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| Mon. July 6 | 3:30 PM | SCIFI |
| Arnold Schwarzenegger | ... | Douglas Quaid / Hauser | |
| Rachel Ticotin | ... | Melina | |
| Sharon Stone | ... | Lori | |
| Ronny Cox | ... | Vilos Cohaagen | |
| Michael Ironside | ... | Richter | |
| Marshall Bell | ... | George / Kuato | |
| Mel Johnson Jr. | ... | Benny | |
| Michael Champion | ... | Helm | |
| Roy Brocksmith | ... | Dr. Edgemar | |
| Ray Baker | ... | Bob McClane | |
| Rosemary Dunsmore | ... | Dr. Lull | |
| David Knell | ... | Ernie | |
| Alexia Robinson | ... | Tiffany | |
| Dean Norris | ... | Tony | |
| Mark Carlton | ... | Bartender | |
| Debbie Lee Carrington | ... | Thumbelina | |
| Lycia Naff | ... | Mary | |
| Robert Costanzo | ... | Harry (as Bobby Costanzo) | |
| Michael LaGuardia | ... | Stevens | |
| Priscilla Allen | ... | Fat Lady | |
| Ken Strausbaugh | ... | Immigration Officer | |
| Marc Alaimo | ... | Everett | |
| Michael Gregory | ... | Rebel Lieutenant | |
| Ken Gildin | ... | Hotel Clerk | |
| Mickey Jones | ... | Burly Miner | |
| Parker Whitman | ... | Martian Husband | |
| Ellen Gollas | ... | Martian Wife | |
| Gloria Dorson | ... | Woman in Phone Booth | |
| Erika Carlsson | ... | Miss Lonelyhearts (as Erika Carlson) | |
| Benny Corral | ... | Punk Cabbie | |
| Bob Tzudiker | ... | Doctor | |
| Erik Cord | ... | Lab Assistant | |
| Frank Kopyc | ... | Technician | |
| Chuck Sloan | ... | Scientist | |
| Dave Nicolson | ... | Scientist | |
| Paula McClure | ... | Newscaster | |
| Rebecca Ruth | ... | Reporter | |
| Milt Tarver | ... | Commercial Announcer | |
| Roger Cudney | ... | Agent | |
| Monica Steuer | ... | Mutant Mother | |
| Sasha Rionda | ... | Mutant Child | |
| Linda Howell | ... | Tennis Pro | |
| Robert Picardo | ... | Voice of Johnnycab (voice) | |
| Anne Lockhart | ... | Additional Voices (voice) | |
| Kamala Lopez | ... | Additional Voices (voice) | |
| Morgan Lofting | ... | Additional Voices (voice) | |
| Patti Attar | ... | Additional Voices (voice) | |
| Bob Bergen | ... | Additional Voices (voice) | |
| Joe Unger | ... | Additional Voices (voice) | |
| Karlyn Michelson | ... | Additional Voices (voice) |
Directed by | |||
| Paul Verhoeven | |||
Writing credits(WGA) | ||
| Philip K. Dick | (short story "We Can Remember It For You Wholesale") (inspiration) (as Phillip K. Dick) | |
| Ronald Shusett | (screen story) & | |
| Dan O'Bannon | (screen story) and | |
| Jon Povill | (screen story) | |
| Ronald Shusett | (screenplay) & | |
| Dan O'Bannon | (screenplay) and | |
| Gary Goldman | (screenplay) | |
Produced by | |||
| Buzz Feitshans | .... | producer | |
| Robert Fentress | .... | associate producer | |
| Mario Kassar | .... | executive producer | |
| Elliot Schick | .... | associate producer | |
| Ronald Shusett | .... | producer | |
| Andrew G. Vajna | .... | executive producer (as Andrew Vajna) | |
Original Music by | |||
| Jerry Goldsmith | |||
Cinematography by | |||
| Jost Vacano | |||
Film Editing by | |||
| Carlos Puente | |||
| Frank J. Urioste | |||
Casting by | |||
| Mike Fenton | |||
| Valorie Massalas | |||
| Judy Taylor | |||
Production Design by | |||
| William Sandell | |||
Art Direction by | |||
| José Rodríguez Granada | (as Jose Rodriguez Granada) | ||
| James E. Tocci | (as James Tocci) | ||
Set Decoration by | |||
| Robert Gould | |||
Costume Design by | |||
| Erica Edell Phillips | |||
Makeup Department | |||
| Craig Berkeley | .... | makeup artist | |
| Rob Bottin | .... | special makeup effects design and creation | |
| Jeff Dawn | .... | makeup department head | |
| Vincent Prentice | .... | special makeup effects | |
| Raúl Sarmiento | .... | assistant makeup artist | |
| Alfred Sousa | .... | special makeup effects: Rob Bottin Crew | |
