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UNIVERSAL PICTURES Presents In Association with RELATIVITY MEDIA An APATOW Production

KRISTEN WIIG MAYA RUDOLPH ROSE BYRNE WENDI McLENDON-COVEY ELLIE KEMPER MELISSA McCARTHY CHRIS O'DOWD Executive Producer PAUL FEIG Produced by JUDD APATOW CLAYTON TOWNSEND BARRY MENDEL Written by ANNIE MUMOLO & KRISTEN WIIG Directed by PAUL FEIG

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CAST In Order of Appearance Annie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KRISTEN WIIG Boot Camp Instructor . . . . . . . . . . . . . . . . . TERRY CREWS Lillian . . . . . . . . . . . . . . . . . . . . . . . . . . . .MAYA RUDOLPH Jewelry Store Couple . . . . . . . . . . . . . . . . . . . . . . . TOM YI ELAINE KAO Don Cholodecki . . . . . . . . . . . . . . MICHAEL HITCHCOCK Kahlua . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KALI HAWK Oscar the Security Guard . . . . . . . . . . .JOSEPH A . NUNEZ Brynn . . . . . . . . . . . . . . . . . . . . . . . . . . . . REBEL WILSON Gil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MATT LUCAS Annie's Mom . . . . . . . . . . . . . . . . . . . . . JILL CLAYBURGH Rita . . . . . . . . . . . . . . . . . . . . WENDI McLENDON-COVEY Becca . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ELLIE KEMPER Kevin . . . . . . . . . . . . . . . . . . . . . . . . . . GREG TUCULESCU Annie's Mistaken Husband . . . . . . . . . . . . STEVE BANNOS Megan . . . . . . . . . . . . . . . . . . . . . . .MELISSA McCARTHY Annie's Mistaken Fella . . . . . . . . . . . . . . . . . . HUGH DANE Helen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROSE BYRNE Lillian's Dad . . . . . . . . . . . . . . . . . . . . . FRANKLYN AJAYE Dougie . . . . . . . . . . . . . . . . . . . . . . . . . . . TIM HEIDECKER Lillian's Mom . . . . . . . . . . . . . . . . LYNNE MARIE STEWART Helen's Husband . . . . . . . . . . . . . . . . . . ANDY BUCKLEY Rhodes . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRIS O'DOWD Helen's Stepdaughter . . . . . . . . . . MOLLY BUFFINGTON Helen's Stepson . . . . . . . . . . . . . . . . . . . . MATT BENNETT Helen's Tennis Partner . . . . . . . . . . . . . . . NANCY CARELL Annie's Tennis Partner . . . . . . . . . . . . MELANIE HUTSELL Churra Chi Waiter . . . . . . . . . . . . . . . . . . ELOY CASADOS Whitney . . . . . . . . . . . . . . . . . . . . . . . . JESSICA ST . CLAIR Flight Attendant Claire . . . . . . . . . . . . . . . . DANA POWELL Flight Attendant Steve . . . . . . . . . . . . . . . . . MITCH SILPA Nervous Woman on Plane . . . . . . . . . . . ANNIE MUMOLO Air Marshall Jon . . . . . . . . . . . . . . . . . . . . . BEN FALCONE Flight Attendant in Coach . . . . . . . . . . . ANGELICA ACEDO 13-Year-Old Girl in Jewelry Store . . MIA ROSE FRAMPTON 13-Year-Old Girl's Father . . . . . . . . . . . . . JOEL MADISON Butler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . R .F . DALEY Horseman . . . . . . . . . . . . . . . . . . . . . . . . . JORDAN BLACK Doorman at Shower . . . . . . . . . . . . . . . . DAVID HOFFMAN

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Girls at Shower . . . . . . . . . . . . . . . . . . . . . . . JILLIAN BELL ARIANE PRICE Shower Waiter . . . . . . . . . . . . . . . . . . . FREDERIK HAMEL Bill Cozbi . . . . . . . . . . . . . . . . . . . . . . . . RICHARD RIEHLE Minister . . . . . . . . . . . . . . . . . . . . . . . . . . JIMMY BROGAN Herself . . . . . . . . . . . . . . . . . . . . . . . . . . CARNIE WILSON Herself . . . . . . . . . . . . . . . . . . . . . . . . . CHYNNA PHILLIPS Herself . . . . . . . . . . . . . . . . . . . . . . . . . . .WENDY WILSON Stunt Coordinators . . . . . . . . . . . . . . . . MALOSI LEONARD WADE EASTWOOD JOHN STONEHAM JR . Stunts . . . . . . . . . . . . . . . . . . . . . . . . . . JENNIFER ADAMS OLIVIA SUMMERS JESSICA HARBECK BONI YANAGISAWA K .T . WIEGMAN HEATHER MARTIN CASEY ADAMS JESSIE GRAFF KRISTEN HANCE EDDIE BRAUN JANENE CARLETON JACK CARPENTER JEFF GALPIN SEAN GRAHAM DARREN PRESCOTT MARK SCIZAK CREW Directed by . . . . . . . . . . . . . . . . . . . . . . . . . . . .PAUL FEIG Written by . . . . . . . . . . . . . . . . . . . . . . . ANNIE MUMOLO & KRISTEN WIIG Produced by . . . . . . . . . . . . . . . . . . . . . . . . JUDD APATOW BARRY MENDEL CLAYTON TOWNSEND Executive Producer . . . . . . . . . . . . . . . . . . . . . .PAUL FEIG Director of Photography . . . . . . . . .ROBERT YEOMAN asc Production Designer . . . . . . . . . . . . . . . JEFFERSON SAGE Edited by . . . . . . . . . . . . . . . . . . . . . . . . . . WILLIAM KERR MIKE SALE Music by . . . . . . . . . . . . . . . . . . . . . . MICHAEL ANDREWS

Music Supervisor . . . . . . . . . . . . . . . . . . JONATHAN KARP Casting by . . . . . . . . . . . . . . . . . . . . . . . ALLISON JONES Costume Designer . . . . . . . . . . . . . . . . . . . LEESA EVANS Associate Producer . . . . . . . . . . . . . . . . . . LISA YADAVAIA Co-Producers . . . . . . . . . . . . . . . . . . . . . . . KRISTEN WIIG ANNIE MUMOLO Production Manager . . . . . . . . . . . .CLAYTON TOWNSEND First Assistant Director . . . . . . . . . . . . . MATT REBENKOFF Second Assistant Director . . . . . . . . PAUL B . SCHNEIDER Additional Editors . . . . . . . . . . . . . . . . . . . . DAVID MORITZ PECK PRIOR CRAIG HERRING Production Supervisor . . . . . . . . BARRETT J . KLAUSMAN Art Director . . . . . . . . . . . . . . . . . KEITH P . CUNNINGHAM Art Department Coordinator . . . . ARI JACOBS LIBARKIN Graphic Designer . . . . . . . . . . . . . . . . . ZACHARY FANNIN Set Decorator . . . . . . . . . . . . . . . . . . . DOUGLAS MOWAT Assistant Set Decorator . . . . . . . . . . . KIMBERLY MERLIN Set Designers . . . . . . . . . . . . . . . . . . . . . C . SCOTT BAKER STEVE ARNOLD Set Decorating Liaison . . . . . . . . . . . . . . . NIKKI RUDLOFF Art Department Assistant . . . . . . . . . . . . . . JEN STIRLING Property Master . . . . . . . . . . . . . . . . . . . . SEAN MANNION Assistant Property Master . . . . . . . . . . . MICHAEL GLYNN Property Assistants . . . . . . . . . . . . . . . . SARAH SNYDER JEFFRY C . VOORHEES Leadman . . . . . . . . . . . . . . . . . . . . . . . . . . JASON BEDIG Buyer . . . . . . . . . . . . . . . . . . . . . . . . . . . CLAUDIA BONFE Gang Boss . . . . . . . . . . . . . . . . . . . . DALE E . ANDERSON Set Dressers . . . . . . . . . . . . . . . . . . . . . . . . LARRY HANEY RONALD SICA BROOKE SARTORIUS On-Set Dresser . . . . . . . . . . . . . . . . . . JOHN H . MAXWELL "A" Camera Operator . . . . . . . . . CASEY HOTCHKISS soc 1 Assistant "A" Camera . . . . . . . . . HARRY ZIMMERMAN

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Utility Sound . . . . . . . . . . . . . . CHRISTOPHER DIAMOND Script Supervisor . . . . . . . . . . . . . . SHEILA G . WALDRON Chief Lighting Technician . . . . . . . . . . . . . JOHN VECCHIO Assistant Chief Lighting Technician . . CRAIG MOLSBERRY Dimmerboard Operator/Lighting Technician . . . . . . . . . . . JEFFREY A . COOK Lighting Technicians . . . . . . . . . . . . . . . . . . SCOTT BAKER PHIL HARDT GREG JENSEN MICHAEL A . KENNEDY SAM WAYMAN Rigging Chief Lighting Technician . . . . . . MARC MARINO Assistant Rigging Chief Lighting Technician . . . . . . . . . . . . . DAVID THIELHART Rigging Lighting Technicians . . . . . . . . JASON BRUNELLE STEVE HASTINGS WILLIAM STRETT Key Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . KURT GROSSI Best Boy Grip . . . . . . . . . . . . . . . . . . . . . . . QUINN GROVE "A" Dolly Grip . . . . . . . . . . . . . . . . . . . . . DWIGHT LAVERS "B" Dolly Grip . . . . . . . . . . . . . . . RALPHIE DEL CASTILLO Grips . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOSE F . BARRIOS BRIAN T . BRANTON PETER CLEMENCE JASON GARY THOMAS D . WATSON CHRIS OLSEN Key Rigging Grip . . . . . . . . . . . . . . . . . . . . . . . KEVIN ERB Best Boy Rigging Grips . . . . . . . . . . . . . . .GARY LOUZON ROBERT ANDERSON Rigging Grips . . . . . . . . . . . . . . . . . . . . . . JAMES BUTLER CARLOS DE PALMA JEFF HALE VINCENT HALE GEORGE KALLIMANIS ANTHONY T . MAZZUCCHI PHILIP POWELL GUSTAVO ROBLES DON TELLES Costume Designer . . . . . . . . . . . . . . . . CHRISTINE WADA Costume Supervisor . . . . . . . . . . . . . . . . NANCY CAPPER Key Costumers . . . . . . . . . . . . . . . . . . . . . . . . ARIEL GOLD

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2nd Assistant "A" Camera . . . . . THOMAS D . LAIRSON JR . B Camera Operator/Steadicam . . . . . . CHRIS HAARHOFF 1 Assistant "B" Camera . . . . . . . . . . SUZANNE TRUCKS

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2

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Assistant "B" Camera . . . . . . . . . . LARISSA SUPPLITT

