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UNIVERSAL PICTURES and PARAMOUNT
UNIVERSAL PICTURES and PARAMOUNT PICTURES Present In Association with RELATIVITY MEDIA A TRIBECA / EVERYMAN PICTURES Production A PAUL WEITZ Film ROBERT DE NIRO BEN STILLER OWEN WILSON BLYTHE DANNER TERI POLO JESSICA ALBA LAURA DERN with DUSTIN HOFFMAN and BARBRA STREISAND Executive Producers NANCY TENENBAUM DANIEL LUPI MEGHAN LYVERS ANDREW MIANO RYAN KAVANAUGH Produced by JANE ROSENTHAL ROBERT DE NIRO JAY ROACH JOHN HAMBURG Based on Characters Created by GREG GLIENNA & MARY RUTH CLARKE Written by JOHN HAMBURG and LARRY STUCKEY Directed by PAUL WEITZ –1– Fire Pit Child . . . . . . . . . . . . . . . . . . . . LESLIE GARAVITO Bounce House Kids . . . . . . . . . . . . . . . . CADE ROGERS CORT ROGERS TROY BROWN Party Parents . . . . . . . . . . . . . . . . . . . . . . ERIKA JENSEN ROBERT MIANO KATHARINE KRAMER ROY JONES, JR. DEREK RESSALLAT Ballpit Kid . . . . . . . . . . . . . . . . . . . . . . . VLADIMIR KUBR Fire Walker . . . . . . . . . SEMERE-AB ETMET YOHANNES Art Teacher . . . . . . . . . . . . . . . . . . . . . . . . NICOLE PANO Anatomy Professor . . . . . . . . . . . MICHAEL NAUGHTON Carmencita . . . . . . . . . . . . . . . . . . . . . CELINA ZAMBON Party Monk . . . . . . . . . . . . . . . . . . . . . . . . . . SHIH CHOU Man on Subway . . . . . . . . . . . . . . . . . . . . . . . . STAN EGI Flamenco Dancers . . . . . . . . . . . . . . ANTONIO BOLIVAR MICHELLE CASTILLO THEODORE M. CRISELL NEISHA FOLKES JILLANA LAUFER MOLLY ROGERS Stunt Coordinator . . . . . . . . . . . . . . GARRETT WARREN Stunt Doubles . . . . . . . . . . . . . . . . . . . . CHARLES PAGE TOM LOWELL GREG FITZPATRICK DAN BROWN KELLY BELLINI BONI YANAGISAWA Stunts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARY ALBEE ALICIA VELA-BAILEY KELLI BARKSDALE ARNOLD CHON EDDIE DAVENPORT MARIE FINK COLIN FOLLENWEIDER MARK GINTHER GENE HARTLINE MICHAEL B. JOHNSON CLIFF MCLAUGHLIN STEVE UPTON KATINA WATERS MERRITT YHONKA FRANK TORRES KACIE BORROWMAN CAST Jack Byrnes . . . . . . . . . . . . . . . . . . . . . ROBERT DE NIRO Greg Focker . . . . . . . . . . . . . . . . . . . . . . . . BEN STILLER Kevin Rawley . . . . . . . . . . . . . . . . . . . . . OWEN WILSON Bernie Focker . . . . . . . . . . . . . . . . . . DUSTIN HOFFMAN Roz Focker . . . . . . . . . . . . . . . . . . BARBRA STREISAND Dina Byrnes . . . . . . . . . . . . . . . . . . . . . BLYTHE DANNER Pam Focker . . . . . . . . . . . . . . . . . . . . . . . . . . TERI POLO Andi Garcia . . . . . . . . . . . . . . . . . . . . . . . JESSICA ALBA Prudence . . . . . . . . . . . . . . . . . . . . . . . . . . LAURA DERN Nurse Louis . . . . . . . . . . . . . . . . . . . . . . . . . KEVIN HART Samantha Focker . . . . . . . . . . . . . . . . . . . DAISY TAHAN Henry Focker . . . . . . . . . . . . . . . . . . . . COLIN BAIOCCHI Dr. Bob . . . . . . . . . . . . . . . . . . . . . . . . . TOM MCCARTHY Randy Weir . . . . . . . . . . . . . . . . . . . . . . . HARVEY KEITEL Junior . . . . . . . . . . . . . . . . . . . . . . . . . . . . YUL VAZQUEZ Chappy . . . . . . . . . . . . . . . . . . . . . . . . . . JACK AXELROD Mr. Androvsky . . . . . . . . . . . . . . . . . . . . CLENT BOWERS Svetlana . . . . . . . . . . . . . . . . . . . . . . . . . . . OLGA FONDA Dr. Patel . . . . . . . . . . . . . . . . . . . . . . . . . . LAKSH SINGH Stage Producer . . . . . . . . . . . . . . . . . . . TRULA MARCUS Rufus . . . . . . . . . . . . . . . . . . . . . . . . . . . . JAKE KEIFFER Sleazy Doctor . . . . . . . . . . . . . . . . . . . . . . . ROB HUEBEL EMTs . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN DI MAGGIO JORDAN PEELE KELLI KIRKLAND POWERS as Himself . . . . . . . . . . . . . . . . . . . . . . DEEPAK CHOPRA EHS Tough Kid . . . . . . . . . . . . . . . . . . . ROBBIE TUCKER Young Doctor . . . . . . . . . . . . . . . . . . . . . . . . NICK KROLL Gustavo . . . . . . . . . . . . . . . . . . . . . . SERGIO CALDERON Confused Child . . . . . . . . . . AARON ZACHARY PHILIPS Doctors . . . . . . . . . . . . . . . . . . . . . . . DAVID PRESSMAN HUGH DANE Kristen . . . . . . . . . . . . . . . . . . . . . . . . . . . . AMY STILLER Newspaper Vendor . . . . . . . . . . . . RICHARD CUTOVSKY Climbing Kids . . . . . . . . . . . . . . . . . . . TRINITY WARREN SAMUEL SCHULTZ CADE ROGERS AVA ROSE WILLIAMS FRANKIE M. TORRES Party Kids . . . . . . . . . . . . . . . . . . . . . . . . KYLA WARREN ERIN HAISAN RYDER BUCARO CALLDER WEST GRIFFITH LEI’LAH STAR DAVID WILLIAMS Monks . . . . . . . . . . . . . . . . . . . . . . . . . RANDY CHUANG JOE THAMAWAT Sadu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HARRY BALI Caricature Artist . . . . . . . . . . . . . . . . . . . . PAUL HERMAN CREW Directed by . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL WEITZ Written by . . . . . . . . . . . . . . . . . . . . . . . JOHN HAMBURG and LARRY STUCKEY –2– Camera Loader . . . . . . . . . . . . . . . . . . . . . AMI HOWARD Still Photographer . . . . . . . . . . . . . . . . . . GLEN WILSON Production Sound Mixer . . . . . . . . . . . . WILLIE BURTON Boom Operator . . . . . . . . . . . . . . . . . . GARY A. THEARD Cableman . . . . . . . . . . . . . . . . . . . . . . . RON FREMSTAD Video Assist Operator . . . . . . . . . . . . . . . JAY HUNTOON Chief Lighting Technician . . . . . . . . . . . . . . . . DAVID LEE Assistant Chief Lighting Technician . . . . . RYAN FRENCH Set Electricians . . . . . . . . . . . . . . . . . . . . . . JIMMY ELLIS K. ALLEN HARKER JORDAN PARHAD IAN STRANG Rigging Gaffer . . . . . . . . . . . . . . . . . . . . . KEVIN J. LANG Rigging Best Boy Electric . . . . . . . . . . . . DAVID DUNBAR Rigging Electricians . . . . . . . . . . . . . . . KEVIN BERRERA REUBEN T. REYES JERRY WOODSIDE Key Grip . . . . . . . . . . . . . . . . . . . . JACK CHOUCHANIAN Best Boy Grip . . . . . . . . . . . . . . . . . . . JIMMY CULLIGAN Universal Best Boy Grip . . . . . . . . . . . . . . . . . RYAN KIRK Dolly Grips . . . . . . . . . . . . . . . . . . . . . . . . PETE ASIDILLA TROY WADE JEFF KUNKEL Grips . . . . . . . . . . . . . . . . . . . . . . . REGGIE DONALDSON STEVEN HUBBELL DIEGO MARISCAL RYAN NELSON Rigging Key Grip . . . . . . . . . . . . . . . . . STEELE HUNTER Rigging Best Boy Grip . . . . . . . . . . . . JOSEPH E. BATES Rigging Grips . . . . . . . . . . . . . . . . . . . MICHAEL KOWAL T.D. SCARINGI RUBEN J. CHACON Special Effects Supervisor . . . . . . . . MICHAEL LANTIERI Special Effects . . . . . . . . . . . . . . . . . . . . . . . JAY B. KING ROLAND LOWE Costume Supervisor . . . . . . . . . . . . . . . EDEN COBLENZ Assistant Costume Designer . . . . NANROSE BUCHMAN Mr. De Niro’s Costumer . . . . . . . . . . . . . . . MARCIE OLIVI Mr. Stiller’s Costumer . . . . . . . . . . . . . . . . . . DAVID PAGE Ms. Streisand’s Costumer . . . . . . . . . . . DEBBIE TRAVIS Costumers . . . . . . . . . . . . . . . . . . . . . CHERYL CRAVEDI DEMETRICUS HOLLOWAY TANIS ALEXANDER AUSTIN MEYERS Makeup Department Head . . . . . . . . . STEVE ARTMONT Mr. De Niro’s Makeup Artist . . . . . . PAMELA WESTMORE Mr. Stiller’s Makeup Artist . . . . . . . . . . . . . KATE BISCOE Mr. Wilson’s Makeup Artist . . . . . . . . . . . . . PATTY YORK Ms. Streisand’s Makeup Artist . . . . . . . . DAVID DE LEON Ms. Alba’s Makeup Artist . . . . . . . . . . . . TRICIA SAWYER Based on Characters Created by . . . . . . GREG GLIENNA & MARY RUTH CLARKE Produced by . . . . . . . . . . . . . . . . . . . JANE ROSENTHAL ROBERT DE NIRO JAY ROACH JOHN HAMBURG Executive Producers . . . . . . . . . . . NANCY TENENBAUM DANIEL LUPI MEGHAN LYVERS ANDREW MIANO RYAN KAVANAUGH Director of Photography . . . . . . REMI ADEFARASIN BSC Production Designer . . . . . . . . . . . . . . WILLIAM ARNOLD Edited by . . . . . . . . . . . . . . . . . . . . . . . . . GREG HAYDEN LESLIE JONES ACE MYRON KERSTEIN Costume Designer . . . . . . . . . . . . . . . MOLLY MAGINNIS Original Score by . . . . . . . . . . . . . . . . . STEPHEN TRASK Casting by . . . . . . . . . . . . . . . JOSEPH MIDDLETON CSA Unit Production Manager . . . . . . . . . . . . . . DANIEL LUPI First Assistant Directors . . . . KATTERLI FRAUENFELDER GARY MARCUS Second Assistant Director . . . . . . . . . . . . . PAULA CASE Production Supervisor . . . . . . . . . . . . . . . . WILL WEISKE Supervising Art Director . . . . . . . . . . . . . . . . . SUE CHAN Art Director . . . . . . . . . . . . . . . . . . . THOMAS T. TAYLOR Set Designer . . . . . . . . . . . . . . . . . . . BARBARA MESNEY Graphic Designer . . . . . . . . . . . . . . . . . . CLINT SCHULTZ Art Department Coordinator . . . . . . JENNIFER R. BLAIR Storyboard Artist . . . . . . . . . . . . . . . . . JIM MAGDALENO Property Master . . . . . . . . . . . . . . . . . . . . . . TODD ELLIS Assistant Property Master . . . . . . . . . . ALLISON GROSS Property Person . . . . . . . . . . . . . . . . . . ROSE SHAWHAN Set Decorator . . . . . . . . . . . . . . . . . . . . . . . DAVID SMITH Leadman . . . . . . . . . . . . . . . . . . . . RICHARD BRUNTON Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EVA FIRSHEIN Set Dressers . . . . . . . . . . . . . . . . . . . BRENNER HARRIS KELLY SCHULTZ MIKE THURMAN JOHN BRATTON SAM TELL PERRY BATCHELOR On-Set Dresser . . . . . . . . . . . . . . MERDYCE MCCLAREN Set Dressing Assistant . . . . . . . . . AMANDA BROMBERG Camera/Steadicam Operator . . . . P. SCOTT SAKAMOTO First Assistant Camera . . . . . . . . . DENNIS SEAWRIGHT Second Assistant Camera . . . . . . . . . . HAYDN PAZANTI “B” Camera Operator . . . . . . . . . . . . . . . DAVID E. DIANO First Assistant “B” Camera . . . . . . . . . . . . CLYDE BRYAN SUZANNE TRUCKS Second Assistant “B” Camera . . . . . MICHAEL ALVAREZ –3– CULLMAN HEDGES Assistants to Ms. Streisand . . . . . . . . . . RENATA BUSER CLARICE CASICO Office Production Assistants . . . . . . . DESMOND SMITH JENNIFER SINDELL Art Department Assistant . . . . . . . . . . . . . LILY PAHLOW Asset Representative . . . . . . . . . . . . . . JOSHUA PIERCE Production Intern . . . . . . . . . . . . . . . . ERICA MAZZELLA Lead Cat Trainer . . . . . . . . . . . . . . . . DAWN M. BARKAN Cat Trainer . . . . . . . . . . . . . . . . . . . . . STEVE SOLOMON Construction Coordinator . . . . . . . . . DAVE DEGAETANO Construction Foreman . . . . . . . . . . . . . STEVE RIGAMAT Labor Foreman . . . . . . . . . . . . . . . . . . . . . . . . JOHN HILL Paint Supervisor . . . . . . . . . . . . . . . . . . . . . JOHN SNOW Standby Painter . . . . . . . . . . . . . . . . . . . . ANDY FLORES Head Greensman . . . . . . . . . . . . . . LAZAR SAMARZICH Transportation Coordinator . . . . . . . . . . . . PAUL STROH Transportation Captain . . . . . . . . . . . . GEORGE NADIAN Transportation Co-Captain . . . . . . JIMMY RAY PICKENS Craft Service . . . . . . . . . . . . . . . . . . . . WILLIE RADCLIFF LOIS RADCLIFF Caterer . . . . . . . . . . . . . . . TONY’S FOOD SERVICE, INC. Re-recording Mixers . . . . . . . . . . . . . . . . . . JON TAYLOR BOB BEEMER Post-Production Supervisor . . . . . . . FRANK A. CUOMO 1st Assistant Editor . . . . . . . . . . JAMES ANDRYKOWSKI Assistant Editors . . . . . . . . . . . . . . . . . . . JILL PIWOWAR DAVE CLARK JESSE ELLIS STEVEN TRAPANI Editorial Production Assistants . . . . . . JENNY CACERES BRIAN STEELE VFX Editor . . . . . . . . . . . . . . . . . . . . . TODD FULKERSON Supervising Sound Editor/Sound Designer . . . . . . . . . . . . ERIC WARREN LINDEMANN ADR/Dialogue Supervisor . . . . . . . STEPHANIE L. FLACK Supervising Foley Editor . . . . . . . . CHRISTOPHER ALBA Sound Effects Editors . . . . . . . . . PAUL HACKNER MPSE BILL R. DEAN MPSE DAVID A. WHITTAKER MPSE MARK LARRY ADR/Dialogue Editors . . . . . . . . . . . . . . . . JULIE FEINER MICHAEL SZAKMEISTER CAMERON STEENHAGEN Foley Editor . . . . . . . . . . . . . . . . MARLA MCGUIRE MPSE Assistant Sound Editor . . . . . . . MATTHEW W. KIELKOPF Foley Artists . . . . . . . . . . . . . . . . . . . . . DAN O’CONNELL JOHN CUCCI Foley Mixers . . . . . . . . . . . . . . . . . . . . . JAMES ASHWILL RICHARD DUARTE ADR Mixer . . . . . . . . . . . . . . . . THOMAS J. O’CONNELL Hair Department Head/Mr. De Niro’s Hairstylist . . . . . . . . . JOHN ISAACS Hair Department Co-Head . . . . . . . . . . . . . MIIA KOVERO Mr. Stiller’s Hairstylist . . . . . . . . . . . . . . . LORI GUIDROZ Mr. Wilson’s Hairstylist . . . . . . . . . . . . . . . GERRY JONES Ms. Streisand’s Hairstylist . . . . . . . . BARBARA LORENZ Ms. Alba’s Hairstylist . . . . . . . . . . . JANINE THOMPSON 2nd Unit Director . . . . . . . . . . . . . . . . GARRETT WARREN Associate Producer . . . . . . . KATTERLI FRAUENFELDER Script Supervisor . . . . . . . . . . . . . . . . . . ANNIE WELLES Production Coordinator . . . . . . . . . . . DEMELZA CRONIN Assistant Production Coordinator . . . . . . COREY SKLOV Additional Production Coordinator . . . . . JOHN B. WEST Production Secretary . . . . . . . . . . . JUSTIN R. WILLIAMS 2nd 2nd Assistant Director . . . . . STEPHEN P. DEL PRETE Key Set Production Assistants . . . ALEXANDER BETUEL GERSON PAZ Set Production Assistants . . . . . . . . . . . LESLIE MERLIN MEGAN SCHMIDT JIMMY MACOLINO DILLON NEAMAN Location Manager . . . . . . . . . . . . . . COLLEEN GIBBONS Key Assistant Location Manager . . . . . LEANN EMMERT Assistant Location Manager . . . . . . . . . . . NATE TAYLOR Studio Teacher . . . . . . . . . . . . . . . . . . MAURA GANNETT Production Accountant . . . . . . . . . . RACHEL PRENTISS Post-Production Accountant . . . . . . . . . . . . . GAIL ROSE Assistant Accountant . . . . . . . . . . . . THEODORE DAVILA 2nd Assistant Accountants . . . . . . . . . ALBERTINA KELLY MATT DE MIER DAVE GOODIN Payroll Accountant . . . . . . . . . . . . . KIMBERLY AGUIRRE Additional Assistant Accountant . . . . . . NICOLE BASILE Accounting Clerk . . . . . . . . . . . . . . . . . . JULIE WYLOGE Casting Associate . . . . . . . . . . . . . . . . . TINEKA BECKER Casting Assistant . . . . . . . . . . . . . KATHRYN CALOGERO Additional New York Casting . . . . . . . . . . . . KIM MISCIA BETH BOWLING Extras Casting . . . . . . . . . . . . . . . . . . . . . CAROL GRANT Unit Publicist . . . . . . . . . . . . . CAROL MCCONNAUGHEY Assistant to Mr. Weitz . . . . . . . . . . . . . . DAN BALGOYEN Assistant to Ms. Rosenthal . . . . . . . . . CHRIS HADLOCK Assistant to Mr. Roach . . . . . . . . . MICHELLE GRAHAM Assistant to Mr. Hamburg . . . . . . . . . . . . ESTEE GABBAI Assistant to Mr. Miano . . . . . . . . . . . . . . BRENDA VOGEL Assistant to Mr. De Niro . . . . . . . . . . . . DANIEL B. CONE Assistants to Mr. Stiller . . . . . . . . . . . . . . . . . JILL REMIS JAC WOODS ALLISON MEADOWS Assistants to Mr. Wilson . . . . . . . . . . STEVE ECKLEMAN JESSICA FRANKS –4– ADR Recordist . . . . . . . . . . . . . . . . . . . . . RICK CANELLI ADR Voice Casting . . . . . . . . . . . . . . BARBARA HARRIS Post-Production Sound Services Provided by . . . . . . . . . UNIVERSAL STUDIOS SOUND Re-recording Mix Tech . . . . . . . . . . . . . . . UNSUN SONG Stage Engineers . . . . . . . . . . . . . . . . . . . . JACK SNYDER DAVE TOURKOW DAVE BERGSTOM Music Editor . . . . . . . . . . . . . . . AMANDA GOODPASTER Preview Music Editor . . . . . . . . . . . . . . . CHUCK MARTIN Assistant Music Editor . . . . . . . . . . . . . . JOSEPH BONN Music Consultant . . . . . . . . . . . . GEORGE DRAKOULIAS Supervising Orchestrator . . . . . . . . . . . . STEVE BARTEK Orchestration . . . . . . . . . . . . . . . . . . EDGARDO SIMONE DAVE SLONAKER Additional Orchestration . . . . . . . . . . . . . . . TIM RODIER Additional Arrangements . . . . . . . . MATTHEW MARIANO LIOR ROSNER EDWIN WENDLER Midi & Score Preparation . . . . . . . . . . . PETER BATEMAN Midi Transcription . . . . . . . . . . . . . . DARREN MCKENZIE Music Prep . . . . . . . . . . . . . . . . . . . . . . REPRISE MUSIC Music Contractor . . . . . . . . . . . . . . . . . . . GINA ZIMMITTI Score Recorded & Mixed by . . . . . . . . . . . GREG HAYES Digital Recordist . . . . . . . . . . . . . . . . . . VINCENT CIRILLI Score Recorded at . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NEWMAN STAGE, 20TH CENTURY FOX Scoring Crew . . . . . . . . . . . . . . . . . . . DENIS ST. AMAND TIM LAUBER TOM STEEL GREG DENNEN STACEY ROBINSON Score Mixed at . . . . . . . . . . . . . . RECORD ONE STUDIO Mix Crew . . . . . . . . . . . . . . . . . . . . . . . . . PATRICK SPAIN Godfocker Trumpet . . . . . . . . . . . . RUSSELL JOHNSON Kentucky Slapper . . . . . . . . . . . . . . . . . . MATT DUNCAN Auricle Time Processor . . . . . . . . . . . . RICHARD GRANT RON GRANT Orchestra Conducted by . . . . . . . . . . . . PETE ANTHONY MIKE NOWAK Rock Band Recorded at . . . . . . . . . . . CONWAY STUDIO Rock Band Musicians . . . . . . . . . . . . . . . JUSTIN CRAIG ROBBY COSENZA Digital Intermediate by . . . . . . . . . . . . . . . . . . . . . . EFILM DI Colorist . . . . . . . . . . . . . . . . . . . . NATASHA LEONNET DI Producer . . . . . . . . . . . . . . . . . . . . . ALICIA JOHNSON Main & End Title Designed by . . . . . . . . . . . . . . . YU+CO Camera Cranes, Dollies & Systems . . . . . . . . . . . . . . . . . . CHAPMAN/LEONARD STUDIO EQUIPMENT, INC. Arriflex Cameras by . . . . . . . . . . . . . . . . . OTTO NEMENZ CHICAGO UNIT Unit Production Manager . . . . . . . . MEREDITH ZAMSKY Location Manager . . . . . . . . . . . . . . . . . . . . . . . AL COHN Assistant Location Manager . . . . . . . . . NICK RAFFERTY Location Coordinator . . . . . . . . . . . . . NATASHA PARKER Production Office Coordinator . . . JEREMY BEIERMANN Assistant Production Office Coordinator . . . . . . . . . . . . . . KENNETH YODER Art Director . . . . . . . . . . . . . . . . . . . . . . . . GARY BAUGH Set Decorator . . . . . . . . . . . . . . . . . . . . TONY BARRACA Leadperson . . . . . . . . . . . . . . . . . . . . . . . TOM GAGNON On-Set Dresser . . . . . . . . . . . . . . . . . THOMAS J. GLYNN Second Assistant “B” Camera . . . . . . . . . . . . . . . . . . . . . . JEFFREY MIHOVILOVICH Loader . . . . . . . . . . . . . . . . . . . . . . CHRIS WITTENBORN Video Utility . . . . . . . . . . . . . . . . . . . . . . . JONAH RAVINE Cable . . . . . . . . . . . . . . . . . . . . . . . . ADAM MOHUNDRO Key Costumer . . . . . . . . . . . . . . . . . . . GRETCHEN GAIN Hairstylist . . . . . . . . . . . . . . . . . . . . . . DOMINIC MANGO Makeup Artist . . . . . . . . . . . . . . . . . . . . . . . SUZI OSTOS Gaffer . . . . . . . . . . . . . . . . . . . . . . . . . . GINO CREDEDIO Best Boy Electric . . . . . . . . . . . . . . . . . . . . . DICK OAKES Rigging Gaffer . . . . . . . . . . . . . . . . . . . . . . JOHN FRIDAY Rigging Best Boy . . . . . . . . . . . . . . . . . CHRIS MULSOFF Key Grip . . . . . . . . . . . . . . . . . . . . . . . . JAMES ROORDA Best Boy Grip . . . . . . . . . . . . . . . . . WILSON MYLANDER Key Rigging Grip . . . . . . . . . . . . . . . . . . . JOE CONNELY Best Boy Rigging Grip . . . . . . . . . . . . . . CHRIS COLLAR Stunt Coordinator . . . . . . . . . . . . . . . . . RICK LEFEVOUR Special Effect Coordinator . . . . . . . . . . . JOHN MILINAC Additional 2nd Assistant Directors . . . . . . STEFAN RAND ANDY SPELLMAN 1st Assistant Accountant . . . . . . . . . . . . SONIA DAWSON Payroll Accountant . . . . . . . . . . . . . . BRIDGETT BARON Assistant to Mr. Stiller . . . . . . . . . . . . . . . . NATHAN BELL Property Master . . . . . . . . . . . . . . . AARON HOLDEN, JR. Construction Coordinator . . . . . . . . . . . . . TROY OSMAN Paint Supervisor . . . . . . . . . . . . . . . . . . . . . HARRY HAAS Standby Painter . . . . . . . . . . . . . . . . . . . . . ROBERT GAU Key Greensman . . . . . . . . . . . . . . . . . . . . JEFF DIERTER Transportation Coordinator . . . . . . . . . . . . BILLY HOGAN Transportation Captain . . . . . . . . . . . . . . DAN MAXWELL Transportation Co-Captain . . . . . ANTHONY BELMONTE Craft Service . . . . . . . . . . . . . . . . . . RYAN STEINHOUSE Catering . . . . . . . . . . . . . . . . . . . . HAT TRICK CATERING Extras Casting . . . . . . . . . . . . . . . . . . . . . . . JOAN PHILO ADDITIONAL PHOTOGRAPHY Director of Photography . . . . . . . . . . . . . OLIVER WOOD –5– 2nd Assistant Director . . . . . . DAWN MASSARO-ADAMS 2nd 2nd Assistant Director . . . . . . . . . . . . . . LARRY KATZ Production Coordinator . . . . . . . . . . . MALIKA R. COHEN Assistant Production Coordinator . . . PHILIPPE IUJVIDIN Location Manager . . . . . . . . . . . . . . . . . . BOYD WILSON Key Assistant Location Manager . . . . . . . . . . . . JUN LIN Payroll Accountant . . . . . . . . . KATY TATIAN-GENOVESE Property Master . . . . . . . . . . . . . . . . . SCOTT MAGINNIS Assistant Property Master . . . . . . . . . . . TREY HOWARD “A” Camera Operator . . . . . . . . . . . . . . . . . . JOE CHESS First Assistant “A” Camera . . . . . MARICELLA RAMIREZ Second Assistant “A” Camera . . . . . . . . DAVID GARDEN First Assistant “B” Camera . . . . . . . . . . . . . . . TIM KANE Second Assistant “B” Camera . . . . SCOTT WHITBREAD Camera Loader . . . . . . . . . . . . . . MATTHEW FREEDMAN Still Photographer . . . . . . . . . . . . . . . . . RALPH NELSON Production Sound Mixer . . . . . . JOSE ANTONIO GARCIA Boom Operator . . . . . . . . . . . . . . . . . . . JONATHAN FUH Cableman . . . . . . . . . . . . . . . . . . . . . . . . ERIC BAUTISTA Video Assist Operator . . . . . . . . . . . DEMPSEY TILLMAN Key Grip . . . . . . . . . . . . . . . . . . . . . . RANDAL TAMBLING Best Boy Grip . . . . . . . . . . . . . . . . . . . BRADLEY BOYER Special Effects Coordinator . . . . . . . . . . STEVE CREMIN Costume Supervisor . . . . . . . . . . . . . . . . BOB MATHEWS Key Costumer . . . . . . . . . . . . . . . . . . . . . . KENN SMILEY Mr. Stiller’s Costumer . . . . . . . . . . . . . . . . . . . ERIC YAKE Ms. Streisand’s Costumer . . . . . . . . . KENDALL ERRAIR Mr. Stiller’s Makeup Artist . . . . . . . . . . . . . LISA LAYMAN Mr. Hoffman’s Makeup Artist . . . . . . . . . . VALLI O’REILLY Ms. Streisand’s Makeup Artist . . . . . . RONNIE SPECTOR Mr. Hoffman’s Hairstylist . . . . . . . . . BEATRICE DE ALBA Ms. Streisand’s Hairstylist . . . . . . . . MARY ANN VALDES Mr. Hoffman’s Assistant . . . . . . . . . . . AMANDA KAPLAN Script Supervisor . . . . . . . . . . . . . CAROL DE PASQUALE Transportation Captain . . . . . . . . . . ROBERT CHESTNUT Crafts Service . . . . . . . . . . . . . . . . . . CHANCE TASSONE Visual Effects & Animation by . . . . . . . . . . . . . . . . . . . . . . RHYTHM & HUES STUDIOS Visual Effects Supervisor . . . . . . . . . . . TODD SHIFFLETT Visual Effects Producer . . . . . . . . . . . . . . . . GARY NOLIN Co-Visual Effects Supervisor . . . . . . . . RAYMOND CHEN Digital Producer . . . . . . . . . . . . . . . . . . . . BLAKE NICKLE Sequence Supervisors . . . . . . . . . . . . . . EDWIN RIVERA DAVID LAUER Production Managers . . . . . . . . . . . . . . ANGIE HOWARD GENE KOZICKI Production Coordinators . . . . . . . . . . . . . . MEGAN TYRA GLORIA COHEN Stock photography courtesy of Library of Congress, Prints and Photographs Division. “EXPRESS YOURSELF” Visual Effects Editor . . . . . . . . . MICHAEL BACKAUSKAS Written by Charles W. Wright Match Mover . . . . . . . . . . . . . . . . . RANGESH DURAIRAJ Performed by The DeeKompressors Animator . . . . . . . . . . . . . . . . . . . . . . RYAN DONOGHUE Produced by Ali “Dee” Theodore for Lighter . . . . . . . . . . . . . . . . . . . . . . . KENNETH KURRAS DeeTown Entertainment BG Prep Lead . . . . . . . . . . . . . . . . . . . . BERTHA GARCIA Courtesy of DeeTown Entertainment Stock photography courtesy of Corbis. “GET YOUR HANDS UP” Stock footage courtesy of Thought Equity. Stock photography and footage courtesy of Getty. BG Prep . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AJAY A.K. AHMAD RIDHWAN ADDUL RAZAK MICHAEL A. FREVERT KUNAL PRABHU VIKRAM SANGHAI SRIKANTH SHANMUGAM PRAKASH TELI Compositing Lead . . . . . . . . . . . . . . . . . . . JULIE STARK JATEEN THAKKAR Compositors . . . . . . . . . SHYAM PRASAD CHOWDHARY VINOTH KUMAR MARCUS M. RUBONE JOSEPH SALAZAR VIJAY SELVAM Production and Technical Support . . . . . . . . ADITI SHAH Written by Ali Theodore, Zach Danziger, Alana Da Fonseca, Sarai Howard The Filmmakers Wish to Thank Performed by The DeeKompressors Produced by Ali “Dee” Theodore for The Illinois Film Office www.IllinoisFilm.biz (Illinois Film Office Logo) DeeTown Entertainment Courtesy of DeeTown Entertainment AMERICAN HUMANE MONITORED THE ANIMAL ACTION. NO ANIMALS WERE HARMED®. (AHAD 02106) “TIBET” Arranged by Fred Fung, Xiaofeng Zhang, Michael Santoro Performed by The Jumping Buddha Ensemble This motion picture used sustainability strategies to reduce its carbon emissions and environmental impact. “THE SHAKUHACHI SHUFFLE” Written and Performed by Joseph Bonn Visual Effects by . . . . . . . . . . . . . . . . . . . LEVEL 256, INC. Visual Effects Supervisor . . . . . . . . . . SCOTT M. DAVIDS “NEWO’S GIFT” TD . . . . . . . . . . . . . . . . . . . . . . . . . . . . SETH KLEINBERG Written and Performed by Joseph Bonn Lead Artist . . . . . . . . . . . . . . . . . . . . . CHRIS CHAPPELL Compositors . . . . . . . . . . . . . . . . . . . . . . . . . ADAM LIMA MARK LARRANGA Paint/Roto Artist . . . . . . . . . . . . . . . . . . . DAVID WILSON “JAWS—MAIN TITLE” and “THE EMPTY RAFT” from the Motion Picture “JAWS” Written and Performed by John Williams VFX Coordinator . . . . . . . . . . . . . . . . . . ANTHONY HAYS NO. 46455 “BYRNES, JACK BYRNES REMIX” MOTION PICTURE ASSOCIATION OF AMERICA SOUNDTRACK ON BACK LOT MUSIC AND VARÈSE SARABANDE RECORDS Music by Joseph Bonn COPYRIGHT © 2010 UNIVERSAL STUDIOS AND DW STUDIOS LLC All Rights Reserved. “WHAT’S NEW PUSSYCAT?” “BEAUTIFUL MORNING” Written by Edward Brigati, Felix Cavaliere Performed by The Rascals Courtesy of Atlantic Recording Corp. By arrangement with Warner Music Group Film & TV Licensing The Major League Baseball trademarks depicted in “THE NAME GAME” Written by Lincoln Chase, Shirley Elliston AC/DC is a registered trademark of Leidseplein Presse, B.V. and is used under license from the owner of the trademark. Written by Burt Bacharach, Hal David Animated Universal Studios Logo © 1997 Universal Studios this motion picture were licensed by Major League Baseball Properties, Inc. Universal Studios and DW Studios LLC are the authors of this motion picture for purposes of the Berne Convention and all national laws giving effect thereto. Newspaper name and logo courtesy of the Chicago Defender. –6– –7– 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. Credits as of November 30, 2010. Jack Byrnes (ROBERT DE NIRO) and Greg Focker (BEN STILLER) face off once again in Little Fockers. For more than a decade, one comedy franchise has celebrated the humor in the foibles and fractures we share with friends and family. Racking up a combined worldwide box office of more than $800 million, Meet the Parents and Meet the Fockers introduced us to some of modern comedy’s most beloved characters. Now, the third installment of the enor–8– mously popular series turns an eye toward another of life’s milestones and its humorous impact on marriage and family: raising kids. Welcome back to the comedic pleasure of watching Jack Byrnes (Academy Award® winner ROBERT DE NIRO) and Greg Focker (BEN STILLER) go head-to-head in Little Fockers. –9– Now it’s time to meet the little Fockers—Samantha (DAISY TAHAN of television’s Nurse Jackie) and Henry (COLIN BAIOCCHI of Couples Retreat) —as the film delves into the trials and tribulations of the growing family, a natural progression for the series built on the time-honored rituals of dating, marriage and children. It has taken 10 years, two little Fockers with wife Pam (Polo) and countless hurdles Jack and Dina Byrnes (BLYTHE DANNER) relax at a family meal. for Greg to finally get “in” with his tightly wound fatherJoining DeNiro and Stiller in the comedy is the in-law, Jack. However, after the cash-strapped dad takes a job moonlighting for a drug company with a returning all-star cast of OWEN WILSON, TERI POLO, BLYTHE DANNER and Academy Award® winners sexy co-worker, Jack’s suspicions come roaring back. It couldn’t be a worse time for Greg, who is simulDUSTIN HOFFMAN and BARBRA STREISAND. For the latest chapter of the worldwide hit franchise, they are taneously juggling the demands of impressing the headmistress (Dern) of a prestigious private school joined by JESSICA