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19:31:02 02/09/12
Kung Fu Strike: The Warrior's Rise - Announcement Reveal Trailer (XBLA)
[LESS INFO] 0 VIEWS | ADDED 19:31:02 02/09/12
Kung Fu Strike: The Warrior's Rise - Announcement Reveal Trailer (XBLA)
We are on Facebook.com and Twitter.com Ready yourself, grasshopper, for Qooc Soft's arcade beat 'em up is coming to Xbox Live Arcade early in 2012. ABOUT THIS GAME ************************ Kung Fu Strike: The Warrior's Rise, a fast-paced beat-'em-up where the player can seamlessly blend powerful punches, high kicks and perfectly timed blocks to pull off combos that devastate hordes of enemies. Alongside the tight combat system and art style inspired by Chinese calligraphy, Kung Fu Strike features unlockable techniques that add to the repertoire of agony for your enemies, support characters that can be called in to help when your fists fail you and special equipment that can potentially turn the tide of battle. What's more, if you're too weak and puny to go it alone, there is local two-player co-op and versus mode to prove you are the martial arts maestro. Developed by Qooc Soft, Kung Fu Strike: The Warrior's Rise will arrive for Xbox 360 via Xbox LIVE Arcade. Kung Fu Strike: The Warrior's Rise ******************************************* GENRE: Action Fighting RELEASE DATE(S): + US: Early 2012 + EU: Early 2012 PLATFORM: XBLA EXCLUSIVELY ON: XBLA WEBSITE: kungfustrike.7sixty.com AVAILABLE @ AMAZON: n/a PUBLISHER: 7sixty DEVELOPER: Qooc Soft ESRB: RP for Rating Pending XboxViewTV on FACEBOOK *********************************** www.facebook.com XboxViewTV ON TWITTER ******************************* www.twitter.com From: XboxViewTV Views: 308 15 ratings Time: 01:20 More in Gaming
0 Views
17:51:36 02/07/12
While New England Cries, Gronkowski Dances
[LESS INFO] 0 VIEWS | ADDED 17:51:36 02/07/12
Welcome to RideThePine.com
Living in New England, a bunch of my friends and family members were so distraught after the New England Patriots loss to the New York Giants in Super Bowl 46 they were almost brought to tears. You know who wasn’t too upset. Rob Gronkowski . Ankle looks a 100% dude. Good thing you went all in on that hail mary...oh wait .
When I first wrote this episode, I didn’t want to come off as bitter that the New York Giants won the Super Bowl. I was even going to call Eli Manning elite. But the more I watch the highlights the more I can’t not be bitter. I can’t do it. Here is my only compliment for the Giants and Eli Manning. They don’t make mistakes, and when they do make mistakes they never pay for it. They never pay for it.
Lets look back through the timeline of New York Giants Super Bowl victories.
1990 NFC Championship Game against the San Francisco 49ers , they do the unthinkable and knock out Joe Montana . The Niners still dominated that game until an unbelievably rare Roger Craig fumble starts the Giants final drive which leads to a game winning field goal. The Super Bowl just a few days later, wide right by Scott Norwood. Giants are default Super Bowl Champions.
2007 NFC Championship game, Brett Favre makes one of the worst throws in football history throwing an interception in overtime that turns into a Giants field goal win. Super Bowl just a few days later, David Tyre’s helmet catch. Giants score touchdown, Default Super Bowl.
2012 NFC Championship game, two fumbled punt returns by 49ers Kyle Williams lead to Giants score and a trip to the Super Bowl. Now think back to all of the mistakes the Giants made in Super Bowl 46. Giants burn two timeouts early in the second half, because they can’t get their stuff together. Never comes back to hurt them. They fumble three times, but don’t lose possession on any. Wes Welker , who never drops a pass, dropped the game clincher.
Its like the whole Giants organization has a huge horseshoe up their ass. And to be clear, I’m not saying that the Patriots were the better team. Outside of a ten minute stretch when Tom Brady completed 16 straight passes, they played like poo.
The Giants were the better team but they never WIN Super Bowls, they just find ways to not lose Super Bowls and become champions by default.
And there is a difference.
The one thing you have to be impressed with is the class the Giants show in victory, right Brandon Jacobs .
Daddy, what’s decapitation?
Although Gisele Bundchen wasn’t much better after being taunted by Giants fans, yelling out that “my husband can’t fucking throw the ball and catch the ball at the same time.”
At least she was more upset than Gronk .
This episode of Ride The Pine is brought to you by Footlocker
Click here to save 10% off on Footlocker.com . Footlocker has great fan aparel from Tim Tebow shirts to Aaron Rodgers' jersey, to soccer and football cleats or anything for you athletic needs.
Use Footlocker Coupon AFALEXFL out checkout and save 15% off! For more discounts, coupons and promo codes check out Ride The Pine Deals .
For more on Ride The Pine, check out these sites.
0 Views
17:51:36 02/07/12
While New England Cries, Gronkowski Dances
[LESS INFO] 0 VIEWS | ADDED 17:51:36 02/07/12
Welcome to RideThePine.com
Living in New England, a bunch of my friends and family members were so distraught after the New England Patriots loss to the New York Giants in Super Bowl 46 they were almost brought to tears. You know who wasn’t too upset. Rob Gronkowski . Ankle looks a 100% dude. Good thing you went all in on that hail mary...oh wait .
When I first wrote this episode, I didn’t want to come off as bitter that the New York Giants won the Super Bowl. I was even going to call Eli Manning elite. But the more I watch the highlights the more I can’t not be bitter. I can’t do it. Here is my only compliment for the Giants and Eli Manning. They don’t make mistakes, and when they do make mistakes they never pay for it. They never pay for it.
Lets look back through the timeline of New York Giants Super Bowl victories.
1990 NFC Championship Game against the San Francisco 49ers , they do the unthinkable and knock out Joe Montana . The Niners still dominated that game until an unbelievably rare Roger Craig fumble starts the Giants final drive which leads to a game winning field goal. The Super Bowl just a few days later, wide right by Scott Norwood. Giants are default Super Bowl Champions.
2007 NFC Championship game, Brett Favre makes one of the worst throws in football history throwing an interception in overtime that turns into a Giants field goal win. Super Bowl just a few days later, David Tyre’s helmet catch. Giants score touchdown, Default Super Bowl.
2012 NFC Championship game, two fumbled punt returns by 49ers Kyle Williams lead to Giants score and a trip to the Super Bowl. Now think back to all of the mistakes the Giants made in Super Bowl 46. Giants burn two timeouts early in the second half, because they can’t get their stuff together. Never comes back to hurt them. They fumble three times, but don’t lose possession on any. Wes Welker , who never drops a pass, dropped the game clincher.
Its like the whole Giants organization has a huge horseshoe up their ass. And to be clear, I’m not saying that the Patriots were the better team. Outside of a ten minute stretch when Tom Brady completed 16 straight passes, they played like poo.
The Giants were the better team but they never WIN Super Bowls, they just find ways to not lose Super Bowls and become champions by default.
And there is a difference.
The one thing you have to be impressed with is the class the Giants show in victory, right Brandon Jacobs .
Daddy, what’s decapitation?
Although Gisele Bundchen wasn’t much better after being taunted by Giants fans, yelling out that “my husband can’t fucking throw the ball and catch the ball at the same time.”
At least she was more upset than Gronk .
This episode of Ride The Pine is brought to you by Footlocker
Click here to save 10% off on Footlocker.com . Footlocker has great fan aparel from Tim Tebow shirts to Aaron Rodgers' jersey, to soccer and football cleats or anything for you athletic needs.
Use Footlocker Coupon AFALEXFL out checkout and save 15% off! For more discounts, coupons and promo codes check out Ride The Pine Deals .
For more on Ride The Pine, check out these sites.
1 Views
23:00:00 12/18/11
Adam Sadowsky Engineers a Viral Music Video
[LESS INFO] 1 VIEWS | ADDED 23:00:00 12/18/11
What does it take to turn a vague, fanciful notion -- with a million specific requirements -- into a working reality? At TEDxUSC 2010, Adam Sadowsky shared a behind the scenes look at the inspiration, design, build, and operation of the celebrated Rube Goldberg Machine his team built for the OK Go music video, "This Too Shall Pass." During this talk, he reveals some of the insights he gained while building this machine, as well as what the experience taught him about approaching all of life's challenges -- big and small. Adam Sadowsky has been fascinated by the way things work since he was a child, taking apart the family phone at age 9. He applies that curiosity and love of technology as the President of Syyn Labs, a collective of artists who use technology and applied physics to create mind-bending, visually interesting, interactive experiences. Most recently, he and the Syyn Labs team were responsible for building the Rube Goldberg Machine featured in the highly acclaimed music video for OK Go, "This Too Shall Pass". An entrepreneur with experience in a broad range of industry sectors, Adam has been involved in the early stages with companies in software, product design, video games, genetics research and online auctions. Adam is also the COO of Mindshare.LA, a monthly event in Downtown LA fashioned after the TED conferences.
2 Views
17:30:23 11/25/11
Thank You - For the Occupation, For the Intensity, For Lettin' Me Be Myself Again
[LESS INFO] 2 VIEWS | ADDED 17:30:23 11/25/11
It's like the old-timers always said: Don't quit before the miracle happens.
While the Arab Spring showed that people can still accomplish the impossible, Our political debate was frozen in corporate cynicism. Now everything has changed. For the United States, spring came in autumn. Who says miracles don't happen?
Like a Prayer
A few months ago I prayed for something. Granted, it wasn't the kind of prayer that's sanctioned by any ecclesiastical authority. And, okay, maybe it wasn't exactly a "prayer." I guess the technical term for it would be "blog post." But trust me, it was a prayer.
I'd been asked to write something for the Fourth of July, and I wrote we have to fight a new war, a " war of independence from corporate politics ." To be honest, those words felt Utopian even as I wrote them. Still, I never doubted them. The words were born out of the desperate sense that so many of us shared, a sense that our society is collapsing. And that it will keep on collapsing unless we change the way we think.
I wasn't arguing for any particular policy or platform. "The problem isn't just with politicians, or even the system," I said then. "The problem is dependence itself."
Oh, come on. How starry-eyed can you get? Stop depending on politicians? Declare psychic and political independence from celebrity-driven politics and media-made leaders? I'd always considered myself a realist, but this was almost embarrassingly idealistic.
Except for the fact that it happened.
Passionate Intensity
Like so many others, I had grieved and raged over the lack of commitment displayed by good people. Cynics, robber barons, and American warlords are hard at work degrading - and downgrading - this country. In a strange set of parallels, we were reenacting the stories of the Third World countries we'd invaded. Like them, we were becoming a nation where servile or fearful politicians served a cynical oligarchy while the people's way of life died all around them.
Some might call it karma - or simply "payback."
But whatever you call it, the forces of hate and greed were running wild. The "two-party" system seemed to offer nothing in response except a) posturing, b) surrender, and c) a politics of compromise that seemed to amount to little more than ... well, see "a)" and "b)", above. Good people were fighting for better policies, and I tried to play my part. But too many of us focused on the prose of politics and not its poetry.
Meanwhile, too many politicians got lazy quoting Bill Clinton's hack line: Don't let the perfect be the enemy of the good. It can be, of course. But before our eyes, the "good" became the enemy of the "perfect" and the mediocre became the enemy of the good. Then the cynical became the enemy of the mediocre, and democracy began to die.
Meanwhile the other side gained its momentum with every passing month, fueled by a pseudo-populist movement ginned up by corporate-funded political hacks. A nation that had rejected the politics of greed and oligarchy at the ballot box was even more suffocated by it than before. No wonder so many people were uninspired, discouraged, despondent. Some people quoted William Butler Yeats:
The best lack all conviction while the worst are full of passionate intensity.
The good people who did burn with passionate intensity were in danger of turning the torch on themselves. " The game is over," wrote Chris Hedges . "We lost. The corporate state will continue its inexorable advance until two-thirds of the nation is locked into a desperate, permanent underclass."
As boom times came back to Wall Street, depression - emotional as well as economic - entombed the majority. But the suffering of the majority turned invisible inside the Beltway, as politicians debated deficits in a broken economy. It was like debating water conservation while the house burned down.
The Condition of Everything
Miles of commentary have been written about the Occupy movement. As the occupations gained steam, people criticized them for their lack of specific policy demands. But they were right not to issue specific demands. They were declaring independence from a frame of mind, a set of assumptions that led to passive acceptance of an unacceptable system.
And they had passionate intensity.
I've told this story before, but I'll tell it again: When OccupyDC marched down K Street, in the early days of the movement, a young security guard asked an older one what they were protesting. "I'm not sure," said the older man. "But I think they're objecting to ..." He circled his hands to indicate the environment around him. ".... the condition of everything. "
By objecting to the condition of everything, the Occupiers changed the political dialog in this country. By rejecting leaders and insisting on self-governance through General Assemblies, they taught us by example how to escape emotional dependence. Like William Butler Yeats, they understood that you can't distinguish the dancer from the dance.
One of the movement's most articulate and forceful advocates is Chris Hedges.
Recalling Democracy
The Wisconsin uprising had been going on for months, even in the dark days of July. The miracle of Wisconsin is that it's still going on. People there occupied their capitol to protest laws designed to break the middle class, laws written by corporate America's "ALEC" division. Then they mounted recall efforts against recently elected GOP State Senators, reducing their majority and draining resources from their coffers.
Now Gov. Walker is facing a recall. The struggle in Wisconsin isn't about "Democrats" against "Republicans." It's about resisting politicians that are wholly-owned subsidiaries of corporate America.
The people of Wisconsin showed the country how to resist. Now they're showing us how to persist.
And just this month, Ohio voters rejected an ALEC-inspired initiative to strip that state's workers of rights. Maine voters rejected a move to overturn election-day registration, another attempt to restrict the ability of lower-income citizens to vote. And Mississippi rejected a definition of prenatal rights so extreme that many anti-abortion advocates were disturbed by its implications for the rights, health, and safety of women.
Like I was saying: Miracles.
Radical Innocence
But elections aren't the point. They can be a reflection of the change we need, but they're not the change itself. The real changes are personal. "When I remake a song," said Yeats, "it is myself that I remake." The Rolling Stones said "It's the singer, not the song."
We misunderstood our own power. We were being distracted and manipulated by fear and anger. Our minds, our souls, were being manipulated by what the Native American poet and activist John Trudell calls "the mining of the essence." One of the reasons we were powerless is that we believed we were powerless. That's even true economically. "All money is a matter of belief," said Adam Smith.
We needed to push our fear and anger away to see the obvious truths all around us: The corporations rule our political process. That our democracy is dying. That Wall Street is filled with people who broke moral (and sometimes actual) laws and forced the rest of the country to pay the price. We had to see with fresh eyes.
"All hatred driven hence," wrote Yeats, "the soul recovers radical innocence."
Our political process has become too cynical. Even reasonable and very moderate ideas favored by a majority of Republican voters, as well as others - a breakup of five or six too-big-to-fail banks, a public option health plan that's only available to one American in twenty - were declared impossible.
We needed an infusion of radical innocence, the innocence of Thomas Paine and Thomas Jefferson, of Mahatma Gandhi and Martin Luther King and Nelson Mandela. We sometimes think of innocence as something childlike and weak. But innocence has great power. Innocence changes the world.
We needed that radical innocence,and we got it. What we do with it now is up to us.
Can we commit ourselves to moving forward, to persevering against all odds? The future's unwritten. But we know what's happening right now. The political dialog has shifted in a way that seemed impossible a few months ago. I don't know how you feel about that, but I know how I feel.
I feel thankful. So thankful, in fact, that I'm gonna let Sam & Dave tell you all about it. Take it away, fellas:
11 Views
17:55:32 10/18/11
Machinima Realm - 10/18/11 (Skyrim!! Magic The Gathering!! Pink Eye!!)
[LESS INFO] 11 VIEWS | ADDED 17:55:32 10/18/11
Machinima Realm - 10/18/11 (Skyrim!! Magic The Gathering!! Pink Eye!!)
www.youtube.com Click here to watch the previous episode of Realm! Machinima Realm - 10/18/11 (Skyrim!! Magic The Gathering!! Pink Eye!!) Today, Billy and Hundar briefly recount their adventures in the land of Skyrim and then Lindsey and Hundar jump into some Magic the Gathering: Duel of the Planeswalkers for PC. Lindsey plays a white deck against Tezzeret and we all learn a few things about being too cocky early in a match, attacking when you have the chance, and the downsides to dating a creeper planeswalker. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - This Realm video will show you: How to play Magic on Steam How to Skyrim Skyrim Skyrim How to date Tezzeret How to get pink eye - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Like Machinima Realm on Facebook! facebook.com Enlist in the Respawn Army! therespawnarmy.com FOR MORE MACHINIMA, GO TO www.youtube.com FOR MORE GAMEPLAY, GO TO: www.youtube.com FOR MORE SPORTS GAMEPLAY, GO TO: www.youtube.com FOR MORE MMO & RPG GAMEPLAY, GO TO: www.youtube.com FOR MORE TRAILERS, GO TO: www.youtube.com TAGS: yt:quality=high Machinima Realm Hundar Lindsey ZBOT Antoes Grit Ian Beckman Joel Kitty David RPG MMO Epic Win Fantasy "role play" Games Massively "How to" Multiplayer online PC "Science Fiction" Skyrim Vampires Dragon "Dark Elf" Argonian "Billy Shibley" "Inside Gaming Daily" "Magic The Gathering" "Duel of the Planeswalkers" Tezzeret Steam NPC Draugr "Artifact Creature ... From: MachinimaRealm Views: 8651 190 ratings Time: 11:46 More in Gaming
8 Views
17:23:13 10/14/11
Is A-Rod a Playoff Bust?
[LESS INFO] 8 VIEWS | ADDED 17:23:13 10/14/11
Image Source: (Danny Wild) BY TOM MARTIN You're watching multisource sports video news analysis from Newsy. It’s happening again: Alex Rodriguez still can’t buy a hit in the playoffs. As a result, his Yankees are on the verge of an early postseason exit. ESPN reports: “Alex Rodriguez struggling in the playoffs. That has happened before. You spoke with him tonight, what can you tell us about him, Is he pressing, what's going on?” “Alex said he felt like he had really good at-bats tonight and felt like he was seeing the ball. But as he said, when you don't get results in certain situations, it's not going to work out well for the team and certainly is something that has to change for the Yankees if they're going to turn around the series.” Rodriguez went 1 for 14 against Detroit in the 2006 playoffs -- relegating him to the eighth spot in the Yankee batting order. This year, he’s hitless -- oh for ten. A Yankees blogger on WasWatching says it’s time for another change. “If [Joe Girardi and Brian Cashman] had a pair, they would bench Alex Rodriguez … in Game 4 of the ALDS … But that’s never going to happen … It’s way too much money to send to the pine.” So they can’t bench him. He’s the highest paid player in the history of the sport. But as New York Magazine’s Joe DeLessio (dee-less-ee-o?) writes, there could be another issue: “There’s an added wrinkle to A-Rod’s struggles in this series: It’s not so much a question of whether he can hit in the clutch … but a question of whether he can physically hit at all right now… It’s a fact that he’s had issues with his knee and thumb this season.” Yankees fans have already answered A-Rod’s struggles; they booed him at home during Game 2. A writer for Yankees blog Pinstripe Alley says that’s unfair: “Derek Jeter's postseason [on-base percentage] of .269 since the start of the 2010 ALDS hasn't warranted a single boo? How about Mark Teixeira's meager [.168 batting average] in postseason games with the Yankees? No boos quite as extreme as the ones aimed at Alex Rodriguez.” Fans will be fans, but what do opponents think of A-Rod’s decline? According to the Wall Street Journal’s Daniel Barbarisi (bar-ba-ree-see?)-- in Game 3, Detroit nearly did the unthinkable: “Postgame, [Tigers manager Jim Leyland] admitted that he nearly walked [Robinson Cano] in order to pitch to Rodriguez—and the primary reasons he didn't do it had more to do with the rainy weather than any fear of the hitter formerly known as A-Rod.” Stick with Newsy for all your sports news analysis -- and don’t forget to follow us on Twitter @NewsyVideos! Transcript by Newsy.
7 Views
03:00:00 08/30/11
New Releases for August 30, 2011 (plus iOS Games)
[LESS INFO] 7 VIEWS | ADDED 03:00:00 08/30/11
We take a look at some recently released iOS games, and we also bring you the week's newest releases.
SHOW NOTES:
STORY 1:
To continue our ongoing mini-tribute to Mr jobs, we bring you some recently released iPad games that will give you bragging rights to those console gamers and PC addicts.
For those of you who like RPGs there’s Chaos Rings. For only 8 bucks you'll get a pretty deep story, multiple ending and some pretty awesome graphics.
For those more casual gamers there is the recently released Early Bird. Using simple swipe controls and addictive gameplay .. this one has angry birds written all over it.
And lastly for iPad owners who are jealous of artsy style games like Limbo, you now have Contre Jour. Am I saying that right?
Well however you say it looks awesome. Haunting graphics, cool touch interface, and interesting puzzles will get your friends saying .. whoooaahh i need me an iPad.
