| Photos (see all 65 | slideshow) | Videos (see all 9) |
| David McCullough | ... | Narrator | |
| Jeff Bridges | ... | Charles Howard | |
| Paul Vincent O'Connor | ... | Bicycle Supervisor | |
| Chris Cooper | ... | Tom Smith | |
| Michael Ensign | ... | Steamer Owner | |
| James Keane | ... | Car Customer | |
| Valerie Mahaffey | ... | Annie Howard | |
| David Doty | ... | Land Broker | |
| Carl M. Craig | ... | Sam (as Kingston DuCoeur) | |
| Michael O'Neill | ... | Mr. Pollard | |
| Annie Corley | ... | Mrs. Pollard | |
| Michael Angarano | ... | Young Red Pollard | |
| Cameron Bowen | ... | Pollard Child | |
| Noah Luke | ... | Pollard Child | |
| Mariah Bess | ... | Pollard Child | |
| Jamie Lee Redmon | ... | Pollard Child | |
| Ed Lauter | ... | Charles Strub | |
| Gianni Russo | ... | Alberto Gianini | |
| Sam Bottoms | ... | Mr. Blodget | |
| Tobey Maguire | ... | Red Pollard | |
| Royce D. Applegate | ... | Dutch Doogan | |
| William Hollick | ... | Bug Boy Jockey | |
| Joe Rocco Jr. | ... | Bug Boy Jockey | |
| Dyllan Christopher | ... | Frankie Howard | |
| Anthony Klingman | ... | Boxing Match Referee | |
| Elizabeth Banks | ... | Marcela Howard | |
| Michelle Arthur | ... | Marcela's Friend | |
| Gary Stevens | ... | George Woolf | |
| Danny Strong | ... | Young Jockey | |
| Hans Howes | ... | White Horse Trainer | |
| Camillia Sanes | ... | Molina Rojo Woman | |
| Clif Alvey | ... | Angry Trainer | |
| Dan Daily | ... | Saratoga Trainer | |
| Borden Flanagan | ... | Farm Manager | |
| Shay Duffin | ... | Sunny Fitzsimmons | |
| Kevin Mangold | ... | Saratoga Jockey | |
| William H. Macy | ... | Tick Tock McGlaughlin | |
| Jay Cohen | ... | Bugle Player | |
| Frank Mirahmadi | ... | Santa Anita Track Announcer | |
| Michael Hunter | ... | Speed Dual Jockey | |
| Peter Jason | ... | Reporter Max | |
| John Walcutt | ... | Reporter Roy | |
| Tony Volu | ... | Racing Tout | |
| James DuMont | ... | Reporter Lewis | |
| Robin Bissell | ... | Horace Halsteder | |
| Eddie Jones | ... | Samuel Riddle | |
| Paige King | ... | Tick-Tock's Squeeze | |
| Andrew Schatzberg | ... | Newsboy | |
| Chris McCarron | ... | Charley Kurtsinger | |
| Roger E. Fanter | ... | Pimlico Night Watchman | |
| Gary McGurk | ... | Tractor Worker | |
| Michael B. Silver | ... | Baltimore Doctor | |
| Richard Reeves | ... | Radio Reporter Joe | |
| Matt Miller | ... | Pimlico Starter | |
| Gary Ross | ... | Pimlico Track Announcer | |
| Pat Skipper | ... | Seabiscuit's Vet | |
| Ben Campisi | ... | Clocker Man | |
| Ken Magee | ... | California Doctor | |
| Gary Hacker | ... | Horse Vocals | |
| Jose Hernandez | ... | Male Mariachi Band Leader | |
| Jesse Hernandez | ... | Male Mariachi Band | |
| Julio Hernandez | ... | Male Mariachi Band | |
| José Ramírez | ... | Male Mariachi Band | |
| Fernando C. Moreno | ... | Male Mariachi Band (as Fernando Moreno) | |
| Tony Rhune | ... | Male Mariachi Band (as Pedro Hernandez) | |
| Dennis Meade | ... | Male Mariachi Band | |
| Javier Juarequi | ... | Male Mariachi Band | |
| Aerial Delarosa | ... | Male Mariachi Band | |
| Eric Hernandez | ... | Male Mariachi Band | |
| Raul Cuellar | ... | Male Mariachi Band | |
| Catherine M. Baseza | ... | Female Mariachi Band | |
| Gina A. Duran | ... | Female Mariachi Band | |
| Cynthia Reifler Flores | ... | Female Mariachi Band | |
| Monica Fogelquist | ... | Female Mariachi Band | |
| Maria Luisa Fregosa | ... | Female Mariachi Band | |
| Ruby Guiterrez | ... | Female Mariachi Band | |
| Sylvia N. Hinojosa | ... | Female Mariachi Band | |
| Mariana Nanez | ... | Female Mariachi Band | |
| Leticia Olmos | ... | Female Mariachi Band | |
| Laura Pena | ... | Female Mariachi Band | |
| Karla Tovar | ... | Female Mariachi Band | |
| George Baker | ... | Salvation Army Band | |
| Matthew Gillies | ... | Salvation Army Band | |
| Jacqui Larsson | ... | Salvation Army Band | |
| Daniel Martinez | ... | Salvation Army Band | |
| Joshua Stanley | ... | Salvation Army Band | |
| Michael White | ... | Salvation Army Band | |
| Ivan Wild | ... | Salvation Army Band | |
| rest of cast listed alphabetically: | |||
| Loyd Catlett | ... | Blacksmith (uncredited) | |
Directed by | |||
| Gary Ross | |||
Writing credits(WGA) | ||
| Laura Hillenbrand | (book) | |
| Gary Ross | (screenplay) | |
Produced by | |||
| Gary Barber | .... | executive producer | |
| Roger Birnbaum | .... | executive producer | |
| Robin Bissell | .... | executive producer | |
| Patricia Churchill | .... | co-producer | |
| Billy Frank | .... | segment producer | |
| Kathleen Kennedy | .... | producer | |
| Tobey Maguire | .... | executive producer | |
| Frank Marshall | .... | producer | |
| Gary Ross | .... | producer | |
| Jane Sindell | .... | producer | |
| Allison Thomas | .... | executive producer | |
Original Music by | |||
| Randy Newman | |||
Cinematography by | |||
| John Schwartzman | (director of photography) | ||
Film Editing by | |||
