Space Cowboys - crew, film crew
The entire team, the film crew of the film "Space Cowboys"
Space Cowboys (2000)
Timing:
2:10 (130 min)
6.386/10
1317
1317
6.587/10
8645
8645
6.5/10
91000
91000
Film crew
Director
Producer
Casting
Phyllis Huffman
Casting
Liz Keigley
Casting
Sari E. Keigley
Casting
Editor
Joel Cox
Editor
Special Effects Supervisor
John Frazier
Special Effects Supervisor
Art Direction
Jack G. Taylor Jr.
Art Direction
Costume Design
Production Design
Stunt Coordinator
Set Decoration
Richard C. Goddard
Set Decoration
Makeup Artist
Allan A. Apone
Makeup Artist
Charlene Roberson
Makeup Artist
Key Makeup Artist
Tania McComas
Key Makeup Artist
Francisco X. Pérez
Key Makeup Artist
Sound Re-Recording Mixer
Original Music Composer
Unit Production Manager
Patricia Churchill
Unit Production Manager
Director of Photography
Jack N. Green
Director of Photography
Camera Operator
Stephen S. Campanelli
Camera Operator
Steadicam Operator
Stephen S. Campanelli
Steadicam Operator
Key Costumer
Lynda Foote
Key Costumer
Sound Effects Editor
Teresa Eckton
Sound Effects Editor
Phil Benson
Sound Effects Editor
Anthony Milch
Sound Effects Editor
Ken Fischer
Sound Effects Editor
Glenn Hoskinson
Sound Effects Editor
Scott Guitteau
Sound Effects Editor
Howard Neiman
Sound Effects Editor
Gary Krivacek
Sound Effects Editor
Property Master
Michael Sexton
Property Master
Visual Effects Supervisor
Michael Owens
Visual Effects Supervisor
Supervising Sound Editor
Bub Asman
Supervising Sound Editor
Alan Robert Murray
Supervising Sound Editor
Script Supervisor
Mable Lawson-McCrary
Script Supervisor
Hair Department Head
Carol A. O'Connell
Hair Department Head
Set Costumer
Steve Ellsworth
Set Costumer
Darryl M. Athons
Set Costumer
Ann Culotta
Set Costumer
Supervising ADR Editor
Gloria D'Alessandro
Supervising ADR Editor
Juno J. Ellis
Supervising ADR Editor
Supervising Dialogue Editor
Lucy Coldsnow-Smith
Supervising Dialogue Editor
Still Photographer
Ken Regan
Still Photographer
Visual Effects Producer
Judith Weaver
Visual Effects Producer
Dana Friedman
Visual Effects Producer
First Assistant Director
Chief Lighting Technician
Boom Operator
Flash Deros
Boom Operator
Screenplay
Ken Kaufman
Screenplay
Howard Klausner
Screenplay
Set Designer
Joseph G. Pacelli Jr.
Set Designer
Steven M. Saylor
Set Designer
Bruce West
Set Designer
Sound Designer
Propmaker
Tony Chavez
Propmaker
Construction Coordinator
Clarence Lynn Price
Construction Coordinator
Dialogue Editor
Gloria D'Alessandro
Dialogue Editor
Mildred Iatrou
Dialogue Editor
Kimberly Lowe Voigt
Dialogue Editor
Assistant Editor
Gary D. Roach
Assistant Editor
Don Roth
Assistant Editor
Foley Editor
Bob Beher
Foley Editor
Michael Dressel
Foley Editor
Rigging Grip
Bud Heller
Rigging Grip
Key Grip
Charles Saldana
Key Grip
Location Manager
Kokayi Ampah
Location Manager
Dolly Grip
Charles W. Wayt
Dolly Grip
Key Hair Stylist
Janice Alexander
Key Hair Stylist
Painter
Gary Metzen
Painter
Casting Assistant
Janet Farris
Casting Assistant
Casting Associate
Olivia Harris
Casting Associate
Assistant Director
Tom Rooker
Assistant Director
Music Editor
Donald Harris
Music Editor
Production Sound Mixer
Walt Martin
Production Sound Mixer
Colorist
Tim Safarik
Colorist
Greensman
Bobby Joe Garren
Greensman
Production Coordinator
Carla Aucoin
Production Coordinator
Visual Effects Coordinator
Lisa Todd
Visual Effects Coordinator
Susan Greenhow
Visual Effects Coordinator
Nelson Cabrera
Visual Effects Coordinator
Visual Effects Editor
Lars Jensvold
Visual Effects Editor
Nicolas Anastassiou
Visual Effects Editor
John Bartle
Visual Effects Editor
ADR Editor
Denise Horta
ADR Editor
Stephen Janisz
ADR Editor
Rigging Gaffer
John Lacy
Rigging Gaffer
Executive In Charge Of Production
Daniel R. Chavez
Executive In Charge Of Production
Sound Editor
Ken Fischer
Sound Editor
Jason King
Sound Editor
Color Timer
Bob Kaiser
Color Timer
Negative Cutter
Mo Henry
Negative Cutter
Doug Jones
Negative Cutter
Underwater Director of Photography
Pete Romano
Underwater Director of Photography
What's left behind the scenes
- Initially, Clint Eastwood refused to direct the film, considering the script too implausible. He changed his mind in 1998 when 77-year-old astronaut John Glenn flew into space.
