Tomorrowland - crew, film crew
The entire team, the film crew of the film "Tomorrowland"
Tomorrowland (2015)
Timing:
2:10 (130 min)
6.3/10
7317
7317
6.245/10
130497
130497
6.4/10
199000
199000
Film crew
Director
Producer
Jeffrey Chernov
Producer
Executive Producer
Bernard Bellew
Executive Producer
John Walker
Executive Producer
Casting
April Webster
Casting
Alyssa Weisberg
Casting
Corinne Clark
Casting
Jennifer Page
Casting
Editor
Craig Wood
Editor
Art Direction
Jeremy Stanbridge
Art Direction
Geoff Wallace
Art Direction
Luke Freeborn
Art Direction
Todd Cherniawsky
Art Direction
Stephen Christensen
Art Direction
Martina Javorova
Art Direction
Dídac Bono
Art Direction
Kelvin Humenny
Art Direction
Supervising Art Director
Ramsey Avery
Supervising Art Director
Don MacAulay
Supervising Art Director
Costume Design
Stunts
Jason Bell
Stunts
Loyd Bateman
Stunts
Ed Anders
Stunts
Production Design
Scott Chambliss
Production Design
Stunt Coordinator
Joey Box
Stunt Coordinator
Robert Alonzo
Stunt Coordinator
Second Unit Director
Jeffrey Lynch
Second Unit Director
Set Decoration
Lin MacDonald
Set Decoration
Makeup Artist
Sound Re-Recording Mixer
Juan Peralta
Sound Re-Recording Mixer
Original Music Composer
Associate Producer
Debbi Bossi
Associate Producer
Second Assistant Director
Jairo Murray
Second Assistant Director
Stunt Double
Clint Carleton
Stunt Double
Director of Photography
Claudio Miranda
Director of Photography
Camera Operator
Stephen S. Campanelli
Camera Operator
Łukasz Bielan
Camera Operator
Sean M. Harding
Camera Operator
Steadicam Operator
B. J. McDonnell
Steadicam Operator
John Clothier
Steadicam Operator
Peter Wilke
Steadicam Operator
Costume Supervisor
Cristina Sopeña
Costume Supervisor
Makeup Department Head
Monica Huppert
Makeup Department Head
Sound Effects Editor
Jeremy Bowker
Sound Effects Editor
J.R. Grubbs
Sound Effects Editor
Assistant Art Director
Laurel Bergman
Assistant Art Director
Natasha Gerasimova
Assistant Art Director
Andrew Li
Assistant Art Director
Margot Ready
Assistant Art Director
Sean Goojha
Assistant Art Director
Visual Effects Supervisor
Craig Hammack
Visual Effects Supervisor
Ara Khanikian
Visual Effects Supervisor
Eddie Pasquarello
Visual Effects Supervisor
Supervising Sound Editor
Script Supervisor
Kimi Webber
Script Supervisor
Set Costumer
Anthony Almaraz
Set Costumer
Silke Guglielmo
Set Costumer
Pamela Cameron
Set Costumer
Joey Campbell
Set Costumer
Lori Ellison
Set Costumer
Mariela Zapata
Set Costumer
Hairstylist
Anne Carroll
Hairstylist
Still Photographer
Kimberly French
Still Photographer
First Assistant Director
Chris Castaldi
First Assistant Director
Animation
Kyle Dunlevy
Animation
Yuhon Ng
Animation
Graphic Designer
Dianne Chadwick
Graphic Designer
Slava Shmakin
Graphic Designer
Tara Arnett
Graphic Designer
Screenplay
Set Designer
Tex Kadonaga
Set Designer
Kris Bergthorson
Set Designer
Nancy Anna Brown
Set Designer
John Burke
Set Designer
Doug Girling
Set Designer
Mira Caveno
Set Designer
Sound Designer
Kyrsten Mate
Sound Designer
Construction Coordinator
Charles Leitrants
Construction Coordinator
James Harris
Construction Coordinator
Juanlo Prada Garrudo
Construction Coordinator
Art Department Coordinator
Carie Wallis
Art Department Coordinator
Christine Youngstrom
Art Department Coordinator
Kristen Lindberg
Art Department Coordinator
Zoe Jirik
Art Department Coordinator
Dialogue Editor
Cheryl Nardi
Dialogue Editor
Key Grip
Kim Olsen
Key Grip
Julio Fernández Santa
Key Grip
Dolly Grip
Gil Forrester
Dolly Grip
Camera Technician
Dane Bjerno
Camera Technician
