Coco - crew, film crew
The entire team, the film crew of the film "Coco"
Coco (2017)
Timing:
1:45 (105 min)
8.197/10
20815
20815
8.726/10
795938
795938
8.4/10
700000
700000
Film crew
Director
Producer
Executive Producer
Casting
Carla Hool
Casting
Kevin Reher
Casting
Natalie Lyon
Casting
Editor
Art Direction
Nathaniel McLaughlin
Art Direction
Tim Evatt
Art Direction
Production Design
Sound Re-Recording Mixer
Original Music Composer
Additional Editing
Anna Wolitzky
Additional Editing
Associate Producer
Mary Alice Drumm
Associate Producer
Orchestrator
Jeff Kryka
Orchestrator
Director of Photography
Matt Aspbury
Director of Photography
Danielle Feinberg
Director of Photography
Musician
Bruce White
Musician
George Doering
Musician
Andrew Synowiec
Musician
Federico Ramos
Musician
Maria Dominique Lopez
Musician
Baraka May
Musician
Sound Effects Editor
Teresa Eckton
Sound Effects Editor
Justin Doyle
Sound Effects Editor
Jack Whittaker
Sound Effects Editor
Visual Effects Supervisor
Michael O'Brien
Visual Effects Supervisor
Supervising Sound Editor
J.R. Grubbs
Supervising Sound Editor
Character Designer
Carter Goodrich
Character Designer
Greg Dykstra
Character Designer
Tony Fucile
Character Designer
Daniel Arriaga
Character Designer
Daniela Strijleva
Character Designer
Daniel Lopez Muсoz
Character Designer
Zaruhi Galstyan
Character Designer
Alonso Martinez
Character Designer
Animation
Michael Bidinger
Animation
Shad Bradbury
Animation
Frank E. Abney III
Animation
Royce Wesley
Animation
Adam Rodriguez
Animation
Shaun Chacko
Animation
Paul Diaz
Animation
Simon Christen
Animation
K. C. Roeyer
Animation
Don Crum
Animation
Hikari Toriumi
Animation
Guillaume Chartier
Animation
Aaron Koressel
Animation
Bruce Kuei
Animation
Jayson Price
Animation
Michael Sauls
Animation
Matthew Strangio
Animation
Raphael Suter
Animation
Jessica Torres
Animation
Amanda Wagner
Animation
Benjamin Su
Animation
Joshua Dai
Animation
Mike Stern
Animation
Andrew Atteberry
Animation
Lance Fite
Animation
Andrew Gonzalez
Animation
Dionys Heurtel
Animation
Catherine Hang-Hicks
Animation
Charles Larrieu
Animation
Cody Lyon
Animation
Nicole Ridgwell
Animation
Ben Rush
Animation
David Torres
Animation
Thanks
Becky Neiman
Thanks
Production Manager
David Park
Production Manager
Screenplay
Matthew Aldrich
Screenplay
Set Designer
Don Shank
Set Designer
First Assistant Editor
Jennifer Neysa Jew
First Assistant Editor
Sound Designer
Dialogue Editor
Michael Silvers
Dialogue Editor
Marshall Winn
Dialogue Editor
First Assistant Sound Editor
Lisa Chino
First Assistant Sound Editor
Foley Editor
Dee Selby
Foley Editor
Teresa Eckton
Foley Editor
Jim Likowski
Foley Editor
Music Supervisor
Tom MacDougall
Music Supervisor
Luis David Reyes Reyes
Music Supervisor
Songs
Robert Lopez
Songs
Music Editor
Stephen M. Davis
Music Editor
Warren Brown
Music Editor
Co-Director
Conductor
Marshall Bowen
Conductor
J.D. Aguilar
Conductor
VFX Artist
Jason Johnston
VFX Artist
Shaun Galinak
VFX Artist
Erik Shepherd
VFX Artist
Chris Bolwyn
VFX Artist
Tyler Bay
VFX Artist
Production Coordinator
Dana Frankoff
Production Coordinator
Carolina Ángel
Production Coordinator
Scoring Mixer
Joel Iwataki
Scoring Mixer
Sound
Kenny Pickett
Sound
Visual Effects
Stephen Matthew Gustafson
Visual Effects
Aaron Conover
Visual Effects
Jonathan Hoffman
Visual Effects
