AFI Catalog of Feature Films
Movie Detail
Name Occurs Before Title Offscreen Credit Print Viewed By AFI
The Curious Case of Benjamin Button
Director: David Fincher (Dir)
Release Date:   25 Dec 2008
Premiere Information:   New York and Los Angeles openings: 25 Dec 2008
Production Date:   6 Nov 2006--early Mar 2007 in New Orleans
Duration (in mins):   166-167
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Cast: In order of appearance: Cate Blanchett (Daisy [Fuller])  
    Julia Ormond (Caroline [Williams])  
    Faune Chambers (Dorothy Baker)  
    Elias Koteas (Monsieur Gateau)  
    Donna Duplantier (Blanche Devereux)  
    Jacob Wood (Martin Gateau)  
    Earl Maddox (Man at train station)  
    Ed Metzger (Teddy Roosevelt)  
    Jason Flemyng (Thomas Button)  
    Danny Vinson (Priest giving last rites)  
    David Jensen (Doctor at Benjamin's birth)  
    Joeanna Sayler (Caroline Button)  
    Taraji P. Henson (Queenie)  
    Mahershalalhashbaz Ali (Tizzy [Weathers])  
    Fiona Hale (Mrs. Hollister)  
    Patrick Thomas O'Brien (Dr. Rose)  
    Marion Zinser (Mrs. Horton)  
    Peter Badalamenti (Benjamin 1928-31)  
    Danny Nelson (General Winston)  
    Paula Gray (Sybil Wagner)  
    Lance Nichols (Preacher)  
    Rampai Mohadi (Ngunda Oti)  
    Troi Bechet (Filamena Gilea)  
    Phyllis Somerville (Grandma Fuller)  
    Elle Fanning (Daisy age 7)  
    Ted Manson (Mr. Daws)  
    Clay Cullen (Young Mr. Daws)  
    Edith Ivey (Mrs. Maple)  
    Robert Towers (Benjamin 1932-34)  
    Jared Harris (Captain Mike [Clark])  
    Sonya Leslie (Daisy's nurse)  
    Yasmine Abriel (Prostitute with Benjamin)  
    Madisen Beaty (Daisy age 10)  
    Tom Everett (Benjamin 1935-37)  
    Don Creech (Prentiss Mayes)  
    Christopher Maxwell (Rick Brody)  
    Joshua DesRoches (Vic Brody)  
    Richmond Arquette (John Grimm)  
    Josh Stewart (Pleasant Curtis)  
    Brad Pitt (Benjamin Button)  
    Ilia Volok (Russian interpreter)  
    Tilda Swinton (Elizabeth Abbott)  
    David Ross Paterson (Walter Abbott)  
    Taren Cunningham (Young Elizabeth Abbott)  
    Myrton Running Wolf (Dennis Smith)  
    Stephen Monroe Taylor (Sailor)  
    Devyn Tyler (Queenie's daughter age 14)  
    Adrian Armas (David)  
    Wilbur Fitzgerald (TV reporter)  
    Ashley Nolan (Woman doctor)  
    Louis Herthum (Man at Caroline's party)  
    Katta Hules (Caroline age 12)  
    Rus Blackwell (Robert Williams)  
    Joel Bissonnette (David Hernandez)  
    Deneen D. Tyler (Queenie's daughter age 40)  
    Spencer Daniels (Benjamin age 12)  
    Chandler Canterbury (Benjamin age 8)  
    Charles Henry Wyson (Benjamin age 6)  
    Jessica Cropper (Featured dancer)  
    Katherine Crockett (Featured dancer)  

Summary: In 2005, as hurricane Katrina bears down on New Orleans, Caroline Williams sits in a hospital room with her elderly mother, Daisy Fuller, who is near death. Although anxious over her mother's condition, Caroline is startled when Daisy abruptly relates the tale of a renowned blind watchmaker, Monsieur Gateau, and his Creole wife, Blanche Devereux, who, in 1917, see their son Martin off to the First World War: Gateau labors many months on an enormous clock which, after news of Martin’s death, the watchmaker presents to the newly opened Canal Street train station. At the great clock’s unveiling, attended by former president Theodore Roosevelt, guests are surprised to see that the clock runs backwards. Gateau explains that the reverse movement represents his longing that they might turn back time to recover all the young lives lost during the great war. While Caroline wonders if her mother has begun hallucinating, Daisy directs her to retrieve an old diary from her suitcase and asks her daughter to read it to her. Puzzled, Caroline opens the book and finds that it begins with a will, dated April 1985, for Benjamin Button who declares that he has nothing to pass on but his life story: On Armistice Day in November 1918, Thomas Button fights his way through celebrating crowds to find his wife Caroline dying at home after giving birth to a son. Upon seeing his newborn infant, Thomas responds with revulsion and, snatching the baby, runs to the canal with the intent of drowning the child. Frightened by a policeman, Thomas wanders the streets, then finally places the baby on the steps of a retirement home. Moments later, African American proprietor Queenie and her beau, Tizzy Weathers, stumble across the baby who, the startled couple finds, has the wizened body of an old man. Upon examination by a doctor later, the baby is given little chance to survive as he suffers from a variety of ailments common-place to the elderly. Undaunted, Queenie, who has never been able to conceive, decides to keep the baby, whom she christens Benjamin. Surviving infancy against the odds, Benjamin spends his early years in a wheelchair due to his age related infirmities. Unaware that he is a child, Benjamin is content to be among the elderly residents of the home, despite the constancy of death around him. When Benjamin is seven, Queenie and Tizzy take him to a revivalist meeting where, under enthusiastic admonitions from the preacher, Benjamin takes a few steps. Later, as Benjamin becomes proficient walking with a double set of canes, he meets Tizzy’s Pygmy friend, Mr. Ngunda Oti, who impresses him with stories about his nomadic life. In 1930, just after Benjamin turns twelve, resident Grandma Fuller introduces him to her seven-year-old granddaughter, Daisy who is fascinated by the peculiar old-young Benjamin. Smitten by Daisy’s dark red hair and bright blue eyes, Benjamin quickly make friends with her, but when the pair are discovered one night playing “secrets,” Grandma Fuller sends Daisy away, and scolds the confused Benjamin. A little later, Queenie proudly announces that she and Tizzy are going to have a baby, whose birth, Benjamin admits, changes his home life. Benjamin's new loneliness is softened by a friendship with incoming resident Mrs. Maple, who teaches him to play the piano. At fifteen, Benjamin realizes that his body is gradually getting younger and healthier. One afternoon, Benjamin accompanies resident Mr. Daws, who repeatedly claims to have been struck by lightening seven times, to Poverty Point harbor where they meet tug boat owner Captain Mike Clark. Believing Benjamin to be an old man, Mike playfully takes him to a brothel where Benjamin spends an enthusiastic evening. Walking home later, Benjamin meets a stranger, who, unknown to him, is his father. Thomas invites him for a drink, tells him about owning a button factory and asks if he might visit him on occasion. Soon after, Daisy resumes visiting Grandma Fuller on weekends and renews her acquaintance with Benjamin. One evening, Benjamin confides in Mrs. Maple his suspicion that he is growing younger, and she reflects that it will be difficult for Benjamin to see everyone he loves grow old and die without him. When Benjamin is taken aback, Mrs. Maple assures him that people must lose loved ones to realize their importance. In early 1936, now seventeen-year-old Benjamin signs on with Mike and his refitted boat, the Chelsea . Before he departs, Daisy tells Benjamin to write to her from all his ports-of-call. In the present, Caroline, who has been