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20:02:48 12/19/11
Acceptance is Magical - Don't Fight Life
[LESS INFO] 0 VIEWS | ADDED 20:02:48 12/19/11
2011-12-19 1st journal, Mayan day 13 Eb/Road Transcript http://www.scribd.com/doc/76072701 Intro: Boy, do I ever feel down. This is such an odd place for me to be in, too. I'm not used to it, anymore. Sure, I used to be depressed quite a lot. I was that way for years, without knowing it. With my daughter in counseling, though, it began to dawn – I was depressed. What a shock. Then came the years on the anti-depressive pills – many years. Sure, they helped. I'd been down without knowing to call it that for so long. It was rather nice to get some relief. Still, I'm just not a pill taker, and it wasn't long before I rebelled. But hey, getting off of those things is the dickens. Again and again, I tried, but when I'd find myself breaking out into tears for no reason that I was aware of – well, I just figured I still needed the pills. It took a long time. I don't know what made it happen – why, at some point it was suddenly right, suddenly do-able, when it hadn't been, before. Really, I don't know. Anyway, it's been about 10 years or so, now, since I've been on them, and I'm glad. There's no way I'd consider medicating for this, again. No way. It's natural for me, now. So, sometimes I guess we just feel depressed. There's no telling what it could be – and really, does it matter? The reality is that, if we wait a while, it will pass. Change is the one constant we can count on in this crazy realm. Well, thank God for that. I rather like it. It helps us let go and stay free, once we tune in to it. That's how I see it, anyway. No use hanging on, clinging to something, to anything – soon enough it will be gone. Go with the flow. It's really been a time of letting go, hasn't it? It has been for me for some years – decades, in fact. It started out slowly, though...
3 Views
13:37:56 11/01/11
HOW TO GET A PHD IN GOD’S WILL with GEORGE LEWIS
[LESS INFO] 3 VIEWS | ADDED 13:37:56 11/01/11
HOW TO GET A PHD IN GOD’S WILL (YOU CAN READ THIS OR, WATCH THE VIDEO) http://georgeflewis.com I was recently asked the question: "How did you get to where you are today after living in your car for several months." The simple answer is by following God's will. (Higher Power's will, Sources' will, Universe's will, the Force's will. Call this Higher Power what you will. I use the word God because the term feels right to me. However, my definition of that word may be vastly different from yours. I guess that I failed to tell you that in the years prior to living in my car that I had come from owning nothing to owning the largest residential real estate firm in my County. What I was worth then would equal hundreds of millions of dollars today. I had learned how to get material things. I owned many cars, homes, airplanes, motor homes, motorcycles, boats, and much real estate. An economy much like todays and some poor decision making took it all in an instant. My name was on my real estate corporation. It was in this, and in all the stuff I owned, that I found my identity. When my little empire crashed, I crashed. I believed this to be the worst thing that could possibly happen to me. I had to rebuild myself from the ground up. The months in my car started me on my way to a PHD in God’s will. First, many of the things that have happened to me that seemed terrible at the time, turned out to be the best things. From that, I deduce that on some level I really don’t know what is good for my spirit. On a subconscious level, I now know that I did not want God’s will because I thought that it might not line up with my desire for all the things I wanted. Consequently, my visualizations limited me, as they weren’t necessarily what were best for me. Now, when I see in retrospect, those things, and situations that I believe to be God’s will for me, I see that they are best for me. Additionally, my will has provided me with many ‘bloody noses.’ I don’t want any more. When I ask myself, which would I rather follow, my spirit or, my ego, the choice is very clear. I choose to follow my spirit. It is in this that I find peace of mind. I never found peace of mind in any new car, boat, airplane, or material item. What I did find was that the smell of new leather was gone within a couple of months. I did not know that peace of mind was the true prize. Without knowing it peace of mind is what I thought all of the stuff I was striving to get would bring me. With this in mind, I needed to develop a new viewpoint and a new way of conducting my life. Getting things and all that falls within that category doesn’t mean much so, learning how to get them doesn’t mean much either. What I needed to learn was how to recognize and follow God’s will. That poses a much larger difficulty than figuring out how to get ‘stuff.’ I spent quite a while thinking that God’s will would come to me looking much like a completed vision board. That has never happened. What I find is that God’s will is always right in front of my nose. It presents itself as the next best thing for me to do. My ego sees this as far too simple and wants the complete treasure map. However, what I have to do is surrender and be willing to be totally led by the next good thing that presents its self. I must be willing to see it, and to do it to the best of my ability. I now understand that God is not the ecclesiastic bellhop that my prayer for stuff was inadvertently trying to make God out to be. If you have ever completed a draw by the numbers picture, you will understand this. At first, all I see is a bunch of unconnected numbers that don’t really make sense. Then, as I draw the connecting lines from one to two and to three etc., I soon see the picture that is emerging and I have that ‘aha’ moment. Seeing God’s will requires that I listen carefully to what I hear, pay close attention to what I see, and most importantly, to what I feel and to what I intuit. I can do none of these well when I am in fear or its nasty little offspring anger, when my thinking takes me into the future or the past. I must work at being fully present to every moment. I must be internally quiet. To exercise the fullness of what my intuition has for me, I must put what my head and my heart tells me in second and third place to what my ‘gut’ tells me. When I use the term ‘gut,’ I’m speaking of that small area in my solar plexus that informs me of what is right and what is wrong through feelings rather than with words or thoughts. I have to pass thinking and my actions through this guidance test. It is my primary spiritual compass. In addition, my intuition will speak to me as an afterthought. Here is an example of what I mean by afterthought. It is a sunny day and there is absolutely no rain in sight. From somewhere comes the idea that I should take my umbrella. I opt to believe my logical brain and leave without my umbrella. When I return home, I have been soaked by a rain that didn’t seem possible. When I pray for what I think I want and need, I tag the prayer with these words; “if it is your will, and that I might better serve others”. Even with this, I have to be aware of my motives. I always have at least two motives for everything I do. One is my altruistic motive. It is the motive I want to believe about me and, more importantly, I want you to believe about me. The second is my self-centered self-serving motive. I must know which of these I want to be the deciding factor. I must also know that what I need to pray more for power than for specifics. Let me explain. If I am sitting in my closet and I am starving, praying for God to feed me probably won’t work. It is doubtful that a hot dog or a steak dinner is going to suddenly pop through the keyhole. What I must pray for is the power to feed myself. Following these ideas is exactly how I got from my car to where I am today, the details of which could easily fill a book. Thanks for taking the time to watch this short video. I hope you find my experience helpful. Do come back and in the meantime, don't forget to accentuate the positive and have a fantastic day.
13 Views
08:17:09 08/12/11
Bouncing In Boots For Your Booty
[LESS INFO] 13 VIEWS | ADDED 08:17:09 08/12/11
HI Your Fit Day Friends !
Hey! Do you still want to get that sexy summer bod?
Or, maybe you're on the rebound from a joint injury...
Or, maybe you're just looking for that cool piece of equipment that is super fun and will get you fit and lean in a short amount of time...
Or, you just like toys!
OK! So, remember I told you that I would find ways to work out to keep me in super duper shape before my pending hip surgery?
Well, I had this super idea that I could design running shoes with springs on the bottom that would take the impact off my joints and it would be less painful to walk and super fun to use, as well as keep my booty in shape. But then I said, "Hmm! Why invent the wheel when somebody else has done the work for me? Why not ask the Kangoo Jump people to help me?"
So that's what I did.
And I think these Boots were made for YOU!
Boots Not Just Made For Walking!
My first try with the Kangoo jumps was back in June. It had been raining the last couple weeks in May so I had to put trying the boots out on hold. But finally the clouds separated, and the sun shined through and I got off my ball ( I use a stability ball as my desk chair) and decided to hop down to the Lake. No, I hadn't put the boots on just yet. That was actually a pun. And since it takes too long to hobble on my hip, I got in my car and headed 4 blocks to Lake Merritt.
"Another Lake Merrit July Drama Sunset"
But something compelled me to take a detour and instead I drove over to the Piedmont High School track where there wouldn't be any stray ducks, dogs or pelicans underfoot; I could count on level ground; and there was no chance of bouncing into the lake...with the pelicans.
"Pelicans at Lake Merritt, Oakland, CA"
I'll tell you this: in retrospect, walking down the steps to the track in my Chaco sandals and getting onto the track was actually the hardest part. Because once I put on the Kangoo Jumps it was shear joy to 'walk' and 'run' and just be able to amble pain free.
Check These Out
All Kangoos are a cool, ninja, space age ski/roller blade-like boot design with cambered curved springs on the bottom. And they're reasonably light, and lighter than roller blades-well, at least my roller blades-with just enough weight to give you the right amount of stability and a good workout. I mean, you're still lifting boots with every hop!
"My feet in Kangoo Jumps"
Getting into them was pretty quick and easy. Adjusting the cleats no problem. Figuring out the pressure to secure them was hit or miss and I probably will need a few more romps before they feel comfortable around the shin.
The track wasn't crowed but just carrying the boots in my hand drew attention to me. I wasn't going to complain about that. I'm a fitness diva, remember!
In fact, I'm hoping that I can get more people involved in using these boots and coming to my bootcamps. (HA! HA! Boot Camps! Kangoo Style!)
Once I had them securely on my feet I was like the Jolly Green Giant. I was amazed at how stable they were. Everyone kept asking me if I felt like I would topple over or twist my ankle. Absolutely NOT. Have you ever felt like you would fall over in ski boots? (assuming the ski is not attached to the boot and you're not ripping down a mountain). There is absolutely no inclination to fall over. And that is a good thing! seeing that I'm only planning on having ONE surgery.
Giving It a Go On My Kangoo Jumps
Because this was my first adventure out in my Kangoos I didn't want to over do it. They say to hop around, up and down, break them in. So I tried that, but was pretty tentative, babying my hip. But I soon realized that the boots actually roll you forward and the impact isn't directly on your hip. So I became more bold, and set off down the track... at a slow run. And behold, I was bouncing with no burn in my joint.
The track is 1/4 mile around. After three times around-running, walking, hopping, and repeating that-I was already working up a sweat and I could feel my running muscles in my legs-the ones I hadn't worked in that running way since December '10- start to come alive. I felt alive! And free........
I spent 15 minutes Kangooing and by the time I stopped I felt like I had instead sprinted up a mountain. It was that good of a workout and my legs and glutes felt pumped. All without any pain in my hip joint. In fact, my hip feels better in these boots running and walking than I do ambling, or more like hobbling right now, on my own two feet, whether in my shoes or Vibram 5 Fingers.
Here's a video of me in San Francisco bouncing in my boots :
Putting The Spring Back Into Your Life
The Kangoo Jumps are designed to take up to 80% of the impact off your joints. So for those of you who have osteoarthritis in your hips or knees (I'm not sure about back pain but you can check out their website) and have had to give up your favorite sport or activity you may have a second chance. So I highly recommend these Kangoo Jumps for anyone who has had to give up their favorite impact activity, things like hiking, trekking, and even martial arts, due to joint pain in their knees and hips and possibly back. Because you can do all of these sports in Kangoo Boots. Obviously do your research and consult with your doctor first. I certainly did before I started using them.
In fact, I contacted one of the leading hip surgeons in the world, Dr. Koen De Smet, to get his opinion and approval. And after he reviewed the website he said that they were suitable for what I wanted to do, and as long as it I didn't hurt I was fine.
Boots for your Booty
I have to admit I was getting a bit soft in the inner thigh and butt since I wasn't able to run in the hills or do any of the sprint training that I love to do for the past several months. But in the past month I have seen a noticeable difference in the tone of my inner thighs, quads and butt and the Kangoo jumps have miraculously toned up my legs in just this short amount of time.
And here's a bonus for those of you who have some extra weight to lose: They say that you burn twice as many calories using the Kangoo Boots and that 30 minutes in your Kangoos is like an hour in your normal training shoes. That's not hard to believe. After bouncing around San Francisco and Lake Merritt for just 30 minutes a pop these past few weeks it felt like I had done a six mile trail run in the Berkeley hills.
So, not only are these a great workout, burn calories, tone up your booty, and are a hoot to use, they are a time saver as well. What's not to like about them!
What's Next ?
So, my game plan is to Kangoo Jump for the next two months which will take me up to the week that I leave for overseas for my hip surgery. There will be no more Kangoo jumping for at least 10 months after surgery. But I'll have other exercises that I will be doing to keep our butts in shape, literally!
So be sure to follow my blog, and watch the videos, for more cool stuff that will keep your legs toned, your booty nice and round, and your body fit and lean.
Stay tuned for more Kangoo Jump videos so you can get the 'JUMP on fitness!'
Your Trainer, and Nutrition and Wellness Coach,
Debby K !
Make it Your Fit Day ...
2 Views
23:00:50 12/28/10
It's a sad day when journalists collaborate with the government, again!
[LESS INFO] 2 VIEWS | ADDED 23:00:50 12/28/10
I've been astounded by the treatment of Julian Assange and the WikiLeaks story by the media ever since it broke. Howard Kurtz called Assange disingenuous for not outing his sources, which is insane.
Howard Kurtz allegedly understands journalism, so it's outrageous for Kurtz to take offense when Assange refuses to out his sources, as I explained in a post called: Why are the media so eager to bury WikiLeaks? > >
KURTZ: Rick Stengel, let's turn now to your interview with Julian Assange. I found some of his answers to be absolutely disingenuous. For example, you ask whether secrets are ever necessary, and he says, well, his secrets are necessary, protecting his sources, but "our responsibility is to bring matters to the public."
What's important is the information contained in the WikiLeaks cables, not Assange himself -- and when we're dealing with whistleblowers, of course their identities have to be protected.
Journalism 101 states that you never out your sources, no matter where you get your information. The Beltway Villagers even defended the odious Judith Miller when she went to prison rather than divulge that Scooter Libby was her source in the outing of a Valerie Plame, as I've mentioned before . That was information that led this country into an unjustified war based on lies told by Miller and her leakers.
After watching Andrea Mitchell on MSNBC show such disdain for Assange, I asked a question that really hasn't been asked all that much. >
Are folks in the media afraid they might be implicated in Wikileaks cables? >
I expected the State Department to speak out against WikiLeaks, but why have the media been so hostile to WikiLeaks and so passive about the people trying to silence his operation without a shred of evidence of him being guilty of a crime?
I wonder if they are afraid that either they or their friends might show up in some of these leaked cables in an unfavorable light. Yesterday on MSNBC, Andrea Mitchell was discussing Assange's bail in the UK and seemed afraid that he might have access to the dreaded "Internet" and destroy the world.
I understand that access to D.C. is very precious to the Beltway Village, so outside of fear of what might be found out about their friends and that they'll earn extra credit for bashing Assange by the powers that be, I still don't get their attacks on the whole WikiLeaks story. And as we've seen, cable TV news has turned away from being a deliverer of news and instead focuses on orchestrating battles of opinions with punditshills and ex-GOP Bushies, but the networks for the most part have to turn away from their own stable of journalistic talkers to bring in a differing opinion on the WikiLeaks story, because the Villagers on TV are routinely characterizing Julian Assange as a terrorist.
Glenn Greenwald posts today about his CNN interview last night over WikiLeaks and he highlighted four points in his post, The merger of journalists and government officials : >
4) If one thinks about it, there's something quite surreal about sitting there listening to a CNN anchor and her fellow CNN employee angrily proclaim that Julian Assange is a "terrorist" and a "criminal" when the CNN employee doing that is . . . . George W. Bush's Homeland Security and Terrorism adviser. Fran Townsend was a high-level national security official for a President who destroyed another nation with an illegal, lie-fueled military attack that killed well over 100,000 innocent people, created a worldwide torture regime, illegally spied on his own citizens without warrants, disappeared people to CIA "black sites," and erected a due-process-free gulag where scores of knowingly innocent people were put in cages for years. Julian Assange never did any of those things, or anything like them. But it's Assange who is the "terrorist" and the "criminal."
