November

November (2004)

The truth lies outside the frame.

Sophie Jacobs is going through the most difficult time of her life. Now, she just has to find out if it's real.

Date of release
2004-01-18
TMDB
4.9 / 10 (49)
Runtime
1h 13m
Genres
Drama, Mystery, Thriller
Director
Greg Harrison

Casting

Interesting facts

  • Filmed in: Los Angeles

November is a 2004 American psychological thriller film premiered at the 2004 Sundance Film Festival. It follows a photographer whose life begins to unravel following a traumatic incident on November 7 that involved her boyfriend. The film co-stars Michael Ealy, Nora Dunn, Anne Archer, Nick Offerman and Matthew Carey.

Filming

Harrison, Brand and Renfrew intended the film to be set and shot in San Francisco, but problems arose with their proposal. Cox had a commitment to Friends, which was in production in Los Angeles, and the film's production costs did not allow the entire production team to relocate to northern California for the duration for the shoot.

Production finally began on May 19, 2003, and took place on Cox's days off from her Friends shooting schedule. Renfrew's Los Angeles home stood in for the apartment of Cox's character in the film. The budget did not allow the luxury of trailers, but with some persuading, neighbouring apartments were converted into staging areas.

The film's cinematographer was Nancy Schreiber, who had never before shot a film on Mini-DV. Harrison intended the shifts between chapters of the film—and Sophie's emotions—to be signalled visually, and he instructed Schreiber to employ different colour casts accordingly. For the opening robbery scenes (which recur throughout the film), Schreiber purchased two Panasonic AG-DVX100 cameras with white balance and color temperature controls.

Harrison applauded the speed of Mini-DV for allowing such a short shoot: "We could shoot with multiple cameras at times, which helped us in our schedule". He also cited the advantages Mini-DV had in post-production, estimating that 75%–80% of the visual and sound design processing had been performed on desktop computers.

Once shooting had wrapped, Harrison entered the editing room and constructed the film over the course of eighteen weeks, occasionally consulting colleagues such as Sarah Flack (editor of The Limey and Lost In Translation). Harrison, who had started out in the film industry as an editor, noted the strong involvement of key creative personnel throughout the pre-production, production and post-production stages, and called it "kind of a more holisti…

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