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Directed by | |||
| Julian Schnabel | |||
Writing credits(WGA) | ||
| Ronald Harwood | (screenplay) | |
| Jean-Dominique Bauby | (book "Le scaphandre et le papillon") | |
Original Music by | |||
| Paul Cantelon | |||
Cinematography by | |||
| Janusz Kaminski | |||
Film Editing by | |||
| Juliette Welfling | |||
Production Design by | |||
| Michel Eric | |||
| Laurent Ott | |||
Costume Design by | |||
| Olivier Bériot | |||
Makeup Department | |||
| Olivier Afonso | .... | assistant special effects makeup artist (as Olivier Alonso) | |
| Florence Batteault | .... | makeup artist | |
| Sandrine Cirilli | .... | makeup artist | |
| Raphael Cornillon | .... | wigs (as Raphaël Cornillon) | |
| Elizabeth Delesalle | .... | makeup artist | |
| Thierry Di Cecca | .... | hair stylist | |
| Mélanie Gerbeaux | .... | wigs | |
| Christian Gruau | .... | key hair stylist | |
| Myriam Hottois | .... | key makeup artist | |
| Benoît Lestang | .... | special makeup effects artist | |
| Laure Moulin | .... | hair stylist | |
| Geoffroy Selley | .... | assistant special effects makeup artist (as Geoffroy Felley) | |
| Chloé Van Lierde | .... | makeup artist | |
Production Management | |||
| Virginia Anderson | .... | post-production manager | |
| David Artigala | .... | assistant unit manager | |
| Virginie Bernard | .... | assistant unit manager | |
| Olivier Billard | .... | assistant unit manager | |
| Delphine Brunet | .... | assistant unit manager | |
| Gwenael Camuzard | .... | assistant unit manager | |
| Xavier Champagnac | .... | assistant unit manager | |
| Sebastien Cosset | .... | assistant unit manager | |
| Sébastien Coulet | .... | assistant unit manager | |
| Mathieu Desouches | .... | assistant unit manager | |
| Deborah Dours | .... | assistant unit manager | |
| Stephan Guillemet | .... | unit production manager | |
| Varujan Gumusel | .... | post-production supervisor | |
| Maud Hubert | .... | assistant unit manager | |
| Olivier Jacob | .... | unit manager | |
| Emilie Larribaut-Guinguene | .... | assistant unit manager | |
| Vincent Lefeuvre | .... | assistant production manager | |
| Logan Lelièvre | .... | assistant unit manager | |
| Julien Linières | .... | assistant unit manager | |
| Anne-Claire Loridant | .... | assistant unit manager | |
| Emmanuel Mathieu | .... | unit manager | |
| Julien Minet | .... | assistant unit manager | |
| Jean-Patrick Nourricier | .... | assistant unit manager | |
| Laurent Platiau | .... | assistant unit manager | |
| David Thooris | .... | assistant unit manager | |
Second Unit Director or Assistant Director | |||
| Mathilde Cavillan | .... | second assistant director | |
| Stéphane Gluck | .... | first assistant director | |
| Sébastien Marziniak | .... | assistant director | |
| Lucie Wagner | .... | trainee assistant director | |
Art Department | |||
| Christian Gazio | .... | property master | |
| Alain Pitrel | .... | set dresser | |
| Jean-Noël Vincensini | .... | assistant art director | |
| Julien Durguel | .... | props finder (uncredited) | |
| Franck Gies | .... | carpenter (uncredited) | |
Sound Department | |||
| Damien Bera | .... | assistant sound mixer (as Damien Lazzérini) | |
| Damien Bera | .... | sound re-recording mixer | |
| Roberto Cappannelli | .... | sound re-recording mixer | |
| Boris Chapelle | .... | assistant sound editor | |
| Toni Di Rocco | .... | sound mix technician | |
| Philippe Dongé | .... | sound mix technician | |
| Dominique Gaborieau | .... | sound | |
| Yann Lebrun | .... | sound detection | |
| Frédérique Liébaut | .... | post-synchronization | |
| Vincent Milner | .... | assistant foley artist | |
| Jean-Paul Mugel | .... | sound recordist | |
| Yves-Marie Omnes | .... | boom operator | |
| Philippe Penot | .... | foley artist | |
| Cyrille Richard | .... | dialogue editor | |
| Francis Wargnier | .... | sound editor | |
Special Effects by | |||
| Olivier Afonso | .... | special effects makeup | |
| Philippe Alleton | .... | special effects | |
| Jean-Claude Dauphinot | .... | special effects | |
