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Directed by | |||
| Ethan Coen | |||
| Joel Coen | |||
Writing credits(WGA) | ||
| Joel Coen | (screenplay) & | |
| Ethan Coen | (screenplay) | |
| Cormac McCarthy | (novel) | |
Produced by | |||
| Ethan Coen | .... | producer | |
| Joel Coen | .... | producer | |
| David Diliberto | .... | associate producer | |
| Robert Graf | .... | executive producer | |
| Mark Roybal | .... | executive producer | |
| Scott Rudin | .... | producer | |
Original Music by | |||
| Carter Burwell | |||
Cinematography by | |||
| Roger Deakins | (director of photography) | ||
Film Editing by | |||
| Ethan Coen | (as Roderick Jaynes) | ||
| Joel Coen | (as Roderick Jaynes) | ||
Casting by | |||
| Ellen Chenoweth | |||
Production Design by | |||
| Jess Gonchor | |||
Art Direction by | |||
| John P. Goldsmith | |||
Set Decoration by | |||
| Nancy Haigh | |||
Costume Design by | |||
| Mary Zophres | |||
Makeup Department | |||
| Jean Ann Black | .... | makeup department head (as Jean A. Black) | |
| Debra Clair | .... | additional hair stylist (as Debra R. Clair) | |
| Brian Hillard | .... | mold technician | |
| Paul LeBlanc | .... | hair department head | |
| Geordie Sheffer | .... | assistant hair stylist | |
| Dave Snyder | .... | makeup applicator | |
| Sarah Spier | .... | makeup assistant | |
| Christien Tinsley | .... | makeup department head | |
| Christien Tinsley | .... | special makeup effects artist | |
| Teresa Valenzuela | .... | wig maker | |
| Corey Welk | .... | additional makeup artist | |
Art Department | |||
| Chris Alvarez | .... | welding foreman | |
| J. Todd Anderson | .... | visual consultant | |
| Mark Bankins | .... | set dresser | |
| Pedro Barquin | .... | stand-by greens | |
| Marcia Calosio | .... | assistant set decorator | |
| John C. Cameron | .... | assistant property master | |
| John C. Cameron | .... | property master: second unit | |
| Dennis Collins | .... | stand-by painter | |
| Sage Emmett Connell | .... | set dresser (as Sage Connell) | |
| Chadney Everett | .... | set decoration foreperson | |
| James Fowler | .... | set dresser | |
| Bobbi Jo Gonzales | .... | props | |
| Peter Grendle | .... | art department assistant | |
| Paul Haag | .... | set dresser | |
| Paul Harman | .... | sign painter | |
| Gregory Hill | .... | graphic designer (as Gregory L. Hill) | |
| Deborah Jensen | .... | assistant art director (as Deborah L. Jensen) | |
| Caylen Johnson | .... | welding gangboss | |
| Jason Mack | .... | set dresser | |
| Roberta Marquez Seret | .... | art department coordinator (as Roberta Marquez) | |
| Quentin Matthys | .... | set dresser | |
| Randy Moffitt | .... | propmaker | |
| Cee Moravec | .... | on-set dresser | |
| Tony Perez | .... | lead man | |
| Scott Troha | .... | leadperson | |
| Benjamin M. Walsh | .... | set dresser | |
| Keith Walters | .... | property master | |
| Christopher Windisch | .... | construction coordinator | |
| Jeri Woodward | .... | paint foreman | |
| Randal Woodward | .... | lead scenic | |
| Chris Windish | .... | laborer/greensman (uncredited) | |
Sound Department | |||
| Craig Berkey | .... | sound designer | |
| Craig Berkey | .... | sound re-recording mixer | |
| Joseph F. Brennan | .... | boom operator (as Joe Brennan) | |
| Joel Dougherty | .... | assistant sound editor | |
| Cole Gittinger | .... | cable person | |
| Catherine Harper | .... | foley artist | |
| Eric Harwood | .... | sound re-recordist | |
| Kenton Jakub | .... | adr editor | |
| Randall L. Johnson | .... | boom operator (as Randy Johnson) | |
| Jeff Knudsen | .... | sound mixer: second unit | |
| Peter F. Kurland | .... | sound mixer (as Peter Kurland) | |
| Skip Lievsay | .... | sound re-recording mixer | |
| Skip Lievsay | .... | supervising sound editor | |
| Darrin Mann | .... | foley mixer | |
| Christopher Moriana | .... | foley artist | |
| Greg Orloff | .... | sound re-recording mixer | |
| Derek Pippert | .... | foley recordist | |
| Derek Vanderhorst | .... | foley editor | |
| Byron Wilson | .... | dialogue editor | |
Special Effects by | |||
| Peter Chesney Jr. | .... | special effects foreman | |
| Peter Chesney | .... | special effects coordinator | |
| Tom Chesney | .... | special effects technician | |
| Val Crawford | .... | hair/fur department | |
| Paul Deely | .... | special effects | |
| Jason Hamer | .... | special effects coordinator | |
