an illumination entertainment productionuniversal pictures presents in association with relativity...
TRANSCRIPT
UNIVERSAL PICTURES Presents
In Association with RELATIVITY MEDIA
An ILLUMINATION ENTERTAINMENT Production
JAMES MARSDENRUSSELL BRANDKALEY CUOCOHANK AZARIAGARY COLE
ELIZABETH PERKINSDAVID HASSELHOFFCHELSEA HANDLER
andHUGH LAURIE
Executive ProducerJOHN COHEN
Produced by CHRIS MELEDANDRI
MICHELE IMPERATO STABILE
Story byCINCO PAUL & KEN DAURIO
Screenplay byCINCO PAUL & KEN DAURIO and BRIAN LYNCH
Directed byTIM HILL
– 1 –– 1 –
CAST
Fred O’Hare . . . . . . . . . . . . . . . . . . . . JAMES MARSDENE.B. (Voice) . . . . . . . . . . . . . . . . . . . . . RUSSELL BRAND
Sam O’Hare . . . . . . . . . . . . . . . . . . . . . . . KALEY CUOCO
Carlos/Phil (Voice) . . . . . . . . . . . . . . . . . . . HANK AZARIA
Henry O’Hare . . . . . . . . . . . . . . . . . . . . . . . . GARY COLE
Bonnie O’Hare . . . . . . . . . . . . . . . . ELIZABETH PERKINS
E.B.’s Dad (Voice) . . . . . . . . . . . . . . . . . . . HUGH LAURIE
Alex O’Hare . . . . . . . . . . . . . . . . . . . TIFFANY ESPENSEN
David Hasselhoff . . . . . . . . . . . . . . DAVID HASSELHOFF
Mrs. Beck . . . . . . . . . . . . . . . . . . . . CHELSEA HANDLER
Cody . . . . . . . . . . . . . . . . . . . . . . . . . . . DUSTIN YBARRA
Receptionist . . . . . . . . . . . . . . . . . . . CARLEASE BURKE
Waitress . . . . . . . . . . . . . . . . . . . . . . VERONICA ALICINO
Young E.B. (Voice) . . . . . . . . . . . . . . . . DJANGO MARSH
Blind Boys of Alabama . . . . . . . . . . JIMMY LEE CARTER
BILLY BOWERS
BENJAMIN MOORE JR.
ERIC DWIGHT MCKINNIE
JOEY ANTHONY WILLIAMS
TRACY ROMAN PIERCE
WILL CLEVELAND SMITH
Young Fred . . . . . . . . . . . . . . . . . . . . . . . . COLETON RAY
Performer . . . . . . . . . . . . . . . . . . . . . . . . . . GREG LEWIS
Security Guard . . . . . . . . . . . . . . . . . . . MARK RICCARDI
Chinese Woman . . . . . . . . . . . . . . . . . . . . . . . . . CICI LAU
Another Parent . . . . . . . . . . . . . . . . . . . . . JAYDEN LUND
Production Assistants . . . . . . . . . . . . . RUSSELL BRAND
CHRISTIAN LONG
Voice at Playboy Mansion . . . . . . . . . . . . HUGH HEFNER
Dancer . . . . . . . . . . . . . . . . . . . . . . . . . . . . NICK DRAGO
Warm-Up Guy . . . . . . . . . . . . . . . . . DAVID GOLDSMITH
Utility Voice . . . . . . . . . . . . . . . . . . . RICK PASQUALONE
Stunt Coordinator . . . . . . . . . . . . . . . . . . . . . JOHN MOIO
Stunt Doubles . . . . . . . . . . . . . . . . . . G. GRANT JEWETT
TOM ROACH
Stunts . . . . . . . . . . . . . . . . . . . . . . . . . WAYNE DALGLISH
ASHTON MOIO
MANDY KOWALSKI
JENSEN LEFLORE
J.C. LEVYER
WEBSTER P. WHINERY JR.
JORDAN VENETIS
CLAY VENETIS
BOB YERKES
KOBY AZARLY
Helicopter Pilots . . . . . . . . . . . . . . PETER J. MCKERNAN
LANCE STRUMPF
CREW
Directed by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TIM HILLScreenplay by . . . . . . . . . . . . . . . . . . . . . . CINCO PAUL &
KEN DAURIO andBRIAN LYNCH
Story by . . . . . . . . . . . . . . . . . . . . . . . . . . CINCO PAUL &KEN DAURIO
Produced by . . . . . . . . . . . . . . . . . CHRIS MELEDANDRIMICHELE IMPERATO STABILE
Executive Producer . . . . . . . . . . . . . . . . . . JOHN COHENDirector of Photography . . . . . . . . . . . . . . . . . . . . . . . . . .
PETER LYONS COLLISTER ASC
Production Designer . . . . . . . . . . . . RICHARD HOLLANDEdited by . . . . . . . . . . . . . . . . . . . . . . . . PETER S. ELLIOT
GREGORY PERLERCostume Designer . . . . . . . . . . . . ALEXANDRA WELKERAnimation Supervisor . . . . . . . . . . . . . . CHRIS A. BAILEYMusic Supervisor . . . . . . . . . . . . . . . JULIANNE JORDANMusic Composed and Conducted by . . . . . . . . . . . . . . . .
CHRISTOPHER LENNERTZCasting by . . . . . . . . . . . . JUNIE LOWRY-JOHNSON CSA
LIBBY GOLDSTEINCharacters Designed by . . . . . . . . . . . . . PETER DE SÈVE “Young E.B.” Designed by . . . . . . . . . . . . CHRIS BAILEYUnit Production Managers . . . . . . . . . . . LEIGH SHANTA
MICHELE IMPERATO STABILEFirst Assistant Director . . . . MICHELE PANELLI-VENETISSecond Assistant Director . . . . . . . . . . DAVID MENDOZAVisual Effects Producer . . . . . . . . . . . . . . . STEVE DUBINAssociate Producer . . . . . . . . . . . . . . . WENDY A. GEARYArt Director . . . . . . . . . . . . . . . . . . . . . CHARLIE DABOUBAssistant Art Director . . . . . . . . . . . LISSETTE SCHETTINISet Decorator . . . . . . . . . . . . . . . . . . . . DON DIERS SDSA
Set Designers . . . . . . . . . . . . . . . . . . . . . PHILIP DAGORT EUGENE DARNELL
PAUL SONSKIIllustrators . . . . . . . . . . . . . . . . . . . . . . JAMES HEGEDUS
PATRICK VON JANICKECAROL POLICE
Art Department Coordinators . . . . . . . . . . . . . . . . . . . . . . .HEATHER VIOLET ELWELL
ALEX HUNTERArt Department Production Assistants . . . ANDREW EIDEN
ROCHELLE HARVEYCG Set & Prop Production Design . . . . . . . . . . . . . . . . . . .
GO FOR LAUNCH PRODUCTIONSLead Designer . . . . . . . . . . . . . . . . . . PHILIP A. CRUDENDesigners . . . . . . . . . . . . . . . . . . . . . . . . JOEY PARAISO
TROYLAND CARO JO LUNA
– 2 –
Production Manager . . . . . . . . . . . . LORRAINE CRUDENArt Coordinator . . . . . . . . . . . . . . . . . CAROLINE LYNCHProperty Master . . . . . . . . . . . . . . . . . . . . . EMILY FERRYAssistant Property Master . . . . . . . . . . . . . . JOY TAYLORAssistant Property . . . . . . . . . . . . . . . GREG WILKINSON
EDMOND SCOTT RATCLIFFCARLOS JAYSON
BRETT GOLLINLeadman . . . . . . . . . . . . . . . . . . . . . . . . . . . . KEN TUREKBuyers . . . . . . . . . . . . . . . . . . ANTONIA SHERRY-NUNEZ
ETHAN GOODWINSet Dressers . . . . . . . . . . . . . . . . . . . MATTHEW ALTMAN
MATTHEW GUENTHERMARK R. KUDRA
KAREN RIEMENSCHNEIDEROn-Set Dressers . . . . . . . . . . . . . . . . . PHILLIP THOMAN
INGRID E. WILCOX“A” Camera Operator . . . . . . . . . . . . PETER MERCURIOFirst Assistant Camera . . . . . . . . . . . . . . . . ALAN DISLERSecond Assistant Camera . . . . . . . . . ROBIN L. BURSEYSteadicam Operator . . . . . . . . . . . . . . HARRY K. GARVIN“B” Camera Operator . . . . . . . . . . . ALAN BROWNSTEINFirst Assistant “B” Camera . . . . . . . . DARRIN DELOACHSecond Assistant “B” Camera . . . . . . . . . ROB MONROYLoader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LYNDA WUCamera Production Assistant . . . . . . . . CHIARA TELLINIKey Video Assist . . . . . . . . . . . . . . . . DAVID GOLDSMITH24 Frame Playback Supervisor . . . . . . MARK HOCHMANProduction Sound Mixer . . . . . . . . . . . . . . . . . . . . . . . . . .
RICHARD BRYCE GOODMAN CAS
Boom Operator . . . . . . . . . . . . . . . . . . . . . . CARY WEITZSound Utility . . . . . . . . . . . . . . . . . . ALEXANDRA GALLOPost-Production Supervisor . . . . . . JEANNINE BERGERConsulting Post-Production Supervisor . . TIM PEDEGANAFirst Assistant Editor . . . . . . . . . MATTHEW W. SCHMIDTSecond Assistant Editors . . . . . CARLOS M. CASTILLON
DAVE CORYVisual Effects Editor . . . . . . . . . . . . DERRICK MITCHELLAssistant VFX Editors . . . . . . . . . . . . . . MICHAEL STRUK
ANDREW LOSCHINEditorial Assistant . . . . . . . . . . . . . . . . . ZACHARY DEHMChief Lighting Technician . . . . . . . . . . . SHANE D. KELLYAssistant Chief Lighting Technician . . . . . . . . . . . . . . . . . .
DONALD K. DAVIDSONElectricians . . . . . . . . . . . . . . . . . . . . CARLOS APODACA
ROB CARIUSJESSIE GREGSON TRAVIS STEWARD
MATTHEW KISTENMACHERDOUG KEEGAN FRED PALLUZZI
Rigging Gaffer . . . . . . . . . . . . . . . . . . . GREG CANTRELLBest Boy Rigging Electric . . . . . . . CHRISTOPHER LAMARigging Electricians . . . . . . . . . . . . . . BILL GREENBERG
ROGER L. LATTINLAURENCE MONIER RICHARD R. FARRIS
DENNIS WINKLERKey Grip . . . . . . . . . . . . . . . . . . . . . MICHAEL ALEXONISBest Boy Grip . . . . . . . . . . . . . . . . . . . . . . TIM SORONEN“A” Dolly Grip . . . . . . . . . . . . . . . . . . . . JASON NEWTON“B” Dolly Grip . . . . . . . . . . . . . . . . . . . . ASHLEY SUDGEGrips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JEFF BAKER
JUSTIN BLUM BEN KROUT
CLIFFORD L. SHAFFER BRIAN T. BRANTON
CHRIS CRIVIER WILLIAM HOBSON
KEVIN PHILLIPS DAVID WRIGHT
Key Rigging Grip . . . . . . . . . . . . . . . . . CHARLES SMITHBest Boy Rigging Grip . . . . . . . . . THOMAS CRAWFORDRigging Grips . . . . . . . . . . . . . . CHARLES R. EDWARDS
STEPHEN FOSSANTHONY J. BOURA
JOSHUA RAYNERKAZUHIKO TAKEUCHI
Special Effects Supervisor . . . . . . . . . ALAN E. LORIMERSpecial Effects Foreman . . . . . . . . . . ALBERT DELGADOSpecial Effects Technicians . . . . . . . . . . . . ROCKY GEHR
CLARK JAMESWILLIAM H. SCHIRMER
HAL SELIGPAUL E. VIGIL
Costume Supervisor . . . . . . . . . . . . . . . . BILL EDWARDSKey Costumer . . . . . . . . . . . . . . . . . . JENNIFER DOZIERSet Costumer . . . . . . . . . . . . . . . . . . . . LIZETTE KILMERCostumer . . . . . . . . . . . . . . . . . . . . . AMELIA BUHRMANDepartment Head Makeup . . . . . . . . . . . . CHERI MINNSKey Makeup Artist . . . . . . . . . . . . . . . . . . ELENA ARROYDepartment Head Hair . . . . . . . . . . . . . CANDACE NEALKey Hairstylist . . . . . . . . . . . . . . . . . . . . . . . JOY ZAPATAScript Supervisor . . . SHARRON REYNOLDS-ENRIQUEZScript Coordinator . . . . . . . . . . . . . . . . . LAURIE AGARDLocation Manager . . . . . . . . . . . FRANCE MYUNG FAGINKey Assistant Location Managers . . . . CHARLES FAGIN
PAVEL STERBAKRIS BUNTING
MICHAEL SHANAHANLocation Manager, Aerial Unit . . . . ROBBIE GOLDSTEINAssistant Location Managers . . BRIAN PATRICK KINNEY
– 3 –
JASMIN PARISLocation Scout . . . . . . . . . . . . . . . . CLAUDIA EASTMANProduction Accountant . . . . . . . . . . . . . . DIANA ADAMSFirst Assistant Accountant . . STEVEN JOHN REYNOLDSPayroll . . . . . . . . . . . . . . . . . . . . . . . BEATRIZ MADRIGALSecond Assistant Accountants . . . . . . . . . . . . JILL HAHN
JUSTIN CARVILLEPost-Production Accountant . . . . . . CYNTHIA PHILLIPSAccounting Clerk . . . . . . . . . . . . . . . . . CARLY MACHLISProduction Coordinator . . . . . . . ERIN LEE SAHLSTROMAssistant Production Coordinators . . . . CARRIE A. OYER
LINDA A. WARRILOWProduction Secretary . . . . . . . . . . . . . . . . BLAKE NABAVI2nd 2nd Assistant Director . . . . . . . . . . LYNN STRUIKSMACasting Associate . . . . . . . . . . . . . . . . . . . . LISA SOLTAUCasting Assistant . . . . . . . . . . . . . . . . . . MONICA KELLY Extras Casting . . . . . . . . . . . . . . . . . . . . . CAROL GRANTExtras Casting Assistant . . . . . . . . . . . . . . . KELLY HUNTAdditional Voice Casting . . . . . . . . . VERONICA ALICINOUnit Publicist . . . . . . . . . . . . . . . . . . . . EDDIE MICHAELSPublicity Associate . . . . . . . . . . . . . . . VERONICA PINTOStill Photographer . . . . . . . . . . . . . . JAIMIE TRUEBLOODPhil Dance Guru . . . . . . . . . . . . . . . . . . . . . KEN DAURIOAssistants to Mr. Meledandri . . . KRISTIN WONG-WARD
LYNLEY BIRD Assistant to Mr. Cohen . . . . . . . . . . . . . . . ANDY SHORTAssistant to Ms. Imperato Stabile . . CODY D’AMBROSIOProduction Assistants . . . . . . . . . . . . DARREN BULMER
DANIEL VILLARREALALEX MONTILLA
ALEXANDRA IMPERATONOAH LIVINGSTON
Key Set Production Assistant . . . . KRISTOFER KOLPEKSet Production Assistants . . . . . . BRENDAN FLAHERTY
MIKAELA MATHERNJUSTIN TRIMM
Asset Representative . . . . . . . . JOSHUA BRIAN PIERCEStudio Teacher . . . . . . . . . . . . . . . . . . . . . JUDY BROWNCaterer . . . . . . . . . . . . . . . . . TREEHUGGING CATERINGClearances . . . . . . . . . . . . . . . . CHARLINE ST. CHARLESAnimal Trainers . . . . . . . . BIRDS & ANIMALS UNLIMITEDConstruction Coordinator . . . . . . . . . MICHAEL MEDINAGeneral Foreman . . . . . . . . . . . . . . . . . . LARRY CLAUSELabor Foreman . . . . . . . . . . . . . . . DOMINIC SANDFREYPaint Supervisor . . . . . . . . . . . . FRANCESCO PAOLONESupervising Sign Writer . . . . . . . . . . . . . MICHAEL RUBYPlasterer Foreman . . . . . . . . . . . . . . . . . TODD BENNETTPropmaker Foremen . . . . . . . . . RANDY CULBERHOUSE
