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Directed by | |||
| Rob Reiner | |||
Writing credits | ||
| William Goldman | (book) | |
| William Goldman | (screenplay) | |
Produced by | |||
| Norman Lear | .... | executive producer | |
| Steve Nicolaides | .... | associate producer | |
| Rob Reiner | .... | producer | |
| Andrew Scheinman | .... | producer | |
| Jeffrey Stott | .... | associate producer | |
Original Music by | |||
| Mark Knopfler | |||
Cinematography by | |||
| Adrian Biddle | |||
Film Editing by | |||
| Robert Leighton | |||
Casting by | |||
| Janet Hirshenson | |||
| Jane Jenkins | |||
Production Design by | |||
| Norman Garwood | |||
Art Direction by | |||
| Richard Holland | |||
| Keith Pain | (supervising art director) | ||
Set Decoration by | |||
| Maggie Gray | |||
Costume Design by | |||
| Phyllis Dalton | |||
Makeup Department | |||
| Lois Burwell | .... | makeup supervisor | |
| Andy Clement | .... | special makeup effects assistant | |
| Eithne Fennel | .... | supervising hair stylist (as Eithne Fennell) | |
| Nick Forder | .... | makeup artist | |
| Jan Jamison | .... | hair stylist | |
| Peter Montagna | .... | makeup designer: Mr. Crystal | |
| Peter Montagna | .... | makeup designer: Ms. Kane | |
| Barbara Ritchie | .... | hair stylist | |
| Peter Robb-King | .... | makeup artist | |
Production Management | |||
| David Barron | .... | production manager: UK | |
| Loretta Ordewer | .... | unit manager: Derbyshire | |
| Mark E. Pollack | .... | executive in charge of production | |
Second Unit Director or Assistant Director | |||
| Ken Baker | .... | assistant director | |
| Peter Bennett | .... | assistant director | |
| Paul Taylor | .... | third assistant director | |
Art Department | |||
| Bruce Bigg | .... | property master | |
| Sharon Cartwright | .... | draftsperson | |
| Derek Creedon | .... | dressing propman | |
| Mick Flanders | .... | dressing propman (as Michael Flanders) | |
| Brian P. Harris | .... | dressing propman (as Brian Harris) | |
| Les London | .... | stand-by propman | |
| Jill Quertier | .... | production buyer | |
| John Ralph | .... | draftsperson | |
| Lucy Richardson | .... | draftsperson | |
| Alfie Smith | .... | stand-by propman | |
| Bill Stallion | .... | storyboard artist | |
| Micky Swift | .... | stand-by propman (as Mickey Swift) | |
| Peter Verard | .... | construction manager | |
| Peter Wallis | .... | dressing propman | |
| John Alvin | .... | poster artist (uncredited) | |
| Brian Muir | .... | sculptor (uncredited) | |
| Keith Short | .... | sculptor (uncredited) | |
Special Effects by | |||
| Nick Allder | .... | special effects supervisor | |
| Robert Harman | .... | cliff climbing effects: second unit: Ireland (as Bob Harmon) | |
| John Hatt | .... | special effects technician | |
| Ron Hone | .... | special effects technician (as Ronald Hone) | |
| Phil Knowles | .... | special effects technician (as Philip Knowles) | |
| Terry Schubert | .... | special effects technician | |
| Rodger Shaw | .... | animatronic supervisor | |
| Neil Swan | .... | special effects technician | |
Visual Effects by | |||
| Bob Cuff | .... | matte artist (as Bob Cuffe) | |
| John Grant | .... | matte supervisor | |
| Kent Houston | .... | matte supervisor | |
| Edward Jaffe | .... | grip: model photography unit | |
| Ken Marschall | .... | additional matte painter | |
| John Morgan | .... | camera operator: model photography unit | |
| Nigel Stone | .... | loader: model photography unit | |
| Jonathan Taylor | .... | focus: model photography unit (as Jonathon Taylor) | |
| Paul Wilson | .... | model photographer: model photography unit | |
Stunts | |||
| Andy Bradford | .... | stunts | |
| George Lane Cooper | .... | stunts (as George Cooper) | |
| Sue Crosland | .... | stunts (as Sue Crossland) | |
| Peter Diamond | .... | stunt coordinator | |
| Reg Harding | .... | stunts | |
| Terry Richards | .... | stunts | |
| Jason White | .... | stunts | |
| Kevin Hudson | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Ray Andrew | .... | director of photography: Ireland second unit | |
| Philip Aylewood | .... | assistant camera: Ireland second unit | |
| Clive Coote | .... | still photographer | |
| Gary Cross | .... | electrician | |
| Kevin Day | .... | gaffer | |
| John Deaton | .... | assistant camera: Ireland second unit | |
| Alfie Emmins | .... | electrician | |
| John Flemming | .... | grip | |
| Brian Harris | .... | camera operator: Ireland second unit | |
| Martin Hume | .... | focus puller | |
