AFI Catalog of Feature Films
Movie Detail
Name Occurs Before Title Offscreen Credit Print Viewed By AFI
Director: Henry Selick (Dir)
Release Date:   6 Feb 2009
Premiere Information:   Portland International Film Festival screening: 5 Feb 2009
Production Date:   1 Jun 2006--Nov 2007 in Portland, OR
Duration (in mins):   100 or 105
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Cast:   Dakota Fanning (Coraline Jones)  
    Teri Hatcher (Mel Jones/Other Mother)  
    Jennifer Saunders (Miss Spink)  
    Dawn French (Miss Forcible)  
    Keith David (Cat)  
    John Hodgman ([Charlie Jones] Father/Other Father)  
    Robert Bailey Jr. ([Wyborn] Wybie Lovat)  
  And Ian McShane (Mr. Bobinsky)  
  Additional voices Aankha Neal (Sweet ghost girl [Sister of Wybie's grandmother])  
    George Selick (Ghost boy)  
    Hannah Kaiser (Tall ghost girl)  
    Harry Selick (Photo friend)  
    Marina Budovsky (Photo friend)  
    Emerson Hatcher (Magic dragonfly)  
    Jerome Ranft (Mover)  
    Christopher Murrie (Toy)  
    Jeremy Ryder (Toy)  
    Carolyn Crawford ` (Wybie's grandmother)  
    Yona Prost (Shakespeare rascal)  

Summary: Feisty, eleven-year-old Coraline Jones and her parents, Mel and Charlie, move from Michigan to the Pink Palace Apartments, a subdivided, Victorian house surrounded by a large garden in a mountainous area of Oregon. Coraline’s parents are professional writers working under a tight deadline to produce a catalog for a seed company. Too busy to unpack or make the new home comfortable, they have no time for Coraline’s demands for attention and urge her to explore the area. Clad in a yellow raincoat, Coraline romps in the property’s wintery, brick-lined garden and, in the hills above the house, tries to dowse for a well that is on the property. Alone, Coraline is startled, first, by the noise made by a feral cat that follows her, then by a boy her age, Wyborn “Wybie” Lovat, who rides up on a loud motorbike wearing a strange helmet. Untroubled by Coraline’s disdainful manner toward him, Wybie, whose grandmother owns the Pink Palace but lives elsewhere, shows her the location of the deep well. Later, at home, Coraline tells her mother that she almost fell into the well, but both parents, who are typing furiously at their respective computers in different rooms, send her away. Soon after, Coraline receives a package from Wybie containing an old doll he found in a trunk, which, in features and clothing, bears a striking resemblance to her. Carrying the doll she calls “Mini Me,” Coraline explores the house and, in the living room, unpacks her mother’s snowglobes, which she displays on the mantel. Along the base of a wall, she discovers a small door covered by wallpaper that, when opened, is revealed to be bricked up. That evening, after a utilitarian supper thrown together by her father, Coraline goes to bed in her still plainly furnished room. During the night she is awakened by mice that scurry to the little door, which now opens into a tunnel. Coraline crawls through the tunnel, only to find herself back in the living room. However, mouth-watering smells entice her into the kitchen, where she finds her someone who looks exactly like her mother, except that she is stylishly attired and has buttons for eyes. The woman explains that she is Coraline’s Other Mother, and she is uncharacteristically preparing a home-cooked dinner. Coraline enjoys the delicious, multi-course meal in this seemingly perfect place with Other Mother and a charming, button-eyed Other Father, who lavishes special attention toward her. Although the “Other” parents offer to play games, Coraline says she must return to her real home. Reluctant to see her leave, they show her a bedroom similar to her own, but more colorful and interesting. The next morning, Coraline awakens in her real room, almost as if nothing unusual had happened, and finds that the small doorway is again bricked up. When Coraline chatters about her experience over breakfast, the distracted Mel presumes it was a dream, and suggests that Coraline visit the neighbors to fill up her time. Outside, Coraline finds several foul-smelling parcels of mail addressed to Mr. Bobinsky, a paunchy, older Russian who lives in the attic of the house and who performs acrobatics on the roof and porch railings. He explains that the packages contain cheese for his “flying” mice that are being trained as a circus troupe, and adds that they are warning Coraline not to return through the little door. Coraline then visits her downstairs neighbors, Miss Spink and Miss Forcible, aging British theatrical performers who share their apartment with several Scottish terriers. After serving tea, Miss Forcible reads Coraline’s tea leaves and, seeing what looks like a clawed hand, warns that she is in terrible danger, despite Miss Spink’s argument that the leaves are in the shape of a giraffe. Later, outside in the fog is Wybie, who tells Coraline that his grandmother considers the house “dangerous” and somehow blames it for the disappearance of her twin sister when they were children. That night, finding the tunnel open again, Coraline re-visits the other world. Other Mother sends her to the garden where Other Father is working. There, Coraline is dazzled by the brilliantly colored flowers lighting up the night and is taken on a ride up into the sky by Other Father, who flies on a large preying mantis that also serves as a tractor. During their meal, Other Wybie, who is mute and has button eyes, arrives and afterward accompanies her upstairs to an elaborate circus performance by Bobinsky’s mice. The next morning, Coraline awakens again in her real house and goes into town with her parents. While Charlie presents the completed catalog to the garden company that hired them, Mel and Coraline go shopping. Mel promises the skeptical Coraline that things will be different once the catalog has been accepted. When Mel leaves her at the house whilie she buys groceries, Coraline finds that, despite the daytime hour, the tunnel is open in the little door and enters it, as the cat observes her from a window. In the “other” house, Caroline finds a note from Other Mother, informing her of an invitation from the actresses. As Coraline proceeds to their apartment, the cat, who can talk in the “other” world, warns her that the place is not as good as it seems. When Coraline notices that, unlike the other inhabitants of this world, the cat has normal eyes, he explains that he is not an Other Cat, but a frequent traveler between the two worlds. Inside the actresses’ apartment is a huge theatre, in which Scottish terriers serve as ushers, audience members and stage crew. Seated next to Other Wybie, Coraline watches the actresses, who perform, scantily clad, in an elaborately staged musical performance. After performing on the stage, they unzip and remove their aging bodies, revealing slim, young performers who quote Shakespeare as they swing on trapezes above the audience. When they reach for Coraline, she flies through the air with them and ends up on the stage for the finale. Afterward, Coraline’s Other Parents are waiting to ask if she would like to remain with them, but explain that to do so, she must replace her eyes with buttons. Horrified, Coraline refuses, but Other Mother is politely insistent. Coraline takes refuge in her room, where animated toys beckon to her to stay. She packs them away and forces herself to sleep, but later awakens in the same “other” room. She slips downstairs to Other Father’s study and is told by him that