23 July 2004
View the trailer at
Read info at :Home At End of the World DVD Notes and Videos
the Pulitzer Prize-winning author of “The Hours” comes a story that
chronicles a dozen years in the lives of two best friends who couldn’t
be more different. From suburban Cleveland in the 60s, to New York City
in the 80s, where they meet an older woman, the film charts a journey
of trials, triumphs, loves and losses. Now the question is: can they
navigate the unusual triangle they’ve created and hold their friendship
by: Keith Bunin, Michael Cunningham (novel) Michael Cunningham
Directed by: Michael Mayer
Colin Farrell …. Bobby Morrow
Robin Wright Penn …. Clare
Sissy Spacek …. Alice Glover
Dallas Roberts …. Jonathan Glover
story was reported on many news/entertainment sites:
A nude scene featuring Colin Farrell has been cut from
upcoming movie A Home At The End Of The World because the actor is “too
well hung”, The Sun reports today.
Apparently the naked scenes featuring the Irish bad boy
caused such a stir amongst test audiences that the director decided to
leave them out of the film altogether.
A source told the tabloid: “All you could hear were
gasps when Colin appeared in his full-frontal pose. The women were
over-excited and the men looked really uncomfortable. It was such a
sight it made it difficult to concentrate on the plot, so the decision
was made to get rid of it.”
Director Michael Mayer admitted that it was
“distracting” but added that fans would still be able to see the
original scene on the DVD version of the film.
then another major change of tack for (Colin) Farrell as he’s agreed to
cut back his now usual $8 million asking price for indie film A Home at
the End of the World. Directed by theatre veteran Michael Mayer and
based on the first novel by Michael Cunningham – whose book also
inspired Stephen Daldrey’s new effort with Nicole Kidman The Hours -
the film follows two boyhood friends who reunite after college and form
a, shall we say, rather unusual relationship with an older woman.
Farrell’s character, Bobby, falls in love with the mature lady which
subsequently puts a kaibosh on his gay mate’s plan to father her child.
Well, we did say it was an indie flick. –
Rookie Filmmaker Has ‘World’ in Hand After 34 Days
Wed May 28, 2003 03:42 AM ET By Nicole Sperling
LOS ANGELES (Hollywood Reporter) – You think you’re busy?Talk to Michael Mayer, theater director of the Tony Award-winning production
“Thoroughly Modern Millie,” who just wrapped his Warner Bros. feature
directorial debut, “A Home at the End of the World.”
Now,in between directing the national touring company of “Millie,” the director will edit his cinematic adaptation of “The Hours” author
Michael Cunningham’s novel of the same name — after spending 34 days
shooting the production in Toronto, Arizona and New York.
blames the swiftly paced film schedule — which required his crew to
dress locations for three different decades on a very small budget –
on his not knowing any better.
“Ignorance is everything in this case,” Mayer says. “I didn’t know we couldn’t do it, so we did it. I could not have been luckier to have the group I
That group, in addition to the A-list cast of Colin Farrell, Robin Wright Penn and Sissy Spacek, included production designer Michael Shaw, best known for his work on such independent films as “You Can Count on Me”
and “Boys Don’t Cry.” The film centers on two boys who develop a close
friendship that lasts decades and truly forms when they come together
in their 20s in New York.
Shaw and his various crews found locations in Toronto, New York and Arizona to double for 1967, 1973 and 1982. Some of the most challenging
included finding a 1960s-style house in a run-down neighborhood in
Toronto adjacent to a cemetery. The setting was to double for
Cleveland. After searching high and low, the crew found such a house
next to a park, which they transformed into their graveyard.
is like mining for gold,” Shaw says. “You look and look and look and
you find things that are just OK. Then if you just keep going you wind
up finding that perfect thing.”
to Mayer, the film never even considered going to Cleveland to film its
period piece. Because of the very limited budget, Mayer concluded that
the crew needed to go to one location where it could do most of its
doesn’t have a single identity and can incorporate into many different
environments,” Mayer says. “It’s also a film-friendly environment. I’d
love to go back there. The crew was phenomenal.”
the project did cross the Canadian border. Four days were spent in
Arizona, filming scenes set during the early ’80s, and two days were
spent in New York filming at 10 locations. Both Mayer and Shaw
attribute their relatively problem-free shoot partly to the slowdown in
received some of the top crews in both New York and Toronto because of
the lighter production both cities are experiencing. So how was it to
work with a Broadway director on his first film? To Shaw it was an
think everybody on the crew fell in love with him, partly because he
has a strong vision and an intuitive sense of what’s important,” Shaw
says. “To me, that makes the difference between a real director and
not. He also knew the material inside and out but let everybody do
their own job.”