Camera Loader . . . . . . . . . . . . . . . . . . . . . AARON SCHUH Sound Mixer . . . . . . . . . . . . . . . . KENNETH McLAUGHLIN Boom Operator . . . . . . . . . . . . . . . . . . . . . SCOTT JACOBS

ESTHER LEE Set Costumers . . . . . . . . . . . . . . . . . . . . JENNIFER WOLF CARRIE HOLLINGER Head Makeup . . . . . . . . . . . . . . . . . HEBA THORISDOTTIR Key Makeup . . . . . . . . . . . . . . . . . . . . . . . KATE SHORTER Makeup Artist . . . . . . . . . . . . . . . . . . . . MELANIE TOOKER Head Hairstylist . . . . . . . . . . . JANINE RATH-THOMPSON Key Hairstylist . . . . . . . . . . . . . . . . . . . . . . . DAVID DANON Hairstylist . . . . . . . . . . . . . . . . . . . . . . . . JOSE L . ZAMORA Postproduction Supervisor . . . . . . . . . . . . LISA RODGERS Supervising Sound Editor . . . . . . . . .GEORGE ANDERSON Re-recording Mixers . . . . . . . . . . . . . . . . . MARC FISHMAN ADAM JENKINS 1 Assistant Editor . . . . . . . . . . . . . . BRIAN SCOTT OLDS

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MONTE D . SWANN Helicopter Pilot . . . . . . . . . . . . . . . . . . . MICHAEL FRANCK Aerial DP . . . . . . . . . . . . . . . . . . . . . . . . . . STEVE KOSTER Production Accountant . . . . . . . . . . . . . . LORI SCOWLEY 1st Assistant Accountant . . . . . . . . . . . . . . TIMBER KISLAN 2nd Assistant Accountants . . . . . . . . . . BRETT EIDELMAN CAROLINE MILLER K .B . PUGLIESE Payroll Accountant . . . . . . . . . . KATY TATIAN-GENOVESE Postproduction Accountant . . . . . . . . . JAMES O . MAULL Accounting Clerk . . . . . . . . . . . . . . . . JONATHAN SIEBEL Casting Associate . . . . . . . . . . . . . . . BENJAMIN HARRIS Casting Assistant . . . . . . . . . . . . PETER JOHN KOUSAKIS Extras Casting . . . . . . . . . . . . . . . . . . . . . . . . . RICH KING Assistant to Mr . Feig . . . . . . . . . . . . . . . . SARAH BASTIAN Assistants to Mr . Apatow . . . . . ALYSON BUONCRISTIANI STACY DOLLAR CHELSEA PETERS MICHAEL LUND Assistant to Mr . Mendel . . . . . . . . . . . . . NATE SHERMAN Assistant to Mr . Townsend . . . . . . JESSICA DERHAMMER Assistant to Ms . Wiig . . . . . . . . . . . . . . . TARYN BENESTA Construction Coordinator . . . . . . . . . . DAVE DEGAETANO General Foreman . . . . . . . . . . . . . . . . . JAVIER CARRILLO Decorator Gang Bosses . . . . . . . . . . CRAIG T . SHORDON SCOTT P . SHORDON Propmaker Gang Bosses . . . . . . . . . . . . . ALEX CARRILLO VICTOR ESPINOZA SCOT LECZEL SETH RIGAMAT DARRYL ROBERTSHAW BEDII A . TATAR BRYAN TURK Propmakers . . . . . . . . . . . . . . . . . . NICHOLAS BUTCHER SCOTT FIELD KEVIN J . HILL JAMES MEYER CESAR OROZCO Drapery Foreman . . . . . . . . . . . . . . . . . . . . . BRAD CURRY Location Foreman . . . . . . . . . . . . . . STEVEN W . RIGAMAT Labor Foreman . . . . . . . . . . . . . . . . JAVIER CARRILLO JR . Location Labor Foreman . . . . . . . . . . . . . . . JOHN K . HILL

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Assistant Editors . . . . . . . . . . . . . . . MEAGAN COSTELLO MITCH ROSIN EMILY STREETZ Editorial Production Assistant . . . . . . . . . . BENIN MTUME Postproduction Coordinator . . . . . . . . . CHERYL A . TKACH ADR Supervisor . . . . . . . . . . . . . . . . . . . TAMMY FEARING Sound Effects Editor . . . . . . . . . . . . . . . . . CINDY MARTY Dialogue Editors . . . . . . . . . . . . . . . . . . JAMES MATHENY LARRY KEMP ADR Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . JOE SCHIFF First Assistant Sound Editor . . . . . . . . . . . . CHERIE TAMAI ADR Assistant Editor . . . . . . . . . . . . . . . . . . . BILL BURNS Special Effects Coordinator . . . . . . . . . . DONALD FRAZEE Location Manager . . . . . . . . . . . . . . . . . . . BOYD WILSON Key Assistant Location Managers . . . . . . . . . LARRY RING JUN C . LIN Assistant Location Managers . . . . . . . . . . . . . . . . . . . . . . NAOMI MOTOHASHI STALEY BRADFORD F . BELL JIM SMALL Production Coordinator . . . . . . . . J . ELIZABETH INGRAM Assistant Production Coordinator . . MATTHEW HADFIELD Production Secretary . . . . . . . . . . . . . . . . TARA GUCKEEN Script Coordinator . . . . . . . . . . . . . . . . . . LISA MONAHAN 2 2 Assistant Director . . . . . . . . VALERIE C . JOHNSON

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Storyboard Artist . . . . . . . . . . . . . . . DARRIN DENLINGER Video Assist . . . . . . . . . . . . . . . . . . . . . WILLOW JENKINS Video Playback Supervisors . . . . . . . . . . JARED A . ROSEN

Laborer Gang Bosses . . . . . . . . . . . . JONATHAN BADILLO KIRK HILL Head Paint Foreman . . . . . . . . . . . . . . . . . JOHN W . SNOW Paint Foreman . . . . . . . . . . . . . . . . . . . . . . . . MEG SNOW Standby Painter . . . . . . . . . . . . . . . BILL KAUHANE HOYT Plaster Foreman . . . . . . . . . . . . . . . . DAVID L . FALCONER Plasterer Gang Boss . . . . . . . . . . . . . RICHARD HOLLING Key Greensman . . . . . . . . . . . . . . . . . . . . ROGER PRATER On-Set Greensman Foreman . . .JAIME O . CASTELLANOS Greens Foreman . . . . . . . . . . . . . . . . . . .MARC FIGUEROA DGA Trainee . . . . . . . . . . . . . . . . . . . . . . . JASON MELIUS Production Assistants . . . . . . . . . . . . . . . . . MARK AVERY PHILIP BANKS ISAAC KELLMAN CARLEN JOANN CONNOLLY MIRREN GORDON-CROZIER MIKE KING YARDEN LEVO TRAVIS MILLER BRIGID O'CONNELL KAUSHIK SAMPATH K .C . SCHRIMPL ZACHARY SMITH FRANNY STAFFORD Apatow Intern . . . . . . . . . . . . . . . . . . . . ROB TURBOVSKY Asset Coordinator . . . . . . . . . . . . TOBIN H . GRIGSBY JR . Transportation Captain . . . . . . . . . . . . WALLACE G . FRICK Transportation Coordinator . . . . . . . . . . . . DENNY CAIRA Dispatcher . . . . . . . . . . . . . . . . . . . . . . KAREN K . CHANG D .O .T . Administration . . . . . . . . . . . . . . . DAVID ATKINSON Unit Publicist . . . . . . . . . . . . . . . . . . . . TAMMY SANDLER Stills Photographer . . . . . . . . SUZANNE HANOVER smpsp Tennis Consultant . . . . . . . . . . . . . . . . . . AMY SCHWARTZ DVD Producer . . . . . . . . . . . . . . . . . . . . . . . .GREG COHEN DVD/EPK Videographer . . . . . . . . . . BRANDON CARROLL Medics . . . . . . . . . . . . . . . . . . ERICKA BRYCE PONIEWAZ VICKI MARSIK Animals Provided by . . BIRDS AND ANIMALS UNLIMITED Craft Service . . . . . . . . . . . . . . . . . . . . CHANCE TASSONE JOSEPH MILITO Craft Service Assistants . . . . . . . . . . . . . . . COREY MINER FADI SABELLA

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Caterer . . . . . . . . . . . . . . . . . . . . . FOR STARS CATERING Researcher . . . . . . . . . . . . . . . . . . . . . . . JESSE J . ADAMS ADR Voice Casting . . . . . . . . . . . . . . WENDY HOFFMANN RANJANI BROW ADR Mixer . . . . . . . . . . . . . . . . . . . . . . . . . GREG STEELE ADR Recordist . . . . . . . . . . . . . . . . . . GREG ZIMMERMAN Foley Artists . . . . . . . . . . . . . . . . . . . . . . ANDY MALCOLM GORO KOYAMA Foley Recording Mixers . . . . . . . . . . . . . . . . . DON WHITE JACK HEEREN Foley Recordists . . . . . . . . . . . . . . . . . JENNA DALLA RIVA STEPHEN MUIR Dubbing Recordist . . . . . . . . . . . . . . . . ROBERT ALTHOFF Music Editor . . . . . . . . . . . . . . . . . . . . . . JONATHAN KARP Orchestrations . . . . . . . . . . . . . . . . . . . . MIKE ANDREWS Scoring Engineer/Mixer . . . . . . . . . . . . . . STEPHEN KAYE Music Contractor . . . . . . . . . . . . . . . . . . . . GINA ZIMMITTI Keyboards . . . . . . . . . . . . . . . . . . . . . . . ROBERT WALTER Main Titles Designed by . . . . . . . . . . . . . . NAU/LEVEL 256 End Titles by . . . . . . . . . . . . . . . . . . . SCARLET LETTERS Digital Intermediate . . . . . . . . . . . . . . . . . . . . COMPANY 3 Digital Film Colorist . . . . . . . . . . . STEFAN SONNENFELD Digital Intermediate Producer . . . . . . . . . . . NICK MONTON On-Line Editor . . . . . . . . . . . . . . . . .MATTHEW JOHNSON Dolby Sound Consultant . . . . . . . . . . . . . . . . THOM EHLE Camera Dollies by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHAPMAN/LEONARD STUDIO EQUIPMENT, INC . Night Lights by . . . . . . . . . . . . . . . . . . . . . . . . . . . . BEBEE Laser Effects by . . NU-SALT LASER LIGHTS SHOW INT'L . Visual Effects by . . . . . . . . . . . . . . . . . . . . . . . LEVEL 256 Visual Effects Supervisor . . . . . . . . . . . SCOTT M . DAVIDS Visual Effects Producer . . . . . . . . . . . . SETH KLEINBERG Lead Compositor . . . . . . . . . . . . . . . . . CHRIS CHAPPELL Compositors . . . . . . . . . . . . . . . . . . . . . . . . . . ADAM LIMA ANTHONY MABIN JOSHUA BOLIN MARK LARRANAGA Rotoscope Artist . . . . . . . . . . . . . . . . . . . . . DAVID WILSON Matte Painter . . . . . . . . . . . . . . . . . . . . . DAVID EDWARDS VFX Coordinator . . . . . . . . . . . . . . . . . . . .ANTHONY HAYS SOUNDTRACK ON RELATIVITY MUSIC GROUP

