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UNIVERSAL PICTURES Presents In Association with
UNIVERSAL PICTURES Presents In Association with RELATIVITY MEDIA An ILLUMINATION ENTERTAINMENT Production JAMES MARSDEN RUSSELL BRAND KALEY CUOCO HANK AZARIA GARY COLE ELIZABETH PERKINS DAVID HASSELHOFF CHELSEA HANDLER and HUGH LAURIE Executive Producer JOHN COHEN Produced by CHRIS MELEDANDRI MICHELE IMPERATO STABILE Story by CINCO PAUL & KEN DAURIO Screenplay by CINCO PAUL & KEN DAURIO and BRIAN LYNCH Directed by TIM HILL –1– CAST CREW Fred O’Hare . . . . . . . . . . . . . . . . . . . . JAMES MARSDEN E.B. (Voice) . . . . . . . . . . . . . . . . . . . . . RUSSELL BRAND Sam O’Hare . . . . . . . . . . . . . . . . . . . . . . . KALEY CUOCO Carlos/Phil (Voice) . . . . . . . . . . . . . . . . . . . HANK AZARIA Henry O’Hare . . . . . . . . . . . . . . . . . . . . . . . . GARY COLE Bonnie O’Hare . . . . . . . . . . . . . . . . ELIZABETH PERKINS E.B.’s Dad (Voice) . . . . . . . . . . . . . . . . . . . HUGH LAURIE Alex O’Hare . . . . . . . . . . . . . . . . . . . TIFFANY ESPENSEN David Hasselhoff . . . . . . . . . . . . . . DAVID HASSELHOFF Mrs. Beck . . . . . . . . . . . . . . . . . . . . CHELSEA HANDLER Cody . . . . . . . . . . . . . . . . . . . . . . . . . . . DUSTIN YBARRA Receptionist . . . . . . . . . . . . . . . . . . . CARLEASE BURKE Waitress . . . . . . . . . . . . . . . . . . . . . . VERONICA ALICINO Young E.B. (Voice) . . . . . . . . . . . . . . . . DJANGO MARSH Blind Boys of Alabama . . . . . . . . . . JIMMY LEE CARTER BILLY BOWERS BENJAMIN MOORE JR. ERIC DWIGHT MCKINNIE JOEY ANTHONY WILLIAMS TRACY ROMAN PIERCE WILL CLEVELAND SMITH Young Fred . . . . . . . . . . . . . . . . . . . . . . . . COLETON RAY Performer . . . . . . . . . . . . . . . . . . . . . . . . . . GREG LEWIS Security Guard . . . . . . . . . . . . . . . . . . . MARK RICCARDI Chinese Woman . . . . . . . . . . . . . . . . . . . . . . . . . CICI LAU Another Parent . . . . . . . . . . . . . . . . . . . . . JAYDEN LUND Production Assistants . . . . . . . . . . . . . RUSSELL BRAND CHRISTIAN LONG Voice at Playboy Mansion . . . . . . . . . . . . HUGH HEFNER Dancer . . . . . . . . . . . . . . . . . . . . . . . . . . . . NICK DRAGO Warm-Up Guy . . . . . . . . . . . . . . . . . DAVID GOLDSMITH Utility Voice . . . . . . . . . . . . . . . . . . . RICK PASQUALONE Stunt Coordinator . . . . . . . . . . . . . . . . . . . . . JOHN MOIO Stunt Doubles . . . . . . . . . . . . . . . . . . G. GRANT JEWETT TOM ROACH Stunts . . . . . . . . . . . . . . . . . . . . . . . . . WAYNE DALGLISH ASHTON MOIO MANDY KOWALSKI JENSEN LEFLORE J.C. LEVYER WEBSTER P. WHINERY JR. JORDAN VENETIS CLAY VENETIS BOB YERKES KOBY AZARLY Helicopter Pilots . . . . . . . . . . . . . . PETER J. MCKERNAN LANCE STRUMPF Directed by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TIM HILL Screenplay by . . . . . . . . . . . . . . . . . . . . . . CINCO PAUL & KEN DAURIO and BRIAN LYNCH Story by . . . . . . . . . . . . . . . . . . . . . . . . . . CINCO PAUL & KEN DAURIO Produced by . . . . . . . . . . . . . . . . . CHRIS MELEDANDRI MICHELE IMPERATO STABILE Executive Producer . . . . . . . . . . . . . . . . . . JOHN COHEN Director of Photography . . . . . . . . . . . . . . . . . . . . . . . . . . PETER LYONS COLLISTER ASC Production Designer . . . . . . . . . . . . RICHARD HOLLAND Edited by . . . . . . . . . . . . . . . . . . . . . . . . PETER S. ELLIOT GREGORY PERLER Costume Designer . . . . . . . . . . . . ALEXANDRA WELKER Animation Supervisor . . . . . . . . . . . . . . CHRIS A. BAILEY Music Supervisor . . . . . . . . . . . . . . . JULIANNE JORDAN Music Composed and Conducted by . . . . . . . . . . . . . . . . CHRISTOPHER LENNERTZ Casting by . . . . . . . . . . . . JUNIE LOWRY-JOHNSON CSA LIBBY GOLDSTEIN Characters Designed by . . . . . . . . . . . . . PETER DE SÈVE “Young E.B.” Designed by . . . . . . . . . . . . CHRIS BAILEY Unit Production Managers . . . . . . . . . . . LEIGH SHANTA MICHELE IMPERATO STABILE First Assistant Director . . . . MICHELE PANELLI-VENETIS Second Assistant Director . . . . . . . . . . DAVID MENDOZA Visual Effects Producer . . . . . . . . . . . . . . . STEVE DUBIN Associate Producer . . . . . . . . . . . . . . . WENDY A. GEARY Art Director . . . . . . . . . . . . . . . . . . . . . CHARLIE DABOUB Assistant Art Director . . . . . . . . . . . LISSETTE SCHETTINI Set Decorator . . . . . . . . . . . . . . . . . . . . DON DIERS SDSA Set Designers . . . . . . . . . . . . . . . . . . . . . PHILIP DAGORT EUGENE DARNELL PAUL SONSKI Illustrators . . . . . . . . . . . . . . . . . . . . . . JAMES HEGEDUS PATRICK VON JANICKE CAROL POLICE Art Department Coordinators . . . . . . . . . . . . . . . . . . . . . . . HEATHER VIOLET ELWELL ALEX HUNTER Art Department Production Assistants . . . ANDREW EIDEN ROCHELLE HARVEY CG Set & Prop Production Design . . . . . . . . . . . . . . . . . . . GO FOR LAUNCH PRODUCTIONS Lead Designer . . . . . . . . . . . . . . . . . . PHILIP A. CRUDEN Designers . . . . . . . . . . . . . . . . . . . . . . . . JOEY PARAISO TROYLAND CARO JO LUNA –2– Rigging Gaffer . . . . . . . . . . . . . . . . . . . GREG CANTRELL Best Boy Rigging Electric . . . . . . . CHRISTOPHER LAMA Rigging Electricians . . . . . . . . . . . . . . BILL GREENBERG ROGER L. LATTIN LAURENCE MONIER RICHARD R. FARRIS DENNIS WINKLER Key Grip . . . . . . . . . . . . . . . . . . . . . MICHAEL ALEXONIS Best Boy Grip . . . . . . . . . . . . . . . . . . . . . . TIM SORONEN “A” Dolly Grip . . . . . . . . . . . . . . . . . . . . JASON NEWTON “B” Dolly Grip . . . . . . . . . . . . . . . . . . . . ASHLEY SUDGE Grips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JEFF BAKER JUSTIN BLUM BEN KROUT CLIFFORD L. SHAFFER BRIAN T. BRANTON CHRIS CRIVIER WILLIAM HOBSON KEVIN PHILLIPS DAVID WRIGHT Key Rigging Grip . . . . . . . . . . . . . . . . . CHARLES SMITH Best Boy Rigging Grip . . . . . . . . . THOMAS CRAWFORD Rigging Grips . . . . . . . . . . . . . . CHARLES R. EDWARDS STEPHEN FOSS ANTHONY J. BOURA JOSHUA RAYNER KAZUHIKO TAKEUCHI Special Effects Supervisor . . . . . . . . . ALAN E. LORIMER Special Effects Foreman . . . . . . . . . . ALBERT DELGADO Special Effects Technicians . . . . . . . . . . . . ROCKY GEHR CLARK JAMES WILLIAM H. SCHIRMER HAL SELIG PAUL E. VIGIL Costume Supervisor . . . . . . . . . . . . . . . . BILL EDWARDS Key Costumer . . . . . . . . . . . . . . . . . . JENNIFER DOZIER Set Costumer . . . . . . . . . . . . . . . . . . . . LIZETTE KILMER Costumer . . . . . . . . . . . . . . . . . . . . . AMELIA BUHRMAN Department Head Makeup . . . . . . . . . . . . CHERI MINNS Key Makeup Artist . . . . . . . . . . . . . . . . . . ELENA ARROY Department Head Hair . . . . . . . . . . . . . CANDACE NEAL Key Hairstylist . . . . . . . . . . . . . . . . . . . . . . . JOY ZAPATA Script Supervisor . . . SHARRON REYNOLDS-ENRIQUEZ Script Coordinator . . . . . . . . . . . . . . . . . LAURIE AGARD Location Manager . . . . . . . . . . . FRANCE MYUNG FAGIN Key Assistant Location Managers . . . . CHARLES FAGIN PAVEL STERBA KRIS BUNTING MICHAEL SHANAHAN Location Manager, Aerial Unit . . . . ROBBIE GOLDSTEIN Assistant Location Managers . . BRIAN PATRICK KINNEY Production Manager . . . . . . . . . . . . LORRAINE CRUDEN Art Coordinator . . . . . . . . . . . . . . . . . CAROLINE LYNCH Property Master . . . . . . . . . . . . . . . . . . . . . EMILY FERRY Assistant Property Master . . . . . . . . . . . . . . JOY TAYLOR Assistant Property . . . . . . . . . . . . . . . GREG WILKINSON EDMOND SCOTT RATCLIFF CARLOS JAYSON BRETT GOLLIN Leadman . . . . . . . . . . . . . . . . . . . . . . . . . . . . KEN TUREK Buyers . . . . . . . . . . . . . . . . . . ANTONIA SHERRY-NUNEZ ETHAN GOODWIN Set Dressers . . . . . . . . . . . . . . . . . . . MATTHEW ALTMAN MATTHEW GUENTHER MARK R. KUDRA KAREN RIEMENSCHNEIDER On-Set Dressers . . . . . . . . . . . . . . . . . PHILLIP THOMAN INGRID E. WILCOX “A” Camera Operator . . . . . . . . . . . . PETER MERCURIO First Assistant Camera . . . . . . . . . . . . . . . . ALAN DISLER Second Assistant Camera . . . . . . . . . ROBIN L. BURSEY Steadicam Operator . . . . . . . . . . . . . . HARRY K. GARVIN “B” Camera Operator . . . . . . . . . . . ALAN BROWNSTEIN First Assistant “B” Camera . . . . . . . . DARRIN DELOACH Second Assistant “B” Camera . . . . . . . . . ROB MONROY Loader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LYNDA WU Camera Production Assistant . . . . . . . . CHIARA TELLINI Key Video Assist . . . . . . . . . . . . . . . . DAVID GOLDSMITH 24 Frame Playback Supervisor . . . . . . MARK HOCHMAN Production Sound Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . RICHARD BRYCE GOODMAN CAS Boom Operator . . . . . . . . . . . . . . . . . . . . . . CARY WEITZ Sound Utility . . . . . . . . . . . . . . . . . . ALEXANDRA GALLO Post-Production Supervisor . . . . . . JEANNINE BERGER Consulting Post-Production Supervisor . . TIM PEDEGANA First Assistant Editor . . . . . . . . . MATTHEW W. SCHMIDT Second Assistant Editors . . . . . CARLOS M. CASTILLON DAVE CORY Visual Effects Editor . . . . . . . . . . . . DERRICK MITCHELL Assistant VFX Editors . . . . . . . . . . . . . . MICHAEL STRUK ANDREW LOSCHIN Editorial Assistant . . . . . . . . . . . . . . . . . ZACHARY DEHM Chief Lighting Technician . . . . . . . . . . . SHANE D. KELLY Assistant Chief Lighting Technician . . . . . . . . . . . . . . . . . . DONALD K. DAVIDSON Electricians . . . . . . . . . . . . . . . . . . . . CARLOS APODACA ROB CARIUS JESSIE GREGSON TRAVIS STEWARD MATTHEW KISTENMACHER DOUG KEEGAN FRED PALLUZZI –3– Propmakers . . . . . . . . . . . . . . . . . . . . . JESSE J. BROWN JEREMY COOK ANTHONY J. FEOLA GLENN KOBAYASHI CALEB PHILLIPS Paint Gangbosses . . . . . . . . . . . . . . . . . . . WAYNE NYCZ JESSE SIONO JR. Standby Painter . . . . . . . . . . . . . . . . . . STEVEN BISHOP Greens Coordinator . . . . . . . . . . FRANK MCELDOWNEY Greens Foreman . . . . . . . . . . . . . . . RONALD S. BARATIE On-Set Greensman . . . . . . . . . . . . . . . . S. FORD JONES Transportation Coordinator . . . . . . . ROBERT JOHNSON Transportation Captain . . . . . . . . RICHARD CHOUINARD Dispatcher/DOT . . . . . . . . . . . . . . . . STEVEN W. POLON Craft Service . . . . . . . . . . . . . . . . . NICK MESTRANDREA PHIL SCALISI Assistant Craft Service . . . . . . . . . . . . . . . KEEGAN ZALL PAUL SCALISI Medics . . . . . . . . . . . . . . . . . . . . . . . JAMES E. MADDUX HENRY HUMPHREYS CHRISTIAN HUMPHREYS ROY IRWIN DAVID R. LAWSON RON PEKKALA Supervising Sound Editor . . RICHARD L. ANDERSON MPSE Sound Design . . . . . . . . . . . . . . . . . . . . . . ANN SCIBELLI Sound Editors . . . . . . . . . . . . . . . . . . . . . . MIKE CHOCK JOHN DUNN Assistant Sound Editor . . . . . . . . . . . . . . MARK COFFEY Supervising ADR Editor . . . . . . . . . . . . . . . JULIE FEINER Dialogue Editors . . . . . . . . . . . . . . . . . . . MILLIE IATROU F. VAL KUKLOWSKY LAURA GRAHAM CHRISTOPHER T. WELSH MPSE ADR Mixer . . . . . . . . . . . . . . . . . . . . . . CHRIS NAVARRO Recording Engineer . . . . . . . . . . . . . . . . . . . MATT REALE ADR Group Coordinator . . . . . . . . . . . . . . . KATE CARLIN Foley Artists . . . . . . . . . . . . . . . . . . . . . . . GARY HECKER CATHERINE ROSS Re-recording Mixers . . . . . . . . . . . . . . . . TOM JOHNSON GARY A. RIZZO Mix Engineers . . . . . . . . . . . . . . . . . . . . SCOTT OYSTER BRIAN MAGERKURTH ADR Voice Actors . . . . . . . . . . . . . . . . . . . . MATT ADLER JEFF FISCHER SCOTT MENVILLE VERONICA ALICINO ELISA GABRIELLI MICHELLE RUFF KIRK BAILY JACKIE GONNEAU JASMIN PARIS Location Scout . . . . . . . . . . . . . . . . CLAUDIA EASTMAN Production Accountant . . . . . . . . . . . . . . DIANA ADAMS First Assistant Accountant . . STEVEN JOHN REYNOLDS Payroll . . . . . . . . . . . . . . . . . . . . . . . BEATRIZ MADRIGAL Second Assistant Accountants . . . . . . . . . . . . JILL HAHN JUSTIN CARVILLE Post-Production Accountant . . . . . . CYNTHIA PHILLIPS Accounting Clerk . . . . . . . . . . . . . . . . . CARLY MACHLIS Production Coordinator . . . . . . . ERIN LEE SAHLSTROM Assistant Production Coordinators . . . . CARRIE A. OYER LINDA A. WARRILOW Production Secretary . . . . . . . . . . . . . . . . BLAKE NABAVI 2nd 2nd Assistant Director . . . . . . . . . . LYNN STRUIKSMA Casting Associate . . . . . . . . . . . . . . . . . . . . LISA SOLTAU Casting Assistant . . . . . . . . . . . . . . . . . . MONICA KELLY Extras Casting . . . . . . . . . . . . . . . . . . . . . CAROL GRANT Extras Casting Assistant . . . . . . . . . . . . . . . KELLY HUNT Additional Voice Casting . . . . . . . . . VERONICA ALICINO Unit Publicist . . . . . . . . . . . . . . . . . . . . EDDIE MICHAELS Publicity Associate . . . . . . . . . . . . . . . VERONICA PINTO Still Photographer . . . . . . . . . . . . . . JAIMIE TRUEBLOOD Phil Dance Guru . . . . . . . . . . . . . . . . . . . . . KEN DAURIO Assistants to Mr. Meledandri . . . KRISTIN WONG-WARD LYNLEY BIRD Assistant to Mr. Cohen . . . . . . . . . . . . . . . ANDY SHORT Assistant to Ms. Imperato Stabile . . CODY D’AMBROSIO Production Assistants . . . . . . . . . . . . DARREN BULMER DANIEL VILLARREAL ALEX MONTILLA ALEXANDRA IMPERATO NOAH LIVINGSTON Key Set Production Assistant . . . . KRISTOFER KOLPEK Set Production Assistants . . . . . . BRENDAN FLAHERTY MIKAELA MATHERN JUSTIN TRIMM Asset Representative . . . . . . . . JOSHUA BRIAN PIERCE Studio Teacher . . . . . . . . . . . . . . . . . . . . . JUDY BROWN Caterer . . . . . . . . . . . . . . . . . TREEHUGGING CATERING Clearances . . . . . . . . . . . . . . . . CHARLINE ST. CHARLES Animal Trainers . . . . . . . . BIRDS & ANIMALS UNLIMITED Construction Coordinator . . . . . . . . . MICHAEL MEDINA General Foreman . . . . . . . . . . . . . . . . . . LARRY CLAUSE Labor Foreman . . . . . . . . . . . . . . . DOMINIC SANDFREY Paint Supervisor . . . . . . . . . . . . FRANCESCO PAOLONE Supervising Sign Writer . . . . . . . . . . . . . MICHAEL RUBY Plasterer Foreman . . . . . . . . . . . . . . . . . TODD BENNETT Propmaker Foremen . . . . . . . . . RANDY CULBERHOUSE BRIAN FEOLA CALVIN MANGUM PETER MEDINA –4– E.B.’s Drumming Performed by . . . . . . ZACH DANZIGER Featured Musicians . . . . . . . . . . . . . MARK ROBERTSON JIM COX MIKE VALERIO GEORGE DOERING Additional Music Production by . . ALI “DEE” THEODORE FOR DEETOWN ENTERTAINMENT Main & End Titles Designed by . . . . . . . . . . . . . YU + CO. Color Timer . . . . . . . . . . . . . . . . . . . . . . HARRY MULLER Digital Intermediate Services . . . . . . . . . . LASERPACIFIC Supervising/Lead DI Colorist . . . . . . . . . . . . DAVID COLE DI Conform . . . . . . . . . . . . . . . . . . . VALANCE EISLEBEN CARRIE OLIVER STACY UNDERHILL Camera Cranes & Dollies . . . . . . . . . . . . . . . . . . . . . . . . . . CHAPMAN/LEONARD STUDIO EQUIPMENT, INC. JUSTIN SHENKAROW KATE CARLIN RICHARD HORVITZ MARCELO TUBERT VICKI DAVIS HOPE LEVY BRIDGET HOFFMAN DAVE ZYLER DAVID COWGILL STEVE ALTERMAN JUAN POPE WILL SHADLEY EMILY HAHN ISABELLA ACRES SETH DUSKY Re-recorded at . . . . . . . . . . . . . . . . . . . . . . AUDIO HEAD Supervising Music Editor . . . . . . . . . . . . . . J.J. GEORGE Music Editor . . . . . . . . . . . . . . . . . . BRYON RICKERSON Additional Music Editors . . . . . . . . . . . . TERRY WILSON KEVIN CREHAN Music Contractor . . . . . . . . . . . . . . . . . . . . . DAVID LOW Music Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEVE JULIANI MUSIC PREPARATION Scoring Coordinator . . . . . . . . . . . . . . . . ANNE ROEVER Music Coordinator . . . . . . . . . . . . . . . JESSICA NEILSON Orchestrators . . . . . . . . . . . . . . . . . . . ANDREW KINNEY ROBERT ELHAI DANA NIU EMILIE BERNSTEIN WATARU HOKOYAMA CHRISTOPHER LENNERTZ LARRY RENCH GERNOT WOLFGANG ROSSANO GALANTE Programming & Arrangements by . . . . MICHAEL BARRY MICHAEL PATTI TODD HABERMAN Additional Music & Arrangements . . . . . . . PHILIP WHITE Score Recorded and Mixed by . . . . . . . . . JEFF VAUGHN Digital Recordist . . . . . . . . . . . . . . . KEVIN GLOBERMAN Score Recorded at . