| Photos (See all 28 | slideshow) | Videos (see all 7) |
| Casey Affleck | ... | Gerry | |
| Matt Damon | ... | Gerry |
Directed by | |||
| Gus Van Sant | |||
Writing credits(WGA) | ||
| Casey Affleck | (written by) & | |
| Matt Damon | (written by) & | |
| Gus Van Sant | (written by) | |
Produced by | |||
| Jay Hernandez | .... | associate producer | |
| Dany Wolf | .... | producer | |
Original Music by | |||
| Arvo Pärt | |||
Cinematography by | |||
| Harris Savides | |||
Film Editing by | |||
| Casey Affleck | |||
| Matt Damon | |||
| Gus Van Sant | |||
Makeup Department | |||
| Chris Burgoyne | .... | special makeup effects artist | |
Production Management | |||
| Diego Conejero | .... | production manager: Argentina | |
| Jen Wall | .... | production supervisor | |
| Dany Wolf | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Sally Sue Beisel | .... | second assistant director | |
| Dany Wolf | .... | assistant director | |
Sound Department | |||
| Felix Andrew | .... | sound mixer | |
| Todd Beckett | .... | sound re-recording mixer | |
| Stuart Deutsch | .... | boom operator | |
| Goro Koyama | .... | foley artist | |
| Andy Malcolm | .... | foley artist | |
| Tim Rakoczy | .... | assistant sound editor | |
| Leslie Shatz | .... | sound designer | |
| Leslie Shatz | .... | supervising sound editor | |
| Don White | .... | foley recording mixer | |
| Rebecca Wright | .... | foley assistant | |
Special Effects by | |||
| Joshua Kornoff | .... | special effects technician | |
Visual Effects by | |||
| Syd Dutton | .... | special visual effects: Illusion Arts | |
| Janos Pilenyi | .... | optical supervisor | |
| Bill Taylor | .... | special visual effects: Illusion Arts | |
| Mamie McCall | .... | visual effects coordinator: Illusion Arts (uncredited) | |
Camera and Electrical Department | |||
| Chris Blauvelt | .... | assistant camera | |
| Mike Blauvelt | .... | third assistant camera | |
| Anthony Cady | .... | grip (as Tony Cady) | |
| Christian Davidson | .... | grip | |
| Drew Davidson | .... | grip (as Andrew Davidson) | |
| Jamie Franta | .... | grip | |
| Alice Gu | .... | assistant camera | |
| Pablo Gómez | .... | second assistant camera | |
| Mark Hyde | .... | grip | |
| Jim Kwiatkowski | .... | key grip | |
| John Mang | .... | dolly grip | |
| Jason McCormick | .... | assistant camera | |
| Brady McElroy | .... | grip | |
| Matías Mesa | .... | Steadicam operator | |
| Bud Scott | .... | best boy grip | |
Editorial Department | |||
| Lilah Bankier | .... | assistant editor | |
| Don Ciana | .... | color timer | |
| John Dowdell | .... | hd colorist | |
| Patricia Sztaba | .... | negative cutter | |
| Stan Sztaba | .... | negative cutter | |
| Joe Violante | .... | dailies advisor | |
| Paul Zucker | .... | associate editor | |
| Cory Ginsburg | .... | assistant editor (uncredited) | |
Other crew | |||
| Jeff Eveleth | .... | production assistant | |
| Trinette L. Faint | .... | assistant: Mr. Damon (as Trinette Faint) | |
| Roger D. Faires | .... | location manager | |
| Danielle Fenati | .... | production assistant | |
| Joeby Gibson | .... | production assistant | |
| Andrew K. Hodge | .... | location manager | |
| Mary Jasionowski | .... | production accountant: Los Angeles | |
| Damon Zwicker | .... | production assistant | |
Thanks | |||
| Bobby Bukowski | .... | thanks | |
| Ken Kesey | .... | in memory of | |
| Béla Tarr | .... | special thanks | |
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| My Own Private Idaho | 127 Hours | Into the Wild | The Brown Bunny | Dreamcatcher |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Adventure section | IMDb USA section |
I have spent a lot of time in the desert and I think what Gus Van Sant was trying to portray (and maybe not very effectively) is that space/time warp you experience when you find yourself in a place where your attention span must go from 1/2 second to a billion years, where one's sense of the passage of time becomes almost irrelevant. The human brain, especially in this age of MTV, cannot fathom the slowness of geologic change in the desert, and has trouble fathoming the change of perspective, where everything seems closer than it really is. I have "walked that walk" where the object you're heading toward keeps receding into the distance, and the tendency is to walk as the two Gerrys were walking in the slow shot of the sides of their heads, and hear nothing but the measured crunching of your footsteps. The long shot was perfectly appropriate. Maybe one has to spend time in the desert to "get it", but I thought the film was dead right-on with the music, the visuals and the pacing. I loved the film and will watch it again and probably again.