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    4 Surprising Things We Learned From the John Williams Documentary

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    A new Disney+ film about the prolific film composer chronicles his life and career, with a focus on his famous music for movies including “Jaws” and “Star Wars.”The composer John Williams is responsible for some of the most recognizable music in film history: the epic fanfares in “Star Wars,” the two-note dread of “Jaws” and too many other examples to name without sounding like an IMDb tour of popular American cinema.A new documentary, “Music by John Williams” (streaming on Disney+), introduces audiences to the man behind all of that music, featuring extensive interviews with Williams and glowing interviews with filmmakers he has worked with, including Steven Spielberg (also a producer of the movie), George Lucas and J.J. Abrams.Laurent Bouzereau, the documentary’s director, first met Williams while directing making-of features for the home video releases of Spielberg movies, including “Jaws,” “Jurassic Park” and “Raiders of the Lost Ark.”In a phone interview, he said the project started as part of Williams’s 90th birthday celebration, but it became clear it would be a waste to not do a full documentary combining his interviews with Spielberg’s archival footage of Williams, now 92, scoring his films. “I wanted people to understand his dedication to an art form,” Bouzereau said. “John is an eternal student.”Here are some takeaways from the film.When he first heard the ‘Jaws’ theme, Spielberg thought Williams was joking.Early in the documentary, Williams recounts the first time he played the opening music to “Jaws” for Spielberg.The director thought he was joking. “I was expecting something just tremendously complex, and it’s almost like ‘Chopsticks,’” he says.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      We Ranked the 25 Jump Scares That Still Make Us Jump

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      The floor creaks, the music turns ominous and an uneasy quiet sets in. Then BAM! It’s the classic jump scare. This staple of horror movies, when done well, is instantly memorable. With Times film writers, filmmakers and stars weighing in, we ranked the 25 jump scares that still get us every time. WARNINGThis article contains […] More

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      Wrestling With His Past. And an Animatronic Shark.