GAME #1:
OK on to console releases! First up is Madden NFL ‘12. This being the ONLY NFL game out there, literally, fans of video game football wait patiently each year to see how the new game stacks up in regards to new features.
Gamers will see a new system this year that uses the player’s momentum, as well as over 100 new tackle animations to make the hits that more realistic. Also, EA has added one of the most requested features: the ability to build their own playbook by alerting existing plays, or creating them from scratch. There are also new visual enhancements that includes player equipment that will realistically degrade over time, and will affect uniforms based on weather and field conditions.
Oh and the grass is supposed to look more realistic. So that’s pretty cool?
So if you are a football fan, and can’t wait to head out on the field, then this year’s version of Madden will have more for you to dig into..... Although if you ask us 2K would just kill it if given the chance. Plus doesn’t competition breed creativity? Just sayin.
GAME #2:
Next up is Bodycount. If you think that first person shooter games are too subtle, and need to be MORE over the top, then this game is for you.
There IS a story here, but really its secondary to the orgy of violence you will dish out. Buildings will explode, bodies will fly through the air, and blood will flow.
Wow. That sounds horrible, but KINDA fun. Is that wrong?
GAME #3:
And lastly, in keeping with out first story about Apple gaming, we have the first adventure pack for the recent Sims Medieval game: Pirates and Nobles. ALSO playable on your way cool Mac.
Two factions have arrived in your kingdom, and you’ll need to choose a side between the Pirates of Aarbyville or the Nobels of Tredony. Geesh hows a girl to decide?
Their conflict will create the Kingdom of Ambition, and you’ll be able to choose from many different player types. You can be a king or a blacksmith and they added in treasure hunting and even birds that can be named and trained.
Wait trainging birds? What is this the bird trainer expansion? and who wants to train a bird anyhow. i mean what can they really do for you? here bird go fetch me some money. see … they cant do that.
That will do it for your daily dose of Press Pause. Be sure to check out our live discussion show Next Tuesday over at twitch.tv/presspause at 12 pm pacific. You can also find fully edited episodes over at our Youtube channel: youtube.com/presspausemevio .
26 Views
23:00:00 04/20/11
Regulatory Problems in Babies Associated With Childhood Behavior Problems, Cognitive Development of Children Affected by Poverty, Too Much TV Time May Indicate Heart Disease (Video)
[LESS INFO] 26 VIEWS | ADDED 23:00:00 04/20/11
(April 20, 2011 - Insidermedicine)
From Germany - Infants that cry persistently may be more likely to have behavior problems later in childhood, according to a report published in the Archives of Disease in Childhood . Results of a meta analysis covering over 20 studies found that infants with regulatory problems--that is, persistent crying, sleeping or feeding--were much more likely to demonstrate behavioral problems in childhood.
From the UK - A child's cognitive development may be slowed by persistent poverty, according to a report published in the Journal of Epidemiology and Community Health. Researchers studied nearly 19,000 families for 5 years, and found that long term poverty, but not family instability, significantly affected the children's cognitive development.
And finally, from Australia - Research published in Arteriosclerosis, Thrombosis, and Vascular Biology finds that increased screen time in children is associated with an early risk factor for heart disease. Studying nearly 1500 children, researchers found that those who watched the most television and played the most video games had narrowed arteries in the back of their eye--a known predictor of cardiovascular disease
4 Views
16:30:00 12/31/10
Bill Belichick Press Conference - 12/31/2010
[LESS INFO] 4 VIEWS | ADDED 16:30:00 12/31/10
Patriots head coach Bill Belichick addresses the media during his press conference at Gillette Stadium on Friday, December 31, 2010. BB: An early Happy New Year to everybody. Hope the holidays have been good. Q: Can we expect a drop kick this weekend? If so, who would be the person to do that? BB: That's a good question. Maybe we will have tryouts this afternoon and see who can drop kick. I don't know if we have too many people that can drop kick. Doug [Flutie] was a real exception to that. He would get out there and bang them threw and after a while you didn't really think much of it. I haven't seen anybody do that in a while on the football field. Q: You don't practice it? BB: Sometimes you see guys fooling around. Doug would stand out there before practice and after practice and hit a couple. It would look pretty good and I would think, %lsquoMaybe he can do that,' but I haven't seen any of that. [Watching] offensive lineman or whoever throwing the ball around sometimes you just notice that. Or watching a guy punt or kick or something you say, %lsquoDid he do that at some other point in his career or whatever?' I can't say that I've seen any drop kicks since Doug. After Doug did it, a few guys within the next couple weeks would say, %lsquoOh I can do that.' Q: You have had a number of successful years in the last decade or so. How important is it to maintain momentum with the bye week coming up? BB: I don't know. I don't know. Each year is different and every game is different. We'll worry about the rest of the year when we get to the rest of the year, but right now we are just worried about this week. Q: I know you do what's in the best interest of the football team all the time, so how do you get to that spot? What do you evaluate to get there? BB: Well, part of it is individual players. Each individual player's situation is different: how long they play, what their health is, what they need, what the team needs, what our opponent is doing, what we ...
11 Views
21:23:18 11/23/10
Patch 4.0.3a and more
[LESS INFO] 11 VIEWS | ADDED 21:23:18 11/23/10
UPDATE: Title fixed. Sorry for the confusion. Grrr...
I didn't want to post anything about the new patch until I was absolutely sure Blizzard will release it this week. Now is time to speak about it since they already start "breaking" the US live realms.
This is the patch responsible for breaking the whole Azeroth. After this goes live the world wont be the same again. This is NOT Cataclysm yet. Most of the Cataclysm features are going to be added on December 7, when the new expansion will be launched.
A while ago a player compiled the features of this patch and Cataclysm and grouped them so we can know what we can do in 4.0.3a and what we can no until Cataclysm.
If somehow you have misses our Cataclysm reviews and our Cataclysm Exploration episodes you can still find them over here and read them while you download the patch and wait for your realm to go online.
Plus, do not forget to check out the Blizzard store . If you want to make a game present or you miss any wow expansion this is the moment to buy them: WoW $5, BC $5, WotLK $10... until Nov 30th.
What IS in:
* Portals in Dalaran Removed (you have trainers instead)
* New race-class combinations (except worgen/goblin)
* Race Changing to new class combinations (check the wowhead table for them)
* New Gnome/Troll starting areas
* Changes to existing zones (the world that you know it will change forever)
* New cata load screens, cinematic, music and login screen
* City Quartermasters, with rep tabards for championing
* Class balancing and bug fixes
* Druids, paladins, priests, and shaman will have their talent trees reset
* Experience required to gain levels 71 through 80 is being reduced by 20%
* New tamable hunter pets (monkey, fox, dog, and beetle) as well as new skins for existing pet classes. (check more on wow-petopia )
* A steam powered auctioneer, similar to the engineering only one in the Like Clockwork store, has been added next to the justice point vendors in Dalaran. They are now usable by all non-engineers.
* Some mounts other items are being removed (check this for details) (thanks WarcraftPets )
What IS NOT in this patch:
* Creating worgen/goblin characters
* Worgen/Goblin start zones
* Archeology profession
* Professions past 450 (Illustrious Grand Master)
* Guild leveling
* Guild achievements
* Eastern Kingdoms/Kalimdor flight skill
* New Zones (80+)
Official 4.0.3a Patch Notes
In the frigid wastes of Northrend, the final battle against the merciless Lich King ended in victory for Azeroth's defenders. Upon returning home, veterans of the unforgiving conflict against the Scourge were showered with praise for their valiant sacrifices, while the honorable dead were mourned. Yet as hope flared anew in the wake of the Lich King's fall, Azeroth's native elemental spirits grew confused and erratic, setting off a series of deadly natural disasters. Horde and Alliance leaders scrambled for clues about the troubling state of the world, but nothing could have prepared them for what was to come.
Without warning, the corrupted Dragon Aspect, Deathwing, erupted from the stone heart of Deepholm, the domain of earth within the Elemental Plane. Jagged fissures were torn across the earth, and monstrous waves pummeled coastal regions. From Thousand Needles to the Blasted Lands, the surface of Azeroth was reforged through violent upheavals. Now, the Horde and the Alliance must defend their homes against Deathwing and his minions, burdened by the unsettling fact that the world as they know it has changed…forever.
General
* Azeroth Shattered
* Deathwing's return has had an immeasurable impact throughout the Eastern Kingdoms and Kalimdor. Players will notice drastically altered terrain, thousands of new quests from levels 1-60, and updated level ranges for some zones to improve the questing flow.
* New Race/Class Combinations
* In the wake of a world on the brink of destruction, members of the Horde and Alliance have taken to new cultures and studies, mastering crafts previously foreign to them. Many existing playable races now have new class combinations. Check the official World of Warcraft: Cataclysm website for a breakdown of the new combinations.
* The World of Warcraft: Cataclysm cinematic trailer and login screen have been added to the game.
* Experience required to gain levels 71 through 80 has been reduced by 20%, which increases leveling rate by 25%.
* Many quests in zones on Eastern Kingdoms and Kalimdor have been removed from the game to make way for new adventures. These quests have been automatically removed from players' Quest Logs.
Classes: General
* Due to several talent revisions for select classes, druids, paladins, priests, and shaman have had their talent trees reset.
* The damage and healing done by players from levels 1-79 has been retuned, with the base points of almost all spells and abilities reduced. This was done to bring combat times at low levels to a more reasonable length. For most abilities that deal weapon damage, the weapon damage percent now rises per level until level 80, and starts at a lower percent.
* Healing Rain, Efflorescence, Holy Radiance, Holy Word: Sanctuary now have a diminished effect when healing more than 6 players at once.
* Mortal Strike, Furious Attacks, Wound Poison, Widow Venom, Permafrost, Improved Mind Blast, Monstrous Bite, and Legion Strike now reduce healing by 10%, down from 25%.
* Effects which are broken from taking too much damage (Fear, Frost Nova, Entangling Roots, etc.) now break automatically from about half as much damage taken as before.
Death Knight
* Death Pact now heals for 25% of maximum health, down from 40%.
* Death Strike now heals for 25% of damage taken in the last 5 seconds, down from 30%, and will heal for a minimum of 7% of maximum health, down from 10%. The tooltip may not yet be updated to reflect this change.
* Icebound Fortitude now provides 20% damage reduction, down from 30% (now 50%, down from 60% when talented), and has a 3-minute cooldown, up from 2 minutes.
* Talent Specializations
* Blood
* Rune Tap now heals for 10% of maximum health, down from 15%. The tooltip may not yet be updated to reflect this change.
* Glyphs
* Glyph of Rune Tap now heals for 5% of maximum health, down from 10%.
* Bug Fixes
* Frost Fever critical strikes now apply the correct amount of bonus damage.
* Horn of Winter will once again provide runic power when used while another Attack Power buff is already present on the death knight.
Druid
* Bear Form now provides 10% bonus health, down from 20%.
* Nourish no longer consumes Omen of Clarity.
* Rejuvenation has had its mana cost increased by 30%.
* Soothe now has a 1.5-second cast time.
* Swipe (Cat Form) can now be used even if the druid does not have a primary target selected.
* Thorns: beginner tooltip revised to no longer imply the spell could be kept up at all times. In addition, Thorns damage has been reduced by 60%.
* Talent Specializations
* Balance
* PvP set bonus redesigned. While not in an Eclipse state, critical attacks against the druid restore 5 Solar or 7 Lunar energy, whichever is more beneficial. This effect can only occur once every 6 seconds.
* Feral
* Brutal Impact now increases the mana cost of spells on the victim by 5/10% for 10 seconds, down from 15/30%.
* Leader of the Pack now heals for 4%, down from 8%.
* Survival Instincts now provides 50% damage reduction, down from 60%, and its cooldown has been lowered from 5 minutes to 3 minutes.
* Swipe (Bear Form) damage has been reduced by 20%.
* Vengeance is no longer cleared on exiting Bear Form, and instead is cleared upon entering Cat Form.
* Restoration
* Empowered Touch now procs from Healing Touch as well as Nourish.
* Heart of the Wild: the Bear Form Stamina bonus from this talent is now 2/4/6%, down from 3/7/10%.
* Malfurion’s Gift no longer has Fury of Stormrage as a prerequisite talent.
* Natural Shapeshifter now also increases Tree of Life duration by 5/10 seconds.
* Revitalize is now a 2-point talent, down from 3. It provides a 20% chance to return 1/2% of the druid's total mana on periodic heals from Lifebloom or Rejuvenation. This effect cannot occur more than once every 12 seconds.
* Swift Rejuvenation is now a 1-point talent, down from 2. The global cooldown reduction this talent provides to Rejuvenation remains 0.5 seconds.
* Symbiosis: heal-over-time spells (Rejuvenation, Regrowth, Lifebloom) can no longer benefit from this Mastery merely by refreshing themselves. A different heal-over-time spell must be present.
* Glyphs
* Glyph of Healing Touch now reduces the cooldown on Nature's Swiftness by 10 seconds after using Healing Touch, up from 5 seconds.
* Glyph of the Treant (new) allows druids to keep the original treant Tree of Life look... if they must. Must they?
* Bug Fixes
* Blood in the Water now refreshes Rip to the correct value.
* Flight Form now properly appears in the trainer window before Expert Riding is learned.
Hunter
* All special attacks based on weapon damage (except Scattershot) are now normalized.
* Scare Beast is now available at level 36, up from level 14, and has had its training cost updated.
* Deterrence is now available at level 78, up from level 36, and has had its training cost updated.
* Disengage is now available at level 14, down from level 78, and has had its training cost updated.
* Glyphs
* The level requirements for glyphs that affect Scare Beast, Deterrence, and Disengage have been altered to correspond with the level changes of these abilities.
* Bug Fixes
* The Core Hound pet ability Ancient Hysteria now places its own unique debuff on affected players that has the same effect as Sated and Exhaustion.
* Certain pets should no longer forget how to Dash.
Mage
* Arcane Blast now increases damage of the next Arcane Blast by 10% per stack, down from 20%, reduces cast time by 0.1 seconds per stack, and increases the mana cost by 150%, down from 175%. In addition, the base cast time of Arcane Blast has been lowered to 2.35 seconds.
* Arcane Explosion now costs 15% of base mana, down from 18%.
* Arcane Missiles damage has been increased by 5%.
* PvP set 4-piece bonus changed to increase damage by 5% instead of providing 5% Haste.
* Talent Specializations
* Arcane
* Arcane Barrage damage has been increased by 5% and its cooldown is now 4 seconds, down from 5 seconds.
* Arcane Concentration: Now has a much higher chance (13/27/40%) of entering a Clearcasting state. This effect cannot occur more than once every 15 seconds. The tooltip still states that there is a 3/6/10% chance, as it averages out to approximately the same chance with the internal cooldown applied.
* Arcane Specialization again increases arcane damage by 25%.
* Fire
* Blazing Speed no longer dispels movement slowing effects (it still dispels effects that totally stop movement).
* Fire Specialization again increases periodic fire damage effects by 25%.
* Molten Shields now also causes Blazing Speed to dispel movement slowing effects in addition to its current functionality.
* Pyroblast base mana cost is now 17%, down from 22%.
* Frost
* Deep Freeze: the cooldown on this ability is no longer reduced by Haste.
* Early Frost now reduces Frostbolt cast time by 0.3/0.6 seconds, down from 0.35/0.70 seconds.
* Fingers of Frost proc chance is now 7/14/20%, down from 10/20/30%.
* Frost Specialization again increases all damage against frozen target by 25%.
* Reactive Barrier is now triggered by any damage which causes the mage's health to be below 50%, even if the mage was already below 50%.
* Shatter now also increases Frostbolt damage by 10/20% against frozen targets.
* Shattered Barrier duration is now 2/4 seconds, down from 3/6 seconds.
* Glyphs
* Glyph of Evocation now heals for 40%, down from 60%.
* Glyph of Deep Freeze now increases damage done by Deep Freeze by 20% (no longer increases Frostbolt damage against Deep Frozen targets).
* Bug Fixes
* Improved Polymorph now correctly shares diminishing returns with controlled stuns.
Paladin
* Exorcism damage has been increased by approximately 50%.
* Holy Radiance now has reduced effectiveness on targets over 8 yards away from the paladin.
* Seal of Truth: periodic damage from Censure reduced by 25%.
* Talent Specializations
* Holy
* Beacon of Light now lasts 5 minutes, up from 60 seconds.
* Blessed Life: the effects of this talent cannot occur more than once every 8 seconds, up from every 2 seconds.
* Illuminated Healing absorb shield now absorbs 10% of the total amount healed, up from 8%. Each point of Mastery increases the effect by an additional 1.25%, up from 1%.
* Light of dawn has been redesigned. It no longer has an enforced cooldown, now costs Holy Power instead of mana, and scale in direct proportion to the amount of Holy Power used. In addition, it now heals the 5 most injured group targets (including self) in a 30-yard frontal cone.
* Protector of the Innocent no longer triggers from self-heals.
* Protection
* Divine Bulwark now grants 2.25% less block chance per point of Mastery, up from 2%.
* Holy shield no longer increases chance to block. Instead, it increases the amount blocked by an additional 10%, for a total of 40% damage blocked.
* Shield of the Righteous: Contribution of attack power halved (now 60% with full Holy Power) and base damage brought up so that a level 85 paladin in Heroic dungeon gear deals the same damage with no Vengeance, but Vengeance has less impact.
* Shield of the Templar now reduces the cooldown of Guardian of Ancient Kings by 40/80/120 seconds, down from 1/2/3 minutes.
* Wrath of the Lightbringer now increases Crusader Strike and Judgement damage by 50/100%, up from 30/60%.
* Retribution
* Crusade now also has a proc on kill to increase the healing done by the paladin's next Holy Light by 100/200/300% for 15 seconds, in addition to its current effects.
* Divine Storm: This ability has been redesigned. It no longer consumes Holy Power and instead costs 5% of base mana. It shares a cooldown with Crusader Strike and hits all nearby enemies for 60% weapon damage.
* Pursuit of Justice now has an 8-second internal cooldown, shared with Blessed Life.
* Rebuke no longer initiates Auto Attack.
* Sanctity of Battle now also causes Divine Storm’s cooldown to be reduced by Haste effects.
* Zealotry no longer consumes 3 Holy Power, but still requires 3 Holy Power to use.
* Glyphs
* Glyph of Beacon of Light now makes Beacon of Light free, instead of increasing the duration by 30 seconds.
* Glyph of Divinity has been redesigned. It now grants the paladin 10% of maximum mana upon use.
* Glyph of Light of Dawn now increases the total number of most injured targets healed by 1.
Priest
* Binding Heal now provides roughly double the amount of healing.
* Prayer of Healing has had its mana cost reduced by nearly 30%, and its base points and Spell Power coefficient increased by 20%.
* Talent Specializations
* Discipline
* Divine Aegis is now always triggered by Prayer of Healing, in addition to critical heals from all other spells.
* Grace has been increased to 4/8% stacking 3 times, up from 2/4% stacking.
* Inner Focus now works with Binding Heal, but no longer works with Heal.
* Power Word: Barrier has been redesigned. It no longer acts as a shared absorb shield. Instead, all affected friendly targets take 30% reduced damage for the duration of the shield, which is now 10 seconds, down from 25 seconds.
* Shadow
* Shadow Orbs: redesigned slightly. The Shadow Orbs continue to increase damage done by Mind Blast and Mind Spike and stack up to 3 times, but now when the priest casts Mind Blast or Mind Spike (consuming the orbs), the priest gains a 15-second duration buff (Empowered Shadow), which increases the damage done by all Shadow periodic spells. Empowered Shadow does not stack. Mastery increases the damage bonus of Shadow Orbs and Empowered Shadow by the same amount, 10% with the base 8 Mastery, and an additional 1.25% per Mastery.
* Vampiric Embrace healing to the caster has been reduced to 6%, down from 12% (there was a tooltip error which stated that the self-healing amount was 15%). Party members still receive 3% healing.
* Bug Fixes
* Dark Archangel now correctly increases the damage done of certain abilities by 4%.
Rogue
* Deadly Poison base damage and attack power coefficient have been increased by 30%.
* Recuperate now restores 2% of maximum health, down from 3%.
* Venomous Wounds base damage and attack power coefficient have been increased by 30%.
* Talent Specializations
* Combat
* Aggression now increases damage of Sinister Strike, Backstab, and Eviscerate by 7/14/20%, up from 5/10/15%.
* Bandit’s Guile now gives 10/20/30% increased damage as the rogue gains greater insight, up from 5/10/15%.
* Subtlety
* Executioner no longer affects Recuperate.
* Bug Fixes
* Bandit's Guile now applies more consistently to all of the abilities it's supposed to modify.
* Player guardians and temporary pets now stop attacking when a rogue uses Vanish, but city guards will not.
Shaman
* Chain Heal mana cost increased from 17% to 20% of base mana.
* Earthliving Weapon now only has 25% of its full chance to proc from a single hop of Chain Heal.
* Talent Specializations
* Elemental
* Elemental Reach now also increases Searing Totem range by 7/15 yards.
