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Directed by | |||
| Thomas McCarthy | |||
Writing credits(WGA) | ||
| Thomas McCarthy | (screenplay) (as Tom McCarthy) | |
| Thomas McCarthy | (story) (as Tom McCarthy) & | |
| Joe Tiboni | (story) | |
Produced by | |||
| Jacqueline Brogan | .... | co-producer | |
| Lori Keith Douglas | .... | executive producer | |
| Lisa Maria Falcone | .... | producer | |
| Tom Heller | .... | executive producer | |
| Michael London | .... | producer | |
| Thomas McCarthy | .... | producer (as Tom McCarthy) | |
| Mary Jane Skalski | .... | producer | |
| Erica Tuchman | .... | associate producer | |
Original Music by | |||
| Lyle Workman | |||
Cinematography by | |||
| Oliver Bokelberg | (director of photography) | ||
Film Editing by | |||
| Tom McArdle | |||
Casting by | |||
| Kerry Barden | |||
| Paul Schnee | |||
Production Design by | |||
| John Paino | |||
Art Direction by | |||
| Scott Anderson | |||
Set Decoration by | |||
| Amanda Carroll | |||
Costume Design by | |||
| Melissa Toth | |||
Makeup Department | |||
| Jill Oshry | .... | key makeup artist | |
| Aaron F. Quarles | .... | hair department head | |
| James Sarzotti | .... | makeup department head | |
| Mark Schmidt | .... | key hair stylist | |
| Jenai Chin | .... | tattoo designer (uncredited) | |
| Joelle Troisi | .... | makeup artist (uncredited) | |
Second Unit Director or Assistant Director | |||
| Steve Apicella | .... | first assistant director (as Stephen X. Apicella) | |
| Robert Lopez | .... | second second assistant director | |
| Michael Pitt | .... | first assistant director: additional photography/second unit (as Mike Pitt) | |
| Justin Ritson | .... | second assistant director | |
Art Department | |||
| Tessa Brophy | .... | art department coordinator: additional photography/second unit | |
| Lauren Burge | .... | art department production assistant | |
| Paul Cheponis | .... | assistant set decorator | |
| John J. Ciccimarro | .... | key carpenter (as John Ciccimarro) | |
| Mark Davies | .... | charge scenic: additional photography/second unit | |
| Eddie DeCurtis | .... | set dresser | |
| Peter DeCurtis | .... | leadman | |
| Peter DeCurtis | .... | set dresser | |
| Neil Driscoll Jr. | .... | set dresser foreman | |
| Isaac Gabaeff | .... | property master: additional photography/second unit | |
| Courtlan Green | .... | scenic industrial | |
| Mario Herrera | .... | charge scenic | |
| Bruce Jordan | .... | shop electrician | |
| Michael Kall | .... | foreman carpenter (as Mike Kall) | |
| Mick Kolodgy | .... | camera scenic (as Mickey Kolodgy) | |
| Marissa Kotsilimbas | .... | art department coordinator | |
| Ed Koza | .... | foreman construction grip | |
| Michael Marcel | .... | additional prop assistant (as Michael D. Marcel) | |
| Dave McAllister | .... | key construction grip | |
| George McCabe | .... | key construction grip | |
| Myron Odegaard | .... | shop electrician (as Myron 'Mo' Odegaard) | |
| Rebecca Perrenod | .... | scenic foreman | |
| Kevin L. Raper | .... | graphic designer | |
| Daniel Ritchel | .... | assistant property master | |
| Christopher Rovira | .... | construction shop production assistant (as Chris Rovira) | |
| Pierre Rovira | .... | construction coordinator | |
| Kristy Sicurella | .... | set dresser | |
| Mark Skversky | .... | set dresser | |
| Greg Sullivan | .... | charge scenic | |
| Marc Waters | .... | scenic foreman | |
| Sabrina Wright | .... | property master | |
| Shahar Yannay | .... | scenic industrial | |
| Tim Zydel | .... | on-set dresser | |
| Kate Boyer | .... | additional scenic artist (uncredited) | |
| David Cooney | .... | storyboard artist (uncredited) | |
| Mike Montgomery | .... | key construction grip (uncredited) | |
| Bobby Roelofs | .... | set dresser (uncredited) | |
| Maia Rose | .... | set dresser (uncredited) | |
Sound Department | |||
| Jamie Baker | .... | foley editor | |
| Vince Camuto Sr. | .... | second boom operator (as Vince Reed Camuto) | |
| Vince Camuto Sr. | .... | utility sound (as Vince Reed Camuto) | |
| Damian Canelos | .... | sound mixer (as Damian E. Canelos) | |
| Marko A. Costanzo | .... | foley artist (as Marko Costanzo) | |
| Mark DeSimone | .... | adr mixer | |
| Heather Gross | .... | assistant sound editor | |
| Harry Higgins | .... | mix recordist | |
| Paul Hsu | .... | sound re-recording mixer | |
| Paul Hsu | .... | supervising sound editor | |
| Matthew Kodner | .... | sound intern | |
| Avi Laniado | .... | mix engineer | |
| George A. Lara | .... | foley recording engineer (as George Lara) | |
| Marissa Littlefield | .... | adr editor | |
| Branka Mrkic | .... | dialogue editor (as Branka Mrkic-Tana) | |
| Douglas Murray | .... | adr mixer (as Douglas L. Murray) | |
