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TONY SCOTT

time July 11th, 2010 | category Category: Movie |
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SPIKE SELDIN (Producer) is the head of the Television department at Bedrock Studios, a joint venture between Granat Entertainment and Reel FX. Previously, Seldin was an executive at TNT, where he oversaw the series Witchblade and several movies of the week.

TONY SCOTT (Producer) has created a series of landmark action films, mastering the balance of technical virtuosity with an exuberant sense of tempo. Scott, a member of the exclusive club of billion dollar-grossing directors, has been one of mainstream Hollywood’s more reliable and stylish action filmmakers since the mid-1980s. With multiple high profile projects set for release and many more in development, Scott shows no sign of slowing the pace. Scott is currently in post-production on Unstoppable, starring Denzel Washington and Chris Pine.
Most recently, Scott directed the box office hit The Taking of Pelham 1 2 3 for Columbia Pictures. Previous to The Taking of Pelham 1 2 3, Scott directed Déjà Vu. Déjà Vu marked Scott’s third collaboration with Denzel Washington and his sixth collaboration with Jerry Bruckheimer. In 1995, he directed Crimson Tide, starring Washington and Gene Hackman and produced by Bruckheimer, which received both critical and popular acclaim. Scott went on to direct Washington again in the 2004 action thriller Man on Fire, this time alongside Dakota Fanning and Christopher Walken.
Scott made his feature debut in 1983 with the modern vampire story The Hunger, starring Catherine Deneuve, David Bowie, and Susan Sarandon. The movie was adapted as a trilogy for Showtime in 1998, in which Scott directed one episode starring Giovanni Ribisi and David Bowie. In 1986, Scott directed Tom Cruise and Kelly McGillis in the mega-blockbuster Top Gun, whose stunning aerial sequences helped make the film a global success. Scott confirmed his place as one of Hollywood’s premiere action directors the following year with Beverly Hills Cop II, starring Eddie Murphy.
Scott’s ability to mine box office gold from a deft blending of material and talent was evident in Touchstone Pictures’ Enemy of the State. Reuniting Scott with Gene Hackman and producer Jerry Bruckheimer, the political thriller starring Will Smith, became one of the biggest hits of 1998. In 2001, Scott directed Universal’s Spy Game, a taut, ambitious thriller that reunited screen giants Robert Redford and Brad Pitt. In 2005, after years of development, Scott finally brought his beloved project Domino to the screen with an all-star cast lead by Kiera Knightley portraying real life bounty hunter Domino Harvey.
Scott’s Additional film credits include: Revenge (1988), with Kevin Costner and Anthony Quinn; Days Of Thunder (1990), starring Tom Cruise and Robert Duvall; The Last Boy Scout (1991), with Bruce Willis; the critically acclaimed True Romance (1993), starring Christian Slater, Roseanna Arquette and Christopher Walken, with a script by Quentin Tarantino; and The Fan (1996), starring Robert De Niro and Wesley Snipes.
Born in Newcastle, Tyne and Wear, England, Scott attended the Sunderland Art School, where he received a fine arts degree in painting. While completing a yearlong post-graduate study at Leeds College, he developed an interest in cinematography and made One of the Missing, a half hour film financed by the British Film Institute and based on an Ambrose Bierce short story. He then went on to earn his Master of Fine Arts degree at the Royal College of Arts, completing another film for the British Film Institute, Loving Memory, from an original script financed by Albert Finney.
In 1973, Scott partnered with brother Ridley to form the London-based commercial production company, RSA. Over the next decade, Scott created some of the world’s most entertaining and memorable commercials, honing his film vocabulary and picking up every major honor in the field, including: a number of Clio awards, several Silver and Gold Lion Awards from the Cannes International Television/Cinema Commercials Festival, and London’s prestigious Designers & Art Directors Award. While working as a commercial director, Scott also made three movies for television: two documentaries and a one-hour special entitled Author of Beltraffio from the story by Henry James. In 2002, under the RSA banner, Scott produced a series of stylish short film adver-tainments for automaker BMW starring Clive Owen. Scott himself directed one of these shorts entitled Beat The Devil that featured Owen, James Brown and Gary Oldman.
In 1995, the two brothers went on to form the film and television production company Scott Free. With offices in Los Angeles and London, the Scott’s have produced such films as In Her Shoes, Tristan + Isolde and the Academy Award-nominated The Assassination of Jesse James, starring Brad Pitt. They also executive produce the hit CBS series Numbers, currently in its fifth season, as well as the critically acclaimed new series The Good Wife for CBS

