Cloverfield - crew, film crew
The entire team, the film crew of the film "Cloverfield"
Cloverfield (2008)
Timing:
1:25 (85 min)
6.706/10
7683
7683
6.909/10
145841
145841
7/10
443000
443000
Film crew
Director
Producer
David Baronoff
Producer
Executive Producer
Guy Riedel
Executive Producer
Sherryl Clark
Executive Producer
Casting
Alyssa Weisberg
Casting
Editor
Kevin Stitt
Editor
Special Effects Supervisor
Mike Maggi
Special Effects Supervisor
Josh Hakian
Special Effects Supervisor
Art Direction
Doug J. Meerdink
Art Direction
Costume Design
Production Design
Martin Whist
Production Design
Stunt Coordinator
Rob King
Stunt Coordinator
Set Decoration
Robert Greenfield
Set Decoration
Makeup Artist
Garrett Immel
Makeup Artist
Key Makeup Artist
Norman Bryn
Key Makeup Artist
Sound Re-Recording Mixer
Andy Nelson
Sound Re-Recording Mixer
Anna Behlmer
Sound Re-Recording Mixer
Original Music Composer
Unit Production Manager
Udi Nedivi
Unit Production Manager
Production Supervisor
Matthew Spiegel
Production Supervisor
Associate Producer
David Baronoff
Associate Producer
Set Dresser
Mark Boucher
Set Dresser
Cameron Matheson
Set Dresser
Christopher Casey
Set Dresser
Jason McDonough
Set Dresser
Mark Tuttle
Set Dresser
Dean Lakoff
Set Dresser
John R. Boucher
Set Dresser
Paul Boucher
Set Dresser
Kellen Dunbar
Set Dresser
Andrew Spagnoli
Set Dresser
Second Assistant Director
Katie Carroll
Second Assistant Director
Utility Stunts
Cole S. McKay
Utility Stunts
Heather Arthur
Utility Stunts
Director of Photography
Michael Bonvillain
Director of Photography
Pilot
Bill Richards
Pilot
Bruce Benson
Pilot
Kevin LaRosa Jr.
Pilot
Camera Operator
Robert Reed Altman
Camera Operator
Andy Shuttleworth
Camera Operator
Chris Hayes
Camera Operator
Costumer
Jennifer Stone
Costumer
Susi Campos
Costumer
Myron Baker
Costumer
Sara O'Donnell
Costumer
Jose S. Hernandez
Costumer
Cheryl Cravedi
Costumer
Costume Supervisor
Robert Q. Mathews
Costume Supervisor
Winsome G. McKoy
Costume Supervisor
Makeup Department Head
Dennis Liddiard
Makeup Department Head
Key Costumer
Kevin P. Faherty
Key Costumer
Sound Effects Editor
Robert Shoup
Sound Effects Editor
Luke Dunn Gielmuda
Sound Effects Editor
Property Master
Michael Saccio
Property Master
Michael Glynn
Property Master
Visual Effects Supervisor
Michael Bruce Ellis
Visual Effects Supervisor
Kevin Blank
Visual Effects Supervisor
Eric Leven
Visual Effects Supervisor
Supervising Sound Editor
Douglas Murray
Supervising Sound Editor
Script Supervisor
Dawn Gilliam
Script Supervisor
Hair Department Head
Lori McCoy-Bell
Hair Department Head
Electrician
William Louthe
Electrician
Andy Watts
Electrician
Brent Studler
Electrician
Brian Minzlaff
Electrician
Thomas Landi
Electrician
Carson E. Mayne
Electrician
Craig Campbell
Electrician
Hugo Bonilla
Electrician
Stephen Saunders
Electrician
Noah Prince
Electrician
Adrian Truini
Electrician
Gay E. Riedel
Electrician
Carson E. Mayne
Electrician
Set Costumer
April Hunter-Krueger
Set Costumer
Hairstylist
Dena Fayne
Hairstylist
Special Effects Coordinator
David Waine
Special Effects Coordinator
Connie Brink
Special Effects Coordinator
Still Photographer
Sam Emerson
Still Photographer
Animation Supervisor
Tom Gibbons
Animation Supervisor
Sound Mixer
Damian Canelos
Sound Mixer
Ed White
Sound Mixer
Visual Effects Producer
Chantal Feghali
Visual Effects Producer
Rupert Porter
Visual Effects Producer
Annie Pomeranz
Visual Effects Producer
Sarah Coatts
Visual Effects Producer
Armorer
David Aaron
Armorer
Tony Didio Jr.