| James Nichols | .... | dolby sound consultant | |
| Silvana Pinto | .... | sound intern | |
| Seth Tallman | .... | boom operator | |
| Noah Timan | .... | sound mixer: additional photography/second unit | |
| Michael Miller | .... | adr mixer (uncredited) | |
| Jan Petrov | .... | adr recordist (uncredited) | |
| John Soukup | .... | sound transfer (uncredited) | |
Special Effects by | |||
| Phillip Beck | .... | special effects coordinator (as Phil Beck) | |
| Mark Skversky | .... | special effects supervisor | |
Visual Effects by | |||
| Jake Braver | .... | visual effects supervisor | |
| Chris Gelles | .... | visual effects executive producer: & Company | |
| David Isyomin | .... | visual effects supervisor: & Company | |
Stunts | |||
| Paul Bucossi | .... | utility stunts | |
| Peter Bucossi | .... | stunt coordinator | |
| Vic Bucossi | .... | utility stunts | |
| Don Hewitt | .... | utility stunts (as Don Hewitt Sr.) | |
| Chazz Menendez | .... | utility stunts | |
| Gary Price | .... | stunt double | |
Casting Department | |||
| Allison Estrin | .... | casting associate | |
| Dann Fink | .... | adr voice casting | |
| Sara Conte | .... | extras casting (uncredited) | |
| Abigail Santos | .... | casting associate (uncredited) | |
| David M. Waldron | .... | extras casting director (uncredited) | |
| Bruce Winant | .... | adr voice casting (uncredited) | |
Costume and Wardrobe Department | |||
| Susan Antonelli | .... | set costumer | |
| Doreen Hoff | .... | costume coordinator | |
| Caroline Quiroga | .... | assistant costume designer | |
| Lawrence Tarzy | .... | set costumer (as Larry Tarzy) | |
| Susan J. Wright | .... | costume supervisor | |
| Shana Goldberger | .... | costume production assistant (uncredited) | |
| Yaneya Rovira | .... | costumer: additional photography (uncredited) | |
| Malik Summers | .... | costumer (uncredited) | |
Editorial Department | |||
| Craig Charland | .... | post-production assistant | |
| Don Ciana | .... | color timer | |
| Nate Davis | .... | film scanning | |
| Kristyn DiPane | .... | dailies project manager | |
| Kristyn DiPane | .... | digital intermediate producer | |
| Jessica Elvin | .... | digital intermediate editor | |
| Craig Ferrence | .... | film scanning | |
| Charles Herzfeld | .... | post facility supervisor | |
| Morgan Miller | .... | digital imaging | |
| Patrick Rossi | .... | film scanning | |
| Misako Shimizu | .... | first assistant editor | |
| Daniel Silverman | .... | digital imaging | |
| Andrew Still | .... | data manager | |
| Tim Stipan | .... | digital intermediate colorist | |
| Ed Walther | .... | colorist: dailies | |
| Michael P. Whipple | .... | digital intermediate engineer | |
| Victoria Anderson | .... | colorist assistant (uncredited) | |
| Dave Pickett | .... | colorist (uncredited) | |
| Richie Roefaro | .... | avid technician (uncredited) | |
Music Department | |||
| David Bianco | .... | scoring crew | |
| Brianne-Adette Bogle | .... | music coordinator | |
| John M. Davis | .... | music editor | |
| Isha Erskine | .... | scoring crew | |
| Steve Hardy | .... | scoring crew | |
| Matt Laug | .... | musician: drums | |
| Brian MacLeod | .... | musician: percussion, drums | |
| Shinnosuke Miyazawa | .... | scoring crew | |
| Zac Rae | .... | musician: keyboards | |
| Mary Ramos | .... | music supervisor | |
| Jorge Velasco | .... | scoring crew | |
| Patrick Warren | .... | musician: keyboards | |
| E. Gedney Webb | .... | supervising music editor | |
| Lyle Workman | .... | musician: guitar, bass, keyboards | |
| Brian Deming | .... | additional music mixer (uncredited) | |
| Peter Nashel | .... | composer: additional music, Duotone Audio Group (uncredited) | |
Transportation Department | |||
| Jim Buckman | .... | transportation captain | |
| Peter Connors | .... | transportation co-captain | |
Other crew | |||
| Naomi Bombardi-Wilson | .... | assistant production coordinator | |
| Oliver Brooks | .... | production assistant | |
| Nicole Bukowski | .... | first assistant accountant | |
| Renee Burke | .... | script supervisor | |
| Cristal Calderon | .... | production assistant | |
| George Camarda | .... | script supervisor: additional photography/second unit | |
| Craig Charland | .... | assistant: Mr. McCarthy | |
| Wendy Cohen | .... | research coordinator | |
| Nekisa Cooper | .... | assistant: Ms. Skalski and Ms. Douglas | |
| Ryan Alan Dearth | .... | production assistant (as Ryan Dearth) | |
| Lauren 'Sledgehammer' Dilberto | .... | additional production assistant | |
| Jacq Donegan | .... | production coordinator | |
| Lisa Falzarano | .... | office production assistant: USA | |
| Estefania Fernandez | .... | accounting clerk | |
| Jennifer Zolten Freed | .... | post production accountant: Trevanna Post (as Jennifer Freed) | |
