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Timecode 2000 123movies

Timecode 2000 123movies

Four cameras. One take. No edits. Real time.Mar. 22, 200097 Min.
Your rating: 0
6 1 vote

Synopsis

#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 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 which he is unaware. Lester Moore, the movie’s director, is also causing the producers some concern as they believe he again is using drugs against company policy. The production team is also talking about casting the role of “The Bitch”. One actress who wants to audition is Rose, who is having an affair with Alex as a foot in the door. Rose does not officially have an audition, although she tells her controlling lover, Lauren, that’s why she is going to Red Mullet’s office, while she really is meeting with Alex for a tryst. Lauren, however, believes that Rose is indeed cheating on her. Through it all, Quentin, a masseuse, is present giving free massages as a means to gain Red Mullet as a corporate client. Their goings-on come to a head during a pitch meeting by visiting European actress, Ana Pauls, who is accompanied by her agent, Bunny Drysdale, and her musician boyfriend, Joey Z.
Plot: A production company begins casting for its next feature, and an up-and-coming actress named Rose tries to manipulate her filmmaker boyfriend, Alex, into giving her a screen test. Alex’s wife, Emma, knows about the affair and is considering divorce, while Rose’s girlfriend secretly spies on her and attempts to sabotage the relationship. The four storylines in the film were each shot in one take and are shown simultaneously, each taking up a quarter of the screen.
Smart Tags: #audition #jealousy #real_time #ensemble_cast #interlinked_stories #single_take #multiple_storyline #split_screen #los_angeles_california #mexican_actress_playing_american_character #lesbian #masseuse #drugs #f_rated #surrealism #avant_garde #one_word_title #lesbianism #long_take #shot_in_the_side #experimental_film


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Ratings:

Timecode 2000 123movies 1 Timecode 2000 123movies 26.1/10 Votes: 6,734
Timecode 2000 123movies 3 Timecode 2000 123movies 268%
Timecode 2000 123movies 5 Timecode 2000 123movies 265/100
Timecode 2000 123movies 7 Timecode 2000 123movies 25.9 Votes: 57 Popularity: 5.601

Reviews:

Awesome Effort
A fantastic effort that narrowly missed out on being brilliant. I loved what this movie tried to do, although ultimately it became a little boring. I love real time movies, and I love long takes, in this case the whole movie. With a stronger plot and script for the actors to work with, this style could succeed. The one thing I noticed at the end of the movie was how draining it was trying to follow every conversation on each of the four screens.
Review By: daveisit Rating: 8 Date: 2001-01-23
A Nutshell Review: Timecode
I’ve always been intrigued by films that either play itself out in real time, like John Badham’s Nick of Time starring Johnny Depp, or films that contain moments of one continuous take, such as the spiraling opening of Brian De Palma’s Snake Eyes, or fight action sequences in Tom Yum Goong, and of course, plenty of art house fare that employs the still camera. I can imagine the kind of logistical nightmare the production team has to go through in ensuring a meticulous delivery, otherwise it’ll be back from the top all over again.

Which was why one of the first films I’ve decided to have a look at during this year’s Hong Kong International Film Festival, was an indie slasher film Cut, which is done in one continuous take for the entire film from start to end. Little can be said of the storyline, but the premise and delivery technique was flawless, that you can’t help but to constantly deal with the nagging thought of how things were done, and especially how the stunt team and camera crew got to get out of each other’s way constantly.

Then thanks to this month’s SFS Talkies, I learn of an earlier film, done some 10 years ago by Mike Figgis of Leaving Las Vegas fame, that made Cut look like child’s play, and everything else that I had experienced thus far look like a walk in the park. Why? Four simultaneous cameras all shot in synchronization, done in 1 continuous take each, following a myriad of characters in and around a film casting location for the most parts, with characters interacting with one another, and the cameras following different characters when they criss- cross.

It’s a brilliant technical nightmare. Half the time I was keeping my eyes peeled if a camera crew was found to be in the gunsights of another, but this was not the case. You can imagine the kind of meticulous planning during pre-production to have everything and everyone in sync, and challenging even that preparatory work with a few narrative events like earthquakes to literally shake things up. And having to film everything 15 times in 2 weeks in order to either take the best one (no splicing, no editing here) just boggles the mind, and surely it’s an exercise in the technical sense rather than one focused on telling a story in straightforward sense.

The story isn’t much to behold, granted it was all improvisational based on how the actors decide to get around to the pre-determined markers to get to the end. I suppose it is this freedom that attracted a cast list that happens to be remarkably strong, with an ensemble to include Saffron Burrows, Salma Hayek, Holly Hunter, Kyle MacLachlan, Leslie Mann, Alessandro Nivola, Julian Sands, Sellan Skarsgard and Jeanne Tripplehorn, besides a whole host of others. Characters range from the intense to the comical (Sands’ masseuse, Nivola’s keyboardist and Hayek’s mediocre actress wannabe), which is a good thing to keep the interest and spirits up as the narrative just sprawls all over the place, and what more having 4 scenes simultaneously up on screen.

Which provides the viewer with quite the experience in a snapshot of existentialism, and life in general. We see things from our POV in real time at any one time, but we’re well aware that during the same time frame, life around us revolves, whether we’re participating actively or otherwise. The film provides a curious look at scenes before and after something pivotal, and like our attention span, we can choose to focus on those that interest us and ignore the rest. We have to, we have no choice, given limited cognitive abilities. But here, we’re presented with a choice to see everything almost in focus, and at times two or more sections will amalgamate from different angles, especially with some milestone scenes.

I was a little apprehensive before the film about how I was able to follow the narrative given that I can’t possible filter 4 different audio tracks as much as I like to, but again here’s where the director makes decisions to assist us. Certain scenes were played out in an extended format, such as a quiet drive, which allows us to take our attention off a particular quadrant for a while. Or some where characters just laze around in quiet contemplation. Or have to suffer a frustrating wait, such as those involving Tripplehorn. For areas that Figgis wants our attention on, the audio will drift in, and sometimes it’s balanced on different speakers, so watch this with a proper sound system set up!

For sure this is a film that demands more than one viewing, which allows those amongst us intrigued enough to just focus on one particular quadrant for the entire film, before moving onto another, if one is hardcore enough to do that. And with Everything But The Girl’s Single in the soundtrack, I’m sold.

Review By: DICK STEEL Rating: 8 Date: 2010-06-19

Other Information:

Original Title Timecode
Release Date 2000-03-22
Release Year 2000

Original Language en
Runtime 1 hr 37 min (97 min)
Budget 4000000
Revenue 0
Status Released
Rated R
Genre Drama, Romance
Director Mike Figgis
Writer Mike Figgis
Actors Jeanne Tripplehorn, Stellan Skarsgård, Salma Hayek
Country United States
Awards 2 nominations
Production Company N/A
Website N/A


Technical Information:

Sound Mix Dolby Digital, SDDS
Aspect Ratio 1.85 : 1
Camera Sony DSR-130
Laboratory DeLuxe, Hollywood (CA), USA (prints)
Film Length N/A
Negative Format Video
Cinematographic Process DVCAM
Printed Film Format 35 mm (spherical)

Timecode 2000 123movies
Timecode 2000 123movies
Timecode 2000 123movies
Original title Timecode
TMDb Rating 5.9 57 votes

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