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Southland Tales (2006)
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Overview
User Rating:
Your Rating:
Director:
Writer (WGA):
Richard Kelly (written by)
Release Date:
7 December 2007 (Ireland)
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Tagline:
Have A Nice Apocalypse See more »
Plot:
Southland Tales is an ensemble piece set in the futuristic landscape of Los Angeles on July 4, 2008...
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| Full synopsis »
Awards:
2 nominations
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NewsDesk:
(379 articles)
Cannes Review: Ari Folman's Part-Animated 'The Congress' Is Overstuffed And Overwritten, But Sort Of Fascinating
(From The Playlist. 16 May 2013, 4:21 AM, PDT)
Interview With Eli Roth On Aftershock
(From We Got This Covered. 7 May 2013, 9:36 PM, PDT)
Reader Spotlight: Douglas Reese
(From FilmExperience. 9 April 2013, 10:00 AM, PDT)
(From The Playlist. 16 May 2013, 4:21 AM, PDT)
Interview With Eli Roth On Aftershock
(From We Got This Covered. 7 May 2013, 9:36 PM, PDT)
Reader Spotlight: Douglas Reese
(From FilmExperience. 9 April 2013, 10:00 AM, PDT)
User Reviews:
The Most Misunderstood Movie Masterpiece Ever?
See more (224 total) »
Cast
(in credits order) (complete, awaiting verification)
Directed by | |||
| Richard Kelly | |||
Writing credits(WGA) | ||
| Richard Kelly | (written by) | |
Produced by | |||
| Ted Hamm | .... | executive producer (as Edward H. Hamm Jr.) | |
| Oliver Hengst | .... | executive producer | |
| Bo Hyde | .... | producer | |
| Katarina Hyde | .... | executive producer (as Katarina K. Hyde) | |
| Bill Johnson | .... | executive producer | |
| Sean McKittrick | .... | producer | |
| Kendall Morgan | .... | producer | |
| Judd Payne | .... | executive producer | |
| Matthew Rhodes | .... | producer | |
| Wolfgang Schamburg | .... | associate producer | |
| Ernst-August Schnieder | .... | associate producer (as Dr. Ernst Augustus Schneider) | |
| Jim Seibel | .... | executive producer | |
| Dara Weintraub | .... | co-producer | |
Original Music by | |||
| Moby | |||
Cinematography by | |||
| Steven Poster | (director of photography) | ||
Film Editing by | |||
| Sam Bauer | |||
Casting by | |||
| Venus Kanani | |||
| Mary Vernieu | |||
Production Design by | |||
| Alec Hammond | (as Alexander Hammond) | ||
Set Decoration by | |||
| Tracey A. Doyle | |||
Costume Design by | |||
| April Ferry | |||
Makeup Department | |||
| Christian Beckman | .... | special makeup effects artist | |
| Laura Connolly | .... | key hair stylist | |
| David DeLeon | .... | key makeup artist (as David De Leon) | |
| Anna Fleiner | .... | makeup artist | |
| Kelly Golden | .... | sculptor | |
| Louis Lazzara | .... | makeup department head | |
| Ermahn Ospina | .... | makeup artist: Ms. Gellar | |
| Rachel Solow | .... | hair stylist: Mr. Johnson | |
| Karl Wesson | .... | third assistant hair stylist | |
| Joy Zapata | .... | hair department head | |
| Laverne Caracuzzi | .... | makeup artist (uncredited) | |
| Veronica Lorenz | .... | makeup artist (uncredited) | |
| Danielle Noe | .... | special makeup effects artist: Quantum Creation FX (uncredited) | |
| Justin Raleigh | .... | special makeup effects shop supervisor: Quantum Creation FX (uncredited) | |
| Rick Stratton | .... | tattoo artist (uncredited) | |
Production Management | |||
| Tim Pedegana | .... | post-production supervisor | |
| Lowell Rottenberg | .... | post-production manager | |
| Christa Vausbinder | .... | production supervisor | |
| Dara Weintraub | .... | unit production manager (as Dara L. Weintraub) | |
