| William Hurt | ... | Eddie Jessup | |
| Blair Brown | ... | Emily Jessup | |
| Bob Balaban | ... | Arthur Rosenberg | |
| Charles Haid | ... | Mason Parrish | |
| Thaao Penghlis | ... | Echeverria | |
| Miguel Godreau | ... | Primal Man | |
| Dori Brenner | ... | Sylvia Rosenberg | |
| Peter Brandon | ... | Hobart | |
| Charles White-Eagle | ... | The Brujo | |
| Drew Barrymore | ... | Margaret Jessup | |
| Megan Jeffers | ... | Grace Jessup | |
| Jack Murdock | ... | Hector Orteco | |
| Francis X. McCarthy | ... | Obispo (as Frank McCarthy) | |
| Deborah Baltzell | ... | Schizophrenic Patient | |
| Evan Richards | ... | Young Rosenberg | |
| Hap Lawrence | ... | Endocrinology Fellow | |
| John Walter Davis | ... | Medical Technician | |
| Cynthia Burr | ... | Parrish's Girl | |
| Susan Bredhoff | ... | Echeverria's Girl | |
| John Larroquette | ... | X-Ray Technician | |
| George Gaynes | ... | Dr. Wissenschaft | |
| Ora Rubinstein | ... | Young Medical Student | |
| Paul Larsson | ... | Charlie Thomas | |
| Eric Forst | ... | Mingus | |
| Adriana Shaw | ... | Dr. Antonini | |
| Martin Fiscoe | ... | Graduate Student | |
| Olivia Michelle | ... | Veronica |
Directed by | |||
| Ken Russell | |||
Writing credits | ||
| Paddy Chayefsky | (novel) | |
| Paddy Chayefsky | (writer) (as Sidney Aaron) | |
Produced by | |||
| Stuart Baird | .... | associate producer | |
| Howard Gottfried | .... | producer | |
| Daniel Melnick | .... | executive producer | |
Original Music by | |||
| John Corigliano | |||
Cinematography by | |||
| Jordan Cronenweth | |||
Film Editing by | |||
| Eric Jenkins | |||
Casting by | |||
| Howard Feuer | |||
| Jeremy Ritzer | |||
Production Design by | |||
| Richard Macdonald | (as Richard McDonald) | ||
Set Decoration by | |||
| Thomas L. Roysden | (as Thomas Roysden) | ||
Costume Design by | |||
| Ruth Myers | |||
Makeup Department | |||
| Carl Fullerton | .... | special makeup assistant | |
| Michael Hancock | .... | makeup artist | |
| Craig Reardon | .... | special makeup assistant | |
| Dick Smith | .... | special makeup | |
| Dione Taylor | .... | hair stylist (as Dione Taylor-Demsky) | |
Production Management | |||
| David Silver | .... | unit production manager (as Dave Silver) | |
Second Unit Director or Assistant Director | |||
| Gary Daigler | .... | assistant director | |
| Peter Schindler | .... | second assistant director | |
Art Department | |||
| Gary Clark | .... | head paint foreman | |
| Stan Cockerell | .... | assistant props | |
| Sidney H. Greenwood | .... | property master (as Syd Greenwood) | |
| Jeff Howard | .... | assistant art director | |
| Joseph Hurley | .... | illustrator (as Joe Hurley) | |
| Bill Iiams | .... | general foreman | |
| Roger Irvin | .... | construction coordinator | |
| Ronald C. Jacobs | .... | lead man (as Ron Jacobs) | |
| Stephane Goulet | .... | property supervisor (uncredited) | |
| Richard M. Kristy | .... | set dresser (uncredited) | |
Sound Department | |||
| Willie D. Burton | .... | sound mixer (as Willie Burton) | |
| Michael Colgan | .... | supervising sound editor | |
| Laurey Condon | .... | assistant sound editor | |
| Les Fresholtz | .... | sound re-recording mixer | |
| Don Higgins | .... | sound editor | |
| Jerry Jacobson | .... | adr editor | |
| Stephen Katz | .... | sound consultant | |
| Marvin E. Lewis | .... | boom operator (as Marvin Lewis) | |
| Michael Minkler | .... | sound re-recording mixer | |
| Arthur Piantadosi | .... | sound re-recording mixer | |
| Fred Stafford | .... | sound editor | |
| Colin Waddy | .... | sound editor | |
| Jay Wertz | .... | sound editor | |
Special Effects by | |||
| David Domeyer | .... | special effects | |
| Larry L. Fuentes | .... | assistant special effects (as Larry Fuentes) | |
| Chuck Gaspar | .... | special effects | |
