| Photos (see all 17 | slideshow) | Videos (see all 6) |
| Xander Berkeley | ... | Evan Wantz | |
| Golden Brooks | ... | Onyx Richardson | |
| Saffron Burrows | ... | Emma | |
| Viveka Davis | ... | Victoria Cohen | |
| Richard Edson | ... | Lester Moore | |
| Aimee Graham | ... | Sikh Nurse | |
| Salma Hayek | ... | Rose | |
| Glenne Headly | ... | Therapist | |
| Andrew Heckler | ... | Auditioning Actor | |
| Holly Hunter | ... | Executive | |
| Danny Huston | ... | Randy | |
| Daphna Kastner | ... | Auditioning Actor | |
| Patrick Kearney | ... | Drug House Owner | |
| Elizabeth Low | ... | Penny - Evan's Assistant | |
| Kyle MacLachlan | ... | Bunny Drysdale | |
| Mía Maestro | ... | Ana Pauls | |
| Leslie Mann | ... | Cherine | |
| Suzy Nakamura | ... | Connie Ling | |
| Alessandro Nivola | ... | Joey Z | |
| Zuleikha Robinson | ... | Lester Moore's Assistant | |
| Julian Sands | ... | Quentin | |
| Stellan Skarsgård | ... | Alex Green | |
| Jeanne Tripplehorn | ... | Lauren Hathaway | |
| Steven Weber | ... | Darren Fetzer | |
| rest of cast listed alphabetically: | |||
| Holly Houston | ... | Renee - Take 1 (scenes deleted) | |
| Laurie Metcalf | ... | Dava Adair - Take 1 (scenes deleted) | |
| Colette Divine | ... | Auditioning Actress (uncredited) | |
| David Schatanoff Jr. | ... | Man at Sidewalk Cafe (uncredited) | |
| Patty Tobin | ... | Executive Assistant (uncredited) | |
Directed by | |||
| Mike Figgis | |||
Writing credits | ||
| Mike Figgis | (story) | |
Produced by | |||
| Dustin Bernard | .... | co-producer | |
| Mike Figgis | .... | producer | |
| Gary Marcus | .... | co-producer (as Gary Scott Marcus) | |
| Annie Stewart | .... | producer | |
Original Music by | |||
| Mike Figgis | |||
| Anthony Marinelli | |||
Cinematography by | |||
| Patrick Alexander Stewart | (director of photography) | ||
Casting by | |||
| Amanda Mackey Johnson | |||
| Cathy Sandrich | |||
Production Design by | |||
| Charlotte Malmlöf | |||
Set Decoration by | |||
| Jennifer M. Gentile | (as Jennifer Gentile) | ||
Costume Design by | |||
| Donna Casey | |||
Production Management | |||
| Dustin Bernard | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Phil Dupont | .... | second assistant director (as Philippe Dupont) | |
| Mark Anthony Little | .... | first assistant director | |
| Gary Marcus | .... | first assistant director (as Gary Scott Marcus) | |
| Jonathan Watson | .... | first assistant director (as Jonathan M. Watson) | |
| Greg Zekowski | .... | first assistant director | |
Art Department | |||
| Todd Ellis | .... | property master | |
| Steve Halterman | .... | leadman | |
| Michael Stone | .... | assistant art director (as Michael C. Stone) | |
Sound Department | |||
| Pembrooke Andrews | .... | assistant dialogue editor | |
| Eddie Bydalek | .... | sound recordist | |
| Eric Corley | .... | assistant sound effects editor | |
| Paul Curtis | .... | dialogue editor (as Paul M. Curtis) | |
| Chris David | .... | sound re-recording mixer | |
| Francesca Dodd | .... | assistant sound editor | |
| Patrick Dodd | .... | supervising sound editor | |
| Tom Fox | .... | utility sound | |
| Robert Janiger | .... | sound mixer | |
| Mark Lanza | .... | sound effects editor | |
| Stephen P. Robinson | .... | sound effects editor | |
| Ann Scibelli | .... | sound effects editor | |
| Dan Scolnik | .... | foley cue | |
| Dan Scolnik | .... | foley editor | |
| George W. Scott | .... | sound recordist | |
| Leslie Shatz | .... | sound re-recording mixer | |
| John C. Stuver | .... | dialogue editor | |
| Robert Troy | .... | dialogue editor | |
| Jeff K. Brunello | .... | sound editor (uncredited) | |
| Robert Janiger | .... | sound engineer (uncredited) | |
| Mark Lanza | .... | supervising sound editor (uncredited) | |
Special Effects by | |||
| Ron Bolanowski | .... | special effects | |
Visual Effects by | |||
| Brian A. Lettieri | .... | video effects editor | |
Camera and Electrical Department | |||
| Kevin Blauvelt | .... | assistant chief lighting technician | |
| Seth Clark | .... | assistant video assist operator | |
| Tony Cucchiari | .... | camera operator | |
| Ron Ervin | .... | second grip | |
| Mike Figgis | .... | camera operator | |
| Barbara Kallir | .... | chief lighting technician | |
| David Macdonald | .... | key grip | |
| Elliott Marks | .... | still photographer | |
| John Monsour | .... | video engineer | |
| James O'Keeffe | .... | camera operator | |
| Kathina Szeto | .... | first assistant camera | |
| Christopher Taylor | .... | first assistant camera | |
| Andrew B. Andersen | .... | cinematographer: title sequence (uncredited) | |
| John Monsour | .... | video assist operator (uncredited) | |
| Rick Taylor | .... | first assistant camera (uncredited) | |
Casting Department | |||
| Sande Alessi | .... | extras casting | |
Costume and Wardrobe Department | |||
| Tricia Cruikshank | .... | costume supervisor | |
Editorial Department | |||
| Dan Judy | .... | colorist | |
Music Department | |||
| Mark Curry | .... | scoring mixer | |
| Louise Hammar | .... | music supervisor | |
| Elyse Hoyt | .... | music coordinator | |
| Anthony Marinelli | .... | music producer | |
| Anthony Marinelli | .... | musician: keyboards | |
| Mark Tucker | .... | music score recording engineer | |
| Richard Whitfield | .... | music editor | |
Transportation Department | |||
| James Nordberg | .... | transportation | |
| Timothy P. Ryan | .... | transportation co-captain | |
| Don Tardino | .... | transportation captain | |
Other crew | |||
| Benjamin Adams | .... | production accountant | |
| Samuel F. Arroyo | .... | craft service (as Sam Arroyo) | |
