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23:02:33 02/06/12
How To Be A Philanthropreneur
[LESS INFO] 0 VIEWS | ADDED 23:02:33 02/06/12
Network Giving How To Be A Philanthropreneur http://clintmello.com/meal-packs-network-giving/ This is not going to be another "we have the greatest business opp IN the world" video. We're not going to tell you how you can sign up for free and make money all day long on autopilot. Aren't you sick and tired of the next greatest juice or the coolest piece of software or the most amazing program ever junk that you get bombarded with every single day you're marketing on the internet? Yeah...I thought so. Well you are definitely not alone. No, this video is about finding your real purpose in life, and living it out passionately. This video is simply an invitation to consider something out of the mainstream offers you get every day...something other than...And I am Here to tell you .something more. Do you wake up every single day, knowing in your gut that you are passionately living a life of purpose, one that makes a real difference in the world? My wife Beth and I are 'philanthropreneurs', and we enjoy that feeling every single day. What's a 'philanthropreneur', and why should you even care? Let's answer the 2nd part first. The 'why' part is really pretty simple...everyone wants to live a life of passion and purpose, and by embracing the life of a 'philanthropreneur', not only will you do that in a big way, but you'll also create a lifestyle that can support ALL of your passions. To find out the 'what' and the how YOU can enjoy a purpose-filled, abundant life, I want you to take action- click the like button and be inspired to transform your life...starting today. Don't settle for all the junk that's being peddled on the internet every day. Don't settle for less than you were created to be and do. This will be one of those defining moments in your life, no matter what your choice is. Click the like button now. It's YOUR life. If your time was up tomorrow, would you feel like you lived every day to the fullest? Would you feel like you made a real difference in the world? Click like now. It's time to ignite your passions and let them take you where you've never been before...
0 Views
00:00:35 01/05/12
Occupy Wall Street Media Team Evicted From Rented Studio, 6 Arrested
[LESS INFO] 0 VIEWS | ADDED 00:00:35 01/05/12
If you had any remaining doubt that we're now living in a police state here in the U.S., what happened early this morning at the Occupy Wall Street Livestream office should make it painfully clear.
Ever since September 17th, 2011 and Zuccotti Park, Global Revolution Media has been a large supplier of the media coverage has been covering the Occupy Wall Street movement both here in the U.S. and internationally, providing followers of the movement with raw video footage and keeping their viewers informed.
Monitoring livestreams coming across the internet, the media team picks the best ones for rebroadcast. This small team of dedicated media broadcasters serving the Occupy movement makes finding information quick and easy, making following a plethora of events and breaking occupy news possible for followers. The Global Revolution media team operated out of a leased studio office at 13 Thames Street in Brooklyn, but continuing to do so is in doubt at this time, and the future of the operation in jeopardy.
Via Liberating Flames : >
Earlier this morning, Global Revolution Studios was ordered to vacate from their building by the NYPD in conjunction with the building department. It took three separate departments visiting 13 Thames to finally come up with a reason to remove the Global Revolution team with a posted notice despite having all applicable paperwork for the department of buildings in order. The reason given to me by the Global Revolution team is “A made up sprinkler condition.” Supporting this allegation of falsified conditions is that the very same building passed the same inspection standards back in 2011 in the month of November with no comments or concerns as to the buildings integrity or its sprinkler system.
It’s also odd how the first floor and cellar is imminently perilous to human life, and the floors directly above are perfectly fine. Even the person living illegally in the basement is perfectly fine where he is, meaning it’s specifically the area that Global Rev occupies and nothing else. One could accurately allege that this was a direct attack against one of the major voices of the movement and considering Global Revolutions direct affiliation with the Occupy movement; has made it an obvious target for this attack on free speech. The overreaching plan of these actions has been to suppress the ability of Occupy to communicate and to share the movements’ collective stories as they unfurl. By being a nexus of streams and information, authorities are attempting to do a top-down decapitation of the movements’ media coverage by once again isolating the information to the general public.
Six key members of the team were arrested at the Thames Street location, "charged with Trespass, Obstructing Governmental Administration and Resisting Arrest. They are likely to remain in jail overnight," according to Global Revolution's TV blog .
“We can do all of this from laptops”—Vlad Teichberg, GlobalRevolution.TV, after the #OccupyWallStreet and international live news protest channel was evicted from its NYC base .
Thames Street isn't the first home occupied by Global Revolution, and doubtful it would be it's last. In the beginning, activist Vlad Teichberg of Global Revolutiona worked in a small, dark, second-floor room in a clapped-out building on Lafayette at Bleecker. (His neighbors include the War Resisters League, the Socialist Party USA, and the Libertarian Book Club.) This is the original home office of globalrevolution.tv, which channels vérité video from occupations around the world through hosting sites such as Livestream.com .
Via NYMag : >
Teichberg is a 39-year-old Russian immigrant with stooped shoulders and a mop of brown hair who grew up in Rego Park and is so jacked in to the electronic grid that he comes across like a character out of Neuromancer. But what makes him so interesting is that you could just as easily imagine him making a cameo in The Big Short. A math prodigy who was a Westinghouse Science Talent Search finalist before matriculating at Princeton, he left college (temporarily) after his sophomore year and went to work for Bankers Trust, the first in a string of Wall Street gigs at firms including Deutsche Bank, Swiss Reinsurance Corp., and HSBC. And what did he do in those places? He created, modeled, and traded derivatives, including some of the first synthetic CDOs. As he told the London Times, he was “one of the people [who] built that bomb that blew up the whole economy.”
Teichberg’s time in the Wall Street armament factory gave him a close-up view of everything wrong with the place: the culture of greed, the insane levels of risk, the corruption of the credit-rating agencies. “By 2001, it was obvious to me it was going to blow up,” he says, “and I wanted to be nowhere near it.” But he didn’t leave. Instead, hopping from job to job, he tried to put brakes on the process, devising new ways to value risk more accurately, only to be rebuffed by his bosses. At the same time he starting taking the money he was making on Wall Street and funding ways to undermine it.
More via SuperChief : >
A resident has confirmed 5 arrested, one of whom is Vlad Teichberg operator of the livestream. He also claims that police damaged camera equipment upon entering the building Tuesday afternoon.
