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02:01:26 05/25/12
Myth McConnell
[LESS INFO] 0 VIEWS | ADDED 02:01:26 05/25/12
In the wake of the debt-ceiling crisis he helped manufacture last summer, Senate Minority Leader Mitch McConnell boasted it was "a hostage that's worth ransoming" which "also is a new template" for the future. As it turns out, those threats were among the few true words McConnell has uttered. Because while he's promising once again to blackmail the White House over the debt ceiling, the Kentucky Republican claimed it's because "we'd like to do something about the nation's biggest problem, spending and debt, which of course is the reason for this economic malaise." Of course, as the data show, it's the very austerity policies here and in Europe which are costing jobs and hurting growth.
But Mitch McConnell's myth-making hardly ends there. On the economy, taxes, deficits, health care and so much else, virtually all of McConnell's talking points are tried - and untrue.
( Click a link to jump to the details for each below ):
* "Obama Made the Economy Worse"
* "No Evidence Whatsoever That the Bush Tax Cuts Actually Diminished Revenue"
* "Punishing Job Creators"
* "We Look a Lot Like Greece Already"
* Public Sector Layoffs Are a "Local" Problem
* 47 Million Uninsured Americans "Don't Go Without Health Care"
* The Public Option "May Cost You Your Life"
* Democrats Are "Sticking It to Seniors with Cuts to Medicare"
"Obama Made the Economy Worse"
For months, Mitch McConnell (for example, here , here and here ) regurgitated the GOP talking point that President Obama " made the economy worse ." Sadly for the trickle-down mythmakers of the Republican Party , the facts and the overwhelming consensus of economists - including John McCain's 2008 brain trust - prove otherwise. President Obama not only did not make the American economy worse; no thanks to obstructionist Republicans in Congress he saved the United States from "Great Depression 2.0" and put the nation on the path to recovery.
Start, for example, with the conclusions of the nonpartisan Congressional Budget Office (CBO). Despite Republican mythmaking that the American Recovery and Reinvestment Act (ARRA) "created zero jobs," in November the CBO reported that the stimulus added up to 2.4 million jobs and boosted GDP by as much as 1.9 points in the previous quarter. As The Hill explained, the CBO has found that "President Obama's 2009 stimulus package continues to benefit the struggling economy": >
The agency said the measure raised gross domestic product by between 0.3 and 1.9 percent in the third quarter of 2011, which ended Sept. 30. The Commerce Department said Tuesday that GDP in that quarter was only 2 percent total...
By CBO's numbers, the $800 billion stimulus added up to 0.9 million jobs in 2009, 3.3 million jobs in 2010 and 2.6 million jobs in 2011.
Mark Zandi , an adviser to John McCain in 2008, was adamant on positive role of the stimulus. Federal intervention, he and Princeton economist Alan Blinder argued in August 2010, literally saved the United States from a second Great Depression. In " How the Great Recession Was Brought to an End ," Blinder and Zandi's models confirmed the impact of the Obama recovery program and other federal interventions dating back to 2008, concluding that "laissez faire was not an option": >
We find that its effects on real GDP, jobs, and inflation are huge, and probably averted what could have been called Great Depression 2.0. For example, we estimate that, without the government's response, GDP in 2010 would be about 11.5% lower, payroll employment would be less by some 8½ million jobs, and the nation would now be experiencing deflation.
"No Evidence Whatsoever That the Bush Tax Cuts Actually Diminished Revenue"
In his version of the Republican myth that " tax cuts pay for themselves ," President Bush confidently proclaimed, "You cut taxes and the tax revenues increase." As it turned out, not so much.
After Ronald Reagan tripled the national debt with his supply-side tax cuts, George W. Bush doubled it again with his own. (Reagan's performance would have been much worse, had he not raised taxes 11 times to help make up the shocking shortfall.) As a share of American GDP, tax revenues peaked in 2000; that is, before the Bush tax cuts of 2001 and 2003. As the Center on Budget and Policy Priorities concluded, the Bush tax cuts accounted for half of the deficits during his tenure, and if made permanent , over the next decade would cost the U.S. Treasury more than Iraq, Afghanistan, the recession, TARP and the stimulus - combined .
Nevertheless, as the Republican Party waged its all-out attack in 2010 to preserve the Bush tax cuts for the wealthy , the GOP's number two man in the Senate provided the talking point to help sell the $70 billion annual giveaway to America's rich. "You should never," Arizona's Jon Kyl declared, "have to offset the cost of a deliberate decision to reduce tax rates on Americans." For his part, Senate Minority Leader Mitch McConnell rushed to defend Kyl's fuzzy math: >
"There's no evidence whatsoever that the Bush tax cuts actually diminished revenue. They increased revenue because of the vibrancy of these tax cuts in the economy. So I think what Senator Kyl was expressing was the view of virtually every Republican on that subject."
That may have been a view universally shared by virtually every Republican, but it happens to be wrong.
"Punishing Job Creators"
For years, Senator McConnell has been among the legions of Republicans wrongly arguing that even the slightest increase in taxes for the wealthiest Americans is tantamount to " punishing job creators ." As his colleague John Boehner put it: >
"The top one percent of wage earners in the United States...pay forty percent of the income taxes...The people he's [President Obama] is talking about taxing are the very people that we expect to reinvest in our economy."
If so, those expectations were sadly unmet under George W. Bush. After all, the last time the top tax rate was 39.6 percent during the Clinton administration , the United States enjoyed rising incomes, 23 million new jobs and budget surpluses. Under Bush? Not so much.
On January 9, 2009, the Republican-friendly Wall Street Journal summed it up with an article titled simply, " Bush on Jobs: the Worst Track Record on Record ." (The Journal's interactive table quantifies his staggering failure relative to every post-World War II president.) The meager one million jobs created under President Bush didn't merely pale in comparison to the 23 million produced during Bill Clinton's tenure. In September 2009, the Congressional Joint Economic Committee charted Bush's job creation disaster, the worst since Hoover.
That dismal performance prompted David Leonhardt of the New York Times to ask last fall, "Why should we believe that extending the Bush tax cuts will provide a big lift to growth?" His answer was unambiguous: >
Those tax cuts passed in 2001 amid big promises about what they would do for the economy. What followed? The decade with the slowest average annual growth since World War II. Amazingly, that statement is true even if you forget about the Great Recession and simply look at 2001-7... >
Is there good evidence the tax cuts persuaded more people to join the work force (because they would be able to keep more of their income)? Not really. The labor-force participation rate fell in the years after 2001 and has never again approached its record in the year 2000. >
Is there evidence that the tax cuts led to a lot of entrepreneurship and innovation? Again, no. The rate at which start-up businesses created jobs fell during the past decade.
The data are clear: lower taxes for America's so called job-creators don't mean either faster economic growth or more jobs for Americans .
As Jared Bernstein aptly put it earlier this month: >
"Tax cuts and job growth? They're just not that into each other."
"We Look a Lot Like Greece Already"
As their last round of hostage-taking of the debt heated up last summer, Republicans including Mitch McConnell warned, "We look a lot like Greece."
hile FactCheck.org was quick to conclude that "whatever it 'looks like' through Sen. McConnell's eyes -- the fact is that the U.S. is not yet a fiscal wreck of Greek proportions," its analysis hardly does justice to the scale of the Republican myth-making. The Washington Monthly's Steve Benen summed it up quite succinctly: >
New rule: every time a confused Republican lawmakers compare the United States' fiscal conditions to that of Greece, an angel loses its wings.
Look, the very idea is just crazy. The U.S. has extremely low interest rates and foreign investor are happy to loan us money; Greece has extremely high interest rates and no one is eager to loan the country money. The U.S. has our own currency; Greece has the Euro. We have a great credit rating (for now); Greece has an awful credit rating. We have a manageable debt; Greece has a debt crisis. We're a large country with an enormous economy; Greece is a small country with a small economy. We have one of the world's most stable systems of government (at least until six months ago); Greece's government structure is a little shaky.
For his part, Nobel Prize-winning economist and New York Times columnist Paul Krugman has been decrying the " Hellenization of economic discourse " for months. "Greece -- with a long history of fiscal irresponsibility, very high public debt, and a country without a currency -- doesn't bear much resemblance even to the other peripheral Europeans, let alone the United States."
>
Here's debt levels (if you ask me the IMF projections for Greece are too optimistic). >
Plus there's the having your own currency thing, and the fact that the interest rate on US 10-year bonds is 3.11 percent, on Greek bonds 16.82 percent. >
Otherwise we're exactly the same.
Public Sector Layoffs a "Local" Problem
Last fall, Minority Leader McConnell led the GOP opposition to President Obama's proposed $400 billion American Jobs Act. The loss of hundreds of thousands of police, firefighter, teacher and other public sector jobs, he insisted, was a "local" problem.
As it turns out, the 600,000 state and local government jobs already lost since December 2008 is very much a national issue. That " anti-stimulus ," it turns out, has added a full point to America's unemployment rate .
Last month, the Economic Policy Institute noted that the private sector had gained 2.8 million jobs while federal, state and local governments shed 584,000 just since June 2009. EPI concluded that the public sector job losses constituted "an unprecedented drag on the recovery": >
"The current recovery is the only one that has seen public-sector losses over its first 31 months."
Back in March, Paul Krugman expressed the same point , but with some inconvenient historical context for the Party of Reagan. "In fact, if it weren't for this destructive fiscal austerity," Krugman explained, "Our unemployment rate would almost certainly be lower now than it was at a comparable stage of the 'Morning in America' recovery during the Reagan era." >
We're talking big numbers here. If government employment under Mr. Obama had grown at Reagan-era rates, 1.3 million more Americans would be working as schoolteachers, firefighters, police officers, etc., than are currently employed in such jobs. >
And once you take the effects of public spending on private employment into account, a rough estimate is that the unemployment rate would be 1.5 percentage points lower than it is, or below 7 percent -- significantly better than the Reagan economy at this stage.
47 Million Uninsured Americans "Don't Go Without Health Care"
McConnell the " strict obstructionist " was naturally in the forefront of the all-out Republican effort to block health care reform at any cost. As he repeatedly put it in June 2009 , "all of us want reform, but not reform that denies, delays, or rations health care." To prove his point, McConnell didn't merely trot out a Canadian patient who came to the U.S. for special treatment, but insisted to NBC's David Gregory that no American does without health care now. >
GREGORY: Do you think it's a moral issue that 47 million Americans go without health insurance? >
McCONNELL: Well, they don't go without health care. It's not the most efficient way to provide it. As we know, the doctors in the hospitals are sworn to provide health care. We all agree it is not the most efficient way to provide health care to find somebody only in the emergency room and then pass those costs on to those who are paying for insurance. So it is important, I think, to reduce the number of uninsured. The question is, what is the best way to do that?
That President George W. Bush, Tom Delay and Paul Broun among other Republicans also claimed "people have access to health care in America...after all, you just go to an emergency room" doesn't make it any more true. As the numbers show -- 50 million uninsured, another 25 million uninsured, 45,000 unnecessary deaths, one in five Americans "self-rationing" care and 62 percent of all personal bankruptcies being related to medical bills -- the crisis is far worse than the one Mitch McConnell pretends doesn't exist.
The Public Option "May Cost You Your Life"
While Mitch McConnell insisted that the lack of insurance doesn't prevent anyone from getting health care, in 2009 he suggested having coverage could prove fatal . Months before the passage of the Affordable Care Act without the so-called "public option," Minority Leader McConnell said it would be deadly.
That irresponsible fear-mongering came during an appearance on Dennis Miller's radio show in October 2009. Blasting the "opt-out" version of the public option then being considered in the Senate bill, the Senator from the state ranked 45th in health care performance insisted access to coverage could kill you : >
MCCONNELL: Well, it doesn't make any difference frankly whether you opt-in or you opt-out, it's still a government plan. You know, Medicaid, the program for the poor now, states can opt-out of that, but none of them have. I think if you have any kind of government insurance program, you're going to be stuck with it and it will lead us in the direction of the European style, you know, sort of British-style, single payer, government run system. And those systems are known for delays, denial of care and, you know, if your particular malady doesn't fit the government regulation, you don't get the medication. >
MILLER: Right. >
MCCONNELL: And it may cost you your life. I mean, we don't want to go down that path.
