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Directed by | |||
| Cameron Crowe | |||
Writing credits(WGA) | ||
| Cameron Crowe | (written by) | |
Cinematography by | |||
| Janusz Kaminski | |||
Film Editing by | |||
| Joe Hutshing | |||
| David Moritz | (co-editor) | ||
Casting by | |||
| Gail Levin | |||
Production Design by | |||
| Stephen J. Lineweaver | (as Stephen Lineweaver) | ||
Art Direction by | |||
| Clayton Hartley | |||
| Virginia L. Randolph | (as Virginia Randolph) | ||
Set Decoration by | |||
| Clay A. Griffith | |||
Costume Design by | |||
| Betsy Heimann | |||
Makeup Department | |||
| Carrie Angland | .... | makeup artist | |
| Linda Arnold | .... | hair styles supervisor | |
| Stacye P. Branche | .... | makeup artist: Cuba Gooding Jr. (as Stacye Branché) | |
| Michèle Burke | .... | makeup supervisor (as Michele Burke-Winter) | |
| Denise Fischer | .... | makeup artist: Cuba Gooding Jr. | |
| Michael White | .... | hair styles supervisor | |
| Christine M. Guararra | .... | assistant hair stylist (uncredited) | |
| Kerry Mendenhall | .... | assistant hair stylist (uncredited) | |
| Carlos Yeaggy | .... | makeup artist (uncredited) | |
Production Management | |||
| Amy Herman | .... | production manager: second unit | |
| Andrew Stone | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Bryan Denegal | .... | second second assistant director | |
| Christopher T. Gerrity | .... | first assistant director: second unit (football sequences) (as Christopher Gerrity) | |
| Allan Graf | .... | second unit director: football sequences | |
| Amy Schmidt | .... | second assistant director: second unit (football sequences) | |
| Jill Southern | .... | dga trainee (as Jill Musser) | |
| Warren R. Turner | .... | second assistant director (as Warren Turner) | |
| Jerry Ziesmer | .... | first assistant director | |
| Cary Cordon | .... | second assistant director: second unit (uncredited) | |
Special Effects by | |||
| Paul H. Haines Jr. | .... | special effects coordinator (as Paul Haines Jr.) | |
Visual Effects by | |||
| Carol Ashley | .... | composite supervisor: Cinecite | |
| Rod Basham | .... | visual effects editor: Cinesite | |
| Richard A. Benoit | .... | visual effects coordinator: Cinesite | |
| Casey Cannon | .... | video and computer graphics supervisor: BFTRE | |
| Gil Gagnon | .... | visual effect production manager: Cinesite | |
| Gilbert Gonzales | .... | digital artist: Cinesite | |
| Tim Ketzer | .... | 3D animator | |
| Billy Koch | .... | plate coordinator: Cinesite | |
| Brad Kuehn | .... | visual effects supervisor: Cinesite | |
| Ariana Lingenfelser | .... | visual effects producer: Cinesite | |
| Kevin Schwab | .... | digital imaging: Cinesite | |
| Gail Wise | .... | department coordinator: BFTRE | |
| David Blum | .... | visual effects (uncredited) | |
| Aimee Campbell | .... | matchmover: Cinesite (uncredited) | |
| John Cornejo | .... | digital compositor: Cinesite (uncredited) | |
| Charles Darby | .... | digital matte artist (uncredited) | |
| Bill Gilman | .... | digital compositor (uncredited) (Cinesite Hollywood) | |
| Christopher Grandel | .... | digital effects artist (uncredited) | |
| Nicole Herr | .... | digital compositor: Cinesite (uncredited) | |
| Roger Kupelian | .... | digital artist (uncredited) | |
| Vincent Lavares | .... | tape operator (uncredited) | |
| Mike Leben | .... | motion control operator (uncredited) | |
| Dan Levitan | .... | motion tracker (uncredited) | |
| Richard Lund | .... | translite photographer (uncredited) | |
| Dean Lyon | .... | visual effects consultant (uncredited) | |
| Ralph Maiers | .... | digital compositor (uncredited) | |
| Marcel Martinez | .... | digital compositor (uncredited) | |
