IMDb > Ocean Men: Extreme Dive (2001)

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Ocean Men: Extreme Dive -- OCEAN MEN takes you on a giant screen adventure into the world of two freedivers and their unique relationship to the sea.


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Release Date:
31 August 2001 (Germany) See more »
OCEAN MEN takes you on a giant screen adventure into the world of two freedivers and their unique relationship to the sea. | Add synopsis »
User Reviews:
Diving See more (3 total) »


Pipin Ferreras ... Himself
Umberto Pelizzari ... Himself

Directed by
Bob Talbot 
Writing credits
(in alphabetical order)
Mose Richards 

Produced by
Josef Brandmaier .... executive: BBF
Gregory Browne .... consulting producer
Jan Herrmann .... executive producer
Guido Hesse .... line producer
Hendrik Hey .... executive producer
Douglas C. Merrifield .... co-producer
Michel Morales .... producer
Almut Saygin .... producer
Original Music by
Cliff Eidelman 
Cinematography by
Bob Talbot 
Production Design by
Sikander Goldau 
Production Management
James Manke .... post-production supervisor
Douglas C. Merrifield .... unit production manager
Charles Peck .... production co-ordinator
Lisa Sechser .... production manager
Art Department
Arno Daub .... property master
Daniel Plöchinger .... storyboard artist
Sound Department
Philippe Baudhuin .... sound re-recording mixer
Matthew C. Beville .... adr mixer
Alexander Buck .... foley recordist
Frank Casaretto .... sound effects editor
Jeffrey Hinze .... production dialogue & voiceovers
Nigel Holland .... sound designer
Nigel Holland .... supervising sound editor
Richard Mercado .... sound mixer
Denise Okimoto .... supervising sound editor
Marco Raab .... sound effects editor
Martin Schloemer .... adr recordist
Michael Vetter .... sound mixer
Michael Vetter .... sound recordist
Visual Effects by
Sacha Bertram .... visual effects producer
Julian Gnass .... digital compositor
Alan G. Markowitz .... visual effects supervisor: Imagica USA
Feona Marshall .... digital compositor
Marian Mavrovic .... digital compositor
Cenay Oekmen .... digital effects artist
John Schlag .... visual effects supervisor
Jun Watanabe .... digital artist: Imagica USA
Camera and Electrical Department
Wayne Baker .... assistant camera
Keith Bronsdon .... second assistant camera
Jeffrey Kincheloe .... rigging key grip
Patrick Longman .... aerial cinematographer
Peter Manno .... assistant camera
Frédéric North .... pilot: camera helicopter
Matthew H. O'Connor .... underwater grip
Peter Zuccarini .... additional photographer
Peter Zuccarini .... director of photography: second unit
Editorial Department
Rebecca Harrell .... assistant editor
Music Department
Patrick Russ .... orchestrator
Other crew
Thomas Bartl .... production assistant
Josef Brandmaier .... funding
Sabine Haarmann .... unit production coordinator
Daniel F. Malone .... dive coordinator (as Dan Malone)
Alexandra Wendt .... marketing and publicity manager

Production CompaniesDistributors

Additional Details

Also Known As:
90 min

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1 out of 1 people found the following review useful.
Diving, 1 November 2012
Author: chaos-rampant from Greece

There is nothing more cinematic than water, so far at least as things you can directly capture with a camera. The implications are numerous, vastness, voyage, deep clarity, flows and undercurrents. But it seems we cannot fully make sense of abstract things without a human story wrapped in their fabric, in fact it seems to be the reason we make any dive into liquid unknowns, to solidify who we are in the vast expanse.

The story here is of two divers who pushed each other to go deeper on a single breath of air. The 'document' as it were is less of the technical minutiae of their record-breaking efforts, and more about the internal aspects of the journey, which fits with my own viewing patterns.

One guy we see swim in training with his loved one, really marvelous footage of them gliding together in underwater ballet. The other pursues quietness and depth of breath through pranayama and meditation, lies still in the bottom of the sea as minutes roll by.

The contrast is partially between their methods. The first used assistance from technical means to descend to depths where atmospheric pressure constricts your lungs to the size of an orange and dislocates the heart, the other swam down there unaided. Both are photographed on dives that carried the implicit understanding they may be their last ones.

Deep down, there is a poem here of sorts on passionate involvement of any kind. It is not strictly the story of achievement, though is is cinematic and so is the ocean. The cinematic model used to convey both story- and ocean-world - including wholesale the underwater ballet - is oddly enough the 1950's horror film Creature from the Black Lagoon which can also be said to be the same poem.

Two worlds here, the one above water one of planning and preparation, whose noise it helps to filter out. The other is one of deep and concentrated immersion, but would it be anything if you were not tethered to the surface by love and connection?

Too bad the filmmaker as visual narrator imposes on these things with artificially-aided prettiness in the Koyannisqatsi mode. The quest is for natural harmony, but the process of visually defining that harmony defeats its very nature.

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