Do you think Jessica Yellin would ever dare speak as scornfully and derisively about George Bush or his top officials as she does about Assange? Of course not. Instead, CNN quickly hires Bush's Homeland Security Adviser who then becomes Yellin's colleague and partner in demonizing Assange as a "terrorist." Or consider the theme that framed last night's segment: Assange is profiting off classified information by writing a book! Beyond the examples I gave, Bob Woodward has become a very rich man by writing book after book filled with classified information about America's wars which his sources were not authorized to give him. Would Yellin ever in a million years dare lash out at Bob Woodward the way she did Assange? To ask the question is to answer it ( see here as CNN's legal correspondent Jeffrey Toobin is completely befuddled in the middle of his anti-WikiLeaks rant when asked by a guest, Clay Shirky, to differentiate what Woodward continuously does from what Assange is doing)... read on
Woodward has been the cleaner for the Washington Post for a long time, and he's held up to a higher level of worship than even David Border. Here's a classic video which has, of all people, Don Imus confronting Andrea and the Beltway elites over their behavior in 2005 on the Plame case: >
Imus: It seems unclear what you said and perhaps you can clear it up about what you said back in Oct. of 2003---
Mitchell: I have been trying to figure out "what-the-heck" I was talking about, frankly. There is confusion because I am confused.
Imus: So when you told Alan Murray of CNBC, that it was widely known that his wife worked for the CIA-(interruption)--what, were you drunk?
Mitchell: I don't even remember the deal.
Imus: What this suggests to me is that you knew she worked at the CIA, but you didn't know what she did there. Isn't that fair-did you know that?
Mitchell-(garbled)
Imus: Why did you say that Andrea?
Mitchell: I messed up...(later)
Imus: Russert was a little short with me---almost like he was trying to hide something....
Imus (laughing): I realized -- well this is an unfair thing to say, I was gonna say -- all you folks in Washington are all in bed with one another, but that would be an awful thing to say ....
I think Imus was right on when he said 'all you folks in Washington are all in bed with one another,' and Mitchell knew it. As time goes on it's pretty hard to miss.
Digby beats back one of the bigger zombie lies being told by the media about Wikileaks. >
There are many fine points in the piece, but he mentions one zombie lie I'd really love to kill --- the one that all of these so-called reporters seem to have absorbed as if it's the received word of God --- the one that says Wikileaks dumped 260,000 cables indiscriminately on the Internet.
Here's the truth, from an AP news report from December 3, 2010. There's no excuse for journalists not to know this by this point:
Respected news outlets collaborate with WikiLeaks >
By The Associated Press
12.03.10
The diplomatic records exposed on WikiLeaks this week reveal not only secret government communications, but also an extraordinary collaboration between some of the world’s most respected news-media outlets and a website that is facing increasing pressure and criticism from governments worldwide.
Unlike earlier disclosures by WikiLeaks of tens of thousands of secret government military records, the group is releasing only a trickle of documents at a time from a trove of a quarter-million, and only after considering advice from five news organizations with which it chose to share all of the material..
This is the saddest day for journalism since their guileless acceptance of the WMD boogeyman and giddy cheerleading for the Iraq war. It turns out that journalism is important, but most of these "professional" practitioners of the field are not only failing to practice it, they are hostile to the idea that they should practice it. It's very revealing.
It's just another sad and revealing day for all the hacks running around and impersonating real journalists. Not all journos are acting like this. Major props goes to the Ray Odroso of the Village Voice.
Read more here .
75 Views
19:11:05 12/13/10
Rapper Wiz Khalifa Sparks Controversy w/ New Song Called 'Huey Newton'
[LESS INFO] 75 VIEWS | ADDED 19:11:05 12/13/10
Pittsburgh artist Wiz Khalifa has been making a lot of noise as of late. Most recently him and rhyme partner Currensy did song called Huey Newton which has ruffled the feathers of more than a few people who feel like the Black Panther Party co-founder who fought tirelessly for the liberation of Black people is being disrespected.
The song in question has nothing to do with Huey or the Panthers. It’s about smoking weed and kicking it. Hence it left many wondering why name check Huey? Was it to bring controversy or was it a reflection of one’s ignorance where freedom fighters and civil rights icons are seen as fair game for dismissal, ridicule and attacks?
Outkast caused quite abit of controversy with their Rosa Parks song
When I heard the song, two things went through my mind. First was the controversy surrounding Outkast when they used the name of Rosa Parks , the mother of the Civil Rights Movement in the biggest hit single off the critically acclaimed Aquemini album.
Many felt it was a huge disrespect, including some of Park’s people who wound up suing Outkast for using her name without permission. According to her representatives, Ms Parks didn’t like the fact that the group used profanity in a song that in no way reflected what she had stood for.
Outkast felt they were being mis-understood. They claimed that they were paying tribute in an artistic sort of way. Parks’ name was used as a metaphor to lay claim that the group was putting others on notice that it was time to make way, ‘move to the back of the bus’ and make way for Outkast.
Many in the Civil Rights community wasn’t buying it. While many in the Hip Hop community questioned the motives behind a lawsuit. Was this really Rosa Park’s sentiments or her people trying to make a buck? The counter to that question and ultimately one of the basis for the lawsuit-was Outkast trying to make a buck off of Rosa Parks?
Eventually famed lawyer Johnnie Cochran got involved on behalf of Parks. The lawsuits were dismissed on freedom of speech grounds but Outkast wound up settling with Ms Parks. They shot her some money and agreed to do a few community benefits for her foundation.
The other thing that went through my mind were the recent name checks where iconic freedom fighters are publicly clowned.
We saw this two years ago when a young columnist from Ebony magazine named Jam Donaldson of Hot Ghetto Mess fame took shots at political prisoner and former Panther Mumia Abu Jamal . In her piece she stated;
Mumia Abu Jamal
“One day I’m like, ‘Free Mumia’ and other days I’m like, ‘That n***** probably did it.’ And I’m not afraid to admit it, and I’m not afraid to write about it.”
Donaldson’s remarks angered many of Mumia’s supporters who felt her flippant remarks in a respected publication like Ebony not only added but in some ways legitimized an already poisonous climate set by police department unions who had been on a mission to see Mumia put to death.
Donaldson noted that her remarks and take on things are a reflection of how many in her generation feel these days. They’re sarcastic and have no problem crossing what many in the past may have seen as sacred lines. In her case she saw nothing wrong with dissing a man who was fighting for his life on death row. A few years prior comedian Cedric the Entertainer saw nothing wrong with clowning Rosa Parks by calling her lazy in the movie Barbershop. Parks boycotted the NAACP image awards in which Cedric was appearing as a result .
Today an artist like Wiz Khalifa may see nothing wrong with naming a song after Huey Newton without reflecting his legacy. These are just names to people who now live in an increasingly disposable society.
Here’s a video to the song Huey Newto n
http://www.youtube.com/watch?v=qu1kpwbx_fU%feature=related
Needless to say… the Huey Newton song got a quick rebuke from more than a few people including Minista Paul Scott of the Militant Mind Militia . Below is his video response where he goes in on Khalifa and Currensy
http://www.youtube.com/watch?v=6jo7rV5VTPA%feature=player_embedded
Lastly, weighing in on this is fellow Pittsburgh rapper Jasiri X who feels like situations like this can lead to teachable moments. He knows both Wiz and Paul Scott and feels that we should be building bridges and not causing further divisiveness.
Huey Newton
I agree with Jasiri X and I like the video he did in response to the song. At the same time one thing that all of us need to keep in mind is the importance of empathy. We need to walk in each other’s shoes. We need to keep in mind that each generation has heroes and sheroes they hold dear and sadly there are outside forces that routinely malign those leaders and important figures in our community. Hopefully all of us young and old understand this and don’t add to the attacks or in Wiz’s case neglect.
In my generation the icons were Chuck D , KRS , X-Clan, Minister Farrakhan and others who we rallied around. A generation before that, it was the Malcolms, Martins, Shirely Chisolms and Hueys.
The generations after mine came to admire Tupac , Biggie, Diddy . and later Jay-Z .
For today’s generation those figures don’t hold the same emotional cache. They have their own heroes. Is it Lil Wayne ? Souljah Boy ? Rick Ross , Beyonce ? The best way to find out is to ask the young folks around you and build. Who are the heroes and sheroes for today’s generation?
Remember we are in a date and time where ethnic studies is being cut from college campuses all around the country and history text books are being re-written as we speak. Freedom fighters like Thurgood Marshall and Cesar Chavez are being removed and replaced with Newt Gingrich and Jerry Falwell . Community leaders are less and less known while pundits seen on TV and entertainers and music moguls have become the new Civil Rights leaders Should we be surprised if a Wiz Khalifa doesn’t hold a Huey Newton close to his chest in 2010?
-Davey D-
Here’s Jasiri X’s remarks: >
I saw the controversy over the Wiz Khalifa and Currensy song called Huey Newton , including the video response by Paul Scott of the Militant Mind Militia, and being that I know both Wiz and Paul I thought I should weigh in.
I certainly understand why the conscious community would be upset with Wiz and Currensy considering the subject matter of the song, but I just wanted to offer some perspective. I grew up in a very conscious household, however in my early 20s, I dropped out of college and spent most of my days smoking weed, writing rhymes and hustling to support my habit. I figured I was gonna be an MC so I was gonna have as much fun as I could on the way to the top.
Eventually, that lifestyle got old and by the grace of God I regained my conscious mind and began trying to use my talents and gifts to uplift humanity. Wiz grew up around conscious people and he’s one of the most mature young men I’ve ever met. Where he is now…experiencing the tremendous highs of living his dream…does not mean he’s going to stop growing as a person.
I don’t know Currensy , but I did find it interesting that Huey Newton was born in his home state of Louisiana.
I don’t think Paul Scott was wrong in expressing how he felt and his frustration with the state of Hip-Hop. Knowing Paul, I know he spoke out of sincere love for his people and a desire to see us do better. But, I felt like instead of creating more division, I could use this as a teachable moment, so I grabbed the instrumental and did what I do. Paradise recorded the session at James Webb Studios, we added a interview Huey Newton did with William Buckle y plus one of his speeches and pieced together the video we called “The Real Huey Newton”.
One Hood,
Jasiri X
http://www.youtube.com/watch?v=OHfotb2pwNI
21 Views
01:33:49 11/03/10
Due Date Starring Robert Downey Jr. and Zach Galifian
[LESS INFO] 21 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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20:32:32 09/10/10
Hitler Glenn Beck And The Church Part 3 Conservative Fascism
[LESS INFO] 0 VIEWS | ADDED 20:32:32 09/10/10
For more information go to : http://roarnomore.blogspot.com/2010/09/church-hitler-and-glenn-beck.html Now back to our discussion of the volk. As we have seen, Hitler was by no means a lover of Christianity. A plain reading of Mein Kampf will make this obviously clear. He intended to use the church as an organization for the furtherance of German nationalism, but it had to be in lock step with the Nazi party in order to justify its existence. When Hitler referred to Martin Luther in a favorable light notice he didn't go into any specifics. Martin Luther was a hero of the German people of which about 2/3 were proclaimed Lutherans. Hitler saw the history of Germany and its figures, even the ones he would have disagreed with, as being worthy of study and admiration simply because they were German. This is undeniably, in our country, more of a phenomenon of the right. I myself enjoy the study of history and admire such men as Patrick Henry, Robert. E Lee, and Ronald Reagan. However, the idea of "American Exceptionalism" I fear is all to similar to Hitler's German nationalism. Certain parts of our history are whitewashed in order to prove that "America isn't really all that bad." We are fooled into thinking that when we have made mistakes, that's all they were, and they were somehow caused because of a departure from our "real" values. Some conservative Christians will even say that we are "special," "unique," or "chosen." Rev. Peter Marshall's children's book The Light and the Glory comes to mind. Sometimes when I hear conservatives say such things I want to ask, "What are we, modern Israel?" Fortunately, American Exceptionalism has not been used by conservatives to rally us around the state, at least to the extent that Hitler used it. Of course Abraham Lincoln and Daniel Webster did go in that direction, but I wouldn't consider them anything remotely similar to true conservatives. One of the mainstays of conservatism is that it is antithetical to state control and is instead for federalism and individual freedom. Glenn Beck I think understands this, but he's on thin ice by reinforcing a tool that can easily be used against conservative ideals. Let me offer up a hypothetical. Barack Obama wants a Civilian Defense Force that's as well funded as the military in addition to a Universal Volunteer Civilian Service organization. Mike Huckabee- who I agree with 88% of the time- stated this frightening proposal in his, for the most part insightful book, Do The Right Thing. During the Depression, the WPA provided jobs to lift Americans out of poverty. Today we need national-service jobs so that more Americans can give back out of their abundance; others still need to be lifted out of poverty. A year of civilian service can be a path for those who have dropped out of school or who are trapped in dead-end jobs to gain some marketable skills and make a fresh start. . . If a voluntary system does not work, we should seriously debate making civilian service mandatory. There you have it. A "conservative" and a "liberal" agreeing on something that, if implemented, would erode individual freedom even more. We're talking about a civilian draft for crying out loud! Hitler was supposedly able to reach 100% employment through the similar method of requiring that everyone in the nation be employed in a certain skill. The state would even pay for the training and the vacation expenses. As Mussolini so rightly described fascism, "Everything within the state. Nothing outside the state!" The United States secretary of education Arne Duncan wants every facet of social life to revolve around the government sponsored and controlled public school. Don't believe me? Simply watch his interview on Charlie Rose last year. Here's the point: If somehow the American Exceptionalism of the right is linked to the mandatory state control of the left, we will be witnessing a force for the destruction of the church like this country has never seen. The current rallying cries for state intervention in our lives- the ones coming from the left- have little do with our heritage or religion, and more to do with political correctness. The evangelical church, although it has bought into many politically correct ideas, will not consider this a very compelling rallying cry, and neither will the majority of the American people, at least not at this point. Liberals are always looking for a "moral equivalent to war" as Jonah Goldberg calls it, because war is the one situation in which the nation pulls together under the guidance of a powerful state. The green movement is perhaps the best modern example. We are supposed to re-knit the very fabric of our society for the good of the planet and accept any state imposition to this end. Ironically, Hitler had his own green movement which we will not go into detail about now. The green movement does not see the military as a solution. On the contrary, the military is the problem with their pesky bombs and use of gasoline. German nationalism however was entirely devoted to military service. This is perhaps another distinction between the right and left of the U.S. The left does not have the military fervor of the right and the right lacks the enthusiasm for the state that the left possesses. So what happens when in an effort to save our heritage and honor our military we rally around the state? This is where Glenn Beck's 8.28 comes into play. No it did not cause us to rally around the state, but it had the potential. Let me ask, "If there were a 'conservative' in the white house, how might it have turned out?" Beck held the rally near the footsteps of a giant Bolshevik looking statue of a true statist, Abraham Lincoln, with thousands of supporters flying the American flag and pledging themselves to "restoring" honor. Beck then invoked an "American" ecumenical like God while devoting most of the event to the honor of our military. None of these things is "fascistic" in and of itself, however, something smells awfully suspicious, and it's about to stink even worse. If things don't make sense, keep reading.
10 Views
17:46:49 04/11/10
Date Night starring - Steve Carell and Tina Fey
[LESS INFO] 10 VIEWS | ADDED 17:46:49 04/11/10
Action-comedy maestro Shawn Levy, the director of the blockbuster “Night at the Museum” franchise, teams up with two of the comedy world’s biggest talents, Steve Carell (“The 40 Year Old Virgin,” “The Office”) and Tina Fey (“Baby Mama,” “30 Rock,” “SNL”) for an adventure that turns a run-of-the-mill married couple’s date upside down – way upside down, in DATE NIGHT.
