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Directed by | |||
| Wes Anderson | |||
Writing credits(WGA) | ||
| Wes Anderson | (written by) & | |
| Noah Baumbach | (written by) | |
Produced by | |||
| Wes Anderson | .... | producer | |
| Dan Beers | .... | associate producer | |
| Barry Mendel | .... | producer | |
| Scott Rudin | .... | producer | |
| Rudd Simmons | .... | executive producer | |
| Enzo Sisti | .... | co-producer | |
Original Music by | |||
| Mark Mothersbaugh | |||
Cinematography by | |||
| Robert D. Yeoman | (director of photography) (as Robert Yeoman) | ||
Film Editing by | |||
| David Moritz | |||
Casting by | |||
| Douglas Aibel | |||
Production Design by | |||
| Mark Friedberg | |||
Art Direction by | |||
| Stefano Maria Ortolani | |||
| Marco Trentini | |||
| Eugenio Ulissi | |||
Set Decoration by | |||
| Gretchen Rau | |||
Costume Design by | |||
| Milena Canonero | |||
Makeup Department | |||
| Jana Carboni | .... | assistant makeup artist | |
| Maria Teresa Corridoni | .... | key hair stylist | |
| Maurizio Damiani | .... | assistant hair stylist | |
| Frances Hannon | .... | hair stylist: Bill Murray | |
| Frances Hannon | .... | makeup artist: Bill Murray | |
| Enrico Jacoponi | .... | assistant makeup artist (as Enrico Iacoponi) | |
| Rosa Luciani | .... | hair stylist | |
| Vincenzo Mastrantonio | .... | makeup artist | |
| Emanuel Millar | .... | hair stylist: Cate Blanchett | |
| Belinda Parish | .... | hair stylist: Marineland, Antibes | |
| Belinda Parish | .... | makeup artist: Marineland, Antibes | |
| Corrado Pastore | .... | hair production assistant | |
| Mario Pegoretti | .... | hair stylist | |
| Francesco Scaramella | .... | assistant hair stylist | |
| Katia Sisto | .... | assistant makeup artist (as Caterina Sisto) | |
| Gino Tamagnini | .... | key makeup artist (as Gino Tomagnini) | |
| Heba Thorisdottir | .... | makeup artist: Cate Blanchett | |
| Cristina Patterson Ceret | .... | contact lens painter (uncredited) | |
Production Management | |||
| Manuela Cacciamani | .... | assistant unit manager | |
| Vito Colazzo | .... | unit production manager | |
| Federico Foti | .... | unit manager | |
| Marco Olivieri | .... | unit manager: second unit | |
Art Department | |||
| Alessia Anfuso | .... | assistant set decorator | |
| Maria-Teresa Barbasso | .... | assistant art director | |
| Simone Braguglia | .... | art department assistant | |
| Cristina Cecili | .... | painter | |
| Barbara Cicero | .... | art buyer | |
| Giulia Chiara Crugnola | .... | assistant art director | |
| Sandro Erdolini | .... | painter | |
| Roberta Federico | .... | set designer | |
| Antonio Fraulo | .... | assistant property master | |
| Sandy Hamilton | .... | property master | |
| Simona Migliotti | .... | set designer | |
| Kris Moran | .... | assistant property master (as Kristine Moran) | |
| Stefano Morbidelli | .... | on-set dresser | |
| Antonio Murer | .... | set dresser | |
| Sebastiano Murer | .... | props | |
| Mark Pollard | .... | graphic art director | |
| Alessandra Querzola | .... | assistant set decorator | |
| Saverio Sammali | .... | assistant art director | |
| Briseide Siciliano | .... | assistant set decorator | |
| Andrea Tolomei | .... | set dressing runner | |
| Bill Roth | .... | sculptor (uncredited) | |
Sound Department | |||
| Olivier Burgaud | .... | boom operator | |
| David V. Butler | .... | dialogue editor | |
| Kevin E. Carpenter | .... | sound re-recording mixer | |
| Kim Drummond | .... | dialogue editor | |
| David Giammarco | .... | sound re-recording mixer | |
| David Giammarco | .... | supervising sound editor | |
| Wayne Griffin | .... | adr supervisor | |
| Scott A. Jennings | .... | supervising sound editor | |
| Jonathan Klein | .... | sound effects editor (as Jonathan A. Klein) | |
| Goro Koyama | .... | foley artist | |
