| Fotos (ver todos los 24 | slideshow) | Videos (see all 2) |
Dirigida por | |||
| Woody Allen | |||
Créditos del guión(WGA) | ||
| Woody Allen | (written by) | |
Producida por | |||
| Letty Aronson | .... | producer | |
| Nicky Kentish Barnes | .... | co-producer | |
| Charles H. Joffe | .... | co-executive producer | |
| Duncan Reid | .... | executive producer: Ingenious Film Partners | |
| Helen Robin | .... | co-producer | |
| Jack Rollins | .... | co-executive producer | |
| Stephen Tenenbaum | .... | executive producer | |
| David M. Thompson | .... | executive producer: BBC Films | |
| Peter Touche | .... | executive producer: Ingenious Film Partners | |
| Gareth Wiley | .... | producer | |
Fotografía por | |||
| Remi Adefarasin | |||
Montaje por | |||
| Alisa Lepselter | |||
Casting | |||
| Patricia Kerrigan DiCerto | |||
| Gail Stevens | |||
| Juliet Taylor | |||
Diseño de producción por | |||
| Maria Djurkovic | |||
Dirección artística | |||
| Nick Palmer | |||
Decorados | |||
| Philippa Hart | |||
Diseño de vestuario por | |||
| Jill Taylor | |||
Departamento de maquillaje | |||
| Polly Earnshaw | .... | makeup artist | |
| Charlotte Hayward | .... | makeup trainee | |
| Sallie Jaye | .... | hair designer | |
| Sallie Jaye | .... | makeup designer | |
| Tracy Smith | .... | hairdresser (as Tracey Smith) | |
| Lisa Tomblin | .... | hairdresser | |
Dirección de producción | |||
| Tori Parry | .... | unit production manager | |
| Finlay Pile | .... | unit manager | |
Ayudante de dirección | |||
| Tamana Bleasdale | .... | second assistant director | |
| Dan Channing-Williams | .... | crowd assistant director | |
| Chris Croucher | .... | crowd assistant director | |
| Michael Elliott | .... | first assistant director (as Mike Elliott) | |
| Samar Pollitt | .... | third assistant director | |
Departamento de Arte | |||
| Louise Begbie | .... | art department assistant | |
| Mat Bergel | .... | stand-by props | |
| Hannah Capron | .... | graphic artist: newspapers | |
| David Creed | .... | construction manager | |
| Chris Cull | .... | property master | |
| Gill Farr | .... | production buyer | |
| Martin Kane | .... | props | |
| Simon Riley | .... | stand-by props | |
| Sarah Stuart | .... | stand-by art director | |
| Ian Taylor | .... | set carpenter | |
| Stephen Thomson | .... | dressing propman | |
| Billy Wilson | .... | dressing prophand | |
Departamento de sonido | |||
| Coll Anderson | .... | foley editor | |
| Esther Asiedu-Ofei | .... | sound trainee | |
| Carlos M. Cano | .... | apprentice sound editor | |
| Ryan Collison | .... | foley engineer | |
| Lee Dichter | .... | sound re-recording mixer | |
| Peter Glossop | .... | sound mixer | |
| Robert Hein | .... | supervising sound editor | |
| Stephane Malenfant | .... | sound assistant | |
| Sylvia Menno | .... | dialogue editor | |
| Shaun Mills | .... | boom operator | |
| Eytan Mirsky | .... | assistant sound editor | |
| Glenfield Payne | .... | sound effects editor | |
| Jay Peck | .... | foley artist | |
| David Wahnon | .... | foley editor | |
| David Wahnon | .... | sound editor | |
Visual Effects | |||
| Paul Alexiou | .... | visual effects film editorial: MPC | |
| Matthew Bristowe | .... | digital lab producer: MPC | |
| Michelle Corney | .... | visual effects producer | |
| Adam Gascoyne | .... | digital compositor: MPC | |
| Tim Hey | .... | digital compositor: MPC | |
| Martin Hobbs | .... | executive producer: MPC | |
| Gemma James | .... | visual effects coordinator | |
| Tom Kimberley | .... | digital compositor: MPC | |
| Begoña Lopez | .... | digital lab producer: MPC | |
| Jennifer Loughnan | .... | visual effects coordinator (as Jen Loughnan) | |
| Alasdair McNeill | .... | roto/prep supervisor: MPC | |
| Andy Middleton | .... | texture artist: MPC | |
| Adrian Pinder | .... | 3D artist: MPC | |
| Scott Pritchard | .... | digital compositor: MPC | |
| John Roberts-Cox | .... | 3D artist: MPC (as John Roberts Cox) | |
| John Roberts-Cox | .... | lead lighting technical director: MPC | |
| Aled Robinson | .... | visual effects editor: MPC | |
| Richard Stammers | .... | visual effects supervisor | |
| Miquel Ubeda | .... | digtial compositor: MPC London | |
| Sheila Wickens | .... | digital compositor: MPC (as Sheila Gorman) | |
| Martyn Drake | .... | systems: MPC (uncredited) | |
