Movie |
New England | Based On Novel Or Book
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6.5/10
IMDbBest Achievement in Special Visual Effects | 2001
Best Water Work | 2001 | Michael T.
Top Box Office Films | 2001 | James
2000
Best Sound | 2001
Outstanding Achievement in Sound Mixing for a Feature Film | 2001 | John T.
Best Visual Effects | 2001
Best Sound Effects Editing | 2001
Best Sound Mixing | 2001 | David E.
Best Titles Sequence | 2001
Best Sound Editing Sound Effects Foley Domestic Feature Film | 2001
Favorite Supporting Actor Drama | 2001
Favorite Supporting Actress Drama | 2001
Favorite Actor Drama | 2001 | George
Contemporary Film | 2001 | William
Best Stunt Coordinator andor nd Unit Director Feature Film | 2001
Best Water Work | 2001
Best Specialty Stunt | 2001
Outstanding Achievement in Cinematography in Theatrical Releases | 2001 | John
The Dark and Stormy Night | 2001
Best Visual Effects | 2001 | Stefen
Best Visual Effects | 2000 | Stefen
Best Sound Mixing | 2000
Film Score of the Year | 2000 | James
Most Intrusive Musical Score | 2000 | James
Budget 120,000,000 USD
Box Office Collection 325,756,637 USD
In the film's beginning, the Andrea Gail is shown offloading an unimpressive catch, and Billy Tyne is depicted as having "lost his touch." In reality, Tyne and his crew returned from that trip with an abundant catch. Likewise, the relationship between Tyne and Linda Greenlaw was fictitious. Tyne and Greenlaw were barely acquainted in real-life.
None of the fish in the movie were real, they were all either rubber (dead fish) or animatronic (alive fish). Director Wolfgang Petersen is an animal rights supporter.
Mark Wahlberg stayed in Bobby Shatford's room above the Crow's Nest bar, and even checked ID's at the door one night.
The storm in the movie was formed by the remnants of Hurricane Grace in late October and early November 1991.
After the traumatic shooting of The Abyss (1989), Mary Elizabeth Mastrantonio swore she would never do another film involving water. Fortunately all of her scenes were land-based, so Wolfgang Petersen was able to persuade her to come onboard.
"Christina 'Chris' Cotter: [sitting on the dock next to each other looking out at the ocean] I'll be asleep, and all the sudden there he is, that big smile. You know that smile. And I say, 'Hey, Bobby - where you been?' but he won't tell me. He just smiles and says, 'Remember, Christina: I'll always love you; I loved you the moment I saw you; I love you now; and I love you forever. There's no goodbyes - there's only love, Christina; only love. Then he's gone. But he's always happy when he goes so I know he's got to be okay - absolutely okay. Ethel Shatford: [holds her hand] I love your dream. Billy's voice: The fog's just lifting. Throw off your bow line; throw off your stern. You head out to South channel, past Rocky Neck, Ten Pound Island. Past Niles Pond where I skated as a kid. Blow your air-horn and throw a wave to the lighthouse keeper's kid on Thatcher Island. Then the birds show up: black backs, herring gulls, big dump ducks. The sun hits ya - head North. Open up to 12 - steamin' now. The guys are busy; you're in charge. Ya know what? You're a goddam swordboat captain! Is there any thing better in the world?"
"Linda Greenlaw: [at the services for the crew of the Andrea Gail] I knew Billy Tyne, but I did not know his crew very well, but any man who sailed with him, must have been the better for it. Robert Shatford, Dale Murphy, Micheal Moran, David Sullivan, Alfred Pierre... May you rest easy long-liners, in fair winds, and calm seas... For those of us left behind, the vast unmarked grave which is home for those lost at sea is no consolation. It can't be visited, there is no headstone on which to rest a bunch of flowers... The only place we can revisit them, is in our hearts, or in our dreams. They say swordboatmen suffer from a lack of dreams, that's what begets their courage... Well we'll dream for you: Billy, and Bobby, and Murph, Bugsy, Sully, and Alfred Pierre... Sleep well... Good Night..."