The Abyss - crew, film crew
The entire team, the film crew of the film "The Abyss"
The Abyss (1989)
Timing:
2:20 (140 min)
7.344/10
3385
3385
7.833/10
66707
66707
7.5/10
208000
208000
Film crew
Director
Producer
Van Ling
Producer
Writer
Casting
Howard Feuer
Casting
Editor
Conrad Buff IV
Editor
Howard E. Smith
Editor
Joel Goodman
Editor
Art Direction
Joseph C. Nemec III
Art Direction
Russell Christian
Art Direction
Supervising Art Director
Peter Childs
Supervising Art Director
Costume Design
Deborah Everton
Costume Design
Stunts
Clay Boss
Stunts
Glory Fioramonti
Stunts
Denney Pierce
Stunts
Marcia Holley
Stunts
Michael Cassidy
Stunts
Diane Hetfield
Stunts
Mike Johnson
Stunts
Frank Lloyd
Stunts
Production Design
Leslie Dilley
Production Design
Stunt Coordinator
Set Decoration
Anne Kuljian
Set Decoration
Makeup Artist
Kathryn Fenton
Makeup Artist
Sound Re-Recording Mixer
Don J. Bassman
Sound Re-Recording Mixer
Richard Overton
Sound Re-Recording Mixer
Kevin E. Carpenter
Sound Re-Recording Mixer
Kevin F. Cleary
Sound Re-Recording Mixer
Original Music Composer
Production Supervisor
Paul Tivers
Production Supervisor
Orchestrator
Second Assistant Director
Verónica González Rubio
Second Assistant Director
Stunt Double
Director of Photography
Musician
Ralph Williams
Musician
Camera Operator
Paul C. Babin
Camera Operator
George D. Dodge
Camera Operator
Steadicam Operator
Bob Gorelick
Steadicam Operator
Costume Supervisor
Deena Appel
Costume Supervisor
Assistant Art Director
Dan Webster
Assistant Art Director
Property Master
Charles Stewart
Property Master
Emily Yudell
Property Master
Visual Effects Supervisor
Steve Johnson
Visual Effects Supervisor
Walt Conti
Visual Effects Supervisor
Supervising Sound Editor
Dody Dorn
Supervising Sound Editor
Script Supervisor
Sharron Reynolds-Enriquez
Script Supervisor
Electrician
Vince Pace
Electrician
Hairstylist
Emanuel Millar
Hairstylist
Special Effects Coordinator
Joseph A. Unsinn
Special Effects Coordinator
Joe Viskocil
Special Effects Coordinator
Still Photographer
Richard Foreman Jr.
Still Photographer
Animation Supervisor
Jeff Burks
Animation Supervisor
Sound Mixer
Visual Effects Producer
Leslie Huntley
Visual Effects Producer
Laura Buff
Visual Effects Producer
Ned Gorman
Visual Effects Producer
Diana Shornstein
Visual Effects Producer
Julia Gibson
Visual Effects Producer
First Assistant Director
Newt Arnold
First Assistant Director
Driver
John Anderson
Driver
Production Manager
Charles Skouras III
Production Manager
Boom Operator
George Leong
Boom Operator
Set Designer
Andrew Precht
Set Designer
Gershon Ginsburg
Set Designer
Foley Artist
Kevin Bartnof
Foley Artist
Sound Designer
Blake Leyh
Sound Designer
Propmaker
Neil Gahm
Propmaker
Construction Coordinator
George Stokes
Construction Coordinator
Art Department Coordinator
Mary Alice Palmer
Art Department Coordinator
Assistant Editor
Christopher Koefoed
Assistant Editor
Best Boy Grip
Scott R. Davis
Best Boy Grip
Rigging Grip
W.D. Hill
Rigging Grip
Transportation Coordinator
Chuck Clarke
Transportation Coordinator
Key Grip
Bobby Huber
Key Grip
Location Manager
Andrew Chapman
Location Manager
Andrew Chapman
Location Manager
Grip
Robert Hoelen
Grip
Dolly Grip
Jimmy Leavens
Dolly Grip
Assistant Property Master
Linda Waxman
Assistant Property Master
Leadman
John D. Kretschmer
Leadman
Key Rigging Grip
Charles 'Tom' Hinson
Key Rigging Grip
Set Production Assistant
Nancy Blewer
Set Production Assistant
Visual Effects Production Manager
Kristina Birkmayer
Visual Effects Production Manager
Carpenter
Jack Cornish
Carpenter
Construction Foreman
Tom Jones Jr.