| Andy Malcolm | .... | foley artist | |
| Anna Malkin | .... | foley recording assistant | |
| Rupert Nadeau | .... | assistant sound editor | |
| Michael O'Farrell | .... | sound effects editor | |
| Joe Schiff | .... | first assistant sound editor | |
| Gregory H. Watkins | .... | sound re-recording mixer | |
| Pawel Wdowczak | .... | sound mixer | |
| Don White | .... | foley recording mixer | |
| Paul Berolzheimer | .... | sound editor (uncredited) | |
Special Effects by | |||
| Daniel Acon | .... | special effects coordinator | |
| Renato Agostini | .... | special effects supervisor | |
| Danilo Bollettini | .... | special effects technician | |
| Massimo Cardajoli | .... | special effects technician | |
| Maurizio Corridori | .... | special effects | |
| Stefano Corridori | .... | special effects technician | |
| Damien Fitzpatrick | .... | dolphin technican | |
| Andy Lawless | .... | shoot supervisor: animation unit | |
| Marco Moneta | .... | special effects technician | |
| Franco Ragusa | .... | special effects foreman | |
| Silvano Scasseddu | .... | special effects | |
| Pieter Folkens | .... | dolphin designer/sculptor (uncredited) | |
Visual Effects by | |||
| Jacqueline Allard | .... | rotoscope: Gray Matter FX | |
| Margaret Lily Andres | .... | assistant editor: animation unit | |
| Christian T. Andrews | .... | motion control engineer: stop motion unit | |
| Arthur Argote | .... | compositor: Gray Matter FX | |
| Adam Avitabile | .... | digital compositor | |
| Joseph Brattesani | .... | compositor: Gray Matter FX | |
| Kevin R. Browne | .... | digital artist | |
| Chad Buehler | .... | digital compositor | |
| Patrick Clancey | .... | digital opticals | |
| Walt Conti | .... | animatronic effects supervisor | |
| Pierre Couture | .... | digital producer: Gray Matter FX | |
| Sean C. Cunningham | .... | digital artist: Gray Matter Effects | |
| Jeremy Dawson | .... | visual effects supervisor | |
| Mark S. Driscoll | .... | visual effects producer: LOOK! Effects Inc. (as Mark Driscoll) | |
| Travis Dutch | .... | scanning and recording | |
| Henrik Fett | .... | visual effects supervisor: LOOK Effects, Inc. (as Henrik R. Fett) | |
| Ray Giarratana | .... | visual effects supervisor | |
| William Higgins | .... | rotoscope: Gray Matter FX | |
| Timothy Hittle | .... | stop-motion animator | |
| Nancy Hyland | .... | compositor: Gray Matter FX | |
| Christopher Ivins | .... | digital compositor: Look! Effects, Inc. | |
| Joni Jacobson | .... | compositor: Gray Matter FX | |
| Patrick Keenan | .... | digital compositor: Pacific Title | |
| Danny S. Kim | .... | compositor | |
| Perry M. Kimura | .... | digital scanning and recording: Efilm/Deluxe | |
| Justin Kohn | .... | lead stop-motion animator | |
| Keith Lackey | .... | character modeler/rigger | |
| Jay Lalime | .... | digital I/O: Gray Matter FX | |
| Tom Lynnes | .... | CG artist: Gray Matter FX | |
| Tom Lynnes | .... | CG supervisor: Gray Matter FX | |
| Margaux Mackay | .... | visual effects producer: Gray Matter | |
| Diane Macke | .... | project manager: EFilm | |
| Gray Marshall | .... | visual effects supervisor: Gray Matter FX | |
| Caleb Owens | .... | modeler: Gray Matter FX | |
| César Romero | .... | compositor: Gray Matter FX | |
| Robert Scifo | .... | digital matte painter: Gray Matter FX | |
| Henry Selick | .... | visual effects: underwater scenes | |
| Tefft Smith | .... | digital artist | |
| Giuseppe Squillaci | .... | digital artist: Proxima | |
| Nancy St. John | .... | visual effects producer | |
| Eben Stromquist | .... | model maker | |
| Pat Sweeney | .... | director of photography: animation unit (as Patrick Sweeney) | |
| Eric Swenson | .... | visual effects director of photography | |
| Thomas Tannenberger | .... | digital compositor | |
