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Directed by | |||
| Jim Jarmusch | |||
Writing credits(in alphabetical order) | ||
| Jim Jarmusch | written by | |
Produced by | |||
| Karen Koch | .... | co-producer | |
| Demetra J. MacBride | .... | producer | |
Original Music by | |||
| Neil Young | |||
Cinematography by | |||
| Robby Müller | |||
Film Editing by | |||
| Jay Rabinowitz | |||
Casting by | |||
| Ellen Lewis | |||
| Laura Rosenthal | |||
Production Design by | |||
| Bob Ziembicki | (as Robert Ziembicki) | ||
Art Direction by | |||
| Ted Berner | |||
Set Decoration by | |||
| Dayna Lee | |||
Costume Design by | |||
| Marit Allen | |||
Makeup Department | |||
| Richard Alonzo | .... | prosthetic makeup artist | |
| Clare M. Corsick | .... | hair stylist: Mr. Depp (as Claire Corsick) | |
| Scott W. Farley | .... | key hair stylist | |
| Tom Irvin | .... | special makeup effects | |
| Todd Kleitsch | .... | assistant makeup artist | |
| Neal Martz | .... | key makeup artist | |
| Patty York | .... | makeup artist: Mr. Depp | |
| Joel Harlow | .... | special makeup effects artist (uncredited) | |
Production Management | |||
| Beth DePatie | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Jude Gorjanc | .... | second assistant director | |
| Constance L. Hoy | .... | second second assistant director (as Connie Maverick) | |
| Todd Pfeiffer | .... | first assistant director | |
Sound Department | |||
| Coll Anderson | .... | additional sound recordist | |
| Kam Chan | .... | foley editor | |
| Marko A. Costanzo | .... | foley artist | |
| Keith Culbertson | .... | sound mix re-recordist | |
| Dan Evans Farkas | .... | assistant sound editor | |
| Eugene Gearty | .... | sound effects editor | |
| Mark Goodermote | .... | boom operator | |
| Robert Hein | .... | supervising sound editor | |
| Hextro | .... | sound mix re-recordist | |
| Frank Kern | .... | foley editor | |
| Drew Kunin | .... | sound mixer | |
| Julie Lindner | .... | assistant sound editor | |
| Kimberly R. McCord-Wilson | .... | apprentice sound editor (as Kimberly R. McCord) | |
| Sylvia Menno | .... | dialogue editor | |
| Bruce Pross | .... | foley supervisor | |
| Stacey Tanner | .... | additional sound recordist | |
| Dominick Tavella | .... | sound re-recording engineer | |
| Magdaline Volaitis | .... | sound effects editor | |
Special Effects by | |||
| Brent Baker | .... | mold maker | |
| John C. Carlucci | .... | special effects assistant | |
| Lou Carlucci | .... | special effects coordinator | |
| Joe Fordham | .... | effects production coordinator | |
| Mark Habegger | .... | effects project manager | |
| Tom Irvin | .... | foam technician | |
| Steve Johnson | .... | prosthetic effects | |
Visual Effects by | |||
| Randall Balsmeyer | .... | visual effects supervisor | |
| Jon Farhat | .... | visual effects supervisor | |
| Joe Garert | .... | additional compositor | |
| Daniel Leung | .... | digital compositor | |
| Don Nolan | .... | special effects animation | |
| Steven T Puri | .... | visual effects producer | |
| Anne Putnam | .... | visual effects production coordinator | |
| Ken Smith | .... | additional compositor | |
| Marc Rubone | .... | rotoscope and animation (uncredited) | |
Stunts | |||
| Tori Bridges | .... | stunt performer | |
| Al Jones | .... | stunt coordinator | |
| Erik Stabenau | .... | stunts | |
Casting Department | |||
| Ali Farrell | .... | casting assistant | |
| Linda Lee | .... | extras casting: Oregon | |
| Sunny Seibel | .... | extras casting: Arizona | |
| Donna Wilkie | .... | extras casting: Makah tribe | |
Costume and Wardrobe Department | |||
| Suzanne Bantit | .... | seamstress | |
| Birgitta Bjerke | .... | costumer | |
| Susie Money | .... | costume supervisor | |
| David S. Powell | .... | costume maker: native american costumes | |
| Paul Simmons | .... | on-set costumer | |
| Abram Waterhouse | .... | assistant costume designer | |
Editorial Department | |||
| Carol Abady | .... | post-production coordinator | |
| Jennifer Apel | .... | assistant editor | |
| Tony Grocki | .... | first assistant editor | |
| Anne O'Brien | .... | assistant editor | |
| Tom Salvatore | .... | color timer | |
| Birgit Staudt | .... | post-production coordinator | |
