Jaws Hits U.S. Movie Theaters

Summary

History Daily: "Jaws Hits U.S. Movie Theaters"

Introduction

On June 20, 2025, "History Daily" delves into a pivotal moment in cinematic history: the release of Steven Spielberg's groundbreaking film, Jaws. Hosted by Lindsay Graham, this episode meticulously traces the tumultuous journey from the film's inception to its eventual triumph, highlighting the challenges Spielberg faced and the enduring impact of Jaws on the movie industry.

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Steven Spielberg’s Early Career Struggles

The episode opens on October 6, 1974, capturing a moment of intense anxiety for a young Steven Spielberg. At just 27 years old, Spielberg is at a crossroads after directing Sugarland Express, a commercial failure that jeopardizes his burgeoning career. As Spielberg navigates the bustling Boston International Airport, he grapples with the mounting pressure:

“Steven Spielberg had two months and $4 million to make JAWS, a thriller about a shark that terrorizes an island town.” [00:12:07]

Spielberg fears that another flop could end his dreams in Hollywood, leading him to a secluded bathroom to compose himself and confront his self-doubt.

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Taking on Jaws: The Challenge Begins

Spielberg's opportunity arises when producers Richard Zanuck and David Brown present him with the challenging project of adapting Peter Benchley's novel, Jaws. The film's premise—a shark terrorizing a peaceful island community—poses significant logistical hurdles, from crafting a believable animatronic shark to filming extensive scenes at sea.

During an initial meeting, Spielberg's enthusiasm is tempered by the daunting task ahead:

“There’s no way I can start shooting in a week. The script isn’t ready.” [04:42]

Recognizing the script's shortcomings, Spielberg enlists the help of comedy writer Carl Gottlieb to inject necessary humor and refine the screenplay under tight deadlines.

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Production Struggles: Battling Technical and Interpersonal Conflicts

Filming Jaws proves to be an ordeal fraught with setbacks. One of the most significant technical challenges is the mechanical shark, affectionately named "Bruce" after Spielberg's attorney, Bruce Ramer. Bruce's frequent malfunctions become a recurring headache on set:

“Almost every day, the dreaded words 'the shark is broken' echo across the set.” [12:22]

Additionally, tensions rise among the cast, particularly between Richard Dreyfuss and Robert Shaw, leading to heated confrontations that disrupt production:

“I’ve just been teaching that young punk some basic stagecraft,” slurs Shaw as he exits the cabin, bourbon in hand. [12:22]

These challenges push Spielberg to his limits, both financially and emotionally, as delays inflate the budget and threaten Universal Studios' support.

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Turning Points: Improvisation and Creative Solutions

Amid the chaos, moments of brilliance emerge. One such instance is the improvisation of Roy Scheider's iconic line:

“You’re gonna need a bigger boat.” [12:22]

This spontaneous moment exemplifies how the film's hardships inadvertently foster creativity, enhancing the movie's authenticity and tension.

Recognizing the impracticality of relying solely on Bruce, Spielberg opts for a more strategic approach. He decides to minimize the mechanical shark's presence, instead leveraging John Williams' suspenseful score and suggestive cinematography to amplify the film's terror:

“Steven decides to hint at the shark's presence by filming the surface of the ocean and overlaying an ominous score.” [12:22]

This decision not only preserves the budget but also revolutionizes horror filmmaking by emphasizing psychological fear over overt spectacle.

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Premiere and Unprecedented Success

By March 26, 1975, Spielberg's anxieties culminate during a rough cut screening of Jaws in Dallas, Texas. Despite his nerves and lingering doubts about the mechanical shark, audience reactions are overwhelmingly positive, filled with laughter and suspense at just the right moments.

Following the test screening, Spielberg and the producers celebrate, convinced of the film's potential. The official release on June 20, 1975, cements their optimism. Jaws shatters box office records, grossing over $7 million in its opening weekend—a figure equivalent to approximately $38 million today.

