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Guy Ritchie (written by)
19 January 2001 (USA) more
Stealin' Stones and Breakin' Bones more
Unscrupulous boxing promoters, violent bookmakers, a Russian gangster, incompetent amateur robbers, and supposedly Jewish jewelers fight to track down a priceless stolen diamond. full summary | full synopsis
4 wins & 5 nominations more
Ritchie: 'I'm making Holmes to be popular'
(From digitalspy. 9 November 2009, 8:30 AM, PST)
Official Blu-ray and DVD Details for Duncan Jones’ Moon
(From FilmSchoolRejects. 9 November 2009, 7:50 AM, PST)
There are few films that can make me laugh like this one can more (635 total)
Directed by | |||
| Guy Ritchie | |||
Writing credits | ||
| Guy Ritchie | (written by) | |
Original Music by | |||
| John Murphy | |||
Cinematography by | |||
| Tim Maurice-Jones | (director of photography) | ||
Film Editing by | |||
| Jon Harris | |||
Casting by | |||
| Lucinda Syson | |||
Production Design by | |||
| Hugo Luczyc-Wyhowski | |||
Art Direction by | |||
| Julie Philpott | |||
Set Decoration by | |||
| Linda Wilson | |||
Costume Design by | |||
| Verity Hawkes | |||
Makeup Department | |||
| Jean Ann Black | .... | makeup artist: Mr Pitt (as Jean Black) | |
| Fae Hammond | .... | chief hair stylist | |
| Fae Hammond | .... | chief makeup artist | |
| Fae Hammond | .... | chief tattoos | |
| Belinda Parish | .... | hair stylist (as Belinda Parrish) | |
| Belinda Parish | .... | makeup artist (as Belinda Parrish) | |
| Pebbles | .... | key hair stylist | |
| Pebbles | .... | key makeup artist | |
| Pebbles | .... | key tattoos | |
Production Management | |||
| Adam Bohling | .... | production manager | |
| Ashton Radcliffe | .... | location unit manager | |
Second Unit Director or Assistant Director | |||
| David Reid | .... | first assistant director | |
| Daniel Toland | .... | second assistant director (as Dan Toland) | |
| Mick Ward | .... | third assistant director | |
| Tom Delmar | .... | action unit director (uncredited) | |
| Tom Rye | .... | third assistant director (uncredited) | |
| Mick Ward | .... | second unit director (uncredited) | |
Art Department | |||
| Peter Burden | .... | dressing props | |
| Will Cann | .... | stand-by props | |
| Graham Cole | .... | stand-by carpenter | |
| Chris Cutler | .... | dressing props | |
| Sandra Fattorre | .... | art department production assistant | |
| Martin Foley | .... | assistant art director | |
| Gerry Higgins | .... | stand-by rigger | |
| Verena Kahn | .... | assistant art director (as Verena Khan) | |
| Thomas Martin | .... | carpenter | |
| Campbell Mitchell | .... | stand-by props | |
| Tom Pleydell-Pearce | .... | property master | |
| John Roberts | .... | supervising painter | |
| Tom Roberts | .... | stand-by painter (as Tommy Roberts) | |
| David Smith | .... | stagehand | |
| Philip Smith | .... | supervising carpenter (as Phillip Smith) | |
| Dennis Wilson | .... | construction coordinator (as Denis Wilson) | |
Sound Department | |||
| Matthew Collinge | .... | sound designer | |
| Matthew Collinge | .... | sound effects editor | |
| Mike Dowson | .... | sound re-recording mixer | |
| Arthur Fenn | .... | boom operator (as Arthur Turner) | |
| Diane Greaves | .... | foley artist (as Dianne Greaves) | |
| James Harris | .... | cableman | |
| Simon Hayes | .... | sound mixer | |
| Robin Johnson | .... | cableman | |
| Michael Redfern | .... | foley editor | |
| Danny Sheehan | .... | dialogue editor | |
| Jason Swanscott | .... | foley artist | |
| Mark Taylor | .... | sound re-recording mixer | |
| Darren McQuade | .... | adr mixer (uncredited) | |
Special Effects by | |||
| Casper Lailey | .... | special effects technician (as Caspar Lailey) | |
| Ken Lailey | .... | special effects supervisor | |
| Alastair Vardy | .... | special effects technician (uncredited) | |
| Gareth Wingrove | .... | special effects technician (uncredited) | |
Visual Effects by | |||
| Paul Conway | .... | compositing artist: The Moving Picture Company | |
| Gavin Digby | .... | compositing artist: The Moving Picture Company | |
