| Photos (See all 26 | slideshow) |
Directed by | |||
| Hal Hartley | |||
Writing credits | ||
| Hal Hartley | (written by) | |
Produced by | |||
| Willi Bär | .... | executive producer (as Willi Baer) | |
| Francis Ford Coppola | .... | executive producer | |
| Friðrik Þór Friðriksson | .... | producer (as Fridrik Thor Fridriksson) | |
| Hal Hartley | .... | producer | |
| Linda Reisman | .... | executive producer | |
| Cecilia Kate Roque | .... | producer | |
Original Music by | |||
| Hal Hartley | |||
Cinematography by | |||
| Michael Spiller | |||
Film Editing by | |||
| Steve Hamilton | |||
Production Design by | |||
| Árni Páll Jóhannsson | |||
Art Direction by | |||
| Ed Check | |||
Set Decoration by | |||
| Karin Wiesel | (as Karen Wiesel) | ||
Costume Design by | |||
| Frank L. Fleming | |||
| Helga I. Stefánsdóttir | |||
Makeup Department | |||
| Ragna Fossberg | .... | key makeup artist | |
Production Management | |||
| Kelley Cribben | .... | post-production supervisor | |
| Shirley Davis | .... | production manager | |
| Meryl Emmerton | .... | production manager | |
Art Department | |||
| Daniel Boxer | .... | property master | |
| Dierdre Kane | .... | assistant property master: New York | |
| Julian Ledger | .... | creature color concept sketches | |
| Kori E. Wilson | .... | art department coordinator | |
Sound Department | |||
| Huldar Freyr Arnarson | .... | boom operator | |
| David Boulton | .... | adr recordist | |
| Marko A. Costanzo | .... | foley artist (as Marko Costanzo) | |
| Steve Hamilton | .... | supervising sound editor | |
| Kjartan Kjartansson | .... | sound mixer | |
| Andrew Kris | .... | sound effects editor | |
| George A. Lara | .... | foley mixer | |
| Jennifer Ralston | .... | sound effects editor | |
| Reilly Steele | .... | sound re-recording mixer | |
Special Effects by | |||
| Mark Bero | .... | special effects coordinator | |
| Russ Herpich | .... | special effects assistant: Creature Effects Inc. | |
| Eggert Ketilsson | .... | special effects technician | |
| Mark Rappaport | .... | special makeup effects | |
| Robert J. Scupp | .... | special effects foreman (as Bob Scupp) | |
| Stefan Jorgen | .... | assistant special effects makeup (uncredited) | |
Visual Effects by | |||
| Randall Balsmeyer | .... | visual effects supervisor | |
| Julian Ledger | .... | creature effects | |
| Matt McDonald | .... | visual effects | |
| Dan Trezise | .... | compositor: Balsmeyer & Everett | |
Stunts | |||
| Douglas Crosby | .... | stunt coordinator | |
| Valdimar Jóhannsson | .... | stunts | |
| Andrew Lasky | .... | stunt performer | |
| Brad Martin | .... | stunt performer | |
| Brad Martin | .... | stunts | |
Camera and Electrical Department | |||
| Brett Albright | .... | assistant camera | |
| Bart Blaise | .... | second assistant camera | |
| Michael Caracciolo | .... | camera operator | |
| Tim Davies | .... | grip | |
| Robert K. Feldmann | .... | key grip | |
| Doug Meils | .... | shooting electric | |
| Storn Peterson | .... | assistant camera | |
| Graham Rutherford | .... | gaffer | |
| Ingvar Stefánsson | .... | electrician | |
| Frank Stubblefield | .... | chief lighting technician | |
| Richard Sylvarnes | .... | still photographer: Iceland | |
| Demmie Todd | .... | still photographer: New York | |
Casting Department | |||
| Kristine Bulakowski | .... | extras casting | |
| Fahad Falur Jabali | .... | extras casting | |
| Driss Tijani | .... | extras casting assistant | |
Costume and Wardrobe Department | |||
| Marian Toy | .... | assistant costume designer | |
Editorial Department | |||
| Erin Crackel | .... | apprentice editor | |
| Jeff Drury | .... | first assistant editor | |
| Armando Fente | .... | assistant editor (as Armando Fente Jr.) | |
| Adam Geiger | .... | assistant editor | |
| Chris Patterson | .... | assistant editor | |
| David Pultz | .... | color timer (as Dave Pultz) | |
| James Nichols Jr. | .... | assistant editor (uncredited) | |
Other crew | |||
| Susan Paley Abramson | .... | assistant: Linda Reisman (as Susan Abramson) | |
| Lisa D. Carey | .... | payroll accountant | |
| John 'JR' Craigmile | .... | accountant | |
| Arnar Einarsson | .... | assistant location manager | |
| Patrick Floyd | .... | set production assistant | |
| Mary Gambardella | .... | script supervisor: New York | |
| Fahad Falur Jabali | .... | location manager | |
| Shannon Lail | .... | production executive | |
| Heather Neeld | .... | assistant production coordinator | |
| Andy Russ | .... | assistant: Hal Hartley | |
| Jonathan Shepard | .... | location manager: New York | |
| Sharon Watt | .... | production assistant | |
| Annie Young Frisbie | .... | assistant to producers (as Annie Young) | |
| Harpa Elísa Þórsdóttir | .... | production assistant | |
| Recent Posts (updated daily) | User |
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| an explanation please! | kreeb888 |
| Better in repeat viewings? | bringonthelucie |
| Plane Crash et seq? | khaug-1 |
| Metaphor | fogrady9226 |
| A perennial favorite | oldmotem |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb USA section |
Imagine that the original "Outer Limits" folks remade "King Kong" in their standard monster style and you have a good idea of "No Such Thing's" look and feel. Then throw in a little "Mighty Joe Young" banter, "Beauty and the Beast fashions", and "The Song of Bernadette" for good measure.
The film is a stylistic masterpiece and the banter between the beast and Beatrice (Sarah Polley) is surreal comedy at its best. If you enjoy quirky and subtly off-kilter films then the superficial story of "No Such Thing" will be a real pleasure in itself. Don't let frustration over the underlying meaning ruin the fun during the first viewing-just go with it.
The DVD does not contain a director's commentary so the viewer is left to speculate on just what this thing is really about; what themes Hartley is serious about and to what degree the obvious themes are just there for parody and laughs.
My retrospective take is that it is about the interplay of evolution and intelligent design, with the monster an artifact left over from creation. God created the monster, knowing that humankind needs fear for motivation. He expected us to have evolved beyond fear and hate of each other long before now, creating a need for the monster. But this did not happen, making the monster irrelevant and God disillusioned with humankind. Both he and the monster are bored with the stupidity they see.
God decides to intervene so the monster can go away and be put out of it's misery. He chooses Beatrice for this mission and she goes through a miracle survival experience to heighten her appreciation for life and to give her a distanced perspective free of fear and hate (the plane was going to crash with no survivors). Sarah Polley is perfectly cast as Beatrice; her Beatrice is somehow both detached and expressive. If you enjoy Polley you will love this character.
Virginia Woolf: Someone has to die Leonard, in order that the rest of us should value life more.