| Photos (see all 49 | slideshow) | Videos (see all 65) |
Directed by | |||
| Ethan Coen | |||
| Joel Coen | |||
Writing credits(WGA) | ||
| Joel Coen | (screenplay) & | |
| Ethan Coen | (screenplay) | |
| Cormac McCarthy | (novel) | |
Produced by | |||
| Ethan Coen | .... | producer | |
| Joel Coen | .... | producer | |
| David Diliberto | .... | associate producer | |
| Robert Graf | .... | executive producer | |
| Mark Roybal | .... | executive producer | |
| Scott Rudin | .... | producer | |
Original Music by | |||
| Carter Burwell | |||
Cinematography by | |||
| Roger Deakins | (director of photography) | ||
Film Editing by | |||
| Ethan Coen | (as Roderick Jaynes) | ||
| Joel Coen | (as Roderick Jaynes) | ||
Casting by | |||
| Ellen Chenoweth | |||
Production Design by | |||
| Jess Gonchor | |||
Art Direction by | |||
| John P. Goldsmith | |||
Set Decoration by | |||
| Nancy Haigh | |||
Costume Design by | |||
| Mary Zophres | |||
Makeup Department | |||
| Jean Ann Black | .... | makeup department head (as Jean A. Black) | |
| Debra Clair | .... | additional hair stylist (as Debra R. Clair) | |
| Brian Hillard | .... | mold technician | |
| Paul LeBlanc | .... | hair department head | |
| Geordie Sheffer | .... | assistant hair stylist | |
| Dave Snyder | .... | makeup applicator | |
| Sarah Spier | .... | makeup assistant | |
| Christien Tinsley | .... | makeup department head | |
| Christien Tinsley | .... | special makeup effects artist | |
| Teresa Valenzuela | .... | wig maker | |
| Corey Welk | .... | additional makeup artist | |
Art Department | |||
| Chris Alvarez | .... | welding foreman | |
| J. Todd Anderson | .... | visual consultant | |
| Mark Bankins | .... | set dresser | |
| Pedro Barquin | .... | stand-by greens | |
| Marcia Calosio | .... | assistant set decorator | |
| John C. Cameron | .... | assistant property master | |
| John C. Cameron | .... | property master: second unit | |
| Dennis Collins | .... | stand-by painter | |
| Sage Emmett Connell | .... | set dresser (as Sage Connell) | |
| Chadney Everett | .... | set decoration foreperson | |
| James Fowler | .... | set dresser | |
| Bobbi Jo Gonzales | .... | props | |
| Peter Grendle | .... | art department assistant | |
| Paul Haag | .... | set dresser | |
| Paul Harman | .... | sign painter | |
| Gregory Hill | .... | graphic designer (as Gregory L. Hill) | |
| Deborah Jensen | .... | assistant art director (as Deborah L. Jensen) | |
| Caylen Johnson | .... | welding gangboss | |
| Jason Mack | .... | set dresser | |
| Roberta Marquez Seret | .... | art department coordinator (as Roberta Marquez) | |
| Quentin Matthys | .... | set dresser | |
| Randy Moffitt | .... | propmaker | |
| Cee Moravec | .... | on-set dresser | |
| Tony Perez | .... | lead man | |
| Scott Troha | .... | leadperson | |
| Benjamin M. Walsh | .... | set dresser | |
| Keith Walters | .... | property master | |
| Christopher Windisch | .... | construction coordinator | |
| Jeri Woodward | .... | paint foreman | |
| Randal Woodward | .... | lead scenic | |
| Chris Windish | .... | laborer/greensman (uncredited) | |
Sound Department | |||
| Craig Berkey | .... | sound designer | |
| Craig Berkey | .... | sound re-recording mixer | |
| Joseph F. Brennan | .... | boom operator (as Joe Brennan) | |
| Joel Dougherty | .... | assistant sound editor | |
| Cole Gittinger | .... | cable person | |
| Catherine Harper | .... | foley artist | |
| Eric Harwood | .... | sound re-recordist | |
| Kenton Jakub | .... | adr editor | |
| Randall L. Johnson | .... | boom operator (as Randy Johnson) | |
