| Photos (see all 15 | slideshow) | Videos (see all 26) |
| Chris Branning | ... | Himself | |
| Graham Brant-Zawadzki | ... | Himself | |
| Chris Clark | ... | Himself | |
| Charlie Enright | ... | Himself | |
| Jesse Fielding | ... | Himself | |
| Robbie Kane | ... | Himself | |
| Steve Manson | ... | Himself | |
| Chris Schubert | ... | Himself | |
| Kate Theisen | ... | Herself | |
| Mark Towill | ... | Himself | |
| Genny Tulloch | ... | Herself | |
| Pieter van Os | ... | Himself | |
| Chris Welch | ... | Himself | |
| Kit Will | ... | Herself | |
| Jeremy Wilmot | ... | Himself |
Directed by | |||
| Mark Monroe | |||
Produced by | |||
| Leslie DeMeuse | .... | executive producer | |
| Roy Edward Disney | .... | executive producer | |
| Morgan Sackett | .... | producer | |
| Phil Uhl | .... | coordinating producer | |
Cinematography by | |||
| Josef Nalevansky | |||
Film Editing by | |||
| Paul Crowder | |||
| Mark Monroe | |||
Sound Department | |||
| Steve Baine | .... | foley artist | |
| Ethan Beigel | .... | adr mixer | |
| Keith Bilderbeck | .... | supervising sound effects editor | |
| Barbara Delpuech | .... | supervising dialogue & adr editor | |
| Yann Delpuech | .... | sound designer | |
| Yann Delpuech | .... | supervising sound editor | |
| Christopher Fina | .... | adr mixer | |
| Harry Haese | .... | sound mixer | |
| Matt Hovland | .... | adr mixer | |
| David S. McJunkin | .... | lead sound mixer | |
| Frank Morrone | .... | sound re-recording mixer | |
| Peter Persaud | .... | foley recordist | |
| Scott Weber | .... | sound re-recording mixer | |
Visual Effects by | |||
| Eddie Bonin | .... | visual effects producer | |
| Christopher Dusendschon | .... | digital imaging supervisor: iO FILM | |
| Daniel Kumiega | .... | visual effects | |
| Christopher D. Martin | .... | lead compositor | |
| Scott Ramsey | .... | visual effects supervisor | |
| Jon Rosenthal | .... | digital effects artist | |
Camera and Electrical Department | |||
| John Behrens | .... | camera operator | |
| Todd Cogan | .... | camera operator | |
| Todd Cogan | .... | still photographer | |
| Andreas Crawford | .... | rigging grip | |
| Rick Crum | .... | electrician | |
| Craig Hoffmann | .... | assistant camera | |
| Sid Lubitsch | .... | camera operator | |
| Ryan Sheridan | .... | video engineer | |
| Don Thiel | .... | camera technician | |
| David Unitan | .... | unit cinematographer | |
| Terence Chu | .... | additional photography (uncredited) | |
Editorial Department | |||
| Zack Arnold | .... | editor: Opening Sequence | |
| Nathan Godley | .... | assistant editor | |
| Derek Herr | .... | on-line editor | |
| Andy Lichtstein | .... | digital colorist | |
| Lara Mazzawi | .... | assistant editor | |
| Jacqueline Savonarola | .... | assistant editor | |
| Christine Seino | .... | assistant on-line editor | |
Music Department | |||
| Liz Gallacher | .... | music supervisor | |
| Alexandra Hill | .... | music supervision executive | |
Other crew | |||
| Alexandra Hill | .... | music supervision executive | |
| Joe Piasecki | .... | production assistant | |
| Recent Posts (updated daily) | User |
|---|---|
| This looks so good! | mackatwater |
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| Limited Release | efrisvold |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Documentary section | IMDb USA section |
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What happens if you put fifteen young, good looking adults in the same place, and make them compete to join a team that will participate in one of the most elite races in sailing? As it turns out, nothing but sailing in the documentary Morning Light.
Roy Disney wanted to get young sailors in the TransPac race so he bought the Morning Light, and set off to get the best to man it. Fifteen mostly obscenely rich, mostly white, all good looking, young sailors, Chris Branning, Grahm Brant-Zawadzki, Chris Clark, Charlie Enright, Jesse Fielding, Robbie Kane, Steve Manson Chris Schubert, Kate Theisen, Mark Towill, Genny Tulloch, Pieter van Os, Chris Welsh, Kit Will and Jeremy Wilmont are chosen to vie for eleven spots on the Morning Light. They go sailing, talk about sailing and look at sail boats.
A reasonable person would venture a guess that a bunch of young virile men in a competitive situation trapped in a small space with a couple of women might bring some sexual tension. It would be expected that directly competing to participate in one of the most elite races in sailing, the TransPac, would cause outbursts or the occasional jockeying for attention or recognition. The powerful part of competitive reality TV er movies is the strong emotional connection between the people on the screen.
Watching Morning Light is like trying to swim on a slip and slide. While it is wet and you can move across it swiftly on your stomach, you can't drown in the story because the water is only there to lube you up. Nothing that would make the audience submerge into the depths of the people or circumstances even grace the screen.
Morning Light has the emotional depth of a sociopath. We might as well be watching, "How to sail: A Step by Step Guide for the Rich and Moronic," because it offers equal levels of emotional expressiveness. They did not make me wonder or care about who would be selected to make the team, if they won the race or how they got along. Instead of asking myself questions of wonder during the movie, I often asked myself, "Who cares?" On the plus side, I do know far more about sailing than I ever did before, maybe enough to encourage me to buy a sail boat if I could afford one. Until then, I hope Disney leaves Morning Light out at sea.