Directed by | |||
| Steve Taylor | |||
Writing credits(in alphabetical order) | ||
| Donald Miller | screenplay | |
| Donald Miller | story | |
| Ben Pearson | screenplay | |
| Steve Taylor | screenplay | |
Original Music by | |||
| Danny Seim | |||
Cinematography by | |||
| Ben Pearson | |||
Film Editing by | |||
| Matthew Sterling | (as Matt Sterling) | ||
Casting by | |||
| Elizabeth Barnes | |||
| Corbin Bronson | |||
| Kim McCray | |||
Production Design by | |||
| Cyndi Williams | |||
Art Direction by | |||
| Jamey DiDomenico | |||
| David Hewlette | |||
Costume Design by | |||
| Amy Patterson | |||
Makeup Department | |||
| M'chel Bauxal | .... | key hair stylist | |
| M'chel Bauxal | .... | key makeup artist | |
| Allison Boxall | .... | hair stylist | |
| Allison Boxall | .... | makeup artist | |
| Lisa Ensminher | .... | makeup artist | |
| Kylie Evans | .... | makeup artist | |
| Jamie Ford | .... | key makeup artist | |
| Jody Sunday | .... | hair stylist | |
| Beka Wilson | .... | key hair stylist | |
Production Management | |||
| Gary Kout | .... | unit production manager: Portland | |
| Dona Spangler | .... | unit production manager | |
Art Department | |||
| Ashley Amezcua | .... | art production assistant | |
| Victoria Mischa Austreng | .... | assistant props: Oregon | |
| Troy Cobb | .... | art intern | |
| Jeff Danley | .... | property master | |
| Sean Fong | .... | property master | |
| Maeve Human | .... | art intern | |
| Mik Venuti | .... | carpenter | |
Sound Department | |||
| Daniel Brennan | .... | sound re-recording mixer | |
| Greg Crawford | .... | adr mixer: Atlanta | |
| Joe Deihl | .... | adr editor | |
| Joe Deihl | .... | dialogue editor | |
| Joe Deihl | .... | foley editor | |
| Joe Deihl | .... | sound designer | |
| Joe Deihl | .... | supervising sound editor | |
| Michael Fowler | .... | foley mixer | |
| Miles Fuqua | .... | adr recordist | |
| Christopher Greenwood | .... | boom operator | |
| Morgan Hobart | .... | boom operator: Oregon | |
| Grant Johnson | .... | boom operator: additional sound mixer | |
| Craig Kyllonen | .... | foley artist | |
| Thomas Morrison | .... | sound mixer | |
| Fred Paragano | .... | adr mixer | |
| Nick Price | .... | additional boom operator | |
| Peter Townsend | .... | boom operator (as Pete Townsend) | |
| Sarah Vorhees | .... | adr recordist | |
Special Effects by | |||
| Terry Arthur | .... | special effects | |
| William Boggs | .... | special effects technician | |
| Scott Moore | .... | special lighting effects | |
| Patrick Sittnick | .... | special stage effects creator | |
Visual Effects by | |||
| Brian Behm | .... | visual effects supervisor | |
| Jim Lockhart | .... | visual effects supervisor | |
| Scott Meador | .... | visual effects artist | |
| Jonathan Richter | .... | visual effects producer | |
Stunts | |||
| Ian Quinn | .... | stunt coordinator | |
| April Rodell | .... | stunt performer | |
Camera and Electrical Department | |||
| Jimmy Abegg | .... | still photographer | |
| Chuck Bogard | .... | best boy grip | |
| Mike Breece | .... | jib operator | |
| C.K. Cates | .... | d.i.t. tech | |
| James N. Clark | .... | camera production assistant | |
| Kyril Cvetkov | .... | first assistant camera: "a" camera, Oregon | |
| Robert Michelob Fedusenko | .... | electrician | |
| Bryan Fowler | .... | steadicam operator | |
| Drew Frazier | .... | gaffer | |
| Scott Friedland | .... | key grip | |
| Evan Hurst | .... | best boy electric | |
| Chip Ingram | .... | key grip: Oregon | |
| Kip Kubin | .... | camera operator: "b" camera | |
| David Mellow | .... | first assistant camera | |
| Efrem Peter | .... | Steadicam operator: Oregon | |
| Brandon Rivera | .... | grip | |
| Matthew Satterfield | .... | electrician | |
| J.T. Sumner | .... | additional assistant camera | |
| Mike Toews | .... | additional grip | |
| Joe Vitellaro | .... | best boy grip | |
| Justin C. Ward | .... | gaffer: Oregon | |
| Steve Waters | .... | best boy electric: Oregon | |
Animation Department | |||
| Jonathan Richter | .... | animator | |
Casting Department | |||
| Erica Berger | .... | casting associate | |