| Peter Tothpal | .... | key hair stylist | |
| Robin Weiss | .... | makeup artist | |
| Michael White | .... | hair stylist | |
Production Management | |||
| Anuar Badin | .... | production manager | |
| Pablo Buelna | .... | production leader | |
| Terry Collis | .... | production manager | |
| Marco Aurelio Ortiz | .... | production chief | |
| Juan Clemente Prosper | .... | unit manager | |
| Michael R. Sloan | .... | post production supervisor | |
Second Unit Director or Assistant Director | |||
| Vic Armstrong | .... | second unit director | |
| Guillermo 'Memo' Carreno | .... | second assistant director (as Guillermo Carreno Saaved) | |
| Efren del Moral | .... | second assistant director | |
| Matthew Feitshans | .... | second unit director | |
| Ileana Franco U. | .... | second assistant director | |
| A. Hugo Gutierrez Cuellar | .... | second assistant director (as Hugo Gutierrez Cuellar) | |
| Miguel Lima | .... | first assistant director | |
| Kuki López Rodero | .... | first assistant director (as Juan Carlos 'Kuki' Lopez) | |
| Íñigo Vallejo-Nájera | .... | second assistant director (as Inigo Vallejo) | |
Art Department | |||
| Henry Alvarez | .... | sculptor | |
| Scott Bobbitt | .... | lead man | |
| William Boyd | .... | foreman | |
| Steve Burg | .... | illustrator (as Stephen Burg) | |
| Judy Cammer | .... | assistant art director | |
| Elpidio Cano | .... | plasterer (as Elpidio Cano Castro) | |
| Miguel Chang | .... | set designer | |
| Larry Clark | .... | painter | |
| Ron Cobb | .... | conceptual artist | |
| Gary Deaton | .... | foreman | |
| Bruce Di Valerio | .... | assistant construction coordinator | |
| Cal DiValerio | .... | construction coordinator | |
| Thomas B. DiValerio | .... | construction foreman | |
| Dragon Dronet | .... | specialty props | |
| Carlos Echeveria | .... | set designer (as Carlos Echeverria) | |
| John R. Elliott | .... | carpenter (as John Elliot) | |
| Tim Flattery | .... | illustrator | |
| Dominic Gerace | .... | carpenter | |
| Giacomo G. Ghiazza | .... | storyboard artist (as Giacomo Ghiazza) | |
| Alfredo Gómez Capetillo | .... | plasterer (as Alfredo Gomez Capetillo) | |
| Antonio Gómez Capetillo | .... | plasterer (as Antonio Gomez Capetillo) | |
| Scott Goodale | .... | carpenter | |
| George E. Hanson | .... | painter (as George Hanson) | |
| Daniel Hermosillo | .... | painter | |
| Steven Ladish | .... | props | |
| Neil Lamont | .... | assistant art director | |
| Enrique Lechuga | .... | painter (as Enrique Lechuga Hernandez) | |
| Etta Leff | .... | assistant set decorator | |
| Francisco Marinas Romero | .... | painter | |
| Antonio Mata | .... | property master | |
| Antonio Mata Jr. | .... | props supervisor (as Antonio Mata Ortiz) | |
| Jonathan McKinstry | .... | assistant art director | |
| Ron Miller | .... | illustrator | |
| Dennis J. Parrish | .... | property master | |
| Dan Pemberton | .... | construction foreman (as Daniel Pemberton) | |
| Daniel Perugini | .... | plasterer | |
| Carlos Romero | .... | painter | |
| Héctor Romero | .... | assistant art director (as Hector Romero Cardenas) | |
| Anna Sanchez Genard | .... | set dressing assistant | |
| Alex Scutti Jr. | .... | plaster supervisor (as Alex Scutti) | |
| Mazzareno Sgolacchia | .... | propmaker | |
| J. Fernando Solorio | .... | set dresser (as Jose F. Solorio) | |
| Benjamin Suarez | .... | warehouse supervisor | |
| Miles Teves | .... | concept illustrator: Rob Bottin Productions | |
| Marco Trentini | .... | set designer | |
| Theresa Wachter | .... | set dresser | |
| David Wiezer | .... | model maker | |
| Warren Williams | .... | carpenter | |
| Alejandro Ayala | .... | art assistant (uncredited) | |
| Chris Buchinsky | .... | storyboard artist (uncredited) | |
Special Effects by | |||
