White Nights - crew, film crew
The entire team, the film crew of the film "White Nights"
White Nights (1985)
Timing:
2:16 (136 min)
6.732/10
123
123
7.006/10
2346
2346
6.7/10
9000
9000
Film crew
Director
Producer
William S. Gilmore
Producer
Casting
Nancy Klopper
Casting
Jeremy Zimmermann
Casting
Noel Davis
Casting
Editor
William Steinkamp
Editor
Fredric Steinkamp
Editor
Art Direction
Malcolm Middleton
Art Direction
Austen Spriggs
Art Direction
Richard Dawking
Art Direction
Costume Design
Evangeline Harrison
Costume Design
Stunts
Helen Caldwell
Stunts
Robert Harman
Stunts
Steve Crawley
Stunts
Romo Gorrara
Stunts
Dave Holland
Stunts
Production Design
Philip Harrison
Production Design
Stunt Coordinator
Peter Brayham
Stunt Coordinator
Set Decoration
Joanne Woollard
Set Decoration
Makeup Artist
Neville Smallwood
Makeup Artist
Madeleine Masters
Makeup Artist
Sound Re-Recording Mixer
Robert Glass
Sound Re-Recording Mixer
Don Digirolamo
Sound Re-Recording Mixer
Original Music Composer
Associate Producer
Bill Borden
Associate Producer
Second Assistant Director
Kieron Phipps
Second Assistant Director
Additional Photography
Kenneth J. Withers
Additional Photography
John Harris
Additional Photography
Director of Photography
David Watkin
Director of Photography
Camera Operator
Freddie Cooper
Camera Operator
Assistant Art Director
Stuart Rose
Assistant Art Director
Property Master
George Ball
Property Master
Supervising Sound Editor
Tom McCarthy Jr.
Supervising Sound Editor
Aerial Director of Photography
Frank M. Holgate
Aerial Director of Photography
Supervising ADR Editor
Doreen A. Dixon
Supervising ADR Editor
Still Photographer
Murray Close
Still Photographer
Associate Editor
Deveril Goodman
Associate Editor
Sound Mixer
Clive Winter
Sound Mixer
Chief Lighting Technician
Maurice Gillett
Chief Lighting Technician
Production Manager
Neville C. Thompson
Production Manager
Anja Harjula
Production Manager
Maria do Carmo Moser
Production Manager
Boom Operator
Dushko Indjic
Boom Operator
Screenplay
James Goldman
Screenplay
Eric Hughes
Screenplay
Assistant Editor
Rick Meyer
Assistant Editor
Valerie Lesser
Assistant Editor
Peter Culverwell
Assistant Editor
Karl F. Steinkamp
Assistant Editor
Location Manager
Peter Elford
Location Manager
Bernard Hanson
Location Manager
Grip
Ray Hall
Grip
Special Effects
Martin Gutteridge
Special Effects
Ian Wingrove
Special Effects
Garth Inns
Special Effects
Story
James Goldman
Story
Music Supervisor
Phil Ramone
Music Supervisor
Third Assistant Director
Tony Aherne
Third Assistant Director
Songs
Accountant
Gerald C. Wheatley
Accountant
Assistant Director
Ray Corbett
Assistant Director
Matti Ollila
Assistant Director
José de Sá Caetano
Assistant Director
Focus Puller
Mike Connors
Focus Puller
Video Assist Operator
Bob Bridges
Video Assist Operator
Standby Painter
Bill Fisher
Standby Painter
Additional Writing
Production Assistant
Carrie Stein
Production Assistant
Jeff Conroy
Production Assistant
Production Coordinator
Mo Coppitters
Production Coordinator
Johanna Kärävä
Production Coordinator
ADR Editor
Jay Kamen
ADR Editor
Best Boy Electric
Alan Barry
Best Boy Electric
Supervising Music Editor
Curt Sobel
Supervising Music Editor
Wardrobe Supervisor
Ron Beck
Wardrobe Supervisor
Choreographer
Hairdresser
Barry Richardson
Hairdresser
Unit Manager
Juhani Jotuni
Unit Manager
Executive In Charge Of Production
Denis Holt
Executive In Charge Of Production
Standby Property Master
Dennis Hopperton
Standby Property Master
Peter Benson
Standby Property Master
Standby Carpenter
Leslie Butterfield
Standby Carpenter
Construction Manager
Syd Nightingale
Construction Manager
Title Designer
Sound Editor
Don S. Walden
Sound Editor
Joseph Holsen
Sound Editor
Clapper Loader
Shane O'Neill
Clapper Loader
Aerial Camera
Gregory J. Schmidt
Aerial Camera
Wardrobe Master
Janet Tebrooke
Wardrobe Master
Color Timer
Ron Lambert
Color Timer
Wardrobe Assistant
Ken Crouch
Wardrobe Assistant
Music Consultant
Jules Chaikin
Music Consultant
Aerial Coordinator
Jeff Hawke
Aerial Coordinator
Continuity
Lissa Ruben
Continuity
Harold Michelson
Continuity
Projection
Roy Moores
Projection
Playback Coordinator
Trevor Rutherford
Playback Coordinator
Location Casting
Paula Gilmore
Location Casting
Standby Rigger
Mel Sansom
Standby Rigger
What's left behind the scenes
- Helen Mirren convincingly played Galina Ivanova, which is not surprising considering her father was Russian. Her birth name is Elena Lidia Vasilievna Mironova. Her grandfather, Pyotr Vasilievich Mironov, was a military engineer and served on the Russian Government Committee in London, where he oversaw arms procurement for the Russian army. A staunch monarchist, he remained in Great Britain after the revolution (according to other sources, he fled Soviet Russia).
