A work in constant progress (and occasional regress).
Release Date:
July 3, 1997
Original Title:
Bean
Alternate Titles:
Bean : L'ultime film catastrophe
Bean, la película del desastre
Bean, le film le plus catastrophe
Bean, lo último en cine catastrófico
Bean: The Ultimate Disaster Movie
Mister Bean - O Filme
Mr Bean: 1 - Bean, lo último en cine catastrófico
Mr. Bean - Az igazi katasztrófafilm
Mr. Bean - Mais Atrapalhado do Que Nunca
Mr. Bean : Le Film le plus catastrophe
Mr. Bean, le film le plus catastrophe
Ngài Bean
בין: הסרט
בין: הקומדיה הקולנועית המטורפת
בין: סרט האסונות האולטימטיבי
Genres:
Adventure | Comedy | Family
Production Companies:
Tiger Aspect
Working Title Films
Production Countries:
United Kingdom
Ratings / Certifications:
AU: PG BR: L CA: PG CH: 16 CZ: U DE: 12 DK: 15 ES: APTA FI: K-7 FR: TP GB: PG HU: 16 IE: PG NL: AL NO: 15 PL: 12 PT: M/12 RO: AP RU: 12+ SE: Btl|7 US: PG-13
Runtime: 89
Childlike Englishman, Mr. Bean, is an incompetent watchman at the Royal National Gallery. After the museum's board of directors' attempt to have him fired is blocked by the chairman, who has taken a liking to Bean, they send him to Los Angeles to act as their ambassador for the unveiling of a historic painting to humiliate him. Fooled, Mr. Bean must now successfully unveil the painting or risk his and a hapless Los Angeles curator's termination.
ADR Editor:
Nigel Mills
Art Department Coordinator:
Abigail Sheiner
Art Direction:
Kevin Constant
Assistant Accountant:
Louise Seaman
Assistant Chief Lighting Technician:
Eric Parker
Assistant Director:
Michael Zimbrich
Assistant Editor:
Heidi Freeman
Assistant Location Manager:
Brad Bell
Assistant Production Coordinator:
Elizabeth Joan Hooper
Assistant Property Master:
Kim Larsen-Santini
Best Boy Electric:
Roy A. McLeish
Boom Operator:
Kenneth C. Mantlo
Casting:
Ronnie Yeskel
Casting Associate:
Richard Hicks
Co-Producer:
Rebecca O'Brien
Costume Design:
Hope Hanafin
Costumer:
Mitzi Haralson
Dialogue Editor:
Nick Lowe
Director:
Mel Smith
Director of Photography:
Francis Kenny
Dolby Consultant:
Tim Partridge
Dolly Grip:
Joe Kraft
Driver:
Loren Bess
Editor:
Chris Blunden
Electrician:
Shawn Duchscherer
Executive Producer:
Richard Curtis
Rowan Atkinson
Extras Casting:
Rich King
First Assistant Accountant:
Kurt Greufe
First Assistant Director:
Trey Batchelor
First Assistant Editor:
Lynne Warr
Foley Artist:
Ruth Sullivan
Foley Editor:
Eddy Joseph
Gaffer:
Ronald W. McLeish
Grip:
Gregory Romero
Key Grip:
Jeff Case
Leadman:
Craig Gadsby
Location Manager:
Liz Matthews
Makeup Artist:
Emjay Olson
Brian McManus
Makeup Designer:
Sue Sian
Makeup Effects:
Tony Gardner
Medical Consultant:
Scott Aguilar
Negative Cutter:
Steve Farman
Original Music Composer:
Howard Goodall
Post Production Supervisor:
Deborah Harding
Producer:
Eric Fellner
Tim Bevan
Peter Bennett-Jones
Production Accountant:
Julianna Arenson
Production Assistant:
Kauai Collins
Production Coordinator:
Jo McIllece
Production Design:
Peter S. Larkin
Production Manager:
Cydney Bernard
Production Sound Mixer:
Peter Glossop
Property Master:
Maureen Farley
Propmaker:
Tony Chavez
Screenplay:
Richard Curtis
Robin Driscoll
Script Editor:
Emma Freud
Script Supervisor:
Cori Glazer
Second Assistant Camera:
Thomas Cherry
Second Assistant Director:
Todd Y. Murata
Second Unit Director:
John Greaves
Set Decoration:
Bill Gregory
Set Designer:
Gregory S. Hooper
Set Dressing Artist:
Tony Guastella
Set Medic:
Lance Mancuso
Sound Mixer:
Robert J. Anderson Jr.
Special Props:
Jim Beinke
Stand In:
Richard Bellos
Still Photographer:
Suzanne Hanover
Stunt Coordinator:
Walter Scott
Stunt Double:
Carl Paoli
Stunts:
Julie Adair
Denise Lynne Roberts
Chad Stahelski
Gene LeBell
Tony Brubaker
Chris Palermo
Supervising Sound Editor:
Matt Grimes
Transportation Coordinator:
Shane Greedy
Video Assist Operator:
Michael McCormack
Wardrobe Assistant:
Marcus Love-McGuirk
Wardrobe Supervisor:
Charlotte Couchman
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Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.