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00:00:42 01/03/12
Last-Place Bachmann: 'I Intend To Be America's Iron Lady'
[LESS INFO] 0 VIEWS | ADDED 00:00:42 01/03/12
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Michelle Bachmann's appearance yesterday on This Week with Jake Tapper was one of her more cringe-inducing performances. Not because she isn't someone incapable of delivering lines and staying on message, but because the content of her message is so obviously boilerplate campaignspeak from someone who's so clearly sliding too far down, too fast to win. Instead, she's promising a "miracle:" >
TAPPER: My next guest sounds just as confident, but her path forward is a lot more murky. Congresswoman Michele Bachmann joins me from Des Moines.
Congresswoman, thanks for joining us, and happy new year.
BACHMANN: Happy new year to you. Great to be on with you this morning, Jake.
TAPPER: So the last time you and I spoke, you had just won the Iowa straw poll. The Des Moines Register poll had you tied for first place with Mitt Romney with 22 percent of the vote. Now that same poll has you with 7 percent of the vote. What happened to your campaign?
BACHMANN: Well, we've had a very good campaign. And I think what's happened is, a lot of candidates have come in, and Iowa voters and national voters have taken a look at all of the other candidates. But we have done I think what no other candidate has done, and that is, after the last debate, we've gone across all of Iowa, all 99 counties, and we've actually done heavy, heavy retail politics where we've gone into cafes and into living rooms of Iowans, and we've made a very strong connection with a lot of people.
And if you look at the polls, it's upwards of 40 percent to 50 percent of Iowans haven't made their decision yet. And I think the polls, what they're reflecting will be very different from what we're seeing on Tuesday night, because people make their decision, quite honestly, in the caucus room. Iowa is very different. People gather in living rooms. They gather in elementary schools and churches, and they make their decision on the spot with their neighbors. And we have done, like I said, what no other candidate has done the last two weeks. We've put over -- almost 7,000 miles on our bus, and we've literally gone from town to town to town meeting with people directly. And we saw thousands of people switch their vote just in the last couple of weeks, so we think there's going to be a very profound shift that people see on Tuesday night.
TAPPER: Well, one of the -- one of the dilemmas that you've had is that a lot of the voters that you are competing for, conservative voters, Christian evangelicals in some cases, are also being wooed by Rick Santorum and Rick Perry. And Santorum has momentum right now. He is at third place in the Des Moines Register poll. And if you look at the last two days, he's in second place. He has strong social conservative credentials. He's fluent in foreign affairs. He won statewide twice in a key swing state, Pennsylvania. So why should voters go for you and not him?
BACHMANN: Well, because I'm the strongest core conservative in this race. There is no comparison with all of the other candidates and my credentials. No other candidate has current national security experience in the race. I sit on the House Intelligence Committee. I am daily involved with the issue of national security. No other candidate is.
And as what we -- what we are seeing happening with Iran obtaining a nuclear weapon, that will be a formidable issue immediately with the next commander-in-chief. I'm ready. No other candidate is currently ready in that issue.
Gee, Michelle, I know it makes me feel better that you'll lie about Iran "obtaining" a nuke. It shows you'll say anything at all to win - always a great quality in a president. >
Also, I'm the only federal tax litigation attorney in this race. When it comes to dealing with the number-one issue that's on voters' minds, which is out-of-control spending, I have that credential in spades over any other candidate, because no other candidate was leading on this issue in the halls of Congress or in Washington or nationally. I'm the one that called for saying "no" to letting Barack Obama increase the national credit card limit.
Psst, Michelle honey? Try not to say things like that around sane people. It doesn't help. >
And when it comes to social issues, there's no one who can -- who can compare with my record. I'm a mother of five, a foster mother to 23 children that we've raised, and also I have an unassailable record on life, on marriage, on religious liberty. So when it comes to values and issues, there is no one who comes close to where I am on those issues.
But I think even more so, I'm the one that's been proven and tested in the fires of Washington, and that's why I think you saw people vote for me in the Iowa straw poll, but also it's what we have done on the ground. No other candidate has done more retail campaigning on the ground.
TAPPER: But...
BACHMANN: And I think we'll bear the fruit of that on Tuesday night.
TAPPER: But with all due respect, Congresswoman, this is the same pitch you've been making all summer and all fall and -- and up until today, and you're in last place, according to the polls. And -- and somebody that has similar credentials to you and a similar appeal to you, Rick Santorum, is showing huge momentum. Why you over him?
BACHMANN: Well, again, I think the polls take a few days to catch up. And -- and we have made that incredible deposit of going in every single county. We've drawn 300 people at a stop, 250 people at a stop, and I think a lot of that isn't yet reflected in the polls. And the main thing will be on Tuesday night.
We're looking forward. We're not looking in the rear-view mirror. And what we're seeing going forward, especially with the tremendous outpouring of young people that are coming out to work on our phone banks and to go lit dropping and door-to-door is nothing short of amazing. We're -- we're number-one in the category of enthusiasm. If you look at all of the candidates, which candidate has the most enthusiasm among their supporters, I'm that candidate. I'm number-one with the 18- to 29-year-old voters, which are highly motivated, and they're doing all of the work.
So I think that if you look at my past races, and polling data showed me actually losing and 8 points behind in previous races that I've had when I've run for Congress, and yet I -- I win by 8 and 13 points. So polls don't -- are -- sometimes belie the truth on the ground, and that's what we see. This isn't just about polling. This is about what we're seeing in reality, and I think Tuesday night people are going to see a miracle.
TAPPER: In the last week, your campaign has gotten involved in a big kerfuffle about one of your top supporters, your chairman in Iowa defecting and going to the Ron Paul campaign. I don't want to get into the weeds on that debate. There was a back-and-forth about whether or not he was paid off. He denied that you accused him of doing that. But this is not the first time you've made a charge like this. You've also said this about other supporters with Newt Gingrich in Georgia, with Rick Santorum.
Don't you risk -- making these charges, doesn't that risk voters seeing you as making a final gasp of desperation?
BACHMANN: Oh, for Heaven's sake. Of course not. What this shows is the tremendous momentum that we have out of the last debate. From person after person, they said that I won the last debate in Sioux City, Iowa. And the reason why is because, when Ron Paul made his very dangerous statements, which is he was just fine with Iran obtaining a nuclear weapon, or with Newt Gingrich taking $1.6 million from Freddie Mac and he was unable to defend that, I -- I took it to them.
And what people saw during the last debate is that I have the ability, of all of the candidates on the stage, I have the best ability to take it to Barack Obama in the debate and hold him accountable. We had tremendous momentum coming out of the last debate, and we saw it in county after county in our 99-county tour, where people were just appalled by Ron Paul's position. They thought it was dangerous.
That's why we saw literally thousands of people switching their decision on the spot, and that's what you saw, was this crush of momentum. And so we saw some different actions coming out of the Ron Paul campaign. And I think that people will be very surprised at the results on Tuesday night, because I think people will see a lot of defections away from Ron Paul because they see -- especially with the aggressive nature of the actions on the part of Iran in the Straits of Hormuz, people are seeing how important it is that we have a commander-in-chief who is conversant, prepared, knowledgeable, and has good judgment on foreign affairs. And of all of the candidates in the race, I'm best suited for that -- that portion of being commander-in- chief.
TAPPER: Congresswoman, we only have a little bit of time left, so last question. In the interests of candor and being based in reality, positing that you feel that you're going to have a very good night on Tuesday and that all the polls are wrong and you're going to do well, but assuming that the polls are right, isn't that, practically speaking, the end of your campaign if you come in last on Tuesday?
BACHMANN: Well, we've bought tickets to head off to South Carolina. And we are looking forward to the debates. January is a very full month. We're here for the -- for the long -- for the long race. This is a 50-state race. And we intend to participate not only in New Hampshire, South Carolina, Florida, but to go all the way, because I intend to be the Republican nominee and defeat Barack Obama in 2012, because America needs a candidate that will be in the legacy of a Ronald Reagan and of a Margaret Thatcher. That's what I intend to do, is to be America's iron lady.
TAPPER: All right. Congresswoman Michele Bachmann, good luck on Tuesday. And hope you have a wonderful 2012.
BACHMANN: Thank you. Same to you and your listeners.
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00:00:42 01/03/12
Last-Place Bachmann: 'I Intend To Be America's Iron Lady'
[LESS INFO] 0 VIEWS | ADDED 00:00:42 01/03/12
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Michelle Bachmann's appearance yesterday on This Week with Jake Tapper was one of her more cringe-inducing performances. Not because she isn't someone incapable of delivering lines and staying on message, but because the content of her message is so obviously boilerplate campaignspeak from someone who's so clearly sliding too far down, too fast to win. Instead, she's promising a "miracle:" >
TAPPER: My next guest sounds just as confident, but her path forward is a lot more murky. Congresswoman Michele Bachmann joins me from Des Moines.
Congresswoman, thanks for joining us, and happy new year.
BACHMANN: Happy new year to you. Great to be on with you this morning, Jake.
TAPPER: So the last time you and I spoke, you had just won the Iowa straw poll. The Des Moines Register poll had you tied for first place with Mitt Romney with 22 percent of the vote. Now that same poll has you with 7 percent of the vote. What happened to your campaign?
BACHMANN: Well, we've had a very good campaign. And I think what's happened is, a lot of candidates have come in, and Iowa voters and national voters have taken a look at all of the other candidates. But we have done I think what no other candidate has done, and that is, after the last debate, we've gone across all of Iowa, all 99 counties, and we've actually done heavy, heavy retail politics where we've gone into cafes and into living rooms of Iowans, and we've made a very strong connection with a lot of people.
And if you look at the polls, it's upwards of 40 percent to 50 percent of Iowans haven't made their decision yet. And I think the polls, what they're reflecting will be very different from what we're seeing on Tuesday night, because people make their decision, quite honestly, in the caucus room. Iowa is very different. People gather in living rooms. They gather in elementary schools and churches, and they make their decision on the spot with their neighbors. And we have done, like I said, what no other candidate has done the last two weeks. We've put over -- almost 7,000 miles on our bus, and we've literally gone from town to town to town meeting with people directly. And we saw thousands of people switch their vote just in the last couple of weeks, so we think there's going to be a very profound shift that people see on Tuesday night.
TAPPER: Well, one of the -- one of the dilemmas that you've had is that a lot of the voters that you are competing for, conservative voters, Christian evangelicals in some cases, are also being wooed by Rick Santorum and Rick Perry. And Santorum has momentum right now. He is at third place in the Des Moines Register poll. And if you look at the last two days, he's in second place. He has strong social conservative credentials. He's fluent in foreign affairs. He won statewide twice in a key swing state, Pennsylvania. So why should voters go for you and not him?
BACHMANN: Well, because I'm the strongest core conservative in this race. There is no comparison with all of the other candidates and my credentials. No other candidate has current national security experience in the race. I sit on the House Intelligence Committee. I am daily involved with the issue of national security. No other candidate is.
And as what we -- what we are seeing happening with Iran obtaining a nuclear weapon, that will be a formidable issue immediately with the next commander-in-chief. I'm ready. No other candidate is currently ready in that issue.
Gee, Michelle, I know it makes me feel better that you'll lie about Iran "obtaining" a nuke. It shows you'll say anything at all to win - always a great quality in a president. >
Also, I'm the only federal tax litigation attorney in this race. When it comes to dealing with the number-one issue that's on voters' minds, which is out-of-control spending, I have that credential in spades over any other candidate, because no other candidate was leading on this issue in the halls of Congress or in Washington or nationally. I'm the one that called for saying "no" to letting Barack Obama increase the national credit card limit.
Psst, Michelle honey? Try not to say things like that around sane people. It doesn't help. >
And when it comes to social issues, there's no one who can -- who can compare with my record. I'm a mother of five, a foster mother to 23 children that we've raised, and also I have an unassailable record on life, on marriage, on religious liberty. So when it comes to values and issues, there is no one who comes close to where I am on those issues.
But I think even more so, I'm the one that's been proven and tested in the fires of Washington, and that's why I think you saw people vote for me in the Iowa straw poll, but also it's what we have done on the ground. No other candidate has done more retail campaigning on the ground.
TAPPER: But...
BACHMANN: And I think we'll bear the fruit of that on Tuesday night.
TAPPER: But with all due respect, Congresswoman, this is the same pitch you've been making all summer and all fall and -- and up until today, and you're in last place, according to the polls. And -- and somebody that has similar credentials to you and a similar appeal to you, Rick Santorum, is showing huge momentum. Why you over him?
BACHMANN: Well, again, I think the polls take a few days to catch up. And -- and we have made that incredible deposit of going in every single county. We've drawn 300 people at a stop, 250 people at a stop, and I think a lot of that isn't yet reflected in the polls. And the main thing will be on Tuesday night.
We're looking forward. We're not looking in the rear-view mirror. And what we're seeing going forward, especially with the tremendous outpouring of young people that are coming out to work on our phone banks and to go lit dropping and door-to-door is nothing short of amazing. We're -- we're number-one in the category of enthusiasm. If you look at all of the candidates, which candidate has the most enthusiasm among their supporters, I'm that candidate. I'm number-one with the 18- to 29-year-old voters, which are highly motivated, and they're doing all of the work.
So I think that if you look at my past races, and polling data showed me actually losing and 8 points behind in previous races that I've had when I've run for Congress, and yet I -- I win by 8 and 13 points. So polls don't -- are -- sometimes belie the truth on the ground, and that's what we see. This isn't just about polling. This is about what we're seeing in reality, and I think Tuesday night people are going to see a miracle.
TAPPER: In the last week, your campaign has gotten involved in a big kerfuffle about one of your top supporters, your chairman in Iowa defecting and going to the Ron Paul campaign. I don't want to get into the weeds on that debate. There was a back-and-forth about whether or not he was paid off. He denied that you accused him of doing that. But this is not the first time you've made a charge like this. You've also said this about other supporters with Newt Gingrich in Georgia, with Rick Santorum.
Don't you risk -- making these charges, doesn't that risk voters seeing you as making a final gasp of desperation?
BACHMANN: Oh, for Heaven's sake. Of course not. What this shows is the tremendous momentum that we have out of the last debate. From person after person, they said that I won the last debate in Sioux City, Iowa. And the reason why is because, when Ron Paul made his very dangerous statements, which is he was just fine with Iran obtaining a nuclear weapon, or with Newt Gingrich taking $1.6 million from Freddie Mac and he was unable to defend that, I -- I took it to them.
And what people saw during the last debate is that I have the ability, of all of the candidates on the stage, I have the best ability to take it to Barack Obama in the debate and hold him accountable. We had tremendous momentum coming out of the last debate, and we saw it in county after county in our 99-county tour, where people were just appalled by Ron Paul's position. They thought it was dangerous.
That's why we saw literally thousands of people switching their decision on the spot, and that's what you saw, was this crush of momentum. And so we saw some different actions coming out of the Ron Paul campaign. And I think that people will be very surprised at the results on Tuesday night, because I think people will see a lot of defections away from Ron Paul because they see -- especially with the aggressive nature of the actions on the part of Iran in the Straits of Hormuz, people are seeing how important it is that we have a commander-in-chief who is conversant, prepared, knowledgeable, and has good judgment on foreign affairs. And of all of the candidates in the race, I'm best suited for that -- that portion of being commander-in- chief.
TAPPER: Congresswoman, we only have a little bit of time left, so last question. In the interests of candor and being based in reality, positing that you feel that you're going to have a very good night on Tuesday and that all the polls are wrong and you're going to do well, but assuming that the polls are right, isn't that, practically speaking, the end of your campaign if you come in last on Tuesday?
BACHMANN: Well, we've bought tickets to head off to South Carolina. And we are looking forward to the debates. January is a very full month. We're here for the -- for the long -- for the long race. This is a 50-state race. And we intend to participate not only in New Hampshire, South Carolina, Florida, but to go all the way, because I intend to be the Republican nominee and defeat Barack Obama in 2012, because America needs a candidate that will be in the legacy of a Ronald Reagan and of a Margaret Thatcher. That's what I intend to do, is to be America's iron lady.
TAPPER: All right. Congresswoman Michele Bachmann, good luck on Tuesday. And hope you have a wonderful 2012.
BACHMANN: Thank you. Same to you and your listeners.
1 Views
17:44:10 12/23/11
Fashion Fails of the Week: Paula Abdul, Helen Mirren & More
[LESS INFO] 1 VIEWS | ADDED 17:44:10 12/23/11
Fashion Fails of the Week: Paula Abdul, Helen Mirren & More
PHOTOS: Helen Mirren wears too much fabric, Paula Abdul has gone too corporate and Vanessa Hudgens looks homeless! SORRY TO DO IT RIGHT BEFORE THE HOLIDAYS, BUT IT'S TIME TO PLAY "STYLE GRINCH!"... CHECK OUT WHO UNFORTUNATELY MADE THE LIST OF THIS WEEK'S FASHION FAILS! CLINGY. AND SATIN. TWO WORDS THAT SHOULD NEVER GO TOGETHER..AND ALTHOUGH HELEN MIRREN ATTEMPTED THE FASHION FEAT, WE GOTTA SAY THERE'S WAYY TOO MUCH FABRIC GOIN' ON HERE IN ALL THE WRONG PLACES! WE KNOW PAULA ABDUL WAS ALL THE RAGE IN THE 90'S BUT MAYBE THAT'S WHERE SHE SHOULD HAVE LEFT THIS CREAM-COLORED PANTSUIT! AND WHAT'S UP WITH THAT BLINGED OUT PEPSI PURSE?! CAN YOU SAY.. PRODUCT PLACEMENT! BUT NO ONE PULLED A FASHION FAIL QUITE LIKE VANESSA HUDGENS, WHO MANAGED TO BE A DOUBLE OFFENDER, THIS WEEK! FROM THE ILL-FITTING PANTS TO THE CROPPED TEES AND OVERSIZED JACKETS, THIS GIRL HAS BOHO CHIC DOWN TO THE POINT OF LOOKING HOMELESS! UNTIL NEXT YEAR LADIES! From: CelebTV Views: 985 10 ratings Time: 00:54 More in Entertainment
4 Views
17:44:10 12/23/11
Fashion Fails of the Week: Paula Abdul, Helen Mirren & More
[LESS INFO] 4 VIEWS | ADDED 17:44:10 12/23/11
Fashion Fails of the Week: Paula Abdul, Helen Mirren & More
PHOTOS: Helen Mirren wears too much fabric, Paula Abdul has gone too corporate and Vanessa Hudgens looks homeless! SORRY TO DO IT RIGHT BEFORE THE HOLIDAYS, BUT IT'S TIME TO PLAY "STYLE GRINCH!"... CHECK OUT WHO UNFORTUNATELY MADE THE LIST OF THIS WEEK'S FASHION FAILS! CLINGY. AND SATIN. TWO WORDS THAT SHOULD NEVER GO TOGETHER..AND ALTHOUGH HELEN MIRREN ATTEMPTED THE FASHION FEAT, WE GOTTA SAY THERE'S WAYY TOO MUCH FABRIC GOIN' ON HERE IN ALL THE WRONG PLACES! WE KNOW PAULA ABDUL WAS ALL THE RAGE IN THE 90'S BUT MAYBE THAT'S WHERE SHE SHOULD HAVE LEFT THIS CREAM-COLORED PANTSUIT! AND WHAT'S UP WITH THAT BLINGED OUT PEPSI PURSE?! CAN YOU SAY.. PRODUCT PLACEMENT! BUT NO ONE PULLED A FASHION FAIL QUITE LIKE VANESSA HUDGENS, WHO MANAGED TO BE A DOUBLE OFFENDER, THIS WEEK! FROM THE ILL-FITTING PANTS TO THE CROPPED TEES AND OVERSIZED JACKETS, THIS GIRL HAS BOHO CHIC DOWN TO THE POINT OF LOOKING HOMELESS! UNTIL NEXT YEAR LADIES! From: CelebTV Views: 1031 10 ratings Time: 00:54 More in Entertainment
21 Views
01:16:55 12/17/11
Top 5 Weirdest Christmas Video Games - Press Pause Daily
[LESS INFO] 21 VIEWS | ADDED 01:16:55 12/17/11
Jaime, the Press Pause Christmas Elf is here with a Top 5 list of some of the weirdest Christmas video games.
