(:: History ::)
1)In close future, the time indeed replaced the money. More nobody gets old physically beyond his twenty-five years, but the only means to continue living is to win, to inherit or to steal the time of life. While some, young forever, collect and spend freely the time, others beg some hours to avoid death. Will Salas lived every day as though it was the last, until an unique occasion opens him the world of the rich men and the powerfuls. Unfairly accused of murder, he is going to run away together with a nice heiress who, having been his hostage, its ally against the corrupt system is going to become which governs this world. More than ever, every second count .…2)In the not-too-distant future the aging gene has been switched off. To avoid overpopulation, time has become the currency and the way people pay for luxuries and necessities. The rich can live forever, while the rest try to negotiate for their immortality. A poor young man who comes into a fortune of time, though too late to help his mother from dying. He ends up on the run from a corrupt police force known as time keepers.
Date (s) of Exit (s):
November 23rd, 2011 | 
October 28th, 2011| Accomplished by: | Andrew Niccol |
| With: | Olivia Wilde, Justin Timberlake, Amanda Seyfried, Alex Pettyfer, Johnny Galecki, Cillian Murphy, Matt Bomer, Vincent Kartheiser, Elena Satine, Natalina Maggio... |
| Distributor: | Twentieth Century Fox terrier France |
| Type: | Science-invention, Thriller, |
| Country: | USA |
| Length: | 1 h 41 |
| Original title: | In Time |
France: http://www.timeout-lefilm.com/
USA: http://www.therichcanliveforever.com/
USA: http://www.intimemovie.com/
USA: http://www.facebook.com/pages/In-time-movie-2011-Official-Club/228678887175527?sk=wall
USA: http://twitter.com/#!/InTimeMovie
(:: Trailer for In Time ::)
(:: Free Streaming to Watch In Time Online ::)
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(:: Pictures Of In Time :: )
(:: Downloads Links ::)
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(:: Scenes of the movie ::)
The time, it is life:Take any magazine or newspaper. Light television. Go surfing on Internet or to the cinema. Our fixed idea of youth is, in all media, blatantly or more subtle there. Thousand millions of dollars and of the hours are spent every year by the industries of health and of beauty products to find a way to decelerate the process of ageing, feeding customers ready to spend the equivalent of the debt of a small country in exchange for a fountain of personal Youth. The borders of science are always pushed back to fight this complex process. Today, a man perhaps found solution so that the humanity keeps an eternal youth at least on the paper: it is about Andrew Niccol, a reputed film-maker for its talent to unite anticipation and reality.
The capacity of Andrew Niccol to combine in an unexpected big way scenes of action and deep reflexion, in the fantastic but realistic worlds, takes all its sense in TIME OUT. Andrew Niccol underlines: «TIME OUT a thriller of action is. I think that people will be able already to appreciate him as such. They will go to see it for waterfalls, action, motor races, and to see Amanda Seyfried checking a gun off, what she makes brilliantly! But I think that the public will appreciate some ideas, some topics which we explore, because TIME OUT speak about our desire to remain forever young. Even if they are unable to confine genetic deterioration as it is made in the film, it is possible to go very far to remain young.»
Of New Zealand origin, Andrew Niccol improved his workmanship of production and of narration in London by accomplishing advertising films, before imposing himself to Hollywood as author and film director of WELCOME TO GATTACA. Next year, he writes TEA TRUMAN SHOW, which is worth him a nomination to the Oscar of the best original scenario. The capacity of Andrew Niccol to conjugate new audacious ideas and familiar topics pleased the producer Eric Newman, who explains:« As all job of Andrew, scenario of TIME OUT really transported me, and I was in the world which he created. It is a parabola, a work that touches social conscience and, as all its job, it is terrifically amusing, rousing and bright.»
The executive producer Andrew Z. Davis was impatient to work on a film which was at the same time a big adventure and a social criticism. He declares: «TIME OUT carry topics which resound at everybody. We all feel concerned by a history on the well-off and the disadvantaged, what is when all is said and done the main topic of the film. But at the same time, there is action, Romanticism and political message. And as everybody knows it, a good thriller must include the suspense, a race against the clock, that it is a bomb to be controlled or a hostage to liberate. Here, it is a matter of a running against time in the first sense of term. The time is the data which tell all difference between people.»