* Fulmination now has a Spell Alert visual associated with it, which appears when the shaman gets to 9 Lightning Shield charges.
Warlock
* Bane of Agony damage has been reduced by approximately 12%.
* Bane of Doom damage has been reduced by approximately 12%.
* Corruption damage has been reduced by approximately 12%.
* Death Coil damage has been reduced by approximately 12%.
* Drain Life damage has been reduced by approximately 12%.
* Drain Soul damage has been reduced by approximately 12%.
* Immolate damage has been reduced by approximately 12%.
* Incinerate damage has been reduced by approximately 12%.
* Rain of Fire damage has been increased to be more comparable to other area-of-effect abilities.
* Searing Pain damage has been reduced by approximately 12%.
* Seed of Corruption damage has been reduced to be more comparable to other area-of-effect abilities.
* Shadowbolt damage has been reduced by approximately 12%.
* Soul Fire damage has been reduced by approximately 12%.
* Talent Specializations
* Demonology
* Hand of Gul'dan damage has been reduced by approximately 12%.
* Destruction
* Chaos Bolt damage has been reduced by approximately 12%.
* Conflagrate damage has been reduced by approximately 12%.
* Shadowburn damage has been reduced by approximately 12%.
* Bug Fixes
* Drain Life: The Soulburn version of this was charging 17% of base mana instead of 12% like the normal version. This has been corrected.
Warrior
* Cleave damage has been reduced by approximately 17%.
* Execute damage has been reduced by approximately 17%.
* Heroic Strike damage has been reduced by approximately 17%.
* Overpower now does 125% weapon damage, down from 150%.
* Rend base damage has been reduced by approximately 17% and percent of weapon damage per tick lowered to 25%, from 30%.
* Shield Block now only increases block chance by 25%, but excess block that pushes avoidance plus block to over 100% is now converted to critical block chance.
* Slam now costs 15 rage, down from 20, and now does 125% weapon damage, down from 150%.
* Victory Rush damage has been reduced by approximately 17%.
* Whirlwind now does 65% weapon damage, down from 75%.
* Talent Specializations
* Arms
* Mortal Strike now does 150% weapon damage, down from 185%.
* Second Wind now heals for 2/5% of total health, down from 5/10%.
* Strikes of Opportunity now does 100% weapon damage, down from 115%.
* Fury
* Blood Craze now heals for 1/2/3% of total health, down from 2.5/5/7.5%.
* Bloodthirst damage has been reduced by approximately 17%.
* Raging Blow now does 110% weapon damage, down from 150%.
* Unshackled Fury now gains approximately 50% more benefit per point of Mastery.
* Protection
* Critical Block now grants an equal amount of block chance and critical block chance (1.5% each per point of Mastery).
* Devastate no longer provides bonus threat.
* Shield Slam: Contribution of attack power reduced to 60%, down from 75%, and base damage brought up so that a level 85 warrior in Heroic dungeon gear deals the same damage with no Vengeance, but Vengeance has less impact. In addition, Shield Slam no longer generates 30% bonus threat from its damage.
* Vigilance no longer provides 3% damage reduction, but still refreshes Taunt and provides Vengeance.
* Glyphs
* Glyph of Bloody Healing increases the healing received from Bloodthirst by 40%, down from 100%.
* Glyph of Intimidating Shout no longer causes targets to flee slowly, but roots them instead.
* Glyph of Shield Wall increases damage reduction to 60%, but increases the cooldown from 2 minutes to 4 minutes (talented).
* Bug Fixes
* Taste for Blood should once again proc on every other tick of Rend.
Achievements
* The Gladiator reward mounts now award Master Riding.
* What A Long, Strange Trip It's Been now awards Master Riding.
Items
* Mysterious Egg now takes only 3 days to turn into a Cracked Egg and has a slightly greater chance of awarding the Reins of the Green Proto-Drake.
* PvP set bonuses now provide 70 of stats such as Agility, Intellect, and Strength (down from 100) at 2 pieces, and 180 of these stats (down from 300) at 4 pieces.
Professions
* Perfect Gem Cutting and Mixology have been removed as trainable skills and are instead passives profession abilities. When players reach the appropriate skill levels, they will start getting bonuses from Mixology (they must know the recipe to gain the benefit) and/or cutting perfect gems (depending on their profession, of course).
* Alchemy
* Alchemy recipes now require Crystal Vials. Deathwing broke all the others because he’s mean (or because he didn’t want alchemists to carry 5 different vials around with them).
* Engineering
* The Engineering Tinkering enchants will no longer provide their bonus stats, but the activated effects will stack with other enchants. In 4.0.1 the stats were there (but hidden) and are now removed.
* Bug Fixes
* Several epic gem transmutes that were missing from the trainer have been added back.
Bug Fixes
* Certain area-of-effect abilities are no longer ignoring the area-of-effect damage cap.
* Mobs and NPCs should no longer appear to randomly gain or lose health during combat.
* Re-summoning pets in Battlegrounds should no longer count towards a player’s total healing done.
Known Issues
* Some tooltips may not reflect the most recent changes to certain abilities.
* Worgen hunters are currently unable to learn Dual Wield.
* The achievement Explore Tol Barad will not be possible to complete upon release of World of Warcraft: Cataclysm.
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01:38:35 11/19/10
Wintergrasp - Rated BGs - BestBuy DevChat
[LESS INFO] 17 VIEWS | ADDED 01:38:35 11/19/10
Wintergrasp queuing changed in 4.0.3
In patch 4.0.3, Wintergrasp queuing was changed so that each battle attempts to match the factions at a 1-to-1 ratio. This is the exact system being used for Tol Barad in Cataclysm. While we understand that this inflates queue times for factions which are vastly overpopulated on select realms, we prefer this system over using Tenacity. In addition, the new system at least encourages playing on a faction that's better balanced against the opposing faction. With the old Wintergrasp functionality, players were almost encouraged to be on an overpopulated faction, further contributing to realm balance issues.
That said, we'll review realms with significant faction imbalances on a case-by-case basis in the event we need to take further action.
Rated Battlegrounds FAQ
World of Warcraft: Cataclysm is just around the corner -- and that means Rated Battlegrounds will soon be available. While Rated Battlegrounds will only be open to level-85 characters, we know many of you may still have some questions about this new system, so we’ve put together an FAQ to help address some of the more common inquiries we've seen.
Q. What are Rated Battlegrounds?
A. Like the Arena system, Rated Battlegrounds are an alternative way for players to battle against opponents of similar skill levels and accrue rating to purchase powerful PvP gear. Instead of competing in a 2v2, 3v3, or 5v5 bracket, though, you'll be testing your mettle in familiar environments like Arathi Basin and Eye of the Storm, as well as all-new Battlegrounds set to release in Cataclysm.
Q. How are Rated Battlegrounds structured?
A. Rated Battlegrounds are broken down into two brackets: 10v10 and 15v15. These brackets rotate weekly and can be viewed in-game via the calendar by activating the Battleground holiday filter.
Q. What Battlegrounds are eligible for Rated Battleground matches?
A. Warsong Gulch, Arathi Basin, Eye of the Storm, Strand of the Ancients, Battle for Gilneas, and Twin Peaks.
Q. What happened to the 25v25 bracket?
A. We decided to remove this bracket. We don't feel it's feasible to ask players to coordinate a group of 25 players for Rated Battlegrounds. If any player happens to drop group just before a match begins, the raid group would not be able to enter the battle. We anticipate most players or guilds will stick with fairly dedicated 10-player groups, and making the jump to 15-player groups shouldn't be too difficult.
Q. How can I queue for a Rated Battleground?
A. Before entering the queue, you must first create a raid with the full number of players required for the weekly bracket (10 or 15). Any level-85 player on your realm and of your faction may participate in the battle regardless of guild association.
Once you have a raid of the appropriate size, simply open up the PvP window, click on the Conquest tab, highlight "Rated Battleground," and then click "Join Battle."
Q. Can I queue up solo and just be matched with a Rated Battleground team?
A. No. You will need to first join a raid of the appropriate size and level before you can queue up for a Rated Battleground. Individual queuing will not be available for Rated Battlegrounds.
Q. Do all players in the raid group have to be from the same guild in order to queue for a Rated Battleground?
A. No. So long as the raid group size matches the weekly bracket and is comprised of level-85 players, you can queue up for a Rated Battleground no matter what guild you are in. Guild membership has no effect on the formation of Battleground teams.
Winning a Rated Battleground with a team composed of at least 80% guild members, however, will result in the additional benefit of guild experience gain for that guild.
Q. How can I tell if my Rated Battleground team meets the minimum guild requirement?
A. If you join a Rated Battleground with the minimum number of required guild members, a special guild banner will appear in the upper-left corner of the in-game mini-map. This will let you know if you are eligible for the bonus guild experience.
Q. What are the normal benefits of winning a Rated Battleground?
A. When you win a Rated Battleground, you will be rewarded Conquest points, up to your weekly cap. Weekly caps are individual for each player and are based on your highest single PvP rating from the previous week (the cap resets on Tuesdays). This rating can be derived from your 2v2, 3v3, or 5v5 Arena rating or your Rated Battleground rating.
Q. What Rated Battleground rating do players start out with?
A. Players start at zero Rated Battleground rating and progress upward from there. If you lose a battle, your Rated Battleground rating will only be reduced if that rating is currently higher than your Match Making Value (MMV). For the most part, a rating only goes up.
Q. What’s MMV?
A. Match Making Value (or MMV for short) is our best measure of an individual player's skill. MMV is the skill rating per format (2v2, 3v3, 5v5, Battleground) and per character that is used for matchmaking. It exists to help the matchmaking system create great matches as quickly as possible for all players. It's generally not a rating we show, with the exception of an average MMV for Arena teams.
Q. Will my MMV go down in the event of a Rated Battleground loss?
A. Yes; however, unlike Arenas, all players in a Rated Battleground team will win or lose the same amount of Rated Battleground rating per match depending on its outcome.
Q. Does MMV for Rated Battlegrounds function the same as it does in Arenas (i.e. does it go up more when you beat a higher-rated team, and go down more when you lose to a lower-rated team)?
A. Yes. Your MMV will go up faster if you defeat a Rated Battleground team with a higher average MMV.
Q. What’s the plan to prevent your Rated Battleground rating from skyrocketing at high win ratios? If your rating only goes down when it is above your MMV, it seems that ratings will just be high on average (compared to Arena).
A. If your Rated Battleground rating gets inflated much beyond your MMV, you’ll only receive a minimal amount of points when you win. Similarly, you’ll lose many more points after a defeat, until your Rated Battleground rating gets back in line with your MMV. This will prevent inflation.
Q. Can consumables and engineering items be used in Rated Battlegrounds?
A.Yes, but they will follow the same rules and restrictions as Arenas.
Q. Will Rated Battleground teams only be matched against other teams in their Battlegroup?
A. No. Rated Battlegrounds will be region-wide, meaning that when you queue for a Rated Battleground, you will have the opportunity to be matched against a team from any of our North American World of Warcraft realms.
Q. Are there any plans to reward players with the highest Rated Battleground rating, similar to Arenas?
A. Epic ground mounts will be rewarded at the end of each season to the top 0.5% of players according to Rated Battleground rating. Titles are also available as you gain rating in the system. The titles are rewarded directly from achievements earned from gaining the required rating.
Developer Chat Hosted by Best Buy (transcript)
Will the heirloom items scale to 85?
The current plan is to have heirloom items stop at level 80 at the moment.
I was wondering what new and exciting mounts there will be and what your favorite so far is?
Not surprisingly there are all kinds of new mounts, we have spectral wolf/horse mounts, a dark phoenix, a camel, the new alchemy mount that turns you into a drake can ride, among others. Also a scorpion for the horde and a lion for the alliance. My favorite has to be the camel though... i mean really, who doesn't want to be a camel jockey?!
Has Blizzard considered adding a "Tabards Tab" to the UI, so that tabard collectors can switch out tabards more effectively without having to take up bank and bag space? --Thanks! Deathunholy of Galakrond
We have talked about adding a tabard tab. We've talked about doing a closet tab to handle it. It isn't something we are adding for Cataclysm though.
Will it be as long of a wait to fight Deathwing as it was for Lich King?
Hopefully not, we definitely have a goal to get our content patches out more quickly than we have in the past, without sacrificing quality of course, we plan for deathwing to be the most amazing encounter we've ever made! =]
Are there any plans to potentially add queueing to the rated battlegrounds instead of it having to be a pre-made raid team? I was really excited when I first heard about this feature, but after reading the FAQ i was a bit disappointed with that design.
We're currently looking into the possibility of having players in the honor battleground queue be able to be called to action by groups that aren't quite full, but we're going to see how the current queue'ing works out first so, that isn't something that would be available just yet
Will you allow players to fill their quest log with say, 25 dailies, and then turn them in right after Midnight on December 7th to get a quick boost towards 85? This is how it worked in the beta, but some players are confused on whether it will work on Live. Thanks!
Regarding 25 daily quests to turn in when the expansion goes live, this is something players have been able to do for the last 2 expansions and we aren't talking about changing it now.
I understand the decision from an economic perspective but I was wondering if the deveopers were disappointed in the decision to allow race changes immediately following the release of the expansion.
Regarding allowing race/faction change on day one. Actually this wasn't an economic decision at all. This was a decision that the leadership team made. Our priority as a dev team is to allow players to play the game with their friends, the way they want too. We also talked about the fact that this is a week one problem. So we made the decision not to restrict anything.
Will Darnasus be re built to be a real tree or will it always look like a dead stump with trees at the top?
...but now that Deathwing is doing his thing it makes much more sense than it used to! ;]
Deathwing hates trees.
A lot of players I know are trying to plan out what characters to roll for the new expansion, and the big question is: Will there be ANY new realms tagging along with the release of Cataclysm? Some point to low pop realms as a reason against, but surely with the redux'd 1-60 experience and the droves of returning players desiring clean slates, there has never been a better time for a fresh realm or two?
We haven't decided exactly what the new realm decisions are yet, but we open new realms when there is player demand for them. One thing we can't do is plan all realms for day one. The goal is for realms to have good concurrency so everyone has a great game/matchmaking experience.
Could you comment on the plan for raids in Cataclysm? If i remember it was said that there would be smaller raids in cata but more of them. Would that mean like two small raids per patch or more patches in total?
The idea is that we'll have more raid environments, but fewer bosses in each environment, but a similar total number of raid bosses overall... if that makes sense. =] so, for cataclysm launch we have the skywall environment, the twilight bastion environment, and blackwing descent, versus having almost all the bosses in one environment like we did with naxrammas.
With the changes to the game environment itself, what new computer requirements will be optimal to run the game smoothly?
One of the things that is really important to us is a great gaming experience regardless of your hardware. While the system requirements do go up over time, we do want the experience on slower machines to be great. We do this by trying to add a lot of graphical options to allow players to control the experience from "runs fast" all the way to "looks great".
Will there be more than one Legendary weapon in Cata? Will there be a Caster DPS legendary? Any info or plans would be awesome =) Thanks!
It's likely there will be more than one legendary weapon, although it's too early to say for sure. We do, however, have a plan to do a caster dps staff soon.
Where did Uldum come from?
Egypt ;]
The idea with Uldum is that it has always been there, cloaked from the eyes of the players. The emergence of Deathwing has damaged some of the technology that kept it hidden. There is a story in the zone that explains this and what has been happening in the player absence.
With resource systems now broadened to include focus, rage, energy, and runic power as well as mana, and there being conditionals like enrages, holy power, combo points and runes, will classes that just use mana be getting similar treatment or remaining as they are?
Really that decision is made on a class-by-class, talent tree-by-tree basis. If we feel like the talent spec in question needs a broader resource management then we do it, but we don't like to unnecessarily complicate a spec's resource management if it isn't absolutely necessary.
Why is it that we are not able to use Archaeology before the expansion? I thought it was really cool how you guys released Inscription last time and would love to have the opportunity to level it before the expansion drops.
Using archeology before the expansion was something we talked about, but ended up adding everything about the profession to the "post sundered" world. Thus, you won't be able to use archeology before the sundering happens.
The first tier of Cataclysm raiding has 3 separate instances to tackle. Are you guys planning on keeping with the Burning Crusade model (SSC/TK, BT/Hyjal) and having multiple instances per raid tier? Will Deathwing have to share the spotlight with some other instance?
We'll evaluate that on a tier by tier basis. When we have awesome ideas that we can successfully make happen we'll do multiple environments, but it won't necessarily always be the case. We do have a super cool idea for the deathwing tier though... ...or at least so we hope. =]
What happened with the Worgen district in Stormwind?
We decided it didn't really fit very well, it was looking kind of awkwardly forced into the city. Plus deathwing would have destroyed it anyways.
As the world of Azeroth is changing I was wondering if the Death Knight zone will stay the same or will it also be affected by the cataclysm?
The death knight zone doesn't have any changes for Cataclysm.
I have been confused from the different posts for tier gear. Will there be three levels within each tier still or just heroic and normal and in either case will u just be getting them with points or will u still have to get certain things off drops off certain bosses to get the higher more heroic version of the tier gear?
There is still just normal and heroic difficulty for the raid and dungeon content, and the heroic gear has a higher item level than the corresponding normal gear
Do you feel faction imbalance is a problem at the moment? My queue is around 10-15 min at prime time as a member of the Horde and I know this is the case on at least two of the battlegroups. If so, do you think Worgen will fix the problem? And if they do not, will free faction changes ever be a possibility in the future on battlegroups or servers with a major problem?
We are working on some technology to further combine the PVP queues at server sites. This has been going on behind the scenes for a few weeks now in preparation for Cataclysm. Queue time is one of those things that gets a lot of attention and time, but will change significantly post Cata. Really good question.
What would you say was the hardest and/or easiest parts of developing this expansion? After all, many are saying this is the best expansion to date... So, what was the biggest challenge/easiest feat in creating it?
There have been huge challanges with this expansion, unlike any we've seen in the other two expansions. The scale of Cataclyms is huge for us, and something we didn't really expect when we started development. But we certainly feel like the effort has been worth it, and feel it's our best expansion so far.
Why does it seem the scorpion guild mount doesn't have a guild flag where the lion does? I was hoping to see Hordes of scorpions from our guild walking around with our tabard hanging from the tail like a flag behind them.
When riding a scorpion mount, your character displays holding a large standard with your guild symbol on it.
Why did you decide to make 310% mount speed purchasable in 4.0? It's a huge price for such a tiny speed upgrade, and used to work well as a just-above-vanity perk for people who completed the toughest achievements.
The primary reason was to equalize the awesome vanity mounts players had, and change the mechanic to one where you used the mount you were most excited about using. We wanted players to be able to see the mount players want, without considering the speed differential as a factor.
Will you allow players to change their login screen? I'd love to be able to use the Classic login screen, the unreleased one that was shown at Blizzcon, or perhaps a login screen of a previous expansion.
Players are not able to change their login screen.
How would a person get a Guild Mount? Would it be guild rep? If so how would that be calculated or obtained?
Once your guild gets to a high enough level and unlocks the guild mount, any player in the guild with a high enough guild reputation is able to buy the mount.
Will heirloom items work for goblins and worgens leveling from 1-80 at release?
Heirloom items will work perfectly for Worgen and Goblin characters! Enjoy!
Has there been any discussion of changing the heirloom items to true "Bind on Account" instead of the bind on server limitation that it has currently?
That is something we would like to do. Currently the servers mail carriers refuse to work together, and haven't worked out the economic terms from transferring mail from one server to another. One day we hope to resolve the union issues.
Will the option ever be available to change ones class, contingent upon what's currently available to the race restrictions at the time?
Never say never, but we don't currently have plans to do that.
There's any through about making account wise achievement, like Starcraft ones? It a reason for many players to not reroll/change mains since its look like a lot of work wasted when you switch your main char. Even changing to another char to help with one fight look a bit wrong now, if you are after achievements.
We do have plans to solve this problem, as it is limiting people from re-rolling for sure. This is something we want to solve, but don't have a good solution on how to do it at the moment.
Was there anything you guys regret not being able to include at launch? Possibly something that didn't have enough polish to it that me way see in the future? (You don't need to mention the Dance Studio at this point, really, it's okay)
Well... there is the dance studio. ;] There are of course always things we'd hoped to get into any patch/expansion that get pushed out until later. One example would be the idea to have a built-in atlas that details every encounter in each dungeon/raid. We're not super happy about the fact that the first time anyone encounters a new boss, the only way to learn about it (other than looking up strategies on the web) is to charge in and die a lot.
We'd love to give players some idea of what they're about to fight before they engage the boss. =]
Do honor points and Badges roll over into CATA, or do they reset to zero?
Yes, honor points and justice points carry over into cataclysm. Stock up now!
Is there any talks of maybe some faction cooperative campaigns? Since the cataclysm is threatening to destroy all life of azeroth, to me a logical response from the heroes of azeroth would be to set aside their differences and be able to work together in a raid. An Idea to maybe lessen the frequency of such groups is make the raid difficulty increase by choosing to work with the other faction, a sort of Heroic mode. Possibly even dual faction specific raids. Has there been any talks of such poss...