skeptical of the odd tale, finds a box in Daisy’s suitcase that holds a packet of postcards from Benjamin to Daisy from various ports throughout the world. Startled, Caroline resumes reading with more interest: During Benjamin’s years at sea, Daisy writes to him regularly, relaying her growing love of dance and eventual acceptance into a prestigious New York dance academy. While working in the northern Russian port of Murmansk one winter, the crew of the Chelsea lives in the Winter Palace hotel where Benjamin becomes intrigued by an edgy English woman, Elizabeth Abbott, whose husband Walter is the British chief trade minister and a spy. Accidentally encountering each other in the hotel lobby late one night, Benjamin and Elizabeth strike up a tentative conversation and over the next several nights meet to talk and drink tea until dawn. One evening Elizabeth introduces Benjamin to caviar and vodka and confides that at nineteen, she attempted to swim the English Channel. After failing, she never tried again, and regrets wasting her life. Soon, Benjamin and Elizabeth begin a passionate, secret affair, and Benjamin writes to Daisy that he has fallen in love. The day before America declares war on Japan, Elizabeth and Walter depart without warning or farewell. Learning that the Chelsea has been commissioned as a salvage and rescue ship for the U. S. Navy, Benjamin decides to stay on as cook. Throughout the war, Benjamin and the Chelsea ’s crew see no battles, only retrieve its wreckage. One night, the Chelsea is the first salvage boat to reach a transport ship destroyed by a submarine torpedo. When the submarine surfaces and opens fire upon the Chelsea , Mike boldly rams the craft, but his boat is demolished and he dies in Benjamin’s arms. Benjamin and one other survivor are rescued, then in May 1945, the twenty-six year old Benjamin returns home to New Orleans. Reunited with Queenie, Benjamin learns with sadness that Tizzy has died. Soon after, Daisy comes back to New Orleans and is amazed but delighted to find the physical changes in Benjamin. Although the couple shares a pleasant dinner, Benjamin is uneasy with Daisy’s casual attempt to seduce him afterward and explains that the moment is not right. After Daisy returns to New York, Benjamin receives another visit from Thomas, who confesses that he is Benjamin’s father. Apologizing for abandoning him, Thomas, who is sickly and dying, tells Benjamin about his mother Caroline and promises to leave Benjamin his house and factory. Greatly disheartened by the revelation, Benjamin returns to Queenie’s, but later, recalling advice from Mike, returns and forgives his father. After Thomas dies, Benjamin travels to New York to see Daisy, but quickly feels out of place with her and her dance co-workers, and quickly departs. In the present, Daisy confesses to Caroline that, at twenty-three, she was absorbed in her career and could not care for Benjamin. Daisy then gives Caroline photos chronicling her dance career which, Caroline is amazed to learn, included Daisy’s selection as the only American asked to dance with the Bolshoi Ballet. As the storm continues to rage, Caroline resumes reading the diary: Having continued to grow physically younger, the solitary Benjamin continues as handyman at the home for some years. Then a telegram from a friend summons him to Paris where Daisy has been struck by a car. Bitter that her crushed leg has abruptly ended her career, Daisy refuses Benjamin’s offer to take her home and sends him away. Back in New Orleans, Benjamin teaches himself to sail his father’s boat, the Button Up , and has several inconsequential romances. In 1962, Daisy returns to New Orleans and, upon reuniting with Benjamin, the couple realizes that, at nearly the same age emotionally and physically, they finally are romantically ready for each other. When Daisy joins Benjamin on an extended cruise on the Button Up down the Gulf and to Florida, Benjamin sadly reflects that, although he is happy, nothing ever lasts. Back at the retirement home in New Orleans some weeks later, Benjamin and Daisy learn that Queenie has died. Benjamin then sells his father’s house and purchases a duplex for himself and Daisy. The couple spend the next few years happily, and although Daisy briefly indulges in self-pity over aging, she recovers and opens a dance school for children. When Daisy becomes pregnant at age forty-three, Benjamin frets that the child might inherit his unique affliction, as well as the fact that he can never be a proper parent as he continues to grow younger. Soon after, Benjamin is briefly cheered when he hears a news report that the now sixty-two-year-old Elizabeth has become the oldest woman to swim the English Channel. Although Daisy goes into labor prematurely, she gives birth to a healthy daughter. In the present, as Caroline reads that they named the baby after Benjamin’s mother, she realizes with shock that Benjamin is her father. Distressed, Caroline resumes reading the diary: When their daughter is barely a year old, Benjamin insists that Daisy cannot raise them both, but Daisy remains certain they will manage together. Unconvinced, Benjamin secretly sells the summer house, the button factory and the sail boat and, leaving all the money to Daisy and Caroline, slips away one night. In the present, an angry Caroline demands to know where Benjamin went, but Daisy confesses that she does not know. In the diary, Caroline is touched to find several post cards addressed to her on her birthdays from age two to thirteen, written by Benjamin, who apologizes for not being with her. A letter to Caroline describes Benjamin’s subsequent itinerant lif. It also expresses his wish that she might have a life of which she is proud and, if not, that she have the courage to start again. Caroline returns to the diary's last pages: When Caroline is twelve, Benjamin, yearning to see his daughter once more, visits Daisy’s dance studio one night. Astonished by his youthful appearance, the now fifty-five-year-old Daisy, who has married a widower whom Caroline believes is her father, tells Benjamin that he was correct to leave them when he did. Later that night, Daisy goes to Benjamin’s hotel where they spend one last night together. After Caroline finishes the diary, Daisy relates that some years after that last encounter, she was summoned by child welfare to the retirement home where a twelve-year-old Benjamin has all the symptoms of dementia and does not recognize her. Now a widow, Daisy gradually assumes care of Benjamin and eventually moves into the home to care for him as he becomes a child, then a toddler and, finally, an infant. In 2002, the old Gateau clock is replaced with a sophisticated timepiece, and one evening the following spring, as Daisy cradles the baby Benjamin, he looks at her with seeming recognition, then dies. After Caroline sadly wishes she could have known Benjamin, a nurse calls her away to discuss the hurricane’s progress. Freed of her burden of passing on Benjamin’s legacy to his daughter, Daisy bids good-night to Benjamin and dies. 

Production Company: Parmount Pictures (A Viacom Company)
  Warner Bros. (A TimeWarner Company)
  A Kennedy/Marshall Company  
Production Text: A David Fincher Production
a Kennedy/Marshall Production
