| Photos (See all 24 | slideshow) |
Directed by | |||
| Martin Scorsese | |||
Writing credits(WGA) | ||
| Melissa Mathison | (written by) | |
Original Music by | |||
| Philip Glass | |||
Cinematography by | |||
| Roger Deakins | |||
Film Editing by | |||
| Thelma Schoonmaker | |||
Casting by | |||
| Ahmed Abounouom | |||
| Ellen Lewis | |||
Production Design by | |||
| Dante Ferretti | |||
Art Direction by | |||
| Franco Ceraolo | |||
| Massimo Razzi | |||
| Alan Tomkins | (supervising art director) (as Alan R. Tomkins) | ||
Set Decoration by | |||
| Francesca Lo Schiavo | |||
Costume Design by | |||
| Dante Ferretti | |||
Makeup Department | |||
| Hayat Ouled Dahhou | .... | hair stylist | |
| Elisabetta De Leonardis | .... | hair stylist | |
| Mirella Ginnoto | .... | key hair stylist | |
| Giorgio Gregorini | .... | hair stylist | |
| Fabrizio Sforza | .... | key makeup artist | |
Production Management | |||
| Leslie Kobyluck | .... | production manager: second unit | |
| Roberto Malerba | .... | unit production manager | |
| Karen L. Thorson | .... | post-production supervisor | |
Art Department | |||
| Elio Altamura | .... | dressing props | |
| Alice Baker | .... | assistant set decorator | |
| Brian Bishop | .... | scenic painter | |
| Doug Bishop | .... | scenic painter | |
| Mike Fowlie | .... | property master | |
| Abdenabi Izlaguen | .... | props | |
| Byron K. Lovelace | .... | property master | |
| Byron K. Lovelace | .... | property master: New York second unit | |
| Byron K. Lovelace | .... | props: New York | |
| Roberto Magagnini | .... | dressing props | |
| Darryl Paterson | .... | stand-by prop | |
| Rachid Quiat | .... | assistant art director | |
| Luigi Sergianni | .... | construction manager | |
| Domenico Sica | .... | assistant art director | |
| Ivano Todeschi | .... | scenic painter | |
| Gary Wiffen | .... | dressing props | |
Sound Department | |||
| Tim J. Carroll | .... | consultant: Dolby Digital | |
| Benjamin Cheah | .... | assistant sound editor | |
| Marko A. Costanzo | .... | foley artist | |
| Kay Denmark | .... | adr boom operator | |
| Matthew Desorgher | .... | boom operator | |
| Tom Fleischman | .... | sound re-recording mixer | |
| Frank Kern | .... | foley editor | |
| Nicholas Renbeck | .... | dialogue editor | |
| Steven J. Rogers | .... | sound mixer: second unit | |
| Philip Stockton | .... | supervising sound editor | |
| Clive Winter | .... | sound mixer | |
| Dustin DuPilka | .... | assistant foley artist (uncredited) | |
Special Effects by | |||
| Conor Coughlan | .... | special effects technician | |
| Massimo Cristofanelli | .... | special effects | |
| Kevin Hannigan | .... | senior special effects | |
| Kevin Hannigan | .... | special effects coordinator | |
Visual Effects by | |||
| Craig Barron | .... | visual effects supervisor: Matte World Digital | |
| Jennifer Basnyat | .... | visual effects | |
| Jeff Burks | .... | visual effects supervisor | |
| Doug Delaney | .... | scanning and recording | |
| Krystyna Demkowicz | .... | executive in charge of production: Matte World Digital | |
| Rick Dunn | .... | compositor: Digital Domain | |
| Mark O. Forker | .... | digital compositing supervisor | |
| Karl Formander | .... | digital compositor | |
| Simon Haslett | .... | digital effects artist | |
| Claas Henke | .... | compositor: Digital Domain | |
| Dennis Hoffman | .... | visual effects executive producer: DQI | |
| Christopher Holsey | .... | scan record supervisor | |
| Brian Leach | .... | compositor | |
| Joe Mandia | .... | digital artist | |
| John McCunn | .... | pipeline engineer | |
| Matt McDonald | .... | digital compositor | |
| Kelvin McIlwain | .... | matte artist: illusion arts | |
| Brandon McNaughton | .... | digital compositor | |
| Craig Mullins | .... | digital matte painter | |
| John Murrah | .... | technical director | |
| Howie Muzika | .... | rotoscope artist | |
| Erik Nash | .... | visual effects director of photography | |
| Tony Noel | .... | digital compositor | |
