Simpsons Movie
July 27
Production Notes & Credits
After eighteen seasons, four hundred episodes, and innumerable
awards and honors (including a Peabody, 23 Emmys® and a designation
from Time magazine as the “best television show of the twentieth century”),
“The Simpsons” has become a feature-length motion picture. And it’s a good
thing, too, because it takes a wide screen to fully capture Homer Simpson’s
epic stupidity.
In the eagerly-awaited film based on the hit television series,
Homer must save the world from a catastrophe he himself created. It all
begins with Homer, his new pet pig, and a leaky silo full of droppings – a
combination that triggers a disaster the likes of which Springfield has never
experienced. As Marge is outraged by Homer’s monumental blunder, a
vengeful mob descends on the Simpson household. The family makes a
narrow escape, but is soon divided by both location and conflict.
The Springfield citizenry has every reason to be out for Simpson
blood. The calamity triggered by Homer has drawn the attention of U.S.
President Arnold Schwarzenegger (voiced by Harry Shearer) and
Environmental Protection Agency head Russ Cargill (voiced by Albert
Brooks). “You know sir,” Cargill tells the president, “when you made me
head of the EPA, you were applauded for appointing one of the most
successful men in America to the least successful agency in government.
And why did I take the job? Because I’m a rich man who wanted to give
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something back. Not the money, but something.” That “something” is a
devil’s plan to contain the disaster.
As the fates of Springfield and the world hang in the balance,
Homer embarks on a personal odyssey of redemption – seeking forgiveness
from Marge, the reunion of his splintered family, and the salvation of his
hometown.
Starring in THE SIMPSONS MOVIE are series regulars Dan
Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria,
Harry Shearer, Pamela Hayden, and Tress MacNeille. Albert Brooks also
stars.
Producing the feature are “The Simpsons” series executive
producer James L. Brooks, creator Matt Groening, current showrunner Al
Jean, as well as Mike Scully and Richard Sakai. Sakai has been with the
series since its inception, while also producing or executive producing such
motion picture hits as “Jerry Maguire” and “As Good as It Gets.” The script is
written by James L. Brooks, Matt Groening, Al Jean, Ian Maxtone-Graham,
George Meyer, David Mirkin, Mike Reiss, Mike Scully, Matt Selman, John
Swartzwelder, and Jon Vitti – all series veterans. David Silverman, the
series’ supervising animation director, is helming the feature. Silverman has
been with the series since its debut, and co-directed the hit animated feature
“Monsters, Inc.”
“The Simpsons” came to life twenty years ago, when Matt Groening
was asked to provide animated segments for the comedy series “The Tracy
Ullman Show,” airing on the Fox network. Groening didn’t want to give up
rights to his popular “Life in Hell” cartoons, so he created, on the spot, the
Simpson family characters. “The Simpsons” has been a ratings and critical
hit from its inception in 1988 as a weekly half-hour series, becoming a pop
culture phenomenon. The rest is television – and now movie – history.
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For Groening, THE SIMPSONS MOVIE presents the chance for the
filmmakers and audience to experience something the show, even with its
myriad honors and enormous cultural impact, couldn’t offer: “We wanted to
tell a longform ‘Simpsons’ story on the large canvas of a motion picture
screen, and hear a theater full of people laughing at the same time,” says
Groening.
As early as the show’s first season, the studio had approached
Groening and co-executive producer James L. Brooks about turning the
television phenomenon into a motion picture. But then, as the show’s
legions of fans have wondered, why did it take 18 years to bring “The
Simpsons” to the big screen?
Al Jean, the series’ current showrunner and a writer/producer on
the film, offers some insights: “We waited 18 years to make a film, because
we didn’t want to do it just because we could; we wanted to make a movie
because it was right. We wanted to create a story that demanded the scope
offered by a film. THE SIMPSONS MOVIE is not three episodes of the show
strung together. It has heart. It centers on the forces that can tear apart a
family and a town, and it looks at how a man might put his life back together
in such a situation.”
“What separates the movie from the show is scale,” adds James L.
Brooks, the Academy Award® winning filmmaker behind “As Good As It
Gets,” “Terms of Endearment” and “Broadcast News,” the Emmy® winning
writer-producer of “The Mary Tyler Moore Show” and “Taxi,” and a writer-
producer on THE SIMPSONS MOVIE. “We have one hundred speaking
parts in the movie, and we created scenes we couldn’t begin to draw for the
series. Most of all, we wanted a ‘Simpsons’ movie to be a real moviegoing
experience for the audience, while staying true to what we do with the show.
We were wary of straying too far uptown.”
The television show didn’t have the manpower to concurrently write
and animate a series and a motion picture. “At the time, we didn’t have a
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team of writers or animators sitting around looking for something to do,” Matt
Groening points out. “Unlike most series, ‘The Simpsons’ never goes on
hiatus. We were devoting all our energies to the show, and never wanted to
hurt it to do a movie.”
Over the years, Brooks and the showrunners expanded the series’
writing staff, which at least dealt with the manpower issue. “We got to a
point where we had two writers’ rooms going at a given time,” says David
Mirkin, a noted comedy director in his own right (“Heartbreakers,” “Romy and
Michele’s High School Reunion”), a producer-writer on the show and a writer
on the movie. “So the guys who were with the show early on could go off
and write the movie while the show continued to roll along, its quality
unaffected.”
In 2001, a ‘Simpsons’ movie inched closer to happening when the
series’ cast signed a new deal, which included terms for them to voice the
characters in a feature film. But there remained the task of finding an idea
that would warrant the big-screen treatment, and then creating a shootable
script.
In November 2003, writing began in earnest on a script for a
‘Simpsons’ movie. “There were four of us who were central to making the
decision to move forward with a script,” explains James L. Brooks. “At a
certain point, we just felt like doing it.”
“We asked ourselves the critical questions,” recalls Mike Scully.
“Did we think we could come up with a story that warranted a motion picture?
How would making a movie affect the production of the series?”
The producers set very high standards for themselves and the work
that was to follow. “We started writing the script and didn’t stop,” Brooks
adds. “The hardest thing was to pay long and extraordinary attention to
every beat and joke; to stress out daily and still make it appear that we were
a loose and carefree bunch of kidders. There was never that moment where
we considered giving up, so we kept working on it.”
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As ideas began to form for a movie story, the producers were intent
on not re-creating “The Simpsons” for the big screen, opting instead to retain
everything fans have loved about the characters. “The difference is, we’re
telling a story that demands ninety-minutes and a big-screen format,” says Al
Jean. “And there’s not just one story. Each Simpson family member has a
story arc of growth and redemption, even the baby. We wanted the film to
hold audiences emotionally through the end, and that was perhaps our
biggest struggle. THE SIMPSONS MOVIE also had to have big scenes,
locations and themes.”
These creative goals demanded the strongest possible writing
team, so the producers hand-picked a lineup of star writers who had been
with the show since its inception (or near), several of whom had served as
showrunners. They all knew and loved the characters. In addition to
Brooks, Groening, Jean and Scully, THE SIMPSONS MOVIE “all-star”
writing team included David Mirkin, Mike Reiss, George Meyer, John
Swartzwelder and Jon Vitti. (Ian Maxtone-Graham and Matt Selman, current
executive producers on the show, later joined the writing ensemble.)
While the writers’ commitment to creating the best possible
“Simpsons” movie script was unwavering, they didn’t take the “all-stars”
designation that seriously. “It wasn’t like every minute of all our meetings
was spectacular,” laughs Al Jean. “Like any ‘all-star’ we’d hit and miss.”
Still, each of them embraced the opportunity to collaborate on a long-awaited
movie starring the characters they had helped shape.
For these writers, working on THE SIMPSONS MOVIE had an
emotional as well as creative resonance. “It was incredibly exciting to be
working on a movie and have the honor of being selected to write the script,”
says Mike Reiss. “More exciting than doing the movie was to be in a room
with that group of people,” echoes Jon Vitti. “It was a privilege to see these
guys at work every day – and just a horrible nightmare trying to keep up with
them.” Adds David Mirkin: “It was great to be back together, because
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there’s a very specific, special energy when we all congregate. It was also
very sick energy, mind you.”
The writers were so invested in the characters, and intent on
creating a movie worthy of “The Simpsons” that, at least in their early
sessions, they had trouble coming up with a first draft. “We cared so much
that we were too tight at the beginning of the writing process,” says Brooks.