| Henry Alvarez | .... | effects crew: The Bottin Effects Crew | |
| Jennifer Ann Barnes | .... | effects crew: The Bottin Effects Crew | |
| Paula Barnes | .... | effects crew: The Bottin Effects Crew | |
| Amanda Beard | .... | effects crew: The Bottin Effects Crew | |
| James Belohovek | .... | effects crew: The Bottin Effects Crew | |
| Roland Blancaflor | .... | effects crew: The Bottin Effects Crew | |
| Roland Blancaflor | .... | special effects technician: Rob Bottin Productions | |
| Marcus Brancly | .... | effects crew: The Bottin Effects Crew | |
| James Clark | .... | effects crew: The Bottin Effects Crew | |
| Allen Coulter | .... | effects crew: The Bottin Effects Crew | |
| Tracy DeFreitas | .... | effects crew: The Bottin Effects Crew | |
| Brian Dewe | .... | effects crew: The Bottin Effects Crew | |
| Stephan Dupuis | .... | effects crew: The Bottin Effects Crew | |
| Mike Elizalde | .... | special effects technician | |
| Fernando Favila | .... | project coordinator: The Bottin Effects Crew | |
| Jim Feldman | .... | effects crew: The Bottin Effects Crew | |
| Gunnar Ferdinandsen | .... | effects crew: The Bottin Effects Crew | |
| Greg Figiel | .... | effects crew: The Bottin Effects Crew | |
| Scott R. Fisher | .... | special effects | |
| Thomas L. Fisher | .... | special effects coordinator | |
| Tamara Fites | .... | effects crew: The Bottin Effects Crew | |
| Erick Geisler | .... | creature effects | |
| Roy Goode | .... | mechanical | |
| Lee Grodsky | .... | effects crew: The Bottin Effects Crew | |
| Gloria Hylton | .... | effects crew: The Bottin Effects Crew | |
| Karen Kleinfeld | .... | effects crew: The Bottin Effects Crew | |
| Bruce Y. Kuroyama | .... | special effects technician | |
| Dale L. Martin | .... | special effects | |
| Robin McDonald | .... | effects crew: The Bottin Effects Crew | |
| Tricia McFarlin | .... | effects crew: The Bottin Effects Crew | |
| Don McLeod | .... | effects crew: The Bottin Effects Crew | |
| Chuck Montova | .... | effects crew: The Bottin Effects Crew | |
| Becky Ochoa | .... | effects crew: The Bottin Effects Crew | |
| Dennis Pawlik | .... | effects crew: The Bottin Effects Crew | |
| Art Pimentel | .... | effects crew: The Bottin Effects Crew | |
| Margaret Prentice | .... | effects crew: The Bottin Effects Crew (as Margaret Beserra) | |
| Vincent Prentice | .... | effects crew: The Bottin Effects Crew | |
| Tom Prossner | .... | effects crew: The Bottin Effects Crew | |
| Alberto Revilla | .... | effects crew: The Bottin Effects Crew | |
| Samuel Sanz | .... | effects crew: The Bottin Effects Crew | |
| Dawn M. Severdia | .... | project coordinator: The Bottin Effects Crew | |
| Ernie Shelton | .... | effects crew: The Bottin Effects Crew | |
| Loren Soman | .... | effects crew: The Bottin Effects Crew | |
| Alfred Sousa | .... | effects crew: The Bottin Effects Crew | |
| Richard Stutsman | .... | special effects foreman: miniature unit | |
| Miles Teves | .... | effects crew: The Bottin Effects Crew | |
| Blake Torney | .... | effects crew: The Bottin Effects Crew | |
| Andrea Toste | .... | effects crew: The Bottin Effects Crew | |
| Gene Young | .... | model construction | |
| Stuart Ziff | .... | effects crew: The Bottin Effects Crew | |
| Louise Alvarez | .... | special effects crew (uncredited) | |
| Robert DeVine | .... | special effects (uncredited) | |
Visual Effects by | |||
| Yarek Alfer | .... | head sculptor | |
| Philip Bartko | .... | mechanical effects technician | |
| Elissa Bello | .... | visual effects | |
| Rob Bottin | .... | character visual effects | |
| Eric Brevig | .... | visual effects supervisor | |
| John Frederick Bryant | .... | production engineer: Metrolight Studios | |
| Rob Burton | .... | realtime motion control supervisor | |