Construction Foreman
Painter
Karen Steward
Painter
Foley Supervisor
Marian Wilde
Foley Supervisor
Special Effects Technician
Donn Markel
Special Effects Technician
Foley Mixer
Marilyn Graf
Foley Mixer
Production Accountant
Vince Heileson
Production Accountant
Casting Associate
Dennis Osborne
Casting Associate
Sculptor
Brian Cole
Sculptor
Gaffer
Mark A. Shelton
Gaffer
George S. Neil
Gaffer
Dwight Campbell
Gaffer
Music Editor
Kenneth Karman
Music Editor
ADR Mixer
Robert Deschaine
ADR Mixer
Video Assist Operator
David Schmalz
Video Assist Operator
ADR Recordist
Storyboard Artist
Phillip Norwood
Storyboard Artist
Assistant Unit Manager
Tekin Cetinkaya
Assistant Unit Manager
First Assistant Camera
Ian Fox
First Assistant Camera
Standby Painter
Joe Cooper
Standby Painter
Concept Artist
Additional Music
Robert Garrett
Additional Music
Stand In
Dominic Jack Pizzo, Sr.
Stand In
Production Assistant
Matt Brown
Production Assistant
Unit Publicist
Anne Marie Stein
Unit Publicist
Production Coordinator
Laura Greenlee
Production Coordinator
Visual Effects Coordinator
Mike Chambers
Visual Effects Coordinator
Key Set Production Assistant
Hilbert Hakim
Key Set Production Assistant
Scenic Artist
Michael T. Daigle
Scenic Artist
Visual Effects Editor
Miller Drake
Visual Effects Editor
Kathy Chasen-Hay
Visual Effects Editor
Additional Second Assistant Camera
David Luckenbach
Additional Second Assistant Camera
Production Secretary
Jennifer C. Bell
Production Secretary
Effects Supervisor
Larz Anderson
Effects Supervisor
Lighting Supervisor
Richard Mula
Lighting Supervisor
ADR Editor
Joe Dorn
ADR Editor
Conceptual Design
CG Artist
Steve 'Spaz' Williams
CG Artist
Best Boy Electric
James M. McEwen
Best Boy Electric
Assistant Accountant
Robert Gordon
Assistant Accountant
Assistant Production Coordinator
Beth DePatie
Assistant Production Coordinator
Construction Buyer
Charlotte Patterson
Construction Buyer
Sound Recordist
Robert Renga
Sound Recordist
Second Assistant Camera
Marc Brown
Second Assistant Camera
Assistant Sound Editor
Howell Gibbens
Assistant Sound Editor
Visual Effects Art Director
Wilson Tang
Visual Effects Art Director
Transportation Captain
Brian Delahanty
Transportation Captain
Title Designer
Ernest Farino
Title Designer
Sound Editor
Stuart Copely
Sound Editor
Foley Recordist
Carolyn Tapp
Foley Recordist
Visual Effects Production Assistant
Christopher Warren
Visual Effects Production Assistant
Color Timer
Bob Hagans
Color Timer
Craft Service
Stephan Schultze
Craft Service
Negative Cutter
Gary Burritt
Negative Cutter
Visual Effects Assistant Editor
Erik Henry
Visual Effects Assistant Editor
Wardrobe Assistant
Joshua Keep
Wardrobe Assistant
Foley
Greg Orloff
Foley
Joseph T. Sabella
Foley
Assistant Camera
Michael Griffin
Assistant Camera
Editorial Staff
Timothy Greenwood
Editorial Staff
Apprentice Sound Editor
Roy Seeger
Apprentice Sound Editor
Set Dressing Artist
General Fermon Judd Jr.
Set Dressing Artist
Production Illustrator
Michele Moen
Production Illustrator
Technical Advisor
Gene Witham
Technical Advisor
Project Manager
Jim English
Project Manager
Underwater Camera
Jordan Klein Jr.
Underwater Camera
Underwater Gaffer
Weapons Master
Randy E. Moore
Weapons Master
Mechanical Designer
Glenn Edwards
Mechanical Designer
Glenn Edwards
Mechanical Designer
Glenn Edwards
Mechanical Designer
What's left behind the scenes
- Before filming, the entire cast had to undergo a course with qualified divers.
- Before the start of filming, director James Cameron contacted Orson Scott Card to discuss the possibility of creating a book based on the future film. Card initially replied that he did not do "novelizations," but after his agent informed him that James Cameron was directing the film, he agreed to consider it. A script was released, and Card, after receiving assurances from Cameron regarding his right to develop the novel's ideological line as he saw fit, took on the work. After meeting with Cameron, Card soon wrote the first three chapters of the novel, telling the story of Bud and Lindsey Brigman's lives before the events shown in the film. Cameron gave these chapters to Ed Harris and Mary Elizabeth Mastrantonio, which helped them fully develop their characters.
- Special masks were developed to show the actors' faces. They had microphones built in so that the actors' spoken lines could be included in the film. Noise created by the regulators in the helmets was removed during post-production sound processing.
- Most of the underwater filming took place in a half-built nuclear reactor facility in Gaffney, South Carolina. It was the largest underwater filming stage in the world, holding 7 million gallons of water.
