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04:26:57 02/01/12
Episode 1 :: When We Ruled H-Town
[LESS INFO] 0 VIEWS | ADDED 04:26:57 02/01/12
Special 2 hour episode. Complete with guest hosts Mike Hutson, J. Schneider from Taste of Garlic, Brent Himes from Taste of Garlic, and Robbie Conley from Monster Soup. IN THIS EPISODE: Old Man and Bitter Girl are here with their official release!! In this podcast Tim, Brea and Dean team up with guest host Mike Hutson (a good friend, cuddly bear, all around good guy from Houston, TX.. just so all you lovely ladies are aware) and discuss the upcoming show “When We Ruled H-Town” in Houston on February 5th. We were lucky enough to snag the time of the busy busy boys in charge of the show and the upcoming documentary, J. Schneider and Brent Himes from Taste of Garlic and Robbie Conley from Monster Soup and get their take on why the documentary is being made and what it meant to be in the Houston scene in the 90s. To keep up to date with how the documentary is coming along, to help donate to the cause and to check out a short 3:30 section of the video, check out these links for more information. + When We Ruled H-Town Facebook Page + When We Ruled H-Town Kickstarter Page For information on the show on February 5th.. check out these links. + When We Ruled H-Town Event Page + Presale Tickets OMBG Podcast will be at the show on the 5th to help cover the show, promote the amazing feat these guys are undertaking and give out free swag, so we hope to see you there! <3 APPROX RUN TIME: 1:58:37 PLAYLIST: Monster Soup – Fudgeblast Taste of Garlic – En D Mand Simpleton – Double Down Spunk – Rock UR Pussy/Spunk Rock Deadhorse – Mindless Zombie Wishbone Bush – Hot Rod Dive – Danielle Tread – No More The Suspects – Caffiene Monster Soup – Trans Am Superman Nonstop Bombers – Spent Taste of Garlic – No Money The Burns – Don’t Tell Me No
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00:00:42 01/03/12
Last-Place Bachmann: 'I Intend To Be America's Iron Lady'
[LESS INFO] 0 VIEWS | ADDED 00:00:42 01/03/12
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Michelle Bachmann's appearance yesterday on This Week with Jake Tapper was one of her more cringe-inducing performances. Not because she isn't someone incapable of delivering lines and staying on message, but because the content of her message is so obviously boilerplate campaignspeak from someone who's so clearly sliding too far down, too fast to win. Instead, she's promising a "miracle:" >
TAPPER: My next guest sounds just as confident, but her path forward is a lot more murky. Congresswoman Michele Bachmann joins me from Des Moines.
Congresswoman, thanks for joining us, and happy new year.
BACHMANN: Happy new year to you. Great to be on with you this morning, Jake.
TAPPER: So the last time you and I spoke, you had just won the Iowa straw poll. The Des Moines Register poll had you tied for first place with Mitt Romney with 22 percent of the vote. Now that same poll has you with 7 percent of the vote. What happened to your campaign?
BACHMANN: Well, we've had a very good campaign. And I think what's happened is, a lot of candidates have come in, and Iowa voters and national voters have taken a look at all of the other candidates. But we have done I think what no other candidate has done, and that is, after the last debate, we've gone across all of Iowa, all 99 counties, and we've actually done heavy, heavy retail politics where we've gone into cafes and into living rooms of Iowans, and we've made a very strong connection with a lot of people.
And if you look at the polls, it's upwards of 40 percent to 50 percent of Iowans haven't made their decision yet. And I think the polls, what they're reflecting will be very different from what we're seeing on Tuesday night, because people make their decision, quite honestly, in the caucus room. Iowa is very different. People gather in living rooms. They gather in elementary schools and churches, and they make their decision on the spot with their neighbors. And we have done, like I said, what no other candidate has done the last two weeks. We've put over -- almost 7,000 miles on our bus, and we've literally gone from town to town to town meeting with people directly. And we saw thousands of people switch their vote just in the last couple of weeks, so we think there's going to be a very profound shift that people see on Tuesday night.
TAPPER: Well, one of the -- one of the dilemmas that you've had is that a lot of the voters that you are competing for, conservative voters, Christian evangelicals in some cases, are also being wooed by Rick Santorum and Rick Perry. And Santorum has momentum right now. He is at third place in the Des Moines Register poll. And if you look at the last two days, he's in second place. He has strong social conservative credentials. He's fluent in foreign affairs. He won statewide twice in a key swing state, Pennsylvania. So why should voters go for you and not him?
BACHMANN: Well, because I'm the strongest core conservative in this race. There is no comparison with all of the other candidates and my credentials. No other candidate has current national security experience in the race. I sit on the House Intelligence Committee. I am daily involved with the issue of national security. No other candidate is.
And as what we -- what we are seeing happening with Iran obtaining a nuclear weapon, that will be a formidable issue immediately with the next commander-in-chief. I'm ready. No other candidate is currently ready in that issue.
Gee, Michelle, I know it makes me feel better that you'll lie about Iran "obtaining" a nuke. It shows you'll say anything at all to win - always a great quality in a president. >
Also, I'm the only federal tax litigation attorney in this race. When it comes to dealing with the number-one issue that's on voters' minds, which is out-of-control spending, I have that credential in spades over any other candidate, because no other candidate was leading on this issue in the halls of Congress or in Washington or nationally. I'm the one that called for saying "no" to letting Barack Obama increase the national credit card limit.
Psst, Michelle honey? Try not to say things like that around sane people. It doesn't help. >
And when it comes to social issues, there's no one who can -- who can compare with my record. I'm a mother of five, a foster mother to 23 children that we've raised, and also I have an unassailable record on life, on marriage, on religious liberty. So when it comes to values and issues, there is no one who comes close to where I am on those issues.
But I think even more so, I'm the one that's been proven and tested in the fires of Washington, and that's why I think you saw people vote for me in the Iowa straw poll, but also it's what we have done on the ground. No other candidate has done more retail campaigning on the ground.
TAPPER: But...
BACHMANN: And I think we'll bear the fruit of that on Tuesday night.
TAPPER: But with all due respect, Congresswoman, this is the same pitch you've been making all summer and all fall and -- and up until today, and you're in last place, according to the polls. And -- and somebody that has similar credentials to you and a similar appeal to you, Rick Santorum, is showing huge momentum. Why you over him?
BACHMANN: Well, again, I think the polls take a few days to catch up. And -- and we have made that incredible deposit of going in every single county. We've drawn 300 people at a stop, 250 people at a stop, and I think a lot of that isn't yet reflected in the polls. And the main thing will be on Tuesday night.
We're looking forward. We're not looking in the rear-view mirror. And what we're seeing going forward, especially with the tremendous outpouring of young people that are coming out to work on our phone banks and to go lit dropping and door-to-door is nothing short of amazing. We're -- we're number-one in the category of enthusiasm. If you look at all of the candidates, which candidate has the most enthusiasm among their supporters, I'm that candidate. I'm number-one with the 18- to 29-year-old voters, which are highly motivated, and they're doing all of the work.
So I think that if you look at my past races, and polling data showed me actually losing and 8 points behind in previous races that I've had when I've run for Congress, and yet I -- I win by 8 and 13 points. So polls don't -- are -- sometimes belie the truth on the ground, and that's what we see. This isn't just about polling. This is about what we're seeing in reality, and I think Tuesday night people are going to see a miracle.
TAPPER: In the last week, your campaign has gotten involved in a big kerfuffle about one of your top supporters, your chairman in Iowa defecting and going to the Ron Paul campaign. I don't want to get into the weeds on that debate. There was a back-and-forth about whether or not he was paid off. He denied that you accused him of doing that. But this is not the first time you've made a charge like this. You've also said this about other supporters with Newt Gingrich in Georgia, with Rick Santorum.
Don't you risk -- making these charges, doesn't that risk voters seeing you as making a final gasp of desperation?
BACHMANN: Oh, for Heaven's sake. Of course not. What this shows is the tremendous momentum that we have out of the last debate. From person after person, they said that I won the last debate in Sioux City, Iowa. And the reason why is because, when Ron Paul made his very dangerous statements, which is he was just fine with Iran obtaining a nuclear weapon, or with Newt Gingrich taking $1.6 million from Freddie Mac and he was unable to defend that, I -- I took it to them.
And what people saw during the last debate is that I have the ability, of all of the candidates on the stage, I have the best ability to take it to Barack Obama in the debate and hold him accountable. We had tremendous momentum coming out of the last debate, and we saw it in county after county in our 99-county tour, where people were just appalled by Ron Paul's position. They thought it was dangerous.
That's why we saw literally thousands of people switching their decision on the spot, and that's what you saw, was this crush of momentum. And so we saw some different actions coming out of the Ron Paul campaign. And I think that people will be very surprised at the results on Tuesday night, because I think people will see a lot of defections away from Ron Paul because they see -- especially with the aggressive nature of the actions on the part of Iran in the Straits of Hormuz, people are seeing how important it is that we have a commander-in-chief who is conversant, prepared, knowledgeable, and has good judgment on foreign affairs. And of all of the candidates in the race, I'm best suited for that -- that portion of being commander-in- chief.
TAPPER: Congresswoman, we only have a little bit of time left, so last question. In the interests of candor and being based in reality, positing that you feel that you're going to have a very good night on Tuesday and that all the polls are wrong and you're going to do well, but assuming that the polls are right, isn't that, practically speaking, the end of your campaign if you come in last on Tuesday?
BACHMANN: Well, we've bought tickets to head off to South Carolina. And we are looking forward to the debates. January is a very full month. We're here for the -- for the long -- for the long race. This is a 50-state race. And we intend to participate not only in New Hampshire, South Carolina, Florida, but to go all the way, because I intend to be the Republican nominee and defeat Barack Obama in 2012, because America needs a candidate that will be in the legacy of a Ronald Reagan and of a Margaret Thatcher. That's what I intend to do, is to be America's iron lady.
TAPPER: All right. Congresswoman Michele Bachmann, good luck on Tuesday. And hope you have a wonderful 2012.
BACHMANN: Thank you. Same to you and your listeners.
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00:00:42 01/03/12
Last-Place Bachmann: 'I Intend To Be America's Iron Lady'
[LESS INFO] 0 VIEWS | ADDED 00:00:42 01/03/12
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Michelle Bachmann's appearance yesterday on This Week with Jake Tapper was one of her more cringe-inducing performances. Not because she isn't someone incapable of delivering lines and staying on message, but because the content of her message is so obviously boilerplate campaignspeak from someone who's so clearly sliding too far down, too fast to win. Instead, she's promising a "miracle:" >
TAPPER: My next guest sounds just as confident, but her path forward is a lot more murky. Congresswoman Michele Bachmann joins me from Des Moines.
Congresswoman, thanks for joining us, and happy new year.
BACHMANN: Happy new year to you. Great to be on with you this morning, Jake.
TAPPER: So the last time you and I spoke, you had just won the Iowa straw poll. The Des Moines Register poll had you tied for first place with Mitt Romney with 22 percent of the vote. Now that same poll has you with 7 percent of the vote. What happened to your campaign?
BACHMANN: Well, we've had a very good campaign. And I think what's happened is, a lot of candidates have come in, and Iowa voters and national voters have taken a look at all of the other candidates. But we have done I think what no other candidate has done, and that is, after the last debate, we've gone across all of Iowa, all 99 counties, and we've actually done heavy, heavy retail politics where we've gone into cafes and into living rooms of Iowans, and we've made a very strong connection with a lot of people.
And if you look at the polls, it's upwards of 40 percent to 50 percent of Iowans haven't made their decision yet. And I think the polls, what they're reflecting will be very different from what we're seeing on Tuesday night, because people make their decision, quite honestly, in the caucus room. Iowa is very different. People gather in living rooms. They gather in elementary schools and churches, and they make their decision on the spot with their neighbors. And we have done, like I said, what no other candidate has done the last two weeks. We've put over -- almost 7,000 miles on our bus, and we've literally gone from town to town to town meeting with people directly. And we saw thousands of people switch their vote just in the last couple of weeks, so we think there's going to be a very profound shift that people see on Tuesday night.
TAPPER: Well, one of the -- one of the dilemmas that you've had is that a lot of the voters that you are competing for, conservative voters, Christian evangelicals in some cases, are also being wooed by Rick Santorum and Rick Perry. And Santorum has momentum right now. He is at third place in the Des Moines Register poll. And if you look at the last two days, he's in second place. He has strong social conservative credentials. He's fluent in foreign affairs. He won statewide twice in a key swing state, Pennsylvania. So why should voters go for you and not him?
BACHMANN: Well, because I'm the strongest core conservative in this race. There is no comparison with all of the other candidates and my credentials. No other candidate has current national security experience in the race. I sit on the House Intelligence Committee. I am daily involved with the issue of national security. No other candidate is.
And as what we -- what we are seeing happening with Iran obtaining a nuclear weapon, that will be a formidable issue immediately with the next commander-in-chief. I'm ready. No other candidate is currently ready in that issue.
Gee, Michelle, I know it makes me feel better that you'll lie about Iran "obtaining" a nuke. It shows you'll say anything at all to win - always a great quality in a president. >
Also, I'm the only federal tax litigation attorney in this race. When it comes to dealing with the number-one issue that's on voters' minds, which is out-of-control spending, I have that credential in spades over any other candidate, because no other candidate was leading on this issue in the halls of Congress or in Washington or nationally. I'm the one that called for saying "no" to letting Barack Obama increase the national credit card limit.
Psst, Michelle honey? Try not to say things like that around sane people. It doesn't help. >
And when it comes to social issues, there's no one who can -- who can compare with my record. I'm a mother of five, a foster mother to 23 children that we've raised, and also I have an unassailable record on life, on marriage, on religious liberty. So when it comes to values and issues, there is no one who comes close to where I am on those issues.
But I think even more so, I'm the one that's been proven and tested in the fires of Washington, and that's why I think you saw people vote for me in the Iowa straw poll, but also it's what we have done on the ground. No other candidate has done more retail campaigning on the ground.
TAPPER: But...
BACHMANN: And I think we'll bear the fruit of that on Tuesday night.
TAPPER: But with all due respect, Congresswoman, this is the same pitch you've been making all summer and all fall and -- and up until today, and you're in last place, according to the polls. And -- and somebody that has similar credentials to you and a similar appeal to you, Rick Santorum, is showing huge momentum. Why you over him?
BACHMANN: Well, again, I think the polls take a few days to catch up. And -- and we have made that incredible deposit of going in every single county. We've drawn 300 people at a stop, 250 people at a stop, and I think a lot of that isn't yet reflected in the polls. And the main thing will be on Tuesday night.
We're looking forward. We're not looking in the rear-view mirror. And what we're seeing going forward, especially with the tremendous outpouring of young people that are coming out to work on our phone banks and to go lit dropping and door-to-door is nothing short of amazing. We're -- we're number-one in the category of enthusiasm. If you look at all of the candidates, which candidate has the most enthusiasm among their supporters, I'm that candidate. I'm number-one with the 18- to 29-year-old voters, which are highly motivated, and they're doing all of the work.
So I think that if you look at my past races, and polling data showed me actually losing and 8 points behind in previous races that I've had when I've run for Congress, and yet I -- I win by 8 and 13 points. So polls don't -- are -- sometimes belie the truth on the ground, and that's what we see. This isn't just about polling. This is about what we're seeing in reality, and I think Tuesday night people are going to see a miracle.
TAPPER: In the last week, your campaign has gotten involved in a big kerfuffle about one of your top supporters, your chairman in Iowa defecting and going to the Ron Paul campaign. I don't want to get into the weeds on that debate. There was a back-and-forth about whether or not he was paid off. He denied that you accused him of doing that. But this is not the first time you've made a charge like this. You've also said this about other supporters with Newt Gingrich in Georgia, with Rick Santorum.
Don't you risk -- making these charges, doesn't that risk voters seeing you as making a final gasp of desperation?
BACHMANN: Oh, for Heaven's sake. Of course not. What this shows is the tremendous momentum that we have out of the last debate. From person after person, they said that I won the last debate in Sioux City, Iowa. And the reason why is because, when Ron Paul made his very dangerous statements, which is he was just fine with Iran obtaining a nuclear weapon, or with Newt Gingrich taking $1.6 million from Freddie Mac and he was unable to defend that, I -- I took it to them.
And what people saw during the last debate is that I have the ability, of all of the candidates on the stage, I have the best ability to take it to Barack Obama in the debate and hold him accountable. We had tremendous momentum coming out of the last debate, and we saw it in county after county in our 99-county tour, where people were just appalled by Ron Paul's position. They thought it was dangerous.
That's why we saw literally thousands of people switching their decision on the spot, and that's what you saw, was this crush of momentum. And so we saw some different actions coming out of the Ron Paul campaign. And I think that people will be very surprised at the results on Tuesday night, because I think people will see a lot of defections away from Ron Paul because they see -- especially with the aggressive nature of the actions on the part of Iran in the Straits of Hormuz, people are seeing how important it is that we have a commander-in-chief who is conversant, prepared, knowledgeable, and has good judgment on foreign affairs. And of all of the candidates in the race, I'm best suited for that -- that portion of being commander-in- chief.
TAPPER: Congresswoman, we only have a little bit of time left, so last question. In the interests of candor and being based in reality, positing that you feel that you're going to have a very good night on Tuesday and that all the polls are wrong and you're going to do well, but assuming that the polls are right, isn't that, practically speaking, the end of your campaign if you come in last on Tuesday?
BACHMANN: Well, we've bought tickets to head off to South Carolina. And we are looking forward to the debates. January is a very full month. We're here for the -- for the long -- for the long race. This is a 50-state race. And we intend to participate not only in New Hampshire, South Carolina, Florida, but to go all the way, because I intend to be the Republican nominee and defeat Barack Obama in 2012, because America needs a candidate that will be in the legacy of a Ronald Reagan and of a Margaret Thatcher. That's what I intend to do, is to be America's iron lady.
TAPPER: All right. Congresswoman Michele Bachmann, good luck on Tuesday. And hope you have a wonderful 2012.
BACHMANN: Thank you. Same to you and your listeners.
