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Phone Booth (2002)
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Overview
User Rating:
Your Rating:
Director:
Writer (WGA):
Larry Cohen (written by)
Release Date:
4 April 2003 (USA)
See more »
Tagline:
A ringing phone has to be answered. See more »
Plot:
Stuart Shepard finds himself trapped in a phone booth, pinned down by an extortionist's sniper rifle. Full summary » | Full synopsis »
Plot Keywords:
See more »
Awards:
7 nominations
See more »
NewsDesk:
(306 articles)
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User Reviews:
One of my most favourite films
See more (606 total) »
Cast
(in credits order) (verified as complete)
Directed by | |||
| Joel Schumacher | |||
Writing credits(WGA) | ||
| Larry Cohen | (written by) | |
Produced by | |||
| Ted Kurdyla | .... | executive producer | |
| Gil Netter | .... | producer | |
| Eli Richbourg | .... | associate producer | |
| David Zucker | .... | producer | |
Original Music by | |||
| Harry Gregson-Williams | |||
Cinematography by | |||
| Matthew Libatique | (director of photography) | ||
Film Editing by | |||
| Mark Stevens | |||
Casting by | |||
| Mali Finn | |||
Production Design by | |||
| Andrew Laws | |||
Art Direction by | |||
| Martin Whist | |||
Set Decoration by | |||
| Don Diers | |||
| Al Durcan | (decorator) | ||
Costume Design by | |||
| Daniel Orlandi | |||
Makeup Department | |||
| Mary Aaron | .... | key makeup artist: New York | |
| Wendi Lynn Allison | .... | makeup artist | |
| Patricia Grande | .... | key hair stylist: New York | |
| Michael Mills | .... | makeup supervisor | |
| Greg Nelson | .... | assistant makeup artist | |
| Danny Valencia | .... | hair stylist supervisor | |
| Barbara Wilder | .... | assistant hair stylist (as Barbara Wilder-Pearlman) | |
Production Management | |||
| Dennis T. Benatar | .... | production supervisor (as Dennis Benatar) | |
| Ted Kurdyla | .... | unit production manager | |
| John A. Machione | .... | unit production manager (as John Machione) | |
| Judy Richter | .... | production supervisor: New York | |
Special Effects by | |||
| Chad Baalbergen | .... | special effects | |
| Bela Brozsek | .... | digital animation | |
| Trenton Driver | .... | special effects assistant | |
| James Fredburg | .... | special effects coordinator (as Jim Fredburg) | |
Visual Effects by | |||
| Blondel Aidoo | .... | executive visual effects producer | |
| Travis Baumann | .... | Inferno artist | |
| Bela Brozsek | .... | CG artist | |
| Steve Caldwell | .... | digital artist | |
| Brian Cuscino | .... | I/O technician | |
| Dennis Dorney | .... | digital lineup | |
| Mark Dornfeld | .... | visual effects supervisor: Custom Film Effects | |
| Adam Gass | .... | digital lineup | |
| Lindsay Hallett | .... | visual effects producer: Asylum (as Lindsay Burnett) | |
| Michael Hemschoot | .... | CG artist (as Michael 'Ffish' Hemschott) | |
| Shaina Holmes | .... | digital compositor | |
| Zach Justman | .... | visual effects assistant editor (as Zachary Justman) | |
| Kristopher Kasper | .... | editor: Asylum | |
| Mathew Lamb | .... | CG artist | |
| Bill Laverty | .... | visual effects engineer | |
| Erik Lee | .... | CG artist | |
| Emma McGuinness | .... | visual effects executive producer | |
| Nathan McGuinness | .... | visual effects designer | |
| Nathan McGuinness | .... | visual effects supervisor: Asylum | |
| Greg Mucino | .... | I/O technician (as Greg Muciño) | |
| Laurie Powers | .... | digital compositor | |
| Mark P. Renton | .... | digital artist | |
| Lee Robinson | .... | video | |
| Rob Salvage | .... | visual effects engineer | |
