Exclusive Video Interview: Production Designer Joe Alves Reflects on the Challenges and Triumphs of Jaws - Dread Central
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Exclusive Video Interview: Production Designer Joe Alves Reflects on the Challenges and Triumphs of Jaws

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Back in 1974 when production was first gearing up for Universal Studios’ Jaws, Joe Alves knew that while the challenges they were facing to bring Peter Benchley’s novel to the big screen were going to be huge, the rewards would be worth it.

That is, if they could survive their almost 160 day shooting schedule.

But of course Alves was right; Jaws went on to become the movie that launched the summer blockbuster and despite the passing of almost 40 years since its initial release, the Steven Spielberg-classic still remains one of the best and most critically-acclaimed movies ever made that has become the measuring stick for countless filmmakers out there who have stated it’s the one film that made them realize anything was possible once you step behind the camera.

Recently, Dread Central had the opportunity to chat with Alves during the recent Jaws Blu-Ray press day held at the Universal Studios backlot at Jaws Lake. During our interview, Alves reflected on the film’s production woes, the enduring legacy of Jaws and more.

Check out our exclusive video interview with Alves below and look for more on the upcoming Jaws Blu-Ray release soon!

From the Press Release
JAWS – the landmark motion picture that still makes audiences afraid to go in the water – comes to Blu-ray for the first time ever on August 14th, 2012. Featuring an all-new, digitally remastered and fully restored picture, as well as 7.1 surround sound, the JAWS Blu-ray Combo Pack with DVD, Digital Copy and UltraViolet gives fans the ultimate way to watch the breathtaking and terrifying action-thriller.







One of the most influential motion pictures of all time and nominated for a Best Picture Academy Award®, JAWS stars Oscar® winner Richard Dreyfuss and Oscar® nominees Roy Scheider and Robert Shaw. Produced by legendary filmmakers Richard D. Zanuck and David Brown, the film earned an Oscar® for composer John Williams’ instantly recognizable minimalist score, as well as Oscars® for Best Editing and Best Sound. When it was first released in 1975, JAWS smashed box-office records and became the highest-grossing film of its era, earning Spielberg a reputation as a Hollywood visionary. Today, it remains one of the highest-grossing films in motion-picture history[1] and is largely considered the film that launched the summer blockbuster.

JAWS is one of 13 classic Universal films to be digitally remastered and fully restored from 35mm original film elements as part of Universal’s ongoing 100th Anniversary celebration. The JAWS restoration began with researching and evaluating the existing film elements to determine the best means to restore the film. Over the course of several months, skilled technicians at Universal Studios Digital Services meticulously balanced color, removed dirt and scratches, and repaired any damage to the film elements shot by shot and frame by frame. Following the picture restoration, Universal Studios Sound team up-mixed the iconic JAWS soundtrack to DTS-HD Master 7.1, optimizing the sound on the Blu-ray for the latest home theater technology. The entire restoration process was conducted in conjunction with Steven Spielberg and Amblin Entertainment’s post-production team to ensure the integrity of Spielberg’s original vision remained intact.

“JAWS holds a unique place, not just in Universal Pictures’ history, but in global pop culture,” said Craig Kornblau, President of Universal Studios Home Entertainment. “It is only fitting that this phenomenal film should be given the extensive restoration needed to ensure that long-time fans as well as newcomers can enjoy this unforgettable cinematic achievement for generations to come.”

The JAWS Blu-ray™ Combo Pack is available in collectible Universal 100thAnniversary packaging for a limited time. The Combo Pack also contains a Digital Copy of the film for a limited time, compatible with iTunes®, iPad®, iPhone®, iPod™ touch, Android or online retail partners, as well as an UltraViolet™ copy. UltraViolet is the revolutionary new way for consumers to collect movies and TV shows in the cloud to download and stream instantly to computers, tablets and smartphones. Consumers can now truly enjoy their movies anytime, anywhere on the platform of their choice.