“It took us a year to just get loose and start having the kind of fun we always
have with the show.”
Eventually, the writers came up with an outline for a movie script,
which Brooks approved. They then carved up the outline into seven chunks,
with Jean, Scully, Mirkin, Reiss, Meyer, Swartzwelder and Vitti working
separately, writing about 25 pages each. They reunited a month later and
pieced together the seven “chapters,” producing a very rough first draft.
Over two years of rewrites ensued, encompassing at least one
hundred script drafts. It was a painstaking and grueling process. “Even
though the movie is three times the length of the TV show, it was hundreds
of times harder to write,” says David Mirkin.
“We chewed up a lot of pencils and ordered a lot of late-night pizza
to keep going,” adds Matt Groening. “It was always a matter of writing and
rewriting, with an emphasis on rewriting. We were always tinkering with the
script, and never stopped trying to come up with a better line or scene.”
“We were determined to keep on rewriting until the animators died
of exhaustion,” laughs writer Matt Selman. “If we didn’t have a release date,
we’d still be working on it.”
Everyone was grateful to have James L. Brooks back in the writing
room. Brooks was a showrunner in the series’ early years, later serving as
an inspiration and consultant to the show writers. (“The series was my full-
time job for three years and has been a part-time job since then,” he notes.)
For the movie, Brooks reconnected with the characters and world he had
helped develop. “Jim’s participation is the movie’s big secret,” says Mike
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Reiss. “He put us through almost too many revisions to count. This is Jim’s
M.O. – he works right up until they pry the script out of his hands.”
“We had to expand our thinking and get out of the twenty-two
minute structure of sitcom storytelling,” adds Mike Scully. “And that’s where
we counted a lot on Jim because he’s made so many great films. THE
SIMPSONS MOVIE required us to readjust the way we told stories for ‘The
Simpsons,’ and Jim was a great influence in that area.”
“Jim was doing more work than any of us,” claims John
Swartzwelder, who has authored more scripts of the show than any other
writer. “It was amazing to watch him create these odd things that we’d stick
in the movie and see if they’d work.”
“It was an incredible thrill to work on a film with Jim Brooks,” sums
up Al Jean. “I’d say ‘once in a million,’ but I hope there are more.”
Several of the writers credit Brooks with making sure the script
included important emotional beats. But Brooks himself says the story’s
comedy, action and emotion have equal weight. “There’s nothing more
important to the ‘Simpsons’ franchise than clocking laughs as much as you
possibly can and including big set pieces,” he explains. “And this made
creating story emotion more challenging. We always started with the laughs.
But we needed that emotion, on which the jokes hang together and which
leads the audience to care about what happens to the characters.”
More than anything else, Brooks sought the proper tone for the film.
“Tone is the one word that describes everything we were looking for,” says
Brooks. “You throw everything into the pot – story, emotion, jokes – but
finally what comes out of it is tone. It’s always the biggest deal in a movie.”
The search for the proper tone extended beyond the two-year
process of writing and animating the picture. Hans Zimmer, who composed
the score for THE SIMPSONS MOVIE, also made key tonal contributions.
“Hans was very involved in the search for the right tone, giving us a fresh
viewpoint after the years we had spent on the picture,” adds Brooks.
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In a room full of writers working tirelessly to create the best possible
film script, none labored harder than Al Jean, who had the Herculean task of
running the show and working as producer-writer on the film. “I can’t think of
anyone else who could have run the show and the movie at the same time,”
marvels writer Ian Maxtone-Graham. “It’s a testament to Al’s amazing
mental capacity. At a given time he would be reviewing a storyboard for the
show while looking up at us and pitching an idea for the movie.”
The indefatigable Jean – the one person who was keeping tabs on
everything movie- and show-related – made certain there was no story
overlap between the two, and that movie plot points were kept under wraps.
“Since we’ve kept the plot of the movie a secret, when the show writers
pitched ideas similar to those presented in the film, I’d say, ‘No we can’t use
that. But I can’t tell you why.’”
The secrecy alluded to by Jean was on a level rarely seen in the
motion picture industry, even in these Internet-wary times. The filmmakers
kept the script under lock-and-key at the production offices and even as the
film neared release, they were reluctant to divulge plot details, to ensure that
audiences got the full effect of the movie’s many surprises. But an early
trailer revealed the presence of a new addition to the Simpson household:
Homer’s pet pig, whose most significant contribution to the community is a
few tons of “fertilizer.”
The pig-droppings “issue,” combined with Homer’s cluelessness,
leads to disaster for the town of Springfield. “We got excited about the idea
of Homer doing the worst thing he’s ever done,” says David Mirkin. “And that
leads to his moral dilemma of letting the town die or trying to save it.”
Springfield itself becomes a key character in THE SIMPSONS
MOVIE, further distinguishing the film from the series. The filmmakers put
the entire city on display through a big cinematic device. Additionally, they
spotlight virtually every character in Springfield, most of whom turn up in a
huge mob scene that is one of the film’s centerpieces.
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A key player in the frequent and never-ending writers’ meetings
wasn’t even a writer. Breaking tradition with animated feature filmmaking,
director David Silverman worked closely with the writers, shaping the visuals
and the editing, determining the best ways to visualize a joke, and devising
new ways of expanding the Simpson universe for the big screen. They
continually tinkered with the script and re-recorded the actors. “It was cruel
and unusual punishment for David Silverman,” jokes Matt Groening.
Silverman, a twenty-year veteran of “The Simpsons,” first worked
on “The Simpsons” shorts for the “Tracy Ullman Show” before becoming a
director, then supervising director/producer on the series. His deep affection
for the characters is unsurpassed. “I love drawing them,” he says, “and
creating something inventive and funny that hasn’t been done yet.”
“David has been the spirit of ‘The Simpsons’ for such a long time,”
says Brooks. “When he was working on the shorts for ‘The Tracy Ullman
Show,’ he spoke to me with such passion about how much it would mean to
him to have an entire television show devoted to these characters. I was so
impressed by his passion that I got the ball rolling on the series.”
Silverman, of course, had a strong influence on the show’s look.
“David basically gave the characters their rules of behavior and codified the
rules of how to draw them,” says Groening. “For me, drawing the characters
is an intuitive process – it just feels right and so I draw them. But David
knows there are eleven spikes on Bart’s head, and that Marge’s head is nine
eyeballs tall – or something like that.”
For THE SIMPSONS MOVIE, Silverman’s challenge was to devise
a visual style that was true to the show while expanding it for the motion
picture frame. Silverman made full use of the widescreen aspect ratio of
2:35 to 1, which allowed him to put more characters in the frame, lavish
considerable attention on every scene, open up the film emotionally, and add
a richness to the backgrounds texture and colors. “We didn’t want to break
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the graphic look of the series, but instead enrich it and fill it out,” Silverman
explains.
For inspiration, Silverman re-watched such films as “Bad Day at
Black Rock,” one of the first widescreen movies to innovatively use the
format for an intimate drama, and the ensemble epic comedy “It’s a Mad,
Mad, Mad, Mad World,” which filled its frame with a multitude of characters.
The widescreen format presented many challenges and
opportunities for the director. For one, he had to add dimensionality to
characters that up to now had been seen primarily on small television
screens, but would appear sixty-feet tall on many cinema screens. In
addition, Silverman experimented with creating emotion-filled scenes in wide
shots, where normally he would have cut to close-ups.
To convey emotional beats in the film, Silverman used colors, tone
shadows and drop shadows to a degree not possible in the series. He also
had more latitude to move the camera, most notably for an elaborate
skateboarding sequence, during an epic chase, and for a mob scene. For the
latter, Silverman pushed into the hordes converging on the Simpson
household. “Normally, you’d have a crowd shot, then cut to a close-up,”
says Silverman. “But I wanted to give the scene a lot of energy, so I kept
moving the camera into the crowd.” A classic poster from the television
series depicting the entire cast of characters, provided a foundation for the
scene. “I envisioned running into the poster with a camera,” he adds.
For character animation, Silverman relied on the template created
by Groening two decades earlier, which eschewed cross-eyed and maniacal-
looking characters, both conventions of animated series and films. “We
always want our characters to be reactive and impulsive,” Silverman notes.
“This adds to their humor and personalities. We’re always looking for
specific and realistic human-like performances from them.”
