IMDb > A Home at the End of the World (2004)
A Home at the End of the World
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A Home at the End of the World (2004) More at IMDbPro »

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A Home at the End of the World -- US Home Video Trailer from Warner Independent


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Down 7% in popularity this week. See why on IMDbPro.
Writers (WGA):
Michael Cunningham (novel)
Michael Cunningham (screenplay)
View company contact information for A Home at the End of the World on IMDbPro.
Release Date:
14 October 2004 (Netherlands) See more »
Family can be whatever you want it to be.
From the Pulitzer Prize-winning author of "The Hours" comes a story that chronicles a dozen years in... See more » | Full synopsis »
Plot Keywords:
1 win & 4 nominations See more »
User Reviews:
Playing house... See more (134 total) »


  (in credits order) (complete, awaiting verification)
Andrew Chalmers ... Bobby Morrow (1967)

Ryan Donowho ... Carlton Morrow
Asia Vieira ... Emily
Quancetia Hamilton ... Dancing Party Guest
Jeff J.J. Authors ... Frank (as Jeffrey Authors)
Lisa Merchant ... Frank's Date

Ron Lea ... Burt Morrow

Erik Smith ... Bobby Morrow (1974)

Harris Allan ... Jonathan Glover (1974)

Matt Frewer ... Ned Glover

Sissy Spacek ... Alice Glover

Colin Farrell ... Bobby Morrow (1982)

Dallas Roberts ... Jonathan Glover (1982)

Robin Wright ... Clare (as Robin Wright Penn)

Shawn Roberts ... Club Boy
Michael Mayer ... Jonathan's Co-Worker

Barna Moricz ... Wes
Virginia Reh ... Woman at Home Cafe
rest of cast listed alphabetically:

Joshua Close ... Reiner (uncredited)

Wendy Crewson ... Isabel Morrow (uncredited)

Directed by
Michael Mayer 
Writing credits
Michael Cunningham (novel)

Michael Cunningham (screenplay)

