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Directed by | |||
| Kevin Reynolds | |||
| Kevin Costner | (uncredited) | ||
Writing credits(WGA) | ||
| Peter Rader | (written by) and | |
| David Twohy | (written by) | |
Produced by | |||
| Kevin Costner | .... | producer | |
| John Davis | .... | producer | |
| David Fulton | .... | associate producer | |
| Charles Gordon | .... | producer | |
| Lawrence Gordon | .... | producer | |
| Ilona Herzberg | .... | executive producer | |
| Gene Levy | .... | line producer | |
| Andrew Licht | .... | executive producer | |
| Jeffrey A. Mueller | .... | executive producer (as Jeffrey Mueller) | |
Original Music by | |||
| James Newton Howard | |||
| Artie Kane | |||
Cinematography by | |||
| Scott Fuller | |||
| Dean Semler | |||
Film Editing by | |||
| Peter Boyle | |||
Casting by | |||
| David Rubin | |||
Production Design by | |||
| Dennis Gassner | |||
Art Direction by | |||
| David F. Klassen | |||
Set Decoration by | |||
| Nancy Haigh | |||
Costume Design by | |||
| John Bloomfield | |||
Makeup Department | |||
| David LeRoy Anderson | .... | makeup artist | |
| Carol Borden | .... | body makeup | |
| Janis Clark | .... | hair stylist | |
| Joe Colwell | .... | prop maker | |
| Paulette Crammond | .... | makeup artist | |
| Diane Cummings | .... | body makeup | |
| Elle Elliott | .... | hair styles supervisor | |
| James Lee McCoy | .... | key makeup artist | |
| Francisco X. Pérez | .... | makeup supervisor (as Frank Perez) | |
| Jeanne Van Phue | .... | key makeup artist: second unit | |
| Jeanne Van Phue | .... | makeup artist | |
| Susan Zietlow-Maust | .... | department head hairstylist: 2nd unit (uncredited) | |
Visual Effects by | |||
| Carol Ashley | .... | compositing supervisor for dive sequence: Cinesite | |
| Richard Bain | .... | visual effects | |
| Jacquie Barnbrook | .... | digital assistant | |
| Jacquie Barnbrook | .... | visual effects digital assistant | |
| Alan Barnett | .... | digital effects supervisor: Sight Effects | |
| Andre Bustanoby | .... | 3D tracking: Boss Film Studios | |
| David Cohen | .... | model maker foreman | |
| Kerry Colonna | .... | digital effects | |
| Charles Darby | .... | matte paintings | |
| Robin L. D'Arcy | .... | line producer: Stetson Visual Services (as Robin d'Arcy) | |
| Robin L. D'Arcy | .... | model photography producer: SVSI | |
| Melissa Davies | .... | digital effects supervisor: Sight Effects | |
| Aaron Dem | .... | freelance visual effects coordinator: Warner Bros | |
| Krystyna Demkowicz | .... | executive in charge of production | |
| Natasha Devaud | .... | digital artist | |
| Sean Dever | .... | 3D digital artist | |
| Jason Dowdeswell | .... | digital compositor | |
| Justin Dragonas | .... | assistant visual effects coordinator | |
| Colin Drobnis | .... | digital compositor | |
| Christopher Duddy | .... | visual effects units camera operator | |
| Christopher Edwards | .... | digital imaging supervisor: Boss Film Studios (as Chris Edwards) | |
| Theresa Ellis | .... | digital effects supervisor | |
| Bob Fernley | .... | digital recording operator | |
| Bob Fernley | .... | digital scanning operator | |
| Jim Flynn | .... | assistant effects editor | |
| Mark O. Forker | .... | digital compositing supervisor: Digital Domain | |
| Sautai Fred | .... | technical director | |
| David Fuhrer | .... | digital artist: CFC | |
| Todd Fulford | .... | computer animator | |
| Scott Fuller | .... | visual effects units camera operator | |
| Alex Funke | .... | dive sequence miniatures | |
| Alex Funke | .... | tanker blue screen sequences visual effects supervisor | |
| Alex Funke | .... | visual effects director of photography | |
| Gil Gagnon | .... | associate producer: Cinesite | |
| Bill Gilman | .... | digital camera matchmover: Cinesite Hollywood | |
