- Notes provided by Sony Pictures -

Adam Sandler stars in the title roles of Jack and Jill, the new comedy from Happy Madison. Jack was living an almost perfect life, with the exception of one, annoying constant - his twin sister Jill. Every year he has to tolerate a Thanksgiving visit from his smothering sister, who doesn't take long to turn his life upside down. As the weekend intrusion starts stretching into a month, the siblings fight, tease, and bicker in the way only twins can. When it becomes clear Jill is never leaving, Jack sets into motion several schemes that he hopes will return Jill to where he loves her most - the other side of the country.

Columbia Pictures presents a Happy Madison / Broken Road production, Jack and Jill. Starring Adam Sandler, Katie Holmes, and Al Pacino. Directed by Dennis Dugan. Produced by Adam Sandler, Jack Giarraputo, and Todd Garner. Screenplay by Steve Koren & Adam Sandler. Story by Ben Zook. Executive producers are Barry Bernardi, Bettina Viviano, Allen Covert, Steve Koren, Robert Smigel, and Tim Herlihy. Director of Photography is Dean Cundey, ASC. Production Designer is Perry Andelin Blake. Editor is Tom Costain. Costume Designer is Ellen Lutter. Music by Rupert Gregson-Williams and Waddy Wachtel. Music Supervision by Michael Dilbeck, Brooks Arthur, and Kevin Grady.

Jack and Jill has been rated PG by the Motion Picture Association of America for Crude Material Including Suggestive References, Language and Comic Violence. The film will be released in theaters nationwide on November 11, 2011.

ABOUT THE FILM

When you get together with your family for the holidays, everybody has that one family member who drives you crazy. They mean well, and you love them, but still...

For Jack, that's his sister - his twin sister - Jill. Growing up, their lives were incredibly intertwined. But ever since Jack moved away, they have moved in different directions. Jack has become a highly motivated and successful ad executive in L.A., while Jill was the one who stayed back east and took care of their parents. Now, they see each other only once a year, at Thanksgiving, when Jill comes to L.A. for a visit. Time and distance have taken a toll on their relationship - and now Jack finds himself enduring Jill's annual visit, rather than enjoying it.

Still, it's just a couple of days, right? Wrong. Jack and Jill get off on the wrong foot - just like always - and the only way Jack can make things right is to ask Jill to stay on through Hanukkah, giving her some time to enjoy everything L.A. has to offer, from game shows to horseback riding. Still, Jack isn't exactly pleased that his sister is extending her trip...

And adding to Jack's stress is the fact that things aren't going all that well at his ad agency. His biggest client, Dunkin Donuts, is demanding that Jack deliver Al Pacino to perform in a new Dunkaccino commercial. Jack wonders how in the world he is going to get Pacino - does he even do commercials? - and his quest is intensified when he finds out that the famous actor is having a nervous breakdown and losing his mind. Having played one too many roles, the actor is starting to confuse reality with the parts he is playing and is acting out in some increasingly erratic ways.

When Jack takes Jill to see the Lakers, he approaches Pacino about the commercial, but is stunned when Pacino is much more interested in talking to Jill. It turns out that Jill reminds Pacino of everything he left behind - his boyhood home in the Bronx, his childhood - and for Pacino, who is preparing to play Don Quixote on stage, something clicks. Because he's having trouble with reality, suddenly, Jill isn't Jack's wacky sister... she's Dulcinea, Don Quixote's idealized romantic love - and Pacino must conquer her affections to realize his quest.

Trouble is, Jill isn't interested. But Pacino will not be brushed aside so easily. Inviting himself to Jack and Jill's surprise birthday party, he sweeps Jill off her feet and takes her for a private party at his home - but Jill still isn't biting, which only inflames Pacino's passion (and insanity). It's not clear who's more upset - Jill, from the experience, or Jack, who thinks his chance to get Pacino could be over, or Pacino, who is completely losing it for Jill.

For Jack, now the shoe is on the other foot: he has to try to convince Jill to extend her trip even further and give Pacino one more shot. It's a move that sets in motion a wild, outrageous series of events that reveals to Jack who the most important people in his life are - and have always been.

ABOUT THE PRODUCTION

Director Dennis Dugan re-teams with Adam Sandler for the eighth time on the comedy Jack and Jill. ``What I found interesting was that somewhere partway through the production I thought of Adam as playing Jack, but I thought of Jill as if she were her own person. Adam didn't walk around off-camera acting like Jill, but after a while, it was as if Jill was a woman we hired who happened to look remarkably like Adam.

In the film, Sandler plays Jack, an advertising executive who is one commercial away from hitting the big time - or, if the deal falls through, unmitigated disaster. Into this turmoil comes his twin sister, Jill - who always makes things more complicated than they need to be.

``I knew Adam would have no problem playing Jill. The part he worked at was to play Jack, says Steve Koren, who co-wrote the screenplay with Sandler. ``Jack's the kind of guy who's a little bit on edge - he's had to work to make that guy different from who he really is.

While writing the film with Adam Sandler, Koren found some interesting things. ``Some twins actually create their own language when they're little kids, so we invented a special, private language that only Jack and Jill speak, he says. ``We also found out that twins have a bond that is a lot stronger than some siblings, so we tried to incorporate as much of that as possible.

Playing the dual role required an ingenious sense of timing from Sandler. ``Part of the joke was that Jack and Jill would do the exact same things at the exact same time, Koren explains. ``What that meant, of course, was that Adam would do the scene once, and then he'd redo it as the other character. It was almost like a dance, a ballet; Adam had to have incredible focus and perfect timing. It was pretty incredible to watch.

Describing the character and the plot of the film, Koren explains, ``Jill had only two constants in her life - taking care of her parents and the love of her bird, Poopsie. She's sacrificed her personal life. When she comes to visit Jack for the holidays and won't leave, Jack tries to help her find a guy - a guy who he hopes will get her out of his house.

Of course, nothing goes as planned. Instead of an internet date, Jill gets an impossibly unlikely suitor. In the film, Jack needs Al Pacino to agree to do a commercial - and if he can't get Pacino, Dunkin Donuts will take their business elsewhere. Just as he's wondering what he's going to do, who should fall for Jill but the Oscar(R)-winning actor himself. Just one catch - in the movie, the character of Pacino is suffering from a nervous breakdown.

For the role of Al Pacino, the filmmakers decided to get Al Pacino. ``In the movie, Al Pacino isn't really playing himself - he's playing an obsessive actor who has gone a bit off the deep end and is losing his marbles, says Koren. ``So, when he falls for Jill, he goes overboard. He's willing to go to any length to get the girl. The trouble is, Jill's just not all that into him. She knows more about 'American Idol' than she does about Al Pacino.

Pacino plays the character in a way that is very different from the man he is in real life. ``He's an actor who's losing control, says Pacino. ``He has had an overload of work and it's starting to take hold of him and affect his mental capacity. He's clearly in the middle of a breakdown. That's the track I've taken in order to play myself as somebody else - it's all heightened and exaggerated as to make it believable in a comedy. However, I tried to keep it real so that the madness is real.