Produced by
John Hart .... producer (as John N. Hart Jr.)
Jocelyn Hayes .... co-producer
Michael Hogan .... executive producer
Tom Hulce .... producer
Robert Kessel .... co-producer
Pamela Koffler .... producer
Jim Powers .... line producer (as James Powers)
Julia Rask .... co-producer
Katie Roumel .... producer
Jeff Sharp .... producer (as Jeffrey Sharp)
Bradford Simpson .... co-producer
John Sloss .... executive producer
Christine Vachon .... producer
John Wells .... producer
Original Music by
Duncan Sheik 
Cinematography by
Enrique Chediak (director of photography)
Film Editing by
Andrew Marcus 
Lee Percy 
Casting by
Jim Carnahan 
Mele Nagler 
Claire Simon 
Production Design by
Michael Shaw 
Art Direction by
Edward Bonutto  (as Edward S. Bonutto)
Set Decoration by
Mark Steel 
Malcolm Byard (uncredited)
Costume Design by
Beth Pasternak 
Makeup Department
Sally J. Harper .... hair stylist: Ms. Spacek
Debra Johnson .... key makeup artist
Patricia Keighran .... assistant makeup department head
Jordan Samuel .... makeup artist
Nancy E. Warren .... assistant hair stylist (as Nancy Warren)
Production Management
Nicole Arons .... production supervisor: New York
Collingwood Brown .... production supervisor
Christopher Kenneally .... post-production supervisor (as Chris Kenneally)
Jim Powers .... unit production manager (as James Powers)
Second Unit Director or Assistant Director
Jeff J.J. Authors .... first assistant director (as Jeffrey Steven Authors)
Paul F. Bernard .... second assistant director: New York (as Paul Bernard)
Darrin Brown .... third assistant director
Penny Charter .... second assistant director
Neil Lewis .... second assistant director: Phoenix
Eric Yellin .... second second assistant director: New York
Janet Zdyb .... third assistant director
Adam Bocknek .... trainee assistant director (uncredited)
Art Department
Blair Benson .... art crew
Fiona Bower .... art department coordinator
Malcolm Byard .... lead person
Guido DeCurtis .... lead person: New York
Darrell Gasparini .... property master buyer
Jacqui Hemingway .... scenic artist
Marc Kuitenbrouwer .... construction coordinator
Alan MacMinn .... property master
Tony Mainelli .... assistant head carpenter (as Anthony Mainelli)
Raman Majlath .... set dresser
Vinny Mazzarella .... property master: New York
Charles McGlynn .... on-set dresser
John Moran .... first assistant art director
Melissa Morgan .... key scenic artist
Melissa Olson .... assistant decorator
Brian Patrick .... assistant property master
John Rankin .... set dresser
Christian W. Russhon .... lead person: Phoenix
Linette Forbes Shorr .... set decorator: Phoenix (as Linette Shorr)
Gregg Singer .... property master: Phoenix
Katherine M. Szilagyi .... set decorator: New York (as Katherine Szilagyi)
Eric Taylor .... head carpenter
Peter Allburn .... charge scenic artist: New York (uncredited)
J. Ryan Halpenny .... art apprentice (uncredited)
Sound Department
Jamie Baker .... foley supervisor
Benjamin Cheah .... sound re-recording mixer (as Ben Cheah)
Benjamin Cheah .... supervising sound editor (as Ben Cheah)
Kenna Doeringer .... adr editor
Peter Fonda .... boom operator: New York
Douglas Ganton .... sound mixer
Andy Greenberg .... adr engineer
Kate Jesse .... boom operator: Phoenix
Bobby Johanson .... adr engineer
Frank Kern .... foley editor
Debora Lilavois .... assistant sound editor
Matthew McKenzie .... adr engineer
Cate Montana .... assistant sound editor
Jamie Morris .... assistant sound editor
Jay Peck .... foley artist
Lisa Pinero .... sound mixer: Phoenix (as Lisa Pinero-Amses)
David Raphael .... sound mixer: New York (as Dave Raphael)
Nicholas Renbeck .... sound editor (as Nick Renbeck)
Jac Rubenstein .... dialogue editor
Paul Sacco .... sound consultant: Dolby
Wyatt Sprague .... sound editor
Serge Stanley .... sound intern
Reilly Steele .... sound re-recording mixer
Ron Stermac .... cable person
Reynald Trudel .... boom operator
Magdaline Volaitis .... supervising dialogue editor
Lila Yomtoob .... first assistant sound editor
Paul J. Zydel .... adr engineer (as Paul Zydel)
Dan Edelstein .... sound editor (uncredited)
Lewis Goldstein .... sound editor (uncredited)
Colin McLellan .... adr recordist (uncredited)
Special Effects by
Rob Sanderson .... special effects coordinator
Ray McMillan .... front projection (uncredited)
Visual Effects by
Brian Scott Benson .... Inferno artist (as Brian Benson)
Benjamin Murray .... digital studio artist (as Ben Murray)
Steve Lucescu .... stunt coordinator
Camera and Electrical Department
Sandor Ajzenstat .... grip
Steven Aquilino .... second assistant camera: Phoenix (as Steve Aquilino)
Greg Boivin .... electrician (as Greg Boivon)
Jerry Borris .... assistant chief lighting technician
Pierre Branconnier .... camera trainee
Kenny S. Christiansen .... assistant chief lighting technician: Phoenix (as Ken Christiansen)
Yvonne Collins .... first assistant camera
Jim Craig .... key rigging grip
Andrea Cronin-Souza .... electrician: new york
Paul Daley .... chief rigging electrician: New York
Christopher Dean .... key grip
Pedro Fernandez .... key grip: New York
David Fisher .... chief rigging electrician
Gord Forbes .... best boy grip
Dianne L. Haggarty .... grip (as Dianne Haggarty)
Terry Hall .... chief lighting technician: Phoenix
Denton Hanna .... still photographer: Arizona
Mikey Jackson .... first assistant camera: New York
Gregory F. Johnson .... best boy grip: New York
Jasper Johnson .... dolly grip: New York
Robin P. Knight .... key grip: Phoenix (as Robin Knight)
Philip Lanthier .... dolly grip (as Phillip Buck Lanthier)
Michael 'Flash' McDonald .... electrician (as Michael McDonald)
William R. Nielsen Jr. .... Steadicam operator: Phoenix
Beth Nobes .... second assistant camera
David Owen .... chief lighting technician
R. Scott Phillips .... electrician
Tony J. Pirri .... best boy grip: Phoenix