Phil (Carell) and Claire Foster (Fey) are a sensible, loving couple with two kids and a house in suburban New Jersey. The Fosters have their weekly “date night” – an attempt at re-experiencing the spice of the dates of yesteryear, involving the same weekly night out at the local Teaneck Tavern. Their conversations quickly drift from barely-date talk to the same chore-chat they have at the dinner table at home. Exhausted from their jobs and kids, their dates rarely end in fore- or any other kind of play, let alone romance.
After seeing two of their best friends – another married couple with kids in suburban New Jersey – split apart from living the same life they themselves lead, Phil and Claire begin to fear what may lie ahead: a state of bland indifference and eventual separation.
In an attempt to take date night off auto-pilot, and hopefully inject a little spice into their lives, Phil decides a change of plans is in order: take Claire into Manhattan to the city’s hottest new restaurant. The Fosters, however, don’t have reservations. Hoping to be seated sometime before the clock strikes twelve, they steal a no-show couple’s reservations. What could it hurt? Phil and Claire are now the Tripplehorns.
The real Tripplehorns, however, it turns out, are a thieving couple who are being hunted down by a pair of corrupt cops for having stolen property from some very dangerous people. Forced on the run before they’ve even finished their risotto, Phil and Claire soon realize that their play-date-for-parents has gone hilariously awry, as they embark on a wild and dangerous series of crazy adventures to save their lives. . . and their marriage.
The ritual “date night” dinner is something all too familiar to most married couples – even directors of blockbuster movies. “I was in the process of making the second Night at the Museum film,” recalls filmmaker Shawn Levy, “and, as is kind of our ritual, once a week, my wife and I go out to dinner.”
At one such dinner, the Levys found themselves sitting at the restaurant they frequented, ordering the same food, talking about the kids, what’s coming up that weekend, who’s going to buy the gift for which birthday party, etc., etc. “In the middle of all that, I said to my wife, ‘Wouldn’t it be cool to do a movie about a date night, where you just did one thing differently? And, from there, you have an unraveling of everything, to the point of it threatening your life and your marriage, with all kinds of crazy stuff going on. But, in the midst of all that crazy stuff, you end up recapturing the vitality that date night was invented in the first place to preserve.’”
The next morning, Levy came in to his production company office and told his staff, “Okay, we’re going to do a movie called DATE NIGHT, and here’s what it’s about, and let’s get a writer. Let’s go.”
Levy’s search for a writer didn’t take very long. “I had written a small, quirky film, called ‘(Saint) Peter,’ which Shawn had read and fell in love with, recalls screenwriter Josh Klausner. “Shawn was determined to find something for us to work on together. He very graciously took a big chance and had me fly out, and we started brainstorming.”
Levy and Klausner met at Levy’s bungalow on the Fox lot, where they quickly broke the story. “We are both in the same stage of life,” Klausner says. “We both have children and go out on date nights, knowing what they’re supposed to be, but realizing they never end up being that anymore because there are so many other things that get in the way. So we started talking about those experiences.”
“We talked about our marriages,” Levy adds. “And we found that there are certain commonalities in trying to sustain a vibrant, romantic relationship,” and not simply becoming roommates. “It’s the question of in the midst of grownup life, how do you keep couple-hood fresh?”
DATE NIGHT was originally conceived as more of a suburban story centered around a parent-teacher conference night, but quickly evolved into, as Klausner calls it, “the perfect ‘North by Northwest’ setup” of mistaken identity.
“Shawn and I really wanted what spurs on the evening to be something that we all might do,” Klausner continues. “Phil and Claire simply can’t get a seat at a restaurant, and, since nobody’s answering the call for a reservation, they just decide, ‘What’s the harm in taking it?’ And it leads them down the rabbit hole. From there, they end up on the worst night of their lives, which ends up being the best night for their relationship.”
Levy describes the film as being “in the spirit of action comedies I remember fondly, like ‘Beverly Hills Cop’ or ‘48 Hrs.’ DATE NIGHT has a real hybrid tone, because it’s first and foremost a comedy. It also has a hefty dose of action, as well as a lot of heart, because it’s about the things that people deal with in relationships.”
For Levy, DATE NIGHT is a change from the family-friendly hits he’s helmed, like “Cheaper by the Dozen,” “Pink Panther” and “Night at the Museum.” DATE NIGHT is more of an adult-skewing comedy,” Levy points out. “In a way, it’s the other side of the movies I’ve done, which have been focused on the child-parent relationships. DATE NIGHT is focused on the marriage side – what happens after the children go to sleep.”
Levy was keen to keep the emotional side of the story intact through the mayhem experienced by the characters. “If you’re making a movie about relationships and being a married couple, it must be more than just funny, because life doesn’t work that way,” the director explains. “This movie has some surprising moments of poignancy.”
“A lot of comedies these days feel like a compendium of gags tied together to follow a narrative story,” notes Klausner. “DATE NIGHT, at its heart, is about marriage and being in love with somebody, but at the same time, life gets in the way. It’s honest, which is something Steve and Tina wanted, too. I’m proud that this movie has preserved that soul.”
When Levy learned that Steve Carell and Tina Fey were hoping to find a project on which they could work together, he knew he had found his DATE NIGHT duo. “We got an early draft of the screenplay to Tina and Steve, who always struck me as the dream pairing for a movie about marriage,” Levy says. “They said, ‘Yeah, we relate to this, we want to do an action comedy that’s also honest about relationships.’ So they said they were in.”
While Levy usually takes a break between completing one feature and beginning the next, he found himself prepping DATE NIGHT while editing “Night at the Museum: Battle of the Smithsonian,” in order to take advantage of his stars’ availability. “Steve’s and Tina’s series commitments [on, respectively, “The Office” and “30 Rock”] provides only a limited window for feature film work,” Levy explains. “They told us, ‘Look, we want to do this, but we’re free now, and we’re not going to be free in six months – what do we do?’ I said, ‘Well, we make the movie right now!’ I didn’t get a break between films, but I got a comedy with Steve Carell and Tina Fey, who are two of the most intelligent, interesting people working in comedy today. So a lot of my job was to come up with the idea, get the two perfect actors for the movie, and then get the hell out of the way.”
While slight alterations to the script were made to match the stars’ comedic voices, DATE NIGHT was essentially tailor-made for the pair. “It felt like the film was written for them,” says Klausner. Adds Levy: “Three minutes into this movie, you buy Steve and Tina as a married couple. They have a powerful chemistry together. They clicked completely on screen.”
Phil, says Carell, “feels underappreciated by his friends and family, but he sort of keeps that feeling close to his chest. He’s a very loving guy, but he and Claire have reached a plateau in their relationship. He needs to snap himself out of it, if possible. And the night that he and Claire experience together is a defibrillator for their marriage.”
Carell’s comedic skills, along with his ability to stir audiences’ hearts, made him the perfect choice for the role, Levy says. “Steve is super funny, and his chops as an actor are fantastic. He not only carries entire comedy sequences on his back, but three scenes later, he’s moving you to an emotional place with such sincerity and nuance. There’s no end to what he can do.”
Carell says his own date nights, like Phil Foster’s (and Levy’s and Klausner’s), leave much to be desired. “Sometimes the worst part of date night is actually leaving for the date – when you see your babysitter sitting down, getting all cozy, turning on the TV. That sometimes seems much better than the night that lies ahead.”
Fey, like Carell, has the ability to be riotously funny while still portraying the emotional side of her character realistically – to turn down the volume on jokes and simply allow them to happen. For example, in response to a nudge for sex from her husband, Fey’s Claire offers a very normal, ‘Yeah, hang on a minute” moment as she pulls out her dental mouth guard in preparation for sex with her husband, with enough drool to instantly turn off her mate.
“Besides being obviously really pretty and intelligent, Tina has a complete willingness to make an ass out of herself,” says Levy. She’s completely up for goofing on herself and being the butt of the joke, and that’s very charming.”
Fey describes Claire as “a working mom of two kids, who, like almost everyone I know, is just a little worn out by the day-to-day life of raising your kids, getting them out the door, getting them to school, having a job, keeping a house clean. She’s a good person who is just kind of worn into the ground a little bit. I certainly identify with how just physically tiring it is to be a parent and have a job – sometimes it feels like a real effort to just be present for your spouse.”
So which would be scarier – being in a boring marriage or being chased by the mob (both of which the Fosters experience in the film)? “I would say that being married to a person in the mob would be the scariest,” Fey jokes.
Along their night-from-hell journey, Phil and Claire encounter a cavalcade of characters on both sides of the law. Levy’s casting choices for these roles was sometimes unexpected – and always spot-on. His intent was to provide the story with a “Wizard of Oz”-like experience. “You’re with your heroes, but along the way, they’re being affected and changed by the people they meet, and I just thought wouldn’t it be fun if at every turn of the road, you’re surprised all over again by who has suddenly appeared in this movie. And the cast members fit the roles perfectly.”
The surprise apparently wasn’t limited to the audience. “I read the script,” says Fey,” and I thought, ‘Oh, these are really good parts for somebody.’ I never thought we would get this lucky to have that caliber of people in all these different parts.” Having what otherwise would have appeared to be small roles portrayed by big name actors only helps bring them alive, Carell notes. “When you see them acted out, they’re even better than they were on the page.”
And getting high-powered stars to join the DATE NIGHT team wasn’t just a matter of coincidence. “So many people were so keen to find a way to work with Steve and Tina – they just found a way to make it work,” says Levy.
Mark Wahlberg portrays a former real estate client of Claire’s the pair turns to in the middle of the night. “I play a guy named Holbrooke Grant, who is a security expert who Claire and Phil come to for help,” Wahlberg explains. “They just catch Holbrooke at a bad time – he’s with his beautiful Israeli girlfriend.” The pair ends up turning Holbrooke’s night upside down, as well.
Wahlberg had the simplest costume in the entire cast. “There is no wardrobe – just a pair of silk genie pants,” he recalls, noting that he regularly found himself freezing on the air-conditioned set. That the top half of his costume was missing (except for an ample supply of makeup covering Wahlberg’s countless tattoos), was a fact not lost on the female members of the cast and crew. “Mark was shirtless for three or four days,” Fey says, prompting a noticeable increase in the number of women who suddenly had additional tasks to address on set on the days he was on the job. “I had friends texting me, ‘Can I get on the Fox lot and visit you today?’” Fey laughs.
Also coming to the aid of the beleaguered couple is Taraji P. Henson, an Oscar® nominee for her work in “The Curious Case of Benjamin Button,” who plays NYPD Detective Arroyo, who, though she doesn’t exactly believe the Fosters “chased by bad guys” story, begins to become suspicious of a couple of her colleagues. “She’s sort of a hero,” the actress says.
Playing thugs Collins and Armstrong, who are after the Fosters (whom they believe are the Tripplehorns) are Common and Jimmi Simpson. Common is a familiar face to audiences for his role as a murderous cop in “Street Kings” and for his work as a musical artists (his hits include “Love of My Life” and “Testify”). Simpson has made occasional appearances as Lyle the Intern on “The Late Show with David Letterman.”
Common describes the duo as “one of the many catalysts to get this mundane couple out of their comfort zone – mainly by shooting guns at them.” The two are essentially hunters, he adds, noting, “I’m the muscle.”
Collins and Armstrong’s formidable boss is gangster Joe Miletto, from whom the Tripplehorns have apparently stolen something of importance that he wants back. The casting of acclaimed actor Ray Liotta as Miletto delighted Carell and Fey. “We were shooting a scene with Ray one night,” recalls Carell, “and Tina looked over and said, ‘I feel like I am in a 3D version of ‘Goodfellas. Ray Liotta is actually walking up and talking to me.’ It was like a ride at a theme park.”
Playing a heavy in a comedy, particularly for actors used to appearing in dramatic films, requires a special knack, one which DATE NIGHT’s group of toughs embraced with gusto.
“It’s really in the writing, so it’s dependent on your commitment to it,” explains Liotta. “If the situation’s just a little more heightened, you’re going to laugh.” Common agrees: “Shawn expressed to us from the beginning – you’ve got to keep it real. The more real it becomes – because you’re playing off Steve and Tina – the funnier it becomes.”
Portraying the “real” Tripplehorns – actually a drug dealer named Taste and his wacky stripper girlfriend, Whippit – are James Franco and Mila Kunis. Despite their different life circumstances, the pair has much in common with the Fosters, being in the same spot in their relationship as their clean-cut counterparts. Notes Josh Klausner: “Whether you’re a drug dealer or a suburban husband, you still feel the pangs of ‘You never look at me the way you used to’ and ‘You don’t have time for me.’ What the two couples are going through is exactly the same,” making the exchanges between the two couples both hilarious and poignant at the same time.
Kunis describes the pair as “very passionate – when they’re angry, they’re very angry, and when they’re happy, they’re madly in love.” Whippit, specifically, she describes as a “psycho, who is very up and down. She goes through three different emotions within two and a half script pages.”
The name “Taste,” Franco says, is left over from an earlier concept of the character – a 6 ft. 7 in. bald man with “TASTE” tattooed on his forehead. “So when they asked me to be in the movie, I said, ‘Well, I’m certainly not that.’” The character’s description was then rewritten, but the name stuck. “I was up for facial tattoos, too,” Franco says with a laugh. “We just went for the cheesy ‘Grim Reaper.’”
Kristen Wiig and Mark Ruffalo play the Fosters soon-to-be-splitting couple friends, Haley and Brad Sullivan. “Their parting brings up the question about getting bored with your spouse and moving on, or just sticking it out,” says Wiig. “I think Haley plants the seeds in Claire’s mind.”
Also taking on key roles are “Gossip Girl’s” Leighton Meester as the Fosters’ babysitter Katy, and “The Dark Knight’s” William Fichtner as district attorney Frank Crenshaw.
All the cast members appreciated Levy’s ability to balance action and comedy, which in turn allowed his actors the freedom to come up with their own gags. “That’s the only way you can afford to have time to play around or to improvise and do extra takes,” notes Fey. “That only happens if everyone – especially your director – really knows what they’re doing.”
For Levy, there’s a method to the potential madness of improv. “Sometimes, after we’d get what I want, Steve and Tina would come to me and say, ‘You know what? Could I get one more take? I’ve got an idea that might lead somewhere.’ Sometimes we couldn’t use it, but more often than not, it was gold and it ended up in the movie,” such as the duo’s restaurant shenanigans game of guessing what’s up with the couple sitting across the way.
“Every person in any field wants to go to work and feel respected for what they do,” says the director. “So when you say to an actor, ‘We’re going to do the script that I’ve written for you, but I want to hear what’s in your head. I actually think that the ideas you come up with might be as legitimate or better than what we scripted,’ it makes your actors feel like partners and collaborators, and not mouthpieces. It makes them feel like part of the creative team, rather than a piece of machinery.”
MEET THE TWINS
While attempting to escape their pursuers, the Fosters “borrow” Holbrooke Grant’s car, the much-too-powerful-for-Phil Audi R8. When Phil inadvertently smashes into a taxi cab, the two vehicles’ bumpers become hopelessly locked together. Nonetheless, the chase continues, the conjoined twin automobiles smashing their way down Manhattan streets.
The complicated sequence came about when Levy and Klausner were brainstorming ideas for a chase scene. Concerned about repeating the oft-used, cliché urban car chase, Klausner recalls, “I remember sitting in a room with Shawn, telling him, ‘You know, do we really have to do a car chase, because how many times have we seen a car chase in these movies? How interesting can that be?’”
Levy then related to his writer a story from his teenage years. “He was just learning to drive, and was trying to park, but he ended up smashing into another car in front of him and getting stuck on that car. His father just drove by and shook his head.” Thus was born the idea of conjoined cars.