As a Harvard Medical School study found, each year the path of no health insurance leads 45,000 Americans to the grave.
Democrats Are "Sticking It to Seniors with Cuts to Medicare"
For two years running, Mitch McConnell has been among the 40 GOP Senator voting for Paul Ryan's House budget plan to privatize and inevitably ration Medicare now used by 46 million American seniors. In the late 1990's, McConnell joined in Newt Gingrich's effort to slash almost 15 percent from the Medicare budget so that the program would "wither on the vine." But when the Affordable Care Act called for savings from the private Medicare Advantage program used by only 15 percent of elderly beneficiaries, it was Mitch McConnell who warned seniors about the mythical danger.
In July 2009, McConnell tried to scare America's 46 million Medicare beneficiaries by declaring, "The administration plans to use Medicare cuts to fund yet another new government program." Hoping to build on the momentum of the GOP's disgusting and demonstrably false " euthanasia " talking point, McConnell cautioned: >
"Some in Congress seem to be in such a rush to pass just any reform, rather than the right reform, that they're looking everywhere for the money to pay for it -- even if it means sticking it to seniors with cuts to Medicare."
That salvo comes just two weeks after McConnell promised to defeat health care reform in the Senate, warning America's highest turnout voting block: >
"They are going to pay for this plan by cutting Medicare, that is cutting seniors."
Those claims, the New York Times pointed out the day after the Republicans' overwhelming triumph in the 2010 midterms elections were misleading at best and false at worst. But, sadly, they worked .
And so it goes.
As Joshua Green documented last year in the Atlantic , "Mitch McConnell is a master manipulator and strategist" whose "relentless tactics have made his party victorious." But that doesn't make him a truth-teller, except on those rare occasions when he reveals his true motivations. During the debt ceiling stand-off last summer , McConnell briefly got weak in the knees at the prospect of U.S. sovereign default not because it would be a disaster for the nation, but because it could damage his Republican Party : >
"I refuse to help Barack Obama get re-elected by marching Republicans into a position where we have co-ownership of a bad economy. ... If we go into default, he will say that Republicans are making the economy worse and try to convince the public -- maybe with some merit, if people stop getting their Social Security checks and military families start getting letters saying service people overseas don't get paid. It's an argument he could have a good chance of winning, and all of the sudden we have co-ownership of a bad economy," he said. "That is very bad positioning going into an election."
Especially an election which marks the culmination of Mitch McConnell's work over the past three and a half years: >
"The single most important thing we want to achieve is for President Obama to be a one-term president."
(This piece also appears at Perrspectives .)
1 Views
08:27:45 05/18/12
Learning to Drive Too Hard, Thinking Of Giving Up?
[LESS INFO] 1 VIEWS | ADDED 08:27:45 05/18/12
Are you one of those provisional licence holders who was very enthusiastic about learning to drive, and couldn't wait for your first driving lesson , but now after a few sessions you are finding out that it is not as easy as you thought or maybe you are even almost at test standard but are having major problems with a few things such as multi-lane roundabouts or a manuever, then I want to encourage you to keep on working at it and not give up on learning to drive .
The same applies to those of you that might have failed the driving test more than 3 or 4 times, as it could be very discouraging, but I personally know someone (not one of my learners) who only passed after 11 attempts! This person is now a good safe and confident driver, who has put those failures behind, been able to get a decent job due to having a full driving licence and earns more than they could have dreamed of, but more importantly have learnt that life is full of obstacles, and only by not giving up do you have a chance of getting what you want in life.
I know times are hard, and money is tight, which is why you need to make sure you have the right driving instructor while learning to drive, as you want the best training especially if you have weaknesses that you struggle with.
It is not your fault if you find a particular driving skill difficult, your instructor should be able to break the process down so you can understand, while choosing a suitable location to practise so you can grasp the principles. Once you unserstand how to deal with the situation you then will have to practise this first without any pressure (quiet roads) and then gradually build up to more busy areas. At the same time the instructor will go from full talk through where they tell you every single instruction step by step, then reducing instructions by prompting via questions to make sure you have memorised/understood the process through to the stage whereby they withdraw all instructions (you are fully independent) and rarely have to prompt you.
It is important that you remember that everyone learns at different paces, so just because a sibbling, friend the same age or other people you know passed after a specific number of driving lessons does not mean that the same has to apply to you. The other thing to remember is that even if you are very academic and have never failed an exam or test before , the DSA practical car driving test is not a written examination or one where you can skip questions or take long thinking about what needs to be done. There are situations where split second decisions need to be made, and nerves can play an important role in how you perform, so if you have not had enough practise or experience you could commit a serious driver error which could lead to failure!
So as I said at the beginning on this article, you need to keep working hard, make any changes that are necessary for you to succeed, get as much knowledge of the UK road and traffic signs , by keeping a copy of the official highway code with you and read in between lessons so you can make those split second decisions more confidently.
With hard work, and enough practise, there is no reason why you should give up on learning to drive or not achieve the dream of getting a full UK driving licence and buy that car you always wanted.
Important Driving Test Advice Video
Can Anyone Learn to Drive ?
If you require high quality affordable driving lessons from a very helpful, patient and fully qualified instructor who will adapt the training to suit your individual needs and give you an honest opinion of what you need to do in order to pass the driving test, then why not call or send me a text message on 07956233032
Thinking about becoming an instructor? Don't just make a decision based on the red driving school advertisements or marketing information, do the proper research and know all the different ADI training including PAYG options available to you.
Subscribe to my Driving Test Tips so you don't miss any future articles and get DSA updates direct to your inbox by Email . The service is provided and powered by Google Feedburner, so I don't personally keep your email addresses, and you can remove yourself anytime after passing the driving test with just one mouse click, you can also follow UKADI on twitter or join my UKADI Facebook page. Please let me know your views by posting a comment on the blog at http://www.ukadi.co.uk
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22:41:00 05/01/12
Work to Live
[LESS INFO] 0 VIEWS | ADDED 22:41:00 05/01/12
I'm halfway through my career, having spent about 20 years since college working in technology with another twenty to go. The rest of the community is probably spread out around me, some older, some younger. It doesn't matter what part of your life you are in, there are a few things about work that I think always apply. The first is that we work to live, and don't live to work. The second is I like to hope for the best, but plan for the worst.
It's all too common for people in this business to overwork themselves, work very long hours, and neglect the rest of their life. I have rarely seen someone that is retired or late in life complain that they didn't work enough over their lifetime, and I'd caution you to keep that in mind as you go through life. There will always be more work, more things to do, and more requests from clients and customers. Keep a balance in your life, and remember to enjoy it along the way.
Read the rest of " Work to Live " at SQLServerCentral.
1 Views
17:57:14 04/20/12
TAYLOR SWIFT DATING HARRY STYLES??? ......making Creepy Babies!
[LESS INFO] 1 VIEWS | ADDED 17:57:14 04/20/12
TAYLOR SWIFT DATING HARRY STYLES??? ......making Creepy Babies!
Watch My GLEE CAP! youtu.be XTina Snubs Bieber! youtu.be Please LIKE - COMMENT - SHARE - SUBSCRIBE! Comment Questions of the Day: 1. Do you watch Revenge? 2. What would your Real Housewives tag line be? 3. Is The Bachelor Racist? Is ABC Accountable? 4. Dead artists as holograms? DISCUSS! 5. Would you like Taylor and Harry to be a couple? BONUS: WHO IS THE MOST INFLUENTIAL PERSON IN YOUR LIFE AND WHY??? ______ Business Email: Booking/Sponsorship media@buckhollywood.com I AM LIVE Tuesdays at 5pm EASTERN! younow.com MAIN CHANNEL: SUBSCRIBE! youtube.com SECOND CHANNEL: SUBSCRIBE! youtube.com PHONE CHANNEL: BE AFRAID! youtube.com Follow Buck on Twitter: twitter.com Friend Buck on Facebook: www.facebook.com NEW! DON'T TELL buckhollywood.tumblr.com Lilly Halpern "Forget What They Say" itunes.apple.com From: WHATTHEBUCKSHOW Views: 81082 4399 ratings Time: 10:57 More in People & Blogs
15 Views
21:00:01 11/14/11
Confirmed Serial Adulterer Passes Alleged Serial Harasser in GOP Race
[LESS INFO] 15 VIEWS | ADDED 21:00:01 11/14/11
Here in a nutshell is the state of play in the 2012 Republican presidential sweepstakes: alleged serial sexual harasser Herman Cain is being surpassed by confirmed serial adulterer Newt Gingrich . With Mitt Romney stalled and Cain hemorrhaging support from women voters, polls last week from CBS and Marist showed the former House Speaker had surged into a virtual three-way tie at the top. By Monday, new surveys from CNN and PPP showed Newt vaulting past the fading pizza maker. Nevertheless, that development should be a discomforting prospect for a Republican Party which lost the women's vote by 13 points in 2008. As his public statements and personal life show, the thrice-married Gingrich is hardly a champion for American women.
That starts with Newt Gingrich's belief that marriage is an institution between one man and three women in rapid succession.
In 1980, Newt was separated from his first wife and former high school geometry teacher , Jackie Battley. As she lay incoherent in her hospital bed following surgery for a reoccurrence of uterine cancer, Gingrich paid her a visit to announce he wanted a divorce. As Lee Howell , a Gingrich friend and associate at whose wedding Newt was best man, described it: >
"Newt came up there with his yellow legal pad, and he had a list of things on how the divorce was going to be handled. He wanted her to sign it. She was still recovering from surgery, still sort of out of it, and he comes in with a yellow sheet of paper, handwritten, and wants her to sign it. >
Newt can handle political problems, but when it comes to personal problems, he's a disaster. He handled the divorce like he did any other political decision: You've got to be tough in this business, you've got to be hard. Once you make the decision you've got to act on it. Cut your losses and move on."
He moved on to wife number two, Marianne Ginther . But Marianne fared little better, getting dumped for Congressional staffer Callista Bisek after a six year affair even as Newt was leading the inquisition of Bill Clinton. As Vanity Fair summed it up last year: >
According to Salon, Gingrich and the former Hill staffer (23 years his junior, mind you) would frequently dine in the Supreme Court cafeteria--an unsuspectingly sordid detail. (In 1995, Vanity Fair referred to Bisek as Gingrich's "frequent breakfast companion.") Gingrich stepped down from Congress in 1998 following an ethics scandal, among other things. The two were married two years later.
Gingrich, who swapped his Baptist faith for Catholicism just in time to attack President Obama's 2009 address at Notre Dame University, later explained that his rapid fire infidelities were the actually product of his own patriotism: >
"There's no question at times of my life, partially driven by how passionately I felt about this country, that I worked far too hard and things happened in my life that were not appropriate. And what I can tell you is that when I did things that were wrong, I wasn't trapped in situation ethics, I was doing things that were wrong, and yet, I was doing them."
Of course, the things Newt Gingrich was saying to American women weren't any better.
As the New York Times recounted 16 years ago, Newt suggested menstruation should keep women out of essential roles in the American military: >
"If combat means living in a ditch, females have biological problems staying in a ditch for 30 days because they get infections, and they don't have upper-body strength. I mean, some do, but they're relatively rare. On the other hand, men are basically little piglets -- you drop them in the ditch, they roll around in it, doesn't matter, you know."
And for Gingrich, the biggest "infection" of them all - liberalism - caused a young mother to murder her children.
Back in 1994, after dumping his cancer-stricken first wife but before marrying his mistress following the adulterous affair that ended his second marriage, Newt pointed the finger at Democrats for the Susan Smith affair.
It was Smith who drew Americans' initial sympathy - and subsequent scorn - for her invention of a black bogeyman to conceal her heinous crime.
On October 24th, 1994, as the New York Times recalled, Smith killed her young sons, killings for which she was eventually sentenced to life in prison: >
That night, investigators say, Mrs. Smith pulled her car to the edge of a deep lake, stepped out, put the gearshift in drive and let it roll down the boat ramp into the black water. Her two little boys, buckled snugly in their safety seats, died under the lake... >
..."I believed her, right up to the end," said Juliaette Kerhulas, of Mrs. Smith's story that a young black man had ordered her out of her burgundy 1990 Mazda on the night of Oct. 25, then driven away with 3-year-old Michael and 14-month-old Alexander in the back seat.