BRIAN FEOLACALVIN MANGUM
PETER MEDINA
Propmakers . . . . . . . . . . . . . . . . . . . . . JESSE J. BROWN JEREMY COOK
ANTHONY J. FEOLA GLENN KOBAYASHI
CALEB PHILLIPSPaint Gangbosses . . . . . . . . . . . . . . . . . . . WAYNE NYCZ
JESSE SIONO JR.Standby Painter . . . . . . . . . . . . . . . . . . STEVEN BISHOPGreens Coordinator . . . . . . . . . . FRANK MCELDOWNEYGreens Foreman . . . . . . . . . . . . . . . RONALD S. BARATIEOn-Set Greensman . . . . . . . . . . . . . . . . S. FORD JONESTransportation Coordinator . . . . . . . ROBERT JOHNSONTransportation Captain . . . . . . . . RICHARD CHOUINARDDispatcher/DOT . . . . . . . . . . . . . . . . STEVEN W. POLONCraft Service . . . . . . . . . . . . . . . . . NICK MESTRANDREA
PHIL SCALISIAssistant Craft Service . . . . . . . . . . . . . . . KEEGAN ZALL
PAUL SCALISIMedics . . . . . . . . . . . . . . . . . . . . . . . JAMES E. MADDUX
HENRY HUMPHREYSCHRISTIAN HUMPHREYS
ROY IRWINDAVID R. LAWSON
RON PEKKALASupervising Sound Editor . . RICHARD L. ANDERSON MPSE
Sound Design . . . . . . . . . . . . . . . . . . . . . . ANN SCIBELLISound Editors . . . . . . . . . . . . . . . . . . . . . . MIKE CHOCK
JOHN DUNNAssistant Sound Editor . . . . . . . . . . . . . . MARK COFFEYSupervising ADR Editor . . . . . . . . . . . . . . . JULIE FEINERDialogue Editors . . . . . . . . . . . . . . . . . . . MILLIE IATROU
F. VAL KUKLOWSKYLAURA GRAHAM
CHRISTOPHER T. WELSH MPSE
ADR Mixer . . . . . . . . . . . . . . . . . . . . . . CHRIS NAVARRORecording Engineer . . . . . . . . . . . . . . . . . . . MATT REALEADR Group Coordinator . . . . . . . . . . . . . . . KATE CARLINFoley Artists . . . . . . . . . . . . . . . . . . . . . . . GARY HECKER
CATHERINE ROSSRe-recording Mixers . . . . . . . . . . . . . . . . TOM JOHNSON
GARY A. RIZZOMix Engineers . . . . . . . . . . . . . . . . . . . . SCOTT OYSTER
BRIAN MAGERKURTHADR Voice Actors . . . . . . . . . . . . . . . . . . . . MATT ADLER
JEFF FISCHER SCOTT MENVILLE
VERONICA ALICINO ELISA GABRIELLI MICHELLE RUFF
KIRK BAILY JACKIE GONNEAU
– 4 –
JUSTIN SHENKAROW KATE CARLIN
RICHARD HORVITZMARCELO TUBERT
VICKI DAVIS HOPE LEVY
BRIDGET HOFFMAN DAVE ZYLER
DAVID COWGILLSTEVE ALTERMAN
JUAN POPE WILL SHADLEY
EMILY HAHN ISABELLA ACRES
SETH DUSKYRe-recorded at . . . . . . . . . . . . . . . . . . . . . . AUDIO HEADSupervising Music Editor . . . . . . . . . . . . . . J.J. GEORGEMusic Editor . . . . . . . . . . . . . . . . . . BRYON RICKERSONAdditional Music Editors . . . . . . . . . . . . TERRY WILSON
KEVIN CREHANMusic Contractor . . . . . . . . . . . . . . . . . . . . . DAVID LOWMusic Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
STEVE JULIANI MUSIC PREPARATIONScoring Coordinator . . . . . . . . . . . . . . . . ANNE ROEVERMusic Coordinator . . . . . . . . . . . . . . . JESSICA NEILSONOrchestrators . . . . . . . . . . . . . . . . . . . ANDREW KINNEY
ROBERT ELHAI DANA NIU
EMILIE BERNSTEIN WATARU HOKOYAMA
CHRISTOPHER LENNERTZ LARRY RENCH
GERNOT WOLFGANG ROSSANO GALANTE
Programming & Arrangements by . . . . MICHAEL BARRY MICHAEL PATTI
TODD HABERMANAdditional Music & Arrangements . . . . . . . PHILIP WHITEScore Recorded and Mixed by . . . . . . . . . JEFF VAUGHNDigital Recordist . . . . . . . . . . . . . . . KEVIN GLOBERMANScore Recorded at . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
WARNER BROS. EASTWOOD SCORING STAGEScoring Crew . . . . . . . . . . . . . . . . . . . . . . . . GREG HAYS
RICH WHEELERRYAN ROBINSON
JAY SILVESTERJAMIE OLVERA
Score Mixed at . . . RECORD ONE RECORDING STUDIOSecond Mix Engineer . . . . . . . . . . . . . . . PATRICK SPAINVocal Contractor . . . . . . . . . . . . . . . . . . . . . . JOAN BEALChoir Conducted by . . . . . . . . . . . . . . . . . PHILIP WHITE
E.B.’s Drumming Performed by . . . . . . ZACH DANZIGERFeatured Musicians . . . . . . . . . . . . . MARK ROBERTSON
JIM COXMIKE VALERIO
GEORGE DOERINGAdditional Music Production by . . ALI “DEE” THEODORE
FOR DEETOWN ENTERTAINMENTMain & End Titles Designed by . . . . . . . . . . . . . YU + CO.Color Timer . . . . . . . . . . . . . . . . . . . . . . HARRY MULLERDigital Intermediate Services . . . . . . . . . . LASERPACIFICSupervising/Lead DI Colorist . . . . . . . . . . . . DAVID COLEDI Conform . . . . . . . . . . . . . . . . . . . VALANCE EISLEBEN
CARRIE OLIVER STACY UNDERHILL
Camera Cranes & Dollies . . . . . . . . . . . . . . . . . . . . . . . . . .CHAPMAN/LEONARD STUDIO EQUIPMENT, INC.
Second Unit
2nd Unit Director/DP . . . . . . . . . . . THOMAS ACKERMANProduction Supervisor . . . . . . . . . . . . . . . . HOLLY HAGYFirst Assistant Director . . . . . . . . . . . RUSTY MAHMOODSecond Assistant Director . . . . . . . . . . JENNIE O’KEEFESecond Second Assistant Director . . . . . . . . . . . . . . . . . .
STEPHANIE JAYE KINCHSet Production Assistant . . . . . . CHARLES CANZONERIFirst Assistant Camera . . . . . . . . . . . . . . LINDA GACSKOSecond Assistant Camera . . . . . . . JEFFERSON FUGITTCraft Service . . . . . . . . . . . . . . . . . MICHELLE HOFFMANGaffer . . . . . . . . . . . . . . . . . . . . . . . . . . . ALAN COLBERTBest Boy . . . . . . . . . . . . . . . . . . . . . . MIGUEL SANCHEZElectrician . . . . . . . . . . . . . . . . . . . . . ERIK A. ERICHSENGreensman . . . . . . . . . . . . . . . . . . . . . . . CARLO BASAILKey Grip . . . . . . . . . . . . . . . . . . . . LLOYD M. MORIARITYBest Boy . . . . . . . . . . . . . . . . . . . . . . R. SHAWN ENSIGNDolly Grip . . . . . . . . . . . . . . . . . . . . . . STEVEN W. GAGEGrips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TOM ADAMS
CHRIS MORIARITY CHRIS UPDEGRAVE
Set Medic . . . . . . . . . . . . . . . . . . . JAMES A. MCCARTHYPropmaster . . . . . . . . . . . . . . . . . . . . . CARLOS JAYSONScript Supervisors . . . . . . . . . . . . . . . . KATHY MCHUGH
SAMANTHA C. KIRKEBYOn-Set Dresser . . . . . . . . . . . . . . . . . INGRID E. WILCOXSound Mixer . . . . . . . . . . . . . . . . . . . . ROBERT D. EBERBoom Operator . . . . . . . . . . . . . . . . . . JOHN PAUL HAYSLocation Manager . . . . . . . . . . . FRANCE MYUNG FAGINKey Assistant Location Manager . . . . . . PAVEL STERBATransportation Coordinator . . . . . . . ROBERT JOHNSONTransportation Captain . . . . . . . . . . . . . . DAVID S. WESTVideo Assist . . . . . . . . . . . . . . . . . . . . . . . BOB BRANAM
– 5 –
Animation & VFX Prod. Consultant . . . BROOKE BRETONBlocking Editor . . . . . . . . . . . . . . . . . RALPH A. EUSEBIOVisual Effects Coordinator . . . . . . . . . . . . . . BETH HOWEAnimation Production Supervisor . . . . . DREW TOLMANVFX Assistant Coordinator . . FRANCIS MEADE WARNERVFX Production Assistant . . . . . . . . . SEAN KACZMAREKAnimation Production Assistant . . . . . . . . . . . . . . . . . . . .
ANTHONY D. MATTHEWSPrevisualization & Layout Supervisor . . . PEPE VALENCIAAdditional Previsualization Supervisor . . . LUBO HRISTOV
Visual Effects and Animation by . . . . . . . . . . . . . . . . . . . .RHYTHM & HUES STUDIOS
Visual Effects Supervisor . . . . . . . . . . . RAYMOND CHENVisual Effects Producer . . . . . . . . . . . . WALTER GARCIACo-Visual Effects Supervisor . . . . . . . . . MARK RODAHLSr. Animation Supervisor . . . . . . . . . . ANDREW ARNETTDigital Effects Producer . . . . . . . . . . . . . . MARK SIMONEArt Director . . . . . . . . . . . . . . . CHRISTOPHER CONSANIDigital Effects Supervisor . . . . . . . . . MICHAEL CONELLYAnimation Supervisors . . . . . . . . . . . . RYAN DONOGHUE
KEVIN E. JACKSONREBECCA RUETHER
CHAD SHATTUCKADAM YANIV
MATTHEW SHUMWAYSequence Supervisors . . . . . . . . . HARRY BRUTSCHE IV
WALT JONESPERRY KASS
YOGESH LAKHANIJOSH SAETA JEFF WELLS
Look Development Supervisor . . . . . . . . . . JAMES HUEYEnvironment Look Dev Supervisor . . . . . . . . . . . . . . . . . .
FRANCISCO RODRIGUEZLighting Supervisor . . . . . . . . . CHRISTOPHER ROGERSEnvironment Lighting Supervisor . . . . . JASON IVERSENEffects Supervisor . . . . . . . . . . . . . . . . . . ERIC HORTONCrowd Supervisor . . . . . . . . . . . . . . . JASON QUINTANAAnimation Layout Supervisor . . . . COLBERT FENNELLYEnvironment Layout Supervisor . . . . . . BRETT RUTLANDTechnical Animation Supervisors . . RANDALL BAHNSEN
JIMMY GORDONAARON GREY DANIEL KOLE
Match Move Supervisor . . . . . . . . . . . . . . . . WILMER LIN Modeling Supervisors . . . . . . . . . . . . . . JEREMY CHINN
NIC SIEVERSTexture Supervisor . . . . . . . . . . . . . . JUNG YOON CHOIRigging Supervisors . . . . . . . . . . . . . . . . BRAD HIEBERT
GAVIN MCMILLAN
2D Supervisor . . . . . . . . . . . . . . . . . . . . BRIAN TATOSKYPipeline Supervisor . . . . . . . . . . . . . . . FRED LEMASTERVisual Effects Editor . . . . . . . . . . . . . . . . ZEKE MORALESVisual Effects Assistant Editor . . . . . . . KENTON HULMEVFX Production Manager . . . . . . . . . . . . . . . . KIM EVANSCG Production Managers . . . . . . . . . . . . . SCOTT BERRI
LONNIE IANNAZZOYASAMIN ISMAILI
BLAKE NICKLEDigital Production Manager . . . . . . . . . . . . . VAL KELLERVisual Effects Coordinator . . . . . . . . . . . DANA BENNETTAssistant VFX Coordinator . . . . MICHAEL RICHARDSONDigital Coordinators . . . . . . . . . . . . . . . . ELENA BOVETTI
BRYCE BRECHEISEN JOHN CAMPUZANO
STEPHANIE GREENQUIST ELIZABETH HITT ERIC KIMELTON
ALEX LEVINE SERANIE MANOOGIAN
CHRIS MCLEODLAUREN PRINCE CHRIS RAISKUP
JODY RICE DAVID SAMIJA
BRYAN SEARING SEAN STORTROEN
JASON STRAHSLAURA ZENTIL CELINE CHEW
ROCHANA JALANVFX Production Assistant . . . . . . . . . . DAVID GOEPPNERAdditional VFX Producer . . . . . . . . . . . . . . DAN FOSTERAdditional VFX Supervisor . . . . . . . . . . . . . DAVID LAUERAdditional Animation Supervisor . . . . . . . KRISTIN SOLIDAdditional Sequence Supervisor . . . . . . . . JULIE STARKAdditional Tech Animation Supervisor . . . MATT BROWNAdditional Digital Coordinators . . . . . . . . CARYN JACOB
LISA KLEINOn-Set Plate Producer . . . . . . . . . . . . . . . DAVID JAMESOn-Set Data Technician . . . . . . . . . . . . SAMUEL NUNEZModelers . . . . . . . . . . . . . . . . . . . . . MOHAMMED ANUZ
YEEN-SHI CHEN SANDESH CHONKARANASTASIOS GIONIS
JASON HUANG MABEL JOHN
PAUL MARTINEZ SUJESH NAIR
RISHIKESH NANDLASKARMAYURESH SALUNKHE
– 6 –
ARATI ULLAL MANOJ VANGALA
SAGAR ZADERigging Artists . . . . . . . . . . . . . . . . . . . . . . . JEN BAHAN
RYAN ENGLISHJELENA ERCEG
DANIEL LINDSEYRYAN ROGERS
Character Texture Painters . . . . . . . MICHELLE DENIAUDRADHA DESAI
STEPHEN HAMMONDCHERI FOJTIK
G.L. KUMARALEX HSU
GUNJAN KATHALEROHIT LAD
DIGANT SUTARCharacter Look Dev Artists . . . . . . . . . BHAVIKA BAJPAI
LISA CLARITYJOSE L. DE JUAN
JENNY DIASANTHONY ETIENNE
JACK FULMERARAVIND JAYARAMAN
DILESH LAMSALMARY LYNN MACHADO
GAELLE MORANDADAM MOURA
VISHAL PARIKHSOURABH UPPAL
Environment Look Dev Lead . . . . . . . . . . . . ROBERT AUEnvironment Texture Painters . . . . . . NICHOLAS COSMI
SARAH COSMIJENNIFER STRATTON
Environment Look Dev Artists . . . . . THOMAS BRADLEY JESSI CHANG
DANIEL LAZAROW BOB POWELLRYAN SMITH
Environment Art Lead . . . . . . . . . . . . . RICHARD MAHONMatte Paint Lead . . . . . . . . . . . . . . . . . NICOLAS DONELConcept Artists . . . . . . . . . . . . . . . . . MARCUS COLLINS
BARRY JACKSONHE JUNG PARK GARY GLOVER
JOSH KAO ROGER KUPELIAN
HAO WU ALISON YERXA
Matte Painters . . . . . . . . . . . . . . . . . . . . STANLEY CHAN VANESSA CHEUNG
ONESIMUS NUERNBERGER MAYUMI SHIMOKAWA
Sr. Camera Layout Artists . . . . . . . . . . MARK VULCANO JAMES KINNINGS
Camera Layout Lead . . . . . . . . . . . . . . . COLIN ELLIOTT MEG MORRIS
Camera Layout Artists . . . . . . . . . . MATTHEW DERKSEN NEIL KREPELA
DANI MORROW BILLY TAI
ANTHONY TSO RICHARD TURNER
MICHAEL WALSHEnvironment Layout Artists . . . . . . . . . . JESSICA DIXON
BENJAMIN SAKAIYUKI SUGIMOTO LEVY
Animation Layout Artists . . . . BENJAMIN CUNNINGHAM DAVID JOSEPH DOMINIC
DAVID LAMPS JAMES MARCUS
CHRISTOPHER MILLS KENNETH MOHAMEDMUSTAFA JAHEED K.