JULES DALY (Producer) began her career in television production in the early eighties. After moving into commercial production for Joe Pytka and other leading directors, Daly began producing commercials exclusively for Ridley Scott and Tony Scott. In 2001, Daly was named president of the Scotts’ Los Angeles, New York and London based company, RSA Films. Under her leadership, the firm has established a reputation for excellence and innovation that is revered throughout the industry, and has garnered the industry’s highest accolades, including several Golden Lion, Emmy, BAFTA, AICP, Cleo, MTV, and MVPA awards. The firm won an Emmy for Best Commercial for Nike’s “Move,” and Ridley Scott’s “1984” spot for Apple Computer was named TV Guide’s Best Commercial of All Time. The company currently counts 30 directors on its roster, and produces commercials, music videos, shorts, and feature films across its four principal divisions – RSA, Scott Free, Black Dog, and Little Minx. In addition to her role as president, Daly is also active in feature film production, having co-produced 1999’s Jackie Chan/Owen Wilson hit Shanghai Noon, and 2007’s Oscar-nominated The Assassination of Jesse James by the Coward Robert Ford. Daly is based in Los Angeles.



Visual Style of the Animated Comedy

time July 10th, 2010 | category Category: Movie |
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Suburban Gothic:
Visual Style of the Animated Comedy

