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Grizzly Man
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Grizzly Man (2005) More at IMDbPro »

Photos (See all 21 | slideshow) Videos (see all 5)
Grizzly Man -- A devastating and heartrending take on grizzly bear activists Timothy Treadwell and Amie Huguenard, who were killed in October of 2003 while living among grizzlies in Alaska.
Grizzly Man -- Clip: The Precipice of Death
Grizzly Man -- Werner Herzog discusses Wayne Coyne's reaction to a scene in Grizzly Man
Grizzly Man -- Clip: He's Lost Sight


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Werner Herzog (written by)
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Release Date:
27 October 2005 (Portugal) See more »
In nature, there are boundaries. See more »
A devastating and heartrending take on grizzly bear activists Timothy Treadwell and Amie Huguenard, who were killed in October of 2003 while living among grizzlies in Alaska. Full summary » | Add synopsis »
Plot Keywords:
21 wins & 8 nominations See more »
User Reviews:
Grizzly Men See more (379 total) »


  (in credits order)

Werner Herzog ... Himself / Narrator / Interviewer (voice)
rest of cast listed alphabetically:
Carol Dexter ... Herself - Treadwell's Mother
Val Dexter ... Himself - Treadwell's Father
Sam Egli ... Himself - Egli Air Haul
Franc G. Fallico ... Himself - Coroner
Willy Fulton ... Himself - Pilot
Marc Gaede ... Himself - Ecologist
Marnie Gaede ... Herself - Ecologist
Sven Haakanson Jr. ... Himself - Alutiiq Museum Director
Amie Huguenard ... Herself (archive footage)

David Letterman ... Himself (archive footage)

Jewel Palovak ... Herself
Kathleen Parker ... Herself - Close Friend

Warren Queeney ... Himself - Actor and Close Friend

Timothy Treadwell ... Himself (archive footage)
Larry Van Daele ... Himself - Bear Biologist
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Directed by
Werner Herzog 
Writing credits
Werner Herzog (written by)

Produced by
Kevin L. Beggs .... executive producer (as Kevin Beggs)
Alana Berry .... associate producer
Billy Campbell .... executive producer
Phil Fairclough .... executive producer
Andrea Meditch .... executive producer
Erik Nelson .... executive producer
Erik Nelson .... producer
Tom Ortenberg .... executive producer
Jewel Palovak .... co-executive producer
Original Music by
Richard Thompson (music composed by)
Cinematography by
Peter Zeitlinger (director of photography)
Film Editing by
Joe Bini 
Production Management
Don Baer .... executive in charge of production: Discovery Channel Inc.
Randall M. Boyd .... post-production supervisor (as Randall Boyd)
Jessica DeJong .... production manager (as Jessica Dejong)
Dave Harding .... executive in charge of production
Tom Koykka .... production manager
Jane Root .... executive in charge of production: Discovery Channel Inc.
Sound Department
Ken King .... audio
Michael Klinger .... post-production audio
Spencer Palermo .... audio (as Spence Palermo)
D.D. Stenehjem .... post-production audio
Camera and Electrical Department
Erik Söllner .... assistant camera operator (as Erik Sollner)
Amie Huguenard .... camera operator: archive footage (uncredited)
Timothy Treadwell .... camera operator: archive footage (uncredited)
Editorial Department
Michael Anthony Brown .... editorial assistant
Herrianne Cayabyab .... on-line editor
Colin Hatton .... editorial assistant
Maya Hawke .... assistant editor
Adarsh Kaushal .... editorial assistant
Brian Patterson .... editorial assistant
David W. Ryan .... editorial assistant
Chris Camerote .... assistant editor (uncredited)
David Foulk .... editorial assistant (uncredited)
Spencer Hecox .... on-line editor (uncredited)
David Taylor .... assistant editor (uncredited)
Music Department
Danielle DeGruttola .... musician: cello
John Hanes .... musician: percussion and drums
Stephen Hart .... music recording engineer
Henry Kaiser .... music producer
Jim O'Rourke .... musician: piano and guitar
Damon Smith .... musician: acoustic bass
Richard Thompson .... music arranger
Richard Thompson .... musician: guitar and bass
Rebecca Rienks .... music coordinator (uncredited)
Carol Dexter .... acknowledgment: photos/footage provided by
Val Dexter .... acknowledgment: photos/footage provided by (as Val)
Sam Egli .... acknowledgment: photos/footage provided by
Willy Fulton .... acknowledgment: photos/footage provided by
Sue Houghton .... special thanks
Anna Rogers .... acknowledgment: photos/footage provided by

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Additional Details

Also Known As:
Rated R for language
USA:103 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

Werner Herzog listened to the audio tape that records the last moments of Timothy Treadwell and Amie Huguenard as they're killed by grizzly bears. Contrary to some beliefs, he never owned the tape. It is owned by one of Timothy's friends who has never listened to it. However, out of respect for the late couple, Herzog declined to feature it in the film although there is a scene with Herzog listening to the footage.See more »
[first lines]
Timothy Treadwell:I'm out in the prime cut of big green. Behind me is Ed and Rowdy, members of an up-and-coming sub-adult gang. They're challenging everything, including me. Goes with the territory. If I show weakness, if I retreat, I may be hurt, I may be killed. I must hold my own if I'm gonna stay within this land. For once there is weakness they will exploit it, they will take me out, they will decapitate me, they will chop me into bits and pieces. I'm dead. But so far, I persevere. Persevere.
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CoyotesSee more »