| Brent Collins | .... | computer graphics designer | |
| Michael Condro | .... | motion control programmer/operator | |
| Thierry Coup | .... | model maker | |
| C. Marie Davis | .... | additional visual effects editor | |
| Christopher Duddy | .... | visual effects | |
| Alex Funke | .... | visual effects director of photography | |
| Paul Gentry | .... | director of photography: visual effects blue screen unit | |
| Erik Henry | .... | visual effects editorial | |
| Tom L. Hutchinson | .... | digital effects artist | |
| Patric Kenly | .... | visual effects animation cameraman: DQI | |
| Carole A. Kenneally | .... | video effects coordinator | |
| Bill Kent | .... | motion control operator | |
| James W. Kristoff | .... | executive in charge of production: MetroLight Studios | |
| Brad Kuehn | .... | optical photography supervisor | |
| Mark A. Lasoff | .... | software designer | |
| Jeff Matakovich | .... | optical supervisor: Dream Quest | |
| Tim McGovern | .... | visual effects: cgi director | |
| Rob Menapace | .... | motion control graphics | |
| George Merkert | .... | visual effects producer | |
| Rexford L. Metz | .... | visual effects director of photography | |
| Derrick Mitchell | .... | assistant visual effects editor | |
| Marlo Pabon | .... | visual effects compositor: DQI | |
| William Powloski | .... | motion control | |
| B.J. Rack | .... | visual effects producer | |
| Linda Renaud | .... | assistant visual effects editor | |
| Thomas Rosseter | .... | optical lineup | |
| Dobbie Schiff | .... | visual effects executive producer: MetroLight Studios | |
| Mary Siceloff | .... | visual effects line producer | |
| Jesse Silver | .... | matte artist | |
| Mark Stetson | .... | miniature effects co-supervisor: SVSI | |
| Michael Talarico | .... | motion control camera technician: Dreamquest Images | |
| George Trimmer | .... | chief model maker | |
| James Valentine | .... | rotoscope supervisor | |
| George Willis | .... | model maker | |
| Mark Yuricich | .... | miniature effects foreman | |
| Judy Elkins | .... | motion control operator: miniatures (uncredited) | |
| Michael Kory | .... | CG monitor graphics (uncredited) | |
| Scott Ross | .... | general manager: ILM (uncredited) | |
| Laurel Schneider | .... | miniature effects production coordinator (uncredited) | |
Casting Department | |||
| Claudia Becker | .... | casting: Mexico | |
| Joni Kearney | .... | casting assistant (uncredited) | |
Costume and Wardrobe Department | |||
| Haleen K. Holt | .... | costume illustrator | |
| Ismael Jardon | .... | wardrobe (as Ismael Jardon Tejas) | |
| Taneia Lednicky | .... | set costumer | |
| Abel Melo | .... | wardrobe | |
| Mayes C. Rubeo | .... | assistant costume designer (as Mayes Castillero de Rubeo) | |
| Joan Thomas | .... | costume supervisor (as Joan Skelton Thomas) | |
Editorial Department | |||
| Derek Brechin | .... | assistant editor | |
| Noori Dehnahi | .... | post production coordinator | |
| Ron Lambert | .... | color timer | |
| Teressa Longo | .... | assistant editor | |
| Humberto Luna-Gallardo | .... | apprentice editor | |
| Edgar Pavon | .... | assistant editor (as Edgar Pavon Arce) | |
| Carlos Puente | .... | assistant editor (as Carlos Puente Ortega) | |
| Florent Retz | .... | assistant editor | |
| Mark Eggenweiler | .... | assistant editor (uncredited) | |
Music Department | |||
| Bruce Botnick | .... | music engineer | |
| Darrell Hall | .... | assistant music editor | |
| Kenneth Hall | .... | music editor | |
| Steve Love | .... | music supervisor | |
| Arthur Morton | .... | orchestrator | |
Transportation Department | |||
| Jon Carpenter | .... | transportation | |
| Alan Collis | .... | transportation captain | |
| Donald Collis | .... | transportation | |
| Jack Collis | .... | transportation | |