| Bill Wohlken | .... | post-production manager | |
Second Unit Director or Assistant Director | |||
| Steven Buhai | .... | key second assistant director: second unit (as Steve Buhai) | |
| Mark Carter | .... | second assistant director | |
| Mark S. Constance | .... | second second assistant director (as Mark Constance) | |
| Mark Cotone | .... | first assistant director | |
| David Dwiggins | .... | first assistant director: second unit | |
| Michael D. Gillis | .... | second second assistant director (as Michael Gillis) | |
| Bob Kay | .... | second assistant director: second unit | |
| Tim Trella | .... | second unit director | |
Art Department | |||
| Richard Bain | .... | carpenter | |
| Mark Blumenthal | .... | painter | |
| Ron Cobb | .... | conceptual artist | |
| Larry Corralez | .... | on-set painter | |
| Guillaume DeLouche | .... | property master | |
| Drew Devine | .... | labor foreman | |
| Jorge Dorado | .... | laborer | |
| William Dorsey Jr. | .... | painter | |
| Scott Dougan | .... | art department production assistant | |
| Priscilla Elliott | .... | assistant art director | |
| Heather Elwell | .... | art department coordinator | |
| Zachary Fannin | .... | graphic designer | |
| Joseph Gray | .... | construction foreman | |
| Steve Hamner | .... | digital artist | |
| Mike Hinkle | .... | laborer | |
| Jay Kelly | .... | additional graphics and artwork | |
| Lane Kelly | .... | official website artwork | |
| Mark Kelly | .... | assistant props | |
| Mark R. LaPresle | .... | construction coordinator (as Mark LaPresle) | |
| Bruce L. Luizzi | .... | set dresser (as Bruce Luizzi) | |
| Victor James Martinez | .... | set designer (as Victor Martinez) | |
| James P. Meehan | .... | assistant to property master (as James Meehn) | |
| Brad Menth | .... | carpenter | |
| Martin L. Mercer | .... | storyboard artist (as Martin Mercer) | |
| Mike Miller | .... | carpenter | |
| Martin Milligan | .... | on-set dresser | |
| Luigi Mugavero | .... | leadman (as Luigi S. Mugavero) | |
| Paul Mugavero | .... | set dresser | |
| Phil Orefice | .... | paint foreman (as Phil Orefice II) | |
| Sam Page | .... | set designer (as Samuel Page) | |
| Eric Rood | .... | set dresser | |
| Paul Schrauwers | .... | carpenter | |
| Angela Simpson | .... | construction office assistant | |
| Mike Slattery | .... | location foreman | |
| Benton E. Tedlie | .... | set dresser (as Benton Tedlie) | |
| Foster Vick | .... | set dresser | |
| Brett Weldele | .... | artist: graphic novel illustrations | |
| Robert M. Bouffard | .... | propmaker (uncredited) | |
| Caroline Perzan | .... | set decoration buyer (uncredited) | |
Special Effects by | |||
| Yves De Bono | .... | special effects coordinator | |
| Scott Dwyer | .... | special effects technician | |
| Ken Gorrell | .... | special effects foreman | |
| Matt Kutcher | .... | special effects supervisor | |
| Andrew J. Loprino | .... | special effects technician | |
| P. David Miller | .... | special effects crew (as Paul D. Miller) | |
| Jennifer M. Sheppard | .... | special effects technician (as Jennifer Shepard) | |
| Ozzy Alvarez | .... | lab technician: Quantum Creation FX (uncredited) | |
| Frank Ceglia | .... | key pyrotechnician (uncredited) | |
| Kenneth Van Order | .... | special effects (uncredited) | |
Visual Effects by | |||
| Mandy Arnold | .... | digital restoration artist | |
| Adam Avitabile | .... | compositor: LOOK! Effects | |
| Lloyd Lee Barnett | .... | compositor: LOOK! Effects | |
| Gerard Bauer | .... | compositor | |
| Travis Baumann | .... | compositing supervisor: Gradient Effects | |
