IMDb > Brief Interviews with Hideous Men (2009)
Brief Interviews with Hideous Men
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Brief Interviews with Hideous Men (2009) More at IMDbPro »

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Brief Interviews with Hideous Men -- A graduate student (Nicholson) copes with a recent breakup by conducting interviews with various men.


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John Krasinski (screenplay)
David Foster Wallace (story)
View company contact information for Brief Interviews with Hideous Men on IMDbPro.
Don't say you weren't warned... listen in.
A graduate student (Nicholson) copes with a recent breakup by conducting interviews with various men. | Full synopsis »
1 nomination See more »
User Reviews:
deep and subtle story; stellar editing See more (26 total) »


  (in credits order) (complete, awaiting verification)

Directed by
John Krasinski 
Writing credits
(in alphabetical order)
John Krasinski  screenplay
David Foster Wallace  story collection

Produced by
Kevin Patrick Connors .... executive producer (as Kevin Connors)
Thomas Fatone .... associate producer (as Tom Fatone)
Chris Hayes .... associate producer (as Christopher Hayes)
Eva Kolodner .... producer
John Krasinski .... producer
Yael Melamede .... producer
Dori Oskowitz .... associate producer
George Paaswell .... line producer
Michael Schur .... associate producer
James Suskin .... producer
Original Music by
Billy Mohler 
Nate Wood 
Cinematography by
John Bailey (director of photography)
Film Editing by
Zene Baker 
Rich Fox 
Casting by
Kerry Barden 
Billy Hopkins 
Suzanne Smith 
Production Design by
Stephen Beatrice 
Art Direction by
Pierre Rovira 
Set Decoration by
Cristina Casanas 
Costume Design by
Victoria Farrell 
Makeup Department
Joseph Farulla .... assistant makeup artist
Fabian Garcia .... hair department head
Sharon Ilson .... key makeup artist
Production Management
Danielle Blumstein .... unit production manager
Patrick Gibbons .... production supervisor: re-shoots
John Portnoy .... post-production supervisor
Second Unit Director or Assistant Director
David Blazina .... second assistant director
Anne Marie Dentici .... second assistant director: reshoots
Thomas Fatone .... first assistant director
Kevin Pazmino .... second second assistant director
Luke Tomalin Sherman .... second second assistant director: additional photography
Kim Thompson .... second second assistant director
Art Department
David Boyd .... charge scenic painter
Anna Butwell .... property master: reshoot
Travis Child .... scenic
Isaac Gabaeff .... property master
Bobbi Jo Gonzales .... assistant property master: re-shoot
Liza Handziak .... lead painter
Arlo Hoffman .... assistant property master
Gavin A. Holmes .... carpenter
Kim Korba .... scenic
James Maher .... set dresser
Melissa B. Miller-Costanzo .... art department coordinator (as Melissa B. Miller)
Richard Moran .... construction grip
Michael Powsner .... set dresser
Niquan Riley .... on-set dresser
Pierre Rovira .... construction coordinator
Sound Department
Jeremy Bowker .... supervising sound assistant
Frank Clary .... foley editor
Neil Danziger .... boom operator
Tim Elder .... sound mixer: reshoot
Sean England .... foley artist
Will Files .... sound re-recording mixer
Will Files .... supervising sound editor
Pete Horner .... sound re-recording mixer
Claire Houghtalen .... boom operator: reshoot
Michael Kirchberger .... dialogue editor
Scott R. Lewis .... sound recordist
Charlotte Moore .... post production sound accountant
Jeff Pullman .... sound mixer
Richard Quinn .... dialogue editor
Adam Sanchez .... additional sound mixer
Special Effects by
Chelsea Manifold .... prosthetics
Paul J. Mason .... prosthetics
Carl Paolino .... prosthetics
Camera and Electrical Department
Hilary Benas .... camera loader
Manuel Billeter .... camera operator: "a" camera
Alan Blagg .... key rigging grip
Stephen Consentino .... steadicam operator
Angelo Di Giacomo .... first assistant camera
Micah Eisenmann .... electrician
Michael Fuchs .... camera production assistant
Anthony Gamiello .... key grip: reshoot
Daniel Giddings .... grip
Jamison Grella .... additional electric
Andrew B. Hansen .... best boy electric
Josh Ingalls .... best boy grip
Mark T. Karinja .... lighting technician
Mike Kirsch .... additional grip
Larry Lewinn .... company electric
Paul C. McKenna .... crane technician: Technocrane
