Good Night, and Good Luck. (2005)

Director:

George Clooney

Writers (WGA):

George Clooney (written by) &
Grant Heslov (written by)

Release Date:

14 October 2005 (USA)

Genre:

Drama | History

Tagline:

We will not walk in fear of one another.

Plot:

Broadcast journalist Edward R. Murrow looks to bring down Senator Joseph McCarthy.

Plot Keywords:

News | Red Scare | No Opening Credits | Interview | Docudrama

Awards:

Nominated for 6 Oscars. Another 22 wins & 60 nominations

Cast

Jeff Daniels	...	Sig Mickelson
David Strathairn	...	Edward R. Murrow
Alex Borstein	...	Natalie
Rose Abdoo	...	Millie Lerner
Peter Martin	...	Pianist
Christoph Luty	...	Bassist
Jeff Hamilton	...	Drummer
Matt Catingub	...	Saxophonist
Tate Donovan	...	Jesse Zousmer
Reed Diamond	...	John Aaron
Matt Ross	...	Eddie Scott
Patricia Clarkson	...	Shirley Wershba
Robert Downey Jr.	...	Joe Wershba
George Clooney	...	Fred Friendly
Thomas McCarthy	...	Palmer Williams (as Tom McCarthy)
Glenn Morshower	...	Colonel Anderson
Don Creech	...	Colonel Jenkins
Helen Slayton-Hughes	...	Mary
Grant Heslov	...	Don Hewitt
Robert John Burke	...	Charlie Mack
Ray Wise	...	Don Hollenbeck
Robert Knepper	...	Don Surine
Dianne Reeves	...	Jazz Singer
Frank Langella	...	William Paley
Simon Helberg	...	CBS Page
JD Cullum	...	Stage Manager
Peter Jacobson	...	Jimmy
John Kepley	...	CBS Lawyer #1
David Christian	...	Attorney (as David Paul Christian)
Joyce Lasley	...	Make-up Girl
rest of cast listed alphabetically:
Felix J. Boyle	...	Prominant Chicagoan (uncredited)
Roy M. Cohn	...	Himself (archive footage) (uncredited)
Joseph Dowd	...	Reporter (uncredited)
Robert F. Kennedy	...	Himself (archive footage) (uncredited)
Joseph McCarthy	...	Himself (archive footage) (uncredited)
John L. McClellan	...	Himself (archive footage) (uncredited)
Katharine Phillips Moser	...	Jesse's Wife (uncredited)
Bruna Raynaud	...	Sig Mickelson's Wife (uncredited)
Joseph N. Welch	...	Himself (archive footage) (uncredited)

Directed by
George Clooney

Writing credits (WGA)
George Clooney		(written by) &
Grant Heslov		(written by)

Produced by
Marc Butan	....	executive producer
Ben Cosgrove	....	executive producer
Mark Cuban	....	executive producer
Jennifer Fox	....	executive producer
Simon Franks	....	co-producer
Samuel Hadida	....	co-executive producer
Victor Hadida	....	co-executive producer
Barbara A. Hall	....	co-producer
Grant Heslov	....	producer
Zygi Kamasa	....	co-producer
Kiyotaka Ninomiya	....	co-producer
Chris Salvaterra	....	executive producer
Jeff Skoll	....	executive producer
Steven Soderbergh	....	executive producer
Todd Wagner	....	executive producer

Cinematography by
Robert Elswit

Film Editing by
Stephen Mirrione

Casting by
Ellen Chenoweth

Production Design by
James D. Bissell

Art Direction by
Christa Munro

Set Decoration by
Jan Pascale

Costume Design by
Louise Frogley

Makeup Department
Ron Berkeley	....	key makeup artist
Barbara Cantu	....	hair stylist
Ginger Damon	....	hair stylist
Carolyn Elias	....	hair stylist
Kimberly Felix	....	assistant makeup artist (as Kimberly Felix Burke)
Edward Morrison	....	personal hair stylist
Violet Ortiz	....	hair stylist
Waldo Sanchez	....	hair department head
Waldo Sanchez	....	makeup department head
Kathleen Vercruysse	....	assistant makeup artist
Joy Zapata	....	key hair stylist
Elena Arroy	....	additional makeup artist (uncredited)
Carol Collini	....	additional makeup artist (uncredited)