he must do Other Mother’s bidding. In an attempt to escape, Coraline goes outside, but the gardens soon give way to white emptiness. The cat joins her and explains that Other Mother only built what would impress Coraline. They continue walking away, but when end up back at the house, the cat explains that they have walked completely around the world. A circus mouse attempts to sound an alarm, but the cat kills it and it turns into a dead rat. Inside the house, Coraline tries to get to the tunnel, but the door is blocked. Other Mother is adamant that Coraline should remain with her. When Coraline refuses, Other Mother, angered, transforms into a gaunt, evil-looking woman and pushes her through a full length mirror into a dark closet room. Imprisoned there, Coraline discovers the souls of three dead children, who, with soft, plaintive voices, tell her that Other Mother spied on them through the doll’s eyes. Seeing their unhappiness, they tell Coraline, Other Mother lured them to her world with treats and treasures, then sewed buttons on their eyes and ate their lives. When Coraline insists that she will escape, the children ask her to find their eyes so that their souls will be freed. Other Wybie rescues Coraline and takes her to the tunnel, through which she is able to return to her real world. There, she locks the little door, but soon realizes that her parents have vanished. Wybie arrives, asking her to return the doll, which, he recently learned, belonged to his grandmother’s missing sister. Realizing the significance of the doll, Coraline explains that she has met the sister and explains how Other Mother used the doll to lure the girl to the other world. Wybie flees, having decided that Coraline is “crazy.” Coraline then visits the actresses. When she tells them about her missing parents, they give her a triangular stone with a hole in it that Miss Forcible creates out of candy, but they disagree about whether it is used for “lost” or for “bad” things. Coraline goes to bed, longing for her parents, but is awakened during the night by the cat. He leads her to the full-length mirror, through which she can see that her parents have been imprisoned by Other Mother. The cat then shows her that the doll has been transformed into a two-sided replica of both Mel and Charlie. Coraline burns the doll in the fireplace and determines that she will save her parents, as well as the souls of the ghost children. She packs garden pruners, the candy stone, and other items into a satchel and enters the tunnel. As she and the cat crawl through, the cat gains his voice and warns that she is walking into a trap. He tells her that Other Mother likes games and might respond to a challenge. In the other living room, Other Mother, who has retained her gaunt appearance, waits for her and, after Coraline enters, locks the little door and swallows the key. Coraline negotiates that if she can find her real parents and the eyes of the ghost children, everyone must be set free, and if she cannot find them, she will have buttons sewn on her eyes and stay forever. Other Mother agrees and provides one clue, that all are hidden in plain sight. Coraline begins searching the garden and becomes embattled with the now hostile plants, which try to drag her away, until she cuts them with her pruners. When hummingbirds, now transformed into hornets, attempt to steal her candy stone, Coraline realizes that by looking through the hole, she can see a light that indicates the location of ghost eyes. Apologetically, Other Father, who is now shaped like a pumpkin and, against his will, is under the control of Other Mother, attempts to stop her, but after some struggle, releases to her the gear shift knob on the tractor, which contains the eyes of one ghost child. As Other Father sinks into the earth, the garden turns grey and crumbles into nothingness. Coraline proceeds to the actresses’ apartment, where the women, transformed into a large piece of wrapped candy, clutch a ball containing the eyes of a second ghost. The dogs, transformed into bats, attack Coraline when she takes the ball with the eyes, but she moves aside quickly and they instead inadvertently attack the women. The whole apartment crumbles into greyness. The third ghost child’s eyes are in the possession of Bobinsky, whose body is filled with his mice, which have transformed into rats. A battle ensues between Coraline and the rats, and one rat escapes with the ball containing the third ghost's eyes. When she is knocked to the balcony, which falls to the ground, Coraline fears that she has been defeated, until the cat presents her with the dead rat and the ball containing the eyes. A huge button in the sky eclipses the moon and the area crumbles, prompting Coraline and the cat to run into the house. Inside, the wallpaper is peeling. Other Mother, now a skeletal spider-like creature, waits in the living room, claiming victory because Coraline has not found her parents. Although the cat alerts Caroline that her parents are imprisoned in the snowglobe on the mantel, she knows non one can leave this world unless the little door is unlocked. To trick Other Mother into opening it, Coraline claims her parents are hidden behind the door. As Other Mother turns to unlock it and prove her wrong, Coraline grabs the snowglobe and throws the cat at Other Mother. As they fight, the cat rips out Other Mother’s button eyes then escapes into the tunnel. The room crumbles and is revealed to be a huge spider web. As Other Mother blindly stumbles in pursuit of Coraline, the girl scrambles over the web toward the tunnel. Inside it, she pulls the door shut, but Other Mother pulls it back. Ghostly hands of the dead children reach forward to help Coraline secure it, but Other Mother’s metallic claw-hand breaks off as the door shuts and, like a spider, chases Coraline through the tunnel. When Coraline arrives in the living room of her own home, she locks the door, shutting out the hand, and puts the key on a string around her neck. She confirms that she has three balls containing the ghost children’s eyes, but the snowglobe is missing and, on the mantel, the original snowglobe is broken. Just then, Mel and Charlie walk in, pleased by their employer’s approval of their catalog but oblivious of the snow on their hair and clothes. That night, Coraline apologizes to the cat for throwing him at Other Mother. In Coraline’s dreams, the ghost children appear to her as angels. They warn her that danger remains, because the severed hand is seeking the key to the little door, because it will allow Other Mother access to the real world. Coraline and the cat proceed to the well, but before she can throw the key in, the clawed hand, which squeezed under the door and followed them, grabs Coraline by the string around her neck and pulls her toward the house. Unexpectedly, Wybie rides toward them on his motorbike and joins Coraline and the cat in the fight against the claw, which they eventually manage to break with a rock. Coraline then throws the key and the broken claw into the deep well. Afterward, Wybie apologizes for disbelieving her story and says he realized she was right when he found a photograph of his grandmother’s sister with the doll, which in those days resembled, not Caroline, but the sister. The next day, in celebration of the Joneses’ successful catalog, the Pink Palace residents have a party in the garden, where they plant tulips and beets, and Wybie introduces his grandmother. 

Production Company: Focus Features (NBC Universal)
  Laika, Inc.  