| Georges Demétrau | .... | special effects supervisor | |
| Clive R. Kay | .... | special effects contact lenses | |
| Jérome Miel | .... | special effects | |
Visual Effects by | |||
| Lech Anita | .... | digital effects artist | |
| Luc Augereau | .... | visual effects producer | |
| Yann Blondel | .... | senior visual effects supervisor | |
| Adrien Borzakian | .... | digital artist | |
| Arnaud Damez | .... | digital artist | |
| Jacques Delzescaux | .... | digital artist | |
| Anita Lech | .... | digital artist (as Anita Lech Bedez) | |
| Elodie Ly Tri | .... | retouch and restoration | |
| Charlotte Quemy | .... | retouch and restoration | |
| Fred Roz | .... | titles | |
| Laurence Vidot | .... | visual effects coordinator | |
| Aurélie Villard | .... | digital artist | |
Stunts | |||
| Pascal Guégan | .... | stunt coordinator | |
Casting Department | |||
| Rachel Desmarest | .... | casting assistant (as Rachel Berger) | |
| Sana El Ghoul | .... | casting assistant | |
| Jérôme Sacerdot | .... | extras casting assistant | |
| Laurent Soulet | .... | extras casting | |
Costume and Wardrobe Department | |||
| Alexia Crisp-Jones | .... | wardrobe | |
| Camille Janbon | .... | assistant costume designer | |
| Camille Joste | .... | costumer | |
| Lucia Lefebvre | .... | on-set costumer | |
| Sylvie Néant | .... | on-set costumer | |
| Daniella Telle | .... | costumer | |
Editorial Department | |||
| Christian Dutac | .... | color timer: LTC | |
| Marcela Figueroa | .... | assistant editor | |
| Marie-Pierre Frappier | .... | assistant editor | |
| Margot Meynier | .... | assistant editor | |
| Nelly Ollivault | .... | assistant editor | |
| Carlos Pinto | .... | second assistant editor | |
| Gilles Granier | .... | dailies color grader (uncredited) | |
Music Department | |||
| Christian Chevalier | .... | music clearance | |
| Julian Schnabel | .... | music supervisor | |
Transportation Department | |||
| Arnaud Bisselbach | .... | driver | |
| Hélène Millet | .... | driver | |
Other crew | |||
| Hiam Abbass | .... | acting coach | |
| Edith Barrier | .... | production administrator | |
| Virginie Bernard | .... | production assistant | |
| Catherine Brelet | .... | personal assistant: Mr. Max Von Sydow (as Catherine Brelet-Von Sydow) | |
| Bernard Caroff | .... | groupman | |
| David Caroff | .... | groupman | |
| Sylvie Coen | .... | general counsel | |
| Maguy J.B. Cohen | .... | personal assistant: Mr. Schnabel (as Maguy Cohen) | |
| Sean Cooney | .... | post-prodution executive | |
| Amélie Dibon | .... | production secretary | |
| Marion Gervais | .... | coach: children | |
| Claudy Gibier | .... | groupman | |
| Marie Guillon | .... | production administrator | |
| Elyse Klaits | .... | associate: Ms. Kennedy | |
| George Pank | .... | business affairs: Pathe | |
| Bianca Turetsky | .... | personal assistant: Mr. Schnabel | |
| Wolfgang W. Werner | .... | press agent | |
| Linda A. Borgeson | .... | executive in charge of post production (uncredited) | |
Thanks | |||
| Laurie Anderson | .... | special thanks | |
| Kathleen Brennan | .... | special thanks | |
| Naomi Campbell | .... | special thanks | |
| Jean-Pierre Cassel | .... | dedicatee | |
| Ferdinand Chesnais | .... | dedicatee | |
| Aurelio De Laurentiis | .... | special thanks | |
| Raffaella De Laurentiis | .... | special thanks | |
| Linda Evangelista | .... | special thanks | |
| Laird John Hamilton | .... | special thanks (as Laird Hamilton) | |
| Dennis Hopper | .... | special thanks | |
| François Ivernel | .... | special thanks | |
| Mike Medavoy | .... | special thanks | |
| Luce Mellor | .... | special thanks | |
| Tatjana Patitz | .... | special thanks | |
| Roman Polanski | .... | special thanks | |
| Lou Reed | .... | special thanks | |
| Jack Schnabel | .... | dedicatee | |
| Batan Silva | .... | special thanks (as Sebastián Silva) | |
| Joe Strummer | .... | special thanks | |
| U2 | .... | special thanks | |
| Tom Waits | .... | special thanks | |
