Ed Wood - crew, film crew
The entire team, the film crew of the film "Ed Wood"
Ed Wood (1994)
Timing:
2:7 (127 min)
7.483/10
2514
2514
7.576/10
34762
34762
7.8/10
191000
191000
Film crew
Director
Producer
Denise Di Novi
Producer
Michael Flynn
Producer
Executive Producer
Writer
Casting
Editor
Art Direction
Okowita
Art Direction
Costume Design
Stunts
Bobby Burns
Stunts
Anthony G. Schmidt
Stunts
Mickey Cassidy
Stunts
Anthony Cecere
Stunts
Michael Haynes
Stunts
David LeBell
Stunts
Denney Pierce
Stunts
Lynn Salvatori
Stunts
Production Design
Tom Duffield
Production Design
Stunt Coordinator
John Branagan
Stunt Coordinator
Set Decoration
Cricket Rowland
Set Decoration
Makeup Artist
Matt Rose
Makeup Artist
Carrie Angland
Makeup Artist
James Leonard
Makeup Artist
Rick Stratton
Makeup Artist
Key Makeup Artist
Sound Re-Recording Mixer
David Parker
Sound Re-Recording Mixer
Rich Schirmer
Sound Re-Recording Mixer
Original Music Composer
Unit Production Manager
Michael Polaire
Unit Production Manager
Co-Producer
Michael Flynn
Co-Producer
Orchestrator
Set Dresser
Don Elliott
Set Dresser
David Ronan
Set Dresser
Kenneth Sayers
Set Dresser
Don 'Tex' Clark
Set Dresser
Second Assistant Director
Gregory Kent Simmons
Second Assistant Director
Director of Photography
Musician
Lydia Kavina
Musician
Andy Narell
Musician
John Moses
Musician
Camera Operator
Philippe Carr-Forster
Camera Operator
Costumer
Stephanie Colin
Costumer
Philip Maldonado
Costumer
Costume Supervisor
Nancy McArdle
Costume Supervisor
Kenn Smiley
Costume Supervisor
Sound Effects Editor
Ernie Fosselius
Sound Effects Editor
Samuel H. Hinckley
Sound Effects Editor
Assistant Art Director
Keith Neely
Assistant Art Director
Property Master
Emily Ferry
Property Master
Visual Effects Supervisor
Paul Boyington
Visual Effects Supervisor
Supervising Sound Editor
John Nutt
Supervising Sound Editor
Script Supervisor
Janna Stern
Script Supervisor
Set Costumer
Philip Maldonado
Set Costumer
Hairstylist
Bridget Cook
Hairstylist
Lucia Mace
Hairstylist
Alicia M. Tripi
Hairstylist
Special Effects Coordinator
Howard Jensen
Special Effects Coordinator
Still Photographer
Suzanne Tenner
Still Photographer
Visual Effects Producer
Robin L. D'Arcy
Visual Effects Producer
First Assistant Director
Mike Topoozian
First Assistant Director
Assistant Costume Designer
Michelle Skoby
Assistant Costume Designer
Animation
Kent Burton
Animation
Mark Villalobos
Animation
Chris Casady
Animation
Thanks
Paul Marco
Thanks
Kathy Wood
Thanks
Boom Operator
Kenneth C. Mantlo
Boom Operator
Screenplay
Set Designer
Bruce Robert Hill
Set Designer
Christopher S. Nushawg
Set Designer
Mindy R. Toback
Set Designer
Sharon E. Alshams
Set Designer
Thomas Betts
Set Designer
Carol Lavoie
Set Designer
Karl J. Martin
Set Designer
Stella Vaccaro
Set Designer
Ron Yates
Set Designer
Additional Editor
Tom Seid
Additional Editor
Foley Artist
Jennifer Myers
Foley Artist
Propmaker
Daniel W. Blaha
Propmaker
Roy Knyrim
Propmaker
Construction Coordinator
John H. Samson
Construction Coordinator
Art Department Coordinator
Beth Bernstein
Art Department Coordinator
Dialogue Editor
Joan E. Chapman
Dialogue Editor
Patrick Dodd
Dialogue Editor
Scott Levitin
Dialogue Editor
Assistant Editor
Sandra Kaufman
Assistant Editor
Pam Di Fede
Assistant Editor
Best Boy Grip
Huston Beaumont
Best Boy Grip
Art Department Assistant
Jane Ann Stewart
Art Department Assistant
Props
Albert Cuellar
Props
Bart Mixon
Props
Rigging Grip
Barry Lopez
Rigging Grip
Transportation Coordinator
Pat Carman
Transportation Coordinator
Key Grip
John F. Cassidy
Key Grip
Book
Location Manager
Liz Matthews
Location Manager
Diana Leigh Myers
Location Manager
Grip
Michael Alexonis
Grip
Pat O'Mara
Grip
Dolly Grip
Kenny Davis
Dolly Grip
Assistant Property Master
Joy Taylor
Assistant Property Master
Key Hair Stylist
Yolanda Toussieng
Key Hair Stylist
Leadman
Chuck McSorley
Leadman
