Ajouter une intrigue dans votre langueIn New York City, the lives of a lawyer, an actuary, a house-cleaner, a professor and the people around them intersect as they ponder order and happiness in the face of life's cold unpredict... Tout lireIn New York City, the lives of a lawyer, an actuary, a house-cleaner, a professor and the people around them intersect as they ponder order and happiness in the face of life's cold unpredictability.In New York City, the lives of a lawyer, an actuary, a house-cleaner, a professor and the people around them intersect as they ponder order and happiness in the face of life's cold unpredictability.
- Prix
- 8 victoires et 8 nominations
- Defendant
- (as Fernando Lopez)
- Cab Driver
- (as Allie Woods)
Histoire
Le saviez-vous
- AnecdotesThe films story is inspired by two different head injuries that director Jill Sprecher endured.
- GaffesWalker writes the formula for acceleration incorrectly on the blackboard. It should be f/s2, where he writes (f/s)2. Then, a student says: "Don't you have to assume that the velocity is constant during the deceleration period?", and Walker partly agrees. Deceleration means that the velocity (or rather the speed) diminishes - constant velocity means there is no deceleration or acceleration. A physics teacher should never make these mistakes.
- Citations
Richard 'Dick' Lacey: I wish, I wish we could see into the future sometimes.
Richard 'Dick' Lacey: That's the problem, isn't it?
Richard 'Dick' Lacey: I mean, life - it only makes sense when you look at it backwards.
Richard 'Dick' Lacey: Too bad we gotta live it forwards.
- ConnexionsFeatured in Siskel & Ebert & the Movies: The Best Films of 2002 (2003)
- Bandes originalesWohl denen die da Wandeln
Music by Heinrich Schütz (as Heinrich Schuetz)
Vocal arrangement by Richard Erickson
Sung by Holy Trinity Lutheran Church Parish Choir
The film itself superficially resembles a 'Short Cuts' or 'Things You Can Tell' in that many story lines are interwoven. But the differences are profound. Altman's projects are driven by characters and situations that touch because they ramble. The 'Things You Can Tell' project is similar to this one in that its several components are all about the same idea. But 'Things' uses the device of one woman in many bodies, each with a different actress. In this project, the device is deliberate diversity of the characters, each facet having a discernible face.
I liked it. Its not highly cinematic, rather small theater. Its not the stuff that changes one's imagination. But it is literate, refined, and well woven in terms of the words.
As to the actors and their roles, one thing all these multifaceted projects have is the option for the viewer to select a backbone. As a matter of hardwiring we reflexively choose one thread as foreground and the others as background. For me, the anchor was Beatrice, which probably tells you a lot about me. The resurrection from disillusionment (with the opening of the doll's eye!) was a bit heavy so far as the character, but DuVall as an actor really impressed me. All of these actors played characters with an unrecognized inner life. Some, like Turturro work with more self-referential techniques, but with her it seemed true.
Ted's Evaluation -- 3 of 4: Worth watching.
- tedg
- 22 avr. 2003
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Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langues
- Aussi connu sous le nom de
- 13 Conversations About One Thing
- Lieux de tournage
- sociétés de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 4 500 000 $ US (estimation)
- Brut – États-Unis et Canada
- 3 288 164 $ US
- Fin de semaine d'ouverture – États-Unis et Canada
- 89 499 $ US
- 27 mai 2002
- Brut – à l'échelle mondiale
- 3 706 652 $ US
- Durée1 heure 44 minutes
- Couleur
- Mixage
- Rapport de forme
- 1.85 : 1