End of the World Set Report
Wednesday, May 14, 2003 12:13 CDT
Entertainment shared with us this report from the Toronto set of Warner
Bros.’ A Home at the End of the World.
just worked on the set of “A Home At The End Of The World”, a Leaving
Cleveland Inc. Production, Day 27, Tuesday, May 13, 2003.
was among 20 background ‘cafe eaters’ for an interior scene that was
filmed at a small restaurant on Toronto’s Queen Street east (near
Greenwood). Our holding area and crew lunch was at a former motorcycle
lot of stars were on set throughout the shooting day including lead
Colin Farrell who plays ‘Bobby’, Sissy Spacek as ‘Alice’, Robin Wright
Penn as ‘Clare’ and Matt Frewer (the original ‘Max Headroom’) as ‘Ned’.
scene I was in had a tall, clean-shaven Colin Farrell (no goatee this
time around) in a casual t-shirt and jeans working behind the bar in
small, rustic restaurant, handling a big knife, while expertly
preparing some food on a plate. The guy is well-rehearsed and made the
crew laugh fondly a number of times.
by Michael Mayer who produced and directed a 1998 film called “The
Robber”, the most interesting item on the “A Home At The End Of The
World” call-sheet was the name ‘Tom Hulce’ listed as the first of six
producers for the film. I believe this is the same man that played mad
Mozart for director Milos Forman in “Amadeus” and voiced ‘Quasimodo’
for Disney’s “Hunchback”.
to some of the crew, I heard that the next 2 days of shooting will
include ‘Yasgur’s Farm’, an interior of a ‘Punk Club’, an interior of a
‘New York’ bar, and an interior/exterior of the ‘Altitude Bakery’. The
crew travels to Phoenix on Sunday May 18.
Thanks to ‘Michael’.
A Home at the End of the World Review
July 1st, 2004
Reviewed by Harvey S. Karten Warner Independent Pictures
Screened at: Review, NYC, 6/30/04
The biggest decision one can make in this life is not
your choice of marriage partner, not your job, not even how many kids
you opt to have. The most important judgment you can make is your
choice of parents. If you choose a pair of folks who are happy with
each other, preferably with money and, most important, with good genes,
you’ve probably got it made. You will have the foundation for joy and
success and love. Choose the wrong parents and you’re likely to be,
well, to be not so lucky. In Michael Mayer’s “A Home at the End of the
World,” scripted by Michael Cunningham from his novel of the same name,
Bobby Morrow (Andrew Chalmers as a nine-year-old) doesn’t really have
bad parents–in fact he has a brother that any kid would five up his
X-Box to have. It’s just that his sib dies in a freakish accident, his
mother passes away when he’s young, and he discovers his father lying
awfully still in bed on one sunny morning. What’s a poor kid to do?
He gets a second chance to determine his background.
From the time that Bobby (now played by Erik Smith at age fifteen)
begins to nurture a friendship with a geeky kid in high school named
Dallas Roberts (Harris Allan at age fifteen), he re-starts his career
as a teen with another family, one he can call virtually his own. He is
embraced as one of her own by Jonathan’s mom, Alice (Sissy Spacek), and
no wonder: he introduces the prim and proper woman to the joys of
marijuana, which she smokes almost eagerly at first with her two boys,
and the three dance about the room in the most delightful scene in this
In “A Home at the End of the World,” director Mayer
spends most of his ninety-five minutes with Bobby at age twenty-four
(Colin Farrell), who is appropriately advised by Alice to cut his long,
hippie-ish hair since, after all, it’s now 1982 and he’s too handsome
to hide behind his locks. Most important he meets Jonathan’s
girlfriend, Clare (Robin Wright Penn), a free spirit with flaming red
hair whose relationship with Jonathan is complex considering that
Bobby’s friend is gay.
The film is a lovely adaptation of Pulitzer
Prize-winning author Michael Cunningham, whose “The Hours” was made
into a pic that captured Oscar’s attention, and is deserving of the
tagline “family can be whatever you want it to be.” We are taken
through typical family problems, for example the friction created when
Bobby steals Jonathan’s girl, but we see that on the whole Bobby and
Jonathan both luck out. He has become inseparable from his best friend,
he achieves stability from his adoptive mom, and by contrast he is
opened up to a new world from the attentions of the unconventional
The acting ensemble is just fine. Sissy Spacek is her usual charming
self, ageless it seems, while Colin Farrell expands his repertory in
the role of a 24-year-old who, through his new family, gains both the
strength and the passion that he’d not have been afforded without the
love of family.
