| Johnny Depp | ... | Himself | |
| Tim Burton | ... | Himself | |
| Alan Rickman | ... | Himself | |
| Helena Bonham Carter | ... | Herself | |
| Timothy Spall | ... | Himself | |
| Richard D. Zanuck | ... | Himself | |
| Laurie MacDonald | ... | Herself | |
| Walter F. Parkes | ... | Himself (as Walter Parkes) | |
| Sacha Baron Cohen | ... | Himself / Signor Adolfo Pirelli (archive footage) | |
| Jamie Campbell Bower | ... | Himself | |
| Jayne Wisener | ... | Herself | |
| John Logan | ... | Himself | |
| Stephen Sondheim | ... | Himself | |
| Peter Owen | ... | Himself | |
| Derek Frey | ... | Himself | |
| Bruce Witkin | ... | Himself | |
| Michael Higham | ... | Himself (as Mike Higham) | |
| Colleen Atwood | ... | Herself | |
| Dante Ferretti | ... | Himself | |
| Katharine Tidy | ... | Herself (as Katherine Tidy) | |
| Dariusz Wolski | ... | Himself | |
| Ed Sanders | ... | Himself (as Edward Sanders) | |
| David Balfour | ... | Himself | |
| Joss Williams | ... | Himself |
| Episode Crew |
Produced by | |||
| Kellie Allred | .... | executive producer | |
| Heather David | .... | supervising producer | |
| Sam Hurwitz | .... | executive producer | |
| Eli Loghavi | .... | associate producer | |
| Jonas Stolpe | .... | producer | |
Cinematography by | |||
| Paul Bernard | |||
| James Cronin | |||
| Derek Frey | |||
| Larry Gaudette | |||
| Sean Hill | |||
| Jeff Hodges | |||
| David Kempner | |||
| Denis Pollitt | |||
| Justin Savage | |||
Film Editing by | |||
| Steven Kochones | |||
Makeup Department | |||
| Sharon Black | .... | makeup artist | |
| Debbie San Filippo | .... | makeup artist | |
| Marianna Najjar | .... | makeup artist | |
| Janette Nielsen | .... | makeup artist | |
Production Management | |||
| Shannon K. Morzov | .... | project manager | |
| Krystin Weaver | .... | post-production supervisor | |
| Michael Wuetcher | .... | post-production supervisor | |
Art Department | |||
| Harrison Lee | .... | graphics | |
Sound Department | |||
| Brad Bergbom | .... | sound | |
| Keith Branch | .... | sound | |
| Matt Clark | .... | sound | |
| James Cronin | .... | sound | |
| Doug Donald | .... | sound | |
| Matt Green | .... | sound | |
| John O'Hare | .... | sound | |
| Chris Woods | .... | sound | |
| Gary Zacuto | .... | sound mixer | |
Editorial Department | |||
| Christina Castro | .... | assistant editor | |
| Zachary Dehm | .... | post-production assistant | |
| Dan Keller | .... | additional on-line editor | |
| Marc Pilvinsky | .... | on-line editor | |
Other crew | |||
| Sharon Chin | .... | assistant to producers | |
| Sarah Clark | .... | unit publicist | |
| Jordan Crompton | .... | assistant to producers | |
| Kirk Dauer | .... | production accountant | |
| Sara Karnowski | .... | assistant to producers | |
| Carolyn Smith | .... | production coordinator | |
Thanks | |||
| Tim Burton | .... | special thanks | |
| Derek Frey | .... | special thanks | |
| Angela Lansbury | .... | special thanks | |
| Stephen Sondheim | .... | special thanks | |
| Martha Swope | .... | special thanks | |
| Main series | Episode guide | Full cast and crew |
| Company credits | IMDb TV section | IMDb Documentary section |
Every facet of film-making that went into the filming of SWEENEY TODD: THE DEMON BARBER OF FLEET STREET is examined, rather briefly, in this episodic behind-the-scenes look at the Tim Burton/Johnny Depp collaboration for the screen version of the Stephen Sondheim Broadway musical.
JOHNNY DEPP refers to it as a "marriage of two completely different worlds" (the mix of music and horror) and ALAN RICKMAN describes it as a "Gothic black comic opera".
The 25-minute documentary is divided into brief segments that describe how and why the film was made from the standpoint of director Burton and composer Sondheim. Depp and Helena Bonham Carter and Alan Rickman, along with other members of the cast, give their own viewpoints.
The segments are: The Cast, The Vision (how it all started with a penny dreadful popularity in ye Olde England), The Music, The Costume Design (very interesting segment on attiring the entire cast), and The Production Design (which meant creating on sound stages the entire Fleet Street atmosphere of Victorian England).
Summing up: Goes by so quickly, you end up wishing for even more information.