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WARNER BROS. EASTWOOD SCORING STAGE Scoring Crew . . . . . . . . . . . . . . . . . . . . . . . . GREG HAYS RICH WHEELER RYAN ROBINSON JAY SILVESTER JAMIE OLVERA Score Mixed at . . . RECORD ONE RECORDING STUDIO Second Mix Engineer . . . . . . . . . . . . . . . PATRICK SPAIN Vocal Contractor . . . . . . . . . . . . . . . . . . . . . . JOAN BEAL Choir Conducted by . . . . . . . . . . . . . . . . . PHILIP WHITE Second Unit 2nd Unit Director/DP . . . . . . . . . . . THOMAS ACKERMAN Production Supervisor . . . . . . . . . . . . . . . . HOLLY HAGY First Assistant Director . . . . . . . . . . . RUSTY MAHMOOD Second Assistant Director . . . . . . . . . . JENNIE O’KEEFE Second Second Assistant Director . . . . . . . . . . . . . . . . . . STEPHANIE JAYE KINCH Set Production Assistant . . . . . . CHARLES CANZONERI First Assistant Camera . . . . . . . . . . . . . . LINDA GACSKO Second Assistant Camera . . . . . . . JEFFERSON FUGITT Craft Service . . . . . . . . . . . . . . . . . MICHELLE HOFFMAN Gaffer . . . . . . . . . . . . . . . . . . . . . . . . . . . ALAN COLBERT Best Boy . . . . . . . . . . . . . . . . . . . . . . MIGUEL SANCHEZ Electrician . . . . . . . . . . . . . . . . . . . . . ERIK A. ERICHSEN Greensman . . . . . . . . . . . . . . . . . . . . . . . CARLO BASAIL Key Grip . . . . . . . . . . . . . . . . . . . . LLOYD M. MORIARITY Best Boy . . . . . . . . . . . . . . . . . . . . . . R. SHAWN ENSIGN Dolly Grip . . . . . . . . . . . . . . . . . . . . . . STEVEN W. GAGE Grips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TOM ADAMS CHRIS MORIARITY CHRIS UPDEGRAVE Set Medic . . . . . . . . . . . . . . . . . . . JAMES A. MCCARTHY Propmaster . . . . . . . . . . . . . . . . . . . . . CARLOS JAYSON Script Supervisors . . . . . . . . . . . . . . . . KATHY MCHUGH SAMANTHA C. KIRKEBY On-Set Dresser . . . . . . . . . . . . . . . . . INGRID E. WILCOX Sound Mixer . . . . . . . . . . . . . . . . . . . . ROBERT D. EBER Boom Operator . . . . . . . . . . . . . . . . . . JOHN PAUL HAYS Location Manager . . . . . . . . . . . FRANCE MYUNG FAGIN Key Assistant Location Manager . . . . . . PAVEL STERBA Transportation Coordinator . . . . . . . ROBERT JOHNSON Transportation Captain . . . . . . . . . . . . . . DAVID S. WEST Video Assist . . . . . . . . . . . . . . . . . . . . . . . BOB BRANAM –5– 2D Supervisor . . . . . . . . . . . . . . . . . . . . BRIAN TATOSKY Pipeline Supervisor . . . . . . . . . . . . . . . FRED LEMASTER Visual Effects Editor . . . . . . . . . . . . . . . . ZEKE MORALES Visual Effects Assistant Editor . . . . . . . KENTON HULME VFX Production Manager . . . . . . . . . . . . . . . . KIM EVANS CG Production Managers . . . . . . . . . . . . . SCOTT BERRI LONNIE IANNAZZO YASAMIN ISMAILI BLAKE NICKLE Digital Production Manager . . . . . . . . . . . . . VAL KELLER Visual Effects Coordinator . . . . . . . . . . . DANA BENNETT Assistant VFX Coordinator . . . . MICHAEL RICHARDSON Digital Coordinators . . . . . . . . . . . . . . . . ELENA BOVETTI BRYCE BRECHEISEN JOHN CAMPUZANO STEPHANIE GREENQUIST ELIZABETH HITT ERIC KIMELTON ALEX LEVINE SERANIE MANOOGIAN CHRIS MCLEOD LAUREN PRINCE CHRIS RAISKUP JODY RICE DAVID SAMIJA BRYAN SEARING SEAN STORTROEN JASON STRAHS LAURA ZENTIL CELINE CHEW ROCHANA JALAN VFX Production Assistant . . . . . . . . . . DAVID GOEPPNER Additional VFX Producer . . . . . . . . . . . . . . DAN FOSTER Additional VFX Supervisor . . . . . . . . . . . . . DAVID LAUER Additional Animation Supervisor . . . . . . . KRISTIN SOLID Additional Sequence Supervisor . . . . . . . . JULIE STARK Additional Tech Animation Supervisor . . . MATT BROWN Additional Digital Coordinators . . . . . . . . CARYN JACOB LISA KLEIN On-Set Plate Producer . . . . . . . . . . . . . . . DAVID JAMES On-Set Data Technician . . . . . . . . . . . . SAMUEL NUNEZ Modelers . . . . . . . . . . . . . . . . . . . . . MOHAMMED ANUZ YEEN-SHI CHEN SANDESH CHONKAR ANASTASIOS GIONIS JASON HUANG MABEL JOHN PAUL MARTINEZ SUJESH NAIR RISHIKESH NANDLASKAR MAYURESH SALUNKHE Animation & VFX Prod. Consultant . . . BROOKE BRETON Blocking Editor . . . . . . . . . . . . . . . . . RALPH A. EUSEBIO Visual Effects Coordinator . . . . . . . . . . . . . . BETH HOWE Animation Production Supervisor . . . . . DREW TOLMAN VFX Assistant Coordinator . . FRANCIS MEADE WARNER VFX Production Assistant . . . . . . . . . SEAN KACZMAREK Animation Production Assistant . . . . . . . . . . . . . . . . . . . . ANTHONY D. MATTHEWS Previsualization & Layout Supervisor . . . PEPE VALENCIA Additional Previsualization Supervisor . . . LUBO HRISTOV Visual Effects and Animation by . . . . . . . . . . . . . . . . . . . . RHYTHM & HUES STUDIOS Visual Effects Supervisor . . . . . . . . . . . RAYMOND CHEN Visual Effects Producer . . . . . . . . . . . . WALTER GARCIA Co-Visual Effects Supervisor . . . . . . . . . MARK RODAHL Sr. Animation Supervisor . . . . . . . . . . ANDREW ARNETT Digital Effects Producer . . . . . . . . . . . . . . MARK SIMONE Art Director . . . . . . . . . . . . . . . CHRISTOPHER CONSANI Digital Effects Supervisor . . . . . . . . . MICHAEL CONELLY Animation Supervisors . . . . . . . . . . . . RYAN DONOGHUE KEVIN E. JACKSON REBECCA RUETHER CHAD SHATTUCK ADAM YANIV MATTHEW SHUMWAY Sequence Supervisors . . . . . . . . . HARRY BRUTSCHE IV WALT JONES PERRY KASS YOGESH LAKHANI JOSH SAETA JEFF WELLS Look Development Supervisor . . . . . . . . . . JAMES HUEY Environment Look Dev Supervisor . . . . . . . . . . . . . . . . . . FRANCISCO RODRIGUEZ Lighting Supervisor . . . . . . . . . CHRISTOPHER ROGERS Environment Lighting Supervisor . . . . . JASON IVERSEN Effects Supervisor . . . . . . . . . . . . . . . . . . ERIC HORTON Crowd Supervisor . . . . . . . . . . . . . . . JASON QUINTANA Animation Layout Supervisor . . . . COLBERT FENNELLY Environment Layout Supervisor . . . . . . BRETT RUTLAND Technical Animation Supervisors . . RANDALL BAHNSEN JIMMY GORDON AARON GREY DANIEL KOLE Match Move Supervisor . . . . . . . . . . . . . . . . WILMER LIN Modeling Supervisors . . . . . . . . . . . . . . JEREMY CHINN NIC SIEVERS Texture Supervisor . . . . . . . . . . . . . . JUNG YOON CHOI Rigging Supervisors . . . . . . . . . . . . . . . . BRAD HIEBERT GAVIN MCMILLAN –6– ONESIMUS NUERNBERGER MAYUMI SHIMOKAWA Sr. Camera Layout Artists . . . . . . . . . . MARK VULCANO JAMES KINNINGS Camera Layout Lead . . . . . . . . . . . . . . . COLIN ELLIOTT MEG MORRIS Camera Layout Artists . . . . . . . . . . MATTHEW DERKSEN NEIL KREPELA DANI MORROW BILLY TAI ANTHONY TSO RICHARD TURNER MICHAEL WALSH Environment Layout Artists . . . . . . . . . . JESSICA DIXON BENJAMIN SAKAI YUKI SUGIMOTO LEVY Animation Layout Artists . . . . BENJAMIN CUNNINGHAM DAVID JOSEPH DOMINIC DAVID LAMPS JAMES MARCUS CHRISTOPHER MILLS KENNETH MOHAMED MUSTAFA JAHEED K. JOONKI PARK DEAN RASMUSSEN Animation Leads . . . . . . . . . . . . . . . . . AMANDA DAGUE DEMERI FLOWERS SAGAR FUNDE JOSEPH HOBACK MACK KABLAN SEAN MCCOMBER PRAJAKTA NANDLASKAR JASON PETROCELLI DEREK TANNEHILL Animators . . . . . . . . . . . . . . . . . . . . ABRAHAM AGUILAR TANSEER AHMED LISA ALLEN BALAJI ANBALAGAN BENJAMIN ANDERSON JASON BEHR JOHN BERRY DEBAPRASAD BHOWMIK EMIL BIDIUC IAN BLUM CHRISTIAN BRIERLEY JESSICA CHAN SCOTT CLAUS JOCELYN COFER ANDREW CONROY RIANNON DELANOY AMI DELULLO ARATI ULLAL MANOJ VANGALA SAGAR ZADE Rigging Artists . . . . . . . . . . . . . . . . . . . . . . . JEN BAHAN RYAN ENGLISH JELENA ERCEG DANIEL LINDSEY RYAN ROGERS Character Texture Painters . . . . . . . MICHELLE DENIAUD RADHA DESAI STEPHEN HAMMOND CHERI FOJTIK G.L. KUMAR ALEX HSU GUNJAN KATHALE ROHIT LAD DIGANT SUTAR Character Look Dev Artists . . . . . . . . . BHAVIKA BAJPAI LISA CLARITY JOSE L. DE JUAN JENNY DIAS ANTHONY ETIENNE JACK FULMER ARAVIND JAYARAMAN DILESH LAMSAL MARY LYNN MACHADO GAELLE MORAND ADAM MOURA VISHAL PARIKH SOURABH UPPAL Environment Look Dev Lead . . . . . . . . . . . . ROBERT AU Environment Texture Painters . . . . . . NICHOLAS COSMI SARAH COSMI JENNIFER STRATTON Environment Look Dev Artists . . . . . THOMAS BRADLEY JESSI CHANG DANIEL LAZAROW BOB POWELL RYAN SMITH Environment Art Lead . . . . . . . . . . . . . RICHARD MAHON Matte Paint Lead . . . . . . . . . . . . . . . . . NICOLAS DONEL Concept Artists . . . . . . . . . . . . . . . . . MARCUS COLLINS BARRY JACKSON HE JUNG PARK GARY GLOVER JOSH KAO ROGER KUPELIAN HAO WU ALISON YERXA Matte Painters . . . . . . . . . . . . . . . . . . . . STANLEY CHAN VANESSA CHEUNG –7– Technical Animation Leads . . . . . . . . . . PHILIP DUNCAN VARUN KRISHNAN YOUNG LEE KENNETH PARIS MAYUR SAMANT MICHAEL WOODSIDE Technical Animators . . . . . ANAND BALASUBRAMANIAM SACHIN BANGERA SATHISH KUMAR BODICHERLA SWAPNIL BORAWAKE HITESH CHIKATE MAN-LOUK CHIN JOSHUA COGSWELL DOMINIC DEL CASTILLO PSY DELACY VINCENT DELAY ASHUTOSH DESHMUKH ADAM DORNER CHRISTOPHER EVART TYLER FOX DENIL GEORGE DANIEL HAFFNER PASCAL HANG STEVEN HUBBARD GERRY HSU JORDAN HUECKSTAEDT ANDREW JENNINGS MARK MANCEWICZ DARSHANA MANE CHIRAG MISTRY NAVEEN NATARAJAN TYLER OPATRNY TUSHAR PRAKASHAN SUNIL RAWAT YURY SAKOVICH CHRIS SILVA DINESH SONI ANGELO STANCO SHREYA UCHIL NEHA WICKRAMASEKARAN KURT WILLIAMS Lighting Leads . . . . . . . . . . . . . . . . . . . . . . . BRIAN BELL PAUL BUSH GORDON CHAPMAN LOGAN GLOOR CASEY GORTON VINITA IYER VS KIRAN DANIEL WAI LEUNG MARK OSBORNE JASON SCOTT ROBERT DIAZ JOEL FOSTER ROBIN GEORGE LEON GITTENS VANI GOEL JOHN GOODMAN TIMOTHY GRANBERG GAEL HARLOW NICOLE HERR WILLIAM HOAG MICHAEL HOLLANDER SCOTT HOLMES SHAWN JANIK JR. ALEX JANSEN STEVEN JEROME MARTIN JIMENEZ YOGESH KAUSHAL JASON KEANE DEREK KENT WILLIAM KISTLER SHELAGH KITNEY DANIEL KLUG KEVIN KOCH SRAVAN KUMAR NUNNA JYOTI KUMAR PARASRAMPURIA KEVIN LAN DANIEL LANE RICHARD LIAO CHRISTOPHER LINDSAY MICHAEL LOECK TERESA NORD DIXIE PIZANI RYAN RASMUSSEN JOHN-PAUL RHINEMILLER VALERIE SCHEIBER KEVIN SCOTT BEAU SHERMAN SHRIJITH SHRIDHARAN SHUCHI SINGHAL SCOTT SLATER JOSHUA SLICE RYAN SLUMAN ANAND SOMASUNDARAN LUIS URIBE SENTHIL VELAN AMANDA WAGNER BRADEN WALKER LESLIE WATTERS DAN WAWRZASZEK LAUREN WELLS RICHARD WIGHT –8– HUAN TRAN TEJAS TRIVEDI DOMINIKA WACLAWIAK JUN WATANABE CRISTINA WHITELEY RUI XU TING-CHUN YANG Lead Compositors . . . . . . . . . . . . . . . ADAM BALENTINE PAYAL DANI MUKESH KUMAR GAURAV MATHUR SEAN WALLITSCH CHRISTIAN WOOD Compositors . . . . . . . . . . . . . . . . . . . . . . . JAKE ALBERS MITHUN ALEX ASHLEIGH ANDERSON ARUN BALUCHAMY BHARGAVA BOINI JOHN BRITTO KUNAL CHINDARKAR SHYAM PRASAD CHOWDHARY SEAN COONCE RAJDEEP DANDEKAR SUTAPA DAS VENUPRASATH DHANAPAL MELANIE DORN MATTHEW DUVALL KAREN FRATKIN ZORAN GLISOVIC JASON GRUNFELD JOHN LAKE HARVEY SHWETA HIRANI NEERAJ INGLE SANDHYA JADHAV ROBYN KRALIK SEAN LEE RAVIKUMAR MENON DOUGLAS MILLER ROHINI MONTENEGRO ELAM PARITHI AMARNATH P.R. RAKESH PUSULURI SIDDHARTHAN RAMAN JOSE ROVIROSA JOSEPH SALAZAR SIDDHARTH SHAH SRIKANTH SHANMUGAM JOSH SHUMAN RICHA SINGH CHRISTOPHER STANCZAK RADHAKRISHNAN SUNDARARAJ ARGHA SEN AMIE SLATE Environment Light Lead . . . . . . . . . . . . . . . ALLEN ROSE Environment Lighting Pipeline Lead . . . . . . . . FRANK DU Environment Lighting Pipeline Support . . . . LORI SMITH Lighting Artists . . . . . . . . . . . . . . . . . . . YOUNIS AHMED MOHAMMAD AKRAM RYAN BOWDEN KELVIN CAI VINNY CHIRAYIL SAMIK ROY CHOUDHURY JOHN COOK KRISHNENDU DAS SOUMAVA DAS JOHN DECKER STEPHEN EISENMANN MIKE FISCHER ADITYA GANEDIWAL ANDY GAUVREAU THOMAS GEORGE PAUL GIMM J. KATIE GREEN JOHN PATRICK HART KORRE HEGGEM CHIKAKO HOFFMAN VIRENDRA JADHAV ALLA KALACHNIKOVA SCOTT KILBURN KENNETH KURRAS TU LE SUDIP MALLICK BRANDON MARTIN SHAKIL NADKARNI CARINA OLUND KAUSHIK PAL KAUSTUBH PATIL KIEL PEASE SHEETAL PETKAR POONAM MARIA PREM KATIE REIHMAN NIKHIL SAHANE ERIKA SALATIELLO VISHAL SANGHANI DANIEL SANTONI YOGESH SAWANT RICHARD SHALLCROSS HEE KYUNG SHIN NICHOLAS SPIER MAHMOOD TARIQ KIRTISH THARTHARE B. ALLAN TOELLNER –9– RICHARD TEPAVCHEVICH DEVIN UZAN KAMALAKKANNAN VAIRAKKANNU SHAJI VELAPPAN ANIL VERMA STEPHANIE WOO SHEILA WOODFORD ROBERT YOUNG BRANDY ZUMKLEY FX Leads . . . . . . . . . . . . . . . . . . . . . . . . . MARC BRYANT SCOTT TOWNSEND FX Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIR ALI PAUL CARMAN TAKASHI KUBOTA ANDREW PAULES NATHANIEL SIMS CHRISTOPHER WACHTER Crowd Lead . . . . . . . . . . . . . . . . . . . . . . MARK WELSER Crowd Animation Lead . . . . . . . . . . . . C.J. SARACHENE Crowd Animators . . . . . . . . . . . . . . . . . . . . NIKHIL ATTRI SAMIDHA NAGWEKAR SHASHANK RAI DIVYESH SHAH Crowd TDs . . . . . . . . . . . . . . . . . . . . . . . . TYLER CAYCE KENT CHAN JOHN DOWELL ANDERS ERICSON CHAD FINNERTY JOSE LOPEZ BG Prep Leads . . . . . . . . . . . . . . . . . . . SIJU MURUGAN RAKESH VENUGOPALAN BG Prep/Rotoscopers . . . . . . . . . . . . . . . VENKATA ALLU SAURABH ARORA CHARLES ARUL RAJ ANURAG BARTARE MANUJ BASNOTRA VISHAL BHARDWAJ SIBI CHAKRAVARTHI THEJU CHANDRAN CATHERINE DINGMAN ALEX GOMEZ KHAIRUL HADI MARK HOPPER RAJEEV JEGANATHAN SIMRAT KAUR ADITYA KOLLI SIVA KUMAR VINOTH KUMAR SHERWYN LAWARENCE NICOLAS LIM KARTHICK MUTHUKUMAR ELOI NISCHITH RAJ RAWAT RIDHWAN RAZAK BHARATH REDDY SHAE LYN SEE VISHWANATH SHIRODKAR YEE JENN TAN RAYMOND THIAN GIANNE YAP Match Move Leads . . . . . . . . . . . . . . . . . . ADAM BLANK SEAN FERNANDES MATT LA BROOY Match Movers . . . . . . . . . . . . . . . . . . . RESHAM AARON WAN MUHD AFIF WOON BING CHANG ASHLEY CHAW SILSUNNY D’SOUZA JULIAN GREGORY HAMIZI HARON BABUL JAIN ANIS KARPAYAH JAYRAJ KHARVADI VIKAS KURUP YON HUI LEE NORMAN LOW MICHELLE ONG NELATON ONG NAZRI ABDUL RAHIM ELAINE TEO GEETA THAPAR MIMI THIAN VINCENT TJANDRA ESTHER YAP Pipeline Crowd Lead . . . . . . . . . . . . . . KEVIN B. OLSON Pipeline TDs . . . . . . . . . . . . . . . . . . . . . . . . DANE BETTIS ERIC BONILLA SURENDRAN CHINNAKONDA JEYARAMAN JOSEPH LOHMAR ABHAY SAGAR ALEXANDRA WEBER Render I/O . . . . . . . . . . . . . . . . . . . . . . . . NICOLE GALAZ Software Development . . . . . . . . . . . . . . KEVIN BEASON