Story
Third Assistant Director
Brian Sepanzyk
Third Assistant Director
Rhonda Taylor
Third Assistant Director
Paula Antil
Third Assistant Director
Special Effects Makeup Artist
Crissy Renaud
Special Effects Makeup Artist
Gaffer
David Tickell
Gaffer
Jean-François Drigeard
Gaffer
David S. Warner
Gaffer
Erik Messerschmidt
Gaffer
Music Editor
Warren Brown
Music Editor
Alex Levy
Music Editor
Second Unit Director of Photography
Bruce McCleery
Second Unit Director of Photography
Camera Trainee
Gaelle Jego
Camera Trainee
Digital Compositor
Michael Ralla
Digital Compositor
VFX Artist
Loren Robinson
VFX Artist
Visual Effects Coordinator
Brad Kane
Visual Effects Coordinator
Visual Effects
Mike Marcuzzi
Visual Effects
Conceptual Design
Tim Flattery
Conceptual Design
David Vyle Levy
Conceptual Design
Rigging Gaffer
Rick Climenhaga
Rigging Gaffer
Jarrod Tiffin
Rigging Gaffer
Richard Ramee
Rigging Gaffer
Studio Teacher
Maura Gannett
Studio Teacher
Visual Effects Art Director
David Nakabayashi
Visual Effects Art Director
Matte Painter
Florent Lebrun
Matte Painter
Production Executive
Tina L. Newman
Production Executive
Second Unit First Assistant Director
Ian Calip
Second Unit First Assistant Director
Animal Coordinator
Paul Jasper
Animal Coordinator
Vocals
Holly Sedillos
Vocals
Foley
Teresa Eckton
Foley
Alyson Dee Moore
Foley
Pascal Garneau
Foley
Visual Effects Technical Director
Daniel Perez Ferreira
Visual Effects Technical Director
Technical Advisor
Helicopter Camera
Hans Bjerno
Helicopter Camera
David B. Nowell
Helicopter Camera
Second Unit Cinematographer
Bruce McCleery
Second Unit Cinematographer
What's left behind the scenes
- In 1955, Walt Disney expanded his Disneyland amusement park, naming the new area "Tomorrowland." At that time, people's imaginations painted a very optimistic future for Earth. However, gradually, the perception of the future became increasingly gloomy and joyless. This process interested screenwriter and producer Damon Lindelof. Once, Lindelof heard that an unusual box had been found in the basement of Disney Studios. It contained all sorts of models and drawings, photographs and recordings, somehow related to the construction of "Tomorrowland" and the 1964 World's Fair. Lindelof decided for himself that there must have been a real place called "Tomorrowland," and not just an amusement park. This idea became fundamental to the plot of the story "Tomorrowland," which Lindelof later reworked into a screenplay with director and producer Brad Bird and executive producer Jeff Jensen.
- From the very beginning, Brad Bird and Damon Lindelof saw only one actor – George Clooney – in the role of the disillusioned inventor Frank Walker.
- The city depicted in the script was filled with the latest technologies. The filmmakers understood that, ideally, it would be good to find such a city in our modern and far-from-perfect world. Initially, it seemed that the entire Earth of the future would have to be created from scratch – a rather laborious and expensive undertaking. Only as a result of an amazing coincidence was a far less costly solution found. Visual effects developer and film co-producer Tom K. Peitzman stumbled upon a completely futuristic location and showed it to director Brad Bird. This location turned out to be the City of Arts and Sciences in Valencia, Spain. It was designed by architect Santiago Calatrava, whose work had already repeatedly inspired production designer Scott Chambliss. The discovery pleased the director as well, who always preferred real locations to chroma key.