| Travis Baumann | .... | visual effects compositor: DigitalFilm Tree | |
| Travis Baumann | .... | visual effects designer: DigitalFilm Tree | |
| Travis Baumann | .... | visual effects supervisor: DigitalFilm Tree | |
| Chris Bayol | .... | visual effects designer: "Doomsday Scenario Interface" | |
| Joe Brandibas | .... | digital artist: Gradient Effects (as Joseph Emil Brandibas Jr.) | |
| Kevin R. Browne | .... | digital artist: LOOK Effects (as Kevin Browne) | |
| Merlin Carroll | .... | compositor: LOOK! Effects | |
| Shane Cook | .... | compositor: Gradient Effects | |
| Peter 'Beak' Cvijanovic | .... | compositor: Gradient Effects | |
| Enid Dalkoff | .... | Flame artist: DigitalFilm Tree | |
| Lakan De Leon | .... | visual effects editor: DigitalFilm Tree | |
| John De Sort | .... | I/O technician: DigitalFilm Tree | |
| Mark S. Driscoll | .... | visual effects executive producer: LOOK! Effects (as Mark Driscoll) | |
| Jenny Foster | .... | visual effects producer: LOOK! Effects (as Jennifer Foster) | |
| Bill Heiden | .... | digital systems administrator: LOOK! Effects | |
| Michelle Herrin | .... | digital editor: LOOK! Effects | |
| Jay Mark Johnson | .... | visual effects photographer: 360 degree plate (as Jay Johnson) | |
| Sazeer Kader | .... | CG artist: DigitalFilm Tree | |
| Tim Kadowaki | .... | digital artist: LOOK! Effects | |
| Ramy Katrib | .... | visual effects executive producer: DigitalFilm Tree | |
| Didier Levy | .... | digital artist: Gradient Effects | |
| Donna Madrigal | .... | rotoscope artist: DigitalFilm Tree | |
| Edvin Megrabyan | .... | I/O supervisor: DigitalFilm Tree (as Edvin Mehrabyan) | |
| Sean Mills | .... | digital artist: LOOK! Effects | |
| Michael Oliver | .... | digital systems administrator: LOOK! Effects | |
| Ron Ostir | .... | compositor: LOOK! Effects | |
| Raphael Protti | .... | digital artist: Gradient Effects | |
| Raphael Protti | .... | digital artist: LOOK! Effects | |
| Steve Robinson | .... | rotoscope artist: DigitalFilm Tree | |
| Matt Rosenfeld | .... | digital artist: LOOK! Effects | |
| Dan Schmit | .... | fog elements: Engine Room | |
| Tefft Smith | .... | CG supervisor: LOOK! Effects (as Tefft Smith II) | |
| Tefft Smith | .... | digital artist: Gradient Effects (as Tefft Smith II) | |
| Clay Sparks | .... | digital editor: LOOK! Effects | |
| Shane Strickman | .... | motion graphics designer: Gradient Effects (as Shane Paugh) | |
| Mai Suzuki | .... | digital restoration artist | |
| Olcun Tan | .... | visual effects supervisor: Gradient Effects | |
| Thomas Tannenberger | .... | visual effects supervisor | |
| Sherman Toy | .... | visual effects supervisor: Gradient Effects | |
| Justine Whitehead | .... | rotoscope artist: DigitalFilm Tree | |
| Patrick Woodard | .... | I/O technician: DigitalFilm Tree | |
| Jennifer Yu | .... | digital artist: LOOK! Effects | |
| Danny S. Kim | .... | visual effects (uncredited) | |
| Bruce Mann | .... | digital compositor (uncredited) | |
| Eric Moren | .... | laser effects (uncredited) | |
| Rob Ostir | .... | digital effects artist (uncredited) | |
Animation Department | |||
| Chris Bayol | .... | animator: "Doomsday Scenario Interface" | |
| Ryan Scott Wick | .... | animator: "This is the Way The World Ends" (as Ryan Wick) | |
Casting Department | |||
| J.C. Cantu | .... | casting assistant | |
| Bill Dance | .... | extras casting: Bill Dance Casting | |
| Barbara Harris | .... | voice casting | |
| Terrence Harris | .... | extras casting associate (as Terrance Harris) | |
| Jesse Jam Miranda | .... | casting | |