Production Management
Barbara A. Hall	....	unit production manager
Peter Phillips	....	post-production supervisor

Second Unit Director or Assistant Director
Melissa V. Barnes	....	second assistant director
Richard Gonzales	....	second second assistant director
David J. Webb	....	first assistant director (as David Webb)

Art Department
Ellis J. Barbacoff	....	assistant property master
Tony Bonaventura	....	property master
Tony Buccola	....	art department production assistant
Alan Burg	....	set dresser
Louise Del Araujo	....	lead
Robert Danté Denne	....	paint supervisor
Duane Fellows	....	painter
L. David Gordon	....	draper
Karen Higgins	....	construction coordinator
Steven Kissick	....	general foreman
Emily Lawless	....	painter
Gregory Lynch Jr.	....	carpenter
Charlotte Raybourn	....	art department coordinator
Richard Robinson	....	propmaker
Mark Rodriguez	....	set dresser
Susie Thompson	....	set dresser
Brian Tipton	....	gang boss

Sound Department
Lance Brown	....	sound re-recording mixer
Robert Corti	....	audio restorer
Susan Dudeck	....	dialogue editor
Aaron Glascock	....	sound re-recording mixer
Aaron Glascock	....	supervising sound editor
Eric Gotthelf	....	adr mixer
Randall L. Johnson	....	boom operator
Pamela Kahn	....	foley artist
Oscar Mitt	....	assistant sound editor
Alyson Dee Moore	....	foley artist
Rocky Quiroz	....	utility sound
John Roesch	....	foley artist
Curt Schulkey	....	sound re-recording mixer
Curt Schulkey	....	supervising sound editor
John Joseph Thomas	....	sound effects editor
Edward Tise	....	production sound mixer

Special Effects by
Ron Bolanowski	....	special effects coordinator
Roy K. Cancino	....	special effects technician

Visual Effects by
Ernie Camacho	....	visual effects compositor
Trey Freeman	....	visual effects compositor
Paul Hill	....	visual effects compositor
Joshua Jordan	....	visual effects compositor
John Kearns	....	digital restoration
Kenney Kimble	....	visual effects compositor
David Lebovitz	....	visual effects compositor
Eric Myers	....	visual effects compositor
Brad Sutton	....	digital restoration
Caoilfhionn Sweeney	....	visual effects producer
Wilson Tang	....	digital restoration

Camera and Electrical Department
John Amorelli	....	rigging electrician
Mike Amorelli	....	rigging electrician
Colin Anderson	....	camera operator
Colin Anderson	....	steadicam operator
Douglas Bard	....	rigging electrician
Scott Barnes	....	lighting programmer
Michael Bauman	....	gaffer
Arthur Borquez	....	rigging grip
J.A. Byerly	....	rigging gaffer
Mitch Byerly	....	electrician
Walter Byrnes	....	additional grip
Robert Clancey	....	rigging grip
John T. Connor	....	assistant camera
Eric Cross	....	dolly grip
Thomas M. Dangcil	....	electrician
P.J. Gaynard	....	rigging electrician
Ivan Gonzalez	....	grip
Melinda Sue Gordon	....	still photographer
Barry Idoine	....	first assistant camera: "a" camera
Michael Kenner	....	key grip
Jeff Kunkel	....	dolly grip
Paul Lambiase	....	grip
Michael Lyon	....	additional electrician
Damon Marcellino	....	set lighting technician
Mark Mele	....	rigging electrician
Thomas Nead	....	rigging electrician
Simone Perusse	....	best boy electric
Michael Pinkey	....	camera operator
Tom Schurke	....	video playback supervisor
David D. Scott	....	video engineer
Ryan Shopay	....	set lighting
Larissa Supplitt	....	second assistant camera: "a" camera
Michael Tolochko	....	electrician
Matthew W. Williams	....	film loader
Ryan Williams	....	camera production assistant
Earl C. Williman	....	rigging best boy

