| Photos (see all 28 | slideshow) | Videos (see all 11) |
| Ryan Reynolds | ... | Gary / Gavin / Gabriel | |
| Melissa McCarthy | ... | Margaret / Melissa / Mary | |
| Hope Davis | ... | Sarah / Susan / Sierra | |
| Elle Fanning | ... | Noelle | |
| David Denman | ... | Parole Officer / Agitated Man | |
| Octavia Spencer | ... | Streetwalker | |
| Ben Falcone | ... | Himself | |
| Dahlia Salem | ... | Herself | |
| John Gatins | ... | Himself | |
| Andy Fielder | ... | Moderator | |
| Jodi Sellards | ... | Piano Player | |
| Greg Baine | ... | Delivery Boy | |
| Martin Yu | ... | Focus Group Participant #1 | |
| Gregg Naaman | ... | Focus Group Participant #2 | |
| Lorene Scafaria | ... | Game Night Guest | |
| Jim Rash | ... | Game Night Guest | |
| Rawson Marshall Thurber | ... | Game Night Guest | |
| Dan Jinks | ... | Game Night Guest | |
| rest of cast listed alphabetically: | |||
| Sean Andrews | ... | Officer Cooper (uncredited) | |
| Nicholas Garren | ... | Russian Drug Dealer (uncredited) | |
| Malia Herrick | ... | Check-in girl (uncredited) | |
| Ben Kermode | ... | Focus group participant #3 (uncredited) | |
| Howard A. Rodman | ... | Himself (uncredited) | |
| Ellen Treanor | ... | Christine Walsh (uncredited) | |
Directed by | |||
| John August | |||
Writing credits(WGA) | ||
| John August | (written by) | |
Produced by | |||
| Bruce Cohen | .... | producer | |
| Dan Etheridge | .... | producer | |
| Dan Jinks | .... | producer | |
| Todd King | .... | co-producer | |
Original Music by | |||
| Alex Wurman | |||
Cinematography by | |||
| Nancy Schreiber | |||
Film Editing by | |||
| Douglas Crise | |||
Art Direction by | |||
| E. Colleen Saro | (as Colleen Saro) | ||
Set Decoration by | |||
| Christopher Marsteller | |||
Costume Design by | |||
| Molly Grundman | |||
Makeup Department | |||
| Romy Fleming | .... | hair department head | |
| Paula Jane Hamilton | .... | makeup department head | |
Production Management | |||
| Brigitte Mueller | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Howard Butler | .... | day player second second assistant director | |
| Shelly Heyward | .... | second second assistant director | |
| Mark G. Mathis | .... | first assistant director (as Mark Mathis) | |
| Ryan Ramos | .... | second assistant director | |
| Anneke Scott | .... | second second assistant director | |
Art Department | |||
| Matt Center | .... | additional swing | |
| Ara Darakjian | .... | additional swing | |
| Gregory M. Edgar | .... | property master | |
| Vincent Lucido | .... | storyboard artist | |
| Rebecca Rosenthal | .... | on-set dresser | |
| Ilya Seperich | .... | additional property assistant | |
| Russell Tamashiro | .... | additional swing | |
Sound Department | |||
| Richard Adrian | .... | sound designer | |
| Kevin Becker | .... | boom operator | |
| Michael Brown | .... | foley supervisor | |
| Monroe Cummings | .... | sound mixer: video unit | |
| Rene Defrancesch | .... | additional boom operator | |
| James Dehr | .... | sound mixer | |
| Mark Ettel | .... | sound re-recording mixer | |
| John Fairlamb | .... | field recordist | |
| Darrell Hanzalik | .... | adr supervisor | |
| Yagmur Kaplan | .... | adr mixer | |
| Anthony Krajchir | .... | sound engineer | |
| Sylvain Loiseau | .... | post-production audio manager | |
| Matthew Nicolay | .... | sound mixer | |
| Phillip Perpich | .... | field recordist | |
| Jeff Prosser | .... | foley mixer | |
| Christopher Sheldon | .... | supervising sound editor | |
| Steven Utt | .... | sound engineer | |
| David Warburton | .... | post facility coordinator | |
| Stacey A. Washer | .... | boom operator | |
Visual Effects by | |||
| Kevin R. Browne | .... | digital artist | |
| Marie Victoria Denoga | .... | digital compositor | |
| Buddy Gheen | .... | visual effects | |
| Danny S. Kim | .... | visual effects | |
| Vincent Lavares | .... | data manager: Laser Pacific | |
| Migs Rustia | .... | visual effects editor | |
| Doug Witsken | .... | digital compositor | |
Stunts | |||
| Hiro Koda | .... | stunt coordinator | |
| Larry A. Lee | .... | car stunt rigging | |
Costume and Wardrobe Department | |||
