $1.99 DVD obscurity is that it does have that richness as a story. It's not just monster-eats-people and then eventually gets destroyed,' said Van Riper. 'It's multiple intertwined stories that gives it significantly more depth.'
He pointed to Lynn Murphy as an example of a Vineyarder who helped bring the movie to life. Murphy was a Chilmark fisherman and master mechanic credited with inspiring the grizzled shark hunter Quint played by Robert Shaw.
Murphy was hired by the production early on to keep much of the maritime hardware running. He helped to make two sea sled sharks functional and dragged them behind his boat during filming, according to the museum.
His fingerprints on the film are apparent 'in 100 ways that show up on camera without him ever himself being present,' said Van Riper, including a scene where the shark pulls out the supports of a dock.
'He helped to make the magic happen,' said Van Riper. 'Although the guys from Hollywood knew how to make movies, how to frame shots, how to light things, how to design an electromechanical floating shark — they didn't necessarily know a lot about the ins and outs and nuts and bolts of operating boats and floating equipment on the water.'
The museum, housed in the former 1895-built Marine Hospital, will also feature its biggest exhibition yet called Jaws at 50: A Deeper Dive. Curator of Exhibitions Anna Barber said staff have collected rare photographs, oral histories, original artwork, and authentic movie props to dive into the filming of "Jaws."
For instance, visitors will see a series of illustrations done by the production designer and art director Joe Alves, who rendered the sketches to help pitch the film to Universal Studios before the Peter Benchley novel was even published.
'He was in charge of creating these action scenes around the shark because a lot of the people were (asking), 'How are you going to film a movie about a shark? You can't train a shark, you have to build a shark,'' said Barber.
The exhibit also includes one of two original prop heads of the movie character Ben Gardner, an Amity Island fisherman who drowns after the shark attacks his boat. Oceanographer Matthew Hooper, another character in the movie, finds Gardner's boat before discovering a shark tooth wedged into the hull.
While trying to remove it, Gardner's one-eyed head unexpectedly pops out.
Spielberg, who has the other prop head, did not initially like the way the scene was shot, said Barber. They redid the sequence in "Jaws" editor Verna Fields' backyard pool, putting plastic black tarp over the pool.
'They poured a gallon of milk in the water to make it look a little murky … this is such an iconic movie moment that it's pretty cool to have this in here,' said Barber.
The prop head at the museum is owned by Greg Nicotero, a special make-up effects creator and "Jaws" super fan.
Also on display is a life-size replica of Bruce the Shark's head, the mechanical shark in "Jaws." Designed and built by Arcana Workshop, the re-creation has more than 80 handcrafted teeth.
While the shark in "Jaws" is never named, Spielberg named the animatronic great white shark after his lawyer Bruce Ramer.
The 1:1 replica — measuring 72 x 45 x 45 inches — is based on extensive research, behind-the-scenes photos, documentation, and another replica currently on display at the Atlantic White Shark Center in Chatham.
The model traveled by truck and ferry to Martha's Vineyard before it was installed inside the museum's Linnemann Pavilion where fans can get an up-close look.
Other highlights include a to-scale replica of the 'Amity Island Welcomes You' sign and a to-scale model of the interior of Quint's fishing boat Orca built by Cort Corino, which will be on display during Amity Homecoming Weekend, a five-day celebration of the movie from June 19 to 23.
'He's going to set it up in the barn so that people can come and sit down inside an exact replica of the Orca down to the books and the vintage bottles that are inside. It's really amazing,' said Barber. 'These things speak to the level of intensity and enthusiasm that fans have to go above and beyond to create something so life-like.'
(This story was updated because an earlier version included an inaccuracy.)
Zane Razzaq writes about housing and real estate. Reach her at zrazzaq@capecodonline.com. Follow her on X @zanerazz.
Thanks to our subscribers, who help make this coverage possible. If you are not a subscriber, please consider supporting quality local journalism with a Cape Cod Times subscription. Here are our subscription plans.
This article originally appeared on Cape Cod Times: 80 teeth, a mayor's blazer, a one-eyed bust: 'Jaws' at Vineyard museum

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Will ‘Superman' Fly High Or Stay Grounded This Summer Movie Season?
Will ‘Superman' Fly High Or Stay Grounded This Summer Movie Season?

