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TRANSCRIPT
UNIVERSAL PICTURES Presents
In Association with RELATIVITY MEDIA
An APATOW Production
KRISTEN WIIGMAYA RUDOLPH
ROSE BYRNEWENDI McLENDON-COVEY
ELLIE KEMPERMELISSA McCARTHY
CHRIS O’DOWD
Executive ProducerPAUL FEIG
Produced byJUDD APATOW
CLAYTON TOWNSENDBARRY MENDEL
Written byANNIE MUMOLO & KRISTEN WIIG
Directed byPAUL FEIG
– 1 –
CAST
In Order of Appearance
Annie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KRISTEN WIIG
Boot Camp Instructor . . . . . . . . . . . . . . . . . TERRY CREWS
Lillian . . . . . . . . . . . . . . . . . . . . . . . . . . . .MAYA RUDOLPH
Jewelry Store Couple . . . . . . . . . . . . . . . . . . . . . . . TOM YI
ELAINE KAO
Don Cholodecki . . . . . . . . . . . . . . MICHAEL HITCHCOCK
Kahlua . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KALI HAWK
Oscar the Security Guard . . . . . . . . . . .JOSEPH A . NUNEZ
Brynn . . . . . . . . . . . . . . . . . . . . . . . . . . . . REBEL WILSON
Gil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MATT LUCAS
Annie’s Mom . . . . . . . . . . . . . . . . . . . . . JILL CLAYBURGH
Rita . . . . . . . . . . . . . . . . . . . . WENDI McLENDON-COVEY
Becca . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ELLIE KEMPER
Kevin . . . . . . . . . . . . . . . . . . . . . . . . . . GREG TUCULESCU
Annie’s Mistaken Husband . . . . . . . . . . . . STEVE BANNOS
Megan . . . . . . . . . . . . . . . . . . . . . . .MELISSA McCARTHY
Annie’s Mistaken Fella . . . . . . . . . . . . . . . . . . HUGH DANE
Helen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROSE BYRNE
Lillian’s Dad . . . . . . . . . . . . . . . . . . . . . FRANKLYN AJAYE
Dougie . . . . . . . . . . . . . . . . . . . . . . . . . . . TIM HEIDECKER
Lillian’s Mom . . . . . . . . . . . . . . . . LYNNE MARIE STEWART
Helen’s Husband . . . . . . . . . . . . . . . . . . ANDY BUCKLEY
Rhodes . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRIS O’DOWD
Helen’s Stepdaughter . . . . . . . . . . MOLLY BUFFINGTON
Helen’s Stepson . . . . . . . . . . . . . . . . . . . . MATT BENNETT
Helen’s Tennis Partner . . . . . . . . . . . . . . . NANCY CARELL
Annie’s Tennis Partner . . . . . . . . . . . . MELANIE HUTSELL
Churra Chi Waiter . . . . . . . . . . . . . . . . . . ELOY CASADOS
Whitney . . . . . . . . . . . . . . . . . . . . . . . . JESSICA ST . CLAIR
Flight Attendant Claire . . . . . . . . . . . . . . . .DANA POWELL
Flight Attendant Steve . . . . . . . . . . . . . . . . . MITCH SILPA
Nervous Woman on Plane . . . . . . . . . . . ANNIE MUMOLO
Air Marshall Jon . . . . . . . . . . . . . . . . . . . . . BEN FALCONE
Flight Attendant in Coach . . . . . . . . . . . ANGELICA ACEDO
13-Year-Old Girl in Jewelry Store . . MIA ROSE FRAMPTON
13-Year-Old Girl’s Father . . . . . . . . . . . . . JOEL MADISON
Butler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R .F . DALEY
Horseman . . . . . . . . . . . . . . . . . . . . . . . . . JORDAN BLACK
Doorman at Shower . . . . . . . . . . . . . . . . DAVID HOFFMAN
Girls at Shower . . . . . . . . . . . . . . . . . . . . . . . JILLIAN BELL
ARIANE PRICE
Shower Waiter . . . . . . . . . . . . . . . . . . . FREDERIK HAMEL
Bill Cozbi . . . . . . . . . . . . . . . . . . . . . . . . RICHARD RIEHLE
Minister . . . . . . . . . . . . . . . . . . . . . . . . . . JIMMY BROGAN
Herself . . . . . . . . . . . . . . . . . . . . . . . . . . CARNIE WILSON
Herself . . . . . . . . . . . . . . . . . . . . . . . . .CHYNNA PHILLIPS
Herself . . . . . . . . . . . . . . . . . . . . . . . . . . .WENDY WILSON
Stunt Coordinators . . . . . . . . . . . . . . . . MALOSI LEONARD
WADE EASTWOOD
JOHN STONEHAM JR .
Stunts . . . . . . . . . . . . . . . . . . . . . . . . . . JENNIFER ADAMS
OLIVIA SUMMERS
JESSICA HARBECK
BONI YANAGISAWA
K .T . WIEGMAN
HEATHER MARTIN
CASEY ADAMS
JESSIE GRAFF
KRISTEN HANCE
EDDIE BRAUN
JANENE CARLETON
JACK CARPENTER
JEFF GALPIN
SEAN GRAHAM
DARREN PRESCOTT
MARK SCIZAK
CREW
Directed by . . . . . . . . . . . . . . . . . . . . . . . . . . . .PAUL FEIG
Written by . . . . . . . . . . . . . . . . . . . . . . . ANNIE MUMOLO &
KRISTEN WIIG
Produced by . . . . . . . . . . . . . . . . . . . . . . . . JUDD APATOW
BARRY MENDEL
CLAYTON TOWNSEND
Executive Producer . . . . . . . . . . . . . . . . . . . . . .PAUL FEIG
Director of Photography . . . . . . . . .ROBERT YEOMAN asc
Production Designer . . . . . . . . . . . . . . . JEFFERSON SAGE
Edited by . . . . . . . . . . . . . . . . . . . . . . . . . . WILLIAM KERR
MIKE SALE
Music by . . . . . . . . . . . . . . . . . . . . . . MICHAEL ANDREWS
– 2 –
Music Supervisor . . . . . . . . . . . . . . . . . . JONATHAN KARP
Casting by . . . . . . . . . . . . . . . . . . . . . . . ALLISON JONES
Costume Designer . . . . . . . . . . . . . . . . . . . LEESA EVANS
Associate Producer . . . . . . . . . . . . . . . . . . LISA YADAVAIA
Co-Producers . . . . . . . . . . . . . . . . . . . . . . . KRISTEN WIIG
ANNIE MUMOLO
Production Manager . . . . . . . . . . . .CLAYTON TOWNSEND
First Assistant Director . . . . . . . . . . . . .MATT REBENKOFF
Second Assistant Director . . . . . . . . PAUL B . SCHNEIDER
Additional Editors . . . . . . . . . . . . . . . . . . . . DAVID MORITZ
PECK PRIOR
CRAIG HERRING
Production Supervisor . . . . . . . . BARRETT J . KLAUSMAN
Art Director . . . . . . . . . . . . . . . . . KEITH P . CUNNINGHAM
Art Department Coordinator . . . . ARI JACOBS LIBARKIN
Graphic Designer . . . . . . . . . . . . . . . . . ZACHARY FANNIN
Set Decorator . . . . . . . . . . . . . . . . . . . DOUGLAS MOWAT
Assistant Set Decorator . . . . . . . . . . . KIMBERLY MERLIN
Set Designers . . . . . . . . . . . . . . . . . . . . . C . SCOTT BAKER
STEVE ARNOLD
Set Decorating Liaison . . . . . . . . . . . . . . . NIKKI RUDLOFF
Art Department Assistant . . . . . . . . . . . . . . JEN STIRLING
Property Master . . . . . . . . . . . . . . . . . . . . SEAN MANNION
Assistant Property Master . . . . . . . . . . . MICHAEL GLYNN
Property Assistants . . . . . . . . . . . . . . . . SARAH SNYDER
JEFFRY C . VOORHEES
Leadman . . . . . . . . . . . . . . . . . . . . . . . . . . JASON BEDIG
Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . CLAUDIA BONFE
Gang Boss . . . . . . . . . . . . . . . . . . . . DALE E . ANDERSON
Set Dressers . . . . . . . . . . . . . . . . . . . . . . . . LARRY HANEY
RONALD SICA
BROOKE SARTORIUS
On-Set Dresser . . . . . . . . . . . . . . . . . . JOHN H . MAXWELL
“A” Camera Operator . . . . . . . . . CASEY HOTCHKISS soc
1st Assistant “A” Camera . . . . . . . . . HARRY ZIMMERMAN
2nd Assistant “A” Camera . . . . . THOMAS D . LAIRSON JR .
B Camera Operator/Steadicam . . . . . . CHRIS HAARHOFF
1st Assistant “B” Camera . . . . . . . . . . SUZANNE TRUCKS
2nd Assistant “B” Camera . . . . . . . . . . LARISSA SUPPLITT
Camera Loader . . . . . . . . . . . . . . . . . . . . . AARON SCHUH
Sound Mixer . . . . . . . . . . . . . . . . KENNETH McLAUGHLIN
Boom Operator . . . . . . . . . . . . . . . . . . . . . SCOTT JACOBS
Utility Sound . . . . . . . . . . . . . . CHRISTOPHER DIAMOND
Script Supervisor . . . . . . . . . . . . . . SHEILA G . WALDRON
Chief Lighting Technician . . . . . . . . . . . . . JOHN VECCHIO
Assistant Chief Lighting Technician . . CRAIG MOLSBERRY
Dimmerboard Operator/Lighting Technician . . . . . . . . . . .
JEFFREY A . COOK
Lighting Technicians . . . . . . . . . . . . . . . . . . SCOTT BAKER
PHIL HARDT
GREG JENSEN
MICHAEL A . KENNEDY
SAM WAYMAN
Rigging Chief Lighting Technician . . . . . . MARC MARINO
Assistant Rigging Chief Lighting Technician . . . . . . . . . . . . .
