G-Force - crew, film crew
The entire team, the film crew of the film "G-Force"
G-Force (2009)
Timing:
1:28 (88 min)
5.48/10
1970
1970
5.984/10
42410
42410
5.1/10
53000
53000
Film crew
Director
Producer
Executive Producer
Mike Stenson
Executive Producer
Duncan Henderson
Executive Producer
David P.I. James
Executive Producer
Casting
Editor
Jason Hellmann
Editor
Art Direction
Daniel R. Jennings
Art Direction
Supervising Art Director
Ramsey Avery
Supervising Art Director
Costume Design
Stunts
Brian Avery
Stunts
Production Design
Deborah Evans
Production Design
Stunt Coordinator
Set Decoration
Leslie E. Rollins
Set Decoration
Makeup Artist
Cinzia Zanetti
Makeup Artist
Sound Re-Recording Mixer
Terry Porter
Sound Re-Recording Mixer
Dean A. Zupancic
Sound Re-Recording Mixer
Original Music Composer
Unit Production Manager
Todd Arnow
Unit Production Manager
Associate Producer
Pat Sandston
Associate Producer
Ed Kashiba
Associate Producer
Second Assistant Director
Eric Sherman
Second Assistant Director
Stunt Double
Rick Marcus
Stunt Double
Utility Stunts
Director of Photography
Bojan Bazelli
Director of Photography
Musician
Camera Operator
Patrick Loungway
Camera Operator
Makeup Department Head
Sound Effects Editor
Gary Wright
Sound Effects Editor
Adam Kopald
Sound Effects Editor
Randle Akerson
Sound Effects Editor
R.J. Palmer
Sound Effects Editor
F. Hudson Miller
Sound Effects Editor
Property Master
Emily Ferry
Property Master
Visual Effects Supervisor
Scott Stokdyk
Visual Effects Supervisor
Supervising Sound Editor
George Watters II
Supervising Sound Editor
Script Supervisor
Trudy Ramirez
Script Supervisor
Hair Department Head
Peter Tothpal
Hair Department Head
Set Costumer
Cheryl Cravedi
Set Costumer
Supervising ADR Editor
Jessica Gallavan
Supervising ADR Editor
Supervising Dialogue Editor
David A. Arnold
Supervising Dialogue Editor
Hairstylist
Roxane Griffin
Hairstylist
Still Photographer
Robert Zuckerman
Still Photographer
Sound Mixer
Visual Effects Producer
John Clinton
Visual Effects Producer
First Assistant Director
Richard Graves
First Assistant Director
Production Manager
Graphic Designer
Jason Sweers
Graphic Designer
Screenplay
Foley Artist
Construction Coordinator
Steve Callas
Construction Coordinator
Dialogue Editor
Lucy Coldsnow-Smith
Dialogue Editor
Foley Editor
Matthew Harrison
Foley Editor
Thomas W. Small
Foley Editor
Transportation Coordinator
Russell McEntyre
Transportation Coordinator
Construction Foreman
Robert L. Thompson
Construction Foreman
Story
David P.I. James
Story
Music Supervisor
Kathy Nelson
Music Supervisor
Casting Assistant
Nicole Daniels
Casting Assistant
Foley Supervisor
Victoria Martin
Foley Supervisor
Foley Mixer
James Ashwill
Foley Mixer
Casting Associate
Courtney Bright
Casting Associate
Music Editor
Robb Boyd
Music Editor
Katie Greathouse
Music Editor
ADR Mixer
David Boulton
ADR Mixer
Charleen Richards
ADR Mixer
Bobby Johanson
ADR Mixer
Video Assist Operator
Mauriece Jacks Jr.
