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Synecdoche, New York (2008)

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A theatre director struggles with his work, and the women in his life, as he creates a life-size replica of New York City inside a warehouse as part of his new play.

Director:

Charlie Kaufman

Writer:

Charlie Kaufman
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3,345 ( 97)
8 wins & 29 nominations. See more awards »

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Cast

Cast overview, first billed only:
Philip Seymour Hoffman ... Caden Cotard
Catherine Keener ... Adele Lack
Sadie Goldstein ... Olive (4 years old)
Tom Noonan ... Sammy Barnathan
Peter Friedman ... Emergency Room Doctor
Charles Techman ... Like Clockwork Patient
Josh Pais ... Ophthalmologist
Daniel London ... Tom
Robert Seay ... David
Michelle Williams ... Claire Keen
Stephen Adly Guirgis ... Davis
Samantha Morton ... Hazel
Hope Davis ... Madeleine Gravis
Frank Girardeau Frank Girardeau ... Plumber
Jennifer Jason Leigh ... Maria
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Storyline

Theater director Caden Cotard is mounting a new play. Fresh off of a successful production of Death of a Salesman, he has traded in the suburban blue-hairs and regional theater of Schenectady for the cultured audiences and bright footlights of Broadway. Armed with a MacArthur grant and determined to create a piece of brutal realism and honesty, something into which he can put his whole self, he gathers an ensemble cast into a warehouse in Manhattan's theater district. He directs them in a celebration of the mundane, instructing each to live out their constructed lives in a small mock-up of the city outside. As the city inside the warehouse grows, Caden's own life veers wildly off the tracks. The shadow of his ex-wife Adele, a celebrated painter who left him years ago for Germany's art scene, sneers at him from every corner. Somewhere in Berlin, his daughter Olive is growing up under the questionable guidance of Adele's friend, Maria. He's helplessly driving his marriage to actress ... Written by Anonymous

Plot Summary | Plot Synopsis

Genres:

Comedy | Drama

Motion Picture Rating (MPAA)

Rated R for language and some sexual content/nudity | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English | German

Release Date:

21 November 2008 (USA) See more »

Also Known As:

Synecdoche, New York See more »

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Box Office

Budget:

$20,000,000 (estimated)

Opening Weekend USA:

$172,194, 26 October 2008

Gross USA:

$3,083,538

Cumulative Worldwide Gross:

$4,580,758
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital | DTS

Color:

Color (DeLuxe)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

In Synecdoche New York there are seven real plays mentioned. Only once is a fake play mentioned, Needleman. Claire mentions Needleman when she is telling Caden what she is leaving him to work on. See more »

Goofs

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. See more »

Quotes

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, ...
[...]
See more »

Connections

Referenced in Welcome to Hell (2015) See more »

Soundtracks

Something You Can't Return To
Written by Jon Brion
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Frequently Asked Questions

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User Reviews

 
Phenomenal
5 December 2008 | by loveseedgemsSee all my reviews

To start, let's make it clear that this movie will not be for everyone; I don't think any form of authentic art is. There is no flaw in this truth or in the people who do or do not find themselves moved by the art in question- it just is.

I do believe there are people who more intuitively and naturally reflect inward, on death, on life- the meanings of all these things; it is a natural state for them. And I believe there are people as equally blessed and cursed to not think very deeply on these matters. I think this film will find a comfortable home in the hearts of the former. Now, of these "inner seekers"- I believe you have all variations of folks- those that seek deeply and find beauty, connection, and great joy. There are those seek deeply and find isolation, grief, and deep wells of sadness. There are those who find some semblance of balance between the two. I myself lean more towards connection, and subsequent joy because of that… I found this movie to be profoundly moving- on almost a primordial level- and I believe- in a hopeful way. Don't get me wrong, I cried many times during the movie and didn't want to leave the theater when the film was finished. I held back the wells of whatever it was that was welling up in me until I got to my car and then unloaded some body shaking tears. It wasn't sadness, though… it was… something else. I don't really know yet. One thing I do know is that all of Kaufman's films seem to affect me in this manner. After the initial viewing- I know distinctly how the movie has affected me emotionally- I can FEEL it. I am not capable of defining that feeling, or explaining why that feeling has erupted (it is clear to everyone that his plot and content are generally all over the board and it usually takes several viewings to pull any real intellectual analysis from them)- but I certainly am conscious of something new and fresh happening inside my emotional hard wiring. I find that a phenomenal feat in the face of a sea of art which relies on very standardized ways of pulling it's consumers in emotionally. Do you remember how you felt after Eternal Sunshine of the Spotless Mind? I remember walking out and feeling very hopeful about the nature of love- in a whole brand new way. Not in the contrived, standardized Sleepless in Seattle kind of way… not to judge that- but there is something amazing about an artist who can make you feel things you are not sure you've felt before. That, to me, is authentic art. This really isn't about valuing one thing more than another- just offering great respect to someone who has taken your mind and heart to places it hasn't been before. It is nice to visit those old comfortable haunts, but this… well, like all of Kaufman's films- will take you somewhere entirely new- if you are predisposed to that kind of wandering.


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