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      In a rehearsal space near Times Square, Ian Shaw was talking about the strange and solemn task of portraying his own father in a Broadway play that he had co-written.“You spend most of your life running away from the father,” he explained. “Now here I was, running into the jaws of the thing.” He paused, realizing what he’d said. “No pun intended,” he added.Ian Shaw’s father is Robert Shaw, the celebrated British actor, author and Oscar-nominated star of “A Man For All Seasons,” who went on to play steely villains in “The Sting” and “The Taking of Pelham One Two Three” before his death in 1978.Perhaps his best-known film role is Quint, the seasoned shark hunter of the 1975 blockbuster “Jaws,” whose hardened face hints at a lifetime of harrowing experiences and who delivers a memorable monologue about a shark attack he survived during World War II.Ian Shaw, when clean-shaven, could almost pass unnoticed; he has a gentle manner and friendly eyes. But on this day in early July, with his grown-out mustache and sideburns, Shaw, 53, was a dead ringer for his father in “Jaws.” This is a deliberate choice for his play, “The Shark Is Broken,” which opens Aug. 10 at the Golden Theater.From left, Shaw, Alex Brightman and Colin Donnell in rehearsal for “The Shark Is Broken.” All of the play’s action takes place inside a cramped recreation of the boat from the film.Evelyn Freja for The New York TimesFrom left, Robert Shaw, Roy Scheider and Richard Dreyfuss in the film “Jaws.”PhotofestThe one-act comedy-drama, written with Joseph Nixon, casts Shaw as his father in a fictional depiction of a particularly challenging day during the making of “Jaws” in 1974.Confined to a small fishing boat called the Orca while the crew contends with an uncooperative mechanical shark, the elder Shaw wrestles with his misgivings about the film, his history of alcoholism and the waning patience of his co-stars Richard Dreyfuss (Alex Brightman) and Roy Scheider (Colin Donnell).Ian Shaw has worked steadily in theater, TV and film projects while striving not to trade on the renown of his illustrious father. Describing his own career, he said, “It’s modest, but to be at my age and have lived my whole life being an actor is a kind of a triumph.”Now, after several years of work on the play and a lifetime of reckoning with his father’s legacy, he said he was ready for a project that addressed his lineage head-on.“You still have to have the conversation about your validity in comparison to your father,” he said. “As I’ve gotten older and more mature, I feel less burdened about that. The final piece of the puzzle to getting rid of the baggage has, peculiarly, been to walk in his shoes.”Ian Shaw is one of Robert Shaw’s 10 children, and the youngest child he had with his second wife, the actress Mary Ure.Robert Shaw was a celebrated man of letters, a friend of Harold Pinter (whose play “Old Times” he starred in with Ure) and an accomplished playwright himself. He also made no secret of his heavy drinking, in an era when such habits were fundamental to the machismo of a generation of actors.Speaking to a reporter who asked him how he kept himself motivated on “Jaws” during long production delays, Robert Shaw responded with a smile: “Well, Scotch, vodka, gin, whatever,” he said.He was also openly resentful of the film roles that earned him a global fan base (and a lucrative living) but took him away from the stage.In an interview on “The Dick Cavett Show” in 1971, Shaw said it was no better to be a busy actor than to be out of work: “It’s always paradoxically bad, either way. When you’re working it’s terrible because you’re usually doing rubbish, and when you’re not working it’s worse.”Ian Shaw poses for a portrait on the tugboat W.O. Decker, at the South Street Seaport Museum in New York.Evelyn Freja for The New York TimesDespite the rugged reputation that his father cultivated onscreen and off, Ian Shaw said of him, “Privately he was very affectionate and very funny and sort of naughty.”As he recalled, “One time, a quite dignified guest came to stay with us in Ireland, and he was greeted by the sight of Robert opening the door in his wife’s nightie. He thought that sort of thing was tremendously funny.”Even so, “there’s a lot of who he was on the screen,” Shaw said. “You wouldn’t want to confront him directly in an argument.”The actor described boisterous family dinners held at long tables where he would sometimes be clamoring for his father’s attention. “I would be dominating a little bit,” he said. “And he would come over, pick me up and just put me outside the room.”But the family was struck by tragedies. Ure died from an accidental overdose of alcohol and barbiturates in 1975, and Shaw died of a heart attack three years later.Ian Shaw, who is now married with two children of his own, was just 8 years old at the time. But, he said, “I felt I had time with him. Up to that point, I didn’t feel shortchanged.”Guy Masterson, the director of “The Shark Is Broken” and a longtime friend, said Shaw’s family