Anaconda Owen Wilson
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Jump to:Overview (4) Mini Bio (1) Trade Mark (7) Trivia (39) Personal Quotes (36) Salary (11)
Overview (4)
| Born | in Dallas, Texas, USA |
| Birth Name | Owen Cunningham Wilson |
| Nickname | O |
| Height | 5' 10½' (1.79 m) |
Mini Bio (1)
Self-proclaimed troublemaker Owen Cunningham Wilson was born in Dallas, to Irish-American parents originally from Massachusetts. He grew up in Texas with his mother, Laura (Cunningham), a photographer; his father, Robert Andrew Wilson, an ad exec; and his brothers, Andrew Wilson (the eldest) and Luke Wilson (the youngest). Expelled from St. Mark's School of Texas (Dallas, TX) in the tenth grade, Wilson finished his sophomore year at Thomas Jefferson School and then headed to a military academy in New Mexico. He then attended the University of Texas at Austin, where he met his future mentor and friend, Wes Anderson. They wrote a screenplay, Bottle Rocket (1996), and sent it to their family friend, screenwriter L.M. Kit Carson, who sent it to producer Polly Platt, who gave it to James L. Brooks, who gave the Texans $5 million dollars to make it into a feature film. Despite critical praise, Bottle Rocket (1996) only grossed one million dollars. After making the film, Wilson moved to Hollywood, setting up house with his two brothers and Anderson. Fairly quickly, Owen found himself acting in a series of big budget films, such as The Cable Guy (1996), Das Geisterschloß (1999), Anaconda (1997) and Breakfast of Champions (1999). This led to more work, such as Shanghai Noon (2000), Meet the Parents (2000) and Behind Enemy Lines (2001). He's known not only for his nose, which has been broken several times, but also for his 'free wheeling ways' with a script. He co-wrote the film The Royal Tenenbaums (2001) with his oft partner Wes Anderson.
- IMDb Mini Biography By: (Unknown)
Trade Mark (7)
His mop of blonde hair
Often works with Ben Stiller and his brother Luke Wilson
Often plays extremely mellow and friendly characters
Says 'wow' at least once in almost every movie.
Trivia (39)
Neighbor of Anthony Begonia and middle brother of Luke Wilson and Andrew Wilson.
Cut his chin and had to get stitches during the making of Das Geisterschloß (1999) in the scene where his character Luke is attacking the portrait of Hugh Crane with a candlestick.
Despite being grateful of his success as an actor, he still considers himself a writer at heart and wishes he devoted more time to that rather than acting. Due to a busy schedule as an actor, he sadly had to miss contributing to the script for Wes Anderson's The Life Aquatic with Steve Zissou (2004), despite that he co-wrote Anderson's 3 previous films.
He is known for his improvisational abilities, which he mostly contributes to films other than the more personal ones he does with Wes Anderson. Many of the funniest lines in his movies are his improvisations.
Usually declines to discuss the source of his distinctive-looking nose, which was broken twice. The broken nose was apparently the result of a football injury attained while on the football team in high school (all three Wilson brothers had played high school football, the elder Andrew with the greatest success).
Is a member of what the media refers to as 'The Frat Pack,' along with Will Ferrell, Jack Black, Vince Vaughn, Ben Stiller, Steve Carell, and Luke Wilson. The 'Frat Pack' name is a reference to the film Old School (2003), featuring Vaughn, Ferrell and Luke Wilson, and to the wide number of films featuring the seven actors. Wilson's 'Frat Pack' films include Zoolander (2001), Wedding Crashers (2005), The Royal Tenenbaums (2001), The Cable Guy (1996), and Starsky & Hutch (2004).
Has been in 12 movies with Ben Stiller, up to this date. They are The Cable Guy (1996), Permanent Midnight (1998), Heat Vision and Jack (1999), Meet the Parents (2000), Zoolander (2001), The Royal Tenenbaums (2001), Starsky & Hutch (2004), Meet the Fockers (2004), Night at the Museum (2006), Night at the Museum: Battle of the Smithsonian (2009), Little Fockers (2010), and Night at the Museum: Secret of the Tomb (2014).