But just having two cars barreling down the street wasn’t enough. “Shawn wanted to do something that nobody had ever seen before,” says 2nd unit director and stunt coordinator Jack Gill, who planned and executed the sequence. “Once we got the basic idea of conjoining the cars, we began figuring out not only how to build the cars, but how to make it work comically. I then started adding eccentricities, like spinning them around in circles and having characters fire guns at them.”
Besides having six different cars that, each of which handled a specific aspect of the chase stunts, Gill built a 40 foot frame, upon which the Audi and cab bodies were placed. “So there’s just one rigid frame,” he explains. The stunt driver was situated at the leading end of the conjoined vehicles. “So when the cab is facing forwards, with the Audi ahead of it facing the wrong way, the stunt driver is actually driving from inside the Audi’s trunk, looking out the back so he can see where he’s going and drive around corners.” In addition, for most shots, the rig’s rear wheels – those under the rear end of the conjoined vehicles – could also steer, in the same manner as those of a hook-and-ladder fire truck.
Needless to say, don’t try this at home on your own Manhattan street.
New York City ordinances limited the production to the types of stunts that could be filmed on Manhattan streets. So following a week of night work in New York, the stunt team moved to downtown Los Angeles to complete the sequence.
“We had about six blocks to work with on Broadway, which was great,” Gill recalls. “We needed a long stretch locked down, because when you conjoin two cars together, you’ve got a thing that’s forty feet long – getting it up to speed and shutting it all down can be tough. You can’t just do it in two blocks.” The sequence was filmed with up to six cameras, including a special “balloon cam,” with wheeled buoys on each corner, which allowed the camera to be sent into the path of the speeding car pair and getting hit head-on, without damaging expensive camera equipment.
Carell did actually drive the R8 himself for a number of shots. “We wanted the car to have way too much power for a guy like Phil to handle,” says Gill. “So I asked Audi to disconnect the all-wheel drive, which meant putting all 560 horsepower into the rear wheels.” So what was Carell’s impression? “He said it felt like somebody hitting him in the back of the head with a shovel when he stepped on the gas.”
In one shot, Phil must make his way to the cab while Claire is driving the Audi at high speed. “We did all the transfers across the hood with doubles – that was all real,” notes Gill.
Close-ups of Carell and Fey were done against a green screen set at Twentieth Century Fox. Since the chase acrobatics had already been filmed, besides their scripted lines, Carell and Fey filled in the gaps with their gut-busting ad-libs. “I’d show them footage and explain to them, ‘Here’s what we did last week downtown with the real cars – what do you think?’” Gill says. “And we’d bounce off ideas until something really clicked. And then Shawn was always there to say, ‘You’re right on track here – that’s really funny!’ It really helps when you have a collaboration where everybody can talk ideas out.”
Even with all the excitement, Levy kept the scene’s theme on track. “Once we had the concept of having the two cars stuck together, then we could find a way to thematically tie it in to what the movie’s about, which is this couple that has to learn to communicate to survive,” he explains.
Indeed, even with all that happens to them on this fateful night, the Fosters achieve their goal: to reinvigorate their relationship and reconnect with the love and excitement that brought them together in the first place.
“DATE NIGHT is kind of like a fable,” says Levy. “It takes place over a very short period of time, but in some way, it’s timeless, because it’s a story about a journey two people make in their relationship. And we leave the night feeling like they will go back to their lives and no one except for the people involved that night might ever know what happened. We’ve watched them experience this crazy night, but the real adventure of their married life, now that they’ve found each other again, is just about to begin.”
“They’re comfortable enough again with each other to be able to say ‘Knock it off’ and ‘I love you’ within the same five minutes,” says Steve Carell.
Tina Fey has just one last piece of relationship advice: “Go on a date night and see DATE NIGHT.”
ABOUT THE CAST
STEVE CARELL (Phil Foster) has emerged as one of the most sought-after comedic actors in Hollywood. First gaining recognition for his contributions as a correspondent on Comedy Central’s Emmy® Award-winning “The Daily Show with Jon Stewart,” Carell has successfully segued into primetime television and above-the-title status in the film world with equal aplomb.
Carell currently stars as Michael Scott, the pompous and deluded boss of a Pennsylvania paper company, in the Americanized adaptation of Ricky Gervais’ acclaimed British television series “The Office.” Now in its sixth season, the show continues to flourish in ratings and has earned Carell three Emmy Award nominations and four Golden Globe® nominations for his work on the show, and earned the Golden Globe in 2006. In the last two years, the show has won the Screen Actors Guild Award® for Outstanding Performance by an Ensemble in a Comedy Series.
Carell opened his first lead feature, “The 40-Year-Old Virgin,” which he co-wrote with director Judd Apatow, at #1, a spot it remained in for two straight weekends. The surprise hit of 2005 went on to gross more than $175 million worldwide and had #1 openings in 12 countries. The film generated over $100 million in DVD sales in North America alone. On an award level, the film was honored with an AFI Award® named one of 10 Most Outstanding Motion Pictures of the Year and took home Best Comedy Movie at the 11th annual Critics’ Choice Awards®. The film also earned Carell and Apatow a co-nomination for Best Original Screenplay by the Writers Guild Association.
In 2008, Carell starred as Maxwell Smart in the much-anticipated action-comedy “Get Smart,” opposite Anne Hathaway and Alan Arkin. The film grossed over $230 million worldwide. A sequel is due in 2011. He also lent his voice as “The Mayor of Whoville” in Twentieth Century Fox’s animated film “Dr. Seuss’ Horton Hears a Who!” based on the children’s book written by Dr. Seuss. Directed by Jimmy Hayward (“Finding Nemo,” “Monsters, Inc.”), Carell played opposite Jim Carrey, and helped launch the film as an international success earning over $295 million worldwide.
In 2006, as part of an ensemble, he starred in “Little Miss Sunshine,” which earned an Academy Award® nomination for Best Picture and won the SAG Award™ for Outstanding Performance by a Cast in a Motion Picture. The black comedy also starred Greg Kinnear and Toni Collette. Previous film credits for the actor include “Anchorman: The Legend of Ron Burgundy,” “Bewitched, and “Dan in Real Life.” Carell’s feature film breakout role in “Bruce Almighty,” opposite Jim Carrey, led to a sequel starring Carell in 2007, “Evan Almighty.”
Carell recently announced the start of his new production company, Carousel Productions. Carell’s endeavors and successes in acting, writing and producing were an organic segue in the creation of Carousel Productions. Born in Massachusetts, Carell now resides in Los Angeles with his wife, actress Nancy Walls (NBC’s “Saturday Night Live”), whom he met while at the Second City Theater Group in Chicago, where both were members. He is the proud father of a daughter and a son.
TINA FEY (Claire Foster), one of the most visible and popular figures in television today, writes, executive produces and stars in NBC's three-time Emmy Award-winning comedy series “30 Rock,” a workplace comedy which takes place behind-the-scenes of a live variety show. Her performance as head writer Liz Lemon on the fictional “TGS with Tracy Jordan” has earned Fey an Emmy, two Golden Globes, three SAG Awards, and a People’s Choice Award®. This year alone, “30 Rock” won five Emmy Awards and was nominated for many others.
Prior to creating “30 Rock,” Fey completed nine seasons as head writer, cast member and co-anchor of the “Weekend Update” segment on NBC’s “Saturday Night Live.” Fey is an Emmy winner and two-time Writers Guild Award winner for her writing on SNL, also receiving an Emmy for her spoof of vice-presidential candidate Sarah Palin.
Since her transition to being in front of the camera, Fey has won much acclaim, including being named one of Entertainment Weekly’s Entertainers of the Year, People Magazine’s Most Beautiful People (three times), and one of Time magazine’s Prestigious Time 100.
Other awards include, in 2008, a Producers Guild Award and a Writers Guild Award for Outstanding Comedy Series for “30 Rock.” She has also won two Gracie Awards and a Made in New York Award and has been nominated for a People’s Choice Award for Choice Comedy Actress and a SAG Award for Outstanding Performance by an Ensemble in a Comedy Series
Fey expanded to feature films in spring 2004 as both a screenwriter and an actress opposite Lindsay Lohan in the hit comedy “Mean Girls,” which earned her a nomination for a Writers Guild Award for Best Adapted Screenplay. Most recently she starred alongside “Saturday Night Live’s” Amy Poehler in the film “Baby Mama” for Universal Pictures, which exceed the $50 million dollar mark at the U.S. box office. Fey also starred in the Ricky Gervais comedy “The Invention of Lying,” released in 2009.
MARK WAHLBERG (“Holbrooke Grant”) earned Academy Award and Golden Globe nominations for his standout performance in Martin Scorsese’s acclaimed drama “The Departed.”
Wahlberg’s remarkable film career began with Penny Marshall’s “Renaissance Man” and “The Basketball Diaries” with Leonardo DiCaprio, followed by a star turn opposite Reese Witherspoon in the thriller “Fear.” He has enjoyed playing diverse characters for visionary filmmakers such as David O. Russell, Tim Burton and Paul Thomas Anderson.
Wahlberg’s breakout role in “Boogie Nights” established him as one of Hollywood’s most sought-after talents. He later headlined “Three Kings” and “The Perfect Storm” with George Clooney, and “The Italian Job” with Charlize Theron. He followed those with “I ♥ Huckabees,” “Four Brothers” and the football biography, “Invincible.” He then appeared in “Shooter,” based on the best-selling novel Point of Impact. Wahlberg reunited with “The Yards” director James Gray and co-star Joaquin Phoenix in “We Own the Night,” which Wahlberg produced.
In 2008, Wahlberg starred in M. Night Shyamalan’s “The Happening,” and in “Max Payne.” He recently appeared in director Peter Jackson’s adaptation of “The Lovely Bones.” Due out this year is “The Fighter” for director David O. Russell and “The Other Guys,” with Will Ferrell.
Wahlberg is an executive producer on “The Fighter” and “We Own the Night,” as well as on the HBO series “Entourage” and “In Treatment,” which have received six Golden Globe and three Emmy nominations.
Future projects include the new HBO series, “Boardwalk Empire,” with Martin Scorsese and “How to Make it in America,” along with other feature film projects. A committed philanthropist, he founded The Mark Wahlberg Youth Foundation in 2001 to benefit inner city children and teens.
TARAJI P. HENSON (“Detective Arroyo”) earned an Academy Award nomination for Best Supporting Actress portraying Brad Pitt’s mother in David Fincher’s highly acclaimed “The Curious Case of Benjamin Button.” Most recently, she starred in Tyler Perry’s “I Can Do Bad All By Myself,” which opened to number one at the box office.
For three years, Henson starred as Raina Washington, the youngest female detective on Lifetime’s “The Division.” She was also a regular on David E. Kelly’s “Boston Legal” and had a recurring role on ABC’s “Eli Stone.” Henson appeared in featured roles on “ER,” “Strong Medicine,” “CSI,” “House,” among others.
Henson received rave reviews for her role in Focus Features’ “Talk to Me” opposite Don Cheadle. Henson was named Outstanding Supporting Actress in a Feature Film at the 2005 Black Movie Awards and received the Best Actress nod at the 2006 BET Awards for her performance as Shug in the gutsy drama “Hustle & Flow,” produced by Oscar-nominated filmmaker John Singleton. She received two nominations at the 2006 MTV Movie Awards™ including Best Breakthrough Performance.
Upcoming films include “Karate Kid” opposite Jaden Smith and Jackie Chan, which filmed on location in Beijing for Columbia. Henson plays Rainn Wilson’s love interest in the upcoming indie comedy “Peep World,» also starring Sarah Silverman. In the indie drama “Once Fallen,” Henson stars with Ed Harris and Brian Presley. She starred in Sony’s “Not Easily Broken” opposite Morris Chestnut, and opposite Forest Whitaker in “Hurricane Season.” She starred in Tyler Perry’s “The Family That Preys” with Kathy Bates and Alfre Woodard.
Born and raised in Washington, D.C., the Howard University grad has a strong passion for helping disabled and less fortunate children and reveals, “I always stress to kids to have faith in themselves—the greatest recipe for success is self confidence.”
COMMON (Collins), a Grammy Award® winning artist, made his big screen debut as a musical performer in “Dave Chappelle’s Block Party,” in 2006. In January 2007, he made his acting debut co-starring opposite Jeremy Piven, Ben Affleck, Alicia Keys and Ryan Reynolds in “Smokin’ Aces.” Since then he’s co-starred opposite Denzel Washington in “American Gangster,” directed by Ridley Scott; David Ayer’s “Street Kings,” starring Keanu Reeves and Forest Whitaker; and “Terminator Salvation,” directed by McG, starring Christian Bale.
ABOUT THE FILMMAKERS
SHAWN LEVY (Director/Producer) is one of the most commercially successful film directors of the past decade. To date, his films have grossed over 1.5 billion dollars worldwide. Levy has honed his craft, seamlessly weaving comedy and heart into captivating stories that resonate with audiences. His youthfully enthusiastic approach to filmmaking is evident in the storylines and characters he creates – reflecting his joyful intensity for each project at hand.
Levy is currently developing several films to produce through his production company, 21 Laps, which is housed at Twentieth Century Fox. These projects include “The Ten Best Days of My Life” (with Amy Adams), “Neighborhood Watch,” “The Devil You Know” and “How to Talk to Girls” for Fox; “Factracker” for MGM; “The Extraordinary Adventures of Alfred Kropp” and “The Cutlass Islands” for New Regency, “Men of Magic” for Universal; “The Berenstain Bears” for Walden; and “The Spectacular Now” and “Table 19” for Fox Searchlight.
Currently, Levy is in pre-production on the futuristic father-son boxing drama, “Real Steel,” starring Hugh Jackman, for Steven Spielberg’s Dreamworks.
Levy’s 21 Laps recently produced the 2008 comedy «What Happens in Vegas,» starring Cameron Diaz and Ashton Kutcher, which went on to earn over $200 million worldwide.
Levy both produced and directed the blockbuster “Night at the Museum,” starring Ben Stiller, Robin Williams, Owen Wilson, Ricky Gervais, Dick Van Dyke and Mickey Rooney, which grossed over $580 million worldwide and “Night at the Museum: Battle of the Smithsonian,” starring a wide array of today’s most notable comedic talent including Ben Stiller, Amy Adams, Jonah Hill, Bill Hader, Hank Azaria, Owen Wilson, Ricky Gervais and Steve Coogan, which grossed over $400 million worldwide.
He directed the successful 2006 comedy, “The Pink Panther,” starring Steve Martin, Kevin Kline, Beyoncé Knowles, and Jean Reno and served as the executive producer of “Pink Panther 2.” Levy also directed “Cheaper By The Dozen” starring Steve Martin, Bonnie Hunt, Ashton Kutcher and Hilary Duff, which went on to gross more than $200 million worldwide.
In 2002, Levy directed both the hit romantic comedy “Just Married,” starring Ashton Kutcher and Brittany Murphy, which grossed over $100 million and the family comedy “Big Fat Liar,” for Universal Pictures, with Frankie Muniz, Paul Giamatti and Amanda Bynes.
Levy graduated at the age of 20 from the Drama Department of Yale University. He later studied film in the Masters Film Production Program at USC, where he produced and directed the short film Broken Record. This film won the Gold Plaque at the Chicago Film Festival, in addition to being selected to screen at the Director’s Guild of America.
JOSH KLAUSNER (Screenwriter) attended Princeton University, where he was involved in the theater community as an actor, playwright and director, and studied theater luminaries Bobby Lewis and Albert Innaurato. Klausner’s thesis play, “Scratch,” received the Francis LeMoyne Page Prize for Excellence in Theater. After graduation, Klausner co-created the short “Season of the Lifterbees,” which premiered at the Sundance Film Festival in 1992, and won the Time Warner Grand Prize at the Aspen Shortsfest and a regional AMPAS Student Academy Award for Best Dramatic Short.