  Pandemonium LLC  
Distribution Company: Universal Pictures (NBC Universal)
Director: Henry Selick (Dir)
  Melissa St. Onge (1st asst dir)
  Daniel Pascall (2d asst dir)
  Matthew Fried (2d asst dir)
  Jocelyn Stott (3d asst dir)
  Jodi Rosenlof (3d asst dir)
  Ann Shimabukuro (Addl 3d asst dir)
Producer: Bill Mechanic (Prod)
  Claire Jennings (Prod)
  Henry Selick (Prod)
  Mary Sandell (Prod)
  Michael Zoumas (Exec prod)
  Harry Linden (Line prod)
Writer: Henry Selick (Wrt for the screen by)
Photography: Pete Kozachik (Dir of photog)
  John Ashlee Prat (Lighting cam)
  Paul Gentry (Lighting cam)
  Peter Sorg (Lighting cam)
  Chris Peterson (Lighting cam)
  Peter Williams (Lighting cam)
  Frank Passingham (Lighting cam)
  Mark Stewart (Lighting cam)
  Brian Fuller (Asst cam)
  Joshua Livingston (Asst cam)
  Adam Jones (Asst cam)
  Clay Connally (Asst cam)
  Michael Gerzevitz (Asst cam)
  Timothy Taylor (Asst cam)
  Ian Barrett (Asst cam)
  David Trappe (Asst cam)
  Dean Holmes (Asst cam)
  Christopher Covel (Swing asst cam)
  Bryan Garver (Supv gaffer)
  Christopher Steele (Gaffer)
  James Wilderhancock (Gaffer)
  Matthew Hazelrig (Gaffer)
  Nils Benson (Gaffer)
  Ted Jackson (Gaffer)
  Michael Gall (Gaffer)
  Daniel Ackerman (Gaffer)
  Gordon Gaude (Jr gaffer)
  Richard Malinowski (Practical lighting eng)
  Christian Andrews (Cam & motion control tech)
  John Higbie (Motion control tech)
  Christopher Weinberg (Gen motion control tech)
  Steve Switaj (Motion control tech/Op)
  Matthew DeLeu (Miniature lighting tech)
  Mark Musumeci (Elec consultant)
  Rita Romine-Black (Cam dept coord)
  Hamilton Barrett (Stage runner)
  Maile Coad (Stage runner)
  Ryan Hughes (Stage runner)
  Jake Carlson (PA to stage mgr)
  Chelsea Clark-James (Stage PA)
Art Direction: Bo Henry (Art dir)
  Tom Proost (Art dir)
  Phil Brotherton (Art dir)
  Matt Sanders (Art dir, Fantastic Garden)
  Henry Selick (Prod des)
  Morgan Hay (Asst art dir)
  Michael Breton (Illustrator)
  Jonathan Klassen (Illustrator)
  Chris Turnham (Illustrator)
  Christopher Appelhans (Illustrator)
  Katy Wu (Jr. illustrator)
  Andy Schuhler (Set illustrator/Addl char devt)
  Sarah Serata (Art dept coord)
  Jenny Mickelson (Art dept coord)
  Lauren Bair (Conceptual artist)
  Ami Goff (Art dep PA)
  Anne Adams (Art dept PA)
  Erin Van Dyke (Art dept intern)
  Robert J. Lang (Dragonfiles designed & created by)
  Steve Moore (Addl storyboard artist)
  John Strauch (Storyboard asst)
  Nicole Fitzhugh (Storyboard dept PA)
Film Editor: Christopher Murrie (Ed)
  Ronald Sanders (Ed)
  Cam Williams (Assoc ed)
  Anthony Pitone (1st asst ed)
  Margaret Andres (1st asst ed)
  Holly Klein (2d asst ed)
  Richard Shirk (2d asst ed)
  Sheila McIntosh (VFX ed)
  Jeannine Berger (Post prod supv)
  Skywalker Sound, A LucasFilm Ltd. Company, Marin County, CA (Post prod services)
Set Decoration: Jason Lajka (Set des)
  William Sturrock (Set des)
  Larry King (Const foreman)
  Drew Pinniger (Set const coord)
  Darcy Nelson (Set builder)
  Javid Howell (Set builder)
  Gary Logue (Set builder)
  John Logue (Set builder)
  Brian Smith (Set builder)
  John Rourke (Set builder)
  Christian Berry (Set builder)
  Lars C. Larsen (Set builder)
  Dan Sutherland (Set builder)
  Philip LaFond (Set builder)
  Jack Norton (Set builder)
  Timothy Tanner (Set builder)
  Dana Geraths (Set builder)
  Zero Black (Set builder)
  Anthony Travis (Scenic artist)
  Kathleen Chamberlin (Scenic artist)
  Loren Hillman (Scenic artist)
  Yvonne Kowsun (Scenic artist)
  Sarah Wells (Set dresser)
  Bridget Phelan (Set dresser)
  Robert Desue (Set dresser)
  Katy Clarke (Set dresser)
  Lorna Cashmore (Set dresser)
  Kieron Thomas (Set dresser)
  Don Lundell (Set dresser)
  Katy Moore-Kozachik (Asst set dresser/Paint & roto)
  Georgie Everard (Addl set dressing)
  Keith McQueen (Lead model builder)
  David Waddle (Model maker)
  Ben Adams (Model maker)
  Elecia Beebe (Model maker)
  Damon Smith (Model maker)
  Huy Vu (Model maker)
  Johanna Ellis (Model maker)
  Paul Mack (Model maker)
  Rebecca Stillman (Model maker)
  Tony Candelaria (Model maker)
  Emily Franz (Jr. model maker)
  Danielle Bedick (Jr. model maker)
  Joseph Kincher (Jr. model maker)
  Michael Murnane (Model makers visual development)
  Joseph Schmidt (Model makers visual development)
  Charles Daniels (Model makers visual development)
  Ben Vu (Model makers visual development)
  Courtney Booker (Model makers visual development)
  Mark Brokaw (Lead mold builder)
  Kingman Gallagher (Lead mold builder)
  Marc Ribaud (Mechanical props builder)
  Douglas Mitchell (Foam carver)
  Cody Bartol (Model shop coord)
  Linda Overbey (Lead painter)
  Aaron Jarrett (Set painter)
  Dwayne Erickson (Set painter)
  Alicia McDaid (Set painter)
  Jose Solis (Set painter)
  Angela DeCristofaro (Set painter)
  Matvey Rezanov (Set painter)
  Lauren Vogt (Draper painter)
  Christian Lloyd (Asst set painter)
  Robb Kramer (Set des/Lead sculptor)
  Paul Messina (Const buyer)
  Christopher Fortner (Const PA)
  Emily Peterson (Const PA)
Music: Bruno Coulais (Mus)
  Bruno Coulais (Orch by)
  Laurent Petitgirard (Orch cond by, Budapest)
  Bruno Letort (Mus prod, Budapest)
  Hungarian Symphony Orchestra Budapest (Score performed by)
