UNIVERSAL PICTURES
Presents In Association
with RELATIVITY MEDIA An
APATOW Production
KRISTEN WIIG MAYA
RUDOLPH ROSE
BYRNE WENDI
MCLENDON-COVEY
ELLIE KEMPER MELISSA MCCARTHY CHRIS O’DOWD
Executive Producer PAUL FEIG
Produced by JUDD
CLAYTON
BARRY MENDEL
APATOW
TOWNSEND
Written by ANNIE
KRISTEN WIIG
MUMOLO &
Directed by PAUL
FEIG
Production
This summer,
Information
producer JUDD
APATOW (Knocked
Up, The
40-Year-Old Virgin)
and director
PAUL FEIG (creator
of television’s
Freaks and Geeks)
invite you to
experience what
happens when
best friends forever meet the wildest Bridesmaids ever.
KRISTEN WIIG (TV’s Saturday Night Live) leads the cast as Annie, a maid of honor
whose life unravels as she leads her closest friend, Lillian (MAYA RUDOLPH of Away We Go),
and a group of colorful bridesmaids—Helen (ROSE BYRNE of TV’s Damages), Rita (WENDI
MCLENDON-COVEY of TV’s Reno 911!), Becca (ELLIE KEMPER of TV’s The Office) and
Megan (MELISSA MCCARTHY of TV’s Mike & Molly)—on a wild ride down the road to
matrimony.
Annie’s life keeps coming up short. But when she discovers her lifetime best friend is
engaged, she simply must serve as Lillian’s maid of honor. Though lovelorn and broke, Annie
dives into all of the required rituals as she gets to know the other ladies in the bridal party,
including one particular rival (Helen) who is perfectly poised to fulfill all the duties that Annie
struggles through. As she brings Lillian’s bridesmaids along on an escalating series of disasters,
Annie realizes the person who knows her the best has introduced her to four strangers who will
shake up her life for good.
Collaborating with producer Apatow and director/executive producer Feig on
Bridesmaids are fellow producers BARRY MENDEL (Funny People, The Sixth Sense) and
CLAYTON TOWNSEND (Knocked Up, The 40-Year-Old Virgin), as well as
screenwriters/co-producers Kristen Wiig and ANNIE MUMOLO.
The comedy’s behind-the-scenes crew is led by cinematographer ROBERT YEOMAN
(The Royal Tenenbaums, Yes Man), production designer JEFFERSON SAGE (Knocked Up,
Paul) and editors WILLIAM KERR (Forgetting Sarah Marshall, Superbad) and MIKE SALE
(The Hangover Part II, Get Him to the Greek), as well as costume designer LEESA EVANS
(Forgetting Sarah Marshall, American Pie). Music for the film is by MICHAEL ANDREWS
(Donnie Darko, Funny People), and the music supervisor and music editor is JONATHAN
KARP (Knocked Up, Pineapple Express).
ABOUT THE PRODUCTION
Groundlings to Bridesmaids: Production Begins
Longtime friends Kristen Wiig and Annie Mumolo met years ago at The Groundlings,
the Los Angeles-based improv troupe where they wrote sketches with one another. Wiig recalls:
“Annie and I went through the company around the same time, and we found each other to write
together. We’ve always written so smoothly that there’s never any ego, and we’ve never fought
over anything to be in or out of a script. It’s a great creative relationship where we respect each
other. She’s one of my best friends.”
After her breakout cameo role in producer Judd Apatow’s second film, Knocked Up, the
popular Saturday Night Live actress was asked to try her hand at another side of filmmaking.
Apatow appreciated her unique comedy style and wanted to see what else she was capable of
onscreen. Wiig explains: “I was approached by Judd to write a script, so I called Annie and asked
if she wanted to do it with me. She had this idea that she had talked about before, and said, ‘Let’s
write it out.’”
Apatow discusses his involvement in the project: “Every time we do a movie, I always
think, ‘Who stole some of their scenes? Could any of these people star in their own movie?’
After Knocked Up, I thought Kristen deserved to be the lead of a movie. I asked her if she had
any ideas and she came back to me with this idea about bridesmaids she’d worked on with her
friend Annie Mumolo.”
Mumolo says that she and Wiig share a no-holds-barred style of comedy: “The first day
we wrote together at The Groundlings, Kristen and I bonded, and we had great success. Not only
did we always have so much fun there, we were to able to get a lot of material in and worked
together often.”
Mumolo and Wiig began writing the script in 2006 after Wiig had been on SNL for about
a year. Says Mumolo: “I had this story about how I had been a bridesmaid a number of times,
and I was disgruntled about it. I was very much a delinquent bridesmaid, so we started writing
about my adventures with these different girls.” When it came time for their big chance, Mumolo
remembers that it happened very suddenly: “After Knocked Up, Kristen asked me to go in and
pitch Judd. She said, ‘Just go in and tell him what the movie is about.’ I had never pitched
anything before, and I didn’t even realize that was what pitching was, but I went in and told him
the basics of the story.”
Over the next several years of the film’s development, Mumolo and Wiig honed their
script with Apatow so it wouldn’t read as anything close to “another weddingthemed movie.”
Wiig says that it was important to differentiate this film as one that is not simply a romantic
comedy about a girl who’s in a wedding or a bride in a love story. She relates, “Bridesmaids
focuses on something that a lot of women can relate to: the people who are in the wedding. We
wanted to tell the real story of what it’s like to be in one and what you’re expected to do. It’s a
lot, and it’s kind of a pain in the ass.”
When they considered source material from which to draw, they didn’t have to go far.
Wiig laughs: “Annie’s been in weddings and gone to showers, and her stories sound like they
came out of a movie. She was in a wedding in which she couldn’t afford to go to the bachelorette
party because it was a crazy trip. She got an e-mail that read, ‘It’s going to be $2,500 a person,
and everyone chip in.’ Her response was, ‘What? How did this happen? How do I have to spend
all this money and time?’”
Mumolo agrees with her collaborator that the humor of their story comes from the
relatable conversations and situations leading up to the big day…with a bit of embellishment.
Their aim was not to make a treacly rom-com about trying to land a man, but rather a ballsy
comedy that celebrated how real women interacted with one another. Mumolo says, “We wanted
a movie without the frill. We wanted to tell the story of what our experiences were like—the
down and dirty, gritty version of bridesmaids, where not everyone’s hair is perfect and everyone
looks good and has cute stories. We learned as we went, and Judd guided us. He has a
commitment to being original, and he doesn’t stop until he finds it.”
When the search began for the director of Bridesmaids, Wiig remembers that one of the
first names discussed was Paul Feig. She reflects: “Judd mentioned him, and we met to discuss.
Paul cast me in my very first movie role in Unaccompanied Minors as a slutty mom. After
meeting with him, I called Judd and I said, ‘Yes, yes, yes!’ Not only is Paul incredibly talented
and hilarious and has such a good mind for comedy, he’s also incredibly patient and
collaborative. All the girls loved him to death. I can’t imagine anybody else as our director.”
In addition to his work with Wiig, the director had partnered with Apatow on a project
that was one of the defining moments of both of their careers, Freaks and Geeks, the classic TV
show created by Feig and executive produced by Apatow. Feig shares: “Throughout the years,
Judd and I have kept in touch and wanted to figure out a project to do together again.
Bridesmaids came to me several years ago. Judd invited me to a table read of Kristen and
Annie’s original script, and I thought it was very funny. I was very interested.”
Friends since their days at the University of Southern California in the late ’80s, Feig and
Apatow have a shorthand with their comedy. The producer commends of Feig’s directing style:
“Paul is really good at keeping the scenes grounded, but also allowing them to be funny. That
sounds not that complicated, but is the most complicated thing in the world. How can you
continue to care for these people while finding opportunities for them to do things that are
tear-down-the-house hilarious? At the same time, those things can’t make you believe these
people don’t exist.”
It would be a few more years before the opportunity to revisit Bridesmaids came around
for the director, producers and the cast. “In the beginning of 2010, I was in New York shooting
commercials,” recalls Feig, “and I got a call from my agents. I got on the phone with Judd, and
within two minutes I was committed to the project and it was set in motion. It’s been a whirlwind
since.”
Feig adds that his primary interest in the script was due to its honesty and relatability that
blended well with dirty humor. He says: “I’ve always been interested in doing more
female-based stories. I enjoy these stories and the emotions and the comedy that can be had in
them. It’s exciting to bring Judd’s style of humor to a movie about women and still make it
honest and real. We’ve explored themes that women can relate to while guys will also find it
hilarious. What we wanted to capture was women talking like women do behind the scenes
where guys aren’t privy to it.”
Accompanying Apatow in production duties were frequent collaborators Barry Mendel,
with whom Apatow worked on Funny People, and Clayton Townsend, whose working
relationship with the producer extends back to their time together on The 40Year-Old Virgin.
Mendel, who had recently worked with Wiig on Whip It, shared the team’s desire to
explore a new take on a comedy subgenre that is often seen as trite. He offers: “The aspects of
planning a wedding are very coordinated, and Kristen and Annie wrote about how women
sometimes get carried away when planning them. There are a lot of movies that deal with people
getting engaged and getting married, but they can feel very lightweight, and the emotions can
seem manipulative or not that lifelike. They’re entertaining and diverting and fair enough, but
our question was ‘Is this movie going to be one of them, or could it be another type of film
entirely?’ Now that we are on the other side, I can say that we actually did it.”
Female Fight Club: Casting the Comedy
We are introduced to the women of Bridesmaids through Annie, a thirtysomething
jewelry-store employee who can’t seem to get her life in order. She’s lost her bakery, boyfriend
and hope for a perfect future and has just found out that her best friend is getting married and
moving on. Feig notes: “It’s a very elegant story of one person pulling her life together. There’s
such humanity about Kristen. She has the ability that few comedy performers have: she can play
real and small as well as big and crazy. Yet she always grounds the bigness and the craziness in
reality. My theory on comedy is that you can go as big as you want, but it has to come from a
real place. She brings all that weird humanity to this role, and she’s able to summon up
vulnerability at the same time that she is holding it together.”
As Mumolo and Wiig crafted the characters with Apatow, they wanted to flesh out the
nuances and eccentricities of each bridesmaid. They knew it could be easy to fall into the
stereotype trap, and every decision was designed to avoid that while maximizing comedy. Wiig
notes: “Sometimes girls in movies are portrayed as very girlie and perfect and they’re simply the
neighbor or the wife. There’s so many funny actresses out there that to have a movie that has
many funny roles for women, instead of just a couple on the side, was gratifying for Annie and
me to write and help cast.”