Michael Honsel
Visual Effects
Jamie Hecker
Visual Effects
Kristopher Campbell
Visual Effects
Michael Frederickson
Visual Effects
Emron Grover
Visual Effects
Jonathan Pytko
Visual Effects
David Ryu
Visual Effects
Dave Strick
Visual Effects
Lighting Supervisor
Tim Best
Lighting Supervisor
ADR & Dubbing
Michael Miller
ADR & Dubbing
ADR Voice Casting
Terri Douglas
ADR Voice Casting
Production Office Assistant
Maura Turner
Production Office Assistant
Original Story
Matthew Aldrich
Original Story
Jason Katz
Original Story
Lighting Artist
Mimia Arbelaez
Lighting Artist
Burt Peng
Lighting Artist
Dorien Gunnels
Lighting Artist
Linhan Li
Lighting Artist
Farhez Rayani
Lighting Artist
Animation Manager
Jesus Martinez
Animation Manager
Foley
Dennie Thorpe
Foley
Jana Vance
Foley
Geoff Vaughan
Foley
Visual Effects Technical Director
Jamie Williams
Visual Effects Technical Director
Story Artist
Tony Maki
Story Artist
Vladimir Kooperman
Story Artist
Supervising Animator
Gini Cruz Santos
Supervising Animator
Michael Venturini
Supervising Animator
Software Engineer
Adrian Bell
Software Engineer
Mike H. Mahony
Software Engineer
Félix O. Santiago
Software Engineer
Gates Roberg-Clark
Software Engineer
Layout
Seong-Young Kim
Layout
Editorial Coordinator
Jessica Katz
Editorial Coordinator
Freddie Sulit
Editorial Coordinator
Set Dressing Artist
Alison Leaf
Set Dressing Artist
Systems Administrators & Support
Ling Hsu
Systems Administrators & Support
Andy Thomas
Systems Administrators & Support
Jonathan Hadden
Systems Administrators & Support
BoB 'Naked BoB' Morgan
Systems Administrators & Support
Shaun Brown
Systems Administrators & Support
Daryn Cash
Systems Administrators & Support
Shawn Hovis
Systems Administrators & Support
Dan Berman
Systems Administrators & Support
Nic Bishop
Systems Administrators & Support
Susanne Rublein
Systems Administrators & Support
Collin Allen
Systems Administrators & Support
Teresa Conaty
Systems Administrators & Support
John Henry Frankenhauser
Systems Administrators & Support
Art Department Manager
Courtney Casper Kent
Art Department Manager
Sound Design Assistant
Lucas Miller
Sound Design Assistant
Additional Soundtrack
Fix Animator
Luis Carlos Uribe
Fix Animator
Youri Dekker
Fix Animator
Lighting Manager
Lisa Fotheringham
Lighting Manager
Archival Footage Research
Tiffany Taira
Archival Footage Research
Master Lighting Artist
Jordan Rempel
Master Lighting Artist
Philip Shoebottom
Master Lighting Artist
Ken Lao
Master Lighting Artist
Jose Luis Ramos
Master Lighting Artist
Charu Clark
Master Lighting Artist
Second Film Editor
Greg Snyder
Second Film Editor
Tim Fox
Second Film Editor
Editorial Manager
Krissy Cababa
Editorial Manager
Max Sachar
Editorial Manager
Playback Singer
Antonio Sol
Playback Singer
Additional Editorial Assistant
Sarah K. Reimers
Additional Editorial Assistant
Meghan Kraft
Additional Editorial Assistant
Lead Set Dresser
Amy L. Allen
Lead Set Dresser
Additional Production Sound Mixer
Rachael Bigelow
Additional Production Sound Mixer
Vocal Coach
Sam Kriger
Vocal Coach
What's left behind the scenes
- The project's working title was Dia de los Muertos, or «Day of the Dead» (this is the name of a holiday dedicated to the memory of the deceased, celebrated on November 1st and 2nd in Mexico, Guatemala, Nicaragua, Honduras, and El Salvador).