| Mary Brunner | .... | production assistant | |
| Unjoo Lee Byars | .... | title producer | |
| Seth Clark | .... | production assistant | |
| Jennifer Clymer | .... | production assistant | |
| Paul Codiga | .... | production assistant | |
| Erin Engman | .... | assistant production coordinator | |
| James Fregia | .... | production assistant | |
| Tami Hodges-Malaniak | .... | production assistant (as Tami Hodges) | |
| Scott Horwitz | .... | production assistant | |
| Karis Jagger | .... | key production assistant | |
| David Krudis | .... | first assistant accountant | |
| Scott Allen Logan | .... | location manager | |
| Michael McIntyre | .... | creative director: main titles | |
| Edgar Pablos | .... | assistant: Mr. Figgis (as Edgar B. Pablos) | |
| B.J. Smith | .... | medical advisor | |
| Doug Van Doren | .... | assistant: Ms. Stewart | |
| Lois Walker | .... | production coordinator | |
Thanks | |||
| Frank Lomento | .... | special thanks | |
| Recent Posts (updated daily) | User |
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| How many takes?? | shulme |
| funniest scene | psdhart |
| Disappointed? | coolmatth |
| Too many options?? | AdmiringWig |
| Any good? | smeggegi5000 |
| similaraties to Muhlolland Drive? | tfrazier |
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"Timecode". What does this have to do with the content of Figgis's film? As we discover towards the end, without any chance of our being mistaken, nothing. It must be a reference to whatever device Figgis used to synchronise his actors. And that lets us know where his interests lay: in filming four simultaneous, 97-minute takes - certainly not in telling a decent story.
This lack of concern for anything except the technical challenge - we don't even get a sense of exhilaration at seeing Figgis pull it off - could not be more naked. On four occasions, there's an earth tremor. How do these little earthquakes help the film or the viewer? Not in the least - but it helps Figgis synchronise his actors. (Can you think of a LESS creative way of working a necessary synchronising device into the - cough - story? I can't.) Characters from different frames bump into one another now and then, and sometimes this serves an artistic purpose. Equally often, however, it doesn't. The characters aren't interacting; the actors are reminding one another which bit they're up to.
And here's the moment that really gives the game away. Towards the end, in the two bottom frames, we see a young director pitching her idea for a new kind of movie - and it turns out that she wants to make "Timecode"! Wow, self-reference! The last, and this case probably the first, refuge of the creatively bankrupt. I wanted to swear out loud. I'd been waiting over an hour for some payoff, some tiny sign of confluence between Figgis's four-frame device and the (cough) story he was trying to tell with it, and THIS is the best he could do? To add insult to injury, the movie our young director was pitching wasn't QUITE "Timecode". It was better. It had music by Hans Eisler, for one thing. (Apart from the melody sung during this pitch, the music in "Timecode" is banal, and it's used with a ham-fisted incompetence that has to be heard to be believed.) Also, our young director had a neat idea. She wanted to adapt a Borges story in which an old man and a young man meet, chat, and gradually discover that they're the very same person, at different stages of his life. "Each of the four main characters," continues our young director, "will be the same person, at a different stage of life." At this point our eyes scan the four frames to see if this is true of "Timecode", at least metaphorically. No, it isn't. Not even metaphorically. I felt like beating my head against the chair in front of me. Why was I watching Figgis's wretched movie? I wanted to watch HER movie!
As the young director points out, this kind of thing is the offspring of digital technology. Well, not quite. Alfred Hitchcock came up with the idea of a film without cuts in the 1940s, and more or less put it into practise with "Rope". It goes without saying that "Rope" is far superior. The irony is that it's also far truer to Figgis's avowed ideal of perfect continuity. In "Timecode" a vertical slash and a horizontal slash divide the screen into four. EVERY FRAME is cut into pieces - Hitchcock merely had a discreet, and to the best of his ability invisible, cut every ten minutes or so. (He also had a story, but I should stop harping on that.) Talk about a bad bargain. And it gets worse. The digital technology that makes Figgis's inferior vision possible also makes every frame look ugly. Add the fact that nothing worth looking at is going on in any of them, and what do we get? Instead of one good thing, a choice between four worthless things.
It may not have escaped your attention that the last few years have produced a pretty poor crop of films. 1999 was the worst year in living memory - unless you were exceptionally old in 1999, and could remember the transition to sound - and 2000 turned out, contrary to all reasonable expectation, to be worse. Even regression to the mean gives us little reason to hope that 2001 will be any better. Yet every so often a film comes along that makes the future seem even bleaker. "The Blair Witch Project" promised us nothing but incompetence from the next generation of film-makers; "The Phantom Menace" let the world know just how successful a technically sophisticated, creatively barren rip-off could be; "Scary Movie" introduced us to the novel idea of comedy without any actual humour. "Timecode" is yet another depressing sign of things to come. I'm sick of them.