| Photos (see all 15 | slideshow) | Videos (see all 9 NEW) |
Directed by | |||
| Nicole Holofcener | |||
Writing credits(WGA) | ||
| Nicole Holofcener | (written by) | |
Produced by | |||
| Anthony Bregman | .... | producer | |
| Eric d'Arbeloff | .... | producer | |
| Michael Escott | .... | co-executive producer (as Mike Escott) | |
| Debra Grieco | .... | co-producer | |
| Ted Hope | .... | producer | |
| Michael Kafka | .... | executive producer | |
| Jason Kliot | .... | executive producer | |
| Charles J. Rusbasan | .... | co-executive producer (as Charles Rusbasan) | |
| Joana Vicente | .... | executive producer | |
| Judith Zarin | .... | co-executive producer | |
Original Music by | |||
| Craig Richey | |||
Cinematography by | |||
| Harlan Bosmajian | (director of photography) | ||
Film Editing by | |||
| Robert Frazen | |||
Casting by | |||
| Jeanne McCarthy | |||
Production Design by | |||
| Devorah Herbert | |||
Art Direction by | |||
| Missy Parker | |||
Costume Design by | |||
| Vanessa Vogel | |||
Makeup Department | |||
| John Blaine | .... | key hair stylist | |
| Kathleen Freeman | .... | key makeup artist (as Kathleen Freeman-Smith) | |
| Andrea Helm | .... | assistant hair stylist | |
| Pecha Koyadinovich | .... | key hair stylist | |
| Matt Mastrella | .... | additional special effects makeup artist | |
| Lana Milosavljevic | .... | assistant hair stylist | |
| Alexis Walker | .... | assistant makeup artist | |
Second Unit Director or Assistant Director | |||
| Van Hayden | .... | first assistant director | |
| Nicholas Lee | .... | second assistant director | |
| Kyle Lemire | .... | second second assistant director (as Kyle LeMire) | |
Art Department | |||
| Derek Asuan-O'Brien | .... | set dresser | |
| Johnny D. Culley | .... | property master (as Johnny Culley) | |
| Sharon Curtis-Baltazar | .... | set dresser | |
| Rafael Inocencio | .... | prop intern | |
| David Loitz | .... | lead person | |
| Brad Morrison | .... | swing | |
| Beth Steffen | .... | set dresser | |
| Hanh Vo | .... | set dresser | |
| Pedro Ramirez | .... | assistant property master (uncredited) | |
Sound Department | |||
| Mark Allen | .... | sound effects supervisor | |
| Gary Coppola | .... | sound re-recording mixer (as Gary J. Coppola) | |
| Doug Davey | .... | sound re-recording mixer | |
| Craig S. Jaeger | .... | foley editor (as Craig Jeager) | |
| David Kudell | .... | sound assistant (as David Kadell) | |
| Brian Linder | .... | sound mixer | |
| Kimaree Long | .... | dialogue editor | |
| Kelly Oxford | .... | supervising sound editor (as Kelly L. Oxford) | |
| David Stanke | .... | sound assistant | |
| Gerard Vernice | .... | boom operator | |
| Trevor Ward | .... | stereo sound consultant: Dolby | |
| Chris Elam | .... | sound re-recording mixer (uncredited) | |
| Kimaree Long | .... | adr editor (uncredited) | |
| Claes Nystrom | .... | sound re-recording mixer (uncredited) | |
Visual Effects by | |||
| O.T. Hight | .... | fire/Inferno artist: HDTV | |
Casting Department | |||
| Nadia Lubbe | .... | casting assistant | |
| Tony Rasmussen | .... | extras casting: Rainbow Casting | |
| John Srednicki | .... | casting assistant | |
| Jeff Olan | .... | extras casting (uncredited) | |
Costume and Wardrobe Department | |||
| Ember Bekovsky | .... | costume supervisor | |
Editorial Department | |||
| Sam Dlugach | .... | tape-to-tape colorist: HDTV | |
| Daniel Gabbe | .... | assistant editor | |
| Scott Stewart | .... | post-production consultant: 24p HDTV | |
| Michael Hatzer | .... | color timer (uncredited) | |
Music Department | |||
| Joel Cabotage | .... | assistant recording engineer | |
| Cenovia Cummins | .... | musician: fiddle | |
| Ned Farr | .... | musician: guitar | |
| Jon Ossman | .... | musician: bass | |
| Craig Richey | .... | music editor | |
| Craig Richey | .... | musician: guitars, piano, vocals, whistle, harmonica, autoharp | |
| Craig Richey | .... | original score producer | |
| Craig Richey | .... | score recordist | |
| Amy Rosen | .... | music supervisor | |
Transportation Department | |||
| Mike Castaneda | .... | driver | |
| Guy Johnson | .... | head driver | |
| Dennis Kincaid | .... | driver | |
| Steve Pate | .... | transportation coordinator (as Stevo Pate) | |
| Maryalyce Sager | .... | driver (as Mary Alice Sagar) | |
| Bob Weaver | .... | driver | |
Other crew | |||
| Julie Anne Adams | .... | production accountant | |
| Julie Adams | .... | dialect coach: Ms. Emily Mortimer | |
| Doug Allen | .... | cartoonist: Hickory Dawg Cartoon, Twinkle | |
| Stefanie Azpiazu | .... | assistant: Mr. Bregman | |
| Paige Black | .... | set production assistant | |
| Michael Bodie | .... | office production assistant | |
| Susan H. Bodine | .... | production attorney: Epstein, Levinsohn, Bodine, Hurwitz & Weinstein (as Sue Bodine) | |
| Jerome Butler | .... | dialect coach | |
| Michael Caccamise | .... | assistant production coordinator | |
| Helen Caldwell | .... | script supervisor | |
| Bess Carlisle Coleman | .... | assistant location manager (as Carlisle Coleman) | |
| Cory Chew | .... | completion bond: Film Finances | |
