IMDb > The Hamster Factor and Other Tales of Twelve Monkeys (1996) (V)

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Release Date:
November 1996 (UK) See more »
12 Monkeys Gets Wild on Blu-ray on July 28th
 (From MovieWeb. 18 May 2009, 10:02 AM, PDT)

User Reviews:
A Million Monkeys See more (7 total) »


  (in credits order) (verified as complete)
Keith Fulton ... Narrator (voice)
Dorothea Braemer ... Additional Voices (voice)
Kristi Connors ... Additional Voices (voice)
Ken Haas ... Additional Voices (voice)
John Haralambous ... Additional Voices (voice)
Daniel Hardt ... Additional Voices (voice)
Bob Hering ... Additional Voices (voice)
Meg Knowles ... Additional Voices (voice)
Michael Kuetemeyer ... Additional Voices (voice)
Karin Morris ... Additional Voices (voice)
Birgitte Mortensen ... Additional Voices (voice)
Michael O'Reilly ... Additional Voices (voice)
Christopher Sapienza ... Additional Voices (voice)
Anula Shetty ... Additional Voices (voice)
Brad Thoennes ... Additional Voices (voice)
Nanette Wizov ... Additional Voices (voice)
rest of cast listed alphabetically:
Mick Audsley ... Himself
Jeffrey Beecroft ... Himself
Mark Egerton ... Himself

Terry Gilliam ... Himself

Ernie Malik ... Himself
David Webb Peoples ... Himself (as David Peoples)
Janet Peoples ... Herself

Lloyd Phillips ... Himself

Charles Roven ... Himself
Crispian Sallis ... Himself

Aaron Michael Lacey ... Himself / WWI Sergeant (uncredited)
Joseph Melito ... Himself (uncredited)

Brad Pitt ... Himself (uncredited)

Christopher Plummer ... Himself (uncredited)

Madeleine Stowe ... Herself (uncredited)

Bruce Willis ... Himself (uncredited)
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Directed by
Keith Fulton 
Louis Pepe 
Writing credits
(in alphabetical order)
Keith Fulton 
Louis Pepe 

Produced by
Lucy Darwin .... associate producer
Lisbeth Fouse .... associate producer
Keith Fulton .... producer
Alan Glazer .... executive producer
Louis Pepe .... producer
Original Music by
John Benskin 
Cinematography by
Keith Fulton 
Louis Pepe 
Film Editing by
Keith Fulton 
Louis Pepe 
Production Management
Juli Vizza .... post-production supervisor
Sound Department
Joe di Mattia .... sound recording engineer
Keith Fulton .... sound
Mark Knox .... narration recordist
Louis Pepe .... sound
Steve Rowland .... sound designer
Camera and Electrical Department
Keith Fulton .... camera operator
Louis Pepe .... camera operator
Animation Department
Chaim Bianco .... animator
Joseph C. Pepe .... walking monkey animation (as Joseph Pepe)
Editorial Department
Cheryl Hess .... on-line editor
Eugene Martin .... on-line editor
Ann Tegnell .... editorial consultant
Juli Vizza .... on-line editor
Music Department
Markus Armotowski .... assistant recording engineer
John Benskin .... musician: viola
Chris Hagan .... assistant recording engineer
Daniel Hardt .... musician: violin
Carmelo Pino .... musician: accordion
Keiko Sato .... musician: piano
Glyn Williams .... soundtrack session footage (as J. Glyn Williams)
Other crew
Amadee Braxton .... distribution researcher
Victoria Byczkiewicz .... transcribing
Lori Elberg .... transcribing (as Lori Grossman)
Andrew Hurwitz .... production counsel (as Andrew J. Hurwitz)
Alice Kinkelovers .... archival researcher
Valerie Koscelnik .... archival researcher
Chris Marker .... photograph source
Robert McLaughlin .... archival researcher
Robert McLaughlin .... transcriber
Alexander Murphy Jr. .... production counsel
Snarby Richard .... interpreter
Shashwati Talukdar .... transcribing
Lebbeus Woods .... set
Susan Adelizzi .... thanks
Warren Bass .... special thanks
Colleen A. Benn .... special thanks
Jean-Marc Bouineau .... thanks
Dorothea Braemer .... thanks
Stephen Bridgewater .... thanks
Elizabeth Brous .... thanks
David Bryen .... thanks
Terri Cafaro .... thanks
Kristi Connors .... thanks
Jerome Deppe .... thanks
Chris Dwyer .... thanks
Dodson Elliott .... thanks
Mary Flanagan .... thanks
Nigel Fountain .... thanks
Larry Freedman .... thanks
Beverly Fulton .... thanks
Robert Fulton .... thanks
Vincent Fumo .... thanks
Dean Galanis .... thanks
Lissa Gibbs .... thanks
Avner Gidron .... thanks
Matt Gould .... thanks
Julie Gustafson .... thanks
David Haas .... special thanks
Marlé Hammond .... thanks
Adam Hatley .... thanks
Monica Henriquez .... thanks
David Ingersol .... thanks
Simon Jones .... thanks
Nancy Lewis .... thanks
Marian Masone .... thanks
Jack McCarthy .... thanks
Susan Moses .... thanks
Sharon Mullally .... thanks
Hébert Peck .... thanks
Joseph C. Pepe .... thanks (as Joseph Pepe)
Mary Lou Pepe .... thanks
Pete Pepe .... thanks (as Peter Pepe Jr.)
Peter Pepe .... thanks
Sharon Pinkenson .... thanks
Cindy Rehm .... thanks
Carrie Rickey .... thanks
Edwin Rupert .... thanks
Joe Schramm .... thanks
Kelley Smith-Wait .... thanks
R.C. Staab .... thanks
Margie Strosser .... thanks
Morrie Warshawski .... thanks
David E. Williams .... thanks
Crew verified as complete

Production CompaniesDistributorsOther Companies
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Additional Details

Also Known As:
88 min
Aspect Ratio:
1.33 : 1 See more »

Did You Know?

This documentary is featured on the Twelve Monkeys (1995) DVD, released in 2004.See more »
Mick Audsley:Art is working on something till you like it, then leaving it that way.See more »
Movie Connections:
Features Vertigo (1958)See more »
Concerto for Violin and PercussionSee more »


This FAQ is empty. Add the first question.
2 out of 3 people found the following review useful.
A Million Monkeys, 4 August 2008
Author: tedg ( from Virginia Beach

Gilliam is not a difficult man to understand. He's a painter, not a filmmaker, so he is all about scenes and richness of the moment. Everything has to be delivered now; there is no notion of building so that bigger things can be delivered. There's no long form conveyance, no structure at the scale of life: only powerful effect in the moment as if you were on a drug that erased most memory and all anticipative cognition.

There's a place for this. Usually it isn't as the filmmaker.

But there is a class of films where the inadequacy of the filmmaker is the point: his foibles becoming entangled with what we see on the screen. This was the case with "12 Monkeys" and it is the metastory of this film.

Simply put, Bruce Willis' character has no idea what is real or not. He has no concept of narrative continuity. Everything reflects a past future, meaning no future.

What he has is what he sees and he has no ability to project. As it happens, Gilliam gets entangled with this project in a way that messes with his life while bending the manner in which the story is told to reflect this quiet madness. So the way the film is broken is the point, and we have this here as the real story.

Its pretty cool. You need to see the two together, plus the remarkable "la Jette"

Ted's Evaluation -- 3 of 3: Worth watching.

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