Information
| Year: | 2008 |
| Rating: | 7.3(18158) |
| Listed in: | Drama |
| Directed by: | Charlie Kaufman |
| Actors: | Philip Seymour Hoffman Tom Noonan Peter Friedman Charles Techman Catherine Keener Sadie Goldstein |
Cast
| Directed by | |
|---|---|
| Charlie Kaufman | |
| Actors | |
| Philip Seymour Hoffman | as Caden Cotard |
| Tom Noonan | as Sammy Barnathan |
| Peter Friedman | as Emergency Room Doctor |
| Charles Techman | as Like Clockwork Patient |
| Josh Pais | as Dr. Eisenberg - Ophthalmologist |
| Daniel London | as Tom |
| Robert Seay | as David |
| Stephen Adly Guirgis | as Davis |
| Frank Girardeau | as Plumber |
| Paul Sparks | as Derek |
| Jerry Adler | as Caden's Father |
| John Rothman | as Dentist |
| Frank Wood | as Evaluative Services Doctor |
| Mark Lotito | as Minister |
| Raymond Angelic Sr. | as German Doctor |
| Cliff Carpenter | as Old Man |
| Timothy Doyle | as Michael |
| Nicholas Wyman | as Soap Actor Doctor |
| Dan Ziskie | as Leg Tremor Doctor |
| Gerald Emerick | as Man In Line |
| Alvin Epstein | as Man with Nose Bleed |
| Tim Guinee | as Needleman Actor |
| Greg McFadden | as Actor Playing Needleman Actor |
| William Ryall | as Jimmy |
| Joe Lisi | as Maurice |
| Michael Higgins | as Actor Playing Man with Nose Bleed |
| Stanley Krajewski | as Actor as Caden |
| Tom Greer | as Medic |
| Christopher Evan Welch | as Pastor |
| Michael Medeiros | as Eric |
| John Borras | as Bus Passenger |
| Kevin Cannon | as The Messenger |
| Alan Gary | as First Burlesque Patron |
| Don Gomez | as Actor Playing 'Davis' in Play |
| Scott Hatfield | as Psychiatrist Actor |
| Misha Zubarev | as German patron |
| Actresses | |
| Catherine Keener | as Adele Lack |
| Sadie Goldstein | as Olive (4 years old) |
| Michelle Williams | as Claire Keen |
| Samantha Morton | as Hazel |
| Hope Davis | as Madeleine Gravis |
| Jennifer Jason Leigh | as Maria |
| Amy Wright | as Burning House Realtor |
| Lynn Cohen | as Caden's Mother |
| Deirdre O'Connell | as Ellen's Mother |
| Kat Peters | as Ellen (10 years old) |
| Amanda Fulks | as Emergency Room Nurse |
| Deanna Storey | as Jazz Singer |
| Elizabeth Marvel | as Warehouse Realtor |
| Laura Odeh | as Toystore Clerk |
| Daisy Tahan | as Ariel |
| Erica Berg | as German Woman |
| Amy Spanger | as Soap Actress Nurse |
| Portia | as Therapy Patient Actress |
| Chris McGinn | as Lady at Caden's Mom's |
| Robin Weigert | as Adult Olive |
| Rosemary Murphy | as Frances |
| Emily Watson | as Tammy |
| Kristen Bush | as Actress Playing Claire |
| Barbara Haas | as Warehouse Actress |
| Dianne Wiest | as Ellen Bascomb/Millicent Weems |
| Alice Drummond | as Actress Playing Frances |
| Brigitte Hagerman | as Claire Keen's Sister |
| Takako Haywood | as Girl in TV Commercial |
| Rebecca Merle | as Upstate Theater Attendee |
Movie info
| Languages: | English, English, German |
| Filming dates: | 21 May 2007 - August 2007 |
| Budget: | USD 21,000,000 |
| Gross: |
USA - 675,537 USD (9 November 2008) UK - 434,718 GBP (7 June 2009) |
View Online
Tags
Original Soundtracks
|
"Schenectady" Written by Charlie Kaufman and Jon Brion Performed by Sadie Goldstein "Jingle Bells" Traditional Arranged by Jon Brion "Auld Lang Syne" Traditional Arranged by Jon Brion "Gravity" Written by Charlie Kaufman and Deanna Storey Performed by Deanna Storey "Little Person" Written by Charlie Kaufman and Jon Brion Vocals recorded and engineered by Juan Patino Performed by Deanna Storey "Song for Caden" Written by Charlie Kaufman and Jon Brion Vocals recorded and engineered by Juan Patino Performed by Deanna Storey |
Goofs
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Continuity: In the scene where Caden is talking to Hazel directly after having talked to the doctor after his seizure, there is a dog in a box behind Hazel in her box office. Upon cutting to Caden, and then cutting back, the dog is gone. This is the remnants of the character "Squishy", from the original draft of the script. The almost-dead dog was found by Hazel after driving home from the premiere. She was saddened by Caden denying her, and she finds the dog, run over and bloody on the side of the road. She decides to keep it. This is the only scene where he is present, and his presence is not explained. FAIR: Announcer on the radio at the very beginning says it's 22 September. The newspaper is dated in October, it's Christmas when the sinks smashes his forehead, New