Perhaps Silverman’s biggest challenge was the film’s tight
schedule. It takes nine months to make an episode of the show, and
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Silverman had only a year-and-a-half to make THE SIMPSONS MOVIE. (He
had a luxuriant two years on “Monsters, Inc.”) To meet his rigorous
deadlines, Silverman set up several production teams, with sequence
directors, working under Silverman, directing their own groups.
The first step in animating the film was creating storyboards – the
panels that determine the cuts, shots, angles and performances. Next,
Silverman and his teams developed key animation poses, drawings and
layouts, followed by animatics that provided blueprints of timing and rhythm,
and helped ascertain if the jokes were playing. Along the way, props and
costumes were designed, and new characters were introduced. The last
steps included final timing and fine-tuning the animation.
To save time, Silverman used story reels, where he shot the
storyboards, augmenting them with additional poses and a temp soundtrack,
all of which allowed Silverman to convey the gist of the film at a very early
stage.
The work of Silverman and his teams in the widescreen format
brings a new dimension to the characters beloved by so many. “With the
movie, David is topping himself completely,” says Matt Groening. “THE
SIMPSONS MOVIE really honors the animators who work so hard on the
show and on the film. They really put all of their craft and talent up on the
screen.”
“The film is a bigger experience than the show,” says Silverman.
“There’s so much in the movie that fans haven’t experienced before with the
show.” And, returning to Matt Groening’s notion of creating the film to enable
fans to enjoy the communal experience of watching a “Simpsons” movie in a
theater, Silverman notes, “I love the idea of eight hundred people laughing at
the same time at a joke or scene in the film. I’ve done a lot of college
lectures where I screened clips from the show to large audiences. Watching
these audiences laugh at these clips over the years – and projecting them on
a big screen – gave me confidence that we’d be able to make movie
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audiences laugh. I think a real movie experience would only heighten their
enjoyment.”
Al Jean notes that the movie’s appeal extends beyond “The
Simpsons” loyalists who have followed the show for the past eighteen years.
“For four years we have been killing ourselves to produce a film that would
fulfill the dreams of the show’s many fans while still being completely
entertaining to people who’d never seen ‘The Simpsons.’ If I felt any more
pressure I’d be a diamond.”
Putting aside the myriad pressures of creating THE SIMPSONS
MOVIE, the film’s imminent release led two of its visionary forces to reflect
on the “Simpsons” phenomenon and how much it’s meant to them. “Twenty
years ago, I was just hoping ‘The Simpsons’ would be successful, and I
thought it would be,” says Matt Groening. “But I had no idea that in 2007
we’d be making this motion picture and celebrating our 400th episode. It’s
really been a wild ride.”
“In the making of this movie, and despite all the pressures we’ve
felt, and the critical filters I’ve been looking through, every once in a while I’d
look up and see Homer doing something on the screen,” says James L.
Brooks. “And I’d be awed that after all these years, I’d still a feel a rush of
affection for him. Seeing Homer like that transcends the experience of
working.”
ABOUT THE SIMPSON FAMILY
HOMER SIMPSON is a simple man. A man who through punishing
trial and error has proven that even one’s loftiest goals are attainable—
provided you set them low enough. Homer is well versed in the ins and outs
of his job at the Springfield Nuclear Power Plant, having innumerable times
been fired and rehired for the same position. Despite the fact that Homer is
often the lumpen gristle stuck in the cogs of Mr. Burns’ money-crazed
machinations, Mr. Burns can never remember Homer’s name.
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Homer is also stuck in the middle of a classic generational
parenting cycle. Having been constantly corrected and belittled by his father,
Homer strives to be supportive of his own family by smothering them with
indifference and vague endearments. As a result, Lisa feels left out, Bart acts
out, and, as far as Homer is concerned, Maggie rarely even exists. Yet
Homer deeply loves and is intensely devoted to his wife and kids, when it
occurs to him. When Marge refuses to go scrounging at the dump, Homer
promises to bring her back something nice. In fact, Homer spends as much
time as possible singing Marge’s praises between rounds of beer at Moe’s
Tavern. Now, if only he could remember the words to that praise song.
Moe’s Tavern is Homer’s homely home away from home; a place
where he will be greeted with open arms by both well and ill-wishers alike, as
long as he’s buying, which is seldom; a place where he can relax, scratch
himself with his keys, blow his nose on his shirt, and drink glass after glass
of sweet, sweet beer. A place where, after a few drinks and a pickled egg or
two, anything seems possible, even his hare-brained get-rich-quick
schemes. After all, life is too short to get rich slow.
Behind every great man stands a woman. MARGE SIMPSON just
got caught standing in the wrong line. Marge is the emotional center of the
family, the sweet, sweet jelly in the Simpson donut. As such, she is
unaccountably understanding, relentlessly upbeat, and alarmingly
supportive. Her extraordinary homemaking skills work miracles. She can turn
old chicken bones into necklaces, leftovers into casseroles, and an invasion
of fire ants into an educational and entertaining insect circus.
Though Homer is self-centered, forgets birthdays, anniversaries,
and holidays (both religious and secular), chews with his mouth open,
gambles, and hangs out at Moe’s Tavern with a bunch of seedy lowlifes,
Marge sticks with him. It must be love. And besides that, Homer desperately
needs her, deeply loves her, and does his utmost to give her everything she
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needs, on those few occasions when he’s not thinking of himself. In the face
of Homer’s countless screw-ups, Marge never gives up hope, drawing
sustenance from her endless collection of words to live by (i.e. “Most women
will tell you that you’re a fool to think you can change a man—but those
women are quitters.”)
Marge may fear the unfamiliar, but her firm moral convictions have
allowed her to overcome her need to conform. This has led to her singlehandedly
championing crusades against the Springfield Monorail, foiling Mr.
Burns’ run for governor, and briefly ending cartoon violence on “The Itchy &
Scratchy Show” by founding S.N.U.H., Springfieldians for Nonviolence,
Understanding, and Helping. But the bulk of her energy is given to caring for
her family. An overwhelming task, for despite the love she feels for them, it
wears her ragged. But as Marge would tell you, the Simpsons can’t be
choosers.
BART SIMPSON wants to have it all and usually gets what he
wants, which is often more than he bargained for. While many accuse Bart of
being too dependent on his surrogate parent, the TV, he has many outside
interests, such as eating ice cream in front of the weight loss center,
perfecting the art of the loogie, and sitting on the roof with a baseball bat to
ward off U.F.O.’s. Dismissed by many as an unrepentant mischief-maker,
Bart wrestles mightily with his conscience every day. In fact, his greatest fear
is that his good conscience will one day get the better of him.
Bart is a hands-on kind of person. He lives in the present, rarely
considering the consequences of his insatiable curiosity. Often fueled by the
syrupy goodness of a Kwik-E-Mart Squishee, Bart’s high-energy escapades
keep the rest of his family in an uproar. Dealing with him can be a real
struggle. Homer struggles to keep his temper, Lisa struggles for attention,
and Marge struggles to pry Homer’s fingers from around Bart’s throat. On the
other hand, Bart shares Homer’s delight in junk food, slovenly behavior, and
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practical jokes, admires and occasionally relies upon Lisa’s ingenuity and
brains, and appreciates Marge’s cooking and her unwavering love.
Bart’s career at Springfield Elementary is equally tempestuous.
Along with his best friend and spitbrother, Milhouse, egghead Martin Price,
bully Nelson, and a host of other meager young minds, Bart makes life worth
leaving for Mrs. Krabappel, his fourth grade teacher. He has run for class
president on the platform of “More Asbestos,” replaced Mrs. Krabappel’s
birth control pills with Tic Tacs, openly mocked Principal Skinner under his
nom de graffiti, El Barto, and incited a student riot with his “Down With
Homework” T-shirt. His feelings about school might have been best
illustrated in one of his fondest dreams, in which Springfield Elementary is
devoured by giant mechanical ants.
LISA SIMPSON is a model of good conduct, citizenship, and
creativity. As a result, she finds it difficult to fit in anywhere. At home she is
the Simpson family conscience, the chastening voice of political correctness,
and the soul of reason. Consequently, she is ignored. Unless, of course, her
intelligence can be used to further one of Homer or Bart’s cockeyed
schemes. Seeking understanding and appreciation, Lisa turns to Springfield
Elementary School, where she hopes her unique abilities will be noticed. And
they are. Her teachers reward her intelligence, sensitivity, and talent with
straight A’s and total indifference. Her classmates, however, are anything but
indifferent, calling her names like “Poindexter Pointy-head,” “Geekazoid,”
and “The Brain Queen.”