| Samantha Schwartz | .... | wardrobe intern | |
| Kia Tyrrell | .... | key costumer | |
Editorial Department | |||
| Kenny Becker | .... | color timer | |
| Denise Crise | .... | assistant editor | |
| Mike Sowa | .... | digital intermediate colorist | |
Music Department | |||
| Christine Bergren | .... | music clearance | |
| Julianne Jordan | .... | music supervisor | |
| Jen Pray | .... | music clearance | |
| John Rodd | .... | music mixer: song "Is That All There Is" | |
Transportation Department | |||
| Andrea Clemente | .... | driver | |
| Paul Feddersen | .... | transportation coordinator | |
| Gary Lowrance | .... | driver | |
| Dennis Matsuoka | .... | driver | |
| Colleen Rea | .... | driver | |
| Craig Shenk | .... | driver | |
Other crew | |||
| Carina Angeli | .... | additional stand-in | |
| Ruth Auerbach | .... | studio teacher | |
| Ben Bernard | .... | additional production assistant | |
| Eva Bloom | .... | stand-in | |
| Tom Brickner | .... | key set production assistant | |
| Judith M. Brown | .... | studio teacher | |
| Aimee Burton | .... | craft service | |
| Lisa Collins | .... | script supervisor | |
| Greg Cooper | .... | production assistant | |
| Chad Gomez Creasey | .... | assistant: John August (as Chad Creasey) | |
| Patrick Duchesne | .... | caterer | |
| Michael J. Escobar | .... | assistant production coordinator | |
| Alex Farrington | .... | set medic | |
| Ray Fortman | .... | additional production assistant | |
| Paizley Kirk | .... | additional stand-in | |
| Catie Laffoon | .... | additional production assistant | |
| Ket Lamb | .... | photo double | |
| Ket Lamb | .... | stand-in | |
| Mark Leone | .... | production assistant | |
| Don Mann | .... | location manager | |
| Mike Mannino | .... | production assistant | |
| Lisa McNeil | .... | script supervisor: re-shoots | |
| Gary Mitchell | .... | additional production assistant | |
| Tyjuan Mitchell | .... | additional production assistant | |
| Gregg Naaman | .... | production assistant | |
| J.C. Oburgh | .... | key accounting assistant | |
| James Payne | .... | production accountant | |
| Jessica Plautz | .... | location assistant | |
| Hailey Reid | .... | additional stand-in | |
| Tim Rogier | .... | assistant: Dan Jinks and Bruce Cohen | |
| Linde Sayles | .... | production assistant | |
| Julie Solomon | .... | location manager: New York | |
| John Parker Sullivan | .... | production assistant | |
| Clio Tegel | .... | production coordinator | |
| Ryan Throckmorton | .... | additional production assistant | |
| Ivan Van Norman | .... | additional production assistant | |
| Brett Williams | .... | location assistant | |
| Ryan Witherspoon | .... | production assistant | |
| Warner Loughlin | .... | acting coach (uncredited) | |
| Irwin M. Rappaport | .... | production attorney (uncredited) | |
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As I sat in the packed Sundance theater watching the final scene of John August's, The Nines, I shuttered. The film had sent chills down my spine, and it lasted into the night. The script was brilliant beyond anything I have ever experienced, the character development between the three parts dissecting the film was astonishing. The metaphorical tie- ins left your mind racing and your imagination spinning. It was not ironic in a sense that it allowed you to contemplate the scenarios that had just unveiled. John August is a brilliant writer and holds himself magnificently in front of the film industry. Ryan Reynolds blew me away and Melissa McCarthy was amazing. The character interaction between them and Hope Davis reflected on the complexity of the dialogue and scene structure. The film is broken into three intertwining sections, serving as "acts" that play into a plot scheme that defies the contemporary and conformist thought of todays screenplay writers.
The best to come from sundance this year... by far. John August matches Charlie Kaufman as a writer, and parallels Michel Gondry as a director He is outstanding in himself The film is one to reckon with and hopefully will hit the big screens but last its authentic, rare, independent flavor.