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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 | .... | co-department head makeup artist | |
| Timothy Huizing | .... | special makeup effects artist | |
| Octaviano de Jesus Cesar Junior | .... | makeup artist | |
| Sean Kenney | .... | contact lens technician | |
| Jenna Kilgrow | .... | department head hair | |
| Lora Laing | .... | assistant hair stylist | |
| Christianna Mower | .... | makeup artist | |
| Stephanie Scott | .... | co-department head makeup artist | |
Production Management | |||
| Craig Ayers | .... | production supervisor: second unit | |
| Bernard Bellew | .... | unit production manager | |
| Jeanette Haley | .... | post production supervisor | |
| Martin Heriot | .... | Production Management | |
| 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) | |
Sound Department | |||
| Hugo Adams | .... | effects field recordist | |
| Niv Adiri | .... | sound design editor | |
| Niv Adiri | .... | sound re-recording mixer: pre-mix | |
| Ben Barker | .... | sound design editor | |
| Nicolas Becker | .... | foley artist | |
| Nicolas Becker | .... | foley editor | |
| David Betancourt | .... | adr mixer: Los Angeles | |
| Jason Brady | .... | boom operator | |
| Pierre Brouard | .... | dialogue editor | |
| Andrew Caller | .... | assistant re-recording mixer | |
| Alfonso Calvo | .... | dubbing re-recording mixer | |
| Douglas Cameron | .... | sound mixer | |
| Simone Corelli | .... | sound re-recording mixer: foreign language versions | |
| Gillian Dodders | .... | supervising dialogue adr editor | |
| Noel Espinosa | .... | boom operator | |
| Glenn Freemantle | .... | sound designer | |
| Glenn Freemantle | .... | supervising sound editor | |
| Joseph L. Garrard | .... | boom operator (as Joseph Garrard) | |
| Glen Gathard | .... | assistant foley editor | |
| Peter Gleaves | .... | adr mixer: London | |
| Andy Hagon | .... | sound mix technician | |
| Marisa Kelley | .... | boom operator | |
| Steven C. Laneri | .... | sound mixer | |
| Adam Mendez | .... | foley recordist | |
| Emilie O'Connor | .... | assistant sound editor | |
| Emilie O'Connor | .... | dialogue editor | |
| Jordan O'Neill | .... | datasat sound mastering engineer | |
| Jon Olive | .... | foley editor | |
| Palmer Pattison | .... | adr mixer: London | |
| Richard Pryke | .... | sound re-recording mixer | |
| Charleen Richards | .... | adr mixer: Los Angeles (as Charleen Steeves) | |
| James Shannon | .... | dolby sound consultant | |
| Andy Stallabrass | .... | adr recordist | |
| Ian Tapp | .... | sound re-recording mixer | |
| Lee Herrick | .... | dialogue editor (uncredited) | |
| Mark Heslop | .... | sound editor (uncredited) | |
| Paul Jousselin | .... | assistant foley artist (uncredited) | |
| Rick Santizo | .... | commentary mixer (uncredited) | |
| John Soukup | .... | sound transfer (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 | |
| David Sanger | .... | visual effects producer | |
| 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 | |
| Katy Jensen | .... | extras casting | |
| Jason Montgomery | .... | casting associate | |
| Tori Silvera Bush | .... | location casting | |
| Yun | .... | extras casting assistant (as Yong Yun) | |
Costume and Wardrobe Department | |||
| Michelle l Boucher | .... | set costumer | |
| Jacqueline Newell | .... | costume supervisor | |
| Emma Potter | .... | assistant costume designer | |
| Elisabeth Vastola | .... | assistant to costume designer (as Liz Vastola) | |
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 | |
| Edward Hobson | .... | senior digital cinema compressionist | |
| Tamsin Jeffrey | .... | first assistant editor | |
| Todd Kleparski | .... | digital intermediate producer | |
| Russ Lasson | .... | digital media engineer (as Russell Lasson) | |
| Tim Maxwell | .... | digital transfer | |
| Mike Morrison | .... | post production coordinator | |
| Q. Bryce Randle | .... | digital lab tech | |
| Nolan Southerland | .... | lead digital lab tech | |