When the filmmakers were determining what the world they had imagined would look like on film, they instinctively knew that Gru should never plot his villainy in a boring, humdrum neighborhood. Explains Cohen: “The look of Despicable Me and the world of the movie is very much inspired by a Charles Addams and Edward Gorey sensibility. The art director of the movie, Eric Guillon, and the production designer, Yarrow Cheney, have come up with a bright and vibrant visual aesthetic that’s unlike any other animated movie you’ve ever seen.”
Meledandri elaborates on the film’s distinctive design elements: “The characters are largely caricatures of human characters. They’ve been designed by one of the great CG character designers, CARTER GOODRICH, who among many other films designed the characters for Ratatouille. There is sophistication to the design language of this film that at first glance might skew a little bit older. The environments are designed by Eric Guillon, who is such a great talent.”
Healy, who has worked with designer Goodrich before, admits: “I love how complex, humorous and interesting Carter’s character designs are. He captures so much about humanity in each of his drawings; he is just prolific. What I love about the characters he designed is that there is a huge range of types, but the people all inhabit the same world. Carter’s work demonstrates the diversity in our world, and he always gives us a unique twist of personality. His people have appeal, and I want to know more about them. That’s always a good start for building a character performance.”
Reflecting upon the art director, she adds: “Eric has a sense of fun and humor in all of his designs. His color palette is sophisticated and not overly flashy, allowing the shapes and whimsy to be at the forefront. He can draw in many styles, and all of them have a freshness and a unique appeal. Eric strongly contrasts shapes in his compositions, and the variety of the linework provides a dynamic movement and interest that is apparent at first glance. But it’s his imaginative view of the world that sets him apart. He made a cohesive world for Despicable Me, and I never tire of exploring all the incredible pieces of imagery because they are fun, comedic, inventive and totally his own.”
To find inspiration for the film, the team looked to one of its first drawings. Offers Renaud: “One of the first things Eric designed was Gru’s car, which remains identical to the way he originally drew it. We looked at that car and said, ‘Wow, I’ve never seen a car like that before!’ The world grew out of that in a weird way. That was the image we first started referring to: ‘This is our world. This is Gru’s car.’”
When they imagined how Gru would move, directors Renaud and Coffin were inspired by physical comedians from Peter Sellers to Rowan Atkinson. The super-villain is a towering presence with hunched shoulders and a hooked nose. But when he needs to do so, Gru can move with the grace of a cat. Tonally, the filmmakers created a “Spy vs. Spy” world in which Gru would be subject to all sorts of explosions and attacks—from rocket launchers to domestic sharks—and live to fight again.
It was clear to all involved that they had no interest in creating a universe for Gru and his extended family and foes that had a photorealistic quality to it. They wanted the film to have a unique color palette and a distinct stylization. But the details within the world would need to be quite striking in their hyperrealism—an incredulous fantasyland for a super-villain that was populated with very true-to-life details.
Gru is deliciously wicked, and his surroundings reflect that. The keen observer of Despicable Me can find elements throughout the film that offer nods to the brooding humor. In a direct nod to the father of The Addams Family, there is a painting on the wall in Gru’s lair in which a boulder is falling off a cliff and about to squash a hapless tour bus that is motoring by. Stuffed game mounted on the wall showcase—what else?— predator swallowing prey that is swallowing weaker prey. As well, in the Bank of Evil, as Gru walks through the main corridor, the pillars progressively show hapless victims squished by the columns. These are simply some of the many tongue-in-cheek references inserted by the team.
For the environmental design, Coffin brought art director Guillon, an artist with whom he has worked for many years, onto the production. “Eric actually spoke maybe three or four words of English,” Meledandri explains. “Pierre has tremendous confidence in Eric. From the very first images that Eric drew, the suggestion of both color and style of the world was absolutely present. His artwork is so extraordinary that when he creates a piece of what we call ‘visual development’ or ‘visual design,’ he does it in a way that when you look at it, you say, ‘Oh my gosh!’ The personality that he places in his design is extraordinary. There’s a whimsy to it; there’s warmth and a distinctive edge.”