| Alison S. Cohen | .... | production attorney: Epstein, Levinsohn, Bodine, Hurwitz & Weinstein (as Alison Cohen) | |
| Maureen Duffy | .... | completion bond: Film Finances | |
| Peter Fausone | .... | graphic artist: HDTV (as Pete Fausone) | |
| Peter Fausone | .... | title designer: HDTV (as Pete Fausone) | |
| Stephanie Friedman | .... | assistant: Mr. Kliot and Ms. Vicente | |
| Kate Gale | .... | craft service | |
| Janice Gantenbein | .... | animal wrangler (as Janice Gantenbien) | |
| Manuel Gonzales | .... | chef assistant: Eclipse Catering | |
| Janine Halloway | .... | production banking: HSBC Bank, USA | |
| Ed Hamilton | .... | fire editor: HDTV | |
| Tiffany Haynes | .... | assistant to line producer | |
| Mac Henderson | .... | payroll services: All-Payments Services | |
| John Kuramoto | .... | cartoonist: Hickory Dawg Cartoon, Twinkle | |
| Dawn Lanie | .... | payroll services: All-Payments Services | |
| Eric Lanzo | .... | set production assistant | |
| Gary Leib | .... | cartoonist: Hickory Dawg Cartoon, Twinkle | |
| Kojo Lewis | .... | location manager | |
| Diana Lui | .... | production coordinator | |
| Laurent Marchand | .... | chef: Eclipse Catering | |
| Matt Mastrella | .... | set production assistant | |
| Ross Miller | .... | insurance: D.R. Reiff & Associates | |
| Michael Moncreiff | .... | film-out production supervisor | |
| Bennett Pozil | .... | financing: Patexis Banques Populaires | |
| Dav Rauch | .... | title artist: The Orphanage | |
| Dan Riley | .... | studio teacher | |
| Marc Sadeghi | .... | producer: title design | |
| Paula Schmit | .... | completion bond: Film Finances | |
| Brian Shafer | .... | assistant location manager | |
| Jim Switzer | .... | payroll services: All-Payments Services (as Jon Switzer) | |
| Greg Trattner | .... | completion bond: Film Finances (as Gregory Trattner) | |
| Sabino Villanueva | .... | chef assistant: Eclipse Catering | |
| Amy Wieland | .... | key set production assistant | |
| Carol Woodward | .... | medical advisor | |
| Kurt Woolner | .... | completion bond: Film Finances | |
| Cliff Hsui | .... | HDTV technician (uncredited) | |
| Graham Kurzner | .... | location assistant (uncredited) | |
| Gina Meyers | .... | production assistant (uncredited) | |
Thanks | |||
| Benjamin Allanoff | .... | special thanks (as Ben Allanoff) | |
| Howard Cohen | .... | special thanks | |
| Ellory Elkayem | .... | special thanks | |
| Tamara Elkayem | .... | special thanks | |
| Carolee Goldstein | .... | special thanks | |
| Ronda Gomez-Quinones | .... | special thanks (as Rhonda Gomez-Quinones) | |
| Carol Joffe | .... | special thanks | |
| Charles H. Joffe | .... | special thanks (as Charles Joffe) | |
| J.P. Jones | .... | special thanks | |
| Peter Krikes | .... | special thanks | |
| Sig Libowitz | .... | special thanks | |
| Carrie Loudin | .... | special thanks | |
| Edward Mazurek | .... | special thanks | |
| Tracy McKnight | .... | special thanks | |
| Steve Meerson | .... | special thanks | |
| Tim Mukanos | .... | special thanks | |
| David Mullen | .... | special thanks | |
| D.P. Parker | .... | special thanks | |
| Catherine Parrington | .... | special thanks | |
| Jeanine Rohn | .... | special thanks | |
| Ian Root | .... | special thanks | |
| Jack Saraceno | .... | special thanks | |
| Joyce Schweickert | .... | special thanks | |
| Andrea Sperling | .... | special thanks | |
| Suzanne Strohmaier | .... | special thanks | |
| Shelley Surpin | .... | special thanks | |
| Peter Torres | .... | special thanks | |
| Annette Vait | .... | special thanks | |
| Dave Young | .... | special thanks | |
| Recent Posts (updated daily) | User |
|---|---|
| Just saw it.... *SPOILERS* | katiemott2004 |
| R Rating..... | Jimk7000 |
| Wow, Emily Mortimer has guts! | ema351 |
| Merkin!?!? | swankby |
| GREAT PERFORMANCE BY KEENER | HippieKid31 |
| Well, what | garridogal |
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| Short Cuts | The Stunt Man | Malèna | Ma femme est une actrice | Notes on a Scandal |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb USA section |
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I've noticed something a trend perhaps in Indie Cinema, it's all about the Upper Middle Class. Are the writers, directors, of these pictures of this group? After all, even an Indie production costs millions to produce. Your average middle classer has a hard time comprehending his rent, forget getting a picture funded.
In Lovely and Amazing, the women seemed to live in a plush world of decorator pillows and jeans. Big houses or snazzy apartments are the norm, trendy villages to shop too. Emily the actress, she's not waiting on tables while she's in between lovers or parts. Nor is her older sister, ex-prom queen, Catherine in the work world post-college and kids. Her hubby has his semi-glamorous office world and mistress, and plenty of time away from the family. Little black orphan child has issues in this white comfy world, too much food perhaps? The cars are smooth and leathery without pretension, the clubbing's and veranda angst is so Bloomingdale.
In the end we suggest all these ladies get a life.