| William Goldenberg | |||
Casting by | |||
| Terri Taylor | |||
| Debra Zane | |||
Production Design by | |||
| Jeannine Claudia Oppewall | (as Jeannine Oppewall) | ||
Art Direction by | |||
| Andrew Neskoromny | |||
Set Decoration by | |||
| Leslie A. Pope | (as Leslie Pope) | ||
Costume Design by | |||
| Judianna Makovsky | |||
Makeup Department | |||
| Matt Danon | .... | hair supervisor | |
| Linda De Andrea | .... | hair supervisor | |
| Carolyn Elias | .... | hair department head | |
| Dorothy D. Fox | .... | hair supervisor (as Dorothy Fox) | |
| Susan Germaine | .... | hair stylist: Mr. Bridges | |
| Sian Grigg | .... | makeup artist: Mr. Maguire | |
| Martina Kohl | .... | makeup supervisor | |
| Lydia Milars | .... | makeup supervisor | |
| Thomas Nellen | .... | makeup department head | |
| Carol A. O'Connell | .... | hair supervisor (as Carol O'Connell) | |
| Leigh Ann Yandle | .... | makeup artist | |
| Joani Yarbrough | .... | hair stylist: Mr. Maguire | |
| Art Anthony | .... | assistant makeup artist (uncredited) | |
| Michael F. Blake | .... | makeup artist (uncredited) | |
| Nanci Cascio | .... | assistant hair stylist (uncredited) | |
| Leo Corey Castellano | .... | makeup artist (uncredited) | |
| Kim Collea | .... | assistant makeup artist (uncredited) | |
| Alicia Good | .... | assistant makeup artist: second unit, greenscreen (uncredited) | |
| Ryan McDowell | .... | prosthetic sculptor (uncredited) | |
| Bridget O'Neill | .... | key makeup artist: second unit greenscreen (uncredited) | |
| Elaina P. Schulman | .... | hair stylist (uncredited) | |
| Nacoma Whobrey | .... | assistant makeup artist (uncredited) | |
Production Management | |||
| Patricia Churchill | .... | unit production manager | |
| Robert Katz | .... | production supervisor | |
| Julie Lynn | .... | production supervisor: horse unit | |
| Sean T. Stratton | .... | post-production supervisor (as Sean Stratton) | |
Second Unit Director or Assistant Director | |||
| Jeff Bilger | .... | second second assistant director | |
| Dan Bradley | .... | second unit director | |
| Lisa Campbell | .... | first assistant director: second unit | |
| Basil Grillo | .... | second assistant director | |
| Frank Marshall | .... | second unit director | |
| Kristina M. Peterson | .... | second second assistant director (as Kristina Peterson) | |
| Robert 'Skid' Skidmore | .... | second second assistant director (as Robert Skidmore) | |
| Adam Somner | .... | first assistant director | |
| Jody Spilkoman | .... | second assistant director: second unit (as Jodi Spilkoman) | |
| Basti Van Der Woude | .... | second assistant director: second unit | |
| David C. Phillippi | .... | additional second assistant director (uncredited) | |
Art Department | |||
| Russell R. Anderson | .... | lead man (as Russ Anderson) | |
| Bennett Andrews | .... | greensman | |
| Craig B. Ayers Sr. | .... | greensman (as Craig Ayers) | |
| Tim Bowen | .... | set dresser | |
| Chris Buchinsky | .... | storyboard artist | |
| Susan A. Burig | .... | race book graphic designer (as Susan Burig) | |
| Francine Byrne | .... | art department coordinator | |
| Frank Capiello | .... | greensman (as Frank Cappiello) | |
| Christopher Casey | .... | set dresser | |
| Michael Casey | .... | set dresser | |
| Martin Charles | .... | graphic designer | |
| Lynn Christopher | .... | set designer | |
| Brad Curry | .... | drapery foreman | |
| Cosmas A. Demetriou | .... | set designer (as Cosmas Demetriou) | |
| Claudette Didul | .... | assistant set decorator (as Claudette Didul Mann) | |
| Michael Jon Duffin | .... | propmaker foreman (as Michael Duffin) | |
| William J. Durrell Jr. | .... | set designer (as Bill Durrell) | |
| Chela Fiorini | .... | assistant props | |
| James A. Gelarden | .... | art director: East Coast (as Jim Gelarden) | |
| William Gideon | .... | general foreman (as William W. Gideon) | |
| Steve Gindorf | .... | propmaker foreman (as Stephen Gindorf) | |
| Rick Glenn | .... | set dresser | |
| Hugo Herrera | .... | greensman | |
| John Hinkle | .... | stand-by painter | |
| Tyler Kettenburg | .... | set dresser | |
| Holly Rose Larson | .... | art department researcher | |
| Lance Larson | .... | assistant property master | |
| Peg McClellan | .... | storyboard artist | |
| Steven B. Melton | .... | property master | |
| Melody Miller | .... | assistant property master | |
| Circe Mirano | .... | art department coordinator | |
| David Mitchell | .... | set dresser (as Dave Mitchell) | |
| Melissa Mollo | .... | assistant graphic designer | |
| Jim Paniagua | .... | labor gangboss (as James Paniagua Sr.) | |
| Thomas H. Paul | .... | assistant art director: East Coast | |
| Troy Alan Peters | .... | on-set dresser (as Troy Peters) | |
| Erik Polczwartek | .... | set dresser | |
| Gregory F. Poulos | .... | assistant property master (as Greg Poulos) | |
| Dennis Richardson | .... | carpenter | |
