| Photos (See all 18 | slideshow) | Videos (see all 5) |
| Robert De Niro | ... | David Callaway | |
| Dakota Fanning | ... | Emily Callaway | |
| Famke Janssen | ... | Katherine | |
| Elisabeth Shue | ... | Elizabeth | |
| Amy Irving | ... | Alison Callaway | |
| Dylan Baker | ... | Sheriff Hafferty | |
| Melissa Leo | ... | Laura | |
| Robert John Burke | ... | Steven | |
| Molly Grant Kallins | ... | Amy | |
| David Chandler | ... | Mr. Haskins | |
| Jake Dylan Baumer | ... | Disturbed Boy | |
| rest of cast listed alphabetically: | |||
| Josh Flitter | ... | Little Boy (uncredited) | |
| Alicia Harding | ... | Waitress (uncredited) | |
| James McCaffrey | ... | Charlie (uncredited) | |
| Rose Pasquale | ... | Gas Customer (uncredited) | |
| Brendan Sexton III | ... | Store Clerk (uncredited) | |
Directed by | |||
| John Polson | |||
Writing credits(WGA) | ||
| Ari Schlossberg | (written by) | |
Produced by | |||
| Joseph M. Caracciolo Jr. | .... | executive producer | |
| Barry Josephson | .... | producer | |
| Dana Robin | .... | co-producer | |
| John P. Rogers | .... | co-producer | |
Original Music by | |||
| John Ottman | |||
Cinematography by | |||
| Dariusz Wolski | |||
Film Editing by | |||
| Jeffrey Ford | |||
Casting by | |||
| Amanda Mackey Johnson | |||
| Cathy Sandrich | |||
Production Design by | |||
| Steven J. Jordan | |||
Art Direction by | |||
| Emily Beck | |||
| Dennis Bradford | |||
Set Decoration by | |||
| Beth Kushnick | |||
Costume Design by | |||
| Aude Bronson-Howard | |||
Makeup Department | |||
| Annemarie Bradley | .... | additional hair stylist | |
| Milton Buras | .... | key hair stylist | |
| John Caglione Jr. | .... | makeup department head | |
| Ilona Herman | .... | hair stylist: Mr. De Niro | |
| Ilona Herman | .... | makeup artist: Mr. De Niro | |
| Francesca Buccellato | .... | additional makeup artist (uncredited) | |
| Joseph Farulla | .... | assistant makeup artist (uncredited) | |
| Mary Anne Spano | .... | additional makeup artist (uncredited) | |
Production Management | |||
| Joe Hartwick Jr. | .... | production supervisor | |
| Dana Robin | .... | unit production manager | |
| Patrick Esposito | .... | post-production supervisor (uncredited) | |
Second Unit Director or Assistant Director | |||
| Deanna Leslie | .... | key second assistant director (as Deanna Leslie Kelly) | |
| Patrick Mangan | .... | second assistant director (as Patrick J. Mangan) | |
| Michelle Regina | .... | dga trainee | |
| Thomas A. Reilly | .... | first assistant director (as Tom Reilly) | |
| Shannon Von Ronne | .... | second second assistant director (as Shannon M. Von Ronne) | |
Sound Department | |||
| Erik Aadahl | .... | sound designer | |
| Laurel Bridges | .... | utility sound | |
| Derek Casari | .... | adr engineer | |
| Derek Casari | .... | foley engineer | |
| Dawn Fintor | .... | foley artist | |
| Tim Gomillion | .... | sound recordist | |
| Doug Hemphill | .... | sound re-recording mixer (as D.M. Hemphill) | |
| Warren Hendriks | .... | first assistant sound editor | |
| Mildred Iatrou | .... | dialogue editor (as Mildred Iatrou Morgan) | |
| R.J. Kizer | .... | adr editor | |
| R.J. Kizer | .... | dialogue editor | |
| Dave Kulczycki | .... | sound editor (as David Kulczycki) | |
| John A. Larsen | .... | supervising sound editor | |
| Skip Longfellow | .... | assistant sound editor | |
| Paul Massey | .... | sound re-recording mixer | |
| John Murray | .... | foley supervisor (as John M. Murray) | |
| Howard Neiman | .... | foley editor | |
| Tom Nelson | .... | sound mixer | |
| Steve F. Price | .... | foley editor | |
| Charleen Richards | .... | adr mixer (as Charleen Richards-Stevees) | |
| Dennis Rogers | .... | sound recordist | |