JOONKI PARKDEAN RASMUSSEN
Animation Leads . . . . . . . . . . . . . . . . . AMANDA DAGUE DEMERI FLOWERS
SAGAR FUNDE JOSEPH HOBACK
MACK KABLAN SEAN MCCOMBER
PRAJAKTA NANDLASKAR JASON PETROCELLI
DEREK TANNEHILLAnimators . . . . . . . . . . . . . . . . . . . . ABRAHAM AGUILAR
TANSEER AHMED LISA ALLEN
BALAJI ANBALAGANBENJAMIN ANDERSON
JASON BEHR JOHN BERRY
DEBAPRASAD BHOWMIKEMIL BIDIUC
IAN BLUM CHRISTIAN BRIERLEY
JESSICA CHANSCOTT CLAUS
JOCELYN COFER ANDREW CONROY
RIANNON DELANOY AMI DELULLO
– 7 –
ROBERT DIAZ JOEL FOSTER
ROBIN GEORGE LEON GITTENS
VANI GOEL JOHN GOODMAN
TIMOTHY GRANBERG GAEL HARLOW NICOLE HERR
WILLIAM HOAGMICHAEL HOLLANDER
SCOTT HOLMES SHAWN JANIK JR.
ALEX JANSEN STEVEN JEROME MARTIN JIMENEZ
YOGESH KAUSHALJASON KEANE
DEREK KENT WILLIAM KISTLER SHELAGH KITNEY
DANIEL KLUG KEVIN KOCH
SRAVAN KUMAR NUNNAJYOTI KUMAR PARASRAMPURIA
KEVIN LAN DANIEL LANE
RICHARD LIAO CHRISTOPHER LINDSAY
MICHAEL LOECKTERESA NORD
DIXIE PIZANI RYAN RASMUSSEN
JOHN-PAUL RHINEMILLER VALERIE SCHEIBER
KEVIN SCOTTBEAU SHERMAN
SHRIJITH SHRIDHARAN SHUCHI SINGHAL
SCOTT SLATER JOSHUA SLICE RYAN SLUMAN
ANAND SOMASUNDARAN LUIS URIBE
SENTHIL VELANAMANDA WAGNER BRADEN WALKER LESLIE WATTERS
DAN WAWRZASZEK LAUREN WELLS
RICHARD WIGHT
Technical Animation Leads . . . . . . . . . . PHILIP DUNCAN VARUN KRISHNAN
YOUNG LEE KENNETH PARIS MAYUR SAMANT
MICHAEL WOODSIDETechnical Animators . . . . . ANAND BALASUBRAMANIAM
SACHIN BANGERA SATHISH KUMAR BODICHERLA
SWAPNIL BORAWAKE HITESH CHIKATEMAN-LOUK CHIN
JOSHUA COGSWELL DOMINIC DEL CASTILLO
PSY DELACY VINCENT DELAY
ASHUTOSH DESHMUKH ADAM DORNER
CHRISTOPHER EVART TYLER FOX
DENIL GEORGE DANIEL HAFFNER
PASCAL HANG STEVEN HUBBARD
GERRY HSU JORDAN HUECKSTAEDT
ANDREW JENNINGS MARK MANCEWICZ
DARSHANA MANE CHIRAG MISTRY
NAVEEN NATARAJANTYLER OPATRNY
TUSHAR PRAKASHAN SUNIL RAWAT
YURY SAKOVICH CHRIS SILVA
DINESH SONIANGELO STANCO
SHREYA UCHILNEHA WICKRAMASEKARAN
KURT WILLIAMSLighting Leads . . . . . . . . . . . . . . . . . . . . . . . BRIAN BELL
PAUL BUSHGORDON CHAPMAN
LOGAN GLOORCASEY GORTON
VINITA IYERVS KIRAN
DANIEL WAI LEUNGMARK OSBORNE
JASON SCOTT
– 8 –
ARGHA SEN AMIE SLATE
Environment Light Lead . . . . . . . . . . . . . . . ALLEN ROSEEnvironment Lighting Pipeline Lead . . . . . . . . FRANK DUEnvironment Lighting Pipeline Support . . . . LORI SMITHLighting Artists . . . . . . . . . . . . . . . . . . . YOUNIS AHMED
MOHAMMAD AKRAM RYAN BOWDEN
KELVIN CAI VINNY CHIRAYIL
SAMIK ROY CHOUDHURYJOHN COOK
KRISHNENDU DAS SOUMAVA DASJOHN DECKER
STEPHEN EISENMANN MIKE FISCHER
ADITYA GANEDIWAL ANDY GAUVREAU
THOMAS GEORGEPAUL GIMM
J. KATIE GREEN JOHN PATRICK HART
KORRE HEGGEM CHIKAKO HOFFMAN
VIRENDRA JADHAVALLA KALACHNIKOVA
SCOTT KILBURN KENNETH KURRAS
TU LE SUDIP MALLICK
BRANDON MARTINSHAKIL NADKARNI
CARINA OLUND KAUSHIK PAL
KAUSTUBH PATIL KIEL PEASE
SHEETAL PETKARPOONAM MARIA PREM
KATIE REIHMAN NIKHIL SAHANE
ERIKA SALATIELLO VISHAL SANGHANI
DANIEL SANTONIYOGESH SAWANT
RICHARD SHALLCROSS HEE KYUNG SHINNICHOLAS SPIER
MAHMOOD TARIQ KIRTISH THARTHAREB. ALLAN TOELLNER
HUAN TRAN TEJAS TRIVEDI
DOMINIKA WACLAWIAK JUN WATANABE
CRISTINA WHITELEYRUI XU
TING-CHUN YANGLead Compositors . . . . . . . . . . . . . . . ADAM BALENTINE
PAYAL DANIMUKESH KUMAR
GAURAV MATHURSEAN WALLITSCH CHRISTIAN WOOD
Compositors . . . . . . . . . . . . . . . . . . . . . . . JAKE ALBERS MITHUN ALEX
ASHLEIGH ANDERSONARUN BALUCHAMY
BHARGAVA BOINI JOHN BRITTO
KUNAL CHINDARKAR SHYAM PRASAD CHOWDHARY
SEAN COONCE RAJDEEP DANDEKAR
SUTAPA DAS VENUPRASATH DHANAPAL
MELANIE DORNMATTHEW DUVALL
KAREN FRATKIN ZORAN GLISOVIC
JASON GRUNFELD JOHN LAKE HARVEY
SHWETA HIRANINEERAJ INGLE
SANDHYA JADHAV ROBYN KRALIK
SEAN LEE RAVIKUMAR MENON
DOUGLAS MILLERROHINI MONTENEGRO
ELAM PARITHIAMARNATH P.R.
RAKESH PUSULURI SIDDHARTHAN RAMAN
JOSE ROVIROSA JOSEPH SALAZAR SIDDHARTH SHAH
SRIKANTH SHANMUGAM JOSH SHUMAN
RICHA SINGHCHRISTOPHER STANCZAK
RADHAKRISHNAN SUNDARARAJ
– 9 –
RICHARD TEPAVCHEVICH DEVIN UZAN
KAMALAKKANNAN VAIRAKKANNU SHAJI VELAPPAN
ANIL VERMA STEPHANIE WOO
SHEILA WOODFORDROBERT YOUNG
BRANDY ZUMKLEYFX Leads . . . . . . . . . . . . . . . . . . . . . . . . . MARC BRYANT
SCOTT TOWNSENDFX Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIR ALI
PAUL CARMANTAKASHI KUBOTA ANDREW PAULESNATHANIEL SIMS
CHRISTOPHER WACHTERCrowd Lead . . . . . . . . . . . . . . . . . . . . . . MARK WELSERCrowd Animation Lead . . . . . . . . . . . . C.J. SARACHENECrowd Animators . . . . . . . . . . . . . . . . . . . . NIKHIL ATTRI
SAMIDHA NAGWEKARSHASHANK RAI DIVYESH SHAH
Crowd TDs . . . . . . . . . . . . . . . . . . . . . . . . TYLER CAYCE KENT CHAN
JOHN DOWELL ANDERS ERICSON
CHAD FINNERTY JOSE LOPEZ
BG Prep Leads . . . . . . . . . . . . . . . . . . . SIJU MURUGAN RAKESH VENUGOPALAN
BG Prep/Rotoscopers . . . . . . . . . . . . . . . VENKATA ALLU SAURABH ARORA
CHARLES ARUL RAJANURAG BARTARE MANUJ BASNOTRA VISHAL BHARDWAJ
SIBI CHAKRAVARTHI THEJU CHANDRAN
CATHERINE DINGMANALEX GOMEZ
KHAIRUL HADI MARK HOPPER
RAJEEV JEGANATHAN SIMRAT KAUR ADITYA KOLLISIVA KUMAR
VINOTH KUMAR SHERWYN LAWARENCE
NICOLAS LIM KARTHICK MUTHUKUMAR
ELOI NISCHITHRAJ RAWAT
RIDHWAN RAZAK BHARATH REDDY
SHAE LYN SEE VISHWANATH SHIRODKAR
YEE JENN TAN RAYMOND THIAN
GIANNE YAPMatch Move Leads . . . . . . . . . . . . . . . . . . ADAM BLANK
SEAN FERNANDES MATT LA BROOY
Match Movers . . . . . . . . . . . . . . . . . . . RESHAM AARON WAN MUHD AFIF
WOON BING CHANGASHLEY CHAW
SILSUNNY D’SOUZA JULIAN GREGORY
HAMIZI HARON BABUL JAIN
ANIS KARPAYAHJAYRAJ KHARVADI
VIKAS KURUP YON HUI LEE
NORMAN LOW MICHELLE ONG NELATON ONG
NAZRI ABDUL RAHIM ELAINE TEO
GEETA THAPARMIMI THIAN
VINCENT TJANDRA ESTHER YAP
Pipeline Crowd Lead . . . . . . . . . . . . . . KEVIN B. OLSONPipeline TDs . . . . . . . . . . . . . . . . . . . . . . . . DANE BETTIS
ERIC BONILLASURENDRAN CHINNAKONDA JEYARAMAN
JOSEPH LOHMAR ABHAY SAGAR
ALEXANDRA WEBERRender I/O . . . . . . . . . . . . . . . . . . . . . . . . NICOLE GALAZSoftware Development . . . . . . . . . . . . . . KEVIN BEASON
BRADLEY SMITHProduction and Technical Support . . . . . . CHRIS BANAL
ANJELICA CASILLASPRAVEEN KILARU FRANK MURILLORYAN POLLREISZ RAJESH SHETTYGENE TURNBOW
Senior Staff . . . . . . . . . . . . . . . . . . . . . . . . . LEE BERGER
– 10 –
ERIKA WANGBERG BURTONSUE BRUNELL-EDWARDS
MARKUS KURTZ
SCORE SOUNDTRACK ON BACK LOT MUSIC
AND VARÈSE SARABANDE
“BOOGIE SHOES”Written by Harry Wayne Casey, Richard Raymond Finch
“THE ANTHEM”Written by Joel Madden, John Feldmann, Benji Madden
Performed by Good CharlotteCourtesy of Epic Records
By arrangement with Sony Music Licensing
“EVERY ROSE HAS ITS THORN”Written by Bobby Dall, C.C. DeVille,
Bret Michaels, Rikki RockettPerformed by Poison
Courtesy of Capitol RecordsUnder license from EMI Film & Television Music
“DISCO INFERNO”Written by Tyrone “Have Mercy” Kersey, Leroy Green
“MR. BIG STUFF”Written by Joseph Broussard, Carrol Washington,
Ralph WilliamsPerformed by Nikki and Rich
“CELEBRITY SKIN”Written by Courtney Love, Eric Erlandson, Billy Corgan
Performed by HoleCourtesy of Geffen Records
Under license from Universal Music Enterprises
“HIGHER GROUND”Written by Stevie Wonder
Performed by Blind Boys of AlabamaCourtesy of Real World Records
“HONGRY”Written by Jerry Leiber, Mike Stoller
Performed by The CoastersCourtesy of Atco Records
By arrangement with Warner Music Group Film & TV Licensing
“THEM GIRLZ”
Written by Ali Theodore, Julian Michael Davis
Performed by Cee Money & Dee Fresh
Courtesy of DeeTown Entertainment
“PEG O’ MY HEART”
Written by Alfred Bryan and Fred Fisher
“DYNAMITE”
Written by Taio Cruz, Max Martin Sandberg,
Lukasz Gottwald, Bonnie McKee, Benjamin Levin
Performed by Taio Cruz
Courtesy of Universal-Island Records Ltd.
Under license from Universal Music Enterprises
“PETER COTTONTAIL”
Written by Steve Nelson, Jack Rollins
“WE NO SPEAK AMERICANO”
Written by Nicola Salerno, Renato Carosone
Performed by Yolanda Be Cool & DCup
Courtesy of Ultra Records
“305”
Written by Ali Theodore, Jordan Yaeger,
Alana Da Fonseca, Rachel Rickert, Sarai Howard
Performed by RAE
Courtesy of DeeTown Entertainment
“I WANT CANDY”Written by Bob Feldman, Jerry Goldstein,
Richard Gottehrer, Bert BernsPerformed by Cody SimpsonCourtesy of Atlantic Records
Rock Band logo and game used with permission by Harmonix Music Systems, Inc.
Rabbit Head Design is a trademark of Playboyand used with permission.
Stock photography and footage courtesy of Getty Images.
Stock photography courtesy of Corbis.
Stock photography courtesy of Shutterstock.
IN ASSOCIATION WITH DENTSU INC.– 11 –
Special Thanks to:
The State of California
California Film Commission
City of Thousand Oaks, California
The Hershey Company
AMERICAN HUMANE ASSOCIATION MONITORED THEANIMAL ACTION. NO ANIMALS WERE HARMED.
(AHAD 02309)
THIS MOTION PICTURE USED SUSTAINABILITYSTRATEGIES TO REDUCE ITS CARBON EMISSIONS
AND ENVIRONMENTAL IMPACT.
FILMED WITH PANAVISION CAMERAS AND LENSES
COPYRIGHT © 2011 UNIVERSAL STUDIOSAll 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 OTHERCOUNTRIES. UNAUTHORIZED DUPLICATION,
DISTRIBUTION OR EXHIBITION MAY RESULT IN CIVIL LIABILITY AND CRIMINAL PROSECUTION.
Credits as of March 8, 2011.
– 12 –
NO. 46698
MOTION PICTURE ASSOCIATION OF AMERICA
In Hop, E.B. (voiced by RUSSELL BRAND) and Fred O’Hare (JAMES MARSDEN) are our only hope to save Easter.
F rom the makers of the blockbuster Despicable Me
comes a new comedy that blends state-of-the-art
CG animation with live action: Hop. The follow
up to Universal Pictures and Illumination Entertainment’s
worldwide hit tells the story of E.B. (voiced by
RUSSELL BRAND of Despicable Me and Get Him to
the Greek), the teenage son of the Easter Bunny.
Off the coast of South America, on the island of
Rapa Nui fondly known as Easter Island, under the
giant stone heads resides the most magnificent candy
factory. Three hundred and sixty five days a year, the
Easter Bunny reigns over a team of bunnies and chicks
who prepare the candy-filled baskets that are delivered
to children around the world on Easter morning.