ALBA, LAURA DERN and for the twins and finessing his shady general conHARVEY KEITEL. It all began in 2000 with the comic frustrations of tractor (Keitel)—whose repeated renovation delays male nurse Greg Focker as he tried to impress his girl- on their dream home threaten to derail the kids’ friend’s parents but ended up at odds with the formi- birthday party—all while fending off the advances of dable family patriarch, Jack Byrnes. Audiences across the drop-dead gorgeous pharmaceutical rep (Alba) with whom Greg works. the globe responded to the pointed comedy and As the Focker-Byrnes clan—Greg’s parents, touching moments that reflected everyday challenges Bernie (Hoffman) and Roz (Streisand), Jack and with family. Lightning struck again when, in 2004, Greg intro- Dina (Danner)—and Pam’s lovelorn ex, Kevin (Wilson), descend for the birthday bash, Greg must duced his unconventional parents to his WASP-y future in-laws and tried to manage a combustible situation prove to the skeptical Jack that he’s fully capable as without being removed from Jack’s circle of trust. The the man of the house and designated Godfocker of franchise exploded as moviegoers couldn’t get enough the clan. But with all the misunderstandings, spying of Jack, Greg and both of their nutty clans. In fact, Meet and covert missions, will Greg pass Jack’s final test the Fockers became the highest-grossing comedy in and become the family’s next patriarch…or will the circle of trust be broken for good? Universal Pictures’ history and ranks second only to Directed by PAUL WEITZ (American Pie, In Home Alone as the most successful live-action comedy Good Company), Little Fockers is produced by JANE ever at the domestic box office. – 10 – ROSENTHAL (Meet the Parents, Meet the Fockers), Robert De Niro, JAY ROACH (Meet the Parents, Meet the Fockers) and JOHN HAMBURG (I Love You, Man, Meet the Fockers), who shares screenwriting duties with LARRY STUCKEY (Elling). The accomplished behind-the-scenes team includes such longtime Weitz and Stiller collaborators as director of photography REMIADEFARASIN (InGood Company, Elizabeth), production designer WILLIAM ARNOLD (In Good Company, Magnolia), costume designer MOLLY MAGINNIS (Role Models, In Good Company) and editors GREG HAYDEN (Tropic Thunder, Zoolander), LESLIE JONES (Cirque du Freak: The Vampire’s Assistant, Punch-Drunk Love) and MYRON KERSTEIN (In Good Company, Garden State). Little Fockers is executive produced by NANCY TENENBAUM (Meet the Fockers), DANIEL LUPI (50 First Dates), MEGHAN LYVERS, ANDREW MIANO (Nick & Norah’s Infinite Playlist) and RYAN KAVANAUGH (Zombieland). AboutThe Production For series producer Jane Rosenthal, the film title may have fallen into place with ease, but fleshing out an original story that would excite audiences would prove to be a bigger challenge for her team. “Little Fockers and Meet the Fockers are not traditional sequels,” cites the veteran filmmaker and partner with Robert DeNiro at Tribeca Productions. “Each film ends up chronicling the growth of these characters— whether it’s Pam and Greg’s tentative steps as a committed couple, meeting her parents or the introduction of both sets of future in-laws. The one thing about this franchise that makes the comedy work so well is the dynamic between the characters. With each film, the audience is more vested in these relationships. The audience has grown with the franchise, so we always aim to be at the top of our game.” The key to any successful chapter is a lively, entertaining take on characters the audience has come to love. With back-to-back blockbusters behind them, the filmmakers once again turned to the screenwriter who most intimately knows the Focker-Byrnes history. John Hamburg, who previously co-wrote the screenplays for both Meet the Parents and Meet the Fockers and also serves as a producer on Little First Comes Love: Little Fockers Is Born As Meet the Fockers closed with a radiantly pregnant Pam marrying Greg in front of their loved ones, the next chapter in the blockbuster series was nimbly established. If raising children was to be the crux of a new Parents sequel, this chapter would need to bring us back to focus on the relationships of the Byrnes and the Fockers— both romantic and familial. Pam Focker (TERI POLO) and husband Greg take it all in. – 11 – producer notes. “We wanted to make sure that our audience would buy into the set of conditions that would pit Greg Focker against Jack Byrnes again. I’m happy that we keep getting invited back.” When it comes to developing material, Hamburg, who in addition to the Parents series has collaborated with Ben Stiller on Zoolander and Along Came Polly (which Hamburg wrote and directed), has cultivated a shortBernie (DUSTIN HOFFMAN) and Roz Focker (BARBRA STREISAND) celebrate at their grandchildren’s birthday party. hand with the multitalented actor. “When you’re making the third film in a series, Fockers, returns with his combination of original the constant question is ‘How do you keep it fresh and story lines and broad comedic sensibility that solidify retain what people liked about the first two movies?’” the circle of trust. he asks. “Ben is a perfectionist and one of the For Hamburg, the beauty of the previous films lay in the simplicity of the premise: boy meets girl, boy smartest people I’ve ever encountered. He wants to meets girl’s parents, boy’s parents meet girl’s parents. keep working at the material from a character standBut he would find his biggest challenge was trying to point. So you challenge yourself to make it better, sustain the relatability that propelled the first two make it real and more original. The voice I have as a writer and the voice that Ben has as an actor just go comedies. As much as Hamburg looked forward to revisiting the characters he’d helped to create 10 years together well. It’s a very fluid process.” Stiller knew he was only interested in revisiting earlier, it turned out that the working title the team had embraced would present a whole new set of challenges. his role as Greg Focker if the material lent itself to Aiding Hamburg in navigating the new trials another entertaining story that moved the characters’ lives forward. “We worked on the script to get it to a and tribulations of the Fockers and the Byrnes was place that was organic and felt like it made sense for Larry Stuckey. An associate producer on Meet the the movie to be happening at this point,” he notes. Fockers, Stuckey’s writing partnership with “It’s dealing with issues that are relevant for each of franchise director/producer Jay Roach, coupled the characters at various stages in life.” with his own experiences as an anxious new father The concept was reduced to the universal chaland husband, helped inspire this chapter for the lenges that any couple deals with as they expand two screenwriters. Roach, who previously directed and produced upon their family. Wanting the best for your children, keeping your head above water financially, both Meet the Parents and Meet the Fockers, admits facing your mortality and maintaining a marriage— that the process of finding another chapter was a whether five or 35 years along—are all relatable to lengthy one. “It took a few years to come up with a the audiences who have embraced the series. More story that we thought earned its way back in,” the of life’s ups and downs, coupled with meddling infelt similar to that. It’s such an incredibly unusual laws, turned out to be a welcome foundation for the situation to have a cast of this caliber in place.” next chapter. Weitz particularly appreciated what the script had Taking the helm of the third film is director Paul to say about our decisions to grow up. He offers: Weitz, whose knack for injecting heart into comedy, “Ben’s character seems like one of those archetypical whether broad or subtle, has proven to win over audicharacters that everybody is able to project their ences in such films as American Pie and About a Boy neuroses onto. For Greg, they are feelings of insignif(which he directed with his brother, Chris) and In icance. The primary thing that made this click was the Good Company. Says Rosenthal of Weitz joining the idea that Greg was at a particular point in his life fold: “Paul brings a terrific sensibility to Little where you have kids who are old enough that you no Fockers. One of the things we were looking for was to longer feel like you’re in some weird dream that take these real situations and push the comedy within you’re going to wake up from. You actually feel like, the situations. Paul possesses that ability in spades. ‘Wow, I really do have kids.’ You’re next in line and He’s terrific with actors, and especially with the kids.” taking responsibility for both the generation before For Weitz, who has shown a predilection for you and the one after.” comedy with a strong emotional connection, the With Weitz now a part of the filmmaking team, the Meet the Parents franchise was a good fit—one to fine-tuning of the material continued. A key element to which he could bring his own stamp. It also developing the storyline was to maintain the familial reunited him with two of his producers from About relationships while jumpstarting the story. The screena Boy, Jane Rosenthal and Robert De Niro. Little writers accomplished this by introducing us to the charFockers gave the director a chance to flex his acters at a new juncture in their lives. Namely, Jack and comedic muscle again and shepherd the Fockers Greg’s contentious relationship, which has propelled and the Byrnes as Jack passes on the mantle of the series, would again be a primary focus. leadership to Greg. Being unable to choose your family and the The director has an interesting take on what baggage that comes along with them is a universal brought him to this installment, in which the entire cast agreed to reprise their roles: “I’m drawn to independent film, but I’m also drawn to classic filmmaking of the studio era, and it’s almost impossible to replicate that situation where you have huge stars committed to a project. It’s almost like the studio is saying, ‘We have Clark Gable and Marilyn Monroe, and we’re going to Grandpa Jack and Samantha (DAISY TAHAN) have a heart-to-heart. put them in the movie.’ This – 12 – – 13 – I’m Still Watching You: Six years later, we find Greg the chief nurse at his hospital and Pam a stay-athome mom. Together, they are facing some of life’s biggest challenges as they raise their young children. They are finally beginning to settle into the daily routines with their kids and navigating the purchase of their first home…while still dealing with both sets of wellHenry (COLIN BAIOCCHI) and dad Greg discuss Henry’s interview for a new school. meaning, drive-you-crazy grandparents. theme. In the two men’s shared history, Greg has set Retired CIA-operative Jack is floundering as he Jack’s backyard ablaze and been administered a lie faces frustrations with his retirement and issues of his detector test by Jack. Now, they have finally settled own mortality, while his wife Dina continues to into a semblance of harmony and genuine affection. blossom under the tutelage of the inimitable Roz But as the in-laws navigate life’s latest hurdles, their Focker. For Jack, the family legacy remains of great innate flaws resurface; Jack’s trust issues and Greg’s importance as he looks to pass the mantle on to the need to please are back and more comically painful next generation. Meet the Fockers touched on this than ever. with great comedic effect as Jack evaluated the Stiller catches us up on where the characters are Focker gene pool when he met the carefree Roz and with one another: “Life events have conspired to send Bernie Focker, portrayed with comic precision by Jack and Greg back to where they started. But, ultiStreisand and Hoffman. mately, they are finally able to put the cards on the When Jack’s other son-in-law, Dr. Bob (introtable as these subtle tensions come to a head. It all duced in Meet the Parents by TOM MCCARTHY, starts to bubble up to the surface.” who reprises his role in this chapter), proves he is no The performer’s ability to make Greg Focker longer worthy, Bob loses his exalted position as heir relevant after a decade continued to impress the film- to the throne. Now, Jack anoints Greg as the new makers. Notes Weitz: “The key thing for any really paterfamilias, which instills in Jack a newfound terrific comedic performance is that the character confidence, not to mention a host of new anxieties. doesn’t know he or she is in a comedy. Ben is very Stiller’s character bore the brunt of the comedic keen to not play anything for laughs. I don’t think he mishaps in both Meet the Parents and Meet the ever thinks, ‘I’m going to do something funny now.’ I Fockers, but in Little Fockers, the filmmakers flipped think he thinks, ‘My character is in this situation, the script to heap indignity upon Jack Byrnes. and this is what he’d be saying.’ Playing comedy is For Oscar® winner DeNiro, the opportunity to similar to drama. You must be completely invested in take part in the film’s more physical comedy was a the moment.” refreshing change of pace. Whether being buried alive in sand or having an adverse reaction to an erec- able calling him Bob after 10 years,” laughs Stiller. tile dysfunction drug, DeNiro plays it for laughs. He “For me, Little Fockers is all about just being able to particularly enjoyed partnering with an old comedy work with Robert DeNiro again.” buddy. “Ben has a way of reacting and delivering a While the tension between Jack and Greg has line that’s unique to him. It’s just a line, but he does it regularly played itself out to hilarious results, the in such a way that he’s making a comment on it,” says rivalry between Greg and Pam’s former suitor, the De Niro. “He puts all these little spins on it that are wealthy, sensitive Kevin Rawley remains. Kevin’s very funny. We’re practically old friends, and we have lingering feelings for his old flame and subtle onea terrific time working together.” upmanship of Greg continue to elicit laughter. The woman who has portrayed his on-screen wife “What’s so fun about Kevin is that there is so much to for more than a decade admits the actor quite liked work with,” offers Owen Wilson. “From the first time returning to the role. “Bob enjoyed it,” shares Danner. I played him, he was this very pretentious, yet earnest “He has this wonderful Cheshire cat smile that guy who doesn’t have a lot of self awareness.” spreads across his face, and then he laughs out loud. It is rare for actors to be able to regularly revisit a It’s very funny.” character over the course of a decade, but despite De Niro’s director appreciated his willingness to gaps of several years, the cast stepped back into do what was asked of him, no matter the request. their roles with aplomb. “Everybody likes the charWeitz recalls: “In one scene, Jack dives into one of acters they play, so the comfort level is automatically those ball pits that are at children’s parties before he there,” offers Wilson. “That’s always good for making gets into a fight with Greg. He did the stunt himself, things funny.” leaping into the air, and he went face first into a Since officiating Pam and Greg’s wedding cerebunch of plastic balls. It’s the kind of thing that you mony in Meet the Fockers, Kevin’s fixation with his ex would normally have a stunt person do, but Bob’s in seems to have abated, albeit temporarily. Surprisingly, good shape and was up for it. It was fun to see his old Raging Bull moves kick back in.” The perfect comedic timing between De Niro and Stiller is a result of the genuine affection they hold for one another and a testament to the longevity of the franchise. In fact, during the filming of some of the more raucous scenes, the two could often be found cracking each other up between takes, if not during (L to R) Jack, Kevin (OWEN WILSON) and Greg confront sketchy contractor Randy (HARVEY KEITEL). one. “I finally feel comfort- – 14 – – 15 – Reuniting the Favorites Henry may need years of therapy after what he just saw. he and Greg have become friends and keep up regular communication. However, one constant still remains, and to Greg’s chagrin, Jack continues to be a stalwart fan of Kevin. According to Weitz: “Kevin is the image of the person who can walk upon water. He is the flipside of Greg, who can’t function without shooting himself in the foot. Kevin is someone you want to strangle, but you can’t because he’s such a good guy.” “I’ve loved the tense relationship between Kevin and Greg since Meet the Parents,” remarks Stiller. “The idea of the perfect ex-boyfriend who has this history with your girlfriend is intimidating to deal with, especially if it’s a guy who’s so obsessed with her. It was fun to have that show up again in Little Fockers. That was one of the reasons I was so excited about the idea of Kevin coming back into the picture. It’s years later, and despite appearances, he’s still obsessed with her.” Soon after Meet the Parents, Stiller and Wilson were seen on screen together in 2001’s cult classic Zoolander (which Stiller also wrote and directed) and have maintained a close collaboration over the years that has resulted in numerous films. “Working with Owen is always fun for me,” Stiller says. “He’s a genuinely funny person and a smart writer. Whatever the role, he gets who his character is and finds those subtleties and nuances so well that when he’s filming, he’s able to try and go for different versions of how Kevin would play a scene.” The women of the comedy series, particularly the Byrnes ladies, have taken their own paths over the years. Teri Polo’s Pam Focker has fully shed the mantle of daddy’s little girl and settled into the role of wife and mother, while the genteel Dina, portrayed by beloved actress Blythe Danner, has lost some of her Oyster Bay reserve and flourished under the friendship of the outspoken Roz Focker. For Pam, the reconciliation between her father and husband is a welcome change that has finally allowed her to transition from Jack’s “Pamcake” to Greg’s wife and mother of their children. But with that move comes a new set of challenges. “There’s always something to throw a wrench into the calm,” reflects Polo. “It happens to everybody on a daily basis in our relationships with in-laws, husbands and kids. One moment you want to throttle them and another you’re madly in love with them. But you persevere and march on.” When it comes to the Byrnes patriarch, the one enduring quality in his marriage is his deep abiding love for Dina; she accepts his many flaws. However, a well-placed look or poignant comment from Dina can easily penetrate Jack’s wall of suspicion. Danner explains that it’s always a treat for her to check in with Dina and find out how she and Jack – 16 – continue to fare. “I feel so fortunate to have been a part of the third Fockers endeavor. All the films have been a joy to work on. I jokingly said to Bob De Niro that I hope they keep coming, even if we’re walking with canes on the next one and graduate to walkers and wheelchairs on the ones after that.” Meeting the Fockers in the franchise’s second installment gave filmgoers a glimpse into Greg’s unorthodox upbringing and introduced us to his irreverent parents, Roz and Bernie. The incomparable two-time Oscar®-winning Barbra Streisand returns as Greg’s tell-it-like-it-is mother, whose career as a sex therapist for seniors—with her eponymous television show and best-selling book—has catapulted her to fame. Her on-screen son sums the production’s feelings about her involvement: “Barbra Streisand is a cultural icon on every level,” commends Stiller. “At times, it’s hard to get past that when you’re with her on set, but she is very comfortable with who she is and she brings that aura about her when she comes on set. I am always excited to work with her and to be able to call her mom.” A reunion of the cast would not be a true reunion without the presence of double Oscar® winner Drug Reps and Early Humans: Meet the New Cast With a strong script in hand, the filmmakers were able to convince key actors to return to the roles they originated while simultaneously injecting the cast with a welcome batch of new talent. This included the additions of Jessica Alba, Laura Dern and Harvey Keitel to the core cast. As Greg and Pam attempt to work their way through a rough patch in the marriage—courtesy of buying their first home, raising twins and the financial burdens that go hand in hand with it all—their marriage is put to the test. An unexpected opportunity for Greg to make some extra money is delivered on a silver platter by a vivacious pharmaceutical rep, Dustin Hoffman returning to play Greg’s father, liberal nurturer Bernie. As the proverbial thorn in Jack Byrnes’ side, Bernie is the polar opposite of Jack, and his characterization kept the cast laughing. The legendary performer, a man whom Weitz describes as “an actor who wears his heart on his sleeve,” happily returned to inhabit the role of unorthodox parent Bernie. Explains Hoffman of his role: “Bernie is the antiJack. Bob and I love to play with that relationship. Bernie is blissfully unaware of how much Jack is affected by him. His perspective is that there is no situation that can’t be resolved by smothering someone with love.” With Hoffman aboard, the circle of trust was now complete. Greg gets odd advice from mom Roz. – 17 – Jack happily reunites with Mr. Jinx. Andi Garcia (no, not that one), who becomes smitten with Greg. In fact, Andi is presently the only one in Greg’s life who makes him feel like a superstar. The addition of Jessica Alba’s character was one that Roach supported for the fresh comic complications it introduced. The producer says: “Andi is more of a temptation because she makes Greg feel like a winner when no one else in his life does.” He adds, “Of course, being a beautiful, bubbly, confident woman doesn’t hurt either.” For Alba, the role was a romp that provided her with the chance to play a part that is a complete 180 from her off-screen life as a wife and mother. She laughs: “Truthfully, I’m pretty shy and conservative in a lot of ways. I’m a mom. So it’s fun when I get to play characters that are so far from who I am. Andi has absolutely no boundaries; she’s a loud, fun girl… maybe a little abrasive, but also very sweet.” Any parent with the goal of getting his or her child into the “it” school will understand the almost irrational fear of the interview process, not to mention impressing the gatekeeper who will determine the child’s educational fate. The filmmakers found that principal in actress Laura Dern, an admitted fan of the franchise. Dern did not disappoint when it came to portraying the role of Prudence, the principal of the Early Human School, a progressive institution that the Fockers want their children to attend. Dern’s primary objective was to avoid a portrayal of a stereotypically stern headmistress. She says of the part: “Prudence is not straightlaced as much as she is determined to make sure that everything is politically correct and child-appropriate. That’s what makes her fun, because there’s room for neuroses. She’s a really liberal thinker and, therefore, more fun to play with.” Harvey Keitel, known for his tough-guy character roles, was an unexpected but welcome choice as Randy Weir, the general contractor whose continuous delays on the Fockers’ new home only add to Greg’s anxiety. The comedy reunites DeNiro with Keitel, who first worked together 37 years ago on Martin Scorsese’s Mean Streets…before they reunited on Taxi Driver. The two old friends gave as good as they got as their characters went mano a mano and had cast and crew alike laughing. Keitel’s improvised dialogue introduced some one-liners that were immortalized on T-shirts gifted to team members when filming ended. As the title for the third chapter in one of the most popular film franchises is Little Fockers, the pressure to find young actors who were comfortable with improvisation was intense. Not to mention, the crew needed performers who could hold their own – 18 – with the likes of De Niro and Stiller. Therefore, filmmakers held auditions across the country. The Focker twins could not be any more dissimilar. Sweet, awkward Henry is a Focker through and through, yet the Byrnes DNA is thriving in Samantha—who has more of an affinity for Grandpa Jack than her father. The role of Henry would end up going to Colin Baiocchi, an adorable seven-year-old who made a memorable featurefilm debut as Vince Vaughn and Malin Akerman’s on-screen son in the hit comedy Couples Retreat. Eight-year-old Daisy Tahan, a film and television veteran who currently co-stars in the Showtime series Nurse Jackie, would nab the role of budding spy Samantha. “Colin and Daisy are extraordinary,” cites producer Rosenthal. “Colin is just a ball of energy and a terrific improv-er, and Daisy is such a consummate professional.” Polo, who has children of her own and shares a good amount of screen time with the pair, tapped into her own parenting skills when working with the talented kids. “One of the more enjoyable parts of filming Little Fockers was the time spent with Daisy and Colin, on camera and off. It was completely natural for me to play the mom and the easiest bit of acting I’ve ever done.” Parents was lensed in Long Island, and Meet the Fockers, although set in Miami, was filmed entirely in Los Angeles. Cast and crew spent the first week of principal photography on location in the Windy City to capture the town’s unique landscape for several key exterior shots, including scenes between Jack and Greg that were shot on the city’s aboveground subway train, the El. Upon its return to Los Angeles, the company hit the road to film on location in Century City, Encino, San Marino, South Pasadena and downtown Los Angeles. The Universal Pictures back lot served as home for filming all of the interior scenes at Greg and Pam’s apartment, as well as The Roz Focker Show and Jack’s spy nook, which was originally used in Meet the Parents and exhumed from storage. Despite the comedy’s new surroundings, devotees of the franchise will recognize the hallmark of each chapter—the family dinner, the picture-perfect setup of domestic bliss. This time, it plays out in Greg and Pam’s apartment. Of course, in the dysfunctional world of the Focker-Byrnes clan, it is elevated and embodies the adage “anything that can go wrong will go wrong.” Home, Sweet Home: Designing and Shooting the Comedy While Little Fockers is set in Greg and Pam’s home base of Chicago, locations across Southern California once again provided the majority of the comedy’s locations…just as they did with the previous film. Meet the Twins Samantha and Henry give their grandma Roz a “Focker Sandwich.” – 19 – surprise, especially Baiocchi. The young actor admits he wasn’t prepared for the odd décor and seeing his face everywhere. The bouncy castle and the ball pit were incorporated into several sequences shot over the course of 10 days. These included a title fight that was truly a decade in the Greg and Jack put on their game faces. making. Ten years For the Fockers’ starter home, which is under- of pent-up frustration, distrust and resentment manifest themselves in a big way when Jack and Greg going endless, major construction, South Pasadena’s face off amidst their family and partygoers. The tree-lined streets offered a suburban idyll and provided what the team was looking for aesthetically director notes: “After all these years, it’s inevitable and practically. Production designer William Arnold that Greg and Jack now have to kick the hell out of and his crew were able to transform the property to each other.” While stunt doubles were used to protect the actors meet all the demands the script posed. This included in many key scenes, there were a couple of close calls. creating an excavated pit in the backyard and building “Raging Bull took nine weeks to shoot all the fight additions to the property for filming. scenes and then another nine to shoot all the other The sprawling five-acre expanse of the subtropical Australian Garden within the grounds of The scenes,” recalls De Niro. “It was more time-consuming, and there was a lot