| Dan Trezise | .... | digital compositor: Gray Matter | |
| Paolo Verrucci | .... | telecine colorist dailies | |
| Ntana Key | .... | second digital colorist: EFILM (uncredited) | |
| Thomas Mathai | .... | data manager (uncredited) | |
Stunts | |||
| David Ambrosi | .... | stunt double | |
| Giorgio Antonini | .... | stunt double | |
| Paolo Antonini | .... | stunt double | |
| Massimiliano Bianchi | .... | stunt rigger | |
| Danilo Capuzi | .... | stunt double | |
| Gionata Marzeddu | .... | utility stunts | |
| Stefano Maria Mioni | .... | assistant stunt coordinator (as Stefano Mioni) | |
| Alessandro Novelli | .... | stunt double | |
| Emiliano Novelli | .... | stunt double | |
| Franco Maria Salamon | .... | stunt coordinator | |
Animation Department | |||
| Mike Cachuela | .... | animatic artist | |
| Roger Udwin | .... | assistant coordinator: animation unit | |
Casting Department | |||
| Stephanie Holbrook | .... | casting associate | |
| Béatrice Kruger | .... | casting: Italy | |
Costume and Wardrobe Department | |||
| Barbara Adducci | .... | costume department coordinator | |
| Claudio Manzi | .... | costume assistant | |
| Bojana Nikitovic | .... | assistant costume designer | |
| Uliva Pizzetti | .... | costume supervisor | |
| Annie Yun | .... | costume assistant | |
Editorial Department | |||
| Jason Barnoski | .... | post-production assistant | |
| Luke Borghi | .... | assistant editor | |
| Charles Bunn | .... | assistant editor | |
| Dale E. Grahn | .... | film color timer | |
| Jennifer Hatton | .... | assistant editor | |
| Natasha Leonnet | .... | digital color timer (as Natasha Leonett) | |
| Jack Lewars | .... | assistant color timer: Efilm | |
| Daniel R. Padgett | .... | additional film editor | |
| Lorene Simpson | .... | digital intermediate producer | |
| Mary Beth Smith | .... | negative cutter | |
| Michael R. Taylor | .... | post-production assistant | |
| Gina Zappala | .... | assistant editor | |
| Jamie Mitchell | .... | video post-production editor (uncredited) | |
Music Department | |||
| Jim Dunbar | .... | music coordinator | |
| Walt Fowler | .... | musician: trumpet | |
| Christopher Guardino | .... | musician: piano, celeste, harpsichord, organ | |
| Christopher Guardino | .... | orchestrations (as Chris Guardino) | |
| Richard Henderson | .... | music editor | |
| Jonathan Karp | .... | additional music editor | |
| Stewart Lerman | .... | music recording mixer | |
| Randall Poster | .... | music supervisor | |
| Booker White | .... | music preparation | |
| Reggie Wilson | .... | music contractor | |
Transportation Department | |||
| Daniele Abeille | .... | transportation coordinator | |
| Massimiliano Rocchetti | .... | transportation captain | |
Other crew | |||
| Andrea Alunni | .... | assistant marine coordinator | |
| Daren Bailey | .... | assistant marine coordinator | |
| Eleonora Baldwin | .... | script supervisor: second unit | |
| Matteo Bardelli | .... | set production assistant | |
| Jaclyn Bashoff | .... | assistant: Anjelica Huston | |
| Milena Bono | .... | location coordinator | |
| Rebecca Booth | .... | production assistant | |
| Giorgio Catalano | .... | production accountant | |
| Ted Cella | .... | assistant: Scott Rudin | |
| Carmela Compagnone | .... | assistant accountant | |
| Molly Cooper | .... | assistant: Barry Mendel | |
| Ian Creed | .... | marine coordinator | |
| Chris Cussen | .... | executive assistant: Mr. Rudin | |
| Steve Eckelman | .... | assistant: Owen Wilson | |
| Johnny Egan | .... | production assistant | |
| Jules Eggli | .... | assistant: Scott Rudin | |
| Willy Faso | .... | production assistant | |
| Nicola Fedrigoni | .... | assistant location manager | |
| Max Fink | .... | assistant production coordinator | |
| Alessandro Fiorito | .... | accountant | |
| Maria Fiorito | .... | production accountant | |