Forbes

time15 minutes ago

  • Forbes

Will ‘Superman' Fly High Or Stay Grounded This Summer Movie Season?

With just three weeks until writer-director James Gunn's Superman soars into theaters on July 11th as the first superhero would-be blockbuster of 2025 summer movie season and the official live-action kickoff of the DCU. Superman hit tracking this week, and early estimates were sort of all over the place. But will Superman fly high or stay grounded this summer movie season? David Corenswet stars in "Superman." Source: Warner The early tracking for Superman ranges from $90-125 million, or $125-145 million, depending on who you ask (the studio points to the lowball numbers). So $125 million is either the high end or low end, and $112 million threads the needle. WBD and DC Studios are sticking to the conservative lower-end predictions, while other tracking and press lean toward the higher range, or at least where the overlap exists. That's why you see competing tracking estimates depending on which media you pay attention to, and why some is lower (again, trying to hedge bets and not get expectations so high that a good opening creates an impression of being 'low'). My current numbers suggest it'll probably open around $120-130 million domestic, with a lowest end of about $100 million and a high end swinging way out to $150 million. This is just domestic box office, remember, without international box office figured in. Forbes Superman Returns (Again) - How James Gunn's Reboot Defines DC's Future By Mark Hughes Where it winds up depends on word-of-mouth over the weekend. So watch the Friday night grade it gets at Cinemascore — A or a A+ grade suggests it will land closer to the higher end or exceed it, and A- grade probably means it'll hit closer to the middle, and anything lower means the low end of expectations. Once we have the weekend numbers, then we can look at the audience grades and how much competition there is for the same demographics in the first two weeks, and from that we can tell what the final multiplier will be — The final multiplier is simple, it just means you look at the total opening weekend box office and then multiply it by a number to get the final box office at the end of it run. For example, if a movie opens at $100 million and has a final multiplier of 3x, that means it's total gross at the end of it theatrical run is three times the amount that made on opening weekend, or in this example $300 million. So if Superman opens to $120 million domestically, then a 3x final multiplier would hypothetically mean it finishes its theatrical run with about $360 million domestic. We need to find out what the final multiplier will be, and as I said that depends on audience word-of-mouth and competition. The Cinemascore grade helps a lot here. Generally speaking, the higher the grade the higher the final multiplier. With a B+ grade for example, you might expect a near 2.5x final multiplier. With an A+ grade, you could get anything from a 3.3x to 4x final multiplier. It's obviously not exact, but it gives you a pretty fair idea of the range. My own moderate guess right now is that Superman will open to $120 million domestic, anywhere from $100 million to $150 million overseas, and with an A audience grade. And I'm currently estimating an opening between $220 million worldwide to $270 million worldwide, with the sweet spot being $245 million, give or take a few million. Forbes New 'Superman' Trailer Hopes To Inspire Audiences To Look Up Once More [Updated] By Mark Hughes If those numbers hold up, including the A grade I'm predicting, then the final multiplier would be anywhere from a low-end 3x to high-end 3.7x is my guess. And that translates to about $660 million to $999 million in total global box office by the end of Superman's theatrical run (I don't expect that high-end number, honestly). The mid range is roughly $830 million. Then we need to consider the competition, and that's where a big secondary question is gonna hold a lot of sway. Jurassic World: Rebirth open a week earlier, and it's probably going to be the biggest film this summer if it's even halfway good. This film should wind up in 2025's final top tier of earners, with Avatar: Fire and Ash undoubtably taking the crown while the rest fight it out for the remaining top spots on year-end charts. Smurfs opens a week later, and while I don't think this one is going to be a runaway animated blockbuster hit to the tune of Disney and Pixar releases, it'll still be successful. I expect $400 million-$500 million, but I haven't done all of my math on this one yet. Then comes Fantastic Four: First Steps two weeks after Superman opens, as probably the biggest relevant challenger. It's going to be a big