| Michael Elson | .... | digital effects producer: The Moving Picture Company | |
| Kristin Emblem | .... | digital effects producer: The Moving Picture Company | |
| Ed Hawkins | .... | compositing artist: The Moving Picture Company | |
| Gregory Salter | .... | compositing artist: The Moving Picture Company | |
| Jean-Clement Soret | .... | digital colourist: The Moving Picture Company | |
| Mark Stannard | .... | compositing artist: The Moving Picture Company | |
| Jelena Stojanovic | .... | compositing artist: The Moving Picture Company | |
| Tom Wood | .... | compositing artist: The Moving Picture Company | |
| Michael Elson | .... | head of production: The Moving Picture Company (uncredited) | |
| Willi Geiger | .... | research and development (uncredited) | |
| Alasdair MacCuish | .... | senior data-op: The Moving Picture Company (uncredited) | |
| Daniel Walton | .... | digital artist (uncredited) | |
Stunts | |||
| Tom Delmar | .... | stunt coordinator (as Tom Delmar-McCormick) | |
| Tom Delmar | .... | fight director (uncredited) | |
| Charles Jarman | .... | stunt double: Robbie Gee (uncredited) | |
Camera and Electrical Department | |||
| Ray Bateman | .... | electrician | |
| Frank Cox | .... | electrician | |
| Andy Duncan | .... | chief lighting technician | |
| Stuart Graham | .... | focus puller | |
| Elizabeth Hoar | .... | camera trainee | |
| Jake Marcuson | .... | clapper loader (as Jake Marcusson) | |
| Richard Oxley | .... | assistant chief lighting technician | |
| Sebastian Pearson | .... | still photographer | |
| Chris Polden | .... | electrician | |
| Peter Wignall | .... | Steadicam operator: "a" camera | |
| Peter Wignall | .... | camera operator | |
| Terry Williams | .... | key grip | |
| Sam Barnes | .... | focus puller: second unit (uncredited) | |
| Stuart Howell | .... | additional Steadicam operator (uncredited) | |
| Jon Mitchell | .... | daily clapper loader (uncredited) | |
Casting Department | |||
| Vanessa Baker | .... | adr voice casting | |
| Emma Engers | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Melina Fragkia | .... | wardrobe | |
| Sharon Gilham | .... | costume supervisor | |
| Caroline McCall | .... | wardrobe | |
| Nicki Varney | .... | costume assistant (as Nicky Varney) | |
Editorial Department | |||
| Jatinderpal Chohan | .... | post-production | |
| Peter Dansie | .... | assistant editor | |
| Les Healey | .... | co-editor | |
| David Rees | .... | color timer | |
| Paul Swinburne | .... | first assistant editor | |
Music Department | |||
| Matt Biffa | .... | music researcher | |
| Karen Elliott | .... | music researcher | |
| Daniel L. Griffiths | .... | score engineer (as Daniel L Griffiths) | |
| Daniel L. Griffiths | .... | score mixer (as Daniel L Griffiths) | |
| Ged Lynch | .... | music contractor | |
| Ian Neil | .... | music consultant | |
| Danny Sheehan | .... | music editor | |
| Patricia Joseph | .... | soundtrack producer (uncredited) | |
Transportation Department | |||
| Simon Barker | .... | transportation captain | |
| Fergus Cotter | .... | driver | |
| Colin Giffin | .... | driver | |
| Melvin Kiernan | .... | driver | |
| Steve Rogers | .... | driver | |
| Mark White | .... | transportation | |
Diamonds (USA) (working title)
Lock, Stock... and Six Stolen Diamonds (UK) (working title)
Snatch (UK) (alternative spelling)
Snatch'd (USA) (working title)
The Guy Ritchie Project (USA) (working title)
Snatch: Cerdos y diamantes (Argentina) (Mexico) (Spain) [es]
Cerdos y diamantes (Colombia) (Mexico) [es]
Snatch - Porcos E Diamantes (Brazil) (Portugal) [pt]
Snatch - Schweine und Diamanten (Austria) (Germany) [de]
Blöff (Hungary) [hu]
Bol'shoy kush (Russia) (censored version) [ru]
Kapisma (Turkey: Turkish title) [tr]
Podfu(c)k (Czech Republic) [cs]
Podfu(c)k (Slovakia) [sk]
Przekret (Poland) [pl]
Snatch - Tu braques ou tu raques (France) [fr]
Snatch - hävyttömät (Finland) [fi]
Snatch - lo strappo (Italy) [it]
Snatch. (Denmark) [da]
Spizdili (Russia) [ru]
Teemandirööv (Estonia) [et]
Zdrpi i brisi (Croatia) [hr]
more
Rated R for strong violence, language and some nudity.
