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Writing Credits Include:

Walt Disney Entertainment: Star Wars: A Galactic Spectacular/Guardians of the Galaxy Awesome Mix Live!/For The First Time In Forever - A Frozen Sing-Along Celebration/Disney Movie Magic/Monsters University Homecoming/

Walt Disney Imagineering: Starbright Holidays/Star Wars Season of the Force/TCM Presents: The Great Movie Ride

Disney Interactive: Disney Princess Enchanted Journey (Videogame)

Universal Orlando: Haunt Concepts & Scripts/How The Grinch Stole Christmas - Live/Grinchmas/Beetlejuice’s Rock-and-Roll Graveyard Review/Bill & Ted’s Excellent Halloween Adventure/The Revenge of the Mummy/

Cedar Point: Wake The Dead Murder Musical

Disney Attractions Television: Secrets of the Animal Kingdom

Books: Haunter’s Tale Series, You are the Only You!

The FINatics: How JAWS Sparked a Half-Century of Cultural Creativity
By Michael Roddy
Producer, The Shark Is Still Working: The Impact & Legacy of JAWS

In the summer of 1975, I was six years old and already obsessed with monsters, dinosaurs, and disaster films. I vividly remember standing outside a local Florida theater, staring at that bold red title: JAWS. At the time, I assumed it was about teeth. My father, a fisherman, corrected me: “It’s about a shark.” That was all I needed to hear. Dinosaurs and sharks, the two most captivating creatures in a young boy’s world. And that weekend, my parents took me to see it.

I didn’t just watch JAWS. I experienced it. The collective gasp of the audience, the rollercoaster of tension and release, the nervous laughter after each scare. It wasn’t just a movie; it was electricity. That summer, my backyard transformed into my own personal Amity Island. The swing set became the Orca. My Mego Captain Kirk and Dr. McCoy figures repeatedly met their doom in a plastic kiddie pool, courtesy of a rubber shark replica. I reenacted Quint’s death daily, only to miraculously revive myself as Brody, rifle in hand.

Then one day, at the local supermarket, I discovered Carl Gottlieb’s The JAWS Log. Too advanced for my six-year-old mind, but filled with pictures, and one, in particular, changed everything. It showed the shark underwater attacking Hooper, but in the corner, a man with a camera stood. Suddenly, it clicked: someone made this movie. That single moment planted a seed that would eventually define my life.

JAWS became more than just a story for me; it was my introduction to the art of filmmaking, to the magic of storytelling, and to the idea that ordinary people could create extraordinary worlds.

When I first stepped into the world of JAWS as one of the producers of The Shark Is Still Working, I thought I understood its impact. But the deeper I went, the more I discovered that JAWS is not simply a film; it’s a convergence of storytelling instincts, historical happenstance, and cultural timing that few creative works ever achieve.

It all began, of course, with Peter Benchley’s 1974 novel. Benchley’s family ties to Nantucket — where legends of seafaring lore, whaling epics, and man-versus-nature battles echo through generations, fed into his imagination. But it was the real-world horror of the 1916 Jersey Shore shark attacks that planted the seed for his tale of terror. Those tragic encounters, coupled with Benchley’s fascination with the unknown world beneath the waves, ultimately gave birth to his novel, a psychological thriller rooted as much in human fear as in natural horror.

Enter Steven Spielberg, a 26-year-old director with just one feature under his belt. His blend of youthful audacity and razor-sharp instinct would transform Benchley’s book into something far more primal and cinematic. The mechanical shark may have famously malfunctioned, but those failures forced Spielberg to rely on suggestion and suspense, a masterstroke that elevated JAWS into Hitchcockian territory. As I interviewed many who worked on the film during the making of The Shark Is Still Working, it was clear: Spielberg didn’t just make a shark movie. He made the shark movie.

What followed was not just box-office success; it was a cultural quake.

JAWS essentially invented the modern summer blockbuster. Universal’s aggressive marketing campaign with its iconic poster, John Williams’ ominous two-note score, and wide-release strategy set a new precedent for event filmmaking. As one of the first films to pair massive TV marketing with a synchronized national rollout, JAWS created a feeding frenzy at the box office that studios have been chasing ever since.

Merchandising followed. T-shirts, magazines, rubber sharks, model kits, and games carried the fin far beyond theaters. The movie transformed Hollywood's view of cross-platform revenue, laying the groundwork for the franchise-driven tentpole system we see today.

But JAWS also infiltrated public consciousness in deeper ways. It reshaped public perceptions of sharks and beaches. It inspired generations to dive into marine biology or avoid the ocean altogether. And it pushed forward important conversations about ocean conservation, leading many, including Benchley himself later in life, to advocate for shark protection.

