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By the time you saw the Sackler script, had the two subplots from the novel—the mayor’s mob JAWS (1975) 199 connections and the adulterous affair between Hooper and the Police Chief’s wife—been completely eliminated. GOTTLIEB: I’m not positive, but I think both elements survived in the Sackler draft. GOTTLIEB: They were, and I remember that we were still arguing about them even while Steven was shooting the film. The mob aspect was definitely the first to go since it was truly extraneous to the focus of the movie. But the affair between Ellen Brody and Hooper was much more complicated since it would greatly affect the film, and we were still debating its ramifications right up to principal photography. Since the first things Steven shot on location were the party on the beach, the discovery of the body, and the first day in the Brody’s new house, we were able to postpone dealing with the issue for another week or two, but then we finally had to make a decision. Earlier, the problem was further complicated by the fact that Jan Michael Vincent was being considered for the role of Hooper, which would have added a natural sexual energy to the relationship, but, eventually, we agreed that he wasn’t right for the part. Eliminating the adultery not only helped the relationship between the husband and the wife, but it also created the strong bond at the end between Brody and Hooper. GOTTLIEB: Right, which is why Hooper gets killed at the end in the novel. But we didn’t want to do that to our young hero, whom the audience is rooting for and wants to succeed. Besides, it’s quite a formulaic construction to have the adulterous male punished—in this case eaten by a shark— in spite of his good deeds, so, in the end, we were happy to see it go. Did you ever discuss the screenplay with either Peter Benchley or Howard Sackler while you were rewriting the script. GOTTLIEB: No, I never met Sackler, and I never talked to Peter Benchley until after the film was completed. Is it true that you actually took a dangerous plunge into the ocean. GOTTLIEB: I did, and it resulted in a wonderful film clip that we showed on The Tonight Show. At one point early in the metamorphosis of the script, the body of Ben Garner was discovered by Hooper, Brody, and 200 CLASSIC AMERICAN FILMS Meadows in the daytime. On the day we tried to shoot it, the ocean was very rough, but we had a schedule to meet, and we went out in our little boats to film the scene. The original staging required me to lean over the edge of our search boat and discover the mutilated remains, but while we were doing the shot, the center of gravity shifted, and the boat tipped, and I fell headfirst into the water between the two boats. There was lots of shouting, but I wasn’t that uncomfortable, and they got me out of the water within thirty seconds.

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