an unexpected fix that saves the work
Spielberg calls the barrels a godsend, the stand-in that lets the shark stay unseen.
Spielberg: The barrels were a godsend,Spielberg · 2017 — 第 1 / 10 章 · 2'09" · B2
Spielberg Hides the Shark, Explained：on the edge of your seat
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.
あらすじ
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.
注目の表現
a godsendabout todoesn't have very much sharkstate of anxiety
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このシーンの表現
on the edge of your seat
too tense to lean back
Someone invokes Hitchcock and says he can hold you on the edge of your seat, body forward the whole time.
That penalty keeps you on the edge of your seat until the whistle.
このシーンの他の表現
- a godsend
an unexpected fix that saves the work
- about to
seconds before it happens
- doesn't have very much shark
little of the shark is shown
- state of anxiety
dread before anything appears
- scares the crap out of
frightens someone very hard
このシーンのメモ一覧
26 行のセリフに 21 件のメモ
on the condition that
because I didn't need to show the shark as long as those barrels were around.stuffed full of something the script is stuffed with the word shark
What you don't see is generally scarier than what you do see, and the script was filled with "shark."comparative clause: Than takes a whole what-clause here, not a single noun.
What you don't see is generally scarier than what you do see, and the script was filled with "shark."Put the weight on scarier and keep the words after than light.
What you don't see is generally scarier than what you do see, and the script was filled with "shark."all over the place the word shark shows up all through the script
Shark here, shark there, shark everywhere.counterfactual: If the shark had been marks a past that never happened, so the experience only might have changed.
John Williams: If the shark had been available visually, it might have changed the whole psychology of the experience.a long way off
When the shark is far away, it's very faint.seconds before it happens
The score moves from a faint far shark to a loud close one, and about to marks the second right before the bite.
When the shark is just about to attack, it's very close and it's very loud.only a handful of notes
Williams: We can advertise the shark's presence or his attitude by how we manage these notes, just very few notes.dread before anything appears
Before any shark appears, someone says you already sit in a state of anxiety that will not let go.
Dreyfuss: You are in a state of anxiety without seeing a shark.frightens badly — Blunt talk among friends, not for a formal room.
It just scares the crap out of you.accept it without proof
Charlie, take my word for it!turn to see behind
Don't look back! Swim, Charlie!Keep each of the two notes short and leave a gap between them.
Dun-dun. Dun-dun, dun-dun.attaboy, well done — A pat on the back for a kid or a pal, not a boss.
Come on, a little more, Charlie. Attaboy.a fully worked piece of suspense it looks like a drill, here suspense is carried all the way
David Edelstein: It is a perfect exercise in suspensewant something with real hunger
Someone says other filmmakers would kill for this technique, loud envy rather than any real threat.
with technique that any other filmmaker would kill for.a sudden reveal
audience every time there was some kind of a pop-up surprise.too tense to lean back
Someone invokes Hitchcock and says he can hold you on the edge of your seat, body forward the whole time.
Michael Phillips: Like Hitchcock, he knows how to get you on the edge of your seat.seeing an analyst Asked right after the torture line: has he ever seen an analyst?
Has he ever been in analysis?「Spielberg Hides the Shark」を読み解く
What's really going on
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."
Theme
PhilosophyHe says what you do not see is generally scarier, so barrels and a few notes replace the shark.
PowerHe holds the shark back and delivers the view only when he chooses to shock the audience.
発音のポイント
- generally scarier than — Put the weight on scarier and keep the words after than light.
- Dun-dun, dun-dun — Keep each of the two notes short and leave a gap between them.
What you don't see is generally scarier than what you do see, and the script was filled with "shark."In this interview it defends hiding the shark. The script says shark constantly, but the unseen animal is the real scare, so the barrels can stand in for it.
He doesn't show you what you want to see, and then he delivers it when he wants to deliver it.Phillips is describing the same trick from the audience's side. The view you came for is held back and given at the filmmaker's moment, not yours.
このシーンについての質問
Why does Spielberg call the barrels a godsend?
Because 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.
Why does the shark theme go from faint to loud?
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.
Does the movie show the shark as often as the script?
No. The script was filled with shark — shark here, shark there, shark everywhere — but the movie does not have very much shark in it.
Is would kill for a threat here?
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.
What electric cattle prod is Spielberg talking about?
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.
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次のチャプター · 第 2 章pie-in-the-skySpielberg Takes the Camera
再生中 · 第 1 章on the edge of your seatSpielberg Hides the Shark
第 2 章pie-in-the-skySpielberg Takes the Camera
第 3 章hear a pin dropSpielberg Gets His Universal Contract
第 4 章fraternity of directorsJoining the Movie Brats
第 5 章estrangementFifteen Years of Estrangement
第 6 章work yourself upSpielberg Directs the E.T. Kids
第 7 章the full montySpielberg Admits He Was Timid
第 8 章pariahSpielberg Denies the Name Shmuel
第 9 章top billingLincoln Shares Billing with the House
第 10 章peace the hard wayMunich's Prayer for Peace第 1 / 10 章 · 残り約 26 分