The Sum of All Fears


2h 3m 2002

Brief Synopsis

When the president of Russia suddenly dies and is succeeded by a man about whom little is known, tension increases as old fears ignite new paranoia. Director of Central Intelligence Bill Cabot recruits a young analyst from the Russia desk, Jack Ryan, to supply insight and advice. Then the unthinkabl

Film Details

Also Known As
Sum of All Fears
MPAA Rating
Release Date
2002
Distribution Company
Paramount Pictures
Location
Montreal, Quebec, Canada

Technical Specs

Duration
2h 3m

Synopsis

When the president of Russia suddenly dies and is succeeded by a man about whom little is known, tension increases as old fears ignite new paranoia. Director of Central Intelligence Bill Cabot recruits a young analyst from the Russia desk, Jack Ryan, to supply insight and advice. Then the unthinkable happens: the capital of Chechnya is leveled by a nuclear bomb. America is quick to blame the Russians, and mistrust escalates despite Ryan's certainty that other players are at work. He is right. Terrorists bent on provoking open war between the two nations are moving behind the scenes to manufacture and escalate a conflict. When they successfully detonate a second bomb outside Baltimore during the Super Bowl, the world is pushed inexorably towards war... unless Ryan can supply the needed proof to stem the tide of disaster in time.

Crew

Eric Ajduk

Assistant Director

Georges Archambault

Camera Operator

Charlie Armstrong

Location Manager

Dave Arnold

Camera Operator

Paul Attanasio

Screenplay

Marc Baird

Storyboard Artist

Bruce Botnick

Score Recording

Bruce Botnick

Music Scoring Mixer

Julian Brain

Assistant Director

Chase Brandon

Advisor

Barbara Brentano

Production Manager

Rosina Bucci

Casting

Susan Cabral

Makeup Artist

Stephen S. Campanelli

Steadicam Operator

Stephen S. Campanelli

Camera Operator

Doug Carnegie

Set Decorator

Cindy Carr

Set Decorator

Cynthia Carr

Set Decorator

Carl Catanese

Set Decorator

John Cazin

Pyrotechnics

Frank Ceglia

Special Effects Coordinator

Tom Clancy

Source Material (From Novel)

