| Photos (see all 46 | slideshow) | Videos (see all 9) |
| Adam Sandler | ... | Barry Egan | |
| Jason Andrews | ... | Operator Carter (voice) | |
| Don McManus | ... | Plastic (voice) | |
| Emily Watson | ... | Lena Leonard | |
| Luis Guzmán | ... | Lance | |
| David Schrempf | ... | Customer #1 | |
| Seann Conway | ... | Customer #2 | |
| Rico Bueno | ... | Rico | |
| Hazel Mailloux | ... | Rhonda | |
| Karen Kilgariff | ... | Anna (voice) | |
| Julie Hermelin | ... | Kathleen | |
| Salvador Curiel | ... | Sal | |
| Jorge Barahona | ... | Jorge | |
| Ernesto Quintero | ... | Ernesto | |
| Julius Steuer | ... | Mechanic | |
| Mary Lynn Rajskub | ... | Elizabeth | |
| Lisa Spector | ... | Susan | |
| Nicole Gelbard | ... | Nicole | |
| Mia Weinberg | ... | Gilda | |
| Karen Hermelin | ... | Anna | |
| Larry Ring | ... | Steve / Brother-in-Law | |
| Kerry Gelbard | ... | Richard / Brother-in-Law | |
| Robert Smigel | ... | Walter the Dentist | |
| Ashley Clark | ... | Phone Sex Sister | |
| Philip Seymour Hoffman | ... | Dean Trumbell | |
| Alan Parry | ... | Member of After Eden Band | |
| John E. Beck | ... | Member of After Eden Band | |
| Eddie Wayne Howell | ... | Member of After Eden Band | |
| Taylor J. Thomas | ... | Member of After Eden Band | |
| Bobby Bluehouse | ... | After Eden Sound Man | |
| David Stevens | ... | David | |
| Nathan Stevens | ... | Nate | |
| Jimmy Stevens | ... | Jim | |
| Carol Mirelez | ... | Phone Sex Girl #1 / Utah | |
| June Sepulveda | ... | Phone Sex Girl #2 / Utah | |
| Andrew Higgs | ... | Restaurant Manager | |
| Rogerlyn Kanealii Wakinekona | ... | Lena's Apartment Receptionist | |
| Mike D. Stevens | ... | Mike D. | |
| Catherine Cooley | ... | Flight Attendant (as Catherine L. Cooley) | |
| Michael Immel | ... | Man on Plane | |
| Ross Lasi Tanoai | ... | Cab Driver | |
| Jonathan Loughran | ... | Wrong Number (voice) | |
| Kaila | ... | Member of Ladies K Band | |
| Ku'Ulei | ... | Member of Ladies K Band | |
| Sissy Lake | ... | Hula Dancer | |
| Marie Irwin | ... | Lena's Nurse | |
| Esther Imade Balogun | ... | Receptionist Nurse | |
| Thomas Bornt | ... | Dean's Employee (as Tom Bornt) | |
| Mary Kilmartin | ... | D&D Mattress Customer | |
| rest of cast listed alphabetically: | |||
| Sam Polson | ... | Airport Traveler (uncredited) | |
| Wells Rosales | ... | Leo (uncredited) | |
| James Stevens | ... | Jim Smooth (uncredited) | |
| Shelley Waggener | ... | Co-Worker (uncredited) | |
Directed by | |||
| Paul Thomas Anderson | |||
Writing credits(WGA) | ||
| Paul Thomas Anderson | (written by) | |
Produced by | |||
| Paul Thomas Anderson | .... | producer | |
| Daniel P. Collins | .... | associate producer (as Dan Collins) | |
| Daniel Lupi | .... | producer | |
| JoAnne Sellar | .... | producer | |
Original Music by | |||
| Jon Brion | |||
Cinematography by | |||
| Robert Elswit | (director of photography) | ||
Film Editing by | |||
| Leslie Jones | |||
Casting by | |||
| Cassandra Kulukundis | |||
Production Design by | |||
| William Arnold | |||
Art Direction by | |||
| Sue Chan | |||
Set Decoration by | |||
| Jay Hart | (as Jay R. Hart) | ||
| Lori A. Noyes | |||
Costume Design by | |||
| Mark Bridges | |||
Makeup Department | |||
| Trish Almeida | .... | key hair stylist | |
| Elizabeth Dahl | .... | additional makeup artist: Hawaii (as Liz Dahl) | |
| Peggy Nichols | .... | key makeup artist | |
| Ann Pala | .... | hair stylist: Adam Sandler | |
| Ann Pala | .... | makeup artist: Adam Sandler | |
| Debra Rego | .... | additional hair stylist: Hawaii (as Debra L. Rego) | |
| Tina Roesler Kerwin | .... | makeup department head | |
| Kelvin R. Trahan | .... | hair department head | |
Production Management | |||
| Daniel P. Collins | .... | on-set supervisor (as Dan Collins) | |
| Mark Graziano | .... | post-production supervisor | |
| Daniel Lupi | .... | unit production manager | |
| Eileen Malyszko Lee | .... | production supervisor | |
| Will Weiske | .... | production supervisor: Hawaii and Utah | |
Second Unit Director or Assistant Director | |||
| Sonia Bhalla | .... | second second assistant director | |
| Adam Druxman | .... | first assistant director | |
| James Moran | .... | second assistant director | |
Art Department | |||
| Chuck Askerneese | .... | assistant property master | |