When looking for the actresses to play opposite Wiig as the directionless Annie, Feig and
the producers conducted an exhaustive casting process. “Bridesmaids is a gang comedy, so it’s
very hard to write until you cast,” Apatow notes. “The most fun part of this process was to
audition every funny woman in town and to come up with a group of people to play these
characters. Then we spent a few weeks with Paul, improvising and letting everybody make the
characters their own. That’s when the really funny stuff came out.”
When casting the bride-to-be, Lillian, the team turned toward a longtime friend of Wiig’s
and past partner-in-crime of hers on SNL. “Maya and Kristen’s friendship came through
beautifully,” says Feig. “It was important for Lillian to have a real relationship with Annie
because the camera is an honesty detector that picks up on those little signs of authenticity. The
natural energy of their friendship comes through and lifts up the premise of the movie, which is
what happens if you think you’re about to lose your best friend. You want to feel like they’ve
known each other forever, and you don’t need a lot of dialogue setup if they’ve known each other
for this long.”
Mumolo explains that arriving at this character was not an easy process. She offers: “We
had a hard time figuring out who Lillian was because the role wasn’t initially a huge part. She
changed slightly from when we first wrote her to when we cast Maya. At the time Maya Rudolph
came into the picture, it answered so many questions because of how great of an actress and
comedian she is. She’s the girl that everybody wants to be friends with; she’s so loose, happy and
ready for a good time.”
Rudolph was not only keen to play Lillian, a character she refers to as “the glue to these
women,” she was eager to work once again with Wiig, with whom she has been close since their
days at Saturday Night Live together. Rudolph says: “When you know somebody well, you have
a shorthand. It’s so much fun to incorporate it into this film, because it makes it feel real…not
just for the audience, but for us as well. Kristen and I have this strange way of talking to each
other and making each other laugh, and you can see it throughout the movie. When do you get
the opportunity to do that with somebody who shares the same brain?”
In serious contention for the role of maid of honor is the sweet-but-patronizing Helen, a
paragon of her community and fixture on the country-club circuit. Feig explains: “My goal with
Helen was never to make her villainous, but a character with odd sincerity that drives people
crazy. Where a lot of these movies fall apart for me is when the emotions get so high and the bad
girl becomes really bad. It can easily become a battle between her and the protagonist, and it just
gets very amped up and shrill.”
The role of the conflicted antagonist was offered to an actress who has long been known
for her dramatic choices…until her last Apatow production linked her to pop star Jackie Q. Feig
recalls: “Judd had just produced Get Him to the Greek, in which Rose Byrne played Russell
Brand’s character’s ex-wife. It hadn’t come out yet and Judd said, ‘Go down to the editing room.
I want you to take a look at her scenes.’ I was blown away by how funny she was playing this
extreme character. Then Rose came in with such energy and was willing to do anything. She has
that combination that is hard to find: absolutely stunningly gorgeous, funny and real.”
While initially asked to read for one of the other roles in Bridesmaids, Byrne requested
something else. Her request? “Give me a crack at being the bitch.” She recalls: “It’s rare that you
read a script about a group of funny women in a situation that is familiar to everybody. Being a
bridesmaid in a wedding drew me in; the part was so funny. Helen was just delicious; every time
she came on the page I thought, ‘What’s she going to do now? No she didn’t…oh, yes she did.’ It
just kept getting worse.”
For the role of Megan, the team was searching for someone who would serve as the
counterpoint to Annie. While Annie just wants to fit in with the other bridesmaids, Lillian’s
future sister-in-law, the fight club-loving/nuclear-engineer wild card Megan, could care less.
“We knew Megan would be a pivotal weirdo, real comedy relief,” laughs Feig. “We saw all
different types and then Kristen and Annie said, ‘You have to see our friend Melissa McCarthy.’”
McCarthy was a series favorite in the long-running Gilmore Girls, and she currently stars
in the CBS hit Mike & Molly. Many don’t realize that when McCarthy performs at The
Groundlings in L.A., people line up around the block to see her. The actress came in with a
go-for-broke take on Megan, a free spirit who has a distinct take on the world, and she killed it.
Mumolo admits: “Megan has the attitude I wish I had. She’s like Annie but without the
insecurity, and she’s taken it to an extreme. That character is based on one I did at The
Groundlings, and then we wrote her into the movie. When we cast Melissa, she just took it to a
whole new level.”
McCarthy describes her character as “a bulldozer.” We first meet Megan at Lillian’s
engagement party, where she introduces herself to Annie as Dougie’s (Lillian’s fiancé) sister.
The actress reflects: “I love Megan. From the beginning, I wanted her to look physically like Guy
Fieri on the Food Network with a big, boxy shirt. There’s nothing feminine about her except for
her nails and pearls. She seems crazy, but she’s actually the happiest one; she’s totally well
adjusted. She gets men, and her attitude is ‘I hit it whenever I want.’ I just love that we always
kept her happy, in control and confident with herself. No matter what it is, good or bad, Megan’s
attitude is ‘All right!’”
The part of Lillian’s cousin, the exasperated housewife Rita, would go to Reno 911!’s
seductress Wendi McLendon-Covey. Wiig notes: “We wrote the part for Wendi when we first
wrote the script several years ago. She’s someone that we’ve been in The Groundlings with for a
long time, and we thought of this character as someone who is outspoken, fun loving, and doesn’t
care what people think about her. She’s married and she’s always complaining about it, but deep
down she’s happy at home. Wendi is such an amazing improviser that it was a gift every time she
opened her mouth.”
Mumolo admits that she completely related to Rita as they created the character.
“Nothing against my husband, who I love and adore, but when you’re married and you have kids,
you can start to feel like a doormat. It’s like life steamrolls you, and you’re the one running. For
some reason it seems to fall on the woman to do everything.” She remembers: “We would sit
around for weeks trying to come up with how we can get certain characters to this point, and
Wendi would just make it work. She would say one line in her improv and then we were
basically, ‘Thank you, thank you so much.”
Feig and the producers were impressed with McLendon-Covey’s zingers describing
marriage and with her ability to riff endlessly about having kids. McLendon-Covey tells a bit
about her character: “Rita lives in a house full of men. She’s the one handmaiden to three
ungrateful sons and a very horny husband, whose ardor has not waned in all their years together;
it has increased. She just feels like a mattress that vacuums and does laundry.” When it came
time for some of this bridesmaid’s more inelegant scenes (read: removing fake vomit from her
hair), the actress was still game. Still, she admits, “That’s what acting school does not train you
for, you know?”
Although Ellie Kemper did not come from The Groundlings as did cohorts Wiig,
Rudolph, McCarthy and McLendon-Covey, she did spend time training in improv at the Upright
Citizens Brigade. For the role of the wide-eyed ingénue Becca, the production searched for
someone who could play a naïve newlywed preparing to have kids. Feig states: “I worked with
Ellie on The Office the same year I worked with Wendi. There’s something that Ellie has that is
just so funny. We wanted Becca to be this fresh-faced innocent who thinks everything’s great.
She was a prepackaged Becca; she gets to live and breathe Becca in a very natural way.”
Kemper shares that she has known a few bow-loving/baby-talking women like Becca,
and she has been in her fair share of bridal parties. She says: “What I love is that all these women
are connected to Lillian, and they’re dear to her. But then, when you put them together, it’s
uncomfortable and hilarious to see them sharing this one task. Their common goal is to serve the
bride, and seeing how that plays out is fascinating as they all try to be the best bridesmaids they
can be.”
Joining the ladies in Bridesmaids in supporting roles is a collection of comedy
performers that include CHRIS O’DOWD (U.K. television’s The IT Crowd) as Annie’s
Irish-born suitor, Officer Rhodes. Annie’s been making all the wrong decisions when it comes to
jobs and men, and Rhodes is the first man in a long time to accept her as she is. He wants to have
an actual grown-up relationship with her, and that initially scares Annie to death and makes her
run for the hills. But as she gets to know him, she starts to see a side of Rhodes she adores.
O’Dowd appreciated that he was allowed to portray the police officer as a regular guy
who just happened to be in love with a girl. He also liked the amount of improv that was
encouraged on set. O’Dowd notes: “People can be very sacrosanct about their scripts, and they
can want nothing to be changed, and be very protective. But here, it was ‘Whatever the best lines
and best scenes are will be used.’ That’s the way it should be.”
Remembers Mendel of O’Dowd’s audition: “Chris came in and he did an American
accent, and then I thought, ‘Let’s try his natural Irish one.’ All of a sudden, this whole other side
of him came out, this whole new charm. It helped us to flesh out his character in the final writing
process, and I think he felt more comfortable being able to react on the fly during the shoot, too.”
In a cameo role as the jerky object of Annie’s affection, Ted, is Mad Men’s JON HAMM.
Says Apatow of the casting: “Jon plays Ted, somebody who Annie sleeps with who she would
like to go out with. Basically, it’s just a sexual relationship, and it epitomizes how bad she feels
about herself that she lets this continue to happen. But he’s so handsome, it’s hard not to.”
Additional talent includes U.K. television’s Little Britain MATT LUCAS as Annie’s odd
roommate, Gil; REBEL WILSON as Gil’s odder sister, Brynn; MICHAEL HITCHCOCK as
Annie’s jewelry store boss, Don; KALI HAWK as Don’s favorite employee, Kahlua; TIM
HEIDECKER as Lillian’s fiancé, Dougie; TERRY CREWS as the boot camp instructor who
chases Lillian and Annie away; and the late legendary actress JILL CLAYBURGH as Annie’s
mother, Judy.
Follow Her Lead: Improv on the Set
With five actresses and a writer who have a background in improvisational training, it
was a given that the Bridesmaids production would marry script with this comedy style of on-site
discovery. Mumolo explains that this process began well before production. Recalling their early
meetings with Apatow, she says: “We would improvise for hours, and Judd would film us. Then
we would go over what we taped and then work that into the script. We followed his lead.
Additionally, during the movie, we were rewriting it on its feet, feeding jokes and sculpting.”
“Annie and I come from a world of writing sketches, and our experience is with character
and dialogue,” adds Wiig. “If we loved a scene that wasn’t working, Judd would say, ‘Try this
idea’ or ‘Think of something new.’ Then we would rewrite it, read it and think, ‘He’s right.’