history has presented professional challenges.When they would kick around ideas for possible collaborations, “Ian came to me and said he didn’t want to do anything with his dad, because he looked like him,” said Masterson, who has known the actor for some 25 years. “Every time he walked into an audition, people would expect Robert Shaw, and he was at a disadvantage.”At first, the younger Shaw balked at the notion of a biographical play about his father. “I felt like it would be an impossible thing to pull off,” he said.But over time, and with the encouragement from friends and colleagues like Masterson, he grew more comfortable. As the project germinated, Shaw also noticed the theater becoming more receptive to productions with cinematic origins, such as the plays “The 39 Steps” (adapted from the Hitchcock film) or any number of musicals based on contemporary hit movies.“The Shark Is Broken” dramatizes some of the real-life conflict between the seasoned Shaw and Richard Dreyfuss.Universal Pictures, via Getty ImagesFor research, Shaw read books like “The Jaws Log” by Carl Gottlieb, one of the film’s screenwriters, which chronicled the production’s numerous problems. He also looked at interviews his father gave in this era, trying to channel his unapologetic, forthright voice.“In a world where those types of interviews weren’t stage-managed, Robert would sometimes say things that were quite shocking,” Ian Shaw said. “It didn’t feel like he was trying to get his next job. He was just trying to speak from the heart.”He also reviewed a drinking diary that his father kept in the early 1970s, and which one of his sisters later shared with him. “It gave me a baseline about how he felt about his alcoholism,” Ian Shaw said. “He had tried to quit and couldn’t do it. He wanted to concentrate on his writing and it was interfering with that.”Before the play arrived on Broadway, “The Shark Is Broken” had a brief tryout in Brighton, England, in 2019, and ran later that summer at the Edinburgh Festival Fringe. It also played at the Ambassadors Theater in London’s West End during the 2021-22 season.In the Times Square studio, the play’s whole set fit into a small portion of the room: a cramped recreation of a bench and table inside the Orca. Shaw said he could imagine himself touring the play around in a van, “taking it to every village hall in England and making some money doing that.”The sense of claustrophobia is intended to amplify some of the well-documented conflict that took place behind the scenes of “Jaws,” like the on-set friction between Shaw and Dreyfuss: In the show, as in real life, the seasoned Shaw regards Dreyfuss as inexperienced and entitled, while Dreyfuss worries that Shaw’s drinking has gotten out of control.Within the boat’s confines, fictionalized conversations and monologues show the characters humorously squabbling and wondering if their cinematic efforts will amount to anything. They also explore the characters’ depths, as when Robert Shaw reflects on his own father, who was himself an alcoholic and died by suicide when Shaw was a child.Donnell, a star of television (“Chicago Med”) and musical theater (“Violet”), said he felt a strong obligation to help Shaw realize his goals for the play.“There’s almost a sense of duty to fulfill his vision, and to try to breathe as much life as we can into these roles,” he said.“You’re getting to witness somebody taking a deep dive on some difficult memories,” Donnell said. “I would imagine there is a bit of catharsis in not only having created the piece but getting to embody his father every night. I’m sure there is some dueling going on in his brain.”“It’s modest, but to be at my age and have lived my whole life being an actor is a kind of a triumph,” Shaw, a father of two, said of his career.Evelyn Freja for The New York TimesBrightman, who recently played the title character in the Broadway musical “Beetlejuice,” said that Shaw’s involvement gave the play permission to be candid in its depiction of the “Jaws” stars.“Shows like this can be watered down and glorify a person for who they weren’t,” he said. “This play actually goes the other way and shows the three of them without a soft focus at all. I really think that we see three very flawed egomaniacs.”But the emotional draw, Brightman said, is the space it gives Shaw to connect with his father in real time.“I don’t know how many people would ever get an opportunity like this, to both honor his dad and show him with the capital-F flaws of a person,” he said.When he prepares to play his father in “The Shark Is Broken,” Shaw said his rituals include practicing his voice as he puts on his Quint costume. “I believe him to be quite fearless, so when I’m getting into character that’s one of the feelings that I absorb,” he said. “I’m very front-foot and energized, which is quite a liberating feeling.”But that is a sensation that only lasts about as long as the performance. When it’s over, Shaw said, “I do tend to quite quickly revert to who I am, which is probably a healthy thing. I’m not my father. I’m a different man.” More