In the movie, the character of Pacino is starting to lose his grip on reality. He has been mulling an offer to play Don Quixote in ``Man of La Mancha on Broadway - and when he meets Jill, he endows himself and Jill with characteristics of the characters. ``In 'Man of La Mancha,' Don Quixote is a madman who believes himself to be a knight, and he believes Dulcinea to be a princess, even though she's an ugly peasant. He falls madly in love with her by endowing her with virtues she doesn't really possess, Pacino explains. ``When my character meets Jill, he does the same thing. She becomes his Dulcinea. In a sense, my character unconsciously uses her as a tool to find out if he indeed wants to play the part of Don Quixote. He gives Jill all the traits of the character Dulcinea so he can rehearse it, try it out, and see if it fits. He doesn't even know he's doing it, but there's method in his madness.

In addition, Jill represents something that the character of Pacino feels he has lost. ``Our character of Pacino is at a crossroads, says Dugan. ``He's kind of lost in Los Angeles. The thing that's missing in life is who he used to be - a sense of home and roots. Suddenly, here's a woman who comes to him at the height of his fame and reminds him of who he used to be. He needs to go back to his home, and he thinks Jill is his ticket.

``I love the idea of playing an older movie star, clinging, trying to get back to what it was that made him do this thing in the first place, Pacino continues. ``My character is a guy who just wants to go back home, wants to be simple again, but will never be able to be that way again. And no matter how crazy he is, his instincts are still working as an actor - if he engages her in the same way Don Quixote engages Dulcinea, he can find out if he can really play the part in 'Man of La Mancha.' It's subtle and unusual, but this is the actor's journey out of madness.

Dugan says that working with Pacino was, of course, a completely unique experience. ``I didn't know what to expect - he's obviously a serious actor - but he embraced the insanity, says Dugan. ``He played his version of Pacino in a truly brilliant way. He's a genuinely nice guy and he had a terrific attitude about the whole thing.

Naturally, the real Pacino provided exactly what you'd expect: a tremendous actor, having the time of his life. ``Al was at the top of his game - Adam would throw something at him, and Al would catch it and fire it right back, says Dugan. ``He embraced the way we work, which I think is different from the way most sets work. But Al was never thrown off by any of it - he stood in there and hit it as hard as he could.

The film's cinematographer, Dean Cundey, says that the film changes very slightly in tone when Pacino is on the screen. ``Like a lot of comedies, we wanted a bright and high-key look - as opposed to something moody or dark - but in the Pacino scenes, we had an opportunity to bring more of an edge, he explains. ``Pacino is identified with many of his darker characters, so I thought it might be interesting to inject a little bit of that into his scenes. For example, for the reveal of Al in the restaurant, I took a cue from the way we've discovered Al in the past and put him in dark silhouette, with smoke wafting from his cigar and some light across his eyes and face in a darkened room. It's a fun moment in the film.

Katie Holmes joins the cast as Erin, Jack's wife and mother to their two children. ``She's a very busy wife and mother, Holmes explains. ``When Jill comes to town and creates a lot of mayhem within the family, she's the one who's trying to keep it all together.

``It was wonderful to see Adam transform into Jill, she continues. ``As a woman, it was nice to have conversations with a man about shaving legs, how pantyhose and heels feel, and all of the tougher parts about being a woman. Adam was a great sport - it was really, really fun.

One of Mexico's top comics, Eugenio Derbez, joins in the fun as Felipe, Jack's gardener, who genuinely likes Jill for who she is. ``Felipe thinks he's funny - he's always cracking jokes, then saying, 'I'm kidding, I'm kidding.' Derbez was up for the challenge to be funny in English, even though his first language is Spanish. ``You memorize the lines and get the language under control, but you still have to deliver the joke - it's not just saying it in English. And the delivery might be very different in Spanish and in English. Finding the tone is the challenge.

It turns out that Sandler isn't the only actor playing a dual role as a man and a woman: Derbez also plays Felipe's grandmother. ``Yes, that's me, too, he says. ``They asked if I had a relative who could do the scene, and I said no, but I could play my own grandma. I play a lot of different characters on my TV shows - so they saw my reel, and that was that. It was a lot of fun to do, except for the makeup. The process takes 3½ or 4 hours, and they put glue all over my face - my beard, too. I had five different prosthetics on my head and face. I'd still be finding glue three days after shooting.

From his experience on his shows in Mexico, Derbez had ample experience performing sketch comedy, which, of course, is where Sandler and his crew at Happy Madison got their start. ``That made him a good choice for the Adam Sandler squad, says Dugan. ``He gets the whole thing we do - we try whatever comes up as we shoot. We stay on our toes - somebody throws it to you, and you throw it back. He's funny - he's just funny.

Also joining the cast are Elodie Tougne and Rohan Chand, who play Jack and Erin's kids, Sofia and Gary. Allen Covert, Nick Swardson, Valerie Mahaffey, and Geoff Pierson round out the cast.

TRANSFORMING JACK INTO JILL

For the behind-the-camera crew, the primary challenge of the film was in making Sandler into two characters. The primary task went to makeup department head Ann Pala, hair department head Thomas Real, and costume designer Ellen Lutter.

Pala and Real went through dozens of hair styles, textures, colors, and lengths (short, curly, and long), various nail colors and lengths, lip colors, skin tones, lashes, and teeth, all in different combinations. Working with three Sandler look-alikes, they created a number of different options for the filmmakers to choose from.

``Adam had played a girl in various sketches on 'Saturday Night Live,' says Pala, indicating that they had some idea of what might work with the actor. ``The key factors in giving him feminine features were his eyes, cheeks, teeth, and bangs. We used nine different makeup skin tones to highlight and conceal.

It was key to the filmmakers to try to create a real character in Jill. ``Adam's not playing a man playing a woman; he's playing a woman, notes Lutter. ``It wasn't a question of drag - we wanted to create a real woman, with specific features, character traits - it had to be genuine and natural. On the other hand, we were able to have a little fun because part of the character is that she looks exactly like her brother. We had the room to play and have some fun with Adam's muscles and masculine demeanor - Jill is not a hyper-feminine character.

Lutter says that when it came to Jill's clothes, ``Adam likes to be very comfortable, but being comfortable has nothing to do with being a woman. We tapped into the lightness of the character - and that's where we had all our fun. Adam would always say, 'I know you guys like Jill better,' and it was true!

Still, dressing Sandler as Jill wasn't as simple as putting him in a dress. ``Everything had to be manipulated - whether it was adding a detail around the neckline, or something with the arms, or working with the waist to build some hips. Everything had to be altered and adjusted to play with the proportions. It's not like the clothes were just hanging around.

HOW THEY DID IT

To handle technical challenges of filming Adam Sandler opposite himself, the filmmakers turned first to director of photography Dean Cundey, the cinematographer who shot Who Framed Roger Rabbit, The Parent Trap, Back to the Future, and Jurassic Park.

``When an actor plays two characters in the frame at the same time, there are a lot of tricky things that occur - tricky, because the process usually requires you to do a shot with one character in the frame and then repeat the shot with the other character also in the same frame, Cundey explains. ``Sometimes, it's a fairly simple process, as simple as a split. In those shots, the camera doesn't move. In those, you film it twice, with the actor playing one character on one side of the frame, and then again, playing the other character on the other side of the frame. Then you go into the computer and put them together, almost like you're taking two photographs and cutting them in the middle and pasting them down.

