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Directed by | |||
| Danny Boyle | |||
Writing credits(WGA) | ||
| Danny Boyle | (screenplay) & | |
| Simon Beaufoy | (screenplay) | |
| Aron Ralston | (book "Between a Rock and a Hard Place") | |
Original Music by | |||
| A.R. Rahman | |||
Cinematography by | |||
| Enrique Chediak | (director of photography) | ||
| Anthony Dod Mantle | (director of photography) | ||
Film Editing by | |||
| Jon Harris | |||
Casting by | |||
| Donna Isaacson | |||
Production Design by | |||
| Suttirat Anne Larlarb | (as Suttirat Larlarb) | ||
Art Direction by | |||
| Christopher R. DeMuri | (as Chris DeMuri) | ||
Set Decoration by | |||
| Les Boothe | (as Les M. Boothe) | ||
| Cynthia A. Neibaur | (co-set decorator) | ||
Costume Design by | |||
| Suttirat Anne Larlarb | (as Suttirat Larlarb) | ||
Makeup Department | |||
| Ginger Anglin-Cervantes | .... | special makeup effects artist | |
| Roland Blancaflor | .... | special effects makeup technician | |
| Tony Gardner | .... | special makeup designer | |
| Jonathan Gording | .... | contact lens: special | |
| Gina Homan | .... | makeup department head | |
| Timothy Huizing | .... | special makeup effects artist | |
| Jenna Kilgrow | .... | department head hair | |
| Lora Laing | .... | key hair stylist | |
| Christianna Mower | .... | makeup artist | |
| Stephanie Scott | .... | makeup department head | |
Production Management | |||
| Craig Ayers | .... | production supervisor: second unit | |
| Bernard Bellew | .... | unit production manager | |
| Jeanette Haley | .... | post production supervisor | |
| John J. Kelly | .... | unit production manager | |
| Duff Rich | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| Jason Allred | .... | second second assistant director | |
| Cody Harbaugh | .... | second assistant director (as Cody J. Harbaugh) | |
| J. Scott Smiley | .... | first assistant director | |
| David Ticotin | .... | first assistant director (as David A. Ticotin) | |
| Heather Toone | .... | second assistant director (as Heather Toone Johnson) | |
| Roman Ilies | .... | trainee assistant director (uncredited) | |
Special Effects by | |||
| William Aldridge | .... | special effects coordinator | |
| Blair Foord | .... | special effects supervisor | |
| Alan McFarland | .... | special lighting effects | |
| Michael Roundy | .... | special effects technician | |
| Ryan Roundy | .... | special effects technician | |
Visual Effects by | |||
| Matthew Baker | .... | digital restoration | |
| Tim Caplan | .... | visual effects producer | |
| Steve Casa | .... | 3d scan technician | |
| Amy Cuthbertson | .... | matchmove artist: Union VFX | |
| Jesus Garrido | .... | digital compositor | |
| Adam Gascoyne | .... | visual effects supervisor | |
| Charlotte Gray | .... | digital restoration artist | |
| Will Hudson | .... | digital restoration | |
| Emma Hulme | .... | digital restoration | |
| Kaveh Montazer | .... | digital compositor | |
| Mervyn New | .... | digital compositor | |
| Valerio Oss | .... | digital compositor | |
| Aymeric Perceval | .... | digital compositor: Union vfx | |
| Victor Perez | .... | digital compositor & compositing TD | |
| Caroline Pires | .... | digital compositor | |
| Kim Ranzani | .... | digital compositor | |
| Jason Rose | .... | digital effects | |
| Jean-Clement Soret | .... | digital colourist | |
| Noga Alon Stein | .... | visual effects production assistant | |
| James Winnifrith | .... | visual effects editor | |
| Brandon Harr | .... | lidar supervisor: LiDAR VFX (uncredited) | |
Stunts | |||
| Stanton Barrett | .... | stunt double: James Franco | |
| Chad Biddle | .... | stunts | |
| Luke Cudney | .... | stunts | |
| Jeff Danoff | .... | stunts | |
| Ryan Happy | .... | stunts | |
| Nicola C. Hindshaw | .... | stunts (as Nicola Hindshaw) | |
| David Hugghins | .... | stunts | |
| Anna Mercedes Morris | .... | stunts | |
| Patrick J. Statham | .... | stunt coordinator | |
| Brett Sutteer | .... | safety coordinator | |
| Tyson Swasey | .... | stunts | |
Casting Department | |||
| Rie Attridge | .... | local casting | |
| Katie Jensen | .... | extras casting | |
| Jason Montgomery | .... | casting associate | |
| Tori Silvera Bush | .... | location casting | |
| Yong Yun | .... | extras casting assistant | |
Costume and Wardrobe Department | |||
| Michelle l Boucher | .... | set costumer | |
| Jacqueline Newell | .... | costume supervisor | |
| Emma Potter | .... | assistant costume designer | |
| Liz Vastola | .... | assistant to costume designer | |
Editorial Department | |||
| Matthew Benns | .... | data management | |
| Matthew Bristowe | .... | digital intermediate producer | |
| Mike Clark-Hall | .... | second assistant editor | |
| David Cummins | .... | digital media supervisor | |
| James Cundill | .... | on-line editor | |
