Portugal Box Office for Godzilla II: Rei dos Monstros (2019)
Theatrical Performance (US$) | ||
Portugal Box Office | $407,969 | Details |
Worldwide Box Office | $383,299,914 | Details |
Home Market Performance | ||
North America DVD Sales | $12,951,753 | Details |
North America Blu-ray Sales | $23,676,399 | Details |
Total North America Video Sales | $36,628,152 | |
Further financial details... |
Synopsis
An action adventure that pits Godzilla against some of the most popular monsters in pop culture history.
Metrics
Movie Details
Production Budget: | $170,000,000 |
Portugal Releases: | May 31st, 2019 (Wide), released as Godzilla II: Rei dos Monstros |
Video Release: | August 13th, 2019 by Warner Home Video |
MPAA Rating: | PG-13 for sequences of monster action violence and destruction, and for some language. (Rating bulletin 2544 (Cert #51815), 9/12/2018) |
Running Time: | 132 minutes |
Franchise: | Godzilla, MonsterVerse |
Keywords: | Creature Feature, Kaiju, Remake, Foreign-Language Remake, 3-D, 3-D - Post-production Conversion, IMAX: DMR, Action Adventure |
Source: | Original Screenplay |
Genre: | Action |
Production Method: | Live Action |
Creative Type: | Science Fiction |
Production/Financing Companies: | Warner Bros., Legendary Pictures, Toho Co, Huahua Film |
Production Countries: | United States |
Languages: | English |
Home Market Releases for August 27th, 2019
August 28th, 2019
This week, the main list of new releases is particularly short for two reasons. Firstly, it is a slow week. Secondly, I’ve filtered out the TV on DVD releases for their own section. I’ve been meaning to do this for a while and we are entering the heart of TV on DVD season on the home market, so it made sense to do it this week. (I’m including all TV on DVD releases, both individual seasons and full series Megasets.) As for the biggest new releases, there are not a lot to talk about. Godzilla: King of the Monsters and The Secret Life of Pets 2 both missed expectations at the box office, but both are worth picking up for their respective target audiences. As for the best, only The Last Black Man in San Francisco and Rocketman are contenders for Pick of the Week. The latter has far better extras, but the former is the better movie and wins that title.
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Home Market Releases for August 6th, 2019
August 7th, 2019
Pokémon: Detective Pikachu is the biggest release of the week and it is also one of the best. Amazing Grace and Penguin Highway and better movies, but Pikachu is the only one of the three Pick of the Week contenders with significant extras on its DVD / Blu-ray release.
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Weekend Predictions: Can Toy Story 4 Save June’s Box Office Run?
June 20th, 2019
June has not lived up to expectations and unless Toy Story 4 is a record-breaking hit, we are going to end the month with a loss. I don’t think it will break records, but it will easily be the biggest hit of the month. Also opening this week is Child’s Play, the reboot to the long-running horror franchise of the same name. Finally, Anna is the latest film from Luc Besson and many are comparing it to Lucy. It’s not going to do that well. It likely won’t reach the top five. This weekend last year, Jurassic World: Fallen Kingdom opened with $148.02 million. I really hope Toy Story 4 tops that; however, even if it does, nothing playing this weekend is going to compare with Incredibles 2’s run last year, so 2019 is going to lose in the year-over-year comparison.
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International Box Office: Men in Black: International Lives Up to Its Name
June 20th, 2019
Men in Black: International did substantially better internationally with $68.22 million on 40,600 screens in 65 markets over the weekend for a total opening of $73.03 million. Its worldwide total was $103.06 million, which isn’t a bad start for a film that cost $110 million to make. It needs to have great legs and a strong home market run to break even any time soon, but this isn’t a number that should cause the studio to panic either. The film’s biggest single market was China where it earned first place with a total opening of $25.90 million, including $25.35 million on 21,000 screens over the weekend. It only managed third place in South Korea with $3.45 million on 1,055 screens over the weekend for a total opening of $4.88 million. Overall, the film is about 20% behind Men in Black 3’s opening in the same markets; however, this film also cost nearly 50% less to make, so financially, it is an improvement.
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Thursday Night Previews: Men in Black Open Darker than Phoenix
June 14th, 2019
Men in Black: International only managed $3.1 million during its previews on Thursday, which is well below the previews earned by Dark Phoenix ($5.9 million) and Godzilla: King of Monsters ($6.3 million). All three films have similar reviews and all three are part of long running franchises, so sadly this means Men in Black: International will likely have similar legs. Sony is still projecting $30 million over the weekend, but I’m not so sure anymore.
