| Lysa Apostle | ... | Melissa | |
| Joanne Baron | ... | Janice Crawford | |
| Morena Baccarin | ... | Monica (as Monrena Baccarin) | |
| Kylie Bax | ... | Maitre D' | |
| Angela Bettis | ... | Wilemina | |
| Heather J. Braden | ... | Model | |
| Sonia Braga | ... | Irene Mancini | |
| D.W. Brown | ... | Morton | |
| Chemin-Martinez Carroll | ... | Posse Member 13 | |
| Leslie Mann | ... | Camille | |
| Hunter Carson | ... | Peter McMichaels | |
| Murielle Arden | ... | Heidi (as Murielle Cohen) | |
| Carol Commissiong | ... | Vendela | |
| Sara Conca | ... | Model #2 | |
| Eve Cook | ... | Model | |
| Coolio | ... | T | |
| Veronica De Laurentiis | ... | Lorenzo's Relative #2 (as Veronica DeLaurentis) | |
| Paul Diomede | ... | Harmon | |
| Carmen Ejogo | ... | Chloe | |
| Carmen Electra | ... | Simone | |
| Cristen Elmore | ... | Model | |
| Omar Epps | ... | J.B. | |
| Frederic Fekkai | ... | Himself | |
| Michelle Forbes | ... | Francene | |
| Cresta Freeberg | ... | Model | |
| Peter Gallagher | ... | Guido | |
| Troy Garity | ... | Simon | |
| Jeff Goldblum | ... | Jamie | |
| Lucy Gordon | ... | Sarah | |
| Harold Guskin | ... | Dr. Jenkins | |
| Marianne Hagan | ... | Sales Manager | |
| Harry Hamlin | ... | Hancock | |
| Mariska Hargitay | ... | Darcy (as Marishka Hargitay) | |
| Jared Harris | ... | Anthony | |
| John C. Havens | ... | Client Rep #1 | |
| Emma Heming | ... | Model #3 | |
| Mariel Hemingway | ... | Leese Hotton | |
| Gaby Hoffmann | ... | Gabrielle Mancini | |
| Robert Joy | ... | Andrew | |
| Rainer Judd | ... | Ad Exec #2 | |
| Nabila Khashoggi | ... | Kelley | |
| Sarah Knowlton | ... | Wanna-Be | |
| Austin Lysy | ... | Oliver | |
| Kadia | ... | Model | |
| Kyle MacLachlan | ... | Business Manager | |
| Michelle Monaghan | ... | Henrietta | |
| Wendy Overstreet | ... | Model | |
| Steven Chester Prince | ... | Denis | |
| GQ | ... | Charlie | |
| Stephanie Raye | ... | Receptionist (as Stevie Raye) | |
| Andre Royo | ... | Posse Member | |
| Cassandra Sanford | ... | Model #1 | |
| Chris Sarandon | ... | Gary Packer | |
| Yasha Young | ... | Model (as Yasha Young-Shulz) | |
| Pamela Shaw | ... | Rowena | |
| Sloane Shelton | ... | Denise (as Sloan Shelton) | |
| Sonja Sohn | ... | Dandy | |
| Michael Sorvino | ... | Mario Mancini | |
| Paul Sorvino | ... | Lorenzo Mancini | |
| Lee Tergesen | ... | Lawyer (scenes deleted) | |
| Richard Thomsen | ... | Jimbo | |
| Tariq Trotter | ... | Posse Member #2 (as Tarik Trotter) | |
| Amber Valletta | ... | Blair | |
| Estella Warren | ... | Arrianne | |
| James Wilder | ... | Billy | |
| Michelle Williams | ... | Halley | |
| Rita Wilson | ... | Roberta | |
| Traci Ann Wolfe | ... | Model | |
| Yvonne Woods | ... | Bobbi | |
| Lee Wong | ... | Alfred (as Takeo Lee Wong) | |
| Jonathan Yaker | ... | Ad Executive | |
| Harris Yulin | ... | Phillip | |
| rest of cast listed alphabetically: | |||
| Griffin Dunne | ... | Himself (uncredited) | |
| Alexander Xavier Ponce-Bonano | ... | Ex-boyfriend (uncredited) | |
Directed by | |||
| Michael Rymer | |||
| Hunter Carson | (opening sequence) | ||
Writing credits(WGA) | ||
| Michael Rymer | (written by) & | |
| L.M. Kit Carson | (written by) | |
Produced by | |||
| Joanne Baron | .... | co-executive producer | |
| D.W. Brown | .... | associate producer | |
| L.M. Kit Carson | .... | producer | |
| Vikram Chatwal | .... | associate producer | |
| Loretta Crawford | .... | co-producer | |
| Robert Feld | .... | associate producer | |
| Jeff Goldblum | .... | executive producer | |
| Cynthia Hargrave | .... | producer | |
| Eric Kopeloff | .... | associate producer | |