...
Residents are reporting to Superchief that they suspect the order to vacate is a targeted attack – likely towards a Global Rev organizer Vlad Teichberg, and his 4-month pregnant wife. They report that they were able to remove an 800 pound server containing their video archives and their important documents last night.
Police did not specifically issue an order to vacate last night. Rather, they are enforcing a year-old order to vacate – which may or may not be selectively enforced now based on the Occupy presence in the space.
Those arrested were first taken to Central Booking on Centre Street, and are now at the 90th Precinct in Brooklyn at at Union St and Montrose Avenue.
Will update as more information becomes available...
Update 1 : Video footage of the police arrests show that no one from Global Revolution was "resisting arrest" as claimed. Arrests begin around 4 minutes into the video, and continue until the end when with no reason given NYPD arrest 2 people who were down the street observing on the sidewalk, view here .
Update 2: See the post here .
1 Views
00:00:35 01/05/12
Occupy Wall Street Media Team Evicted From Rented Studio, 6 Arrested
[LESS INFO] 1 VIEWS | ADDED 00:00:35 01/05/12
If you had any remaining doubt that we're now living in a police state here in the U.S., what happened early this morning at the Occupy Wall Street Livestream office should make it painfully clear.
Ever since September 17th, 2011 and Zuccotti Park, Global Revolution Media has been a large supplier of the media coverage has been covering the Occupy Wall Street movement both here in the U.S. and internationally, providing followers of the movement with raw video footage and keeping their viewers informed.
Monitoring livestreams coming across the internet, the media team picks the best ones for rebroadcast. This small team of dedicated media broadcasters serving the Occupy movement makes finding information quick and easy, making following a plethora of events and breaking occupy news possible for followers. The Global Revolution media team operated out of a leased studio office at 13 Thames Street in Brooklyn, but continuing to do so is in doubt at this time, and the future of the operation in jeopardy.
Via Liberating Flames : >
Earlier this morning, Global Revolution Studios was ordered to vacate from their building by the NYPD in conjunction with the building department. It took three separate departments visiting 13 Thames to finally come up with a reason to remove the Global Revolution team with a posted notice despite having all applicable paperwork for the department of buildings in order. The reason given to me by the Global Revolution team is “A made up sprinkler condition.” Supporting this allegation of falsified conditions is that the very same building passed the same inspection standards back in 2011 in the month of November with no comments or concerns as to the buildings integrity or its sprinkler system.
It’s also odd how the first floor and cellar is imminently perilous to human life, and the floors directly above are perfectly fine. Even the person living illegally in the basement is perfectly fine where he is, meaning it’s specifically the area that Global Rev occupies and nothing else. One could accurately allege that this was a direct attack against one of the major voices of the movement and considering Global Revolutions direct affiliation with the Occupy movement; has made it an obvious target for this attack on free speech. The overreaching plan of these actions has been to suppress the ability of Occupy to communicate and to share the movements’ collective stories as they unfurl. By being a nexus of streams and information, authorities are attempting to do a top-down decapitation of the movements’ media coverage by once again isolating the information to the general public.
Six key members of the team were arrested at the Thames Street location, "charged with Trespass, Obstructing Governmental Administration and Resisting Arrest. They are likely to remain in jail overnight," according to Global Revolution's TV blog .
“We can do all of this from laptops”—Vlad Teichberg, GlobalRevolution.TV, after the #OccupyWallStreet and international live news protest channel was evicted from its NYC base .
Thames Street isn't the first home occupied by Global Revolution, and doubtful it would be it's last. In the beginning, activist Vlad Teichberg of Global Revolutiona worked in a small, dark, second-floor room in a clapped-out building on Lafayette at Bleecker. (His neighbors include the War Resisters League, the Socialist Party USA, and the Libertarian Book Club.) This is the original home office of globalrevolution.tv, which channels vérité video from occupations around the world through hosting sites such as Livestream.com .
Via NYMag : >
Teichberg is a 39-year-old Russian immigrant with stooped shoulders and a mop of brown hair who grew up in Rego Park and is so jacked in to the electronic grid that he comes across like a character out of Neuromancer. But what makes him so interesting is that you could just as easily imagine him making a cameo in The Big Short. A math prodigy who was a Westinghouse Science Talent Search finalist before matriculating at Princeton, he left college (temporarily) after his sophomore year and went to work for Bankers Trust, the first in a string of Wall Street gigs at firms including Deutsche Bank, Swiss Reinsurance Corp., and HSBC. And what did he do in those places? He created, modeled, and traded derivatives, including some of the first synthetic CDOs. As he told the London Times, he was “one of the people [who] built that bomb that blew up the whole economy.”
Teichberg’s time in the Wall Street armament factory gave him a close-up view of everything wrong with the place: the culture of greed, the insane levels of risk, the corruption of the credit-rating agencies. “By 2001, it was obvious to me it was going to blow up,” he says, “and I wanted to be nowhere near it.” But he didn’t leave. Instead, hopping from job to job, he tried to put brakes on the process, devising new ways to value risk more accurately, only to be rebuffed by his bosses. At the same time he starting taking the money he was making on Wall Street and funding ways to undermine it.
More via SuperChief : >
A resident has confirmed 5 arrested, one of whom is Vlad Teichberg operator of the livestream. He also claims that police damaged camera equipment upon entering the building Tuesday afternoon.
...
Residents are reporting to Superchief that they suspect the order to vacate is a targeted attack – likely towards a Global Rev organizer Vlad Teichberg, and his 4-month pregnant wife. They report that they were able to remove an 800 pound server containing their video archives and their important documents last night.
Police did not specifically issue an order to vacate last night. Rather, they are enforcing a year-old order to vacate – which may or may not be selectively enforced now based on the Occupy presence in the space.
Those arrested were first taken to Central Booking on Centre Street, and are now at the 90th Precinct in Brooklyn at at Union St and Montrose Avenue.
Will update as more information becomes available...
Update 1 : Video footage of the police arrests show that no one from Global Revolution was "resisting arrest" as claimed. Arrests begin around 4 minutes into the video, and continue until the end when with no reason given NYPD arrest 2 people who were down the street observing on the sidewalk, view here .
