In July 1966 it was announced Gaumont Pictures would make a film from the novel, directed by Byron Haskin, starring George Montgomery and produced by Mark Cooper. It was to be called Twist of the Knife and to be filmed in Mexico in July.[4] Filming did not proceed.
film about sharks
In April 1967 it was announced Twist of the Knife would be produced by Skip Steloff for Calderon-Stell and directed by Sam Fuller, his first film since The Naked Kiss. The cast would include Burt Reynolds, Arthur Kennedy and Barry Sullivan.[5]
He elaborated, saying he liked "doing a story about four amoral characters... to show not only a double cross on a double cross but when we think we know who the heavy is, we find out the real heavy behind it all is the girl... I have the hero not only allow her to die, but he shrugs it off. I thought that was exciting... I had such fun because I went beyond the average switch of revealing the villain. I also didn't have the guy just let the girl go to jail; he lets her be eaten by sharks."[7]
During production, one of the film's stuntmen, Jose Marco, was attacked and killed on camera by a great white shark that broke through protective netting. The attack was captured on film and prompted a photo spread in Life magazine. The title was changed to Shark! to cash in on the controversy.[1]
Basically telling the same true story that Quint later retells in Jaws, the film is about the real sinking of the USS Indianapolis during WWII, a tragedy that resulted in the biggest shark attack in history. Victor Mature stars in the film that actually has some pretty good underwater action scenes, notable because Hopper uses footage of real tiger sharks instead of rubber dummies.
Plot: Five passengers end up stuck on a raft when their seaplane is destroyed. A 100 miles away from shore, with tensions rising and great white sharks lurking beneath, they must find a way to survive.
Plot: An American navy ship sinks during World War II. 890 crewmen are stranded in the Philippine sea. With no way to get back to shore and sharks circling their location, they have nothing but courage to keep them alive.
Plot: In Australia, an American couple goes scuba diving and is stranded when their boat leaves them behind. The couple soon finds out that, besides being isolated, they are also hunted by killer sharks. If this seems like a worn-out plotline, you might be surprised that the film is based on a true story.
Plot: In an attempt to rescue researchers stranded at the bottom of the Pacific Ocean, Jonas Taylor (Jason Statham) battles a massive megalodon shark, a type of shark long thought to be extinct. The film is based on a 1997 novel by Steve Alten.
Plot: Fin returns in this self-aware second installment of the Sharknado film series. This time, floods bring sharks to New York. As tornadoes heighten the drama, Fin and company try to survive the onslaught of sharks that dwarf the one in the first installment.
Plot: Seven college friends take a trip to a Louisiana lake, only to be terrorized by a gang of sharks. Though critics originally slated the film, audiences were more accepting of it as a solid addition to the shark movie genre.
The movie's never convincing enough to really involve us. And so there's time in the theater for a few reflections:(1) Although a lot of sharks are caught, speared, shot and otherwise mishandled in the movie, there's no outcry from the audience, not even from the kids. As mammals we're loyal to our own kind, and even if we hate to see four-legged creatures killed, we don't identify much with sharks.(2) Sometimes the most dangerous stunts look pointless on the screen. Wilde and his hapless co-stars really did dive with the sharks, get caught in a wicked surf and otherwise find themselves threatened during the filming of this movie, None of their harrowing real-life predicaments looks as exciting as routine Hollywood stunts.(3) Cornel Wilde, at 60, may have decided to combine his movie career with other pastimes. "Shark's Treasure" gives him a chance to float around in the Caribbean and do a lot of Scuba diving, whatever its other merits, and I'm happy to report that even when he's not doing trick push-ups he looks pleased with himself.
Sharks of the Coral Canyon tells the story of how sharks and coral reefs are intricately linked. It follows one of the largest marine science studies in history as researchers work to uncover the inner workings of pristine coral reefs, including the predators. The film tracks scientists as they venture into ferocious ocean currents to reveal first time ever footage of sharks hunting at night, as well as brand new shark hunting behavior. The film witnesses a rare natural spectacle involving thousands of large fish trying to lay their eggs and simultaneously survive a shark onslaught. The film uncovers how two of the most threatened groups of animals in the ocean, corals and sharks, depend on one another, and must be protected together if either of them is to survive into the future.