Ms. Kerhulas wasn't the only one who believed in her. None other than future House Speaker Newt Gingrich rushed to the defense of Smith, whose step-father ironically happened to be a prominent Republican fundraiser and member of the Christian Coalition. Even after her confession, Gingrich insisted the Smith murders showed the decay of American society under Democratic Party rule : >
Enter Newt Gingrich, who rushed into action on election eve with another reliable generic culprit: society. He said the double murder "vividly reminds every American how sick the society is getting and how much we need to change things," expediently adding that "the only way you get change is to vote Republican."
As Frank Rich recounted in August 1995: >
Asked later by Tom Brokaw to elaborate, the Speaker-to-be cited "a direct nexus between the general acceptance of violence" and "the pattern that the counterculture and Lyndon Johnson's Great Society began in the late 60's."
Of course, the 1960's also happened to be the time when the women's movement rose to prominence. The victories it achieved for women's political equality, economic independence and reproductive rights transformed American society and helped move the nation closer to a "more perfect union."
Apparently, those epochal changes escaped Herman Cain's notice. And while Cain's is being punished in the polls for it, he is being replaced atop the GOP field by Newt Gingrich . While that may be a good thing for Tiffany's bottom line , it's a sad development for American women.
9 Views
21:00:01 11/14/11
Confirmed Serial Adulterer Passes Alleged Serial Harasser in GOP Race
[LESS INFO] 9 VIEWS | ADDED 21:00:01 11/14/11
Here in a nutshell is the state of play in the 2012 Republican presidential sweepstakes: alleged serial sexual harasser Herman Cain is being surpassed by confirmed serial adulterer Newt Gingrich . With Mitt Romney stalled and Cain hemorrhaging support from women voters, polls last week from CBS and Marist showed the former House Speaker had surged into a virtual three-way tie at the top. By Monday, new surveys from CNN and PPP showed Newt vaulting past the fading pizza maker. Nevertheless, that development should be a discomforting prospect for a Republican Party which lost the women's vote by 13 points in 2008. As his public statements and personal life show, the thrice-married Gingrich is hardly a champion for American women.
That starts with Newt Gingrich's belief that marriage is an institution between one man and three women in rapid succession.
In 1980, Newt was separated from his first wife and former high school geometry teacher , Jackie Battley. As she lay incoherent in her hospital bed following surgery for a reoccurrence of uterine cancer, Gingrich paid her a visit to announce he wanted a divorce. As Lee Howell , a Gingrich friend and associate at whose wedding Newt was best man, described it: >
"Newt came up there with his yellow legal pad, and he had a list of things on how the divorce was going to be handled. He wanted her to sign it. She was still recovering from surgery, still sort of out of it, and he comes in with a yellow sheet of paper, handwritten, and wants her to sign it. >
Newt can handle political problems, but when it comes to personal problems, he's a disaster. He handled the divorce like he did any other political decision: You've got to be tough in this business, you've got to be hard. Once you make the decision you've got to act on it. Cut your losses and move on."
He moved on to wife number two, Marianne Ginther . But Marianne fared little better, getting dumped for Congressional staffer Callista Bisek after a six year affair even as Newt was leading the inquisition of Bill Clinton. As Vanity Fair summed it up last year: >
According to Salon, Gingrich and the former Hill staffer (23 years his junior, mind you) would frequently dine in the Supreme Court cafeteria--an unsuspectingly sordid detail. (In 1995, Vanity Fair referred to Bisek as Gingrich's "frequent breakfast companion.") Gingrich stepped down from Congress in 1998 following an ethics scandal, among other things. The two were married two years later.
Gingrich, who swapped his Baptist faith for Catholicism just in time to attack President Obama's 2009 address at Notre Dame University, later explained that his rapid fire infidelities were the actually product of his own patriotism: >
"There's no question at times of my life, partially driven by how passionately I felt about this country, that I worked far too hard and things happened in my life that were not appropriate. And what I can tell you is that when I did things that were wrong, I wasn't trapped in situation ethics, I was doing things that were wrong, and yet, I was doing them."
Of course, the things Newt Gingrich was saying to American women weren't any better.
As the New York Times recounted 16 years ago, Newt suggested menstruation should keep women out of essential roles in the American military: >
"If combat means living in a ditch, females have biological problems staying in a ditch for 30 days because they get infections, and they don't have upper-body strength. I mean, some do, but they're relatively rare. On the other hand, men are basically little piglets -- you drop them in the ditch, they roll around in it, doesn't matter, you know."
And for Gingrich, the biggest "infection" of them all - liberalism - caused a young mother to murder her children.
Back in 1994, after dumping his cancer-stricken first wife but before marrying his mistress following the adulterous affair that ended his second marriage, Newt pointed the finger at Democrats for the Susan Smith affair.
It was Smith who drew Americans' initial sympathy - and subsequent scorn - for her invention of a black bogeyman to conceal her heinous crime.
On October 24th, 1994, as the New York Times recalled, Smith killed her young sons, killings for which she was eventually sentenced to life in prison: >
That night, investigators say, Mrs. Smith pulled her car to the edge of a deep lake, stepped out, put the gearshift in drive and let it roll down the boat ramp into the black water. Her two little boys, buckled snugly in their safety seats, died under the lake... >
..."I believed her, right up to the end," said Juliaette Kerhulas, of Mrs. Smith's story that a young black man had ordered her out of her burgundy 1990 Mazda on the night of Oct. 25, then driven away with 3-year-old Michael and 14-month-old Alexander in the back seat.
Ms. Kerhulas wasn't the only one who believed in her. None other than future House Speaker Newt Gingrich rushed to the defense of Smith, whose step-father ironically happened to be a prominent Republican fundraiser and member of the Christian Coalition. Even after her confession, Gingrich insisted the Smith murders showed the decay of American society under Democratic Party rule : >
Enter Newt Gingrich, who rushed into action on election eve with another reliable generic culprit: society. He said the double murder "vividly reminds every American how sick the society is getting and how much we need to change things," expediently adding that "the only way you get change is to vote Republican."
As Frank Rich recounted in August 1995: >
Asked later by Tom Brokaw to elaborate, the Speaker-to-be cited "a direct nexus between the general acceptance of violence" and "the pattern that the counterculture and Lyndon Johnson's Great Society began in the late 60's."
Of course, the 1960's also happened to be the time when the women's movement rose to prominence. The victories it achieved for women's political equality, economic independence and reproductive rights transformed American society and helped move the nation closer to a "more perfect union."
Apparently, those epochal changes escaped Herman Cain's notice. And while Cain's is being punished in the polls for it, he is being replaced atop the GOP field by Newt Gingrich . While that may be a good thing for Tiffany's bottom line , it's a sad development for American women.
5 Views
22:26:36 10/22/11
Inside the Avatar Studio: Bernhard Drax & Daniel Moshel
[LESS INFO] 5 VIEWS | ADDED 22:26:36 10/22/11
Kevin welcomes guests Bernhard Drax (aka Draxtor Despres) and Daniel Moshel, director of Login2Life.
About the film Login2Life:
Login 2 Life portrays people who have found an alternate home in an online world. This is the starting point of a journey into fascinating virtual realities, meeting diverse human beings in different parts of the world who have one thing in common – they are savvy in using virtual worlds as an extension of their real lives. The film premiered on German ZDF October 17th before heading onto the international festival circuit.
About Bernard Drax
Bernhard Drax (aka @Draxtor) writes music for TV, commercials and feature films.
In the virtual world “Second Life” Bernhard regularly files machinima reportages on social and political issues. His story on virtual Guantanamo won the 2008 Human Rights Media Awards from ‘Internews’ in France.
His series on “Public Good in Virtual Worlds”, co-produced with the Network Culture Project at USC has been used in many classrooms to illustrate the possibilities of immersive 3D platforms.
As news director at NPR member station KAZU in Pacific Grove, California – from 2002 to 2004 and as consultant from 2004 to 2006. Bernhard was instrumental in transforming the local news operation by producing high quality local content as well as training reporters and technical staff. A champion of non-commercial radio news and culture, Bernhard still develops formats for public radio and TV, in the US and abroad.
Sponsored by the US Department of State, Bernhard also finished up a video series showcasing the use of virtual worlds in public diplomacy, focusing on the 6-month collaboration between architecture students from Cairo and USC in Los Angeles.
More info about BD at draxtor.com
A playlist with machinima focusing on educational use of virtual worlds: youtube.com/view_play_list?p=C505E316DB51834A
About Daniel Moshel:
Daniel Moshel is a gamer and an award-winning director. He was inspired to make this documentary by his personal experience. But this is about more than just gaming – this is about a new lifestyle, necessary for some, fun for most.
Bits and pieces of digital life, glimpses linked within a larger network, a personal view of what drives the people behind the screen to live, love and do business in a virtual world.
Facebook: facebook.com/urockcliffe
Twitter: twitter.com/urockcliffe
Cast: Metaverse TV
Tags: second life , virtual world , metaverse , avatar , machinima , login2life and documentary
7 Views
20:00:07 10/16/11
Wagging the Dog on the Iranian Threat
[LESS INFO] 7 VIEWS | ADDED 20:00:07 10/16/11
In our initial reporting of the alleged Iranian assassination/terrorism plot, I stated that I had some niggling questions on the Tom Clancy-like plot forwarded by the State Department. Turns out, other bloggers , far more well versed in Middle East politics, did as well . Former intelligence office Col. Pat Lang had this to say : >
We are asked to believe that Iran and its skilled covert action force chose to set up an operation in which they ("they" being members of the "Quds Force" with approvals reaching up to Ayatollah Khamenei) relied on a used car salesman from Texas to recruit Mexican drug thugs to kill Adil al-Jubeir. This is a problem involving the suspension of belief. Why on earth would they create a situation in which they had to rely on this untested, untrained, unguided, and uncontrolled asset rather than their own people?[..]
None of this is "rocket science." If as FBI Mueller said, this "plot" is like a Hollywood screenplay, then it is a screenplay written by a couple of kids high as a kite on a weekend and pitched in a producer's cottage on a film company's "campus." It is trash.
The overwhelming likelihood is that this is someone's "information operation" intended to condition public attitudes for some purpose. The over riding question is that of where the ovens are located in which this confection was baked and who the bakers might be.
Listen to House Intelligence Committee Chair Rep. Mike Rogers, here with Christiane Amanpour, talks about how "action" *MUST* take place in response to a plot to assassinate someone on American soil ( don't think about that too closely, Americans ) and that not even military action should be off the table (because with Iraq, Afghanistan, Libya and now Uganda , we have the resources for another front.). Those words should be a red flag to us all. Prof. Juan Cole : >
I personally do not understand how the corporate media in the US can report the following things about Manssor Arbabsiar and then go on to repeat with a straight face the US government charges that he was part of a high-level Iranian government assassination plot.
It seems pretty obvious that Arbabsiar is very possibly clinically insane.
Here are the top 10 reasons that he cannot be Iran’s answer to 007:
10. Arbabsiar was known in Corpus Christi, Texas, “for being almost comically absent-minded”
9. Possibly as a result of a knife attack in 1982, he suffered from bad short-term memory
8. He was always losing his cell phone
7. He was always misplacing his keys
6. He was always forgetting his briefcase and documents in stores
5. He “was just not organized,” a former business partner remarked
4. As part owner of a used car dealership, he was always losing title deeds to the vehicles
3. Arbabsiar, far from a fundamentalist Shiite Muslim, may have been an alcoholic; his nickname is “Jack” because of his fondness for Jack Daniels whiskey
2. Arbabsiar used to not only drink to excess, but also used pot and went with prostitutes. He once talked loudly in a restaurant about going back to Iran, where he could have an Iranian girl for only $50. He was rude and was thrown out of some establishments.
1. All of his businesses failed one after another
The downward trajectory of Arbabsiar’s life, with his recent loss of his mortgage, all his businesses, and his second wife, along with his obvious cognitive defect, suggests to me that he may have been descending into madness.
I hypothesized yesterday that Arbabsiar and his cousin Gholam Shakuri might have been part of an Iranian drug gang. But after these details have emerged about the former, I don’t think he could even have done that. Indeed, I have now come to view the entire story as a fantasy.
That a monumental screw-up like Arbabsiar could have thought he was a government secret agent is perfectly plausible. I’m sure he thought all kinds of things. But that he was actually one is simply not believable.
