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Directed by | |||
| David Lynch | |||
Writing credits | ||
| Frank Herbert | (novel) | |
| David Lynch | (screenplay) | |
Produced by | |||
| Dino De Laurentiis | .... | executive producer | |
| Raffaella De Laurentiis | .... | producer | |
| José López Rodero | .... | associate producer (as José Lopez Rodero) | |
Original Music by | |||
| Toto | |||
Cinematography by | |||
| Freddie Francis | (photographed by) | ||
Film Editing by | |||
| Antony Gibbs | |||
Casting by | |||
| Jane Jenkins | |||
Production Design by | |||
| Anthony Masters | |||
Art Direction by | |||
| Pier Luigi Basile | (supervising art director) (as Pierluigi Basile) | ||
| Benjamín Fernández | (as Benjamin Fernandez) | ||
Set Decoration by | |||
| Giorgio Desideri | |||
Costume Design by | |||
| Bob Ringwood | |||
Makeup Department | |||
| Giannetto De Rossi | .... | creative makeup | |
| Mirella De Rossi | .... | chief hairdresser | |
| Etsuko Egawa | .... | special makeup effects artist | |
| Luigi Rocchetti | .... | makeup artist | |
| Mara Rossi | .... | wig maker | |
| Mario Scutti | .... | makeup artist | |
| Mauro Tamagnini | .... | hairdresser | |
| Jean Ann Black | .... | makeup artist (uncredited) | |
| Christopher Tucker | .... | special makeup effects artist (uncredited) | |
Production Management | |||
| Anuar Badin | .... | production supervisor | |
| Vicente Escrivá hijo | .... | production supervisor (as Vicente Escriva) | |
| Anselmo Parrinello | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| José López Rodero | .... | first assistant director (as José Lopez Rodero) | |
| Ian Woolf | .... | dga trainee | |
| Víctor Albarrán | .... | first assistant director: second unit (uncredited) | |
| James Devis | .... | assistant director (uncredited) | |
| Ignazio Dolce | .... | second unit director (uncredited) | |
| Miguel Lima | .... | second assistant director (uncredited) | |
Art Department | |||
| Rafael Ablanque | .... | chief sculptor | |
| José María Alarcón | .... | assistant art director (as José Maria Alarcon) | |
| Ángel Arriola | .... | chief carpenter (as Angel Arriola) | |
| Sante Barelli | .... | chief painter | |
| Malcolm Bensted | .... | assistant props | |
| Jose Bolano | .... | chief plasterer (as José Bolaño) | |
| Alessandro Catarinelli | .... | chief painter | |
| Miguel Chang | .... | draughtsman | |
| Peter Childs | .... | assistant art director | |
| Vito Consoli | .... | chief painter | |
| Steve Cooper | .... | draughtsman | |
| Ezio D'Achille | .... | chief painter | |
| Antonio del Amo | .... | chief plasterer | |
| Antonio De Toro | .... | chief painter | |
| Ramón Díaz | .... | chief carpenter (as Ramon Diaz) | |
| Ron Downing | .... | floor props | |
| Raul Paton Garcia | .... | assistant art director | |
| Ferdinando Giovannoni | .... | draughtsman | |
| Mentor Huebner | .... | illustrator | |
| George Jensen | .... | illustrator | |
| Giuseppe La Rocca | .... | chief plasterer | |
| Maurice Larson | .... | chief painter | |
| Angelo Marta | .... | chief plasterer | |
| Giles Masters | .... | draughtsman | |
| Ron Miller | .... | illustrator | |
| Kevin Phipps | .... | assistant art director | |
| Aldo Puccini | .... | construction manager | |
| Luciano Romero | .... | assistant props | |
| Graham Sumner | .... | property master | |
| Giulio Tamassy | .... | chief sculptor | |
| Jose Velazquez | .... | chief carpenter (as José Velazquez) | |
| Jan Ferris | .... | designer: jewelry and some props (uncredited) | |
| Martin A. Kline | .... | production illustrator (uncredited) | |
| Moises Pineda | .... | production buyer assistant (uncredited) | |
| Mark Siegel | .... | sculptor (uncredited) | |
Sound Department | |||
| Derek Brechin | .... | assistant sound editor | |
| Teresa Eckton | .... | sound editor | |
| Donald Flick | .... | foley editor | |
| John Haptas | .... | boom operator | |
| Lee Haxall | .... | assistant sound editor | |
| Ann Kroeber | .... | assistant sound editor | |
| Patricia Lee | .... | assistant sound editor | |
| Edward Malone | .... | assistant sound editor | |
| Steve Maslow | .... | sound re-recording mixer | |
| Kevin O'Connell | .... | sound re-recording mixer | |
| Jerry Ross | .... | foley editor | |
| Leslie Shatz | .... | sound editor | |
| Alan Splet | .... | sound designer | |
| Nelson Stoll | .... | sound mixer | |
| Bill Varney | .... | sound re-recording mixer | |
| Les Wiggins | .... | sound editor | |