| Lynn Collis | .... | transportation | |
| Bob Dewitt | .... | transportation | |
| Ricardo Díaz | .... | driver | |
| John Dickenson | .... | transportation | |
| John Downey | .... | driver | |
| John Downey | .... | transportation | |
| Alma Rosa Elizondo | .... | transportation | |
| Shane Greedy | .... | production van driver | |
| Alfonso Paredes | .... | driver | |
| David Trevino | .... | transportation captain | |
| Tim Wolf | .... | transportation | |
Other crew | |||
| Armando Amador | .... | production auditor (as Armando Amador Díaz) | |
| Kim Balser | .... | assistant to executive producer | |
| Michael Barnes | .... | legal attorney | |
| Pablo Buelna | .... | assistant: Mr. Badin | |
| Jane Bulmer | .... | assistant to executive producer | |
| Corey Burton | .... | adr loop group | |
| Craig Campobasso | .... | liason: Los Angeles | |
| Eric Clarke | .... | production assistant | |
| Rhonda Columb | .... | assistant: Mr. Schwarzenegger | |
| Jim Davidson | .... | production controller | |
| Tony Didio Jr. | .... | armorer | |
| Lynn Ehrensperger | .... | assistant: Mr. Verhoeven | |
| Wayne Fitzgerald | .... | title designer | |
| Lily Flaschner | .... | location manager | |
| María Asunción Gómez | .... | assistant production accountant (as Maria Asuncion Gomez) | |
| Judith Goodman | .... | production coordinator | |
| Jesús Guerrero | .... | crowd coordinator (as Jesus Guerrero) | |
| Mario Kassar | .... | presenter | |
| Mark David Katchur | .... | assistant production accountant (as Mark Katchur) | |
| Mark A. Lasoff | .... | software designer | |
| Steve Lionetti | .... | production assistant (as Steven Lionetti) | |
| Norah Lozano | .... | production auditor | |
| Colonel Jorge Mancilla | .... | security chief (as Mayor Jorge Mancilla López) | |
| Lynn Marks | .... | assistant: Mr. Schwarzenegger | |
| Steve Newman | .... | marketing coordinator | |
| Rosa Lilia Pérez Ortega | .... | production secretary | |
| Dennis J. Parrish | .... | production associate | |
| Charles Pattenson | .... | production assistant | |
| Gary Platek | .... | laser and cloud effects | |
| Trudy Ramirez | .... | script supervisor | |
| Joel Rosenberg | .... | assistant production accountant | |
| Anna Roth | .... | location manager | |
| Lilia Soto Aragón | .... | script supervisor (as Lilia Soto Aragon) | |
| Sven-Ole Thorsen | .... | trainer | |
| Belinda Uriegas | .... | assistant: Mr. Badin | |
| Andrew G. Vajna | .... | presenter (as Andrew Vajna) | |
| Mike Wacker | .... | assistant: Mr. Schwarzenegger (as Michael Wacker) | |
| Frans J. Afman | .... | financial consultant (uncredited) | |
| Harry Kopoian | .... | airport liaison: Mexico (uncredited) | |
Thanks | |||
| Syd Dutton | .... | special thanks | |
| David Gale | .... | special thanks | |
| Lisa Krohn | .... | special thanks | |
| Dan Speaker | .... | special thanks | |
| Bill Taylor | .... | special thanks | |
| Larry Watermann | .... | special thanks | |
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Set during an unspecified future era, Douglas Quaid (Arnold Schwarzenegger) is a construction worker who longs for a trip to Mars. His wife, Lori (Sharon Stone) isn't so keen on it--she'd prefer a trip to Saturn, or a space cruise. Riding on the subway one day, Quaid notices a television advertisement for a company named Rekall, which specializes in memory implants of vacations. Quaid checks into it as an alternate means of having a "Mars vacation". While at Rekall, he chooses an alternate personality upgrade of a secret agent. However, while undergoing the procedure, something goes wrong. He learns that his Quaid identity was a memory implant and he really _is_ a secret agent. Now that he has his real memory back, he's on the run and he escapes to Mars. But why is everyone after him?