a Kennedy/Marshall Production; a David Fincher Production
Distribution Company: Paramount Pictures (A Viacom Company)
Director: David Fincher (Dir)
  Bob Wagner (1st asst dir)
  Allen Kupetsky (2d asst dir)
  Pete Waterman (2d 2d asst dir)
  Stephen Lonano (2d 2d asst dir, New Orleans)
  Carl Kouri (3rd asst dir, Montreal)
Producer: Kathleen Kennedy (Prod)
  Frank Marshall (Prod)
  Ceán Chaffin (Prod)
  Jim Davidson (Assoc prod)
  Marykay Powell (Assoc prod)
  Peter Mavromates (Assoc prod / Post prod supv)
Writer: Eric Roth (Scr)
  Eric Roth (Scr story)
  Robin Swicord (Scr story)
Photography: Claudio Miranda (Dir of photog)
  Kim Foster Marks (Cam op)
  Jonas Maximus Steadman (1st asst photog)
  John Pingry ("B" 1st asst photog)
  Michael Watson (2d asst photog)
  Chris Strong (Chief lighting tech)
  Brian Fosnaugh (Asst chief lighting tech)
  Keith Batchelor (Dimmer op)
  Nathan Borck (Dimmer op, New Orleans)
  Loren Johnson (Elec)
  Ivan C. Allen (Elec)
  Tony Varoula (Elec)
  Dan Jones (Elec)
  Sydney Brisco (Elec)
  Bruce Jackson (Elec, New Orleans)
  Renaldo Jackson (Elec, New Orleans)
  John Manocchia (Chief rigging elec)
  Edward J. Cox (Asst chief rigging elec)
  Jacob Borck (Rigging elec, New Orleans)
  Richard Maldonado (Set lighting foreperson)
  John Jack Davies (Set lighting sub-foreperson)
  Michael Coo (1st company grip)
  Craig Kohtala (2d company grip)
  Mike Brennan (Dolly grips)
  Brian Rosso (Dolly grip)
  John Cleveland (Grip)
  Jack Kohtala (Grip)
  Mark P. Coo (Grip)
  Jimi Ryan (Grip, New Orleans)
  Barry Williamson (Grip, New Orleans)
  Charles T. Hinson (Grip, New Orleans)
  David Taylor (Grip, New Orleans)
  Larry Aube (1st company rigging grip)
  Mitchell K. Hiniker (2d company rigging grip)
  David Sireika Jr. (Rigging grip)
  Dustin Hiniker (Rigging grip)
  Chip Hart (Rigging grip)
  W. F. Peterson (Rigging grip)
  Jason W. Erler (Rigging grip)
  Adam W. Erler (Rigging grip)
  Ryan Eddy (Rigging grip)
  Christopher Ekstrom (Rigging grip, New Orleans)
  Kiya Maggio (Rigging grip, New Orleans)
  Michael Nami Sr. (Rigging grip, New Orleans)
  Lucas Porterfield (Rigging grip, New Orleans)
  James Trapper McEvoy (Rigging grip, New Orleans)
  Chad W. Landry (Rigging grip, New Orleans)
  Frankie Jones (Rigging grip, New Orleans)
  Gary J. Cadow (Rigging grip, New Orleans)
  Merrick Morton (Still photog)
  Matt Gaumer (Cam loader, New Orleans)
  The Camera House (Cameras & data capture provided by)
  G Thomson (Cameras & data capture provided by)
  S.two Digital Filmmaking (Cameras & data capture provided by)
Art Direction: Donald Graham Burt (Prod des)
  Tom Reta (Supv art dir)
  Randy Moore (Art dir, Los Angeles)
  Scott Plauché (Art dir, New Orleans)
  Kelly Curley (Art dir, New Orleans)
  Michèle Laliberté (Art dir, Montreal)
  Nithya Shrinivasan (Asst art dir)
  Aaron Haye (Asst art dir)
  Molly Mikula (Asst art dir, New Orleans)
  Richard Bennett (Illustrator)
  Christopher Ross (Illustrator)
  Jane Fitts (Graphic des)
  Lisa Disanto (Art dept coord)
  Chere Theriot (Art dept coord, New Orleans)
  Jennifer Mueller (Asst to art dept)
  Joseph Magazenni (Asst to art dept)
  Nicole Labranche (Asst to art dept, New Orleans)
  Ben Wisdom (Asst to art dept, New Orleans)
  Dave Kelsey (Draftsperson, New Orleans)
Film Editor: Kirk Baxter (Ed)
  Angus Wall (Ed)
  Alex Olivares (Asst ed)
  Tyler Nelson (Asst ed)
  Jackson Yu (Asst ed)
  Leslie Webb (Asst ed)
  Brent Joseph (Asst ed, New Orleans)
  Zach Fine (Apprentice ed)
Set Decoration: Victor J. Zolfo (Set dec)
  Lorrie Campbell (Set des)
  Jane Wuu (Set des)
  Clint Wallace (Set des)
  Randy Wilkins (Set des)
  Tammy Lee (Set des)
  Masako Masada (Set des)
  Ryan Heck (Set des, New Orleans)
  Hope Parrish (Prop master)
  Paul Rylander (Asst prop master)
  Teri Anne Kopp (Props)
  Leonard Lavigueur (Props, New Orleans)
  Jonathan S. Graubarth (Props, New Orleans)
  Fred A. Waff (Leadperson)
  Michael A. Johnson (Leadperson, New Orleans)
  Christopher Elledge (Set dresser)
  Chris Hayes (Set dresser)
  Raymond Waff (Set dresser)
  Rick Staves (Set dresser)
  Sid Lambert (Set dresser, New Orleans)
  Markus Wittmann (Set dresser, New Orleans)
  Kenneth Chauvin (Set dresser, New Orleans)
  Paul Blanchard (Set dresser, New Orleans)
  Jason Perlander (Set dresser, New Orleans)
  Caleb J. Guillotte (Set dresser, New Orleans)
  Joel Klaff (Set dresser, New Orleans)
  Bart Hubenthal (On-set dresser)
  David Warburton (On-set dresser, New Orleans)
  Gina Disanto Nasrabadi (Set dec coord)
  Missy Parker (Asst to set dec dept)
  Andrew Hutchings (Asst to set dec dept)
  Kristin Bicksler (Asst dec, New Orleans)
  C. Jonas Kirk (Const coord)
  Marcel Michael Worch (General foreperson)
  Steven W. Rigamat (Propmaker foreperson)
  David Gordon (Propmaker foreperson)
  David D. Gabrielli (Loc foreperson)
  Marvin Salsberg (Const foreperson)
  Henry S. John (Const foreperson)
  Bobby Laux (Key labor foreperson)
  James C. Piccione (Labor foreperson)
  Byron Denson (Labor foreperson, New Orleans)
  John E. Schofield III (Labor foreperson, New Orleans)
  Bob Hagman (Mill foreperson)
  Donn J. Cross (Paint foreperson)
  Joseph A. Hawthorne (Paint foreperson)
  Mary Gustafson (Paint foreperson)
  Mark Heard (Paint foreperson)
  Nelson Hawthorne (Paint foreperson)
  Natalie Hile (Paint foreperson)
  Edward Piwowarski (Paint foreperson)
  Bryan A. Buckler (Welding foreperson)
  John M. Dugan (Plaster foreperson)
  Michael Bucaro (Plaster foreperson)
  Michael Alvarado (Plaster foreperson)
  Erin Hennessey (Chief carpenter)
  J. Bryan Holloway (Lead sculptor)
  James E. Day III (Tool person)
  Timothy D. Ackers (On-set painter)
  Regis Scott (On-set painter, New Orleans)
  Cecile Aymami (On-set painter, New Orleans)
  Victoria St. Pierre (On-set painter, New Orleans)
  Tom Safron (Greens foreperson)
  Jeff Brown (Greensperson)
  David Tureau (Lead greensperson, New Orleans)
  Michael Arena (Greensperson, New Orleans)
  David Keith Broome (Greensperson, New Orleans)
  David Lee Toth (Greensperson, New Orleans)
  Timothy Taylor (Greensperson, New Orleans)
  Scott C. Bivona (Greensperson, New Orleans)
  Robert Joy (Greensperson, New Orleans)
  Monique Champagne (Buyer, New Orleans)
  Juan L. Urrea (Construction buyer, New Orleans)
  Bill Hickey (Foreperson, New Orleans)
Costumes: Jacqueline West (Cost des)
  Marjorie McCown (Asst cost des)
  Suzy Freeman (Asst cost des, New Orleans)
  Cheryl Beasley-Blackwell (Cost supv)
  Tom R. Numbers (Key cost)
  Monica Haynes-Nino (Key cost)
  Donna D. O'Neal (Key set cost)
  Naomi Gathmann (Set cost)
  Carrie Yoko Arakaki (Set cost)
  Jay Cheng (Set cost)
  Shelli Nishino (Set cost)
  Erik Lemoss-Rettner (Set cost)
  Betsy Glick (Set cost)
  Valerie O'Brien-Pickard (Set cost)
  Christine Cantella (Set cost)
  Chris Newlander (Set cost)
  Linda Gardar (Set cost, New Orleans)
  Claire Hedland (Set cost, New Orleans)
  Donna Chance (Set cost, New Orleans)
  Jennifer Kamrath (Set cost, New Orleans)
  Johnny H. Smith (Set cost, New Orleans)
  Loretta Harper (Set cost, New Orleans)
  Rachel A. Walker (Set cost, New Orleans)
  Melissa F. Binder (Head ager/dyer)
  Ivory Stanton (Ager/dyer)
  Lesley D. Wickham (Ager/dyer, New Orleans)
  Michael J. Sloan (Tailer/cutter)
  Carmen Torres (Seamstress)
  Hermine Keossian (Seamstress)