There are certain things you have to sacrifice to get the flow right, and Judd was good about
helping us identify that when we were so close to the material.”
After casting was complete and production began, “Paul and Judd had the actors rehearse
and improvise,” Wiig continues. “We could have a scene in the script that we didn’t touch
because everyone was happy with it through all the rewrites. Then, when the cast read it,
something didn’t feel right or an improvisation made us think, ‘It’s better now; I didn’t even
think of this other side.’ It evolves through rehearsing and improvising, and then it just becomes
more real and natural.”
Feig shares his rehearsal process with the actresses: “We’d start with the scripted scenes
because we wanted to make sure the script was working. Then we did an improv version of a
scene to explore its intention. As the actors did that, Judd or I would throw in a line we’d think of
or ask them to consider a new direction. They would take it and run with it. What happens from
that is we started cherry-picking: ‘This is a great line. That’s a great area to write a scene for or to
remember and use later.’
“The rehearsal process gave us new written material that we then put in the script and let
them do again verbatim on the day of shooting,” Feig continues. “It also gave us areas in which
we knew we could improv on the set. The actresses loved being part of the process. They trust
you and feel like they’re collaborating when they come back and the script has lines that they
improv’d in rehearsal.” This method, Feig says, “allowed the benefits of having improv
performers who take fresh, new ideas that they’re spewing out on the spot, and allowing our
characters to talk in a real way. I’m hoping women will find it honest and open and slightly
outrageous.”
Feig acknowledges: “We had a team of great writers behind us helping out. They
transcribed and handed me jokes they thought of at the moment, then I’d feed ideas in. Our
actresses knew the drill was to start again and try this line; then they’d try one of their own. It’s a
different way of making movies, because normally you get everything perfect beforehand. Most
great movies in the world have been made that way. This is just a different way, and it requires a
lot of energy; it’s hard to sit back and just watch. You have to be engaged constantly and make
sure you’re not dropping your guard.”
Mendel admits he was impressed by the amount and variety of improv the cast was able
to accomplish. He says: “These are the strongest improvisational actors I’ve ever seen. It’s partly
The Groundlings presence and partly simply the people that we’ve picked. This is an all-star
team. Judd was very excited about producing a female-driven movie, and we wanted to pack the
film with improv stars and let them do their thing.”
Something Borrowed: Locations and Design
Production designer Jefferson Sage’s work with Judd Apatow and director Paul Feig
began during their Freaks and Geeks days. Recalls Sage: “I was lucky enough to be hired to
jump in on that show when they were putting it together. Over the years, I’ve worked with Paul
and Judd off and on as they had projects that came up. The first thing that appealed to me about
Bridesmaids was that you had these two disparate worlds: There was Annie’s world in
Milwaukee, and then there was Helen’s world in Chicago. It immediately drew this dichotomy
between the rivalry that developed between them.”
L.A. as the Midwest
While the comedy takes us back and forth between the two cities, the production actually
shot in Los Angeles. About cheating L.A. for these cities, Sage acknowledges: “Sets that are
interiors are much easier to fudge, but we looked for architecture that would give us those
Midwestern worlds. Chicago is a beautiful, distinctive city architecturally, and restricted views of
downtown L.A. feel like Chicago. It was also a question of hunting and finding buildings that
had the right feeling for Milwaukee.”
As Annie, Lillian and the bridesmaids head back and forth between the two cities, the
production had to make it look as if they were not traveling along the West Coast. Notes Sage:
“We looked at surrounding towns to find places that would sell for Milwaukee, and our challenge
was the landscape. In the story, Annie meets Officer Rhodes on the highways between
Milwaukee and Chicago. Since we had to have a Midwestern landscape, we ended up in
Oxnard—a broad, flat, green area away from mountains.”
The Fitting
When the ladies take Helen to go shopping at the most exclusive bridal shop in Chicago,
all digestive hell breaks loose. By bringing them into Sage’s self-described “pristine, white inner
sanctum of bridalness where they are surrounded by beautiful fabrics, beautiful white carpet and
priceless silk,” Feig received maximum payoff for the earlier scene in which the bridesmaids had
just eaten an unsanitary lunch.
The production designer worked with his director and set decorator DOUG MOWAT to
get the characters trapped in just the right way…so that when it was time for things to explode,
there was no escape. They had to run into one another as they raced toward the one-toilet
bathroom. Sage cringes: “It was all designed to increase the discomfort. It was a very limited
palette: all white. If you have to be sick, what’s the worst thing that you could besmirch?”
It took some time to create the perfect bridal-shop set. DP Yeoman weighed in on what
fabrics offered the perfect tones and wouldn’t present lighting problems as they shot. The
decorators re-created one of the most exclusive of shops that requires appointments months in
advance. Though Annie can’t get them in the door, Helen can. She rules this world.
Somewhat unique to this film, production design and locations were inextricably linked
to costume design. Sage worked with costume designer Leesa Evans to ensure that the color
palettes chosen in set design married with Evans’ choices for outfits. Sage notes, “There were a
lot of conversations such as ‘Which dress works with that set? Here’s a picture of the dress; now
what are the wall colors?’ I sent color-palette studies to Leesa, and she would call me if there was
a color problem. We kept it in sync.”
For Evans, it was key to ensure that the dresses didn’t border on ridiculous. She says, “I
think one of the biggest challenges of a movie like this is not to make a caricature of what this
whole wedding business is about. When you get six women together and you have the
engagement party and the shower and the wedding, there’s a tendency to take it over the top on
every level. I hope we got the right tone in which we’re being funny and a bit ironic, but at the
same time showing the reality of these events.”
The actresses’ many costumes were not the only inspirational clothing on the set.
Mumolo notes: “Paul is ‘Dapper Dan.’ He was dressed to the nines every day. He wore suits and
fedoras, and he’s a perfect fit for this movie. He’s very in touch with female sensibilities,
sensitive to women, and helped us preserve that. He was very good about keeping on point and
maintaining the integrity of our ideas.”
The Bridal Shower
Though Annie is the maid of honor, Helen is determined to host the most overthe-top,
garish bridal shower anyone has seen at her Tudor revival mansion. As the team created the
design, they wanted to bring forth the best bad ideas from their collective experiences at these
types of events. Feig says: “The shower was a big set-piece scene with a lot of people in a big
location. It was a great arena for Kristen to go crazy with her physical comedy. We just turned
Kristen loose and put two cameras on her.”
What was challenging was that all six of the film’s main characters are in these scenes,
and DP Yeoman’s team had to capture the principals’ interactions with the supporting players.
Feig notes: “The first takes of Kristen’s blowout at the shower were very dramatic. They were
touching and moving, but then we thought, ‘Let’s go for ones that are a little funnier.’”
The production designer was tasked to design alongside the jokes. Sage explains: “It was
intentional to pull a lot of the same colors into Helen’s house as we have in the bridal shop, as
that’s an extension of Helen’s universe. As Annie comes into Helen’s world, the tension builds.
She’s on this visually unfamiliar ground that’s designed to make her uncomfortable because it’s
so not her character.”
When Annie rides into the bridal shower (on a horse, obviously), she sees that Helen has
stolen all her ideas about bringing the city of Paris to Lillian. Not only has Helen redone her
home since Lillian and Dougie’s engagement party, the mansion is dripping Parisian. The terrace
is set up like a small café, and gorgeous pavilion tents and kiosks with Parisian references dot the
grounds. Of course, a miniature Eiffel Tower has also been set up. To add insult to Annie’s
injury, in the middle of it all is an enormous chocolate fountain. Made of marble stone, the
fountain is 7-feet tall, with melted chocolate pouring out. Annie is ready to go ballistic, and we
can’t blame her.
Of his leading lady’s ability to move into a hilarious fugue state, producer Mendel
commends: “People who enjoy Kristen on Saturday Night Live are going to love her in
Bridesmaids because they know that she will go places no one else will go. When Kristen is
drowned in chocolate, punching a giant cookie to smithereens, it’s a joy.”
The Wedding
When Lillian expresses to Annie that she’s afraid Helen may have gone way over the top
for her wedding, Annie is the first to console her. Too late, as it’s going to be a whopper. Feig
says, “The wedding was fun to shoot because it was one of Helen’s overthe-top productions. It
was important to pull off the main wedding itself in one shot that reveals more and more as we
go out.”
What wedding would be complete without a laser light show, fireworks, fountains and a
fog that rolls into the pool? The ceremony takes place with the bridal party out in the middle of
platforms on top of a huge reflecting pool. There are lights inside and outside the water, with
landscape lighting surrounding them. Feig’s production crew erected a set behind the minister,
where the lasers hit, and fog and smoke come down.
The production decided to use the Los Angeles County Arboretum as the location for
Lillian and Dougie’s extravagant wedding. Sage shares: “It’s a beautiful green spot of gardens
that has a 75-foot-square reflecting pool in the middle of a huge lawn. We drained the pool so
that we could put the set down inside and arrange our platforms and lighting. We made it pristine
white so that it would look immaculately clean for the ceremony, and then filled it back up. A
couple of spot towers that are behind the audience were erected to light our singing group as they
hit the stage. The Super Trouper followspots click on and offer an expansive look, so it feels like
you are in the middle of a huge golf course.”
Additional Sets
Before Annie moves into her mother’s ranch house, she shares a little apartment in
Milwaukee with Gil and his sister, Brynn, that Feig describes as a “’70s-kind of depressing.”
Sage ensured that there was wood paneling, odd chocolate-brown carpet and Formica that is 15
to 20 years out of date. The same conversation led into the creation of her workplace,
Cholodecki’s Jewelry Shop (built on a stage), where the team put in additional brown paneling
and old-fashioned jewelry cases. Annie’s trying to make a go of it, but she just feels stuck in
these surroundings
Sherwood Country Club in Westlake Village, California, also allowed the production to
shoot key scenes for Bridesmaids. Sage says: “I believe we’re the first movie to get into
Sherwood Country Club and make use of it. It was desirable because it’s beautiful and has a
Midwestern feeling to it. The design of the building is traditional, and the brick and the white
trim didn’t feel like an L.A. location. It also featured the tennis courts that figure as one of our
sets during the playoff between Annie and Helen.”
He concludes: “We did the engagement party there, and of course, in the story it’s as if
they got married back on Helen’s property, and we see them leaving after the ceremony from the
front of the country club.” Sage agrees it was a great location but appreciated how it stood in for
a Chicago setting. “They have dense, beautiful trees, but no mountains. It does not feel like Los
Angeles. Even though we have a lot of California Oak here, they pass…I hope.”
