What is it about sharks that fascinates us so? And why would anybody ever intentionally get in the water with them? Mental Floss talked with wildlife filmmaker Andy Brandy Casagrande IV, an Emmy-winning cameraman with more than 40 Shark Week credits to his name, about the reality of working with these magnificent predators.
1. IT’S A COMPETITIVE FIELD.
Casagrande got his start as a cameraman for a research team in South Africa, but he says there's really no single path to becoming a shark cinematographer. “I get about a hundred emails a month from people who want to do what I do,” Casagrande says. “Something about sharks just captivates the world ... You get to travel to these really pristine, remote places around the world. You’re diving in amazing conditions with amazing predators.” Casagrande says the best way to get started is to literally dive in, logging hours underwater and shooting lots of footage.
2. THAT CAGE IS NOT JUST FOR SHOW.
The shark-proof cage so often seen in TV specials serves a real purpose. Casagrande is well-known for diving without one, but there are times when even he prefers the security a cage can provide. “The cage protects you from sharks that might be a little more bitey than usual,” Casagrande says. “It can keep you safe from sharks that might sneak up on you, or if visibility is bad, or in the dark.”
3. SHARKS HAVE THEIR OWN PERSONALITIES.
Sharks have personalities just like people, according to Casagrande. “If you’re at a party or a bar and you see some dude that has bloody knuckles or a black eye, and he looks angry, that’s not the kind of guy you walk up to and stick your GoPro in his face," he says. "Often if a shark is all chewed up and looks like a brawler, that shark is not afraid to engage in conflict.” But many sharks are ambush predators, and so you may not see that brawler coming—which is when that cage comes in handy.
4. THERE'S ONE THING THEY'VE NEVER BEEN ABLE TO FILM.
For all their bulk, great whites are elusive creatures. “The holy grail for most shark filmmakers would be to capture great white sharks mating," Casagrande says. "No one’s ever witnessed it. There’s no video proof or satellite data or anything to show when, where, and how white sharks mate.” Footage of two great whites getting it on would be a huge triumph not only for filmmakers, but for scientists, who know that we need to understand animals' lives in order to help protect them.
5. THE MOST DANGEROUS PART OF A SHOOT IS GETTING THERE.
The odds of the average person getting killed by a shark are 1 in 3.8 million. Even among shark cinematographers, shark-related injury and death are extremely rare. Car crashes, on the other hand, are pretty common. “I’m leaving tomorrow to go to the Bahamas to go film tiger sharks just for fun," Casagrande told us. "If you asked your average man if you wanted to go dump a bunch of blood and bait in the water and then jump in with a dozen tiger sharks, they’d be like, ‘Are you effing crazy?’ But the reality is that driving or flying to the location is way more dangerous. I’m way more likely to get killed on my way to a shark dive than I am in the water with the sharks.”
6. SOME OF THE MOST USEFUL CAMERA EQUIPMENT IS HOME-MADE.
Off-the-shelf technology is great—Casagrande uses GoPros as well as the RED epic 5K digital camera system—but most of it has its limits. So, like many wildlife filmmakers, Casagrande has started building his own. His inventions include a "bite cam" that consists of GoPros in waterproof housing surrounded by foam and a fin cam made with buoyant foam that clamps painlessly onto a shark’s dorsal fin to provide a real shark’s-eye view. The rig is equipped with fasteners that dissolve in sea water, which eventually releases the camera from the shark's fin and allows it to bob to the surface.
7. THAT “PUNCH THE SHARK IN THE NOSE” TRICK IS A COMPLETE MYTH.
Someone, somewhere, once decided that the best way to fend off an approaching shark is to punch it in the nose. And somehow, that advice caught on. This is absolute hooey, according to Casagrande. “The reality is that sharks are pretty durable," he says. "Plus, water magnifies images. The shark’s nose might look like it’s 6 inches in front of your face, but in reality its snout is further away, and when you punch and miss its nose, your punch trajectory will go slightly downward right into the shark’s mouth. Don’t put your arm in a shark’s mouth. You generally just do not want them to be within biting range of your body. They’re unpredictable, and you never really know when one’s had a bad day.”
8. SHARKS ARE NOT MAN-EATING MONSTERS.
Your average shark just wants to eat its seal meal and be left alone. “Sharks get such a bad reputation and it’s so unwarranted it’s just bizarre," Casagrande says. "They’re really very polite and professional predators. They’re not malicious in any way. Jaws painted them as evil monsters that sought out human flesh, but the reality is that sharks want to have very little or nothing to do with us."