From those simple shots, the process can get increasingly complicated. ``We'll move the camera, have them touch each other, hand each other objects - it's a great way to keep the audience engaged, Cundey continues.

Cundey describes a typical shot: ``We'd shoot Adam as Jack. Then he'd go and get made up as Jill; we'd relight the set and we'd have to make sure that the lighting was right for where Adam would be standing as Jill. Adam would come in and we'd give him a little ear bud, so he could hear his performance as Jack, which he'd just done. We had a monitor set up so he could see what Jack was doing. Dan DeLeeuw, the visual effects supervisor, would make sure that the shots were going to work. The motion control technicians made sure we were getting the exact camera movement over and over again. Finally, the on-set compositor could put it together as we did it - show us how it's going together so we could evaluate it and judge it. It was a very team-heavy process.

``We used a computer-controlled camera - the computer is programmed to do the exact same move multiple times, says DeLeeuw. ``We could shoot once for Jack and do the same move again with Jill. A good example, he notes, is the scene in which Pacino falls for Jill at a basketball game. ``Not only do you have Jack and Jill, but the basketball players and the crowd behind them. As the setting gets bigger, so does the difficulty.

It fell to DeLeeuw to create the illusion that Adam Sandler really does have a twin sister. ``These effects took a lot of planning, right from the storyboard stage - but it's also a comedy, so we all had to stay on our toes, he says. ``For many shots, we'd shoot Adam with a body double for Jill - the double would wear a green hood over his head, which we could remove later and replace with Adam, as Jill.

Cundey explains how he worked in tandem with DeLeeuw: ``The on-set process is the gathering of the pieces of the puzzle - the mosaic that is later put together by the compositors and post-production team. I had to make sure that the pieces are the right pieces - as the audience gets more and more sophisticated, you can't do anything simply. You have to give them the pieces so they can do something interesting and unique.

Cundey says that the production had a great asset in Adam Sandler. ``As we got through the process, Adam learned more and more about how to do what we wanted to do, and he was a fast learner, says Cundey. ``The great thing about Adam and his creative process is that every new shot is an invention. We'd rehearse a shot and have a very good idea of what we wanted to do, but everything was subject to rehearsal and seeing how it played. The coolest thing about this production was being able to think on your feet - there'd be a new idea, and it would be up to Dennis, me, and the assistant director to figure out how we were going to do it.

ON THE CRUISE

In the film, the Sadelsteins go on a family vacation during the holidays every year; this year, they've booked a cruise on Royal Caribbean's Allure of the Seas, the largest cruise ship in the world. ``We were lucky enough to have the timing of our movie coincide with the launching of the ship, says Dugan. ``They were building the ship in Norway while we were prepping the movie. We contacted them and they were very happy to do business with us. We sent a couple of electricians over to Norway to lay the cables and figure out all of our electrical hookups, so when the ship got here we'd be ready to go. We met them in Florida, and during their trial runs, when they were still getting ready for the paying passengers, we were able to shoot on the ship for 10 days.

``It is truly a five-star hotel floating on the water, says production designer Perry Andelin Blake. ``We had the opportunity to film in the coolest parts of the ship. At the bow of the ship, we made a restaurant. The biggest challenge was to decorate the ship for Christmas - the ship is 1,000 feet long, and in some shots, you can see 500 feet and two pools and three or four levels. Of course, we had to have holiday decorations on the whole thing. We bought truckloads of decorations at a store in Fort Lauderdale - 1500 feet of garland with sparkly lights, seven Christmas trees from 8 to 16 feet tall, 15 toy soldiers, 10 toy kings... it was just incredible.

``We knew ahead of time that working on a cruise ship can be confining; the spaces are smaller, says the director of photography, Dean Cundey. ``When you think about it that way, you realize why cruise ship scenes in movies are classically shot on sound stages. Cundey explains that there were two reasons that the production was able to use the real thing: ``First, The Allure of the Seas is the largest cruise ship in the world, so the space issue isn't such an issue, and second, since this was not a public cruise, we'd essentially have the ship to ourselves.

But while there were certain challenges to shooting on a cruise ship, there were also advantages. Dugan says, ``I would say it wasn't any more difficult than any other location. In fact, it was interesting - as we were filming on the bow of the ship, as the day would go by the sun would move. Well, because they ship didn't have any paying customers and no real destination, we were able just to have them turn the ship, so the sun would stay the same all day for us. There's no location in the world where you can get that kind of accommodation with the sun.

``The captain did one very long, slow turn - one degree every six minutes, explains Cundey, ``So the sun stayed in exactly the same spot with reference to the ship. Another day, we had a bit of overcast weather off the coast of Florida. But that was no problem - the captain just moved the ship.

Such careful planning was necessary to make the illusion that Jack and Jill are actually separate people work, explains Dan DeLeeuw, the visual effects supervisor. ``Jack and Jill jump rope, Double Dutch, with a crowd surrounding them, he says. ``You have the ocean behind them and the sun going down - and, obviously, we had to shoot it twice to get both sides. That was a challenge - to shoot a twin movie on the back of a ship while the sun was going down.

That said, DeLeeuw was up to the challenge. After all, filming it all on a green screen just wouldn't have been the same. ``The boat has an orange deck, so you've got a nice orange bounce that reflects off the actors. You've got the open sky blue skies - you just don't get that same kind of lighting in a green screen.

THE PRODUCTION DESIGN

Much of the film is about contrasting Jack and Jill - highlighting their superficial differences to underscore all of the ways that deep down they are exactly alike. One way the filmmakers were able to do that was to show the twins living very different lives - Jack in his Brentwood mansion and Jill in her spartan Bronx home.

``We made them two extremes, says production designer Perry Andelin Blake, who has worked on countless Sandler projects. ``Jack's house is big, beautiful, and open, with a great back yard, a swimming pool, and greenery and trees and flowers everywhere. The rooms are huge, light, spacious, and comfortable. At the end of the film, you see Jill's house in the Bronx - she drives up in her little Honda Civic, parks by the dirty snow, and walks up to a tiny, cramped house with stuff everywhere.

For the artwork on the walls of the Sadelsteins' home, the filmmakers got personal with their inspiration. ``Artwork is so subjective and people's opinions of it are so varied - we asked ourselves, what kind of artwork would he have on the walls of his house? Our director, Dennis Dugan, is also a photographer, and we came up with the idea to use his pictures for the artwork at Jack's house. Jack is an ad guy; we thought an ad guy would have good taste, cool taste, and he might have a collection of art photography, as opposed to other kinds of art. Dennis pulled about 50 pictures from his years of photography and we started going through it - photographs from the 60s and 70s, from his travels in Europe and other places in the world. Not only was there a variety that we could use, but we could tweak it in ways that it looked more like a collection of a number of different photographers - for example, we could tweak a photograph in Photoshop to make it really colorful, or print it on canvas or fabric and make it into a hanging, or print on slick paper and mount it, or frame it. They contrast nicely with the house - this old Spanish-style house that has been refurbished and made new for this family - they give it a very contemporary feel and it doesn't feel stuffy at all.