DAVID THIELHART
Rigging Lighting Technicians . . . . . . . . JASON BRUNELLE
STEVE HASTINGS
WILLIAM STRETT
Key Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . KURT GROSSI
Best Boy Grip . . . . . . . . . . . . . . . . . . . . . . . QUINN GROVE
“A” Dolly Grip . . . . . . . . . . . . . . . . . . . . . DWIGHT LAVERS
“B” Dolly Grip . . . . . . . . . . . . . . . RALPHIE DEL CASTILLO
Grips . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOSE F . BARRIOS
BRIAN T . BRANTON
PETER CLEMENCE
JASON GARY
THOMAS D . WATSON
CHRIS OLSEN
Key Rigging Grip . . . . . . . . . . . . . . . . . . . . . . . KEVIN ERB
Best Boy Rigging Grips . . . . . . . . . . . . . . .GARY LOUZON
ROBERT ANDERSON
Rigging Grips . . . . . . . . . . . . . . . . . . . . . . JAMES BUTLER
CARLOS DE PALMA
JEFF HALE
VINCENT HALE
GEORGE KALLIMANIS
ANTHONY T . MAZZUCCHI
PHILIP POWELL
GUSTAVO ROBLES
DON TELLES
Costume Designer . . . . . . . . . . . . . . . . CHRISTINE WADA
Costume Supervisor . . . . . . . . . . . . . . . . NANCY CAPPER
Key Costumers . . . . . . . . . . . . . . . . . . . . . . . . ARIEL GOLD
– 3 –
ESTHER LEE
Set Costumers . . . . . . . . . . . . . . . . . . . . JENNIFER WOLF
CARRIE HOLLINGER
Head Makeup . . . . . . . . . . . . . . . . . HEBA THORISDOTTIR
Key Makeup . . . . . . . . . . . . . . . . . . . . . . . KATE SHORTER
Makeup Artist . . . . . . . . . . . . . . . . . . . . MELANIE TOOKER
Head Hairstylist . . . . . . . . . . . JANINE RATH-THOMPSON
Key Hairstylist . . . . . . . . . . . . . . . . . . . . . . . DAVID DANON
Hairstylist . . . . . . . . . . . . . . . . . . . . . . . . JOSE L . ZAMORA
Postproduction Supervisor . . . . . . . . . . . . LISA RODGERS
Supervising Sound Editor . . . . . . . . .GEORGE ANDERSON
Re-recording Mixers . . . . . . . . . . . . . . . . .MARC FISHMAN
ADAM JENKINS
1st Assistant Editor . . . . . . . . . . . . . . BRIAN SCOTT OLDS
Assistant Editors . . . . . . . . . . . . . . . MEAGAN COSTELLO
MITCH ROSIN
EMILY STREETZ
Editorial Production Assistant . . . . . . . . . . BENIN MTUME
Postproduction Coordinator . . . . . . . . . CHERYL A . TKACH
ADR Supervisor . . . . . . . . . . . . . . . . . . . TAMMY FEARING
Sound Effects Editor . . . . . . . . . . . . . . . . . CINDY MARTY
Dialogue Editors . . . . . . . . . . . . . . . . . . JAMES MATHENY
LARRY KEMP
ADR Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . JOE SCHIFF
First Assistant Sound Editor . . . . . . . . . . . . CHERIE TAMAI
ADR Assistant Editor . . . . . . . . . . . . . . . . . . . BILL BURNS
Special Effects Coordinator . . . . . . . . . . DONALD FRAZEE
Location Manager . . . . . . . . . . . . . . . . . . . BOYD WILSON
Key Assistant Location Managers . . . . . . . . . LARRY RING
JUN C . LIN
Assistant Location Managers . . . . . . . . . . . . . . . . . . . . . .
NAOMI MOTOHASHI STALEY
BRADFORD F . BELL
JIM SMALL
Production Coordinator . . . . . . . . J . ELIZABETH INGRAM
Assistant Production Coordinator . . MATTHEW HADFIELD
Production Secretary . . . . . . . . . . . . . . . . TARA GUCKEEN
Script Coordinator . . . . . . . . . . . . . . . . . . LISA MONAHAN
2nd 2nd Assistant Director . . . . . . . . VALERIE C . JOHNSON
Storyboard Artist . . . . . . . . . . . . . . . DARRIN DENLINGER
Video Assist . . . . . . . . . . . . . . . . . . . . . WILLOW JENKINS
Video Playback Supervisors . . . . . . . . . . JARED A . ROSEN
MONTE D . SWANN
Helicopter Pilot . . . . . . . . . . . . . . . . . . . MICHAEL FRANCK
Aerial DP . . . . . . . . . . . . . . . . . . . . . . . . . . STEVE KOSTER
Production Accountant . . . . . . . . . . . . . . LORI SCOWLEY
1st Assistant Accountant . . . . . . . . . . . . . . TIMBER KISLAN
2nd Assistant Accountants . . . . . . . . . . BRETT EIDELMAN
CAROLINE MILLER
K .B . PUGLIESE
Payroll Accountant . . . . . . . . . . KATY TATIAN-GENOVESE
Postproduction Accountant . . . . . . . . . JAMES O . MAULL
Accounting Clerk . . . . . . . . . . . . . . . . JONATHAN SIEBEL
Casting Associate . . . . . . . . . . . . . . . BENJAMIN HARRIS
Casting Assistant . . . . . . . . . . . . PETER JOHN KOUSAKIS
Extras Casting . . . . . . . . . . . . . . . . . . . . . . . . . RICH KING
Assistant to Mr . Feig . . . . . . . . . . . . . . . . SARAH BASTIAN
Assistants to Mr . Apatow . . . . . ALYSON BUONCRISTIANI
STACY DOLLAR
CHELSEA PETERS
MICHAEL LUND
Assistant to Mr . Mendel . . . . . . . . . . . . . NATE SHERMAN
Assistant to Mr . Townsend . . . . . . JESSICA DERHAMMER
Assistant to Ms . Wiig . . . . . . . . . . . . . . . TARYN BENESTA
Construction Coordinator . . . . . . . . . . DAVE DEGAETANO
General Foreman . . . . . . . . . . . . . . . . . JAVIER CARRILLO
Decorator Gang Bosses . . . . . . . . . . CRAIG T . SHORDON
SCOTT P . SHORDON
Propmaker Gang Bosses . . . . . . . . . . . . . ALEX CARRILLO
VICTOR ESPINOZA
SCOT LECZEL
SETH RIGAMAT
DARRYL ROBERTSHAW
BEDII A . TATAR
BRYAN TURK
Propmakers . . . . . . . . . . . . . . . . . . NICHOLAS BUTCHER
SCOTT FIELD
KEVIN J . HILL
JAMES MEYER
CESAR OROZCO
Drapery Foreman . . . . . . . . . . . . . . . . . . . . . BRAD CURRY
Location Foreman . . . . . . . . . . . . . . STEVEN W . RIGAMAT
Labor Foreman . . . . . . . . . . . . . . . . JAVIER CARRILLO JR .
Location Labor Foreman . . . . . . . . . . . . . . . JOHN K . HILL
– 4 –
Laborer Gang Bosses . . . . . . . . . . . . JONATHAN BADILLO
KIRK HILL
Head Paint Foreman . . . . . . . . . . . . . . . . . JOHN W . SNOW
Paint Foreman . . . . . . . . . . . . . . . . . . . . . . . . MEG SNOW
Standby Painter . . . . . . . . . . . . . . . BILL KAUHANE HOYT
Plaster Foreman . . . . . . . . . . . . . . . . DAVID L . FALCONER
Plasterer Gang Boss . . . . . . . . . . . . . RICHARD HOLLING
Key Greensman . . . . . . . . . . . . . . . . . . . . ROGER PRATER
On-Set Greensman Foreman . . .JAIME O . CASTELLANOS
Greens Foreman . . . . . . . . . . . . . . . . . . .MARC FIGUEROA
DGA Trainee . . . . . . . . . . . . . . . . . . . . . . . JASON MELIUS
Production Assistants . . . . . . . . . . . . . . . . . MARK AVERY
PHILIP BANKS
ISAAC KELLMAN CARLEN
JOANN CONNOLLY
MIRREN GORDON-CROZIER
MIKE KING
YARDEN LEVO
TRAVIS MILLER
BRIGID O’CONNELL
KAUSHIK SAMPATH
K .C . SCHRIMPL
ZACHARY SMITH
FRANNY STAFFORD
Apatow Intern . . . . . . . . . . . . . . . . . . . . ROB TURBOVSKY
Asset Coordinator . . . . . . . . . . . . TOBIN H . GRIGSBY JR .
Transportation Captain . . . . . . . . . . . . WALLACE G . FRICK
Transportation Coordinator . . . . . . . . . . . . DENNY CAIRA
Dispatcher . . . . . . . . . . . . . . . . . . . . . . KAREN K . CHANG
D .O .T . Administration . . . . . . . . . . . . . . . DAVID ATKINSON
Unit Publicist . . . . . . . . . . . . . . . . . . . . TAMMY SANDLER
Stills Photographer . . . . . . . . SUZANNE HANOVER smpsp
Tennis Consultant . . . . . . . . . . . . . . . . . . AMY SCHWARTZ
DVD Producer . . . . . . . . . . . . . . . . . . . . . . . .GREG COHEN
DVD/EPK Videographer . . . . . . . . . . BRANDON CARROLL
Medics . . . . . . . . . . . . . . . . . .ERICKA BRYCE PONIEWAZ
VICKI MARSIK
Animals Provided by . . BIRDS AND ANIMALS UNLIMITED
Craft Service . . . . . . . . . . . . . . . . . . . . CHANCE TASSONE
JOSEPH MILITO
Craft Service Assistants . . . . . . . . . . . . . . . COREY MINER
FADI SABELLA
Caterer . . . . . . . . . . . . . . . . . . . . . FOR STARS CATERING
Researcher . . . . . . . . . . . . . . . . . . . . . . . JESSE J . ADAMS
ADR Voice Casting . . . . . . . . . . . . . . WENDY HOFFMANN
RANJANI BROW
ADR Mixer . . . . . . . . . . . . . . . . . . . . . . . . . GREG STEELE
ADR Recordist . . . . . . . . . . . . . . . . . . GREG ZIMMERMAN
Foley Artists . . . . . . . . . . . . . . . . . . . . . . ANDY MALCOLM
GORO KOYAMA
Foley Recording Mixers . . . . . . . . . . . . . . . . . DON WHITE
JACK HEEREN
Foley Recordists . . . . . . . . . . . . . . . . . JENNA DALLA RIVA
STEPHEN MUIR
Dubbing Recordist . . . . . . . . . . . . . . . . ROBERT ALTHOFF
Music Editor . . . . . . . . . . . . . . . . . . . . . . JONATHAN KARP
Orchestrations . . . . . . . . . . . . . . . . . . . . MIKE ANDREWS
Scoring Engineer/Mixer . . . . . . . . . . . . . . STEPHEN KAYE
Music Contractor . . . . . . . . . . . . . . . . . . . . GINA ZIMMITTI
Keyboards . . . . . . . . . . . . . . . . . . . . . . . ROBERT WALTER
Main Titles Designed by . . . . . . . . . . . . . . NAU/LEVEL 256
End Titles by . . . . . . . . . . . . . . . . . . . SCARLET LETTERS
Digital Intermediate . . . . . . . . . . . . . . . . . . . . COMPANY 3
Digital Film Colorist . . . . . . . . . . . STEFAN SONNENFELD
Digital Intermediate Producer . . . . . . . . . . .NICK MONTON
On-Line Editor . . . . . . . . . . . . . . . . .MATTHEW JOHNSON
Dolby Sound Consultant . . . . . . . . . . . . . . . . THOM EHLE
Camera Dollies by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CHAPMAN/LEONARD STUDIO EQUIPMENT, INC .
Night Lights by . . . . . . . . . . . . . . . . . . . . . . . . . . . . BEBEE
Laser Effects by . . NU-SALT LASER LIGHTS SHOW INT’L .
Visual Effects by . . . . . . . . . . . . . . . . . . . . . . . LEVEL 256
Visual Effects Supervisor . . . . . . . . . . . SCOTT M . DAVIDS
Visual Effects Producer . . . . . . . . . . . . SETH KLEINBERG
Lead Compositor . . . . . . . . . . . . . . . . . CHRIS CHAPPELL
Compositors . . . . . . . . . . . . . . . . . . . . . . . . . . ADAM LIMA
ANTHONY MABIN
JOSHUA BOLIN
MARK LARRANAGA
Rotoscope Artist . . . . . . . . . . . . . . . . . . . . . DAVID WILSON
Matte Painter . . . . . . . . . . . . . . . . . . . . . DAVID EDWARDS
VFX Coordinator . . . . . . . . . . . . . . . . . . . .ANTHONY HAYS
SOUNDTRACK ON RELATIVITY MUSIC GROUP
– 5 –
“RIP HER TO SHREDS”
Written by Deborah Harry, Chris Stein
Performed by Blondie
Courtesy of Capitol Records
Under license from EMI Film & Television Music
“BORN TO BOSSA”
Courtesy of APM Music
“SPECKS BLUES”
Written by Lonnie Williams
Performed by Specks Williams
Courtesy of Celery Music and Time Records
“BLISTER IN THE SUN”
Written by Gordon Gano
Performed by Nouvelle Vague
Courtesy of Peacefrog Ltd .