The film's success is attributed to several factors:

1. Massive Marketing Campaign: Universal Studios' multimillion-dollar promotion ensures widespread visibility.
2. Wide Theatrical Release: Debuting in nearly 500 theaters simultaneously, Jaws sets a new standard for nationwide film releases.
3. Innovative Filmmaking Techniques: Spielberg's strategic use of suspense and limited reliance on the mechanical shark redefine the suspense thriller genre.

This unprecedented success not only surpasses classics like The Godfather and The Exorcist but also inaugurates the era of the summer blockbuster, a trend that reshapes Hollywood's release strategies.

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Conclusion: Lasting Impact on Cinema and Spielberg’s Legacy

The episode concludes by reflecting on how Jaws transformed both Steven Spielberg's career and the broader film industry. Despite the harrowing production, Spielberg emerges as one of Hollywood's most influential directors, and Jaws remains a testament to the power of resilience and creativity in filmmaking.

“The combination of cinematography and music created the nail-biting suspense for which Jaws is now famous.” [12:22]

Through meticulous research and engaging storytelling, "History Daily" underscores the significance of June 20, 1975, not just as a milestone in cinema but as a pivotal moment that continues to influence filmmakers and audiences alike.

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Notable Quotes

• Spielberg's Self-Doubt: “No one will ever trust me to make another film in Hollywood ever again.” [00:10]
• Roy Scheider’s Iconic Line: “You’re gonna need a bigger boat.” [12:22]
• Spielberg’s Realization: “If this movie sinks, so will my career.” [04:42]

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Credits

• Host: Lindsay Graham
• Executive Producers: Steven Walters (Airship), Pascal Hughes (Noiser)
• Written and Researched by: Joe Viner
• Audio Editing: Molly Bogg
• Sound Design: Misha Stanton
• Music: Lindsay Graham

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History Daily continues to bring to light the moments and stories that have shaped our world, one day at a time. Join us next time as we uncover another fascinating chapter in history.

Transcript

[Lindsey Graham]

There are more ways than ever to listen to History Daily ad free. Listen with Wondry plus in the Wondery.

[Steven Spielberg]

App as a member of Noiser plus at noiser.com or in Apple Podcasts.

[Lindsey Graham]

Or you can get all of History.

[Steven Spielberg]

Daily plus other fantastic history [e-mail] It's October 6, 1974. A young up and coming film director walks through the departures terminal at Boston International Airport. The director has just finished shooting a big budget action movie and after a long and grueling production, he's finally going home. The director glances up at the departures board as the board clicks and changes and he hears a boarding call for his 7 o' clock flight to Los Angeles. The director quickens his pace, struggling with his suitcase as he strides towards the gate. There, the director finds himself replaying every moment of the past 159 days. The constant prop malfunctions and script rewrites, the difficult actors, the endless reshoots and delays. Beads of sweat break out on his forehead. Suddenly feeling dizzy, the director takes hold of a railing to steady himself. He pictures the stern faces of the studio executives who put their faith in him and to whom he will now have to explain how a movie that was supposed to cost only $4 million ended up costing more than twice that. Sensing the onset of a panic attack and fearing he might collapse or throw up, the director ducks into the nearest bathroom. He turns on the faucet, splashes his face with cold water. Then he looks at himself in the mirror. At just 27, Steven Spielberg only has one mainstream credit to his name commercial flop called the Sugarland Express. This latest picture was supposed to be Steven's big break and he blew it. The best case scenario now is he goes back to directing low budget B movies or made for TV thrillers. The panic rises in him as he studies his own gloomy expression in the mirror. He keeps thinking over and over, no one will ever trust me to make another film in Hollywood ever again. Steven Spielberg had two months and $4 million to make JAWS, a thriller about a shark that terrorizes an island town. But after issues with the script, personal rivalries between co stars, and the countless challenges of shooting the majority of the film at sea. Jaws ended up taking five months to shoot and cost nearly $9 million, more than double the original budget. By the end of the ordeal, Steven Spielberg believed his career was dead in the water. But hitting screens in the summer of 1975, JAWS will become an immediate sensation, grossing a higher box office than any movie before and giving birth to the concept of a summer blockbuster, Steven Spielberg will be catapulted into stardom and the movie industry will be changed forever following the cinematic release of jaws on June 20, February 1975.

