IMDb > The Center of the World (2001)
The Center of the World
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The Center of the World (2001) More at IMDbPro »

Photos (See all 10 | slideshow) Videos (see all 3)
The Center of the World -- What should have been a simple cash-for-sex arrangement sends a young computer genius and a beautiful stripper on an emotionally shattering journey into their deepest erotic fantasies.
The Center of the World -- US Home Video Trailer from Artisan
The Center of the World -- What should have been a simple cash-for-sex arrangement sends a young computer genius and a beautiful stripper on an emotionally shattering journey into their deepest erotic fantasies.

Overview

User Rating:
6.0/10   3,729 votes »
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Up 4% in popularity this week. See why on IMDbPro.
Director:
Writers (WGA):
Wayne Wang (story) &
Miranda July (story) ...
(more)
Contact:
View company contact information for The Center of the World on IMDbPro.
Release Date:
18 May 2001 (Italy) See more »
Genre:
Plot:
A couple checks into a suite in Las Vegas. In flashbacks we see that he's a computer whiz on the verge of becoming a dot.com millionaire... See more » | Add synopsis »
Plot Keywords:
Awards:
1 nomination See more »
User Reviews:
Love in the Time of Dotcoms See more (68 total) »

Cast

  (in credits order) (verified as complete)

Shane Edelman ... Porter

Peter Sarsgaard ... Richard Longman

Molly Parker ... Florence
Karry Brown ... Lap Dancer

Alisha Klass ... Pandora Stripper
Mel Gorham ... Roxanne
Lisa Newlan ... Porn Site Woman
Jason McCabe ... Pete (as Jason Mccabe Calacanis)
Travis Miljan ... Dog Owner
Jerry Sherman ... Old Man

Carla Gugino ... Jerri

Pat Morita ... Taxi Driver

Balthazar Getty ... Brian Pivano
Robert Lefkowitz ... Motel Manager
John Lombardo ... Gondolier
Kathy Florez ... Maid

Ian Gomez ... Delivery Man
rest of cast listed alphabetically:
Alison Amberley ... (uncredited)

David C. Fisher ... Police Officer (uncredited)

Shirley Knight ... (uncredited)
Ron Nicolosi ... Ron - Coffee Shop Worker (uncredited)

James Reese ... Police Officer (uncredited)
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Directed by
Wayne Wang 
 
Writing credits
(WGA)
Wayne Wang (story) &
Miranda July (story) and
Paul Auster (story) &
Siri Hustvedt (story)

Ellen Benjamin Wong (screenplay)

Produced by
Ira Deutchman .... executive producer
Francey Grace .... co-producer
Greg Johnson .... executive producer
Heidi Levitt .... co-producer
Andrew Loo .... co-producer
Peter Newman .... producer
Wayne Wang .... producer
 
Cinematography by
Mauro Fiore 
 
Film Editing by
Lee Percy 
 
Casting by
Heidi Levitt 
Kris Nicolau 
 
Production Design by
Donald Graham Burt 
 
Art Direction by
Diana Kunce 
 
Costume Design by
Sophie De Rakoff  (as Sophie de Rakoff Carbonell)
 
Makeup Department
Lesley Anderson .... hair stylist
Paul LeBlanc .... hair stylist
Lydia Milars .... makeup artist
 
Production Management
Bill Block .... executive in charge of production
Andrew Loo .... unit production manager
Yael Melamede .... post-production supervisor
 
Second Unit Director or Assistant Director
Jonathan McGarry .... first assistant director
Paul Schmitz .... assistant director
 
Sound Department
Marko A. Costanzo .... foley artist
Mark DeSimone .... adr mixer
David Diamond .... boom operator
Jesse Ehredt .... sound recordist
Sean Garnhart .... sound re-recording mixer
Sean Garnhart .... sound supervisor
Albert Gasser .... supervising adr & dialogue editor
Skip Lievsay .... sound mixer
Bill Orrico .... first assistant sound editor
Aaron Rihel .... sound recordist
Jim Stuebe .... production sound mixer
 
Visual Effects by
Eric Heavens .... digital compositor
Dan Schmit .... visual effects supervisor
 