more fighting than in this Huntington Botanical Gardens provided the backdrop for one of the film’s bigger set pieces: the elaborate film. But Ben was great about shooting our fight scene in Little Fockers. I punched him square in the fifth birthday party that Kevin throws for the Focker twins. Naturally, whenever Kevin is involved, the face, and he just laughed.” event will be over-the-top. Any child would be thrilled with the Cirque du Soleil-themed party—replete with a myriad of exotic attractions, stilt walkers and magicians—Kevin insists upon having. But the sea of Moroccan tents and flags and an oversized entryway adorned with the likenesses of Tahan and Baiocchi took the pair by – 20 – Filming the scene elicited many laughs from cast and crew as they watched De Niro and Stiller throw punches, race through the bouncy castle and terrorize each other throughout the party. Recalls Hamburg of watching them leave havoc in their wake: “I think Bob and Ben loved doing that scene. We were watching the video monitor and joking that Bob was genuinely laughing. He plays all these intense, often psychotic characters, and here he is jumping around in a children’s bouncy castle, à la Raging Bull. It was a joy to behold.” As the third installment of the popular franchise wrapped production, the team’s hope is that global audiences embrace the new chapter of Greg Focker and Jack Byrnes and watch as, for the sake of their little Fockers, the men bury the hatchet, temporarily. **** Fockers is produced by Jane Rosenthal, Robert DeNiro, Jay Roach, John Hamburg. The film is based on characters created by Greg Glienna & Mary Ruth Clarke, and it is written John Hamburg and Larry Stuckey. It is directed by Paul Weitz. © 2010 Universal Studios and DW Studios LLC. www.littlefockers.net Universal Pictures and Paramount Pictures present— in association with Relativity Media—A Tribeca/ Everyman Pictures production of a Paul Weitz film: Robert De Niro, Ben Stiller, Owen Wilson, Blythe Danner, Teri Polo, Jessica Alba, Laura Dern, with Dustin Hoffman and Barbra Streisand in Little Fockers. The original score is by Stephen Trask; the costume designer is Molly Maginnis. The film is edited by Greg Hayden, Leslie Jones, ACE, Myron Kerstein; the production designer is William Arnold. The comedy’s director of photography is Remi Adefarasin, BSC, and its executive producers are Nancy Tenenbaum, Daniel Lupi, Meghan Lyvers, Andrew Miano, Director PAUL WEITZ and actor/producer ROBERT DENIRO on the set of Little Fockers. Ryan Kavanaugh. Little – 21 – AboutThe Cast Manuale d’amore 3 and Ambiance Entertainment’s action-thriller The Killer Elite. De Niro’s recent film credits include Overture Films’ psychological thriller Stone and 20th Century Fox’s Machete. ROBERT DENIRO (Jack Byrnes/Produced by) launched his prolific motion picture career in Brian De Palma, Wilford Leach and Cynthia Munroe’s The Wedding Party in 1969. By 1973, DeNiro had twice won the New York Film Critics’ award for Best Supporting Actor in recognition of his critically acclaimed performances in Bang the Drum Slowly and Martin Scorsese’s Mean Streets. In 1974, DeNiro received the Academy Award® for Best Supporting Actor for his portrayal of the young Vito Corleone in The Godfather: Part II. In 1980, he won his second Oscar®, for Best Actor, for his extraordinary portrayal of Jake La Motta in Scorsese’s Raging Bull. DeNiro has earned Academy Award® nominations for four additional films: as Travis Bickle in Scorsese’s acclaimed Taxi Driver, as a Vietnam vet in Michael Cimino’s The Deer Hunter, as a catatonic patient brought to life and in 1991 as Max Cady, an ex-con looking for revenge, in Scorsese’s remake of the 1962 classic Cape Fear. In 2009, DeNiro received the coveted Kennedy Center Honor for his distinguished acting career. He also received the Hollywood Actor Award from the Hollywood Film Festival and the Stanley Kubrick Award for Excellence in Film from the BAFTA/LA Britannia Awards. In addition, AARP The Magazine gave DeNiro the 2010 Movies for Grownups Lifetime Achievement Award. De Niro’s upcoming projects include Rogue’s The Dark Fields, Filmauro’s Italian romantic comedy His distinguished body of work also includes performances in Elia Kazan’s The Last Tycoon; Bernardo Bertolucci’s 1900; Ulu Grosbard’s True Confessions and Falling in Love; Sergio Leone’s Once Upon a Time in America; Scorsese’s The King of Comedy, New York, New York, Goodfellas and Casino; Terry Gilliam’s Brazil; Roland Joffé’s The Mission; Brian De Palma’s The Untouchables; Alan Parker’s Angel Heart; Martin Brest’s Midnight Run; David Hugh Jones’ Jacknife; Martin Ritt’s Stanley & Iris; Neil Jordan’s We’re No Angels; Ron Howard’s Backdraft; Michael Caton-Jones’ This Boy’s Life and City by the Sea; John McNaughton’s Mad Dog and Glory; Kenneth Branagh’s Mary Shelley’s Frankenstein; Michael Mann’s Heat; Barry Levinson’s Sleepers and Wag the Dog; Jerry Zaks’ Marvin’s Room; Tony Scott’s The Fan; James Mangold’s Cop Land; Alfonso Cuarón’s Great Expectations; Quentin Tarantino’s Jackie Brown; John Frankenheimer’s Ronin; Harold Ramis’ Analyze This and Analyze That; Joel Schumacher’s Flawless; Des McAnuff’s The Adventures of Rocky and Bullwinkle; George Tillman, Jr.’s Men of Honor; John Herzfeld’s 15 Minutes; Frank Oz’s The Score; Tom Dey’s Showtime; Nick Hamm’s Godsend; John Polson’s Hide and Seek; Mary McGuckian’s The Bridge of San Luis Rey; DreamWorks’ Shark Tale; Jay Roach’s Meet the Parents and Meet the Fockers; Barry Levinson’s What Just Happened; Jon Avnet’s Righteous Kill; and Kirk Jones’ Everybody’s Fine. De Niro takes pride in the development of his production company, Tribeca Productions, in the Tribeca Film Center, which he founded with Jane Rosenthal in 1988, and in the Tribeca Film Festival, which he founded with Rosenthal and Craig Hatkoff in 2001 as a response to the attacks on the World Trade – 22 – Center. The Festival was conceived to foster the economic and cultural revitalization of Lower Manhattan through an annual celebration of film, music and culture. The Festival’s mission is to promote New York City as a major filmmaking center and help filmmakers reach the broadest possible audiences. Through Tribeca Productions, DeNiro develops projects and serves in a combination of capacities, including producer, director and actor. In 1993, Tribeca Productions’ A Bronx Tale marked DeNiro’s directorial debut. He later directed The Good Shepherd and co-starred with Matt Damon and Angelina Jolie. Other Tribeca features include Thunderheart, Cape Fear, Mistress, Night and the City, The Night We Never Met, Faithful, Panther, Marvin’s Room, Wag the Dog, Analyze This, Flawless, The Adventures of Rocky and Bullwinkle, Meet the Parents, 15 Minutes, Showtime, Analyze That and Meet the Fockers. In 1992, Tribeca TV was launched with the acclaimed series Tribeca. DeNiro was one of the executive producers. In 1998, Tribeca TV produced a miniseries for NBC, based on the life of Sammy “The Bull” Gravano. Tribeca Productions is headquartered at DeNiro’s Tribeca Film Center in the TriBeCa district of New York. The Film Center is a state-of-the-art office building designed for the film and television industry. The facility features office space, a screening room, a banquet hall and a restaurant. The center offers a full range of services for entertainment professionals. BEN STILLER (Greg Focker) is an actor, writer, director and producer. Stiller is currently in production on his latest film, Tower Heist, directed by Brett Ratner and featuring an all-star cast including Eddie Murphy, Casey Affleck, Téa Leoni, Matthew Broderick and Alan Alda. Most recently, Stiller received rave reviews for his performance in Noah Baumbach’s Greenberg, which was released by Focus Features last spring. Through his production company, Red Hour Films, Stiller co-wrote, directed and starred in the hit comedy Tropic Thunder, opposite Robert Downey Jr., Jack Black and Tom Cruise. For his performance as Kirk Lazarus, Downey earned an Academy Award® nomination as well as a Golden Globe Award, and for his performance as Les Grossman, Cruise received a Golden Globe nomination. Tropic Thunder was named by Entertainment Weekly as one of the “25 Greatest Comedies in the Past 25 Years,” and won the Broadcast Film Critics Association Award for Best Comedy and the Hollywood Film Award for Comedy of the Year. Stiller’s other features as a director include Reality Bites, in which he starred opposite Winona Ryder and Ethan Hawke; The Cable Guy, starring Jim Carrey; and Zoolander, which he co-wrote and in which he played the title role. Stiller executive produced such television pilots as The Station and Heat Vision and Jack. Stiller also directed Heat Vision and Jack, which starred Jack Black and the voice of Owen Wilson. Stiller won an Emmy Award as one of the writers of The Ben Stiller Show, which he also directed and which starred Andy Dick, Janeane Garofalo and Bob Odenkirk. Stiller received an Emmy nomination for his guest-starring appearance on HBO’s Extras. – 23 – Stiller’s theater credits as an actor include the offBroadway world premiere staging of Neil LaBute’s This Is How It Goes, starring opposite Jeffrey Wright and Amanda Peet and directed by George C. Wolfe, and the Tony Award-winning Broadway production of John Guare’s The House of Blue Leaves (1987), in which Stiller will again star, opposite Edie Falco, next spring. His many films as an actor include Permanent Midnight, in which he portrayed writer Jerry Stahl; Neil LaBute’s Your Friends & Neighbors; David O. Russell’s Flirting With Disaster; Steven Spielberg’s Empire of the Sun; Peter and Bobby Farrelly’s There’s One of contemporary cinema’s most successful actors, OWEN WILSON (Kevin Rawley) has won great acclaim for his memorable turns in mainstream and independent films. He will next be seen in James L. Brooks’ romantic comedy How Do You Know, with Paul Rudd and Reese Witherspoon, which is scheduled for release on December 17, 2010. Wilson will also be seen in the upcoming Farrelly brothers’ comedy Hall Pass, oppo- Something About Mary; Wes Anderson’s The Royal Tenenbaums; Night at the Museum and Night at the Museum: Battle of the Smithsonian; Meet the Parents and Meet the Fockers; Madagascar and Madagascar: Escape 2 Africa; and Red Hour Films’ Starsky & Hutch and Dodgeball: A True Underdog Story. Red Hour’s other productions include the hit comedy Blades of Glory, starring Will Ferrell and Jon Heder, and Gregory and Jeff Sherman’s acclaimed documentary feature The Boys: The Sherman Brothers’ Story. Red Hour recently completed production on David Frankel’s The Big Year, with an all-star cast including Jack Black, Steve Martin and Owen Wilson, and Ruben Fleischer’s 30 Minutes or Less, starring Danny McBride, Jesse Eisenberg and Aziz Ansari. Red Hour also executive produced Submarine, which premiered at the 2010 Toronto International Film Festival and was acquired by The Weinstein Company. site Jason Sudeikis, which is scheduled for release in February 2011; in David Frankel’s The Big Year, opposite Steve Martin, Jack Black and Anjelica Huston; and in Woody Allen’s Midnight in Paris. He will also lend his voice to Disney’s Cars 2, which is scheduled for a summer 2011 release. Recently, Wilson starred opposite Jennifer Aniston in Marley & Me, based on the popular memoir by John Grogan. The film follows a family who learns important life lessons from their adorable, but naughty and neurotic dog. Directed by David Frankel and adapted by Scott Frank and Don Roos, to date, the film has earned more than $200 million at the box office. Wilson’s string of box-office successes include Night at the Museum and the sequel Night at the Museum: Battle of the Smithsonian, opposite Robin Williams and Ben Stiller; the smash-hit comedy Wedding Crashers, opposite Vince Vaughn; and the romantic comedy You, Me and Dupree. Wilson recently starred in Wes Anderson’s critically acclaimed film, The Darjeeling Limited, opposite Adrien Brody and Jason Schwartzman. In the film, the trio take a spiritual journey throughout India in order to rekindle the bond they once had with each other. This marks Wilson’s sixth collaboration with director Wes Anderson. His other collaborating works – 24 – include The Life Aquatic With Steve Zissou, starring Bill Murray and Anjelica Huston, and The Royal Tenenbaums, for which he and Anderson were nominated for an Academy Award® for Best Original Screenplay. Wilson co-wrote and co-executive produced Anderson’s second feature Rushmore. The duo gained critical and commercial recognition for Anderson’s first film Bottle Rocket, which Wilson starred in and co-wrote. He also lent his voice to Anderson’s Fantastic Mr. Fox. His additional acting credits include Starsky & Hutch, Zoolander, Drillbit Taylor, The Wendell Baker Story, Shanghai Noon, Behind Enemy Lines, I Spy, Shanghai Knights, Armageddon, The Minus Man and The Cable Guy. He also served as associate producer on the Oscar®-winning film As Good as It Gets. Wilson recently lent his voice to Marmaduke and Disney’s animated blockbuster Cars, which was nominated for an Academy Award® in the category of Best Animated Feature Film. BLYTHE DANNER (Dina Byrnes) received a Tony Award for her Broadway debut in Butterflies Are Free and has received nominations for her roles as Emma, in Harold Pinter’s Betrayal; as Blanche DuBois, in Tennessee Williams’ A Streetcar Named Desire; and as Phyllis, in Stephen Sondheim’s Follies. She also received a Drama Desk nomination for Suddenly Last Summer, at the Roundabout Theatre Company. She also appeared on Broadway, opposite Geraldine Page, in Blithe Spirit. Danner won two Emmy awards for her role on Showtime’s Huff, and she garnered an Emmy nomination for Joyce Carol Oates’ We Were the Mulvaneys and two Emmy nominations for Will & Grace. She also received a Golden Globe Award nomination for Anne Tyler’s Back When We Were Grownups. Her other television credits include HBO’s Judgment, with Keith Carradine; A Call to Remember, with Joe Mantegna; Cruel Doubt; Guilty Conscience, with Anthony Hopkins; and Inside the Third