****
Universal Pictures presents—in association with Relativity Media—an Apatow
production: Bridesmaids, starring Kristen Wiig, Maya Rudolph, Rose Byrne, Wendi
McLendon-Covey, Ellie Kemper, Melissa McCarthy, Chris O’Dowd. The music is by Michael
Andrews, and the music supervisor is Jonathan Karp. The comedy’s costume designer is Leesa
Evans. Bridesmaids’ co-producers are Kristen Wiig and Annie Mumolo, and the comedy is
edited by William Kerr and Mike Sale. The production designer is Jefferson Sage, and the
director of photography is Robert Yeoman, ASC. The film is executive produced by Paul Feig,
and it is produced by Judd Apatow, Clayton Townsend, Barry Mendel. The comedy is written by
Annie Mumolo & Kristen Wiig, and it is directed by Paul Feig. ©2011 Universal Studios.
www.bridesmaidsmovie.com
ABOUT THE CAST
After appearing on Saturday Night Live (SNL) for six years, KRISTEN WIIG
(Annie/Written by/Co-Producer) has become one of the most sought-after talents in film and
television today. Wiig recently earned her second Emmy nomination for Outstanding Supporting
Actress in a Comedy Series for her work on Saturday Night Live, playing such memorable
characters as the excitable Target clerk, Lawrence Welk singer Doonese, the hilarious one-upper
Penelope, House Speaker Nancy Pelosi and Suze Orman, among others.
Wiig was recently seen in Greg Mottola’s Paul, opposite Simon Pegg and Nick Frost,
and in Andrew Jarecki’s All Good Things, opposite Ryan Gosling, Kirsten Dunst and Frank
Langella; contributed her voice to Universal Pictures’ animated feature film Despicable Me,
starring Steve Carell and Jason Segel; and was seen in MacGruber, based on the popular
Saturday Night Live sketch, starring opposite fellow SNL cast member Will Forte and Ryan
Phillippe. She recently completed filming Jennifer Westfeldt’s Friends With Kids, in which she
stars opposite Jon Hamm, Megan Fox, Adam Scott, Maya Rudolph and Westfeldt.
Wiig made her big-screen debut to universal high praise as Katherine Heigl’s
passive-aggressive boss in Judd Apatow’s smash-hit comedy Knocked Up. Her additional film
credits include DreamWorks Animation’s How to Train Your Dragon, with Gerard Butler and
Jay Baruchel; Mike Judge’s Extract, with Jason Bateman, Ben Affleck and Mila Kunis; Drew
Barrymore’s directorial debut, Whip It, starring Ellen Page; Greg Mottola’s Adventureland, with
Ryan Reynolds, Kristen Stewart and Jesse Eisenberg; David Koepp’s Ghost Town, with Ricky
Gervais; and Jake Kasdan’s Walk Hard: The Dewey Cox Story, another Apatow-produced film,
in which she starred opposite John C. Reilly. She has also guest-starred on the Emmy-winning
NBC series 30 Rock, the HBO series Bored to Death, with Jason Schwartzman, and The Flight of
the Conchords.
A native of Rochester, New York, Wiig worked as a main company member of
the Los Angeles-based improv and sketch-comedy troupe The Groundlings. As a
Groundlings alumna, she joins the ranks of such SNL cast mates as Maya Rudolph, Will Ferrell,
Phil Hartman and Jon Lovitz.
Wiig currently resides in New York City.
MAYA RUDOLPH (Lillian) was recently seen starring opposite Adam Sandler and
Chris Rock in the hit comedy Grown Ups. Rudolph earned rave reviews for her performance in
the comedic and heartfelt film Away We Go, directed by Sam Mendes and written by Dave
Eggers and Vendela Vida. In the film, Rudolph and John Krasinski star as a couple expecting
their first child that embarks on a cross-country journey to find a place to raise a family.
Rudolph’s additional film credits include Robert Altman’s A Prairie Home Companion,
Mike Judge’s Idiocracy, Bruce Paltrow’s Duets, Peter Segal’s 50 First Dates, Miguel Arteta’s
Chuck & Buck, Andrew Niccol’s Gattaca and James L. Brooks’ As Good as It Gets, and a
voice-over role as Rapunzel in Chris Miller and Raman Hui’s Shrek the Third. Next summer,
Rudolph will be heard in Zookeeper.
In 2000, Rudolph made her debut on NBC’s Saturday Night Live, where she starred as
one of the show’s regular players for more than seven years. Rudolph’s turns included
memorably skewed portrayals of Oprah Winfrey, Donatella Versace and Whitney Houston, and
such recurring sketches as “Wake Up Wakefield” and “Bronx Beat.”
Rudolph currently resides in Los Angeles.
In a short amount of time, ROSE BYRNE (Helen) has established herself as a rising star
on the big screen. The Australian native commands the attention of filmgoers and television
viewers with her beauty, talent, versatility and poise.
For the second consecutive year, Byrne has been nominated for an Emmy for her
portrayal of Ellen Parsons on the critically acclaimed and Emmy-nominated FX Network series
Damages. In 2010 and 2008, she also received Golden Globe nominations for Best Performance
by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for
Television. The third season of Damages finished airing in May 2010. DirecTV has recently
announced that it will air the fourth and fifth seasons of the Sonyproduced series in the summer
of 2011 and 2012, respectively. Glenn Close co-stars in the series.
Byrne was recently seen in Insidious, a paranormal thriller co-starring Patrick Wilson.
She portrays the mother of a young boy who is haunted by a paranormal channel, from which she
and her husband (Wilson) must rescue him. The film is directed by James Wan (Saw) and
produced by Oren Peli (Paranormal Activity). The film screened at the Toronto International
Film Festival and was released on April 1, 2011.
Byrne recently wrapped production on X-Men: First Class in London. The latest film in
the franchise co-stars James McAvoy, Michael Fassbender, January Jones, Kevin Bacon and
Jennifer Lawrence and will be released on June 3, 2011.
Bridesmaids marks Byrne’s second collaboration with comedy producer Judd Apatow
and Universal Pictures. She was last seen in Apatow’s Get Him to the Greek, which was written
and directed by Nicholas Stoller, a spin-off of the 2008 hit comedy Forgetting Sarah Marshall.
In Get Him to the Greek, Russell Brand reprises his role as Aldous Snow, the rocker
ex-boyfriend of Jackie Q (Byrne), an outrageous pop star. The film also stars Jonah Hill and Sean
Combs and was released on June 4, 2010.
Illustrating her inimitable range and versatility, Byrne co-starred alongside Nicolas Cage
in the megathriller Knowing. The film was released by Summit Entertainment on March 20,
2009, and came in No. 1 at the box office on its opening weekend.
Also in 2009, Byrne co-starred in Adam, a unique love story set against the backdrop of
Manhattan, with thespians Hugh Dancy and Peter Gallagher. The film was purchased by Fox
Searchlight at the 2009 Sundance Film Festival and was released on July 29, 2009.
Her additional credits include Sofia Coppola’s Marie Antoinette; the sci-fi thrillers 28
Weeks Later and Sunshine, directed by Danny Boyle; the critically acclaimed independent film
The Dead Girl; Wolfgang Petersen’s epic Troy, opposite Brad Pitt; Paul McGuigan’s thriller
Wicker Park, with Josh Hartnett; the acclaimed I Capture the Castle, based on the classic English
romance; the BBC drama Casanova, with Peter O’Toole; and Danny Green’s The Tenants,
opposite Dylan McDermott.
Byrne’s fame in Australia began with her role in the gritty crime comedy Two Hands, in
which she starred with Heath Ledger. She went on to star in Clara Law’s The Goddess of 1967,
for which she was awarded Best Actress at the Venice Film Festival.
Byrne resides in New York, Los Angeles and Australia.
WENDI MCLENDON-COVEY (Rita), who is best known for her hilarious film and
television roles, recently starred as the villainous owner of an orphanage for little girls in the
Disney home-video movie The Search for Santa Paws, a heartwarming holiday film.
McClendon-Covey has a large body of work on unscripted television shows and feature
films, and she is best known for her role as Deputy Clementine Johnson on the Comedy Central
television program Reno 911! In 2006, she also starred in an unscripted show for Lifetime
Television about a matchmaking service run by losers called Lovespring International. She has
also had guest-starring roles on Rules of Engagement (CBS), 10 Things I Hate About You (ABC
Family), The Office (NBC) and Wizards of Waverly Place (Disney Channel), and her work in
numerous independent films such as Spooner, Douchebag and Boutonniere has been seen in film
festivals from Sundance to Cannes.
At the U.S. Comedy Arts Festival in 2007, she was given a Film Discovery Jury Award,
which was created specifically to commemorate her starring roles in two entirely improvised
films: Closing Escrow and Cook-Off!, which she also co-wrote and coproduced.
Raised in Long Beach, California, McClendon-Covey developed an affinity for Bill
Cosby, Flip Wilson, Steve Martin, Carol Burnett and the Smothers Brothers. However, it wasn’t
until after college that she decided to explore her own comedic aspirations by enrolling in The
Groundlings Theatre & School. McClendon-Covey wrote and performed with the main company
of the Groundlings Theatre for an amazing seven years and now serves on its board of directors.
She is very involved in charity work and, this past New Year’s, she and a group of Groundlings
alums traveled to the Middle East with Stars for Stripes to entertain the troops. This was her third
trip with Stars for Stripes.
McClendon-Covey has been married for 14 years to superhusband Greg Covey. They
often say that one of the secrets of their long marriage is that they both hate Valentine’s Day.
ELLIE KEMPER (Becca) is a St. Louis-born, NY/LA-based and Princeton-educated
writer/performer with roots at the Upright Citizens Brigade (UCB), The Onion and
McSweeney’s.
After she gained attention with her one-woman show Feeling Sad/Mad in 2008 at the
UCB, Kemper’s contagious friendliness and enthusiasm led to her permanently joining the cast
of The Office as Erin, the naïve new receptionist. In the summer of 2009, she shot the role of
Ellie in Nicholas Stoller’s Get Him to the Greek and the role of Claire in Sofia Coppola’s
Somewhere. She was also featured on Variety’s “10 Comics to Watch.”
MELISSA MCCARTHY (Megan) stars as Molly on Mike & Molly, the No. 1 new
comedy series that airs on CBS.