As they considered creating locations for Despicable Me, the directors and producers knew that there had to be a significant discrepancy between the Gothic lines of Gru’s black house (first imagined by production designer Cheney) and the postmodern visuals of the spoiled-rotten Vector’s fortress. Offers Meledandri: “The array of styles was designed by Pierre and Chris and Eric to reflect how the characters fit into this world. Gru lives in a black house in this picture-perfect suburban neighborhood where the only blight on the neighborhood is his home, with its hint of a Gothic style. His vehicle is probably the least environmentally conscious vehicle ever placed on Earth. It’s all a bit ragged since he’s a character who is no longer at his prime.”
Conversely, Meledandri explains of Gru’s rival’s lair: “His nemesis, Vector, is a rich-kid brat who has been denied nothing in life. He lives in a very modern, state-of-the-art massive video game console, which has been paid for by his rich banker father. The dueling styles are reflective of the character conflict that’s going on between these two guys.”

Adorable Gibberish:
Amassing a Minion Army

Born out of the animation process were the scene-stealers the production came to know as Gru’s minions. Though not in the original pitch, the adorable (yet incredibly mischievous) minions quickly became favorites for the animators as they built Gru’s world. Renaud laughs: “Minions tend to work best when there are at least 20 of them. So that’s 20 more characters to animate. Almost every scene with them became a crowd scene, which was technically very challenging.”
According to producer Healy, the minions represent “a melding of the wonderful talents of each director.” She commends: “They are a result of the special collaboration of two of the nicest and most talented directors one can hope to work with. Chris conceived their initial design and their mission as Gru’s underground mole people, and Pierre added the silly animation style and most of the voices. But the directors brought these characters to the screen together and had huge fun defining them. The result is wonderful comedic moments that add another layer of interest and humor, and it came from the deeply funny brains and imaginations of Chris and Pierre. Once they gave them names and special funny hairstyles—and decided who was a monoc or a binoc—the personalities of the minions started to emerge. I had trouble remembering who was Jerry or Dave or Tim, but the directors always knew. The scenes just kept getting more special, and the fact that all minions are similar is what makes them funny.”
The voices of the workers were largely the creation of Coffin. While the team was pondering different vocals they could give the creatures, Coffin came to work one day with a voice test the entire crew loved. They compressed the sound, and the minions were born. The two men subsequently designed a language for Gru’s army that is intended to be an indescribable vocal expression, and the directors and New Zealand actor Jemaine Clement split up the voice work.
Coffin worked with his fellow director to develop the complex language for the minions. To help us understand them, every once in a while a word of English sneaks out during a scene. Renaud and Coffin discovered how to compress the sound of their voices so that they were able to tweak slightly both their and Clement’s voices for each little guy’s vocals.
“The language is much more about sound than it is about any kind of meaning,” says Meledandri. “Pierre works very quickly to present his ideas visually, and not just in a still form. He’s much more comfortable communicating an idea by bringing it to life with some limited animation. From the very first time we were introduced to the idea of these characters, they were immediately appealing. We had a sense from day one that the minions were slowly going to try to take over the movie; they’re irresistible in their combination of innocence and mischief.”
Adds Cohen: “They’ve created this incredibly unique language for the minions, where a lot of times it sounds like it’s gibberish. You hear all kinds of languages being incorporated into the way they speak. Then occasionally, you’d hear a word or two of English, and that gives you a sense of what the minions are actually saying.”
While the comic actors improvised certain lines in the film, it was Steve Carell who actually helped to name the minions. During vocal sessions as Gru, he would throw out a name to the minions, such as Dave or Tim. Though there were tons of them, and many look the same, Carell knew that Gru would know each of his happy workers by name. Once the directors heard Carell calling them out by name, they thought it was a terrific idea to give several other of the minions names that would match their unique personalities.



