The Works of Director Richard Donner

Composer: Jerry Goldsmith
Cinematographer: Gilbert Taylor BSC
Film Editor/2nd Unit Director: Stuart Baird ACE
Film Editor: Ralph Kemplen
SFX Supervisors: John Richardson, George Gibbs
Stunt Coordinator: Alf Joint
Stunts: Vic Armstrong
Camera Operator: Gerry Anstiss
Filming Dates: 12 October 1975 - 2 January 1976
Camera: Panaflex Gold (35mm Eastman 100T 5247)
Lenses: Panavision C-Series Anamorphic Primes & Cooke Zooms
AR: 2.39:1 (Anamorphic)
Budget: 2.8 Million USD
Budget AFI (2021): 12.9 Million USD
Attribute: Filmed in Panavision

Composer/Conductor/Orchestrator: John Williams
Additional Orchestrator: Alexander Courage
Cinematographer: Geoffrey Unsworth BSC
Film Editors: Stuart Baird ACE, Michael Ellis
Production Designer/2nd Unit Director: Jonathan Barry
Visual Coordinator/2nd Unit Director: David Lane
2nd Unit Directors: John Glen, Andre De Toth, Peter Duffell, Robert Lynn
Assistant Director/Blue Screen Unit Director: Michael Dryhurst
Art Directors: Stuart Craig, Norman Reynolds
Costume Designer: Yvonne Blake
Creative Optical VFX Supervisor: Roy Field
VFX Supervisor/Flying Unit Assistant SFX Supervisor: John Inglis
VFX Supervisor (2000 Restoration): Mark Freund
Canada/New York SFX Supervisor: John Richardson
Creative Supervisor/SFX Director: Colin Chilvers
SFX Runner: Neil Corbould
Model Effects Creator/Director: Derek Meddings
Additional Model Effects Supervisors: George Gibbs, Brian Smithies
Model DP: Paul Wilson BSC
Additional Model DPs: Leslie Dear, Harry Oakes, Bob Kindred
USA Additional Model DP: Darrell Anderson
Flying Unit Coordinator: Dominic Fulford
Stunt Coordinator: Alf Joint
New York Stunt Coordinator: Alex Stevens
Aeriel DP: Peter Allwork
Camera Operators: Ken Coles, James Devis, Roy Ford, Ginger Gemmel, Geoff Glover, John Harris, Gordon Hayman, Jack Lowen, Peter MacDonald, John Morgan, George Pink, Ronnie Rogers
Canada Camera Operator: Rod Parkhurst
USA Camera Operators: Howard Anderson III, Lou Barlia, Michael Chevalier, Jim Contner, Jack Courtland
Additional DPs: Jack Atcheler, Alex Thomson BSC
Alberta Additional DP: Reginald Morris
New Mexico Additional DP: Robert E. Collins
New York Additional DP: Sol Negrin
New York Process Plate DP: Bob Bailin
WesCam DP: Ron Goodman
Assistant Cameraman: Jonathan Taylor ASC
Co-1st Unit Camera Operator: Mike Fox
Stunt Coordinator/Christopher Reeve Stunt Double: Vic Armstrong
Creative Matte & Compositing Supervisor: Les Bowie
Filming Dates: March 1977 - November 1978 (Shot back-to-back with Superman II)
Cameras: Arriflex 35-IIC & PSR R-200 (35mm Eastman 100T 5247)
Lenses: Panavision C-Series Anamorphic Primes
AR: 2.39:1 (Anamorphic)
Budget: 55 Million USD
Budget AFI (2021): 221.8 Million USD
Attribute: Filmed in Panavision

Composer/Conductor: John Barry
Cinematographer: Laszlo Kovacs ASC
Film Editor: Frank Morriss
Production Designer: Charles Rosen
Costume Designer: Ron Talsky
1st Assistant Director/2nd Unit Director: Michael Grillo
SFX Supervisor: Larry Roberts
Camera Operator/2nd Unit DP: Robert M. Stevens
2nd Unit DP: Bobby Byrne
Gaffer: Jim Plannette
Camera: Panaflex (35mm Eastman 100T 5247)
Lenses: Panavision C-Series Anamorphic Primes
AR: 2.39:1 (Anamorphic)
Attribute: Filmed in Panavision

Composer: Patrick Williams
Cinematographer: Laszlo Kovacs ASC
Film Editors: Richard A. Harris ACE, Michael Stevenson ACE
Production Designer: Charles Rosen
Costume Designer: Moss Mabry
SFX Supervisor: Phil Cory
Stunt Coordinator: Bobby Porter
Camera Operator: Robert M. Stevens
Chicago Camera Operators: William Birch, John Dustin, George Kahut, Paul Vombrack
Steadicam Operator: Garrett Brown
2nd Unit Camera Operator: James Devis
Assistant Editor: Michael Thau
Filming Dates: April 1982 - 24 June 1982
Camera: Panaflex (35mm Eastman 100T 5247)
Lenses: Panavision Ultra Speed MKII Spherical Primes
AR: 1.85:1 (Spherical)
Budget: 17 Million USD
Budget AFI (2021): 46.3 Million USD
Attribute: Filmed in Panavision