BRADLEY SMITH Production and Technical Support . . . . . . CHRIS BANAL ANJELICA CASILLAS PRAVEEN KILARU FRANK MURILLO RYAN POLLREISZ RAJESH SHETTY GENE TURNBOW Senior Staff . . . . . . . . . . . . . . . . . . . . . . . . . LEE BERGER – 10 – ERIKA WANGBERG BURTON SUE BRUNELL-EDWARDS MARKUS KURTZ “THEM GIRLZ” Written by Ali Theodore, Julian Michael Davis Performed by Cee Money & Dee Fresh Courtesy of DeeTown Entertainment SCORE SOUNDTRACK ON BACK LOT MUSIC “PEG O’ MY HEART” Written by Alfred Bryan and Fred Fisher AND VARÈSE SARABANDE “BOOGIE SHOES” Written by Harry Wayne Casey, Richard Raymond Finch “DYNAMITE” Written by Taio Cruz, Max Martin Sandberg, Lukasz Gottwald, Bonnie McKee, Benjamin Levin Performed by Taio Cruz Courtesy of Universal-Island Records Ltd. Under license from Universal Music Enterprises “THE ANTHEM” Written by Joel Madden, John Feldmann, Benji Madden Performed by Good Charlotte Courtesy of Epic Records By arrangement with Sony Music Licensing “PETER COTTONTAIL” Written by Steve Nelson, Jack Rollins “EVERY ROSE HAS ITS THORN” Written by Bobby Dall, C.C. DeVille, Bret Michaels, Rikki Rockett Performed by Poison Courtesy of Capitol Records Under license from EMI Film & Television Music “WE NO SPEAK AMERICANO” Written by Nicola Salerno, Renato Carosone Performed by Yolanda Be Cool & DCup Courtesy of Ultra Records “DISCO INFERNO” Written by Tyrone “Have Mercy” Kersey, Leroy Green “305” Written by Ali Theodore, Jordan Yaeger, Alana Da Fonseca, Rachel Rickert, Sarai Howard Performed by RAE Courtesy of DeeTown Entertainment “MR. BIG STUFF” Written by Joseph Broussard, Carrol Washington, Ralph Williams Performed by Nikki and Rich “I WANT CANDY” Written by Bob Feldman, Jerry Goldstein, Richard Gottehrer, Bert Berns Performed by Cody Simpson Courtesy of Atlantic Records “CELEBRITY SKIN” Written by Courtney Love, Eric Erlandson, Billy Corgan Performed by Hole Courtesy of Geffen Records Under license from Universal Music Enterprises Rock Band logo and game used with permission by Harmonix Music Systems, Inc. “HIGHER GROUND” Written by Stevie Wonder Performed by Blind Boys of Alabama Courtesy of Real World Records Rabbit Head Design is a trademark of Playboy and used with permission. Stock photography and footage courtesy of Getty Images. “HONGRY” Written by Jerry Leiber, Mike Stoller Performed by The Coasters Courtesy of Atco Records By arrangement with Warner Music Group Film & TV Licensing Stock photography courtesy of Corbis. Stock photography courtesy of Shutterstock. IN ASSOCIATION WITH DENTSU INC. – 11 – Special Thanks to: COPYRIGHT © 2011 UNIVERSAL STUDIOS All Rights Reserved. The State of California ANIMATED UNIVERSAL STUDIOS LOGO © 1997 UNIVERSAL STUDIOS California Film Commission City of Thousand Oaks, California Universal Studios is the author of this motion picture for purposes of the Berne Convention and all national laws giving effect thereto. The Hershey Company AMERICAN HUMANE ASSOCIATION MONITORED THE ANIMAL ACTION. NO ANIMALS WERE HARMED. (AHAD 02309) THE CHARACTERS AND EVENTS DEPICTED IN THIS PHOTOPLAY ARE FICTITIOUS. ANY SIMILARITY TO ACTUAL PERSONS, LIVING OR DEAD, IS PURELY COINCIDENTAL. THIS MOTION PICTURE IS PROTECTED UNDER THE LAWS OF THE UNITED STATES AND OTHER COUNTRIES. UNAUTHORIZED DUPLICATION, DISTRIBUTION OR EXHIBITION MAY RESULT IN CIVIL LIABILITY AND CRIMINAL PROSECUTION. THIS MOTION PICTURE USED SUSTAINABILITY STRATEGIES TO REDUCE ITS CARBON EMISSIONS AND ENVIRONMENTAL IMPACT. FILMED WITH PANAVISION CAMERAS AND LENSES NO. 46698 Credits as of March 8, 2011. MOTION PICTURE ASSOCIATION OF AMERICA – 12 – In Hop, E.B. (voiced by RUSSELL BRAND) and Fred O’Hare (JAMES MARSDEN) are our only hope to save Easter. F rom the makers of the blockbuster Despicable Me comes a new comedy that blends state-of-the-art CG animation with live action: Hop. The follow up to Universal Pictures and Illumination Entertainment’s worldwide hit tells the story of E.B. (voiced by RUSSELL BRAND of Despicable Me and Get Him to the Greek), the teenage son of the Easter Bunny. Off the coast of South America, on the island of Rapa Nui fondly known as Easter Island, under the giant stone heads resides the most magnificent candy factory. Three hundred and sixty five days a year, the Easter Bunny reigns over a team of bunnies and chicks who prepare the candy-filled baskets that are delivered to children around the world on Easter morning. On the eve of being ordained as his father’s successor, E.B. takes off for Hollywood in pursuit of his dream of becoming a drummer. Once there, he encounters Fred (JAMES MARSDEN of X-Men, Enchanted), – 13 – Hears a Who!) and a screenplay by Cinco Paul & Ken Daurio and BRIAN LYNCH (upcoming Puss in Boots). ABOUT THE PRODUCTION Hopping Into Action: Production Begins E.B. dreams of becoming a world famous drummer. recently fired and determined to pull his life together. After being lovingly kicked out of his parents’ home, he accidentally runs into E.B. Feigning injury and shocking Fred with his ability to talk, E.B. manipulates Fred into providing him shelter. Back on Easter Island, the Easter Bunny’s second in command, an oversized chick named Carlos, seizes upon E.B.’s disappearance as an opportunity to plot a coup. Ultimately, Fred and E.B. are Easter’s only hope and they find themselves returning to Easter Island, locked in an epic battle to save the beloved holiday. Marsden and Brand are joined by an all-star comedic cast that includes KALEY CUOCO (The Big Bang Theory), HUGH LAURIE (House, M.D.), HANK AZARIA (The Simpsons), GARY COLE (Talladega Nights), ELIZABETH PERKINS (Weeds) and CHELSEA HANDLER (Chelsea Lately). The film is helmed by TIM HILL, director of the blockbuster Alvin and the Chipmunks, and produced by CHRIS MELEDANDRI (Despicable Me, Ice Age, Robots, Ice Age: The Meltdown, Dr. Seuss’ Horton Hears a Who!), founder of Illumination Entertainment, and MICHELE IMPERATO STABILE (Alvin and the Chipmunks). Hop is from a story by CINCO PAUL & KEN DAURIO (Despicable Me, Dr. Seuss’ Horton Producer Chris Meledandri began building his family and animation film business, Illumination Entertainment, with Universal Pictures in 2007. At that time, his company was three years away from the stunning results that would come with its inaugural 3D CGI summer 2010 feature, Despicable Me. The animated comedy became an unequivocal, global blockbuster. With a worldwide gross of more than $540 million, Despicable Me grew to become second only to Toy Story 3 in U.S. domestic gross among animated films last year, and it became the sixth most successful film that Universal has ever distributed worldwide. It is now the 10th-biggest animated film in history. Prior to founding Illumination, Meledandri spent 13 years at FOX, where he oversaw the studio’s animation division and the launch of blockbusters such as the Ice Age franchise. “We have this incredible opportunity, whether we’re working exclusively in animation, or we’re combining live action with animation, to write, design and animate rich, endearing and, hopefully, enduring characters,” quotes Meledandri. Meledandri commissioned Cinco Paul and Ken Daurio (with whom he had worked on Dr. Suess’ Horton Hears a Who! and Despicable Me) to develop the idea based on a concept by Illumination executive JOHN COHEN. – 14 – Together with Brian Lynch, Paul and Daurio located on Easter Island. It’s a charming and fantascreated the fantastic story of E.B., the teenage son of tical factory run by bunnies and chicks where candy the Easter Bunny who has no interest in his birthright. is manufactured and put into baskets, around the In the tiny region of Rapa Nui (Easter Island), E.B. clock, in preparation for Easter.” has been raised with the expectation that he would When considering who would helm the follow-up one day inherit his dad’s job. But all he wants to do is project to his company’s first film, Meledandri drum in a band and see the world that exists outside of returned to a director whom he’d met during his time his tiny island. as president of 20th Century Fox Animation, Tim Hill. Halfway across the world, we meet Fred O’Hare, Meledandri liked the fact that Hill would be joining a 30-year-old who, though talented, has bounced from an expanded team whose approach to making livejob to job—unable to find a career that is right for action movies is so influenced by their experience in him. Meeting an unexpected houseguest in E.B. ironanimation. He recounts: “We had a great experience ically proves to be the exact thing he needs to jumpwith Tim, having developed Alvin and the Chipmunks start his life. with him and had been looking for an opportunity to Meledandri walks us through E.B.’s introduction: work together again.” “On the eve of the power of Easter being passed to “Tim showed such amazing abilities as a comedy him by his father, E.B. is about 17 years old…in director on the first Alvin film,” Imperato Stabile human years. He decides that it’s not for him but adds. “He is equally comfortable and skilled at when he tries to tell his dad, his dad won’t listen. E.B. directing human characters as he is at directing decides to split, leaving Easter in the lurch as he goes animal ones. His deep knowledge of the challenges to Los Angeles where he pursues a career as a and nuances—both technically and artistically—of drummer. He ends up becoming the most unruly blending live action with state-of-the-art CG animaroommate of Fred. Ultimately, they’re both characters tion has provided a daily education to those of us who who are struggling with the transition from adoles- are lucky enough to work with him.” cence into adulthood.” To give these characters a rich world in which to play, the writers created an innovative, imaginative back-story for the Easter Bunny and his kind, in which everything we’ve ever assumed about the spring holiday is explained. Notes Cohen: “The world of Easter has never before been brought to life on film. By answering questions like ‘Where is all this candy made, who paints the eggs and how does the Easter Bunny travel from town to town?’ our writers and design team created Fred is told by younger sister Sam (KALEY CUOCO) that he needs to get his life together. an entire world and new mythology – 15 – Down the Rabbit Hole: The Look of Easter World Hop takes place in two very different locations: Los Angeles, where Fred spends his time daydreaming, and the fantastical world of the Easter Island candy factory. To imagine Easter World, the E.B. and his dad, the Easter Bunny (voiced by HUGH LAURIE), check out their candy factory. filmmakers recruited a team that was supervised by production designer Hill agreed to come onboard, primarily because RICHARD HOLLAND, with whom Hill had worked Illumination shared his vision of not “simply making a kids’ movie.” He provides: “I never make movies for closely on Alvin and the Chipmunks. This candy factory run by the Easter Bunny is a kids. I make them for me. To work, the sensibility and world unlike anything ever imagined. An enormous the tone have to be that of a comedy for any audience. factory that cranks out gumballs of every color and On a comic level, the humor has to be more sophistiwhere colorful cascades of jelly beans crash as watercated than in most kid movies.” falls, the Easter Bunny’s warehouse creates treats for In addition to the humor he found in Paul, Daurio and Lynch’s screenplay, Hill believed that audiences every person’s palette. You’ll find chicks and bunnies would appreciate that for the first time, filmmakers working together to monitor the production of marshwere creating a cinematic treatment of a huge holiday. mallow candies and conducting quality control on the vats of glistening milk chocolate in this wonder world He notes: “No one’s really done a big film about the of Easter. Easter Bunny. I think that audiences will respond to On the night before Easter, the Easter Bunny this character who is so beautifully animated. He’s loads these decadent treats into a large egg-shaped cute, and he’s got a lot of character. “I believe Hop will play any time of the year and sleigh that’s drawn by a team of flying chicks. Santa’s more widely known reindeer-led sleigh was for any audience,” Hill continues. “We’ve created a piece of entertainment that’s based around that time actually inspired by the Easter chicks. Only the one anointed Easter Bunny can navigate the dark, of year, and around a character that’s associated with a myth…but it does play for all seasons. Hop is swirling vortex of rabbit holes to travel across the world in 24 hours. universal, because the story’s universal.” Meledandri explains the look of Easter World: “When you approach one of the monolithic Easter Island heads, the mouth opens and an elevator appears. It transports you underground to our – 16 – magnificent candy factory. Our team has designed an imaginative environment that will delight audiences of all ages: a production facility filled with chocolate, bunny mold-making machines and lots of Easter baskets being filled. You’ll find candyfunneling machines, candy chutes and rabbitshaped ‘oil’ rigs that pump chocolate. It’s all being done by these hilarious little yellow chicks and adorable bunnies.” Imperato Stabile shares how it’s possible for this team to make this world look so incredibly detailed. “Tim and the animators have systematically and carefully created all the characters that live and work in this space…all digitally,” she relays. “They’ve painstakingly ensured that the clothing and the fur look real…but they’re a bit exaggerated. They made them just a little bit bigger than normalsized rabbits and chicks so it’s easier to see their expressions as they play off one another.” The Players of Hop This handy guide will illuminate the rabbit, chick and human players who populate the Hop universe. Fred (James Marsden) is a 30-year-old trying to pull his life together. When he was a little boy, he woke up early on Easter morning, looked out his window and witnessed E.B.’s dad delivering his basket. When Fred told his family and friends of his discovery, they said he was dreaming, even crazy. Flash forward to present day… and we meet a directionless guy who knows he’s destined for something. Once he meets E.B., Fred doesn’t care if he’s a talking rabbit who poops jelly beans, he knows he can take the job his friend has eschewed. If E.B. can be a drummer, why can’t Fred be the Easter Bunny? With a little training he’ll be ready to pick up the Egg of Destiny—a golden scepter adorned with a golden egg that will give Fred the powers of the Easter Bunny. A look at the Easter Bunny’s famous factory on Easter Island. – 17 – E.B. charms his way into Fred’s life. The Easter Bunny’s son, E.B. (Russell Brand) has been groomed since birth to take over the family business. Years of sitting through egg-painting classes and candy-production tutorials, as well as honing his lightning-fast reflexes