Tom Clancy

Executive Producer

Henry Cline

Camera Operator

Mark Connelly

Advisor

Judy Coster

Script Supervisor

Louis Craig

Special Effects Coordinator

Marie-chantal Crete

Script Supervisor

Jon Danniells

Set Decorator

Matt Danon

Hair Stylist

Tom Davies

Assistant Director

Nicolas De Toth

Editor

Marie-sylvie Deveau

Costume Designer

Al Di Sarro

Special Effects Supervisor

Doris Donnenberg

Production Coordinator

Carol Flaisher

Production Supervisor

Victoria Frodsham

Unit Production Manager

Alain Gagnon

Production Manager

Francine Gagnon

Makeup Artist

Martin Gendron

Art Director

Alain Giguere

Scenic Artist

Corald Giroux

Hair Stylist

Nina Gold

Casting

Akiva Goldsman

Other

Jerry Goldsmith

Music Conductor

Jerry Goldsmith

Music Composer

Ron Goodman

Camera Operator

Brigitte Goulet

Assistant Director

Robert R Graham

Special Effects Coordinator

Isabelle Guay

Art Director

Robert Guertin

Camera Operator

Kenneth Hall

Music Editor

Manal Hassib

Production Coordinator

Craig Hosking

Aerial Unit

David R Israel

Production Supervisor

Melanie Johnson

Sound Mixer

Greg Jones

Advisor

Liam Kiernan

Location Manager

Guy Kinkead

Camera Operator

Richard Klotz

Location Manager

Claude Lafrance

Set Designer

Michele Laliberte

Art Director

Celine Lamrpon

Set Designer

Raynald Langelier

Set Designer

Martin Laramy

Set Decorator

Jean-pierre Lavoie

Set Designer

Terry Leonard

Unit Director

Terry Leonard

Stunt Coordinator

Terry Leonard

Camera Operator

Stratton Leopold

Unit Production Manager

Stratton Leopold

Executive Producer

John Leveque

Supervising Sound Editor

John Lindley

Director Of Photography

Carlyle Livingston

Miniatures

Sheenah Main

Production Coordinator

Dan Malvin

Visual Effects Producer

Steve Mann

Sound Effects Editor

Mindy Marin

Casting

Jerry Markbreit

Advisor

David Marquette

Score Recording

Mark Mckenzie

Original Music

David Mckeown

Stunt Coordinator

Keith Melton

Advisor

Anthony R Milch

Supervising Sound Editor

Greg Milton

Assistant Director

Andrew Neskoromny

Art Director

Glenn Neufeld

Visual Effects Supervisor

Mace Neufeld

Producer

Jeannine Oppewall

Production Designer

Richard Oswald

Assistant Director

Claude Part

Art Director

Michael Payne

Sound Designer

Donald Pennington

Modelmaker

Daniel Pyne

Screenplay

Anna Rane

Script Supervisor

David Riebel

Assistant Director

Phil Alden Robinson

Other

Stephen P Robinson

Sound Effects Editor

Charlotte Rouleau

Set Designer

Patrick Rousseau

Sound Mixer

Paul Salamunovich

Music Conductor

Paul Santoni

Steadicam Operator

Paul Santoni

Camera Operator

David Sardi

Assistant Director

Debbie Schwab

Production Supervisor

Richard Shean

Set Designer

Derek Spears

Visual Effects Supervisor

Michfle St-arnaud

Location Manager

Russell A Steele

Production Accountant

Victorine Tamafo

Production Coordinator

Ken Terry

Visual Effects Editor

Margaret A Thomas

Production Supervisor

Gary Tolbert

Camera Operator

Neil Travis

Editor

Tom Tucker

Visual Effects Producer

Kurt Uebersax

Assistant Director

Paul Varrieur

Director Of Photography

Kimberly Lowe Voight

Dialogue Editor

Tim Walston

Sound Designer

Tom Walston

Sound Designer

Mel Weisbaum

Location Manager

Randy Wilkins

Set Designer

Russell Williams

Sound Mixer

Steven R Wojcik

Camera Operator

Kathy Wolf

Production Supervisor

Christopher Woods

Unit Director

Christopher Woods

Director Of Photography

Film Details

Also Known As
Sum of All Fears
MPAA Rating
Release Date
2002
Distribution Company
Paramount Pictures
Location
Montreal, Quebec, Canada

Technical Specs

Duration
2h 3m

Articles

Sir Alan Bates (1934-2003)


Sir Alan Bates, the versatile British actor, who held a distinguished career on both stage and screen, via a string of outstanding roles in both classical (Shakespeare, Chekhov, Ibsen) and contemporary (Pinter, Osborne, Stoppard) drama, died of pancreatic cancer on December 27th in London. He was 69.

Born Alan Arthur Bates on February 17th, 1934 in Derbyshire, England, Bates was the son of amateur musicians who wanted their son to become a concert pianist, but the young man had other ambitions, bluntly declaring to his parents that he had his sights set on an acting career when he was still in secondary school. He eventually earned a scholarship to the Royal Academy of Dramatic Arts in London, but had his career briefly interrupted with a two-year stint in the Royal Air Force. Soon after his discharge, Bates immediately joined the new English Stage Company at the Royal Court Theatre and by 1955 he had found steady stage work in London's West End theatre district.

The following year, Bates made a notable mark in English theatre circles when he starred as Cliff Lewis in John Osborne's charging drama about a disaffected, working-class British youth in Look Back in Anger. Bates' enormous stage presence along with his brooding good looks and youthfulness (he was only 22 at the time of the play's run) made him a star and promised great things for his future.

Four years later, Bates made a solid film debut in Tony Richardson's The Entertainer (1960) as the son of a failing seaside entertainer, played by Sir Laurence Olivier. Yet it would be his next two films that would leave an indelible impression in '60s British cinema; Bryan Forbes' Whistle Down the Wind (1961) and John Schlesinger's A Kind of Loving (1962). Bates' performances as a murderer on the lam who finds solace at a farm house in the company of children in the former, and a young working-class husband who struggles with his identity in a loveless marriage in the latter, were such finely nuanced portrayals of loners coping with an oppressive social order that he struck a chord with both audiences and critics alike. Soon, Bates was considered a key actor in the "angry young men" movement of the decade that included Albert Finney and Tom Courtney.