| Mike Schmidt | .... | boom operator | |
| William Stein | .... | re-recording engineer | |
| Alicia Stevenson | .... | foley artist | |
| Elliot Tyson | .... | additional sound re-recording mixer | |
| Anthony Woodman | .... | sound librarian | |
| Alex Raspa | .... | adr mixer: New York (uncredited) | |
| John Soukup | .... | sound transfer (uncredited) | |
Special Effects by | |||
| Wilfred Caban | .... | special effects foreman (as Will Caban) | |
| Carmen M. Campolo Jr. | .... | special effects assistant (as Carmen Campolo Jr.) | |
| Steven Kirshoff | .... | special effects coordinator (as Steve Kirshoff) | |
Visual Effects by | |||
| Ryan Beadle | .... | digital I/O | |
| Cosmas Paul Bolger Jr. | .... | visual effects supervisor | |
| Steve Caldwell | .... | digital compositor | |
| Joe Finley | .... | digital intermediate colorist | |
| R.J. Harbour | .... | digital compositor | |
| Shaina Holmes | .... | digital compositor | |
| Shaina Holmes | .... | digital coordinator | |
| Lori C. Miller | .... | digital compositor | |
| Marco S. Paolini | .... | digital compositor | |
| Amani Williams | .... | digital compositor | |
| Brian Gyss | .... | digital imaging: Modern VideoFilm (uncredited) | |
Stunts | |||
| G.A. Aguilar | .... | stunt coordinator | |
| John Cenatiempo | .... | stunt double | |
| Blaise Corrigan | .... | stunts | |
| Jeffrey Lee Gibson | .... | stunts | |
| John Polce | .... | stunts (as John J. Polce) | |
| Gary Tacon | .... | stunts | |
| Shawnna Thibodeau | .... | stunt double | |
Camera and Electrical Department | |||
| Sebastián Almeida | .... | camera loader | |
| Colin Anderson | .... | Steadicam operator | |
| Colin Anderson | .... | camera operator | |
| Robert M. Andres | .... | key grip | |
| Will Arnot | .... | Steadicam operator | |
| Will Arnot | .... | camera operator: "b" camera | |
| K.C. Bailey | .... | still photographer | |
| Liza Bambenek | .... | assistant camera | |
| Angela Bellisio | .... | assistant camera | |
| Vincent Camuto | .... | video assist assistant | |
| Vincent Camuto | .... | video assist playback | |
| Patrick Capone | .... | director of photography: second unit | |
| Lamont Crawford | .... | second dolly grip | |
| Doug Dalisera | .... | best boy electric | |
| Stanley Fernandez Jr. | .... | first assistant camera: "b" camera | |
| Joel Holland | .... | video assist operator | |
| William Moore | .... | electrician | |
| Heather Norton | .... | first assistant camera: "a" camera, re-shoots | |
| Thomas O'Connor | .... | rigging electrician | |
| Phil Pastuhov | .... | aerial director of photography | |
| Darren Ryan | .... | 24 frame video operator | |
| Patrick Shelby | .... | second unit: key grip | |
| J. Dan Wright | .... | light balloon technician | |
Casting Department | |||
| Aisha Coley | .... | casting executive | |
| Sig De Miguel | .... | casting associate | |
| Johnny Gidcomb | .... | adr casting | |
| Wendy Weidman | .... | casting associate | |
Costume and Wardrobe Department | |||
| Susan Bakula | .... | costume shop supervisor | |
| Addie Hall | .... | costumer | |
| Cheryl Kilbourne-Kimpton | .... | wardrobe supervisor | |
| Marcie Olivi | .... | costumer: Mr. De Niro | |
| Monica Ruiz-Ziegler | .... | costume coordinator | |
| JP Sarni | .... | wardrobe assistant | |
Editorial Department | |||
| Gary Burritt | .... | negative cutter | |
| Jeff Mee | .... | post-production coordinator | |
| Sandra Nash | .... | assistant editor | |
| Jim Passon | .... | color timer | |
| Craig Tanner | .... | associate editor | |
| Sarah Thiessen | .... | first assistant editor | |
| Lonnie A. Mathes | .... | post-production assistant (uncredited) | |
| Chris McClintock | .... | post-production coordinator (uncredited) | |
Music Department | |||