Blake also had the chance to design the living room of a Majorcan castle - but his favorite set, perhaps, is the one for the Dunkin' Donuts commercial that closes the film. ``It looks exactly like a Dunkin' Donuts store - we got really into it, down to the details, the counters, the signage, even the actual doughnuts from Dunkin' Donuts. And then the camera pulls back and it turns into a fantastic Busby Berkeley scene with Al Pacino in a tuxedo and, people singing and dancing, a shiny, black floor and colorful lighting. That was really fun.

ABOUT THE CAST

ADAM SANDLER (Jack and Jill Sadelstein/Co-Writer/Producer) has enjoyed phenomenal success as an actor, writer, producer and musician.

Sandler's films have grossed over $3 billion worldwide. His most recent film, Just Go With It, earned more than $214 million worldwide, and his previous film, Grown Ups, is the highest-grossing of his career, taking in more than $271 million worldwide. Sandler also recently starred in Universal's Funny People, written and directed by Judd Apatow starring with Seth Rogen, Leslie Mann, Erica Bana, Jonah Hill and Jason Schwartzman, as well as the box office smashes Bedtime Stories for Walt Disney Studios, Sony Pictures You Don't Mess with the Zohan and Universal's comedy I Now Pronounce You Chuck & Larry.

Sandler's voice was recently heard in Columbia Pictures'/MGM's Zookeeper, starring Kevin James; Sandler also served as a producer of that film. He is currently in production on I Hate You, Dad opposite Andy Samberg and Leighton Meester, which will be released in summer 2012. Sandler will also voice the lead role of Dracula in Sony Pictures Animation's upcoming CG-animated feature, Hotel Transylvania.

Previously, Sandler has been seen in the starring role opposite Don Cheadle in Sony's Reign Over Me for director Mike Binder, the box-office hits Click, starring with Kate Beckinsale, and The Longest Yard, starring with Chris Rock and Burt Reynolds. He also starred in James L. Brooks' Spanglish, opposite Tea Leoni; the romantic comedy 50 First Dates, with Drew Barrymore; Anger Management, with Jack Nicholson; and Paul Thomas Anderson's Punch-Drunk Love, for which he received a Golden Globe nomination.

Born in Brooklyn, New York, and raised in Manchester, New Hampshire, Sandler's first brush with comedy came at age 17, with a performance at a Boston comedy club. From then on he was hooked, performing regularly in comedy clubs throughout the state, while earning a degree in Fine Arts from New York University.

Sandler's production company Happy Madison Productions was co-founded by Jack Giarraputo and Sandler and has gone on to become an almost self-contained mini studio, being involved in all aspects of film production. Happy Madison has produced Click, The Benchwarmers, Deuce Bigalow: European Gigolo, Dickie Roberts: Former Child Star, Strange Wilderness and the recent films The House Bunny, Paul Blart: Mall Cop, Zookeeper, and the upcoming film Here Comes the Boom. Sandler has also collaborated with writer Tim Herlihy on the screenplays for Happy Gilmore, Little Nicky, Billy Madison, Big Daddy, and The Waterboy and executive produced Grandma's Boy, The Animal, Joe Dirt, The Master of Disguise, The Hot Chick and Deuce Bigalow: Male Gigolo.

Happy Madison Productions also has a deal with Columbia Tri-Star Domestic Television to develop shows for the studio including the current hit show ``Rules of Engagement starring David Spade and Oliver Hudson.

Sandler's comedy albums on Warner Bros Records have gone multi-platinum. Collectively, they have sold more than six million copies to date.

KATIE HOLMES (Erin Sadelstein) has showcased her ability as an actress to play a wide spectrum of diversified roles. She has appeared in several notable films ranging from the action blockbuster Batman Begins, directed by Christopher Nolan, to critically acclaimed art house pictures such as Ang Lee's The Ice Storm and Peter Hedges' Pieces of April.

Holmes was most recently seen on the big screen in The Extra Man, The Romantics, Don't Be Afraid of The Dark, and The Son of No One. On television, she portrayed First Lady Jacqueline Kennedy in ``The Kennedys, opposite Greg Kinnear as President John F. Kennedy.

Holmes has worked with some of Hollywood's most prominent and talented directors. Her credits include Wonder Boys, directed by Curtis Hanson; Thank You for Smoking, directed by Jason Reitman; The Gift, directed by Sam Raimi; Abandon, directed by Stephen Gaghan; Go, directed by Doug Liman; Phone Booth, directed by Joel Schumacher; The Singing Detective, directed by Keith Gordon; First Daughter, directed by Forest Whitaker; Teaching Mrs. Tingle, directed by Kevin Williamson; and Disturbing Behavior, directed by David Nutter. 2008 marked her Broadway debut in Arthur Millers ``All My Sons opposite John Lithgow, Dianne Wiest and Patrick Wilson. Her portrayal of Ann garnered glowing reviews and established her as an accomplished actress on both screen and stage.

In 1996, Holmes landed the role of Libbets Casey opposite Tobey Maguire and Sigourney Weaver in Lee's award-winning drama ``The Ice Storm while in Los Angeles for pilot season. A year later she was cast as Joey Potter on the TV series "Dawson's Creek," opposite James Van Der Beek and Michelle Williams. The show quickly became the highest-rated series on the WB network throughout its six-season run.

AL PACINO (As Himself) is an eight-time Academy Award(R) nominee. After having received Best Actor nominations for And Justice for All, The Godfather Part II, Dog Day Afternoon, and Serpico (which also earned him a Golden Globe Award), Pacino won an Oscar(R) for Best Actor for his performance in Scent of a Woman (for which he also won a Golden Globe Award). He received three Oscar(R) nominations as Best Supporting Actor for his roles in The Godfather, Dick Tracy, and Glengarry Glen Ross. He won an Emmy(R) and a Golden Globe for his portrayal of Roy Cohn in HBO's award-winning adaptation of Angels in America. His portrayal of Dr. Jack Kevorkian in HBO's You Don't Know Jack earned him the Screen Actors Guild Award, Golden Globe, and Emmy Award for his performance. Among Pacino's more than forty feature film credits are Righteous Kill, 88 Minutes, Ocean's 13, Two for the Money, Merchant of Venice, Insomnia, Simone, The Insider, Any Given Sunday, Donnie Brasco, The Devil's Advocate, Two Bits, Heat, City Hall, Carlito's Way, People I Know, The Recruit, Scarface, Author! Author!, Bobby Deerfield, and Scarecrow. He made his film debut in 1971 in The Panic in Needle Park.

Pacino made his professional acting debut off-Broadway, after studying with Herbert Berghof and later with Lee Strasberg at the Actor's Studio. He has won two Tony Awards for his starring roles in ``The Basic Training of Pavlo Hummel and ``Does a Tiger Wear a Necktie? He is a longtime member of David Wheeler's Experimental Theatre Company of Boston, and has appeared in numerous New York, London and Los Angeles productions, including ``American Buffalo, ``Richard III, ``Julius Caesar, ``Salome, ``The Resistible Rise of Arturo Ui, ``Chinese Coffee, and ``Hughie.