Update 2: See the post here .
0 Views
07:41:54 12/28/11
On "If I were a poor Black kid"...
[LESS INFO] 0 VIEWS | ADDED 07:41:54 12/28/11
[ VIDEO ] Joe Hicks discusses the controversy over Gene Marks' blog post at Forbes entitled " If I were a poor Black kid ". Basically he asks, "Why can't white people contribute to the national dialogue on race and racism?"
It does seem like a cop out to just tell someone that they have nothing to say because they're not a poor Black child so they can't relate in any way. I've had a white geography teacher in high school - GO FALCONS - who said that he could relate because he was poor. Of course the conclusion could be that he thinks all Blacks are poor, but that's only a thought and not necessarily based on reality.
All the same Marks bounces off of a recent speech by President Obama in Kansas where he discussed the gap between the rich and the poor:
> The President’s speech got me thinking. My kids are no smarter than similar kids their age from the inner city. My kids have it much easier than their counterparts from West Philadelphia . The world is not fair to those kids mainly because they had the misfortune of being born two miles away into a more difficult part of the world and with a skin color that makes realizing the opportunities that the President spoke about that much harder. This is a fact. In 2011.
I am not a poor black kid. I am a middle aged white guy who comes from a middle class white background. So life was easier for me. But that doesn’t mean that the prospects are impossible for those kids from the inner city. It doesn’t mean that there are no opportunities for them. Or that the 1% control the world and the rest of us have to fight over the scraps left behind. I don’t believe that. I believe that everyone in this country has a chance to succeed. Still. In 2011. Even a poor black kid in West Philadelphia.
It takes brains. It takes hard work. It takes a little luck. And a little help from others. It takes the ability and the know-how to use the resources that are available. Like technology. As a person who sells and has worked with technology all my life I also know this.
If I was a poor black kid I would first and most importantly work to make sure I got the best grades possible. I would make it my #1 priority to be able to read sufficiently. I wouldn’t care if I was a student at the worst public middle school in the worst inner city. Even the worst have their best. And the very best students, even at the worst schools, have more opportunities. Getting good grades is the key to having more options. With good grades you can choose different, better paths. If you do poorly in school, particularly in a lousy school, you’re severely limiting the limited opportunities you have.
And I would use the technology available to me as a student. I know a few school teachers and they tell me that many inner city parents usually have or can afford cheap computers and internet service nowadays. That because (and sadly) it’s oftentimes a necessary thing to keep their kids safe at home than on the streets. And libraries and schools have computers available too. Computers can be purchased cheaply at outlets like TigerDirect and Dell’s Outlet . Professional organizations like accountants and architects often offer used computers from their members, sometimes at no cost at all. You will see at the end of this posting links to several rebuts to Marks' comments. I will add my two cents just as Hicks and those other links have.
I didn't go to the very best schools in Chicago. I'd say my old elementary school was an average at best school and my old high school - when I attended - was one of the worst. My marks weren't that great in elementary school but for some reason my marks in high school were often in the honor roll range. With that in mind though I consider that a fluke today.
My time in high school wasn't a time to seek out options. I never thought of my grades as a ticket mainly because they were had too easy. It was never a challenge academically and who knows how that would've been weathered. The serious challenge was in college where I struggled to keep up.
If only I had the tools back then that the young people have today to help me study and understand the various subjects. I wouldn't just be ahead of my peers but it would be light years ahead of them. But when I was in public school most of those tools did not yet exist.
In spite of the nay sayers - and I will get to one in a moment - Marks isn't wrong. Make the best grades you can where you are take advantage of all the tools you can. Don't have a PC at home go somewhere to use one, especially the library. At that there are people at your school who if you establish a relationship with them will help you move forward.
This nay sayer, well is making more of this than he realizes:
> No believer in Bell Curv-ish nonsense about black intellectual inferiority, Marks makes clear that the children about whom he speaks are no less capable than his own kids. Of course, one wonders just how much of a compliment Marks really intends for this to be, given his strange habit of dissing his offspring, on more than one occasion, as rather unintelligent, unmotivated, promiscuous and even inclined to petty criminality. Not sure what kind of asshole says things like this about his children in print, but I suppose we can leave that discussion for another day.
No doubt Marks would say that he was simply encouraging poor African American kids to take personal responsibility for their success. He might even say that by acknowledging unfair and unjust structural inequity (and even, indirectly, white privilege), he was doing so in a politically ecumenical way. Certainly Marks would perceive his words and intentions as quite different from those of right-wingers whose hectoring of the poor so often involves blaming those at the bottom of the nation’s economic hierarchy for their station in life. To Marks, poor black kids are not to blame for the position in which they find themselves, but they nonetheless hold the keys to their own liberation, and if they would simply follow his sage counsel they could surely make it, like anyone else: even the cerebrally challenged and oversexed spawn who slumber each night just down the hall from he and his wife.
There is much one could say about Marks’s advice — rather typical bootstrapping fare about studying hard, coupled with a more modern emphasis on becoming a techie like him, and thereby, presumably, an irresistible college or job applicant — and most of it has been said already. Like, for instance, this piece , or this one , or this one , or maybe this one , all of which eloquently critique the privileged and naive mindset displayed by Marks, and explain how even when poor kids of color do everything right, the structures of society are too often set up to help them fail anyway.
...
And it’s this last point that we might do well to explore further. Fact is, Gene Marks knows his readership at Forbes . He knows that it includes virtually none of the people to whom he is ostensibly offering advice, which means that he isn’t really giving them advice at all; rather, he is inviting his mostly white, mostly affluent audience to engage in a perverse moralistic voyeurism at the expense of impoverished African American youth, almost none of whom that readership will ever meet, and whom they will, in fact, go out of their way to avoid. He is offering a kind of secret white-male handshake to others in the club, assuring them that the problems of urban poverty are not theirs to fix, that they are off the hook as it were, and isn’t that a relief? That Marks may not be as vile in his desire to blame the poor for their status as some, hardly acquits him of the charge that by pandering to the biases of his readership, he has, with some 700-odd simple (and simplistic) words, managed to reinscribe all the worst of their prejudices, many of which one can see on grand display in the readers’ comments section of the original article. Make no mistake, Gene Marks’s column is contempt cloaked as compassion and bigotry dressed up as benevolence. And it can do nothing but contribute to the indifference and even antipathy towards the poor that those who rely on Forbes for insights already possess in ample supply. Starting with that last paragraph it's true, Forbes may not have a significant audience in poor inner city communities. Without having to purchase a subscription you can always go to a library to access past issues of magazines. Also with internet access you can access magazines as well and blog posts such as this one which surely don't require a subscription.
