Good Night, and Good Luck. - crew, film crew
The entire team, the film crew of the film "Good Night, and Good Luck."
Good Night, and Good Luck. (2005)
Timing:
1:32 (92 min)
7.083/10
943
943
7.001/10
8366
8366
7.4/10
105000
105000
Film crew
Director
Producer
Executive Producer
Marc Butan
Executive Producer
Chris Salvaterra
Executive Producer
Todd Wagner
Executive Producer
Casting
Ellen Chenoweth
Casting
Editor
Art Direction
Christa Munro
Art Direction
Costume Design
Louise Frogley
Costume Design
Production Design
Set Decoration
Jan Pascale
Set Decoration
Key Makeup Artist
Ron Berkeley
Key Makeup Artist
Sound Re-Recording Mixer
Lance Brown
Sound Re-Recording Mixer
Curt Schulkey
Sound Re-Recording Mixer
Unit Production Manager
Barbara A. Hall
Unit Production Manager
Co-Producer
Simon Franks
Co-Producer
Zygi Kamasa
Co-Producer
Barbara A. Hall
Co-Producer
Kiyotaka Ninomiya
Co-Producer
Second Assistant Director
Melissa V. Barnes
Second Assistant Director
Director of Photography
Camera Operator
Colin Anderson
Camera Operator
Costume Supervisor
Lynda Foote
Costume Supervisor
Makeup Department Head
Waldo Sanchez
Makeup Department Head
Key Costumer
Lucinda Campbell
Key Costumer
Sound Effects Editor
John Joseph Thomas
Sound Effects Editor
Property Master
Tony Bonaventura
Property Master
Supervising Sound Editor
Curt Schulkey
Supervising Sound Editor
Script Supervisor
Hair Department Head
Waldo Sanchez
Hair Department Head
Hairstylist
Carolyn Elias
Hairstylist
Violet Ortiz
Hairstylist
Still Photographer
Melinda Sue Gordon
Still Photographer
First Assistant Director
David Webb
First Assistant Director
Chief Lighting Technician
Boom Operator
Randall L. Johnson
Boom Operator
Screenplay
Set Designer
Gae S. Buckley
Set Designer
First Assistant Editor
Douglas Crise
First Assistant Editor
Foley Artist
Alyson Dee Moore
Foley Artist
Pamela Kahn
Foley Artist
Construction Coordinator
Karen Higgins
Construction Coordinator
Art Department Coordinator
Charlotte Raybourn
Art Department Coordinator
Dialogue Editor
Susan Dudeck
Dialogue Editor
Best Boy Grip
John Morris
Best Boy Grip
First Assistant "B" Camera
John T. Connor
First Assistant "B" Camera
First Assistant "A" Camera
Barry Idoine
First Assistant "A" Camera
Transportation Coordinator
Dusty Saunders
Transportation Coordinator
Key Grip
Michael Kenner
Key Grip
Dolly Grip
Jeff Kunkle
Dolly Grip
Assistant Property Master
Ellis J. Barbacoff
Assistant Property Master
Key Hair Stylist
Joy Zapata
Key Hair Stylist
Leadman
Louise Del Araujo
Leadman
Key Rigging Grip
Hank Sheppherd
Key Rigging Grip
Foley Mixer
Mary Jo Lang
Foley Mixer
Production Accountant
Tad Driscoll
Production Accountant
Casting Associate
Rachel Tenner
Casting Associate
Production Sound Mixer
Edward Tise
Production Sound Mixer
Video Assist Operator
David D. Scott
Video Assist Operator
Co-Executive Producer
Samuel Hadida
Co-Executive Producer
Victor Hadida
Co-Executive Producer
Utility Sound
Rocky Quiroz
Utility Sound
Camera Production Assistant
Second Assistant "A" Camera
Larissa Supplitt
Second Assistant "A" Camera
ADR Voice Casting
Lynne Redding
ADR Voice Casting
Rigging Gaffer
J. A. Byerly
Rigging Gaffer
Assistant Sound Editor
Oscar Mitt
Assistant Sound Editor
Foley Recordist
Scott Morgan
Foley Recordist
Digital Intermediate Producer
Gregg Schaublin
Digital Intermediate Producer
Craft Service
Jeff Winn
Craft Service
Assistant Chief Lighting Technician
Simone Perusse
Assistant Chief Lighting Technician
What's left behind the scenes
- The film uses documentary footage featuring Senator McCarthy. During test screenings, viewers unaware of this claimed that the actor playing McCarthy was “overacting severely.”
- Every morning, director George Clooney gathered the cast and handed out copies of newspapers from that day in 1953. The actors had half an hour to retype articles from the newspapers on old typewriters. Afterwards, he held conferences with an editor, during which the actors pitched the editor materials from their supposed article for inclusion in that day’s issue.
- The phrase that became the film’s title, “Good Night, and Good Luck,” originally belonged to Robert P. Morrow (1908-1965) from his time in London as a war radio correspondent. These words were said by residents of Great Britain during World War II, when they were unsure if they would survive the night under Luftwaffe bombs.
- To help raise funds for the film’s production, George Clooney mortgaged his own mansion in Los Angeles.
- Every 23 minutes (exactly the length of television programs in the 1950s), a jazz composition performed by Dianne Reeves sounds in the film.
- George Clooney received one dollar each as a screenwriter, director, and actor. This helped reduce the film's production costs, with a budget of just over $7.5 million.
- George Clooney was very nervous before showing the film to his father, a former reporter. After watching the film, Nick Clooney reassured his son, saying that he had accurately conveyed the atmosphere.
- Initially, it was intended to be not a feature film, but a live broadcast program for CBS.
- The entire set and all the decorations were built on one floor; the elevator cabin was made to rotate around its axis, so during continuous shots it was simply rotated, and then supposedly another floor was shown.
- The film features Matt Catingub's orchestra, with all arrangements done by Catingub himself. He also produced the last album of American popular singer and actress of the 1940s-1950s Rosemary Clooney (1928-2012), George Clooney's aunt. Clooney personally asked Catingub to work on this film.
- While preparing to film, George Clooney revisited films from the 1950s and 1960s. He was particularly impressed by Sidney Lumet’s (1924-2011) thriller “The Hill” (1964), his drama “12 Angry Men” (1956), and Jean-Luc Godard’s drama “Breathless” (1960). He even attempted, though unsuccessfully, to find the same camera lens used in Godard’s film.
- The film was shot simultaneously with two cameras, a decision George Clooney made due to a back injury. At a minimum, this allowed him to cut the shooting day in half, to 9 hours.
- In the film, Joe resigned voluntarily to avoid being fired when his secret marriage to Shirley, played by Patricia Clarkson, came to light. In reality, Joseph Wershba (1920-2011) wrote for the New York Post for 6 years before returning to CBS when their rules regarding employee marriages changed. He became one of the original producers of the popular show “60 Minutes”.
Did you like the film?
Auditions in India
Casting calls in USA
Castingi w Polsce
Кастинги в Україні
