| Photos (see all 17 | slideshow) | Videos |
| 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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Mike Figgis does a Robert Altman. Except, instead of creating a large narrative of interconnecting plot strands, he puts them all on four split screens. Is this therefore more subversive than Altman? I don't think so - Altman's method is an attack on Hollywood linearity, on conventional methods of 'connection'; his characters exist is the same space but are emotionally etc. miles apart. The characters in 'Short Cuts', like the city of L.A. itself, are a mass without a centre. Figgis, for all the supposed diffusion of his visual strands, actually reunites, glues together Altman's ruptures. In this way it might seem a more optimistic kind of film. It isn't.
'timecode' is being touted as a revolution in cinema, a new way of watching films. Instead of watching one screen and being led by a director, we are given four, and asked to make our choices. I was surprised at how panicked I was at this in the first 20 minutes, darting between scenes, wondering which one I should follow. This forced me out of the film much more disturbingly than anything by Fassbinder or Godard. But this alienation is deceptive. Firstly we are not really bombarded by four narratives - put 'pierrot le fou', 'diary of a country priest', 'vampyr' and 'branded to kill' on four screens, then you'd be confused. Figgis leads you all the way, gives you an illusion of choice, but rarely fulfils it. The focus is on one screen at a time - either the soundtrack is turned up loudest, the plot is more interesting, whatever. For long periods of time, you can safely ignore other scenes because there is nothing going on - for about 20 minutes, for example, Lauren sits in a limousine listening to a bug planted on Rose; this leaves us free to watch another screen and see what she's listening to. Other scenes are merely tedious - eg Emma droning to her shrink (a nod to Godard's 'week end', that famous end of cinema?) - so that you gladly look elsewhere. It is possible to listen to one scene, and flit around at the others to catch up on what's going on.
What I'm saying is, 'timecode' is not a difficult experience - after the initial adjustment, you watch the film as you would any other, especially as all the stories converge and are really only one story. Even at the beginning, the feeling is less one of Brechtian alienation than akin to being a security guard faced with a grid of screens - you rarely think about the physical processes of film or performance, as you would in a Dogme or Godard film.
So if 'timecode' is less revolutionary than it seems, that doesn't mean it isn't a brilliant film, a real purse in a pig's ear of a year (or whatever the expression is). One reason for this is the four-screen structure: I would have to watch it a few more times, but I was very conscious of the orchestration of the screens, the way compositions, or camera movements, or close-ups etc., in one screen were echoed, reflected, distorted in the others - a true understanding of this miraculous formal apparatus would, I think, give us the heart of the film, and bely the improvised nature of the content. Figgis is also a musician - he co-composed the score - and the movement here, its fugues and variations are truly virtuosic, almost worthy of my earlier Altman comparison.
But the content is great fun too. At first I was disappointed at the self-absorbed drabness of the material, the idea that we shouldn't be made to work too hard because we've enough to deal with the four screens. And, it is true, that the stories rarely transcend cliche. But, such is the enthusiasm of the performers (people like Salma Hayek obviously relishing slightly more useful roles than the bilge they're usually stuck in); the precision of the structure; the mixture of comedy and pathos, and the way the style facilitates both, that you're convinced you're watching a masterpiece. Quentin's massaging and Ana's pitch are two of the funniest things I've seen in ages, while Stellan Skarsgard's rich performance stands out all the more for its brittle surroundings.