- The tank was filled with water to a depth of 12 meters, but even then, too much light penetrated from the surface. To block it out, the water's surface was covered with a huge piece of waterproof canvas and billions of tiny black plastic balls. However, during a severe storm, the canvas was destroyed, so filming was moved to nighttime.
- Liquid breathing actually exists. Five rats were used in five different takes, all of whom survived and were vaccinated by a veterinarian. The rat that actually appears in the film died of natural causes a few weeks before the premiere. According to James Cameron, the scene with the rat was cut from the British version of the film because the Royal Veterinary Service considered the episode painful for the animal. James Cameron himself repeatedly assured that no harm was done to the rats used in these takes.
- Mike Cameron, James Cameron's brother, played the dead crew member from the sunken submarine. To accomplish this, he had to hold his breath at a depth of 4.5 meters and allow a crab to crawl out of his mouth.
- During the exhausting and problematic filming, the cast and crew began to give the film various offensive nicknames, such as “Abyss Native,” “Curse,” and “Life is the Abyss You Dive Headfirst Into.”
- It is said that Mary Elizabeth Mastrantonio suffered physical and emotional distress due to the intense pressure she experienced on set, and Ed Harris once had to pull over to the side of the road on his way home due to an uncontrollable crying fit.
- The role of Commodore De Marco was originally intended for Lance Henriksen, but he was unable to appear in the film due to scheduling conflicts.
- The American Humanist Association deemed the film unacceptable due to a scene featuring a rat submerged in oxygen-rich liquid. And this wasn't simply for attention. The rat was actually put into a state of fear by being submerged in the liquid, which caused it to panic and struggle, after which it was pulled out by its tail, allowing the liquid to drain from its lungs.
- The mini-submarines in the large shots were merely models suspended on wires in a smoky room and filmed in slow motion.
- Due to financial reasons, the sets for the 'Deepcore' oil rig were not dismantled after filming. They are located in an abandoned (and drained) nuclear power plant facility in South Carolina, where the film was shot. 20th Century Fox covered the sets with signs warning potential photographers of their ownership rights to the mockup (and sketches) of the rig and prohibiting any photo or video recording in its vicinity by copyright law. Official information about this is displayed on the rig's hull itself.
- Underwater filming took place at the unfinished Cherokee Nuclear Power Plant, located near the town of Gaffney, South Carolina, USA.
- Due to the sufficient depth and time spent underwater, the cast and crew had to undergo decompression.
- Filming also took place in the world’s largest underground lake – a cave in Bonne Terre, Missouri, which was used as a backdrop for some scenes.
- The film's plot device – a nuclear warhead attack by a group of xenophobes, and the thwarting of this attack by a group advocating for contact – is reminiscent of a similar plot point in Arthur C. Clarke’s 1973 novel 'Rendezvous with Rama'.
- An extended version of the film exists with a runtime of 171 minutes.
- Stunt performers were involved in very few scenes. When Bud hauls Lindsay onto the drilling platform, Mary Elizabeth Mastrantonio held her own breath. When the rig is flooded and the characters flee from the water, drowning before closed doors and dodging debris from the collapsing rig – all of this was performed by the actors, not stunt doubles.
- The episode with the water tentacle moving through the launch shaft was described in the script in such a way that it could be removed without damaging the plot, and besides, no one knew what it would look like. The actors interacted with a section of heater hose, which was supported by crew members.
- The final scene, where the alien ship rises to the surface of the ocean, implied that it would be spring or summer. But since the film was shot on the eve of winter, each actor had to put several ice cubes in their mouth to avoid creating steam when exhaling.
- The episode in which Zubatka fires an automatic weapon at the launch shaft during Lieutenant Kofey's retreat was filmed using live ammunition. In this regard, the underwater automatic camera was isolated and enhanced safety measures were taken.
- In the episode where a water tentacle swims up to Badu, bubbles come out of his mouth and nose, which should not happen with that type of breathing.
- The episode in which Catfish de Vries (played by Leo Burmester) fires a submachine gun at the bathyscaphe during Lieutenant Kofie’s (played by Michael Biehn) retreat was filmed using live ammunition. Consequently, the underwater automatic camera was isolated, and enhanced safety measures were taken.
- The film's plot point – an attack by a nuclear warhead by a group of xenophobes, and the thwarting of this attack by a group advocating for contact – resembles a similar plot device in the 1973 novel "Rendezvous with Rama".
- The scene with the tentacled creature moving through the launch shaft was described in the script in such a way that it could be removed without damaging the plot; moreover, no one knew what it would look like. The actors interacted with a section of heater hose, which was supported by crew members.
- The episode in which Catfish de Vries (played by Leo Burmester) shoots at the bathyscaphe with a submachine gun while Lieutenant Kofie (played by Michael Biehn) is retreating was filmed using live ammunition. In connection with this, the underwater automatic camera was isolated and enhanced security measures were taken.
Did you like the film?
Auditions in India
Casting calls in USA
Castingi w Polsce
Кастинги в Україні