“THAT’S WHAT FRIENDS ARE FOR”
Written by Burt Bacharach, Carole Bayer Sager
“PAPER BAG”
Written by Fiona Apple Maggart
Performed by Fiona Apple
Courtesy of Epic Records
By arrangement with Sony Music Licensing
“DIRTY DEEDS DONE DIRT CHEAP”
Written by Bon Scott, Angus Young, Malcolm Young
Performed by AC/DC
Courtesy of Columbia Records
By arrangement with Sony Music Licensing
“DO WAH DOO”
Written by Kate Nash
Performed by Kate Nash
Courtesy of Polydor Ltd . (U .K .)
Under license from Universal Music Enterprises
“TWO SPANISH HEARTS A”
Courtesy of APM Music
“ANDALUSIAN DREAM A”
Courtesy of APM Music
“MANHA DE CARNAVAL”
Written by Luiz Bonfa, Antonio Maria
Performed by Joao Donato
Courtesy of RCA Records
By arrangement with Sony Music Licensing
“MORNING DANCE”
Written by Jay Beckenstein
Performed by Spyro Gyra
Courtesy of Amherst Records, Inc .
“I’VE JUST BEGUN (HAVING MY FUN)”
Written by Bloodshy, Henrik Jonback, Britney Spears,
Avant, Michelle Lynn Bell
Performed by Britney Spears
Courtesy of Jive Records
By arrangement with Sony Music Licensing
“MY LOVE IS YOUR LOVE (FOREVER)”
Written by Stevie Wonder, Ivy Jo Hunter
Performed by Smokey Robinson & The Miracles
Courtesy of Motown Records
Under license from Universal Music Enterprises
“PLAYGROUND OF THE STARS”
Courtesy of APM Music
“IT’S RAINING”
Written by Allen Toussaint
Performed by Inara George
Courtesy of Elgin Park Recordings
“VIOLET”
Written by Courtney Love, Eric Erlandson
Performed by Hole
Courtesy of Geffen Records
Under license from Universal Music Enterprises
– 6 –
“WILSON…I’M SORRY” FROM CAST AWAY
Written & Performed by Alan Silvestri
Courtesy of Paramount Pictures and
20th Century Fox Film Corporation
“ANSWERING BELL”
Written by Ryan Adams
Performed by Ryan Adams
Courtesy of Lost Highway Records
Under license from Universal Music Enterprises
“NATURAL BORN KILLAZ”
Written by Andre Young, Ice Cube
Performed by Dr . Dre and Ice Cube
Courtesy of WIDEawake-Death Row Entertainment LLC
Under license from EverGreen Copyrights, Inc .,
a BMG Company
“HOLD ON”
Written by Chynna Phillips, Carnie Wilson, Glen Ballard
Performed by Wilson Phillips
Courtesy of Capitol Records
Under license from EMI Film & Television Music
“SHAKIN’ ALL OVER”
Written by Johnny Kidd
Performed by Wanda Jackson
Courtesy of Third Man Records/Nonesuch Records
By arrangement with Warner Music Group Film
& TV Licensing
“RIP HER TO SHREDS”
Written by Deborah Harry, Chris Stein
Performed by Blondie
Courtesy of Eagle Records, a subsidiary of
Eagle Rock Entertainment Ltd
IN ASSOCIATION WITH DENTSU INC .
Cast Away courtesy of 20th Century Fox .
All Rights Reserved .
Cast Away licensed through Paramount Pictures .
The Maury Show courtesy of NBCUniversal
Television Distribution .
Bulletstorm video game courtesy of People Can Fly .
Stock photography supplied by Thinkstock .
Stock footage courtesy of Thought Equity .
SPECIAL THANKS TO
The State of California
California Film Commission
Epic Games
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– 7 –
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– 8 –
This summer, producer JUDD APATOW (Knocked
Up, The 40-Year-Old Virgin) and director PAUL FEIG
(creator of television’s Freaks and Geeks) invite you
to experience what happens when best friends forever
meet the wildest Bridesmaids ever.
KRISTEN WIIG (TV’s Saturday Night Live) leads the
cast as Annie, a maid of honor whose life unravels as
she leads her closest friend, Lillian (MAYA RUDOLPH
of Away We Go), and a group of colorful bridesmaids—
Helen (ROSE BYRNE of TV’s Damages), Rita (WENDI
McLENDON-COVEY of TV’s Reno 911!), Becca
(ELLIE KEMPER of TV’s The Office) and Megan
(MELISSA McCARTHY of TV’s Mike & Molly)—on
a wild ride down the road to matrimony.
(L to R) KRISTEN WIIG, MAYA RUDOLPH, WENDI McLENDON-COVEY, ROSE BYRNE, MELISSA McCARTHY and ELLIE KEMPER in Bridesmaids.
– 9 –
Annie’s life keeps coming up short. But when she
discovers her lifetime best friend is engaged, she simply
must serve as Lillian’s maid of honor. Though lovelorn
and broke, Annie dives into all of the required rituals
as she gets to know the other ladies in the bridal party,
including one particular rival (Helen) who is perfectly
poised to fulfill all the duties that Annie struggles
through. As she brings Lillian’s bridesmaids along on
an escalating series of disasters, Annie realizes the
person who knows her the best has introduced her to
four strangers who will shake up her life for good.
Collaborating with producer Apatow and director/
executive producer Feig on Bridesmaids are fellow
producers BARRY MENDEL (Funny People, The
Sixth Sense) and CLAYTON TOWNSEND (Knocked
Up, The 40-Year-Old Virgin), as well as screenwriters/
co-producers Kristen Wiig and ANNIE MUMOLO.
The comedy’s behind-the-scenes crew is led by cine-
matographer ROBERT YEOMAN (The Royal Tenen-
baums, Yes Man), production designer JEFFERSON
SAGE (Knocked Up, Paul) and editors WILLIAM
KERR (Forgetting Sarah Marshall, Superbad) and
MIKE SALE (The Hangover Part II, Get Him to the
Greek), as well as costume designer LEESA EVANS
(Forgetting Sarah Marshall, American Pie). Music for
the film is by MICHAEL ANDREWS
(Donnie Darko, Funny People), and
the music supervisor and music editor
is JONATHAN KARP (Knocked Up,
Pineapple Express).
ABOUT THE PRODUCTION
Groundlings to Bridesmaids:
Production Begins
Longtime friends Kristen Wiig
and Annie Mumolo met years ago at The Groundlings,
the Los Angeles-based improv troupe where they wrote
sketches with one another. Wiig recalls: “Annie and I
went through the company around the same time, and
we found each other to write together. We’ve always
written so smoothly that there’s never any ego, and
we’ve never fought over anything to be in or out of a
script. It’s a great creative relationship where we respect
each other. She’s one of my best friends.”
After her breakout cameo role in producer Judd
Apatow’s second film, Knocked Up, the popular Saturday
Night Live actress was asked to try her hand at another
side of filmmaking. Apatow appreciated her unique
comedy style and wanted to see what else she was capable
of onscreen. Wiig explains: “I was approached by Judd to
write a script, so I called Annie and asked if she wanted to
do it with me. She had this idea that she had talked about
before, and said, ‘Let’s write it out.’”
Apatow discusses his involvement in the project:
“Every time we do a movie, I always think, ‘Who stole some
of their scenes? Could any of these people star in their own
movie?’ After Knocked Up, I thought Kristen deserved to
be the lead of a movie. I asked her if she had any ideas,
and she came back to me with this idea about bridesmaids
she’d worked on with her friend Annie Mumolo.”
Annie (KRISTEN WIIG) finds out that best friend, Lillian (MAYA RUDOLPH), is getting married.
– 10 –
Mumolo says that she and Wiig share a no-holds-
barred style of comedy: “The first day we wrote together
at The Groundlings, Kristen and I bonded, and we had
great success. Not only did we always have so much
fun there, we were to able to get a lot of material in and
worked together often.”
Mumolo and Wiig began writing the script in 2006
after Wiig had been on SNL for about a year. Says
Mumolo: “I had this story about how I had been a
bridesmaid a number of times, and I was disgruntled
about it. I was very much a delinquent bridesmaid,
so we started writing about my adventures with these
different girls.” When it came time for their big chance,
Mumolo remembers that it happened very suddenly:
“After Knocked Up, Kristen asked me to go in and pitch
Judd. She said, ‘Just go in and tell him what the movie
is about.’ I had never pitched anything before, and I
didn’t even realize that was what pitching was, but I
went in and told him the basics of the story.”
Over the next several years of the film’s development,
Mumolo and Wiig honed their script with Apatow so it
wouldn’t read as anything close to “another wedding-
themed movie.” Wiig says that it was important to
differentiate this film as one that is not simply a romantic
comedy about a girl who’s in a
wedding or a bride in a love story.
She relates, “Bridesmaids focuses
on something that a lot of women
can relate to: the people who
are in the wedding. We wanted
to tell the real story of what it’s
like to be in one and what you’re
expected to do. It’s a lot, and it’s
kind of a pain in the ass.”
When they considered source
ma terial from which to draw, they
didn’t have to go far. Wiig laughs:
“Annie’s been in weddings and
gone to showers, and her stories
sound like they came out of a
movie. She was in a wedding in which she couldn’t
afford to go to the bachelorette party because it was a
crazy trip. She got an e-mail that read, ‘It’s going to be
$2,500 a person, and everyone chip in.’ Her response
was, ‘What? How did this happen? How do I have to
spend all this money and time?’”
Mumolo agrees with her collaborator that the
humor of their story comes from the relatable conver-
sations and situations leading up to the big day…with
a bit of embellishment. Their aim was not to make a
treacly rom-com about trying to land a man, but rather
a ballsy comedy that celebrated how real women inter-
acted with one another. Mumolo says, “We wanted a
movie without the frill. We wanted to tell the story of
what our experiences were like—the down and dirty,
gritty version of bridesmaids, where not everyone’s hair
is perfect and everyone looks good and has cute stories.
We learned as we went, and Judd guided us. He has a
commitment to being original, and he doesn’t stop until
he finds it.”
When the search began for the director of Brides-
maids, Wiig remembers that one of the first names
discussed was Paul Feig. She reflects: “Judd mentioned
him, and we met to discuss. Paul cast me in my very first
Megan, Becca, Helen, Rita, Lillian and Annie are at the most exclusive bridal shop in Chicago.
– 11 –
movie role in Unaccompanied Minors as a slutty mom.
After meeting with him, I called Judd and I said, ‘Yes, yes,
yes!’ Not only is Paul incredibly talented and hilarious
and has such a good mind for comedy, he’s also incred-
ibly patient and collaborative. All the girls loved him to
death. I can’t imagine anybody else as our director.”