| Andy McDade | .... | electrician | |
| Terry Nightingall | .... | camera loader | |
| Shaun O'Dell | .... | camera operator | |
| John Outred | .... | assistant camera: Ireland second unit | |
| Nick Phillips | .... | assistant camera: Ireland second unit | |
| Larry Randall | .... | best boy electric | |
| Dave Ridout | .... | electrician (as David Ridout) | |
| Toby Tyler | .... | electrician | |
| Al Wilson | .... | generator operator | |
| Severin Woxholt | .... | assistant camera: Ireland second unit | |
| Lee McLaughlin | .... | still photographer (uncredited) | |
| Chris Warren | .... | video operator: second unit (uncredited) | |
Animation Department | |||
| Nigel Trevessey | .... | mechanical designer (as Nigel D. Trevessey) | |
Casting Department | |||
| Michael Hirshenson | .... | casting assistant: USA | |
Costume and Wardrobe Department | |||
| Judy Bagley-Shaw | .... | wardrobe assistant | |
| John Birkinshaw | .... | wardrobe assistant (as John Birkenshaw) | |
| Jane Hamilton | .... | assistant costume designer | |
| Richard Pointing | .... | wardrobe supervisor | |
| Joyce Stoneman | .... | wardrobe supervisor | |
Editorial Department | |||
| Phil Downey | .... | color timer | |
| Paul Hodgson | .... | assistant editor | |
| Jack Hooper | .... | negative cutter | |
| Andrew MacRitchie | .... | assistant editor | |
| Steven Nevius | .... | assistant editor (as Steve Nevius) | |
| Adam Weiss | .... | associate editor | |
Music Department | |||
| Marc Di Sisto | .... | music recording engineer (as Marc De Sisto) | |
| Michael Dittrick | .... | music editor | |
| Guy Fletcher | .... | musician: keyboards | |
| Mark Knopfler | .... | musician: guitar | |
| Errol Bennett | .... | musician: percussions (uncredited) | |
| Willy DeVille | .... | singer (uncredited) | |
| Mickey Feat | .... | musician: bass (uncredited) | |
| Jamie Lane | .... | musician: drums & percussions (uncredited) | |
Transportation Department | |||
| Michael Bevan | .... | unit driver (as Mike Bevan) | |
| Roy Clarke | .... | unit driver | |
| Gordon Curran | .... | unit driver | |
| Terry Pritchard | .... | unit driver | |
| Terry Tapping | .... | unit driver | |
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| The Lord of the Rings: The Return of the King | DragonHeart | The Three Musketeers | Peter Pan | Shrek |
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| Full cast and crew | Company credits | External reviews |
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| IMDb USA section |
There's enough reviews here to show how enjoyable and entertaining this movie is, but I had to put my own word in...
I simply love this movie. I watched it with my parents when I was very young, and have been watching it constantly ever since. It's a movie that I just can't seem to grow tired of. For one, I absolutely love the medieval fantasy genre, both in books and movies. From a small child I've loved knights, castles, dragons. the whole sort. This movie, quite simply, puts the viewer into an imaginative world where everything seems real. Second, the characters are so enjoyable to watch, you really begin to feel for them - all of them. Even humperdink, whose name does him justice, gets pity at the end. Lastly, the grandfather's list of the qualities of the book at the very beginning are all true... this story has everything. That is why it is such a classic, when everything comes down to it. From the moving love story between Wesly and Buttercup, to the dynamic and brilliantly scripted duel between the Man in Black and Indigo, to even the hilarious bickering from Vezinni to his lovable giant, Fezzik... This movie finds a place to include EVERYTHING one can imagine. The story moves along at a great pace, and you feel as though the whole land has been covered when the book is closed. Furthermore, the whole conception of using the "telling a story" approach doesn't taken away from the realism of the story, but raises it even more by showing how mesmerized the boy is, listening to the tale - just as we are, in front of the screen.
Maybe it was how I was captivated to the screen, watching it as a child... Maybe it was how I'd pop the movie in and turn a boring Sunday afternoon an exciting adventure as I grew up... Or maybe it's how I can sit down with friends and all enjoy the movie together, laughing at its funny parts, and cheering at it's exciting moments. The movie has a place in my heart, and that will never go away. A "10" on the scale, and even these words, can't begin to tell how much I love this movie.