For the next ten years, Bates simply moved from strength to strength as he chose film roles that both highlighted his range and raised his stock as an international celebrity: reprising his stage role as the brutish thug Mick in the film adaptation of Harold Pinter's The Caretaker (1963); starring alongside Anthony Quinn as the impressionable young writer Basil in Zorba the Greek (1964); the raffish charmer Jos who falls in love with Lynn Redgrave in the mod comedy Georgy Girl; the bemused young soldier who falls in love with a young mental patient (a radiantly young Genevieve Bujold) in the subdued anti-was satire King of Hearts (both 1966); reuniting with director Schlesinger again in the effective period drama Far from the Madding Crowd (1967); a Russian Jew falsely accused of murder in John Frankenheimer's The Fixer (1968, remarkably, his only Oscar nomination); as Rupert, the freethinking fellow who craves love and understanding in Ken Russell's superb Women in Love (1969); playing Vershinin in Sir Laurence Olivier's underrated The Three Sisters (1970); opposite Julie Christie in Joseph Losey's tale of forbidden love The Go-Between (1971); and his moving, near-tragic performance as Bri, a father who struggles daily to maintain his sanity while raising a mentally disabled daughter in the snarking black comedy A Day in the Death of Joe Egg (1972).

Bates would slow down his film work, concentrating on the stage for the next few years, including a Tony award winning turn on Broadway for his role in Butley (1972), but he reemerged strongly in the late '70s in three good films: a conniving womanizer in The Shout; Jill Clayburgh's love interest in Paul Mazursky's hit An Unmarried Woman (1978); and as Rudge, Bette Midler's overbearing manager in The Rose (1979).

By the '80s, Bates filled out somewhat physically, but his now burly presence looked just right in some quality roles: as the notorious spy, Guy Burgess, in John Schlesinger's acclaimed mini-series An Englishman Abroad (1983); a lonely homosexual who cares for his incarcerated lovers' dog in the charming comedy We think the World of You (1988); and a superb Claudius in Franco Zeffirelli's Hamlet (1990).

Tragically, Bates lost his son Tristan to an asthma attack in 1990; and lost his wife, actress Victoria Ward, in 1992. This led to too few film roles for the next several years, although he remained quite active on stage and television. However, just recently, Bates has had some choice moments on the silver screen, most notably as the butler Mr. Jennings in Robert Altman's murder mystery Gosford Park (2001); and scored a great comic coup as a gun-toting, flag-waving Hollywood has-been in a very broad satire about the Canadian movie industry Hollywood North (2003). Also, theatre fans had a treat when Bates appeared on Broadway last year to critical acclaim (and won a second Tony award) for his portrayal of an impoverished 19th century Russian nobleman in Fortune's Fool (2002). Most deservedly, he was knighted earlier this year for his fine contributions as an actor in all major mediums. Sir Alan Bates is survived by two brothers Martin and Jon, son Benedick and a granddaughter.

by Michael T. Toole
Sir Alan Bates (1934-2003)

Sir Alan Bates (1934-2003)