I have a question that I wish Christiane Amanpour had asked Rogers and Sanger as they advocate going to our allies to further isolate Iran for such hubristic attempts on American soil: Will you also ask Americans like the Koch brothers , Dick Cheney and current Republican presidential candidate Mitt Romney as well? Shouldn't that be on the table as well?
472 Views
03:27:02 11/09/10
God at Work - Mechanics
[LESS INFO] 472 VIEWS | ADDED 03:27:02 11/09/10
We continue our series on work by looking at God’s truth in what an auto mechanic does. Three workers are breaking rock into pieces. “Asked what they were doing, the first answered, ‘Making little rocks out of big ones.’ The second replied, ‘Making a living.” And the third said, ‘Building a cathedral.” John Julian Ryan, Humanistic Work, in Meiliander, Working “It’s broken… I just have to fix it!” Mechanic Paul Schinkel “Since I was a little guy, I would take anything apart and try desperately to put it back together.” Mechanic, Adrian Van Wiltenberg “You should mind your own business and work with your hands, just as we told you, so that your daily life may win the respect of outsiders and so that you will not be dependent on anybody.” 1 Thessalonians 4:11-12, TNIV Build, build! Make a road! Clear the way, remove the rocks from the road my people will travel. A Message from the high and towering God, who lives in Eternity, whose name is Holy: I live in the high and holy places, but also with the low-spirited, the spirit-crushed, And what I do is put new spirit in them, get them up and on their feet again… God through the prophet Isaiah, 57:14-16 “Jesus built the kingdom as a carpenter before he built it as a rabbi” Theologian Neal Plantinga
40 Views
18:33:49 11/02/10
Due Date Starring Robert Downey Jr. and Zach Galifian
[LESS INFO] 40 VIEWS | ADDED 18:33:49 11/02/10
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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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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10:55:24 06/02/10
Duties Of Young Muslims
[LESS INFO] 6 VIEWS | ADDED 10:55:24 06/02/10
2. Duties of Young Muslims The first duty of the Muslim youth is to rectify their views and thoughts with a view to knowing their din on the basis of clear evidence and Understanding and according to a proper methodology. The right start is acquiring the proper methodology of comprehending Islam, and of dealing with themselves, people and life. Historically, Muslim scholars have established certain principles and methods which have enhanced the proper comprehension, and deduction of matters and issues whether supported by texts or not. This led to the establishment of the science of usul al fiqh: a discipline which studies the methodology of deriving laws from the sources of Islam and of establishing their juristic or constitutional validity. Thus, they established the principles of the controlling and controlled evidence, the subject and object of controlling aspects of evidence: the main and the subsidiary, the imperative and the negative, the general and the particular, the absolute and the restricted, the pronounced and the comprehend. They also established the total aims of the Shariah, such as safeguarding people's welfare, counteracting evil and harm; they divided needs into: essential, necessary and comforts. This is indeed a unique science of which there is no equal, and of which Muslims have the right to be proud. In addition, there are other principles and rules of fiqh which may not be available in the books of usul but are found in various books on usul al tafsir and Qur'anic sciences, as well as usul al hadith, and Hadith sciences. In addition to these, there are various rules and principles scattered in books of beliefs, hadith interpretation, and jurisprudence which can be observed by those who have acquired an insight into the purpose of Shariah and its innermost recesses. What is required, therefore, is not a shallow understanding of the texts but rather a deep knowledge and a genuine comprehension of the purposes of Qur'anic verses and the ahad'ith. The fiqh, the awareness, and the knowledge required must take the following into consideration First: Knowledge of and insight into Shariah cannot be complete without considering all the particular aspects in relation to the general context of the entire truth of Islam. To issue a judgment a Quranic verse or a hadith must be interpreted in the light of other ahadith, the Sunnah of the Prophet (.SA'AS) as well as the practice of the companions (RA'A), and must be understood in the light of the Qur'an and the general context and purposes of Shariah. Otherwise there will be a defect in this understanding, and a confusion in deduction and derivation which could create contradictions in Shariah and subject it to ridicule and to calumniations. For this reason, Imam al Shatibi set two conditions for ijtihad: (1) understanding the purposes of Shariah in its totality, and (2) the ability to derive and to draw conclusions on the basis of this understanding.' This can only be fulfilled when there is a deep and wide knowledge of the texts, especially the ahaith and the traditions, in addition to an insight into the reasons, the events, the circumstances, and the purposes of each text, as well as an ability to distinguish between the eternal and unalterable and those formulated to meet a temporary need, an existing custom or tradition, or certain transient circumstances which can be changed when the latter change. One day I was lecturing on proper Islamic dress for women, according to the Qur'an and Sunnah, when a person in the audience said that the hijab mentioned in the Qur'an must include an additional outer covering. I replied that the hijab is not an end in itself, but rather a means for decently covering those parts of the body which the Shariah prohibits to be exposed. In this sense, it can differ from one place and time to another. But the man shouted furiously that the garment required is very clearly specified in a Qur'anic text, and we therefore have no right to change it. He cited the following verse: O Prophet! Tell your wives and daughters and the believing women, that they should cast their outer garments over their persons (when abroad). That is most convenient, that they should be known (as such) and not molested. I replied that the Qur'an sometimes specifies certain means and methods that were suitable and common at the time of the revelation, but were never meant to become permanently binding if better or similar ones are found. The following example is sufficient enough to demonstrate my point. Allah (SWT) said: Against them make ready your strength to the utmost of your power, including steeds of war, to strike terror into (the hearts of) the enemies of Allah and your enemies. The steed is specifically mentioned above because it was?at the time of revelation-one of the most powerful means known at the time. But there is indeed no reason why Muslims in our times and in earlier days should not use tanks and armored vehicles to achieve the end referred to in the above verse, i.e., to strike fear into the hearts of the enemies of Allah (SWT) and of the enemies of Muslims. Similarly, the woman's outer garment could be any dress which satisfies the objective expressed in verse that Muslim women should be recognized and not molested. If such is the case of the Qurian, which has an eternal and comprehensive nature, it is only logical that the Sunnah is even more open to such an examination. The Sunnah comprise a multitude of teachings, the legislative and the nonlegislative, the general and the specific, the eternal and the changeable: a change necessitated by a change in the reasons and the exigencies. In issues and matterrelated to eating, drinking, and dressing, for example, there are legislative as well as nonlegislative Sunnah. Eating with the fingers rather than with silverware is not compulsory. The former method was more natural and suitable to the simple life and nature of the Arabs at the time of the Prophet (SA'AS). However this does not mean that using a spoon is haram (unlawful) or makruh (condemned or discouraged), since it is now so widely available that it in no way indicates any extravagance or excess. But this does not apply to silver or gold tableware, the use of which has clearly been forbidden. Similarly we have to abide by the injunction to eat with the right hand as the purpose of this teaching is fundamental and unalterable, and because it seeks to establish a uniform custom among Muslims, directing them to follow a right?hand approach in everything. The Prophet (SA'AS) ordered us: "Say bism Allah [before you begin] and eat with your right hand." In another hadith he said: "None of you should eat or drink with his left hand, because Satan eats and drinks with his left hand." Furthermore, during the Prophet's time, Muslims had no idea whatsoever of sieves, which were later known and used to advantage. Could this be regarded as a prohibited innovation or a hateful practice? of course not. Another example is the issue of wearing a short thawb (garment), which pious young Muslims adhere to and insist on wearing despite the problems which it creates for them, as if it was one of the fundamentals of Islam. These young people put forth two arguments: (1) The dress has to be a short thawb because this is the type of dress the Prophet (SA'AS) and his companions (RAA) used. They further believe that other costumes lead us to imitate the kufar, a practice prohibited in Islam; and (2) It has to be short because there are ahadith which prohibit wearing below?the?ankle izar or thawb such as: "The part of an izar which hangs below the ankles is in the Fire. With regard to the first argument, the Prophet's Sunnah knawn to us is that he wore whatever was available to him. For this reason, he wore shirts, robes, and izars. The Prophet (SA'AS) also wore garments and garbs made in the Yemen and Persia, which were embroidered on the sides with silk. He also wore Tmarnah (cap) with or without a turban. Al Imam Ibn al Qayyim says in Al Hady al Nabaw': The best guidance is the Sunnah of the Prophet (SA'AS), the things he regularly practised, ordered, and encouraged people to do. His sunnah in dressing is that he used to wear whatever was available for him whether made of cotton, wool, or linen. He is known to have worn cloaks from the Yemen, green cloaks, jubbah, garments with full?length sleeves, shirts, pants and robes, shoes and slippers. . . He used, sometimes, to grow a plait in the back. The textile industry was unknown then, so people used to wear clothes imported from the Yemen, Egypt, and Syria. In our time, we wear- without any inhibition-underwear, head coverings, shoes, etc., which were unknown during the Prophet's time. Why then this excessive fuss about the thawb in particular? As for the argument of imitating the kuffar, we are actually prohibited from imitating their distinguishing characteristics ? as followers of other religions-such as sporting the cross, wearing ecclesiastical costumes, celebrating non?Muslim festivals, all of which indicate adherence to a different religion. Ibn Taimiyah explained all this in detail in his book: Iqti'al Sirat al Mustaqim fi Mukhalafat Ahl al Jahim. With the exception of such conspicuous matters, judgment is made on the basis of intention and purpose. If a Muslim deliberately imitates the kuffar, he would be held blameworthy on the basis of his intention. But if a person unintentionally does things which the kuffar do, or chooses something which is easier for him, or for his job such as wearing the "overalls" by a factory worker or an engineer, he is not to be held blameworthy. Nonetheless, it is more becoming of a Muslim to distinguish himself from non?Muslims in all material and spiritual matters to the best of his ability. The gist of the matter is that wearing a short thawb is more desirable' but wearing a long one is not prohibited if it is just a habit and is not meant to show arrogance, as has already been pointed out. All the examples given above pertain to purely personal behavior. In that capacity they are less serious than the issues related to the community as a whole, the affairs of the state, and international relations which are more complex and constitute a danger to the community, the state, and humanity at large in the absence of an insightful jurisprudence which takes into consideration the proper dimensions of human needs and social interests. When we ca]l for the resumption of a true Islamic lifestyle and the establishment of a truly Islamic society led by an Islamic state, we must recognize the fact that we live in a world in which human relations are interrelated and complex, ideologies are numerous, distances are shrinking, and barriers are beginning to collapse. It is a world that has become smaller than ever before due to unprecedented technological progress We must also take into consideration the fact that the community includes the powerful and the weak, men and women, adults and children, the righteous and the transgressor. This diversity must be taken into consideration when we seek to guide, legislate, or give fatiawa. A Muslim who seeks Allah's pleasure may choose to place restrictions on himself and stick to the most extreme and cautious opinions in his endeavor. He can deprive himself of all the means of entertainment such as singing, music, photography, television, etc. But can any modern state afford to do without these? Can any effective journalism do without photography? Can any ministry of Interior?or passport office, immigration or traffic department-or an educational institution do without photography which has become the most important means of discovering and preventing crimes and forgery? Can any contemporary state ignore the times it exists in and deprive its subjects of the invaluable services of television and rely only on the radio, on the grounds that television depends upon photography which is haram as some students of "religious education" argue these days? In short, what I wish to emphasize here is that a person's restrictions on himself may be tolerated and accepted, but it would be intolerable and indeed unacceptable to force these restrictions upon the various groups in the community as a whole. The Prophet said: Whoever leads people in salah should shorten it because among them are the weak, the old, and those who have business to attend to. This guidance on leading people in salah is also applicable to leading people in any aspect of life. One of the most serious problems is the failure of some religious people to take account the fact that the ahkam of Shaniah are not equally important or permanent, and therefore different interpretations can be permitted. There are hypothetical judgments which mainly deal with transactions, customs' and manners. These are open to ijtihad. Disagreement-based on authentic ijtihad-on these issues represents no harm or threat. On the contrary, it is a blessing on the Ummah, and demonstrates flexibility in Shariah and a spaciousness in fiqh. There were indeed differences of opinion and