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      ‘The Shark Is Broken,’ a ‘Jaws’ Comedy, Plans Broadway Run

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      The play stars Ian Shaw, whose father, Robert Shaw, played a shark hunter in the movie.“The Shark Is Broken,” a comedy about the making of “Jaws” that stars the son of one of the film’s main actors, will open on Broadway this summer.The play is the brainchild of Ian Shaw, whose father, Robert Shaw, played Quint, the psychotic shark hunter, in the film. Its film set was plagued by problems, some exacerbated by Robert Shaw’s drinking, and the play depicts the fraught relationship between him and his co-stars, Richard Dreyfuss and Roy Scheider.In the play, set in 1974, the three men are trapped together on a boat, managing bad weather, (fake) shark troubles and alcohol.The play began its life at the Edinburgh Festival Fringe in 2019, opened in London’s West End in 2021 after a pandemic-related delay, and had a production in Toronto last fall. The Broadway run is to begin previews on July 25 and to open on Aug. 10 at the Golden Theater.The play received a number of strong reviews in London, including from The Evening Standard, which said Ian Shaw “gives what is undoubtedly one of the best theatrical performances of the year.” (The Guardian was more restrained, saying that “too much of the humor hinges on 21st-century hindsight” but also praising Ian Shaw’s “loving and eerily evocative portrayal of his own father.”)Ian Shaw wrote the play with Joseph Nixon; the production is being directed by Guy Masterson and produced by Sonia Friedman and Scott Landis.The play joins what is shaping up to be an unusually busy summer on Broadway. There is already horror (“Grey House”) and farce (“The Cottage”) represented, along with three big musicals (“Once Upon a One More Time,” “Here Lies Love,” “Back to the Future”) and a solo comedy (Alex Edelman’s “Just for Us”). More

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      Bill Butler, Cinematographer Best Known for ‘Jaws,’ Dies at 101