He and his brother Luke Wilson were originally meant to play the Malloy brothers in Ocean's Eleven (2001), but dropped out to make The Royal Tenenbaums (2001).
Father was a PBS exec.
When appearing on Australian talk show, Rove Live (2000), he became the 1001st guest on the show. He was appearing with Isla Fisher. Fisher walked out first and therefore became the 1000th. Wilson received a meat tray.
First 'Frat Pack' member to receive an Academy Award nomination.
Was the best man at the wedding of his brother, Andrew Wilson.
Attended his senior year in high school at the New Mexico Military Institute, instead of a normal academic school.
Has been in a relationship with Kate Hudson twice. They originally began a relationship in August 2006, having met on the set of You, Me and Dupree (2006), but they broke up in May 2007. They reconciled in March 2008, only to separate a second time in May 2008.
Never wanted to be an actor, but writing is his passion.
Born to Robert Andrew Wilson, an advertising executive and operator of KERA, a public TV station in Dallas, and his wife Laura Cunningham, a photographer.
Was romantically linked to Demi Moore and Sheryl Crow.
Was taken to St. John's Hospital in Santa Monica, CA after a reported suicide attempt (26 August 2007).
Owen, Andrew and Luke's father was the first to bring Monty Python's Flying Circus (1969) to American TV where he managed KERA, a PBS station, in Dallas, TX.
Became a father for the 1st time at age 42 when his girlfriend Jade Duell gave birth to their son Robert Ford Wilson on January 14, 2011.
Was in a relationship with Federal Air Marshall Jade Duell (December 2009-June 2011).
Along with his co-stars Jenna Fischer, Christina Applegate and Alyssa Milano, Wilson is one of four actors from the film Hall Pass (2011) to become a first-time parent the same year the film was released.
Although often associated with Texas, where he was born and grew up, both of his parents were Irish-American Massachusetts natives who moved to Texas due to his father's work.
Vacationed for a week with Stephen Dorff in Rio de Janeiro, Brazil. [November 2012]
He planned on joining the Marine Corps if Bottle Rocket (1996) had not been successful.
Suffers from and has sought treatment for depression.
Filming Marley & Me (2008) in Philadelphia, PA. [May 2008]
Currently filming Danny Roane: First Time Director (2005) in Los Angeles, California, USA [August 2005]
He visited Argentina for two days. [November 2004]
Currently dubbing his voice in Disney's Pixar Animation film Cars (2006). [May 2005]
Filming Night at the Museum: Battle of the Smithsonian (2009) in Vancouver, Canada. [September 2008]
Is expecting a child with his personal trainer Caroline Lindqvist. Lindqvist revealed that the two of them are not in a relationship, but they are just close friends who decided to have a baby together. Lindqvist filed for divorce from her estranged husband, when she found out she was pregnant with Wilson's child. [October 2013]
Became a father for the 2nd time at age 45 when his personal trainer Caroline Lindqvist gave birth to their son on January 30, 2014.
To date, has appeared in 5 film franchises. 5 that garnered sequels (Shanghai Knights (2003), Meet the Fockers (2004), Night at the Museum: Battle of the Smithsonian (2009), Cars 2 (2011) & the recently announced Zoolander 2 (2016)) & 2 that became trilogies (Little Fockers (2010) and Night at the Museum: Secret of the Tomb (2014)).
Personal Quotes (36)
'It's funny how it usually works out that I end up dying. It sort of works out, because by the time I die, I'm usually tired of working on that particular movie, so I look forward to it.' - about how a lot of his characters end up dying.
'Being in a bathtub with Jackie Chan, I don't know, it has a way of bonding you I'll tell you that. I don't know if there are some weird undertones. It was like we had met in Los Angeles and we didn't have that much to say to each other but, after that bathtub scene, we were great friends. What it really was was that when we'd play off each other, it really was fun. We really did become friends'. - on the bathtub scene in Shanghai Noon (2000).
'The walk off was the most uncomfortable scene for me to shoot, cos I literally have never danced in public or really even in private. I'm not a musical person and we had to dance like Michael Jackson and we had to do breakdancing...' - about the walk off scene in Zoolander (2001).