film, regardless of which of these superhero movies winds up with the biggest numbers for the year. There's a wide range on this MCU franchise-starter, anywhere from $750 million range if it has a softer play, to possibly making a run at $1 billion if it delivers the Marvel goods and plays more like the studio's typical big summer releases. Superman shares some key target demographics with each of those above films, the most important being superhero movie fans and families. Which means week by week, there will be varying forms of competition for some of Superman's key demos. The Jurassic Park sequel will cut into some of the general mainstream audience, particularly those looking for popcorn spectacle, and lots of action fans. Smurfs will, of course cut into the younger audiences and family audiences, but it remains to be seen just how much this will wind up mattering across July (where Superman will make the vast majority of it box). Fantastic Four is the movie that most targets the same audience demographics as Superman . Coming in two weeks later, it has the potential to eat more into Superman's weekly holds. But as we have seen in the past, audiences are also more than willing to reward multiple big movies that are in theaters at the same time, if they're good. In fact, if they're good enough, often times movies like this will make audienced so happy that they go out to see the other films as well, actually boosting one another's box office instead of suppressing it. But that's a magical situation we can't really count on or gauge with our numbers, so it's just something to keep in mind as an unexpected hypothetical. Forbes Box Office Predictions Summer 2025: 'Superman,' 'Jurassic Park' And More By Mark Hughes I don't expect any magical outlier scenarios here. It appears inevitable that some audience will drop off from Superman once there's another superhero film on the market. The question is how much all of these films (opening a week before Superman , a week after, and two weeks after) suppress Superman's potential box office. If as I suspect Jurassic Park is the biggest film of the summer, the second-biggest of summer should wind up being one of these superhero movies. I'm inclined to give Marvel the edge, because history suggests they have it. But we are in very different times, so it's hard to say for sure. As much enthusiasm as there is for Superman , it's undeniable that audiences mostly turned against DC's brand for a while, so we'll find out if viewers are ready to give DC another shot, or if people instead take a wait-and-see approach. A wait-and-see approach could potentially be a problem for Superman , because anything longer than about 10 days of waiting and it becomes increasingly more likely those audiences will decide to see the Marvel movie in theaters and catch DC on streaming. I'm not saying this will be a big portion of audience, I just think it's relevant enough that I'm inclined not to expect Superman to finish at the highest end of potential, unless we see opening weekend and second weekend numbers pointing in that direction. That's not saying it won't do well, since I do think it will be a huge hit in one of the years biggest blockbusters. Taking all of this together now, I think we are looking at maybe 15-20% suppression rate of demographic attendance across Superman's second, third, and fourth weekends. So I am currently guessing it will finish somewhere between about $600 million and $800 million worldwide. But this is still early, so as we enter July the data will get better and we'll have enough pre-sales and awareness data to make much better predictions. The two big unknown factors on which it will all hinge are, as I said, Fantastic Four's performance, and the 'Krypto factor.' That awesome dog could wind up being so popular and pull in many people who otherwise wouldn't have shown up, and could be a breakout star with kids in the audience. That's the sort of thing that we can't gauge yet, but if it happens, then it introduces a much better chance of a rising tide lifting all boats toward higher end of potential. If anyone can deliver that, it's James Gunn. His track record (box office and qualitatively) speaks for itself, and I think everything we've seen from this movie so far looks like everything Superman needed in order to have a chance at reaching his full box office potential. If the movie delivers on the promise of the trailers and is as good as early scenes look, then it's bound to succeed — because if it doesn't, then frankly I don't even know what you could possibly do with this character that audiences would show up for anymore. As long as Superman does at least $700 million, DC Studios and Warner Brothers are going to be