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      He came up with a mechanism that allowed Steven Spielberg to film underwater. His work on “One Flew Over the Cuckoo’s Nest” earned him an Oscar nomination.Bill Butler, an Oscar-nominated cinematographer who played a prominent role in the American New Wave movement of the 1970s and whose credits included “Jaws,” “One Flew Over the Cuckoo’s Nest” and three of the “Rocky” sequels, died on Wednesday. He was 101.His death was announced by the American Society of Cinematographers, which did not say where he died.Mr. Butler worked with a number of directors credited with reimagining American filmmaking in the ’70s, including Steven Spielberg, for whom he was the director of photography on “Jaws,” the 1975 blockbuster about a man-eating great white shark that established Mr. Spielberg’s reputation and changed the way Americans looked at both film and the beach.Open-water shooting posed many challenges on what was a notoriously troubled set.The crew faced problems not only with their malfunctioning mechanical shark but also ‌with seasickness, uncooperative tides‌, random boats sailing into the frame and even sets that sank.From left, Mr. Spielberg, the camera operator Michael Chapman and Mr. Butler on the set of “Jaws.” Mr. Butler designed a submersible camera box and a platform that allowed for shooting both below the water and on its surface.Michael Ochs Archives, via Getty ImagesMr. Butler designed a submersible camera box and a platform that allowed for shooting both below the water and on its surface, to convey the viewpoint of a swimmer. The American Society of Cinematographers, which presented Mr. Butler with a lifetime achievement award in 2003, also credited him in 2012 in its magazine, American Cinematographer, with “heroically” saving footage from a camera that went down in the Atlantic Ocean. His calculation: that seawater would be similar to saline-based developing solutions.“We got on an airplane with the film in a bucket of water, took it to New York and developed it,” Mr. Butler recalled in his commentary for a 2012 release of “Jaws” on Blu-ray. “We didn’t lose a foot.”In a statement, Mr. Spielberg praised Mr. Butler’s work on “Jaws.” “Bill’s outlook on life was pragmatic, philosophical and so very patient,” he said, “and I owe him so much for his steadfast and creative contributions to the entire look of ‘Jaws.’”Over his six-decade career, Mr. Butler also shot several noteworthy television dramas, including “Raid on Entebbe” (1976) and “A Streetcar Named Desire” (1984), both of which won him Emmy Awards for outstanding cinematography; “The Thorn Birds” (1983), which earned him an Emmy nomination; and “The Execution of Private Slovik” (1974).For his work on “One Flew Over the Cuckoo’s Nest” (1975), Mr. Butler received an Oscar nomination that he shared with Haskell Wexler, a colleague with whom he had an unusual association: On two of his more influential and well-regarded films — Francis Ford Coppola’s “The Conversation” (1974) was the other — Mr. Butler was brought in as the director of photography only after the mercurial Mr. Wexler had been fired.Mr. Butler with Christopher Walken on the set of the 1988 film “Biloxi Blues.”Universal, via Everett CollectionWilmer Cable Butler was born on April 7, 1921, in Cripple Creek, Colo., and raised in a log cabin. His parents, Wilmer and Verca Butler, were farmers. After graduating from the University of Iowa with a degree in engineering, he started his career in broadcasting at WGN-TV in Chicago, where he was a camera operator for live programs and commercials.His first feature-length film, directed by his WGN colleague William Friedkin, was “The People vs. Paul Crump,” a 1962 documentary about an African American prisoner on death row who claimed his murder confession had been coerced through torture. Though the movie never aired — the contents were deemed too incendiary — it made its way to Otto Kerner, the governor of Illinois, who commuted Mr. Crump’s sentence to life without parole.“When you see the power a little piece of 16-millimeter film will bring to you, you are inspired to go ahead and pursue a career in the field,” Mr. Butler said in 2005 at a career retrospective at the Victoria Film Festival in British Columbia. “And that’s exactly what I did.”He was already 40 by the time he started shooting motion pictures. (“He reinvented himself multiple times,” said Michael G. Moyer, who worked alongside Mr. Butler as chief electrician on “Child’s Play” and other films.) But he immediately went to work for some of the period’s more promising young talents: Mr. Friedkin on “The Bold Men” (1965), Philip Kaufman on “Fearless Frank” (1967), Mr. Coppola on “The Rain People” (1969), and Jack Nicholson on “Drive, He Said” (1971), one of only three films he directed.“I did some work with director Phil Kaufman on the Universal Studios lot as a writer while I was still trying to get into the Los Angeles camera guild,” Mr. Butler said in a 2005 Moviemaker magazine interview. “That’s when I met Steven Spielberg. He had just finished his ‘Night Gallery’ projects. I shot ‘Savage’ and ‘Something Evil,’ a couple of one-hour TV movies, with him.”When work began on “Jaws,” it was Mr. Butler who convinced Mr. Spielberg that he could shoot in the water.“Panavision had just introduced a lightweight, smaller camera,” he recalled. “It was also quiet, so you could use it to cover dialogue. Steven thought it would be too shaky; I didn’t try to press the issue. If he hired me, I could show him when we got to Martha’s Vineyard.”Mr. Butler’s later credits included “The Bingo Long Traveling All-Stars & Motor Kings” (1976); “The Sting II” (1983);“Graffiti Bridge,” starring and directed by Prince (1990); “Hot Shots!” (1991); and “The Chauffeur” (2008), as well as the TV series “Brooklyn Bridge” (1991). He remained active professionally well into his 80s, working in a variety of genres and often with fledgling directors.“The harder films are usually the big ones that require controlling a lot of people and a lot of cameras, and over a large area or sometimes many locations,” he said at the Victoria Film Festival. “Keeping that organized is something that some cinematographers are not capable of, so they do smaller films.”But smaller films can be just as difficult for them, he added, “because the pressure of a small film means that they may not have the time to properly gather their footage, and that’s another definite pressure that’s equally challenging.”Mr. Butler is survived by his wife, Iris (Schwimmer) Butler, whom he married in 1984, and their daughters, Genevieve and Chelsea Butler, both actresses, as well as three daughters from his marriage to Alma Smith, which ended in divorce: Judy Rawson, Patricia Pekau and Pam Fraser. He is also survived by a number of grandchildren and great-grandchildren.Mr. Butler never attended film school; when he started shooting movies, he said, he bought the manual of the American Society of Cinematographers (“the bible of filmmaking”) and would refer to it whenever he needed. But really, he said in 2005, the way he learned to shoot pictures “was to go directly to the movies and see what somebody else was doing onscreen, and then going out and trying to do it myself. And that was it.”Kirsten Noyes contributed research. More

