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Timecode (2000)

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Four frames of simultaneous action that alternately follow a smitten lesbian lover as she obsesses over her partner's dalliances and the tense goings-on of a Hollywood film production company.

Director:

Mike Figgis

Writer:

Mike Figgis (story)
2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Xander Berkeley ... Evan Wantz
Golden Brooks ... Onyx Richardson
Saffron Burrows ... Emma
Viveka Davis ... Victoria Cohen
Richard Edson ... Lester Moore
Aimee Graham ... Sikh Nurse
Salma Hayek ... Rose
Glenne Headly ... Therapist
Andrew Heckler ... Auditioning Actor
Holly Hunter ... Renee Fishbine
Danny Huston ... Randy
Daphna Kastner Daphna Kastner ... Auditioning Actor
Patrick Kearney Patrick Kearney ... Drug House Owner
Elizabeth Low Elizabeth Low ... Penny - Evan's Assistant
Kyle MacLachlan ... Bunny Drysdale
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Storyline

The primary story with this movie is that it is shown in four simultaneously filmed ninety-three minute single shot takes (in other words, shown in four quadrants), with the actual plot secondary. The four cameras follow the players involved, with two or more of the four cameras sometimes filming the exact same scene from different angles and thus different perspectives. The audio on each of the four quadrants is turned up and down based on which quadrant(s) the viewer should pay most attention to at any given time. The actual plot, which takes place in Hollywood, involves the pre-production by Red Mullet Productions for the movie "Bitch from Louisiana". The production team is in an executive meeting to discuss several aspects of the movie, including problems with one of their own, Alex Green, who has been missing in action from much of the production and this meeting. Alex's problems stem from his substance abuse and philandering, his wife Emma who is contemplating leaving him, of ... Written by Huggo

Plot Summary | Plot Synopsis

Taglines:

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Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated R for drug use, sexuality, language and a scene of violence | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

28 April 2000 (USA) See more »

Also Known As:

Time Code See more »

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Box Office

Budget:

$5,000,000 (estimated)

Opening Weekend USA:

$93,148, 30 April 2000

Gross USA:

$1,057,750

Cumulative Worldwide Gross:

$1,431,406
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital | SDDS

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

MPAA Certificate # 37352. See more »

Goofs

An earthquake ensues at Cherine's house with Cherine and Emma hiding in the kitchen. As the shot lingers toward the two crammed in the kitchen entry, the camera's shadow is cast on the wall nearby. See more »

Quotes

Evan Wantz: Darren, why do they call it a budget?
Darren: They call it a budget so you don't budge from it.
See more »

Alternate Versions

The film was transferred from digital video to film stock for theatrical presentation. The video release, however, uses the original digital video picture format. See more »

Connections

References Ted Mack & the Original Amateur Hour (1948) See more »

Soundtracks

Future Strings
Written by Arlen Figgis and Richard Johnson
Performed by Arlen Figgis
Courtesy of Sativa Sound
See more »

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User Reviews

The revenge of art upon THE BLAIR WITCH PROJECT
1 May 2000 | by nunculusSee all my reviews

When somebody kicks down a door, you don't comment on how gracefully they destroyed it. You're grateful that they opened up the space. Mike Figgis' TIME CODE is a digital-video gimmick movie on a par with BLAIR WITCH, an abstract-ified version of I'M LOSING YOU and/or THE PLAYER, and a mainstream digestion of THE CHELSEA GIRLS, and of Warhol's let-the-mag-run-out cinema in general. Its L.A. is one of tinny cliches: iced lattes and lots of cell phones, actresses balling B-movie production execs in the back of the screening room, lesbian power brokers making sure you'll never eat lunch in this so-forth-and-so-on. And its cast is not uniform in the gift of improvisation. (Holly Hunter, bless her soul of an artiste, is really, truly bad at it.)

Despite all this, TIME CODE is some kind of an almost-great movie. Which kind, it will take a little time to deduce. Figgis invented a form that's apt for our present-day condition: ninety-nine channels of cable TV and nothing to watch. He lifts the glam, vacuity and split screen of THE CHELSEA GIRLS and turns it into a twenty-first-century reading-while-watching-TV-and-skimming-the-Internet language. Like Warhol, he moves our attention from one panel to another by fading the sound up and down; though the ideal form of TIME CODE would seem to be a multi-track DVD. The movie isn't so much interactive as it is horizontal, open-ended, multiple. It does, though, make such "narrative breakthroughs" as PULP FICTION and MAGNOLIA look like Chaplin two-reelers.

Like this year's other strong Hollywood movie, James Toback's BLACK AND WHITE, TIME CODE uses an advanced, tightropish, improvisatory form to vent the filmmaker's most uncensored id. Figgis' fantasies are not as outre as Toback's, but the two filmmakers share some odd similarities--both virtuosos of self-pity, they are as willing to share their sex anxieties and weird fetishes with you as a Tourette's victim. That's the stuff Figgis uses as grout to hold his high formalist structure together.

There's a special delight in the let-your-eye-roam freedom Figgis gives us. It frees up cinema from its roots in the Homeric campfire. It brings it closer to painting than to theatre. It opens the door to participation at a time when movies seem to forbid it. But one practical note to Mr. Figgis: When Salma Hayek takes up one of your four frames, the other three are impossible to tend to.


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