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Closer (2004/I) More at IMDbPro »

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Closer -- Trailer for Closer
Closer -- The relationships of two couples become complicated and deceitful when the man from one couple meets the woman of the other.
Closer -- The relationships of two couples become complicated and deceitful when the man from one couple meets the woman of the other.


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7.3/10   150,181 votes »
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Up 8% in popularity this week. See why on IMDbPro.
Writers (WGA):
Patrick Marber (play)
Patrick Marber (screenplay)
View company contact information for Closer on IMDbPro.
Release Date:
10 December 2004 (USA) See more »
If you believe in love at first sight, you never stop looking. See more »
The relationships of two couples become complicated and deceitful when the man from one couple meets the woman of the other. Full summary » | Full synopsis »
Plot Keywords:
Nominated for 2 Oscars. Another 18 wins & 28 nominations See more »
User Reviews:
Even love isn't pretty from this up-close See more (894 total) »


  (in credits order) (verified as complete)

Julia Roberts ... Anna

Jude Law ... Dan

Natalie Portman ... Alice

Clive Owen ... Larry

Nick Hobbs ... Taxi Driver

Colin Stinton ... Customs Officer
rest of cast listed alphabetically:
Steve Benham ... Car driver (uncredited)
Elizabeth Bower ... Chatty Exhibition Guest (uncredited)
Ray Donn ... Customs Officer (uncredited)
Daniel Dresner ... Coughing Man (uncredited)
Rrenford Junior Fagan ... Bus Passenger (uncredited)

Antony Gabriel ... Luke (uncredited)
Michael Haley ... Smoking Man (uncredited)

Selena Mars ... Traveler (uncredited)

Steve Morphew ... Bartender (uncredited)

Abdul Popoola ... Doctor (uncredited)
Peter Rnic ... Bodyguard (uncredited)
Leonard Silver ... Exhibition Guest (uncredited)

Robert Stone ... Bouncer (uncredited)

Bret Yount ... Customs Officer (uncredited)

Directed by
Mike Nichols 
Writing credits
Patrick Marber (play)

Patrick Marber (screenplay)

