Version Details

Cast

• Maureen Thomas - Grandma Ginnie Burke
• Lorena Gale - N.A. Meeting Person
• John Carroll Lynch
• John Carroll Lynch - Howard Glassman
• Alison Lohman
• Alison Lohman - Kelly
• Micah Nicolas Berry - Dory Burke
• Micah Nicolas Berry - Dony Burke
• Liam James - Cousin Dave
• Sarah Dubrovsky - Spring
• Marlies Dick - Police Officer
• Todd Charles Mosher - Police Officer
• James Lafazanos - Arnie
• Alejandro Chavarria - Backyard Kid
• Jessica McLeod - Harper's Friend
• Gerry Rousseau - John in Alley
• Abraham Jedidiah - Mr. Skopes
• Quinn Lord - Cousin Joel
• Paula Newsome - Diane
• Ken Tremblett - Brenda's Husband
• Hilary Strang - N.A. Meeting Director
• James Bayliss - Misunderstood Dealer
• Alexis Llewellyn - Harper Burke
• Halle Berry
• Halle Berry - Audrey Burke
• Halle Berry - Dory Burke
• Benicio Del Toro
• Benicio Del Toro - Jerry Sunborne
• David Duchovny
• David Duchovny - Charlie Burke
• David Duchovny - Brian Burke
• David Duchovny - Steve Burke
• Adrian Hough - N.A. Meeting Man
• Omar Benson Miller
• Omar Benson Miller - Neal
• Carolyn Field - Teresa Haddock
• Robin Weigert - Brenda
• Patricia Harras - Howard's Wife
• Kendall Cross - N.A. Meeting Person
• Victoria Campbell - Harper's Friend
• V.J. Foster - Distressed Man
• Hakan Coskuner - Alvin the Addict
• R. Nelson Brown - N.A. Meeting Person

