| Jeff Dunham | ... | Himself / Walter / Achmed the Dead Terrorist / Melvin the Superhero Guy / Peanut / José Jalapeño on a Stick | |
| rest of cast listed alphabetically: | |||
| Paige Dunham | ... | Herself | |
Directed by | |||
| Michael Simon | |||
Writing credits(in alphabetical order) | ||
| Jeff Dunham | ||
Produced by | |||
| Judi Brown-Marmel | .... | executive producer | |
| Myra Byrne | .... | associate producer | |
| Jeff Dunham | .... | executive producer | |
| Tim Gaydos | .... | line producer | |
| Robert Hartmann | .... | executive producer | |
| Steve Kroopnick | .... | executive producer (as Stephen Kroopnick) | |
| Steve Marmel | .... | producer | |
| Stu Schreiberg | .... | executive producer | |
Film Editing by | |||
| Dave Harrison | |||
Production Design by | |||
| Bruce Ryan | |||
Art Direction by | |||
| Ben Anderson | |||
Production Management | |||
| John Bravakis | .... | executive in charge of production | |
| Sarah Briggs | .... | post-production supervisor | |
| Mike Nagle | .... | production manager | |
Art Department | |||
| Mickey Berra | .... | staging supervisor | |
| Matthew McNeil | .... | title sequence designer (as Matt McNeil) | |
Sound Department | |||
| Al Centrella | .... | sound mixer | |
| Jim Faraci | .... | sound re-recording mixer | |
| Dan Gerhard | .... | front-of-house audio | |
| Bryan Leskowicz | .... | audio assist (as Bryan Leskowitz) | |
| Steve Weinkam | .... | audio assist | |
Camera and Electrical Department | |||
| Alan Adelman | .... | lighting designer | |
| William D. Barber | .... | camera operator (as Bill Barber) | |
| Helene Haviland | .... | camera operator | |
| Steve Leif | .... | gaffer (as Steven Leif) | |
| John Nash | .... | camera operator | |
| Darryl Player | .... | camera operator | |
| Joey Walker | .... | jib operator | |
Editorial Department | |||
| Peter Bentley | .... | assistant editor | |
| Luke Szabo | .... | on-line editor | |
| Tim Wasmundt | .... | assistant editor | |
Other crew | |||
| Mickey Berra | .... | staging supervisor | |
| J.W. Griffith | .... | technical director | |
| Mark McKenna | .... | stage manager | |
| Matthew McNeil | .... | graphic title sequence designer | |
| Robin Mishkin | .... | associate director (as Robin Abrams) | |
| Robin Tate | .... | promoter | |
Thanks | |||
| Judi Brown-Marmel | .... | special thanks | |
| Ashlyn Dunham | .... | special thanks | |
| Bree Dunham | .... | special thanks | |
| Howard Dunham | .... | special thanks | |
| Joyce Dunham | .... | special thanks | |
| Kenna Dunham | .... | special thanks | |
| Paige Dunham | .... | special thanks | |
| Robert Hartmann | .... | special thanks | |
| John Power | .... | special thanks | |
| Stu Schreiberg | .... | special thanks | |
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| Jeff Dunham: Arguing with Myself | Rover's Big Chance | Screen Snapshots Series 21, No. 7 | Eddie Murphy Delirious | Richard Pryor: Live in Concert |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb USA section |
Dunham has to be one of the funniest comedians working today, and note I didn't specify just as a ventriloquist. Having said that, I have to pause for a moment to reflect on something: Achmed the Dead Terrorist is hysterical, and it's probably better to laugh at your enemy than fear him, but I think Dunham pushes the envelope a little too far with this character. Ditto Jose Jalapeno. I am amazed Mexicans haven't risen up in revolt, except they have no voice yet in America. Jose reminds me of Bill Dana's Jose Jimenez character or for that matter, the Taco Bell dog. Or even Speedy Gonzalez and his siesta-loving buddies. So maybe Dnham is the equivalent of Triumph the Insult Comic Dog or Lisa Lampanelli, both of whom also push the envelope to the point of discomfort -- even while they have me bending over in spasms of laughter. But it's easy for me, a white, English-speaking, Christian male, to laugh at what in truth is thinly veiled racial humor. Imagine Achmed as a Jewish moneylender or Jose as an Italian organ grinder. Not so funny now, huh? Characters like Walter and Bubba, on th other hand, are right out of the Edgar Bergen and Charlie McCarthy days, although I don't think I ever heard Bergen's puppets get that rude. Peanut is another matter entirely. One way or the other, I believe Dunham is a truly gifted performer even if his humor does get pretty vexsome. The guy is pulling in $30 million a year, so he must be doing something right. Someone here has suggested characters like Achmed and Jose Jalapeno are simply playing on American ignorance, which is exactly what Borat does. But I'm not so sure this is true in Dunham's case.