| Matt Robbins | .... | greensman | |
| William V. Ryder | .... | set designer (as Bill Ryder) | |
| Robert Butch Samarzich | .... | greens foreman (as Robert Samarzich) | |
| Christopher E. Schmid | .... | greensman (as Chris Schmid) | |
| Chris Snyder | .... | construction coordinator | |
| Dale Snyder | .... | propmaker foreman | |
| Keith Stalker | .... | propmaker foreman | |
| James Stephenson | .... | propmaker foreman | |
| Jodi Tripi | .... | art department researcher | |
| Chandler Vinar | .... | set dresser | |
| Suzan Wexler | .... | assistant art director | |
| Randall D. Wilkins | .... | set designer (as Randall Wilkins) | |
| Curtis Yackel | .... | propmaker gangboss (as Curtis A. Yackel) | |
| Doug Anderson | .... | plaster foreman (uncredited) | |
| Adam L. Barker | .... | lead plaster foreman (uncredited) | |
| Jason Bartolone | .... | on-set carpenter (uncredited) | |
| Morgan Blackledge | .... | set dresser (uncredited) | |
| Mike Bomar | .... | painter gang boss (uncredited) | |
| Amanda S. Burns | .... | art coordinator: Kentucky (uncredited) | |
| John Campana | .... | set decoration buyer (uncredited) | |
| Joey Genitempo | .... | paint gang boss: signs (uncredited) | |
| Hank Giardina | .... | paint supervisor (uncredited) | |
| Ryan Handt | .... | construction propmaker (uncredited) | |
| Guy Hietala | .... | paint gang boss (uncredited) | |
| Peter Regnier | .... | set dresser (uncredited) | |
| John Root | .... | supervising signwriter (uncredited) | |
| Carisa Rosenthal | .... | set dresser (uncredited) | |
| Neil Rust | .... | paint foreman (uncredited) | |
| Anthony Syracuse | .... | propmaker gang boss (uncredited) | |
| Gary Tuers | .... | props (uncredited) | |
| Joshua Viers | .... | art assistant (uncredited) | |
Special Effects by | |||
| Donald Elliott | .... | special effects supervisor (as Don Elliott) | |
| Frank Iudica | .... | on-set special effects | |
| Jay King | .... | on-set special effects (as Jay B. King) | |
| Michael Lantieri | .... | special effects coordinator | |
| Dan Ossello | .... | on-set special effects | |
| Tom Pahk | .... | special effects supervisor | |
| Russ Herpich | .... | special effects technician (uncredited) | |
| Mark Rappaport | .... | special effects: faux horse heads (uncredited) | |
Visual Effects by | |||
| Jessica Berri | .... | visual effects production assistant: SPI | |
| David C. Bryant | .... | cg artist: Pixel Playground Inc (as David Bryant) | |
| Marcus Carter | .... | rotoscoping artist: Pixel Playground Inc | |
| S. 'Kiki' Chansamone | .... | interactive compositing artist: SPI (as Det Chansamone) | |
| Bill Coffin | .... | Inferno artist: Pixel Playground Inc | |
| David Crawford | .... | interactive compositing artist: SPI | |
| Debbie Denise | .... | visual effects executive producer: SPI | |
| Tony Diep | .... | interactive compositing artist: SPI | |
| Doug Forrest | .... | interactive compositing artist: SPI | |
| Jenny Fulle | .... | senior staff | |
| Joshua Geisler-Amhowitz | .... | matte painter: SPI | |
| Jennifer German | .... | interactive compositing artist: SPI | |
| Brent Gilmartin | .... | interactive compositing artist: SPI | |
| Nathalie Gonthier | .... | rotoscoping artist: SPI | |
| Dawn Guinta | .... | interactive compositing supervisor: SPI | |
| Brian Hanable | .... | interactive compositing artist: SPI | |
| Thomas Hollier | .... | computer graphics supervisor: SPI | |
| Meredith Hook | .... | rotoscoping artist: Pixel Playground Inc | |
| Richard R. Hoover | .... | visual effects supervisor (as Richard Hoover) | |
| Mark Hopper | .... | rotoscoping artist: Pixel Playground Inc | |
| Ivo Horvat | .... | lead matte painter: SPI | |
| Adam Howard | .... | interactive compositing artist: SPI | |
| Adrian Iler | .... | color & lighting: SPI | |
| Adrian Iler | .... | compositor: SPI | |
| Michael Kaelin | .... | rotoscoping artist: SPI | |
| Michael Kennen | .... | interactive compositing artist: SPI | |
| Hong Kim | .... | digital effects artist | |
| Keiko Koyama | .... | production coordinator: Pixel Playground Inc | |
| Aaron M. Lawn | .... | production services technician: SPI (as Aaron Lawn) | |
| Don Lee | .... | Inferno artist: Pixel Playground Inc | |
| Don Lee | .... | visual effects supervisor: Pixel Playground Inc | |
| Kim Lee | .... | visual effects producer: Pixel Playground | |
| Alexander Linger | .... | rotoscoping artist: SPI | |
| Jose Marra | .... | still frame sequence artist | |
| Andrea Maxwell | .... | visual effects editor: SPI | |
| Todd Mesher | .... | interactive compositing artist: SPI | |
| Steve R. Moore | .... | visual effects editor | |
| Danny Mudgett | .... | Inferno artist: Pixel Playground Inc | |
| Rachel Nicoll | .... | matchmove artist: SPI (as Rachel Nicholl) | |
| Tim Norman | .... | Inferno artist: Pixel Playground Inc | |
| Jeff Olm | .... | additional compositing | |
| Andrea Lackey Pace | .... | production services technician: SPI | |