Produced by
Mary Bailey .... associate producer
Cary Brokaw .... producer
John Calley .... producer
James Clayton .... co-executive producer
Celia D. Costas .... executive producer
Robert Fox .... executive producer
Michael Haley .... co-producer
Paula Jalfon .... co-executive producer
Paul A. Levin .... associate producer
Mike Nichols .... producer
Duncan Reid .... co-executive producer
Scott Rudin .... executive producer
Cinematography by
Stephen Goldblatt 
Film Editing by
John Bloom 
Antonia Van Drimmelen 
Production Design by
Tim Hatley 
Art Direction by
Grant Armstrong 
Hannah Moseley 
Mark Raggett 
Set Decoration by
John Bush 
Costume Design by
Ann Roth 
Makeup Department
Christine Blundell .... hair stylist: Ms. Portman
Christine Blundell .... makeup artist: Ms. Portman
Richard Dean .... makeup artist: Ms. Roberts
Ian Denson .... hair stylist: Ms. Roberts
Linda DeVetta .... hair designer
Linda DeVetta .... makeup designer
Mark English .... key hair stylist
Tracey Lee .... makeup dailies
Dorka Nieradzik .... hair stylist: Mr. Owen
Dorka Nieradzik .... makeup artist: Mr. Owen
Trefor Proud .... key makeup artist
Michelle Taylor .... hair stylist: Mr. Law
Michelle Webb .... assistant makeup artist
Production Management
Celia D. Costas .... unit production manager
Antoine Douaihy .... assistant unit production manager: New York
Ted Ladlow .... unit manager
Rachel Neale .... unit production manager
Second Unit Director or Assistant Director
Jonny Benson .... third assistant director
Rob Burgess .... third assistant director
Michael Haley .... first assistant director
Toby Hefferman .... second assistant director
Eddie Thorne .... assistant director
Robert E. Warren .... assistant director
Art Department
David H. Allen .... property master: New York (as David Allen)
Julia Castle .... construction coordinator
Alan Chesters .... construction manager
Dean Coldham .... plasterer
Martin Duffy .... stand-by carpenter
Robert J. Dugdale .... assistant scenic artist
Michael Gunner .... supervising painter
Jane Harwood .... assistant art director
Gary Ixer .... stand-by props
David Ned Kelly .... supervising carpenter (as David Kelly)
Tony Marks .... carpenter
Maxie McDonald .... property master
Graham Mitchell .... carpenter
Neil Murrum .... chargehand dressing props
Brian Neighbour .... carpenter
Wesley Peppiatt .... props
Lucinda Sturgis .... props buyer
Howard Weaver .... scenic artist
Ben Wilkinson .... dressing props
Simon Wilkinson .... chargehand stand-by props
Steve Williamson .... supervising painter
Eddie Wolstencroft .... stand-by painter
Christian McDonald .... props (uncredited)
Grant Shaffer .... storyboard artist (uncredited)
Sound Department
Jamie Baker .... foley editor
James Bennett .... adr recordist
Ron Bochar .... sound re-recording mixer
Ron Bochar .... supervising sound editor
Kam Chan .... foley supervisor
Laura Civiello .... dialogue editor
Marko A. Costanzo .... foley artist
Lee Dichter .... sound re-recording mixer
Chris Fielder .... assistant sound editor
Peter Gleaves .... adr mixer
Heather Gross .... first assistant sound editor
Harry Higgins .... sound re-recording engineer
Larry Hopkins .... layback sound mixer
Gareth John .... sound maintenance
George A. Lara .... foley mixer
Branka Mrkic .... dialogue editor (as Branka Mrkic-Tana)
Barry O'Sullivan .... boom operator
Angela Organ .... assistant adr editor
Nicholas Renbeck .... foley editor
Jamie Roden .... adr mixer
Ivan Sharrock .... production sound mixer
Deborah Wallach .... adr editor
Allan Zaleski .... sound effects editor
Alexander Beddow .... adr assistant (uncredited)
David Warzynski .... foley assistant (uncredited)
Special Effects by
Stuart Brisdon .... special effects supervisor
Mark Haddenham .... special effects senior technician
Jennifer Herbert .... special effects: The Mill
Mark White .... special effects
Visual Effects by
Jennifer Herbert .... digital compositor: The Mill
Katja Hollmann .... digital lab supervisor: Lipsync Post
Matthew Leach .... technical assistant
Kevin Phelan .... scanning and recording producer: Lip Sync Post
Doug Spilatro .... visual effects
Olaf Wendt .... visual effects supervisor
William Foxwell .... digital lab operator: Lip Sync Post (uncredited)
Katy Lemon .... digital lab operator: Lip Sync Post (uncredited)
Marc Cass .... stunts (as Mark Cass)
Tracey Caudle .... stunts (as Tracy Caudle)
Ray De-Haan .... stunt coordinator (as Ray De Haan)
David Garrick .... stunts
Steve Griffin .... stunt coordinator
Crispin Layfield .... stunts
Tony Lucken .... stunts
Michelle Sebek .... stunt double
Tom Elliott .... stunts (uncredited)
Camera and Electrical Department
Pete Cavaciuti .... Steadicam operator
Pete Cavaciuti .... camera operator: "b" camera
Gareth Coop .... camera trainee
Jason Coop .... central loader
Trevor Coop .... camera operator: "a" camera
Clive Coote .... still photographer