"RIP HER TO SHREDS" Written by Deborah Harry, Chris Stein Performed by Blondie Courtesy of Capitol Records Under license from EMI Film & Television Music "BORN TO BOSSA" Courtesy of APM Music "SPECKS BLUES" Written by Lonnie Williams Performed by Specks Williams Courtesy of Celery Music and Time Records "BLISTER IN THE SUN" Written by Gordon Gano Performed by Nouvelle Vague Courtesy of Peacefrog Ltd . "THAT'S WHAT FRIENDS ARE FOR" Written by Burt Bacharach, Carole Bayer Sager "PAPER BAG" Written by Fiona Apple Maggart Performed by Fiona Apple Courtesy of Epic Records By arrangement with Sony Music Licensing "DIRTY DEEDS DONE DIRT CHEAP" Written by Bon Scott, Angus Young, Malcolm Young Performed by AC/DC Courtesy of Columbia Records By arrangement with Sony Music Licensing "DO WAH DOO" Written by Kate Nash Performed by Kate Nash Courtesy of Polydor Ltd . (U .K .) Under license from Universal Music Enterprises "TWO SPANISH HEARTS A" Courtesy of APM Music

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"ANDALUSIAN DREAM A" Courtesy of APM Music "MANHA DE CARNAVAL" Written by Luiz Bonfa, Antonio Maria Performed by Joao Donato Courtesy of RCA Records By arrangement with Sony Music Licensing "MORNING DANCE" Written by Jay Beckenstein Performed by Spyro Gyra Courtesy of Amherst Records, Inc . "I'VE JUST BEGUN (HAVING MY FUN)" Written by Bloodshy, Henrik Jonback, Britney Spears, Avant, Michelle Lynn Bell Performed by Britney Spears Courtesy of Jive Records By arrangement with Sony Music Licensing "MY LOVE IS YOUR LOVE (FOREVER)" Written by Stevie Wonder, Ivy Jo Hunter Performed by Smokey Robinson & The Miracles Courtesy of Motown Records Under license from Universal Music Enterprises "PLAYGROUND OF THE STARS" Courtesy of APM Music "IT'S RAINING" Written by Allen Toussaint Performed by Inara George Courtesy of Elgin Park Recordings "VIOLET" Written by Courtney Love, Eric Erlandson Performed by Hole Courtesy of Geffen Records Under license from Universal Music Enterprises

"WILSON...I'M SORRY" FROM CAST AWAY Written & Performed by Alan Silvestri Courtesy of Paramount Pictures and 20th Century Fox Film Corporation "ANSWERING BELL" Written by Ryan Adams Performed by Ryan Adams Courtesy of Lost Highway Records Under license from Universal Music Enterprises "NATURAL BORN KILLAZ" Written by Andre Young, Ice Cube Performed by Dr . Dre and Ice Cube Courtesy of WIDEawake-Death Row Entertainment LLC Under license from EverGreen Copyrights, Inc ., a BMG Company "HOLD ON" Written by Chynna Phillips, Carnie Wilson, Glen Ballard Performed by Wilson Phillips Courtesy of Capitol Records Under license from EMI Film & Television Music "SHAKIN' ALL OVER" Written by Johnny Kidd Performed by Wanda Jackson Courtesy of Third Man Records/Nonesuch Records By arrangement with Warner Music Group Film & TV Licensing "RIP HER TO SHREDS" Written by Deborah Harry, Chris Stein Performed by Blondie Courtesy of Eagle Records, a subsidiary of Eagle Rock Entertainment Ltd IN ASSOCIATION WITH DENTSU INC . Cast Away courtesy of 20th Century Fox . All Rights Reserved . Cast Away licensed through Paramount Pictures .

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The Maury Show courtesy of NBCUniversal Television Distribution . Bulletstorm video game courtesy of People Can Fly . Stock photography supplied by Thinkstock . Stock footage courtesy of Thought Equity . SPECIAL THANKS TO The State of California California Film Commission Epic Games AMERICAN HUMANE ASSOCIATION MONITORED THE ANIMAL ACTION . NO ANIMALS WERE HARMED® . (AHAD 02270)

THIS MOTION PICTURE USED SUSTAINABILITY STRATEGIES TO REDUCE ITS CARBON EMISSIONS AND ENVIRONMENTAL IMPACT .

NO. 46648

MOTION PICTURE ASSOCIATION OF AMERICA

COPYRIGHT © 2011 UNIVERSAL STUDIOS All Rights Reserved . ANIMATED UNIVERSAL STUDIOS LOGO © 1997 UNIVERSAL STUDIOS

Universal Studios is the author of this motion picture for purposes of the Berne Convention and all national laws giving effect thereto . 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 March 30, 2011.

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(L to R) KRISTEN WIIG, MAYA RUDOLPH, WENDI McLENDON-COVEY, ROSE BYRNE, MELISSA McCARTHY and ELLIE KEMPER in Bridesmaids.

This summer, producer JUDD APATOW (Knocked Up, The 40-Year-Old Virgin) and director PAUL FEIG (creator of television's Freaks and Geeks) invite you to experience what happens when best friends forever meet the wildest Bridesmaids ever. KRISTEN WIIG (TV's Saturday Night Live) leads the cast as Annie, a maid of honor whose life unravels as

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she leads her closest friend, Lillian (MAYA RUDOLPH of Away We Go), and a group of colorful bridesmaids-- Helen (ROSE BYRNE of TV's Damages), Rita (WENDI McLENDON-COVEY of TV's Reno 911!), Becca (ELLIE KEMPER of TV's The Office) and Megan (MELISSA McCARTHY of TV's Mike & Molly)--on a wild ride down the road to matrimony.

the film is by MICHAEL ANDREWS (Donnie Darko, Funny People), and the music supervisor and music editor is JONATHAN KARP (Knocked Up, Pineapple Express).

ABOUT THE PRODUCTION

Groundlings to Bridesmaids:

Production Begins

Annie (KRISTEN WIIG) finds out that best friend, Lillian (MAYA RUDOLPH), is getting married.

Annie's life keeps coming up short. But when she discovers her lifetime best friend is engaged, she simply must serve as Lillian's maid of honor. Though lovelorn and broke, Annie dives into all of the required rituals as she gets to know the other ladies in the bridal party, including one particular rival (Helen) who is perfectly poised to fulfill all the duties that Annie struggles through. As she brings Lillian's bridesmaids along on an escalating series of disasters, Annie realizes the person who knows her the best has introduced her to four strangers who will shake up her life for good. Collaborating with producer Apatow and director/ executive producer Feig on Bridesmaids are fellow producers BARRY MENDEL (Funny People, The Sixth Sense) and CLAYTON TOWNSEND (Knocked Up, The 40-Year-Old Virgin), as well as screenwriters/ co-producers Kristen Wiig and ANNIE MUMOLO. The comedy's behind-the-scenes crew is led by cinematographer ROBERT YEOMAN (The Royal Tenenbaums, Yes Man), production designer JEFFERSON SAGE (Knocked Up, Paul) and editors WILLIAM KERR (Forgetting Sarah Marshall, Superbad) and MIKE SALE (The Hangover Part II, Get Him to the Greek), as well as costume designer LEESA EVANS (Forgetting Sarah Marshall, American Pie). Music for

Longtime friends Kristen Wiig and Annie Mumolo met years ago at The Groundlings, the Los Angeles-based improv troupe where they wrote sketches with one another. Wiig recalls: "Annie and I went through the company around the same time, and we found each other to write together. We've always written so smoothly that there's never any ego, and we've never fought over anything to be in or out of a script. It's a great creative relationship where we respect each other. She's one of my best friends." After her breakout cameo role in producer Judd Apatow's second film, Knocked Up, the popular Saturday Night Live actress was asked to try her hand at another side of filmmaking. Apatow appreciated her unique comedy style and wanted to see what else she was capable of onscreen. Wiig explains: "I was approached by Judd to write a script, so I called Annie and asked if she wanted to do it with me. She had this idea that she had talked about before, and said, `Let's write it out.'" Apatow discusses his involvement in the project: "Every time we do a movie, I always think, `Who stole some of their scenes? Could any of these people star in their own movie?' After Knocked Up, I thought Kristen deserved to be the lead of a movie. I asked her if she had any ideas, and she came back to me with this idea about bridesmaids she'd worked on with her friend Annie Mumolo."

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Mumolo says that she and Wiig share a no-holdsmovie. She was in a wedding in which she couldn't barred style of comedy: "The first day we wrote together afford to go to the bachelorette party because it was a at The Groundlings, Kristen and I bonded, and we had crazy trip. She got an e-mail that read, `It's going to be great success. Not only did we always have so much $2,500 a person, and everyone chip in.' Her response fun there, we were to able to get a lot of material in and was, `What? How did this happen? How do I have to worked together often." spend all this money and time?'" Mumolo and Wiig began writing the script in 2006 Mumolo agrees with her collaborator that the after Wiig had been on SNL for about a year. Says humor of their story comes from the relatable converMumolo: "I had this story about how I had been a sations and situations leading up to the big day...with bridesmaid a number of times, and I was disgruntled a bit of embellishment. Their aim was not to make a about it. I was very much a delinquent bridesmaid, treacly rom-com about trying to land a man, but rather so we started writing about my adventures with these a ballsy comedy that celebrated how real women interdifferent girls." When it came time for their big chance, acted with one another. Mumolo says, "We wanted a Mumolo remembers that it happened very suddenly: movie without the frill. We wanted to tell the story of "After Knocked Up, Kristen asked me to go in and pitch what our experiences were like--the down and dirty, Judd. She said, `Just go in and tell him what the movie gritty version of bridesmaids, where not everyone's hair is about.' I had never pitched anything before, and I is perfect and everyone looks good and has cute stories. didn't even realize that was what pitching was, but I We learned as we went, and Judd guided us. He has a went in and told him the basics of the story." commitment to being original, and he doesn't stop until Over the next several years of the film's development, he finds it." Mumolo and Wiig honed their script with Apatow so it When the search began for the director of Brideswouldn't read as anything close to "another wedding- maids, Wiig remembers that one of the first names themed movie." Wiig says that it was important to discussed was Paul Feig. She reflects: "Judd mentioned differentiate this film as one that is not simply a romantic him, and we met to discuss. Paul cast me in my very first comedy about a girl who's in a wedding or a bride in a love story. She relates, "Bridesmaids focuses on something that a lot of women can relate to: the people who are in the wedding. We wanted to tell the real story of what it's like to be in one and what you're expected to do. It's a lot, and it's kind of a pain in the ass." When they considered source material from which to draw, they didn't have to go far. Wiig laughs: "Annie's been in weddings and gone to showers, and her stories Megan, Becca, Helen, Rita, Lillian and Annie are at the most exclusive bridal shop in Chicago. sound like they came out of a