disagreement among the Prophet's companions (RA'A)-as well as their successors ? on various issues. But such disagreement never caused or created ill?feelings or disunity among them. On the other hand, there are a.hkam dealing with matters of faith, belief, and 'ibadah which are firmly established in the Qurian and Sunnah and ijma'(consesus), and which have become definitive and categorical. Although they are not requirements of din, they represent the intellectual and behavioral unity of the Ummah. Deviation from these ahkam is a deviation from Sunnah: it is sinfulness, prohibited bida (innovation), and could lead to kufr. In addition, there are those a,hkam which must be necessarily known and obvious toall people, learned or otherwise. Rejection of these ahkam is a clear denial of Allah (SWT) and of His Prophet (.SA'AS). There should be differention between ahkam based on fundamental or subsidiary issues, whether proven textually or by ijtihad; there should also be differentiation between the categorial and the hypothetical ahkam in texts, and between the necessary and the unecessary ahkam in din. Each has its status. Our great fuqaha have differed widely in their interpretation of some issues, and one can indeed ftnd various opinions on a single issue. There is disagreement, for example, on the heinous sin of murdering a Muslim under duress. Should the punishment fall upon the murderer or upon one who compelled him to do it? or should it fall upon both or neither, since the crime was not completely premeditated and committed by a single person? All these possibilities were voiced and supported by some fuqaha' Even within each madhhab we find different opinions, narrations, ways, and approaches among the 'ulama' Suffice it to say that the subject of that disagreement within Imam Ahmad's madhhab-which is established on and follows tradition-has included enough opinions and narration to fill a twelve?volume book, al In.saf fi al Rajih min al Khilaf. In view of this, young Muslims should be fully aware of the issues which are open to disagreement and those which are not. But more importantly' they should know the standard norms of behavior practised in settling differences and disagreements. They must learn adab al khilaf (ethics of disagreement),'! which we have inherited from our a'immah and 'ulama' We must learn from them how to be open?minded and tolerant toward those with whom we disagree about subsidiary religious matters. How can we differ and disagree yet remain united brothers who love and respect each other and who refrain from exchanging accusations? First of all, we must realize that disagreements on marginal and subsidiary matters and issues are natural. There is indeed a Divine wisdom in making a few a,hkam in Shari'ah categorical in both their definitiveness and meaning, and in making hypothetical ones which constitute the bulk of a,hkam and on which there is broad scope for fruitful disagreement. It is a blessing that Allah (SWT) has bestowed on some Muslim ulama' the ability to ascertain, to examine closely, and to decide on matters of disagreement without prejudice against any madhhab or opinion. These include the following a'immah: Ibn Daqiq al 'Id, Ibn Taymiyah, Ibn Qayyim, Ibn Kathir, Ibn Hajar al 'Asqalai, al Dahlawi, al Shawkani, al San'ani, and others. But differences are bound to arise and continue because they are deeply rooted in the nature of man, life, language and -Divine commandment. Attempts to eradicate these differences will fail, because they will actually be battling against human nature, against life, against all sunan. As we have already mentioned, disagreement based on authentic ijtihad which does not create discord or disunity is a blessing for the Ummah and an enrichment of fiqh. Objective disagreement in itself poses no threat if it is coupled with tolerance and openmindedness, and if it is free from fanaticism, accusations, and narrowmindedness. The Prophet's Companions differed among themselves on many issues and practical a,hkam, but they still never condemned one another and had very cordial and strong relations. 'Umar ibn 'Abd al 'Aziz said: "I never wished that the Prophet's companions had rot had disagreements. Their disagreement was a mercy." Different interpretations even emerged during the life of the Prophet (SA'AS). These were sanctioned by him, and he did not single out one party or group for blame. Immediately after the battle of the Akzab, the Prophet (.SAAS) said to his Companions: 'whoever believes in Allah and the Last Day must not perform ,salat al asr until he has reached [the dwellings of] Banu Qurayzah. Some of the Companions found. This practically impossible, and therefore performed salat al Asr before reaching their destination. Others?who were literalists-only performed salah when they reached the dwellings of Banu Qurayzah as the Prophet (SA'AS) had asked them. When the Prophet (SA'AS) was told, he approved of the action of both parties although one of them must have been wrong. This clearly indicates that there is no sin in acting upon an interpretation which is based on solid evidence, sincere genuine intention and ijtihad. Ibn al Qayyim described those who applied the essence of ahadith as Ahl al Qiyas (analogy applicants) and those who applied the letter of a,hadith as Zahiriyah (literalists). Unfortunately, there are people these days who not only assume that they know the whole truth and all the answers, but who also try to coerce other people to follow them, believing that they can eradicate all madhahib and disagreements and unite all people in one single stroke. They tend to forget that their own understanding and interpretation of the texts are no more than hypotheses which may be right or wrong. Moreover, no human (i.e., no 'alim) is infallible, even though he may satisfy all the conditions and requisities of ijtihad. All that is certain is the reward he will obtain for his ijtihad, whether it was right or wrong, should the intention be sincere. Therefore, such people would achieve nothing except the creation of an additional madhhab! It is strange and absurd that while they disapprove of people's adherence to different madhahib, they themselves try to persuade people to imitate them and follow their new madhhab. No one should jump to the conclusion that I reject their call for adherence to the texts or their own interpretations and understanding. This is absolutely the right granted to everyone who can fulfill the conditions of ijtihad and its means. No one has the right to close the gates of ijtihad which were opened by the Prophet (SA'AS) for the whole Ummah What I do reject is their self?presumption, arrogance, vanity, and disregard for the findings of their learned predecessors, their disrespect for the fifh we have inherited from our great forebears. I reject their false claim that they alone are right, as well as their erroneous impression that they can eliminate disparity and disagreement and unite people on one opinion-their own. One of the followers of this "one?opinion" school asked me once why all Muslims should not agree on the juristic opinion supported by the text I replied that the text first has to be authentic and accepted by all, its meaning has to be plain, and it should not be contradicted by another text, whether stonger or similar in evidence. There should be full agreement as regards the three preceding points. A text may be regarded as authentic by an imam, but another imam may see it as weak or as authentic but without proven evidence justifying its given meaning; a text may be regarded as general by an imam but as particular by another, or it may be seen as absolute or restricted; it may also be regarded as categorrical or abrogated. Such variance leads to producing different ahkam i.e. something may be wajib or haram, mustahabb or makruh. In short all these difference fall within the considerations pointed out by Ibn Taymiyah in his book, Raf al Malam an al A'immat al A'lam, and mentioned by Waliy Allah al Dahlaw' in his book, .Hujjat Allah al Balighah, and in his, al Insaf fi Asbab al Ikhtilaf, and detailed by al Shaykn 'Al. al Khafif in his book, Asbab Ikhtilaf al Fuqaha' Let us consider the following ahadah: 1. "Any woman who wears a gold necklace will be made to wear a similar one [made] of fire on the Day of Judgment. And any woman who wears gold earrings will have a similar one [made of fire] on the Day of Judgment. 2. "Whoever desires his beloved to wear a ring [made] of fire [on the Day of Judgment], let him give him [her] [to wear] a gold ring. And whoever desires his beloved to wear a necklace [made] of fire [on the Day of Judgment], let him give him [her] [to wear] a gold necklace. And whoever desires his beloved to wear a bracelet [made] of fire [on the Day of Judgment], let him give him [her][to wear] a gold bracelet. But you can do whatever you please with silver. 3. It is also related by Thawban (RA'A) that the Prophet (SA'AS) warned his daughter Fatimah (RA'A) against wearing a gold chain. In response, she sold it, bought a slave with the money, and set him free. When the Prophet (SA'AS) was told of this, he said: "Thanks to Allah (SWT) who rescued Fatimah from the Fire. Justists have different attitudes toward these ahadith: 1. Some have examined their isnad and, finding them weak, rejected them and considered them insufficiant for prohibition, which requires clear cut evidence and careful investigation, especially with respect to matters of general concern and which Muslims have generally accepted. 2. Others have agreed that the isnad is correct but that the ahadith have been revoked because other evidence in other sources have permitted women to adorn themselves with gold. Al Bayhaqi and others have reported the consensus on this matter which has been accepted in fiqh and become a standard practice. 3. Some considered the ahadith applicable to those who have not given zakah on the gold they have, basing their opinion on other ahadith which have not, themselves, escaped criticism. Furthermore. zakah on women's jewellery is a subject of disagreement among the different madhahib. 4. Some jusrists argue that these ahaith seek to warn women who vainly adorn themselves with gold, deliberately intending to draw attention to their wealth. Al Nasal also reported some ahadith which are relevant to this issue under the title: Bab al Karahiyah li al Nisa'.fi Ihar Hilal Dhahab (Disapproval of Women's Display of Golden Jewelry). Other jurists say that they are related only to excessive adornment out of vanity or pride. 5. In our own times, Shaykh Nasir al Din al Albani has come out with an opinion different from the consensus on permitting women to adorn themselves with gold, which has been accepted by all madhahib for the last fourteen centuries. He not only believes that the isnad of these ahadith is authentic, but that these texts are categorical in this matter; i.e. prohibiting gold rings and earrings. In this he disagreed with the consensus of the fiqh of all madhahib and the practice of the Ummah throughout the past fourteen hundred years. Has the existence of these ahadith prevented disagreement on their authenticity or guidance? Can the modern "traditionalist school" eradicate disagreement and unite all people on one opinion on the basis of ahadith or a tradition which they use as evidence? The answer is clear enough: people will continue to disagree and differ amongst themselves, and this will, in shaa Allah, pose no danger or problem. Allah ta 'ala says: "To each is a goal to which Allah turns him". In this respect, I feel inclined to admit that the religious leader who, in this age, has understood the essence and ethics of disagreements was hasan al Banna (d. 1949). He brought up his followers to believe in and adhere to these ethics. Despite his unflinching commitment to the cause of Muslim solidarity and his sincere efforts to unite the various Muslim groups and make them agree at least on minimum Islamic concepts and principals, as is clear from his own known work al Usul al 'Ishrun, he was convinced of the inevitability of disagreement on the subsidiary issues and the practical ahkam of Islam. This he has eloquently discussed in many of his messages which have proved to be useful In Dawatuna (Our Da'wah), al Banna spoke of the characteristics of his da'wah as being general ones which neither patronize a particular sect nor advocate a particular line of thought. Interest is in the core of din and its essence; it hopes that all endeavors are united so that a more fruitful work can be done to produce greater results; it supports truth everywhere; it likes consensus and dislikes eccentricity; it attributes a great deal of the mishaps which have befallen Muslims to misguided disagreement and to disunity; it believes that love and unity are the major factor of their victories, and that the only hope for invigorating and revitalizing the present?day Ummah lies in reviving and adopting the practice of the early generations of Muslims. But, in spite of his strong belief in the necessity of unity and dislike of disunity, al Banna wrote: We believe that disagreements on subsidiary religious issues are inevitable for various reasons, the most important of which are: Intellectual differences resulting from the level of intelligence and depth of knowledge, the multiplicity and interrelatedness of the facts, and the inherent ambiguities of the Arabic language which are bound to affect the interpretation of the texts. In all these people are different, and therefore disagreement is inevitable. The abundance of the sources of knowledge in some parts of the Islamic world and their scarcity in other places is also an important factor. Malik said to Abu Ja'far: "The Prophet's companions scattered into remote regions, each group possessing specific knowledge. If you were to force them to follow one opinion you would create fitnah. There are also cultural differences. Al Shafi'i (RA'A) used to give different fatawa in accordance with the different conditions prevailing in Iraq and in Egypt. In both cases he used to base his verdict upon what he believed to be truth. The opinion of the imam toward the narrator is another factor. One imam may consider a narrator fully reliable, but another may have doubts about the same narrator and consequently refrain from taking what he has transmitted in full confidence. Also, a cause of difference lies in assessing the evidence of ahkam; some give precedence to people's practices over ahadith narrated through by one single narrator, etc. For these reasons we believe that a consensus on subsidiary religious matters is not only impossible but incompatible with the nature of din, because such a demand is bound to generate rigidity and excessiveness, which are contrary to the Islamic imperatives of flexibility, facilitation, and simplicity. Doubtless, these virtues will enable Islam to meet the requirements of all times. Furthermore, we understand the reasons of those who disagree with us on subsidiary and marginal issues. Such disagreement does not affect our mutual love or cooperation, as we are all contained within the comprehensiveness of Islam. Aren't we all