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05:09:39 01/14/12
Netroots NY Conference: Film 1 pT 2
[LESS INFO] 0 VIEWS | ADDED 05:09:39 01/14/12
Netroots NY Conference: Film 1 Part 2 of 2 Film 1: Occupy Wall Street: How it Happened. Why it sticks. What's next? AND Wisconsin The Real Story and Can it Happen Here? Netroots New York Conference www.NetrootsNY.org took place on December 17 – 18, 2011 took place at Pace University New York courtesy of Organizing 2.0 and Netroots Nation film and media produced by Abdul Hakim aka Chris of the Activist Nation www.ActivistNation.net CREDITS Charles Lenchner Co-Founder and Principal of Organizing 2.0 State Senator Gustavo Rivera Allison Kilkenny contributing reporter for In These Times and The Nation Biola Jeje Brooklyn College Student Union member and Occupy Wall Street activist Jasiri X rapper and activist Nelini Stamp Working Families Party organizer Jesse LaGraca organizer and activist Justin Krebs civil rights attorney and community leader Harry Weisbren Co-Founder of the Job Party and activist Blue Cheddar Wisconsin blogger and organizer Jenni Dye Wisconsin attorney and progressive activist Filmed with 2 Panasonic HDC-TM90k Camcorders 2 Sony ICD-PX720 Voice Recorders 1 Tascom DR-07 MKII Linear PCM Recorder
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16:00:56 12/29/11
Mitt Romney's Big Promises - and Bigger Lies
[LESS INFO] 6 VIEWS | ADDED 16:00:56 12/29/11
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In the election of 1928, the Republican Party of Herbert Hoover promised voters "a chicken in every pot and a car in every backyard." (We all know how that turned out.) Now, Mitt Romney is pledging that "If I'm President" every college graduate will be guaranteed a job, Iran will have no nuclear weapons and the United States will dominate the 21st century. And when Romney isn't making fantastic promises about what he'll do when he gets to the White House, he's slandering the current occupant , Barack Obama.
"I Won't Let Iran Get Nukes"
Governor Romney's guarantees start with Iran and its nuclear program . In a November 10, 2011 op-ed in the Wall Street Journal, Romney pledged, " I won't let Iran get nukes ." Or as he put it 10 days earlier during a GOP national security debate : >
"If we re-elect Barack Obama, Iran will have a nuclear weapon. If you elect me as president, Iran will not have a nuclear weapon."
As to how he'll ensure that outcome, Romney explained that "If you want peace, prepare for war." And despite occasionally acknowledging the complexity of a strike against Iran and even the questionable possibility of success, Romney told the Wall Street Journal this weekend how he would get it done: >
So what would he do about it? "I do not have a top secret security clearance at this stage to be able to define precisely what kinds of actions we could take." But he adds that "the range includes something of a blockade nature, to something of a surgical strike nature, to something of a decapitate the regime nature, to eliminate the military threat of Iran altogether."
No U.S. Decline in Romney's "American Century"
Romney's promise to "eliminate the military threat of Iran altogether" is just part of his larger assurance that the 21st century will be another " American Century ." Pretending that the rise of India, China and Brazil doesn't inevitably entail the relative loss of U.S. power and influence, Romney announced in his October address at The Citadel : >
"This century must be an American Century. In an American Century, America has the strongest economy and the strongest military in the world. In an American Century, America leads the free world and the free world leads the entire world...As President of the United States, I will devote myself to an American Century. And I will never, ever apologize for America."
Not content to rest there, Romney accused President Obama of "waving the white flag of surrender": >
"An eloquently justified surrender of world leadership is still surrender. >
I will not surrender America's role in the world. This is very simple: If you do not want America to be the strongest nation on Earth, I am not your President. >
You have that President today."
Two months later, Mitt Romney repackaged his promise and his slander at the December 15 Republican debate in Sioux City, Iowa: >
"Our president thinks America is in decline. It is if he's president. It's not if I'm president. This is going to be an American century."
As for Romney's charge that President Obama "went around the world and apologized for America," the Washington Post Fact Checker deemed it a Four-Pinocchio lie .
A Job for Every College Graduate
At an event in New Hampshire last week, Governor Romney's pandering went from the sublime to the ridiculous. There, Mitt pledged President Romney would deliver full-employment for all American college graduates: >
"What I can promise you is this -- when you get out of college, if I'm president you'll have a job. If President Obama is reelected, you will not be able to get a job. That's the reason I will hopefully get young people who are in college is to say, You know what, I understand what it takes to get jobs in America."
As the record shows , not so much. After all, as the Los Angeles Times recently documented, Romney's "Bain Capital often maximized profits in part by firing workers." That's why FactCheck.org , the Washington Post Fact Checker and Fortune all refused to vouch for Romney's claim that "In those hundreds of businesses we invested in, tens of thousands of jobs net-net were created."
Obama "Has Not Created Any New Jobs"
If Mitt Romney can't prove his boasts about his own job creation record, neither can he justify his blatant lie about President Obama's : >
"25 million people are out of work because of Barack Obama. And so I'll compare my experience in the private sector where, net-net, we created over 100,000 jobs." >
"I'll compare that record with his record, where he has not created any new jobs."
Sadly for Mitt Romney, the Bush recession began in December 2007. As ThinkProgress rightly noted, "The private sector has added 2.3 million new jobs since March 2010, and it took the Obama economy one year to create more jobs than the economy under President Bush did in eight." As The Economist explained earlier, the recession was not at its deepest just as Barack Obama was entering office, but far worse than official statistics revealed at the time. Romney might also want to check with former McCain economic adviser Mark Zandi as well as the non-partisan CBO , who concluded that the Obama stimulus program "added up to 0.9 million jobs in 2009, 3.3 million jobs in 2010 and 2.6 million jobs in 2011."
Obama's Debt Exceeds All Previous Presidents Combined
Mitt Romney didn't just lie about Barack Obama's jobs record. At the Sioux City debate, he got President Obama's contribution to the federal debt all wrong as well: >
"We all understand that the spending crisis is extraordinary, with $15 trillion now in debt, with a president that's racked up as much debt as almost all of the other presidents combined."
Of course, we don't all understand that, because it's not true . After Ronald Reagan tripled the gross national debt and George W. Bush doubled it again, Uncle Sam's red ink totaled almost $11 trillion when Barack Obama took the oath of office.
Obama is "Taking over 100 Percent" of Health Care
In his desperate quest to win over conservative Republican primary voters, Mitt Romney has turned his back on his signature achievement which he once boasted was a health care model for the nation. And to do it, Romney has been lying for months by telling voters "Obamacare is about taking over 100 percent of the people's insurance in this country."
In a September 15, 2011 interview with CNN's Wolf Blitzer , Romney made the same charge: >
"The Massachusetts plan was crafted for Massachusetts, for the needs of 8 percent of our population that didn't have insurance, not for the 92 percent that did. Obamacare is a plan that takes over 100 percent of the people in the country and their health care, and that's one of the reasons why people don't want it."
Sadly for Mitt Romney, repetition of a lie doesn't make it any more true.
The Affordable Care Act passed by Congress and signed by President Obama in the spring of 2010 targets the 17 percent of people (over 50 million people) who are uninsured . As Politifact explained in deeming Romney's fraud another "Pants on Fire" lie: >
According to the Census Bureau, the percentage of Americans without health insurance nationally was slightly under 17 percent in 2009, the year Obama began pushing for the bill. According to a Congressional Budget Office estimate, the number was about the same in 2010, when the measure was signed into law. Other estimates have pegged the national number at about 15 percent.
As Henry Aaron, a senior fellow with the centrist-to-liberal Brookings Institution right noted, comparing 8 percent to 17 percent "would have been apples to apples" when it comes to the impact of the individual mandate at the center of both the Massachusetts and national plans. Sadly, Politifact concluded, Romney was guilty of "a felony case of comparing apples and oranges."
Romney "Will Reverse President Obama's Massive Defense Cuts"
During that same "American Century" speech in October, Governor Romney pledged: >
"I will reverse President Obama's massive defense cuts. Time and again, we have seen that attempts to balance the budget by weakening our military only lead to a far higher price, not only in treasure, but in blood."
Sadly for Romney, as Steve Benen pointed out, defense spending has not only gone up every year of the Obama presidency . It is higher than it ever was when George W. Bush sat in the Oval Office.
Of course, Romney's confusion over matters of war and peace are hardly new. In an April op-ed for the Manchester Union Leader, Mitt forgot about the conflicts in Iraq and Afghanistan as he denounced President Obama for "one of the biggest peacetime spending binges in American history."
Obama's "Equal Outcomes" and "Entitlement Society"
Last week, the Romney campaign rolled out what may well become the meta-theme and meta-lie for the 2012 general election race.
After President Obama declared in his Osawatomie, Kansas address that Republican trickle down economics "never worked," Romney struck back. Just not with the truth: >
"Just a couple of weeks ago in Kansas, President Obama lectured us about Teddy Roosevelt's philosophy of government. But he failed to mention the important difference between Teddy Roosevelt and Barack Obama. Roosevelt believed that government should level the playing field to create equal opportunities. President Obama believes that government should create equal outcomes. >
"In an entitlement society, everyone receives the same or similar rewards, regardless of education, effort, and willingness to take risk. That which is earned by some is redistributed to the others. And the only people who truly enjoy any real rewards are those who do the redistributing -- the government. >
"The truth is that everyone may get the same rewards, but virtually everyone will be worse off."
By raising the mythical red menace of communism and falsely attributing it to Barack Obama, Romney in the words of Paul Krugman had introduced " The Big Lie " into his " Post-Truth Campaign ." While Andrew Sullivan announced "Mitt Romney is a big, fat liar," Steve Benen lamented that "Romney, allegedly the responsible one in the Republican field, has been reduced to lying uncontrollably." And while Greg Sargent in the past had expressed amazement at "Mitt Romney's casual, effortless falsehoods," New York Magazine's Jonathan Chait explained that Romney's red scare rose to a whole new level of duplicity: >
"This isn't just a casual line. In eight sentences, Romney asserts over and over again that Obama wants to create "equal outcomes" and give everybody the "same rewards." This is nuts, Glenn Beck-level insane. Restoring Clinton-era taxes is not a plan to equalize outcomes, or even close. It's not even a plan to stop rising inequality. Obama's America will continue to be the most unequal society in the advanced world -- only slightly less so. The alternative proposals accelerate inequality even further."
Of course, as the proliferating profiles from the Wall Street Journal , the New York Times , the Washington Post and others show, Mitt Romney is no stranger to inequality. Legendarily cheap and analytical , as a Harvard Business School student Romney gave a presentation to his classmates that "proved the value of family time based not on emotion but on yield." Two Romney quotes - " I love business " and " I love data " - seem to sum up the man.
As for loving the truth, that for Mitt Romney is apparently another matter altogether.
(This piece also appears at Perrspectives .)
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07:41:54 12/28/11
On "If I were a poor Black kid"...
[LESS INFO] 0 VIEWS | ADDED 07:41:54 12/28/11
[ VIDEO ] Joe Hicks discusses the controversy over Gene Marks' blog post at Forbes entitled " If I were a poor Black kid ". Basically he asks, "Why can't white people contribute to the national dialogue on race and racism?"
It does seem like a cop out to just tell someone that they have nothing to say because they're not a poor Black child so they can't relate in any way. I've had a white geography teacher in high school - GO FALCONS - who said that he could relate because he was poor. Of course the conclusion could be that he thinks all Blacks are poor, but that's only a thought and not necessarily based on reality.
All the same Marks bounces off of a recent speech by President Obama in Kansas where he discussed the gap between the rich and the poor:
> The President’s speech got me thinking. My kids are no smarter than similar kids their age from the inner city. My kids have it much easier than their counterparts from West Philadelphia . The world is not fair to those kids mainly because they had the misfortune of being born two miles away into a more difficult part of the world and with a skin color that makes realizing the opportunities that the President spoke about that much harder. This is a fact. In 2011.
I am not a poor black kid. I am a middle aged white guy who comes from a middle class white background. So life was easier for me. But that doesn’t mean that the prospects are impossible for those kids from the inner city. It doesn’t mean that there are no opportunities for them. Or that the 1% control the world and the rest of us have to fight over the scraps left behind. I don’t believe that. I believe that everyone in this country has a chance to succeed. Still. In 2011. Even a poor black kid in West Philadelphia.
It takes brains. It takes hard work. It takes a little luck. And a little help from others. It takes the ability and the know-how to use the resources that are available. Like technology. As a person who sells and has worked with technology all my life I also know this.
If I was a poor black kid I would first and most importantly work to make sure I got the best grades possible. I would make it my #1 priority to be able to read sufficiently. I wouldn’t care if I was a student at the worst public middle school in the worst inner city. Even the worst have their best. And the very best students, even at the worst schools, have more opportunities. Getting good grades is the key to having more options. With good grades you can choose different, better paths. If you do poorly in school, particularly in a lousy school, you’re severely limiting the limited opportunities you have.
And I would use the technology available to me as a student. I know a few school teachers and they tell me that many inner city parents usually have or can afford cheap computers and internet service nowadays. That because (and sadly) it’s oftentimes a necessary thing to keep their kids safe at home than on the streets. And libraries and schools have computers available too. Computers can be purchased cheaply at outlets like TigerDirect and Dell’s Outlet . Professional organizations like accountants and architects often offer used computers from their members, sometimes at no cost at all. You will see at the end of this posting links to several rebuts to Marks' comments. I will add my two cents just as Hicks and those other links have.
I didn't go to the very best schools in Chicago. I'd say my old elementary school was an average at best school and my old high school - when I attended - was one of the worst. My marks weren't that great in elementary school but for some reason my marks in high school were often in the honor roll range. With that in mind though I consider that a fluke today.
My time in high school wasn't a time to seek out options. I never thought of my grades as a ticket mainly because they were had too easy. It was never a challenge academically and who knows how that would've been weathered. The serious challenge was in college where I struggled to keep up.
If only I had the tools back then that the young people have today to help me study and understand the various subjects. I wouldn't just be ahead of my peers but it would be light years ahead of them. But when I was in public school most of those tools did not yet exist.
In spite of the nay sayers - and I will get to one in a moment - Marks isn't wrong. Make the best grades you can where you are take advantage of all the tools you can. Don't have a PC at home go somewhere to use one, especially the library. At that there are people at your school who if you establish a relationship with them will help you move forward.
This nay sayer, well is making more of this than he realizes:
> No believer in Bell Curv-ish nonsense about black intellectual inferiority, Marks makes clear that the children about whom he speaks are no less capable than his own kids. Of course, one wonders just how much of a compliment Marks really intends for this to be, given his strange habit of dissing his offspring, on more than one occasion, as rather unintelligent, unmotivated, promiscuous and even inclined to petty criminality. Not sure what kind of asshole says things like this about his children in print, but I suppose we can leave that discussion for another day.
No doubt Marks would say that he was simply encouraging poor African American kids to take personal responsibility for their success. He might even say that by acknowledging unfair and unjust structural inequity (and even, indirectly, white privilege), he was doing so in a politically ecumenical way. Certainly Marks would perceive his words and intentions as quite different from those of right-wingers whose hectoring of the poor so often involves blaming those at the bottom of the nation’s economic hierarchy for their station in life. To Marks, poor black kids are not to blame for the position in which they find themselves, but they nonetheless hold the keys to their own liberation, and if they would simply follow his sage counsel they could surely make it, like anyone else: even the cerebrally challenged and oversexed spawn who slumber each night just down the hall from he and his wife.
There is much one could say about Marks’s advice — rather typical bootstrapping fare about studying hard, coupled with a more modern emphasis on becoming a techie like him, and thereby, presumably, an irresistible college or job applicant — and most of it has been said already. Like, for instance, this piece , or this one , or this one , or maybe this one , all of which eloquently critique the privileged and naive mindset displayed by Marks, and explain how even when poor kids of color do everything right, the structures of society are too often set up to help them fail anyway.
...
And it’s this last point that we might do well to explore further. Fact is, Gene Marks knows his readership at Forbes . He knows that it includes virtually none of the people to whom he is ostensibly offering advice, which means that he isn’t really giving them advice at all; rather, he is inviting his mostly white, mostly affluent audience to engage in a perverse moralistic voyeurism at the expense of impoverished African American youth, almost none of whom that readership will ever meet, and whom they will, in fact, go out of their way to avoid. He is offering a kind of secret white-male handshake to others in the club, assuring them that the problems of urban poverty are not theirs to fix, that they are off the hook as it were, and isn’t that a relief? That Marks may not be as vile in his desire to blame the poor for their status as some, hardly acquits him of the charge that by pandering to the biases of his readership, he has, with some 700-odd simple (and simplistic) words, managed to reinscribe all the worst of their prejudices, many of which one can see on grand display in the readers’ comments section of the original article. Make no mistake, Gene Marks’s column is contempt cloaked as compassion and bigotry dressed up as benevolence. And it can do nothing but contribute to the indifference and even antipathy towards the poor that those who rely on Forbes for insights already possess in ample supply. Starting with that last paragraph it's true, Forbes may not have a significant audience in poor inner city communities. Without having to purchase a subscription you can always go to a library to access past issues of magazines. Also with internet access you can access magazines as well and blog posts such as this one which surely don't require a subscription.
As for Mr. Tim Wise who wrote the above excerpts, how is he going to call that man out for what he refers to his kids. Yeah it may be wrong to say your kids are very bright, but somewhere out there some parent is doing it. I also recognize that Marks is merely a commentator who is definitely using his platform to say what he wants to say.
The main point surely Marks is making is that his children are not much different than poor inner city children. Just that they have different opportunities living in a different part of the Philadelphia area than the inner city children. Perhaps even different expectations from parents, perhaps different staff and different schools. He didn't write the "poor black kid" piece to denigrate his children.
I think what he wrote was real. It shouldn't be impeached merely for that reason. That alone is weak! Although to Mr. Wise's credit he is at least has some suggestions for Marks to put his money where his mouth is. Marks could always help get the information out aside from using his platform at Forbes.
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17:16:56 12/13/11
Google Gives Back: Science, Technology, Engineering and Math education
[LESS INFO] 0 VIEWS | ADDED 17:16:56 12/13/11
Google Gives Back: Science, Technology, Engineering and Math education
google.com/givesback2011 In the next six years, there will be 2.4 million job openings in STEM fields. These organizations are working to give a new generation of students a chance to embrace science, technology, engineering and math -- and to pursue the rewarding careers that so often follow. Our gift will support their efforts for more than 3 million kids. This video features students who are part of the Generating Genius program, one of our recipients. From: Googleorg Views: 1162 6 ratings Time: 02:02 More in Science & Technology
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17:16:56 12/13/11
Google Gives Back: Science, Technology, Engineering and Math education
[LESS INFO] 0 VIEWS | ADDED 17:16:56 12/13/11
Google Gives Back: Science, Technology, Engineering and Math education
google.com/givesback2011 In the next six years, there will be 2.4 million job openings in STEM fields. These organizations are working to give a new generation of students a chance to embrace science, technology, engineering and math -- and to pursue the rewarding careers that so often follow. Our gift will support their efforts for more than 3 million kids. This video features students who are part of the Generating Genius program, one of our recipients. From: Googleorg Views: 1244 6 ratings Time: 02:02 More in Science & Technology
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20:05:24 11/03/11
Baucus Applauds Flathead Valley Community College Scholars for Deficit Project
[LESS INFO] 1 VIEWS | ADDED 20:05:24 11/03/11
Baucus Applauds Flathead Valley Community College Scholars for Deficit Project
November 3, 2011 ***For Immediate Release*** Baucus Applauds Flathead Valley Community College Scholars for Deficit Project Senator Applauds Students, College for Considering Deficit Solutions (Washington, DC) -- Montana's senior US Senator Max Baucus applauded students in the Scholars Program at Flathead Valley Community College for answering his call to Montanans to submit their ideas for deficit reduction. FVCC's Scholars students met for three weeks reviewing Congressional Budget Office reports on the deficit and reading various deficit reduction proposals as part of their coursework. Students also came up with their own ideas and provided Baucus with a six-page report summarizing their discussions and recommendations. "My hat goes off to the Flathead Valley Community College Scholars and their instructors for joining this important conversation for our families and for our country. It's clear they took the challenge seriously and grappled with the balance needed to address the deficit," Baucus said, who has been soliciting ideas from Montanans as he continues his work on the Joint Select Committee to reduce the nation's deficit. "I appreciate their thoughtful ideas and hope the experience inspired them to stay involved. Our jobs deficit and our fiscal deficit go hand-in-hand which is why I'm doing everything I can to address both. It's my hope that when these bright students graduate, they will be able to find the good-paying jobs they deserve." Baucus also thanked ... From: SenatorBaucus Views: 73 0 ratings Time: 00:38 More in News & Politics
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20:05:24 11/03/11
Baucus Applauds Flathead Valley Community College Scholars for Deficit Project
[LESS INFO] 1 VIEWS | ADDED 20:05:24 11/03/11
Baucus Applauds Flathead Valley Community College Scholars for Deficit Project
November 3, 2011 ***For Immediate Release*** Baucus Applauds Flathead Valley Community College Scholars for Deficit Project Senator Applauds Students, College for Considering Deficit Solutions (Washington, DC) -- Montana's senior US Senator Max Baucus applauded students in the Scholars Program at Flathead Valley Community College for answering his call to Montanans to submit their ideas for deficit reduction. FVCC's Scholars students met for three weeks reviewing Congressional Budget Office reports on the deficit and reading various deficit reduction proposals as part of their coursework. Students also came up with their own ideas and provided Baucus with a six-page report summarizing their discussions and recommendations. "My hat goes off to the Flathead Valley Community College Scholars and their instructors for joining this important conversation for our families and for our country. It's clear they took the challenge seriously and grappled with the balance needed to address the deficit," Baucus said, who has been soliciting ideas from Montanans as he continues his work on the Joint Select Committee to reduce the nation's deficit. "I appreciate their thoughtful ideas and hope the experience inspired them to stay involved. Our jobs deficit and our fiscal deficit go hand-in-hand which is why I'm doing everything I can to address both. It's my hope that when these bright students graduate, they will be able to find the good-paying jobs they deserve." Baucus also thanked ... From: SenatorBaucus Views: 73 0 ratings Time: 00:38 More in News & Politics
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18:43:16 09/03/11
Kthread Brycedotvc When People Ask Me The Hardest Part Of
[LESS INFO] 9 VIEWS | ADDED 18:43:16 09/03/11
kthread : >
brycedotvc : >
When people ask me the hardest part of being a VC, I have a pretty canned answer. It’s one I’ve used a lot over the last 10 years that I’ve been doing this, tho it’s grown more nuanced over time.
