IMDb > Flesh and Bone (1993)
Flesh and Bone
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Flesh and Bone (1993) More at IMDbPro »

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Overview

User Rating:
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Down 44% in popularity this week. See why on IMDbPro.
Director:
Writer (WGA):
Steve Kloves (written by)
Contact:
View company contact information for Flesh and Bone on IMDbPro.
Release Date:
5 November 1993 (USA) See more »
Genre:
Tagline:
Evil is patient
Plot:
Some thirty years after Arlis witnesses his father murdering a family, he runs into Kay, who happens to be the family's baby who was spared... See more » | Full synopsis »
Awards:
1 win See more »
User Reviews:
High Plains Vendor See more (38 total) »

Cast

  (in credits order) (verified as complete)
Julia McNeal ... Sarah Willets (as Julia Mueller)
Ron Kuhlman ... Clem Willets
Jerry Swindall ... Young Arlis
Ryan Bohls ... Scotty Willets

James Caan ... Roy Sweeney

Dennis Quaid ... Arlis Sweeney
Ez Perez ... Boy in Suit
Craig Erickson ... Tiny Ted

Barbara Alyn Woods ... Cindy

Gwyneth Paltrow ... Ginnie

Joe Berryman ... Plump Man

Meg Ryan ... Kay Davies

Scott Wilson ... Elliot
James N. Harrell ... Woody
Gerardo Johnson ... Juan
Héctor García ... Nestor
Betsy Brantley ... Peg

John Hawkes ... Groom

Vic Polizos ... Pudge Riley
Nik Hagler ... Earl
Travis Baker ... Sullen Kid
Christopher Rydell ... Reese Davies

Angie Bolling ... Woman with Crying Baby

Joe Stevens ... Kyle
Libby Villari ... Waitress

Gail Cronauer ... Emma
rest of cast listed alphabetically:
Jim Bob Howard ... Groomsman (uncredited)

Buck Reynolds ... Groom's Best Friend (uncredited)

E. Parker Webb ... Diner Cook (uncredited)

Directed by
Steve Kloves 
 
Writing credits
(WGA)
Steve Kloves (written by)

Produced by
G. Mac Brown .... co-producer
Shari Hamrick .... associate producer
Sydney Pollack .... executive producer
Mark Rosenberg .... producer
Paula Weinstein .... producer
 
Original Music by
Thomas Newman 
 
Cinematography by
Philippe Rousselot 
 
Film Editing by
Mia Goldman 
 
Casting by
Juel Bestrop 
Risa Bramon Garcia 
 
Production Design by
Jon Hutman 
 
Art Direction by
Charles William Breen  (as Charles Breen)
 
Set Decoration by
Samara Schaffer 
 
Costume Design by
Elizabeth McBride 
 
Makeup Department
Colleen Callaghan .... hair stylist: Meg Ryan
Leonard Engelman .... makeup artist: Meg Ryan
Dorothy J. Pearl .... makeup artist
David Whitley .... special makeup effects
J.M. Logan .... special makeup effects artist (uncredited)
 
Production Management
G. Mac Brown .... unit production manager
Sara Romilly .... post-production supervisor
Michael Tadross .... executive in charge of production
 
Second Unit Director or Assistant Director
Cara Giallanza .... first assistant director
Marge Piane .... second assistant director
Jordan Stone .... second second assistant director
Christine A. Tope .... dga trainee (as Christine Tope)
 