have all led up to the day he is supposed to claim his birthright. But since he was a baby bunny thumping on his bongos, all E.B. has ever wanted was to become a drummer. Hours before his coronation (when he’s to inherit the mantle of the Easter Bunny) he flees Easter Island for L.A. to pursue his dreams. Sam O’Hare (Kaley Cuoco) is Fred’s younger sister. Though only in her midtwenties, Sam is a driven professional who desperately wants Fred to get his act together. Probably against her better judgment, she sets him up on a job interview with a video-game company…as well as at a housesitting gig at her boss’ mansion. Sam is optimistic about her big brother and knows he is on the cusp of rebooting his life. Every year, on one magical night in spring, one fabled rabbit is responsible for the delivery of glorious eggs and delicious candy to the children of the world. E.B.’s dad, the Easter Bunny (Hugh Laurie), is that legendary hare. The rest of the year he oversees candy production, egg dyeing and the legions of chick and bunny workers. On the eve of his retirement, he’s ready to pass the mantle to his son, E.B. There’s only one hitch: E.B. doesn’t want the job. When he realizes his son has run away, his fatherly instincts prevail and he sends his royal guard to rescue his only son. Carlos (Hank Azaria), the Easter Bunny’s right-hand chick, often accompanies the Easter Bunny on tours of the candy factory. Firm, tough, and far too large to be a chick, Carlos is all business. Frustrated by the sovereignty of the Easter Bunny and his team of rabbits, Carlos has been serving as No. 2 for years. But Carlos is sick of playing second fiddle. After all, Easter is all about eggs, so why shouldn’t chickens be in charge? He has been plotting a coup d’état and wants to replace candy with the more fowl-acceptable birdseed, worms and lettuce cups. This year, with the disappearance of E.B., Carlos has his chance…and a sneaky plan up his wing. Just as every general requires disciplined soldiers, the Easter Bunny needs unflappably loyal chicks to make Easter happen. They have to be hardworking, they need to be committed and they need to be the best. Phil (Hank Azaria) isn’t any of those, but somehow he got the job anyway. Phil couldn’t be happier. He gets to make candy, hang out with a thousand chicks, take naps when no one is looking and loves to dance—life is pretty awesome. Though an extremely enthusiastic worker chick, Phil isn’t the brightest crayon in the box. – 18 – Don’t be fooled by their adorable name. The Easter Bunny’s royal guard, The Pink Berets, are trained professionals. They have the training, they have the tools, they also have the adorable pink hats. These silent bunnies mean business, but they are only to be used in cases of extreme emergency. When E.B. goes missing, this SWAT team is sent to bring him back. They’ll get their man, and nothing will stand in their way. Fluffy is the leader and the most skilled huntress who carries her tracking device. Patch is the weapons expert who has a furry patch over her left eye and always has blow darts handy. Bit is the baby sister who tries her hardest to keep up but often messes up missions for the trio. You’ll never find her without an inhaler to help with her asthma. The Pink Berets relentlessly pursue E.B. through Hollywood trying to bring him back to Easter Island. Fred’s father, Henry O’Hare (Gary Cole), is a family man who is extremely proud of two of his three children—the other one needs a big, hard shove out of the nest. Mr. O’Hare just wants to see his son stand up on his own two feet and settle for a boring job that will pay the bills. Fred’s mother, Bonnie O’Hare (Elizabeth Perkins), is a classic maternal figure and the peacemaker in the family. She doesn’t quite understand her son, but she still wants the best for him. Always supportive of her kids, she tries to put a positive spin on any situation. Alex (TIFFANY ESPENSEN) is Fred’s 10-year-old adopted little sister. Just like Sam, Alex is an overachiever who can beat Fred at anything. Alex playfully tells her older brother that she thinks their family adopted her because Fred is such a disappointment. She is so talented that she has been cast as Peter Cottontail, the lead role in her school’s Easter play. Just keep your ears alert for an unexpected version of “I Want Candy” at Alex’s play. Angelenos and Easter Islanders: Casting the Comedy When casting the talent for Hop, the production team knew it needed to bring characters to life that had rich comedic personalities—whether they be animated or live-action ones. In the buddy comedy, the two pals happen to be a rabbit and a human being whose lives intersect at a moment when both are experiencing big changes. The entertainment of this film centers on the comedic interaction of these newfound friends. Cast as Fred O’Hare, a 30-year-old slacker who still lives at home, was actor James Marsden. Not only has the performer been a staple of the X-Men series in the past decade, his standout turns in Enchanted and Hairspray have familiarized audiences with his sharp comedic timing. Says director Hill: “I was excited about casting James because he’s not only funny but he’s a grounded actor. He always Easter Island’s head chick, Carlos (voiced by HANK AZARIA), and the Easter Bunny rally the troops. – 19 – Carlos is convinced he’d make a better Easter Bunny. wants to know where the truth is in the character and where it’s coming from. We talked about the bunny as being super real so that James’ performance could be modulated to match that, and he could still react to E.B. in a very comic way.” Meledandri was impressed with Marsden’s work opposite a co-star who had to be animated in postproduction. “James is a wonderful actor. He has an incredibly expressive face, and it’s a perfect complement to an animated character. You saw it in Enchanted, where he played someone who actually was the embodiment of an animated character coming to life. He is a great actor to partner with.” Both the cast participating in Hop and the chance to work with Illumination were selling points for Marsden. “I knew that Russell was onboard,” says the actor. “He’s very smart and he lends a specific sharp, comic edge to the movie. I wanted to be included in that company. I also think the guys at Illumination are tremendously talented. I have two children who would love to see this movie, so I’d be lying if I said that wasn’t a reason why I wanted to do this. Plus, Tim’s a terrific director who is definitely in his wheelhouse and excited about doing something special. He’s incredibly inventive and great with the actors.” Just as E.B. believes Fred gives off an aura of untapped potential, Marsden found a number of redeeming qualities to Fred. He states: “I admire Fred because he’s not backing down from his dream, whatever that dream is. I don’t know that he’s able to define it at first, but he knows what it’s not. He’s also kept a pretty good sense of humor about it. He’s not, by any means, a loser. He feels that there’s something more special for him out there that he has to go and look for.” Paired opposite James Marsden is British comic actor Russell Brand, who voices E.B. Explains producer Meledandri: “This is our second time working with Russell Brand. He did a wonderful supporting voice in Despicable Me as Dr. Nefario. In Hop, he is front and center. The minute that Russell starts performing, he imbues the character with a rich, comedic personality that gives the animators so much to work with. He has a level of energy that almost cannot be contained. It is explosive and comedic, but perhaps most importantly for this film is that his voice embodies sweetness.” Both E.B. and Fred have severely disappointed their dads, and both just want them to be proud. Director Hill discusses how Brand was able to walk the line of humor and drama. “Russell brings a lot of edge to the character, but he’s also very empathetic,” commends Hill. “He has a great range and can play the impish part of E.B., which is the part that gets to Fred. E.B. is also a rock ’n’ roll kid, and Russell can play it that way, which is a great advantage for us. He’s dry and funny and a little crazy, and that’s how I think a lot of teenagers can be.” – 20 – For his part, Brand looked forward to reuniting with the filmmakers at Illumination. He says: “I was in Despicable Me, in which I played the voice of an old person. When Dr. Nefario said something, I’d step in and do it. I thought the film was really funny and loved Steve Carell in it. The filmmakers asked me if I wanted to be in another film in which I was the Easter Rabbit. I thought that would be brilliant fun, and it’s been a thrilling experience.” Providing the vocals for a character with big dreams also appealed to the kid within the performer. “I was attracted to the role of E.B. because I thought I would get to be a mischievous rabbit without having to move around,” laughs Brand. “Turns out it was very difficult to provide the voice of an animated character; it takes ages.” Two weeks prior to the start of the live-action shoot, Marsden sat in on Brand’s recording sessions and read opposite him. “I found that extremely helpful,” Marsden explains of working with the voice that would end up in his backpack. “I requested to sit in on some of Russell’s dialogue sessions so that he and I could feel what our dynamic was. I wanted to hear him saying the lines so that it would inform me of how to respond. I read opposite him just to feel what it would feel like when the movie was done.” During the recording sessions in which Marsden wasn’t in the room with him, Brand didn’t worry about not having a fellow performer with whom to interact as “acting is all about make believe anyway,” he says. “Sometimes, I imagined I was doing the whole scene in a racecar, just to add an element of thrill to keep it even more exciting.” In the role of Fred’s much more successful younger sibling, Sam, is Kaley Cuoco of CBS’ hit comedy The Big Bang Theory. “Kaley is amazing because she’s very real,” says Hill. “She’s naturally very funny so there’s not a lot you have to do with her; she just gets it very quickly. Sam mothers Fred a little bit, but he needs it and she’s been fantastic as the character.” “She’s actually Fred’s buddy; she just wants to help,” reflects the actress. “She’s trying to help him get a job, and she tries to support all these wacky things he does because she’s successful on her own. She’s got her life much more situated than Fred.” Discussing her rationale for joining the project, Cuoco adds: “I’ve been doing television for so long, and I thought film would be a fun change. I also love that there is an animated component to Hop.” The filmmakers cast The Simpsons’ Hank Azaria, who has voiced animated characters for more than two decades, as Hop’s principal chicks: the duplicitous, oversized Carlos and the easygoing, somewhat simple Phil. The performer’s working relationship with Meledandri extends back to 1997, when Azaria voiced the part of the bat Bartok in the animated film Anastasia. Meledandri discusses the team’s choice to provide vocals for Carlos and Phil: – 21 – E.B. is not impressed with his new living quarters. Fred demonstrates his newly acquired ability. “Hank has an unparalleled ability to provide signature voices to his characters that are simultaneously distinct and express a unique comedic personality. The minute we heard Hank’s vocals for these two chicks, we were charmed.” Azaria laughs: “I was drawn to Carlos and Phil because it’s not every day you get to play a chick, especially a dominating, angry one like Carlos. He’s a funny little villain.” Discussing his process, the performer compares voice work to acting in front of a camera: “Though there’s no body language in voicing animation, ironically, in order to do the voices properly, you need to physically act them out. In a sense, there isn’t a huge difference between the two. You need to commit as fully to the performance as if you were on camera. But you can’t only act from your voice; you have to do the whole thing. You almost overdo it so that it’s sold in your vocal inflection.” To get into Phil mode, Azaria recalls that he made his voice go as cute and high as it could. He appreciated that director Hill “encouraged a lot of the weirdness.” States the actor: “Phil is just a happy guy. He’s very mellow, insightful, does his job and enjoys it. He also really loves to dance. But I think Phil knows more than he says. He may even be playing dumb a little bit…” Cast as Fred’s parents, Henry and Bonnie O’Hare, were comedic actor Gary Cole, well known for his hilarious portrayal of patriarch Mike Brady in The Brady Bunch f ilms and his classic work on Office Space, and actress Elizabeth Perkins, a longtime favorite on Showtime’s hit series Weeds. Shares Meledandri of the O’Hares: “Fred’s mother is the peacemaker in the family. She doesn’t quite understand her son but she’s trying to be the balance to Fred’s harddriving dad—whose confusion about why his son hasn’t already demonstrated professional success comes across as being a bit tough. Mrs. O’Hare tries to balance that and make sure that the family dynamics don’t implode.” Says Perkins, who has known and worked with her on-screen husband since she was a teenager: “My character is the eternal optimist. Somewhere inside, she still believes in fairy godmothers, Santa Claus and the Easter Bunny. So she’s always very supportive of whatever is going on in her son’s life, even if he’s still living at home. What I loved about this script is that it is hopeful, and it has positive messages. It’s about having faith in things that you don’t see or hear or can’t prove exist.” Playing the heavy in the O’Hare family was an enjoyable experience for Cole. Of his role as Henry O’Hare, he explains: “As the movie opens, my character is not very thrilled with Fred’s career choice, or anything about him actually. He’s trying to be tolerant, but he isn’t. Even when Fred arrives at a new job with some enthusiasm, my character is a little skeptical…to say the least.” – 22 – Mr. O’Hare isn’t the only disappointed patriarch in the comedy. Explains Meledandri of E.B.’s father’s back-story: “The Easter Bunny is in many respects a true traditionalist. He comes from a long line of Easter Bunnies stretching back thousands of years. He loves his son very much and has high expectations for him.” For the role of the Easter Bunny, Hill and the producers selected award-winning actor Hugh Laurie. Laurie appreciated the theme of the film and was keen to provide voice work. Though he plays an eccentric character on FOX’s drama House M.D., Laurie actually has a comedic background. Says the actor: “I thought it was a charming tale of a young man deciding what he wants to do with his life and what’s important in the world. What people can do with rhythm and with the expressiveness of their voices