| Fotos (Alle 5 | Diashow) |
| Matthew Macfadyen | ... | Daniel (as Matthew MacFadyen) | |
| Keeley Hawes | ... | Jane | |
| Andy Nyman | ... | Howard | |
| Ewen Bremner | ... | Justin | |
| Daisy Donovan | ... | Martha | |
| Alan Tudyk | ... | Simon Smith | |
| Jane Asher | ... | Sandra | |
| Kris Marshall | ... | Troy | |
| Rupert Graves | ... | Robert | |
| Peter Vaughan | ... | Uncle Alfie | |
| Thomas Wheatley | ... | Reverend Davis | |
| Peter Egan | ... | Victor | |
| Peter Dinklage | ... | Peter | |
| Brendan O'Hea | ... | Undertaker | |
| Jeremy Booth | ... | Mourner | |
| Angela Curran | ... | Sandra's Friend | |
| übrige Besetzung in alphabetischer Reihenfolge: | |||
| Kelly Eastwood | ... | Katie | |
| Gareth Milne | ... | Edward | |
Regie | |||
| Frank Oz | |||
Buch(WGA) | ||
| Dean Craig | (written by) | |
Produktion | |||
| Philip Elway | .... | executive producer | |
| Andreas Grosch | .... | executive producer | |
| William Horberg | .... | executive producer | |
| Josh Kesselman | .... | co-producer | |
| Sidney Kimmel | .... | producer | |
| Alex Lewis | .... | co-producer | |
| Laurence Malkin | .... | producer | |
| Diana Phillips | .... | producer | |
| Share Stallings | .... | producer | |
| Bruce Toll | .... | executive producer | |
| Bruce Webb | .... | co-producer | |
Originalmusik | |||
| Murray Gold | |||
Kamera | |||
| Oliver Curtis | |||
Schnitt | |||
| Beverley Mills | |||
Casting | |||
| Gail Stevens | |||
Szenenbild | |||
| Michael Howells | |||
Bauten/Dekorationsbau (art directors) | |||
| Lynne Huitson | (supervising art director) | ||
| Matthew Robinson | |||
| Andy Tomlinson | |||
Bühnenbildner/Ausstatter (set decorators) | |||
| Judy Farr | |||
Kostüme | |||
| Natalie Ward | |||
Maske/Frisuren | |||
| Julie Dartnell | .... | hair stylist | |
| Julie Dartnell | .... | makeup artist | |
| Frances Hannon | .... | chief hair stylist | |
| Frances Hannon | .... | chief makeup artist | |
| Marilyn MacDonald | .... | hair stylist | |
| Marilyn MacDonald | .... | makeup artist | |
| Gemma Richards | .... | hair stylist | |
| Gemma Richards | .... | makeup artist | |
Produktionsleiter (production managers) | |||
| Stephen Barker | .... | post-production supervisor | |
| Kerstin Dyroff | .... | production manager: VIP Medienfons | |
| Richard Hewitt | .... | unit production manager | |
| Mike Morrison | .... | production manager | |
| Hugo Smith-Bingham | .... | unit manager | |
| Aaron Merrell | .... | director of production: SKE (uncredited) | |
Regieassistenten | |||
| Joey Coughlin | .... | third assistant director | |
| Sean Guest | .... | first assistant director | |
| James Haven | .... | second assistant director | |
| Sarah MacFarlane | .... | second second assistant director | |
Ausstattung (Stab) | |||
| Bruce Bigg | .... | property master | |
| Matthew Broderick | .... | props | |
| Graham Caulfield | .... | drapes master | |
| Graham Caulfield | .... | upholstery | |
| Ged Dale | .... | prop storeman | |
| Robert J. Dugdale | .... | scenic artist | |
| James Fennessy | .... | stand-by painter (as Jim Fennessy) | |
| Hal Forbes-Adam | .... | art department work experience | |
| John Greaves | .... | storyboard artist | |
| Peter Hasler | .... | dressing propman | |
| Robert Irvine | .... | stand-by painter | |
| Paul Lynford | .... | stand-by carpenter | |
| Katie MacGregor | .... | art department assistant | |
| Lisa Meller | .... | art department work experience | |
| Mitch Niclas | .... | stand-by propman | |
| Warren Stickley | .... | dressing propman | |
| Lee Thurbun | .... | construction chargehand | |
| Stuart Watson | .... | construction manager | |
| Max Woodhead | .... | art department work experience | |
Ton Stab | |||
| Lucy Barnes | .... | foley artist | |
| Phillip Mark Freudenfeld | .... | foley recordist | |
| Rachel H. Gibson | .... | foley editor | |
| Steve Gilman | .... | assistant sound | |
| Stephen Gilmour | .... | cableperson | |
| Peter Gleaves | .... | adr mixer | |
| Tim Hands | .... | supervising sound editor | |
| Mary Whitby James | .... | foley artist | |
| Philip Jenkins | .... | assistant re-recording mixer | |
| John Midgley | .... | sound mixer | |
| Clive Osborne | .... | sound maintenance | |
| Adrian Rhodes | .... | sound effects editor | |
| Adrian Rhodes | .... | sound re-recording mixer | |
| Gavin Rose | .... | assistant sound editor | |
| Ruth Sullivan | .... | foley artist | |
Visual Effects | |||