Reich, with Sir John Gielgud. On PBS, Danner was seen in Chekhov’s The Seagull, George Bernard Shaw’s Candida and Tennessee Williams’ Eccentricities of a Nightingale. For more than 20 years, Danner has performed at the Williamstown Theatre Festival in Massachusetts. She played Beatrice to Kevin Kline’s Benedick in Much Ado About Nothing, for The Public Theater’s Shakespeare in the Park, and she has appeared in such regional companies as the Mark Taper Forum; the Trinity Repertory Company; BAM, with Sarah Jessica Parker in A.R. Gurney’s Sylvia, at the Manhattan Theatre Club; and three productions for the Roundabout Theatre Company. She won a Theatre World Award for her role in The Miser, with the repertory company at the Lincoln Center for the Performing Arts. Danner’s film credits include Waiting for Forever, with Richard Jenkins; The Lightkeepers, with Richard Dreyfuss; The Great Santini, with Robert Duvall; Meet the Parents and Meet the Fockers, with Robert DeNiro; Mr. & Mrs. Bridge, with Joanne Woodward and Paul Newman; Barbra Streisand’s The Prince of Tides; Neil Simon’s Brighton Beach Memoirs; and three Woody Allen films. She also appeared in Sylvia with her daughter, Gwyneth Paltrow. Her upcoming projects include What’s Your Number?, with Anna Faris, and Universal Pictures’ Paul, with Simon Pegg and Nick Frost. Danner was awarded the inaugural Katharine Hepburn Medal from Bryn Mawr College’s Katharine Houghton Hepburn Center. She attended the George School in Bucks County, Pennsylvania, and holds honorary doctorate of fine arts degrees from Williams – 25 – College, Hobart and William Smith Colleges and her alma mater, Bard College. She has been involved with environmental issues for more than 35 years and serves on the advisory boards of the Union of Concerned Scientists, the Environmental Media Association in Los Angeles, the Environmental Advocates of New York and Energy Vision in New York. She also serves on Planned Parenthood’s board of advocates. Danner is a member of the advisory board of The Oral Cancer Foundation, which supports the Bruce Paltrow Fund, named for her late husband. TERI POLO (Pam Focker), a talented actress with beauty to match, is now firmly established as a presence in motion pictures and television. She recently co-starred in the feature film The Hole, directed by Joe Dante, and has a recurring role on the NBC series Law & Order: Los Angeles. In addition to her portrayal of Pam in Meet the Parents and Meet the Fockers, Polo has co-starred in Domestic Disturbance, opposite John Travolta and Vince Vaughn; Beyond Borders, opposite Angelina Jolie and Clive Owen; and the suspense thriller The Unsaid, opposite Andy Garcia. Her other feature film credits include roles in Born to Ride, with John Stamos; Mystery Date, opposite Ethan Hawke; Aspen Extreme, with Peter Berg; Golden Gate, opposite Matt Dillon; and The House of the Spirits, alongside Meryl Streep, Glenn Close and Jeremy Irons. Originally from Dover, Delaware, Polo began her performing career as a dancer. By the age of 13, she was attending the School of American Ballet in New York. The summer before her senior year, she was signed to a modeling contract, which led to a role as Kristin on the ABC daytime drama Loving. She made her prime- time debut in the dramatic series TV 101. Television audiences remember her as Michelle Schodowski Capra, the doctor’s wife who was determined to master the strange surroundings (and even stranger characters) of Cicely, Alaska, in Northern Exposure. She also starred in the NBC miniseries The Storm, the comedy series I’m With Her and Jason Katims and David E. Kelley’s The Wedding Bells. Her other television credits include Hallmark’s telefilm Second String, with Jon Voight, Love is a Four Letter Word and the television movie Straight From the Heart. She was nominated for an Emmy Award for her role on The West Wing, opposite Jimmy Smits. JESSICA ALBA (Andi Garcia) is an actress, activist, mother and wife. She fell in love with acting at a very early age, becoming active professionally at the age of 12. After studying at the Atlantic Theater Company, with founders William H. Macy and David Mamet, she went on to star in Charles H. Eglee and James Cameron’s television series Dark Angel, where she first gained worldwide recognition and awards. Her first starring role in a major studio film was the 2003 release Honey, a contemporary urban drama from Universal Pictures, which grossed more than $60 million worldwide. In 2005, Alba starred in the critically acclaimed Sin City, directed by Robert Rodriguez, Frank Miller and Quentin Tarantino, and starred as Susan Storm, “The Invisible Girl,” in the worldwide box-office success Fantastic Four and its sequel, 4: Rise of the Silver Surfer. She was part of Garry Marshall’s all-star ensemble romantic comedy Valentine’s Day, which broke boxoffice records with the largest opening on a four-day Presidents’ Day weekend in history. She reunited with her Sin City director Robert Rodriguez on Machete, and – 26 – again in the upcoming fourth installment of his successful Spy Kids franchise. She recently co-starred with Casey Affleck and Kate Hudson in the screen adaptation of Jim Thompson’s “The Killer Inside Me,” for director Michael Winterbottom. Alba has appeared in such iconic endorsement campaigns as the famous “Got Milk?” ads and as a global spokesperson for L’Oréal and Revlon. Alba was raised in a traditional American family in California. Her mother’s family has a FrenchDanish heritage, while her father is from MexicanIndian and Spanish lineage. LAURA DERN (Prudence) has emerged as one of the great actresses of her generation proving that she is capable of great depth and range, touching audiences and critics alike with her moving and heartfelt performances. Dern is currently in production on the new HBO comedy series Enlightened, in which she serves as the star, executive producer and co-creator, alongside prolific writer and director Mike White. Dern portrays Amy Jelicoe, who is introduced to viewers while she is in the midst of experiencing an emotional breakdown at work that forces her to seek treatment. She comes out of treatment “enlightened” and ready to make peace with her mother, ex-husband and former employees, and confront her demons with a newfound perspective. The show will premiere on HBO in January 2011. Dern was recently seen starring in HBO’s movie Recount, directed by Jay Roach, which revisited the controversial 2000 presidential election in Florida. For her performance as Katherine Harris, Dern earned a Golden Globe Award and was nominated for Emmy and Screen Actors Guild awards. On the big screen, Dern most recently starred as three characters in the epic David Lynch masterpiece Inland Empire, which premiered at the Venice International Film Festival in 2006, and garnered reviews and accolades from critics and film organizations worldwide. Dern also delivered poignant supporting performances in Tenderness, alongside Russell Crowe, and in Mike White’s Year of the Dog, alongside Molly Shannon and Peter Sarsgaard. Her additional feature film credits include Don Roos’ dark comedy Happy Endings; The Prize Winner of Defiance, Ohio, with Julianne Moore and Woody Harrelson; We Don’t Live Here Anymore, which received critical acclaim at the Sundance Film Festival for director John Curran and co-stars Mark Ruffalo and Naomi Watts; and a cameo in the drama Lonely Hearts. In 1992, Dern received both Academy Award® and Golden Globe nominations for her performance in Rambling Rose, directed by Martha Coolidge and co-starring her mother, Diane Ladd. She has starred in two films for director David Lynch: Blue Velvet and Wild at Heart, which co-starred Nicolas Cage and won the Palme d’Or at the 1990 Cannes Film Festival. Dern starred in the critically acclaimed black comedy Citizen Ruth, which screened at the World Film Festival of Montréal and garnered Dern the Best Actress Award. Dern’s other film credits include Robert Altman’s Dr. T & the Women, Smooth Talk, October Sky, Mask, Fat Man and Little Boy, Haunted Summer, Teachers, Foxes, Ladies and Gentleman, The Fabulous Stains, I Am Sam (alongside Sean Penn and Michelle Pfeiffer), the dark comedy Novocaine and Focus, opposite William H. Macy. Dern starred, opposite Sam Neill and Jeff Goldblum, in Steven Spielberg’s worldwide phenomenon and record-breaking boxoffice success Jurassic Park, and starred opposite Clint Eastwood and Kevin Costner in the Eastwooddirected A Perfect World. – 27 – In October 1994, Dern made her directorial debut with a short film called The Gift, which aired as part of Showtime’s Directed By series. The cast included Mary Steenburgen, Bonnie Bedelia, Isabella Rossellini, Mary Kay Place, Peter Horton and her mother, Diane Ladd. On television, Dern delivered a captivating performance in Showtime’s Damaged Care. Dern also served as a producer on this project. She also appeared in Lifetime Television’s Within These Walls, opposite Ellen Burstyn, and Showtime Television’s quirky romantic comedy Daddy & Them, a film written and directed by Billy Bob Thornton. In 1997, Dern was nominated for an Emmy Award and won an American Comedy Award for her guest-starring role in the controversial puppy episode of the ABC comedy Ellen. She received a 1998 Golden Globe nomination for her role in Jane Anderson’s The Baby Dance, produced by Jodie Foster’s Egg Productions for Showtime. The Baby Dance was also awarded two 1998 Peabody Awards. Dern received the Golden Globe Award for Best Actress, as well as Emmy and CableACE nominations for her starring role in the 1992 telefilm Afterburn. Her other work on television includes Showtime’s critically acclaimed film noir series Fallen Angels, for which she received an Emmy nomination, and Showtime’s original film Down Came a Blackbird, which she also produced, opposite Vanessa Redgrave and Raul Julia. COLIN BAIOCCHI (Henry Focker) started acting at age three, appearing in a FOX pilot for television producer Victor Fresco. Since then, he has appeared in commercials for Saturn, Playhouse Disney, Wal-Mart, Home Depot, Honda, U.S. Bank, Rayovac, Band-Aid and Verizon. The seven-year-old California native made his feature film debut in the comedy Couples Retreat, alongside Vince Vaughn and Malin Akerman, and for which he received critically acclaimed reviews. In 2011, Baiocchi will be seen in the CBS/Hallmark Hall of Fame movie Let Them Shine. DAISY TAHAN (Samantha Focker) made her feature film debut at just four years of age in the drama Then She Found Me, starring Colin Firth and directed by Helen Hunt. Now eight, Tahan has continued to work with a who’s who in film and television. Her other feature film credits include David Auburn’s The Girl in the Park, with Sigourney Weaver; Charlie Kaufman’s directorial debut, Synecdoche, New York, with Michelle Williams and Philip Seymour Hoffman; Once More With Feeling, with Chazz Palminteri; and Motherhood, opposite Uma Thurman. Tahan even had the chance to film alongside her big brother, Charlie, in Love and Other Impossible Pursuits, starring Natalie Portman. On the small screen, Tahan had a recurring role on the Showtime series Nurse Jackie, playing Edie Falco’s quirky younger daughter Fiona, and was a guest star on Law & Order: Special Victims Unit. Despite her busy filming schedule, Tahan remains enrolled in public school, where she serves on the student council. She spends lots of time playing with her friends and her two older brothers. She loves riding her bike, swimming and taking care of her hamster, two bunnies and new puppy. – 28 – A two-time Oscar® winner and seven-time nominee, DUSTIN HOFFMAN (Bernie Focker) is distinguished as one of cinema’s most acclaimed leading actors. Hoffman caught the world’s attention for his role as Benjamin Braddock in Mike Nichol’s Academy Award®nominated film, The Graduate. Since then, he has been nominated for six more Academy Awards® for such diverse films such as Midnight Cowboy, Lenny, Tootsie (a film he also produced through his company Punch Productions) and Wag the Dog. In 1979, Hoffman won the Oscar® for his role in Kramer vs. Kramer and again, in 1988, for Rain Man. Hoffman recently starred in Last Chance Harvey, opposite Emma Thompson, which garnered him a Golden Globe nomination for Best Actor, and voiced characters in the animated hits The Tale of Despereaux and Kung Fu Panda. Hoffman will also lend his voice to Kung Fu Panda 2. He was also seen in Mr. Magorium’s Wonder Emporium; Stranger Than Fiction; Lemony Snicket’s A Series of Unfortunate Events; Racing Stripes; David O. Russell’s comedy I Heart Huckabees, with Jude Law, Naomi Watts, Mark Wahlberg and Lily Tomlin; and Marc Forster’s Finding Neverland, opposite Johnny Depp and Kate Winslet, for Miramax Films. Finding Neverland is a tale of magic and fantasy inspired by the life of J.M. Barrie, the real-life author of the children’s classic “Peter Pan.” Set in London in 1904, the film follows Barrie’s creative journey to bring Peter Pan to life, from his first inspiration for the story up until the play’s life-changing premiere. Finding Neverland premiered at the 2004 Venice International Film Festival. Hoffman starred in Gary Fleder’s Runaway Jury, opposite John Cusack, Gene Hackman and Rachel Weisz; James Foley’s Confidence, opposite Edward Burns and Rachel Weisz; and Brad Silberling’s Moonlight Mile, opposite Jake Gyllenhaal and Susan Sarandon. His other film credits include Little Big Man, Straw Dogs, Papillon, All the President’s Men, Marathon Man, Straight Time, Agatha, Ishtar, Dick Tracy, Billy Bathgate, Mad City, Hero, Sleepers, Sphere, American Buffalo, Hook and Outbreak. On the stage, Hoffman has had an equally impressive career. His first stage role was in the Sarah Lawrence College production of Gertrude Stein’s Yes Is for a Very Young Man. His performance in this play led to several off-Broadway roles, for which he won the Obie Award and Drama Desk Award for Best Actor. His success onstage caught the attention of Mike Nichols, who cast him in The Graduate. In 1974, Hoffman made his Broadway directorial debut with All Over