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[Steven Spielberg]

Learn more from Noiser and Airship. I'm Lindsey Graham and this is History. D History is made every day on this podcast. Every day, we tell the true stories of the people and events that shaped our world. Today is June 20, 1975. Jaws hits US movie theaters. It's June 1973 in Los Angeles, two years before Jaws is released. A young man walks through the gates of Universal Studios, his long hair bouncing with each confident stride. Steven Spielberg is in his mid-20s. He's just finished directing his first mainstream motion picture, a crime caper called the Sugarland Express. And as he walks across the studio lot, Steven radiates the youthful glow of a young director. At the Start of his career full of promise and potential. Steven has always wanted a career in Hollywood. During his childhood in Phoenix, Arizona, he would spend every weekend in the movie theater, entranced by the floating images on the silver screen. For Stephen, the cinema was like a refuge. A place where a weedy kid from an orthodox Jewish family could go to escape school bullies, a troubled home life and a sweltering Arizona heat. And while other kids wanted to be movie stars, Stephen idolized the directors. Those mysterious figures whose names appeared fleetingly at the top of the end credits. Names like Orson Welles, Alfred Hitchcock, Stanley Kubrick. Stephen dreamed of the day when his name would be up there too. So after graduating high school, Stephen moved to Los Angeles to study film. And within months, he got his big break. A student film he directed caught the eye of a producer at Universal. And before long, Stephen was offered a contract directing television. Still only in his early 20s, Stephen moved on to TV movies. And then in 1973, he directed his first theatrical feature, the Sugarland Express. Today he's going to meet with the producers of the film, Richard Zanuck and David Brown, to discuss potential upcoming projects. Zanuck and Brown greet Stephen warmly and the three sit around swapping ideas for a while. After about an hour, Steven stands to leave, but he notices the manuscript of an unpublished novel half hidden beneath clutter on his desk. He asks, what's this? Zanuck and Brown exchange a glance. They recently acquired the rights to an unpublished novel called Jaws. Written by the author, Peter Benchley, Jaws is a story about a great white shark that terrorizes a peaceful island town and the local police chief is tasked with killing it. Zanuck and Brown think Jaws could make a great movie, but so far they haven't been able to find anyone suitable or or willing to direct. Jaws is set largely on the water and its central character is a 20 foot shark. Both of which present logistical problems. A movie like this could make or break a director's career, though. And for Jaws to succeed, Zanuck and Brown need a young director willing to take risks. Someone with nothing to lose and everything to prove. And now, as Zanuck and Brown look across their desk at Steven Spielberg, they realize the young man in front of them is perfect for the position right there. They offer him the job. Steven enthusiastically agrees, but he has no idea what he's getting himself into. A year later, on April 22, 1974, Stephen again sits across from Richard Zanuck and David Brown, this time on the sun dappled terrace of the Bel Air Hotel. But as Stephen reads through the latest draft of the Jaws script, he's far from enthusiastic. He looks up from the page, his eyes full of panic, saying, there's no way I can start shooting in a week. The script isn't ready. Zanuck and Brown shift uncomfortably in their seats. Since acquiring the rights to adapt Jaws into a movie, the process has been riddled with problems. Starting with the script. The first draft was written by the novel's author, Peter Benchley. But Zanuck and Brown didn't like Peter's adaptation. So they brought in a Pulitzer Prize winning playwright named Howard Sackler to revise Peter's screenplay. But even Sackler couldn't get it right. The script was missing something, but no one could say exactly what. Meanwhile, the clock is ticking. Executives at Universal want Jaws to be made as soon as possible to capitalize on the hype surrounding the novel, which was published earlier in the year. If they delay any further, the public might lose interest and the movie could be a flop. Zanuck and Brown are feeling the pressure, and with just one week until filming is scheduled to start, they still haven't got a workable script. But Steven Spielberg gets an idea. He flips through the screenplay and realizes it's missing one key humor. So he uses the reception phone to call his friend, comedy writer Carl Gottlieb. Carl arrives at the Bel Air Hotel later that afternoon. Steven explains that the script needs to be rewritten, and he thinks Carl's the man to do it. Carl is flattered and agrees to the job. But Steven warns him they don't have much time. In fact, Carl will have to join them in Massachusetts to write even while the movie is being shot. Carl agrees, asking when do we leave? And Steven looks at him apologetically and says, tomorrow. The following day, as the plane begins its descent into Boston, Stephen gazes out the window at the vast glittering ocean. He's struck by an uncharacteristic pang of self doubt. The studio has given Steven 55 days and $4 million to complete this shoot. But without a finished script or a complete cast, that seems like an impossible challenge. And as the plane screeches onto the tarmac, a terrible realization hits Steven with a sudden stark if this movie sinks, so will his career.