Casting Department
Rachel Tenner	....	casting associate

Costume and Wardrobe Department
Lynda Foote	....	costume supervisor
Deborah Latham	....	costumer
Kanani Wolf	....	set costumer

Editorial Department
Matt Absher	....	assistant editor
Douglas Crise	....	first assistant editor
Stephen Nakamura	....	digital film colorist
Mark Sahagun	....	digital intermediate editor
Gregg Schaublin	....	digital intermediate producer
Brian Ufberg	....	assistant editor

Music Department
Kevin Koloff	....	music legal
Peter Rotter	....	music contractor
Allen Sviridoff	....	music supervisor

Transportation Department
Brenda Ryan	....	driver

Other crew
Lonnie Bosak	....	production assistant
Brinton Bryan	....	key set production assistant
Steve Calalang	....	scanning technician
Tad Driscoll	....	production accountant
Tara Duncan	....	assistant: Mr. Heslov
Carey Field	....	set production assistant
Marc Gaffen	....	production assistant
Bill Greenfield	....	production assistant
Mats Holmberg	....	stage set constructor
Shea Kammer	....	assistant accountant
Richard Kapenas	....	film restoration
Michelle Lankwarden	....	assistant production coordinator
Angel McConnell	....	assistant: Mr. Clooney
Chris Munday	....	location manager
Diane H. Newman	....	script supervisor
Andrew Noren	....	additional film researcher
Lisa Oberhofer	....	liaison: BBC and CBS
Kenn Rabin	....	archival researcher
Lorraine Vos	....	assistant accountant
Ari Weiss	....	production assistant
Joseph Wershba	....	consultant (as Joe Wershba)
Shirley Wershba	....	consultant
Nicole Widmyer	....	production coordinator
Jeff Winn	....	key craft service
Christian Zak	....	archive scanning producer
Vanessa Grayson	....	utility stand-in (uncredited)

Thanks
Jason Krieger	....	special thanks

Production Companies

• Warner Independent Pictures (WIP)
• 2929 Productions
• Participant Productions
• Davis-Films
• Redbus Pictures
• Tohokushinsha Film
• Section Eight
• Metropolitan (MTA) (uncredited)

Distributors

• 2929 International (2004) (non-USA) (all media) (sales)
• Ascot Elite Entertainment Group (2006) (Switzerland) (theatrical)
• Becker Group (2006) (Australia) (theatrical)
• Cathay-Keris Films (2006) (Singapore) (theatrical)
• Distribution Company (2006) (Argentina) (theatrical)
• Intercinema Art Agency (2006) (Russia) (theatrical)
• Kinowelt Filmverleih (2006) (Germany) (theatrical)
• Kinowelt Home Entertainment (2006) (Germany) (DVD)
• Lionsgate (2006) (UK) (all media)
• Manga Films (2006) (Spain) (theatrical)
• Mediafilm (2006) (Italy) (theatrical)
• Metropolitan Filmexport (2006) (France) (theatrical)
• Odeon (2006) (Greece) (theatrical)
• Palace Pictures (2006) (Czech Republic) (theatrical)
• Pandasia Entertainment (2006) (Taiwan) (theatrical)
• Paradiso Entertainment (2006) (Netherlands) (theatrical)
• Paradiso Home Entertainment (2006) (Netherlands) (DVD)
• Paris Filmes (2006) (Brazil) (theatrical)
• Paris Filmes (2006) (Brazil) (DVD)
• Pinema (2005) (Turkey) (theatrical)
• Pony Canyon (2006) (Japan) (DVD)
• Prorom Media-Trade (2005) (Romania) (theatrical)
• Redbus Film Distribution (2006) (UK) (theatrical)
• Scanbox Entertainment (2006) (Finland) (theatrical)
• Scanbox Entertainment (2006) (Finland) (DVD)
• Scanbox Sweden (2006) (Sweden) (theatrical)
• Sony Pictures Home Entertainment (2006) (Canada) (DVD)
• Stadtkino Verleih (2005) (Austria) (theatrical)
• TVA International (2006) (Canada) (DVD)
• Tohokushinsha Film (2006) (Japan) (theatrical)
• Videovision Entertainment (2006) (South Africa) (theatrical)
• Warner Home Video (2006) (USA) (DVD)
• Warner Independent Pictures (WIP) (2005) (USA) (theatrical)