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19:24:31 04/27/11
Tibetans Call for Release of 11th Panchen Lama
[LESS INFO] 0 VIEWS | ADDED 19:24:31 04/27/11
Tibetans Call for Release of 11th Panchen Lama
For more news visit ? english.ntdtv.com Follow us on Twitter ? http Follow us on Facebook ? facebook.com Tibetan exiles are calling on the Chinese regime to release the 11th Panchen Lama, an important Tibetan spiritual figure. He's believed to have been kidnapped when he was just six years old. His case is a source of simmering tensions for ethnic Tibetans living in China and abroad. The 11th Panchen Lama is the second highest-ranking spiritual figure in Tibetan Buddhism, and also said by rights groups, to be the world's youngest political prisoner. Protests for his release were held on his 22nd Birthday on Monday at monasteries throughout India's northern state of Himachal Pradesh, and outside Chinese Embassies around the world. Gedhun Choekyi Nyima was taken into custody in 1995 when he was just six years old and shortly after he was given his spiritual title by Tibetan spiritual leader, the Dalai Lama. Neither he nor his family have been seen in public since. The Chinese regime then chose its own Panchen Lama, Gyaltsen Norbu, but few exiled Tibetans recognize him. In towns like India's northern hill resort of Shimla, hundreds of Tibetans marched down the streets holding candles and chanting hymns. A Tibetan Buddhist, Tsering Diki voiced her concern about alleged Chinese atrocities at the Kirti Monastery in Sichuan province, where 17 monks and 17 other Tibetans were arrested in recent weeks. [Tsering Diki, Tibetan Buddhist]: "Today is the 22nd birthday of His ... From: NTDTV Views: 2 0 ratings Time: 01:58 More in News & Politics
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00:36:14 03/22/11
Song Of The South Alabama Guitar Lesson
[LESS INFO] 0 VIEWS | ADDED 00:36:14 03/22/11
website: http://www.realcountryguitar.com/2011/03/how-to-play-song-of-south-by-alabama.html Country T Shirts: http://realcountryguitar.spreadshirt.com/ facebook: http://www.facebook.com/pages/Real-Country-Guitar/152908544739219 Other cool sites http://www.roarnomore.com/ http://therisingseed.blogspot.com/ http://worshipguitarriffs.blogspot.com/ Song, song of the south Sweet potato pie and I shut my mouth Gone, gone with the wind There ain't nobody looking back again Cotton on the roadside, cotton in the ditch We all picked the cotton but we never got rich Daddy was a veteran, a southern democrat They oughta get a rich man to vote like that Sing it... Song, song of the south Sweet potato pie and I shut my mouth Gone, gone with the wind There ain't nobody looking back again Well somebody told us Wall Street fell But we were so poor that we couldn't tell Cotton was short and the weeds were tall But Mr. Roosevelt's a gonna save us all Well momma got sick and daddy got down The county got the farm and they moved to town Pappa got a job with the TVA He bought a washing machine and then a Chevrolet Sing it... Song, song of the south Sweet potato pie and I shut my mouth Gone, gone with the wind There ain't nobody looking back again Play it... Sing it... Song, song of the south Sweet potato pie and I shut my mouth Gone, gone with the wind There ain't nobody looking back again Song, song of the south... Gone, gone with the wind... Song, song of the south. Sweet potato pie and I shut my mouth. Song, song of the south. Sweet potato pie and I shut my mouth. Sing it... Song, song of the south Sweet potato pie and I shut my mouth Gone, gone with the wind There ain't nobody looking back again Song, song of the south Sweet potato pie and I shut my mouth Gone, gone with the wind There ain't nobody looking back again
20 Views
01:33:49 11/03/10
Due Date Starring Robert Downey Jr. and Zach Galifian
[LESS INFO] 20 VIEWS | ADDED 01:33:49 11/03/10
Due Date Starring Robert Downey Jr. and Zach Galifianakis This 1sr Look brought to you by Stevn Samblis www.icPlaces.com
THE IDEA
From director Todd Phillips, “Due Date” stars Robert Downey Jr. and Zach Galifianakis as two unlikely companions thrown together on a road trip that turns out to be as life-changing as it is outrageous.
Downey plays Peter Highman, an expectant first-time father whose wife's due date is only days away. As he hurries to catch a flight home to Los Angeles from Atlanta to be at her side for the birth, his best intentions go completely awry when a chance encounter with aspiring actor and disaster-magnet Ethan Tremblay (Galifianakis) leads to the two of them being tossed off the plane and placed on a no-fly list...while Peter's luggage, wallet and ID take off without him.
With no alternatives in sight, Peter is forced to hitch a ride with Ethan and his canine traveling companion on what turns out to be a cross-country road trip that will destroy several cars, numerous friendships and Peter's last nerve.
The comedy “Due Date” also stars Michelle Monaghan (“Made of Honor”), Juliette Lewis (“The Switch”) and Academy Award® winner Jamie Foxx (“Ray”).
Directed by Todd Phillips (“The Hangover”), the film is produced by Phillips and Dan Goldberg (“The Hangover,” “Old School”), from a screenplay by Alan R. Cohen & Alan Freedland and Adam Sztykiel & Todd Phillips, story by Alan R. Cohen & Alan Freedland. Thomas Tull, Susan Downey and Scott Budnick serve as executive producers.
“Due Date” reunites Phillips with key members of his filmmaking team from “The Hangover,” including director of photography Lawrence Sher, production designer Bill Brzeski, editor Debra Neil-Fisher, composer Christophe Beck and costume designer Louise Mingenbach.
ABOUT THE PRODUCTION
“If you're going to travel with me to Los Angeles I have to give you a couple of guidelines. Number one: don't ask me a single question.” - Peter Highman
“It's a simple idea—two mismatched guys forced to go on a road trip together,” declares “Due Date” director and co-writer Todd Phillips. “Robert Downey Jr. is Peter Highman, an architect on his way back to L.A. from a business trip in Atlanta. He's on a tight schedule because his wife is expecting their first child and the date is all set. Everything is fine until he gets tangled up at the airport with a wannabe actor named Ethan Tremblay, who somehow gets the both of them booted off the plane and grounded for the foreseeable future.”
At that point, “simple” flies right out the window.
Stranded without cash, credit, ID or time, Peter finds himself in the galling position of having to hitch a ride home with a guy he'd rather take a swing at—Ethan. The person he holds responsible for his predicament in the first place is now behind the wheel of a rental car and offering him the passenger seat.
Though clearly not his best option, it's Peter's only option.
At first grateful for the company, Ethan soon learns that his tightly wound traveling companion is not going to be any fun at 20 Questions, nor generally receptive to the concept of going with the flow. Meanwhile, Peter realizes he's just joined forces with a guy who can casually ruin his life in more ways than he could ever imagine.
“If there really was somebody like Ethan around, he'd have been strangled in his sleep long ago,” Downey attests. “He's like a laser beam that focuses on the one thing that will drive you crazy the most, the kind of guy who will eat a whole plate of waffles before mentioning he's allergic to waffles. I'm sure a lot of people know someone like this, someone who is perfectly wired to activate all of their irritation buttons.”
Granted, Peter has a short fuse to begin with. “He's kind of an edgy, controlling, judgmental guy with some anger-management issues. And who better to help him explore those issues than Ethan Tremblay? High-strung as he is normally, Peter is now facing the birth of his first child and is thrown into this nightmare, so it's all amped up,” Downey adds.
Ethan, by comparison, gives new meaning to the term laid-back. Zach Galifianakis, who stars as the human lightning rod for trouble, observes, “Nothing affects him, no insult seems to penetrate. Ethan lives in his own head. He has no talent, and he's on his way to Hollywood to capitalize on that. These two guys meet through a series of unfortunate circumstances that are entirely Ethan's fault, to which he is completely oblivious. And every bad thing that happens from that point on is Ethan's fault. Everything.”
Says Phillips, “People always cite chemistry in these kinds of movies. They say it's the chemistry between the two lead actors that make it work. I believe what makes ‘Due Date' work is anti-chemistry; it's two guys with zero connection and zero rapport, constantly butting heads, that generates both the tension and the comedy.”
Dan Goldberg, who has produced all of Phillips' feature films since their 2000 collaboration on the hit comedy “Road Trip,” says, “The ride develops its own momentum as one thing after another happens to impede their progress.”
At the same time, their cross-country trek takes Peter and Ethan on another, more unpredictable journey than what they face geographically—one that leads them to discover as much about themselves as each other.
Provided that they survive it.
Scott Budnick, an executive producer on the film, says, “There's real emotional substance to the story and real issues, and Robert and Zach do a phenomenal job in delivering both the humor and the emotional stakes. My favorite comedies are always the ones that have heart.”
As infuriating as Ethan can be, whether mismanaging his funds, missing potty breaks or launching their car off an overpass, Phillips concedes he has his good points, citing “honesty, innocence and a humanity that makes you connect with him and root for him despite it all. Ethan is a complex character. He has just lost his father, who was his best friend, and is having a tough time dealing with that. There's an underlying desperation in everything he does and an eagerness to please to the point where just making friends means trying too hard.”
“A lot of what he does is to avoid being lonely,” says Galifianakis.
Peter, on the other hand, may come across like a self-assured, aggressive control freak but, says Phillips' “Due Date” screenwriting partner Adam Sztykiel, “You sense that his behavior comes from an emotional place and from issues he has yet to work out, that are revealed in the story. Not far beneath the alpha male posture is his own vulnerability and how terrified he is to be responsible for a child.”
“As a parent,” Downey offers, “I know the big question is how are you going to manage and protect something that you have no experience with?”
Playing on that theme were screenwriters Alan R. Cohen and Alan Freedland, who also have story credit on “Due Date.” “Peter's comfort zone is when he's in control. And everything that happens in this movie is about losing control; from his inability to get back home to the larger issue of his impending fatherhood—and whether or not he's ready for it,” Cohen says.
“We wanted to put him into a situation where he had to travel across the country with someone who was effectively a child,” adds Freedland.
Not that it would lessen Peter's pain, stress and frustration if he knew it might be pain, stress and frustration with a purpose. Still...
“When I read the script, I was moved,” recalls executive producer Susan Downey. “It's so funny and yet so human. You want a comedy to have that grounding, in the way that you want a drama to have some humor. In ‘Due Date,' though his experience with Ethan, Peter finds his human side and gets ready for the birth of his own child. It's about him becoming a man before becoming a father.”
“Guess who's got the Subaru Impreza? Me! Guess who's got the winning personality? Me! What do you have? You have a nice hairline. Fine. You have a strong jaw. But I gotta tell you, mister, your personality needs some work.” - Ethan Tremblay
Despite the “anti-chemistry” Phillips had in mind for their characters, Galifianakis and Downey generated some genuine positive chemistry from the start.
Downey vividly recalls their first meeting. “I was in Venice, California, and some weird guy walks by and says, ‘Hi, I think I'm doing a movie with you.' And I was thinking, ‘I might have to punch this guy.' Then I realized, ‘Oh my God...that's Zach.'
“Later, he came over for dinner so we could talk about the script,” Downey continues. “I asked if he had any dietary restrictions and he sent me a note detailing everything he'd need, like bottled water flown in from Barstow. It's one of my favorite things. I read it to people at parties.”
“We kind of took care of each other on the set—very different from what was going on in the movie. We'd talk every morning about how to make a scene work. It was great. Funny how hanging out with a legitimate actor raises your game,” Galifianakis returns.
“I always respond to projects based on the casting potential,” says Phillips. “I immediately start seeing a movie from the standpoint of casting it. For ‘Due Date,' I knew that if I could get Robert and Zach we could go full out.”
Phillips marks his second collaboration with Galifianakis on “Due Date,” following the comedian's breakout starring role in last year's international blockbuster hit “The Hangover,” that became the highest-grossing R-rated comedy of all time. He says, “Zach and I click because he knows I really get his humor, which can be pretty outrageous.”
In “Due Date,” however, Galifianakis creates a character that calls for a great deal of subtlety. Notes Budnick, “Every little nuance of personality and each detail—the way he walks, the way he talks, the way he thinks—Zach has figured out how Ethan Tremblay would do these things and it's reflected in every single moment he's on screen.”
At the same time, there is a core of unpredictability to the performance. “Zach brings a sense of spontaneity and danger and I think comedy is best with an undercurrent of danger so that you never know exactly what's going to happen or what someone will say or do. In that sense, he's the perfect comedic actor,” says Phillips.
And “Due Date” gives him a worthy antagonist in Downey.
“Not only is Robert a world-class actor but he's naturally funny. I wouldn't think of casting Robert Downey Jr. as anyone's straight-man,” says Phillips. “In ‘Due Date' there is no straight-man because they're both screwed up in their own ways. And the beauty of Zach and Robert playing off each other is that they're both funny but their humor comes from such different places and their styles are so different that you're not mining the same vein.”
Downey, Galifianakis, Phillips and Sztykiel “took the script apart and put it back together,” says Goldberg. “Every day there were new things that touched me and made me laugh. I believe ‘Due Date' audiences will see aspects of Robert and Zach that they haven't seen before and things that will surprise them. As a filmmaker, I'm always looking for that.”
It's a philosophy and a process that Phillips respects. “So much of comedy happens on the day you shoot,” he says, and offers the example of the airplane luggage bin scene. “It just happened as we were looking at the seating and the overhead bin and realized how that could bring them really close in a small space. Zach said, ‘What if I rub up against him while I'm reaching into the bin?' And I said, ‘What if you pull your shirt up first to wipe your glasses so it's just your bare stomach?' Comedy isn't math; it's jazz.”
Says Robert Downey Jr., “I start every day thinking here's what will happen if you do it by the book and here's what can happen if you bend yourself over backwards and forwards again and try to invite the unimagined into the situation. The set had energy like a living being; it was evolving all the time. And what's great and so funny about Todd is that sometimes, with him, it's so wrong, it's right.”
That point of view resonates with Galifianakis, who admits to being right alongside the director in appreciating “the inappropriate,” adding, “Todd and I have the same sense of humor. We like stuff that has a bit of a taboo element—things that are funny specifically because you're not supposed to laugh at them. As a stand-up comic, I love it when audiences laugh before they realize maybe they shouldn't have, and then start to question themselves.
“That's not to say that you can't be offended by something Todd or I do in a film,” he continues with mock concern. “I'm often offended by the things I do in movies.”
“You'd better check yourself before you wreck yourself.” - Ethan
“What I like about road trip movies is that essentially your characters are working without a net. You just throw them out into the elements and say, ‘Deal with it,'” says Phillips. “You don't have the support system of friends and family. People come in and out of your life for intense but fleeting moments.”
To help facilitate that, ‘Due Date' features a stellar supporting cast of characters who offer Peter and Ethan a range of memorable and often thought-provoking encounters along the way.
The first of these is Heidi, a freelance medical supplier with questionable parenting skills, tracked down by Ethan at her Birmingham home to restock his supply of “glaucoma medication.” It's one of many detours that takes them miles out of their way.
Heidi is played by Juliette Lewis, in her third screen role for Phillips. Lewis was touring in London with her band when the director called. “We worked it out so that between London and Helsinki I made a pit stop in a place I didn't even know existed—Las Vegas, New Mexico—for a couple of days, to play a pot dealer,” she recounts. “When Todd calls it's a game of trust. I don't know the role, I don't know what he wants me to do, but I know it's going to be good and it's going to be funny.”
Oscar® winner Jamie Foxx, who recently starred with Downey in “The Soloist,” comes aboard in the role of Peter's old college buddy, Darryl, now living in Dallas.
“It was a real coup to get Jamie to come in as Peter's friend—and, according to Ethan, possibly the real father of his soon-to-be-born child,” says Robert Downey Jr., alluding to yet another way in which Ethan manages to get under Peter's skin.
Within minutes of entering Darryl's home, Ethan spots a few photos, asks a few questions, adds two and two, and comes up with five. “He learns that Darryl is very close with Peter's wife and jumps to all kinds of conclusions. Then, he plants the seed of doubt in Peter's mind,” says Phillips.
“Darryl comes into the picture to do these guys a favor and it's all great...until it's not. Then things get very weird, very fast,” Foxx says of the ensuing scene that lands Peter and Ethan back on the pavement. “Working with Robert, Zach and Todd, you'd never know what to expect, but you could always count on it being a crazy, creative, collaborative experience.”
The travelers also run afoul of an ill-tempered Western Union clerk, played by Danny McBride; a paragon of Airport Security, played by Grammy Award-winning hip hop producer/musician and actor Rza; and an exceptionally indifferent TSA agent, played by Matt Walsh, the ER doc from “The Hangover.”
Meanwhile, back home anxiously awaiting Peter's return is his wife, Sarah, played by Michele Monaghan, reuniting with Downey for the first time since they teamed in the 2005 comedy thriller “Kiss Kiss Bang Bang.”
“Sarah is just about 8 months and 29 days pregnant with her first baby and obviously very anxious,” Monaghan offers. “Her husband is not only m.i.a but is also traveling cross- country with a wild man whose only concern is if she has any ‘recommendations for someone who could give him a perm'?!? Clearly, the baby's arrival looks more promising than daddy's.”
“Sonny, stop. Sonny...No. Stop. Good boy.” - Ethan
Before circumstances force these two to share a rental car, Ethan already has a traveling companion: a French Bulldog named Sonny, who becomes the pair's third wheel and a point of calm amidst the escalating mayhem.
The role of Sonny, though indisputably male, was played almost entirely by a young female Frenchie trained by Mark Harden, of Boone's Animals for Hollywood.
The introduction of a dog into the script came about as Phillips sought to further ratchet up the tension between his two leads and decided that one of them should be a dog person and the other...not so much. After perusing renowned animal trainer Boone Narr's company website, he spotted what he was looking for in Bodie, an adult male French Bulldog with the big ears and wide-eyed comical expression typical of the breed.
Unfortunately, at 26 pounds, Bodie was too heavy to be constantly toted around on one arm, so, with only weeks before filming started, Harden launched a full-scale and very specific search for a six-to-10-month-old, cream-colored, slightly undersized French Bulldog. He first tried the rescue agencies, then tapped into a nationwide network of breeders before finding someone who had a full-grown female weighing in at 15 pounds.
Though Galifianakis jokes that Sonny was trained to fall asleep at the word ‘action,' Harden takes no credit for the animal's relaxed demeanor, conceding, “She's just a very settled and well-adjusted dog. She doesn't get worked up. I think she just learned early on that most of her scenes were going to take awhile and she might as well catch a nap.”
Galifianakis, who bonded with his canine co-star despite an allergy to dogs, says, “I was kind of envious at her ability to fall asleep at work. And she snores like me.”
But as much as the camera loved Sonny, there was one special trick she just couldn't manage, that required a one-day command performance from Bodie.
Harden carefully describes how the trick serendipitously made its way into the story. “French Bulldogs are unable to groom themselves in certain areas as other dogs do. I don't know if it's a combination of their short neck and wide shoulders, but they can't twist backwards.”