| Bryan Park | .... | production co-coordinator: Pixel Playground Inc | |
| Terron Pratt | .... | production assistant: Pixel Playground Inc | |
| Janet Quen | .... | Inferno artist: Pixel Playground Inc | |
| Mark Robben | .... | Inferno artist: Pixel Playground Inc | |
| Chris Ryan | .... | interactive compositing artist: SPI | |
| Jeff Sakurai | .... | production services technician: SPI | |
| Gabriel Sanchez | .... | Inferno artist: Pixel Playground Inc | |
| Michael Scheffe | .... | visual effects art director: SPI | |
| Michael Shermis | .... | rotoscoping artist: Pixel Playground Inc | |
| David Spencer | .... | matchmove artist: SPI | |
| Robert Stromberg | .... | digital matte painter | |
| Jon Tanimoto | .... | interactive compositing artist: SPI | |
| Cari Thomas | .... | visual effects producer | |
| Kristen D. Trattner | .... | interactive compositing artist: SPI (as Kristen Trattner) | |
| James Valentine | .... | rotoscoping artist: SPI | |
| Eric Withee | .... | visual effects coordinator: SPI | |
| Raymond Yeung | .... | scientist (as Raymond Yeung, Ph. D.) | |
| Lisa Zusmer | .... | visual effects production manager: SPI (as Lisa Zusmer Delprete) | |
| Kevin Baillie | .... | digital effects artist: The Orphanage (uncredited) | |
| Alfredo R. Barcia | .... | senior production services technician: SPI (uncredited) | |
| David Bleich | .... | digital matte artist (uncredited) | |
| Amanda Burton | .... | rotoscope artist (uncredited) | |
| Marla Carter | .... | Flame compositor: SPI (uncredited) | |
| Anthony Ceccomancini | .... | systems research engineer (uncredited) | |
| YouJin Choung | .... | visual effects: The Orphanage (uncredited) | |
| Michael Condro | .... | matchmover (uncredited) | |
| Danielle Conroy | .... | director of digital production: SPI (uncredited) | |
| Tim 'Timco' Conway | .... | digital integration supervisor: CREO (uncredited) | |
| Gregory Creaser | .... | digital timing supervisor (uncredited) | |
| Lisa Deaner | .... | senior Inferno artist (uncredited) | |
| Scott Dougherty | .... | digital effects producer: Cinesite (uncredited) | |
| Loring Doyle | .... | roto artist (uncredited) | |
| Arin Finger | .... | visual effects coordinator: The Orphanage (uncredited) | |
| Brian Flora | .... | visual effects supervisor: The Orphanage (uncredited) | |
| Michael Fuchs | .... | model maker (uncredited) | |
| Shannon Blake Gans | .... | visual effects executive producer: New Deal Studios Inc. (uncredited) | |
| Deborah Giarratana | .... | visual effects executive (uncredited) | |
| Mitch Goldstrom | .... | senior systems administrator: Digiscope (uncredited) | |
| Christopher Grandel | .... | trailer digital effects, Howard Anderson Company (uncredited) | |
| Anthony Harris | .... | digital color timer: SPI (uncredited) | |
| Max Harris | .... | digital compositor: SPI (uncredited) | |
| Jep Hill | .... | technical supervisor: SPI (uncredited) | |
| Ian Hunter | .... | visual effects supervisor: New Deal Studios Inc. (uncredited) | |
| Paul Kirsch | .... | Inferno artist (uncredited) | |
| Stephen Kowalski | .... | senior systems engineer (uncredited) | |
| Vincent Lavares | .... | digital asset manager: Cinesite (uncredited) | |
| Sonserae Leese | .... | texture map painter (uncredited) | |
| Chris Logan | .... | matchmove artist: SPI (uncredited) | |
| Andrew MacDonald | .... | visual effects supervisor: Creo Collective (uncredited) | |
| Scott McLain | .... | Inferno artist (uncredited) | |
| Carlos Morales | .... | digital compositor (uncredited) | |
| Natalie Nolan | .... | digital rotoscope/paint artist (uncredited) | |
| Luke O'Byrne | .... | visual effects producer: The Orphanage (uncredited) | |
| Rod Park | .... | visual effects producer: Digiscope (uncredited) | |
| Alex Prichard | .... | digital artist: The Orphanage (uncredited) | |
| Marc Sadeghi | .... | executive visual effects producer: The Orphanage (uncredited) | |
| David Sanger | .... | producer: New Deal Studios (uncredited) | |
| Steven Schmidt | .... | visual effects coordinator: Creo (uncredited) | |
| Scott Schneider | .... | model maker (uncredited) | |
| Chris B. Schnitzer | .... | visual effects coordinator: SPI (uncredited) | |
| Christopher Stack | .... | data manager: Digiscope (uncredited) | |
| Matthew Thunell | .... | visual effects production assistant: The Orphanage (uncredited) | |
| Ryan Tudhope | .... | CG supervisor: The Orphanage (uncredited) | |
| Kristi Valk | .... | digital effects artist: The Orphanage (uncredited) | |
| Carl Walters | .... | visual effects editor: The Orphanage (uncredited) | |
| R. Christopher White | .... | pre-visualization (uncredited) | |
| Bob Wiatr | .... | digital compositor (uncredited) | |
| Steve Wright | .... | stitch cam digital compositor: Cinesite (uncredited) | |
| Mitch Zeitlin | .... | video editorial coordinator: SPI (uncredited) | |
| Patrick Zentis | .... | matte artist: Digital Backlot (uncredited) | |