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      ‘Goodnight Mommy’ and More: For the Love (and Hate) of Horror Remakes

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      With the American update of the Austrian horror film “Goodnight Mommy” now streaming, a horror fan discusses why remakes for him are a must-see.The 2015 Austrian psychological horror film, “Goodnight Mommy,” is an eerie little gem. I went into the recent remake with apprehension but determined to keep an open mind, primarily because of Naomi Watts. I remembered feeling similarly territorial over my bootleg VHS copy of the 1998 film “Ringu” before seeing Watts in its nightmarish 2002 American remake “The Ring.” Michael Haneke’s 2008 retelling of his own 1998 home invasion film “Funny Games” was just as terrifying the second time around with Watts in the lead.As the end credits rolled on the new “Goodnight Mommy,” I decided the mournful 1970s tune, “Look What They’ve Done to My Song, Ma,” would have made a better title. No fault of Watts; my issues with Matt Sobel’s film stem from a cloying emphasis on the redemptive power of motherhood, a theme extremely at odds with the original, and how this version bafflingly seems determined to spoil its own twist ending from the start.But I don’t regret watching the movie. I’m passionate about horror; if offered a choice between seeing a critically adored drama or a poorly reviewed slasher, I’ll choose the latter almost every time. There’s only so much time in a week, and as I’m constantly reminded, a masked man could behead me at any moment.Susanne Wuest and Lukas Schwarz in the 2015 Austrian film “Goodnight Mommy,” directed by Veronika Franz and Severin Fiala.RadiusHorror remakes surged in the 2000s. “The Texas Chain Saw Massacre,” “Friday the 13th,” “The Hills Have Eyes” and other seminal 1970s and ’80s classics were dusted off, recast and rewritten. In their podcast “Aughtsterion,” the hosts Sam Wineman and Jordan Crucchiola gleefully cover horror from this era in-depth and point out that many of these remakes were crueler than their originals, both in kills and dialogue, and reflected the decade’s cultural sleaze — everything from TMZ to American Apparel ads to “Girls Gone Wild.”The rise of torture porn films, like the “Saw” and “Hostel” franchises, during the same period is now widely seen as an allegoric reaction to Sept. 11 and the American-led invasion in Iraq, but a grim failure at attempting this theme arrived with a remake of the 1976 film “The Omen,” 30 years after the original played to its decade’s fascination with religion and cults. The rehash had no interest in disguising its intent and showed footage of the burning World Trade Center to signal the impending end of days. Stephen Holden’s Times review noted that particular choice “sharpens this remake’s sour tang of exploitation.”And yet, even after reading that review, I was at the theater later that night. I needed to witness the mess myself, a sort of cinematic rubbernecking, so I could talk about it with authority among friends. I’ll even admit that I couldn’t resist the studio’s marketing gimmick of releasing the film on June 6, 2006.Dakota Johnson in Luca Guadagnino’s remake of “Suspiria.”Amazon StudiosIt’s thrilling when my devotion to the genre pays off and a remake works, like Luca Guadagnino’s 2018 take on “Suspiria.” Rather than try to replicate Dario Argento’s 1977 gorgeous, color-soaked tale of a witchy dance academy, Guadagnino went with a muted palette, allowing his character-centric story to shine. Here were real women operating a coven, not just the minions of a villainous asthmatic ghoul.On the flip side of classy, but equally cherished in my eyes, is “Piranha 3D” (2010), which transformed a tame “Jaws” rip-off from 1978 into an over-the-top judgment on sordid topless reality TV content. The director Alexandre Aja served up phallus chomping, a Sapphic underwater ballet set to “The Flower Duet” from Léo Delibes’s opera “Lakmé,” even a cameo by Richard Dreyfuss, a.k.a. Hooper from “Jaws.”I find as much value in a horror remake with a large budget for entrails as I do in one that’s a moody meditation on the transformative power of dance. I treasure this genre because it allows me to define horror however I want.Jerry O’Connell in “Piranha 3D,” directed by Alexandre Aja.Gene Page/Dimension FilmsOf course I don’t speak for every horror fan. Despite #horrorcommunity being a popular Instagram and Twitter hashtag, the better term for us is horror crowd, as explained by Phil Nobile Jr., the editor in chief of Fangoria magazine.“Horror — as an interest, passion, or profession — has fandoms and sub-fandoms; it has cliques; it has little fiefdoms,” Nobile Jr. wrote in a newsletter last April. “A community is an idea (or maybe an ideal), a crowd is a mathematical reality.” He made this distinction while ruminating on homophobia and political differences among fans, but the phrasing is comprehensive. Put simply, our opinions are all over the place, and that’s often on display when a remake gets released.The new “Goodnight Mommy” left me cold instead of giving me chills, and I’m OK with that. A horror remake sparks discourse, lights up social media, fuels podcasts, spurs think pieces. When this happens, for a brief and lovely moment, I soak it all in and naïvely do feel part of a horror community before slipping back into the crowd. More

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      The ‘Jaws’ Shoot Was a Drama. Now It’s a Play.