As for Mr. Tim Wise who wrote the above excerpts, how is he going to call that man out for what he refers to his kids. Yeah it may be wrong to say your kids are very bright, but somewhere out there some parent is doing it. I also recognize that Marks is merely a commentator who is definitely using his platform to say what he wants to say.
The main point surely Marks is making is that his children are not much different than poor inner city children. Just that they have different opportunities living in a different part of the Philadelphia area than the inner city children. Perhaps even different expectations from parents, perhaps different staff and different schools. He didn't write the "poor black kid" piece to denigrate his children.
I think what he wrote was real. It shouldn't be impeached merely for that reason. That alone is weak! Although to Mr. Wise's credit he is at least has some suggestions for Marks to put his money where his mouth is. Marks could always help get the information out aside from using his platform at Forbes.
63 Views
22:30:28 07/23/11
BOBCAT KITTENS adopted by house cat!
[LESS INFO] 63 VIEWS | ADDED 22:30:28 07/23/11
"Follow the progress of the kittens here LIVE! http://www.bigcatrescue.org/video/00352.htm With a gun in one hand and a sack of bobcat kittens in the other, an Alabama hunter proudly plopped the newborns down on the counter and asked the veterinary assistant to raise them up for him so he could give them to his kids as pets. The vet tech was stunned, but quickly recomposed herself to tell the hunter she would do it for him so as to rescue the babies from such an awful fate. She immediately began scouring the Internet for an expert in rehab and release. When she called Carole Baskin of Big Cat Rescue it was agreed that the kittens would come to Florida, be raised for re-release back to the wild and the paperwork began. It took three days to secure the Florida import permit and time was of the essence. The only kitten formula available to the clinic was one that often causes serious dehydration in bobcat kittens. The second more critical factor was that their eyes would be opening any day and if they were to ever live free it was imperative that they not bond to humans. They never make good pets, but the bonding that takes place during the nursing stage could make them fearless of people and that would get them into trouble as adults. While Big Cat Rescue President and resident Rehabber, Jamie Veronica, hit the road to begin a 24 hour road trip to rescue the baby bobcats, Big Cat Rescue put out a call to all of the Tampa animal based charities and on all of their social networks that they needed a nursing mother cat who had kittens of her own. Jack Talman of FosteringIsCool.com found a mother cat but her kittens were too old and she was going into heat so there was concern that she may not have milk nor interest for new babies. Big Cat Rescuer, Merrill Kramer, called on Rick Chaboudy, CEO of Suncoast Animal League in Palm Harbor, FL and he said he thought he had a good candidate. Her name was Bobbi because of her half tail and she had given birth to 6 kittens of her own and then adopted two more. He found foster parents for all but two of the kittens and brought Bobbi and her brood over to see what she thought of diversifying her family. Introductions like these can be very scary because the mother cat can be overly protective of her own kittens and fatally strike out at the new comers. President, Jamie Veronica, has had a considerable amount of experience in this area though and had taken every precaution to make sure it went as well as it possibly could. Bobbi turned out to be a dream come true for three little orphaned bobcats though. She immediately pulled them in close to nurse and began to bathe them. The little bobcat babies were so startled that they hissed at her! She ignored their resistance and just kept on loving on them. Once they figured out that this strange smelling ""bobcat"" mom had the real deal to offer at her breasts, they were in love too. For more info about BIG CAT RESCUE visit: http://www.bigcatrescue.org Find us on FACEBOOK: http://www.facebook.com/pages/Big-Cat-Rescue-Tampa-FL/122174836956?ref=sgm MYSPACE: http://www.myspace.com/1bigcatrescue TWITTER: http://twitter.com/BigCatRescue DONATE: http://www.bigcatrescue.org/donate.htm THANK YOU!"
9 Views
13:00:00 03/12/11
WebBeat.TV 075 | Facebook blocks defriend alert, Charlie Sheen browser blocker, Localmind, What pi sounds like, and an interview with Hashable!
[LESS INFO] 9 VIEWS | ADDED 13:00:00 03/12/11
Facebook blocks defriender alert
Facebook shut down %lsquoDefriend alert,%rsquo a new app that sent an email whenever your peers would do the unthinkable: defriending you. It%rsquos blocked by Facebook just llike a similar iPhone app back in January. Looks like we%rsquore just going to have to maintain our friendships manually.
TeamViewer Giveaway
Teamviewer lets you lets you access business or home computers on the internet %ndash from anywhere in the world, and interact on it as if you were sitting right in front of it. And they have a giveaway for you! For more, check WebBeat.TV/teamviewer
Charlie Sheen Browser Blocker
Are you getting sick of seeing %ldquowinning,%rdquo %ldquo tiger blood,%rdquo and everything else Charlie Sheen? Well, there%rsquos a cure for that my friends, and it comes in the form of a browser extension, called Tinted Sheen - the Charlie Sheen Browser blocker! http://fffff.at/tinted-sheen/
Tinted sheen basically blacks out all mentions of the actor and catchphrases like winning - it gets rid of any unwanted Sheen!!
More background on Charlie Sheen: WebBeat.TV/charlie-sheen
Startup: Localmind
http://www.localmind.com/
Localmind lets you connect with people at a certain location. If you want to know what the weather is like in Florida right now, or need to know if your local bar is busy -- just ping people at that location. It works with Foursquare, Gowalla, Facebook and Twitter. And if you don%rsquot have their smartphone app, you can also use their web-based version. Definitely an app to keep an eye on!