Blu-ray™ Bonus Features

  • The Shark is Still Working: The Impact & Legacy of JAWS: All-new feature-length documentary featuring never-before-seen footage and interviews with cast and crew including Steven Spielberg, Richard Dreyfuss and Roy Scheider.
  • JAWS: The Restoration: An all-new, in-depth look at the intricate process of restoring the movie.
  • The Making of JAWS: A two-hour documentary featuring interviews with key cast and crew.
  • From the Set: An insider’s look at life on the set of JAWS, featuring an interview with Steven Spielberg.
  • Deleted Scenes & Outtakes
  • JAWS Archives: Take a peek inside the JAWS archives, including storyboards, production photos and marketing materials, as well as a special segment on the JAWS phenomenon.
  • Original Theatrical Trailer
  • UltraViolet™: The revolutionary new way for consumers to collect movies and TV shows, store them in the cloud, and download and stream instantly to computers, tablets and smartphones. Currently available in the United States only.
  • Digital Copy: Viewers can redeem a digital version of the full-length movie from a choice of retail partners to watch on an array of electronic and portable devices.
  • pocket BLU™ App: The popular free pocket BLU™ app for smartphones is now even better with newly updated versions for iPad®, Android™ tablets, PC and Macintosh computers, with features made especially to take advantage of the devices’ larger screens and high resolution displays.
    – Advanced Remote Control: A sleek, elegant new way to operate your Blu-ray™ player. Users can navigate through menus, playback and BD-Live™ functions with ease.
    – Video Timeline: Users can easily bring up the video timeline, allowing them to instantly access any point in the film.
    – Mobile-To-Go: Users can unlock a selection of bonus content with their Blu-ray™ discs to save to their device or to stream from anywhere there is a Wi-Fi network, enabling them to enjoy content on the go, anytime, anywhere.
    – Browse Titles: Users will have access to a complete list of pocket BLU™-enabled titles available and coming to Blu-ray™. They can view free previews and see what additional content is available to unlock on their device.
    – Keyboard: Entering data is fast and easy with your device’s intuitive keyboard.

  • BD-LIVE™: Access the BD-Live™ Center through your Internet-connected player to access the latest trailers, exclusive content and more!

    DVD Bonus Features:

  • Spotlight on Location: The Making of JAWS: Highlights from the full-length documentary featuring interviews with key cast and crew.

    Synopsis
    Directed by Academy Award® winner Steven Spielberg, Jaws set the standard for edge-of-your seat suspense quickly becoming a cultural phenomenon and forever changing the movie industry. When the seaside community of Amity finds itself under attack by a dangerous great white shark, the town’s chief of police (Roy Scheider), a young marine biologist (Richard Dreyfuss) and a grizzled shark hunter (Robert Shaw) embark on a desperate quest to destroy the beast before it strikes again. Featuring an unforgettable score that evokes pure terror, Jaws remains one of the most influential and gripping adventures in motion picture history.



    Exclusive Video Interview: Production Designer Joe Alves Reflects on the Challenges and Triumphs of Jaws

    Exclusive Video Interview: Production Designer Joe Alves Reflects on the Challenges and Triumphs of Jaws

    Exclusive Video Interview: Production Designer Joe Alves Reflects on the Challenges and Triumphs of Jaws

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    Check Out the Opening 2 Minutes of Another WolfCop

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    It was just earlier today that we brought you guys The Dude Design’s the newest poster for writer-director Lowell Dean’s horror-comedy sequel Another WolfCop.

    And now we have the movie’s opening 2 minutes!

    The clip showcases the new flick’s villain trying to sell us on his “Chicken Milk Beer” before losing his cool and taking it out the commercial’s crew. We then cut to a ragtag group of criminals, dressed as homeless Santas trying to outrun the cops.

    A fun two-minutes if you ask me!

    You can check out Another WolfCop‘s opening scene below and then make sure to hit us up and let us know what you think in the comments below or on social media!

    The film is written and directed by Lowell Dean, produced by Bernie Hernando, Deborah Marks, and Hugh Patterson, and distributed worldwide by Cineplex.

    Another WolfCop co-stars Amy Matysio, Jonathan Cherry, and Serena Miller. The film also features special appearances from Canadian music icon Gowan and legendary filmmaker Kevin Smith. It was executive produced by Sean Buckley, J. Joly, Bill Marks, Brian Wideen, Michael Kennedy, and Michael Hirsch.

    The film is slated for a wide Cineplex theatrical release on Friday, December 8, 2017, with the film seeing a Blu-ray/DVD/Digital home entertainment release through A71 and Black Fawn in 2018.

    Synopsis:

    A month has passed since the eclipse transformed hard-drinking Officer Lou Garou into the crime-fighting hellion WolfCop. Although the Shape Shifters controlling the town have been extinguished, Woodhaven is far from returning to normal. Lou’s liquor-fueled antics and full moon outbursts are seriously testing his relationship with Officer Tina Walsh – the new Chief of Police. An old friend has mysteriously reappeared with a truly bizarre secret to share, and a homicidal new villain has emerged from the shadows looking to finish what the Shape Shifters started. To defeat this lethal adversary, it will take more than a lone wolf packing a pistol.

    Prepare for the next chapter of WolfCop that will be more dirty and hairy than the original! Consider yourself warned.

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    Reviews

    AHS: Cult Review – Clowns, Cults, Politics, and Peters

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    Starring Evan Peters, Sarah Paulson, Billie Lourd, Cheyenne Jackson, Frances Conroy, Mare Winningham, and Allison Pill

    Created by Ryan Murphy and Brad Falchuk


    ** NO SPOILERS **

    It’s here. We’ve reached the end. The newest season of “American Horror Story” has ended and now we are here to provide you guys with our season review of AHS: Cult.