'Sometimes I stop and think how strange this all is. Something that began as a little idea in Austin, that Wes and I just walked around talking about between ourselves, has turned into all this.' - on how his career has turned out.
You can think of Hollywood as high school. TV actors are freshmen, comedy actors are maybe juniors, and dramatic actors - they're the cool seniors.
'I guess a lot of me in the sense is like Dignan, that's my sense of humor. The stuff that Dignan is doing is what I would do. When we test-screened the movie I realized that not everybody laughed where I did. I realized there's not a big audience for my type of humor. Dignan doesn't have self-awareness. Donald Trump has none either. When I read 'The Art of the Deal' I laughed at that because neither of them realize how funny they are' - about his character Dignan in Bottle Rocket (1996).
[Talking about his relationship with Sheryl Crow and his relationships with women in general]: 'Going out with someone who's doing the same thing as you, who's in the public eye, can be a problem... You want a break when you come home. You don't want someone with the same issues as you maybe reminding you of stuff you don't like in yourself. That being said, I don't think being in the spotlight had anything to do with me and Sheryl not working out. The story of our relationship is the same story I've had with most of my relationships. I was lucky enough to find a great girl and, because of my lack of... focus, the relationship went south'.
We spent so much time together that I can remember us being in our teens and our dad saying we should try to find some other friends because he thought we were our own lowest common denominator when we got together. - on his brothers.
Acting is more fun than writing. Writing is harder, more like having a term paper.
Yes, sometimes people get irritated, starting with my brother Luke in BR. He would get pissed at me, like, 'Why don't you just say the lines that you wrote?' - on whether or not his improvisational skills bother fellow actors.
'Ben, for example, is kind of a moody guy, and you kind of have to put on the kid gloves because you never know which Ben is going to show up on set' - on Ben Stiller.
I can't think of a movie I wish I'd acted in, but there are movies I wish I'd written.
Not Shakespeare. In college I took a Shakespeare class because I was an English major, and they had a Summer program called Shakespeare at Winedale, which is out in the German Hill country in Texas , where you go out and live for two months and then you perform three plays at the end of that time. And people from Austin drive out and see it. I was supposed to be one of the two gentlemen of Verona . And I got out there and I just could not stand being out there. There were also so many lines to memorize that it was just overwhelming for me. So I ended up going home and I got an F.
A buddy movie has to have that beat where one buddy doesn't show up. They hit the same beats as romantic comedies.
At about the same age as I was interested in petrified wood, I was just fascinated with this dumb idea that we only used 10 percent of our brains. I was always thinking, Man, if I could only use 20...
I'm not going to play a guy with MS or a guy in a wheelchair. I can play a dramatic character, certainly, but I'm not the real chameleon-type actor who, you know, changes his voice and everything.
Actually, to be honest, a shotgun wedding might be the way to go for me. You can't stay at the party forever. At some point, you have to take stock and ask yourself, 'What am I doing here?'
To me, being cool is just the opposite of living. It's about not getting too worked up about anything, by being 'Nyah, nyah, nyah,' and no big deal. I can't stand that. It's such a jaded, clichéd posture to take. I get real enthusiastic about stuff. It's what I think is life-affirming.
I thought that I'd be married by the time I was 30 and be starting a family, but it just hasn't worked out that way. I think that there's something about being in Hollywood. I don't know if I'm shallow, but you want to make sure that you make the right choice because you know that it's forever and I didn't realize that I have such a strong scientific side that demands that I experiment with and compare women. - 2005.
'The studio said Bottle Rocket (1996) was their worst-testing movie in history, so I looked into the marines. Maybe I was influenced by An Officer and a Gentleman (1982). Or those marine commercials - they were so cool! Like a Led Zeppelin song come to life, full of people pulling swords from rocks and fighting lava monsters!'.
'The director made that decision not to use my butt...I don't know how to interpret that.' - on having a body double for a scene in You, Me and Dupree (2006).
(On what he enjoys most about being an actor) 'I was reading some Bob Dylan interview where he said, 'It beats nine-to-five. It beat it yesterday, it beats it today, and it will beat it tomorrow.' That's how I feel. I just thank God that I'm able to make a living doing something that I can have a good time doing, and be creative.'