Camera and Electrical Department
Michael Bauman .... gaffer
Monica Carey .... assistant camera
Sean Fairburn .... camera operator
Sean Fairburn .... video engineer
John Johnson .... still photographer
Anatoliy Neznanov .... electrician
 
Editorial Department
Michael Hatzer .... color timer
Marty Levenstein .... associate editor
Misako Shimizu .... first assistant editor
 
Music Department
Deva Anderson .... music supervisor
Delphine Robertson .... music coordinator
 
Other crew
Robin Antin .... choreographer
Randall Balsmeyer .... title designer
Amy Carroll .... production assistant
Melissa Chesman .... production executive: Redeemable Features
Leann Emmert .... assistant location manager
Gabi Endicott .... script supervisor
Nancy Haecker .... location manager
Lora Hingst .... set production assistant
Alisha Klass .... technical advisor
M. Michelle Nishikawa .... production coordinator
Keith Potter .... set production assistant
Gaby Rizeanu .... script supervisor
Wayne T. Silva .... production assistant
James Traynor .... key location manager (as Jay Traynor)
Andrew Golov .... production executive (uncredited)
Andrew Golov .... studio executive (uncredited)
Timothy Scott Ralston .... studio projectionist (uncredited)
Cathy Ziehl .... studio coordinator (uncredited)
 

Production CompaniesDistributorsOther Companies
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Additional Details

Also Known As:
Runtime:
88 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

Goofs:
Crew or equipment visible: When Jerri is yelling at Florence in the hotel room, the crew and equipment are reflected in the mirror.See more »
Quotes:
Florence:You can't buy my feelings, you can't pay to make me love you.
Richard Longman:But we are people, aren't we? And people feel things, don't they?
Florence:I'm your whore.
See more »
Movie Connections:
Featured in Indie Sex: Extremes (2007) (TV)See more »
Soundtrack:
MilleniumSee more »

FAQ

This FAQ is empty. Add the first question.
31 out of 36 people found the following review useful.
Love in the Time of Dotcoms, 7 May 2001
Author: kkcoold from Berkeley, California

A digital camera does not a movie make but Wayne Wang didn't rely on avant-garde technique alone when he decided to revisit the basic boy-meets-girl story. He simplifies the problem by choosing two people with very little in common and then taking them out of their natural settings and putting them in the unreal world of Las Vegas. The man is a socially inept but financially successful engineer so typical of our times and his character is developed and portrayed very realistically by Peter Saarsgard in a role very different from what he played in Boys Don't Cry. He's got it down even to the careless dressing and awkward laugh. I know - I work in the Bay Area. Molly Parker is equally convincing as the drummer-by-day-stripper-by-night career woman who has such a cool and invincible air about her that it makes quite an impact in the few occasions when she does let her armor down.

It almost seems as if Wang has taken the Hollywood classic Pretty Woman and has decided to deHollywoodize it. And in that he has been quite successful. The graininess of the Blair Witch style digital camera coupled with innovative shots including unexpected close-ups follow no clichés. Equally cliché-free is the screenplay which follows a loosely linear narrative advanced primarily by the sexual encounters between a man and a woman who are placed in the near-equivalent situation of a desert island and come from different worlds. In this, one can discern shades of Last Tango in Paris, except that this movie is set in a more cynical time where love has been deconstructed and is not worth killing for. Sex becomes the center of their world but even as they escape into sex they cannot quite leave their personalities, their dreams, their insecurities behind and that is what ultimately saves them and their story from the mundaneness of a forgettable sexual encounter. Although they go into into the deal for purely selfish reasons - he desiring an escape from Internet porn and she looking for some extra cash - their encounter, like all good stories, becomes something of a journey of self-discovery.

Mention must be made of the attention to detail which makes the setting very believable. The soundtrack is eclectic and follows the local Californian club scene rather than big label network music. And the dialogue is very boy-girl-next-door rather than being made up of grand lines. However, this movie is not everybody's cup of tea. The lack of a discernable narrative in some of the scenes risks losing the viewer's attention. And there's no simple message or tying up of loose ends here. But those who can brave that and the graininess will be rewarded with a contemporary look at love in our times.

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