| Jeff Knudsen | .... | sound mixer: second unit | |
| Peter F. Kurland | .... | sound mixer (as Peter Kurland) | |
| Skip Lievsay | .... | sound re-recording mixer | |
| Skip Lievsay | .... | supervising sound editor | |
| Darrin Mann | .... | foley mixer | |
| Christopher Moriana | .... | foley artist | |
| Greg Orloff | .... | sound re-recording mixer | |
| Derek Pippert | .... | foley recordist | |
| Derek Vanderhorst | .... | foley editor | |
| Byron Wilson | .... | dialogue editor | |
Special Effects by | |||
| Peter Chesney Jr. | .... | special effects foreman | |
| Peter Chesney | .... | special effects coordinator | |
| Tom Chesney | .... | special effects technician | |
| Val Crawford | .... | hair/fur department | |
| Paul Deely | .... | special effects | |
| Jason Hamer | .... | special effects coordinator | |
| Caylen Johnson | .... | special effects technician | |
| Emmet Kane | .... | special effects technician | |
| Sandra Stewart | .... | special effects technician | |
| Russell Tamillo | .... | special effects first assistant | |
| Diane Woodhouse | .... | special effects shop coordinator | |
| Mark Ballou | .... | fabricator: Tinsley Transfers Inc. (uncredited) | |
| Megan Flagg | .... | special makeup effects artist: Tinsley Transfers (uncredited) | |
Visual Effects by | |||
| Robert Adams | .... | digital compositor | |
| Alexandre Cancado | .... | visual effects | |
| Vincent Cirelli | .... | visual effects supervisor: Luma Pictures | |
| Daniel Craemer | .... | digital artist | |
| Michael Dillon | .... | digital intermediate assistant producer | |
| Chad Dombrova | .... | lead technical director: Luma Pictures | |
| David V. Fedele | .... | visual effects: Luma Pictures | |
| Cameron Gray | .... | animation supervisor: Luma Pictures | |
| H Haden Hammond | .... | sequence supervisor: Luma Pictures | |
| John R. Hazzard | .... | character animator: Luma Pictures | |
| David Hochstadter | .... | digital artist: Luma Pictures | |
| Cajun Hylton | .... | digital artist: Luma Pictures | |
| Justin Johnson | .... | digital effects supervisor | |
| Wendy Klein | .... | visual effects: Luma Pictures | |
| Jason Locke | .... | matchmover | |
| Valy Lungoccia | .... | visual effects | |
| Glenn Morris | .... | visual effects producer | |
| Ashok Nayar | .... | visual effects coordinator: Luma Pictures | |
| Ben Neall | .... | texture artist: Luma Pictures | |
| Ian Noe | .... | visual effects producer | |
| Pavel Pranevsky | .... | digital artist: Luma Pictures | |
| Pimentel A. Raphael | .... | lead animator | |
| Burke Roane | .... | lead animator: Luma Pictures | |
| Charles Scott IV | .... | digital compositor | |
| Gabe Shedd | .... | visual effects staff | |
| Payam Shohadai | .... | executive visual effects supervisor: Luma Pictures | |
| Joey Sila | .... | digital effects artist: Luma Pictures | |
| Jared Simeth | .... | digital compositor: Luma Pictures | |
| Thanapoom Siripopungul | .... | visual effects artist: Luma Pictures | |
| Steven Swanson | .... | visual effects supervising producer: Luma Pictures | |
| Jason Yanofsky | .... | senior lighting/compositing | |
| Thomas Mathai | .... | data manager (uncredited) | |
Stunts | |||
| Bill Anagnos | .... | stunts | |
| Christopher Lee Bailey | .... | stunts | |
| Ben Bray | .... | stunts | |
| Tim Buchanan | .... | stunts | |
| Laurence Chavez | .... | stunts | |
| Eddie J. Fernandez | .... | stunts (as Eddie Fernandez) | |
| Lakshman Nathaniel Garin | .... | stunts (as Lakshman Garin) | |