    Spoiler free.

    To start things off let me say I’m not the world’s biggest fan of “American Horror Story”. It breaks down like this: I enjoyed the absolute hell out of the first season of the series (“Murder House”), couldn’t get through “Asylum” (I know, I know, I’ve tried), dug “Coven” for what it was, really enjoyed “Freak Show”, and again I couldn’t get into “Hotel” or “Roanoke”.

    That’s the story of me and “American Horror Story”. Plain And simple. But what did I think of the new seventh season of the notorious horror anthology series? Let’s find out.

    Back when the seventh season of AHS was first announced (then going by the title “AHS: Election”) I was immediately intrigued by the new season because I heard it would not include any supernatural elements. Like the fourth season, “Freak Show”.

    Now I’m a fan of ghosts and weird creature-men with drills for d*cks, don’t get me wrong. But the series has thus far relied almost exclusively on horrors of the supernatural variety (other than “Freak Show”) so this major change of pace was again welcomed by this guy.

    Instead of vampires, aliens, and witches this season relied on terrors of the mind. Psychological fears and anxieties. The horrors man does to man. Deep issues.

    Oh, and clowns. Like a lot of clowns.

    But just because this new season didn’t include anything supernatural, that doesn’t mean the 11-episode season wasn’t filled with twisted visuals and horrifically disturbing acts. No, sir. This season boasted some showstoppers including S&M, gimps, and a house of horrors that wouldn’t be out of place in a Rob Zombie flick. It was all good.

    But let’s backtrack a bit here.

    Allow me to rundown the season’s plot for those who may be unaware. “AHS: Cult” tells the tale of a world post-election night. The literal dawn of Trump’s America. In one corner we have Sarah Paulson’s soccer mom, trying to fight through life with a series of crippling phobias (including clowns, holes, blood, and being a good person).

    And in the other corner, we have Evan Peter’s angry, white (blue-haired) male, looking to seize Trump’s new position of power to bring about the end of… Actually, I want this to be a spoiler-free season review, so I’m just going to say the dude’s got big plans.

    Like Manson-size plans. Let’s leave it at that.

    With these two characters established, the new season then proceeds to send them spiraling into a collision course of political sabotage, intrigue, and clown-based nope, nope, nope-ing that can only end with one – or both – of them dead as Dillinger.

    Overall “AHS: Cult” belonged end-to-end to Mr. Evan Peters. The young actor has continued to show his striking range from season to season of Ryan Murphy’s horror show and this season was no different. Peters’ turn as not only Kai, the blue-haired leader of the titular cult, but as infamous leaders such as David Koresh, Jim Jones, and Charles Manson – to name a few – owed this season.

    I can only hope he doesn’t pull a Jessica Lange and opt-out of more AHS next year.

    Speaking of top performances, “AHS: Cult ” showcases some other chilling and memorable turns with Alison Pill’s strangely vulnerable, put-upon wife character being the best next to Peters in my eyes. This actress needs to be in more films/TV!

    Along with Pill, actress Billie Lourd killed it time and time again. The “Scream Queens” breakout star and Carrie Fisher spawn was yet again a highlight in her second Ryan Murphy series. Bet she has the starring role in next season. Mark my words.

    Add to that, the season also boasts a handful of fun cameos, including John Carroll Lynch’s return as Twisty the Clown, Emma Roberts as a bitchy reporter that will do anything to end up on top, and Lena Dunham as SCUM Manifesto writer Valerie Solanas. The cameo cast killed it and I wish they would have been present for more episodes. What are you gonna do?

    On the sour side of the season, I didn’t dig Sarah Paulson’s character. At all. But I’m sure that was the point. Right? I’m still not sure. But, boy, I wouldn’t even want to be stuck in line behind her at a Starbucks for three minutes, let alone spend the better part of this season’s 11-hours with her and her whiny bullshite. Urgh.

    That said, she pulled it out by the finale. That’s all I’ll say.

    In the end, I enjoyed this season as much as – if not more – than any other of the series. “Murder House” will still no doubt go on as my favorite season of the series, but “AHS: Cult” will rank third after season one and “Freak Show”.

    While I was on the fence about the season after three episodes, the show ended up ditching Paulson’s character (and/or shifting her arch) after a lull so the episodes picked up quickly. Whenever the season turned its focus back towards Peters (in whichever incarnation he was playing at the time) the show got better and better. Every time.

    Not a bad way to spend my Tuesday night for the past 11 weeks.

    Bring on season 12.

