The Wrath of Becky - crew, film crew

The entire team, the film crew of the film "The Wrath of Becky"
The Wrath of Becky (2023)
Timing: 1:23 (83 min)
The Wrath of Becky - TMDB rating
6.3/10
281
The Wrath of Becky - Kinopoisk rating
6.439/10
46220
The Wrath of Becky - IMDB rating
6.2/10
20000

Film crew

Director

Photo Matt Angel #33207
Matt Angel
Director
Suzanne Coote
Director

Producer

Photo Jordan Yale Levine #5279
Jordan Yale Levine
Producer
Photo Chadd Harbold #70629Photo Chadd Harbold #70630Photo Chadd Harbold #70631Photo Chadd Harbold #70632
Chadd Harbold
Producer
Photo J.D. Lifshitz #68045
J.D. Lifshitz
Producer
Raphael Margules
Producer
Photo Jordan Beckerman #5282
Jordan Beckerman
Producer
Russ Posternak
Producer
Tracy Rosenblum
Producer

Executive Producer

Photo Maurice Compte #32207Photo Maurice Compte #32208

Maurice Compte

Maurice Compte
Executive Producer
Photo Raja Collins #327970

Raja Collins

RJ Collins
Executive Producer
Clay Pecorin
Executive Producer
Photo Cary Murnion #145876Photo Cary Murnion #145877Photo Cary Murnion #145878

Cary Murnion

Cary Murnion
Executive Producer
Photo Jonathan Milott #145879Photo Jonathan Milott #145880Photo Jonathan Milott #327971

Jonathan Milott

Jonathan Milott
Executive Producer
Berry Meyerowitz
Executive Producer
Photo Lulu Wilson #29877Photo Lulu Wilson #29878Photo Lulu Wilson #29879Photo Lulu Wilson #29880

Lulu Wilson

Lulu Wilson
Executive Producer
Marlon Vogelgesang
Executive Producer
Larry Greenberg
Executive Producer

Editor

Photo Stephen Boyer #327972
Stephen Boyer
Editor

Costume Design

Elena Lark
Costume Design

Stunts

Photo Hannah D. Scott #296231
Hannah D. Scott
Stunts

Production Design

Allie Leone
Production Design

Stunt Coordinator

Photo Corey Pierno #17283
Corey Pierno
Stunt Coordinator

Original Music Composer

Photo Nima Fakhrara #70633

Nima Fakhrara

Nima Fakhrara
Original Music Composer

Stunt Double

Photo Kyli Zion #13456Photo Kyli Zion #13457
Kyli Zion
Stunt Double
Alexa Marcigliano
Stunt Double

Director of Photography

Julia Swain
Director of Photography

Makeup Department Head

Meagan Coyle
Makeup Department Head

Sound Mixer

Maxwell di Paolo
Sound Mixer

First Assistant Director

Alex Burstein
First Assistant Director

Screenplay

Photo Matt Angel #33207
Matt Angel
Screenplay
Suzanne Coote
Screenplay

Characters

Ruckus Skye
Characters
Lane Skye
Characters
Nick Morris
Characters

Gaffer

Ryan McCluney
Gaffer

"B" Camera Operator

Nona Catusanu
"B" Camera Operator

Production Assistant

Photo Cori Schimko #145881Photo Cori Schimko #145882Photo Cori Schimko #145883

Cori Schimko

Cori Schimko
Production Assistant

Casting Director

Monica Kelly
Casting Director
Jennifer Treadwell
Casting Director

Line Producer

Derek Rubin
Line Producer

What's left behind the scenes

  • In December 2021, producer J.D. Lifshitz approached Matt Angel and Suzanne Coote with a request to write a script and direct a sequel to the 2020 action film “Becky,” directed by Jonathan Milott and Cary Murnion. Without any further instructions or guidance, and with only three weeks available, Angel revisited Quentin Tarantino’s 2003 thriller “Kill Bill” to analyze its atmosphere and characters. The lead actress, Lulu Wilson, actively collaborated with the film's writers to soften the image of her character. Considering that two years had passed between the original film and the sequel, Wilson wanted to show that this time had not gone unnoticed for her character and that she had matured.
  • Matt Angel with Suzanne Coote, as well as cinematographer Julia Swain, decided not to shoot handheld, as was done during the filming of the original 2020 film, but to demonstrate sliding camera movement and use a 'Steadicam' camera stabilization system.
  • Producer J.D. Lifshitz approached Matt Angel and Suzanne Coote in December 2021, requesting they write the screenplay and direct a sequel. Without specific instructions and with only three weeks, Angel revisited “Kill Bill” for the atmosphere and characters. The lead actress, Lulu Wilson, actively collaborated with the filmmakers to soften her character’s image. Wilson wanted to show that the two years separating the sequel and prequel had left their mark on her character and that she had matured.
  • Matt Angel, Suzanne Coote, and cinematographer Julia Swain decided not to shoot handheld, as they did in the first film, but to use a Steadicam.
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