- Actress Helen Mirren and director Taylor Hackford met on the set of this film. They subsequently married.
- Director Taylor Hackford faced criticism and ridicule for using old photographs of Helsinki in the film, which he presented as photographs of Leningrad. In fact, Hackford used photographs of Leningrad obtained at his request from representatives of a Finnish tourist agency. Despite the criticism, he endured the mockery for a long time and remained silent about the origin of the photographs so as not to compromise his Finnish friends.
- Director Taylor Hackford encountered quite predictable difficulties when choosing locations for filming. A large part of the film's plot unfolded in the USSR, particularly in Siberia and Leningrad. Given the film's subject matter – and especially the participation of Mikhail Baryshnikov – filming there was out of the question. Siberia could not be filmed on location either, as the technical capabilities of that period did not allow for accurately recreating the typical lighting for northern latitudes. The filmmakers took several trial trips to countries bordering the Arctic Circle and eventually chose the Finnish island of Reposaari. The majority of the island's population, which by that time numbered 1071 people, adhered to communist ideals, so producer William S. Gilmore had to use maximum diplomacy to obtain permission to film. One way or another, the Finnish communists proved to be pragmatic. Filming meant investment in the island's economy and temporary work for its inhabitants (the port, chemical plant, and fish processing plant located on the island had long been in decline). In short, only three residents of the island opposed filming and turning their village into a Siberian town for two weeks.
- The beginning of the film shows an excerpt from the ballet "The Young Man and Death" (choreographer – Roland Petit, librettist – Jean Cocteau), which premiered in 1946 on the stage of the Théâtre des Champs-Élysées.
- While preparing for filming, Helen Mirren, Gregory Hines (1946-2003), and Isabella Rossellini visited Leningrad.
- The filmmakers needed to find a location that could pass for the interior of the Leningrad Order of Lenin and Order of the October Revolution Academic Opera and Ballet Theatre named after S.M. Kirov. Ultimately, they decided to film in the premises of the Teatro Nacional de São Carlos in Lisbon. Throughout Western Europe, it most resembled the theatre in Leningrad in terms of atmosphere and the elegance of its decor, as Mikhail Baryshnikov also agreed. At that time, the theatre had already existed for almost 200 years. It served as a symbol of the revival of the Portuguese capital after the devastating earthquake of 1783. The interiors of the Kirov Theatre were filmed in Portugal, while the exterior shots were taken directly in Leningrad in the then USSR. In 1992, the Kirov Theatre was renamed the State Academic Mariinsky Theatre.
- The film opens with an excerpt from the ballet “The Young Man and Death” (choreographer – Roland Petit, librettist – Jean Cocteau), which premiered in 1946 on the stage of the Théâtre des Champs-Élysées.
- The filmmakers needed to find a venue that could pass for the interior of the Leningrad Order of Lenin and Order of the October Revolution Academic Theatre of Opera and Ballet named after S.M. Kirov. Eventually, it was decided to film in the premises of the Teatro Nacional de São Carlos in Lisbon. Throughout Western Europe, it most resembled the theatre in Leningrad in terms of atmosphere and the elegance of its interior, as Mikhail Baryshnikov also agreed. At that time, the theatre had been around for almost 200 years. It served as a symbol of the revival of the Portuguese capital after the terrible earthquake of 1783. The interiors of the Kirov Theatre were filmed in Portugal, and the exterior – directly in Leningrad in the then USSR. In 1992, the Kirov Theatre was renamed the State Academic Mariinsky Theatre.
Did you like the film?
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