In addition to his work with Wiig, the director had
partnered with Apatow on a project that was one of the
defining moments of both of their careers, Freaks and
Geeks, the classic TV show created by Feig and executive
produced by Apatow. Feig shares: “Throughout the
years, Judd and I have kept in touch and wanted to
figure out a project to do together again. Bridesmaids
came to me several years ago. Judd invited me to a
table read of Kristen and Annie’s original script, and I
thought it was very funny. I was very interested.”
Friends since their days at the University of
Southern California in the late ’80s, Feig and Apatow
have a shorthand with their comedy. The producer
commends of Feig’s directing style: “Paul is really
good at keeping the scenes grounded, but also allowing
them to be funny. That sounds not that complicated,
but is the most complicated thing in the world. How
can you continue to care for these people while finding
opportunities for them to do things that are tear-down-
the-house hilarious? At the same time,
those things can’t make you believe
these people don’t exist.”
It would be a few more years
before the opportunity to revisit
Bridesmaids came around for the
director, producers and the cast. “In
the beginning of 2010, I was in New
York shooting commercials,” recalls
Feig, “and I got a call from my agents.
I got on the phone with Judd, and
within two minutes I was committed
to the project and it was set in motion.
It’s been a whirlwind since.”
Feig adds that his primary interest
in the script was due to its honesty and relatability that
blended well with dirty humor. He says: “I’ve always
been interested in doing more female-based stories. I
enjoy these stories and the emotions and the comedy
that can be had in them. It’s exciting to bring Judd’s
style of humor to a movie about women and still make
it honest and real. We’ve explored themes that women
can relate to while guys will also find it hilarious. What
we wanted to capture was women talking like women
do behind the scenes where guys aren’t privy to it.”
Accompanying Apatow in production duties
were frequent collaborators Barry Mendel, with
whom Apatow worked on Funny People, and Clayton
Townsend, whose working relationship with the pro-
ducer extends back to their time together on The
40-Year-Old Virgin.
Mendel, who had recently worked with Wiig on
Whip It, shared the team’s desire to explore a new take
on a comedy subgenre that is often seen as trite. He
offers: “The aspects of planning a wedding are very
coordinated, and Kristen and Annie wrote about how
women sometimes get carried away when planning
them. There are a lot of movies that deal with people
getting engaged and getting married, but they can
feel very lightweight, and the emotions can seem
Annie and Officer Rhodes (CHRIS O’DOWD) flirt outside a convenience store.
– 12 –
manipulative or not that lifelike. They’re entertaining
and diverting and fair enough, but our question was
‘Is this movie going to be one of them, or could it be
another type of film entirely?’ Now that we are on the
other side, I can say that we actually did it.”
Female Fight Club:Casting the Comedy
We are introduced to the women of Bridesmaids
through Annie, a thirtysomething jewelry-store
employee who can’t seem to get her life in order. She’s
lost her bakery, boyfriend and hope for a perfect future
and has just found out that her best friend is getting
married and moving on. Feig notes: “It’s a very elegant
story of one person pulling her life together. There’s such
humanity about Kristen. She has the ability that few
comedy performers have: she can play real and small as
well as big and crazy. Yet she always grounds the bigness
and the craziness in reality. My theory on comedy is that
you can go as big as you want, but it has to come from
a real place. She brings all that weird humanity to this
role, and she’s able to summon up vulnerability at the
same time that she is holding it together.”
As Mumolo and Wiig crafted the characters with
Apatow, they wanted to flesh out the
nuances and eccentricities of each
bridesmaid. They knew it could be
easy to fall into the stereotype trap,
and every decision was designed to
avoid that while maximizing comedy.
Wiig notes: “Sometimes girls in
movies are portrayed as very girlie
and perfect, and they’re simply the
neighbor or the wife. There’s so many
funny actresses out there that to have
a movie that has many funny roles for
women, instead of just a couple on the
side, was gratifying for Annie and me
to write and help cast.”
When looking for the actresses to play opposite
Wiig as the directionless Annie, Feig and the producers
conducted an exhaustive casting process. “Bridesmaids
is a gang comedy, so it’s very hard to write until you
cast,” Apatow notes. “The most fun part of this process
was to audition every funny woman in town and to
come up with a group of people to play these characters.
Then we spent a few weeks with Paul, improvising and
letting everybody make the characters their own. That’s
when the really funny stuff came out.”
When casting the bride-to-be, Lillian, the team
turned toward a longtime friend of Wiig’s and past
partner-in-crime of hers on SNL. “Maya and Kristen’s
friendship came through beautifully,” says Feig. “It was
important for Lillian to have a real relationship with
Annie because the camera is an honesty detector that
picks up on those little signs of authenticity. The natural
energy of their friendship comes through and lifts up
the premise of the movie, which is what happens if you
think you’re about to lose your best friend. You want
to feel like they’ve known each other forever, and you
don’t need a lot of dialogue setup if they’ve known each
other for this long.”
Mumolo explains that arriving at this character was
not an easy process. She offers: “We had a hard time
Annie and Helen (ROSE BYRNE) compete for the bride-to-be’s affections.
– 13 –
figuring out who Lillian was because the role wasn’t
initially a huge part. She changed slightly from when
we first wrote her to when we cast Maya. At the time
Maya Rudolph came into the picture, it answered so
many questions because of how great of an actress and
comedian she is. She’s the girl that everybody wants to
be friends with; she’s so loose, happy and ready for a
good time.”
Rudolph was not only keen to play Lillian, a
character she refers to as “the glue to these women,” she
was eager to work once again with Wiig, with whom she
has been close since their days at Saturday Night Live
together. Rudolph says: “When you know somebody
well, you have a shorthand. It’s so much fun to incor-
porate it into this film because it makes it feel real…
not just for the audience, but for us as well. Kristen
and I have this strange way of talking to each other and
making each other laugh, and you can see it throughout
the movie. When do you get the opportunity to do that
with somebody who shares the same brain?”
In serious contention for the role of maid of honor
is the sweet-but-patronizing Helen, a paragon of her
community and fixture on the country-club circuit.
Feig explains: “My goal with Helen was never to make
her villainous, but a character with odd sincerity that
drives people crazy. Where a lot of
these movies fall apart for me is when
the emotions get so high and the bad
girl becomes really bad. It can easily
become a battle between her and
the protagonist, and it just gets very
amped up and shrill.”
The role of the conflicted antag-
onist was offered to an actress who
has long been known for her dramatic
choices…until her last Apatow pro-
duction linked her to pop star Jackie Q.
Feig recalls: “Judd had just produced
Get Him to the Greek, in which
Rose Byrne played Russell Brand’s
character’s ex-wife. It hadn’t come out yet and Judd
said, ‘Go down to the editing room. I want you to take a
look at her scenes.’ I was blown away by how funny she
was playing this extreme character. Then Rose came
in with such energy and was willing to do anything.
She has that combination that is hard to find: absolutely
stunningly gorgeous, funny and real.”
While initially asked to read for one of the other roles
in Bridesmaids, Byrne requested something else. Her
request? “Give me a crack at being the bitch.” She recalls:
“It’s rare that you read a script about a group of funny
women in a situation that is familiar to everybody. Being
a bridesmaid in a wedding drew me in; the part was so
funny. Helen was just delicious; every time she came on
the page I thought, ‘What’s she going to do now? No she
didn’t…oh, yes she did.’ It just kept getting worse.”
For the role of Megan, the team was searching
for someone who would serve as the counterpoint to
Annie. While Annie just wants to fit in with the other
bridesmaids, Lillian’s future sister-in-law, the fight
club-loving/nuclear-engineer wild card Megan, could
care less. “We knew Megan would be a pivotal weirdo,
real comedy relief,” laughs Feig. “We saw all different
types and then Kristen and Annie said, ‘You have to see
our friend Melissa McCarthy.’”
Helen offers her opinion to Lillian and Annie.
– 14 –
McCarthy was a series favorite in the long-running
Gilmore Girls, and she currently stars in the CBS hit
Mike & Molly. Many don’t realize that when McCarthy
performs at The Groundlings in L.A., people line up
around the block to see her. The actress came in with
a go-for-broke take on Megan, a free spirit who has a
distinct take on the world, and she killed it. Mumolo
admits: “Megan has the attitude I wish I had. She’s
like Annie but without the insecurity, and she’s taken
it to an extreme. That character is based on one I did
at The Groundlings, and then we wrote her into the
movie. When we cast Melissa, she just took it to a
whole new level.”
McCarthy describes her character as “a bull -
dozer.” We first meet Megan at Lillian’s engagement
party, where she introduces herself to Annie as
Dougie’s (Lillian’s fiancé) sister. The actress
reflects: “I love Megan. From the beginning, I
wanted her to look physically like Guy Fieri on the
Food Network with a big, boxy shirt. There’s nothing
feminine about her except for her nails and pearls.
She seems crazy, but she’s actually the happiest
one; she’s totally well adjusted. She gets men, and
her attitude is ‘I hit it whenever I want.’ I just love
that we always kept her happy, in
control and confident with herself.
No matter what it is, good or bad,
Megan’s attitude is ‘All right!’”
The part of Lillian’s cousin, the
exasperated housewife Rita, would
go to Reno 911!’s seductress Wendi
McLendon-Covey. Wiig notes: “We
wrote the part for Wendi when we
first wrote the script several years
ago. She’s someone that we’ve been
in The Groundlings with for a long
time, and we thought of this character
as someone who is outspoken, fun
loving, and doesn’t care what people
think about her. She’s married and
she’s always complaining about it, but deep down she’s
happy at home. Wendi is such an amazing improviser
that it was a gift every time she opened her mouth.”
Mumolo admits that she completely related to Rita
as they created the character. “Nothing against my
husband, who I love and adore, but when you’re married
and you have kids, you can start to feel like a doormat.
It’s like life steamrolls you, and you’re the one running.
For some reason it seems to fall on the woman to do
everything.” She remembers: “We would sit around for
weeks trying to come up with how we can get certain
characters to this point, and Wendi would just make it
work. She would say one line in her improv and then we
were basically, ‘Thank you, thank you so much.”
Feig and the producers were impressed with
McLendon-Covey’s zingers describing marriage and
with her ability to riff endlessly about having kids.
McLendon-Covey tells a bit about her character: “Rita
lives in a house full of men. She’s the one handmaiden to
three ungrateful sons and a very horny husband, whose
ardor has not waned in all their years together; it has
increased. She just feels like a mattress that vacuums
and does laundry.” When it came time for some of this
bridesmaid’s more inelegant scenes (read: removing
Becca (ELLIE KEMPER), Megan (MELISSA McCARTHY) and Rita (WENDI McLENDON-COVEY) at the bridal fitting.
– 15 –
fake vomit from her hair), the actress was still game.
Still, she admits, “That’s what acting school does not
train you for, you know?”
Although Ellie Kemper did not come from The
Groundlings as did cohorts Wiig, Rudolph, McCarthy
and McLendon-Covey, she did spend time training in
improv at the Upright Citizens Brigade. For the role of the
wide-eyed ingénue Becca, the production searched for
someone who could play a naïve newlywed preparing to
have kids. Feig states: “I worked with Ellie on The Office
the same year I worked with Wendi. There’s something
that Ellie has that is just so funny. We wanted Becca
to be this fresh-faced innocent who thinks everything’s
great. She was a prepackaged Becca; she gets to live
and breathe Becca in a very natural way.”
