IMDb > Love in the Time of Money (2002)
Love in the Time of Money
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Love in the Time of Money (2002) More at IMDbPro »

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Love in the Time of Money -- Trailer
Love in the Time of Money -- Open-ended Trailer from Buena Vista Home Entertainment
Love in the Time of Money -- A seductively riveting New York story starring Steve Buscemi, Rosario Dawson, and Jill Hennessy.

Overview

User Rating:
5.5/10   506 votes »
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Down 3% in popularity this week. See why on IMDbPro.
Director:
Writer (WGA):
Peter Mattei (written by)
Contact:
View company contact information for Love in the Time of Money on IMDbPro.
Genre:
Tagline:
Love. Lust. Lies.
Plot:
New York serves as a backdrop for a cast of characters in search of love, lust or lucre including a... See more » | Add synopsis »
Plot Keywords:
Awards:
2 nominations See more »
NewsDesk:
User Reviews:
Soft core about the little people. See more (16 total) »

Cast

  (in credits order)

Vera Farmiga ... Greta
Domenick Lombardozzi ... Eddie Iovine

Jill Hennessy ... Ellen Walker

Malcolm Gets ... Robert Walker

Steve Buscemi ... Martin Kunkle

Rosario Dawson ... Anna

Adrian Grenier ... Nick

Carol Kane ... Joey

Michael Imperioli ... Will

Alexa Fischer ... Elaine

Ross Gibby ... Jack

Nahanni Johnstone ... Marianne Jones
John Ottavino ... Mark Jones

Tamara Jenkins ... Gallery Owner
rest of cast listed alphabetically:

Roger Hervas ... Cab driver
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Directed by
Peter Mattei 
 
Writing credits
(WGA)
Peter Mattei (written by)

Produced by
Robyn Alcock .... associate producer
Allen Bain .... line producer
Lisa Bellomo .... producer
Yves Chevalier .... co-producer
Michael Kafka .... executive producer
Jason Kliot .... producer
Gretchen McGowan .... producer
Michael Nozik .... executive producer
John Orlando .... co-executive producer
Robert Redford .... executive producer
Charles J. Rusbasan .... co-executive producer
Joana Vicente .... producer
 
Original Music by
Theodore Shapiro 
 
Cinematography by
Stephen Kazmierski 
 
Film Editing by
Myron I. Kerstein 
 
Casting by
Katharina Eggmann  (as Katharina Eggman)
Sheila Jaffe 
Georgianne Walken 
 
Production Design by
Susan Block 
 
Art Direction by
Lucio Seixas 
 
Costume Design by
Catherine George 
 
Makeup Department
Persefone Karakosta .... additional hair stylist
Persefone Karakosta .... additional makeup artist
Sanna Riley .... key hair stylist
Sanna Riley .... key makeup artist
 
Production Management
Caroline Becker .... production manager
Bruno de Almeida .... post-production supervisor
 
Second Unit Director or Assistant Director
Carrie Fix .... first assistant director
Tom Self .... second assistant director (as Thomas Self)
Ian A. Williams .... second second assistant director
 
Art Department
Sarah Berney .... charge scenic artist
Duke Scoppa .... property master
Jeffrey Thompson .... additional property master
 
Sound Department
Shelley Batista .... foley editor
Rachel Chancey .... foley engineer
Seth Granger .... boom operator
Jason Kaplan .... supervising sound editor
Alex Markowski .... sound re-recording mixer
Jay Peck .... foley artist
Theresa Radka .... production sound mixer (as Theresa K.K. Radka)
Jennifer Ralston .... dialogue editor
Jennifer Ralston .... sound editor
Griffin Richardson .... additional boom operator
Paul Sacco .... sound consultant: Dolby
 
Visual Effects by
Luke DiTommaso .... visual effects
Jennifer Russomanno .... digital effects artist
Keith Yurevitz .... digital artist
 
Camera and Electrical Department
Ariel Boles .... electrician
Catriona Crosby .... grip
Christine DeSavino .... still photographer
Melissa Guimaraes .... best boy grip
Matthew Hale .... key grip
Andrew B. Hansen .... electrician (as Andrew Hansen)
Susan Heller .... electrician
Stu Kaufman .... electrician
Josh Kraszewski .... grip
Evin Lowe .... gaffer
Brian McKee .... grip
Rachel Miller .... electrician
Rick Pierson .... second assistant camera
John Schwartz .... electrician
Chachi Senior .... additional second assistant camera
Tatsuya Shindo .... grip
Minh Tran .... grip
Ezra Venetos .... electrician
Derek Walker .... camera operator
Justin Whitaker .... electrician
 
Casting Department
Wendy Taeuber .... extras casting
 
Costume and Wardrobe Department
Annie Yun .... wardrobe supervisor
 
Editorial Department
Sarah Flack .... additional editor
Rachel Goodlett Katz .... assistant editor (as Rachel Goodlett)
Kent McGrew .... film timer
Larry Schmitt .... on-line editor
Jane Tolmachyov .... digital video colorist
 