| Doreen Austria | .... | graphic artist (as Doreen S. Austria) | |
| P. Scott Bailey | .... | leadman | |
| Jeremy Blake | .... | artwork | |
| Max E. Brehme | .... | leadman | |
| Richard Crain | .... | construction foreman (as Richard D. Crain) | |
| Mick Cummings | .... | set dressing buyer | |
| Doug Dow | .... | labor foreman | |
| Doug Dow | .... | toolman | |
| Gerald Gates Jr. | .... | paint foreman (as Gerald J. Gates) | |
| Kevin Goldblum | .... | art production assistant | |
| Will Grant | .... | set dresser (as William A.J. Grant) | |
| Chris Grantz | .... | set dresser | |
| Jill Haber | .... | painter | |
| Holiday Landa | .... | art department coordinator | |
| Richard McConnell | .... | construction coordinator | |
| Martin Milligan | .... | on-set dresser | |
| Thomas Olson | .... | painter (as Thomas G. Olson) | |
| Troy Alan Peters | .... | set dresser (as Troy Peters) | |
| Mike Reiber | .... | stand-by painter | |
| Rick Romer | .... | set dresser: Hawaii (as Richard P. Romer) | |
| Keith Sale | .... | set dresser | |
| F. Andrew Scott | .... | stand-by painter | |
| Doug Sieck | .... | set dresser (as Douglas D. Sieck) | |
| Jayson Whitmore | .... | motion graphics | |
| Timothy S. Wiles | .... | property master (as Tim Wiles) | |
| Franco Esile | .... | set dresser (uncredited) | |
| Lilly Frank | .... | paint decorator (uncredited) | |
| P.K. MacCarthy | .... | storyboard artist (uncredited) | |
| Graham Robertson | .... | set dresser (uncredited) | |
| Thomas 'Noe' Welch | .... | set dresser (uncredited) | |
Special Effects by | |||
| Lou Carlucci | .... | special effects coordinator | |
| Kenneth C. Clark | .... | special effects foreman | |
| Marvin Felton | .... | special effects technician | |
| Jeff Jarvis | .... | special effects coordinator | |
| Andrew Sebok | .... | special effects technician | |
| David M. Sterner | .... | special effects technician (as David Sterner) | |
Visual Effects by | |||
| Tim Alexander | .... | visual effects supervisor | |
| Camille Geier | .... | visual effects producer | |
| Jiri Jacknowitz | .... | digital paint artist | |
Stunts | |||
| Michael Adams | .... | stunt player | |
| Mike Adams | .... | stunts | |
| Brian Avery | .... | stunts | |
| Jack Carpenter | .... | stunts | |
| Mark De Alessandro | .... | stunts | |
| Mickey Giacomazzi | .... | utility stunts | |
| Allan Graf | .... | stunt coordinator | |
| John Hateley | .... | stunts | |
| Toby Holguin | .... | stunts | |
| Steve Kelso | .... | stunt coordinator | |
| Paul M. Lane | .... | stunts | |
| Diana R. Lupo | .... | stunts (as Diana Lupo) | |
| Dustin Meier | .... | stunts | |
| Hugh Aodh O'Brien | .... | stunts (as Hugh A. O'Brien) | |
| Rex Reddick | .... | stunts | |
| Mario Roberts | .... | stunts | |
| Lincoln Simonds | .... | stunts | |
| Steve Wooten | .... | stunts | |
| Mark De Alessandro | .... | stunt double: Adam Sandler (uncredited) | |
Casting Department | |||
| Suzanne Anaya | .... | extras casting: TBS Casting | |
| John Barba | .... | casting associate | |
| Juliet Carlson | .... | extras casting assistant: Hawaii | |
| Margaret Doversola | .... | extras casting: Hawaii (as Margaret J. Doversola) | |
Costume and Wardrobe Department | |||
| Eden Clark Coblenz | .... | costume supervisor (as Edem Coblenz) | |
| Linda S. Cormany | .... | key costumer | |
| Anne Hoss | .... | additional costumer: Hawaii (as Anne L. Hoss) | |
| Lizabeth Maggini | .... | additional costumer: Hawaii (as Lizabeth Maggini-Mackay) | |
| Andrew Slyder | .... | additional costumer | |
| Jennifer Day Young | .... | additional costumer | |
Editorial Department | |||
| Phil Hetos | .... | color timer | |
| Lara Khachooni | .... | assistant editor | |
| Ladd Lanford | .... | first assistant editor | |
| Christopher Marino | .... | assistant editor: avid (as Christopher L. Marino) | |
| Sandra Montiel | .... | first assistant editor | |
| Fred Raskin | .... | additional film editor | |
| Mary Beth Smith | .... | negative cutter | |
| Lee Wimer | .... | color timer | |
Music Department | |||
| Julian Bratolyubov | .... | music preparation | |
| Debbi Datz-Pyle | .... | orchestra contractor: The Music Team (as Debbie Datz-Pyle) | |
| Greg Dennen | .... | score recordist | |
| Barry Fawcett | .... | scoring stage manager | |
| Nathan Furst | .... | score technical consultant | |