I think there is a middle-child syndrome. I don't know quite what it is, but I think I suffer from it.
There's that great quote from Beckett, I think, 'He had an abiding sense of melancholy that sustained him through brief periods of joy.' I like that, because I'm definitely an up-and-down person.
(Before meeting with James L. Brooks about Bottle Rocket (1996)) Luke and I had a punching fight. I had scratch marks down my face. I had to get on the plane. It's really emotional fighting your brother. We were crying a little bit on the flight. We went to the meeting. It was such a heavy vibe from us, they didn't even ask us what had happened to our faces.
It was maybe easier for my dad to be around Luke. They had more of a connection. Luke looked like my mother and of course, Andrew was the oldest. My dad and I would butt heads.
It's that middle brother syndrome. The older child has a very clear identity, and the baby gets a lot of attention. The middle brother is a little bit in no-man's land. That might give you a little bit of sensitivity, a feeling that you're not clearly on the winning team, you know?
I think of myself as a doom person. I'm a worrier. But I like the idea of being an optimist. Maybe I'm the kind of optimist who deep down knows it's not going to work.
I don't feel like I'm a hundred times happier. Can't we petition someone to make it so that outside stuff is the key to happiness? I'm tired of people always saying, 'It's gotta come from you!' Can't it come from, like, a new pair of shoes?
I don't like caring what other people think, but I do. There's a freedom when you meet someone who doesn't care, who is just themselves in all situations. I had the way I was with my friends, and then my personality with adults, and that's continued a little bit. To just be yourself, and not try to sell anything, or make a good impression, that's something worth striving towards.
The image - being from Texas, the slacker, surfer thing - you don't think of that and see a worrier, an angst-ridden person, I know that. Also, I'm reasonably polite and that puts people at their ease, so they think you are too.
I've started to notice that, as you get older, mental health is as fragile as physical health. I've never had a breakdown, but you can really get sideswiped by stuff like depression. I'm an up-and-down person. That's one thing that girlfriends would complain about. I'm inconsistent, not romantic enough.
[on filming Midnight in Paris (2011)]: I really didn't know, to be honest, whether it was working. This fantastical element when I go on my walks at midnight into this other world. I had my doubts because a lot of the people that I meet are iconic people from history. Who's going to play them? How's that going to work? But then I see the movie and it works. It's one of the best things in the movie. It was great.
[on being cast in The Grand Budapest Hotel (2014)] Sometimes you work on a movie and you're not quite sure. You sense some anxiety in the director, that they're not sure exactly what they want. But with Wes [Anderson] you know he's definitely steering the ship and doing exactly what he thinks is best for the movie.
Wow, these keys are great...! Push this button and your car honks; you can honk from outside your car, it's crazy! I remember back when I was a child I had to go in the car to honk... Wow!
Salary (11)
| Shanghai Noon (2000) | $4,000,000 |
| Zoolander (2001) | $2,000,000 |
| Behind Enemy Lines (2001) | $3,000,000 |
| Starsky & Hutch (2004) | $10,000,000 |
| Wedding Crashers (2005) | $10,000,000 |
| Marmaduke (2010) | $1,000,000 |
| How Do You Know (2010) | $8,000,000 |
| Little Fockers (2010) | $15,000,000 |
| Hall Pass (2011) | $8,000,000 |