The hardest part of my job is that we are one step removed from making the actual things we fund. We don’t actually build the products, we don’t actually close the big sales, we don’t actually make the decisions that drive the businesses we fund. We give input at varying degrees of forcefulness. We make introduction and dive into back channels for feedback. We play a roles as supporting cast in the companies we fund, never getting to play the lead.
And sometimes that’s hard.
It’s hard when people you fund, people you genuinely care about, ignore your advice. It’s hard to watch them step on landmines you told them were in their path. It’s hard when you see something broken they choose not to fix. It’s hard when the company you thought you were funding becomes something entirely different. It’s hard when the cash runs out.
In the early days of developing a response to this question I would often say that VCs don’t actually make anything, we just fund the makers that do. I’ve since changed my tune on that, and this video taps into why.
It’s a short clip of the slam poet, Taylor Mali, recounting an exchange with a lawyer who questioned him about how much money he made as a teacher by asking “what do you make?”. Taylor flips that question into a moving riff on what a teacher makes that might surprise you. It might inspires you too.
You see, there’s a lot of noise out there in startup land. Caterina touches on this in her excellent post from last night: >
I talk to a lot of entrepreneurs in their 20s who are knowledgeable about the valuations various Y Combinator startups have attained, know the names of all the angel investors in the Valley, have in-depth knowledge of the Facebook diaspora and their doings, have opinions on various Zynga acquisitions, and know exactly how to get Andrew Mason on the line…it boggles the mind. These are good things to have in your tool kit. But I want to hear about things out there that they love. About loving the thing they’re building.
So, to hell with all that noise. It’s just a big mass of envy, chatter and FOMO . Let’s get excited and make things .
So, no, as a VC I don’t actually make the products we fund. I don’t make the headlines our founders do. And I don’t make the companies that change the world.
But I do make things.
I make palms sweat when I step into a conference room to hear a first pitch. I make questions that cut through you like a ginsu cuts through a tin can. I make poseurs walk and founders walk the talk. I make hearts sink when my number appears on caller ID. I make entrepreneur’s hearts break when I say “no” and founders high five when I say “yes”. I make parents proud of kids they feared could never keep a job. I make it possible for moms and dads to put bread on the table when their ambition outstrips their savings. I make founders believe when they can’t and doubt when they shouldn’t. Sometimes I make a difference. Sometimes I just make a mess. And, sometimes I make a leader by being someone’s first follower.
Now, what do you make?
It’s labor day weekend. Some will relax and unplug. Some will hunker down and work. But I hope all of you who watch this video will take time to think about what you are really making which is why it’s required weekend viewing here on BRYCE DOT VC.
There is a lot about being an entrepreneur that is gross. Not just hard beyond measure, but gross, and one of those is the way twentysomethings talk about exactly what Caterina points up in the passage Bryce quotes here.
I don’t know all the names of all the VCs and angels; I never will. I don’t want to try on ideas until a one fits a market and attempt to quickly exit and make everyone a pile. I may very likely never make it into a mentor program (I’ve been rejected from Techstars twice); I don’t look like three young guys with a kinda boring but investable enterprise idea, like most of those in the classes of grads I didn’t make it into.
I wear loudass vintage dresses. I make things that people love. For the past decade, I have helped international brands create content that proves them credible and interesting.
Give me a little more time to tell you about what happened with Galvanize , and know that I am making something very different, but similarly with love, and it’s going to take a while. It’s a big idea, it’s going to save a few people’s lives (not kidding), and I am going to finally be able to explain to my mom what it is that I do.
And while I am making this thing, I am going to keep teaching graduate students about how communities work, because they will create the tools we use next. If they don’t know how the Web started and what it looks like when things are made for love and the pleasure of creation before product/market fit and all the rest of that, then all of us in tech are really in trouble.
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22:06:52 03/23/11
Authors@Google: Salman Khan
[LESS INFO] 1 VIEWS | ADDED 22:06:52 03/23/11
Authors@Google: Salman Khan
Salman Khan spoke to Googlers in Mountain View, California on March 15, 2011 about Khan Academy: A World Class Education to Anyone, Anywhere. Salman Khan is the founder and faculty of Khan Academy www.khanacademy.org a not-for-profit educational organization. With the stated mission "of providing a high quality education to anyone, anywhere", the Academy supplies a free online collection of over 2000 videos on mathematics, history, finance, physics, chemistry, astronomy, and economics. In late 2004, Khan began tutoring his cousin in mathematics using Yahoo!'s Doodle notepad. When other relatives and friends sought his tutorial, he decided it would be more practical to distribute the tutorials on YouTube. Their popularity there and the testimonials of appreciative students prompted Khan to quit his job in finance in 2009 and focus on the Academy full-time. Khan Academy's channel on YouTube www.youtube.com has 45+ million views so far and it's one of YouTube's most successful academic partners. In September 2010, Google announced they would be providing the Khan Academy with $2 million to support the creation of more courses and to enable the Khan Academy to translate their core library into the world's most widely spoken languages, as part of Project 10^100, www.project10tothe100.com Khan is aiming at making nothing less than "tens of thousands" of tutorials offering the "first free, world-class virtual school where anyone can learn anything." From: AtGoogleTalks Views: 10685 163 ratings Time: 01:04:58 More in Education
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22:06:52 03/23/11
Authors@Google: Salman Khan
[LESS INFO] 10 VIEWS | ADDED 22:06:52 03/23/11
Authors@Google: Salman Khan
Salman Khan spoke to Googlers in Mountain View, California on March 15, 2011 about Khan Academy: A World Class Education to Anyone, Anywhere. Salman Khan is the founder and faculty of Khan Academy www.khanacademy.org a not-for-profit educational organization. With the stated mission "of providing a high quality education to anyone, anywhere", the Academy supplies a free online collection of over 2000 videos on mathematics, history, finance, physics, chemistry, astronomy, and economics. In late 2004, Khan began tutoring his cousin in mathematics using Yahoo!'s Doodle notepad. When other relatives and friends sought his tutorial, he decided it would be more practical to distribute the tutorials on YouTube. Their popularity there and the testimonials of appreciative students prompted Khan to quit his job in finance in 2009 and focus on the Academy full-time. Khan Academy's channel on YouTube www.youtube.com has 45+ million views so far and it's one of YouTube's most successful academic partners. In September 2010, Google announced they would be providing the Khan Academy with $2 million to support the creation of more courses and to enable the Khan Academy to translate their core library into the world's most widely spoken languages, as part of Project 10^100, www.project10tothe100.com Khan is aiming at making nothing less than "tens of thousands" of tutorials offering the "first free, world-class virtual school where anyone can learn anything." From: AtGoogleTalks Views: 10707 164 ratings Time: 01:04:58 More in Education
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01:33:49 11/03/10
Due Date Starring Robert Downey Jr. and Zach Galifian
[LESS INFO] 21 VIEWS | ADDED 01:33:49 11/03/10
Due Date Starring Robert Downey Jr. and Zach Galifianakis This 1sr Look brought to you by Stevn Samblis www.icPlaces.com
THE IDEA
From director Todd Phillips, “Due Date” stars Robert Downey Jr. and Zach Galifianakis as two unlikely companions thrown together on a road trip that turns out to be as life-changing as it is outrageous.
Downey plays Peter Highman, an expectant first-time father whose wife's due date is only days away. As he hurries to catch a flight home to Los Angeles from Atlanta to be at her side for the birth, his best intentions go completely awry when a chance encounter with aspiring actor and disaster-magnet Ethan Tremblay (Galifianakis) leads to the two of them being tossed off the plane and placed on a no-fly list...while Peter's luggage, wallet and ID take off without him.
With no alternatives in sight, Peter is forced to hitch a ride with Ethan and his canine traveling companion on what turns out to be a cross-country road trip that will destroy several cars, numerous friendships and Peter's last nerve.
The comedy “Due Date” also stars Michelle Monaghan (“Made of Honor”), Juliette Lewis (“The Switch”) and Academy Award® winner Jamie Foxx (“Ray”).
Directed by Todd Phillips (“The Hangover”), the film is produced by Phillips and Dan Goldberg (“The Hangover,” “Old School”), from a screenplay by Alan R. Cohen & Alan Freedland and Adam Sztykiel & Todd Phillips, story by Alan R. Cohen & Alan Freedland. Thomas Tull, Susan Downey and Scott Budnick serve as executive producers.
“Due Date” reunites Phillips with key members of his filmmaking team from “The Hangover,” including director of photography Lawrence Sher, production designer Bill Brzeski, editor Debra Neil-Fisher, composer Christophe Beck and costume designer Louise Mingenbach.
ABOUT THE PRODUCTION
“If you're going to travel with me to Los Angeles I have to give you a couple of guidelines. Number one: don't ask me a single question.” - Peter Highman
“It's a simple idea—two mismatched guys forced to go on a road trip together,” declares “Due Date” director and co-writer Todd Phillips. “Robert Downey Jr. is Peter Highman, an architect on his way back to L.A. from a business trip in Atlanta. He's on a tight schedule because his wife is expecting their first child and the date is all set. Everything is fine until he gets tangled up at the airport with a wannabe actor named Ethan Tremblay, who somehow gets the both of them booted off the plane and grounded for the foreseeable future.”
At that point, “simple” flies right out the window.
Stranded without cash, credit, ID or time, Peter finds himself in the galling position of having to hitch a ride home with a guy he'd rather take a swing at—Ethan. The person he holds responsible for his predicament in the first place is now behind the wheel of a rental car and offering him the passenger seat.
Though clearly not his best option, it's Peter's only option.
At first grateful for the company, Ethan soon learns that his tightly wound traveling companion is not going to be any fun at 20 Questions, nor generally receptive to the concept of going with the flow. Meanwhile, Peter realizes he's just joined forces with a guy who can casually ruin his life in more ways than he could ever imagine.
“If there really was somebody like Ethan around, he'd have been strangled in his sleep long ago,” Downey attests. “He's like a laser beam that focuses on the one thing that will drive you crazy the most, the kind of guy who will eat a whole plate of waffles before mentioning he's allergic to waffles. I'm sure a lot of people know someone like this, someone who is perfectly wired to activate all of their irritation buttons.”
Granted, Peter has a short fuse to begin with. “He's kind of an edgy, controlling, judgmental guy with some anger-management issues. And who better to help him explore those issues than Ethan Tremblay? High-strung as he is normally, Peter is now facing the birth of his first child and is thrown into this nightmare, so it's all amped up,” Downey adds.
Ethan, by comparison, gives new meaning to the term laid-back. Zach Galifianakis, who stars as the human lightning rod for trouble, observes, “Nothing affects him, no insult seems to penetrate. Ethan lives in his own head. He has no talent, and he's on his way to Hollywood to capitalize on that. These two guys meet through a series of unfortunate circumstances that are entirely Ethan's fault, to which he is completely oblivious. And every bad thing that happens from that point on is Ethan's fault. Everything.”
Says Phillips, “People always cite chemistry in these kinds of movies. They say it's the chemistry between the two lead actors that make it work. I believe what makes ‘Due Date' work is anti-chemistry; it's two guys with zero connection and zero rapport, constantly butting heads, that generates both the tension and the comedy.”
Dan Goldberg, who has produced all of Phillips' feature films since their 2000 collaboration on the hit comedy “Road Trip,” says, “The ride develops its own momentum as one thing after another happens to impede their progress.”
At the same time, their cross-country trek takes Peter and Ethan on another, more unpredictable journey than what they face geographically—one that leads them to discover as much about themselves as each other.
Provided that they survive it.
Scott Budnick, an executive producer on the film, says, “There's real emotional substance to the story and real issues, and Robert and Zach do a phenomenal job in delivering both the humor and the emotional stakes. My favorite comedies are always the ones that have heart.”
As infuriating as Ethan can be, whether mismanaging his funds, missing potty breaks or launching their car off an overpass, Phillips concedes he has his good points, citing “honesty, innocence and a humanity that makes you connect with him and root for him despite it all. Ethan is a complex character. He has just lost his father, who was his best friend, and is having a tough time dealing with that. There's an underlying desperation in everything he does and an eagerness to please to the point where just making friends means trying too hard.”
“A lot of what he does is to avoid being lonely,” says Galifianakis.
Peter, on the other hand, may come across like a self-assured, aggressive control freak but, says Phillips' “Due Date” screenwriting partner Adam Sztykiel, “You sense that his behavior comes from an emotional place and from issues he has yet to work out, that are revealed in the story. Not far beneath the alpha male posture is his own vulnerability and how terrified he is to be responsible for a child.”
“As a parent,” Downey offers, “I know the big question is how are you going to manage and protect something that you have no experience with?”
Playing on that theme were screenwriters Alan R. Cohen and Alan Freedland, who also have story credit on “Due Date.” “Peter's comfort zone is when he's in control. And everything that happens in this movie is about losing control; from his inability to get back home to the larger issue of his impending fatherhood—and whether or not he's ready for it,” Cohen says.
“We wanted to put him into a situation where he had to travel across the country with someone who was effectively a child,” adds Freedland.
Not that it would lessen Peter's pain, stress and frustration if he knew it might be pain, stress and frustration with a purpose. Still...
“When I read the script, I was moved,” recalls executive producer Susan Downey. “It's so funny and yet so human. You want a comedy to have that grounding, in the way that you want a drama to have some humor. In ‘Due Date,' though his experience with Ethan, Peter finds his human side and gets ready for the birth of his own child. It's about him becoming a man before becoming a father.”
“Guess who's got the Subaru Impreza? Me! Guess who's got the winning personality? Me! What do you have? You have a nice hairline. Fine. You have a strong jaw. But I gotta tell you, mister, your personality needs some work.” - Ethan Tremblay
Despite the “anti-chemistry” Phillips had in mind for their characters, Galifianakis and Downey generated some genuine positive chemistry from the start.
Downey vividly recalls their first meeting. “I was in Venice, California, and some weird guy walks by and says, ‘Hi, I think I'm doing a movie with you.' And I was thinking, ‘I might have to punch this guy.' Then I realized, ‘Oh my God...that's Zach.'
“Later, he came over for dinner so we could talk about the script,” Downey continues. “I asked if he had any dietary restrictions and he sent me a note detailing everything he'd need, like bottled water flown in from Barstow. It's one of my favorite things. I read it to people at parties.”
“We kind of took care of each other on the set—very different from what was going on in the movie. We'd talk every morning about how to make a scene work. It was great. Funny how hanging out with a legitimate actor raises your game,” Galifianakis returns.
“I always respond to projects based on the casting potential,” says Phillips. “I immediately start seeing a movie from the standpoint of casting it. For ‘Due Date,' I knew that if I could get Robert and Zach we could go full out.”
Phillips marks his second collaboration with Galifianakis on “Due Date,” following the comedian's breakout starring role in last year's international blockbuster hit “The Hangover,” that became the highest-grossing R-rated comedy of all time. He says, “Zach and I click because he knows I really get his humor, which can be pretty outrageous.”
In “Due Date,” however, Galifianakis creates a character that calls for a great deal of subtlety. Notes Budnick, “Every little nuance of personality and each detail—the way he walks, the way he talks, the way he thinks—Zach has figured out how Ethan Tremblay would do these things and it's reflected in every single moment he's on screen.”
At the same time, there is a core of unpredictability to the performance. “Zach brings a sense of spontaneity and danger and I think comedy is best with an undercurrent of danger so that you never know exactly what's going to happen or what someone will say or do. In that sense, he's the perfect comedic actor,” says Phillips.
And “Due Date” gives him a worthy antagonist in Downey.
“Not only is Robert a world-class actor but he's naturally funny. I wouldn't think of casting Robert Downey Jr. as anyone's straight-man,” says Phillips. “In ‘Due Date' there is no straight-man because they're both screwed up in their own ways. And the beauty of Zach and Robert playing off each other is that they're both funny but their humor comes from such different places and their styles are so different that you're not mining the same vein.”
Downey, Galifianakis, Phillips and Sztykiel “took the script apart and put it back together,” says Goldberg. “Every day there were new things that touched me and made me laugh. I believe ‘Due Date' audiences will see aspects of Robert and Zach that they haven't seen before and things that will surprise them. As a filmmaker, I'm always looking for that.”
It's a philosophy and a process that Phillips respects. “So much of comedy happens on the day you shoot,” he says, and offers the example of the airplane luggage bin scene. “It just happened as we were looking at the seating and the overhead bin and realized how that could bring them really close in a small space. Zach said, ‘What if I rub up against him while I'm reaching into the bin?' And I said, ‘What if you pull your shirt up first to wipe your glasses so it's just your bare stomach?' Comedy isn't math; it's jazz.”
Says Robert Downey Jr., “I start every day thinking here's what will happen if you do it by the book and here's what can happen if you bend yourself over backwards and forwards again and try to invite the unimagined into the situation. The set had energy like a living being; it was evolving all the time. And what's great and so funny about Todd is that sometimes, with him, it's so wrong, it's right.”
That point of view resonates with Galifianakis, who admits to being right alongside the director in appreciating “the inappropriate,” adding, “Todd and I have the same sense of humor. We like stuff that has a bit of a taboo element—things that are funny specifically because you're not supposed to laugh at them. As a stand-up comic, I love it when audiences laugh before they realize maybe they shouldn't have, and then start to question themselves.
“That's not to say that you can't be offended by something Todd or I do in a film,” he continues with mock concern. “I'm often offended by the things I do in movies.”
“You'd better check yourself before you wreck yourself.” - Ethan
“What I like about road trip movies is that essentially your characters are working without a net. You just throw them out into the elements and say, ‘Deal with it,'” says Phillips. “You don't have the support system of friends and family. People come in and out of your life for intense but fleeting moments.”
To help facilitate that, ‘Due Date' features a stellar supporting cast of characters who offer Peter and Ethan a range of memorable and often thought-provoking encounters along the way.
The first of these is Heidi, a freelance medical supplier with questionable parenting skills, tracked down by Ethan at her Birmingham home to restock his supply of “glaucoma medication.” It's one of many detours that takes them miles out of their way.
Heidi is played by Juliette Lewis, in her third screen role for Phillips. Lewis was touring in London with her band when the director called. “We worked it out so that between London and Helsinki I made a pit stop in a place I didn't even know existed—Las Vegas, New Mexico—for a couple of days, to play a pot dealer,” she recounts. “When Todd calls it's a game of trust. I don't know the role, I don't know what he wants me to do, but I know it's going to be good and it's going to be funny.”
Oscar® winner Jamie Foxx, who recently starred with Downey in “The Soloist,” comes aboard in the role of Peter's old college buddy, Darryl, now living in Dallas.
“It was a real coup to get Jamie to come in as Peter's friend—and, according to Ethan, possibly the real father of his soon-to-be-born child,” says Robert Downey Jr., alluding to yet another way in which Ethan manages to get under Peter's skin.
Within minutes of entering Darryl's home, Ethan spots a few photos, asks a few questions, adds two and two, and comes up with five. “He learns that Darryl is very close with Peter's wife and jumps to all kinds of conclusions. Then, he plants the seed of doubt in Peter's mind,” says Phillips.
“Darryl comes into the picture to do these guys a favor and it's all great...until it's not. Then things get very weird, very fast,” Foxx says of the ensuing scene that lands Peter and Ethan back on the pavement. “Working with Robert, Zach and Todd, you'd never know what to expect, but you could always count on it being a crazy, creative, collaborative experience.”
The travelers also run afoul of an ill-tempered Western Union clerk, played by Danny McBride; a paragon of Airport Security, played by Grammy Award-winning hip hop producer/musician and actor Rza; and an exceptionally indifferent TSA agent, played by Matt Walsh, the ER doc from “The Hangover.”
Meanwhile, back home anxiously awaiting Peter's return is his wife, Sarah, played by Michele Monaghan, reuniting with Downey for the first time since they teamed in the 2005 comedy thriller “Kiss Kiss Bang Bang.”
“Sarah is just about 8 months and 29 days pregnant with her first baby and obviously very anxious,” Monaghan offers. “Her husband is not only m.i.a but is also traveling cross- country with a wild man whose only concern is if she has any ‘recommendations for someone who could give him a perm'?!? Clearly, the baby's arrival looks more promising than daddy's.”
“Sonny, stop. Sonny...No. Stop. Good boy.” - Ethan
Before circumstances force these two to share a rental car, Ethan already has a traveling companion: a French Bulldog named Sonny, who becomes the pair's third wheel and a point of calm amidst the escalating mayhem.
The role of Sonny, though indisputably male, was played almost entirely by a young female Frenchie trained by Mark Harden, of Boone's Animals for Hollywood.
