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| Tom Berenger | ... | Sam Weber | |
| Glenn Close | ... | Sarah Cooper | |
| Jeff Goldblum | ... | Michael Gold | |
| William Hurt | ... | Nick Carlton | |
| Kevin Kline | ... | Harold Cooper | |
| Mary Kay Place | ... | Meg Jones | |
| Meg Tilly | ... | Chloe | |
| JoBeth Williams | ... | Karen Bowens | |
| Don Galloway | ... | Richard Bowens | |
| James Gillis | ... | Minister | |
| Ken Place | ... | Peter the Cop | |
| Jon Kasdan | ... | Harold and Sarah's Son | |
| Ira Stiltner | ... | Running Dog Driver | |
| Jake Kasdan | ... | Autograph Seeker (as Jacob Kasdan) | |
| Muriel Moore | ... | Alex's Mother | |
| Meg Kasdan | ... | Airline Hostess | |
| Patricia Gaul | ... | Annie | |
| rest of cast listed alphabetically: | |||
| Kevin Costner | ... | Alex (scenes deleted) | |
Directed by | |||
| Lawrence Kasdan | |||
Writing credits | ||
| Lawrence Kasdan | (written by) & | |
| Barbara Benedek | (written by) | |
Produced by | |||
| Lawrence Kasdan | .... | executive producer | |
| Marcia Nasatir | .... | executive producer | |
| Barrie M. Osborne | .... | associate producer (as Barrie Osborne) | |
| Michael Shamberg | .... | producer | |
Cinematography by | |||
| John Bailey | |||
Film Editing by | |||
| Carol Littleton | |||
Casting by | |||
| Wallis Nicita | (as Wally Nicita) | ||
Production Design by | |||
| Ida Random | |||
Set Decoration by | |||
| George Gaines | |||
Costume Design by | |||
| April Ferry | |||
Makeup Department | |||
| Michael Germain | .... | makeup artist | |
| Lyndell Quiyou | .... | hair stylist | |
| Mickey Scott | .... | makeup artist | |
Production Management | |||
| Barrie M. Osborne | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Stephen P. Dunn | .... | second assistant director (as Stephen Dunn) | |
| Michael Grillo | .... | first assistant director | |
| Daniel J. Heffner | .... | second assistant director (as Dan Heffner) | |
Art Department | |||
| Donald R. Abblett | .... | production painter (as Donald Ablett) | |
| Michael Casey | .... | assistant property master | |
| Tim Donelan | .... | set dresser | |
| Mike Higelmire | .... | set dresser (as Michael Higelmire) | |
| Gary Kudroff | .... | set dresser | |
| Michael Muscarella | .... | construction coordinator | |
| Rick Young | .... | property master | |
| Lewis Bowen | .... | painter (uncredited) | |
| David Goldstein | .... | painter (uncredited) | |
Sound Department | |||
| Raul A. Bruce | .... | boom operator (as Raul Bruce) | |
| Gene S. Cantamessa | .... | production sound mixer | |
| Dennis Drummond | .... | sound editor | |
| Patrick Drummond | .... | sound editor | |
| Robert Grieve | .... | sound editor | |
| Rick Kline | .... | sound re-recording mixer | |
| Donald O. Mitchell | .... | sound re-recording mixer | |
| Kevin O'Connell | .... | sound re-recording mixer | |
| Norman B. Schwartz | .... | post-production dialogue | |
| Michael Tomack | .... | sound editor | |
| Dody Dorn | .... | assistant sound editor (uncredited) | |
| Donald C. Rogers | .... | technical director of sound (uncredited) | |
| Philip Rogers | .... | sound recordist (uncredited) | |
Special Effects by | |||
| Lawrence J. Cavanaugh | .... | special effects supervisor (as Larry Cavanaugh) | |
Stunts | |||
| James Winburn | .... | stunt coordinator (uncredited) | |
Camera and Electrical Department | |||
| Lou Barlia | .... | camera operator | |
| Michael W. Blymyer | .... | best boy (as Michael Blymyer) | |
| Bobby Brown | .... | assistant camera (as Robert Brown) | |
| Jack Brown | .... | assistant camera | |
| Michael Ginsburg | .... | still photographer | |
| Al LaVerde | .... | key grip | |
| Ronald W. McLeish | .... | gaffer (as Ron McLeish) | |
| George R. Schrader | .... | dolly grip (as George Schrader) | |
| Ty Suehiro | .... | second grip | |
| Jeffrey W. Petersen | .... | electrician (uncredited) | |
| Riko Schatke | .... | grip (uncredited) | |
| Ronald Vidor | .... | camera operator (uncredited) | |
Casting Department | |||
| Sandra Dawes | .... | extras casting | |
| Deborah Lucchesi | .... | casting coordinator | |
Costume and Wardrobe Department | |||
| April Ferry | .... | costume supervisor | |
| Michele Neely | .... | costumer | |
| Mort Schwartz | .... | costumer | |
Editorial Department | |||
| Bruce Cannon | .... | assistant editor | |
| Mia Goldman | .... | assistant editor | |
| Bruce Pearson | .... | color timer (uncredited) | |
Music Department | |||
| Meg Kasdan | .... | music consultant | |
| Mike Deasy | .... | musician (uncredited) | |
Transportation Department | |||
| John Reade | .... | transportation coordinator | |
Other crew | |||
| Pamela Alch | .... | script supervisor | |
| Jenny Collins | .... | production assistant | |
| Nan R. Eisley | .... | assistant: Mr. Kasdan | |
| Wayne Fitzgerald | .... | title designer | |
| Michael Hill | .... | production accountant | |
| Mark Indig | .... | location manager: South Carolina | |
| Larry Kaplan | .... | unit publicist | |
| Stratton Leopold | .... | location manager: Atlanta | |
| Scott Musgrave | .... | production assistant | |
| Elise Rohden | .... | production coordinator | |
| Gerald Scaife | .... | production assistant | |
| Emily T. Warwick | .... | assistant: Mr. Shamberg | |
| Michael McCulley | .... | production assistant (uncredited) | |
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| City of Shoulders and Noses | River's Edge | Big Fish | The Notebook | Le temps qui reste |
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While channel surfing, saw this movie again tonight, for about the 35th time. What makes this movie great is not the story - hell, there is no story really - but the making of the movie itself. It is the single best combination of acting, film editing, sound track, dialogue, and every other thing that goes into a movie, ever put together. No special effects, no car chases, no suspense, no anything that usaually passes for entertainment. Just excellent film making. Even tonight, I saw yet one more background detail I never noticed before. You have to watch this movie multiple times to appreciate it. Nearly everything that happens early in the movie relates to something that occurs later on. The transitions and foreshadowing, the character relationships, the very words themselves all fit together like no other film ever made. I truly believe that this is a film that should be studied as an example of pure movie making, no less than Citizen Kane. To rate this movie as a 10 is to underrate it. Of course, that is just my opinion.