Muslim, required to like for our Muslim brothers what we like for ourselves? Why disagreement then, and why cannot each of us have our different opinions, and also try to reach an agreement, if possible, in an atmosphere of candor and love? The companions of the Prophet (SA'AS) had disagreed in fatwa, but that did not create any disunity or rupture. The incident of the salah and Banu Qurayzah is a case in point. If these who have known the ahkam better than us have had their disagreements, isn't it absurd that we maliciously disagree with each other on frivolous matters? If our a'immah, who more than any one else know the Qur'an and Sunnah, have had their disagreements and their debates, why cannot we do the same? If there was disagreement on even clear and well?known subsidiary issues, such as the five?times?a?day adhan, which were supported by texts and by tradition, what about the more delicate issues which are subject to opinion and deduction? We also need to remember that during the time of the Caliphate, disagreements were referred to, and settled by, the Caliph. Since there are no caliphs these days, Muslims must find a judge to which they can refer their case. Otherwise, their disagreement will lead to another disagreement. Finally, our brothers are fully aware of all this and have consequently more patience and open?mindedness. They believe that each group of people has specific knowledge and that in each da'wah there are elements of truth as well as falsity. They carefully investigate the truth and accept it, and they try with amicability to convince those who are wrong. If the latter are convinced it is indeed very good, but if they are not they remain our Muslim brothers. We ask Allah to guide us and to guide them. The above is a brief summary of Imam al Bannas views on juristic disagreements and his attitude toward them. It clearly shows his deep knowledge of Islam, of history, and of reality. I would also like to relate an ancident in al Bannas life-which could have been the experience of other 'ulama'as well-to illustrate these concepts and views. One day during Ramadan, al Banna was invited to deliver a lecture in a small village in Egypt. The people in that village were divided into two groups which held different opinions regarding the number of raka 'at in salat al tarawih. One group argued that according to the tradition of' Umar ibn al Khattab (RA'A), they should be twenty. The other group insisted that they must be eight, maintaining that it was known that the Prophet (SA'AS) never exceeded this number at any time. Accordingly, each group accused the other of bidah, and their disagreement reached a dangerous level, almost leading to open physical conflict. When al Banna arrived they agreed to refer the matter to him. The way he handled this event is instructive to all of us. He first asked: "What is the juristic status of salat al tarawih?" The answer was: "A sunnah, and those who perform it are rewarded, those who do not are not punished." He then asked: "And what is the juristic status of brotherhood among Muslims?" The people replied: "fard [Obligatory], and it is one of the fundamentals of Iman." He then concluded: "Is it therefore logical or permissible according to Shariah to abandon afard for a sunnah?. He then told them that if they preserved their brotherhood and unity and each went home and performed salat al tarawIh according to his own genuine conviction, it would indeed be far better then arguing and quarreling. When I mentioned this to some people, they said that al Bannas action was evasive?an escape from the truth, i.e., from pointing out the difference between a sunnah and a bidah. This, they insisted, is the duty of a Muslim. I replied that this is a matter where there is room for different opinions, and that although I perform eight raka 'at, I do not accuse those performing twenty of bidah. They persisted that making a decision on such matters is a duty which a Muslim must not evade. I insisted that this is true when the choice is between halal and haram, but in matters on which the juristic schools of thought have had their disagreements and, consequently, each one of us his own view, there is no need for bigotry or zealotry. Many fair Muslim ulama have clearly sanctioned this. The following quotation is from one of the .Hanabilah books entitled Sharh Ghayat al Muntaha: Whoever rejects an opinion reached by ijtihad does so because of his ignorance of the status of the mujtahidun who will be rewarded, be they right or wrong, for their laborious, timeconsuming findings in this respect. Those who follow them commit no sin, because Allah has ordained for each of them that to which his ijtihad had led him, and which becomes part of the Shariiah in that respect. There is an example in the permission to eat, out of dire necessity only, the meat of a dead animal. However, this is prohibited for a person who deliberately chooses to do so. Both of these are wellestablished juristic verdicts. Ibn Taymiyah says in al Fatawa al Misriyah: Consideration of unity [among Muslims] is the right course. The basmalah can be uttered loudly to fulfill a commendable interest. It is also advisable to abandon the preferable in order to create harmony and intimacy, just as the Prophet (SA'AS) gave up the re?building of the Ka'bah [on the foundations laid down by Ibrahim] so as not to alienate 1the people of Makkah]. The a immah, like Imam Ahmad, are of this opinion with regard to the basmalah, to replace the preferable with the acceptable in order to preserve unity. Ibn Taymiyah referred to the following hadith with regard to the building of the Ka'bah. The Prophet (SA'AS) said to 'Aishah (RA'A): "Had your ople not been in jahilyah (the attitudes and mentality of pre?Islamic time) until recently, I would have rebuilt the Ka'bah on the foundations [laid] by Ibrahim." Ibn al Qayyim also discussed the issue of qunut in Salat alfujr. Some people have considered qunut as bidah, others as supererogatory to be practised in times of hardships as well as other times. In his book Zad a1 Ma'ad, he argues that the Prophet's Sunnah sanctions qunut during the times of hardship, and that this has been accepted by hadith scholars who follow what the Prophet (SA'AS) did. They therefore did qanut at the times the Prophet (SA'AS) is known to have done qunut and abstained from it at the times he is known to have abstained from qunut They see qunut as a sunnah and abstaining from it as also a sunnah Therefore they neither object to those who continually do qanut or to those who abstain from it, and they do not consider it bidah. Ibn al Qayyim writes: A proper posture to ask Allah's blessings and to offer thanks to Him is when a person stands up after kneeling in Salah. The Prophet (SA'AS) did both in this posture. It is acceptable for the imam to utter qunut prayers these loudly so that the people behind him can hear. 'Umar ibn al Khatt.ab raised his voice when reciting the Fatihah, and so did Ibn 'Abbas during the salah for the dead in order to let people know that it is sunnah to do so. Such practices are subject to acceptable disagreement; neither those who do them nor those who refrain are blameworthy: the same applies to raising the hands during Salah, the various ways of tashahhud, adhan, iqamah, as well as the types of hajj as ifrad, qiran and tamattu' Our purpose is only to mention the Prophet's Sunnah, which is our guiding principle in this book and which we seek to investigate. Having said that, I wish to point out that I have not tried to deal with what is permissible and what is not. Our concern is with the permissible practice which the Prophet (SA'AS) used to choose for himself, and which is the best and most perfect. If we say that there is no indication in his Sunnah that he consistently performed qunut during Salat ul Fajr or uttered the basmalah loudly, this does not mean or indicate that we should consider consistency in performing them as makruh? or bidah. It only means that his guidance is the best and most perfect. Moreover, an individual is permitted to continue his salah behind an imam of a different madhhab even if he believes that the latter has done something which nullifies his ablution, or makes his salah nugatory, if the imam's madhhab permits that. Ibn Taymiyah says in al Fawakih al Adidah: Muslims are unanimous on the admissibility of performing Salah behind each other as was the practice of the Companions and the Tabi'un, as well as that of the four great jurists of Islam. Whoever rejects this practice is a straying mabtadi' who deviates from the teaching of the Quran, Sunnah, and the consensus of the Muslims. Although some of the companions and the Tabiun uttered the basmalah loudly and other did not, they nevertheless continued to perform Salah behind each other. So did Abu Hanifah and his followers, as well as al Shafi'i and others who used to perform salah behind the Malikiyah in Madinah, although the latter did not utter the basmalah, neither loudly nor in their hearts. It is said that Abu Yusuf performed Salah behind al Rashid who had been cupped.'9 Because al Imam Malik has given afatwa that there is no need to renew ablutions in thicase, Abu Yusuf continued his salah behind al Rashid. However, Ahmad ibn Hanbal was of the opinion that ablution must be done after cupping and nosebleeding. Confronted with a hypothetical situation whether a member of the congregation who notices a discharge of blood from the imam, who does not renew his ablution, should continue his Salah behind him, Ibn Hanbal said: "It is inconceivable not to perform Salah behind Said ibn al Musayyab and Malik." He then added that there are two considerations in this issue: (1) If the man is not aware of anything that invalidates the imam's Salah he should continue behind him. This is agreed upon by the forebears and the four great jurists; and (2) If he was sure that the imam has done something which renders him impure, such as touching his genitals or women out of sexual desire, cupping or vomiting, and did not renew his ablution, he then must act according to his best judgment, because this is an issue about which there is a great deal of disagreement. The majority of our forebears are of the opinion that the salah of those behind such an imam is valid. This is the opinion of Malik's madhhab, but a second opinion in al Shafi is and Abu Hanifah's. Most of Ahmad's texts support this opinion, which is the correct one.
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16:35:34 09/08/09
I'm Too Busy To Date Your Avatar!
[LESS INFO] 0 VIEWS | ADDED 16:35:34 09/08/09
[***Download the music-only mix or a version with dialog for US$ 0.99 each at http://www.reverbnation.com/pooky ***] Pooky & The TuneBugs - a new band comprised of Second Life talkshow Goddess Pooky Amsterdam and her gaggle of Tinies - launch with this ground breaking ?ber-hot music video. In collaboration with machinimator Draxtor Despres and German House/Electronica producer Samuel's Dream, this response to The Guild's "Date My Avatar" takes on heavy-duty themes like lonliness and redemption as well as commenting on general issues of virtual celebrity. Yes, the gauntlet is thrown down! Send us a message in SL to obtain a FREE high resolution version of the video (or one for you iPhone viewing pleasure). Merchandise? Yes we do! http://www.zazzle.com/pookymedia Support SL celebrity! Download/Purchase NOW!!
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10:52:14 07/10/09
The Road Hole St Andrews - John Boyne Ep 9 Pt 3
[LESS INFO] 4 VIEWS | ADDED 10:52:14 07/10/09
In this episode I am joined by registered Old Course caddie John Boyne and he explains to me what life is like as a caddie here in St Andrews and talks me through how to play the famous 17th “Road Hole” on the Old Course.
This video was made possible by the kind assistance of Mike Woodcock at The Links Trust . Visit StAndrewslinks.Allianz.com to see Mike in the Working at the Home of Golf section under Community.
Life as an Old Course Caddie
John is in his 8th season as an Old Course caddie, having started purely by accident back in 2002. He explained to me how his wife encouraged him to join a caddie program she saw advertised in a golf magazine, which was organized by the Caddie Master at the Old Course. John signed up, completed a 4 day training course and 8 years on he is enjoying caddying on the Old Course for up to 160 rounds a year.
The Old Course caddies’ season begins properly in mid-May, which is when I shot this episode. From May through to the end of October, the main golf season at the Old Course, the caddies work full-on typically doing 36 holes a day. John told me that as well as himself, the St Andrews Links Trust has 132 caddies who are working for them this year on the Old Course as well as caddying on the other six St Andrews Links courses which are also open to the public. Caddies are all self-employed and some of them work 11 rounds a week. When winter descends on St Andrews and the Old Course becomes less busy many of these caddies jet off to Naples in Florida or Las Vegas to caddie for 5 months.
I followed John down to the Caddie Pavilion on the Old Course, which is a second home to the caddies. They spend the first part of their day there until they are booked to go out caddying. In the high season the first tee time on the Old Course is 6.30am and thus caddies are often seen arriving an hour beforehand.
John explained to me that he feels very privileged to work as a caddie on the Old Course. Besides helping him stay in good physical condition, it also has other perks. Every day he gets the chance to meet lots of different people from all over the world who come to play the most famous golf course in Scotland. The stories which John shared with me during the filming of this episode about people he has caddied for are both amusing and give an invaluable insight into life as an Old Course caddie.
Some golfers John has caddied for come back on repeat visits to play the Old Course. During the 4.5 hours out on those hallowed grounds it’s easy to see how friendships are forged and John told me that that many golfers keep in contact with him throughout the year. He believes that when you visit Scotland life and golf are inextricably linked together.
After years of being asked by golfers for his recommendations on where to stay and where to play golf in St Andrews John started up his own golf tour company at CaddieGolfTours.com . He offers straightforward honest advice, for a very reasonable fee, about accommodation to suit your budget and his tips on how to get onto St Andrews’ golf courses as quickly as possible. John also offers information on booking golf vacations in other parts of Scotland too.
If you ever visit St Andrews to play the Old Course I highly recommend hiring a caddie before setting foot onto that infamous first tee. A knowledgeable caddie like John can help you to take at least five shots off your game with his reads, club selection, target strategies and lines off the tees on this championship course. A caddie can also assist in protecting your score by helping you deal with the legendary windy weather which many experience on this course.