Armorer
Scot A. McKay
Armorer
First Assistant Director
Rip Murray
First Assistant Director
Assistant Costume Designer
Jessica Peel
Assistant Costume Designer
Chief Lighting Technician
Clay Liversidge
Chief Lighting Technician
Rick A. West
Chief Lighting Technician
Boom Operator
Mick Davies
Boom Operator
Jansen Lambie
Boom Operator
Screenplay
Set Designer
Chad S. Frey
Set Designer
George Lee
Set Designer
Jane Wuu
Set Designer
Foley Artist
Goro Koyama
Foley Artist
Andy Malcolm
Foley Artist
Sound Designer
Douglas Murray
Sound Designer
Construction Coordinator
Chris Snyder
Construction Coordinator
Art Department Coordinator
Mike Piccirillo
Art Department Coordinator
Robert Zorella
Art Department Coordinator
Dialogue Editor
Cheryl Nardi
Dialogue Editor
Assistant Editor
Kris Cole
Assistant Editor
Stephen M. Rickert Jr.
Assistant Editor
Art Department Assistant
Genelle Ciccarelli
Art Department Assistant
Lighting Technician
Howard R. Campbell
Lighting Technician
Foley Editor
Samuel H. Hinckley
Foley Editor
Rigging Grip
Patrick Lowry
Rigging Grip
Ginny Naumann
Rigging Grip
Rick Peebles
Rigging Grip
Transportation Coordinator
James Lowder
Transportation Coordinator
Compositing Supervisor
Chris Morley
Compositing Supervisor
Ager/Dyer
Rhonda Earick
Ager/Dyer
Jeffrey Wirsing
Ager/Dyer
Location Manager
Demian Resnick
Location Manager
Greg Lazzaro
Location Manager
Grip
Billy Patsos
Grip
David Winner
Grip
Vincent Arteca
Grip
Sean Devine
Grip
Steve Alessi
Grip
Charles Ehrlinger
Grip
Keith Bunting
Grip
Robert T. Prate
Grip
Ray A. Kay
Grip
Assistant Property Master
Bert Smith
Assistant Property Master
Gus Papadopoulos
Assistant Property Master
Jeffry C. Voorhees
Assistant Property Master
Key Hair Stylist
Merribelle Anderson
Key Hair Stylist
Frank Vazquez
Key Hair Stylist
Leadman
Cynthia La Jeunesse
Leadman
Peter K. Dunbar
Leadman
Alan Easley
Leadman
Second Second Assistant Director
Louis Guerra
Second Second Assistant Director
Efrain Cortes
Second Second Assistant Director
Compositor
Satish Ratakonda
Compositor
Shelley Campbell
Compositor
David Schnee
Compositor
Jordan Schilling
Compositor
David A. Link
Compositor
Construction Foreman
John Moore
Construction Foreman
Painter
Dennis Murillo
Painter
Rossana De Cicco
Painter
Neil Rust
Painter
Casting Assistant
Simone Chavoor
Casting Assistant
Special Effects Technician
Ken Tarallo
Special Effects Technician
Rocky Gehr
Special Effects Technician
Harold McConnell Jr.
