| Peter Bart | ... | Himself | |
| Verna Bloom | ... | Herself | |
| Billy Crystal | ... | Himself | |
| Michael Douglas | ... | Himself | |
| Jane Fonda | ... | Herself | |
| Milos Forman | ... | Himself | |
| Troy Garity | ... | Himself | |
| Ronnie Gilbert | ... | Herself | |
| Conrad L. Hall | ... | Himself | |
| Conrad W. Hall | ... | Himself | |
| Tom Hayden | ... | Himself | |
| Dennis Hopper | ... | Himself | |
| Ron Howard | ... | Himself | |
| Norman Jewison | ... | Himself | |
| Elia Kazan | ... | Himself (archive footage) | |
| Irvin Kershner | ... | Himself | |
| George Lucas | ... | Himself | |
| Albert Maysles | ... | Himself | |
| Daniel Moder | ... | Himself (as Danny Moder) | |
| Paul Newman | ... | Himself | |
| Sidney Poitier | ... | Himself | |
| Julia Roberts | ... | Herself | |
| John Sayles | ... | Himself | |
| Martin Sheen | ... | Himself | |
| Lee Tamahori | ... | Himself | |
| Studs Terkel | ... | Himself | |
| Haskell Wexler | ... | Himself (also archive footage) | |
| Mark Wexler | ... | Himself (also archive footage) | |
| Simon Wexler | ... | Himself (archive footage) | |
| Jonathan Winters | ... | Himself | |
| D.P. Carlson | ... | Himself (uncredited) | |
| Johnny Grant | ... | Himself (uncredited) | |
| Rob Reiner | ... | Himself (uncredited) |
Directed by | |||
| Mark Wexler | (as Mark S. Wexler) | ||
Writing credits(in alphabetical order) | ||
| Robert DeMaio | ||
| Mark Wexler | (as Mark S. Wexler) | |
Produced by | |||
| Mark Luethi | .... | associate producer | |
| Mark Wexler | .... | producer (as Mark S. Wexler) | |
Original Music by | |||
| Blake Leyh | |||
Cinematography by | |||
| Mark Wexler | (as Mark S. Wexler) | ||
Film Editing by | |||
| Robert DeMaio | |||
Sound Department | |||
| Marty Church | .... | foley mixer | |
| Michael Kowalski | .... | sound mixer | |
Visual Effects by | |||
| Jeff Defalque | .... | AfterFX artist | |
| Ricardo Echevarria | .... | AfterFX artist (as Rick Echevarria) | |
Camera and Electrical Department | |||
| Joan Churchill | .... | additional camera operator | |
| John Ealer | .... | additional camera operator | |
| Jon Else | .... | additional camera operator | |
| Sarah Levy | .... | additional photographer | |
| Patrick Loungway | .... | additional camera operator | |
| Keith Walker | .... | additional camera operator | |
| Clay Westervelt | .... | camera operator | |
| Haskell Wexler | .... | additional camera operator | |
Editorial Department | |||
| Randy L. Anderson | .... | color timer | |
| Nathan Adams | .... | technical consultant (uncredited) | |
Other crew | |||
| Barbara Gregson | .... | clearance consultant | |
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| The Aviator | The Kid Stays in the Picture | Chris & Don. A Love Story | The Stunt Man | My Own Private Idaho |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Documentary section | IMDb USA section |
Honest, true, & brave.
A remarkable account of a son trying to understand the essence & complexity of his famous cinematographer father, Haskell Wexler. The doc is full of humor, insight, and love, and is charged with real emotion, thanks to the incredible Papa Wexler, the central character.
I expected a typical Hollywood tribute film, and it is that to some extent. But it rapidly becomes so much more. Surprisingly, the filmmaker Mark Wexler makes his localized Hollywood experience universally applicable to all sons and all fathers. What could have been a dismissable fluff piece is transformed into a rich analysis of the dynamics of fathers and sons. Haskell should be proud; he's obviously taught his son well. I thank both father and son for this film.