| Louie Alexander | .... | retouch and restoration: Framestore CFC | |
| Ben Baker | .... | head of digital lab: Framestore CFC | |
| Helen Bunker | .... | digital compositor | |
| Jason Burnett | .... | scanning and recording: Framestore CFC | |
| Andy Burrow | .... | scanning and recording manager: Framestore CFC | |
| Erik Dehkhoda | .... | digital retouching | |
| Jerome Dewhurst | .... | digital lab engineer: Framestore CFC | |
| Paul Doogan | .... | scanning and recording: Framestore CFC | |
| Eric D'Souza | .... | digital lab engineer: Framestore CFC | |
| James D. Fleming | .... | digital artist: Framestore CFC | |
| Joe Godfrey | .... | scanning and recording: Framestore CFC | |
| Adam Hawkes | .... | retouch and restoration: Framestore CFC | |
| Jan Hogevold | .... | executive producer: Framestore CFC | |
| Yan Jennings | .... | film mastering engineer: Framestore CFC | |
| David Johnston | .... | data operator: Framestore CFC | |
| Brian Krijgsman | .... | colourist: Framestore CFC | |
| Aaron Lear | .... | retouch and restoration: Framestore CFC | |
| Adrian Lee | .... | digital I/O: Cinesite | |
| Ben Lock | .... | visual effects producer | |
| Kevin Lowery | .... | film mastering engineer: Framestore CFC | |
| Sarah Micallef | .... | digital intermediate producer: Framestore CFC | |
| Mike Morrison | .... | production manager: Framestore CFC | |
| Savneet Nagi | .... | retouch and restoration: Framestore CFC | |
| Guy Nesfield | .... | data operator | |
| Stuart Nippard | .... | retouch and restoration: Framestore CFC | |
| Dan Perry | .... | scanning and recording: Framestore CFC | |
| Ian Redmond | .... | digital lab engineer: Framestore CFC | |
| Sue Rowe | .... | visual effects supervisor | |
| Aatesh Shah | .... | systems engineer: Framestore CFC | |
| Donna Smith | .... | editorial: Framestore CFC | |
| Vishal Songara | .... | data operator: Framestore CFC | |
| Nick Stanley | .... | retouch and restoration: Framestore CFC | |
| Odean Thompson | .... | retouch and restoration: Framestore CFC | |
| Shahin Toosi | .... | digital paint & roto artist: Framestore CFC | |
| Dan Victoire | .... | data operator: Framestore CFC | |
| Simon Wessely | .... | scanning and recording: Framestore CFC | |
| Annabel Wright | .... | conform editor: Framestore CFC | |
Stunts | |||
| Nick Hobbs | .... | stunt driver | |
| Gareth Milne | .... | stunt coordinator | |
| Peter Pedrero | .... | stunt rigger | |
Kamera und Elektrik (Stab) | |||
| Camilla Drennan | .... | clapper loader | |
| Camilla Drennan | .... | second assistant camera: "a" camera | |
| John Fenelly | .... | stand-by rigger | |
| Dan Garlick | .... | second grip | |
| Jo Gibbs | .... | additional camera loader (as Joanna Gibbs) | |
| Lee Godfrey | .... | camera trainee | |
| Stuart Godfrey | .... | grip | |
| Keith Hamshere | .... | still photographer | |
| Dylan Jones | .... | video playback operator | |
| Kenny Monger | .... | best boy | |
| James Perry | .... | camera trainee | |
| Tom Scott | .... | rigger | |
| Hilda Sealy | .... | focus puller | |
| Paul Toomey | .... | gaffer | |
Casting (Stab) | |||
| William Davies | .... | casting associate | |
| Will Davis | .... | casting assistant | |
| Louis Elman | .... | adr voice casting | |
Kostüm und Garderobe (Stab) | |||
| Mark Ferguson | .... | assistant costume designer | |
| David Otzen | .... | costume assistant | |
| Tamsin Wright | .... | costume assistant | |
Schnitt (Stab) | |||
| Gavin Buckley | .... | assistant editor | |
| Marc Eskenazi | .... | on-line editor | |
| Natasha Marsh | .... | post-production coordinator | |
| Edward Randolph | .... | apprentice editor | |
| Matthew Streatfield | .... | assistant editor: Technicolor | |
Musik (Stab) | |||
| Becky Bentham | .... | music supervisor | |
| Paul Clarvis | .... | musician: drums | |
| Mitchell Dalton | .... | musician: guitar (as Mitch Dalton) | |
| Philippa Davies | .... | musician: alto flute and flute | |
| Olga FitzRoy | .... | assistant music engineer | |
| Ben Foskett | .... | additional orchestrator | |
| Ben Foskett | .... | music preparation | |
| Ben Foster | .... | conductor | |
| Ben Foster | .... | orchestrator | |
| Tracey Goldsmith | .... | musician: accordion | |
| Dave Hartley | .... | musician: piano | |
| Jake Jackson | .... | music recording mixer | |
| Allan Jenkins | .... | music editor | |
| Gary Kettel | .... | musician: percussion | |
| Steve McManus | .... | musician: double bass | |