The introduction of a dog into the script came about as Phillips sought to further ratchet up the tension between his two leads and decided that one of them should be a dog person and the other...not so much. After perusing renowned animal trainer Boone Narr's company website, he spotted what he was looking for in Bodie, an adult male French Bulldog with the big ears and wide-eyed comical expression typical of the breed.
Unfortunately, at 26 pounds, Bodie was too heavy to be constantly toted around on one arm, so, with only weeks before filming started, Harden launched a full-scale and very specific search for a six-to-10-month-old, cream-colored, slightly undersized French Bulldog. He first tried the rescue agencies, then tapped into a nationwide network of breeders before finding someone who had a full-grown female weighing in at 15 pounds.
Though Galifianakis jokes that Sonny was trained to fall asleep at the word ‘action,' Harden takes no credit for the animal's relaxed demeanor, conceding, “She's just a very settled and well-adjusted dog. She doesn't get worked up. I think she just learned early on that most of her scenes were going to take awhile and she might as well catch a nap.”
Galifianakis, who bonded with his canine co-star despite an allergy to dogs, says, “I was kind of envious at her ability to fall asleep at work. And she snores like me.”
But as much as the camera loved Sonny, there was one special trick she just couldn't manage, that required a one-day command performance from Bodie.
Harden carefully describes how the trick serendipitously made its way into the story. “French Bulldogs are unable to groom themselves in certain areas as other dogs do. I don't know if it's a combination of their short neck and wide shoulders, but they can't twist backwards.”
Consequently, some of them use their paws, “a natural behavior that Bodie spontaneously offered in front of Todd at that first meeting, while we were talking,” the trainer recalls. “As soon as he saw it, there was no turning back. He said, ‘Oh my God, can you train him to do that?”
“Am I okay? Do I look okay? I have a broken arm. I have three cracked ribs. I have seven stitches in my armpit. Does that answer your question? - Peter
“I love physical comedy,” says Phillips, who happily extends the parameters of physical comedy in “Due Date” to include a multi-vehicle freeway chase, an end-over-end car flip and a shoot-out with some seriously t'd-off border security agents.
“For me,” Phillips continues, “It's fun to include shocking moments that make you say, ‘Whoa, where did that come from?' We shot the car sequence in Las Cruces, New Mexico. They let us break through the overpass and land on the road below. We closed the highway for several days to prepare and execute it but, frankly, you never know how a stunt is going to land, so we set up four or five cameras and let it happen. The car flipped back up on its wheels, but we were prepared for it to do anything.” Filming “Due Date” was a road trip in itself. Location shooting began in and around Atlanta and moved generally westward with the story, touching upon Dallas and the Texas interior and various locations in New Mexico, including Las Vegas and Santa Fe, which the filmmakers covered from a base of operations in Albuquerque, before touching down in California.
“The way the script breaks down, they have to get across the country. in a couple of days so you really need to take the southern route, which is not as long as the northern, so it makes sense in terms of driving time,” says production designer Bill Brzeski.
A separate helicopter unit covered the Grand Canyon for a key scene with Peter and Ethan perched on its rim, overlooking the Colorado River snaking its way through, far below. Between takes, busloads of visitors from all over the world arrived to tour the area and there was some concern on the part of the crew that they might forget to watch where they were going once they caught sight of Downey and Galifianakis.
The film's opening airport scenes were a combination of several elements. The plane cabin mockup was constructed on Stage 11 at Warner Bros. Studios; the curb where Peter's and Ethan's cars pull up was shot at Ontario Airport in California; and the screening area and other terminal interiors were built inside the Georgia World Congress Center in Atlanta.
Other practical locations in Georgia included a construction site in Atlanta's Buckhead neighborhood; a Waffle House and portions of Highway 27 in Bremen; various locations along I-75 and I-675, GA-route 20 and the Metropolitan Parkway; the Gwinnett Medical Center in Lawrenceville; the 1010 Condos on Atlanta's historic Peachtree Street; and a recently closed rest stop along I-985.
Darryl's home in Dallas was an amalgam of exteriors captured in Buckland, Georgia, and interiors shot in Encino, California. “You're never really anywhere you're supposed to be,” Brzeski says. “Las Vegas, New Mexico was built around the turn of the century and doesn't look like what you'd expect to see in New Mexico. There's a lot of Victorian architecture that doesn't match the typical Santa Fe look so buildings can substitute for almost any American small town, be it Texas or Ohio. We used it as Alabama for Heidi's house.”
The southwestern city also provided the site for one of the film's larger set pieces; a checkpoint at the U.S./Mexico border that was constructed on a bridge spanning a portion of Route 25 in Las Vegas, under which Brzeski and his team formed an encampment of Federali trailers based on actual Mexican Customs vehicles. Interiors of the office and a trailer, as well as a gimbal rig that figures into the action, were built on stage and another rotating rig, dubbed “car-on-a-spit” by one crew member, was designed for the scene in which Peter and Alan take their rented Subaru for a real spin.
All this action takes its toll on the luggage-deprived Peter, forced to spend the entire journey in one increasingly rumpled, torn, stained and slept-in suit. For costume designer Louise Mingenbach, that meant maintaining 20 versions of the suit in five basic stages of deterioration. “Definitely, the story evolves through Peter's clothes,” she says.
With Ethan's wardrobe she was able to have more fun, brainstorming with Galifianakis, who, she says, “has no vanity. Some actors want to look beautiful all the time but that's not Zach. He will wear whatever works for his character, even if it's acid-washed jeans two sizes too small.”
“I really like to look bad in movies,” Galifianakis agrees. “Originally Ethan was dressed like a hippie but I wanted him to be more arty—or, what he would think is arty. He has a perm, he has his dance shoes and his really bad tight jeans and the scarf as an accessory; he wants to be an actor and this is how he thinks actors dress.”
“Due Date” marks Mingenbach's fifth collaboration with Phillips, who says, “I have a great team. I've worked with essentially the same people throughout my career. We write some crazy thing and then I turn to my guys and say, ‘Can we pull this off?'”
Among those previous colleagues rejoining the director on “Due Date” were cinematographer Lawrence Sher, editor Debra Neil-Fisher and composer Christophe Beck.
Scott Budnick points out, “‘Due Date' marks the 10-year anniversary of ‘Road Trip,' Todd's first movie and my first job out of college. We filmed ‘Road Trip' from September to December 1999, and ‘Due Date' from September to December of 2009.”
For Phillips, it's a genre full of possibilities.
“I've been in some strange situations on the road,” confesses screenwriter Sztykiel, a Los Angelino who identified in some ways with Peter. “Here's a guy who's a little sheltered and doesn't have exposure to the 3,000 miles that exist east of his home, and it was fun to force him out of his bubble. It's uncomfortable, but you come away with a better sense of your place in the world. My advice for travelers? Go to the bathroom. Make sure your traveling partner has gone to the bathroom. Don't spend all your money on illegal substances. Don't say ‘bomb' on an airplane. Don't open your car door in traffic. Pretty simple stuff.” Sure. In hindsight.
“There's something about a road trip that brings out the extremes of human reactions and emotions,” says Phillips. “It's a great opportunity for surprises and for people to learn things about themselves or each other that they'd never see if they weren't being pushed to their limits, or having to make the kinds of quick, instinctive decisions you have to make on the road.”
At the same time, the road itself can be almost incidental. “No matter where we are in ‘Due Date,' no matter what's kind of chaos they're going through,” he concludes, “it all comes down to these two guys working out their issues.”
ABOUT THE CAST
ROBERT DOWNEY JR. (Peter Highman), a two-time Academy Award® nominee, earned his most recent Oscar® nomination, for Best Supporting Actor, for his work in Ben Stiller's comedy hit “Tropic Thunder.” His performance as Kirk Lazarus, a white Australian actor playing a black American character, also brought him Golden Globe, BAFTA Award and Screen Actors Guild (SAG) Award® nominations. Downey was honored with his first Oscar® nomination, in the category of Best Actor, for his portrayal of Charlie Chaplin in Richard Attenborough's acclaimed 1992 biopic “Chaplin,” for which he also won BAFTA Award and London Film Critics Awards and received a Golden Globe Award nomination.
Earlier this year, Downey received another Golden Globe nomination for his performance in the title role of the 2009 hit “Sherlock Holmes,” under the direction of Guy Ritchie. Downey returns to the role of the legendary detective in a new Sherlock Holmes adventure, currently slated for release in December 2011.
In summer 2008, Downey received praise from critics and audiences for his performance in the title role of the blockbuster hit “Iron Man,” under the direction of Jon Favreau. Bringing the Marvel Comics superhero to the big screen, “Iron Man” earned more than $585 million worldwide, making it one of the year's biggest hits. Downey reprised his role in the successful sequel, which was released this past spring. He returns to the role in Josh Whedon's upcoming actioner “The Avengers,” which teams Iron Man with other Marvel Comics superheroes.
Downey's other recent films include “The Soloist,” opposite Jamie Foxx; “Charlie Bartlett”; David Fincher's “Zodiac,” alongside Jake Gyllenhaal and Mark Ruffalo; Richard Linklater's “A Scanner Darkly,” with Keanu Reeves, Winona Ryder and Woody Harrelson; “Fur,” opposite Nicole Kidman in a film inspired by the life of revered photographer Diane Arbus; and “Kiss Kiss, Bang Bang.” He also shared in a SAG Award® nomination as a member of the ensemble cast of George Clooney's true-life drama “Good Night, and Good Luck,” and in a Special Jury Prize won by the ensemble cast of “A Guide to Recognizing Your Saints,” presented at the 2006 Sundance Film Festival.
Downey's long list of film credits also includes “Gothika”; “The Singing Detective”; Curtis Hanson's “Wonder Boys”; “U.S. Marshals”; Mike Figgis' “One Night Stand”; Jodie Foster's “Home for the Holidays”; “Richard III”; Oliver Stone's “Natural Born Killers”; Robert Altman's “The Gingerbread Man” and “Short Cuts,” sharing in a Golden Globe Award for Best Ensemble for the latter; “Heart and Souls,” “Soapdish,” “Air America,” “Chances Are,” “True Believer,” “Less Than Zero,” “Weird Science,” “Firstborn,” and “Pound,” in which he made his debut under the direction of Robert Downey Sr.
On the small screen, Downey made his primetime debut in 2001 when he joined the cast of the series “Ally McBeal.” For his work on the show, he won the Golden Globe Award for Best Supporting Actor in a Series, Miniseries or Motion Picture Made for Television and a Screen Actors Guild Award® for Outstanding Actor in a Comedy Series. In addition, Downey was nominated for an Emmy for Outstanding Supporting Actor in a Comedy Series.
On November 23, 2004, Robert Downey Jr. released his debut album, “The Futurist,” on the Sony Classics label. The album, containing eight original songs, showcased his singing talents.
Downey and his wife, Susan, just formed Team Downey, a production company based at Warner Bros.
ZACH GALIFIANAKIS (Ethan Tremblay) moved to New York City after failing his last college course by one point at North Carolina State University. He got his start performing his brand of humor in the back of a hamburger joint in Times Square, graduating to doing stand-up at night in clubs and coffee houses in the city. While working as a bus boy, he got his first acting job on the NBC sitcom “Boston Common.”
Galifianakis' breakout role came in Todd Phillips' blockbuster hit “The Hangover,” the highest-grossing R-rated comedy of all time. He will reunite with Phillips and cast-mates Bradley Cooper, Ed Helms and Justin Bartha in “The Hangover 2,” slated for a 2011 release.
He also stars in “It's Kind of a Funny Story,” which premieres at the 2010 Toronto Film Festival and opens this fall. Recently, he also co-starred with Steve Carell and Paul Rudd in Jay Roach's comedy “Dinner for Schmucks.” Galifianakis' additional film credits include the Jerry Bruckheimer-produced hit “G-Force”; the indie feature “Youth in Revolt,” with Michael Cera, Steve Buscemi and Ray Liotta; a cameo in Jason Reitman's Oscar®- nominated film “Up in the Air”; “What Happens in Vegas,” with Cameron Diaz and Ashton Kutcher; and the critically acclaimed true-life drama “Into the Wild,” from director Sean Penn.
On the small screen, Galifianakis just started the second season of the HBO comedy “Bored to Death,” with Jason Schwartzman and Ted Danson. In addition, he hosted the critically acclaimed VH1 talk show “Late World with Zach,” and also wrote and starred in “Dog Bites Man” for Comedy Central.
Zach also has an internet talk show entitled “Between Two Ferns.” He has interviewed such guests as Steve Carell, Natalie Portman, Conan O'Brien and Charlize Theron.
When not filming, Galifianakis lives on his farm in North Carolina.
MICHELLE MONAGHAN (Sarah Highman) most recently starred to great critical acclaim in the independent film “Trucker,” which world premiered at the Tribeca Film Festival. She received the Best Actress Awards from the San Diego Film Critics Society, Ft. Lauderdale International Film Festival and Vail Film Festival. Monaghan also served as executive producer on the film.
She will next been seen in Sofia Coppola's “Somewhere,” “Source Code,” opposite Jake Gyllenhaal for director Duncan Jones and “Machine Gun Preacher,” opposite Gerard Butler for director Marc Forster.
Monaghan made her feature film debut in “Perfume,” directed by Michael Rymer, then played Richard Gere's secretary in Adrian Lyne's “Unfaithful.” She followed with supporting roles in Fred Schepisi's “It Runs in the Family,” with Michael Douglas; “Winter Solstice,” with Anthony LaPaglia; Paul Greengrass' “The Bourne Supremacy”; and Doug Liman's “Mr. & Mrs. Smith.”
It was her starring role in “Kiss Kiss, Bang Bang,” opposite Robert Downey Jr. and Val Kilmer, which brought Monaghan to the attention of audiences around the world. She also received rave reviews for her performance in the film, directed by Shane Black. Next, Monaghan joined Charlize Theron and Frances McDormand in “North Country” for director Niki Caro. She then starred in “Gone Baby Gone,” with Casey Affleck and Morgan Freeman; “The Heartbreak Kid,” opposite Ben Stiller; “Mission: Impossible III,” with Tom Cruise and Philip Seymour Hoffman for director J.J. Abrams; opposite Patrick Dempsey in the romantic comedy “Made of Honor”; and in D.J. Caruso's hit thriller “Eagle Eye,” alongside Shia LaBeouf.
JULIETTE LEWIS (Heidi) received Best Supporting Actress Oscar® and Golden Globe nominations for her layered performance as adolescent Danielle, opposite Robert De Niro, in Martin Scorsese's thriller “Cape Fear.”
She reunites with Todd Phillips on “Due Date,” having previously collaborated on “Old School” and “Starsky & Hutch.”
Lewis was most recently seen alongside Hilary Swank, Melissa Leo, Minnie Driver and Sam Rockwell in the independent drama “Conviction,” which premiered at the Toronto Film Festival and opened in October. Prior to that, Lewis appeared in the romantic comedy “The Switch,” alongside Jennifer Aniston, Jason Bateman and Patrick Wilson. She also starred alongside Orlando Bloom, Mark Ruffalo and Laura Linney in Ruffalo's directorial debut, “Sympathy for Delicious,” which took home the US Dramatic Special Jury Prize at this year's Sundance Film Festival. Last year, she played roller derby girl Dinah Might opposite Ellen Page, Marcia Gay Harden, Kristen Wiig, Jimmy Fallon and Eve in Drew Barrymore's directorial debut, “Whip It.”
Among Lewis' many other films are Gary Marshall's “The Other Sister”; “Evening Star,” with Shirley MacLaine; Quentin Tarantino's vampire tale “From Dusk Till Dawn,” opposite George Clooney; the sci-fi actioner “Strange Days,” alongside Ralph Fiennes and Angela Bassett; Nora Ephron's comedy “Mixed Nuts,” opposite Steve Martin and Adam Sandler; Oliver Stone's controversial “Natural Born Killers”; “What's Eating Gilbert Grape,” with Johnny Depp and Leonardo DiCaprio”; “Romeo Is Bleeding”; “Kalifornia”; Woody Allen's “Husbands and Wives”; “Crooked Hearts” and “National Lampoon's Christmas Vacation,” with Chevy Chase.
At 12, Lewis landed her first leading role in the Showtime miniseries “Home Fires.” At 16, her performance in the critically acclaimed longform “Too Young to Die?” led to film roles. Lewis' other television credits include Showtime's “My Louisiana Sky,” for which she received an Emmy Award nomination for Outstanding Performer in a Children's Special, and Mira Nair's HBO film “Hysterical Blindness,” alongside Uma Thurman and Gena Rowlands. She also had recurring roles in several series.
In addition to film and television, Lewis's music career continues to evolve. Her third studio album, Terra Incognito, was released in fall 2009.
JAMIE FOXX (Darryl) won an Academy Award® for Best Actor in 2005 for his portrayal of the legendary Ray Charles in the Taylor Hackford-directed biopic “Ray.” Foxx also won a Golden Globe Award, a Screen Actors Guild (SAG) Award®, a BAFTA Award, and an NAACP Image Award, as well as numerous critics' association awards, and shared in a SAG Award® nomination received by the film's ensemble cast.
Also in 2005, Foxx garnered Oscar®, Golden Globe Award, SAG Award®, BAFTA Award, and Image Award nominations, in the Best Supporting Actor category, for his work in Michael Mann's dramatic thriller “Collateral,” in which he starred with Tom Cruise. That same year, Foxx also earned Golden Globe Award and SAG Award® nominations and won an Image Award for Best Actor in a Television Movie for his portrayal of condemned gang member-turned-Nobel Peace Prize nominee Stan “Tookie” Williams in the FX Network movie “Redemption.”
Foxx has a number of films upcoming, including the Seth Gordon-directed comedy “Horrible Bosses”; F. Gary Gray's action thriller “Kane & Lynch,” opposite Bruce Willis; and the comedy “Skank Robbers,” which he also wrote and is producing. His recent film credits also include Garry Marshall's hit ensemble romantic comedy “Valentine's Day,” the thriller “Law Abiding Citizen,” Joe Wright's drama “The Soloist,” the thriller “The Kingdom” and Bill Condon's screen adaptation of the Broadway musical “Dreamgirls.” Foxx also executive produced the film “Life Support,” starring Queen Latifah, which closed the 2007 Sundance Film Festival.
Foxx's big-screen break came in 1999 when Oliver Stone cast him as a star quarterback in “Any Given Sunday.” In 2001, he co-starred with Will Smith in Michael Mann's acclaimed biopic “Ali.” His additional film credits include Michael Mann's “Miami Vice,” with Colin Farrell; Sam Mendes' Gulf War drama “Jarhead,” with Jake Gyllenhaal; “Stealth”; Antoine Fuqua's “Bait”; “Booty Call”; “The Truth about Cats & Dogs”; and “The Great White Hype.”
Foxx first came to fame as a comedian. After spending time on the comedy circuit, he joined Keenan Ivory Wayans, Jim Carrey, Damon Wayans and Tommy Davidson in the landmark Fox sketch comedy series “In Living Color.” In 1996, he launched his own series, “The Jamie Foxx Show,” which was one of the top-rated shows on The WB Network during its five-year run. Foxx also served as co-creator and executive producer, and directed several episodes. His first HBO Comedy Special, “Jamie Foxx: I Might Need Security,” premiered in February 2002.
In addition to his acting success, Foxx has also achieved a thriving music career. His first album, Unpredictable, topped the charts in late 2005 and early 2006 and spawned the NBC special “Unpredictable,” in which he performed with such artists as Mary J. Blige, Common, Snoop Dogg, The Game and Angie Stone. He has been nominated for eight Billboard Music Awards, three Grammy Awards, a Soul Train Music Award, and two American Music Awards, winning for Favorite Male Artist. Foxx's latest album, 2008's Intuition, debuted at number three on the Billboard 200 chart and spawned the chart-topping single “Blame It.” Foxx recently wrapped up his “Blame It Tour” in support of the album. On January 31, 2010 Jamie Foxx and T-Pain's “Blame It” won in the category of Best R%B performance by a duo/group with vocals at the 52nd Annual Grammy Awards.
ABOUT THE FILMMAKERS
TODD PHILLIPS (Director/Screenwriter/Producer) most recently directed and produced the 2009 blockbuster hit comedy “The Hangover,” starring Bradley Cooper, Ed Helms, Zach Galifianakis and Justin Bartha. The film became the highest grossing R-rated comedy of all time and won a Golden Globe for Best Motion Picture – Comedy or Musical. He is currently in production on the much-anticipated sequel, “The Hangover 2,” which reunites the cast.
Phillips started his career as a documentary filmmaker, inspired by humor taken from everyday reality and the belief that the truth is often stranger than fiction.
His first film, “Hated,” portrayed the revolting antics of extreme punk rocker G.G. Allin and became an instant underground sensation. It was released in the summer of 1994 and went on to become the highest grossing student film of its time.
He followed that in 1998 with “Frat House,” a documentary that he produced and directed for HBO's popular “America Undercover” series. “Frat House” premiered at the 1998 Sundance Film Festival and won the Grand Jury Prize for documentary features. The unflinching exposé of life in fraternities created a public controversy that eventually caused the film to be shelved by HBO. Phillips still hopes to release it in the future.
After meeting producer Ivan Reitman at Sundance, Phillips made his crossover to features with 2000's “Road Trip,” which established him as a new force in comedy. He simultaneously produced and directed “Bittersweet Motel,” a documentary on musical cult phenomenon Phish.