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International Box Office: Dark Phoenix is Brighter Internationally
June 13th, 2019
Dark Phoenix may have struggled domestically, but it is doing a lot better internationally. The film opened with $107.0 million in 53 markets with Japan being the lone major market it didn’t debut in. China was the film’s biggest single market, representing $44.44 million of its total haul, including $31.85 million over the weekend. The film cracked $5 million in South Korea with a total opening of $5.58 million on 868 screens, including $2.82 million over the weekend. It had nearly identical results in the U.K. ($4.78 million in 615 theaters) and Mexico ($4.65 million). Unfortunately, for all of the film’s success on the international stage, the film is only looking to save face, as it cost $200 million to make and there’s nearly no chance it will recoup that in a timely fashion.
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Weekend Wrap-Up: New Releases Miss Expectations and Estimates
June 11th, 2019
It was a mixed weekend at the box office with neither of the two new releases matching expectations. Not only that, but most of the top five missed estimates as well. This led to a result 5.6% lower than last weekend falling to $164 million. I was really expecting growth this weekend. The Secret Life of Pets 2 led the way with $46.65 million, while Dark Phoenix really struggled with just $32.83 million. Aladdin was arguably the only real bright spot in the top five this weekend. Fortunately, this weekend last year was even worse and 2019 was able to win the year-over-year comparison by a whopping 37%. This allowed 2019 to close the gap between it and 2018 to just $300 million or 5.9% at $4.78 billion to $5.08 billion. That’s still a large gap, but it is far cry from where it once was.
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Weekend Estimates: Pets Don’t have a Fiery Rebirth with Just $47 million
June 9th, 2019
Neither of the two wide releases matched expectations over the weekend and in both cases, it could be the end of their respective franchises. The Secret Life of Pets 2 is earning first place with $47.11 million, which isn’t a bad result for a family film that cost $80 million to make. However, this estimate is 55% lower than the first film’s opening weekend. Internationally, it is adding $16.0 million over the weekend to its three-week total, which sits at $49.0 million. Additionally, it has yet to open in most international markets, so it should have long legs on this chart. However, it still isn’t living up to the original. Universal has to be looking at this numbers and deciding to move on from the franchise, even though this film will very likely break even sooner rather than later. Even a moderate decline for a hypothetical third film would put profitability in question.
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Friday Estimates: Dark Day at the Box Office
June 8th, 2019
June might be in trouble, as both of the wide releases stumbled out of the gate missing expectations. The Secret Life of Pets 2 managed first place on Friday, but with just $16.5 million. This is 57% lower than the first film managed during its opening day. Unlike the first film, school was still in session for a lot of the film’s target audience during Friday, so that could help its legs over the weekend. Universal is projecting a $47 million opening weekend, but it might climb to $50 million. Even so, that’s still a serious decline over the first movie. The film did match the original at CinemaScore earning an A minus, so its weaker reviews aren’t going to be much of an issue. Additionally, the movie only cost $80 million to make, so even a $45 million opening won’t prevent the film from breaking even sooner rather than later.
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Thursday Night Previews: Dark Phoenix Sinks Below Apocalypse
June 7th, 2019
Dark Phoenix had the best Thursday previews with $5 million. However, while this is tops for the weekend, it is well below comparisons. For example, Godzilla: King of the Monsters earned $6.3 million during its previews last week, while Apocalypse managed $8.2 million in previews back in 2016. Additionally, the film also has the worst reviews of these films, so it will likely have the shortest legs. That said, for a lot of high school and college students, this weekend is the start of the summer holidays, so that should help its legs during its opening weekend. Because of this, I’m still cautiously optimistic about our $52 million prediction.
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Weekend Predictions: Can Dark Phoenix Soar Above Pets 2?
June 6th, 2019
It could be a real race on the box office chart this weekend. The Secret Life of Pets 2 isn’t generating as much buzz as I was expecting, while there is actually some good news surrounding Dark Phoenix’s box office chances. There’s no good news regarding its reviews, that’s for sure. Also coming out this weekend is Late Night, but it is now coming out in limited release with a wide expansion next week. That’s not a good sign. This does leave one more spot in the top five for a holdover, meaning Aladdin, Godzilla: King of the Monsters, and Rocketman will all remain in the top five for at least one more weekend. This weekend last year, Ocean’s 8 opened with a decent $41.61 million and both The Secret Life of Pets 2 and Dark Phoenix should top that. 2019 should start the month with an easy win.