Composer: Andrew Powell
Cinematographer: Vittorio Storaro ASC AIC
Film Editor/2nd Unit Director: Stuart Baird ACE
Production Designer: Wolf Kroeger
Costume Designer: Nana Cecchi
UK Production Manager/1st Assistant Director: Anthony Waye
SFX Supervisor: John Richardson
VFX Designer: Richard Greenberg
Optical Photography Supervisor: Joel Hynek
Optical VFX Supervisor: Stuart Robertson
Additional VFX Supervisor: Peter Donen
Stunt Coordinator: Richard Graydon
Camera Operator: Enrico Umetelli
2nd Camera Operator: Federico Bruno
Assistant Editor: Dallas Puett ACE
2nd Assistant Editor: Michael Thau
Filming Dates: 2 August 1983 - December 1983
Cameras: Arriflex 35-III & BL4 (35mm Eastman 125T 5247)
Lenses: Technovision Anamorphic Primes
AR: 2.20:1 (70mm Prints), 2.39:1 (Anamorphic)
Budget: 20 Million USD
Budget AFI (2021): 48.8 Million USD
Attribute: Filmed in Technovision

Presenter/Film Editor/2nd Unit Director: Steven Spielberg
Composer: Dave Grusin
Film Editor: Michael Kahn ACE
Production Designer: J. Michael Riva
Cinematographer: Nick McLean
Executive Producers: Frank Marshall, Kathleen Kennedy
Screenwriter: Chris Columbus
Stunts: Spiro Razatos
Unit Production Managers: Robin S. Clark, James Herbert
Art Director: Rick Carter
Set Decorator: Linda DeScenna
A-Camera Operator: Michael O'Shea ASC
B-Camera Operator: Stephen St. John
Supervisor of Visual Effects: Michael J. McAlister
Ass't Art Director: Joseph Nemec III
Gaffer: Tom Stern ASC AFC
Costume Designer: Richard La Motte
Stunt Coordinator: George Robotham
Senior SFX Coordinator: Matt Sweeney
Ass't Film Editor: Martin Cohen
Assistant to Richard Donner: Michael Thau
2nd Unit DP: Robert M. Stevens ASC
2nd Unit Camera Operator: Lee Nakahara
ILM VFX Art Director: David Carson
ILM Optical VFX Supervisor: John Ellis
ILM Matte Painting Supervisor: Christopher Evans
ILM Supervising Model Maker: Barbara Gallucci
ILM Animation Supervisor: Charlie Mullen
ILM Cheif VFX Editor: Howard Stein
ILM VFX Unit DP: Kim Marks ASC SOC
ILM VFX Unit Ass't Cameraman: Marty Rosenberg ASC
ILM VFX Unit Matte Camera Supervisor: Craig Barron
ILM VFX Unit Matte Photography: Wade Childress
ILM Cheif Model Maker: Bill George
ILM Matte Animator: Wes Takahashi
Filming Dates: 22 October 1984 - 21 March 1985
Cameras: Arriflex 35-III & Panaflex Gold (35mm Eastman 125T 5247)
Lenses: Panavision C-Series Anamorphic Primes
AR: 2.20:1 (70mm Prints), 2.39:1 (Anamorphic)
Budget: 19 Million USD
Budget AFI (2021): 46.4 Million USD
Visual Effects Produced at: Industrial Light & Magic
Attribute: Filmed in Panavision

Composers: Michael Kamen, Eric Clapton
Cinematographer: Stephen Goldblatt ASC BSC
Film Editor: Stuart Baird ACE
Production Designer: J. Michael Riva
Costume Designer: Mary Malin
SFX Coordinator: Chuck Gaspar
Stunt Coordinator: Bobby Bass
Stunts: Jeff Dashnaw
Aeriel/Underwater DP: Frank Holgate
Underwater DP: Ronald Vidor
Camera Operator: Richard Walden
Panaglide Operator: Stephen St. John
Stunts/Mel Gibson Stunt Double: Mic Rodgers
Associate to Producer: Michael Thau
Filming Dates: 6 August 1986 - 14 November 1986
Camera: Panaflex Gold (35mm Eastman 125T 5247/400T 5294)
Lenses: Panavision Super Speed Z-Series MKII Spherical Primes
AR: 1.85:1 (Spherical)
Budget: 15 Million USD
Budget AFI (2021): 34.7 Million USD
Attribute: Filmed in Panavision