  Choir of the Hungarian National Radio (Choir, Budapest)
  Studio of the Hungarian Radio "Digitalpro" (Studio, Budapest)
  Melos Konzerte Wien (Mus management for the prod in Budapest)
  Didier Lizé (Eng, Rec & mixed by, Budapest)
  Aymeric Letoquart (Pro Tools op, Paris & Budapest)
  Alain Joutard (Children's Choir cond, Nice)
  Mathilde Pellegrini (Soloist voice performed by, Nice)
  Camille Joutard (Children's chorus, Nice)
  Coraline Tassy (Children's chorus, Nice)
  Lucie Thevenet (Children's chorus, Nice)
  Marianne Di Benedetto (Children's chorus, Nice)
  Marie-Laura Colomba (Children's chorus, Nice)
  Maÿliss David (Children's chorus, Nice)
  Mélissa Zerbib (Children's chorus, Nice)
  Didier Lizé (Eng, rec & mixed by, Nice)
  Karine Lemaire (Asst eng, rec & mixed by, Nice)
  Solid Sound Studio Nice (Children's voices rec at)
  Bruno Coulais (Keyboards, featured musician, Paris)
  Christophe Grindel (Oboe, featured musician, Paris)
  Hélène Breschand (Harp, featured musician, Paris)
  Bernard Paganotti (Bass guitar, featured musician, Paris)
  Didier Lizé (Eng, rec & mixed by, Paris)
  Sébastien Gohier (Asst eng, Paris)
  Sébastien Crispino (Asst eng, Paris)
  Studios de la Seine, Paris (Musicians rec at)
Sound: Randy Thom (Sd des/Re-rec mixer)
  Tom Johnson (Re-rec mixer)
  Colette Dahanne (Addl re-rec mixer)
  Didier Lizé (Eng)
  Dann Thompson (Asst eng)
  Anne Coulais (Score prod coord)
  Aymeric Letoquart (Pro Tools op)
  Ron Eng (Supv sd ed/Des)
  David A. Cohen (Co-supv sd ed/Dial)
  Willard J. Overstreet (Supv foley ed)
  Steve Tushar (FX ed)
  Steve Boeddeker (FX ed)
  Dana LeBlanc Frankley (1st asst ed)
  Dan O'Connell (Foley artist)
  John T. Cucci (Foley mixer)
  Leff Lefferts (Asst sd des)
  Tony Sereno (Mix tech)
  John Countryman (Digital transfer)
  Marco Alicia (Digital transfer)
  Jonathan Greber (Digital transfer)
  Ron Roumas (Rec)
  Carlos Sotelango (Dial & ADR rec)
  Ed Dunkley (Video services)
  John "JT" Torrijos (Video services)
  James Austin (Eng services)
  Howie Hammermann (Eng services)
  David Hunter (Digital ed services)
  Ivan Fritz (Digital ed services)
  Mike Lane (Client services)
  Eva Porter (Client services)
  Jamison Empey (Post prod sd accountant)
  Digital One, Portland, OR (Addl dial rec provided by)
  Downstream, Portland, OR (Addl dial rec provided by)
  Skywalker Sound, A LucasFilm Ltd. Company, Marin County, CA (Score mixed at)
Special Effects: Brian Van't Hul (Spec eff supv)
  Georgina Hayns (Char fabrication supv)
  Martin Meunier (Facial anim des)
  Brian McLean (Facial structure supv)
  Merrick Cheney (Mechinations armature supv)
  Graham Annable (Storyboard artist)
  Vera Brosgol (Storyboard artist)
  Ean McNamara (Storyboard artist)
  Julian Narino (Storyboard artist)
  David Lawson (Anim rigging supv)
  Laura Schultz (VFX prod)
  John Ra Benson (CG supv)
  Martin Pelham (Digital systems supv)
  Kirk Scott (Stage mgr)
  Mitchell Romanauski (Model shop supv)
  Scott Tom (Char fabrication lead, Puppet fabrication)
  Shane Prigmore (Char des/2D facial anim, Puppet fabrication)
  Dan Krall (Char des, Puppet fabrication)
  Shannon Tindle (Char des, Puppet fabrication)
  Jill Ahlstrand (Char fabrication prod mgr, Puppet fabrication)
  Kent Melton (Sculptor, Puppet fabrication)
  Leo Rijn (Sculptor, Puppet fabrication)
  Damon Bard (Sculptor, Puppet fabrication)
  Tony Merrithew (Sculptor, Puppet fabrication)
  Scott Foster (Sculptor, Puppet fabrication)
  Deborah Cook (Lead cost des fabricator/Puppet fabrication)
  Margaret Meyer (Cost fabricator/Des, Puppet fabrication)
  Fiona Barty (Cost fabricator, Puppet fabrication)
  Marie Massa Allen (Cost fabricator, Puppet fabrication)
  Paloma Soledad (Cost fabricator, Puppet fabrication)
  Anne Charlotte MacDonald (Asst cost fabricator, Puppet fabrication)
  Heidi Sowa (Asst cost fabricator, Puppet fabrication)
  Shere Coleman (Cost consultant, Puppet fabrication)
  Michelle Scattergood (Cost consultant, Puppet fabrication)
  Robert Best (Fashion consultant, Puppet fabrication)
  Althea Crome (Knitwear creator, Puppet fabrication)
  Suzanne Moulton (Lead hair & fur fabricator, Puppet fabrication)
  Faon Lewis (Caster/Hair fabricator, Puppet fabrication)
  Jessica Lynn (Hair fabricator asst, Puppet fabrication)
  Stephen Bodin (Graphic des, Puppet fabrication)
  Thomas Burnett (Machinist for puppet fabrication, Puppet fabrication)
  Christopher Herman (Puppet dept buyer/purchaser, Puppet fabrication)
  Aaron Beam (Junior coord, Puppet fabrication)
  Jeanne McIvor (Lead armaturist, Puppet fabrication)
  Jeremy Spake (Armaturist, Puppet fabrication)
  David Candelaria (Armaturist, Puppet fabrication)
  Mark Gaiero (Armaturist, Puppet fabrication)
  Richard Pickersgill (Armaturist, Puppet fabrication)
  Colleen Flanigan (Asst armaturist, Puppet fabrication)
  Sid Tucker (Asst armaturist, Puppet fabrication)
  Anthony DeFilipps (Asst armaturist, Puppet fabrication)
  Heidi Armour (Asst armaturist, Puppet fabrication)
  Mechinations (Armatures provided by, Puppet fabrication)
  Kat Alioshin (Mechinations project mgr, Puppet fabrication)
  Eben Stromquist (Mechinations machinist, Puppet fabrication)
  Matthew Isakson (Lead mold maker, Puppet fabrication)