Lisa channels her sadness and disappointment into her saxophone
music, where, under the guiding spirit of her mentor, Bleeding Gums Murphy,
she has composed such gems as “Pounded by the Dodgeball Blues,” “Puny
Allowance Blues,” and “I Been Good So Long, It Looks Like Bad to Me.” Her
other passions include ponies, watching the “Happy Little Elves,” dialing the
“Corey Hot Line,” and studying the lives of women who have resisted
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domination by the patriarchy. Her considerable achievements include
implementing Springfield’s alarmingly successful recycling program, being an
all-star goalie in pee-wee hockey, and finding a practical use for geometry.
Even though Lisa gets way less attention for her achievements than
Bart for his mischief, she is often Bart’s devoted and invaluable ally. She has
helped him foil the diabolical schemes of Sideshow Bob, discover zen in the
art of miniature golf, and hone his foodfighting skills by serving as a
convenient target. As Bart reluctantly admits, Lisa has the brains and talent
to go all the way, no matter what anyone says. And when she does, Bart will
be right there to borrow money.
MAGGIE SIMPSON is the still center in the chaos of the Simpson
household. She peacefully withstands the peculiar home remedies of
doddering grandparents, wears novelty baby clothes of dubious taste, and
spends short bursts of time airborne. All without a word of complaint. Things
might change, however, when Maggie learns to speak. Not that anyone
would listen. When entrusted to Homer’s care, Maggie is free to do pretty
much anything she wants, including drinking from the dog dish, exploring the
wonders of heavy machinery, and shooting Charles Montgomery Burns.
Maggie relates best to those who understand her. As a result, her closest
friends are Snowball II and Santa’s Little Helper. She has even once bonded
with a pack of wild grizzlies.
The Simpsons ™ & ©2007 Twentieth Century Fox Film Corporation. All rights reserved. Property
of Fox. Permission is hereby granted to newspapers and periodicals to reproduce this
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16
Produced by.................... JAMES L. BROOKS
.......................................... MATT GROENING
..........................................................AL JEAN
.................................................MIKE SCULLY
“THE SIMPSONS MOVIE”
A TWENTIETH CENTURY FOX
......................................and RICHARD SAKAI
PRESENTATION
A GRACIE FILMS PRODUCTION
A MATT GROENING PRODUCTION
Directed by DAVID SILVERMAN
Starring
DAN CASTELLANETA
JULIE KAVNER
NANCY CARTWRIGHT
YEARDLEY SMITH
HANK AZARIA
HARRY SHEARER
PAMELA HAYDEN
TRESS MacNEILLE
and A. BROOKS as Russ Cargill
Also Starring
KARL WIEDERGOTT
MARCIA WALLACE
RUSSI TAYLOR
MAGGIE ROSWELL
PHIL ROSENTHAL
BILLIE JOE ARMSTRONG
FRANK EDWIN WRIGHT III
MICHAEL PRITCHARD
JOE MANTEGNA
TOM HANKS
Screenplay by..................JAMES L. BROOKS
..........................................MATT GROENING
......................................................... AL JEAN
.............................. IAN MAXTONE-GRAHAM
.......................................... GEORGE MEYER
............................................... DAVID MIRKIN
................................................... MIKE REISS
................................................ MIKE SCULLY
.............................................. MATT SELMAN
...............................JOHN SWARTZWELDER
.......................................................JON VITTI
Consultants...............................JOEL COHEN
.................................................. JOHN FRINK
...................................................... TIM LONG
............................................ MICHAEL PRICE
Edited by........................JOHN CARNOCHAN
Music by................................. HANS ZIMMER
The Simpsons Theme by .... DANNY ELFMAN
Supervising Producer........RICHARD RAYNIS
Sequence Directors....... MIKE B. ANDERSON
...........LAUREN MacMULLAN, RICH MOORE
.... STEVEN DEAN MOORE, GREGG VANZO
Co-Producer..........................JAY KLECKNER
Animation Co-Producer............. CRAIG SOST
Executive in Charge of Production for
Gracie Films.........................DENISE SIRKOT
Associate Producers ........AMANDA MOSHAY
..............................................MATT OREFICE
.................... FELICIA NALIVANSKY-CAPLAN
NO ANIMALS WERE HARMED DURING
THE FILMING OF THIS MOVIE
Additional Sequence Directors ........................
...................................STEVEN MARKOWSKI
.......... BOB ANDERSON, CHRIS CLEMENTS
....MATTHEW FAUGHNAN, LANCE KRAMER
.......................NANCY KRUSE, ROB OLIVER
.............RAYMOND PERSI, CHUCK SHEETZ
Assistant Sequence Directors .........................
................ CRYSTAL CHESNEY-THOMPSON
........................................... BRYAN FRANCIS
...PETE “KID FLASH” GOMEZ, RALPH SOSA
Additional Assistant Sequence Directors.........
...............................................RAY CLAFFEY,
.........................CHRISTIANNA LANG DALEY
..........JONATHAN GEBHART, JON HOOPER
.................................. SHANNON O’CONNOR
....................................... LINDSEY POLLARD
................................. MATTHEW SCHOFIELD
.......................... ANDRES “TOMMY” TEJADA
Second Editor .........................MARK SCHEIB
Associate Editor ................JENNIFER DOLCE
Supervising Music Editor......DANIEL PINDER
Music Editor .............................. RYAN RUBIN
Additional Editors..............MICHAEL BRIDGE
................ SCOT SCALISE, TERRY GREENE
Assistant Editors .....................JOHN CURRIN
.................................ELAINE C. ANDRIANOS
.......................................DANIEL KUPRESAN
Hi Def Assistant Editor .............. VIC SHARMA
Script Coordinator .........STACEY CANTWELL
Sound Designer ...................... RANDY THOM
Supervising Sound Editor................................
I
................... GWENDOLYN YATES WHITTLE
Sound Effects Editors ..................AL NELSON
.SHANNON MILLS, LUKE DUNN GEILMUDA
....... ROBERT SHOUP, STUART MCCOWAN
.......................................... CHUCK MICHAEL
Sound Mixing.........................ANDY NELSON
..........................ANNA BEHLMER, JIM BOLT
Additional Re-Recording Mixers.......................
..................... CHRISTOPHER SCARABOSIO
.................................................. TOM MYERS
Post Production Supervisor .............................
...................................... JEANNINE BERGER
Voice Record Coordinator.......LOUISE JAFFE
Dialogue Coordinator........ RICHARD CHUNG
ANIMATION PRODUCED BY
FILM ROMAN, A STARZ COMPANY
And ROUGH DRAFT FEATURE
ANIMATION, INC.
Art Director ...................DIMA MALANITCHEV
Layout Supervisor.............RASOUL AZADANI
Director of Computer Graphics ........................
.............................................. SCOTT VANZO
Overseas Animation Director ...........................
......................................... GARY McCARVER
FILM ROMAN ANIMATION
Animation Line Producer... JOEL KUWAHARA
Production Manager .JASPREET K. DHILLON
Digital Line Producer .............. LOREN SMITH
Animation Associate Producer.........................
.........KATHERINE CULLANO CONCEPCION
Production Supervisors...............JULIE PENG
.....................PENELOPE PARR THORNTON
......BILL BARRY, TRISTA HALEY NAVARRO
Production Coordinators ...........MIKE BATTLE
.........................................AMANDA BYRNES
................. ANI CASH, CHRISTINE DEITNER
............ ALLISON L. FRANCIS, JIM HASMAN
..ED JOHNSON, BENJAMIN KALTENECKER
........................PAUL KIM, ROCCO PUCILLO
........ JOSH SUNDBY, ADAM WOLLENBERG
........................................... ALEXANDER WU
Film Roman Senior Staff..................................
............................... SCOTT D. GREENBERG
Executive in Charge of Production for Film
Roman.........................................MIKE WOLF
ROUGH DRAFT ANIMATION
Producer for Rough Draft Studios....................
.............................................. CLAUDIA KATZ
Digital Line Producer .... GERALDINE SYMON
Animation Associate Producers .......................