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Theater Averages: Godzilla has No One to Battle on the Theater Average Chart
June 6th, 2019
It was a bad week on the theater average chart with only one film, Godzilla: King of the Monsters, in the $10,000 club. That film earned an average of $11,630 during its opening weekend. The best limited release was Echo in the Canyon with an average of $6,915 in 14 theaters during its second weekend of release. The best new limited release was Mayday Life with an average of $5,971 in 8 theaters.
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International Box Office: Godzilla Stomps Through Asia, is Quieter Elsewhere
June 5th, 2019
Godzilla: King of the Monsters was more dominant on the international chart with $130 million on 53,515 screens in 75 markets for a worldwide debut of $178 million. Most of this success came in Asia, including in China, where the movie opened in first place with $66.65 million over the weekend for a total opening of $70.41 million. Japan was the next biggest market with a haul of $8.4 million on 600, which was enough for first place in that market. The film also earned first place in Taiwan ($4.2 million on 320 screens); Thailand ($2.3 million on 705 screens); and Malaysia ($2.2 million on 653). The film had to settle for second place in a number of major markets including Mexico ($4.7 million on 2,443 screens); the U.K. ($4.43 million in 531 theaters); and France ($2.5 million on 628 screens). The film has yet to open in Spain and a number of smaller markets, so it isn’t done its international run. That said, it was an expensive movie to make and it will need help on the home market to break even.
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Weekend Wrap-Up: Godzilla Tops Weekend Chart and Helps 2019 to Rare Win
June 4th, 2019
Godzilla: King of the Monsters didn’t live up to expectations, but it did well enough to earn first place on the weekend box office chart. King of the Monsters opened with $47.78 million, while Aladdin was right behind with $42.84 million. This helped the overall box office hold on a lot better than expected, down just 4.3% to $174 million, which is a fantastic hold for a post-holiday weekend. The box office was also a huge improvement from this weekend last year, up 63% in the year-over-year comparison. Year-to-date, 2019 has pulled in $4.54 billion, which is still 7.4% or $380 million behind last year’s pace, but a few more wins like this and that gap won’t seem so bad anymore. That said, as anyone who’s read our monthly preview will know, I’m not expecting too many weekends like this in June.
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Weekend Estimates: Godzilla Towers Above the Competition
June 2nd, 2019
As expected, Godzilla: King of the Monsters is leading the way on the weekend box office chart. However, it is falling a little short of expectations with an estimated opening weekend of $49.03 million. The film earned a B plus from CinemaScore, which is much better than its reviews, but still not stellar, while the genre isn’t known for long legs, so I’m not sure about its future. It is performing a lot better internationally with $130 million on 52,000 screens in 75 markets, including $70 million in China and $8.4 million in Japan. It has nearly matched its $200 million production budget in just one weekend, while it has yet to open in Spain and a few smaller markets.
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Friday Estimates: Godzilla Tops Competition, but with a Soft Touch
June 1st, 2019
Godzilla: King of the Monsters dominated the chart on Friday with $19.61 million on its opening day. The film needed to open with a couple of million dollars more than $20 million to match our prediction, but it will come close enough. Its reviews are weak and it only managed a B plus from CinemaScore, which is not great either. It appears the film is aimed at Kaiju fans and might not appeal to all action fans. That said, it is on pace to earn $50 million during its opening weekend, which is enough to be a financial success, assuming it does as well internationally.
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Thursday Night Previews: Godzilla Floods Skull Island, but isn’t King of the Kaiju - Updated
May 31st, 2019
Godzilla: King of the Monsters opened with $6.3 million in previews, which is almost exactly in the middle of Kong: Skull Island ($3.7 million) and Godzilla ($9.3 million). The film’s reviews have sunk to just 41% positive, which is close to the point where it will start to scare away potential moviegoers. However, I think its CinemaScore will be a lot better. I was hoping for a little more, so perhaps our $56 million prediction was a little too optimistic. That said, I think it will be close.
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Weekend Predictions: Will Godzilla Crush the Critics with a Massive Opening Weekend?
May 30th, 2019
Godzilla: King of the Monsters leads a trio of new releases hoping to make an impact at the box office this weekend. It will have no trouble earning first place and even the low-end of predictions are at $50 million. Rocketman has the best reviews of the week and it could continue the positive trend for musical biopics. Finally there’s MA, a psychological horror that could become a midlevel hit, but even if it fails to live up to expectations, it was inexpensive enough to break even. Meanwhile, Aladdin and John Wick: Chapter 3 - Parabellum will remain in the top five, while Avengers: Endgame could be one of six films earning more than $10 million over the weekend. This weekend last year, Adrift was the biggest new release opening with just $11.60 million, while Solo: A Star Wars Story was the number one film with $29.40 million. There should be three films that top Solo and as many as six that top Adrift. 2019 should come away with an easy win.