Sharks test their food with their mouths and, unfortunately for us, we're roughly seal-shaped. To find out if a swimming, seal-shaped animal is in fact a seal, a shark will take a bite. "If they do bite someone, it’s usually an accident," Casagrande says. "I’ve gone to parties in dark rooms with tables where I know there’s food. It looks like a piece of pizza, but maybe there’s a pretzel smashed on top of it, or some potato chips. You don’t really know what the hell it is, but you know that it’s on a table that has food. It’s most likely food, and you’re so hungry you’re going to try to eat it. Occasionally, I think sharks are in that same predicament. They know you’re something potentially edible, but it’s not as if they’re actively seeking us out.”
Want to avoid a case of mistaken identity? Steer clear of the food table. "Sharks aren’t going to jump up into your living room and eat you," Casagrande says. "The only way you get bitten by a shark is by entering their domain."
“Every time I dive with sharks, it’s like the first time. And yes, I want to hug sharks and kiss them and tell the world how incredible they are, but they’re not toys," Casagrande says. "People need to respect them for the wild animals that they are. Don’t grab their tails or ride on their dorsal fins.” Any interaction with a wild animal, especially a stressful interaction, disrupts its life and can affect its ability to eat, migrate, or mate. If you really love sharks, you'll give them what they want: to be left in peace.
This article contains affiliate links to products selected by our editors. Mental Floss may receive a commission for purchases made through these links.
If you’re looking for a timeless gift to give this holiday season, look no further than a LEGO set. With kits that cater to a wide age range—from toddlers fine-tuning their motor skills to adults looking for a more engaged way to relax—there’s a LEGO set out there for everyone. We’ve rounded up some of our favorite sets on Amazon to help you find the LEGO box that will make your loved one smile this year. If you end up getting one for yourself too, don’t worry: we won’t tell.
1. Classic Large Creative Gift Box; $44
You can never go wrong with a classic. This 790-piece box contains dozens of types of colored bricks so builders of any age can let their inner architect shine. With toy windows, doors, tires, and tire rims included in addition to traditional bricks, the building possibilities are truly endless. The bricks are compatible with all LEGO construction sets, so builders have the option of creating their own world or building a new addition onto an existing set.
Experience the magic of Hogwarts with this buildable Hogwarts Express box. The Prisoner Of Azkaban-inspired kit not only features Hogwarts's signature mode of transportation, but also Platform 9 ¾, a railway bridge, and some of your favorite Harry Potter characters. Once the train is built, the sides and roof can be removed for play within the cars. There is a Dementor on board … but after a few spells cast by Harry and Lupin, the only ride he’ll take is a trip to the naughty list.
Star Wars fans can go into battle—and rewrite the course of history—by recreating a terrifying AT-AT Walker from the Battle of Hoth. Complete with 1267 pieces to make this a fun challenge for ages 10 and up, the Walker has elements like spring-loaded shooters, a cockpit, and foldout panels to reveal its deadly inner workings. But never fear: Even though the situation might look dire, Luke Skywalker and his thermal detonator are ready to save the day.
Kids can play Super Mario in 3D with LEGO’s interactive set. After constructing one of the courses, young designers can turn on the electronic Mario figurine to get started. Mario’s built-in color sensors and LCD screens allow him to express more than 100 different reactions as he travels through the course. He’ll encounter obstacles, collect coins, and avoid Goomba and Bowser to the sound of the Mario soundtrack (played via an included speaker). This is a great gift for encouraging problem-solving and creativity in addition to gaming smarts.
Gingerbread houses are a great way to enjoy the holidays … but this expert-level kit takes cookie construction to a whole new level. The outside of the LEGO house rotates around to show the interior of a sweet gingerbread family’s home. Although the living room is the standout with its brick light fireplace, the house also has a kitchen, bedroom, bathroom, and outdoor furniture. A LEGO Christmas tree and presents can be laid out as the holidays draw closer, making this a seasonal treat you can enjoy with your family every year.
LEGO isn’t just for big kids. Toddlers and preschoolers can start their LEGO journey early by constructing an adorable tea party with their favorite Frozen characters. As they set up Elsa and Olaf’s ice seats, house, and tea fixings, they’ll work on fine-motor, visual-spatial, and emotional skills. Building the set from scratch will enable them to put their own creative spin on a favorite movie, and will prepare them for building more complicated sets as they get older.