Art Department
Steve Allen .... carpenter
Charles Bates .... carpenter
Greg Benge .... property assistant
Beth Bernstein .... art department coordinator
Mark Lambert Bristol .... storyboard artist
Marcus Brown .... set dresser (as Marcus Lee Brown)
Christopher Carlson .... assistant property master
Gary Diamond .... assistant art director
Tom Dreesen .... construction coordinator
Peter J. Durand .... scenic painter
Neil Gahm .... carpenter
Neil Gahm .... propmaker
Trish Gallaher Glenn .... property master (as Trisha B Gallaher)
Donald Gross .... carpenter (as Don Gross)
Kim F. Hawkins .... carpenter (as Kim Hawkins)
John R. Helton .... painter
W.S. Hickey .... carpenter
Jerry King .... set dresser
Mike Alexis Koellner .... scenic painter
John D. Kretschmer .... lead man
Thomas Lemman .... construction foreman (as Tom Lemman)
Karen Luzius .... property buyer
Patricia Malone .... assistant art decorator (as Patty Malone)
David Menefee .... carpenter foreman
Larry Misselhorn .... greensperson
James F. Oñate .... scenic foreperson (as James Onate)
Darren Patnode .... set dresser
Shane Patrick .... set dresser
Ricky Riggs .... scenic painter (as Richard Riggs)
Jeff Schwan .... set dresser (as J.P. Schwan)
Joe Self .... set dresser
Lisa K. Sessions .... set dresser
Brian Stultz .... scenic chargeman
Kelly Stultz .... scenic painter (as Kelly Brett Stultz)
Chris Telschow .... carpenter
Jack Thorpe .... construction foreman (as Jack Thorpe III)
Hap Weaver .... greensperson
Robert K. Weinberger .... lead carpenter
 
Sound Department
David A. Arnold .... supervising foley editor
Joan Chamberlain .... sound recordist
Simon Coke .... sound effects editor
Joe Dorn .... adr supervisor
Dean Drabin .... foley mixer
Joe Earle .... sound effects editor
Christopher Flick .... foley editor
Ann Hadsell .... sound recordist
Robin Harlan .... foley artist
Scott Hecker .... supervising sound editor
Mauriece Jacks Jr. .... cable person
Sarah Jacobs .... foley artist
Samuel F. Kaufman .... sound recordist (as Sam Kaufman)
Doug Kent .... first assistant sound editor
Andrea Lakin .... sound recordist
Gary Lewis .... dialogue editor
Melissa Lytle .... assistant adr editor
Pat McCormick .... dialogue editor
Danny Michael .... sound mixer
Andy Nelson .... sound re-recording mixer
Ralph Osborn .... dialogue editor
Steve Pederson .... sound re-recording mixer
Brian Ruberg .... adr mixer
Adam Sawelson .... sound editor
Andrew Schmetterling .... boom operator
Steve F.B. Smith .... stereo sound consultant: Dolby (as Steve Smith)
Bruce Tanis .... sound effects editor
Jeff Timbs .... daily sound transferer (uncredited)
 
Special Effects by
Robert A. Goodson .... special effects assistant
Charles Grimes .... special effects assistant
Margaret Johnson .... special effects supervisor
Stephen Johnston .... special effects assistant
Randy E. Moore .... special effects coordinator
 
Stunts
Andy Armstrong .... stunt coordinator
Brad Bovee .... stunt double (as Bradley Bovee)
 
Camera and Electrical Department
Michael Alexonis .... grip
James Babineaux .... assistant chief lighting technician
Steve Belsky .... grip
Allan Bullard .... grip (as Allan J. Bullard)
George M. Chappell .... electrician
Jack English .... gaffer
Bill Finger .... additional second assistant camera
Scott Graves .... set lighting technician
J. Steven Latham .... second assistant camera
Victoria J. Lowe .... additional first assistant camera (as Victoria Lowe)
Anastas N. Michos .... camera operator: "a" camera
Ted Morris .... first assistant camera
Daniel Murphy .... rigging gaffer
Brian W. Nordheim .... camera loader
Jesse Wayne Parker .... second company grip (as Wayne Parker)
C. Alan Rawlins .... first company grip
Greg Reim .... camera crane operator
John Schissler .... camera car operator
Lorey Sebastian .... still photographer
C. Ashley Sudge .... dolly grip (as Charles Ashley Sudge)
Peter J. Verrando .... 24 frame video operator
 
Casting Department
Barbara Harris .... voice casting
Liz Keigley .... casting: Texas (as Elizabth Keigley)
Sari E. Keigley .... extras casting
Mary Vernieu .... casting associate
 
Costume and Wardrobe Department
Anna Abbey .... wardrobe assistant (as Anne Abbey)
Rosemary E. Bengele .... wardrobe assistant
Mary Ellen Fields .... wardrobe assistant
Susan Kistler .... wardrobe buyer
Taneia Lednicky .... assistant costume designer
Eva Prappas .... set costumer
Kimmie Rhodes .... wardrobe buyer
Renee Shearer .... wardrobe assistant
 