| John Dowdell | .... | hd colorist (uncredited) | |
| Joshua Schwarz | .... | editor: music video (uncredited) | |
Music Department | |||
| Charlie Bouis | .... | music score recording service | |
| Guy Carbonneau | .... | music score recording service | |
| Tim Foster | .... | music score production service | |
| Louis Grappi | .... | music score production service | |
| John Hanlon | .... | music score recording engineer | |
| L.A. Johnson | .... | music producer | |
| Eric Johnston | .... | music score recording service | |
| Elliot Rabinowitz | .... | music executive | |
| Arthur Rosato | .... | music score production service | |
| Sal Trentin | .... | music score production service | |
| Neil Young | .... | musician | |
Transportation Department | |||
| Dale I. Dodds | .... | swing driver | |
| John Ray Floyd | .... | driver | |
| Jolene Floyd | .... | driver | |
| Felipe Gallego | .... | driver: construction department | |
| Bill Getzwiller | .... | driver | |
| Buck Holland | .... | driver: Mr. Depp | |
| Jeffrey Landis | .... | driver | |
| Jeff Lira | .... | driver | |
| Jan Lyons | .... | driver | |
| Donald B. Martin | .... | driver: honeywagon | |
| Mary Martin | .... | driver | |
| Harry McCorey | .... | driver | |
| Antonio Molina | .... | transportation coordinator | |
| Laree Scrignolli | .... | driver | |
| Brian Steagall | .... | driver | |
| Jack Swauger | .... | driver | |
| Chandler Vinar | .... | driver | |
| Craig Williams | .... | transportation captain | |
Other crew | |||
| Carol Abady | .... | office coordinator: New York | |
| Steve Blakely | .... | dailies supervisor | |
| Hildegard Bongarts | .... | set production assistant | |
| Christian Bongers | .... | stills intern | |
| Alan Burke | .... | dailies projectionist | |
| Robin Bursey | .... | production office assistant | |
| Michael Böhme | .... | production executive: Germany (as Michael Boehme) | |
| Diane Carlucci | .... | medic | |
| Steve Carroll | .... | production insurance | |
| Ernie Cheeka | .... | carver: totem pole | |
| Greg Colfax | .... | carver: totem pole | |
| Kevin S. Colley | .... | canoe technical advisor | |
| P.J. Connelly | .... | location liaison: Arizona | |
| Bruce Corkham | .... | stand-in: Mr. Depp | |
| Randy Court | .... | boat captain | |
| Robert W. Davis | .... | assistant production coordinator | |
| Sioux Dean | .... | craft service | |
| Christi Dembrowski | .... | assistant: Mr. Depp | |
| Jean-Michel Dissard | .... | production office assistant | |
| Don Donigi | .... | dailies supervisor | |
| Rick Eggers | .... | caterer | |
| Betsy Everman | .... | production office assistant | |
| Gwen Everman | .... | production accountant (as Gwendolyn Everman) | |
| Jordan Faeth | .... | caterer | |
| Patrick Fuchs | .... | key set production assistant | |
| Mike Gibson | .... | boat captain | |
| David Graham | .... | projectionist | |
| John Hausmann | .... | Redwood Digital | |
| Richard Heller | .... | legal advisor | |
| Sam Hyde | .... | set production assistant | |
| Jeffrey King | .... | elk wrangler | |
| Danielle LaClare | .... | craft service | |
| Gilbert Manygoats | .... | stand-in: Mr. Farmer | |
| David Matson | .... | production office assistant | |
| Harry McCarty | .... | Makah canoe skipper | |
| Mike McNally | .... | medic | |
| Martha Pilcher | .... | location manager (as Martha C. Pilcher) | |
| Exile Ramirez | .... | assistant production coordinator | |
| Tricia Ronten | .... | script supervisor | |
| Jennifer Roth | .... | production coordinator | |
| Jeffrey B. Seymann | .... | set production assistant | |
| Danielle Sotet | .... | post-production accountant | |
| Birgit Staudt | .... | assistant location manager | |
| Raquel Stewart | .... | stitcher | |
| George Walden | .... | production insurance | |
| Ken Weintraub | .... | caterer | |
| Kathy Whitman | .... | cultural consultant | |
| Whitney J. Willard | .... | assistant production accountant | |
| Ivan Red Wolverton | .... | animal wrangler | |
| Kip Wolverton | .... | animal wrangler | |
| Margery Wolverton | .... | animal wrangler | |
| Holly Edwards | .... | animal wrangler (uncredited) | |
| Robert Workman | .... | production assistant (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
