Although Carey’s scenes have the strangely elastic compression Kubrick uses throughout The Killing, in both he deploys a fantastic range of gestural nuances that all but eradicate the other player. Stroking the puppy, rubbing an eye with his finger, creasing his ponderous eyebrows, rolling his tongue in his mouth, spitting; his voices segues from velvety softness to rustlike scraping through the same convexity of clenched teeth, suggesting wildly careening states churning inside an unknowable noggin. Carey’s scenes with the parking lot guard are a movie nestled inside a movie, an episodic delirium in which even his shooting the horse and, moments later, being shot by the guard, transpire at the same eerily even temperature, truly like events in a dream.
– Gary Indiana, “Timothy Carey: The Refusal of the Repressed,” from Dead Flowers (Participant Press/VoxPopuli, 2011)
The Timothy Carey Experience 
This might be an appropriate place to mention a CD album titled In Memory of Nikki Arane, by Eugene Chadbourne and John Zorn. If Timothy Carey is a wild man among actors, Chadbourne is one in music. This recording is a live one featuring free improvisation by Chadbourne and Zorn on large number of musical instruments and other noise-making things. On Incus CD 23 (published in 1996), it is an hour-long work in four parts. You can see the album cover on Amazon.com. In the liner notes, Chadbourne says he can “watch The Killing anytime it is on and enjoy the hell out of it. I never get tired of it.”
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You know, I actually have that! Haven’t listened to it yet.
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Chadbourne! From Shock-a-billy!!!! I once saw him mic a rake! he is awesome!
Yes, many have said, Timothy even emotes in Death, and often while dead!
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Mike, you know everybody!! Tim certainly gave his all in his death scenes. It’s like, “You are NOT gonna forget this!”
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