| Alessandra Fortuna | .... | assistant: Rudd Simmons | |
| Alex Fratar | .... | assistant: Scott Rudin | |
| Brandon Hollyer | .... | assistant post-production accountant | |
| Dean Hood | .... | financial controller | |
| Aaron Janus | .... | assistant: Scott Rudin | |
| Mike Larocca | .... | executive assistant: Scott Rudin | |
| Enrico Latella | .... | location manager | |
| Valeria Leonardi | .... | additional assistant: Wes Anderson | |
| Nicola Marzano | .... | key set production assistant | |
| Norma Marie Mascia | .... | production coordinator | |
| Grant McFadden | .... | assistant: Wes Anderson | |
| Karin Mercurio | .... | accountant | |
| Paolo Merosi | .... | extras supervisor | |
| Nata More | .... | set production assistant | |
| Claudia Moscatello | .... | set dressing coordinator/estimator | |
| Cariddi Nardulli | .... | assistant: Enzo Sisti | |
| Erik Paoletti | .... | location manager | |
| Lillian Parker | .... | assistant: Wes Anderson | |
| Andrea Passalacqua | .... | location manager | |
| Giampiero Pelusi | .... | set production assistant | |
| Cory Poccia | .... | production office intern | |
| Connor Price | .... | executive assistant: Scott Rudin | |
| Silvia Riolo | .... | assistant production coordinator | |
| Eugene Rizzo | .... | publicist | |
| Patrizia Roletti | .... | assistant to coordinators | |
| Adam Rosenberg | .... | assistant: Scott Rudin | |
| Amina Runyan-Shefa | .... | additional assistant: Barry Mendel | |
| Sarah Schechter | .... | executive in charge | |
| Annalisa Schmid | .... | accommodation coordinator | |
| Cristiano Sebastianelli | .... | cashier | |
| Jon Silk | .... | assistant: Scott Rudin | |
| Massimiliano Sisti | .... | accounts assistant | |
| Stefania Sisti | .... | production secretary | |
| Valentina Testa | .... | payroll assistant | |
| Annemarie van de Mond | .... | script supervisor | |
| Joan Washington | .... | pre-production coach: Cate Blanchett | |
| Danlee Winegar | .... | assistant: Cate Blanchett | |
| Tim Ballou | .... | senior script clearance manager (uncredited) | |
| Andrew Kahn | .... | assistant: Scott Rudin (uncredited) | |
Thanks | |||
| Eric Chase Anderson | .... | special thanks | |
| Jacques-Yves Cousteau | .... | dedicatee | |
| George Drakoulias | .... | special thanks | |
| Maya Forbes | .... | special thanks | |
| Mitch Glazer | .... | special thanks | |
| Kelly Lynch | .... | special thanks | |
| Tara Subkoff | .... | special thanks | |
| Gore Vidal | .... | special thanks | |
| Wallace Wolodarsky | .... | special thanks (as Wally Wolodarsky) | |
| Recent Posts (updated daily) | User |
|---|---|
| Terrible movie... | Fledermaus |
| Eleanor crying... | jukebox_lucky |
| Interesting fact and a question. | ckrown21 |
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What a stunning body of work Wes Anderson has created. I will be honest, when I first saw the previews to this film I was worried that Anderson may have gone the way of so many other directors who have developed their name in Hollywood. Art is replaced by money, which is replaced by angry fans. I saw the CGI fish and began to feel a sweat break with nervousness. Will he be able to continue the humor from Bottle Rocket, the darkness of Rushmore, as well as the ensemble connectedness from The Royal Tennanbaums? Well, folks, I am here to announce that he has taken the Hollywood money and has not veered too far off his signature course. I always imagine Anderson's work as a very dry martini. His humor, the most intelligent work I have seen in a long time, is like the liquid itself, creating this bold texture while packing a powerful emotional punch. The olives are the cast, giving just some extra to nibble on while you enjoy the entire drink. Place these elements together, the drink and olives, and you have The Life Aquatic with Steve Zissou.