In 1994, Klausner began working as an assistant to the Farrelly Brothers, on their first film, “Dumb & Dumber,” moving on to work as 2nd unit director on the Farrellys’ hit 1998 film, “There’s Something About Mary” and again in 2001’s “Shallow Hal.”
In 2000, Klausner wrote and directed HBO’s “The 4th Floor,” starring William Hurt, Juliette Lewis, Austin Pendleton and Shelley Duvall. He did additional screenplay work on “Shrek the Third,” and wrote the original screenplay and storyline for DreamWorks
Animation’s upcoming “Shrek Forever After,” to be released later this year.
Klausner is currently working on a number of feature film projects, including a live action adaptation of “Thomas the Tank Engine,” and an adaptation of Adena Hapern’s The Ten Best Days of My Life for Shawn Levy’s 21 Laps, which will star Amy Adams. He is also collaborating with Sir Paul McCartney on “High in the Clouds,” an upcoming animated feature film based on the former Beatle’s children’s book.
JOE CARACCIOLO, JR. (Executive Producer) began his career in film as a production manager on director Sidney Lumet’s “Running on Empty” and “The Verdict.”
Caracciolo executive produced the hit comedies “Marley & Me” starring Owen Wilson and Jennifer Aniston, “What Happens in Vegas” starring Cameron Diaz and Ashton Kutcher (for 21 Laps), and “The Devil Wears Prada” starring Meryl Streep and Anne Hathaway. His other executive producing credits include “Just My Luck,” starring Lindsay Lohan, “Hide & Seek,” a psychological thriller starring Robert De Niro and Dakota Fanning, and “Uptown Girls,” a comedic New York fairy tale starring Brittany Murphy and Dakota Fanning. Additionally, he produced the teen thriller “Swimfan,” directed by John Polson.
Caracciolo’s other feature film credits include James Foley’s “Glengarry Glen Ross,” Jon Amiel’s “Copycat,” and “The Man Who Knew Too Little,” and writer-director John Waters’ “Serial Mom,” “Pecker,” and “Cecil B. Demented.”
JOSH McLAGLEN (Executive Producer) has worked as an assistant director on dozens of blockbuster films alongside some of Hollywood’s top directors. He has been 1st AD on “Tango and Cash,” “Alien 3,” James Cameron’s “Titanic,” “The X-Files,” “Cast Away,” “The Polar Express, and “Beowulf,” the latter three for director Robert Zemeckis, and again for Cameron on “Avatar.”
In 2002, McLaglen began wearing a producer’s hat, working his way from associate producer (“The Polar Express”) to co-producer (“Beowulf,” “Avatar”) to executive producer. In 2006, he began working with director Shawn Levy, as both 1st AD and co-producer on “Night at the Museum,” becoming executive producer for that film’s sequel, “Night at the Museum: Battle of the Smithsonian,” as well as for “Date Night” and the upcoming “Real Steel.”
TOM McNULTY (Executive Producer) is the president of production at 21 Laps, a production company based at Twentieth Century Fox in Los Angeles. McNulty joined 21 Laps at its inception with the company’s principal, director Shawn Levy and has set up over a dozen film projects at Fox, Universal, Warner Brothers and New Line. 21 Laps films include “Cheaper By The Dozen 2,” as well as the hit comedy “What Happens In Vegas” starring Cameron Diaz and Ashton Kutcher, “St. Peter” starring Elizabeth Banks and Sam Rockwell, and “The Rocker,” the latter marking their first producing effort together.
Prior to joining Levy, McNulty was the executive vice president of production at Adam Sandler’s Happy Madison Productions for over six years. There, he oversaw the development of the entire slate of films, notably “Mr. Deeds,” “Anger Management,” “50 First Dates,” “Are We There Yet,” “Click” and “Dickie Roberts Former Child Star.”
Prior to joining Happy Madison, McNulty was an executive at Out Of The Blue Entertainment, where he was an executive on “Big Daddy” and “Deuce Bigalow Male Gigolo.”
McNulty arrived in Hollywood as an actor, appearing in “Boys on the Side” opposite Whoopi Goldberg and “Escape from L.A.” with Kurt Russell. McNulty grew up on Long Island and attended The Catholic University of America in Washington DC.
DEAN SEMLER, ACS/ASC (Director of Photography) began his career in his native Australia, lensing “Mad Max 2” (aka “The Road Warrior” in North America) in 1982 for George Miller, for which Semler received an Australian Film Institute (AFI) nomination. Semler reteamed with Miller for “Mad Max Beyond Thunderdome.” Semler won both the AFI and Australian Cinematographers Society awards for the Aussie thriller “Razorback.”
By the late ‘80s, Semler was serving as director of photography on several U.S. productions, including “Cocktail” with Tom Cruise and Bryan Brown, and the western “Young Guns.” The following year, he returned to Australia for “Dead Calm,” starring Nicole Kidman and Sam Neill, for which Semler won the AFI award.
After filming the “Young Guns” sequel in 1990, Semler shot Kevin Costner’s “Dances With Wolves,” for which Semler received multiple honors, including an Academy Award and American Society of Cinematographers (ASC) Award. He reteamed with Costner in 1995 for “Waterworld.”
Throughout the ‘90s and into the following decade, Semler shot the comedies “City Slickers,” “Nutty Professor II: The Klumps,” “Bruce Almighty,” and “Get Smart.” He also filmed Mel Gibson’s epic “Apocalypto.”
Most recently, Semler was director of photography on Roland Emmerich’s “2012,” and on “Secretariat,” starring Diane Lane and Scott Glenn.
DAVID GROPMAN (Production Designer), after working in television and independent films, designed the studio features “Of Mice and Men,” “Waiting to Exhale,” and “The Cider House Rules,” for which he was nominated for an Oscar.
Gropman received an Art Directors Guild award and BAFTA nomination for his design for “Chocolat.” Gropman worked on John Waters’ “Hairspray,” for which Gropman was nominated for a Satellite Award. The Art Directors Guild once again recognized Gropman with a nomination for period film design for “Doubt,” which takes place in the 1960s.
CHRISTOPHE BECK (Composer) reunites with Shawn Levy, after composing the scores for the Levy-helmed projects “Just Married,” “Cheaper by the Dozen,” “The Pink Panther. Recently, Beck reteamed with director Chris Columbus on “Percy Jackson & The Olympians: The Lightning Thief,” after composing the score for Columbus’ “I Love You, Beth Cooper.”
The Montreal native started piano lessons at age five and was writing music for his first-ever band, Chris and The Cupcakes, before his teen years. During high school, Beck studied flute, saxophone, trombone and drums, and performed in rock bands. While studying music at Yale University, Beck had an epiphany, discovering that his talent for composing exceeded that for performing. He wrote two musicals with his brother Jason (a.k.a. Chilly Gonzales, the Berlin-based hip-hop recording artist), as well as an opera based on The Tell-Tale Heart by Edgar Allen Poe
Upon graduation from Yale in 1992, he moved to Los Angeles to attend USC's prestigious film scoring program, where he studied with Oscar winner Jerry Goldsmith, among others. Beck was immediately attracted to the creative challenges unique to the marriage of music and picture, and a personal recommendation from the head of the USC Music Department led to his first professional assignment, the Canadian TV series “White Fang.” Soon thereafter, he was asked to score a new TV series (then in its second season), “Buffy, the Vampire Slayer,” based on the 1992 cult classic film, for which he received the Emmy for Outstanding Music Composition during his three seasons with the show.
The prolific talent has scored 40+ feature films and nearly twenty television shows since 1993. His film compositions include a wide array of projects and genres including the action films “The Sentinel” and “Elektra,” the comedies “The Hangover,” “Drillbit Taylor,” “What Happens in Vegas,” “Charlie Bartlett,” “Pink Panther 2,” and “Bring It On,” and the dramas “Under the Tuscan Sun,” “Year of the Dog,” “Phoebe in Wonderland” and the Sundance Film Festival Grand Jury nominee “The Greatest.”
Beck has also composed scores for “The Seeker: The Dark is Rising,” “School for Scoundrels,” “License to Wed,” “Fred Claus,” “We Are Marshall,” “Confidence,” “Yours, Mine and Ours,” “Taxi,” “A Cinderella Story,” “Saved!,” “Garfield” and its sequel, “Garfield: A Tail of Two Kitties” “Cheaper by the Dozen,” “American Wedding,” “Post Grad,” and “All About Steve.”
MARLENE STEWART (Costume Designer) earned her first credits working on music videos, including memorable designs for fashion-forward pop superstar Madonna. Stewart created image-shaping costumes for 11 Madonna videos, including “Vogue,” “Material Girl,” “Like a Prayer” and “Express Yourself.”
Stewart’s film work spans a wide variety of genres, periods and looks. She has collaborated with an intriguing array of directors, ranging from Alejandro González Iñárritu on “21 Grams” to Oliver Stone on “The Doors” and “JFK” to Michael Mann on “Ali” and Beeban Kidron on “To Wong Foo Thanks for Everything, Julie Newmar.”
Most recently, Stewart designed the costumes for Ben Stiller’s “Tropic Thunder,” Nancy Meyers’s romantic comedy “The Holiday” and Kimberly Peirce’s drama “Stop-Loss.”
Her credits also include Andy Tennant’s “Hitch,” James Cameron’s “Terminator 2: Judgment Day” and “True Lies,” Mary Lambert’s “Siesta,” Joel Schumacher’s “Falling Down,” James L. Brooks’s “I’ll Do Anything,” Curtis Hanson’s “The River Wild,” Joe Pytka’s “Space Jam,” Rob Bowman’s “The X Files,” Tony Scott’s “Enemy of the State,” Dominic Sena’s “Gone in 60 Seconds,” David McNally’s “Coyote Ugly,” and Antoine Fuqua’s “Tears of the Sun.”
After earning a degree in History at the University of California, Berkeley, Stewart studied at the Fashion Institute of Design and Merchandising in Los Angeles. She received the Bob Mackie Award for Design for her student work and began her design career by launching her own women’s clothing line, Covers. A Boston native, Stewart designed the costumes for three Madonna tours as well as tours for Cher, Paula Abdul, and Gloria Estefan. She created music video looks for Janet Jackson, Rod Stewart, Bette Midler, Debbie Harry, Smashing Pumpkins, the Bangles, and the Eurythmics, and was the first recipient of the American Music Awards’ Best Costume Design Award for the video “Material Girl.”
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18:32:05 08/04/09
Titleist's Bob Vokey about making Wedges Golf Video
[LESS INFO] 3 VIEWS | ADDED 18:32:05 08/04/09
