The Adventures of Tintin - crew, film crew
The entire team, the film crew of the film "The Adventures of Tintin"
The Adventures of Tintin (2011)
Timing:
1:47 (107 min)
6.919/10
5761
5761
7.403/10
88555
88555
7.3/10
254000
254000
Film crew
Director
Producer
Carolynne Cunningham
Producer
Jason McGatlin
Producer
Executive Producer
Ken Kamins
Executive Producer
Stephane Sperry
Executive Producer
Nick Rodwell
Executive Producer
Casting
Victoria Burrows
Casting
Scot Boland
Casting
Editor
Art Direction
Jeffrey Wisniewski
Art Direction
Supervising Art Director
Andrew L. Jones
Supervising Art Director
Stunts
Sean Button
Stunts
Stunt Coordinator
Sound Re-Recording Mixer
Original Music Composer
Associate Producer
Adam Somner
Associate Producer
Director of Photography
Property Master
Brad Elliott
Property Master
Brad Elliott
Property Master
Visual Effects Supervisor
Wayne Stables
Visual Effects Supervisor
Keith Miller
Visual Effects Supervisor
Matt Aitken
Visual Effects Supervisor
Script Supervisor
Ana Maria Quintana
Script Supervisor
Lead Animator
Jan Philip Cramer
Lead Animator
Simeon Duncombe
Lead Animator
Greg Lewis
Lead Animator
Morgan Loomis
Lead Animator
Robyn Luckham
Lead Animator
Matthew Riordan
Lead Animator
Jance Rubinchik
Lead Animator
Digital Effects Supervisor
Kevin Andrew Smith
Digital Effects Supervisor
Animation Supervisor
Paul Story
Animation Supervisor
Jamie Beard
Animation Supervisor
Alexander Burt
Animation Supervisor
Nick Craven
Animation Supervisor
Aaron Gilman
Animation Supervisor
First Assistant Director
Adam Somner
First Assistant Director
Animation
Matt Weaver
Animation
Alberto Abril
Animation
Marcus Alqueres
Animation
Nino Aniceto
Animation
Aaron Barlow
Animation
Peter Chen
Animation
Eddie Chew
Animation
Mike Clark
Animation
Chung Joo-yeon
Animation
Jeffrey Engel
Animation
Brian Eyre
Animation
Anneka Fris
Animation
Elizabeth Gray
Animation
Simon Westlake
Animation
Juani Guiraldes
Animation
Martin Haughey
Animation
Tim Kings-Lynne
Animation
Carmelo Leggiero
Animation
Sandra Lin
Animation
Brad Lincoln
Animation
Randy Link
Animation
Anthony McIndoe
Animation
Jason Malinowsky
Animation
Orlando Meunier
Animation
Adrian Millington
Animation
Jun Zee Myers
Animation
Thanh Van Nguyen
Animation
Jonathan Paquin
Animation
Andrew William Park
Animation
Ben Sanders
Animation
Clare Williams
Animation
Carsten Seller
Animation
Mark Smith
Animation
Rini Sugianto
Animation
Caroline Ting
Animation
Edwina Ting
Animation
Philip To
Animation
Chris Tost
Animation
Sebastian Trujillo
Animation
Roland Vallet
Animation
Romain Vacher
Animation
John Vassallo
Animation
Mathieu Walsh
Animation
Brian Ward
Animation
Marcus Alqueres
Animation
Screenplay
Set Designer
Jim Wallis
Set Designer
Jackson Bishop
Set Designer
David Moreau
Set Designer
Additional Editor
Jabez Olssen
Additional Editor
Construction Coordinator
John Villarino
Construction Coordinator
Art Department Coordinator
Greg Bartkus
Art Department Coordinator
Sarah Milnes
Art Department Coordinator
Set Production Assistant
Scott Koche
Set Production Assistant
Visual Effects Production Manager
Aaron Cowan
Visual Effects Production Manager
Online Editor
Francisco Cubas
Online Editor
Co-Director
Animation Director
Regina Cachuela
Animation Director
Taisuke Tanimura
Animation Director
CG Supervisor
Jeff Capogreco
CG Supervisor
Daniele Tosti
CG Supervisor
Mike Perry
CG Supervisor
Daniel Macarin
CG Supervisor
Luke Millar
CG Supervisor
Phil Barrenger
CG Supervisor
Michael McNeill
CG Supervisor
Jeremy Pickett
CG Supervisor
Dan Cox
CG Supervisor
Conceptual Design
Paul Tobin
Conceptual Design
Matthew Rodgers
Conceptual Design
Assistant Production Coordinator
Sally Potters
Assistant Production Coordinator
Visual Effects Art Director
Kim Sinclair
Visual Effects Art Director
Motion Capture Artist
Senior Modeller
Chang Jung-min
Senior Modeller
Post Producer
Comic Book
Senior Animator
Graham Binding
Senior Animator
Michael Aerni
Senior Animator
Jacob Luamanuvae-Su'a
Senior Animator
Mark Stanger
Senior Animator
John Sore
Senior Animator
Andrew Calder
Senior Animator
David Clayton
Senior Animator
Gerald Clevy
Senior Animator
Michael Cozens
Senior Animator
Tom Del Campo
Senior Animator
Austin Eddy
Senior Animator
Kevin Estey
Senior Animator
Oliver Exmundo
Senior Animator
Toby Haruno
Senior Animator
Makoto Koyama
Senior Animator
Todd Labonte
Senior Animator
Craig Penn
Senior Animator
Barth Maunoury
Senior Animator
Daniel Zettl
Senior Animator
Eric Reynolds
Senior Animator
Jalil Sadool
Senior Animator
Senior Visual Effects Supervisor
What's left behind the scenes
- The film's plot is based on stories described in the comic books 'The Secret of the Unicorn' (issue No. 11, published in 1942-1943), 'The Crab with the Golden Claws' (issue No. 9, published in 1940-1941), and 'Red Rackham's Treasure' (issue No. 12, published in 1943-1944).