  Lance Woolen (Mold maker, Puppet fabrication)
  Rebecca Redhead (Mold maker, Puppet fabrication)
  Matthew McKenna (Mold maker, Puppet fabrication)
  Mattzilla Duron (Mold maker, Puppet fabrication)
  Mark Thompson (Silicone casters & seamer, Puppet fabrication)
  Megumi Ogo (Silicone casters & seamer, Puppet fabrication)
  Shea Bordo (Silicone casters & seamer, Puppet fabrication)
  Victoria Zalewski (Silicone casters & seamer, Puppet fabrication)
  Ralph Cordero (Lead hard caster, Puppet fabrication)
  Katie Mello (Addl support, Puppet fabrication)
  Sarah Neiman (Addl support, Puppet fabrication)
  Cynthia Star (Lead painter, Puppet fabrication)
  Amy Wulfing (Painter, Puppet fabrication)
  Angela Kiely (Painter, Puppet fabrication)
  Christopher Rabilwongse (Painter, Puppet fabrication)
  Jason Thibodeaux (Painter, Puppet fabrication)
  Johnny LeBlanc (Painter, Puppet fabrication)
  Joshua Storey (Painter, Puppet fabrication)
  Pei Yi Chou (Painter, Puppet fabrication)
  Samnang Yong (Painter, Puppet fabrication)
  Tory Bryant (Painter, Puppet fabrication)
  Dexter Caseres (Painter, Puppet fabrication)
  Chad Gennuso (Asst painter, Puppet fabrication)
  Cecilia Tonisson (Asst painter, Puppet fabrication)
  Marina Budovsky (Asst painter, Puppet fabrication)
  Justin Boly (Asst painter, Puppet fabrication)
  Jainee Dial (Puppet wrangler, Puppet fabrication)
  Matthew Shaw (Asst puppet wrangler, Puppet fabrication)
  Kathleen O'Brien (Puppet fabrication asst, Puppet fabrication)
  Phoebe Owens (Puppet fabrication asst, Puppet fabrication)
  Matthew Kin (Puppet fabrication runner, Puppet fabrication)
  Anna Troupe (Puppet fabrication runner, Puppet fabrication)
  Trevor Cable (Lead video eng, Digital systems)
  Jaqueline White (Data wrangler, Digital systems)
  James Wiklund (Data wrangler, Digital systems)
  Jason Potter (Data wrangler, Digital systems)
  Jeffrey Allen (Data wrangler, Digital systems)
  Nicholas Jauregui (Data wrangler, Digital systems)
  Andrew Silvernail (Stage tech, Digital systems)
  Jim Harris (Stage tech, Digital systems)
  Kenneth Lowe (Stage tech, Digital systems)
  David Schmitz (Software eng, Digital systems)
  Richard Pickler (Software eng, Digital systems)
  Brian Gardner (Stereographic consultant, Digital systems)
  Nicholas Ilyin (Stereographic consultant, Digital systems)
  Anthony Cox (Video eng, Digital systems)
  Richard Hamell (Systems support admin, Digital systems)
  David Gibbons (Systems support admin, Digital systems)
Production Misc: Ezra J. Sumner (Prod mgr)
  Yona Prost (Cont)
  Robert DeBradney (Addl scheduler)
  Theresa Braunstein (Prod coord)
  Kevin Smith (Prod asst)
  Shelley Midthun (Exec asst to Henry Selick)
  Caroline Hague (Exec asst to Claire Jennings)
  Lashá Winn (Exec asst to Mary Sandell)
  Trever Stewart (Exec asst to Mary Sandell)
  Jay Jaacks (Prod runner)
  Matthew Jumago (Prod runner)
  Samuel Wilson (Prod runner)
  Sean Byram (Prod runner)
  Linda Lamontagne (Addl casting by)
  Kalmenson & Kalmenson, Burbank, CA (Voice casting)
  Maggie Begley (Pub)
  Kate Evans (Sr facilities coord)
  Lila Hamilton (Facilities asst)
  Meredith Steele (Services coord)
  Toby Etheridge (Dir, admin services)
  Loly LeBlanc (Massage therapist)
  Jennifer DiMartino (Reception coord)
  Gregory Nichols (Reception coord)
  Amy Stone (Yoga instructor)
  Sarah Davidian (Yoga instructor)
  Courtney McElroy (Yoga instructor)
  Leeann Lewis (HR mgr)
  Amy Bailey (HR generalist)
  Tom Knott (Sr recruiter, HR)
  Patty Willert (Recruiter, HR)
  Brad Day (Dir, prod accounting)
  Joan Turgeon (Prod accountant)
  Elizabeth Starks (Asst prod accountant)
  Jason Bryant (Addl prod accountant)
  Brad Buchanan (Admin & finance, Bus affairs/Legal)
  Deborah Albright (Finance/Accounting)
  Erin Baldwin (Finance/Accounting)
  Yin-Yee "Grace" Chung (Finance/Accounting)
  Glen Gagnon (Finance/Accounting)
  Paula Garner (Finance/Accounting)
  Michaele Smith (Finance/Accounting)
  Donna Tarabella (Finance/Accounting)
  Madeline Wigen (Finance/Accounting)
  Cinnamon Williams (Finance/Accounting)
  Christopher Bradach (Admin/Ops)
  Patrick Bradach (Admin/Ops)
  Scarlet Chamberlin (Admin/Ops)
  Joseph Ferguson (Admin/Ops)
  Richard Guinan (Admin/Ops)
  Leif Jenssen (Admin/Ops)
  Brandon Lastomirsky (Admin/Ops)
  Rebecca Leiv (Admin/Ops)
  Rob Partenheimer (Admin/Ops)
  Kathy Radcliffe (Admin/Ops)
  Dinah Sattley (Admin/Ops)
  Jeff Stringer (Admin/Ops)
  Jennie Terranova (Admin/Ops)
  Weiden & Kennedy (Creative resources & marketing)
  Holly Petersen (Creative resources & marketing)
  Christopher Davis (Creative resources & marketing)
  Galvin Collins (Creative resources & marketing)
  Stacy Ivers (Creative resources & marketing)
  Mark Shapiro (Creative resources & marketing)
  Megan Matousek (Creative resources & marketing)
  Alise Munson (Creative resources & marketing)
  Arun Chidambaram (Human resources)
  Kristin Dagg (Human resources)
  Andrew Dennis (Human resources)
  John Frankenhauser (Human resources)
  Wendy Frankenhauser (Human resources)
  Athena Gray (Human resources)
  Betse Green (Human resources)
  Rick Haynes (Human resources)
  Shawna Lewis (Human resources)
  Kristen Lindquist (Human resources)