To begin with, this film would not have worked without anyone else in the lead than Bill Murray. His ability to contain himself while also giving us the emotional stress of being a first-time dad as well as loosing his best friend is Oscar worthy. He is the perfect guide for our trip, giving us that knowledgeable laugh as well as those sympathetic eyes that seem to shout, "Everything will work out". He is bold and smooth as both the Captain of the vessel as well as learning the tricks of being a father. His ability to deliver his lines was both crucial and beautifully timed giving us just enough to make us fall in love with him by the end of the film. Coupled with his amazing performances is the work of everyone else involved. Willem Dafoe proves that he can handle any role, big or small, and make it very memorable. My favorite character during this voyage was Cate Blanchett's role that nearly stole the show from Murray. Her multi-depth character gave us just the distraction that we needed to see the power of the father/son relationship. Her quirks take us deep into the human soul and give us a mother's perspective to this mission. It is a beautiful counter to Murray's passive/aggressive father figure. Goldblum is quickly becoming a favorite actor of mine, while Huston proves that she still has the ability inside of her. Both of these guys need to see more work. The rest of the eclectic cast ranges from the hilarious "interns" to the melancholy songs of David Bowie (see if you can spot them!). Even Noah Taylor (of Vanilla Sky fame) turned out a stunning performance. The cast shines through beautifully, playing off each other, giving us some of the best performances of the year.
I will admit, Anderson's comic narrative will leave this dry taste in your mouth, but for me it was a great experience. His humor is dry, his films are dry, but that is what makes him different than others in his field. He gives us those long pauses and obscure references that will either force you to think or create frustration because you do not understand his meaning. I have grown up on his films since seeing Bottle Rocket, and I love the way this man creates. One of my favorite lines and scenes in this film that I have raved to everyone as the epitome of an Anderson film was when Zissou first takes Ned to the island and Eleanor tells Steve that one of his cats died. After some banter, Ned asks what type of cat it was. Zissou replies "Who cares. A tabby I think " which isn't funny at first, but then you realize that all he has on the island are Siamese cats, which only make me laugh harder in my seat. That is Wes Anderson humor, and it works perfectly for me. His ability to create these challenging characters and put them in situations that I never saw coming (the "pirates" scene being one of them) was outstanding. It felt as if he was throwing his crew into different troubles daily who in turn produced some of the best work ever. Only Wes Anderson could create beauty out of chaos.
My fear of the CGI was muted immediately when I saw that Anderson used the technique to create some of the most imaginative creatures ever to lurk in the sea impressed me. He didn't use it as a central focus of the film (until the end), and used it sporadically so that it really didn't feel as if it was being used. The creatures that he created are so bold and colorful that skillfully he uses them to counter the life of Zissou, which seems be getting darker by the day. This contrast allowed me to see deeper into Murray's character and root for his misadventures throughout the entire film.
Overall, I was very impressed. I know that not many enjoyed this picture as much as his previous works, but for me it was a fresh chapter with a stellar cast. Anderson is slowly changing the face of cinema, and soon others will follow trying to recreate his award winning voice, but will not succeed. This man is in the same boat as Gondry, Coppola, Jonez, and Kaufman. These are the imaginative thinkers of Hollywood that continually break the mold and open the doors to new possibilities.
Grade: ***** out of *****