are things that I’ve always found absolutely fascinating. I loved the challenge of it.” When it came to his recording sessions, Laurie was game occasionally to ad lib takes for Hill. “I usually wouldn’t substitute for something that’s there, but I like to try and add because the audience is very quick to detect the life and spontaneity in something that happens by accident,” he states. “There are certain moments that are difficult to render on a page, and so the writers tend not to write them. It’s important to keep alive the spontaneity of things.” Making cameo appearances in Hop are several unexpected guests, including comedian, talk-show host and author Chelsea Handler. As Mrs. Beck, Handler interviews Fred for a potential job at a video-game company. Unfortunately for Fred, E.B. sneaks into the job interview and causes mischief around the office…making it tough for Fred to make a good impression on Mrs. Beck. Known for her dry sense of humor, Handler describes her character as “very similar to me, except she wears a suit and I don’t; it’s a bit of a variation from what I’m normally associated with.” Says Marsden about working with Handler: “It was great, that is, when we could keep it together. I’ve been doing this for 16, 17 years and maybe three or four times I’ve been in situations where you just can’t get through a take because you’re laughing so hard. Chelsea’s relentless and fearless and made fun of me throughout the whole week.” While Fred is interviewing with Mrs. Beck, E.B. stumbles upon a jam session that’s occurring in the studios. Just as E.B. hops past, the living legends of gospel known as The Blind Boys of Alabama— comprised of JIMMY LEE CARTER, BILLY BOWERS, BENJAMIN MOORE JR., ERIC DWIGHT MCKINNIE, JOEY ANTHONY WILLIAMS, TRACY ROMAN PIERCE and WILL CLEVELAND SMITH—are recording a song for the game “Extreme Blues Master.” E.B. is able to sneak in on the recording session with the five-time Grammy Award winners and play drums with the band. – 23 – Fred trains hard to prepare for Easter. Phil and Carlos (both voiced by HANK AZARIA) are two of the coolest chicks on Easter Island. In turn, the group hands E.B. a pamphlet for a talent show hosted by a man they consider the “godfather of entertainment.” Hoff Knows Talent is looking for new acts, and the eponymous host is none other than…DAVID HASSELHOFF. Hoff knows talent, and this rabbit’s got it. In the comedy, Hasselhoff isn’t fazed by a talking bunny, much less one who knows how to wail on the drums, and is quite impressed with E.B.’s percussion skills. After E.B. auditions for Hoff Knows Talent, he is invited back to perform on the live show. When E.B. expresses doubts about appearing during a time when his friends and family need him, it is Hasselhoff who convinces E.B. to follow his heart. E.B. Joins Our World: Blending CGI With Live Action Unlike wholly animated films, the construction of a CG/live-action comedy logically requires that the drawn creatures have many interactions with humans, as well as play in a world all their own. For Hop, those requirements meant executing the enormous challenges of constructing a true-to-life rabbit that would look as real interacting with friends and family on Easter Island as he would harassing the people of Fred’s world. Visual effects shop Rhythm and Hues (R&H) was given this Herculean task, and it would require an army of animators under the direction of Hill and VFX supervisor RAYMOND CHEN to provide a seamless experience for the audience. Designing E.B. The signature characters of E.B., the Easter Bunny, Carlos and Phil were designed by Emmy Award-winning and Annie-nominated artist PETER DESÈVE, whose relationship with Meledandri extends back to their work together on the Ice Age films, for which DeSève designed the scene-stealing saber-toothed prehistoric squirrel known to tens of millions as Scrat. Commends Meledandri: “Peter’s unique touch at creating timeless characters is inimitable. We knew our hero had to be irreverent, fun, hip, young and a classic character, and Peter nailed the design for E.B., the Easter Bunny and our two main chicks.” In order for DeSève and the animators to bring E.B. to life, they began to conceive the character by studying Russell Brand’s vocal performance. Footage of Brand reading E.B.’s lines was recorded, and the artists used his facial expressions, movements and eccentricities as reference points to build E.B. The goal was to create a character that was all bunny, but also one who had the attitude of a teenager ready to make his way out into the world. When not leading the storyboarding stage or designing Young E.B., animation supervisor CHRIS – 24 – BAILEY (in his third collaboration with Hill) spent a he should be—how he should perform, what sort of great deal of time with his team blending Brand’s attitudes he has. The question as to whether E.B. is recorded performance with the body language and more Russell Brand or more of an actual bunny is mannerisms of a teenager. Next, the animators took something that we balanced from scene to scene. In video reference of themselves acting out the perform- some cases, we followed either video reference or ance and reading the lines. This allowed them to listened closely to dialogue to try to figure out how capture other physical characteristics needed to many Russell mannerisms we should get into the animate E.B., and pace the timing as he moved shot. In others, it was about trying to convey the attithrough each scene from the storyboards. As they tude of this little animal.” drew E.B., they would also incorporate specific The artists began each sequence of animation animal characteristics, such as the wiggling of a with storyboards that described the particular scene. rabbit’s nose as it sniffs or the quick movements of a To digitally create the CG character of E.B., they went bunny’s hind leg when it scratches an itch. through a build process in which they modeled the For a period of time, with the number of bunnies character in a neutral pose. States Chen: “We then put and chicks that were surrounding its animators as they in a rig to allow E.B. to move—to get his facial worked, R&H resembled a petting zoo. Whether expressions correct and allow him to move his limbs. capturing motions of the bunnies’ ears as they stood at On top of all that, we have his clothing: his T-shirt and attention or of the chicks peeping loudly and fluffing his flannel shirt. For this, we ran cloth simulations to themselves with their quick, jerky moments, dozens of have it look like his clothes were moving like real cameras were trained on the adorable animals to pieces of cloth.” ensure that a 360-degree take was achieved. Because it was crucial to make it seem as if E.B. E.B. Interacts on Set and his family and friends were interacting with During production, Chris Bailey actually became humans, a great deal of attention had to be paid to fur E.B., serving as a double for the bunny when that was styles. When E.B. was picked up or physically needed on set. Walking around with a 22-inch stuffed “on” an actor, his fur condition and quality (e.g., animal—the same height as the animated E.B.—as matting, flattening) would change. Style, color and flexible textures were particularly belabored upon until Hill and his team found just the right look for each of the creatures. Chen shares more of their process: “E.B. is an original character with a long history. He’s not a character that was transferred from another medium. It’s been great to see the animators and the artists The Pink Berets are on a mission to track down E.B. and save the holiday. bring their own ideas of what – 25 – Fred and E.B. hang out at a landmark Hollywood diner. reference during rehearsals, he worked alongside the actors, Hill, cinematographer PETER LYONS COLLISTER and key crew to perfect the staging and pacing. Bailey’s performance as E.B. also helped to communicate to the team the physical sense of humor that the animators would ultimately bring to the rabbit voiced by Brand. The aptly named “Stuffy Pass,” which included Bailey and his stuffed animal, provided the actors with visual reference. This ensured that they would know where their eyeline should remain throughout the course of each scene they had with the rabbit. This also allowed the animators to note how E.B.’s form worked in the set’s lighting. For example, though the stuffed animal only vaguely resembled the final E.B., it provided the R&H team an idea of how much light would hit the side of his face or roll over his shoulder as he turned. “The stuffed animal was a terrific prop for our actors to act with in the rehearsal and to understand what the scene would be when it was actually shot,” explains Bailey. “During the actual shoot, we took the stuffed animal away and they were acting to nothing. For shots where E.B. walks in the front door and runs and hides behind a plant, the stuffed animal was more for the camera people to understand the timing. This helped them to know that he was at the door, then he was going to look for two seconds. Then he ran to the pot, peeked out from the other side, and then he ran over to another part of the room. They got their counts off of that.” Whenever E.B. needed to be held physically in a scene (e.g., bouncing out of Fred’s arms or cuddling on Sam’s shoulder) the actors would be given a beanbag that stood in for the mischievous bunny. This allowed the actors to have something to interact with and gave the artists an exact location of where E.B. should go in the shot. The beanbag ensured that the performers were holding their arms in the right way and that their hands were reacting in the correct manner. It also gave them a weighted reference, so their hands would be pulled down to the right level, as if they were actually holding a rabbit that was E.B.’s weight. In order to get this digital interaction perfect, the animation team had to “track” each of the performers who interacted with E.B. By creating a digital headto-toe model of these performers, the animators were able to put avatars of the actors in each “E.B. interaction scene” into the digital world and to create a “digital double,” also known as a “match move.” Once the movements were matched up, the artists had a 3D object on top of which they could put the character of E.B. After this extensive process was completed, the full scene went into the next stage of animation. Background Preparation Once the “Stuffy Pass” and “Beanbag Shoot” were completed, the background preparation could – 26 – begin. After a shot (plate) was finished and turned over to R&H, the negative was scanned so that each frame of the key scene now existed in a virtual world. Once complete, a camera helped to create an intricate digital universe that allowed Hill’s set to be built again…albeit this time, virtually. When preparing the background, a team of painters removed any remnants of the placeholder beanbag that was standing in for our fearless rabbit. Once completed, these finished background plates would be married to their respective animated sequences (described in detail below) in a process known as compositing. The end result was that it now looked as if E.B. were fully integrated into the sequence. That equaled the final image and what will be seen by the audience. Once the initial track was together, many animators were able to work on the multiple aspects of the shot. Explains co-VFX supervisor MARK RODAHL of the multitier approach: “Once you prepare the background for a shot, and once the animation is done, you bring those two pieces together. But you always use the background as a reference, even for animation. They always had this background set, and the artists made sure everything works well for the animation through that camera.” that E.B. would go through in the sequence. Each shot received a blocking pass so that Hill could tell where E.B. would be at every point. Once the blocking was signed off, the animation team created a rough pass of the general facial expressions and movements that E.B. would have with the performer. Usually, the animator working on the scene would create thumbnail sketches of what he or she wanted E.B. to look like as the rabbit moved. This gave the rough flow of E.B.’s “performance” throughout the scene. Taking the digital double of the performer who interacted with E.B., the animators in charge of this sequence would then move that “actor’s” hands to pick up, put down, push or pull E.B. This allowed a reference for the next step of fitting E.B.’s personality—from eye rolls to squints and other affectations—into the scene, as well as making his movements flush with the real-life human with whom he was interacting. Whenever E.B. moved alongside another actor, multiple challenges would arise. The animators had to make sure that E.B.’s checked shirt flowed naturally when he brushed by Fred or that his fur was fluffing or Blocking and Animation While animation has multiple pre-visualization steps, in a film that is a hybrid of animation and live action, post-visualization (also called “blocking”) is much more common. Beginning with a plate that has an actor interacting with “Beanbag E.B.,” R&H would take E.B. in the scene (e.g., one in which he is resting in Sam’s hands) and roughly block the different phases Sam O’Hare discovers what she thinks is a stuffed, cuddly rabbit. – 27 – Mr. O’Hare (GARY COLE) and Mrs. O’Hare (ELIZABETH PERKINS) proudly watch their youngest daughter in her school’s Easter play. squishing naturally as he was held by Sam. For example, in the scene in which Sam picks up E.B.