Viral Video: What Pi Sounds Like
http://www.youtube.com/watch?v=wK7tq7L0N8E
Website of the day: Hashable
Hashable is a very interesting networking app that lets you exchange your business information, keep track of your strongest relationships , and discover new people by seeing who your friends are meeting. It%rsquos an iPhone, android and Twitter app , and lets you date-stamp, time-stamp and geography-stamp any person you meet. It%rsquos a very cool network tracking tool.
WebBeat Blogger Ross La Rocco spoke to the CEO of Hashable this week, take a look:
8 Views
13:00:00 03/10/11
WebBeat.TV 074 | Teamviewer Giveaway, Rent movies on Facebook, Like FM app review, Pic a Fight, and Jennifer Aniston and Charlie Sheen take over the viral video charts
[LESS INFO] 8 VIEWS | ADDED 13:00:00 03/10/11
Teamviewer Giveaway!
http://teamviewer.com
Teamviewer lets you access business or home computers on the internet - from anywhere in the world. Basically, you can remote control any computer as if you were sitting right in front of it. The nice folks at TeamViewer want to give you a chance of trying it out - and they gave me one premium license key, to give away, completely free, for an entire year. To enter, simply leave a comment on this blog post: webbeat.tv/teamviewer
Jennifer Aniston takes over the web with viral SmartWater video
Jennifer Anniston is going viral in a video prmoting SmartWater. In a pretty smart move, the team behind SmartWater lets Ms. Anniston jump from one famous web meme to another: from dancing babies to the %ldquofull-on double rainbow all the way-across the sky%rdquo meme... Watch the full video here: http://webbeat.tv/JenSmart
Why is Charlie Sheen trending?
Another celebrity who%rsquos been trending - almost everywhere lately, is Charlie Sheen. You might know that this %ldquowinning%rdquo guy got 2 million followers on Twitter in less than two weeks. Here%rsquos the back story: http:// webbeat.tv/charlie-sheen
Rent Movies on Facebook
Warner Brothers created an experimental video-on-demand movie rental service. Right now, they%rsquore only offering %ldquoThe Dark Night%rdquo for $3 - or 30 virtual Facebook credits. Once you pay the rent, you have 48 hours to watch the movie.
Like FM
http://like.fm/
I discovered a brand new web app, called %lsquoLike FM.%rsquo It automatically tracks all the music you play online, whether it%rsquos on iTunes, YouTube, Pandora or any other music player - and it learns what music you like. If you finish listening to a song more than 80 percent, it%rsquos put in a favorites list. This is a playable list that you can easily share with your Facebook friends. A few downsides: I couldn%rsquot find a way to have multiple playlists, and I also couldn%rsquot search my music list - and that%rsquos pretty necessary if you have a large music collection. Besides from that though, LIke FM is pretty slick, fast, and definitely an app to keep an eye on.
Take a ride in a Google Self Driving Car
This viral video was actually part of this year's TED conference. The Google team took the press on a Google car tour on a closed track. Watch the full video here: http://webbeat.tv/googlecarvid
Website of the day: Pic a fight
http://www.picafight.com
If you use Instagram to upload and share pictures with your smartphone, you%rsquoll enjoy Pic a Fight. This is the Hot-or-not of mobile pictures. It pits two instagram images against each other, and lets you vote for the best one. Don%rsquot worry, your instagram pictures won%rsquot be visible for everyone on Pic a Fight - the site only uses photos from users who give permission.
19 Views
13:00:00 03/05/11
WebBeat.TV 072 | Check in on Facebook with the inPulse watch, Lazyscope shows you Twitter links in your stream, Ashton Kutcher and Charlie Sheen Twitter Records, Umagram, and Bing beats Yahoo!
[LESS INFO] 19 VIEWS | ADDED 13:00:00 03/05/11
LazyScope
lazyscope.com
Lazyscope is a free Adobe Air application that automatically shows you WHAT tweeters are linking to: a picture and blurb (just like on Facebook), and if you click on it, you can browse the article on the right hand side of your screen - without leaving your stream!
Facebook places watch
The inPulse watch uses Bluetooth to communicate with your smartphone and hook you up with Facebook places. It allows users to check into Facebook places just by using the inPulse watch. The watch is available for pre-order and starts at 149 bucks. Video:
http://www.youtube.com/watch?v=wv5u6dONx3o%feature=player_embedded
Ashton Kutcher%rsquos Twitter Account Hacked
The person who hacked Kutcher%rsquos accounts seems to want to make people aware of internet security, he made an allusion to SSL, a technology used to send information securely over the internet. How ironic!
Charlie Sheen Twitter Guinness World Record
Charlie Sheen has a guinness world record for the Fastest Time to Reach 1 million followers on Twitter! It only took him about 25 hours, before even sending a single tweet.
Bing is not the world%rsquos second most used search engine
And in the battle for searches...Bing seems to be gaining ground. It%rsquos now the number two most used search engine around the world - leaving Yahoo in a third place. While that might sound pretty impressive for Bing, keep in mind that Google still has a staggering 89% of all searches- pretty much world domination. Even though, they did dip below 90% for the first time since 2009.
Viral Video: King%rsquos Speech - President%rsquos Speech
Jimmy Kimmel made a funny spoof of this movie: the President%rsquos Speech, featuring Mike Tyson:
http://www.youtube.com/watch?v=SnxNnJYziMY%feature=player_embedded
Website of the day:Umagram
Not being able to DM a person on Twitter can be a pain, but Umagram can ease it.
When you log in on Twitter, just write a tweet to the person, or several persons, you want to private message. Then, Umagram posts a tweet with a link to your message on its website. And since you can only use Umagram with your Twitter ID, only people who were tagged in the tweet will have access to that message. Pretty awesome!
0 Views
08:21:39 01/09/11
Back From CES: On CES, Gabrielle Giffords, and Facebook Ending
[LESS INFO] 0 VIEWS | ADDED 08:21:39 01/09/11
Quick views on CES 2011, Gabrielle Giffords, and "Facebook Ending."
First, let's get this out of the way: Facebook is not ending. Whoever started this Internet game forgot that Facebook just got a $50 billion cash infusion.
Thus, the person who started the Internet game, and the people who believe the game, don't know business. Only a fool gives up $50 billion with the idea that the very entity responsible for generating such value's going to come to an end after the money's sent.