| Debbi Datz-Pyle | .... | score contractor | |
| Robert Fernandez | .... | scoring mixer | |
| Rick Giovinazzo | .... | additional orchestrator | |
| Amanda Goodpaster | .... | music editor | |
| M.B. Gordy | .... | musician: Percussion | |
| Mark Graham | .... | music librarian | |
| Damon Intrabartolo | .... | conductor | |
| Damon Intrabartolo | .... | orchestrator | |
| Mike Knobloch | .... | music executive | |
| Jason Lloyd | .... | scoring cue mixer | |
| Frank Macchia | .... | additional orchestrator | |
| Larry Mah | .... | digital score recordist | |
| Sujin Nam | .... | score coordinator | |
| John Ottman | .... | orchestrator | |
| Lior Rosner | .... | additional music arranger | |
| Lior Rosner | .... | additional orchestrator | |
| Bart Samolis | .... | musician | |
| Steven Saxton | .... | executive music producer | |
| Jeffrey Schindler | .... | additional orchestrator (as Jeff Schindler) | |
| Steven L. Smith | .... | music preparation | |
| Tom Steel | .... | scoring stage manager | |
| Casey Stone | .... | music scoring mixer | |
| Erich Stratmann | .... | music editor: temp music | |
| Bill Talbott | .... | scoring technician | |
| Gordon Wimpress | .... | scoring intern | |
| Mark Jan Wlodarkiewicz | .... | music editor: temp music (as Mark Wlodarkiewicz) | |
Transportation Department | |||
| William 'Mac' Maquez | .... | driver | |
| Thomas McGoldrick | .... | driver: cast | |
| Edward O'Donnell | .... | transportation coordinator | |
Other crew | |||
| Peter Anders | .... | craft service | |
| Peter Bobrow | .... | location assistant | |
| Peter Bobrow | .... | location manager: second unit | |
| Oren Bonen | .... | on-set production assistant: Mr. De Niro | |
| Al Cerullo | .... | helicopter pilot: aerial unit (as Al Cerullo Jr.) | |
| Jan Cerwonka | .... | studio teacher | |
| Felix Chen | .... | payroll accountant | |
| Kathy Ciric | .... | location manager | |
| Daniel B. Cone | .... | production assistant | |
| Kimberly Cooper | .... | production executive | |
| Jennifer Crammer | .... | assistant production coordinator | |
| Tony Cypres | .... | first assistant accountant | |
| Erin S. Ellescas | .... | assistant: Mr. Carraciolo Jr. | |
| Andrew Fiero | .... | production assistant | |
| Melissa Gelernter | .... | assistant: Mr. Josephson | |
| Laurie Gershon | .... | product placement/clearances | |
| Dave Ginsberg | .... | location scout | |
| Catherine Gore | .... | script supervisor | |
| Eli Gurevich | .... | second assistant accountant | |
| Alexes Hargrove | .... | staff set production assistant | |
| Michael Hartel | .... | assistant location manager | |
| Mark D. Houston | .... | assistant post-production accountant | |
| Perry M. Kimura | .... | digital scanning and recording: EFILM | |
| Rachel Konstantin | .... | stand-in | |
| Stosh Kozlowski | .... | location assistant | |
| Kim Krafsky | .... | animal trainer | |
| Eric Ladd | .... | title design | |
| Amy Leigh Johnson | .... | publicist | |
| Anita Maffei | .... | set production assistant | |
| Seth Marshall | .... | assistant: Robert De Niro | |
| Steve McAuliff | .... | animal trainer | |
| Melissa Milo | .... | assistant: Mr. De Niro | |
| Rick Negron | .... | adr loop group | |
| Kyle O'Brien | .... | production accountant | |
| Gerald Orange | .... | security: Mr. De Niro (as Gerald L. Orange) | |
| Susan Orga | .... | location coordinator | |
| Evan T. Reilly | .... | script coordinator | |
| Matt Robken | .... | assistant: Mr. Polson, Los Angeles | |
| Kara Ryan | .... | production assistant | |
| Stephen A. Sands | .... | psychological consultant | |
| Andrew Saxe | .... | location manager | |
| Daisy Schwartz | .... | on-set assistant | |
| Susan Silas | .... | location scout | |