On the eve of being ordained as his father’s
successor, E.B. takes off for Hollywood in pursuit of his
dream of becoming a drummer. Once there, he encoun-
ters Fred (JAMES MARSDEN of X-Men, Enchanted),
– 13 –
recently fired and determined to pull his life together.
After being lovingly kicked out of his parents’ home, he
accidentally runs into E.B. Feigning injury and shocking
Fred with his ability to talk, E.B. manipulates Fred into
providing him shelter.
Back on Easter Island, the Easter Bunny’s second in
command, an oversized chick named Carlos, seizes
upon E.B.’s disappearance as an opportunity to plot a
coup. Ultimately, Fred and E.B. are Easter’s only hope
and they find themselves returning to Easter Island,
locked in an epic battle to save the beloved holiday.
Marsden and Brand are joined by an all-star
comedic cast that includes KALEY CUOCO (The Big
Bang Theory), HUGH LAURIE (House, M.D.),
HANK AZARIA (The Simpsons), GARY COLE
(Talladega Nights), ELIZABETH PERKINS (Weeds)
and CHELSEA HANDLER (Chelsea Lately).
The film is helmed by TIM HILL, director of the
blockbuster Alvin and the Chipmunks, and produced by
CHRIS MELEDANDRI (Despicable Me, Ice Age,
Robots, Ice Age: The Meltdown, Dr. Seuss’ Horton Hears
a Who!), founder of Illumination Entertainment, and
MICHELE IMPERATO STABILE (Alvin and the
Chipmunks). Hop is from a story by CINCO PAUL &
KEN DAURIO (Despicable Me, Dr. Seuss’ Horton
Hears a Who!) and a screenplay by Cinco
Paul & Ken Daurio and BRIAN LYNCH
(upcoming Puss in Boots).
ABOUT THEPRODUCTION Hopping Into Action:
Production Begins
Producer Chris Meledandri began
building his family and animation film
business, Illumination Entertainment,
with Universal Pictures in 2007. At that time, his
company was three years away from the stunning
results that would come with its inaugural 3D CGI
summer 2010 feature, Despicable Me. The animated
comedy became an unequivocal, global block-
buster. With a worldwide gross of more than $540
million, Despicable Me grew to become second
only to Toy Story 3 in U.S. domestic gross among
animated films last year, and it became the sixth
most successful film that Universal has ever distrib-
uted worldwide. It is now the 10th-biggest animated
film in history.
Prior to founding Illumination, Meledandri spent
13 years at FOX, where he oversaw the studio’s anima-
tion division and the launch of blockbusters such as
the Ice Age franchise. “We have this incredible oppor-
tunity, whether we’re working exclusively in anima-
tion, or we’re combining live action with animation, to
write, design and animate rich, endearing and, hope-
fully, enduring characters,” quotes Meledandri.
Meledandri commissioned Cinco Paul and Ken
Daurio (with whom he had worked on Dr. Suess’
Horton Hears a Who! and Despicable Me) to
develop the idea based on a concept by Illumination
executive JOHN COHEN.– 14 –
E.B. dreams of becoming a world famous drummer.
Together with Brian Lynch, Paul and Daurio
created the fantastic story of E.B., the teenage son of
the Easter Bunny who has no interest in his birthright.
In the tiny region of Rapa Nui (Easter Island), E.B.
has been raised with the expectation that he would
one day inherit his dad’s job. But all he wants to do is
drum in a band and see the world that exists outside of
his tiny island.
Halfway across the world, we meet Fred O’Hare,
a 30-year-old who, though talented, has bounced from
job to job—unable to find a career that is right for
him. Meeting an unexpected houseguest in E.B. iron-
ically proves to be the exact thing he needs to jump-
start his life.
Meledandri walks us through E.B.’s introduction:
“On the eve of the power of Easter being passed to
him by his father, E.B. is about 17 years old…in
human years. He decides that it’s not for him but
when he tries to tell his dad, his dad won’t listen. E.B.
decides to split, leaving Easter in the lurch as he goes
to Los Angeles where he pursues a career as a
drummer. He ends up becoming the most unruly
roommate of Fred. Ultimately, they’re both characters
who are struggling with the transition from adoles-
cence into adulthood.”
To give these characters a rich
world in which to play, the writers
created an innovative, imaginative
back-story for the Easter Bunny and
his kind, in which everything we’ve
ever assumed about the spring
holiday is explained. Notes Cohen:
“The world of Easter has never
before been brought to life on film.
By answering questions like ‘Where
is all this candy made, who paints
the eggs and how does the Easter
Bunny travel from town to town?’
our writers and design team created
an entire world and new mythology
located on Easter Island. It’s a charming and fantas-
tical factory run by bunnies and chicks where candy
is manufactured and put into baskets, around the
clock, in preparation for Easter.”
When considering who would helm the follow-up
project to his company’s first film, Meledandri
returned to a director whom he’d met during his time
as president of 20th Century Fox Animation, Tim Hill.
Meledandri liked the fact that Hill would be joining
an expanded team whose approach to making live-
action movies is so influenced by their experience in
animation. He recounts: “We had a great experience
with Tim, having developed Alvin and the Chipmunks
with him and had been looking for an opportunity to
work together again.”
“Tim showed such amazing abilities as a comedy
director on the first Alvin film,” Imperato Stabile
adds. “He is equally comfortable and skilled at
directing human characters as he is at directing
animal ones. His deep knowledge of the challenges
and nuances—both technically and artistically—of
blending live action with state-of-the-art CG anima-
tion has provided a daily education to those of us who
are lucky enough to work with him.”
Fred is told by younger sister Sam (KALEY CUOCO) that he needs to get his life together.
– 15 –
Hill agreed to come onboard, primarily because
Illumination shared his vision of not “simply making
a kids’ movie.” He provides: “I never make movies for
kids. I make them for me. To work, the sensibility and
the tone have to be that of a comedy for any audience.
On a comic level, the humor has to be more sophisti-
cated than in most kid movies.”
In addition to the humor he found in Paul, Daurio
and Lynch’s screenplay, Hill believed that audiences
would appreciate that for the first time, filmmakers
were creating a cinematic treatment of a huge holiday.
He notes: “No one’s really done a big film about the
Easter Bunny. I think that audiences will respond to
this character who is so beautifully animated. He’s
cute, and he’s got a lot of character.
“I believe Hop will play any time of the year and
for any audience,” Hill continues. “We’ve created a
piece of entertainment that’s based around that time
of year, and around a character that’s associated with
a myth…but it does play for all seasons. Hop is
universal, because the story’s universal.”
Down theRabbit Hole:
The Look ofEaster World
Hop takes place in two
very different locations:
Los Angeles, where Fred
spends his time day-
dreaming, and the fantas-
tical world of the Easter
Island candy factory. To
imagine Easter World, the
filmmakers recruited a
team that was supervised by production designer
RICHARD HOLLAND, with whom Hill had worked
closely on Alvin and the Chipmunks.
This candy factory run by the Easter Bunny is a
world unlike anything ever imagined. An enormous
factory that cranks out gumballs of every color and
where colorful cascades of jelly beans crash as water-
falls, the Easter Bunny’s warehouse creates treats for
every person’s palette. You’ll find chicks and bunnies
working together to monitor the production of marsh-
mallow candies and conducting quality control on the
vats of glistening milk chocolate in this wonder world
of Easter.
On the night before Easter, the Easter Bunny
loads these decadent treats into a large egg-shaped
sleigh that’s drawn by a team of flying chicks.
Santa’s more widely known reindeer-led sleigh was
actually inspired by the Easter chicks. Only the one
anointed Easter Bunny can navigate the dark,
swirling vortex of rabbit holes to travel across the
world in 24 hours.
Meledandri explains the look of Easter World:
“When you approach one of the monolithic Easter
Island heads, the mouth opens and an elevator
appears. It transports you underground to our– 16 –
E.B. and his dad, the Easter Bunny (voiced by HUGH LAURIE), check out their candy factory.
magnificent candy factory. Our team has designed
an imaginative environment that will delight audi-
ences of all ages: a production facility filled with
chocolate, bunny mold-making machines and lots
of Easter baskets being filled. You’ll find candy-
funneling machines, candy chutes and rabbit-
shaped ‘oil’ rigs that pump chocolate. It’s all being
done by these hilarious little yellow chicks and
adorable bunnies.”
Imperato Stabile shares how it’s possible for this
team to make this world look so incredibly detailed.
“Tim and the animators have systematically and
carefully created all the characters that live and
work in this space…all digitally,” she relays.
“They’ve painstakingly ensured that the clothing
and the fur look real…but they’re a bit exaggerated.
They made them just a little bit bigger than normal-
sized rabbits and chicks so it’s easier to see their
expressions as they play off one another.”
The Players of HopThis handy guide will illuminate the rabbit, chick
and human players who populate the Hop universe.
Fred (James Marsden) is a 30-year-old trying
to pull his life together. When he was a little
boy, he woke up early on Easter morning,
looked out his window and witnessed E.B.’s dad deliv-
ering his basket. When Fred told his family and friends
of his discovery, they said he was dreaming, even crazy.
Flash forward to present day… and we meet a direction-
less guy who knows he’s destined for something. Once
he meets E.B., Fred doesn’t care if he’s a talking rabbit
who poops jelly beans, he knows he can take the job his
friend has eschewed. If E.B. can be a drummer, why can’t
Fred be the Easter Bunny? With a little training he’ll be
ready to pick up the Egg of Destiny—a golden scepter
adorned with a golden egg that will give Fred the powers
of the Easter Bunny.
A look at the Easter Bunny’s famous factory on Easter Island.
– 17 –
The Easter Bunny’s son, E.B. (Russell
Brand) has been groomed since birth to take
over the family business. Years of sitting
through egg-painting classes and candy-production
tutorials, as well as honing his lightning-fast reflexes
have all led up to the day he is supposed to claim his
birthright. But since he was a baby bunny thumping
on his bongos, all E.B. has ever wanted was to
become a drummer. Hours before his coronation
(when he’s to inherit the mantle of the Easter Bunny)
he flees Easter Island for L.A. to pursue his dreams.
Sam O’Hare (Kaley Cuoco) is Fred’s
younger sister. Though only in her mid-
twenties, Sam is a driven professional who
desperately wants Fred to get his act together.
Probably against her better judgment, she sets him up
on a job interview with a video-game company…as
well as at a housesitting gig at her boss’ mansion.
Sam is optimistic about her big brother and knows he
is on the cusp of rebooting his life.
Every year, on one magical night in spring,
one fabled rabbit is responsible for the
delivery of glorious eggs and delicious
candy to the children of the world. E.B.’s dad, the
Easter Bunny (Hugh Laurie), is that legendary hare.
The rest of the year he
oversees candy produc-
tion, egg dyeing and the
legions of chick and
bunny workers. On the
eve of his retirement, he’s
ready to pass the mantle
to his son, E.B. There’s
only one hitch: E.B.
doesn’t want the job.
When he realizes his son
has run away, his fatherly
instincts prevail and he
sends his royal guard to
rescue his only son.
Carlos (Hank Azaria), the Easter Bunny’s
right-hand chick, often accompanies the
Easter Bunny on tours of the candy factory.
Firm, tough, and far too large to be a chick, Carlos is
all business. Frustrated by the sovereignty of the
Easter Bunny and his team of rabbits, Carlos has
been serving as No. 2 for years. But Carlos is sick of
playing second fiddle. After all, Easter is all about
eggs, so why shouldn’t chickens be in charge? He has
been plotting a coup d’état and wants to replace
candy with the more fowl-acceptable birdseed,
worms and lettuce cups. This year, with the disap-
pearance of E.B., Carlos has his chance…and a
sneaky plan up his wing.
Just as every general requires disciplined
soldiers, the Easter Bunny needs unflappably
loyal chicks to make Easter happen. They have
to be hardworking, they need to be committed and they
need to be the best. Phil (Hank Azaria) isn’t any of
those, but somehow he got the job anyway. Phil couldn’t
be happier. He gets to make candy, hang out with a
thousand chicks, take naps when no one is looking and
loves to dance—life is pretty awesome. Though an
extremely enthusiastic worker chick, Phil isn’t the
brightest crayon in the box. – 18 –
E.B. charms his way into Fred’s life.
Don’t be fooled by their adorable name. The
Easter Bunny’s royal guard, The Pink Berets,
are trained professionals. They have the
training, they have the tools, they also have the adorable
pink hats. These silent bunnies mean business, but they
are only to be used in cases of extreme emergency.
When E.B. goes missing, this SWAT team is sent to
bring him back. They’ll get their man, and nothing will
stand in their way. Fluffy is the leader and the most
skilled huntress who carries her tracking device. Patch
is the weapons expert who has a furry patch over her left
eye and always has blow darts handy. Bit is the baby
sister who tries her hardest to keep up but often messes
up missions for the trio. You’ll never find her without an
inhaler to help with her asthma. The Pink Berets relent-
lessly pursue E.B. through Hollywood trying to bring
him back to Easter Island.
Fred’s father, Henry O’Hare (Gary Cole), is
a family man who is extremely proud of two
of his three children—the other one needs a
big, hard shove out of the nest. Mr. O’Hare just wants
to see his son stand up on his own two feet and settle
for a boring job that will pay the bills.
Fred’s mother, Bonnie O’Hare (Elizabeth
Perkins), is a classic maternal figure and the
peacemaker in the family. She
doesn’t quite understand her son, but
she still wants the best for him. Always
supportive of her kids, she tries to put a
positive spin on any situation.
Alex (TIFFANY ESPENSEN)
is Fred’s 10-year-old adopted
little sister. Just like Sam,
Alex is an overachiever who can beat
Fred at anything. Alex playfully tells
her older brother that she thinks their
family adopted her because Fred is
such a disappointment. She is so
talented that she has been cast as Peter
Cottontail, the lead role in her school’s
Easter play. Just keep your ears alert for an unexpected
version of “I Want Candy” at Alex’s play.
Angelenos and Easter Islanders:
Casting the Comedy
When casting the talent for Hop, the production
team knew it needed to bring characters to life that
had rich comedic personalities—whether they be
animated or live-action ones. In the buddy comedy,
the two pals happen to be a rabbit and a human being
whose lives intersect at a moment when both are
experiencing big changes. The entertainment of this
film centers on the comedic interaction of these
newfound friends.
Cast as Fred O’Hare, a 30-year-old slacker who
still lives at home, was actor James Marsden. Not
only has the performer been a staple of the X-Men
series in the past decade, his standout turns in
Enchanted and Hairspray have familiarized audi-
ences with his sharp comedic timing. Says director
Hill: “I was excited about casting James because he’s
not only funny but he’s a grounded actor. He always
Easter Island’s head chick, Carlos (voiced by HANK AZARIA), and the Easter Bunny rally the troops.
– 19 –
wants to know where the truth is in the character and
where it’s coming from. We talked about the bunny as
being super real so that James’ performance could be
modulated to match that, and he could still react to
E.B. in a very comic way.”
Meledandri was impressed with Marsden’s work
opposite a co-star who had to be animated in postpro-
duction. “James is a wonderful actor. He has an
incredibly expressive face, and it’s a perfect comple-
ment to an animated character. You saw it in
Enchanted, where he played someone who actually
was the embodiment of an animated character coming
to life. He is a great actor to partner with.”
Both the cast participating in Hop and the chance
to work with Illumination were selling points for
Marsden. “I knew that Russell was onboard,” says the
actor. “He’s very smart and he lends a specific sharp,
comic edge to the movie. I wanted to be included in
that company. I also think the guys at Illumination are
tremendously talented. I have two children who
would love to see this movie, so I’d be lying if I said
that wasn’t a reason why I wanted to do this. Plus,
Tim’s a terrific director who is definitely in his wheel-
house and excited about doing something special.
He’s incredibly inventive and
great with the actors.”
Just as E.B. believes Fred
gives off an aura of untapped
potential, Marsden found a
number of redeeming qualities
to Fred. He states: “I admire
Fred because he’s not backing
down from his dream, whatever
that dream is. I don’t know that
he’s able to define it at first, but
he knows what it’s not. He’s
also kept a pretty good sense of
humor about it. He’s not, by any
means, a loser. He feels that
there’s something more special
for him out there that he has to go and look for.”