ABOUT THE FILMMAKERS A-TEAM

time July 10th, 2010 | category Category: Movie |
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ABOUT THE FILMMAKERS
JOE CARNAHAN (Director/Screenwriter) is an American screenwriter and director. He returned to the director’s chair in 2007 with Smokin’ Aces following his critically acclaimed cop drama Narc, which premiered at the Sundance Film Festival in 2002 and earned him a Best Director Independent Spirit Award nomination. Carnahan’s first feature film was Blood, Guts, Bullets and Octane, which he wrote, directed, and starred in. The film was self-financed and debuted at the Sundance Film Festival in 1998.
Carnahan wrote and directed the innovative short Internet film The Hire: Ticker, produced by Ridley Scott, starring Clive Owen, Don Cheadle, Ray Liotta and F. Murray Abraham for BMW in 2002. Carnahan co-wrote the feature film Pride and Glory, a police drama released by Warner Bros. last year, starring Colin Farrell and Edward Norton, as well as adaptations of Mark Bowden’s Killing Pablo and James Ellroy’s White Jazz, both of which he is set to direct.

BRIAN BLOOM (Actor, Screenwriter) acted in several commercials as a child before making his big break in the Sergio Leone film Once Upon A Time In America. From there he was offered the role of Dusty Donavan in the hit soap opera As The World Turns, on which he worked for several years. During that run, Bloom became the youngest winner of a Daytime Emmy® Award in the category of Outstanding Young Leading Man. Bloom is honored to have crossed professional paths with and learned from Burt Lancaster, Eva Marie Saint, Tony Curtis and director Hal Needham, among other film industry notables. His television appearances are extensive and he has done countless guest appearances on numerous hit prime time television shows including the CSI and Law and Order series, as well as HBO’s Oz.
Bloom is one of the most prolific voiceover actors in the industry. He voices Captain America in the upcoming Avengers – Earth’s Mightiest Heroes television series, and continues to reprise ongoing relationships with many of the biggest selling franchises in gaming including Call of Duty, Medal of Honor, Command and Conquer, Halo, Star Wars, Mafia, Silent Hill, and Kane & Lynch, to name a few. Bloom also lends his voice to several other cartoons and animated films, including Batman in both its television and movie incarnations.
Bloom has worked with director Joe Carnahan on several projects, including Smokin’ Aces, Faceless and Cadillac, and the two recently expanded that relationship to include writing the script for THE A-TEAM. Bloom practices a rare martial art called Bojuka, which he employed along with his acting to win the role of the villainous Pike, which he and Carnahan created for the movie.

SKIP WOODS’ (Screenplay) feature screenplays include X-Men Origins: Wolverine starring Hugh Jackman, Hitman starring Timothy Olyphant and Swordfish starring John Travolta, Halle Berry and Hugh Jackman. He previously wrote and directed the crime thriller Thursday starring Thomas Jane and Aaron Eckhart.