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[Steven Spielberg]

It's June 1974, a few miles off the Massachusetts coast. Two months into the Jaws shoot, a rickety old fishing boat bobs around on the surface of the ocean. An idle film crew stands on deck, shivering and stamping their feet to keep warm. Steven Spielberg sits in his folding chair, impatiently tapping his toe as he maniacally chews gum. Steven has just received bad news from his production designer, Joe Alves. Before Jaws started shooting, Joe brought Steven designs for a giant animatronic shark made out of fiberglass. Straight away, Steven had doubts. He worried that the shark wasn't frightening enough, that it would elicit laughter instead of screams. Steven was also worried about the logistical issues of filming this unwieldy contraption underwater. Maybe because it had such sharp teeth, Steven decided to call the shark Bruce, after his attorney, Bruce Ramer. But despite the affectionate nickname, Steven despises the mechanical shark, which breaks down practically every day. Nearly everyone on set has grown accustomed to hearing the dreaded words the shark is broken. And today they're supposed to be filming one of the most important scenes in the movie the moment when the shark leaps out of the water onto the deck of the boat. But once again, Bruce has broken down. Now they have to wait around until Joe and his team of engineers can fix it. Steven knows every delay costs the studio more money. They've already blown their budget by several million. If things continue down this path, Universal might pull the plug on the whole picture. Steven removes his baseball cap and runs his fingers through his long brown hair. Since arriving at Martha's Vineyard where the movie is being shot, everything about this production has been a complete, unmitigated nightmare. Steven spent the week before the first day of shooting rewriting the script with Carl Gottlieb, but they couldn't get it finished on time. Sometimes Carl will be frantically finalizing a scene mere minutes before the actors are meant to be performing it. On other occasions they have been forced to rely on the actors improvisational skills. What's more, filming at sea is becoming impossible. The boat they're filming on constantly springs, leaks, and because it's still early in the summer, the water is freezing cold. Whenever they shoot scenes in which the actors are submerged, the risk of hyperthermia is a very real threat. One of the few silver linings is the cast, which came together at the last minute. Roy Scheider plays Martin Brody, the local police chief tasked with killing the shark. Richard Dreyfus plays Mr. Hooper, a Marine biologist brought in to assist. And finally Robert Shaw plays Quint, the grizzled fisherman hired to lead the shark hunt. They are all talented actors, but they're proving tough to work with, largely because of the bitter on set feud developing between Richard Dreyfuss and Robert Shaw. And there's good reason why. Stephen hears raised voices from inside the boat's cabin. The door bangs open and Robert Shaw staggers out, a bottle of bourbon in hand. The veteran English actor lurches up to Stephen's chair and Stephen can smell the booze on Shaw's breath as he leans in close and smooth snarls. I've just been teaching that young punk some basic stagecraft. And then he stumbles off. Moments later, Richard Dreyfuss emerges from the cabin looking ruffled. He strides up to Steven and begins going off about his belligerent, drunken co star. Steven tries to be understanding, but he has bigger problems. They're losing daylight, and if they don't get something in the can today, they'll be even more behind, even more over budget. To Steven's relief, finally the shark is fixed and the crew gets ready to shoot. Steven calls action and the scene gets underway. Roy Scheider crouches on deck, shoveling shark bait into the choppy ocean. Suddenly, the mechanical shark rears from the water, teeth bared. Roy stares in horror. There's a long pause, and then Roy decides to improvise a line. A line that would become the most famous in the entire movie. Without taking his eyes off the shark, he says, you're gonna need a bigger boat. The never ending issues on set cause Steven sleepless nights and countless migraines, but they also add to the movie. The incomplete script leads to brilliant moments of improvisation like these, and the real life animosity between Shaw and Dreyfus adds to the character's fraught relationship on screen. Even the malfunctioning shark proves to be a blessing in disguise. When Steven reviews the film footage, he chooses to cut many of the scenes featuring the mechanical shark. Instead, he decides to hint at the shark's presence by filming the surface of the ocean and overlaying an ominous score by composer John Williams. This editorial decision will prove to be a masterstroke. The combination of cinematography and music will create the nail biting suspense for which Jaws is now famous. By the time filming ends on October 6, Steven's nerves are shredded. He has no idea whether or not he's pulled it off. He leaves Martha's Vineyard traumatized by the 159 day shoot and filled with uncertainty about the future of his young career. Soon, however, Jaws will hit the cinemas, terrifying audiences across the world and turning Steven Spielberg into the most famous director in Hollywood.