| Shalimar Reodica | .... | casting associate | |
Costume and Wardrobe Department | |||
| Alexis Fallah Abram | .... | costumer | |
| Robin Borman | .... | costumer (as Robin Rorman-Wizan) | |
| David Ferry | .... | costumer | |
| Nisa Kellner | .... | key set costumer | |
| Donna Marcione Pollack | .... | costume supervisor | |
Editorial Department | |||
| Travis Avitabile | .... | digital laboratory project manager: LaserPacific | |
| Patrick J. Barry | .... | first assistant editor | |
| Craig Bilsky | .... | digital laboratory project manager: LaserPacific | |
| Jeff Charles | .... | digital data conformist: LaserPacific | |
| David Cole | .... | digital color timer: LaserPacific (as Dave Cole) | |
| Craig DeMartini | .... | digital film scanner: LaserPacific | |
| Kyle DeVriendt | .... | digital film recordist: LaserPacific | |
| Valance Eisleben | .... | digital data conformist: LaserPacific | |
| Tom Garelick | .... | digital film scanner: LaserPacific | |
| Ryan Helsley | .... | digital intermediate producer | |
| Doug Jaqua | .... | color scientist: LaserPacific | |
| Jim Passon | .... | color timer | |
| Darrin Roberts | .... | apprentice editor | |
| David Slaughter | .... | digital film recordist: LaserPacific | |
| Andre Tréjo | .... | digital laboratory project manager: LaserPacific | |
| Stacy Underhill | .... | digital data conformist: LaserPacific | |
| Frances P. Valliere | .... | post-production coordinator | |
| David White | .... | digital film scanner: LaserPacific | |
| Lina Williams | .... | digital intermediate editor | |
| Daniel Yang | .... | digital film scanner: LaserPacific (as Dan Yang) | |
| Donnie Creighton | .... | digital intermediate producer (uncredited) | |
| Vincent Lavares | .... | digital data manager: LaserPacific (uncredited) | |
| Diane Wright | .... | digital asset manager: LaserPacific (uncredited) | |
Music Department | |||
| Gerard Bauer | .... | music consultant | |
| Roger Love | .... | vocal coach: Ms. Gellar | |
| Manish Raval | .... | music editor | |
| Manish Raval | .... | music supervisor | |
| David Raymond | .... | music playback | |
| Tom Wolfe | .... | music supervisor | |
| David Esparza | .... | composer: additional music (uncredited) | |
Other crew | |||
| Noor Ahmed | .... | contract administrator | |
| Carrie Arnold | .... | assistant production coordinator | |
| Michael Asiman | .... | production secretary | |
| Sage Asteak | .... | production assistant | |
| Clark Baker | .... | production assistant | |
| Wayne Baker | .... | tyler technician: second unit | |
| Joshua Bell | .... | accounting clerk | |
| Elizabeth Benjamin-Rae | .... | stand-in | |
| Maxine Bergen | .... | script supervisor | |
| Kandice Billingsley | .... | key assistant location manager | |
| Richard Bornstein | .... | electronic press kit | |
| Ray Braemer | .... | security coordinator | |
| Danny Bress | .... | assistant: Mr. Scott | |
| Deborah Brock | .... | production consultant (directors cut) | |
| Jason C. Brown | .... | production assistant | |
| Jennifer Bydwell | .... | product placement | |
| Kelly Carlton | .... | title designer: main titles | |
| Matthew Cassel | .... | location manager: second unit (as Matthew R. Cassell) | |
| James Churchill | .... | production staff: Abilene, Bopopolis Bros. Film Factory | |
| Kaiser Clark | .... | assistant to cast | |
| Travis Cohen | .... | stand-in | |
| Chandra Cohn | .... | monkey wrangler | |
| Charlie Collier | .... | set production assistant | |
| Victoria Coloruno | .... | additional set production assistant | |
| Michael Comfort | .... | electronic press kit | |