Kristel Laiblin, executive producer, was enticed by the subtleties of the job of Andrew Niccol and by the development of the story. «The way Andrew tells a story is simple and evocative. The world of our hero quickly moves, nobody wastes time, these such a precious food articles. In the comparing the world of the rich men is, where you would never see somebody missing of time. It is possible to use his time as they want, to play cards easy, what nobody would make elsewhere. They have time to be sold retail These are the completely different worlds and Andrew Niccol gave them life in some pages.»
The executive producer Amy Israel worked at New Regency Productions's when Andrew Niccol brought plan and, as all his colleagues, she remembers her first reading precisely: «The script of Andrew Niccol was indeed original, basic concept very strong and intriguing emotional dimension. We all had a feeling from the beginning that it was particular. His history takes place in the world not so different from ours, a kind of alternative reality. Here, the time is a currency, and each was born with his biological clock on the forearm. At the age of 25 years, when the brain and the body are considered as mature, the clock puts on under way and you have one year to live. Either they are born in good middle, and there aren't worries, they or it is necessary to struggle to survive, literally.»
Will Salas is the hero of history. He saw in the region - the «zone of time» - the poorest, conscript Dayton. He seldom has more than 24 hours on his bodily clock, and must work every day on the plant to win one day furthermore. It is also the case of his mother, Rachel, and that of all those of Dayton. But far from desolation, Dayton is an enlivened, living district, full of noise and activity, music, with an urgent feeling and a high crime. Members of gangs, conscripts Minute Men, always search the means to fly of time, and to put an end to a life in exchange for some hours matters them not much.
To fly of time is a simple question of force: the attacker literally gains the upper hand by putting his clock directly on that of his victim, by assuring his catch by a key of arm.
When Will protects an unknown of a team of Minute Men who try to steal from him its time, this one, a rich man named Henry, he gives in thanks a century of time. But since the time is a very watched currency, the movement of such sum in sprightly Dayton authorities, the security guards du Temps. Besides, Will is accused of murder, what has the effect of throwing in its etuis Raymond Leon, a veteran of the security guards du Temps.
Without plan well defined - to avoid the security guards du Temps - Will decides to go in the richest zone, New Greenwich. Contrary to Dayton, nothing quickly goes there; the time is a luxury from which benefit the inhabitants, some people having hundreds, or even thousand years to be lived.
But this relating immortality has a price, and all fear a flight or an attack - as points it out Will, «the poor people die and the rich men don't live». Will soon realises that so that someone live, many people have to die to support balance between rich men and poor people. Perhaps can he employ in his/her time to improve things? There is a thing however in New Greenwich who attracts Will: Sylvia Weis, the girl of very rich man Philippe Weis. When the security guards du Temps try to arrest Will, he takes Sylvia in hostage, and what begins with a violation of law a struggle persevered becomes to change the rules of it «better of the worlds» which isn't one, with in its centre two lovers in escape.
The producer Eric Newman notes speed with which present Andrew Niccol this world in its story. «The main challenge in a film such as this one is to find how to make accept its world. Andrew reaches it in first three pages of scenario.
Those who run after time:
« Will Salas wakes up, goes to a room in which is a splendid 25-year-old woman, and says: «Good morning, mom.» And he has this metre in the wrist, which shows the countdown. His mother gives her then 30 minutes to eat. They understand immediately that Will has only 22 hours to be lived, unless he gets more time. And it is his mother, although she seems to be the same age old, which just gives him the time which is needed to obtain a decent meal. It is remarkable of simplicity and effectiveness, what is the most difficult to succeed in a scenario.»
Search actors for a film in which all characters have 25 years of physical appearance would be possible seem simple to first access, but it wasn't case. Even if, externally, the characters seem young, some They is older in reality can be 30, 40, 50, 60 years old, and even more than 100 years old. And the actors were to be capable of making it in their interpretation, without the assistant of making-up, special effects or pictures of synthesis.
Andrew Niccol notes: «All actors had to seem to be 25 years old because in the story, it is the age in which the gene of ageing ceases being active. This age wasn't haphazardly chosen. It is the age of physical maturity, when the frontal lobe of the brain is entirely developed - the part of the brain which controls impulses and careless behaviours. The societies of car hire know it: they don't rent vehicles to the persons of less than 25 years. There are characters in the film who are chronologically 100 years old, then I had to search« old souls». Only some young actors had the capacity to play a senior in the body of a 25-year-old person.»