Why buy art when you can build it yourself? LEGO’s Beatles and Warhol Marilyn Monroe sets contain four options for LEGO art that can be built and displayed inside your home. Each kit comes with a downloadable soundtrack you can listen to while you build, turning your art experience into a relaxing one. Once you’re finished building your creation it can be exhibited within a LEGO brick frame, with the option to hang it or dismantle it to start on a new piece. If the 1960s aren’t your thing, check out these Sith and Iron Man options.
The sky (or just the contents of your LEGO box) is the limit with LEGO’s Saturn V expert-level kit. Designed for ages 14 and up, this to-scale rocket includes three removable rocket stages, along with a command and service module, Lunar Lander, and more. Once the rocket is complete, two small astronaut figurines can plant a tiny American flag to mark a successful launch. The rocket comes with three stands so it can be displayed after completion, as well as a booklet for learning more about the Apollo moon missions.
Reconstruct the First Family’s home (and one of America’s most famous landmarks) by erecting this display model of the White House. The model, which can be split into three distinct sections, features the Executive Residence, the West Wing, and the East Wing of the complex. Plant lovers can keep an eye out for the colorful rose garden and Jacqueline Kennedy Garden, which flank the Executive Residence. If you’re unable to visit the White House anytime soon, this model is the next best thing.
Road trip lovers and camping fanatics alike will love this vintage-inspired camper. Based on the iconic 1962 VW vehicle, LEGO’s camper gets every detail right, from the trademark safari windshield on the outside to the foldable furniture inside. Small details, like a “Make LEGO Models, Not War” LEGO T-shirt and a detailed engine add an authentic touch to the piece. Whether you’re into old car mechanics or simply want to take a trip back in time, this LEGO car will take you on a journey you won’t soon forget.
Behind every club banger and power ballad is an eclectic team of individuals, each with their own role in its creation and promotion. Needless to say, it couldn’t happen without the songwriters. These gifted musicians don’t just pen the lyrics that fuel all your car concerts and karaoke nights—they also manage egos, help artists articulate their innermost feelings, and juggle their own side gigs. So what does a songwriting career actually look like? Mental Floss chatted with three experienced songwriters about everything from how they make money to how they make hits.
1. It’s common for songwriters to have their own music careers.
From Carole King to Pharrell Williams, the music industry has long teemed with talented artists who’ve written songs for other acts—so it’s not exactly surprising that so many songwriters are nurturing what they call their own “artist projects.” In fact, all three songwriters interviewed for this article have released new music in the last few months. Daniel Capellaro released the EP Nightside [A] in November under the moniker “Dvniel”; Skyler Stonestreet’s first single as “The Sunshine State” dropped in late October; and Trent Park has been unveiling a steady stream of singles and corresponding music videos since June.
Though it seems like it could be difficult to constantly fork over songs that they might want to release themselves, the collaborative nature of the business prevents this from being a major issue. Often, the songwriter is working off ideas and emotions specific to the artist they’re writing for, so the song truly feels like it belongs to that artist. Other times, the song gets tweaked by so many writers and producers that it’s no longer the original songwriter’s personal opus. “When a song comes out, sometimes I’m like, ‘Ah that was good, but I would’ve done it a totally different way,” Park says. “But that means it wouldn’t be the song that it is.”
2. Songwriters sometimes have to fake it ’til they make it.
In a business built on relationships, it’s pivotal for up-and-coming songwriters to always be on the lookout for new connections. Sometimes, this means acting first and thinking later. During Capellaro’s early days in Los Angeles, his demo CD was his de facto business card. About a month after giving one to an executive from Universal Music Group, he got a call from the company asking when he was playing next. Having no dates lined up, he picked one at random: March 16. “So I hang up and I'm like, ‘OK, I’ve just committed to playing a show. I've got no venue. I've got no band. I have to get all this put together in the next 30 days,” Capellaro remembers.
He found a former bass player from the band Lifehouse on Craigslist, and the two set about securing the rest of the band. For the venue, Capellaro chose a well-known rehearsal space called SIR (Studio Instrument Rentals), only to find out that the Universal exec slated to see the show “[had] never signed a single act at SIR—she hates that place.” It was too late to switch venues, so Capellaro reassured his Universal contact over the phone that “she won’t recognize it” and immediately transported everything in his recently furnished living room to the stage to give it a whole new look. “I had a couch, a rug, tea candles,” he says. “I wanted it to feel like MTV Unplugged.” The hard-to-please executive was duly impressed. “She’s like ‘You sound great. How long have you guys been playing together?’ and I’m like, ‘Ah, you know, for a while.’ I didn’t want to tell her ‘Four days.’”