Location Assistant
Ed Lippman
Location Assistant
Construction Foreman
Roger Meryett
Construction Foreman
Special Effects
Kevin Pike
Special Effects
Casting Assistant
Matthew Barry
Casting Assistant
Jeanne McCarthy
Casting Assistant
Special Effects Technician
Dan Statler
Special Effects Technician
Makeup Designer
Production Accountant
Gary Gillingham
Production Accountant
Casting Associate
Kate Kennedy
Casting Associate
Gaffer
John Vecchio
Gaffer
Music Editor
Ellen Segal
Music Editor
Production Sound Mixer
Edward Tise
Production Sound Mixer
ADR Mixer
Paul J. Zydel
ADR Mixer
Brian Ruberg
ADR Mixer
Jeff Courtie
ADR Mixer
"B" Camera Operator
Mark Streapy
"B" Camera Operator
First Assistant Camera
Eric Tramp
First Assistant Camera
Conductor
Post Production Supervisor
David Gaines
Post Production Supervisor
On Set Dresser
Erik Polczwartek
On Set Dresser
David Brennan
On Set Dresser
Production Assistant
Angie Bonner
Production Assistant
Shari B. Ellis
Production Assistant
Dina Farnell
Production Assistant
John J. Hermansen
Production Assistant
Al Hobbs
Production Assistant
P.J. Pettiette
Production Assistant
Cosmo Segurson
Production Assistant
Greensman
Lee Runnels
Greensman
VFX Artist
Unit Publicist
Susan Steinlauf-Pascal
Unit Publicist
Production Coordinator
Susan P. McCarthy
Production Coordinator
Scoring Mixer
Keith Grant
Scoring Mixer
John Kurlander
Scoring Mixer
Payroll Accountant
Rob Meisenholder
Payroll Accountant
ADR Voice Casting
Extras Casting
Bill Dance
Extras Casting
Tammy L. Smith
Extras Casting
Rigging Gaffer
Dennis J. Lootens
Rigging Gaffer
Best Boy Electric
Steven Givens
Best Boy Electric
Camera Loader
Lydia B. Smith
Camera Loader
Assistant Production Coordinator
Tammy Wood
Assistant Production Coordinator
Key Production Assistant
Scott Mislan
Key Production Assistant
Sound Recordist
Philip Rogers
Sound Recordist
Assistant Sound Editor
Mildred Iatrou
Assistant Sound Editor
Richard Quinn
Assistant Sound Editor
Lisa Chino
Assistant Sound Editor
David Franklin Bergad
Assistant Sound Editor
Kyrsten Mate
Assistant Sound Editor
Mary Works
Assistant Sound Editor
Dialect Coach
Francie Brown
Dialect Coach
Jessica Drake
Dialect Coach
Executive In Charge Of Production
Donald De Line
Executive In Charge Of Production
Transportation Captain
Hal Lary
Transportation Captain
Title Designer
Paul Boyington
Title Designer
Robert Dawson
Title Designer
Assistant Camera
Richard A. Kelley
Assistant Camera
Executive Visual Effects Producer
Jim Livolsi
Executive Visual Effects Producer
Visual Effects Camera
Allen Blaisdell
Visual Effects Camera
Transportation Co-Captain
Tim Abbatoye
Transportation Co-Captain
Production Illustrator
James Carson
Production Illustrator
Cableman
Todd O. Russell
Cableman
Foley Recording Engineer
Linda Lew
Foley Recording Engineer
Richard Duarte
Foley Recording Engineer
What's left behind the scenes
- In 1980, two years after his death, Ed Wood was recognized as the "worst director" in the history of Hollywood.
- Wood's 1959 film "Plan 9 from Outer Space" is considered the worst film in the history of cinema.
- The film is based on Rudolph Grey's book "Nightmare of Ecstasy." (Rudolph Grey, Nightmare of Ecstasy).
- The film contains quotes from Wood's films "Glen or Glenda" ("Glen or Glenda," 1953), "Bride of the Monster" ("Bride of the Monster," 1955), and "Plan 9 from Outer Space" ("Plan 9 from Outer Space," 1958). There is also a fragment from an early film featuring Bela Lugosi — "White Zombie" (1932).
- According to the film, Ed Wood met Lugosi, but in reality, the idea of using Lugosi in Wood's films belonged to writer Alex Gordon, who introduced the director to the actor.
- In real life, "Plan 9 from Outer Space" was only shown three years after filming ended, in a small, obscure cinema.
- In fact, Bela Lugosi did not die before filming "Plan 9," but after 10 minutes of the film had been shot.