Joseph Quirk .... chief lighting technician: New York
Rafy .... still photographer
Razor Reyes .... grip (as Ramon Reyes)
Gary W. Shaw .... dolly grip: Phoenix
Mark Summers .... assistant chief lighting technician: New York
Lee Vickery .... second assistant camera: New York
Aurelia Winborn .... camera operator: New York
Jon Yirak .... first assistant camera: Phoenix (as Jon S. Yirak)
Kit Whitmore .... camera operator: dailies (uncredited)
Hugh Young .... generator operator (uncredited)
Casting Department
Robin D. Cook .... casting: Canada
Donna Dupere .... extras casting
Karen E. Etcoff .... extras casting: New York
Nicole Hilliard-Forde .... casting associate: Canada
Sunny Seibel .... extras casting: Phoenix
Aric Dupere .... extras casting assistant (uncredited)
Brad Gerstl .... extras casting representative (uncredited)
Sara Kay .... casting assistant: Canada (uncredited)
Aaron Unrau .... extras casting assistant (uncredited)
Costume and Wardrobe Department
Blair Benson .... wardrobe
Charles C. Crutchfield .... costumer: New York
Patricia Hanley Cumming .... on-set costume supervisor (as Pat Hanley-Cumming)
Jay Du Boisson .... costume supervisor
Blanca Garcia .... costume truck supervisor: Phoenix (as Blanca R. Garcia)
Gail Gore .... key costumer: New York
Maggie McFarland .... on-set costume supervisor: Phoenix
Anita Simard .... wardrobe truck supervisor
Melissa Stanton .... chief costumer: New York (as Melissa Adzima-Stanton)
Mia Sturup .... assistant costume designer
Trelawnie Mead .... costume dyer/breakdown (uncredited)
Editorial Department
Julie Carr .... associate editor
Lance Edmands .... editing intern
Mo Henry .... negative cutter
Andrew Jones .... post-production consultant
Dennis McNeill .... color timer (as Denny McNeill)
Catherine Rankin .... negative cutter
Mila Patriki .... colorist: dailies (uncredited)
Music Department
Michele Aristy .... assistant music editor
Linda Cohen .... music supervisor
Duncan Sheik .... musician: guitar, piano, voice, bass, dulcimer, ukuelele, harmonium
Duncan Sheik .... score producer
Michael Tudor .... score engineer
E. Gedney Webb .... music editor (as Gedney Webb)
Doug Yowell .... musician: drums, percussion
Annette Kudrak .... music editor (uncredited)
Transportation Department
Ken Barbet .... driver captain
Wesley S. Bloom .... driver
John Brown .... driver (as John R. Brown)
Jim Buckman .... teamster captain: New York (as Jim Buchman)
Martin Drover .... driver
Hal Gibson .... transportation coordinator: Phoenix (as Hal W. Gibson)
Gordon Ionson .... driver (as Gordon A. Ionson)
Bill Jackson .... driver
Stuart Mitchell .... transportation captain
Dave Staples .... transportation coordinator
Ron Annabelle .... picture car captain (uncredited)
Other crew
Samantha Armstrong .... script supervisor
Linda P. Bee .... first assistant accountant: Phoenix
Peter Bird .... location production assistant
Shelly Boucher .... key set production assistant: Phoenix
Paul Brennan .... legal services: Sloss Law Office
Laurel Bresnahan .... tutoring liaison
Michael Buster .... dialect coach: Colin Farrell
Carmen Carpenter .... production financing: Coamerica Entertainment Group
Brent Cox .... legal services: Sloss Law Office
Konrad Dowling .... insurance: Marsh Entertainment & Media
Zaida Fakih-Kuss .... production assistant: New York
Claudine Farrell .... assistant: C. Farrell
Daniel Feiner .... business affairs: Hart Sharp Entertainment
Wendy Gaboury .... accountant
Julie Garneau .... production assistant (as Julie Anne Garneau)
Jennifer Gaylord .... legal services: Sloss Law Office (as Jennifer Gaylord Rohrer)
Marie-Claude Harnois .... production coordinator
Ned Haspel .... executive vice president: John Wells Productions
Jeff Hill .... publicist
Will Hoddinott .... location manager
Laura Holstein .... executive vice president: John Wells Productions
David Laurentin .... location assistant: new york
Todd Lundquist .... assistant: M. Mayer
Mark McFadden .... assistant location manager
Lauren McSorley .... production assistant: New York
Paula Merril-Belak .... location manager: Phoenix (as Paula Belak)
Michael Monteleone .... office production assistant: Phoenix
Frank Morrison .... on-set tutor
Danielle Motti .... key set production assistant: Phoenix (as Danielle S. Motti)
Naohide Nasu .... production assistant
Erik Leif Nelson .... production assistant: New York
Karen O'Toole .... production coordinator: Phoenix
Basil Person .... assistant production coordinator
Lauri Pitkus .... location manager: New York (as Laurie Pitkus)
Charles Pugliese .... assistant: C. Vachon, Killer Films
Suzanna Rees .... assistant: K. Roumel
Jesse Rupert .... first assistant accountant
Bruce Schluter .... title designer
Peter Shiroky .... legal services: Canada, Fraser Milner Casgrain
Susan Silas .... location assistant: New York
Daniel Steinman .... legal services: Sloss Law Office
Vess Stoeva .... second assistant accountant
Daniel Wagner .... post delivery supervisor
Meghan K. Wicker .... assistant: K. Roumel, Killer Films
Michael Wiggins .... business affairs: Killer Films
Brett Williams .... production executive: Hart Sharp Entertainment
Nina Wolarsky .... development: Hart Sharp Entertainment
Amy Wright .... choreographer
Heather Zuhlke .... assistant: J. Wells, John Wells Productions
Jennifer Alton .... assistant location manager: Arizona (uncredited)
Dean Anthony .... set production assistant (uncredited)
Lou Charles .... production assistant (uncredited)
Yannick Fauchier .... set production assistant (uncredited)
Pamela Hackwell .... contact lens technician (uncredited)
Steve Holt .... on-set medic (uncredited)
Zach Keyworth .... production assistant (uncredited)
Aileen Kiernan .... assistant: Hunt Lowry (uncredited)
Christopher Martini .... production assistant (uncredited)
John Wiseman .... production assistant (uncredited)
Saul Zaentz .... special thanks