| James Kagel | .... | sculptor | |
Visual Effects by | |||
| Robert Blalack | .... | special optical effects (as Robbie Blalack) | |
| Bran Ferren | .... | special visual effects | |
| Louis Schwartzberg | .... | time lapse photography (as Lou Schwartzberg) | |
| James Shourt | .... | special optical effects (as Jamie Shourt) | |
Stunts | |||
| M. James Arnett | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Garrett Brown | .... | Steadicam operator | |
| James Glennon | .... | camera operator | |
| Adam Glick | .... | set lighting technician | |
| Barbara Hanania | .... | additional assistant camera: Boston | |
| Gary Holt | .... | gaffer | |
| Johnny E. Jensen | .... | first assistant camera (as John Jensen) | |
| Carey Jones | .... | second assistant camera | |
| Sal Martorano | .... | electrician | |
| Morgan Renard | .... | still photographer | |
| Bob Rose | .... | key grip (as Bobby Rose) | |
Casting Department | |||
| Stephen Kolzak | .... | additional casting (as Steve Kolzak) | |
| Joel Thurm | .... | additional casting | |
Costume and Wardrobe Department | |||
| Darryl M. Athons | .... | costumer: men (as Darryl Athons) | |
| Shanan Harrell | .... | costumer: women | |
Editorial Department | |||
| Cari Coughlin | .... | apprentice editor | |
| Arthur W. Forney | .... | assistant editor | |
| Paul Hamill | .... | post-production assistant | |
| Thomas Penick | .... | assistant editor | |
Music Department | |||
| John David Earnest | .... | orchestrator | |
| Donald Harris | .... | music editor (as Don Harris) | |
| Pierre Henry | .... | music excerpt: Voile d'Orphee | |
| Christopher Keene | .... | conductor | |
| Sheldon Shkolnik | .... | assistant to composer | |
| John David Earnest | .... | composer: additional music (uncredited) | |
| Brian L. McCarty | .... | music playback (uncredited) | |
| Dan Wallin | .... | scoring mixer (uncredited) | |
Transportation Department | |||
| Gina August | .... | driver | |
| John M. Woodward | .... | transportation coordinator (as John Woodward) | |
Other crew | |||
| Scott Bartlett | .... | technical advisor | |
| Richard Clark | .... | technical advisor | |
| Carline Davis-Dyer | .... | script supervisor (as Cariline Davis-Dyer) | |
| Jimsie Eason | .... | production associate | |
| Richard Greenberg | .... | title designer | |
| Christina Lear | .... | assistant to producer | |
| Paul Pav | .... | location manager | |
| Vivian Russell | .... | assistant: Mr. Russell (as Vivian Jolly) | |
| Alan Shapiro | .... | production intern | |
| Lee Stitch | .... | production secretary | |
| Susan Tarr | .... | research assistant | |
| John Cunningham Lilly | .... | scientific researcher (uncredited) | |
| Bill Iiams | .... | general foreman (uncredited) | |
| Craig Miller | .... | marketing consultant (uncredited) | |
| Philip Sharpe | .... | effects technician (uncredited) | |
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| Requiem for a Dream | Slaughterhouse-Five | Performance | Liquid Sky | Trainspotting |
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Certainly, Altered States took on its cult status due to the sfx of Hurt's altered consciousness (the film was the "head film" of the 1980s like 2001: A Space Odyssey was for those in 1968). However, the compelling part for me is not the "trip" but the touch. On the next viewing, pay particular attention to the climactic scene in the hallway. Ken Russell frames the sequence effectively and shows us that we must maintain our humanity by simply reaching out to touch on another. If we don't, we are lost.
Human touch is iconographic--from the Creation of Adam to ET--and in a world where we are "wired" 24/7--we are still out of touch. I believe this film is important for revisit because it reminds us of the power of touch.