McCarthy’s previous feature film work includes The Back-up Plan, alongside Jennifer
Lopez and Alex O’Loughlin; Life as We Know It, with Katherine Heigl; Pretty Ugly People, with
Josh Hopkins, Missi Pyle and Allison Janney; Just Add Water, with Danny DeVito; director John
August’s sci-fi mystery The Nines, with Ryan Reynolds and Hope Davis; White Oleander, with
Michelle Pfeiffer; Pumpkin, with Christina Ricci; and Go, directed by Doug Liman. Additionally,
she starred in John August’s short film God as a young woman having a gossipy phone
conversation and short-lived spat with the Almighty, and she also appeared in The Life of David
Gale, starring Kevin Spacey.
On television, she previously starred as the clumsy culinary genius Sookie St. James, in
Gilmore Girls, and as Dena in the series Samantha Who?.
McCarthy first made her mark on the comedy stage and performed stand-up in New York
at the Improv and at Stand-Up NY. She also received dramatic training from The Actors Studio
in New York and starred in a variety of stage productions throughout the city. In Los Angeles,
McCarthy spent nine years as a mainstage member of the world-renowned improv and sketch
troupe The Groundlings.
McCarthy sold her first pilot, Marbles, to VH1, in which she played the title role. She has
recently completed writing a feature titled Tammy, in which she will play the title role, and a
pilot called Stage Mom. McCarthy is also designing her first clothing line.
CHRIS O’DOWD (Officer Rhodes) recently finished work as William, the lead male
role in the BBC flagship drama The Crimson Petal and the White, a four-part adaptation of
Michel Fabers’ best-selling novel, directed by Marc Munden. He most recently appeared in 20
th
Century Fox’s Gulliver’s Travels, in which he played the role of General Edward, directed by
Rob Letterman and starring opposite Jack Black, Jason Segel and Emily Blunt.
Last year, he starred opposite Paul Rudd, Steve Carell and Zach Galifianakis in Jay
Roach’s Dinner for Schmucks. His previous feature credits include Working Title/Focus
Features’ Pirate Radio, opposite Philip Seymour Hoffman and directed by Richard Curtis. He
also starred in Frequently Asked Questions About Time Travel, opposite Anna Faris and directed
by Gareth Carrivick, for BBC Films; Working Title/Universal Pictures’ Hippie Hippie Shake,
opposite Cillian Murphy and Sienna Miller and directed by Beeban Kidron; Vera Drake, directed
by Mike Leigh; and the 2005 feature Festival, which was nominated for two BAFTAs including
Best British Film, and for which he won a BAFTA Scotland Award for Best Actor in a Scottish
Film.
O’Dowd recently wrapped season four of The IT Crowd, for Channel 4 television, and is
well known in Ireland for having starred in the popular RTÉ One drama The Clinic, which earned
him a nomination for an Irish Film & Television Award in 2003.
ABOUT THE FILMMAKERS
PAUL FEIG (Directed by/Executive Producer) is a three-time Emmy-nominated
writer/director and a DGA Award-winning director. A graduate of the University of Southern
California School of Cinematic Arts, Feig was a winner of the school’s Jack Oakie Memorial
Award for Comedy in Film in 1984. After film school, Feig worked as a script reader for
producer Michael Phillips (Taxi Driver) until he went on The $25,000 Pyramid and won $29,000
(“I always was an overachiever,” jokes Feig). The winnings allowed Feig to leave his job and
pursue his long-time dream of being a professional stand-up comedian.
His stand-up career soon led to a successful career as a character actor in which he
appeared as a series regular on the television series Dirty Dancing, Good Sports, The Jackie
Thomas Show, The Louie Show and Sabrina, the Teenage Witch. He also appeared in such films
as Paul Maslansky’s Ski Patrol, Disney’s Heavy Weights and Tom Hanks’ That Thing You Do!
It was only after being abruptly written out of the series Sabrina, the Teenage Witch that
Feig began to sour on the actor’s life. This drove him to write, produce and direct his first
independent feature film, Life Sold Separately. It played on the festival circuit and was ultimately
chosen by Movieline to tour college campuses across the United States.
While out on tour with his film, Feig wrote a spec pilot script for a television series about
a high school set in the 1980s called Freaks and Geeks, which he then sold to DreamWorks
Television through his longtime friend, producer Judd Apatow. NBC ended up making 18
episodes of the show and Feig served as the show’s creator and coexecutive producer. Feig was
nominated for two comedy-writing Emmy Awards—one for the pilot episode and one for the
series finale, which he also directed. The series continues to be a top-selling DVD set and has
recently begun re-airing on IFC.
After the cancellation of Freaks and Geeks, Feig went on to write and direct the film I
Am David, which was based on the Danish book of the same name by Anne Holm. The United
Nations High Commissioner for Refugees sponsored the film. The organization called it one of
the most accurate depictions of a refugee child they had seen on film. The film stars James
Caviezel and Joan Plowright and is the uplifting story about an 11-year-old boy in 1952, who
escapes from a Bulgarian labor camp and makes his way across Europe in search of his family
and identity. The film went on to win the Audience Award at the Austin Film Festival, a Crystal
Heart Award from the Heartland Film Festival and Best Picture awards at the San Diego Film
Festival and the Kansas City FilmFest.
Feig’s third feature was the Warner Bros. family comedy Unaccompanied Minors, which
was based on an episode of This American Life. The film stars Wilmer Valderrama, Lewis Black
and Tyler James Williams. The film was nominated for a Taurus World Stunt Award and
received the 2006 Parents Television Council Seal of Approval.
Feig has also directed multiple episodes of the television series Arrested Development,
The Office, Nurse Jackie, Bored to Death and Weeds, as well as episodes of 30 Rock and Mad
Men. He also served as a co-executive producer on both The Office and Nurse Jackie. In 2008,
Feig’s work on The Office earned him an Emmy nomination for Outstanding Directing for a
Comedy Series for the hour-long episode “Goodbye, Toby” and, in January of 2009, he won the
DGA Award for Outstanding Directorial Achievement in a Comedy Series for the episode titled
“Dinner Party.”
In addition to his film and television work, Feig is the author of two comedic memoirs
released by Random House—“Kick Me: Adventures in Adolescence” and “Superstud, Or How I
Became a 24-Year-Old Virgin.” The latter book became New York Times and Los Angeles Times
best sellers. He is also the author of two young-adult science-fiction novels—“Ignatius
MacFarland: Frequenaut!” and “Ignatius MacFarland
2: Frequency Freak-out!”—both published by Little Brown Books for Young Readers. He also
has a short story, “My Parents Give My Bedroom to a Biker,” from the young adult humor
collection “Guys Read: Funny Business” published by Walden Media and Harper Collins.
Feig lives in Los Angeles and New York with his wife, Laurie, and his two Scottish
Terriers.
JUDD APATOW (Produced by) is considered one of the most sought-after comedy
minds in the business and has been closely associated with many of the biggest comedy films in
recent years. He is currently producing movies from directors Nicholas Stoller (Five-Year
Engagement), Lena Dunham (Girls) and David Wain (Wanderlust) and has begun work on an
untitled Pee-Wee Herman project.
Born in Syosset, New York, Apatow aspired to become a professional comedian at an
early age. Following an appearance on HBO’s Young Comedians Special, Apatow eventually
stopped performing in favor of writing. He wrote for the Grammy Awards, as well as cable
specials for Roseanne and Jim Carrey, before going on to co-create and executive produce The
Ben Stiller Show, which brought Apatow an Emmy Award for Outstanding Individual
Achievement in Writing in a Variety or Music Program. Fresh from his Emmy win, Apatow
joined The Larry Sanders Show in 1993 as a writer and consulting producer, and he later served
as a co-executive producer and director of an episode during the show’s final season.
Apatow served as an executive producer of the critically praised, award-winning series
Freaks and Geeks, which debuted in the 1999–2000 season. He also wrote and directed several
episodes of the series. His other television credits include consulting producer of the animated
series The Critic and executive producer and creator of the series Undeclared.
Apatow made his feature directorial debut in 2005 with the comedy hit The 40Year-Old
Virgin, which he also co-wrote with the film’s star, Steve Carell, for Universal. The film opened
at No. 1 and grossed more than $175 million globally. The comedy garnered numerous awards
and nominations, including being named one of AFI’s Movies of the Year, and it took home Best
th
Comedy Movie at the 11 annual Critics’ Choice Awards. The 40-Year-Old Virgin also earned
Apatow a nomination for Best Original Screenplay from the Writers Guild of America and
received four MTV Movie Award nominations, including a win for Carell for Best Comedic
Performance.
In 2007, Apatow released Universal’s Knocked Up, his directorial follow-up to The
40-Year-Old Virgin, which he also wrote and produced. Knocked Up grossed more than $200
million internationally, and it was named one of AFI’s Movies of the Year and nominated for
Best Original Screenplay by the Writers Guild of America. Immediately following, Apatow
produced the hit comedy Superbad, starring Jonah Hill and Michael Cera, for Sony Pictures.
Three major successes followed in 2008, beginning with Universal’s Forgetting Sarah
Marshall, which Apatow produced with Shauna Robertson. Directed by Nicholas Stoller and
written by Jason Segel, the romantic disaster comedy starred Segel, Jonah Hill, Mila Kunis and
Russell Brand. Apatow followed by producing Sony’s action-comedy Pineapple Express, a film
written by Seth Rogen and Evan Goldberg from a story by Apatow. The film, starring Rogen,
James Franco and Danny McBride, opened at No. 1 at the box office. Other Apatow projects
released in 2008 were the comedy smash You Don’t Mess With the Zohan, which Apatow
co-wrote with Sandler and Robert Smigel.
In 2009, he wrote, directed and produced Universal’s Funny People, a film that starred
Adam Sandler, Seth Rogen and Leslie Mann. In 2010, Apatow produced Universal’s hit comedy
Get Him to the Greek, starring Russell Brand and Jonah Hill.
Other film credits for Apatow include producing The Cable Guy, Anchorman: The
Legend of Ron Burgundy and Year One; executive producing Kicking & Screaming; co-writing
Fun With Dick and Jane; and producing and co-writing Walk Hard: The Dewey Cox Story, which
was nominated for two Golden Globes: for Best Original Song—Motion Picture and Best
Performance by an Actor in a Motion Picture—Musical or Comedy (for John C. Reilly).