Why didn't Herzog air the tape?
Do we hear the recording of the attack?
Is this film real? Is this a mockumentary?
See more »
15 out of 19 people found the following review useful.
Grizzly Men, 18 February 2006
Author: wshelley from United States

It would be rather easy and quite comforting to simply label Timothy Treadwell as a delusional crackpot who ultimately received his just deserts. Treadwell's woefully naive idealism coupled with his willful rejection of the most basic realities of his natural surroundings make him a rather wieldy target for even those with terrible aim. Treadwell's inability to anticipate the inevitable consequences of his actions has been interpreted by many to signify the man's complete separation from any resemblance of realism and sensibility, thus marking his extensive efforts as purely frivolous and futile. But by merely dismissing the man's Utopian vision of a harmonious existence between humankind and nature, we're ultimately doing a great disservice to ourselves as well. Werner Herzog, one of the cinematic world's preeminent cynical jackasses, was able to both understand and empathize with Treadwell's contorted optimism, refusing to conveniently sticker Tim as some sort of brain damaged, new-age spiritualist. Herzog discovered inside of Treadwell's madness an alluringly gullible romanticism that carefully shielded a secluded demonic realism. Treadwell's refusal to succumb to the demands of our world's primitive natural order clearly fascinated Herzog just as much as Tim's secretively smoldering fixation with the indigenous inhumanity of the unforgiving material world.

Herzog ingeniously incorporates Treadwell's tangential metaphysical ruminations into the movie in order to communicate his own conflicting philosophical perspectives while also conveying a semblance of sympathy and familiarity, if not outright accordance as well. Herzog immediately empathizes with Treadwell's desire to search for some higher meaning beyond the discernible limits of both sanity and security, but does not fail to readily concede the enigmatic stupidity of Timothy's misguided enthusiasm as well. In many respects, the movie explores many similarities between Treadwell's adventurous pursuits and Herzog's well-documented desire to impose his own will on the natural world. For all of Herzog's pontificating on nature's unmistakable indifference, such confessed naturalism has never stopped the man from attempting to conquer these impartial forces through sheer fierce determination. Similarly for Treadwell, even the unequivocal evidence suggesting the inapplicability of his philosophical disposition (the murder of a baby fox, the infanticide of a baby cub, instances of cannibalism during an extended drought) is not enough to dissuade him from the attractiveness of his hallucinatory insistence on the beauty and simplicity of the natural wilderness. While Herzog mocks and scolds Treadwell for his blatant ignorance with regards to the childlike Quixotism of his pilgrimage, he also seems to secretly admire him for his refusal to conform to others' expectations, even when all the impulses of the universe seem to be conspiring against him. Like Aguirre and Fitzcarraldo, Herzog is able to extract carefully hidden noble qualities buried within a man of very questionable character.

In many respects, Timothy Treadwell's quest for natural harmony was an unattainable search for spiritual absolution as well as social vindication. Herzog shows great respect for Treadwell's intense desire to discover a sense of place and purpose within a higher immaterial order, while similarly displaying affection for Timothy's corporeal drive to convincingly demonstrate both his superiority and masculinity to all of those who had expressed doubts and engaged in interference. Herzog has always reserved his greatest admiration for those great historical figures who have unleashed their greatest ambitions upon the natural world around them, and Treadwell is clearly no exception. But this is not because of some juvenile fascination with conquest and subjugation; Herzog's veneration has always been directed towards the instinctual human passion to satisfy one's greatest aspirations, forces of the uncaring universe be damned. Treadwell's absurd eagerness to prove the feasibility of his ideological utopia is sufficient enough to earn Herzog's qualified approbation, but it is not practical enough to stave off Herzog's equally powerful adherence to rational skepticism. Just as Herzog ultimately recognized the folly of Aguirre's ways, Timothy Treadwell is similarly depicted as a man who has become so lost within his untamed search for grandeur that he has forgotten the very purpose of his once innocent expedition.

Many people have taken issue with this back and forth dialogue between Herzog and Treadwell, bemoaning the use of voice-over narration as manipulative, theatrical and unnecessary. Many people have accused the movie of being quite staged and overtly fictional, while needlessly abandoning the most basic purpose of Treadwell's adventure in order to posit some hackneyed, sophomoric philosophical dichotomy that was completely beyond Timothy's intentions and perhaps comprehension as well. But without Herzog's added abstract speculations, Treadwell's undertakings lose a great deal of larger significance and withstanding permanence. Without Herzog interjecting his own balanced suppositions, we're unable to see just how Treadwell's acts of defiance are not only acts of pure lunacy, but acts of poignant proclivity as well. It would indeed be easy to categorize Treadwell's activities as little more than the product of years of alcohol and drug abuse coupled with prolonged bouts of frustration and isolation, but it is infinitely more difficult to recognize his actions as a manifestation of a much deeper, exclusively human predilection to create meaning in one's life by imposing order upon one's natural surroundings. Werner Herzog's (and it is Werner Herzog's) Grizzly Man is not only a fervent rebuke of the unfeasible insanity of Timothy Treadwell's hopeless optimism, but also a tempered celebration of humanity's imperishable stubbornness, arrogance, and inspiring audacity.

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Recent Posts (updated daily)User
Lost a little respect for Werner Herzog when... beno21
It's a hoax film (watch it again with an open mind) lawrenceb56
Anyone else really hate him by the end? AndrewBlackie
anyone know of any crime scene pics? (GRAPHIC IMAGE) AgentSekhmet
Closet Homosexual aakash-karkare
Why did nobody try to get this man mental help?? forallpracticalpurposes1
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