Producer: Richard Donner
Writers: Mitch Glazer, Michael O'Donoghue
Producer: Art Linson
Cinematographers: Conrad L. Hall Sr ASC, Michael Chapman ASC
Cinematographer, DQI Moco Photography: Mike Shea
Cinematographer, AP - NY Crew: Peter Norman
Production Designer: J. Michael Riva
Film Editors: Frederic Steinkamp ACE, William Steinkamp ACE
Co-Producer / Unit PM: Ray Hartwick
Associate Producer: Jennie Lew-Tugend
Costume Designer: Wayne Finkelman
Composer, Musical Score: Danny Elfman
Casting Director: David Rubin CSA
Special Appearances: Jamie Farr, Robert Goulet, Buddy Hackett, John Houseman, Lee Majors, Pat McCormick, Brian Doyle Murray, Mary Lou Retton
First Assistant Director: Chris Soldo
Key Second AD: James W. Skotchdopole
Post Prod. Consultant: Stuart Baird ACE
Music Supervisors: David Anderle, Jimmy Iovine
Production Associate: Peter Frankfurt
Set Decorator: Linda DeScenna
Art Director: Virginia Randolph
A Camera Operator: Michael Genne
A Camera First AP: Larry Hezzelwood
B Camera First AP: P. Scott Sakamoto SOC
A Camera Second AP: Gregory Walters
Steadicam Operator: Stephen St. John
Production Mixer, Sound: Willie Burton
Boom Operator: Marvin Lewis
Cable Person: Robert Harris
Add'l Boom Operator: Winfred Tennison
First Assistant F.E.: Karl F. Steinkamp
Second Assistant F.E.: Michael T. Wilson
Third Assistant F.E.: Debra Goldfield
Assistant to Mr. Baird: William Meshover
Production Music Editor: Bob Badami
Scenic Artist: Ron Strang
Set Designers: William Teegarden, Nancy Patton, Dianne Wager
Illustrators: Ed Verreaux, Thom Southwell
Art Department Coordinator: Leslie Warren
Research Coordinator: Mark Snovell
Supervising Prop Master: Erik Nelson
Chief Lighting Technician: Gary Tandrow
Assistant Chief LT: Steve McGee
Chief Rigging Electrician: Kevin J. Lang
Electrician: Petr Hlinomaz
Special Make-Up Effects Supervisor, Creator & Designer: Bari Dreiband-Burman
Make-Up Lead: Robert Norin
Costume Supervisor: Jennifer Parsons
Assistant Costumer: Nava Sadan
Special Make-Up Effects Creator & Designer: Thomas Burman
Production Special Effects Coordinator: Allen L. Hall
Production Special Effects Foreperson: Al Delgado
Stunts Coordinator / Second Unit Director: Mic Rodgers
Script Supervisors: Jan Kemper, Patricia Dalzell
Production O.C.: Shari Leibowitz
Assistant P.O.C.: Michele Imperato
Production Secretary: Carolyn Rothstein
PAs: James Vatis, Richard Harner
Production Auditor: Louis Philips
Assist Production Auditor: Susan Towner
Accounting Assistant: Tad Driscoll
Unit Publicist: Marshall Robertson
Still Photographer: John Shannon
Key Location Manager: Lynn M. Kuwahara
Second Second AD: Gabriela Vasquez
Additional Second ADs: Adele Simmons, Thomas Burns
Casting Assistant: Lisa Beach
"Solid Gold" Choreographer: Lester Wilson
Ballet Choreographer: Jillian Hessel
Music Score Orchestrator: Steve Bartek
Add'l Orchestrator: Steven Scott Smalley
Music Score Conductor: Shirley Walker
Music Scoring Mixer: Robert Fernandez
Supervising ADR Editor: Jay Engel
Production ADR Editor: Denise R. Whiting
Assistant ADR Editor: Carmen Hocson
Production Foley Recordist: Greg Orloff
Production Color Timer: Terry Haggar
Dolby Stereo Consultant: Thom Ehle
Network Computer Animation Supervisor: Jim Dixon
Title Design Supervisor: Tony Goldschmidt
DQI Senior Visual Effects Supervisor: Eric Brevig
DQI Effects Production Supervisor: Craig Newman
DQI Optical Supervisor: Jeff Matakovich
DQI Rotoscope Supervisor: Jim Valentine
DQI Model Shop Supervisor: Dave Goldberg
DQI Visual Effects Editor: C. Marie Davis
Video & Layout Supervisor / Second Unit Director: Michael Thau
Video Coordinator: Scott Nimerfo
Video Image Senior Producers: Rhonda Gunner, John Wash
Video Image Senior Supervisors: Gregory McMurry ASC, Richard Hollander
Unit PM, New York Crew: Roger Paradiso
Second Second AD, NY Crew: Donald Lee Jr
Additional Second AD, NY Crew: Richard Patrick
First AD - Second Unit, NY Crew: Gaetano Lisi
Art Director, NY Crew: Thomas Warren
Set Decorator, NY Crew: John Alan Hicks
Second Unit DoP, NY Crew: Stephen Ashley Blake
A Camera Operator, New York Crew: Tom Priestley Jr ASC ACS
A First AP, NY Crew: Anthony S. Brooke
A Second AP, NY Crew: Paul Postelnicu
Steadicam Operator, New York Crew: Ted Churchill
Sound Mixer, New York Crew: Al Mian
Prop Master, New York Crew: Michael Bird
CLT/Gaffer, NY Crew: Richard J. Quinlan
Scenic Chargeperson, New York Crew: Ralph Cava
Location Liaison, NY Crew: Vibeke Arntzen
Prod. Coordinator, NY Crew: Ellen Hillers
Still Photog., NY Crew: Louis Goldman
Art Dept. PA, NY Crew: John-Paul Riva
Video Assistant, NY Crew: Joe Trammell
Executive Producer: Steve Roth
Dedicated to: Anne Ramsey, Bob Scaife, Roger Rothstein
Filming Dates: 7 Dec. 1987 - 12 April 1988
Camera: PANAFLEX® Gold (35mm Kodak Eastman 125T 5247 & 400T 5294)
Lenses: Panavision® Primo SL Primes
AR: 1.85:1 (Spherical 4-Perf 35mm)
Budget: 32 Million USD
Budget AFI (2021): 71.1 Million USD
Network Computer Animation by: Pacific Data Images
Special Visual Effects by: Dream Quest Images
24 Frame Displays by: Video Image
Color Provided by: TECHNICOLOR®
Attribute: Filmed in Panavision®

