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,

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– 6 –

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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 –

NOTES

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NOTES

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