Consequently, some of them use their paws, “a natural behavior that Bodie spontaneously offered in front of Todd at that first meeting, while we were talking,” the trainer recalls. “As soon as he saw it, there was no turning back. He said, ‘Oh my God, can you train him to do that?”
“Am I okay? Do I look okay? I have a broken arm. I have three cracked ribs. I have seven stitches in my armpit. Does that answer your question? - Peter
“I love physical comedy,” says Phillips, who happily extends the parameters of physical comedy in “Due Date” to include a multi-vehicle freeway chase, an end-over-end car flip and a shoot-out with some seriously t'd-off border security agents.
“For me,” Phillips continues, “It's fun to include shocking moments that make you say, ‘Whoa, where did that come from?' We shot the car sequence in Las Cruces, New Mexico. They let us break through the overpass and land on the road below. We closed the highway for several days to prepare and execute it but, frankly, you never know how a stunt is going to land, so we set up four or five cameras and let it happen. The car flipped back up on its wheels, but we were prepared for it to do anything.” Filming “Due Date” was a road trip in itself. Location shooting began in and around Atlanta and moved generally westward with the story, touching upon Dallas and the Texas interior and various locations in New Mexico, including Las Vegas and Santa Fe, which the filmmakers covered from a base of operations in Albuquerque, before touching down in California.
“The way the script breaks down, they have to get across the country. in a couple of days so you really need to take the southern route, which is not as long as the northern, so it makes sense in terms of driving time,” says production designer Bill Brzeski.
A separate helicopter unit covered the Grand Canyon for a key scene with Peter and Ethan perched on its rim, overlooking the Colorado River snaking its way through, far below. Between takes, busloads of visitors from all over the world arrived to tour the area and there was some concern on the part of the crew that they might forget to watch where they were going once they caught sight of Downey and Galifianakis.
The film's opening airport scenes were a combination of several elements. The plane cabin mockup was constructed on Stage 11 at Warner Bros. Studios; the curb where Peter's and Ethan's cars pull up was shot at Ontario Airport in California; and the screening area and other terminal interiors were built inside the Georgia World Congress Center in Atlanta.
Other practical locations in Georgia included a construction site in Atlanta's Buckhead neighborhood; a Waffle House and portions of Highway 27 in Bremen; various locations along I-75 and I-675, GA-route 20 and the Metropolitan Parkway; the Gwinnett Medical Center in Lawrenceville; the 1010 Condos on Atlanta's historic Peachtree Street; and a recently closed rest stop along I-985.
Darryl's home in Dallas was an amalgam of exteriors captured in Buckland, Georgia, and interiors shot in Encino, California. “You're never really anywhere you're supposed to be,” Brzeski says. “Las Vegas, New Mexico was built around the turn of the century and doesn't look like what you'd expect to see in New Mexico. There's a lot of Victorian architecture that doesn't match the typical Santa Fe look so buildings can substitute for almost any American small town, be it Texas or Ohio. We used it as Alabama for Heidi's house.”
The southwestern city also provided the site for one of the film's larger set pieces; a checkpoint at the U.S./Mexico border that was constructed on a bridge spanning a portion of Route 25 in Las Vegas, under which Brzeski and his team formed an encampment of Federali trailers based on actual Mexican Customs vehicles. Interiors of the office and a trailer, as well as a gimbal rig that figures into the action, were built on stage and another rotating rig, dubbed “car-on-a-spit” by one crew member, was designed for the scene in which Peter and Alan take their rented Subaru for a real spin.
All this action takes its toll on the luggage-deprived Peter, forced to spend the entire journey in one increasingly rumpled, torn, stained and slept-in suit. For costume designer Louise Mingenbach, that meant maintaining 20 versions of the suit in five basic stages of deterioration. “Definitely, the story evolves through Peter's clothes,” she says.
With Ethan's wardrobe she was able to have more fun, brainstorming with Galifianakis, who, she says, “has no vanity. Some actors want to look beautiful all the time but that's not Zach. He will wear whatever works for his character, even if it's acid-washed jeans two sizes too small.”
“I really like to look bad in movies,” Galifianakis agrees. “Originally Ethan was dressed like a hippie but I wanted him to be more arty—or, what he would think is arty. He has a perm, he has his dance shoes and his really bad tight jeans and the scarf as an accessory; he wants to be an actor and this is how he thinks actors dress.”
“Due Date” marks Mingenbach's fifth collaboration with Phillips, who says, “I have a great team. I've worked with essentially the same people throughout my career. We write some crazy thing and then I turn to my guys and say, ‘Can we pull this off?'”
Among those previous colleagues rejoining the director on “Due Date” were cinematographer Lawrence Sher, editor Debra Neil-Fisher and composer Christophe Beck.
Scott Budnick points out, “‘Due Date' marks the 10-year anniversary of ‘Road Trip,' Todd's first movie and my first job out of college. We filmed ‘Road Trip' from September to December 1999, and ‘Due Date' from September to December of 2009.”
For Phillips, it's a genre full of possibilities.
“I've been in some strange situations on the road,” confesses screenwriter Sztykiel, a Los Angelino who identified in some ways with Peter. “Here's a guy who's a little sheltered and doesn't have exposure to the 3,000 miles that exist east of his home, and it was fun to force him out of his bubble. It's uncomfortable, but you come away with a better sense of your place in the world. My advice for travelers? Go to the bathroom. Make sure your traveling partner has gone to the bathroom. Don't spend all your money on illegal substances. Don't say ‘bomb' on an airplane. Don't open your car door in traffic. Pretty simple stuff.” Sure. In hindsight.
“There's something about a road trip that brings out the extremes of human reactions and emotions,” says Phillips. “It's a great opportunity for surprises and for people to learn things about themselves or each other that they'd never see if they weren't being pushed to their limits, or having to make the kinds of quick, instinctive decisions you have to make on the road.”
At the same time, the road itself can be almost incidental. “No matter where we are in ‘Due Date,' no matter what's kind of chaos they're going through,” he concludes, “it all comes down to these two guys working out their issues.”
ABOUT THE CAST
ROBERT DOWNEY JR. (Peter Highman), a two-time Academy Award® nominee, earned his most recent Oscar® nomination, for Best Supporting Actor, for his work in Ben Stiller's comedy hit “Tropic Thunder.” His performance as Kirk Lazarus, a white Australian actor playing a black American character, also brought him Golden Globe, BAFTA Award and Screen Actors Guild (SAG) Award® nominations. Downey was honored with his first Oscar® nomination, in the category of Best Actor, for his portrayal of Charlie Chaplin in Richard Attenborough's acclaimed 1992 biopic “Chaplin,” for which he also won BAFTA Award and London Film Critics Awards and received a Golden Globe Award nomination.
Earlier this year, Downey received another Golden Globe nomination for his performance in the title role of the 2009 hit “Sherlock Holmes,” under the direction of Guy Ritchie. Downey returns to the role of the legendary detective in a new Sherlock Holmes adventure, currently slated for release in December 2011.
In summer 2008, Downey received praise from critics and audiences for his performance in the title role of the blockbuster hit “Iron Man,” under the direction of Jon Favreau. Bringing the Marvel Comics superhero to the big screen, “Iron Man” earned more than $585 million worldwide, making it one of the year's biggest hits. Downey reprised his role in the successful sequel, which was released this past spring. He returns to the role in Josh Whedon's upcoming actioner “The Avengers,” which teams Iron Man with other Marvel Comics superheroes.
Downey's other recent films include “The Soloist,” opposite Jamie Foxx; “Charlie Bartlett”; David Fincher's “Zodiac,” alongside Jake Gyllenhaal and Mark Ruffalo; Richard Linklater's “A Scanner Darkly,” with Keanu Reeves, Winona Ryder and Woody Harrelson; “Fur,” opposite Nicole Kidman in a film inspired by the life of revered photographer Diane Arbus; and “Kiss Kiss, Bang Bang.” He also shared in a SAG Award® nomination as a member of the ensemble cast of George Clooney's true-life drama “Good Night, and Good Luck,” and in a Special Jury Prize won by the ensemble cast of “A Guide to Recognizing Your Saints,” presented at the 2006 Sundance Film Festival.
Downey's long list of film credits also includes “Gothika”; “The Singing Detective”; Curtis Hanson's “Wonder Boys”; “U.S. Marshals”; Mike Figgis' “One Night Stand”; Jodie Foster's “Home for the Holidays”; “Richard III”; Oliver Stone's “Natural Born Killers”; Robert Altman's “The Gingerbread Man” and “Short Cuts,” sharing in a Golden Globe Award for Best Ensemble for the latter; “Heart and Souls,” “Soapdish,” “Air America,” “Chances Are,” “True Believer,” “Less Than Zero,” “Weird Science,” “Firstborn,” and “Pound,” in which he made his debut under the direction of Robert Downey Sr.
On the small screen, Downey made his primetime debut in 2001 when he joined the cast of the series “Ally McBeal.” For his work on the show, he won the Golden Globe Award for Best Supporting Actor in a Series, Miniseries or Motion Picture Made for Television and a Screen Actors Guild Award® for Outstanding Actor in a Comedy Series. In addition, Downey was nominated for an Emmy for Outstanding Supporting Actor in a Comedy Series.
On November 23, 2004, Robert Downey Jr. released his debut album, “The Futurist,” on the Sony Classics label. The album, containing eight original songs, showcased his singing talents.
Downey and his wife, Susan, just formed Team Downey, a production company based at Warner Bros.
ZACH GALIFIANAKIS (Ethan Tremblay) moved to New York City after failing his last college course by one point at North Carolina State University. He got his start performing his brand of humor in the back of a hamburger joint in Times Square, graduating to doing stand-up at night in clubs and coffee houses in the city. While working as a bus boy, he got his first acting job on the NBC sitcom “Boston Common.”
Galifianakis' breakout role came in Todd Phillips' blockbuster hit “The Hangover,” the highest-grossing R-rated comedy of all time. He will reunite with Phillips and cast-mates Bradley Cooper, Ed Helms and Justin Bartha in “The Hangover 2,” slated for a 2011 release.
He also stars in “It's Kind of a Funny Story,” which premieres at the 2010 Toronto Film Festival and opens this fall. Recently, he also co-starred with Steve Carell and Paul Rudd in Jay Roach's comedy “Dinner for Schmucks.” Galifianakis' additional film credits include the Jerry Bruckheimer-produced hit “G-Force”; the indie feature “Youth in Revolt,” with Michael Cera, Steve Buscemi and Ray Liotta; a cameo in Jason Reitman's Oscar®- nominated film “Up in the Air”; “What Happens in Vegas,” with Cameron Diaz and Ashton Kutcher; and the critically acclaimed true-life drama “Into the Wild,” from director Sean Penn.
On the small screen, Galifianakis just started the second season of the HBO comedy “Bored to Death,” with Jason Schwartzman and Ted Danson. In addition, he hosted the critically acclaimed VH1 talk show “Late World with Zach,” and also wrote and starred in “Dog Bites Man” for Comedy Central.
Zach also has an internet talk show entitled “Between Two Ferns.” He has interviewed such guests as Steve Carell, Natalie Portman, Conan O'Brien and Charlize Theron.
When not filming, Galifianakis lives on his farm in North Carolina.
MICHELLE MONAGHAN (Sarah Highman) most recently starred to great critical acclaim in the independent film “Trucker,” which world premiered at the Tribeca Film Festival. She received the Best Actress Awards from the San Diego Film Critics Society, Ft. Lauderdale International Film Festival and Vail Film Festival. Monaghan also served as executive producer on the film.
She will next been seen in Sofia Coppola's “Somewhere,” “Source Code,” opposite Jake Gyllenhaal for director Duncan Jones and “Machine Gun Preacher,” opposite Gerard Butler for director Marc Forster.
Monaghan made her feature film debut in “Perfume,” directed by Michael Rymer, then played Richard Gere's secretary in Adrian Lyne's “Unfaithful.” She followed with supporting roles in Fred Schepisi's “It Runs in the Family,” with Michael Douglas; “Winter Solstice,” with Anthony LaPaglia; Paul Greengrass' “The Bourne Supremacy”; and Doug Liman's “Mr. & Mrs. Smith.”
It was her starring role in “Kiss Kiss, Bang Bang,” opposite Robert Downey Jr. and Val Kilmer, which brought Monaghan to the attention of audiences around the world. She also received rave reviews for her performance in the film, directed by Shane Black. Next, Monaghan joined Charlize Theron and Frances McDormand in “North Country” for director Niki Caro. She then starred in “Gone Baby Gone,” with Casey Affleck and Morgan Freeman; “The Heartbreak Kid,” opposite Ben Stiller; “Mission: Impossible III,” with Tom Cruise and Philip Seymour Hoffman for director J.J. Abrams; opposite Patrick Dempsey in the romantic comedy “Made of Honor”; and in D.J. Caruso's hit thriller “Eagle Eye,” alongside Shia LaBeouf.
JULIETTE LEWIS (Heidi) received Best Supporting Actress Oscar® and Golden Globe nominations for her layered performance as adolescent Danielle, opposite Robert De Niro, in Martin Scorsese's thriller “Cape Fear.”
She reunites with Todd Phillips on “Due Date,” having previously collaborated on “Old School” and “Starsky & Hutch.”
Lewis was most recently seen alongside Hilary Swank, Melissa Leo, Minnie Driver and Sam Rockwell in the independent drama “Conviction,” which premiered at the Toronto Film Festival and opened in October. Prior to that, Lewis appeared in the romantic comedy “The Switch,” alongside Jennifer Aniston, Jason Bateman and Patrick Wilson. She also starred alongside Orlando Bloom, Mark Ruffalo and Laura Linney in Ruffalo's directorial debut, “Sympathy for Delicious,” which took home the US Dramatic Special Jury Prize at this year's Sundance Film Festival. Last year, she played roller derby girl Dinah Might opposite Ellen Page, Marcia Gay Harden, Kristen Wiig, Jimmy Fallon and Eve in Drew Barrymore's directorial debut, “Whip It.”
Among Lewis' many other films are Gary Marshall's “The Other Sister”; “Evening Star,” with Shirley MacLaine; Quentin Tarantino's vampire tale “From Dusk Till Dawn,” opposite George Clooney; the sci-fi actioner “Strange Days,” alongside Ralph Fiennes and Angela Bassett; Nora Ephron's comedy “Mixed Nuts,” opposite Steve Martin and Adam Sandler; Oliver Stone's controversial “Natural Born Killers”; “What's Eating Gilbert Grape,” with Johnny Depp and Leonardo DiCaprio”; “Romeo Is Bleeding”; “Kalifornia”; Woody Allen's “Husbands and Wives”; “Crooked Hearts” and “National Lampoon's Christmas Vacation,” with Chevy Chase.
At 12, Lewis landed her first leading role in the Showtime miniseries “Home Fires.” At 16, her performance in the critically acclaimed longform “Too Young to Die?” led to film roles. Lewis' other television credits include Showtime's “My Louisiana Sky,” for which she received an Emmy Award nomination for Outstanding Performer in a Children's Special, and Mira Nair's HBO film “Hysterical Blindness,” alongside Uma Thurman and Gena Rowlands. She also had recurring roles in several series.
In addition to film and television, Lewis's music career continues to evolve. Her third studio album, Terra Incognito, was released in fall 2009.
JAMIE FOXX (Darryl) won an Academy Award® for Best Actor in 2005 for his portrayal of the legendary Ray Charles in the Taylor Hackford-directed biopic “Ray.” Foxx also won a Golden Globe Award, a Screen Actors Guild (SAG) Award®, a BAFTA Award, and an NAACP Image Award, as well as numerous critics' association awards, and shared in a SAG Award® nomination received by the film's ensemble cast.
Also in 2005, Foxx garnered Oscar®, Golden Globe Award, SAG Award®, BAFTA Award, and Image Award nominations, in the Best Supporting Actor category, for his work in Michael Mann's dramatic thriller “Collateral,” in which he starred with Tom Cruise. That same year, Foxx also earned Golden Globe Award and SAG Award® nominations and won an Image Award for Best Actor in a Television Movie for his portrayal of condemned gang member-turned-Nobel Peace Prize nominee Stan “Tookie” Williams in the FX Network movie “Redemption.”
Foxx has a number of films upcoming, including the Seth Gordon-directed comedy “Horrible Bosses”; F. Gary Gray's action thriller “Kane & Lynch,” opposite Bruce Willis; and the comedy “Skank Robbers,” which he also wrote and is producing. His recent film credits also include Garry Marshall's hit ensemble romantic comedy “Valentine's Day,” the thriller “Law Abiding Citizen,” Joe Wright's drama “The Soloist,” the thriller “The Kingdom” and Bill Condon's screen adaptation of the Broadway musical “Dreamgirls.” Foxx also executive produced the film “Life Support,” starring Queen Latifah, which closed the 2007 Sundance Film Festival.
Foxx's big-screen break came in 1999 when Oliver Stone cast him as a star quarterback in “Any Given Sunday.” In 2001, he co-starred with Will Smith in Michael Mann's acclaimed biopic “Ali.” His additional film credits include Michael Mann's “Miami Vice,” with Colin Farrell; Sam Mendes' Gulf War drama “Jarhead,” with Jake Gyllenhaal; “Stealth”; Antoine Fuqua's “Bait”; “Booty Call”; “The Truth about Cats & Dogs”; and “The Great White Hype.”
Foxx first came to fame as a comedian. After spending time on the comedy circuit, he joined Keenan Ivory Wayans, Jim Carrey, Damon Wayans and Tommy Davidson in the landmark Fox sketch comedy series “In Living Color.” In 1996, he launched his own series, “The Jamie Foxx Show,” which was one of the top-rated shows on The WB Network during its five-year run. Foxx also served as co-creator and executive producer, and directed several episodes. His first HBO Comedy Special, “Jamie Foxx: I Might Need Security,” premiered in February 2002.
In addition to his acting success, Foxx has also achieved a thriving music career. His first album, Unpredictable, topped the charts in late 2005 and early 2006 and spawned the NBC special “Unpredictable,” in which he performed with such artists as Mary J. Blige, Common, Snoop Dogg, The Game and Angie Stone. He has been nominated for eight Billboard Music Awards, three Grammy Awards, a Soul Train Music Award, and two American Music Awards, winning for Favorite Male Artist. Foxx's latest album, 2008's Intuition, debuted at number three on the Billboard 200 chart and spawned the chart-topping single “Blame It.” Foxx recently wrapped up his “Blame It Tour” in support of the album. On January 31, 2010 Jamie Foxx and T-Pain's “Blame It” won in the category of Best R%B performance by a duo/group with vocals at the 52nd Annual Grammy Awards.