| Jeff Culotta | .... | assistant: Mr. Kelly | |
| Ron Davis | .... | payroll accountant | |
| Scott Delony | .... | production staff: Abilene, Bopopolis Bros. Film Factory | |
| Guillaume DeLouche | .... | weapons master | |
| Jim Dominello | .... | assistant: Mr. Rhodes and Mr. Payne | |
| Lynda Dorf | .... | unit publicist: BWR Public Relations | |
| Joshua M. Dragotta | .... | assistant location manager | |
| Jace Dwinell | .... | computer graphic artist | |
| Zachary Elms | .... | production staff: Abilene, Bopopolis Bros. Film Factory | |
| Richie Elson | .... | production assistant | |
| Fernando Espinosa | .... | caterer | |
| Antonio Evans | .... | set medic | |
| Glenn D. Feig | .... | legal services: Reder & Feig | |
| Jenny Fitzgibbons | .... | production accountant | |
| Dwarven Forge | .... | provider: miniature terrain | |
| Elise Freimuth | .... | assistant: Ms. Morgan and Mr. Hyde | |
| Justin Giugno | .... | production assistant | |
| Karen Golden | .... | script supervisor: second unit | |
| Angela Goodwin | .... | assistant: Ms. Weintraub (as Angela Goodwin Minuty) | |
| James L. Gowdy | .... | first assistant accountant (as Jim Gowdy) | |
| Casey Green | .... | video/computer playback coordinator | |
| Jennifer Hamilton | .... | assistant to choreographer | |
| Julie Hansen | .... | post-production accountant: Film Auditors | |
| Judy Heinzen | .... | key assistant location manager | |
| Leo Hernandez | .... | security coordinator | |
| Isaac Higgins | .... | production staff: Abilene, Bopopolis Bros. Film Factory | |
| Karen Higgins | .... | production staff: Abilene, Bopopolis Bros. Film Factory | |
| Lauren Higgins | .... | production staff: Abilene, Bopopolis Bros. Film Factory | |
| Michael Higgins | .... | production staff: Abilene, Bopopolis Bros. Film Factory | |
| Michael Hird | .... | additional medic | |
| John Hirsch | .... | production staff: Abilene, Bopopolis Bros. Film Factory | |
| Catharina Hourcade | .... | production coordinator: Academy | |
| Adam Howard | .... | craft service | |
| Laura Howell | .... | unit publicist: BWR Public Relations | |
| Ali Jazayeri | .... | production financing | |
| Shea Kammer | .... | second assistant accountant | |
| Ryan King | .... | production staff: Abilene, Bopopolis Bros. Film Factory | |
| Ashley Kravitz | .... | clearance coordinator | |
| Shawn Kyles | .... | stand-in | |
| David R. Lawson | .... | construction medic (as David Lawson) | |
| Nanci Levoff | .... | provider: bulldog sculpture | |
| Dominique Liegy | .... | designer: tarot deck | |
| Raymond Mansfield | .... | dvd documentary | |
| John Mattingly | .... | production assistant | |
| Peter McKernan | .... | aerial coordinator | |
| Ralph B. Meyer | .... | key location manager (as Ralph Meyer) | |
| R. Andre Miller | .... | additional set production assistant: Venice Beach | |
| Zamin Mirza | .... | production assistant | |
| Michelle Ordener | .... | production staff: Abilene, Bopopolis Bros. Film Factory | |
| Sandy Parakilas | .... | contract administrator | |
| Derius K. Pierce | .... | personal trainer: Ms. Oteri | |
| Marguerite Pomerhn Derricks | .... | choreographer (as Marguerite Derricks) | |
| Marguerite Pomerhn Derricks | .... | choreographer | |
| Katie Pruitt | .... | set production assistant | |
| Michelle Rae Cannon | .... | military special ability (as Michelle Rae) | |
| Cindi Rice | .... | creative consultant: Dungeons & Dragons | |
| Benjamin Rigaud | .... | assistant: Mr. Johnson | |
| Robert Rizzolo | .... | production assistant | |
| Christy Robertson | .... | production staff: Abilene, Bopopolis Bros. Film Factory | |