| Richard Etchells | .... | digital intermediate editor | |
| Mark Gillins | .... | digital lab tech | |
| Tamsin Jeffrey | .... | first assistant editor | |
| Todd Kleparski | .... | digital intermediate producer | |
| Russ Lasson | .... | digital media engineer (as Russell Lasson) | |
| Mike Morrison | .... | post production coordinator | |
| Q. Bryce Randle | .... | digital lab tech | |
| Nolan Southerland | .... | lead digital lab tech | |
| Dominic Thomson | .... | on-line editor | |
Music Department | |||
| Matt Dunkley | .... | conductor | |
| Matt Dunkley | .... | orchestrator | |
| Matt Fletcher | .... | producer: additional music | |
| Isobel Griffiths | .... | orchestra contractor | |
| Jake Jackson | .... | score engineer | |
| Pete Lockett | .... | musician: percussion | |
| Ian Neil | .... | music supervisor | |
| Karl Peters | .... | musician: bass | |
| A.R. Rahman | .... | musician | |
| Andy Richards | .... | original score mixer | |
| Andy Richards | .... | score mixed by | |
| Joel Shearer | .... | musician: guitar | |
| John Warhurst | .... | music editor | |
Transportation Department | |||
| Britani Alexander | .... | transportation coordinator | |
| Julie Fife | .... | driver | |
| Tj Fitzgerald | .... | driver | |
| Bob Hoversten | .... | honeywagon driver | |
| Jason Kelly | .... | driver: cast | |
| Ryan McDowell | .... | driver | |
| Brett Miller | .... | transportation captain | |
| Thad Paget | .... | driver | |
| Rick Spidell | .... | picture cars | |
Thanks | |||
| Miles Levy | .... | special thanks | |
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| Into the Wild | As Far As My Feet Will Carry Me | All Good Things | Touching the Void | Open Water |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Adventure section | IMDb USA section |
You may be dying but the world moves on. That is the naked truth about our existence and the main allegory written in the stimulating visual experience provided by Danny Boyle in his latest film. 127 Hours is a wonderful metaphor for solitude and for the importance of what life means at an individual level. It enhances the indescribable experience of having a family, friends and love, but most of all cherishes the meaning of human contact. Solitude is perceived as being bearable and a lot of times needed but seldom is viewed as being fulfilling. Only when the epiphany pops into our minds, we realize what we have been missing. It is a common and frustrating fact. Nonetheless, Danny Bolyle's achievement allows a new and fresh take on this theme. The director shows the audiences that life happens when they least expect. And truth be told, there is a bright place for those who abandon their egotistical "independence" and start sharing the events that life provides.
Telling a story about a man who is stuck in the same place for such an extensive period of time is definitely not easy. Danny Boyle described the picture as "an action movie in which the hero doesn't move" and he certainly took the challenge. With this in mind, two main conclusions can be withdrawn from Boyle's work: 1) He was able to maintain the action dynamic and the viewers engaged through a series of devices that allow them to be interested not only on the hero's present condition but also in his past and, quite possibly, his future. The mind behind Trainspotting entered the psyche of his new hero and gave it a shape and a texture that transformed the general perception. The empathy towards the character grew and from that moment on the audience grabbed the hook. He was able to dissect James Franco's character thoughts and desires in a moment of extreme physical and psychological agony.
2) It was extremely hard to be inventive in such scenario and some techniques proved to be tiresome. In certain moments during the movie, Danny Boyle seemed to be trying to hard when having a simpler approach looked like to be more successful. He stylized the action in a way that doesn't always work even considering that he established his filmmaking style from the very beginning.
With regards to the main performer, it is only fair to praise James Franco's enactment. It is a truly astonishing tour-de-force that will probably be mentioned during the Oscar nominations. He's not only charming and witty but his personality fills the screen with such a great talent. It is very gratifying to observe his evolution according to the character's state of mind.
127 Hours is a quite remarkable achievement. There's the ability to pick up a true straightforward story about survival and courage and enhance it through a sheer composition of good sense without falling on the old American cliché. This story does not try to be epic or monumental. It tries to be honest and true. And we, as viewers, don't feel cheated or slapped across the face, and that is really all we could ask for.