................ ELISE BELKNAP, KAREN MILLER
Production Supervisors....JENNIFER BROWN
................................................BRIAN CAREY
Production Coordinators .......DENNIS ADAMS
.......................................................DAVE KIM
II
STACKED ANIMATION LABORATORY
STORY REEL REVISIONS
Associate Producer ................. PETER GAVE
Annex Supervisor..................TAYLOR ALLEN
Artists ............. LIZ CLIMO, DANTE FABIERO
..................................FITZY J. FITZMAURICE
...................... KAREN CARNEGIE JOHNSON
.......... OSCAR PANGESTU, LENA PODESTA
.............................. CHANCE F. RASPBERRY
............SHANE K. SOWELL, DAVE WARREN
After Effects Artists....... ERIKA ISABEL VEGA
............ AZARIAH OWENS, NICK E. LENARD
.................................................. DOUG NUNN
Production Associates ....................................
................... KENT CARPENTER ZAMBRANA
...................... MARISA ICE, JOE SAUNDERS
ANIMATION CREW
Story Artists..........................BRAD ABLESON
........JOHN ACHENBACH, MARTIN ARCHER
..................... LUIS ESCOBAR, LUCAS GRAY
.................. COLIN HECK, STEPHEN A. REIS
..................JOHN RICE, CHRISTIAN ROMAN
................................... STEPHEN SANDOVAL
Additional Story Artists ............ MARK ERVIN
................. EDMUND FONG, TRICIA GARCIA
...JOSHUA DAVID GORCZYCA, JOE HEALY
.............................. FILL MARC SAGADRACA
....... JASON WARNESKY, GLEN WUTHRICH
Timng Directors...................... NEIL AFFLECK
....................................PATRICK BUCHANAN
.................................. RICHARD GASPARIAN
............ROBERT INGRAM, ADAM KUHLMAN
.............................................FRANK MARINO
.......................LARRY SMITH, STEVE SOCKI
Additional Timing Directors ......... JACK DYER
......... DOUGLAS GALLERY, PETER HIXSON
............................. MAUREEN MLYNARCZYK
...........................................PAT SHINAGAWA
BG Design Lead............ HUGH MACDONALD
Character Design Lead .................JOE WACK
Prop Design Lead ..................JOHN KRAUSE
Character Designers ..............ERIC S. KEYES
....................................... KEVIN M. NEWMAN
BG Designers.............LYNNA BLANKENSHIP
................................... ALEXANDER C. DILTS
..............................DEBORAH A. PETERSON
........ CHARLES RAGINS, GEORGE STOKES
Prop Designer .................... DARREL BOWEN
Lead Animator............................ BERT KLEIN
Animators..............CAROLINE CRUIKSHANK
.......... ANTHONY DEROSA, JEFF JOHNSON
................JOHN POMEROY, SILVIA POMPEI
Character Layout Leads .............ERICK TRAN
......................................................PAUL WEE
Character Layout Artists......EDWIN AGUILAR
................................. VICTOR E. ALMAGUER
...................................... IVAYLO ANGUELOV
............ STEPHANIE ARNETT, MIKE ATNIEL
.......................................................DAVID AU
.........................NORM AUBLE, ABE AUDISH
............ MATTHIAS BAUER, DEBBIE BRUCE
....................... TRICIA BUCHANAN-BENSON
.... RUFINO M. CAMACHO, WAYNE CARLISI
.........ROBERTO CASALE, KATHI CASTILLO
.......................................GREG CHECKETTS
..................................MOON STANLEY CHOI
................................ MANNY A. DE GUZMAN
...................................FRANCIS DINGLASAN
..... ERNESTO ELICANAL, JESS ESPANOLA
... RICK FARMILOE, CYNTHIA JILL FRENCH
.................................. YELENA GEODAKYAN
... MICHAEL GIRARD, ORLANDO GUMATAY
....................................MATTHEW HERBERT
....................JENNIE HOFFER, RICK HOPPE
............................................... JAY JACKSON
....................... CATHY JONES, ERNIE KEEN
...............................................MEGAN KELLY
.....................CRAIG KEMPLIN, JIWOOK KIM
................................................ ERIC KOENIG
..............................ERIK KUSKA, ERIC LARA
................................................BOOWAN LEE
.......... GRANT LEE, LOIS LEE, ELY LESTER
.....JOSEPH LOWE, CARLOS LUTTERBACH
.............................. JUANITO “TOM” MADRID
............................................ ANNA MALTESE
.................... RICHARD “TOTO” MANGINSAY
........................................ MIKE MARCANTEL
.......................JAMES ANTHONY MARQUEZ
................................. LEONARDO MATSUDA
............MAEVE McGRATH, ANDRE MEDINA
.......JENNIFER MOELLER, FRANK MOLIERI
.................... STEVEN MULLER, DAVID NAM
..... TUAN NGUYEN, MARY GRACE ORARIO
.......PHILLIP PIGNOTTI, MICHAEL POLVANI
..................NATASHA PRESLER, ALEX QUE
..............................................RYAN RIVETTE
................. JAY ROBINSON, DANE ROMLEY
........................... EDDIE ROSAS, ALEX RUIZ
............ RICK SALONGA, DAVID SALVADOR
. ALBERTO SANTIAGO, MELODY SEVERNS
......................... HERMAN RASHAD SHARAF
........ CHRIS MINKI SONG, KA MOON SONG
......................................... MIKE SWOFFORD
.... DEREK THOMPSON, VIOREL VORONCA
........................................... FRANZ VISCHER
............ WILLIAM WALDMAN, J.C. WEGMAN
..........................JUNG-A YOO, YOUNG YOO
BG Layout Artists................ JAMES P. ALLES
............JOHN M. BERMAN, GALINA BUDKIN
..............EDGAR CARLOS, DEREK CARTER
...............................................PAUL CASTRO
..............ANDY CHEN, RYAN A. CHEETHAM
............................. MENG-YEE DANIEL CHIU
III
........ NAMSUK CHO, ALFRED “TOPS” CRUZ
...................................... JAROD DAETWILER
......... PETER J. DELUCA, RANDOL EAGLES
...RODEL GRAVO AMUEL HO, LAM HOANG
.........................................CYNTHIA IGNACIO
...........ARLAN JEWELL, TREVOR JOHNSON
.... ALEX J. LEE, ASHLEY LENZ, JUAN LUNA
....................HILARIO “LARRY” MIRAVALLES
..........................GARY MOURI, GANG PENG
...................................... CAMERON PORTER
................ JEFF PURVES, JONATHAN PYUN
...............................GERALD CLIFFORD REY
..................THOMAS STARNES, ALLEN TAM
.......................................... DANNY TAVERNA
......................SCOTT UEHARA, RENE VEGA
...................................... KEVYN L. WALLACE
..... WALLACE WILLIAMSON, CHAD WOODS
....................................... CHUNG SUP YOON
............................................JENNIFER YUAN
Scene Planning and Compositing
Supervisor.............................GINA BRADLEY
Scene Planning and Compositing ...................
......TORIEN BLACKWOLF, ROSS BLOCHER
......................................... DENNIS BONNELL
............... DEIRDRE CREED, DARRIN DREW
.....................GEORGE “BINGO” FERGUSON
..... BRENDAN HARRIS, LOUIE C. JHOCSON
........................................................ MIAE KIM
.............. DAN C. LARSEN, BETH S. MORRIS
..................................................RICK MOSER
.................. HELEN O’FLYNN, JASON PLAPP
.......... SCOTT ROSSMAN, DAVE SCARPITTI
.......... EDWIN S. SHORTESS, COLIN SITTIG
..................................................DOUG TIANO
Effects Animation Lead ........ BRICE MALLIER
Effects Animation Artists ............. AL HOLTER
.............................. MIKE JONES, DAVID LEE
............CYNTHIA NEILL KNIZEK, DAN LUND
..........................................ROSANNA LYONS
........................MARK MYER, MASA OSHIRO
...............VAN SHIRVANIAN, JEFF TOPPING
..................................................PHILIP VIGIL,
..................... JOSE A.GARCIA VILLAMERIEL
Additional Effects Artists..................................
...JOHN A. ARMSTONG, MARKO BARROWS
...................TY ELLIOT, DEE FARNSWORTH
...............................................JEFF HOWARD
Background Painters.......................................
