Tag Archives: JAWS 2

New JAWS Book Now Available!

Just When You Thought It Was Safe: A JAWS Companion

The book, by Pat Jankiewicz, takes an in-depth look at JAWS and its sequels.  Each film is covered, with inside stories, trivia, body counts and more. Learn why John Hancock’s more bloody version of JAWS 2 was scrapped, personality conflicts between Roy Scheider and eventual JAWS 2 director Jeannot Szwarc, the proposed JAWS 3, People 0 comedy sequel, and which sequel was to begin with the death of Brody. The book also covers JAWS knock-offs such as Piranha, Grizzly and others.

To buy the book, click the link below:

30 years later, Gulf Breeze still recalls Jaws 2 excitement

This is Part 1 of 4 of a recent series of articles on the making of JAWS 2 by Betty Archer Allen that appeared in The Gulf Breeze News.  Links to parts 2-4 follow the article.  Thanks to Sean for the heads up about the articles.

The making of ‘Jaws2,’ the movie sequel to the mega-hit ‘Jaws,’ might have been old-hat movie making to the professionals involved, but for the residents of Gulf Breeze and Navarre, it was a real happening.

The movie came out in theaters in the summer of 1978. The excitement for the Gulf Breeze area, however, was experienced during fall and winter of 1977-1978 when Hollywood filmmakers and movie stars descended on the Emerald Coast to film the suspense thriller.

So many local lives were affected. Area residents, including students from Gulf Breeze High School, were hired as extras. It was exciting as locals anticipated being seen worldwide on the silver screen.

Universal Studios scouted the Emerald Coast to determine which area was best suited for filming. It found Navarre Beach to be ideal, and the Holiday Inn “Holidome” was more than suitable for film headquarters because of its relatively remote location.

Darryl Lapointe, now President of the Highpoint Hotel Corporation, was general manager of the Holiday Inn at that time. Universal rented 100 of the hotel’s 200 rooms. The ground floor was converted to offices, and some of the Gulf-front suites were remodeled for stars David Brown and Roy Scheider.

“The film cast and crew came expecting to complete the project in a few months and stayed a year,” Lapointe said. “Their room bill was $1 million.”

The Gulf Breeze community became involved when the movie company advertised locally, seeking anyone who was interested in taking part in the movie to complete an application that was provided in some of the local motels.

Photos of the young actors were published in the local newspaper in hopes of finding look-alikes who could act as stand-ins or doubles.

Students — especially members of the band from Gulf Breeze High School — and people who could maintain and sail boats, families who could spend ample time on the beach and local boating businesses participated in the production.

Sequel to ’75 film

‘Jaws 2’ was the first sequel to the ‘Jaws’ thriller of 1975 directed by Steven Spielberg. The primary director of ‘Jaws2’ was Jeannot Szwarc. The film was produced by Richard Zanuck and David Brown.

Parts of the movie, particularly the community scenes, were filmed at Martha’s Vineyard — renamed Amity Island — in Massachusetts. Many of the water scenes, however, were shot locally. Navarre Beach was chosen for the majority of filming because of the mild fall and winter climate and the ideal depth of the water.

Other parts of the movie were filmed from Fort Pickens on Santa Rosa Island to as far east as Choctawhatchee Bay near Fort Walton Beach. Hog’s Breath Saloon on Okaloosa Island, which has since relocated to Destin, served as the teen hangout for filming.

Many of the characters of ‘Jaws’ returned for ‘Jaws2.’ Three major actors resumed their roles: Roy Scheider as Chief Martin Brody; Lorraine Gary as Ellen, Brody’s wife; and Murray Hamilton as Mayor Vaughn. Mark Gruner and Marc Gilpin played Brody’s sons, Mike and Sean.

The plot of ‘Jaws2′ was similar to its predecessor. Scheider’s character, Martin Brody, felt that several recent deaths and disappearances in the vicinity of Amity Island indicated that another great white shark was plaguing surrounding waters again. But as before, he had difficulty convincing the town’s mayor and aldermen, who were more interested in promoting the growth of the area and didn’t want anything to interfere with tourists’ and summer dwellers’ enjoyment of beach and water activities.

The film’s tagline, “Just when you thought it was safe to go back in the water” became one of the most famous sayings in movie history.

Universal was able to reuse the molds of the behemoth shark from the first film, but much of the mechanism was ruined from having been left outside. For ‘Jaws2,’ the studio built three mechanical sharks: the platform shark, a fin, and a full shark. The fin and the full shark were pulled by boats.