His longtime collaborations with high-profile directors have made CLAYTON
TOWNSEND (Produced by) a much-in-demand producer. Bridesmaids marks Townsend’s sixth
collaboration in his enduring relationship with director/producer Judd Apatow, having worked on
The 40-Year-Old Virgin, Knocked Up, Walk Hard: The Dewey Cox Story, Year One and Funny
People.
®
Previously, Townsend had a 12-year association with Academy Award -winning director
Oliver Stone. During that time, Townsend lent his experience and expertise to films such as Any
Given Sunday, U-Turn, Nixon, Natural Born Killers, JFK, Heaven & Earth, The Doors, Born on
the Fourth of July and Talk Radio.
Townsend recently produced Alex Kurtzman’s directorial debut, Welcome to People,
starring Chris Pine, Elizabeth Banks, Olivia Wilde and Michelle Pfeiffer.
His other credits include the feature films The Skeleton Key, Bad Company, The
Blackout, Where’s Marlowe?, Heartbreakers and The Fast and the Furious: Tokyo Drift.
Townsend acquired his knowledge of filmmaking while working in a variety of
capacities including location manager on Alan Parker’s Angel Heart and production manager on
Three Men and a Baby and Jacob’s Ladder.
The first film BARRY MENDEL (Produced by) produced was Rushmore, directed by
Wes Anderson, which won IFP Independent Spirit Awards for Best Director (Anderson) and
Best Supporting Actor (Bill Murray). That film was followed by The Sixth Sense, directed by M.
®
Night Shyamalan, which was nominated for six Academy Awards including Best Picture.
Subsequently, he produced its follow-up, Unbreakable, then went back to work with Wes
®
Anderson on The Royal Tenenbaums, which was nominated for an Academy Award for Best
Original Screenplay for writers Anderson and Owen Wilson. This collaboration continued on The
Life Aquatic With Steve Zissou, which was followed by Joss Whedon’s directorial debut, the
critically acclaimed Serenity.
Mendel conceived and spent eight years developing and producing Munich, which was
®
directed by Steven Spielberg and was nominated for five Academy Awards including Mendel’s
second nomination for Best Picture. He then went back to work with Shyamalan, producing the
box-office hit The Happening.
Next, Mendel produced Judd Apatow’s film Funny People, starring Adam Sandler, Seth
Rogen, Leslie Mann, Jonah Hill, Eric Bana and Jason Schwartzman. He also produced Michael
Lander’s debut film Peacock, starring Cillian Murphy and Ellen Page, and Drew Barrymore’s
directorial debut, the roller derby movie Whip It, also starring Ellen Page and featuring Kristen
Wiig.
ROBERT YEOMAN, ASC (Director of Photography) most recently shot Get Him to the
Greek, starring Russell Brand and Jonah Hill. He also shot Drew Barrymore’s directorial debut,
Whip It, and Peyton Reed’s Yes Man.
After working in commercials at the beginning of his career, Yeoman transitioned to
feature films when he shot the second unit on To Live and Die in L.A. This led to many
independent features including Gus Van Sant’s Drugstore Cowboy, David Veloz’s Permanent
Midnight, Kevin Smith’s Dogma and Roman Coppola’s CQ.
Yeoman shot the Wes Anderson films Bottle Rocket, Rushmore, The Royal Tenenbaums,
The Life Aquatic With Steve Zissou and, most recently, The Darjeeling Limited and Hotel
Chevalier.
His other credits include Wes Craven’s Red Eye and Noah Baumbach’s The Squid
and the Whale.
Yeoman was born in Pennsylvania and grew up in the Chicago suburb of Wilmette. He
received a BA from Duke University and an MFA in film production from the University of
Southern California.
He currently lives in Santa Monica with his wife, daughter and young son.
JEFFERSON SAGE (Production Designer) most recently designed Greg Mottola’s
comedy Paul, starring Simon Pegg and Nick Frost. In 2010, Sage designed Jake Kasdan’s
upcoming Bad Teacher, his third collaboration with Kasdan after previously teaming up on Walk
Hard: The Dewey Cox Story and The TV Set. Sage’s previous credits include Judd Apatow’s
Funny People and hit comedy Knocked Up. In addition, Sage designed Year One, directed by
Harold Ramis.
For television, Sage’s work as production designer includes Apatow’s critically
acclaimed series Freaks and Geeks and Undeclared. Sage also designed The Bernie Mac Show.
As an art director, Sage’s credits include Harold Ramis’ Analyze This, Donnie Brasco,
Mississippi Masala, Blink, One True Thing and Roommates.
Sage has a degree in theater arts from the College of William & Mary and continued his
studies at New York University’s Tisch School of the Arts, where he earned an MFA in set and
lighting design for the stage. Sage started his career as a designer and assistant designer in stage,
opera, ballet, commercials and industrials, before moving into television and feature film work.
He currently lives in Los Angeles with his wife and daughter.
WILLIAM KERR (Editor) most recently edited Get Him to the Greek for director
Nicholas Stoller and producer Judd Apatow, having previously worked with them on Forgetting
Sarah Marshall. Kerr first worked with Apatow on Apatow’s first writing job, an HBO comedy
special starring Tom Arnold and Roseanne Barr. Their collaboration has continued on many
projects including the television series Undeclared and the hit comedy Superbad, starring Jonah
Hill and Michael Cera.
Kerr is also associated with writer/director John Hamburg and edited the films I Love You,
Man, starring Paul Rudd and Jason Segel, and Along Came Polly, starring Ben Stiller and
Jennifer Aniston. Kerr’s other film editing credits include Undercover Brother, Nutty Professor
II: The Klumps, My Fellow Americans and the fan favorite, comedy classic Tommy Boy, starring
Chris Farley and David Spade.
Bridesmaids is not the first film on which MIKE SALE (Editor) has worked with Judd
Apatow. His previous credits with Apatow include Superbad, Forgetting Sarah Marshall and
Get Him to the Greek.
During his 25-year career, Sale has collaborated with a wide variety of comedic directors
including Peter Segal, Greg Mottola, John Hamburg and, most recently, Todd Phillips on The
Hangover Part II. Sale also has an extensive background editing drama including the television
series Judging Amy, which he edited for four years.
ANNIE MUMOLO (Written by/Co-Producer) is an alumnus of the Los Angeles-based
improv/sketch comedy troupe The Groundlings, whose celebrated roster of graduates include
Will Ferrell, Lisa Kudrow, Maya Rudolph, Phil Hartman and her writing partner, Kristen Wiig.
Mumolo is currently developing an untitled comedy feature film with Mandate Pictures
and was a staff writer on ABC’s In the Motherhood.
As an actor, Mumolo has appeared in the 2005 feature film Bewitched and television
shows such as Two and a Half Men, Out of Practice and In the Motherhood. She also appeared in
the ABC pilots Bad Mother’s Handbook and This Might Hurt. She voices regular roles on
Curious George and Handy Manny and has lent her voice to several animated shows including
American Dad!, Father of the Pride and Maya & Miguel.
She resides in Los Angeles with her husband and two kids.
LEESA EVANS (Costume Designer) has lent her design talents to such films as Get
Him to the Greek, Forgetting Sarah Marshall, I Love You, Man, American Pie, Into the Blue,
Scooby-Doo and Josie and the Pussycats, among many others.
Evans grew up around the fashion industry and has a couture design background. Having
worked in fashion, she draws on her experience for inspiration for her film style. With more than
500 commercials under her belt, she also does celebrity styling.
Evans is currently in preproduction on Five-Year Engagement.
JONATHAN KARP (Music Supervisor/Music Editor) has been working in film music
for 16 years. After years of working as a music editor, he decided that combining the field of
music supervision along with music editing would allow for an even more immersive and
creative experience on each project.
Karp first worked with Judd Apatow in 1999 on the television series Freaks and Geeks.
They followed up that critically acclaimed show with Apatow’s film-directing debut, The
40-Year-Old Virgin. Other Apatow productions on which Karp has worked include Knocked Up,
Superbad, Pineapple Express, Forgetting Sarah Marshall, Funny People and Get Him to the
Greek.
Some of the many films with which he’s been involved include The Assassination of
Jesse James by the Coward Robert Ford, Yes Man, The Break-Up, The Life Aquatic With Steve
Zissou, I Heart Huckabees, Starsky & Hutch, Punch-Drunk Love, Old School, Magnolia and
Zoolander.
Karp’s soundtrack-album production credits include Infant Sorrow—Get Him to the
Greek, Funny People, Superbad, Forgetting Sarah Marshall, Pineapple Express and Yes Man.
He co-produced the I Heart Huckabees soundtrack with composer Jon Brion and also
co-produced the soundtrack to Starsky & Hutch.
In addition to his work as a music supervisor and a music editor, Karp also produced
many songs that have appeared in his films. He also restored and mixed the final recordings of
Marc Bolan for “T. Rex: The Final Recordings,” which was released in the U.K. and Europe.
MICHAEL ANDREWS (Music by) first worked with Judd Apatow when he scored the
Freaks and Geeks television series in 2000. Since then, he has continued to be part of the Apatow
creative family, most recently writing music for Funny People. He has created the music for all
of director Jake Kasdan’s films, including his upcoming Bad Teacher. Andrews’ gift for striking
the delicate balance between humor and drama can also be heard on the soundtracks for Donnie
Darko, Me and You and Everyone We Know and Cyrus.
Outside of film, Andrews’ talents have also been employed as a producer/collaborator for
the music of Inara George, Metric, Gary Jules and many others. He continues to perform in The
Greyboy Allstars and is working on a follow-up to his critically acclaimed “Hand on String.”