............................ DOMINIQUE BLASKOVICH
......RUBEN CHAVEZ, JULIA KALANTAROVA
................BIKE KINZLEW. ASHBY MANSON,
.......................... ALEXANDER ZABOLOTSKY
Film Roman Editorial..ROGER INJARUSORN
.........................ABE FORMAN-GREENWALD
Rough Draft Editorial............ ANNE HARTING
........... ANN HOYT, JEFFREY PERLMUTTER
Lip Assignment.............. ROBYN ANDERSON
Color Model Lead.............MARIA GONZALEZ
Color Models ....................BRANDON BLOCH
.................................DAVID SVEND KAROLL
...................................MARIANNE C. CHENG
Visual Development Artists ..............................
..................MIKE HUMPHRIES, MIKE INMAN
.....................................PHILLIP PHILLIPSON
Color Design Consultant........KAREN BAUER
Film Roman CG Lead ...... GRANT VICKLUND
CG Artists ............................. STUART ALLAN
............................ KEVIN CARNEY, DON KIM
......JON KIM KRUMMEL II, HOCK LIAN LAW
..................MIKE MONTAGUE, MARK ORME
..............BENJAMIN SAKAI, CHRIS STOVER
................ERIC WHITED, CHARLIE WINTER
Additional CG by Forum.... WILLIAM ARANCE
.......................BRENT BOWEN, CHAD COLE
........ HARRY EISENSTEIN, STEVEN FAHEY
......................... PETER GEND, ADAM KLEIN
Animation Clean-up .... DEBRA ARMSTRONG
......................................... MERRY CLINGEN,
....................SUSAN McKINSEY GOLDBERG
...................... CATHILIN HIDALGO-POLVANI
............. TODD JACOBSEN, EMILY JULIANO
................................MYUNG KANG-TEAGUE
........... LURELINE KOHLER, DON PARMELE
DOMINGO RIVERA, NATASHA SELFRIDGE
................................. RICHARD SMITHEMAN
................ MARIANNE TUCKER, MIRI YOON
Checkers ................... WILLIAM A. BEMILLER
.......................SUSAN BURKE, GINA EVANS
..................... GLENN HIGA, ESTHER H. LEE
...............JAN NAYLOR, JUNGJA KIM-WOLF
Track Reading .....................LOUIS RUSSELL
.........................................LAURIE WETZLER
Scanning.........................DAVID E. BONNELL
......................... HEIDI FRIESE, DAVID DUFF
Digital Ink and Paint.........................................
.................. LISA MARIE LEONARDI-KNIGHT
Digital Asset Managers....................................
DENNIS M. JOHNSON, ABISHAKE PATHAK
Technical Consultant ........STEFFEN M. WILD
Dialogue Mixer................................ RON COX
Dialogue Recordists........ CHRISTINE SIROIS
.................................................. TIM LAUBER
Recordists.....................CRAIG “PUP” HEATH
.......................................... BLAKE CORNETT
Re-Recording Engineer .............TOM LALLEY
Dialogue Engineer ................ DEREK CASARI
HSR Dialogue Recordist............ BILL HIGLEY
Brauer Production Dialogue Recordist.............
.......................................... BOB TOMLINSON
Dialogue Editor ..................... CHERYL NARDI
ADR Group Voice Casting ...............................
........................................ BARBARA HARRIS
ADR Loop Group .................... DOUG BURCH
...CATHERINE CAVADINI, LANAI CHAPMAN
.....................JOHN DeMITA, WILLOW GEER
............ BARBARA ILEY, DAAMEN J. KRALL,
IV
...... MARSHA KRAMER, JEREMY MAXWELL
.......................DAVID MICHIE , DALE RAOUL
Post Production Facilities Provided By............
........ TWENTIETH CENTURY FOX STUDIOS
Post Production Sound Services by ...............
.................................... SKYWALKER SOUND
..................... A LUCASFILM LTD. COMPANY
Marin County, California
Foley Editor............................SUZANNE FOX
Assistant Editors .................KEVIN N. BAILEY
....................................................JOSH GOLD
Foley Artists ........................... JANNA VANCE
................ DENNIE THORPE, ELLEN HEUER
Foley Recordist ................... SEAN ENGLAND
Foley Mixer ......................... FRANK RINELLA
Assistant Effects Editor ............... MAC SMITH
Recordists...........................NATHAN NANCE
................. RON ROUMAS, MATTHEW KENT
Mix Technician .................. JURGEN SCHARF
OVERSEAS ANIMATION PROVIDED BY
AKOM PRODUCTION CO.
Animation Producer for Akom Production
Co. .......................................... NELSON SHIN
Production Managers....................JI-YEUN YI
.............................................. BYUNG-KI SON
Production Coordinators...........EUN-HEE KIM
.........SEON-HO JEONG, SOON-YOUNG KIM
Translators ...........................JI-YOUNG PARK
...............................................SOO-JIN BANG
Overseas Directors ................NAK-JONG KIM
................................................... SI-WOO LEE
Animators.........................HYEON-CHAN LEE
.............. TAE-YONG SHIN, DAE-SEONG LIM
...................GWI-DON CHOI, WON-GOK LEE
.........SUNG-HYEON KIM, SANG SEOL SHIM
............SEOK-GYU CHOI, GYEONG-AE CHA
...................... MI-NAH SEO, SONG-PHIL KIM
............SEUNG-RYEOL LEE, HYO-SEOK KO
......... YOUNG-KYU CHOI, SONG-YEOL HAN
...................... WOOK HEO, HWI-SEOP JANG
............. JEONG-BOK WI, KYUNG-SIK SONG
..................... HAN-SOO KIM, JAE-HEON KIM
...............YOUNG-SOO PARK, KI-SEOL SON
..............YONG-MOON KIM, EUN-JOO PARK
................................................... OK-BAE KIM
Model Checking .......... GYEONG-SOOK HEO
............... JIN-YEONG PARK, YUN-SIK PARK
Assistant Animation Checking.........................
...........JEONG-HEE BAE, SONG-CHEUL KIM
............................................KYUNG-SUK KIM
Assistant Animators ....................EUN-JA LEE
.......HYEON-NAM YANG, JUNG-MIN BYEON
.................... EUN-YOUNG KIM, MI-JA KWON
...........YOUNG-JOO KIM, JANG-HYEON KIM
......................IN-OK KONG, AE-GYEONG YU
.......................HO-SEOP KIM, MI-YEON CHA
......................MI-SANG LEE, EUN-JUNG KIM
.......... EUN-JUNG BAE, HYEON-JOO MOON
.........EUN-YOUNG KANG, JOO-HYEON KIM
........................SUK JEONG, MI-HYANG LEE
........... HYUN-KOOK SHIM, HYUN-HYA CHU
..................YONG-NIM JEON, OK-NYE CHOI
..............PILL-NAM LEE, JOUNG-OOK PARK
................... EUN-MI HYANG, JUNG-HA PYO
.............YUN-JUNG LEE, KYOUNG-HEE KIM
............................................. SOON-JA JEON
Final Checking................. SEONG-WOOK HA
Background Cleanup ............SOO-HONG KIM
.................................................EUN-JIN CHO
Digital Supervisor....................JUNG-MIN LEE
Camera Work ................. EUN-YOUNG YUNE
................................................. EUN-JIN CHA
........................................................JIN-A LIM
............ MIN-JUNG KIM, SEONG-HYUN HEO
.......... KYONG-HEE PARK, YEUN-HONG KU
........................................SEONG-HYE PARK
Background Artists.........CHOUN-WUNG SON
...................... YEON-JU KIM, HYUNG-KI KIM
Scanning... KYOUNG-MI JIN, EUN-JOO CHOI
Digital Painting.......................YEON-HWA OH
.........................SUN-MI PARK, YUN-JIN JOE
.............BONG-SUNG KO, SEON-HYE PARK
..................................MI-RA KIM, JI-HYE KIM
............. SOO-JEONG SUNG, PPEO-YO LEE
........................ TAE-SOO LIM, GUI-YUE LEE
...JIE-GUL MA, BONG WOO, WOO-IL WANG
..............................CHUNG-YOUNG HWANG
.......................................... CHANG-KU JUNG
........................... KUM-YONG LEE, AHN LEE
.....................JI-AH YOON, WOO-DAN SUNG
....... NAM-HYUN SHIN, YOUN-MYOUNG OH
........................................................MA-RI SA
OVERSEAS ANIMATION PROVIDED BY
ROUGH DRAFT KOREA, CO. LTD.
Executive Producer in Charge of R.D.K...........
................................................. NIKKI VANZO
Production Account Management....................
