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Directed by | |||
| Gus Van Sant | |||
Writing credits(WGA) | ||
| Mike Rich | (written by) | |
Produced by | |||
| Sean Connery | .... | producer | |
| Jonathan King | .... | executive producer | |
| Laurence Mark | .... | producer | |
| Rhonda Tollefson | .... | producer | |
| Dany Wolf | .... | executive producer | |
Cinematography by | |||
| Harris Savides | |||
Film Editing by | |||
| Valdís Óskarsdóttir | (as Valdis Oskarsdottir) | ||
Casting by | |||
| Francine Maisler | |||
| Bernard Telsey | |||
| David Vaccari | |||
Production Design by | |||
| Jane Musky | |||
Art Direction by | |||
| Robert Guerra | |||
| Darrell K. Keister | |||
Set Decoration by | |||
| Susan Bode | (as Susan Tyson) | ||
| Lynn Tonnessen | (as B. Lynn Tonnessen) | ||
Costume Design by | |||
| Ann Roth | |||
Makeup Department | |||
| Michal Bigger | .... | key makeup artist | |
| Mario Cacioppo | .... | makeup artist: Toronto | |
| Veronica Ciandre | .... | hair stylist: Toronto | |
| Linda Grimes | .... | key makeup artist | |
| Melanie Hughes | .... | makeup artist: Mr. Connery (as Melanie R. Hughes) | |
| John Quaglia | .... | key hair stylist (as John D. Quaglia) | |
| Lyndell Quiyou | .... | hair stylist: Mr. Connery | |
| James Sarzotti | .... | key makeup artist | |
Production Management | |||
| Michele Giordano | .... | production supervisor | |
| Jim Powers | .... | production manager: Toronto (as James Powers) | |
| Tom Razzano | .... | unit production manager | |
| Dany Wolf | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Fareshta Ahmadi | .... | dga trainee | |
| Bruno Bryniarski | .... | second assistant director: Toronto | |
| Dylan Hopkins | .... | second second assistant director | |
| Amy Lynn | .... | second assistant director | |
| Kirsteen McLean | .... | third assistant director: Toronto | |
| Julie O'Neill | .... | trainee assistant director: Toronto | |
| John Sauvé | .... | trainee assistant director: Toronto | |
| David J. Webb | .... | first assistant director (as David Webb) | |
Art Department | |||
| Ann Marie Auricchio | .... | scenic artist | |
| Roger Baron | .... | property buyer | |
| Tory Bellingham | .... | property master: Toronto | |
| Joseph Deluca | .... | on-set dresser (as Joseph M. Deluca) | |
| David Evans | .... | on-set dresser: Toronto | |
| Arvinder Grewal | .... | art director: Toronto | |
| Denise Gurkas | .... | camera scenic artist | |
| Thomas E. Halligan | .... | key construction grip | |
| Joanna Tracey Heaton | .... | art department assistant: Toronto | |
| Philip Kennedy | .... | scenic artist | |
| Carolyn 'Cal' Loucks | .... | set decorator: Toronto | |
| John Mackenzie | .... | construction coordinator: Toronto | |
| Vinny Mazzarella | .... | assistant props | |
| James Mazzola | .... | property master (as James R. Mazzola) | |
| Fred Merusi | .... | construction coordinator | |
| Rhonda Moscoe | .... | art department coordinator | |
| Louis J. Porzio | .... | key carpenter | |
| Jeff Poulis | .... | assistant props: Toronto (as Jeffrey Poulis) | |
| Reet Puhm | .... | key scenic: Toronto | |
| John Ralbovsky | .... | scenic artist | |
| Sandy Smirle | .... | assistant art director: Toronto (as Sandra L. Smirle) | |
| Eric Taylor | .... | key carpenter: Toronto | |
| Patricia Walker | .... | scenic charge person | |
| Dave Weinman | .... | lead man | |
| Joan Winters | .... | graphic designer | |
| Alexandre Athané | .... | comic art (uncredited) | |
| Mike Bundlie | .... | graphic designer (uncredited) | |
| Carlos Caneca | .... | lead man: Toronto (uncredited) | |
| Jay Durrwachter | .... | production illustrator (uncredited) | |
| Kathryn Freund | .... | assistant props (uncredited) | |
| Jamie Mullins | .... | art department coordinator: New York (uncredited) | |
Special Effects by | |||
| Michael Kavanagh | .... | special effects coordinator | |