Animation Department | |||
| Joseph Bargdill | .... | background artist (uncredited) | |
Casting Department | |||
| Judith Sunga | .... | casting assistant | |
| Mary Ellen Buckley | .... | crowd casting (uncredited) | |
| Bill Dance | .... | extras casting (uncredited) | |
| Terry L. Lamfers | .... | casting administrator (uncredited) | |
| Mariann H.W. Lee | .... | extras casting (uncredited) | |
| Cash Oshman | .... | crowd casting (uncredited) | |
| CC Perkinson | .... | extras casting (uncredited) | |
| Amy Pope | .... | extras casting (uncredited) | |
| Matt Seckman | .... | extras casting intern (uncredited) | |
| Elena Spiotta | .... | extras casting associate (uncredited) | |
| Wendy Goodman Thum | .... | extras casting: East Coast (uncredited) | |
Editorial Department | |||
| Jonathan Chibnall | .... | first assistant editor | |
| Trish Hadley | .... | editorial production assistant | |
| Kevin Hickman | .... | second assistant editor | |
| Bob Kaiser | .... | color timer | |
| Jose Marra | .... | editorial production assistant | |
| Stephen Nakamura | .... | digital color timer | |
| Brett Reed | .... | second assistant editor | |
| Mike Sowa | .... | digital preview timer | |
| Chris DeAngelis | .... | montage editor (uncredited) | |
| Steven T. Ellis | .... | post-production coordinator (uncredited) | |
| Stephanie Ito | .... | digital intermediate producer (uncredited) | |
| Adam Kimmerlin | .... | assistant editor (uncredited) | |
| Jeff Olm | .... | colorist: Five-O (uncredited) | |
Music Department | |||
| Bruno Coon | .... | supervising music editor | |
| Sandy DeCrescent | .... | music contractor | |
| Ira Hearshen | .... | orchestrator | |
| Luana Jackman | .... | vocal contractor | |
| Peter Myles | .... | music editor | |
| Kathy Nelson | .... | executive in charge of music: Universal Pictures | |
| Joey Newman | .... | orchestrator | |
| Randy Newman | .... | orchestrator | |
| Conrad Pope | .... | orchestrator | |
| Stacey Robinson | .... | scoring crew | |
| John Rodd | .... | score recordist | |
| Jonathan Sacks | .... | orchestrator | |
| Steven L. Smith | .... | music preparation | |
| Tom Steel | .... | scoring crew | |
| Armin Steiner | .... | music scoring mixer | |
| Bill Talbott | .... | scoring crew | |
| Damon Tedesco | .... | scoring crew (as Amon Tedesco) | |
| Frank Wolf | .... | music scoring mixer | |
| Mark Graham | .... | music copyist (uncredited) | |
| Eric Claus Kuschevatzky | .... | music programmer: score (uncredited) | |
| Larry Mah | .... | digital score recordist (uncredited) | |
| Dan Wallin | .... | music scoring mixer (uncredited) | |
Other crew | |||
| Bobby Adair | .... | outrider | |
| Julie Adair | .... | handler | |
| Linda Adair | .... | outrider | |
| Nellie Adami | .... | production coordinator | |
| Apolinar Alcala | .... | handler | |
| Jorge Alcala | .... | handler | |
| Diana Alvarez | .... | assistant: Mr. Ross | |
| Angela Athayde | .... | production assistant (as Angie Athayde) | |
| Lori A. Balton | .... | location scout (as Lori Balton) | |
| Bron Barry | .... | production assistant | |
| Melissa Bartley | .... | production assistant (as Melissa Bartly) | |
| Madeline Bell | .... | assistant location manager | |
| J.B. Benna | .... | production assistant | |
| Mark Berry | .... | handler | |
| Joe Biggins | .... | crowd enhancement | |
| Kevin Biggins | .... | crowd enhancement | |
| Charlotte Bloxom | .... | handler | |
| Eleanor Boatwright | .... | horse handler: East Coast | |
| Shelley S. Boyle | .... | horse trainer (as Shelley Boyle) | |
| George Brown | .... | production assistant (as George Brown V) | |
| Frank L. Brown III | .... | crowd enhancement | |
| Lisa Brown | .... | handler | |
| Angelina Burnett | .... | assistant: Mr. Bissell | |
| Kim Buttlar | .... | executive coordinator: Mr. Barber | |
| Ian Calip | .... | production assistant | |
| Kelli Cardiff | .... | production secretary | |
| Guadalupe Castaneda | .... | handler | |
| Caryn Cheever | .... | first assistant accountant | |
| Matthew Chew | .... | race track barn manager | |
| Cristina Christian | .... | second assistant accountant (as Cristina Duncan) | |
| Dorian Cirillo-Murray | .... | production assistant | |
| Chad Cleven | .... | production assistant | |
| Deirdre Costa | .... | location manager: East Coast | |
| Peter Costelli | .... | assistant location manager: East Coast | |
| Keith Craigmyle | .... | handler | |
| Scott Craigmyle | .... | outrider | |
| Demelza Cronin | .... | assistant production coordinator | |
| Dante | .... | warm-up comic | |
| Jon Dorflinger | .... | production assistant | |
| Meg Dunroe | .... | handler | |
| Jennifer Eddy | .... | horse unit assistant | |
| Pam Ellington | .... | first assistant accountant | |
| Mike Fantasia | .... | location manager | |
| Perri Fichtner | .... | assistant location manager (as Perri Fitcher) | |
| Cliff Fleming | .... | helicopter pilot | |
