| Photos (See all 44 | slideshow) | Videos (see all 16) |
| Tim Allen | ... | Narrator (voice) |
Directed by | |||
| Alastair Fothergill | |||
| Mark Linfield | |||
Writing credits | ||
| Alastair Fothergill | (original concept) & | |
| Mark Linfield | (original concept) | |
| Mark Linfield | (written by) & | |
| Alastair Fothergill | (written by) & | |
| Don Hahn | (written by) | |
Produced by | |||
| Alastair Fothergill | .... | producer | |
| Don Hahn | .... | executive producer | |
| Mark Linfield | .... | producer | |
| Connie Nartonis Thompson | .... | associate producer | |
| Alix Tidmarsh | .... | producer | |
Original Music by | |||
| Nicholas Hooper | |||
Cinematography by | |||
| Martyn Colbeck | (co-cinematographer) | ||
| Bill Wallauer | (co-cinematographer) | ||
Film Editing by | |||
| Andy Netley | |||
Production Management | |||
| Liz Stevens | .... | production manager | |
| Emma Zee | .... | post-production supervisor | |
Sound Department | |||
| Matthew Gough | .... | sound re-recording mixer | |
| Simon Hill | .... | mix technician | |
| Kate Hopkins | .... | supervising sound editor | |
| Philip Jenkins | .... | foley mixer | |
| Doc Kane | .... | narration mixer | |
| Kristin Mosher | .... | sound recordist: Uganda | |
| Tim Owens | .... | sound editor | |
| Johnathan Rush | .... | sound mix technician | |
| Jack Stew | .... | foley artist | |
| David Turner | .... | sound facility director | |
| David Turner | .... | sound project manager | |
| Andrew Wilson | .... | sound re-recording mixer | |
Visual Effects by | |||
| Lorraine Johnson | .... | film recording supervisor | |
Camera and Electrical Department | |||
| Michael Kelem | .... | aerial photography | |
| Samuel Munene | .... | assistant camera: Uganda | |
| Tim Shepherd | .... | time-lapse photography | |
| Warwick Sloss | .... | additional photography | |
| Bill Wallauer | .... | principal photography: Uganda | |
Editorial Department | |||
| Dan Clamp | .... | technical manager | |
| Wesley Hibberd | .... | digital intermediate assistant | |
| Luke Rainey | .... | colorist | |
Music Department | |||
| Gordon Davidson | .... | assistant score mixing engineer | |
| Gordon Davidson | .... | scoring pro tools engineer | |
| Andrew Dudman | .... | music recording engineer | |
| Andrew Dudman | .... | music scoring mixer | |
| Allan Jenkins | .... | music editor | |
| Alastair King | .... | conductor | |
| Alastair King | .... | orchestrator | |
| Matt Mysko | .... | assistant recording engineer | |
Other crew | |||
| Edward Anderson | .... | field manager | |
| Dan Clamp | .... | technical manager | |
| Sarah Garner | .... | production coordinator | |
| Maggie Gisel | .... | production support | |
| Rachel James | .... | production accountant | |
| David Reynolds | .... | creative consultant (as Dave Reynolds) | |
| Hugh Wilson | .... | field assistant | |
| Kirk Wise | .... | creative consultant | |
Thanks | |||
| Jane Goodall | .... | thanks | |
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| Grizzly Man | African Cats | Great Bear Rainforest | Koyaanisqatsi | An Inconvenient Truth |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Documentary section | IMDb Tanzania section |
The most striking feature I noticed while watching this film was the resemblance of these creatures to my neighbors. It's incredible how similar to us they are!
Granted, Doña Carmen and Don José don't go as far as to deflea each other while carrying on a casual conversation on a sidewalk, but the similarities in body gestures and specially when persistently looking at the camera lens (it happened several times, whether intentionally or not) and we could see overwhelmingly human eyes looking at us, can be quite disturbing.
Impeccable photography with so many close ups that one wonders constantly at how they had managed to take those shots without disturbing the animals. I'm sure Disney has the most sophisticated equipment in the World in order to present such splendipherous depth of lenses and superb sharpness all the time, even from long distances, but even so, chimpanzees have a very sensitive sense of smell and I'm sure they could detect human presence from afar, but apparently it left them unconcerned and they proceeded naturally with their daily chores.
The forest, breathtaking, specially from the air, and the lushness of all that green carpet we see below seems to go forever on behind those far away mountains; when the camera goes down to ground level it's disconcerting to notice how very little sunlight reaches these animals.
Since it was a Disney film, obviously thought out for children, the notorious lack of restrain among monkeys and chimps when it comes to bodily functions, including everything related to sex, which is so habitual to see in zoos in broad daylight, here there is no trace whatsoever of it, like in those old Doris Day films, where everything was squeaky clean.
A good film for Eco-friendly fans.
P.S.: I gave it a 9 because of the titanic efforts of the whole crew and the tenacity they put into the project, working under such harsh and probably dangerous conditions.