Chinatown, San Francisco, 1928. Former private detective Dashiell Hammett, a compulsive drinker with tuberculosis who writes pulp fiction for a living, receives an unexpected visit from an old friend asking for help.
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| Directing | Wim Wenders | Director |
| Costume & Make-Up | April Ferry | Costumer |
| Directing | Francis Ford Coppola | Second Unit Director |
| Editing | Marc Laub | Editor |
| Editing | Randy Roberts | Editor |
| Sound | Richard Bryce Goodman | Sound Mixer |
| Sound | Bob Johnston | Sound Editor |
| Production | Fred Roos | Producer |
| Art | George R. Nelson | Set Decoration |
| Sound | Randy Kelley | Sound Editor |
| Production | Ronald Colby | Producer |
| Sound | Wylie Stateman | Sound Editor |
| Costume & Make-Up | Ruth Morley | Costume Design |
| Costume & Make-Up | Kathryn Blondell | Hairstylist |
| Writing | Dennis O'Flaherty | Screenplay |
| Editing | Robert Q. Lovett | Editor |
| Costume & Make-Up | Mary Keats | Hairstylist |
| Writing | Ross Thomas | Screenplay |
| Production | Francis Ford Coppola | Executive Producer |
| Editing | Janice Hampton | Editor |
| Art | Dean Tavoularis | Production Design |
| Costume & Make-Up | Jeff Angell | Makeup Artist |
| Costume & Make-Up | Thomas Tuttle | Makeup Artist |
| Production | Don Guest | Producer |
| Sound | John Duffy | Sound Editor |
| Camera | Joseph F. Biroc | Director of Photography |
| Art | Angelo P. Graham | Art Direction |
| Sound | Andrew London | Supervising Sound Editor |
| Sound | Donald O. Mitchell | Sound Re-Recording Mixer |
| Art | Leon Ericksen | Art Direction |
| Art | Steven Potter | Set Decoration |
| Sound | James E. Webb | Sound Editor |
| Production | Robert Huddleston | Unit Production Manager |
| Directing | Arne Schmidt | First Assistant Director |
| Sound | James E. Webb | Sound Mixer |
| Camera | Jack Harris | Still Photographer |
| Production | Janet Hirshenson | Casting |
| Production | Mona Skager | Associate Producer |
| Art | Robert C. Goldstein | Set Designer |
| Writing | Joe Gores | Novel |
| Production | Jane Jenkins | Casting |
| Directing | Ronald Colby | First Assistant Director |
| Crew | Terry Leonard | Stunt Coordinator |
| Art | Gary Fettis | Leadman |
| Camera | Pete G. Papanickolas | Key Grip |
| Directing | Daniel Attias | Second Assistant Director |
| Camera | Philip H. Lathrop | Additional Photography |
| Sound | Chris McLaughlin | Boom Operator |
| Crew | Howard Jensen | Special Effects |
| Art | Alex Tavoularis | Graphic Designer |
| Directing | David Valdes | Second Assistant Director |
| Sound | Jill Demby Guest | Dialogue Editor |
| Camera | Bill Johnson | Camera Operator |
| Lighting | Robert Woodside | Gaffer |
| Production | Barbara Johnson | Casting |
| Art | Douglas E. Madison | Property Master |
| Production | Teri Fettis-D'Ovidio | Production Coordinator |
| Sound | Darcy Vebber | Boom Operator |
| Sound | Vince Melandri | Dialogue Editor |
| Camera | Carl Manoogian | Key Grip |
| Lighting | Larry Gilhooly | Gaffer |
| Directing | Joanie Blum | Script Supervisor |
| Production | Ronald Colby | Unit Production Manager |
| Camera | Morgan Renard | Still Photographer |
| Editing | Barry Malkin | Supervising Editor |
| Art | James J. Murakami | Set Designer |
| Art | Dennis Gassner | Graphic Designer |
| Art | Tom Shaw Jr. | Property Master |
| Crew | Joe Lombardi | Special Effects |
| Sound | Robert Q. Lovett | Music Editor |
| Camera | Frederic J. Smith | Camera Operator |
| Directing | Lloyd Nelson | Script Supervisor |
| Sound | John Barry | Original Music Composer |
| Writing | Thomas Pope | Adaptation |
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