Paired opposite James Marsden is British comic
actor Russell Brand, who voices E.B. Explains pro-
ducer Meledandri: “This is our second time working
with Russell Brand. He did a wonderful supporting
voice in Despicable Me as Dr. Nefario. In Hop, he is
front and center. The minute that Russell starts
performing, he imbues the character with a rich,
comedic personality that gives the animators so much
to work with. He has a level of energy that almost
cannot be contained. It is explosive and comedic, but
perhaps most importantly for this film is that his
voice embodies sweetness.”
Both E.B. and Fred have severely disappointed
their dads, and both just want them to be proud.
Director Hill discusses how Brand was able to walk
the line of humor and drama. “Russell brings a lot of
edge to the character, but he’s also very empathetic,”
commends Hill. “He has a great range and can play
the impish part of E.B., which is the part that gets to
Fred. E.B. is also a rock ’n’ roll kid, and Russell can
play it that way, which is a great advantage for us.
He’s dry and funny and a little crazy, and that’s how I
think a lot of teenagers can be.”– 20 –
Carlos is convinced he’d make a better Easter Bunny.
For his part, Brand looked forward to reuniting
with the filmmakers at Illumination. He says: “I was
in Despicable Me, in which I played the voice of an
old person. When Dr. Nefario said something, I’d step
in and do it. I thought the film was really funny and
loved Steve Carell in it. The filmmakers asked me if I
wanted to be in another film in which I was the Easter
Rabbit. I thought that would be brilliant fun, and it’s
been a thrilling experience.”
Providing the vocals for a character with big
dreams also appealed to the kid within the performer.
“I was attracted to the role of E.B. because I thought I
would get to be a mischievous rabbit without having
to move around,” laughs Brand. “Turns out it was
very difficult to provide the voice of an animated
character; it takes ages.”
Two weeks prior to the start of the live-action
shoot, Marsden sat in on Brand’s recording sessions
and read opposite him. “I found that extremely
helpful,” Marsden explains of working with the voice
that would end up in his backpack. “I requested to sit
in on some of Russell’s dialogue sessions so that he
and I could feel what our dynamic was. I wanted to
hear him saying the lines so that it would inform me
of how to respond. I read opposite
him just to feel what it would feel
like when the movie was done.”
During the recording sessions
in which Marsden wasn’t in the
room with him, Brand didn’t worry
about not having a fellow performer
with whom to interact as “acting is
all about make believe anyway,” he
says. “Sometimes, I imagined I was
doing the whole scene in a racecar,
just to add an element of thrill to
keep it even more exciting.”
In the role of Fred’s much
more successful younger sibling,
Sam, is Kaley Cuoco of CBS’ hit
comedy The Big Bang Theory. “Kaley is amazing
because she’s very real,” says Hill. “She’s naturally
very funny so there’s not a lot you have to do with
her; she just gets it very quickly. Sam mothers Fred a
little bit, but he needs it and she’s been fantastic as
the character.”
“She’s actually Fred’s buddy; she just wants to
help,” reflects the actress. “She’s trying to help him
get a job, and she tries to support all these wacky
things he does because she’s successful on her own.
She’s got her life much more situated than Fred.”
Discussing her rationale for joining the project,
Cuoco adds: “I’ve been doing television for so long,
and I thought film would be a fun change. I also love
that there is an animated component to Hop.”
The filmmakers cast The Simpsons’ Hank
Azaria, who has voiced animated characters for more
than two decades, as Hop’s principal chicks: the
duplicitous, oversized Carlos and the easygoing,
somewhat simple Phil. The performer’s working rela-
tionship with Meledandri extends back to 1997, when
Azaria voiced the part of the bat Bartok in the
animated film Anastasia. Meledandri discusses the
team’s choice to provide vocals for Carlos and Phil:
E.B. is not impressed with his new living quarters.
– 21 –
“Hank has an unparalleled ability to provide signa-
ture voices to his characters that are simultaneously
distinct and express a unique comedic personality.
The minute we heard Hank’s vocals for these two
chicks, we were charmed.”
Azaria laughs: “I was drawn to Carlos and Phil
because it’s not every day you get to play a chick,
especially a dominating, angry one like Carlos. He’s a
funny little villain.” Discussing his process, the
performer compares voice work to acting in front of a
camera: “Though there’s no body language in voicing
animation, ironically, in order to do the voices prop-
erly, you need to physically act them out. In a sense,
there isn’t a huge difference between the two. You
need to commit as fully to the performance as if you
were on camera. But you can’t only act from your
voice; you have to do the whole thing. You almost
overdo it so that it’s sold in your vocal inflection.”
To get into Phil mode, Azaria recalls that he made
his voice go as cute and high as it could. He appreciated
that director Hill “encouraged a lot of the weirdness.”
States the actor: “Phil is just a happy guy. He’s very
mellow, insightful, does his job and enjoys it. He also
really loves to dance. But I think Phil knows more than
he says. He may even be playing dumb a little bit…”
Cast as Fred’s parents,
Henry and Bonnie O’Hare,
were comedic actor Gary
Cole, well known for his
hilarious portrayal of
patriarch Mike Brady in
The Brady Bunch f ilms
and his classic work on
Office Space, and actress
Elizabeth Perkins, a long-
time favorite on Show-
time’s hit series Weeds.
Shares Meledandri of the
O’Hares: “Fred’s mother is
the peacemaker in the
family. She doesn’t quite understand her son but
she’s trying to be the balance to Fred’s hard-
driving dad—whose confusion about why his son
hasn’t already demonstrated professional success
comes across as being a bit tough. Mrs. O’Hare
tries to balance that and make sure that the
family dynamics don’t implode.”
Says Perkins, who has known and worked with
her on-screen husband since she was a teenager: “My
character is the eternal optimist. Somewhere inside,
she still believes in fairy godmothers, Santa Claus and
the Easter Bunny. So she’s always very supportive of
whatever is going on in her son’s life, even if he’s still
living at home. What I loved about this script is that it
is hopeful, and it has positive messages. It’s about
having faith in things that you don’t see or hear or
can’t prove exist.”
Playing the heavy in the O’Hare family was an
enjoyable experience for Cole. Of his role as Henry
O’Hare, he explains: “As the movie opens, my char-
acter is not very thrilled with Fred’s career choice, or
anything about him actually. He’s trying to be
tolerant, but he isn’t. Even when Fred arrives at a new
job with some enthusiasm, my character is a little
skeptical…to say the least.”– 22 –
Fred demonstrates his newly acquired ability.
Mr. O’Hare isn’t the only disappointed patriarch
in the comedy. Explains Meledandri of E.B.’s father’s
back-story: “The Easter Bunny is in many respects a
true traditionalist. He comes from a long line of
Easter Bunnies stretching back thousands of years.
He loves his son very much and has high expectations
for him.”
For the role of the Easter Bunny, Hill and the
producers selected award-winning actor Hugh Laurie.
Laurie appreciated the theme of the film and was keen
to provide voice work. Though he plays an eccentric
character on FOX’s drama House M.D., Laurie actu-
ally has a comedic background. Says the actor: “I
thought it was a charming tale of a young man
deciding what he wants to do with his life and what’s
important in the world. What people can do with
rhythm and with the expressiveness of their voices are
things that I’ve always found absolutely fascinating. I
loved the challenge of it.”
When it came to his recording sessions, Laurie
was game occasionally to ad lib takes for Hill. “I
usually wouldn’t substitute for something that’s there,
but I like to try and add because the audience is very
quick to detect the life and spontaneity in something
that happens by accident,” he states. “There are
certain moments that are diffi-
cult to render on a page, and so
the writers tend not to write
them. It’s important to keep alive
the spontaneity of things.”
Making cameo appearances
in Hop are several unexpected
guests, including comedian,
talk-show host and author
Chelsea Handler. As Mrs. Beck,
Handler interviews Fred for a
potential job at a video-game
company. Unfortunately for
Fred, E.B. sneaks into the job
interview and causes mischief
around the office…making it tough for Fred to make
a good impression on Mrs. Beck. Known for her dry
sense of humor, Handler describes her character as
“very similar to me, except she wears a suit and I
don’t; it’s a bit of a variation from what I’m normally
associated with.”
Says Marsden about working with Handler: “It
was great, that is, when we could keep it together. I’ve
been doing this for 16, 17 years and maybe three or
four times I’ve been in situations where you just can’t
get through a take because you’re laughing so hard.
Chelsea’s relentless and fearless and made fun of me
throughout the whole week.”
While Fred is interviewing with Mrs. Beck, E.B.
stumbles upon a jam session that’s occurring in the
studios. Just as E.B. hops past, the living legends of
gospel known as The Blind Boys of Alabama—
comprised of JIMMY LEE CARTER, BILLY BOWERS,
BENJAMIN MOORE JR., ERIC DWIGHT MCKINNIE,
JOEY ANTHONY WILLIAMS, TRACY ROMAN
PIERCE and WILL CLEVELAND SMITH—are
recording a song for the game “Extreme Blues Master.”
E.B. is able to sneak in on the recording session with
the five-time Grammy Award winners and play drums
with the band.
Fred trains hard to prepare for Easter.
– 23 –
In turn, the group hands E.B. a pamphlet for a
talent show hosted by a man they consider the “godfa-
ther of entertainment.” Hoff Knows Talent is looking
for new acts, and the eponymous host is none other
than…DAVID HASSELHOFF.
Hoff knows talent, and this rabbit’s got it. In the
comedy, Hasselhoff isn’t fazed by a talking bunny,
much less one who knows how to wail on the drums,
and is quite impressed with E.B.’s percussion skills.
After E.B. auditions for Hoff Knows Talent, he is
invited back to perform on the live show. When E.B.
expresses doubts about appearing during a time when
his friends and family need him, it is Hasselhoff who
convinces E.B. to follow his heart.
E.B. Joins Our World:
Blending CGI With Live Action
Unlike wholly animated films, the construction of
a CG/live-action comedy logically requires that the
drawn creatures have many interactions with humans,
as well as play in a world all their own. For Hop, those
requirements meant executing the enormous chal-
lenges of constructing a true-to-life rabbit that would
look as real interacting with
friends and family on
Easter Island as he would
harassing the people of
Fred’s world. Visual effects
shop Rhythm and Hues
(R&H) was given this
Herculean task, and it
would require an army of
animators under the direc-
tion of Hill and VFX super-
visor RAYMOND CHEN
to provide a seamless expe-
rience for the audience.
Designing E.B.The signature characters of E.B., the Easter
Bunny, Carlos and Phil were designed by Emmy
Award-winning and Annie-nominated artist PETER
DESÈVE, whose relationship with Meledandri
extends back to their work together on the Ice Age
films, for which DeSève designed the scene-stealing
saber-toothed prehistoric squirrel known to tens of
millions as Scrat. Commends Meledandri: “Peter’s
unique touch at creating timeless characters is inim-
itable. We knew our hero had to be irreverent, fun,
hip, young and a classic character, and Peter nailed
the design for E.B., the Easter Bunny and our two
main chicks.”
In order for DeSève and the animators to bring
E.B. to life, they began to conceive the character by
studying Russell Brand’s vocal performance. Footage
of Brand reading E.B.’s lines was recorded, and the
artists used his facial expressions, movements and
eccentricities as reference points to build E.B. The
goal was to create a character that was all bunny, but
also one who had the attitude of a teenager ready to
make his way out into the world.
When not leading the storyboarding stage or
designing Young E.B., animation supervisor CHRIS– 24 –
Phil and Carlos (both voiced by HANK AZARIA) are two of the coolest chicks on Easter Island.
BAILEY (in his third collaboration with Hill) spent a
great deal of time with his team blending Brand’s
recorded performance with the body language and
mannerisms of a teenager. Next, the animators took
video reference of themselves acting out the perform-
ance and reading the lines. This allowed them to
capture other physical characteristics needed to
animate E.B., and pace the timing as he moved
through each scene from the storyboards. As they
drew E.B., they would also incorporate specific
animal characteristics, such as the wiggling of a
rabbit’s nose as it sniffs or the quick movements of a
bunny’s hind leg when it scratches an itch.
For a period of time, with the number of bunnies
and chicks that were surrounding its animators as they
worked, R&H resembled a petting zoo. Whether
capturing motions of the bunnies’ ears as they stood at
attention or of the chicks peeping loudly and fluffing
themselves with their quick, jerky moments, dozens of
cameras were trained on the adorable animals to
ensure that a 360-degree take was achieved.
Because it was crucial to make it seem as if E.B.
and his family and friends were interacting with
humans, a great deal of attention had to be paid to fur
styles. When E.B. was picked up or physically
“on” an actor, his fur condition and quality (e.g.,
matting, flattening) would
change. Style, color and flex-
ible textures were particularly
belabored upon until Hill and
his team found just the right
look for each of the creatures.
Chen shares more of their
process: “E.B. is an original
character with a long history.
He’s not a character that was
transferred from another
medium. It’s been great to see
the animators and the artists
bring their own ideas of what
he should be—how he should perform, what sort of
attitudes he has. The question as to whether E.B. is
more Russell Brand or more of an actual bunny is
something that we balanced from scene to scene. In
some cases, we followed either video reference or
listened closely to dialogue to try to figure out how
many Russell mannerisms we should get into the
shot. In others, it was about trying to convey the atti-
tude of this little animal.”
The artists began each sequence of animation
with storyboards that described the particular scene.
To digitally create the CG character of E.B., they went
through a build process in which they modeled the
character in a neutral pose. States Chen: “We then put
in a rig to allow E.B. to move—to get his facial
expressions correct and allow him to move his limbs.
On top of all that, we have his clothing: his T-shirt and
his flannel shirt. For this, we ran cloth simulations to
have it look like his clothes were moving like real
pieces of cloth.”
E.B. Interacts on SetDuring production, Chris Bailey actually became
E.B., serving as a double for the bunny when that was
needed on set. Walking around with a 22-inch stuffed
animal—the same height as the animated E.B.—as
The Pink Berets are on a mission to track down E.B. and save the holiday.
– 25 –
reference during rehearsals, he worked alongside the
actors, Hill, cinematographer PETER LYONS
COLLISTER and key crew to perfect the staging and
pacing. Bailey’s performance as E.B. also helped to
communicate to the team the physical sense of humor
that the animators would ultimately bring to the rabbit
voiced by Brand.
The aptly named “Stuffy Pass,” which included
Bailey and his stuffed animal, provided the actors
with visual reference. This ensured that they would
know where their eyeline should remain throughout
the course of each scene they had with the rabbit. This
also allowed the animators to note how E.B.’s form
worked in the set’s lighting. For example, though the
stuffed animal only vaguely resembled the final E.B.,
it provided the R&H team an idea of how much light
would hit the side of his face or roll over his shoulder
as he turned.
“The stuffed animal was a terrific prop for our
actors to act with in the rehearsal and to understand
what the scene would be when it was actually shot,”
explains Bailey. “During the actual shoot, we took the
stuffed animal away and they were acting to nothing.
For shots where E.B. walks in the front door and runs
and hides behind a plant, the
stuffed animal was more for the
camera people to understand the
timing. This helped them to know
that he was at the door, then he was
going to look for two seconds.
Then he ran to the pot, peeked out
from the other side, and then he ran
over to another part of the room.
They got their counts off of that.”
Whenever E.B. needed to be
held physically in a scene (e.g.,
bouncing out of Fred’s arms or
cuddling on Sam’s shoulder) the
actors would be given a beanbag
that stood in for the mischievous
bunny. This allowed the actors to have something to
interact with and gave the artists an exact location of
where E.B. should go in the shot. The beanbag
ensured that the performers were holding their arms
in the right way and that their hands were reacting in
the correct manner. It also gave them a weighted
reference, so their hands would be pulled down to the
right level, as if they were actually holding a rabbit
that was E.B.’s weight.