ABOUT THE FILMMAKERS
TODD PHILLIPS (Director/Screenwriter/Producer) most recently directed and produced the 2009 blockbuster hit comedy “The Hangover,” starring Bradley Cooper, Ed Helms, Zach Galifianakis and Justin Bartha. The film became the highest grossing R-rated comedy of all time and won a Golden Globe for Best Motion Picture – Comedy or Musical. He is currently in production on the much-anticipated sequel, “The Hangover 2,” which reunites the cast.
Phillips started his career as a documentary filmmaker, inspired by humor taken from everyday reality and the belief that the truth is often stranger than fiction.
His first film, “Hated,” portrayed the revolting antics of extreme punk rocker G.G. Allin and became an instant underground sensation. It was released in the summer of 1994 and went on to become the highest grossing student film of its time.
He followed that in 1998 with “Frat House,” a documentary that he produced and directed for HBO's popular “America Undercover” series. “Frat House” premiered at the 1998 Sundance Film Festival and won the Grand Jury Prize for documentary features. The unflinching exposé of life in fraternities created a public controversy that eventually caused the film to be shelved by HBO. Phillips still hopes to release it in the future.
After meeting producer Ivan Reitman at Sundance, Phillips made his crossover to features with 2000's “Road Trip,” which established him as a new force in comedy. He simultaneously produced and directed “Bittersweet Motel,” a documentary on musical cult phenomenon Phish.
In one way or another, Phillips' films explore the nature of male relationships, and in doing so he has worked with some of Hollywood's biggest comedic actors, writing and directing such films as “Old School” in 2003, “Starsky & Hutch” in 2004, and “School for Scoundrels” in 2006. Phillips was nominated for a 2006 Academy Award® for Best Adapted Screenplay for his work on “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan.”
DAN GOLDBERG (Producer) marks his fifth film collaboration with Todd Phillips on “Due Date.” Previously, he served as producer on Phillips' “Old School,” “Road Trip,” “School for Scoundrels” and most recently, “The Hangover,” which won a Golden Globe Award for Best Motion Picture – Musical or Comedy and is the highest grossing R-rated comedy of all time. Goldberg will next produce “The Hangover 2” with Phillips, releasing in 2011.
Goldberg also produced the outrageous comedy “Howard Stern's Private Parts” and the animated comedy adventure “Space Jam,” starring Michael Jordan, and was an executive producer on Ivan Reitman's romantic adventure “Six Days Seven Nights,” starring Harrison Ford.
His screenwriting credits include the classic comedies “Stripes” and “Meatballs,” both of which he also produced; “Feds,” which he also directed; and the enduring cult favorite “Heavy Metal.”
ALAN R. COHEN & ALAN FREEDLAND (Screenwriters, Story) are best known as Emmy Award-winning writers from the Fox animated show “King of the Hill” and often referred to as “the Alans.”
Among numerous other writing and producing credits, the duo also co-created the Comedy Central cult hit “Kid Notorious,” starring Robert Evans. They are currently co- executive producers on Seth MacFarlane's “American Dad.”
Prior to “Due Date,” the Alans wrote feature scripts for various studios. They currently have several television and film projects in development, including the feature comedy “The Reunion,” for producer Brian Grazer.
A George Washington University graduate, Cohen originally hails from Pittsburgh and worked for several years as a reporter in The Baltimore Sun's Washington, D.C. bureau.
Freedland graduated from the University of Michigan. He grew up in the Detroit area and worked in advertising in Chicago.
ADAM SZTYKIEL (Screenwriter)'s most recent writing credit was the comedy “Made of Honor,” starring Patrick Dempsey and Michelle Monaghan.
He is currently working on a film adaptation of the best-selling memoir “The Game” by Neil Strauss, and has numerous other film and television projects in development.
Sztykiel is a graduate of the University of Southern California School of Cinematic Arts.
THOMAS TULL (Executive Producer), Chairman and CEO of Legendary Pictures, has achieved great success in the co-production and co-financing of event movies. Since its inception in 2004, Legendary Pictures has teamed with Warner Bros. Pictures on such hits as Bryan Singer's “Superman Returns”; Zack Snyder's “300” and “Watchmen”; and Christopher Nolan's “Batman Begins” and award-winning phenomenon “The Dark Knight,” which earned in excess of $1 billion worldwide.
More recently, this highly successful partnership produced Ben Affleck's “The Town”; Christopher Nolan's summer blockbuster “Inception”; the worldwide hit “Clash of the Titans”; Todd Phillips' “The Hangover,” which is the highest-grossing R-rated comedy of all time; and Spike Jonze's “Where the Wild Things Are.” Legendary's upcoming releases include Bryan Singer's “Jack the Giant Killer,” Todd Phillips' “The Hangover 2,” and Zack Snyder's “Sucker Punch.” Legendary is also developing a number of promising film projects in-house, including “Warcraft,” “Godzilla,” “Gravel,” “Paradise Lost,” and a sequel to “300.”
Before forming Legendary, Tull was President of The Convex Group, a media and entertainment holding company headquartered in Atlanta, on whose Board of Directors he also served.
SUSAN DOWNEY (Executive Producer) is a principal partner of Team Downey, the production company she formed with her husband, Robert Downey Jr. A prolific film producer, she has collaborated with some of the industry's most noted talents on films ranging from action blockbusters to dramas to comedies to horror thrillers.
Downey also produced the global hit “Sherlock Holmes,” which opened on Christmas Day 2009 and grossed more than $516 million worldwide. Directed by Guy Ritchie, the film starred Robert Downey Jr., Jude Law, Rachel McAdams and Mark Strong in an action adventure mystery that brought Arthur Conan Doyle's legendary detective to the big screen as never before. She is currently producing the sequel, which again stars Downey Jr. and Law under the direction of Ritchie.
Downey also recently served as an executive producer on the action hit “Iron Man 2,” which earned more than $620 million at the worldwide box office. The follow up to “Iron
Man” reunited director Jon Favreau with returning stars Robert Downey Jr. and Gwyneth Paltrow, and also starred Don Cheadle, Mickey Rourke and Scarlett Johansson.
Previously, Downey held the dual posts of Co-President of Dark Castle Entertainment and Executive Vice President of Production at Silver Pictures. Joining Silver Pictures in 1999, she oversaw the development and production of feature films released under both banners, including “Thir13en Ghosts” and “Swordfish.”
In 2002, she made her producing debut as a co-producer on “Ghost Ship” and then co- produced the 2003 release “Cradle 2 the Grave.” Downey went on to produce the features “Gothika” and “House of Wax,” and also served as an executive producer on the critically acclaimed comedic thriller “Kiss Kiss, Bang Bang.”
Downey later produced Neil Jordan's acclaimed psychological drama “The Brave One,” starring Jodie Foster and Terrence Howard; Guy Ritchie's widely praised crime comedy “RocknRolla,” starring Gerard Butler, Tom Wilkinson, Thandie Newton, Idris Elba, Chris Bridges and Jeremy Piven; the horror thriller “Orphan,” starring Vera Farmiga and Peter Sarsgaard; and the thriller “Whiteout,” starring Kate Beckinsale. She was also an executive producer on the Hughes brothers' post-apocalyptic drama “The Book of Eli,” starring Denzel Washington and Gary Oldman.
Prior to her tenure at Dark Castle and Silver Pictures, Downey worked on the hit films “Mortal Kombat” and “Mortal Kombat: Annihilation.”
Downey is a graduate of the University of Southern California's School of Cinema- Television.
SCOTT BUDNICK (Executive Producer) is Executive Vice President of Production for Green Hat Films, overseeing the development and production of a varied slate of projects including the upcoming “Project X,” set for release in 2011. He most recently executive produced the blockbuster hit “The Hangover,” which won a Golden Globe for Best Motion Picture – Musical or Comedy and is the highest grossing R-rated comedy of all time.
Budnick began his entertainment career in local casting while at Emory University in his hometown of Atlanta, Georgia. Upon graduation, he relocated to Los Angeles, serving as casting assistant on Todd Phillips' “Road Trip” and then as associate to the director on “Old School,” starring Vince Vaughn, Luke Wilson, Will Ferrell and Jeremy Piven. Budnick served associate producer on Phillips' following films, “Starsky & Hutch,” starring Owen Wilson and Ben Stiller and “All The King's Men,” starring Sean Penn and Jude Law, which Phillips executive produced; and was co-producer on “School for Scoundrels,” starring Billy Bob Thornton.
LAWRENCE SHER (Director of Photography) reunites with Todd Phillips on “Due Date,” having previously collaborated on the Golden Globe-winning blockbuster comedy “The Hangover.” His work will next be seen in Greg Mottola's sci-fi comedy “Paul,” with Jason Bateman and Seth Rogan, and David Frankel's comedy “The Big Year,” based on Mark Obmascik's book and starring Owen Wilson, both releasing in 2011.
Sher's other recent credits include “I Love You, Man,” “Trucker,” “The Promotion,” “Dan in Real Life,” “The Dukes of Hazzard” and “The Chumscrubber.”
He worked as director of photography on several smaller films and music videos earlier in his career, coming to the fore in 2001 with the award-winning independent film “Kissing Jessica Stein,” followed by director Zach Braff's “Garden State.”
Born and raised in New York City, Sher studied economics at Wesleyan University where, in his junior year, he turned an interest in still photography into a fascination with motion pictures. Upon graduation, he moved to Los Angeles and began his career as a camera assistant.
BILL BRZESKI (Production Designer) previously collaborated with Todd Phillips on the 2009 Golden Globe Award-winning blockbuster comedy “The Hangover,” for which he received an Art Director's Guild Award nomination for Excellence in Production Design. Brzeski re-teams again with Phillips for “The Hangover 2,” releasing in 2011.
Brzeski's other recent credits include “Flipped,” which reunited him with Rob Reiner, having previously served as production designer on Reiner's “The Bucket List”; and re- teaming with Rob Minkoff' on “The Forbidden Kingdom,” having previously worked on the director's groundbreaking CGI movie “Stuart Little” and its sequel, “Stuart Little 2.” Some of the designer's additional credits include “Deck the Halls,” “Blue Streak,” James L. Brooks' Oscar®-winning “As Good As It Gets” and “Matilda.”
Brzeski received his undergraduate degree from Miami University and his MFA in Design from New York University's Tisch School of the Arts. Originally interested in designing for the ballet and opera, he began his career in the theatre before moving to Los Angeles from New York City and designing more than 800 episodes of television series.
Brzeski also designs commercial spaces, most notably the award-winning Susina Bakery in Los Angeles.
His production design workshops at graduate and undergraduate levels have been hosted by New York University School of the Arts, Miami University, Clemson University and Loyola University Film School.
DEBRA NEIL-FISHER (Editor) re-teams with Todd Phillips on “Due Date,” having served as editor on his blockbuster hit “The Hangover,” the number one R-rated comedy of all time. The film won a Golden Globe for Best Motion Picture - Musical or Comedy and Fisher was honored with an Eddie Award by the American Cinema Editors for Best Edited Feature Film.
Among Neil-Fisher's other feature credits are the hit comedies “Baby Mama,” “Semi- Pro,” “Role Models,” “You, Me and Dupree,” “Without a Paddle,” “Saving Silverman,” and two hugely successful Austin Powers films, “Austin Powers: International Man of Mystery” and “Austin Powers: The Spy Who Shagged Me.” She has collaborated three times with director Donald Petrie on “Just My Luck,” “Welcome to Mooseport” and “How to Lose a Guy in 10 Days.” Her work also extends to other genres, including the dramas “Fried Green Tomatoes,” “The War” and “Up Close and Personal,” as well as the thrillers “Teaching Mrs. Tingle” and “Dr. Giggles.”
In 1991 Neil-Fisher won a CableACE Award for her work on TNT's telefilm “Heat Wave,” for director Kevin Hooks. Among her earlier television credits are “The Amy Fisher Story,” “The Case of the Hillside Strangler” and the TNT thriller “Breaking Point.”
LOUISE MINGENBACH (Costume Designer) marks her fifth project with director Todd Phillips on “Due Date,” a collaboration that began on the feature film “Starsky & Hutch,” followed by “School for Scoundrels” and the 2008 telefilm “The More Things Change...” In 2009, her designs were seen in Phillips' mega-blockbuster “The Hangover,” which won a Golden Globe for Best Motion Picture – Musical or Comedy and is the highest R-rated comedy of all time.
The upcoming actioner “Battleship,” based on the classic board game, reunites Mingenbach with Peter Berg, with whom she worked on “Hancock,” starring Will Smith.
Mingenbach also designed costumes for the 2009 action epic ““X-Men: Wolverine.” Previously, she earned a Saturn Award and a Costume Designers Guild Award nomination for her work on Bryan Singer's “X-Men.” She has teamed with Singer on four other films, including the 1995 thriller “The Usual Suspects,” “X2,” “Apt Pupil” and “Superman Returns,” as well as the pilot for “House M.D.”
Mingenbach's additional feature credits include the Farrelly Brothers' “The Heartbreak Kid,” “Spanglish,” “The Rundown,” “K-PAX,” “Gossip,” “Permanent Midnight,” “Nightwatch,” “The Spitfire Grill” and “One Night Stand.”
CHRISTOPHE BECK (Composer) previously collaborated with Todd Phillips on “The Hangover,” which won a Golden Globe for Best Motion Picture – Comedy or Musical.
He has composed scores for 50 feature films and nearly 20 television shows. With more than 15 years of experience, Beck has scored a wide array of projects, including such action films as “Percy Jackson & The Olympians: The Lightning Thief,” “The Sentinel” and “Elektra”; the comedies “Date Night,” “Charlie Bartlett,” “The Pink Panther” and “Bring It On”; and such dramas as “We Are Marshall,” “Under the Tuscan Sun” and “Year of the Dog”; as well as the Davis Guggenheim documentary, “Waiting For Superman.”
Beck most recently composed music for the comedies “Death at a Funeral,” starring Chris Rock, Martin Lawrence and Tracy Morgan; “Date Night,” with Steve Carell and Tina Fey; “Hot Tub Time Machine,” starring John Cusack; and Chris Columbus' fantasy adventure “Percy Jackson & The Olympians: The Lightning Thief.”
His additional credits include “All About Steve,” “The Greatest,” “What Happens in Vegas,” “Phoebe in Wonderland,” “The Seeker: The Dark is Rising,” “Saved!,” “American Wedding” and “Just Married.”
Beck began his scoring career on the Canadian television series “White Fang,” and from there went on to score three seasons of the hit television series “Buffy the Vampire Slayer,” for which he won an Emmy Award for Outstanding Music Composition.
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Due Date Starring Robert Downey Jr. and Zach Galifian
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THE IDEA
From director Todd Phillips, “Due Date” stars Robert Downey Jr. and Zach Galifianakis as two unlikely companions thrown together on a road trip that turns out to be as life-changing as it is outrageous.
Downey plays Peter Highman, an expectant first-time father whose wife's due date is only days away. As he hurries to catch a flight home to Los Angeles from Atlanta to be at her side for the birth, his best intentions go completely awry when a chance encounter with aspiring actor and disaster-magnet Ethan Tremblay (Galifianakis) leads to the two of them being tossed off the plane and placed on a no-fly list...while Peter's luggage, wallet and ID take off without him.
With no alternatives in sight, Peter is forced to hitch a ride with Ethan and his canine traveling companion on what turns out to be a cross-country road trip that will destroy several cars, numerous friendships and Peter's last nerve.
The comedy “Due Date” also stars Michelle Monaghan (“Made of Honor”), Juliette Lewis (“The Switch”) and Academy Award® winner Jamie Foxx (“Ray”).
Directed by Todd Phillips (“The Hangover”), the film is produced by Phillips and Dan Goldberg (“The Hangover,” “Old School”), from a screenplay by Alan R. Cohen & Alan Freedland and Adam Sztykiel & Todd Phillips, story by Alan R. Cohen & Alan Freedland. Thomas Tull, Susan Downey and Scott Budnick serve as executive producers.
“Due Date” reunites Phillips with key members of his filmmaking team from “The Hangover,” including director of photography Lawrence Sher, production designer Bill Brzeski, editor Debra Neil-Fisher, composer Christophe Beck and costume designer Louise Mingenbach.
ABOUT THE PRODUCTION
“If you're going to travel with me to Los Angeles I have to give you a couple of guidelines. Number one: don't ask me a single question.” - Peter Highman
“It's a simple idea—two mismatched guys forced to go on a road trip together,” declares “Due Date” director and co-writer Todd Phillips. “Robert Downey Jr. is Peter Highman, an architect on his way back to L.A. from a business trip in Atlanta. He's on a tight schedule because his wife is expecting their first child and the date is all set. Everything is fine until he gets tangled up at the airport with a wannabe actor named Ethan Tremblay, who somehow gets the both of them booted off the plane and grounded for the foreseeable future.”
At that point, “simple” flies right out the window.
Stranded without cash, credit, ID or time, Peter finds himself in the galling position of having to hitch a ride home with a guy he'd rather take a swing at—Ethan. The person he holds responsible for his predicament in the first place is now behind the wheel of a rental car and offering him the passenger seat.
Though clearly not his best option, it's Peter's only option.
At first grateful for the company, Ethan soon learns that his tightly wound traveling companion is not going to be any fun at 20 Questions, nor generally receptive to the concept of going with the flow. Meanwhile, Peter realizes he's just joined forces with a guy who can casually ruin his life in more ways than he could ever imagine.
“If there really was somebody like Ethan around, he'd have been strangled in his sleep long ago,” Downey attests. “He's like a laser beam that focuses on the one thing that will drive you crazy the most, the kind of guy who will eat a whole plate of waffles before mentioning he's allergic to waffles. I'm sure a lot of people know someone like this, someone who is perfectly wired to activate all of their irritation buttons.”
Granted, Peter has a short fuse to begin with. “He's kind of an edgy, controlling, judgmental guy with some anger-management issues. And who better to help him explore those issues than Ethan Tremblay? High-strung as he is normally, Peter is now facing the birth of his first child and is thrown into this nightmare, so it's all amped up,” Downey adds.
Ethan, by comparison, gives new meaning to the term laid-back. Zach Galifianakis, who stars as the human lightning rod for trouble, observes, “Nothing affects him, no insult seems to penetrate. Ethan lives in his own head. He has no talent, and he's on his way to Hollywood to capitalize on that. These two guys meet through a series of unfortunate circumstances that are entirely Ethan's fault, to which he is completely oblivious. And every bad thing that happens from that point on is Ethan's fault. Everything.”