Editorial Department
Gary Burritt .... negative cutter
Jim Makiej .... assistant editor
Mike Milliken .... color timer (as Mike Millikan)
Heather Persons .... assistant editor
Anthony Sherin .... second editor
 
Music Department
Bill Bernstein .... music editor
Julian Bratolyubov .... music preparation
George Doering .... musician
Norman Ludwin .... musician (bass)
Jill Meyers .... music clearance
Leslie Morris .... orchestra manager
Maria Newman .... musician
Thomas Pasatieri .... orchestrator
Joel Sill .... music consultant
John Vigran .... music scoring mixer
 
Transportation Department
Cecil D. Evans .... transportation captain
Jerry McKnight .... transportation coordinator
Phil Schriber .... transportation co-captain
Bobby Sconci .... driver
Joe Self .... driver
 
Other crew
Ellie Archer .... set assistant
Alexis Arnold .... assistant production coordinator
Doris Barker .... location manager: Monahans, TX
Charles Bartlett .... adr loop artist
Charles Bazaldua .... adr loop artist
Samuel Bokebza .... first accountant
Sue Bokobza .... head accountant
Caroline Brock .... location assistant
Doug Burch .... adr loop artist
Kevin Richard Buxbaum .... production accountant
Anne Carr .... key set medic
Andrew D. Cooke .... location manager
James Crowley .... location assistant
Patrika Darbo .... adr loop artist
Brady Dial .... production office assistant
Judi M. Durand .... adr loop artist (as Judi Durand)
Patrick Gillis .... set assistant
Craig Glaser .... craft service
Aaron Goldstein .... post-production office assistant
Javier Grajeda .... adr loop artist
Diane Gunderson .... set assistant
Barbara Harris .... adr loop artist (as Barbara Iley)
Patti Hawn .... unit publicist
Beau Holden .... assistant: Dennis Quaid
Leah Holmes .... post-production accountant
Edward A. Ioffreda .... production associate
Derek E. Johansen .... key production assistant (as Derek Johansen)
Kris Kearney .... sewer (as Kristine Kearney)
Linda Labov .... assistant: Mr. Rosenberg
Jamie Megan Mascena .... accounting assistant
Elizabeth Maxwell .... assistant chef
Michael Maxwell .... head chef
Heather McClellan .... production office assistant
Emily Milder .... assistant: Mr. Kloves
Ken Miller .... police security
Bob Neill .... adr loop artist
Valerie E. Norman .... script supervisor
Marina Pincus .... adr loop artist
Karen Prince .... animal wrangler (as Karen Holst Prince)
Noreen Reardon .... adr loop artist
Michelle Romaine .... assistant location manager
Jeanie Barker Scott .... location assistant: Texas
Mark Shelby .... location assistant
Suzanne Sherrill .... assistant: Mr. Caan
John Stobaugh .... location assistant
Loring Sumner .... assistant: Mr. Rosenberg
Robert W. Terrill .... craft service
Greg Webb .... adr loop artist
Eric A. Williams .... assistant location manager
Mari-Jo Winkler .... production coordinator (as Mari Jo Winkler)
Stuart Yates .... set assistant
Joe Rose .... caterer (uncredited)
 
Thanks
Mark Rosenberg .... in memory of
 

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Additional Details

Also Known As:
MPAA:
Rated R for language, some sexuality and a scene of intense violence
Runtime:
126 min | Germany:116 min (TV version)
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Filming Locations:

Did You Know?

Trivia:
Writer-director Steve Kloves once said of this film in an interview: "Either you succumb to evil or you conquer it, but you have to deal with it".See more »
Goofs:
Continuity: In a scene where Kay holds a revolver a bullet inside the cylinder appears, disappears and then reappears.See more »
Quotes:
Kay:You got a pretty face, you should let the boys see it.
Ginnie:It ain't my face the boys want to see.
See more »
Movie Connections:
Soundtrack:
Sometimes You Just Can't WinSee more »

FAQ

This FAQ is empty. Add the first question.
31 out of 37 people found the following review useful.
High Plains Vendor, 29 April 2003
Author: rrichr from Berkeley, CA

I've been thankful for many things during the strange journey that has been my life. Among them was that I had never seen nor heard of Gwyneth Paltrow before seeing Steven Kloves' unsung, too-often trashed work, Flesh and Bone. Although this film has been deemed unwatchable by some; primarily, I suspect, by those who simply cannot deal with Meg Ryan in any form, Flesh and Bone is entirely watchable and often engrossing.

