Coming to America - crew, film crew
The entire team, the film crew of the film "Coming to America"
Coming to America (1988)
Timing:
1:57 (117 min)
6.877/10
4683
4683
7.702/10
106031
106031
7.1/10
239000
239000
Film crew
Director
Producer
Robert D. Wachs
Producer
George Folsey Jr.
Producer
Executive Producer
Mark Lipsky
Executive Producer
Leslie Belzberg
Executive Producer
Casting
Jackie Burch
Casting
Editor
George Folsey Jr.
Editor
Malcolm Campbell
Editor
Special Effects Supervisor
Danny Cangemi
Special Effects Supervisor
Additional Second Assistant Director
Charles Brescia
Additional Second Assistant Director
Art Direction
Christopher Nowak
Art Direction
Richard B. Lewis
Art Direction
Costume Design
Deborah Nadoolman
Costume Design
Stunts
Lindell Blake
Stunts
Production Design
Richard Macdonald
Production Design
Stunt Coordinator
John Sherrod
Stunt Coordinator
Set Decoration
Cheryal Kearney
Set Decoration
Dan von Blomberg
Set Decoration
Makeup Artist
Rolf John Keppler
Makeup Artist
Original Music Composer
Unit Production Manager
Associate Producer
David Sosna
Associate Producer
Second Assistant Director
Richard Patrick
Second Assistant Director
Stunt Double
Carlton Holder
Stunt Double
Utility Stunts
Director of Photography
Woody Omens
Director of Photography
Costume Supervisor
Francine Jamison-Tanchuck
Costume Supervisor
Assistant Art Director
Carole Lee Cole
Assistant Art Director
Property Master
Gregg H. Bilson
Property Master
Supervising Sound Editor
Paul Timothy Carden
Supervising Sound Editor
Electrician
Richie Ford
Electrician
Supervising ADR Editor
James Beshears
Supervising ADR Editor
Still Photographer
Bruce McBroom
Still Photographer
Sound Mixer
William B. Kaplan
Sound Mixer
First Assistant Director
David Sosna
First Assistant Director
Assistant Costume Designer
Kelly Kimball
Assistant Costume Designer
Chief Lighting Technician
John W. DeBlau
Chief Lighting Technician
Driver
Patrick Hogan
Driver
Boom Operator
Louis Sabat
Boom Operator
Screenplay
David Sheffield
Screenplay
Barry W. Blaustein
Screenplay
Set Designer
R. Gilbert Clayton
Set Designer
Construction Coordinator
Jerry Fitzpatrick
Construction Coordinator
Assistant Editor
John Haggar
Assistant Editor
Rigging Grip
Michael T. James
Rigging Grip
Transportation Coordinator
Cary Kelley
Transportation Coordinator
Location Manager
Charles Miller
Location Manager
Grip
Bruce Atwater
Grip
Sunny Johnson
Grip
Dolly Grip
Jon Falkengren
Dolly Grip
Assistant Property Master
Stan Cockerell
Assistant Property Master
Location Assistant
Chris Schutsky
Location Assistant
Second Second Assistant Director
Tomaz Remec
Second Second Assistant Director
Carpenter
Marc Fambro
Carpenter
Construction Foreman
William Apperson
Construction Foreman
Story
Casting Assistant
Ferne Cassel
Casting Assistant
Foley Mixer
Dean Drabin
Foley Mixer
Production Accountant
Janet L. Wattles
Production Accountant
Music Editor
Daniel Allan Carlin
Music Editor
First Assistant Camera
Ken Fisher
First Assistant Camera
Production Assistant
Martha Appel
Production Assistant
Assistant Hairstylist
William Howard
Assistant Hairstylist
Greensman
Philip C. Hurst
Greensman
Assistant Makeup Artist
Marie Carter
Assistant Makeup Artist
Unit Publicist
Saul Kahan
Unit Publicist
Production Coordinator
Terry Ladin
Production Coordinator
Scenic Artist
Edward Garzero
Scenic Artist
Production Secretary
Ginny Warner
Production Secretary
Generator Operator
Joseph Banks
Generator Operator
Sound Recordist
Frank Graziadei
Sound Recordist
Wardrobe Supervisor
Bill Christians
Wardrobe Supervisor
Second Assistant Camera
Joseph Cosko Jr.