In order to get this digital interaction perfect, the
animation team had to “track” each of the performers
who interacted with E.B. By creating a digital head-
to-toe model of these performers, the animators were
able to put avatars of the actors in each “E.B. interac-
tion scene” into the digital world and to create a
“digital double,” also known as a “match move.” Once
the movements were matched up, the artists had a 3D
object on top of which they could put the character of
E.B. After this extensive process was completed, the
full scene went into the next stage of animation.
Background PreparationOnce the “Stuffy Pass” and “Beanbag Shoot”
were completed, the background preparation could– 26 –
Fred and E.B. hang out at a landmark Hollywood diner.
begin. After a shot (plate) was finished and turned
over to R&H, the negative was scanned so that each
frame of the key scene now existed in a virtual world.
Once complete, a camera helped to create an intricate
digital universe that allowed Hill’s set to be built
again…albeit this time, virtually.
When preparing the background, a team of
painters removed any remnants of the placeholder
beanbag that was standing in for our fearless rabbit.
Once completed, these finished background plates
would be married to their respective animated
sequences (described in detail below) in a process
known as compositing. The end result was that it now
looked as if E.B. were fully integrated into the
sequence. That equaled the final image and what will
be seen by the audience.
Once the initial track was together, many anima-
tors were able to work on the multiple aspects of the
shot. Explains co-VFX supervisor MARK RODAHL
of the multitier approach: “Once you prepare the
background for a shot, and once the animation is
done, you bring those two pieces together. But you
always use the background as a reference, even for
animation. They always had this background set, and
the artists made sure everything
works well for the animation through
that camera.”
Blocking and AnimationWhile animation has multiple
pre-visualization steps, in a film that
is a hybrid of animation and live
action, post-visualization (also
called “blocking”) is much more
common. Beginning with a plate that
has an actor interacting with
“Beanbag E.B.,” R&H would take
E.B. in the scene (e.g., one in which
he is resting in Sam’s hands) and
roughly block the different phases
that E.B. would go through in the sequence. Each shot
received a blocking pass so that Hill could tell where
E.B. would be at every point.
Once the blocking was signed off, the animation
team created a rough pass of the general facial
expressions and movements that E.B. would have
with the performer. Usually, the animator working on
the scene would create thumbnail sketches of what he
or she wanted E.B. to look like as the rabbit moved.
This gave the rough flow of E.B.’s “performance”
throughout the scene.
Taking the digital double of the performer who
interacted with E.B., the animators in charge of this
sequence would then move that “actor’s” hands to
pick up, put down, push or pull E.B. This allowed a
reference for the next step of fitting E.B.’s person-
ality—from eye rolls to squints and other affecta-
tions—into the scene, as well as making his
movements flush with the real-life human with whom
he was interacting.
Whenever E.B. moved alongside another actor,
multiple challenges would arise. The animators had to
make sure that E.B.’s checked shirt flowed naturally when
he brushed by Fred or that his fur was fluffing or
Sam O’Hare discovers what she thinks is a stuffed, cuddly rabbit.
– 27 –
squishing naturally as he was held by Sam. For example,
in the scene in which Sam picks up E.B.—believing he
is simply a child’s stuffed animal—she rests him on her
shoulder, strokes his fur and touches his back and tail. The
R&H team digitally constructed this fur and cloth inter-
action so it appeared to be seamless in the final product.
In the ever-evolving world of comedy, the final
sequences the animators delivered were often quite
different than those initially storyboarded. Shares
Bailey: “When you cut a movie together, you find
surprises that come up, such as this scene is more
dramatic than we thought or that scene is funnier than
we imagined. After the scene was cut together, we all
talked about what we wanted out of E.B.’s perform-
ance…what we wanted him to communicate to the
audience. We took that information, and I did a
handoff to the animators at R&H so they could very
forensically go through every shot.”
When the entire team was comfortable that what
they wanted to have communicated was accom-
plished, then the final animation occurred. At this
stage, R&H tweaked E.B.’s fingers and the supple-
ness of the face. After that was approved, they then
moved on to hair and lighting.
While the humor begins with the screenplay,
many of the best gags in animated films come from
the animators. It was crucial to Hill, Meledandri and
Imperato Stabile that the artists not feel it was their
job simply to execute the shot, move the character
through its marks and hit the paces. They were
always asked to perform the character. Whenever a
shot came back that the team wasn’t 100 percent
comfortable with, they’d collectively ask: “What else
can we have E.B. do here?” or “Is there a funnier way
that he can react to Fred?”
Compliments Bailey of his fellow artists: “These
people are performers. I like to keep the emphasis on
the individuals behind creating the characters,
because they’re the ones who make the characters
funny. It’s the artist who is rendering the hair and
rendering the lighting and the environment that
makes it believable.”
Lighting HopWhen it came time to lighting the scenes with
E.B. on set, a curious chrome ball was used. Explains
senior animation supervisor ANDY ARNETT of its
use: “This was for lighting reference, so when the
lighters were ready to put the CG lights into our
scenes to light E.B. and make it look like he was part
of the set that was being filmed, they looked at the
reflections that showed up in the photographs of that
chrome sphere. It showed where all the different light
sources were placed, as well as the colors and textures
of all the different pieces in the room that would
reflect light off of E.B. That way they were able to
make the lighting that hit our CG character match
exactly with the lighting that was on set at the time.
When you put those two pieces together, it looks like
he was in the room along with the actors and every-
thing else in the scene.”– 28 –
Mr. O’Hare (GARY COLE) and Mrs. O’Hare (ELIZABETH PERKINS) proudly watch their youngest daughter in her school’s Easter play.
After Hill and DP Collister shot key scenes, R&H
put a camera in the middle of the set, took a 360-degree
picture of the entire environment and mapped the
inside of it. Discusses Bailey: “I like to think of it as a
big ball surrounding the set, because when you light
actors or a set, they’re not just being lit by the lights on
the set. They’re actually being lit by the reflections of
everything that’s on the other side of those lights—the
ceiling and the crew standing around.”
“We took a high-dynamic range imagery image of
the lighting setup,” Rodahl elaborates. “This calcu-
lated the lowest and the darkest lights in the room. It
was a camera rig set up to provide a 360-degree, fish-
eye lens of the environment. Then we used that inside
of the computer to map out what the strongest lights
and their positions are, so that you see the same
lighting influences on E.B. as you see on Fred. All
that helped to make E.B. fit perfectly into the scene.”
Rocking Out on Hop:
Music of the Film
The production team, under the direction of
composer CHRISTOPHER LENNERTZ and music
supervisor JULIANNE
JORDAN, set out to create
a musical experience for
Hop that was young and
fun and encompassed the
energy and excitement of
the comedy. Both musical
talents were previous Hill
collaborators on Alvin
and the Chipmunks, and
Jordan helped to create
the popular soundtrack
for that film, which
featured the signature
“chipmunk” sound.
For Hop, the filmmakers recruited the Australian-
born pop/R&B artist CODY SIMPSON to cover an
updated version of “I Want Candy.” The drum-centric
pop song ties into E.B.’s world and into key sequences
and themes of the movie (e.g., Easter candy).
Though The Strangeloves originally recorded the
song in 1965, most audiences are familiar with pop
group Bow Wow Wow’s 1982 cover, which became an
irrepressible song that year. The filmmakers were
pleased to have the 14-year-old Simpson, whose solo
debut, “iYiYi (featuring Flo Rida),” join the project.
Says Hill of their logic: “Of course we wanted him.
Who wouldn’t? Cody Simpson is fantastic. He has a
real sense of how to be pop but not derivative, and his
voice…well, it has a lot of emotion, but it’s still got a
nice edge, and he’s able to work both sides of that.”
Additional key songs blend old school with
modern music. They represent an interesting mix that
includes “Dynamite,” R&B singer Taio Cruz’s hit that
peaked at No. 2 on the Billboard Hot 100 chart in
2010 and has sold more than four million digital
copies in the U.S.; “We No Speak Americano” by
Yolanda Be Cool & Dcup, which samples the 1956
song “Tu vuò fà l’americano” by Italian singer Renato
Carosone and became a top-40 hit in the U.S. in 2011;
Carlos gives the chicks a pep talk in his campaign to take over Easter.
– 29 –
“Every Rose Has its Thorn,” the power ballad by
metal hair band Poison, which was released in 1988
and was the band’s first No. 1 hit in the U.S.;
“Celebrity Skin,” the 1998 debut single from the
group Hole’s third album, which reached No. 1 on the
Modern Rock Tracks chart; and “Mr. Big Stuff ” by
Nikki & Rich, which is the hip-hop/R&B duo’s cover
of Jean Knight’s 1971 hit song.
Hill notes that he wanted the music to evolve over
the course of the movie as we move through Fred and
E.B.’s journey. He states: “We start with some very
percussive-based, drum-circle-like drumming and
then fold that into more pop stuff as the movie
progresses. Then, naturally, we wanted to get some
songs that were fun and topical. The audience will
also hear some percussive elements in the score that
support E.B.’s desire to be a drummer.”
Making a cameo in the comedy are The Blind
Boys of Alabama, the legendary musical icons whose
founding members began singing together in 1939
when they met at an Alabama school for the blind.
These musical pioneers have been celebrated by the
National Endowment for the Arts with lifetime
achievement awards and inducted into the Gospel
Music Hall of Fame. The Boys record a song in Hop
at 2UP Games for the
upcoming fictional game
“Extreme Blues Master.”
Meledandri explains how
they came aboard the produc-
tion: “The Blind Boys idea
came from writer Brian Lynch.
The idea that in the future
‘Rock Band’ will spawn new
music-based games like
‘Extreme Blues Master’ is a
wonderfully silly notion, and
who better to be a key part of
that than The Blind Boys!”
In the scene, E.B. sneaks
into their session and jams on the drums with them.
Says Hill: “The Blind Boys are rooted in gospel and
blues, which is very basic to American music. For the
story, it helped that they couldn’t see that E.B. was a
rabbit and he was ‘filling in’ while their drummer was
on a break.”
Laughs Blind Boys drummer Eric Dwight
McKinnie about being “replaced” by a rabbit: “I think
that the young people are going to get a big kick out
of seeing a rabbit play drums. If you can get a kick out
of seeing a blind cat play drums, then I know you can
see a rabbit play drums.”
Throughout the film, there are multiple scenes in
which music takes center stage. These include Alex’s
Easter play, in which E.B. and Fred steal the show and
get the crowd to sing along to “I Want Candy,” as well
as E.B.’s audition for Hoff Knows Talent.
Having previously directed singing and dancing
chipmunks, Hill found these scenes more familiar
than most filmmakers would. “The music scenes with
E.B. drumming were actually really fun to shoot,” he
says. “The only trick was to imagine that, although
you’re only photographing an empty drum set, even-
tually there would be a CG bunny banging away on
those drums. – 30 –
Phil readies the Easter Bunny’s sleigh for take off.
“It’s important because you have to figure out
how close to get, what parts of the kit he’s hitting
and how the grammar of music videos translates in
this case,” he concludes. “The drumming scenes
were pretty similar to the Alvin musical scenes in
that you aren’t filming anything real; you’re filming
background plates, and the character is inserted
later. Though there was one scene in Alvin, the
‘Witch Doctor’ song, that was very challenging
because of the choreography: I had chipmunks
moving around all over the place. Here, a drum kit
was stationary…”
****Universal Pictures presents—in association with
Relativity Media—an Illumination Entertainment
production: Hop, starring James Marsden, Russell
Brand, Kaley Cuoco, Hank Azaria, Gary Cole,
Elizabeth Perkins, David Hasselhoff, Chelsea
Handler and Hugh Laurie. The comedy’s music is by
Christopher Lennertz, and its music supervisor is
Julianne Jordan. The film’s costume designer is
Alexandra Welker, and its editors are Peter S. Elliot,
Gregory Perler. The production designer is Richard
Holland, and the director of photography is Peter
Lyons Collister, ASC. Hop’s executive producer is
John Cohen, and it is produced by Chris Meledandri,
Michele Imperato Stabile. The story for the film is by
Cinco Paul & Ken Daurio, and its screenplay is by
Cinco Paul & Ken Daurio and Brian Lynch. Hop is
directed by Tim Hill. © 2011 Universal Studios.
www.iwantcandy.com
JAMES MARSDEN as Fred O’Hare and director TIM HILL on the set of the comedy Hop.
– 31 –
ABOUT THE CAST
Having appeared in a wide range of films over the
course of his career, JAMES
MARSDEN (Fred) continues
to carve out a distinctive
place in Hollywood with both
comedic and dramatic roles.
Later this year, Marsden
will appear, opposite Kate
Bosworth, in Screen Gems’
remake of Straw Dogs, for
director Rod Lurie. In the
film, Marsden plays Los Angeles screenwriter David
Sumner, who relocates with his wife (Bosworth) to
her hometown in the deep South. Soon after they
arrive, tensions build and a brewing conflict with
locals becomes a threat to them both. He will also
star, opposite Jessica Biel, Jake Gyllenhaal,
Catherine Keener and Tracy Morgan, in David O.
Russell’s upcoming film Nailed. Marsden will play
the Biel character’s small-town boyfriend. Biel stars
as a naive waitress who gets a nail shot into her head,
causing erratic and outrageous behavior, and heads to
Washington, D.C., to fight for better health care.
Most recently, Marsden appeared as a guest star in
an episode of the award-winning comedy Modern
Family. He played Mitchell and Cameron’s myste-
rious neighbor who was quite the charmer. He also
recently appeared in Neil LaBute’s Death at a
Funeral. He received a 2010 Teen Choice Award
nomination for Choice Movie: Male Scene Stealer for
his role as the Zoe Saldana character’s boyfriend, who
finds himself a fish out of water at a family funeral.
He previously starred, opposite Cameron Diaz, in
Richard Kelly’s psychological thriller The Box. In
2008, he starred alongside Katherine Heigl in the
box-office hit 27 Dresses, a romantic-comedy for Fox
2000 Pictures and Spyglass Entertainment. In 2007,
Marsden received rave reviews for his singing and
dancing in Disney’s box-office smash Enchanted,
opposite Susan Sarandon, Amy Adams and Patrick
Dempsey, and in Adam Shankman’s box-office hit
musical Hairspray, opposite John Travolta, Queen
Latifah, Michelle Pfeiffer and Christopher Walken.
Marsden played Corny Collins, the host of a televi-
sion dance show.
Marsden was also seen in Bryan Singer’s
Superman Returns as Richard White, a new rival for
the affections of Lois Lane. Kevin Spacey, Kate
Bosworth, Brandon Routh and Frank Langella also
starred in the film.
Marsden’s diverse film credits include the X-Men
trilogy, as Cyclops; the Nick Cassavetes romantic
drama The Notebook; Merchant Ivory’s Heights; Sex
Drive; Disturbing Behavior; 10th and Wolf; and
Sugar & Spice.
Marsden currently resides in Los Angeles with his
wife and two children.
In 2008, RUSSELL BRAND (E.B.) shot to fame
in the U.S. when he was seen
as the rocker Aldous Snow in
the Judd Apatow-produced
comedy Forgetting Sarah
Marshall. The film, which
was written by and starred
Jason Segel, grossed $63
million at the domestic
box office. That same
year, Brand also starred
in the Disney film
Bedtime Stories, which
also featured Adam
Sandler and Keri Russell. It
was in September 2008 that Brand cemented his fame
in the U.S., when he hosted the MTV Video Music
Awards (VMA).– 32 –
The year 2009 saw the U.S. release of Brand’s
writing debut, “My Booky Wook: A Memoir of Sex,
Drugs and Stand-Up.” The autobiography, already a
huge success in the United Kingdom, went on to stay
on The New York Times best-seller list for five weeks
in a row. In continuation of his stand-up tour in the
U.S., Brand’s third live DVD was released after orig-
inally airing on Comedy Central. The year 2009
ended on an even brighter note for Brand when he
assumed the role as host of the MTV Video Music
Awards for the second year in a row and garnered the
biggest VMA audience since 2004, with nearly nine
million viewers.