- Pixar employees had not worked with skeleton animation before, so they encountered a technological problem during the creation of the film. The Presto program, responsible for rendering, could not cope with clothing on skeletons. The fabric lay incorrectly on the bones, constantly getting tangled in the neck, legs, and arms, getting stuck in the gaps at the joints. The solution was to create a new program from scratch that handled clothing simulation on skeletons much better. But filling the gaps so that fabric wouldn’t get caught there was only part of the problem. The new software also handled volume exceptionally well. Each skeleton has 127 bones, and about 80 of them are visible to the viewer. The program allowed for the mass generation of characters, creating subtle changes that gave the impression of uniqueness.
- For the world of the dead alone, where much of the action takes place, 7 million individual light sources had to be created—from streetlights to tram car bulbs. To ensure they were all displayed correctly on screen, animators took a program created for the firefly scene in "The Good Dinosaur" and reworked the code. As a result, the program grouped light sources based on various criteria, instead of processing each one individually. This significantly reduced rendering time.
- For the world of the dead alone, where much of the action takes place, 7 million light sources had to be created – from streetlights to tram lights.
- Initially, Miguel (Anthony Gonzalez) was only supposed to play the guitar. When director Lee Unkrich learned that Gonzalez could sing well, it was decided that the main character would sing.
- The film constantly shows a flower. It's a marigold, which is the main flower of the Day of the Dead.
- While visiting one of the families in Mexico, the director and screenwriter Lee Unkrich noticed that a dog was showing interest in the offerings to deceased relatives on the home altar, and had to be constantly driven away. Unkrich liked this moment so much that he included it in the script.
- According to directors Lee Unkrich and Adrian Molina, the most difficult part of working on the film was animating the grandmother's neck. Molina even asked his mother-in-law, who lived in Mexico City, to come to the studio, where they tried to anger her to see how her neck moved. This proved not easy, as his mother-in-law was a good-natured person, but after several hours they finally succeeded.
- The landscapes of the state of Guanajuato, where colorful houses are located on the slopes of mountains, served as the basis for the image of the Land of the Dead.
- Work on the film lasted from 2011 to 2017 – a record-long time for Pixar.
- During the preparation, the authors and animators made five trips to Mexico to study the local culture.
- Due to the prolonged work on the film, the voice of the actor voicing the main character began to break, and Anthony Gonzalez was taken instead. The original actor voiced an extra in a scene where he points Ernesto to the stage.
- The film features many famous Mexicans – in particular, wrestler El Santo, actor Cantinflas, actors and singers Pedro Infante and Jorge Negrete, artist Frida Kahlo, political and military figure of the revolution era Emiliano Zapata, and actress Maria Felix.
- Dante's breed is Xoloitzcuintli, or Mexican hairless dog.
- Initially, the film was going to be called 'Day of the Dead'. In 2015, the Walt Disney Company attempted to register the trademark 'Day of the Dead', but the company was accused of cultural appropriation. A week later, Disney renamed the film 'Coco'.
- This is the first Pixar project to directly show the death of main characters.
- Work on the film continued from 2011 to 2017 – a record-long time for Pixar.
- Initially, the film was going to be called “Day of the Dead.” In 2015, The Walt Disney Company attempted to register the trademark “Day of the Dead,” but the company was accused of cultural appropriation. A week later, Disney renamed the film “Coco.”
Did you like the film?
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