  Varsenik Vicky Antonyan (Seamstress)
  Giselle P. Spence (Seamstress, New Orleans)
  Marilyn Z. Brum (Seamstress, New Orleans)
  Patty Spinale (Seamstress, New Orleans)
  Mary Ann Waterstradt (Seamstress, New Orleans)
  Cacey Riggan (Asst to the cost dept)
  Lauren Wade (Asst to the cost dept, New Orleans)
  Gwenie Sagona (Asst to the cost dept, New Orleans)
Music: Alexandre Desplat (Mus)
  Alexandre Desplat (Cond)
  Conrad Pope (Orch)
  Alexandre Desplat (Orch)
  Philip Klein (Orch)
  Erik Lundborg (Orch)
  Joseph Newlin (Orch)
  Nan Schwartz (Orch)
  Clifford Tasner (Orch)
  Sandy DeCrescent (Orch contractor)
  Peter Rotter (Orch contractor)
  Joe E. Rand (Mus ed)
  Marie Ebbing (Mus ed)
  Steven R. Galloway (Asst mus ed)
  Katie Kirkpatrick (Harp soloist)
  Jo Ann Kane Music Services (Mus preparation)
  Shawn Murphy (Mus rec and mixed by)
  Erik Swanson (Pro Tools op)
Sound: Ren Klyce (Sd des)
  Ren Klyce (Supv sd ed)
  Jeremy Molod (Asst supv sd ed)
  Mark Weingarten (Sd mixer)
  David Parker (Re-rec mixer)
  Michael Semanick (Re-rec mixer)
  Ren Klyce (Re-rec mixer)
  Jurgen Sharpf (Mix tech)
  Zach Martin (Mix tech)
  Skywalker Sound (Post prod services)
  Malcolm Fife (Sd eff ed)
  E. Larry Oatfield (Sd eff ed)
  Coya Elliot (Asst sd eff ed)
  Richard Quinn (Dial ed)
  Gwendolyn Yates Whittle (ADR supv)
  Marilyn McCoppen (ADR ed)
  Stuart McCowan (Asst ADR ed)
  Doc Kane (ADR mixer)
  Bobby Johanson (ADR mixer)
  Jeannette Browning Hernandez (ADR rec)
  Doug Parker (ADR rec)
  Christopher Chevannes (ADR rec)
  Aaron G. Zeller (Ambience rec)
  Thom Brennan (Foley supv)
  John Roesh (Foley artist)
  Alyson Moore (Foley artist)
  Mary Jo Lange (Foley mixer)
  Lawrence Y. Commans (Boom op)
  Mark W. Fay (Utility sd)
  Aaron G. Zeller (Utility sd, New Orleans)
  Wayne Tidwell (Eng-Data capture)
  Viki Chan (Asst to eng)
Special Effects: Burt Dalton (Spec eff coord)
  Rodney Byrd (Spec eff general foreperson)
  Dale Ettema (Spec eff general foreperson)
  Arnold Peterson (Spec eff eng)
  David Greene (Spec eff set foreperson)
  Albert Delgado (Spec eff foreperson)
  Andrew Miller (Spec eff foreperson)
  Werner Hahnlein (Spec eff foreperson)
  Joseph Judd (Spec eff foreperson)
  Chris L. Ward (Spec eff foreperson)
  Curtis Allen Jr. (Spec eff foreperson)
  Doug Calli (Spec eff foreperson)
  Curtis Decker (Spec eff tech)
  Terry P. Chapman (Spec eff tech)
  Mark Stanton (Spec eff tech)
  Jason Hansen (Spec eff tech)
  Eric W. Jolly (Spec eff tech)
  Jeremiah Cooke (Spec eff tech)
  Don E. Myers Jr. (Spec eff tech)
  Bruce Kuroyama (Spec eff tech)
  Armando Franco (Spec eff tech)
  Joseph Livolsi (Spec eff tech)
  Anthony Herrera (Spec eff tech)
  Armando Gonzalez (Spec eff tech)
  Michael Holland Sr. (Spec eff tech)
  Michael Tice (Spec eff tech)
  Ian C. McArthor (Spec eff tech)
  Michael Perry (Spec eff tech)
  David A. Poole (Spec eff tech, New Orleans)
  Stephen Bourgeois (Spec eff tech, New Orleans)
  Phillip Giroir (Spec eff tech, New Orleans)
  Eric Bisschop (Spec eff tech, New Orleans)
  David K. Nami (Spec eff tech, New Orleans)
  Michael DePietro (Spec eff tech, New Orleans)
  Digital Domain, Venice, CA (Visual eff and animation provided by)
  Asylum (Visual eff by)
  Lola Visual Effects (Visual eff by)
  Hydraulx (Visual eff by)
  Ollin Studio (Visual eff by)
  Savage Visual Effects (Visual eff by)
  Eden FX (Visual eff by)
  James Pastorius (Visual eff, Savage Visual Effects)
  Brice Liesveld (Visual eff, Savage Visual Effects)
  Eric Barba (Visual eff supv, Digital Domain)
  Nathan McGuinness (Visual eff supv, Asylum)
  Edson Williams (Visual eff supv, Lola Visual Effects)
  Eric Liles (Visual eff supv, Hydraulx)
  Charlie Iturriaga (Visual eff supv, Ollin Studio)
  Jason Schugardt (Addl visual eff supv, Asylum)
  Ed Ulbrich (Visual eff exec prod, Digital Domain)
  José Fernández (2d supv, Ollin Studio)
  Emma McGuinness (Exec visual eff prod, Asylum)
  Kathy Chasen-Hay (Exec visual eff prod, Asylum)
  Scott Michelson (Visual eff exec prod, Hydraulx)
  Lisa Beroud (Visual eff prod, Digital Domain)
  Andrew Foster (Visual eff prod, Asylum)
  Thomas Nittman (Visual eff prod, Lola Visual Effects)
  Tony Meagher (Visual eff prod, Hydraulx)
  Robin D'Arcy (Visual eff prod, Ollin Studio)
  Ryan Zuttermeister (Visual eff assoc prod, Lola Visual Effects)
  Steve Preeg (Character supv, Digital Domain)
  Joseph M. Harkins (Char supv, Hydraulx)
  Nick Lloyd (Modeling supv, Digital Domain)
  Yoshiya Yamada (Modeling supv, Hydraulx)
  Marco Maldonado (3D integration supv, Digital Domain)
  Karl Denham (Asset creation supv, Digital Domain)
  Dan Abrams (Lighting supv, Digital Domain)
  Jonathan Litt (Lighting supv, Digital Domain)
  Nikos Kalaitzidis (3D eff supv, Digital Domain)
  Sonja Burchard (Compositing supv, Digital Domain)
  Janelle L. Croshaw (Compositing supv, Digital Domain)
  Paul Lambert (Compositing supv, Digital Domain)
  Mark P. Renton (Compositing supv, Asylum)
  Erik Bruhwiler (Compositing coord, Hydraulx)
  Sarahjane Javelo (Rotoscope/Paint supv, Digital Domain)
  Elissa Bello (Roto/paint supv, Asylum)
  Wei Zheng (Matte painting supv, Digital Domain)
  Timothy Clark (Matte painting and texturing supv, Asylum)
  Natasha Ozoux (Digital prod, Digital Domain)
  Jonah Austin (Lead character rigger, Digital Domain)
  David McLean (Lead character rigger, Digital Domain)
  Pete Egbers (Modeler, Digital Domain)
  Kirk G. Mawhinney (Modeler, Digital Domain)
  Chad Roen (Modeler, Digital Domain)
  Greg Stuhl (Digital modeling supv, Asylum)
  Julian Sarmiento (Sr digital modeler, Asylum)
  Chad Fehmie (Digital modeler, Asylum)
  Anastasios Gionis (Digital modeler, Asylum)
  Go Woon Choi (Modeler, Hydraulx)
  Tamerr Eldib (Modeler, Hydraulx)
  Miguel Guerrero (Modeler, Hydraulx)
  Atsuhi Imamura (Modeler, Hydraulx)
  Chun Seong Ng (Modeler, Hydraulx)
  Steve Galle (Hair lead, Digital Domain)
  Mattias Bergbom (Hair modeler, Digital Domain)
  Rowsby Ricard (Hair modeler, Digital Domain)
  Zack Weiler (Hair modeler, Digital Domain)
  Takashi Kuribayashi (Hair dynamics, Digital Domain)
  Piotr Karwas (Anim supv, Asylum)
  Joshua Cordes (Anim supv, Hydraulx)
  Matthias Wittmann (Anim lead, Digital Domain)
  Steward Burris (Anim lead, Asylum)
  James Parris (Anim, Digital Domain)
  Dan Patterson (Anim, Digital Domain)
  Patrick Perez (Anim, Digital Domain)
  Marc Perrera (Anim, Digital Domain)
  Tom St. Amand (Anim, Digital Domain)
  Andrew Tamandl (Anim, Digital Domain)
  Melissa Thompson (Anim, Digital Domain)
  Marco Capparelli (Anim, Hydraulx)
  Billy Vu Lam (Anim, Hydraulx)
  Nando Martinez (Anim, Hydraulx)
  Anibal Castellanos (CG anim, Ollin Studio)
  Kevin Culhane (Anim/rigging artist, Asylum)
  Jesse James Chisholm (3D Integration lead, Digital Domain)
  Ross MacKenzie (3D integration lead, Digital Domain)
  Mike Ramirez (3D integration lead, Digital Domain)
  Francis Camacho (3D integration artist, Digital Domain)
  Viki Chan (3D integration artist, Digital Domain)
  Megan Dolman (3D integration artist, Digital Domain)
  Koji Hamaguchi (3D integration artist, Digital Domain)
  Peter Herlein (3D integration artist, Digital Domain)
  Nick Jushchyshyn (3D integration artist, Digital Domain)
  Gary Laurie (3D integration artist, Digital Domain)
  Ryan Lorie (3D integration artist, Digital Domain)
