Enchanted - crew, film crew
The entire team, the film crew of the film "Enchanted"
Enchanted (2007)
Timing:
1:47 (107 min)
6.84/10
5669
5669
7.033/10
103159
103159
7.1/10
229000
229000
Film crew
Director
Producer
Executive Producer
Ezra Swerdlow
Executive Producer
Christopher Chase
Executive Producer
Sunil Perkash
Executive Producer
Writer
Bill Kelly
Writer
Casting
Marcia Ross
Casting
Editor
Stephen A. Rotter
Editor
Gregory Perler
Editor
Art Direction
John Kasarda
Art Direction
Costume Design
Stunts
Derrick Simmons
Stunts
Rick LeFevour
Stunts
Samantha MacIvor
Stunts
Shawnna Thibodeau
Stunts
Chris Barnes
Stunts
Judi Lewis Ockler
Stunts
Production Design
Stuart Wurtzel
Production Design
Stunt Coordinator
G. A. Aguilar
Stunt Coordinator
Second Unit Director
G. A. Aguilar
Second Unit Director
Set Decoration
Makeup Artist
Julia Lallas
Makeup Artist
Evelyne Noraz
Makeup Artist
Jeong-Hwa Fonkalsrud
Makeup Artist
Sound Re-Recording Mixer
David E. Fluhr
Sound Re-Recording Mixer
Original Music Composer
Unit Production Manager
Joseph E. Iberti
Unit Production Manager
Associate Producer
Susan Ringo
Associate Producer
Set Dresser
Catriona Crosby
Set Dresser
Richard Nelson
Set Dresser
Second Assistant Director
Maggie Murphy
Second Assistant Director
Stunt Double
Carl Paoli
Stunt Double
Utility Stunts
Nicole Callender
Utility Stunts
Director of Photography
Camera Operator
Robert Presley
Camera Operator
Costume Supervisor
Gail A. Fitzgibbons
Costume Supervisor
Winsome G. McKoy
Costume Supervisor
Makeup Department Head
Nicki Ledermann
Makeup Department Head
Key Costumer
Christine Schultz
Key Costumer
Sound Effects Editor
Assistant Art Director
Tom Warren
Assistant Art Director
David Stein
Assistant Art Director
Miguel López-Castillo
Assistant Art Director
Jeffrey D. McDonald
Assistant Art Director
Property Master
James Mazzola
Property Master
Visual Effects Supervisor
Dan Lemmon
Visual Effects Supervisor
Thomas Schelesny
Visual Effects Supervisor
Supervising Sound Editor
Dennis Leonard
Supervising Sound Editor
Script Supervisor
Deirdre Horgan
Script Supervisor
Hair Department Head
Peggy Schierholz
Hair Department Head
Supervising ADR Editor
Michael Silvers
Supervising ADR Editor
Jonathan Null
Supervising ADR Editor
Supervising Dialogue Editor
Michael Silvers
Supervising Dialogue Editor
Jonathan Null
Supervising Dialogue Editor
Hairstylist
Donna Marie Fischetto
Hairstylist
Robin Day
Hairstylist
Jennifer Johnson
Hairstylist
Special Effects Coordinator
Steven Kirshoff
Special Effects Coordinator
Still Photographer
Barry Wetcher
Still Photographer
Animation Supervisor
Sound Mixer
Tod A. Maitland
Sound Mixer
First Assistant Director
Michael DeCasper
First Assistant Director
Assistant Costume Designer
Amy Ritchings
Assistant Costume Designer
Jessica T. Sinoway
Assistant Costume Designer
Animation
Trevor Tamboline
Animation
Chuck Duke
Animation
Thanks
Chief Lighting Technician
John W. DeBlau
Chief Lighting Technician
Boom Operator
Michael Scott
Boom Operator
Graphic Designer
Leo Holder
Graphic Designer
Screenplay
Bill Kelly
Screenplay
First Assistant Editor
James Durante
First Assistant Editor
Foley Artist
Dennie Thorpe
Foley Artist
Jana Vance
Foley Artist
Ellen Heuer
Foley Artist
Sound Designer
Construction Coordinator
Ron Petagna
Construction Coordinator
Location Scout
Gine Lui
Location Scout
Art Department Coordinator
Nora Kasarda
Art Department Coordinator
Best Boy Grip
Chris Skutch
Best Boy Grip
Lighting Technician
Howard R. Campbell
Lighting Technician
Foley Editor
Andrea Gard
Foley Editor
E. Larry Oatfield
Foley Editor
Key Grip
Robert M. Andres
Key Grip
Location Manager
Evan Perazzo
Location Manager
Dolly Grip
Arthur Blum
Dolly Grip
Assistant Property Master
Vinny Mazzarella
Assistant Property Master
Construction Foreman
Frank Didio
Construction Foreman
Music Supervisor
Dawn Soler
Music Supervisor
Foley Mixer
Frank Rinella
Foley Mixer
Special Effects Makeup Artist
Mike Marino
Special Effects Makeup Artist
Kazu Hiro
Special Effects Makeup Artist
Production Accountant
Deb Dyer
Production Accountant
Songs
Stephen Schwartz
Songs
Music Editor
Jeremy Raub
Music Editor
Video Assist Operator
Nils Johnson
Video Assist Operator
Second Unit Director of Photography
David M. Dunlap
Second Unit Director of Photography
First Assistant Camera
Bobby Mancuso
First Assistant Camera
Other
Mac Smith
Other
Post Production Supervisor
Jayne Armstrong
Post Production Supervisor
Assistant Hairstylist
Thom Gonzales
Assistant Hairstylist
Unit Publicist
Peter J. Silbermann
Unit Publicist
Utility Sound
Timothy R. Boyce Jr.