The company built props to enhance the scenes and make the Navarre area look more like the East Coast. They built a full-size lighthouse prop that looked genuine despite having only one side; a wood-framed skeleton of 2-by-4s supported the building. They also built an island on a floating barge called Cable Junction. It was constructed in such a way that the huge mechanism of the platform shark could go underneath it. This island can be best seen in the final scenes of the movie.

Like the first film, the production was marked by problems. Scheider often argued with Szwarc, which made the atmosphere tense and uncertain. Scheider was not happy about reprising his role as Brody and making the sequel. He disagreed with Szwarc’s directing and was quite open in his differences of opinion.

Locals remember Scheider as being something of a fitness fanatic, working out during breaks.
Szwarc responded that he was trying to make the film to the “best possible” standard, and neither Scheider’s or Szwarc’s feelings were important; only the film mattered.

There were many delays in filming because of breakdowns of the mechanical shark, minor boating accidents and Mother Nature. Shortly after construction of the lighthouse was completed, it was hit by lightning and had to be rebuilt.

Wind and weather conditions constantly changed, resulting in the sailboats getting blown in different directions. There were many days when there could be no shooting at all. But when the cast and crew worked, they put in long, hard hours.

Dollars flow locally

The making of this film was a boost to the local economy because local boaters, extras and stand-ins or doubles were hired. Universal brought in actors, directors, producers and their wives, camera and crew people who needed housing, food and clothing for the movie. Services were needed for laundry, dry-cleaning and recreation.

In 1977, Ed Gray III of Gulf Breeze was manager of what’s now known as SunTrust Bank on Hoffman Drive. He recalled that the bank received a phone call from Holidome management alerting the bank that someone from the movie company would be coming to see them.

An elderly gentleman visited the bank and identified himself as the on-site auditor for Universal Studios. He said he needed a local bank where he could get a $40,000 check cashed each week. The cash needed to be in specified denominations and placed in a paper bag to be taken to the film location and disbursed to each member of the film crew and cast as the per-diem money to purchase meals or other necessities.

This routine went on for many weeks.

“Today and certainly more so in those days, $40,000 was a big sum to be carrying in cash,” Gray said. “The auditor normally would have at least two big guys accompanying him, and he was inconspicuous during his visit to the bank.”

Gray said the two boys playing the roles of the police chief’s sons came to open accounts at the bank. They wanted local accounts for routine spending.

“During the course of the account opening, they began to debate which of them had more acting experience and which one had appeared in more commercials as this was the first movie appearance for each of them,” Gray chuckled.

Continue reading with the links below


JAWS 2 Part II


JAWS 2 Part IV

The Indispensibles #2 – JAWS

The first time I heard about Jaws, or at least what I thought was Jaws, was in the playground at school. I was ten. Someone in the year above me was telling me it was the “scariest film ever”. They went on to describe to me how a shark terrorised a group of stranded teenagers whose boats had run aground and then went on to eat an entire helicopter.  I couldn’t compute that this “horror” film about a helicopter-eating shark was by the same guy who made E.T The Extra Terrestrial, my then favourite film of all time!  I begged my parents to hunt it out and show it to me! I cried for like a week (well, maybe ten minutes) when they refused on the grounds that a) I was ten and too young to be watching people getting eaten by sharks and b) my sister had a devastatingly annoying fear of sharks and I was only allowed to watch films we would both enjoy – with that in mind, how I ended up sitting through Adventures in Babysitting and Dirty Dancing, I do not know.

Thanks to a friend’s irresponsible parents though, I soon found myself sitting down to watch a copy of this much touted “horror” film one rainy Saturday afternoon.  My ten year old mind walked away from my first ever viewing of the film somewhat disappointed to find out that it was in fact Jaws 2 that held the delights of helicopters getting eaten by sharks, teenagers getting munched from their stranded sailboats and so on and so forth.  Damn that irresponsibly inaccurate playground blabbermouth!  As a schlocky piece of horror for a pre-teen frame of mind, Jaws is disappointingly bloodless for the majority of its running time.  However, it is indeed a film that you grow into loving with age. Ten year olds are not meant to be impressed by Quint’s ‘Indianapolis’ monologue or the now famous reverse zoom shot of Brody on the beach, spotting what he thinks is a shark zoning in on swimming tourists.  With time comes a mature understanding of those long boat-bound scenes between three great character actors, an appreciation for the setting up of an action sequence as opposed to the actual sequence itself and a true love of John Williams’ superb score (one of the greatest of all time!), outside of that infamous three-note signature piece.