| Eric Kopeloff | .... | line producer | |
| Nadia Leonelli | .... | producer | |
| Damita Nikapota | .... | executive producer | |
| Michael Paseornek | .... | executive producer | |
| Fredrik Sundwall | .... | producer | |
| Andrew Tilberis | .... | associate producer | |
Original Music by | |||
| Adam Plack | |||
Cinematography by | |||
| Rex Nicholson | |||
Film Editing by | |||
| Dany Cooper | |||
Casting by | |||
| Aisha Coley | |||
Production Design by | |||
| Gay Studebaker | |||
Art Direction by | |||
| Johnny Hardesty | |||
Set Decoration by | |||
| Mike Conte | |||
Costume Design by | |||
| Shawn Barton | |||
Makeup Department | |||
| Annemarie Bradley | .... | additional hair stylist | |
| Annemarie Bradley | .... | additional makeup artist | |
| Jane Brewton | .... | additional hair stylist | |
| Jane Brewton | .... | additional makeup artist | |
| Hildie Ginsberg | .... | key makeup artist | |
| Maria Giorgio | .... | additional hair stylist | |
| Maria Giorgio | .... | additional makeup artist | |
| Persefone Karakosta | .... | additional hair stylist | |
| Persefone Karakosta | .... | additional makeup artist | |
| Julia Lallas | .... | additional hair stylist | |
| Julia Lallas | .... | additional makeup artist | |
| Claus Lulla | .... | additional hair stylist | |
| Claus Lulla | .... | additional makeup artist | |
| Katherine O'Donnell | .... | additional hair stylist | |
| Katherine O'Donnell | .... | additional makeup artist | |
| Susan Reilly LeHane | .... | makeup artist (as Susan Reilly) | |
| Mia Thoen | .... | additional hair stylist | |
| Mia Thoen | .... | additional makeup artist | |
| Joe Trapani | .... | additional hair stylist | |
| Joe Trapani | .... | additional makeup artist | |
Production Management | |||
| Christian Gazal | .... | post-production supervisor: Australia (as Christian Gazaal) | |
| Petra Hoebel | .... | production manager | |
| Seth I. Shire | .... | post-production supervisor: New York (as Seth Shire) | |
Art Department | |||
| Millacent Fearon | .... | set dresser | |
| Christopher Fondulas | .... | art production assistant | |
| Brent Godek | .... | assistant property master | |
| Alida Jung | .... | property master | |
| Jason Liebrecht | .... | art production assistant | |
| Jocelyn Mason | .... | on-set dresser | |
| Sarah E. McMillan | .... | art swing | |
| Nikia Nelson | .... | art production assistant | |
| Chris Potter | .... | lead man | |
| Jesper Sundwall | .... | graphic designer | |
| Jeremy Tiefenbrun | .... | art production assistant | |
Sound Department | |||
| Antonio L. Arroyo | .... | production sound mixer | |
| Kevin Bowe | .... | boom operator | |
| John D'Aquino | .... | sound mixer | |
| Mark DeSimone | .... | adr mixer | |
| Michael Miller | .... | adr mixer | |
| Steve Murphy | .... | stereo sound consultant: Dolby (as Steven Murphy) | |
| Andrew Plain | .... | sound designer | |
| Andrew Plain | .... | supervising sound editor | |
| John Simpson | .... | foley artist | |
| Peter D. Smith | .... | sound re-recording mixer | |
| Lidia Tamplenizza | .... | assistant sound editor | |
| Libby Villa | .... | sound editor | |
Visual Effects by | |||
| Scott Balkcom | .... | Inferno artist | |
Casting Department | |||
| Jaclyn Brodsky | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Victoria Khofri | .... | wardrobe production assistant | |
| Karyn Larkin | .... | on-set costumer | |
| Shana Schoepke | .... | wardrobe supervisor | |
| Sherri Yoochison | .... | wardrobe intern | |
Editorial Department | |||
| Don Ciana | .... | color timer | |
| Rich Cohen | .... | negative cutter | |
| Megan Doneman | .... | assistant editor | |
