| Photos (see all 17 | slideshow) |
Directed by | |||
| Walter Hill | |||
Writing credits | ||
| Sol Yurick | (novel) | |
| David Shaber | (screenplay) and | |
| Walter Hill | (screenplay) | |
Produced by | |||
| Laurent Bouzereau | .... | producer (Ultimate Director's Cut) | |
| Freeman A. Davies | .... | producer (Ultimate Director's Cut) | |
| Lawrence Gordon | .... | producer | |
| Walter Hill | .... | producer (Ultimate Director's Cut) | |
| Frank Marshall | .... | executive producer | |
| Joel Silver | .... | associate producer | |
Original Music by | |||
| Barry De Vorzon | |||
Cinematography by | |||
| Andrew Laszlo | (director of photography) | ||
Film Editing by | |||
| David Holden | |||
Casting by | |||
| Howard Feuer | |||
| Jeremy Ritzer | |||
Art Direction by | |||
| Don Swanagan | |||
| Robert Wightman | (as Bob Wightman) | ||
Set Decoration by | |||
| Frederic C. Weiler | (as Fred Weiler) | ||
Costume Design by | |||
| Bobbie Mannix | |||
| Mary Ellen Winston | (uncredited) | ||
Makeup Department | |||
| Frank Bianco | .... | hair stylist | |
| Mike Maggi | .... | makeup artist (as Michael Maggi) | |
Production Management | |||
| John Stark | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Robert Barth | .... | second assistant director (as Bob Barth) | |
| Peter Gries | .... | second assistant director | |
| David Sosna | .... | assistant director (as David O. Sosna) | |
| Bruce Greenfield | .... | dga trainee (uncredited) | |
Art Department | |||
| William Kane | .... | property master | |
| William Lucek | .... | chargeman scenic artist | |
| Brian Murphy | .... | illustrator (Ultimate Director's Cut) | |
Sound Department | |||
| William Andrews | .... | sound effects editor | |
| Sean Hanley | .... | dialogue editor | |
| Jack C. Jacobsen | .... | sound mixer (as Jack Jacobsen) | |
| Al Mian | .... | sound mixer (as Alan Mian) | |
| Alan Robert Murray | .... | sound effects editor (as Allan Murray) | |
| Lee Osborne | .... | sound effects editor | |
| Tex Rudloff | .... | sound re-recording mixer | |
| George Watters II | .... | sound effects editor | |
| Arthur Bloom | .... | boom operator (uncredited) | |
| James Perdue | .... | sound recordist (uncredited) | |
Special Effects by | |||
| Edward Drohan | .... | special effects | |
Stunts | |||
| Craig R. Baxley | .... | stunt coordinator (as Craig Baxley) | |
| David Copeland | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Michael Burke | .... | electrician | |
| Russell Engels | .... | gaffer (as Russel Engels) | |
| Peter Garbarini | .... | camera operator | |
| John Thomas Kennedy | .... | key grip | |
| Michael Stone | .... | camera operator (as Mike Stone) | |
| Michael Ginsburg | .... | still photographer (uncredited) | |
| Ron Zarilla | .... | assistant camera (uncredited) | |
Casting Department | |||
| Sylvia Fay | .... | extras casting | |
Costume and Wardrobe Department | |||
| William Loger | .... | wardrobe | |
Editorial Department | |||
| Phyllis Smith Altenhaus | .... | assistant editor (as Phyllis Smith-Altenhaus) | |
| Lisa Zeno Churgin | .... | assistant editor (as Lisa Churgin) | |
| Freeman A. Davies | .... | additional editor (as Freeman Davies Jr.) | |
| Rick Fields | .... | assistant editor | |
| Susan E. Morse | .... | additional editor | |
| George Trirogoff | .... | assistant editor | |
| Billy Weber | .... | additional editor | |
Music Department | |||
| John Caper Jr. | .... | music editor | |
| Joe Ferla | .... | additional music co-supervisor | |
| Paul Griffin | .... | music arranger: additional music | |
| Rob Mounsey | .... | music arranger: additional music | |
| Kenny Vance | .... | music supervisor: additional music | |
Other crew | |||
| Sam Bernstein | .... | production accountant | |
| Neil Canton | .... | assistant: Mr. Hill | |
| Laurie Deitz | .... | assistant: Mr. Gordon | |
| Gail Geibel | .... | production office coordinator | |
| A. Kitman Ho | .... | location manager (as A.K. Ho) | |
| David Streit | .... | location manager | |
| Giboney Whyte | .... | script supervisor | |
| Stephen A. Glanzrock | .... | production assistant (uncredited) | |
| Dan Perri | .... | title designer: main titles (uncredited) | |
| Rob Ryder | .... | location scout (uncredited) | |
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I was working in a movie theater when The Warriors first came out, and remember well the flick and the hype surrounding it. Here's a few notes to clear up some misconceptions that many other commentors seem to have.
The flick was NOT ever intended to be an accurate portrayal of New York gang life, although there were some realistic elements. At the time it was generally accepted that it took place in the future, although nothing in the movie supports this. At best it can be considered an urban fable that takes place in a sort-of-imaginary world. You know, like Pulp Fiction (you think 90s LA gangsters dressed like that??).
Second, the film itself was not accused of inciting violence. Problem was, it was a VERY popular film with gang members, who would show up in force. Two rival gangs would show up at the same theater, and... you can figure the rest out yourself. One guy was killed on the first weekend the movie was playing in New York; after that, the distributor hired off-duty police for security at every theater across the country that showed the flick. In the small-town Midwest where I lived, this served more as advertising hype than anything else.
Finally, it was widely known back in the day that The Warriors was based on the ancient Greek nonfiction tale Anabasis, written around 370 BC by the Spartan general Xenophon (it's also published under the title The Persian Expedition). In this classic tale, a battalion of 10,000 Spartan mercenaries join the Persian emperor Cyrus for a war in Asia Minor (i.e. Turkey). Cyrus's army is defeated, the Spartan leaders are captured, and the remaining force must make their way across country, fighting various hostile tribes along the way, experiencing their own internal power struggles, until they reach the safety of the sea. I'm shocked that only one reviewer seemed to be familiar with this; in the 70s almost nobody talked about the movie without mentioning it.
Great flick, by the way, and it holds up extremely well over time. I'm sure the remake will suck.