When asked what surprised him most about the industry, Park answered without hesitation: “That nobody knows what they’re doing.” He, too, confessed to occasional fibbery. “There are some times when I reach out to an artist and I say, ‘I love your stuff. I have a song for you,'” he says. “I’m completely lying. I just want to work with that person, and once they reach out I end up formulating songs in the vein of their stuff.”
3. Songwriters don’t just write for career music artists.
Songwriters like Capellaro and Stonestreet, who are signed to music publishing companies, mainly do work on songs for fellow artists. Park, on the other hand, is an independent songwriter—so his clients sometimes come from other industries altogether. “Right now I'm writing for a couple lawyers that are just doing it as a passion, but they pay me really well,” he says. “I’m there for everyone. Honestly, it’s way better money.” Park also spent a few weeks writing songs for the wife of a billionaire app developer. Not only did she pay him triple his per-song rate and triple his per-diem rate, she also insisted on posting him up in a luxury hotel and giving him an additional $500 each day for food and other expenses. “That was a really cool [scenario],” Park says, “I’m hoping for more of those.”
4. There are countless ways to create a song—and countless people involved.
Songwriting isn’t exactly a linear process. “You can start from any place,” Capellaro says. “You can start with someone toe-tapping, or have a piano pulled up and just start playing a C chord over and over again.” Often, the record label has already started for you—they’ll send an instrumental track to multiple songwriters, who each adds their own lyrics and melody. Then, the label simply chooses their favorite.
Other songs originate in songwriting camps. Basically, a record label will gather various songwriters in a house, split them into small groups, and “see if magic happens,” Stonestreet says. During a camp meant to generate hits for Dua Lipa a few years ago, it did: Stonestreet and several other writers penned her 2018 single “IDGAF.”
But even after a track has lyrics and a melody, there’s always a chance it’ll undergo another round of edits. Maybe a label liked a certain producer’s work on another song, so they ask them to tweak this one; or they bring in a new writer to fine-tune a few words or add a post-chorus. Big artists also sometimes have personal collaborators that they want credited on the song, whether or not they actually helped create it. “That’s why when you look at a Katy Perry song, you’re like ‘How did 14 people write this one song that has the most juvenile lyrics I’ve ever heard in my life?’ They didn’t—it’s all politics,” Capellaro says.
5. Songwriters don’t make much from music streaming services like Spotify.
Music streaming services like Spotify and Apple Music are notorious for pocketing most of the earnings from artists’ work. Spotify, for example, pays the rights holder as little as $0.006 for each stream—and that paltry sum must then be split among all the people involved in making the song. Songwriters, producers, musicians, managers, label executives, and any number of other people could each be entitled to a certain percentage of the profits. “I have over a million streams on one catalog, and that translated to $785,” Capellaro says. “If I sold a million copies, I would’ve had a house up in [Beverly Hills].” Not only are the rates low, but artists also have to somehow make their songs stand out from the tens of thousands of other new songs released each week, which Capellaro admits is “virtually impossible.”
6. Songwriters often juggle other jobs.
Since songwriters can’t rely on streaming dividends for income—and salaried music publishing positions don’t always come easy—they often make ends meet with a variety of side gigs. Park realized early in his career that while songwriters were mainly earning money from royalties, producers were often paid an hourly rate or up-front lump sum. “So I learned how to produce,” he says. Then, he purchased a mic and other equipment so he could record vocals at home—like hooks for people’s rap or EDM songs. “Basically, I’m an a la carte thing,” he explained. Park eventually branched out into music video production, and he’s now directed videos for chart-topping artists like G-Eazy and Ty Dolla $ign. He also served as a music technical consultant for 2020’s The High Note, starring Tracee Ellis Ross and Dakota Johnson; in that position, he made sure the dialogue, instruments, and other music-related details matched real life.
Even when a songwriter appears to be working a job entirely unrelated to the music industry, there could be a shrewd reason for doing so. Capellaro spent more than a decade running a restaurant called Amici in Brentwood, California. “I knew I wanted to be there because that’s where the celebrities live,” he explains. Sure enough, he connected with people like J.J. Abrams, Laura Dern, and Bonnie Hunt, who was hosting her NBC talk show at the time. One evening while refilling Hunt’s water glass, Capellaro posed a question: “Hey Bonnie, what would it take to be on your show?” She asked if he had a CD on hand, which he did, and booked him as a musical guest within weeks. The day after the taping, Hunt dined at Amici again and lauded Capellaro for his performance. “I’m like, ‘This is so surreal. I was just on your show yesterday, and now I’m bringing you sea bass.” A producer who caught the performance later reached out to Capellaro and ended up inviting him to his studio for songwriting sessions—which yielded hits for Chris Brown and Boyz II Men.
