The Shallows - crew, film crew
The entire team, the film crew of the film "The Shallows"
The Shallows (2016)
Timing:
1:26 (86 min)
6.352/10
5293
5293
6.337/10
125766
125766
6.3/10
153000
153000
Film crew
Director
Producer
Lynn Harris
Producer
Matti Leshem
Producer
Executive Producer
Douglas C. Merrifield
Executive Producer
Casting
Ben Parkinson
Casting
Editor
Special Effects Supervisor
Ronald Grauer
Special Effects Supervisor
Art Direction
Nathan Blanco Fouraux
Art Direction
Supervising Art Director
Fiona Donovan
Supervising Art Director
Costume Design
Stunts
Gulliver Page
Stunts
Neil Stoddart
Stunts
Elissa Cadwell
Stunts
Production Design
Hugh Bateup
Production Design
Stunt Coordinator
Glenn Ruehland
Stunt Coordinator
Makeup Artist
Louise Coulston
Makeup Artist
Cora Montalban
Makeup Artist
Sound Re-Recording Mixer
Tateum Kohut
Sound Re-Recording Mixer
Original Music Composer
Stunt Double
Kelly Richardson
Stunt Double
Isabella Nichols
Stunt Double
Portia Large
Stunt Double
Additional Photography
Marc Spicer
Additional Photography
Director of Photography
Pilot
Mark Harrold
Pilot
Steadicam Operator
Andrew Conder
Steadicam Operator
Costume Supervisor
Chelsea Staebell
Costume Supervisor
Makeup Department Head
Sound Effects Editor
J.M. Davey
Sound Effects Editor
Chris Diebold
Sound Effects Editor
Chris Terhune
Sound Effects Editor
P.K. Hooker
Sound Effects Editor
Visual Effects Supervisor
David Nelson
Visual Effects Supervisor
Nathan McGuinness
Visual Effects Supervisor
Allan Magled
Visual Effects Supervisor
Gregory D. Liegey
Visual Effects Supervisor
Scott E. Anderson
Visual Effects Supervisor
José Manuel Weil
Visual Effects Supervisor
Nathan McGuinness
Visual Effects Supervisor
Script Supervisor
Carolina Häggström
Script Supervisor
Hair Department Head
Rod Ortega
Hair Department Head
Electrician
Jack Moffatt
Electrician
Peter Fragoudakis
Electrician
Sam McKinnon
Electrician
Hairstylist
Gail Kane
Hairstylist
Still Photographer
Vince Valitutti
Still Photographer
Animation Supervisor
Christian Kratzert
Animation Supervisor
Visual Effects Producer
Tim Johnson
Visual Effects Producer
Carrie Richardson
Visual Effects Producer
Armorer
Michael Bate
Armorer
First Assistant Director
Steve Danton
First Assistant Director
Julian Wall
First Assistant Director
Chief Lighting Technician
Mick O'Brien
Chief Lighting Technician
Boom Operator
Ben Wyatt
Boom Operator
Screenplay
Anthony Jaswinski
Screenplay
First Assistant Editor
Kevin Stermer
First Assistant Editor
Sound Designer
Construction Coordinator
Brad Howard
Construction Coordinator
Art Department Coordinator
Di Bennett
Art Department Coordinator
Dialogue Editor
Polly McKinnon
Dialogue Editor
Assistant Editor
Mark V. Phillips
Assistant Editor
Lighting Technician
Mark Levey
Lighting Technician
Rigging Grip
David Thomson
Rigging Grip
Key Grip
Benn Hyde
Key Grip
Location Manager
Dolly Grip
Todd Carmody
Dolly Grip
Mal Booth
Dolly Grip
Simon Cooke
Dolly Grip
3D Artist
Philip Trieu
3D Artist
Jonas Bergholm
3D Artist
Music Editor
Nevin Seus
Music Editor
First Assistant Camera
Chris Child
First Assistant Camera
Ron Coe
First Assistant Camera
Visual Effects Coordinator
Johanna Lange
Visual Effects Coordinator
Emily Pead
Visual Effects Coordinator
Paul O'Hara
Visual Effects Coordinator
Anwei Chen
Visual Effects Coordinator
Lee Maher
Visual Effects Coordinator
Visual Effects Editor
Joseph Hart Green
Visual Effects Editor
Oliver Eikhoff
Visual Effects Editor
Vincent Liebig
Visual Effects Editor
ADR & Dubbing
Polly McKinnon
ADR & Dubbing
Rigging Gaffer
Craig Clark
Rigging Gaffer
Assistant Production Coordinator
Ryan Makepeace
Assistant Production Coordinator
Digital Intermediate
Barry Goch
Digital Intermediate
Alex Portin
Digital Intermediate
Foley
Sarah Monat
Foley
Willard Overstreet
Foley
Makeup Effects
Animal Wrangler
Katie Brock
Animal Wrangler
Helicopter Camera
Peter Beeh
Helicopter Camera
Underwater Camera
Simon Christidis
Underwater Camera
Underwater Director of Photography
Simon Christidis
Underwater Director of Photography
What's left behind the scenes
- In 2014, the film's script was included in the so-called "Blood List" of the best unrealized horror film scripts.