Kathleen Corgan .... second assistant camera: New York
Ted Deason .... first assistant camera
Lester Dunton .... video supervisor
Laurence Edwards .... crane technician
Russell Engels .... gaffer: New York (as Russ Engels)
Steve Finberg .... electrician
Tommy Finch .... gaffer
Alan Grayley .... rigging electrician
Alan Hall .... second assistant camera
Demetri Jagger .... video assist operator
Sacha Jones .... second assistant camera: "a" camera
Wayne King .... electrician
Graham Martyr .... first assistant camera: "a" camera
Billy Merrell .... rigging gaffer
Richard Merrell .... electrician
Neil Munro .... lighting technician
Luke Myslowski .... grip
Peter Myslowski .... grip: "a" camera unit
Peter Myslowski .... key grip
Billy Patsos .... key grip: New York (as William Patsos)
Chris Silano .... first assistant camera: New York (as A. Chris Silano)
Andy Thomson .... crane technician
Martyn Welland .... electrician
George White .... assistant chief lighting technician
Zoe Whittaker .... video assist operator: dailies
Steve Hideg .... crane technician (uncredited)
Casting Department
Louis Elman .... adr voice casting
Sondra James .... voice casting
Ilenka Jelowicki .... extras casting
Costume and Wardrobe Department
Lucy Denny .... costume cutter
Melissa Haley .... costumes coordinator
Michelle Matland .... assistant costume designer
Luan Placks .... costumer
Lindsay Pugh .... costume supervisor
Adam Roach .... wardrobe master
Sophia Spink .... costumer
Fran Vega-Buck .... costumer (as Francisca V. Vega)
Editorial Department
Andrew Buckland .... assistant editor
Closer .... dailies advisor
Armando Fente .... assistant editor
Ann Gray .... post-production coordinator
Rupert Hall .... assistant editor
William Henry .... associate editor
Kate Mackenzie .... assistant editor
Stephen R. Sheridan .... color timer (as Steve Sheridan)
Mark Wright .... negative cutter
Music Department
Nancy Allen .... assistant music editor
Andy Brown .... music contractor
Stephen McLaughlin .... music mixer
Suzana Peric .... music editor
Transportation Department
Gary Birmingham .... unit transportation manager
Martin Birmingham .... driver: cast
Jimmy Carruthers .... unit driver
Lee Isgar .... driver: Cary Brokaw
Karen Russell .... driver: minibus
Lol Smith .... driver: Clive Owen
Other crew
Mary Bailey .... script supervisor
Joanna Bates .... assistant accountant
Kellie Belle .... consultant: product placement
Kristin Brokaw .... floor runner
Creel Brown .... additional production assistant
Tabitha Burrill .... production accountant
Sean Mik'ael Butler .... development intern
Blanca Camacho .... adr loop group
Gilly Case .... location manager
Francesca Castellano .... production coordinator
John Charles .... software engineer: Sony DAC
Gavin Charlton .... sous chef
J. John Corbett .... title designer
Deb Dyer .... accountant
Maria Fitzgerald .... accounting assistant
Heather Gauntt .... assistant location manager
Nicole Gregory .... unit publicist
Joe Guest .... location manager: New York
Giles Harding .... additional floor runner
Cara Higgins .... daily floor runner
David House .... stand-in
Harriet Howe .... additional set runner
Nikki Inwood .... stand-in: Julia Roberts
Oliver Kersey .... floor runner
Bryn Lawrence .... floor runner
Jane Levy .... assistant: Mr. Nichols
Sara Levy .... floor runner
Sandrine Loisy .... stand-in: Natalie Portman
Dana Mayer .... assistant choreographer
Lisa Medwid .... assistant: Mr. Calley
Jon Miller .... assistant accountant
Tariq Mirza .... production legal
Steve Morphew .... stand-in: Jude Law
Lara Murray .... assistant location manager
Heather Noble .... assistant coordinator
Vanraaj Padhaal .... production assistant
Vincent Paterson .... choreographer
Geraldine Patten .... assistant: Ms. Costas
Nancy A. Pavia .... production assistant
Emma Pill .... location manager
David Pinkus .... production assistant: crowd
David Pinnington .... location manager
Holly Pullinger .... assistant location manager
Donald Rice .... production assistant
Patsy Rodenburg .... dialogue coach: Ms. Portman
Christina I. Rodriguez .... set production assistant: New York
Paul Sacks .... set production assistant
Christopher T. Sadler .... assistant to cast
Nick Saunders .... office production assistant
Adelaide Scardino .... assistant: Mr. Brokaw
Rob Seager .... assistant accountant
Jane Soans .... first location manager
Amanda Stevens .... location manager
Tom Stourton .... location scout
Lorna Struthers .... production secretary
Elizabeth Chai Vasarhelyi .... assistant: Mr. Nichols
Martin Wady .... location scout
Eileen Yip .... production assistant
Jennifer Zolten Freed .... post-production accountant (uncredited)
Andrew S. Kahn .... assistant: Scott Rudin (uncredited)
Darren O'Connell .... floor runner: dailies (uncredited)
Lucy Williams .... location scout (uncredited)
James Windeler .... production assistant (uncredited)

