| Robby Barnett | ... | Himself | |
| Maurice Sendak | ... | Himself | |
| Michael Tracy | ... | Himself | |
| Jonathan Wolken | ... | Himself | |
| Arthur Yorinks | ... | Himself | |
| rest of cast listed alphabetically: | |||
| Rebecca Anderson | ... | Herself | |
| Otis Cook | ... | Himself | |
| Josie Coyoc | ... | Herself | |
| Gaspard Louis | ... | Himself | |
| Benjamin Pring | ... | Himself | |
| Cyrus Samson | ... | Himself (as Matt Kent) | |
Directed by | |||
| Mirra Bank | |||
Produced by | |||
| Mirra Bank | .... | producer | |
| Richard Brockman | .... | co-executive producer | |
| Melva Bucksbaum | .... | executive producer | |
| Vic Losick | .... | producer | |
| Mike Peters | .... | co-executive producer | |
| Nancy Rosenthal | .... | associate producer | |
Cinematography by | |||
| Vic Losick | |||
Film Editing by | |||
| Mirra Bank | |||
| Axuve Espinosa | |||
Costume Design by | |||
| Maurice Sendak | |||
Production Management | |||
| Axuve Espinosa | .... | post-production supervisor | |
| Dan Feith | .... | director of production | |
| Susan Mandler | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Makario Sarsozo | .... | assistant director | |
Art Department | |||
| Michael Hagen | .... | scenic painter | |
| Maurice Sendak | .... | set designer | |
Sound Department | |||
| Jared Abramson | .... | additional sound | |
| Bob Bielecki | .... | sound designer | |
| Bob Bryan | .... | additional sound | |
| Gautam Choudhury | .... | additional sound | |
| Axuve Espinosa | .... | additional sound | |
| Geoff Freeman | .... | sound engineer | |
| Joe Guest | .... | additional sound | |
| Chat Gunter | .... | additional sound | |
| Lawrence Loewinger | .... | location sound (as Larry Loewinger) | |
| Bill Markle | .... | sound designer | |
| John McCormick | .... | additional sound | |
| Paul Michael | .... | sound re-recording mixer | |
| John Murphy | .... | additional sound | |
| Makario Sarsozo | .... | sound recordist | |
| John Tipton | .... | additional sound | |
Camera and Electrical Department | |||
| Kelly Atallah | .... | electrician | |
| Marc Gamboa | .... | additional cinematographer (as Mark Gamboa) | |
| Roger Grange | .... | additional cinematographer | |
| Kyle Hagen | .... | electrician | |
| Tom Hurwitz | .... | additional cinematographer | |
| Zachary Levy | .... | additional cinematographer | |
| Gail Marks | .... | photographer: location | |
| John Murphy | .... | additional cinematographer | |
| Jack Reichert | .... | additional cinematographer | |
| Jonathan Smith | .... | additional cinematographer | |
| Mark Stanley | .... | lighting technician | |
Costume and Wardrobe Department | |||
| Gail Fresia | .... | costume construction | |
Editorial Department | |||
| John Dowdell | .... | color correction (as John Dowdell III) | |
| Pedro Guillermo | .... | assistant editor | |
| Greg Smith | .... | on-line editor | |
Music Department | |||
| Si-Jing Huang | .... | musician: violin | |
| Sato Knudsen | .... | musician: cello | |
| Ronan Lefkowitz | .... | musician: violin | |
| Mark Ludwig | .... | musical director | |
| Mark Ludwig | .... | musician: viola | |
Other crew | |||
| Natalie Bentley | .... | production assistant | |
| Alice Bertoni | .... | production assistant | |
| Shauna Bittle | .... | production assistant | |
| Doug Burack | .... | production accountant | |
| Robert Conkey | .... | chief financial officer | |
| Martha Cooper | .... | senior director of marketing | |
| Timothy J. DeBaets | .... | legal counsel | |
| Kathleen Dyer | .... | house manager | |
| Susan Ericson | .... | liaison | |
| Lori Flammer | .... | production assistant | |
| Leon Friedman | .... | legal services (as Leon Friedman Esq.) | |
| Kim Hall | .... | production assistant | |
| James Irvine | .... | technical director | |
| Richard Koch | .... | director of the production | |
| Owen Marshall | .... | technician | |
| Adrienne Morris | .... | director of development | |
| Tim Plummer | .... | production assistant | |
| Eugenia Schraa | .... | production assistant | |
| Alison Schwartz | .... | production stage manager | |
| Robin Search | .... | production assistant | |
| Linda Shelton | .... | executive director: Joyce Theater | |
| Martin Wechsler | .... | director of programming | |
| Kristin Yorke | .... | production assistant | |
| Cheryl Zoeller | .... | production assistant | |
Thanks | |||
| Iris Cahn | .... | special thanks | |
| Paul Colin | .... | special thanks: Cezanne Studio | |
| Helen Haje | .... | special thanks | |
| Peter Haje | .... | special thanks | |
| Joy Javits | .... | special thanks | |
| Zuzana Justman | .... | special thanks | |
| Leo Lowy | .... | special thanks | |
| Mark Polyocon | .... | special thanks | |
| Marcie Setlow | .... | special thanks | |
| Tim Spitzer | .... | special thanks | |
| Michele Stolls | .... | special thanks | |
| Anita Tarsi | .... | special thanks | |
| Terry Teachout | .... | special thanks | |
| Ela Weissberger | .... | special thanks | |
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| Georges Méliès: Cinema Magician | Children of Enlightenment | Singin' in the Rain | Dream on Silly Dreamer | Peter Martins: A Dancer |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Documentary section | IMDb USA section |
Though "enjoyment" is probably not the first word that comes to mind to describe the viewing experience of this film, since the subject matter of the dance/theater piece at the heart of the movie is sad and tragic, and much of the interplay between the artists who work together to create the dance/theater piece is rife with conflict, I found this documentary greatly enjoyable (in a powerful, moving and engrossing sense...) on several levels, some of them unexpected, which then added to my overall enjoyment. The film is at once all of these things - an exploration of the creative process, with elements of visual art, dance, theater and storytelling, a film version of a powerful modern dance piece, and one of the most suspenseful "will they make it/won't they/let's put on a show!" step by step accounts of the project, as the various artists involved in the project at times clash in their personalities and creative visions, and at other times cooperate together in magical ways toward success. If you do have any interest in the creative process as it relates to art, but happen to feel that you're not a fan of modern dance, and that latter feeling leads you to consider passing on the film, to do so probably would be a big mistake, for the film can be appreciated on so many other levels beyond one's interest or lack thereof in modern dance. If you are interested in modern dance, especially Pilobolus in particular, the film is a don't miss, as it is for those who are fans of Maurice, as well as anyone interested in the history and/or artistic explorations of the Holocaust.