Outbreak - crew, film crew
The entire team, the film crew of the film "Outbreak"
Outbreak (1995)
Timing:
2:9 (129 min)
6.56/10
2453
2453
7.061/10
29040
29040
6.6/10
144000
144000
Film crew
Director
Producer
Gail Katz
Producer
Executive Producer
Duncan Henderson
Executive Producer
Anne Kopelson
Executive Producer
Casting
Janet Hirshenson
Casting
Linda Antipala
Casting
Editor
Lynzee Klingman
Editor
Neil Travis
Editor
Special Effects Supervisor
John Frazier
Special Effects Supervisor
Art Direction
Nancy Patton
Art Direction
Francis J. Pezza
Art Direction
Costume Design
Erica Edell Phillips
Costume Design
Stunts
Charlie Brewer
Stunts
Eric Chambers
Stunts
Shane Dixon
Stunts
Richard L. Blackwell
Stunts
Robby Robinson
Stunts
Production Design
William Sandell
Production Design
Stunt Coordinator
Keith Tellez
Stunt Coordinator
Set Decoration
Stunt Driver
Makeup Artist
Monty Westmore
Makeup Artist
Ellis Burman Jr.
Makeup Artist
June Westmore
Makeup Artist
Key Makeup Artist
Susan A. Cabral
Key Makeup Artist
Sound Re-Recording Mixer
David E. Campbell
Sound Re-Recording Mixer
Gregg Rudloff
Sound Re-Recording Mixer
John T. Reitz
Sound Re-Recording Mixer
Donald O. Mitchell
Sound Re-Recording Mixer
Michael Herbick
Sound Re-Recording Mixer
Frank A. Montaño
Sound Re-Recording Mixer
Original Music Composer
Co-Producer
Stephen Joel Brown
Co-Producer
Nana Greenwald
Co-Producer
Sanford Panitch
Co-Producer
Second Assistant Director
John Rusk
Second Assistant Director
Stunt Double
Lynn Salvatori
Stunt Double
Keith Tellez
Stunt Double
Director of Photography
Steadicam Operator
Mark Emery Moore
Steadicam Operator
Costume Supervisor
Linda Serijan
Costume Supervisor
Tom Numbers
Costume Supervisor
Sound Effects Editor
Dino DiMuro
Sound Effects Editor
Glenn T. Morgan
Sound Effects Editor
Alan Rankin
Sound Effects Editor
Paul Timothy Carden
Sound Effects Editor
Peter Michael Sullivan
Sound Effects Editor
Jay B. Richardson
Sound Effects Editor
Randy Kelley
Sound Effects Editor
Larry Kemp
Sound Effects Editor
Dan Hegeman
Sound Effects Editor
Michael D. Wilhoit
Sound Effects Editor
Peter J. Lehman
Sound Effects Editor
Brian McPherson
Sound Effects Editor
Assistant Art Director
Edward T. McAvoy
Assistant Art Director
Property Master
Visual Effects Supervisor
Mark Vargo
Visual Effects Supervisor
Supervising Sound Editor
Gregg Baxter
Supervising Sound Editor
Wylie Stateman
Supervising Sound Editor
Script Supervisor
Dianne Dreyer
Script Supervisor
Hairstylist
Kathy W. Estocin
Hairstylist
Vivian McAteer
Hairstylist
Diane Pepper
Hairstylist
Flo Avery
Hairstylist
Still Photographer
Peter Sorel
Still Photographer
First Assistant Director
Peter Kohn
First Assistant Director
Chief Lighting Technician
James R. Tynes
Chief Lighting Technician
Production Manager
Dennis E. Jones
Production Manager
Boom Operator
Gabriel Cubos
Boom Operator
Screenplay
Robert Roy Pool
Screenplay
Laurence Dworet
Screenplay
Set Designer
Stella Vaccaro
Set Designer
Tom Reta
Set Designer
Carl J. Stensel
Set Designer
Eric W. Orbom
Set Designer
Foley Artist
Nerses Gezalyan
Foley Artist
James Ashwill
Foley Artist
Construction Coordinator
Cal DiValerio
Construction Coordinator
Dialogue Editor
Clayton Collins
Dialogue Editor
Patrick J. Foley
Dialogue Editor
Chris Hogan
Dialogue Editor
Dan M. Rich
Dialogue Editor
Sarah Goldsmith
Dialogue Editor
Michael P. Cook
Dialogue Editor
First Assistant Sound Editor
Robert Batha
First Assistant Sound Editor
Best Boy Grip
Tom West
Best Boy Grip
Rex Hiscocks
Best Boy Grip
Foley Editor
Bob Beher
Foley Editor
Hector C. Gika
Foley Editor
Lou Kleinman
Foley Editor
Craig S. Jaeger
Foley Editor
First Assistant "B" Camera
Gary Dunham
First Assistant "B" Camera
First Assistant "A" Camera
Mikael Glattes
First Assistant "A" Camera
Key Grip
J. Patrick Daily
Key Grip
Dolly Grip
Eric Whitehead
Dolly Grip
Kent H. Jorgensen
Dolly Grip
Key Hair Stylist
Virginia G. Hadfield
Key Hair Stylist
Second Second Assistant Director
C.C. Barnes
Second Second Assistant Director
Casting Assistant
Randi Hiller
Casting Assistant
"A" Camera Operator
Florian Ballhaus
"A" Camera Operator
Music Editor
Jim Weidman
Music Editor
Production Sound Mixer
Richard Lightstone
Production Sound Mixer
ADR Mixer
Thomas J. O'Connell
ADR Mixer
"B" Camera Operator
Mark Emery Moore
"B" Camera Operator
Conductor
Artie Kane
Conductor
Unit Publicist
Rob Harris
Unit Publicist
ADR Editor
Andrew London
ADR Editor
Laura Graham
ADR Editor
Bill Voigtlander
ADR Editor
Petra Bach
ADR Editor
Holly Huckins
ADR Editor
Extras Casting
Jimmy Jue
Extras Casting
Rigging Gaffer
Charlie McIntyre
Rigging Gaffer
Second Assistant Camera
Michael Martinez
Second Assistant Camera
Jeffrey Thorin
Second Assistant Camera
Amy Hergoth
Second Assistant Camera
Assistant Sound Editor
John Rice
Assistant Sound Editor
Rickley W. Dumm
Assistant Sound Editor
Thomas O'Neil Younkman
Assistant Sound Editor
David Stanke
Assistant Sound Editor
Todd Egan
Assistant Sound Editor
Tim Groseclose
Assistant Sound Editor
Supervising Sound Effects Editor
Bruce Richardson
Supervising Sound Effects Editor
Executive Assistant
Maria Norman
Executive Assistant
Assistant Chief Lighting Technician
John 'Fest' Sandau
Assistant Chief Lighting Technician
Stanley L. Gonsales
Assistant Chief Lighting Technician
Production Illustrator
David Lowery
Production Illustrator
Carl Aldana
Production Illustrator
Production Office Coordinator
Delia Circelli
Production Office Coordinator
Cableman
William G. Flick
Cableman
Location Casting
Judith Bouley
Location Casting
Music Score Producer
Michael C. Mason
Music Score Producer
What's left behind the scenes
- The film is based on Richard Preston's book "The Hot Zone".