Music Department
Philip Hernandez .... composer: stock music
Susan Jacobs .... music supervisor
Jedd Katrancha .... associate music supervisor
Chris Maxwell .... composer: stock music
Anne Pope .... music editor
Theodore Shapiro .... arranger
Alan Silverman .... music mixer
Alan Silverman .... music recordist
 
Other crew
Leanne Brady .... assistant office coordinator
Andrea F. Cannistraci .... legal services
Mariela Comitini .... production assistant
Jennifer Getzinger .... script supervisor
Alyson Latz .... additional production coordinator
Peter Mattei .... title sequence
Eric Oden .... production accountant
Tory Tunnell .... head of development
Eric Wrolstad .... assistant location manager
Andrew Yeo .... location manager
 
Thanks
Annette Insdorf .... additional thanks
 

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Additional Details

Also Known As:
MPAA:
Rated R for a disturbing violent image, strong sexual content and language
Runtime:
90 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:

Did You Know?

Trivia:
Inspired by "Reigen" by Arther SchnitzlerSee more »
Quotes:
Robert Walker:Five thousand. For a kiss good night.
Martin Kunkle:[laughs] You can get a lot more for a lot less under the West Side Highway.
See more »
Soundtrack:
Cuba Libre Con LuzSee more »

FAQ

This FAQ is empty. Add the first question.
8 out of 12 people found the following review useful.
Soft core about the little people., 24 November 2004
Author: Robert J. Maxwell (rmax304823@yahoo.com) from Deming, New Mexico, USA

I kind of enjoyed it until I nodded out on it. The structure is that of a skin flick. Characters are linked as in La Ronde or The Leopard Man. We meet Jill Hennesy, who is a class act, no doubt about it, and isn't getting along with her husband, and so makes it with a plumber or something. (Don't worry. The sex isn't explicit and there is no nudity.) It's marvelous, though, to see Jill Hennesy, the modelesque and feminist lawyer on "Law and Order" asking some surprisingly sensitive goon who is trying to help her hang up a painting to do her a favor -- "Make love to me." Okay.

She finds her husband, some kind of art dealer, not interested in her sexually. (!) She kisses him and tells him, "I'm horny," and he walks silently away and turns on his favorite jazz piano record, while she turns on every noisy appliance in their high-end apartment.

So why (you ask) is the husband indifferent to her charms? What's the matter with him. Is he gay? Well -- yes. Or rather bisexual, I suppose, since he married her in the first place. But hubby's real interest is in Steve Buscemi, an artist, and he comes on to Buscemi in a rather assertive manner and tries to kiss him. I don't know why. Buscemi is a great actor and a delight to see on the screen but, my God, he's got the canines of a vampire. Buscemi gently tells him, "I'm not gay." But then there is a love scene between them. I can't tell how explicit this was because I was covering my eyes and having an attack of homosexual anxiety.

Fortunately the next episode, involving Buscemi and Rosario Dawson, was enough to reassure me about my gender identity. Is there a greater constitutional puzzle than Rosario Dawson? Most people, at a glance, would classify her as African-American and yet she's a salad of racial genes, no more biologically "black" than "white" or "Hispanic". Something similar holds for people of mixed race like Halle Berrie and Mariah Carey. If you took all the genes of all the humans in the world and put them into a blender they would come out looking like these actresses (only more ordinary). They only belong to one or another racial classification because they -- and we -- say they do. This is known as "the social construction of reality." Now I'd like you all the read Berger and Luckman because there will be a quiz.

Next episode: Dawson has some sort of confrontation with her handsome white boyfriend. "We have to talk about this," she says. (I'm not making that up.) It was about this point in the movie that eurythmic breathing set in.

Anyway, you get the picture. One sexual episode leads to another, just as in a skin flick, except that here there is no nudity and any coitus we witness is simulated. In other words, in this movie, the emphasis is on the interludes between sexual encounters. And what are they like? They're like Woody Allen, that's what they're like. Ordinary little people doing ordinary little things that have to do with relationships. When Jill Hennesy and the picture-hanger are looking through a kitchen drawer for a hammer, they find there is no hammer. But Hennesy takes out one irrelevant item after another and dangles it before him? A box of staples. "No good?"

And at the bottom of the drawer, one of those flat plastic containers from a Chinese restaurant that everyone seems to save. "Soy sauce," says the plumber.

If it hand't been on TV at such a late hour I would probably have watched it through, although the ordinary little people, on screen or in real life, can be a little dull at time. Will Rosario Dawson reject Buscemi's appeal to let him paint her? I really didn't care except for the vague hope that we'd discover whether Rosario Dawson's figure was as mouthwatering as the rest of her.

An unambitious movie, but nice New York locations, and the acting is quite good really. It's Hennesy's best role at any rate.

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