CES 2011 Is Over..For Me
I'm back (briefly) after what turned out to be a fantastic trip to CES 2011 Las Vegas, and what may be a record number of videos produced by me for one event: 28, and counting. Plus, I have six new videos I made today from the floor using my Flip Video Camera - all of them of gadgets and digital products. I wanted to walk the floors to find subjects to vlog about before I headed for the airport.
But not all of my videos were made using The Flip, Qik.com played a role too. Here's an example featuring Audi's exciting new 2011 A8 motorcar :
Qik.com rocks. It's that simple. Next for me, a 4G smartphone.
I almost stayed later, thus risking missing my flight, until I learned that the "Lady Gaga" that was to appear was an impersonator. So, I left.
What's interesting about CES 2011 - beyond the tablets and 3D - is the large number of electronics firms from China looking to break into the American market. What they seek are buyers and the way to meet them, so they come to CES, where they can do just that. More on this later.
The Gabrielle Giffords Shock
The news that Congresswoman Gabrielle Giffords was shot by a deranged subhuman named Jared Lee Loughner (and another person it seems who's still at-large) is shocking and hurtful. It makes me want to cry when I think of it; frankly, it's why I immersed myself in CES one more time: to escape. As I blogged earlier today, something's really wrong with American society.
And this "video take down" issue must be investigated. The Association of American Physicians and Surgeons is based here:
Association of American Physicians and Surgeons
1601 N. Tucson Blvd. Suite 9
Tucson, AZ 85716-3450
Phone: (800) 635-1196
Yep. Tucson, Arizona, where Congresswoman Gabrielle Giffords serves in the 8th District. They had a video on YouTube protesting her last year. Someone took that video down after Congresswoman Giffords was shot. You think maybe the second shooter's in that video?
Something's wrong, man.
Maybe now people will see that we need help in a big way. Perhaps people like Sarah Palin will just cool their jets and find their heart before attacking people who disagree with them to the point of suggesting that they be "targeted." Palin, if she has a heart, should be ashamed of herself.
2 Views
23:00:50 12/28/10
It's a sad day when journalists collaborate with the government, again!
[LESS INFO] 2 VIEWS | ADDED 23:00:50 12/28/10
I've been astounded by the treatment of Julian Assange and the WikiLeaks story by the media ever since it broke. Howard Kurtz called Assange disingenuous for not outing his sources, which is insane.
Howard Kurtz allegedly understands journalism, so it's outrageous for Kurtz to take offense when Assange refuses to out his sources, as I explained in a post called: Why are the media so eager to bury WikiLeaks? > >
KURTZ: Rick Stengel, let's turn now to your interview with Julian Assange. I found some of his answers to be absolutely disingenuous. For example, you ask whether secrets are ever necessary, and he says, well, his secrets are necessary, protecting his sources, but "our responsibility is to bring matters to the public."
What's important is the information contained in the WikiLeaks cables, not Assange himself -- and when we're dealing with whistleblowers, of course their identities have to be protected.
Journalism 101 states that you never out your sources, no matter where you get your information. The Beltway Villagers even defended the odious Judith Miller when she went to prison rather than divulge that Scooter Libby was her source in the outing of a Valerie Plame, as I've mentioned before . That was information that led this country into an unjustified war based on lies told by Miller and her leakers.
After watching Andrea Mitchell on MSNBC show such disdain for Assange, I asked a question that really hasn't been asked all that much. >
Are folks in the media afraid they might be implicated in Wikileaks cables? >
I expected the State Department to speak out against WikiLeaks, but why have the media been so hostile to WikiLeaks and so passive about the people trying to silence his operation without a shred of evidence of him being guilty of a crime?
I wonder if they are afraid that either they or their friends might show up in some of these leaked cables in an unfavorable light. Yesterday on MSNBC, Andrea Mitchell was discussing Assange's bail in the UK and seemed afraid that he might have access to the dreaded "Internet" and destroy the world.
I understand that access to D.C. is very precious to the Beltway Village, so outside of fear of what might be found out about their friends and that they'll earn extra credit for bashing Assange by the powers that be, I still don't get their attacks on the whole WikiLeaks story. And as we've seen, cable TV news has turned away from being a deliverer of news and instead focuses on orchestrating battles of opinions with punditshills and ex-GOP Bushies, but the networks for the most part have to turn away from their own stable of journalistic talkers to bring in a differing opinion on the WikiLeaks story, because the Villagers on TV are routinely characterizing Julian Assange as a terrorist.
Glenn Greenwald posts today about his CNN interview last night over WikiLeaks and he highlighted four points in his post, The merger of journalists and government officials : >
4) If one thinks about it, there's something quite surreal about sitting there listening to a CNN anchor and her fellow CNN employee angrily proclaim that Julian Assange is a "terrorist" and a "criminal" when the CNN employee doing that is . . . . George W. Bush's Homeland Security and Terrorism adviser. Fran Townsend was a high-level national security official for a President who destroyed another nation with an illegal, lie-fueled military attack that killed well over 100,000 innocent people, created a worldwide torture regime, illegally spied on his own citizens without warrants, disappeared people to CIA "black sites," and erected a due-process-free gulag where scores of knowingly innocent people were put in cages for years. Julian Assange never did any of those things, or anything like them. But it's Assange who is the "terrorist" and the "criminal."
Do you think Jessica Yellin would ever dare speak as scornfully and derisively about George Bush or his top officials as she does about Assange? Of course not. Instead, CNN quickly hires Bush's Homeland Security Adviser who then becomes Yellin's colleague and partner in demonizing Assange as a "terrorist." Or consider the theme that framed last night's segment: Assange is profiting off classified information by writing a book! Beyond the examples I gave, Bob Woodward has become a very rich man by writing book after book filled with classified information about America's wars which his sources were not authorized to give him. Would Yellin ever in a million years dare lash out at Bob Woodward the way she did Assange? To ask the question is to answer it ( see here as CNN's legal correspondent Jeffrey Toobin is completely befuddled in the middle of his anti-WikiLeaks rant when asked by a guest, Clay Shirky, to differentiate what Woodward continuously does from what Assange is doing)... read on
Woodward has been the cleaner for the Washington Post for a long time, and he's held up to a higher level of worship than even David Border. Here's a classic video which has, of all people, Don Imus confronting Andrea and the Beltway elites over their behavior in 2005 on the Plame case: >
Imus: It seems unclear what you said and perhaps you can clear it up about what you said back in Oct. of 2003---
Mitchell: I have been trying to figure out "what-the-heck" I was talking about, frankly. There is confusion because I am confused.