| Dee Austin Robertson | .... | dvd documentary | |
| Larry Robertson | .... | production staff: Abilene, Bopopolis Bros. Film Factory | |
| Katie Rogers | .... | production staff: Abilene, Bopopolis Bros. Film Factory | |
| Robert Romeo | .... | production assistant | |
| John Frank Rosenblum | .... | creative consultant: Dungeons & Dragons | |
| Sara Scarritt | .... | production coordinator | |
| Kristina M. Schulte-Eversum | .... | intern (as Kristina Schulte-Eversum) | |
| Drew Smith | .... | caterer | |
| Eric J. Spiegelman | .... | legal services: Reder & Feig | |
| Lindsey Stancliff | .... | stand-in (as Lindsay Stancliff) | |
| Chance P. Tassone | .... | craft service assistant | |
| Gregg Taylor | .... | production staff: Abilene, Bopopolis Bros. Film Factory | |
| Scott Taylor | .... | production staff: Abilene, Bopopolis Bros. Film Factory | |
| Jana Toepfer | .... | assistant: Mr. Johnson and Mr. Seibel | |
| Bryson Treviso | .... | production staff: Abilene, Bopopolis Bros. Film Factory | |
| Mike Tsucalas | .... | production assistant | |
| Sandra Valde-Hansen | .... | intern (as Sandra Valde) | |
| Lynn M. van Kuilenburg | .... | key assistant location manager: second unit | |
| Chris Velasquez | .... | security coordinator | |
| Jay Veltri | .... | stand-in: Mr. Johnson | |
| Derek Wade | .... | production assistant | |
| Amanda Walker | .... | production staff: Abilene, Bopopolis Bros. Film Factory | |
| Rick Whitfield | .... | video computer supervisor | |
| Donna Bizzaro | .... | production assistant (uncredited) | |
Thanks | |||
| Michelle Andria | .... | very special thanks | |
| Tommaso Fiacchino | .... | thanks | |
| Mike Hoy | .... | special thanks | |
| Nancy Juvonen | .... | thanks | |
| Ali Larter | .... | thanks | |
| Jason Lee | .... | thanks | |
| Tim Blake Nelson | .... | thanks | |
| Dave Rhodes | .... | thanks | |
| Eli Roth | .... | thanks | |
| Kevin Turen | .... | very special thanks | |
Production Companies
- Universal Pictures (presents)
- Cherry Road Films (presents)
- Darko Entertainment
- MHF Zweite Academy Film
- Eden Roc Productions (in association with)
- Persistent Entertainment (in association with)
- Academy Film
- Destination Films
- Inferno Distribution
- Wild Bunch
- Inferno Distribution (2006) (Non-USA) (theatrical)
- Destination Films (2007) (USA) (theatrical)
- Rosebud (2008) (Greece) (theatrical)
- Samuel Goldwyn Films (2007) (USA) (theatrical) (limited)
- United International Pictures (UIP) (2007) (UK) (theatrical)
- United International Pictures (UIP) (2007) (Italy) (theatrical)
- Wild Bunch (2006) (France) (theatrical)
- Argentina Video Home (2008) (Argentina) (DVD)
- Best Hollywood (2008) (Hungary) (all media)
- Bir Film (2008) (Turkey) (all media)
- Magic Box (2008) (Czech Republic) (DVD)
- Odeon (2009) (Greece) (DVD)
- Paradiso Home Entertainment (2010) (Netherlands) (DVD)
- Paradiso Home Entertainment (2010) (Netherlands) (DVD) (Blu-ray)
- Sony Pictures Home Entertainment (2008) (USA) (DVD)
- Sony Pictures Home Entertainment (2008) (USA) (DVD) (Blu-ray)
- United International Pictures (UIP) (2008) (Argentina) (all media)
- Universal Home Entertainment (2008) (UK) (DVD)
- Universal Pictures (2008) (Australia) (DVD)
- Universal Pictures (2008) (Germany) (DVD)
- Universal Pictures (2008) (Japan) (DVD)
- Vicol Entertainment (2011) (Hong Kong) (DVD)
- Wild Side Vidéo (2009) (France) (DVD)
- Digital Film Tree (visual effects) (as DigitalFilm Tree)
- LOOK! Effects (digital visual effects)
- Gradient Effects (visual effects)
- Engine Room (fog elements)
- Quantum Creation FX (special make-up effects) (uncredited)