Special Effects Technician
Joe Walker
Special Effects Technician
Don Walters
Special Effects Technician
Joshua Vogel
Special Effects Technician
Foley Mixer
Don White
Foley Mixer
Casting Associate
Kate Caldwell
Casting Associate
Music Editor
Stephanie Lowry
Music Editor
Video Assist Operator
Chris Shadley
Video Assist Operator
Storyboard Artist
Joel Venti
Storyboard Artist
Digital Intermediate Assistant
J. Cody Baker
Digital Intermediate Assistant
Dan Goslee
Digital Intermediate Assistant
First Assistant Camera
Angelo Di Giacomo
First Assistant Camera
Wally Sweeterman
First Assistant Camera
Digital Compositor
Nathan Abbot
Digital Compositor
Colorist
Stefan Sonnenfeld
Colorist
Dave Lee
Colorist
Greensman
David Corral
Greensman
VFX Artist
Eugene Lipkin
VFX Artist
Unit Publicist
Will Casey
Unit Publicist
Production Coordinator
Leda Nornang
Production Coordinator
Bonni Camen
Production Coordinator
Visual Effects Coordinator
Jay Worth
Visual Effects Coordinator
Lee Hahn
Visual Effects Coordinator
Mikella Kievman
Visual Effects Coordinator
Utility Sound
Jason Brooks
Utility Sound
Scenic Artist
Victor Morales
Scenic Artist
Charles Kern
Scenic Artist
Visual Effects Editor
Steve R. Moore
Visual Effects Editor
Simon Allmark
Visual Effects Editor
Lee Ifans
Visual Effects Editor
Jennifer Hutcheon
Visual Effects Editor
Derek Walsh
Visual Effects Editor
Production Secretary
Nicole Pelner
Production Secretary
Visual Effects
Q Fortier
Visual Effects
Payroll Accountant
Anne Marie Feldman
Payroll Accountant
CG Supervisor
Russell Darling
CG Supervisor
David Vickery
CG Supervisor
ADR Editor
Sue Fox
ADR Editor
Prop Maker
Dale Snyder
Prop Maker
Phil Coffman
Prop Maker
Production Office Assistant
Ben Sokolowski
Production Office Assistant
Sound Mix Technician
Jurgen Scharpf
Sound Mix Technician
Picture Car Coordinator
Jim Moores
Picture Car Coordinator
Sound Recordist
Blake R. Cornett
Sound Recordist
Clint Smith
Sound Recordist
Craig Heath
Sound Recordist
Second Assistant Camera
Mike Thomas
Second Assistant Camera
Matt Guiza
Second Assistant Camera
Beaudine Credle
Second Assistant Camera
Asa Elmfors
Second Assistant Camera
Assistant Sound Editor
Pre-Visualization Supervisor
Nicholas Markel
Pre-Visualization Supervisor
Modeling
Jung Jin Kang
Modeling
John Koester
Modeling
Matchmove Supervisor
Sam Schwier
Matchmove Supervisor
Title Designer
Stephan Burle
Title Designer
Digital Intermediate Producer
Des Carey
Digital Intermediate Producer
Missy Papageorge
Digital Intermediate Producer
Visual Effects Production Assistant
Niketa Roman
Visual Effects Production Assistant
Victor F. Medel
Visual Effects Production Assistant
Creature Design
Dolby Consultant
Bryan Arenas
Dolby Consultant
Color Timer
Jim Passon
Color Timer
Craft Service
Yvonne M. Gabrielli
Craft Service
Wilson Rivas
Craft Service
Digital Intermediate
Mike Chiado
Digital Intermediate
Assistant Camera
Richard E. Garcia
Assistant Camera
Aerial Coordinator
Kevin LaRosa
Aerial Coordinator
Visual Effects Technical Director
Adrian Thompson
Visual Effects Technical Director
Kari Brown
Visual Effects Technical Director
Michael Parker
Visual Effects Technical Director
Diego Trazzi
Visual Effects Technical Director
Jamie R. Stewart
Visual Effects Technical Director
Steve Shearston
Visual Effects Technical Director
Tim Jones
Visual Effects Technical Director
3D Sequence Supervisor
Phil Johnson
3D Sequence Supervisor
Assistant Chief Lighting Technician
John Billeci
Assistant Chief Lighting Technician
Dickinson H. Luke
Assistant Chief Lighting Technician
Edward J. Cox
Assistant Chief Lighting Technician
Digital Intermediate Editor
Alex Romano
Digital Intermediate Editor
Additional Sound Re-Recording Mixer
Douglas Murray
Additional Sound Re-Recording Mixer
Animatronics Designer
Andy Clement
Animatronics Designer
Main Title Designer
Gary Hebert
Main Title Designer
Jarik Van Sluijs
Main Title Designer
Pamela B. Green
Main Title Designer
Julio Ferrario
Main Title Designer
Bao-Uy Luu
Main Title Designer
First Company Grip
Anthony T. Marra II
First Company Grip
George Patsos
First Company Grip
Second Company Grip
Gus Magalios
Second Company Grip
James B. Walsh
Second Company Grip
2D Artist
Jerry Hall
2D Artist
Daniel Cairnie
2D Artist
Philipp Danner
2D Artist
Andre Brizard
2D Artist
Tilman Paulin
2D Artist
Paul Raeburn
2D Artist
Claire Inglis
2D Artist
Foad Shah
2D Artist
Richard Stay
2D Artist
Oliver Atherton
2D Artist
Charlotte Merrill
2D Artist
Astrid Busser-Casas
2D Artist
Matthew Jacques
2D Artist
Ami Patel
2D Artist
Rafal Kaniewski
2D Artist
Sangita Mistry
2D Artist
Aeon Henderson
2D Artist
Walter Gilbert
2D Artist
Alexandra Papavramides
2D Artist
Alex Ireland
2D Artist
Serena Lam
2D Artist
2D Sequence Supervisor
Sean Stranks
2D Sequence Supervisor
Bronwyn Edwards
2D Sequence Supervisor
Gruff Owen
2D Sequence Supervisor
Victor Wade
2D Sequence Supervisor
What's left behind the scenes
- The first teaser trailer was released before the screening of the film 'Transformers' (2007). At that time, the project did not have a title.