Cámara y Departamento Eléctrico | |||
| Ben Adefarasin | .... | camera trainee | |
| John Adefarasin | .... | clapper loader | |
| John Arnold | .... | key grip | |
| Chris Bain | .... | daily focus puller | |
| Chris Clarke | .... | clapper loader: dailies | |
| Clive Coote | .... | still photographer | |
| David Cozens | .... | focus puller | |
| Ian Franklin | .... | rigging gaffer | |
| Mark Funnell | .... | best boy | |
| Chris Hammond | .... | electrician | |
| Tobias Marshall | .... | camera trainee | |
| Paul Molloy | .... | electrician | |
| Llewellyn Thomas | .... | camera car | |
| Alf Tramontin | .... | Steadicam operator | |
| David Wall | .... | chief rigging electrician | |
| Ben Wilson | .... | additional camera operator | |
| Jimmy Wilson | .... | gaffer | |
Departamento de reparto | |||
| Peter Bevan | .... | casting assistant | |
| William Davies | .... | casting associate | |
| Julie Dunne | .... | additional casting | |
| Julie Schubert | .... | casting assistant | |
| David Wheal | .... | casting assistant | |
Departamento de vestuario | |||
| Karen Beale | .... | wardrobe assistant | |
| Tracey Millar | .... | costume assistant | |
| Charlotte Sewell | .... | assistant costume designer | |
Departamento de Edición | |||
| Lisa Clifford-Owen | .... | assistant editor | |
| Kate Rose Itzkowitz | .... | apprentice editor | |
| Scott Kordish | .... | post-production coordinator | |
| Morgan Neville | .... | first assistant editor | |
| James Nichols Jr. | .... | assistant editor | |
| Tina Pacheco | .... | assistant editor | |
| Lawrence Howard Williams | .... | post digital media operator | |
| Phil Ashton | .... | color grader (uncredited) | |
Departamento de Transporte | |||
| Lee Isgar | .... | driver: Scarlett Johansson | |
Otros miembros del equipo | |||
| Sarah Allentuch | .... | assistant: Mr. Allen | |
| Kim Armitage | .... | script supervisor | |
| Carrie-Ann Banner | .... | assistant production coordinator | |
| Menna Bevan | .... | floor runner: dailies | |
| Matthew Bristowe | .... | title producer | |
| Bruno Cassoni | .... | location assistant | |
| Leah Chalk | .... | health and safety | |
| Francesca Dowd | .... | production coordinator | |
| Jake Edmonds | .... | health and safety advisor | |
| Richard Etchells | .... | title designer (as Dickie Etchells) | |
| Lucy Foulds | .... | location coordinator | |
| Flax Glor | .... | publicist | |
| Max Greenhalgh | .... | production runner | |
| Michael J. Harker | .... | completion bond company representative | |
| Michael Harm | .... | location manager | |
| Natalie Kavanagh | .... | floor runner: dailies | |
| Begoña Lopez | .... | title producer | |
| Pietro Lorino Jr. | .... | post-production accountant | |
| Reel Meals | .... | caterer | |
| Louise O'Malley | .... | production accountant | |
| Scott Penrose | .... | magic consultant | |
| Dave Shaw | .... | diving advisor | |
| Cassandra Sigsgaard | .... | clearances coordinator | |
| Kerry Smith | .... | assistant accountant | |
| Aurelia Thomas | .... | assistant location manager | |
| David Wilcock | .... | cashier | |
| David Joy | .... | location runner (uncredited) | |
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| City of Shoulders and Noses | Big Fish | The Black Widow | Like Minds | This Man Is News |
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IMDb Calificación de los usuarios:
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| Reparto y Personal Completos | Créditos de la compañía | Críticas externas |
| IMDb Comedia section | IMDb UK section | Add this title to MyMovies |
Reading a wide variety of "Scoop" reviews over the past few days, I walked into the theater prepared for a subpar outing from Woody. Happily, I couldn't have been more wrong. Granted, Woody the performer is slowing down a touch or two, but Woody the writer/director is in fine form - and found a credible way to integrate his 70-year old self into the story. Judging from the laughter and guffaws, the audience ate up Allen's one-liners and dialogue in a way that I haven't seen in several years.
In a movie landscape dominated by software-approved story arcs, twentysomething tastes and assembly-line formula fare for kiddies, it's a source of both satisfaction and inspiration to see Allen pursuing his highly personal and still-rewarding path.