| Photos (See all 22 | slideshow) | Videos (see all 2) |
| Steve Martin | ... | Harris K. Telemacher | |
| Victoria Tennant | ... | Sara McDowel | |
| Richard E. Grant | ... | Roland Mackey | |
| Marilu Henner | ... | Trudi | |
| Sarah Jessica Parker | ... | SanDeE* | |
| Susan Forristal | ... | Ariel | |
| Kevin Pollak | ... | Frank Swan | |
| Sam McMurray | ... | Morris Frost | |
| Patrick Stewart | ... | Mr. Perdue, Maitre D' at L'Idiot | |
| Andrew Amador | ... | Bob, News Anchor | |
| Gail Grate | ... | Gail, News Anchor | |
| Eddie De Harp | ... | Maitre D' at Brunch (as Eddie DeHarp) | |
| M.C. Shan | ... | Rap Waiter at L'Idiot | |
| Frances Fisher | ... | June | |
| Iman | ... | Cynthia | |
| Tommy Hinkley | ... | Ted | |
| Larry Miller | ... | Tom | |
| Anne Crawford | ... | Sharon | |
| Samantha McCoy | ... | Sheila (as Samantha Caulfield) | |
| Thornton Simmons | ... | Man | |
| Dennis Dragon | ... | Crook | |
| Richard Stahl | ... | Bank Executive | |
| Aaron Lustig | ... | Boring Speaker | |
| Julianna McCarthy | ... | Woman (as Juliana McCarthy) | |
| Time Winters | ... | Floss Waiter at L'Idiot | |
| Pierre Epstein | ... | Chef | |
| Wesley Thompson | ... | Jesse | |
| George Plimpton | ... | Straight Weatherman | |
| David Glyn Price | ... | Pilot (as David G. Price) | |
| Wesley Mann | ... | Tony, Gas Station Attendant | |
| Mark Steen | ... | Tod PA | |
| Jaime Gomez | ... | Tod PA | |
| Amy Wallace | ... | Tod PA | |
| Cheryl Baker | ... | Changing Room Woman | |
| May Boss | ... | Old Woman (as Mary R. Boss) | |
| Scott Johnston | ... | Co-Pilot | |
| Robert Lind | ... | Chainsaw Juggler | |
| Tony Marsico | ... | Hard Rock Patron | |
| Burt Macke | ... | Cameraman (as Burt Nacke) | |
| Mary Pedersen | ... | Airline Ticket Agent | |
| Matt Stetson | ... | Spokesmodel Teacher | |
| rest of cast listed alphabetically: | |||
| John Lithgow | ... | Harry Zell (scenes deleted) | |
| Brian Banowetz | ... | Bellman (uncredited) | |
| Sean Michael Beyer | ... | Parking Valet (uncredited) | |
| Michael E. Burgess | ... | Waiter (uncredited) | |
| Chevy Chase | ... | Carlo Christopher (uncredited) | |
| Woody Harrelson | ... | Harris' Boss (uncredited) | |
| Terry Jones | ... | Sara's Mother (voice) (uncredited) | |
| Rick Moranis | ... | Gravedigger (uncredited) | |
| Robert Picardo | ... | Voicephone (voice) (uncredited) | |
Directed by | |||
| Mick Jackson | |||
Writing credits(WGA) | ||
| Steve Martin | (written by) | |
Produced by | |||
| Mario Kassar | .... | executive producer | |
| Steve Martin | .... | executive producer | |
| Daniel Melnick | .... | producer | |
| Michael I. Rachmil | .... | producer (as Michael Rachmil) | |
Original Music by | |||
| Peter Rodgers Melnick | (as Peter Melnick) | ||
Cinematography by | |||
| Andrew Dunn | (director of photography) | ||
Film Editing by | |||
| Richard A. Harris | |||
Casting by | |||
| Mindy Marin | |||
Production Design by | |||
| Lawrence Miller | |||
Art Direction by | |||
| Charles William Breen | |||
Set Decoration by | |||
| Chris Butler | |||
Costume Design by | |||
| Rudy Dillon | |||
Makeup Department | |||
| Frank Griffin | .... | makeup artist: Mr. Martin | |
| Robert Ostermann | .... | makeup artist (as Robert Osterman) | |
| Toni-Ann Walker | .... | hair stylist: Mr. Martin (as Toni Walker) | |
| Joy Zapata | .... | hair stylist | |
Production Management | |||
| Chris Coles | .... | unit production manager | |
| Michael R. Sloan | .... | post-production supervisor | |
Second Unit Director or Assistant Director | |||
| Albert Cho | .... | second assistant director | |
| Albert M. Shapiro | .... | first assistant director (as Albert Shapiro) | |
Art Department | |||
| Peter Angles | .... | swing gang | |
| Steve Callas | .... | construction coordinator | |
| Michael Kohan | .... | on-set dresser | |
| Randy Martens | .... | greensman | |
| Diane McKinnon | .... | assistant: production designer | |
| Dennis Miyamoto | .... | construction auditor | |
| Roy 'Bucky' Moore | .... | props | |
| Edward E. O'Connell | .... | stand-by painter (as Ed O'Connell) | |
| Tony Paolone | .... | paint foreman (as Francesco Pallone) | |
| Neil David Pontecorvo | .... | stand-by greensman | |
| Michael Schmidt | .... | leadman (as Mike Schmidt) | |