- Not all scenes set in the Earth of the future could be filmed at the City of Arts and Sciences. In particular, they needed to figure out how to film scenes with a monorail. The area with a huge energy sphere and a massive monitor was named 'Bridgeway Plaza'. It took six months to build the sets; ultimately, the area turned out to be half the size of a football field. The sets were so large that there wasn’t a pavilion in the world that could accommodate them. Considering the height of some of the structures and the cranes on which the lighting equipment was mounted, unlimited airspace above the site was also required. Furthermore, as the plot developed, different eras of the 'Earth of the Future' were to be demonstrated on the same site.
- A real monorail was assembled on the 'Bridgeway Plaza' site. After the main elements of the structure were ready, the monorail was glazed and illuminated. In its final assembly, the futuristic vehicle weighed almost 16 tons. All that remained was to figure out how to place the massive car on the rail, located five meters above the ground, stop it at a designated point, and return it to the ground. The designers were most concerned about safety, as actors were inside the car. Engineers proposed using hydraulic winches, which could stop the car almost instantaneously in an emergency, and hydraulic brakes, allowing it to slow down at a predetermined and marked point. The doors opened automatically, and the actors could leave the cabin safely.
- Some scenes from the film were shot on a real NASA launch pad at Cape Canaveral in Florida.
- Filming began on a farm near the town of Pincher Creek in the Canadian province of Alberta. The producers had to pay farmers to grow a field of winter wheat with a characteristic amber hue. This is exactly what Brad Bird envisioned as the ideal rural landscape. The crew then moved to a farm in Enderby near Okanagan Lake in British Columbia. Scenes at Walker’s farm and his cornfields were filmed there, which were also grown specifically for the film. Several other locations were also selected in Spain and Canada. Filming took place on the 'It's a Small World' attraction at Disneyland in Anaheim, California, and on the beaches of the Bahamas. A second unit worked in Paris. In total, more than 90 combinations of various on-location and studio sets were used. The crew had to move 10 times.
- Brad Bird turned down the director's chair for "Star Wars: The Force Awakens" (2015) in order to work on "Tomorrowland" (2015).
- Shailene Woodley turned down the role of Casey, which ultimately went to Britt Robertson. Naomi Scott was also considered for the role.
- In Europe, Disney had to change the film's title to "Disney Project T" because the name "Tomorrowland" is a registered trademark of an electronic music festival. A similar situation occurred when the festival was held in the US, where its organizers had to change the name to "TomorrowWorld".
- In the "Blast from the Past" store in one scene of the film, figures of characters from the animated films "The Iron Giant" (1999) and "The Incredibles" (2004) can be seen on the shelves. Both of these films were directed by Brad Bird.
- According to the plot, the search for information related to the mysterious badge leads Casey to Houston, Texas. There is an antique shop called "Blast from the Past," which was completely built on a studio set. "Blast from the Past" is a kind of mishmash of all the science fiction comics that Brad Bird and Scott Chambliss read in their youth. It took the set decorator several months to collect the items that were placed in the store. The collection included several thousand items, most of which were purchased or made specifically for the filming, and there were also some originals, including those that Brad donated from his own collection.
- During the house's self-destruction activation, when Frank and Casey get into the bathtub, Casey is on the right and Frank on the left, but after landing they find themselves in the opposite positions.
- Before the scene where George Clooney freezes the burning combine harvester with a fire extinguisher, it is raining heavily and Britt Robertson is walking around the house through large puddles. However, when George Clooney is thrown away from the door a few seconds later, he falls onto completely dry ground and crawls out from under the stairs in completely dry clothes, while Britt's hair is still wet.
- When young Frank brings his 'Jetpack' invention to the World's Fair, he says that the nitroglycerin flask had to be transported separately due to the bumpy roads. As is known, nitroglycerin can detonate even with a slight impact, but Frank handles the bag containing the nitroglycerin quite carelessly. The first time when the bus stopped, the second – after exiting the bus, the third time when he throws the bag over his shoulder, the fourth, when he traveled through time and the bag fell from above onto the room's floor. In reality, nitroglycerin would have inevitably detonated with such handling.
- When young Frank descends in a boat into a dark tunnel, it is visible that water gets on his backpack, however, after a change of shot, the backpack is completely dry.