The Western genre has always been misunderstood as a simplistic, racist (and misogynistic) traditional genre due to the many mediocre Westerns of the 40s and 50s. However, real good Westerns have delighted us with complex stories that take advantage of the setting themes: the conflict between honor & law, wilderness & civilization, and life & death. Director Jim Jarmusch, who has achieved fame and recognition in the independent film community, uses the elements of the Western genre to create his very own poetical meditation on these themes, giving the genre his personal touch crafting a powerful and original gem.
Young accountant William Blake (Johnny Depp) seems to have lost everything as his parents have died and his fianceé left him without a reason; so he decides to take a job in Machine, a town located at the end of "civilization" in the Wild Wild West. To his misfortune, the job he applied to has already been taken and now he finds himself really without nothing. However, his life will change forever after by a series of circumstances he ends up murdering a man, becoming an outlaw, although getting badly wounded in the process. Now, traveling along an outcast native who calls himself "Nobody" (Gary Farmer), he'll begin a strange and surreal trip that'll prepare him for the next stage.
Written by Jarmusch himself, the film's story details Blake's trip guided by Nobody in a similar way to Dante's journey in "The Divine Comedy", where a series of "episodes" are used to explore different ideas and themes across the trip. Jarmusch subtlety mixes drama and comedy to deliver his philosophical meditation making the film an entertaining experience, never becoming boring or tiresome. The Western setting is used effectively to tell this story and "Dead Man" toys with the Western elements in a subtle, respectful and quite entertaining way that neither parodies it nor makes fun of it in any way.
Shot entirely in black and white, the cinematography (by Jarmusch regular, Robby Müller) captures that feeling of loneliness and emptiness that William Blake's life has, as well as his collision with the wilderness of the wild west. Jarmusch camera-work together with Neil Young's excellent soundtrack give the film a beautiful surreal look that echoes Blake's equally surreal journey across the darkness searching for light. Finally, another interesting point is Jarmusch extensive care for detail in his portrayal of the American west, as well as his respect for the Native American cultures that play an important role in his film; making "Dead Man" one of the most realist Westerns ever made.
Johnny Depp's performance is remarkable, and probably one of the best in his career. Blake's complete transformation across the film is a real challenge and Depp makes the most of it. Gary Farmer is equally excellent and he is as effective in the comedy scenes as he is in the drama scenes, showing his flexibility and talent. The supporting roles present an assortment of cameos where actors such as Crispin Glover, Lance Henriksen, John Hurt and Robert Mitchum (in his last role) appear giving outstanding performances despite the limited screen time they receive. Henriksen certainly delivers his best performance in years.
Jarmusch's film is a brilliant poetical meditation of life and death, but its episodic nature make it feel even more slow than it is, as every vignette is separated by fade outs that break the mood created. This really damages the film's atmosphere, as it feels as a forced wake up after a pleasant dream. Another problem, is that fans expecting an action-filled Western may end up disappointed, so bear in mind that this film is more about feelings rather than actions. Despite his minor problems, the film is still a very enjoyable experience and a whole new way to experience Westerns, so even non-fans of the genre will appreciate it.
To summarize, "Dead Man" is an atypical look at Westerns that presents Jarmusch's interesting views on life and death in an entertaining, attractive way. Among the revisionist westerns, "Dead Man" is a valuable gem that is worth a watch. Even non-fans of the genre will find something interesting in it. 9/10