Says Phillips, “People always cite chemistry in these kinds of movies. They say it's the chemistry between the two lead actors that make it work. I believe what makes ‘Due Date' work is anti-chemistry; it's two guys with zero connection and zero rapport, constantly butting heads, that generates both the tension and the comedy.”
Dan Goldberg, who has produced all of Phillips' feature films since their 2000 collaboration on the hit comedy “Road Trip,” says, “The ride develops its own momentum as one thing after another happens to impede their progress.”
At the same time, their cross-country trek takes Peter and Ethan on another, more unpredictable journey than what they face geographically—one that leads them to discover as much about themselves as each other.
Provided that they survive it.
Scott Budnick, an executive producer on the film, says, “There's real emotional substance to the story and real issues, and Robert and Zach do a phenomenal job in delivering both the humor and the emotional stakes. My favorite comedies are always the ones that have heart.”
As infuriating as Ethan can be, whether mismanaging his funds, missing potty breaks or launching their car off an overpass, Phillips concedes he has his good points, citing “honesty, innocence and a humanity that makes you connect with him and root for him despite it all. Ethan is a complex character. He has just lost his father, who was his best friend, and is having a tough time dealing with that. There's an underlying desperation in everything he does and an eagerness to please to the point where just making friends means trying too hard.”
“A lot of what he does is to avoid being lonely,” says Galifianakis.
Peter, on the other hand, may come across like a self-assured, aggressive control freak but, says Phillips' “Due Date” screenwriting partner Adam Sztykiel, “You sense that his behavior comes from an emotional place and from issues he has yet to work out, that are revealed in the story. Not far beneath the alpha male posture is his own vulnerability and how terrified he is to be responsible for a child.”
“As a parent,” Downey offers, “I know the big question is how are you going to manage and protect something that you have no experience with?”
Playing on that theme were screenwriters Alan R. Cohen and Alan Freedland, who also have story credit on “Due Date.” “Peter's comfort zone is when he's in control. And everything that happens in this movie is about losing control; from his inability to get back home to the larger issue of his impending fatherhood—and whether or not he's ready for it,” Cohen says.
“We wanted to put him into a situation where he had to travel across the country with someone who was effectively a child,” adds Freedland.
Not that it would lessen Peter's pain, stress and frustration if he knew it might be pain, stress and frustration with a purpose. Still...
“When I read the script, I was moved,” recalls executive producer Susan Downey. “It's so funny and yet so human. You want a comedy to have that grounding, in the way that you want a drama to have some humor. In ‘Due Date,' though his experience with Ethan, Peter finds his human side and gets ready for the birth of his own child. It's about him becoming a man before becoming a father.”
“Guess who's got the Subaru Impreza? Me! Guess who's got the winning personality? Me! What do you have? You have a nice hairline. Fine. You have a strong jaw. But I gotta tell you, mister, your personality needs some work.” - Ethan Tremblay
Despite the “anti-chemistry” Phillips had in mind for their characters, Galifianakis and Downey generated some genuine positive chemistry from the start.
Downey vividly recalls their first meeting. “I was in Venice, California, and some weird guy walks by and says, ‘Hi, I think I'm doing a movie with you.' And I was thinking, ‘I might have to punch this guy.' Then I realized, ‘Oh my God...that's Zach.'
“Later, he came over for dinner so we could talk about the script,” Downey continues. “I asked if he had any dietary restrictions and he sent me a note detailing everything he'd need, like bottled water flown in from Barstow. It's one of my favorite things. I read it to people at parties.”
“We kind of took care of each other on the set—very different from what was going on in the movie. We'd talk every morning about how to make a scene work. It was great. Funny how hanging out with a legitimate actor raises your game,” Galifianakis returns.
“I always respond to projects based on the casting potential,” says Phillips. “I immediately start seeing a movie from the standpoint of casting it. For ‘Due Date,' I knew that if I could get Robert and Zach we could go full out.”
Phillips marks his second collaboration with Galifianakis on “Due Date,” following the comedian's breakout starring role in last year's international blockbuster hit “The Hangover,” that became the highest-grossing R-rated comedy of all time. He says, “Zach and I click because he knows I really get his humor, which can be pretty outrageous.”
In “Due Date,” however, Galifianakis creates a character that calls for a great deal of subtlety. Notes Budnick, “Every little nuance of personality and each detail—the way he walks, the way he talks, the way he thinks—Zach has figured out how Ethan Tremblay would do these things and it's reflected in every single moment he's on screen.”
At the same time, there is a core of unpredictability to the performance. “Zach brings a sense of spontaneity and danger and I think comedy is best with an undercurrent of danger so that you never know exactly what's going to happen or what someone will say or do. In that sense, he's the perfect comedic actor,” says Phillips.
And “Due Date” gives him a worthy antagonist in Downey.
“Not only is Robert a world-class actor but he's naturally funny. I wouldn't think of casting Robert Downey Jr. as anyone's straight-man,” says Phillips. “In ‘Due Date' there is no straight-man because they're both screwed up in their own ways. And the beauty of Zach and Robert playing off each other is that they're both funny but their humor comes from such different places and their styles are so different that you're not mining the same vein.”
Downey, Galifianakis, Phillips and Sztykiel “took the script apart and put it back together,” says Goldberg. “Every day there were new things that touched me and made me laugh. I believe ‘Due Date' audiences will see aspects of Robert and Zach that they haven't seen before and things that will surprise them. As a filmmaker, I'm always looking for that.”
It's a philosophy and a process that Phillips respects. “So much of comedy happens on the day you shoot,” he says, and offers the example of the airplane luggage bin scene. “It just happened as we were looking at the seating and the overhead bin and realized how that could bring them really close in a small space. Zach said, ‘What if I rub up against him while I'm reaching into the bin?' And I said, ‘What if you pull your shirt up first to wipe your glasses so it's just your bare stomach?' Comedy isn't math; it's jazz.”
Says Robert Downey Jr., “I start every day thinking here's what will happen if you do it by the book and here's what can happen if you bend yourself over backwards and forwards again and try to invite the unimagined into the situation. The set had energy like a living being; it was evolving all the time. And what's great and so funny about Todd is that sometimes, with him, it's so wrong, it's right.”
That point of view resonates with Galifianakis, who admits to being right alongside the director in appreciating “the inappropriate,” adding, “Todd and I have the same sense of humor. We like stuff that has a bit of a taboo element—things that are funny specifically because you're not supposed to laugh at them. As a stand-up comic, I love it when audiences laugh before they realize maybe they shouldn't have, and then start to question themselves.
“That's not to say that you can't be offended by something Todd or I do in a film,” he continues with mock concern. “I'm often offended by the things I do in movies.”
“You'd better check yourself before you wreck yourself.” - Ethan
“What I like about road trip movies is that essentially your characters are working without a net. You just throw them out into the elements and say, ‘Deal with it,'” says Phillips. “You don't have the support system of friends and family. People come in and out of your life for intense but fleeting moments.”
To help facilitate that, ‘Due Date' features a stellar supporting cast of characters who offer Peter and Ethan a range of memorable and often thought-provoking encounters along the way.
The first of these is Heidi, a freelance medical supplier with questionable parenting skills, tracked down by Ethan at her Birmingham home to restock his supply of “glaucoma medication.” It's one of many detours that takes them miles out of their way.
Heidi is played by Juliette Lewis, in her third screen role for Phillips. Lewis was touring in London with her band when the director called. “We worked it out so that between London and Helsinki I made a pit stop in a place I didn't even know existed—Las Vegas, New Mexico—for a couple of days, to play a pot dealer,” she recounts. “When Todd calls it's a game of trust. I don't know the role, I don't know what he wants me to do, but I know it's going to be good and it's going to be funny.”
Oscar® winner Jamie Foxx, who recently starred with Downey in “The Soloist,” comes aboard in the role of Peter's old college buddy, Darryl, now living in Dallas.
“It was a real coup to get Jamie to come in as Peter's friend—and, according to Ethan, possibly the real father of his soon-to-be-born child,” says Robert Downey Jr., alluding to yet another way in which Ethan manages to get under Peter's skin.
Within minutes of entering Darryl's home, Ethan spots a few photos, asks a few questions, adds two and two, and comes up with five. “He learns that Darryl is very close with Peter's wife and jumps to all kinds of conclusions. Then, he plants the seed of doubt in Peter's mind,” says Phillips.
“Darryl comes into the picture to do these guys a favor and it's all great...until it's not. Then things get very weird, very fast,” Foxx says of the ensuing scene that lands Peter and Ethan back on the pavement. “Working with Robert, Zach and Todd, you'd never know what to expect, but you could always count on it being a crazy, creative, collaborative experience.”
The travelers also run afoul of an ill-tempered Western Union clerk, played by Danny McBride; a paragon of Airport Security, played by Grammy Award-winning hip hop producer/musician and actor Rza; and an exceptionally indifferent TSA agent, played by Matt Walsh, the ER doc from “The Hangover.”
Meanwhile, back home anxiously awaiting Peter's return is his wife, Sarah, played by Michele Monaghan, reuniting with Downey for the first time since they teamed in the 2005 comedy thriller “Kiss Kiss Bang Bang.”
“Sarah is just about 8 months and 29 days pregnant with her first baby and obviously very anxious,” Monaghan offers. “Her husband is not only m.i.a but is also traveling cross- country with a wild man whose only concern is if she has any ‘recommendations for someone who could give him a perm'?!? Clearly, the baby's arrival looks more promising than daddy's.”
“Sonny, stop. Sonny...No. Stop. Good boy.” - Ethan
Before circumstances force these two to share a rental car, Ethan already has a traveling companion: a French Bulldog named Sonny, who becomes the pair's third wheel and a point of calm amidst the escalating mayhem.
The role of Sonny, though indisputably male, was played almost entirely by a young female Frenchie trained by Mark Harden, of Boone's Animals for Hollywood.
The introduction of a dog into the script came about as Phillips sought to further ratchet up the tension between his two leads and decided that one of them should be a dog person and the other...not so much. After perusing renowned animal trainer Boone Narr's company website, he spotted what he was looking for in Bodie, an adult male French Bulldog with the big ears and wide-eyed comical expression typical of the breed.
Unfortunately, at 26 pounds, Bodie was too heavy to be constantly toted around on one arm, so, with only weeks before filming started, Harden launched a full-scale and very specific search for a six-to-10-month-old, cream-colored, slightly undersized French Bulldog. He first tried the rescue agencies, then tapped into a nationwide network of breeders before finding someone who had a full-grown female weighing in at 15 pounds.
Though Galifianakis jokes that Sonny was trained to fall asleep at the word ‘action,' Harden takes no credit for the animal's relaxed demeanor, conceding, “She's just a very settled and well-adjusted dog. She doesn't get worked up. I think she just learned early on that most of her scenes were going to take awhile and she might as well catch a nap.”
Galifianakis, who bonded with his canine co-star despite an allergy to dogs, says, “I was kind of envious at her ability to fall asleep at work. And she snores like me.”
But as much as the camera loved Sonny, there was one special trick she just couldn't manage, that required a one-day command performance from Bodie.
Harden carefully describes how the trick serendipitously made its way into the story. “French Bulldogs are unable to groom themselves in certain areas as other dogs do. I don't know if it's a combination of their short neck and wide shoulders, but they can't twist backwards.”
Consequently, some of them use their paws, “a natural behavior that Bodie spontaneously offered in front of Todd at that first meeting, while we were talking,” the trainer recalls. “As soon as he saw it, there was no turning back. He said, ‘Oh my God, can you train him to do that?”
“Am I okay? Do I look okay? I have a broken arm. I have three cracked ribs. I have seven stitches in my armpit. Does that answer your question? - Peter
“I love physical comedy,” says Phillips, who happily extends the parameters of physical comedy in “Due Date” to include a multi-vehicle freeway chase, an end-over-end car flip and a shoot-out with some seriously t'd-off border security agents.
“For me,” Phillips continues, “It's fun to include shocking moments that make you say, ‘Whoa, where did that come from?' We shot the car sequence in Las Cruces, New Mexico. They let us break through the overpass and land on the road below. We closed the highway for several days to prepare and execute it but, frankly, you never know how a stunt is going to land, so we set up four or five cameras and let it happen. The car flipped back up on its wheels, but we were prepared for it to do anything.” Filming “Due Date” was a road trip in itself. Location shooting began in and around Atlanta and moved generally westward with the story, touching upon Dallas and the Texas interior and various locations in New Mexico, including Las Vegas and Santa Fe, which the filmmakers covered from a base of operations in Albuquerque, before touching down in California.
“The way the script breaks down, they have to get across the country. in a couple of days so you really need to take the southern route, which is not as long as the northern, so it makes sense in terms of driving time,” says production designer Bill Brzeski.
A separate helicopter unit covered the Grand Canyon for a key scene with Peter and Ethan perched on its rim, overlooking the Colorado River snaking its way through, far below. Between takes, busloads of visitors from all over the world arrived to tour the area and there was some concern on the part of the crew that they might forget to watch where they were going once they caught sight of Downey and Galifianakis.
The film's opening airport scenes were a combination of several elements. The plane cabin mockup was constructed on Stage 11 at Warner Bros. Studios; the curb where Peter's and Ethan's cars pull up was shot at Ontario Airport in California; and the screening area and other terminal interiors were built inside the Georgia World Congress Center in Atlanta.
Other practical locations in Georgia included a construction site in Atlanta's Buckhead neighborhood; a Waffle House and portions of Highway 27 in Bremen; various locations along I-75 and I-675, GA-route 20 and the Metropolitan Parkway; the Gwinnett Medical Center in Lawrenceville; the 1010 Condos on Atlanta's historic Peachtree Street; and a recently closed rest stop along I-985.
Darryl's home in Dallas was an amalgam of exteriors captured in Buckland, Georgia, and interiors shot in Encino, California. “You're never really anywhere you're supposed to be,” Brzeski says. “Las Vegas, New Mexico was built around the turn of the century and doesn't look like what you'd expect to see in New Mexico. There's a lot of Victorian architecture that doesn't match the typical Santa Fe look so buildings can substitute for almost any American small town, be it Texas or Ohio. We used it as Alabama for Heidi's house.”
The southwestern city also provided the site for one of the film's larger set pieces; a checkpoint at the U.S./Mexico border that was constructed on a bridge spanning a portion of Route 25 in Las Vegas, under which Brzeski and his team formed an encampment of Federali trailers based on actual Mexican Customs vehicles. Interiors of the office and a trailer, as well as a gimbal rig that figures into the action, were built on stage and another rotating rig, dubbed “car-on-a-spit” by one crew member, was designed for the scene in which Peter and Alan take their rented Subaru for a real spin.
All this action takes its toll on the luggage-deprived Peter, forced to spend the entire journey in one increasingly rumpled, torn, stained and slept-in suit. For costume designer Louise Mingenbach, that meant maintaining 20 versions of the suit in five basic stages of deterioration. “Definitely, the story evolves through Peter's clothes,” she says.
With Ethan's wardrobe she was able to have more fun, brainstorming with Galifianakis, who, she says, “has no vanity. Some actors want to look beautiful all the time but that's not Zach. He will wear whatever works for his character, even if it's acid-washed jeans two sizes too small.”
“I really like to look bad in movies,” Galifianakis agrees. “Originally Ethan was dressed like a hippie but I wanted him to be more arty—or, what he would think is arty. He has a perm, he has his dance shoes and his really bad tight jeans and the scarf as an accessory; he wants to be an actor and this is how he thinks actors dress.”
“Due Date” marks Mingenbach's fifth collaboration with Phillips, who says, “I have a great team. I've worked with essentially the same people throughout my career. We write some crazy thing and then I turn to my guys and say, ‘Can we pull this off?'”
Among those previous colleagues rejoining the director on “Due Date” were cinematographer Lawrence Sher, editor Debra Neil-Fisher and composer Christophe Beck.
Scott Budnick points out, “‘Due Date' marks the 10-year anniversary of ‘Road Trip,' Todd's first movie and my first job out of college. We filmed ‘Road Trip' from September to December 1999, and ‘Due Date' from September to December of 2009.”
For Phillips, it's a genre full of possibilities.
“I've been in some strange situations on the road,” confesses screenwriter Sztykiel, a Los Angelino who identified in some ways with Peter. “Here's a guy who's a little sheltered and doesn't have exposure to the 3,000 miles that exist east of his home, and it was fun to force him out of his bubble. It's uncomfortable, but you come away with a better sense of your place in the world. My advice for travelers? Go to the bathroom. Make sure your traveling partner has gone to the bathroom. Don't spend all your money on illegal substances. Don't say ‘bomb' on an airplane. Don't open your car door in traffic. Pretty simple stuff.” Sure. In hindsight.
“There's something about a road trip that brings out the extremes of human reactions and emotions,” says Phillips. “It's a great opportunity for surprises and for people to learn things about themselves or each other that they'd never see if they weren't being pushed to their limits, or having to make the kinds of quick, instinctive decisions you have to make on the road.”
At the same time, the road itself can be almost incidental. “No matter where we are in ‘Due Date,' no matter what's kind of chaos they're going through,” he concludes, “it all comes down to these two guys working out their issues.”
ABOUT THE CAST
ROBERT DOWNEY JR. (Peter Highman), a two-time Academy Award® nominee, earned his most recent Oscar® nomination, for Best Supporting Actor, for his work in Ben Stiller's comedy hit “Tropic Thunder.” His performance as Kirk Lazarus, a white Australian actor playing a black American character, also brought him Golden Globe, BAFTA Award and Screen Actors Guild (SAG) Award® nominations. Downey was honored with his first Oscar® nomination, in the category of Best Actor, for his portrayal of Charlie Chaplin in Richard Attenborough's acclaimed 1992 biopic “Chaplin,” for which he also won BAFTA Award and London Film Critics Awards and received a Golden Globe Award nomination.
Earlier this year, Downey received another Golden Globe nomination for his performance in the title role of the 2009 hit “Sherlock Holmes,” under the direction of Guy Ritchie. Downey returns to the role of the legendary detective in a new Sherlock Holmes adventure, currently slated for release in December 2011.
In summer 2008, Downey received praise from critics and audiences for his performance in the title role of the blockbuster hit “Iron Man,” under the direction of Jon Favreau. Bringing the Marvel Comics superhero to the big screen, “Iron Man” earned more than $585 million worldwide, making it one of the year's biggest hits. Downey reprised his role in the successful sequel, which was released this past spring. He returns to the role in Josh Whedon's upcoming actioner “The Avengers,” which teams Iron Man with other Marvel Comics superheroes.