Inside Golf Magazine sits down with Bob Vokey to hear how passionate he is about making beloved and infamous Titleist Wedges.Check out this story and see how Bob Vokey has made his golf club a successful, fashionable and scoring club. Distributed by Tubemogul.>> FOR ME, TITLEIST IS A GREAT FAMILY; THEY’VE GOT GREAT PEOPLE AND THEY MAKE GREAT EQUIPMENT. WITH VOKEY, HE’S THE GREATEST GUY IN THE WORLD. IF I GO TO VOKE, I SAY, VOKE, THIS WEEK, I WANT A DIFFERENT WEDGE, I'M GOING TO NEED A LITTLE MORE BOUNCE BECAUSE THE GOUND’S A LITTLE SOFTER OR WHATEVER IT IS. VOKEY WILL GET RIGHT IN THERE, WE'LL HAVE THREE WEDGES, WE'LL TAKE A LOOK AT THEM, WE'LL GRIND ON THEM. HIS PASSIONS FOR THE GAME, HIS JOB, MY WORK, IT’S AMAZING. IT’S CONTAGIOUS, TOO. HE JUST LOVES BEING OUT HERE AND HE LOVES WORKING AND, IT’S FUN BEING AROUND THAT. THEY MAKE GREAT STUFF SO IT’S A REALLY NEAT FIT. >> NOW WE TAKE YOU TO CARLSBAD, CALIFORNIA WHERE TITLEIST CLUB DESIGNER, BOB VOKEY, BUILDS SOME OF THE BEST WEDGES IN THE GAME. >> I LOVE WORKING WITH GOLF CLUBS, GOING BACK TO MY TEEN YEARS. I WOULD SHAPE THEM AND I USED TO WORK IN THE GARAGE. GO TO THE GOLF COURSE AND I JUST WORKED ON IT. TO COMPETE WAS LIKE A HOBBY. IT WAS JUST FUN DOING IT. I WAS VERY FORTUNATE THAT I TOOK THIS HOBBY AND I TURNED IT INTO A LIVELIHOOD. NEVER FIGURED OUT HOW IT REALLY GOT INTO IT. IT WOULD HAVE BEEN IN THE LATER 60’S WHEN I WAS WORKING. I REMEMBER THIS ONE FELLOW, HE SAID, SON, IF YOU DON’T LOVE WHAT YOU’RE DOING, QUIT, OR YOU’LL NEVER BE A SUCCESS. SO THAT’S WHEN I GOT INTO LEARNING ALL THE INS AND OUTS ABOUT A GOLF CLUB. PEOPLE SAY, VOKEY, YOU’RE A GURU; I'M NOT A GURU. YOU’RE AN ENGINEER AND I'M NOT. I THOUGHT AN ENGINEER WAS A FELLOW WHO DROVE A TRAIN AND WORE A FUNNY HAT. I SAID, I'M NOT, I'M JUST A GOLF GUY WHO HAD A LOVE, I HAD A KNACK WORKING WITH THE PLAYERS. I WAS WHAT I CALL A LISTENER AND A NOTE-TAKER. I STARVED FOR A LOT OF YEARS. I REMEMBER BACK IN MY LEE TRAVINO DAYS. I USED TO WORK WITH LEE QUITE A BIT AND DROVE MY LITTLE DATSON. HE WAS LIVING IN PALM SPRINGS AND I USED TO DRIVE OVER FROM VISTA, CALIFORNIA. TRAVINO LAUGHED AT ME, YOU DROVE THAT THING OVER THE MOUNTAIN? HOW DID YOU EVER GET OVER THE MOUNTAIN DRIVING THAT THING? I WAS FORTUNATE TO COME IN CONTACT AND WORK WITH LEE AND WITH DAVE STOCKTON. I RAN INTO DAVE, YESTERDAY. HE WAS ONE OF THE GREATEST SHORT GAME PLAYERS, EVER. I REMEMBER DAVE TELLING ME, YOU LEARN THE GAME FROM THE GREEN BACK 250 YARDS. HE WORKED ON THAT VERY HARD IN THAT PART OF THE GAME, WHICH I WOULD RECOMMEND TO A LOT OF YOUNG PLAYERS. THEN, AT TITLEIST, I TOOK A LOT OF THOSE IDEAS WITH THE HELP OF A LOT OF PEOPLE WITHIN TITLEIST. I LIKE TO LOOK AT IT AS A TEAM EFFORT; I HAD A LOT OF GOOD PEOPLE WORKING WITH ME. TITLEIST, HAS THE BEST R%D SYSTEM. I’VE GOT THE PGA TOUR PLAYERS. ALL THE YEARS OF RESPECT BEING OUT THERE WITH THEM. I LET THEM TRY IT, THEY TELL ME LITTLE INS AND OUTS, WHAT IT CAN AND CAN’T DO. EVERYBODY IS A LITTLE DIFFERENT. THEY HAVE A LITTLE DIFFERENT TECHNIQUE, A LITTLE DIFFERENT STYLE SO IT REQUIRES THEM TO HAVE A LITTLE DIFFERENT OPTION AT THE WEDGE AND I KNOW THAT’S WHAT WE'VE DONE. JUST GETTING OUT THERE, WATCHING A PLAYER HIT THE BALL, LISTEN BY SIGHT, WATCHING THEM PLAY THEIR BALL; JUST DIFFERENT SOUNDS. THESE PLAYERS WILL TELL YOU. THEY MAY NOT EXACTLY TELL YOU THAT THE BOUNCE IS NOT RIGHT AND, THEY DON’T GIVE YOU A NUMBER BUT, THEY CAN TELL YOU JUST BY HITTING, BOB, I DON’T LIKE THE FLIGHT, IT’S COMING OFF A LITTLE LOW. KNOWING ALL THOSE CERTAIN THINGS, I CAN HELP A PLAYER AND GIVE THEM A HINT. THIS IS WHAT THE WEDGE IS DESIGNED TO DO. THIS IS WHY I WANT YOU TO USE THE BOUNCE, I WANT YOU TO USE THE TRAILING EDGE. IT’S NOT JUST TOUR PLAYERS, WE’RE ABLE TO PASS THIS ONTO THE WEEKEND GOLFER, WHICH IS MY BIGGEST THRILL. IT’S NICE TO SEE A PLAYER COME UP TO ME HOLLERING, MR. VOKEY, I LOVE YOUR WEDGE, THEY’RE THE BEST WEDGES I EVER HIT. I SAID, THEY’RE TITLEIST WEDGES. THANK YOU VERY MUCH FOR THE SUPPORT BUT, IT’S NICE TO BE ABLE TO SAY THAT WE'VE DESIGNED A GOLF CLUB THAT THE AVERAGE WEEKEND GOLFER CAN GET THE ENJOYMENT OF HITTING SHOTS. I CALL IT THE HOLY GRALE, A PERFECT WEDGE. IT DOESN’T EXIST. ONE MAN’S POISON IS ANOTHER MAN’S CUP OF TEA. I CONTINUE TO WORK AND THAT’S WHAT MAKES MY JOB MORE EXCITING. WHEN I GREW UP WITH THE WEDGE, THEY WERE A, “GET OUT OF TROUBLE” TYPE OF CLUB. THE WORD WAS SAND WEDGE. WE CALL THEM LOBBERS NOW. I SAID, THE SAND WEDGE, IT’S GOT TO WORK, IT’S GOT TO PERFORM. THAT’S ONE OF MY FIRST THINGS I LIKE TO WORK WITH A PLAYER. IT’S YOUR, “GET OUT OF TROUBLE CLUB.” IT’S GOT TO WORK, IT’S GOT TO PERFORM. YOUR, “GET OUT OF JAIL” CLUB. THESE PLAYERS, BEING SO BIG, SO STRONG, HITTING THE BALL SO FAR, THEY’RE SO TALENTED, THEY WANT A WEDGE; THEY DON’T EXPECT TO JUST GET OUT OF TROUBLE, THEY EXPECT TO HIT A SHOT. THEY’RE EITHER UP OR DOWN FOR A BIRDIE OR AN EAGLE. AS A RESULT, IT’S EVOLVED TO MORE OF A SCORING CLUB. FIRST AND FOREMOST, IT HAS TO LOOK GOOD. THE WEDGE, TO ME, IS PROBABLY THE TOUGHEST CLUB TO DESIGN. EVERY PLAYER PUTS IT DOWN, WHAT DOES IT LOOK LIKE. THAT’S CALLED PROFILE. SO I TRY TO MAKE A PLEASING PROFILE. IN ESSENCE, IT’S A PROFILE THAT I CALL A TEARDROP. IT’S A LITTLE HIGHER IN THE TOE AREA, AND A LITTLE SHALLOWER IN THE PIE AREA. I SPEND A LOT OF MY TIME GIVING A LEADING EDGE TREATMENT AND SOMETIMES TOP LINE JUST TO MAKE IT LOOK GOOD, FIRST OFF. WHAT I’VE DONE WITH THE WHOLE WEDGE THAT WE'VE WORKED HARD AT IS TRY TO MAKE IT LOOK LIKE A COMPLETE SET. YOU CAN PULL ANY NUMBER AT ANY PARTICULAR TIME. YOU CAN SAY, WOW, THAT’S A NEAT SERIES. EVERY MAJOR MANUFACTURER MAKES THE BEST CLUB. WE ALL MAKE A VERY GOOD GOLF CLUB BUT, I THINK AT TITLEIST WHAT WE HAVE IS THE PEOPLE WITH A PASSION BEHIND EACH PRODUCT. IT’S A TEAM EFFORT, WE ALL WORK TOGETHER, AND WE ALL CROSS-TRAIN EACH OTHER, WITH KNOWING ABOUT ALL OF OUR PRODUCT. WE ALL HAVE A PASSION, WE ALL LOVE WHAT WE DO. IF YOU DON’T LOVE WHAT YOU DO, YOU’LL NEVER BE A SUCCESS.
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18:32:05 08/04/09
Titleist's Bob Vokey about making Wedges Golf Video
[LESS INFO] 0 VIEWS | ADDED 18:32:05 08/04/09
Inside Golf Magazine sits down with Bob Vokey to hear how passionate he is about making beloved and infamous Titleist Wedges.Check out this story and see how Bob Vokey has made his golf club a successful, fashionable and scoring club. Distributed by Tubemogul.>> FOR ME, TITLEIST IS A GREAT FAMILY; THEY’VE GOT GREAT PEOPLE AND THEY MAKE GREAT EQUIPMENT. WITH VOKEY, HE’S THE GREATEST GUY IN THE WORLD. IF I GO TO VOKE, I SAY, VOKE, THIS WEEK, I WANT A DIFFERENT WEDGE, I'M GOING TO NEED A LITTLE MORE BOUNCE BECAUSE THE GOUND’S A LITTLE SOFTER OR WHATEVER IT IS. VOKEY WILL GET RIGHT IN THERE, WE'LL HAVE THREE WEDGES, WE'LL TAKE A LOOK AT THEM, WE'LL GRIND ON THEM. HIS PASSIONS FOR THE GAME, HIS JOB, MY WORK, IT’S AMAZING. IT’S CONTAGIOUS, TOO. HE JUST LOVES BEING OUT HERE AND HE LOVES WORKING AND, IT’S FUN BEING AROUND THAT. THEY MAKE GREAT STUFF SO IT’S A REALLY NEAT FIT. >> NOW WE TAKE YOU TO CARLSBAD, CALIFORNIA WHERE TITLEIST CLUB DESIGNER, BOB VOKEY, BUILDS SOME OF THE BEST WEDGES IN THE GAME. >> I LOVE WORKING WITH GOLF CLUBS, GOING BACK TO MY TEEN YEARS. I WOULD SHAPE THEM AND I USED TO WORK IN THE GARAGE. GO TO THE GOLF COURSE AND I JUST WORKED ON IT. TO COMPETE WAS LIKE A HOBBY. IT WAS JUST FUN DOING IT. I WAS VERY FORTUNATE THAT I TOOK THIS HOBBY AND I TURNED IT INTO A LIVELIHOOD. NEVER FIGURED OUT HOW IT REALLY GOT INTO IT. IT WOULD HAVE BEEN IN THE LATER 60’S WHEN I WAS WORKING. I REMEMBER THIS ONE FELLOW, HE SAID, SON, IF YOU DON’T LOVE WHAT YOU’RE DOING, QUIT, OR YOU’LL NEVER BE A SUCCESS. SO THAT’S WHEN I GOT INTO LEARNING ALL THE INS AND OUTS ABOUT A GOLF CLUB. PEOPLE SAY, VOKEY, YOU’RE A GURU; I'M NOT A GURU. YOU’RE AN ENGINEER AND I'M NOT. I THOUGHT AN ENGINEER WAS A FELLOW WHO DROVE A TRAIN AND WORE A FUNNY HAT. I SAID, I'M NOT, I'M JUST A GOLF GUY WHO HAD A LOVE, I HAD A KNACK WORKING WITH THE PLAYERS. I WAS WHAT I CALL A LISTENER AND A NOTE-TAKER. I STARVED FOR A LOT OF YEARS. I REMEMBER BACK IN MY LEE TRAVINO DAYS. I USED TO WORK WITH LEE QUITE A BIT AND DROVE MY LITTLE DATSON. HE WAS LIVING IN PALM SPRINGS AND I USED TO DRIVE OVER FROM VISTA, CALIFORNIA. TRAVINO LAUGHED AT ME, YOU DROVE THAT THING OVER THE MOUNTAIN? HOW DID YOU EVER GET OVER THE MOUNTAIN DRIVING THAT THING? I WAS FORTUNATE TO COME IN CONTACT AND WORK WITH LEE AND WITH DAVE STOCKTON. I RAN INTO DAVE, YESTERDAY. HE WAS ONE OF THE GREATEST SHORT GAME PLAYERS, EVER. I REMEMBER DAVE TELLING ME, YOU LEARN THE GAME FROM THE GREEN BACK 250 YARDS. HE WORKED ON THAT VERY HARD IN THAT PART OF THE GAME, WHICH I WOULD RECOMMEND TO A LOT OF YOUNG PLAYERS. THEN, AT TITLEIST, I TOOK A LOT OF THOSE IDEAS WITH THE HELP OF A LOT OF PEOPLE WITHIN TITLEIST. I LIKE TO LOOK AT IT AS A TEAM EFFORT; I HAD A LOT OF GOOD PEOPLE WORKING WITH ME. TITLEIST, HAS THE BEST R%D SYSTEM. I’VE GOT THE PGA TOUR PLAYERS. ALL THE YEARS OF RESPECT BEING OUT THERE WITH THEM. I LET THEM TRY IT, THEY TELL ME LITTLE INS AND OUTS, WHAT IT CAN AND CAN’T DO. EVERYBODY IS A LITTLE DIFFERENT. THEY HAVE A LITTLE DIFFERENT TECHNIQUE, A LITTLE DIFFERENT STYLE SO IT REQUIRES THEM TO HAVE A LITTLE DIFFERENT OPTION AT THE WEDGE AND I KNOW THAT’S WHAT WE'VE DONE. JUST GETTING OUT THERE, WATCHING A PLAYER HIT THE BALL, LISTEN BY SIGHT, WATCHING THEM PLAY THEIR BALL; JUST DIFFERENT SOUNDS. THESE PLAYERS WILL TELL YOU. THEY MAY NOT EXACTLY TELL YOU THAT THE BOUNCE IS NOT RIGHT AND, THEY DON’T GIVE YOU A NUMBER BUT, THEY CAN TELL YOU JUST BY HITTING, BOB, I DON’T LIKE THE FLIGHT, IT’S COMING OFF A LITTLE LOW. KNOWING ALL THOSE CERTAIN THINGS, I CAN HELP A PLAYER AND GIVE THEM A HINT. THIS IS WHAT THE WEDGE IS DESIGNED TO DO. THIS IS WHY I WANT YOU TO USE THE BOUNCE, I WANT YOU TO USE THE TRAILING EDGE. IT’S NOT JUST TOUR PLAYERS, WE’RE ABLE TO PASS THIS ONTO THE WEEKEND GOLFER, WHICH IS MY BIGGEST THRILL. IT’S NICE TO SEE A PLAYER COME UP TO ME HOLLERING, MR. VOKEY, I LOVE YOUR WEDGE, THEY’RE THE BEST WEDGES I EVER HIT. I SAID, THEY’RE TITLEIST WEDGES. THANK YOU VERY MUCH FOR THE SUPPORT BUT, IT’S NICE TO BE ABLE TO SAY THAT WE'VE DESIGNED A GOLF CLUB THAT THE AVERAGE WEEKEND GOLFER CAN GET THE ENJOYMENT OF HITTING SHOTS. I CALL IT THE HOLY GRALE, A PERFECT WEDGE. IT DOESN’T EXIST. ONE MAN’S POISON IS ANOTHER MAN’S CUP OF TEA. I CONTINUE TO WORK AND THAT’S WHAT MAKES MY JOB MORE EXCITING. WHEN I GREW UP WITH THE WEDGE, THEY WERE A, “GET OUT OF TROUBLE” TYPE OF CLUB. THE WORD WAS SAND WEDGE. WE CALL THEM LOBBERS NOW. I SAID, THE SAND WEDGE, IT’S GOT TO WORK, IT’S GOT TO PERFORM. THAT’S ONE OF MY FIRST THINGS I LIKE TO WORK WITH A PLAYER. IT’S YOUR, “GET OUT OF TROUBLE CLUB.” IT’S GOT TO WORK, IT’S GOT TO PERFORM. YOUR, “GET OUT OF JAIL” CLUB. THESE PLAYERS, BEING SO BIG, SO STRONG, HITTING THE BALL SO FAR, THEY’RE SO TALENTED, THEY WANT A WEDGE; THEY DON’T EXPECT TO JUST GET OUT OF TROUBLE, THEY EXPECT TO HIT A SHOT. THEY’RE EITHER UP OR DOWN FOR A BIRDIE OR AN EAGLE. AS A RESULT, IT’S EVOLVED TO MORE OF A SCORING CLUB. FIRST AND FOREMOST, IT HAS TO LOOK GOOD. THE WEDGE, TO ME, IS PROBABLY THE TOUGHEST CLUB TO DESIGN. EVERY PLAYER PUTS IT DOWN, WHAT DOES IT LOOK LIKE. THAT’S CALLED PROFILE. SO I TRY TO MAKE A PLEASING PROFILE. IN ESSENCE, IT’S A PROFILE THAT I CALL A TEARDROP. IT’S A LITTLE HIGHER IN THE TOE AREA, AND A LITTLE SHALLOWER IN THE PIE AREA. I SPEND A LOT OF MY TIME GIVING A LEADING EDGE TREATMENT AND SOMETIMES TOP LINE JUST TO MAKE IT LOOK GOOD, FIRST OFF. WHAT I’VE DONE WITH THE WHOLE WEDGE THAT WE'VE WORKED HARD AT IS TRY TO MAKE IT LOOK LIKE A COMPLETE SET. YOU CAN PULL ANY NUMBER AT ANY PARTICULAR TIME. YOU CAN SAY, WOW, THAT’S A NEAT SERIES. EVERY MAJOR MANUFACTURER MAKES THE BEST CLUB. WE ALL MAKE A VERY GOOD GOLF CLUB BUT, I THINK AT TITLEIST WHAT WE HAVE IS THE PEOPLE WITH A PASSION BEHIND EACH PRODUCT. IT’S A TEAM EFFORT, WE ALL WORK TOGETHER, AND WE ALL CROSS-TRAIN EACH OTHER, WITH KNOWING ABOUT ALL OF OUR PRODUCT. WE ALL HAVE A PASSION, WE ALL LOVE WHAT WE DO. IF YOU DON’T LOVE WHAT YOU DO, YOU’LL NEVER BE A SUCCESS.