Utility Sound
Post Production Accountant
Jeanie Daniels
Post Production Accountant
ADR Voice Casting
Terri Douglas
ADR Voice Casting
Rigging Gaffer
William Hines
Rigging Gaffer
Supervising Music Editor
Kenneth Karman
Supervising Music Editor
Second Assistant Camera
Scott Tinsley
Second Assistant Camera
Visual Development
Rick Maki
Visual Development
Choreographer
John O'Connell
Choreographer
Transportation Captain
James Fanning
Transportation Captain
Wigmaker
Victoria Wood
Wigmaker
Foley Recordist
Sean England
Foley Recordist
Digital Intermediate Producer
Bob Peishel
Digital Intermediate Producer
Executive Music Producer
Chris Montan
Executive Music Producer
Assistant Chief Lighting Technician
Tom Percarpio
Assistant Chief Lighting Technician
Layout
Mick De Falco
Layout
Makeup Effects
Transportation Co-Captain
Edward Fanning
Transportation Co-Captain
Compositors
Claire Williams
Compositors
Storyboard
Paul Brizzi
Storyboard
What's left behind the scenes
- Uma Thurman auditioned for the lead female role.
- The film was originally scheduled for release in 2002, with Rob Marshall directing, but he left the project due to "creative differences" with the producers.
- Work on the project lasted almost two years. About a year was spent creating the animated portion, while filming with actors, which began in the summer of 2006 and took place in various parts of New York, was completed in 72 days.
- New York was chosen as the location for the film, and filming took place there. Despite careful preparation, the shooting process was constantly complicated by the changing environment of the city; the film crew had to work in conditions of "ongoing construction, renovations, and the appearance of new stores".
- The first scene in New York, in which Giselle emerges from a manhole, was filmed in the center of Times Square. There was constantly a huge number of people on the square, which was very difficult to control, so it was decided to film ordinary passersby together with the actors and extras placed in the foreground in this episode.
- The original screenplay, written by Bill Kelly, was purchased by the cinematic division of Disney's Touchstone Pictures and the Sonnenfeld/Josephson Productions production company for $450,000 in September 1997. However, it was deemed inconsistent with the studio's image, as it was intended for a mature audience. To Kelly's dismay, the script was rewritten several times.
- In 2001, John Turteltaub took the director's chair but soon left it in favor of a joint Disney and Jerry Bruckheimer project, "National Treasure." Adam Shankman became the film's director in 2003, at the same time as Disney hired Robert Schul and Mark McCorkle to rewrite the script again. At this stage of the project’s development, actresses Kate Hudson and Reese Witherspoon were considered for the role of Giselle. However, the film never went into production.
- In 2005, Kevin Lima was appointed director of the film, and Bill Kelly returned to the project to create a new version of the script. Lima and Kelly worked together on the script, with one of the main ideas being to combine the plot of "Enchanted" with Disney's rich legacy through numerous references to the studio's past work. Lima created a visual storyboard, recreating the film's plot from beginning to end, which occupied an entire floor of the production building. After the director demonstrated it to the head of Disney Studios, Dick Cook, the project received the green light.