As one of those fortunate enough to call myself both a student and a participant in the legacy of JAWS, I’ve seen firsthand how its creative ripples continue to touch artists across disciplines.

Filmmakers like Renny Harlin (Deep Blue Sea), Kevin Smith (Clerks), Robert Rodriguez (From Dusk Till Dawn), Jon Turteltaub (The Meg), and even animators at Pixar (Finding Nemo) openly acknowledge the influence. Writers crafting suspense thrillers often cite Spielberg’s use of pacing, silence, and dread as a masterclass. Game designers borrow its structure of tension-and-release to keep players hooked. Haunt designers (guilty as charged!) even borrow its lessons in primal fear: the terror of what you can’t see is always more potent than what you can.

Fan culture has also exploded into new realms. “Sharktivist” artists use JAWS iconography to raise awareness for ocean conservation. Themed art shows regularly pay tribute. Theme park attractions, like Universal’s JAWS ride, which became its own pop-culture landmark, extended the film’s mythology into physical space. And now, as AI technology matures, fans are creating sophisticated fan films, blending their love of JAWS with cutting-edge tools that Spielberg himself could only dream of in 1975.

So why does JAWS still loom so large 50 years later?

Because it speaks to something eternal: the collision between human arrogance and nature’s indifference. It taps into our primal wiring, the fear of the unseen predator lurking just below the surface, and packages it in a story about community, heroism, and survival. The shark may be the monster, but the real drama is deeply human.

And new voices are carrying the torch. Documentarians continue to explore the film’s making and legacy. Conservationists leverage its cultural footprint to promote shark awareness. Fan creators, armed with tools unimaginable to Spielberg and company, are crafting tributes that keep the fin slicing through fresh waters.

In 2005, I was hired by Valerie Richards of the Martha's Vineyard Chamber of Commerce to serve as Creative Director for the first-ever JAWSfest, an island-wide celebration staged right where the film was shot. Standing on those familiar beaches where my favorite film was born was surreal. That experience sparked an idea: to tell the story of JAWS from a fan’s unique perspective.

The project morphed into The Shark Is Still Working, the documentary I ultimately produced alongside Erik Hollander, Michael McCormack, James Gelet, and Jake Gove under our production banner, Finatic Films. (Yes, FINatics, a wordplay I coined during that first JAWSfest, which happily seems to have stuck with the fan community.)

One of the most profound moments for me during production was interviewing Roy Scheider. Having grown up idolizing Chief Brody, I feared meeting the man behind the role might risk tarnishing my childhood image. Instead, Roy was exactly as I had always hoped: disarming, kind, generous, and entirely gracious. He was Chief Brody both onscreen and off.

Throughout the documentary, I also had the chance to meet and interview many of the actors, artists, and filmmakers I had visualized for decades. Each brought an extraordinary warmth, humor, and humility to the process. People who had every right to be distant icons instead greeted us with open arms, another testament to the camaraderie JAWS continues to foster.

As I learned while producing The Shark Is Still Working, JAWS isn’t just a film frozen in time. It’s a living thing, a myth, a metaphor, and a creative engine that continues to inspire filmmakers, fans, and yes, FINatics, across generations.

Because as any fan knows: You’re gonna need a bigger boat…

 Princess Sky

Once a day, near the Dark

Colors swirl creating art

A shade of orange, a wash of pink

Rainbow radiance that makes me think

As each day will turn to night

Dark sky replacing the golden light

I say a prayer to heaven above

and thank him for the ones I love

As I stand, smiling with my Wife

The kids with us, Our Family life

Tears of Joy fill my eye

Beneath the beautiful Princess sky

Michael Roddy

INFERNUM OBSCURA

A SHORT FILM SCRIPT BY MICHAEL RODDY

OVER BLACK

The familiar RING of a FACETIME call.

CUT TO:

INT. NOAH’S APARTMENT - DAY

A simple, bachelor’s apartment. Messy from a combination of too much work and being too low on the list of priorities.

CLOSE ON BLANK SCREEN

A computer screen. The image of NOAH HOLLANDER appears in one of the call boxes. He is young and enthusiastic.

Another screen appears. The screen settles on the image of ANDREW WYKE, 40’s, and very much a self-tortured and pretentious artist. Tousled hair and pale. He is not happy about being disturbed.

NOAH

Hi, Mr. Wyke. Good afternoon. I have an update for you regarding your requests. First, the owners of the Tate mansion have declined... they don’t want any more publicity. Also, the Evans City Cemetery said that that the trespassing order still stands and they wouldn’t allow you back on the grounds after... well...

Andrew is stone faced. Nothing.