| Robin Griffin | .... | visual effects producer | |
| Rae Griffith | .... | visual effects unit production supervisor | |
| Craig Halperin | .... | digital compositor: Digital Domain | |
| Greg Hanigan | .... | scanning and recording | |
| Rudy Hassen | .... | digital effects supervisor: Sight Effects | |
| Adam Hill | .... | modelmaker: SVSI | |
| K.C. Hodenfield | .... | first assistant director: visual effects unit | |
| Rob Hodgson | .... | visual effects | |
| Christer Hokanson | .... | visual effects units additional editor | |
| Chris Holmes | .... | digital artist | |
| Ian Hulbert | .... | digital artist: Rhythm & Hues | |
| Doug Ikeler | .... | 3D artist | |
| Rodney Iwashina | .... | motion tracking supervisor | |
| Karin Joy | .... | visual effects coordinator | |
| Michael Karp | .... | motion control operator | |
| Carole A. Kenneally | .... | visual effects units editor | |
| Suella Kennedy | .... | visual effects producer: Cinesite | |
| Daryl Klein | .... | digital artist | |
| Kristin Klier | .... | post production assistant | |
| Joshua I. Kolden | .... | digital artist | |
| Brad Kuehn | .... | senior digital effects supervisor: Cinesite (as Brad C. Kuehn) | |
| Don Lee | .... | digital compositor | |
| Mary Leitz | .... | rotoscope artist | |
| Dan Levitan | .... | technical assistant | |
| Janice Lew | .... | computer animator | |
| Gregory D. Liegey | .... | visual effects composite artist | |
| Charles Linehan | .... | visual effects coordinator | |
| Kevin Lingenfelser | .... | digital paint supervisor: Cinesite | |
| Kenneth Littleton | .... | digital effects compositor | |
| Bob Lyss | .... | digital compositor | |
| Anthony Mabin | .... | digital effects compositor: Cinesite | |
| James Madigan | .... | scanning and recording technician | |
| Al Magliochetti | .... | digital artist | |
| Michael J. McAlister | .... | visual effects supervisor (as Micheal J. McAlister) | |
| Mark Michaels | .... | data operations supervisor | |
| Raquel Morales | .... | computer animator | |
| Karen M. Murphy | .... | digital effects coordinator: Cinesite (as Karen Murphy) | |
| Kimberly K. Nelson | .... | visual effects producer | |
| Koichi Noguchi | .... | computer animator | |
| Cristin Pescosolido | .... | motion tracking | |
| Ethan Phillips | .... | visual effects CLT: VIFX | |
| Sean Phillips | .... | digital effects supervisor: Boss Film Studios | |
| Stephanie Powell | .... | blue screen consultant | |
| James E. Price | .... | digital effects supervisor: Cinesite (as Jamie Price) | |
| Michael S. Pryor | .... | digital effects coordinator: Cinesite (as Mike Pryor) | |
| Jeff Pyle | .... | modelmaker | |
| John Rauh | .... | digital effects compositor | |
| Jim Rider | .... | motion control cameraman | |
| Wendy Rogers | .... | CG supervisor | |
| Matthew H. Rowland | .... | first assistant director: visual effects unit (as Matthew Rowland) | |
| John E. Sasaki | .... | digital artist | |
| Paula Schneider | .... | model maker | |
| Scott Schneider | .... | model crew chief | |
| Sean Schur | .... | computer graphics supervisor | |
| Nelson Sepulveda | .... | digital artist: Cinesite | |
| Wayne A. Shepherd | .... | henry artist | |
| Janek Sirrs | .... | visual effects | |
| David A. Smith | .... | computer animator (as Dave Smith) | |
| Kurt E. Soderling | .... | visual effects camera operator (as Kurt Soderling) | |
| Suponwich Juck Somsaman | .... | digital artist | |
| Robert Spurlock | .... | miniature supervisor: Stetson Visual Services | |
| Mark Stetson | .... | miniature supervisor: Stetson Visual Services | |
| John K. Stirber | .... | effects supervisor: Stetson Visual Services (as John Stirber) | |
| Amy Tompkins | .... | assistant visual effects editor | |