Kemper shares that she has known a few bow-
loving/baby-talking women like Becca, and she has
been in her fair share of bridal parties. She says:
“What I love is that all these women are connected
to Lillian, and they’re dear to her. But then, when
you put them together, it’s uncomfortable and
hilar ious to see them sharing this one task. Their
common goal is to serve the bride, and seeing how
that plays out is fascinating as they all try to be the
best bridesmaids they can be.”
Joining the ladies in Bridesmaids in
supporting roles is a collection of comedy
performers that include CHRIS O’DOWD
(U.K. television’s The IT Crowd) as Annie’s
Irish-born suitor, Officer Rhodes. Annie’s
been making all the wrong decisions when
it comes to jobs and men, and Rhodes is
the first man in a long time to accept her as
she is. He wants to have an actual grown-up
relationship with her, and that initially
scares Annie to death and makes her run for
the hills. But as she gets to know him, she
starts to see a side of Rhodes she adores.
O’Dowd appreciated that he was allowed
to portray the police officer as a regular guy
who just happened to be in love with a girl. He also liked
the amount of improv that was encouraged on set. O’Dowd
notes: “People can be very sacrosanct about their scripts,
and they can want nothing to be changed, and be very
protective. But here, it was ‘Whatever the best lines and
best scenes are will be used.’ That’s the way it should be.”
Remembers Mendel of O’Dowd’s audition: “Chris
came in and he did an American accent, and then I
thought, ‘Let’s try his natural Irish one.’ All of a sudden,
this whole other side of him came out, this whole new
charm. It helped us to flesh out his character in the final
writing process, and I think he felt more comfortable
being able to react on the fly during the shoot, too.”
In a cameo role as the jerky object of Annie’s
affection, Ted, is Mad Men’s JON HAMM. Says Apatow
of the casting: “Jon plays Ted, somebody who Annie
sleeps with who she would like to go out with. Basically,
it’s just a sexual relationship, and it epitomizes how
bad she feels about herself that she lets this continue to
happen. But he’s so handsome, it’s hard not to.”
Additional talent includes U.K. television’s Little
Britain actor MATT LUCAS as Annie’s odd roommate,
Gil; REBEL WILSON as Gil’s odder sister, Brynn;
MICHAEL HITCHCOCK as Annie’s jewelry store
boss, Don; KALI HAWK as Don’s favorite employee,
Ted (JON HAMM) worms his way into Annie’s life.
– 16 –
Kahlua; TIM HEIDECKER as Lillian’s fiancé, Dougie;
TERRY CREWS as the boot camp instructor who
chases Lillian and Annie away; and the late legendary
actress JILL CLAYBURGH as Annie’s mother, Judy.
Follow Her Lead:Improv on the Set
With five actresses and a writer who have a back-
ground in improvisational training, it was a given
that the Bridesmaids production would marry script
with this comedy style of on-site discovery. Mumolo
explains that this process began well before produc-
tion. Recalling their early meetings with Apatow, she
says: “We would improvise for hours, and Judd would
film us. Then we would go over what we taped and then
work that into the script. We followed his lead. Addi-
tionally, during the movie, we were rewriting it on its
feet, feeding jokes and sculpting.”
“Annie and I come from a world of writing sketches,
and our experience is with character and dialogue,”
adds Wiig. “If we loved a scene that wasn’t working,
Judd would say, ‘Try this idea’ or ‘Think of something
new.’ Then we would rewrite it, read it and think, ‘He’s
right.’ There are certain things you have to sacrifice to
get the flow right, and Judd was good about
helping us identify that when we were so
close to the material.”
After casting was complete and produc-
tion began, “Paul and Judd had the actors
rehearse and improvise,” Wiig con tinues.
“We could have a scene in the script that we
didn’t touch because everyone was happy
with it through all the rewrites. Then, when
the cast read it, something didn’t feel
right or an improvisation made us think,
‘It’s better now; I didn’t even think of this
other side.’ It evolves through rehearsing
and improvising, and then it just becomes
more real and natural.”
Feig shares his rehearsal process with the actresses:
“We’d start with the scripted scenes because we wanted
to make sure the script was working. Then we did an
improv version of a scene to explore its intention. As the
actors did that, Judd or I would throw in a line we’d think
of or ask them to consider a new direction. They would
take it and run with it. What happens from that is we
started cherry-picking: ‘This is a great line. That’s a great
area to write a scene for or to remember and use later.’
“The rehearsal process gave us new written material
that we then put in the script and let them do again
verbatim on the day of shooting,” Feig continues. “It also
gave us areas in which we knew we could improv on the
set. The actresses loved being part of the process. They
trust you and feel like they’re collaborating when they
come back and the script has lines that they improv’d in
rehearsal.” This method, Feig says, “allowed the benefits
of having improv performers who take fresh, new ideas
that they’re spewing out on the spot, and allowing our
characters to talk in a real way. I’m hoping women will
find it honest and open and slightly outrageous.”
Feig acknowledges: “We had a team of great writers
behind us helping out. They transcribed and handed me
jokes they thought of at the moment, then I’d feed ideas
in. Our actresses knew the drill was to start again and try
Judy (JILL CLAYBURGH) gives advice to daughter Annie.
– 17 –
this line; then they’d try one of their own. It’s a different
way of making movies, because normally you get
everything perfect beforehand. Most great movies in the
world have been made that way. This is just a different
way, and it requires a lot of energy; it’s hard to sit back
and just watch. You have to be engaged constantly and
make sure you’re not dropping your guard.”
Mendel admits he was impressed by the amount and
variety of improv the cast was able to accomplish. He
says: “These are the strongest improvisational actors
I’ve ever seen. It’s partly The Groundlings presence and
partly simply the people that we’ve picked. This is an
all-star team. Judd was very excited about producing a
female-driven movie, and we wanted to pack the film
with improv stars and let them do their thing.”
Something Borrowed:Locations and Design
Production designer Jefferson Sage’s work with
Judd Apatow and director Paul Feig began during their
Freaks and Geeks days. Recalls Sage: “I was lucky
enough to be hired to jump in on that show when they
were putting it together. Over the years, I’ve worked
with Paul and Judd off and on as
they had projects that came up. The
first thing that appealed to me about
Bridesmaids was that you had these
two disparate worlds: There was
Annie’s world in Milwaukee, and then
there was Helen’s world in Chicago.
It immediately drew this dichotomy
between the rivalry that developed
between them.”
L.A. as the Midwest
While the comedy takes us back
and forth between the two cities,
the production actually shot in Los
Angeles. About cheating L.A. for
these cities, Sage acknowledges: “Sets that are interiors
are much easier to fudge, but we looked for architecture
that would give us those Midwestern worlds. Chicago
is a beautiful, distinctive city architecturally, and
restricted views of downtown L.A. feel like Chicago.
It was also a question of hunting and finding buildings
that had the right feeling for Milwaukee.”
As Annie, Lillian and the bridesmaids head back
and forth between the two cities, the production had to
make it look as if they were not traveling along the West
Coast. Notes Sage: “We looked at surrounding towns
to find places that would sell for Milwaukee, and our
challenge was the landscape. In the story, Annie meets
Officer Rhodes on the highways between Milwaukee
and Chicago. Since we had to have a Midwestern
landscape, we ended up in Oxnard—a broad, flat, green
area away from mountains.”
The Fitting
When the ladies take Helen to go shopping at the
most exclusive bridal shop in Chicago, all digestive
hell breaks loose. By bringing them into Sage’s self-
described “pristine, white inner sanctum of bridal-
ness where they are surrounded by beautiful fabrics,
Rita, Helen, Annie, Megan, Lillian and Becca get the bachelorette party started.
– 18 –
beautiful white carpet and priceless silk,” Feig received
maximum payoff for the earlier scene in which the
bridesmaids had just eaten an unsanitary lunch.
The production designer worked with his director
and set decorator DOUG MOWAT to get the characters
trapped in just the right way…so that when it was time
for things to explode, there was no escape. They had
to run into one another as they raced toward the one-
toilet bathroom. Sage cringes: “It was all designed to
increase the discomfort. It was a very limited palette:
all white. If you have to be sick, what’s the worst thing
that you could besmirch?”
It took some time to create the perfect bridal-shop
set. DP Yeoman weighed in on what fabrics offered the
perfect tones and wouldn’t present lighting problems
as they shot. The decorators re-created one of the most
exclusive of shops that requires appointments months
in advance. Though Annie can’t get them in the door,
Helen can. She rules this world.
Somewhat unique to this film, production design and
locations were inextricably linked to costume design.
Sage worked with costume designer Leesa Evans to
ensure that the color palettes chosen in set design married
with Evans’ choices for outfits. Sage notes, “There were
a lot of conversations such as ‘Which dress works with
that set? Here’s a picture of the dress;
now what are the wall colors?’ I sent
color-palette studies to Leesa, and
she would call me if there was a color
problem. We kept it in sync.”
For Evans, it was key to ensure that
the dresses didn’t border on ridiculous.
She says, “I think one of the biggest
challenges of a movie like this is not to
make a caricature of what this whole
wedding business is about. When you
get six women together and you have
the engagement party and the shower
and the wedding, there’s a tendency to
take it over the top on every level. I
hope we got the right tone in which we’re being funny
and a bit ironic, but at the same time showing the reality
of these events.”
The actresses’ many costumes were not the only
inspirational clothing on the set. Mumolo notes: “Paul
is ‘Dapper Dan.’ He was dressed to the nines every day.
He wore suits and fedoras, and he’s a perfect fit for
this movie. He’s very in touch with female sensibilities,
sensitive to women, and helped us preserve that. He
was very good about keeping on point and maintaining
the integrity of our ideas.”
The Bridal Shower
Though Annie is the maid of honor, Helen is
determined to host the most over-the-top, garish bridal
shower anyone has seen at her Tudor revival mansion. As
the team created the design, they wanted to bring forth
the best bad ideas from their collective experiences at
these types of events. Feig says: “The shower was a big
set-piece scene with a lot of people in a big location.
It was a great arena for Kristen to go crazy with her
physical comedy. We just turned Kristen loose and put
two cameras on her.”
What was challenging was that all six of the film’s
main characters are in these scenes, and DP Yeoman’s
Annie violates all kinds of FAA regulations as Rita watches in shock.
– 19 –
team had to capture the principals’ interactions with
the supporting players. Feig notes: “The first takes of
Kristen’s blowout at the shower were very dramatic.
They were touching and moving, but then we thought,
‘Let’s go for ones that are a little funnier.’”
The production designer was tasked to design
alongside the jokes. Sage explains: “It was intentional
to pull a lot of the same colors into Helen’s house as
we have in the bridal shop, as that’s an extension of
Helen’s universe. As Annie comes into Helen’s world,
the tension builds. She’s on this visually unfamiliar
ground that’s designed to make her uncomfortable
because it’s so not her character.”
When Annie rides into the bridal shower (on a
horse, obviously), she sees that Helen has stolen all
her ideas about bringing the city of Paris to Lillian.
Not only has Helen redone her home since Lillian
and Dougie’s engagement party, the mansion is
dripping Parisian. The terrace is set up like a small
café, and gorgeous pavilion tents and kiosks with
Parisian references dot the grounds. Of course, a
miniature Eiffel Tower has also been set up. To add
insult to Annie’s injury, in the middle of it all is an
enormous chocolate fountain. Made of marble stone,
the fountain is 7-feet tall,
with melted chocolate
pouring out. Annie is
ready to go ballistic, and
we can’t blame her.