- According to Depp, less than 10 minutes passed after Tim Burton offered him the role in the film before he agreed. At the time, the actor was somewhat disillusioned with cinema, and this role gave Depp the opportunity to "stretch out and have fun." And working with Martin Landau "restored" his "love of acting." Depp was already familiar with some of Edward Wood's work through John Waters, who showed him "Glen or Glenda" and "Plan 9 from Outer Space." To better embody Wood, the actor studied Jack Haley's acting in "The Wizard of Oz" (1939), where Haley played the Tin Man. Depp watched several performances by Ronald Reagan, as he considered them a kind of blind optimism, and believed that this was perfectly suited to Wood. The actor also tried to imitate Casey Kasem's low voice and "that very confident and lively traveling salesman quality in his voice." On Burton's advice, Depp studied Mickey Rooney's performances in the later Andy Hardy adventure films.
- To achieve a resemblance to Bela Lugosi, makeup artist Rick Baker applied special prosthetic makeup to Martin Landau. Baker applied it in such a way that Landau would not experience discomfort in portraying emotions and grimaces. For his role, the actor watched 25 films with Lugosi and seven of his interviews conducted between 1931 and 1956.
- Actor Gregory Walcott, who starred in "Plan 9 from Outer Space," appeared in the film in a cameo role. He played the man who introduces Wood to Maila Nurmi, "The Vampira."
- Patricia Arquette met Kathy O'Hara during filming. The actress found her "sweet and very pleasant."
- The idea for the film came to screenwriters Scott Alexander and Larry Karaszewski while they were students at the University of Southern California School of Cinematic Arts. Alexander even planned to make a documentary about Wood – "The Man in the Angora Sweater" – during his sophomore year. However, Karaszewski was skeptical of the idea at the time. Later, Alexander and Karaszewski co-wrote the screenplays for "Problem Child" and "Problem Child 2," but they both grew tired of working exclusively on family films. They then wrote a 10-page screenplay outline about Wood and presented the idea to director Michael Lehmann, whom they had met at the School of Cinematic Arts. Lehmann presented the project to producer Denise Di Novi, with whom he had worked on "Fatal Attraction." Di Novi herself had previously collaborated with Tim Burton on "Edward Scissorhands," "Batman Returns," and "The Nightmare Before Christmas." Ultimately, Lehmann was contractually obligated to direct the biopic about Wood, and Burton and Di Novi were to be the producers.
- Burton began reading "Nightmare of Ecstasy" and some of Wood's letters. He was struck by the fact that in his letters, the director "wrote about his films as if he were shooting "Citizen Kane," despite the fact that people considered his films to be the worst in history." Burton confessed that he had always been a fan of Ed Wood, so the film was an admiration, not a mockery, of Wood's work. The relationship between him and Lugosi in the film echoes Burton's close relationship with his own idol, Vincent Price. Burton said in an interview: "Meeting Vincent had an incredible impact on me; Ed must have experienced the same impact when he met his idol."
- At the time, Burton was preparing to direct "Mary Reilly" for Columbia Pictures with Winona Ryder in the lead role. However, due to the company's decision to give the role to Julia Roberts instead of Ryder, Burton left the project. This prompted him to take the direction of "Ed Wood" into his own hands and shoot the film quickly. As a result, he took the director's chair himself, and Lehmann was given the position of executive producer. Alexander and Karaszewski wrote a 147-page screenplay in six weeks. Burton read it and approved it immediately, without any changes or edits. Burton liked the fact that Wood was little known to the general public, meaning that work on the film could not be constrained by anecdotes about the "worst director." But he considered the most important thing to be the fact that Wood and his team did their job with passion.
- The director decided to film in black and white as an homage to Wood's films. The lighting for the shooting was also set up and selected in accordance with the monochrome image, which gave a realistic effect of filming from that period.
- Initially, the film contract was concluded with Columbia Pictures. But in April 1993, the company’s chairman, Mark Canton, rejected the project a month before filming began due to disagreements with Burton, who insisted on filming in black and white and demanded complete creative freedom. At that time, companies such as Paramount Pictures, Warner Bros., 20th Century Fox became seriously interested in the adaptation rights, but Burton accepted an offer from The Walt Disney Company, with whom he had already worked on 'The Nightmare Before Christmas'. Like that film, 'Ed Wood' was also released through Touchstone Pictures. Disney took the project into its hands hoping that Burton would continue to work with them, but he returned to Warner Bros. for his next film. The company allocated a budget of $18 million and provided Burton with complete creative independence, as it did not see the film as a major risk. The director also waived his fee for the project.
- Principal photography began in August 1993 and lasted 72 days.
- Howard Shore used some musical themes from Wood's original films to create the soundtrack for Burton's film.