Second Assistant Camera
Choreographer
Assistant Sound Editor
Spike Allison Hooper
Assistant Sound Editor
Swing
Richard Evans
Swing
Sound Editor
Mike Dobie
Sound Editor
Set Medic
Greg Knapp
Set Medic
Color Timer
Bob Noland
Color Timer
Craft Service
Eddie Jones
Craft Service
Assistant Camera
Madelyn Most
Assistant Camera
Extras Casting Assistant
Rae Lockett
Extras Casting Assistant
Assistant Chief Lighting Technician
Ed Cooper
Assistant Chief Lighting Technician
Makeup Effects
Art Designer
Drew Struzan
Art Designer
Set Dressing Artist
Gerald DeTitta
Set Dressing Artist
First Company Grip
Dennis Gamiello
First Company Grip
Second Company Grip
Brian Fitzsimons
Second Company Grip
Story Editor
Brian Stewart
Story Editor
What's left behind the scenes
- The basis for the film's script was written by satirist Art Buchwald. However, Paramount Pictures rejected his idea, stating that it was uninteresting. As a result, the film was made without the author's knowledge. The surprised satirist only saw the realization of his vision in the cinema. Because of this, Buchwald sued Paramount Pictures in 1990. He won the case: the studio was ordered to pay him $900,000. Since then, film studios have made it a rule to include a clause in their contracts stating that original ideas from outside authors are not subject to payment. This reference has gone down in history as the "Buchwald Law" in American copyright law.
- After Eddie Murphy had his makeup applied and dressed as Saul, the Jewish man, the actor decided to test the makeup and costume. He took a golf cart and drove it from one department of the Paramount studio to another, where he got out of the golf cart and, in his normal voice, said, “Hello. It’s me, Eddie Murphy.” No one believed him.
- Much of the dance performed by the royal dancers in the scene with the future queen is a sped-up version of the dance from Michael Jackson's (1958-2009) “Thriller” (1983) music video.
- According to director John Landis, he came up with the idea to have Eddie Murphy play a Jewish man. It was a kind of revenge for the fact that in the early 20th century, Jewish actors often played Black characters. Screenwriter Barry W. Blaustein consulted with his own father when writing Murphy’s lines as the Jewish man.
- The African dance in the film was choreographed by singer Paula Abdul. It had to be filmed exclusively to the beat of drums, as composer Nile Rodgers had not yet finished writing the music for the film. The dancers kept slipping, so a binding material had to be sprayed on the floor, and the filming of the dance took a whole day.
- Eddie Murphy and Arsenio Hall played a wide variety of characters, so they had to spend 3-4 hours in the makeup chair each time to change their appearance. Costume designer Deborah Nedelman created over 500 costumes, drawing inspiration from the work of Christian Dior (1905-1957) from the early 1950s, as well as everyday clothing customary in the Ivory Coast, Gambia, and Senegal. The jewelry was created by Catherine Post from Thailand. When working on the design of the royal palace, John Landis was inspired by the Royal Pavilion (the former seaside residence of British monarchs) and the work of Henri Rousseau (1844-1910) from the late 19th century.
- Filming in New York wrapped up in February 1988, after which work on the film continued in Los Angeles. Within the Paramount Pictures studio pavilions, they constructed the palace of Prince Akeem, bathhouses, and makeup rooms. It is claimed, however, that Eddie Murphy refused to travel to California for the reception scenes, stating in a documentary filmed by Orson Welles (1915-1985) that, according to Nostradamus’s (1503-1566) prediction, an earthquake was expected in California that week. Director John Landis found a solution. He had Murphy arrive early, filmed numerous close-ups of him, and then shot the rest after the actor had left. The film remained on schedule. The earthquake never happened.
- The making of the film was accompanied by scandals. At one point, it escalated to a fight between director John Landis and Eddie Murphy. Then, the owner of a local McDonald’s restaurant arrived on set with his lawyer and began threatening to sue the filmmakers (although they had official filming permission from the fast-food chain’s management). Paramount Pictures was angry with Eddie Murphy, who allegedly tried to get his friends and relatives hired in various, self-created positions on the film crew. Murphy, in turn, later claimed that Paramount Pictures had not paid him the amount stipulated in his contract.
- In the film, there is an episode where the main characters pass by two beggars. The Prince gives them his last money, and they turn out to be Randolph and Mortimer Duke, whom Eddie Murphy’s character ruined in 'Trading Places'.
- The basis for the film's script was written by satirist Art Buchwald. However, Paramount Pictures rejected his idea, stating that it was uninteresting. As a result, the film was made without the author's knowledge. The surprised satirist only saw the realization of his vision in a movie theater. Because of this, Buchwald sued Paramount Pictures in 1990. He won the case: the studio was ordered to pay him $900,000. Since then, film studios have made it a rule to include a clause in their contracts stating that original ideas from outside authors are not subject to payment. This reference entered American copyright history as “Buchwald’s Law”.
- Filming in New York wrapped in February 1988, after which work on the film continued in Los Angeles. The palace of Prince Akeem, bathhouses, and makeup rooms were built on the grounds of the Paramount Pictures studio. It is claimed, however, that Eddie Murphy refused to travel to California for the filming of the reception, stating in a documentary filmed by Orson Welles (1915-1985) that, according to Nostradamus's (1503-1566) prediction, an earthquake was expected in California that week. Director John Landis found a solution. He had Murphy come in advance, shot many close-ups of him, and filmed everything else after the actor had left. The film remained on schedule. The earthquake never happened.
- There is an episode in the film where the main characters pass by two beggars. The Prince gives them his last money, and they turn out to be Randolph and Mortimer Duke, ruined by Eddie Murphy's character in 'Trading Places'.
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