85 Views
18:25:10 07/21/09
Titleist's Bob Vokey about making Wedges Video
[LESS INFO] 85 VIEWS | ADDED 18:25:10 07/21/09
Inside Golf Magazine sits down with Bob Vokey to hear how passionate he is about making beloved and infamous Titleist Wedges. If you don't love what you are doing, then quit because you will never be a success. Vokey talks about how he starved for many a years before coming into his success. He talks about how his wedges have the ability to help the professionals and municipal weekend golfer. Check out this story and see how Bob Vokey has made his golf club fashionable and a scoring club. >> FOR ME, TITLEIST IS A GREAT FAMILY; THEY’VE GOT GREAT PEOPLE AND THEY MAKE GREAT EQUIPMENT. WITH VOKEY, HE’S THE GREATEST GUY IN THE WORLD. IF I GO TO VOKE, I SAY, VOKE, THIS WEEK, I WANT A DIFFERENT WEDGE, I'M GOING TO NEED A LITTLE MORE BOUNCE BECAUSE THE GOUND’S A LITTLE SOFTER OR WHATEVER IT IS. VOKEY WILL GET RIGHT IN THERE, WE'LL HAVE THREE WEDGES, WE'LL TAKE A LOOK AT THEM, WE'LL GRIND ON THEM. HIS PASSIONS FOR THE GAME, HIS JOB, MY WORK, IT’S AMAZING. IT’S CONTAGIOUS, TOO. HE JUST LOVES BEING OUT HERE AND HE LOVES WORKING AND, IT’S FUN BEING AROUND THAT. THEY MAKE GREAT STUFF SO IT’S A REALLY NEAT FIT. >> NOW WE TAKE YOU TO CARLSBAD, CALIFORNIA WHERE TITLEIST CLUB DESIGNER, BOB VOKEY, BUILDS SOME OF THE BEST WEDGES IN THE GAME. >> I LOVE WORKING WITH GOLF CLUBS, GOING BACK TO MY TEEN YEARS. I WOULD SHAPE THEM AND I USED TO WORK IN THE GARAGE. GO TO THE GOLF COURSE AND I JUST WORKED ON IT. TO COMPETE WAS LIKE A HOBBY. IT WAS JUST FUN DOING IT. I WAS VERY FORTUNATE THAT I TOOK THIS HOBBY AND I TURNED IT INTO A LIVELIHOOD. NEVER FIGURED OUT HOW IT REALLY GOT INTO IT. IT WOULD HAVE BEEN IN THE LATER 60’S WHEN I WAS WORKING. I REMEMBER THIS ONE FELLOW, HE SAID, SON, IF YOU DON’T LOVE WHAT YOU’RE DOING, QUIT, OR YOU’LL NEVER BE A SUCCESS. SO THAT’S WHEN I GOT INTO LEARNING ALL THE INS AND OUTS ABOUT A GOLF CLUB. PEOPLE SAY, VOKEY, YOU’RE A GURU; I'M NOT A GURU. YOU’RE AN ENGINEER AND I'M NOT. I THOUGHT AN ENGINEER WAS A FELLOW WHO DROVE A TRAIN AND WORE A FUNNY HAT. I SAID, I'M NOT, I'M JUST A GOLF GUY WHO HAD A LOVE, I HAD A KNACK WORKING WITH THE PLAYERS. I WAS WHAT I CALL A LISTENER AND A NOTE-TAKER. I STARVED FOR A LOT OF YEARS. I REMEMBER BACK IN MY LEE TRAVINO DAYS. I USED TO WORK WITH LEE QUITE A BIT AND DROVE MY LITTLE DATSON. HE WAS LIVING IN PALM SPRINGS AND I USED TO DRIVE OVER FROM VISTA, CALIFORNIA. TRAVINO LAUGHED AT ME, YOU DROVE THAT THING OVER THE MOUNTAIN? HOW DID YOU EVER GET OVER THE MOUNTAIN DRIVING THAT THING? I WAS FORTUNATE TO COME IN CONTACT AND WORK WITH LEE AND WITH DAVE STOCKTON. I RAN INTO DAVE, YESTERDAY. HE WAS ONE OF THE GREATEST SHORT GAME PLAYERS, EVER. I REMEMBER DAVE TELLING ME, YOU LEARN THE GAME FROM THE GREEN BACK 250 YARDS. HE WORKED ON THAT VERY HARD IN THAT PART OF THE GAME, WHICH I WOULD RECOMMEND TO A LOT OF YOUNG PLAYERS. THEN, AT TITLEIST, I TOOK A LOT OF THOSE IDEAS WITH THE HELP OF A LOT OF PEOPLE WITHIN TITLEIST. I LIKE TO LOOK AT IT AS A TEAM EFFORT; I HAD A LOT OF GOOD PEOPLE WORKING WITH ME. TITLEIST, HAS THE BEST R%D SYSTEM. I’VE GOT THE PGA TOUR PLAYERS. ALL THE YEARS OF RESPECT BEING OUT THERE WITH THEM. I LET THEM TRY IT, THEY TELL ME LITTLE INS AND OUTS, WHAT IT CAN AND CAN’T DO. EVERYBODY IS A LITTLE DIFFERENT. THEY HAVE A LITTLE DIFFERENT TECHNIQUE, A LITTLE DIFFERENT STYLE SO IT REQUIRES THEM TO HAVE A LITTLE DIFFERENT OPTION AT THE WEDGE AND I KNOW THAT’S WHAT WE'VE DONE. JUST GETTING OUT THERE, WATCHING A PLAYER HIT THE BALL, LISTEN BY SIGHT, WATCHING THEM PLAY THEIR BALL; JUST DIFFERENT SOUNDS. THESE PLAYERS WILL TELL YOU. THEY MAY NOT EXACTLY TELL YOU THAT THE BOUNCE IS NOT RIGHT AND, THEY DON’T GIVE YOU A NUMBER BUT, THEY CAN TELL YOU JUST BY HITTING, BOB, I DON’T LIKE THE FLIGHT, IT’S COMING OFF A LITTLE LOW. KNOWING ALL THOSE CERTAIN THINGS, I CAN HELP A PLAYER AND GIVE THEM A HINT. THIS IS WHAT THE WEDGE IS DESIGNED TO DO. THIS IS WHY I WANT YOU TO USE THE BOUNCE, I WANT YOU TO USE THE TRAILING EDGE. IT’S NOT JUST TOUR PLAYERS, WE’RE ABLE TO PASS THIS ONTO THE WEEKEND GOLFER, WHICH IS MY BIGGEST THRILL. IT’S NICE TO SEE A PLAYER COME UP TO ME HOLLERING, MR. VOKEY, I LOVE YOUR WEDGE, THEY’RE THE BEST WEDGES I EVER HIT. I SAID, THEY’RE TITLEIST WEDGES. THANK YOU VERY MUCH FOR THE SUPPORT BUT, IT’S NICE TO BE ABLE TO SAY THAT WE'VE DESIGNED A GOLF CLUB THAT THE AVERAGE WEEKEND GOLFER CAN GET THE ENJOYMENT OF HITTING SHOTS. I CALL IT THE HOLY GRALE, A PERFECT WEDGE. IT DOESN’T EXIST. ONE MAN’S POISON IS ANOTHER MAN’S CUP OF TEA. I CONTINUE TO WORK AND THAT’S WHAT MAKES MY JOB MORE EXCITING. WHEN I GREW UP WITH THE WEDGE, THEY WERE A, “GET OUT OF TROUBLE” TYPE OF CLUB. THE WORD WAS SAND WEDGE. WE CALL THEM LOBBERS NOW. I SAID, THE SAND WEDGE, IT’S GOT TO WORK, IT’S GOT TO PERFORM. THAT’S ONE OF MY FIRST THINGS I LIKE TO WORK WITH A PLAYER. IT’S YOUR, “GET OUT OF TROUBLE CLUB.” IT’S GOT TO WORK, IT’S GOT TO PERFORM. YOUR, “GET OUT OF JAIL” CLUB. THESE PLAYERS, BEING SO BIG, SO STRONG, HITTING THE BALL SO FAR, THEY’RE SO TALENTED, THEY WANT A WEDGE; THEY DON’T EXPECT TO JUST GET OUT OF TROUBLE, THEY EXPECT TO HIT A SHOT. THEY’RE EITHER UP OR DOWN FOR A BIRDIE OR AN EAGLE. AS A RESULT, IT’S EVOLVED TO MORE OF A SCORING CLUB. FIRST AND FOREMOST, IT HAS TO LOOK GOOD. THE WEDGE, TO ME, IS PROBABLY THE TOUGHEST CLUB TO DESIGN. EVERY PLAYER PUTS IT DOWN, WHAT DOES IT LOOK LIKE. THAT’S CALLED PROFILE. SO I TRY TO MAKE A PLEASING PROFILE. IN ESSENCE, IT’S A PROFILE THAT I CALL A TEARDROP. IT’S A LITTLE HIGHER IN THE TOE AREA, AND A LITTLE SHALLOWER IN THE PIE AREA. I SPEND A LOT OF MY TIME GIVING A LEADING EDGE TREATMENT AND SOMETIMES TOP LINE JUST TO MAKE IT LOOK GOOD, FIRST OFF. WHAT I’VE DONE WITH THE WHOLE WEDGE THAT WE'VE WORKED HARD AT IS TRY TO MAKE IT LOOK LIKE A COMPLETE SET. YOU CAN PULL ANY NUMBER AT ANY PARTICULAR TIME. YOU CAN SAY, WOW, THAT’S A NEAT SERIES. EVERY MAJOR MANUFACTURER MAKES THE BEST CLUB. WE ALL MAKE A VERY GOOD GOLF CLUB BUT, I THINK AT TITLEIST WHAT WE HAVE IS THE PEOPLE WITH A PASSION BEHIND EACH PRODUCT. IT’S A TEAM EFFORT, WE ALL WORK TOGETHER, AND WE ALL CROSS-TRAIN EACH OTHER, WITH KNOWING ABOUT ALL OF OUR PRODUCT. WE ALL HAVE A PASSION, WE ALL LOVE WHAT WE DO. IF YOU DON’T LOVE WHAT YOU DO, YOU’LL NEVER BE A SUCCESS.
0 Views
18:25:10 07/21/09
Titleist's Bob Vokey about making Wedges Video
[LESS INFO] 0 VIEWS | ADDED 18:25:10 07/21/09
Inside Golf Magazine sits down with Bob Vokey to hear how passionate he is about making beloved and infamous Titleist Wedges. If you don't love what you are doing, then quit because you will never be a success. Vokey talks about how he starved for many a years before coming into his success. He talks about how his wedges have the ability to help the professionals and municipal weekend golfer. Check out this story and see how Bob Vokey has made his golf club fashionable and a scoring club. >> FOR ME, TITLEIST IS A GREAT FAMILY; THEY’VE GOT GREAT PEOPLE AND THEY MAKE GREAT EQUIPMENT. WITH VOKEY, HE’S THE GREATEST GUY IN THE WORLD. IF I GO TO VOKE, I SAY, VOKE, THIS WEEK, I WANT A DIFFERENT WEDGE, I'M GOING TO NEED A LITTLE MORE BOUNCE BECAUSE THE GOUND’S A LITTLE SOFTER OR WHATEVER IT IS. VOKEY WILL GET RIGHT IN THERE, WE'LL HAVE THREE WEDGES, WE'LL TAKE A LOOK AT THEM, WE'LL GRIND ON THEM. HIS PASSIONS FOR THE GAME, HIS JOB, MY WORK, IT’S AMAZING. IT’S CONTAGIOUS, TOO. HE JUST LOVES BEING OUT HERE AND HE LOVES WORKING AND, IT’S FUN BEING AROUND THAT. THEY MAKE GREAT STUFF SO IT’S A REALLY NEAT FIT. >> NOW WE TAKE YOU TO CARLSBAD, CALIFORNIA WHERE TITLEIST CLUB DESIGNER, BOB VOKEY, BUILDS SOME OF THE BEST WEDGES IN THE GAME. >> I LOVE WORKING WITH GOLF CLUBS, GOING BACK TO MY TEEN YEARS. I WOULD SHAPE THEM AND I USED TO WORK IN THE GARAGE. GO TO THE GOLF COURSE AND I JUST WORKED ON IT. TO COMPETE WAS LIKE A HOBBY. IT WAS JUST FUN DOING IT. I WAS VERY FORTUNATE THAT I TOOK THIS HOBBY AND I TURNED IT INTO A LIVELIHOOD. NEVER FIGURED OUT HOW IT REALLY GOT INTO IT. IT WOULD HAVE BEEN IN THE LATER 60’S WHEN I WAS WORKING. I REMEMBER THIS ONE FELLOW, HE SAID, SON, IF YOU DON’T LOVE WHAT YOU’RE DOING, QUIT, OR YOU’LL NEVER BE A SUCCESS. SO THAT’S WHEN I GOT INTO LEARNING ALL THE INS AND OUTS ABOUT A GOLF CLUB. PEOPLE SAY, VOKEY, YOU’RE A GURU; I'M NOT A GURU. YOU’RE AN ENGINEER AND I'M NOT. I THOUGHT AN ENGINEER WAS A FELLOW WHO DROVE A TRAIN AND WORE A FUNNY HAT. I SAID, I'M NOT, I'M JUST A GOLF GUY WHO HAD A LOVE, I HAD A KNACK WORKING WITH THE PLAYERS. I WAS WHAT I CALL A LISTENER AND A NOTE-TAKER. I STARVED FOR A LOT OF YEARS. I REMEMBER BACK IN MY LEE TRAVINO DAYS. I USED TO WORK WITH LEE QUITE A BIT AND DROVE MY LITTLE DATSON. HE WAS LIVING IN PALM SPRINGS AND I USED TO DRIVE OVER FROM VISTA, CALIFORNIA. TRAVINO LAUGHED AT ME, YOU DROVE THAT THING OVER THE MOUNTAIN? HOW DID YOU EVER GET OVER THE MOUNTAIN DRIVING THAT THING? I WAS FORTUNATE TO COME IN CONTACT AND WORK WITH LEE AND WITH DAVE STOCKTON. I RAN INTO DAVE, YESTERDAY. HE WAS ONE OF THE GREATEST SHORT GAME PLAYERS, EVER. I REMEMBER DAVE TELLING ME, YOU LEARN THE GAME FROM THE GREEN BACK 250 YARDS. HE WORKED ON THAT VERY HARD IN THAT PART OF THE GAME, WHICH I WOULD RECOMMEND TO A LOT OF YOUNG PLAYERS. THEN, AT TITLEIST, I TOOK A LOT OF THOSE IDEAS WITH THE HELP OF A LOT OF PEOPLE WITHIN TITLEIST. I LIKE TO LOOK AT IT AS A TEAM EFFORT; I HAD A LOT OF GOOD PEOPLE WORKING WITH ME. TITLEIST, HAS THE BEST R%D SYSTEM. I’VE GOT THE PGA TOUR PLAYERS. ALL THE YEARS OF RESPECT BEING OUT THERE WITH THEM. I LET THEM TRY IT, THEY TELL ME LITTLE INS AND OUTS, WHAT IT CAN AND CAN’T DO. EVERYBODY IS A LITTLE DIFFERENT. THEY HAVE A LITTLE DIFFERENT TECHNIQUE, A LITTLE DIFFERENT STYLE SO IT REQUIRES THEM TO HAVE A LITTLE DIFFERENT OPTION AT THE WEDGE AND I KNOW THAT’S WHAT WE'VE DONE. JUST GETTING OUT THERE, WATCHING A PLAYER HIT THE BALL, LISTEN BY SIGHT, WATCHING THEM PLAY THEIR BALL; JUST DIFFERENT SOUNDS. THESE PLAYERS WILL TELL YOU. THEY MAY NOT EXACTLY TELL YOU THAT THE BOUNCE IS NOT RIGHT AND, THEY DON’T GIVE YOU A NUMBER BUT, THEY CAN TELL YOU JUST BY HITTING, BOB, I DON’T LIKE THE FLIGHT, IT’S COMING OFF A LITTLE LOW. KNOWING ALL THOSE CERTAIN THINGS, I CAN HELP A PLAYER AND GIVE THEM A HINT. THIS IS WHAT THE WEDGE IS DESIGNED TO DO. THIS IS WHY I WANT YOU TO USE THE BOUNCE, I WANT YOU TO USE THE TRAILING EDGE. IT’S NOT JUST TOUR PLAYERS, WE’RE ABLE TO PASS THIS ONTO THE WEEKEND GOLFER, WHICH IS MY BIGGEST THRILL. IT’S NICE TO SEE A PLAYER COME UP TO ME HOLLERING, MR. VOKEY, I LOVE YOUR WEDGE, THEY’RE THE BEST WEDGES I EVER HIT. I SAID, THEY’RE TITLEIST WEDGES. THANK YOU VERY MUCH FOR THE SUPPORT BUT, IT’S NICE TO BE ABLE TO SAY THAT WE'VE DESIGNED A GOLF CLUB THAT THE AVERAGE WEEKEND GOLFER CAN GET THE ENJOYMENT OF HITTING SHOTS. I CALL IT THE HOLY GRALE, A PERFECT WEDGE. IT DOESN’T EXIST. ONE MAN’S POISON IS ANOTHER MAN’S CUP OF TEA. I CONTINUE TO WORK AND THAT’S WHAT MAKES MY JOB MORE EXCITING. WHEN I GREW UP WITH THE WEDGE, THEY WERE A, “GET OUT OF TROUBLE” TYPE OF CLUB. THE WORD WAS SAND WEDGE. WE CALL THEM LOBBERS NOW. I SAID, THE SAND WEDGE, IT’S GOT TO WORK, IT’S GOT TO PERFORM. THAT’S ONE OF MY FIRST THINGS I LIKE TO WORK WITH A PLAYER. IT’S YOUR, “GET OUT OF TROUBLE CLUB.” IT’S GOT TO WORK, IT’S GOT TO PERFORM. YOUR, “GET OUT OF JAIL” CLUB. THESE PLAYERS, BEING SO BIG, SO STRONG, HITTING THE BALL SO FAR, THEY’RE SO TALENTED, THEY WANT A WEDGE; THEY DON’T EXPECT TO JUST GET OUT OF TROUBLE, THEY EXPECT TO HIT A SHOT. THEY’RE EITHER UP OR DOWN FOR A BIRDIE OR AN EAGLE. AS A RESULT, IT’S EVOLVED TO MORE OF A SCORING CLUB. FIRST AND FOREMOST, IT HAS TO LOOK GOOD. THE WEDGE, TO ME, IS PROBABLY THE TOUGHEST CLUB TO DESIGN. EVERY PLAYER PUTS IT DOWN, WHAT DOES IT LOOK LIKE. THAT’S CALLED PROFILE. SO I TRY TO MAKE A PLEASING PROFILE. IN ESSENCE, IT’S A PROFILE THAT I CALL A TEARDROP. IT’S A LITTLE HIGHER IN THE TOE AREA, AND A LITTLE SHALLOWER IN THE PIE AREA. I SPEND A LOT OF MY TIME GIVING A LEADING EDGE TREATMENT AND SOMETIMES TOP LINE JUST TO MAKE IT LOOK GOOD, FIRST OFF. WHAT I’VE DONE WITH THE WHOLE WEDGE THAT WE'VE WORKED HARD AT IS TRY TO MAKE IT LOOK LIKE A COMPLETE SET. YOU CAN PULL ANY NUMBER AT ANY PARTICULAR TIME. YOU CAN SAY, WOW, THAT’S A NEAT SERIES. EVERY MAJOR MANUFACTURER MAKES THE BEST CLUB. WE ALL MAKE A VERY GOOD GOLF CLUB BUT, I THINK AT TITLEIST WHAT WE HAVE IS THE PEOPLE WITH A PASSION BEHIND EACH PRODUCT. IT’S A TEAM EFFORT, WE ALL WORK TOGETHER, AND WE ALL CROSS-TRAIN EACH OTHER, WITH KNOWING ABOUT ALL OF OUR PRODUCT. WE ALL HAVE A PASSION, WE ALL LOVE WHAT WE DO. IF YOU DON’T LOVE WHAT YOU DO, YOU’LL NEVER BE A SUCCESS.