| Alan Forbes | .... | assistant location manager: East Coast | |
| Nicole E. Gallardo | .... | second assistant accountant (as Nicole Gallardo) | |
| David Goldsmith | .... | jockey communications | |
| Victor Gonzalez | .... | handler | |
| Robert Greenhut | .... | pre-production consultant | |
| Richard Grey | .... | handler | |
| Erika Gunthunger | .... | horse handler: East Coast | |
| Hutchi Hancock | .... | production assistant (as Hutchie Hancock) | |
| Oliver Hendrickson | .... | horse unit trainee (as Oliver S. Hendrickson) | |
| Rusty Hendrickson | .... | head wrangler | |
| Laura Hillenbrand | .... | technical consultant | |
| Pamela Hilse | .... | travel coordinator | |
| Joseph M. Horrigan | .... | consultant: athletic performance (as Joe Horrigan) | |
| Nicola Hulme | .... | assistant: Mr. Bridges (as Nicola Hume) | |
| John Humber | .... | production assistant | |
| Lori Ikeda | .... | second assistant accountant | |
| Lisa Imhoff | .... | second assistant accountant | |
| Jennifer S. Jackson | .... | script supervisor: second unit (as Jennifer Helmuth) | |
| Greg Johnson | .... | video department head | |
| William Jorgenson | .... | assistant location manager (as Will Jorgenson) | |
| Michael Judd | .... | production assistant | |
| Chris Kasteler | .... | production assistant: Ms. Kennedy | |
| Elyse Klaits | .... | assistant: Ms. Kennedy | |
| Bob Kredel | .... | train consultant | |
| Thomas Krueger | .... | on set medic (as Thomas Kruegar) | |
| Christie Kwan | .... | assistant production coordinator: East Coast | |
| Kenneth LaFayette | .... | post-production accountant | |
| David Lear | .... | cast security | |
| Michael Lecke | .... | production assistant | |
| Nina Lenders | .... | assistant: Mr. Maguire | |
| Tania Levin | .... | payroll accountant | |
| Geoff Linville | .... | assistant: Mr. Ross | |
| Darrin Lipscomb | .... | assistant location manager | |
| Bobby Lovgren | .... | horse trainer | |
| Nicole Luther | .... | production assistant | |
| Asha MacLeod | .... | production assistant | |
| Maggie Malone | .... | script researcher | |
| Gray Mapston | .... | handler | |
| Stephen A. Marinaccio II | .... | production coordinator: second unit | |
| Donny Martino Jr. | .... | assistant location manager (as Donny Martino) | |
| Gail Martin-Sheridan | .... | production accountant | |
| Mark Mayer | .... | post-production accountant | |
| Mike Mayer | .... | handler | |
| Sara Mayer | .... | production assistant | |
| Chris McCarron | .... | race designer | |
| Judy McCarron | .... | technical consultant: horses | |
| Kristin McCarron | .... | production assistant | |
| Dennis McGlaughlin | .... | handler | |
| Nick Mestrundrea | .... | craft service (as Nick Mestrandrea) | |
| John Montgomery | .... | payroll accountant | |
| Ryan Moorman | .... | production assistant (as Ryan K. Moorman) | |
| Kris Moskos | .... | horse handler: East Coast | |
| Vince Navarro | .... | assistant: Ms. Thomas | |
| Nadine Nettmann | .... | production assistant | |
| Terry Lee Painovich | .... | craft service (as Terri Painovich) | |
| Julie Pitkanen | .... | script supervisor | |
| Mary T. Radford | .... | assistant: Mr. Marshall | |
| José Ramírez | .... | handler (as Jose Ramirez) | |
| Rubian Ramirez | .... | handler | |
| Richard Rinebold | .... | handler | |
| Aaron Roberts | .... | production assistant | |
| Margo Romano | .... | second assistant accountant | |
| Chanel Salzer | .... | assistant location manager (as Chanel Salzer-Chadock) | |
| David Sander | .... | assistant location manager: East Coast | |
| Corey Sklov | .... | production secretary | |
| Deanne Sowter | .... | office assistant: Ms. Kennedy | |
| Mike Steele | .... | handler | |
| Michelle Steffes | .... | script researcher | |
| Jamie Steiner | .... | handler | |
| Roger Stockton | .... | horse handler: East Coast | |
| Melissa St. Onge | .... | assistant: Mr. Maguire | |
| Monty Stuart | .... | horse trainer | |
| Russel Taylor | .... | production assistant | |
| Marlena Thomas | .... | executive coordinator: Mr. Birnbaum | |
| Frank Tignini | .... | production assistant | |
| Nancy Trevino | .... | handler | |
| Steve Trevino | .... | handler | |
| Jean Vergara | .... | background crew | |
| Danae Fogarty Walsh | .... | production assistant | |
| Mark Warrick | .... | horse trainer (as Mark Warrack) | |
| Bill Wildes | .... | horse trainer | |
| Deborah Wuliger | .... | unit publicist | |
| Erik Aguirre | .... | additional production assistant (uncredited) | |
| Sheri Apap | .... | animal trainer (uncredited) | |
| Carrie Arnold | .... | production assistant (uncredited) | |
| Linda Blaine | .... | production assistant (uncredited) | |
| Georgina Cabrera | .... | additional crew (uncredited) | |
| Eric Chatterjee | .... | production assistant (uncredited) | |
| Scott Cronan | .... | production assistant (uncredited) | |
| Guin Dill | .... | animal trainer (uncredited) | |
