The Long Kiss Goodnight
(1996) What's forgotten is not always gone. | Released
Ratings
44%
6.6
6.7
68%
Financials
Revenue: $89,456,761
Budget: $65,000,000
Profit: + $24,456,761
Movie Details
Tag Line: What's forgotten is not always gone.
Status: Released
Average Rating: 7
Release Date: Oct 11, 1996
Rating: R
Run Time: 2h 01m
Original Language: English
Website: -
Production Countries: United States of America
Production Companies: New Line Cinema , Forge , The Steve Tisch Company
Genres
Keywords
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Synopsis
Samantha Caine, suburban homemaker, is the ideal mom to her 8 year old daughter Caitlin. She lives in Honesdale, PA, is a school teacher and makes the best Rice Krispie treats in town. But when she receives a bump on her head, she begins to remember small parts of her previous life as a lethal, top-secret agent.
Crew
| Department | Role | Name |
|---|---|---|
| Sound | Original Music Composer |
Alan Silvestri
|
| Sound Re-Recording Mixer |
Paul Massey
Gregory H. Watkins
Doug Hemphill
|
|
| Supervising Sound Editor |
Stephen Hunter Flick
|
|
| Supervising ADR Editor |
Gregg Baxter
|
|
| Dialogue Editor |
Robert Troy
Charles Ewing Smith
|
|
| Supervising Dialogue Editor |
Stephanie Flack
|
|
| Sound Mixer |
Douglas Ganton
|
|
| Boom Operator |
Reynald Trudel
|
|
| Foley Supervisor |
Judee Flick
|
|
| Production | Executive Producer |
Steve Tisch
Michael De Luca
Richard Saperstein
|
| Producer |
Shane Black
Stephanie Austin
Geena Davis
Renny Harlin
|
|
| Casting |
Mary Vernieu
Ronnie Yeskel
|
|
| Executive In Charge Of Post Production |
Joe Fineman
Ric Keeley
|
|
| Co-Producer |
Carla Fry
|
|
| Location Manager |
Marty Dejczak
|
|
| Costume & Make-Up | Costume Design |
Michael Kaplan
|
| Makeup Artist |
Marietta Carter-Narcisse
Tricia Sawyer
|
|
| Assistant Costume Designer |
Trish Summerville
|
|
| Costume Supervisor |
Linda Matthews
|
|
| Wigmaker |
Victoria Wood
|
|
| Key Makeup Artist |
Christine Hart
|
|
| Special Effects Makeup Artist |
Gordon J. Smith
|
|
| Editing | Editor |
William Goldenberg
|
| Color Timer |
Dan Muscarella
|
|
| Negative Cutter |
Mary Nelson-Duerrstein
|
|
| Writing | Screenplay |
Shane Black
|
| Camera | Director of Photography |
Guillermo Navarro
|
| Steadicam Operator |
Kyle Rudolph
|
|
| Still Photographer |
Kerry Hayes
|
|
| Camera Operator |
Andy Chmura
David Towers
|
|
| Key Grip |
Rick Stribling
|
|
| Dolly Grip |
Ron Renzetti
|
|
| Art | Production Design |
Howard Cummings
|
| Art Direction |
Steve Arnold
Dennis Davenport
|
|
| Assistant Set Decoration |
Carolyn A. Loucks
Dan Wladyka
|
|
| Set Decoration |
Michael Taylor
|
|
| Set Designer |
Gordon White
Neil Morfitt
|
|
| Art Department Coordinator |
Rhonda Moscoe
|
|
| Construction Coordinator |
Bill Harman
|
|
| Property Master |
Vic Rigler
|
|
| Storyboard Designer |
Rick Newsome
|
|
| Crew | Post Production Supervisor |
Bradley M. Goodman
|
| Stunt Double |
Patricia Tallman
|
|
| Special Effects Coordinator |
Allen Hall
|
|
| Stunt Coordinator |
Steve M. Davison
|
|
| Directing | Director |
Renny Harlin
|
| Script Supervisor |
Cornelia 'Nini' Rogan
|
|
| Second Second Assistant Director |
Kristie Sills
|
|
| Lighting | Rigging Gaffer |
Gary Deneault
|
| Gaffer |
Scotty Allan
|
|
| Department | Role | Name |
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