| Derek Liscoumb | .... | special effects technician (uncredited) | |
Visual Effects by | |||
| Syd Dutton | .... | additional visual effects: Illusion Art, Inc. | |
| Caroline Gibb | .... | production coordinator: C.O.R.E. Digital Pictures | |
| Dipankar Goswamy | .... | digital compositor: C.O.R.E. Digital Pictures | |
| Nick Hsieh | .... | digital compositor: C.O.R.E. Digital Pictures | |
| Mark Kenaston | .... | digital artist | |
| Shane Kinnear | .... | visual effects executive producer: C.O.R.E. Digital Pictures | |
| Michael Kowalski | .... | production manager: C.O.R.E. Digital Pictures | |
| Tanya Kuzmanovic-Howard | .... | production coordinator: C.O.R.E. Digital Pictures | |
| Daniel Lee | .... | digital compositor: C.O.R.E. Digital Pictures | |
| Bob Munroe | .... | visual effects supervisor | |
| Ken Ouellette | .... | animation supervisor | |
| Barbara Shaw | .... | production coordinator: C.O.R.E. Digital Pictures | |
| John A. Shaw | .... | technical support: C.O.R.E. Digital Pictures | |
| Bill Taylor | .... | additional visual effects: Illusion Art, Inc. | |
| Claude Theriault | .... | digital compositor: C.O.R.E. Digital Pictures | |
| Tracey Vaz | .... | digital compositor: C.O.R.E. Digital Pictures | |
| Michael Wile | .... | digital compositor: C.O.R.E. Digital Pictures | |
| Alphonso Young | .... | digital compositor: C.O.R.E. Digital Pictures | |
Stunts | |||
| G.A. Aguilar | .... | stunt coordinator (as George Aguilar) | |
| Blaise Corrigan | .... | stunts | |
| Tom Farr | .... | stunts | |
| Richard Hughes | .... | stunts | |
| Jamie Jones | .... | stunts | |
| Carl Paoli | .... | stunt driver | |
| Paul Rutledge | .... | stunts | |
| Al Thompson | .... | stunts | |
| Dave Van Zeyl | .... | stunts | |
| Cort Hessler | .... | stunts (uncredited) | |
| Stephen A. Pope | .... | stunts (uncredited) | |
| Al Thompson | .... | stunt double: Robert Brown (uncredited) | |
| Kym Washington | .... | utility stunts (uncredited) | |
Casting Department | |||
| Kathy Driscoll | .... | casting associate (as Kathleen Driscoll-Mohler) | |
| Lori Eastside | .... | extras casting | |
| Emily Palmer | .... | extras casting assistant | |
| Victoria Pettibone | .... | casting associate: New York | |
| Nancy Safran | .... | casting assistant | |
| Jon Scott Strotheide | .... | casting associate (as Jon Strotheide) | |
| Bill Woods | .... | casting associate: New York | |
Costume and Wardrobe Department | |||
| Joanna Brett | .... | wardrobe supervisor | |
| Cori Burchell | .... | wardrobe: Toronto | |
| Barrett Hong | .... | wardrobe supervisor: Mr. Connery (as Barrett P. Hong) | |
| Iris Horta Lemos | .... | set costumer (as Iris H. Lemos) | |
| Donna Maloney | .... | wardrobe supervisor (as Donna M. Maloney) | |
| Amy Roth | .... | key costumer (as Amy T. Roth) | |
| Andre Schulz | .... | costumer: Toronto | |
| Marcia Scott | .... | costumer | |
Editorial Department | |||
| Clare Bambrough | .... | assistant film editor (as Clare Mara Bambrough) | |
| Angela Barton | .... | assistant film editor | |
| Kent Blocher | .... | assistant film editor | |
| Helen Hand | .... | first assistant editor | |
| Berenicci Hershorn | .... | apprentice film editor | |
| Kathy LaCommare | .... | assistant film editor | |
| Eric Rigney | .... | avid technician | |
| Stephen R. Sheridan | .... | color timer (as Steve Sheridan) | |
| Dawn M. Stoliar | .... | assistant film editor | |
| Tim Wilson | .... | assistant film editor | |
| Paul Zucker | .... | assistant film editor | |
| Tim Fox | .... | assistant editor (uncredited) | |
| Bill Holley | .... | colorist (uncredited) | |
| Barry Malawski | .... | assistant editor (uncredited) | |
Music Department | |||
| Bill Brown | .... | music arranger | |
| Bill Frisell | .... | composer: additional score | |
| Charlie Haden | .... | musician: bass | |
| Lisa Jaime | .... | music editor | |
| Kenneth Karman | .... | supervising music editor (as Ken Karman) | |