He directed and starred in the film Looking for Richard, a meditation on Shakespeare's ``Richard III, which he conceived and directed (and for which he received the Outstanding Directorial Achievement for a documentary award from the Director's Guild of America).

In 2007, 20th Century Fox released An Actor's Vision, a four-DVD set including Looking for Richard and two other plays Pacino directed for the screen, Chinese Coffee and The Local Stigmatic, along with Babbleonia, an overview of Pacino's career, his body of work and his perspectives on acting.

Pacino won the Lifetime Achievement Award from the Independent Feature Project (IFP) at their 1996 Gotham Awards. In 2000, he was honored by the Film Society of Lincoln Center. In addition, he received the Cecil B. De Mille Award by the Hollywood Foreign Press in 2001 and the American Cinematheque Award in 2005. In June of 2007, he received AFI's highest honor for a career in Film, the AFI Lifetime Achievement Award.

Pacino recently directed an independent documentary based on Oscar Wilde's Salome, titled Wilde Salome. This mixture of documentary, fiction, and improvisation is based on behind-the-scenes footage from his stage show. He most recently starred in the Broadway production of ``Merchant of Venice.

EUGENIO DERBEZ (Felipe) is one of Mexico's and Latin America's most loved comedians, and the most recognized in the Spanish-speaking population in the United States.

On the big screen, Derbez was singled out by critics for his poignant performance in Under the Same Moon, the highest-grossing Spanish-language film in the United States of all time. No Eres Tu, Soy Yo (It's Not You, It's Me), starring Derbez, was the top-grossing Mexican film of 2010, and the fourth-highest-grossing film in Mexican film history.

Derbez received rave reviews in the United States for his English-speaking performance in ``Latinologues, which toured the U.S. and held a limited engagement at the Helen Hayes Theater on Broadway.

Derbez has starred, directed, written, and produced many television shows, including ``Al Derecho y Al Derbez, ``Derbez en Cuando, ``XH-DRBZ, and ``La Familia Peluche currently in its new season. His shows are the highest rated in Latin America, viewed by more than 25 million people weekly just in Mexico alone. Derbez is also currently producing and directing the television sitcom ``Vecinos, which since its debut in 2010 has received top ratings.

He directed, co-wrote and starred in the first comedic Mexican soap opera in 1997, ``No Tengo Madre. Due to his massive appeal and sharp timing he's been asked to be a roving reporter for the World Cup and Olympic Games year after year. He co-hosted the 2010 Latin Grammys in Las Vegas for the second time in a row to its highest ratings.

He has starred in both comedic and dramatic films roles, including Sundance Grand Jury prize winner Blood of my Blood. He was voiced roles in the Spanish-language releases of the animated films Mulan, Mulan 2, Dr. Doolittle, Dr. Doolittle 2, 102 Dalmatians, Shrek and Shrek 2, which he also adapted for the Spanish language. Derbez was also invited by the Discovery Channel to adapt the British series ``The Office for Latin America.

On stage, Derbez has starred in many plays, including the more recent Spanish version of ``Dirty Rotten Scoundrels, which he starred in, directed and produced. He has been awarded Best Actor in a Theatrical Comedy several times and presented with the Theatrical Comedy Award by both the Theatre Critics Association and the Theatre Journalists Association of Mexico.

Derbez has also written two comedy-themed books about one of his most popular characters: ``Armando Hoyos' Unauthorized Autobiography and ``Armando Hoyos: Diccionario de la Real Epidemia de la Lengua. He has recorded three albums: ``Ronco, a spoof of the famous tejano band Bronco, which spawned a live show; the spoken comedy album ``The Letters of Julio Esteban; and ``Al ritmo dance, which sold more than 250,000 copies. Derbez has also released three video titles, compiling the best of his performances.

Born in Mexico City, Derbez is the son of the very respected cinema and television actress Sylvia Derbez. He began acting at age 12 and has a degree in film directing from the Mexican Institute of Cinematography and Theater.

ABOUT THE FILMMAKERS

DENNIS DUGAN (Director) is a talented filmmaker whose diverse career in entertainment spans over two decades. Dugan is considered one of the industry's top feature film comedy directors, whose films have taken in more than $1 billion worldwide. He earned his reputation with such hits as Happy Gilmore, Big Daddy, You Don't Mess with the Zohan and I Now Pronounce You Chuck & Larry. His other films include The Benchwarmers, starring Rob Schneider, David Spade, and Jon Lovitz, National Security, starring Martin Lawrence, Saving Silverman, starring Jack Black, Steve Zahn, and Amanda Peet; and Beverly Hills Ninja, starring Chris Farley.

Dugan most recently directed Grown Ups, starring Adam Sandler, Kevin James, Chris Rock, David Spade, Rob Schneider and Salma Hayek, and Just Go With It, starring Sandler and Jennifer Aniston.

On the small screen, Dugan has directed dozens of television projects including, ``NYPD Blue, ``Moonlighting, and ``Ally McBeal, as well as the telepics ``Columbo: Butterfly Shades of Gray and ``The Shaggy Dog.

Dugan is an actor-turned-filmmaker who began his career in the New York theater scene and first made his mark in Hollywood in front of the camera. He starred in his own NBC television series, ``Richie Brockelman, Private Eye, and also guest-starred on such award-winning television programs as ``M*A*S*H, ``Columbo, ``The Rockford Files, and ``Hill Street Blues.

In addition to small, yet memorable, acting roles in his own films, the most recent being the taxi driver in I Now Pronounce You Chuck & Larry, Dugan's feature-film credits include roles in Parenthood, She's Having a Baby, Can't Buy Me Love and The Howling.

STEVE KOREN (Co-Writer/ Executive Producer) began his comedy writing career by handing jokes to Dennis Miller and David Letterman in the hallways of 30 Rockefeller Center in New York City, where he worked as a tour guide. This led to a writing position with ``Saturday Night Live, where he earned several Emmy nominations working with comedic talents such as Mike Myers, Adam Sandler, Chris Rock, Molly Shannon, not to mention sharing an office with Will Ferrell.

Koren eventually left ``SNL for the primetime sitcom world, where he worked as a writer/producer on the award winning show ``Seinfeld. Among his well-known episodes are ``The Serenity Now, ``The English Patient, and ``The Abstinence. Following ``Seinfeld, Koren spent several years as a writer/producer creating television sitcoms for actors such as Steve Carell, Valerie Harper and Ron Liebman.

In the motion picture world, Koren's screenplay credits include A Night At The Roxbury co-written and starring Will Ferrell and Chris Kattan, Superstar starring Will Ferrell and Molly Shannon, the blockbuster Bruce Almighty, co-written with Mark O'Keefe and starring Jim Carrey, Click, co-written with Mark O'Keefe and starring Adam Sandler, and A Thousand Words starring Eddie Murphy. In addition, he has contributed as a writer in the development of Get Smart and I Love You, Man. He has also served as executive producer on the Happy Madison comedy Just Go With It, starring Adam Sandler and Jennifer Aniston and Grown Ups, starring Sandler, Kevin James, Chris Rock, Rob Schneider and David Spade.

BEN ZOOK (Story by) is a successful actor, screenwriter, and director, living in Los Angeles. He has several feature projects in development at several studios.