Imus: So when you told Alan Murray of CNBC, that it was widely known that his wife worked for the CIA-(interruption)--what, were you drunk?
Mitchell: I don't even remember the deal.
Imus: What this suggests to me is that you knew she worked at the CIA, but you didn't know what she did there. Isn't that fair-did you know that?
Mitchell-(garbled)
Imus: Why did you say that Andrea?
Mitchell: I messed up...(later)
Imus: Russert was a little short with me---almost like he was trying to hide something....
Imus (laughing): I realized -- well this is an unfair thing to say, I was gonna say -- all you folks in Washington are all in bed with one another, but that would be an awful thing to say ....
I think Imus was right on when he said 'all you folks in Washington are all in bed with one another,' and Mitchell knew it. As time goes on it's pretty hard to miss.
Digby beats back one of the bigger zombie lies being told by the media about Wikileaks. >
There are many fine points in the piece, but he mentions one zombie lie I'd really love to kill --- the one that all of these so-called reporters seem to have absorbed as if it's the received word of God --- the one that says Wikileaks dumped 260,000 cables indiscriminately on the Internet.
Here's the truth, from an AP news report from December 3, 2010. There's no excuse for journalists not to know this by this point:
Respected news outlets collaborate with WikiLeaks >
By The Associated Press
12.03.10
The diplomatic records exposed on WikiLeaks this week reveal not only secret government communications, but also an extraordinary collaboration between some of the world’s most respected news-media outlets and a website that is facing increasing pressure and criticism from governments worldwide.
Unlike earlier disclosures by WikiLeaks of tens of thousands of secret government military records, the group is releasing only a trickle of documents at a time from a trove of a quarter-million, and only after considering advice from five news organizations with which it chose to share all of the material..
This is the saddest day for journalism since their guileless acceptance of the WMD boogeyman and giddy cheerleading for the Iraq war. It turns out that journalism is important, but most of these "professional" practitioners of the field are not only failing to practice it, they are hostile to the idea that they should practice it. It's very revealing.
It's just another sad and revealing day for all the hacks running around and impersonating real journalists. Not all journos are acting like this. Major props goes to the Ray Odroso of the Village Voice.
Read more here .
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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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.
21 Views
22:30:00 09/07/10
Our studio guest: Frank Briegmann
[LESS INFO] 21 VIEWS | ADDED 22:30:00 09/07/10
CEO of Universal Music GermanyDW-TV: For more we're joined by Frank Briegmann, CEO of Universal Music Germany. How do you feel about this software? Does it affect your business? Frank Briegmann: Not really because Ableton is a software for composing and producing music and because we are actually in the business of selling the music of our artists I think it takes something more from the artists, charisma, virtuosity, everything. If you consider Mark Knopfler for example just standing there with a guitar and getting people to buy his music...I think it needs more but it could still be a great product. DW-TV: Artists have started producing their albums at home. They use internet platforms to market and sell their products... Do they still need a Label? Frank Briegmann: Well I think the task of a label never changed, no matter if there is an internet or not an internet. Our task and our passion is really to find new artists, to break and make them successful and to help them in marketing questions and in promotion questions and distribution questions. That's what we have been doing and that's what we are going to be doing in the future no matter if there's the internet. So the question is yes, now that the artist is able now to distribute his music by himself, but availability is not the same as awareness. So we help people to find the music in the internet. DW-TV: So you can work in the business without a label, but if you want to make it you need a label? Frank Briegmann: Well I could not agree more on this one. No, really, the majority of artists are still with labels, of commercially successful artists. And there is a reason for that. Because they want help from us in getting all the business sides of the music together...to think about how am I going to make my money? How am I going to design my marketing? How am I going to design my product? And so on and so forth. Artists want us to answer all of these questions. DW-TV: The popular music industry is usually about being cutting edge - how does the industry react to new technologies and media? What are the new business strategies? Frank Briegmann: Oh yes, absolutely. The internet offers us many opportunities in the new digital world. We are working together with all kinds of technology companies. For example when YouTube came up we were one of the first companies to cut a deal with YouTube. They streamed our videos and you know we found a business model for that. And that is the same for so many other internet technology companies that we are working with closely. DW-TV: So you are not worried about technology. Where do you see the industry in the next ten years. Frank Briegmann: The good news for our industry is that the demand for music is greater than it has ever been before. More people want to hear music. Now the question is how are we going to monitor this and how are we going to pay our artists in the future. So we need to find business models in the digital world. We have been developing very many of them but I think as technology moves on we will keep on developing business models and also we need protection in law and by the politicians for the intellectual property of our artists so it is not going to be illegally downloaded. Interview: Monika Jones
19 Views
22:30:00 09/07/10
Our studio guest: Frank Briegmann
[LESS INFO] 19 VIEWS | ADDED 22:30:00 09/07/10
CEO of Universal Music GermanyDW-TV: For more we're joined by Frank Briegmann, CEO of Universal Music Germany. How do you feel about this software? Does it affect your business? Frank Briegmann: Not really because Ableton is a software for composing and producing music and because we are actually in the business of selling the music of our artists I think it takes something more from the artists, charisma, virtuosity, everything. If you consider Mark Knopfler for example just standing there with a guitar and getting people to buy his music...I think it needs more but it could still be a great product. DW-TV: Artists have started producing their albums at home. They use internet platforms to market and sell their products... Do they still need a Label? Frank Briegmann: Well I think the task of a label never changed, no matter if there is an internet or not an internet. Our task and our passion is really to find new artists, to break and make them successful and to help them in marketing questions and in promotion questions and distribution questions. That's what we have been doing and that's what we are going to be doing in the future no matter if there's the internet. So the question is yes, now that the artist is able now to distribute his music by himself, but availability is not the same as awareness. So we help people to find the music in the internet. DW-TV: So you can work in the business