Justin Timberlake is one of these actors who had the chance to play «old soul». The fact that he knows very young publicity contributed to persuade the film-makers of its aptitude to represent Will. Andrew Niccol explains: «I love Justin's working ethics; it is one of the main features of character which it shares with his character. He works hard. For me, who Justin plays Will Salas went without saying. Will must get up every day and leave to work or to die, and I don't think that Justin takes a day off himself since he is 12 years old... There was no reason that it isn't credible in this role of hero of action since it seems to achieve all that it undertakes.»
What confirms Eric Newman: «Justin became 17-year-old adult, when he attained the status of worldwide star. He had no classical childhood, and he carries it to him there. The character of Will didn't have probably either childhood since, in this world, they are born with a clock in the wrist and they pass first 24 years of her life to wait that it starts. And when she starts, there is less than a year old to be made there; they are always facing his own death. I think that Justin always worked more hard than whoever, and he also includes it into his game of actor Justin and Will have both a side «you work or you die», they meet on this aspect.»
Justin Timberlake, devoted admirer of action films for a long time, grabbed opportunity to play a character whose heroism takes root at the same time in reality and in wealth of context.« When I was rascal, some of my favourite action films were RAMBO, THE FUGITIVE and TRAP OF CRYSTAL. What I preferred most in these films, it was that the protagonists were ordinary people who found themselves plunged into extraordinary circumstances and fulfilled exceptional things then.»
The heroism of Will is launched by an easily comprehensible factor. Justin Timberlake notices:« Will grew with almost nothing. He gets up every morning and is going to work to survive. After a series of events, he decides that he hasn't any more to support it and tries to change the lesson of things. Will grows in Dayton, which is a kind of ghetto. There is something ironic due to the fact that the name of this zone includes word " day « because most citizens have only one day to be lived. So, the daily life in Dayton has a very quick rhythm. People have no time to walk easy, they run generally to go from a place to other one, and drink and eat during their running. They don't have one minute to lose. Everything is frenetic and enduring, in a kind of dangerous and nevertheless nice context. When they are backs in the wall and that there isn't the choice anymore, it is necessary to see his priorities again and to live his life in the correct way, to survive.» Will grandit à Dayton, qui est une sorte de ghetto. Il y a quelque chose d’ironique dans le fait que le nom de cette zone comporte le mot « day » car la plupart des citoyens n’ont qu’un jour à vivre. De ce fait, la vie quotidienne à Dayton a un rythme très rapide. Les gens n’ont pas le temps de marcher tranquillement, ils courent généralement pour se rendre d’un endroit à un autre, et boivent et mangent durant leur course. Ils n’ont pas une minute à perdre. Tout est frénétique et vivace, dans une sorte de contexte dangereux et néanmoins beau. Quand on est dos au mur et qu’on n’a plus le choix, il faut revoir ses priorités et vivre sa vie comme il se doit, pour survivre. »
Justin Timberlake follows: «There are people who see the world similarly than Will. When all is said and done, I think that he wants only what is fair. Across Sylvia, Will discovers that there is something bigger, a reason for which to fight. A kind of tale to Robin des Bois develops then, once they are united; as any young persons confronted with risky situations, they fall in love to one of other one. And to work face to face with Amanda was brilliant. We could really pick up this special knack between these two characters.»
Sylvia is going to become the one who is going to push Will to take up challenge, but at first, nothing lets him guess. Andrew Davis explains: «There is a latent obscure side at Sylvia whom Amanda Seyfried could according to me highlight. What I like at Amanda's, it is that there is in her a softness, and at the same time something sharp. I don't think that the public indeed could receive it until now.»
Amy Israel, executive producer, adds: «Sylvia saw in a gold animal box, so much surprotégée that she feels as booby-trapped, and she reappraises this situation because she isn't sure that the world is exactly such as he should be. However she stays on her place, locked up in this system by her father and her social position, always hoping more, eager to take risks. But nobody takes risks in New Greenwich.»
Amanda Seyfried reveals: «Sylvia fears his life every day. She dreams about adventure. In the world such as his, they pass so much time to protect its existence which was never seen really. Everybody has a bodyguard. They all eat very well, but little, and drink neither nor smoke, it is too ordinary. Sylvia isn't made for this life. Its wish of a different life comes true when Will takes it away.»
The Will's first appearance in the world of the rich men reveals. It isn't apparently on its place, but there is something irremediably attractive at home, at least with Sylvia's eyes.
