Incognito


1h 46m 1998

Brief Synopsis

An art forger searches out the one art critic who knows the truth and can absolve him of a murder for which he is being framed.

Film Details

MPAA Rating
Genre
Crime
Mystery
Thriller
Release Date
1998
Distribution Company
WB
Location
Amsterdam, Netherlands; Brussels, Belgium; London, England, United Kingdom; Paris, France

Technical Specs

Duration
1h 46m

Synopsis

An art forger searches out the one art critic who knows the truth and can absolve him of a murder for which he is being framed.

Crew

Rick Alexander

Rerecording

Lynda Armstrong

Makeup Artist

Joep Bannenberg

Consultant

Gary Barber

Executive Producer

Natalie Bayford

Adr Mixer

Frederic Bovis

Production Manager

Mark Boyle

Stunt Coordinator

Tim Boyle

Sound

David Boysen

Other

Anna Bright

Foley Editor

Paul Carden

Supervising Sound Editor

William P. Cartlidge

Coproducer

John Casali

Sound Recordist

Francesca Castellano

Production Coordinator

Gilles Castera

Location Manager

James Cornish

Storyboard Artist

Cammie Crier

Associate Producer

Denis Crossan

Director Of Photography

David Crozier

Sound Recordist

Tom Dahl

Rerecording

Noel Davis

Casting

Lisa Campbell Demaine

Production Coordinator

Brendan Donnison

Voice Casting

Richard Dunmore

Location Manager

Dave Elsey

Prosthetic Makeup

David Etherington

Technical Advisor

Michelle Fox

Production Associate

James Gemmill

Other

Larry Groupé

Original Music

Larry Groupé

Music Conductor

David Harris

Special Effects Supervisor

Jim Harrison

Music Editor

Christopher Hawkins

Technical Advisor

Sally Hayman

Production Coordinator

Trevor Hermes

Technical Advisor

Peter Heslop

Assistant Director

Ian Hickinbotham

Production Supervisor

Paul Higgins

Assistant Director

Damon Intrabartolo

Original Music

Colin Jamison

Hair Stylist

Doc Kane

Adr Mixer

Jordan Katz

Screenplay

Larry Keith

Technical Advisor

Martin Kenzie

Camera Operator

Lucette Legot

Production Coordinator

Jamie Leonard

Production Designer

Jody Levin

Post-Production Supervisor

Carol Lewis

Dialogue Editor

Nancy Macleod

Sound Effects Editor

Joe Mayer

Editor

Mel Metcalfe

Rerecording

Joe Milner

Supervising Sound Editor

Nic Milner

Camera Operator

Steven Mitchell

Scenic Artist

Frank Morriss

Editor

Justin Mortimer

Other

John Ottman

Original Music

John Ottman

Music

Colin Plenty

Location Manager

Jill Quertier

Set Decorator

Mark Raggett

Art Director

Michael D Roberts

Production

James G. Robinson

Producer

Julie Robinson

Script Supervisor

Larry Ross

Other

Joan Rowe

Foley Artist

Sean Rowe

Foley Artist

Pascal Salafa

Assistant Director

Mary Ruth Smith

Adr Editor

Eddie Stacey

Stunt Coordinator

Louise Stjernsward

Costume Designer

Kevin Tayler

Adr Mixer

Joe Title

Foley Editor

Bill Todman, Jr.

Executive Producer

David Tringham

Assistant Director

Lia Vollack

Music Editor

Nick Walker

Art Department

Ros Ward

Costume Supervisor

Scott Weber

Foley Mixer

Su Whitaker

Art Director

Kerry Dean Williams

Dialogue Editor

Film Details

MPAA Rating
Genre
Crime
Mystery
Thriller
Release Date
1998
Distribution Company
WB
Location
Amsterdam, Netherlands; Brussels, Belgium; London, England, United Kingdom; Paris, France

Technical Specs

Duration
1h 46m

Articles

TCM Remembers - Rod Steiger


ROD STEIGER, 1925 - 2002

From the docks of New York to the rural back roads of Mississippi to the war torn Russian steppes, Rod Steiger reveled in creating some of the most overpowering and difficult men on the screen. He could be a total scoundrel, embodying Machiavelli's idiom that "it's better to be feared than loved" in the movies. But as an actor he refused to be typecast and his wide range included characters who were secretly tormented (The Pawnbroker, 1965) or loners (Run of the Arrow, 1965) or eccentrics (The Loved One, 1965).

Along with Marlon Brando, Steiger helped bring the 'Method School' from the Group Theater and Actors Studio in New York to the screens of Hollywood. The Method technique, taught by Stella Adler and Lee Strasberg, insisted on complete immersion into the character's psyche and resulted in intense, dramatic performances and performers. Steiger made his first significant screen appearance as Brando's older brother in On the Waterfront (1954). Their climatic scene together in a taxicab is one of the great moments in American cinema.

It was a short leap from playing a crooked lawyer in On the Waterfront to playing the shady boxing promoter in The Harder They Fall (1956). Based on the tragic tale of true-life fighter Primo Carnera, The Harder They Fall details the corruption behind the scenes of professional boxing bouts. Steiger is a fight manager named Nick Benko who enlists newspaperman Eddie Willis (Humphrey Bogart in his final screen appearance) to drum up publicity for a fixed prizefight. While the boxing scenes were often brutally realistic, the most powerful dramatic moments took place between Steiger and Bogart on the sidelines.