| Cars 2 (2011) | $2,500,000 |
| The Big Year (2011) | $8,000,000 |
Directed by
| Luis Llosa |
Writing Credits(WGA)
| Hans Bauer | ... | (written by) and |
| Jim Cash | ... | (written by) & |
| Jack Epps Jr. | ... | (written by) |
Cast (in credits order) verified as complete
| Jennifer Lopez | ... | Terri Flores |
| Ice Cube | ... | Danny Rich |
| Jon Voight | ... | Paul Serone |
| Eric Stoltz | ... | Dr. Steven Cale |
| Jonathan Hyde | ... | Warren Westridge |
| Owen Wilson | ... | Gary Dixon |
| Kari Wuhrer | ... | Denise Kalberg |
| Vincent Castellanos | ... | Mateo |
| Danny Trejo | ... | Poacher |
| Frank Welker | ... | Anaconda (voice) |
Produced by
| Jack Epps Jr. | ... | producer |
| Andy Fickman | ... | associate producer |
| Verna Harrah | ... | producer |
| Carole Little | ... | producer |
| Beau Marks | ... | co-producer |
| Leonard Rabinowitz | ... | producer |
| Stelvio Rosi | ... | line producer |
| Susan Ruskin | ... | executive producer |
Music by
| Randy Edelman |
Cinematography by
| Bill Butler |
Film Editing by
| Michael R. Miller |
Casting By
| Mindy Marin |
Production Design by
| Kirk M. Petruccelli |
Art Direction by
| Barry Chusid |
Set Decoration by
| Daniel Loren May | ... | (as Daniel L. May) |
Costume Design by
| Kathy Monderine |
Makeup Department
| Ken Diaz | ... | makeup artist: Mr. Voight |
| Dino Ganziano | ... | hair stylist: Mr. Voight |
| Donna Barrett Gilbert | ... | key hair stylist |
| Joel Harlow | ... | special makeup effects artist |
| Rob Hinderstein | ... | makeup artist |
| Dayne Johnson | ... | makeup artist |
| Jim Kail | ... | key makeup artist (as James Kail) |
| Sônia Silva | ... | make up: Brazil (as Sonia Regina Silva) |
| Julia Steinberg | ... | assistant hair stylist |
Production Management
| Valeria Costa Amorim | ... | assistant production manager |
| James Dyer | ... | unit production manager (as James R. Dyer) |
| Caíque Martins Ferreira | ... | production manager |
Second Unit Director or Assistant Director
| Xochi Blymyer | ... | second assistant director |
| Bruce Carter | ... | second assistant director |
| K.C. Colwell | ... | first assistant director |
| Kátia Lund | ... | first assistant director: Brazil |
| Beau Marks | ... | second unit director |
| Lisanne Sartor | ... | second second assistant director |
| Rosemarie Unite | ... | second second assistant director: Los Angeles |
Art Department
| Jon Aguilar | ... | set dresser |
| Randy Bostic | ... | lead man |
| Cristina Cirne | ... | set dresser: Brazil |
| Elixandro Diaz Jr. | ... | plaster supervisor |
| Joseph C. Fama | ... | general foreman (as Joe Fama) |
| Tracy Farrington | ... | property master |
| John French | ... | gang boss |
| Joey Genitempo | ... | on-set scenic: re-shoots |
| Serge Genitempo | ... | stand-by painter |
| Peter Gornstein | ... | concept artist |
| Justin J. LaPresle | ... | propmaker |
| Thomas W. Lay Jr. | ... | production illustrator |
| Adam Martyn | ... | sculptor-mouldmaker |
| Louis Medrano | ... | painter |
| Barbara Mesney | ... | set designer |
| Michael Muscarella | ... | construction coordinator (as Michael A. Muscarella) |
| David Napoli | ... | set dresser |
| David J. Negron Jr. | ... | storyboard artist |
| Andrew Neskoromny | ... | set designer |
| Tom Reta | ... | assistant art director |
| Michael Sarley | ... | storyboard artist |
| John Sweeney | ... | assistant propmaster |
| Ron Ashmore | ... | paint supervisor (uncredited) |
| Beatriz Castro | ... | construction coodinator: Brazil (uncredited) |
| Glen Harmon | ... | greens supervisor (uncredited) |
| Monica Rochlin | ... | assistant props: Brazil (uncredited) |
| Robert Silcock | ... | prop maker (uncredited) |
Sound Department
| Douglas B. Arnold | ... | sound mixer |