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      The hit movie’s set was plagued by malfunctioning sharks and drunken feuds — perfect material for a night at the theater.LONDON — When Ian Shaw was 5, he did something to make any movie fan jealous: He visited the set of “Jaws.” On location on Martha’s Vineyard, an assistant pulled back a huge sheet and young Shaw found himself staring into the gaping mouth of the man-eating shark that would soon become a cinematic icon.“I was terrified!” Shaw, now 51, recalled in a recent interview.Shaw was on set because his father, Robert Shaw, was starring in the movie as Quint, the psychotic shark hunter who, by the film’s end, has been bitten in two. Shaw said he visited many of his father’s sets, and the “Jaws” shoot seemed like any other. But what he didn’t know back then was that the shoot was one of movie history’s most notoriously dysfunctional, plagued by technical problems and cast feuds.The production’s three mechanical sharks kept breaking down, and shooting was often delayed: Steven Spielberg, the film’s director, took to calling the special effects team the “special defects department.” At one point, a boat they were filming on sunk, sending two cameras down to the sea floor. (The film inside the cameras turned out to be safe.)Shaw’s father — who died in 1978 — brought difficulties of his own to the production. He drank heavily during the shoot, and clashed with a co-star, Richard Dreyfuss. The elder Shaw repeatedly belittled and tried to humiliate Dreyfuss, making off-putting comments seconds before the cameras rolled, or goading Dreyfuss into performing silly stunts, like climbing a ship’s mast and jumping into the sea.Roy Scheider, the movie’s other star, was stuck between the feuding pair.In “The Shark Is Broken,” the three main characters are stuck together on a boat as tensions wax and wane. Helen MaybanksThe younger Shaw didn’t learn the full extent of the chaos on the set of “Jaws” until decades later, he said, but he realized that they had enough the drama for a play. Now he is winning rave reviews in Britain for “The Shark Is Broken,” a comedy three-hander running at the Ambassadors Theater in London’s West End through Jan. 15. In it, Shaw plays his father, stuck on a boat with Dreyfuss (Liam Murray Scott) and Scheider (Demetri Goritsas) as the tensions wax and wane.In a recent interview, Shaw talked about the difficulty of portraying his father’s darker side onstage, and whether conflict can spur creativity. These are edited extracts of that conversation.In the play, your father clearly dislikes “Jaws.” Did he ever take you to see the movie?I saw it when I was very young, in a screening room somewhere, and was absolutely terrified and couldn’t go in the swimming pool afterward. I remember having nightmares, imagining sharks around my bed and calling for my dad to come and save me. Even though I knew that in the film he got eaten, I was able to suspend my disbelief about that.From left: Roy Scheider as Martin Brody, Robert Shaw as Quint and Richard Dreyfuss as Matt Hooper in the film “Jaws.”Universal StudiosFrom left: Demetri Goritsas as Roy Scheider, Ian Shaw as Robert Shaw and Liam Murray Scott as Richard Dreyfuss in the play “The Shark Is Broken.”Helen MaybanksWhat made you come up with the idea to turn the movie’s problems into this play?I once had to grow a mustache for a part, and looked in the mirror and thought, “Oh, I look like Quint.” That’s what started it, but it seemed a very silly and foolish idea because I’d spent my whole career avoiding association with my dad.Then I read Carl Gottlieb’s “The Jaws Log,” and watched documentaries, and saw there was this really interesting relationship between Robert and Richard and Roy — this triangle which makes for great drama. And you only need three people, so it’s affordable!I toyed with the idea for years, because I felt it could be very embarrassing — potentially disrespectful to my dad and to the movie “Jaws,” which I love. To step into my dad’s shoes, and to paint him as an alcoholic — do I have the right to do that publicly?Did you know he was an alcoholic at the time? He died only a few years after making “Jaws” when you were still young.I did used to see him drink. I was often playing under the table in the Irish pubs when he would be having a session. But it didn’t seem a problem then. It actually seemed kind of normal.I feel that generation, especially the more working-class actors like Richard Burton, had a little discomfort with the profession in terms of putting on tights and makeup. So their way of asserting their masculinity was to be hard drinkers, the sort of Viking method of proving themselves.What made you get over your fear of disrespecting him?When I started writing the play with Joseph Nixon, we quickly saw it wasn’t just about “Jaws.” Joe’s father died very sadly, and it became a little bit more about fathers and sons, about addiction, about making movies in general. There were these other themes that meant it wasn’t just a stunt.The “Jaws” shoot used three mechanical sharks. They kept breaking down, delaying the production and ratcheting up tension on the set.Universal Studios, via Everett CollectionYou show your father continually antagonizing Dreyfuss, often seemingly just for fun. Why do you think he behaved like that?He really didn’t want to do “Jaws,” because, at the time, he was offered [the remake of] “Brief Encounter,” or was certainly in the running for it. He would have rather have done that, to break away from this macho image. He kind of felt handcuffed to “Jaws” to provide for his family.Then the shark’s not working, so they’re hanging around. And he liked to drink. But also Dreyfus genuinely did wind him up and so he thought he needed a bit of a slap down. He dared Dreyfuss to jump off the mast from the top of the ship, and I think he fired a fire hose in his face. There’s so many stories, and a lot of them are true.In the play, your father says he’s needling Dreyfuss to improve the movie. Their characters are meant to dislike each other. Did you consider that he might just have been trying to create a mood?Personally, I think it was both because he was annoyed with Richard, but also he did think it was getting some good work done between them. The acting is so good in the film, so it probably did help.You once auditioned for a role in a production Dreyfuss was directing. How did that go given his past with your father?He was directing “Hamlet,” and I went in and mentioned that I was Robert Shaw’s son and he looked, ironically, like Hamlet seeing his dead father. He just sat down and looked slightly ill. I was really taken aback at the time. I’d been expecting him to go, “Wonderful!” then give me a big hug. But he was very professional, because we obviously went through the audition.Did you get the part?No, I didn’t!“The Shark Is Broken” isn’t just about “Jaws,” Shaw said; it became “more about fathers and sons, about addiction, about making movies in general.”Lauren Fleishman for The New York TimesGiven that “Jaws” experienced so many problems, did you have any of your own making “The Shark Is Broken?”Not that I remember. When I had the first ideas on paper, I did wake up with cold sweats at three o’clock in the morning thinking, “This is really bad idea,” because I was really worried that I would offend my family. But in terms of the writing process, I really enjoyed it.Do you think “Jaws” would have been a better movie without the problems?No, because the problems meant they all hung around and developed it. It allowed them to improvise. “You’re gonna need a bigger boat” was a piece of improvisation from Steven Spielberg. And the delays allowed my father to rewrite the Indianapolis speech, which is a big moment. All sorts of things in it were devised while they were hanging around waiting.So disaster is a good recipe for creative success?Well, it can be. More