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the-house hilarious? At the same time, those things can't make you believe these people don't exist." It would be a few more years before the opportunity to revisit Bridesmaids came around for the director, producers and the cast. "In the beginning of 2010, I was in New York shooting commercials," recalls Feig, "and I got a call from my agents. I got on the phone with Judd, and within two minutes I was committed to the project and it was set in motion. It's been a whirlwind since." Annie and Officer Rhodes (CHRIS O'DOWD) flirt outside a convenience store. Feig adds that his primary interest movie role in Unaccompanied Minors as a slutty mom. in the script was due to its honesty and relatability that After meeting with him, I called Judd and I said, `Yes, yes, blended well with dirty humor. He says: "I've always yes!' Not only is Paul incredibly talented and hilarious been interested in doing more female-based stories. I and has such a good mind for comedy, he's also incredenjoy these stories and the emotions and the comedy ibly patient and collaborative. All the girls loved him to that can be had in them. It's exciting to bring Judd's death. I can't imagine anybody else as our director." style of humor to a movie about women and still make In addition to his work with Wiig, the director had it honest and real. We've explored themes that women partnered with Apatow on a project that was one of the can relate to while guys will also find it hilarious. What defining moments of both of their careers, Freaks and we wanted to capture was women talking like women Geeks, the classic TV show created by Feig and executive do behind the scenes where guys aren't privy to it." produced by Apatow. Feig shares: "Throughout the Accompanying Apatow in production duties years, Judd and I have kept in touch and wanted to were frequent collaborators Barry Mendel, with figure out a project to do together again. Bridesmaids whom Apatow worked on Funny People, and Clayton came to me several years ago. Judd invited me to a Townsend, whose working relationship with the protable read of Kristen and Annie's original script, and I ducer extends back to their time together on The thought it was very funny. I was very interested." 40-Year-Old Virgin. Friends since their days at the University of Mendel, who had recently worked with Wiig on Southern California in the late '80s, Feig and Apatow Whip It, shared the team's desire to explore a new take have a shorthand with their comedy. The producer on a comedy subgenre that is often seen as trite. He commends of Feig's directing style: "Paul is really offers: "The aspects of planning a wedding are very good at keeping the scenes grounded, but also allowing coordinated, and Kristen and Annie wrote about how them to be funny. That sounds not that complicated, women sometimes get carried away when planning but is the most complicated thing in the world. How them. There are a lot of movies that deal with people can you continue to care for these people while finding getting engaged and getting married, but they can opportunities for them to do things that are tear-down- feel very lightweight, and the emotions can seem

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manipulative or not that lifelike. They're entertaining and diverting and fair enough, but our question was `Is this movie going to be one of them, or could it be another type of film entirely?' Now that we are on the other side, I can say that we actually did it."

Female Fight Club:

Casting the Comedy

We are introduced to the women of Bridesmaids through Annie, a thirtysomething jewelry-store employee who can't seem to get her life in order. She's lost her bakery, boyfriend and hope for a perfect future and has just found out that her best friend is getting married and moving on. Feig notes: "It's a very elegant story of one person pulling her life together. There's such humanity about Kristen. She has the ability that few comedy performers have: she can play real and small as well as big and crazy. Yet she always grounds the bigness and the craziness in reality. My theory on comedy is that you can go as big as you want, but it has to come from a real place. She brings all that weird humanity to this role, and she's able to summon up vulnerability at the same time that she is holding it together." As Mumolo and Wiig crafted the characters with Apatow, they wanted to flesh out the nuances and eccentricities of each bridesmaid. They knew it could be easy to fall into the stereotype trap, and every decision was designed to avoid that while maximizing comedy. Wiig notes: "Sometimes girls in movies are portrayed as very girlie and perfect, and they're simply the neighbor or the wife. There's so many funny actresses out there that to have a movie that has many funny roles for women, instead of just a couple on the side, was gratifying for Annie and me to write and help cast." Annie and Helen (ROSE BYRNE) compete for the bride-to-be's affections.

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When looking for the actresses to play opposite Wiig as the directionless Annie, Feig and the producers conducted an exhaustive casting process. "Bridesmaids is a gang comedy, so it's very hard to write until you cast," Apatow notes. "The most fun part of this process was to audition every funny woman in town and to come up with a group of people to play these characters. Then we spent a few weeks with Paul, improvising and letting everybody make the characters their own. That's when the really funny stuff came out." When casting the bride-to-be, Lillian, the team turned toward a longtime friend of Wiig's and past partner-in-crime of hers on SNL. "Maya and Kristen's friendship came through beautifully," says Feig. "It was important for Lillian to have a real relationship with Annie because the camera is an honesty detector that picks up on those little signs of authenticity. The natural energy of their friendship comes through and lifts up the premise of the movie, which is what happens if you think you're about to lose your best friend. You want to feel like they've known each other forever, and you don't need a lot of dialogue setup if they've known each other for this long." Mumolo explains that arriving at this character was not an easy process. She offers: "We had a hard time

Helen offers her opinion to Lillian and Annie.

figuring out who Lillian was because the role wasn't initially a huge part. She changed slightly from when we first wrote her to when we cast Maya. At the time Maya Rudolph came into the picture, it answered so many questions because of how great of an actress and comedian she is. She's the girl that everybody wants to be friends with; she's so loose, happy and ready for a good time." Rudolph was not only keen to play Lillian, a character she refers to as "the glue to these women," she was eager to work once again with Wiig, with whom she has been close since their days at Saturday Night Live together. Rudolph says: "When you know somebody well, you have a shorthand. It's so much fun to incorporate it into this film because it makes it feel real... not just for the audience, but for us as well. Kristen and I have this strange way of talking to each other and making each other laugh, and you can see it throughout the movie. When do you get the opportunity to do that with somebody who shares the same brain?" In serious contention for the role of maid of honor is the sweet-but-patronizing Helen, a paragon of her community and fixture on the country-club circuit. Feig explains: "My goal with Helen was never to make her villainous, but a character with odd sincerity that

drives people crazy. Where a lot of these movies fall apart for me is when the emotions get so high and the bad girl becomes really bad. It can easily become a battle between her and the protagonist, and it just gets very amped up and shrill." The role of the conflicted antagonist was offered to an actress who has long been known for her dramatic choices...until her last Apatow production linked her to pop star Jackie Q. Feig recalls: "Judd had just produced Get Him to the Greek, in which Rose Byrne played Russell Brand's character's ex-wife. It hadn't come out yet and Judd said, `Go down to the editing room. I want you to take a look at her scenes.' I was blown away by how funny she was playing this extreme character. Then Rose came in with such energy and was willing to do anything. She has that combination that is hard to find: absolutely stunningly gorgeous, funny and real." While initially asked to read for one of the other roles in Bridesmaids, Byrne requested something else. Her request? "Give me a crack at being the bitch." She recalls: "It's rare that you read a script about a group of funny women in a situation that is familiar to everybody. Being a bridesmaid in a wedding drew me in; the part was so funny. Helen was just delicious; every time she came on the page I thought, `What's she going to do now? No she didn't...oh, yes she did.' It just kept getting worse." For the role of Megan, the team was searching for someone who would serve as the counterpoint to Annie. While Annie just wants to fit in with the other bridesmaids, Lillian's future sister-in-law, the fight club-loving/nuclear-engineer wild card Megan, could care less. "We knew Megan would be a pivotal weirdo, real comedy relief," laughs Feig. "We saw all different types and then Kristen and Annie said, `You have to see our friend Melissa McCarthy.'"

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McCarthy was a series favorite in the long-running Gilmore Girls, and she currently stars in the CBS hit Mike & Molly. Many don't realize that when McCarthy performs at The Groundlings in L.A., people line up around the block to see her. The actress came in with a go-for-broke take on Megan, a free spirit who has a distinct take on the world, and she killed it. Mumolo admits: "Megan has the attitude I wish I had. She's like Annie but without the insecurity, and she's taken it to an extreme. That character is based on one I did at The Groundlings, and then we wrote her into the movie. When we cast Melissa, she just took it to a whole new level." McCarthy describes her character as "a bull dozer." We first meet Megan at Lillian's engagement party, where she introduces herself to Annie as Dougie's (Lillian's fiancé) sister. The actress reflects: "I love Megan. From the beginning, I wanted her to look physically like Guy Fieri on the Food Network with a big, boxy shirt. There's nothing feminine about her except for her nails and pearls. She seems crazy, but she's actually the happiest one; she's totally well adjusted. She gets men, and her attitude is `I hit it whenever I want.' I just love that we always kept her happy, in control and confident with herself. No matter what it is, good or bad, Megan's attitude is `All right!'" The part of Lillian's cousin, the exasperated housewife Rita, would go to Reno 911!'s seductress Wendi McLendon-Covey. Wiig notes: "We wrote the part for Wendi when we first wrote the script several years ago. She's someone that we've been in The Groundlings with for a long time, and we thought of this character as someone who is outspoken, fun loving, and doesn't care what people think about her. She's married and

she's always complaining about it, but deep down she's happy at home. Wendi is such an amazing improviser that it was a gift every time she opened her mouth." Mumolo admits that she completely related to Rita as they created the character. "Nothing against my husband, who I love and adore, but when you're married and you have kids, you can start to feel like a doormat. It's like life steamrolls you, and you're the one running. For some reason it seems to fall on the woman to do everything." She remembers: "We would sit around for weeks trying to come up with how we can get certain characters to this point, and Wendi would just make it work. She would say one line in her improv and then we were basically, `Thank you, thank you so much." Feig and the producers were impressed with McLendon-Covey's zingers describing marriage and with her ability to riff endlessly about having kids. McLendon-Covey tells a bit about her character: "Rita lives in a house full of men. She's the one handmaiden to three ungrateful sons and a very horny husband, whose ardor has not waned in all their years together; it has increased. She just feels like a mattress that vacuums and does laundry." When it came time for some of this bridesmaid's more inelegant scenes (read: removing

Becca (ELLIE KEMPER), Megan (MELISSA McCARTHY) and Rita (WENDI McLENDON-COVEY) at the bridal fitting.