This is a common request, but not something we are looking to do. While there is a singular main bad guy in this expansion, the Horde and Alliance have their own unique challenges and agendas, and typically don't look to team up. After all it's the World of Warcraft, not the World of Peacecraft.
When designing expansions and content patches, do you have a list of new features to choose from that are planned out in advance or is there more of a brain storm session?
The feature set for each patch is determined by a combination of doing things (or finishing things) that we've been wanting to do for a while, along with completely new ideas that emerge as a result of the immediate needs of the game
The primary things you won't be able to do if you don't have Cataclysm are create a new Goblin/Worgen, level to 85, and fly in the orld world.
We like to stay as flexible as possible, so it's important to us to make sure that we aren't "over planned" into the future even though the real needs players have are changing
With the previous two expansions, the new content was actually on other continents, so if you didn't have the expansion, you just couldn't visit the continent. Since Cata is largely reworking of old-world content, however, how do you differentiate between someone with or without the xpac? What kinds of things will and won't be available to players don't have the upgrade?
See my answer above!
Will the 80 to 85 experience be closer to the 18hr mark or the 5 day mark that was 70-80?
That totally depends on the player to be honest, you'd be amazed by the differences in play patterns. That being said, somebody usually finds a way to level up very quickly.
What new feature(s) in WoW: Cataclysm are you guys most proud of?
I would have to say the 1-60 revamp, it's a ton of fun to play through the zones and an incredible amount of new content.
I'm most happy with the new Worgen and Goblin starting experiences. I think they are the best starting experience we've ever done, and that includes the death knight.
I have is why not have this latest expansion as a new territory like a Southrend similar to Northrend or a Moon body like Outlands instead of destroying Azeroth and Kalimdor? Were there limitations to expanding outwards or was this just to facelift the original game?
We make decisions like this on a case by case basis.. again depending on the needs of the game. In the case of Cataclysm, the world was due in for an overhaul, and we wanted to make everything fly-able, so it was important to flesh out any areas that were originally unfinished.
Can you clarify and confirm what will be available to players when 4.0.3a hits and what will be unavailable until 7th Dec?
4.0.3a will be the patch that actually causes the world to shatter and change forever. At that point you will be able to experience the new 1-60 leveling experience, as well as the new race/class combinations.
Is there an alternative mount for worgens that other races can ride
Worgen can ride the other mounts in the game, if that's what you're asking. They're not limited to their feral run.
With the level 1-80 Heirloom items, when Cataclysm is released will the xp gain work while leveling until you hit level 81? Or will XP gain be disabled for those on release?
They will not. Heirlooms stop granting their XP bonus at level 80. Not level 80.999999.
Will achievement points ever be able to be used to purchase any perks?
We have no plans to allow this. Achievements are a badge of honor only.
Druid
Is the Moonkin form for troll and worgen on the beta and ptr the final form or is it just a placeholder?
Final!
Mage
Right now, up to 50% of Ignite damage disappears due to the technical limitations of spells critting within certain timeframes. This has implications for Mage dps and the value of Mastery as a stat. Is overall damage being balanced to compensate and can we expect a solution in the near future?
We're resolving that by rolling up any "lost" ignite damage into the next ignite that overwrote it
Warlock
Are there any plans for a new Lock mount? I would love to see a possible flying mount for Locks..
One of the things we look at with mounts is broad appeal. While we do specific class mounts from time to time, most of the time we look to have mounts that all classes can use.
Warrior
Is Hit rating intended to tramp all other stats but Str for Fury till the 27% hardcap? Seems excessive
Generally speaking, we do balance hit rating to be the "best" stat until you're at the hit rating cap
9 Views
06:27:26 11/09/10
Is God A Lie or Dead?
[LESS INFO] 9 VIEWS | ADDED 06:27:26 11/09/10
Religious fanatics gathered at the corner of S. Congress Ave. and Oltorf St. to proselytize religious lies. Was man made by God in his image or has man made God in our ignorance and weakness? Atheist pedestrians engaged in an open debate about sin, God and the question of how natural beings, such as humans, can't understand the supernatural realm. Also mentioned was the question of where one seeks forgiveness as a way to overcome sins, God or inner self? ; One of the atheists argued that God was not necessary and is actually a distraction from solving problems.
Friedrich Nietzsche is notable for having declared that God is dead and for having written several of his works in the presumption that man must find a new mode of being given the demise of God. Perhaps the most interesting quote on this theme appears in his The Gay Science ( aka Joyous Wisdom). A fairly full version of this key quote is set out immediately below:
Have you not heard of that madman who lit a lantern in the bright morning hours, ran to the market-place, and cried incessantly: "I am looking for God! I am looking for God!" As many of those who did not believe in God were standing together there, he excited considerable laughter. Have you lost him, then? said one. Did he lose his way like a child? said another. Or is he hiding? Is he afraid of us? Has he gone on a voyage? or emigrated? Thus they shouted and laughed. The madman sprang into their midst and pierced them with his glances.
"Where has God gone?" he cried. "I shall tell you. We have killed him - you and I. We are his murderers. But how have we done this? How were we able to drink up the sea? Who gave us the sponge to wipe away the entire horizon? What did we do when we unchained the earth from its sun? Whither is it moving now? Whither are we moving now? Away from all suns? Are we not perpetually falling? Backward, sideward, forward, in all directions? Is there any up or down left? Are we not straying as through an infinite nothing? Do we not feel the breath of empty space? Has it not become colder? Is it not more and more night coming on all the time? Must not lanterns be lit in the morning? Do we not hear anything yet of the noise of the gravediggers who are burying God? Do we not smell anything yet of God's decomposition? Gods too decompose. God is dead. God remains dead. And we have killed him. How shall we, murderers of all murderers, console ourselves? That which was the holiest and mightiest of all that the world has yet possessed has bled to death under our knives. Who will wipe this blood off us? With what water could we purify ourselves? What festivals of atonement, what sacred games shall we need to invent? Is not the greatness of this deed too great for us? Must we not ourselves become gods simply to be worthy of it? There has never been a greater deed; and whosoever shall be born after us - for the sake of this deed he shall be part of a higher history than all history hitherto."
Here the madman fell silent and again regarded his listeners; and they too were silent and stared at him in astonishment. At last he threw his lantern to the ground, and it broke and went out. "I have come too early," he said then; "my time has not come yet. The tremendous event is still on its way, still travelling - it has not yet reached the ears of men. Lightning and thunder require time, the light of the stars requires time, deeds require time even after they are done, before they can be seen and heard. This deed is still more distant from them than the distant stars - and yet they have done it themselves."
It has been further related that on that same day the madman entered divers churches and there sang a requiem. Led out and quietened, he is said to have retorted each time: "what are these churches now if they are not the tombs and sepulchres of God?"
This is a zgraphix production.
Produced by Jeff Zavala
http://zgraphix.org
21 Views
01:33:49 11/03/10
Due Date Starring Robert Downey Jr. and Zach Galifian
[LESS INFO] 21 VIEWS | ADDED 01:33:49 11/03/10
Due Date Starring Robert Downey Jr. and Zach Galifianakis This 1sr Look brought to you by Stevn Samblis www.icPlaces.com
THE IDEA
From director Todd Phillips, “Due Date” stars Robert Downey Jr. and Zach Galifianakis as two unlikely companions thrown together on a road trip that turns out to be as life-changing as it is outrageous.
Downey plays Peter Highman, an expectant first-time father whose wife's due date is only days away. As he hurries to catch a flight home to Los Angeles from Atlanta to be at her side for the birth, his best intentions go completely awry when a chance encounter with aspiring actor and disaster-magnet Ethan Tremblay (Galifianakis) leads to the two of them being tossed off the plane and placed on a no-fly list...while Peter's luggage, wallet and ID take off without him.
With no alternatives in sight, Peter is forced to hitch a ride with Ethan and his canine traveling companion on what turns out to be a cross-country road trip that will destroy several cars, numerous friendships and Peter's last nerve.
The comedy “Due Date” also stars Michelle Monaghan (“Made of Honor”), Juliette Lewis (“The Switch”) and Academy Award® winner Jamie Foxx (“Ray”).
Directed by Todd Phillips (“The Hangover”), the film is produced by Phillips and Dan Goldberg (“The Hangover,” “Old School”), from a screenplay by Alan R. Cohen & Alan Freedland and Adam Sztykiel & Todd Phillips, story by Alan R. Cohen & Alan Freedland. Thomas Tull, Susan Downey and Scott Budnick serve as executive producers.
“Due Date” reunites Phillips with key members of his filmmaking team from “The Hangover,” including director of photography Lawrence Sher, production designer Bill Brzeski, editor Debra Neil-Fisher, composer Christophe Beck and costume designer Louise Mingenbach.
ABOUT THE PRODUCTION
“If you're going to travel with me to Los Angeles I have to give you a couple of guidelines. Number one: don't ask me a single question.” - Peter Highman
“It's a simple idea—two mismatched guys forced to go on a road trip together,” declares “Due Date” director and co-writer Todd Phillips. “Robert Downey Jr. is Peter Highman, an architect on his way back to L.A. from a business trip in Atlanta. He's on a tight schedule because his wife is expecting their first child and the date is all set. Everything is fine until he gets tangled up at the airport with a wannabe actor named Ethan Tremblay, who somehow gets the both of them booted off the plane and grounded for the foreseeable future.”
At that point, “simple” flies right out the window.
Stranded without cash, credit, ID or time, Peter finds himself in the galling position of having to hitch a ride home with a guy he'd rather take a swing at—Ethan. The person he holds responsible for his predicament in the first place is now behind the wheel of a rental car and offering him the passenger seat.
Though clearly not his best option, it's Peter's only option.
At first grateful for the company, Ethan soon learns that his tightly wound traveling companion is not going to be any fun at 20 Questions, nor generally receptive to the concept of going with the flow. Meanwhile, Peter realizes he's just joined forces with a guy who can casually ruin his life in more ways than he could ever imagine.
“If there really was somebody like Ethan around, he'd have been strangled in his sleep long ago,” Downey attests. “He's like a laser beam that focuses on the one thing that will drive you crazy the most, the kind of guy who will eat a whole plate of waffles before mentioning he's allergic to waffles. I'm sure a lot of people know someone like this, someone who is perfectly wired to activate all of their irritation buttons.”
Granted, Peter has a short fuse to begin with. “He's kind of an edgy, controlling, judgmental guy with some anger-management issues. And who better to help him explore those issues than Ethan Tremblay? High-strung as he is normally, Peter is now facing the birth of his first child and is thrown into this nightmare, so it's all amped up,” Downey adds.
Ethan, by comparison, gives new meaning to the term laid-back. Zach Galifianakis, who stars as the human lightning rod for trouble, observes, “Nothing affects him, no insult seems to penetrate. Ethan lives in his own head. He has no talent, and he's on his way to Hollywood to capitalize on that. These two guys meet through a series of unfortunate circumstances that are entirely Ethan's fault, to which he is completely oblivious. And every bad thing that happens from that point on is Ethan's fault. Everything.”
Says Phillips, “People always cite chemistry in these kinds of movies. They say it's the chemistry between the two lead actors that make it work. I believe what makes ‘Due Date' work is anti-chemistry; it's two guys with zero connection and zero rapport, constantly butting heads, that generates both the tension and the comedy.”
Dan Goldberg, who has produced all of Phillips' feature films since their 2000 collaboration on the hit comedy “Road Trip,” says, “The ride develops its own momentum as one thing after another happens to impede their progress.”
At the same time, their cross-country trek takes Peter and Ethan on another, more unpredictable journey than what they face geographically—one that leads them to discover as much about themselves as each other.
Provided that they survive it.
Scott Budnick, an executive producer on the film, says, “There's real emotional substance to the story and real issues, and Robert and Zach do a phenomenal job in delivering both the humor and the emotional stakes. My favorite comedies are always the ones that have heart.”
As infuriating as Ethan can be, whether mismanaging his funds, missing potty breaks or launching their car off an overpass, Phillips concedes he has his good points, citing “honesty, innocence and a humanity that makes you connect with him and root for him despite it all. Ethan is a complex character. He has just lost his father, who was his best friend, and is having a tough time dealing with that. There's an underlying desperation in everything he does and an eagerness to please to the point where just making friends means trying too hard.”
“A lot of what he does is to avoid being lonely,” says Galifianakis.
Peter, on the other hand, may come across like a self-assured, aggressive control freak but, says Phillips' “Due Date” screenwriting partner Adam Sztykiel, “You sense that his behavior comes from an emotional place and from issues he has yet to work out, that are revealed in the story. Not far beneath the alpha male posture is his own vulnerability and how terrified he is to be responsible for a child.”
“As a parent,” Downey offers, “I know the big question is how are you going to manage and protect something that you have no experience with?”
Playing on that theme were screenwriters Alan R. Cohen and Alan Freedland, who also have story credit on “Due Date.” “Peter's comfort zone is when he's in control. And everything that happens in this movie is about losing control; from his inability to get back home to the larger issue of his impending fatherhood—and whether or not he's ready for it,” Cohen says.
“We wanted to put him into a situation where he had to travel across the country with someone who was effectively a child,” adds Freedland.
Not that it would lessen Peter's pain, stress and frustration if he knew it might be pain, stress and frustration with a purpose. Still...
“When I read the script, I was moved,” recalls executive producer Susan Downey. “It's so funny and yet so human. You want a comedy to have that grounding, in the way that you want a drama to have some humor. In ‘Due Date,' though his experience with Ethan, Peter finds his human side and gets ready for the birth of his own child. It's about him becoming a man before becoming a father.”
“Guess who's got the Subaru Impreza? Me! Guess who's got the winning personality? Me! What do you have? You have a nice hairline. Fine. You have a strong jaw. But I gotta tell you, mister, your personality needs some work.” - Ethan Tremblay
Despite the “anti-chemistry” Phillips had in mind for their characters, Galifianakis and Downey generated some genuine positive chemistry from the start.
Downey vividly recalls their first meeting. “I was in Venice, California, and some weird guy walks by and says, ‘Hi, I think I'm doing a movie with you.' And I was thinking, ‘I might have to punch this guy.' Then I realized, ‘Oh my God...that's Zach.'
“Later, he came over for dinner so we could talk about the script,” Downey continues. “I asked if he had any dietary restrictions and he sent me a note detailing everything he'd need, like bottled water flown in from Barstow. It's one of my favorite things. I read it to people at parties.”
“We kind of took care of each other on the set—very different from what was going on in the movie. We'd talk every morning about how to make a scene work. It was great. Funny how hanging out with a legitimate actor raises your game,” Galifianakis returns.
“I always respond to projects based on the casting potential,” says Phillips. “I immediately start seeing a movie from the standpoint of casting it. For ‘Due Date,' I knew that if I could get Robert and Zach we could go full out.”
Phillips marks his second collaboration with Galifianakis on “Due Date,” following the comedian's breakout starring role in last year's international blockbuster hit “The Hangover,” that became the highest-grossing R-rated comedy of all time. He says, “Zach and I click because he knows I really get his humor, which can be pretty outrageous.”
In “Due Date,” however, Galifianakis creates a character that calls for a great deal of subtlety. Notes Budnick, “Every little nuance of personality and each detail—the way he walks, the way he talks, the way he thinks—Zach has figured out how Ethan Tremblay would do these things and it's reflected in every single moment he's on screen.”
At the same time, there is a core of unpredictability to the performance. “Zach brings a sense of spontaneity and danger and I think comedy is best with an undercurrent of danger so that you never know exactly what's going to happen or what someone will say or do. In that sense, he's the perfect comedic actor,” says Phillips.
And “Due Date” gives him a worthy antagonist in Downey.
“Not only is Robert a world-class actor but he's naturally funny. I wouldn't think of casting Robert Downey Jr. as anyone's straight-man,” says Phillips. “In ‘Due Date' there is no straight-man because they're both screwed up in their own ways. And the beauty of Zach and Robert playing off each other is that they're both funny but their humor comes from such different places and their styles are so different that you're not mining the same vein.”
Downey, Galifianakis, Phillips and Sztykiel “took the script apart and put it back together,” says Goldberg. “Every day there were new things that touched me and made me laugh. I believe ‘Due Date' audiences will see aspects of Robert and Zach that they haven't seen before and things that will surprise them. As a filmmaker, I'm always looking for that.”
It's a philosophy and a process that Phillips respects. “So much of comedy happens on the day you shoot,” he says, and offers the example of the airplane luggage bin scene. “It just happened as we were looking at the seating and the overhead bin and realized how that could bring them really close in a small space. Zach said, ‘What if I rub up against him while I'm reaching into the bin?' And I said, ‘What if you pull your shirt up first to wipe your glasses so it's just your bare stomach?' Comedy isn't math; it's jazz.”
Says Robert Downey Jr., “I start every day thinking here's what will happen if you do it by the book and here's what can happen if you bend yourself over backwards and forwards again and try to invite the unimagined into the situation. The set had energy like a living being; it was evolving all the time. And what's great and so funny about Todd is that sometimes, with him, it's so wrong, it's right.”
That point of view resonates with Galifianakis, who admits to being right alongside the director in appreciating “the inappropriate,” adding, “Todd and I have the same sense of humor. We like stuff that has a bit of a taboo element—things that are funny specifically because you're not supposed to laugh at them. As a stand-up comic, I love it when audiences laugh before they realize maybe they shouldn't have, and then start to question themselves.
“That's not to say that you can't be offended by something Todd or I do in a film,” he continues with mock concern. “I'm often offended by the things I do in movies.”
“You'd better check yourself before you wreck yourself.” - Ethan
“What I like about road trip movies is that essentially your characters are working without a net. You just throw them out into the elements and say, ‘Deal with it,'” says Phillips. “You don't have the support system of friends and family. People come in and out of your life for intense but fleeting moments.”
To help facilitate that, ‘Due Date' features a stellar supporting cast of characters who offer Peter and Ethan a range of memorable and often thought-provoking encounters along the way.
The first of these is Heidi, a freelance medical supplier with questionable parenting skills, tracked down by Ethan at her Birmingham home to restock his supply of “glaucoma medication.” It's one of many detours that takes them miles out of their way.
Heidi is played by Juliette Lewis, in her third screen role for Phillips. Lewis was touring in London with her band when the director called. “We worked it out so that between London and Helsinki I made a pit stop in a place I didn't even know existed—Las Vegas, New Mexico—for a couple of days, to play a pot dealer,” she recounts. “When Todd calls it's a game of trust. I don't know the role, I don't know what he wants me to do, but I know it's going to be good and it's going to be funny.”
Oscar® winner Jamie Foxx, who recently starred with Downey in “The Soloist,” comes aboard in the role of Peter's old college buddy, Darryl, now living in Dallas.
“It was a real coup to get Jamie to come in as Peter's friend—and, according to Ethan, possibly the real father of his soon-to-be-born child,” says Robert Downey Jr., alluding to yet another way in which Ethan manages to get under Peter's skin.
Within minutes of entering Darryl's home, Ethan spots a few photos, asks a few questions, adds two and two, and comes up with five. “He learns that Darryl is very close with Peter's wife and jumps to all kinds of conclusions. Then, he plants the seed of doubt in Peter's mind,” says Phillips.
“Darryl comes into the picture to do these guys a favor and it's all great...until it's not. Then things get very weird, very fast,” Foxx says of the ensuing scene that lands Peter and Ethan back on the pavement. “Working with Robert, Zach and Todd, you'd never know what to expect, but you could always count on it being a crazy, creative, collaborative experience.”
The travelers also run afoul of an ill-tempered Western Union clerk, played by Danny McBride; a paragon of Airport Security, played by Grammy Award-winning hip hop producer/musician and actor Rza; and an exceptionally indifferent TSA agent, played by Matt Walsh, the ER doc from “The Hangover.”
Meanwhile, back home anxiously awaiting Peter's return is his wife, Sarah, played by Michele Monaghan, reuniting with Downey for the first time since they teamed in the 2005 comedy thriller “Kiss Kiss Bang Bang.”
“Sarah is just about 8 months and 29 days pregnant with her first baby and obviously very anxious,” Monaghan offers. “Her husband is not only m.i.a but is also traveling cross- country with a wild man whose only concern is if she has any ‘recommendations for someone who could give him a perm'?!? Clearly, the baby's arrival looks more promising than daddy's.”
“Sonny, stop. Sonny...No. Stop. Good boy.” - Ethan
Before circumstances force these two to share a rental car, Ethan already has a traveling companion: a French Bulldog named Sonny, who becomes the pair's third wheel and a point of calm amidst the escalating mayhem.
The role of Sonny, though indisputably male, was played almost entirely by a young female Frenchie trained by Mark Harden, of Boone's Animals for Hollywood.
The introduction of a dog into the script came about as Phillips sought to further ratchet up the tension between his two leads and decided that one of them should be a dog person and the other...not so much. After perusing renowned animal trainer Boone Narr's company website, he spotted what he was looking for in Bodie, an adult male French Bulldog with the big ears and wide-eyed comical expression typical of the breed.
