| Anne Lamott | |||
| Charles M. Schulz | ... | Himself |
Directed by | |||
| Freida Lee Mock | |||
Produced by | |||
| Freida Lee Mock | .... | producer | |
Original Music by | |||
| Isaiah Sanders | |||
Cinematography by | |||
| Robert Elfstrom | (as Bob Elfstrom) | ||
| Jon Else | |||
| Terry Sanders | |||
Film Editing by | |||
| Ann Stein | (as Anne Stein) | ||
Sound Department | |||
| Sara Chin | .... | sound recordist | |
| Curtis Choy | .... | sound recordist | |
| Saul Rouda | .... | sound recordist | |
Camera and Electrical Department | |||
| Patricia Lee | .... | assistant camera (as Patti Lee) | |
| Hilary Morgan | .... | assistant camera | |
| Bruce Nolte | .... | assistant camera | |
| Vanessa Schwartz | .... | assistant camera | |
| Jon Shenk | .... | assistant camera | |
Editorial Department | |||
| Troy Bogert | .... | assistant editor | |
Other crew | |||
| Jessica Sanders | .... | production assistant | |
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| Return with Honor | A Time to Dance: The Life and Work of Norma Canner | Antone's: Home of the Blues | Just Call Me Kade | Bid Me Run |
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| Full cast and crew | External reviews | IMDb Documentary section |
| IMDb USA section |
Anne Lamott is so perfect in this as herself. When you see her, even in person, you cannot get close enough to her to actually see every nuance of expression (like you can in her writing) and that frustrates me. But the camera can and does. It captures every sly smile. Every tiny disappointment. Every weird voice high and low she gets into her repertoire as she goes through a typical day looking Anne-like. This is a wonderful film.