| Angela C. Tortu | .... | second assistant director: visual effects unit (as Angela Tortu) | |
| George Trimmer | .... | consultant: Stetson Visual Services | |
| Doug Tubach | .... | digital compositor | |
| Mark Vargo | .... | visual effects director of photography | |
| Michael Vieira | .... | visual effects coordinator | |
| Chris Waegner | .... | digital effects artist | |
| Chris Watts | .... | post effects supervision | |
| Chris Watts | .... | post production visual effects supervisor | |
| Bill Westenhofer | .... | digital artist | |
| Jonny Winograd | .... | visual effects assistant editor | |
| David J. Witters | .... | visual effects artist | |
| Kieran Woo | .... | production controller: Digital Domain | |
| Dana Yuricich | .... | miniatures | |
| Richard Addison-Wood | .... | software research and development: Boss Film Studios (uncredited) | |
| Travis Baumann | .... | digital artist (uncredited) | |
| Stella Bogh | .... | digital compositor (uncredited) | |
| Brian Gardner | .... | software development (uncredited) | |
| Tom Gleason | .... | special effects model maker (uncredited) | |
| Jerry Hall | .... | digital compositor (uncredited) | |
| John Lafauce | .... | digital effects artist (uncredited) | |
| Dane Picard | .... | technical director (uncredited) | |
| Chris Simmons | .... | model maker (uncredited) | |
| Kenji Sweeney | .... | texture painter (uncredited) | |
| Paul Taglianetti | .... | motion control miniature coordinator: VIFX (uncredited) | |
| Michael Tigar | .... | digital artist (uncredited) | |
| Thomas Zell | .... | model maker (uncredited) | |
Animation Department | |||
| Paul Casson | .... | computer animator | |
| Nancy Kato | .... | animator | |
| Mark Swain | .... | computer animator | |
Casting Department | |||
| Gregory Avellone | .... | casting voice | |
| Jakki Fink | .... | casting associate | |
| Anne Johns | .... | extras casting coordinator | |
| Tammy L. Smith | .... | extras casting | |
Costume and Wardrobe Department | |||
| Deborah Ambrosino | .... | specialty costume craftsperson: milliner | |
| Laura Baker | .... | set costumer | |
| Brian Callahan | .... | costume supervisor: second unit | |
| Kathleen Felix | .... | costumer | |
| Randy Gardell | .... | specialty costume keyperson | |
| Martha Hines | .... | specialty costumer | |
| Chrisi Karvonides-Dushenko | .... | assistant costume designer | |
| Katina Le Kerr | .... | costume supervisor: women (as Katina Kerr) | |
| Anthony J. Lipin | .... | set costumer | |
| Tony Lipin | .... | set costumer | |
| Nick Scarano | .... | costume supervisor | |
Editorial Department | |||
| Sandy Brundage | .... | negative cutter | |
| Audrey Evans | .... | second assistant editor | |
| Carole Henderson Harrington | .... | assistant editor | |
| Charles Ireland | .... | assistant editor | |
| Jonathan Lucas | .... | associate editor | |
| Staci R. Pontins | .... | apprentice editor | |
| Mike Stanwick | .... | color timer (as Michael Stanwick) | |
| Jim Suhy | .... | assistant editor: lightworks | |
| Stefanie Wiseman | .... | assistant editor | |
Music Department | |||
| Bill Abbott | .... | music editor: temp music | |
| Jeff Atmajian | .... | conductor | |
| Jeff Atmajian | .... | orchestrator | |
| Chris Boardman | .... | orchestrator | |
| Bruce Botnick | .... | music mixer | |
| Bruce Botnick | .... | music recordist | |
| Brad Dechter | .... | orchestrator | |
| Sandy DeCrescent | .... | orchestra contractor | |
| Robert Elhai | .... | orchestrator | |
| James Newton Howard | .... | orchestrator | |
| Gillian L. Hutshing | .... | first assistant music editor | |
| Artie Kane | .... | conductor | |
| Michael Mason | .... | score co-producer | |
| David Olson | .... | assistant music editor | |
| Steve Porcaro | .... | musician | |