| Mark Sawicki | .... | optical camera | |
| Gunther Schatz | .... | CG artist | |
| Jason Schugardt | .... | CG artist (as Jason Shugardt) | |
| Susan Shin George | .... | visual effects producer | |
| Marty Taylor | .... | Inferno artist | |
| Jeff Werner | .... | CG producer | |
| Edward Helmers | .... | digital artist (uncredited) | |
Stunts | |||
| Ivan Bates | .... | utility stunts | |
| Jon H. Epstein | .... | utility stunts (as Jon Epstein) | |
| Dane Farwell | .... | stunt coordinator | |
| Troy Gilbert | .... | stunt coordinator | |
| John Robotham | .... | utility stunts | |
| Frank Torres | .... | stunts | |
| Michael Trisler | .... | utility stunts | |
Casting Department | |||
| Bill Dance | .... | extras casting | |
| Gary Davies | .... | extras casting associate | |
| Susie Farris | .... | additional casting: New York (as Susan Farris) | |
| Barbara Harris | .... | voice casting | |
| Lindsey Hayes Kroeger | .... | casting associate (as Lindsey Hayes) | |
| David Rapaport | .... | casting assistant | |
| Sharat Raju | .... | casting assistant (uncredited) | |
Costume and Wardrobe Department | |||
| Javier Arrieta | .... | set costumer | |
| Jon Boyden | .... | set costumer | |
| Sandi Figueroa | .... | costumer: New York | |
| Darryl Levine | .... | key set costumer | |
| Susan Roberts | .... | costume supervisor | |
Editorial Department | |||
| Gary Burritt | .... | negative cutter | |
| James Durante | .... | first assistant editor | |
| John Morrisey | .... | assistant editor | |
| Chris Regan | .... | color timer | |
| Lisa Shaw Phillips | .... | assistant editor | |
| Kristina Trirogoff | .... | assistant editor | |
| Adrian Colon | .... | assistant editor (uncredited) | |
| Adrian Colon | .... | apprentice editor (uncredited) | |
Music Department | |||
| Michael Brook | .... | musician: guitar | |
| Justin Caine Burnett | .... | music programmer (as Justin Burnett) | |
| Celeste Chada | .... | music licensing | |
| Toby Chu | .... | music programmer | |
| Peter DiStefano | .... | musician: guitar | |
| Harry Gregson-Williams | .... | music programmer | |
| Nathan Larson | .... | composer: additional music | |
| Alan Meyerson | .... | music mixer | |
| Gretchen O'Neal | .... | music production supervisor | |
| Gretchen O'Neal | .... | score coordinator | |
| Denise Okimoto | .... | music editor | |
| Del Spiva | .... | assistant music editor | |
| Marc Streitenfeld | .... | music editor | |
| Martin Tillman | .... | soloist: cello | |
| Mel Wesson | .... | music programmer | |
| Mark Jan Wlodarkiewicz | .... | music editor | |
| Toby Chu | .... | composer: additional music (uncredited) | |
| Shiro Gutzie | .... | soundtrack producer (uncredited) | |
Transportation Department | |||
| Steve Boyd | .... | transportation coordinator | |
| Jerry F. Johnson | .... | transportation captain | |
| Ralph Volpe | .... | transportation captain: New York | |
Thanks | |||
| James D. Brubaker | .... | special thanks (as Jim Brubaker) | |
| Gino Colbert | .... | special thanks | |
| Clayton Rohner | .... | special thanks | |
Production Companies
- Fox 2000 Pictures (presents)
- Zucker/Netter Productions
- Twentieth Century Fox Film Corporation (2003) (USA) (theatrical)
- 20th Century Fox Italia (2003) (Italy) (theatrical)
- 20th Century Fox Netherlands (2003) (Netherlands) (theatrical)
- 20th Century Fox (2003) (Japan) (theatrical)
- 20th Century Fox de Argentina (2003) (Argentina) (theatrical)
- 20th Century Fox of Germany (2003) (Germany) (theatrical)
- Bontonfilm (2003) (Czech Republic) (theatrical)
- FS Film Oy (2003) (Finland) (theatrical) (VHS) (DVD)