Adam Miller .... first assistant camera: second camera
Adam Miller .... second assistant camera
William Newell .... gaffer
Paul Niccolls .... grip
Jeff Panessa .... grip
Timothy Reilly .... additional rigging grip
Jeremy Rodriguez .... grip
Liz Sales .... second assistant camera: second camera
Steve Siddell .... additional electric
David Stern .... key grip
Paul Swan .... company grip
Christopher Vidaic .... grip
Ryan Webb .... generator operator
JoJo Whilden .... still photographer
Casting Department
Sylvia Fay .... extras casting
Lee Genick .... extras casting
Jessica Kelly .... casting assistant
Paul Schnee .... casting associate
Costume and Wardrobe Department
Sonja Cizmazia .... wardrobe supervisor
Jackie Freeman .... additional costumer
Michael Kale .... costume intern
Carol McLennan .... assistant costumer
Angela E. Thomas .... assistant costume designer (as Angie Thomas)
Editorial Department
Jason Crump .... dailies colorist: Mega Playground
Greg D'Auria .... assistant editor
Michael Kaz .... assistant editor
Robert Leaton .... colorist: dailies
Joan Malloch .... post-production coordinator
Patrick J. Smith .... first assistant editor
Joe Violante .... dailies advisor (as Joey Violante)
Lee Wimer .... color timer
Jana Pennell .... assistant editor (uncredited)
Music Department
Doug Bernheim .... music consultant
Linda Cohen .... music supervisor
Greg Koller .... recording engineer
Colleen Stewart .... music coordinator
Alice Wood .... music editor
Other crew
Ted Beck .... set production assistant
Anthony Blanco .... production assistant: first team
Nate Braeuer .... assistant location manager
Rebecca Breckel .... script supervisor
Jacqueline Brogan .... script consultant
Nicole Bukowski .... accounting clerk
Jeff Chena .... stand-in
Alison Davis .... assistant production coordinator
Patricia de Paula .... production coordinator
Anne Marie Dentici .... set production assistant
Jen Dougherty .... assistant to producer
Dan Gloeckner .... key set production assistant
Brett Jutkiewicz .... set production assistant
Rachel Konstantin .... stand-in
Mike Lane .... client services
Jack McDonnell Long .... production assistant
Jenny Lovin .... production assistant
Sam Mank .... production assistant
Katie Martin .... production intern
Paul Myers .... assistant accountant
Kevin Pazmino .... production assistant
John Portnoy .... titles
Adam Rettek .... production intern
Joe Robinson .... assistant coordinator
Joe Robinson .... assistant production coordinator
Eddie Serrano .... set production assistant
Ryan Smith .... location manager
Joseph Sousa .... production assistant
Michael Stewart .... additional production assistant
Marisa Vrooman .... assistant location manager
Amy L. Weishaar .... background production assistant: re-shoots
Kathy Welch .... post production accountant
Michael Wiggins .... production accountant
Wendy L. York .... script supervisor: reshoots
Ashley Arrison .... the producers wish to thank
Jon Brion .... the producers wish to thank
Christopher Ciancimino .... the producers wish to thank (as Chris Ciancimino)
Micah Green .... the producers wish to thank
John Carroll Lynch .... the producers wish to thank
Thomas McCarthy .... the producers wish to thank
Sam Mendes .... the producers wish to thank
Mark Merriman .... the producers wish to thank
Jason Reitman .... the producers wish to thank
Mike Sablone .... special thanks
David Schwimmer .... the producers wish to thank
Adam Shulman .... the producers wish to thank

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
USA:80 min
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:

Did You Know?

Directorial debut of John Krasinski.See more »
Movie Connections:
References "Bewitched" (1964)See more »


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8 out of 14 people found the following review useful.
deep and subtle story; stellar editing, 31 January 2010
Author: chuck-526 from Ipswich MA

This film "Brief Interviews with Hideous Men" is adapted from a collection of short stories of the same title by the deceased David Foster Wallace. The short story form remains paramount. Several themes are investigated: what is love? what bonds a couple together? how do private life events affect public research agendas? what b.s. is stereotypically common? You might assemble ideas in a novel way; you might have an epiphany ...but you might not. The story doesn't much care. What's more important is the dramatic arc of the story itself.