| Philip Steuer | .... | property master | |
| Douglas M. Vaughn | .... | set dresser (as Douglas Vaughn) | |
| Dean Welch | .... | second leadman | |
| Mike Wells | .... | construction foreman | |
| Gregory Zemgals | .... | swing gang (as Greg Zemgals) | |
| Michael Anthony Jackson | .... | storyboard artist (uncredited) | |
| Daniel R. Jennings | .... | set designer (uncredited) | |
Special Effects by | |||
| Alan E. Lorimer | .... | special effects coordinator | |
| Lambert Powell | .... | special effects | |
Visual Effects by | |||
| Chuck Comisky | .... | optical effects coordinator | |
| Christopher Nibley | .... | visual effects director of photography (uncredited) | |
| Luc G. Nicknair | .... | first assistant camera/Vistavision first assistant camera (uncredited) | |
Stunts | |||
| Joe Dunne | .... | stunt coordinator | |
| Bob Herron | .... | stunts (uncredited) | |
| Courtney Pakiz | .... | stunt diver (uncredited) | |
| George Marshall Ruge | .... | stunts (uncredited) | |
| Cris Thomas-Palomino | .... | stunts (uncredited) | |
Casting Department | |||
| Amy Wallace | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Rosemarie Fall | .... | costumer: women | |
| Beverly Kline | .... | assistant: costume designer (as Beverly Klein) | |
| Nick Scarano | .... | costumer: men | |
| Dennis Schoonderwoerd | .... | costumer: Mr. Martin | |
| Liza Stewart | .... | costumer | |
| Barbara Marko Friedman | .... | costumer (uncredited) | |
Editorial Department | |||
| Noori Dehnahi | .... | post-production coordinator | |
| Bob Kaiser | .... | color timer | |
| Jane Kass | .... | first assistant editor | |
| Michael Rafferty | .... | apprentice editor | |
Music Department | |||
| Kathleen Bennett | .... | supervising music editor | |
| Steven Bernstein | .... | orchestrator | |
| Oscar Castro-Neves | .... | orchestrator | |
| Sandy DeCrescent | .... | music contractor | |
| George Doering | .... | musician | |
| M.B. Gordy | .... | musician: Percussion | |
| Janice Hayen | .... | music copyist | |
| Celest Ray | .... | music clearance | |
| Michael Stone | .... | scoring mixer | |
| James Thatcher | .... | musician: french horn | |
| Nicky Ryan | .... | music producer (uncredited) | |
Transportation Department | |||
| Don Arnold | .... | transportation captain (as Don Arnold Sr.) | |
| Tim Hill | .... | transportation coordinator | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb USA section |
When Steve Martin is hot, he's really hot. L.A. Story, written by Steve Martin, is hot. The entire film keeps you in a state of constant chuckling. And, the movie has more than a few moments of comedic genius. It's the cumulative effect of little jokes littered throughout the film, both verbal and visual, that keeps you in stitches. On top of that, it piques your interest.
Here's what I mean: while Martin mercilessly it pokes fun of L.A. for it's flakiness, it's love and tolerance of idiosyncrasies, it's constant preoccupation with image, it's narcissism, the humor is never vulgar, crass, or shallow. For example, one scene takes place in the municipal art museum. We see Harry Telemacher (Steve Martin), with his friends, rapt in admiration for a painting. The camera angle comes from the canvas itself, where we watch Harry, deep in thought, dissertate on the subjects in the portrait, their motives, actions, and hidden agendas. He moves forward, backward, forward again, as if in active dialogue with the lacquer. At last, moving backward, he concludes his remarks by wrinkling his nose in disgust and saying `Look at the way he's holding her: it's almost filthy!' And then the camera moves around to Telemacher's perspective. The painting's a total abstraction. There isn't a distinct line in the entire rectangular frame. In the argot of Postmodernism, one might call it a `readerly' work of art.
It's the perfect metaphor for L.A., where you may interpret anything, any way you like. There's no standard, except one's own `personal reality.' No one can use social norms as a personal club to tell someone else, `You're wrong,' because there is none. It's all `what-E-verrrr.'
Best of all, L.A. Story is a love story, the kind of love that adores someone as much for their faults as for their virtues. Martin's satire is so effective because he loves the city so much.