An Emmy award-winning writer/producer and Chairman of Cannell Studios, STEPHEN J. CANNELL (Producer) is one of the most prolific writers in television history. In a highly successful career that spans three decades, he has created or co-created more than 40 shows, of which he has scripted more than 450 episodes and produced or executive produced more than 1,500 episodes. His hits include The Rockford Files, Greatest American Hero, The A-Team, Hunter, Riptide, Hardcastle & McCormick, 21 Jump Street, Wiseguy, The Commish, Profit, and the hit syndicated shows, Renegade and Silk Stalkings.
Cannell has received numerous honors including the Paddy Chayefsky Laurel Award from the Writers Guild of America and the Marlowe Lifetime Achievement Award from Mystery Writers of America, the NATPE Brandon Tartikoff Legacy Award, and the 2008 Final Draft Hall of Fame Award which recognizes entertainment industry luminaries who foster the art of screenwriting and nurture and inspire the creative process. In addition to the Emmy, Cannell has won the People’s Choice Award and the Saturn Award – Life Career Award.
An unstoppable creative force, Cannell is also a savvy businessman. In 1979, Cannell formed his own independent production company, Stephen J. Cannell Productions, in order to achieve creative control over material he was writing and producing. Seven years later, he formed The Cannell Studios to oversee all aspects of the organization’s operations. Having surpassed the $1 billion mark in production outlays, the studio experienced remarkable growth and diversification in such areas as production (films, mini-series, commercials), merchandising, and first-run/off-network programming. Cannell still owns the worldwide distribution rights to more than 1,000 hours of Cannell-produced series and TV movies.
Cannell Studios is currently producing a slate of independent films. The Poker House, written and directed by actress Lori Petty debuted at the 2008 Los Angeles Film Festival. Other projects in development include feature films of Cannell TV shows 21 Jump Street, and The Greatest American Hero.
Cannell is the bestselling author of fourteen novels, including the critically acclaimed Shane Scully series, which includes On The Grind, Three Shirt Deal, White Sister, Cold Hit, Vertical Coffin, Hollywood Tough, The Viking Funeral, and The Tin Collectors. The newest installment, The Pallbearers, will be published by St. Martin ’s Press in January 2010. In addition, Cannell is the author of At First Sight, Runaway Heart, The Devil’s Workshop, Riding the Snake, King Con, Final Victim, and The Plan.
Having overcome severe dyslexia, Cannell is an avid spokesperson on the condition. A third generation Californian, he currently resides in the Los Angeles area with his wife, Marcia, their children, and grandchildren.



CILLIAN MURPHY

time July 10th, 2010 | category Category: Movie |
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CILLIAN MURPHY (Robert Fischer) previously worked with director Christopher Nolan when he played Dr. Jonathan Crane, a.k.a Scarecrow, in 2005’s “Batman Begins,” for which he received a London Film Critics Circle Award nomination. He reprised the role in a cameo appearance in Nolan’s 2008 blockbuster “The Dark Knight.”
Murphy first garnered international attention for his performance as Jim, the reluctant survivor in Danny Boyle’s post-apocalyptic thriller “28 Days Later…” He later earned a Golden Globe Award nomination for his portrayal of the transgender outcast, Patrick “Kitten” Braden, in Neil Jordan’s “Breakfast on Pluto.” Murphy then garnered two consecutive British Independent Film Award nominations, for his roles in the award-winning 2006 drama “The Wind That Shakes the Barley,” directed by Ken Loach, and Danny Boyle’s 2007 science fiction thriller “Sunshine.”
Murphy is currently starring in the independent film “Perrier’s Bounty,” with Brendan Gleeson. Gleeson also directs and stars with Murphy in the upcoming indie feature “At Swim-Two-Birds,” also starring Colin Farrell, Jonathan Rhys Meyers and Gabriel Byrne. Murphy’s diverse filmography also includes Wes Craven’s thriller “Red Eye,” opposite Rachel McAdams; “The Edge of Love,” with Keira Knightley, Sienna Miller and Matthew Rhys; the Civil War drama “Cold Mountain,” for director Anthony Minghella; Peter Webber’s period drama “Girl with a Pearl Earring,” with Scarlett Johansson; John Crowley’s dark comedy “Intermission,” with Colin Farrell; and John Carney’s “On the Edge.” On television, Murphy had a leading role in the BBC miniseries “The Way We Live Now,” directed by David Yates.
Born and raised in Ireland, Murphy began his professional acting career in Enda Walsh’s award-winning play “Disco Pigs.” After receiving commendations at the 1996 Dublin Theatre Festival and the 1997 Edinburgh Festival, “Disco Pigs” went on to tour extensively in Ireland, the UK, Toronto and Australia. Murphy later starred in the film version directed by Kirsten Sheridan.
On the stage, Murphy repeatedly worked with Tony Award-winning director Garry Hynes in productions of such plays as “The Country Boy,” “Juno and the Paycock” and “The Playboy of the Western World.” He also starred in Neil LaBute’s “The Shape of Things,” at Dublin’s Gate Theatre, and the Edinburgh Festival production of Chekhov’s “The Seagull.” He more recently made his West End debut in John Kolvenbach’s play “Love Song,” at the Ambassadors Theatre.