SHOW NOTES:
As we mentioned yesterday, this time of year can bring out Christmas themed games, but that doesn’t mean that they aren’t a bit on the weird side. So here is our Top 5 Weirdest classic Christmas video games tabulated by classicgames.about.com
http://classicgames.about.com/od/toppicks/ig/Weirdest-Christmas-Video-Games/
5.
Number 5 is Santa Clause Saves The Earth. This late PS 1 title was a super mario brother clone with Santa collecting the coins. Loose controls and a weak premise made this a forgettable game for sure, but hey it made THIS list didn’t it? Backstory? some weird fairy creature zaps Santa into a strange land filled with odd creatures all hell bent on ending jolly Ol’ St. Nick.
4.
In at number 4 is Frosty The Snowman aka Frosty’s Busy Night. Gotta love a game that has it’s own aka. Also this game came out for the Commodore 64 so hard not to have a warm sense of nostalgia. However the game itself is another odd Christmas entry by putting Frosty back to work the second he got back to the North Pole. Your job is to bring presents from the elves back to Santa, avoiding obstacles and pitfalls along the way.
The game was actually given away as a freebie in a Commodore 64 magazine. Can’t go wrong with free but in this case I might have just went back and watched Frosty The Snowman again instead.
3.
Daze Before Christmas is our number 3 weirdest classic Christmas game and it has the most sinister plot twist on the list. The back story here is that while Santa was taking a milk induced nap a bunch of terrible people came in and stole some elves and presents. Santa wakes up and decides to take it upon himself to go rescue the lot.
Fighting off giant mice, penguins, and headless snowmen along the way. The weird twist? When Santa finds a special elixir power-up he turns into the Anti-Claus and destroys everything in his path. He even has horns which is just messed up. Good news is .. with the help of your crazy alter ego you’ll probably get back most of those crappy gifts and unappreciative elves. Score!
2.
Number 2 is Santa's Christmas Caper. Developer Zeppelin actually created two different titles for both the Commodore 64 and Amiga.
The Commodore 64 version sees Santa as a lush too drunk to drive his sleigh and deliver gifts so you take it upon yourself to step up and fly his sleigh, tonight. The game quickly turns into a side scrolling shooter, because you know that’s what flying Santa’s sleigh is all about .. shooting shit.
The Amiga version had Santa crash landing his sleigh and spilling out all the presents. The game turns into a Super Mario brothers style platformer having you platforming throughout Lapland to get back all the gifts. Yes, I said Lapland. The name of the place he crash lands is called Lapland.
Man can’t Santa hold it together for one second? I mean really Santa. It’s embarrassing.
1.
And in at number one is the ugliest looking Christmas game on the list. Special Delivery: Santa’s Christmas Chaos. Hard to even tell this is a Christmas game with the nonexistent graphics and low resolution. I mean is that Santa or a pink colored gorilla? Cant tell.
In the game you land your sleigh on houses and descend a huge tower sized chimney complete with bad guys coming at you in all directions. You remember that from all the Christmas stories right? No? You don’t? Yeah neither do I. Once you get into each house you have to drop off a present and then grab a key to leave. Although couldn’t you just take that huge ass chimney with the ladder on the way out?
Man .. these games make Christmas a lot more complicated then it should be, don't they?
Oh well....Happy Holidays.
1 Views
15:00:23 12/07/11
AFL-CIO Launches 'Share Your Story' To Document Unemployment Crisis
[LESS INFO] 1 VIEWS | ADDED 15:00:23 12/07/11
The AFL-CIO launched a new website on Tuesday designed to capture the stories of the unemployed in their own words. The website, Share Your Story allows site visitors to upload their stories and pictures to the site, providing a human face to the issue of unemployment, which politicians talk a lot about, but don't seem nearly as interested in doing something about.
Many of the stories on the site are like those of Pat from San Jose: >
I was a Communications worker for just under 20 years. After I was "surplused" in 1995 I went to work at a non-union job in the same industry which later became Worldcom followed by positions in two other companies. After the dot com bust in 2001, finding a full time job was hopeless. Apparently the rules had changed and I did not have the education to continue doing the work I had done for 25 years. The past 10 1/2 years have held sporadic, temporary and part time positions, most in retail which paid very little and I have now been unemployed for about a year. This track record, along with the fact that I am now 61 years old doesn't offer much for a resume. My thought is to apply for Social Security (a real oxymoron) if the powers that be will allow it. My retirement fund has all but vanished in the wake of what has happened. I don't know what plan the 1% has for us--maybe they expect that we will simply vanish the way our money did on Wall Street.
Janet from Texas questions the whole system: >
I have two masters degree and am all but dissertation for a doctrate in social work. I worked, consistently for the first 30 years of my adulthood and am now unemployed. I am living with friends because I cannot get unemployment. I cannot get unemployment because I quit my last job. I quit my last job because they were not paying me. I am suffering, in chronic pain, because I have no health care coverage. I am substitute teaching to try to cover my expenses so if a permanent job comes through, I will still have a car to get there. My question to you, as I stand in front of a classroom of young people: I am supposed to tell them to get a high school degree and go on to college because...............why?
She is far from alone in being a hard-working person who played by the rules and was still left out in the cold by the system. Even more heartbreaking are stories like that of Marge from Illinois: >
I am writing to say what a profound negative impact joblessness has on a family. My son in law is in the building trades industry. Due to lack of activity he has been laid off for the last two years almost as much as he has worked. This has placed much stress on their young family and marriage. In fact the stress has gotten to the point where my son in law is back to drinking heavily which has led to their separation. I might add that they have two young sons. One is six weeks old. So I have a very strong opinion that we need to do what it takes to extend unemployment benefits. What will families do if they have absolutely NO income? And more than that we need to get the economy back on track. What is wrong with Congress that they are more concerned about seeing someone fail or getting their way than to look out for the good of the people who elected them? I am still hopeful that those members of Congress who have real values will stand firm and do what's right!
AFL-CIO's release urges everyone to participate: >
You need to check out this website, right now.
It’s a powerful reminder of the real faces behind America’s sobering unemployment statistics. It has real pictures and stories from job-hunters and impacted people from all walks of life—from your state and from every state.
I hope you’ll take a minute to look at these powerful stories, share them and add your own.
If Congress fails to act by Dec. 31, extended unemployment insurance will expire for millions.
We never forget these are real people who face the prospect of going hungry and getting thrown out of their homes soon after the holidays if Congress fails to act. Many of us have been there before—or have friends and family who have.
Even though obstructionists in Congress are willing to ignore our joblessness crisis, we refuse to let these stories get brushed under the rug.
Click here to see and share the stories and faces behind America’s joblessness crisis.
Then, share our website on Facebook and Twitter and forward this message to all your friends.
These stories and pictures won’t just live on a website. We’ll share them with the media, hand-deliver them to Congress during our massive day of action on Dec. 8 and promote them widely on the Internet.
If callous members of Congress think they can sit back and allow unemployment aid to expire while they play political games, they’re wrong. With your help we’re going to force them to see this crisis head-on—with real faces of real people who are jobless and struggling in this brutal economy.
See these stories, share them and add your voice.
In Solidarity,
Manny Herrmann
Online Mobilization Coordinator, AFL-CIO
P.S. It’s not just people who are unemployed right now who have stories to tell. Millions of others do, too.
Maybe you’ve been jobless in the past and relied on unemployment benefits to get through. Or you’ve seen firsthand how much unemployment hurts your community and America—and how much unemployment aid helps. Or maybe you can write a brief statement of support for the jobless or urge Congress to act—even in just one to two sentences.
Together, we’re creating a visual display of the impact of unemployment that will be too powerful to ignore. See and share stories and statements in your state and across America. Then, add your own.
3 Views
23:45:47 11/06/11
Condi Rice's Warmongering Continues: 'Time To Confront The Iranian Regime'
[LESS INFO] 3 VIEWS | ADDED 23:45:47 11/06/11
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Watch and see how it's done on today's edition of This Week with Christiane Amanpour. Amanpour feeds Condoleezza Rice some softballs that reflect the wise foreign policy agenda of the Beltway bobbleheads, and Condi hits them out of the park by 1) damning Obama's centrist foreign policy decisions with faint praise and 2) pushing the latest neocon agenda of the reasonableness of going to war with Iran. Stop me if any of this sounds familiar: >
AMANPOUR: A deadly morning in Baghdad today, as three bombs exploded in a sprawling market. The attack came as shoppers were preparing for the Muslim festival of Eid. And it comes just hours after Prime Minister Nouri al-Maliki told his security forces to prepare for stepped-up violence. The backdrop, of course, is the U.S. decision to pull out of Iraq by the end of the year. It's a decision that now has some concerned that Al Qaida will re-establish a foothold in the country, all questions for former Secretary of State Condoleezza Rice. She has a new memoir, "No Higher Honor." And I spoke with her earlier.
(BEGIN VIDEOTAPE)
AMANPOUR: Madam Secretary, thank you for joining us.
RICE: It's a pleasure to be with you, Christiane.
AMANPOUR: So you write in your book, obviously, a lot about the Bush administration, the Bush years. You also talk about when you first met the current president, Barack Obama, during a hearing, and you say his questions were sharp, not rude, he actually seemed interested in my answers. And you say you were really impressed. And lot of people questioned whether he had what it took to be commander-in-chief of the lone superpower. Did he prove them wrong?
RICE: Obviously, I think Barack Obama has done a number of things right, particularly in the war on terror. And I think that President Obama has, indeed, carried the war on terror forward in a very effective way.
AMANPOUR: So let me ask you, then, about the most controversial of events of your tenure, and that was the Iraq war. For better or for worse, the United States is in it. President Obama has now decided to call an end and to bring all the troops out, portraying it actually as a triumph. Others are saying it was a defeat. Do you think it was right not to push and keep for -- I mean, at the very least, 10,000 U.S. troops to guarantee some kind of security, to train, and to be there for counterterrorism?
RICE: Frankly, I think it would help the regional balance to have a residual American presence there. We need to find a way to help the Iraqis sustain themselves through this period and to -- to deal with their somewhat meddlesome neighbor in Iran.
AMANPOUR: Of course, the administration says it's because the Iraqis wouldn't agree to immunity. But the real issue is that this administration insisted on it ceding to State Department and Pentagon lawyers' demand that they get this immunity ratified by the Iraqi parliament. You did not do that. You got the agreement without forcing it through the parliament. Why did they have to do that? Was it a mistake for President Obama to do that?
RICE: Well, Christiane, I'm really rather reluctant to criticize negotiations that I didn't participate in. But it would have clearly been better to have a residual force, from my point of view, and perhaps there was a way out of the immunity clause that wasn't taken.
AMANPOUR: So is there a risk now of everything that America paid unraveling?
RICE: Yes. What is at risk here is not just the sacrifice of the United States, which is considerable, but also a pillar of a new kind of democratic stability in the Middle East.
AMANPOUR: And perhaps equally important, if not more, is Afghanistan. The Obama administration sources are telling me are likely to change their role, even before 2014, from a combat to a much lesser role, maybe advisory. Is that safe at this time? Is the Taliban anywhere near being defeated?
RICE: Well, I'm not inside, but I don't see that the Taliban is anywhere near being defeated. And, in fact, if you're looking for some kind of political arrangement, then ultimately there will have to be a political arrangement in Afghanistan, that brings former warring elements in. But if you're looking for that arrangement, you should be in the strongest position, not the weakest. And I don't think that right now the Afghan government and the NATO mission is in a position to make that kind of political deal. So, yes, I think there's a considerable risk in speeding up a timetable for Afghanistan.
AMANPOUR: In your book, you also write about Iran. The IAEA, the nuclear agency of the U.N., this week is about to reveal, apparently, more details showing, apparently, that Iran is trying to weaponize. Do you think the United States, the Obama administration, has to ratchet up the confrontation? You talked this week about confronting Iran. Does that involve military confrontation by the U.S.?
RICE: Well, the United States should certainly make clear that the president of the United States will consider military action, if necessary, because you never want to take that card off the table. I think there are other ways to confront Iran. You can confront Iran through even tougher sanctions. And I also think, Christiane, this is one of the downsides of having our forces out of -- out of Iraq, because we can confront the Iranians in Iraq.
So, yes, I think it's time to confront the Iranian regime, because it's the poster child for state sponsorship of terrorism. It's trying to get a nuclear weapon. It's repressed its own people. The regime has absolutely no legitimacy left. We should be doing everything we can to bring it down and never take military force off the table.
John Amato: >
I had to weigh in here quickly because Condi was so incompetent as President Bush's National Security Advisor during his first term. Condi Rice is famous for saying this about the bogus claims the Bush administration made about those aluminum tubes that Saddam was supposedly trying to acquire so he could nuke the heck out of Cleveland. > > In 2002, Rice had said that the tubes were "only really suited for nuclear weapons programs," adding that "we don't want the smoking gun to be a mushroom cloud."
She absurdly had this to say also to the WaPo: >
But, as reported by The Washington Post more than a year ago, the internal debate among intelligence analysts was intense, with the experts at the Department of Energy who specialize in uranium enrichment adamant that the tubes were not suitable for a nuclear program. They argued that the tubes were intended for Iraqi rockets.
Administration officials at the time did not acknowledge that debate, though Rice acknowledged yesterday she was aware of it. "I knew that there was a dispute," she said. "I actually didn't really know the nature of the dispute."
Here's Condi on Meet The Press (05/20/06) changing the story that was originally given to America for attacking Iraq in the first place since the truth didn't work out too well: >
RICE: I understand that Americans see on their screens violence. They continue to see Americans killed, and we mourn every death. These are very hard things to do. But I would ask that people remember why we are there. We are there because we are trying to--having overthrown a brutal dictator who was a destabilizing force in the Middle East, we're trying to help the Iraqis create a stable foundation for democracy and a stable foundation for peace."
I seem to recall a different rationale for why we're there: >
"Citing Bush administration officials, The New York Times reported Sunday that Iraq tried to buy thousands of high-strength aluminum tubes. The tubes, Rice said, "are only really suited for nuclear weapons programs, centrifuge programs." [CNN, 9/8/2002]
Bob Somerby aptly asked if Condi ever knew anything, anything at all : >
"Does Condi Rice ever know anything back in 2004?
According to the White House, she didn't know about objections to the uranium-from-Africa story because she hadn't read the whole National Intelligence Estimate! And in May 2002, she said she hadn't known that terrorists might use airplanes as missiles—even though intelligence agencies has issued such warnings for years. Now, she says she didn't know something else—she didn't know the state of aa critical, year-long discussion about those aluminum tubes. I didn't know, Rice told [Wolf] Blitzer. And she was singing a sweet old refrain.
5 Views
23:45:47 11/06/11
Condi Rice's Warmongering Continues: 'Time To Confront The Iranian Regime'
[LESS INFO] 5 VIEWS | ADDED 23:45:47 11/06/11
video platform video management video solutions video player
Watch and see how it's done on today's edition of This Week with Christiane Amanpour. Amanpour feeds Condoleezza Rice some softballs that reflect the wise foreign policy agenda of the Beltway bobbleheads, and Condi hits them out of the park by 1) damning Obama's centrist foreign policy decisions with faint praise and 2) pushing the latest neocon agenda of the reasonableness of going to war with Iran. Stop me if any of this sounds familiar: >
AMANPOUR: A deadly morning in Baghdad today, as three bombs exploded in a sprawling market. The attack came as shoppers were preparing for the Muslim festival of Eid. And it comes just hours after Prime Minister Nouri al-Maliki told his security forces to prepare for stepped-up violence. The backdrop, of course, is the U.S. decision to pull out of Iraq by the end of the year. It's a decision that now has some concerned that Al Qaida will re-establish a foothold in the country, all questions for former Secretary of State Condoleezza Rice. She has a new memoir, "No Higher Honor." And I spoke with her earlier.
(BEGIN VIDEOTAPE)
AMANPOUR: Madam Secretary, thank you for joining us.
RICE: It's a pleasure to be with you, Christiane.
AMANPOUR: So you write in your book, obviously, a lot about the Bush administration, the Bush years. You also talk about when you first met the current president, Barack Obama, during a hearing, and you say his questions were sharp, not rude, he actually seemed interested in my answers. And you say you were really impressed. And lot of people questioned whether he had what it took to be commander-in-chief of the lone superpower. Did he prove them wrong?
RICE: Obviously, I think Barack Obama has done a number of things right, particularly in the war on terror. And I think that President Obama has, indeed, carried the war on terror forward in a very effective way.
AMANPOUR: So let me ask you, then, about the most controversial of events of your tenure, and that was the Iraq war. For better or for worse, the United States is in it. President Obama has now decided to call an end and to bring all the troops out, portraying it actually as a triumph. Others are saying it was a defeat. Do you think it was right not to push and keep for -- I mean, at the very least, 10,000 U.S. troops to guarantee some kind of security, to train, and to be there for counterterrorism?
RICE: Frankly, I think it would help the regional balance to have a residual American presence there. We need to find a way to help the Iraqis sustain themselves through this period and to -- to deal with their somewhat meddlesome neighbor in Iran.
AMANPOUR: Of course, the administration says it's because the Iraqis wouldn't agree to immunity. But the real issue is that this administration insisted on it ceding to State Department and Pentagon lawyers' demand that they get this immunity ratified by the Iraqi parliament. You did not do that. You got the agreement without forcing it through the parliament. Why did they have to do that? Was it a mistake for President Obama to do that?
RICE: Well, Christiane, I'm really rather reluctant to criticize negotiations that I didn't participate in. But it would have clearly been better to have a residual force, from my point of view, and perhaps there was a way out of the immunity clause that wasn't taken.
AMANPOUR: So is there a risk now of everything that America paid unraveling?
RICE: Yes. What is at risk here is not just the sacrifice of the United States, which is considerable, but also a pillar of a new kind of democratic stability in the Middle East.
AMANPOUR: And perhaps equally important, if not more, is Afghanistan. The Obama administration sources are telling me are likely to change their role, even before 2014, from a combat to a much lesser role, maybe advisory. Is that safe at this time? Is the Taliban anywhere near being defeated?
RICE: Well, I'm not inside, but I don't see that the Taliban is anywhere near being defeated. And, in fact, if you're looking for some kind of political arrangement, then ultimately there will have to be a political arrangement in Afghanistan, that brings former warring elements in. But if you're looking for that arrangement, you should be in the strongest position, not the weakest. And I don't think that right now the Afghan government and the NATO mission is in a position to make that kind of political deal. So, yes, I think there's a considerable risk in speeding up a timetable for Afghanistan.
AMANPOUR: In your book, you also write about Iran. The IAEA, the nuclear agency of the U.N., this week is about to reveal, apparently, more details showing, apparently, that Iran is trying to weaponize. Do you think the United States, the Obama administration, has to ratchet up the confrontation? You talked this week about confronting Iran. Does that involve military confrontation by the U.S.?