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
Rated R for sequences of graphic sexual dialogue, nudity/sexuality and language
104 min | Turkey:98 min (TV version)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

Damien Rice, who sings the song "Blower's Daughter" on the film's soundtrack, Recorded a song for the movie also called "Closer" - but the song wasn't finished in time for the movies release. Another Rice song "Cold Water" can be heard in the film when Alice and Dan are walking around London after leaving the hospital.See more »
Continuity: Alice's arm changes position when Larry pays a tip to her.See more »
[first lines]
Alice:Hello, stranger.
See more »
CaramelSee more »


Is this film based on a novel?
What's the exact name of the street and the park that Alice and Dan walk into at the beginning of the movie?
See more »
181 out of 203 people found the following review useful.
Even love isn't pretty from this up-close, 8 December 2004
Author: CammilaAlbertson from Michigan

This film is beautiful, terrible, and real. Sadly, in a world where we're used to hearing stories in the simplest and most easy to swallow terms, I doubt that the average lover of romantic comedies and action flicks will like it. This is a story about the perpetual struggles found in human relationships and if you're used to seeing on-screen romance played out with operatic tragedy, (The English Patient) fable-like tenderness (Like Water for Chocolate), or perfect endings (Officer and a Gentleman), you might be out of luck with this movie. If, however, you think you'd like to see something a little more up-close, complex and real, this might be a movie that will change the way you think about love.

This is a film that focuses less on individuals, and more on the relationships between those individuals. If the four characters in Closer were represented by four points on a map, this movie would be a study of the lines that cross between those points, rather than the points themselves. In this way, we can easily see ourselves and each other in what happens on screen: you don't have to be a photographer to relate to Julia Roberts' self-loathing adulterer, because the film doesn't strive to tell the story of where she came from or why she takes pictures. For her character, it strives to tell the story of someone completely overcome both with lust and with the guilt that accompanies it. These two compulsions feed off of each other so feverishly that she cannot find happiness either in acting on her lust or in abstaining. Telling this side and only this side of her story helps it become more universal, as do the stories of her surrounding characters.

Patrick Marber made only a few changes in adapting his play to the screen, resulting in distinctly theatre-esquire dialog. This intense stylization helps the unconventional narrative seep into your unconscious: with the characters speaking a slightly altered language, it becomes easier to accept their slightly altered depiction of romantic entanglements. Make no mistake, Closer pulls no punches when it comes to the ugly side of romance, of commitment, of love and of the need to be loved.

Marber seems to be preoccupied with the way a slighted lover will beg or even demand to know every excruciating detail about their lover's infidelity. This inexplicable and seemingly masochistic phenomenon pervades Closer on both a literal and thematic level, because Marber has a very simple and universal idea to present. This need to hear these painful truths is the thesis of Closer. What we're soon able to see through the weaving of the characters' relationships is that this desire is a manifestation of any lover's need to possess his or her beloved. The victim of an infidelity grapples not just with the pain of betrayal but also with the inescapable knowledge of a most intimate element of their lover that will never, ever be theirs. In the same way that a man might find himself unable to live with the knowledge of his girlfriend's past sexual encounters (a la Chasing Amy), the cheated-on man or woman has to confront their pain, however irrational, for being unable to think of every element of their partner as their own.

Closer revolves around this theme. On the one hand, it does this through the literal story of a man wanting to know the details of how and where and with whom his wife cheated on him, vainly trying to take back those intimate moments and claim them as his own. On the other hand, however, Closer uses this theme in a much more general way. A man may grasp at the lustful experiences of his wife, trying to reverse his exclusion from them, but the way that grasping is employed in Closer shows us that even if it weren't for the infidelity, he would be grasping anyway. We all would. Our need to feel we have complete possession of our lover is what drives us to desperately dig deeper and deeper, trying to gain some secret knowledge of who and what they are at their most pure and uncompromised level.

In the end, however, this level doesn't exist. The digging, the struggling and the grasping is futile as no person can be reduced to a singular truth. We are an entirely different thing, practically a different animal, from moment to moment. As Natalie Portman's character so perfectly illustrates by the end, even the most mundane details about who we are can turn out to be transitory or meaningless. That's not a pretty area of human life to shine a light on but Mike Nichols does it and with an unflinching ability. If it's a perspective you're prepared to spend some time considering, Closer might just be the movie to get the ball rolling.

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