104 min | USA:102 min
1.85 : 1 more
Singapore:M18 (uncut) | Finland:K-15 (DVD rating) | Finland:K-16 (original rating) | Iceland:16 | USA:R (NO. 37533) | Philippines:R-18 | Brazil:16 | Argentina:16 | Australia:MA | Canada:16+ (Québec) | Canada:18A (Canadian Home Video rating) | Chile:18 | Denmark:15 | France:U | Germany:16 | Greece:K-17 | Hong Kong:IIB | Hungary:16 | Ireland:18 | Japan:PG-12 | Mexico:B | Netherlands:16 | New Zealand:R18 | Norway:15 | Peru:18 | Portugal:M/16 | Singapore:PG (censored version) | South Korea:18 | Spain:18 | Sweden:15 | Switzerland:16 (canton of Geneva) | Switzerland:16 (canton of Vaud) | UK:18
Jester's Amusement Arcade, West Ealing, London, England, UK more
The producers couldn't afford enough extras for the boxing match sequences. Whenever a camera angle changed, the extras had to move around to create an impression of a crowded house. more
Continuity: In the back of the truck after the diamond heist in Antwerp, Frankie gives his gun to another man. During this exchange it can be seen that Frankie does in fact have all ten fingers. more
[first lines]
Turkish:
[narrating] My name is Turkish. Funny name for an Englishman, I know. My parents to be were on the same plane when it crashed. That's how they met. They named me after the name of the plane. Not many people are named after a plane crash. That's Tommy. He tells people he was named after a gun, but I know he was really named after a famous 19th century ballet dancer.
more
Referenced in "Will & Grace: Sons and Lovers (#3.22)" (2001) more
SENSUAL WOMAN more
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`Snatch', written and directed by Guy Ritchie is by far one of my favorite films of all time it is easily in my personal Top Thirty. In the film, about (what else?) several schemes that happen to go very wrong yet manage to intertwine and (for better or worse) resolve themselves in the end, Ritchie assembles one of the funniest cast of characters in recent memory. Let's see if we can keep this straight:
Turkish (Jason Statham) and his partner Tommy (Stephen Graham) are amateur boxing promoters who, after their premier fighter is wounded, have to find a replacement to fight, or one of the meanest guys in London, Brick Top (Alan Ford), who just happens to run the boxing matches and stands to make a lot of money off of the fight is going to impart his unique brand of justice on them. Enter Mickey (Brad Pitt) the gypsy who knocked their fighter out, who is an unintelligible drunk with quite a right hook. Meanwhile, there is a diamond `the size of a fist' that has been stolen by Franky Four Fingers (Benicio Del Toro). On his way back from London to America where he is planning on fencing the diamond, trouble ensues, and his fence, Cousin Avi (Dennis Farina) is forced to come to London to find both Franky and the diamond with the help of characters like Bullet Tooth Tony (Vinnie Jones) and Doug `The Head' Denovitz (Mike Reid). Of course, this can't happen easily, as there are a trio of inept thieves on the trail of the diamond as well as my personal favorite character in the film, Boris `The Blade' Yurinov (Rade Serbedzija) or as he's better known, `Boris the Bullet Dodger'.
Did you get all that? The performances by all of the above actors, and several more that I didn't even mention are all really good, particularly Brad Pitt's. Every single actor in `Snatch' looks like they are having one hell of a good time working in the film. This story, while complex and with many ramifications from the core plot is absolutely brilliant and a lot of fun. There are many one-liners that I still personally use four years after first seeing the film, and the intricate weaving of the characters to tell a very simple heist story is just SO good. `Snatch' would be a great film due to its story alone, but Guy Ritchie's direction is so dead on, the film transcends brilliant and becomes FAN-insert your choice of expletive here-TASTIC. The slick cinematography, lightning-fast pacing and fun camera angles are right on target with the story. Add on a great soundtrack that spans Oasis, techno and a traditional-sounding Hasidic song and Ritchie has presented the viewer with an instant classic.
While this was not the first time I had seen the film `Snatch', it was the first time I'd watched the film knowing that I would have to analyze it slightly in order to funnel my thoughts from the film just being `Phenomenal!' to `Phenomenal because ..' While I can certainly be classified as an unabashed Madonna fan, and have been for the last two decades, I REALLY hope that Ritchie decides to drop his wife from his film work and not continue on the `Swept Away' path, rather, to get back to the work that has earned him well-deserved high praise. Sorry Madge.
--Shelly