As mob boss Al Capone (1959), Steiger got to play another man you loved to hate. He vividly depicted the criminal from his swaggering early days to his pathetic demise from syphilis. In Doctor Zhivago (1965), Steiger was the only American in the international cast, playing the hateful and perverse Komarovsky. During the production of Dr. Zhivago, Steiger often found himself at odds with director David Lean. Schooled in the British tradition, Lean valued the integrity of the script and demanded that actors remain faithful to the script. Steiger, on the other hand, relied on improvisation and spontaneity. When kissing the lovely Lara (played by Julie Christie), Steiger jammed his tongue into Christie's mouth to produce the desired reaction - disgust. It worked! While it might not have been Lean's approach, it brought a grittier edge to the prestige production and made Komarovsky is a detestable but truly memorable figure.

Steiger dared audiences to dislike him. As the smalltown southern Sheriff Gillespie in In The Heat of the Night (1967), Steiger embodied all the prejudices and suspicions of a racist. When a black northern lawyer, played by Sidney Poitier, arrives on the crime scene, Gillespie is forced to recognize his fellow man as an equal despite skin color. Here, Steiger's character started as a bigot and developed into a better man. He finally claimed a Best Actor Academy Award for his performance as Sheriff Gillespie.

Steiger was an actor's actor. A chameleon who didn't think twice about diving into challenging roles that others would shy away from. In the Private Screenings interview he did with host Robert Osborne he admitted that Paul Muni was one of his idols because of his total immersion into his roles. Steiger said, "I believe actors are supposed to create different human beings." And Steiger showed us a rich and diverse cross section of them.

by Jeremy Geltzer & Jeff Stafford

Tcm Remembers - Rod Steiger

TCM Remembers - Rod Steiger

ROD STEIGER, 1925 - 2002 From the docks of New York to the rural back roads of Mississippi to the war torn Russian steppes, Rod Steiger reveled in creating some of the most overpowering and difficult men on the screen. He could be a total scoundrel, embodying Machiavelli's idiom that "it's better to be feared than loved" in the movies. But as an actor he refused to be typecast and his wide range included characters who were secretly tormented (The Pawnbroker, 1965) or loners (Run of the Arrow, 1965) or eccentrics (The Loved One, 1965). Along with Marlon Brando, Steiger helped bring the 'Method School' from the Group Theater and Actors Studio in New York to the screens of Hollywood. The Method technique, taught by Stella Adler and Lee Strasberg, insisted on complete immersion into the character's psyche and resulted in intense, dramatic performances and performers. Steiger made his first significant screen appearance as Brando's older brother in On the Waterfront (1954). Their climatic scene together in a taxicab is one of the great moments in American cinema. It was a short leap from playing a crooked lawyer in On the Waterfront to playing the shady boxing promoter in The Harder They Fall (1956). Based on the tragic tale of true-life fighter Primo Carnera, The Harder They Fall details the corruption behind the scenes of professional boxing bouts. Steiger is a fight manager named Nick Benko who enlists newspaperman Eddie Willis (Humphrey Bogart in his final screen appearance) to drum up publicity for a fixed prizefight. While the boxing scenes were often brutally realistic, the most powerful dramatic moments took place between Steiger and Bogart on the sidelines. As mob boss Al Capone (1959), Steiger got to play another man you loved to hate. He vividly depicted the criminal from his swaggering early days to his pathetic demise from syphilis. In Doctor Zhivago (1965), Steiger was the only American in the international cast, playing the hateful and perverse Komarovsky. During the production of Dr. Zhivago, Steiger often found himself at odds with director David Lean. Schooled in the British tradition, Lean valued the integrity of the script and demanded that actors remain faithful to the script. Steiger, on the other hand, relied on improvisation and spontaneity. When kissing the lovely Lara (played by Julie Christie), Steiger jammed his tongue into Christie's mouth to produce the desired reaction - disgust. It worked! While it might not have been Lean's approach, it brought a grittier edge to the prestige production and made Komarovsky is a detestable but truly memorable figure. Steiger dared audiences to dislike him. As the smalltown southern Sheriff Gillespie in In The Heat of the Night (1967), Steiger embodied all the prejudices and suspicions of a racist. When a black northern lawyer, played by Sidney Poitier, arrives on the crime scene, Gillespie is forced to recognize his fellow man as an equal despite skin color. Here, Steiger's character started as a bigot and developed into a better man. He finally claimed a Best Actor Academy Award for his performance as Sheriff Gillespie. Steiger was an actor's actor. A chameleon who didn't think twice about diving into challenging roles that others would shy away from. In the Private Screenings interview he did with host Robert Osborne he admitted that Paul Muni was one of his idols because of his total immersion into his roles. Steiger said, "I believe actors are supposed to create different human beings." And Steiger showed us a rich and diverse cross section of them. by Jeremy Geltzer & Jeff Stafford

Quotes

Trivia

Miscellaneous Notes

Released in United States on Video September 15, 1998

Released in United States Winter January 30, 1998

Director Peter Weller was fired two weeks into production because of "creative differences."

Began shooting June 24, 1996.

Completed shooting October 2, 1996.

Project paused production early July 1996 and resumed July 18, 1996 with director John Badham.

Alec Baldwin was once attached to the film.

Released in United States Winter January 30, 1998

Released in United States on Video September 15, 1998