RICE: Well, the United States should certainly make clear that the president of the United States will consider military action, if necessary, because you never want to take that card off the table. I think there are other ways to confront Iran. You can confront Iran through even tougher sanctions. And I also think, Christiane, this is one of the downsides of having our forces out of -- out of Iraq, because we can confront the Iranians in Iraq.
So, yes, I think it's time to confront the Iranian regime, because it's the poster child for state sponsorship of terrorism. It's trying to get a nuclear weapon. It's repressed its own people. The regime has absolutely no legitimacy left. We should be doing everything we can to bring it down and never take military force off the table.
John Amato: >
I had to weigh in here quickly because Condi was so incompetent as President Bush's National Security Advisor during his first term. Condi Rice is famous for saying this about the bogus claims the Bush administration made about those aluminum tubes that Saddam was supposedly trying to acquire so he could nuke the heck out of Cleveland. > > In 2002, Rice had said that the tubes were "only really suited for nuclear weapons programs," adding that "we don't want the smoking gun to be a mushroom cloud."
She absurdly had this to say also to the WaPo: >
But, as reported by The Washington Post more than a year ago, the internal debate among intelligence analysts was intense, with the experts at the Department of Energy who specialize in uranium enrichment adamant that the tubes were not suitable for a nuclear program. They argued that the tubes were intended for Iraqi rockets.
Administration officials at the time did not acknowledge that debate, though Rice acknowledged yesterday she was aware of it. "I knew that there was a dispute," she said. "I actually didn't really know the nature of the dispute."
Here's Condi on Meet The Press (05/20/06) changing the story that was originally given to America for attacking Iraq in the first place since the truth didn't work out too well: >
RICE: I understand that Americans see on their screens violence. They continue to see Americans killed, and we mourn every death. These are very hard things to do. But I would ask that people remember why we are there. We are there because we are trying to--having overthrown a brutal dictator who was a destabilizing force in the Middle East, we're trying to help the Iraqis create a stable foundation for democracy and a stable foundation for peace."
I seem to recall a different rationale for why we're there: >
"Citing Bush administration officials, The New York Times reported Sunday that Iraq tried to buy thousands of high-strength aluminum tubes. The tubes, Rice said, "are only really suited for nuclear weapons programs, centrifuge programs." [CNN, 9/8/2002]
Bob Somerby aptly asked if Condi ever knew anything, anything at all : >
"Does Condi Rice ever know anything back in 2004?
According to the White House, she didn't know about objections to the uranium-from-Africa story because she hadn't read the whole National Intelligence Estimate! And in May 2002, she said she hadn't known that terrorists might use airplanes as missiles—even though intelligence agencies has issued such warnings for years. Now, she says she didn't know something else—she didn't know the state of aa critical, year-long discussion about those aluminum tubes. I didn't know, Rice told [Wolf] Blitzer. And she was singing a sweet old refrain.
3 Views
13:37:56 11/01/11
HOW TO GET A PHD IN GOD’S WILL with GEORGE LEWIS
[LESS INFO] 3 VIEWS | ADDED 13:37:56 11/01/11
HOW TO GET A PHD IN GOD’S WILL (YOU CAN READ THIS OR, WATCH THE VIDEO) http://georgeflewis.com I was recently asked the question: "How did you get to where you are today after living in your car for several months." The simple answer is by following God's will. (Higher Power's will, Sources' will, Universe's will, the Force's will. Call this Higher Power what you will. I use the word God because the term feels right to me. However, my definition of that word may be vastly different from yours. I guess that I failed to tell you that in the years prior to living in my car that I had come from owning nothing to owning the largest residential real estate firm in my County. What I was worth then would equal hundreds of millions of dollars today. I had learned how to get material things. I owned many cars, homes, airplanes, motor homes, motorcycles, boats, and much real estate. An economy much like todays and some poor decision making took it all in an instant. My name was on my real estate corporation. It was in this, and in all the stuff I owned, that I found my identity. When my little empire crashed, I crashed. I believed this to be the worst thing that could possibly happen to me. I had to rebuild myself from the ground up. The months in my car started me on my way to a PHD in God’s will. First, many of the things that have happened to me that seemed terrible at the time, turned out to be the best things. From that, I deduce that on some level I really don’t know what is good for my spirit. On a subconscious level, I now know that I did not want God’s will because I thought that it might not line up with my desire for all the things I wanted. Consequently, my visualizations limited me, as they weren’t necessarily what were best for me. Now, when I see in retrospect, those things, and situations that I believe to be God’s will for me, I see that they are best for me. Additionally, my will has provided me with many ‘bloody noses.’ I don’t want any more. When I ask myself, which would I rather follow, my spirit or, my ego, the choice is very clear. I choose to follow my spirit. It is in this that I find peace of mind. I never found peace of mind in any new car, boat, airplane, or material item. What I did find was that the smell of new leather was gone within a couple of months. I did not know that peace of mind was the true prize. Without knowing it peace of mind is what I thought all of the stuff I was striving to get would bring me. With this in mind, I needed to develop a new viewpoint and a new way of conducting my life. Getting things and all that falls within that category doesn’t mean much so, learning how to get them doesn’t mean much either. What I needed to learn was how to recognize and follow God’s will. That poses a much larger difficulty than figuring out how to get ‘stuff.’ I spent quite a while thinking that God’s will would come to me looking much like a completed vision board. That has never happened. What I find is that God’s will is always right in front of my nose. It presents itself as the next best thing for me to do. My ego sees this as far too simple and wants the complete treasure map. However, what I have to do is surrender and be willing to be totally led by the next good thing that presents its self. I must be willing to see it, and to do it to the best of my ability. I now understand that God is not the ecclesiastic bellhop that my prayer for stuff was inadvertently trying to make God out to be. If you have ever completed a draw by the numbers picture, you will understand this. At first, all I see is a bunch of unconnected numbers that don’t really make sense. Then, as I draw the connecting lines from one to two and to three etc., I soon see the picture that is emerging and I have that ‘aha’ moment. Seeing God’s will requires that I listen carefully to what I hear, pay close attention to what I see, and most importantly, to what I feel and to what I intuit. I can do none of these well when I am in fear or its nasty little offspring anger, when my thinking takes me into the future or the past. I must work at being fully present to every moment. I must be internally quiet. To exercise the fullness of what my intuition has for me, I must put what my head and my heart tells me in second and third place to what my ‘gut’ tells me. When I use the term ‘gut,’ I’m speaking of that small area in my solar plexus that informs me of what is right and what is wrong through feelings rather than with words or thoughts. I have to pass thinking and my actions through this guidance test. It is my primary spiritual compass. In addition, my intuition will speak to me as an afterthought. Here is an example of what I mean by afterthought. It is a sunny day and there is absolutely no rain in sight. From somewhere comes the idea that I should take my umbrella. I opt to believe my logical brain and leave without my umbrella. When I return home, I have been soaked by a rain that didn’t seem possible. When I pray for what I think I want and need, I tag the prayer with these words; “if it is your will, and that I might better serve others”. Even with this, I have to be aware of my motives. I always have at least two motives for everything I do. One is my altruistic motive. It is the motive I want to believe about me and, more importantly, I want you to believe about me. The second is my self-centered self-serving motive. I must know which of these I want to be the deciding factor. I must also know that what I need to pray more for power than for specifics. Let me explain. If I am sitting in my closet and I am starving, praying for God to feed me probably won’t work. It is doubtful that a hot dog or a steak dinner is going to suddenly pop through the keyhole. What I must pray for is the power to feed myself. Following these ideas is exactly how I got from my car to where I am today, the details of which could easily fill a book. Thanks for taking the time to watch this short video. I hope you find my experience helpful. Do come back and in the meantime, don't forget to accentuate the positive and have a fantastic day.
8 Views
13:04:16 10/19/11
Driving Lesson Stalling on the Test
[LESS INFO] 8 VIEWS | ADDED 13:04:16 10/19/11
If you are taking driving lessons in a manual car , then sooner than later you will stall the car at one point or the other, and usually there will be a vehicle behind you which causes a lot of learner drivers to panic and further stall on their next attempt to move off .
Before I talk about what to do when you stall a car, especially on the driving test , lets have a look at why a manual transmission vehicle stalls when you attempt to drive off.
When a manual car stalls, it is a way of the engine telling you that you have placed too much load on it, and as a safety measure to avoid any damage, it switches off.
The 3 main ways to stall a car are:
1. Improper coordination of the clutch and accelerator. If you lift the clutch pedal up too quickly, then the car stalls. Many learners when under a little pressure (at traffic lights or performing a hill start on a junction for example), will start bringing up the clutch slowly, but immedately the vehicle shows signs of moving, lift the left foot up as if they stepped on a hot potato barefooted and stall. The correct thing to do is continue the slow but definite lifting of the left foot as the right foot depresses the gas pedal gradually.
2. Moving off in the wrong gear. Many provisional licence holders will stall the vehicle because they attempt to move off in 2nd or 3rd gear usually at a junction. While it is possible to do so under some circumstances (downhill, using a lot of gas), most of the time it will result in a stall.
Stalling on the driving test
3. You can also stall the car when stopping if you fail to depress the clutch quickly enough.
If you stall while on your practical car assessment with the driving examiner next to you, the first thing to know is that you have committed a driver error , it will be marked (not always immediately) as a fault under 'moving off under control', so don't make things worse by not following the correct procedure to recover.
The most important thing is not getting the car moving ASAP, but keeping the car safe and under control, so you need to stop the vehicle with the footbrake, apply the handbrake, put the car in neutral (you don't always have to do this, but if you stalled because you were in the wrong gear, then this automatically stops you from doing it again, something I've seen nervous candidates repeat). Re-start the engine, put in first gear, check mirrrors and move off swiftly but properly coordinating clutch and gas pedal.
The worst thing you can do is panic, depress the clutch, trying to re-start asap, with the car rolling either forward or backwards out of control!
If you are having problems stalling a car, then you need to ask your driving instructor to take you to a quiet road and practise moving off swiftly in various conditions (uphill, down hill, flat, at an angle) till you are confident, but remember even experienced drivers stall so you will not be perfect, but everytime you do stall follow the procedure above to get yourself back moving.
If you require high quality affordable driving lessons from a very helpful, patient and fully qualified instructor, then why not call or send me a text message on 07956233032
Thinking about becoming an instructor? Don't just make a decision based on the red driving school TV advertisement, do the proper research and know all the ADI training options available to you.
Subscribe to my Driving Test Tips so you don't miss any future articles and get DSA updates direct to your inbox by Email . The service is provided and powered by Google Feedburner, so I don't personally keep your email addresses, and you can remove yourself anytime after passing the driving test with just one mouse click, you can also follow UKADI on twitter or join my UKADI Facebook page.
More reading
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Instructor guarantee driving test pass .
Provisional driving licence rules and law
Check Test for Instructors . Please let me know your views by posting a comment on the blog at http://www.ukadi.co.uk
66 Views
04:46:23 08/30/11
Lowkey Ft Immortal Technique Voices Of The Voiceless
[LESS INFO] 66 VIEWS | ADDED 04:46:23 08/30/11
Verse 1: (Lowkey) "From West 10 to the West Bank, I write righteous rhymes with my right and wrestle the devil with my left hand, Never work for a Zionist, never been a yes man, My art is like Rembrandt painting pictures of death camps, The average person is allergic to the words of wisdom, This is for everyone of Saddam's Kurdish murder victims, And all the pure souls that never had the chance to speak, Truth pumps in my arteries and causes my heart to beat, For soldiers haunted and tortured by guilty memories, Who realised too late to reveal their real enemy, It's all dead wrong For every victim of racist persecution from Auschwitz to Hebron, My words may sting cowards, For people that were atomised by the Thermate in the Twin Towers Those living through the wars, Ask me what I do this for, Put the world in its place before it put you in yours, Chorus: (Singer) What happens under darkness shall come to light, Can't silence us even though you try, (Lowkey) You can try to avoid us but it's pointless You can never avoid the voices of the voiceless (Singer) Take our freedom, Can't take our pride, Come what may we will survive, (Lowkey) You can try to avoid us but it's pointless, You can never avoid the voices of the voiceless Verse 2: (Immortal Technique) Keep my third eye hidden under my New York fitted, A crazy unmarried man that deserves to be committed, The future is encrypted in my troubled lyrics, Dream that I've been somewhere for weeks, then wake up in a couple minutes, Sweat dripping with visions of population control, Thoughts overflowing my world like the melting of the North Pole, My people are targeted by military crack committees, So I'm bucking at the feds like natives in Rapid City, Reality savage, my words are like a riot in Paris, The voice of the voiceless, that voice is social imbalance, So stand strong or sit harder in your mental palace, Blinded inside a Kingdom united to its old habits, But now, Middle Passage coming, War Chant, African drumming, Gatling gun humming, Rapid fire mechanism, reckless living, That checks the rhythm of perfectionism, Slave condition, While you're singing God save the system, (Chorus) Verse 3: (Lowkey) Detain my body, but you can't imprison my mind, If it's my time I'll probably die with my fist in the sky, These are the thoughts of a man who can't escape from his coma, Cries of a young virgin girl who got raped by them soldiers, (Immortal Technique) Birthing a screaming bastard, post colonial nation, Subject to childhood diseases, famine, war and inflation, Education moulded you into your masters image, And you forgot who the fuck you were before the war was finished (Lowkey) You're hearing the ghosts of Nagasaki, You're hearing Hiroshima, Beautiful babies being born with the weirdest features, You might never see me in the charts, But Inshallah my seed can see peace in Iraq, (Immortal Technique) But peace and freedom can never be given, That's historically forbidden, Cos only collision is the recipe, Changing the course of destiny, So I'm strapped with weaponry, (Lowkey & Immortal Technique) Cos the government don't give a fuck about protecting me. (Chorus) My TIP JAR
7 Views
04:46:23 08/30/11
Lowkey Ft Immortal Technique Voices Of The Voiceless
[LESS INFO] 7 VIEWS | ADDED 04:46:23 08/30/11
Verse 1: (Lowkey) "From West 10 to the West Bank, I write righteous rhymes with my right and wrestle the devil with my left hand, Never work for a Zionist, never been a yes man, My art is like Rembrandt painting pictures of death camps, The average person is allergic to the words of wisdom, This is for everyone of Saddam's Kurdish murder victims, And all the pure souls that never had the chance to speak, Truth pumps in my arteries and causes my heart to beat, For soldiers haunted and tortured by guilty memories, Who realised too late to reveal their real enemy, It's all dead wrong For every victim of racist persecution from Auschwitz to Hebron, My words may sting cowards, For people that were atomised by the Thermate in the Twin Towers Those living through the wars, Ask me what I do this for, Put the world in its place before it put you in yours, Chorus: (Singer) What happens under darkness shall come to light, Can't silence us even though you try, (Lowkey) You can try to avoid us but it's pointless You can never avoid the voices of the voiceless (Singer) Take our freedom, Can't take our pride, Come what may we will survive, (Lowkey) You can try to avoid us but it's pointless, You can never avoid the voices of the voiceless Verse 2: (Immortal Technique) Keep my third eye hidden under my New York fitted, A crazy unmarried man that deserves to be committed, The future is encrypted in my troubled lyrics, Dream that I've been somewhere for weeks, then wake up in a couple minutes, Sweat dripping with visions of population control, Thoughts overflowing my world like the melting of the North Pole, My people are targeted by military crack committees, So I'm bucking at the feds like natives in Rapid City, Reality savage, my words are like a riot in Paris, The voice of the voiceless, that voice is social imbalance, So stand strong or sit harder in your mental palace, Blinded inside a Kingdom united to its old habits, But now, Middle Passage coming, War Chant, African drumming, Gatling gun humming, Rapid fire mechanism, reckless living, That checks the rhythm of perfectionism, Slave condition, While you're singing God save the system, (Chorus) Verse 3: (Lowkey) Detain my body, but you can't imprison my mind, If it's my time I'll probably die with my fist in the sky, These are the thoughts of a man who can't escape from his coma, Cries of a young virgin girl who got raped by them soldiers, (Immortal Technique) Birthing a screaming bastard, post colonial nation, Subject to childhood diseases, famine, war and inflation, Education moulded you into your masters image, And you forgot who the fuck you were before the war was finished (Lowkey) You're hearing the ghosts of Nagasaki, You're hearing Hiroshima, Beautiful babies being born with the weirdest features, You might never see me in the charts, But Inshallah my seed can see peace in Iraq, (Immortal Technique) But peace and freedom can never be given, That's historically forbidden, Cos only collision is the recipe, Changing the course of destiny, So I'm strapped with weaponry, (Lowkey & Immortal Technique) Cos the government don't give a fuck about protecting me. (Chorus)
0 Views
00:17:40 06/02/11
Evolutionary Ethics: Reconciling Reason and Intuition
[LESS INFO] 0 VIEWS | ADDED 00:17:40 06/02/11
Evolutionary Ethics: Reconciling Reason and Intuition Australian Broadcasting Corporation - The University of Sydney The world-renowned Australian philosopher Peter Singer asks: does knowledge of evolution help us to understand ethics? Our moral compass may have evolved over time, but how does enhancing our reproductive fitness help us work out what is really right or wrong? While evolution is neutral with regard to values, Peter Singer tackles the question of altruism's place in evolution's "survival of the fittest" campaign, explaining how reciprocal and trusting relationships generally make for success. Then Singer humbles us with the reminder that innate judgments are neither necessarily correct, nor better than other judgments. He proposes that human kind has evolved to prefer those who are like us, and suggests humanity is at its best when showing it can move beyond this paradigm. This event is co-presented with Sydney Ideas and the Think Global School.
3 Views
08:17:59 12/21/10
Christmas Travel: Stuck At O'Hare At A Crowne Plaza Where The Phone Failed
[LESS INFO] 3 VIEWS | ADDED 08:17:59 12/21/10
Well, here's another blog post in the annals of Zennie's air travels: stuck at O'Hare Airport (again), but this time in a Crowne Plaza where the room phone doesn't work. That's right: this blogger can't call out or in. Thankfully cell phone and Twitter make up for the phone fail.
What happened was United Airlines flight UA 102 made it to Chicago from San Francisco and landed in what at first was a relatively typical snow for Chicagoland. That was 6:12 PM CST; as the night got older the snow got worse, and eventually O'Hare took on the look of The North Pole, complete with sightings of Santa Claus outside.
And, yes, the weather outside was somewhat frightful. A good 24 degrees. Yes, it's been colder than that with the wind-chill, but the snow's snarling travel. And as is my generally bad luck, the connecting flight I was to get on to Atlanta was delayed.
And then delayed.
And then the United gate reps explained the airplane we were to board had landed. To that end, this standby passenger got seat 12 F and waited.
And waited.
And waited and talked with a woman from Vancover BC and a brother from LA.
And then had a hunch that something was wrong with the flight, so went online to check its status. Sure enough, just seconds before United told the passengers at the gate, the flight was cancelled.
Well, I'm used to that, and I know the drill. Hey, it happened to me after this 767 flight a few weeks ago for Thanksgiving:
But I digress...
There's a service you can use at United's Customer Service Desk that provides pink vouchers where you can get deep hotel discounts if you're stuck at O'Hare and don't want to sleep there overnight. The place I stay at is the Hilton at O'Hare Aiport, only this time, the freaking hotel was booked two hours before my flight was cancelled.
So, the service person gave me the next choice: the Crowne Plaza Hotel at O'Hare. The room rate was just $69. That's it.