Composers: Michael Kamen, Eric Clapton, David Sanborn
Cinematographer: Stephen Goldblatt ASC BSC
Film Editor: Stuart Baird ACE
Production Designer: J. Michael Riva
Unit Production Manager/2nd Unit Director: Steve Perry
Stunt Coordinator/Stunts/2nd Unit Director: Charlie Picerni
SFX Coordinator: Jim Schwalm
Stunt Coordinator/Stunts/Mel Gibson Stunt Double: Mic Rodgers
Underwater DP/2nd Unit Aeriel DP: Frank Holgate
Camera Operators: Ray de la Motte, Robert McBride
2nd Unit DP: Stephen Ashley Blake
Assistant Film Editor: Kevin Stitt ACE
Rianne's Beach Commercial Producer: Michael Thau
Filming Dates: 7 December 1988 - 5 March 1989
Cameras: Panaflex Gold & GII (35mm Eastman 400T 5295)
Lenses: Panavision E-Series Anamorphic Primes
AR: 2.20:1 (70mm Prints), 2.39:1 (Anamorphic)
Budget: 28 Million USD
Budget AFI (2021): 59.3 Million USD
Printed on: Eastman 5384
Attribute: Filmed in Panavision

Additional Director: David Mickey Evans
Composer: Hans Zimmer
Cinematographer: Laszlo Kovacs ASC
Film Editors: Stuart Baird ACE, Dallas Puett ACE
Production Designer: J. Michael Riva
Costume Designer: April Ferry
2nd Unit Director: Peter MacDonald
2nd Unit 2nd Assistant Director: John G. Scotti
SFX Technician: Shaun Smith
Stunt Coordinator/Stunts: Mic Rodgers
Steadicam Operators: Gregory Lundsgaard, Stephen St. John
Colorist: Sati Tooray
Filming Dates: 3 October 1990 - 22 February 1991
Camera: Panaflex Platinum (35mm Eastman EXR 50D 5245/500T 5296)
Lenses: Panavision Primo Anamorphic Primes & E-Series Anamorphic Primes
AR: 2.39:1 (Anamorphic)
Budget: 35 Million USD
Budget AFI (2021): 65.6 Million USD
Attribute: Filmed in Panavision

Producer: Richard Donner
Composer & Score Orchestrator: Michael Kamen
Composers: Eric Clapton, David Sanborn
Co-Producer/UPM/2nd Unit Director: Steve Perry
Co-Producer: Jennie Lew Tugend
Film Editors: Robert Brown, Battle Davis
Production Designer: James Spencer
Cinematographer: Jan de Bont ASC
Co-Writer: Jeffrey Boam
Screenwriters: Robert Mark Kamen, Carrie Fisher
Producer: Joel Silver
Stunts Coordinator/Second Unit Director: Charlie Picerni
First Assistant Director: Michael Alan Kahn
Second Assistant Director: Gregory Kent Simmons
Assoc Prods: Alexander B. Collett, Michael E. Klastorin
Production Art Director: Greg Papalia
Production Set Decorator: Richard Connor
Production Set Designer: Mark Poll
"A" Camera Operator: Michael Scott
"A" First Assistant Camera: Cal Roberts
"A" Second Assistant Camera: J. Steven Matzinger
"B"/Steadicam Operator: Gregory Lundsgaard
"B" First Assistant Camera: Steve Adcock
"B" Second Assistant Camera: John Jack Ellingwood
"C" Camera Operator: Stephen M. Clark
"C" Camera/Steadicam Operator: Laszlo Regos
Camera Loader: Martin J. Glover
Additional Film Editor: Dallas Puett ACE
Post Production Supervisor: Geno Escarrega
Supervising Sound Editor: Robert G. Henderson
Supervising Music Editor: Christopher S. Brooks
Production Music Editor: Eric Reasoner
Assistant Music Editor: James G. George
Chief Lighting Technician: Les Kovács
Assistant Chief Lighting Technician: Benny McNulty
Rigging Gaffer: E. Christopher Reed
Key Grip: Michael J. Coo
Supervising Prop Master: Michael Papac
Assistant Prop Masters: Rick Chavez, Gary Kieldrup
Costume Supervisor: Nick Scarano
Make-Up Supervisor: Scott H. Eddo
Second Second ADs: Warren D. Gray Robert J. Smawley
LMs: Paul Pav, Mike Burmeister, Janice Polley, Deborah Page
Stunt Coordinator: Mic Rodgers
Production SPFX Supervisor: Matt Sweeney
Production SPFX Coordinator: Jon G. Belyeu
Production SPFX Foreman: Bob Stoker
Production Special Effects Technician: Jim Schwalm
Supervising ADR Editor: James Simcik
Hockey Technical Advisor: Edward T. Hanley
Technical Advisor: Art Fransen
Casting Associate: Owens Hill
Score Orchestrators: William Ross, Jonathan Sacks
2nd Unit Director of Photography: Alexander Witt ASC
Second Unit "A" Camera Operator: Aaron Pazanti
Second Unit "A" First Assist Camera: Julian Whatley IV
Second Unit "A" Second Assist Camera: Chris Blauvelt
Second Unit "B" Camera Operator: C.W. Fallin
Second Unit Prop Master: Edmund Villa
Filming Dates: 2 October 1991 - 29 January 1992
Cameras: Panaflex GII & Platinum (35mm Eastman EXR 50D 5245/500T 5296)
Lenses: PANAVISION® Primo AL Primes, ALZ11 48-550mm Zoom, ALZ3 Hubble Zoom & E-Series AL Primes
AR: 2.20:1 (70mm Prints), 2.39:1 (Anamorphic)
Budget: 35 Million USD
Budget AFI (2021): 65.6 Million USD
Structural Explosion Effects Performed by: Controlled Demolition International
Title Opticals Provided by: Perpetual Motion Pictures
Main & End Titles Designed by: Greenberg & Schluter
Color Provided by: TECHNICOLOR®
Distributed by: Warner Bros. Pictures
Attribute: Filmed in PANAVISION®

