Earthquake - crew, film crew
The entire team, the film crew of the film "Earthquake"
Earthquake (1974)
Timing:
2:3 (123 min)
6.1/10
307
307
6.255/10
778
778
5.9/10
19000
19000
Film crew
Director
Producer
Bernard Donnenfeld
Producer
Executive Producer
Jennings Lang
Executive Producer
Writer
George Fox
Writer
Casting
William Batliner
Casting
Robert J. LaSanka
Casting
Editor
Dorothy Spencer
Editor
Art Direction
E. Preston Ames
Art Direction
Costume Design
Burton Miller
Costume Design
Stunts
Dean Smith
Stunts
Harvey Parry
Stunts
Glenn Randall Jr.
Stunts
Eddie Smith
Stunts
James Winburn
Stunts
Tony Brubaker
Stunts
Jimmy Nickerson
Stunts
Freddie Hice
Stunts
Denver Mattson
Stunts
Bob Yerkes
Stunts
David S. Cass Sr.
Stunts
John Daheim
Stunts
Dick Dial
Stunts
Orwin C. Harvey
Stunts
Evelyn Smith
Stunts
Alex Brown
Stunts
James W. Gavin
Stunts
Don Pike
Stunts
Eddie Hice
Stunts
Buff Brady
Stunts
Bob Bralver
Stunts
Jack Verbois
Stunts
Kim Kahana
Stunts
Regina Parton
Stunts
Julius LeFlore
Stunts
Paul Nuckles
Stunts
Byron Quisenberry
Stunts
Lila Finn
Stunts
Marvin Walters
Stunts
Carol Daniels
Stunts
Rip Clark
Stunts
Eddie Mulder
Stunts
Regis Parton
Stunts
Harry Monty
Stunts
Eddie Juaregui
Stunts
Mickey Gilbert
Stunts
Bill Catching
Stunts
Bob Terhune
Stunts
Bud Ekins
Stunts
Troy Melton
Stunts
Jesse Wayne
Stunts
Fred Lerner
Stunts
Fred Scheiwiller
Stunts
May Boss
Stunts
Jerry Brutsche
Stunts
Howard Curtis
Stunts
Peaches Jones
Stunts
Donna Garrett
Stunts
Bud Walls
Stunts
Dottie Catching
Stunts
Kevin N. Johnston
Stunts
Jadie David
Stunts
Mickey Caruso
Stunts
Stevie Myers
Stunts
Andy Epper
Stunts
Julie Ann Johnson
Stunts
Russell Saunders
Stunts
Ernest Robinson
Stunts
Paula Crist
Stunts
Patty Elder
Stunts
Richard Washington
Stunts
Robert C. Ferro Jr.
Stunts
Marilyn Stader
Stunts
William T. Lane
Stunts
Cyndi Swan
Stunts
Fred Brookfield
Stunts
Audrey Saunders
Stunts
Barbara Perlman
Stunts
Evelyne Cuffee
Stunts
Production Design
Alexander Golitzen
Production Design
Stunt Coordinator
John Daheim
Stunt Coordinator
Set Decoration
Frank R. McKelvy
Set Decoration
Makeup Artist
Mark Reedall
Makeup Artist
Original Music Composer
Unit Production Manager
Wallace Worsley Jr.
Unit Production Manager
Second Assistant Director
Murray Schwartz
Second Assistant Director
Stunt Double
Bobby Porter
Stunt Double
Joe Canutt
Stunt Double
Director of Photography
Philip H. Lathrop
Director of Photography
Script Supervisor
Victoria Gail Weisbart
Script Supervisor
Hairstylist
Connie Nichols
Hairstylist
First Assistant Director
Fred R. Simpson
First Assistant Director
Construction Coordinator
Ed Shanley
Construction Coordinator
Special Effects
Frank Brendel
Special Effects
Gaffer
Wilbur Kinnett
Gaffer
Sound
Ronald Pierce
Sound
Melvin M. Metcalfe Sr.
Sound
Visual Effects
Roswell A. Hoffmann
Visual Effects
Assistant Production Manager
Leo Pepin
Assistant Production Manager
What's left behind the scenes
- The full theatrical version had a runtime of 140 minutes, while the television version ran for 160 minutes.
- Producer Jennings Lang (1915-1996) offered a cameo role to his friend Walter Matthau (1920-2000). Matthau agreed to play it even without a fee, but on the condition that he would be credited as “Walter Matushchansky.” He subsequently used this invented name repeatedly. Initially, it was supposed to be the role of a “drunkard at the very end of the bar,” but the screenwriter George Fox significantly expanded the role and wrote lines for the character. After filming, the performer of this role was credited as “Walter Matushchansky,” after which rumors began to circulate that “Matushchansky” was Matthau’s real surname.
- The swaying effect of the “Black Tower” (a high-rise office building on the set) was achieved by filming a reflection in a mirror moving back and forth. This scene was filmed before the start of principal photography and was decided to be left in the film as a joke at the expense of the “Universal” film company (whose executives’ offices were located in the building at the time).
- The film employed 141 stunt performers, which was a record at the time of filming.
- Ava Gardner (1922-1990) surprised director Mark Robson (1913-1978) by insisting on performing all the stunt scenes herself – including the scene where her character has to dodge falling concrete blocks and steel pipes.
- There was no scene in the script of Richard Roundtree falling off a motorcycle. Stuntman Bud Ekins (1930-2007) fell accidentally, but the fall was left in the film.
- The film's producers specifically went to Europe hoping to interest Audrey Hepburn (1929-1993) in the role of Remy Royce-Graff. At that time, Hepburn had not acted in nearly 10 years and declined the offer because she disliked the heroine's lines and the demands placed on the character. When filming had already begun, Ava Gardner was cast in the role.
- Riding the wave of success of the film "Airport" (1970) by directors George Seaton (1911-1979) and Henry Hathaway (1898-1985), based on the eponymous bestseller (1968) by Arthur Hailey (1920-2004), the management of Universal Pictures very much wanted to try their luck with another disaster film, and Jennings Lang was tasked with creating it. The idea for the film was inspired by the 6.6 magnitude earthquake on February 9, 1971, in the San Fernando Valley.
- In the 1970s, movie theaters were asked to install the new Sensurround audio system as a marketing ploy for disaster films. This system sent low-frequency sound waves into the theater seats, making the audience feel as if they were right in the middle of the events depicted in the film. During screenings of this particular film, the system shook the audience so much that they felt like a real earthquake had begun. Unfortunately, installing the system required removing several rows of seats, and it was also a very expensive system. It was used for several other films in the 1970s, but then structural damage to the movie theaters began to occur, the audience felt sick when the system was activated, and complaints about the unbearable rumble from the theaters arose, bringing an end to the use of Sensurround.
- The first draft of the screenplay was written by Mario Puzo (1920-1999), but it did not suit the management of Universal Pictures because it had too many characters and the action took place over too large an area of Los Angeles. The film's projected budget soared, so the script needed to be rewritten. Puzo was unable to do this, as Paramount Pictures had just given the green light to "The Godfather Part II" (Francis Ford Coppola, 1974) at that time, but many of the characters and plotlines devised by Puzo were included in the film, and the area of action was "reduced" to the size of Hollywood.
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