| William Devane | ... | Major Charles Rane | |
| Tommy Lee Jones | ... | Johnny Vohden | |
| Linda Haynes | ... | Linda Forchet | |
| James Best | ... | Texan | |
| Dabney Coleman | ... | Maxwell | |
| Lisa Blake Richards | ... | Janet (as Lisa Richards) | |
| Luke Askew | ... | Automatic Slim | |
| Lawrason Driscoll | ... | Cliff | |
| James Victor | ... | Lopez | |
| Cassie Yates | ... | Candy | |
| Jordan Gerler | ... | Mark | |
| Jane Abbott | ... | Sister | |
| Jerry Brown | ... | Patrolman 1 | |
| Jacque Burandt | ... | Bebe | |
| Anthony Castillo | ... | Street Urchin | |
| Charles Escamilla | ... | T Bird | |
| Rudy T. Gonzales | ... | Bartender | |
| Robert K. Guthrie | ... | Reporter 3 | |
| Ray Gutierrez | ... | Tex-Mex | |
| James N. Harrell | ... | Grandpa | |
| Randy Hermann | ... | Sanchez (as Randy Herman) | |
| Michael Nakamura | ... | The Torturer | |
| Pete Ortega | ... | Melio | |
| Paul A. Partain | ... | Brother-in-Law | |
| James Conner Pribble | ... | Patrolman 2 | |
| Cheyenne Rivera | ... | Gato | |
| Carol Sowa | ... | Betty Ann | |
| Robert Raymond Reyes | ... | Reporter 2 | |
| Arturo R. Tamez Jr. | ... | Bartender | |
| Bob Tisdale | ... | Mr. Williams | |
| Autry Ward | ... | Texan 2 | |
| West Ward | ... | Card Player | |
| William Vance White | ... | Bob | |
| Michael R. Witte | ... | Reporter 1 | |
| Alan Wong | ... | Billa | |
| rest of cast listed alphabetically: | |||
| Janet Quist | ... | (uncredited) | |
Directed by | |||
| John Flynn | |||
Writing credits | ||
| Paul Schrader | (screenplay) and | |
| Heywood Gould | (screenplay) | |
| Paul Schrader | (original story) | |
Produced by | |||
| Lawrence Gordon | .... | executive producer | |
| Norman T. Herman | .... | producer | |
Original Music by | |||
| Barry De Vorzon | |||
Cinematography by | |||
| Jordan Cronenweth | (director of photography) | ||
Film Editing by | |||
| Frank P. Keller | |||
Casting by | |||
| Jane Feinberg | |||
| Mike Fenton | |||
Art Direction by | |||
| Stephen Myles Berger | (as Steve Berger) | ||
Makeup Department | |||
| Charlene Roberson | .... | makeup artist (as Charlene Robertson) | |
Production Management | |||
| Tony Wade | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Joseph Lenzi | .... | assistant director | |
| Richard A. Wells | .... | second assistant director (as Richard Wells) | |
Art Department | |||
| Mark Wade | .... | property master | |
Sound Department | |||
| Gene Corso | .... | sound effects | |
| Jay M. Harding | .... | sound re-recording mixer (as Jay Harding) | |
| Donald F. Johnson | .... | sound recording mixer (as Don Johnson) | |
Special Effects by | |||
| Richard O. Helmer | .... | special effects (as Richard Helmer) | |
Stunts | |||
| Autry Ward | .... | stunts (uncredited) | |
| Steve Ward | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Ron Veto | .... | car rigging grip | |
Costume and Wardrobe Department | |||
| Nancy McArdle | .... | wardrobe | |
Editorial Department | |||
| Cliffe Oland | .... | assistant editor | |
Music Department | |||
| Greig McRitchie | .... | orchestrator (as Greg McRitchie) | |
| Jay Alfred Smith | .... | music editor (as Jay Smith) | |
| Mariachi Uclatlan | .... | performer: mariachi music | |
Transportation Department | |||
| Greg Van Dyke | .... | transportation coordinator | |
Other crew | |||
| Samuel Z. Arkoff | .... | presenter | |
| Elaine Gyorke | .... | assistant to producer | |
| David Sheldon | .... | production executive | |
| Frank Tudisco | .... | script supervisor | |
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| First Blood | Pulp Fiction | Missing in Action | Freeway | Taxi Driver |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb USA section |
The editor on this film, Frank P. Keller, died shortly after working on the film. He also was the editor on Bullitt. He won the Oscar for editing on that film. Rolling Thunder has a very strong and deliberate editing style and pace--it all hangs together very well--and the action cutting is very tight. The quick cutaways to the blue-tinted POW torture scenes work very well too. I think part of the reason this film is so cool is Keller's editing.