IMDb > Lathe of Heaven (2002) (TV)

Lathe of Heaven (2002) (TV) More at IMDbPro »

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Writers (WGA):
Ursula K. Le Guin (novel)
Alan Sharp (teleplay)
View company contact information for Lathe of Heaven on IMDbPro.
Release Date:
8 September 2002 (USA) See more »
His dreams control our destiny, but who controls his dreams.
In a near future society a man claims that his dreams physically change reality. His therapist is confused at first but soon decides to use him for his own gain. | Add synopsis »
1 nomination See more »
User Reviews:
Looks like an episode of the new Outer Limits but there's no awe or mystery here See more (56 total) »


  (in credits order) (complete, awaiting verification)

James Caan ... Dr. William Haber

Lukas Haas ... George Orr

Lisa Bonet ... Heather Lelache

David Strathairn ... Mannie

Sheila McCarthy ... Penny

Serge Houde ... Judge
Suzanne Desautels ... Lelache's Secretary
Belinda Hum ... Mrs. Nakumisi
Tetsuro Shigematsu ... Mr. Nakumisi

Jonathan Higgins ... Medic

Danny Blanco Hall ... Security Officer (as Danny Blanco-Hall)

Conrad Pla ... Search Man #1
Daniel Do ... Waker / Host
Daniel Pilon ... President Murtle

Steve Adams ... Game Show Host

Claudia Besso ... Personality #1

Cas Anvar ... TV Personality #3
Steve Anthony ... Personality #4
Lori Graham ... Newscaster #1
Caroline Van Vlaardingen ... Newscaster #2
Caroline Van ... Newscaster #2
rest of cast listed alphabetically:

Elisabetta Fantone ... Patient Relative (uncredited)

Directed by
Philip Haas 
Writing credits
Ursula K. Le Guin (novel "The Lathe of Heaven")

Alan Sharp (teleplay)

Produced by
Craig Baumgarten .... executive producer
David Craig .... supervising producer
Bruce Davison .... co-producer
Allen Sabinson .... executive producer
Mark Winemaker .... producer
Original Music by
Angelo Badalamenti 
Cinematography by
Pierre Mignot 
Film Editing by
Jean-François Bergeron 
Casting by
Avy Kaufman 
Andrea Kenyon 
Production Design by
Sylvain Gingras 
Art Direction by
Daniel Carpentier 
Costume Design by
Liz Vandal 
Makeup Department
Gaétan Landry .... hair stylist
Serge Morache .... key hair stylist
Nathalie Trépanier .... assistant makeup artist
Hanna Yee .... assistant hair stylist
Production Management
Paul Boutin .... unit manager
Ginette Guillard .... production manager
Second Unit Director or Assistant Director
Pierre Bouchard .... second assistant director
Paul Drouin .... additional third assistant director
Mireille Goulet .... first assistant director
Auree Tommi Lepage .... third assistant director
Art Department
Kun Chang .... concept artist
Louis Frederic Denomme .... art department assistant
Marcel Pierre Dussol .... props
Marie-Soleil Dénommé .... assistant decorator
Ronny Gosselin .... propmaker
Simone Leclerc .... property master
Jean-Francois Mignault .... illustrator
Jean-Francois Mignault .... pre-visualization
Russell Moore .... first assistant art director
Andrée Roy .... art runner
Sound Department
Terry Burke .... foley artist
Steph Carrier .... sound re-recording mixer
Erik Culp .... foley mixer
Maxime Ferland .... boom operator
Peter Kambasis .... assistant sound editor
Claude La Haye .... production sound mixer
Timothy Mehlenbacher .... assistant sound editor
Steve Munro .... supervising sound editor
Dale Sheldrake .... dialogue editor
Paul Shikata .... foley assistant
Orest Sushko .... sound re-recording mixer
David Yonson .... adr recordist (uncredited)
Special Effects by
Louis Craig .... special effects supervisor (uncredited)
André Laforest .... special effects technician (uncredited)
Visual Effects by
Peter Denomme .... executive in charge of visual effects: Calibre Digital (as Pete Denomme)
John Paul Docherty .... digital effects supervisor: Peerless
Ditch Doy .... senior CG animator: Peerless
Mark Fordham .... head of matte department
Noel Hooper .... visual effects supervisor
Brian Lui .... playback animator
Andrew Nguyen .... compositor
Andrew Nguyen .... matte painter
Matt Schofield .... matte painter
Che Spencer .... visual effects coordinator
Mikaela Tullett .... visual effects coordinator
Tom Turnbull .... visual effects consultant
Marc Twinam-Cauchi .... CG animator: Peerless
Pat Wong .... senior 2D compositor: Peerless (as Patrick Wong)
David Hedley .... digital compositor (uncredited)
Mark Spevick .... digital effects artist: Peerless (uncredited)
Rainy Venne .... Flame artist (uncredited)
Jean Frenette .... stunt coordinator
Camera and Electrical Department
Bernard Arseneau .... gaffer
Yves Arseneau .... electrician
Geoffroy Beauchemin .... first assistant camera
Philippe Bossé .... still photographer
Sylvain Bélanger .... grip
Amelie Duceppe .... camera trainee
Robert Lapierre Jr. .... key grip
Marco Venditto .... electrician
Casting Department
Randi Wells .... extras casting
Editorial Department
Stéfanie Guadagnino .... assistant editor
Music Department
Paul Intson .... music editor
Transportation Department
Richard Chabot .... driver: cast
Other crew
Chantal Allard .... production assistant
Guy Aumond .... production accountant
Lynn Beaudin .... assistant location manager
Pierre Blondin .... location manager
Daniel Boudreau .... production assistant
Alain Bourassa .... on-set playback
Alain Dahan .... computer/video operator
Benoit Thériault .... production assistant