Downey's other recent films include “The Soloist,” opposite Jamie Foxx; “Charlie Bartlett”; David Fincher's “Zodiac,” alongside Jake Gyllenhaal and Mark Ruffalo; Richard Linklater's “A Scanner Darkly,” with Keanu Reeves, Winona Ryder and Woody Harrelson; “Fur,” opposite Nicole Kidman in a film inspired by the life of revered photographer Diane Arbus; and “Kiss Kiss, Bang Bang.” He also shared in a SAG Award® nomination as a member of the ensemble cast of George Clooney's true-life drama “Good Night, and Good Luck,” and in a Special Jury Prize won by the ensemble cast of “A Guide to Recognizing Your Saints,” presented at the 2006 Sundance Film Festival.
Downey's long list of film credits also includes “Gothika”; “The Singing Detective”; Curtis Hanson's “Wonder Boys”; “U.S. Marshals”; Mike Figgis' “One Night Stand”; Jodie Foster's “Home for the Holidays”; “Richard III”; Oliver Stone's “Natural Born Killers”; Robert Altman's “The Gingerbread Man” and “Short Cuts,” sharing in a Golden Globe Award for Best Ensemble for the latter; “Heart and Souls,” “Soapdish,” “Air America,” “Chances Are,” “True Believer,” “Less Than Zero,” “Weird Science,” “Firstborn,” and “Pound,” in which he made his debut under the direction of Robert Downey Sr.
On the small screen, Downey made his primetime debut in 2001 when he joined the cast of the series “Ally McBeal.” For his work on the show, he won the Golden Globe Award for Best Supporting Actor in a Series, Miniseries or Motion Picture Made for Television and a Screen Actors Guild Award® for Outstanding Actor in a Comedy Series. In addition, Downey was nominated for an Emmy for Outstanding Supporting Actor in a Comedy Series.
On November 23, 2004, Robert Downey Jr. released his debut album, “The Futurist,” on the Sony Classics label. The album, containing eight original songs, showcased his singing talents.
Downey and his wife, Susan, just formed Team Downey, a production company based at Warner Bros.
ZACH GALIFIANAKIS (Ethan Tremblay) moved to New York City after failing his last college course by one point at North Carolina State University. He got his start performing his brand of humor in the back of a hamburger joint in Times Square, graduating to doing stand-up at night in clubs and coffee houses in the city. While working as a bus boy, he got his first acting job on the NBC sitcom “Boston Common.”
Galifianakis' breakout role came in Todd Phillips' blockbuster hit “The Hangover,” the highest-grossing R-rated comedy of all time. He will reunite with Phillips and cast-mates Bradley Cooper, Ed Helms and Justin Bartha in “The Hangover 2,” slated for a 2011 release.
He also stars in “It's Kind of a Funny Story,” which premieres at the 2010 Toronto Film Festival and opens this fall. Recently, he also co-starred with Steve Carell and Paul Rudd in Jay Roach's comedy “Dinner for Schmucks.” Galifianakis' additional film credits include the Jerry Bruckheimer-produced hit “G-Force”; the indie feature “Youth in Revolt,” with Michael Cera, Steve Buscemi and Ray Liotta; a cameo in Jason Reitman's Oscar®- nominated film “Up in the Air”; “What Happens in Vegas,” with Cameron Diaz and Ashton Kutcher; and the critically acclaimed true-life drama “Into the Wild,” from director Sean Penn.
On the small screen, Galifianakis just started the second season of the HBO comedy “Bored to Death,” with Jason Schwartzman and Ted Danson. In addition, he hosted the critically acclaimed VH1 talk show “Late World with Zach,” and also wrote and starred in “Dog Bites Man” for Comedy Central.
Zach also has an internet talk show entitled “Between Two Ferns.” He has interviewed such guests as Steve Carell, Natalie Portman, Conan O'Brien and Charlize Theron.
When not filming, Galifianakis lives on his farm in North Carolina.
MICHELLE MONAGHAN (Sarah Highman) most recently starred to great critical acclaim in the independent film “Trucker,” which world premiered at the Tribeca Film Festival. She received the Best Actress Awards from the San Diego Film Critics Society, Ft. Lauderdale International Film Festival and Vail Film Festival. Monaghan also served as executive producer on the film.
She will next been seen in Sofia Coppola's “Somewhere,” “Source Code,” opposite Jake Gyllenhaal for director Duncan Jones and “Machine Gun Preacher,” opposite Gerard Butler for director Marc Forster.
Monaghan made her feature film debut in “Perfume,” directed by Michael Rymer, then played Richard Gere's secretary in Adrian Lyne's “Unfaithful.” She followed with supporting roles in Fred Schepisi's “It Runs in the Family,” with Michael Douglas; “Winter Solstice,” with Anthony LaPaglia; Paul Greengrass' “The Bourne Supremacy”; and Doug Liman's “Mr. & Mrs. Smith.”
It was her starring role in “Kiss Kiss, Bang Bang,” opposite Robert Downey Jr. and Val Kilmer, which brought Monaghan to the attention of audiences around the world. She also received rave reviews for her performance in the film, directed by Shane Black. Next, Monaghan joined Charlize Theron and Frances McDormand in “North Country” for director Niki Caro. She then starred in “Gone Baby Gone,” with Casey Affleck and Morgan Freeman; “The Heartbreak Kid,” opposite Ben Stiller; “Mission: Impossible III,” with Tom Cruise and Philip Seymour Hoffman for director J.J. Abrams; opposite Patrick Dempsey in the romantic comedy “Made of Honor”; and in D.J. Caruso's hit thriller “Eagle Eye,” alongside Shia LaBeouf.
JULIETTE LEWIS (Heidi) received Best Supporting Actress Oscar® and Golden Globe nominations for her layered performance as adolescent Danielle, opposite Robert De Niro, in Martin Scorsese's thriller “Cape Fear.”
She reunites with Todd Phillips on “Due Date,” having previously collaborated on “Old School” and “Starsky & Hutch.”
Lewis was most recently seen alongside Hilary Swank, Melissa Leo, Minnie Driver and Sam Rockwell in the independent drama “Conviction,” which premiered at the Toronto Film Festival and opened in October. Prior to that, Lewis appeared in the romantic comedy “The Switch,” alongside Jennifer Aniston, Jason Bateman and Patrick Wilson. She also starred alongside Orlando Bloom, Mark Ruffalo and Laura Linney in Ruffalo's directorial debut, “Sympathy for Delicious,” which took home the US Dramatic Special Jury Prize at this year's Sundance Film Festival. Last year, she played roller derby girl Dinah Might opposite Ellen Page, Marcia Gay Harden, Kristen Wiig, Jimmy Fallon and Eve in Drew Barrymore's directorial debut, “Whip It.”
Among Lewis' many other films are Gary Marshall's “The Other Sister”; “Evening Star,” with Shirley MacLaine; Quentin Tarantino's vampire tale “From Dusk Till Dawn,” opposite George Clooney; the sci-fi actioner “Strange Days,” alongside Ralph Fiennes and Angela Bassett; Nora Ephron's comedy “Mixed Nuts,” opposite Steve Martin and Adam Sandler; Oliver Stone's controversial “Natural Born Killers”; “What's Eating Gilbert Grape,” with Johnny Depp and Leonardo DiCaprio”; “Romeo Is Bleeding”; “Kalifornia”; Woody Allen's “Husbands and Wives”; “Crooked Hearts” and “National Lampoon's Christmas Vacation,” with Chevy Chase.
At 12, Lewis landed her first leading role in the Showtime miniseries “Home Fires.” At 16, her performance in the critically acclaimed longform “Too Young to Die?” led to film roles. Lewis' other television credits include Showtime's “My Louisiana Sky,” for which she received an Emmy Award nomination for Outstanding Performer in a Children's Special, and Mira Nair's HBO film “Hysterical Blindness,” alongside Uma Thurman and Gena Rowlands. She also had recurring roles in several series.
In addition to film and television, Lewis's music career continues to evolve. Her third studio album, Terra Incognito, was released in fall 2009.
JAMIE FOXX (Darryl) won an Academy Award® for Best Actor in 2005 for his portrayal of the legendary Ray Charles in the Taylor Hackford-directed biopic “Ray.” Foxx also won a Golden Globe Award, a Screen Actors Guild (SAG) Award®, a BAFTA Award, and an NAACP Image Award, as well as numerous critics' association awards, and shared in a SAG Award® nomination received by the film's ensemble cast.
Also in 2005, Foxx garnered Oscar®, Golden Globe Award, SAG Award®, BAFTA Award, and Image Award nominations, in the Best Supporting Actor category, for his work in Michael Mann's dramatic thriller “Collateral,” in which he starred with Tom Cruise. That same year, Foxx also earned Golden Globe Award and SAG Award® nominations and won an Image Award for Best Actor in a Television Movie for his portrayal of condemned gang member-turned-Nobel Peace Prize nominee Stan “Tookie” Williams in the FX Network movie “Redemption.”
Foxx has a number of films upcoming, including the Seth Gordon-directed comedy “Horrible Bosses”; F. Gary Gray's action thriller “Kane & Lynch,” opposite Bruce Willis; and the comedy “Skank Robbers,” which he also wrote and is producing. His recent film credits also include Garry Marshall's hit ensemble romantic comedy “Valentine's Day,” the thriller “Law Abiding Citizen,” Joe Wright's drama “The Soloist,” the thriller “The Kingdom” and Bill Condon's screen adaptation of the Broadway musical “Dreamgirls.” Foxx also executive produced the film “Life Support,” starring Queen Latifah, which closed the 2007 Sundance Film Festival.
Foxx's big-screen break came in 1999 when Oliver Stone cast him as a star quarterback in “Any Given Sunday.” In 2001, he co-starred with Will Smith in Michael Mann's acclaimed biopic “Ali.” His additional film credits include Michael Mann's “Miami Vice,” with Colin Farrell; Sam Mendes' Gulf War drama “Jarhead,” with Jake Gyllenhaal; “Stealth”; Antoine Fuqua's “Bait”; “Booty Call”; “The Truth about Cats & Dogs”; and “The Great White Hype.”
Foxx first came to fame as a comedian. After spending time on the comedy circuit, he joined Keenan Ivory Wayans, Jim Carrey, Damon Wayans and Tommy Davidson in the landmark Fox sketch comedy series “In Living Color.” In 1996, he launched his own series, “The Jamie Foxx Show,” which was one of the top-rated shows on The WB Network during its five-year run. Foxx also served as co-creator and executive producer, and directed several episodes. His first HBO Comedy Special, “Jamie Foxx: I Might Need Security,” premiered in February 2002.
In addition to his acting success, Foxx has also achieved a thriving music career. His first album, Unpredictable, topped the charts in late 2005 and early 2006 and spawned the NBC special “Unpredictable,” in which he performed with such artists as Mary J. Blige, Common, Snoop Dogg, The Game and Angie Stone. He has been nominated for eight Billboard Music Awards, three Grammy Awards, a Soul Train Music Award, and two American Music Awards, winning for Favorite Male Artist. Foxx's latest album, 2008's Intuition, debuted at number three on the Billboard 200 chart and spawned the chart-topping single “Blame It.” Foxx recently wrapped up his “Blame It Tour” in support of the album. On January 31, 2010 Jamie Foxx and T-Pain's “Blame It” won in the category of Best R%B performance by a duo/group with vocals at the 52nd Annual Grammy Awards.
ABOUT THE FILMMAKERS
TODD PHILLIPS (Director/Screenwriter/Producer) most recently directed and produced the 2009 blockbuster hit comedy “The Hangover,” starring Bradley Cooper, Ed Helms, Zach Galifianakis and Justin Bartha. The film became the highest grossing R-rated comedy of all time and won a Golden Globe for Best Motion Picture – Comedy or Musical. He is currently in production on the much-anticipated sequel, “The Hangover 2,” which reunites the cast.
Phillips started his career as a documentary filmmaker, inspired by humor taken from everyday reality and the belief that the truth is often stranger than fiction.
His first film, “Hated,” portrayed the revolting antics of extreme punk rocker G.G. Allin and became an instant underground sensation. It was released in the summer of 1994 and went on to become the highest grossing student film of its time.
He followed that in 1998 with “Frat House,” a documentary that he produced and directed for HBO's popular “America Undercover” series. “Frat House” premiered at the 1998 Sundance Film Festival and won the Grand Jury Prize for documentary features. The unflinching exposé of life in fraternities created a public controversy that eventually caused the film to be shelved by HBO. Phillips still hopes to release it in the future.
After meeting producer Ivan Reitman at Sundance, Phillips made his crossover to features with 2000's “Road Trip,” which established him as a new force in comedy. He simultaneously produced and directed “Bittersweet Motel,” a documentary on musical cult phenomenon Phish.
In one way or another, Phillips' films explore the nature of male relationships, and in doing so he has worked with some of Hollywood's biggest comedic actors, writing and directing such films as “Old School” in 2003, “Starsky & Hutch” in 2004, and “School for Scoundrels” in 2006. Phillips was nominated for a 2006 Academy Award® for Best Adapted Screenplay for his work on “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan.”
DAN GOLDBERG (Producer) marks his fifth film collaboration with Todd Phillips on “Due Date.” Previously, he served as producer on Phillips' “Old School,” “Road Trip,” “School for Scoundrels” and most recently, “The Hangover,” which won a Golden Globe Award for Best Motion Picture – Musical or Comedy and is the highest grossing R-rated comedy of all time. Goldberg will next produce “The Hangover 2” with Phillips, releasing in 2011.
Goldberg also produced the outrageous comedy “Howard Stern's Private Parts” and the animated comedy adventure “Space Jam,” starring Michael Jordan, and was an executive producer on Ivan Reitman's romantic adventure “Six Days Seven Nights,” starring Harrison Ford.
His screenwriting credits include the classic comedies “Stripes” and “Meatballs,” both of which he also produced; “Feds,” which he also directed; and the enduring cult favorite “Heavy Metal.”
ALAN R. COHEN & ALAN FREEDLAND (Screenwriters, Story) are best known as Emmy Award-winning writers from the Fox animated show “King of the Hill” and often referred to as “the Alans.”
Among numerous other writing and producing credits, the duo also co-created the Comedy Central cult hit “Kid Notorious,” starring Robert Evans. They are currently co- executive producers on Seth MacFarlane's “American Dad.”
Prior to “Due Date,” the Alans wrote feature scripts for various studios. They currently have several television and film projects in development, including the feature comedy “The Reunion,” for producer Brian Grazer.
A George Washington University graduate, Cohen originally hails from Pittsburgh and worked for several years as a reporter in The Baltimore Sun's Washington, D.C. bureau.
Freedland graduated from the University of Michigan. He grew up in the Detroit area and worked in advertising in Chicago.
ADAM SZTYKIEL (Screenwriter)'s most recent writing credit was the comedy “Made of Honor,” starring Patrick Dempsey and Michelle Monaghan.
He is currently working on a film adaptation of the best-selling memoir “The Game” by Neil Strauss, and has numerous other film and television projects in development.
Sztykiel is a graduate of the University of Southern California School of Cinematic Arts.
THOMAS TULL (Executive Producer), Chairman and CEO of Legendary Pictures, has achieved great success in the co-production and co-financing of event movies. Since its inception in 2004, Legendary Pictures has teamed with Warner Bros. Pictures on such hits as Bryan Singer's “Superman Returns”; Zack Snyder's “300” and “Watchmen”; and Christopher Nolan's “Batman Begins” and award-winning phenomenon “The Dark Knight,” which earned in excess of $1 billion worldwide.
More recently, this highly successful partnership produced Ben Affleck's “The Town”; Christopher Nolan's summer blockbuster “Inception”; the worldwide hit “Clash of the Titans”; Todd Phillips' “The Hangover,” which is the highest-grossing R-rated comedy of all time; and Spike Jonze's “Where the Wild Things Are.” Legendary's upcoming releases include Bryan Singer's “Jack the Giant Killer,” Todd Phillips' “The Hangover 2,” and Zack Snyder's “Sucker Punch.” Legendary is also developing a number of promising film projects in-house, including “Warcraft,” “Godzilla,” “Gravel,” “Paradise Lost,” and a sequel to “300.”
Before forming Legendary, Tull was President of The Convex Group, a media and entertainment holding company headquartered in Atlanta, on whose Board of Directors he also served.
SUSAN DOWNEY (Executive Producer) is a principal partner of Team Downey, the production company she formed with her husband, Robert Downey Jr. A prolific film producer, she has collaborated with some of the industry's most noted talents on films ranging from action blockbusters to dramas to comedies to horror thrillers.
Downey also produced the global hit “Sherlock Holmes,” which opened on Christmas Day 2009 and grossed more than $516 million worldwide. Directed by Guy Ritchie, the film starred Robert Downey Jr., Jude Law, Rachel McAdams and Mark Strong in an action adventure mystery that brought Arthur Conan Doyle's legendary detective to the big screen as never before. She is currently producing the sequel, which again stars Downey Jr. and Law under the direction of Ritchie.
Downey also recently served as an executive producer on the action hit “Iron Man 2,” which earned more than $620 million at the worldwide box office. The follow up to “Iron
Man” reunited director Jon Favreau with returning stars Robert Downey Jr. and Gwyneth Paltrow, and also starred Don Cheadle, Mickey Rourke and Scarlett Johansson.
Previously, Downey held the dual posts of Co-President of Dark Castle Entertainment and Executive Vice President of Production at Silver Pictures. Joining Silver Pictures in 1999, she oversaw the development and production of feature films released under both banners, including “Thir13en Ghosts” and “Swordfish.”
In 2002, she made her producing debut as a co-producer on “Ghost Ship” and then co- produced the 2003 release “Cradle 2 the Grave.” Downey went on to produce the features “Gothika” and “House of Wax,” and also served as an executive producer on the critically acclaimed comedic thriller “Kiss Kiss, Bang Bang.”
Downey later produced Neil Jordan's acclaimed psychological drama “The Brave One,” starring Jodie Foster and Terrence Howard; Guy Ritchie's widely praised crime comedy “RocknRolla,” starring Gerard Butler, Tom Wilkinson, Thandie Newton, Idris Elba, Chris Bridges and Jeremy Piven; the horror thriller “Orphan,” starring Vera Farmiga and Peter Sarsgaard; and the thriller “Whiteout,” starring Kate Beckinsale. She was also an executive producer on the Hughes brothers' post-apocalyptic drama “The Book of Eli,” starring Denzel Washington and Gary Oldman.