For television, Zook co-wrote two sketch comedy pilots with Jill Soloway of ``Six Feet Under. He also wrote and performed in Bob Odenkirk's sketch pilot for FOX.

Best known for his work in the Chicago Improv and Theatre scene, as well as the Los Angeles Alternative Comedy scene, Zook was raised in Kansas, and went on to attend Indiana University, where he studied Music and Theatre. After graduation, he moved to Chicago, where he studied improvisation at the famed Second City.

He was also a founding member of Chicago's Annoyance Theatre, where, under the direction of Mick Napier, he co-wrote and performed in such hits as ``The Real Live Brady Bunch, ``That Darn Anti-Christ!, ``Manson: The Musical, ``Coed Prison Sluts, ``Your Butt, ``Shakespeare's Sid and Nancy, and ``Sexboy. He also co-wrote and directed the highly successful, ``Tippi Portrait of a Virgin: An After-school Special Gone Bad. While there, Zook performed with Jon Favreau, Andy Richter, Steve Carell, Jane Lynch, Matt Walsh, Kate Flannery, Melanie Hutsell, and Jeff Garlin, among many talented others.

After performing in ``The Real Live Brady Bunch in New York, L.A. and San Francisco, Zook moved to Los Angeles, where he co-wrote, directed, and performed in several stage hits, including ``Not Without My Nipples! with Janeane Garofalo and Molly Shannon, ``Baby Jesus and his Holiday Pixies with Ana Gasteyer, Theatre a Go-Go's production of ``Valley of the Dolls, Scotch For Breakfast's hit ``St. Elmo's Phire, and the award-winning, L.A. stage hit ``Phoxes.

Zook was also a fixture in the Los Angeles Alternative Comedy scene, where he performed regularly with people like Jack Black, Will Ferrell, Mary Lynn Rajskub, Sarah Silverman, Zack Galifianakis, and Fred Armisen, among others, in hit shows like Laura Milligan's ``Tantrum, ``Character Assassination, ``Beachwood Palace Jubilee, ``Media Whore, ``For Entertainment Purposes Only, and ``Slap and Tickle. Zook is also the head writer/director of the highly successful, award-winning sketch comedy group, ``Margot's Bush.

Zook and former writing partner, Stephen Falick, co-wrote and co-directed the 80's dance spoof, Can't Stop Dancing!, which featured Zook, along with Janeane Garofalo, Noah Wyle, Ileanna Douglas, Kathy Griffin, Bob Odenkirk, David Cross, Fred Willard, Anthony Edwards and Margaret Cho. The film was an audience favorite at The Palm Springs Film Festival, The Seattle Film Festival and Outfest. Zook also starred in the indie feature comedy, The Thin Pink Line, along with Jason Priestley, David Schwimmer, Jennifer Aniston, and Mike Myers among others.

JACK GIARRAPUTO (Producer) is one of Hollywood's most successful producers. His films have grossed more than $2 billion domestically and over $3 billion worldwide, with 13 films topping the $100-million mark domestically. These films include Just Go With It, Grown Ups, Paul Blart: Mall Cop, Bedtime Stories, You Don't Mess With the Zohan, I Now Pronounce You Chuck & Larry, Click, The Longest Yard, 50 First Dates, Anger Management, Mr. Deeds, Big Daddy and The Waterboy.

TODD GARNER (Producer) is a veteran producer and Hollywood creative executive with a unique gift for creating and nurturing mainstream, commercial motion pictures. In various capacities throughout his career, Garner has developed, overseen, executive produced or produced well over 100 movies, many of them major hits for their respective studios. Formerly a founding partner of Revolution Studios, Garner founded Broken Road Productions in summer 2005.

Known for his strong relationships with top actors, directors and writers, Garner has numerous projects in various stages of post-production, production, pre-production and development through Broken Road. He recently produced Zookeeper for Columbia Pictures/MGM, Knight & Day for Twentieth Century Fox, The Sorcerer's Apprentice for Disney and the box office hit Paul Blart: Mall Cop starring Kevin James. His next project is Here Comes the Boom, also starring James.

Garner joined Revolution as a partner in May 2000. He was responsible for overseeing all aspects of development and production for the company's motion pictures during its remarkable first five years. Garner oversaw such hit Revolution films as Black Hawk Down, Hellboy, and Daddy Day Care, and developed and served as executive producer on films like XXX, Anger Management, Radio, 13 Going on 30, The Forgotten, and Are We There Yet?

Prior to joining Revolution Studios, Garner served as Co-President of the Walt Disney Company's Buena Vista Motion Picture Group. Among the highly successful films he oversaw were Pearl Harbor, Remember the Titans, Gone in 60 Seconds, Con Air, Coyote Ugly, and The Waterboy. Prior to that post, Garner was Executive Vice President (1998-99) of Buena Vista Motion Picture Group. He began his 10-year association with Disney as a Creative Executive at Touchstone Pictures in 1990 and was subsequently promoted to Director of Production, Vice President of Production (1995-96) and Senior Vice President of Production (1996-98).

Prior to joining Disney, Garner worked at Paramount Pictures in finance. He began his professional career as a freelance editor with credits on several commercials and music videos.

A graduate of Occidental College, Todd Garner lives in Brentwood, California.

BARRY BERNARDI (Executive Producer) most recently executive produced Zookeeper, starring Kevin James and Rosario Dawson, Just Go With It, starring Adam Sandler and Jennifer Aniston, and Grown Ups, starring Sandler, James, Chris Rock, Rob Schneider and David Spade. He also produced the blockbuster hit Paul Blart Mall Cop starring Kevin James, and Bucky Larson: Born to Be a Star, starring Nick Swardson.

He served as executive producer on the films You Don't Mess With The Zohan, starring Adam Sandler, John Turturro and Emmanuelle Chriqui; I Now Pronounce You Chuck & Larry, starring Adam Sandler, Kevin James and Jessica Biel; Click, starring Adam Sandler, Kate Beckinsale and Christopher Walken; The Benchwarmers, starring Rob Schneider, David Spade and Jon Heder; and the box-office hit The Longest Yard, starring Sandler, Chris Rock and Burt Reynolds.

Other films he produced include Anger Management, starring Adam Sandler and Jack Nicholson; Deuce Bigalow: Male Gigolo; The Master of Disguise; and The Animal. As executive producer, Bernardi has worked on the features The Haunted Mansion, Double Take, Inspector Gadget, My Favorite Martian, Deep Rising, Tom and Huck, Cabin Boy, The Adventures of Huck Finn and Devil's Advocate. His other producer credits include Poltergeist III and Honey, We Shrunk Ourselves.

After attending the California Institute of the Arts, Bernardi began his career as a story editor and producer's assistant. In 1979, he teamed with director John Carpenter to be an associate producer on The Fog and Escape From New York. He remained with Carpenter to co-produce Halloween II, Halloween III, Christine and Starman.

From 1987-89, Bernardi served as senior vice president of production at New World Pictures, where he oversaw the development, production and release of such films as Heathers, Meet the Applegates and Warlock.