John offers more useful information about playing at St Andrews on his web site here.
The Road Hole
Having caddied on the Old Course so regularly John is definitely experienced enough to be able to point out to myself, and my viewers, how we can avoid the many traps on the Old Course which have ruined the scores of many golfers in their first encounter with it.
So in this episode John concentrated on the challenging 17th hole, the most famous par 4 in the world, and talked me through the best strategy for playing it.
The Road Hole, so called because of the old turnpike road which forms a boundary on the right side, is arguably one of the toughest holes in golf and it’s seen by many as the most difficult hole on the Old Course. At 461 yards it is listed as a par 4 on the scorecard but it is actually only 14 yards short of par 5 distance. John told me that during previous Opens Nick Faldo consistently played this hole as a par 5, as do many local golfers.
This hole has witnessed a lot of dramas during the 27 Open Championships which have been played here at the Old Course.
Teeing Off
John says that there is always great excitement amongst players on the 17th tee, and that for every different foursome he is caddying for, something dramatic always happens on this hole.
Most players are thinking about their strategy for the 17th hole as they are walking down the 2nd fairway because as they get to the 2nd green they can see the 17th tee, which is adjacent. John told me that many players are worrying that in 3.5 hrs they are going to be playing the 17th, one of the most famous golf holes in the world. He explained that by the time a player gets to the 17th tee he has found that mentally they are pretty screwed up, especially for those not used to links golf courses.
The old railway tram shed (which has been rebuilt since its original installation) has remained over the years as a perfect aiming point for driving off of the 17th tee on the Old Course. A sign with the words “OLD COURSE HOTEL” is fixed to the side of the shed (which houses offices belonging to the Old Course Hotel). The Old Course Hotel and The Jigger Inn both run alongside the 17th hole fairway.
John’s advice for teeing off is to play an aggressive line - play outside the word “HOTEL” on the sign, going quite close to the face of the hotel. He told me that it’s a 200 - 220 yard carry to get onto the fairway from there, so he has to be pretty confident about the ability of the golfer he is caddying before he recommends this to them. It is aggressive but it pays off. You definitely have to trust your swing here because you can’t see the landing area. As John says it’s a shot of blind faith!
If he is with a confident golfer John takes them over the “L” of “HOTEL” on the sign and maybe even another 2 or 3 yards to the right of that. He explains it’s a very tight shot but professionals are going to hit the ball 280 - 290 yards consistently so will be on the fairway and will be in perfect position for the approach shot to the green. They go over the green sheds and garden, over the conservatory of the Old Course Hotel and then into landing area opposite the Jigger Inn. He says the braver you are the tighter you can go to the hotel. It is a big carry but the rewards are extraordinary for the entrance into the green. It’s definitely a shot that needs a bit of courage!
John told me that he always enjoys a fade as a shot on this tee but that he has also seen a lot of golfers play a draw. A draw takes you to the left rough. The fade takes you into the fairway, going round from the left, trying to land centre and right of centre on the fairway will give you a good shot into the green. If like 70% of the golfers John has caddied for you have a fade, John says this hole was made for you!
John also reminisced with me about back in the 70s when he remembered Jack Nicklaus hitting his ball across the roofs of the train sheds during the Open. The Old Course Hotel and sheds were constructioned in the late 1960s early 70s and not in the mid 80s as mentioned in the video.
One of John’s fun stories he shared with me about this hole was when he asked a Japanese golfer he was caddying for to play over the word “HOTEL” on the sign. Somehow his words got lost in translation and the golfer hit the ball right over the roof of the Old Course Hotel into the car park!!!
I highly recommend reading this article on the 17th hole by John and in particular R.T. Jones' account of a Walker Cup match in 1926
Approach Shots
John also showed me the more realistic landing area where the majority of players hit their tee shot to. Typically they end up on the left side of the fairway in the rough which is thick and tangled, which makes it tough. John explained that it’s extremely difficult from this position to get onto the green. He told me that even professionals will leave their 2nd shot short, on purpose, to have a option to play a chip and run onto the green or a long putt.
Hitting Off The Road!
Hopefully if you have followed John’s tips up to this stage you can avoid your ball landing on the path, road or rock wall which are to the right hand side of the 17th fairway and green. If not you might just have to hit your ball off of tarmac! The ball must be played as it lies on this hole. John took me onto the road of this hole and offered advice for players from this position. He recommends a 4 or 5 iron to be hit quite hard to get up the bank from this position to get onto the 17th green. John told me that in the early 80s during the Open Tom Watson overcooked his 2 iron and landed 6 or 7 inches from the rock wall so he had no shot. Thus he turned around, hit the ball against the wall and luckily it careered and bounced up onto the green. He says that during his time on the Old Course he has seen this shot done many times and it does work.
Bunkers
John pointed out that the bunkers short of the green in the left rough rarely come into play. They did however in the 2007 Ladies Open when Lorena Ochoa ended up in one.
The Road Hole bunker has been known to destroy many rounds on the Old Course, including David Duval's Open fight in 2000 (admittedly he was being agressive to close the lead) and Tommy Nakajima in 1978. John told me that some golfers he caddies for hit their shot into the bunker on the 17th deliberately because they want to take a crack at getting out of it. If you are unfortunate enough to end up in the Raod Hole Bunker John outlines some damage limitation tactics to keep your score down.
On The Green
The 17th has a thin deceptive green. On the day we filmed this episode the pin had been placed favorably but John told me that was not always the case. He pointed out too that the green has a slight tilt on the right which feeds the ball quite gently down to the pin.
As links golf has no great depth perception because it is so flat John told me it is hard to judge distances on a green like this for putting. This can be especially difficult on the 17th when you could have a really long putt. That is why John always recommends someone attending the flag on the green to give some depth perception for the player.
Overall John warned me that you have to use flexibility and imagination to play this hole and be prepared for anything to happen! Have fun.
More on Old Course caddy John Boyne
Website: CaddieGolfTours.com
Blog: http://wwwcaddiegolftours.blogspot.com/
Tour Enquiries: Click here for John to contact you personally
Email: john@caddiegolftours.com (If you enjoyed this video please email John to say so, many thanks)
Finally, the Question of the Day:
What is your favorite Open Championship Hole? Leave your comments below and we’ll have fun reading them!
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10:52:14 07/10/09
The Road Hole St Andrews - John Boyne Ep 9 Pt 3
[LESS INFO] 0 VIEWS | ADDED 10:52:14 07/10/09
In this episode I am joined by registered Old Course caddie John Boyne and he explains to me what life is like as a caddie here in St Andrews and talks me through how to play the famous 17th “Road Hole” on the Old Course.This video was made possible by the kind assistance of Mike Woodcock at The Links Trust. Visit StAndrewslinks.Allianz.com to see Mike in the Working at the Home of Golf section under Community. Life as an Old Course CaddieJohn is in his 8th season as an Old Course caddie, having started purely by accident back in 2002. He explained to me how his wife encouraged him to join a caddie program she saw advertised in a golf magazine, which was organized by the Caddie Master at the Old Course. John signed up, completed a 4 day training course and 8 years on he is enjoying caddying on the Old Course for up to 160 rounds a year.The Old Course caddies’ season begins properly in mid-May, which is when I shot this episode. From May through to the end of October, the main golf season at the Old Course, the caddies work full-on typically doing 36 holes a day. John told me that as well as himself, the St Andrews Links Trust has 132 caddies who are working for them this year on the Old Course as well as caddying on the other six St Andrews Links courses which are also open to the public. Caddies are all self-employed and some of them work 11 rounds a week. When winter descends on St Andrews and the Old Course becomes less busy many of these caddies jet off to Naples in Florida or Las Vegas to caddie for 5 months. I followed John down to the Caddie Pavilion on the Old Course, which is a second home to the caddies. They spend the first part of their day there until they are booked to go out caddying. In the high season the first tee time on the Old Course is 6.30am and thus caddies are often seen arriving an hour beforehand.John explained to me that he feels very privileged to work as a caddie on the Old Course. Besides helping him stay in good physical condition, it also has other perks. Every day he gets the chance to meet lots of different people from all over the world who come to play the most famous golf course in Scotland. The stories which John shared with me during the filming of this episode about people he has caddied for are both amusing and give an invaluable insight into life as an Old Course caddie. Some golfers John has caddied for come back on repeat visits to play the Old Course. During the 4.5 hours out on those hallowed grounds it’s easy to see how friendships are forged and John told me that that many golfers keep in contact with him throughout the year. He believes that when you visit Scotland life and golf are inextricably linked together.After years of being asked by golfers for his recommendations on where to stay and where to play golf in St Andrews John started up his own golf tour company at CaddieGolfTours.com. He offers straightforward honest advice, for a very reasonable fee, about accommodation to suit your budget and his tips on how to get onto St Andrews’ golf courses as quickly as possible. John also offers information on booking golf vacations in other parts of Scotland too. If you ever visit St Andrews to play the Old Course I highly recommend hiring a caddie before setting foot onto that infamous first tee. A knowledgeable caddie like John can help you to take at least five shots off your game with his reads, club selection, target strategies and lines off the tees on this championship course. A caddie can also assist in protecting your score by helping you deal with the legendary windy weather which many experience on this course. John offers more useful information about playing at St Andrews on his web site here.The Road HoleHaving caddied on the Old Course so regularly John is definitely experienced enough to be able to point out to myself, and my viewers, how we can avoid the many traps on the Old Course which have ruined the scores of many golfers in their first encounter with it. So in this episode John concentrated on the challenging 17th hole, the most famous par 4 in the world, and talked me through the best strategy for playing it.The Road Hole, so called because of the old turnpike road which forms a boundary on the right side, is arguably one of the toughest holes in golf and it’s seen by many as the most difficult hole on the Old Course. At 461 yards it is listed as a par 4 on the scorecard but it is actually only 14 yards short of par 5 distance. John told me that during previous Opens Nick Faldo consistently played this hole as a par 5, as do many local golfers.This hole has witnessed a lot of dramas during the 27 Open Championships which have been played here at the Old Course.Teeing OffJohn says that there is always great excitement amongst players on the 17th tee, and that for every different foursome he is caddying for, something dramatic always happens on this hole. Most players are thinking about their strategy for the 17th hole as they are walking down the 2nd fairway because as they get to the 2nd green they can see the 17th tee, which is adjacent. John told me that many players are worrying that in 3.5 hrs they are going to be playing the 17th, one of the most famous golf holes in the world. He explained that by the time a player gets to the 17th tee he has found that mentally they are pretty screwed up, especially for those not used to links golf courses.The old railway tram shed (which has been rebuilt since its original installation) has remained over the years as a perfect aiming point for driving off of the 17th tee on the Old Course. A sign with the words “OLD COURSE HOTEL” is fixed to the side of the shed (which houses offices belonging to the Old Course Hotel). The Old Course Hotel and The Jigger Inn both run alongside the 17th hole fairway.John’s advice for teeing off is to play an aggressive line - play outside the word “HOTEL” on the sign, going quite close to the face of the hotel. He told me that it’s a 200 - 220 yard carry to get onto the fairway from there, so he has to be pretty confident about the ability of the golfer he is caddying before he recommends this to them. It is aggressive but it pays off. You definitely have to trust your swing here because you can’t see the landing area. As John says it’s a shot of blind faith! If he is with a confident golfer John takes them over the “L” of “HOTEL” on the sign and maybe even another 2 or 3 yards to the right of that. He explains it’s a very tight shot but professionals are going to hit the ball 280 - 290 yards consistently so will be on the fairway and will be in perfect position for the approach shot to the green. They go over the green sheds and garden, over the conservatory of the Old Course Hotel and then into landing area opposite the Jigger Inn. He says the braver you are the tighter you can go to the hotel. It is a big carry but the rewards are extraordinary for the entrance into the green. It’s definitely a shot that needs a bit of courage!John told me that he always enjoys a fade as a shot on this tee but that he has also seen a lot of golfers play a draw. A draw takes you to the left rough. The fade takes you into the fairway, going round from the left, trying to land centre and right of centre on the fairway will give you a good shot into the green. If like 70% of the golfers John has caddied for you have a fade, John says this hole was made for you!John also reminisced with me about back in the 70s when he remembered Jack Nicklaus hitting his ball across the roofs of the train sheds during the Open. The Old Course Hotel and sheds were constructioned in the late 1960s early 70s and not in the mid 80s as mentioned in the video.One of John’s fun stories he shared with me about this hole was when he asked a Japanese golfer he was caddying for to play over the word “HOTEL” on the sign. Somehow his words got lost in translation and the golfer hit the ball right over the roof of the Old Course Hotel into the car park!!!I highly recommend reading this article on the 17th hole by John and in particular R.T. Jones' account of a Walker Cup match in 1926Approach ShotsJohn also showed me the more realistic landing area where the majority of players hit their tee shot to. Typically they end up on the left side of the fairway in the rough which is thick and tangled, which makes it tough. John explained that it’s extremely difficult from this position to get onto the green. He told me that even professionals will leave their 2nd shot short, on purpose, to have a option to play a chip and run onto the green or a long putt. Hitting Off The Road!Hopefully if you have followed John’s tips up to this stage you can avoid your ball landing on the path, road or rock wall which are to the right hand side of the 17th fairway and green. If not you might just have to hit your ball off of tarmac! The ball must be played as it lies on this hole. John took me onto the road of this hole and offered advice for players from this position. He recommends a 4 or 5 iron to be hit quite hard to get up the bank from this position to get onto the 17th green. John told me that in the early 80s during the Open Tom Watson overcooked his 2 iron and landed 6 or 7 inches from the rock wall so he had no shot. Thus he turned around, hit the ball against the wall and luckily it careered and bounced up onto the green. He says that during his time on the Old Course he has seen this shot done many times and it does work.BunkersJohn pointed out that the bunkers short of the green in the left rough rarely come into play. They did however in the 2007 Ladies Open when Lorena Ochoa ended up in one.The Road Hole bunker has been known to destroy many rounds on the Old Course, including David Duval's Open fight in 2000 (admittedly he was being agressive to close the lead) and Tommy Nakajima in 1978. John told me that some golfers he caddies for hit their shot into the bunker on the 17th deliberately because they want to take a crack at getting out of it. If you are unfortunate enough to end up in the Raod Hole Bunker John outlines some damage limitation tactics to keep your score down. On The GreenThe 17th has a thin deceptive green. On the day we filmed this episode the pin had been placed favorably but John told me that was not always the case. He pointed out too that the green has a slight tilt on the right which feeds the ball quite gently down to the pin. As links golf has no great depth perception because it is so flat John told me it is hard to judge distances on a green like this for putting. This can be especially difficult on the 17th when you could have a really long putt. That is why John always recommends someone attending the flag on the green to give some depth perception for the player. Overall John warned me that you have to use flexibility and imagination to play this hole and be prepared for anything to happen! Have fun.More on Old Course caddy John BoyneWebsite: CaddieGolfTours.comBlog: http://wwwcaddiegolftours.blogspot.com/Tour Enquiries: Click here for John to contact you personallyEmail: john@caddiegolftours.com (If you enjoyed this video please email John to say so, many thanks)Finally, the Question of the Day:What is your favorite Open Championship Hole? Leave your comments below and we’ll have fun reading them!
