| Videos |
| Costas Mandylor | ... | Matt | |
| Michael Ironside | ... | Levering | |
| Alexandra Paul | ... | Susan | |
| Michael Boisvert | ... | Ace | |
| Eric Breker | ... | RJ | |
| Ron Selmour | ... | Frank | |
| Pascale Hutton | ... | Karen | |
| Zak Santiago | ... | Jose | |
| Robert Moloney | ... | Jacob | |
| Kaj-Erik Eriksen | ... | Joey | |
| Matthew Bennett | ... | Agent Walters | |
| Andrew Kavadas | ... | Tommy | |
| Kevin McNulty | ... | Neil Kavanagh | |
| William MacDonald | ... | Site Director | |
| Tom Heaton | ... | Hal | |
| William S. Taylor | ... | Mayor (as William Taylor) | |
| Claire Riley | ... | Newscaster | |
| Louis Chirillo | ... | Paulie | |
| Rob Morton | ... | Home Owner | |
| rest of cast listed alphabetically: | |||
| Jimmy Martins | ... | Policeman (uncredited) | |
Directed by | |||
| Robert Lee | |||
Writing credits(in alphabetical order) | ||
| Sarah Watson | writer | |
Produced by | |||
| Jaye Gazeley | .... | line producer | |
| Harvey Kahn | .... | executive producer | |
| Harvey Kahn | .... | producer | |
| Robert Lee | .... | producer | |
| Fernando Szew | .... | executive producer | |
Original Music by | |||
| Michael Richard Plowman | |||
Cinematography by | |||
| Adam Sliwinski | |||
Film Editing by | |||
| Bethany Handfield | |||
Casting by | |||
| Lindsay Chag | |||
Production Design by | |||
| Michael Nemirsky | |||
Set Decoration by | |||
| George Neuman | |||
Costume Design by | |||
| Andrea Desroches | |||
Makeup Department | |||
| Sarah Bakker | .... | special makeup effects artist | |
| Vanessa Giles | .... | key makeup artist | |
| Rachel Jones | .... | key hair stylist | |
| Ryan Nicholson | .... | prosthetic effects designer | |
| Sande Rees | .... | special makeup effects artist | |
Production Management | |||
| Christina Bulbrook | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| Eunice Choi | .... | third assistant director | |
| Douglas Mitchell | .... | first assistant director | |
| Ivana Siska | .... | second assistant director | |
Art Department | |||
| Evan Allen | .... | props | |
| Rich Priske | .... | set dresser | |
| Jordan Roberts | .... | on-set dresser | |
Sound Department | |||
| Anke Bakker | .... | sound supervisor | |
| Kris Casavant | .... | sound effects editor | |
| David M. Cyr | .... | sound mixer | |
| Dave Hibbert | .... | sound re-recording mixer | |
| Gord Hillier | .... | sound re-recording mixer | |
| Graeme Hughes | .... | sound re-recording mixer | |
| Andre Iwanchuk | .... | adr editor | |
| Andre Iwanchuk | .... | dialogue editor | |
| Tony Kucenski | .... | adr engineer | |
| Philip J. MacCormick | .... | boom operator | |
| Glen Noseworthy | .... | adr mixer | |
| Todd R. Mason | .... | foley editor (uncredited) | |
| Todd R. Mason | .... | sound effects recordist (uncredited) | |
Visual Effects by | |||
| Mark Rasmussen | .... | visual effects supervisor | |
Stunts | |||
| Brett Armstrong | .... | stunt coordinator | |
| Gerald Paetz | .... | stunt double: Costas Mandylor | |
Camera and Electrical Department | |||
| Dan Basaraba | .... | dolly grip | |
| Bill Baxter | .... | gaffer | |
| Simon Bayley | .... | lamp operator | |
| John Brown | .... | lamp operator | |
| Raimey Casiro | .... | second assistant camera: "b" camera | |
| James M. Jackson | .... | lamp operator | |
| Martin Kostian | .... | grip | |
| Todd MacLand | .... | best boy electric | |
| Lee Mills | .... | lamp operator | |
| Craig Perell | .... | grip | |
| Levi Woods | .... | trainee assistant camera | |
| Darek Wyszynski | .... | first assistant camera | |
Casting Department | |||
| Larkin MacKenzie-Ast | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Karen Anshelm | .... | truck costumer | |
Transportation Department | |||
| John Sorenson | .... | driver: cast | |
Other crew | |||
| Christina Bulbrook | .... | production coordinator | |
| Cathy Fullerton | .... | production assistant | |
| David S. Fullerton | .... | assistant location manager | |
| Warren Dean Fulton | .... | set key production assistant | |
| Nancy Heller | .... | assistant accountant | |
| Reggie Hubble | .... | production office assistant | |
| Tracy Lai | .... | laboratory technician | |
| Hyla Nicholson | .... | production office assistant | |
| Svatia Sakarova | .... | accountant | |
| Shane B. Scott | .... | script supervisor | |
| Denise Szabo | .... | craft service | |
| Denise Szabo | .... | first aid | |
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Someone should write a book on how to make a Sci-Fi original movie. And Disaster Zone: Volcano in New York could be chapter one.
First question to the film makers: there were two fairly good Hollywood volcano movies in the 1990s. They weren't classic suspense / disaster films, but they had some ripping moments, good popcorn stuff. Did you really decide to make DZ:ViNW inferior to those films in every category? I mean, it must have been a conscious decision because that is the end product. It succeeds on not a single level.
Second question: since you have no inkling of how to build suspense, can't you admit that to yourself and give yourself an education; couldn't you at least hunker down with a dozen Hitchcock films and study how a master does it? He doesn't hit you over the head with LOTS of shouting of inanities ("It's going to blow," "We've got to get out of here," etc.) or have music hitting EVERY SINGLE MOMENT with some scene-to-scene scoring? Music is a spice, not the whole meal. DZ:ViNW's use of music is like chewing gritty pepper.
Did I mention "hitting"? My eyeballs were hit and hit and hit again with the most "look at me" use of photographic annoyances extant. Jiggle zoom in. Jiggle zoom out. Jiggle pan. Jiggle. Jiggle. Jiggle. And do it all every single second. It doesn't look like hand-held, either. It looks like the camera was attached to a rock polisher, a cake mixer, a pile driver whatever was handy that could make the viewer queasy, annoyed, and distracted. So much for mounting tension.
And the poor actors (actually some pretty good actors). This brings me to question three: why not make it a silent picture since you have no ear for dialogue or how people actually speak and act in dramatic situations? Seriously, the best actors in the world can't make lead look like diamonds. Of course, caring about these actors in their roles is a joke. No matter how close they are to searing death, no matter how precarious their emotional circumstances, I could only chuckle.
To summarize: DZ:VINW is really no worse, no better than the other under-shoe feculence of the Sci-Fi Channel (not counting it's rather good series, Stargate and Battlestar).
I'm sure the film makers are nice people and will do good work elsewhere. But there's something about the Sci-Fi Channel that contractually forces talent to make dreck.