Bernardi went on to co-found Steve White Productions. With White, he produced more than 25 telefilms. Among their credits are Amityville, Whatever Happened to Baby Jane?, She Said No, The Carolyn Warmus Story, She Stood Alone and A Mom for Christmas.

BETTINA VIVIANO (Executive Producer) has had a successful career in entertainment as a producer and literary manager for over 25 years. She began her career at the prestigious William Morris as an agent trainee, before moving on to Steven Spielberg's Amblin Entertainment, where she attained the position of Vice President of Production. At Amblin, Viviano worked on such movies as Back to the Future 2 and 3, Cape Fear, The Land Before Time, Schindler's List, Always, Who Framed Roger Rabbit, and Indiana Jones and the Last Crusade as a production executive on over 40 movies and two seasons of NBC series ``Amazing Stories.

After leaving Amblin, Viviano became a literary agent at BBMW, representing writers and directors. In 1990, she began her own production and management company, Viviano Entertainment, Inc. and since has sold pitches, scripts books, etc. for millions of dollars on behalf of her clients. As producer, Viviano has made a long list of movies including Three to Tango, Mom's Got a Date With a Vampire, Family Sins, Strange Hearts, Nightmare Man, Alibi, and Caught in the Act. She currently has many high level studio and independent pictures in development.

For nearly two decades, ALLEN COVERT (Executive Producer) has built a multi-hyphenate career as an actor, producer, writer, and songwriter. It was all put into motion years earlier with a seemingly fated seating assignment in a ``History of Comedy Class at the NYU Tisch School of the Arts. His friendship with fellow student Adam Sandler quickly gelled; in part due to Covert's proclivity for supplying Sandler with free food from the Italian restaurant where he worked as night manager.

Covert has co-written, co-produced, and/or starred in a number of the Happy Madison films over the years, including Happy Gilmore, Bulletproof, The Wedding Singer, The Waterboy, Big Daddy (as actor, associate producer and writer of ``The Kangaroo Song), Little Nicky (actor, associate producer), Mr. Deeds, Eight Crazy Nights (actor, producer, soundtrack writer/producer), Anger Management (actor, executive producer), 50 First Dates (actor, songwriter), The Longest Yard (actor, executive producer), I Now Pronounce You Chuck & Larry (actor, co-producer), Grown Ups (executive producer), and Just Go With It (executive producer).

He also co-scripted Sony's hit comedy The Benchwarmers (starring David Spade, Rob Schneider, and Jon Heder). He co-wrote, produced, and starred in the cult comedy hit Grandma's Boy with Nick Swardson, produced and starred in the comedy Strange Wilderness, and produced the comedy The House Bunny and Bucky Larson: Born to Be a Star. He has also written, produced, and performed on five comedy albums, which have collectively sold nearly 10 million copies, including Adam Sandler's ``What's Your Name, ``They're All Gonna Laugh at You, and ``What the Hell Happened to Me!

Covert currently resides in Los Angeles with his wife Kathryn and their young daughters, Hannah, Abigail, and Rebecca.

ROBERT SMIGEL (Executive Producer) has contributed as a writer, performer and producer to two of late night's most popular shows, ``Saturday Night Live and ``Late Night with Conan O'Brien. At ``SNL, Smigel is best known for his ``Saturday TV Funhouse cartoon shorts, including ``The Ambiguously Gay Duo, ``Fun with Real Audio, and ``X-Presidents. Working with animators David Wachtenheim, Robert Marianetti, and J.J. Sedelmaier, Smigel's cartoons have been honored at numerous festivals, including first prize at the annual World Animation Festival, and were compiled on the DVD The Best of Saturday TV Funhouse. Smigel has won two Emmys for his writing at ``SNL, and in 1998 he received the Dallas Video Festival's Ernie Kovacs Award for innovative contributions to television.

Smigel was the original head writer and producer of ``Late Night with Conan O'Brien, creating signature routines like ``In the Year 2000 and the ``Clutch Cargo interviews (with writer Dino Stamatopoulos), in which Smigel has provided the lips and voices of Presidents Bush and Clinton, Bob Dole, Don King, Arnold Schwarzenegger and many other celebrity victims. The popularity of his most famous creation, Triumph, the Insult Comic Dog (whom he puppeteers), has spawned the Grammy-nominated CD/DVD entitled ``Come Poop With Me, and a Best of Triumph DVD collection including reports from the Westminster Dog Show, the MTV Awards, and the ``Star Wars: Attack of the Clones premiere.

The son of Dr. Irwin Smigel, the dentist who developed tooth bonding, Smigel grew up in Manhattan and struggled as a pre-dental student at Cornell and NYU. After moving to Chicago to study with Players Workshop of the Second City, Smigel performed in the long-running revue ``All You Can Eat and the Temple of Dooom and was hired in 1985 by Al Franken and Tom Davis as a writer for ``Saturday Night Live. At ``SNL, Smigel's most popular sketches included ``Trekkies (Get a Life!), ``Schmitts Gay Beer, ``Mastermind Reagan, ``The Sinatra Group, and ``Da Bears, in which Smigel himself played one of the kielbasa-loving Chicago sports fans. Smigel often wrote for Carvey's impressions (Johnny Carson, Regis Philbin, John McLaughlin, Tom Brokaw) and collaborated frequently with O'Brien (the infamous ``Nude Beach sketch and the Tom Hanks-Jon Lovitz ``Girlwatchers). In 1991, Smigel and O'Brien wrote and produced the unsold pilot ``Lookwell starring Adam West. Smigel collaborated with Sandler on numerous sketches as well, and wrote the first sketch Sandler appeared in on ``SNL, the Israeli-themed ``Sabra Shopping Network.

In 1996, Smigel was an executive producer, writer and cast member on the controversial ``The Dana Carvey Show. Among its innovative sketches was the original ``Ambiguously Gay Duo, voiced by ``Carvey cast members Stephen Colbert and Steve Carell.

While continuing on ``SNL, Smigel spun off ``Saturday TV Funhouse in 2000 as a weekly series on Comedy Central. Created with Stamatopoulos, ``TV Funhouse was a mock children's show featuring animation, short films and the ``Anipals, an ensemble of animal puppets that interacted with live animals in a variety of cable-friendly ways. ``X-Presidents was expanded into a graphic novel, co-written by Adam McKay and published by Villard in 2000. In 2003, Smigel produced the first ``Night of Too Many Stars benefit. The biannual events, now hosted by Jon Stewart on Comedy Central, raise money for schools and educational programs for children and adults with autism.

Smigel has appeared in numerous movies, including Wayne's World 2 and several Adam Sandler films, including the voice of the bulldog Mr. Beefy in Little Nicky. Smigel played Larry's mailman in I Now Pronounce You Chuck & Larry, and Sandler's dentist brother-in-law in Paul Thomas Anderson's Punch-Drunk Love.

In 2008, he co-wrote You Don't Mess with the Zohan with Sandler and Judd Apatow.

Smigel and Sandler continue to collaborate on television, as Smigel recently developed (with Greg Cohen) the cartoon pilot ``The Animals for Happy Madison Productions. Smigel also takes special pride in conceiving Sandler's dirtiest recorded song, ``At a Medium Pace, and co-writing Adam's second dirtiest song, ``She Comes Home to Me.

