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Directed by | |||
| James Toback | |||
Writing credits(WGA) | ||
| James Toback | (written by) | |
Produced by | |||
| Daniel Bigel | .... | producer | |
| Mark Burg | .... | executive producer | |
| Oliver 'Power' Grant | .... | associate producer (as Oli 'Power' Grant) | |
| Oren Koules | .... | executive producer | |
| Michael Mailer | .... | producer | |
| Hooman Majd | .... | executive producer | |
| Edward R. Pressman | .... | executive producer | |
| Raekwon | .... | associate producer | |
| Jennifer Roth | .... | line producer | |
| Ron Rotholz | .... | producer | |
| Alinur Velidedeoglu | .... | associate producer | |
| Beata Rosenbaum | .... | co-producer (uncredited) | |
Original Music by | |||
| American Cream Team | |||
| Oliver 'Power' Grant | (as Oli 'Power' Grant) | ||
Cinematography by | |||
| David M. Ferrara | |||
Film Editing by | |||
| Myron I. Kerstein | |||
Casting by | |||
| Stephanie Corsalini | |||
| Louis DiGiaimo | |||
Production Design by | |||
| Anne Ross | |||
Art Direction by | |||
| Alisa Grifo | |||
Set Decoration by | |||
| Maureen Osborne | |||
Costume Design by | |||
| Jacki Roach | |||
Makeup Department | |||
| Lacey Cope | .... | additional makeup artist | |
| Deanna | .... | key hair stylist (as R. Deanna) | |
| Nuria Sitja | .... | makeup department head | |
| Megan Alter | .... | makeup artist (uncredited) | |
Production Management | |||
| Jonathan Manzo | .... | production manager | |
| Exile Ramirez | .... | production supervisor | |
| Jill Rubin | .... | production manager | |
| Sabrina Sipantzi | .... | production manager: Los Angeles | |
Art Department | |||
| Rae McGrath | .... | property master | |
| Duke Scoppa | .... | assistant property master | |
Sound Department | |||
| Antonio L. Arroyo | .... | production sound mixer | |
| Matthew C. Beville | .... | adr mixer | |
| Kevin Bowe | .... | second boom operator | |
| Glenn Gaines | .... | sound mixer: Los Angeles | |
| John Gutierrez | .... | boom operator | |
| Bobby Johanson | .... | adr recordist | |
| Dan Paikin | .... | boom operator | |
| Alex Raspa | .... | adr mixer | |
| Brian Vancho | .... | foley artist | |
| Byron Wilson | .... | supervising sound editor | |
| Jamie Lowry | .... | adr editor (uncredited) | |
Special Effects by | |||
| Drew Jiritano | .... | special effects coordinator | |
Visual Effects by | |||
| Rob Blue | .... | digital artist: main title | |
| Paul Rigg | .... | digital effects artist (uncredited) | |
Camera and Electrical Department | |||
| Cesar Baptista | .... | grip | |
| Caswell Cooke | .... | key grip | |
| Todd Csernecky | .... | rigging gaffer | |
| Moira Demos | .... | electrician | |
| Glenn Fishel | .... | grip | |
| Kate Fix | .... | second assistant camera | |
| Matthew W. Flannery | .... | first Steadicam assistant | |
| David Harges | .... | electrician | |
| Patrick R. Heffernan | .... | best boy grip | |
| Jendra Jarnagin | .... | additional electrician (as Jendra Robinson) | |
| Tom Kempf | .... | best boy grip | |
| Dan Kubicek | .... | grip | |
| Ted LeHane | .... | rigging key grip | |
| Jamie A. Marlowe | .... | first assistant camera | |
| Alexa D. O'Brien | .... | additional electric | |
| Jason Summers | .... | first assistant camera | |
| Seamus Tierney | .... | gaffer | |
| Robert Lau | .... | first assistant camera: second unit (uncredited) | |
Casting Department | |||
| Winsome Sinclair | .... | extras casting | |
Editorial Department | |||
| Andrew Buckland | .... | assistant editor (as Andrew Buchland) | |
| Rick Greenhead | .... | telecine colorist | |
| Shelby Siegel | .... | second assistant editor | |
| Tim Streeto | .... | first assistant editor | |
Music Department | |||
| Oliver 'Power' Grant | .... | music supervisor (as Oli 'Power' Grant) | |
| Don 'One Eye' Saunders | .... | composer: additional music | |
Other crew | |||
| Steven C. Beer | .... | legal counsel | |
| Chris Connolly | .... | assistant to producers | |
| David A. Gluck | .... | assistant: James Toback | |
| Terri Jackson | .... | assistant production coordinator | |
| Brian Lamia | .... | production assistant | |
| Livia Monte | .... | production coordinator | |
| Jessica O'Brien | .... | production assistant | |
| Allen Pinero | .... | accountant | |
| Josh Schneider | .... | accountant | |
| Jason M. Schwartz | .... | unspecified assistant | |
| Jonathan Shepard | .... | location manager (as Jon Shepard) | |
| J.P. Summerskill | .... | production accountant | |
| Tony Trimarco | .... | production accountant | |
| Sol Tryon | .... | key set production assistant | |
| Sara Tune | .... | production assistant | |
| Maureen Tuohy | .... | script supervisor | |
| Ajamu Walker | .... | production assistant | |
| Maria Williams | .... | assistant: Ben Stiller | |
| John Michael Sudol | .... | key production assistant (uncredited) | |
| George F. Miller | .... | stand-in: Joe Pantoliano (uncredited) | |
Thanks | |||
| Gleb Klioner | .... | special thanks | |
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| Full cast and crew | Company credits | External reviews |
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I always find the idea of improvised (or semi-improvised) film making an interesting one, even if the results themselves are disappointing, and very rarely work (exceptions being some of the movies of Christopher Guest and Abel Ferrara). It's a risky idea because it's a true test of an actors talent. Some succeed and some fall flat on their faces. 'Black and White' is a perfect example of this, for every interesting moment involving say Ben Stiller, or yes, Mike Tyson, there's way too many dull and rambling scenes that go nowhere (come on down Brooke Shields and Bijou Phillips). What makes this movie even more frustrating is James Toback is obviously aiming for a BIG STATEMENT regarding race relations in contemporary America, yet the movie is so superficial and confused it ultimately says nothing much. Toback is a maddingly uneven film maker, but he is responsible for one of my all time favourite movies, the sadly underrated 'Fingers', so I usually give him the benefit of the doubt. Unfortunately 'Black and White' is a missed opportunity and has very little to recommend it. I suppose Toback deserves some credit for at least attempting to do something other than mainstream Hollywood dreck, but ultimately a crappy movie is still a crappy movie, no matter how good the intentions.