Composer: Randy Newman
Cinematographer: Vilmos Zsigmond ASC
Film Editors: Stuart Baird ACE, Mike Kelly
Production Designer: Thomas Sanders
Costume Designer: April Ferry
Production Supervisor/2nd Unit Production Manager: Jim Lemley
2nd Assistant Director: John G. Scotti
Stunt Coordinator/2nd Unit Director: Terry Leonard
Stunt Coordinator/Mel Gibson Stunt Double/2nd Unit Director: Mic Rodgers
Rattlesnake Effects Supervisor: Walt Conti
SFX Coordinator: Matt Sweeney
ILM VFX Supervisor: Steve Price
ILM VFX Producer: Roni McKinley
ILM Senior Staff: Jim Morris
Stunts: Thomas Robinson Harper
A-Camera Operator: Ray de la Motte
B-Camera Operator: Neal Norton
C-Camera Operator: Joseph D. Urbanczyk
WesCam Technician: David Norris
2nd Unit DP: John J. Connor
2nd Unit Assistant B-Camera: John T. Connor
Additional Film Editor: Dallas Puett ACE
Assistant Film Editor: Kevin Stitt ACE
Filming Dates: 16 August 1993 - 10 December 1993
Camera: Panaflex Platinum (Eastman EXR 200T 5293/500T 5296)
Lenses: Panavision C-Series Anamorphic Primes & Cooke Zooms
AR: 2.39:1 (Anamorphic)
Budget: 75 Million USD
Budget AFI (2021): 133.1 Million USD
Printed on: Eastman EXR 2386
Special Visual Effects Provided by: Industrial Light & Magic
Attribute: Filmed in Panavision

Composer: Mark Mancina (Replaced Michael Kamen)
Cinematographer: Vilmos Zsigmond ASC
Film Editors: Lawrence Jordan, Richard Marks
Production Designer: Thomas Sanders
Supervising Art Director: Daniel T. Dorrance
Art Director: Nathan Crowley
Costume Designer: Elizabeth McBride
1st Assistant Director: Jim Van Wyck
2nd Assistant Director: John G. Scotti
Stunt Coordinator/2nd Unit Director: Conrad Palmisano
2nd Unit Director: Robert Sallin
A-Camera Operator: Ray de la Motte
Aeriel DP: Frank Holgate
2nd Unit DP: Gary Holt
Assistant Editor: Jeffrey Ford ACE
1st Assistant Editor: Tia Nolan ACE
Filming Dates: 6 April 1995 - 24 July 1995
Cameras: Panaflex GII, Panastar & VistaVision (35mm Eastman EXR 50D 5245/500T 5298)
Lenses: Panavision Primo Spherical Primes
AR: 1.85:1 (Spherical)(8-Perf VistaVision: Special Effects)
Budget: 50 Million USD
Budget AFI (2021): 86.2 Million USD
Attribute: Filmed with Panavision Cameras and Lenses

Composer/Conductor: Carter Burwell
Cinematographer: John Schwartzman ASC
Film Editors: Kevin Stitt ACE, Frank J. Urioste ACE
Production Designer: Paul Sylbert
Costume Designer: Ha Nguyen
1st Assistant Director: Jim Van Wyck
2nd Assistant Director: John G. Scotti
Stunt Coordinator/2nd Unit Director: Conrad Palmisano
SFX Coordinator: Mike Meinardus
VFX Supervisor: Theresa Ellis Rygiel
A-Camera Operator: Mitchell Amundsen ASC SOC
B-Camera/Steadicam Operator: Neal Norton
Underwater DP: Pete Romano ASC
2nd Unit DP: John M. Stephens
2nd Unit Aeriel DP: Kurt Soderling SOC
2nd Unit Camera Operators: Michael Ferris, Gabor Kover
New York 2nd Unit C-Camera Operator: Ken Ferris
New York 2nd Unit D-Camera Operator: Steve Drellich
Assistant Editor: Peter McNulty
Orchestra Contractor: Sandy DeCrescant
Filming Dates: 14 October 1996 - 7 February 1997
Camera: Panaflex Platinum (35mm Kodak Vision 320T 5277/Eastman EXR 500T 5298)
Lenses: Panavision Primo Anamorphic Primes, C- & E-Series Anamorphic Primes
AR: 2.39:1 (Anamorphic)
Budget: 75 Million USD
Budget AFI (2021): 122.9 Million USD
Attribute: Filmed in Panavision