| Isobel Griffiths | .... | orchestra contractor | |
| Michael Jay | .... | additional music editor | |
| Jonathan Karp | .... | music editor | |
| Thomas Pasatieri | .... | music score consultant | |
| Simon Rhodes | .... | music scoring mixer | |
| Ryan Robinson | .... | scoring technician | |
| Dennis S. Sands | .... | orchestra mixer (as Dennis Sands) | |
| Dennis S. Sands | .... | orchestra recordist (as Dennis Sands) | |
| Richard Wheeler Jr. | .... | scoring stage manager (as Richard Wheeler) | |
| Thomas Pasatieri | .... | orchestrator (uncredited) | |
Thanks | |||
| Fiona Apple | .... | special thanks | |
| Bobby Bates | .... | thanks | |
| Gloria S. Borders | .... | special thanks (as Gloria Borders) | |
| Todd Garner | .... | special thanks | |
| Isobel Griffiths | .... | special thanks | |
| John Lesher | .... | special thanks | |
| Rob Moore | .... | special thanks | |
| Charles Newirth | .... | special thanks | |
| Simon Rhodes | .... | special thanks | |
| Joe Roth | .... | special thanks | |
| Tom Sherak | .... | special thanks | |
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| The Stunt Man | Broken Flowers | The Limey | Crank | Ruang rak noi nid mahasan |
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One of my old English teachers once asked us about a book, "Did you all like the book? I'm not asking whether you enjoyed it; I don't care. I want to know if you liked it." She was making an important distinction.
I remembered that as I watched Punch-Drunk Love. It's very unusual. The film is set in L.A., but you don't see much scenery indicating that. You see unpleasant things. Adam Sandler's office is long and empty: just seeing him sitting at his desk assaults you with a feeling of loneliness (not because of any sappy music--but because of the set and the camera work). He walks out into a never-ending warehouse; it feels empty, brutal. He exits the warehouse and you see another unending sight: the row of garage-like doors of all the other warehouses. It feels like it lasts forever, this row of doors, and when Adam gets to the end of it, he looks out onto a long, straight, industrial, empty street. It looks HORRIBLE, but why? Nothing is happening on the street, there are no gruesome sights, no particular signs of squalor or anything, and yet you feel repulsed, hopeless, alone. Then, out of the distance, a car whizzes by, nothing unusual, but it feels abrasive. With no relation at all to the plot, just as it appears, this car hits something and explodes, its remains slide off into the distance and you see nothing more of it. It's trivial. But you feel like the movie is being hostile toward YOU, the viewer.
Yes, that's the best way I can put it: you feel like the movie is being hostile toward YOU. A few minutes later, a truck flies by, again very abrasively, and drops a harmonium in front of Adam Sandler. There is no rhyme or reason to this, it just happens, and it's all very unpleasant.
About a third of the way through the video, my phone rang. I told my friend what I was watching, and she asked how it was. I told her, "I can't decide. I'm not sure I like it." I kept watching. At the end, I understood. What I had meant to tell my friend was that I wasn't enjoying it. And I wasn't meant to.
The film starts out with a very bad point in Adam Sandler's life. He is neurotic, you want to kill his sisters even though they're not malicious per se, he is lonely, his life is unpleasant. This movie is trying to do more than TELL you it's unpleasant, and even more than SHOW you it's unpleasant: the movie is trying to get inside you and make you FEEL it. You seriously feel the abrasiveness of every image, every sound, every character; you feel accosted by it. When there's silence, it's brutal silence. When there are sounds, they're brutal sounds. Images and movements are abrasive. Until Adam's life begins to flourish: then you get pretty sounds, pretty colors--as the viewer, you're let off the hook, too.
So when it was over, I was in amazement. How many movies succeed at this, at taking you WITH them to the discomfort the character is living? The cinematography, the sound work, the script--none of it is any accident. When his life isn't going well, you FEEL it. Did I like the movie? Very much. And if you appreciate a very unusual take on an old topic, you will too.