The year 2010 was a busy year for Brand with the
release of the hit comedy Get Him to the Greek in
June. Reunited with producer Judd Apatow, Brand
starred, opposite Jonah Hill, and reprised his iconic
role as Aldous Snow. In July, Brand also lent his voice
to the role of Dr. Nefario in the hit animated feature
film Despicable Me, which included the vocal talents
of Steve Carell and Jason Segel. Brand also starred,
alongside Helen Mirren, in Julie Taymor’s adaptation
of The Tempest. His upcoming roles include the title
character in the remake of Arthur.
In addition to acting, Brand released his second
book, “Booky Wook 2: This Time It’s Personal.”
KALEY CUOCO (Sam) has made a name for
herself starring in hit televi-
sion series since age 17.
Cuoco starred as Bridget
Hennessey, the late John
Ritter’s daughter, in the ABC
sitcom 8 Simple Rules, and
currently stars in CBS’ highly
rated comedy The Big Bang
Theory, from producer Chuck
Lorre (Two and a Half Men).
She recently completed production on the inde-
pendent feature The Last Ride.
Cuoco also starred as a recurring character on The
WB’s Charmed, alongside Alyssa Milano, Rose
McGowan and Holly Marie Combs. She has made
guest appearances on Ladies Man, Complete Savages,
My So-Called Life and Northern Exposure. Cuoco
was the lead in the ABC Family telefilms Crimes of
Fashion and The Hollow, and was seen in NBC’s tele-
vision miniseries 10.5, a seismic thriller about an
earthquake that ravages the state of Washington and
Northern California. Cuoco’s other made-for-televi-
sion movie credits include Alley Cats Strike,
Toothless, Attack of the 50 Ft. Woman and Growing
Up Brady, and she appeared in and the ABC minis-
eries Mr. Murder. Additionally, Cuoco lent her voice
to Disney Channel’s animated series Brandy & Mr.
Whiskers and the Kids’ WB’s Loonatics Unleashed.
Cuoco began her acting career at a young age,
appearing in commercials and modeling. Her first
television role was 1992’s Quicksand: No Escape,
with Donald Sutherland. She landed her first feature
film role at the age of eight in Virtuosity, starring
Denzel Washington and Russell Crowe. Her addi-
tional theatrical film credits include Killer Movie,
Picture Perfect, Can’t Be Heaven and Lucky 13. She
also appeared onstage in community theater produc-
tions of Fiddler on the Roof and Annie.
In her spare time, Cuoco is a gifted tennis player
and enjoys hiking, running, horseback riding, going
to the gym and spending time with her rescue dogs.
She is also involved in charities such as the Elizabeth
Glaser Pediatric AIDS Foundation, Animal Avengers
and People for the Ethical Treatment of Animals.
Cuoco currently resides in Los Angeles.
– 33 –
A Tony Award nominee and four-time Emmy
Award winner, HANK AZARIA
(Carlos and Phil) is a multi-
faceted performer in film,
television and on the stage, as
well as a respected director
and comedian.
Azaria will next be seen
starring as the infamous
Gargamel in Sony
Pictures’ live-action/
animation hybrid The
Smurfs, opposite Neil
Patrick Harris and
Sofía Vergara. The film is
set for release on August 3, 2011. Azaria also lends
his voice to Warner Bros.’ Happy Feet 2 in 3D, sched-
uled for release on November 18, 2011.
Most recently, Azaria appeared in the film Love
and Other Drugs, opposite Jake Gyllenhaal and Anne
Hathaway, and in Year One, opposite Jack Black and
Michael Cera. He also starred in the box-office hit
Night at the Museum: Battle of the Smithsonian,
which grossed more than $415 million worldwide.
In 1997, Azaria played the scene-stealing
Guatemalan housekeeper Agador Spartacus in Mike
Nichols’ The Birdcage. The role catapulted Azaria’s
film career and earned him a Screen Actors Guild
(SAG) Award nomination for Outstanding Per-
formance by a Male Actor in a Supporting Role, and
he shared a win for Outstanding Performance by a
Cast with the film’s ensemble. He had previously won
critical acclaim as television producer Albert
Freedman in the 1994 Academy Award®-nominated
film Quiz Show.
Some of Azaria’s notable film credits include
Roland Emmerich’s Godzilla; the 1998 adaptation of
“Great Expectations,” opposite Ethan Hawke and
Gwyneth Paltrow; Tim Robbins’ Cradle Will Rock;
Woody Allen’s Celebrity; America’s Sweethearts,
with Julia Roberts and Billy Crystal; and Shattered
Glass, with Peter Sarsgaard and Hayden Christensen.
His additional film credits include Along Came Polly,
Dodgeball: A True Underdog Story, Grosse Pointe
Blank, Heat, Now and Then and Pretty Woman.
Azaria is also well known for his portrayal of
psychiatrist Dr. Craig “Huff ” Huffstodt on the criti-
cally acclaimed Showtime series Huff. The show ran
for two seasons, from 2004 to 2006, and garnered
seven Emmy nominations in 2005, including a nomi-
nation for Azaria for Outstanding Lead Actor in a
Drama Series. He earned a SAG Award nomination
that same year. Azaria served as an executive
producer on the series and directed an episode during
the show’s second season. He also earned Emmy
Award nominations for his notable recurring guest-
starring roles on Friends and Mad About You.
In 1999, Azaria starred as Mitch Albom, along-
side the legendary Jack Lemmon, in the television
film Tuesdays With Morrie, and took home the Emmy
Award for Outstanding Supporting Actor in a
Miniseries or a Movie. His other made-for-television
films include the Jon Avnet-directed Uprising and the
2005 film Fail Safe, directed by Stephen Frears.
As a vocal artist, Azaria is noted and highly
regarded as one of the best, with more than 20 years
as one of the principal voice actors on the animated
television series The Simpsons. Azaria brings to life
a list of characters too numerous to mention, though
he may be best known as the voices of Moe Szyslak,
Apu, Police Chief Wiggum and Comic Book Guy.
He has been nominated for five Emmy Awards and
has won three for Outstanding Voice-Over Per-
formance for his work on The Simpsons, and he
brought many of his beloved characters to the big
screen in 2007’s The Simpsons Movie. His additional
voice-over work includes multiple appearances as
Venom/Eddie Brock, from 1994 to 1996, on the
animated series Spider-Man, and as Bartok in the
animated feature Anastasia. – 34 –
In the theater, Azaria has appeared in several produc-
tions including a 2003 production of David Mamet’s
Sexual Perversity in Chicago, opposite Matthew Perry
and Minnie Driver, on London’s West End. In 2005,
Azaria originated the role of Sir Lancelot in Spamalot,
the musical-comedy adaptation of Monty Python and the
Holy Grail. The show was a huge success and earned 14
Tony Award nominations, including one for Azaria for
Best Actor in a Musical. In 2007, he returned to
Broadway and starred as RCA head David Sarnoff in
Aaron Sorkin’s The Farnsworth Invention.
As a filmmaker, Azaria wrote, directed and
produced the 2004 short film Nobody’s Perfect, which
won the Film Discovery Jury Award for Best Short at
the U.S. Comedy Arts Festival and the award for Best
Narrative Short at the Ojai Film Festival.
GARY COLE’s (Mr. O’Hare) early career includes
working with the famed Steppenwolf Theatre Company
in Chicago. His recent film
credits include the upcoming
film The Chicago 8,
Conspiracy, Say Hello to Stan
Talmadge, the Judd Apatow-
produced Pineapple Express
and Talladega Nights: The
Ballad of Ricky Bobby and
Ben Stiller’s Dodgeball: A
True Underdog Story. His
additional film credits include American Pastime,
Universal Pictures’ Breach, DreamWorks’ The Ring
Two, Crazy in Love, Win a Date With Tad Hamilton!, I
Spy, One Hour Photo, The Gift, Mike Judge’s cult
classic Office Space, Disney’s I’ll Be Home for
Christmas, Sam Raimi’s A Simple Plan, Kiss the Sky,
Paramount Pictures’ The Brady Bunch Movie and Clint
Eastwood’s In the Line of Fire.
His television credits include NBC’s Midnight Caller,
CBS’ American Gothic, NBC’s The West Wing, FOX’s
Arrested Development, ABC’s Desperate Housewives,
NBC’s Chuck, CBS’ The Cleaner, HBO’s Entourage,
CBS’ Numb3rs, CBS’ The Good Wife and FOX’s The
Good Guys. He also starred in the television movies The
Switch (CBS), Seduction of Innocence (ABC) and The
Lies He Told (ABC), and in the miniseries Fatal Vision
(NBC), Echoes in the Darkness (CBS), Son of the
Morning Star (ABC), When Love Kills: The Seduction of
John Hearn (CBS) and Fall From Grace (CBS).
ELIZABETH PERKINS (Mrs. O’Hare) has dis-
tinguished herself with an
eclectic mix of roles over the
span of her career. Her criti-
cally acclaimed performance in
Weeds earned her Golden
Globe and Emmy Award nomi-
nations for Best Supporting
Actress in 2006 and 2007.
Perkins made her theatrical
debut in Neil Simon’s Brighton
Beach Memoirs. She subsequently worked with
Playwrights Horizons, The Ensemble Studio Theatre,
New York’s Shakespeare in the Park and the Steppenwolf
Theatre Company. She also appeared in John Patrick
Shanley’s acclaimed black comedy Four Dogs and a
Bone at the Geffen Playhouse in Los Angeles.
Perkins made her feature film debut in Edward
Zwick’s About Last Night…. Her breakthrough
performance was opposite Tom Hanks in the smash
hit Big, directed by Penny Marshall, and she received
critical acclaim for her performance in Barry
Levinson’s Avalon. In 1991, she starred opposite
William Hurt in the touching drama The Doctor, and
with Kevin Bacon in He Said, She Said. She then
went on to star in Indian Summer, before bringing
cartoon character Wilma Flintstone to life in the
blockbuster motion picture The Flintstones. Perkins
portrayed Dorey Walker in John Hughes’ remake of
the 1947 holiday classic Miracle on 34th Street, with
Sir Richard Attenborough. She also co-starred, oppo-– 35 –
site Kathleen Turner, Gwyneth Paltrow and Whoopi
Goldberg, in Moonlight and Valentino.
Her other credits include From the Hip; Sweet
Hearts Dance, with Jeff Daniels and Susan Sarandon;
Alan Rudolph’s Love at Large; Enid Is Sleeping; Lesser
Prophets; Bruce Wagner’s independent film I’m Losing
You, co-starring Frank Langella, Rosanna Arquette and
Amanda Donohoe; Crazy in Alabama, directed by
Antonio Banderas and co-starring Melanie Griffith,
Paul Mazursky and Cathy Moriarty; the independent
feature Under the Mimosa, co-starring Brad Renfro and
directed and written by Bo Brinkman; 28 Days, oppo-
site Sandra Bullock; Cats & Dogs; Finding Nemo, as the
voice of Coral; Jiminy Glick in Lalawood; The Ring
Two; and Must Love Dogs and Fierce People, both in
which she starred opposite Diane Lane.
Perkins made her television debut in For Their
Own Good. Her other television projects include
Cloned; Showtime’s Rescuers, What Girls Learn and
Speak; the series From the Earth to the Moon; and the
Hallmark Hall of Fame production of “My Sister’s
Keeper,” opposite Kathy Bates.
Known for possessing a keen eye for the complex
characters he creates as an actor
and a writer, HUGH LAURIE
(E.B.’s Dad) currently brings
that talent to his work on the
critically acclaimed FOX series
House M.D.
Now in its seventh season,
the innovative and uncom-
promising series features
Laurie as Dr. Gregory
House, an antisocial and
brutally honest doctor
who combines an uncon-
ventional approach to his
cases with flawless instincts. His performance has
garnered him two Golden Globe and Screen Actors
Guild awards and five Emmy Award nominations.
FOX’s hit medical drama also stars Omar Epps,
Robert Sean Leonard and Olivia Wilde.
This spring, Warner Bros. Records will distribute
Laurie’s upcoming New Orleans blues album world-
wide. The album, produced by two-time Grammy
Award winner Joe Henry, will feature both musical
and vocal collaborations. Laurie, who has played
piano for much of his life, is predominantly self-
taught and has been singing, performing and writing
music throughout his career.
Laurie will be seen, opposite Catherine Keener
and Leighton Meester, in the independent film The
Oranges and in the Sony Pictures Animation feature
Arthur Christmas, with James McAvoy and Bill
Nighy, to be released Thanksgiving 2011.
In 2009, Laurie lent his voice to Jeffrey
Katzenberg’s 3D-animated hit Monsters vs Aliens,
alongside Reese Witherspoon and Seth Rogen. His
other film credits include director David Ayer’s Street
Kings, opposite Keanu Reeves and Forest Whitaker;
Flight of the Phoenix, opposite Dennis Quaid; Peter’s
Friends, directed by and co-starring Kenneth
Branagh; Sense and Sensibility, with Emma
Thompson and Kate Winslet; Cousin Bette; The Man
in the Iron Mask; 101 Dalmatians; Stuart Little; and
Stuart Little 2.
Laurie previously starred in a number of ground-
breaking British television comedy series including
four seasons of A Bit of Fry and Laurie, which he co-
wrote for the BBC with Stephen Fry; three seasons of
Blackadder, written by Richard Curtis and Ben Elton;
and three seasons of Saturday Live. In addition, four
seasons of Jeeves and Wooster, based on the novels of
P.G. Wodehouse, aired on PBS’ Masterpiece Theatre
from 1990 to 1995.
On American television, Laurie portrayed Vincente
Minnelli, opposite Judy Davis, in the network telefilm
Life With Judy Garland: Me and My Shadows. He also
appeared in Tracey Takes On… and Friends.– 36 –
In addition to acting, Laurie has directed television
programs and commercials, composed and recorded
numerous original songs and written articles for
London’s The Telegraph. Mandarin Publishing has
printed four volumes of A Bit of Fry and Laurie scripts
and his first novel, “The Gun Seller,” was published in
both the U.K. and the U.S. to critical acclaim and has
been adapted into a screenplay for MGM.
When he films House, Laurie lives in Los Angeles.
ABOUT THE FILMMAKERS
TIM HILL (Directed by) began his career in New
York City, where he wrote
and performed in live
comedy sketches and musical
comedy. He later moved into
television animation, where
he wrote and developed
shows for Nickelodeon and
Disney. He helped develop
the hit series SpongeBob
SquarePants, created by
Stephen Hillenburg, and eventually became a head
writer on the show. He was also a writer and the story
editor on The SpongeBob SquarePants Movie.
Hill has worked as a writer, story editor, producer
and director on a number of television projects for
Nickelodeon, Disney, Comedy Central, USA Network,
ABC Family and Discovery Kids. He wrote, directed
and produced the Nickelodeon stop-motion animation
series Action League Now!!: Rock-A-Big-Baby.
Hill made his feature-film directing debut with
Muppets From Space. His second feature was the
Disney comedy Max Keeble’s Big Move. He then
directed Garfield: A Tail of Two Kitties and followed
that with Alvin and the Chipmunks for 20th Century Fox.
Hill was raised in Oakland, California. He
majored in French literature at the University of
California, Berkeley, with a focus on French cinema.
As 3D productions are on the way to becoming
the norm, CINCO PAUL (Screenplay by/Story by) is
right on trend with two high-profile 3D animated
films on his résumé. Along with Ken Daurio, he
wrote the surprise blockbuster Despicable Me, which
has made more than $540 million worldwide, and is
currently writing the highly anticipated Dr. Seuss’ The– 37 –
Lorax, an adaptation of the iconic environment-
themed children’s book, which is scheduled for
release in March 2012.
Paul and his writing partner, Ken Daurio, are the
hot Hollywood screenwriting team who also penned
the Dr. Seuss’ Horton Hears a Who! screenplay for
executive Chris Meledandri during his tenure at 20th
Century Fox. When Horton led to a box-office gross
of nearly $300 million worldwide gross, Meledandri
formed the film production company Illumination
Entertainment, which specializes in animation.
