A Star Is Born - crew, film crew
The entire team, the film crew of the film "A Star Is Born"
A Star Is Born (1937)
Timing:
1:51 (111 min)
7.178/10
200
200
7.026/10
1074
1074
7.3/10
12000
12000
Film crew
Director
Producer
Writer
Casting
Charles Richards
Casting
Editor
Costume Design
Omar Kiam
Costume Design
Production Design
Lansing C. Holden
Production Design
Makeup Artist
Elizabeth Arden
Makeup Artist
Original Music Composer
Director of Photography
W. Howard Greene
Director of Photography
Assistant Art Director
Edward G. Boyle
Assistant Art Director
Screenplay
Alan Campbell
Screenplay
Robert Carson
Screenplay
Special Effects
Jack Cosgrove
Special Effects
Story
Robert Carson
Story
Assistant Director
Eric Stacey
Assistant Director
Sound Recordist
Oscar Lagerstrom
Sound Recordist
Supervising Editor
Hal C. Kern
Supervising Editor
Editorial Staff
Art Designer
Supervising Film Editor
Hal C. Kern
Supervising Film Editor
What's left behind the scenes
- It is considered the first film shot in Technicolor that pleased both critics and audiences. Before the release of "A Star is Born" and "Nothing Sacred" (William A. Wellman, 1937), color films used such garish colors that they caused migraines (according to several film critics). Here, producer David O. Selznick (1902-1965) insisted on muted and therefore more realistic colors. It is believed that the success of these two films made possible the appearance of a masterpiece in Technicolor—Victor Fleming’s melodrama "Gone with the Wind" (1939).
- Producer David O. Selznick initially rejected the script because films about Hollywood generally failed at the box office. He was convinced to take on the story by his wife, Irene Mayer Selznick.
- It is considered the first film shot in Technicolor that was well-received by both critics and audiences. Before the release of "A Star Is Born" and "Nothing Sacred" (William A. Wellman, 1937), color films used such garish colors that they caused migraines (according to more than one film critic). Here, producer David O. Selznick (1902-1965) insisted that the colors be muted and therefore more realistic. It is believed that the success of these two films made possible the appearance of a masterpiece in Technicolor – Victor Fleming’s melodrama "Gone with the Wind" (1939).
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