IMDb > Cremaster 3 (2002)
Cremaster 3
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Cremaster 3 (2002) More at IMDbPro »

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Release Date:
25 May 2003 (Iceland) See more »
The third film of a five-part art-installation epic -- it's part-zombie movie, part-gangster film. Full summary » | Add synopsis »
(2 articles)
L’Oreal Announces New Ambassador: Aimee Mullins
 (From 20 February 2011, 12:24 PM, PST)

Cremaster 3
 (From The Hollywood Reporter. 25 April 2003)

User Reviews:
Matthew Barney kicks narrative to the curb. See more (41 total) »


  (in credits order)
Richard Serra ... Hiram Abiff
Matthew Barney ... The Entered Apprentice

Aimee Mullins ... The Entered Novitiate / Oonagh MacCumhail
Paul Brady ... Cloud Club Maitre D'
Terry Gillespie ... Cloud Club Barman

Mike Bocchetti ... Grand Master
David Edward Campbell ... Grand Master
James Pantoleon ... Grand Master

Jim Tooey ... Grand Master
Nesrin Karanouh ... Gary Gilmore

Peter Donald Badalamenti II ... Fionn MacCumhail (as Peter D. Badalamenti)
The Mighty Biggs ... Fingal
rest of cast listed alphabetically:
Heather Coker ... Dancer
James Drescher ... Lead Singer - Murphy's Law

Todd Christian Hunter ... Mason (as Todd Hunter)
Joseph P. McDonnell ... Master Mason
Roger Miret ... Lead Singer - Agnostic Front
Courtney Patton ... Principal dancer

Alexandra Sawyier ... Dancer
Jerry Skids ... Punk
Kerry Stichweh ... Order of the Rainbow for Girls

Tara Stiles ... Principal Dancer
Sofie Zamchick ... Baby Giant (singing voice)
Fast Ali ... Mosher (uncredited)

Directed by
Matthew Barney 
Writing credits
(in alphabetical order)
Matthew Barney 

Produced by
Matthew Barney .... producer
Barbara Gladstone .... producer
Chelsea Romersa .... associate producer
Original Music by
Jonathan Bepler 
Cinematography by
Peter Strietmann 
Film Editing by
Matthew Barney 
Christopher Seguine 
Peter Strietmann 
Production Design by
Hal McFeely III 
Matthew D. Ryle 
Art Direction by
James David Goldmark 
Set Decoration by
Graham Guerra 
Costume Design by
Linda LaBelle 
Makeup Department
Gabriel Bartalos .... special makeup effects artist (as Gabe Bartalos)
Regina Harris .... makeup artist
Clayton Martinez .... makeup effects technician
Production Management
Jessica Frost .... production supervisor
Kristin Schattenfield .... production manager
Second Unit Director or Assistant Director
Tony Gerber .... assistant director: Guggenheim Museum sequence
Sound Department
Dave Paterson .... sound designer
Jay Peck .... foley artist
Matt Rocker .... sound editor
Wharton Tiers .... production sound mixer
Special Effects by
Craig J. McIntyre .... special effects makeup
Rorie D. van Klaveren .... special effects assistant
Visual Effects by
Luis Cataldi .... digital effects artist
YouJin Choung .... digital compositor
Perry Harovas .... animator
Adam Martinez .... CG supervisor
Dan McNamara .... compositing supervisor
JaeWook Park .... digital compositor
Kevin Romond .... visual effects technical director
Matt Wallin .... visual effects supervisor (as Matthew Wallin)
Keith Yurevitz .... digital intermediate operator
Camera and Electrical Department
Sandor Temlock .... camera operator

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

182 min | UK:179 min
Sound Mix:

Did You Know?

Continuity: After the teeth have begun to exit the Apprentice's prolapsed intestine, there is an overhead shot of the hitmen standing around the Apprentice on the dentist's chair. The view of the intestine is slightly blocked by the back of one of the hitmen, but as he shifts from side to side, the teeth are nowhere to be seen.See more »
Movie Connections:
Referenced in Film Geek (2005)See more »


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11 out of 17 people found the following review useful.
Matthew Barney kicks narrative to the curb., 21 May 2003
Author: hypersquared from Burbank, CA, USA

Though Matthew Barney doesn't identify himself as a filmmaker per se -- he's a sculptor by training and practice -- his Cremaster Cycle has me convinced that he has a more expansive vision for the possibility of cinema than any new director since Godard grabbed the audience by the hair and pulled us behind the camera with him.

I think part of Barney's resistance to the filmmaker label is that, like the rest of the world, he's been conditioned to believe that movies are only intended to serve a limited set of purposes, namely to act as filmed imitations of ankle-deep novels or plays; that a literal narrative, propelled throughout by actors talking, is the essential element of any movie. This model has been so deeply embedded in all of our psyches that even when a guy like Barney says "f*&^k all that" and defies every conceivable convention, he still feels as though he's doing something which is only nominally a film, even if it is in fact the opposite: a fully realized motion picture experience.

For those who don't know, The Cremaster Cycle is Barney's dreamlike meditation on ... well, I guess it'd be up to each viewer to decide exactly what the topics are, since the movies deliberately make themselves available for subjective interpretaton. Clearly Barney has creation and death on his mind, as well as ritual, architecture and space, symbolism, gender roles, and a Cronenbergian fascination with anatomy.

The movies are gorgeously photographed in settings that could only have been designed by someone with the eye of a true visual artist. In the first half of "3," Barney reimagines the polished interiors of the Chrysler Building as a temple in which the building itself is paradoxically conceived. The second half, slightly more personal, has Barney's alter ego in garish Celtic dress scaling the interior of a sparse Guggenheim Museum, intersecting at its various levels what are presumably various stages of his own artistic preoccupations -- encounters with dancing girls, punk rock, and fellow modern artist Richard Serra, among others.

In the end, what kind of movie is it? It certainly isn't the kind of movie that'll have Joel Silver sweating bullets over the box-office competition. Nor is it likely that more than three or four Academy members will see it, though nominations for cinematography and art direction would be well-deserved. It sure isn't warm and fuzzy: for my money, it might be a little too designed, too calculated. I always prefer chaotic naturalism over studious control. Friedkin over Hitchcock for me. It *is* the kind of movie that the most innovative mainstream filmmakers will talk about ten and twenty years from now when asked what inspired them. Barney's willingness to work entirely with associative imagery, to spell out absolutely nothing, and to let meaning take its first shape in the viewer's imagination, is the kind of catalyst that gives impressionable young minds the notion they can do something they didn't before think possible.

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