| Brian Peyatt | .... | technical coordinator | |
| Linda Renaud | .... | assistant visual effects editor | |
| Paul Rivera | .... | digital composite supervisor: Mate World Digital | |
| Carl Seibert | .... | visual effects producer | |
| Lisa Spence | .... | digital effects coordinator | |
| Melissa Taylor | .... | visual effects producer | |
| Cari Thomas | .... | visual effects producer | |
| Morgan Trotter | .... | CG artist | |
| R. Gern Trowbridge | .... | best boy electric: visual effects unit | |
| Michael Ventresco | .... | title designer | |
| Michael Ventresco | .... | visual effects | |
| Grant Viklund | .... | digital technical assistant | |
| Kieran Woo | .... | production controller: pre-production, Digital Domain | |
| Jason Dost | .... | digital imaging operator (uncredited) | |
| Kyle J. Healey | .... | digital effects technician (uncredited) | |
| James Healy | .... | digital systems administrator (uncredited) | |
| Rick Lopez | .... | scanning and recording technician (uncredited) | |
| Geoff Richardson | .... | digital compositor: Matte World Digital (uncredited) | |
Stunts | |||
| Stefano Maria Mioni | .... | stunts | |
Casting Department | |||
| Ahmed Abounouom | .... | extras casting | |
Costume and Wardrobe Department | |||
| Romano Amidei | .... | set costumer | |
| Edelweis Azzurro | .... | tailor | |
| Nezha Dakil | .... | set costumer | |
| Ali Lammari | .... | set costumer | |
| Elsa Malandra | .... | tailor | |
| Mustapha Mimis | .... | set costumer | |
| Bona Nasalli-Rocca | .... | wardrobe supervisor (as Bona Nasalli Rocca) | |
| Abdelfattah Qzaibar | .... | costume aging and dying | |
| Marina Roberti | .... | set costumer | |
| Maria Antonietta Salvatori | .... | seamstress | |
| Salvatore Salzano | .... | tailor | |
| Dana Schondelmeyer | .... | costumes | |
| Edda Soliani | .... | tailor | |
| Hassan Taghriti | .... | set costumer | |
| Madoka Tomoi | .... | set costumer | |
Editorial Department | |||
| Tom Foligno | .... | first assistant editor | |
| David Orr | .... | color timer | |
| Kyle Ann Stokes | .... | apprentice editor | |
| Sara Thorson | .... | second assistant editor | |
Music Department | |||
| Nancy Allen | .... | assistant music editor | |
| Martin Czembor | .... | music engineer | |
| Suzana Peric | .... | music editor | |
| Michael Riesman | .... | conductor | |
Thanks | |||
| The Dalai Lama | .... | acknowledgment (as His Holiness the Dalai Lama) | |
| Catherine Scorsese | .... | dedicatee | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Biography section | IMDb USA section |
I rented Kundun to further my quest to see all the Scorsese movies I can. I never expected such an incredible movie. I didn't want this movie to end. It's really difficult to describe how I feel about this movie since I have only viewed it once and was completely blown away, it left me in complete awe.
Like most when I first started watching Scorsese I thought that he did brilliant gangster films and that was his thing, but I have recently discovered that this couldn't be further from the truth. Fist seeing The Last Temptation of Christ and now Kundun I wouldn't care if Scorsese ever made another gangster film. It is easy to see that he is an artistic genius, the acting in the film was great, but I could have watched it on mute and still have been amazed.
If, like I was, you are unfamiliar with the Buddhist religion and the Chinese takeover of Tibet this film has even more to offer. Scorsese's risk of using real Buddhists to do all of the acting payed off better than I ever expected it would, the fact that we are hearing the story through the people it affected adds another level to this movie.
I cannot believe that this film only has a rating of 7 on this site. If you are a fan of Scorsese and are not sure you are going to like this just give it a chance, it deserves at least one viewing, if you give it that I am sure you will be amazed as I was. Scorsese's vision's in this movie are unlike any of his films, not to mention a great score by Phillip Glass.