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Ted (JON HAMM) worms his way into Annie's life.

fake vomit from her hair), the actress was still game. Still, she admits, "That's what acting school does not train you for, you know?" Although Ellie Kemper did not come from The Groundlings as did cohorts Wiig, Rudolph, McCarthy and McLendon-Covey, she did spend time training in improv at the Upright Citizens Brigade. For the role of the wide-eyed ingénue Becca, the production searched for someone who could play a naïve newlywed preparing to have kids. Feig states: "I worked with Ellie on The Office the same year I worked with Wendi. There's something that Ellie has that is just so funny. We wanted Becca to be this fresh-faced innocent who thinks everything's great. She was a prepackaged Becca; she gets to live and breathe Becca in a very natural way." Kemper shares that she has known a few bowloving/baby-talking women like Becca, and she has been in her fair share of bridal parties. She says: "What I love is that all these women are connected to Lillian, and they're dear to her. But then, when you put them together, it's uncomfortable and hilarious to see them sharing this one task. Their common goal is to serve the bride, and seeing how that plays out is fascinating as they all try to be the best bridesmaids they can be."

Joining the ladies in Bridesmaids in supporting roles is a collection of comedy performers that include CHRIS O'DOWD (U.K. television's The IT Crowd) as Annie's Irish-born suitor, Officer Rhodes. Annie's been making all the wrong decisions when it comes to jobs and men, and Rhodes is the first man in a long time to accept her as she is. He wants to have an actual grown-up relationship with her, and that initially scares Annie to death and makes her run for the hills. But as she gets to know him, she starts to see a side of Rhodes she adores. O'Dowd appreciated that he was allowed to portray the police officer as a regular guy who just happened to be in love with a girl. He also liked the amount of improv that was encouraged on set. O'Dowd notes: "People can be very sacrosanct about their scripts, and they can want nothing to be changed, and be very protective. But here, it was `Whatever the best lines and best scenes are will be used.' That's the way it should be." Remembers Mendel of O'Dowd's audition: "Chris came in and he did an American accent, and then I thought, `Let's try his natural Irish one.' All of a sudden, this whole other side of him came out, this whole new charm. It helped us to flesh out his character in the final writing process, and I think he felt more comfortable being able to react on the fly during the shoot, too." In a cameo role as the jerky object of Annie's affection, Ted, is Mad Men's JON HAMM. Says Apatow of the casting: "Jon plays Ted, somebody who Annie sleeps with who she would like to go out with. Basically, it's just a sexual relationship, and it epitomizes how bad she feels about herself that she lets this continue to happen. But he's so handsome, it's hard not to." Additional talent includes U.K. television's Little Britain actor MATT LUCAS as Annie's odd roommate, Gil; REBEL WILSON as Gil's odder sister, Brynn; MICHAEL HITCHCOCK as Annie's jewelry store boss, Don; KALI HAWK as Don's favorite employee,

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Kahlua; TIM HEIDECKER as Lillian's fiancé, Dougie; TERRY CREWS as the boot camp instructor who chases Lillian and Annie away; and the late legendary actress JILL CLAYBURGH as Annie's mother, Judy.

Follow Her Lead:

Improv on the Set

With five actresses and a writer who have a background in improvisational training, it was a given that the Bridesmaids production would marry script with this comedy style of on-site discovery. Mumolo explains that this process began well before production. Recalling their early meetings with Apatow, she says: "We would improvise for hours, and Judd would film us. Then we would go over what we taped and then work that into the script. We followed his lead. Additionally, during the movie, we were rewriting it on its feet, feeding jokes and sculpting." "Annie and I come from a world of writing sketches, and our experience is with character and dialogue," adds Wiig. "If we loved a scene that wasn't working, Judd would say, `Try this idea' or `Think of something new.' Then we would rewrite it, read it and think, `He's right.' There are certain things you have to sacrifice to get the flow right, and Judd was good about helping us identify that when we were so close to the material." After casting was complete and production began, "Paul and Judd had the actors rehearse and improvise," Wiig continues. "We could have a scene in the script that we didn't touch because everyone was happy with it through all the rewrites. Then, when the cast read it, something didn't feel right or an improvisation made us think, `It's better now; I didn't even think of this other side.' It evolves through rehearsing and improvising, and then it just becomes more real and natural."

Feig shares his rehearsal process with the actresses: "We'd start with the scripted scenes because we wanted to make sure the script was working. Then we did an improv version of a scene to explore its intention. As the actors did that, Judd or I would throw in a line we'd think of or ask them to consider a new direction. They would take it and run with it. What happens from that is we started cherry-picking: `This is a great line. That's a great area to write a scene for or to remember and use later.' "The rehearsal process gave us new written material that we then put in the script and let them do again verbatim on the day of shooting," Feig continues. "It also gave us areas in which we knew we could improv on the set. The actresses loved being part of the process. They trust you and feel like they're collaborating when they come back and the script has lines that they improv'd in rehearsal." This method, Feig says, "allowed the benefits of having improv performers who take fresh, new ideas that they're spewing out on the spot, and allowing our characters to talk in a real way. I'm hoping women will find it honest and open and slightly outrageous." Feig acknowledges: "We had a team of great writers behind us helping out. They transcribed and handed me jokes they thought of at the moment, then I'd feed ideas in. Our actresses knew the drill was to start again and try

Judy (JILL CLAYBURGH) gives advice to daughter Annie.

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with Paul and Judd off and on as they had projects that came up. The first thing that appealed to me about Bridesmaids was that you had these two disparate worlds: There was Annie's world in Milwaukee, and then there was Helen's world in Chicago. It immediately drew this dichotomy between the rivalry that developed between them."

L.A. as the Midwest

While the comedy takes us back and forth between the two cities, the production actually shot in Los Rita, Helen, Annie, Megan, Lillian and Becca get the bachelorette party started. Angeles. About cheating L.A. for this line; then they'd try one of their own. It's a different these cities, Sage acknowledges: "Sets that are interiors way of making movies, because normally you get are much easier to fudge, but we looked for architecture everything perfect beforehand. Most great movies in the that would give us those Midwestern worlds. Chicago world have been made that way. This is just a different is a beautiful, distinctive city architecturally, and way, and it requires a lot of energy; it's hard to sit back restricted views of downtown L.A. feel like Chicago. and just watch. You have to be engaged constantly and It was also a question of hunting and finding buildings make sure you're not dropping your guard." that had the right feeling for Milwaukee." Mendel admits he was impressed by the amount and As Annie, Lillian and the bridesmaids head back variety of improv the cast was able to accomplish. He and forth between the two cities, the production had to says: "These are the strongest improvisational actors make it look as if they were not traveling along the West I've ever seen. It's partly The Groundlings presence and Coast. Notes Sage: "We looked at surrounding towns partly simply the people that we've picked. This is an to find places that would sell for Milwaukee, and our all-star team. Judd was very excited about producing a challenge was the landscape. In the story, Annie meets female-driven movie, and we wanted to pack the film Officer Rhodes on the highways between Milwaukee with improv stars and let them do their thing." and Chicago. Since we had to have a Midwestern landscape, we ended up in Oxnard--a broad, flat, green Something Borrowed: area away from mountains."

Locations and Design

Production designer Jefferson Sage's work with Judd Apatow and director Paul Feig began during their Freaks and Geeks days. Recalls Sage: "I was lucky enough to be hired to jump in on that show when they were putting it together. Over the years, I've worked

The Fitting

When the ladies take Helen to go shopping at the most exclusive bridal shop in Chicago, all digestive hell breaks loose. By bringing them into Sage's selfdescribed "pristine, white inner sanctum of bridalness where they are surrounded by beautiful fabrics,

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beautiful white carpet and priceless silk," Feig received maximum payoff for the earlier scene in which the bridesmaids had just eaten an unsanitary lunch. The production designer worked with his director and set decorator DOUG MOWAT to get the characters trapped in just the right way...so that when it was time for things to explode, there was no escape. They had to run into one another as they raced toward the onetoilet bathroom. Sage cringes: "It was all designed to increase the discomfort. It was a very limited palette: all white. If you have to be sick, what's the worst thing that you could besmirch?" It took some time to create the perfect bridal-shop set. DP Yeoman weighed in on what fabrics offered the perfect tones and wouldn't present lighting problems as they shot. The decorators re-created one of the most exclusive of shops that requires appointments months in advance. Though Annie can't get them in the door, Helen can. She rules this world. Somewhat unique to this film, production design and locations were inextricably linked to costume design. Sage worked with costume designer Leesa Evans to ensure that the color palettes chosen in set design married with Evans' choices for outfits. Sage notes, "There were a lot of conversations such as `Which dress works with that set? Here's a picture of the dress; now what are the wall colors?' I sent color-palette studies to Leesa, and she would call me if there was a color problem. We kept it in sync." For Evans, it was key to ensure that the dresses didn't border on ridiculous. She says, "I think one of the biggest challenges of a movie like this is not to make a caricature of what this whole wedding business is about. When you get six women together and you have the engagement party and the shower and the wedding, there's a tendency to take it over the top on every level. I

hope we got the right tone in which we're being funny and a bit ironic, but at the same time showing the reality of these events." The actresses' many costumes were not the only inspirational clothing on the set. Mumolo notes: "Paul is `Dapper Dan.' He was dressed to the nines every day. He wore suits and fedoras, and he's a perfect fit for this movie. He's very in touch with female sensibilities, sensitive to women, and helped us preserve that. He was very good about keeping on point and maintaining the integrity of our ideas."

The Bridal Shower

Though Annie is the maid of honor, Helen is determined to host the most over-the-top, garish bridal shower anyone has seen at her Tudor revival mansion. As the team created the design, they wanted to bring forth the best bad ideas from their collective experiences at these types of events. Feig says: "The shower was a big set-piece scene with a lot of people in a big location. It was a great arena for Kristen to go crazy with her physical comedy. We just turned Kristen loose and put two cameras on her." What was challenging was that all six of the film's main characters are in these scenes, and DP Yeoman's

Annie violates all kinds of FAA regulations as Rita watches in shock.