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
USA:90 min | USA:91 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

Orr's rain jacket was inspired by the aliens from the first movie adaption, "The Lathe of Heaven".See more »
Movie Connections:
Remake of The Lathe of Heaven (1980) (TV)See more »


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12 out of 19 people found the following review useful.
Looks like an episode of the new Outer Limits but there's no awe or mystery here, 9 September 2002
Author: mfisher452 from Oklahoma

Like many others, I was very interested in this remake of "The Lathe of Heaven," for several reasons. The book by Ursula K. LeGuin is widely regarded as a science-fiction classic, although I have never thought it was among her best work. I read it after I saw the first "Lathe of Heaven" on PBS in 1980 and realized that considerable liberties had been taken with the story, although it was much closer to the book than this latest endeavor.

Back then, "Lathe" was a bold experiment for PBS and the producers: To make an original full-length science-fiction TV movie on a limited budget that would appeal to an audience used to flashier entertainment. Remember, it was only three years since "Star Wars" and "Close Encounters of the Third Kind" had revitalized screen science fiction, until then very much in the doldrums. The producers of LOH wanted to make a more intimate story than those blockbuster movies, one based more on human relationships. With their low budget, they looked for places and expedients that would transmit their vision. Although the story was set in Portland, Oregon, they filmed a lot of it in Dallas because of that city's more futuristic architecture. I liked it very much and videotaped it, and have the tape to this day. (Unfortunately but inevitably, the tape had deteriorated significantly when I transferred it to DVD at the end of 2006. Never fear, it appears that it's now available on commercial DVD.)

It says a great deal about inflation in the movie business that the remake had a "small" budget of "only" $5 million. That would have been a lot of money for the original filmmakers. I also wonder why here in the States we had to wait until September of 2002 to see it when the first comments about it, from a viewer in Turkey, are from February!

But whenever it aired, my reaction would be the same: Why did they bother to make it at all? There is so little of the original here that it is essentially a different work. They have taken the story and drained it of its blood. And what does happen goes beyond problems with temporal discontinuities and paradoxes; these people behave without logic or motivation. It looks like a long episode of the "new" Outer Limits or a similar show, one of those low-budget syndicated series that they film in Canada because it's cheaper there, where there is money only for a few sets, a couple of computer graphics, and a lot of talk in closeup (to hide the spareness of the sets). All of the acting and dialogue takes place in murmurs. I usually like James Caan, but it looks like he's been watching Bruce Willis's recent film work and decided to try the minimalist, non-acting approach.

Now that I've brought up The Outer Limits, remember how the opening credits used to talk about "awe and mystery"? Well, if you want awe and mystery, forget about this remake and go back to the 1980 version; it had much more of those qualities.

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