But, man you should see the long line for United's Customer Service Desk; it must be a good quarter-mile long. My friend from Canada was told to stand in the line to get a boarding pass for another flight. Frankly, I'm surprised they could not have had her self-print a pass, rather than stand with the huddled masses yearning to get a boarding pass from the humans manning the desk. But that's what happened.
Lots of people. Lots of kids. It's Christmas week, and they're all sleeping at O'Hare.
Except me and a few others.
So, as this blog post is being written, I'm impatiently waiting for a deep-dish pizza from a place called Rozatti's. They're going to deliver it in the snow. I planned to take the 6 AM flight to Atlanta, but there's are going to be so many standbys my Mom think's it's nuts to try it.
You know. I'm gonna listen to her.
20 Views
01:33:49 11/03/10
Due Date Starring Robert Downey Jr. and Zach Galifian
[LESS INFO] 20 VIEWS | ADDED 01:33:49 11/03/10
Due Date Starring Robert Downey Jr. and Zach Galifianakis This 1sr Look brought to you by Stevn Samblis www.icPlaces.com
THE IDEA
From director Todd Phillips, “Due Date” stars Robert Downey Jr. and Zach Galifianakis as two unlikely companions thrown together on a road trip that turns out to be as life-changing as it is outrageous.
Downey plays Peter Highman, an expectant first-time father whose wife's due date is only days away. As he hurries to catch a flight home to Los Angeles from Atlanta to be at her side for the birth, his best intentions go completely awry when a chance encounter with aspiring actor and disaster-magnet Ethan Tremblay (Galifianakis) leads to the two of them being tossed off the plane and placed on a no-fly list...while Peter's luggage, wallet and ID take off without him.
With no alternatives in sight, Peter is forced to hitch a ride with Ethan and his canine traveling companion on what turns out to be a cross-country road trip that will destroy several cars, numerous friendships and Peter's last nerve.
The comedy “Due Date” also stars Michelle Monaghan (“Made of Honor”), Juliette Lewis (“The Switch”) and Academy Award® winner Jamie Foxx (“Ray”).
Directed by Todd Phillips (“The Hangover”), the film is produced by Phillips and Dan Goldberg (“The Hangover,” “Old School”), from a screenplay by Alan R. Cohen & Alan Freedland and Adam Sztykiel & Todd Phillips, story by Alan R. Cohen & Alan Freedland. Thomas Tull, Susan Downey and Scott Budnick serve as executive producers.
“Due Date” reunites Phillips with key members of his filmmaking team from “The Hangover,” including director of photography Lawrence Sher, production designer Bill Brzeski, editor Debra Neil-Fisher, composer Christophe Beck and costume designer Louise Mingenbach.
ABOUT THE PRODUCTION
“If you're going to travel with me to Los Angeles I have to give you a couple of guidelines. Number one: don't ask me a single question.” - Peter Highman
“It's a simple idea—two mismatched guys forced to go on a road trip together,” declares “Due Date” director and co-writer Todd Phillips. “Robert Downey Jr. is Peter Highman, an architect on his way back to L.A. from a business trip in Atlanta. He's on a tight schedule because his wife is expecting their first child and the date is all set. Everything is fine until he gets tangled up at the airport with a wannabe actor named Ethan Tremblay, who somehow gets the both of them booted off the plane and grounded for the foreseeable future.”
At that point, “simple” flies right out the window.
Stranded without cash, credit, ID or time, Peter finds himself in the galling position of having to hitch a ride home with a guy he'd rather take a swing at—Ethan. The person he holds responsible for his predicament in the first place is now behind the wheel of a rental car and offering him the passenger seat.
Though clearly not his best option, it's Peter's only option.
At first grateful for the company, Ethan soon learns that his tightly wound traveling companion is not going to be any fun at 20 Questions, nor generally receptive to the concept of going with the flow. Meanwhile, Peter realizes he's just joined forces with a guy who can casually ruin his life in more ways than he could ever imagine.
“If there really was somebody like Ethan around, he'd have been strangled in his sleep long ago,” Downey attests. “He's like a laser beam that focuses on the one thing that will drive you crazy the most, the kind of guy who will eat a whole plate of waffles before mentioning he's allergic to waffles. I'm sure a lot of people know someone like this, someone who is perfectly wired to activate all of their irritation buttons.”
Granted, Peter has a short fuse to begin with. “He's kind of an edgy, controlling, judgmental guy with some anger-management issues. And who better to help him explore those issues than Ethan Tremblay? High-strung as he is normally, Peter is now facing the birth of his first child and is thrown into this nightmare, so it's all amped up,” Downey adds.
Ethan, by comparison, gives new meaning to the term laid-back. Zach Galifianakis, who stars as the human lightning rod for trouble, observes, “Nothing affects him, no insult seems to penetrate. Ethan lives in his own head. He has no talent, and he's on his way to Hollywood to capitalize on that. These two guys meet through a series of unfortunate circumstances that are entirely Ethan's fault, to which he is completely oblivious. And every bad thing that happens from that point on is Ethan's fault. Everything.”
Says Phillips, “People always cite chemistry in these kinds of movies. They say it's the chemistry between the two lead actors that make it work. I believe what makes ‘Due Date' work is anti-chemistry; it's two guys with zero connection and zero rapport, constantly butting heads, that generates both the tension and the comedy.”
Dan Goldberg, who has produced all of Phillips' feature films since their 2000 collaboration on the hit comedy “Road Trip,” says, “The ride develops its own momentum as one thing after another happens to impede their progress.”
At the same time, their cross-country trek takes Peter and Ethan on another, more unpredictable journey than what they face geographically—one that leads them to discover as much about themselves as each other.
Provided that they survive it.
Scott Budnick, an executive producer on the film, says, “There's real emotional substance to the story and real issues, and Robert and Zach do a phenomenal job in delivering both the humor and the emotional stakes. My favorite comedies are always the ones that have heart.”
As infuriating as Ethan can be, whether mismanaging his funds, missing potty breaks or launching their car off an overpass, Phillips concedes he has his good points, citing “honesty, innocence and a humanity that makes you connect with him and root for him despite it all. Ethan is a complex character. He has just lost his father, who was his best friend, and is having a tough time dealing with that. There's an underlying desperation in everything he does and an eagerness to please to the point where just making friends means trying too hard.”
“A lot of what he does is to avoid being lonely,” says Galifianakis.
Peter, on the other hand, may come across like a self-assured, aggressive control freak but, says Phillips' “Due Date” screenwriting partner Adam Sztykiel, “You sense that his behavior comes from an emotional place and from issues he has yet to work out, that are revealed in the story. Not far beneath the alpha male posture is his own vulnerability and how terrified he is to be responsible for a child.”
“As a parent,” Downey offers, “I know the big question is how are you going to manage and protect something that you have no experience with?”
Playing on that theme were screenwriters Alan R. Cohen and Alan Freedland, who also have story credit on “Due Date.” “Peter's comfort zone is when he's in control. And everything that happens in this movie is about losing control; from his inability to get back home to the larger issue of his impending fatherhood—and whether or not he's ready for it,” Cohen says.
“We wanted to put him into a situation where he had to travel across the country with someone who was effectively a child,” adds Freedland.
Not that it would lessen Peter's pain, stress and frustration if he knew it might be pain, stress and frustration with a purpose. Still...
“When I read the script, I was moved,” recalls executive producer Susan Downey. “It's so funny and yet so human. You want a comedy to have that grounding, in the way that you want a drama to have some humor. In ‘Due Date,' though his experience with Ethan, Peter finds his human side and gets ready for the birth of his own child. It's about him becoming a man before becoming a father.”
“Guess who's got the Subaru Impreza? Me! Guess who's got the winning personality? Me! What do you have? You have a nice hairline. Fine. You have a strong jaw. But I gotta tell you, mister, your personality needs some work.” - Ethan Tremblay
Despite the “anti-chemistry” Phillips had in mind for their characters, Galifianakis and Downey generated some genuine positive chemistry from the start.
Downey vividly recalls their first meeting. “I was in Venice, California, and some weird guy walks by and says, ‘Hi, I think I'm doing a movie with you.' And I was thinking, ‘I might have to punch this guy.' Then I realized, ‘Oh my God...that's Zach.'
“Later, he came over for dinner so we could talk about the script,” Downey continues. “I asked if he had any dietary restrictions and he sent me a note detailing everything he'd need, like bottled water flown in from Barstow. It's one of my favorite things. I read it to people at parties.”
“We kind of took care of each other on the set—very different from what was going on in the movie. We'd talk every morning about how to make a scene work. It was great. Funny how hanging out with a legitimate actor raises your game,” Galifianakis returns.
“I always respond to projects based on the casting potential,” says Phillips. “I immediately start seeing a movie from the standpoint of casting it. For ‘Due Date,' I knew that if I could get Robert and Zach we could go full out.”
Phillips marks his second collaboration with Galifianakis on “Due Date,” following the comedian's breakout starring role in last year's international blockbuster hit “The Hangover,” that became the highest-grossing R-rated comedy of all time. He says, “Zach and I click because he knows I really get his humor, which can be pretty outrageous.”
In “Due Date,” however, Galifianakis creates a character that calls for a great deal of subtlety. Notes Budnick, “Every little nuance of personality and each detail—the way he walks, the way he talks, the way he thinks—Zach has figured out how Ethan Tremblay would do these things and it's reflected in every single moment he's on screen.”
At the same time, there is a core of unpredictability to the performance. “Zach brings a sense of spontaneity and danger and I think comedy is best with an undercurrent of danger so that you never know exactly what's going to happen or what someone will say or do. In that sense, he's the perfect comedic actor,” says Phillips.
And “Due Date” gives him a worthy antagonist in Downey.
“Not only is Robert a world-class actor but he's naturally funny. I wouldn't think of casting Robert Downey Jr. as anyone's straight-man,” says Phillips. “In ‘Due Date' there is no straight-man because they're both screwed up in their own ways. And the beauty of Zach and Robert playing off each other is that they're both funny but their humor comes from such different places and their styles are so different that you're not mining the same vein.”
Downey, Galifianakis, Phillips and Sztykiel “took the script apart and put it back together,” says Goldberg. “Every day there were new things that touched me and made me laugh. I believe ‘Due Date' audiences will see aspects of Robert and Zach that they haven't seen before and things that will surprise them. As a filmmaker, I'm always looking for that.”
It's a philosophy and a process that Phillips respects. “So much of comedy happens on the day you shoot,” he says, and offers the example of the airplane luggage bin scene. “It just happened as we were looking at the seating and the overhead bin and realized how that could bring them really close in a small space. Zach said, ‘What if I rub up against him while I'm reaching into the bin?' And I said, ‘What if you pull your shirt up first to wipe your glasses so it's just your bare stomach?' Comedy isn't math; it's jazz.”
Says Robert Downey Jr., “I start every day thinking here's what will happen if you do it by the book and here's what can happen if you bend yourself over backwards and forwards again and try to invite the unimagined into the situation. The set had energy like a living being; it was evolving all the time. And what's great and so funny about Todd is that sometimes, with him, it's so wrong, it's right.”
That point of view resonates with Galifianakis, who admits to being right alongside the director in appreciating “the inappropriate,” adding, “Todd and I have the same sense of humor. We like stuff that has a bit of a taboo element—things that are funny specifically because you're not supposed to laugh at them. As a stand-up comic, I love it when audiences laugh before they realize maybe they shouldn't have, and then start to question themselves.
“That's not to say that you can't be offended by something Todd or I do in a film,” he continues with mock concern. “I'm often offended by the things I do in movies.”
“You'd better check yourself before you wreck yourself.” - Ethan
“What I like about road trip movies is that essentially your characters are working without a net. You just throw them out into the elements and say, ‘Deal with it,'” says Phillips. “You don't have the support system of friends and family. People come in and out of your life for intense but fleeting moments.”
To help facilitate that, ‘Due Date' features a stellar supporting cast of characters who offer Peter and Ethan a range of memorable and often thought-provoking encounters along the way.
The first of these is Heidi, a freelance medical supplier with questionable parenting skills, tracked down by Ethan at her Birmingham home to restock his supply of “glaucoma medication.” It's one of many detours that takes them miles out of their way.
Heidi is played by Juliette Lewis, in her third screen role for Phillips. Lewis was touring in London with her band when the director called. “We worked it out so that between London and Helsinki I made a pit stop in a place I didn't even know existed—Las Vegas, New Mexico—for a couple of days, to play a pot dealer,” she recounts. “When Todd calls it's a game of trust. I don't know the role, I don't know what he wants me to do, but I know it's going to be good and it's going to be funny.”
Oscar® winner Jamie Foxx, who recently starred with Downey in “The Soloist,” comes aboard in the role of Peter's old college buddy, Darryl, now living in Dallas.
“It was a real coup to get Jamie to come in as Peter's friend—and, according to Ethan, possibly the real father of his soon-to-be-born child,” says Robert Downey Jr., alluding to yet another way in which Ethan manages to get under Peter's skin.
Within minutes of entering Darryl's home, Ethan spots a few photos, asks a few questions, adds two and two, and comes up with five. “He learns that Darryl is very close with Peter's wife and jumps to all kinds of conclusions. Then, he plants the seed of doubt in Peter's mind,” says Phillips.
“Darryl comes into the picture to do these guys a favor and it's all great...until it's not. Then things get very weird, very fast,” Foxx says of the ensuing scene that lands Peter and Ethan back on the pavement. “Working with Robert, Zach and Todd, you'd never know what to expect, but you could always count on it being a crazy, creative, collaborative experience.”
The travelers also run afoul of an ill-tempered Western Union clerk, played by Danny McBride; a paragon of Airport Security, played by Grammy Award-winning hip hop producer/musician and actor Rza; and an exceptionally indifferent TSA agent, played by Matt Walsh, the ER doc from “The Hangover.”
Meanwhile, back home anxiously awaiting Peter's return is his wife, Sarah, played by Michele Monaghan, reuniting with Downey for the first time since they teamed in the 2005 comedy thriller “Kiss Kiss Bang Bang.”
“Sarah is just about 8 months and 29 days pregnant with her first baby and obviously very anxious,” Monaghan offers. “Her husband is not only m.i.a but is also traveling cross- country with a wild man whose only concern is if she has any ‘recommendations for someone who could give him a perm'?!? Clearly, the baby's arrival looks more promising than daddy's.”
“Sonny, stop. Sonny...No. Stop. Good boy.” - Ethan
Before circumstances force these two to share a rental car, Ethan already has a traveling companion: a French Bulldog named Sonny, who becomes the pair's third wheel and a point of calm amidst the escalating mayhem.
The role of Sonny, though indisputably male, was played almost entirely by a young female Frenchie trained by Mark Harden, of Boone's Animals for Hollywood.
The introduction of a dog into the script came about as Phillips sought to further ratchet up the tension between his two leads and decided that one of them should be a dog person and the other...not so much. After perusing renowned animal trainer Boone Narr's company website, he spotted what he was looking for in Bodie, an adult male French Bulldog with the big ears and wide-eyed comical expression typical of the breed.
Unfortunately, at 26 pounds, Bodie was too heavy to be constantly toted around on one arm, so, with only weeks before filming started, Harden launched a full-scale and very specific search for a six-to-10-month-old, cream-colored, slightly undersized French Bulldog. He first tried the rescue agencies, then tapped into a nationwide network of breeders before finding someone who had a full-grown female weighing in at 15 pounds.
Though Galifianakis jokes that Sonny was trained to fall asleep at the word ‘action,' Harden takes no credit for the animal's relaxed demeanor, conceding, “She's just a very settled and well-adjusted dog. She doesn't get worked up. I think she just learned early on that most of her scenes were going to take awhile and she might as well catch a nap.”
Galifianakis, who bonded with his canine co-star despite an allergy to dogs, says, “I was kind of envious at her ability to fall asleep at work. And she snores like me.”
But as much as the camera loved Sonny, there was one special trick she just couldn't manage, that required a one-day command performance from Bodie.
Harden carefully describes how the trick serendipitously made its way into the story. “French Bulldogs are unable to groom themselves in certain areas as other dogs do. I don't know if it's a combination of their short neck and wide shoulders, but they can't twist backwards.”
Consequently, some of them use their paws, “a natural behavior that Bodie spontaneously offered in front of Todd at that first meeting, while we were talking,” the trainer recalls. “As soon as he saw it, there was no turning back. He said, ‘Oh my God, can you train him to do that?”
“Am I okay? Do I look okay? I have a broken arm. I have three cracked ribs. I have seven stitches in my armpit. Does that answer your question? - Peter
“I love physical comedy,” says Phillips, who happily extends the parameters of physical comedy in “Due Date” to include a multi-vehicle freeway chase, an end-over-end car flip and a shoot-out with some seriously t'd-off border security agents.
“For me,” Phillips continues, “It's fun to include shocking moments that make you say, ‘Whoa, where did that come from?' We shot the car sequence in Las Cruces, New Mexico. They let us break through the overpass and land on the road below. We closed the highway for several days to prepare and execute it but, frankly, you never know how a stunt is going to land, so we set up four or five cameras and let it happen. The car flipped back up on its wheels, but we were prepared for it to do anything.” Filming “Due Date” was a road trip in itself. Location shooting began in and around Atlanta and moved generally westward with the story, touching upon Dallas and the Texas interior and various locations in New Mexico, including Las Vegas and Santa Fe, which the filmmakers covered from a base of operations in Albuquerque, before touching down in California.
“The way the script breaks down, they have to get across the country. in a couple of days so you really need to take the southern route, which is not as long as the northern, so it makes sense in terms of driving time,” says production designer Bill Brzeski.
A separate helicopter unit covered the Grand Canyon for a key scene with Peter and Ethan perched on its rim, overlooking the Colorado River snaking its way through, far below. Between takes, busloads of visitors from all over the world arrived to tour the area and there was some concern on the part of the crew that they might forget to watch where they were going once they caught sight of Downey and Galifianakis.
The film's opening airport scenes were a combination of several elements. The plane cabin mockup was constructed on Stage 11 at Warner Bros. Studios; the curb where Peter's and Ethan's cars pull up was shot at Ontario Airport in California; and the screening area and other terminal interiors were built inside the Georgia World Congress Center in Atlanta.
Other practical locations in Georgia included a construction site in Atlanta's Buckhead neighborhood; a Waffle House and portions of Highway 27 in Bremen; various locations along I-75 and I-675, GA-route 20 and the Metropolitan Parkway; the Gwinnett Medical Center in Lawrenceville; the 1010 Condos on Atlanta's historic Peachtree Street; and a recently closed rest stop along I-985.
Darryl's home in Dallas was an amalgam of exteriors captured in Buckland, Georgia, and interiors shot in Encino, California. “You're never really anywhere you're supposed to be,” Brzeski says. “Las Vegas, New Mexico was built around the turn of the century and doesn't look like what you'd expect to see in New Mexico. There's a lot of Victorian architecture that doesn't match the typical Santa Fe look so buildings can substitute for almost any American small town, be it Texas or Ohio. We used it as Alabama for Heidi's house.”
The southwestern city also provided the site for one of the film's larger set pieces; a checkpoint at the U.S./Mexico border that was constructed on a bridge spanning a portion of Route 25 in Las Vegas, under which Brzeski and his team formed an encampment of Federali trailers based on actual Mexican Customs vehicles. Interiors of the office and a trailer, as well as a gimbal rig that figures into the action, were built on stage and another rotating rig, dubbed “car-on-a-spit” by one crew member, was designed for the scene in which Peter and Alan take their rented Subaru for a real spin.