| Lesley Langs | .... | assistant music editor | |
| Hal Willner | .... | music supervisor | |
| Hal Willner | .... | original score producer | |
| Herbie Hancock | .... | musician (uncredited) | |
Transportation Department | |||
| Ron Annabelle | .... | driver | |
| Steven R. Hammond | .... | transportation captain | |
| Stuart Mitchell | .... | transportation co-captain: Toronto | |
| Eugene O'Neill | .... | transportation co-captain | |
| Steven Sacrob | .... | driver | |
| Dave Staples | .... | transportation captain: Toronto | |
| Mitchel Stewart | .... | driver captain | |
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| Half Nelson | Rushmore | Thumbsucker | August Rush | Liberty Heights |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
Jamal Wallace is a black highschool student living in the Bronx, New York. He has a talent for basketball, which is popular with his friends and a talent for writing that he tends not to talk up. His test scores bring him to the attention of an exclusive private school with offers of a scholarship, starting immediately. Meanwhile he gives in to his friend's challenges and breaks into the flat of a man known as "the window" because he never leaves his flat but just stares out at the world passing outside. When he is confronted by the man, Wallace flees but forgets his bag, but it is given back later, with all his note book scribbled on and critiqued. He goes back to the flat and tries to get the man to help him further with his writing.
Has it been so many years since Good Will Hunting that Van Sant felt the need to remake it with elements changed? And if so did he feel so insecure about doing it that he delivered with such little originality and blandness so that the audience knows just what they are getting and feels comfortable (if unimpressed)? I guess the answers to both those questions is yes because Finding Forrester is very much a version of Good Will Hunting with the basics kept the same and other bits changed around. Of course this does not mean that it is a bad film because I actually quite enjoyed it; although I knew just where it was going and what it was doing from start to finish. In this way it is a bit annoying that director and writer should be so uninterested in doing anything other than trudging out such obvious material.
The story, although familiar is well enough told though to make it worth seeing. What made it much better for me though were the two genuinely engaging performances in the lead. Given fairly obvious characters to work with, I felt that both Brown and Connery took it, worked it and made it more than the sum of the words in the script. Brown is impressive by how much seems to be going on behind his eyes and I was more impressed when I learnt that this was his acting debut. Connery is equally as good in a role that he could have slummed off his famous voice and natural presence; but instead he works with a vulnerability that is convincing and makes his character and the story so much more interesting. Neither of them can make this a wonderful film but they both do a lot of work to make it an enjoyable and engaging one. Support from Abraham is by-the-numbers but effective (although his final scene is unconvincing); I didn't understand why Paquin bothered (or why they bothered to have her character in the story) while Rhymes is just what you expect and only looks weak at the end when he is asked to emote.
Overall this is a solid and enjoyable film despite the fact that it seems determined to do just what you expect it to do. That said the story is still interesting but what really does the business are the two great performances from Brown and Connery both as individuals but also together; they take the obvious material and make it somehow much more convincing and engaging. Not a great film by any stretch of the imaginative and too derivative to really stick in the mind but does enough to entertain.