- In 1980, two years after his death, Ed Wood was recognized as the "worst director" in the history of Hollywood.
- Wood's 1959 film, "Plan 9 from Outer Space," is considered the worst movie in the history of cinema.
- The film features quotes from Wood's films "Glen or Glenda" (1953), "Bride of the Monster" (1955), and "Plan 9 from Outer Space" (1958). There is also a clip from an early film starring Bela Lugosi – "White Zombie" (1932).
- In reality, "Plan 9 from Outer Space" was shown only 3 years after filming ended, in a small, obscure cinema.
- In fact, Bela Lugosi did not die before filming "Plan 9," but after 10 minutes of footage had been shot.
- According to Depp, less than 10 minutes passed after Tim Burton offered him a role in the film before he agreed. At the time, the actor was somewhat disillusioned with cinema, and this role gave Depp the opportunity to “stretch out and have fun.” And working with Martin Landau “restored” his “love of acting.” Depp was already familiar with some of Edward Wood's work through John Waters, who showed him “Glen or Glenda” and “Plan 9 from Outer Space.” To better embody the image of Wood, the actor studied Jack Haley’s acting in “The Wizard of Oz” (1939), where Haley played the Tin Man. Depp watched several performances by Ronald Reagan, as he considered them a form of blind optimism, and believed this was perfect for Wood. The actor also tried to imitate Casey Kasem’s low voice and “that very confident and lively traveling salesman quality in his voice.” At Burton’s suggestion, Depp studied Mickey Rooney’s acting in later Andy Hardy adventure films.
- Actor Gregory Walcott, who starred in “Plan 9 from Outer Space,” appeared in the film as a cameo. He played the man who introduces Wood to Maila ‘Vampira’ Nurmi.
- Patricia Arquette met Kathy O’Hara during filming. The actress found her “sweet and very pleasant.”
- The idea for the film came to screenwriters Scott Alexander and Larry Karaszewski while they were studying at the School of Cinematic Arts at the University of Southern California. Alexander even planned to make a documentary about Wood – “The Man in the Angora Sweater” – during his sophomore year. However, Karaszewski was skeptical of the idea at the time. Later, Alexander and Karaszewski co-wrote the screenplays for “Problem Child” and “Problem Child 2,” but they both grew tired of working solely on family films. They then wrote a 10-page screenplay outline about Wood and presented the idea to director Michael Lehmann, whom they had met while at the School of Cinematic Arts. Lehmann introduced the project to producer Denise Di Novi, with whom he had worked on “Fatal Attraction.” Di Novi had previously collaborated with Tim Burton on “Edward Scissorhands,” “Batman Returns,” and “The Nightmare Before Christmas.” Ultimately, Lehmann was contractually obligated to direct the Wood biopic, while Burton and Di Novi would be the producers.
- Burton began reading “Nightmare of Ecstasy” and some of Wood’s letters. He was struck by the fact that in the letters, the director “wrote about his films as if he were filming ‘Citizen Kane,’ despite the fact that people considered his films to be the worst ever made.’” Burton admitted that he had always been a fan of Ed Wood, so the film was an homage, not a mockery, of Wood’s work. The relationship between him and Lugosi in the film echoes Burton’s close relationship with his own idol, Vincent Price. Burton said in an interview: “Meeting Vincent had an incredible impact on me; Ed must have felt the same impact when he met his idol.”
- At that time, Burton was preparing to direct "Mary Reilly" for Columbia Pictures with Winona Ryder in the lead role. However, due to the company's decision to give the role to Julia Roberts instead of Ryder, Burton left the project. This prompted him to take on the direction of "Ed Wood" himself and shoot the film quickly. As a result, he took the director's chair and gave Lehman the position of executive producer. Alexander and Karatzewski wrote a 147-page screenplay in six weeks. Burton read it and immediately approved it as is, without any changes or edits. Burton liked the fact that Wood was little known to the general public, which meant that working on the film could not be constrained by anecdotes about the "worst director." But he considered the most important thing to be the fact that Wood and his team did their job with passion.
- Initially, a contract for the creation of the film was concluded with Columbia Pictures studio. But in April 1993, company chairman Mark Canton rejected the project a month before filming began due to disagreements with Burton, who insisted on shooting the picture in black and white and demanded complete creative freedom. Then, companies such as Paramount Pictures, Warner Bros., 20th Century Fox became seriously interested in the adaptation rights, but Burton accepted the offer from The Walt Disney Company, with whom he had already worked on "The Nightmare Before Christmas." Like that film, "Ed Wood" was also released under the distribution of Touchstone Pictures. Disney took on the project with the expectation that Burton would continue to work with them, but he returned to Warner Bros. with his next film. The company allocated a budget of $18 million and gave Burton complete creative independence, as it did not see the picture as a big risk. The director also waived his fee for working on the project.
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