- The role played by Dustin Hoffman was originally intended for Harrison Ford.
- During the film's computer processing at Boss Film Studios laboratories, a note was added to the bomb in one shot: "To Ferndale with love. Boss Film Studios." Many episodes of the film were shot in the city of Ferndale, California.
- The "Cedar Creek" locations were filmed for two months in the city of Ferndale. Filming also took place at the Dugway Proving Ground in Utah and the island of Kauai.
- According to the script, the bomb was supposed to explode over the city. The studio had already devised and filmed special effects showing the city's destruction, but the ending was ultimately reshot and the bomb was dropped into the water.
- The virus in the film, supposedly more dangerous than Ebola, is called Motaba, but the Ebola strain is shown on screen.
- A white-faced capuchin monkey is depicted as the virus carrier in the film. These primates inhabit Central and South America, while the film's action takes place in the jungles of Zaire, i.e., in Africa.
- The film's plot is based on the comic book series of the same name by Chuck Pfarrer, who is also a co-writer of the film's screenplay.
- The "Goliath" robot was approximately three meters tall and weighed about two tons. The special effects company hired to create Goliath had only three and a half months to produce the robot.
- Chuck Pfarrer explained in an interview that the comic was based on a screenplay he wrote in the early 90s. Due to the special effects the script required, it was impossible at the time to turn the script into a film, and he gave it to Dark Horse Comics, which published it in 1995. Several years later, when special effects technology became more advanced, Pfarrer reworked the original script.
- The American fleet vessel 'General Vandenberg', decommissioned, 'played the role' of the Russian research vessel 'Academician Vladislav Volkov'. At the time of filming, the ship had been retired since the mid-80s and was mothballed in the James River Reserve Fleet, Virginia. On May 27, 2009, it was scuttled near Key West, Florida, USA, to be used as an artificial reef and for recreational diving. Until its sinking in 2009 off the coast of Florida, Cyrillic inscriptions could still be read on its sides.
- In a village in Zaire, several huts are being burned. This is how the spread of disease is prevented in many parts of the world. People are not allowed to leave their huts. Water and food are left near the entrance to the dwelling, and if the provisions remain untouched for three or four days, the dwelling is burned to stop the spread of infection.
- In one scene, a monkey is caught in a net. For the filming, the animal was specifically trained to be comfortable with the net so it wouldn't experience fear.
- (The film won out over a similar project on the subject of a viral epidemic, which Ridley Scott was reportedly going to film with Robert Redford and Jodie Foster. However, it ran into script problems.) When producer Arnold Kopelson tasked Ted Tally with writing the script, he liked the result so much that he immediately sent the script to Harrison Ford. Ford declined to participate in the project, but Dustin Hoffman and Wolfgang Petersen (as the lead actor and director, respectively) signed on, and Warner Bros. gave the green light to film the movie for release in 1995.
- In a pet store, the heroine, played by Rene Russo, notices a dying monkey. Before filming this scene, the trainer applied a non-toxic substance to the animal's eyes to make them appear red.
- In scenes where Dustin Hoffman's character is in uniform, he is shown without a cap, which is a violation of regulations. The reason was simply that the actor didn't like how he looked in a cap.
- In the car scene, the monkey is shown in a cage in the back seat. In reality, this scene was filmed on a soundstage, so the car remained stationary. The cage had no bottom to give the animal more freedom. Before the scene where the monkey spits at the man, water was injected into the animal's mouth with a syringe, and then the trainer gave the command to spit it out.
- When Dustin Hoffman's and Cuba Gooding Jr.'s characters shoot the monkey with a tranquilizer, the animal slowly retreats into the undergrowth and lies down. This scene was filmed in parts. First, Gooding Jr.'s character aimed and fired, but whether he hit or not is unknown to the viewer. For the filming, the trainer attached a soft rope to a dart on the animal's paw, then placed it in position and gave the command to lie down. For close-ups, the trainer put the monkey on the ground and signaled it to stay. For filming the animal from other angles and with different cameras, an animatronic monkey was used. It was also used for filming the scene where Hoffman and Gooding Jr. lift the animal and place it in the helicopter.
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