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
Rated R for strong drug content, sexuality, nudity, language and a disturbing accident
97 min
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:

Did You Know?

Scenes featuring Colin Farrell nude were cut from the movie because they were too distracting for test audiences.See more »
Errors made by characters (possibly deliberate errors by the filmmakers): In the scene where Alice is showing Bobby Morrow 1974 how to make a pie, she calls him Billy.See more »
[first lines]
[Emily is having sex with Carlton and sees Bobby in the doorway]
Emily:Oh my god!
Carlton Morrow:Come on, Em, Bobby doesn't care!
Emily:I care!
Carlton Morrow:Just relax!
Emily:Kiss my ass!
See more »
Movie Connections:
Somebody to LoveSee more »


How does it end?
See more »
87 out of 134 people found the following review useful.
Playing house..., 26 August 2004
Author: Merwyn Grote ( from St. Louis, Missouri

Clare loves Jonathan, who loves Bobby who..., well, loves everybody. Bobby is either straight or homosexual or bisexual or asexual, depending on where you are in the movie. A HOME AT THE END OF THE WORLD is a relationship movie wherein everything hinges on the relationships, but those relationships remain strangely ill-defined.

Achingly sincere, A HOME AT THE END OF THE WORLD strives for an easygoing reality, not fully appreciating that easygoing can also mean meandering. To its credit we are never sure where the film is going to take us, but to its detriment, the film doesn't seem to know either. The film relies on JULES AND JIM math -- one guy plus one guy divided by one girl equals melodrama -- as a way of exploring the changing social landscape of America from the laid back sex-drugs-and-rock'n'roll sixties to the early days of the AIDS epidemic. It covers a lot of ground, yet doesn't seem to really go anywhere.

The best part of the film is the beginning, before most of the main stars even make an appearance. Set in Cleveland, first in 1967 and then in 1974, the film has some gentle fun looking at suburban attempts at being mod and trendy, while romanticizing drug use and rock music. These are little Bobby Morrow's formative years, where one by one he tragically looses members of his family, leaving him an orphan by age 14. He befriends nerdy Jonathan Glover in high school and ultimately becomes part of the Glover family, whom he seduces with his genuine charm, gentle optimism and an apparently always ready supply of marijuana. It is also where Bobby and Jonathan begin exploring their sexuality. Even with it's discomforting approval of casual drug use, this is where the film is most successful, in the way it deals in an honest and intelligent way with blossoming sexuality and the awkwardness of being a gay teenager.

