Chapter 1 of 10 · 2'09"
Spielberg explains why the barrels let him keep the shark off camera. "What you don't see is generally scarier than what you do see" is the whole argument: the script says shark everywhere, the film shows almost none, and the music does the threatening. A critic says other filmmakers would kill for that control.
Barrels let Spielberg hide the shark
Technique others would kill for
Spielberg says the barrels were a godsend: as long as they were around, he did not need to show the shark. The script was filled with shark, but the movie has very little of it. Williams explains that a few notes stay faint when the shark is far away and turn loud when it is about to attack. Someone calls the result a perfect exercise in suspense.
Spielberg calls the barrels "a godsend" because he "didn't need to show the shark as long as those barrels were around." The script was "filled with shark," yet "The movie doesn't have very much shark in it." His rule is quoted outright: "What you don't see is generally scarier than what you do see." Williams gives that gap a sound. Far away, the theme is faint; when the shark is "just about to attack" it is close and loud. "Just very few notes" advertise its presence and mood. One line says you are "in a state of anxiety" without seeing a shark. A critic calls it "a perfect exercise in suspense," technique "any other filmmaker would kill for" — envy, not a threat. Spielberg says he was "using an electric cattle prod" on the audience at every "pop-up surprise." No prod is in the story; the jolt is. Another line says he delivers the view "when he wants to deliver it."
A1–C2 is the CEFR scale. Cards above the level you pick fade, and playback will not auto-pause on them.
“What you don't see is generally scarier than what you do see, and the script was filled with "shark."”
The contrast between the rule and the greedy script is the whole joke.
Informal
“He doesn't show you what you want to see, and then he delivers it when he wants to deliver it.”
It treats the wish to see as something a filmmaker can hold, then give.
Neutral
Spielberg: your progress
Chapter 1 of 10 · about 26 min to go
Up next · 02pie-in-the-skyThe scene: Spielberg Takes the CameraBecause as long as the barrels were around, he did not need to show the shark. He says what you don't see is generally scarier, even though the script was filled with shark.
When the shark is far away the music is very faint. When it is just about to attack, the music is very close and very loud. Williams says a few notes can advertise its presence and mood.
No. The script was filled with shark — shark here, shark there, shark everywhere — but the movie does not have very much shark in it.
No. The line praises technique that any other filmmaker would kill for. It means other directors would desperately want that suspense, not that anyone plans to harm someone.
None in the story. He says he was using an electric cattle prod on the audience every time there was a pop-up surprise. The prod is his name for that jolt.