Special Effects

• Technicolor Creative Services (visual effects)

Other Companies

• Aargil Video  archival film transfers
• BBC Motion Gallery  archive footage
• CBS Studio Center  special thanks
• Chapman / Leonard Studio Equipment  camera cranes and dollies
• Cineric  archival sound transfers
• Concord Jazz  soundtrack
• EC Prop Rentals  props set dressing (as EC Props)
• Falco Ink.  publicity
• History For Hire  vintage television and studio equipment
• Landov  archival footage
• NBC News Archives  archival footage
• Original Filmvideo Library  archival footage
• Panavision  camera and lenses
• Pivotal Post  Avid editing equipment provided by
• Pivotal Post  HD services
• Pivotal Post  editorial facilities
• Rogers & Cowan  publicity
• Scarlet Letters  main and end titles
• Sessions Payroll Management  extras payroll services
• Silver Screen Caterers  catering
• Sonoton Musik-Verlag  music
• TM Motion Picture Rentals  additional lighting equipment (as TM Motion Picture Equipment Rentals)
• Technicolor Digital Intermediates  digital intermediate
• Technicolor  archival film scanning
• Technicolor  color
• Technicolor  prints
• Trackwise at Full House Productions  archival sound transfers
• Warner Bros. Sound  sound re-recording services provided by (as Warner Bros. Post Production Sound)
• West Coast Theatrical  additional lighting equipment (as Branham-West Coast Theatrical)

MPAA:

Rated PG for mild thematic elements and brief language.

Runtime:

93 min

Country:

USA | UK | France | Japan

Language:

English

Color:

Black and White

Aspect Ratio:

1.85 : 1

Sound Mix:

DTS | Dolby Digital | SDDS

Certification:

Singapore:PG | Germany:o.Al. | Spain:13 | Finland:S | Hungary:14 | Australia:PG | Brazil:14 | Sweden:Btl | Ireland:PG | South Korea:12 | Switzerland:7 (canton of Vaud) | Argentina:Atp | USA:PG (certificate #41985) | Canada:PG (Alberta/Manitoba/Nova Scotia) | Iceland:L | Malaysia:18PL (DVD) | Malaysia:(Banned) (theatrical) | UK:PG | Portugal:M/12 | Canada:G (British Columbia/Ontario/Quebec) | Switzerland:7 (canton of Geneva)

Filming Locations:

CBS Television City - 7800 Beverly Blvd., Fairfax, Los Angeles, California, USA

Company:

Warner Independent Pictures (WIP)

Trivia:

Second in the poll for FIPRESCI GRAND PRIX OF THE YEAR 2006.

Goofs:

Incorrectly regarded as goofs: It was originally thought by many viewers that the "CBS News" sign on the wall is set in Helvetica, a typeface which was first created in 1957, three years after the Joseph McCarthy broadcast. Subsequent investigation by typographers established that the typeface is actually correct and is Akzidenz Grotesk.

Quotes:

[first lines]
Sig Mickelson: In 1935, Ed Murrow began his career with CBS. When World War II broke out, it was his voice that brought the Battle of Britain home to us, through his "This Is London" radio series. He started with us all, many of us here tonight, when television was in its infancy...

Movie Connections:

Featured in Boffo! Tinseltown's Bombs and Blockbusters (2006)

Soundtrack:

TV is the Thing This Year

America on Trial in GOOD NIGHT, AND GOOD LUCK

Actor/Director George Clooney pays tribute to truth and decency amid distrust and uncertainty in the Communist witchhunts with his recreation of its greatest hero, the newsman of newsmen, Edward R. Murrow, in Good Night, and Good Luck.