| Karen M. Murphy | .... | visual effects producer: Cinesite (uncredited) | |
| Cristin Pescosolido | .... | motion tracking supervisor (uncredited) | |
| Tiffany Smith | .... | runner (uncredited) | |
| Ronnie E. Williams Jr. | .... | data operations (uncredited) | |
| Eric Withee | .... | digital film technician: Cinesite (uncredited) | |
| Jeff Zucker | .... | gaffer: visual effects unit (uncredited) | |
Stunts | |||
| Steve Blalock | .... | stunts | |
| Keith Campbell | .... | stunts | |
| Allan Graf | .... | stunt coordinator | |
| James Michael Hold Jr. | .... | stunts | |
| John Jackson | .... | stunts | |
| Horace Knight | .... | stunts | |
| Candace Robinson | .... | stunts | |
| Don Tardino | .... | stunts | |
| Dain Turner | .... | stunts | |
| Al Whiting | .... | stunts | |
| Danny Wynands | .... | stunts (as Dan Wynands) | |
Casting Department | |||
| Eva Eastman | .... | casting assistant | |
| Tricia Tomey | .... | casting associate | |
| Michael Caccamise | .... | extras casting assistant (uncredited) | |
| Franklyn Warren | .... | extras casting (uncredited) | |
Costume and Wardrobe Department | |||
| Cynthia Black | .... | costumer | |
| Edward T. Hanley | .... | costumer (as Ed Hanley) | |
| Joyce Kogut | .... | costumer | |
| James Lapidus | .... | costume supervisor | |
| Linda Matthews | .... | costume supervisor | |
| Meg Matthews | .... | costumer | |
| Garet Reilly | .... | costumer | |
| Nava R. Sadan | .... | costumer (as Nava Sadan) | |
| Lori Stilson | .... | costume supervisor | |
| Gregory B. Peña | .... | set costumer (football sequences) (uncredited) | |
Editorial Department | |||
| Richard Conkling | .... | second assistant editor (as Rich Conkling) | |
| Jennifer Hatton | .... | apprentice editor | |
| Phil Hetos | .... | color timer | |
| Michael Ross | .... | apprentice editor | |
| Gabriel Wrye | .... | additional editor | |
| Ofe Yi | .... | first assistant editor | |
Music Department | |||
| Danny Bramson | .... | music supervisor | |
| Carlton Kaller | .... | music editor (as Carl Kaller) | |
| Stephanie Lowry | .... | assistant music editor | |
| Nancy Wilson | .... | composer: theme music | |
| Brian L. McCarty | .... | digital music playback operator (uncredited) | |
Transportation Department | |||
| Timothy P. Ryan | .... | transportation captain (as Tim Ryan) | |
| Don Tardino | .... | transportation coordinator | |
| Thomas Vilardo | .... | transportation co-captain (as Tom Vilardo) | |
| Mark Pont | .... | driver (uncredited) | |
| Vincent J. Ybiernas | .... | driver (uncredited) | |
Other crew | |||
| Paula Abdul | .... | choreographer | |
| Petra Alexandria | .... | assistant: Laurence Mark | |
| Frawley Becker | .... | location manager | |
| Crista Birgy | .... | second assistant accountant | |
| Joanie Blum | .... | script supervisor | |
| Glenn Cannon | .... | on-set supervisor: Banned from the Ranch Entertainment (as Glen Cannon) | |
| Richard Chung | .... | production assistant | |
| George Davis | .... | production secretary | |
| Michael Doven | .... | assistant: Tom Cruise | |
| Susan Dukow | .... | production office coordinator | |
| Harold Fowler | .... | first aid | |
| Tom George | .... | sports consultant | |
| Tom Gorai | .... | bachelor party film consultant | |
| Zac Jackson | .... | production assistant | |
| Douglas Jones | .... | assistant accountant | |
| Katherine Kallis | .... | location manager | |
| Maria Kavanaugh | .... | assistant: James L. Brooks | |
| Michael G. Kehoe | .... | craft service: Phoenix/Los Angeles (as Michael Kehoe) | |
| Scott M. Martin | .... | assistant: Cameron Crowe | |
| Jeffrey Moorad | .... | technical consultant | |
| Belita Moreno | .... | acting coach | |
| Brendan Murphy | .... | production assistant | |