Prior to her tenure at Dark Castle and Silver Pictures, Downey worked on the hit films “Mortal Kombat” and “Mortal Kombat: Annihilation.”
Downey is a graduate of the University of Southern California's School of Cinema- Television.
SCOTT BUDNICK (Executive Producer) is Executive Vice President of Production for Green Hat Films, overseeing the development and production of a varied slate of projects including the upcoming “Project X,” set for release in 2011. He most recently executive produced the blockbuster hit “The Hangover,” which won a Golden Globe for Best Motion Picture – Musical or Comedy and is the highest grossing R-rated comedy of all time.
Budnick began his entertainment career in local casting while at Emory University in his hometown of Atlanta, Georgia. Upon graduation, he relocated to Los Angeles, serving as casting assistant on Todd Phillips' “Road Trip” and then as associate to the director on “Old School,” starring Vince Vaughn, Luke Wilson, Will Ferrell and Jeremy Piven. Budnick served associate producer on Phillips' following films, “Starsky & Hutch,” starring Owen Wilson and Ben Stiller and “All The King's Men,” starring Sean Penn and Jude Law, which Phillips executive produced; and was co-producer on “School for Scoundrels,” starring Billy Bob Thornton.
LAWRENCE SHER (Director of Photography) reunites with Todd Phillips on “Due Date,” having previously collaborated on the Golden Globe-winning blockbuster comedy “The Hangover.” His work will next be seen in Greg Mottola's sci-fi comedy “Paul,” with Jason Bateman and Seth Rogan, and David Frankel's comedy “The Big Year,” based on Mark Obmascik's book and starring Owen Wilson, both releasing in 2011.
Sher's other recent credits include “I Love You, Man,” “Trucker,” “The Promotion,” “Dan in Real Life,” “The Dukes of Hazzard” and “The Chumscrubber.”
He worked as director of photography on several smaller films and music videos earlier in his career, coming to the fore in 2001 with the award-winning independent film “Kissing Jessica Stein,” followed by director Zach Braff's “Garden State.”
Born and raised in New York City, Sher studied economics at Wesleyan University where, in his junior year, he turned an interest in still photography into a fascination with motion pictures. Upon graduation, he moved to Los Angeles and began his career as a camera assistant.
BILL BRZESKI (Production Designer) previously collaborated with Todd Phillips on the 2009 Golden Globe Award-winning blockbuster comedy “The Hangover,” for which he received an Art Director's Guild Award nomination for Excellence in Production Design. Brzeski re-teams again with Phillips for “The Hangover 2,” releasing in 2011.
Brzeski's other recent credits include “Flipped,” which reunited him with Rob Reiner, having previously served as production designer on Reiner's “The Bucket List”; and re- teaming with Rob Minkoff' on “The Forbidden Kingdom,” having previously worked on the director's groundbreaking CGI movie “Stuart Little” and its sequel, “Stuart Little 2.” Some of the designer's additional credits include “Deck the Halls,” “Blue Streak,” James L. Brooks' Oscar®-winning “As Good As It Gets” and “Matilda.”
Brzeski received his undergraduate degree from Miami University and his MFA in Design from New York University's Tisch School of the Arts. Originally interested in designing for the ballet and opera, he began his career in the theatre before moving to Los Angeles from New York City and designing more than 800 episodes of television series.
Brzeski also designs commercial spaces, most notably the award-winning Susina Bakery in Los Angeles.
His production design workshops at graduate and undergraduate levels have been hosted by New York University School of the Arts, Miami University, Clemson University and Loyola University Film School.
DEBRA NEIL-FISHER (Editor) re-teams with Todd Phillips on “Due Date,” having served as editor on his blockbuster hit “The Hangover,” the number one R-rated comedy of all time. The film won a Golden Globe for Best Motion Picture - Musical or Comedy and Fisher was honored with an Eddie Award by the American Cinema Editors for Best Edited Feature Film.
Among Neil-Fisher's other feature credits are the hit comedies “Baby Mama,” “Semi- Pro,” “Role Models,” “You, Me and Dupree,” “Without a Paddle,” “Saving Silverman,” and two hugely successful Austin Powers films, “Austin Powers: International Man of Mystery” and “Austin Powers: The Spy Who Shagged Me.” She has collaborated three times with director Donald Petrie on “Just My Luck,” “Welcome to Mooseport” and “How to Lose a Guy in 10 Days.” Her work also extends to other genres, including the dramas “Fried Green Tomatoes,” “The War” and “Up Close and Personal,” as well as the thrillers “Teaching Mrs. Tingle” and “Dr. Giggles.”
In 1991 Neil-Fisher won a CableACE Award for her work on TNT's telefilm “Heat Wave,” for director Kevin Hooks. Among her earlier television credits are “The Amy Fisher Story,” “The Case of the Hillside Strangler” and the TNT thriller “Breaking Point.”
LOUISE MINGENBACH (Costume Designer) marks her fifth project with director Todd Phillips on “Due Date,” a collaboration that began on the feature film “Starsky & Hutch,” followed by “School for Scoundrels” and the 2008 telefilm “The More Things Change...” In 2009, her designs were seen in Phillips' mega-blockbuster “The Hangover,” which won a Golden Globe for Best Motion Picture – Musical or Comedy and is the highest R-rated comedy of all time.
The upcoming actioner “Battleship,” based on the classic board game, reunites Mingenbach with Peter Berg, with whom she worked on “Hancock,” starring Will Smith.
Mingenbach also designed costumes for the 2009 action epic ““X-Men: Wolverine.” Previously, she earned a Saturn Award and a Costume Designers Guild Award nomination for her work on Bryan Singer's “X-Men.” She has teamed with Singer on four other films, including the 1995 thriller “The Usual Suspects,” “X2,” “Apt Pupil” and “Superman Returns,” as well as the pilot for “House M.D.”
Mingenbach's additional feature credits include the Farrelly Brothers' “The Heartbreak Kid,” “Spanglish,” “The Rundown,” “K-PAX,” “Gossip,” “Permanent Midnight,” “Nightwatch,” “The Spitfire Grill” and “One Night Stand.”
CHRISTOPHE BECK (Composer) previously collaborated with Todd Phillips on “The Hangover,” which won a Golden Globe for Best Motion Picture – Comedy or Musical.
He has composed scores for 50 feature films and nearly 20 television shows. With more than 15 years of experience, Beck has scored a wide array of projects, including such action films as “Percy Jackson & The Olympians: The Lightning Thief,” “The Sentinel” and “Elektra”; the comedies “Date Night,” “Charlie Bartlett,” “The Pink Panther” and “Bring It On”; and such dramas as “We Are Marshall,” “Under the Tuscan Sun” and “Year of the Dog”; as well as the Davis Guggenheim documentary, “Waiting For Superman.”
Beck most recently composed music for the comedies “Death at a Funeral,” starring Chris Rock, Martin Lawrence and Tracy Morgan; “Date Night,” with Steve Carell and Tina Fey; “Hot Tub Time Machine,” starring John Cusack; and Chris Columbus' fantasy adventure “Percy Jackson & The Olympians: The Lightning Thief.”
His additional credits include “All About Steve,” “The Greatest,” “What Happens in Vegas,” “Phoebe in Wonderland,” “The Seeker: The Dark is Rising,” “Saved!,” “American Wedding” and “Just Married.”
Beck began his scoring career on the Canadian television series “White Fang,” and from there went on to score three seasons of the hit television series “Buffy the Vampire Slayer,” for which he won an Emmy Award for Outstanding Music Composition.
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Mark Thomas Mtp 04 02 Iraqi Sanctions
[LESS INFO] 6 VIEWS | ADDED 21:53:59 01/31/10
* Iraqi sanctions o Politicians say Saddam is mad as a hatter but when did they decide, when they sold him the gas or when he used it. o I think you'll find his madness is linked to the price of oil. o CIA sponsor dissident groups to unseat him o Myth of the smart bomb. Why did they destroy 600 schools in the 1st Iraq war o Clinton, at the height of his Lewinski impeachment he ordered the bombing of Baghdad with operation Desert Fox. o People died because somebody sucked his cock o Sanctions are crucial thing. Nothing gets in to Iraq without an export license + Ping pong balls + Pencils + Pencil sharpeners + Notepads + Medical texts + Sanitary towels - some of them have got wings you see o Unicef estimate a quarter to half a million children under 5 have died as the result of sanctions. o Met Voices in the Wilderness people who go sanction busting. Top people, Christians but lovely o Exported medicines, toys etc. Have been fined over 200,000 dollars for importing an Iraqi water bottle and a stamp o Went to Washington to talk to them and decided to visit some senators, congressmen etc. about it o Went to whitehouse. The whitehouse is really odd, for a start it's off-cream. o When we go in get stopped by security while all the crew are let through, thinking he wouldn't get in. o Suddenly a voice shouts "Fucking Hell, it's Mark Thomas". It's 3 English lads. "You're not fucking with them are ya?" They ask. "Will you keep it down" says Mark. o 0-10 scale of evil, where would Saddam come, Mark asked David Leavy, Whitehouse National Security Council Spokesperson. He says he's at the higher end. o Evidence of black market dealing in the goods being supplied in return for oil. Evidence that Saddam is building a Hotel with an amusement park including a Ferris Wheel. o Weird that he's got a Ferris wheel but jut as wierd that they are using it as a propaganda tool. o Mark puts the child mortality figures to David Leavy who says that is Saddam's fault not the sanctions. o Taking beanie babies out to Iraq without a license. Mr Leavy cuts short the interview fairly soon. o Head across town and suddenly get an angry call from David Leavy saying "It is not appropriate to use a Beanie Baby in an interview!". o Go to see Congressman Robert Menendez (Democrat, New Jersey - House International Relations Committee) with a video of sanction busting in Iraq with some cancer medicine for a young boy, which is in violation of US law. o Part 2 - There's a British Law "Intent to conspire to Export without an Export License". What does this mean? If I want to take something to Iraq and I think about it am I intending to? o Got a bag of medicines and a ticket to Oman(Amman?) in Jordan. o Phoned up Crimestoppers and shops himself o Suggest he goes to Scotland Yard they send him to the DTI o Goes to DTI, they send him to Customs and Excise who take him in. o Bit Sweeney like characters and shops himself. The law is only used retrospectively when someone has attempted to leave the country. o Mark asks why people who have been caught haven't been prosecuted. They say it's up to the Attorney General. o Cut to outside Attorney General's office with Mark handcuffed to a cage and phones him, speaks to Rupert Cazalet, Private Secretary to the Attorney General. o Tries to present evidence. Police turn up and advise him he can be arrested for chaining himself to the railing and can he move. o Asks if there is a policy not to prosecute due to fear of the publicity. o They claim Customs haven't handed them any papers. o Packing up the gear and he phones back and says they have had reports but no prosecution. Decision because it wasn't felt that it was needed. o He says Mark sounded like a Nazi. Is that actionable? o So where exactly is the point when you will be prosecuted. o Mark goes on the Big Breakfast show 8:30am, 23rd September 1999. o Going to try and take a teddy bear to a little girl in hospital in Baghdad. o Phones up customs and excise. Some confusion over who would issue a license for the bear until they realise it's not a real bear. o Then speaks to Mark Thompson, Customs and Excise at 9:45 am who suggests they check with French customs when they get there. o Next day they phone the DTI to ask if it is OK for them to get stuff to Amman for pick up by someone from Iraq. o Bloke there says "this is only provisional, but if it is known that any item is going to Iraq, from the UK, an application must be made for a UK export license beforehand." Which contradicts the Customs and Excise advice. o Absurd behaviour over the export of a Teddy Bear. o We have to lift the sanctions on Iraq and make sure they don't sell him any guns. o Kathy Kelly from Voices in the Wilderness video over titles with a harrowing story about the death of a child.
17 Views
18:33:54 12/20/09
Music Video Reform School VS Chrs Brown and Wham for Christmas - MeVIO Music
[LESS INFO] 17 VIEWS | ADDED 18:33:54 12/20/09
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Welcome to our Christmas edition of Music Video Reform School. In this episode we look at Christmas videos from Chris Brown and Wham.
Chris Brown:
BIO: (from allmusic.com )
In November 2005, Chris Brown’s Scott Storch-produced “Run It!” -- a rewrite of Usher’s “Yeah!” -- topped the Billboard Hot 100, making the 16-year-old singer the first male artist in over a decade to top the chart with a debut single. While there was nowhere to go but down, at least in terms of chart positions, the pop-oriented R%B vocalist was only getting started. By the end of the decade, he was one of the biggest active pop stars, with a clutch of Top Ten singles and platinum albums to his credit, along with constant comparisons to Michael Jackson and several acting roles on the side. His momentum slowed little when, in 2009, he pleaded guilty to assaulting girlfriend Rihanna -- one of the year’s biggest celebrity news stories.
Brown came from a small Virginia town called Tappahannock. Like a lot of kids born since the early '80s, he was initially into his parents' favorite music but eventually fell under the spell of hip-hop. Around the time he reached puberty, he discovered his singing ability and switched his focus away from MC'ing. A move to New York led to being discovered by Tina Davis, a Def Jam A%R executive who became the singer’s manager shortly after losing her position to the Sony-BMG merger. The Jive label, due in part to its track record with younger artists who had established longevity (like Britney Spears and Justin Timberlake), won the bidding war for Brown and lined up several production and songwriting heavyweights, including Jermaine Dupri, Bryan-Michael Cox, Dre & Vidal, Sean Garrett, and Storch, for his self-titled first album. An immediate Top Ten hit when it was released in 2005, Chris Brown not only featured the number one “Run It!” but two other Top Ten singles in “Yo (Excuse Me Miss)” and “Say Goodbye.” Exclusive, released in 2007 and a bit of a departure from the squeaky-clean image displayed throughout the debut, was even more successful, featuring the number one single "Kiss Kiss" and two other Top Five hits. Yet another Top Five hit came with “No Air,” a duet with Jordin Sparks that appeared on Sparks' own self-titled album.
In March 2009, Brown was charged with felonious assault of Rihanna -- an altercation that had prevented his then-girlfriend from taking the stage at the Grammy Awards. Brown was scheduled to perform as well, but he did not appear and maintained a low profile for several months. A fairly substantial backlash resulted in Brown’s songs being pulled from rotation on several radio stations. Ultimately, however, it had little bearing on the progress of his music and acting careers; the week prior to the December release of his third album, Graffiti, the single “I Can Transform Ya” was already nearing the Top 20 of the Hot 100, and his acting roles -- which had already included spots in Stomp the Yard and a recurring role on The O.C. -- hadn’t shown any sign of drying up.
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Wham
BIO: (from allmusic.com )
Wham! sparked something of a pop revival in the mid-'80s and could arguably be held responsible for sparking off the boy band trend of the '90s. They were unashamedly pop, to the point of padding the front of their trousers for television appearances. At the heart, however, was a string of catchy singalong singles written by George Michael (born Georgios Kyrriacos Panayiotou in London to a Greek restauranting family).
George met Wham!'s other half, Andrew Ridgeley, at school in the London suburb of Bushey, and in 1979 they started performing together as part of the ska-based band the Executive. When that group dissolved, they wrote songs, made demos, and rushed into a recording contract with the equally eager independent label Innervision, scoring an instant hit with "Wham Rap!" (they thought that "wham" was the sound they made when Michael and Ridgeley performed together). In order to move to a recording contract with Sony label Epic, Wham! was forced to walk away from most of the royalties from their debut album, Fantastic. None of that mattered when their 1984 single, "Wake Me up Before You Go Go," became a worldwide hit, accompanied by a video of the pair cavorting in their sportswear. Almost immediately, George Michael started thinking of a solo career, and released "Careless Whisper," issued in the U.S. under George Michael of Wham!
Wham!'s end came suddenly two years later, in 1985, reputedly when the group's manager, Simon Napier-Bell (later to manage Take That), decided to sell a share of his management to a South African entertainment conglomerate. Supposedly, as part of a stand against South African politics, George Michael immediately announced Wham!'s breakup. They gave their farewell performance before a sold-out audience of 72,000 fans at London's Wembley Stadium.
George Michael comfortably stepped straight into his own highly successful solo performing and recording career. Andrew Ridgeley's post Wham! album, Son of Albert, sold poorly and produced just one minor hit, "Shake."
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28 Views
21:56:00 11/18/09
Indymedia Presents #372-Showdown in Seattle (WTO)-part3
[LESS INFO] 28 VIEWS | ADDED 21:56:00 11/18/09
It was Wednesday, day 3 of WTO week in Seattle, and day 2 of the Ministerial meetings. Tuesday had been a disaster for the authorities on every level, as wave after wave of activists poured into the town like the Seattle rain that poured from the skies. The WTO had been shut down before it could even open and by Tuesday evening the National Guard had been called out, a large area in downtown Seattle had been designated a political free-fire zone, and public opinion had swung heavily against the WTO. Wednesday morning the world wondered whether things would settle down or what would happen next. One of the great strengths of the anti-WTO protests in Seattle in late 1999 was what later became known as "diversity of tactics." Different groups had taken different parts of the week to stage their activities, so that the movement always had fresh forces and a new focus to keep the pressure up. On Wednesday the Steelworkers held a permitted rally down on the waterfront. Other activists gathered in the Westlake area of downtown to challenge the legitimacy of the hastily declared "no-protest zone." Episode 3 of the 5-part "Showdown in Seattle" series is entitled "Occupied Seattle." It takes up the street battles of the day, but beyond that it brings to the screen a group little mentioned by most documentaries of the protests, the Filipino community. One of the contingents, numbering in the thousands, that marched in its own march into downtown Seattle on Tuesday was organized by a coalition of Filipino groups. They understood and were there to protest the effects of "neoliberalism" which is the term for what the WTO represents. Indymedia Presents #372 contains the third of five episodes of "SHOWDOWN IN SEATTLE" produced at the Seattle Indymedia Center during the week of protests. IP #370 was episode 1, IP #371 contained episode 2. We will soon post the final 2 episodes as IP #373 & 374. For a good but short definition of "neoliberalism" see www.corpwatch.org/article.php?id=376 Here's the short course: Economic liberalism is different from the political liberalism most Americans associate with the left. Conservative politicians who say they hate "liberals" -- meaning the political type -- have no real problem with economic liberalism, including neoliberalism. The main points of neo-liberalism include: 1. THE RULE OF THE MARKET. Liberating "free" enterprise or private enterprise from any bonds imposed by the government (the state) no matter how much social damage this causes. Greater openness to international trade and investment, as in NAFTA. Reduce wages by de-unionizing workers and eliminating workers' rights. No more price controls. All in all, total freedom of movement for capital, goods and services. 2. CUTTING PUBLIC EXPENDITURE FOR SOCIAL SERVICES like education and health care. REDUCING THE SAFETY-NET FOR THE POOR, and even maintenance of roads, bridges, water supply -- again in the name of reducing government's role. Of course, they don't oppose government subsidies and tax benefits for business. 3. DEREGULATION. Reduce government regulation of everything that could diminish profits, including protecting the environment and safety on the job. 4. PRIVATIZATION. Sell state-owned enterprises, goods and services to private investors. This includes banks, key industries, railroads, toll highways, electricity, schools, hospitals and even fresh water. 5. ELIMINATING THE CONCEPT OF "THE PUBLIC GOOD" or "COMMUNITY" and replacing it with "individual responsibility." Pressuring the poorest people in a society to find solutions to their lack of health care, education and social security all by themselves -- then blaming them, if they fail, as "lazy."