Amanda Seyfried follows: «He comes to New Greenwich, and he cuts because he is more alive than people of this world. Once Will and Sylvia arrive at Dayton, everybody runs, because they struggle against fatal expiry date. Everybody quickly moves, but some glow reigns, and it is liberating because they lived from day to day. Things differently are seen, they lived in another way. Alone the present instant matters.»
It is this change of environment that marks a turn for Will and Sylvia. For Justin Timberlake: «The first half of the film is dedicated to Will and his evolution: halfway, he decides to fight for something, there happens a higher purpose. The second half of the film is more orientated on the evolution of Sylvia. She comes from the rich society at time and subestimates what counts for Will - and reciprocally. It is a thing to leave nothing and to try to struggle for something fair; it is other to have everything and to accomplish that, perhaps, he isn't deserved. There is humility in this acceptance, and it is what transforms Sylvia.»
Besides the journey of Sylvia, Amanda Seyfried was attracted by the same things which fascinated Justin Timberlake in the world created by Andrew Niccol. She explains: «Andrew is most unusual, and I wanted to be part of this plan. This world so differs, but at the same time so similar in the way we live, that this makes it even more clever. And I must confess that to carry a gun and to give some kicks to buttocks made me the biggest good!» Sylvia and Will escape their existence, not only to find of time for new day, but also to avoid the security guards du Temps. Sylvia et Will fuient leurs existences, pas seulement pour trouver du temps pour une nouvelle journée, mais pour échapper aux Gardiens du Temps.
Andrew Niccol notices: «The security guards du Temps watch in the good functioning of the system; they protect the time in fact. And the antagonistic principal, the security guard Raymond Leon, isn't somebody abject in itself. It is just a bureaucrat, a symbol of the authority which makes allegiance to person, neither rich man nor poor man. He serves only minutes and seconds.»
Leon isn't rich. He has a stable job which he hopes to keep to live another 35 years beyond allocated time. He believes in the system because he is compelled to it. He is in contrast to Will. Will is enough young person to believe in a future improvement - a concept in which Leon shortly believed number of years before. Leon is rather old now to know, and to be persuaded (or be obliged to it) that it is necessary to work for the system at the risk of being eliminated.
For the role of Leon, the scriptwriters opted for another " old soul ", Cillian Murphy. This one explains: «Leon is a cop made responsible for making sure that the system continues, but it is a very interesting character because contradictory. He comes from the same disadvantaged background as Will and in the depths of him, he knows that the system is corrupted. However it accepts him, decided well to keep its time. It is a character very energetic and concentrated, and he doesn't cease going forward. I think that he made a clean sweep of his past. Leon and Will are both faces of the medal. They just took two different ways. Leon chose the one who consists in abolishing all doubts and questions in relation to the system.»
As in a classical chase, a link creates between the pursuer and the following. Cillian Murphy comments: «Not only Leon realises that he is on the same side that Will, but in more he knew his father. I think that in the course of history, they have more and more respect the one as other one.»
A part of threat which influences those who live in Dayton, besides fact not to harvest the wage-time of day, comes from the presence of Minutes Men, the thieves of time. Alex Pettyfer represents Fortis, the leader of Minutes Men, a 75-year-old psychopath (who appears of course 25) there. Andrew Niccol comments: «The age of the character makes that he expresses himself well. It is more sophisticated in the way it gets dressed than a younger man, what differentiates it from other characters. »Alex Pettyfer declares: «Fortis is a cogneur not lacking in some elegance. He is just completely crazy, and starving man of time. I think that most flippant at home, it is that he has nothing to lose. He makes fun of everything. He is just completely mad and becomes hyper violate for time.»
The actor appreciated his trip in the obscure side, which he considers to be a liberating experience: «It isn't possible to make anything by playing the villain, but they have some creative freedom. It is what there is a more attractive by playing a character such as Fortis: it is possible to construct full of facets.»
To represent Rachel Salas, the mother of Will, the scriptwriters turned to Olivia Wilde, whose career blew up with films such as TRON: INHERITANCE And COWBOYS and INVADERS. The producer Eric Newman notices: «Olivia isn't going to be able to play a 50-year-old woman before around thirty years, and I think that there was a challenge there to be raised and something amusing for the actors and ourselves.». Andrew Niccol adds: «This role required an actress having a real maturity, and Olivia has this quality.»