In one way or another, Phillips' films explore the nature of male relationships, and in doing so he has worked with some of Hollywood's biggest comedic actors, writing and directing such films as “Old School” in 2003, “Starsky & Hutch” in 2004, and “School for Scoundrels” in 2006. Phillips was nominated for a 2006 Academy Award® for Best Adapted Screenplay for his work on “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan.”
DAN GOLDBERG (Producer) marks his fifth film collaboration with Todd Phillips on “Due Date.” Previously, he served as producer on Phillips' “Old School,” “Road Trip,” “School for Scoundrels” and most recently, “The Hangover,” which won a Golden Globe Award for Best Motion Picture – Musical or Comedy and is the highest grossing R-rated comedy of all time. Goldberg will next produce “The Hangover 2” with Phillips, releasing in 2011.
Goldberg also produced the outrageous comedy “Howard Stern's Private Parts” and the animated comedy adventure “Space Jam,” starring Michael Jordan, and was an executive producer on Ivan Reitman's romantic adventure “Six Days Seven Nights,” starring Harrison Ford.
His screenwriting credits include the classic comedies “Stripes” and “Meatballs,” both of which he also produced; “Feds,” which he also directed; and the enduring cult favorite “Heavy Metal.”
ALAN R. COHEN & ALAN FREEDLAND (Screenwriters, Story) are best known as Emmy Award-winning writers from the Fox animated show “King of the Hill” and often referred to as “the Alans.”
Among numerous other writing and producing credits, the duo also co-created the Comedy Central cult hit “Kid Notorious,” starring Robert Evans. They are currently co- executive producers on Seth MacFarlane's “American Dad.”
Prior to “Due Date,” the Alans wrote feature scripts for various studios. They currently have several television and film projects in development, including the feature comedy “The Reunion,” for producer Brian Grazer.
A George Washington University graduate, Cohen originally hails from Pittsburgh and worked for several years as a reporter in The Baltimore Sun's Washington, D.C. bureau.
Freedland graduated from the University of Michigan. He grew up in the Detroit area and worked in advertising in Chicago.
ADAM SZTYKIEL (Screenwriter)'s most recent writing credit was the comedy “Made of Honor,” starring Patrick Dempsey and Michelle Monaghan.
He is currently working on a film adaptation of the best-selling memoir “The Game” by Neil Strauss, and has numerous other film and television projects in development.
Sztykiel is a graduate of the University of Southern California School of Cinematic Arts.
THOMAS TULL (Executive Producer), Chairman and CEO of Legendary Pictures, has achieved great success in the co-production and co-financing of event movies. Since its inception in 2004, Legendary Pictures has teamed with Warner Bros. Pictures on such hits as Bryan Singer's “Superman Returns”; Zack Snyder's “300” and “Watchmen”; and Christopher Nolan's “Batman Begins” and award-winning phenomenon “The Dark Knight,” which earned in excess of $1 billion worldwide.
More recently, this highly successful partnership produced Ben Affleck's “The Town”; Christopher Nolan's summer blockbuster “Inception”; the worldwide hit “Clash of the Titans”; Todd Phillips' “The Hangover,” which is the highest-grossing R-rated comedy of all time; and Spike Jonze's “Where the Wild Things Are.” Legendary's upcoming releases include Bryan Singer's “Jack the Giant Killer,” Todd Phillips' “The Hangover 2,” and Zack Snyder's “Sucker Punch.” Legendary is also developing a number of promising film projects in-house, including “Warcraft,” “Godzilla,” “Gravel,” “Paradise Lost,” and a sequel to “300.”
Before forming Legendary, Tull was President of The Convex Group, a media and entertainment holding company headquartered in Atlanta, on whose Board of Directors he also served.
SUSAN DOWNEY (Executive Producer) is a principal partner of Team Downey, the production company she formed with her husband, Robert Downey Jr. A prolific film producer, she has collaborated with some of the industry's most noted talents on films ranging from action blockbusters to dramas to comedies to horror thrillers.
Downey also produced the global hit “Sherlock Holmes,” which opened on Christmas Day 2009 and grossed more than $516 million worldwide. Directed by Guy Ritchie, the film starred Robert Downey Jr., Jude Law, Rachel McAdams and Mark Strong in an action adventure mystery that brought Arthur Conan Doyle's legendary detective to the big screen as never before. She is currently producing the sequel, which again stars Downey Jr. and Law under the direction of Ritchie.
Downey also recently served as an executive producer on the action hit “Iron Man 2,” which earned more than $620 million at the worldwide box office. The follow up to “Iron
Man” reunited director Jon Favreau with returning stars Robert Downey Jr. and Gwyneth Paltrow, and also starred Don Cheadle, Mickey Rourke and Scarlett Johansson.
Previously, Downey held the dual posts of Co-President of Dark Castle Entertainment and Executive Vice President of Production at Silver Pictures. Joining Silver Pictures in 1999, she oversaw the development and production of feature films released under both banners, including “Thir13en Ghosts” and “Swordfish.”
In 2002, she made her producing debut as a co-producer on “Ghost Ship” and then co- produced the 2003 release “Cradle 2 the Grave.” Downey went on to produce the features “Gothika” and “House of Wax,” and also served as an executive producer on the critically acclaimed comedic thriller “Kiss Kiss, Bang Bang.”
Downey later produced Neil Jordan's acclaimed psychological drama “The Brave One,” starring Jodie Foster and Terrence Howard; Guy Ritchie's widely praised crime comedy “RocknRolla,” starring Gerard Butler, Tom Wilkinson, Thandie Newton, Idris Elba, Chris Bridges and Jeremy Piven; the horror thriller “Orphan,” starring Vera Farmiga and Peter Sarsgaard; and the thriller “Whiteout,” starring Kate Beckinsale. She was also an executive producer on the Hughes brothers' post-apocalyptic drama “The Book of Eli,” starring Denzel Washington and Gary Oldman.
Prior to her tenure at Dark Castle and Silver Pictures, Downey worked on the hit films “Mortal Kombat” and “Mortal Kombat: Annihilation.”
Downey is a graduate of the University of Southern California's School of Cinema- Television.
SCOTT BUDNICK (Executive Producer) is Executive Vice President of Production for Green Hat Films, overseeing the development and production of a varied slate of projects including the upcoming “Project X,” set for release in 2011. He most recently executive produced the blockbuster hit “The Hangover,” which won a Golden Globe for Best Motion Picture – Musical or Comedy and is the highest grossing R-rated comedy of all time.
Budnick began his entertainment career in local casting while at Emory University in his hometown of Atlanta, Georgia. Upon graduation, he relocated to Los Angeles, serving as casting assistant on Todd Phillips' “Road Trip” and then as associate to the director on “Old School,” starring Vince Vaughn, Luke Wilson, Will Ferrell and Jeremy Piven. Budnick served associate producer on Phillips' following films, “Starsky & Hutch,” starring Owen Wilson and Ben Stiller and “All The King's Men,” starring Sean Penn and Jude Law, which Phillips executive produced; and was co-producer on “School for Scoundrels,” starring Billy Bob Thornton.
LAWRENCE SHER (Director of Photography) reunites with Todd Phillips on “Due Date,” having previously collaborated on the Golden Globe-winning blockbuster comedy “The Hangover.” His work will next be seen in Greg Mottola's sci-fi comedy “Paul,” with Jason Bateman and Seth Rogan, and David Frankel's comedy “The Big Year,” based on Mark Obmascik's book and starring Owen Wilson, both releasing in 2011.
Sher's other recent credits include “I Love You, Man,” “Trucker,” “The Promotion,” “Dan in Real Life,” “The Dukes of Hazzard” and “The Chumscrubber.”
He worked as director of photography on several smaller films and music videos earlier in his career, coming to the fore in 2001 with the award-winning independent film “Kissing Jessica Stein,” followed by director Zach Braff's “Garden State.”
Born and raised in New York City, Sher studied economics at Wesleyan University where, in his junior year, he turned an interest in still photography into a fascination with motion pictures. Upon graduation, he moved to Los Angeles and began his career as a camera assistant.
BILL BRZESKI (Production Designer) previously collaborated with Todd Phillips on the 2009 Golden Globe Award-winning blockbuster comedy “The Hangover,” for which he received an Art Director's Guild Award nomination for Excellence in Production Design. Brzeski re-teams again with Phillips for “The Hangover 2,” releasing in 2011.
Brzeski's other recent credits include “Flipped,” which reunited him with Rob Reiner, having previously served as production designer on Reiner's “The Bucket List”; and re- teaming with Rob Minkoff' on “The Forbidden Kingdom,” having previously worked on the director's groundbreaking CGI movie “Stuart Little” and its sequel, “Stuart Little 2.” Some of the designer's additional credits include “Deck the Halls,” “Blue Streak,” James L. Brooks' Oscar®-winning “As Good As It Gets” and “Matilda.”
Brzeski received his undergraduate degree from Miami University and his MFA in Design from New York University's Tisch School of the Arts. Originally interested in designing for the ballet and opera, he began his career in the theatre before moving to Los Angeles from New York City and designing more than 800 episodes of television series.
Brzeski also designs commercial spaces, most notably the award-winning Susina Bakery in Los Angeles.
His production design workshops at graduate and undergraduate levels have been hosted by New York University School of the Arts, Miami University, Clemson University and Loyola University Film School.
DEBRA NEIL-FISHER (Editor) re-teams with Todd Phillips on “Due Date,” having served as editor on his blockbuster hit “The Hangover,” the number one R-rated comedy of all time. The film won a Golden Globe for Best Motion Picture - Musical or Comedy and Fisher was honored with an Eddie Award by the American Cinema Editors for Best Edited Feature Film.
Among Neil-Fisher's other feature credits are the hit comedies “Baby Mama,” “Semi- Pro,” “Role Models,” “You, Me and Dupree,” “Without a Paddle,” “Saving Silverman,” and two hugely successful Austin Powers films, “Austin Powers: International Man of Mystery” and “Austin Powers: The Spy Who Shagged Me.” She has collaborated three times with director Donald Petrie on “Just My Luck,” “Welcome to Mooseport” and “How to Lose a Guy in 10 Days.” Her work also extends to other genres, including the dramas “Fried Green Tomatoes,” “The War” and “Up Close and Personal,” as well as the thrillers “Teaching Mrs. Tingle” and “Dr. Giggles.”
In 1991 Neil-Fisher won a CableACE Award for her work on TNT's telefilm “Heat Wave,” for director Kevin Hooks. Among her earlier television credits are “The Amy Fisher Story,” “The Case of the Hillside Strangler” and the TNT thriller “Breaking Point.”
LOUISE MINGENBACH (Costume Designer) marks her fifth project with director Todd Phillips on “Due Date,” a collaboration that began on the feature film “Starsky & Hutch,” followed by “School for Scoundrels” and the 2008 telefilm “The More Things Change...” In 2009, her designs were seen in Phillips' mega-blockbuster “The Hangover,” which won a Golden Globe for Best Motion Picture – Musical or Comedy and is the highest R-rated comedy of all time.
The upcoming actioner “Battleship,” based on the classic board game, reunites Mingenbach with Peter Berg, with whom she worked on “Hancock,” starring Will Smith.
Mingenbach also designed costumes for the 2009 action epic ““X-Men: Wolverine.” Previously, she earned a Saturn Award and a Costume Designers Guild Award nomination for her work on Bryan Singer's “X-Men.” She has teamed with Singer on four other films, including the 1995 thriller “The Usual Suspects,” “X2,” “Apt Pupil” and “Superman Returns,” as well as the pilot for “House M.D.”
Mingenbach's additional feature credits include the Farrelly Brothers' “The Heartbreak Kid,” “Spanglish,” “The Rundown,” “K-PAX,” “Gossip,” “Permanent Midnight,” “Nightwatch,” “The Spitfire Grill” and “One Night Stand.”
CHRISTOPHE BECK (Composer) previously collaborated with Todd Phillips on “The Hangover,” which won a Golden Globe for Best Motion Picture – Comedy or Musical.
He has composed scores for 50 feature films and nearly 20 television shows. With more than 15 years of experience, Beck has scored a wide array of projects, including such action films as “Percy Jackson & The Olympians: The Lightning Thief,” “The Sentinel” and “Elektra”; the comedies “Date Night,” “Charlie Bartlett,” “The Pink Panther” and “Bring It On”; and such dramas as “We Are Marshall,” “Under the Tuscan Sun” and “Year of the Dog”; as well as the Davis Guggenheim documentary, “Waiting For Superman.”
Beck most recently composed music for the comedies “Death at a Funeral,” starring Chris Rock, Martin Lawrence and Tracy Morgan; “Date Night,” with Steve Carell and Tina Fey; “Hot Tub Time Machine,” starring John Cusack; and Chris Columbus' fantasy adventure “Percy Jackson & The Olympians: The Lightning Thief.”
His additional credits include “All About Steve,” “The Greatest,” “What Happens in Vegas,” “Phoebe in Wonderland,” “The Seeker: The Dark is Rising,” “Saved!,” “American Wedding” and “Just Married.”
Beck began his scoring career on the Canadian television series “White Fang,” and from there went on to score three seasons of the hit television series “Buffy the Vampire Slayer,” for which he won an Emmy Award for Outstanding Music Composition.
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Due Date Starring Robert Downey Jr. and Zach Galifian
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THE IDEA
From director Todd Phillips, “Due Date” stars Robert Downey Jr. and Zach Galifianakis as two unlikely companions thrown together on a road trip that turns out to be as life-changing as it is outrageous.
Downey plays Peter Highman, an expectant first-time father whose wife's due date is only days away. As he hurries to catch a flight home to Los Angeles from Atlanta to be at her side for the birth, his best intentions go completely awry when a chance encounter with aspiring actor and disaster-magnet Ethan Tremblay (Galifianakis) leads to the two of them being tossed off the plane and placed on a no-fly list...while Peter's luggage, wallet and ID take off without him.
With no alternatives in sight, Peter is forced to hitch a ride with Ethan and his canine traveling companion on what turns out to be a cross-country road trip that will destroy several cars, numerous friendships and Peter's last nerve.
The comedy “Due Date” also stars Michelle Monaghan (“Made of Honor”), Juliette Lewis (“The Switch”) and Academy Award® winner Jamie Foxx (“Ray”).
Directed by Todd Phillips (“The Hangover”), the film is produced by Phillips and Dan Goldberg (“The Hangover,” “Old School”), from a screenplay by Alan R. Cohen & Alan Freedland and Adam Sztykiel & Todd Phillips, story by Alan R. Cohen & Alan Freedland. Thomas Tull, Susan Downey and Scott Budnick serve as executive producers.
“Due Date” reunites Phillips with key members of his filmmaking team from “The Hangover,” including director of photography Lawrence Sher, production designer Bill Brzeski, editor Debra Neil-Fisher, composer Christophe Beck and costume designer Louise Mingenbach.
ABOUT THE PRODUCTION
“If you're going to travel with me to Los Angeles I have to give you a couple of guidelines. Number one: don't ask me a single question.” - Peter Highman
“It's a simple idea—two mismatched guys forced to go on a road trip together,” declares “Due Date” director and co-writer Todd Phillips. “Robert Downey Jr. is Peter Highman, an architect on his way back to L.A. from a business trip in Atlanta. He's on a tight schedule because his wife is expecting their first child and the date is all set. Everything is fine until he gets tangled up at the airport with a wannabe actor named Ethan Tremblay, who somehow gets the both of them booted off the plane and grounded for the foreseeable future.”
At that point, “simple” flies right out the window.
Stranded without cash, credit, ID or time, Peter finds himself in the galling position of having to hitch a ride home with a guy he'd rather take a swing at—Ethan. The person he holds responsible for his predicament in the first place is now behind the wheel of a rental car and offering him the passenger seat.
Though clearly not his best option, it's Peter's only option.
At first grateful for the company, Ethan soon learns that his tightly wound traveling companion is not going to be any fun at 20 Questions, nor generally receptive to the concept of going with the flow. Meanwhile, Peter realizes he's just joined forces with a guy who can casually ruin his life in more ways than he could ever imagine.
“If there really was somebody like Ethan around, he'd have been strangled in his sleep long ago,” Downey attests. “He's like a laser beam that focuses on the one thing that will drive you crazy the most, the kind of guy who will eat a whole plate of waffles before mentioning he's allergic to waffles. I'm sure a lot of people know someone like this, someone who is perfectly wired to activate all of their irritation buttons.”
Granted, Peter has a short fuse to begin with. “He's kind of an edgy, controlling, judgmental guy with some anger-management issues. And who better to help him explore those issues than Ethan Tremblay? High-strung as he is normally, Peter is now facing the birth of his first child and is thrown into this nightmare, so it's all amped up,” Downey adds.
Ethan, by comparison, gives new meaning to the term laid-back. Zach Galifianakis, who stars as the human lightning rod for trouble, observes, “Nothing affects him, no insult seems to penetrate. Ethan lives in his own head. He has no talent, and he's on his way to Hollywood to capitalize on that. These two guys meet through a series of unfortunate circumstances that are entirely Ethan's fault, to which he is completely oblivious. And every bad thing that happens from that point on is Ethan's fault. Everything.”
Says Phillips, “People always cite chemistry in these kinds of movies. They say it's the chemistry between the two lead actors that make it work. I believe what makes ‘Due Date' work is anti-chemistry; it's two guys with zero connection and zero rapport, constantly butting heads, that generates both the tension and the comedy.”
Dan Goldberg, who has produced all of Phillips' feature films since their 2000 collaboration on the hit comedy “Road Trip,” says, “The ride develops its own momentum as one thing after another happens to impede their progress.”
At the same time, their cross-country trek takes Peter and Ethan on another, more unpredictable journey than what they face geographically—one that leads them to discover as much about themselves as each other.
Provided that they survive it.
Scott Budnick, an executive producer on the film, says, “There's real emotional substance to the story and real issues, and Robert and Zach do a phenomenal job in delivering both the humor and the emotional stakes. My favorite comedies are always the ones that have heart.”
As infuriating as Ethan can be, whether mismanaging his funds, missing potty breaks or launching their car off an overpass, Phillips concedes he has his good points, citing “honesty, innocence and a humanity that makes you connect with him and root for him despite it all. Ethan is a complex character. He has just lost his father, who was his best friend, and is having a tough time dealing with that. There's an underlying desperation in everything he does and an eagerness to please to the point where just making friends means trying too hard.”
“A lot of what he does is to avoid being lonely,” says Galifianakis.
Peter, on the other hand, may come across like a self-assured, aggressive control freak but, says Phillips' “Due Date” screenwriting partner Adam Sztykiel, “You sense that his behavior comes from an emotional place and from issues he has yet to work out, that are revealed in the story. Not far beneath the alpha male posture is his own vulnerability and how terrified he is to be responsible for a child.”
“As a parent,” Downey offers, “I know the big question is how are you going to manage and protect something that you have no experience with?”
Playing on that theme were screenwriters Alan R. Cohen and Alan Freedland, who also have story credit on “Due Date.” “Peter's comfort zone is when he's in control. And everything that happens in this movie is about losing control; from his inability to get back home to the larger issue of his impending fatherhood—and whether or not he's ready for it,” Cohen says.
“We wanted to put him into a situation where he had to travel across the country with someone who was effectively a child,” adds Freedland.
Not that it would lessen Peter's pain, stress and frustration if he knew it might be pain, stress and frustration with a purpose. Still...
“When I read the script, I was moved,” recalls executive producer Susan Downey. “It's so funny and yet so human. You want a comedy to have that grounding, in the way that you want a drama to have some humor. In ‘Due Date,' though his experience with Ethan, Peter finds his human side and gets ready for the birth of his own child. It's about him becoming a man before becoming a father.”
“Guess who's got the Subaru Impreza? Me! Guess who's got the winning personality? Me! What do you have? You have a nice hairline. Fine. You have a strong jaw. But I gotta tell you, mister, your personality needs some work.” - Ethan Tremblay
Despite the “anti-chemistry” Phillips had in mind for their characters, Galifianakis and Downey generated some genuine positive chemistry from the start.
Downey vividly recalls their first meeting. “I was in Venice, California, and some weird guy walks by and says, ‘Hi, I think I'm doing a movie with you.' And I was thinking, ‘I might have to punch this guy.' Then I realized, ‘Oh my God...that's Zach.'
“Later, he came over for dinner so we could talk about the script,” Downey continues. “I asked if he had any dietary restrictions and he sent me a note detailing everything he'd need, like bottled water flown in from Barstow. It's one of my favorite things. I read it to people at parties.”
“We kind of took care of each other on the set—very different from what was going on in the movie. We'd talk every morning about how to make a scene work. It was great. Funny how hanging out with a legitimate actor raises your game,” Galifianakis returns.
“I always respond to projects based on the casting potential,” says Phillips. “I immediately start seeing a movie from the standpoint of casting it. For ‘Due Date,' I knew that if I could get Robert and Zach we could go full out.”
Phillips marks his second collaboration with Galifianakis on “Due Date,” following the comedian's breakout starring role in last year's international blockbuster hit “The Hangover,” that became the highest-grossing R-rated comedy of all time. He says, “Zach and I click because he knows I really get his humor, which can be pretty outrageous.”
In “Due Date,” however, Galifianakis creates a character that calls for a great deal of subtlety. Notes Budnick, “Every little nuance of personality and each detail—the way he walks, the way he talks, the way he thinks—Zach has figured out how Ethan Tremblay would do these things and it's reflected in every single moment he's on screen.”
At the same time, there is a core of unpredictability to the performance. “Zach brings a sense of spontaneity and danger and I think comedy is best with an undercurrent of danger so that you never know exactly what's going to happen or what someone will say or do. In that sense, he's the perfect comedic actor,” says Phillips.
And “Due Date” gives him a worthy antagonist in Downey.