| Caylen Johnson | .... | special effects technician | |
| Emmet Kane | .... | special effects technician | |
| Sandra Stewart | .... | special effects technician | |
| Russell Tamillo | .... | special effects first assistant | |
| Diane Woodhouse | .... | special effects shop coordinator | |
| Mark Ballou | .... | fabricator: Tinsley Transfers Inc. (uncredited) | |
| Megan Flagg | .... | special makeup effects artist: Tinsley Transfers (uncredited) | |
Visual Effects by | |||
| Robert Adams | .... | digital compositor | |
| Alexandre Cancado | .... | visual effects | |
| Vincent Cirelli | .... | visual effects supervisor: Luma Pictures | |
| Daniel Craemer | .... | digital artist | |
| Michael Dillon | .... | digital intermediate assistant producer | |
| Chad Dombrova | .... | lead technical director: Luma Pictures | |
| David V. Fedele | .... | visual effects: Luma Pictures | |
| Cameron Gray | .... | animation supervisor: Luma Pictures | |
| H Haden Hammond | .... | sequence supervisor: Luma Pictures | |
| John R. Hazzard | .... | character animator: Luma Pictures | |
| David Hochstadter | .... | digital artist: Luma Pictures | |
| Cajun Hylton | .... | digital artist: Luma Pictures | |
| Justin Johnson | .... | digital effects supervisor | |
| Wendy Klein | .... | visual effects: Luma Pictures | |
| Jason Locke | .... | matchmover | |
| Valy Lungoccia | .... | visual effects | |
| Glenn Morris | .... | visual effects producer | |
| Ashok Nayar | .... | visual effects coordinator: Luma Pictures | |
| Ben Neall | .... | texture artist: Luma Pictures | |
| Ian Noe | .... | visual effects producer | |
| Pavel Pranevsky | .... | digital artist: Luma Pictures | |
| Pimentel A. Raphael | .... | lead animator | |
| Burke Roane | .... | lead animator: Luma Pictures | |
| Charles Scott IV | .... | digital compositor | |
| Gabe Shedd | .... | visual effects staff | |
| Payam Shohadai | .... | executive visual effects supervisor: Luma Pictures | |
| Joey Sila | .... | digital effects artist: Luma Pictures | |
| Jared Simeth | .... | digital compositor: Luma Pictures | |
| Thanapoom Siripopungul | .... | visual effects artist: Luma Pictures | |
| Steven Swanson | .... | visual effects supervising producer: Luma Pictures | |
| Jason Yanofsky | .... | senior lighting/compositing | |
| Thomas Mathai | .... | data manager (uncredited) | |
Stunts | |||
| Bill Anagnos | .... | stunts | |
| Christopher Lee Bailey | .... | stunts | |
| Ben Bray | .... | stunts | |
| Tim Buchanan | .... | stunts | |
| Laurence Chavez | .... | stunts | |
| Eddie J. Fernandez | .... | stunts (as Eddie Fernandez) | |
| Lakshman Nathaniel Garin | .... | stunts (as Lakshman Garin) | |
| Jim Henry | .... | stunts | |
| Jery Hewitt | .... | stunt coordinator | |
| Toby Holguin | .... | stunts | |
| Brett A. Myrick | .... | stunts (as Brett Myrick) | |
| Mark Norby | .... | stuntperson: Josh Brolin | |
| Steve Rizzo | .... | stunts | |
| Tom Roach | .... | stunts | |
| Thomas Rosales Jr. | .... | stunts (as Tommy Rosales) | |
| Ramsey Scott | .... | stunts | |
| Jose L. Vasquez | .... | stunts (as Jose Vasquez) | |
| Laurence Vasquez | .... | stunts | |
| Jim Henry | .... | stunt double: Chip Love (uncredited) | |
| Steve Rizzo | .... | stunt double: Zach Hopkins (uncredited) | |
Casting Department | |||
| Jo Edna Boldin | .... | location casting | |
| Elizabeth Gabel | .... | background casting | |
| Barbara Harris | .... | voice casting | |
| Katy Houska | .... | background casting assistant | |
| Tracy Kilpatrick | .... | additional casting | |
| Marie A. Kohl | .... | casting assistant: New Mexico | |
| Amelia Rasche | .... | casting associate: New York | |
| Kathryn Schuetze | .... | casting assistant: New Mexico (as Kathryn 'Kit' Schuetze) | |
| Rachel Tenner | .... | casting associate: Los Angeles | |
Costume and Wardrobe Department | |||
| Aleah Ames | .... | key costumer | |
| Lori DeLapp | .... | costume supervisor | |
| Jenny Eagan | .... | assistant costume designer | |
| Emily Egge | .... | set costumer | |
| Delia Hauser | .... | costumer | |
| Christine Hawes | .... | costumer | |
| Nikki Kelly | .... | wardrobe production assistant | |
| Claire Sandrin | .... | key set costumer | |
| Mary Beth Sterling | .... | costume production assistant: Los Angeles | |
| Stephani Lewis | .... | seamstress (uncredited) | |
Editorial Department | |||
| Kenny Becker | .... | color timer | |
| Buster Jacob Coen | .... | post-production assistant | |