Producer: Richard Donner
Producer: Joel Silver
Screenwriter: Channing Gibson
Story Writers: Jonathan Lemkin, Alfred Gough, Miles Millar
Co-Writers: Michael Curtis, Greg Malins, Fred Dekker, Jeffrey Boam
Executive Producer/Second Unit Director: Steve Perry
Exec Producer/First Assistant Director: Jim Van Wyck
Cinematographer: Andrzej Bartkowiak ASC
Cinematographer, Underwater Cam: Pete Romano ASC
Production Designer: J. Michael Riva
Sup. Film Editors: Frank Urioste ACE, Dallas Puett ACE
Co-Producers: J. Mills Goodloe, Dan Cracchiolo
Asst to Richard Donner/Assoc Co-Producer: Kevin Feige
Composer/Music Score Producer/Orchestra Conductor: Michael Kamen
Composers: Eric Clapton, David Sanborn
Composer, Additional Music: Marcus Miller
Costume Designer: Ha Nguyen
Associate Co-Producer: Lauren Shuler Donner
AP/Post Production Supervisor: Ilyse Reutlinger
Associate Producers: Spencer Franklin, Jennifer Gwarts
Aerial Unit Heli Pilots: James W. Gavin, Craig Hosking
Stunt Coordinators/Second Unit Directors: Mic Rodgers, Conrad Palmisano
Unit Production Manager: Tony Brown
Second Assistant Director: Craig Pinckes
Second Film Editors: Kevin Stitt ACE, Eric Strand
MA Fight Choreographers: Corey Yuen, Huen Chiu Ku, Chi Wah Ling
Supervising Art Director: David Klassen
Production Art Director: Richard Mays
Asst Art Directors: Sally Thornton, Wendy Mickell
Production Set Decorator: Lauri Gaffin
Set Designers: Patricia Klawonn, Charisse Cardenas, Patti Strong
Production Illustrator: Marc Baird
Art Department Researchers: J. Paul Riva, Jude Jansen
Art Department Lead: Ben Woolverton
A Camera Operator: Ray De La Motte
B Camera Operator: Vern Nobles Jr
C Camera Operator: Michael Scott SOC
D Camera/Steadicam Operator: Gregory Lundsgaard
A First Assistant Camera: Tommy Klines
B First Assistant Camera: Scott Rathner
C First Assistant Camera: Jay Steven Matzinger
A Second Assistant Camera: Darin Necessary
B Second Assistant Camera: Jodie Miller
C Second Assistant Camera: Christopher Blauvelt
D Camera/Steadicam Second AC: Matthew Moriarty
Camera Loader: Jacobus Marcus
Aerial Unit Director of Photography: Hans Bjerno ASC
Aerial Unit A Camera Operator: Kurt Soderling SOC
First Assistant Film Editor: Neil Greenberg
Second Assistant Film Editor: Sharidan Sotelo
Third Assistant Film Editor: Frankie Urioste
Fourth Assistant Film Editor: Marianne Urioste
Fifth Assistant Film Editor: Peter McNulty
Music Score Producer: Steven McLaughlin
Music Score Recordists: Bobby Fernandez, Lee Manning
Chief Lighting Technician: James Crawford
Assistant Chief LTs: Joseph Terranova, Stan Gonsales
Rigging Gaffer: Richard Hartley
Key Grip: Michael J. Coo
Rigging Key Grip: Larry Aube
Supervising Prop Master: Erik Nelson
Assistant Prop Masters: Christopher Amy, Hector Lopez
Casting Associate: Douglas Wright
Supervising Location Manager: F. Stanley Pearse Jr
Overall Location Managers: Michael Haro, Deborah Page
2nd Second Asst Directors: John Elmore, Jackie C. Lee
Production Special Effects Coordinator: Matt Sweeney
Overall SFX Foremen: Bob Stoker, Lucinda Strub, Bill Lee
Production Special Effects Supervisor: Michael Gaspar
Technical Advisor: Art Fransen
Chinese Consultant: George Cheung
Production Color Timer: Dale Grahn
Unit Production Manager, 2nd Unit: Jack Clements
2nd Unit 1st Assist Directors: Albert Cho, Tom Archuleta
2nd Unit 2nd ADs: Joan Cunningham, Xochi Blymer
2nd Unit 2nd Second ADs: David Ascher, Foongy Lee
2nd Unit Director of Photography: Rick Bota
2nd Unit A Camera Operator: Michael St. Hilaire SOC
2nd Unit B Camera Operator: Joe Thibo
2nd Unit C Camera Operator: Guy Skinner
2nd Unit D Camera Operator: Chris Moseley
2nd Unit E Camera Operator: Frank Perl
2nd Unit F Camera Operator: Jeff Tufano
2nd Unit A/Steadicam Operator: Stefan Von Bjorn
2nd Unit B/Steadicam Operator: Randy Nolen
2nd Unit C/Steadicam Operator: Bill Brummond
2nd Unit A 1st Assistant Camera: Johnny Karls
2nd Unit B 1st Assistant Camera: Jeff Hand
2nd Unit C 1st Assistant Camera: Ed Gutentag
2nd Unit D 1st Assistant Camera: Michael Stecher
2nd Unit E 1st Assistant Camera: Leslie Renae Morris
2nd Unit F 1st Assistant Camera: Bobby Brown
2nd Unit A/Steadicam 1st AC: Chuck Whelan
2nd Unit B/Steadicam 1st AC: Tim Dunford
2nd Unit A 2nd Assistant Camera: Tony Villalobos
2nd Unit B 2nd Assistant Camera: Stephen Sfetku
2nd Unit C 2nd Assistant Camera: Crispin May
2nd Unit D 2nd Assistant Camera: Jason Rothkowitz
2nd Unit E 2nd Assistant Camera: Kirk Bloom
2nd Unit Chief Lighting Technician: Michael Laws
2nd Unit Key Grip: Bobby Munoz
2nd Unit Supervising Prop Master: Joe Olsen
2nd Unit Assistant Prop Master: Jerome Stolley
2nd Unit Special Effects Coordinator: Jon G. Belyeu
2nd Unit Special Effects Foreman: Gary Zink
Production Visual Effects Supervisor: Michael Fink
Production Visual Effects Coordinator: William Maher
Shark Animatronic Effects Supervisor: Robert Short
Filming Dates: 8 January 1998 - 13 May 1998
Cameras: Arriflex 435, Panaflex Millennium, Lightweight & Platinum (35mm Eastman Kodak EXR 50D 5245/500T 5279)
Lenses: PANAVISION® Primo AL Primes, ALZ11 Zoom, C- & E-Series AL Primes
AR: 2.39:1 (Anamorphic)
Budget: 140 Million USD
Budget AFI (2021): 225.9 Million USD
Computer Graphics Designed by: Black Box Digital
Main & End Titles Designed by: Greenberg/Schluter
Titles & Opticals + Visual Effects Created by: Pacific Title/Mirage & Cinesite Digital Studios
Shark Animatronic Effects by: Robert Short Productions
Color Provided by: TECHNICOLOR®
Attribute: Filmed in PANAVISION®