| Jim Henry | .... | stunts | |
| Jery Hewitt | .... | stunt coordinator | |
| Toby Holguin | .... | stunts | |
| Brett A. Myrick | .... | stunts (as Brett Myrick) | |
| Mark Norby | .... | stuntperson: Josh Brolin | |
| Steve Rizzo | .... | stunts | |
| Tom Roach | .... | stunts | |
| Thomas Rosales Jr. | .... | stunts (as Tommy Rosales) | |
| Ramsey Scott | .... | stunts | |
| Jose L. Vasquez | .... | stunts (as Jose Vasquez) | |
| Laurence Vasquez | .... | stunts | |
| Jim Henry | .... | stunt double: Chip Love (uncredited) | |
| Steve Rizzo | .... | stunt double: Zach Hopkins (uncredited) | |
Casting Department | |||
| Jo Edna Boldin | .... | location casting | |
| Elizabeth Gabel | .... | background casting | |
| Barbara Harris | .... | voice casting | |
| Katy Houska | .... | background casting assistant | |
| Tracy Kilpatrick | .... | additional casting | |
| Marie A. Kohl | .... | casting assistant: New Mexico | |
| Amelia Rasche | .... | casting associate: New York | |
| Kathryn Schuetze | .... | casting assistant: New Mexico (as Kathryn 'Kit' Schuetze) | |
| Rachel Tenner | .... | casting associate: Los Angeles | |
Costume and Wardrobe Department | |||
| Aleah Ames | .... | key costumer | |
| Lori DeLapp | .... | costume supervisor | |
| Jenny Eagan | .... | assistant costume designer | |
| Emily Egge | .... | set costumer | |
| Delia Hauser | .... | costumer | |
| Christine Hawes | .... | costumer | |
| Nikki Kelly | .... | wardrobe production assistant | |
| Claire Sandrin | .... | key set costumer | |
| Mary Beth Sterling | .... | costume production assistant: Los Angeles | |
| Stephani Lewis | .... | seamstress (uncredited) | |
Editorial Department | |||
| Kenny Becker | .... | color timer | |
| Buster Jacob Coen | .... | post-production assistant | |
| Catherine Farrell | .... | post-production coordinator | |
| Michael Hatzer | .... | supervising digital colorist: Efilm (as Mike Hatzer) | |
| Michael Kennedy | .... | digital intermediate producer (as Mike Kennedy) | |
| Catie Laffoon | .... | post-production assistant | |
| Marc Lulkin | .... | digital color assist | |
| Katharine McQuerrey | .... | assistant editor | |
| Neil A. Stelzner | .... | associate editor | |
| Tom Reiser | .... | colorist assist: Efilm (uncredited) | |
Music Department | |||
| Michael Farrow | .... | score mixer | |
| Gordon Gottlieb | .... | musician | |
| Todd Kasow | .... | music editor | |
| John Palatucci | .... | musician | |
| Sandra Park | .... | conductor | |
| Chris Robertson | .... | music clearance | |
| David Torn | .... | musician | |
Transportation Department | |||
| Lyle Christensen | .... | shotmaker driver | |
| John Christopher Hicks | .... | driver | |
| Scott Howard | .... | transportation | |
| Jack Prince | .... | driver | |
| Paul Ripple | .... | transportation dispatcher | |
| Timothy P. Ryan | .... | transportation coordinator | |
| Faith Strongheart | .... | driver: cast | |
| Jeff J. Williams | .... | driver: vip | |
Thanks | |||
| Jason Willaford | .... | thanks | |
| Ree Willaford | .... | thanks | |
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It was not very long before I watched 'No Country for Old Men' that I watched the other remarkable film of 2007, 'There Will Be Blood.' Back then I thought that Paul Thomas Anderson has delivered the Best Picture of the year with his oil epic, but after watching the Coen brothers chilling and violent adaptation of Cormac McCarthy's 2005 novel, I knew right away that here was a film destined to be even a greater film than any I've seen this past year.