All this action takes its toll on the luggage-deprived Peter, forced to spend the entire journey in one increasingly rumpled, torn, stained and slept-in suit. For costume designer Louise Mingenbach, that meant maintaining 20 versions of the suit in five basic stages of deterioration. “Definitely, the story evolves through Peter's clothes,” she says.
With Ethan's wardrobe she was able to have more fun, brainstorming with Galifianakis, who, she says, “has no vanity. Some actors want to look beautiful all the time but that's not Zach. He will wear whatever works for his character, even if it's acid-washed jeans two sizes too small.”
“I really like to look bad in movies,” Galifianakis agrees. “Originally Ethan was dressed like a hippie but I wanted him to be more arty—or, what he would think is arty. He has a perm, he has his dance shoes and his really bad tight jeans and the scarf as an accessory; he wants to be an actor and this is how he thinks actors dress.”
“Due Date” marks Mingenbach's fifth collaboration with Phillips, who says, “I have a great team. I've worked with essentially the same people throughout my career. We write some crazy thing and then I turn to my guys and say, ‘Can we pull this off?'”
Among those previous colleagues rejoining the director on “Due Date” were cinematographer Lawrence Sher, editor Debra Neil-Fisher and composer Christophe Beck.
Scott Budnick points out, “‘Due Date' marks the 10-year anniversary of ‘Road Trip,' Todd's first movie and my first job out of college. We filmed ‘Road Trip' from September to December 1999, and ‘Due Date' from September to December of 2009.”
For Phillips, it's a genre full of possibilities.
“I've been in some strange situations on the road,” confesses screenwriter Sztykiel, a Los Angelino who identified in some ways with Peter. “Here's a guy who's a little sheltered and doesn't have exposure to the 3,000 miles that exist east of his home, and it was fun to force him out of his bubble. It's uncomfortable, but you come away with a better sense of your place in the world. My advice for travelers? Go to the bathroom. Make sure your traveling partner has gone to the bathroom. Don't spend all your money on illegal substances. Don't say ‘bomb' on an airplane. Don't open your car door in traffic. Pretty simple stuff.” Sure. In hindsight.
“There's something about a road trip that brings out the extremes of human reactions and emotions,” says Phillips. “It's a great opportunity for surprises and for people to learn things about themselves or each other that they'd never see if they weren't being pushed to their limits, or having to make the kinds of quick, instinctive decisions you have to make on the road.”
At the same time, the road itself can be almost incidental. “No matter where we are in ‘Due Date,' no matter what's kind of chaos they're going through,” he concludes, “it all comes down to these two guys working out their issues.”
ABOUT THE CAST
ROBERT DOWNEY JR. (Peter Highman), a two-time Academy Award® nominee, earned his most recent Oscar® nomination, for Best Supporting Actor, for his work in Ben Stiller's comedy hit “Tropic Thunder.” His performance as Kirk Lazarus, a white Australian actor playing a black American character, also brought him Golden Globe, BAFTA Award and Screen Actors Guild (SAG) Award® nominations. Downey was honored with his first Oscar® nomination, in the category of Best Actor, for his portrayal of Charlie Chaplin in Richard Attenborough's acclaimed 1992 biopic “Chaplin,” for which he also won BAFTA Award and London Film Critics Awards and received a Golden Globe Award nomination.
Earlier this year, Downey received another Golden Globe nomination for his performance in the title role of the 2009 hit “Sherlock Holmes,” under the direction of Guy Ritchie. Downey returns to the role of the legendary detective in a new Sherlock Holmes adventure, currently slated for release in December 2011.
In summer 2008, Downey received praise from critics and audiences for his performance in the title role of the blockbuster hit “Iron Man,” under the direction of Jon Favreau. Bringing the Marvel Comics superhero to the big screen, “Iron Man” earned more than $585 million worldwide, making it one of the year's biggest hits. Downey reprised his role in the successful sequel, which was released this past spring. He returns to the role in Josh Whedon's upcoming actioner “The Avengers,” which teams Iron Man with other Marvel Comics superheroes.
Downey's other recent films include “The Soloist,” opposite Jamie Foxx; “Charlie Bartlett”; David Fincher's “Zodiac,” alongside Jake Gyllenhaal and Mark Ruffalo; Richard Linklater's “A Scanner Darkly,” with Keanu Reeves, Winona Ryder and Woody Harrelson; “Fur,” opposite Nicole Kidman in a film inspired by the life of revered photographer Diane Arbus; and “Kiss Kiss, Bang Bang.” He also shared in a SAG Award® nomination as a member of the ensemble cast of George Clooney's true-life drama “Good Night, and Good Luck,” and in a Special Jury Prize won by the ensemble cast of “A Guide to Recognizing Your Saints,” presented at the 2006 Sundance Film Festival.
Downey's long list of film credits also includes “Gothika”; “The Singing Detective”; Curtis Hanson's “Wonder Boys”; “U.S. Marshals”; Mike Figgis' “One Night Stand”; Jodie Foster's “Home for the Holidays”; “Richard III”; Oliver Stone's “Natural Born Killers”; Robert Altman's “The Gingerbread Man” and “Short Cuts,” sharing in a Golden Globe Award for Best Ensemble for the latter; “Heart and Souls,” “Soapdish,” “Air America,” “Chances Are,” “True Believer,” “Less Than Zero,” “Weird Science,” “Firstborn,” and “Pound,” in which he made his debut under the direction of Robert Downey Sr.
On the small screen, Downey made his primetime debut in 2001 when he joined the cast of the series “Ally McBeal.” For his work on the show, he won the Golden Globe Award for Best Supporting Actor in a Series, Miniseries or Motion Picture Made for Television and a Screen Actors Guild Award® for Outstanding Actor in a Comedy Series. In addition, Downey was nominated for an Emmy for Outstanding Supporting Actor in a Comedy Series.
On November 23, 2004, Robert Downey Jr. released his debut album, “The Futurist,” on the Sony Classics label. The album, containing eight original songs, showcased his singing talents.
Downey and his wife, Susan, just formed Team Downey, a production company based at Warner Bros.
ZACH GALIFIANAKIS (Ethan Tremblay) moved to New York City after failing his last college course by one point at North Carolina State University. He got his start performing his brand of humor in the back of a hamburger joint in Times Square, graduating to doing stand-up at night in clubs and coffee houses in the city. While working as a bus boy, he got his first acting job on the NBC sitcom “Boston Common.”
Galifianakis' breakout role came in Todd Phillips' blockbuster hit “The Hangover,” the highest-grossing R-rated comedy of all time. He will reunite with Phillips and cast-mates Bradley Cooper, Ed Helms and Justin Bartha in “The Hangover 2,” slated for a 2011 release.
He also stars in “It's Kind of a Funny Story,” which premieres at the 2010 Toronto Film Festival and opens this fall. Recently, he also co-starred with Steve Carell and Paul Rudd in Jay Roach's comedy “Dinner for Schmucks.” Galifianakis' additional film credits include the Jerry Bruckheimer-produced hit “G-Force”; the indie feature “Youth in Revolt,” with Michael Cera, Steve Buscemi and Ray Liotta; a cameo in Jason Reitman's Oscar®- nominated film “Up in the Air”; “What Happens in Vegas,” with Cameron Diaz and Ashton Kutcher; and the critically acclaimed true-life drama “Into the Wild,” from director Sean Penn.
On the small screen, Galifianakis just started the second season of the HBO comedy “Bored to Death,” with Jason Schwartzman and Ted Danson. In addition, he hosted the critically acclaimed VH1 talk show “Late World with Zach,” and also wrote and starred in “Dog Bites Man” for Comedy Central.
Zach also has an internet talk show entitled “Between Two Ferns.” He has interviewed such guests as Steve Carell, Natalie Portman, Conan O'Brien and Charlize Theron.
When not filming, Galifianakis lives on his farm in North Carolina.
MICHELLE MONAGHAN (Sarah Highman) most recently starred to great critical acclaim in the independent film “Trucker,” which world premiered at the Tribeca Film Festival. She received the Best Actress Awards from the San Diego Film Critics Society, Ft. Lauderdale International Film Festival and Vail Film Festival. Monaghan also served as executive producer on the film.
She will next been seen in Sofia Coppola's “Somewhere,” “Source Code,” opposite Jake Gyllenhaal for director Duncan Jones and “Machine Gun Preacher,” opposite Gerard Butler for director Marc Forster.
Monaghan made her feature film debut in “Perfume,” directed by Michael Rymer, then played Richard Gere's secretary in Adrian Lyne's “Unfaithful.” She followed with supporting roles in Fred Schepisi's “It Runs in the Family,” with Michael Douglas; “Winter Solstice,” with Anthony LaPaglia; Paul Greengrass' “The Bourne Supremacy”; and Doug Liman's “Mr. & Mrs. Smith.”
It was her starring role in “Kiss Kiss, Bang Bang,” opposite Robert Downey Jr. and Val Kilmer, which brought Monaghan to the attention of audiences around the world. She also received rave reviews for her performance in the film, directed by Shane Black. Next, Monaghan joined Charlize Theron and Frances McDormand in “North Country” for director Niki Caro. She then starred in “Gone Baby Gone,” with Casey Affleck and Morgan Freeman; “The Heartbreak Kid,” opposite Ben Stiller; “Mission: Impossible III,” with Tom Cruise and Philip Seymour Hoffman for director J.J. Abrams; opposite Patrick Dempsey in the romantic comedy “Made of Honor”; and in D.J. Caruso's hit thriller “Eagle Eye,” alongside Shia LaBeouf.
JULIETTE LEWIS (Heidi) received Best Supporting Actress Oscar® and Golden Globe nominations for her layered performance as adolescent Danielle, opposite Robert De Niro, in Martin Scorsese's thriller “Cape Fear.”
She reunites with Todd Phillips on “Due Date,” having previously collaborated on “Old School” and “Starsky & Hutch.”
Lewis was most recently seen alongside Hilary Swank, Melissa Leo, Minnie Driver and Sam Rockwell in the independent drama “Conviction,” which premiered at the Toronto Film Festival and opened in October. Prior to that, Lewis appeared in the romantic comedy “The Switch,” alongside Jennifer Aniston, Jason Bateman and Patrick Wilson. She also starred alongside Orlando Bloom, Mark Ruffalo and Laura Linney in Ruffalo's directorial debut, “Sympathy for Delicious,” which took home the US Dramatic Special Jury Prize at this year's Sundance Film Festival. Last year, she played roller derby girl Dinah Might opposite Ellen Page, Marcia Gay Harden, Kristen Wiig, Jimmy Fallon and Eve in Drew Barrymore's directorial debut, “Whip It.”
Among Lewis' many other films are Gary Marshall's “The Other Sister”; “Evening Star,” with Shirley MacLaine; Quentin Tarantino's vampire tale “From Dusk Till Dawn,” opposite George Clooney; the sci-fi actioner “Strange Days,” alongside Ralph Fiennes and Angela Bassett; Nora Ephron's comedy “Mixed Nuts,” opposite Steve Martin and Adam Sandler; Oliver Stone's controversial “Natural Born Killers”; “What's Eating Gilbert Grape,” with Johnny Depp and Leonardo DiCaprio”; “Romeo Is Bleeding”; “Kalifornia”; Woody Allen's “Husbands and Wives”; “Crooked Hearts” and “National Lampoon's Christmas Vacation,” with Chevy Chase.
At 12, Lewis landed her first leading role in the Showtime miniseries “Home Fires.” At 16, her performance in the critically acclaimed longform “Too Young to Die?” led to film roles. Lewis' other television credits include Showtime's “My Louisiana Sky,” for which she received an Emmy Award nomination for Outstanding Performer in a Children's Special, and Mira Nair's HBO film “Hysterical Blindness,” alongside Uma Thurman and Gena Rowlands. She also had recurring roles in several series.
In addition to film and television, Lewis's music career continues to evolve. Her third studio album, Terra Incognito, was released in fall 2009.
JAMIE FOXX (Darryl) won an Academy Award® for Best Actor in 2005 for his portrayal of the legendary Ray Charles in the Taylor Hackford-directed biopic “Ray.” Foxx also won a Golden Globe Award, a Screen Actors Guild (SAG) Award®, a BAFTA Award, and an NAACP Image Award, as well as numerous critics' association awards, and shared in a SAG Award® nomination received by the film's ensemble cast.
Also in 2005, Foxx garnered Oscar®, Golden Globe Award, SAG Award®, BAFTA Award, and Image Award nominations, in the Best Supporting Actor category, for his work in Michael Mann's dramatic thriller “Collateral,” in which he starred with Tom Cruise. That same year, Foxx also earned Golden Globe Award and SAG Award® nominations and won an Image Award for Best Actor in a Television Movie for his portrayal of condemned gang member-turned-Nobel Peace Prize nominee Stan “Tookie” Williams in the FX Network movie “Redemption.”
Foxx has a number of films upcoming, including the Seth Gordon-directed comedy “Horrible Bosses”; F. Gary Gray's action thriller “Kane & Lynch,” opposite Bruce Willis; and the comedy “Skank Robbers,” which he also wrote and is producing. His recent film credits also include Garry Marshall's hit ensemble romantic comedy “Valentine's Day,” the thriller “Law Abiding Citizen,” Joe Wright's drama “The Soloist,” the thriller “The Kingdom” and Bill Condon's screen adaptation of the Broadway musical “Dreamgirls.” Foxx also executive produced the film “Life Support,” starring Queen Latifah, which closed the 2007 Sundance Film Festival.
Foxx's big-screen break came in 1999 when Oliver Stone cast him as a star quarterback in “Any Given Sunday.” In 2001, he co-starred with Will Smith in Michael Mann's acclaimed biopic “Ali.” His additional film credits include Michael Mann's “Miami Vice,” with Colin Farrell; Sam Mendes' Gulf War drama “Jarhead,” with Jake Gyllenhaal; “Stealth”; Antoine Fuqua's “Bait”; “Booty Call”; “The Truth about Cats & Dogs”; and “The Great White Hype.”
Foxx first came to fame as a comedian. After spending time on the comedy circuit, he joined Keenan Ivory Wayans, Jim Carrey, Damon Wayans and Tommy Davidson in the landmark Fox sketch comedy series “In Living Color.” In 1996, he launched his own series, “The Jamie Foxx Show,” which was one of the top-rated shows on The WB Network during its five-year run. Foxx also served as co-creator and executive producer, and directed several episodes. His first HBO Comedy Special, “Jamie Foxx: I Might Need Security,” premiered in February 2002.
In addition to his acting success, Foxx has also achieved a thriving music career. His first album, Unpredictable, topped the charts in late 2005 and early 2006 and spawned the NBC special “Unpredictable,” in which he performed with such artists as Mary J. Blige, Common, Snoop Dogg, The Game and Angie Stone. He has been nominated for eight Billboard Music Awards, three Grammy Awards, a Soul Train Music Award, and two American Music Awards, winning for Favorite Male Artist. Foxx's latest album, 2008's Intuition, debuted at number three on the Billboard 200 chart and spawned the chart-topping single “Blame It.” Foxx recently wrapped up his “Blame It Tour” in support of the album. On January 31, 2010 Jamie Foxx and T-Pain's “Blame It” won in the category of Best R%B performance by a duo/group with vocals at the 52nd Annual Grammy Awards.
ABOUT THE FILMMAKERS
TODD PHILLIPS (Director/Screenwriter/Producer) most recently directed and produced the 2009 blockbuster hit comedy “The Hangover,” starring Bradley Cooper, Ed Helms, Zach Galifianakis and Justin Bartha. The film became the highest grossing R-rated comedy of all time and won a Golden Globe for Best Motion Picture – Comedy or Musical. He is currently in production on the much-anticipated sequel, “The Hangover 2,” which reunites the cast.
Phillips started his career as a documentary filmmaker, inspired by humor taken from everyday reality and the belief that the truth is often stranger than fiction.
His first film, “Hated,” portrayed the revolting antics of extreme punk rocker G.G. Allin and became an instant underground sensation. It was released in the summer of 1994 and went on to become the highest grossing student film of its time.
He followed that in 1998 with “Frat House,” a documentary that he produced and directed for HBO's popular “America Undercover” series. “Frat House” premiered at the 1998 Sundance Film Festival and won the Grand Jury Prize for documentary features. The unflinching exposé of life in fraternities created a public controversy that eventually caused the film to be shelved by HBO. Phillips still hopes to release it in the future.
After meeting producer Ivan Reitman at Sundance, Phillips made his crossover to features with 2000's “Road Trip,” which established him as a new force in comedy. He simultaneously produced and directed “Bittersweet Motel,” a documentary on musical cult phenomenon Phish.
In one way or another, Phillips' films explore the nature of male relationships, and in doing so he has worked with some of Hollywood's biggest comedic actors, writing and directing such films as “Old School” in 2003, “Starsky & Hutch” in 2004, and “School for Scoundrels” in 2006. Phillips was nominated for a 2006 Academy Award® for Best Adapted Screenplay for his work on “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan.”
DAN GOLDBERG (Producer) marks his fifth film collaboration with Todd Phillips on “Due Date.” Previously, he served as producer on Phillips' “Old School,” “Road Trip,” “School for Scoundrels” and most recently, “The Hangover,” which won a Golden Globe Award for Best Motion Picture – Musical or Comedy and is the highest grossing R-rated comedy of all time. Goldberg will next produce “The Hangover 2” with Phillips, releasing in 2011.
Goldberg also produced the outrageous comedy “Howard Stern's Private Parts” and the animated comedy adventure “Space Jam,” starring Michael Jordan, and was an executive producer on Ivan Reitman's romantic adventure “Six Days Seven Nights,” starring Harrison Ford.
His screenwriting credits include the classic comedies “Stripes” and “Meatballs,” both of which he also produced; “Feds,” which he also directed; and the enduring cult favorite “Heavy Metal.”
ALAN R. COHEN & ALAN FREEDLAND (Screenwriters, Story) are best known as Emmy Award-winning writers from the Fox animated show “King of the Hill” and often referred to as “the Alans.”
Among numerous other writing and producing credits, the duo also co-created the Comedy Central cult hit “Kid Notorious,” starring Robert Evans. They are currently co- executive producers on Seth MacFarlane's “American Dad.”
Prior to “Due Date,” the Alans wrote feature scripts for various studios. They currently have several television and film projects in development, including the feature comedy “The Reunion,” for producer Brian Grazer.
A George Washington University graduate, Cohen originally hails from Pittsburgh and worked for several years as a reporter in The Baltimore Sun's Washington, D.C. bureau.
Freedland graduated from the University of Michigan. He grew up in the Detroit area and worked in advertising in Chicago.
ADAM SZTYKIEL (Screenwriter)'s most recent writing credit was the comedy “Made of Honor,” starring Patrick Dempsey and Michelle Monaghan.
He is currently working on a film adaptation of the best-selling memoir “The Game” by Neil Strauss, and has numerous other film and television projects in development.
Sztykiel is a graduate of the University of Southern California School of Cinematic Arts.
THOMAS TULL (Executive Producer), Chairman and CEO of Legendary Pictures, has achieved great success in the co-production and co-financing of event movies. Since its inception in 2004, Legendary Pictures has teamed with Warner Bros. Pictures on such hits as Bryan Singer's “Superman Returns”; Zack Snyder's “300” and “Watchmen”; and Christopher Nolan's “Batman Begins” and award-winning phenomenon “The Dark Knight,” which earned in excess of $1 billion worldwide.