| Stephanie Reeves | .... | extras casting | |
Costume and Wardrobe Department | |||
| Nikki Bartnick | .... | set costumer | |
| Carey Kotsionis | .... | set costumer | |
| Joy Patterson | .... | set costumer | |
| Sara Patterson | .... | background costumer | |
| Jamie L. Scott | .... | set costumer | |
Editorial Department | |||
| Scot Olive | .... | digital intermediate colorist | |
| Kevin Scott Page | .... | post-production intern | |
| Derek Pearson | .... | assistant editor | |
Music Department | |||
| Matthew Sterling | .... | music editor (as Matt Sterling) | |
Transportation Department | |||
| Katico Cadwallader | .... | transportation dispatch | |
| Nick Edgerton | .... | transportation coordinator: Oregon | |
| Steve Evans | .... | transportation captain: Oregon | |
| Dave Hodgin Jr. | .... | transportation coordinator | |
| Steve Moffit | .... | driver: honeywagon | |
| Mike Russell | .... | driver: fueler | |
| David Tinsley | .... | picture car coordinator | |
Other crew | |||
| Marrisa Ayala | .... | office intern | |
| J. Thomas Bailey | .... | background production assistant | |
| Claudia Beesley | .... | script supervisor | |
| Katie Bonaccorso | .... | set intern | |
| Susan Routh Bowman | .... | production coordinator | |
| Emily Carver | .... | set intern | |
| Tanja Crouch | .... | post-production facilities manager | |
| Robert A. D'Esposito | .... | assistant production office coordinator: Portland | |
| Laryssa Emeigh | .... | key set production assistant | |
| Sarah Gibson | .... | assistant to the director: Portland | |
| Jeffrey Giles | .... | distribution executive | |
| Cj Giordano | .... | production assistant | |
| Bethany Haynes | .... | production legal | |
| Allison Hughes Stroud | .... | script supervisor (as Alison Stroud) | |
| Courtney Hyder | .... | publicist | |
| Sabrina Jackson | .... | on-set medic | |
| Velvet Kelm | .... | publicist | |
| Jana Regnier Laiolo | .... | production accountant | |
| Matthew Lasseter | .... | assistant production accountant | |
| Sydney Lunn | .... | location manager | |
| Michael Lurie | .... | international distribution | |
| Dustin Masters | .... | office production assistant | |
| Jenny Nichols | .... | production assistant | |
| Elizabeth Nouri | .... | set intern | |
| Diane Johnson Patten | .... | craft service | |
| Edith Pommerol | .... | assistant to the director | |
| Tonia Pound | .... | research and clearances | |
| Chad Ray | .... | office intern | |
| Ingrid Reed | .... | caterer | |
| Nicole Sanders | .... | assistant location manager | |
| Andrew Stanfield | .... | location manager: Portland unit | |
| Linda Stowe | .... | assistant craft service | |
| Dylan van Gardner | .... | key office assistant | |
Thanks | |||
| Jeremy Childs | .... | special thanks | |
| Yuri Cunza | .... | special thanks | |
| Steve Horswill-Johnston | .... | special thanks | |
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| High Fidelity | Getting Straight | Southland Tales | The Mosquito Coast | Easy A |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb USA section |
I read Blue Like Jazz a few years ago. In the years since, I've noticed changes in my thinking which I can trace back to having read the book. So last night, when I was privileged to go to a preview screening of Blue Like Jazz: The Movie, I was pleased to find that my reaction to the movie matched my reaction to the book--in that sense, the movie is true to the book. While it will immediately alienate some viewers, it will cause many to rethink some things, possibly without them even knowing it. Since it is unashamedly fictionalized, that is no small accomplishment.
BLJ moves effortlessly among comedy, drama, and thought-provoking. Characters are complicated enough to feel real, not so complicated as to feel contrived. Bottom line, it's a good story; realistic enough to feel believable and unrealistic enough to be interesting. It's an excellent film, and I'd highly recommend it to believers and unbelievers alike. You should be prepared to see it more than once; I got the feeling that, knowing the story, a lot of nuanced themes would show up.