Sir Alan Bates, the versatile British actor, who held a distinguished career on both stage and screen, via a string of outstanding roles in both classical (Shakespeare, Chekhov, Ibsen) and contemporary (Pinter, Osborne, Stoppard) drama, died of pancreatic cancer on December 27th in London. He was 69. Born Alan Arthur Bates on February 17th, 1934 in Derbyshire, England, Bates was the son of amateur musicians who wanted their son to become a concert pianist, but the young man had other ambitions, bluntly declaring to his parents that he had his sights set on an acting career when he was still in secondary school. He eventually earned a scholarship to the Royal Academy of Dramatic Arts in London, but had his career briefly interrupted with a two-year stint in the Royal Air Force. Soon after his discharge, Bates immediately joined the new English Stage Company at the Royal Court Theatre and by 1955 he had found steady stage work in London's West End theatre district. The following year, Bates made a notable mark in English theatre circles when he starred as Cliff Lewis in John Osborne's charging drama about a disaffected, working-class British youth in Look Back in Anger. Bates' enormous stage presence along with his brooding good looks and youthfulness (he was only 22 at the time of the play's run) made him a star and promised great things for his future. Four years later, Bates made a solid film debut in Tony Richardson's The Entertainer (1960) as the son of a failing seaside entertainer, played by Sir Laurence Olivier. Yet it would be his next two films that would leave an indelible impression in '60s British cinema; Bryan Forbes' Whistle Down the Wind (1961) and John Schlesinger's A Kind of Loving (1962). Bates' performances as a murderer on the lam who finds solace at a farm house in the company of children in the former, and a young working-class husband who struggles with his identity in a loveless marriage in the latter, were such finely nuanced portrayals of loners coping with an oppressive social order that he struck a chord with both audiences and critics alike. Soon, Bates was considered a key actor in the "angry young men" movement of the decade that included Albert Finney and Tom Courtney. For the next ten years, Bates simply moved from strength to strength as he chose film roles that both highlighted his range and raised his stock as an international celebrity: reprising his stage role as the brutish thug Mick in the film adaptation of Harold Pinter's The Caretaker (1963); starring alongside Anthony Quinn as the impressionable young writer Basil in Zorba the Greek (1964); the raffish charmer Jos who falls in love with Lynn Redgrave in the mod comedy Georgy Girl; the bemused young soldier who falls in love with a young mental patient (a radiantly young Genevieve Bujold) in the subdued anti-was satire King of Hearts (both 1966); reuniting with director Schlesinger again in the effective period drama Far from the Madding Crowd (1967); a Russian Jew falsely accused of murder in John Frankenheimer's The Fixer (1968, remarkably, his only Oscar nomination); as Rupert, the freethinking fellow who craves love and understanding in Ken Russell's superb Women in Love (1969); playing Vershinin in Sir Laurence Olivier's underrated The Three Sisters (1970); opposite Julie Christie in Joseph Losey's tale of forbidden love The Go-Between (1971); and his moving, near-tragic performance as Bri, a father who struggles daily to maintain his sanity while raising a mentally disabled daughter in the snarking black comedy A Day in the Death of Joe Egg (1972). Bates would slow down his film work, concentrating on the stage for the next few years, including a Tony award winning turn on Broadway for his role in Butley (1972), but he reemerged strongly in the late '70s in three good films: a conniving womanizer in The Shout; Jill Clayburgh's love interest in Paul Mazursky's hit An Unmarried Woman (1978); and as Rudge, Bette Midler's overbearing manager in The Rose (1979). By the '80s, Bates filled out somewhat physically, but his now burly presence looked just right in some quality roles: as the notorious spy, Guy Burgess, in John Schlesinger's acclaimed mini-series An Englishman Abroad (1983); a lonely homosexual who cares for his incarcerated lovers' dog in the charming comedy We think the World of You (1988); and a superb Claudius in Franco Zeffirelli's Hamlet (1990). Tragically, Bates lost his son Tristan to an asthma attack in 1990; and lost his wife, actress Victoria Ward, in 1992. This led to too few film roles for the next several years, although he remained quite active on stage and television. However, just recently, Bates has had some choice moments on the silver screen, most notably as the butler Mr. Jennings in Robert Altman's murder mystery Gosford Park (2001); and scored a great comic coup as a gun-toting, flag-waving Hollywood has-been in a very broad satire about the Canadian movie industry Hollywood North (2003). Also, theatre fans had a treat when Bates appeared on Broadway last year to critical acclaim (and won a second Tony award) for his portrayal of an impoverished 19th century Russian nobleman in Fortune's Fool (2002). Most deservedly, he was knighted earlier this year for his fine contributions as an actor in all major mediums. Sir Alan Bates is survived by two brothers Martin and Jon, son Benedick and a granddaughter. by Michael T. Toole

Quotes

Trivia

Miscellaneous Notes

Winner of the 2002 award for Best Supporting Visual Effects in a Motion Pictures by the Visual Effects Society (VES).

Released in United States Summer May 31, 2002

Released in United States on Video October 29, 2002

Harrison Ford was previously mentioned to star.

Phillip Noyce was previously attached to direct.

Released in United States Summer May 31, 2002

Released in United States on Video October 29, 2002