| John H. Arrufat | ... | dialogue editor |
| Steve Birkett | ... | boom operator |
| Destiny Borden | ... | first assistant sound editor |
| Steve Cain | ... | cable person |
| Simon Coke | ... | sound effects editor |
| Henry Dobson | ... | dubbing supervisor: international versions |
| Ronald Eng | ... | dialogue editor |
| Ed Fassl | ... | sound effects editor |
| Richard C. Franklin | ... | supervising sound editor |
| Nerses Gezalyan | ... | foley mixer / sound mixer |
| Hector C. Gika | ... | sound effects editor |
| Avram D. Gold | ... | adr editor |
| Kimberly Harris | ... | adr supervisor (as Kimberly Harris-Rivolier) |
| Gary A. Hecker | ... | foley artist |
| Drake Jenevein | ... | assistant sound editor |
| Daniel J. Leahy | ... | re-recording mixer |
| Larry Mann | ... | foley editor |
| Tony Negrete | ... | assistant sound editor |
| Mark Pappas | ... | foley editor |
| Nico Salvato | ... | adr assistant (as Monique Salvato) |
| Gregory H. Watkins | ... | re-recording mixer |
| Jeffrey Wilhoit | ... | foley artist |
| Gary Wright | ... | dialogue editor |
| David Yaffe | ... | sound mixer: replacement mixer |
Special Effects by
| Tony Allard | ... | special effects technician |
| Steve Blumenkrantz | ... | animatronic effects |
| Ty Boyce | ... | animatronic snakes / electrical/hydraulic designer |
| Darrell Burgess | ... | special effects technician |
| Dave Caldwell | ... | animatronic effects |
| Terry Chapman | ... | special effects foreman |
| Walt Conti | ... | animatronics effects |
| Manuel Contreras | ... | animatronic effects |
| Alan Cooney | ... | animatronic effects |
| Charles E. Dolan | ... | special effects foreman |
| Stephanie Englert | ... | animatronic effects |
| Chuck Gaspar | ... | special effects supervisor |
| Joss Geiduschek | ... | animatronic effects |
| David Hoehn | ... | creature effects prosthetics artist: Edge Innovations |
| Nori Honda | ... | sculptural designer: Steve Johnson's XFX Inc |
| Jonathan Horton | ... | animatronic effects |
| Tom Hsiu | ... | animatronic effects |
| Nancy Huffman | ... | special effects assistant: animatronic effects |
| Dana Klaren | ... | special effects technician |
| David Knight | ... | animatronic effects |
| Krissy Luster | ... | animatronic effects |
| John Raff | ... | animatronic effects |
| Gary Reyes | ... | animatronic effects |
| Edward Roberts | ... | animatronic effects |
| Alan Schier | ... | animatronic effects |
| John Titus | ... | animatronic effects |
| Tim Walkey | ... | special effects foreman |
| John Williams | ... | animatronic effects |
| Mitchell Barham | ... | animatronic snakes (uncredited) |
| Rich E. Cordobes | ... | special effects technician (uncredited) |
| Dirk Rogers | ... | special effects technician: Altered Anatomy EFX (uncredited) |
Visual Effects by
| Scott Anderson | ... | visual effects editor: SPI |
| Elisabeth Arko | ... | technical assistant |
| Bill Houston Ball | ... | visual effects |
| Jacquie Barnbrook | ... | visual effects coordinator |
| Travis Baumann | ... | digital artist: CFC |
| Jim Berney | ... | technical director: SPI |
| John Berri | ... | assistant visual effects editor |
| Allen Blaisdell | ... | visual effects photography |
| Colin Campbell | ... | compositing lead |
| Rusty Case | ... | senior systems architect |
| Anthony Ceccomancini | ... | pre-visualization coordinator |
| John Decker | ... | digital artist |
| Thomas R. Dickens | ... | lead prop modeler: SPI |
| Rob Engle | ... | software developer |
| Darcy Fray | ... | visual effects coordinator |
| Robin Griffin | ... | visual effects producer |
| Michael S. Harbour | ... | digital artist |
| Ralph Horan | ... | executive producer: visual effects |