- Spectrum Effects
- Jammin Talent Entertainment casting
- All Balloons All The Time balloon decor
- Axium International payroll
- Baker Winokur Ryder Public Relations (BWR) unit publicity (as BWR Public Relations)
- Bill Dance Casting extras casting
- Bob Pomann Sound Productions adr stage (as Pomann Sound Productions)
- Bopopolis Bros. Film Factory high definition footage unit
- Cast Security security
- Chapman/Leonard Studio Equipment cranes and dollies
- Cherokee Studios music recorded at
- Comerica Bank of California banking services (as Comerica Bank)
- Condé Nast Publications, The provider: Wired magazine
- Dolby Laboratories sound post-production
- Eastman Kodak film stock
- Film Auditors post-production accounting
- Film Finances completion guarantor
- Flow Analysis cfd technology provided by
- Gala Catering catering
- Illumination Dynamics grip and lighting equipment
- Invacare provider: power eheelchair
- J.L. Fisher dollies
- LaserPacific digital film recording
- LaserPacific digital intermediate services (as LaserPacific)
- Liberty Company Insurance Services insurance
- Microsoft provider: Microsoft virtual earth, natiqand usgs
- Milan Records soundtrack
- Panavision Camera camera systems
- Panavision Remote Systems cranes
- Reder & Feig production legal services
- Rockbottom Rentals Nextel cell phone rentals
- Rockbottom Rentals cell phone rentals
- Rockbottom Rentals cellular fax rentals
- Rockbottom Rentals walkie rentals
- Scarlet Letters end title crawl
- Todd-AO Studios adr stage (as Todd AO)
- Trimble Navigation lidar scanner provided vy (as Trimble)
- Tyan Computers rendered on
- Vivid Entertainment video stills
- Wicked Pictures props courtesy of
- Wildfire Studios sound post-production
- Wilshire Stages, The adr recording facility
Additional Details
Also Known As:
See more »
MPAA:
Rated R for language, violence, sexual material and some drug content
Parents Guide:
Runtime:
145 min | France:160 min (Cannes Film Festival) | Argentina:160 min
Language:
Color:
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
USA:R | UK:15 | Ireland:16 | South Korea:15 | Australia:MA | Argentina:16 | Finland:K-15 | Germany:16 | Singapore:M18 | Brazil:16 | New Zealand:R16 | Netherlands:16 | France:-12 | Sweden:15
Filming Locations:
Company:
Did You Know?
Trivia:
When the Prime Minister of Japan got his hand chopped off, he claims that it only should be the finger. Baron von Westphalen answers that he had probably missed the 6 inch deviation clause in his contract. The German dubbing of the movie obviously got confused about the US customary units and translated 6 inches with 1.80 meters, which is actually 6 feet.See more »
Goofs:
Revealing mistakes: When the ATM is dragged behind the car, the white sparks can be clearly seen coming from inside it and not from the bottom as from the friction with the asphalt road.See more »
Quotes:
[first lines]
Private Pilot Abilene:[narration] In the aftermath of nuclear attacks in Texas, America found itself on the brink of anarchy.
[overlapping news reports]
Private Pilot Abilene:World War III had begun.
Private Pilot Abilene:The accelerated conflict in the Middle East placed significant restrictions on American access to oil. Alternative fuel sources became a lucrative commodity. Americans were transfixed by the terrorist's threat, and were willing to prevent another attack by any means necessary...
[...]
See more »
Private Pilot Abilene:[narration] In the aftermath of nuclear attacks in Texas, America found itself on the brink of anarchy.
[overlapping news reports]
Private Pilot Abilene:World War III had begun.