In the early 1950's, the Communist scare and the subsequent subversion of citizens' rights was at its apex with blacklists and rampant accusations resulting in ruined lives and careers. Edward R. Murrow (David Strathairn) was the grand master of the news airwaves in the infantile medium of television. With his show's director, Fred Friendly (George Clooney) and his production team, he picks one obscure news item regarding an Air Force serviceman who is dismissed due to unspecified charges. Murrow and CBS essentially take on the US Air Force amid this climate of suspicion and presumed guilt. Later, Murrow's team takes on Senator Joseph McCarthy by making critical comments of the senator's own words and contradictions. McCarthy retaliates with accusations of Murrow's supposed association with un-American groups just as the parent network, CBS, reels under sponsorship pressure and the unpredictable whims of network president William Paley (Frank Langella). As Murrow and his own staff come under tense scrutiny by McCarthy and even CBS, public reaction and the response of the print media come to the forefront.

Nothing can compare to the words that were written and spoken with such conviction and honesty as those uttered by Murrow. The title of the movie is a direct quote that Murrow employed to sign off each week at the close of his interview shows. The filmmakers (including director Clooney and writers Clooney and Grant Heslov) were wise to let the text stand on its own. They also benefit from good performances from a cast headed by Strathairn (L.A. Confidential, A League of Their Own), a journeyman actor who has finally found a core role to call his own, and he makes the most of it. He gets the mannerisms and cadence down quite convincingly, and while Strathairn may not look exactly like Murrow, he has the persona nailed. Frank Langella (Dave) is excellent as the mercurial Paley whose support of Murrow was tenuous at best. Ray Wise (Twin Peaks) registers in what could have been a more defined role as a doomed newsman whose guilt by association triggers some life changing events. Patricia Clarkson (The Station Agent) and Robert Downey Jr. (Chaplin) as secretly married staffers, Joe and Shirley, round out the cast. Ironically, perhaps the best performance can be attributed to McCarthy himself as newsreels offer a fascinating, perverse glance at the infamous politician whose flamboyance and dogged theatrics doomed the careers of many government officials and film or television actors. The duel between Murrow and McCarthy seems like two heavyweights going at it verbally in the public arena.

The cinematography by Robert Elswit (Magnolia) is crisp and starkly lit in black and white to evoke the past. The production design and costumes are consistent with the period. Just the sight of newsmen typing on old style typewriters or production assistants carrying around film reels instead of videotape or discs is amusing. The editing by Stephen Mirrione (Traffic, 21 Grams) is tight and well paced. At times the studio broadcasts of a female blues singer bridges various sequences in theme and mood. The broadcast of a live network news program is staged with realism and with the frenzy and excitement that only live television could bring. One wonders what TV veterans like Sidney Lumet or Robert Altman could have brought to the table.

Murrow's show was kind of a precursor to the current granddaddy of all prime time news shows, 60 Minutes. It was interesting to see that his was not a perfect career having to mix fluffy showbiz interviews with such personalities as Liberace on his Person-to-Person show with legitimate news reports. At 93 minutes, the film surprisingly seems a bit short. You almost feel like this is a big budget episode of the famous You Are There reenactment shows. The story ends almost abruptly as it begins being bookended by a formal event honoring Murrow in 1958.

A couple of things don't quite work in the film. The characters of Joe and Shirley must come to terms with the network's policy forbidding marriage among its coworkers, but this subplot doesn't significantly serve to move the story forward. Clooney shows a workman-like approach to directing the film but it just doesn't grab you as emotionally as you would like. You sit there entranced by the history but are never fully given to the pathos of its characters. Instead, the film becomes almost a quasi-documentary bereft of much feeling.

As previous films have dealt with the Red Scare and blacklists, this film compares favorably with The Front and the great television movie Fear on Trial. Although the Soviet Union was a major threat to the United States during the Cold War, the accusatory enemy from within was perhaps as great a menace. The implications and parallels to today's political climate and the role television has in shaping perception are clearly the point Clooney and gang are trying to make. Murrow's formal speech, which begins and ends the film's story, is itself a prophetic and sobering commentary and indictment of the possibilities of television and foreshadows the future with amazing prescience. It shows that one man made a difference. Such is the testament to a heroic reporter whose integrity this film manages to capture, albeit in a brief history lesson.