| Martin Maryska | .... | assistant sound editor (uncredited) | |
| Donald C. Rogers | .... | technical director of sound (uncredited) | |
Special Effects by | |||
| John Baker | .... | special effects floor chief | |
| Antonio Balandin | .... | special effects assistant | |
| William Bryan | .... | master foamsmith: stillsuit (as William C. Bryan) | |
| Theresa Burkett | .... | suit construction: stillsuit (as Teresa Burkett) | |
| Jeff Clifford | .... | special effects floor chief | |
| Terence J. Cox | .... | special effects assistant (as Terry Cox) | |
| Yves De Bono | .... | special effects engineer | |
| Lyle Eckmeier | .... | special effects assistant | |
| Charles L. Finance | .... | special effects coordinator | |
| Linda Frobos | .... | suit construction: stillsuit | |
| Rodney Fuller | .... | special effects floor chief | |
| Dino Galiano | .... | special effects floor chief | |
| Dirck Halstead | .... | special photography | |
| John Hatt | .... | special effects electronic unit chief | |
| Steve Humphrey | .... | special effects assistant (as Stephen Humphrey) | |
| Andrew Kelly | .... | special effects assistant | |
| Terry Knowles | .... | special effects assistant | |
| Jim Leonard | .... | chief sculptor: stillsuit | |
| Barry Nolan | .... | special photographic effects | |
| Antonio Parra | .... | special effects floor chief | |
| Don Post | .... | suit development: stillsuit | |
| Carlo Rambaldi | .... | creature creator | |
| Mark Siegel | .... | head of construction: stillsuit | |
| Ronnie Skinner | .... | special effects rigger (as Ron Skinner) | |
| John K. Stirber | .... | special effects flying unit chief (as John Stirber) | |
| Phil Stokes | .... | special effects assistant (as Philip Stokes) | |
| Bruno Van Zeebroeck | .... | special effects assistant | |
| Kit West | .... | mechanical special effects | |
| Trevor Wood | .... | special effects assistant | |
| Gary Zink | .... | special effects assistant | |
Visual Effects by | |||
| Tom Anderson | .... | blue screen mattes | |
| Peter Bohanna | .... | model shop supervisor | |
| Jeffrey A. Burks | .... | graphics technician | |
| Mike Cobos | .... | creature moldmaker | |
| Ralph Cobos | .... | creature moldmaker | |
| Tom Connors | .... | creature sculptor | |
| Bryan Cooke | .... | optical lineup | |
| Syd Dutton | .... | matte painter | |
| Mark Freund | .... | optical printer operator | |
| Jeremy Gibbs | .... | optical effects editor | |
| Devorah Hardberger | .... | optical coordinator | |
| Patti Harrison | .... | optical coordinator (as Patt Harrison) | |
| Kevin Koneval | .... | blue screen mattes | |
| John Kuhlman | .... | optical lineup | |
| Liz Lord | .... | graphics technician | |
| Richard Malzahn | .... | visual effects graphics | |
| Laurie Marems | .... | creature sculptor | |
| Ray Monahan | .... | optical printer operator | |
| January Nordman | .... | graphics technician | |
| Deborah J. O'Brien | .... | optical printer operator | |
| Bill O'Sullivan | .... | optical lineup | |
| Christine Overs | .... | model maker | |
| Dick Ramirez | .... | optical printer operator | |
| Gus Ramsden | .... | model maker | |
| Katie Ruah | .... | graphics technician | |
| Emilio Ruiz del Río | .... | foreground miniatures (as Emilio Ruiz del Rio) | |
| Stanley W. Sayer | .... | matte photography consultant (as Stanley Sayer) | |
| Frank Schepler | .... | creature operator (as Frank W. Shepler) | |
| Paolo Scipione | .... | creature operator | |
| Brian Smithies | .... | model unit supervisor | |
| Jacinto Soria | .... | model maker | |
| Charles Staffell | .... | front projection consultant | |
| Eric Swenson | .... | motion control | |
| Steven Townsend | .... | creature operator | |
| Danielle Versè | .... | model maker | |
| Albert Whitlock | .... | additional special visual effects (as Albert J. Whitlock) | |
| William Whitten | .... | creature sculptor | |
| David S. Williams Jr. | .... | optical lineup | |
| Megan Williams | .... | graphics technician | |
| Steven Willis | .... | creature operator (as Steve Willis) | |
| Charles L. Finance | .... | visual effects coordinator (uncredited) | |
| Jammie Friday | .... | rotoscope: Van der Veer Photo Effects (uncredited) | |
| Michael Douglas Middleton | .... | visual effects still photographer (uncredited) | |
| Judith Miller | .... | conceptual model builder (uncredited) | |
| Christopher S. Ross | .... | model maker (uncredited) | |
Stunts | |||
| Dickey Beer | .... | stuntman (as Dickie Beer) | |