- Kevin Lima began designing the world of Andalasia before the actors were cast in the lead roles. After the casting and approval of the actors, Lima was involved in the final design of the project so that the drawn characters would correspond as closely as possible to their real-life counterparts.
- 'Enchanted' is the first feature film from Walt Disney Studios to combine live-action and animated characters since 'Who Framed Roger Rabbit' in 1988.
- The film’s runtime is 107 minutes, with the animated portion lasting approximately 13 minutes, 10 of which are at the beginning. During these 10 minutes, Lima, according to his own words, tried to 'reflect the smallest details of iconic Disney images' that he could. This part of the film was deliberately created using traditional hand-drawn animation (instead of computer 3D animation) as a tribute to old Disney fairy tales such as 'Sleeping Beauty,' 'Cinderella,' and 'Snow White and the Seven Dwarfs.'
- In the late 1990s, due to the development and widespread adoption of computer graphics, many animators were laid off from the Studio, so the creation of the animated part of the film was carried out by the independent company James Baxter Animation, located in Pasadena, under the direction of chief artist James Baxter.
- To demonstrate the connection between the animated and real worlds, Lima early in production invited costume designer Mona May to the project, whose task was to create a unified style for the costumes of both worlds. He also shot footage of Amy Adams as Giselle, which was used by the animators as a reference, allowing them to achieve both visual similarity and correspondence of the animated character’s movements to the actress’s movements. So that the actors had an idea of what their drawn counterparts would look like and how they would move, the animators showed them finished test scenes.
- According to director Kevin Lima, the most challenging scenes to film were those of the musical number “So You’ll Understand” in Central Park. Due to inclement weather, 17 days were spent on the five-minute episode, only seven of which were sunny enough for filming. Fans of Patrick Dempsey also occasionally interfered with the process. John O’Connell, who previously worked on the musical “Moulin Rouge!,” was responsible for the choreography of the number, which involved 300 extras and 150 dancers.
- Many episodes were filmed at Steiner Studios, which had three large stages necessary for filming. Filming also took place on the Brooklyn Bridge and at The Paterno—a residential complex with a curved, richly decorated ivory-colored facade where the film’s protagonists, Robert and Morgan, live.
- The design of all costumes in the film was created by Mona May. To determine the style of the characters’ clothing, May and her costume department of 20 people worked with animators for a year preparing the project. She also contracted with five clothing stores in Los Angeles and New York. May was involved in the project at the stage of creating the characters’ faces and bodies, when it became necessary to determine the possibility of making real, suitable costumes for the actors based on two-dimensional drawings. Her task was to preserve the essence of the Disney design while adding something new, fashionable, and fun. May admitted that it was quite difficult, “because it involved dealing with iconic Disney characters whose images had been ingrained in the minds of viewers for many years.”
- To make Giselle’s waist look very narrow in her wedding dress, “incredibly lush” sleeves and a huge crinoline with a metal hoop were made, which held up 20 layers of skirts and ruffles. In total, 11 versions of the wedding dress were made for filming, each consisting of 183 meters of silk and other fabrics and weighing approximately 18 kg. Actress Amy Adams described the feeling of wearing such a dress as “exhausting,” as “all the weight was on the hips, and sometimes it felt like something was holding her.”
- Only one costume was created for James Marsden. The main thing for May during its creation was to ensure that “Marsden’s appearance wouldn’t be lost against the backdrop of the crazy outfit, while he would still look handsome.” The costume featured padding on the chest, buttocks, and groin, which gave Marsden’s figure “exaggerated proportions of a cartoon character” and “a pose—straight back, non-drooping high sleeves.”
- When creating Queen Narissa's costume, May was pleased to learn of the director's desire to make it more fashionable. To achieve this, she decided to give Narissa's appearance the look of a runway model, with a dress that still looked Disney-esque but also resembled high fashion clothing. Since Narissa appears in three versions in the film – drawn, real, and computer-generated – May needed to achieve consistency in "color, shape, and texture" of her costume across all three versions. The costume's details, consisting of a bodice, skirt, and cape, were made of leather to give it a "snake-like" appearance. Working in collaboration with animators, May ensured that the costume details resembled various parts of a dragon: the cape's design evokes wings, the multi-layered fitted skirt resembles a tail, and the crown transforms into horns during Narissa's transformation into a dragon.