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2019 Preview: May
May 1st, 2019
April got off to a fast start with Shazam! opening the first weekend of the month. Meanwhile, Avengers: Endgame ended the month with a record-breaking debut. Unfortunately for 2019, last April had a very similar result leaving 2019 behind 2018’s pace by over $400 million. Will May be able to turn things around? Last May, there were only two films that reached $200 million, Deadpool 2 and Solo: A Star Wars Story. Meanwhile, this May there are three such films, Detective Pikachu, Aladdin, and Godzilla: King of the Monsters. There are two points we need to make. Firstly, the only reason there are more potential $200 million hits this year is because May has five Fridays this year. Secondly, this May also has a lot better depth with films like John Wick: Chapter 3 - Parabellum and Rocketman being potential $100 million hits. Even if we ignore the final weekend, May should do well enough to cut into 2018’s lead over 2019. It’s not going to be able to cut it in half, but it could do well enough to make box office analysts a little more positive about the year’s chances overall.
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Godzilla: King of the Monsters Trailer
December 11th, 2018
Sci-fi action movie starring Vera Farmiga and Kyle Chandler opens May 31 ... Full Movie Details.
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Because some of our sources provide box office data in their local currency, while we use USD in the graph above and table below, exchange rate fluctuations can have effect on the data causing stronger increases or even decreases of the cumulative box office.
Weekend Box Office Performance
Date | Rank | Gross | % Change | Screens | Per Screen | Total Gross | Week |
---|---|---|---|---|---|---|---|
2019/05/31 | 2 | $143,327 | 85 | $1,686 | $143,327 | 1 | |
2019/06/07 | 4 | $78,053 | -46% | 67 | $1,165 | $263,916 | 2 |
2019/06/14 | 7 | $43,891 | -44% | 65 | $675 | $345,841 | 3 |
2019/06/21 | 11 | $20,145 | -54% | 42 | $480 | $393,294 | 4 |
2019/06/28 | 15 | $4,153 | -79% | 15 | $277 | $409,737 | 5 |
2019/07/05 | 26 | $926 | -78% | 5 | $185 | $409,390 | 6 |
2019/07/12 | 39 | $196 | -79% | 1 | $196 | $411,650 | 7 |
2019/07/19 | - | $247 | +26% | 1 | $247 | $411,031 | 8 |
2019/07/26 | - | $241 | -2% | 1 | $241 | $407,969 | 9 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 5/31/2019 | $375,916 | 323 | 323 | 618 | $850,685 | 7/11/2019 |
Australia | 5/30/2019 | $1,838,411 | 379 | 379 | 1256 | $4,290,000 | 10/19/2022 |
Brazil | 5/31/2019 | $1,167,214 | 1045 | 1045 | 1170 | $1,906,033 | 6/14/2019 |
Bulgaria | 5/31/2019 | $87,733 | 0 | 0 | 0 | $267,128 | 8/8/2019 |
China | 5/31/2019 | $2,450,000 | 1807 | 170525 | 299517 | $135,749,472 | 8/8/2019 |
Czech Republic | 5/31/2019 | $92,638 | 133 | 133 | 274 | $210,026 | 10/19/2022 |
France | 5/29/2019 | $2,500,000 | 0 | 549 | 1785 | $5,600,000 | 10/19/2022 |
Germany | 5/30/2019 | $1,701,874 | 0 | 915 | 915 | $4,700,000 | 10/19/2022 |
Hong Kong | 5/30/2019 | $0 | 0 | 0 | 0 | $523,000 | 6/4/2019 |
India | 5/31/2019 | $2,600,000 | 1721 | 1721 | 1721 | $4,330,000 | 10/19/2022 |
Indonesia | 5/29/2019 | $3,500,000 | 727 | 727 | 1416 | $7,800,000 | 7/15/2019 |
Italy | 5/30/2019 | $1,136,117 | 0 | 6 | 6 | $2,500,534 | 7/12/2019 |
Japan | 5/31/2019 | $8,400,000 | 600 | 600 | 2000 | $25,300,000 | 10/19/2022 |
Lithuania | 5/31/2019 | $31,092 | 131 | 131 | 318 | $91,779 | 10/19/2022 |