Year's on the ride home and March in the ophthalmologist's office. Kaufman afforded his film a dreamlike quality by playing with the representation of time throughout. Fact errors: In both instances where Caden is posting presents to Germany for Olive, the packages would never arrive - for one because there is no 'Kampfstrasse' in Berlin (though this would literally mean 'Fight Street', most likely a poetic choice made by the filmmakers). Also, the 4-digit postal code (D-1805) was never used for Berlin addresses. Before 5-digit codes were introduced in Germany in 1993, all of West-Berlin had the code 1000 (to be completed by a 2-digit number after the name of the city for the precise region), while the numbers beginning with 18 were reserved for the (until 1990) socialist Brandenburg. |
Quotes
|
Caden Cotard: I don't menstruate, so I don't know how I could smell like I'm menstruating. Caden Cotard: I know how to do it now. There are nearly thirteen million people in the world. None of those people is an extra. They're all the leads of their own stories. They have to be given their due. Minister: Everything is more complicated than you think. You only see a tenth of what is true. There are a million little strings attached to every choice you make; you can destroy your life every time you choose. But maybe you won't know for twenty years. And you may never ever trace it to its source. And you only get one chance to play it out. Just try and figure out your own divorce. And they say there is no fate, but there is: it's what you create. And even though the world goes on for eons and eons, you are only here for a fraction of a fraction of a second. Most of your time is spent being dead or not yet born. But while alive, you wait in vain, wasting years, for a phone call or a letter or a look from someone or something to make it all right. And it never comes or it seems to but it doesn't really. And so you spend your time in vague regret or vaguer hope that something good will come along. Something to make you feel connected, something to make you feel whole, something to make you feel loved. And the truth is I feel so angry, and the truth is I feel so fucking sad, and the truth is I've felt so fucking hurt for so fucking long and for just as long I've been pretending I'm OK, just to get along, just for, I don't know why, maybe because no one wants to hear about my misery, because they have their own. Well, fuck everybody. Amen. Caden Cotard: I don't think you should tell her she doesn't have blood... Sammy Barnathan: I've watched you forever, Caden, but you've never really looked at anyone other than yourself. So watch me. Watch my heart break. Watch me jump. Watch me learn that after death there's nothing. There's no more watching. There's no more following. No love. Say goodbye to Hazel for me. And say it to yourself, too. None of us has much time. [over radio] Millicent Weems: What was once before you - an exciting, mysterious future - is now behind you. Lived; understood; disappointing. You realize you are not special. You have struggled into existence, and are now slipping silently out of it. This is everyone's experience. Every single one. The specifics hardly matter. Everyone's everyone. So you are Adele, Hazel, Claire, Olive. You are Ellen. All her meager sadnesses are yours; all her loneliness; the gray, straw-like hair; her red raw hands. It's yours. It is time for you to understand this. Millicent Weems: Walk. Millicent Weems: As the people who adore you stop adoring you; as they die; as they move on; as you shed them; as you shed your beauty; your youth; as the world forgets you; as you recognize your transience; as you begin to lose your characteristics one by one; as you learn there is no-one watching you, and there never was, you think only about driving - not coming from any place; not arriving any place. Just driving, counting off time. Now you are here, at 7:43. Now you are here, at 7:44. Now you are... Millicent Weems: Gone. Millicent Weems: [voice over] Now it is waiting and nobody cares. And when you're wait is over this room will still exist and it will continue to hold shoes and dress and boxes and maybe someday another waiting person. And maybe not. The room doesn't care either. Millicent Weems: Glad to be weirdly close. Tammy: I feel ok, mostly... fucking might help. Caden Cotard: I will be dying and so will you, and so will everyone here. That's