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37 years on and Jaws remains a highpoint in film editing.Cutting the movie on location in Martha’s Vineyard, Spielberg and Verna Fields worked round changeable weather and schedules (the Kintner killing and beach reactions were shot seven months apart), a faulty mechanical shark and no coherent screenplay/blueprint to produce an object lesson in cinematic storytelling.It is also known by debatably its most famous use: the Jaws shot.In its simplest terms, the dolly zoom sees the camera track towards or away from the subject while the zoom lens is adjusted in the opposite direction resulting in a increased perception of depth — chiefly the background appears to change size in relation to the foreground subject matter. In the 35 years since Jaws, the Dolly Zoom has been a) over-used and b) transformed into a visual shorthand for almost anything; fear (Frodo cottons onto the Nazgul or enters Shelob’s cave), revelations (Michael Jackson is a zombie in Thriller), trepidation (Psycho), realisations (Simba senses a wildebeest stampede), claustrophobia (Marnie), anxiety (Quiz Show), paranoia (the diner chat in Good Fellas), coolness (La Haine), parody (OSS:117 Lost In Rio) and orgasm (Laura San Giacomo in sex, lies, and videotape).Spielberg has described Jaws as “the most expensive handheld movie ever made” but he is mostly referring to the second half.

They hug and for most directors that would be the end of the shot.When drunk boy chases hot girl down to the sea, Spielberg follows the pair with an elegant track as she undresses, the sense of speed increased because they are running in front of a broken fence.Critic Nigel Andrews has identified fences as a key motif in Jaws, highlighting the fences both literal (round Brody’s house and Amity’s streets) and more metaphorical (Hooper’s cage) as embodiments of the film’s interest in man’s desire to mark out territory.Look at the moment where Brody and Ellen say goodbye to each other before the shark hunt begins.It starts with a left to right track following Ellen following Brody as she lists the supplies she’s packed (extra glasses, black socks, zinc oxide, Blistex), then pan rounds to set up a wide shot with Brody and Ellen in the foreground, left of frame, the Orca with Quint atop the bridge in the background.

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He created a pontoon camera raft with a waterproof housing that achieved those trademark water level shots that gave you a Shark fin POV.

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