| Felicia Nalivansky | .... | assistant: Richard Sakai | |
| Chris Palzis | .... | production assistant | |
| Mark Pellington | .... | bachelor party film consultant | |
| Tory Reed | .... | set production assistant | |
| Mike Revell | .... | production accountant (as Michael Revell) | |
| Cornelia Ryan | .... | assistant: Bruce Pustin | |
| Beau Sessions | .... | assistant production coordinator | |
| Michael Singer | .... | unit publicist | |
| Denise Sirkot | .... | finance executive: Gracie Films | |
| Leigh Steinberg | .... | technical consultant | |
| Shawn Suttles | .... | assistant: Cuba Gooding Jr. | |
| Andrew L. Ullman | .... | location manager (as Andrew Ullman) | |
| Chad Woelki | .... | production assistant | |
| Ken Wolfe | .... | consultant: ABC Football | |
| Jesse Yoshimura | .... | production assistant | |
| Suzanne Ziesmer | .... | production assistant | |
| Chad Ahrendt | .... | production assistant (uncredited) | |
| Susan Ahulii | .... | craft service (uncredited) | |
| Al Cerullo | .... | helicopter pilot (uncredited) | |
| Richard A. Clark | .... | security officer (uncredited) | |
| Bronwyn Cornelius | .... | assistant: John D. Schofield (uncredited) | |
| Julie Duvic | .... | location manager: re-shoots (uncredited) | |
| Mark Robert Ellis | .... | assistant sports coordinator (uncredited) | |
| Mike Fantasia | .... | assistant location manager (uncredited) | |
| Allan Graf | .... | football coordinator (uncredited) | |
| David Greditzer | .... | set production assistant (uncredited) | |
| Adrienne King | .... | looping voices (uncredited) | |
| Tom Lent | .... | adr voice (uncredited) | |
| Ted Leonard | .... | production assistant (uncredited) | |
| Eric Mansur | .... | assistant: Laurence Mark (uncredited) | |
| Jeanne Mayeux | .... | researcher (uncredited) | |
| Andrea Mikolajczak | .... | stand-in (uncredited) | |
| Michelene Mundo | .... | set production assistant (uncredited) | |
| Golan Ramras | .... | production assistant (uncredited) | |
| David Yang | .... | assistant to producer (uncredited) | |
Thanks | |||
| Paula Abdul | .... | special thanks | |
| Bill Bidwell | .... | special thanks | |
| Lisa Colantoni | .... | special thanks | |
| Dennis Gilbert | .... | special thanks | |
| Jerry Jones | .... | special thanks | |
| Jeffrey Lurie | .... | special thanks (as Jeff Lurie) | |
| Rob Moore | .... | special thanks | |
| Linda Peterson Warren | .... | special thanks | |
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| Love Actually | Feast of Love | Blue Valentine | All the Right Moves | Original Sin |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb USA section |
By definition, and depending upon who you're talking to, `Success' can be measured in a number of different ways. It's winning the competition, celebrating a Golden Wedding Anniversary or, to many, just making the most money. The first two are absolutes; you win and you make it to number 50. No gray areas. If you're not dead, you're alive; you're either pregnant or you're not. But in regards to that third item on the list, what are the parameters by which you measure that particular success? Are there lines across which you will not step to make that extra buck? Or do you do whatever it takes-- including selling your soul and sacrificing your very identity-- to make as much of the green as you can. Is that success? Or is that selling out. Can there, in fact, be true success when ethics and integrity are absent? It's the territory writer/director Cameron Crowe explores in `Jerry Maguire,' the hit 1996 film that landed him an Oscar nomination for Best Original Screenplay, a Best Actor nomination for star Tom Cruise, and captured the award for Best Supporting Actor for Cuba Gooding Jr.
