M*A*S*H - crew, film crew
The entire team, the film crew of the film "M*A*S*H"
M*A*S*H (1970)
Timing:
1:56 (116 min)
6.95/10
1158
1158
7.335/10
5847
5847
7.4/10
75867
75867
Film crew
Director
Producer
Ingo Preminger
Producer
Leon Ericksen
Producer
Editor
Danford B. Greene
Editor
Art Direction
Jack Martin Smith
Art Direction
Arthur Lonergan
Art Direction
Michael Friedman
Art Direction
Stunts
Eddie Hice
Stunts
Joe Amsler
Stunts
John Forsyth
Stunts
Jimmy Nickerson
Stunts
Eddie Smith
Stunts
Set Decoration
Walter M. Scott
Set Decoration
Stuart A. Reiss
Set Decoration
Makeup Artist
Les Berns
Makeup Artist
Sound Re-Recording Mixer
David Dockendorf
Sound Re-Recording Mixer
Don MacDougall
Sound Re-Recording Mixer
Original Music Composer
Johnny Mandel
Original Music Composer
Unit Production Manager
Norman A. Cook
Unit Production Manager
Associate Producer
Leon Ericksen
Associate Producer
Orchestrator
Herbert W. Spencer
Orchestrator
Director of Photography
Harold E. Stine
Director of Photography
Musician
Mayuto Correa
Musician
Camera Operator
Lew Schwartz
Camera Operator
Costumer
John Intlekofer
Costumer
Sound Effects Editor
Arthur Cornell
Sound Effects Editor
John Jolliffe
Sound Effects Editor
Billie Owens
Sound Effects Editor
David Sachs
Sound Effects Editor
Property Master
Sidney H. Greenwood
Property Master
Script Supervisor
Lester Hoyle
Script Supervisor
Hairstylist
Edith Lindon
Hairstylist
Gerry Leetch
Hairstylist
Still Photographer
Robert W. Full
Still Photographer
Driver
Steve Bonner
Driver
Chris Haynes
Driver
Costume Designer
Diana Wilson
Costume Designer
Screenplay
Novel
Richard Hooker
Novel
Sound Designer
Bernard Freericks
Sound Designer
John D. Stack
Sound Designer
Transportation Coordinator
Jim Martell
Transportation Coordinator
Special Effects
Corril Harris
Special Effects
Greg C. Jensen
Special Effects
Hal Millar
Special Effects
Makeup Supervisor
Gaffer
Ross A. Maehl
Gaffer
Assistant Director
Ray Taylor Jr.
Assistant Director
Music Editor
Sam E. Levin
Music Editor
Greensman
Robert Lombardi
Greensman
Sound
Bernard Freericks
Sound
John D. Stack
Sound
Visual Effects
L.B. Abbott
Visual Effects
Supervising Music Editor
Leonard A. Engel
Supervising Music Editor
Second Assistant Camera
G. Austin Sanders
Second Assistant Camera
Costume Assistant
Robert Fuca
Costume Assistant
Music Producer
Johnny Mandel
Music Producer
Wardrobe Master
Mary Tate
Wardrobe Master
Wesley Trist
Wardrobe Master
Assistant Camera
Paul Koons
Assistant Camera
Supervising Sound Effects Editor
Don Hall
Supervising Sound Effects Editor
Lyricist
First Company Grip
Harry R. Jones
First Company Grip
What's left behind the scenes
- The first attempt to film Sally Kellerman (1937-2022) in the shower was unsuccessful because she knew what to expect and lay down on the floor, out of camera view, before the tent flap was raised. To distract the actress, director Robert Altman (1925-2006) and actor Gary Burghoff instructed the camera to be turned on and filming to begin, then both went into the shower tent and simultaneously lowered their pants. At that moment, the tent flap was raised, and Kellerman stood there frozen, with wide-eyed surprise – because Burghoff, beside the camera and off-screen, was standing before her in all his glory.
- Tom Skerritt later recalled that 80% of the lines and dialogue in the film were improvised, as Robert Altman cast people in some roles who had never worked in film or television before.
- According to Robert Altman, Elliott Gould and Donald Sutherland jointly complained to studio executives that Altman was devoting too much time and attention to filming minor characters. The actors demanded that the director be replaced, but their request was denied. After the film was released and received critical and audience acclaim, Gould alone admitted this to the director. As a result, he continued to work with Altman, while Sutherland never appeared in another Altman film.
- When studio executives first saw the footage, they told director Robert Altman that his soldiers looked too dirty compared to the soldiers in, for example, war dramas like "Tora! Tora! Tora!" (1970) by Richard Fleischer (1916-2006), Kinji Fukasaku (1930-2003) and Toshio Masuda, and "Patton" (1970) by Franklin J. Schaffner (1920-1989). Altman himself fought on the front lines of World War II. He replied to the executives that it was war, and soldiers in war didn't actually look pristine. The next day, the studio instructed the producers of those two films to make their soldiers look a little dirtier.
- One of the innovations devised by Robert Altman was the layering of different dialogues: in some scenes, up to four conversations were heard simultaneously. At the time, this was considered unconventional and even revolutionary, but Altman proved to be right, and the audience agreed with the idea he was trying to convey—that war is "a mess where nothing is ever clear." This technique was subsequently used in some other films as well.
- At the request of 20th Century Fox, a message was added to the opening credits stating that the film takes place in Korea. The Korean War is also mentioned in announcements from loudspeakers and on the radio. And in one scene, it is explicitly stated that the film takes place in 1951—to prevent viewers from assuming that everything is happening during the Vietnam War, which was ongoing when the film was being shot and released.
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