    • American Horror Story: Cult (2018)
    3.5

    Summary

    The seventh season of Ryan Murphy’s American Horror Story was Evan Peters’ show all the way through. The young actor pulled out all the stops time and time again to make what may have been a lackluster supernatural-free season a winner.

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    User Rating 4 (3 votes)
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    The Axiom Review – A Stylish and Clever Slice of Independent Horror

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    Starring Hattie Smith, Zac Titus, Nicole Dambro

    Directed by Nicholas Woods


    The Axiom is an ambitious, well directed, impressively acted and stunningly shot independent horror film that has just a few, teensy little flaws holding it back from greatness (and therefore will have to settle for just being really, really good, instead).

    The first thing you realize when watching The Axiom is that this is a beautiful film. Everything is framed and shot in a lush and stylish manner, but one which is always tonally appropriate for the scene.

    The second thing you’ll notice, and keep noticing as the film plays out, is that the movie really struck gold with this cast. Not only is there a total lack of the sort of stilted and unnatural acting seen in countless other microbudget horror affairs, but the performances are genuinely fantastic across the board. The main characters are believably chill and relatably normal in the early scenes, and the acting remains just as impressive once things start getting a bit more… intense. It’s not often that an independent horror film has so many good performances that it makes it hard to pick the movie’s acting VIP, but that is undeniably the case here. Taylor Flowers delivers what is probably the showiest performance (and does it very well, indeed), but the entire cast really is quite good.

    The central premise of the film is both interesting and original, and touches upon the real life fact (given some recent attention in the ‘Missing 411’ books and documentary) that a lot more people sure seem to go missing out in the woods than seems reasonable, while simultaneously weaving all sorts of folklore, fairy tales and urban legends into the mix. It’s also clever in the way that it very naturally reveals aspects to the relationships between characters that serve to later – or sometimes retroactively – explain some of the more questionable decisions they make or attitudes they display. While that may sound like screenwriting 101, it’s surprising how many films fail to do this. The Axiom rewards the viewer’s attention in other ways as well, with many aspects of the movie that initially feel odd or unnatural receiving reasonable explanations (within the context of the movie) by the end. It’s not quite as challenging (or as rewarding) in this regard as, say, something like Session 9, but it does add a nice layer of complexity to the storytelling.

    The film’s score, by Leo Kaliski, is also quite good. There may be a moment here or there where the music hits an overly familiar beat, but overall it not only fits the movie’s tone, but does quite a bit to help set that tone as well.

    The only thing that I don’t feel the movie quite pulls off – and I’m trying to be vague here, because I feel like the less you know going into this film, the better – is some of the makeup effects work. The gore stuff is very well executed, but some of the other stuff feels like it was crafted with the intention of shooting it in a more… stylized manner. Instead, filmed as it is here, the result is sometimes less than impressive and can fail to make the impact that the movie seems to be implying that it should. And while some of what the makeup effects lack in execution is made up for with the ingenuity and creativity of their design, it’s still a bit of a shame when they don’t quite pull them off because, aside from a few niggles that I have with the writing, the effects are the only aspect of the film that occasionally fails to live up to the high level of technical proficiency that The Axiom otherwise demonstrates.

    ADDITIONAL THOUGHTS:

    • Man, the acting in this movie is really good. The dialogue may stumble once or twice, but these actors always sell it anyway.
    • Give back Mia Sara’s DNA, Hattie Smith!
    • If you’re going to put your female lead in shorts this small, I hope you’re not sensitive to viewers unleashing a nonstop parade of “Has anyone seen my pants / OH GOD WHERE ARE MY PANTS!” jokes.
    • “You just pop this here ‘Blair Witch Stick Person / Anarchy sign’ sticker up on that there windshield of yours, and them park rangers? Well – heh heh – they won’t bother you none, no sir.” Hmmmmm…
    • The film really is shot amazingly well – better than a lot of mainstream releases. Cinematographer Sten Olson has a real future ahead of him.
    • As does writer / director Nicholas Woods, for that matter. Any director who can get this level of quality out of their cast and crew on their first ever film is someone to keep an eye on.
    • “I’ll make a run for it and get help,” says the female lead, and I’m like “Yeah, let her go – she has no pants to weigh her down.”
    • The gore effects in the movie are both realized and utilized very well.
    • Welcome back to horror movies, “I’ll be right back” dialogue spoken unironically by and/or to ill-fated characters.
    • The Axiom
    4.0

    Summary

    In the end, The Axiom is a solid and entertaining flick that manages to wring a level of quality and originality out of the somewhat tired “Don’t Go in the Woods” horror subgenre not seen since 2012’s Cabin in the Woods. The cinematography and acting are hugely impressive, it features a nice, unnerving score, the premise is original and captivating, and the whole thing moves at a nice pace that helps keep the film’s flaws from dragging it down.

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    User Rating 3.9 (10 votes)
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