| Tony Brubaker | .... | stuntman | |
| Will Harper | .... | stuntman | |
| Richard Humphreys | .... | stunt coordinator | |
| Henry Kingi | .... | stuntman (as Henri Kingi) | |
| Wayne Michaels | .... | stuntman | |
| Kiyoshi Yamasaki | .... | fight coordinator (as Kiyoshi Yamazaki) | |
| Vic Armstrong | .... | stunts (uncredited) | |
| Richard Humphreys | .... | stunts (uncredited) | |
| Wendy Leech | .... | stunts (uncredited) | |
| Scott Wilder | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Alan Annand | .... | focus puller | |
| Chic Anstiss | .... | camera operator (as Chick Anstiss) | |
| James Devis | .... | cinematographer: additional unit | |
| Frederick Elmes | .... | cinematographer: additional unit | |
| Ed George | .... | clapper loader | |
| Gordon Hayman | .... | camera operator | |
| Gerhard Hentschel | .... | camera maintenance | |
| Roy Larner | .... | supervising gaffer | |
| Ignazio Maccarone | .... | practical electrician | |
| John Matthews | .... | best boy | |
| Shane O'Neill | .... | clapper loader | |
| Tim Ross | .... | focus puller | |
| Maria Schiavone | .... | gaffer | |
| George Whitear | .... | still photographer | |
| Ken Worringham | .... | camera operator | |
| Douglas Evan Hersh | .... | best boy electric (uncredited) | |
| René Marquéz | .... | electrician (uncredited) | |
Casting Department | |||
| Maggie Cartier | .... | casting: UK | |
Costume and Wardrobe Department | |||
| Thomas Casterline | .... | wardrobe supervisor | |
| Barbara Higgins | .... | wardrobe cutter | |
| Ana Maria Infante | .... | wardrobe mistress | |
| Michael Jones | .... | milliner | |
| Mary Etta Lang | .... | wardrobe dyer | |
| Edward Percival | .... | wardrobe cutter | |
| Cyril Streeter | .... | wardrobe cutter | |
| Nadia Vitali | .... | wardrobe supervisor | |
| Mary E. Vogt | .... | wardrobe buyer (as Mary Vogt) | |
Editorial Department | |||
| Donah Bassett | .... | negative cutter | |
| Aubrey Head | .... | negative timer | |
| Adam Masters | .... | apprentice film editor | |
| Kate Orr | .... | assistant cutter | |
| Deborah Phipps | .... | assistant cutter (as Debbie Harkness) | |
| Penelope Shaw | .... | assistant film editor | |
| Rosemarie Urioste | .... | apprentice film editor | |
| Roz Ward | .... | assistant cutter | |
| Patricia Lee | .... | assistant editor (uncredited) | |
| Carlos Puente | .... | assistant editor (uncredited) | |
Music Department | |||
| George Brand | .... | music editor | |
| Brian Eno | .... | composer: prophecy theme | |
| Roger Eno | .... | composer: prophecy theme | |
| Allyn Ferguson | .... | additional orchestrator | |
| Tom Knox | .... | score engineer | |
| Tom Knox | .... | score mixer | |
| Daniel Lanois | .... | composer: prophecy theme | |
| Shep Lonsdale | .... | score engineer | |
| Shep Lonsdale | .... | score mixer | |
| Steve Lukather | .... | musician: Toto | |
| Gilbert Marouani | .... | music consultant | |
| David Paich | .... | musician: Toto | |
| Marty Paich | .... | composer: additional music | |
| Marty Paich | .... | conductor: Vienna Symphony Orchestra and Concert Society Vienna Volksoperchior | |
| Marty Paich | .... | music adaptor | |
| Jeff Porcaro | .... | musician: Toto | |
| Mike Porcaro | .... | musician: Toto | |
| Steve Porcaro | .... | musician: Toto | |
| Al Schmitt | .... | music coordinator | |
| Wiener Symphoniker | .... | music performed by (as Vienna Symphony Orchestra) | |
| Toto | .... | music performer | |
Transportation Department | |||
| Alfonso Paredes | .... | driver (uncredited) | |
| Carlos Ponce de León | .... | transportation captain (uncredited) | |
Other crew | |||
| Margaret Anderson | .... | dialect coach | |
| Ginette Angosse | .... | production assistant | |
| Yvonne Axeworthy | .... | script supervisor (as Yvonne Axworthy) | |
| Len Barnard | .... | production accountant | |
| Mary Breen-Farrelly | .... | accountant | |
| Ann Busby | .... | legal consultant | |
| Craig Campobasso | .... | production office assistant | |
| Emmett Chapman | .... | creator: Gurney's Baliset, based on 'The Stick' | |
| Jerry Cormier | .... | administrative staff | |
| Eduardo De La Grana | .... | assistant accountant | |
| James Devis | .... | supervisor: additional unit | |
| Frederick Elmes | .... | supervisor: additional unit | |
| Damian Evans | .... | administrative staff | |
| Kevin Freemantle | .... | assistant accountant | |
| Gerald Green | .... | technical advisor | |
| Hester Hargett | .... | production assistant | |