| John Parricelli | .... | musician: guitar | |
| Nyree Pinder | .... | music supervisor | |
| Owen Slade | .... | musician: tuba | |
| Mark Tucker | .... | music mixer | |
| Mark Tucker | .... | music score recording engineer | |
Transporte | |||
| Phil Allchin | .... | transportation captain | |
| Gary Barnes | .... | daily unit driver | |
| Guy Bostock | .... | vehicle coordinator | |
| Peter Collins | .... | daily unit driver | |
| Mike Elliott | .... | driver: director | |
| Tony Jayes | .... | daily unit driver | |
| Roy Kirkman | .... | daily unit driver | |
| Vic Minay | .... | unit driver | |
| Abbi Ozturk | .... | unit driver | |
| Terry Rhys | .... | unit driver | |
Restlicher Stab | |||
| Cassandra Barbour | .... | rights and clearances | |
| Finn Brandt | .... | title designer | |
| Kate Brontë-Stewart | .... | floor runner | |
| Julie Burnham | .... | unit nurse | |
| Donna Casey | .... | second assistant accountant | |
| Hannah Collett | .... | assistant coordinator | |
| Paul Davies | .... | stand-in | |
| Rod Haak | .... | location manager | |
| Florian Harms | .... | legal counsel: VIP | |
| Steve Hart | .... | key location scout | |
| Julia Hilliard | .... | assistant: Share Stallings and Larry Malkin | |
| Simon Hill | .... | first assistant accountant | |
| Mick Hurrell | .... | health and safety officer | |
| Julia Jones | .... | unit publicist | |
| Sandrine Loisy | .... | set production assistant | |
| Natasha Marsh | .... | assistant: Frank Oz | |
| Eva Neufahrt | .... | production controller: VIP Medienfonds | |
| Nick Pearson | .... | construction nurse | |
| Gemma Louise Read | .... | floor runner | |
| Sue Roberts | .... | travel services: UK Travels | |
| Julie Roze | .... | production runner | |
| Laura Sevier | .... | rights and clearances | |
| Tom Fenwick Smith | .... | production runner | |
| Maxine Stanley | .... | post-production accountant | |
| Trevor Stanley | .... | production accountant | |
| Isobel Thomas | .... | production coordinator | |
| Elizabeth West | .... | script supervisor | |
| Berit Wetzel | .... | legal counsel: VIP | |
| Sylvi Woitusch | .... | production assistant: VIP Medienfonds | |
| San San F. Young | .... | assistant: Diana Phillips | |
| Chris Wilson | .... | stand-in (uncredited) | |
Widmungen und Dankeschöns | |||
| Joel Mendoza | .... | special thanks | |
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The laughs begin during the animated credits which prepares the film going public for the buffoonery to follow. Death at a Funeral (DaaF) is directed by Frank Oz. Because of the nature of this film I believe Mr. Oz is paying homage to the late, great, director, Robert Altman, particularly his film A Wedding. Both A Wedding and DaaF are both off beat, extremely, funny, and very non-typical of weddings and funerals, in which they both portray. In tribute to Mr. Altman, Mr. Oz also uses an ensemble cast of well known actors by face but not by name. The audience has seen their work and in this film they most definitely make you laugh. This is an adult comedy with an R rating for adult themes, nudity, recreational drug use, religious issues, postmortem issues, and the absurdity about death. Remember this is an adult comic opera taken to the extreme. At this funeral the mourners may come with their inhabitation's in check but due to the outlandish antics of many of the other grievous members assembled, all of the gathered, loose all claim to sanity. The audience becomes one with the collected zany members of this grieving group. Since the players on film have lost their inhabitation's so to does the audience. Remember this is an adult, knee slapping, laugh out loud farce. This film is outrageously funny, in an adult vein, not intended for children. If you go to a sporting event, after you have paid for your ticket and bought your seat, people around you cheer, yell, scream and sometimes even in funny costumes as well. A film house is the same communally shared type of experience and environment for entertainment but patrons of the silver screen tend to hold their laughter within, as of being afraid of upsetting the patron in the next seat. Is it not time to unshackle this age old concept and enjoy yourself along with others? I am certain that is the reason why Frank Oz made this film, so the audience could laugh and laugh at themselves. I personally want to thank you Mr. Oz for the laughter and the comedy of Death at a Funeral.