| Martin A. Kline | ... | visual effects art director |
| Kelvin Lee | ... | lead animator |
| Ann Monn | ... | visual effects artist |
| John Nelson | ... | visual effects supervisor |
| Felix Ojeda | ... | digital artist |
| Janek Sirrs | ... | visual effects |
| Serge Sretschinsky | ... | supervising technical director |
| David Tanner | ... | software engineer |
| Aileen Timmers | ... | visual effects producer |
| Audrea Topps Harjo | ... | software production coordinator |
| Michael J. Travers | ... | digital artist: SPI |
| Barry Weiss | ... | senior staff: SPI |
| Manny Wong | ... | creature animator |
| Terrence Masson | ... | animation consultant (uncredited) |
| Paul McGhee | ... | film scanning and recording (uncredited) |
| Hal Miles | ... | digital artist (uncredited) |
| Lance Powell | ... | technical coordinator (uncredited) |
| Attila Veress | ... | film scanner operator (uncredited) |
Stunts
| Jennifer Badger | ... | stunts |
| Sandy Berumen | ... | stunts |
| Nick Brett | ... | stunts |
| Phil Culotta | ... | stunts |
| Carol Daniels | ... | stunts |
| J. Mark Donaldson | ... | stunts |
| Richard Epper | ... | stunts |
| Patricia Eskenazi | ... | stunt double: Kari Wehrer |
| Stephanie Finochio | ... | stunt double |
| Mickey Giacomazzi | ... | stunts |
| Terry Jackson | ... | stunt double: Jonathan Hyde |
| Terry James | ... | stunts |
| Jim McConnell | ... | stunts |
| Hugh Aodh O'Brien | ... | stunts (as Hugh O'Brien) |
| Chuck Picerni Jr. | ... | stunts |
| Denney Pierce | ... | stunts |
| Jeff Podgurski | ... | stunts |
| Dennis Scott | ... | stunts |
| Mike Smith | ... | stunts |
| Patrick J. Statham | ... | stunts |
| Dain Turner | ... | stunts |
| Tierre Turner | ... | stunts |
| Eddie L. Watkins | ... | stunts (as Eddie Watkins) |
| April Weeden | ... | stunts |
| Webster Whinery | ... | stunt coordinator |
Camera and Electrical Department
| Wayne Baker | ... | underwater assistant camera |
| Gary A. Beaird | ... | grip (as Gary 'Bullet' Beaird Jr.) |
| Roy Bean | ... | video assist operator |
| Marcela Bourseau | ... | second assistant camera |
| Robert C. Carlson | ... | steadicam assistant |
| Laurence Cropley | ... | lighting technician |
| Thomas M. Dangcil | ... | lighting technician |
| Tammy Fouts | ... | second assistant camera |
| Walt Fraser | ... | camera operator |
| Casey Jones | ... | grip |
| Ron Kunecke | ... | night light operator |
| Amy La Licata | ... | second assistant camera |
| David Maddux | ... | gaffer |
| Jim Marquette | ... | assistant camera |
| Joe Martens | ... | lighting technician |
| John Martens | ... | lighting technician |
| Marcos Menescal | ... | second assistant camera: Brazil |
| Michael Douglas Middleton | ... | still photographer: Sony Imageworks Publicity |
| Pedro Moraes | ... | camera trainee |
| Edward C. Peters | ... | dolly grip (as Edward Peters) |
| Gu Ramalho | ... | camera loader / second assistant camera |
| Van Redin | ... | still photographer |
| Pete Romano | ... | underwater photographer |
| Walter Royle | ... | best boy grip (as Walter Royle Jr.) |
| Toca Seabra | ... | aerial camera operator: Brazil |
| Eduardo Segovia | ... | gaffer: Brazil |
| Rick Senteno | ... | assistant chief lighting technician |
| Philip Sloan | ... | key grip |
| Cliff Sperry | ... | best boy grip |
| Alex Touyarot | ... | first assistant camera |
| Robert Ulland | ... | steadicam operator |
| Nilo Vital | ... | key grip: Brazil |
| Tim Collins | ... | grip (uncredited) |
Animation Department
| David Simmons | ... | animator |
| David B. Vallone | ... | animator |
Casting Department
| Debora Da Silva Medeiros | ... | extras casting: Brazil |
| John Papsidera | ... | casting associate |
Costume and Wardrobe Department
