You remember the early 2000s, right? Digital video was just starting to get weird. Not the polished, TikTok-algorithm weird we have now, but that raw, experimental energy where everyone was just trying to see what would stick. That’s exactly the vibe of Things Like This. This 2002 short film, directed by Gregory Mackenzie, isn't exactly a household name like The Matrix, but for a specific pocket of cinephiles, it’s a tiny masterpiece of awkwardness. Honestly, the cast of Things Like This is what really carries the whole thing. It’s a group of people who just fit the strange, slightly off-kilter world Mackenzie built.
It’s a story about a guy named Bill. He’s obsessive. He’s particular. He basically spends his life trying to manage the chaos of existence through very specific rituals. When you look at the cast of Things Like This, you aren't seeing A-list superstars who walked off a Marvel set. You're seeing character actors who know how to lean into the discomfort of being human.
Who Actually Stars in Things Like This?
The heavy lifting is done by T.J. Thyne. Most people know him now as Dr. Jack Hodgins from the long-running series Bones. But back in 2002? He was the king of the "that guy" actors. In this short, he plays Bill. He’s got this nervous energy that makes you want to give him a hug and also move to the other side of the bus.
Thyne is incredible at physical comedy that doesn't feel like "comedy." It feels like a nervous breakdown caught on film. He plays Bill with this rigid posture. Every movement is calculated. It’s the kind of performance that makes you realize how much work goes into looking that uncomfortable.
Then you have Clea DuVall. If you grew up in the 90s or early 2000s, Clea was everywhere. The Faculty, But I'm a Cheerleader, Girl, Interrupted. She has this grounded, dry presence that acts as the perfect foil to Thyne’s high-strung Bill. She plays the Love Interest—well, "love interest" in the way that two lonely people might gravitate toward each other in a cold universe.
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The Chemistry of the Awkward
It's weird. You’d think a short film about a guy obsessed with objects would be boring. It isn't. The cast of Things Like This manages to make the mundane feel high-stakes.
There is a scene where they are just interacting, and the silence does more work than the dialogue. That’s the hallmark of a good cast. They aren't afraid of the quiet. Mackenzie, the director, clearly trusted his actors to fill the space.
- T.J. Thyne as Bill: The anchor. His performance is twitchy, precise, and deeply empathetic.
- Clea DuVall: The emotional weight. She brings a sense of reality to a film that could have easily felt too "artsy" or detached.
- The Supporting Players: Even the background characters feel like they belong in this specific, slightly skewed version of reality.
What’s interesting is how their careers diverged after this. Thyne went on to become a procedural TV staple. DuVall became a powerhouse, eventually moving into directing herself with films like The Intervention and Happiest Season. Seeing them together in this 15-minute window of time is like looking at a time capsule of indie film history.
Why the Casting Matters for the Vibe
A lot of shorts fail because they try to be too big. They try to be a "concept" instead of a story. Things Like This works because the cast treats the ridiculous premise with total sincerity.
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Bill’s obsession with "things like this"—the objects, the patterns—could have been played for laughs. Instead, the actors play it for truth. You feel the weight of his anxiety. You feel DuVall’s character trying to find a way into his world. It’s kinda beautiful in its own depressing way.
The film won some awards on the festival circuit back in the day, including at the USA Film Festival. That doesn't happen unless the performances are tight. In a short film, you don't have time for a character arc that spans decades. You have minutes. The cast of Things Like This delivers those arcs in seconds through a glance or the way they hold a glass of water.
The Legacy of a Short Film Cast
Most people stumble upon this short because they are fans of Bones or Clea DuVall's later work. They come for the names and stay for the weirdness. It's a reminder that before the big paychecks and the 22-episode seasons, these actors were out there doing experimental shorts for the love of the craft.
The production value is definitely "2002 indie." It’s grainy. The lighting is moody. But the faces? They’re timeless. You see the raw talent that eventually made them stars. Honestly, it’s one of those things you should watch if you’re a film student or just someone who likes seeing how actors handle intimate, strange scripts.
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If you’re looking for a deep, philosophical takeaway, it’s probably something about how we all use "things" to shield ourselves from the unpredictability of other people. But really, it’s just a great showcase for two actors who were right on the edge of breaking out.
How to Appreciate the Cast's Work Today
If you want to really dig into why this cast worked, you have to look at their body of work around that same era. It was a specific moment in Hollywood where the "indie darling" was a real career path.
- Watch T.J. Thyne in "Validation": This is another short film he did a few years later. It’s much more upbeat but shows that same incredible range and "everyman" charm he brought to Things Like This.
- Follow Clea DuVall’s Directorial Journey: See how she transitioned from being the face in front of the camera to the voice behind it. Her understanding of character, likely honed in small projects like this, is evident in her films.
- Look for Gregory Mackenzie's other work: While he hasn't been as prolific as his stars, his eye for casting in this short was undeniably spot-on.
The best way to experience the cast of Things Like This is to find a copy of the short—often found on old DVD compilations or deep in the archives of video sharing sites—and watch it without distractions. Pay attention to the hands. Bill is obsessed with his hands and the things they touch. Thyne’s performance in those moments is a masterclass in detail.
Stop looking for the plot and start looking at the people. That’s where the real magic of this short lives. It’s not about what happens; it’s about how these specific actors react to what happens. That is the essence of good casting.