More recently, this highly successful partnership produced Ben Affleck's “The Town”; Christopher Nolan's summer blockbuster “Inception”; the worldwide hit “Clash of the Titans”; Todd Phillips' “The Hangover,” which is the highest-grossing R-rated comedy of all time; and Spike Jonze's “Where the Wild Things Are.” Legendary's upcoming releases include Bryan Singer's “Jack the Giant Killer,” Todd Phillips' “The Hangover 2,” and Zack Snyder's “Sucker Punch.” Legendary is also developing a number of promising film projects in-house, including “Warcraft,” “Godzilla,” “Gravel,” “Paradise Lost,” and a sequel to “300.”
Before forming Legendary, Tull was President of The Convex Group, a media and entertainment holding company headquartered in Atlanta, on whose Board of Directors he also served.
SUSAN DOWNEY (Executive Producer) is a principal partner of Team Downey, the production company she formed with her husband, Robert Downey Jr. A prolific film producer, she has collaborated with some of the industry's most noted talents on films ranging from action blockbusters to dramas to comedies to horror thrillers.
Downey also produced the global hit “Sherlock Holmes,” which opened on Christmas Day 2009 and grossed more than $516 million worldwide. Directed by Guy Ritchie, the film starred Robert Downey Jr., Jude Law, Rachel McAdams and Mark Strong in an action adventure mystery that brought Arthur Conan Doyle's legendary detective to the big screen as never before. She is currently producing the sequel, which again stars Downey Jr. and Law under the direction of Ritchie.
Downey also recently served as an executive producer on the action hit “Iron Man 2,” which earned more than $620 million at the worldwide box office. The follow up to “Iron
Man” reunited director Jon Favreau with returning stars Robert Downey Jr. and Gwyneth Paltrow, and also starred Don Cheadle, Mickey Rourke and Scarlett Johansson.
Previously, Downey held the dual posts of Co-President of Dark Castle Entertainment and Executive Vice President of Production at Silver Pictures. Joining Silver Pictures in 1999, she oversaw the development and production of feature films released under both banners, including “Thir13en Ghosts” and “Swordfish.”
In 2002, she made her producing debut as a co-producer on “Ghost Ship” and then co- produced the 2003 release “Cradle 2 the Grave.” Downey went on to produce the features “Gothika” and “House of Wax,” and also served as an executive producer on the critically acclaimed comedic thriller “Kiss Kiss, Bang Bang.”
Downey later produced Neil Jordan's acclaimed psychological drama “The Brave One,” starring Jodie Foster and Terrence Howard; Guy Ritchie's widely praised crime comedy “RocknRolla,” starring Gerard Butler, Tom Wilkinson, Thandie Newton, Idris Elba, Chris Bridges and Jeremy Piven; the horror thriller “Orphan,” starring Vera Farmiga and Peter Sarsgaard; and the thriller “Whiteout,” starring Kate Beckinsale. She was also an executive producer on the Hughes brothers' post-apocalyptic drama “The Book of Eli,” starring Denzel Washington and Gary Oldman.
Prior to her tenure at Dark Castle and Silver Pictures, Downey worked on the hit films “Mortal Kombat” and “Mortal Kombat: Annihilation.”
Downey is a graduate of the University of Southern California's School of Cinema- Television.
SCOTT BUDNICK (Executive Producer) is Executive Vice President of Production for Green Hat Films, overseeing the development and production of a varied slate of projects including the upcoming “Project X,” set for release in 2011. He most recently executive produced the blockbuster hit “The Hangover,” which won a Golden Globe for Best Motion Picture – Musical or Comedy and is the highest grossing R-rated comedy of all time.
Budnick began his entertainment career in local casting while at Emory University in his hometown of Atlanta, Georgia. Upon graduation, he relocated to Los Angeles, serving as casting assistant on Todd Phillips' “Road Trip” and then as associate to the director on “Old School,” starring Vince Vaughn, Luke Wilson, Will Ferrell and Jeremy Piven. Budnick served associate producer on Phillips' following films, “Starsky & Hutch,” starring Owen Wilson and Ben Stiller and “All The King's Men,” starring Sean Penn and Jude Law, which Phillips executive produced; and was co-producer on “School for Scoundrels,” starring Billy Bob Thornton.
LAWRENCE SHER (Director of Photography) reunites with Todd Phillips on “Due Date,” having previously collaborated on the Golden Globe-winning blockbuster comedy “The Hangover.” His work will next be seen in Greg Mottola's sci-fi comedy “Paul,” with Jason Bateman and Seth Rogan, and David Frankel's comedy “The Big Year,” based on Mark Obmascik's book and starring Owen Wilson, both releasing in 2011.
Sher's other recent credits include “I Love You, Man,” “Trucker,” “The Promotion,” “Dan in Real Life,” “The Dukes of Hazzard” and “The Chumscrubber.”
He worked as director of photography on several smaller films and music videos earlier in his career, coming to the fore in 2001 with the award-winning independent film “Kissing Jessica Stein,” followed by director Zach Braff's “Garden State.”
Born and raised in New York City, Sher studied economics at Wesleyan University where, in his junior year, he turned an interest in still photography into a fascination with motion pictures. Upon graduation, he moved to Los Angeles and began his career as a camera assistant.
BILL BRZESKI (Production Designer) previously collaborated with Todd Phillips on the 2009 Golden Globe Award-winning blockbuster comedy “The Hangover,” for which he received an Art Director's Guild Award nomination for Excellence in Production Design. Brzeski re-teams again with Phillips for “The Hangover 2,” releasing in 2011.
Brzeski's other recent credits include “Flipped,” which reunited him with Rob Reiner, having previously served as production designer on Reiner's “The Bucket List”; and re- teaming with Rob Minkoff' on “The Forbidden Kingdom,” having previously worked on the director's groundbreaking CGI movie “Stuart Little” and its sequel, “Stuart Little 2.” Some of the designer's additional credits include “Deck the Halls,” “Blue Streak,” James L. Brooks' Oscar®-winning “As Good As It Gets” and “Matilda.”
Brzeski received his undergraduate degree from Miami University and his MFA in Design from New York University's Tisch School of the Arts. Originally interested in designing for the ballet and opera, he began his career in the theatre before moving to Los Angeles from New York City and designing more than 800 episodes of television series.
Brzeski also designs commercial spaces, most notably the award-winning Susina Bakery in Los Angeles.
His production design workshops at graduate and undergraduate levels have been hosted by New York University School of the Arts, Miami University, Clemson University and Loyola University Film School.
DEBRA NEIL-FISHER (Editor) re-teams with Todd Phillips on “Due Date,” having served as editor on his blockbuster hit “The Hangover,” the number one R-rated comedy of all time. The film won a Golden Globe for Best Motion Picture - Musical or Comedy and Fisher was honored with an Eddie Award by the American Cinema Editors for Best Edited Feature Film.
Among Neil-Fisher's other feature credits are the hit comedies “Baby Mama,” “Semi- Pro,” “Role Models,” “You, Me and Dupree,” “Without a Paddle,” “Saving Silverman,” and two hugely successful Austin Powers films, “Austin Powers: International Man of Mystery” and “Austin Powers: The Spy Who Shagged Me.” She has collaborated three times with director Donald Petrie on “Just My Luck,” “Welcome to Mooseport” and “How to Lose a Guy in 10 Days.” Her work also extends to other genres, including the dramas “Fried Green Tomatoes,” “The War” and “Up Close and Personal,” as well as the thrillers “Teaching Mrs. Tingle” and “Dr. Giggles.”
In 1991 Neil-Fisher won a CableACE Award for her work on TNT's telefilm “Heat Wave,” for director Kevin Hooks. Among her earlier television credits are “The Amy Fisher Story,” “The Case of the Hillside Strangler” and the TNT thriller “Breaking Point.”
LOUISE MINGENBACH (Costume Designer) marks her fifth project with director Todd Phillips on “Due Date,” a collaboration that began on the feature film “Starsky & Hutch,” followed by “School for Scoundrels” and the 2008 telefilm “The More Things Change...” In 2009, her designs were seen in Phillips' mega-blockbuster “The Hangover,” which won a Golden Globe for Best Motion Picture – Musical or Comedy and is the highest R-rated comedy of all time.
The upcoming actioner “Battleship,” based on the classic board game, reunites Mingenbach with Peter Berg, with whom she worked on “Hancock,” starring Will Smith.
Mingenbach also designed costumes for the 2009 action epic ““X-Men: Wolverine.” Previously, she earned a Saturn Award and a Costume Designers Guild Award nomination for her work on Bryan Singer's “X-Men.” She has teamed with Singer on four other films, including the 1995 thriller “The Usual Suspects,” “X2,” “Apt Pupil” and “Superman Returns,” as well as the pilot for “House M.D.”
Mingenbach's additional feature credits include the Farrelly Brothers' “The Heartbreak Kid,” “Spanglish,” “The Rundown,” “K-PAX,” “Gossip,” “Permanent Midnight,” “Nightwatch,” “The Spitfire Grill” and “One Night Stand.”
CHRISTOPHE BECK (Composer) previously collaborated with Todd Phillips on “The Hangover,” which won a Golden Globe for Best Motion Picture – Comedy or Musical.
He has composed scores for 50 feature films and nearly 20 television shows. With more than 15 years of experience, Beck has scored a wide array of projects, including such action films as “Percy Jackson & The Olympians: The Lightning Thief,” “The Sentinel” and “Elektra”; the comedies “Date Night,” “Charlie Bartlett,” “The Pink Panther” and “Bring It On”; and such dramas as “We Are Marshall,” “Under the Tuscan Sun” and “Year of the Dog”; as well as the Davis Guggenheim documentary, “Waiting For Superman.”
Beck most recently composed music for the comedies “Death at a Funeral,” starring Chris Rock, Martin Lawrence and Tracy Morgan; “Date Night,” with Steve Carell and Tina Fey; “Hot Tub Time Machine,” starring John Cusack; and Chris Columbus' fantasy adventure “Percy Jackson & The Olympians: The Lightning Thief.”
His additional credits include “All About Steve,” “The Greatest,” “What Happens in Vegas,” “Phoebe in Wonderland,” “The Seeker: The Dark is Rising,” “Saved!,” “American Wedding” and “Just Married.”
Beck began his scoring career on the Canadian television series “White Fang,” and from there went on to score three seasons of the hit television series “Buffy the Vampire Slayer,” for which he won an Emmy Award for Outstanding Music Composition.
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Due Date Starring Robert Downey Jr. and Zach Galifian
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THE IDEA
From director Todd Phillips, “Due Date” stars Robert Downey Jr. and Zach Galifianakis as two unlikely companions thrown together on a road trip that turns out to be as life-changing as it is outrageous.
Downey plays Peter Highman, an expectant first-time father whose wife's due date is only days away. As he hurries to catch a flight home to Los Angeles from Atlanta to be at her side for the birth, his best intentions go completely awry when a chance encounter with aspiring actor and disaster-magnet Ethan Tremblay (Galifianakis) leads to the two of them being tossed off the plane and placed on a no-fly list...while Peter's luggage, wallet and ID take off without him.
With no alternatives in sight, Peter is forced to hitch a ride with Ethan and his canine traveling companion on what turns out to be a cross-country road trip that will destroy several cars, numerous friendships and Peter's last nerve.
The comedy “Due Date” also stars Michelle Monaghan (“Made of Honor”), Juliette Lewis (“The Switch”) and Academy Award® winner Jamie Foxx (“Ray”).
Directed by Todd Phillips (“The Hangover”), the film is produced by Phillips and Dan Goldberg (“The Hangover,” “Old School”), from a screenplay by Alan R. Cohen & Alan Freedland and Adam Sztykiel & Todd Phillips, story by Alan R. Cohen & Alan Freedland. Thomas Tull, Susan Downey and Scott Budnick serve as executive producers.
“Due Date” reunites Phillips with key members of his filmmaking team from “The Hangover,” including director of photography Lawrence Sher, production designer Bill Brzeski, editor Debra Neil-Fisher, composer Christophe Beck and costume designer Louise Mingenbach.
ABOUT THE PRODUCTION
“If you're going to travel with me to Los Angeles I have to give you a couple of guidelines. Number one: don't ask me a single question.” - Peter Highman
“It's a simple idea—two mismatched guys forced to go on a road trip together,” declares “Due Date” director and co-writer Todd Phillips. “Robert Downey Jr. is Peter Highman, an architect on his way back to L.A. from a business trip in Atlanta. He's on a tight schedule because his wife is expecting their first child and the date is all set. Everything is fine until he gets tangled up at the airport with a wannabe actor named Ethan Tremblay, who somehow gets the both of them booted off the plane and grounded for the foreseeable future.”
At that point, “simple” flies right out the window.
Stranded without cash, credit, ID or time, Peter finds himself in the galling position of having to hitch a ride home with a guy he'd rather take a swing at—Ethan. The person he holds responsible for his predicament in the first place is now behind the wheel of a rental car and offering him the passenger seat.
Though clearly not his best option, it's Peter's only option.
At first grateful for the company, Ethan soon learns that his tightly wound traveling companion is not going to be any fun at 20 Questions, nor generally receptive to the concept of going with the flow. Meanwhile, Peter realizes he's just joined forces with a guy who can casually ruin his life in more ways than he could ever imagine.
“If there really was somebody like Ethan around, he'd have been strangled in his sleep long ago,” Downey attests. “He's like a laser beam that focuses on the one thing that will drive you crazy the most, the kind of guy who will eat a whole plate of waffles before mentioning he's allergic to waffles. I'm sure a lot of people know someone like this, someone who is perfectly wired to activate all of their irritation buttons.”
Granted, Peter has a short fuse to begin with. “He's kind of an edgy, controlling, judgmental guy with some anger-management issues. And who better to help him explore those issues than Ethan Tremblay? High-strung as he is normally, Peter is now facing the birth of his first child and is thrown into this nightmare, so it's all amped up,” Downey adds.
Ethan, by comparison, gives new meaning to the term laid-back. Zach Galifianakis, who stars as the human lightning rod for trouble, observes, “Nothing affects him, no insult seems to penetrate. Ethan lives in his own head. He has no talent, and he's on his way to Hollywood to capitalize on that. These two guys meet through a series of unfortunate circumstances that are entirely Ethan's fault, to which he is completely oblivious. And every bad thing that happens from that point on is Ethan's fault. Everything.”
Says Phillips, “People always cite chemistry in these kinds of movies. They say it's the chemistry between the two lead actors that make it work. I believe what makes ‘Due Date' work is anti-chemistry; it's two guys with zero connection and zero rapport, constantly butting heads, that generates both the tension and the comedy.”
Dan Goldberg, who has produced all of Phillips' feature films since their 2000 collaboration on the hit comedy “Road Trip,” says, “The ride develops its own momentum as one thing after another happens to impede their progress.”
At the same time, their cross-country trek takes Peter and Ethan on another, more unpredictable journey than what they face geographically—one that leads them to discover as much about themselves as each other.
Provided that they survive it.
Scott Budnick, an executive producer on the film, says, “There's real emotional substance to the story and real issues, and Robert and Zach do a phenomenal job in delivering both the humor and the emotional stakes. My favorite comedies are always the ones that have heart.”
As infuriating as Ethan can be, whether mismanaging his funds, missing potty breaks or launching their car off an overpass, Phillips concedes he has his good points, citing “honesty, innocence and a humanity that makes you connect with him and root for him despite it all. Ethan is a complex character. He has just lost his father, who was his best friend, and is having a tough time dealing with that. There's an underlying desperation in everything he does and an eagerness to please to the point where just making friends means trying too hard.”
“A lot of what he does is to avoid being lonely,” says Galifianakis.
Peter, on the other hand, may come across like a self-assured, aggressive control freak but, says Phillips' “Due Date” screenwriting partner Adam Sztykiel, “You sense that his behavior comes from an emotional place and from issues he has yet to work out, that are revealed in the story. Not far beneath the alpha male posture is his own vulnerability and how terrified he is to be responsible for a child.”
“As a parent,” Downey offers, “I know the big question is how are you going to manage and protect something that you have no experience with?”
Playing on that theme were screenwriters Alan R. Cohen and Alan Freedland, who also have story credit on “Due Date.” “Peter's comfort zone is when he's in control. And everything that happens in this movie is about losing control; from his inability to get back home to the larger issue of his impending fatherhood—and whether or not he's ready for it,” Cohen says.
“We wanted to put him into a situation where he had to travel across the country with someone who was effectively a child,” adds Freedland.
Not that it would lessen Peter's pain, stress and frustration if he knew it might be pain, stress and frustration with a purpose. Still...
“When I read the script, I was moved,” recalls executive producer Susan Downey. “It's so funny and yet so human. You want a comedy to have that grounding, in the way that you want a drama to have some humor. In ‘Due Date,' though his experience with Ethan, Peter finds his human side and gets ready for the birth of his own child. It's about him becoming a man before becoming a father.”
“Guess who's got the Subaru Impreza? Me! Guess who's got the winning personality? Me! What do you have? You have a nice hairline. Fine. You have a strong jaw. But I gotta tell you, mister, your personality needs some work.” - Ethan Tremblay
Despite the “anti-chemistry” Phillips had in mind for their characters, Galifianakis and Downey generated some genuine positive chemistry from the start.
Downey vividly recalls their first meeting. “I was in Venice, California, and some weird guy walks by and says, ‘Hi, I think I'm doing a movie with you.' And I was thinking, ‘I might have to punch this guy.' Then I realized, ‘Oh my God...that's Zach.'
“Later, he came over for dinner so we could talk about the script,” Downey continues. “I asked if he had any dietary restrictions and he sent me a note detailing everything he'd need, like bottled water flown in from Barstow. It's one of my favorite things. I read it to people at parties.”
“We kind of took care of each other on the set—very different from what was going on in the movie. We'd talk every morning about how to make a scene work. It was great. Funny how hanging out with a legitimate actor raises your game,” Galifianakis returns.
“I always respond to projects based on the casting potential,” says Phillips. “I immediately start seeing a movie from the standpoint of casting it. For ‘Due Date,' I knew that if I could get Robert and Zach we could go full out.”
Phillips marks his second collaboration with Galifianakis on “Due Date,” following the comedian's breakout starring role in last year's international blockbuster hit “The Hangover,” that became the highest-grossing R-rated comedy of all time. He says, “Zach and I click because he knows I really get his humor, which can be pretty outrageous.”
In “Due Date,” however, Galifianakis creates a character that calls for a great deal of subtlety. Notes Budnick, “Every little nuance of personality and each detail—the way he walks, the way he talks, the way he thinks—Zach has figured out how Ethan Tremblay would do these things and it's reflected in every single moment he's on screen.”
At the same time, there is a core of unpredictability to the performance. “Zach brings a sense of spontaneity and danger and I think comedy is best with an undercurrent of danger so that you never know exactly what's going to happen or what someone will say or do. In that sense, he's the perfect comedic actor,” says Phillips.
And “Due Date” gives him a worthy antagonist in Downey.
“Not only is Robert a world-class actor but he's naturally funny. I wouldn't think of casting Robert Downey Jr. as anyone's straight-man,” says Phillips. “In ‘Due Date' there is no straight-man because they're both screwed up in their own ways. And the beauty of Zach and Robert playing off each other is that they're both funny but their humor comes from such different places and their styles are so different that you're not mining the same vein.”
Downey, Galifianakis, Phillips and Sztykiel “took the script apart and put it back together,” says Goldberg. “Every day there were new things that touched me and made me laugh. I believe ‘Due Date' audiences will see aspects of Robert and Zach that they haven't seen before and things that will surprise them. As a filmmaker, I'm always looking for that.”