So how did this three-men-versus-a-giant-rubber-shark movie come to be held in such high regard by a man, who two decades earlier bemoaned that it was “not as good as BMX Bandits”? To explain that I have to take you back, unfortunately for tangent-haters, to 1974.

Now, you need to bear with me on this because the history of the making of Jaws and how it came to be is just as famous as the film itself. It’s also one that pretty much everyone knows about. So why am I detailing? Because, it’s just so much f$cking fun for a fan to write about it!

Spielberg, the now legendary director, had seen the early proof-reads of Peter Benchley’s bestseller on the desk of producer David Brown and had asked what it was about, naively believing at first – thanks to the mocked-up cover of a bikini-clad babe splashing around in the ocean (no shark in sight) – that it was about a “pornographic dentist” (I kid you not!).  Brown explained the concept to him in a manner that can only be described as the absolute opposite of ‘high art’.  “It’s about a shark that eats people!” Yet it was so much more than that. Well, actually maybe the book itself wasn’t (it isn’t, believe me!) but the eventual film would indeed be – and then some:

Amity Island, on the East Coast of America, is plagued by attacks on swimmers by a twenty-eight foot great white shark. Mayor Larry Vaughn (Murray Hamilton) would like to keep the whole thing quiet so that the all important tourist season – and the money that rolls in from it – remains unaffected but Police Chief Martin Brody (Roy Scheider) disagrees. Soon the brutal attacks get to the stage where the shark cannot be ignored and Brody, despite his general hatred of the water, teams up with Matt Hooper (Richard Dreyfuss), a marine biologist, and a mysterious old sea salt of a shark hunter called Quint (Robert Shaw) to go catch the shark and stop its feeding frenzy once and for all. However, once out in the middle of the ocean the hunters become the hunted…

Read the rest of the article here:  The Indispensibles #2 – JAWS

Jaws 2: Revolutionary for Sequels

Variation has always been the source of much debate during this much scrutinized era of sequels. Before Jaws 2, sequels were primarily made for two reasons: to continue the storyline that was not initially concluded in the first film (Planet Of The Apes, The Godfather), or in the design of the episodic serial (Frankenstein, Dirty Harry, James Bond). Universal decided to do something that seemed improbable– make a sequel where most have failed (French Connection II & Exorcist II). This leaves a crew’s work cut out for them.

Chief Brody is now a disillusioned, paranoid man

Chief Brody is now a disillusioned, paranoid man

Chasing demons from the past in a darkroom

Chasing demons from the past in a darkroom

In 1975, director Steven Spielberg’s Jaws became the most successful picture of all time. The success of the film created a phenomenon that Universal felt somehow had to be continued. Enter Jaws 2, a film that proved more things than the general public knows today or when it was released in 1978. Only this time, no Spielberg and no Dreyfuss, for both were working on Close Encounters Of The Third Kind. So who was going to take over? What was going to make this film special in its own way? French director Jeannot Szwarc was brought on board by production designer Joe Alves who worked with him and Spielberg on Rod Serling’s TV horror show, Night Gallery. Upon winning the director’s chair, Szwarc decided upon a very meticulous and crucial design on how to make this film and what it exactly needed to be.

1. The main character must be emotionally enhanced, more matured, learning from previous film’s events; continuing arc. (you’ll see this later in Aliens, T2, etc)

2. Introduce new conflicts for the characters to face (nobody believes Roy Scheider’s character’s suspicions of a shark).

3. Nostalgia for the previous film must be established giving the character’s history.

4. The story structure and certain elements of the first film must remain in order to keep the audience’s familiarity of why they loved the first film (shark POVS, action elements)

5. Different cinematography or visual look (shooting behind the shark fin, different lighting).

6. Different editing style gives the film a different pace and/or energy.

7. Introduce elements that were not included in the first film or create different situations for the characters (shark is shown a lot to prevent duplicating the first film).

8. Bring back the characters that the audience fell in love with in the first film as long as it respects continuity.

9. Bring back the same musical themes from the original film (John Williams returns to enhance his Academy-award winning themes with new compositions.)

10. Enhance and extend the themes from the original film to bring new life and feelings for the film (Szwarc introduced sophisticated visuals giving an art history appreciation).