| Choel Evans | .... | production assistant (uncredited) | |
| Jamie Feldman | .... | office production assistant (uncredited) | |
| Belle Francisco | .... | office production assistant (uncredited) | |
| Maura Gannett | .... | studio teacher (uncredited) | |
| Laura Gary | .... | studio teacher (uncredited) | |
| Andy Gorzalski | .... | production assistant (uncredited) | |
| Adrianna Granville | .... | additional set production assistant (uncredited) | |
| Seth William Hansen | .... | additional set production assistant (uncredited) | |
| Michael A. Heath | .... | asset manager (uncredited) | |
| Seth Hendrix | .... | set production assistant: Kentucky (uncredited) | |
| Sybille Herwig | .... | production assistant (uncredited) | |
| Caroline Hileman | .... | production manager: main title sequence (uncredited) | |
| Aimee Horn | .... | production assistant (uncredited) | |
| Zac Jackson | .... | production assistant (uncredited) | |
| Alex J. Johnson | .... | location assistant (uncredited) | |
| Alex J. Johnson | .... | production assistant (uncredited) | |
| Taryn P. Kelly | .... | production coordinator (uncredited) | |
| Ahmed Kirdar | .... | additional set production assistant (uncredited) | |
| Brad Lednik | .... | production assistant (uncredited) | |
| Josiah D. Lee | .... | production assistant (uncredited) | |
| Jessica Lichtner | .... | script supervisor: second unit (uncredited) | |
| J.D. Lombardi | .... | unit production assistant (uncredited) | |
| Matt Lombardo | .... | set production assistant (uncredited) | |
| Matthew J. Lynch | .... | production assistant (uncredited) | |
| Aymie Majerski | .... | production assistant (uncredited) | |
| Ivan Martin del Campo | .... | accounting clerk (uncredited) | |
| Kevin McGinley | .... | production assistant (uncredited) | |
| David Mendoza | .... | set production assistant: second unit (uncredited) | |
| Kerry Moynahan | .... | extras wrangler (uncredited) | |
| William Ostroff | .... | production assistant (uncredited) | |
| Stacy Pagac | .... | additional crew (uncredited) | |
| Jess Place | .... | production assistant (uncredited) | |
| Rebecca Quick | .... | production assistant (uncredited) | |
| Jolyon Reese | .... | key background coordinator (uncredited) | |
| Anthony Reynolds | .... | production assistant (uncredited) | |
| Jason M. Roberts | .... | stand-in (uncredited) | |
| Jamie Robinson | .... | production assistant: Kentucky (uncredited) | |
| Jean-Louis Rodrigue | .... | movement specialist (uncredited) | |
| Liah Saldaña | .... | set production assistant (uncredited) | |
| Donnie Saylor | .... | technical consultant (uncredited) | |
| Alexa Sheehan | .... | production assistant (uncredited) | |
| Alex Silva | .... | stand-in (uncredited) | |
| Jonas Spaccarotelli | .... | set production assistant: second unit (uncredited) | |
| Sean Kevin Sweeney | .... | production assistant (uncredited) | |
| Shawn Tanaka | .... | assistant: William H. Macy (uncredited) | |
| Jonathan Weber | .... | runner (uncredited) | |
| Ryan Whan | .... | assistant accountant (uncredited) | |
| Brad Wilder | .... | production assistant (uncredited) | |
| Mari Wilson | .... | additional script supervisor (uncredited) | |
| Garry Wunderwald | .... | location scout: Montana (uncredited) | |
| Helen Alexis Yonov | .... | production assistant (uncredited) | |
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Roger Ebert says he has a theory that `people more readily cry at movies not because of sadness, but because of goodness and courage.'
This is certainly a reason why Gary Ross's Seabiscuit tugs so effectively at the heartstrings. But the main one is the way the movie shows the triumph of the underdog spread fourfold among three men and a horse. And again the timing is right in the American release. Just as Danny Boyle's 28 Days Later was delightful because it was a low budget movie that could compete with a lot of loud and dubious blockbusters, Seabiscuit earns our gratitude by being a blockbuster without explosions or exhibitionism, an epic of restraint, modesty and -- yes -- `goodness and courage.' The loudest sound you hear is the starting bell for the races. There are those of us, mainstream folk, who've been starving for such fare. I saw people in the audience in the early matinee who plainly were alive in 1929 and 1938, and they wept and applauded throughout with awe and gratitude. We shall see how the younger generations respond.
An enthusiastic response is justified. There is nothing in Seabiscuit that's very original; it awakens involuntary flashbacks to many traditional Rocky-esque sports biopics as one watches. But Gray and his chief collaborators, the talented author Lauren Hillenbrand and the splendid cast headed by Jeff Bridges, Chris Cooper, and co-producer Tobey McGuire, have nonetheless provided us with a quite wonderful movie, as much for its surefire writing and brilliant editing as for any of the acting.