Populating Despicable Me Talent

time July 9th, 2010 | category Category: Movie |
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Populating Despicable Me:
Casting Comic Talent

When bringing together the cast for Illumination’s first animated feature, the directors and producers of Despicable Me were adamant about selecting actors who could not only bring out the humor of their voices, but also channel their comic physicality to inspire the many animators who worked on the project. Cohen explains: “The way we approached the casting is that we wanted to find the absolute best improvisational comedians out there. They brought a level of spontaneity and naturalistic performances to the film.”
To choose the comedy’s primary super-villain, a character who is at his wit’s end trying to become the best in his profession, the team members had to look no further than a former collaborator. Performer Steve Carell is known to millions of fans through his roles on television’s The Office and popular films including The 40-Year-Old Virgin, Get Smart and Date Night, but it was his voice that most interested the filmmakers. He first worked with Meledandri on Horton Hears a Who!, in which he vocalized the role of the Mayor of Who-ville.
“Steve has great pathos in his voice, but his voice also carries his comedy effectively,” says Meledandri. “Working with him is unique because he comes to the process as an actor, an improviser and a writer. It’s rare that Steve will not give you a version of the scene that everybody agrees has just taken that comic or dramatic sequence and made it significantly better. The process of working with him is one of discovery. You never quite know where he’s going, and yet he always takes you to a place that’s a more elevated level than where you started.”
When the team sat down with Carell to discuss his ideas about a vocal approach to Gru, Carell made the observation that great villains in movies have very memorable voices, and he didn’t want the audience to pinpoint the accent. Explains Meledandri: “Carell started to play with different vocals that involved accents, and he came up with one that lands somewhere between Ricardo Montalban and Bela Lugosi. As soon as he started playing with that voice, it began to inform our visual conception of the character.”
It wasn’t only the opportunity to play a villain that attracted Carell to the project. “The story is really sweet,” he offers. “That’s what drew me to it. As crazy as Gru sounds and as diabolical and mean and awful as he is, there is humanity to him. It comes out in little bits, all the way through. It says a lot about how people can change, and how aspects of a person can come to the surface, given a different circumstance. People aren’t either good or evil…there’s always some good to evil and there’s always some evil within good. When you see someone who on the surface just seems despicable, and then they’re not, that’s interesting and fun to explore.”
Carell also appreciated how Gru was in competition with Vector to win the title of World’s Best Villain. “It’s very frustrating for Gru to be the second-best villain in the world, because he’s a perfectionist,” the actor adds. “He’s somebody who takes pride in his work, and he wants to be the best at being bad. But there’s someone out there who is upstaging him…and he doesn’t like it a bit.”
To play Gru’s archnemesis, Vector, the team chose comedy actor/writer Jason Segel. A formidable opponent to Gru, Vector is described by Carell as “younger and with a lot of technology at his disposal. He really gets under Gru’s skin. When you’re competing for stealing the moon, you can’t really be friends.”
A newcomer to the world of animation, Segel was excited for his first time out. He also had a chance to tap into his geeky side when he came up with the voice for Vector. “I’d never done anything like this,” says Segel. “The closest I’d come to it was puppetry, but this was pretty spectacular. I didn’t realize that I wouldn’t be working with other actors. You read all the lines on your own, so it’s a real exercise in imagination. To get into character as Vector, I tried to find my dorky self from when I was really young. I’d left it behind, but I re-channeled.”
Just as Gru is struggling to impress his considerably dour mother, Vector will do anything to get attention from his aloof and evil father. Segel explains: “My character’s relationship with his father is a bit strained in the film. He doesn’t have faith in me and that’s actually one of the driving forces, as it is with most villains. It comes down to a weird relationship with your parents.”
Teen superstar Miranda Cosgrove of television’s juggernaut hit iCarly joined the Despicable Me production as Margo, the eldest of the three sisters whom Gru adopts. A veteran of Nickelodeon since her time on Drake & Josh, Cosgrove has helped to build her show about an entrepreneurial teen who produces webcasts with her best friends into the highest rated live-action show on the network and the No. 1 series on all of television among kids 2-11. Indeed, an episode of iCarly holds the record as Nickelodeon’s highest-rated and most-watched live action telecast in the history of the network. It was Cosgrove’s deadpan vocal timing and inherent knack for physical comedy on iCarly that snagged her the part of Margo.
As the most suspicious of the orphans whom Gru attempts to dupe into doing his malevolent deeds, Margo remains vigilant in protecting her little sisters. The directors and producers knew they wanted Cosgrove to be their Margo the moment they met her. Renaud explains their choice: “The role is a tough role, and Miranda landed something important for us. The girls are the soul of the movie, and Margo—more than even the other two—is the conscience for Gru and she’s the big sister to everybody…including Gru. It was an important choice to get Miranda, who has fantastic acting capability and gave Margo exactly the voice we needed, one with weight to it.”
What sealed the deal for Cosgrove was the chance to work with a fellow comic performer she admired. “Steve Carell is one of my favorite actors,” she says. “So when I found out he was a part of the film, it was icing on the cake. The whole story’s fun. I love that he’s the villain, and that the villain is the lead for once. Gru ends up having this amazing heart and being a really nice guy in the end. I love stories like that. I also liked being the oldest orphan, the one who is keeping it all together. I get to say a lot of witty, fun things.”