Olivia Wilde, younger of some years than Justin Timberlake, plays however his mother in the film. She entrusts: «I was very interested by the idea of playing a middle-aged person in a young body. I found intriguing to play a quinquagenarian who had a long life in the world where it is very difficult to live for a long time. They wonder what she endured to manage to survive 50 years.»
Olivia Wilde was also impressed by the vision of Andrew Niccol. «Surprisingly, Dayton is a very coloured, living and appealing city. It would have been possible to believe in a dystopique society where everything is grey, lifeless, sad. Instead of it, although this world raises at the highest level inequality and misery, an incredible life remains, particularly in the poorest part of the city.»
The magnate Philippe Weis, father of Sylvia, is completely in contrast to the family formed by Will and Rachel. For him, Dayton is only a vague concept. The destiny of the family Weis built itself thanks to a chain of boutiques of credit of time, which gathers in exorbitant interests on the loans of hopeless Daytoniens who want to survive. Vincent Kartheiser, the star of "Mad Men" took up challenge to represent an old father of a hundred of years while he has in the reality not ten years old more than Amanda Seyfried. He declares:« While you and I could say: «Go, Screw this day was once seen only "or " as though it was the last of your life», Weis, his friends and his family don't think that last day ago. Weis and people of his acabit have centuries to fulfil their designs, what finally deprives them of any motivation.»
Every second counts:
Philippe Weis isn't anxious for his destiny - as long as people will have only 24 hours to be lived, it will be so many clients. And dices are definitely thrown, in favour of Weis of course. Vincent Kartheiser notes: «The rates of interest which applies Philippe are in direct correlation with the degree of control which wants to apply the well-off to those with nothing. Therefore, when people have to die to avoid overpopulation, rates of interest climb, so they have no more means to borrow of time, or even to pay the interests of the time which they have already borrowed. And it is necessary to honour this loan to continue living.»
The best friend of Will, Borel, is an unsettled being unable to support these restrictions. Johnny Galecki, who interprets him, explains: «Borel and Will share the same political ideas, but I think that Borel is too sensitive for the world which is his. This clock of life is its Achilles heel; she haunts him. Then he treats himself by self-medication, perhaps too much. If there wasn't his marvellous wife and his baby, he would have left for a long time.»
Henry Hamilton is a cryptic foreigner who enters the bar preferred by Will and Borel, showing more than hundred years in his wrist. Such prey attracts immediately them Minute Men, but Will intervenes to protect him. In exchange, not only Hamilton gives him of time in reward, but he also delivers him truth and heavy secrets on their respective zones.
Matt Bomer, of successful American series " White Collar ", represents Hamilton. He comments: «Hamilton is a kind of character of novel as it is found in the writings of Dickens: it delivers to the protagonists of information who put them on a new way. Henry wants to change things, but he doesn't know how to make. He is 105 years old, he lived well and wants to finish it with existence. In Will, he finds somebody who doesn't think that for himself, a man with courage and with fortitude to take change. Then he gives him years, hoping that this audacious soul will be able to tell difference.»
TIME OUT was entirely turned in and around Los Angeles. Andrew Niccol explains: «We thought that it would be interesting to turn in the capital of the desire of eternal youth. It seemed appropriate, in some sense. The world of TIME OUT resembles ours because when we conceived it, we postulated that the invention of the bodily clock had marked the death of quite other invention: the poor people don't have enough time to create whatever it is once again, and the rich men take no initiative. Why to do something today, when you can put him back to a hundred of years?»
Although TIME OUT contains familiar elements, it is nevertheless about an alternative reality or about the parallel world, where every clothes, every object, every individual is subjected to time. Andrew Niccol notes: «Everything, including decors and the picture, is in touch with time. We decided that there would be no graffiti in the ghetto because nobody has time to be lost to scrawl a wall. In Dayton, where everybody runs, the camera was always in movement, and when we arrive in the zone rich in New Greenwich, the camera decelerates. We wanted to give the impression that the time passes less quickly for these lucky persons. In the same way, the music is quick in the poor zone and more measured in the rich zone.»
The colours of Dayton burst, while the palette of New Greenwich is lifeless, with this feeling that lively colours are there for decades. Your wrist is your wallet and your bank account; in a society where crime is omnipresent as in Dayton, it is easily accessible. And with only some hours to live, clothes must be easily and fast slipped on: they are endowed with zippers or with rubber bands. In New Greenwich, the time represents power, then the wrist is protected and clothes as accessories reflect mentality «I have time to be killed». Hair and making-up are luxurious.