0 Views
17:10:58 05/28/09
Harvey's Kitchen Brian Clarey Editor
[LESS INFO] 0 VIEWS | ADDED 17:10:58 05/28/09
Originally from Long Island, a graduate of Loyola University and now editor of the most read triad weekly, Brian Clarey sits down in the kitchen for an interview.When he first moved to Greensboro Brian and I used to work together at a great little restaurant on Tate Street, The Exchange (sadly no longer with us). We shared a few beers, talked about the town, and writing, and how little money we made. Basically we solved all the world's problems. You know how it goes.After freelancing with Triad Style then editing Spotlight Magazine he took the helm of the then non-existent Yes! Weekly, a publication that was to eat into the readership of The Greensboro News and Record, The Rhino Times and Go Triad in one fell swoop.Brian knows how to play the game and he's a hard worker. He went from a stay-at-home dad with three kids and a part-time serving job, to what he is today in a very short amount of time.
4 Views
13:29:00 05/13/09
LABRANG TRUTH-TELLERS ESCAPE TO FREEDOM
[LESS INFO] 4 VIEWS | ADDED 13:29:00 05/13/09
(Left to Right) Gedhun Gyatso, Lobsang Gyatso, Kelsang Jinpa, Jamyang Jinpa, Jigme Gyatso
Photo: Tibet Post International F
ive Buddhist monks from the Labrang Tashi Kyil Monastery in Tibet's eastern Amdo province (Ch: Gansu) have reached safety in India, after more than a year spent dodging Chinese security forces in their occupied country. The men were on the run from Chinese authorities due to having engaged in free speech activities — a peaceful protest demonstration in Labrang town on March 14, 2008, and an unapproved press briefing at their monastery on April 9, 2008.
Gedhun Gyatso and Kelsang Jinpa, both aged 39, reportedly helped to organise a procession through downtown Labrang (Ch: Xiahe), four days after the 49th anniversary of the Tibetan National Uprising of 1959. In their national capital city Lhasa, many similar processions had been violently suppressed beginning on March 10, with non-violent chanting monks beaten up and detained by Chinese security forces. After five days of this violent response to non-violent demonstrators, a riot broke out in Lhasa late on March 14 in which both Chinese and Tibetans were killed.
Lobsang Gyatso, 24, Jamyang Jinpa, 24, and Jigme Gyatso, 23, participated in an appeal for the world's help during a Chinese stage-managed "international media tour" which visited their monastery on April 9, 2008. Several dozen of Labrang's monks suddenly appeared before the startled journalists and camera crews, bearing their banned Tibetan national flag and banners reading such things as, "We do not have freedom of speech". The unapproved press briefing was extremely embarrassing to the Chinese colonial authorities, who had hoped to prove that all was perfectly well in Tibet by having a compliant foreign press listen to scripted recitations of the PRC talking points. These three men were among the courageous ones who foiled that plan.
Let's have a little reminder of what that looked like. Remember, these men knew they were risking everything when they did this — potentially including their lives. That is the emotion one can hear in the voices. Chinese officials and security are watching it all take place, unable to intervene because the cameras are rolling. From the testimony of Lama Jigme (see previous article) we know that severe retribution was dealt to some of these men after the cameras were gone.
This escape was first reported by Radio Free Asia , which interviewed them on arrival in New Delhi. Those who had participated in these two events learned that they were targets for arrest, and an unknown number took to the mountains around Labrang and tried to avoid capture in small groups.> "We lived like animals, moving from place to place. But this was better than prison," [Gedhun] Gyatso, one of the protest organizers, said in an interview. Gedhun, Kelsang and another companion were surrounded by Chinese police in the mountains after two months of hiding. The two of them escaped but the other companion was captured and remains in prison.
Buddhist monks prepare banners and national flags as they ready for a procession through Labrang town, March 14, 2008.
Photo: Mark Ralston / AFP Jamyang Jinpa told RFA that they had learned of the foreign reporters' visit to Labrang via the RFA's Amdo language broadcast. They didn't know the date of the planned visit, but they prepared themselves for the "good opportunity" to reach out to the world. > "We called for freedom for Tibet and for the release of Tibetan political prisoners, including the Panchen Lama," [Jamyang] Jinpa said. Jamyang added that a lama had advised them to escape after Chinese troops surrounded the monastery when the journalists were gone. They dressed themselves in laymen's clothing and headed for the hills.
The monks reached Dharamsala on Sunday, to a heroes' welcome as they stepped off the early morning bus from Delhi. A press conference was held on Monday — a real press conference this time, without fear of Communist Party reprisal. Phayul reports:> "We couldn’t remain silent when peaceful Tibetan protests in Lhasa and other places were being brutally crushed down, and our fellow Tibetans were being killed for holding peaceful demonstrations," [Gedhun] Gyatso added. Jamyang Jinpa directly addressed the Chinese government's claim that Tibetans are happy and content under their rule, and that the protests which swept Tibetan regions last year (and continue in smaller scale) were the work of foreign-based "splittist instigators".> "What has been happening in Tibet from last year is a spontaneous outcome of deep rooted resentment Tibetan people have had against the Chinese government. No one was there to tell us to protest. Situation alone compelled us to come out on the street," Jinpa said. The men say their newfound freedom has not given them a sense of relief. They did what they did on behalf of their people, and their people remain under the Communist Party's boot.> "Thinking of Tibet makes us feel worried. Our greatest concern is for those who are still suffering in Tibet. Many Tibetans are undergoing torture in Chinese custody," Gyatso said. The Tibet Post also covered the no fear press conference (although it seems to get both incident dates incorrect), and offers additional statements by the new arrivals. Jamyang Jinpa described the Chinese policy in his country this way:> "Population transfer has made us a minority in our own country, we have been colonized by the Chinese, and Tibetans are forced to acknowledge a fake Panchen Lama. [T]here is no religious freedom in Tibet, we are forced to denounce His Holiness the Dalai Lama who is at the core of our heart, from who we seek refuge and salvation." The monks' procession through Labrang town, March 14, 2008.
Photo: Mark Ralston / AFP The press conference was also reported on the Tibetan exile government's website , which curiously refers to the men as "youths" rather than monks. The two older men participated in the monks' procession through Labrang town (39 is a bit old for a "youth") while the three younger men were appealing to journalists at the monastery (the monks you see in the video above — Jigme Gyatso can be recognised at the end of the clip).
The coverage of this great escape has so far been seen on ... the Tibetan exile media only. Up to posting time, this has not been reported on any mainstream international news service, many of whom were present when these monks and others risked everything simply to talk to them last year. This is also very curious, since there are plenty of extra international journalists in India now for the election, and most of those are surely in New Delhi (where these notable escapees first arrived five days ago).
The farming boycott in eastern Tibet is continuing through the last part of the planting season, according to Geshe Monlam Tharchin , a member of the Tibetan parliament in exile. In a report gathered from local sources in the Derge region of Kardze Prefecture, Chinese are reportedly taking land from Tibetans who refuse to cultivate in some areas, and buying up Tibetan farms in other areas for use as a military base, in an increased military presence in the region.
It's now too late in the season for planting wheat, but authorities continue to pressure Tibetans to plant potatoes, peas, and similar crops. Local authorities reportedly issued announcements that, "If you will not to plant the farms, our military will use those farms for our purpose." Many people, mainly men, are escaping their towns and villages on the pretext of gathering medicinal plants. Pressures applied to the population through officially-organized public meetings are meeting resistance, and when asked why they won't plant their farms, the responses are along the lines of, "We Tibetans in the areas are united in our efforts to show our strong solidarity to our brothers and sisters those who lost their lives and those who have faced and are facing brutality, suffering and genocide under the Chinese rule."
A woman works in her family's vineyard in Turfan, May 9, 1997.
Photo: AFP In the former East Turkestan (Ch: Xinjiang) similar policies apply to those who do cultivate their land, but in those cases the beneficiaries will be Chinese businessmen . This is a fine glimpse into China's policies in her colonial holdings, where contracts and leases mean little when a governmental authority happens to run short of cash.
In 1983 the government leased wasteland in northern Xinjiang Uyghur "Autonomous" Region to local peasants, on the condition that they grow fruit orchards. By now the orchards are well established and productive, and the government intends to break the 50 year lease, expropriate the land paying a fraction of its value, and sell it to Chinese businessmen.> Township government chief Abdusamet said the orchards would be better managed if they were bought back.
"The farmers are unable to manage their orchards well," he said. "That is why the township government will take it back — we will manage it better."
"We will auction the orchards to Chinese businessmen from the rest of China," Abdusamet said.
"The Uyghur farmers are unable to benefit from these orchards, and our township government needs income," he said. So the 25 years of work which created the orchards and made them profitable, is translated as, "unable to manage their orchards well," and the government will "manage it better." (This sounds familiar.) It will do that by tearing up the contracts, buying the land at 20% of its value, and selling it to Chinese businesses. The real reason is almost an afterthought — local government needs the money.
A court in Dzoge County, Ngaba T-"A"-P (Ch: Sichuan province) sentenced three Tibetans to prison on unknown charges, according to a report received by Voice of Tibet radio . Jampel, 29, and Lama, 23, both of the Chashang Taringtsang family were sentenced to four years, while Namkho, 27, of Chashang Kyajigtsang family got three years. The source said that arbitrary charges, arbitrary sentences and no choice in legal representation are the common standards of justice in Ngaba.
Former President of the Czech Republic, Vaclav Havel has called for basic standards to be upheld in the election for members of the UN Human Rights Council. Terming the election process a "farce" — and he should know farce as well as he knows totalitarianism, as the playwright himself composed a number of farces — he called for adherence to the Council's founding resolution to "uphold the highest standards in the promotion and protection of human rights" during member selection.
Yesterday, China received 167 votes from the 191 member states present in the General Assembly. It wasn't much of a contest, with 20 candidates for 18 open seats. China hailed its own electoral success, citing its " remarkable achievements in the field of human rights ." If that's the "highest standard" the UN can come up with, we're all in trouble.
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5 Views
21:27:28 06/30/08
Episode 19 - Book of Lore
[LESS INFO] 5 VIEWS | ADDED 21:27:28 06/30/08
The mystery-thriller-horror Book of Lore follows Rick as he tracks down a dangerous killer while trying to save his friends' lives and learn about his town's mysterious past. We also do a short review of Bad Taste and the Slumber Party Massacre Series
4 Views
15:44:19 04/09/08
Mrs Patel
[LESS INFO] 4 VIEWS | ADDED 15:44:19 04/09/08
Click to Play
The next person to inspire me: Mrs Patel from our local Post Office, about to be closed down by incompetence and corruption in government and the privatised Post Office.
This is today's film for the Pangea Day Nokia Mobile Filmmaking Awards.
The brief is to make 2 minute films about:
The next thing that makes you smile.
An act of kindness.
The next person to inspire you.
The best part of today.
They don't stipulate in the rules that it has to even be shot on a phone, never mind a Nokia, but I'm doing what I always do and shooting AND editing on my N93. Hopefully that'll give me extra brownie points with the judges! (if I get that far)
Please go here to the Pangea Day channel on Ovi and give me VIEWS and COMMENTS and FAVORITES to help me out. You need to sign up for an Ovi account to comment, but if you have a spare two minutes, *please* do (also, you should upload your own)! It's only the most popular films that will get a chance to go in front of the judges.
I should say that aside from the main competition at Ovi, the remarkable Mr David Howell has been appointed by Nokia to run his own Pangea Day competition at http://davidhowellstudios.com - post a link to your film in his comment section by May 2nd.
ANYWAY, enough selling
as for today's film...
The Government are currently engaged in a disgraceful act of cultural vandalism. I believe that in 10-20 years - and beyond - they will be remembered for two things: The Iraq War, and the loss of the Post Office.
For the sake of a mere £200m per year, they are closing the last remaining centre of community in thousands of towns, villages and urban neighbourhoods. This is a brief interview with Mrs Patel, who has run our Post Office for 35 years. Two posts offices within half a mile of here are closing. Seven in our Borough. We have a higher density of older and disabled people in this ward than anywhere else in the borough - people who will lose vital services.
I'm glad that I'm not going to be in the country at the next election. I'd be in a real dilemma at the ballot box. I couldn't bring myself to vote Tory, but nor could I bring myself to reward the current bastards for everything they're doing. Every day, more reasons to emigrate.
The Post Office issue is a classic case of everything that's wrong with a) blind Privatisation and b) our party-based representative democracy. The local MP, Andy Slaughter , who lives opposite me, was fiercely against the closure of the Post Offices. But he couldn't express that view in Parliament, where he represents us, or he'd lose his job. He was forced to vote for something he knew to be wrong, because his weak, venal party leadership had decreed it as policy.
Anyway, you probably came here to watch me making my usual arse of myself, not listen to my political opinions, so I'll stfu and let you meet the lovely, inspiring, discarded Mrs Patel.
4 Views
08:44:19 04/09/08
Mrs Patel
[LESS INFO] 4 VIEWS | ADDED 08:44:19 04/09/08
Click to Play
The next person to inspire me: Mrs Patel from our local Post Office, about to be closed down by incompetence and corruption in government and the privatised Post Office.
This is today's film for the Pangea Day Nokia Mobile Filmmaking Awards.
The brief is to make 2 minute films about:
The next thing that makes you smile.
An act of kindness.
The next person to inspire you.
The best part of today.
They don't stipulate in the rules that it has to even be shot on a phone, never mind a Nokia, but I'm doing what I always do and shooting AND editing on my N93. Hopefully that'll give me extra brownie points with the judges! (if I get that far)
Please go here to the Pangea Day channel on Ovi and give me VIEWS and COMMENTS and FAVORITES to help me out. You need to sign up for an Ovi account to comment, but if you have a spare two minutes, *please* do (also, you should upload your own)! It's only the most popular films that will get a chance to go in front of the judges.
I should say that aside from the main competition at Ovi, the remarkable Mr David Howell has been appointed by Nokia to run his own Pangea Day competition at http://davidhowellstudios.com - post a link to your film in his comment section by May 2nd.
ANYWAY, enough selling
as for today's film...
The Government are currently engaged in a disgraceful act of cultural vandalism. I believe that in 10-20 years - and beyond - they will be remembered for two things: The Iraq War, and the loss of the Post Office.
For the sake of a mere £200m per year, they are closing the last remaining centre of community in thousands of towns, villages and urban neighbourhoods. This is a brief interview with Mrs Patel, who has run our Post Office for 35 years. Two posts offices within half a mile of here are closing. Seven in our Borough. We have a higher density of older and disabled people in this ward than anywhere else in the borough - people who will lose vital services.
I'm glad that I'm not going to be in the country at the next election. I'd be in a real dilemma at the ballot box. I couldn't bring myself to vote Tory, but nor could I bring myself to reward the current bastards for everything they're doing. Every day, more reasons to emigrate.
The Post Office issue is a classic case of everything that's wrong with a) blind Privatisation and b) our party-based representative democracy. The local MP, Andy Slaughter , who lives opposite me, was fiercely against the closure of the Post Offices. But he couldn't express that view in Parliament, where he represents us, or he'd lose his job. He was forced to vote for something he knew to be wrong, because his weak, venal party leadership had decreed it as policy.
Anyway, you probably came here to watch me making my usual arse of myself, not listen to my political opinions, so I'll stfu and let you meet the lovely, inspiring, discarded Mrs Patel.
1 Views
22:16:21 11/09/07
Puttin’ on the Ritz
[LESS INFO] 1 VIEWS | ADDED 22:16:21 11/09/07
I've been browsing YouTube for music videos this week. Doesn't matter the genre. It could be rap, R%B, soul, funk, rock, new wave, or what have you.
I posted a couple of videos on the 1980s version of Puttin on the Ritz here earlier this year but both of those videos have been deleted from YouTube. This time I think that YouTube isn't likely to bother it so I post it now and delete those other posts that I already have here.
I always though of this song as a nice snappy song. Especially with that nice early 1980s sound (performed by this artist named Taco ).
There were two version of this video I should add. This is the controversial version where the permorers here were in blackface. In another version of this video, those sequences with the performers in black face were edited out and in some shots headshots of movie legend Gary Cooper were inserted.
I decided to look up more about this song and found out that originally the lyrics were to reflect the fad of well to do New Yorkers going to black jazz clubs in Harlem. I decided to see if I can find the original lyrics of this song and excuse me if I call this Exhibit A.
> Have you seen the well-to-do
Up and down Park Avenue
On that famous thoroughfare
With their noses in the air
High hats and narrow collars
White spats and fifteen dollars
Spending every dime
For a wonderful time
Now, if you're blue
And you don't know where to go to
Why don't you go where Harlem flits
Puttin' on the Ritz
Spangled Gowns upon the bevy of
High browns from down the levy
Always spits
Puttin' on the Ritz
That's where each and every lulu-belle goes
Every Thursday evening with her swell beaus
Rubbin' elbows
Come with me and we'll attend their jubilee
And see them spend
Their last two bits
Puttin' on the Ritz
- short instrumental break -
(Boys, look at that man puttin' on that Ritz)
Now, if you're blue
And you don't know where to go to
Why don't you go where Harlem flits
Puttin' on the Ritz
Spangled Gowns upon the bevy of
High browns from down the levy
All misfits
Puttin' on that certain Ritz
Come with me and we'll attend their jubilee
And see them spend
Their last two bits
Puttin' on the Ritz
Come with me and we'll attend their jubilee
And see them spend
Their last two bits
Puttin' on the Ritz The song was later rewritten to be generally applicable to going out in the town in style.
“Puttin’ on the Ritz” Original Lyrics(1929)
Puttin' on the Ritz (Wikipedia)
Irving Berlin Lyrics and Chords Puttin on the Ritz