A glaring paradox can be noticed. For it all to work, such a film requires to be somewhat similar to its original source of inspiration and yet be different enough to reveal new storytelling possibilities and interpretations. Not easy…

Those who forget the past are doomed to repeat it

"Those who forget the past are doomed to repeat it"

Read more of this article at Mouthshut …

JAWS 2 Begat JAWS The Revenge [Shark in a Bottle]

The concept of a rather large great white shark (or any shark) out seeking revenge against the people that killed one of his own was not “born” with 1987’s “Jaws the Revenge”. This rather unique idea was introduced in the first sequel to the classic “Jaws”, 1978’s “Jaws 2”.

In “Jaws 2”, the town of Amity is once again terrorized by a large great white shark. This time the shark is responsible for killing two divers, a water skier and the woman that was piloting the water ski boat. Chief Martin Brody is the only person that thinks there is another shark problem. Everyone else on the island, including Ellen his wife and Mayor Vaughn, think he is crazy and overreacting.

When a good looking group of teens find a dead orca whale washed up on the beach, they call Chief Brody. Brody calls in marine biologist Dr. Elkins (Collin Wilcox) to help him investigate the cause of death. Brody assumes a shark killed the whale and asks Dr. Elkins about the bite radius. For some reason, she seems shocked that he knows what a bite radius is.

Read more on Shark in a Bottle …

JAWS 2 Cast and Crew

Directed by

Jeannot Szwarc

Writing credits

Carl Gottlieb (I)

Howard Sackler


Roy Scheider Chief Martin Brody

Lorraine Gary Ellen Brody

Murray Hamilton Mayor Larry Vaughn

Joseph Mascolo Peterson

Jeffrey Kramer Hendricks

Collin Wilcox Paxton Dr. Elkins

Ann Dusenberry Tina

Mark Gruner Mike

Barry Coe (I) Andrews

Susan French (I) Old Lady

Gary Springer Andy

Donna Wilkes Jackie

Gary Dubin Ed

John Dukakis Polo

G. Thomas Dunlop Timmy

Elliott David (I) Larry

Marc Gilpin Sean

Keith Gordon Doug

Cynthia Grover Lucy

Ben Marley Patrick

Martha Swatek Marge

Billy Van Zandt Bob

Gigi Vorgan Brooke

Jerry M. Baxter Helicopter Pilot

Jean Coulter Ski Boat Driver

Daphne Dibble Swimmer #1

Christine Freeman Water Skier

April Gilpin Renee

William Griffith (IV) Lifeguard

Gregory Harris (I) Diver #2

Coll Red McLean Red

Susan O. McMillan Girl Sailor

David Owsley Boy Sailor

Allan L. Paddack Crosby

Frank James Sparks Diver #1

Thomas A. Stewart Assistant Dive Master

David Tintle Swimmer #2

Jim Wilson (III) Swimmer with Child

Kathy Wilson Mrs. Bryant

Herb Muller Phil Fogarty

Jane Courtney Select Woman

Al Wilde Select Man #1

Bill Green (I) Irate Man

Mary A. Gaffney Mrs. Silvera

George Buck Irate townsperson (uncredited)

Robert Carroll (I) Polk (uncredited)

Fritzi Jane Courtney Mrs. Taft (uncredited)

Oneida Rollins Ambulance Driver (uncredited)

Alfred Wilde Mr. Wiseman (uncredited)

Produced by

Joe Alves (associate producer)

David Brown (I) (producer)

Richard D. Zanuck (producer)

Original music by

John Williams

Cinematography by

Michael C. Butler

Film Editing by

Steve Potter

Arthur Schmidt (I)

Neil Travis

Production Design by

Joe Alves

Art Direction

W. Stewart Campbell

Gene Johnson (I)

