Chapter Epilogue

1. Wesley Morris, review of Sordid Lives, The San Francisco Chronicle, June 15, 2001.

2. Lev Manovich, The Language of New Media (Cambridge, Mass.: The MIT Press, 2001), 199-204.

3. At Timecode's premiere it was projected on a digital video projector, but since most theaters do not yet have digital projectors, it had to be transferred onto 35mm film for release in theaters. Figgis had the clout to make such an experimental film because of the enormous success of his Leaving Las Vegas (1995).

4. In Rope, as in Timecode, real time equals screen time, but, because Hitchcock was shooting with 35mm film, the effect of the events on the screen taking place in an unbroken time continuum had to be faked. Some of the individual takes in the film are unusually long, however, lasting up to ten minutes.

5. André Bazin, "The Evolution of the Language of Cinema," in What Is Cinema? ed. and trans. Hugh Gray (Berkeley and Los Angeles: University of California Press, 1967), 38.

6. The use of split screens, of course, is not new to the cinematic medium. In 1927, Abel Gance experimented with spectacular split-screen effects in the climax of Napoleon. Earlier in Napoleon, during a snowball fight, the screen is split into twelve segments. More recent directors who experiment with split-screen effects in parts of their films include Brian DePalma in Dressed to Kill (1980), Stephen Frears in Grifters (1990), and Darren Aronofsky in Requiem for a Dream (2000). Mike Figgis experiments with them not only in Timecode, but also in Miss Julie (2000), and Hotel (2001), the latter an experiment in form similar to Timecode.

7. According to the figures given at (accessed August 20, 2003), Timecode in its limited release to only seven theaters averaged $13,307 per theater site, an impressive amount for such an experimental film.

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Film Making

Film Making

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