what I want to explore. We're all hurtling towards death, yet here we are for the moment, alive. Each of us knowing we're going to die, each of us secretly believing we won't Olive: Dear diary, I'm afraid I'm gravely ill. It is perhaps times like these that one reflects on things past. An article of clothing from when I was young. A green jacket. I walk with my father. A game we once played. Pretend we're faeries. I'm a girl faerie. My name is Laura Lee. And you're a boy faerie. Your name is Tita Lee. Pretend, when we're faeries we fight each other, and I say "Stop hitting me I'll die!" And you hit me again and I say, "Now I have to die." And then you say, "But I'll miss you." And I say, "But I have to. And you'll have to wait a million years to see me again. And I'll be put in a box, and all I'll need is a tiny glass of water and lots of tiny pieces of pizza and the box will have wings like an airplane." And you'll ask, "Where will it take you?" "Home." I say. Caden Cotard: I breathe your name on every exhalation. Caden Cotard: I won't settle for anything less than the brutal truth. Brutal. Brutal. Each day I'll hand you a paper, it'll tell you what happened to you that day. You felt a lump in your breast. You looked at your wife and saw a stranger, et cetera. Needleman Actor: Caden? Caden Cotard: What? Needleman Actor: When are we gonna get an audience in here? It's been seventeen years. Caden Cotard: All right, I'm not excusing myself from this either. I will have someone play me, to delve into the murky, cowardly depths of my lonely, fucked-up being. And he'll get notes too, and those notes will correspond to the notes I truly receive every day from my god! Get to work! Sammy Barnathan: I don't have a resume, or a picture. I've never worked as an actor. Caden Cotard: Good. Tell me why you're here. Sammy Barnathan: Well I've been... I've been following you for twenty years. See, I knew about this audition because I follow you. And I've learned everything about you by following you. So hire me. And you'll see who you truly are. Peek-a-boo. Okay... Hazel, I don't think we need to talk to anyone else, this guy has me down. I'm going to cast him right now. And then maybe you and I can get a drink and then maybe we can figure out this thing between us. Why am I crying? Because I've never felt about anybody the way I feel about you. And I want to fuck you until we merge into a Camure, a mythical beast of penis and vagina, internally fused, two pairs of eyes that look only at each other, and lips, never touching, and one voice that whispers to itself. Caden Cotard: Okay. You got the part. Caden Cotard: I know how to do the play now. It will all take place over the course of one day. And that day will be the day before you died. That day was the happiest day of my life. Then I'll be able to live it forever. See you soon. Caden Cotard: I wanted to ask you, how old are kids when they start to write? Madeleine Gravis: Listen, there's an absolutely brilliant novel written by a four year old. Caden Cotard: Really? Madeleine Gravis: 'Little Winky" by Horace Azpiazu. Caden Cotard: That's cute. Madeleine Gravis: Hardly, Litty Winky is a virulent anti-Semite. The story follows his initiation into the klan, his immersion in the pornographic snuff industry, and his ultimate degradation at the hands of a black ex-convict named Eric Washington Jackson Jones Johnson... Caden Cotard: -Written by a four year old? Madeleine Gravis: -Jefferson. Caden Cotard: Wow, written by a four year old. Madeleine Gravis: Well Azpiazu killed himself when he was five. Caden Cotard: Why did he kill himself? Madeleine Gravis: I don't know, why did you? Caden Cotard: What? Madeleine Gravis: I said, 'Why would you?' Caden Cotard: My father died. They said his body was riddled with cancer and that he didn't know, he went in because his finger hurt. They said he suffered horribly, and that he called out for me before he died. They said that he said he regretted his life. They said he said a lot of things, too many to recount, and they said it was the longest and the saddest deathbed speech any of them had ever heard. Sammy Barnathan: Why did we leave Adele, Caden? Caden Cotard: She left us. Nobody knows that better than you. Except me. Caden Cotard: [Giving a stage direction] People don't walk like that. Caden Cotard: I don't know what I'm doing. |
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