| Jay B. Richardson | .... | music editor | |
| Paul Salamunovich | .... | choral conductor: Los Angeles Master Choral | |
| Lee Scott | .... | music editor | |
| Kirsten Smith | .... | scoring crew | |
| Steven L. Smith | .... | music preparation | |
| Jim Weidman | .... | music editor | |
Transportation Department | |||
| Michael Bonahan | .... | picture boat coordinator | |
| Neil Callaghan | .... | picture boat coordinator | |
| Colleen Clancy | .... | transportation office | |
| Louis Dinson | .... | transportation co-captain | |
| Stan Mataele | .... | driver | |
| John Reed | .... | driver | |
| John Reed | .... | transportation co-captain | |
| George A. Sack | .... | driver | |
Other crew | |||
| David Aaron | .... | armorer | |
| Earl Alameida | .... | safety supervisor | |
| Ingrid K. Behrens | .... | production assistant: second unit | |
| Bonnie Belknap | .... | food stylist | |
| Bruno Belmont | .... | trimaran coordinator | |
| David M. Bernstein | .... | key set production assistant | |
| Linda Booher-Ciarimboli | .... | specialty crafts supervisor | |
| Dina Farnell | .... | production coordinator | |
| Wayne Fitzgerald | .... | title designer | |
| Cliff Fleming | .... | pilot | |
| Lawrence Gordon | .... | presenter | |
| Rick Hicks | .... | marine technician | |
| Steve Hinton | .... | assistant aerial coordinator | |
| Steve Hinton | .... | pilot | |
| Ryan Hintz | .... | post-production accountant | |
| Heather Holliday | .... | production assistant | |
| Craig Hosking | .... | aerial coordinator | |
| Staci A. Hunter | .... | production associate | |
| Barry Idoine | .... | trimaran co-coordinator | |
| Rick Jones | .... | safety supervisor | |
| Lance Julian | .... | marine consultant | |
| Tony Kerum | .... | caterer | |
| Samantha C. Kirkeby | .... | script supervisor: second unit | |
| Shari LaFranchi Blakney | .... | production coordinator: reshoots | |
| Jim Lipman | .... | boat captain | |
| Harry Lu | .... | armorer | |
| Gary MacPherson | .... | production coordinator | |
| Judy Malinoski | .... | production nurse | |
| Susan P. McCarthy | .... | production coordinator: Los Angeles | |
| Douglas C. Merrifield | .... | underwater tank coordinator (as Doug Merrifield) | |
| Christopher Mollo | .... | assistant: Larry Gordon | |
| Rana Morrison | .... | location aide | |
| Jimmy O'Connell | .... | assistant marine coordinator | |
| Ginger Peterson | .... | location manager | |
| Randy Peters | .... | pilot | |
| Billy Pittard | .... | title designer (as Pittard Sullivan Fitzgerald) | |
| Korey Scott Pollard | .... | production assistant | |
| Ana Maria Quintana | .... | script supervisor | |
| John Rankin | .... | marine assistant | |
| Shannon Rawls | .... | security officer | |
| Ira S. Rosenstein | .... | location manager: Los Angeles | |
| Bud S. Smith | .... | creative consultant: second unit | |
| Mark C. Smith | .... | set production assistant | |
| Nick Spetsiotis | .... | marine crew | |
| Dan Sprague | .... | armorer | |
| Syd Stembridge | .... | armorer | |
| Anne St. Johns | .... | production coordinator: second unit | |
| Kathleen Switzer | .... | assistant: Kevin Reynolds (as Kathleen A. Switzer-Idoine) | |
| Scott Tivald | .... | water safety: Kevin Costner and Jean Tripplehorn | |
| Alvin Tobasa | .... | safety coordinator | |
| Kevin Turley | .... | key set production assistant | |
| Mark Vollmer | .... | marine assistant | |
| C. Ransom Walrod | .... | marine coordinator (as Ransom Walrod) | |
| James P. Warren | .... | animal trainer: seagull | |
| Gino Wilffert | .... | marine assistant | |
| Lisbeth Wynn-Owen | .... | production coordinator | |
| Douglas D. Ziegler | .... | marine assistant (as Doug 'Ziggy' Ziegler) | |
| Jack E. Herman | .... | extras set coordinator: Los Angeles (uncredited) | |