  Jim Moorhead (3D integration artist, Digital Domain)
  Ian Northrop (3D integration artist, Digital Domain)
  Winfield O'Brien (3D integration artist, Digital Domain)
  Alfredo Ramirez (3D integration artist, Digital Domain)
  Rene Segura (3D integration artist, Digital Domain)
  James Sweeney (3D integration artist, Digital Domain)
  David Wu (3D integration artist, Digital Domain)
  Bernard Obieta Ceguerra (Lighting lead, Digital Domain)
  Brian Bell (Digital lighting supv, Asylum)
  Mike Dalzell (Lighting artist, Digital Domain)
  Jeff Dierstein (Lighting artist, Digital Domain)
  Juan S. Gomez (Lighting artist, Digital Domain)
  Amanda Johnstone (Lighting artist, Digital Domain)
  Donna Lanasa (Lighting artist, Digital Domain)
  Kamy Leach (Lighting artist, Digital Domain)
  Nic Leach (Lighting artist, Digital Domain)
  Hoya Lee (Lighting artist, Digital Domain)
  David Liu (Lighting artist, Digital Domain)
  Chris Norpchen (Lighting artist, Digital Domain)
  Mike Roby (Lighting artist, Digital Domain)
  Jeremy Sternberg (Lighting artist, Digital Domain)
  Marc Toscano (Lighting artist, Digital Domain)
  Emerito Trevino (Lighting artist, Digital Domain)
  Denis Gauthier (Digital lighting artist, Asylum)
  Yurichiro Yamashita (Digital lighting artist, Asylum)
  Aaron Vest (Digital lighting artist, Asylum)
  Chi Min Yang (Digital lighting artist, Asylum)
  Daniel Fazel (Digital lighting artist, Asylum)
  Paul Gimm (Digital lighting artist, Asylum)
  Jared Brient (Lighting tech, Hydraulx)
  Tulio Hernandez (Lighting tech, Hydraulx)
  Nicholas Spier (Lighting tech, Hydraulx)
  Shigeharu Tomotoshi (Lighting tech, Hydraulx)
  Benjamin Magaña (Lighting and shading, Ollin Studio)
  Vanessa Cheung (Matte painter, Digital Domain)
  Dark Hoffman (Matte painting artist, Asylum)
  Robert Brown (Matte painting artist, Asylum)
  Matt Gilson (Matte painter, Hydraulx)
  Miguel Lizárraga (Matte painter, Ollin Studio)
  Fin Teo (Texture paint lead, Digital Domain)
  John Hart (Digital texture lead, Asylum)
  Tim Matney (Texture painter, Digital Domain)
  Sathyan Panneerselvam (Texture painter, Digital Domain)
  Stan Seo (Texture painter, Digital Domain)
  Ronnie Cleland (Digital texture artist, Asylum)
  James Doyoung Lee (Digital texture artist, Asylum)
  Eric M. Beaver (Lead compositor, Digital Domain)
  Jessica Harris (Lead compositor, Digital Domain)
  Michael Melchiorre (Lead compositor, Digital Domain)
  Jason Selfe (Lead compositor, Digital Domain)
  Natalia De La Garza (Lead compositor, Ollin Studio)
  Dan Akers (Compositor, Digital Domain)
  Brian Begun (Compositor, Digital Domain)
  Dan Cobbett (Compositor, Digital Domain)
  Sven Dreesbach (Compositor, Digital Domain)
  Patrick Ferguson (Compositor, Digital Domain)
  Michael Harbour (Compositor, Digital Domain)
  Jonathan Niles Heckman (Compositor, Digital Domain)
  Gabriella Kalaitzidis (Compositor, Digital Domain)
  Jeff Kim (Compositor, Digital Domain)
  Daryl W. Klein (Compositor, Digital Domain)
  Kenneth Littleton (Compositor, Digital Domain)
  Snake Maymudes (Compositor, Digital Domain)
  Kym Olsen (Compositor, Digital Domain)
  Marlo J. Pabon (Compositor, Digital Domain)
  Deborah Wiltman (Compositor, Digital Domain)
  Caitlin Content (Compositor, Asylum)
  Joe Ken (Compositor, Asylum)
  Steve Muangman (Compositor, Asylum)
  Rob Blue (Compositor, Asylum)
  John Stewart (Compositor, Asylum)
  Jonny Weckworth (Compositor, Asylum)
  Stuart Cripps (Compositor, Asylum)
  Eric Evans (Compositor, Asylum)
  Max Harris (Compositor, Asylum)
  Todd R. Smith (Compositor, Lola Visual Effects)
  Grantland Gears (Compositor, Lola Visual Effects)
  Jaymie Lam (Compositor, Lola Visual Effects)
  Daphne Apellanes-Ackerson (Compositor, Lola Visual Effects)
  Nicole Samarron (Compositor, Lola Visual Effects)
  Michael Honrada (Compositor, Lola Visual Effects)
  Alberto Landeros (Compositor, Ollin Studio)
  Rumi Alva (Compositor, Ollin Studio)
  José Karam (Compositor, Ollin Studio)
  Edgar Patrón (Compositor, Ollin Studio)
  Thorsten Wolf (Compositor, Ollin Studio)
  Rodrigo Villar (Compositor, Ollin Studio)
  Rusty Ippolito (Compositor, Ollin Studio)
  Valerie Delahaye (Compositor, Ollin Studio)
  Andy Lesniak (Compositor, Ollin Studio)
  Tadao Mihashi (Lead tech developer, Digital Domain)
  Masuo Suzuki (Lead tech developer, Digital Domain)
  John Cooper (Tech developer, Digital Domain)
  Casey Vanover (Tech developer, Digital Domain)
  Valy Lungoccia (Lead paint artist, Asylum)
  Howard P. Cabalfin (Paint artist, Digital Domain)
  Wally Chin (Paint artist, Digital Domain)
  Dan Clark (Paint artist, Digital Domain)
  Viviana Kim (Paint artist, Digital Domain)
  Stephanie Murphy (Paint artist, Digital Domain)
  Vinh Nguyen (Paint artist, Digital Domain)
  Kristen Swanson (Paint artist, Digital Domain)
  Hirofumi Takeda (Paint artist, Digital Domain)
  Keith Weilmuenster (Paint artist, Digital Domain)
  Mattaniah Yip (Paint artist, Digital Domain)
  Niki Yoblonski (Paint artist, Digital Domain)
  Junko Schugardt (Paint artist, Asylum)
  Jason Bidwell (Paint artist, Asylum)
  Maura N. Alvarez (Rotoscope artist, Digital Domain)
  Scott Baxter (Rotoscope artist, Digital Domain)
  John Brennick (Rotoscope artist, Digital Domain)
  Lucinda Chee (Rotoscope artist, Digital Domain)
  Hugo Dominguez (Rotoscope artist, Digital Domain)
  Mark Duckworth (Rotoscope artist, Digital Domain)
  Gilbert Gonzales (Rotoscope artist, Digital Domain)
  Joanna Goslicka (Rotoscope artist, Digital Domain)
  Marlan Harris (Rotoscope artist, Digital Domain)
  Lyndal Heathwood (Rotoscope artist, Digital Domain)
  Lance Ranzer (Rotoscope artist, Digital Domain)
  Stephanie Ide (Roto artist, Asylum)
  Daniel Linger (Roto artist, Asylum)
  Laura Murillo (Roto artist, Asylum)
  Ross Kameny (Software developer, Digital Domain)
  Dan Milling (Software developer, Digital Domain)
  Doug Roble (Software developer, Digital Domain)
  Geoff Wedig (Software developer, Digital Domain)
  Brian Knudson (Software developer, Asylum)
  Nils Carson (Software support, Hydraulx)
  Scott Jepson (Software support, Hydraulx)
  David Rosenbaum (Previsualization lead, Digital Domain)
  Steven Nevius (Visual eff ed, Digital Domain)
  Kosta Saric (Visual eff ed, Asylum)
  Brian Miller (Visual eff asst ed, Digital Domain)
  Charlie Bolwell (Visual eff coord, Digital Domain)
  Frank Spiziri (Visual eff coord, Asylum)
  John Polyson (Visual eff coord, Hydraulx)
  Wendy Pirotte (Visual eff coord, Ollin Studio)
  Colin Strause (Visual eff des, Hydraulx)
  Greg Strause (Visual eff des, Hydraulx)
  Chris McLeod (Digital eff coord, Digital Domain)
  Cynthia Richards (Digital eff coord, Digital Domain)
  Bethany Wilksen (Digital eff coord, Digital Domain)
  Virginia Wilson (Digital eff coord, Digital Domain)
  Jamie Hartnett (Asst digital eff coord, Digital Domain)
  Greg Duda (Digital eff artist, Asylum)
  Jens Zalzala (Digital eff artist, Asylum)
  Joe Phoebus (Digital eff artist, Asylum)
  Stu Mintz (Digital eff artist, Asylum)
  Natt Mintrasak (Tech support, Digital Domain)
  Dave Strause (Tech support, Hydraulx)
  Cinnovation (Maquettes, Digital Domain)
  Elizabeth Hitt (CG prod, Asylum)
  Jeff Werner (Head of CG, Asylum)
  David Samija (CG coord, Asylum)
  Chris Wells (CG supv, Hydraulx)
