Doctor Dolittle - crew, film crew
The entire team, the film crew of the film "Doctor Dolittle"
Doctor Dolittle (1998)
Timing:
1:25 (85 min)
5.717/10
3226
3226
6.583/10
57173
57173
5.4/10
107000
107000
Film crew
Director
Producer
David T. Friendly
Producer
Joseph Singer
Producer
Executive Producer
Sue Baden-Powell
Executive Producer
Casting
Nancy Foy
Casting
Editor
Peter Teschner
Editor
Art Direction
Greg Papalia
Art Direction
Costume Design
Sharen Davis
Costume Design
Production Design
William A. Elliott
Production Design
Stunt Coordinator
Second Unit Director
Jon Farhat
Second Unit Director
Set Decoration
K.C. Fox
Set Decoration
Makeup Artist
Toy Van Lierop
Makeup Artist
Ann Pala
Makeup Artist
Shontai Clark
Makeup Artist
Sound Re-Recording Mixer
Gary Alexander
Sound Re-Recording Mixer
Gary C. Bourgeois
Sound Re-Recording Mixer
Original Music Composer
Unit Production Manager
Jeffrey Downer
Unit Production Manager
Sue Baden-Powell
Unit Production Manager
Production Supervisor
Cathy Mickel Gibson
Production Supervisor
Associate Producer
Steph Lady
Associate Producer
Second Assistant Director
Julie Herrin
Second Assistant Director
Susan J. Hellmann
Second Assistant Director
Shery Blanc
Second Assistant Director
Director of Photography
Costume Supervisor
Riki Lin Sabusawa
Costume Supervisor
Sound Effects Editor
Craig Berkey
Sound Effects Editor
Paul Apted
Sound Effects Editor
Visual Effects Supervisor
Jon Farhat
Visual Effects Supervisor
Van Ling
Visual Effects Supervisor
Supervising Sound Editor
John A. Larsen
Supervising Sound Editor
Michael J. Benavente
Supervising Sound Editor
Script Supervisor
Benita Brazier
Script Supervisor
Marvel Wakefield
Script Supervisor
Sarah Auerswald
Script Supervisor
Hairstylist
Fay Kelly
Hairstylist
Erma Kent
Hairstylist
Digital Effects Supervisor
Janek Sirrs
Digital Effects Supervisor
Sound Mixer
David Kirschner
Sound Mixer
Visual Effects Producer
Casey Cannon
Visual Effects Producer
Melissa Brockman
Visual Effects Producer
Anne Putnam Kolbe
Visual Effects Producer
Mark Brown
Visual Effects Producer
First Assistant Director
Richard Graves
First Assistant Director
Kris Krengel
First Assistant Director
Screenplay
Larry Levin
Screenplay
Set Designer
Easton Michael Smith
Set Designer
Gina B. Cranham
Set Designer
James F. Claytor Sr.
Set Designer
Second Second Assistant Director
Tamu Blackwell
Second Second Assistant Director
Story
Hugh Lofting
Story
Music Supervisor
Pilar McCurry
Music Supervisor
Special Effects Makeup Artist
Matthew W. Mungle
Special Effects Makeup Artist
Post Production Supervisor
P. Todd Coe
Post Production Supervisor
Script Coordinator
Mads Hansen
Script Coordinator
Trainee Production Coordinator
Vince Duque
Trainee Production Coordinator
What's left behind the scenes
- Eddie Murphy is terrified of animals, so he always insisted on using composite shots or digitally adding images of animals to scenes featuring him. When it was impossible to avoid being in the same room with an animal, the filming of such scenes often ended with his desperate screams.
- At one point, Eddie Murphy's character watches Richard Fleischer's (1916-2006) film 'Doctor Dolittle' (1967) on television.
- The film features a large number of different animals, which required several months of preparation, careful planning, and training. Trainers studied the behavioral characteristics of animal species and the unique features and temperament of individual animals. They were taught to obey commands given by voice, sounds, and gestures, and received their favorite treats as a reward.
- To create the illusion that the animals were actually speaking, computer-generated digital images were used from two-dimensional models. First, the natural movement of the animals' muzzles was filmed, and then, during post-production, the images were altered frame by frame so that the teeth, lips, and tongue formed words. The 1995 film "Babe" by Chris Noonan took a different approach, where the muzzles of all the animals were rendered in three dimensions. There, an image of the entire supposedly speaking muzzle was superimposed onto the animals’ images. This method was innovative and quite advanced for its time, but the use of the technique applied in "Doctor Dolittle" (1998) represented a new step in depicting animals on screen.
- Creating some illusions required unique equipment, such as harnesses and bridles specifically invented and constructed for the film. One such collar was created specifically for the dog being forcibly dragged to the veterinarian. The dog is pulled in a sitting position, so the collar was designed to distribute the dog’s weight evenly between its neck and hindquarters. The dog was trained beforehand to accept this behavior and become accustomed to the collar. Another similar collar was designed for safe riding in the passenger seat of a car.
- Some scenes required the simultaneous participation of a large number of animals and, consequently, their simultaneous presence on the set. The animals were pre-trained (this took several weeks) to work together. Up to 45 trainers were present on set during the filming of some scenes.
- Animal doubles were used in many scenes; for example, when Rodney rides in a cage on the roof of a car, or when he nearly gets flushed down the toilet in the ladies' room, an animatronic guinea pig was used. Rodney was well-trained and could perform many stunts himself – biting the bars of the cage, going to the designated spot, and sitting on command; however, he also had doubles trained to perform a specific trick. Animatronic doubles were also used for other animals – for example, Lucky, the two rats, the owl, Jacob, the pigeons, all of whom also had live doubles, allowing for shift-based filming so that the animals could rest.
- In situations where a potential predator and prey are together, or in scenes where an animal is in a potentially dangerous position, such as a tiger on the edge, a blue screen technique was used. The animals were filmed individually against a blue backdrop, and their images were combined with the necessary background during editing. This method can also be used to film animals or an animal and its animatronic double(s). During post-production, the two halves are combined so that the result appears as if the animals were filmed together.
- The collision on the highway during the chase was not planned. The script called for the car to use the bus as cover and turn left. However, a collision occurred, and as a result, the trunk opened revealing blue bags inside (they were placed there to facilitate some stunts). The footage with the bags had to be cut. Subsequent scenes had already been filmed by that point and showed a much less damaged car.
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