  Hope Love (Human resources)
  Shelly Mix (Human resources)
  Anita Peters (Human resources)
  Joshua Rasler (Human resources)
  Lori Svendgard (Human resources)
  Kayla Zielke (Human resources)
  Anthony Aiello (Res & development)
  Robert Blau (Res & development)
  Derek Cheung (Res & development)
  Jonathan Dobson (Res & development)
  Roger Edberg (Res & development)
  Timothy Hattenberger (Res & development)
  Micah Henrie (Res & development)
  Benjamin Hugeback (Res & development)
  Christopher Immroth (Res & development)
  David Loomis (Res & development)
  Andrew Lyons (Res & development)
  John Pierson (Res & development)
  David Peacock (Res & development)
  Ammon Riley (Res & development)
  Gregory Smith (Res & development)
  Nick Wolfe (Res & development)
  Dan Berman (Information tech)
  Benjamin Bleything (Information tech)
  Max Diener (Information tech)
  David Gipp (Information tech)
  Michael Granger (Information tech)
  Steven Hall (Information tech)
  Jeremiah Jordan (Information tech)
  John Julian (Information tech)
  Kristen Kingsbury (Information tech)
  Myra Lavenue (Information tech)
  Leeann McLennan (Information tech)
  Andrew Prince (Information tech)
  Bob Reid (Information tech)
  Jonathan Rozes (Information tech)
  David Rowe (Information tech)
  Franklin Scheu (Information tech)
  Mahlon Smith (Information tech)
  Jeff Vandehey (Information tech)
  Andrew Wyse (Information tech)
  Wayne Yee (Information tech)
  Scott Bigelow (Digital systems/Addl support)
  Christopher Chen (Digital systems/Addl support)
  Christopher Marklund (Digital systems/Addl support)
  Shafer Stockton (Digital systems/Addl support)
  Ryan Sayre (Digital systems/Addl support)
  Richard Campo (Tech project management)
  David Gipp (Tech project management)
  Gregory Kastigar (Tech project management)
  Kari St. Peters (Tech project management)
  Dawn Yamada (Tech project management)
  Payreel (Talent payroll services provided by)
  Entertainment Clearances Inc. (Rights & clearances by)
  Laura Sevier (Rights & clearances by)
  Cassandra Barbour (Rights & clearances by)
Animation: Anthony Scott (Supv anim)
  Travis Knight (Lead anim)
  Trey Thomas (Lead anim)
  Eric Leighton (Lead anim)
  Phil Dale (Lead anim)
  Brad Schiff (Anim)
  Malcolm Lamont (Anim)
  Antony Elworthy (Anim)
  Payton Curtis (Anim)
  Suzanne Twining (Anim)
  Jeff Riley (Anim)
  Chris Tootell (Anim)
  Bartek Prusiewicz (Anim)
  Jeff Mulcaster (Anim)
  Julianna Cox (Anim)
  Amy Adamy (Anim)
  Teresa Drilling (Anim)
  Ian Whitlock (Anim)
  Sarah de Gaudemar (Anim)
  Jan-Erik Maas (Anim)
  Justin Kohn (Anim)
  Misha Peesha Klein (Anim)
  Kim Blanchette (Anim)
  Philip Beglan (Anim)
  Richard C. Zimmerman (Anim)
  Chris Tichborne (Anim)
  Gabe Sprenger (Addl anim)
  Brian Demoskoff (Addl anim)
  Ken Lidster (Addl anim)
  Tom Gasek (Addl anim)
  Guionne Leroy (Addl anim)
  Kevin Glick (Asst anim)
  Peg Serena (Asst anim)
  Billy Cabey (Jr. asst anim)
  Dielle Yvonne Alexandre (2nd asst dir/anim)
  Rachel Larsen (Trainee anim)
  Tadahiro Uesugi (Concept artist)
  Chris Butler (Storyboard supv)
  Mike Cachuela (Co-storyboard supv)
  Richard Kent Burton (Stop motion eff anim)
  Kim Slate (Face anim specialist)
  Adam Fisher (Asst face anim specialist)
  Robert Ducey (Anim TD, Facial anim des)
  Michael Fortner (Char TD, Facial anim des)
  Christopher Boylan (TD-Char setup, Facial anim des)
  Jennifer Downs (Lead char TD/CG modeler, Facial anim des)
  Marc Leuschner (Replacement face wrangler, Facial anim des)
  Tim Yates (Facial anim PA, Facial anim des)
  Jerald Jacobs (Face librarian, Facial anim des)
  Hazel Malone (Asst face librarian, Facial anim des)
  Nicholas Vincent (3D printer tech, Facial anim des)
  Robert Bekuhrs (Anim, Facial anim des)
  Michelle Gorski (Anim, Facial anim des)
  Brian Menz (Anim, Facial anim des)
  Chris Tran (Lead CG modeler, Facial anim des)
  Craig Dowsett (CG modeler, Facial anim des)
  Eric Lyman (CG modeler, Facial anim des)
  Christian Smith (CG modeler, Facial anim des)
  Miguel Sandoval (Draftsman/Sander, Facial anim des)
  Andrea Logue (Sander, Facial anim des)
  Jess Jennings (Sander, Facial anim des)
  Kyle Williams (Sander, Facial anim des)
  Liz Allen (Sander, Facial anim des)
  Rachel Cordero (Sander, Facial anim des)
  Daniel Hayes (Sander, Facial anim des)
  Amanda Burgess (Sander, Facial anim des)
  Alexander Bekuhrs (Sander, Facial anim des)
  Ryan Pecknold (Sander, Facial anim des)
  Craig Atkinson (Anim rigger, Model rig tech)
  Brian Elliot (Anim rigger, Model rig tech)
  Sarah Hall (Anim rigger, Model rig tech)
  Oliver Jones (Anim rigger, Model rig tech)
  David Pugh (Anim rigger, Model rig tech)
  Gerald Svoboda (Anim rigger, Model rig tech)
  Patrick Weinberg (Anim rigger, Model rig tech)
  Jeremy Ryder (Trainee anim rigger, Model rig tech)
  Rachel Cherry (Trainee anim rigger, Model rig tech)
  Steve Emerson (2D supv, Visual eff)
  Peter Stuart (Tech dir/Houdini artist, Visual eff)
  Annie Pomeranz (Digital prod mgr, Visual eff)
  Jamie Silverman (Digital prod mgr, Visual eff)
  Aidan Fraser (Senior compositor, Visual eff)
  John-Michael Bills (Senior compositor, Visual eff)
  Colin Campbell (Senior compositor, Visual eff)