  Victor Lizárraga (CG supv, Ollin Studio)
  Gunther Schatz (Digital water lead, Asylum)
  Josh Hatton (Digital water lead, Asylum)
  Andy Cochrane (Digital water artist, Asylum)
  Beatriz Lorenzo (Digital water artist, Asylum)
  Mark Stasiuk Fusion C.I. Studios (Real flow TD, Asylum)
  Jeff Willette (Digital water pipeline TD, Asylum)
  Matthew Maude (Shading supv, Asylum)
  Daniel Warom (Massive artist, Asylum)
  Mike Lori (Tracking lead, Asylum)
  Tom Stanton (Tracking artist, Asylum)
  Eddie Offerman (Layout and pipeline TD, Asylum)
  Casey Allen (Inferno artist, Lola Visual Effects)
  Brian Nugent (Inferno artist, Lola Visual Effects)
  Chris Ingersoll (Inferno artist, Lola Visual Effects)
  Sean Wallitsch (Inferno artist, Lola Visual Effects)
  Ben Kutsko (Inferno artist, Lola Visual Effects)
  Trent Claus (Inferno artist, Lola Visual Effects)
  Clark Parkhurst (Inferno artist, Lola Visual Effects)
  Loeng Wong-Savun (Inferno artist, Lola Visual Effects)
  Laura Sevilla (Inferno/Flame compositor, Hydraulx)
  Sam Edwards (Inferno/Flame compositor, Hydraulx)
  Greg Souers (Inferno/Flame compositor, Hydraulx)
  Loeng-Wong Savun (Inferno/Flame compositor, Hydraulx)
  Scott Balkcom (Inferno/Flame compositor, Hydraulx)
  Chris Payne (Inferno/Flame compositor, Hydraulx)
  Jarrod Avalos (Cam tracker, Hydraulx)
  Andrew Collins (Cam tracker, Hydraulx)
  Marcus Erbar (Cam tracker, Hydraulx)
  Dan Kruse (Cam tracker, Hydraulx)
  Patrick Flannery (Visual eff stills photog, Hydraulx)
  Cyntia Navarro (Digital prod mgr, Ollin Studio)
  Karen Huang (Prod coord, Lola Visual Effects)
  Donna Sousa (Prod coord, Lola Visual Effects)
  Michael Richond (I/O support, Hydraulx)
  Outback Post, LLC. (Digital opt by)
  Rock Paper Scissors (Digital opt by)
  Scarlet Letters (Titles)
Dance: Michelle Johnston (Choreog)
  Stella Choe (Asst to choreog)
Make Up: Greg Cannom (Spec makeup created and applied by)
  Brian Sipe (Makeup eff supv)
  Chris Gallaher (Spec eff makeup artist)
  Mark Nieman (Spec eff makeup artist)
  Alexei O'Brien (Spec eff makeup artist)
  Art Pimental (Spec eff makeup artist)
  Will Huff (Spec eff makeup artist)
  Martin Astles (Makeup eff sculptor)
  Miles Teves (Makeup eff sculptor)
  Aaron Globerman (Silicon tech)
  Brian Meck (Silicon tech)
  Mark Jacszyn (Makeup eff dept prod supv)
  Harvey Lowry (Supv of operations)
  Zachary Fox (Makeup eff asst coord)
  Christopher Lozano (Makeup eff imaging)
  Liah Saldana (Makeup eff imaging)
  Todd Tucker (Makeup eff shop supv)
  Shane Weaver (Makeup eff prod asst)
  Jean Black (Makeup dept head)
  Elaine Offers (Ms. Blanchett's makeup artist)
  Fionagh Cush (Key makeup)
  Allison Gordin (Makeup artist, New Orleans)
  Paige Reeves (Makeup artist, New Orleans)
  Carla Brenholtz (Makeup artist, New Orleans)
  Stacey Herbert (Makeup artist, New Orleans)
  Colleen Callaghan (Hair dept head)
  Susan Kalinowski (Key hairstylist)
  John Jack Curtin (Key hairstylist, New Orleans)
  Beatrice De Alba (Hairstylist)
  Donita Sather (Hairstylist, New Orleans)
  Yolanda Mercadel (Hairstylist, New Orleans)
  Donna Spahn-Jones (Hairstylist, New Orleans)
  Theresa A. Fleming (Hairstylist, New Orleans)
Production Misc: Laray Mayfield (Casting)
  Alyssa Rand (Casting asst)
  Jennifer Alessi (Los Angeles background casting)
  Kristan Berona (Los Angeles background casting)
  Robin Batherson (Background casting, New Orleans)
  Andrea Kenyon (Background casting, Montreal)
  Alison Love (Background casting asst, New Orleans)
  Jason P. Landry (Background casting asst, New Orleans)
  Diane Benz-Langsford (Background casting asst, New Orleans)
  Daniel M. Stillman (Unit prod mgr)
  Manon Bougie (Prod mgr, Montreal)
  Marc A. Hammer (Prod supv)
  Max Daly (Res)
  Joanna Callas (Res)
  Sharron Reynolds-Enriquez (Scr supv)
  Timothy F. Monich (Dialect coach)
  William Doyle (Supv loc mgr)
  David Ross McCarty (Loc mgr, New Orleans)
  Michèle St.-Arnaud (Loc mgr, Montreal)
  Frederick G. Schroeder (Asst loc mgr)
  Brad Bell (Asst loc mgr)
  Jessica Seifert McCarty (Asst loc mgr, New Orleans)
  John A. Mmahat Jr. (Asst loc mgr, New Orleans)
  Matthew McLellan (Asst loc mgr, New Orleans)
  Lisa M Daliet (Asst to the loc dept, New Orleans)
  Charles Brown (Asst to the loc dept, New Orleans)
  Mickey Lambert (Asst to the loc dept, New Orleans)
  Michael A. Dittmar (Asst to the loc dept, New Orleans)
  Andrea McKee (Asst to Mr. Fincher)
  Mary Radford (Asst to Mr. Marshall)
  Elyse Klaits (Asst to Ms. Kennedy)
  Candice Ingram Taylor (Asst to Ms. Chaffin)
  Nazia Khan (Asst to Mr. Pitt)
  Jemma Kearney (Asst to Ms. Blanchett)
  Scott Cler (Prod coord)
  Mika Saito (Prod coord-Los Angeles)
  Jason Zorigian (Asst prod coord)
  Paula Stier (Asst prod coord)
  Joe Wolcott (Post prod consultant)
  Stephen Howard (Post prod coord)
  Kyle McGatlin (Prod secy)
  Justin Groetsch (Prod secy, New Orleans)
  Jim Davidson (Prod controller)
  Gene Strange (Prod accountant)
  Jamie Daddio (1st asst accountant)
  Sean Carville (2d asst acountant)
  Joe Beckwith (2d asst accountant)
  Denise Mora (2d asst accountant)
  Richard S. Wilson (2d asst accountant)
  James D'Damery Jr. (2d asst accountant)
  Brett Smith (2d asst accountant, New Orleans)
  Tara Linn (Accountant asst, New Orleans)
  Johnnie Jenkins (Const accountant)
  Jerry Carville (Const accountant)
  Irina Naydichev (Payroll accountant)
  Pam Devignes (Payroll accountant)
  Tommy Tancharoen (Transportation coord)
  Maxwell R. Johnson II (Transportation capt)
  Tom Whelpley (Transportation capt)
  Junior Kelly (Transportation capt, New Orleans)
  Tim Woods (Picture car coord)
  Audrey A. Conrad (Transportation dispatcher)
  Judith Brown (Studio teacher)
  Matthew H. O'Connor (Marine coord)
  J. Wilfrid White (Asst marine coord)
  Daniel F. Malone (Asst marine coord)
  Troy Waters (Asst marine coord)
  Randall A. Krimm (Water safety)
  Birds and Animals Unlimited (Animals provided by)
  Lorraine Putnam (Animal wrangler)
  For Stars (Catering)
  Meti Kusari (Craft service)
  Michael Lyons (Craft service)
  Cathy LaFrance (Craft service, New Orleans)
  Ashley Nolan (Nolan home liaison, New Orleans)
  Davis Rogan (Piano coach, New Orleans)
  Frank Duffy (Medical coord, New Orleans)
  Joey Giovingo (Medic, New Orleans)
  Sid Deleon IV (Medic, New Orleans)
  Alan Silvers (Business development prod)
  Susan Nickerson (Stock footage res)
  Pix System, LLC. (Collaboration powered by)
  David Bojarski (Prod asst)
  Casey Potter (Prod asst)
  Nathan A. Aronson (Prod asst)
  Jeff Overfield (Prod asst)
  Nathan Parker (Prod asst)
  Cali Pomés (Prod asst)
  Hirotatsu Taniguchi (Prod asst)
  Derrick Bentley Wells (Prod asst)
  Beau LeGrand (Prod asst, New Orleans)
  Naomi Bombardi-Wilson (Prod asst, New Orleans)
  Casey Moore (Prod asst, New Orleans)
  Charles Brown (Prod asst, New Orleans)
  Sara L. Holman (Prod asst, New Orleans)
Stand In: Mickey Giacomazzi (Stunt coord)
Color Personnel: Motion Picture Imaging (Digital Intermediate provided by)
  Jan Yarbrough (Sr DI Colorist)
  Daphne Dentz (Sr DI prod)
  George Aluzzi (Col management)
  Adam Ohl (DI project mgr)
  Katy Largay (Colorist asst)
  Lowry Digital (Image processing by)
  R. Patrick Cooper (Lead image processing specialist)
  Amy Bailey (Image processing prod)
MPAA Rating: PG-13