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| Full cast and crew | Company credits | External reviews |
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| IMDb France section |
Though not paralyzed from head to toe like French fashion magazine editor Jean-Dominique Bauby, many of us are in the "locked-in" syndrome locked into our resentments and our fears, a rigidity that sours us on life and keep us estranged from family and friends. Julian Schnabel's masterful The Diving Bell and the Butterfly allows us to better appreciate the simple pleasures in life by dramatizing the debilitating trauma faced by the 43-year old editor who suffered a massive stroke that left him unable to speak or to move his head and whose only means of communication was to blink one eye one blink for yes, two blinks for no.
Beautifully shot by cinematographer Janusz Kaminski with a screenplay by Ronald Harwood, the film begins with Bauby's confused awakening in the hospital after twenty days in a coma. We see only a blur of images and claustrophobic close-ups that mirror the patient's mental state. We can make out a hospital room and doctors and nurses offering reassuring thoughts. We hear Bauby's words but the doctors do not and we know that while his body isn't functioning, his mind is as sharp as ever. With the help of a speech therapist (Marie-Josée Croze), and a very patient transcriber, a code is developed that allows Bauby (Mathieu Amalric), called Jean-Do by his friends and family, to compose a book based on his experience.
When the therapist recites the most-frequently used letters in the French alphabet, Bauby blinks when he wants to choose a letter. The book, on which the film is based, was published in 1997, shortly after Bauby's death. One of the most dramatic moments in the film occurs near the beginning when the first thought Jean-Do communicates is that he wants to die. Feeling rejected and angry, the therapist stomps out of the room but apologizes and comes back shortly to resume the treatment. We do not actually see Jean-Do until about a third of the way through the film but we can hear his thoughts which are in turn angry, funny, and bitterly ironic. Bauby compares his body to a deep-sea diver being suffocated in a diving suit and his poetic imagination to a butterfly.
It is Jean-Do's sense of humor that keeps the film as light as it can be under the circumstances and his eloquence that keeps us riveted. When we finally do see him with his immobile body and his drooping lower lip, it is still a shock but we smile when he says that "I look like I came out of a vat of formaldehyde." Much of the film vividly explores the editor's imagination and the camera takes us on some wild rides that include images of Nijinsky, Empress Eugénie, Marlon Brando, and Jean-Do in his imagination skiing and surfing. Some of the most emotional moments occur when he greets his young children at the beach for the first time after his stroke, a telephone "conversation" with his 92-year old father (Max Von Sydow), and flashbacks to his youth - driving with his girlfriend, shaving his father, supervising a fashion shoot, and taking his son on a trip in a new sports car. Bauby's wife Céline (Emmanuelle Seigner), whom he left for exotic girlfriend Ines (Agathe de La Fontaine), visits him in the hospital and comforts him while Ines cannot bring herself to see him, saying that she wants to remember him the way he was.
Realizing how his life had been less than exemplary, his stroke becomes an opportunity for redemption and allows him, if not to cleanse his soul, to discover that humanity lies in his consciousness not in material things or sexuality. The Diving Bell and the Butterfly is a film of enormous power that shakes us and enables us to get in touch with the miracle of each moment. Schnabel says that his purpose in making the film was to tell "the story of all of us, who surely do face death and sickness. But if we look", he says, "we can find meaning and beauty here." There is enough of both meaning and beauty to make The Diving Bell and the Butterfly one of the best films of the year.