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Tremors 3: Back to Perfection - crew, film crew

The entire team, the film crew of the film "Tremors 3: Back to Perfection"

Tremors 3: Back to Perfection (2001)

Timing: 1:45 (105 min)

5.776/10
603

5.631/10
13633

5.3/10
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All about film

Video 2

Photo 10

Actors and characters

Film crew

Director

Brent Maddock

Director

Producer

Nancy Roberts

Producer

Executive Producer

S.S. Wilson

Executive Producer

Casting

Craig Campobasso

Casting

Editor

Drake Silliman

Editor

Art Direction

Alberto Gonzalez-Reyna

Art Direction

Costume Design

Debbie Shine

Costume Design

Production Design

Ken Larson

Production Design

Stunt Coordinator

Noon Orsatti

Stunt Coordinator

Set Decoration

Amanda Moss Serino

Set Decoration

Key Makeup Artist

Jennifer McCarthy

Key Makeup Artist

Original Music Composer

Kevin Kiner

Original Music Composer

Director of Photography

Virgil L. Harper

Director of Photography

Camera Operator

Richard Benda

Camera Operator

Steadicam Operator

Kenji Luster

Steadicam Operator

Costume Supervisor

Roger J. Forker

Costume Supervisor

Sound Effects Editor

Greg Back

Sound Effects Editor

Property Master

Gabriel Higgins

Property Master

Visual Effects Supervisor

Linda Drake

Visual Effects Supervisor

Script Supervisor

Mary Anne Seward

Script Supervisor

Hairstylist

Johnny Ciccone

Hairstylist

Special Effects Coordinator

Larry Fioritto

Special Effects Coordinator

Still Photographer

Joel David Warren

Still Photographer

First Assistant Director

Carl Lawrence Ludwig

First Assistant Director

Teleplay

John Whelpley

Teleplay

Boom Operator

Randall L. Johnson

Boom Operator

George W. Scott

Boom Operator

Set Designer

Everett Chase

Set Designer

Propmaker

Joseph Livolsi

Propmaker

Ernie Barba

Propmaker

Robert Flores

Propmaker

Kevin Kolarik

Propmaker

Construction Coordinator

Roger Kelton

Construction Coordinator

Dialogue Editor

James Christopher

Dialogue Editor

Assistant Editor

David Abramson

Assistant Editor

Best Boy Grip

Stephen B. Martinez

Best Boy Grip

Key Grip

R. Michael Stringer

Key Grip

Key Hair Stylist

Brandon Waggoner

Key Hair Stylist

Leadman

Andrew Endsley

Leadman

Construction Foreman

William Scott Feek

Construction Foreman

Painter

Guerin Swing

Painter

Story

Brent Maddock

Story

S.S. Wilson

Story

Nancy Roberts

Story

Gaffer

Newton TerMeer

Gaffer

First Assistant Camera

Norman Cattell

First Assistant Camera

Post Production Supervisor

Michael Toji

Post Production Supervisor

Greensman

Rick Lanes

Greensman

ADR & Dubbing

Barry Keys

ADR & Dubbing

ADR Editor

Scott Bernstein

ADR Editor

Makeup Effects

Mike Manzel

Makeup Effects

What's left behind the scenes

When a geologist dies from an attack by a creature in the desert, his wounds on his back bleed orange. This happened because fake blood mixed with carbon dioxide from the fire extinguisher that covered the man's body for safety purposes – the bright orange color was the result of chemical reactions that occurred when the two were mixed.
In a scene where Burt talks to a mother and child, the latter asks to be photographed with 'the Graboids'. Due to a general misconception, the creatures were also called 'the Graboids', although in previous films they were called 'Graboids'.
Some Graboids were created using computer technology. This is the first film in the franchise where such technology was used to create the creatures, whereas previously they were either full-size puppets or one-quarter scale models. Some Shriekers were also created using computer technology in this film, as well as in S.S. Wilson’s previous film, 'Tremors 2: Aftershocks' (1996).
Many scenes with Shriekers were cut from the final version of the film to maintain the pace of the narrative and for financial reasons. As a result, Shriekers are only shown in the opening scene, and later there are shots of their discarded shells.
'El Blanco' is a reference to Herman Melville’s novel 'Moby Dick' (1851), which tells the story of a white whale with behavior atypical for whales. This assumption is confirmed by Burt’s line upon first meeting El Blanco, when he asks for his name (the novel by Melville also begins with this line). However, while Moby Dick was an aggressive member of a generally peaceful species, here it is the opposite, and El Blanco is a peaceful member of an aggressive species. Furthermore, in Melville’s novel, there is an active search for and pursuit of Moby Dick, whereas in the film, El Blanco pursues Burt.

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