| Dominic Thomson | .... | on-line editor | |
| Dan Dolan | .... | digital intermediate scanner and recorder (uncredited) | |
Music Department | |||
| Ranjit Barot | .... | musician: drums (as Ranjith Barot) | |
| Fiona Cruickshank | .... | assistant recording engineer | |
| Sanjay Divecha | .... | musician: guitars | |
| Matt Dunkley | .... | conductor | |
| Matt Dunkley | .... | orchestrator | |
| Matt Fletcher | .... | producer: additional music | |
| Isobel Griffiths | .... | orchestra contractor | |
| Jake Jackson | .... | score engineer | |
| Harshdeep Kaur | .... | vocalist | |
| R. Nitish Kumar | .... | music engineer | |
| Pete Lockett | .... | musician: percussion | |
| Ian Neil | .... | music supervisor | |
| Karl Peters | .... | musician: bass | |
| A.R. Rahman | .... | musician | |
| Shadab Rayeen | .... | music engineer | |
| Andy Richards | .... | original score mixer | |
| Andy Richards | .... | score mixed by | |
| Mark Robinette | .... | piano teacher | |
| Joel Shearer | .... | musician: guitars | |
| K.J. Singh | .... | song mix engineer | |
| John Warhurst | .... | music editor | |
| Puneet Samtani | .... | recording engineer (uncredited) | |
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 | |
| Teri Lish Parkinson | .... | transportation office captain | |
| Rick Spidell | .... | picture cars | |
Other crew | |||
| Devin Allen | .... | stand-in (as Devin Chase Allen) | |
| Craig Ayers | .... | production coordinator | |
| Julie Bernards | .... | payroll accountant | |
| John Bigler | .... | data manager | |
| Erich Cannon | .... | production assistant | |
| Stefan Ciupek | .... | post production consultant | |
| Cody Cross | .... | medical/safety coordinator | |
| Cody Cross | .... | security provided by | |
| Matt Curtis | .... | title design | |
| Ronda Dennis | .... | background actress | |
| Linda DeVilliers | .... | studio teacher | |
| Gaia Elkington | .... | executive assistant: Christian Colson & Danny Boyle | |
| Jake Filmore | .... | production assistant | |
| Cliff Fleming | .... | pilot: aerial photography | |
| Ignacio Garcia | .... | production assistant | |
| Ariadne Getty | .... | development funds provided by | |
| Krystle Grandy | .... | production assistant | |
| Jack W. Haddox | .... | production auditor | |
| Victor A. Haddox | .... | assistant production accountant | |
| Dominique Haidar | .... | represented by: Pathé | |
| Meg Halsey | .... | production secretary | |
| Heather Henderson | .... | assistant: Danny Boyle & Christian Colson | |
| Kipling Hicks | .... | assistant production coordinator | |
| Sean Kavanagh | .... | archive researcher | |
| Sherlan N. Koloi | .... | assistant location manager | |
| Brandon Lavery | .... | production assistant to location department | |
| Dennis Light | .... | location manager | |
| Kristin Ludwin | .... | script supervisor | |
| Krystal Mathiesen | .... | first assistant accountant | |
| Alex McCullough | .... | production assistant | |
| Katie McMinn | .... | photo double | |
| Tracey Merkle | .... | script supervisor | |
| Jennifer 'Iffer' Mitchell | .... | key craft service (as Jennifer Mitchell) | |
| Rachel Moceri | .... | set production assistant | |
| Marshall D. Moore | .... | film commissioner | |
| Mike Morrison | .... | post production co-ordinator | |
| Loren Nebeker | .... | remote head technician | |
| Ryan Pederson | .... | production assistant | |
| Kate Penlington | .... | clearances | |
| Fenton Quinn | .... | head animal wrangler (as Fenton G. Quinn) | |
| Irwin M. Rappaport | .... | production legal | |
| Adam Razvi | .... | assistant to head of physical production: Pathé | |
| Mark Robinette | .... | piano teacher | |
| Jordan Romano | .... | production assistant | |
| Rebecca R. Ryan | .... | accounting clerk | |
| Peter Silberstein | .... | set production assistant | |
| Derek Townshend | .... | insurance broker | |
| Noelle Volpintesta | .... | assistant: head of physical production: Pathé | |