“Not only is Robert a world-class actor but he's naturally funny. I wouldn't think of casting Robert Downey Jr. as anyone's straight-man,” says Phillips. “In ‘Due Date' there is no straight-man because they're both screwed up in their own ways. And the beauty of Zach and Robert playing off each other is that they're both funny but their humor comes from such different places and their styles are so different that you're not mining the same vein.”
Downey, Galifianakis, Phillips and Sztykiel “took the script apart and put it back together,” says Goldberg. “Every day there were new things that touched me and made me laugh. I believe ‘Due Date' audiences will see aspects of Robert and Zach that they haven't seen before and things that will surprise them. As a filmmaker, I'm always looking for that.”
It's a philosophy and a process that Phillips respects. “So much of comedy happens on the day you shoot,” he says, and offers the example of the airplane luggage bin scene. “It just happened as we were looking at the seating and the overhead bin and realized how that could bring them really close in a small space. Zach said, ‘What if I rub up against him while I'm reaching into the bin?' And I said, ‘What if you pull your shirt up first to wipe your glasses so it's just your bare stomach?' Comedy isn't math; it's jazz.”
Says Robert Downey Jr., “I start every day thinking here's what will happen if you do it by the book and here's what can happen if you bend yourself over backwards and forwards again and try to invite the unimagined into the situation. The set had energy like a living being; it was evolving all the time. And what's great and so funny about Todd is that sometimes, with him, it's so wrong, it's right.”
That point of view resonates with Galifianakis, who admits to being right alongside the director in appreciating “the inappropriate,” adding, “Todd and I have the same sense of humor. We like stuff that has a bit of a taboo element—things that are funny specifically because you're not supposed to laugh at them. As a stand-up comic, I love it when audiences laugh before they realize maybe they shouldn't have, and then start to question themselves.
“That's not to say that you can't be offended by something Todd or I do in a film,” he continues with mock concern. “I'm often offended by the things I do in movies.”
“You'd better check yourself before you wreck yourself.” - Ethan
“What I like about road trip movies is that essentially your characters are working without a net. You just throw them out into the elements and say, ‘Deal with it,'” says Phillips. “You don't have the support system of friends and family. People come in and out of your life for intense but fleeting moments.”
To help facilitate that, ‘Due Date' features a stellar supporting cast of characters who offer Peter and Ethan a range of memorable and often thought-provoking encounters along the way.
The first of these is Heidi, a freelance medical supplier with questionable parenting skills, tracked down by Ethan at her Birmingham home to restock his supply of “glaucoma medication.” It's one of many detours that takes them miles out of their way.
Heidi is played by Juliette Lewis, in her third screen role for Phillips. Lewis was touring in London with her band when the director called. “We worked it out so that between London and Helsinki I made a pit stop in a place I didn't even know existed—Las Vegas, New Mexico—for a couple of days, to play a pot dealer,” she recounts. “When Todd calls it's a game of trust. I don't know the role, I don't know what he wants me to do, but I know it's going to be good and it's going to be funny.”
Oscar® winner Jamie Foxx, who recently starred with Downey in “The Soloist,” comes aboard in the role of Peter's old college buddy, Darryl, now living in Dallas.
“It was a real coup to get Jamie to come in as Peter's friend—and, according to Ethan, possibly the real father of his soon-to-be-born child,” says Robert Downey Jr., alluding to yet another way in which Ethan manages to get under Peter's skin.
Within minutes of entering Darryl's home, Ethan spots a few photos, asks a few questions, adds two and two, and comes up with five. “He learns that Darryl is very close with Peter's wife and jumps to all kinds of conclusions. Then, he plants the seed of doubt in Peter's mind,” says Phillips.
“Darryl comes into the picture to do these guys a favor and it's all great...until it's not. Then things get very weird, very fast,” Foxx says of the ensuing scene that lands Peter and Ethan back on the pavement. “Working with Robert, Zach and Todd, you'd never know what to expect, but you could always count on it being a crazy, creative, collaborative experience.”
The travelers also run afoul of an ill-tempered Western Union clerk, played by Danny McBride; a paragon of Airport Security, played by Grammy Award-winning hip hop producer/musician and actor Rza; and an exceptionally indifferent TSA agent, played by Matt Walsh, the ER doc from “The Hangover.”
Meanwhile, back home anxiously awaiting Peter's return is his wife, Sarah, played by Michele Monaghan, reuniting with Downey for the first time since they teamed in the 2005 comedy thriller “Kiss Kiss Bang Bang.”
“Sarah is just about 8 months and 29 days pregnant with her first baby and obviously very anxious,” Monaghan offers. “Her husband is not only m.i.a but is also traveling cross- country with a wild man whose only concern is if she has any ‘recommendations for someone who could give him a perm'?!? Clearly, the baby's arrival looks more promising than daddy's.”
“Sonny, stop. Sonny...No. Stop. Good boy.” - Ethan
Before circumstances force these two to share a rental car, Ethan already has a traveling companion: a French Bulldog named Sonny, who becomes the pair's third wheel and a point of calm amidst the escalating mayhem.
The role of Sonny, though indisputably male, was played almost entirely by a young female Frenchie trained by Mark Harden, of Boone's Animals for Hollywood.
The introduction of a dog into the script came about as Phillips sought to further ratchet up the tension between his two leads and decided that one of them should be a dog person and the other...not so much. After perusing renowned animal trainer Boone Narr's company website, he spotted what he was looking for in Bodie, an adult male French Bulldog with the big ears and wide-eyed comical expression typical of the breed.
Unfortunately, at 26 pounds, Bodie was too heavy to be constantly toted around on one arm, so, with only weeks before filming started, Harden launched a full-scale and very specific search for a six-to-10-month-old, cream-colored, slightly undersized French Bulldog. He first tried the rescue agencies, then tapped into a nationwide network of breeders before finding someone who had a full-grown female weighing in at 15 pounds.
Though Galifianakis jokes that Sonny was trained to fall asleep at the word ‘action,' Harden takes no credit for the animal's relaxed demeanor, conceding, “She's just a very settled and well-adjusted dog. She doesn't get worked up. I think she just learned early on that most of her scenes were going to take awhile and she might as well catch a nap.”
Galifianakis, who bonded with his canine co-star despite an allergy to dogs, says, “I was kind of envious at her ability to fall asleep at work. And she snores like me.”
But as much as the camera loved Sonny, there was one special trick she just couldn't manage, that required a one-day command performance from Bodie.
Harden carefully describes how the trick serendipitously made its way into the story. “French Bulldogs are unable to groom themselves in certain areas as other dogs do. I don't know if it's a combination of their short neck and wide shoulders, but they can't twist backwards.”
Consequently, some of them use their paws, “a natural behavior that Bodie spontaneously offered in front of Todd at that first meeting, while we were talking,” the trainer recalls. “As soon as he saw it, there was no turning back. He said, ‘Oh my God, can you train him to do that?”
“Am I okay? Do I look okay? I have a broken arm. I have three cracked ribs. I have seven stitches in my armpit. Does that answer your question? - Peter
“I love physical comedy,” says Phillips, who happily extends the parameters of physical comedy in “Due Date” to include a multi-vehicle freeway chase, an end-over-end car flip and a shoot-out with some seriously t'd-off border security agents.
“For me,” Phillips continues, “It's fun to include shocking moments that make you say, ‘Whoa, where did that come from?' We shot the car sequence in Las Cruces, New Mexico. They let us break through the overpass and land on the road below. We closed the highway for several days to prepare and execute it but, frankly, you never know how a stunt is going to land, so we set up four or five cameras and let it happen. The car flipped back up on its wheels, but we were prepared for it to do anything.” Filming “Due Date” was a road trip in itself. Location shooting began in and around Atlanta and moved generally westward with the story, touching upon Dallas and the Texas interior and various locations in New Mexico, including Las Vegas and Santa Fe, which the filmmakers covered from a base of operations in Albuquerque, before touching down in California.
“The way the script breaks down, they have to get across the country. in a couple of days so you really need to take the southern route, which is not as long as the northern, so it makes sense in terms of driving time,” says production designer Bill Brzeski.
A separate helicopter unit covered the Grand Canyon for a key scene with Peter and Ethan perched on its rim, overlooking the Colorado River snaking its way through, far below. Between takes, busloads of visitors from all over the world arrived to tour the area and there was some concern on the part of the crew that they might forget to watch where they were going once they caught sight of Downey and Galifianakis.
The film's opening airport scenes were a combination of several elements. The plane cabin mockup was constructed on Stage 11 at Warner Bros. Studios; the curb where Peter's and Ethan's cars pull up was shot at Ontario Airport in California; and the screening area and other terminal interiors were built inside the Georgia World Congress Center in Atlanta.
Other practical locations in Georgia included a construction site in Atlanta's Buckhead neighborhood; a Waffle House and portions of Highway 27 in Bremen; various locations along I-75 and I-675, GA-route 20 and the Metropolitan Parkway; the Gwinnett Medical Center in Lawrenceville; the 1010 Condos on Atlanta's historic Peachtree Street; and a recently closed rest stop along I-985.
Darryl's home in Dallas was an amalgam of exteriors captured in Buckland, Georgia, and interiors shot in Encino, California. “You're never really anywhere you're supposed to be,” Brzeski says. “Las Vegas, New Mexico was built around the turn of the century and doesn't look like what you'd expect to see in New Mexico. There's a lot of Victorian architecture that doesn't match the typical Santa Fe look so buildings can substitute for almost any American small town, be it Texas or Ohio. We used it as Alabama for Heidi's house.”
The southwestern city also provided the site for one of the film's larger set pieces; a checkpoint at the U.S./Mexico border that was constructed on a bridge spanning a portion of Route 25 in Las Vegas, under which Brzeski and his team formed an encampment of Federali trailers based on actual Mexican Customs vehicles. Interiors of the office and a trailer, as well as a gimbal rig that figures into the action, were built on stage and another rotating rig, dubbed “car-on-a-spit” by one crew member, was designed for the scene in which Peter and Alan take their rented Subaru for a real spin.
All this action takes its toll on the luggage-deprived Peter, forced to spend the entire journey in one increasingly rumpled, torn, stained and slept-in suit. For costume designer Louise Mingenbach, that meant maintaining 20 versions of the suit in five basic stages of deterioration. “Definitely, the story evolves through Peter's clothes,” she says.
With Ethan's wardrobe she was able to have more fun, brainstorming with Galifianakis, who, she says, “has no vanity. Some actors want to look beautiful all the time but that's not Zach. He will wear whatever works for his character, even if it's acid-washed jeans two sizes too small.”
“I really like to look bad in movies,” Galifianakis agrees. “Originally Ethan was dressed like a hippie but I wanted him to be more arty—or, what he would think is arty. He has a perm, he has his dance shoes and his really bad tight jeans and the scarf as an accessory; he wants to be an actor and this is how he thinks actors dress.”
“Due Date” marks Mingenbach's fifth collaboration with Phillips, who says, “I have a great team. I've worked with essentially the same people throughout my career. We write some crazy thing and then I turn to my guys and say, ‘Can we pull this off?'”
Among those previous colleagues rejoining the director on “Due Date” were cinematographer Lawrence Sher, editor Debra Neil-Fisher and composer Christophe Beck.
Scott Budnick points out, “‘Due Date' marks the 10-year anniversary of ‘Road Trip,' Todd's first movie and my first job out of college. We filmed ‘Road Trip' from September to December 1999, and ‘Due Date' from September to December of 2009.”
For Phillips, it's a genre full of possibilities.
“I've been in some strange situations on the road,” confesses screenwriter Sztykiel, a Los Angelino who identified in some ways with Peter. “Here's a guy who's a little sheltered and doesn't have exposure to the 3,000 miles that exist east of his home, and it was fun to force him out of his bubble. It's uncomfortable, but you come away with a better sense of your place in the world. My advice for travelers? Go to the bathroom. Make sure your traveling partner has gone to the bathroom. Don't spend all your money on illegal substances. Don't say ‘bomb' on an airplane. Don't open your car door in traffic. Pretty simple stuff.” Sure. In hindsight.
“There's something about a road trip that brings out the extremes of human reactions and emotions,” says Phillips. “It's a great opportunity for surprises and for people to learn things about themselves or each other that they'd never see if they weren't being pushed to their limits, or having to make the kinds of quick, instinctive decisions you have to make on the road.”
At the same time, the road itself can be almost incidental. “No matter where we are in ‘Due Date,' no matter what's kind of chaos they're going through,” he concludes, “it all comes down to these two guys working out their issues.”
ABOUT THE CAST
ROBERT DOWNEY JR. (Peter Highman), a two-time Academy Award® nominee, earned his most recent Oscar® nomination, for Best Supporting Actor, for his work in Ben Stiller's comedy hit “Tropic Thunder.” His performance as Kirk Lazarus, a white Australian actor playing a black American character, also brought him Golden Globe, BAFTA Award and Screen Actors Guild (SAG) Award® nominations. Downey was honored with his first Oscar® nomination, in the category of Best Actor, for his portrayal of Charlie Chaplin in Richard Attenborough's acclaimed 1992 biopic “Chaplin,” for which he also won BAFTA Award and London Film Critics Awards and received a Golden Globe Award nomination.
Earlier this year, Downey received another Golden Globe nomination for his performance in the title role of the 2009 hit “Sherlock Holmes,” under the direction of Guy Ritchie. Downey returns to the role of the legendary detective in a new Sherlock Holmes adventure, currently slated for release in December 2011.
In summer 2008, Downey received praise from critics and audiences for his performance in the title role of the blockbuster hit “Iron Man,” under the direction of Jon Favreau. Bringing the Marvel Comics superhero to the big screen, “Iron Man” earned more than $585 million worldwide, making it one of the year's biggest hits. Downey reprised his role in the successful sequel, which was released this past spring. He returns to the role in Josh Whedon's upcoming actioner “The Avengers,” which teams Iron Man with other Marvel Comics superheroes.
Downey's other recent films include “The Soloist,” opposite Jamie Foxx; “Charlie Bartlett”; David Fincher's “Zodiac,” alongside Jake Gyllenhaal and Mark Ruffalo; Richard Linklater's “A Scanner Darkly,” with Keanu Reeves, Winona Ryder and Woody Harrelson; “Fur,” opposite Nicole Kidman in a film inspired by the life of revered photographer Diane Arbus; and “Kiss Kiss, Bang Bang.” He also shared in a SAG Award® nomination as a member of the ensemble cast of George Clooney's true-life drama “Good Night, and Good Luck,” and in a Special Jury Prize won by the ensemble cast of “A Guide to Recognizing Your Saints,” presented at the 2006 Sundance Film Festival.
Downey's long list of film credits also includes “Gothika”; “The Singing Detective”; Curtis Hanson's “Wonder Boys”; “U.S. Marshals”; Mike Figgis' “One Night Stand”; Jodie Foster's “Home for the Holidays”; “Richard III”; Oliver Stone's “Natural Born Killers”; Robert Altman's “The Gingerbread Man” and “Short Cuts,” sharing in a Golden Globe Award for Best Ensemble for the latter; “Heart and Souls,” “Soapdish,” “Air America,” “Chances Are,” “True Believer,” “Less Than Zero,” “Weird Science,” “Firstborn,” and “Pound,” in which he made his debut under the direction of Robert Downey Sr.
On the small screen, Downey made his primetime debut in 2001 when he joined the cast of the series “Ally McBeal.” For his work on the show, he won the Golden Globe Award for Best Supporting Actor in a Series, Miniseries or Motion Picture Made for Television and a Screen Actors Guild Award® for Outstanding Actor in a Comedy Series. In addition, Downey was nominated for an Emmy for Outstanding Supporting Actor in a Comedy Series.
On November 23, 2004, Robert Downey Jr. released his debut album, “The Futurist,” on the Sony Classics label. The album, containing eight original songs, showcased his singing talents.
Downey and his wife, Susan, just formed Team Downey, a production company based at Warner Bros.
ZACH GALIFIANAKIS (Ethan Tremblay) moved to New York City after failing his last college course by one point at North Carolina State University. He got his start performing his brand of humor in the back of a hamburger joint in Times Square, graduating to doing stand-up at night in clubs and coffee houses in the city. While working as a bus boy, he got his first acting job on the NBC sitcom “Boston Common.”
Galifianakis' breakout role came in Todd Phillips' blockbuster hit “The Hangover,” the highest-grossing R-rated comedy of all time. He will reunite with Phillips and cast-mates Bradley Cooper, Ed Helms and Justin Bartha in “The Hangover 2,” slated for a 2011 release.
He also stars in “It's Kind of a Funny Story,” which premieres at the 2010 Toronto Film Festival and opens this fall. Recently, he also co-starred with Steve Carell and Paul Rudd in Jay Roach's comedy “Dinner for Schmucks.” Galifianakis' additional film credits include the Jerry Bruckheimer-produced hit “G-Force”; the indie feature “Youth in Revolt,” with Michael Cera, Steve Buscemi and Ray Liotta; a cameo in Jason Reitman's Oscar®- nominated film “Up in the Air”; “What Happens in Vegas,” with Cameron Diaz and Ashton Kutcher; and the critically acclaimed true-life drama “Into the Wild,” from director Sean Penn.
On the small screen, Galifianakis just started the second season of the HBO comedy “Bored to Death,” with Jason Schwartzman and Ted Danson. In addition, he hosted the critically acclaimed VH1 talk show “Late World with Zach,” and also wrote and starred in “Dog Bites Man” for Comedy Central.
Zach also has an internet talk show entitled “Between Two Ferns.” He has interviewed such guests as Steve Carell, Natalie Portman, Conan O'Brien and Charlize Theron.
When not filming, Galifianakis lives on his farm in North Carolina.
MICHELLE MONAGHAN (Sarah Highman) most recently starred to great critical acclaim in the independent film “Trucker,” which world premiered at the Tribeca Film Festival. She received the Best Actress Awards from the San Diego Film Critics Society, Ft. Lauderdale International Film Festival and Vail Film Festival. Monaghan also served as executive producer on the film.
She will next been seen in Sofia Coppola's “Somewhere,” “Source Code,” opposite Jake Gyllenhaal for director Duncan Jones and “Machine Gun Preacher,” opposite Gerard Butler for director Marc Forster.
Monaghan made her feature film debut in “Perfume,” directed by Michael Rymer, then played Richard Gere's secretary in Adrian Lyne's “Unfaithful.” She followed with supporting roles in Fred Schepisi's “It Runs in the Family,” with Michael Douglas; “Winter Solstice,” with Anthony LaPaglia; Paul Greengrass' “The Bourne Supremacy”; and Doug Liman's “Mr. & Mrs. Smith.”
It was her starring role in “Kiss Kiss, Bang Bang,” opposite Robert Downey Jr. and Val Kilmer, which brought Monaghan to the attention of audiences around the world. She also received rave reviews for her performance in the film, directed by Shane Black. Next, Monaghan joined Charlize Theron and Frances McDormand in “North Country” for director Niki Caro. She then starred in “Gone Baby Gone,” with Casey Affleck and Morgan Freeman; “The Heartbreak Kid,” opposite Ben Stiller; “Mission: Impossible III,” with Tom Cruise and Philip Seymour Hoffman for director J.J. Abrams; opposite Patrick Dempsey in the romantic comedy “Made of Honor”; and in D.J. Caruso's hit thriller “Eagle Eye,” alongside Shia LaBeouf.
JULIETTE LEWIS (Heidi) received Best Supporting Actress Oscar® and Golden Globe nominations for her layered performance as adolescent Danielle, opposite Robert De Niro, in Martin Scorsese's thriller “Cape Fear.”
She reunites with Todd Phillips on “Due Date,” having previously collaborated on “Old School” and “Starsky & Hutch.”
Lewis was most recently seen alongside Hilary Swank, Melissa Leo, Minnie Driver and Sam Rockwell in the independent drama “Conviction,” which premiered at the Toronto Film Festival and opened in October. Prior to that, Lewis appeared in the romantic comedy “The Switch,” alongside Jennifer Aniston, Jason Bateman and Patrick Wilson. She also starred alongside Orlando Bloom, Mark Ruffalo and Laura Linney in Ruffalo's directorial debut, “Sympathy for Delicious,” which took home the US Dramatic Special Jury Prize at this year's Sundance Film Festival. Last year, she played roller derby girl Dinah Might opposite Ellen Page, Marcia Gay Harden, Kristen Wiig, Jimmy Fallon and Eve in Drew Barrymore's directorial debut, “Whip It.”
Among Lewis' many other films are Gary Marshall's “The Other Sister”; “Evening Star,” with Shirley MacLaine; Quentin Tarantino's vampire tale “From Dusk Till Dawn,” opposite George Clooney; the sci-fi actioner “Strange Days,” alongside Ralph Fiennes and Angela Bassett; Nora Ephron's comedy “Mixed Nuts,” opposite Steve Martin and Adam Sandler; Oliver Stone's controversial “Natural Born Killers”; “What's Eating Gilbert Grape,” with Johnny Depp and Leonardo DiCaprio”; “Romeo Is Bleeding”; “Kalifornia”; Woody Allen's “Husbands and Wives”; “Crooked Hearts” and “National Lampoon's Christmas Vacation,” with Chevy Chase.
At 12, Lewis landed her first leading role in the Showtime miniseries “Home Fires.” At 16, her performance in the critically acclaimed longform “Too Young to Die?” led to film roles. Lewis' other television credits include Showtime's “My Louisiana Sky,” for which she received an Emmy Award nomination for Outstanding Performer in a Children's Special, and Mira Nair's HBO film “Hysterical Blindness,” alongside Uma Thurman and Gena Rowlands. She also had recurring roles in several series.