Video Assist Operator
Post Production Supervisor
Tami Goldman
Post Production Supervisor
Unit Publicist
Michael Singer
Unit Publicist
Visual Effects
Hugo Dominguez
Visual Effects
Payroll Accountant
Amy Denning Winfrey
Payroll Accountant
CG Supervisor
Seth Maury
CG Supervisor
ADR Editor
Joe Dorn
ADR Editor
ADR Voice Casting
Extras Casting
Tammy L. Smith
Extras Casting
Supervising Music Editor
Jeanette Surga
Supervising Music Editor
Assistant Sound Editor
Dee Selby
Assistant Sound Editor
F. Scott Taylor
Assistant Sound Editor
Douglas Parker
Assistant Sound Editor
Lighting Artist
Michael Leung
Lighting Artist
Roger Huynh
Lighting Artist
Transportation Captain
Mike Padovich
Transportation Captain
Title Designer
Robert Dawson
Title Designer
Color Timer
Jim Passon
Color Timer
Kurt Smith
Color Timer
Software Engineer
Lisa Curtis Saunders
Software Engineer
Layout
Adam Holmes
Layout
Harald Kraut
Layout
Technical Supervisor
Justin Hammond
Technical Supervisor
Compositors
Roger Huynh
Compositors
Sound Effects Designer
Shannon Mills
Sound Effects Designer
What's left behind the scenes
- Initially, the film was planned to be released in Russian theaters under the title "Brigada-M".
- The initial idea for creating "Darwin's Mission" was suggested by the five-year-old son of director Hoyt Yeatman Jr. One day, the boy brought home a guinea pig and remarked that it would be cool if these creatures could be soldiers.
- Something for the first time: "Darwin's Mission" is Jerry Bruckheimer's first foray into the world of three-dimensional cinematography. Also, "Darwin's Mission" is the first film about guinea pigs who have become secret agents!
- The idea of transforming trained animals into intelligence agents has been reflected not only in cinema. The internet frequently features stories about other members of the animal kingdom: from cockroaches stuffed with miniature cameras to dolphins trained to search for mines, and squirrels equipped with recording devices for covert espionage. All of them, allegedly, serve in secret government organizations.
- If anyone was to be entrusted with directing an action movie packed with special effects about computer-generated rodents, it should have been Hoyt Yeatman. It's not for nothing he was awarded an "Oscar" for outstanding achievement in visual effects for the film "The Abyss," as well as a certificate for merit in science and technology – for promoting computer graphics rendering technology.
- Scott Stockdick, head of the film's visual effects department representing Sony Imageworks, has received two American Academy Awards, including an "Oscar" for outstanding achievement in visual effects for "Spider-Man 2."
- A rich assortment of the latest reconnaissance equipment was specifically developed and constructed for the film's shooting, scaled to the size of the main characters. This included an ergonomic command center keyboard for the mole Speckles (because miniature mole claws aren't meant for hitting keys!)
- The main villain in "Darwin's Mission" manages to bring household appliances to life (naturally, with the goal of taking over Earth). Many of the home appliances were "implanted" with animal personalities. For example, the dishwasher behaves like a typical dominant male in a gorilla troop.
- As for the Lilliputian secret agents, the filmmakers tried to create the most realistic guinea pigs possible using computer graphics. Animal behavior was studied – both in nature and in the virtual world – to subsequently create the most believable atmosphere. The result was an explosive symbiosis of computer animation and real action in the film's three-dimensional world.
- Attention! The filmmakers warn that the "break-out-of-frame" technology was used – when watching in 3D, the three-dimensional characters, figuratively speaking, "break out" of the scene's setting into the auditorium.
- Special cameras were used to shoot the real world from the perspective of an average rodent. The "Zhivchik" (named for the funny noise it made during shooting) camera could shoot a scene while rotating 360 degrees, after which the image was digitized on a computer. The "Mukhozor" 35mm camera was equipped with a very wide "fish-eye" lens to accurately convey Agent Mukha's field of vision.
- Thoughts on ecology are subconscious: The largest film set was built to create the atmosphere of Dr. Ben Kendall's laboratory (the creator of the G-Force team). Metal structures, obsolete electrical parts, and other technical waste, including an aircraft fuselage, were used for the construction. Speckles the mole's burrow is filled with mobile phones and their spare parts.
- The site on which Ben Kendall's house was built was constructed from recycled materials. A unique house on the Redondo Beach in California was built from old shipping containers.
- When actor Sam Rockwell was little, he had a guinea pig named Ralph. The latter had a habit of biting the finger of the person feeding him.
- Harry Gregson-Williams was originally supposed to compose the music for the film, but he left the project to focus on working on "Prince of Persia" (2010).
Did you like the film?
Auditions in India
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