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the fountain is 7-feet tall, with melted chocolate pouring out. Annie is ready to go ballistic, and we can't blame her. Of his leading lady's abil ity to move into a hilarious fugue state, producer Mendel commends: "People who enjoy Kristen on Saturday Night Live are going to love her in Bridesmaids because they know that she will go places no one Annie is freaked out by a nervous fellow flier (co-writer ANNIE MUMOLO). else will go. When Kristen is team had to capture the principals' interactions with drowned in chocolate, punching a giant cookie to the supporting players. Feig notes: "The first takes of smithereens, it's a joy." Kristen's blowout at the shower were very dramatic. They were touching and moving, but then we thought, The Wedding `Let's go for ones that are a little funnier.'" When Lillian expresses to Annie that she's afraid The production designer was tasked to design Helen may have gone way over the top for her wedding, alongside the jokes. Sage explains: "It was intentional Annie is the first to console her. Too late, as it's going to to pull a lot of the same colors into Helen's house as be a whopper. Feig says, "The wedding was fun to shoot we have in the bridal shop, as that's an extension of because it was one of Helen's over-the-top productions. Helen's universe. As Annie comes into Helen's world, It was important to pull off the main wedding itself in the tension builds. She's on this visually unfamiliar one shot that reveals more and more as we go out." ground that's designed to make her uncomfortable What wedding would be complete without a laser because it's so not her character." light show, fireworks, fountains and a fog that rolls into When Annie rides into the bridal shower (on a the pool? The ceremony takes place with the bridal horse, obviously), she sees that Helen has stolen all party out in the middle of platforms on top of a huge her ideas about bringing the city of Paris to Lillian. reflecting pool. There are lights inside and outside the Not only has Helen redone her home since Lillian water, with landscape lighting surrounding them. Feig's and Dougie's engagement party, the mansion is production crew erected a set behind the minister, dripping Parisian. The terrace is set up like a small where the lasers hit, and fog and smoke come down. café, and gorgeous pavilion tents and kiosks with The production decided to use the Los Angeles Parisian references dot the grounds. Of course, a County Arboretum as the location for Lillian and miniature Eiffel Tower has also been set up. To add Dougie's extravagant wedding. Sage shares: "It's a insult to Annie's injury, in the middle of it all is an beautiful green spot of gardens that has a 75-footenormous chocolate fountain. Made of marble stone, square reflecting pool in the middle of a huge lawn.

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We drained the pool so that we could put the set down inside and arrange our platforms and lighting. We made it pristine white so that it would look immaculately clean for the ceremony, and then filled it back up. A couple of spot towers that are behind the audience were erected to light our singing group as they hit the stage. The Super Trouper followspots click on and offer an expansive look, so it feels like you are in the middle of a huge golf course."

they got married back on Helen's property, and we see them leaving after the ceremony from the front of the country club." Sage agrees it was a great location but appreciated how it stood in for a Chicago setting. "They have dense, beautiful trees, but no mountains. It does not feel like Los Angeles. Even though we have a lot of California Oak here, they pass...I hope." **** Universal Pictures presents--in association with Relativity Media--an Apatow production: Bridesmaids, starring Kristen Wiig, Maya Rudolph, Rose Byrne, Wendi McLendon-Covey, Ellie Kemper, Melissa McCarthy, Chris O'Dowd. The music is by Michael Andrews, and the music supervisor is Jonathan Karp. The comedy's costume designer is Leesa Evans. Bridesmaids' co-producers are Kristen Wiig and Annie Mumolo, and the comedy is edited by William Kerr and Mike Sale. The production designer is Jefferson Sage, and the director of photography is Robert Yeoman, ASC. The film is executive produced by Paul Feig, and it is produced by Judd Apatow, Clayton Townsend, Barry Mendel. The comedy is written by Annie Mumolo & Kristen Wiig, and it is directed by Paul Feig. ©2011 Universal Studios. www.bridesmaidsmovie.com

Additional Sets

Before Annie moves into her mother's ranch house, she shares a little apartment in Milwaukee with Gil and his sister, Brynn, that Feig describes as a "'70skind of depressing." Sage ensured that there was wood paneling, odd chocolate-brown carpet and Formica that is 15 to 20 years out of date. The same conversation led into the creation of her workplace, Cholodecki's Jewelry Shop (built on a stage), where the team put in additional brown paneling and old-fashioned jewelry cases. Annie's trying to make a go of it, but she just feels stuck in these surroundings Sherwood Country Club in Westlake Village, California, also allowed the production to shoot key scenes for Bridesmaids. Sage says: "I believe we're the first movie to get into Sherwood Country Club and make use of it. It was desirable because it's beautiful and has a Midwestern feeling to it. The design of the building is traditional, and the brick and the white trim didn't feel like an L.A. location. It also featured the tennis courts that figure as one of our sets during the playoff between Annie and Helen." He concludes: "We did the engagement party there, and of course, in the story it's as if (L to R) Director PAUL FEIG and producer JUDD APATOW on the set of Bridesmaids.

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ABOUT THE CAST

After appearing on Saturday Night Live (SNL) for six years, KRISTEN WIIG (Annie/Written by/Co-Producer) has become one of the most sought-after talents in film and television today. Wiig recently earned her second Emmy nomination for Outstanding Supporting Actress in a Comedy Series for her work on Saturday Night Live, playing such memorable characters as the excitable Target clerk, Lawrence Welk singer Doonese, the hilarious one-upper Penelope, House Speaker Nancy Pelosi and Suze Orman, among others. Wiig was recently seen in Greg Mottola's Paul, opposite Simon Pegg and Nick Frost, and in Andrew Jarecki's All Good Things, opposite Ryan Gosling, Kirsten Dunst and Frank Langella; contributed her voice to Universal Pictures' animated feature film Despicable Me, starring Steve Carell and Jason Segel; and was seen in MacGruber, based on the popular Saturday Night Live sketch, starring opposite fellow SNL cast member Will Forte and Ryan Phillippe. She recently completed filming Jennifer Westfeldt's Friends With Kids, in which she stars opposite Jon Hamm, Megan Fox, Adam Scott, Maya Rudolph and Westfeldt. Wiig made her big-screen debut to universal high praise as Katherine Heigl's passive-aggressive boss in Judd Apatow's smash-hit comedy Knocked Up. Her additional film credits include DreamWorks Animation's How to Train Your Dragon, with Gerard Butler and Jay Baruchel; Mike Judge's Extract, with Jason Bateman, Ben Affleck and Mila Kunis; Drew Barrymore's directorial debut, Whip It, starring Ellen Page; Greg Mottola's Adventureland, with Ryan Reynolds, Kristen

Stewart and Jesse Eisenberg; David Koepp's Ghost Town, with Ricky Gervais; and Jake Kasdan's Walk Hard: The Dewey Cox Story, another Apatow-produced film, in which she starred opposite John C. Reilly. She has also guest-starred on the Emmy-winning NBC series 30 Rock, the HBO series Bored to Death, with Jason Schwartzman, and The Flight of the Conchords. A native of Rochester, New York, Wiig worked as a main company member of the Los Angeles-based improv and sketch-comedy troupe The Groundlings. As a Groundlings alumna, she joins the ranks of such SNL cast mates as Maya Rudolph, Will Ferrell, Phil Hartman and Jon Lovitz. Wiig currently resides in New York City. MAYA RUDOLPH (Lillian) was recently seen starring opposite Adam Sandler and Chris Rock in the hit comedy Grown Ups. Rudolph earned rave reviews for her performance in the comedic and heartfelt film Away We Go, directed by Sam Mendes and written by Dave Eggers and Vendela Vida. In the film, Rudolph and John Krasinski star as a couple expecting their first child that embarks on a cross-country journey to find a place to raise a family. Rudolph's additional film credits include Robert Altman's A Prairie Home Companion, Mike Judge's Idiocracy, Bruce Paltrow's Duets, Peter Segal's 50 First Dates, Miguel Arteta's Chuck & Buck, Andrew Niccol's Gattaca and James L. Brooks' As Good as It Gets, and a voice-over role as Rapunzel in Chris Miller and Raman Hui's Shrek the Third. Next summer, Rudolph will be heard in Zookeeper. In 2000, Rudolph made her debut on NBC's Saturday Night Live, where she starred as one of the show's regular players for more than seven years. Rudolph's turns included memorably skewed portrayals of Oprah

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Winfrey, Donatella Versace and Whitney Houston, and such recurring sketches as "Wake Up Wakefield" and "Bronx Beat." Rudolph currently resides in Los Angeles. In a short amount of time, ROSE BYRNE (Helen) has established herself as a rising star on the big screen. The Australian native commands the attention of filmgoers and television viewers with her beauty, talent, versatility and poise. For the second consecutive year, Byrne has been nominated for an Emmy for her portrayal of Ellen Parsons on the critically acclaimed and Emmy-nominated FX Network series Damages. In 2010 and 2008, she also received Golden Globe nominations for Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television. The third season of Damages finished airing in May 2010. DirecTV has recently announced that it will air the fourth and fifth seasons of the Sony-produced series in the summer of 2011 and 2012, respectively. Glenn Close co-stars in the series. Byrne was recently seen in Insidious, a paranormal thriller co-starring Patrick Wilson. She portrays the mother of a young boy who is haunted by a paranormal channel, from which she and her husband (Wilson) must rescue him. The film is directed by James Wan (Saw) and produced by Oren Peli (Paranormal Activity). The film screened at the Toronto International Film Festival and was released on April 1, 2011. Byrne recently wrapped production on X-Men: First Class in London. The latest film in the franchise co-stars James McAvoy, Michael Fassbender, January Jones, Kevin Bacon and Jennifer Lawrence and will be released on June 3, 2011.

Bridesmaids marks Byrne's second collaboration with comedy producer Judd Apatow and Universal Pictures. She was last seen in Apatow's Get Him to the Greek, which was written and directed by Nicholas Stoller, a spin-off of the 2008 hit comedy Forgetting Sarah Marshall. In Get Him to the Greek, Russell Brand reprises his role as Aldous Snow, the rocker exboyfriend of Jackie Q (Byrne), an outrageous pop star. The film also stars Jonah Hill and Sean Combs and was released on June 4, 2010. Illustrating her inimitable range and versatility, Byrne co-starred alongside Nicolas Cage in the megathriller Knowing. The film was released by Summit Entertainment on March 20, 2009, and came in No. 1 at the box office on its opening weekend. Also in 2009, Byrne co-starred in Adam, a unique love story set against the backdrop of Manhattan, with thespians Hugh Dancy and Peter Gallagher. The film was purchased by Fox Searchlight at the 2009 Sundance Film Festival and was released on July 29, 2009. Her additional credits include Sofia Coppola's Marie Antoinette; the sci-fi thrillers 28 Weeks Later and Sunshine, directed by Danny Boyle; the critically acclaimed independent film The Dead Girl; Wolfgang Petersen's epic Troy, opposite Brad Pitt; Paul McGuigan's thriller Wicker Park, with Josh Hartnett; the acclaimed I Capture the Castle, based on the classic English romance; the BBC drama Casanova, with Peter O'Toole; and Danny Green's The Tenants, opposite Dylan McDermott. Byrne's fame in Australia began with her role in the gritty crime comedy Two Hands, in which she starred with Heath Ledger. She went on to star in Clara Law's The Goddess of 1967, for which she was awarded Best Actress at the Venice Film Festival. Byrne resides in New York, Los Angeles and Australia.