I didn't notice the running length of the film (although several others have commented on its relative shortness). To me the length was "right" for the story. Figuring out the time sequence of the events might be tricky, and might steal your attention more than it should; keep the synopsis "a graduate student copes with a recent breakup by conducting interviews with various men" in mind at all times.

There's lots of variety in the ways the mens' stories are told. Initially I imagined a list of unbroken formal interviews back to back - various "talking heads" sitting on the same chair in front of the same wall. But the reality of the film isn't like that at all. Each of the threads makes use of different devices: flashbacks, flashforwards, flashsideways; intermixing formal interviews with informal contacts; overheard conversations; jumping between internal narration and external events; casual conversations at house parties and academic department parties and bars; imagination played out realistically right in front of your eyes; characters morphing into others; asides with related characters; and so forth. And almost all of the threads are broken into segments that are intermixed with other threads; themes are much more of an organizing principle than time. Even the formal interview segments are broken up by cuts --or faux cuts-- so there's never a dull visual moment.

Some of the cut techniques are new to me. In every case the sound is seamlessly continuous - a spoken sentence remains a spoken sentence without any gaps or shifts. But the words are sometimes split between the same character at different times saying the same thing. Or they're split between different characters speaking a very similar --or even the exact same-- thing. Or they might (and this is what I've termed "faux cuts") have a hitch in the image as though a few frames had been spliced out - nothing as big as a change of camera angle, but a visual discontinuity nevertheless. (Are these faux cuts the next "Ken Burns effect"?) To my mind considerable audio and visual editing skills --well beyond what's typical of most new director's efforts-- are demonstrated here; the conventional words are "production values are high".

If you listen very closely there are a few internal jokes. For example usually the interviewer pokes the tape recorder and says "do you mind if I turn this on?" But once she says "do you mind if I turn this off?" The words make no sense and aren't consistent with the action, and are easily overlooked.

I liked the adaptation of the short story form, and I hope it blazes a path for other future films. To my mind the weak link though is the acting. Much of the material is extremely subtle and challenging, and would overwhelm even many A-list stage actors. But the film's actors are neither veterans nor geniuses. I found a couple of the casting decisions just plain jarring: one of the waiters seemed awfully wooden, and failed to convey some intended humor; and the imagined father figure bathroom attendant looked younger than his son! Apart from these, the acting varies from workmanlike up to quite good ...but nobody "burns up the screen" even when the material cries out for it.

The well-known TV persona and skills of the director (which admittedly I'm not at all familiar with:-) don't seem to be any sort of guide to something as completely different as this. Like a typical "art house" film, this is not for everybody. At the small screening room where I saw it, one person noisily fell asleep and another walked out. But while this film asks for an open mind and some investment of mind-share, you'll be richly rewarded.

POSTSCRIPT: I've become aware from some others' comments and from an interview with John Krasinski that some of my impressions and even some of my "facts" may be so far off the mark they're just plain back-assward. I seem to have missed some of the comedy, misidentified some of the characters, misjudged some actors' experience levels, and who knows what else. Now I'm doubting myself, wondering if I really saw the same movie or if I paid sufficient attention the first time. Ambiguity and multiple interpretations are part of the point, but not so much as to account for all the distance between my views and some others. I'm now resolved to watch this film a second time. In the meantime please put what I've opined under advisement -- and go see for yourself.

POST-POSTSCRIPT after second viewing next day: I couldn't find any evidence of "the hitchhiker" character, either in the film itself or in the credits. My hypothesis is after Lucy Gordon's unfortunate death but before final release, the film was re-cut to remove all the scenes that included her. My guess is there were originally a lot of flashbacks in what's now John Krasinski's monologue. That's where the hitchhiker's story appears to fit best, lots of cuts there too would have made that segment much more stylistically similar to the rest of the film, and the film would have had a more typical length. Also, I've softened my view on the acting – many of the performances are really very good. My bottom line is unchanged though: in the end the extraordinary material overpowers the acting. We're talking King Lear here, but we're not quite talking Laurence Olivier.

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HELP!!!! What's the secret that the break up guy says? (spoilers) justjoe1028
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