Unfortunately, at 26 pounds, Bodie was too heavy to be constantly toted around on one arm, so, with only weeks before filming started, Harden launched a full-scale and very specific search for a six-to-10-month-old, cream-colored, slightly undersized French Bulldog. He first tried the rescue agencies, then tapped into a nationwide network of breeders before finding someone who had a full-grown female weighing in at 15 pounds.
Though Galifianakis jokes that Sonny was trained to fall asleep at the word ‘action,' Harden takes no credit for the animal's relaxed demeanor, conceding, “She's just a very settled and well-adjusted dog. She doesn't get worked up. I think she just learned early on that most of her scenes were going to take awhile and she might as well catch a nap.”
Galifianakis, who bonded with his canine co-star despite an allergy to dogs, says, “I was kind of envious at her ability to fall asleep at work. And she snores like me.”
But as much as the camera loved Sonny, there was one special trick she just couldn't manage, that required a one-day command performance from Bodie.
Harden carefully describes how the trick serendipitously made its way into the story. “French Bulldogs are unable to groom themselves in certain areas as other dogs do. I don't know if it's a combination of their short neck and wide shoulders, but they can't twist backwards.”
Consequently, some of them use their paws, “a natural behavior that Bodie spontaneously offered in front of Todd at that first meeting, while we were talking,” the trainer recalls. “As soon as he saw it, there was no turning back. He said, ‘Oh my God, can you train him to do that?”
“Am I okay? Do I look okay? I have a broken arm. I have three cracked ribs. I have seven stitches in my armpit. Does that answer your question? - Peter
“I love physical comedy,” says Phillips, who happily extends the parameters of physical comedy in “Due Date” to include a multi-vehicle freeway chase, an end-over-end car flip and a shoot-out with some seriously t'd-off border security agents.
“For me,” Phillips continues, “It's fun to include shocking moments that make you say, ‘Whoa, where did that come from?' We shot the car sequence in Las Cruces, New Mexico. They let us break through the overpass and land on the road below. We closed the highway for several days to prepare and execute it but, frankly, you never know how a stunt is going to land, so we set up four or five cameras and let it happen. The car flipped back up on its wheels, but we were prepared for it to do anything.” Filming “Due Date” was a road trip in itself. Location shooting began in and around Atlanta and moved generally westward with the story, touching upon Dallas and the Texas interior and various locations in New Mexico, including Las Vegas and Santa Fe, which the filmmakers covered from a base of operations in Albuquerque, before touching down in California.
“The way the script breaks down, they have to get across the country. in a couple of days so you really need to take the southern route, which is not as long as the northern, so it makes sense in terms of driving time,” says production designer Bill Brzeski.
A separate helicopter unit covered the Grand Canyon for a key scene with Peter and Ethan perched on its rim, overlooking the Colorado River snaking its way through, far below. Between takes, busloads of visitors from all over the world arrived to tour the area and there was some concern on the part of the crew that they might forget to watch where they were going once they caught sight of Downey and Galifianakis.
The film's opening airport scenes were a combination of several elements. The plane cabin mockup was constructed on Stage 11 at Warner Bros. Studios; the curb where Peter's and Ethan's cars pull up was shot at Ontario Airport in California; and the screening area and other terminal interiors were built inside the Georgia World Congress Center in Atlanta.
Other practical locations in Georgia included a construction site in Atlanta's Buckhead neighborhood; a Waffle House and portions of Highway 27 in Bremen; various locations along I-75 and I-675, GA-route 20 and the Metropolitan Parkway; the Gwinnett Medical Center in Lawrenceville; the 1010 Condos on Atlanta's historic Peachtree Street; and a recently closed rest stop along I-985.
Darryl's home in Dallas was an amalgam of exteriors captured in Buckland, Georgia, and interiors shot in Encino, California. “You're never really anywhere you're supposed to be,” Brzeski says. “Las Vegas, New Mexico was built around the turn of the century and doesn't look like what you'd expect to see in New Mexico. There's a lot of Victorian architecture that doesn't match the typical Santa Fe look so buildings can substitute for almost any American small town, be it Texas or Ohio. We used it as Alabama for Heidi's house.”
The southwestern city also provided the site for one of the film's larger set pieces; a checkpoint at the U.S./Mexico border that was constructed on a bridge spanning a portion of Route 25 in Las Vegas, under which Brzeski and his team formed an encampment of Federali trailers based on actual Mexican Customs vehicles. Interiors of the office and a trailer, as well as a gimbal rig that figures into the action, were built on stage and another rotating rig, dubbed “car-on-a-spit” by one crew member, was designed for the scene in which Peter and Alan take their rented Subaru for a real spin.
All this action takes its toll on the luggage-deprived Peter, forced to spend the entire journey in one increasingly rumpled, torn, stained and slept-in suit. For costume designer Louise Mingenbach, that meant maintaining 20 versions of the suit in five basic stages of deterioration. “Definitely, the story evolves through Peter's clothes,” she says.
With Ethan's wardrobe she was able to have more fun, brainstorming with Galifianakis, who, she says, “has no vanity. Some actors want to look beautiful all the time but that's not Zach. He will wear whatever works for his character, even if it's acid-washed jeans two sizes too small.”
“I really like to look bad in movies,” Galifianakis agrees. “Originally Ethan was dressed like a hippie but I wanted him to be more arty—or, what he would think is arty. He has a perm, he has his dance shoes and his really bad tight jeans and the scarf as an accessory; he wants to be an actor and this is how he thinks actors dress.”
“Due Date” marks Mingenbach's fifth collaboration with Phillips, who says, “I have a great team. I've worked with essentially the same people throughout my career. We write some crazy thing and then I turn to my guys and say, ‘Can we pull this off?'”
Among those previous colleagues rejoining the director on “Due Date” were cinematographer Lawrence Sher, editor Debra Neil-Fisher and composer Christophe Beck.
Scott Budnick points out, “‘Due Date' marks the 10-year anniversary of ‘Road Trip,' Todd's first movie and my first job out of college. We filmed ‘Road Trip' from September to December 1999, and ‘Due Date' from September to December of 2009.”
For Phillips, it's a genre full of possibilities.
“I've been in some strange situations on the road,” confesses screenwriter Sztykiel, a Los Angelino who identified in some ways with Peter. “Here's a guy who's a little sheltered and doesn't have exposure to the 3,000 miles that exist east of his home, and it was fun to force him out of his bubble. It's uncomfortable, but you come away with a better sense of your place in the world. My advice for travelers? Go to the bathroom. Make sure your traveling partner has gone to the bathroom. Don't spend all your money on illegal substances. Don't say ‘bomb' on an airplane. Don't open your car door in traffic. Pretty simple stuff.” Sure. In hindsight.
“There's something about a road trip that brings out the extremes of human reactions and emotions,” says Phillips. “It's a great opportunity for surprises and for people to learn things about themselves or each other that they'd never see if they weren't being pushed to their limits, or having to make the kinds of quick, instinctive decisions you have to make on the road.”
At the same time, the road itself can be almost incidental. “No matter where we are in ‘Due Date,' no matter what's kind of chaos they're going through,” he concludes, “it all comes down to these two guys working out their issues.”
ABOUT THE CAST
ROBERT DOWNEY JR. (Peter Highman), a two-time Academy Award® nominee, earned his most recent Oscar® nomination, for Best Supporting Actor, for his work in Ben Stiller's comedy hit “Tropic Thunder.” His performance as Kirk Lazarus, a white Australian actor playing a black American character, also brought him Golden Globe, BAFTA Award and Screen Actors Guild (SAG) Award® nominations. Downey was honored with his first Oscar® nomination, in the category of Best Actor, for his portrayal of Charlie Chaplin in Richard Attenborough's acclaimed 1992 biopic “Chaplin,” for which he also won BAFTA Award and London Film Critics Awards and received a Golden Globe Award nomination.
Earlier this year, Downey received another Golden Globe nomination for his performance in the title role of the 2009 hit “Sherlock Holmes,” under the direction of Guy Ritchie. Downey returns to the role of the legendary detective in a new Sherlock Holmes adventure, currently slated for release in December 2011.
In summer 2008, Downey received praise from critics and audiences for his performance in the title role of the blockbuster hit “Iron Man,” under the direction of Jon Favreau. Bringing the Marvel Comics superhero to the big screen, “Iron Man” earned more than $585 million worldwide, making it one of the year's biggest hits. Downey reprised his role in the successful sequel, which was released this past spring. He returns to the role in Josh Whedon's upcoming actioner “The Avengers,” which teams Iron Man with other Marvel Comics superheroes.
Downey's other recent films include “The Soloist,” opposite Jamie Foxx; “Charlie Bartlett”; David Fincher's “Zodiac,” alongside Jake Gyllenhaal and Mark Ruffalo; Richard Linklater's “A Scanner Darkly,” with Keanu Reeves, Winona Ryder and Woody Harrelson; “Fur,” opposite Nicole Kidman in a film inspired by the life of revered photographer Diane Arbus; and “Kiss Kiss, Bang Bang.” He also shared in a SAG Award® nomination as a member of the ensemble cast of George Clooney's true-life drama “Good Night, and Good Luck,” and in a Special Jury Prize won by the ensemble cast of “A Guide to Recognizing Your Saints,” presented at the 2006 Sundance Film Festival.
Downey's long list of film credits also includes “Gothika”; “The Singing Detective”; Curtis Hanson's “Wonder Boys”; “U.S. Marshals”; Mike Figgis' “One Night Stand”; Jodie Foster's “Home for the Holidays”; “Richard III”; Oliver Stone's “Natural Born Killers”; Robert Altman's “The Gingerbread Man” and “Short Cuts,” sharing in a Golden Globe Award for Best Ensemble for the latter; “Heart and Souls,” “Soapdish,” “Air America,” “Chances Are,” “True Believer,” “Less Than Zero,” “Weird Science,” “Firstborn,” and “Pound,” in which he made his debut under the direction of Robert Downey Sr.
On the small screen, Downey made his primetime debut in 2001 when he joined the cast of the series “Ally McBeal.” For his work on the show, he won the Golden Globe Award for Best Supporting Actor in a Series, Miniseries or Motion Picture Made for Television and a Screen Actors Guild Award® for Outstanding Actor in a Comedy Series. In addition, Downey was nominated for an Emmy for Outstanding Supporting Actor in a Comedy Series.
On November 23, 2004, Robert Downey Jr. released his debut album, “The Futurist,” on the Sony Classics label. The album, containing eight original songs, showcased his singing talents.
Downey and his wife, Susan, just formed Team Downey, a production company based at Warner Bros.
ZACH GALIFIANAKIS (Ethan Tremblay) moved to New York City after failing his last college course by one point at North Carolina State University. He got his start performing his brand of humor in the back of a hamburger joint in Times Square, graduating to doing stand-up at night in clubs and coffee houses in the city. While working as a bus boy, he got his first acting job on the NBC sitcom “Boston Common.”
Galifianakis' breakout role came in Todd Phillips' blockbuster hit “The Hangover,” the highest-grossing R-rated comedy of all time. He will reunite with Phillips and cast-mates Bradley Cooper, Ed Helms and Justin Bartha in “The Hangover 2,” slated for a 2011 release.
He also stars in “It's Kind of a Funny Story,” which premieres at the 2010 Toronto Film Festival and opens this fall. Recently, he also co-starred with Steve Carell and Paul Rudd in Jay Roach's comedy “Dinner for Schmucks.” Galifianakis' additional film credits include the Jerry Bruckheimer-produced hit “G-Force”; the indie feature “Youth in Revolt,” with Michael Cera, Steve Buscemi and Ray Liotta; a cameo in Jason Reitman's Oscar®- nominated film “Up in the Air”; “What Happens in Vegas,” with Cameron Diaz and Ashton Kutcher; and the critically acclaimed true-life drama “Into the Wild,” from director Sean Penn.
On the small screen, Galifianakis just started the second season of the HBO comedy “Bored to Death,” with Jason Schwartzman and Ted Danson. In addition, he hosted the critically acclaimed VH1 talk show “Late World with Zach,” and also wrote and starred in “Dog Bites Man” for Comedy Central.
Zach also has an internet talk show entitled “Between Two Ferns.” He has interviewed such guests as Steve Carell, Natalie Portman, Conan O'Brien and Charlize Theron.
When not filming, Galifianakis lives on his farm in North Carolina.
MICHELLE MONAGHAN (Sarah Highman) most recently starred to great critical acclaim in the independent film “Trucker,” which world premiered at the Tribeca Film Festival. She received the Best Actress Awards from the San Diego Film Critics Society, Ft. Lauderdale International Film Festival and Vail Film Festival. Monaghan also served as executive producer on the film.
She will next been seen in Sofia Coppola's “Somewhere,” “Source Code,” opposite Jake Gyllenhaal for director Duncan Jones and “Machine Gun Preacher,” opposite Gerard Butler for director Marc Forster.
Monaghan made her feature film debut in “Perfume,” directed by Michael Rymer, then played Richard Gere's secretary in Adrian Lyne's “Unfaithful.” She followed with supporting roles in Fred Schepisi's “It Runs in the Family,” with Michael Douglas; “Winter Solstice,” with Anthony LaPaglia; Paul Greengrass' “The Bourne Supremacy”; and Doug Liman's “Mr. & Mrs. Smith.”
It was her starring role in “Kiss Kiss, Bang Bang,” opposite Robert Downey Jr. and Val Kilmer, which brought Monaghan to the attention of audiences around the world. She also received rave reviews for her performance in the film, directed by Shane Black. Next, Monaghan joined Charlize Theron and Frances McDormand in “North Country” for director Niki Caro. She then starred in “Gone Baby Gone,” with Casey Affleck and Morgan Freeman; “The Heartbreak Kid,” opposite Ben Stiller; “Mission: Impossible III,” with Tom Cruise and Philip Seymour Hoffman for director J.J. Abrams; opposite Patrick Dempsey in the romantic comedy “Made of Honor”; and in D.J. Caruso's hit thriller “Eagle Eye,” alongside Shia LaBeouf.
JULIETTE LEWIS (Heidi) received Best Supporting Actress Oscar® and Golden Globe nominations for her layered performance as adolescent Danielle, opposite Robert De Niro, in Martin Scorsese's thriller “Cape Fear.”
She reunites with Todd Phillips on “Due Date,” having previously collaborated on “Old School” and “Starsky & Hutch.”
Lewis was most recently seen alongside Hilary Swank, Melissa Leo, Minnie Driver and Sam Rockwell in the independent drama “Conviction,” which premiered at the Toronto Film Festival and opened in October. Prior to that, Lewis appeared in the romantic comedy “The Switch,” alongside Jennifer Aniston, Jason Bateman and Patrick Wilson. She also starred alongside Orlando Bloom, Mark Ruffalo and Laura Linney in Ruffalo's directorial debut, “Sympathy for Delicious,” which took home the US Dramatic Special Jury Prize at this year's Sundance Film Festival. Last year, she played roller derby girl Dinah Might opposite Ellen Page, Marcia Gay Harden, Kristen Wiig, Jimmy Fallon and Eve in Drew Barrymore's directorial debut, “Whip It.”
Among Lewis' many other films are Gary Marshall's “The Other Sister”; “Evening Star,” with Shirley MacLaine; Quentin Tarantino's vampire tale “From Dusk Till Dawn,” opposite George Clooney; the sci-fi actioner “Strange Days,” alongside Ralph Fiennes and Angela Bassett; Nora Ephron's comedy “Mixed Nuts,” opposite Steve Martin and Adam Sandler; Oliver Stone's controversial “Natural Born Killers”; “What's Eating Gilbert Grape,” with Johnny Depp and Leonardo DiCaprio”; “Romeo Is Bleeding”; “Kalifornia”; Woody Allen's “Husbands and Wives”; “Crooked Hearts” and “National Lampoon's Christmas Vacation,” with Chevy Chase.
At 12, Lewis landed her first leading role in the Showtime miniseries “Home Fires.” At 16, her performance in the critically acclaimed longform “Too Young to Die?” led to film roles. Lewis' other television credits include Showtime's “My Louisiana Sky,” for which she received an Emmy Award nomination for Outstanding Performer in a Children's Special, and Mira Nair's HBO film “Hysterical Blindness,” alongside Uma Thurman and Gena Rowlands. She also had recurring roles in several series.
In addition to film and television, Lewis's music career continues to evolve. Her third studio album, Terra Incognito, was released in fall 2009.
JAMIE FOXX (Darryl) won an Academy Award® for Best Actor in 2005 for his portrayal of the legendary Ray Charles in the Taylor Hackford-directed biopic “Ray.” Foxx also won a Golden Globe Award, a Screen Actors Guild (SAG) Award®, a BAFTA Award, and an NAACP Image Award, as well as numerous critics' association awards, and shared in a SAG Award® nomination received by the film's ensemble cast.
Also in 2005, Foxx garnered Oscar®, Golden Globe Award, SAG Award®, BAFTA Award, and Image Award nominations, in the Best Supporting Actor category, for his work in Michael Mann's dramatic thriller “Collateral,” in which he starred with Tom Cruise. That same year, Foxx also earned Golden Globe Award and SAG Award® nominations and won an Image Award for Best Actor in a Television Movie for his portrayal of condemned gang member-turned-Nobel Peace Prize nominee Stan “Tookie” Williams in the FX Network movie “Redemption.”
Foxx has a number of films upcoming, including the Seth Gordon-directed comedy “Horrible Bosses”; F. Gary Gray's action thriller “Kane & Lynch,” opposite Bruce Willis; and the comedy “Skank Robbers,” which he also wrote and is producing. His recent film credits also include Garry Marshall's hit ensemble romantic comedy “Valentine's Day,” the thriller “Law Abiding Citizen,” Joe Wright's drama “The Soloist,” the thriller “The Kingdom” and Bill Condon's screen adaptation of the Broadway musical “Dreamgirls.” Foxx also executive produced the film “Life Support,” starring Queen Latifah, which closed the 2007 Sundance Film Festival.
Foxx's big-screen break came in 1999 when Oliver Stone cast him as a star quarterback in “Any Given Sunday.” In 2001, he co-starred with Will Smith in Michael Mann's acclaimed biopic “Ali.” His additional film credits include Michael Mann's “Miami Vice,” with Colin Farrell; Sam Mendes' Gulf War drama “Jarhead,” with Jake Gyllenhaal; “Stealth”; Antoine Fuqua's “Bait”; “Booty Call”; “The Truth about Cats & Dogs”; and “The Great White Hype.”
Foxx first came to fame as a comedian. After spending time on the comedy circuit, he joined Keenan Ivory Wayans, Jim Carrey, Damon Wayans and Tommy Davidson in the landmark Fox sketch comedy series “In Living Color.” In 1996, he launched his own series, “The Jamie Foxx Show,” which was one of the top-rated shows on The WB Network during its five-year run. Foxx also served as co-creator and executive producer, and directed several episodes. His first HBO Comedy Special, “Jamie Foxx: I Might Need Security,” premiered in February 2002.
In addition to his acting success, Foxx has also achieved a thriving music career. His first album, Unpredictable, topped the charts in late 2005 and early 2006 and spawned the NBC special “Unpredictable,” in which he performed with such artists as Mary J. Blige, Common, Snoop Dogg, The Game and Angie Stone. He has been nominated for eight Billboard Music Awards, three Grammy Awards, a Soul Train Music Award, and two American Music Awards, winning for Favorite Male Artist. Foxx's latest album, 2008's Intuition, debuted at number three on the Billboard 200 chart and spawned the chart-topping single “Blame It.” Foxx recently wrapped up his “Blame It Tour” in support of the album. On January 31, 2010 Jamie Foxx and T-Pain's “Blame It” won in the category of Best R%B performance by a duo/group with vocals at the 52nd Annual Grammy Awards.
ABOUT THE FILMMAKERS
TODD PHILLIPS (Director/Screenwriter/Producer) most recently directed and produced the 2009 blockbuster hit comedy “The Hangover,” starring Bradley Cooper, Ed Helms, Zach Galifianakis and Justin Bartha. The film became the highest grossing R-rated comedy of all time and won a Golden Globe for Best Motion Picture – Comedy or Musical. He is currently in production on the much-anticipated sequel, “The Hangover 2,” which reunites the cast.
Phillips started his career as a documentary filmmaker, inspired by humor taken from everyday reality and the belief that the truth is often stranger than fiction.
His first film, “Hated,” portrayed the revolting antics of extreme punk rocker G.G. Allin and became an instant underground sensation. It was released in the summer of 1994 and went on to become the highest grossing student film of its time.
He followed that in 1998 with “Frat House,” a documentary that he produced and directed for HBO's popular “America Undercover” series. “Frat House” premiered at the 1998 Sundance Film Festival and won the Grand Jury Prize for documentary features. The unflinching exposé of life in fraternities created a public controversy that eventually caused the film to be shelved by HBO. Phillips still hopes to release it in the future.
After meeting producer Ivan Reitman at Sundance, Phillips made his crossover to features with 2000's “Road Trip,” which established him as a new force in comedy. He simultaneously produced and directed “Bittersweet Motel,” a documentary on musical cult phenomenon Phish.