In addition to film and television, Lewis's music career continues to evolve. Her third studio album, Terra Incognito, was released in fall 2009.
JAMIE FOXX (Darryl) won an Academy Award® for Best Actor in 2005 for his portrayal of the legendary Ray Charles in the Taylor Hackford-directed biopic “Ray.” Foxx also won a Golden Globe Award, a Screen Actors Guild (SAG) Award®, a BAFTA Award, and an NAACP Image Award, as well as numerous critics' association awards, and shared in a SAG Award® nomination received by the film's ensemble cast.
Also in 2005, Foxx garnered Oscar®, Golden Globe Award, SAG Award®, BAFTA Award, and Image Award nominations, in the Best Supporting Actor category, for his work in Michael Mann's dramatic thriller “Collateral,” in which he starred with Tom Cruise. That same year, Foxx also earned Golden Globe Award and SAG Award® nominations and won an Image Award for Best Actor in a Television Movie for his portrayal of condemned gang member-turned-Nobel Peace Prize nominee Stan “Tookie” Williams in the FX Network movie “Redemption.”
Foxx has a number of films upcoming, including the Seth Gordon-directed comedy “Horrible Bosses”; F. Gary Gray's action thriller “Kane & Lynch,” opposite Bruce Willis; and the comedy “Skank Robbers,” which he also wrote and is producing. His recent film credits also include Garry Marshall's hit ensemble romantic comedy “Valentine's Day,” the thriller “Law Abiding Citizen,” Joe Wright's drama “The Soloist,” the thriller “The Kingdom” and Bill Condon's screen adaptation of the Broadway musical “Dreamgirls.” Foxx also executive produced the film “Life Support,” starring Queen Latifah, which closed the 2007 Sundance Film Festival.
Foxx's big-screen break came in 1999 when Oliver Stone cast him as a star quarterback in “Any Given Sunday.” In 2001, he co-starred with Will Smith in Michael Mann's acclaimed biopic “Ali.” His additional film credits include Michael Mann's “Miami Vice,” with Colin Farrell; Sam Mendes' Gulf War drama “Jarhead,” with Jake Gyllenhaal; “Stealth”; Antoine Fuqua's “Bait”; “Booty Call”; “The Truth about Cats & Dogs”; and “The Great White Hype.”
Foxx first came to fame as a comedian. After spending time on the comedy circuit, he joined Keenan Ivory Wayans, Jim Carrey, Damon Wayans and Tommy Davidson in the landmark Fox sketch comedy series “In Living Color.” In 1996, he launched his own series, “The Jamie Foxx Show,” which was one of the top-rated shows on The WB Network during its five-year run. Foxx also served as co-creator and executive producer, and directed several episodes. His first HBO Comedy Special, “Jamie Foxx: I Might Need Security,” premiered in February 2002.
In addition to his acting success, Foxx has also achieved a thriving music career. His first album, Unpredictable, topped the charts in late 2005 and early 2006 and spawned the NBC special “Unpredictable,” in which he performed with such artists as Mary J. Blige, Common, Snoop Dogg, The Game and Angie Stone. He has been nominated for eight Billboard Music Awards, three Grammy Awards, a Soul Train Music Award, and two American Music Awards, winning for Favorite Male Artist. Foxx's latest album, 2008's Intuition, debuted at number three on the Billboard 200 chart and spawned the chart-topping single “Blame It.” Foxx recently wrapped up his “Blame It Tour” in support of the album. On January 31, 2010 Jamie Foxx and T-Pain's “Blame It” won in the category of Best R%B performance by a duo/group with vocals at the 52nd Annual Grammy Awards.
ABOUT THE FILMMAKERS
TODD PHILLIPS (Director/Screenwriter/Producer) most recently directed and produced the 2009 blockbuster hit comedy “The Hangover,” starring Bradley Cooper, Ed Helms, Zach Galifianakis and Justin Bartha. The film became the highest grossing R-rated comedy of all time and won a Golden Globe for Best Motion Picture – Comedy or Musical. He is currently in production on the much-anticipated sequel, “The Hangover 2,” which reunites the cast.
Phillips started his career as a documentary filmmaker, inspired by humor taken from everyday reality and the belief that the truth is often stranger than fiction.
His first film, “Hated,” portrayed the revolting antics of extreme punk rocker G.G. Allin and became an instant underground sensation. It was released in the summer of 1994 and went on to become the highest grossing student film of its time.
He followed that in 1998 with “Frat House,” a documentary that he produced and directed for HBO's popular “America Undercover” series. “Frat House” premiered at the 1998 Sundance Film Festival and won the Grand Jury Prize for documentary features. The unflinching exposé of life in fraternities created a public controversy that eventually caused the film to be shelved by HBO. Phillips still hopes to release it in the future.
After meeting producer Ivan Reitman at Sundance, Phillips made his crossover to features with 2000's “Road Trip,” which established him as a new force in comedy. He simultaneously produced and directed “Bittersweet Motel,” a documentary on musical cult phenomenon Phish.
In one way or another, Phillips' films explore the nature of male relationships, and in doing so he has worked with some of Hollywood's biggest comedic actors, writing and directing such films as “Old School” in 2003, “Starsky & Hutch” in 2004, and “School for Scoundrels” in 2006. Phillips was nominated for a 2006 Academy Award® for Best Adapted Screenplay for his work on “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan.”
DAN GOLDBERG (Producer) marks his fifth film collaboration with Todd Phillips on “Due Date.” Previously, he served as producer on Phillips' “Old School,” “Road Trip,” “School for Scoundrels” and most recently, “The Hangover,” which won a Golden Globe Award for Best Motion Picture – Musical or Comedy and is the highest grossing R-rated comedy of all time. Goldberg will next produce “The Hangover 2” with Phillips, releasing in 2011.
Goldberg also produced the outrageous comedy “Howard Stern's Private Parts” and the animated comedy adventure “Space Jam,” starring Michael Jordan, and was an executive producer on Ivan Reitman's romantic adventure “Six Days Seven Nights,” starring Harrison Ford.
His screenwriting credits include the classic comedies “Stripes” and “Meatballs,” both of which he also produced; “Feds,” which he also directed; and the enduring cult favorite “Heavy Metal.”
ALAN R. COHEN & ALAN FREEDLAND (Screenwriters, Story) are best known as Emmy Award-winning writers from the Fox animated show “King of the Hill” and often referred to as “the Alans.”
Among numerous other writing and producing credits, the duo also co-created the Comedy Central cult hit “Kid Notorious,” starring Robert Evans. They are currently co- executive producers on Seth MacFarlane's “American Dad.”
Prior to “Due Date,” the Alans wrote feature scripts for various studios. They currently have several television and film projects in development, including the feature comedy “The Reunion,” for producer Brian Grazer.
A George Washington University graduate, Cohen originally hails from Pittsburgh and worked for several years as a reporter in The Baltimore Sun's Washington, D.C. bureau.
Freedland graduated from the University of Michigan. He grew up in the Detroit area and worked in advertising in Chicago.
ADAM SZTYKIEL (Screenwriter)'s most recent writing credit was the comedy “Made of Honor,” starring Patrick Dempsey and Michelle Monaghan.
He is currently working on a film adaptation of the best-selling memoir “The Game” by Neil Strauss, and has numerous other film and television projects in development.
Sztykiel is a graduate of the University of Southern California School of Cinematic Arts.
THOMAS TULL (Executive Producer), Chairman and CEO of Legendary Pictures, has achieved great success in the co-production and co-financing of event movies. Since its inception in 2004, Legendary Pictures has teamed with Warner Bros. Pictures on such hits as Bryan Singer's “Superman Returns”; Zack Snyder's “300” and “Watchmen”; and Christopher Nolan's “Batman Begins” and award-winning phenomenon “The Dark Knight,” which earned in excess of $1 billion worldwide.
More recently, this highly successful partnership produced Ben Affleck's “The Town”; Christopher Nolan's summer blockbuster “Inception”; the worldwide hit “Clash of the Titans”; Todd Phillips' “The Hangover,” which is the highest-grossing R-rated comedy of all time; and Spike Jonze's “Where the Wild Things Are.” Legendary's upcoming releases include Bryan Singer's “Jack the Giant Killer,” Todd Phillips' “The Hangover 2,” and Zack Snyder's “Sucker Punch.” Legendary is also developing a number of promising film projects in-house, including “Warcraft,” “Godzilla,” “Gravel,” “Paradise Lost,” and a sequel to “300.”
Before forming Legendary, Tull was President of The Convex Group, a media and entertainment holding company headquartered in Atlanta, on whose Board of Directors he also served.
SUSAN DOWNEY (Executive Producer) is a principal partner of Team Downey, the production company she formed with her husband, Robert Downey Jr. A prolific film producer, she has collaborated with some of the industry's most noted talents on films ranging from action blockbusters to dramas to comedies to horror thrillers.
Downey also produced the global hit “Sherlock Holmes,” which opened on Christmas Day 2009 and grossed more than $516 million worldwide. Directed by Guy Ritchie, the film starred Robert Downey Jr., Jude Law, Rachel McAdams and Mark Strong in an action adventure mystery that brought Arthur Conan Doyle's legendary detective to the big screen as never before. She is currently producing the sequel, which again stars Downey Jr. and Law under the direction of Ritchie.
Downey also recently served as an executive producer on the action hit “Iron Man 2,” which earned more than $620 million at the worldwide box office. The follow up to “Iron
Man” reunited director Jon Favreau with returning stars Robert Downey Jr. and Gwyneth Paltrow, and also starred Don Cheadle, Mickey Rourke and Scarlett Johansson.
Previously, Downey held the dual posts of Co-President of Dark Castle Entertainment and Executive Vice President of Production at Silver Pictures. Joining Silver Pictures in 1999, she oversaw the development and production of feature films released under both banners, including “Thir13en Ghosts” and “Swordfish.”
In 2002, she made her producing debut as a co-producer on “Ghost Ship” and then co- produced the 2003 release “Cradle 2 the Grave.” Downey went on to produce the features “Gothika” and “House of Wax,” and also served as an executive producer on the critically acclaimed comedic thriller “Kiss Kiss, Bang Bang.”
Downey later produced Neil Jordan's acclaimed psychological drama “The Brave One,” starring Jodie Foster and Terrence Howard; Guy Ritchie's widely praised crime comedy “RocknRolla,” starring Gerard Butler, Tom Wilkinson, Thandie Newton, Idris Elba, Chris Bridges and Jeremy Piven; the horror thriller “Orphan,” starring Vera Farmiga and Peter Sarsgaard; and the thriller “Whiteout,” starring Kate Beckinsale. She was also an executive producer on the Hughes brothers' post-apocalyptic drama “The Book of Eli,” starring Denzel Washington and Gary Oldman.
Prior to her tenure at Dark Castle and Silver Pictures, Downey worked on the hit films “Mortal Kombat” and “Mortal Kombat: Annihilation.”
Downey is a graduate of the University of Southern California's School of Cinema- Television.
SCOTT BUDNICK (Executive Producer) is Executive Vice President of Production for Green Hat Films, overseeing the development and production of a varied slate of projects including the upcoming “Project X,” set for release in 2011. He most recently executive produced the blockbuster hit “The Hangover,” which won a Golden Globe for Best Motion Picture – Musical or Comedy and is the highest grossing R-rated comedy of all time.
Budnick began his entertainment career in local casting while at Emory University in his hometown of Atlanta, Georgia. Upon graduation, he relocated to Los Angeles, serving as casting assistant on Todd Phillips' “Road Trip” and then as associate to the director on “Old School,” starring Vince Vaughn, Luke Wilson, Will Ferrell and Jeremy Piven. Budnick served associate producer on Phillips' following films, “Starsky & Hutch,” starring Owen Wilson and Ben Stiller and “All The King's Men,” starring Sean Penn and Jude Law, which Phillips executive produced; and was co-producer on “School for Scoundrels,” starring Billy Bob Thornton.
LAWRENCE SHER (Director of Photography) reunites with Todd Phillips on “Due Date,” having previously collaborated on the Golden Globe-winning blockbuster comedy “The Hangover.” His work will next be seen in Greg Mottola's sci-fi comedy “Paul,” with Jason Bateman and Seth Rogan, and David Frankel's comedy “The Big Year,” based on Mark Obmascik's book and starring Owen Wilson, both releasing in 2011.
Sher's other recent credits include “I Love You, Man,” “Trucker,” “The Promotion,” “Dan in Real Life,” “The Dukes of Hazzard” and “The Chumscrubber.”
He worked as director of photography on several smaller films and music videos earlier in his career, coming to the fore in 2001 with the award-winning independent film “Kissing Jessica Stein,” followed by director Zach Braff's “Garden State.”
Born and raised in New York City, Sher studied economics at Wesleyan University where, in his junior year, he turned an interest in still photography into a fascination with motion pictures. Upon graduation, he moved to Los Angeles and began his career as a camera assistant.
BILL BRZESKI (Production Designer) previously collaborated with Todd Phillips on the 2009 Golden Globe Award-winning blockbuster comedy “The Hangover,” for which he received an Art Director's Guild Award nomination for Excellence in Production Design. Brzeski re-teams again with Phillips for “The Hangover 2,” releasing in 2011.
Brzeski's other recent credits include “Flipped,” which reunited him with Rob Reiner, having previously served as production designer on Reiner's “The Bucket List”; and re- teaming with Rob Minkoff' on “The Forbidden Kingdom,” having previously worked on the director's groundbreaking CGI movie “Stuart Little” and its sequel, “Stuart Little 2.” Some of the designer's additional credits include “Deck the Halls,” “Blue Streak,” James L. Brooks' Oscar®-winning “As Good As It Gets” and “Matilda.”
Brzeski received his undergraduate degree from Miami University and his MFA in Design from New York University's Tisch School of the Arts. Originally interested in designing for the ballet and opera, he began his career in the theatre before moving to Los Angeles from New York City and designing more than 800 episodes of television series.
Brzeski also designs commercial spaces, most notably the award-winning Susina Bakery in Los Angeles.
His production design workshops at graduate and undergraduate levels have been hosted by New York University School of the Arts, Miami University, Clemson University and Loyola University Film School.
DEBRA NEIL-FISHER (Editor) re-teams with Todd Phillips on “Due Date,” having served as editor on his blockbuster hit “The Hangover,” the number one R-rated comedy of all time. The film won a Golden Globe for Best Motion Picture - Musical or Comedy and Fisher was honored with an Eddie Award by the American Cinema Editors for Best Edited Feature Film.
Among Neil-Fisher's other feature credits are the hit comedies “Baby Mama,” “Semi- Pro,” “Role Models,” “You, Me and Dupree,” “Without a Paddle,” “Saving Silverman,” and two hugely successful Austin Powers films, “Austin Powers: International Man of Mystery” and “Austin Powers: The Spy Who Shagged Me.” She has collaborated three times with director Donald Petrie on “Just My Luck,” “Welcome to Mooseport” and “How to Lose a Guy in 10 Days.” Her work also extends to other genres, including the dramas “Fried Green Tomatoes,” “The War” and “Up Close and Personal,” as well as the thrillers “Teaching Mrs. Tingle” and “Dr. Giggles.”
In 1991 Neil-Fisher won a CableACE Award for her work on TNT's telefilm “Heat Wave,” for director Kevin Hooks. Among her earlier television credits are “The Amy Fisher Story,” “The Case of the Hillside Strangler” and the TNT thriller “Breaking Point.”
LOUISE MINGENBACH (Costume Designer) marks her fifth project with director Todd Phillips on “Due Date,” a collaboration that began on the feature film “Starsky & Hutch,” followed by “School for Scoundrels” and the 2008 telefilm “The More Things Change...” In 2009, her designs were seen in Phillips' mega-blockbuster “The Hangover,” which won a Golden Globe for Best Motion Picture – Musical or Comedy and is the highest R-rated comedy of all time.
The upcoming actioner “Battleship,” based on the classic board game, reunites Mingenbach with Peter Berg, with whom she worked on “Hancock,” starring Will Smith.
Mingenbach also designed costumes for the 2009 action epic ““X-Men: Wolverine.” Previously, she earned a Saturn Award and a Costume Designers Guild Award nomination for her work on Bryan Singer's “X-Men.” She has teamed with Singer on four other films, including the 1995 thriller “The Usual Suspects,” “X2,” “Apt Pupil” and “Superman Returns,” as well as the pilot for “House M.D.”
Mingenbach's additional feature credits include the Farrelly Brothers' “The Heartbreak Kid,” “Spanglish,” “The Rundown,” “K-PAX,” “Gossip,” “Permanent Midnight,” “Nightwatch,” “The Spitfire Grill” and “One Night Stand.”
CHRISTOPHE BECK (Composer) previously collaborated with Todd Phillips on “The Hangover,” which won a Golden Globe for Best Motion Picture – Comedy or Musical.
He has composed scores for 50 feature films and nearly 20 television shows. With more than 15 years of experience, Beck has scored a wide array of projects, including such action films as “Percy Jackson & The Olympians: The Lightning Thief,” “The Sentinel” and “Elektra”; the comedies “Date Night,” “Charlie Bartlett,” “The Pink Panther” and “Bring It On”; and such dramas as “We Are Marshall,” “Under the Tuscan Sun” and “Year of the Dog”; as well as the Davis Guggenheim documentary, “Waiting For Superman.”
Beck most recently composed music for the comedies “Death at a Funeral,” starring Chris Rock, Martin Lawrence and Tracy Morgan; “Date Night,” with Steve Carell and Tina Fey; “Hot Tub Time Machine,” starring John Cusack; and Chris Columbus' fantasy adventure “Percy Jackson & The Olympians: The Lightning Thief.”
His additional credits include “All About Steve,” “The Greatest,” “What Happens in Vegas,” “Phoebe in Wonderland,” “The Seeker: The Dark is Rising,” “Saved!,” “American Wedding” and “Just Married.”
Beck began his scoring career on the Canadian television series “White Fang,” and from there went on to score three seasons of the hit television series “Buffy the Vampire Slayer,” for which he won an Emmy Award for Outstanding Music Composition.
26 Views
22:30:00 06/22/10
Studio Interview Part 2
[LESS INFO] 26 VIEWS | ADDED 22:30:00 06/22/10
We'll talk to Michael Vassiliadis about the dearth of qualified new trainees and skilled workers in German companies.DW-TV: Returning now to Michael Vassiliades Chairman of the Industrial Union of Mining, Chemical and Energy. How do you remember your trainee days? Michael Vassiliades: I started out in the 1980s. In that time there were a lot of apprenticeships, so there was no problem for a young person to get into their chosen field. A bit later, in the mid-80s, it changed. For a long time it was difficult to provide jobs for all the young people in Germany. Now we have another problem - the demographic change that's also coming through. Now we have a situation where we have the necessary education programs, but we don't have enough skilled people. We have to bring them together, so it's a special situation at the moment. DW-TV: It's tricky. The demographic factor of course means that there aren't enough young people coming in any more and now we also hear that their education isn't good enough. In East-Germany, almost 12 percent of today's youngsters drop out of school without final exams - in the West it's almost 7 percent. What's wrong with these kids? Michael Vassiliades: It's a scandal. It's a scandal if you compare it to Scandinavian countries. You can see that Germany doesn't do enough for the education system to bring them to the necessary skill levels. On the other hand, the job skills necessary are becoming increasingly difficult. So there is a gap. We have to invest more in young people. For example we have made a contract with our employees which means that we set up one year of education for students that come out of school and enable them reach the necessary skill levels. They go through their apprenticeships with an average success rate of 86 percent. DW-TV: What else is necessary. When you look around we live in a globalized world. In other countries, especially in emerging economies like India, you constantly hear how important a good education is. Here in Germany we lag behind. How can we compete with these countries if we lack the know-how? Michael Vassiliades: You have to look a little bit deeper at what they mean. In Germany we have on average very highly skilled workers. So this is our advantage. So we have to invest in highly educated people like all these countries do. In university education. But we also have to invest in the average, and we have done this for years and now there is a gap. So we have to talk with politicians and with the companies and find ways to invest more. It's possible. DW-TV: one very last question. Very briefly, watching football during work. Is that okay? Michael Vassiliades: According to the rules, no, but you have to talk to your boss and maybe he's also a football fan. (Interview: Monica Jones)
14 Views
22:30:00 06/22/10
Studio Interview Part 2
[LESS INFO] 14 VIEWS | ADDED 22:30:00 06/22/10
We'll talk to Michael Vassiliadis about the dearth of qualified new trainees and skilled workers in German companies.DW-TV: Returning now to Michael Vassiliades Chairman of the Industrial Union of Mining, Chemical and Energy. How do you remember your trainee days? Michael Vassiliades: I started out in the 1980s. In that time there were a lot of apprenticeships, so there was no problem for a young person to get into their chosen field. A bit later, in the mid-80s, it changed. For a long time it was difficult to provide jobs for all the young people in Germany. Now we have another problem - the demographic change that's also coming through. Now we have a situation where we have the necessary education programs, but we don't have enough skilled people. We have to bring them together, so it's a special situation at the moment. DW-TV: It's tricky. The demographic factor of course means that there aren't enough young people coming in any more and now we also hear that their education isn't good enough. In East-Germany, almost 12 percent of today's youngsters drop out of school without final exams - in the West it's almost 7 percent. What's wrong with these kids? Michael Vassiliades: It's a scandal. It's a scandal if you compare it to Scandinavian countries. You can see that Germany doesn't do enough for the education system to bring them to the necessary skill levels. On the other hand, the job skills necessary are becoming increasingly difficult. So there is a gap. We have to invest more in young people. For example we have made a contract with our employees which means that we set up one year of education for students that come out of school and enable them reach the necessary skill levels. They go through their apprenticeships with an average success rate of 86 percent. DW-TV: What else is necessary. When you look around we live in a globalized world. In other countries, especially in emerging economies like India, you constantly hear how important a good education is. Here in Germany we lag behind. How can we compete with these countries if we lack the know-how? Michael Vassiliades: You have to look a little bit deeper at what they mean. In Germany we have on average very highly skilled workers. So this is our advantage. So we have to invest in highly educated people like all these countries do. In university education. But we also have to invest in the average, and we have done this for years and now there is a gap. So we have to talk with politicians and with the companies and find ways to invest more. It's possible. DW-TV: one very last question. Very briefly, watching football during work. Is that okay? Michael Vassiliades: According to the rules, no, but you have to talk to your boss and maybe he's also a football fan. (Interview: Monica Jones)
2 Views
10:55:24 06/02/10
Duties Of Young Muslims
[LESS INFO] 2 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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17:46:49 04/11/10
Date Night starring - Steve Carell and Tina Fey
[LESS INFO] 10 VIEWS | ADDED 17:46:49 04/11/10
Action-comedy maestro Shawn Levy, the director of the blockbuster “Night at the Museum” franchise, teams up with two of the comedy world’s biggest talents, Steve Carell (“The 40 Year Old Virgin,” “The Office”) and Tina Fey (“Baby Mama,” “30 Rock,” “SNL”) for an adventure that turns a run-of-the-mill married couple’s date upside down – way upside down, in DATE NIGHT.