To describe how scenes of action were turned in the film, agreeable Justin Timberlake: «I run, they cut, somebody shouts« action!», and I run again. Then they cut. Then somebody shouts« action!», and I run even more. No, really, it was very amusing. I would say that the film is more a thriller than an action film, and I think that it is owed to Roger Deakins, a manager of the legendary photograph a lot. Way he filmed history seemed simple, but result is intriguing. There are no trembled pictures, shaken camera or quick movements to give the impression of speed, on the contrary, these are magnificently composed plans. It tells difference because everything seems more real.»
Dayton and New Greenwich comes from the vision of Andrew Niccol and was made concrete thanks to the creative talent of its team, of which the manager of the photograph Roger Deakins, ASC / ACS, the leader interior decorator Alex McDowell, RDI and leader costumer Colleen Atwood. The producer Eric Newman comments: «They transformed Los Angeles into something ever seen. The city plays an important role in the film, it is a full character, but I challenge whoever to see the film and to say« It is Los Angeles, apparently». It is really a very particular aspect of the city.»
For the streets of Dayton, the film-makers chose a zone recuperating several patties of houses in an industrial district of the centre of Los Angeles, and they transformed disused buildings to make structures of the metropolis in constant effervescence. Other places " daytoniens « include: a lender on pledges near the international airport of Los Angeles, a flat in Maywood, a Mexican restaurant of the city centre, a power station of Pasadena, the bridge of the 7th street and the bank, the industrial city of Vernon, and a ground of Griffith Park.
New Greenwich is an amalgam of places located to Beverly Hills, Century City and Malibu, all reflecting this luxurious world of the richest zone of time, which the film-makers described as «empty paradise. »Among the places of filming also represent the inside of a cinema-luxury hotel and the outside of gratteciel of Century City, combined to create the casino of New Greenwich where Will tries his new life; the severe offices of a big artistic agency of Los Angeles, the streets of the district of business of Century City; the inside of the building of a bank of the centre. For the sumptuous domicile of Philippe Weis, the magic of the cinema was used to combine two of the nicest residences deprived of Beverly Hills, notably the villa Fleur de Lys, reputed as one of the most expensive properties of the United States.
Side vehicles, it is possible to identify several models of ancient cars which were slightly changed to incorporate in this alternative world, as one Dodge Challengers of 1970-1971, one Jaguar XKE Roadster of 1967, one Cadillac Seville of 1971, Lincoln Town Car of 1961, a limousine Lehmann-Peterson of 1964, Ram Charger of 1980 or else an armoured lorry of 1990. Throughout these stages, action never stops, what sometimes raised true performance for the actors. Amanda Seyfried entrusts: «It was sometimes painful in the stages where Will and Sylvia run for their life - that is to say mostly - because I carried very high heels!».
To turn TIME OUT reanimated eternal debate at the actors as at the technicians: what is your priority, the time or the money? For Justin Timberlake, subject was particularly of actuality seen its charged timetable: «This film was indeed most taking that I ever make. He really marked me. Two weeks after the end of filming, I continued looking at my forearm, waiting for me to see a clock striking at the wrong time. It is because the world of Andrew Niccol was so real for me...» Amanda Seyfried entrusts: «I sometimes told again and again« money "instead of " time »in my dialogues. Andrew cut and took me back...» Amanda Seyfried confie : « Il m’est arrivé à plusieurs reprises de dire « argent » au lieu de « temps » dans mes dialogues. Andrew coupait et me reprenait... »
To sum up, the producer Eric Newman comes back on the notion which enticed him in plan at origin, to know the way TIME OUT work on two levels. «It is possible to appreciate film for the history, the characters and action, and then, with detachment, to think about the world in which we live. «It is a personal choice: if they prefer, it is completely possible to watch the film without entering a deep reflexion, and appreciating it to the first degree.»
Definite Andrew Niccol: «For what I hope, it is that the public is going to appreciate TIME OUT at several levels. Some persons will go to see him for scenes of action, or love story between Will and Sylvia. But beyond this palpitating adventure, they also find there a lot of notions which make reflect.« Every second counts, indeed. That's true in the world of TIME OUT as in ours.»