- The second trailer was shown to the public on November 15, 2007, before the screening of the film 'Beowulf' (2007).
- As part of the project's promotional campaign, fictional news reports about the crash of the 'Chuay' oil platform were prepared in 7 versions – in Italian, German, Spanish, Japanese, French, English, and Russian.
- The original title of the project ("Cloverfield") is actually just a code name for the film. It's the name of a boulevard in Santa Monica where the offices of Bad Robot studios were located during production.
- Production of the film itself began after a teaser trailer had already been shown to audiences. Filming took place in Los Angeles and New York – the Los Angeles shoot operated under the fake code name “Slusho,” while the New York shoot was known as “Cheese.” The New York shoot took 33 days – from July 7th to August 8th, 2007.
- The Dharma Initiative logo (central to the TV series “Lost” (2004-2010)) appears briefly at the beginning of the film.
- At the beginning of the film, during the party scene, the Gorillaz song "19-2000" plays in the background; the music video for that song also features a giant monster and the theme of alien invasion.
- The film was shot in 34 days.
- The film begins and ends at 6:42 AM (stated by the operator himself, and the time is displayed on screen).
- At the farewell party for Rob, at his brother Jason’s, we can see a t-shirt with the inscription “Slusho,” which was a code fake name for the film.
- At the end of the film, Rob states a number and day of the week – May 23rd, Saturday. This date falls on the year 2009.
- In the final release of the film, the size of the Statue of Liberty’s head is one and a half times larger than the real one. According to the visual effects supervisor, this had to be done due to complaints that the head was originally too small.
- Lizzy Kaplan (who played Marlene) was sure that she was about to film a romantic movie until the second round of auditions. It was before the second round that she was given one of the scenes from the future film to read, and that's when she found out it would be a horror film, and that the actors were not given the script until they were approved for a role in the future film.
- The film's runtime without credits is approximately 80 minutes, which is roughly the length of videotape cassettes.
- During the initial screenings of the film, many cinemas displayed warnings that the footage from a handheld video camera could cause nausea and dizziness in viewers.
- Some scenes of the film were shot by the actors themselves.
- During rehearsals, director Matt Reeves told the actors involved in the film that the most important thing for them now was to get to know each other better and, if possible, become friends, so that their relationships would look natural on screen.
- According to Annie Pomerantz (who was the visual effects producer), puppets were used in the scene with the 'parasites' in the subway tunnel. However, it soon became clear that computer graphics were also necessary. Director Matt Reeves called the scenes with the puppets 'idiotic'.
- Whenever something happened to the cinematographer, another member of the film crew, or actor T.J. Miller (who played Hudson) during filming, it was included in the film for realism. In the scene of the crowd fleeing from the bridge and Hudson's fall, cinematographer Mike Bonville actually fell while filming. Some cinematographers in similar situations were injured.
- The initial scenes of the party were filmed without music, and the extras in the background only pretended to communicate with each other. The music was added to the footage during post-production.
- During filming in Los Angeles, representatives of one of the film's sponsors, the company Sephora (founded in 1970, owner of a network of perfume and cosmetics stores), contacted set decorator Martin Whist and ordered one of the storefronts on the street to be made into their retail outlet. Residents of the surrounding houses were so happy that a Sephora store was opening nearby that the filmmakers didn't have the heart to explain the situation to them.
- The Coney Island scene was shot on location. Roba and Beth (played by Michael Stahl-David and Odette Annable, respectively) were genuinely filmed on a train while the actors were traveling to Coney Island. Several hours of footage were shot on the train, but only a second was used.