I stumbled onto it by accident one afternoon, when the film I had paid to see suffered a projector crash, leaving me to wander the nearly empty multiplex at my leisure. Flesh and Bone, said the sign over the door. Hmm. supernatural thriller with voodoo elements? Well, not really, although the scene that greeted me as I entered: a very scary-looking James Caan, with shotgun, skulking through a shadowy interior, made me think my initial assessment had been close (I had entered its theater a few minutes after the film had started.) Just a few more minutes passed before I realized that I was in the presence of something, at the least, unusual. First, considerable time elapsed without Dennis Quaid flashing his '55 DeSoto grille grin even once. In fact, he was scowling like all getout. Meg Ryan barely smiled either and it was well into the film before she first flipped her hair (while talking about pickles). Very strange. Being something of a sucker for films that cast against type, I was getting pulled in. But WHO was the spooky chick who kept walking in and out of various scenes, shoplifting something in almost each case?

That was Gwyneth, of course. If she had played the role of the deeply alienated Ginnie later in her career, she certainly could have pulled it off, but the mystery of her character, the thing that made you try to imagine the circumstances that had created such a creature, would never have manifested. It just would have been Gwynnie playing Ginnie. I'll be honest, I've remained immune to the whole Gwyneth thing. To me, she's something like Gouda cheese; certainly edible, but best if you're in the mood for a snack with somewhat more aroma than flavor. I admit that I've always dug her Mom, Blythe Danner, among the most delicately fair of all cinematic flowers. But I loved Gwyneth Paltrow in this film, still do, and always will. I don't think she stole the show, as some seem to, but her perfectly-played Ginnie was absolutely essential to it.

The rather default brutality that lurks in Flesh and Bone could seem artificial, but against the historical backdrop of Texas, where it is set, the film's slant makes sense. Texas history has been drenched in blood and tragedy from the start; Cabeza De Vaca, the lonely, ignominous demise of the LaSalle expedition, which foundered and was swallowed up on its Gulf Coast in an attempt to navigate the Mississippi northward, conflict with Spain and Mexico, the Comanche terror, the slaughter of its vast buffalo herds, its rape by oil and cattle culture, Texas politicians (just hitting a few high spots). Merely passing through the state can give one the sense that a loose black hole is about, not a massive one, but big enough.

Flesh and Bone is a promenade of the gravitationally doomed. Everyone in the film seems to be drifting toward the event horizon of an unseen singularity, just beginning to be stretched out of shape. Closest to oblivion is James Caan's chilling Roy Sweeney, a character in the mold of Christopher Walken's very bad dad in At Close Range but chicken-fried to the brink of carbonization; a man for whom conscience is no longer even a concept. Plunging close behind is his son Arliss (Quaid), someone who, after matriculating under his father's brutal tutelage, has become an exile to his own life. His flickering soul is not quite dead yet, but give it time. Meg Ryan's Kay Davies, the unknowing survivor, as an infant, of the film's opening horror, is a type of gently tragic heroine one can see anywhere, but most often in the South, the most culturally monolithic and unforgiving region of an unforgiving America. (Texas is the West but also, most certainly, the South.) Free-form and fundamentally cheerful personalities like Kay's may not always fare well there, unless legitimized by kids and a ring; something her character is beginning to understand as she pops, drunk, out of a paper cake at a roadhouse hoo-rah. Paltrow's Ginnie is possibly the most recent gravitational captive, but she has entered the plunge with cryogenic conviction, forming a binary dark star with Caan's character.

I liked this little film enough to collect it and have never regretted it. There is real psychological texture, a noiresque sense of doom, convincing intimacy set against a vast West Texas backdrop, a house haunted by ghosts living and dead, a brief, poignant performance by the never-failing Scott Wilson, a great score by the brilliant Thomas Newman (I started watching the TV series Boston Public just to hear its opening theme music, which he composed) and a closing scene as mythic as that of any cowboy classic. The film's conclusion flirts a bit with improbability but still works because, dear friends, karma does exist. It's not just a hippie word. Leave the Anti-Megs to their own gravitational plunge and enjoy.

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