Hitchcock’s Vertigo effect, Wellesian deep focus (including a diopter shot), some Kovacsian zoom work on the beach—all the resources of Hollywood at his command, and still Spielberg’s film was almost sunk by what he called “the great white turd”—a shark that never seemed to work. Two things saved him, according to Peter Biskind: Verna Fields’ editing, which saved the shark’s big entrance for minute 81, and the production delays, which gave Robert Shaw, Roy Scheider and Richard Dreyfuss time to bond (and gave Robert Gottleib time to rewrite the script). Throw in the saturation booking and the first national TV ad campaign and the modern summer blockbuster was born.