—believing he is simply a child’s stuffed animal—she rests him on her shoulder, strokes his fur and touches his back and tail. The R&H team digitally constructed this fur and cloth interaction so it appeared to be seamless in the final product. In the ever-evolving world of comedy, the final sequences the animators delivered were often quite different than those initially storyboarded. Shares Bailey: “When you cut a movie together, you find surprises that come up, such as this scene is more dramatic than we thought or that scene is funnier than we imagined. After the scene was cut together, we all talked about what we wanted out of E.B.’s performance…what we wanted him to communicate to the audience. We took that information, and I did a handoff to the animators at R&H so they could very forensically go through every shot.” When the entire team was comfortable that what they wanted to have communicated was accomplished, then the final animation occurred. At this stage, R&H tweaked E.B.’s fingers and the suppleness of the face. After that was approved, they then moved on to hair and lighting. While the humor begins with the screenplay, many of the best gags in animated films come from the animators. It was crucial to Hill, Meledandri and Imperato Stabile that the artists not feel it was their job simply to execute the shot, move the character through its marks and hit the paces. They were always asked to perform the character. Whenever a shot came back that the team wasn’t 100 percent comfortable with, they’d collectively ask: “What else can we have E.B. do here?” or “Is there a funnier way that he can react to Fred?” Compliments Bailey of his fellow artists: “These people are performers. I like to keep the emphasis on the individuals behind creating the characters, because they’re the ones who make the characters funny. It’s the artist who is rendering the hair and rendering the lighting and the environment that makes it believable.” Lighting Hop When it came time to lighting the scenes with E.B. on set, a curious chrome ball was used. Explains senior animation supervisor ANDY ARNETT of its use: “This was for lighting reference, so when the lighters were ready to put the CG lights into our scenes to light E.B. and make it look like he was part of the set that was being filmed, they looked at the reflections that showed up in the photographs of that chrome sphere. It showed where all the different light sources were placed, as well as the colors and textures of all the different pieces in the room that would reflect light off of E.B. That way they were able to make the lighting that hit our CG character match exactly with the lighting that was on set at the time. When you put those two pieces together, it looks like he was in the room along with the actors and everything else in the scene.” – 28 – After Hill and DP Collister shot key scenes, R&H put a camera in the middle of the set, took a 360-degree picture of the entire environment and mapped the inside of it. Discusses Bailey: “I like to think of it as a big ball surrounding the set, because when you light actors or a set, they’re not just being lit by the lights on the set. They’re actually being lit by the reflections of everything that’s on the other side of those lights—the ceiling and the crew standing around.” “We took a high-dynamic range imagery image of the lighting setup,” Rodahl elaborates. “This calculated the lowest and the darkest lights in the room. It was a camera rig set up to provide a 360-degree, fisheye lens of the environment. Then we used that inside of the computer to map out what the strongest lights and their positions are, so that you see the same lighting influences on E.B. as you see on Fred. All that helped to make E.B. fit perfectly into the scene.” Rocking Out on Hop: Music of the Film For Hop, the filmmakers recruited the Australianborn pop/R&B artist CODY SIMPSON to cover an updated version of “I Want Candy.” The drum-centric pop song ties into E.B.’s world and into key sequences and themes of the movie (e.g., Easter candy). Though The Strangeloves originally recorded the song in 1965, most audiences are familiar with pop group Bow Wow Wow’s 1982 cover, which became an irrepressible song that year. The filmmakers were pleased to have the 14-year-old Simpson, whose solo debut, “iYiYi (featuring Flo Rida),” join the project. Says Hill of their logic: “Of course we wanted him. Who wouldn’t? Cody Simpson is fantastic. He has a real sense of how to be pop but not derivative, and his voice…well, it has a lot of emotion, but it’s still got a nice edge, and he’s able to work both sides of that.” Additional key songs blend old school with modern music. They represent an interesting mix that includes “Dynamite,” R&B singer Taio Cruz’s hit that peaked at No. 2 on the Billboard Hot 100 chart in 2010 and has sold more than four million digital copies in the U.S.; “We No Speak Americano” by Yolanda Be Cool & Dcup, which samples the 1956 song “Tu vuò fà l’americano” by Italian singer Renato Carosone and became a top-40 hit in the U.S. in 2011; The production team, under the direction of composer CHRISTOPHER LENNERTZ and music supervisor JULIANNE JORDAN, set out to create a musical experience for Hop that was young and fun and encompassed the energy and excitement of the comedy. Both musical talents were previous Hill collaborators on Alvin and the Chipmunks, and Jordan helped to create the popular soundtrack for that film, which featured the signature Carlos gives the chicks a pep talk in his campaign to take over Easter. “chipmunk” sound. – 29 – Phil readies the Easter Bunny’s sleigh for take off. “Every Rose Has its Thorn,” the power ballad by metal hair band Poison, which was released in 1988 and was the band’s first No. 1 hit in the U.S.; “Celebrity Skin,” the 1998 debut single from the group Hole’s third album, which reached No. 1 on the Modern Rock Tracks chart; and “Mr. Big Stuff ” by Nikki & Rich, which is the hip-hop/R&B duo’s cover of Jean Knight’s 1971 hit song. Hill notes that he wanted the music to evolve over the course of the movie as we move through Fred and E.B.’s journey. He states: “We start with some very percussive-based, drum-circle-like drumming and then fold that into more pop stuff as the movie progresses. Then, naturally, we wanted to get some songs that were fun and topical. The audience will also hear some percussive elements in the score that support E.B.’s desire to be a drummer.” Making a cameo in the comedy are The Blind Boys of Alabama, the legendary musical icons whose founding members began singing together in 1939 when they met at an Alabama school for the blind. These musical pioneers have been celebrated by the National Endowment for the Arts with lifetime achievement awards and inducted into the Gospel Music Hall of Fame. The Boys record a song in Hop at 2UP Games for the upcoming fictional game “Extreme Blues Master.” Meledandri explains how they came aboard the production: “The Blind Boys idea came from writer Brian Lynch. The idea that in the future ‘Rock Band’ will spawn new music-based games like ‘Extreme Blues Master’ is a wonderfully silly notion, and who better to be a key part of that than The Blind Boys!” In the scene, E.B. sneaks into their session and jams on the drums with them. Says Hill: “The Blind Boys are rooted in gospel and blues, which is very basic to American music. For the story, it helped that they couldn’t see that E.B. was a rabbit and he was ‘filling in’ while their drummer was on a break.” Laughs Blind Boys drummer Eric Dwight McKinnie about being “replaced” by a rabbit: “I think that the young people are going to get a big kick out of seeing a rabbit play drums. If you can get a kick out of seeing a blind cat play drums, then I know you can see a rabbit play drums.” Throughout the film, there are multiple scenes in which music takes center stage. These include Alex’s Easter play, in which E.B. and Fred steal the show and get the crowd to sing along to “I Want Candy,” as well as E.B.’s audition for Hoff Knows Talent. Having previously directed singing and dancing chipmunks, Hill found these scenes more familiar than most filmmakers would. “The music scenes with E.B. drumming were actually really fun to shoot,” he says. “The only trick was to imagine that, although you’re only photographing an empty drum set, eventually there would be a CG bunny banging away on those drums. – 30 – “It’s important because you have to figure out how close to get, what parts of the kit he’s hitting and how the grammar of music videos translates in this case,” he concludes. “The drumming scenes were pretty similar to the Alvin musical scenes in that you aren’t filming anything real; you’re filming background plates, and the character is inserted later. Though there was one scene in Alvin, the ‘Witch Doctor’ song, that was very challenging because of the choreography: I had chipmunks moving around all over the place. Here, a drum kit was stationary…” **** Universal Pictures presents—in association with Relativity Media—an Illumination Entertainment production: Hop, starring James Marsden, Russell Brand, Kaley Cuoco, Hank Azaria, Gary Cole, Elizabeth Perkins, David Hasselhoff, Chelsea Handler and Hugh Laurie. The comedy’s music is by Christopher Lennertz, and its music supervisor is Julianne Jordan. The film’s costume designer is Alexandra Welker, and its editors are Peter S. Elliot, Gregory Perler. The production designer is Richard Holland, and the director of photography is Peter Lyons Collister, ASC. Hop’s executive producer is John Cohen, and it is produced by Chris Meledandri, Michele Imperato Stabile. The story for the film is by Cinco Paul & Ken Daurio, and its screenplay is by Cinco Paul & Ken Daurio and Brian Lynch. Hop is directed by Tim Hill. © 2011 Universal Studios. www.iwantcandy.com JAMES MARSDEN as Fred O’Hare and director TIM HILL on the set of the comedy Hop. – 31 – ABOUT THE CAST Having appeared in a wide range of films over the course of his career, JAMES MARSDEN (Fred) continues to carve out a distinctive place in Hollywood with both comedic and dramatic roles. Later this year, Marsden will appear, opposite Kate Bosworth, in Screen Gems’ remake of Straw Dogs, for director Rod Lurie. In the film, Marsden plays Los Angeles screenwriter David Sumner, who relocates with his wife (Bosworth) to her hometown in the deep South. Soon after they arrive, tensions build and a brewing conflict with locals becomes a threat to them both. He will also star, opposite Jessica Biel, Jake Gyllenhaal, Catherine Keener and Tracy Morgan, in David O. Russell’s upcoming film Nailed. Marsden will play the Biel character’s small-town boyfriend. Biel stars as a naive waitress who gets a nail shot into her head, causing erratic and outrageous behavior, and heads to Washington, D.C., to fight for better health care. Most recently, Marsden appeared as a guest star in an episode of the award-winning comedy Modern Family. He played Mitchell and Cameron’s mysterious neighbor who was quite the charmer. He also recently appeared in Neil LaBute’s Death at a Funeral. He received a 2010 Teen Choice Award nomination for Choice Movie: Male Scene Stealer for his role as the Zoe Saldana character’s boyfriend, who finds himself a fish out of water at a family funeral. He previously starred, opposite Cameron Diaz, in Richard Kelly’s psychological thriller The Box. In 2008, he starred alongside Katherine Heigl in the box-office hit 27 Dresses, a romantic-comedy for Fox 2000 Pictures and Spyglass Entertainment. In 2007, Marsden received rave reviews for his singing and dancing in Disney’s box-office smash Enchanted, opposite Susan Sarandon, Amy Adams and Patrick Dempsey, and in Adam Shankman’s box-office hit musical Hairspray, opposite John Travolta, Queen Latifah, Michelle Pfeiffer and Christopher Walken. Marsden played Corny Collins, the host of a television dance show. Marsden was also seen in Bryan Singer’s Superman Returns as Richard White, a new rival for the affections of Lois Lane. Kevin Spacey, Kate Bosworth, Brandon Routh and Frank Langella also starred in the film. Marsden’s diverse film credits include the X-Men trilogy, as Cyclops; the Nick Cassavetes romantic drama The Notebook; Merchant Ivory’s Heights; Sex Drive; Disturbing Behavior; 10th and Wolf; and Sugar & Spice. Marsden currently resides in Los Angeles with his wife and two children. In 2008, RUSSELL BRAND (E.B.) shot to fame in the U.S. when he was seen as the rocker Aldous Snow in the Judd Apatow-produced comedy Forgetting Sarah Marshall. The film, which was written by and starred Jason Segel, grossed $63 million at the domestic box office. That same year, Brand also starred in the Disney film Bedtime Stories, which also featured Adam Sandler and Keri Russell. It was in September 2008 that Brand cemented his fame in the U.S., when he hosted the MTV Video Music Awards (VMA). – 32 – The year 2009 saw the U.S. release of Brand’s writing debut, “My Booky Wook: A Memoir of Sex, Drugs and Stand-Up.” The autobiography, already a huge success in the United Kingdom, went on to stay on The New York Times best-seller list for five weeks in a row. In continuation of his stand-up tour in the U.S., Brand’s third live DVD was released after originally airing on Comedy Central. The year 2009 ended on an even brighter note for Brand when he assumed the role as host of the MTV Video Music Awards for the second year in a row and garnered the biggest VMA audience since 2004, with nearly nine million viewers. The year 2010 was a busy year for Brand with the release of the hit comedy Get Him to the Greek in June. Reunited with producer Judd Apatow, Brand starred, opposite Jonah Hill, and reprised his iconic role as Aldous Snow. In July, Brand also lent his voice to the role of Dr. Nefario in the hit animated feature film Despicable Me, which included the vocal talents of Steve Carell and Jason Segel. Brand also starred, alongside Helen Mirren, in Julie Taymor’s adaptation of The Tempest. His upcoming roles include the title character in the remake of Arthur. In addition to acting, Brand released his second book, “Booky Wook 2: This Time It’s Personal.” KALEY CUOCO (Sam) has made a name for herself starring in hit television series since age 17. Cuoco starred as Bridget Hennessey, the late John Ritter’s daughter, in the ABC sitcom 8 Simple Rules, and currently stars in CBS’ highly rated comedy The Big Bang Theory, from producer Chuck Lorre (Two and a Half Men). She recently completed production on the independent feature The Last Ride. Cuoco also starred as a recurring character on The WB’s Charmed, alongside Alyssa Milano, Rose McGowan and Holly Marie Combs. She has made guest appearances on Ladies Man, Complete Savages, My So-Called Life and Northern Exposure. Cuoco was the lead in the ABC Family telefilms Crimes of Fashion and The Hollow, and was seen in NBC’s television miniseries 10.5, a seismic thriller about an earthquake that ravages the state of Washington and Northern California. Cuoco’s other made-for-television movie credits include Alley Cats Strike, Toothless, Attack of the 50 Ft. Woman and Growing Up Brady, and she appeared in and the ABC miniseries Mr. Murder. Additionally, Cuoco lent her voice to Disney Channel’s animated series Brandy & Mr. Whiskers and the Kids’ WB’s Loonatics Unleashed. Cuoco began her acting career at a young age, appearing in commercials and modeling. Her first television role was 1992’s Quicksand: No Escape, with Donald Sutherland. She landed her first feature film role at the age of eight in Virtuosity, starring Denzel Washington and Russell Crowe. Her additional theatrical film credits include Killer Movie, Picture Perfect, Can’t Be Heaven and Lucky 13. She also appeared onstage in community theater productions of Fiddler on the Roof and Annie. In her spare time, Cuoco is a gifted tennis player and enjoys hiking, running, horseback riding, going to the gym and spending time with her rescue dogs. She is also involved in charities such as the Elizabeth Glaser Pediatric AIDS Foundation, Animal Avengers and People for the Ethical Treatment of Animals. Cuoco currently resides in Los Angeles. – 33 – A Tony Award nominee and four-time Emmy Award winner, HANK AZARIA (Carlos and Phil) is a multifaceted performer in film, television and on the stage, as well as a respected director and comedian. Azaria will next be seen starring as the infamous Gargamel in Sony Pictures’ live-action/ animation hybrid The Smurfs, opposite Neil Patrick Harris and Sofía Vergara. The film is set for release on August 3, 2011. Azaria also lends his voice to Warner Bros.’ Happy Feet 2 in 3D, scheduled for release on November 18, 2011. Most recently, Azaria appeared in the film Love and Other Drugs, opposite Jake Gyllenhaal and Anne Hathaway, and in Year One, opposite Jack Black and Michael Cera. He also starred in the box-office hit Night at the Museum: Battle of the Smithsonian, which grossed more than $415 million worldwide. In 1997, Azaria played the scene-stealing Guatemalan housekeeper Agador Spartacus in Mike Nichols’ The Birdcage. The role catapulted Azaria’s film career and earned him a Screen Actors Guild (SAG) Award nomination for Outstanding Performance by a Male Actor in a Supporting Role, and he shared a win for Outstanding Performance by a Cast with the film’s ensemble. He had previously won critical acclaim as television producer Albert Freedman in the 1994 Academy Award®-nominated film Quiz Show. Some of Azaria’s notable film credits include Roland Emmerich’s Godzilla; the 1998 adaptation of “Great Expectations,” opposite Ethan Hawke and Gwyneth Paltrow; Tim Robbins’ Cradle Will Rock; Woody Allen’s Celebrity; America’s Sweethearts, with Julia Roberts and Billy Crystal; and Shattered Glass, with Peter Sarsgaard and Hayden Christensen. His additional film credits include Along Came Polly, Dodgeball: A True Underdog Story, Grosse Pointe Blank, Heat, Now and Then and Pretty Woman. Azaria is also well known for his portrayal of psychiatrist Dr. Craig “Huff ” Huffstodt on the critically acclaimed Showtime series Huff. The show ran for two seasons, from 2004 to 2006, and garnered seven Emmy nominations in 2005, including a nomination for Azaria for Outstanding Lead Actor in a Drama Series. He earned a SAG Award nomination that same year. Azaria served as an executive producer on the series and directed an episode during the show’s second season. He also earned Emmy Award nominations for his notable recurring gueststarring roles on Friends and Mad About You. In 1999, Azaria starred as Mitch Albom, alongside the legendary Jack Lemmon, in the television film Tuesdays With Morrie, and took home the Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie. His other made-for-television films include the Jon Avnet-directed Uprising and the 2005 film Fail Safe, directed by Stephen Frears. As a vocal artist, Azaria is noted and highly regarded as one of the best, with more than 20 years as one of the principal voice actors on the animated television series The Simpsons. Azaria brings to life a list of characters too numerous to mention, though he may be best known as the voices of Moe Szyslak, Apu, Police Chief Wiggum and Comic Book Guy. He has been nominated for five Emmy Awards and has won three for Outstanding Voice-Over Performance for his work on The Simpsons, and he brought many of his beloved characters to the big screen in 2007’s The Simpsons Movie. His additional voice-over work includes multiple appearances as Venom/Eddie Brock, from 1994 to 1996, on the animated series Spider-Man, and as Bartok in the animated feature Anastasia. – 34 – In the theater, Azaria has appeared in several productions including a 2003 production of David Mamet’s Sexual Perversity in Chicago, opposite Matthew Perry and Minnie Driver, on London’s West End. In 2005, Azaria originated the role of Sir Lancelot in Spamalot, the musical-comedy adaptation of Monty Python and the Holy Grail. The show was a huge success and earned 14 Tony Award nominations, including one for Azaria for Best Actor in a Musical. In 2007, he returned to Broadway and starred as RCA head David Sarnoff in Aaron Sorkin’s The Farnsworth Invention. As a filmmaker, Azaria wrote, directed and produced the 2004 short film Nobody’s Perfect, which won the Film Discovery Jury Award for Best Short at the U.S. Comedy Arts Festival and the award for Best Narrative Short at the Ojai Film Festival. GARY COLE’s (Mr. O’Hare) early career includes working with the famed Steppenwolf Theatre Company in Chicago. His recent film credits include the upcoming film The Chicago 8, Conspiracy, Say Hello to Stan Talmadge, the Judd Apatowproduced Pineapple Express and Talladega Nights: The Ballad of Ricky Bobby and Ben Stiller’s Dodgeball: A True Underdog Story. His additional film credits include American Pastime, Universal Pictures’ Breach, DreamWorks’ The Ring Two, Crazy in Love, Win a Date With Tad Hamilton!, I Spy, One Hour Photo, The Gift, Mike Judge’s cult classic Office Space, Disney’s I’ll Be Home for Christmas, Sam Raimi’s A Simple Plan, Kiss the Sky, Paramount Pictures’ The Brady Bunch Movie and Clint Eastwood’s In the Line of Fire. His television credits include NBC’s Midnight Caller, CBS’ American Gothic, NBC’s The West Wing, FOX’s Arrested Development, ABC’s Desperate Housewives, NBC’s Chuck, CBS’ The Cleaner, HBO’s Entourage, CBS’ Numb3rs, CBS’ The Good Wife and FOX’s The Good Guys. He also starred in the television movies The Switch (CBS), Seduction of Innocence (ABC) and The Lies He Told (ABC), and in the miniseries Fatal Vision (NBC), Echoes in the Darkness (CBS), Son of the Morning Star (ABC), When Love Kills: The Seduction of John Hearn (CBS) and Fall From Grace (CBS). ELIZABETH PERKINS (Mrs. O’Hare) has distinguished herself with an eclectic mix of roles over the span of her career. Her critically acclaimed performance in Weeds earned her Golden Globe and Emmy Award nominations for Best Supporting Actress in 2006 and 2007. Perkins made her theatrical debut in Neil Simon’s Brighton Beach Memoirs. She subsequently worked with Playwrights Horizons, The Ensemble Studio Theatre, New York’s Shakespeare in the Park and the Steppenwolf Theatre Company. She also appeared in John Patrick Shanley’s acclaimed black comedy Four Dogs and a Bone at the Geffen Playhouse in Los Angeles. Perkins made her feature film debut in Edward Zwick’s About Last Night…. Her breakthrough performance was opposite Tom Hanks in the smash hit Big, directed by Penny Marshall, and she received critical acclaim for her performance in Barry Levinson’s Avalon. In 1991, she starred opposite William Hurt in the touching drama The Doctor, and with Kevin Bacon in He Said, She Said. She then went on to star in Indian Summer, before bringing cartoon character Wilma Flintstone to life in the blockbuster motion picture The Flintstones. Perkins portrayed Dorey Walker in John Hughes’ remake of the 1947 holiday classic Miracle on 34th Street, with Sir Richard Attenborough. She also co-starred, oppo- – 35 – site Kathleen Turner, Gwyneth Paltrow and Whoopi Goldberg, in Moonlight and Valentino. Her other credits include From the Hip; Sweet Hearts Dance, with Jeff Daniels and Susan Sarandon; Alan Rudolph’s Love at Large; Enid Is Sleeping; Lesser Prophets; Bruce Wagner’s independent film I’m Losing You, co-starring Frank Langella, Rosanna Arquette and Amanda Donohoe; Crazy in Alabama, directed by Antonio Banderas and co-starring Melanie Griffith, Paul Mazursky and Cathy Moriarty; the independent feature Under the Mimosa, co-starring Brad Renfro and directed and written by Bo Brinkman; 28 Days, opposite Sandra Bullock; Cats & Dogs; Finding Nemo, as the voice of Coral; Jiminy Glick in Lalawood; The Ring Two; and Must Love Dogs and Fierce People, both in which she starred opposite Diane Lane. Perkins made her television debut in For Their Own Good. Her other television projects include Cloned; Showtime’s Rescuers, What Girls Learn and Speak; the series From the Earth to the Moon; and the Hallmark Hall of Fame production of “My Sister’s Keeper,” opposite Kathy Bates. Guild awards and five Emmy Award nominations. FOX’s hit medical drama also stars Omar Epps, Robert Sean Leonard and Olivia Wilde. This spring, Warner Bros. Records will distribute Laurie’s upcoming New Orleans blues album worldwide. The album, produced by two-time Grammy Award winner Joe Henry, will feature both musical and vocal collaborations. Laurie, who has played piano for much of his life, is predominantly selftaught and has been singing, performing and writing music throughout his career. Laurie will be seen, opposite Catherine Keener and Leighton Meester, in the independent film The Oranges and in the Sony Pictures Animation feature Arthur Christmas, with James McAvoy and Bill Nighy, to be released Thanksgiving 2011. In 2009, Laurie lent his voice to Jeffrey Katzenberg’s 3D-animated hit Monsters vs Aliens, alongside Reese Witherspoon and Seth Rogen. His other film credits include director David Ayer’s Street Kings, opposite Keanu Reeves and Forest Whitaker; Flight of the Phoenix, opposite Dennis Quaid; Peter’s Friends, directed by and co-starring Kenneth Known for possessing a keen eye for the complex characters he creates as an actor and a writer, HUGH LAURIE (E.B.’s Dad) currently brings that talent to his work on the critically acclaimed FOX series House M.D. Now in its seventh season, the innovative and uncompromising series features Laurie as Dr. Gregory House, an antisocial and brutally honest doctor who combines an unconventional approach to his cases with flawless instincts. His performance has garnered him two Golden Globe and Screen Actors Branagh; Sense and Sensibility, with Emma Thompson and Kate Winslet; Cousin Bette; The Man in the Iron Mask; 101 Dalmatians; Stuart Little; and Stuart Little 2. Laurie previously starred in a number of groundbreaking British television comedy series including four seasons of A Bit of Fry and Laurie, which he cowrote for the BBC with Stephen Fry; three seasons of Blackadder, written by Richard Curtis and Ben Elton; and three seasons of Saturday Live. In addition, four seasons of Jeeves and Wooster, based on the novels of P.G. Wodehouse, aired on PBS’ Masterpiece Theatre from 1990 to 1995. On American television, Laurie portrayed Vincente Minnelli, opposite Judy Davis, in the network telefilm Life With Judy Garland: Me and My Shadows. He also appeared in Tracey Takes On… and Friends. – 36 – In addition to acting, Laurie has directed television programs and commercials, composed and recorded numerous original songs and written articles for London’s The Telegraph. Mandarin Publishing has printed four volumes of A Bit of Fry and Laurie scripts and his first novel, “The Gun Seller,” was published in both the U.K. and the U.S. to critical acclaim and has been adapted into a screenplay for MGM. When he films House, Laurie lives in Los Angeles. ABOUT THE FILMMAKERS TIM HILL (Directed by) began his career in New York City, where he wrote and performed in live comedy sketches and musical comedy. He later moved into television animation, where he wrote and developed shows for Nickelodeon and Disney. He helped develop the hit series SpongeBob SquarePants, created by Stephen Hillenburg, and eventually became a head writer on the show. He was also a writer and the story editor on The SpongeBob SquarePants Movie. Hill has worked as a writer, story editor, producer and director on a number of television projects for Nickelodeon, Disney, Comedy Central, USA Network, ABC Family and Discovery Kids. He wrote, directed and produced the Nickelodeon stop-motion animation series Action League Now!!: Rock-A-Big-Baby. Hill made his feature-film directing debut with Muppets From Space. His second feature was the Disney comedy Max Keeble’s Big Move. He then directed Garfield: A Tail of Two Kitties and followed that with Alvin and the Chipmunks for 20th Century Fox. Hill was raised in Oakland, California. He majored in French literature at the University of California, Berkeley, with a focus on French cinema. As 3D productions are on the way to becoming the norm, CINCO PAUL (Screenplay by/Story by) is right on trend with two high-profile 3D animated films on his résumé. Along with Ken Daurio, he wrote the surprise blockbuster Despicable Me, which has made more than $540 million worldwide, and is currently writing the highly anticipated Dr. Seuss’ The – 37 – Lorax, an adaptation of the iconic environmentthemed children’s book, which is scheduled for release in March 2012. Paul and his writing partner, Ken Daurio, are the hot Hollywood screenwriting team who also penned the Dr. Seuss’ Horton Hears a Who! screenplay for executive Chris Meledandri during his tenure at 20 th Century Fox. When Horton led to a box-office gross of nearly $300 million worldwide gross, Meledandri formed the film production company Illumination Entertainment, which specializes in animation. Illumination’s first three movies given the green light were all written by Cinco Paul and Ken Daurio: Despicable Me, Hop and Dr. Seuss’ The Lorax. Paul and Daurio are known throughout the entertainment industry for their unique pitching style, often singing their pitches to high-level studio executives. For the Disney film College Road Trip, they belted out the ’80s tune “Double Dutch Bus” complete with harmony and melody. An estimated 90 percent of their pitches in the last nine years have involved musical performances. Paul met Daurio while working on a church musical and they bonded immediately. In 1999, they sold their first screenplay, Special; later, they turned it into a short film that went on to play in the festival circuit due to its dark comedic story line. Next came the 2001 cult classic Bubble Boy, which starred Jake Gyllenhaal as Jimmy Livingston (a boy without an immune system), a twisted take on the John Travolta television movie The Boy in the Plastic Bubble. Paul also recently turned Bubble Boy into a full-length musical, for which he wrote the music and lyrics. His other film credits include Disney’s megahit The Santa Clause 2. Paul studied at Yale University, where he graduated summa cum laude with a degree in English. Upon moving to Los Angeles, he received his MFA in screenwriting from the University of Southern California, winning a fellowship grant to pay for his second year. As 3D productions are on the way to becoming the norm, KEN DAURIO (Screenplay by/Story by) is right on trend with two high-profile 3D animated films on his résumé. He is set to co-direct Dr. Seuss’ The Lorax, an adaptation of the iconic author’s environment-themed children’s book that is scheduled for release in March 2012. Daurio and his writing partner, Cinco Paul, are the hot Hollywood screenwriting team who penned Despicable Me for Illumination Entertainment/ Universal Pictures and Dr. Seuss’ Horton Hears a Who! for executive Chris Meledandri during his tenure at 20 th Century Fox. After Paul and Daurio’s work on Horton led to a box-office gross of nearly $300 million worldwide, the duo found themselves in demand in the animation