In one way or another, Phillips' films explore the nature of male relationships, and in doing so he has worked with some of Hollywood's biggest comedic actors, writing and directing such films as “Old School” in 2003, “Starsky & Hutch” in 2004, and “School for Scoundrels” in 2006. Phillips was nominated for a 2006 Academy Award® for Best Adapted Screenplay for his work on “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan.”
DAN GOLDBERG (Producer) marks his fifth film collaboration with Todd Phillips on “Due Date.” Previously, he served as producer on Phillips' “Old School,” “Road Trip,” “School for Scoundrels” and most recently, “The Hangover,” which won a Golden Globe Award for Best Motion Picture – Musical or Comedy and is the highest grossing R-rated comedy of all time. Goldberg will next produce “The Hangover 2” with Phillips, releasing in 2011.
Goldberg also produced the outrageous comedy “Howard Stern's Private Parts” and the animated comedy adventure “Space Jam,” starring Michael Jordan, and was an executive producer on Ivan Reitman's romantic adventure “Six Days Seven Nights,” starring Harrison Ford.
His screenwriting credits include the classic comedies “Stripes” and “Meatballs,” both of which he also produced; “Feds,” which he also directed; and the enduring cult favorite “Heavy Metal.”
ALAN R. COHEN & ALAN FREEDLAND (Screenwriters, Story) are best known as Emmy Award-winning writers from the Fox animated show “King of the Hill” and often referred to as “the Alans.”
Among numerous other writing and producing credits, the duo also co-created the Comedy Central cult hit “Kid Notorious,” starring Robert Evans. They are currently co- executive producers on Seth MacFarlane's “American Dad.”
Prior to “Due Date,” the Alans wrote feature scripts for various studios. They currently have several television and film projects in development, including the feature comedy “The Reunion,” for producer Brian Grazer.
A George Washington University graduate, Cohen originally hails from Pittsburgh and worked for several years as a reporter in The Baltimore Sun's Washington, D.C. bureau.
Freedland graduated from the University of Michigan. He grew up in the Detroit area and worked in advertising in Chicago.
ADAM SZTYKIEL (Screenwriter)'s most recent writing credit was the comedy “Made of Honor,” starring Patrick Dempsey and Michelle Monaghan.
He is currently working on a film adaptation of the best-selling memoir “The Game” by Neil Strauss, and has numerous other film and television projects in development.
Sztykiel is a graduate of the University of Southern California School of Cinematic Arts.
THOMAS TULL (Executive Producer), Chairman and CEO of Legendary Pictures, has achieved great success in the co-production and co-financing of event movies. Since its inception in 2004, Legendary Pictures has teamed with Warner Bros. Pictures on such hits as Bryan Singer's “Superman Returns”; Zack Snyder's “300” and “Watchmen”; and Christopher Nolan's “Batman Begins” and award-winning phenomenon “The Dark Knight,” which earned in excess of $1 billion worldwide.
More recently, this highly successful partnership produced Ben Affleck's “The Town”; Christopher Nolan's summer blockbuster “Inception”; the worldwide hit “Clash of the Titans”; Todd Phillips' “The Hangover,” which is the highest-grossing R-rated comedy of all time; and Spike Jonze's “Where the Wild Things Are.” Legendary's upcoming releases include Bryan Singer's “Jack the Giant Killer,” Todd Phillips' “The Hangover 2,” and Zack Snyder's “Sucker Punch.” Legendary is also developing a number of promising film projects in-house, including “Warcraft,” “Godzilla,” “Gravel,” “Paradise Lost,” and a sequel to “300.”
Before forming Legendary, Tull was President of The Convex Group, a media and entertainment holding company headquartered in Atlanta, on whose Board of Directors he also served.
SUSAN DOWNEY (Executive Producer) is a principal partner of Team Downey, the production company she formed with her husband, Robert Downey Jr. A prolific film producer, she has collaborated with some of the industry's most noted talents on films ranging from action blockbusters to dramas to comedies to horror thrillers.
Downey also produced the global hit “Sherlock Holmes,” which opened on Christmas Day 2009 and grossed more than $516 million worldwide. Directed by Guy Ritchie, the film starred Robert Downey Jr., Jude Law, Rachel McAdams and Mark Strong in an action adventure mystery that brought Arthur Conan Doyle's legendary detective to the big screen as never before. She is currently producing the sequel, which again stars Downey Jr. and Law under the direction of Ritchie.
Downey also recently served as an executive producer on the action hit “Iron Man 2,” which earned more than $620 million at the worldwide box office. The follow up to “Iron
Man” reunited director Jon Favreau with returning stars Robert Downey Jr. and Gwyneth Paltrow, and also starred Don Cheadle, Mickey Rourke and Scarlett Johansson.
Previously, Downey held the dual posts of Co-President of Dark Castle Entertainment and Executive Vice President of Production at Silver Pictures. Joining Silver Pictures in 1999, she oversaw the development and production of feature films released under both banners, including “Thir13en Ghosts” and “Swordfish.”
In 2002, she made her producing debut as a co-producer on “Ghost Ship” and then co- produced the 2003 release “Cradle 2 the Grave.” Downey went on to produce the features “Gothika” and “House of Wax,” and also served as an executive producer on the critically acclaimed comedic thriller “Kiss Kiss, Bang Bang.”
Downey later produced Neil Jordan's acclaimed psychological drama “The Brave One,” starring Jodie Foster and Terrence Howard; Guy Ritchie's widely praised crime comedy “RocknRolla,” starring Gerard Butler, Tom Wilkinson, Thandie Newton, Idris Elba, Chris Bridges and Jeremy Piven; the horror thriller “Orphan,” starring Vera Farmiga and Peter Sarsgaard; and the thriller “Whiteout,” starring Kate Beckinsale. She was also an executive producer on the Hughes brothers' post-apocalyptic drama “The Book of Eli,” starring Denzel Washington and Gary Oldman.
Prior to her tenure at Dark Castle and Silver Pictures, Downey worked on the hit films “Mortal Kombat” and “Mortal Kombat: Annihilation.”
Downey is a graduate of the University of Southern California's School of Cinema- Television.
SCOTT BUDNICK (Executive Producer) is Executive Vice President of Production for Green Hat Films, overseeing the development and production of a varied slate of projects including the upcoming “Project X,” set for release in 2011. He most recently executive produced the blockbuster hit “The Hangover,” which won a Golden Globe for Best Motion Picture – Musical or Comedy and is the highest grossing R-rated comedy of all time.
Budnick began his entertainment career in local casting while at Emory University in his hometown of Atlanta, Georgia. Upon graduation, he relocated to Los Angeles, serving as casting assistant on Todd Phillips' “Road Trip” and then as associate to the director on “Old School,” starring Vince Vaughn, Luke Wilson, Will Ferrell and Jeremy Piven. Budnick served associate producer on Phillips' following films, “Starsky & Hutch,” starring Owen Wilson and Ben Stiller and “All The King's Men,” starring Sean Penn and Jude Law, which Phillips executive produced; and was co-producer on “School for Scoundrels,” starring Billy Bob Thornton.
LAWRENCE SHER (Director of Photography) reunites with Todd Phillips on “Due Date,” having previously collaborated on the Golden Globe-winning blockbuster comedy “The Hangover.” His work will next be seen in Greg Mottola's sci-fi comedy “Paul,” with Jason Bateman and Seth Rogan, and David Frankel's comedy “The Big Year,” based on Mark Obmascik's book and starring Owen Wilson, both releasing in 2011.
Sher's other recent credits include “I Love You, Man,” “Trucker,” “The Promotion,” “Dan in Real Life,” “The Dukes of Hazzard” and “The Chumscrubber.”
He worked as director of photography on several smaller films and music videos earlier in his career, coming to the fore in 2001 with the award-winning independent film “Kissing Jessica Stein,” followed by director Zach Braff's “Garden State.”
Born and raised in New York City, Sher studied economics at Wesleyan University where, in his junior year, he turned an interest in still photography into a fascination with motion pictures. Upon graduation, he moved to Los Angeles and began his career as a camera assistant.
BILL BRZESKI (Production Designer) previously collaborated with Todd Phillips on the 2009 Golden Globe Award-winning blockbuster comedy “The Hangover,” for which he received an Art Director's Guild Award nomination for Excellence in Production Design. Brzeski re-teams again with Phillips for “The Hangover 2,” releasing in 2011.
Brzeski's other recent credits include “Flipped,” which reunited him with Rob Reiner, having previously served as production designer on Reiner's “The Bucket List”; and re- teaming with Rob Minkoff' on “The Forbidden Kingdom,” having previously worked on the director's groundbreaking CGI movie “Stuart Little” and its sequel, “Stuart Little 2.” Some of the designer's additional credits include “Deck the Halls,” “Blue Streak,” James L. Brooks' Oscar®-winning “As Good As It Gets” and “Matilda.”
Brzeski received his undergraduate degree from Miami University and his MFA in Design from New York University's Tisch School of the Arts. Originally interested in designing for the ballet and opera, he began his career in the theatre before moving to Los Angeles from New York City and designing more than 800 episodes of television series.
Brzeski also designs commercial spaces, most notably the award-winning Susina Bakery in Los Angeles.
His production design workshops at graduate and undergraduate levels have been hosted by New York University School of the Arts, Miami University, Clemson University and Loyola University Film School.
DEBRA NEIL-FISHER (Editor) re-teams with Todd Phillips on “Due Date,” having served as editor on his blockbuster hit “The Hangover,” the number one R-rated comedy of all time. The film won a Golden Globe for Best Motion Picture - Musical or Comedy and Fisher was honored with an Eddie Award by the American Cinema Editors for Best Edited Feature Film.
Among Neil-Fisher's other feature credits are the hit comedies “Baby Mama,” “Semi- Pro,” “Role Models,” “You, Me and Dupree,” “Without a Paddle,” “Saving Silverman,” and two hugely successful Austin Powers films, “Austin Powers: International Man of Mystery” and “Austin Powers: The Spy Who Shagged Me.” She has collaborated three times with director Donald Petrie on “Just My Luck,” “Welcome to Mooseport” and “How to Lose a Guy in 10 Days.” Her work also extends to other genres, including the dramas “Fried Green Tomatoes,” “The War” and “Up Close and Personal,” as well as the thrillers “Teaching Mrs. Tingle” and “Dr. Giggles.”
In 1991 Neil-Fisher won a CableACE Award for her work on TNT's telefilm “Heat Wave,” for director Kevin Hooks. Among her earlier television credits are “The Amy Fisher Story,” “The Case of the Hillside Strangler” and the TNT thriller “Breaking Point.”
LOUISE MINGENBACH (Costume Designer) marks her fifth project with director Todd Phillips on “Due Date,” a collaboration that began on the feature film “Starsky & Hutch,” followed by “School for Scoundrels” and the 2008 telefilm “The More Things Change...” In 2009, her designs were seen in Phillips' mega-blockbuster “The Hangover,” which won a Golden Globe for Best Motion Picture – Musical or Comedy and is the highest R-rated comedy of all time.
The upcoming actioner “Battleship,” based on the classic board game, reunites Mingenbach with Peter Berg, with whom she worked on “Hancock,” starring Will Smith.
Mingenbach also designed costumes for the 2009 action epic ““X-Men: Wolverine.” Previously, she earned a Saturn Award and a Costume Designers Guild Award nomination for her work on Bryan Singer's “X-Men.” She has teamed with Singer on four other films, including the 1995 thriller “The Usual Suspects,” “X2,” “Apt Pupil” and “Superman Returns,” as well as the pilot for “House M.D.”
Mingenbach's additional feature credits include the Farrelly Brothers' “The Heartbreak Kid,” “Spanglish,” “The Rundown,” “K-PAX,” “Gossip,” “Permanent Midnight,” “Nightwatch,” “The Spitfire Grill” and “One Night Stand.”
CHRISTOPHE BECK (Composer) previously collaborated with Todd Phillips on “The Hangover,” which won a Golden Globe for Best Motion Picture – Comedy or Musical.
He has composed scores for 50 feature films and nearly 20 television shows. With more than 15 years of experience, Beck has scored a wide array of projects, including such action films as “Percy Jackson & The Olympians: The Lightning Thief,” “The Sentinel” and “Elektra”; the comedies “Date Night,” “Charlie Bartlett,” “The Pink Panther” and “Bring It On”; and such dramas as “We Are Marshall,” “Under the Tuscan Sun” and “Year of the Dog”; as well as the Davis Guggenheim documentary, “Waiting For Superman.”
Beck most recently composed music for the comedies “Death at a Funeral,” starring Chris Rock, Martin Lawrence and Tracy Morgan; “Date Night,” with Steve Carell and Tina Fey; “Hot Tub Time Machine,” starring John Cusack; and Chris Columbus' fantasy adventure “Percy Jackson & The Olympians: The Lightning Thief.”
His additional credits include “All About Steve,” “The Greatest,” “What Happens in Vegas,” “Phoebe in Wonderland,” “The Seeker: The Dark is Rising,” “Saved!,” “American Wedding” and “Just Married.”
Beck began his scoring career on the Canadian television series “White Fang,” and from there went on to score three seasons of the hit television series “Buffy the Vampire Slayer,” for which he won an Emmy Award for Outstanding Music Composition.
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Due Date Starring Robert Downey Jr. and Zach Galifian
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THE IDEA
From director Todd Phillips, “Due Date” stars Robert Downey Jr. and Zach Galifianakis as two unlikely companions thrown together on a road trip that turns out to be as life-changing as it is outrageous.
Downey plays Peter Highman, an expectant first-time father whose wife's due date is only days away. As he hurries to catch a flight home to Los Angeles from Atlanta to be at her side for the birth, his best intentions go completely awry when a chance encounter with aspiring actor and disaster-magnet Ethan Tremblay (Galifianakis) leads to the two of them being tossed off the plane and placed on a no-fly list...while Peter's luggage, wallet and ID take off without him.
With no alternatives in sight, Peter is forced to hitch a ride with Ethan and his canine traveling companion on what turns out to be a cross-country road trip that will destroy several cars, numerous friendships and Peter's last nerve.
The comedy “Due Date” also stars Michelle Monaghan (“Made of Honor”), Juliette Lewis (“The Switch”) and Academy Award® winner Jamie Foxx (“Ray”).
Directed by Todd Phillips (“The Hangover”), the film is produced by Phillips and Dan Goldberg (“The Hangover,” “Old School”), from a screenplay by Alan R. Cohen & Alan Freedland and Adam Sztykiel & Todd Phillips, story by Alan R. Cohen & Alan Freedland. Thomas Tull, Susan Downey and Scott Budnick serve as executive producers.
“Due Date” reunites Phillips with key members of his filmmaking team from “The Hangover,” including director of photography Lawrence Sher, production designer Bill Brzeski, editor Debra Neil-Fisher, composer Christophe Beck and costume designer Louise Mingenbach.
ABOUT THE PRODUCTION
“If you're going to travel with me to Los Angeles I have to give you a couple of guidelines. Number one: don't ask me a single question.” - Peter Highman
“It's a simple idea—two mismatched guys forced to go on a road trip together,” declares “Due Date” director and co-writer Todd Phillips. “Robert Downey Jr. is Peter Highman, an architect on his way back to L.A. from a business trip in Atlanta. He's on a tight schedule because his wife is expecting their first child and the date is all set. Everything is fine until he gets tangled up at the airport with a wannabe actor named Ethan Tremblay, who somehow gets the both of them booted off the plane and grounded for the foreseeable future.”
At that point, “simple” flies right out the window.
Stranded without cash, credit, ID or time, Peter finds himself in the galling position of having to hitch a ride home with a guy he'd rather take a swing at—Ethan. The person he holds responsible for his predicament in the first place is now behind the wheel of a rental car and offering him the passenger seat.
Though clearly not his best option, it's Peter's only option.
At first grateful for the company, Ethan soon learns that his tightly wound traveling companion is not going to be any fun at 20 Questions, nor generally receptive to the concept of going with the flow. Meanwhile, Peter realizes he's just joined forces with a guy who can casually ruin his life in more ways than he could ever imagine.
“If there really was somebody like Ethan around, he'd have been strangled in his sleep long ago,” Downey attests. “He's like a laser beam that focuses on the one thing that will drive you crazy the most, the kind of guy who will eat a whole plate of waffles before mentioning he's allergic to waffles. I'm sure a lot of people know someone like this, someone who is perfectly wired to activate all of their irritation buttons.”
Granted, Peter has a short fuse to begin with. “He's kind of an edgy, controlling, judgmental guy with some anger-management issues. And who better to help him explore those issues than Ethan Tremblay? High-strung as he is normally, Peter is now facing the birth of his first child and is thrown into this nightmare, so it's all amped up,” Downey adds.
Ethan, by comparison, gives new meaning to the term laid-back. Zach Galifianakis, who stars as the human lightning rod for trouble, observes, “Nothing affects him, no insult seems to penetrate. Ethan lives in his own head. He has no talent, and he's on his way to Hollywood to capitalize on that. These two guys meet through a series of unfortunate circumstances that are entirely Ethan's fault, to which he is completely oblivious. And every bad thing that happens from that point on is Ethan's fault. Everything.”
Says Phillips, “People always cite chemistry in these kinds of movies. They say it's the chemistry between the two lead actors that make it work. I believe what makes ‘Due Date' work is anti-chemistry; it's two guys with zero connection and zero rapport, constantly butting heads, that generates both the tension and the comedy.”
Dan Goldberg, who has produced all of Phillips' feature films since their 2000 collaboration on the hit comedy “Road Trip,” says, “The ride develops its own momentum as one thing after another happens to impede their progress.”
At the same time, their cross-country trek takes Peter and Ethan on another, more unpredictable journey than what they face geographically—one that leads them to discover as much about themselves as each other.
Provided that they survive it.
Scott Budnick, an executive producer on the film, says, “There's real emotional substance to the story and real issues, and Robert and Zach do a phenomenal job in delivering both the humor and the emotional stakes. My favorite comedies are always the ones that have heart.”
As infuriating as Ethan can be, whether mismanaging his funds, missing potty breaks or launching their car off an overpass, Phillips concedes he has his good points, citing “honesty, innocence and a humanity that makes you connect with him and root for him despite it all. Ethan is a complex character. He has just lost his father, who was his best friend, and is having a tough time dealing with that. There's an underlying desperation in everything he does and an eagerness to please to the point where just making friends means trying too hard.”
“A lot of what he does is to avoid being lonely,” says Galifianakis.
Peter, on the other hand, may come across like a self-assured, aggressive control freak but, says Phillips' “Due Date” screenwriting partner Adam Sztykiel, “You sense that his behavior comes from an emotional place and from issues he has yet to work out, that are revealed in the story. Not far beneath the alpha male posture is his own vulnerability and how terrified he is to be responsible for a child.”
“As a parent,” Downey offers, “I know the big question is how are you going to manage and protect something that you have no experience with?”
Playing on that theme were screenwriters Alan R. Cohen and Alan Freedland, who also have story credit on “Due Date.” “Peter's comfort zone is when he's in control. And everything that happens in this movie is about losing control; from his inability to get back home to the larger issue of his impending fatherhood—and whether or not he's ready for it,” Cohen says.
“We wanted to put him into a situation where he had to travel across the country with someone who was effectively a child,” adds Freedland.
Not that it would lessen Peter's pain, stress and frustration if he knew it might be pain, stress and frustration with a purpose. Still...
“When I read the script, I was moved,” recalls executive producer Susan Downey. “It's so funny and yet so human. You want a comedy to have that grounding, in the way that you want a drama to have some humor. In ‘Due Date,' though his experience with Ethan, Peter finds his human side and gets ready for the birth of his own child. It's about him becoming a man before becoming a father.”
“Guess who's got the Subaru Impreza? Me! Guess who's got the winning personality? Me! What do you have? You have a nice hairline. Fine. You have a strong jaw. But I gotta tell you, mister, your personality needs some work.” - Ethan Tremblay
Despite the “anti-chemistry” Phillips had in mind for their characters, Galifianakis and Downey generated some genuine positive chemistry from the start.
Downey vividly recalls their first meeting. “I was in Venice, California, and some weird guy walks by and says, ‘Hi, I think I'm doing a movie with you.' And I was thinking, ‘I might have to punch this guy.' Then I realized, ‘Oh my God...that's Zach.'
“Later, he came over for dinner so we could talk about the script,” Downey continues. “I asked if he had any dietary restrictions and he sent me a note detailing everything he'd need, like bottled water flown in from Barstow. It's one of my favorite things. I read it to people at parties.”
“We kind of took care of each other on the set—very different from what was going on in the movie. We'd talk every morning about how to make a scene work. It was great. Funny how hanging out with a legitimate actor raises your game,” Galifianakis returns.
“I always respond to projects based on the casting potential,” says Phillips. “I immediately start seeing a movie from the standpoint of casting it. For ‘Due Date,' I knew that if I could get Robert and Zach we could go full out.”
Phillips marks his second collaboration with Galifianakis on “Due Date,” following the comedian's breakout starring role in last year's international blockbuster hit “The Hangover,” that became the highest-grossing R-rated comedy of all time. He says, “Zach and I click because he knows I really get his humor, which can be pretty outrageous.”