- In 1955, Walt Disney expanded his Disneyland amusement park, naming the new area "Tomorrowland." At the time, people on Earth imagined a very optimistic future. However, gradually, the perception of the future became increasingly bleak and joyless. This process intrigued screenwriter and producer Damon Lindelof. Once, Lindelof heard that an unusual box had been found in the basement of Disney Studios. It contained all sorts of models and drawings, photographs and recordings, related in one way or another to the construction of "Tomorrowland" and the 1964 World's Fair. Lindelof decided for himself that there must have been a real place called "Tomorrowland," not just an amusement park. This idea became fundamental to the plot of the story "Tomorrowland," which Lindelof later reworked into a screenplay with director and producer Brad Bird and executive producer Jeff Jensen.
- From the very beginning, Brad Bird and Damon Lindelof saw only one actor – George Clooney – in the role of the disillusioned inventor Frank Walker.
- The city described in the screenplay was filled with the latest technologies. Filmmakers understood that ideally, it would be good to find such a city in our modern and far from perfect world. Initially, it seemed that the entire Tomorrowland would have to be created from scratch – a rather laborious and expensive undertaking. Only thanks to an amazing coincidence was a far less costly solution found. Visual effects developer and co-producer Tom K. Peitzman stumbled upon a completely futuristic location and showed it to director Brad Bird. This location was the City of Arts and Sciences in Valencia, Spain. It was designed by architect Santiago Calatrava, whose work had repeatedly inspired production designer Scott Chambliss. The discovery delighted the director, who always preferred real locations to chroma key.
- Not all scenes set in Tomorrowland could be filmed at the City of Arts and Sciences. In particular, they needed to figure out how to film scenes with the monorail. The area with a huge energy sphere and a massive monitor was named "Bridgeway Plaza." It took six months to build the sets; ultimately, the area turned out to be half the size of a football field. The sets were so large that no pavilion in the world could accommodate them. Considering the height of some of the buildings and the cranes on which the lighting equipment was mounted, unlimited airspace above the site was also required. Furthermore, as the plot developed, different eras of Tomorrowland's existence had to be demonstrated in the same location.
- Filming began on a farm near Pincher Creek in the Canadian province of Alberta. Producers had to pay farmers to grow a field of winter wheat with a characteristic amber hue. This is exactly the kind of rural landscape that Brad Bird envisioned. The film crew then moved to a farm in Enderby near Okanagan Lake in British Columbia. Scenes at Walker's farm and its cornfields were filmed there, also grown specifically for the movie. Several other locations were also selected in Spain and Canada. Filming took place at the "It's a Small World" attraction at Disneyland in Anaheim, California, and on the beaches of the Bahamas. A second unit worked in Paris. A total of over 90 combinations of various location and set locations were used. The film crew had to move 10 times.
- Brad Bird turned down the director's position on "Star Wars: The Force Awakens" (2015) in favor of working on "Tomorrowland" (2015).
- In Europe, Disney had to change the film's title to "Disney Project T" because the name "Tomorrowland" is a registered trademark of an electronic music festival. A similar situation occurred when the festival was held in the US, where its organizers had to change the name to "Tomorrowworld."
- In the "Blast from the Past" shop in one scene of the film, figures of characters from the animated films "The Iron Giant" (1999) and "The Incredibles" (2004) can be seen on the shelves. Both of these films were directed by Brad Bird.
- According to the plot, the search for any information related to the mysterious badge leads Casey to Houston, Texas. There is the "Blast from the Past" antique shop, which was completely built on a studio set. "Blast from the Past" is a kind of mishmash of all the science fiction comics that Brad Bird and Scott Chambliss read in their youth. It took the set decorator several months to collect the goods that were arranged in the store. The collection included several thousand items, most of which were purchased or made specifically for the film, and there were also some originals, including those that Brad donated from his collection.
- When little Frank brings his invention, the “Jetpack,” to the world's fair, he says he had to transport the nitroglycerin flask separately due to the bumpy roads. As is well known, nitroglycerin can detonate even with a slight impact, but Frank handles the bag containing it quite carelessly. The first time was when the bus stopped, the second – after exiting the bus, the third time when he throws the bag over his shoulder, the fourth time when he time-traveled and the bag fell from above onto the room’s floor. In reality, nitroglycerin would have inevitably detonated with such handling.
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