| Bert Feldman | .... | negative cutter | |
| David Forsyth | .... | avid technician (as David Forsythe) | |
| David Forsythe | .... | avid technician | |
| Alicia Gleeson | .... | additional assistant editor | |
| Brett McManus | .... | additional assistant editor | |
| Jamal A. Swinton | .... | post-production consultant | |
Music Department | |||
| Julia Taylor-Stanley | .... | music supervisor | |
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I avidly pursue these small straight to video films because sometimes you hit gold. Last year, I was rewarded twice with 'Panic' and the delicious '10 Things...' That film resembles this in some ways. But then this resembles so many other projects, most closely Altman's 'Ready to Wear' but done in a 'Best in Show' technique where the actors devise the dialog. I'm very skeptical of that technique because actors just don't have the skills or interests to shape all the dimensions of a project. But they do well enough here to not embarrass and in one case: Sorvino and Gallagher as gentle lovers they do very, very well.
But overall -- except for one major exception -- nothing in the film rises beyond pleasant spacefiller. There are lots of elements that might have been exploited but were not: the design of the eponymous perfume bottle, the state of the adrift daughter, the intelligence of the street designer (indeed, mirroring of one designer's acceptance and ones rejection of damaged children), the entrée to the big time through a sexual initiation and rejection, the drive to style and influence.
The sad thing is the lack of style in the whole project: It lacked any, and this seemed strange: it was as if the whole thing were told through an urchin's eyes.
There is one thing, one sequence, that makes this project worthwhile. As with most modern scripts, there is a self-referential bit. Here, the filmmaker is represented by a photographer who is presented with a promising subject. But she comes attached with 'dialog' that they both feel uncomfortable with. So they forcefully eject those that force these constraints and just ad lib the session. Naturally, that's what Rymer is doing with the film, so this scene is underscored. (The photographer is later rewarded for his intuition.) The importance of these scene is further emphasized by framing the whole film by two other sessions of this photographer -- the first is of him photographing nude women (obviously a nod to the expected exposure of the raw personalities of fashion to come). This is a glam heroin shot that emphasizes the wan 'pain' of the girls. Estella shows up and refuses to participate.
Then at the end, we have the same photographer, on the street, shooting a healthy-looking Estella while the drugaddled daughter walks by in the background. So that scene in the middle where the photographer/filmmaker takes things into his own hands is the soul of the movie. And it is a worthy sequence.
First of all, it features Mariel Hemingway, someone whose mere presence is impressive. The implicit pun on hemming is not beneath the level of allusion here. More powerful is the association with her famous grandfather (who killed himself) and her sister (who also killed herself). That sister made a big splash by endorsing perfume. Mariel is an enormously compelling screen presence, here at 40, and hypnotizingly lovely.
The dialog in this section is wonderful -- that stuff they say when the actual shoot is underway. In the story, that relationship between seer and seen, between designer and human art forms the armature for the whole evening: It is only a couple minutes -- he with his Mighty Mouse, she with her Moody Blues.