| Mark Sussman | .... | additional voice | |
| Beau Tipton | .... | production assistant | |
| David Velasco | .... | location scout | |
| Janice Williams | .... | production coordinator | |
| Mark J. Wylie | .... | assistant: Mr. De Niro | |
| Alexander F. Young | .... | assistant: Mr. Josephson | |
| David Zaretsky | .... | assistant: Mr. Polson, New York | |
| Richie Adams | .... | title designer: main title sequence (uncredited) | |
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| Deep Red | Blade of the Ripper | Stir of Echoes | The Interpreter | All Good Things |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Horror section | IMDb USA section |
All's not well at the home of the Callaways. David (Robert De Niro) and Alison (Amy Irving) have obvious tension in their relationship. When it leads to suicide shortly after the film begins, David, a psychologist, packs up his young daughter Emily (Dakota Fanning) and heads from New York City to bucolic upstate New York to try to start over. Unfortunately, the suicide was just the start of their problems. It seems that something evil may have followed them into the woods.
Hide and Seek is not your typical thriller. For much of its length, it is a much quieter, slower-paced drama, resting almost entirely on meaty, complex performances from two actors, one of whom--Fanning--was only 10 years old while making the film! It also is veers back and forth from thriller to horror territory (which have a notoriously gray border anyway) depending partially on one's interpretation of the film. The ending is marked by a clever twist that most viewers may not see coming, and which will pleasantly broach more questions than it answers long after you have seen the film. Those facts might turn some potential viewers off, but anyone able to slow down and appreciate fine acting housed in a dense, creepy environment will be rewarded. The film was a 10 out of 10 for me.
Newcomer screenwriter Ari Schlossberg has said that he grew up in the city, so just the idea of the woods, as well as children in general, frighten him. Those may be unusual sentiments, but director John Polson has translated them with remarkable ease into Hide and Seek. The country setting feels eerie from the moment David and Emily arrive, and Fanning's outstanding performance has her gradually changing from a cute kid to a scary little pseudo-Goth monster more slyly than native New Yorker slipping into the subway car before you to grab the last seat. Of course De Niro is good, too, but that goes without saying. Hide and Seek gives both performers a chance to show their range, but the biggest surprise is perhaps that Fanning can match De Niro step for step. The rest of the cast doesn't slouch, either, but they're not the focus. Their role is more to provide the necessary little nudges to justify our stars' next dazzling feats.
While I cannot talk at length about various subtexts and interpretations without giving spoilers, they range from the purely psychological to the supernatural. It is worth noting before watching that little of what you see playing out on the screen may be actually happening, and there may be something more sinister at work that is never fully stated in the film.
Schlossberg has said that among his many influences for this script were The Shining (1980), and in fact, that masterpiece is directly referenced a few times. Those are big shoes to try to fill. While the style and content of Hide and Seek are very different than The Shining--Hide and Seek is even more understated--that's also a slower-paced film that finds much of its effectiveness from its thick atmosphere and commendable performances, and fans of Kubrick's great horror film should find enough to enjoy here as well.