Country: United States
Language: English

Music: “When the Saints Go Marching In,” by James M. Black, performed by Doc Paulin’s Marching Band, courtesy of Smithsonian Folkways Records; “We Shall Walk Through the Streets of the City,” traditional, performed by Doc Paulin’s Marching Band, courtesy of Smithsonian Folkways Records; “Dixie,” traditional, performed by Mickey Finn & Big Tiny Little, courtesy of GNP Crescendo; “Didn’t He Ramble,” by Milton Joseph Batiste, performed by Olympia Brass Band, courtesy of Mardi Gras Records; “Country Club,” “Elite Syncopations” and “The Chrysanthemum,” written & performed by Scott Joplin, courtesy of Shout! Factory, by special arrangement with Natural Energy Lab; “There’ll Come A Time (Wait and See),” written by Joe Manone & Miff Mole, performed by Frank Trumbauer and His Orchestra featuring Bix Beiderbecke, courtesy of Columbia Records by arrangement with SONY BMG Entertainment; “Ostrich Walk,” by Edwin Edward, James La Rocca, H. N. Ragas, Anthony Sbarbaro & Larry Shields, performed by Frank Trumbauer and His Orchestra featuring Bix Beiderbecke, courtesy of Columbia Records by arrangement with SONY BMG Music Entertainment; “Polonaise in A Flat Major, Op. 53,” by Frédéric Chopin; “Big Butter and Egg Man,” by Louis Armstrong & Percy Venable, performed by Sidney Bechet Trio, courtesy of Disques Vogue SA, Paris and SONY BMG Music Entertainment (France) SA. By arrangement with SONY BMG Music Entertainment; “Bethena (A Concert Waltz)” by Scott Joplin; “Wah Dee Dah,” by Irving Mills, J. Russel Robinson & Ned Washington, performed by Cab Calloway, courtesy of JSP Records; “Basin Street Blues,” by Spencer Williams, performed by Preservation Hall Jazz Band, courtesy of Preservation Hall Recordings by arrangement with North Star Media; “Milenberg Joys,” by Paul Mares, Walter Melrose, Ferdinand Morton & Leon Rappolo, performed by Preservation Hall Jazz Band, courtesy of Preservation Hall Recordings by arrangement with North Star Media; “That’s a Plenty,” by Ray Gilbert & Lew Pollack, performed by Preservation Hall Jazz Band, Preservation Hall Recordings by arrangement with North Star Media; “Old Spinning Wheel,” by Billy Hill, performed by Preservation Hall Jazz Band, courtesy of Preservation Hall Recordings by arrangement with North Star Media; “So Long Blues,” traditional, performed by Preservation Hall Jazz Band, courtesy of Preservation Hall Recordings by arrangement with North Star Media; “Weary Blues,” by Arthur Matthews, performed by Preservation Hall Jazz Band, courtesy of Preservation Hall Recordings by arrangement with North Star Media; “Bill Bailey (Won’t You Please Come Home),” traditional, arranged by DeDe Pierce, performed by Preservation Hall Jazz Band, courtesy of Preservation Hall Recordings by arrangement with North Star Media; “Tin Roof Blues,” by Georges Brunies, Paul Joseph Mares, Walter Melrose, Ben Pollack, Leon Rappolo & Melville Stitzel, performed by Cliff Jackson, courtesy of DA MUSIC GmbH & Co KG, Germany; “Ain’t Misbehavin’,” by Harry Brooks, Andy Razaf, & Thomas “Fats” Waller, performed by Cliff Jackson, courtesy of DA MUSIC GmbH & Co KG, Germany; “Moment Musical for Piano in F Minor,” by Franz Schubert, courtesy of The San Juan Music Group & Cleopatra Records; “Arabeske for Piano in C Major, Op. 18,” by Robert Schumann, courtesy of The San Juan Music Group & Cleopatra Records; “Out of Nowhere,” by Johnny Green and Edward Heyman, performed by Sidney Bechet, courtesy of EPM; “Dear Old Southland,” by Henry Creamer & Turner Layton, performed by Louis Armstrong, courtesy of Columbia Records by arrangement with SONY BMG Entertainment; “Daphne,” by Jean Reinhardt, performed by Django Reinhardt, courtesy of DRG Records Incorporated Special Markets; “Carousel Ballet,” by Richard Rodgers & Oscar Hammerstein II; “I’ll Fly Away,” by Albert E. Brumley; “Skokiaan,” by Augus Msarurgua, performed by Perez Prado & His Orchestra, courtesy of The RCA Records Label by arrangement with SONY BMG Music Entertainment; “Chasse into Chaine” (theme from “Don Sebastian” by Gaetano Donizetti), arranged & performed by Steven V. Mitchell, courtesy of Mignon Furman and Danceables Productions; “Impact Report,” by Ivor Slaney, courtesy of 5 Alarm Music; “Wish Someone Would Care,” written & performed by Irma Thomas, courtesy of Mardi Grad Records.
Songs: “Salve D’Amor Recinto Eletto (Dich, Teure Halle),” by Richard Wagner, performed by Orchestra Del Teatro San Carlo, Karl Bohm conducting, courtesy of Fono Enterprise s.r.l. and Opera d/Oro Records/Allegro Corporation, additional vocal by Paula Gray; “Pepsi Jingle,” written by Austen Croom Johnson & Alan Bradley Kent, courtesy of Pepsi-Cola Advertising and Marketing, Inc.; “Just As I Am,” music by William B. Bradbury, lyrics by Charlotte Elliott; “Amazing Grace,” music traditional, lyrics by John Newton; “Dich, Teure Halle,” written by Richard Wagner, performed by Kristen Flagstad, courtesy of Simax Classics/Grappa Musikkforlag; “Wah Dee Dah,” written by Irving Mills, J. Russel Robinson & Ned Washington, performed by Cab Calloway, courtesy of JSP Records; “That’s How Rhythm Was Born,” written by Nat Burton, J. C. Jackson & George Whiting, performed by The Boswell Sisters, courtesy of Columbia Records by arrangement with SONY BMG Music Entertainment; “Chanson Sur Staline,” written by Matvey Blanter and Alexej Surkov, performed by Choeur de la Cathedrale de la Rue Daru, Paris XVII, courtesy of EPM; “If I Could Be with You (One Hour Tonight),” written by Henry Creamer & James Johnson, performed by Louis Armstrong and His Sebastian New Cotton Club Orchestra, courtesy of Columbia Records by arrangement with SONY BMG Music Entertainment; “My Prayer,” written by Georges Boulanger & James Kennedy, performed by The Platters, courtesy of The Island Def Jam Music Group under license from Universal Music Enterprises; “Manana (Is Soon Enough for Me)” written by Dave M. Barbour & Peggy Lee, performed by Peggy Lee, courtesy of Capitol Records, under license from EMI Film & Television Music; “Twist and Shout,” written by Phil Medley & Bert Russell, performed by The Beatles, courtesy of Apple Corps Limited; “I Love You,” written by Lee Bernstein, performed by Barney, courtesy of Lyons Partnership, L.P.
Composer: Spencer Williams
  Thomas "Fats" Waller
  Louis Armstrong
  Dave M. Barbour
  Milton Joseph Batiste
  Lee Bernstein
  Matvey Blanter
  Georges Boulanger
  Harry Brooks
  Albert E. Brumley
  Georges Brunies
  Nat Burton
  Frédéric Chopin
  Henry Creamer
  Gaetano Danizetti
  Edwin Edwards
  Johnny Green
  Edward Heyman
  Billy Hill
  Austen Croom Johnson
  J. C. Johnson
  James Johnson
  Scott Joplin
  James Kennedy
  Alan Bradley Kent
  James La Rocca
  Turner Layton
  Joe Manone
  Paul Mares
  Arthur Matthews
  Phil Medley
  Walter Melrose
  Irving Mills
  Miff Mole
  Ferdinand Morton
  August Msarurgwa
  Ben Pollack
  H. N. Ragas
  Leon Rappolo
  Andy Razaf
  Jean Reinhardt
  J. Russel Robinson
  Richard Rodgers
  Bert Russell
  Anthony Sbarbaro
  Franz Schubert
  Robert Schumann
  Ivor Slaney
  Melville Stitzel
  Alexej Surkov
  Irma Thomas
  Percy Venable
  Richard Wagner
  Ned Washington
  George Whiting
Source Text: Based on the short story "The Curious Case of Benjamin Button," by F. Scott Fitzgerald in Collier's (27 May 1922).