Town. In 1984, Hoffman garnered a Drama Desk Award for Best Actor for his portrayal of Willy Loman in the Broadway revival of Death of a Salesman, which he also produced. In addition to starring in the Broadway production, a special presentation aired on television and Hoffman won the Emmy Award for Outstanding Lead Actor in a Miniseries or Special. Additionally, Hoffman received a Tony Award nomination for his role as Shylock in The Merchant of Venice, which he reprised from his long run on the London stage. As a producer, Hoffman produced Tony Goldwyn’s feature film A Walk on the Moon, starring Diane Lane, Viggo Mortensen, Liev Schreiber and Anna Paquin, for Miramax Films. He executive produced The Devil’s Arithmetic, which won two Emmy Awards. Hoffman was born in Los Angeles and attended Santa Monica Community College. He later studied at the Pasadena Playhouse before moving to New York to study with Lee Strasberg. – 29 – Actor/singer/director/writer/composer/producer/ d e s i g n e r / a u t h o r / a c t iv i s t BAR B R A S T R E I SAN D (Roz Focker) is the only artist ever to receive Oscar®, Tony, Emmy, Grammy, Directors Guild of America, Golden Globe, National Medal of Arts and Peabody awards, and France’s Légion d’Honneur as well as the American Film Institute’s Lifetime Achievement Award. She is also the first female film director to receive the Kennedy Center Honors. She won Oscars® for both Best Actress (Funny Girl) and Best Original Song (for her composition of “Evergreen,” which has since become a standard). She was also nominated for Best Actress for The Way We Were. The three films she directed received 14 Oscar® nominations. A leading film star in dramas, comedies and musicals, her film Meet the Fockers, became the first live-action comedy to earn more than half a billion dollars and remains the highest-grossing comedy of all time. She is an eight-time Grammy Award winner who is the only performer to have number-one albums in five consecutive decades. She has earned 51 gold albums, 30 platinum albums and 18 multiplatinum albums, each of which achievements, according to the Recording Industry Association of America (RIAA), exceeds all other female singers. Only Elvis Presley has earned more gold albums than she. The RIAA also notes that her 71 million album sales tops the RIAA list of album sales by a female singer. With the recent debut at number one of her “Love is the Answer” album, her ninth record to reach that top spot, the time span between her first and most recent number-one albums, exceeding that of any other performer or act, is now 46 years. As a film director, producer, writer, actor, singer and composer, Streisand’s career has been paved with bold creative achievements, highlighted by a series of firsts. The Prince of Tides was the first motion picture directed by its female star to ever receive a Best Director nomination from the Directors Guild of America, as well as seven Academy Award® nominations. Her directorial debut film, Yentl, earned her a Golden Globe Award for best Best Director and a Golden Globe nomination for Best Motion Picture— Comedy/Musical. She earned the New York Drama Critics Award and a Tony Award nomination for her first Broadway appearance (I Can Get it For You Wholesale) and the Album of the Year Grammy (one of two) for her very first album (“The Barbra Streisand Album”). She became the youngest artist ever to have won that at the time. Her first motion picture performance (Funny Girl), following her performance in the hit Broadway musical production, brought her the 1968 Academy Award® for Best Actress, the first of two Oscars®. With Yentl, Streisand became the first woman ever to produce, direct and star in a major motion picture. At the same time, Steven Spielberg called it the best directing debut since Citizen Kane. Her first television special (My Name Is Barbra) earned her the Emmy Award (one of five for the show) and the distinguished Peabody Award, and she duplicated this with her most recent television specials, Barbra Streisand: The Concert and Barbra Streisand: Timeless, winning three more personal Emmys and another Peabody in the process. The two shows earned nine Emmys combined. She is the first female composer ever to win an Academy Award® for her song “Evergreen,” the love theme song for her hit film A Star is Born. Her 1994 concert tour was similarly record-setting, registering five million calls in the first hour of ticket sales. Her millennium New Year’s Eve concert at the MGM Grand Garden Arena in Las Vegas established the highest oneday single event sale in the history of Ticketmaster and became the highest-grossing concert of all time. – 30 – A recipient in 1995 of an Honorary Doctorate in Arts and Humanities from Brandeis University, Streisand has been honored by France as a Commander of the Order of Arts and Letters. She also received a number of major honors saluting her social and political activism and her dedicated philanthropy. Her total of 10 Golden Globe Awards, prior to being voted the year 2000’s Cecil B. DeMille Award for Lifetime Achievement, is the most accorded any artist. Streisand’s Barwood Films, through which she has created such films as Yentl, The Prince of Tides, The Mirror Has Two Faces (all of which she directed and starred in), A Star is Born, Nuts and Up the Sandbox, has helped to bring significant and largely ignored subject matters to both the big and small screens. On television, these include the multiple Emmy and Peabody Award-winning Serving in Silence: The Margarethe Cammermeyer Story, which dealt with the civil rights of gays, and other shows exploring the imperatives of gun control (The Long Island Incident) and the celebration of women film pioneers in the Emmy Award-winning documentary Reel Women. Like the true renaissance woman Streisand is, she has supported environmental preservation, women’s health issues, education and civil rights through The Streisand Foundation. AboutThe Filmmakers PAUL WEITZ (Directed by) wrote, directed and produced the films Cirque Du Freak: The Vampire’s Assistant, American Dreamz and In Good Company. With his brother, Chris Weitz, he directed American Pie and About a Boy. Their adaptation of Nick Hornby’s novel was nominated for an Academy Award®. Their company, Depth of Field, produced Nick and Norah’s Infinite Playlist and A Single Man. As a playwright, the off-Broadway Second Stage Theatre has produced Weitz’s work. In the summer of 2010, his play Trust, starring Zach Braff and Sutton Foster, was produced there. His published plays include Roulette, Privilege and Show People. He also acted in the film Chuck & Buck. JOHN HAMBURG (Written by/Produced by) most recently co-wrote, produced and directed the comedy I Love You, Man, starring Paul Rudd and Jason Segel for DreamWorks/Paramount Pictures. Hamburg co-wrote the screenplays for Universal Pictures’ blockbuster franchise Meet the Parents, starring frequent collaborator Ben Stiller, Robert DeNiro, Blythe Danner and Owen Wilson, and the successful sequel Meet the Fockers, starring Ben Stiller, Robert De Niro, Dustin Hoffman and Barbra Streisand. Hamburg was born and raised in New York City, and began making short films while still in high school. He continued creating films while attending Brown University, where he also studied playwriting and, later, at New York University’s Tisch School of – 31 – the Arts. While at Tisch, he wrote and directed the short film Tick, which debuted at the 1996 Sundance Film Festival. In 1998, he returned to Sundance with his feature-length debut Safe Men, a comedy he wrote and directed. Starring Sam Rockwell, Steve Zahn, Paul Giamatti, Mark Ruffalo and Harvey Fierstein, Hamburg’s film about safecrackers and songwriters in Providence, Rhode Island, has garnered a strong cult following in the years since its Sundance premiere. He next co-wrote the screenplay for the popular comedy Zoolander, starring Ben Stiller and Owen Wilson. Hamburg also wrote and directed the hit comedy Along Came Polly, starring Ben Stiller, Jennifer Aniston, Alec Baldwin and Philip Seymour Hoffman, and directed several episodes of Judd Apatow’s critically acclaimed television series Undeclared. LARRY STUCKEY (Written by) previously worked as a development executive for director Jay Roach, which led to a writing partnership with Roach on multiple feature film projects. After serving as an associate producer on Meet the Fockers, Stuckey was brought on to write the third installment, Little Fockers. Much of that story was inspired by the very marriage and fatherhood anxieties he was facing at the time. Stuckey is once again tapping his latest family inspiration for an adventure movie he is writing for Universal. His other upcoming projects include Curious George, for producer Chris Meledandri, and a remake of the Oscar®-nominated Norwegian film Elling, with Jay Roach attached to direct. JANE ROSENTHAL (Produced by) co-founded Tribeca Productions with Robert DeNiro in 1988. She has distinguished herself as a leading film producer, with a roster of both critically and commercially acclaimed films. Rosenthal produced one of the highest-grossing comedy franchises of all time— Meet the Parents (2000) as well as its sequel Meet the Fockers (2004), both directed by Jay Roach. Rosenthal produced the box-office sensation Analyze This (1999) and its sequel Analyze That (2002), both directed by Harold Ramis; the Academy Award®-nominated Wag the Dog (1997), directed by Barry Levinson; and critically acclaimed films Marvin’s Room (1996), directed by Jerry Zaks; and About a Boy (2002), directed by Chris and Paul Weitz. Her additional credits include executive producing Public Enemies (2009), directed by Michael Mann; producing What Just Happened (2008), directed by Barry Levinson; The Good Shepherd (2006), directed by Robert DeNiro; Rent (2005), directed by Chris Columbus; House of D (2005), directed by David Duchovny; Stage Beauty (2004), directed by Sir Richard Eyre; Showtime (2002), directed by Tom Dey; The Adventures of Rocky and Bullwinkle (2000), directed by Des McAnuff; Flawless (1999), directed by Joel Schumacher; A Bronx Tale (1993), directed by Robert DeNiro; The Night We Never Met (1993), directed by Warren Leight; Thunderheart (1992), directed by Michael Apted; Mistress (1992), directed by Barry Primus; and Night and the City (1992), directed by Irwin Winkler. Rosenthal is currently in development on The Undomestic Goddess, with Spyglass Entertainment; the untitled Freddie Mercury project, with GK Films; and Irishman, with Martin Scorsese. In 2001, in an effort to spur the economic and cultural revitalization of lower Manhattan following the attacks on the World Trade Center, Rosenthal, along with partners Robert DeNiro and Craig Hatkoff, founded the Tribeca Film Festival. Since its inception, the festival has attracted more than 2.5 million visitors and generated more than $650 million in economic activity. Rosenthal also co-founded the Tribeca Film Institute (TFI), where she has served as co-chairman of the board since its inception. The Institute has become an instrumental resource for filmmakers through initiatives such as Tribeca All Access, a – 32 – program designed to help foster relationships between film industry executives and filmmakers from traditionally underrepresented communities; the Gucci Tribeca Documentary Fund, which offers finishing funds to independent filmmakers with projects that promote social change; and a broad range of educational initiatives where students have the opportunity to learn more about careers in film and how to use film to think about their own stories and communities. Recently the TFI, along with the New York City Department of Education and the Mayor’s Office of Film, Theatre and Broadcasting, developed the “Blueprint for Teaching and Learning in the Arts: The Moving Image,” a first-of-its-kind curriculum guide for the study of film, television and animation in elementary, middle and high schools. In 2004, Rosenthal, DeNiro and Hatkoff formed Tribeca Enterprises, a diversified global media company with a mission to provide artists with unique platforms to expand the audience for their works and to broaden the access point for consumers to experience independent film and media. Rosenthal is actively involved in all of Tribeca Enterprises’ branded entertainment businesses including the Tribeca Film Festival, Tribeca Film Festival International, Tribeca Cinemas and Tribeca Film, a distribution initiative. In 2009, Rosenthal and her partners formed a strategic partnership with Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al-Thani and created the Doha Tribeca Film Festival in Doha, Qatar. Uniquely Qatari in its identity, the festival aims to inspire, engage and educate a new generation of cinema appreciation locally; discover, mentor and fund regional filmmaking talent; foster a community through art and entertainment; and encourage open discussion and debate. Rosenthal has been featured numerous times in Variety’s “Women in Showbiz” and The Hollywood Reporter’s “Women in Entertainment” issues. She is also a member of the Academy of Motion Pictures Arts and Sciences and has been honored by the Museum of the Moving Image, the Tisch School of the Arts at New York University (NYU) and the National September 11 Memorial & Museum. Prior to founding Tribeca Productions, Rosenthal was an executive at CBS Television and The Walt Disney Company. She is an active leader on the boards of the Tribeca Film Institute, the National September 11 Memorial & Museum at the site of the World Trade Center, the American Museum of the Moving Image and the NYU Tisch School of the Arts Dean’s Council. JAY ROACH (Produced by) most recently directed and produced Dinner for Schmucks, starring Steve Carell and Paul Rudd. Roach directed and produced the box-office hit Meet the Parents, and the even more successful follow-up Meet the Fockers, starring Ben Stiller, Robert DeNiro, Barbra Streisand and Dustin Hoffman. Roach made his directorial debut in 1997 with Austin Powers: International Man of Mystery, starring Mike Myers, and