Everyone must agree that the three men behind the most famous horse of his time are played by three of the best actors Hollywood now has to offer. Critics are in accord in saying Cooper's performance is the subtlest and the most real: he models the principle that Less is More. Tobey McGuire isn't given quite enough to do; his greatest accomplishment may be his lean look; he's barely recognizable, and as a former redhead myself I don't think the dye job is as bad as some have claimed. Bridges is, in his way, magnificent, but glossily iconic and therefore somewhat opaque. His resemblance to Franklin D. Roosevelt is pushed a bit too hard, as is the whole uplifting populist message - the `we didn't fix the horse. He fixed us - and we fixed each other,' and `sometimes all somebody needs is a second chance,' stuff. (It's pretty corny. But within the context of this beautifully made movie that believes in itself, we buy it.)
It's important, anyway - if young people do come to see Seabiscuit - for them to get the simplified, but nonetheless just portrait of the times provided with authentic stills and footage, and the voiceover narration by iconic historian David ("The Civil War") McCullough. The travelogue of the Depression and Prohibition years includes a quiet but heartfelt plug for FDR and that, too, is moving, especially in today's post-Yuppie mood of numbingly exploitive jingoism.
Indeed each of the three actors gives a powerfully understated performance - they're like thoroughbreds who're never given their head - whose litotes (a word schoolboys learned back then) enhances the movie's epic quality by never letting us forget that their triumphs were snatched from deprivation and adversity.
The long time devoted to the three men's backgrounds early in the movie isn't ill spent. It establishes the leisurely pace that is the essence of epic. But these back-stories aren't as necessary as the filmmakers may have thought. And despite the slow movement, there isn't deep detail. There's barely one scene to establish Red Pollard's (McGuire's) literate, close-knit family before he's cast (heartbreakingly) out of it. Charles Howard's (Bridge's) loss of his son is too telegraphic, though it's a fine touch to show him wailing with the boy's body but with his voice barely audible: it's one more example of the movie's sense of the period and of its restraint.
Right from the first the horse races are astonishing in the camera's closeness and vividness, the way we feel the danger and physicality of the jockeys' brutal competition with one another. Since we know Pollard is a failed prizefighter and general scrapper, we take in stride that fact that he's physically fighting with other jockeys during the early races. This is a movie about horse racing and the races had better be terrific, and they are. It's when we see the power of those sequences that we realize Seabiscuit has the makings of a popular classic.
Jeff Bridges' performance in particular seems etched in stone. There are touches of Jimmy Stewart, Joseph Cotton, even Orson Welles in his role and his looks. The chameleon Bridges comes carrying traces of Coppola's Tucker, but he has entered into the period and the tradition with utter conviction. Cooper's austere minimalism, because it is the essential spirit of the movie, its understatement (litotes), is the central performance. He is a man who communicates better with horses than with men. McGuire's performance is the noisiest, but he too reflects the social restraints of the period, and his wings are clipped before the final triumph can take place. This was a time when people had superiors and recognized it by calling them Sir and Mister. Everyone male wore a suit and tie, even jockeys off duty.
Seabiscuit's ability to tug at the heartstrings first appears when Red Pollard is let go by his destitute father so he can be a jockey. The moment is deeply sad because what seems an act of heroic renunciation by a loving parent is in fact abandonment, and it feeds the young man's rage thenceforth. And it's more complex than that because it grows out of the enormous pressures of the Depression, a time when millions in America wandered westward deprived of everything but their cars and a few possessions.
Not only Bridges' performance but whole sequences of Seabiscuit seem etched in stone and contain examples of textbook-perfect editing that possesses sweep and complexity and advances the story while keeping our focus on the prevailing mood.
This is, of course, the classic American story of triumph out of defeat and resolution out of conflict. As is a little too clearly pointed out, all three men, Charles Howard, Tom Smith, and Red Pollard, have had great devastation and loss in their lives (echoed by the whole country's economic devastation, failure, and loss of nerve; and it's implied -- with some failure of restraint -- that Seabiscuit's underdog triumphs were as needed as the New Deal). Their horse was rescued by Smith (Chris Cooper) when it was going to be shot because it seemed unruly and untrainable. Out of all this failure and tragedy the men forge their victories: Seabiscuit, the horse that lacked breeding, was untrainable, and was `too small'; Pollard, abandoned by his parents, beaten in many prize fights, secretly blind in one eye and `too big' to be a top jockey; Smith, a gifted horse tamer and trainer reduced to riding the rails and hoboing; Bridges, the self-made millionaire devastated by the destruction of all his hopes in a ruined economy and the sudden death of his young only son. They bond together to make Seabiscuit into one of the greatest racehorses in history. Who wouldn't be moved by this? Only the conventional fat man who's War Admiral's snobbish Maryland owner. It's all about heart, and Seabiscuit's got it.
William H. Macy's caricatured portrait of an alcoholic radio announcer is a highlight, in the sense of a bright spot on a painting. It's a shrill and brittle performace that we tolerate because of the moments of relief Macy's little comic vignettes provide. Subtlety is sacrificed to provide an effect, and to brush in a bit of humor amid all the earnestness. One only wishes there were more of a progression; that the character didn't sip from the same bottle in every scene but got drunker, or soberer, as things went along.
We have to allow for the exigencies of filmmaking that required ten horses to be used for Seabiscuit, leading to the irony that this unique horse is a composite.
If you accept its conventionality, Seabiscuit is not just a good movie but a great one.