It's a philosophy and a process that Phillips respects. “So much of comedy happens on the day you shoot,” he says, and offers the example of the airplane luggage bin scene. “It just happened as we were looking at the seating and the overhead bin and realized how that could bring them really close in a small space. Zach said, ‘What if I rub up against him while I'm reaching into the bin?' And I said, ‘What if you pull your shirt up first to wipe your glasses so it's just your bare stomach?' Comedy isn't math; it's jazz.”
Says Robert Downey Jr., “I start every day thinking here's what will happen if you do it by the book and here's what can happen if you bend yourself over backwards and forwards again and try to invite the unimagined into the situation. The set had energy like a living being; it was evolving all the time. And what's great and so funny about Todd is that sometimes, with him, it's so wrong, it's right.”
That point of view resonates with Galifianakis, who admits to being right alongside the director in appreciating “the inappropriate,” adding, “Todd and I have the same sense of humor. We like stuff that has a bit of a taboo element—things that are funny specifically because you're not supposed to laugh at them. As a stand-up comic, I love it when audiences laugh before they realize maybe they shouldn't have, and then start to question themselves.
“That's not to say that you can't be offended by something Todd or I do in a film,” he continues with mock concern. “I'm often offended by the things I do in movies.”
“You'd better check yourself before you wreck yourself.” - Ethan
“What I like about road trip movies is that essentially your characters are working without a net. You just throw them out into the elements and say, ‘Deal with it,'” says Phillips. “You don't have the support system of friends and family. People come in and out of your life for intense but fleeting moments.”
To help facilitate that, ‘Due Date' features a stellar supporting cast of characters who offer Peter and Ethan a range of memorable and often thought-provoking encounters along the way.
The first of these is Heidi, a freelance medical supplier with questionable parenting skills, tracked down by Ethan at her Birmingham home to restock his supply of “glaucoma medication.” It's one of many detours that takes them miles out of their way.
Heidi is played by Juliette Lewis, in her third screen role for Phillips. Lewis was touring in London with her band when the director called. “We worked it out so that between London and Helsinki I made a pit stop in a place I didn't even know existed—Las Vegas, New Mexico—for a couple of days, to play a pot dealer,” she recounts. “When Todd calls it's a game of trust. I don't know the role, I don't know what he wants me to do, but I know it's going to be good and it's going to be funny.”
Oscar® winner Jamie Foxx, who recently starred with Downey in “The Soloist,” comes aboard in the role of Peter's old college buddy, Darryl, now living in Dallas.
“It was a real coup to get Jamie to come in as Peter's friend—and, according to Ethan, possibly the real father of his soon-to-be-born child,” says Robert Downey Jr., alluding to yet another way in which Ethan manages to get under Peter's skin.
Within minutes of entering Darryl's home, Ethan spots a few photos, asks a few questions, adds two and two, and comes up with five. “He learns that Darryl is very close with Peter's wife and jumps to all kinds of conclusions. Then, he plants the seed of doubt in Peter's mind,” says Phillips.
“Darryl comes into the picture to do these guys a favor and it's all great...until it's not. Then things get very weird, very fast,” Foxx says of the ensuing scene that lands Peter and Ethan back on the pavement. “Working with Robert, Zach and Todd, you'd never know what to expect, but you could always count on it being a crazy, creative, collaborative experience.”
The travelers also run afoul of an ill-tempered Western Union clerk, played by Danny McBride; a paragon of Airport Security, played by Grammy Award-winning hip hop producer/musician and actor Rza; and an exceptionally indifferent TSA agent, played by Matt Walsh, the ER doc from “The Hangover.”
Meanwhile, back home anxiously awaiting Peter's return is his wife, Sarah, played by Michele Monaghan, reuniting with Downey for the first time since they teamed in the 2005 comedy thriller “Kiss Kiss Bang Bang.”
“Sarah is just about 8 months and 29 days pregnant with her first baby and obviously very anxious,” Monaghan offers. “Her husband is not only m.i.a but is also traveling cross- country with a wild man whose only concern is if she has any ‘recommendations for someone who could give him a perm'?!? Clearly, the baby's arrival looks more promising than daddy's.”
“Sonny, stop. Sonny...No. Stop. Good boy.” - Ethan
Before circumstances force these two to share a rental car, Ethan already has a traveling companion: a French Bulldog named Sonny, who becomes the pair's third wheel and a point of calm amidst the escalating mayhem.
The role of Sonny, though indisputably male, was played almost entirely by a young female Frenchie trained by Mark Harden, of Boone's Animals for Hollywood.
The introduction of a dog into the script came about as Phillips sought to further ratchet up the tension between his two leads and decided that one of them should be a dog person and the other...not so much. After perusing renowned animal trainer Boone Narr's company website, he spotted what he was looking for in Bodie, an adult male French Bulldog with the big ears and wide-eyed comical expression typical of the breed.
Unfortunately, at 26 pounds, Bodie was too heavy to be constantly toted around on one arm, so, with only weeks before filming started, Harden launched a full-scale and very specific search for a six-to-10-month-old, cream-colored, slightly undersized French Bulldog. He first tried the rescue agencies, then tapped into a nationwide network of breeders before finding someone who had a full-grown female weighing in at 15 pounds.
Though Galifianakis jokes that Sonny was trained to fall asleep at the word ‘action,' Harden takes no credit for the animal's relaxed demeanor, conceding, “She's just a very settled and well-adjusted dog. She doesn't get worked up. I think she just learned early on that most of her scenes were going to take awhile and she might as well catch a nap.”
Galifianakis, who bonded with his canine co-star despite an allergy to dogs, says, “I was kind of envious at her ability to fall asleep at work. And she snores like me.”
But as much as the camera loved Sonny, there was one special trick she just couldn't manage, that required a one-day command performance from Bodie.
Harden carefully describes how the trick serendipitously made its way into the story. “French Bulldogs are unable to groom themselves in certain areas as other dogs do. I don't know if it's a combination of their short neck and wide shoulders, but they can't twist backwards.”
Consequently, some of them use their paws, “a natural behavior that Bodie spontaneously offered in front of Todd at that first meeting, while we were talking,” the trainer recalls. “As soon as he saw it, there was no turning back. He said, ‘Oh my God, can you train him to do that?”
“Am I okay? Do I look okay? I have a broken arm. I have three cracked ribs. I have seven stitches in my armpit. Does that answer your question? - Peter
“I love physical comedy,” says Phillips, who happily extends the parameters of physical comedy in “Due Date” to include a multi-vehicle freeway chase, an end-over-end car flip and a shoot-out with some seriously t'd-off border security agents.
“For me,” Phillips continues, “It's fun to include shocking moments that make you say, ‘Whoa, where did that come from?' We shot the car sequence in Las Cruces, New Mexico. They let us break through the overpass and land on the road below. We closed the highway for several days to prepare and execute it but, frankly, you never know how a stunt is going to land, so we set up four or five cameras and let it happen. The car flipped back up on its wheels, but we were prepared for it to do anything.” Filming “Due Date” was a road trip in itself. Location shooting began in and around Atlanta and moved generally westward with the story, touching upon Dallas and the Texas interior and various locations in New Mexico, including Las Vegas and Santa Fe, which the filmmakers covered from a base of operations in Albuquerque, before touching down in California.
“The way the script breaks down, they have to get across the country. in a couple of days so you really need to take the southern route, which is not as long as the northern, so it makes sense in terms of driving time,” says production designer Bill Brzeski.
A separate helicopter unit covered the Grand Canyon for a key scene with Peter and Ethan perched on its rim, overlooking the Colorado River snaking its way through, far below. Between takes, busloads of visitors from all over the world arrived to tour the area and there was some concern on the part of the crew that they might forget to watch where they were going once they caught sight of Downey and Galifianakis.
The film's opening airport scenes were a combination of several elements. The plane cabin mockup was constructed on Stage 11 at Warner Bros. Studios; the curb where Peter's and Ethan's cars pull up was shot at Ontario Airport in California; and the screening area and other terminal interiors were built inside the Georgia World Congress Center in Atlanta.
Other practical locations in Georgia included a construction site in Atlanta's Buckhead neighborhood; a Waffle House and portions of Highway 27 in Bremen; various locations along I-75 and I-675, GA-route 20 and the Metropolitan Parkway; the Gwinnett Medical Center in Lawrenceville; the 1010 Condos on Atlanta's historic Peachtree Street; and a recently closed rest stop along I-985.
Darryl's home in Dallas was an amalgam of exteriors captured in Buckland, Georgia, and interiors shot in Encino, California. “You're never really anywhere you're supposed to be,” Brzeski says. “Las Vegas, New Mexico was built around the turn of the century and doesn't look like what you'd expect to see in New Mexico. There's a lot of Victorian architecture that doesn't match the typical Santa Fe look so buildings can substitute for almost any American small town, be it Texas or Ohio. We used it as Alabama for Heidi's house.”
The southwestern city also provided the site for one of the film's larger set pieces; a checkpoint at the U.S./Mexico border that was constructed on a bridge spanning a portion of Route 25 in Las Vegas, under which Brzeski and his team formed an encampment of Federali trailers based on actual Mexican Customs vehicles. Interiors of the office and a trailer, as well as a gimbal rig that figures into the action, were built on stage and another rotating rig, dubbed “car-on-a-spit” by one crew member, was designed for the scene in which Peter and Alan take their rented Subaru for a real spin.
All this action takes its toll on the luggage-deprived Peter, forced to spend the entire journey in one increasingly rumpled, torn, stained and slept-in suit. For costume designer Louise Mingenbach, that meant maintaining 20 versions of the suit in five basic stages of deterioration. “Definitely, the story evolves through Peter's clothes,” she says.
With Ethan's wardrobe she was able to have more fun, brainstorming with Galifianakis, who, she says, “has no vanity. Some actors want to look beautiful all the time but that's not Zach. He will wear whatever works for his character, even if it's acid-washed jeans two sizes too small.”
“I really like to look bad in movies,” Galifianakis agrees. “Originally Ethan was dressed like a hippie but I wanted him to be more arty—or, what he would think is arty. He has a perm, he has his dance shoes and his really bad tight jeans and the scarf as an accessory; he wants to be an actor and this is how he thinks actors dress.”
“Due Date” marks Mingenbach's fifth collaboration with Phillips, who says, “I have a great team. I've worked with essentially the same people throughout my career. We write some crazy thing and then I turn to my guys and say, ‘Can we pull this off?'”
Among those previous colleagues rejoining the director on “Due Date” were cinematographer Lawrence Sher, editor Debra Neil-Fisher and composer Christophe Beck.
Scott Budnick points out, “‘Due Date' marks the 10-year anniversary of ‘Road Trip,' Todd's first movie and my first job out of college. We filmed ‘Road Trip' from September to December 1999, and ‘Due Date' from September to December of 2009.”
For Phillips, it's a genre full of possibilities.
“I've been in some strange situations on the road,” confesses screenwriter Sztykiel, a Los Angelino who identified in some ways with Peter. “Here's a guy who's a little sheltered and doesn't have exposure to the 3,000 miles that exist east of his home, and it was fun to force him out of his bubble. It's uncomfortable, but you come away with a better sense of your place in the world. My advice for travelers? Go to the bathroom. Make sure your traveling partner has gone to the bathroom. Don't spend all your money on illegal substances. Don't say ‘bomb' on an airplane. Don't open your car door in traffic. Pretty simple stuff.” Sure. In hindsight.
“There's something about a road trip that brings out the extremes of human reactions and emotions,” says Phillips. “It's a great opportunity for surprises and for people to learn things about themselves or each other that they'd never see if they weren't being pushed to their limits, or having to make the kinds of quick, instinctive decisions you have to make on the road.”
At the same time, the road itself can be almost incidental. “No matter where we are in ‘Due Date,' no matter what's kind of chaos they're going through,” he concludes, “it all comes down to these two guys working out their issues.”
ABOUT THE CAST
ROBERT DOWNEY JR. (Peter Highman), a two-time Academy Award® nominee, earned his most recent Oscar® nomination, for Best Supporting Actor, for his work in Ben Stiller's comedy hit “Tropic Thunder.” His performance as Kirk Lazarus, a white Australian actor playing a black American character, also brought him Golden Globe, BAFTA Award and Screen Actors Guild (SAG) Award® nominations. Downey was honored with his first Oscar® nomination, in the category of Best Actor, for his portrayal of Charlie Chaplin in Richard Attenborough's acclaimed 1992 biopic “Chaplin,” for which he also won BAFTA Award and London Film Critics Awards and received a Golden Globe Award nomination.
Earlier this year, Downey received another Golden Globe nomination for his performance in the title role of the 2009 hit “Sherlock Holmes,” under the direction of Guy Ritchie. Downey returns to the role of the legendary detective in a new Sherlock Holmes adventure, currently slated for release in December 2011.
In summer 2008, Downey received praise from critics and audiences for his performance in the title role of the blockbuster hit “Iron Man,” under the direction of Jon Favreau. Bringing the Marvel Comics superhero to the big screen, “Iron Man” earned more than $585 million worldwide, making it one of the year's biggest hits. Downey reprised his role in the successful sequel, which was released this past spring. He returns to the role in Josh Whedon's upcoming actioner “The Avengers,” which teams Iron Man with other Marvel Comics superheroes.
Downey's other recent films include “The Soloist,” opposite Jamie Foxx; “Charlie Bartlett”; David Fincher's “Zodiac,” alongside Jake Gyllenhaal and Mark Ruffalo; Richard Linklater's “A Scanner Darkly,” with Keanu Reeves, Winona Ryder and Woody Harrelson; “Fur,” opposite Nicole Kidman in a film inspired by the life of revered photographer Diane Arbus; and “Kiss Kiss, Bang Bang.” He also shared in a SAG Award® nomination as a member of the ensemble cast of George Clooney's true-life drama “Good Night, and Good Luck,” and in a Special Jury Prize won by the ensemble cast of “A Guide to Recognizing Your Saints,” presented at the 2006 Sundance Film Festival.
Downey's long list of film credits also includes “Gothika”; “The Singing Detective”; Curtis Hanson's “Wonder Boys”; “U.S. Marshals”; Mike Figgis' “One Night Stand”; Jodie Foster's “Home for the Holidays”; “Richard III”; Oliver Stone's “Natural Born Killers”; Robert Altman's “The Gingerbread Man” and “Short Cuts,” sharing in a Golden Globe Award for Best Ensemble for the latter; “Heart and Souls,” “Soapdish,” “Air America,” “Chances Are,” “True Believer,” “Less Than Zero,” “Weird Science,” “Firstborn,” and “Pound,” in which he made his debut under the direction of Robert Downey Sr.
On the small screen, Downey made his primetime debut in 2001 when he joined the cast of the series “Ally McBeal.” For his work on the show, he won the Golden Globe Award for Best Supporting Actor in a Series, Miniseries or Motion Picture Made for Television and a Screen Actors Guild Award® for Outstanding Actor in a Comedy Series. In addition, Downey was nominated for an Emmy for Outstanding Supporting Actor in a Comedy Series.
On November 23, 2004, Robert Downey Jr. released his debut album, “The Futurist,” on the Sony Classics label. The album, containing eight original songs, showcased his singing talents.
Downey and his wife, Susan, just formed Team Downey, a production company based at Warner Bros.
ZACH GALIFIANAKIS (Ethan Tremblay) moved to New York City after failing his last college course by one point at North Carolina State University. He got his start performing his brand of humor in the back of a hamburger joint in Times Square, graduating to doing stand-up at night in clubs and coffee houses in the city. While working as a bus boy, he got his first acting job on the NBC sitcom “Boston Common.”
Galifianakis' breakout role came in Todd Phillips' blockbuster hit “The Hangover,” the highest-grossing R-rated comedy of all time. He will reunite with Phillips and cast-mates Bradley Cooper, Ed Helms and Justin Bartha in “The Hangover 2,” slated for a 2011 release.
He also stars in “It's Kind of a Funny Story,” which premieres at the 2010 Toronto Film Festival and opens this fall. Recently, he also co-starred with Steve Carell and Paul Rudd in Jay Roach's comedy “Dinner for Schmucks.” Galifianakis' additional film credits include the Jerry Bruckheimer-produced hit “G-Force”; the indie feature “Youth in Revolt,” with Michael Cera, Steve Buscemi and Ray Liotta; a cameo in Jason Reitman's Oscar®- nominated film “Up in the Air”; “What Happens in Vegas,” with Cameron Diaz and Ashton Kutcher; and the critically acclaimed true-life drama “Into the Wild,” from director Sean Penn.
On the small screen, Galifianakis just started the second season of the HBO comedy “Bored to Death,” with Jason Schwartzman and Ted Danson. In addition, he hosted the critically acclaimed VH1 talk show “Late World with Zach,” and also wrote and starred in “Dog Bites Man” for Comedy Central.
Zach also has an internet talk show entitled “Between Two Ferns.” He has interviewed such guests as Steve Carell, Natalie Portman, Conan O'Brien and Charlize Theron.
When not filming, Galifianakis lives on his farm in North Carolina.
MICHELLE MONAGHAN (Sarah Highman) most recently starred to great critical acclaim in the independent film “Trucker,” which world premiered at the Tribeca Film Festival. She received the Best Actress Awards from the San Diego Film Critics Society, Ft. Lauderdale International Film Festival and Vail Film Festival. Monaghan also served as executive producer on the film.
She will next been seen in Sofia Coppola's “Somewhere,” “Source Code,” opposite Jake Gyllenhaal for director Duncan Jones and “Machine Gun Preacher,” opposite Gerard Butler for director Marc Forster.
Monaghan made her feature film debut in “Perfume,” directed by Michael Rymer, then played Richard Gere's secretary in Adrian Lyne's “Unfaithful.” She followed with supporting roles in Fred Schepisi's “It Runs in the Family,” with Michael Douglas; “Winter Solstice,” with Anthony LaPaglia; Paul Greengrass' “The Bourne Supremacy”; and Doug Liman's “Mr. & Mrs. Smith.”
It was her starring role in “Kiss Kiss, Bang Bang,” opposite Robert Downey Jr. and Val Kilmer, which brought Monaghan to the attention of audiences around the world. She also received rave reviews for her performance in the film, directed by Shane Black. Next, Monaghan joined Charlize Theron and Frances McDormand in “North Country” for director Niki Caro. She then starred in “Gone Baby Gone,” with Casey Affleck and Morgan Freeman; “The Heartbreak Kid,” opposite Ben Stiller; “Mission: Impossible III,” with Tom Cruise and Philip Seymour Hoffman for director J.J. Abrams; opposite Patrick Dempsey in the romantic comedy “Made of Honor”; and in D.J. Caruso's hit thriller “Eagle Eye,” alongside Shia LaBeouf.
JULIETTE LEWIS (Heidi) received Best Supporting Actress Oscar® and Golden Globe nominations for her layered performance as adolescent Danielle, opposite Robert De Niro, in Martin Scorsese's thriller “Cape Fear.”
She reunites with Todd Phillips on “Due Date,” having previously collaborated on “Old School” and “Starsky & Hutch.”
Lewis was most recently seen alongside Hilary Swank, Melissa Leo, Minnie Driver and Sam Rockwell in the independent drama “Conviction,” which premiered at the Toronto Film Festival and opened in October. Prior to that, Lewis appeared in the romantic comedy “The Switch,” alongside Jennifer Aniston, Jason Bateman and Patrick Wilson. She also starred alongside Orlando Bloom, Mark Ruffalo and Laura Linney in Ruffalo's directorial debut, “Sympathy for Delicious,” which took home the US Dramatic Special Jury Prize at this year's Sundance Film Festival. Last year, she played roller derby girl Dinah Might opposite Ellen Page, Marcia Gay Harden, Kristen Wiig, Jimmy Fallon and Eve in Drew Barrymore's directorial debut, “Whip It.”