In “Due Date,” however, Galifianakis creates a character that calls for a great deal of subtlety. Notes Budnick, “Every little nuance of personality and each detail—the way he walks, the way he talks, the way he thinks—Zach has figured out how Ethan Tremblay would do these things and it's reflected in every single moment he's on screen.”
At the same time, there is a core of unpredictability to the performance. “Zach brings a sense of spontaneity and danger and I think comedy is best with an undercurrent of danger so that you never know exactly what's going to happen or what someone will say or do. In that sense, he's the perfect comedic actor,” says Phillips.
And “Due Date” gives him a worthy antagonist in Downey.
“Not only is Robert a world-class actor but he's naturally funny. I wouldn't think of casting Robert Downey Jr. as anyone's straight-man,” says Phillips. “In ‘Due Date' there is no straight-man because they're both screwed up in their own ways. And the beauty of Zach and Robert playing off each other is that they're both funny but their humor comes from such different places and their styles are so different that you're not mining the same vein.”
Downey, Galifianakis, Phillips and Sztykiel “took the script apart and put it back together,” says Goldberg. “Every day there were new things that touched me and made me laugh. I believe ‘Due Date' audiences will see aspects of Robert and Zach that they haven't seen before and things that will surprise them. As a filmmaker, I'm always looking for that.”
It's a philosophy and a process that Phillips respects. “So much of comedy happens on the day you shoot,” he says, and offers the example of the airplane luggage bin scene. “It just happened as we were looking at the seating and the overhead bin and realized how that could bring them really close in a small space. Zach said, ‘What if I rub up against him while I'm reaching into the bin?' And I said, ‘What if you pull your shirt up first to wipe your glasses so it's just your bare stomach?' Comedy isn't math; it's jazz.”
Says Robert Downey Jr., “I start every day thinking here's what will happen if you do it by the book and here's what can happen if you bend yourself over backwards and forwards again and try to invite the unimagined into the situation. The set had energy like a living being; it was evolving all the time. And what's great and so funny about Todd is that sometimes, with him, it's so wrong, it's right.”
That point of view resonates with Galifianakis, who admits to being right alongside the director in appreciating “the inappropriate,” adding, “Todd and I have the same sense of humor. We like stuff that has a bit of a taboo element—things that are funny specifically because you're not supposed to laugh at them. As a stand-up comic, I love it when audiences laugh before they realize maybe they shouldn't have, and then start to question themselves.
“That's not to say that you can't be offended by something Todd or I do in a film,” he continues with mock concern. “I'm often offended by the things I do in movies.”
“You'd better check yourself before you wreck yourself.” - Ethan
“What I like about road trip movies is that essentially your characters are working without a net. You just throw them out into the elements and say, ‘Deal with it,'” says Phillips. “You don't have the support system of friends and family. People come in and out of your life for intense but fleeting moments.”
To help facilitate that, ‘Due Date' features a stellar supporting cast of characters who offer Peter and Ethan a range of memorable and often thought-provoking encounters along the way.
The first of these is Heidi, a freelance medical supplier with questionable parenting skills, tracked down by Ethan at her Birmingham home to restock his supply of “glaucoma medication.” It's one of many detours that takes them miles out of their way.
Heidi is played by Juliette Lewis, in her third screen role for Phillips. Lewis was touring in London with her band when the director called. “We worked it out so that between London and Helsinki I made a pit stop in a place I didn't even know existed—Las Vegas, New Mexico—for a couple of days, to play a pot dealer,” she recounts. “When Todd calls it's a game of trust. I don't know the role, I don't know what he wants me to do, but I know it's going to be good and it's going to be funny.”
Oscar® winner Jamie Foxx, who recently starred with Downey in “The Soloist,” comes aboard in the role of Peter's old college buddy, Darryl, now living in Dallas.
“It was a real coup to get Jamie to come in as Peter's friend—and, according to Ethan, possibly the real father of his soon-to-be-born child,” says Robert Downey Jr., alluding to yet another way in which Ethan manages to get under Peter's skin.
Within minutes of entering Darryl's home, Ethan spots a few photos, asks a few questions, adds two and two, and comes up with five. “He learns that Darryl is very close with Peter's wife and jumps to all kinds of conclusions. Then, he plants the seed of doubt in Peter's mind,” says Phillips.
“Darryl comes into the picture to do these guys a favor and it's all great...until it's not. Then things get very weird, very fast,” Foxx says of the ensuing scene that lands Peter and Ethan back on the pavement. “Working with Robert, Zach and Todd, you'd never know what to expect, but you could always count on it being a crazy, creative, collaborative experience.”
The travelers also run afoul of an ill-tempered Western Union clerk, played by Danny McBride; a paragon of Airport Security, played by Grammy Award-winning hip hop producer/musician and actor Rza; and an exceptionally indifferent TSA agent, played by Matt Walsh, the ER doc from “The Hangover.”
Meanwhile, back home anxiously awaiting Peter's return is his wife, Sarah, played by Michele Monaghan, reuniting with Downey for the first time since they teamed in the 2005 comedy thriller “Kiss Kiss Bang Bang.”
“Sarah is just about 8 months and 29 days pregnant with her first baby and obviously very anxious,” Monaghan offers. “Her husband is not only m.i.a but is also traveling cross- country with a wild man whose only concern is if she has any ‘recommendations for someone who could give him a perm'?!? Clearly, the baby's arrival looks more promising than daddy's.”
“Sonny, stop. Sonny...No. Stop. Good boy.” - Ethan
Before circumstances force these two to share a rental car, Ethan already has a traveling companion: a French Bulldog named Sonny, who becomes the pair's third wheel and a point of calm amidst the escalating mayhem.
The role of Sonny, though indisputably male, was played almost entirely by a young female Frenchie trained by Mark Harden, of Boone's Animals for Hollywood.
The introduction of a dog into the script came about as Phillips sought to further ratchet up the tension between his two leads and decided that one of them should be a dog person and the other...not so much. After perusing renowned animal trainer Boone Narr's company website, he spotted what he was looking for in Bodie, an adult male French Bulldog with the big ears and wide-eyed comical expression typical of the breed.
Unfortunately, at 26 pounds, Bodie was too heavy to be constantly toted around on one arm, so, with only weeks before filming started, Harden launched a full-scale and very specific search for a six-to-10-month-old, cream-colored, slightly undersized French Bulldog. He first tried the rescue agencies, then tapped into a nationwide network of breeders before finding someone who had a full-grown female weighing in at 15 pounds.
Though Galifianakis jokes that Sonny was trained to fall asleep at the word ‘action,' Harden takes no credit for the animal's relaxed demeanor, conceding, “She's just a very settled and well-adjusted dog. She doesn't get worked up. I think she just learned early on that most of her scenes were going to take awhile and she might as well catch a nap.”
Galifianakis, who bonded with his canine co-star despite an allergy to dogs, says, “I was kind of envious at her ability to fall asleep at work. And she snores like me.”
But as much as the camera loved Sonny, there was one special trick she just couldn't manage, that required a one-day command performance from Bodie.
Harden carefully describes how the trick serendipitously made its way into the story. “French Bulldogs are unable to groom themselves in certain areas as other dogs do. I don't know if it's a combination of their short neck and wide shoulders, but they can't twist backwards.”
Consequently, some of them use their paws, “a natural behavior that Bodie spontaneously offered in front of Todd at that first meeting, while we were talking,” the trainer recalls. “As soon as he saw it, there was no turning back. He said, ‘Oh my God, can you train him to do that?”
“Am I okay? Do I look okay? I have a broken arm. I have three cracked ribs. I have seven stitches in my armpit. Does that answer your question? - Peter
“I love physical comedy,” says Phillips, who happily extends the parameters of physical comedy in “Due Date” to include a multi-vehicle freeway chase, an end-over-end car flip and a shoot-out with some seriously t'd-off border security agents.
“For me,” Phillips continues, “It's fun to include shocking moments that make you say, ‘Whoa, where did that come from?' We shot the car sequence in Las Cruces, New Mexico. They let us break through the overpass and land on the road below. We closed the highway for several days to prepare and execute it but, frankly, you never know how a stunt is going to land, so we set up four or five cameras and let it happen. The car flipped back up on its wheels, but we were prepared for it to do anything.” Filming “Due Date” was a road trip in itself. Location shooting began in and around Atlanta and moved generally westward with the story, touching upon Dallas and the Texas interior and various locations in New Mexico, including Las Vegas and Santa Fe, which the filmmakers covered from a base of operations in Albuquerque, before touching down in California.
“The way the script breaks down, they have to get across the country. in a couple of days so you really need to take the southern route, which is not as long as the northern, so it makes sense in terms of driving time,” says production designer Bill Brzeski.
A separate helicopter unit covered the Grand Canyon for a key scene with Peter and Ethan perched on its rim, overlooking the Colorado River snaking its way through, far below. Between takes, busloads of visitors from all over the world arrived to tour the area and there was some concern on the part of the crew that they might forget to watch where they were going once they caught sight of Downey and Galifianakis.
The film's opening airport scenes were a combination of several elements. The plane cabin mockup was constructed on Stage 11 at Warner Bros. Studios; the curb where Peter's and Ethan's cars pull up was shot at Ontario Airport in California; and the screening area and other terminal interiors were built inside the Georgia World Congress Center in Atlanta.
Other practical locations in Georgia included a construction site in Atlanta's Buckhead neighborhood; a Waffle House and portions of Highway 27 in Bremen; various locations along I-75 and I-675, GA-route 20 and the Metropolitan Parkway; the Gwinnett Medical Center in Lawrenceville; the 1010 Condos on Atlanta's historic Peachtree Street; and a recently closed rest stop along I-985.
Darryl's home in Dallas was an amalgam of exteriors captured in Buckland, Georgia, and interiors shot in Encino, California. “You're never really anywhere you're supposed to be,” Brzeski says. “Las Vegas, New Mexico was built around the turn of the century and doesn't look like what you'd expect to see in New Mexico. There's a lot of Victorian architecture that doesn't match the typical Santa Fe look so buildings can substitute for almost any American small town, be it Texas or Ohio. We used it as Alabama for Heidi's house.”
The southwestern city also provided the site for one of the film's larger set pieces; a checkpoint at the U.S./Mexico border that was constructed on a bridge spanning a portion of Route 25 in Las Vegas, under which Brzeski and his team formed an encampment of Federali trailers based on actual Mexican Customs vehicles. Interiors of the office and a trailer, as well as a gimbal rig that figures into the action, were built on stage and another rotating rig, dubbed “car-on-a-spit” by one crew member, was designed for the scene in which Peter and Alan take their rented Subaru for a real spin.
All this action takes its toll on the luggage-deprived Peter, forced to spend the entire journey in one increasingly rumpled, torn, stained and slept-in suit. For costume designer Louise Mingenbach, that meant maintaining 20 versions of the suit in five basic stages of deterioration. “Definitely, the story evolves through Peter's clothes,” she says.
With Ethan's wardrobe she was able to have more fun, brainstorming with Galifianakis, who, she says, “has no vanity. Some actors want to look beautiful all the time but that's not Zach. He will wear whatever works for his character, even if it's acid-washed jeans two sizes too small.”
“I really like to look bad in movies,” Galifianakis agrees. “Originally Ethan was dressed like a hippie but I wanted him to be more arty—or, what he would think is arty. He has a perm, he has his dance shoes and his really bad tight jeans and the scarf as an accessory; he wants to be an actor and this is how he thinks actors dress.”
“Due Date” marks Mingenbach's fifth collaboration with Phillips, who says, “I have a great team. I've worked with essentially the same people throughout my career. We write some crazy thing and then I turn to my guys and say, ‘Can we pull this off?'”
Among those previous colleagues rejoining the director on “Due Date” were cinematographer Lawrence Sher, editor Debra Neil-Fisher and composer Christophe Beck.
Scott Budnick points out, “‘Due Date' marks the 10-year anniversary of ‘Road Trip,' Todd's first movie and my first job out of college. We filmed ‘Road Trip' from September to December 1999, and ‘Due Date' from September to December of 2009.”
For Phillips, it's a genre full of possibilities.
“I've been in some strange situations on the road,” confesses screenwriter Sztykiel, a Los Angelino who identified in some ways with Peter. “Here's a guy who's a little sheltered and doesn't have exposure to the 3,000 miles that exist east of his home, and it was fun to force him out of his bubble. It's uncomfortable, but you come away with a better sense of your place in the world. My advice for travelers? Go to the bathroom. Make sure your traveling partner has gone to the bathroom. Don't spend all your money on illegal substances. Don't say ‘bomb' on an airplane. Don't open your car door in traffic. Pretty simple stuff.” Sure. In hindsight.
“There's something about a road trip that brings out the extremes of human reactions and emotions,” says Phillips. “It's a great opportunity for surprises and for people to learn things about themselves or each other that they'd never see if they weren't being pushed to their limits, or having to make the kinds of quick, instinctive decisions you have to make on the road.”
At the same time, the road itself can be almost incidental. “No matter where we are in ‘Due Date,' no matter what's kind of chaos they're going through,” he concludes, “it all comes down to these two guys working out their issues.”
ABOUT THE CAST
ROBERT DOWNEY JR. (Peter Highman), a two-time Academy Award® nominee, earned his most recent Oscar® nomination, for Best Supporting Actor, for his work in Ben Stiller's comedy hit “Tropic Thunder.” His performance as Kirk Lazarus, a white Australian actor playing a black American character, also brought him Golden Globe, BAFTA Award and Screen Actors Guild (SAG) Award® nominations. Downey was honored with his first Oscar® nomination, in the category of Best Actor, for his portrayal of Charlie Chaplin in Richard Attenborough's acclaimed 1992 biopic “Chaplin,” for which he also won BAFTA Award and London Film Critics Awards and received a Golden Globe Award nomination.
Earlier this year, Downey received another Golden Globe nomination for his performance in the title role of the 2009 hit “Sherlock Holmes,” under the direction of Guy Ritchie. Downey returns to the role of the legendary detective in a new Sherlock Holmes adventure, currently slated for release in December 2011.
In summer 2008, Downey received praise from critics and audiences for his performance in the title role of the blockbuster hit “Iron Man,” under the direction of Jon Favreau. Bringing the Marvel Comics superhero to the big screen, “Iron Man” earned more than $585 million worldwide, making it one of the year's biggest hits. Downey reprised his role in the successful sequel, which was released this past spring. He returns to the role in Josh Whedon's upcoming actioner “The Avengers,” which teams Iron Man with other Marvel Comics superheroes.
Downey's other recent films include “The Soloist,” opposite Jamie Foxx; “Charlie Bartlett”; David Fincher's “Zodiac,” alongside Jake Gyllenhaal and Mark Ruffalo; Richard Linklater's “A Scanner Darkly,” with Keanu Reeves, Winona Ryder and Woody Harrelson; “Fur,” opposite Nicole Kidman in a film inspired by the life of revered photographer Diane Arbus; and “Kiss Kiss, Bang Bang.” He also shared in a SAG Award® nomination as a member of the ensemble cast of George Clooney's true-life drama “Good Night, and Good Luck,” and in a Special Jury Prize won by the ensemble cast of “A Guide to Recognizing Your Saints,” presented at the 2006 Sundance Film Festival.
Downey's long list of film credits also includes “Gothika”; “The Singing Detective”; Curtis Hanson's “Wonder Boys”; “U.S. Marshals”; Mike Figgis' “One Night Stand”; Jodie Foster's “Home for the Holidays”; “Richard III”; Oliver Stone's “Natural Born Killers”; Robert Altman's “The Gingerbread Man” and “Short Cuts,” sharing in a Golden Globe Award for Best Ensemble for the latter; “Heart and Souls,” “Soapdish,” “Air America,” “Chances Are,” “True Believer,” “Less Than Zero,” “Weird Science,” “Firstborn,” and “Pound,” in which he made his debut under the direction of Robert Downey Sr.
On the small screen, Downey made his primetime debut in 2001 when he joined the cast of the series “Ally McBeal.” For his work on the show, he won the Golden Globe Award for Best Supporting Actor in a Series, Miniseries or Motion Picture Made for Television and a Screen Actors Guild Award® for Outstanding Actor in a Comedy Series. In addition, Downey was nominated for an Emmy for Outstanding Supporting Actor in a Comedy Series.
On November 23, 2004, Robert Downey Jr. released his debut album, “The Futurist,” on the Sony Classics label. The album, containing eight original songs, showcased his singing talents.
Downey and his wife, Susan, just formed Team Downey, a production company based at Warner Bros.
ZACH GALIFIANAKIS (Ethan Tremblay) moved to New York City after failing his last college course by one point at North Carolina State University. He got his start performing his brand of humor in the back of a hamburger joint in Times Square, graduating to doing stand-up at night in clubs and coffee houses in the city. While working as a bus boy, he got his first acting job on the NBC sitcom “Boston Common.”
Galifianakis' breakout role came in Todd Phillips' blockbuster hit “The Hangover,” the highest-grossing R-rated comedy of all time. He will reunite with Phillips and cast-mates Bradley Cooper, Ed Helms and Justin Bartha in “The Hangover 2,” slated for a 2011 release.
He also stars in “It's Kind of a Funny Story,” which premieres at the 2010 Toronto Film Festival and opens this fall. Recently, he also co-starred with Steve Carell and Paul Rudd in Jay Roach's comedy “Dinner for Schmucks.” Galifianakis' additional film credits include the Jerry Bruckheimer-produced hit “G-Force”; the indie feature “Youth in Revolt,” with Michael Cera, Steve Buscemi and Ray Liotta; a cameo in Jason Reitman's Oscar®- nominated film “Up in the Air”; “What Happens in Vegas,” with Cameron Diaz and Ashton Kutcher; and the critically acclaimed true-life drama “Into the Wild,” from director Sean Penn.
On the small screen, Galifianakis just started the second season of the HBO comedy “Bored to Death,” with Jason Schwartzman and Ted Danson. In addition, he hosted the critically acclaimed VH1 talk show “Late World with Zach,” and also wrote and starred in “Dog Bites Man” for Comedy Central.
Zach also has an internet talk show entitled “Between Two Ferns.” He has interviewed such guests as Steve Carell, Natalie Portman, Conan O'Brien and Charlize Theron.
When not filming, Galifianakis lives on his farm in North Carolina.
MICHELLE MONAGHAN (Sarah Highman) most recently starred to great critical acclaim in the independent film “Trucker,” which world premiered at the Tribeca Film Festival. She received the Best Actress Awards from the San Diego Film Critics Society, Ft. Lauderdale International Film Festival and Vail Film Festival. Monaghan also served as executive producer on the film.
She will next been seen in Sofia Coppola's “Somewhere,” “Source Code,” opposite Jake Gyllenhaal for director Duncan Jones and “Machine Gun Preacher,” opposite Gerard Butler for director Marc Forster.
Monaghan made her feature film debut in “Perfume,” directed by Michael Rymer, then played Richard Gere's secretary in Adrian Lyne's “Unfaithful.” She followed with supporting roles in Fred Schepisi's “It Runs in the Family,” with Michael Douglas; “Winter Solstice,” with Anthony LaPaglia; Paul Greengrass' “The Bourne Supremacy”; and Doug Liman's “Mr. & Mrs. Smith.”
It was her starring role in “Kiss Kiss, Bang Bang,” opposite Robert Downey Jr. and Val Kilmer, which brought Monaghan to the attention of audiences around the world. She also received rave reviews for her performance in the film, directed by Shane Black. Next, Monaghan joined Charlize Theron and Frances McDormand in “North Country” for director Niki Caro. She then starred in “Gone Baby Gone,” with Casey Affleck and Morgan Freeman; “The Heartbreak Kid,” opposite Ben Stiller; “Mission: Impossible III,” with Tom Cruise and Philip Seymour Hoffman for director J.J. Abrams; opposite Patrick Dempsey in the romantic comedy “Made of Honor”; and in D.J. Caruso's hit thriller “Eagle Eye,” alongside Shia LaBeouf.
JULIETTE LEWIS (Heidi) received Best Supporting Actress Oscar® and Golden Globe nominations for her layered performance as adolescent Danielle, opposite Robert De Niro, in Martin Scorsese's thriller “Cape Fear.”
She reunites with Todd Phillips on “Due Date,” having previously collaborated on “Old School” and “Starsky & Hutch.”
Lewis was most recently seen alongside Hilary Swank, Melissa Leo, Minnie Driver and Sam Rockwell in the independent drama “Conviction,” which premiered at the Toronto Film Festival and opened in October. Prior to that, Lewis appeared in the romantic comedy “The Switch,” alongside Jennifer Aniston, Jason Bateman and Patrick Wilson. She also starred alongside Orlando Bloom, Mark Ruffalo and Laura Linney in Ruffalo's directorial debut, “Sympathy for Delicious,” which took home the US Dramatic Special Jury Prize at this year's Sundance Film Festival. Last year, she played roller derby girl Dinah Might opposite Ellen Page, Marcia Gay Harden, Kristen Wiig, Jimmy Fallon and Eve in Drew Barrymore's directorial debut, “Whip It.”