It's not easy to watch 'No Country for Old Men.' The first time I saw it, I found myself dazed enough to not be able to stand-up immediately even after the whole end credits have finished. And yet, mixed with the feeling of shock is the profound sense of wonder and awe with what I have just witnessed on the screen. It took me another viewing to fully appreciate the meaning and intention of the film, and while the experience from watching the film is not one everybody will enjoy and understand, it certainly is one of the most moving and thought-provoking movies I have ever watched. This is the kind of movie that will make you think, the kind that stays with you even after a long time has passed since you've last watched it. On the literal level, it is a simple cat-and-mouse chase thriller movie, but from within its roots lie a very profound philosophical and penetrating analysis not only of the characters and the situations involved in the story, but also of the kind of world we are living in today and the more monstrous sides of it we often choose to ignore.
The story revolves around the chase between a guy named Llewelyn Moss (Josh Brolin,) who stumbles upon a stash of money in a drug deal gone wrong in the middle of the desert and a psychopathic but surprisingly "principled" assassin named Anton Chigurh (Javier Bardem). The third party and the moral center of the story is the guy trying to find both the hunter and the hunted, Ed Tom Bell, the old sheriff of a peaceful, but increasingly becoming violent locality in West Texas.
The movie features the perfect mix thrill and excitement that would be expected out of a movie in this genre. The Coen brothers' direction of the particularly intense chase scenes between Chigurh and Moss are masterful, evoking emotions of suspense to the highest level and pushing the audience to the very edge of their seats. This is achieved by very careful editing and sound direction that perfectly recreates the tense atmosphere whenever a particular scene is being played out. Also remarkable is the photography (done by Roger Deakins) of vast scenes in the desert where even what the ordinary moviegoer would consider as "empty scenes", where no action is played out, tells a story in a visual manner, where even when there is no dialogue or action on screen, the sweeping images speak out for themselves.
'No Country for Old Men' is rich in such bravura kind of film-making. The particular camera move, position and choice of background and other trivial details such as time of day, cloud cover or positioning of the props and point-of-view perspective offer the best experience for the audience, and the most effective means of story-telling for the Coen brothers. Just watch the scenes of Tommy Lee Jones as the tormented old sheriff being burdened by the challenge of something that is greater a force than himself, something that he "does not understand," and you will realize what I mean. The environment and tone created by the filmmakers perfectly accentuates the performance of Jones and more importantly, the core messages of the film. This style is present throughout the film and one of the particular points that makes it more than just a chase movie.
I must say that I can't help but agree to most people when they say the Javier Bardem's Anton Chigurh is the most disturbing character (and yet mesmerizing) to grace the screen since Anthony Hopkins introduced us to Hannibal Lecter in 'Silence of the Lambs.' Chigurh effectively radiates evil and embodies violence in a very intelligent and forceful manner that touches the fear in all of us. Like Lecter, he personifies evil not in the conventional and simple sense, but in way that somehow presents to us the whole magnitude and complexity of its nature. In the dialogue he speaks, a kind of thinking revealed is one that is calculating and deeply philosophical but essentially ruthless and sinister.
The film's monumental achievement is in its ability to remarkably transport us into a world where the places, emotions, fears, anxieties, choices, morals and realities of life are strikingly brought to life and presented to us in a manner where we, after the whole experience, can reflect upon and look back with careful consideration. In the end, the moviegoer is left to marvel at the beauty (and madness) of it all. Here the theme of innocence lost as it is corrupted by evil and violence is explored in the most cinematic fashion, delivered perfectly with richness of emotion and the greatest impact possible. The violence and bleakness of it all is not there to simply evoke reaction or engage the audience, it is there to tell a story and impart an experience of great magnitude and intention, to which the Coen brothers have brilliantly succeeded. All at the same time the movie is a character study on the effects of evil and innocence lost, an exploration on the themes of fate and chance, an analysis of the freedom to choose and its consequences, a reflection on evil and good as forces of society and the investigation of basic human emotions such as hope, fear, love, violence and aspiration in the face of a variety of situations.