Among Lewis' many other films are Gary Marshall's “The Other Sister”; “Evening Star,” with Shirley MacLaine; Quentin Tarantino's vampire tale “From Dusk Till Dawn,” opposite George Clooney; the sci-fi actioner “Strange Days,” alongside Ralph Fiennes and Angela Bassett; Nora Ephron's comedy “Mixed Nuts,” opposite Steve Martin and Adam Sandler; Oliver Stone's controversial “Natural Born Killers”; “What's Eating Gilbert Grape,” with Johnny Depp and Leonardo DiCaprio”; “Romeo Is Bleeding”; “Kalifornia”; Woody Allen's “Husbands and Wives”; “Crooked Hearts” and “National Lampoon's Christmas Vacation,” with Chevy Chase.
At 12, Lewis landed her first leading role in the Showtime miniseries “Home Fires.” At 16, her performance in the critically acclaimed longform “Too Young to Die?” led to film roles. Lewis' other television credits include Showtime's “My Louisiana Sky,” for which she received an Emmy Award nomination for Outstanding Performer in a Children's Special, and Mira Nair's HBO film “Hysterical Blindness,” alongside Uma Thurman and Gena Rowlands. She also had recurring roles in several series.
In addition to film and television, Lewis's music career continues to evolve. Her third studio album, Terra Incognito, was released in fall 2009.
JAMIE FOXX (Darryl) won an Academy Award® for Best Actor in 2005 for his portrayal of the legendary Ray Charles in the Taylor Hackford-directed biopic “Ray.” Foxx also won a Golden Globe Award, a Screen Actors Guild (SAG) Award®, a BAFTA Award, and an NAACP Image Award, as well as numerous critics' association awards, and shared in a SAG Award® nomination received by the film's ensemble cast.
Also in 2005, Foxx garnered Oscar®, Golden Globe Award, SAG Award®, BAFTA Award, and Image Award nominations, in the Best Supporting Actor category, for his work in Michael Mann's dramatic thriller “Collateral,” in which he starred with Tom Cruise. That same year, Foxx also earned Golden Globe Award and SAG Award® nominations and won an Image Award for Best Actor in a Television Movie for his portrayal of condemned gang member-turned-Nobel Peace Prize nominee Stan “Tookie” Williams in the FX Network movie “Redemption.”
Foxx has a number of films upcoming, including the Seth Gordon-directed comedy “Horrible Bosses”; F. Gary Gray's action thriller “Kane & Lynch,” opposite Bruce Willis; and the comedy “Skank Robbers,” which he also wrote and is producing. His recent film credits also include Garry Marshall's hit ensemble romantic comedy “Valentine's Day,” the thriller “Law Abiding Citizen,” Joe Wright's drama “The Soloist,” the thriller “The Kingdom” and Bill Condon's screen adaptation of the Broadway musical “Dreamgirls.” Foxx also executive produced the film “Life Support,” starring Queen Latifah, which closed the 2007 Sundance Film Festival.
Foxx's big-screen break came in 1999 when Oliver Stone cast him as a star quarterback in “Any Given Sunday.” In 2001, he co-starred with Will Smith in Michael Mann's acclaimed biopic “Ali.” His additional film credits include Michael Mann's “Miami Vice,” with Colin Farrell; Sam Mendes' Gulf War drama “Jarhead,” with Jake Gyllenhaal; “Stealth”; Antoine Fuqua's “Bait”; “Booty Call”; “The Truth about Cats & Dogs”; and “The Great White Hype.”
Foxx first came to fame as a comedian. After spending time on the comedy circuit, he joined Keenan Ivory Wayans, Jim Carrey, Damon Wayans and Tommy Davidson in the landmark Fox sketch comedy series “In Living Color.” In 1996, he launched his own series, “The Jamie Foxx Show,” which was one of the top-rated shows on The WB Network during its five-year run. Foxx also served as co-creator and executive producer, and directed several episodes. His first HBO Comedy Special, “Jamie Foxx: I Might Need Security,” premiered in February 2002.
In addition to his acting success, Foxx has also achieved a thriving music career. His first album, Unpredictable, topped the charts in late 2005 and early 2006 and spawned the NBC special “Unpredictable,” in which he performed with such artists as Mary J. Blige, Common, Snoop Dogg, The Game and Angie Stone. He has been nominated for eight Billboard Music Awards, three Grammy Awards, a Soul Train Music Award, and two American Music Awards, winning for Favorite Male Artist. Foxx's latest album, 2008's Intuition, debuted at number three on the Billboard 200 chart and spawned the chart-topping single “Blame It.” Foxx recently wrapped up his “Blame It Tour” in support of the album. On January 31, 2010 Jamie Foxx and T-Pain's “Blame It” won in the category of Best R%B performance by a duo/group with vocals at the 52nd Annual Grammy Awards.
ABOUT THE FILMMAKERS
TODD PHILLIPS (Director/Screenwriter/Producer) most recently directed and produced the 2009 blockbuster hit comedy “The Hangover,” starring Bradley Cooper, Ed Helms, Zach Galifianakis and Justin Bartha. The film became the highest grossing R-rated comedy of all time and won a Golden Globe for Best Motion Picture – Comedy or Musical. He is currently in production on the much-anticipated sequel, “The Hangover 2,” which reunites the cast.
Phillips started his career as a documentary filmmaker, inspired by humor taken from everyday reality and the belief that the truth is often stranger than fiction.
His first film, “Hated,” portrayed the revolting antics of extreme punk rocker G.G. Allin and became an instant underground sensation. It was released in the summer of 1994 and went on to become the highest grossing student film of its time.
He followed that in 1998 with “Frat House,” a documentary that he produced and directed for HBO's popular “America Undercover” series. “Frat House” premiered at the 1998 Sundance Film Festival and won the Grand Jury Prize for documentary features. The unflinching exposé of life in fraternities created a public controversy that eventually caused the film to be shelved by HBO. Phillips still hopes to release it in the future.
After meeting producer Ivan Reitman at Sundance, Phillips made his crossover to features with 2000's “Road Trip,” which established him as a new force in comedy. He simultaneously produced and directed “Bittersweet Motel,” a documentary on musical cult phenomenon Phish.
In one way or another, Phillips' films explore the nature of male relationships, and in doing so he has worked with some of Hollywood's biggest comedic actors, writing and directing such films as “Old School” in 2003, “Starsky & Hutch” in 2004, and “School for Scoundrels” in 2006. Phillips was nominated for a 2006 Academy Award® for Best Adapted Screenplay for his work on “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan.”
DAN GOLDBERG (Producer) marks his fifth film collaboration with Todd Phillips on “Due Date.” Previously, he served as producer on Phillips' “Old School,” “Road Trip,” “School for Scoundrels” and most recently, “The Hangover,” which won a Golden Globe Award for Best Motion Picture – Musical or Comedy and is the highest grossing R-rated comedy of all time. Goldberg will next produce “The Hangover 2” with Phillips, releasing in 2011.
Goldberg also produced the outrageous comedy “Howard Stern's Private Parts” and the animated comedy adventure “Space Jam,” starring Michael Jordan, and was an executive producer on Ivan Reitman's romantic adventure “Six Days Seven Nights,” starring Harrison Ford.
His screenwriting credits include the classic comedies “Stripes” and “Meatballs,” both of which he also produced; “Feds,” which he also directed; and the enduring cult favorite “Heavy Metal.”
ALAN R. COHEN & ALAN FREEDLAND (Screenwriters, Story) are best known as Emmy Award-winning writers from the Fox animated show “King of the Hill” and often referred to as “the Alans.”
Among numerous other writing and producing credits, the duo also co-created the Comedy Central cult hit “Kid Notorious,” starring Robert Evans. They are currently co- executive producers on Seth MacFarlane's “American Dad.”
Prior to “Due Date,” the Alans wrote feature scripts for various studios. They currently have several television and film projects in development, including the feature comedy “The Reunion,” for producer Brian Grazer.
A George Washington University graduate, Cohen originally hails from Pittsburgh and worked for several years as a reporter in The Baltimore Sun's Washington, D.C. bureau.
Freedland graduated from the University of Michigan. He grew up in the Detroit area and worked in advertising in Chicago.
ADAM SZTYKIEL (Screenwriter)'s most recent writing credit was the comedy “Made of Honor,” starring Patrick Dempsey and Michelle Monaghan.
He is currently working on a film adaptation of the best-selling memoir “The Game” by Neil Strauss, and has numerous other film and television projects in development.
Sztykiel is a graduate of the University of Southern California School of Cinematic Arts.
THOMAS TULL (Executive Producer), Chairman and CEO of Legendary Pictures, has achieved great success in the co-production and co-financing of event movies. Since its inception in 2004, Legendary Pictures has teamed with Warner Bros. Pictures on such hits as Bryan Singer's “Superman Returns”; Zack Snyder's “300” and “Watchmen”; and Christopher Nolan's “Batman Begins” and award-winning phenomenon “The Dark Knight,” which earned in excess of $1 billion worldwide.
More recently, this highly successful partnership produced Ben Affleck's “The Town”; Christopher Nolan's summer blockbuster “Inception”; the worldwide hit “Clash of the Titans”; Todd Phillips' “The Hangover,” which is the highest-grossing R-rated comedy of all time; and Spike Jonze's “Where the Wild Things Are.” Legendary's upcoming releases include Bryan Singer's “Jack the Giant Killer,” Todd Phillips' “The Hangover 2,” and Zack Snyder's “Sucker Punch.” Legendary is also developing a number of promising film projects in-house, including “Warcraft,” “Godzilla,” “Gravel,” “Paradise Lost,” and a sequel to “300.”
Before forming Legendary, Tull was President of The Convex Group, a media and entertainment holding company headquartered in Atlanta, on whose Board of Directors he also served.
SUSAN DOWNEY (Executive Producer) is a principal partner of Team Downey, the production company she formed with her husband, Robert Downey Jr. A prolific film producer, she has collaborated with some of the industry's most noted talents on films ranging from action blockbusters to dramas to comedies to horror thrillers.
Downey also produced the global hit “Sherlock Holmes,” which opened on Christmas Day 2009 and grossed more than $516 million worldwide. Directed by Guy Ritchie, the film starred Robert Downey Jr., Jude Law, Rachel McAdams and Mark Strong in an action adventure mystery that brought Arthur Conan Doyle's legendary detective to the big screen as never before. She is currently producing the sequel, which again stars Downey Jr. and Law under the direction of Ritchie.
Downey also recently served as an executive producer on the action hit “Iron Man 2,” which earned more than $620 million at the worldwide box office. The follow up to “Iron
Man” reunited director Jon Favreau with returning stars Robert Downey Jr. and Gwyneth Paltrow, and also starred Don Cheadle, Mickey Rourke and Scarlett Johansson.
Previously, Downey held the dual posts of Co-President of Dark Castle Entertainment and Executive Vice President of Production at Silver Pictures. Joining Silver Pictures in 1999, she oversaw the development and production of feature films released under both banners, including “Thir13en Ghosts” and “Swordfish.”
In 2002, she made her producing debut as a co-producer on “Ghost Ship” and then co- produced the 2003 release “Cradle 2 the Grave.” Downey went on to produce the features “Gothika” and “House of Wax,” and also served as an executive producer on the critically acclaimed comedic thriller “Kiss Kiss, Bang Bang.”
Downey later produced Neil Jordan's acclaimed psychological drama “The Brave One,” starring Jodie Foster and Terrence Howard; Guy Ritchie's widely praised crime comedy “RocknRolla,” starring Gerard Butler, Tom Wilkinson, Thandie Newton, Idris Elba, Chris Bridges and Jeremy Piven; the horror thriller “Orphan,” starring Vera Farmiga and Peter Sarsgaard; and the thriller “Whiteout,” starring Kate Beckinsale. She was also an executive producer on the Hughes brothers' post-apocalyptic drama “The Book of Eli,” starring Denzel Washington and Gary Oldman.
Prior to her tenure at Dark Castle and Silver Pictures, Downey worked on the hit films “Mortal Kombat” and “Mortal Kombat: Annihilation.”
Downey is a graduate of the University of Southern California's School of Cinema- Television.
SCOTT BUDNICK (Executive Producer) is Executive Vice President of Production for Green Hat Films, overseeing the development and production of a varied slate of projects including the upcoming “Project X,” set for release in 2011. He most recently executive produced the blockbuster hit “The Hangover,” which won a Golden Globe for Best Motion Picture – Musical or Comedy and is the highest grossing R-rated comedy of all time.
Budnick began his entertainment career in local casting while at Emory University in his hometown of Atlanta, Georgia. Upon graduation, he relocated to Los Angeles, serving as casting assistant on Todd Phillips' “Road Trip” and then as associate to the director on “Old School,” starring Vince Vaughn, Luke Wilson, Will Ferrell and Jeremy Piven. Budnick served associate producer on Phillips' following films, “Starsky & Hutch,” starring Owen Wilson and Ben Stiller and “All The King's Men,” starring Sean Penn and Jude Law, which Phillips executive produced; and was co-producer on “School for Scoundrels,” starring Billy Bob Thornton.
LAWRENCE SHER (Director of Photography) reunites with Todd Phillips on “Due Date,” having previously collaborated on the Golden Globe-winning blockbuster comedy “The Hangover.” His work will next be seen in Greg Mottola's sci-fi comedy “Paul,” with Jason Bateman and Seth Rogan, and David Frankel's comedy “The Big Year,” based on Mark Obmascik's book and starring Owen Wilson, both releasing in 2011.
Sher's other recent credits include “I Love You, Man,” “Trucker,” “The Promotion,” “Dan in Real Life,” “The Dukes of Hazzard” and “The Chumscrubber.”
He worked as director of photography on several smaller films and music videos earlier in his career, coming to the fore in 2001 with the award-winning independent film “Kissing Jessica Stein,” followed by director Zach Braff's “Garden State.”
Born and raised in New York City, Sher studied economics at Wesleyan University where, in his junior year, he turned an interest in still photography into a fascination with motion pictures. Upon graduation, he moved to Los Angeles and began his career as a camera assistant.
BILL BRZESKI (Production Designer) previously collaborated with Todd Phillips on the 2009 Golden Globe Award-winning blockbuster comedy “The Hangover,” for which he received an Art Director's Guild Award nomination for Excellence in Production Design. Brzeski re-teams again with Phillips for “The Hangover 2,” releasing in 2011.
Brzeski's other recent credits include “Flipped,” which reunited him with Rob Reiner, having previously served as production designer on Reiner's “The Bucket List”; and re- teaming with Rob Minkoff' on “The Forbidden Kingdom,” having previously worked on the director's groundbreaking CGI movie “Stuart Little” and its sequel, “Stuart Little 2.” Some of the designer's additional credits include “Deck the Halls,” “Blue Streak,” James L. Brooks' Oscar®-winning “As Good As It Gets” and “Matilda.”
Brzeski received his undergraduate degree from Miami University and his MFA in Design from New York University's Tisch School of the Arts. Originally interested in designing for the ballet and opera, he began his career in the theatre before moving to Los Angeles from New York City and designing more than 800 episodes of television series.
Brzeski also designs commercial spaces, most notably the award-winning Susina Bakery in Los Angeles.
His production design workshops at graduate and undergraduate levels have been hosted by New York University School of the Arts, Miami University, Clemson University and Loyola University Film School.
DEBRA NEIL-FISHER (Editor) re-teams with Todd Phillips on “Due Date,” having served as editor on his blockbuster hit “The Hangover,” the number one R-rated comedy of all time. The film won a Golden Globe for Best Motion Picture - Musical or Comedy and Fisher was honored with an Eddie Award by the American Cinema Editors for Best Edited Feature Film.
Among Neil-Fisher's other feature credits are the hit comedies “Baby Mama,” “Semi- Pro,” “Role Models,” “You, Me and Dupree,” “Without a Paddle,” “Saving Silverman,” and two hugely successful Austin Powers films, “Austin Powers: International Man of Mystery” and “Austin Powers: The Spy Who Shagged Me.” She has collaborated three times with director Donald Petrie on “Just My Luck,” “Welcome to Mooseport” and “How to Lose a Guy in 10 Days.” Her work also extends to other genres, including the dramas “Fried Green Tomatoes,” “The War” and “Up Close and Personal,” as well as the thrillers “Teaching Mrs. Tingle” and “Dr. Giggles.”
In 1991 Neil-Fisher won a CableACE Award for her work on TNT's telefilm “Heat Wave,” for director Kevin Hooks. Among her earlier television credits are “The Amy Fisher Story,” “The Case of the Hillside Strangler” and the TNT thriller “Breaking Point.”
LOUISE MINGENBACH (Costume Designer) marks her fifth project with director Todd Phillips on “Due Date,” a collaboration that began on the feature film “Starsky & Hutch,” followed by “School for Scoundrels” and the 2008 telefilm “The More Things Change...” In 2009, her designs were seen in Phillips' mega-blockbuster “The Hangover,” which won a Golden Globe for Best Motion Picture – Musical or Comedy and is the highest R-rated comedy of all time.
The upcoming actioner “Battleship,” based on the classic board game, reunites Mingenbach with Peter Berg, with whom she worked on “Hancock,” starring Will Smith.
Mingenbach also designed costumes for the 2009 action epic ““X-Men: Wolverine.” Previously, she earned a Saturn Award and a Costume Designers Guild Award nomination for her work on Bryan Singer's “X-Men.” She has teamed with Singer on four other films, including the 1995 thriller “The Usual Suspects,” “X2,” “Apt Pupil” and “Superman Returns,” as well as the pilot for “House M.D.”
Mingenbach's additional feature credits include the Farrelly Brothers' “The Heartbreak Kid,” “Spanglish,” “The Rundown,” “K-PAX,” “Gossip,” “Permanent Midnight,” “Nightwatch,” “The Spitfire Grill” and “One Night Stand.”
CHRISTOPHE BECK (Composer) previously collaborated with Todd Phillips on “The Hangover,” which won a Golden Globe for Best Motion Picture – Comedy or Musical.
He has composed scores for 50 feature films and nearly 20 television shows. With more than 15 years of experience, Beck has scored a wide array of projects, including such action films as “Percy Jackson & The Olympians: The Lightning Thief,” “The Sentinel” and “Elektra”; the comedies “Date Night,” “Charlie Bartlett,” “The Pink Panther” and “Bring It On”; and such dramas as “We Are Marshall,” “Under the Tuscan Sun” and “Year of the Dog”; as well as the Davis Guggenheim documentary, “Waiting For Superman.”
Beck most recently composed music for the comedies “Death at a Funeral,” starring Chris Rock, Martin Lawrence and Tracy Morgan; “Date Night,” with Steve Carell and Tina Fey; “Hot Tub Time Machine,” starring John Cusack; and Chris Columbus' fantasy adventure “Percy Jackson & The Olympians: The Lightning Thief.”
His additional credits include “All About Steve,” “The Greatest,” “What Happens in Vegas,” “Phoebe in Wonderland,” “The Seeker: The Dark is Rising,” “Saved!,” “American Wedding” and “Just Married.”
Beck began his scoring career on the Canadian television series “White Fang,” and from there went on to score three seasons of the hit television series “Buffy the Vampire Slayer,” for which he won an Emmy Award for Outstanding Music Composition.