  Mimi Abers (Senior compositor, Visual eff)
  David E. Franks (Senior compositor, Visual eff)
  Virginie LaMotte (Senior compositor, Visual eff)
  Thomas Burney (Senior compositor, Visual eff)
  Peter Vickery (Senior compositor, Visual eff)
  Patrick Wass (Senior compositor, Visual eff)
  Beverly Bernacki (Senior compositor, Visual eff)
  Kristen Millette (Senior compositor, Visual eff)
  Grady Campbell (Senior compositor, Visual eff)
  Shelly Morrow (Senior compositor, Visual eff)
  Joe Reese (Compositor, Visual eff)
  Steve Molin (Compositor, Visual eff)
  Colin Miller (Compositor, Visual eff)
  Trish Van't Hul (Compositor, Visual eff)
  Nick Childs (Compositor, Visual eff)
  Michael Berger (CG modeler/Compositor, Visual eff)
  Loring Doyle (Senior roto artist, Visual eff)
  Tom Nixon (Houdini artist, Visual eff)
  Veronica Hernandez (Senior paint artist, Visual eff)
  Catherine Dingman (Paint/Roto artist, Visual eff)
  Howard Brotine (Paint/Roto artist, Visual eff)
  Catherine "CJ" Beaman (Paint/Roto artist, Visual eff)
  Daniel Raffel (Paint/Roto artist, Visual eff)
  Kurt Nishimura (Paint/Roto artist, Visual eff)
  Yin-Fang Liao (Paint/Roto artist, Visual eff)
  Chris Sutherland (Paint/Roto artist, Visual eff)
  Loren Van Wiel (Paint/Roto artist, Visual eff)
  Adam Sager (Paint/Roto artist, Visual eff)
  Brandi Wiklund (Paint/Roto artist, Visual eff)
  Christopher Myerchin (Paint/Roto artist, Visual eff)
  Zack Linkow (Paint/Roto artist, Visual eff)
  Terell Seitz (Paint/Roto artist, Visual eff)
  John Allan Armstrong (VFX anim, Visual eff)
  Nic Marrison (VFX moco op/Matchmover, Visual eff)
  Justin Callaway (VFX asst cam, Visual eff)
  Michelle Vincig (VFX coord, Visual eff)
  Jason Brewer (VFX coord, Visual eff)
  Holly Werner (VFX PA, Visual eff)
  Maryjane Dunne (VFX PA, Visual eff)
  Stephen A. Goss (Render resource asst, Visual eff)
  Daniel Casey (LAIKA digital des group)
  Fernando Benitez (LAIKA digital des group)
  Christopher Carignan (LAIKA digital des group)
  Skylr Chamberlin (LAIKA digital des group)
  Jim Cheek (LAIKA digital des group)
  Eric Kuehne (LAIKA digital des group)
  Don Flores (LAIKA digital des group)
  Kathryn Nagy (LAIKA digital des group)
  James Lloyd (LAIKA digital des group)
  Jenny Macy (LAIKA digital des group)
  Eric Wachtman (LAIKA digital des group)
  Richard Sevy (LAIKA digital des group)
  Joëlle Spencer-Gilchrist (LAIKA digital des group)
  Aaron Conover (LAIKA digital des group)
Color Personnel: Technicolor Digital Intermediates, a Technicolor Company (Digital intermediates by)
  Tim Peeler (Digital film colorist)
  Bruce Lomet (DI prod)
  Everette Jbob Webber (DI ed)
  Josh Pines (VFX VP of col imaging R & D)
  Terry Claborn (Lab col timer)
  Andy Chua (Data tech)
  Ashley Farber (Data tech)
  Ron Perez (Data tech)
MPAA Rating: PG
Country: United States
Language: English

Songs: "Sirens of the Sea," performed by Michele Mariana, written by Harry Selick, copyright 2008 Harry Selick; "Other Father Song," written and performed by They Might Be Giants, published by TMBG Music, copyright 2008; "Nellie Jean," performed by Kent Melton, written by Kent Melton, copyright 2008 Kent Melton and "Dreaming," performed by Bruno Coulsis, The Children's Choir of Nice & Teri Hatcher, written by Bruno Coulsis, copyright 2008 Bruno Coulsis.
Composer: Bruno Coulsis
  Kent Melton
  Harry Selick
  They Might Be Giants
Source Text: Based on the novel Coraline by Neil Gaiman (New York, 2002).
Authors: Neil Gaiman

Copyright Claimant Copyright Date Copyright Number
Laika, Inc. 20/3/2009 dd/mm/yyyy PA1624351

PCA NO: 45001
Physical Properties: Sd: Dolby Digital; dts in selected theatres
  col: Technicolor by Thomson
  Widescreen/ratio: 3-D
  Lenses/Prints: Kodak Motion Picture film

Genre: Fantasy
Sub-Genre: Animation
  with songs
Subjects (Major): Cats
  Family relationships
  Imaginary lands
  Mothers and daughters
Subjects (Minor): Actors and actresses
  Circus performers
  Fathers and daughters
  Missing persons
  Scottish terriers
  Vocational obsession

Note: At the opening of the film, after the major cast credits are presented, significant crew credits are shown over an action sequence in which a sweet-looking doll with button eyes drifts through an open window into metallic, claw-like hands. The hands cut it open and remove its stitching, yarn hair, button eyes and stuffing. Then the husk of the doll is refilled, re-stitched, and given blue hair and new buttons for eyes. On a cobwebbed sewing machine, a yellow coat is made for the doll, which will later be shown to resemble the character “Coraline.” At the end of the sequence, the transformed doll drifts back out through the window into the night. As the end credits roll, images of the Scottish terriers, dressed in angel wings or transformed as bats, caper around the names. The end credits contain several written words of thanks to numerous individuals and companies, and a “Very special thanks” to Phil Knight, who is owner of Laika, Inc., the animation production studio in Portland, OR that made Coraline . Knight is more famously known as the co-founder of the shoe company, Nike. The final statement in the end credits reads: “For those in the know: JERK WAD.”