O f h i s l e a d i n g
lady’s abil ity to move
into a hilarious fugue
state, producer Mendel
commends: “People who
enjoy Kristen on Saturday
Night Live are going to
love her in Bridesmaids
because they know that
she will go places no one
else will go. When Kristen is
drowned in chocolate, punching a giant cookie to
smithereens, it’s a joy.”
The Wedding
When Lillian expresses to Annie that she’s afraid
Helen may have gone way over the top for her wedding,
Annie is the first to console her. Too late, as it’s going to
be a whopper. Feig says, “The wedding was fun to shoot
because it was one of Helen’s over-the-top productions.
It was important to pull off the main wedding itself in
one shot that reveals more and more as we go out.”
What wedding would be complete without a laser
light show, fireworks, fountains and a fog that rolls into
the pool? The ceremony takes place with the bridal
party out in the middle of platforms on top of a huge
reflecting pool. There are lights inside and outside the
water, with landscape lighting surrounding them. Feig’s
production crew erected a set behind the minister,
where the lasers hit, and fog and smoke come down.
The production decided to use the Los Angeles
County Arboretum as the location for Lillian and
Dougie’s extravagant wedding. Sage shares: “It’s a
beautiful green spot of gardens that has a 75-foot-
square reflecting pool in the middle of a huge lawn.
Annie is freaked out by a nervous fellow flier (co-writer ANNIE MUMOLO).
– 20 –
We drained the pool so that we could put the set down
inside and arrange our platforms and lighting. We made
it pristine white so that it would look immaculately
clean for the ceremony, and then filled it back up. A
couple of spot towers that are behind the audience were
erected to light our singing group as they hit the stage.
The Super Trouper followspots click on and offer an
expansive look, so it feels like you are in the middle of
a huge golf course.”
Additional Sets
Before Annie moves into her mother’s ranch house,
she shares a little apartment in Milwaukee with Gil
and his sister, Brynn, that Feig describes as a “’70s-
kind of depressing.” Sage ensured that there was wood
paneling, odd chocolate-brown carpet and Formica that
is 15 to 20 years out of date. The same conversation
led into the creation of her workplace, Cholodecki’s
Jewelry Shop (built on a stage), where the team put in
additional brown paneling and old-fashioned jewelry
cases. Annie’s trying to make a go of it, but she just
feels stuck in these surroundings
Sherwood Country Club in Westlake Village, Cali-
fornia, also allowed the production to shoot key scenes
for Bridesmaids. Sage says: “I
believe we’re the first movie
to get into Sherwood Country
Club and make use of it. It was
desirable because it’s beautiful
and has a Midwestern feeling
to it. The design of the building
is traditional, and the brick and
the white trim didn’t feel like an
L.A. location. It also featured
the tennis courts that figure as
one of our sets during the playoff
between Annie and Helen.”
He concludes: “We did the
engagement party there, and
of course, in the story it’s as if
they got married back on Helen’s property, and we see
them leaving after the ceremony from the front of the
country club.” Sage agrees it was a great location but
appreciated how it stood in for a Chicago setting. “They
have dense, beautiful trees, but no mountains. It does
not feel like Los Angeles. Even though we have a lot of
California Oak here, they pass…I hope.”
****Universal Pictures presents—in association with
Relativity Media—an Apatow production: Brides-
maids, starring Kristen Wiig, Maya Rudolph, Rose
Byrne, Wendi McLendon-Covey, Ellie Kemper, Melissa
McCarthy, Chris O’Dowd. The music is by Michael
Andrews, and the music supervisor is Jonathan Karp.
The comedy’s costume designer is Leesa Evans.
Bridesmaids’ co-producers are Kristen Wiig and Annie
Mumolo, and the comedy is edited by William Kerr and
Mike Sale. The production designer is Jefferson Sage,
and the director of photography is Robert Yeoman,
ASC. The film is executive produced by Paul Feig,
and it is produced by Judd Apatow, Clayton Townsend,
Barry Mendel. The comedy is written by Annie
Mumolo & Kristen Wiig, and it is directed by Paul Feig.
©2011 Universal Studios. www.bridesmaidsmovie.com
(L to R) Director PAUL FEIG and producer JUDD APATOW on the set of Bridesmaids.
– 21 –
ABOUT THE CAST
After appearing on Saturday Night Live (SNL) for
six years, KRISTEN WIIG
(Annie/Written by/Co-Pro-
ducer) has become one of
the most sought-after talents
in film and television today.
Wiig recently earned her
second Emmy nomination
for Outstanding Supporting
Actress in a Comedy Series
for her work on Saturday
Night Live, playing such memorable characters as the
excitable Target clerk, Lawrence Welk singer Doonese,
the hilarious one-upper Penelope, House Speaker
Nancy Pelosi and Suze Orman, among others.
Wiig was recently seen in Greg Mottola’s Paul,
opposite Simon Pegg and Nick Frost, and in Andrew
Jarecki’s All Good Things, opposite Ryan Gosling,
Kirsten Dunst and Frank Langella; contributed her voice
to Universal Pictures’ animated feature film Despicable
Me, starring Steve Carell and Jason Segel; and was
seen in MacGruber, based on the popular Saturday
Night Live sketch, starring opposite fellow SNL cast
member Will Forte and Ryan Phillippe. She recently
completed filming Jennifer Westfeldt’s Friends With
Kids, in which she stars opposite Jon Hamm, Megan
Fox, Adam Scott, Maya Rudolph and Westfeldt.
Wiig made her big-screen debut to universal high
praise as Katherine Heigl’s passive-aggressive boss in
Judd Apatow’s smash-hit comedy Knocked Up. Her
additional film credits include DreamWorks Animation’s
How to Train Your Dragon, with Gerard Butler and Jay
Baruchel; Mike Judge’s Extract, with Jason Bateman,
Ben Affleck and Mila Kunis; Drew Barrymore’s
directorial debut, Whip It, starring Ellen Page; Greg
Mottola’s Adventureland, with Ryan Reynolds, Kristen
Stewart and Jesse Eisenberg; David Koepp’s Ghost
Town, with Ricky Gervais; and Jake Kasdan’s Walk
Hard: The Dewey Cox Story, another Apatow-produced
film, in which she starred opposite John C. Reilly. She
has also guest-starred on the Emmy-winning NBC
series 30 Rock, the HBO series Bored to Death, with
Jason Schwartzman, and The Flight of the Conchords.
A native of Rochester, New York, Wiig worked as
a main company member of the Los Angeles-based
improv and sketch-comedy troupe The Groundlings.
As a Groundlings alumna, she joins the ranks of such
SNL cast mates as Maya Rudolph, Will Ferrell, Phil
Hartman and Jon Lovitz.
Wiig currently resides in New York City.
MAYA RUDOLPH (Lillian) was recently seen
starring opposite Adam Sandler
and Chris Rock in the hit
comedy Grown Ups. Rudolph
earned rave reviews for her
performance in the comedic
and heartfelt film Away We
Go, directed by Sam Mendes
and written by Dave Eggers
and Vendela Vida. In the film,
Rudolph and John Krasinski
star as a couple expecting their first child that embarks on
a cross-country journey to find a place to raise a family.
Rudolph’s additional film credits include Robert
Altman’s A Prairie Home Companion, Mike Judge’s
Idiocracy, Bruce Paltrow’s Duets, Peter Segal’s 50 First
Dates, Miguel Arteta’s Chuck & Buck, Andrew Niccol’s
Gattaca and James L. Brooks’ As Good as It Gets, and a
voice-over role as Rapunzel in Chris Miller and Raman
Hui’s Shrek the Third. Next summer, Rudolph will be
heard in Zookeeper.
In 2000, Rudolph made her debut on NBC’s Saturday
Night Live, where she starred as one of the show’s
regular players for more than seven years. Rudolph’s
turns included memorably skewed portrayals of Oprah
– 22 –
Winfrey, Donatella Versace and Whitney Houston, and
such recurring sketches as “Wake Up Wakefield” and
“Bronx Beat.”
Rudolph currently resides in Los Angeles.
In a short amount of time, ROSE BYRNE (Helen) has
established herself as a rising
star on the big screen. The
Australian native commands
the attention of filmgoers
and television viewers with
her beauty, talent, versatility
and poise.
For the second con sec-
utive year, Byrne has been
nominated for an Emmy
for her portrayal of Ellen Parsons on the critically
acclaimed and Emmy-nominated FX Network series
Damages. In 2010 and 2008, she also received Golden
Globe nominations for Best Performance by an Actress
in a Supporting Role in a Series, Mini-Series or
Motion Picture Made for Television. The third season
of Damages finished airing in May 2010. DirecTV has
recently announced that it will air the fourth and fifth
seasons of the Sony-produced series in the summer of
2011 and 2012, respectively. Glenn Close co-stars in
the series.
Byrne was recently seen in Insidious, a paranormal
thriller co-starring Patrick Wilson. She portrays the
mother of a young boy who is haunted by a paranormal
channel, from which she and her husband (Wilson) must
rescue him. The film is directed by James Wan (Saw)
and produced by Oren Peli (Paranormal Activity). The
film screened at the Toronto International Film Festival
and was released on April 1, 2011.
Byrne recently wrapped production on X-Men:
First Class in London. The latest film in the franchise
co-stars James McAvoy, Michael Fassbender, January
Jones, Kevin Bacon and Jennifer Lawrence and will be
released on June 3, 2011.
Bridesmaids marks Byrne’s second collaboration
with comedy producer Judd Apatow and Universal
Pictures. She was last seen in Apatow’s Get Him to the
Greek, which was written and directed by Nicholas
Stoller, a spin-off of the 2008 hit comedy Forgetting
Sarah Marshall. In Get Him to the Greek, Russell
Brand reprises his role as Aldous Snow, the rocker ex-
boyfriend of Jackie Q (Byrne), an outrageous pop star.
The film also stars Jonah Hill and Sean Combs and was
released on June 4, 2010.
Illustrating her inimitable range and versatility,
Byrne co-starred alongside Nicolas Cage in the mega-
thriller Knowing. The film was released by Summit
Entertainment on March 20, 2009, and came in No. 1 at
the box office on its opening weekend.
Also in 2009, Byrne co-starred in Adam, a unique
love story set against the backdrop of Manhattan, with
thespians Hugh Dancy and Peter Gallagher. The film
was purchased by Fox Searchlight at the 2009 Sundance
Film Festival and was released on July 29, 2009.
Her additional credits include Sofia Coppola’s
Marie Antoinette; the sci-fi thrillers 28 Weeks Later
and Sunshine, directed by Danny Boyle; the criti-
cally acclaimed independent film The Dead Girl;
Wolfgang Petersen’s epic Troy, opposite Brad Pitt; Paul
McGuigan’s thriller Wicker Park, with Josh Hartnett;
the acclaimed I Capture the Castle, based on the classic
English romance; the BBC drama Casanova, with Peter
O’Toole; and Danny Green’s The Tenants, opposite
Dylan McDermott.
Byrne’s fame in Australia began with her role in the
gritty crime comedy Two Hands, in which she starred
with Heath Ledger. She went on to star in Clara Law’s
The Goddess of 1967, for which she was awarded Best
Actress at the Venice Film Festival.
Byrne resides in New York, Los Angeles and
Australia.
– 23 –
WENDI McLENDON-COVEY (Rita), who is
best known for her hilarious
film and television roles,
recently starred as the villain-
ous owner of an orphanage for
little girls in the Disney home-
video movie The Search for
Santa Paws, a heart-warming
holiday film.