—bridesmaids—
In
Orde
r of
Appe
aran
ce
Annie Boot Camp
Instructor Lillian
Jewelry Store
Couple
Don Cholodecki
Kahlua Oscar the
Security Guard
Brynn Gil Annie’s
Mom Rita Becca
Kevin Annie’s
Mistaken Husband
Megan Annie’s
Mistaken Fella Helen Lillian’s
Dad Dougie Lillian’s Mom
Helen’s Husband Rhodes
Helen’s Stepdaughter Helen’s
Stepson Helen’s Tennis Partner
Annie’s Tennis Partner Churra
Chi Waiter Whitney Flight
Attendant Claire Flight
Attendant Steve Nervous
Woman on Plane Air Marshall
Jon Flight Attendant in Coach
13-Year-Old Girl in Jewelry
Store
CAST
KRISTEN WIIG TERRY CREWS MAYA RUDOLPH TOM YI ELAINE KAO MICHAEL HITCHCOCK
KALI HAWK JOSEPH A. NUNEZ REBEL WILSON MATT LUCAS JILL CLAYBURGH WENDI
MCLENDON-COVEY ELLIE KEMPER GREG TUCULESCU STEVE BANNOS MELISSA
MCCARTHY HUGH DANE ROSE BYRNE FRANKLYN AJAYE TIM HEIDECKER LYNNE MARIE
STEWART ANDY BUCKLEY CHRIS O’DOWD MOLLY BUFFINGTON MATT BENNETT NANCY
CARELL MELANIE HUTSELL ELOY CASADOS JESSICA ST. CLAIR DANA POWELL MITCH
SILPA ANNIE MUMOLO BEN FALCONE ANGELICA ACEDO MIA ROSE FRAMPTON 13-Year-Old
Girl’s Father Butler Horseman Doorman at Shower Girls at Shower
Shower Waiter Bill Cozbi Minister Herself Herself Herself Stunt Coordinators
Stunts
CREW
Direct
ed by
Writte
n by
Produced by
Executive
Producer Director
of Photography
Production
Designer Edited by
Music by Music
Supervisor Casting by
Costume Designer
Associate Producer
Co-Producers
Production Manager First
Assistant Director Second
Assistant Director
Additional Editors JOEL
MADISON
R.F. DALEY JORDAN
BLACK DAVID
HOFFMAN JILLIAN BELL
ARIANE PRICE
FREDERIK HAMEL
RICHARD RIEHLE
JIMMY BROGAN
CARNIE WILSON
CHYNNA PHILLIPS
WENDY WILSON
MALOSI LEONARD
WADE EASTWOOD
JOHN STONEHAM JR.
JENNIFER ADAMS
OLIVIA SUMMERS
JESSICA HARBECK
BONI YANAGISAWA
K.T. WIEGMAN HEATHER MARTIN CASEY ADAMS JESSIE GRAFF
KRISTEN HANCE EDDIE BRAUN JANENE CARLETON JACK CARPENTER
JEFF GALPIN SEAN GRAHAM DARREN PRESCOTT MARK SCIZAK
PAUL FEIG ANNIE MUMOLO & KRISTEN WIIG JUDD APATOW BARRY
MENDEL CLAYTON TOWNSEND PAUL FEIG ROBERT YEOMAN ASC
JEFFERSON SAGE WILLIAM KERR MIKE SALE MICHAEL ANDREWS
JONATHAN KARP ALLISON JONES LEESA EVANS LISA YADAVAIA
KRISTEN WIIG ANNIE MUMOLO CLAYTON TOWNSEND MATT
REBENKOFF PAUL B. SCHNEIDER DAVID MORITZ Production Supervisor
Art Director Art Department Coordinator Graphic Designer Set Decorator
Assistant Set Decorator Set Designers
Set Decorating Liaison Art Department Assistant Property Master Assistant
Property Master Property Assistants
Leadman Buyer Gang Boss Set Dressers
st
On-Set Dresser “A” Camera Operator 1 Assistant “A” Camera 2
nd
st
Assistant “A” Camera B Camera Operator/Steadicam 1 Assistant
nd
“B” Camera 2 Assistant “B” Camera Camera Loader Sound Mixer
Boom Operator Utility Sound Script Supervisor Chief Lighting
Technician Assistant Chief Lighting Technician Dimmerboard
Operator/
Lighting Technician Lighting Technicians
Rigging Chief Lighting Technician Assistant Rigging Chief Lighting
Technician Rigging Lighting Technicians
Key Grip Best Boy Grip “A” Dolly Grip “B” Dolly Grip Grips PECK PRIOR
CRAIG HERRING BARRETT J. KLAUSMAN KEITH P. CUNNINGHAM ARI
JACOBS LIBARKIN ZACHARY FANNIN DOUGLAS MOWAT KIMBERLY
MERLIN
C. SCOTT BAKER STEVE ARNOLD NIKKI RUDLOFF JEN STIRLING SEAN
MANNION MICHAEL GLYNN SARAH SNYDER JEFFRY C. VOORHEES
JASON BEDIG CLAUDIA BONFE DALE E. ANDERSON LARRY HANEY
RONALD SICA BROOKE SARTORIUS JOHN H. MAXWELL CASEY
HOTCHKISS SOC HARRY ZIMMERMAN THOMAS D. LAIRSON JR. CHRIS
HAARHOFF SUZANNE TRUCKS LARISSA SUPPLITT AARON SCHUH
KENNETH MCLAUGHLIN SCOTT JACOBS CHRISTOPHER DIAMOND
SHEILA G. WALDRON JOHN VECCHIO CRAIG MOLSBERRY
JEFFREY A. COOK SCOTT BAKER PHIL HARDT GREG JENSEN
MICHAEL A. KENNEDY SAM WAYMAN MARC MARINO
DAVID THIELHART JASON BRUNELLE STEVE HASTINGS WILLIAM
STRETT KURT GROSSI QUINN GROVE DWIGHT LAVERS RALPHIE DEL
CASTILLO JOSE F. BARRIOS BRIAN T. BRANTON PETER CLEMENCE
Key Rigging Grip Best Boy Rigging Grips
Rigging Grips
Costume Designer Costume Supervisor Key Costumers
Set Costumers
Head Makeup Key Makeup Makeup Artist Head Hairstylist Key Hairstylist
Hairstylist Postproduction Supervisor Supervising Sound Editor Re-recording
Mixers
st
1 Assistant Editor Assistant Editors
Editorial Production Assistant Postproduction Coordinator ADR Supervisor
Sound Effects Editor Dialogue Editors
ADR Editor First Assistant Sound Editor ADR Assistant Editor Special Effects
Coordinator Location Manager Key Assistant Location Managers
Assistant Location Managers
Production Coordinator Assistant
Production Coordinator
Production Secretary Script
Coordinator
nd nd
22Assistant Director JASON
GARY THOMAS D. WATSON
CHRIS OLSEN KEVIN ERB
GARY LOUZON ROBERT
ANDERSON JAMES BUTLER
CARLOS DE PALMA JEFF
HALE VINCENT HALE GEORGE
KALLIMANIS ANTHONY T.
MAZZUCCHI PHILIP POWELL
GUSTAVO ROBLES DON
TELLES CHRISTINE WADA
NANCY CAPPER ARIEL GOLD
ESTHER LEE JENNIFER WOLF
CARRIE HOLLINGER HEBA
THORISDOTTIR KATE
SHORTER MELANIE TOOKER
JANINE RATH-THOMPSON
DAVID DANON JOSE L.
ZAMORA LISA RODGERS
GEORGE ANDERSON MARC
FISHMAN ADAM JENKINS
BRIAN SCOTT OLDS MEAGAN
COSTELLO MITCH ROSIN
EMILY STREETZ BENIN
MTUME CHERYL A. TKACH
TAMMY FEARING CINDY
MARTY JAMES MATHENY
LARRY KEMP JOE SCHIFF
CHERIE TAMAI BILL BURNS
DONALD FRAZEE BOYD
WILSON LARRY RING JUN C.
LIN NAOMI MOTOHASHI
STALEY BRADFORD F. BELL
JIM SMALL
J. ELIZABETH INGRAM
MATTHEW HADFIELD TARA
GUCKEEN LISA MONAHAN
VALERIE C. JOHNSON
Storyboard Artist Video Assist
Video Playback Supervisors
Helicopter Pilot Aerial DP
Production Accountant 1
Assistant
Accountants
st
nd
Assistant Accountant 2
Payroll Accountant
Post-Production Accountant
Accounting Clerk Casting
Associate Casting Assistant
Extras Casting Assistant to
Mr. Feig Assistants to Mr.
Apatow
Assistant to Mr. Mendel
Assistant to Mr. Townsend
Assistant to Ms. Wiig
Construction Coordinator
General Foreman
Decorator Gang Bosses
Propmaker Gang Bosses
Propmakers
Drapery Foreman Location
Foreman Labor Foreman
Location Labor Foreman
Laborer Gang Bosses
Head Paint Foreman Paint
Foreman Standby Painter
Plaster Foreman Plasterer
Gang Boss Key Greensman
On-Set Greensman Foreman
Greens Foreman DGA
Trainee DARRIN
DENLINGER WILLOW
JENKINS JARED A. ROSEN
MONTE D. SWANN
MICHAEL FRANCK STEVE
KOSTER LORI SCOWLEY
TIMBER KISLAN BRETT
EIDELMAN CAROLINE
MILLER
K.B. PUGLIESE KATY
TATIAN-GENOVESE
JAMES O. MAULL
JONATHAN SIEBEL
BENJAMIN HARRIS
PETER JOHN KOUSAKIS
RICH KING SARAH
BASTIAN ALYSON
BUONCRISTIANI STACY
DOLLAR CHELSEA
PETERS MICHAEL LUND
NATE SHERMAN JESSICA
DERHAMMER TARYN
BENESTA DAVE
DEGAETANO JAVIER
CARRILLO CRAIG T.
SHORDON SCOTT P.
SHORDON ALEX
CARRILLO VICTOR
ESPINOZA SCOT LECZEL
SETH RIGAMAT DARRYL
ROBERTSHAW BEDII A.
TATAR BRYAN TURK
NICHOLAS BUTCHER
SCOTT FIELD KEVIN J.
HILL JAMES MEYER
CESAR OROZCO BRAD
CURRY STEVEN W.
RIGAMAT JAVIER
CARRILLO JR. JOHN K.
HILL JONATHAN BADILLO
KIRK HILL JOHN W. SNOW
MEG SNOW BILL
KAUHANE HOYT DAVID L.
FALCONER RICHARD
HOLLING ROGER
PRATER JAIME O.
CASTELLANOS MARC
FIGUEROA JASON
MELIUS
Production Assistants
Apatow Intern
Asset Coordinator
Transportation Captain
Transportation Coordinator
Dispatcher
D.O.T. Administration
Unit Publicist
Stills Photographer
Tennis Consultant
DVD Producer
DVD/EPK Videographer
Medics
Animals Provided by
Craft Service
Craft Service Assistants
Caterer
Researcher
ADR Voice Casting
ADR Mixer
ADR Recordist
Foley Artists
Foley Recording Mixers
Foley Recordists
Dubbing Recordist
Music Editor
Orchestrations
Scoring Engineer/Mixer
Music Contractor
Keyboards
Main Titles Designed by
End Titles by
Digital Intermediate
Digital Film Colorist
Digital Intermediate Producer
On-Line Editor
Dolby Sound Consultant
Camera Dollies by
Night Lights by
Laser Effects by
Visual Effects by
Visual Effects Supervisor
MARK AVERY
PHILIP BANKS
ISAAC KELLMAN CARLEN
JOANN CONNOLLY
MIRREN GORDON-CROZIER
MIKE KING
YARDEN LEVO
TRAVIS MILLER
BRIGID O’CONNELL
KAUSHIK SAMPATH
K.C. SCHRIMPL
ZACHARY SMITH
FRANNY STAFFORD
ROB TURBOVSKY
TOBIN H. GRIGSBY JR.