- Producer J.J. Abrams suggested to director Matt Reeves that he take a small crew and go to New York City to shoot undercover, without obtaining permission from authorities or notifying passersby. Abrams and Reeves decided that if enough footage was shot on location in New York, the audience wouldn't notice the use of green screens for backgrounds in some cases. Originally, filming on the streets of New York was planned for only two days, but the producers managed to change the shooting schedule to allocate a whole week to filming in New York. That’s why many scenes were actually shot on location in New York.
- Screenwriter Drew Goddard and director Matt Reeves understood that they would have to justify the characters' descent into the underground tunnels. Once, Reeves witnessed filming of a nighttime battle by a unit of the American army in Iraq. The drama of the situation, mixed with the fury of the clash and the general confusion, led to a scene in which a street battle between soldiers and the creature forces the heroes to seek refuge in the subway. The street battle scenes were not filmed in New York, but on sets and in studio pavilions in Los Angeles.
- One of the reasons for the absence of children and the elderly in the film was that the creature attacked at night, when children and the elderly are usually at home. Regarding children, the filmmakers had some additional considerations: child actors could not be filmed at night due to regulations governing the filming of children. Children are more likely to reveal confidential information. Ensuring the safety of children requires additional effort and, consequently, expense. The presence of underage actors on set invariably requires additional permits. Audiences in the United States do not like it when children suffer in the plot. Actually, both children and the elderly are present in the film – viewers see an old man in the scene when the Statue of Liberty’s head falls to the ground, and a baby’s cry is heard at the beginning of the film.
- The rails in the underground tunnel were not laid for a very long distance, so the actors in the corresponding scenes had to walk first in one direction and then, turning around, in the other, to create the impression of a long underground tunnel. The lights under the tunnel’s vault were deliberately moved, which added tension to the atmosphere. Director Matt Reeves was told that the rats delivered for filming in the tunnels had already appeared in films from the 'Pirates of the Caribbean' franchise. He had never filmed animals before and worried that he wouldn't be able to stay on schedule, but the rats turned out to be obedient, and all of Reeves' worries were unfounded.
- Due to the tilted floor in certain scenes, many on set felt unwell. Viewers assumed the camera was simply tilted, but the filmmakers actually constructed a sloping set. Reeves later admitted he regretted not being able to film a tilted apartment for one of the characters in such a way that the audience could fully experience what the actors and crew felt during filming.
- The return of the parasites to the high-rise building was filmed during post-production, after principal photography had wrapped. The idea was suggested by a friend of director Matt Reeves, who saw an early version of the film and suggested that the city should be teeming with parasites.
- Initially, it was planned that the Brooklyn Bridge would be destroyed by one of the monster's hands, but then they decided it should be destroyed by a random swipe of its tail.
- After watching an early cut of the film, Steven Spielberg suggested hinting to the audience at what awaited the creature. As a result, a message transmitted over the radio and the sound of air raid sirens were added to the film, which preceded the activation of the Hammerdown protocol, which involved destroying the entire city.
- Originally, it was intended that Hudson, played by T.J. Miller, would survive, but he was eaten at the suggestion of producer J.J. Abrams. Initially, they wanted to show Hudson being eaten immediately after he turned around, but it was decided to give the audience a better look at the monster, so the monster first leaned down and examined Hudson before consuming him.
- At Rob's farewell party, we can see Jason, his brother, wearing a t-shirt with the inscription “Slusho”, which was a code fake name for the film.
- One of the reasons for the absence of children and the elderly in the film was that the creature attacked at night, when children and the elderly are usually already at home. As for children, the filmmakers had some additional considerations: child actors could not be filmed at night due to regulations governing the filming of children. Children are more likely to reveal confidential information. Ensuring the safety of children requires additional effort and, therefore, expenses. The presence of underage actors on the set invariably requires additional permits. Audiences in the US do not like it when children suffer in the plot. In fact, both children and the elderly are present in the film – viewers see an old man in the scene when the head of the Statue of Liberty falls to the ground, and at the beginning of the film, a baby’s cry can be heard.
- The tracks in the underground tunnel were laid over a relatively short distance, so the actors in the corresponding scenes had to walk first in one direction, and then, turning around, in the other, to give the audience the impression of a long underground tunnel. The lanterns under the tunnel vault were deliberately moved, which added tension to the atmosphere. Director Matt Reeves was told that the rats delivered for filming in the tunnels had already appeared in films from the "Pirates of the Caribbean" franchise. He had never filmed animals before and was worried about staying within the allocated filming time, but the rats turned out to be obedient, and all of Reeves’ concerns were unfounded.
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