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WENDI McLENDON-COVEY (Rita), who is best known for her hilarious film and television roles, recently starred as the villainous owner of an orphanage for little girls in the Disney homevideo movie The Search for Santa Paws, a heart-warming holiday film. McClendon-Covey has a large body of work on unscripted television shows and feature films, and she is best known for her role as Deputy Clementine Johnson on the Comedy Central television program Reno 911! In 2006, she also starred in an unscripted show for Lifetime Television about a matchmaking service run by losers called Lovespring International. She has also had guest-starring roles on Rules of Engagement (CBS), 10 Things I Hate About You (ABC Family), The Office (NBC) and Wizards of Waverly Place (Disney Channel), and her work in numerous independent films such as Spooner, Douchebag and Boutonniere has been seen in film festivals from Sundance to Cannes. At the U.S. Comedy Arts Festival in 2007, she was given a Film Discovery Jury Award, which was created specifically to commemorate her starring roles in two entirely improvised films: Closing Escrow and CookOff!, which she also co-wrote and co-produced. Raised in Long Beach, California, McClendonCovey developed an affinity for Bill Cosby, Flip Wilson, Steve Martin, Carol Burnett and the Smothers Brothers. However, it wasn't until after college that she decided to explore her own comedic aspirations by enrolling in The Groundlings Theatre & School. McClendon-Covey wrote and performed with the main company of the Groundlings Theatre for an amazing seven years and now serves on its board of directors. She is very involved in charity work and, this past New Year's, she and a group of Groundlings alums traveled

to the Middle East with Stars for Stripes to entertain the troops. This was her third trip with Stars for Stripes. McClendon-Covey has been married for 14 years to superhusband Greg Covey. They often say that one of the secrets of their long marriage is that they both hate Valentine's Day. ELLIE KEMPER (Becca) is a St. Louis-born, NY/ LA-based and Princetoneducated writer/performer with roots at the Upright Citizens Brigade (UCB), The Onion and McSweeney's. After she gained attention with her one-woman show Feeling Sad/Mad in 2008 at the UCB, Kemper's contagious friendliness and enthusiasm led to her permanently joining the cast of The Office as Erin, the naïve new receptionist. In the summer of 2009, she shot the role of Ellie in Nicholas Stoller's Get Him to the Greek and the role of Claire in Sofia Coppola's Somewhere. She was also featured on Variety's "10 Comics to Watch." MELISSA McCARTHY (Megan) stars as Molly on Mike & Molly, the No. 1 new comedy series that airs on CBS. McCarthy's previous feature film work includes The Back-up Plan, alongside Jennifer Lopez and Alex O'Loughlin; Life as We Know It, with Katherine Heigl; Pretty Ugly People, with Josh Hopkins, Missi Pyle and Allison Janney; Just Add Water, with Danny DeVito; director John August's sci-fi mystery The Nines, with Ryan Reynolds and Hope Davis; White Oleander, with Michelle Pfeiffer;

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Pumpkin, with Christina Ricci; and Go, directed by Doug Liman. Additionally, she starred in John August's short film God as a young woman having a gossipy phone conversation and short-lived spat with the Almighty, and she also appeared in The Life of David Gale, starring Kevin Spacey. On television, she previously starred as the clumsy culinary genius Sookie St. James, in Gilmore Girls, and as Dena in the series Samantha Who?. McCarthy first made her mark on the comedy stage and performed stand-up in New York at the Improv and at Stand-Up NY. She also received dramatic training from The Actors Studio in New York and starred in a variety of stage productions throughout the city. In Los Angeles, McCarthy spent nine years as a mainstage member of the world-renowned improv and sketch troupe The Groundlings. McCarthy sold her first pilot, Marbles, to VH1, in which she played the title role. She has recently completed writing a feature titled Tammy, in which she will play the title role, and a pilot called Stage Mom. McCarthy is also designing her first clothing line. CHRIS O'DOWD (Officer Rhodes) recently finished work as William, the lead male role in the BBC flagship drama The Crimson Petal and the White, a fourpart adaptation of Michel Fabers' best-selling novel, directed by Marc Munden. He most recently appeared in 20th Century Fox's Gulliver's Travels, in which he played the role of General Edward, directed by Rob Letterman and starring opposite Jack Black, Jason Segel and Emily Blunt. Last year, he starred opposite Paul Rudd, Steve Carell and Zach Galifianakis in Jay Roach's Dinner for Schmucks. His previous feature credits include

Working Title/Focus Features' Pirate Radio, opposite Philip Seymour Hoffman and directed by Richard Curtis. He also starred in Frequently Asked Questions About Time Travel, opposite Anna Faris and directed by Gareth Carrivick, for BBC Films; Working Title/ Universal Pictures' Hippie Hippie Shake, opposite Cillian Murphy and Sienna Miller and directed by Beeban Kidron; Vera Drake, directed by Mike Leigh; and the 2005 feature Festival, which was nominated for two BAFTAs including Best British Film, and for which he won a BAFTA Scotland Award for Best Actor in a Scottish Film. O'Dowd recently wrapped season four of The IT Crowd, for Channel 4 television, and is well known in Ireland for having starred in the popular RTÉ One drama The Clinic, which earned him a nomination for an Irish Film & Television Award in 2003.

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ABOUT THE FILMMAKERS

PAUL FEIG (Directed by/Executive Producer) is a three-time Emmy-nominated writer/director and a DGA Award-winning director. A graduate of the University of Southern California School of Cinematic Arts, Feig was a winner of the school's Jack Oakie Memorial Award for Com edy in Film in 1984. After f ilm school, Feig worked as a script reader for producer Michael Phillips (Taxi Driver) until he went on The $25,000 Pyramid and won $29,000 ("I always was an overachiever," jokes Feig). The winnings allowed Feig to leave his job and pursue his long-time dream of being a professional stand-up comedian. His stand-up career soon led to a successful career as a character actor in which he appeared as a series regular on the television series Dirty Dancing, Good Sports, The Jackie Thomas Show, The Louie Show and Sabrina, the Teenage Witch. He also appeared in such films as Paul Maslansky's Ski Patrol, Disney's Heavy Weights and Tom Hanks' That Thing You Do! It was only after being abruptly written out of the series Sabrina, the Teenage Witch that Feig began to sour on the actor's life. This drove him to write, produce and direct his first independent feature film, Life Sold Separately. It played on the festival circuit and was ultimately chosen by Movieline to tour college campuses across the United States. While out on tour with his film, Feig wrote a spec pilot script for a television series about a high school set in the 1980s called Freaks and Geeks, which he then sold to DreamWorks Television through his longtime friend, producer Judd Apatow. NBC ended up making

18 episodes of the show and Feig served as the show's creator and co-executive producer. Feig was nominated for two comedy-writing Emmy Awards--one for the pilot episode and one for the series finale, which he also directed. The series continues to be a top-selling DVD set and has recently begun re-airing on IFC. After the cancellation of Freaks and Geeks, Feig went on to write and direct the film I Am David, which was based on the Danish book of the same name by Anne Holm. The United Nations High Commissioner for Refugees sponsored the film. The organization called it one of the most accurate depictions of a refugee child they had seen on film. The film stars James Caviezel and Joan Plowright and is the uplifting story about an 11-year-old boy in 1952, who escapes from a Bulgarian labor camp and makes his way across Europe in search of his family and identity. The film went on to win the Audience Award at the Austin Film Festival, a Crystal Heart Award from the Heartland Film Festival and Best Picture awards at the San Diego Film Festival and the Kansas City FilmFest. Feig's third feature was the Warner Bros. family comedy Unaccompanied Minors, which was based on an episode of This American Life. The film stars Wilmer Valderrama, Lewis Black and Tyler James Williams. The film was nominated for a Taurus World Stunt Award and received the 2006 Parents Television Council Seal of Approval. Feig has also directed multiple episodes of the television series Arrested Development, The Office, Nurse Jackie, Bored to Death and Weeds, as well as episodes of 30 Rock and Mad Men. He also served as a co-executive producer on both The Office and Nurse Jackie. In 2008, Feig's work on The Office earned him an Emmy nomination for Outstanding Directing for a Comedy Series for the hour-long episode "Goodbye, Toby" and, in January of 2009, he won the DGA Award for Outstanding Directorial Achievement in a Comedy Series for the episode titled "Dinner Party."

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In addition to his film and television work, Feig is the author of two comedic memoirs released by Random House--"Kick Me: Adventures in Adolescence" and "Superstud, Or How I Became a 24-Year-Old Virgin." The latter book became New York Times and Los Angeles Times best sellers. He is also the author of two youngadult science-fiction novels--"Ignatius MacFarland: Frequenaut!" and "Ignatius MacFarland 2: Frequency Freak-out!"--both published by Little Brown Books for Young Readers. He also has a short story, "My Parents Give My Bedroom to a Biker," from the young adult humor collection "Guys Read: Funny Business" published by Walden Media and Harper Collins. Feig lives in Los Angeles and New York with his wife, Laurie, and his two Scottish Terriers. ANNIE MUMOLO (Written by/Co-Producer) is an alumnus of the Los Angeles-based improv/sketch comedy troupe The Groundlings, whose celebrated roster of graduates include Will Ferrell, Lisa Kudrow, Maya Rudolph, Phil Hartman and her writing partner, Kristen Wiig. Mumolo is currently developing an untitled comedy feature film with Mandate Pictures and was a staff writer on ABC's In the Motherhood. As an actor, Mumolo has appeared in the 2005 feature film Bewitched and television shows such as Two and a Half Men, Out of Practice and In the Motherhood. She also appeared in the ABC pilots Bad Mother's Handbook and This Might Hurt. She voices regular roles on Curious George and Handy Manny and has lent her voice to several animated shows including American Dad!, Father of the Pride and Maya & Miguel. She resides in Los Angeles with her husband and two kids. JUDD APATOW (Produced by) is considered one of the most sought-after comedy minds in the business and has been closely associated with many of the biggest comedy films in recent years. He is currently producing

movies from directors Nicholas Stoller (The Five-Year Engagement) and David Wain (Wanderlust) and an HBO series from writer/director Lena Dunham (Girls). Born in Syosset, New York, Apatow aspired to become a professional comedian at an early age. Following an appearance on HBO's Young Comedians Special, Apatow eventually stopped performing in favor of writing. He wrote for the Grammy Awards, as well as cable specials for Roseanne and Jim Carrey, before going on to co-create and executive produce The Ben Stiller Show, which brought Apatow an Emmy Award for Outstanding Individual Achievement in Writing in a Variety or Music Program. Fresh from his Emmy win, Apatow joined The Larry Sanders Show in 1993 as a writer and consulting producer, and he later served as a co-executive producer and director of an episode during the show's final season. Apatow served as an executive producer of the critically praised, award-winning series Freaks and Geeks, which debuted in the 1999-2000 season. He also wrote and directed several episodes of the series. His other television credits include consulting producer of the animated series The Critic and executive producer and creator of the series Undeclared. Apatow made his feature directorial debut in 2005 with the comedy hit The 40-Year-Old Virgin, which he also co-wrote with the film's star, Steve Carell, for Universal. The film opened at No. 1 and grossed more than $175 million globally. The comedy garnered numerous awards and nominations, including being named one of AFI's Movies of the Year, and it took home Best Comedy Movie at the 11th annual Critics' Choice Awards. The 40-Year-Old Virgin also earned Apatow a nomination for Best Original Screenplay from the Writers Guild of America and received four MTV Movie Award nominations, including a win for Carell for Best Comedic Performance. In 2007, Apatow released Universal's Knocked Up, his directorial follow-up to The 40-Year-Old Virgin, which he also wrote and produced. Knocked Up

