| Farrah Fawcett | ... | Alex | |
| Kirk Douglas | ... | Adam | |
| Harvey Keitel | ... | Benson | |
| rest of cast listed alphabetically: | |||
| Ed Bishop | ... | Harding (uncredited) | |
| Roy Dotrice | ... | Benson (voice) (uncredited) | |
| Douglas Lambert | ... | Captain James (uncredited) | |
| Christopher Muncke | ... | 2nd Crewman (uncredited) | |
Directed by | |||
| Stanley Donen | |||
| John Barry | (uncredited) | ||
Writing credits(in alphabetical order) | ||
| Martin Amis | writer | |
| John Barry | story | |
Produced by | |||
| Stanley Donen | .... | producer | |
| Eric Rattray | .... | associate producer | |
| Martin Starger | .... | executive producer | |
Original Music by | |||
| Elmer Bernstein | |||
Cinematography by | |||
| Billy Williams | |||
Film Editing by | |||
| Richard Marden | |||
Production Design by | |||
| Stuart Craig | |||
Art Direction by | |||
| Norman Dorme | |||
Set Decoration by | |||
| Alan Cassie | |||
Costume Design by | |||
| Anthony Mendleson | |||
Makeup Department | |||
| Ann Brodie | .... | key makeup artist | |
| Leonard Engelman | .... | makeup designer: Miss Fawcett | |
| Jeanette Freeman | .... | assistant hair stylist | |
| Pauline Heys | .... | assistant makeup artist | |
| Stephanie Kaye | .... | hair stylist | |
Production Management | |||
| Terence A. Clegg | .... | production manager (as Terry Clegg) | |
Second Unit Director or Assistant Director | |||
| Peter Cotton | .... | assistant director | |
| Nick Daubeny | .... | assistant director (as Nicholas Daubeny) | |
| Terry Madden | .... | assistant director | |
| Michael Murray | .... | assistant director | |
| Eric Rattray | .... | second unit director | |
| Roger Simons | .... | assistant director | |
| Gareth Tandy | .... | assistant director | |
| Andrew Warren | .... | assistant director | |
Art Department | |||
| George Ball | .... | property master | |
| Ken Pattenden | .... | construction manager | |
| Andy Aitken | .... | scenic plasterer/mould maker (uncredited) | |
| Gari Bacon | .... | props (uncredited) | |
| Keith Short | .... | sculptor (uncredited) | |
Sound Department | |||
| Derek Ball | .... | sound mixer | |
| Gerry Humphreys | .... | dubbing mixer | |
| Roger Limb | .... | electronic sound effects | |
| Tony Message | .... | sound editor | |
| Ken Nightingall | .... | boom operator | |
| John Poyner | .... | sound editor | |
| Nicholas Stevenson | .... | dubbing editor | |
Special Effects by | |||
| Colin Chilvers | .... | special effects | |
| Chris Corbould | .... | special effects assistant | |
| Michael Dunleavy | .... | special effects assistant | |
| Joe Fitt | .... | special effects assistant | |
| Peter Hutchinson | .... | special effects assistant | |
| Jeff Luff | .... | special effects assistant | |
| Terry Schubert | .... | special effects assistant | |
| Roy Spencer | .... | special effects assistant | |
| Jonathan Williams | .... | special effects assistant | |
| Neil Corbould | .... | special effects runner (uncredited) | |
Visual Effects by | |||
| Dennis Bartlett | .... | matte technician | |
| Roy Field | .... | optical effects | |
| John Morgan | .... | model unit camera operator | |
| Peter Parks | .... | optical effects | |
| Wally Veevers | .... | optical effects | |
| Martin Body | .... | matte cameraman (uncredited) | |
| Keith Holland | .... | visual effects camera operator (uncredited) | |
| Philip Sharpe | .... | model maker (uncredited) | |
Stunts | |||
| Roy Scammell | .... | stunt arranger | |
Costume and Wardrobe Department | |||
| Dorothy Edwards | .... | wardrobe mistress | |
| John Hilling | .... | wardrobe master | |
Editorial Department | |||
| Campbell Askew | .... | assistant editor | |
| Roy Benson | .... | assistant editor | |
| Roy Birchley | .... | assistant film editor | |
| Bob Gavin | .... | assistant editor | |
| Mark Gill | .... | assistant editor | |
| John Preston | .... | assistant editor | |
| Paul Hamill | .... | post-production assistant: Cinema Research Corp. (uncredited) | |
Music Department | |||
| Michael Clifford | .... | music editor | |
| Keith Grant | .... | music mixer | |
| Christopher Palmer | .... | orchestrator | |
Other crew | |||
| Sidney G. Barnsby | .... | production accountant | |
| Gavin Bocquet | .... | space equipment deviser | |
| Penny Daniels | .... | continuity | |
| Garren | .... | miss fawcett's hair design | |
| Doreen Landry | .... | publicist | |
| Loretta Ordewer | .... | production assistant | |
| Judith Van Amringe | .... | jewellery | |
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Madman and robot chase couple in space. This was the synopsis digital cable gave me, but I went ahead and watched it anyway.
Um, yeah, truly a very very bad movie. One of those films that just fails in every aspect possible; acting, effects, script, sets. And the coup de grace in my book, the pointless killing of a dog. And it's a shame, because the dog was the only decent actor in the flick. I truly believed that it WAS a dog. Unlike "scientist" Farrah Fawcett, or whatever the hell Keitel was supposed to be. At first, with his wooden portrayal and monotone, I thought HE was the robot and maybe Douglas would be the madman. Also none of the actors seemed to be working together, it was almost as if each person was shot separately reading their insipid lines, and then with the magic of 1980s Parent Trap technology, spliced together for the finished product. I bet they never even met each other in person. The high point was Fawcett's nude scenes, but the movie wouldn't even let us have that without showing Kirk Douglas's old man butt. They give with one hand, and punch us in the jimmy with the other. The shoddy acting is enhanced, that is to say made shoddier, by a script so threadbare, they let Fawcett wear it in one of the bedroom scenes (shudder). The words were just there to fill space between the actors who were talking to themselves. This was by no stretch of the imagination a cerebral pick...it pretty much was madman and robot chase couple in space. In a time where you had films like the Black Hole or even 2001, you kinda wanted more from a sci-fi, and Saturn 3 offered nothing but intense stomach cramps and volatile flatulence. We know it is the future and space due to the presence of brightly colored tubes framing all the sets. What is it about tubes that imparts that feeling of future advancement to crappy set designers? My guess, cheapass to procure. The remainder of the sets were just black soundstages with the occasional pipe and metal grid floor. I mean, when even the sets anger you, you know it's gonna be a bad movie. And let's not forget effects. The robot Hector...i mean come on..ABS?? Why would a robot need abs? And the head is just one of those robot arms with two christmas lights for eyes...why sculpt the abs and then give it no head? It's pretty obviously a dude in a suit with a robot arm on his head. And when I say madman and robot chase, I think pursue is a better word, as there's little fast movement where this robot is concerned. Again, costumes and spaceship models anger me in such a non-specific way that I believe it's my hatred for this movie spreading like a cancer through all areas of production...worst gaffing i've ever seen, and the catering was pretentious and tasteless...
cough...
All in all, a very bad movie...good for whatever bad movies are good for. Peace.