Composer/Conductor: Brian Tyler (Replaced Jerry Goldsmith)
Additional Composer: John Paesano
Cinematographer: Caleb Deschanel ASC
Cinematographer (Los Angeles): Vilmos Zsigmond ASC
Film Editor: Richard Marks
Casting: Sarah Halley Finn CSA, Randi Hiller CSA
Production Designer: Daniel T. Dorrance
Supervising Art Directors: Gary Freeman, Andre Chamberland
Costume Designer: Jenny Beaven
Unit Production Manager: Kevin de la Noy
LA Unit Production Manager: David Witz
1st Assistant Director: Jim Van Wyck
Stunt Coordinator/2nd Unit Director: Allan Graf
Animatronics Supervisor/SFX Coordinator: Neil Corbould
Assistant SFX Supervisors: David Brighton, Louis Craig
SFX Test Technician: Malcolm Crash Corbould
ILM VFX Supervisor: Roger Guyett
CFE VFX Supervisor: Mark Dornfeld
ILM CG Supervisor: Eddie Pasquarello
ILM Digital Artist: Russell Earl
ILM Senior Staff: Jim Morris
A-Camera Operator: P. Scott Sakamoto
B-Camera Operator: Robert Stecko
Los Angelas A-Camera Operator: Joseph D. Urbanczyk
Los Angelas B-Camera Operator: Chris Squires
Los Angelas C-Camera Operator: William D. Barber
2nd Unit DP: Thomas Burstyn
2nd Unit A-Camera Operator: Nathalie Visotzky
2nd Unit B-Camera Operator: Sylvaine Dufaux
2nd Unit Steadicam Operator: David Crone
Desert Unit A-Camera Operator: Ray de la Motte
Desert Unit B-Camera Operator: Jamie Barber
Aeriel DP: John Trapman
Additional Film Editor: Debra L. Tennant
Orchestra Contractor: Sandy DeCrescant
Filming Dates: 8 April 2002 - July 2002
Cameras: Panaflex XL & Millennium (35mm Kodak Vision 250D 5246/500T 5279)
Lenses: Panavision Primo Spherical Primes
AR: 2.35:1 (4-Perf Super 35mm)
Budget: 80 Million USD
Budget AFI (2021): 114.3 Million USD
Printed on: Kodak Vision 2383
Visual Effects Provided by: Industrial Light & Magic
Attribute: Filmed with Panavision Cameras and Lenses

Composer: Klaus Badelt
Cinematographer: Glen MacPherson BSC
Film Editor: Steve Mirkovich ACE
Casting: Sarah Halley Finn CSA, Randi Hiller CSA, Robin D. Cook CSA
Production Designer: Art Greywal
Art Director/Production Designer (Los Angeles): Derrick Hinman
Costume Designer: Vicki Graef
Unit Production Manager: DJ Carson
1st Assistant Director: Jim Van Wyck
SFX Supervisor/On-Set Key Special Effects: Marcus Rait
VFX Supervisor: Evan Jacobs
B-Camera Operator: Robert Stecko
New York Camera Operator: Craig Haagensen
New York C-Camera Operator/2nd Unit DP: Been Nobles Jr
New York Aeriel DP: Hans Bjerno ASC
Digital Film Colorist: Trent Johnson
Filming Dates: 21 April 2005 - 10 June 2005
Cameras: Panaflex XL2 & Millennium (35mm Kodak Vision2 500T 5218)
Lenses: Panavision Primo Spherical Primes
AR: 2.35:1 (4-Perf Super 35mm)
Budget: 52 Million USD
Budget AFI (2021): 67.8 Million USD
Printed on: Fuji Eterna-CP 3513DI
Attribute: Filmed with Panavision Cameras and Lenses