- Fox-Warner (2003) (Switzerland) (theatrical)
- Gemini Film (2003) (Russia) (theatrical)
- 20th Century Fox Home Entertainment Japan (2004) (Japan) (DVD)
- 20th Century Fox Home Entertainment (2003) (Brazil) (DVD)
- Gativideo (2003) (Argentina) (DVD)
- Mainostelevisio (MTV3) (2006) (2008) (2009) (Finland) (TV)
- RTL Entertainment (2006) (Netherlands) (TV) (first national airing) (RTL5)
- Twentieth Century Fox Home Entertainment (2003) (Netherlands) (VHS)
- Twentieth Century Fox Home Entertainment (2007) (USA) (DVD) (Blu-Ray Disc)
- Asylum VFX (visual effects)
- Custom Film Effects (visual effects)
- E=mc²
- Chapman/Leonard Studio Equipment cranes and dollies
- Custom Film Effects end titles and opticals
- Direct Tools & Fasteners expendables
- Grant Wilfley Casting extras casting
- Hollywood Rental Company grip and lighting equipment
- Pivotal Post image transfer
- Sessions Payroll Management extras payroll services
- Superb Records soundtrack published by
- Tai Audio walkies provided by
Additional Details
Also Known As:
See more »
MPAA:
Rated R for pervasive language and some violence
Parents Guide:
Runtime:
81 min
Country:
Color:
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
USA:R (certificate #39201) | Sweden:11 | Iceland:14 | Iceland:16 (video rating) | Netherlands:12 | Malaysia:(Banned) | Germany:12 (cut) | South Korea:12 | Philippines:PG-13 | Brazil:14 | New Zealand:M | Italy:VM14 | Australia:MA (original rating) | Australia:M (re-rating on appeal) | Canada:13+ (Quebec) | Canada:14A | Finland:K-15 | Mexico:B15 | Norway:15 | Singapore:NC-16 | Singapore:PG (cut) | UK:15 | Portugal:M/12 | Germany:16
Filming Locations:
Company:
Did You Know?
Trivia:
The shot of Katie Holmes in the restaurant was filmed between takes when the actress was resting, the director liked the look so he added it in.See more »
Goofs:
Continuity: The body of the deceased man disappears in the shot where the police cars come around the corner and park, but reappears in subsequent shots.See more »
Soundtrack:
OperatorSee more »
FAQ
How did The Caller orchestrate everything that ended the way it did?What is the model of the sniper rifle left in the room with the dead pizza delivery guy?
Who is the uncredited narrator at the beginning of the movie?
See more »
See more (606 total) »
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At first I thought the film was going to be just a normal thriller but it turned out to be a thousand times better than I expected. The film is truly original and was so dark & sinister that gives the tensive mood also it is emotionally & psychologically thrilling, the whole movie is charged with pulse pounding suspense and seems like it's really happening. It's amazing that how they managed to make an 80 minute movie with just a guy in a phone booth but the full credit goes to Colin Farrell and Larry Cohen the writer not Joel Schumacher because he is a crappy director. Joel Schumacher's films are rubbish especially The Number 23, Phone Booth was shot in 10 days with a budget of $10 million so it wasn't a hard job to make it, that's why Joel doesn't get any credit but the cast & crew did a fantastic job. I also really liked the raspberry coloured shirt Colin was wearing and it was an excellent choice of clothing because the viewers are going to watch him throughout the whole film. When I first saw the movie I fell in love with it and I bought it on DVD the next day and I've seen it about 20 times and I'm still not fed up with it. Phone Booth is and always will be Colin Farrell's best film! Overall it is simply one of my favourite films and I even argued over my friend because he didn't like it.