Phil (Carell) and Claire Foster (Fey) are a sensible, loving couple with two kids and a house in suburban New Jersey. The Fosters have their weekly “date night” – an attempt at re-experiencing the spice of the dates of yesteryear, involving the same weekly night out at the local Teaneck Tavern. Their conversations quickly drift from barely-date talk to the same chore-chat they have at the dinner table at home. Exhausted from their jobs and kids, their dates rarely end in fore- or any other kind of play, let alone romance.
After seeing two of their best friends – another married couple with kids in suburban New Jersey – split apart from living the same life they themselves lead, Phil and Claire begin to fear what may lie ahead: a state of bland indifference and eventual separation.
In an attempt to take date night off auto-pilot, and hopefully inject a little spice into their lives, Phil decides a change of plans is in order: take Claire into Manhattan to the city’s hottest new restaurant. The Fosters, however, don’t have reservations. Hoping to be seated sometime before the clock strikes twelve, they steal a no-show couple’s reservations. What could it hurt? Phil and Claire are now the Tripplehorns.
The real Tripplehorns, however, it turns out, are a thieving couple who are being hunted down by a pair of corrupt cops for having stolen property from some very dangerous people. Forced on the run before they’ve even finished their risotto, Phil and Claire soon realize that their play-date-for-parents has gone hilariously awry, as they embark on a wild and dangerous series of crazy adventures to save their lives. . . and their marriage.
The ritual “date night” dinner is something all too familiar to most married couples – even directors of blockbuster movies. “I was in the process of making the second Night at the Museum film,” recalls filmmaker Shawn Levy, “and, as is kind of our ritual, once a week, my wife and I go out to dinner.”
At one such dinner, the Levys found themselves sitting at the restaurant they frequented, ordering the same food, talking about the kids, what’s coming up that weekend, who’s going to buy the gift for which birthday party, etc., etc. “In the middle of all that, I said to my wife, ‘Wouldn’t it be cool to do a movie about a date night, where you just did one thing differently? And, from there, you have an unraveling of everything, to the point of it threatening your life and your marriage, with all kinds of crazy stuff going on. But, in the midst of all that crazy stuff, you end up recapturing the vitality that date night was invented in the first place to preserve.’”
The next morning, Levy came in to his production company office and told his staff, “Okay, we’re going to do a movie called DATE NIGHT, and here’s what it’s about, and let’s get a writer. Let’s go.”
Levy’s search for a writer didn’t take very long. “I had written a small, quirky film, called ‘(Saint) Peter,’ which Shawn had read and fell in love with, recalls screenwriter Josh Klausner. “Shawn was determined to find something for us to work on together. He very graciously took a big chance and had me fly out, and we started brainstorming.”
Levy and Klausner met at Levy’s bungalow on the Fox lot, where they quickly broke the story. “We are both in the same stage of life,” Klausner says. “We both have children and go out on date nights, knowing what they’re supposed to be, but realizing they never end up being that anymore because there are so many other things that get in the way. So we started talking about those experiences.”
“We talked about our marriages,” Levy adds. “And we found that there are certain commonalities in trying to sustain a vibrant, romantic relationship,” and not simply becoming roommates. “It’s the question of in the midst of grownup life, how do you keep couple-hood fresh?”
DATE NIGHT was originally conceived as more of a suburban story centered around a parent-teacher conference night, but quickly evolved into, as Klausner calls it, “the perfect ‘North by Northwest’ setup” of mistaken identity.
“Shawn and I really wanted what spurs on the evening to be something that we all might do,” Klausner continues. “Phil and Claire simply can’t get a seat at a restaurant, and, since nobody’s answering the call for a reservation, they just decide, ‘What’s the harm in taking it?’ And it leads them down the rabbit hole. From there, they end up on the worst night of their lives, which ends up being the best night for their relationship.”
Levy describes the film as being “in the spirit of action comedies I remember fondly, like ‘Beverly Hills Cop’ or ‘48 Hrs.’ DATE NIGHT has a real hybrid tone, because it’s first and foremost a comedy. It also has a hefty dose of action, as well as a lot of heart, because it’s about the things that people deal with in relationships.”
For Levy, DATE NIGHT is a change from the family-friendly hits he’s helmed, like “Cheaper by the Dozen,” “Pink Panther” and “Night at the Museum.” DATE NIGHT is more of an adult-skewing comedy,” Levy points out. “In a way, it’s the other side of the movies I’ve done, which have been focused on the child-parent relationships. DATE NIGHT is focused on the marriage side – what happens after the children go to sleep.”
Levy was keen to keep the emotional side of the story intact through the mayhem experienced by the characters. “If you’re making a movie about relationships and being a married couple, it must be more than just funny, because life doesn’t work that way,” the director explains. “This movie has some surprising moments of poignancy.”
“A lot of comedies these days feel like a compendium of gags tied together to follow a narrative story,” notes Klausner. “DATE NIGHT, at its heart, is about marriage and being in love with somebody, but at the same time, life gets in the way. It’s honest, which is something Steve and Tina wanted, too. I’m proud that this movie has preserved that soul.”
When Levy learned that Steve Carell and Tina Fey were hoping to find a project on which they could work together, he knew he had found his DATE NIGHT duo. “We got an early draft of the screenplay to Tina and Steve, who always struck me as the dream pairing for a movie about marriage,” Levy says. “They said, ‘Yeah, we relate to this, we want to do an action comedy that’s also honest about relationships.’ So they said they were in.”
While Levy usually takes a break between completing one feature and beginning the next, he found himself prepping DATE NIGHT while editing “Night at the Museum: Battle of the Smithsonian,” in order to take advantage of his stars’ availability. “Steve’s and Tina’s series commitments [on, respectively, “The Office” and “30 Rock”] provides only a limited window for feature film work,” Levy explains. “They told us, ‘Look, we want to do this, but we’re free now, and we’re not going to be free in six months – what do we do?’ I said, ‘Well, we make the movie right now!’ I didn’t get a break between films, but I got a comedy with Steve Carell and Tina Fey, who are two of the most intelligent, interesting people working in comedy today. So a lot of my job was to come up with the idea, get the two perfect actors for the movie, and then get the hell out of the way.”
While slight alterations to the script were made to match the stars’ comedic voices, DATE NIGHT was essentially tailor-made for the pair. “It felt like the film was written for them,” says Klausner. Adds Levy: “Three minutes into this movie, you buy Steve and Tina as a married couple. They have a powerful chemistry together. They clicked completely on screen.”
Phil, says Carell, “feels underappreciated by his friends and family, but he sort of keeps that feeling close to his chest. He’s a very loving guy, but he and Claire have reached a plateau in their relationship. He needs to snap himself out of it, if possible. And the night that he and Claire experience together is a defibrillator for their marriage.”
Carell’s comedic skills, along with his ability to stir audiences’ hearts, made him the perfect choice for the role, Levy says. “Steve is super funny, and his chops as an actor are fantastic. He not only carries entire comedy sequences on his back, but three scenes later, he’s moving you to an emotional place with such sincerity and nuance. There’s no end to what he can do.”
Carell says his own date nights, like Phil Foster’s (and Levy’s and Klausner’s), leave much to be desired. “Sometimes the worst part of date night is actually leaving for the date – when you see your babysitter sitting down, getting all cozy, turning on the TV. That sometimes seems much better than the night that lies ahead.”
Fey, like Carell, has the ability to be riotously funny while still portraying the emotional side of her character realistically – to turn down the volume on jokes and simply allow them to happen. For example, in response to a nudge for sex from her husband, Fey’s Claire offers a very normal, ‘Yeah, hang on a minute” moment as she pulls out her dental mouth guard in preparation for sex with her husband, with enough drool to instantly turn off her mate.
“Besides being obviously really pretty and intelligent, Tina has a complete willingness to make an ass out of herself,” says Levy. She’s completely up for goofing on herself and being the butt of the joke, and that’s very charming.”
Fey describes Claire as “a working mom of two kids, who, like almost everyone I know, is just a little worn out by the day-to-day life of raising your kids, getting them out the door, getting them to school, having a job, keeping a house clean. She’s a good person who is just kind of worn into the ground a little bit. I certainly identify with how just physically tiring it is to be a parent and have a job – sometimes it feels like a real effort to just be present for your spouse.”
So which would be scarier – being in a boring marriage or being chased by the mob (both of which the Fosters experience in the film)? “I would say that being married to a person in the mob would be the scariest,” Fey jokes.
Along their night-from-hell journey, Phil and Claire encounter a cavalcade of characters on both sides of the law. Levy’s casting choices for these roles was sometimes unexpected – and always spot-on. His intent was to provide the story with a “Wizard of Oz”-like experience. “You’re with your heroes, but along the way, they’re being affected and changed by the people they meet, and I just thought wouldn’t it be fun if at every turn of the road, you’re surprised all over again by who has suddenly appeared in this movie. And the cast members fit the roles perfectly.”
The surprise apparently wasn’t limited to the audience. “I read the script,” says Fey,” and I thought, ‘Oh, these are really good parts for somebody.’ I never thought we would get this lucky to have that caliber of people in all these different parts.” Having what otherwise would have appeared to be small roles portrayed by big name actors only helps bring them alive, Carell notes. “When you see them acted out, they’re even better than they were on the page.”
And getting high-powered stars to join the DATE NIGHT team wasn’t just a matter of coincidence. “So many people were so keen to find a way to work with Steve and Tina – they just found a way to make it work,” says Levy.
Mark Wahlberg portrays a former real estate client of Claire’s the pair turns to in the middle of the night. “I play a guy named Holbrooke Grant, who is a security expert who Claire and Phil come to for help,” Wahlberg explains. “They just catch Holbrooke at a bad time – he’s with his beautiful Israeli girlfriend.” The pair ends up turning Holbrooke’s night upside down, as well.
Wahlberg had the simplest costume in the entire cast. “There is no wardrobe – just a pair of silk genie pants,” he recalls, noting that he regularly found himself freezing on the air-conditioned set. That the top half of his costume was missing (except for an ample supply of makeup covering Wahlberg’s countless tattoos), was a fact not lost on the female members of the cast and crew. “Mark was shirtless for three or four days,” Fey says, prompting a noticeable increase in the number of women who suddenly had additional tasks to address on set on the days he was on the job. “I had friends texting me, ‘Can I get on the Fox lot and visit you today?’” Fey laughs.
Also coming to the aid of the beleaguered couple is Taraji P. Henson, an Oscar® nominee for her work in “The Curious Case of Benjamin Button,” who plays NYPD Detective Arroyo, who, though she doesn’t exactly believe the Fosters “chased by bad guys” story, begins to become suspicious of a couple of her colleagues. “She’s sort of a hero,” the actress says.
Playing thugs Collins and Armstrong, who are after the Fosters (whom they believe are the Tripplehorns) are Common and Jimmi Simpson. Common is a familiar face to audiences for his role as a murderous cop in “Street Kings” and for his work as a musical artists (his hits include “Love of My Life” and “Testify”). Simpson has made occasional appearances as Lyle the Intern on “The Late Show with David Letterman.”
Common describes the duo as “one of the many catalysts to get this mundane couple out of their comfort zone – mainly by shooting guns at them.” The two are essentially hunters, he adds, noting, “I’m the muscle.”
Collins and Armstrong’s formidable boss is gangster Joe Miletto, from whom the Tripplehorns have apparently stolen something of importance that he wants back. The casting of acclaimed actor Ray Liotta as Miletto delighted Carell and Fey. “We were shooting a scene with Ray one night,” recalls Carell, “and Tina looked over and said, ‘I feel like I am in a 3D version of ‘Goodfellas. Ray Liotta is actually walking up and talking to me.’ It was like a ride at a theme park.”
Playing a heavy in a comedy, particularly for actors used to appearing in dramatic films, requires a special knack, one which DATE NIGHT’s group of toughs embraced with gusto.
“It’s really in the writing, so it’s dependent on your commitment to it,” explains Liotta. “If the situation’s just a little more heightened, you’re going to laugh.” Common agrees: “Shawn expressed to us from the beginning – you’ve got to keep it real. The more real it becomes – because you’re playing off Steve and Tina – the funnier it becomes.”
Portraying the “real” Tripplehorns – actually a drug dealer named Taste and his wacky stripper girlfriend, Whippit – are James Franco and Mila Kunis. Despite their different life circumstances, the pair has much in common with the Fosters, being in the same spot in their relationship as their clean-cut counterparts. Notes Josh Klausner: “Whether you’re a drug dealer or a suburban husband, you still feel the pangs of ‘You never look at me the way you used to’ and ‘You don’t have time for me.’ What the two couples are going through is exactly the same,” making the exchanges between the two couples both hilarious and poignant at the same time.
Kunis describes the pair as “very passionate – when they’re angry, they’re very angry, and when they’re happy, they’re madly in love.” Whippit, specifically, she describes as a “psycho, who is very up and down. She goes through three different emotions within two and a half script pages.”
The name “Taste,” Franco says, is left over from an earlier concept of the character – a 6 ft. 7 in. bald man with “TASTE” tattooed on his forehead. “So when they asked me to be in the movie, I said, ‘Well, I’m certainly not that.’” The character’s description was then rewritten, but the name stuck. “I was up for facial tattoos, too,” Franco says with a laugh. “We just went for the cheesy ‘Grim Reaper.’”
Kristen Wiig and Mark Ruffalo play the Fosters soon-to-be-splitting couple friends, Haley and Brad Sullivan. “Their parting brings up the question about getting bored with your spouse and moving on, or just sticking it out,” says Wiig. “I think Haley plants the seeds in Claire’s mind.”
Also taking on key roles are “Gossip Girl’s” Leighton Meester as the Fosters’ babysitter Katy, and “The Dark Knight’s” William Fichtner as district attorney Frank Crenshaw.
All the cast members appreciated Levy’s ability to balance action and comedy, which in turn allowed his actors the freedom to come up with their own gags. “That’s the only way you can afford to have time to play around or to improvise and do extra takes,” notes Fey. “That only happens if everyone – especially your director – really knows what they’re doing.”
For Levy, there’s a method to the potential madness of improv. “Sometimes, after we’d get what I want, Steve and Tina would come to me and say, ‘You know what? Could I get one more take? I’ve got an idea that might lead somewhere.’ Sometimes we couldn’t use it, but more often than not, it was gold and it ended up in the movie,” such as the duo’s restaurant shenanigans game of guessing what’s up with the couple sitting across the way.
“Every person in any field wants to go to work and feel respected for what they do,” says the director. “So when you say to an actor, ‘We’re going to do the script that I’ve written for you, but I want to hear what’s in your head. I actually think that the ideas you come up with might be as legitimate or better than what we scripted,’ it makes your actors feel like partners and collaborators, and not mouthpieces. It makes them feel like part of the creative team, rather than a piece of machinery.”
MEET THE TWINS
While attempting to escape their pursuers, the Fosters “borrow” Holbrooke Grant’s car, the much-too-powerful-for-Phil Audi R8. When Phil inadvertently smashes into a taxi cab, the two vehicles’ bumpers become hopelessly locked together. Nonetheless, the chase continues, the conjoined twin automobiles smashing their way down Manhattan streets.
The complicated sequence came about when Levy and Klausner were brainstorming ideas for a chase scene. Concerned about repeating the oft-used, cliché urban car chase, Klausner recalls, “I remember sitting in a room with Shawn, telling him, ‘You know, do we really have to do a car chase, because how many times have we seen a car chase in these movies? How interesting can that be?’”
Levy then related to his writer a story from his teenage years. “He was just learning to drive, and was trying to park, but he ended up smashing into another car in front of him and getting stuck on that car. His father just drove by and shook his head.” Thus was born the idea of conjoined cars.
But just having two cars barreling down the street wasn’t enough. “Shawn wanted to do something that nobody had ever seen before,” says 2nd unit director and stunt coordinator Jack Gill, who planned and executed the sequence. “Once we got the basic idea of conjoining the cars, we began figuring out not only how to build the cars, but how to make it work comically. I then started adding eccentricities, like spinning them around in circles and having characters fire guns at them.”
Besides having six different cars that, each of which handled a specific aspect of the chase stunts, Gill built a 40 foot frame, upon which the Audi and cab bodies were placed. “So there’s just one rigid frame,” he explains. The stunt driver was situated at the leading end of the conjoined vehicles. “So when the cab is facing forwards, with the Audi ahead of it facing the wrong way, the stunt driver is actually driving from inside the Audi’s trunk, looking out the back so he can see where he’s going and drive around corners.” In addition, for most shots, the rig’s rear wheels – those under the rear end of the conjoined vehicles – could also steer, in the same manner as those of a hook-and-ladder fire truck.
Needless to say, don’t try this at home on your own Manhattan street.
New York City ordinances limited the production to the types of stunts that could be filmed on Manhattan streets. So following a week of night work in New York, the stunt team moved to downtown Los Angeles to complete the sequence.
“We had about six blocks to work with on Broadway, which was great,” Gill recalls. “We needed a long stretch locked down, because when you conjoin two cars together, you’ve got a thing that’s forty feet long – getting it up to speed and shutting it all down can be tough. You can’t just do it in two blocks.” The sequence was filmed with up to six cameras, including a special “balloon cam,” with wheeled buoys on each corner, which allowed the camera to be sent into the path of the speeding car pair and getting hit head-on, without damaging expensive camera equipment.
Carell did actually drive the R8 himself for a number of shots. “We wanted the car to have way too much power for a guy like Phil to handle,” says Gill. “So I asked Audi to disconnect the all-wheel drive, which meant putting all 560 horsepower into the rear wheels.” So what was Carell’s impression? “He said it felt like somebody hitting him in the back of the head with a shovel when he stepped on the gas.”
In one shot, Phil must make his way to the cab while Claire is driving the Audi at high speed. “We did all the transfers across the hood with doubles – that was all real,” notes Gill.
Close-ups of Carell and Fey were done against a green screen set at Twentieth Century Fox. Since the chase acrobatics had already been filmed, besides their scripted lines, Carell and Fey filled in the gaps with their gut-busting ad-libs. “I’d show them footage and explain to them, ‘Here’s what we did last week downtown with the real cars – what do you think?’” Gill says. “And we’d bounce off ideas until something really clicked. And then Shawn was always there to say, ‘You’re right on track here – that’s really funny!’ It really helps when you have a collaboration where everybody can talk ideas out.”
Even with all the excitement, Levy kept the scene’s theme on track. “Once we had the concept of having the two cars stuck together, then we could find a way to thematically tie it in to what the movie’s about, which is this couple that has to learn to communicate to survive,” he explains.
Indeed, even with all that happens to them on this fateful night, the Fosters achieve their goal: to reinvigorate their relationship and reconnect with the love and excitement that brought them together in the first place.
“DATE NIGHT is kind of like a fable,” says Levy. “It takes place over a very short period of time, but in some way, it’s timeless, because it’s a story about a journey two people make in their relationship. And we leave the night feeling like they will go back to their lives and no one except for the people involved that night might ever know what happened. We’ve watched them experience this crazy night, but the real adventure of their married life, now that they’ve found each other again, is just about to begin.”
“They’re comfortable enough again with each other to be able to say ‘Knock it off’ and ‘I love you’ within the same five minutes,” says Steve Carell.
Tina Fey has just one last piece of relationship advice: “Go on a date night and see DATE NIGHT.”
ABOUT THE CAST
STEVE CARELL (Phil Foster) has emerged as one of the most sought-after comedic actors in Hollywood. First gaining recognition for his contributions as a correspondent on Comedy Central’s Emmy® Award-winning “The Daily Show with Jon Stewart,” Carell has successfully segued into primetime television and above-the-title status in the film world with equal aplomb.
Carell currently stars as Michael Scott, the pompous and deluded boss of a Pennsylvania paper company, in the Americanized adaptation of Ricky Gervais’ acclaimed British television series “The Office.” Now in its sixth season, the show continues to flourish in ratings and has earned Carell three Emmy Award nominations and four Golden Globe® nominations for his work on the show, and earned the Golden Globe in 2006. In the last two years, the show has won the Screen Actors Guild Award® for Outstanding Performance by an Ensemble in a Comedy Series.