world. Daurio and Paul further forged their strategic relationship with Meledandri when Meledandri formed the film production company Illumination Entertainment, which specializes in animation. It’s no coincidence that Illumination’s first three movies that were given the green light were all written by Daurio and Paul (Despicable Me, Hop and Dr. Seuss’ The Lorax), something unheard of in the history of animation. Daurio and Paul are known throughout the entertainment industry for their unique pitching style, often singing their pitches to high-level studio executives. For the Disney film College Road Trip, they belted out the ’80s tune “Double Dutch Bus,” complete with harmony and melody. An estimated 90 percent of their pitches in the last nine years have involved musical performances. Daurio met Paul while working on a church musical and they bonded immediately. In 1999, they sold their first screenplay, Special, which they later turned into a short film that played the festival circuit due to the dark comedic story line. Next came the 2001 cult classic Bubble Boy, which starred Jake Gyllenhaal as Jimmy Livingston (a boy without an immune system), a twisted take on the John Travolta television movie The Boy in the Plastic Bubble. Paul – 38 – and Daurio also had the distinct honor of being handpicked by Audrey Geisel (the widow of Theodor Seuss Geisel) to pen Horton Hears a Who! and The Lorax film projects on behalf of the estate of Dr. Seuss. Upon graduating from high school, Daurio began directing music videos for up-and-coming bands like Blink 182, AFI and Jimmy Eat World. More than 100 music videos later, he teamed up with Cinco Paul to write his first feature script. Daurio and Paul are now one of Hollywood’s most sought-after screenwriting teams. BRIAN LYNCH (Screenplay by) started his career writing and directing the independent sketch comedy Big Helium Dog, for View Askew Productions. Soon after, he sold a Muppet script to Jim Henson Productions. Lynch has numerous movies in development including Puss in Boots, at DreamWorks Animation, and Nightcrawlers, at Warner Bros. He has also written the film adaptation of the video game The Sims, which is produced by Davis Entertainment. Lynch is also the creator of the hit animated Web series Angry Naked Pat and has been on The New York Times best-sellers list for numerous graphic novels. Meledandri has had with Theodor Seuss Geisel’s widow, Audrey. Other upcoming films include the animated feature adaptation of Ricky Gervais’ “Flanimals” books and a new stop-motion picture based on the original Addams Family characters created by Charles Addams, with Tim Burton directing. Meledandri was previously an executive at 20 th Century Fox for 13 years. While there, he became founding president of 20 th Century Fox Animation, which he headed for eight years, amassing more than $2 billion in global box-office revenue. During his tenure, he helped FOX become a major player in the world of animated feature films and in 1998, he led FOX’s acquisition of fledgling visual effects/commercial house Blue Sky Studios, which he built into a successful producer of animated features. He oversaw the creative and business operations of Blue Sky Studios, now FOX’s wholly owned CGI studio. While at the studio, Meledandri supervised and/or executive produced movies including Ice Age, Ice Age: The Meltdown, Robots, Alvin and the Chipmunks, The Simpsons Movie and Dr. Seuss’ Horton Hears a Who! Before joining FOX, Meledandri was president of Dawn Steel Pictures at Walt Disney Pictures, where he served as an executive producer on Cool Runnings. CHRIS MELEDANDRI (Produced by) is the founder (2007) and CEO of Illumination Entertainment, which makes broad audience films. The independent company has an exclusive financing and distribution agreement with Universal Pictures. Last summer, Illumination produced the worldwide box-office hit Despicable Me, featuring the voices of Steve Carell, Jason Segel, Russell Brand and Julie Andrews. The film received a Golden Globe Award nomination for Best Animated Feature. Illumination, which will produce one to two films a year over the next five years, is currently in production on a feature film version of Dr. Seuss’ “The Lorax,” which continues the successful collaboration In addition to Hop, MICHELE IMPERATO STABILE (Produced by) served as the executive producer of Fox 2000’s Alvin and the Chipmunks and Alvin and the Chipmunks: The Squeakquel, and Summit Entertainment’s Twilight. Imperato Stabile moved to Los Angeles from New York in 1988, starting her career as a production assistant. She became a DGA member in 1991 and has worked as a unit production manager, associate producer and co-producer. Throughout her career, Imperato Stabile has worked with many notable directors, writers and actors including but not limited to Mike Nichols, Ridley Scott, Brian De Palma and Harold Ramis. – 39 – Imperato Stabile’s extensive credits include executive producing Garfield: A Tail of Two Kitties. She also served as co-producer on the original Garfield and on Primary Colors, as well as associate producer on The Birdcage. Additionally, Imperato Stabile worked on I.Q., G.I. Jane, Honeymoon in Vegas, Postcards From the Edge, Planes, Trains & Automobiles, The Untouchables, Regarding Henry and The Ring Two. Imperato Stabile and her husband, Billy, live on a farm in Hidden Valley with their six horses and six dogs. JOHN COHEN (Executive Producer) previously worked at 20 th Century Fox for seven years. As the vice president of 20 th Century Fox Animation, he worked closely with Blue Sky Studios on films including Ice Age, Robots, Ice Age: The Meltdown and Dr. Seuss’ Horton Hears a Who! He also had the idea to reimagine the Alvin and the Chipmunks franchise and developed the 2007 film. This property has now grown into a billion-dollar franchise for the studio. Cohen worked as a producer at Illumination Entertainment, which created the worldwide boxoffice hit Despicable Me. In addition to Hop, Illumination’s upcoming films for Universal Pictures include Dr. Seuss’ The Lorax, directed by Chris Renaud; Flanimals, based on the book series by Ricky Gervais; Where’s Waldo?; and a new stopmotion picture based on the original Addams Family characters created by Charles Addams, with Tim Burton directing. Before joining FOX, Cohen worked at Scott Rudin Productions. In 1998, he graduated from New York University’s Tisch School of the Arts. RICHARD HOLLAND (Production Designer) is a highly respected production designer for films, television and commercials. For the past 20 years, his work spans productions from inside Russia to the outer reaches of Antarctica. Holland’s best work is produced when the imaginative meets the everyday— from science-fiction fantasies to visions of the past and the present. His notable credits include A Sound of Thunder, Batman & Robin, The Last of the Mohicans, The Russia House, Licence to Kill, Who Framed Roger Rabbit, The Princess Bride, Indiana Jones and the Temple of Doom, Never Say Never Again and Superman III. He is currently working on Alvin and the Chipmunks: Chip-Wrecked. Hop is the third feature film on which PETER S. ELLIOT (Editor) has joined forces with Tim Hill, as he was involved with the huge box-office hit Alvin and the Chipmunks and Garfield: A Tail of Two Kitties. Prior to taking on Hop, Elliot collaborated with director Paul Scheuring on his suspense/ thriller The Experiment, starring Forest Whitaker and Adrien Brody. Elliot has also enjoyed a long relationship with director Roland Emmerich. Elliot most recently edited the disaster film 2012, for which he received a Satellite Award nomination. Prior to that, he was the additional film editor on The Day After Tomorrow, with editor David Brenner. He also worked as Emmerich’s visual effects editor on the high-profile films Godzilla and Independence Day. He first worked with Emmerich in 1991 as the additional film editor on Universal Soldier. Tim Story is another director who Elliot has worked for numerous times. He edited 4: Rise of the Silver Surfer, for Story, and was his visual effects editor on Fantastic Four. Included among Elliot’s other editing credits are the Emmy-nominated pilot The Visitor and the independent film Coronado. Elliot also edited various short films that include Pharaoh’s Heart, which was awarded Best Short at the prestigious Dances With Films festival. – 40 – His additional feature credits include work as a visual effects editor on films such as Daredevil, Blade II, Dr. Dolittle 2, Hollow Man, Stigmata and Volcano. Elliot’s career dates back three decades to 1987, when he began his work in the field of postproduction as an assistant sound editor. After establishing himself, he transitioned to picture editorial, where he was given opportunities to edit partial or complete sequences with both the editor and/or director. Elliot first became interested in filmmaking as a teenager and began to pursue his career while studying film at California State University at Northridge, where he attended and received a bachelor of arts degree in film. GREGORY PERLER (Editor) is a film editor who has lived and worked in Los Angeles for 20 years. A New York University film school graduate, he moved to Los Angeles in 1990, when he was hired as an assistant editor on Disney’s Beauty and the Beast (the first of only three animated films to be nominated for an Academy Award® for Best Picture). He was promoted to associate editor during this production. Perler’s previous feature animation credits include Despicable Me, A Goofy Movie, Tarzan, the Oscar®nominated Jimmy Neutron: Boy Genius and the Oscar®winning Wallace & Gromit in The Curse of the Were-Rabbit. His live-action credits include 102 Dalmatians, Enchanted, the Hannah Montana & Miley Cyrus: Best of Both Worlds Concert film and two telefilms based on the classic “Eloise” children’s books. Perler was an editor on the first season of the highly rated USA Network series Royal Pains. ALEXANDRA WELKER (Costume Designer) began her career in New York City working on independent films with such highly acclaimed directors as Hal Hartley and Jim Jarmusch. Since then, she has designed costumes for more than 25 films. Most recently, Welker worked on Furry Vengeance and Alvin and the Chipmunks: The Squeakquel. Her other film credits include John Tucker Must Die, Just Friends, Smother, How to Deal, American Pie 2, Joe Dirt and Alvin and the Chipmunks. In the television world, Welker created the trendsetting fashions of the debut season of The O.C., hailed as the television successor to Sex and the City for its groundbreaking fashion. Welker also designed the stage wear for the seminal (faux) rock band Spinal Tap’s 2001 “Back From the Dead” tour and all of their appearances since 2000. Born in New Jersey, Welker graduated from the University of Pennsylvania, where she wrote her thesis on William Shakespeare and minored in history. After a stint in fundraising for the New York Zoological Society (the nonprofit entity behind the Bronx Zoo, the New York Aquarium and Wildlife Conservation Society), she parlayed her love of film and her expertise in art and fashion into her costume design career. JULIANNE JORDAN (Music Supervisor) started her music supervision career with a bang when director Doug Liman brought her on to a little independent movie called Swingers. The film ignited the swing craze in the ’90s, spawned a new type of vernacular and pushed the interest in retro swing music into hyperdrive. The soundtrack quickly went gold and Jordan has not stopped working since. Jordan has enjoyed a fruitful music collaboration with Doug Liman on all of the films he had directed including Go, where she found the then unknown Len song “Steal My Sunshine” and helped make it a hit; The Bourne Identity; Mr. & Mrs. Smith; and the 2008 release Jumper. Jordan has also supervised on such hit films as The Italian Job, Without a Paddle and the Agent Cody Banks franchise. In 2007, Jordan supervised the blockbuster family film Alvin and the Chipmunks, where she lent her expertise in helping create an entirely new soundtrack with songs featuring that world-recognized chipmunk sound. – 41 – No stranger to performing, Jordan is an accomplished violist who studied her craft at Skidmore College and performed with the California Youth Symphony. CHRISTOPHER LENNERTZ (Music by) was born in a small town north of Boston, in the same area as one of his heroes, famed American composer Leonard Bernstein. He then moved to Easton, Pennsylvania, where he began his musical training at age nine. After studying composition, jazz arranging and theory in high school, Lennertz moved to California to study at the USC Thornton School of Music with film music luminaries such as Elmer Bernstein, Buddy Baker, Christopher Young and David Raksin. Upon graduation, Lennertz began his professional career writing a host of independent film scores spanning all musical and dramatic styles. His films have premiered and/or won awards at such film festivals as Sundance, Slamdance, HBO’s Comedy Arts Festival, Toronto and Cannes. While scoring independent films, he ventured into the world of big-budget studio features contributing orchestrations, arranging and conducting experience to such hits as Frailty, Free Willy 2: The Adventure Home, The Jungle Book and Disney’s 101 Dalmatians. He recently began working in television, scoring the cult FOX television series Brimstone, the WB’s The Strip (produced by Joel Silver) and currently, the CW’s hit series Supernatural (executive produced by McG). Lennertz’ soundtrack for Clive Barker’s Saint Sinner was one of Cinescape’s top-15 releases of 2002 and was rated one of the top-10 soundtracks of the year by Film Music Review. His full-blown orchestral score for the blockbuster video game Medal of Honor: Frontline, created by Steven Spielberg, won the Academy of Arts & Sciences Interactive award for Best Original Music Composition of 2003. His arranging work with the City of Prague Philharmonic Orchestra on the current Ozomatli album, “Street Signs,” won the Grammy Award for Best Latin Rock or Alternative Album. Lennertz traveled to London’s Abbey Road Studios to record the James Bond video game, From Russia With Love, with Sean Connery reprising his role as 007 for the first time in two decades. His film credits include Vampires Suck, Cats & Dogs: The Revenge of Kitty Galore, Marmaduke, Disaster Movie, Meet the Spartans, Alvin and the Chipmunks, The Perfect Holiday, The Comebacks, The Deal and Soul Plane (co-composed with the RZA from the Wu-Tang Clan). Lennertz has studied with some of history’s finest masters in the art of film scoring and lent his music to the dramatic performances of both Emmy and Academy Award® winners. In 2006, he received an Emmy Award nomination for his work on Supernatural. – 42 – —hop— NOTES – 43 – NOTES – 44 – NOTES – 45 – NOTES – 46 –