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      in Television

      What’s on TV This Week: An Obama Documentary and ‘Shiva Baby’

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      HBO debuts a new docuseries about President Barack Obama. And a claustrophobic comedy blends sexual tension, small talk and brined fish.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Aug. 2-8. Details and times are subject to change. More

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      The Woman Who Captured ‘Jaws,’ Then Worked to Undo the Damage

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      A documentary tracks the extraordinary life of Valerie Taylor, spearfishing champion turned passionate conservationist on behalf of endangered sharks.Steven Spielberg needed a real shark. Before the young director began filming “Jaws” with his famously malfunctioning animatronic beast in Martha’s Vineyard, he hired two underwater cinematographers to film great white sharks off the coast of South Australia.Skilled divers and well-known in their home country, the Australian couple Ron and Valerie Taylor set off to capture the footage that would be used in the climactic 1975 scene in which Richard Dreyfuss’s Hooper, seemingly safe in a shark cage, confronts the monster terrorizing beachgoers.But, as Valerie Taylor, the subject of a new documentary, said in a recent video interview from her home in Sydney, “You might be able to direct a dog or a human or a horse, but you can’t direct a shark.”It quickly became clear that the Taylors were battling two unwilling parties: the shark and the professional stuntman, Carl Rizzo, who didn’t know how to dive and panicked at being lowered in the cage. As he waffled on the boat deck, the shark approached, became tangled in the wires supporting the cage and ultimately snapped the empty container loose from the winch, sending it plummeting into the depths.Ron filmed the whole thing underwater, while Valerie grabbed a camera on the ship and shot overhead. Spielberg was so enamored with the footage of the unexpected turn of events, he had the script rewritten to accommodate it, altering Hooper’s fate from shark bait to survivor as the animal thrashed overhead.Valerie’s work on “Jaws” is just one chapter in her incredible life, which saw her shift from lethal spearfisher to filmmaker and pioneering conservationist. “She was like a Marvel superhero to me,” the Australian producer Bettina Dalton said. “She influenced everything about my career and my passion for the natural world.”Taylor worked as an underwater cinematographer. Her mother told her, “Try what you like. It can’t hurt you and you’ll learn.”Ron and Valerie TaylorThat reverence led Dalton to team up with the director Sally Aitken for the National Geographic documentary “Playing With Sharks,” which follows Taylor’s career and is now available on Disney+.Born in Australia and raised mostly in New Zealand, Valerie, now 85, grew up poor. She was hospitalized with polio at age 12 and forced to drop out of school while she relearned how to walk. She began working as a comic strip artist then dabbled in theater acting, but hated being tied to the same place every day.“I had a good mother. She said, just do what you like. Try what you like. It can’t hurt you and you’ll learn,” Valerie, her statement earrings swinging under her silver hair, told me emphatically. When she began diving and spearfishing professionally, however, her mother was “horrified.” Valerie added, “I was supposed to get married and have children.”She did eventually marry Ron, a fellow spearfishing champion who was also skilled with an underwater camera, and they began making films documenting marine life together. Valerie, with her glamorous “Bond girl” looks, became the focal point since they could fetch more money if she appeared onscreen. They were together until Ron died of leukemia in 2012.“Here’s this incredible front-of-house character, and here’s an amazing technical wizard,” Aitken said. “Together, they realized that was a winning combination.”Not only did Valerie have a magnetic on-camera presence, she had a rare ability to connect with animals, including menacing sharks, which were then little understood.“They all have different personalities. Some are shy, some are bullies, some are brave,” Valerie said. “When you get to know a school of sharks, you get to know them as individuals.”After she killed a shark while shooting a film in the 1960s, the Taylors had an epiphany: sharks needed to be studied and understood, rather than slain. They quit spearfishing entirely, and Aitken likened their journey from hunters to conservationists to that of John James Audubon.Taylor on a dive in 1982. Many of the underwater scenes she witnessed in her early days no longer exist, she said.Ron and Valerie Taylor“I have that sort of personality that I don’t get afraid. I get angry,” Valerie said. “Even when I’ve been bitten, I’ve just stayed still and waited for it to let go — because they’ve made a mistake.”Still, she conceded, “I don’t expect other people to behave like I do.”Her signature look, a pink wet suit and brightly colored hair ribbon, could be seen as a defiant embrace of her femininity in a male-dominated industry, but it was also a simple way for her to stand out in underwater footage. “Ron wanted color in a blue world,” Valerie said. “He said, ‘Cousteau has a red beanie, you can have a red ribbon.’ That was that.”When asked, she shrugged at the idea that she faced additional challenges as the only woman on boats full of men for most of her life, especially in the ’50s and ’60s, when women were still largely expected to stick to traditional roles.“I was as good as they were, so there you go. No problem,” she said. “And, although I didn’t realize it, I was probably as tough.”The “Playing With Sharks” filmmakers, who pored over decades of media coverage and archival footage, described Valerie as someone who faced an uphill battle on multiple levels but who was also seen as an intriguing novelty.“Of course, she had to fight to be taken seriously,” Aitken said. “She was working class. She was someone who really had very little education. I think the culture saw her as extraordinary. That in itself can be a liberating path, precisely because you are singular.”When “Jaws” became an instant, unexpected blockbuster in 1975, the Taylors realized that the movie was doing harm that they’d never considered: Recreational shark hunting gained popularity and audiences feared legions of bloodthirsty sharks were stalking humans just below the surface. In reality, there are hundreds of species of sharks, and only a few have been known to bite humans. Those that do usually mistake people for their natural prey, like sea lions.“For some reason, filmgoers believed it. There’s no shark like that alive in the world today,” Valerie said. “Ron had a saying: ‘You don’t go to New York and expect to see King Kong on the Empire State Building. Neither should you go into the water expecting to see Jaws.’”Valerie and Ron Taylor worked together until his death in 2012. Ron and Valerie TaylorIn an attempt to quell public fears, Universal flew the Taylors to the United States for a talk-show tour educating the public about sharks, and Valerie said, “I’ve been fighting for the poor old, much maligned sharks and the marine world, in general, ever since.”In 1984, she helped campaign to make the grey nurse shark the first protected shark species in the world. Her nature photography has been featured in National Geographic. The same area where she and Ron filmed their “Jaws” sequence is now a marine park named in their honor. And she still publishes essays passionately defending animals.Yet, shark populations have been decimated around the world, primarily because of overfishing, and Valerie said many of the underwater scenes she witnessed in her early days no longer exist.“I hate being old, but at least it means I was in the ocean when it was pristine,” she said, adding that today, “it’s like going to where there was a rainforest and seeing a field of corn.”Despite all that’s covered in “Playing With Sharks,” Valerie said, “it’s not my whole life story, by any means.” There was the time she was left at sea and saved herself by anchoring her hair ribbons to a piece of coral until another boat happened upon her. Or the day she taught Mick Jagger how to scuba dive on a whim. (He was a quick study, despite the weight belt sliding right down his narrow hips.) She also survived breast cancer.Though she still dives, her arthritis makes being in the colder Australian waters difficult, and she’s eager to return to Fiji, where swimming feels like “taking a bath.”“I can’t jump anymore, not that I particularly want to jump,” she said. “But if I go into the ocean, I can fly.” More