happy. Anything north of that, and they're gonna be ecstatic. Forbes Counting Down And Ranking All 11 Superman Movies From Best To Worst By Mark Hughes Anything less than $700 million, though, and it starts to look even more similar to what happened last time than it already does. I don't expect this type of outcome at all, but if it happens, then I would guess it's because Jurassic Park is so immensely popular it keeps eating the box office, plus Fantastic Four shows up and picks up where Jurassic Park left off by owning too much of the box office as well. Meanwhile, Smurfs overperforming even a little bit and generating a moderate equivalent of 'Minions fever' among younger kids would make it into a long haul competitor as well. If all of this happened, and if audience disinterest in DC movies continued to linger too much, and if Superman itself was actually not as good as the trailers look, and if as a result the film is front loaded with fans and interested parties getting those advance tickets (thus causing a big drop off week to week after a huge debut, akin to Batman v Superman having a record-setting worldwide opening weekend but then falling off the cliff at the box office each subsequent weekend, then I think Superman would in this scenario wind up at the lower end of potential. In this obviously HIGHLY unlikely series of negative events piling up, Superman would probably wind up finishing somewhere in the $500+ million range. That's not good, to be sure, but the reason even this train wreck scenario still gets it to a non-trainwreck number (again, the last nine DCEU releases in a row across five years each failed to reach $400 million except the Aquaman sequel that limped across that threshold) is because those advance ticket numbers, it's online footprint, and the related overindexing demographic data all suggest enough interest to put the right number of the right butts in seats. But technically, if everything went bad enough, and the movie absolutely sucked, and if some huge economic disaster took place nationwide, then it could certainly flop to the tune of something like $350 million-$400 million. It happens sometimes, more so recently, as we've seen. Hopefully, though, it's clear how unlikely all of that is. If we walk backwards from here, then it starts to become more clear that the context and theatrical marketplace is all primed for the arrival of Superman . Putting up $700 million, after the past nine years of DCEU films struggling to reach $400 million, would signal a reversal of fortunes for WBD's plans for a larger shared universe of their most valuable stable of characters. Forbes 'Superman' Soars In His Best Film With 4K 40-Year Anniversary Release By Mark Hughes While I do think it would've perhaps been a bit wiser to wait an additional year to put even more distance between Superman and the previous DCU, it's also impossible to predict what the future holds in store – another pandemic? worse economic pain? a war? social and political unrest? Any of those, or all of them combined as the unfortunate situation may be, could lurk around the corner. Audience tastes also change, and technology moves forward in ways that could disrupt everything even more (AI is increasingly adopted into filmmaking, more than most of the public and even folks working in Hollywood seem to grasp yet, and it will only increase in the coming months and year). So my own sense that it would've been best to let the DCEU memories fade more, I also expected The Batman: Part II to release this year or next, and without that there's more reason for DC to want and need Superman sooner instead of later. Fans should rest easy that all signs, even from a conservative reading, point to this movie doing well enough to be successful, even if that success is only moderate compared to expectations and hopes. A bad scenario, while possible, would more likely look like about $500 million worldwide gross and involve enough external factors to call it a mulligan, especially if reviews and audience scores are good, and if The Batman sequel and other DC projects are shaping up well. Of course, as the days and weeks progress, I will continue fine-tuning my estimates and have more solid final numbers before opening weekend arives. More likely is that Superman is catching the mainstream global public's attention in a way he hasn't for a long time (although the fantastic Superman & Lois series was sort of proof of concept that a more earnest and relationship-driven approach was a winning formula). While I do currently expect Marvel to win the superhero match up this summer, I don't think it's at all a sure thing and I think with Krypto's help Superman definitely has a fair chance to score an upset victory.