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grossed more than $200 million internationally, and it was named one of AFI's Movies of the Year and nominated for Best Original Screenplay by the Writers Guild of America. Immediately following, Apatow produced the hit comedy Superbad, starring Jonah Hill and Michael Cera, for Sony Pictures. Three major successes followed in 2008, beginning with Universal's Forgetting Sarah Marshall, which Apatow produced with Shauna Robertson. Directed by Nicholas Stoller and written by Jason Segel, the romantic disaster comedy starred Segel, Jonah Hill, Mila Kunis and Russell Brand. Apatow followed by producing Sony's action-comedy Pineapple Express, a film written by Seth Rogen and Evan Goldberg from a story by Apatow. The film, starring Rogen, James Franco and Danny McBride, opened at No. 1 at the box office. Other Apatow projects released in 2008 were the comedy smash You Don't Mess With the Zohan, which Apatow co-wrote with Sandler and Robert Smigel. In 2009, he wrote, directed and produced Universal's Funny People, a film that starred Adam Sandler, Seth Rogen and Leslie Mann. In 2010, Apatow produced Universal's hit comedy Get Him to the Greek, starring Russell Brand and Jonah Hill. Other film credits for Apatow include producing The Cable Guy, Anchorman: The Legend of Ron Burgundy and Year One; executive producing Kicking & Screaming; co-writing Fun With Dick and Jane; and producing and co-writing Walk Hard: The Dewey Cox Story, which was nominated for two Golden Globes: for Best Original Song--Motion Picture and Best Performance by an Actor in a Motion Picture--Musical or Comedy (for John C. Reilly). His longtime collaborations with high-profile directors have made CLAYTON TOWNSEND (Produced by) a much-in-demand producer. Bridesmaids marks Townsend's sixth collaboration in his enduring relationship with director/producer Judd Apatow, having

worked on The 40-Year-Old Virgin, Knocked Up, Walk Hard: The Dewey Cox Story, Year One and Funny People. Previously, Townsend had a 12-year association with Academy Award®-winning director Oliver Stone. During that time, Townsend lent his experience and expertise to films such as Any Given Sunday, U Turn, Nixon, Natural Born Killers, JFK, Heaven & Earth, The Doors, Born on the Fourth of July and Talk Radio. Townsend recently produced Alex Kurtzman's directorial debut, Welcome to People, starring Chris Pine, Elizabeth Banks, Olivia Wilde and Michelle Pfeiffer. His other credits include the feature films The Skeleton Key, Bad Company, The Blackout, Where's Marlowe?, Heartbreakers and The Fast and the Furious: Tokyo Drift. Townsend acquired his knowledge of filmmaking while working in a variety of capacities including location manager on Alan Parker's Angel Heart and production manager on Three Men and a Baby and Jacob's Ladder. The first film BARRY MENDEL (Produced by) produced was Rushmore, directed by Wes Anderson, which won IFP Independent Spirit Awards for Best Director (Anderson) and Best Supporting Actor (Bill Murray). That film was followed by The Sixth Sense, directed by M. Night Shyamalan, which was nominated for six Academy Awards ® including Best Picture. Subsequently, he produced its follow-up, Unbreakable, then went back to work with Wes Anderson on The Royal Tenenbaums, which was nominated for an Academy Award ® for Best Original Screenplay for writers Anderson and Owen Wilson. This collaboration continued on The Life Aquatic With Steve Zissou, which was followed by Joss Whedon's directorial debut, the critically acclaimed Serenity. Mendel conceived and spent eight years developing and producing Munich, which was directed by Steven Spielberg and was nominated for five Academy Awards®

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including Mendel's second nomination for Best Picture. He then went back to work with Shyamalan, producing the box-office hit The Happening. Next, Mendel produced Judd Apatow's film Funny People, starring Adam Sandler, Seth Rogen, Leslie Mann, Jonah Hill, Eric Bana and Jason Schwartzman. He also produced Michael Lander's debut film Peacock, starring Cillian Murphy and Ellen Page, and Drew Barrymore's directorial debut, the roller derby movie Whip It, also starring Ellen Page and featuring Kristen Wiig. ROBERT YEOMAN, ASC (Director of Photography) most recently shot Get Him to the Greek, starring Russell Brand and Jonah Hill. He also shot Drew Barrymore's directorial debut, Whip It, and Peyton Reed's Yes Man. After working in commercials at the beginning of his career, Yeoman transitioned to feature films when he shot the second unit on To Live and Die in L.A. This led to many independent features including Gus Van Sant's Drugstore Cowboy, David Veloz's Permanent Midnight, Kevin Smith's Dogma and Roman Coppola's CQ. Yeoman shot the Wes Anderson films Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic With Steve Zissou and, most recently, The Darjeeling Limited and Hotel Chevalier. His other credits include Wes Craven's Red Eye and Noah Baumbach's The Squid and the Whale. Yeoman was born in Pennsylvania and grew up in the Chicago suburb of Wilmette. He received a BA from Duke University and an MFA in film production from the University of Southern California. He currently lives in Santa Monica with his wife, daughter and young son. JEFFERSON SAGE (Production Designer) most recently designed Greg Mottola's comedy Paul, starring Simon Pegg and Nick Frost. In 2010, Sage designed Jake Kasdan's upcoming Bad Teacher, his third

collaboration with Kasdan after previously teaming up on Walk Hard: The Dewey Cox Story and The TV Set. Sage's previous credits include Judd Apatow's Funny People and hit comedy Knocked Up. In addition, Sage designed Year One, directed by Harold Ramis. For television, Sage's work as production designer includes Apatow's critically acclaimed series Freaks and Geeks and Undeclared. Sage also designed The Bernie Mac Show. As an art director, Sage's credits include Harold Ramis' Analyze This, Donnie Brasco, Mississippi Masala, Blink, One True Thing and Roommates. Sage has a degree in theater arts from the College of William & Mary and continued his studies at New York University's Tisch School of the Arts, where he earned an MFA in set and lighting design for the stage. Sage started his career as a designer and assistant designer in stage, opera, ballet, commercials and industrials, before moving into television and feature film work. He currently lives in Los Angeles with his wife and daughter. WILLIAM KERR (Editor) most recently edited Get Him to the Greek for director Nicholas Stoller and producer Judd Apatow, having previously worked with them on Forgetting Sarah Marshall. Kerr first worked with Apatow on Apatow's first writing job, an HBO comedy special starring Tom Arnold and Roseanne Barr. Their collaboration has continued on many projects including the television series Undeclared and the hit comedy Superbad, starring Jonah Hill and Michael Cera. Kerr is also associated with writer/director John Hamburg and edited the films I Love You, Man, starring Paul Rudd and Jason Segel, and Along Came Polly, starring Ben Stiller and Jennifer Aniston. Kerr's other film editing credits include Undercover Brother, Nutty Professor II: The Klumps, My Fellow Americans and the fan favorite, comedy classic Tommy Boy, starring Chris Farley and David Spade.

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Bridesmaids is not the first film on which MIKE SALE (Editor) has worked with Judd Apatow. His previous credits with Apatow include Superbad, Forgetting Sarah Marshall and Get Him to the Greek. During his 25-year career, Sale has collaborated with a wide variety of comedic directors including Peter Segal, Greg Mottola, John Hamburg and, most recently, Todd Phillips on The Hangover Part II. Sale also has an extensive background editing drama including the television series Judging Amy, which he edited for four years. LEESA EVANS (Costume Designer) has lent her design talents to such films as Get Him to the Greek, Forgetting Sarah Marshall, I Love You, Man, American Pie, Into the Blue, Scooby-Doo and Josie and the Pussycats, among many others. Evans grew up around the fashion industry and has a couture design background. Having worked in fashion, she draws on her experience for inspiration for her film style. With more than 500 commercials under her belt, she also does celebrity styling. Evans is currently in preproduction on FiveYear Engagement. JONATHAN KARP (Music Supervisor/Music Editor) has been working in film music for 16 years. After years of working as a music editor, he decided that combining the field of music supervision along with music editing would allow for an even more immersive and creative experience on each project. Karp first worked with Judd Apatow in 1999 on the television series Freaks and Geeks. They followed up that critically acclaimed show with Apatow's filmdirecting debut, The 40-Year-Old Virgin. Other Apatow productions on which Karp has worked include Knocked Up, Superbad, Pineapple Express, Forgetting Sarah Marshall, Funny People and Get Him to the Greek. Some of the many films with which he's been involved include The Assassination of Jesse James by

the Coward Robert Ford, Yes Man, The Break-Up, The Life Aquatic With Steve Zissou, I Heart Huckabees, Starsky & Hutch, Punch-Drunk Love, Old School, Magnolia and Zoolander. Karp's soundtrack-album production credits include Infant Sorrow--Get Him to the Greek, Funny People, Superbad, Forgetting Sarah Marshall, Pineapple Express and Yes Man. He co-produced the I Heart Huckabees soundtrack with composer Jon Brion and also co-produced the soundtrack to Starsky & Hutch. In addition to his work as a music supervisor and a music editor, Karp also produced many songs that have appeared in his films. He also restored and mixed the final recordings of Marc Bolan for "T. Rex: The Final Recordings," which was released in the U.K. and Europe. MICHAEL ANDREWS (Music by) first worked with Judd Apatow when he scored the Freaks and Geeks television series in 2000. Since then, he has continued to be part of the Apatow creative family, most recently writing music for Funny People. He has created the music for all of director Jake Kasdan's films, including his upcoming Bad Teacher. Andrews' gift for striking the delicate balance between humor and drama can also be heard on the soundtracks for Donnie Darko, Me and You and Everyone We Know and Cyrus. Outside of film, Andrews' talents have also been employed as a producer/collaborator for the music of Inara George, Metric, Gary Jules and many others. He continues to perform in The Greyboy Allstars and is working on a follow-up to his critically acclaimed "Hand on String." --bridesmaids--

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