Jerry Maguire (Cruise) is a high-powered sports agent for a huge agency, handling a portfolio filled with high profile sports figures. And the name of Jerry's game is money; he gets the big bucks for those he represents, he keeps them in the limelight and in the end pulls down some mighty big bucks for himself and the firm. But at what price? Who is Jerry Maguire, really? Has he played the chameleon for so long as a means to an end that even he doesn't know who he is anymore? Does he even consider it? If he stopped to think about it, the answer would be a resounding `No.' But then something happens. One night, he wakes up and happens to look at himself in the mirror, and for whatever reason, it suddenly dawns on him what a selfish, soulless, empty life he is leading. So in the wake of this epiphany, he seizes the moment, sits down at his keyboard and hammers out a `mission/morality statement,' in which he reorganizes his entire approach to his career, including reestablishing parameters and setting new priorities making conscience, ethics and integrity his paramount concerns. And while still riding the high of his nocturnal enlightenment, he goes to his office, makes copies of his statement and distributes it to the mailboxes of everyone from his boss on down. Then he goes home and goes to bed.
In the cold light of morning, however, he realizes what he's done and races to his office to avert disaster. Too late. He enters the room to a hail of praise and appreciation from his peers, but his boss is less enthusiastic. It's no surprise to Jerry, then, when the big `M' his superiors are interested in turns out to be `Money' and not `Morality,' as in `Money talks, Jerry walks.' And just like that he's out the door. But before he leaves, he vows to make it on his own. He's up, he's positive, he has his statement-- and he doesn't have a clue what to do next. What he does know is that the adventure of a lifetime is awaiting. And the world is about to meet the `real' Jerry Maguire.
Cameron Crowe made his debut as a writer/director with `Say Anything' in 1989, in which he first exhibited that keen insight into the human condition that has been one of the trademarks of his success as a filmmaker. In `Jerry Maguire' he demonstrates again that acute sense of knowing what makes people tick, and leaves no doubt that he knows how to convey it to his audience. Crowe's story, as well as the presentation, is original and imaginative, and he fills it with real characters involved in very real situations. And it's the characters that really sell it, because these are three-dimensional people, not just cardboard cut-outs, and moreover, Cameron knows how to get the best out of his actors to really bring them to life.
Tom Cruise was the perfect choice to play Jerry; he has the look, the energy and the talent to get inside this guy's skin and make him tick, and he successfully channels his natural exuberance into his character, tempering his performance just enough to make it really work. An Oscar nomination does not come cheaply, and Cruise certainly deserved the one he received for his work here.
Cuba Gooding Jr.'s performance is deserving of the acclaim he received for it, as well. As Rod Tidwell, the pro football player/client who sticks by Jerry and insists that he `Show me the money!' Gooding equals, if not surpasses Cruise's level of enthusiasm with a vibrant and rich portrayal that makes Rod one of his most memorable characters. Like Cruise, Gooding is perfectly cast and points up, again, what an acute sense Cameron has for who and what will work to bring his story so convincingly to the screen.
Not to be outdone by her co-stars, Renee Zellweger gives an endearing performance as the vulnerable but steadfast, single mom, Dorothy Boyd. She's such a `giving' actor, and she endows Dorothy with a gentle, caring manner that expresses her deepest thoughts and feelings so well. Her reaction, in the scene in which Jerry tells Dorothy-- with his back turned to her-- that he has broken up with his fiancee, Avery (Kelly Preston), is priceless, and alone makes this film worth watching (repeatedly). Her work here is every bit as Oscar worthy as Cruise and Gooding's, and it's hard to understand why she was overlooked, as she is such a vital presence in this film. 9/10.
The supporting cast includes Jerry O'Connell (Frank), Jay Mohr (Bob Sugar), Bonnie Hunt (terrific in her role of Laurel Boyd, Dorothy's sister), Regina King (Marcee) and Jonathan Lipnicki, unforgettable as Dorothy's precocious son, Ray. A triumph for Cameron Crowe, this movie is, indeed, magic.