McClendon-Covey has a
large body of work on un-
scripted television shows and feature films, and she
is best known for her role as Deputy Clementine
Johnson on the Comedy Central television program
Reno 911! In 2006, she also starred in an unscripted
show for Lifetime Television about a matchmaking
service run by losers called Lovespring International.
She has also had guest-starring roles on Rules of
Engagement (CBS), 10 Things I Hate About You (ABC
Family), The Office (NBC) and Wizards of Waverly
Place (Disney Channel), and her work in numerous
independent films such as Spooner, Douchebag and
Boutonniere has been seen in film festivals from
Sundance to Cannes.
At the U.S. Comedy Arts Festival in 2007, she was
given a Film Discovery Jury Award, which was created
specifically to commemorate her starring roles in two
entirely improvised films: Closing Escrow and Cook-
Off!, which she also co-wrote and co-produced.
Raised in Long Beach, California, McClendon-
Covey developed an affinity for Bill Cosby, Flip
Wilson, Steve Martin, Carol Burnett and the Smothers
Brothers. However, it wasn’t until after college that
she decided to explore her own comedic aspirations
by enrolling in The Groundlings Theatre & School.
McClendon-Covey wrote and performed with the main
company of the Groundlings Theatre for an amazing
seven years and now serves on its board of directors.
She is very involved in charity work and, this past New
Year’s, she and a group of Groundlings alums traveled
to the Middle East with Stars for Stripes to entertain
the troops. This was her third trip with Stars for Stripes.
McClendon-Covey has been married for 14 years
to superhusband Greg Covey. They often say that one
of the secrets of their long marriage is that they both
hate Valentine’s Day.
ELLIE KEMPER (Becca) is a St. Louis-born, NY/
LA-based and Princeton-
educated writer/performer
with roots at the Upright
Citizens Brigade (UCB), The
Onion and McSweeney’s.
After she gained attention
with her one-woman show
Feeling Sad/Mad in 2008
at the UCB, Kemper’s con-
tagious friendliness and
enthu siasm led to her permanently joining the cast of
The Office as Erin, the naïve new receptionist. In the
summer of 2009, she shot the role of Ellie in Nicholas
Stoller’s Get Him to the Greek and the role of Claire in
Sofia Coppola’s Somewhere. She was also featured on
Variety’s “10 Comics to Watch.”
MELISSA McCARTHY (Megan) stars as Molly
on Mike & Molly, the No. 1
new comedy series that airs
on CBS.
McCarthy’s previous
fea ture film work includes
The Back-up Plan, alongside
Jennifer Lopez and Alex
O’Loughlin; Life as We
Know It, with Katherine
Heigl; Pretty Ugly People,
with Josh Hopkins, Missi Pyle and Allison Janney; Just
Add Water, with Danny DeVito; director John August’s
sci-fi mystery The Nines, with Ryan Reynolds and
Hope Davis; White Oleander, with Michelle Pfeiffer;
– 24 –
Pumpkin, with Christina Ricci; and Go, directed by
Doug Liman. Additionally, she starred in John August’s
short film God as a young woman having a gossipy
phone conversation and short-lived spat with the
Almighty, and she also appeared in The Life of David
Gale, starring Kevin Spacey.
On television, she previously starred as the clumsy
culinary genius Sookie St. James, in Gilmore Girls,
and as Dena in the series Samantha Who?.
McCarthy first made her mark on the comedy stage
and performed stand-up in New York at the Improv and
at Stand-Up NY. She also received dramatic training
from The Actors Studio in New York and starred in a
variety of stage productions throughout the city. In Los
Angeles, McCarthy spent nine years as a mainstage
member of the world-renowned improv and sketch
troupe The Groundlings.
McCarthy sold her first pilot, Marbles, to VH1,
in which she played the title role. She has recently
completed writing a feature titled Tammy, in which she
will play the title role, and a pilot called Stage Mom.
McCarthy is also designing her first clothing line.
CHRIS O’DOWD (Officer Rhodes) recently
finished work as William, the
lead male role in the BBC
flagship drama The Crimson
Petal and the White, a four-
part adaptation of Michel
Fabers’ best-selling novel,
directed by Marc Munden.
He most recently appeared in
20th Century Fox’s Gulliver’s
Travels, in which he played
the role of General Edward, directed by Rob Letterman
and starring opposite Jack Black, Jason Segel and
Emily Blunt.
Last year, he starred opposite Paul Rudd, Steve
Carell and Zach Galifianakis in Jay Roach’s Dinner
for Schmucks. His previous feature credits include
Working Title/Focus Features’ Pirate Radio, opposite
Philip Seymour Hoffman and directed by Richard
Curtis. He also starred in Frequently Asked Questions
About Time Travel, opposite Anna Faris and directed
by Gareth Carrivick, for BBC Films; Working Title/
Universal Pictures’ Hippie Hippie Shake, opposite
Cillian Murphy and Sienna Miller and directed by
Beeban Kidron; Vera Drake, directed by Mike Leigh;
and the 2005 feature Festival, which was nominated
for two BAFTAs including Best British Film, and for
which he won a BAFTA Scotland Award for Best Actor
in a Scottish Film.
O’Dowd recently wrapped season four of The IT
Crowd, for Channel 4 television, and is well known
in Ireland for having starred in the popular RTÉ One
drama The Clinic, which earned him a nomination for
an Irish Film & Television Award in 2003.
– 25 –
ABOUT THE FILMMAKERS
PAUL FEIG (Directed by/Executive Producer) is a
three-time Emmy-nominated
writer/director and a DGA
Award-winning director. A
graduate of the University of
Southern California School
of Cinematic Arts, Feig was
a winner of the school’s Jack
Oakie Memorial Award for
Com edy in Film in 1984.
After f ilm school, Feig
worked as a script reader for producer Michael Phillips
(Taxi Driver) until he went on The $25,000 Pyramid
and won $29,000 (“I always was an overachiever,” jokes
Feig). The winnings allowed Feig to leave his job and
pursue his long-time dream of being a professional
stand-up comedian.
His stand-up career soon led to a successful career
as a character actor in which he appeared as a series
regular on the television series Dirty Dancing, Good
Sports, The Jackie Thomas Show, The Louie Show and
Sabrina, the Teenage Witch. He also appeared in such
films as Paul Maslansky’s Ski Patrol, Disney’s Heavy
Weights and Tom Hanks’ That Thing You Do!
It was only after being abruptly written out of
the series Sabrina, the Teenage Witch that Feig began
to sour on the actor’s life. This drove him to write,
produce and direct his first independent feature film,
Life Sold Separately. It played on the festival circuit
and was ultimately chosen by Movieline to tour college
campuses across the United States.
While out on tour with his film, Feig wrote a spec
pilot script for a television series about a high school
set in the 1980s called Freaks and Geeks, which he then
sold to DreamWorks Television through his longtime
friend, producer Judd Apatow. NBC ended up making
18 episodes of the show and Feig served as the show’s
creator and co-executive producer. Feig was nominated
for two comedy-writing Emmy Awards—one for the
pilot episode and one for the series finale, which he
also directed. The series continues to be a top-selling
DVD set and has recently begun re-airing on IFC.
After the cancellation of Freaks and Geeks, Feig
went on to write and direct the film I Am David, which
was based on the Danish book of the same name by
Anne Holm. The United Nations High Commissioner
for Refugees sponsored the film. The organization called
it one of the most accurate depictions of a refugee child
they had seen on film. The film stars James Caviezel
and Joan Plowright and is the uplifting story about an
11-year-old boy in 1952, who escapes from a Bulgarian
labor camp and makes his way across Europe in search
of his family and identity. The film went on to win the
Audience Award at the Austin Film Festival, a Crystal
Heart Award from the Heartland Film Festival and Best
Picture awards at the San Diego Film Festival and the
Kansas City FilmFest.
Feig’s third feature was the Warner Bros. family
comedy Unaccompanied Minors, which was based
on an episode of This American Life. The film stars
Wilmer Valderrama, Lewis Black and Tyler James
Williams. The film was nominated for a Taurus World
Stunt Award and received the 2006 Parents Television
Council Seal of Approval.
Feig has also directed multiple episodes of the
television series Arrested Development, The Office,
Nurse Jackie, Bored to Death and Weeds, as well as
episodes of 30 Rock and Mad Men. He also served
as a co-executive producer on both The Office and
Nurse Jackie. In 2008, Feig’s work on The Office
earned him an Emmy nomination for Outstanding
Directing for a Comedy Series for the hour-long
episode “Goodbye, Toby” and, in January of 2009,
he won the DGA Award for Outstanding Directorial
Achievement in a Comedy Series for the episode
titled “Dinner Party.”
– 26 –
In addition to his film and television work, Feig is
the author of two comedic memoirs released by Random
House—“Kick Me: Adventures in Adolescence” and
“Superstud, Or How I Became a 24-Year-Old Virgin.”
The latter book became New York Times and Los Angeles
Times best sellers. He is also the author of two young-
adult science-fiction novels—“Ignatius MacFarland:
Frequenaut!” and “Ignatius MacFarland 2: Frequency
Freak-out!”—both published by Little Brown Books
for Young Readers. He also has a short story, “My
Parents Give My Bedroom to a Biker,” from the young
adult humor collection “Guys Read: Funny Business”
published by Walden Media and Harper Collins.
Feig lives in Los Angeles and New York with his
wife, Laurie, and his two Scottish Terriers.
ANNIE MUMOLO (Written by/Co-Producer) is
an alumnus of the Los Angeles-based improv/sketch
comedy troupe The Groundlings, whose celebrated
roster of graduates include Will Ferrell, Lisa Kudrow,
Maya Rudolph, Phil Hartman and her writing partner,
Kristen Wiig.
Mumolo is currently developing an untitled
comedy feature film with Mandate Pictures and was a
staff writer on ABC’s In the Motherhood.
As an actor, Mumolo has appeared in the 2005
feature film Bewitched and television shows such as Two
and a Half Men, Out of Practice and In the Motherhood.
She also appeared in the ABC pilots Bad Mother’s
Handbook and This Might Hurt. She voices regular roles
on Curious George and Handy Manny and has lent her
voice to several animated shows including American
Dad!, Father of the Pride and Maya & Miguel.
She resides in Los Angeles with her husband and
two kids.
JUDD APATOW (Produced by) is considered one
of the most sought-after comedy minds in the business
and has been closely associated with many of the biggest
comedy films in recent years. He is currently producing
movies from directors Nicholas Stoller (The Five-Year
Engagement) and David Wain (Wanderlust) and an
HBO series from writer/director Lena Dunham (Girls).
Born in Syosset, New York, Apatow aspired to
become a professional comedian at an early age.
Following an appearance on HBO’s Young Comedians
Special, Apatow eventually stopped performing in
favor of writing. He wrote for the Grammy Awards, as
well as cable specials for Roseanne and Jim Carrey,
before going on to co-create and executive produce
The Ben Stiller Show, which brought Apatow an Emmy
Award for Outstanding Individual Achievement in
Writing in a Variety or Music Program. Fresh from his
Emmy win, Apatow joined The Larry Sanders Show in
1993 as a writer and consulting producer, and he later
served as a co-executive producer and director of an
episode during the show’s final season.
Apatow served as an executive producer of the
critically praised, award-winning series Freaks and
Geeks, which debuted in the 1999-2000 season. He also
wrote and directed several episodes of the series. His
other television credits include consulting producer of
the animated series The Critic and executive producer
and creator of the series Undeclared.