without a label, but if you want to make it you need a label? Frank Briegmann: Well I could not agree more on this one. No, really, the majority of artists are still with labels, of commercially successful artists. And there is a reason for that. Because they want help from us in getting all the business sides of the music together...to think about how am I going to make my money? How am I going to design my marketing? How am I going to design my product? And so on and so forth. Artists want us to answer all of these questions. DW-TV: The popular music industry is usually about being cutting edge - how does the industry react to new technologies and media? What are the new business strategies? Frank Briegmann: Oh yes, absolutely. The internet offers us many opportunities in the new digital world. We are working together with all kinds of technology companies. For example when YouTube came up we were one of the first companies to cut a deal with YouTube. They streamed our videos and you know we found a business model for that. And that is the same for so many other internet technology companies that we are working with closely. DW-TV: So you are not worried about technology. Where do you see the industry in the next ten years. Frank Briegmann: The good news for our industry is that the demand for music is greater than it has ever been before. More people want to hear music. Now the question is how are we going to monitor this and how are we going to pay our artists in the future. So we need to find business models in the digital world. We have been developing very many of them but I think as technology moves on we will keep on developing business models and also we need protection in law and by the politicians for the intellectual property of our artists so it is not going to be illegally downloaded. Interview: Monika Jones
10 Views
06:36:00 07/06/10
REPOST MM152: Andev Sensor Plug, FB's Face Detection, iTunes Users Hacked, HDMI vs HDBaseT
[LESS INFO] 10 VIEWS | ADDED 06:36:00 07/06/10
We have a lot of moxie gadgets and news to discuss over this extended weekend. First this episode is brought to you by Petco , an affiliate sponsor of the Moxie Mo Show. When you order anything from Petco.com and use my promo code MOXIE10 , you'll save 10% off. If you buy more than $65, use my promo MOXIE and get free shipping!
As you may have read, over the weekend while we were all enjoying the 4th of July festivities, hackers got into iTunes user accounts and reports say that users' iTunes accounts have been hacked - some have had over $500.00 worth of apps purchased onto their account which were unauthorized while others are saying a lot of iTunes users' information may have been stolen. This is an ongoing story and we'll stay on top of it. We also show you how to ensure you weren't hacked and how to stay safe.
If you want an inexpensive yet cool gadget for your home, apartment or condo, you've got to check out the Andev Sensor Plug . It's way better than your Grandma's Clapper (Clap On, Clap Off). It uses motion and light sensory to detect what electrical items you want turned on and off once you enter or leave a room. We show everything that it can do and why every moxie person needs one of these $15.00 gadgets!
Also, Facebook is rolling out their Face Detection software to everyone within the next few weeks. You may already have it. Over 100 million photos get uploaded to Facebook PER DAY so they're new Face Detection software will literally find the faces in your photos and allow you a much easier way of tagging friends and family in your photos. We show you how easy and awesome this new feature is.
Last but not least, if you've ever bought an HDTV, you know how many cables, HDMI cables, Ethernet and A/V cables it takes to connect all of your game consoles, Apple TVs, set-top cable boxes and Surround Sound Systems. Well thanks to a potentially new standard, four major companies have come up with HDBaseT which is just ONE cord that carries HD Video, Audio, Internet AND POWER all in one cord ! We'll show you when to expect it, how to get it and what TV manufacturers are beginning to use this as the killer of HDMI. Want more information on HDBaseT ? Click here .
Thanks to Adrian Bacon for fixing our website so that it's viewable on iPhones, iPads and all flash browsers and flash smart phones! We truly appreciate you Adrian!
For a list of all of our sponsors and promo codes for YOU to save lots of money at really cool stores, click here !
Don't forget to subscribe to the show in iTunes , Mevio , Blinkx , Tech Podcast Network or YouTube !
0 Views
09:40:14 07/16/09
First Look at 6rounds.com and how it’s going to change video social interactions forever.
[LESS INFO] 0 VIEWS | ADDED 09:40:14 07/16/09
In a world of boring video chats it's hard to imagine that anything would ever get better. The team at 6rounds.com is ready to change your idea of what it means to video chat. Imagine effects and gifts that interact with you and your partner on the screen. If you are like me I've always been into games and 6rounds.com delivers. With a limited catalogue at this moment this will slowly change as 6rounds.com will be including a Studio where developers will be able to make and decide if they want to offer their applications for free or for pay. At time of publication the Studio has yet to be released. My experience started when I first logged into the website using a code from a colleague of mine. There I was ready to meet my host Ilan, COO of 6rounds.com , at the time it was getting a bit late past the time of the interview and instead of emailing back and forth we were able to interact through the 6rounds.com site. Unlike other sites that just send you an email telling you to log in to receive the message 6rounds.com sends you an email with the full message attached. This makes it very comfortable and fluid to use this as a tool for interaction. If you are logged into the website a yellow box appears in the upper right hand corner notifying you that you have a new message. Looking at Ilan's list of friends I found one online. By clicking on him and choosing One to One I was fascinated on how it gave me choices of how many minutes I wanted to spend with this person that I had no idea who it was and even if they were even going to help me locate Ilan. The room launched and there before me I found myself face to face interacting with live human being. I asked where Ilan was and I was told that he would be right on. Then I saw it, the green light next to Ilan's name had lit up in the program. We tried a few times to get into a One to One having to relaunch a few times, a bug that 6rounds .com is fully aware of and is working on fixing. I have to tell you, once we were inside, Ilan showed me all the cool features of what separated 6rounds .com from all the other sites out there claiming to be the best. Even in Beta lockdown mode it was incredible to see. If this is the way the site looks when it is not even released to the general public, then world watch out. Ilan had mentioned that they are in need of people to test out the website for them to provide feedback so that this can be fixed. This is why we are pleased to announce that I have here in my hand for you 250 codes to access the website and experience this for yourself. The code is 6hot. Very clever 6 as in 6 rounds and hot as in the Hot Domain Show.
Take some time to watch the video above and make sure to sit through the entire 12 minutes, you will then understand why I am honored to present to you the loyal fans this wonderful opportunity to experience a video social networking treasure that shouts, hey world, look what we can do!