| Bill Platt | .... | production assistant (uncredited) | |
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| The World Is Not Enough | Jaws | Star Wars: Episode VI - Return of the Jedi | Titanic | The Secret of Treasure Island |
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I honestly don't understand what all the fuss is about. Why do people hate Waterworld? Why was it instantly disregarded before it was even released? When you really think about it, how much different IS Waterworld from the more recent Pirates of the Caribbean: Dead Man's Chest? They are quite similar if you think about it. Waterworld also cost $75 million less than DMC. But because it has Johnny Depp in mascara the whole world loves it! Hypocrisy! With a lot of behind the scenes trouble (Reynolds walked off the film and Costner had to finish the final third of filming himself) and negative pre-release buzz, everyone expected Waterworld to fail. Boasting a budget of £175 million (the most expensive ever until Titanic 2 years later) it was sure to be a flop, especially with the snooty public and critics blasting it before its release. Then, the unthinkable happened.
Upon release, Waterworld actually managed to prove critic expectation wrong and be a good movie, receiving good (albeit ignored) reviews and finally earning a grand total of $255 million at the Box Office. This is before video, laserdisc, TV, DVD, HD-DVD and Blu Ray sales as well as all of the merchandise. Does sound like a flop to you? The plot is far-fetched. Yes, but so are the POTC plots involving fish-men, giant squids and Orlando Bloom as anything remotely masculine. But you accepted that quite easily. So just, for a minute, believe that if the polar ice caps DID melt that the world WOULD be covered in water. Set hundreds of years after this particular cataclysm, Waterworld follows the journey of The Mariner (Kevin Costner, who is only referred to a few times but never actually named), a man who is one step beyond human as he has the ability to breathe underwater and has webbed feet.
Early on in the movie, The Mariner comes across an Atoll, a floating small town complete with its own hill...er Waterbillies. When the Atoll is seized by crazed madman baddie boss Dennis Hopper as The Duke of the Deez (as in Exxon Valdeez), The Mariner escapes with Enola, a little girl who may hold the secret of Dryland and her guardian Helen (the totally gorgeous Jeanne Tripplehorn). Not happy with anyone leaving the party The Duke sends his army of filthy smokers to catch The Mariner and discover Dryland for himself.
Waterworld has a lot going for it. It's everything an action/sci-fi movie should be. There is so much escapism in the stunning seascapes and tropical feel. James Newton Howard's exotic score (replacing a rejected score by Mark Isham) is breathtaking and I seriously recommend you hunt down the soundtrack CD. The action is almost entirely special effects and stunt-work and it's brilliantly done. The editing is also quite impressive as is the amazing sound design. Waterworld is far superior to many, more expensive action films but still carries this burden of negative, unfair public opinion.
I have only ever seen the 136-minute cut of Waterworld that was released into cinemas and subsequent VHS etc. But a Director's Cut of 176 minutes has been shown on TV in America several times. This version apparently restores several scenes that tie up loose ends and answers a lot of questions about how the this particular watery future works as well as revealing that Dryland is actually Mount Everest. Other than TV airings, this version has never made available to the public. Which is quite annoying as there is a huge fanbase for it.
Don't have prejudices against this movie. Think different and see for yourself how cool it is.