| Catherine Farrell | .... | post-production coordinator | |
| Michael Hatzer | .... | supervising digital colorist: Efilm (as Mike Hatzer) | |
| Michael Kennedy | .... | digital intermediate producer (as Mike Kennedy) | |
| Catie Laffoon | .... | post-production assistant | |
| Marc Lulkin | .... | digital color assist | |
| Katharine McQuerrey | .... | assistant editor | |
| Neil A. Stelzner | .... | associate editor | |
| Tom Reiser | .... | colorist assist: Efilm (uncredited) | |
Music Department | |||
| Michael Farrow | .... | score mixer | |
| Gordon Gottlieb | .... | musician | |
| Todd Kasow | .... | music editor | |
| John Palatucci | .... | musician | |
| Sandra Park | .... | conductor | |
| Chris Robertson | .... | music clearance | |
| David Torn | .... | musician | |
Transportation Department | |||
| Lyle Christensen | .... | shotmaker driver | |
| John Christopher Hicks | .... | driver | |
| Scott Howard | .... | transportation | |
| Jack Prince | .... | driver | |
| Paul Ripple | .... | transportation dispatcher | |
| Timothy P. Ryan | .... | transportation coordinator | |
| Faith Strongheart | .... | driver: cast | |
| Jeff J. Williams | .... | driver: vip | |
Thanks | |||
| Jason Willaford | .... | thanks | |
| Ree Willaford | .... | thanks | |
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I saw this film at a private preview screening in Pittsburg on 5/16/07. I went with five other friends. The entire group was male, 20 yrs old, and mostly college athletes. I explain the demographic of myself and my companions to reason why I was the only one that came away from the film completely satisfied. The story was fresh and different and I don't think my friends had the capacity to fully enjoy what was going on on-screen. I did. And I am still trying to fully understand what an accomplishment it is. Let me try to explain.
The Coens begin the movie with a voice-over against a barren Texas landscape, much the way Blood Simple began. In fact, there are several similarities between the two films, like the auspicious lack of music. A reviewer whose name escapes me once said that all Coen Bro. films look great and sound better. I'll get to sound later but to talk about the look... Other than some CGI animals, which really shocked me in such an otherwise perfect film, each frame is filled with such interesting material that the tone is set perfectly so that as you view a scene, you know whether to wait on a laugh or brace for...
A large part of what fills those frames is great performances. Perfectly cast is Tommy Lee Jones. He nails it, the crowd goes wild etc... That's expected though. Josh Brolin, on a very recent hot streak, has given us two tremendous performances this year and both would have been a Cannes if the superbly talented Tarantino was loyal to his material and friend and kept the masterpiece that was Grindhouse untouched. Brolin's performance in that film was spot on with the perfect amount of ham and cheese to set the tone for the whole movie. In this one, he shows he can do just as well playing strait and absorbing into character as he does at crowd-pleasing cheesballing it. Kelly Macdonald will have to do something else to prove to me she really isn't the Clara Jean character she portrayed even though I know she is a Scot. Woody Harrelson, who I think gets too much praise sometimes, is at his best here and actually manages not to get blown off the screen (well sorta) by Javier Bordem. Mr. Bordem's performance is a force, much like the character he portrays. His Chigurh is a representation of the lunacy of violence that exists in society. There is no negotiations with it, it has always been here and it will always be here. It/he leaves us in shock and terror and all we can do is... ??? The first thing that needs to be said about the sound is that if another film wins an award all year for sound or sound editing, investigations should be held and the judges' bank accounts monitored. The sound in this movie is so shockingly good. There is no music (save some comically placed source music)and the movie is all the better for it. People talk about the way the music in Jaws enhanced the tension of what was happening on screen. People should, from here on say that the lack of music and the placement of source sound in No Country for Old Men thrilled more.
I am certainly rooting for No Country for Old Men to come away with the hardware from Cannes.