Memoirs of an Invisible Man is a 1992 American comedy-drama film[1] directed by John Carpenter and starring Chevy Chase, Daryl Hannah, Sam Neill, Michael McKean and Stephen Tobolowsky.

Nick Halloway is a stock analyst in San Francisco who spends most of his life avoiding responsibility and connections with other people.

At his favorite bar, the Academy Club, his friend George Talbot introduces him to Alice Monroe, a TV documentary producer.

Sharing an instant attraction, Nick and Alice make out in the ladies' room and set a lunch date for Friday.

A lab technician accidentally spills his mug of coffee onto a computer console, causing a meltdown, and the entire building is evacuated.

Jenkins convinces his supervisor Warren Singleton not to notify CIA headquarters so that they can capture and take credit for Nick, who could become the perfect secret agent.

It says that Nick has never been married, his parents are both dead, he has no relatives, a few friends but none that he's very close to, and he's not really dedicated to his job as he does it fast and loose.

At the arranged time for the exchange, Jenkins puts Alice into a cab and orders his men to surround the phone booth where he thinks Nick is.

They continue the chase on foot into a building still under construction, in the course of which Nick gets covered with concrete dust, outlining his silhouette.

At the top, by taking off his jacket (which has the largest amount of dust on it), Nick tricks Jenkins into thinking that he has become desperate enough to commit suicide.

The film ends with shots of Nick's apparently empty clothing skiing down a mountainside towards their chalet, where a pregnant Alice greets him with a hot drink and a kiss.

In 1986, Harry F. Saint's Memoirs of an Invisible Man was still unfinished when Hollywood agent William Morris gave it to Chevy Chase to read.

William Goldman was assigned to write the screenplay in the mid 1980s, by which time Ivan Reitman was attached to direct.

It was Goldman's first screenplay after what he called his "leper" period when he was in no demand to write scripts; he attributes his comeback to being represented by CAA.

He also said that Mark Canton, head of the studio, did not pay the writer for all his work, causing Goldman to initiate a lawsuit against them.

[7] Chase found Goldman's script too comedic—"Clark Griswold becoming invisible"—and sought screenwriters to rework it, reportedly to do something "more serious, with more adventure", eventually approaching Dana Olsen and Robert Collector.

Richard Donner was attached to direct for eight months due to his experience with visual effects, something that made various potential directors turn down the project.

Carpenter spent eighteen months working along with Olsen and Collector to make the script akin to "North by Northwest meets Starman", developing the love story to give the protagonist Nick a stronger motivation in escaping the villains.

[11] Carpenter said that due to the effects work by Industrial Light & Magic, "we essentially had to shoot the same movie twice", as after normal takes the effects team would set up their bulky VistaVision motion control cameras to film the same elements again while gathering digital data for the computer-generated imagery.

During nine months of preparation, Nicholson studied four previous films on the subject: The Invisible Man, which receives an homage in the scene where Nick is shown to have his head wrapped in bandages and is wearing large dark goggles; its sequel The Invisible Man Returns; Bedknobs and Broomsticks; and Ghost.

Carpenter later stated that this ending was cut because "Warner Brothers was worried that the audience would react to the invisible baby as if it were a freak, an unfortunate and innocent diabolical child.

While also battling studio executives, Carpenter claimed Chase and Hannah were "the stuff of nightmares" and "impossible to direct".

In particular, Chase would often refuse to wear his special effects makeup and would remove it prematurely, ruining a day's worth of filming.

Unlike prior collaborators Ennio Morricone on The Thing and Jack Nitzsche on Starman, Walker would team back up with Carpenter, the two co-scoring the subsequent Escape from L.A..

The website's critical consensus reads: "It boasts an intriguing cast and the special effects were groundbreaking, but they can't compensate for Memoirs of an Invisible Man's sadly pedestrian script".

But Chevy Chase, Sam Neill — who I love and had a longtime friendship with — and Warner Bros. … I worked for them, and it was pleasant.