| Gala Autumn | ... | set costumer |
| Roberto Carneiro | ... | costumer |
| Bridgitte Ferry | ... | costumer |
| Inéz Salgado Miranda | ... | wardrobe assistant: Brazil |
| Maria Beatriz B. Salgado | ... | wardrobe assistant: Brazil |
Editorial Department
| Dale E. Grahn | ... | color timer |
| Mo Henry | ... | negative cutter |
| Lisa Kramer | ... | apprentice editor |
| Margaret Liu | ... | assistant film editor |
| Gregg London | ... | additional film editor |
| Benjamin Rapoport | ... | assistant film editor |
Location Management
| Flavio Chaves | ... | location manager: Brazil |
| Jane E. Graves | ... | assistant location manager |
| Ricardo Karam | ... | location liaison: Brazil |
| Deborah Laub | ... | location manager |
Music Department
| Elton Ahi | ... | scoring engineer |
| Tom Boyd | ... | musician: oboe soloist |
| Sandy DeCrescent | ... | orchestra contractor |
| Joanie Diener | ... | music editor |
| Randy Edelman | ... | conductor |
| Gary A. Hecker | ... | anaconda vocal effects |
| Stephen Lotwis | ... | music editor |
| James Thatcher | ... | musician: french horn |
| John Beal | ... | composer: trailer (uncredited) |
| Ralph Ferraro | ... | orchestrator (uncredited) |
Transportation Department
| Lizette Martins de Lima | ... | transportation office manager: Brazil |
| Robert Hunter Jr. | ... | transportation captain (as Robert Hunter) |
| Greg Nutt | ... | transportation captain |
| Gregory Nutt | ... | transportation co-captain |
| John F. Teeple | ... | driver |
| Leo Wery | ... | transportation captain: Brazil |
Other crew
| Geoff Abadee | ... | logistics |
| Fred Aghajanian | ... | production assistant |
| Elizabeth S. Barton | ... | script supervisor (as Elizabeth Barton) |
| Wade Beckett | ... | production assistant |
| Hélio Bodini | ... | production assistant: Brazil (as Helio Bodini) |
| Kevin A. Canamar | ... | construction medic |
| Craig Comstock | ... | production assistant |
| Pat Curtin | ... | marine coordinator: Brazil |
| Paul Emmons | ... | Medic |
| Alison Ferber | ... | assistant: Mr. Llossa |
| Tiffany Fraser | ... | first assistant accountant (as Tiffany Reinhard) |
| Helen Gabrielle Gliniak | ... | production assistant (as Gabrielle Gliniak) |
| Vanessa Grayson | ... | stand-in |
| Richard Harrah | ... | production executive |
| Justine Hebron | ... | assistant production coordinator |
| Rebecca Hilliard | ... | assistant: Mr. Marks |
| Girish Johar | ... | marketing & distribution |
| Todd Johnson | ... | craft service |
| Karen Juncosa | ... | assistant: Ms. Harrah |
| Gene Kelly | ... | production accountant |
| Tracy L. Kettler | ... | assistant production coordinator |
| Kristen Kurczak | ... | production assistant |
| Marcus Le Bov | ... | production assistant |
| Rock LeRoy | ... | caterer |
| Jim Marquette | ... | technical supporter |
| Kris Fullan Martinez | ... | production coordinator |
| Bertram McCann | ... | marine coordinator |
| Phil Minsky | ... | caterer |
| Michael Neal | ... | payroll accountant |
| Pete Nichols | ... | marine water coordinator: Brazil |
| William O'Dwyer Fogtman | ... | production advisor: Brazil |
| Adeniyi Paris | ... | production assistant |
| Ronn Riser | ... | assistant: Ice Cube (as Ronald Riser) |
| Arlene Rodriguez | ... | assistant: Ms. Lopez |
| Nancy Rosing | ... | production coordinator: re-shoots |
| Betsy Sullenger | ... | assistant: Ms. Ruskin |
| Gloria Tacchino | ... | assistant: Mr. Stoltz |
| Sharon B. Taksel | ... | post-production accountant |
| Mira Tweti | ... | unit publicist |
| Leone Marucci | ... | production assistant (uncredited) |
| Ernest Rister | ... | production assistant (uncredited) |
Thanks
| Napoleon A. Chagnon | ... | special thanks |