Dedicated to: Christopher Reeve
Production Designer: Jonathan Berry
Cinematographer: Geoffrey Unsworth BSC
Cinematographer (Miniature Unit): Paul Wilson BSC
Cinematographer (Flying Unit): Denys Coop
Cinematographer (Wescam Photography): Ron Goodman
Film Editor: Stuart Baird ACE
Producer (2006 Motion Picture Reconstruction) & Film Editor Michael Thau
Composer: John Williams
Composer/Conductor (Add'l Music): Ken Thorne
Co-Writer: Mario Puzo
Creative Consultant: Tom Mankiewicz
Associate Producer: Charles F. Greenlaw
Director of Miniature Effects & Add'l Flying Sequences: Derek Meddings
Director of Special Effects: Colin Chilvers
Supervisor of Optical & Visual Effects: Roy Field BSC
Supervisor of Mattes & Composites: Les Bowie
SFX Director (Flying Unit): Zoran Perisic
Supervisor of Makeup & Special Visuals: Stuart Freeborn
Add'l Cinematographer: Bob Paynter
Add'l Production Designer: Peter Murton
2nd Film Editor: John Victor-Smith
Production Executives: Geoffrey Helman, Robert Simmonds
2nd Unit Directors: David Tomblin, Robert Lynn
1st Assistant Director: Dusty Symonds
Costume Designers: Yvonne Blake, Susan Yelland
Production Accountant: Douglas Noakes
Financial Consultant: Franz Afman
Production Supervisor (Niagara): Cecil Ford
Production Manager: Vincent Winter
Production Coordinator: Michael Duthie
Supervising Art Director: Maurice Fowler
Art Directors: Terry Ackland-Snow, Charles Bishop, Norman Reynolds, Ernest Archer
A-Camera Operator: Peter MacDonald
B-Camera Operator: Freddy Cooper
C-Camera Operator: David Garfath
Add'l Camera Operators: John Harris, John Morgan
D-Camera Operator: Ginger Gemmel
E-Camera Operator: Chick Waterson
English Casting: Debbie McWilliams CSA
2nd Assistant Director: Gareth Tandy
3rd Assistant Director: Chris Newman
4th Assistant Director: Terry Madden
5th Assistant Director: Roy Button
6th Assistant Director: Paul Storey
7th Assistant Director: Raoul Girard
B-Camera Focus Puller: Jeff Paynter
C-Camera Focus Puller: Jonathan Taylor ASC
D-Camera Focus Puller: David Wynn-Jones
E-Camera Focus Puller: John Campbell
Gaffer: Maurice Gilbert
Set Decorators: Peter Young, Peter Howitt
Ass't Art Director: Jim Morahan
Astronautical Consultant: Harry Lange
Optical & SFX Editor: Peter Watson
1st Assistant Editor: Russell Woolnaugh
2nd Assistant Editor: Bob Mullen
3rd Assistant Editor: Peter Holt
4th Assistant Editor: Colin Wilson
Promotional Consultant: Quinn Donoghue
Flying Effects Supervisor: Bob Harman
Stunt Coordinators: Vic Armstrong, Paul Weston, Alf Joint
Stunt Coordinator/Stunt Double: Barbara Anne Klein
Matte A-Camera Operator: Peter Harman
Matte B-Camera Operator: Peter Hammond
Coordinator (NY): Christopher Coles
Assoc. Prod/Ass't Film Editor (2006 Motion Picture Reconstruction): Karen Rasch
Co-Producers (2006 Motion Picture Reconstruction): Derek Hoffman, Cece Neber Labao
Look FX VFX Supervisor (2006 Motion Picture Reconstruction): Anthony Max Ivins
Look FX VFX Exec Producer (2006 Motion Picture Reconstruction): Rebecca Ramsey
Look FX VFX Producer (2006 Motion Picture Reconstruction): Jenny Foster
Look FX President/Exec VFX Producer (2006 Motion Picture Reconstruction): Mark Driscoll
Look FX Art Director (2006 Motion Picture Reconstruction): Danny Kim
Look FX Digital Editors (2006 Motion Picture Reconstruction): Clay Sparks, Michelle Herrin
Look FX Digital Compositor (2006 Motion Picture Reconstruction): Michael Kaelin
Look FX 3D Digital Artist (2006 Motion Picture Reconstruction): Kevin Browne
Re-Recording Mixers (2006 Motion Picture Reconstruction): Greg Watkins, Tim LeBlanc
Sup Sound Editor (2006 Motion Picture Reconstruction): Kelly Cabral
Sound Designer (2006 Motion Picture Reconstruction): Cameron Frankley
Music Editor (2006 Motion Picture Reconstruct): Jay Duerr
Digital Conform Finishing Editor (2006 Motion Picture Reconstruction): Marc Fisher
2nd Ass't Director (2006 Motion Picture Reconstruction; Add'l Shooting): Andy Armstrong
DI Finishing Producer (2006 Motion Picture Reconstruction): Christine Dougherty Vasquez
Filming Dates: March 1977 - November 1978 (Shot back-to-back with Superman), 2005 - 06 (Additional Footage)
Cameras: Panaflex XL2, PSR R-200 & Wescam (35mm Eastman 100T 5247/Kodak Vision2 500T 5218/Fuji Eterna 500T 8573/Reala 500D 8592)
Lenses: Panavision Primo Anamorphic Primes, C-, E-Series Anamorphic Primes & Anamorphic Wide-Angle 2:1 Zoom
AR: 2.35:1 (Anamorphic)
Budget: 54 Million USD
Budget AFI (2021): 70.4 Million USD
Special Lighting Effects Provided by: The Lightflex System
Process Photography Provided by: Zoptic
2006 Motion Picture Reconstruction Visual Effects Provided by: Look FX
Music Played by: The London Symphony Orchestra
Made at: Pinewood Studios, Iver Heath, Bucks, England
Made on Location at: Shepperton Studios Centre, England
Attribute: Filmed in Panavision