Crew

• Casting: Debra Zane
• Composer (Music Score): Gustavo Santaolalla
• Director: Susanne Bier
• Editor: Pernille Bech Christensen
• Set Decorator: Dominique Fauquet-Lemaitre
• Composer (Music Score): Johan Soderkvist
• Production Designer: Richard Sherman
• Supervising Sound Editor: Per Hallberg
• Re-Recording Mixer: Scott Millan
• Producer: Sam Mercer
• First Assistant Director: Paul Barry
• Re-Recording Mixer: David Parker
• Musical Direction/Supervision: Susan Jacobs
• Sound/Sound Designer: James Kusan
• Producer: Sam Mendes
• Art Director: Geoff Wallace
• Editor: Bruce Cannon
• Executive Producer: Allan Loeb
• Screenwriter: Allan Loeb
• Co-producer: Barbara Kelly
• Cinematographer: Tom Stern
• Co-producer: Pippa Harris
• Executive Producer: Pippa Harris
• Costume Designer: Karen Matthews
• Supervising Sound Editor: Karen Baker Landers
• Costume Designer: Marnie Ander
• Assistant to the Director: Jodi Arneson
• Production Accountant: Irene Astle
• First Assistant Accountant: Doreen Beaulac
• Craft Service/Catering: Bob Bedard
• Production Assistant: Paul Bois
• Transportation Coordinator: Jake Calihoo
• Production Assistant: Shannon Corrie ,Bobby Crowder
• Personal Assistant: Patrick Delanty
• Dolly Grip: Tony Derkach
• Production Assistant: Erin Dixon ,Dave Edmondson ,Sarah Estacaille ,Bill Gauthier
• Grip: Jeremy Giles
• Assistant Production Coordinator: Heather Gittens
• Assistant Editor: Rasmus Gitz-Johansen
• Set Dresser: Larry Gonsalves
• Post Production Coordinator: Shaun Gordon
• Construction Foreman: Randal James Holden
• Assistant Set Decorator: Sheri Hunter-Locke
• Production Accountant: Leslie Knoll
• Producer's Assistant: Milly Leigh ,Marco Leone
• Casting Assistant: Tiffany Mak
• Production Assistant: Tessa Mol
• Dialogue Editor: Nancy Nugent Title
• Technical Advisor: Jane Nickels
• Production Assistant: Trina Ogryzek
• Post Production Coordinator: Francis Power
• Transportation Captain: Dean Rama
• Research: Alan Shaterian
• Producer's Assistant: Richard Smith
• Production Assistant: Cam Staples ,Mary-Louise Stares
• Transportation Captain: Fred Stephens
• Assistant Production Coordinator: Rhona Williscroft
• Boom Operator: Tony Wyman
• Production Accountant: Sandra Matossi
• Casting Assistant: Trica Thompson
• Camera Operator: Glen Dickson
• Key Make-up: Connie Parker
• Musical Arrangement: David Campbell
• Conductor: David Campbell
• Post Production Supervisor: Abigail Callahan
• Assistant Chief Lighting Technician: Pawel Sedzimir
• Grip: Tony Thorpe
• Dolly Grip: Bryce Shaw
• Grip: Bill Stefandis
• Dialect Coach: Kate Pierpoint
• Special Effects Technician: Adam Tayler
• Third Assistant Director: Phil Nee Nee
• Assistant Makeup: C. J. Wills
• Production Assistant: Chris Smith
• Casting Assistant: Leah Nelson
• Construction Coordinator: Chris Thompson
• Location Manager: Monty Bannister
• Production Coordinator: Jill Christensen
• Assistant Location Manager: Anand Kanna
• Casting: Andrea Brown
• Assistant Production Coordinator: Blair Miller
• Assistant to the Director: Richard Bloom
• Script Supervisor: Helga Ungurait
• Set Dresser: Anthony Chruszcz
• Chief Lighting Technician: Owen K. Taylor
• Assistant Chief Lighting Technician: Saubrie Mohamed
• Foley Mixer: Brett Voss
• Producer's Assistant: Laurent Lambert
• Color Timing: Steve Sheridan
• Generator Operator: Kevin O'Leary
• First Assistant Accountant: Jim Dunlap
• Stunts Coordinator: Jon Kralt
• Assistant Location Manager: Dan Kuzmenko
• Production Assistant: Terry Wong
• Graphic Design: Victoria Balharry
• Assistant Editor: Carrie Puchkoff
• Assistant Music Editor: John Carbonara
• Foley Artist: Jim Bailey
• Unit Publicist: Gloria Davies
• Set Dresser: Scott Holburn ,Shannon Mcfarlane
• Assistant Editor: Shelly Theaker
• Post Production Supervisor: Paul A. Levin
• Assistant Sound Editor: Tony R. Negrete
• Hair Styles: Debra Wiebe
• Casting Associate: Tannis Vallely
• Set Medic/First Aid: Zara Chun
• Craft Service/Catering: Zara Chun
• Assistant Sound Editor: Philip D. Morrill
• Stunts: Gerald Paetz
• Assistant Costumer Designer: Jana Rayne McDonald
• Third Assistant Director: Rhonda Taylor
• Sound Effects Editor: Peter Staubli ,Dan Hegeman
• Dialogue Editor: Kimaree Long
• Special Effects Coordinator: Alex Burdett
• Still Photographer: Doane Gregory
• Makeup: Norma Hill-Patton
• Supervising ADR Editor: Anna MacKenzie
• Properties Master: Graham Coutts
• Costumes Supervisor: Steven Vincent Holloway
• Stunts: Simon Burnett
• Production Assistant: Alex LeBlanc
• Assistant Properties: Gill Goodman
• First Assistant Editor: Justin Bourret
• Second Assistant Director: Misha Bukowski
• Foley Artist: Diane Marshall
• Stunts: James Bamford
• Assistant Hair: Jessica Rain
• Title Design: Pacific Title
• Key Hairstylist: Ian C. Ballard
• Negative Cutter: Gary Burritt
• Foley Mixer: Nerses Gezalyan
• ADR Editor: Chris Jargo
• Foley Artist: James Moriana ,Jeffrey Wilhoit
• Camera Operator: Mĝrten Soborg
• Hair Styles: Gail Ryan
• Assistant Art Director: Jennifer Donaldson
• Stunts: Wade Simmons
• Dialogue Editor: Fred Stahly
• Sound Effects Editor: Dino R. Dimuro
• Composer (Music Score): Johan Söderqvist
• Unit Production Manager: Barbara Kelly
• Production Sound Mixer: James Kusan
• Sound Effects Editor: Christopher Assells
• Music Editor: Suzana Peric
• Title Design: Pacific Title & Art Studio

Things We Lost in the Fire: AMG Review
Derek Armstrong , AMG

Things We Lost in the Fire has Oscar written all over it. It's got Oscar-winning actors (Halle Berry, Benicio del Toro), Oscar-worthy subject matter (drug addiction, coping with tragedy), and the director of an Oscar-nominated film (Susanne Bier, whose After the Wedding was Denmark's foreign film submission in 2006). But it's missing Oscar's key ingredient -- a spark of je ne sais quoi that would bring it all together into something transcendent. Technically, there's nothing one can identify that comes up short in Bier's film, except maybe a histrionic or two by Berry that got away from her. And there's a certain any-port-in-a-storm interest to the plot's central irony, which is that a recovering heroin addict may be the key puzzle piece to putting a family back together after its husband/father dies. But it's not quite enough that del Toro does a good job acting out the shakes of going cold turkey, or that Berry gets down the soul-sucking weariness of extended grief. Part of the problem is the fitful nature of Berry's character as written. We can't expect her to be totally composed after her husband is killed, but neither should it surprise us that her erratic treatment of del Toro's well-intentioned junkie -- come here come here come here, go away go away go away -- ends up knocking him off the wagon. Things We Lost in the Fire is a plenty satisfactory addition to the sizeable group of films where a tragically taken character is mourned over the course of the movie; it just doesn't tell us anything new about that process. There's no reason to excessively criticize it, but excessive praise doesn't feel justified either. ~ Derek Armstrong, All Movie Guide