Tag Archive: Jaws: Memories from Martha’s Vineyard


Review by C.J. Bunce

Adding to a year that will see the final installment in the episodic Star Wars saga, a new book provides a chronological, pictorial essay documenting the step-by-step creation of the most recent Star Wars movie, Solo: A Star Wars Story. When original Solo: A Star Wars Story directors Phil Lord and Christopher Miller tapped Rob Bredow as a producer and visual effects supervisor, he stepped onto the studio lot realizing he was the only person with a camera and photography access.  He got the approval of the directors and executive Kathleen Kennedy (and later, approval from replacement director Ron Howard) and was soon filming everything and anything related to the production, from location visits to candid shots.  Industrial Light & Magic Presents: Making Solo: A Star Wars Story is a collection of selections of the best from his photo album, 25,000 photographs later, taken on his personal camera and camera phone.

Unlike the J.W. Rinzler “making of” books on the original Star Wars trilogy featuring comprehensive stories and analysis from the entire production teams, or other Abrams “The Art” of books featuring The Force Awakens, Rogue One, The Last Jedi, and Solo full of concept art and design, Making Solo: A Star Wars Story is more of a visual assemblage showcasing one Star Wars crew member’s job (which included allowing his family on the film set to film in as extras).  The closest book like this is Jaws: Memories from Martha’s Vineyard, a book piecing together photographs and accounts from the making of Steven Spielberg’s Jaws, only put together years later.  It has all those bits and pieces assembled into books from the original trilogy that fans would call rare gems today, the difference being this time someone was paying attention, in the moment.

More so than any other book released on the film, Making Solo: A Star Wars Story provides an account of the film’s production process from pre-production, production, and post-production, documenting how this film came to the big screen.  Readers will find never-before-seen close-up images of all the new worlds, aliens, droids, and vehicles, with emphases on making the train heist on Vandor, Phoebe Waller-Bridge′s droid L3-37, filming the Kessel Run, and deconstructing and re-designing an early version of the Millennium Falcon.

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A close up for Bruce the shark in Jaws

Review by C.J. Bunce

In time for the 40th anniversary of the movie Jaws, Titan Books issued an updated edition of Jaws: Memories from Martha’s Vineyard, a rare and unusual chronicle of the making of a film.  Told via photographs and interviews from the locals who helped literally make the film, from construction crews to performers tapped to play key roles in the movies, Memories offers yet another view of the making of the first modern summer blockbuster.

What differentiates this book from other works on this movie (or any other movie) is the “local” perspective.  Instead of giving the standard Hollywood view of the “making of” a movie using interviews with the crew and producers as you’d normally find on the TV and Film shelf, the authors, Jaws memorabilia collectors Matt Taylor and Jim Beller, take a historical research approach.  They rely on primary source material, through hundreds of hours of interviews with every islander who would speak with them, newspaper clippings from 1974, scrapbooks and photo albums that have sat on shelves for 35 years, including plenty of information never before seen by the general public.  The result is a story told in photos rarely seen for any film or film franchise–something you’d only find from years of books published about Star Wars, Star Trek, and the Indiana Jones movies.

Amity Island billboard in production

The story is told chronologically, day by day from the selection of the filming locations on Martha’s Vineyard in Massachusetts to pre-production and on through the wrap-up of filming.  The memorabilia and ephemera pictured includes everything from the remnants of the actual boats used in the movie to the more mundane, like checks and contracts for day laborers.  Yet every piece is interesting, like candid Polaroids showing Robert Shaw’s first day on set and Spielberg at the cabin he lived at during the shoot.  The experience of sifting through all that remains of the production is a bit like spending a weekend at a small town local library researching any historical event from a town’s past.

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