The film really deals with original ideas in these early stages, but that is just meant to be a foreshadowing of the main storyline, which, unfortunately tends to be rather trite and clichéd.

The bulk of the story takes place in 1984 and thereafter, as the adult Bobby (Colin Farrell) heads to New York to live with Jonathan (Dallas Roberts), who is now more or less openly gay. Jonathan is living with Clare (Robin Wright Penn), a gay guy's gal pal (i.e., fag hag) who is your standard New York City kook, complete with punkish magenta hair, crazy clothes and unconventional ideas that don't seem all that unconventional anymore. Clare loves Jonathan and wants to have his child, but she seduces and becomes pregnant by Bobby, who we suddenly are expected to believe isn't gay at all. The three continue to live together as something more than roommates, but something less than a marriage. And the film sorta-kinda explores the nature of this three-way union.

As a result we get three, or at least two intriguing characters who get lost in a story bereft of a dramatic point. And a perfectly good gay love story becomes an unconvincing a love triangle, where each member ends up playing odd-person-out at some point.

The most troublesome part of the story is that the character of Clare even exists. Clare's main function is to keep Jonathan and Bobby apart as lovers, even as her pregnancy is a gimmick designed to keep them together as family. And though the film is pro-gay on the surface, there is the suggestion that Clare has somehow cured Bobby's homosexuality and the added insinuation that Clare and Jonathan could both find true love if only he didn't have that darn quirk of wanting to sleep with guys. This is a gay love story which wants to avoid being a gay love story. Also, Robin Wright Penn is just not an interesting enough actress to bring any pizzazz to the stereotypical role of a bohemian kook and offers little reason to see why both Bobby and Jonathan are devoted to her. The character itself is a nuisance. Clare exists as a beard, a plot contrivance designed to turn a gay love story into a straight love story.

The main character, however, is Bobby and Farrell does a fine job playing him as a repressed man-child. There is no trace of the bravado that has made up Farrell's on-screen and off-screen reputation, only a gentle sweetness. Unfortunately, this causes an inconsistency in character. As played at age 7 by Andrew Chalmers and at 14 by Erik Smith, Bobby is an open, articulate, engaging free spirit. When Farrell picks up the character at age 24, Bobby has suddenly become repressed, shy and child-like. Even realizing the various hardships that marked Bobby's early life, his sudden display of emotional retardation is jarringly illogical. And though Farrell is good, it is the excellent performance of Smith as the teenaged Bobby that really defines the character.

The best thing about HOME is Dallas Roberts. As the adult Jonathan, he makes the character seem typically gay, without seeming to be stereotypically gay. His Jonathan views Bobby with love and lust as a friend, and with resentment and distrust as an ersatz favored sibling. Roberts embodies the conflicted nature of Jonathan better than Michael Cunningham's screenplay would suggest possible. Also, Sissy Spacek has some fine moments as Jonathan's mother. She is particularly effective in a scene where Mrs. Glover has just discover Jonathan and Bobby in a compromising position. The ensuing scene finds her distraught, not because she realizes that Jonathan is gay, but that know she must accept as fact what she had already suspected. It is poignant moment.

Had A HOME AT THE END OF THE WORLD been made in 1967 or 1974 or even 1984, it might have had an impact. Now, so much of it is, if not cliché, at least ordinary: the supersensitive gay man in love with a straight man; the flower child/mother hen/earth mother with a penchant for gay men, the alternative family unit, the odds and ends bits of feminist dissatisfaction and even the climatic special guest appearance by AIDS. The story's one original element is the naive (yet controlling), gay (yet straight), passive (yet dominating), eager to please (yet vaguely self-centered) Bobby, but the film shies away from either exploring or challenging the character. Indeed, the filmmakers even made a point of editing out a shot of Farrell's full frontal nudity; likewise they edited out his sexuality which is the linchpin of all the relationships. They don't want to reveal too much of the character and in the end they reveal too little.

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