Set Decoration

Phil Abramson

Costume Design by

Bill Jobe

Makeup Department

Robert Jiras makeup artist

Philip Leto hair stylist

Rick Sharp makeup artist

Ron Snyder (I) makeup artist

Production Management

Bill Badalato unit production manager

Tom Joyner (I) production manager

Second Unit Director or Assistant Director

Joe Alves second unit director

Katy Emde second assistant director

Scott Maitland (I) first assistant director

Beau Marks second assistant director

Wilbur Mosier assistant director: second unit

Don Zepfel first assistant director

Art Department

Gary Seybert property master

Sound Department

James R. Alexander sound

Stephen A. Hope music editor

Robert L. Hoyt sound recordist

Jim Troutman sound effects editor

Special Effects

Roy Arbogast special effects

Robert A. Mattey special effects


Ted Grossman (I) stunt co-ordinator

Other crew

Roy Arbogast special mechanical effects

Peter Benchley characters

John L. Black key grip

David L. Butler camera operator: second unit

Laurann Cordero ladies wardrobe

Freeman Davies Jr. assistant film editor

Michael Dugan (II) underwater cameraman

Al Ebner unit publicist

Michael T. Elias assistant film editor

John Fleckenstein camera operator

Bob Forrest script supervisor

Robert Hernandez (II) assistant film editor

Sherrie Sanet Jacobson assistant film editor

Liz Keigley location casting

Philip Kingry marine coordinator

Gil Loe wardrobe: men

Donald MacDonald (II) production assistant

Robert A. Mattey special mechanical effects

Michael McGowan camera operator: second unit

John Neal (I) score mixer

Shari Rhodes location casting

Gene Starzenski set paramedic

Ronnie Taylor live shark photography (as Ron Taylor)

Valerie Taylor (II) live shark photography

Esther Vivante script supervisor: second unit

Donald M. Wolak gaffer (as Don Wolak)

Manfred Zendar technical advisor

JAWS 2 Collectibles and Memorabilia


Lobby Cards


JAWS 2 FAQ and Trivia

Are there any JAWS 2 alternate versions/lost scenes?

Yes. There’s five scenes added to the television version:

  • Ellen, adding wine to the fruit punch, and tells the waitress to smile and look cute.
  • Brody, given Peterson a parking ticket because, he was parking at a “No Parking” zone.
  • The Council argues about the incident at the beach.
  • The Council goes into Mayor Vaughn’s office to take a vote to fire Brody.
  • The shark attacks the helicopter pilot, after capsizing it underwater.

Was Steven Spielberg involved with JAWS 2?

No, he was approached to do it but he was busy making Close Encounters of the Third Kind (as was Richard Dreyfuss, who was also asked to return).

NEW 5/23/01 — in the JAWS 2 DVD documentary, the producers claim that Spielberg was approached after original directory John Hancock was fired. Spielberg would return to direct JAWS 2 only if Richard Dreyfuss would return and he could scrap everything start from scratch. Needless to say, the producers didn’t want that to happen …

Who ended up directing JAWS 2?

JAWS 2 was originally slated to be directed by John Hancock, with a script written by Dorothy Tristan, who happened to be his wife. The novel, JAWS 2 by Hank Searls, is based more on Tristan’s script, with the major subplot of the Mafia moving in with Mayor Vaughn to sell the seaside property. For whatever reason, producers Richard D. Zanuck and David Brown were unhappy with the way the film was progressing and fired Hancock. Hancock reportedly wanted to make it more of a “people” film, and not concentrate as much on the shark! Of course, Hancock’s wife went with him, and refused to cooperate on any rewrites of the film. Hancock was replaced by Jeannot Szwarc.

Why did Roy Scheider appear in JAWS 2?

According to Michael Smith, president of the Roy Scheider fan club and an extra in JAWS 2:

“Roy Scheider signed a three-picture deal with Universal after JAWS. His first role was to reunite with William Friedkin to do Sorcerer (1977) (which was co-produced by Paramount). His second role was to be ‘Michael’ in The Deer Hunter (1978), a part that was eventually played by Robert DeNiro. Two weeks into production, Roy got the finished script and disagreed with the ending (‘Michael’ goes back to Vietnam to find his buddy Nick, only to watch him kill himself in the final Russian Roulette game). Roy reasoned that this guy would not go half way around the world to find his friend, only to have him kill himself. Well, the good old ‘creative differences’ had reared their ugly head, and Roy walked.”

“Universal offered to forget about his quitting The Deer Hunter if Roy would agree to do JAWS 2. They also offered to count JAWS 2 as two films, so that he would be out of his contract with Universal after the film was completed. Although both Spielberg and Richard Dreyfuss wanted to be part of the JAWS sequel, the delays in Alabama on Close Encounters of the Third Kind (1977) kept them both out of the production. Universal had already promised a June 16, 1978 opening to theatre owners in early 1977! In fact, I remember getting the teaser poster (the shark fin sillouetted against the sunset, with the tag line ‘Just when you thought it was safe to go back into the water …’) a few weeks before JAWS 2 began filming in Florida.”

“Needless to say, Roy took Universal’s offer, got his suntan, and spent Christmas Eve frying the shark. I spoke to him on the phone right before he left for NYC that night, and he was glad the whole experience was over. I have to commend him on the fact that even though the entire focus of the film changed (firing the original director, whose wife had written the script, etc.) Roy gave his all, and still speaks well of his experience.”

(Special thanks to Michael for this information!)

Featuring Recent Posts WordPress Widget development by YD