- Spielberg first acquired the rights to adapt 'Tintin' after Hergé's death in 1983, and again in 2002.
- Filming was scheduled to begin in October 2008, with a release expected in 2010. However, the release was postponed until 2011 after Universal withdrew from collaborating with Paramount, which had provided $30 million for pre-production. The delays led to actor Thomas Sangster, who had initially been cast as Tintin, leaving the project.
- One of Simon Pegg and Nick Frost's mentors was choreographer and Cirque du Soleil star Terry Notary. He helped the actors synchronize their duet so that the blunders of the Duponts would look even funnier.
- Snowy's test animation was performed by animators from Peter Jackson's Weta Digital. To demonstrate the capabilities, Jackson sent Spielberg a video in which the 'Lord of the Rings' director himself played the role of Captain Haddock, while a drawn Snowy spun around his feet.
- Hergé believed that only Steven Spielberg could bring Tintin to life on the big screen. Unfortunately, the artist passed away shortly before his scheduled meeting with the director.
- The comic books sometimes featured images of vehicles, such as a 1937 Ford and a seaplane. The drawings were so detailed that animators were even able to identify the model and year of manufacture.
- Filming took place in a pavilion equipped with a performance capture Volume system. Approximately one hundred cameras were mounted around the perimeter of the ceiling, capturing everything in a 360-degree range and recording information in accordance with the position of each object and actor in space. Actors working in the Volume pavilion wore special suits with numerous mirrored markers, which were picked up by the cameras. This information was translated into a three-dimensional image. Props and sets used in the scenes were also equipped with similar markers. In addition, eight HD cameras filmed scenes as is, that is, directly the actors themselves. This material was subsequently used by animators to ensure that no grimace, smile, twitch, or other emotion and facial nuance went unnoticed. In addition to performance capture technology, facial capture technology was also used, recording emotions based on the distortion of facial lines. The actor wore a helmet that resembled a football helmet and to which a miniature video camera was attached, pointed at the person's face. It recorded the slightest movements of the eyes, lips, and key facial muscles.
- This is Spielberg's first film in digital format.
- When Spielberg made his first Indiana Jones film, 'Raiders of the Lost Ark,' fans of Tintin accused the filmmakers of plagiarism. Spielberg wasn't worried about the accusations themselves, but about the unfamiliar word 'Tintin.' With great difficulty, he found out what it was about and ordered several volumes of the comics from France without translation. He flipped through them, became interested. He found English editions. He read them in one sitting. He understood who he had been copying, unknowingly. Decades before Indiana Jones, Tintin combined detective work with archaeology – he uncovered conspiracies, exposed greedy capitalists, and discovered mysterious artifacts in the dust of time.
- Spielberg received 'blessings' from Hergé over the phone for the film adaptation of the comics.
- When Tintin sees the seaplane from the boat, he checks the number of cartridges in the Browning pistol he brought from the ship as follows: he removes the magazine, sees one cartridge in it, and tells the captain: 'We only have one cartridge.' This is not true – a second cartridge was in the chamber, in accordance with the pistol’s mechanism.
- Animators from Peter Jackson’s Weta Digital performed test animation of Snowy. To demonstrate the possibilities, Jackson sent Spielberg a video in which the “Lord of the Rings” director himself played the role of Captain Haddock, while a drawn Snowy spun around his feet.
- When Spielberg filmed the first Indiana Jones movie, “Raiders of the Lost Ark,” fans of Tintin accused the filmmakers of plagiarism. Spielberg was not troubled by the accusations themselves, but by the unfamiliar word “Tintin.” With great difficulty, he found out what it was about and ordered several volumes of the comics from France without translation. He flipped through them, became interested. He found English editions. He read them in one sitting. He realized who he had been copying, unknowingly. Decades before Indiana Jones, Tintin combined detective work with archaeology – he uncovered conspiracies, exposed greedy capitalists, and found mysterious artifacts in the dust of time.
- Spielberg received Hergé's "blessing" for the comic book adaptation during a phone call.
- When Tintin on the boat sees the seaplane, he checks the number of cartridges in the Browning pistol he brought from the ship as follows: he removes the magazine, sees one cartridge in it, and tells the captain: "We only have one cartridge." This is not true – a second cartridge was in the chamber, consistent with the pistol's mechanism.
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Auditions in India
Casting calls in USA
Castingi w Polsce
Кастинги в Україні