James Gunn Says ‘Get Off Matt's Nuts,' ‘The Batman' Sequel Will Happen When It Happens
James Gunn Says ‘Get Off Matt's Nuts,' ‘The Batman' Sequel Will Happen When It Happens

Gizmodo

time15 minutes ago

  • Gizmodo

James Gunn Says ‘Get Off Matt's Nuts,' ‘The Batman' Sequel Will Happen When It Happens

Cool your jets Batman fans, James Gunn has heard you loud and clear over the highly anticipated sequel to Matt Reeves' The Batman. So much so that he recently expressed his frustration with the demand in defense of the time DC Studios was taking. 'Listen, we're supposed to get a script in June. I hope that happens. We feel really good about it,' Gunn told Entertainment Weekly, and colorfully added, 'People should get off Matt's nuts because it's like, let the guy write the screenplay in the amount of time he needs to write it. That's just the way it is. He doesn't owe you something because you like his movie. I mean, you like his movie because of Matt. So let Matt do things the way he does.' And that should go to Robert Pattinson too, the star who has joked he's going to be old Batman by the time the sequel film gets shooting. It seems folks forget the fact that arc of The Penguin was originally a huge part of the sequel plans which were then pulled and developed into the incredible Colin Farrell starrer series. Getting a whole show in between to dig into that villain origin story was great even if it took place while Bats was maybe spending time with Selina Kyle over in Blüdhaven. 'I am irritated by people,' Gunn added. 'I mean, it's just that thing people don't need to be entitled about. It's going to come out when he feels good about the screenplay. And Matt's not going to give me the screenplay until he feels good about the screenplay.' Gunn also added the constant bugging has nearly pushed him off the internet. 'I've kind of quit because it just happens so often,' he noted. 'There are a couple of people, specifically, who have pretty large followings who just consistently put out false stories, just one after the other after the other, 95% of the time. Maybe once out of every 20 times, they say something that has some slight or partial basis in reality. And it gets to be old. I'm not sure, some of those people, that I'm not actually helping them in a certain way by debunking them, because you're giving them traffic, which I always do, but I think they like it. So I mostly quit.'

Erykah Badu's Woozy Flirtation, and 9 More New Songs
Erykah Badu's Woozy Flirtation, and 9 More New Songs

New York Times

time19 minutes ago

  • New York Times

Erykah Badu's Woozy Flirtation, and 9 More New Songs

Every Friday, pop critics for The New York Times weigh in on the week's most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs. Erykah Badu and the Alchemist, 'Next to You' Erykah Badu floats some companionable requests — 'I wanna take walks with you,' 'I wanna just talk with you,' 'I can't wait to see you after school' — in this leisurely, woozy, increasingly hypnotic track. The Alchemist's production gathers countless layers of Badu's vocals, with and without lyrics, but places most of them at a distance, for a happy tangle of inner voices. Brittany Davis, 'Sun and Moon' Brittany Davis, a blind, nonbinary pianist, singer and songwriter based in Seattle, recorded their second album, 'Black Thunder,' leading a classic jazz piano-bass-drums trio. 'Sun and Moon' reaches back to Nina Simone for its husky, organic, bare-bones dynamics. This six-minute song rises ever so gradually, affirming everyday pleasures; 'In the sun, my heart is full of joy and light,' Davis sings. 'In the moonlight, I'm thankful for the blessings of the night.' The track has a jammy, improvisational feel, with serious purpose behind it. Billie Marten, 'Clover' The English songwriter Billie Marten calmly savors tensions and contradictions in 'Clover': 'You're raining heavy, I'm almost dry / I'm only learning to love you right.' The tempo is relaxed; keyboards plink and twinkle through mild dissonances. It's affectionate but watchful: 'Don't push me over, I'm half your size,' she admonishes. Kehlani, 'Folded' Kehlani dramatizes the most reluctant of breakups in 'Folded.' Yes, she's waiting for her ex to 'come pick up your clothes,' neatly folded. But this isn't the door-closing scenario from Beyoncé's 'Irreplaceable.' Kehlani urges, 'Meet me at my door while it's still open' and notes, 'It's getting cold out but it's not frozen.' Descending chords, a string section, little guitar licks and Kehlani's voice all convey a world of regret and a chance to reunite. Cari, 'Luvhiii' Cari Stewart-Josephs, an English songwriter, surrenders to infatuation in 'Luvhiii,' from an EP due July 10. 'You hit me like a truck,' she sings, 'And I never will get enough.' A loping bass line, jazzy piano chords and a faraway but insistent tambourine arrive, enfolding Cari's multilayered vocals in a trip-hop haze as she succumbs. Want all of The Times? Subscribe.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store