       According to the film’s production notes, British author Neil Gaiman created the story of Coraline in the 1990s for his daughters. In a 28 Jan 2009 HR interview, Gaiman stated that, in 2000, almost two years before Coraline was published as a book, Gaimon presented the manuscript to director-animator Henry Selick, who, among other projects, had directed commercials featuring the “Pillsbury Doughboy” and the 1993 animated feature, The Nightmare Before Christmas , which was written by director Tim Burton. Within the week, Selick informed Gaimon that he was interested in making Coraline as a film. A 9 Feb 2009 Var article stated that Selick contacted Bill Mechanic of the independent production company, Pandemonium. According to a 31 Jul 2002 DV news item, Mechanic secured film rights to the book. The same source stated that Mechanic planned to produce the film for Buena Vista and that Michelle Pfeiffer was interested in a lead role. A 31 Jul 2002 HR reported that Gaiman’s official website named Pfeiffer as set to star in the film, but the posting was afterward changed, replacing her name with the words, “a well-known and highly thought-of actress,” and the news item added that no cast had been announced. Pfeiffer did not appear in the final film.
       The 9 Feb 2009 Var article reported that Mechanic was unable to make an animation film for several years because of contractual restrictions with the Disney company, where he had worked in the 1980s and early 1990s. The article stated that Coraline was first announced as a live-action project, although both Selick and Mechanic could see the possibilities of making it as an animated film.
       A 23 Sep 2004 DV news item reported that the animation house, Vinton Studios, had purchased rights to Coraline and would produce the film with Pandemonium. The news item stated that Selick, who had been working on the script for several years, joined Vinton as supervising director of the project. A 20 Jul 2005 DV news item and a 5 Feb 2009 LAT article reported that Knight, whose son Travis worked for the company as a stop-motion animator, took over Vinton and later changed the company’s name to Laika Entertainment. The 20 Jul 2005 DV news item announced that the company was going into production on Coraline , which it described at that time as a CG animated feature.
       A 6 Feb 2009 Screen International article reported that Selick and Mechanic considered several approaches to making the film, but decided to photograph stop-motion animation in 3-D. In a 6 Feb 2009 LA Weekly article, Selick stated that he prefers stop-motion to CG because of its “imperfections.” He also stated that twenty years earlier he had worked for the 3-D master, Lenny Lipton, for the View-Master company. Although the majority of the film was shot in stop-motion, brief portions were enhanced by CG effects, according to Selick’s director’s commentary in the additional features of the film’s DVD release.
       The 9 Feb 2009 Var article reported that the company shot in 3-D using small medical cameras that could navigate through the miniature sets. 8 Feb 2009 LAT and 13 Nov 2009 Var articles described a technique used by the filmmakers, called “replacement animation,” in which animated characters faces were split into upper and lower halves, allowing the craftspeople to adjust the eyes and mouths separately. Afterwards, a post-production team removed the seams in the faces frame by frame. According to the production notes, film was shot over eighteen months, after two years of pre-production. One-hundred-and-thirty sets were built across fifty-two stages at Laika, and seven 3-D cameras were used to make the film.
       Although Selick followed Gaimon’s original story and remained true to the spirit of his book, some changes were made to accommodate the cinematic medium, and some characters, such as “Wybie’s grandmother,” were added. Although Gaimon’s book was set in his native England, Selick moved the location of the story to Ashland, OR, which was home of the Oregon Shakespeare Festival. During the sequence in which the “Joneses” go into town, various extra characters are depicted dressed in Shakespearean costume or quoting Shakespearean lines. At Gaimon’s suggestion, the British comedy duo, Dawn French and Jennifer Saunders, were cast as the British actresses, “Miss Spink” and “Miss Forcible.” Selick’s sons, George and Henry, provided the voices, respectively, for the “Ghost boy” and one of Coraline’s friends in a photograph. Emerson Hatcher, the daughter of Teri Hatcher (“Mel Jones/Other Mother”), was the voice of the “Magic dragonfly.”
       The production notes stated that Coraline is the first stop-motion animated feature to be conceived and photographed in 3-D. The LAT reviewer considered the film to be the “first contemporary film in which the 3-D experience feels intrinsic to the story instead of…a gimmick.” Coraline was selected by AFI as one of the ten Movies of the Year for 2009. The film was nominated for an Academy Award for Best Animated Feature Film and for an Eddie Award by the American Cinema Editors, USA for Best Edited Animated Feature Film. The film won Annie Awards for Character Design in a Feature Production, Music in a Feature Production nd Production Design in a Feature Prod, and it was nominated for Annie Awards in the following categories: Best Animated Feature, Character Animation in a Feature Production, Character Design in a Feature Production, Directing in a Feature Production, Production Design in a Feature Production, Storyboarding in a Feature Production and Voice Acting in a Feature Production. In addition, the film was nominated for a Golden Globe for Best Animated Feature Film. According to the 2 Feb 2009 DV review, Gaiman’s book also inspired a Broadway musical, an Italian short film, an Irish puppet show, a Swedish play, a graphic novel and a video game. 

Bibliographic Sources:   Date   Page
Daily Variety   4 Jun 2002   p. 1, 34.
Daily Variety   31 Jul 2002.   
Daily Variety   23 Sep 2004.   
Daily Variety   20 Jul 2005.   
Daily Variety   17 May 2006.   
Daily Variety   2 Feb 2009   p. 8, 21.
Daily Variety   13 Nov 2009   Section A, p. 2.
Hollywood Reporter   31 Jul 2002   p. 4, 17.
Hollywood Reporter   28 Jan 2009   p. 17.
Hollywood Reporter   2 Feb 2009   p. 8.
Hollywood Reporter   20 Jun 2009.   
LA Weekly   6 Feb 2009   p. 56.
Los Angeles Times   5 Feb 2009   Calendar, p. 1, 4.
Los Angeles Times   6 Feb 2009   Calendar, p. 1, 10.
Los Angeles Times   8 Feb 2009.   
New York Times   6 Feb 2009   Arts, p. 1, 10.
Screen International   6 Feb 2009.   
Variety   2 Feb 2009.   p. 59, 63.
Variety   9-15 Feb 2009   p. 6-7, 11.
Variety   21 Apr 2009   Section A, p. 2, 12.
Variety   9 Jun 2009   p. 20, 25.

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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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