The Way of the Gun - crew, film crew
The entire team, the film crew of the film "The Way of the Gun"
The Way of the Gun (2000)
Timing:
1:59 (119 min)
6.317/10
410
410
6.409/10
2948
2948
6.6/10
37000
37000
Film crew
Director
Producer
Kenneth Kokin
Producer
Executive Producer
Russell D. Markowitz
Executive Producer
Casting
Lynn Kressel
Casting
Editor
Stephen Semel
Editor
Art Direction
Tom Meyer
Art Direction
Costume Design
Genevieve Tyrrell
Costume Design
Heather Neely
Costume Design
Production Design
Maia Javan
Production Design
Stunt Coordinator
Gary Paul
Stunt Coordinator
Second Unit Director
Kenneth Kokin
Second Unit Director
Set Decoration
Les Boothe
Set Decoration
Key Makeup Artist
Gina Homan
Key Makeup Artist
Sound Re-Recording Mixer
Chuck Michael
Sound Re-Recording Mixer
Chris David
Sound Re-Recording Mixer
Production Supervisor
Christine White
Production Supervisor
Second Assistant Director
Dawn Massaro
Second Assistant Director
Director of Photography
Camera Operator
Ian Fox
Camera Operator
Property Master
Ian Roylance
Property Master
Supervising Sound Editor
Chuck Michael
Supervising Sound Editor
Script Supervisor
Suzanne Bingham
Script Supervisor
Sound Mixer
Jonathon 'Earl' Stein
Sound Mixer
First Assistant Director
William Paul Clark
First Assistant Director
Chief Lighting Technician
John Farr
Chief Lighting Technician
Production Manager
Russell D. Markowitz
Production Manager
Boom Operator
Brent Brewington
Boom Operator
Screenplay
Set Designer
Linden Snyder
Set Designer
First Assistant Editor
Robert Berman
First Assistant Editor
Foley Artist
Construction Coordinator
Curtis Crowe
Construction Coordinator
Best Boy Grip
Gary W. Shaw
Best Boy Grip
Julie Fife
Best Boy Grip
Transportation Coordinator
Mark A. James
Transportation Coordinator
Key Grip
Arly H. Thomsen
Key Grip
Dolly Grip
Jeffrey A. Johnson
Dolly Grip
Key Hair Stylist
Erin Lyons
Key Hair Stylist
Leadman
Kathy Crandall
Leadman
Second Second Assistant Director
Susie Balaban
Second Second Assistant Director
Casting Assistant
Judi McKee
Casting Assistant
Music
Joe Kraemer
Music
Music Editor
Lise Richardson
Music Editor
Second Unit Director of Photography
Kenneth Kokin
Second Unit Director of Photography
Executive In Charge Of Production
Post-Production Manager
Felicity Nove
Post-Production Manager
Dolby Consultant
Thom 'Coach' Ehle
Dolby Consultant
Color Timer
Mike Milliken
Color Timer
Craft Service
Melinda Haynes
Craft Service
Negative Cutter
Gary Burritt
Negative Cutter
Best Boy Electrician
John Raymer
Best Boy Electrician
Storyboard
Mark Lambert Bristol
Storyboard
What's left behind the scenes
- The film owes its realistic gunfight scenes (referring to the coordination of character movements, the correct choice of cover, and the professional "clearing" of rooms) to a consultant. This role was taken by the brother of director Christopher McQuarrie, a former member of the US Navy SEALs.
- During the filming of the scene that opens the film, Ryan Phillippe accidentally hit Sarah Silverman for real. When the actress came to, Phillippe was almost in tears. The blood in the scene was fake, but the bump on the actress's cheek was very real.
- The main characters of the film bear the surnames of Butch Cassidy (1866-1908) and the Sundance Kid (1867-1906), famous bank robbers.
- Benicio Del Toro suggested the unusual car chase during the kidnapping. This idea came to him after watching "Police Academy 6: City Under Siege" (1989), where a similar stunt was pulled off by a pair of criminals.
- Unlike many other action films, this production meticulously accounted for every shot fired, and the characters reloaded their weapons on time. The only exception was the shootout in the courtyard of the brothel, where Ryan Phillippe and Benicio Del Toro, playing the main characters, fire without reloading their weapons. This scene became a kind of tribute – with a touch of irony – to classic action films.
- The final shootout took place in a brothel – the same location where George Roy Hill’s Western "Butch Cassidy and the Sundance Kid" (1969) concludes.
- The screenwriter and director wrote many lines for Benicio Del Toro's character, but the actor convinced him that the less his character spoke, the better.
- In all scenes, Nicky Katt, who played Obekks, drove the car himself.
- All the actors in the film shoot from the "Weaver stance," named after its creator, Los Angeles Deputy Sheriff Jack Weaver (1928-2009). It was subsequently developed by U.S. Marine Corps Colonel John Dean "Jeff" Cooper (1920-2006). The shooter holds the weapon with both hands. A more modern stance (one hand on the grip, the other supporting it) is often preferred in shooting competitions and the military.
- The American Film Association threatened to give the film an NC-17 rating (no one 17 and under admitted), so the filmmakers had to reduce the number of violent scenes.
- Viewers had already seen the painting shown on the wall of the Mexican brothel in Uli Edel's TV film "Purgatory" (1999).
- James Caan played the role of the heroine Juliette Lewis's father, while Jeffrey Lewis, the actress's father, played Ebner.
- The film owes its realistic gunfight scenes (referring to the coordination of character movements, the correct choice of cover, and the professional "clearing" of rooms) to a consultant. This role was played by the brother of director Christopher McQuarrie, a former member of the US Navy SEALs special forces unit.
- Benicio Del Toro suggested the unusual car chase during the kidnapping. He came up with this idea after watching "Police Academy 6: City Under Siege" (1989), where a similar stunt was pulled off by a pair of criminals.
- The final shootout took place in a brothel – the same location where George Roy Hill's Western "Butch Cassidy and the Sundance Kid" (1969) ends.
- All the actors in the film shoot from the "Weaver stance", named after its creator, Los Angeles Deputy Sheriff Jack Weaver (1928-2009). It was subsequently developed by US Marine Corps Colonel John Dean "Jeff" Cooper (1920-2006). The shooter holds the weapon with both hands. A more modern stance (one hand on the grip, the other supporting it) is often preferred in shooting competitions and in the military.
- Viewers had already seen the painting shown on the wall of the Mexican brothel in Uli Edel's TV film 'Purgatory' (1999).
Did you like the film?
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