Love in the Time of Money (2002)

Director:

Peter Mattei

Writer (WGA):

Peter Mattei (written by)

Genre:

Comedy | Drama | Romance

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...

Plot Keywords:

Lust | Embezzler | Artist | Love | Psychic

Awards:

2 nominations

Cast

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

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

Production Companies

• Blow Up Pictures
• Open City Films
• Sagittaire Films
• South Fork Pictures

Distributors

• Blow Up Pictures
• ContentFilm International (2002) (worldwide) (all media) (sales agency)
• Sagittaire Films
• THINKFilm
• Teleview International (2002) (Lebanon) (TV) (Middle East)

Other Companies

• All Payments Services  payroll (as All Payments)
• Epstein, Levinsohn, Bodine, Hurwitz & Weinstein  legal services
• Jeremy Walker + Associates  public relations
• K.A.S. Lighting  grip and lighting equipment (as KAS Lighting)
• Kampo Studios  music recorded and mixed at
• Sound One  optical track
• Spin Cycle Post  post-production facility

Also Known As:

MPAA:

Rated R for a disturbing violent image, strong sexual content and language

Runtime:

90 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital

Certification:

Canada:14A | USA:R

Filming Locations:

New York City, New York, USA

Company:

Blow Up Pictures

Trivia:

Inspired by "Reigen" by Arther Schnitzler

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.

Soundtrack:

Cuba Libre Con Luz

Soft core about the little people.

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.