1 Views
13:51:00 06/05/09
THE NEWEST PHARAOH REACHES OUT
[LESS INFO] 1 VIEWS | ADDED 13:51:00 06/05/09
An Egyptian vendor displays a copper plaque in Cairo's Khan el-Khalili market a few days before the newest pharaoh's arrival yesterday. The inscription reads, "OBAMA, New Tutankhamen of the World".
Photo: AFP / Khaled Desouki N
o, I'm not making an incendiary wingnuttist joke, as can be seen by the photo here. Cairo souvenir vendors have been selling a range of 'New Tut' paraphernalia (the t-shirts are big sellers) in anticipation of the American Messiah's arrival in the Land of the Pharaohs yesterday. If his hosts are receiving him with this attitude, who am I to judge? Just go with the meme, I say. The President evidently felt the same way during a visit to Giza after his big speech at al-Azhar, pointing out a depiction of his own likeness on one of the pyramids.
His earlier arrival in Riyadh went without a gaffe — unlike his previous meeting with King Abdullah at Buckingham. It was interesting watching the raw video feed here, with several cameras offering close-ups as he appeared at the door of AF-1, and as he descended the stairway. But at the moment he approached the king, and as I watched intently to see how much of a bow would be performed this time , the view switched to a long distance shot from behind the monarch. Not a hint of a bow could be detected though, not even a slight dip. Just the customary Arab/French double kiss.
I could practically hear Press Secretary Robert Gibbs (who makes even Bush's Scott McClellan seem like a competent straight-talker by comparison) heave a sigh of relief. He won't have to come up with any more creative excuses . After the deep royal bow at Buckingham, Gibbs said it was absolutely necessary in order to shake hands, because the King is so very much shorter than The One. Yet this time, the handshake and the kisses could be accomplished without it. > "Greetings, Your Majesty. My, how much you have grown since our last meeting!" A better message could have been delivered if this had been Indonesia's S.B. Yudhoyono instead of Egypt's President-for-Life Mubarak.
Photo: AFP / Khaled Desouki After a few hours of meetings and sight-seeing (and receiving some heavy-duty gold bling from the king), it was a short hop to Cairo and the long awaited and over-hyped "outreach to the Muslim world" speech.
Excuse me for saying so, but this was the wrong venue for him to be proclaiming the hope and change message to the world's Muslims who hunger for democracy and freedom. Not all of them do, of course, but for those who are hungry for those things, a much better example of the possibilities could have been selected. And some Egyptians with those very aspirations agree with me on this .> "It is a disaster," said Wael Abbas a renowned journalist and blogger. "He shouldn't be coming to Egypt. It's not a free Muslim country.
"He should speak in a Muslim country where they respect the rule of law." The most populous Muslim majority country on earth, Indonesia, would have been a much smarter choice. It would have sent a far more powerful message to "the Muslim world" had Obama been seen embracing the democratically elected President S. B. Yudhoyono rather than the Egyptian 28-year-long autocracy of Mubarak who jails, and yes, tortures his critics. Prior to his arrival Obama hailed his Egyptian counterpart as a "stalwart ally" — not exactly the change many are hoping for.
All that said, the major focus of the world's interest was the speech itself. As I watched it yesterday (conveniently timed at 5 pm here), I marvelled at his ability to appeal to everyone . Human rights defenders had parts to cheer, and the anti-Israel folks had other parts to cheer. People who believe America is a force for good could cheer at some points, and those who blame America for everything that's wrong in the world could cheer at others. It was striking to see this back-and-forth, "on the one hand... but on the other hand..." construction play out with the audience — cheering the "one hand" but sitting absolutely silent on the "other hand" in most cases. If you're wondering how to write your own Obama speech, see here . There's a definite pattern.
He seemed to be showing off his knowledge of Islam quite a bit, recalling the azan (call to prayer) he heard blaring from mosques during his youth in Indonesia, "at the break of dawn and the fall of dusk" (leaving off the mid-day one, the afternoon one, the night-time one, and the extra ones during Ramadan). He spoke of the zakat , and the hijab (but not the burqa). That last was troubling for me, and only one of the numerous instances of false moral equivalence that are easily spotted in the speech . There was implicit criticism of those who would deny women the right to wear hijab in his country, yet nothing to criticize those who would force women to wear it (or the burqa) in others. As the courageous author of "Infidel", Ayaan Hirsi Ali once said , "The veil is to show that women are responsible for the sexual self-control of men."
And, by the way, he actually said "hajib" in the speech rather than "hijab". I'll bet you won't find that in any transcript, but that's what he said.
There were many clever lines, well delivered (I especially liked, "Our daughters can contribute just as much to society as our sons..."), but I was left with an uneasy feeling I couldn't put my finger on. It felt too much like pandering, to everybody at once. And if he could get away from those darn teleprompters and just speak with his heart from bullet-point notes, he could avoid the dizzying ping-pong head effect. And somebody needs to tell him to avoid that constant looking down his nose, jutting out the chin pose after applause lines. Way too much like Mussolini.
The moral relativism was just too thickly planted in those 55 minutes, and new policy or initiatives were absent. I had expected at least one solid new announcement among the platitudes, but I can't find any. There were far more apologies than there were policies. The esteemed Dr. Charles Krauthammer puts this very well, far better than I will ever do ( wai AllahPundit for the clip).
It would be great if at least a few of the establishment media personalities could manage to climb out of the Messiah's tank, or even poke their noses out, long enough to exercise their journalism degrees. What follows, if you have twelve minutes to spare, is a delightful instance of a very smart, well-spoken woman (Liz Cheney) figuratively pulling one of these personalities (Andrea Mitchell) up for a moment of air. Andrea was down pretty deep, and after a breath or two fights to get back down into the depths of that tank. Toward the end she pleads for time to "do my homework", so determined not to accept the truth is she. One doesn't skate around Liz Cheney that easily, as you will see.
The hardest truth here is that Liz knows her stuff, and Andrea unfortunately doesn't. They discuss yesterday's speech, then a couple of other very important subjects which most Americans still don't seem to have a clue about.
Truth Teaser: Liz' father never linked Saddam Hussein with the attacks of September 11, 2001. Strangely, most Americans apparently recollect exactly the opposite. Saddam's contacts with al Qaeda went back at least 10 years, and strangely, most Americans apparently recollect exactly the opposite. The intel services have never recanted this established fact (Liz misspeaks "recounted" rather than "recanted" I believe here). Saddam paid for terrorist attacks against Israel. I'm sure most Americans still don't get that either. Saddam could have easily given his known WMD technology to other terrorist-supporting regimes or terrorist groups.
But Barack says the overthrow of Saddam was an unnecessary "war of choice" after September 11, 2001. He really did. (Oh, but also that the Iraqis are far better off now without Saddam, so at least there's that.)
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Again, wai AP at Hot Air for the clip.
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1 Views
05:14:31 08/12/08
Do The Right Thing, If You Can't Figure Out What...
[LESS INFO] 1 VIEWS | ADDED 05:14:31 08/12/08
Vinnie becomes perplexed when Janine attempts to reestablish their relationship. Doogie must decide if a patient should lose his high status as a heart-transplant recipient when he catches the man smoking.
2 Views
21:20:21 01/21/07
The Death and Resurrection of Formula
[LESS INFO] 2 VIEWS | ADDED 21:20:21 01/21/07
I've been teaching media writing since 2001 — not all that long, but much has changed with the rise of new media. Not just in terms of production and distribution tools, though those have evolved and proliferated with amazing speed. Content is changing. Which means writing is changing.
I sometimes have difficulty getting my students to believe that they are writers. They see themselves as audio engineeers, camera operators, directors, editors, producers. But more and more, these separate jobs are getting done by one person. More and more, the media we watch is coming from a single author, or a very small team operating as an author.
And a lot of these authors don't want to write sitcoms, or crime dramas, or anything else they've seen over and over again on TV. Or they do, but they want to write it better . No one has to copy a formula to get their work "on the air" now. Perhaps the most important feature of new media is that it's different from TV .
This is a beautiful thing. It could save us from the suffocating affliction of monoculture, as long as we refuse to let it devolve into a small-screen version of old-fashioned, corporate-owned, commercial-sponsored television. I understand the urge to keep new media pure in that sense.
But I'm worried, too. "Kill Your Television" worries me. The "death of the sitcom" worries me. I'm worried for all those media-makers out there who suddenly have to be writers, because it seems like a lot of writerly knowhow is about to become taboo.
Yes, I know TV mostly sucks, but we should figure out exactly why before we issue a blanket condemnation of all things broadcast. I feel strange saying it, but I think there's a lot about TV that is worth saving. I feel even stranger saying that one of the things I hope survives is — and now I'm really taking my life in my hands — formula.
"Formula" shouldn't be a dirty word. Of course, most TV shows are crap — but not because they follow a formula. It's because they do so in uninspired, repetetive and predictable ways, and because they sacrifice art (which is original and risky) for commercial viability (which relies on imitation).
But it's silly to say that a bad sitcom is bad because it's structured as a comedy, or that a drama is bad because it's structured as a drama. Formula doesn't make a story boring; rather, it heightens the impact of the material by keeping it clear, uncluttered, and powerful. It helps the storyteller focus and strengthen the plot, create engaging characters, and send the audience on an enjoyable trip.
Formula doesn't have to limit or repress creativity; it can help a writer tell where, whether and why the story is working (or not working). If a story is going to engage us, it needs to be shaped, edited, structured — some writing has to happen. Decisions must be made about what gets told, in what order and at what pace; what gets omitted, or rearranged, so that there can be focus and clarity and meaning; what effects are achieved, what gratifications delivered, what experience is created for the audience.
When a writer knows how to tell what works and what doesn't and why, then any element of a formula can be rejected or modified. Some proficient storytellers (vloggers, for example) do this instinctively and so might think that they're not doing it at all, but we've all seen enough clunky, pointless and boring vlogs (and cable-access TV shows, and student films, and "experimental videos") to be able to instantly register the difference.
Do a search on YouTube for "cat fight" and you'll see where we might end up if we choose to forget what we know about storytelling. (And I'm not even talking about the porn.) I've chosen three cat-fight videos (at right) as examples of storytelling technique (or lack thereof), hoping to inspire my students and other new-media makers to take up the work of being writers.
I've done this because I dread the day when all there is to watch is people's cute cat footage, or unedited road-trip videos, or private musings in extreme close-up. Because, honestly, your cat is not as cute to me as it is to you; your friends are not as funny as you thought they were when they did that crazy thing you caught with your cell-phone camera; the raw footage you shot of the broken-down semi in a ditch somewhere along I-90 is not a pithy commentary on the economics of food transport or life in the heartland. It's just home movies — which can be a lot of fun to watch, but most people still prefer to go to the cinema or the video store or, yes, the dreaded TV, to see something that's had thought and craft put into it. The fact that someone was somewhere with a digital camera doesn't necessarily mean the result is anything anyone wants to watch.
So my hope for my students is this: that they think of themselves as writers. That they take the time to learn about story structure, and then hack the hell out of those formulas with precision, deliberation and skill. That they make media that brings light and life to the great world of people out there, watching.
Click on images to play
6,090 views; 5 comments; 11 favorites. This one didn't "go viral" (spread by word of mouth) and didn't generate much response. It's easy to see why: viewers have to wait through lots of nothing-happening time, and what little action there is doesn't build. Real life is like that: lots of waiting, events not effectively arranged in sequences with pacing and timing and rising action. But a good story needs some shape, needs an arc — or else no tension, no drama, no interest! 25,530 views; 2 comments; 10 favorites. This one didn't generate much discussion either, but it had almost 20,000 more viewers. It uses music to establish some context, and focuses on one event that has a bit of build; not quite telling a story, but getting there. 249,836 views; 116 comments; 986 favorites. Now we're talking viral! And the reason is obvious: at only 9 seconds, this video tells a complete story with identifiable characters and strong 3-act structure. Act I: Naive, overconfident protagonist faces a challenge; is ignored by bigger, wiser, more powerful opponent. Act II: Naive protagonist doubles his efforts, taunts the opponent; at first it seems his second attempt has failed as well (dark night of the soul). Act III: Climax! Powerful opponent engages, beats crap out of naive hero. OK, so it's not a happy ending. But storywise, all the elements are there. And the audience definitely responded.
