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Directed by | |||
| Clint Eastwood | |||
Writing credits(WGA) | ||
| Richard LaGravenese | (screenplay) | |
| Robert James Waller | (novel) | |
Produced by | |||
| Clint Eastwood | .... | producer | |
| Kathleen Kennedy | .... | producer | |
| Michael Maurer | .... | associate producer | |
| Tom Rooker | .... | associate producer | |
Original Music by | |||
| Lennie Niehaus | |||
Cinematography by | |||
| Jack N. Green | (director of photography) | ||
Film Editing by | |||
| Joel Cox | |||
Casting by | |||
| Ellen Chenoweth | |||
Production Design by | |||
| Jeannine Claudia Oppewall | (as Jeannine Oppewall) | ||
Art Direction by | |||
| William Arnold | |||
Set Decoration by | |||
| Jay Hart | |||
Costume Design by | |||
| Colleen Kelsall | |||
Makeup Department | |||
| Michael Hancock | .... | makeup artist (as Mike Hancock) | |
| J. Roy Helland | .... | hair stylist: Meryl Streep | |
| J. Roy Helland | .... | makeup artist: Meryl Streep | |
| Carol A. O'Connell | .... | hair stylist (as Carol O'Connell) | |
Production Management | |||
| Jim Behnke | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Bill Bannerman | .... | first assistant director | |
| Robert Lorenz | .... | second assistant director | |
| Bill Bannerman | .... | second unit director (uncredited) | |
Art Department | |||
| Edward Aiona | .... | property master | |
| Charles Breen | .... | assistant art director (as Charles W. Breen) | |
| Edward England | .... | construction coordinator | |
| Tyler Osman | .... | construction foreman | |
| Ricky Riggs | .... | stand-by painter | |
| Michael Sexton | .... | assistant property master | |
| Robert Lucas | .... | lead man (uncredited) | |
| Christopher Woodworth | .... | lead painter (uncredited) | |
Special Effects by | |||
| Jeff Denes | .... | special effects | |
| John Frazier | .... | special effects consultant | |
| Joe Pancake | .... | special effects | |
| Frances Pennington | .... | special effects (as Francis Pennington) | |
| Steve Riley | .... | special effects coordinator | |
Stunts | |||
| Pauline Lomas | .... | stunts (as Pauline Arthur) | |
| Shelley Phillips | .... | stunts | |
Camera and Electrical Department | |||
| Stephen S. Campanelli | .... | Steadicam operator | |
| Stephen S. Campanelli | .... | camera operator | |
| Colin J. Campbell | .... | chief lighting technician | |
| Bill Coe | .... | first assistant camera (as William Coe) | |
| Dick Deats | .... | key grip (as Dicky Deats) | |
| Jerry C. Deats | .... | dolly grip | |
| Frank R. Jimenez Jr. | .... | rigging gaffer (as Frankie R. Jimenez Jr.) | |
| Michael E. Matteson | .... | best boy grip | |
| Ken Regan | .... | still photographer | |
| Frank Scheidbach | .... | assistant lighting technician | |
| John Waldo | .... | second assistant camera (as John A. Waldo) | |
| Dean M. Simmon | .... | film loader (uncredited) | |
Casting Department | |||
| James Axotis | .... | extras casting | |
| Gabriela Leff | .... | casting assistant (as Gabby Leff) | |
| Michelle Vanderpool-Kohrs | .... | extras casting | |
Costume and Wardrobe Department | |||
| David Davenport | .... | wardrobe supervisor | |
| Kelly Lindquist | .... | set costumer: men | |
| Deedee Montesanto | .... | set costumer: women | |
Music Department | |||
| Robert Fernandez | .... | scoring mixer (as Bobby Fernandez) | |
| Donald Harris | .... | music editor | |
| Bruce Ricker | .... | music consultant | |
| Peter Afterman | .... | music supervisor (uncredited) | |
Transportation Department | |||
| Gene Biernot | .... | transportation captain | |
| Keith Dillin | .... | transportation coordinator | |
| Larry Stelling | .... | picture car coordinator (uncredited) | |
Other crew | |||
| Marco Barla | .... | unit publicist | |
| Lisa A. Becker | .... | production secretary | |
| Adam Bernhard | .... | production associate | |
| Paul A. Calabria | .... | animal trainer (as Paul Calabria) | |
| B. Ted Deiker | .... | production associate | |
| Matt Freeman | .... | assistant: Kathleen Kennedy | |
| James W. Gavin | .... | helicopter pilot | |
| Ken Haber | .... | location manager | |
| Cate Hardman | .... | script supervisor | |
| Jeff Kloss | .... | production accountant (as Jeffrey Kloss) | |
| Linda Mason | .... | craft service | |
| Jason D. McGatlin | .... | assistant production secretary (as Jason McGatlin) | |
| Erich Moeller | .... | production associate | |
| Maggie Pierson | .... | assistant: Meryl Streep | |
| Ken Regan | .... | technical consultant | |
| David Romano | .... | assistant production accountant | |
| Melissa Rooker | .... | assistant: Clint Eastwood | |
| Kara Sjoblom | .... | production associate | |
| Roselyn Winward | .... | assistant production accountant | |
| Channing Work | .... | production associate | |
| Gillian Wynn | .... | production associate | |
| Kaylene Carlson | .... | production assistant (uncredited) | |
| Jenny Elsinger | .... | set production assistant (uncredited) | |
| Tony Kerum | .... | caterer (uncredited) | |
| Stephen A. Marinaccio II | .... | production assistant (uncredited) | |
| Gerald F. Nichols | .... | production assistant (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
Meryl Streep is absolutely astonishing. I forgot it was her ten seconds into the film. That opening breakfast scene where all of her story is written in her magnificent face. As an Italian I know there is no acting involved here. She IS Italian. She reminded me of Anna Magnani in "Bellissima" there is not a single false note. Clint Eastwood, clearly, dedicates the film to her and the results are pure magic. The film is based on an unreadable book- at least I couldn't get through it, in spite of the brevity of the volume - the film however, is bound to become a classic thanks to the powerful chemistry of the stars. If you love film,like I do, I recommend you to see it once and let yourself be taken away by the truths in Meryl's eyes then go again and take note. Look at every one of her moments, from how she closes the refrigerator door to her laughter. Look at her reaction when she discovers that Clint stopped at Bari, her home town, just because he thought the place was pretty. Look at her hands, her walk and then go back to her eyes. It's a treat of the first order. Clint, in front as well as behind the camera,does a miraculous job. I passionately recommend it, no matter how young you are.