NOAH

But, uh I do have some great news. I think I found the location that might give you what you are looking for, for your Halloween series.

Andrew becomes interested.

ANDREW

Yes.

NOAH

Well, it’s an abandoned school, and it’s for sale, but hasn’t attracted any buyers... been left to rot since 1999 when it closed. There were some incidents that...

ANDREW

Intrigued. Where?

NOAH

A small town in Florida.

ANDREW

Florida... among the reds...

NOAH

Uh, like you asked, there is a lot of mystery and some tragedy surrounding the location... It is filled with three floors of abandoned classrooms including a pretty elaborate basement with a boiler room...

ANDREW

How very Krueger... See if Robert is available.

NOAH

Yes sir...

ANDREW

Wait. I have a better idea. Let’s get Cassandra. I haven’t tormented her in a while.

NOAH

Sir, are you sure you want...

ANDREW

Yes. Cassandra. Set it up. This will be perfect.

NOAH

Yes sir. I will. I am so happy that I found...

Andrew disconnects the call, leaving Noah in silence.

NOAH

You’re welcome, prick.

CUT TO:

CREDITS

CUT TO:

EXT. ABANDONED SCHOOL - DAY

Remnants of a once prestigious academy. Now, broken windows, rotting walls, and encroaching vines and foliage.

Standing in front of the building is EDWARD BURTON, 50’s, real estate agent. He is dressed in a dark suit and glasses and cuts a striking figure. A black SUV pulls up and parks. He smiles.

CUT TO:

INT. SCHOOL ENTRYWAY - DAY

Darkness. Shafts of light pierce through the broken windows and illuminate pockets around the vignetted space. Dust swirls up like smoke filling the air.

Edward turns and looks at his guests.

Standing in the entry are...

CASSANDRA - no last name. She is in her 30’s with striking features and figure. A pair of black sunglasses hides her eyes. She carries a bag of essentials for her work.

Close behind is BLAIR, 20’s, her make-up artist/stylist/personal assistant. A complete artist down to the expensive, tattered jeans and graphic t-shirt.

EDWARD

Welcome to the remains of Malcolm Abigor Academy.

Noah stands with bags of equipment and props. Andrew stands center, Camera at the ready, still staring at the rotting architecture.

EDWARD

You said you wanted remote.

ANDREW

This is absolutely perfect.

Noah moves in to introduce his boss.

NOAH

Mr. Burton, this is...

EDWARD

Andrew Wyke.

He shakes his hand.

CLOSE ON HAND SHAKE

EDWARD

My name is Edward Burton. I represent the owner of this property. I really love your work.

ANDREW

You do?

EDWARD

Yes, even from way down here... in the south.  I live here for work, but my soul is more comprehensive if you will.

CASSANDRA

This will be interesting...

Cassandra wraps her scarf around her mouth and nose.

CASSANDRA

Is that mold?

Edward moves to take her hand instead.

EDWARD

Cassandra. I am a fan of your work.

CASSANDRA

Oh, thank you.

EDWARD

Yes... in fact, I have one of your portraits in my office.

CASSANDRA

Which one?

EDWARD

Dante’s Ascension.

CASSANDRA

That was my first one with Andrew. He tortured me on that. I was so young, and worked so hard back then... like selling my soul.

Andrew turns.

ANDREW

You didn’t sell your soul, Cassandra. I took it. I captured it through my lens. And now, I’d like to see if you have any left in there.

ANGLE ON CASSANDRA

She sneers.

BACK ON ANDREW

ANDREW

Yes, Mr. Burton, this will do nicely... I’m home.

Noah looks at Blair. They both smile at the declaration. Is this guy for real?

Edward steps into the center of the room.

EDWARD

Ah, I am so glad you feel that way. Now, just a few rules about the place. As you can see, it has been without maintenance or repair for some time. There are soft spots in the wood and floor, and lots of broken glass. And, even though you have absolved my client from any litigation, I would hate to see anyone get hurt. Other than that, the place is yours.  Oh, one other thing... I ask that you send me an original print when you are done.

ANDREW

Of course.

EDWARD

Excelsior.

Edward turns to leave.

CASSANDRA

That’s it?

Edward smiles.

EDWARD

Yes, unless you have any other questions.

CASSANDRA

You’re not staying?

EDWARD

No Ms. Cassandra, I am not. As I explained to Mr. Hollander on the phone. I would allow you access and your party would waive any litigation against me or my client. But, under no circumstances would I be staying.

BLAIR

Why’s that?

EDWARD

Because this place is haunted.

Edward leaves. He closes the door behind him.

A moment of silence to let that sink in. Then Andrew laughs and jumps into action. The artist is inspired.