.......... BYUNG CHUL YEA, SANG WOO CHA
Supervising Producer for R.D.K.......................
.............................................. HYEJOON YUN
Head of Production.................. CHUL HO KIM
Head of Production Coordination.....................
....................................... YEON HWA JEONG
Production Coordinators ..... YONG MIN PARK
....... JEONG YEUL PARK, JUNG SOO SHIN
Production Translator ........YOUNG JIN JEON
Production Translation Assistants....................
......................YEO JIN JEON, MEE RAE LEE
Animation Directors ........ MYUNG NAM JANG
.. YONG SEOP JEONG, YOUNG SIK JEONG
Animators ...... JOON SIK KIM, DUK HOO KIM
.....YOUNG NAM KIM, KYUNG WOOK KANG
......... TAE HYUN PARK, EUN YOUNG PARK
..................SUNG HYE PARK, SUN JAE LEE
V
.......HO SIK LEE, KUN LEE, HYE JIN JEONG
....................... MI SUN YOON, SUN KYU KIM
.......................KYU DAE YEON, CHUL KANG
............. KYUNG SOOK PARK, SU MEE CHO
..............YONG BAE WON, JONG SANG KIM
.......................... KYU HAW JO, MEE SUN JO
Assistant Animation – Chief ............................
............................................YOUNG NIM LEE
Assistant Animators .................SO YEON KIM
.................... JUNG IL PARK, HYE RYUN LEE
........................MOON SUN JO, JOO SIK KIM
..........MEE JUNG JEONG, DAE KOWN CHOI
.............YOO JIN PARK, YOUNG SIL JEONG
...................SIL HEE BANG, YEON JOO KOH
.............. MIN HWA SONG, HYUN JOO PARK
................ JI YOUNG HWANG, MEE RA CHO
..............MEE JIN CHA, AEH KYUNG JEONG
.............YOUNG EUN SEO, HYUN JOO SHIN
..............MEE SOOK LEE, KYU YOUNG OHN
........................... IN HWA OH, KI JUNG SHIM
.......... MYUNG SHIM CHOI, RAN KYUNG OH
..............................................EUN JOO JUNG
Animation Checkers...........JONG BUM PARK
.............................................. SOOK HEE KIM
Animation Retake Director YONG NAM PARK
Animation Retake Assistant ...MEE HWA AHN
Head of US Animation Digital Dept .................
.......................................WOO SUNG JEONG
US Animation System – Chief.HAE JIN PARK
US Animation System Technicians
............... YEON SUK RYU, SANG WON SEO
.............................................SANG HYUK OH
Digital Scan...........................HYUN JOO LEE
............... HYUN JOO PARK, NA YOUNG KIM
Digital Color Palette ................... JI YEON KIM
Digital Ink and Paint – Chief.....HYUN AH KIM
Digital Ink and Painters ...................................
..............YOUNG SOOK HONG, KI NAM AHN
...........................KUI OK KIM, HYE SUN AHN
...... NAM YOUNG JEONG, EUN YOUNG KIM
....................... JIN HEE KIM, YAE YOON LEE
.......................... DO HEE KIM, HYE SUN KIM
......................YOUNG EUN CHOI, OK SUN JI
................HYE YEOP YOON, JUNG HEE LIM
......... KANG SOOK BAEK, SANG EUN PARK
Digital Background Painting -Chief.................
.............................................. SO YEON CHOI
Digital Background Painters ... EUN SOO BAN
......................HA NA KIM, CHUNG RAN EUM
............................................... MEE JIN PARK
Digital Composite - Chief................ SE HO NA
Digital Compositors ..........JONG HYUN PARK
...............HEE JUNG JEONG, HEE JIN KANG
...................... JIN YOON, JOON KYO JEONG
................. SUN YOUNG PARK, IL WOO BAE
......... BO HEE KWON, YOUNG JOON HONG
Final Composite/Checking Supervisor .............
........................................ HYUN WOOK CHO
CAST
HOMER ......................DAN CASTELLANETA
MARGE ................................. JULIE KAVNER
BART.........................NANCY CARTWRIGHT
LISA..................................YEARDLEY SMITH
MAGGIE .................... NANCY CARTWRIGHT
RALPH ...................... NANCY CARTWRIGHT
SCRATCHY......................HARRY SHEARER
ITCHY..........................DAN CASTELLANETA
PROFESSOR FRINK ..............HANK AZARIA
MR. BURNS ..................... HARRY SHEARER
MRS. KRABAPPEL .........MARCIA WALLACE
COMIC BOOK GUY.................HANK AZARIA
GREEN DAY ........ BILLIE JOE ARMSTRONG
........................... FRANK EDWIN WRIGHT III
.................................. MICHAEL PRITCHARD
BARNEY......................DAN CASTELLANETA
MOE........................................HANK AZARIA
REV. LOVEJOY................ HARRY SHEARER
NED FLANDERS..............HARRY SHEARER
GRAMPA.....................DAN CASTELLANETA
SWEET OLD LADY.........TRESS MacNEILLE
MILHOUSE....................... PAMELA HAYDEN
NELSON.................... NANCY CARTWRIGHT
COLIN .............................TRESS MacNEILLE
MRS. SKINNER...............TRESS MacNEILLE
CHIEF WIGGUM .....................HANK AZARIA
ROD FLANDERS.............. PAMELA HAYDEN
TODD FLANDERS .... NANCY CARTWRIGHT
LOU.........................................HANK AZARIA
NELSON’S MOTHER.........TRESS MacNEILLE
STAGE MANAGER .....DAN CASTELLANETA
KRUSTY THE CLOWN....................................
....................................DAN CASTELLANETA
PIG..................................TRESS MacNEILLE
CAT LADY................ .......TRESS MacNEILLE
MAYOR QUIMBY ........DAN CASTELLANETA
LENNY ............................. HARRY SHEARER
CARL ......................................HANK AZARIA
FAT TONY...........................JOE MANTEGNA
CLETUS ..................................HANK AZARIA
MAYOR’S AIDE...........DAN CASTELLANETA
BUMBLEBEE MAN..................HANK AZARIA
SKULL .............................. HARRY SHEARER
MULTI-EYED SQUIRREL................................
....................................DAN CASTELLANETA
MALE EPA WORKER..............HANK AZARIA
FEMALE EPA WORKER.TRESS MacNEILLE
RUSS CARGILL .......................... A. BROOKS
PRESIDENT ARNOLD
SCHWARZENEGGER...... HARRY SHEARER
MARTIN.................. . .............RUSSI TAYLOR
PANICKY MAN............DAN CASTELLANETA
SIDESHOW MEL............
VI
.................................... DAN CASTELLANETA
MAN..............................KARL WIEDERGOTT
G.P.S. WOMAN .............. TRESS MacNEILLE
KENT BROCKMAN...........HARRY SHEARER
DOME DEPOT ANNOUNCER ........................
................................................ HANK AZARIA
MR. TEENY ............... DAN CASTELLANETA
PRINCIPAL SKINNER ......HARRY SHEARER
EPA OFFICIAL............ DAN CASTELLANETA
KISSING COPS .......... DAN CASTELLANETA
................................................ HANK AZARIA
CARNIVAL BARKER............... HANK AZARIA
COUNTER MAN ..................... HANK AZARIA
DR. HIBBERT ...................HARRY SHEARER
APU ........................................ HANK AZARIA
SMITHERS .......................HARRY SHEARER
TOLL BOOTH MAN ..........HARRY SHEARER
HELEN LOVEJOY...........MAGGIE ROSWELL
COOKIE KWAN .............. TRESS MacNEILLE
LINDSEY NAEGLE.......... TRESS MacNEILLE
DREDERICK TATUM.............. HANK AZARIA
SEA CAPTAIN ........................ HANK AZARIA
TOM HANKS....................................HIMSELF
TV DAD.............................PHIL ROSENTHAL
TV DAUGHTER .........NANCY CARTWRIGHT
TV SON........................... TRESS MacNEILLE
MEDICINE WOMAN ....... TRESS MacNEILLE
BEAR .......................... DAN CASTELLANETA
WOMAN ON PHONE.NANCY CARTWRIGHT
GIRL ON PHONE............ TRESS MacNEILLE
BOY ON PHONE ........ DAN CASTELLANETA
NSA WORKER............ DAN CASTELLANETA
OFFICER .................... DAN CASTELLANETA
EPA DRIVER ................KARL WIEDERGOTT
EPA PASSENGER.................. HANK AZARIA
GUARD.............................HARRY SHEARER
ROBOT ................................... HANK AZARIA
OTTO................................HARRY SHEARER
DR. NICK ................................ HANK AZARIA
SANTA’S LITTLE HELPER .............................