Sharklet is a synthetic surface inspired by the skin of sharks that deters colonization by certain disease-causing microbes. Because the artificial surface works without killing microbes, there is no selection for resistance. The surface topography is made of millions of microscopic diamonds that disrupt the ability for bacteria to adhere, colonize, or develop into biofilms. The Sharklet pattern is manufactured onto adhesive-backed skins that may be applied to high-touch areas to reduce the transfer of bacteria among people.
Objects submerged in water can become covered by unwanted films of bacteria or larger organisms such as algae and barnacles. This is referred to as biofouling. Sharks are unique in that they do not suffer from biofouling. Sharkskin has dermal denticles with evenly spaced ridges that inhibit bacteria or other organisms from attaching and growing.
Divers put silky sharks near Cuba into tonic immobility by twisting their tails or holding their snouts. The sharks are left temporarily immobilized, making it easier for scientists to gather data on the animals. When the U.S. lifted travel restrictions to Cuba it created opportunities for scientists from both countries to work together.
Casagrande prepares to dive near Guadalupe Island, Mexico. He never planned to become a cinematographer, he says, he just wanted to study sharks. He realized after working as a research cameraman that he preferred spending time with the animals in the water instead of analyzing data.
A crew member watches a shark swim by an underwater camera. Casagrande and film crews use about a dozen different types of cameras to capture different angles of sharks. They use everything from infrared cameras to point-of-view cameras to drones.
Casagrande swims with an Epic Dragon Red camera which shoots at a resolution of 6,000 pixels or 6k. When visibility is good, Casagrande swims and films without a cage. He sometimes spends 300 days a year on assignment filming sharks, but often brings his family on location. His one-year-old son already loves sharks, he says.
Casagrande, who always wanted to study sharks, feels like he contributes to science through his filming. His shots help people studying sharks to collect data on fast the animals swim, how high they jump, and how they bite.
Anderson: With the shark sequence, I was trying to make the way that we wanted to film it safe because the chance of us getting bitten by sharks was really high. That was probably the sequence where we had the most ongoing and in-depth conversations about safety and how it related to filming. We knew that we wanted to get into a place where those sharks bite each other in a very frenzied feeding event on the reef at night. We wanted to get in there with the camera, but also we wanted to light it in the best way possible.
The problem with the place where sharks hunt is that there's a lot of current there. We wanted to film it on the incoming tides, where the freshwater from the ocean was coming into the lagoon. And sharks are at their most active at night. So, solving those two problems was the key to coming back safely, and with a successful sequence.
But one of the things we were really worried about is what would happen if our re-breathers flooded or got bitten [by a shark]. We wanted to wear chainmail suits underwater, which are super heavy. We realized that if we lost buoyancy in either the buoyancy control device or a re-breather, then we'd be too heavy to come up. So we actually had to add some weird things to our gear, like having to take the lead out of our weight belt pockets and fill those with special foam. That works really well under water at pressure. It's called syntactic foam. It adds buoyancy rather than weight.
There were about four times more emails for this sequence than any other in terms of safety. We ended up with diving equipment that we felt would be safe to use amongst the sharks, and would protect us not only from being bitten on our bodies but also from being bitten in either the re-breather or our buoyancy control devices. That way, we could still come up if we had a major hemorrhage or something.
I'm really glad we had these safety conversations beforehand because the first night I was in the water, I got bit on the leg by a shark. And then we got a proper bite on the arm or the leg probably once every second or third night we were filming. The sharks seemed to like my flippers. Every time I kicked too fast, I'd get a shark coming in and clamping onto my calf and giving me a good shake. It really is quite an experience, but you get used to it.
Anderson: Yeah, weirdly. I mean, to be honest, Kathryn Brown, the underwater camera assistant, had the hardest job. Every now and then the sharks would just hammer into her lighting rig. Kat was just so cool. She absolutely kicked ass on that project. 2ff7e9595c
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