The family of a father of five who was kicked and detained by federal officers on Friday says an agent pointed a gun at him.

Jose Campollo, 56, was traveling in his work truck on his way home to Wilmington when immigration agents pulled him over. Video taken from a nearby home showed an armed agent pointing a large firearm at Campollo and kicking him at least once on the sidewalk. Both the agent and Campollo can be seen speaking to one another in the video before he was ultimately detained.

Another video recorded by Campollo’s son, Jose Jr., shows an agent and the son speaking to each other while the father is being detained. In the video, Jose Jr. can be heard demanding a warrant from the agent while the agent appears to try to diffuse the encounter. A woman can also be heard yelling that he isn’t a criminal and denouncing the agents’ actions.

“They kicked him, yeah,” Jose Jr. said. “I honestly didn’t saw that until now when my little brother was showing the camera footage and it broke my heart just seeing my dad being kicked like that. I felt useless, like I couldn’t do anything.”

According to the man’s son, the armed agent also pointed his firearm at him and threatened to open fire.

“In that moment, I didn’t know what else to do except record everything that has happening,” Jose Jr. told NBC4’s sister station, Telemundo 52.

Campollo’s son said his father was arrested for an unspecified violation in 1994, but the victim in the case testified that Campollo wasn’t the suspect, so he was released from any charges.

As of Friday, Campollo was placed at the Metropolitan Detention Center in downtown Los Angeles. His loved ones are seeking an attorney to fight his deportation.

NBC4 and Telemundo 52 have reached out to the Department of Homeland Security for comment.

The recent immigration enforcement operations in Los Angeles and other parts of Southern California are part of President Trump’s campaign promise to carry out a mass deportation plan.

Through Sept. 13, about 58,000 migrants had been taken into ICE detention since the start of President Trump’s second term, according NBC News, which used ICE data both public and internal as well as data from the U.S. Customs and Border Protection agency. About 29.4% of those in detention had criminal convictions; 25.5% had pending criminal charges; 45.8% were listed as “other immigration violator;” and 11.1% were fast-tracked for deportation.

LOS ANGELES (AP) — Why would anyone keep a prop from the set of “Jaws?”

Steven Spielberg was musing about what it felt like while making his 1975 oceanic classic, and how little he thought any of it would matter when shooting the now-legendary opening scene of a woman night-swimming past an ocean buoy. His primary concern was keeping his job as a 26-year-old director amid unfolding disasters.

“How did anybody know to take the buoy and take it home and sit on it for 50 years?” he said.

That prop is among the first things visitors will see as they enter a 50th anniversary “Jaws” exhibit opening Sunday and running through July at the Academy Museum of Motion Pictures.

The exhibition featuring more than 200 pieces from the culture-changing blockbuster is the first full show in the four-year history of the museum that is dedicated to a single film. It comes amid a bevy of celebrations of the film’s five-decade life, including a theatrical re-release last week.

Spielberg spoke to a gathering of media at the museum after touring the exhibit, which takes visitors chronologically through the film’s three acts, with some relic or recreation from virtually every scene.

“I’m just so proud of the work they’ve done,” the 78-year-old said. “What they’ve put together here at this exhibition is just awesome. Every room has the minutiae of how this picture got together.”

“Clearly this is a very historic initiative for us,” museum director Amy Homma said before introducing the director and also announced the museum plans a full Spielberg retrospective in 2028.

What’s inside the ‘Jaws’ exhibit

“Jaws” has been essential to the Academy Museum, which opened in 2021 and is operated by the organization that gives out the Oscars.

The only surviving full-scale mechanical shark from the production, 25 feet in length and nicknamed “Bruce” by Spielberg after his lawyer, has permanently hung over the escalators since it opened.

Homma said Bruce has become an “unofficial mascot” that “helped to define this museum.”

The media preview was accompanied by a 68-piece orchestra playing John Williams’ score. Two of the musicians played on the original.

The exhibit includes a keyboard with instructions on how to play Williams’ famously ominous two-note refrain that a generation of children learned to tap out on the piano.

Similar novelties include a dolly-zoom setup to which visitors can attach their phone and shoot their own face to recreate perhaps the film’s most famous shot, the zoom-in to star Roy Scheider’s frightened gaze on the beach in the fictional town of Amity.

There is also a small scale-model of the film’s mechanical sharks that patrons can manually operate as crew members did at the time. And a photo-friendly recreation of the galley of the Orca — the vessel that prompted Scheider to say “You’re gonna need a bigger boat” — where he, Richard Dreyfuss and Robert Shaw sat, drank, sang sea-shanties and compared scars and shark tales.

But it’s the real stuff from the production that really makes the show, with relics from both sides of the camera.

There’s that buoy initially kept by Lynn Murphy, a marine mechanic who worked on the film who lived in Martha’s Vineyard where the film was shot, before selling it to a collector in 1988.

And there is a dorsal fin prop that struck terror in beachgoers in the film and moviegoers in the theater, and a real great white shark’s jaw used for reference by the filmmakers that also appeared on screen.

Film geeks can get a close look at the aquatic cameras used by cinematographer Bill Butler and his team, and a Moviola used by editor Verna Fields. And they can get a play-by-play of the processes of casting director Shari Rhodes and a team of screenwriters that included Peter Benchley, author of the novel.

“Jaws” — a cursed production followed by 50 triumphant years

Spielberg said for him the exhibition above all “proves that this motion picture industry is really truly a collaborative art form. No place for auteurs.”

He said the crew’s camaraderie was the only thing that kept the production together.

Their making of the riveting film was oddly enough marked mostly by boredom — endless waits because of unfavorable conditions, unwanted ships in the background and broken down equipment that led to the shoot going 100 days over schedule.

“I just really was not ready to endure the amount of obstacles that were thrown in our path, starting with Mother Nature,” Spielberg said. “My hubris was we could take a Hollywood crew and go out 12 miles into the Atlantic Ocean and shoot an entire movie with a mechanical shark. I thought that was to go swimmingly.”

People played a lot of cards. Others tried to reckon with seasickness.

“I’ve never seen so much vomit in my life,” he said.

It would be worth it in the end.

“The film certainly cost me a pound of flesh,” he said, “but gave me a ton of career.”

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