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[Steven Spielberg]

March 26, 1975, in Dallas, Texas, two months before Jaws is released. The lights go down in a movie theater in downtown. A hush descends over the audience as the opening bars of John Williams heart stopping score fill the darkened room. Tonight is the first screening of the rough cut of Steven Spielberg's thriller Jaws, and nobody knows what to expect. Steven stands at the back of the theater, damp with sweat, too nervous to sit down. The director unscrews a bottle of Valium with trembling fingers and tips two pills down his throat. Before Jaws is officially released on June 20, Steven wanted to first gauge the audience reaction. He has no idea how his movie will be received. He fears the mechanical shark could still be a laughingstock. Elsewhere in the room, the film's producers, Richard Zanuck and David Brown, are biting their fingernails. It's not just Steven's reputation on the line tonight. If Jaws is a flop, Zanuck and Brown will have to answer to their superiors at Universal Studios, who won't be pleased about $9 million down the drain. But as the film plays, Zanuck and Brown's spirits start to lift. The audience is clearly enjoying the film, laughing and screaming at all the right moments. And after the credits roll, Steven meets Zanuck and Brown in the lobby. The trio embrace, slapping each other on the back and laughing with relief and jubilation, utterly convinced that Jaws is going to be a hit. But Jaws exceeds their wildest expectations. Two months later, on June 20, 1975 Jaws arrives at movie theaters across America, and just like at the test screening in Dallas, audiences are blown away by the film. In its opening weekend alone, Jaws grosses over $7 million, the equivalent of over 38 today, and that number keeps going up. Soon, Jaws surpasses both the Godfather and the Exorcist as the highest grossing movie of all time, raking in almost $500 million at the box office. Part of that success is due to the unprecedented multimillion dollar marketing campaign Universal Studios rolled out ahead of the movie's summer release. The record breaking box office numbers are also due to the fact that the studio decided to show jaws in almost 500 theaters across the US a much wider release than any movie before it. And soon the other Hollywood studios will follow suit and will begin releasing movies in the summer with big budget marketing campaigns and nationwide releases. The summer blockbuster is born, a trend that began following the release of Jaws on June 20, 1975. Next on History Daily June 23, 2016.

[Lindsey Graham]

United Kingdom votes to withdraw from the.

[Steven Spielberg]

European Union, sending shockwaves through Europe and transforming British politics from Noiser and Airship this is History Daily Hosted, edited and executive produced by me, Lindsey Graham Audio editing by Molly Bogg Sound designed by Misha Stanton Music by Lindsey Graham this episode is written and researched by Joe Viner. Executive producers are Steven Walters for Airship and Pascal Hughes for Noise.

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