| Jessie Gant | .... | assistant post accountant | |
| Dave Ginsberg | .... | assistant location manager (as David Ginsberg) | |
| Craig Helfer | .... | additional production assistant | |
| Janet Henry | .... | location scout | |
| Steven Lafferty | .... | production assistant (as Steve Lafferty_) | |
| David Laurentin | .... | parking coordinator | |
| Adam Levy | .... | set medic | |
| Kimberly Lisner | .... | production secretary | |
| Jess Magee | .... | location coordinator | |
| Phil McLennan | .... | lab production manager | |
| Lisa McPherson | .... | production assistant | |
| Nikia Montgomery | .... | accounting clerk | |
| Melissa Mugavero | .... | production assistant | |
| Kelly Mullen | .... | assistant: Mr. London | |
| Eric Myers | .... | unit publicist | |
| Mathew Noack | .... | Unit PA | |
| O. Valerie Pratt | .... | payroll accountant | |
| Nicole Renna | .... | assistant location manager | |
| Wilson Rivas | .... | craft service | |
| Tyler Rumsey | .... | production assistant | |
| Paul Sado | .... | consultant: second unit | |
| Clive Salmon | .... | office production assistant | |
| Carey Seward | .... | location scout | |
| Robert Teten | .... | additional production assistant (as Bobby Teten) | |
| Steven Weisberg | .... | location manager | |
| Michael Wiggins | .... | production accountant (as Michael A. Wiggins) | |
| Janice Williams | .... | production executive: Groundswell | |
| Tina Yeh | .... | assistant production coordinator: additional photography/second unit | |
| Clayton Beisner | .... | office production assistant (uncredited) | |
| Adam Bennett | .... | set tutor (uncredited) | |
| Sarah Crofts | .... | location scout (uncredited) | |
| Elizabeth Garrett | .... | location scout (uncredited) | |
| Karen Gehres | .... | epk producer (uncredited) | |
| Thalia Harithas | .... | clerk (uncredited) | |
| Brendan C. Lynch | .... | additional production assistant (uncredited) | |
| Andrew Shuster | .... | production assistant (uncredited) | |
| Helene Taylor | .... | stand-in: Amy Ryan (uncredited) | |
Thanks | |||
| Christina Sibul | .... | special thanks | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb USA section |
The story-line of Win Win brings difficult and realistic moral issues before us, which engage our interest and challenge our sympathies. But the film is not a ponderous work of moral theory, fortunately. Instead, it has many humorous moments which keep the tone quite light, even as the film raises some darker problems.
The first dilemma concerns the subterfuge that lawyer Mike Flaherty (Paul Giametti) employs to win the maintenance award for looking after his elderly client Leo who suffers from Alzheimers disease. The dilemma is not so much his (he needs the money too badly and he has a family to provide for), as ours - should we sympathise or not? Mike is a lawyer, yet he deceives the court and thus breaks the law. Yet, at the same time, Leo does not really lose out because the home that Mike puts him in is very comfortable. In a way, Mike's deceit is a win-win solution that solves Mike's financial problems and also provides proper care for Leo. But surely deceit cannot be condoned? Or can it? While we are still dealing with that issue, an entirely different one looms up and takes over the story. Leo's grand-son arrives, looking for his grand-father, Leo, who is now in the care home. Not only does this plot development add a lot of tension (because Mike's deceit is in danger of being exposed), it also adds further complications on the moral front. The first is, should Mike tell Kyle the truth, or is it better to try and help Kyle personally while leaving him in the dark? Should we really expect Mike to confess, when the result will be disastrous for so many people and achieve very little, apart from establishing the truth about Leo's transfer to the care home? Once again, we are just beginning to settle one problem when another arrives to add further complications, this time in the shape of Kyle's mother, Leo's daughter, who has never shown any interest in her father, but now shows a mercenary interest in his state of dependency.
I really enjoyed this film. There is a lightness in the telling of the story, which makes the whole experience a pleasure, but it is a story with some difficult issues to set before us, issues such as the care of the elderly and the rights of birth-parents over foster-parents, which give us food for thought. Above all, however, the film is very well acted and the characters are brought to life very effectively, persuading us of the reality of the issues which it raises, but also coaxing us to temper our judgment of our fellow human beings. The film reminds us that life is rarely as clear-cut as our stern guilty-or-innocent judgments would require.