Rated R. 95 minutes. © 2004 by Harvey Karten at
on THE HOME AT THE END OF THE WORLD with Colin Farrell Hey folks, Harry
here… well here’s something you don’t hear about often… a new Colin
Farrell movie! What, it’s been 2 weeks? What is this… number 45 this
year? Heh… I swear he’s got to be the hardest working actor that has
a reputation for hijinks aplenty around. Well, this sounds like a damn
fine film. Here ya go, check it out… focus group screening of “the
home at the end of the world”
night I saw what was evidently the first screening of “The Home at the
End of the World”, starring Colin Ferrell, Robin Wright Penn, Sissy
Spacek and newcomer Dallas (Porter?), directed by first timer Michael
Mayer (?) (They took my info sheet, so all the names are from memory).
Screenplay by Michael Cunningham, based on his novel. Michael
Cunningham is the Pulitzer prize winning author of “The Hours”.
don’t want to get too much into the story, because, even though this
cut of the film felt mostly complete, it appears that a major character
from the novel was not in this version of the film, but filmed (one
could tell by the crossed out name on the survey sheets we filled out
in response to the movie). I believe there may be a version of this
film where this subplot exists and that this version may be tested too.
It’s possible that what I saw may still see much change.
what I saw was excellent. This was Colin Farrell as I’ve never even
dared to imagine him, sweet, confused, sexually open and natural,
crying poignantly when first making love to a woman, dancing playfully
with his close male friend and kissing him sensually on the mouth. Oh
and yes, there was full frontal Colin without a stitch on. I wish for
the sake of women and men everywhere that that makes it into the final
the previous paragraph suggests, the film deals with sexual and
romantic boundary crossing – as seen through the prism of the 60′s,
where the Colin Farrell character is 9, the 70′s, where he is in high
school, played effectively by a Colin Farrell look-alike and the early
80′s, enter Colin. Dalls P. (?) plays his close friends, a substitute
for the brother he lost, Sissy Spacek pays the friend’s mother, Robin
Wright Penn, their close friend, with whom the friends create a
romantically and sexually fluid and ambiguous menage a trois. There is
also drug experimentation and tragic accidents, a lot of it disturbing
or “out there” but handled in a believable way. Alot of people in the
focus group attested to the fact that although some of the scenes in
the movie depicted situations unusual and startling for mainstream US
movies, they felt real and were recognizable to many of us.
is lovely about the film is how it depicts many ways to experience
love, belonging, sexuality, without sensationalising what may read
sensational on paper, without simplifying or categorizing. Affection,
sex, love, attraction are fluid elements between which clear boundaries
aren’t set by the filmmakers. Through that approach they manage to
create extremely specific relationships between the characters that
will remind many in the audience of platonic, romantic, sexual
connections of their life, especially adolescence and early adulthood.
performers are all wonderful. Colin Farrell is all sweetness,
sensitivity, sensuality, with a sense of a soul scared to be left
alone, Penn is excellent, a bit like the wild times Jenny from Forest
Gump without the selfdestructiveness, Dallas P. (?) is perfect as a
very specific kind of gay man, handsome, nerdy, insecure, playful, he
is very recognisable without resorting to anything stereotypical or
obvious. Sissy Spacek is sublime. Just sublime. I don’t know how to
explain it without detailing plot points that I don’t think would be
right for me to divulge here.
I hope the film sees the light of commercial day in as good a shape or
better than I saw it. There is much that is bold and
disconforming-for-the-mall-crowd in it, but I thought it was lovely and
really appreciated its depiction of relationships, love and sexuality
that felt so true but is so unlike the mainstream movie perspective on
these matters. Happily most of the people in the focus group
interviewed after the film screening rated the film “excellent” or
“very good”, a few said “good”, one said “fair”, none said “poor”.
suppose a look at Cunningham’s novel, which I don’t know, would give
the plot of the movie. But as I said, this screening left out a major
subplot and character, evidently, and anyway, this is a film that bears
experiencing without knowing where it’s going beforehand, because the
characters are so unique and surprising.
style="word-spacing: 0pt; line-height: 100%; margin-top: 0pt; margin-bottom: 0pt;">Thanks,