Among Lewis' many other films are Gary Marshall's “The Other Sister”; “Evening Star,” with Shirley MacLaine; Quentin Tarantino's vampire tale “From Dusk Till Dawn,” opposite George Clooney; the sci-fi actioner “Strange Days,” alongside Ralph Fiennes and Angela Bassett; Nora Ephron's comedy “Mixed Nuts,” opposite Steve Martin and Adam Sandler; Oliver Stone's controversial “Natural Born Killers”; “What's Eating Gilbert Grape,” with Johnny Depp and Leonardo DiCaprio”; “Romeo Is Bleeding”; “Kalifornia”; Woody Allen's “Husbands and Wives”; “Crooked Hearts” and “National Lampoon's Christmas Vacation,” with Chevy Chase.
At 12, Lewis landed her first leading role in the Showtime miniseries “Home Fires.” At 16, her performance in the critically acclaimed longform “Too Young to Die?” led to film roles. Lewis' other television credits include Showtime's “My Louisiana Sky,” for which she received an Emmy Award nomination for Outstanding Performer in a Children's Special, and Mira Nair's HBO film “Hysterical Blindness,” alongside Uma Thurman and Gena Rowlands. She also had recurring roles in several series.
In addition to film and television, Lewis's music career continues to evolve. Her third studio album, Terra Incognito, was released in fall 2009.
JAMIE FOXX (Darryl) won an Academy Award® for Best Actor in 2005 for his portrayal of the legendary Ray Charles in the Taylor Hackford-directed biopic “Ray.” Foxx also won a Golden Globe Award, a Screen Actors Guild (SAG) Award®, a BAFTA Award, and an NAACP Image Award, as well as numerous critics' association awards, and shared in a SAG Award® nomination received by the film's ensemble cast.
Also in 2005, Foxx garnered Oscar®, Golden Globe Award, SAG Award®, BAFTA Award, and Image Award nominations, in the Best Supporting Actor category, for his work in Michael Mann's dramatic thriller “Collateral,” in which he starred with Tom Cruise. That same year, Foxx also earned Golden Globe Award and SAG Award® nominations and won an Image Award for Best Actor in a Television Movie for his portrayal of condemned gang member-turned-Nobel Peace Prize nominee Stan “Tookie” Williams in the FX Network movie “Redemption.”
Foxx has a number of films upcoming, including the Seth Gordon-directed comedy “Horrible Bosses”; F. Gary Gray's action thriller “Kane & Lynch,” opposite Bruce Willis; and the comedy “Skank Robbers,” which he also wrote and is producing. His recent film credits also include Garry Marshall's hit ensemble romantic comedy “Valentine's Day,” the thriller “Law Abiding Citizen,” Joe Wright's drama “The Soloist,” the thriller “The Kingdom” and Bill Condon's screen adaptation of the Broadway musical “Dreamgirls.” Foxx also executive produced the film “Life Support,” starring Queen Latifah, which closed the 2007 Sundance Film Festival.
Foxx's big-screen break came in 1999 when Oliver Stone cast him as a star quarterback in “Any Given Sunday.” In 2001, he co-starred with Will Smith in Michael Mann's acclaimed biopic “Ali.” His additional film credits include Michael Mann's “Miami Vice,” with Colin Farrell; Sam Mendes' Gulf War drama “Jarhead,” with Jake Gyllenhaal; “Stealth”; Antoine Fuqua's “Bait”; “Booty Call”; “The Truth about Cats & Dogs”; and “The Great White Hype.”
Foxx first came to fame as a comedian. After spending time on the comedy circuit, he joined Keenan Ivory Wayans, Jim Carrey, Damon Wayans and Tommy Davidson in the landmark Fox sketch comedy series “In Living Color.” In 1996, he launched his own series, “The Jamie Foxx Show,” which was one of the top-rated shows on The WB Network during its five-year run. Foxx also served as co-creator and executive producer, and directed several episodes. His first HBO Comedy Special, “Jamie Foxx: I Might Need Security,” premiered in February 2002.
In addition to his acting success, Foxx has also achieved a thriving music career. His first album, Unpredictable, topped the charts in late 2005 and early 2006 and spawned the NBC special “Unpredictable,” in which he performed with such artists as Mary J. Blige, Common, Snoop Dogg, The Game and Angie Stone. He has been nominated for eight Billboard Music Awards, three Grammy Awards, a Soul Train Music Award, and two American Music Awards, winning for Favorite Male Artist. Foxx's latest album, 2008's Intuition, debuted at number three on the Billboard 200 chart and spawned the chart-topping single “Blame It.” Foxx recently wrapped up his “Blame It Tour” in support of the album. On January 31, 2010 Jamie Foxx and T-Pain's “Blame It” won in the category of Best R%B performance by a duo/group with vocals at the 52nd Annual Grammy Awards.
ABOUT THE FILMMAKERS
TODD PHILLIPS (Director/Screenwriter/Producer) most recently directed and produced the 2009 blockbuster hit comedy “The Hangover,” starring Bradley Cooper, Ed Helms, Zach Galifianakis and Justin Bartha. The film became the highest grossing R-rated comedy of all time and won a Golden Globe for Best Motion Picture – Comedy or Musical. He is currently in production on the much-anticipated sequel, “The Hangover 2,” which reunites the cast.
Phillips started his career as a documentary filmmaker, inspired by humor taken from everyday reality and the belief that the truth is often stranger than fiction.
His first film, “Hated,” portrayed the revolting antics of extreme punk rocker G.G. Allin and became an instant underground sensation. It was released in the summer of 1994 and went on to become the highest grossing student film of its time.
He followed that in 1998 with “Frat House,” a documentary that he produced and directed for HBO's popular “America Undercover” series. “Frat House” premiered at the 1998 Sundance Film Festival and won the Grand Jury Prize for documentary features. The unflinching exposé of life in fraternities created a public controversy that eventually caused the film to be shelved by HBO. Phillips still hopes to release it in the future.
After meeting producer Ivan Reitman at Sundance, Phillips made his crossover to features with 2000's “Road Trip,” which established him as a new force in comedy. He simultaneously produced and directed “Bittersweet Motel,” a documentary on musical cult phenomenon Phish.
In one way or another, Phillips' films explore the nature of male relationships, and in doing so he has worked with some of Hollywood's biggest comedic actors, writing and directing such films as “Old School” in 2003, “Starsky & Hutch” in 2004, and “School for Scoundrels” in 2006. Phillips was nominated for a 2006 Academy Award® for Best Adapted Screenplay for his work on “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan.”
DAN GOLDBERG (Producer) marks his fifth film collaboration with Todd Phillips on “Due Date.” Previously, he served as producer on Phillips' “Old School,” “Road Trip,” “School for Scoundrels” and most recently, “The Hangover,” which won a Golden Globe Award for Best Motion Picture – Musical or Comedy and is the highest grossing R-rated comedy of all time. Goldberg will next produce “The Hangover 2” with Phillips, releasing in 2011.
Goldberg also produced the outrageous comedy “Howard Stern's Private Parts” and the animated comedy adventure “Space Jam,” starring Michael Jordan, and was an executive producer on Ivan Reitman's romantic adventure “Six Days Seven Nights,” starring Harrison Ford.
His screenwriting credits include the classic comedies “Stripes” and “Meatballs,” both of which he also produced; “Feds,” which he also directed; and the enduring cult favorite “Heavy Metal.”
ALAN R. COHEN & ALAN FREEDLAND (Screenwriters, Story) are best known as Emmy Award-winning writers from the Fox animated show “King of the Hill” and often referred to as “the Alans.”
Among numerous other writing and producing credits, the duo also co-created the Comedy Central cult hit “Kid Notorious,” starring Robert Evans. They are currently co- executive producers on Seth MacFarlane's “American Dad.”
Prior to “Due Date,” the Alans wrote feature scripts for various studios. They currently have several television and film projects in development, including the feature comedy “The Reunion,” for producer Brian Grazer.
A George Washington University graduate, Cohen originally hails from Pittsburgh and worked for several years as a reporter in The Baltimore Sun's Washington, D.C. bureau.
Freedland graduated from the University of Michigan. He grew up in the Detroit area and worked in advertising in Chicago.
ADAM SZTYKIEL (Screenwriter)'s most recent writing credit was the comedy “Made of Honor,” starring Patrick Dempsey and Michelle Monaghan.
He is currently working on a film adaptation of the best-selling memoir “The Game” by Neil Strauss, and has numerous other film and television projects in development.
Sztykiel is a graduate of the University of Southern California School of Cinematic Arts.
THOMAS TULL (Executive Producer), Chairman and CEO of Legendary Pictures, has achieved great success in the co-production and co-financing of event movies. Since its inception in 2004, Legendary Pictures has teamed with Warner Bros. Pictures on such hits as Bryan Singer's “Superman Returns”; Zack Snyder's “300” and “Watchmen”; and Christopher Nolan's “Batman Begins” and award-winning phenomenon “The Dark Knight,” which earned in excess of $1 billion worldwide.
More recently, this highly successful partnership produced Ben Affleck's “The Town”; Christopher Nolan's summer blockbuster “Inception”; the worldwide hit “Clash of the Titans”; Todd Phillips' “The Hangover,” which is the highest-grossing R-rated comedy of all time; and Spike Jonze's “Where the Wild Things Are.” Legendary's upcoming releases include Bryan Singer's “Jack the Giant Killer,” Todd Phillips' “The Hangover 2,” and Zack Snyder's “Sucker Punch.” Legendary is also developing a number of promising film projects in-house, including “Warcraft,” “Godzilla,” “Gravel,” “Paradise Lost,” and a sequel to “300.”
Before forming Legendary, Tull was President of The Convex Group, a media and entertainment holding company headquartered in Atlanta, on whose Board of Directors he also served.
SUSAN DOWNEY (Executive Producer) is a principal partner of Team Downey, the production company she formed with her husband, Robert Downey Jr. A prolific film producer, she has collaborated with some of the industry's most noted talents on films ranging from action blockbusters to dramas to comedies to horror thrillers.
Downey also produced the global hit “Sherlock Holmes,” which opened on Christmas Day 2009 and grossed more than $516 million worldwide. Directed by Guy Ritchie, the film starred Robert Downey Jr., Jude Law, Rachel McAdams and Mark Strong in an action adventure mystery that brought Arthur Conan Doyle's legendary detective to the big screen as never before. She is currently producing the sequel, which again stars Downey Jr. and Law under the direction of Ritchie.
Downey also recently served as an executive producer on the action hit “Iron Man 2,” which earned more than $620 million at the worldwide box office. The follow up to “Iron
Man” reunited director Jon Favreau with returning stars Robert Downey Jr. and Gwyneth Paltrow, and also starred Don Cheadle, Mickey Rourke and Scarlett Johansson.
Previously, Downey held the dual posts of Co-President of Dark Castle Entertainment and Executive Vice President of Production at Silver Pictures. Joining Silver Pictures in 1999, she oversaw the development and production of feature films released under both banners, including “Thir13en Ghosts” and “Swordfish.”
In 2002, she made her producing debut as a co-producer on “Ghost Ship” and then co- produced the 2003 release “Cradle 2 the Grave.” Downey went on to produce the features “Gothika” and “House of Wax,” and also served as an executive producer on the critically acclaimed comedic thriller “Kiss Kiss, Bang Bang.”
Downey later produced Neil Jordan's acclaimed psychological drama “The Brave One,” starring Jodie Foster and Terrence Howard; Guy Ritchie's widely praised crime comedy “RocknRolla,” starring Gerard Butler, Tom Wilkinson, Thandie Newton, Idris Elba, Chris Bridges and Jeremy Piven; the horror thriller “Orphan,” starring Vera Farmiga and Peter Sarsgaard; and the thriller “Whiteout,” starring Kate Beckinsale. She was also an executive producer on the Hughes brothers' post-apocalyptic drama “The Book of Eli,” starring Denzel Washington and Gary Oldman.
Prior to her tenure at Dark Castle and Silver Pictures, Downey worked on the hit films “Mortal Kombat” and “Mortal Kombat: Annihilation.”
Downey is a graduate of the University of Southern California's School of Cinema- Television.
SCOTT BUDNICK (Executive Producer) is Executive Vice President of Production for Green Hat Films, overseeing the development and production of a varied slate of projects including the upcoming “Project X,” set for release in 2011. He most recently executive produced the blockbuster hit “The Hangover,” which won a Golden Globe for Best Motion Picture – Musical or Comedy and is the highest grossing R-rated comedy of all time.
Budnick began his entertainment career in local casting while at Emory University in his hometown of Atlanta, Georgia. Upon graduation, he relocated to Los Angeles, serving as casting assistant on Todd Phillips' “Road Trip” and then as associate to the director on “Old School,” starring Vince Vaughn, Luke Wilson, Will Ferrell and Jeremy Piven. Budnick served associate producer on Phillips' following films, “Starsky & Hutch,” starring Owen Wilson and Ben Stiller and “All The King's Men,” starring Sean Penn and Jude Law, which Phillips executive produced; and was co-producer on “School for Scoundrels,” starring Billy Bob Thornton.
LAWRENCE SHER (Director of Photography) reunites with Todd Phillips on “Due Date,” having previously collaborated on the Golden Globe-winning blockbuster comedy “The Hangover.” His work will next be seen in Greg Mottola's sci-fi comedy “Paul,” with Jason Bateman and Seth Rogan, and David Frankel's comedy “The Big Year,” based on Mark Obmascik's book and starring Owen Wilson, both releasing in 2011.
Sher's other recent credits include “I Love You, Man,” “Trucker,” “The Promotion,” “Dan in Real Life,” “The Dukes of Hazzard” and “The Chumscrubber.”
He worked as director of photography on several smaller films and music videos earlier in his career, coming to the fore in 2001 with the award-winning independent film “Kissing Jessica Stein,” followed by director Zach Braff's “Garden State.”
Born and raised in New York City, Sher studied economics at Wesleyan University where, in his junior year, he turned an interest in still photography into a fascination with motion pictures. Upon graduation, he moved to Los Angeles and began his career as a camera assistant.
BILL BRZESKI (Production Designer) previously collaborated with Todd Phillips on the 2009 Golden Globe Award-winning blockbuster comedy “The Hangover,” for which he received an Art Director's Guild Award nomination for Excellence in Production Design. Brzeski re-teams again with Phillips for “The Hangover 2,” releasing in 2011.
Brzeski's other recent credits include “Flipped,” which reunited him with Rob Reiner, having previously served as production designer on Reiner's “The Bucket List”; and re- teaming with Rob Minkoff' on “The Forbidden Kingdom,” having previously worked on the director's groundbreaking CGI movie “Stuart Little” and its sequel, “Stuart Little 2.” Some of the designer's additional credits include “Deck the Halls,” “Blue Streak,” James L. Brooks' Oscar®-winning “As Good As It Gets” and “Matilda.”
Brzeski received his undergraduate degree from Miami University and his MFA in Design from New York University's Tisch School of the Arts. Originally interested in designing for the ballet and opera, he began his career in the theatre before moving to Los Angeles from New York City and designing more than 800 episodes of television series.
Brzeski also designs commercial spaces, most notably the award-winning Susina Bakery in Los Angeles.
His production design workshops at graduate and undergraduate levels have been hosted by New York University School of the Arts, Miami University, Clemson University and Loyola University Film School.
DEBRA NEIL-FISHER (Editor) re-teams with Todd Phillips on “Due Date,” having served as editor on his blockbuster hit “The Hangover,” the number one R-rated comedy of all time. The film won a Golden Globe for Best Motion Picture - Musical or Comedy and Fisher was honored with an Eddie Award by the American Cinema Editors for Best Edited Feature Film.
Among Neil-Fisher's other feature credits are the hit comedies “Baby Mama,” “Semi- Pro,” “Role Models,” “You, Me and Dupree,” “Without a Paddle,” “Saving Silverman,” and two hugely successful Austin Powers films, “Austin Powers: International Man of Mystery” and “Austin Powers: The Spy Who Shagged Me.” She has collaborated three times with director Donald Petrie on “Just My Luck,” “Welcome to Mooseport” and “How to Lose a Guy in 10 Days.” Her work also extends to other genres, including the dramas “Fried Green Tomatoes,” “The War” and “Up Close and Personal,” as well as the thrillers “Teaching Mrs. Tingle” and “Dr. Giggles.”
In 1991 Neil-Fisher won a CableACE Award for her work on TNT's telefilm “Heat Wave,” for director Kevin Hooks. Among her earlier television credits are “The Amy Fisher Story,” “The Case of the Hillside Strangler” and the TNT thriller “Breaking Point.”
LOUISE MINGENBACH (Costume Designer) marks her fifth project with director Todd Phillips on “Due Date,” a collaboration that began on the feature film “Starsky & Hutch,” followed by “School for Scoundrels” and the 2008 telefilm “The More Things Change...” In 2009, her designs were seen in Phillips' mega-blockbuster “The Hangover,” which won a Golden Globe for Best Motion Picture – Musical or Comedy and is the highest R-rated comedy of all time.
The upcoming actioner “Battleship,” based on the classic board game, reunites Mingenbach with Peter Berg, with whom she worked on “Hancock,” starring Will Smith.
Mingenbach also designed costumes for the 2009 action epic ““X-Men: Wolverine.” Previously, she earned a Saturn Award and a Costume Designers Guild Award nomination for her work on Bryan Singer's “X-Men.” She has teamed with Singer on four other films, including the 1995 thriller “The Usual Suspects,” “X2,” “Apt Pupil” and “Superman Returns,” as well as the pilot for “House M.D.”
Mingenbach's additional feature credits include the Farrelly Brothers' “The Heartbreak Kid,” “Spanglish,” “The Rundown,” “K-PAX,” “Gossip,” “Permanent Midnight,” “Nightwatch,” “The Spitfire Grill” and “One Night Stand.”
CHRISTOPHE BECK (Composer) previously collaborated with Todd Phillips on “The Hangover,” which won a Golden Globe for Best Motion Picture – Comedy or Musical.
He has composed scores for 50 feature films and nearly 20 television shows. With more than 15 years of experience, Beck has scored a wide array of projects, including such action films as “Percy Jackson & The Olympians: The Lightning Thief,” “The Sentinel” and “Elektra”; the comedies “Date Night,” “Charlie Bartlett,” “The Pink Panther” and “Bring It On”; and such dramas as “We Are Marshall,” “Under the Tuscan Sun” and “Year of the Dog”; as well as the Davis Guggenheim documentary, “Waiting For Superman.”
Beck most recently composed music for the comedies “Death at a Funeral,” starring Chris Rock, Martin Lawrence and Tracy Morgan; “Date Night,” with Steve Carell and Tina Fey; “Hot Tub Time Machine,” starring John Cusack; and Chris Columbus' fantasy adventure “Percy Jackson & The Olympians: The Lightning Thief.”
His additional credits include “All About Steve,” “The Greatest,” “What Happens in Vegas,” “Phoebe in Wonderland,” “The Seeker: The Dark is Rising,” “Saved!,” “American Wedding” and “Just Married.”
Beck began his scoring career on the Canadian television series “White Fang,” and from there went on to score three seasons of the hit television series “Buffy the Vampire Slayer,” for which he won an Emmy Award for Outstanding Music Composition.
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Ride The Pine’s 1 Millionth View
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We are very proud to announce that after the launch of our last episode, Hard Knocks for Ines Sainz , we hit our 1,000,000 view with our great partners at Mevio. Tonight, before we kick off the show, we have footage of the person who was our 1 millionth viewer...
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Welcome to Ride The Pine ...Let’s Talk Sports!
Michael Vick or Kevin Kolb ? The biggest debate in all of the NFL rages on. Vick led the Eagles to their first victory of the season against the Detroit Lions (which is not saying much) while Kevin Kolb recovered from a concussion. Eagles head coach, Andy Reid , said that he will be starting Kolb in Week 3.
Well this is exactly the same question that we asked on the last episode of RideThePine.com . 75% of you said Michael Vick should be the Eagles starting quarterback. I think its a little too early to make a decision on Kevin Kolb, what the Eagles should really worry about is how their defense can allow the Lions to score 32 points with their back up quarterback, Shaun Hill . That’s a problem.
I really hope the New York Giants and Indianapolis Colts never play a game against each other ever, ever again. If I have to see Archie talk about the tough backyard basketball games they played against each other I’m going to throw up. Which gave me a great idea for this episode poll on RideThePine.com . Which Manning do you hate the most? Peyton or Eli. The results will be announced on the next episode.
Happy you came back Brett Favre , nice 0-2 start. How do you feel in those Wranglers now. Real. Comfortable. Interceptions.
Sleeper pick of my fantasy draft was done by me. Chicago Bears’ QB, Jay Cutler . Did you know he was dating Kristin Cavallari from The Hills . Neither did I. Does that matter? Not really, it just gives us a reason to show her picture.
Baseball is fun again, because the magic numbers are in play...Be on the lookout for teams clinching playoff spots real soon.
Time for The Last Shot . What’s the Last Shot? Check out RideThePine.com for more details... Tonight’s last shot...a Caption This with your comments from RideThePine.com and Facebook.com/RideThePine - Like Us NOW...
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