Illumination’s first three movies given the green light
were all written by Cinco Paul and Ken Daurio:
Despicable Me, Hop and Dr. Seuss’ The Lorax.
Paul and Daurio are known throughout the enter-
tainment industry for their unique pitching style,
often singing their pitches to high-level studio execu-
tives. For the Disney film College Road Trip, they
belted out the ’80s tune “Double Dutch Bus”
complete with harmony and melody. An estimated 90
percent of their pitches in the last nine years have
involved musical performances.
Paul met Daurio while working on a church musical
and they bonded immediately. In 1999, they sold their
first screenplay, Special; later, they turned it into a short
film that went on to play in the festival circuit due to its
dark comedic story line. Next came the 2001 cult classic
Bubble Boy, which starred Jake Gyllenhaal as Jimmy
Livingston (a boy without an immune system), a twisted
take on the John Travolta television movie The Boy in
the Plastic Bubble. Paul also recently turned Bubble Boy
into a full-length musical, for which he wrote the music
and lyrics. His other film credits include Disney’s
megahit The Santa Clause 2.
Paul studied at Yale University, where he gradu-
ated summa cum laude with a degree in English.
Upon moving to Los Angeles, he received his MFA in
screenwriting from the University of Southern
California, winning a fellowship grant to pay for his
second year.
As 3D productions are on the way to becoming
the norm, KEN DAURIO (Screenplay by/Story by) is
right on trend with two high-profile 3D animated
films on his résumé. He is set to co-direct Dr. Seuss’
The Lorax, an adaptation of the iconic author’s envi-
ronment-themed children’s book that is scheduled for
release in March 2012.
Daurio and his writing partner, Cinco Paul, are the
hot Hollywood screenwriting team who penned
Despicable Me for Illumination Entertainment/
Universal Pictures and Dr. Seuss’ Horton Hears a Who!
for executive Chris Meledandri during his tenure at 20th
Century Fox. After Paul and Daurio’s work on Horton
led to a box-office gross of nearly $300 million world-
wide, the duo found themselves in demand in the anima-
tion world. Daurio and Paul further forged their strategic
relationship with Meledandri when Meledandri formed
the film production company Illumination
Entertainment, which specializes in animation. It’s no
coincidence that Illumination’s first three movies that
were given the green light were all written by Daurio and
Paul (Despicable Me, Hop and Dr. Seuss’ The Lorax),
something unheard of in the history of animation.
Daurio and Paul are known throughout the enter-
tainment industry for their unique pitching style,
often singing their pitches to high-level studio execu-
tives. For the Disney film College Road Trip, they
belted out the ’80s tune “Double Dutch Bus,”
complete with harmony and melody. An estimated 90
percent of their pitches in the last nine years have
involved musical performances.
Daurio met Paul while working on a church
musical and they bonded immediately. In 1999, they
sold their first screenplay, Special, which they later
turned into a short film that played the festival circuit
due to the dark comedic story line. Next came the
2001 cult classic Bubble Boy, which starred Jake
Gyllenhaal as Jimmy Livingston (a boy without an
immune system), a twisted take on the John Travolta
television movie The Boy in the Plastic Bubble. Paul– 38 –
and Daurio also had the distinct honor of being hand-
picked by Audrey Geisel (the widow of Theodor Seuss
Geisel) to pen Horton Hears a Who! and The Lorax
film projects on behalf of the estate of Dr. Seuss.
Upon graduating from high school, Daurio began
directing music videos for up-and-coming bands like
Blink 182, AFI and Jimmy Eat World. More than 100
music videos later, he teamed up with Cinco Paul to
write his first feature script. Daurio and Paul are
now one of Hollywood’s most sought-after screen-
writing teams.
BRIAN LYNCH (Screenplay by) started his
career writing and directing the independent sketch
comedy Big Helium Dog, for View Askew
Productions. Soon after, he sold a Muppet script to
Jim Henson Productions.
Lynch has numerous movies in development
including Puss in Boots, at DreamWorks Animation,
and Nightcrawlers, at Warner Bros. He has also
written the film adaptation of the video game The
Sims, which is produced by Davis Entertainment.
Lynch is also the creator of the hit animated Web
series Angry Naked Pat and has been on The New York
Times best-sellers list for numerous graphic novels.
CHRIS MELEDANDRI (Produced by) is the
founder (2007) and CEO of Illumination Enter-
tainment, which makes broad audience films. The
independent company has an exclusive financing and
distribution agreement with Universal Pictures.
Last summer, Illumination produced the world-
wide box-office hit Despicable Me, featuring the
voices of Steve Carell, Jason Segel, Russell Brand
and Julie Andrews. The film received a Golden Globe
Award nomination for Best Animated Feature.
Illumination, which will produce one to two films a
year over the next five years, is currently in pro-
duction on a feature film version of Dr. Seuss’ “The
Lorax,” which continues the successful collaboration
Meledandri has had with Theodor Seuss Geisel’s widow,
Audrey. Other upcoming films include the animated
feature adaptation of Ricky Gervais’ “Flanimals” books
and a new stop-motion picture based on the original
Addams Family characters created by Charles Addams,
with Tim Burton directing.
Meledandri was previously an executive at 20th
Century Fox for 13 years. While there, he became
founding president of 20th Century Fox Animation,
which he headed for eight years, amassing more than
$2 billion in global box-office revenue.
During his tenure, he helped FOX become a major
player in the world of animated feature films and in
1998, he led FOX’s acquisition of fledgling visual
effects/commercial house Blue Sky Studios, which he
built into a successful producer of animated features. He
oversaw the creative and business operations of Blue
Sky Studios, now FOX’s wholly owned CGI studio.
While at the studio, Meledandri supervised and/or exec-
utive produced movies including Ice Age, Ice Age: The
Meltdown, Robots, Alvin and the Chipmunks, The
Simpsons Movie and Dr. Seuss’ Horton Hears a Who!
Before joining FOX, Meledandri was president of
Dawn Steel Pictures at Walt Disney Pictures, where
he served as an executive producer on Cool Runnings.
In addition to Hop, MICHELE IMPERATO
STABILE (Produced by) served as the executive
producer of Fox 2000’s Alvin and the Chipmunks and
Alvin and the Chipmunks: The Squeakquel, and Summit
Entertainment’s Twilight.
Imperato Stabile moved to Los Angeles from
New York in 1988, starting her career as a production
assistant. She became a DGA member in 1991 and
has worked as a unit production manager, associate
producer and co-producer. Throughout her career,
Imperato Stabile has worked with many notable
directors, writers and actors including but not limited
to Mike Nichols, Ridley Scott, Brian De Palma and
Harold Ramis.– 39 –
Imperato Stabile’s extensive credits include execu-
tive producing Garfield: A Tail of Two Kitties. She also
served as co-producer on the original Garfield and on
Primary Colors, as well as associate producer on The
Birdcage. Additionally, Imperato Stabile worked on I.Q.,
G.I. Jane, Honeymoon in Vegas, Postcards From the
Edge, Planes, Trains & Automobiles, The Untouchables,
Regarding Henry and The Ring Two.
Imperato Stabile and her husband, Billy, live on a
farm in Hidden Valley with their six horses and six dogs.
JOHN COHEN (Executive Producer) previ-
ously worked at 20th Century Fox for seven years.
As the vice president of 20th Century Fox
Animation, he worked closely with Blue Sky
Studios on films including Ice Age, Robots, Ice Age:
The Meltdown and Dr. Seuss’ Horton Hears a Who!
He also had the idea to reimagine the Alvin and the
Chipmunks franchise and developed the 2007 film.
This property has now grown into a billion-dollar
franchise for the studio.
Cohen worked as a producer at Illumination
Entertainment, which created the worldwide box-
office hit Despicable Me. In addition to Hop,
Illumination’s upcoming films for Universal Pictures
include Dr. Seuss’ The Lorax, directed by Chris
Renaud; Flanimals, based on the book series by
Ricky Gervais; Where’s Waldo?; and a new stop-
motion picture based on the original Addams Family
characters created by Charles Addams, with Tim
Burton directing.
Before joining FOX, Cohen worked at Scott
Rudin Productions. In 1998, he graduated from New
York University’s Tisch School of the Arts.
RICHARD HOLLAND (Production Designer) is
a highly respected production designer for films, tele-
vision and commercials. For the past 20 years, his
work spans productions from inside Russia to the
outer reaches of Antarctica. Holland’s best work is
produced when the imaginative meets the everyday—
from science-fiction fantasies to visions of the past
and the present.
His notable credits include A Sound of Thunder,
Batman & Robin, The Last of the Mohicans, The
Russia House, Licence to Kill, Who Framed Roger
Rabbit, The Princess Bride, Indiana Jones and the
Temple of Doom, Never Say Never Again and
Superman III.
He is currently working on Alvin and the
Chipmunks: Chip-Wrecked.
Hop is the third feature film on which PETER S.
ELLIOT (Editor) has joined forces with Tim Hill,
as he was involved with the huge box-office hit
Alvin and the Chipmunks and Garfield: A Tail of
Two Kitties. Prior to taking on Hop, Elliot collabo-
rated with director Paul Scheuring on his suspense/
thriller The Experiment, starring Forest Whitaker
and Adrien Brody.
Elliot has also enjoyed a long relationship with
director Roland Emmerich. Elliot most recently
edited the disaster film 2012, for which he received
a Satellite Award nomination. Prior to that, he was
the additional f ilm editor on The Day After
Tomorrow, with editor David Brenner. He also
worked as Emmerich’s visual effects editor on the
high-profile films Godzilla and Independence Day.
He first worked with Emmerich in 1991 as the addi-
tional film editor on Universal Soldier.
Tim Story is another director who Elliot has
worked for numerous times. He edited 4: Rise of the
Silver Surfer, for Story, and was his visual effects
editor on Fantastic Four.
Included among Elliot’s other editing credits are
the Emmy-nominated pilot The Visitor and the inde-
pendent film Coronado. Elliot also edited various
short films that include Pharaoh’s Heart, which was
awarded Best Short at the prestigious Dances With
Films festival. – 40 –
His additional feature credits include work as a
visual effects editor on films such as Daredevil, Blade
II, Dr. Dolittle 2, Hollow Man, Stigmata and Volcano.
Elliot’s career dates back three decades to 1987,
when he began his work in the field of postproduction
as an assistant sound editor. After establishing himself,
he transitioned to picture editorial, where he was given
opportunities to edit partial or complete sequences
with both the editor and/or director. Elliot first became
interested in filmmaking as a teenager and began to
pursue his career while studying film at California
State University at Northridge, where he attended and
received a bachelor of arts degree in film.
GREGORY PERLER (Editor) is a film editor
who has lived and worked in Los Angeles for 20 years.
A New York University film school graduate, he
moved to Los Angeles in 1990, when he was hired as
an assistant editor on Disney’s Beauty and the Beast
(the first of only three animated films to be nominated
for an Academy Award® for Best Picture). He was
promoted to associate editor during this production.
Perler’s previous feature animation credits include
Despicable Me, A Goofy Movie, Tarzan, the Oscar®-
nominated Jimmy Neutron: Boy Genius and the Oscar®-
winning Wallace & Gromit in The Curse of the
Were-Rabbit. His live-action credits include 102
Dalmatians, Enchanted, the Hannah Montana & Miley
Cyrus: Best of Both Worlds Concert film and two tele-
films based on the classic “Eloise” children’s books.
Perler was an editor on the first season of the
highly rated USA Network series Royal Pains.
ALEXANDRA WELKER (Costume Designer)
began her career in New York City working on inde-
pendent films with such highly acclaimed directors as
Hal Hartley and Jim Jarmusch. Since then, she has
designed costumes for more than 25 films.
Most recently, Welker worked on Furry Vengeance
and Alvin and the Chipmunks: The Squeakquel. Her
other film credits include John Tucker Must Die, Just
Friends, Smother, How to Deal, American Pie 2, Joe
Dirt and Alvin and the Chipmunks.
In the television world, Welker created the trend-
setting fashions of the debut season of The O.C.,
hailed as the television successor to Sex and the City
for its groundbreaking fashion. Welker also designed
the stage wear for the seminal (faux) rock band Spinal
Tap’s 2001 “Back From the Dead” tour and all of their
appearances since 2000.
Born in New Jersey, Welker graduated from the
University of Pennsylvania, where she wrote her thesis
on William Shakespeare and minored in history. After
a stint in fundraising for the New York Zoological
Society (the nonprofit entity behind the Bronx Zoo, the
New York Aquarium and Wildlife Conservation
Society), she parlayed her love of film and her expertise
in art and fashion into her costume design career.
JULIANNE JORDAN (Music Supervisor)
started her music supervision career with a bang
when director Doug Liman brought her on to a little
independent movie called Swingers. The film ignited
the swing craze in the ’90s, spawned a new type of
vernacular and pushed the interest in retro swing
music into hyperdrive. The soundtrack quickly went
gold and Jordan has not stopped working since.
Jordan has enjoyed a fruitful music collaboration
with Doug Liman on all of the films he had directed
including Go, where she found the then unknown Len
song “Steal My Sunshine” and helped make it a hit;
The Bourne Identity; Mr. & Mrs. Smith; and the 2008
release Jumper. Jordan has also supervised on such
hit films as The Italian Job, Without a Paddle and the
Agent Cody Banks franchise.
In 2007, Jordan supervised the blockbuster family
film Alvin and the Chipmunks, where she lent her
expertise in helping create an entirely new sound-
track with songs featuring that world-recognized chip-
munk sound.– 41 –
No stranger to performing, Jordan is an accom-
plished violist who studied her craft at Skidmore College
and performed with the California Youth Symphony.
CHRISTOPHER LENNERTZ (Music by) was
born in a small town north of Boston, in the same area
as one of his heroes, famed American composer
Leonard Bernstein. He then moved to Easton,
Pennsylvania, where he began his musical training at
age nine. After studying composition, jazz arranging
and theory in high school, Lennertz moved to
California to study at the USC Thornton School of
Music with film music luminaries such as Elmer
Bernstein, Buddy Baker, Christopher Young and
David Raksin.
Upon graduation, Lennertz began his professional
career writing a host of independent film scores span-
ning all musical and dramatic styles. His films have
premiered and/or won awards at such film festivals as
Sundance, Slamdance, HBO’s Comedy Arts Festival,
Toronto and Cannes.
While scoring independent films, he ventured
into the world of big-budget studio features
contributing orchestrations, arranging and conducting
experience to such hits as Frailty, Free Willy 2: The
Adventure Home, The Jungle Book and Disney’s 101
Dalmatians. He recently began working in television,
scoring the cult FOX television series Brimstone, the
WB’s The Strip (produced by Joel Silver) and
currently, the CW’s hit series Supernatural (executive
produced by McG).
Lennertz’ soundtrack for Clive Barker’s Saint
Sinner was one of Cinescape’s top-15 releases of
2002 and was rated one of the top-10 soundtracks of
the year by Film Music Review. His full-blown
orchestral score for the blockbuster video game
Medal of Honor: Frontline, created by Steven
Spielberg, won the Academy of Arts & Sciences
Interactive award for Best Original Music
Composition of 2003. His arranging work with the
City of Prague Philharmonic Orchestra on the current
Ozomatli album, “Street Signs,” won the Grammy
Award for Best Latin Rock or Alternative Album.
Lennertz traveled to London’s Abbey Road
Studios to record the James Bond video game, From
Russia With Love, with Sean Connery reprising his
role as 007 for the first time in two decades.
His film credits include Vampires Suck, Cats &
Dogs: The Revenge of Kitty Galore, Marmaduke,
Disaster Movie, Meet the Spartans, Alvin and the
Chipmunks, The Perfect Holiday, The Comebacks,
The Deal and Soul Plane (co-composed with the RZA
from the Wu-Tang Clan).
Lennertz has studied with some of history’s finest
masters in the art of film scoring and lent his music to
the dramatic performances of both Emmy and Academy
Award® winners. In 2006, he received an Emmy Award
nomination for his work on Supernatural.
—hop—
– 42 –
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NOTES
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