.................................... DAN CASTELLANETA
KANG................................HARRY SHEARER
SQUEAKY-VOICED TEEN .............................
.................................... DAN CASTELLANETA
Consultants .............................. LESLIE POPE
....................IDA RANDOM, SHAY CUNLIFFE
Production Coordinator .... MICHAEL NOBORI
Assistants to Mr. Brooks.......... LISA WALDER
......................................... JOSH BORNSTEIN
Assistant to Mr. Groening.........VYOLET DIAZ
Assistant to Mr. Jean.................. MICK KELLY
Assistants to Mr. Sakai..............JOSH ADLER
.......................................DANIEL LICHTBLAU
Assistant to Mr. Silverman...DANIELLE MAYS
Production Accountant .......CRAIG CANNOLD
Assistant Production Accountant.....................
................................................ CHRIS STARK
Film Roman Production Accountant.................
................................................JOHN ROMEO
Rough Draft Production Accountant.................
.........................................JAMES H. GOLDIN
Rough Draft Assistant Production
Accountant.....................SYLVIA C. RAMIREZ
Production Assistants ......................................
......................... DAKOTA MORGAN SETZER
...........DANIEL GORDON, LUCIAN DANIELS
.......................................... LAUREN L. FRITZ
Animation Production Assistants......................
.............. JENNY BETTIS, LEJON DOUROUX
..........RYAN GARCIA, MATTHEW LATHROP
......................ALICE S. LIN, HUGO LINARES
....................................... AMY V. LODEVICO,
.........PAUL “PONG-PONG” MANGULABNAN
............................................. ABNER PINEDA
........................... LESLIE ANDREW RIDINGS
..............CAROLYN ROACH, PETER TRUSS
......................................... LEONARDY VELIZ
Additional Production Support .........................
.....MATT BATTLE, ASHLEY NICOLE BLACK
KEVIN C. JONES, LATREESE RUTHERFORD
.................................... BARBARA SIEBERTZ
Film Roman IT ............CHARLES McCASKILL
................ BRAD COOPER, ELAINE DEMARI
..............JESSE FANNAN, IVAN LAWRENCE
............... SAMUEL MASON, MIKE MEDARIS
................................................DAVID PLUMB
Recruiting ........................ PHILLIP WILLIAMS
Lab Color Timers ....................... JIM PASSON
...............................................CHRIS REGAN
Negative Cutter..................... GARY BURRITT
Titles By..................................PACIFIC TITLE
DIGITAL INTERMEDIATE BY
TECHNICOLOR DIGITAL
INTERMEDIATES
Digital Film Colorist...........TIMOTHY PEELER
DI Producer .............................. ESTHER LEE
MUSIC
Additional Music by ........RYELAND ALLISON
..................LORNE BALFE, JAMES DOOLEY
.......... HENRY JACKMAN, MICHAEL LEVINE
........................................ ATLI ÖRVARSSON
Featured Guitarist .............HEITOR PEREIRA
Featured Vocalist...................ELIN CARLSON
Supervising Orchestrator .... BRUCE FOWLER
Orchestrators........................WALT FOWLER
................ELIZABETH FINCH, KEN KUGLER
....... SUZETTE MORIARTY, STEVE BARTEK
...................................... GEOFF STRADLING
Score Recorded and Mixed by.........................
........................................SLAMM ANDREWS
Music Preparation............... BOOKER WHITE
VII
Orchestra Conductors .....................................
.......BLAKE NEELY & NICK GLENNIE-SMITH
Music Contractors ...........................................
.. SANDY DE CRESCENT & PETER ROTTER
Technical Score Engineers .............................
THOMAS BRODERICK & PETE OSO SNELL
Music Production Coordinator
...........................................STEVEN KOFSKY
Score Production Coordinator ........................
..............................................ANDREW ZACK
Technical Music Assistants ............................
................... JACOB SHEA & NOAH SOROTA
Additional Recording by .......JEFF BIGGERS
Assistant Engineers .......................................
........................ GREG VINES & MATT WARD
SCORE MIXED AT REMOTE CONTROL
PRODUCTIONS
Digital Recordist...........KEVIN GLOBERMAN
Additional Music Editors .................................
.. STEPHANIE LOWRY, ERICH STRATMANN
.........................MARK JAN WLODAKIEWICZ,
.................................................MICHAEL JAY
Score Recorded at THE NEWMAN
SCORING STAGE,
TWENTIETH CENTURY FOX
Recordist....................................TIM LAUBER
Engineer............................ DENIS St. AMAND
Stage Managers..............................................
.. TOM STEEL & FRANCESCO PERLANGELI
SONGS
ALSO SPRACH ZARATHUSTRA
Written by Richard Strauss
HAIL TO THE CHIEF
Written by James Sanderson
THE SIMPSONS THEME
Written by Danny Elfman
Performed by Green Day
Green Day performs courtesy of Warner
Brothers Records, Inc.
NEARER, MY GOD, TO THEE
Written by Sarah Adams and Lowel Mason
AMERICAN IDIOT
Written by Billie Joe Armstrong, Frank
Edwin Wright, III
and Michael Pritchard
HAPPY TOGETHER
Written by Alan Gordon and Garry Bonner
Performed by The Turtles
Courtesy of Flo & Eddie, Inc.
By arrangement with Cohen and Cohen
KODAK
SPIDER PIG
Based on the Spiderman Theme
Written by Bob Harris and Paul Webster
Parody lyrics written by James L. Brooks,
Matt Groening, Al Jean, Ian Maxtone-
Graham, George Meyer, David Mirkin,
Mike Reiss, Mike Scully, Matt Selman,
David Silverman, John Swartzwelder and
Jon Vitti
CAROUSEL RIDE
Written and Performed Herman Beeftink
Courtesy of Elite Source Music Productions
(They Long To Be) CLOSE TO YOU
Written by Burt Bacharach and Hal David
Performed by The Carpenters
Courtesy of A&M Records
Under license from Universal Enterprises
SPRINGFIELD ANTHEM
Based on "La Marseillaise"
Written by Claude-Joseph Rouget de Lisle
Parody lyrics written by James L. Brooks,
Matt Groening, Al Jean, Ian Maxtone-
Graham, George Meyer, David Mirkin, Mike
Reiss, Mike Scully, Matt Selman, John
Swartzwelder and Jon Vitti
SOUNDTRACK AVAILABLE ON
EXTREME MUSIC
ANIMATION SPECIAL THANKS
LAURIE BIERNACKI, UTIT CHOOMUANG
BRETT COKER,
FRANCISCO DEL CUETO,
DAWN FINLEY, ELLEN HOWARD
BRIAN KOKOSZKA, RON McNUTT
SHELLEY MCCULLY, STEVE MILLS
HERIBERTO MORALES, JESSE TORRES
ROBERT WEAVER
C.I.S.
TOON BOOM ANIMATION INC.
SPECIAL THANKS TO:
JULIE ANSELL, GREGG BERGER
MAURICE LAMARCHE, RICK POLIZZI
FILMED ON LOCATION IN
SPRINGFIELD, .
Prints by DELUXE®
FILM STOCK (Logo)
DOLBY
(logo)
DTS
(logo)
Approved No. 43622 (MPAA Globe)
MOTION PICTURE
ASSOCIATION OF AMERICA
IATSE "Bug"
© 2007 Twentieth Century Fox Film
Corporation in all
territories except Brazil, Italy, Japan, Korea
and Spain.
© 2007 TCF Hungary Film Rights
Exploitation Limited Liability Company
and Twentieth Century Fox Film
Corporation in Brazil, Italy, Japan, Korea
and Spain.
Twentieth Century Fox Film Corporation is
the author of this motion
picture for purposes of copyright and other
laws.
The events, characters and firms depicted
in this photoplay are fictitious.
Any similarity to actual persons, living or
dead, or to actual
events or firms is purely coincidental.
Ownership of this motion picture is
protected by copyright and other applicable
laws,
and any unauthorized duplication,
distribution or exhibition of
this motion picture could result in criminal
prosecution as well as civil liability.
VIII