Carell opened his first lead feature, “The 40-Year-Old Virgin,” which he co-wrote with director Judd Apatow, at #1, a spot it remained in for two straight weekends. The surprise hit of 2005 went on to gross more than $175 million worldwide and had #1 openings in 12 countries. The film generated over $100 million in DVD sales in North America alone. On an award level, the film was honored with an AFI Award® named one of 10 Most Outstanding Motion Pictures of the Year and took home Best Comedy Movie at the 11th annual Critics’ Choice Awards®. The film also earned Carell and Apatow a co-nomination for Best Original Screenplay by the Writers Guild Association.
In 2008, Carell starred as Maxwell Smart in the much-anticipated action-comedy “Get Smart,” opposite Anne Hathaway and Alan Arkin. The film grossed over $230 million worldwide. A sequel is due in 2011. He also lent his voice as “The Mayor of Whoville” in Twentieth Century Fox’s animated film “Dr. Seuss’ Horton Hears a Who!” based on the children’s book written by Dr. Seuss. Directed by Jimmy Hayward (“Finding Nemo,” “Monsters, Inc.”), Carell played opposite Jim Carrey, and helped launch the film as an international success earning over $295 million worldwide.
In 2006, as part of an ensemble, he starred in “Little Miss Sunshine,” which earned an Academy Award® nomination for Best Picture and won the SAG Award™ for Outstanding Performance by a Cast in a Motion Picture. The black comedy also starred Greg Kinnear and Toni Collette. Previous film credits for the actor include “Anchorman: The Legend of Ron Burgundy,” “Bewitched, and “Dan in Real Life.” Carell’s feature film breakout role in “Bruce Almighty,” opposite Jim Carrey, led to a sequel starring Carell in 2007, “Evan Almighty.”
Carell recently announced the start of his new production company, Carousel Productions. Carell’s endeavors and successes in acting, writing and producing were an organic segue in the creation of Carousel Productions. Born in Massachusetts, Carell now resides in Los Angeles with his wife, actress Nancy Walls (NBC’s “Saturday Night Live”), whom he met while at the Second City Theater Group in Chicago, where both were members. He is the proud father of a daughter and a son.
TINA FEY (Claire Foster), one of the most visible and popular figures in television today, writes, executive produces and stars in NBC's three-time Emmy Award-winning comedy series “30 Rock,” a workplace comedy which takes place behind-the-scenes of a live variety show. Her performance as head writer Liz Lemon on the fictional “TGS with Tracy Jordan” has earned Fey an Emmy, two Golden Globes, three SAG Awards, and a People’s Choice Award®. This year alone, “30 Rock” won five Emmy Awards and was nominated for many others.
Prior to creating “30 Rock,” Fey completed nine seasons as head writer, cast member and co-anchor of the “Weekend Update” segment on NBC’s “Saturday Night Live.” Fey is an Emmy winner and two-time Writers Guild Award winner for her writing on SNL, also receiving an Emmy for her spoof of vice-presidential candidate Sarah Palin.
Since her transition to being in front of the camera, Fey has won much acclaim, including being named one of Entertainment Weekly’s Entertainers of the Year, People Magazine’s Most Beautiful People (three times), and one of Time magazine’s Prestigious Time 100.
Other awards include, in 2008, a Producers Guild Award and a Writers Guild Award for Outstanding Comedy Series for “30 Rock.” She has also won two Gracie Awards and a Made in New York Award and has been nominated for a People’s Choice Award for Choice Comedy Actress and a SAG Award for Outstanding Performance by an Ensemble in a Comedy Series
Fey expanded to feature films in spring 2004 as both a screenwriter and an actress opposite Lindsay Lohan in the hit comedy “Mean Girls,” which earned her a nomination for a Writers Guild Award for Best Adapted Screenplay. Most recently she starred alongside “Saturday Night Live’s” Amy Poehler in the film “Baby Mama” for Universal Pictures, which exceed the $50 million dollar mark at the U.S. box office. Fey also starred in the Ricky Gervais comedy “The Invention of Lying,” released in 2009.
MARK WAHLBERG (“Holbrooke Grant”) earned Academy Award and Golden Globe nominations for his standout performance in Martin Scorsese’s acclaimed drama “The Departed.”
Wahlberg’s remarkable film career began with Penny Marshall’s “Renaissance Man” and “The Basketball Diaries” with Leonardo DiCaprio, followed by a star turn opposite Reese Witherspoon in the thriller “Fear.” He has enjoyed playing diverse characters for visionary filmmakers such as David O. Russell, Tim Burton and Paul Thomas Anderson.
Wahlberg’s breakout role in “Boogie Nights” established him as one of Hollywood’s most sought-after talents. He later headlined “Three Kings” and “The Perfect Storm” with George Clooney, and “The Italian Job” with Charlize Theron. He followed those with “I ♥ Huckabees,” “Four Brothers” and the football biography, “Invincible.” He then appeared in “Shooter,” based on the best-selling novel Point of Impact. Wahlberg reunited with “The Yards” director James Gray and co-star Joaquin Phoenix in “We Own the Night,” which Wahlberg produced.
In 2008, Wahlberg starred in M. Night Shyamalan’s “The Happening,” and in “Max Payne.” He recently appeared in director Peter Jackson’s adaptation of “The Lovely Bones.” Due out this year is “The Fighter” for director David O. Russell and “The Other Guys,” with Will Ferrell.
Wahlberg is an executive producer on “The Fighter” and “We Own the Night,” as well as on the HBO series “Entourage” and “In Treatment,” which have received six Golden Globe and three Emmy nominations.
Future projects include the new HBO series, “Boardwalk Empire,” with Martin Scorsese and “How to Make it in America,” along with other feature film projects. A committed philanthropist, he founded The Mark Wahlberg Youth Foundation in 2001 to benefit inner city children and teens.
TARAJI P. HENSON (“Detective Arroyo”) earned an Academy Award nomination for Best Supporting Actress portraying Brad Pitt’s mother in David Fincher’s highly acclaimed “The Curious Case of Benjamin Button.” Most recently, she starred in Tyler Perry’s “I Can Do Bad All By Myself,” which opened to number one at the box office.
For three years, Henson starred as Raina Washington, the youngest female detective on Lifetime’s “The Division.” She was also a regular on David E. Kelly’s “Boston Legal” and had a recurring role on ABC’s “Eli Stone.” Henson appeared in featured roles on “ER,” “Strong Medicine,” “CSI,” “House,” among others.
Henson received rave reviews for her role in Focus Features’ “Talk to Me” opposite Don Cheadle. Henson was named Outstanding Supporting Actress in a Feature Film at the 2005 Black Movie Awards and received the Best Actress nod at the 2006 BET Awards for her performance as Shug in the gutsy drama “Hustle & Flow,” produced by Oscar-nominated filmmaker John Singleton. She received two nominations at the 2006 MTV Movie Awards™ including Best Breakthrough Performance.
Upcoming films include “Karate Kid” opposite Jaden Smith and Jackie Chan, which filmed on location in Beijing for Columbia. Henson plays Rainn Wilson’s love interest in the upcoming indie comedy “Peep World,» also starring Sarah Silverman. In the indie drama “Once Fallen,” Henson stars with Ed Harris and Brian Presley. She starred in Sony’s “Not Easily Broken” opposite Morris Chestnut, and opposite Forest Whitaker in “Hurricane Season.” She starred in Tyler Perry’s “The Family That Preys” with Kathy Bates and Alfre Woodard.
Born and raised in Washington, D.C., the Howard University grad has a strong passion for helping disabled and less fortunate children and reveals, “I always stress to kids to have faith in themselves—the greatest recipe for success is self confidence.”
COMMON (Collins), a Grammy Award® winning artist, made his big screen debut as a musical performer in “Dave Chappelle’s Block Party,” in 2006. In January 2007, he made his acting debut co-starring opposite Jeremy Piven, Ben Affleck, Alicia Keys and Ryan Reynolds in “Smokin’ Aces.” Since then he’s co-starred opposite Denzel Washington in “American Gangster,” directed by Ridley Scott; David Ayer’s “Street Kings,” starring Keanu Reeves and Forest Whitaker; and “Terminator Salvation,” directed by McG, starring Christian Bale.
ABOUT THE FILMMAKERS
SHAWN LEVY (Director/Producer) is one of the most commercially successful film directors of the past decade. To date, his films have grossed over 1.5 billion dollars worldwide. Levy has honed his craft, seamlessly weaving comedy and heart into captivating stories that resonate with audiences. His youthfully enthusiastic approach to filmmaking is evident in the storylines and characters he creates – reflecting his joyful intensity for each project at hand.
Levy is currently developing several films to produce through his production company, 21 Laps, which is housed at Twentieth Century Fox. These projects include “The Ten Best Days of My Life” (with Amy Adams), “Neighborhood Watch,” “The Devil You Know” and “How to Talk to Girls” for Fox; “Factracker” for MGM; “The Extraordinary Adventures of Alfred Kropp” and “The Cutlass Islands” for New Regency, “Men of Magic” for Universal; “The Berenstain Bears” for Walden; and “The Spectacular Now” and “Table 19” for Fox Searchlight.
Currently, Levy is in pre-production on the futuristic father-son boxing drama, “Real Steel,” starring Hugh Jackman, for Steven Spielberg’s Dreamworks.
Levy’s 21 Laps recently produced the 2008 comedy «What Happens in Vegas,» starring Cameron Diaz and Ashton Kutcher, which went on to earn over $200 million worldwide.
Levy both produced and directed the blockbuster “Night at the Museum,” starring Ben Stiller, Robin Williams, Owen Wilson, Ricky Gervais, Dick Van Dyke and Mickey Rooney, which grossed over $580 million worldwide and “Night at the Museum: Battle of the Smithsonian,” starring a wide array of today’s most notable comedic talent including Ben Stiller, Amy Adams, Jonah Hill, Bill Hader, Hank Azaria, Owen Wilson, Ricky Gervais and Steve Coogan, which grossed over $400 million worldwide.
He directed the successful 2006 comedy, “The Pink Panther,” starring Steve Martin, Kevin Kline, Beyoncé Knowles, and Jean Reno and served as the executive producer of “Pink Panther 2.” Levy also directed “Cheaper By The Dozen” starring Steve Martin, Bonnie Hunt, Ashton Kutcher and Hilary Duff, which went on to gross more than $200 million worldwide.
In 2002, Levy directed both the hit romantic comedy “Just Married,” starring Ashton Kutcher and Brittany Murphy, which grossed over $100 million and the family comedy “Big Fat Liar,” for Universal Pictures, with Frankie Muniz, Paul Giamatti and Amanda Bynes.
Levy graduated at the age of 20 from the Drama Department of Yale University. He later studied film in the Masters Film Production Program at USC, where he produced and directed the short film Broken Record. This film won the Gold Plaque at the Chicago Film Festival, in addition to being selected to screen at the Director’s Guild of America.
JOSH KLAUSNER (Screenwriter) attended Princeton University, where he was involved in the theater community as an actor, playwright and director, and studied theater luminaries Bobby Lewis and Albert Innaurato. Klausner’s thesis play, “Scratch,” received the Francis LeMoyne Page Prize for Excellence in Theater. After graduation, Klausner co-created the short “Season of the Lifterbees,” which premiered at the Sundance Film Festival in 1992, and won the Time Warner Grand Prize at the Aspen Shortsfest and a regional AMPAS Student Academy Award for Best Dramatic Short.
In 1994, Klausner began working as an assistant to the Farrelly Brothers, on their first film, “Dumb & Dumber,” moving on to work as 2nd unit director on the Farrellys’ hit 1998 film, “There’s Something About Mary” and again in 2001’s “Shallow Hal.”
In 2000, Klausner wrote and directed HBO’s “The 4th Floor,” starring William Hurt, Juliette Lewis, Austin Pendleton and Shelley Duvall. He did additional screenplay work on “Shrek the Third,” and wrote the original screenplay and storyline for DreamWorks
Animation’s upcoming “Shrek Forever After,” to be released later this year.
Klausner is currently working on a number of feature film projects, including a live action adaptation of “Thomas the Tank Engine,” and an adaptation of Adena Hapern’s The Ten Best Days of My Life for Shawn Levy’s 21 Laps, which will star Amy Adams. He is also collaborating with Sir Paul McCartney on “High in the Clouds,” an upcoming animated feature film based on the former Beatle’s children’s book.
JOE CARACCIOLO, JR. (Executive Producer) began his career in film as a production manager on director Sidney Lumet’s “Running on Empty” and “The Verdict.”
Caracciolo executive produced the hit comedies “Marley & Me” starring Owen Wilson and Jennifer Aniston, “What Happens in Vegas” starring Cameron Diaz and Ashton Kutcher (for 21 Laps), and “The Devil Wears Prada” starring Meryl Streep and Anne Hathaway. His other executive producing credits include “Just My Luck,” starring Lindsay Lohan, “Hide & Seek,” a psychological thriller starring Robert De Niro and Dakota Fanning, and “Uptown Girls,” a comedic New York fairy tale starring Brittany Murphy and Dakota Fanning. Additionally, he produced the teen thriller “Swimfan,” directed by John Polson.
Caracciolo’s other feature film credits include James Foley’s “Glengarry Glen Ross,” Jon Amiel’s “Copycat,” and “The Man Who Knew Too Little,” and writer-director John Waters’ “Serial Mom,” “Pecker,” and “Cecil B. Demented.”
JOSH McLAGLEN (Executive Producer) has worked as an assistant director on dozens of blockbuster films alongside some of Hollywood’s top directors. He has been 1st AD on “Tango and Cash,” “Alien 3,” James Cameron’s “Titanic,” “The X-Files,” “Cast Away,” “The Polar Express, and “Beowulf,” the latter three for director Robert Zemeckis, and again for Cameron on “Avatar.”
In 2002, McLaglen began wearing a producer’s hat, working his way from associate producer (“The Polar Express”) to co-producer (“Beowulf,” “Avatar”) to executive producer. In 2006, he began working with director Shawn Levy, as both 1st AD and co-producer on “Night at the Museum,” becoming executive producer for that film’s sequel, “Night at the Museum: Battle of the Smithsonian,” as well as for “Date Night” and the upcoming “Real Steel.”
TOM McNULTY (Executive Producer) is the president of production at 21 Laps, a production company based at Twentieth Century Fox in Los Angeles. McNulty joined 21 Laps at its inception with the company’s principal, director Shawn Levy and has set up over a dozen film projects at Fox, Universal, Warner Brothers and New Line. 21 Laps films include “Cheaper By The Dozen 2,” as well as the hit comedy “What Happens In Vegas” starring Cameron Diaz and Ashton Kutcher, “St. Peter” starring Elizabeth Banks and Sam Rockwell, and “The Rocker,” the latter marking their first producing effort together.
Prior to joining Levy, McNulty was the executive vice president of production at Adam Sandler’s Happy Madison Productions for over six years. There, he oversaw the development of the entire slate of films, notably “Mr. Deeds,” “Anger Management,” “50 First Dates,” “Are We There Yet,” “Click” and “Dickie Roberts Former Child Star.”
Prior to joining Happy Madison, McNulty was an executive at Out Of The Blue Entertainment, where he was an executive on “Big Daddy” and “Deuce Bigalow Male Gigolo.”
McNulty arrived in Hollywood as an actor, appearing in “Boys on the Side” opposite Whoopi Goldberg and “Escape from L.A.” with Kurt Russell. McNulty grew up on Long Island and attended The Catholic University of America in Washington DC.
DEAN SEMLER, ACS/ASC (Director of Photography) began his career in his native Australia, lensing “Mad Max 2” (aka “The Road Warrior” in North America) in 1982 for George Miller, for which Semler received an Australian Film Institute (AFI) nomination. Semler reteamed with Miller for “Mad Max Beyond Thunderdome.” Semler won both the AFI and Australian Cinematographers Society awards for the Aussie thriller “Razorback.”
By the late ‘80s, Semler was serving as director of photography on several U.S. productions, including “Cocktail” with Tom Cruise and Bryan Brown, and the western “Young Guns.” The following year, he returned to Australia for “Dead Calm,” starring Nicole Kidman and Sam Neill, for which Semler won the AFI award.
After filming the “Young Guns” sequel in 1990, Semler shot Kevin Costner’s “Dances With Wolves,” for which Semler received multiple honors, including an Academy Award and American Society of Cinematographers (ASC) Award. He reteamed with Costner in 1995 for “Waterworld.”
Throughout the ‘90s and into the following decade, Semler shot the comedies “City Slickers,” “Nutty Professor II: The Klumps,” “Bruce Almighty,” and “Get Smart.” He also filmed Mel Gibson’s epic “Apocalypto.”
Most recently, Semler was director of photography on Roland Emmerich’s “2012,” and on “Secretariat,” starring Diane Lane and Scott Glenn.
DAVID GROPMAN (Production Designer), after working in television and independent films, designed the studio features “Of Mice and Men,” “Waiting to Exhale,” and “The Cider House Rules,” for which he was nominated for an Oscar.
Gropman received an Art Directors Guild award and BAFTA nomination for his design for “Chocolat.” Gropman worked on John Waters’ “Hairspray,” for which Gropman was nominated for a Satellite Award. The Art Directors Guild once again recognized Gropman with a nomination for period film design for “Doubt,” which takes place in the 1960s.
CHRISTOPHE BECK (Composer) reunites with Shawn Levy, after composing the scores for the Levy-helmed projects “Just Married,” “Cheaper by the Dozen,” “The Pink Panther. Recently, Beck reteamed with director Chris Columbus on “Percy Jackson & The Olympians: The Lightning Thief,” after composing the score for Columbus’ “I Love You, Beth Cooper.”
The Montreal native started piano lessons at age five and was writing music for his first-ever band, Chris and The Cupcakes, before his teen years. During high school, Beck studied flute, saxophone, trombone and drums, and performed in rock bands. While studying music at Yale University, Beck had an epiphany, discovering that his talent for composing exceeded that for performing. He wrote two musicals with his brother Jason (a.k.a. Chilly Gonzales, the Berlin-based hip-hop recording artist), as well as an opera based on The Tell-Tale Heart by Edgar Allen Poe
Upon graduation from Yale in 1992, he moved to Los Angeles to attend USC's prestigious film scoring program, where he studied with Oscar winner Jerry Goldsmith, among others. Beck was immediately attracted to the creative challenges unique to the marriage of music and picture, and a personal recommendation from the head of the USC Music Department led to his first professional assignment, the Canadian TV series “White Fang.” Soon thereafter, he was asked to score a new TV series (then in its second season), “Buffy, the Vampire Slayer,” based on the 1992 cult classic film, for which he received the Emmy for Outstanding Music Composition during his three seasons with the show.
The prolific talent has scored 40+ feature films and nearly twenty television shows since 1993. His film compositions include a wide array of projects and genres including the action films “The Sentinel” and “Elektra,” the comedies “The Hangover,” “Drillbit Taylor,” “What Happens in Vegas,” “Charlie Bartlett,” “Pink Panther 2,” and “Bring It On,” and the dramas “Under the Tuscan Sun,” “Year of the Dog,” “Phoebe in Wonderland” and the Sundance Film Festival Grand Jury nominee “The Greatest.”
Beck has also composed scores for “The Seeker: The Dark is Rising,” “School for Scoundrels,” “License to Wed,” “Fred Claus,” “We Are Marshall,” “Confidence,” “Yours, Mine and Ours,” “Taxi,” “A Cinderella Story,” “Saved!,” “Garfield” and its sequel, “Garfield: A Tail of Two Kitties” “Cheaper by the Dozen,” “American Wedding,” “Post Grad,” and “All About Steve.”
MARLENE STEWART (Costume Designer) earned her first credits working on music videos, including memorable designs for fashion-forward pop superstar Madonna. Stewart created image-shaping costumes for 11 Madonna videos, including “Vogue,” “Material Girl,” “Like a Prayer” and “Express Yourself.”
Stewart’s film work spans a wide variety of genres, periods and looks. She has collaborated with an intriguing array of directors, ranging from Alejandro González Iñárritu on “21 Grams” to Oliver Stone on “The Doors” and “JFK” to Michael Mann on “Ali” and Beeban Kidron on “To Wong Foo Thanks for Everything, Julie Newmar.”
Most recently, Stewart designed the costumes for Ben Stiller’s “Tropic Thunder,” Nancy Meyers’s romantic comedy “The Holiday” and Kimberly Peirce’s drama “Stop-Loss.”
Her credits also include Andy Tennant’s “Hitch,” James Cameron’s “Terminator 2: Judgment Day” and “True Lies,” Mary Lambert’s “Siesta,” Joel Schumacher’s “Falling Down,” James L. Brooks’s “I’ll Do Anything,” Curtis Hanson’s “The River Wild,” Joe Pytka’s “Space Jam,” Rob Bowman’s “The X Files,” Tony Scott’s “Enemy of the State,” Dominic Sena’s “Gone in 60 Seconds,” David McNally’s “Coyote Ugly,” and Antoine Fuqua’s “Tears of the Sun.”
After earning a degree in History at the University of California, Berkeley, Stewart studied at the Fashion Institute of Design and Merchandising in Los Angeles. She received the Bob Mackie Award for Design for her student work and began her design career by launching her own women’s clothing line, Covers. A Boston native, Stewart designed the costumes for three Madonna tours as well as tours for Cher, Paula Abdul, and Gloria Estefan. She created music video looks for Janet Jackson, Rod Stewart, Bette Midler, Debbie Harry, Smashing Pumpkins, the Bangles, and the Eurythmics, and was the first recipient of the American Music Awards’ Best Costume Design Award for the video “Material Girl.”