Cast as the middle sister, Edith, was newcomer Dana Gaier. Describing Edith, the young actress says: “She’s mischievous and sarcastic. She’s really a troublemaker, which is something I can almost relate to because I make trouble with my sister. Edith likes to touch lots of things when she’s told not to. She’s the kind of person that really doesn’t listen, but it’s just because she’s curious and likes to explore. It’s all in fun for me and for Edith. We really love our sisters.”
As well, the filmmakers discovered young Elsie Fisher to play Margo and Edith’s littlest sister, Agnes. Whenever the directors needed Agnes to dissolve into a fit of giggles, Fisher was always game to provide the laughs. In fact, some of the biggest laughs of the production came from off-the-cuff deliveries that Fisher gave. Whether it was when she was asked to vocalize what Agnes would say when she gets the unicorn of her dreams (“It’s so fluffy!!!”) or how she would deliver one of Paul and Daurio’s lines when Gru demands the girls not bother him (“Does this count as annoying?”—before she playfully taps her cheeks), Fisher never failed to amaze the filmmakers with her natural comic timing.
For Fisher, she loved knowing that her character would be getting a father of her own. She says, “I have a really great dad, so I know it’s important for Agnes to have one too.”
One of the greatest finds of the production was when beloved actress Julie Andrews signed on to voice Gru’s demanding, never-pleased mother. At every opportunity, she’s poo-pooed Gru’s many successful diabolical ventures and let him know he’s never good enough. Meledandri remembers his first meeting with the legend: “When we asked Julie to become involved in the movie, her reaction was an initial excitement, and then a resistance when she learned about the character. She plays a character in this film that is almost the anti-Mary Poppins, someone who is a mean and nasty and demanding mother.”
Writers Paul and Daurio had imagined a mother who wants her son to be the best that he can be, but who is also a woman with a quite awful parenting methodology. “Julie’s response was that not only had she never played anybody like this, but that she had never met anybody remotely like this,” Meledandri continues. “That initial resistance very quickly turned into her excitement about taking on a challenge and performing a role that was unlike anything she had done before.”
When describing our super-villain’s often scowling, nagging kickboxer of a mother, Andrews laughs: “Gru’s mother is a terrible lady. I was sometimes appalled at what my character was trying to do, and sometimes it cracked me up so badly.” However, she loved the project enough to trust Renaud and Coffin’s vision. “The film has such heart,” the actress notes. “Ultimately, it’s about the power of love and about the wonder that children have. These three little children have no idea that there’s such a thing as evil or anything else. They just want to be loved.”
Just as Carell adopted a curious accent for his character, so did Andrews find a signature voice. Of Gru’s mother’s vocals, she explains: “Her voice ends up being a little European and a little bit Jewish, German, Middle European, English white bread. I knew that Steve was going for a very low, slightly halting voice. So I thought, ‘Well, where would he have gotten that? Wouldn’t he have gotten that from Mum? Maybe they came from a sort of Middle European background, and then came over here.’”
Describing his on-screen mother, Carell laughs: “If there was a less appropriate person to play a nasty, terrible mom, it would be Julie Andrews. But she’s fantastic.” He deadpans: “Maybe there’s a side of her that’s really awful, and it comes out in this movie.”
Helping to bring Gru’s plans to fruition and protect his fortress from interlopers (be they girls selling cookies or overly friendly/nosy neighbors) is Gru’s mad scientist-in-residence, Dr. Nefario. Brought onto the production to voice the dotty and hearing-impaired inventor was British comic performer Russell Brand.
Brand explains that he tried different vocal tones with the filmmakers until they found one that fit the character they’d imagined. “I looked at how Nefario walks and how he thinks and tried to have a reaction to it. He sounds sort of like a Ray Winstone-y gangster, but with a mellowness underneath. I also had to add some age to the voice. I made a vocal cake out of vibrations in my throat.”
The role of the raging, blustering Mr. Perkins was given to Carell’s fellow Horton Hears a Who! comic voice talent, Will Arnett. The actor, who has a number of animated films—from Ratatouille to Monsters vs. Aliens—to his credit, had to delve into his wicked side when he composed the voice for the Bank of Evil’s manager. Perkins wants nothing more than to see the loan-seeking Gru grovel at his feet while his own son, Vector, beats Gru in the race to steal the moon.
“I wanted him to have a holier-than-thou, haughty accent that was snobby and moneyed,” Arnett explains. “I thought he should sound like he was working his way through sentences. He almost eats the words; he chews them over and devours every situation that he’s in. He’s a monster in human form. The writers created such a great moody world, and it was a terrific opportunity to get into a really heavy, awful, growling, animalistic and beastlike character.”
Not all of the villains in Despicable Me are male. Perhaps the most evil mastermind of the players in Gru’s world is Miss Hattie, the proprietor of the orphanage where we meet Margo, Edith and Agnes. If she is not plunking down girls in her “Box of Shame” for a perceived slight, Miss Hattie may be found sending her orphan army out into inclement weather to hawk minty mints, choco swirlies and coconutties cookies.
When the filmmakers searched for the perfect villainess, they recruited the woman of a thousand faces and voices herself, Saturday Night Live veteran Kristen Wiig. “I grew up watching animated movies; they were such a big part of my youth,” notes the actress. “I always try to do something different with my voice, especially coming from SNL. It’s really exciting to do that and then have my character built around it.”
Wiig met with the filmmakers to discuss the inspiration behind Miss Hattie. “We had an afternoon of finding her voice,” she says. “We discussed Miss Hattie sounding sweet, but not saying nice things. We found this saccharine, Southern lady who is not really meant to be trusted…but she sounds nice on the phone.”
30 Rock’s Jack McBrayer was one of the only performers who provided vocals for multiple characters in Despicable Me. “When I first met the team, they showed me pictures of what my first character would be, which is this larger, Southern gentleman…a tourist. I was also asked to play the Carnival Barker, and both of these characters look exactly like me.”













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