Malaysia | 5/30/2019 | $2,200,000 | 653 | 653 | 1138 | $5,900,000 | 10/19/2022 |
Mexico | 5/31/2019 | $4,710,943 | 0 | 0 | 0 | $10,100,000 | 10/19/2022 |
Netherlands | 5/31/2019 | $618,504 | 101 | 101 | 423 | $1,462,165 | 7/9/2019 |
North America | 5/31/2019 | $47,776,293 | 4,108 | 4,108 | 17,244 | $110,500,138 | |
Poland | 6/14/2019 | $285,439 | 189 | 189 | 567 | $917,507 | 7/11/2019 |
Portugal | 5/31/2019 | $143,327 | 85 | 85 | 282 | $407,969 | 10/19/2022 |
Russia (CIS) | 5/30/2019 | $2,394,990 | 1723 | 1725 | 5079 | $4,500,000 | 10/19/2022 |
Slovakia | 5/31/2019 | $85,996 | 75 | 75 | 150 | $168,255 | 7/2/2019 |
South Korea | 5/29/2019 | $1,444,200 | 620 | 620 | 799 | $2,657,406 | 6/26/2019 |
Spain | 6/21/2019 | $518,930 | 303 | 310 | 1194 | $1,623,359 | 7/25/2019 |
Taiwan | 5/29/2019 | $4,200,000 | 320 | 320 | 515 | $8,200,000 | 10/19/2022 |
Thailand | 5/30/2019 | $2,300,000 | 705 | 705 | 705 | $3,600,000 | 6/13/2019 |
Turkey | 5/31/2019 | $135,223 | 405 | 405 | 992 | $510,806 | 7/11/2019 |
United Kingdom | 5/29/2019 | $4,426,700 | 531 | 540 | 2001 | $8,800,000 | 10/19/2022 |
Vietnam | 5/31/2019 | $0 | 0 | 0 | 0 | $401,000 | 6/4/2019 |
Rest of World | $29,432,652 | ||||||
Worldwide Total | $383,299,914 | 10/19/2022 |
Full financial estimates for this film, including domestic and international box office, video sales, video rentals, TV and ancillary revenue are available through our research services. For more information, please contact us at research@the-numbers.com.
Leading Cast
Millie Bobby Brown | Madison Russell |
Supporting Cast
Kyle Chandler | Dr. Mark Russell |
Vera Farmiga | Dr. Emma Russell |
Bradley Whitford | Dr. Rick Stanton |
Sally Hawkins | Dr. Vivienne Graham |
Charles Dance | Alan Jonah |
Thomas Middleditch | Sam Coleman |
O'Shea Jackson, Jr. | Chief Warrant Officer Barnes |
Ken Watanabe | Dr. Ishiro Serizawa |
Zhang Ziyi | Dr. Ilene Chen |
David Strathairn | Admiral William Stenz |
Aisha Hinds | Colonel Diane Foster |
Anthony Ramos | Cpl. Martinez |
Elizabeth Ludlow | First Lieutenant Lauren Griffin |
Jonathan Howard | Asher Jonah |
CCH Pounder | Senator Williams |
Joe Morton | Dr. Houston Brooks |
Randall P. Havens* | Dr. Tim Mancini |
Lyle Brocato | XO Bowman |
Jimmy Gonzales | Commander Crane |
T.C. Matherne | Master Sergeant Hendricks |
Kenneth Israel | Argo Deck Officer Zellner |
Justice Leak | Monarch Officer Martin |
Al Vicente | Isla De Mara Fisherman |
Rose Bianco | Isla De Mara Grandmother |
Gabriel L. Silva | Isla De La Mara Grandson |
Skylar Denney | Argo Office Arvin |
Kelli Garner | Argo Officer Cross |
Tyler Crumley | Young Andrew |
Alexandra Rabe | Young Madison |
Zac Zedalis | Sergeant Travis |
Tracie Garrison | Asaj |
Natalie Shaheen | Lieutenant Bottin |
Jesse O’Neill | Corporal Winston |
Joshua Leary | Sgt. Baker |
Vince Foster | G-Team Officer Tippett |
Shauna Rappold | G-Team Officer Harryhausen |
Fiona Hardingham | News Anchor |
Orelon Sidney | News Anchor |
Paul Ryden | News Anchor |
Laurie Dhue | News Anchor |
Kevin Shinick | Weather Man |
T.J. Storm | Godzilla (Performance Capture) |
Jason Liles | King Ghidorah (Performance Capture) |
Alan Maxson | King Ghidorah (Performance Capture) |
Richard Dorton | King Ghidorah (Performance Capture) |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Michael Dougherty | Director |
Michael Dougherty | Screenwriter |
Zach Shields | Screenwriter |
Max Borenstein | Story by |
Michael Dougherty | Story by |