- Initially, Sean Connery was supposed to play Jerry O'Neil, and Jack Nicholson was considered for the role of Tank Sullivan. Ultimately, these roles were played by Donald Sutherland and James Garner, respectively.
- The filming was difficult for the actors: 72-year-old James Garner, for example, broke his arm.
- The film uses real footage shot in space.
- According to editor Joel Cox, Clint Eastwood, accustomed to working very quickly, shot 35-40 takes a day.
- Clint Eastwood composed a musical theme that plays at the beginning of the film. It was ultimately included in the overall soundtrack created by composer Lennie Niehaus.
- Clint Eastwood initially refused to film this movie, considering the script too implausible. He changed his mind in 1998, when 77-year-old astronaut John Glenn flew into space.
- According to editor Joel Cox, Clint Eastwood, accustomed to working very quickly, shot 35-40 takes a day.
- Clint Eastwood composed a musical theme that plays at the beginning of the film. It was eventually included in the overall soundtrack created by composer Lennie Niehaus.
- Filming caused health problems for some actors: James Garner suffered a shoulder injury, and Donald Sutherland injured his knee.
- Jerry O'Neil was initially intended to play Sean Connery's role, and Tanka Sullivan was to play Jack Nicholson's. Ultimately, those roles were played by Donald Sutherland and James Garner, respectively.
- NASA blueprints of the actual Mission Control Center were used in constructing the sets for Mission Control.
- Clint Eastwood was initially supposed to produce and star in the film, with someone else directing. However, when several directors who were offered the job decided that filming spaceflights would be difficult and declined, Eastwood decided to direct the film himself.
- As the orbital spacecraft approaches the John F. Kennedy Space Center, a double sonic boom can be heard (when breaking the sound barrier). It is double because the spacecraft creates two shock waves – from the nose and the tail.
- According to the special effects supervisor, Adam Savage, they chose 'Rolo' candy wrappers through trial and error to simulate gold foil.
- NASA offered its special fixed-wing aircraft for filming (it provides short periods of near-weightlessness, used for astronaut training, research, and filmmaking) – in 1995, it was used during the filming of Ron Howard's science fiction drama 'Apollo 13'. Clint Eastwood declined the offer, fearing that the older actors would feel too ill during the flight and would be unable to perform.
- In actual shuttles, the seats are arranged in two rows (four in the front and two in the back), but Clint Eastwood wanted to show a different seat configuration and, accordingly, the characters in them.
- The filmmakers, led by Clint Eastwood, initially thought they would need forty special effects shots. In reality, around three hundred special effects shots were included in the film.
- In the scenes of the shuttle landing, Clint Eastwood used archival footage of 'space shuttle' landings.
- The original script mentioned the placement of combat assets in orbit (the so-called 'IKON' project). NASA demanded the script be rewritten, not wanting to be associated with the militarization of space.
- NASA offered its special fixed-wing aircraft for filming (it provides short-term exposure to near-weightlessness, is used to train astronauts, conduct research, and film movies) – in 1995, it was used during the filming of Ron Howard's science fiction drama "Apollo 13." Clint Eastwood declined the offer, fearing that the older actors would become too ill during the flight and would no longer be able to perform.
- The original script mentioned the deployment of weapons systems in orbit (the so-called "IKON" project). NASA demanded that the script be rewritten, not wanting to be associated with the militarization of space.
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