| Edward A. Kantor | .... | medical consultant (as Dr. Edward A. Kantor) | |
| Kuki López Rodero | .... | assistant: Mr. Lynch (as Kuki Lopez Rodero) | |
| Michael Menzies | .... | post-production accountant | |
| Sherrye Mossuto | .... | production assistant | |
| Golda Offenheim | .... | production coordinator | |
| Juan Clemente Prosper | .... | location manager (as Juan Clemente) | |
| Robert Schaefer | .... | title lettering designer | |
| Margy Stein | .... | administrative staff | |
| Anne Strick | .... | project coordinator | |
| Anne Strick | .... | unit publicist | |
| Val Van der Veer | .... | administrative staff | |
| Debbie Van Hoek | .... | accountant | |
| Debbie Van Hoek | .... | office coordinator | |
| Leslie Werner | .... | production assistant | |
| Harry Kopoian | .... | airport liaison: Mexico (uncredited) | |
| John Naulin | .... | still suits fabrication supervisor (uncredited) | |
| Mark Siegel | .... | creature maker (uncredited) | |
| Mark Siegel | .... | puppeteer (uncredited) | |
Thanks | |||
| Federico De Laurentiis | .... | dedicatee | |
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Yeah, DUNE sure is the runt of the Lynch litter but there are still aspects of it that I really love, even for all its cockeyed, club-footed awkwardness.
I didn't see this movie for approximately a decade because it had the reputation, still held in most quarters, of being one of the most infamous bombs of recent memory. However, despite my initial indifference I caught it - by complete accident - on free-to-air TV one night and was immediately hooked from the first sight of its memorable, unexpected future-baroque production design. From that point on, being led through the strange world of the Emperor and his entourage on Kaitain, the oddly-garbed Bene Gesserit Sisterhood, and the Guild Navigator emissaries in all their variously-staged mutated splendour, I was hopelessly infatuated with all things DUNE.
Now, I am fully aware that by most conventional definitions DUNE is not a good film. Actually, since having read all the books in the DUNE saga I am astonished to think that anybody thought that such a property could ever be a commercially viable option for mainstream cinema. It has concepts that tend to demand your full attention, which is mostly box office poison. However I loved the sheer scope of it, the fact that I was being bombarded with scores of unfamiliar terms and concepts which to me had always been the essence of pure science fiction. That it made for a choppy and often confusing cinematic experience mattered to me not at all. I was too much in love with the idea of it all and the weird, alien ambiance which only Lynch could have given the movie. Atreides, Harkonnens, Mentats, Fremen, Sandworms - I just wanted more, more, more. Superb cast, alluring music, stunning visuals - all contributing to an uncommonly arresting, unquestionably unique, cinematic experience.
For all its failures I can't even imagine what any contemporary of Lynch might have done with the material. My point is this: David Lynch's DUNE, warts and all, made me excited enough to want to read all the books in Herbert's sprawling saga. These volumes had been around for years. I'd seen them gathering dust in my local public library yet I felt no compulsion to read them. After seeing DUNE I couldn't wait to rush down and grab them off the shelves. That's why I'll always defend the film and why I refuse to write it off as the disastrous failure that so many regard it to be. In my mind DUNE is a success because it completely sold me on Frank Herbert's universe - a no more strangely beautiful, intellectually stimulating nor fascinating one had I ever seen on film - and compelled me to go ever further into it. I do accept most of the criticisms that the casual moviegoer has of the film but I simply can't hate it.
In short, if you are curious about the film and are familiar with all the bad and discouraging press it has received over the years, yet remain a fan of exceptional fantasy or science fiction, do not be discouraged. You may find that it has elements that may just move you, bewilder you, or tantalise your imagination. You may come to agree, like a growing number of us, that it really is not so deserving of the excoriation that it has suffered at the hands - or pens - of its harshest critics. If you go into it with a forgiving mindset then you may be well rewarded. And then - if you haven't already - read the saga itself. It is formidably great!