| Photos (see all 24 | slideshow) | Videos |
| Steve Martin | ... | Harris K. Telemacher | |
| Victoria Tennant | ... | Sara McDowel | |
| Richard E. Grant | ... | Roland Mackey | |
| Marilu Henner | ... | Trudi | |
| Sarah Jessica Parker | ... | SanDeE* | |
| Susan Forristal | ... | Ariel | |
| Kevin Pollak | ... | Frank Swan | |
| Sam McMurray | ... | Morris Frost | |
| Patrick Stewart | ... | Mr. Perdue, Maitre D' at L'Idiot | |
| Andrew Amador | ... | Bob, News Anchor | |
| Gail Grate | ... | Gail, News Anchor | |
| Eddie De Harp | ... | Maitre D' at Brunch | |
| M.C. Shan | ... | Rap Waiter at L'Idiot | |
| Frances Fisher | ... | June | |
| Iman | ... | Cynthia | |
| Tommy Hinkley | ... | Ted | |
| Larry Miller | ... | Tom | |
| Anna Crawford | ... | Sharon (as Anne Crawford) | |
| Samantha McCoy | ... | Sheila (as Samantha Caulfield) | |
| Thornton Simmons | ... | Man | |
| Dennis Dragon | ... | Crook | |
| Richard Stahl | ... | Bank Executive | |
| Aaron Lustig | ... | Boring Speaker | |
| Julianna McCarthy | ... | Woman (as Juliana McCarthy) | |
| Time Winters | ... | Floss Waiter at L'Idiot | |
| Pierre Epstein | ... | Chef | |
| Wesley Thompson | ... | Jesse | |
| George Plimpton | ... | Straight Weatherman | |
| David Glyn Price | ... | Pilot (as David G. Price) | |
| Wesley Mann | ... | Tony, Gas Station Attendant | |
| Mark Steen | ... | Tod PA | |
| Jaime Gomez | ... | Tod PA | |
| Amy Wallace | ... | Tod PA | |
| Cheryl Baker | ... | Changing Room Woman | |
| May Boss | ... | Old Woman (as Mary R. Boss) | |
| Scott Johnston | ... | Co-Pilot | |
| Robert Lind | ... | Chainsaw Juggler | |
| Tony Marsico | ... | Hard Rock Patron | |
| Burt Macke | ... | Cameraman (as Burt Nacke) | |
| Mary Pedersen | ... | Airline Ticket Agent | |
| Matt Stetson | ... | Spokesmodel Teacher | |
| rest of cast listed alphabetically: | |||
| John Lithgow | ... | Harry Zell (scenes deleted) | |
| Brian Banowetz | ... | Bellman (uncredited) | |
| Sean Michael Beyer | ... | Parking Valet (uncredited) | |
| Michael E. Burgess | ... | Waiter (uncredited) | |
| Chevy Chase | ... | Carlo Christopher (uncredited) | |
| Woody Harrelson | ... | Harris' Boss (uncredited) | |
| Terry Jones | ... | Sara's Mother (voice) (uncredited) | |
| Rick Moranis | ... | Gravedigger (uncredited) | |
| Robert Picardo | ... | Voicephone (voice) (uncredited) | |
Directed by | |||
| Mick Jackson | |||
Writing credits(WGA) | ||
| Steve Martin | (written by) | |
Produced by | |||
| Mario Kassar | .... | executive producer | |
| Steve Martin | .... | executive producer | |
| Daniel Melnick | .... | producer | |
| Michael I. Rachmil | .... | producer (as Michael Rachmil) | |
Original Music by | |||
| Peter Rodgers Melnick | (as Peter Melnick) | ||
Cinematography by | |||
| Andrew Dunn | (director of photography) | ||
Film Editing by | |||
| Richard A. Harris | |||
| Greg Le Duc | (video) | ||
| Shane A. Walsh | (documentary segment) | ||
Casting by | |||
| Mindy Marin | |||
Production Design by | |||
| Lawrence Miller | |||
Art Direction by | |||
| Charles Breen | |||
Set Decoration by | |||
| Chris Butler | |||
Costume Design by | |||
| Rudy Dillon | |||
Makeup Department | |||
| Robert Ostermann | .... | makeup artist | |
| Joy Zapata | .... | hair stylist | |
Production Management | |||
| Chris Coles | .... | production manager | |
| Michael R. Sloan | .... | post-production supervisor | |
Second Unit Director or Assistant Director | |||
| Albert Cho | .... | second assistant director | |
| Albert M. Shapiro | .... | assistant director | |
Art Department | |||
| Steve Callas | .... | construction coordinator | |
| Michael Anthony Jackson | .... | storyboard artist | |
| Daniel R. Jennings | .... | set designer | |
| Philip Steuer | .... | property master | |
| Douglas M. Vaughn | .... | set dresser | |
Sound Department | |||
| David W. Alstadter | .... | foley mixer | |
| Lon Bender | .... | supervising sound designer | |
| Neal Burger | .... | sound editor (as Neal Berger) | |
| Stuart Copely | .... | sound editor | |
| Dino Dimuro | .... | sound effects editor | |
| Larry Kemp | .... | supervising sound editor | |
| Richard King | .... | sound editor | |
| Lou Kleinman | .... | sound editor | |
| Steve Mann | .... | sound editor | |
| Harrison D. Marsh | .... | utility sound technician | |
| Glenn T. Morgan | .... | sound editor | |
| Richard Portman | .... | sound re-recordist | |
| Roul | .... | sound editor | |