- Disney initially planned to add Giselle to the line of Disney Princesses – a doll of her was even presented at the 2007 Toy Fair, with packaging stating that Giselle held this status – however, when it became clear that the Studio would have to pay Amy Adams for lifetime rights to use her likeness, they abandoned the idea. And while Giselle did not become one of the Disney Princesses, and merchandise featuring her in that capacity was not released, various products based on "Enchanted" were released that used Adams’ animated image.
- For "Enchanted," Tippett Studio created the majority of the shots with visual effects. These 320 shots contained various virtual sets, weather effects, and computer-generated characters interacting with real actors, in episodes such as Robert’s apartment being cleaned by wild animals or Pip battling Narissa as she transforms into a dragon. CIS Hollywood was responsible for 36 visual effects shots, concealing safety wires and compositing. Additionally, Reel FX Creative Studios and Weta Digital created 6 shots with a camera move in the form of a pop-up book page turn.
- Among the animals present in the apartment cleaning episode during the song “Happy Working Song,” trained rats and pigeons were real. Filmed on camera, they helped Tippett Studio create computer models, which were then used to depict the active behavior of pigeons holding brooms in their beaks and rats cleaning with toothbrushes. All insects involved in the episode are entirely computer-generated.
- Pip, the talking chipmunk in the animated world of Andalasia, loses this ability in the real world and is therefore forced to communicate with those around him through mime and gestures. The animators’ task was to create a realistic chipmunk that expresses its thoughts and feelings through body language. For the Tippett Studio team, creating Pip began with observing real chipmunks, filming them from all possible angles. After that, using 3D graphics computer editors “Maya” and “Furrocious,” a photorealistic three-dimensional model was created. When special effects supervisor Thomas Szelestyi first showed it to director Kevin Lima, he was quite surprised to learn that the model was computer-generated. To make Pip’s miming more expressive, modelers added eyebrows, which real chipmunks do not have. During the filming of scenes featuring the computer-generated Pip, various tools were used to indicate the chipmunk’s physical presence in the frame. One such tool was a small puppet with a wire frame. In some cases, to show the actors and the operator where Pip was at the moment, a stick with a marker on the end or a laser pointer was used.
- The computer model of the dragon was inspired by traditional depictions of the Chinese dragon and the appearance of Susan Sarandon. During the filming of the scene where Narissa transforms into a dragon, special effects artists used a long pole instead of a laser pointer to direct the gaze of the extras. This scene was very complex, as it required the synchronous operation of several components: the movement of the sets, a computer-controlled lighting system, and repeated camera 'dolly shots'. To film Patrick Dempsey in the film's climactic scene, where Narissa climbs the Woolworth Building with Robert clutched in her claws, a mechanical arm installation controlled by three synchronously working specialists was built. The actor was placed in this arm, simulating the movements of the dragon's paw against a chroma key background, and all his movements were recorded by the camera.
- In 2001, John Turteltaub took the director's chair but soon left it in favor of a joint Disney and Jerry Bruckheimer project, "National Treasure". Adam Shankman became the film's director in 2003, and at the same time, Disney Studios hired Robert Shul and Mark McCorkle for another script rewrite. At this stage of the project's development, actresses Kate Hudson and Reese Witherspoon were considered for the role of Giselle. However, the film never went into production.
- In 2005, Kevin Lima was appointed director of the film, and Bill Kelly returned to the project to create a new version of the script. Lima and Kelly worked together on the script, with a central idea being to combine the plot of "Enchanted" with Disney's rich heritage through numerous references to the studio's past works. Lima created a visual storyboard, recreating the film's plot from beginning to end, which occupied an entire floor of the production building. After the director demonstrated it to the head of Disney Studios, Dick Cook, the project received the green light.
- "Enchanted" is the first full-length film from Disney Studios to combine live-action and animated characters since "Who Framed Roger Rabbit" in 1988.
- The film's runtime is 107 minutes, with the animated portion lasting approximately 13 minutes, 10 of which are at the beginning. During these 10 minutes, Lima attempted, in his words, to "reflect as many details of iconic Disney images" as possible. This part of the film was intentionally created using traditional hand-drawn animation (instead of computer-generated three-dimensional animation) as a tribute to old Disney fairy tales such as "Sleeping Beauty," "Cinderella," and "Snow White and the Seven Dwarfs."
- The most challenging scenes, according to director Kevin Lima, were the filming of the musical number "That's How You Know" in Central Park. Due to bad weather, 17 days were spent on the five-minute episode, of which only seven were sunny enough for filming. Furthermore, fans of Patrick Dempsey sometimes interfered with the process. John O’Connell, who previously worked on the musical "Moulin Rouge!", was responsible for the choreographic staging of the number, which involved 300 extras and 150 dancers.