- Initially, the film was planned to be titled "Into the Abyss".
- Louis Leterrier was originally supposed to direct the film, but he left the project due to creative differences with the studio and the film's reduced budget.
- Filming took place partly off the Gold Coast in Australia and partly in a large swimming pool.
- Director Jaume Collet-Serra wanted to show a shark on screen that would send chills down the audience’s spine. “I needed the shark to be a central character for half the film,” he said. “At first, show it with hints and glimpses, and only then present it as a kind of natural disaster, as something inevitable. I decided that Nancy needed to see the shark in all its glory, so the audience could see it too.”
- To create a believable image of the shark, Jaume Collet-Serra turned to the art department specialists for help. “It occurred to me that it should be a female. Female sharks are slightly larger than males. They have scars from mating on their sides. They even look scarier than males.” The film features a female great white shark.
- This is the second film in Blake Lively’s career where she has played the lead role. The first was Lee Toland Krieger’s romantic comedy “The Age of Adaline” (2015).
- Nancy names the seagull Steven – this is a joke referencing actor, producer, and screenwriter Steven Seagal (the English pronunciation of “seagull” and the actor’s last name are the same).
- For obvious reasons, the shark in the film is a product of computer technology. Great white sharks are considered an endangered species. They do not adapt well to captivity.
- The digital artists had to work hard to create a shark of such size. Visual effects specialist Scott Anderson ordered that it be a "huge shark, like a diesel truck, but possessing, despite all its incredible power, the elegance inherent in German-made passenger cars." "Huge but graceful, every movement reveals power, even when the shark is simply swimming, and especially when it attacks a buoy or something else," Anderson said.
- At the beginning of the film, Nancy is asked if she's from California. She replies that no, she's from Texas. Blake Lively, the actress who played the role, was born in California.
- Scott Anderson oversaw the art department. As he later recounted, "...Haume and visual effects producer Diana Ibañez did a huge amount of preparatory work. Haume made numerous notes, and Diana and I had many conversations about sharks." Thus, the director was able to identify from the vast amount of information the moments and nuances on which the creation of the shark's image would later be focused.
- While working on the shark's image, Scott Anderson focused on making it as realistic as possible. "That's just the nature of sharks. By pure chance, Nancy encroaches on this shark's territory and disrupts the established order of things," Anderson later said. "The shark strikes, and after that it only sees Nancy as food. It's nothing personal. A shark is a shark."
- During the filming of the final scenes, Blake Lively hit her face on a buoy, causing her to have a nosebleed. Both the moment of impact and the blood on the actress's face were included in the final version of the film.
- At the end of the film, Nancy fires a «No 2 Mk. V» flare gun made by the British arms company «Webley & Scott».
- A boy finds a «GoPro» action camera on the beach, but doesn't notice the remains of a person who became one of the victims of a man-eating shark.
- In 2014, the film's script was included in the so-called "Blood List" of the best unrealized horror film scripts.
- Initially, the film was planned to be titled "In the Abyss".
- Director Jaume Collet-Serra wanted to show a shark on screen that would send chills down the audience's spines. "I needed the shark to be the central character for half the film," he said. "At first, show it with hints and glimpses, and only then present it as a kind of natural disaster, as something inevitable. I decided that Nancy needed to see the shark in all its glory, so the audience could see it too."
- To create a believable image of the shark, Jaume Collet-Serra turned to the art department specialists. "It occurred to me that it should be a female. Female sharks are slightly larger than males. They have scars from mating on their sides. They are even visually scarier than males." The film features a female great white shark.
- Nancy names the seagull Steven – this is a joke referencing actor, producer, and screenwriter Steven Seagal (the English pronunciation of "seagull" and the actor's last name are the same).
- The digital artists had to work hard to create a shark of such size. Visual effects specialist Scott Anderson instructed that it be a "huge shark, like a diesel truck, but possessing, despite all its incredible power, the grace inherent in German-made passenger cars." "Huge but graceful, every movement reveals power, even when the shark is simply swimming, and especially when it attacks a buoy or something else," Anderson said.
Did you like the film?
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