followed that with the sequels Austin Powers: The Spy Who Shagged Me and Austin Powers in Goldmember. In 1999, he directed Mystery, Alaska, starring Russell Crowe. As a producer, Roach’s feature film credits include Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, starring Sacha Baron Cohen, In 2008, he won two Emmys and the DGA Award for directing and producing the HBO movie Recount, starring Kevin Spacey, Laura Dern and Denis Leary, about the 2000 U.S. presidential election. NANCY TENENBAUM (Executive Producer) developed Meet the Parents from an original independent film and produced the theatrical motion picture for Universal Pictures, the first in one of the – 33 – most successful family comedy franchises. She has always had an eye for working with material early on in the long process of developing successful motion pictures and the talent behind them. Tenenbaum produced the Oscar®-nominated and Cannes Film Festival Palme d’Or winner sex, lies, and videotape; the Cannes Film Festival Camera d’Or winner Mac; the New York Film Festival-featured The Rapture; and the popular Slamdance-winning independent production The Daytrippers. In addition to raising two children in Connecticut, where she lives with her husband, Tenenbaum is currently active in developing various motion picture and television projects with noted talent, as well as Internet and new media companies. Helping create Meet the Parents and its sequels, Meet the Fockers and Little Fockers, has been a rewarding part of Tenenbaum’s diverse career. DANIEL LUPI (Executive Producer) has served in various producing capacities on a wide range of critically acclaimed motion pictures. Lupi produced Paul Thomas Anderson’s Academy Award®-, Golden Globe- and BAFTA-winning There Will Be Blood, and also collaborated with Anderson on Punch-Drunk Love, Magnolia, Boogie Nights and Hard Eight. Lupi executive produced Brad Silberling’s Land of the Lost, Robert Redford’s Lions for Lambs, Jim Sheridan’s Get Rich or Die Tryin’ and Steven Spielberg’s Catch Me If You Can. MEGHAN LYVERS (Executive Producer) currently serves as vice president of production at Tribeca Productions, where she is responsible for overseeing all feature film and television productions, reporting to partners Robert DeNiro and Jane Rosenthal. Lyvers joined Tribeca Productions in 2000, working on films such as Analyze That; About a Boy, directed by Little Fockers director Paul Weitz and his brother, Chris Weitz; Stage Beauty; and Meet the Parents. She was promoted to director of production, where she oversaw day-to-day activity on a diverse roster of films including Meet the Fockers, The Good Shepherd and What Just Happened. Lyvers is a native of Los Angeles, California, and studied film at New York University. ANDREW MIANO (Executive Producer) most recently produced Cirque Du Freak: The Vampire’s Assistant and A Single Man, starring Colin Firth and directed by Tom Ford. The film premiered at the Venice International Film Festival (where Firth won the Volpi Cup for Best Actor) and the Toronto International Film Festival. Firth’s performance garnered a BAFTA as well as Academy Award® and Golden Globe nominations. Prior to these films, Miano produced Nick and Norah’s Infinite Playlist for Sony Pictures. The film starring Michael Cera and Kat Dennings was directed by Peter Sollett. In 1999, Miano partnered with Paul and Chris Weitz to produce for their Los Angeles-based production company Depth of Field. He executive produced The Golden Compass, starring Nicole Kidman and Daniel Craig, which Chris Weitz adapted and directed. He has also produced Depth of Field’s American Dreamz, starring Hugh Grant, and executive produced the critically acclaimed film In Good Company, starring Dennis Quaid and Scarlett Johansson. Both films were directed by Paul Weitz. Depth of Field’s diverse slate of upcoming projects includes the feature adaptation of The Game, based on the book by best-selling author Neil Strauss. Miano will also produce Another Bullshit Night in Suck City, adapted from the memoir of poet and playwright Nick Flynn. The film, starring Robert DeNiro and Casey Affleck and directed by Paul Weitz, goes into production in early 2011. Miano’s past credits include work as a producer on the WB television series Off Centre. – 34 – Prior to joining the Weitz brothers, Miano worked for three years at the William Morris Agency. RYAN KAVANAUGH (Executive Producer) is a successful producer and highly regarded expert in film finance as CEO and founder of Relativity Media, LLC. Relativity is a media and entertainment company that is engaged in creating, financing and distributing first-class, studio-quality entertainment content and intellectual property across multiple platforms, as well as making strategic partnerships with, and opportunistic investments in, entertainmentrelated companies and assets. Relativity has produced or financed more than 200 motion pictures, generating more than $14 billion in worldwide box-office revenue and earning 43 Oscar® nominations. Kavanaugh created business and financial structures for a number of studios, production companies and producers, and has introduced more than $10 billion of capital to these structures. Past structures/ deals include Sony Pictures, Universal Pictures, Warner Bros., Marvel and many others. Kavanaugh has acquired a wealth of strategic assets including the marketing and distribution operations of Overture Films and reaching a first-of-its-kind television pay deal with Netflix. In 2008, Relativity Media finalized its acquisition of Rogue from Universal. The purchase of Rogue, a company that specializes in the production and distribution of lower-budget films, includes the label’s entire library of films, as well as producing deals and more than 30 projects currently in development. Rogue has had particular success within the horror genre; the first Rogue release under Relativity’s ownership was The Unborn, starring Gary Oldman, Cam Gigandet, Odette Yustman and Idris Elba. The Unborn grossed more than $19 million at the box office on opening weekend and has earned nearly $60 million to date. The Last House on the Left, based on a Wes Craven film, opened to $15 million at the box office, and Fighting, starring Channing Tatum and Terrence Howard, grossed a strong $11.5 million opening weekend. The web site iamrogue.com is the first-ever media content network in which audiences can and will influence popular culture, media and society along with the insiders who will make it all happen. As a producer, Kavanaugh’s personal production lineup includes Tarsem Singh’s Immortals, an epic action-adventure film in the vein of 300, and David O. Russell’s The Fighter, starring Mark Wahlberg and Christian Bale. Kavanaugh’s recent films include Universal Pictures’ Despicable Me and Mamma Mia!; Lionsgate’s Brothers and 3:10 to Yuma; The Weinstein Company’s Nine; Sony Pictures’ Grown Ups; and Screen Gems’ Dear John. He also executive produced the reality thriller Catfish. Kavanaugh was honored with the 2009 Hollywood Producer of the Year Award at the 13th Annual Hollywood Awards Gala, and Daily Variety recently published a special issue that honored Kavanaugh as a “Billion Dollar Producer.” REMI ADEFARASIN, BSC (Director of Photography) is a celebrated cinematographer who has a long-running collaboration with director Paul Weitz. They previously worked together on In Good Company and About a Boy, directed by Paul and Chris Weitz. Adefarasin most recently collaborated with Ricky Gervais and Stephen Merchant on their feature Cemetery Junction. Adefarasin started his career as a cameraman at the BBC working with such directors as Anthony Minghella, Mike Leigh and Richard Loncraine. After leaving the BBC, Adefarasin teamed up with director Peter Howitt to film Sliding Doors, starring Gwyneth Paltrow. In 1997, he shot the award-winning Elizabeth, for director Shekhar Kapur and starring Cate Blanchett and Geoffrey Rush. For his work on the film, he received an Academy Award® nomination and won a BAFTA for Best Cinematography. – 35 – Adefarasin also won a British Society of Cinematographers (BSC) Award and Camerimage’s Golden Frog Award. Adefarasin also collaborated with Kapur on Elizabeth: The Golden Age. His diverse roster of films includes Onegin, starring Ralph Fiennes; Terence Davies’ The House of Mirth; Woody Allen’s Match Point and Scoop; and Michael Apted’s Amazing Grace, among others. Most recently, Adefarasin served as cinematographer on the recent HBO series The Pacific, the follow up to the acclaimed HBO series Band of Brothers, for which he also worked and received an Emmy nomination. WILLIAM ARNOLD (Production Designer) recently crafted the production design for Paul Weitz’s Cirque Du Freak: The Vampire’s Assistant. His previous collaborations with Weitz include American Dreamz and In Good Company. Arnold studied theater and design in his native state of Rhode Island before moving to Chicago to pursue his career in the theater. While there, he began working on motion pictures and eventually as an art director on feature films such as Music Box, Losing Isaiah, The Bridges of Madison County, Primal Fear and Snow Falling on Cedars. Since moving to Los Angeles, his art direction credits have also included L.A. Confidential and Pleasantville, which both garnered Academy Award® nominations for Best Art Direction. His other feature production design credits include Magnolia, Punch-Drunk Love, Confidence, Shopgirl, Last Holiday and Imagine That. GREG HAYDEN (Edited by) has edited such films as Ben Stiller’s Tropic Thunder, for which he received an American Cinema Editors (ACE) Eddie Award nomination for Best Edited Comedy/Musical; Bridget Jones: The Edge of Reason; Danny DeVito’s Duplex (shared credit); Ben Stiller’s Zoolander; and Jay Roach’s Austin Powers in Goldmember (shared credit). His credits as an additional editor or co-editor include Blades of Glory, Meet the Parents, Mystery, Alaska, Austin Powers: The Spy Who Shagged Me and Forever Young. American film editor LESLIE JONES, ACE (Edited by) previously collaborated with director Paul Weitz on Cirque Du Freak: The Vampire’s Assistant. Jones has more than a dozen film credits and has been nominated for several major film editing awards. She was most recently recognized with an ACE Eddie Award nomination for her work on Punch-Drunk Love (directed by Paul Thomas Anderson). Jones’ previous work with editors Billy Weber and Saar Klein on The Thin Red Line (directed by Terrence Malick) earned her both an Academy Award® nomination and an ACE Eddie Award nomination. She also has several editing credits for independent films and documentaries, including her work on the documentary Wild Bill: Hollywood Maverick. Jones’ other credits include School for Scoundrels, Starsky & Hutch, Woman on Top and Murder at 1600, to name a few. MYRON KERSTEIN (Edited by) previously collaborated with director Paul Weitz on In Good Company and American Dreamz. His other credits include Fame, Garden State, The Great Buck Howard, Nick and Nora’s Infinite Playlist and Raising Victor Vargas. MOLLY MAGINNIS (Costume Designer) has designed for the stage, the opera, television and film. She has most recently finished designs for Darling Companion, directed by Lawrence Kasdan and starring Kevin Kline, Diane Keaton, Richard Jenkins and Dianne Wiest. Her upcoming projects include Seven Days in Utopia, starring Robert Duvall, Lucas Black and Melissa Leo. Little Fockers marks the third film in which she has collaborated with the director Paul – 36 – Weitz. She previously worked with Weitz on In Good Company and American Dreamz. Maginnis’ other recent credits include Universal Pictures’ Role Models, starring Paul Rudd and Seann William Scott, and DreamWorks/Paramount Pictures’ She’s Out of My League. Her career favorites are Broadcast News, As Good as It Gets, Sister Act, Miss Firecracker, Dad, Life as a House, Come See the Paradise and Mighty Joe Young. Maginnis was nominated for a BAFTA for the miniseries Tales of the City, and was nominated for a CableACE Award for Billy the Kid. She has designed television series including Bones and Jack & Bobby, and numerous pilots including Spin City and No Ordinary Family. Currently, Trask is in development at National Artists, with Barry and Fran Weissler, on the stage adaptation of Clueless as composer/lyricist. He recently composed the score for Cirque Du Freak: The Vampire’s Assistant and The Back-up Plan (CBS Films), directed by Alan Poul and starring Jennifer Lopez. For Hedwig, Trask received an Obie Award, the Outer Critics Circle Award for Best Off-Broadway Musical, a 1998 New York Magazine Award, Drama Desk nominations for Outstanding Music, Lyrics and New Musical, a Grammy nomination for Best Musical Show Album, two GLAMA Awards and Entertainment Weekly’s Best Soundtrack Award for 2001. STEPHEN TRASK (Original Score by) is the cocreator, composer/lyricist of the off-Broadway, multiaward-winning musical Hedwig and the Angry Inch, which was developed into the feature film released by Fine Line Features. His instrumental score for the movie was his feature film debut, and the film’s soundtrack was Trask’s first commercial release as a record producer. Immediately thereafter, director Alex Steyermark tapped Trask to score and produce songs for Prey for Rock & Roll, starring Gina Gershon. For Prey, Trask assembled an all-star girl rock band featuring Sara Lee (Gang of Four, Indigo Girls, The B-52s), Samantha Maloney (Hole, Mötley Crüe), Cheri Lovedog (who wrote the screenplay and the songs) and rock legend Joan Jett. Thomas McCarthy then called Trask to score the award-winning The Station Agent (Miramax Films), followed by Paul Weitz’s In Good Company (Universal Pictures), starring Scarlett Johansson and Topher Grace. More recently, Trask scored American Dreamz (Universal Pictures), Dreamgirls (DreamWorks), In the Land of Women (Warner Bros.), The Savages (Fox Searchlight), Feast of Love (Lakeshore Entertainment) and Sex Drive (Summit Entertainment). – 37 – — little fockers — Notes Notes – 38 – – 39 – Notes Notes – 40 – – 41 –