TIM HERLIHY (Executive Producer) has written or co-written the films Billy Madison, Happy Gilmore, The Wedding Singer, The Waterboy, Big Daddy, Little Nicky, Mr. Deeds and Bedtime Stories. He served as executive producer on the films Grown Ups, Click, Anger Management, The Longest Yard, and Just Go With It.

From 1994 to 1999, Herlihy served as writer, head writer and ultimately producer of the television variety series ``Saturday Night Live, for which he received an Emmy Award(R) nomination.

In 2006, Herlihy, a former attorney, was nominated for a Tony Award(R) for the Broadway musical version of ``The Wedding Singer, which he co-wrote.

DEAN CUNDEY, ASC (Director of Photography) is one of the world's preeminent cinematographers. His work has covered over thirty-five years of some of the most famous and best loved films from Hollywood. He is best known for having collaborated on innovative and ground-breaking films of visual effects, adventure, and fantasy, as well as cult favorite horror and suspense.

Cundey was born and raised in Alhambra, on the outskirts of Los Angeles. He was interested in film from an early age, and studied filmmaking at UCLA. A serendipitous encounter in a class there with the great James Wong Howe, ASC, shifted his interest from production design to cinematography. His first job after graduation in 1969 was handling makeup for two Roger Corman films. During the 1970s Cundey learned his craft shooting documentaries, insert shots, and finally low budget features that were popular for drive-in theaters.

His breakthrough film was Halloween, which he shot with John Carpenter in 1978. Cundey lensed many horror flicks during subsequent years, including The Fog, The Thing, and Escape from New York. His first mainstream film was Romancing the Stone in 1984, with Robert Zemeckis. He followed that with such landmark films as the Back to the Future trilogy and Who Framed Roger Rabbit, which earned an Oscar(R) nomination for Cundey. During the 1990s, Cundey's credits included and eclectic blend of sci-fi, action-adventure, and comedy films, including Hook, The Flintstones, Apollo 13, Flubber, Krippendorf's Tribe, The Parent Trap, What Women Want, and The Holiday. As a cinematographer particularly skilled in photographing characters and creatures which aren't there, he also did Casper, Jurassic Park, Looney Tunes, and Garfield.

Cundey also directs and shoots commercials, and directed the Disney film Honey, We Shrunk Ourselves.

PERRY ANDELIN BLAKE (Production Designer) began his design career by receiving a master of architecture degree from Harvard University, where he met the noted architect Frank O. Gehry. After working with Gehry as a design architect for several years, he opened his own architectural and design office in Los Angeles. Blake soon began designing not only homes and offices, but also sets for commercials, working on more than 100 commercials for such clients as Coke, Pepsi and Nike.

Blake's first feature film was Billy Madison, starring Adam Sandler. He went on to design many of Sandler's films, including Mr. Deeds, Big Daddy and The Wedding Singer-where he met director Frank Coraci, for whom he designed Around the World in 80 Days. He most recently worked with Happy Madison on Just Go With It and Grown Ups. His other films include the box-office hits Paul Blart Mall Cop, starring Kevin James, You Don't Mess with the Zohan, starring Sandler, I Now Pronounce You Chuck & Larry, starring Sandler, Kevin James and Jessica Biel and Click, starring Sandler, Kate Beckinsale and Christopher Walken. He also designed The Longest Yard, The Benchwarmers, and Grandma's Boy.

Blake's work also includes such eclectic design projects as the rock-and-roll stage set for Ozzy Osbourne's Ozzfest and the animated holiday feature film Adam Sandler's Eight Crazy Nights. In 2002, he made his directorial debut with the Dana Carvey feature The Master of Disguise. Blake's work has been published in numerous magazines and periodicals.

TOM COSTAIN (Editor) most recently edited the feature films Grown Ups, Bedtime Stories, You Don't Mess with the Zohan, and Just Go With It. His other credits as editor include Grandma's Boy, Strange Wilderness, and the pilot of the Will Ferrell produced HBO series ``Eastbound and Down. Costain was an editor on Get Smart, starring Steve Carell, as well as The Last Saturday in May, a documentary about the path to the 2006 Kentucky Derby.

ELLEN LUTTER (Costume Designer) is Brooklyn-based and happily counts among her credits such East Coast films as Trust starring Clive Owen and Catherine Keener, Grown Ups starring Adam Sandler, Kevin James, Chris Rock, Rob Schneider and David Spade, Paul Blart Mall Cop, Fresh, Flirting With Disaster, Copland, Living in Oblivion, Mississippi Masala, 28 Days, Big Daddy and House of D.

Thanks to the miracle of jet travel and the superhuman miracle of loyal Los Angeles bosses, Lutter has had the privilege of designing six West Coast films for Adam Sandler and Jack Giarraputo's Happy Madison. These films include Just Go With It, You Don't Mess with the Zohan, I Now Pronounce You Chuck & Larry, Click, The Longest Yard, Anger Management, Mr. Deeds, 50 First Dates and Little Nicky.

When not working on a film, Lutter spends time side-by-side working with her husband at their Brooklyn based hot dog store ``Willie's Dawgs.

RUPERT GREGSON-WILLIAMS (Music By) has scored a wide variety of film and television projects. Gregson-Williams has also written the original scores to the Adam Sandler films Just Go With It, Grown Ups, Bedtime Stories, You Don't Mess with the Zohan, I Now Pronounce You Chuck & Larry, Click, and Zookeeper. Other films include Made of Honor and the animated films Bee Movie and Over the Hedge. In 2004, he collaborated with Andrea Guerra to compose the score for the acclaimed true-life drama Hotel Rwanda, for which the composers won the European Film Award. He also recently composed the score for the British television series ``The Prisoner.

Gregson-Williams has also created the scores for such feature films as the teen comedy What a Girl Wants, the biographical comedy-drama The Night We Called It a Day, Crime Spree, Plots with a View, Thunderpants, Virtual Sexuality, and Urban Ghost Story.

He has also collaborated with composer Hans Zimmer on a number of animated and live-action features.

WADDY WACHTEL (Music By) is a prolific session musician and producer, noted for his guitar work. He has appeared on hundreds of albums and been a mainstay of the Los Angeles music scene since the late 1960s. Among the artists and bands he has worked with are The Everly Brothers, Carly Simon, The Rolling Stones, Kim Carnes, The Church, The Motels, Bonnie Raitt, Linda Ronstadt, Don Henley, Jackson Browne, Keith Richards, Stevie Nicks, Melissa Etheridge, Carole King, James Taylor and Warren Zevon. Wachtel co-wrote several songs with Zevon, including ``Things to Do in Denver When You're Dead and ``Werewolves of London. He currently tours with Stevie Nicks, serving as her bandleader, music director and lead guitarist.

Wachtel previously scored such films as Bucky Larson: Born to Be a Star, Paul Blart: Mall Cop, The House Bunny, Strange Wilderness, The Last Request, The Benchwarmers, Grandma's Boy, Dickie Roberts: Former Child Star, Joe Dirt, and Up in Smoke.

"Academy Award(R)" and "Oscar(R)" are the registered trademarks and service marks of the Academy of Motion Picture Arts and Sciences.