Zach Shields | Story by |
Mary Parent | Producer |
Alex Garcia | Producer |
Jon Jashni | Producer |
Brian Rogers | Producer |
Thomas Tull | Producer |
Zach Shields | Executive Producer |
Barry Waldman | Executive Producer |
Hiro Matsuoka | Executive Producer |
Keiji Ota | Executive Producer |
Dan Lin | Executive Producer |
Roy Lee | Executive Producer |
Yoshimitsu Banno | Executive Producer |
Kenji Okuhira | Executive Producer |
Lawrence Sher | Director of Photography |
Scott Chambliss | Production Designer |
Roger Barton | Editor |
Richard Pearson | Editor |
Bob Ducsay | Editor |
Louise Mingenbach | Costume Designer |
Bear McCreary | Composer |
Sarah Halley Finn | Casting Director |
Thomas Robinson Harper | Stunt Coordinator |
Todd Warren | Stunt Coordinator |
Erik Aadahl | Sound Designer |
Ethan Van der Ryn | Sound Designer |
Guillaume Rocheron | Visual Effects Supervisor |
Maricel Pagulayan | Visual Effects Producer |
Barry Waldman | Unit Production Manager |
Cliff Lanning | First Assistant Director |
Dixon McPhillips | Second Assistant Director |
Thomas Robinson Harper | Second Unit Director |
Maricel Pagulayan | Co-Producer |
Cliff Lanning | Co-Producer |
Ali Mendes | Co-Producer |
Jay Ashenfelter | Co-Producer |
Matt Allsopp | Co-Producer/Visual Development Supervisor |
Richard Mirisch | Associate Producer |
Shirit Bradley | Associate Producer |
Susan Ehrhart | Associate Producer |
Richard Johnson | Supervising Art Director |
Natasha Gerasimova | Art Director |
Harry Otto | Art Director |
Thomas Valentine | Art Director |
John Dexter | Art Director |
David E. Scott | Art Director |
Amanda Moss Serino | Set Decorator |
Dawn Gilliam | Script Supervisor |
Whit Norris | Sound Mixer |
Eric Frazier | Special Effects Supervisor |
Janice Polley | Supervising Location Manager |
Julie Hannum | Location Manager |
Joel Harlow | Make up |
Kimberly Felix-Burke | Make up |
Yolanda Toussieng | Hairstylist |
Michael P. Shawver | Additional Editor |
Josh Schaeffer | Additional Editor |
Robert Malina | Additional Editor |
Sam Bollinger | First Assistant Editor |
Joe Binford Jr | First Assistant Editor |
Banner Gwin | Assistant Editor |
Bernie Gomez | Assistant Editor |
Matt Willard | Assistant Editor |
Nick Coker | Assistant Editor |
Jesse Chapman | Assistant Editor |
Michael Goldberg | Assistant Editor |
Lillian Dawson Bain | Assistant Editor |
Daniel Waldman | Music Editor |
Clint Bennett | Music Editor |
Brian Baker | Set Designer |
Tristan P. Bourne | Set Designer |
Timothy Croshaw | Set Designer |
Randall Wilkins | Set Designer |
Kevin Cross | Set Designer |
Gilbert Flores | Set Designer |
Mayumi Konishi-Valentine | Set Designer |
Daniela Vasem Medeiros | Set Designer |
Jane Wuu | Set Designer |
Brandon Jones | Sound Designer |
Tim Walston | Sound Designer |
Malte Bieler | Sound Effects Editor |
Matt Cavanaugh | Sound Effects Editor |
Dan Kenyon | Sound Effects Editor |
John C. Stuver | Dialogue/ADR Editor |
Michele Perrone | Dialogue/ADR Editor |
Tim LeBlanc | Re-recording Mixer |
Tom Ozanich | Re-recording Mixer |
Alejandro Vazquez | Special Effects Supervisor |
Peter Afterman | Music Supervisor |
Margaret Yen | Music Supervisor |
Bear McCreary | Score Producer |
Simon Rhodes | Score Recordist |
Casey Stone | Score Recordist |
Jonny Solway | Score Recordist |
Greg Hayes | Score Mixer |
Robert Winter | Visual Effects Supervisor |
Philipp Wolf | Visual Effects Producer |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.