Authors: F. Scott Fitzgerald

Copyright Claimant Copyright Date Copyright Number
Paramount Pictures Corporation 29/12/2008 dd/mm/yyyy PA1613867
Warner Bros. Entertainment Inc. 29/12/2008 dd/mm/yyyy PA1613867

PCA NO: 44743
Physical Properties: Sd: Dolby Digital; dts Digital Sound; SDDS Synamic Digital Sound in selected theatres
  Lenses/Prints: Technicolor; deluxe

 
Genre: Fantasy
  Drama
 
Subjects (Major): Aging
  Death and dying
  Diaries
  Foundlings
  New Orleans (LA)
  Romance
 
Subjects (Minor): African Americans
  Automobile accidents
  Ballet
  Birds
  Boats
  Brothels
  Clocks
  Dancers
  Drunkenness
  English Channel
  Fathers and sons
  Grandmothers
  Hospitals
  Hotels
  Hurricanes
  Infants
  Infidelity
  Lightning
  Mothers and daughters
  Mothers and sons
  Motorcycles
  Nurses
  Paris (France)
  Postcards
  Preachers
  Retirement homes
  Russia
  Sex
  Storms
  Submarine boats
  Train stations
  Voyages and travel
  World War I
  World War II

Note: In the only opening credits, the Paramount Pictures and Warner Bros. studio logos are formed by a shower of buttons. All other credits appear at the end of the film. After the film's conclusion, major credits, including those of Brad Pitt and Cate Blanchett, appear before the title, followed by the full credits, which include a cast list in order of appearance. The closing credits included an acknowledgment to Sony Pictures Television for the clip for America 2Night . A written acknowledgment in the closing credits thanks the people of New Orleans, the people of Louisiana and Québec Production Services. Many of the musicians and composers of songs heard in the film were associated with the New Orleans jazz and blues music scene. Some of the songs credited onscreen as “traditional” have confirmed composers, whose names have been added to the music and song credits listed above.
       Voice-over narration is heard intermittently throughout the film, by Blanchett as “Daisy Fuller” and Pitt as “Benjamin Button.” When Daisy relates the story of “Mr. Gateau” (Elias Koteas) to “Caroline (Julia Ormond),” the film suggests the look of an old newsreel, with a number of scratches, frame jumps and occasional blurring. The depictions of “Mr. Daws (Ted Manson)” being struck by lightening appear in over-exposed, sepia tone in sped-up motion and also give the impression of aged film stock. After Daisy’s death, Benjamin’s voice is heard over the images of various characters, acknowledging the influence each had on his life. The final image of the picture is that of Mr. Gateau’s large clock, still running backwards, relegated to a storage room in the train station, as flood water from hurricane Katrina reaches it.
       The film differs in several ways from the F. Scott Fitzgerald short story on which it was based. The story is set in ante-bellum Baltimore where the Buttons are a socially prominent couple. Unlike the film, in which Thomas Button owns a button factory, in the story, Benjamin’s father is named Roger Button and is president of a wholesale hardware store. A major difference between story and film is in the progression of Benjamin’s “condition.” In Fitzgerald’s story, Benjamin is born as a fully developed, adult-sized old man capable of speech and reasoning, who experiences life, physically, emotionally and intellectually in reverse order. In the film, although Benjamin’s infant-sized body begins life with the characteristics of old age, he experiences life in the normal fashion, from infancy to maturity and eventually senility while his body grows younger. In the story, although Roger Button is aggravated by his son’s situation, he does not abandon him, as does Thomas Button in the film, an action that shapes Benjamin’s entire life. Unlike the film’s fantasy element of Mr. Gateau's backwards running timepiece, the story makes no effort to explain Benjamin's condition.
       While the film links Benjamin and Daisy from childhood and gradually leads to their romance in middle-age, with Fitzgerald’s story, the relationship and ultimate marriage of Benjamin to “Hildegarde Moncrief” is only fleetingly romantic and dissolves because of Benjamin’s dismay over his wife's natural aging as well as her frustration over his having no control over his reverse aging. Unlike the film, in which Benjamin and Daisy's daughter has a major role yet never knows Benjamin, in the story Benjamin and Hildegarde's son, Roscoe, is exasperated by his father’s condition, especially when it forces him to care for his father when Benjamin becomes a teenager, then a young child.
       Interest in adapting the Fitzgerald short story for the screen began in the 1980s. Various news items from 1989 through 2000 reveal the following information about early attempts to produce the film: In 1985, Columbia Pictures began development of a “Benjamin Button” project, hiring Robin Swicord to adapt the Fitzgerald story. By 1989 the project had migrated to Universal Studios, where producer Ray Stark held the story rights. At that time, Tom Pope was to adapt and Frank Oz direct the film, which, according to a 26 Feb 1989 LAT “Cinefile” item, was to star comedian Martin Short. By Feb 1996, after several failed attempts to get the production off the ground, the husband-and-wife producing team of Frank Marshall and Kathleen Kennedy, who produced the 2008 final released film, joined Stark. At that time, Agnieszka Holland was attached as director and Daniel Day-Lewis was offered the starring role. In Feb 1999, the project had developed into a co-production between Paramount and Universal, with Phil Alden Robinson in negotiations to direct. A 3 Jul 1999 HR “Rambling Reporter” item stated that Steven Spielberg was attached to the project and hoped to cast Tom Cruise in the lead. No other sources mention Spielberg’s interest in the production, but the director has been a frequent associate of Kennedy and Marshall since the 1980s.
       By Feb 2000, Spike Jonze was in discussions to direct The Curious Case of Benajmin Button , and Charlie Kaufman was listed as developing the Swicord draft. Director Ron Howard was also mentioned as having considered taking on the film. In Jun 2003, Gary Ross reportedly was to direct and was working with Eric Roth, who is credited onscreen for the film’s screenplay, on rewriting Swicord’s draft. [Swicord shares a “screen story by” credit with Roth on the released film.] Army Archerd’s Var column on 12 Aug 2004, recorded that David Pinter would direct Roth’s script. A Jul 2005 DV article mentions Jim Taylor as a writing contributor to the Roth-Swicord script. Other contemporary sources add Todd Graff as a contributing writer.
       A 5 Jul 2005 DV article disclosed a two-picture deal between Paramount and director David Fincher, one film of which was to be The Curious Case of Benjamin Button . Fincher, who had worked with Pitt on two prior films, Se7en (1995) and Fight Club (1999), was instrumental in signing the actor for the part. Production charts from 6 Feb 2007, as well as various other contemporary sources, add R&B singer Eric West to the cast, but he does not appear in the released film.
       According to a 2008 book on the making of The Curious Case of Benjamin Button , Fincher noted that Pitt would only accept the role if he could appear as Benjamin throughout the entire film, not just at a particular age. In the completed film, this was achieved by visual effects that allowed the image of Pitt's head to be merged digitally with the bodies of other actors. Pitt thus was able to appear as Benjamin from his early years, with the infirm body of a child-sized, old man, then age backwards to a fully grown man, and finally a young person with the maturity and life-experience of an aged man. The book also noted that the production of The Curious Case of Benjamin Button was one of the first business enterprises to utilize New Orleans as a shooting location after the devastation of the 2005 hurricane Katrina, which frames the story and is part of the plot in the Caroline and Daisy sequences of the film.
       According to a 15 Nov 2008 EW article, the film’s budget was $150,000,000. Various sources list its North American box office gross in excess of $127,000,000. Reviews generally were positive with Todd McCarthy of Var calling the film “A richly satisfying serving of deep-dish Hollywood storytelling… (made) in an impeccable classical manner.” The HR review described it as a film of “urgent drama and romantic fatalism…strikingly brought to the screen…superbly made and winningly acted.”
       The Curious Case of Benjamin Button , which was selected by AFI as one of the ten Movies of the Year for 2008, won Academy Awards for Art Direction, Makeup and Visual Effects. It also received the following Academy Award nominations: Performance by an Actor in a Leading Role (Pitt), Performance by an actress in a supporting role (Taraji P. Henson as "Queenie"), Cinematography, Costume Design, Film Editing, Original Score, Sound Mixing, Adapted screenplay, Director and Best Picture. The film also received Golden Globe nominations for Best Director, Best Picture--Drama, Best Original Score and Best Screenplay for Roth and Swicord. Other accolades include the following: Fincher was nominated by the DGA for Outstanding Directorial Achievement in Feature Film for 2008; ASC nominated Claudio Miranda for Outstanding Achievement in Cinematography in Theatrical Releases; PGA nominated Kathleen Kennedy, Frank Marshall and Ceán Chaffin for the Motion Picture Producer of the Year Award. The SGA nominated Pitt for Outstanding Performance by a Male Actor in a Leading Role, Henson for Outstanding Performance by a Female Actor in a Supporting Role and the main members of the cast for Outstanding Performance by a Cast in a Motion Picture. The WGA nominated Roth and Swicord for Best Adapted Screenplay. 

Bibliographic Sources:   Date   Page
Daily Variety   22 Feb 1996.   
Daily Variety   27 Feb 1996.   
Daily Variety   12 Aug 2004.   
Daily Variety   5 Jul 2005   p. 1, 11.
Entertainment Weekly   15 Nov 2008.   
Hollywood Reporter   16 Feb 1999.   
Hollywood Reporter   3 Jul 1999.   
Hollywood Reporter   1 Feb 2000.   
Hollywood Reporter   3 Jun 2003   p. 3, 77.
Hollywood Reporter   6 Feb 2007.   
Hollywood Reporter   24 Nov 2008.   
Los Angeles Times   26 Feb 1989.   
Variety   12 Aug 2004.   
Variety   23 Nov 2008.   

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.
 
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