Production
Gavin O'Connor directed and Mark Ciardi produced the movie. Both are drawn to inspirational stories and they decided to take on the "Greatest Sports Moment of the 20th Century". They chose to focus on the determination and focus of coach Herb Brooks. O'Connor knew from the beginning that he wanted to cast Kurt Russell as Herb Brooks because he needed someone with an athletic background and a fiery passion for sports. The casting of the team consisted of real hockey players to give the film a raw and real feeling. O'Connor figured it would be easier to teach hockey players to act than to teach actors to play hockey. On-ice tryouts were held in New York, Boston, Minneapolis, Los Angeles, Toronto, and Vancouver. Another tryout was held in Vancouver for the Soviet and European teams.
There are a total of 133 different hockey plays in the film. To accomplish this, the directors turned to Mark Ellis of ReelSports Solutions, who had helped with the producers on a previous movie, The Rookie. Ellis referred to coach Herb Brooks for information on practices, plays, equipment, and uniform styles. Each fight and stunt scene was choreographed to insure the actors' safety. Players went through a six-week training camp to relearn the game in older equipment.
Read more about this topic: Miracle (film)
Famous quotes containing the word production:
“The production of obscurity in Paris compares to the production of motor cars in Detroit in the great period of American industry.”
—Ernest Gellner (b. 1925)
“The problem of culture is seldom grasped correctly. The goal of a culture is not the greatest possible happiness of a people, nor is it the unhindered development of all their talents; instead, culture shows itself in the correct proportion of these developments. Its aim points beyond earthly happiness: the production of great works is the aim of culture.”
—Friedrich Nietzsche (1844–1900)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)