| Mickelle Weber | .... | production assistant | |
| Jeremy Westerman | .... | animal wrangler | |
| Tyler Atkinson | .... | digital distribution (uncredited) | |
| William Dahlin | .... | production intern (uncredited) | |
| Rob Hill | .... | titles (uncredited) | |
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 |
As demonstrated by his ability to earn acclaim in everything from zombie films ("28 Days Later") to foreign coming-of-age love stories ("Slumdog Millionaire"), Danny Boyle has an extraordinary gift as a filmmaker and in "127 Hours," he channels it into an extraordinary story of human willpower. This could have easily been a compelling but plain and ordinary documentary on the Discovery Channel or National Geographic about a man pinned under a boulder who miraculously survives. Boyle, however, transforms it into a powerful statement about the will to live and where that motivation truly comes from.
"127 Hours" does not simply prove the point that humans will do whatever it takes to survive in dire circumstances. In fact, I might argue 9 of 10 people wouldn't do what Aron Ralston (James Franco) does in this film. Anyway, Boyle makes it his mission to use Ralston's incredible true story -- one that told at face value would probably just elicit gasps -- to alter our perspective on living.
What's obvious is that none of the impact of "127 Hours" is possible without Franco. A film about a man trapped in a crevice for more than five days needs a heck of a lead actor and Franco, despite few dramatic credits to this point, proves beyond capable. Although boredom might set in for some during this film given its plot, the believability of Franco's performance remains constant and irrefutable. He possesses the fun-loving and care-free charisma of Ralston then slowly breaks that shell and shows his human fragility.
Yet remarkably, Boyle leaves a substantial thumbprint on the film, much of which he shares with co-writer Simon Beaufoy, also of "Slumdog." Because the story is so straightforward, Boyle recognizes imagery and perception provide his only means of creativity. He shows us inside the tube of Ralston's water backpack, water bottle and other close-ups, all of which seem unnecessary, but they establish images which we will come to think about with a different perspective as the film wears on, such as when Aron drinks his own settled urine out of the water pouch. Boyle uses the same process shot, but suddenly we don't see it the way we did earlier and they become more meaningful than tedious.
This subtly effective technique can also be found in the beginning and ending shots of the film. It seems completely random that Boyle would open with crowded streets of people as if he's tricked us and really made "Slumdog 2," but the image gains significance after experiencing Ralston's journey.
"127 Hours" will not be kind to people who don't take lightly to seeing blood outside of the "shoot 'em up" genre. Many of these people will leave the film thinking all they got was shock value, but of course there's much more to it. Despite the "how will he survive?" plot, a substantial amount of time is placed on flashes to memories Aron thinks of regarding his family, fantasies and of course, regrets. Boyle beautifully shows us that although survival seems an inherently selfish thing, much of that motivation and will to live comes from other people, even total strangers. Aron thinks a lot of the girls (Kata Mara and Amber Tamblyn) he hiked with just hours before the accident though otherwise he'd have likely forgotten them.
The build-up and catharsis of Aron's story might not be the most powerful and uplifting based-on-true-story you've witnessed, but "127 Hours" clearly surpasses expectation in terms of the message it sends and the impact it leaves. With it, Boyle solidifies his place as one of those filmmakers you must always have an eye on and Franco emerges as a relatable everyman with above-everyman-grade talent.
~Steven C
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