WALLACE G. FRICK
DENNY CAIRA
KAREN K. CHANG
DAVID ATKINSON
TAMMY SANDLER
SUZANNE HANOVER SMPSP
AMY SCHWARTZ
GREG COHEN
BRANDON CARROLL
ERICKA BRYCE PONIEWAZ
VICKI MARSIK
BIRDS AND ANIMALS UNLIMITED
CHANCE TASSONE
JOSEPH MILITO
COREY MINER
FADI SABELLA
FOR STARS CATERING
JESSE J. ADAMS
WENDY HOFFMANN
RANJANI BROW
GREG STEELE
GREG ZIMMERMAN
ANDY MALCOLM
GORO KOYAMA
DON WHITE
JACK HEEREN
JENNA DALLA RIVA
STEPHEN MUIR
ROBERT ALTHOFF
JONATHAN KARP
MIKE ANDREWS
STEPHEN KAYE
GINA ZIMMITTI
ROBERT WALTER
NAU/LEVEL 256
SCARLET LETTERS
COMPANY 3
STEFAN SONNENFELD
NICK MONTON
MATTHEW JOHNSON
THOM EHLE
CHAPMAN/LEONARD STUDIO EQUIPMENT, INC.
BEBEE
NU-SALT LASER LIGHTS SHOW INT’L.
LEVEL 256
SCOTT M. DAVIDS
Production Assistants
MARK AVERY
PHILIP BANKS
ISAAC KELLMAN CARLEN
JOANN CONNOLLY
MIRREN GORDON-CROZIER
MIKE KING
YARDEN LEVO
TRAVIS MILLER
BRIGID O’CONNELL
KAUSHIK SAMPATH
K.C. SCHRIMPL
ZACHARY SMITH
FRANNY STAFFORD
Apatow Intern
ROB
TURBOVSKY
RELATIVITY
MUSIC
Asset Coordinator
TOBIN H.
GRIGSBY JR.
GROUP
Transportation
Captain
WALLACE G. FRICK
SOUNDTRACK
ON
Transportation Coordinator
DENNY CAIRA
“RIP HER TO SHREDS” Written by
Deborah
Harry, Chris Stein Performed by Blondie Courtesy of
Dispatcher
KAREN
K. CHANG
Capitol Records Under
from EMI Film & Television Music
D.O.T. Administration
DAVIDlicense
ATKINSON
Unit Publicist
TAMMY SANDLER
“BORNSUZANNE
TO BOSSA”
CourtesySMPSP
of APM Music
Stills Photographer
HANOVER
Tennis Consultant
AMY SCHWARTZ
“SPECKS
BLUES” Written by Lonnie
Williams
Performed by Specks Williams Courtesy of Celery
DVD
Producer
GREG
COHEN
Music
and
Time Records
DVD/EPK Videographer
BRANDON CARROLL
Medics
ERICKA BRYCE PONIEWAZ
“BLISTER IN THE SUN” Written
by Gordon
Gano Performed by Nouvelle Vague Courtesy of
VICKI
MARSIK
Peacefrog
Ltd. UNLIMITED
Animals Provided by
BIRDS AND ANIMALS
Craft Service
CHANCE TASSONE
“THAT’S WHAT FRIENDS ARE
FOR”MILITO
Written by Burt Bacharach, Carole Bayer Sager
JOSEPH
Craft Service Assistants
COREY MINER
“PAPER BAG” Written by Fiona Apple Maggart Performed by Fiona Apple Courtesy of Epic Records
FADI SABELLA
By arrangement with Sony Music Licensing
Caterer
FOR STARS CATERING
Researcher
JESSE J.Written
ADAMS
“DIRTY DEEDS DONE DIRT CHEAP”
by Bon Scott, Angus Young, Malcolm Young
ADR
Voice
Casting
WENDY
HOFFMANN
Performed by AC/DC Courtesy of Columbia Records By arrangement with Sony Music Licensing
RANJANI BROW
ADR Mixer
“DO WAH DOO”GREG
WrittenSTEELE
by Kate Nash Performed by Kate Nash
ADR Recordist
GREG ZIMMERMAN
Foley Artists
ANDY MALCOLM
GORO KOYAMA
Foley Recording Mixers
DON WHITE
JACK HEEREN
Foley Recordists
JENNA DALLA RIVA
STEPHEN MUIR
Dubbing Recordist
ROBERT ALTHOFF
Music Editor
JONATHAN KARP
Orchestrations
MIKE ANDREWS
Scoring Engineer/Mixer
STEPHEN KAYE
Music Contractor
GINA ZIMMITTI
Keyboards
ROBERT WALTER
Main Titles Designed by
NAU/LEVEL 256
End Titles by
SCARLET LETTERS
Digital Intermediate
COMPANY 3
Digital Film Colorist
STEFAN SONNENFELD
Digital Intermediate Producer
NICK MONTON
On-Line Editor
MATTHEW JOHNSON
Dolby Sound Consultant
THOM EHLE
Camera Dollies by
CHAPMAN/LEONARD STUDIO EQUIPMENT, INC.
Night Lights by
BEBEE
Laser Effects by
NU-SALT LASER LIGHTS SHOW INT’L.
Visual Effects by
LEVEL 256
Visual Effects Supervisor
SCOTT M. DAVIDS
Courtesy of Polydor Ltd. (U.K.) Under license from Universal Music Enterprises
“TWO SPANISH HEARTS A” Courtesy of APM Music
“ANDALUSIAN DREAM A” Courtesy of APM Music
“MANHA DE CARNAVAL” Written by Luiz Bonfa, Antonio Maria Performed by Joao Donato Courtesy
of RCA Records By arrangement with Sony Music Licensing
“MORNING DANCE” Written by Jay Beckenstein Performed by Spyro Gyra Courtesy of Amherst
Records, Inc.
“I’VE JUST BEGUN (HAVING MY FUN)” Written by Bloodshy, Henrik Jonback, Britney Spears,
Avant, Michelle Lynn Bell Performed by Britney Spears Courtesy of Jive Records By arrangement
with Sony Music Licensing
“MY LOVE IS YOUR LOVE (FOREVER)” Written by Stevie Wonder, Ivy Jo Hunter Performed by
Smokey Robinson & The Miracles Courtesy of Motown Records Under license from Universal Music
Enterprises
“PLAYGROUND OF THE STARS” Courtesy of APM Music
“IT’S RAINING” Written by Allen Toussaint Performed by Inara George Courtesy of Elgin Park
Recordings
“VIOLET” Written by Courtney Love, Eric Erlandson Performed by Hole Courtesy of Geffen Records
Under license from Universal Music Enterprises
“WILSON… I’M SORRY” FROM CAST AWAY Written & Performed by Alan Silvestri Courtesy of
th
Paramount Pictures and 20 Century Fox Film Corporation
“ANSWERING BELL” Written by Ryan Adams Performed by Ryan Adams Courtesy of Lost Highway
Records Under license from Universal Music Enterprises
“NATURAL BORN KILLAZ” Written by Andre Young, Ice Cube Performed by Dr. Dre and Ice Cube
Courtesy of WIDEawake-Death Row Entertainment LLC Under license from EverGreen Copyrights,
Inc., a BMG Company
“HOLD ON” Written by Chynna Phillips, Carnie Wilson, Glen Ballard Performed by Wilson Phillips
Courtesy of Capitol Records Under license from EMI Film & Television Music
“SHAKIN’ ALL OVER” Written by Johnny Kidd Performed by Wanda Jackson Courtesy of Third Man
Records/Nonesuch Records By arrangement with Warner Music Group Film & TV Licensing
“RIP HER TO SHREDS” Written by Deborah Harry, Chris Stein Performed by Blondie Courtesy of
Eagle Records, a subsidiary of Eagle Rock Entertainment Ltd
IN ASSOCIATION WITH DENTSU INC.
th
Cast Away courtesy of 20 Century Fox. All Rights Reserved. Cast Away licensed through
Paramount Pictures. The Maury Show courtesy of NBCUniversal Television Distribution. Bulletstorm
video game courtesy of People Can Fly. Stock photography supplied by Thinkstock. Stock footage
courtesy of Thought Equity.
Special Thanks to
The State of California California Film Commission Epic Games
AMERICAN HUMANE ASSOCIATION MONITORED THE ANIMAL ACTION. NO ANIMALS WERE
®
HARMED . (AHAD 02270) (Add Logo)
THIS MOTION PICTURE USED SUSTAINABILITY STRATEGIES TO REDUCE ITS CARBON
EMISSIONS AND ENVIRONMENTAL IMPACT. (ADD LOGO)
FILMED WITH PANAVISION CAMERAS AND LENSES (Logo)
DATASAT Logo SDDS Logo Dolby Digital Logo MPAA Certificate # 46648 Logo IATSE Logo
COPYRIGHT © 2011 UNIVERSAL STUDIOS All Rights Reserved.
ANIMATED UNIVERSAL STUDIOS LOGO © 1997 UNIVERSAL STUDIOS
Universal Studios is the author of this motion picture for purposes
of the Berne Convention and all national laws giving effect thereto.
THE CHARACTERS AND EVENTS DEPICTED IN THIS PHOTOPLAY ARE FICTITIOUS.
ANY SIMILARITY TO ACTUAL PERSONS, LIVING OR DEAD, IS PURELY COINCIDENTAL. THIS
MOTION PICTURE IS PROTECTED UNDER THE LAWS OF THE UNITED STATES AND OTHER
COUNTRIES. UNAUTHORIZED DUPLICATION, DISTRIBUTION OR EXHIBITION MAY RESULT IN
CIVIL LIABILITY AND CRIMINAL PROSECUTION. APATOW (Logo) MPAA Code Classification: R
Universal Tour Logo
Credits as of March 30, 2011.