Total Recall, based on "We Can Remember It for You Wholesale", a short story from 1974 by Philip K. Dick (and novelized in conjunction with the film production by Piers Anthony), had a laborious history getting to the silver screen. Tens of drafts were written. Production companies were attached then went out of business. Many directors and stars were attached who either changed their minds or who were dropped. Luckily, Arnold Schwarzenegger talked Carolco into picking up the project for him, with Paul Verhoeven--who'd already proved his mettle on the similarly toned RoboCop (1987)--on board as director, because this is an excellent film.
While Total Recall certainly has influences, including "The Martian Chronicles" (1980), Dune (1984) and the first major film based on a Philip K. Dick work, Blade Runner (1982), it's more notable for the films that it has influenced in subsequent years, including The Fifth Element (1997) and many of the "rubber reality" films such as Abre los ojos (1997)/Vanilla Sky (2001) and The Thirteenth Floor (1999). It's also yet another film on the very long list that have had various elements "adapted" into part of The Matrix (1999)--most explicitly here, the "bug" that Quaid has to remove from his body with a high-tech machine and the possibility of "waking up" from a particular reality by taking "the red pill".
Although it's easy to interpret Total Recall in a very straightforward manner, so that the bulk of what we're seeing at any particular moment and the bulk of the dialogue are the literal reality, very convincing arguments can be made that the majority of the film is a depiction of Quaid's memory implant while in the "patient's chair" at Rekall. And those certainly aren't the only two interpretations possible.
What matters more than thinking one has a "right answer", though, is the deeply captivating story that provokes our interpretations and the amount of fun we have getting there. Verhoeven and the scriptwriting team, which included Dan O'Bannon and Ronald Shusett, the writing team behind the Alien films (beginning with Alien, 1979), never let us go very long without another plot twist, most of which force a reinterpretation of the material that went before. The twists occur about once per every ten minutes, if not more frequently.
The film is notable for its special effects by Rob Bottin, which were far ahead of their time, and its fantastic production and art design, which manage to make us feel both that we're experiencing a vicarious trip to a "future grunge" Mars and an almost "Doctor Who" (1963)-ish absurdly artificial reality, complete with supersaturated red skies, ala Frank R. Paul's illustrated covers for the Amazing Stories fiction magazine.
Some locations in Mexico were used for the film, including some subway shots on Mars, and actual commercial sign age was incorporated into the film. There's a lot of fun to be had noticing all of the cultural differences and similarities that the future era of the film will bring. Verhoeven delights in subtle glimpses of various symbols and accoutrement's. His view of the future is one full of corruption, commercialism and decadence. He doesn't have much confidence in a "bright new world" as humans spread out to new territory.
Verhoeven is basically extending the way things are now to the future; it's as if he sees our state as indicative of human nature, so that as long as we're humans, people are going to be taking advantage of one another, trying to control one another, engaging in behavior that's a conflict between desires and societal mores, but also helping out each other when the going gets tough. In these respects, Total Recall has culture-satirical similarities to later films such as Starship Troopers (1997), which isn't surprising given that Verhoeven directed both films. It's notable that Total Recall's future is not quite as bleak as Starship Trooper's.
But the film is hardly less violent. Verhoeven's initial cut was given an X by the MPAA for violence. A number of scenes had to have small edits, most of which have thankfully been restored on at least one special edition DVD. The violence here is a lot more small scale and personal than Starship Troopers. In terms of the visceral, Total Recall often rides a gray area somewhere between action and horror. While the action isn't as explosive as many Schwarzenegger films, the suspense never resolves until the end. This is an amazing thrill ride of a film.