Private Pilot Abilene:The accelerated conflict in the Middle East placed significant restrictions on American access to oil. Alternative fuel sources became a lucrative commodity. Americans were transfixed by the terrorist's threat, and were willing to prevent another attack by any means necessary...
[...]
See more »
Soundtrack:
AerialSee more »
FAQ
What's the deal with the Treer company, and why are there all these references to Karl Marx?What IS Fluid Karma?
What does the name Martin Kefauver refer to, other than to its anagram "Freak Man Virtue" and the late U.S. senator?
See more »
See more (224 total) »
Message Boards
Discuss this movie with other users on IMDb message board for Southland Tales (2006) See more »Recommendations
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An 
company.
Note well and full: my rating of 10/10 is for the combination of the graphic novel "prequel saga," which is nothing less than the *first half of the story*, and the movie itself. I'm not sure if it makes sense to rate the movie as a separate entity, but it is wildly entertaining enough, I think, to rate a solid 7/10 or 8/10 for anyone who can lock into its satirical mode.
A word on that: it's amazing how tone-deaf some critics can be. I've read numerous reviews that criticize the movie for attempting to make deep or profound statements that instead fall flat because they are in fact trite, shallow, or stupid. Duh! I think it fair to say that at no point does any character say anything that Kelly thinks is profound; what we hear is a steady and very funny parody of exactly that. Maybe because the tone of the movie, its vision, is fresh and unique, that those who don't get it just assume it must be serious. This is part of the reason the movie is getting such wildly mixed reviews. Half the critics don't get the tone at all and hate it. Half the critics get it, and about 1/3 of those think the movie still isn't coherent enough to recommend, while the other 2/3 of the 1/2 think it's got just enough coherence to make it a treat.
So how coherent is it? *Without it's first half*, I think it's fair to say that it's confusing as hell and a challenge to follow. But we are given enough of the back story that the pieces can be put together reasonably well *by someone with decent experience seeing and reading complex science fiction stories*. I can certainly see how someone could regard the story as wholly incoherent, but that's their inexperience with this kind of story. Anyone who has "gotten" ETERNAL SUNSHINE OF THE SPOTLESS MIND, PRIMER, or, yes, the original cut of DONNIE DARKO on the first viewing, gotten them enough to figure out the broad outline of the plot, should be able to do the same here (as did my companion at the theater).
There is a big difference, though, between the movie half of SOUTHLAND TALES and these other flicks. The broad understanding of the story that you can get from a first viewing is an understanding of the WHAT of the story, but not of the WHY. In particular, it is impossible to understand the motivations of the movie's most important characters, the Treer Corporation, without having read the first half of the story.
Now, here's the astonishing part. Usually when a movie is widely dissed as incoherent, the best argument its defenders can muster is that some decent sense can actually be made of it after all. Often that involves inventing plot points that the actual story omits! However, the complete SOUTHLAND TALES, the graphic novel first half and the movie second half, is not just adequately coherent, not just satisfyingly coherent, it is *thrillingly* coherent. It's every bit as coherent as its reputation for the opposite. The big reveals near the end make numerous pieces of the puzzle fall into place, and once you leave the movie theater the pieces keep on locking up, bit by bit by bit. It's one hell of a science fiction story.
In short: if you have any strong interest in this movie, do yourself an immense favor and read the graphic novel. (Ideally, read it first, but I think that seeing the movie, reading the graphic novel, and seeing the movie again would be highly satisfying).
I still cannot figure out what Kelly was thinking when he decided to split this huge story the way he did. There's one alternate universe where this is a 600 page Hugo-Award winning novel, standing in the precise relationship to 2007 as John Brunner's brilliant STAND ON ZANZBAR did to 1967. And there's another alternate universe where it was a 6-part HBO miniseries that was universally regarded as doing for sci-fi on cable TV what the Sopranos did for crime and family drama. It's our sucky luck that we live in the universe where it was a mostly unread graphic novel plus a widely misunderstood motion picture. Then again, it's the point of the story that we do live in a sucky reality, so maybe there's perverse ironic sense in that.