Sleepless in Seattle (1993) [PG]

Release Date:
June 24, 1993

Original Title:
Sleepless in Seattle

Alternate Titles:
Sintonía de Amor
Άγρυπνος στο Σηάτλ
Неспящие в Сиэттле
めぐり逢えたら
めぐり逢えたら:1993
緣份的天空

Genres:
Comedy | Drama | Romance

Production Companies:
TriStar Pictures

Production Countries:
United States of America

Ratings / Certifications:
AU: PG  BR: 10  CZ: 12+  DE: 6  DK: A  ES: ATP  FR: U  GB: PG  HU: 12  IE: PG  KR: 15  PT: M/12  SE: Btl  US: PG 

Runtime: 105

What if someone you never met, someone you never saw, someone you never knew was the only someone for you?

After the death of his mother, a young boy calls a radio station in an attempt to set his father up on a date. Talking about his father’s loneliness soon leads to a meeting with a young female journalist, who has flown to Seattle to write a story about the boy and his father.

Additional information:

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American Film Institute (AFI)

2002
#45
100 Years: 100 PASSIONS
100 Greatest Love Stories Of All Time
2008
#10
Top 10: ROMANTIC COMEDY
10 Greatest ROMANTIC COMEDY Films of All Time

ADR Editor:
Harriet Fidlow

Apprentice Sound Editor:
Warren Shaw

Art Department Coordinator:
Wendy Skerritt

Art Direction:
Charley Beal
Gershon Ginsburg

Assistant Accountant:
Judy Pursley

Assistant Art Director:
Suzan Wexler

Assistant Chief Lighting Technician:
Paul Caven

Assistant Costume Designer:
Kimberly Adams

Assistant Production Coordinator:
Jennifer Campbell

Assistant Sound Editor:
Dan Edelstein
Paul P. Soucek
Richard Q. King
David Wahnon
Eytan Mirsky

Associate Producer:
Jane Bartelme
James W. Skotchdopole
Delia Ephron

Best Boy Grip:
Jack Bauer

Boom Operator:
Mychal D. Smith

Cableman:
Kay Colvin

Camera Operator:
Kevin Jewison

Casting:
Juliet Taylor

Casting Assistant:
Eve Battaglia
Aleen Keshishian

Casting Associate:
Laura Rosenthal

Chief Lighting Technician:
Richmond L. Aguilar

Color Timer:
Bob Kaiser

Construction Coordinator:
Harold Collins

Costume Design:
Judy L. Ruskin

Costumer:
Sally Roberts

Director:
Nora Ephron

Director of Photography:
Sven Nykvist

Dolly Grip:
Joe Hicks

Editor:
Robert M. Reitano

Executive Producer:
Patrick Crowley
Lynda Obst

Extras Casting:
Amy Caton-Ford

First Assistant Camera:
Jeff Cronenweth

First Assistant Director:
James W. Skotchdopole

First Assistant Editor:
Richard Friedlander

Greensman:
Michael McCombe

Key Costumer:
Heidi Shulman

Key Grip:
Gene Kearney

Key Hair Stylist:
Colleen Callaghan

Key Makeup Artist:
Sharon Ilson

Location Manager:
Dow Griffith

Lyricist:
Ramsay McLean

Makeup Artist:
Leonard Engelman

Music Consultant:
Jeffrey Pollack

Music Editor:
Nicholas Meyers

Negative Cutter:
Donah Bassett

Original Music Composer:
Marc Shaiman

Pilot:
Al Cerullo

Post Production Accountant:
Diane L. Langone

Post Production Supervisor:
Paul A. Levin

Producer:
Gary Foster

Production Accountant:
Tamara Bally

Production Coordinator:
Mitchell E. Dauterive

Production Design:
Jeffrey Townsend

Production Illustrator:
Daren Dochterman

Production Sound Mixer:
Kirk Francis

Property Master:
Jeff Mazzola
James Mazzola

Screenplay:
Jeff Arch
Nora Ephron
David S. Ward

Script Supervisor:
Mary A. Kelly

Second Assistant Director:
Donald J. Lee Jr.

Second Second Assistant Director:
Maggie Murphy

Second Unit Director of Photography:
Marty Oppenheimer
David Wagreich

Set Decoration:
Clay A. Griffith

Set Designer:
Charlie Daboub

Sound Editor:
Bitty O'Sullivan-Smith
Stan Bochner
Dan Korintus
Louis Bertini
Ira Spiegel

Sound Re-Recording Mixer:
Lee Dichter

Special Effects Coordinator:
Bob Riggs

Steadicam Operator:
Randy Nolen

Still Photographer:
Bruce McBroom

Story:
Jeff Arch

Storyboard Artist:
Brick Mason

Studio Teacher:
Judith M. Brown

Stunt Coordinator:
Conrad E. Palmisano

Stunts:
Barbara Anne Klein
Bruce Paul Barbour
Rick Seaman
Dick Hancock

Supervising Sound Editor:
Michael Kirchberger

Transportation Captain:
Robert T. Chestnut

Transportation Coordinator:
Dennis W. Milliken

Unit Production Manager:
Patrick Crowley

Unit Publicist:
Betsy Sokolow-Sherman

About the Movie Section

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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:

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