1 Views
02:26:26 07/10/09
The Road Hole St Andrews - John Boyne Ep 9 Pt 2
[LESS INFO] 1 VIEWS | ADDED 02:26:26 07/10/09
In this episode I am joined by registered Old Course caddie John Boyne and he explains to me what life is like as a caddie here in St Andrews and talks me through how to play the famous 17th “Road Hole” on the Old Course.
This video was made possible by the kind assistance of Mike Woodcock at The Links Trust . Visit StAndrewslinks.Allianz.com to see Mike in the Working at the Home of Golf section under Community.
Life as an Old Course Caddie
John is in his 8th season as an Old Course caddie, having started purely by accident back in 2002. He explained to me how his wife encouraged him to join a caddie program she saw advertised in a golf magazine, which was organized by the Caddie Master at the Old Course. John signed up, completed a 4 day training course and 8 years on he is enjoying caddying on the Old Course for up to 160 rounds a year.
The Old Course caddies’ season begins properly in mid-May, which is when I shot this episode. From May through to the end of October, the main golf season at the Old Course, the caddies work full-on typically doing 36 holes a day. John told me that as well as himself, the St Andrews Links Trust has 132 caddies who are working for them this year on the Old Course as well as caddying on the other six St Andrews Links courses which are also open to the public. Caddies are all self-employed and some of them work 11 rounds a week. When winter descends on St Andrews and the Old Course becomes less busy many of these caddies jet off to Naples in Florida or Las Vegas to caddie for 5 months.
I followed John down to the Caddie Pavilion on the Old Course, which is a second home to the caddies. They spend the first part of their day there until they are booked to go out caddying. In the high season the first tee time on the Old Course is 6.30am and thus caddies are often seen arriving an hour beforehand.
John explained to me that he feels very privileged to work as a caddie on the Old Course. Besides helping him stay in good physical condition, it also has other perks. Every day he gets the chance to meet lots of different people from all over the world who come to play the most famous golf course in Scotland. The stories which John shared with me during the filming of this episode about people he has caddied for are both amusing and give an invaluable insight into life as an Old Course caddie.
Some golfers John has caddied for come back on repeat visits to play the Old Course. During the 4.5 hours out on those hallowed grounds it’s easy to see how friendships are forged and John told me that that many golfers keep in contact with him throughout the year. He believes that when you visit Scotland life and golf are inextricably linked together.
After years of being asked by golfers for his recommendations on where to stay and where to play golf in St Andrews John started up his own golf tour company at CaddieGolfTours.com . He offers straightforward honest advice, for a very reasonable fee, about accommodation to suit your budget and his tips on how to get onto St Andrews’ golf courses as quickly as possible. John also offers information on booking golf vacations in other parts of Scotland too.
If you ever visit St Andrews to play the Old Course I highly recommend hiring a caddie before setting foot onto that infamous first tee. A knowledgeable caddie like John can help you to take at least five shots off your game with his reads, club selection, target strategies and lines off the tees on this championship course. A caddie can also assist in protecting your score by helping you deal with the legendary windy weather which many experience on this course.
John offers more useful information about playing at St Andrews on his web site here.
The Road Hole
Having caddied on the Old Course so regularly John is definitely experienced enough to be able to point out to myself, and my viewers, how we can avoid the many traps on the Old Course which have ruined the scores of many golfers in their first encounter with it.
So in this episode John concentrated on the challenging 17th hole, the most famous par 4 in the world, and talked me through the best strategy for playing it.
The Road Hole, so called because of the old turnpike road which forms a boundary on the right side, is arguably one of the toughest holes in golf and it’s seen by many as the most difficult hole on the Old Course. At 461 yards it is listed as a par 4 on the scorecard but it is actually only 14 yards short of par 5 distance. John told me that during previous Opens Nick Faldo consistently played this hole as a par 5, as do many local golfers.
This hole has witnessed a lot of dramas during the 27 Open Championships which have been played here at the Old Course.
Teeing Off
John says that there is always great excitement amongst players on the 17th tee, and that for every different foursome he is caddying for, something dramatic always happens on this hole.
Most players are thinking about their strategy for the 17th hole as they are walking down the 2nd fairway because as they get to the 2nd green they can see the 17th tee, which is adjacent. John told me that many players are worrying that in 3.5 hrs they are going to be playing the 17th, one of the most famous golf holes in the world. He explained that by the time a player gets to the 17th tee he has found that mentally they are pretty screwed up, especially for those not used to links golf courses.
The old railway tram shed (which has been rebuilt since its original installation) has remained over the years as a perfect aiming point for driving off of the 17th tee on the Old Course. A sign with the words “OLD COURSE HOTEL” is fixed to the side of the shed (which houses offices belonging to the Old Course Hotel). The Old Course Hotel and The Jigger Inn both run alongside the 17th hole fairway.
John’s advice for teeing off is to play an aggressive line - play outside the word “HOTEL” on the sign, going quite close to the face of the hotel. He told me that it’s a 200 - 220 yard carry to get onto the fairway from there, so he has to be pretty confident about the ability of the golfer he is caddying before he recommends this to them. It is aggressive but it pays off. You definitely have to trust your swing here because you can’t see the landing area. As John says it’s a shot of blind faith!
If he is with a confident golfer John takes them over the “L” of “HOTEL” on the sign and maybe even another 2 or 3 yards to the right of that. He explains it’s a very tight shot but professionals are going to hit the ball 280 - 290 yards consistently so will be on the fairway and will be in perfect position for the approach shot to the green. They go over the green sheds and garden, over the conservatory of the Old Course Hotel and then into landing area opposite the Jigger Inn. He says the braver you are the tighter you can go to the hotel. It is a big carry but the rewards are extraordinary for the entrance into the green. It’s definitely a shot that needs a bit of courage!
John told me that he always enjoys a fade as a shot on this tee but that he has also seen a lot of golfers play a draw. A draw takes you to the left rough. The fade takes you into the fairway, going round from the left, trying to land centre and right of centre on the fairway will give you a good shot into the green. If like 70% of the golfers John has caddied for you have a fade, John says this hole was made for you!
John also reminisced with me about back in the 70s when he remembered Jack Nicklaus hitting his ball across the roofs of the train sheds during the Open. The Old Course Hotel and sheds were constructioned in the late 1960s early 70s and not in the mid 80s as mentioned in the video.
One of John’s fun stories he shared with me about this hole was when he asked a Japanese golfer he was caddying for to play over the word “HOTEL” on the sign. Somehow his words got lost in translation and the golfer hit the ball right over the roof of the Old Course Hotel into the car park!!!
I highly recommend reading this article on the 17th hole by John and in particular R.T. Jones' account of a Walker Cup match in 1926
Approach Shots
John also showed me the more realistic landing area where the majority of players hit their tee shot to. Typically they end up on the left side of the fairway in the rough which is thick and tangled, which makes it tough. John explained that it’s extremely difficult from this position to get onto the green. He told me that even professionals will leave their 2nd shot short, on purpose, to have a option to play a chip and run onto the green or a long putt.
Hitting Off The Road!
Hopefully if you have followed John’s tips up to this stage you can avoid your ball landing on the path, road or rock wall which are to the right hand side of the 17th fairway and green. If not you might just have to hit your ball off of tarmac! The ball must be played as it lies on this hole. John took me onto the road of this hole and offered advice for players from this position. He recommends a 4 or 5 iron to be hit quite hard to get up the bank from this position to get onto the 17th green. John told me that in the early 80s during the Open Tom Watson overcooked his 2 iron and landed 6 or 7 inches from the rock wall so he had no shot. Thus he turned around, hit the ball against the wall and luckily it careered and bounced up onto the green. He says that during his time on the Old Course he has seen this shot done many times and it does work.
Bunkers
John pointed out that the bunkers short of the green in the left rough rarely come into play. They did however in the 2007 Ladies Open when Lorena Ochoa ended up in one.
The Road Hole bunker has been known to destroy many rounds on the Old Course, including David Duval's Open fight in 2000 (admittedly he was being agressive to close the lead) and Tommy Nakajima in 1978. John told me that some golfers he caddies for hit their shot into the bunker on the 17th deliberately because they want to take a crack at getting out of it. If you are unfortunate enough to end up in the Raod Hole Bunker John outlines some damage limitation tactics to keep your score down.
On The Green
The 17th has a thin deceptive green. On the day we filmed this episode the pin had been placed favorably but John told me that was not always the case. He pointed out too that the green has a slight tilt on the right which feeds the ball quite gently down to the pin.
As links golf has no great depth perception because it is so flat John told me it is hard to judge distances on a green like this for putting. This can be especially difficult on the 17th when you could have a really long putt. That is why John always recommends someone attending the flag on the green to give some depth perception for the player.
Overall John warned me that you have to use flexibility and imagination to play this hole and be prepared for anything to happen! Have fun.
More on Old Course caddy John Boyne
Website: CaddieGolfTours.com
Blog: http://wwwcaddiegolftours.blogspot.com/
Tour Enquiries: Click here for John to contact you personally
Email: john@caddiegolftours.com (If you enjoyed this video please email John to say so, many thanks)
Finally, the Question of the Day:
What is your favorite Open Championship Hole? Leave your comments below and we’ll have fun reading them!