- The design of all costumes in the film was created by Mona May. To determine the style of the characters' clothing, May and her costume department, consisting of 20 people, worked with the animators for a whole year in preparation for the project. She also contracted with five clothing stores in Los Angeles and New York. May was involved in the project at the stage of creating the faces and bodies of the characters, when it became necessary to determine the possibility of making real costumes suitable for the actors based on two-dimensional drawings. Her task was to preserve the essence of Disney design while adding something new, fashionable, and fun. May admitted that it was quite difficult, "because she had to deal with iconic Disney characters whose images had been ingrained in the memory of viewers for many years."
- To make Giselle's waist appear very narrow in her wedding dress, “incredibly voluminous” sleeves and a huge crinoline with a metal hoop were created, which supported 20 layers of skirts and ruffles. A total of 11 versions of the wedding dress were made for filming, each consisting of 183 meters of silk and other fabrics and weighing approximately 18 kg. Actress Amy Adams described her feelings while wearing such a dress as “exhausting,” as “all the weight was on the hips, and sometimes it felt like something was holding her up.”
- Only one costume was created for James Marsden. When creating it, May’s main goal was to ensure that “Marsden’s appearance wouldn’t get lost against the backdrop of the outlandish outfit, while still allowing him to look handsome.” The costume featured padding on the chest, buttocks, and groin, which gave Marsden’s figure “exaggerated proportions like a cartoon character” and “a pose – straight back, arms not drooping.”
- When creating Queen Narissa’s costume, May was pleased to learn of the director’s desire to make it more fashionable. To achieve this, she decided to give Narissa’s appearance the look of a runway model, whose dress would still look Disney-esque, but also resemble clothing from the world of high fashion. Since Narissa appears in three versions in the film – drawn, real, and computer-generated – May needed to achieve a similarity in “color, shape, and texture” of her costume in all three versions. The costume, consisting of a bodice, skirt, and cape, was made of leather to give it a “serpentine” look. Working in conjunction with animators, May ensured that the costume details resembled various parts of a dragon: the cape’s design resembles wings, the multi-layered fitted skirt resembles a tail, and the crown transforms into horns during Narissa’s transformation into a dragon.
- Disney initially planned to add Giselle to the lineup of Disney Princesses – at the 2007 Toy Fair, a doll of her was even presented, with packaging stating that Giselle held this status – however, when it became clear that the Studio would have to pay Amy Adams for the lifetime right to use her image, they abandoned this idea. And although Giselle did not become one of the Disney Princesses, and merchandise featuring her in this capacity did not go on sale, various products based on “Enchanted” were released, using Adams' animated image.
- Pip, the talking chipmunk in the animated world of Andalasia, loses this ability in the real world and therefore has to communicate with those around him through mime and gestures. The animators’ task was to create a realistic chipmunk that expresses its thoughts and feelings through sign language. For the Tippett Studio team, creating Pip began with observing real chipmunks, filming them from all possible angles. After that, using the computer editors 3D graphics “Maya” and “Furrocious,” a photorealistic three-dimensional model was created. When special effects supervisor Thomas Scalesi first showed it to director Kevin Lima, he was very surprised to learn that the model was computer-generated. To make Pip’s facial expressions more expressive, modelers added eyebrows, which real chipmunks lack. During filming of scenes featuring the computer-generated Pip, various tools were used to indicate the chipmunk’s physical presence in the frame. One such tool was a small dummy with a wire frame. In some cases, to show the actors and the cameraman where Pip was at the moment, a stick with a marker on the end or a laser pointer was used.
- The computer model of the dragon's design was inspired by traditional images of the Chinese dragon and the appearance of Susan Sarandon. During the filming of the scene where Narissa transforms into a dragon, special effects artists used a long pole instead of a laser pointer to direct the gaze of the extras to the correct spot. This scene was very complex, as it required the simultaneous operation of several components: moving sets, a computer-controlled lighting system, and repeated camera moves. To film Patrick Dempsey in the film's climactic scene, where Narissa, clutching Robert in her claws, climbs the Woolworth Building, a mechanical arm installation was built, operated by three specialists working in sync. The actor was placed in this arm, mimicking the movements of the computer dragon's paw, against a chroma key background, with all his movements captured by the camera.
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