| Steve F.B. Smith | .... | stereo sound consultant: Dolby | |
| Gina Spiro | .... | sound assistant | |
| James G. Stewart | .... | sound recordist | |
| Mark P. Stoeckinger | .... | supervising sound editor | |
| Lionel Strutt | .... | adr mixer | |
| Douglas Vaughan | .... | boom operator | |
| James E. Webb | .... | production sound | |
| Asher Yates | .... | sound editor | |
Special Effects by | |||
| Alan E. Lorimer | .... | special effects coordinator | |
Visual Effects by | |||
| Chuck Comisky | .... | visual effects supervisor | |
| Christopher Nibley | .... | visual effects director of photography | |
| Luc G. Nicknair | .... | first assistant camera/Vistavision first assistant camera (uncredited) | |
Stunts | |||
| Joe Dunne | .... | stunt coordinator | |
| Bob Herron | .... | stunts | |
| Courtney Pakiz | .... | stunt diver | |
| George Marshall Ruge | .... | stunts | |
| Cris Thomas-Palomino | .... | stunts | |
Camera and Electrical Department | |||
| Adam Alphin | .... | camera loader | |
| Jack Bauer | .... | best boy grip | |
| Edward Gold | .... | camera operator | |
| Peter C. Jensen | .... | steadicam operator | |
| Michael Kelem | .... | aerial camera operator | |
| Lane Russel | .... | second assistant camera | |
| Michael Shanman | .... | lighting board operator | |
| Patricia Van Over | .... | first assistant camera (as Pattie Vanover) | |
| Shane A. Walsh | .... | camera operator: documentary | |
| Thomas Enright | .... | electrician (uncredited) | |
Costume and Wardrobe Department | |||
| Barbara Marko Friedman | .... | costumer | |
| Lisa Stewart | .... | costumer | |
Editorial Department | |||
| Noori Dehnahi | .... | post-production coordinator | |
| Jane Kass | .... | assistant editor | |
| Michael Rafferty | .... | apprentice editor | |
Music Department | |||
| Steven Bernstein | .... | orchestrator | |
| Nicky Ryan | .... | music producer | |
Other crew | |||
| Michael Barnes | .... | legal attorney | |
| Steve Cowie | .... | set production assistant | |
| Gina Fortunato | .... | assistant production coordinator | |
| Mario Kassar | .... | presenter | |
| Diana Lui | .... | production assistant | |
| Liz Matthews | .... | assistant location manager | |
| Debbie Merril | .... | roller skating instructor: Mr. Martin | |
| Boone Narr | .... | animal trainer | |
| Anthony L. Paquet | .... | first aid | |
| Anne Trop | .... | assistant: Mick Jackson | |
| Ray Zimmerman | .... | production accountant | |
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| News articles | IMDb Comedy section | IMDb USA section |
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When Steve Martin is hot, he's really hot. L.A. Story, written by Steve Martin, is hot. The entire film keeps you in a state of constant chuckling. And, the movie has more than a few moments of comedic genius. It's the cumulative effect of little jokes littered throughout the film, both verbal and visual, that keeps you in stitches. On top of that, it piques your interest.
Here's what I mean: while Martin mercilessly it pokes fun of L.A. for it's flakiness, it's love and tolerance of idiosyncrasies, it's constant preoccupation with image, it's narcissism, the humor is never vulgar, crass, or shallow. For example, one scene takes place in the municipal art museum. We see Harry Telemacher (Steve Martin), with his friends, rapt in admiration for a painting. The camera angle comes from the canvas itself, where we watch Harry, deep in thought, dissertate on the subjects in the portrait, their motives, actions, and hidden agendas. He moves forward, backward, forward again, as if in active dialogue with the lacquer. At last, moving backward, he concludes his remarks by wrinkling his nose in disgust and saying `Look at the way he's holding her: it's almost filthy!' And then the camera moves around to Telemacher's perspective. The painting's a total abstraction. There isn't a distinct line in the entire rectangular frame. In the argot of Postmodernism, one might call it a `readerly' work of art.
It's the perfect metaphor for L.A., where you may interpret anything, any way you like. There's no standard, except one's own `personal reality.' No one can use social norms as a personal club to tell someone else, `You're wrong,' because there is none. It's all `what-E-verrrr.'
Best of all, L.A. Story is a love story, the kind of love that adores someone as much for their faults as for their virtues. Martin's satire is so effective because he loves the city so much.