Apatow made his feature directorial debut in 2005
with the comedy hit The 40-Year-Old Virgin, which
he also co-wrote with the film’s star, Steve Carell, for
Universal. The film opened at No. 1 and grossed more
than $175 million globally. The comedy garnered
numerous awards and nominations, including being
named one of AFI’s Movies of the Year, and it took
home Best Comedy Movie at the 11th annual Critics’
Choice Awards. The 40-Year-Old Virgin also earned
Apatow a nomination for Best Original Screenplay
from the Writers Guild of America and received four
MTV Movie Award nominations, including a win for
Carell for Best Comedic Performance.
In 2007, Apatow released Universal’s Knocked Up,
his directorial follow-up to The 40-Year-Old Virgin,
which he also wrote and produced. Knocked Up
– 27 –
grossed more than $200 million internationally, and
it was named one of AFI’s Movies of the Year and
nominated for Best Original Screenplay by the Writers
Guild of America. Immediately following, Apatow
produced the hit comedy Superbad, starring Jonah Hill
and Michael Cera, for Sony Pictures.
Three major successes followed in 2008, beginning
with Universal’s Forgetting Sarah Marshall, which
Apatow produced with Shauna Robertson. Directed
by Nicholas Stoller and written by Jason Segel, the
romantic disaster comedy starred Segel, Jonah Hill,
Mila Kunis and Russell Brand. Apatow followed by
producing Sony’s action-comedy Pineapple Express,
a film written by Seth Rogen and Evan Goldberg
from a story by Apatow. The film, starring Rogen, James Franco and Danny McBride, opened at No. 1 at the box office. Other Apatow projects released in 2008 were the comedy smash You Don’t Mess With
the Zohan, which Apatow co-wrote with Sandler and Robert Smigel.
In 2009, he wrote, directed and produced Universal’s Funny People, a film that starred Adam Sandler, Seth Rogen and Leslie Mann. In 2010, Apatow produced Universal’s hit comedy Get Him to the Greek, starring Russell Brand and Jonah Hill.
Other film credits for Apatow include producing The Cable Guy, Anchorman: The Legend of Ron
Burgundy and Year One; executive producing Kicking
& Screaming; co-writing Fun With Dick and Jane; and producing and co-writing Walk Hard: The Dewey Cox
Story, which was nominated for two Golden Globes: for Best Original Song—Motion Picture and Best Performance by an Actor in a Motion Picture—Musical or Comedy (for John C. Reilly).
His longtime collaborations with high-profile
directors have made CLAYTON TOWNSEND (Pro-
duced by) a much-in-demand producer. Bridesmaids
marks Townsend’s sixth collaboration in his enduring
relationship with director/producer Judd Apatow, having
worked on The 40-Year-Old Virgin, Knocked Up, Walk
Hard: The Dewey Cox Story, Year One and Funny People.
Previously, Townsend had a 12-year association
with Academy Award®-winning director Oliver Stone.
During that time, Townsend lent his experience and
expertise to films such as Any Given Sunday, U Turn,
Nixon, Natural Born Killers, JFK, Heaven & Earth,
The Doors, Born on the Fourth of July and Talk Radio.
Townsend recently produced Alex Kurtzman’s
directorial debut, Welcome to People, starring Chris Pine,
Elizabeth Banks, Olivia Wilde and Michelle Pfeiffer.
His other credits include the feature films The
Skeleton Key, Bad Company, The Blackout, Where’s
Marlowe?, Heartbreakers and The Fast and the
Furious: Tokyo Drift.
Townsend acquired his knowledge of filmmaking
while working in a variety of capacities including
location manager on Alan Parker’s Angel Heart and
production manager on Three Men and a Baby and
Jacob’s Ladder.
The first f ilm BARRY MENDEL (Produced by)
produced was Rushmore, directed by Wes Anderson,
which won IFP Independent Spirit Awards for
Best Director (Anderson) and Best Supporting
Actor (Bill Murray). That f ilm was followed by
The Sixth Sense, directed by M. Night Shyamalan,
which was nominated for six Academy Awards®
including Best Picture. Subsequently, he produced
its follow-up, Unbreakable, then went back to work
with Wes Anderson on The Royal Tenenbaums,
which was nominated for an Academy Award® for
Best Original Screenplay for writers Anderson and
Owen Wilson. This collaboration continued on The
Life Aquatic With Steve Zissou, which was followed
by Joss Whedon’s directorial debut, the critically
acclaimed Serenity.
Mendel conceived and spent eight years developing
and producing Munich, which was directed by Steven
Spielberg and was nominated for five Academy Awards®
– 28 –
including Mendel’s second nomination for Best Picture.
He then went back to work with Shyamalan, producing
the box-office hit The Happening.
Next, Mendel produced Judd Apatow’s film Funny
People, starring Adam Sandler, Seth Rogen, Leslie
Mann, Jonah Hill, Eric Bana and Jason Schwartzman.
He also produced Michael Lander’s debut film
Peacock, starring Cillian Murphy and Ellen Page, and
Drew Barrymore’s directorial debut, the roller derby
movie Whip It, also starring Ellen Page and featuring
Kristen Wiig.
ROBERT YEOMAN, ASC (Director of Photo-
graphy) most recently shot Get Him to the Greek,
starring Russell Brand and Jonah Hill. He also shot
Drew Barrymore’s directorial debut, Whip It, and
Peyton Reed’s Yes Man.
After working in commercials at the beginning of
his career, Yeoman transitioned to feature films when he
shot the second unit on To Live and Die in L.A. This led
to many independent features including Gus Van Sant’s
Drugstore Cowboy, David Veloz’s Permanent Midnight,
Kevin Smith’s Dogma and Roman Coppola’s CQ.
Yeoman shot the Wes Anderson films Bottle Rocket,
Rushmore, The Royal Tenenbaums, The Life Aquatic
With Steve Zissou and, most recently, The Darjeeling
Limited and Hotel Chevalier.
His other credits include Wes Craven’s Red Eye and
Noah Baumbach’s The Squid and the Whale.
Yeoman was born in Pennsylvania and grew up
in the Chicago suburb of Wilmette. He received a BA
from Duke University and an MFA in film production
from the University of Southern California.
He currently lives in Santa Monica with his wife,
daughter and young son.
JEFFERSON SAGE (Production Designer) most
recently designed Greg Mottola’s comedy Paul, starring
Simon Pegg and Nick Frost. In 2010, Sage designed
Jake Kasdan’s upcoming Bad Teacher, his third
collaboration with Kasdan after previously teaming up
on Walk Hard: The Dewey Cox Story and The TV Set.
Sage’s previous credits include Judd Apatow’s Funny
People and hit comedy Knocked Up. In addition, Sage
designed Year One, directed by Harold Ramis.
For television, Sage’s work as production designer
includes Apatow’s critically acclaimed series Freaks
and Geeks and Undeclared. Sage also designed The
Bernie Mac Show.
As an art director, Sage’s credits include Harold
Ramis’ Analyze This, Donnie Brasco, Mississippi
Masala, Blink, One True Thing and Roommates.
Sage has a degree in theater arts from the College of
William & Mary and continued his studies at New York
University’s Tisch School of the Arts, where he earned
an MFA in set and lighting design for the stage. Sage
started his career as a designer and assistant designer
in stage, opera, ballet, commercials and industrials,
before moving into television and feature film work.
He currently lives in Los Angeles with his wife
and daughter.
WILLIAM KERR (Editor) most recently edited
Get Him to the Greek for director Nicholas Stoller and
producer Judd Apatow, having previously worked with
them on Forgetting Sarah Marshall. Kerr first worked
with Apatow on Apatow’s first writing job, an HBO
comedy special starring Tom Arnold and Roseanne
Barr. Their collaboration has continued on many
projects including the television series Undeclared
and the hit comedy Superbad, starring Jonah Hill and
Michael Cera.
Kerr is also associated with writer/director John
Hamburg and edited the films I Love You, Man, starring
Paul Rudd and Jason Segel, and Along Came Polly,
starring Ben Stiller and Jennifer Aniston. Kerr’s other
film editing credits include Undercover Brother, Nutty
Professor II: The Klumps, My Fellow Americans and
the fan favorite, comedy classic Tommy Boy, starring
Chris Farley and David Spade.
– 29 –
Bridesmaids is not the first film on which MIKE
SALE (Editor) has worked with Judd Apatow. His
previous credits with Apatow include Superbad,
Forgetting Sarah Marshall and Get Him to the Greek.
During his 25-year career, Sale has collaborated
with a wide variety of comedic directors including
Peter Segal, Greg Mottola, John Hamburg and, most
recently, Todd Phillips on The Hangover Part II.
Sale also has an extensive background editing drama
including the television series Judging Amy, which he
edited for four years.
LEESA EVANS (Costume Designer) has lent her
design talents to such films as Get Him to the Greek,
Forgetting Sarah Marshall, I Love You, Man, American
Pie, Into the Blue, Scooby-Doo and Josie and the
Pussycats, among many others.
Evans grew up around the fashion industry and
has a couture design background. Having worked in
fashion, she draws on her experience for inspiration for
her film style. With more than 500 commercials under
her belt, she also does celebrity styling.
Evans is currently in preproduction on Five-
Year Engagement.
JONATHAN KARP (Music Supervisor/Music
Editor) has been working in film music for 16 years.
After years of working as a music editor, he decided that
combining the field of music supervision along with
music editing would allow for an even more immersive
and creative experience on each project.
Karp first worked with Judd Apatow in 1999 on
the television series Freaks and Geeks. They followed
up that critically acclaimed show with Apatow’s film-
directing debut, The 40-Year-Old Virgin. Other Apatow
productions on which Karp has worked include Knocked
Up, Superbad, Pineapple Express, Forgetting Sarah
Marshall, Funny People and Get Him to the Greek.
Some of the many films with which he’s been
involved include The Assassination of Jesse James by
the Coward Robert Ford, Yes Man, The Break-Up, The
Life Aquatic With Steve Zissou, I Heart Huckabees,
Starsky & Hutch, Punch-Drunk Love, Old School,
Magnolia and Zoolander.
Karp’s soundtrack-album production credits include
Infant Sorrow—Get Him to the Greek, Funny People,
Superbad, Forgetting Sarah Marshall, Pineapple
Express and Yes Man. He co-produced the I Heart
Huckabees soundtrack with composer Jon Brion and
also co-produced the soundtrack to Starsky & Hutch.
In addition to his work as a music supervisor and a
music editor, Karp also produced many songs that have
appeared in his films. He also restored and mixed the
final recordings of Marc Bolan for “T. Rex: The Final
Recordings,” which was released in the U.K. and Europe.
MICHAEL ANDREWS (Music by) first worked
with Judd Apatow when he scored the Freaks and Geeks
television series in 2000. Since then, he has continued
to be part of the Apatow creative family, most recently
writing music for Funny People. He has created the
music for all of director Jake Kasdan’s films, including
his upcoming Bad Teacher. Andrews’ gift for striking
the delicate balance between humor and drama can also
be heard on the soundtracks for Donnie Darko, Me and
You and Everyone We Know and Cyrus.
Outside of film, Andrews’ talents have also been
employed as a producer/collaborator for the music of
Inara George, Metric, Gary Jules and many others.
He continues to perform in The Greyboy Allstars and
is working on a follow-up to his critically acclaimed
“Hand on String.”
—bridesmaids—
– 30 –