It was also at Amici that Capellaro developed a friendship with Marc Caruso, a music engineer who happened to be the founder of a music publishing company called Angry Mob Music Group. About five years ago, Caruso, knowing Capellaro was itching to give up his restaurant job and focus on music full-time, offered him a music publishing deal; Capellaro’s been there ever since.
7. Songwriters have to form close bonds with artists in a few hours or less.
Because the goal is to create a song that feels personal to the artist, songwriters usually prefer to work directly with them whenever possible. And getting the artist to give them some seed of inspiration means forging a deep friendship with them within minutes of entering the studio.
“There’s so much trust that needs to happen in the room. You’re telling potentially intimate details about yourself that would be uncomfortable sharing [with a stranger]. So much of it is trying to create a safe place for the artist and a safe place for the writers, all the while dealing with egos the size of tall buildings,” Capellaro says. “It’s almost like a therapy session: What’s your mood today? What happened over the weekend? What’re you pissed off about? What’re you inspired by at this very moment? Because it can change at 5 p.m. today, and maybe that inspires the song.”
Stonestreet expressed a similar sentiment. “I honestly love when the artist is involved. You won’t know anything specific unless you’re sitting there having a conversation—it can be emotional. You form a relationship, and you trust each other to handle the information.”
8. Songwriters have to say “no” without actually saying “no.”
Songwriters have to find creative ways of steering a song in the right direction without flatly rejecting an artist’s not-so-great suggestion. Stonestreet might toss out a compliment and lean on the lackluster reaction of the room as evidence that they haven’t yet struck gold. Something to the effect of: “‘That’s cool, and I like it, but maybe it’s not jumping out, and it’s not making everyone jump around the room and [giving everyone] that feeling of ‘This is so exciting.’”
“I always say, ‘Let’s try it,’” Park says. “‘I don’t necessarily hear what you’re talking about, but let’s try it.’” Sometimes, hearing their idea come to life is enough to make the artist realize it isn’t a great fit. Park also occasionally asks the artist’s manager, significant other, or another trusted party to weigh in, hoping they’ll side with him. “But I am always honest. I’m like, ‘Yeah, I don’t think the idea works. If you like it, 100-percent do it. It’s not my vibe, but it’s your song.'”
And since the artist does have final say, the writers also need to know when to cut their losses. If the artist is hell-bent on certain subpar lyrics? “You’re going to go with whatever they’re going to like,” Capellaro says.
9. Songs sometimes get lost in the abyss.
Earlier this year, Stonestreet wrote Ariana Grande and Justin Bieber’s duet “Stuck with U,” which got released mere weeks later. “I just heard the demo of it last week, and it’s coming out Friday. I don’t understand what’s going on,” she thought at the time. “That was a freak thing. Usually you do have to wait a minute.” A minute could be a year—or never. “So many people have to say yes to the song for it to come out … All the label’s people, the artist’s team, your team.” Even after getting all those green lights, a single could still test poorly among advance radio reviewers and end up stalling indefinitely.
Sometimes, a record label neglects to send the finished product back to the songwriter. “I think some songs can go into a complete abyss where they just sit on a hard drive for years and years,” Stonestreet says.
10. Songwriters have mixed feelings about making music via Zoom.
Since songwriting often involves multiple people spending long hours in a small studio, the coronavirus pandemic threatened to upend the whole system. So songwriters went virtual. Some, like Park and Stonestreet, already had recording equipment at home; Capellaro, meanwhile, quickly invested in a mic, a monitor, cables, and all the other requisite gadgets. To shift the workflow online, they’ve had to more clearly define each person’s task for each song.
“I’m a vocalist, so I’m going to record vocals in my house, and I will send the stems to producer X, Y, or Z, have them tune them for me [and] put them into the rest of the track," Capellaro says. “I can have another guy master it, [and] we can always hop on a FaceTime or Zoom call to get it written and recorded.” This streamlined process has actually helped with productivity. “I have been writing more music since March than I was previously,” Capellaro says.
Making music via video chat tends to work better with fewer people, so Stonestreet has enjoyed the opportunity for more one-on-one sessions. When there are several people on the call, they cut down on confusion over who’s speaking (and singing) by thoroughly explaining each suggestion. “You really talk things through, which has been really nice,” she says. That said, the camaraderie born in the studio is hard to recreate on a computer screen, and songwriters are eager to experience that again. “I love Zoom, but I also really miss people in the room with me,” Stonestreet says.