- Notes provided by Sony Pictures. -

Production Information

In Columbia Pictures' comedy The House Bunny, Anna Faris charms as Shelley Darlingson, a Playboy Bunny who teaches an awkward sorority about the opposite sex - only to learn that what boys really like is what's on the inside.

Shelley is living a carefree life until a rival gets her tossed out of the Playboy Mansion. With nowhere to go, fate delivers her to the sorority girls from Zeta Alpha Zeta. Unless they can sign a new pledge class, the seven socially clueless women will lose their house to the scheming girls of Phi Iota Mu. In order to accomplish their goal, they need Shelley to teach them the ways of makeup and men; at the same time, Shelley needs some of what the Zetas have - a sense of individuality. The combination leads all the girls to learn how to stop pretending and start being themselves.

Columbia Pictures presents in association with Relativity Media a Happy Madison production in association with Alta Loma Entertainment, The House Bunny. The film stars Anna Faris, Colin Hanks, and Emma Stone. Directed by Fred Wolf. Produced by Adam Sandler, Jack Giarraputo, Allen Covert, and Heather Parry. Written by Karen McCullah Lutz & Kirsten Smith. Executive producers are Anna Faris, Kirsten Smith, and Karen McCullah Lutz. Director of Photography is Shelly Johnson. Production Designer is Missy Stewart. Editor is Debra Chiate. Costume Designer is Mona May. Music is by Waddy Wachtel. Music Supervision is by Michael Dilbeck and Brooks Arthur.

The House Bunny has been rated PG-13 by the Motion Picture Association of America for Sex-Related Humor, Partial Nudity and Brief Strong Language.
The film will be released in theaters nationwide on August 22, 2008.

ABOUT THE FILM

"What happens to the people who have lived in the surreal Playboy Mansion world, where it's parties and fun all the time? And why do they leave that world - do they get too old, or are they simply ready to move on to a different phase in their lives?" asks Anna Faris, the star of Columbia Pictures' comedy The House Bunny, which focuses on Shelley, a Bunny who is facing that exact crisis.

Screenwriters Kirsten Smith and Karen McCullah Lutz - previously the screenwriters of the hit movie Legally Blonde - were, first and foremost, intrigued by the possibility of working with Faris. "We had just seen Just Friends and we both really enjoyed her performance in that movie," says McCullah Lutz. "So we called and set up a meeting to have coffee."

"We kind of stalked her, basically," laughs Smith. "And she didn't know it."

At the meeting, the writers and the star discussed an idea for the character of Shelley - the Playboy Bunny who changes her life. "Shelley has spent her whole adult life living in the Mansion, but when she gets booted out, she's completely adrift. We took that idea and spent a few months ruminating over where she would land, and we finally came up with the idea that she should enter the world of a sorority - a misfit sorority that desperately needs her help," says McCullah Lutz.

When Shelley first meets the girls, they are in danger of losing their house, due to a dearth of pledges. "Shelley has this idea that if she changes the Zetas into super hot girls, then they will be able to get guys - and if they can get guys, they can get pledges and keep their house," Faris explains.

"She teaches the girls how to be cool and cute and popular - that's definitely true - but for Shelley, it's all about self-confidence," McCullah Lutz continues.

But the Zetas are not the only ones who make transformations. At the beginning of the film, most people - including Shelley herself - see the Bunny as "just a Bunny." According to McCullah Lutz, "Shelley defined herself as a Bunny and thought that was all she was capable of. She only defined herself in terms of her value as an object for male eyes. But then she learns she has more inherent talents and a bigger purpose in life than just being a Bunny."

"It's not just a message for girls, but everyone learning to accept themselves and love themselves for who they are," says Faris. "When we first meet Shelley she may think she's the hottest girl, but she learns to realize that how you look is not important - it's about how you look at yourself."

After Smith and McCullah Lutz worked out the story beats and the characters, they took their act on the road, pitching the story with Faris. "It was the best way to pitch. When you have the actual movie star in the room with you, the studio sees the movie coming alive. It's much better than having them listen to Kirsten and I try to do the parts," says McCullah Lutz.

The trio landed in the office of producer Heather Parry, who works at Happy Madison Productions. Parry - a fan of Faris and of the Legally Blonde writers - liked the idea and took it to Adam Sandler and his producing partner Jack Giarraputo. They had already worked with Faris on the comedy The Hot Chick and were huge fans of the actress, and brought it to their home studio at Columbia Pictures.

Parry says that although The House Bunny is Happy Madison's first female-driven comedy, it shares the same underlying comedy goal. "It's funny and it has heart," Parry says. "Every girl goes through a time in her life in which she tries on new looks and new attitudes - and The House Bunny looks at that time in a really funny and charming way."

To direct the film, the producers tapped Fred Wolf. Producer Allen Covert says that the Happy Madison team had known Wolf for years, since he had written for Sandler at "Saturday Night Live." "You might not think that Fred would be the type of director to helm this female-driven comedy, but when he was at 'SNL' he transitioned from the Sandler-Farley-Spade-Schneider years into the Molly Shannon-Cheri Oteri years - all of a sudden, that show had a lot of women cast members. Fred's strength as a director for this film was his background writing for and working with female comedians."

"It can be hard out there for girls," says Wolf. "They're constantly bombarded by messages - how to dress, what makeup to wear, but also how to behave and how to think. I grew up with three brothers and come from the primarily male-dominated stand-up world, but now I have two young daughters and I have found how important it is for them to shrug off those messages and believe in themselves and love themselves for the people they are inside. I hope this movie contributes a little to helping them understand how important that is."

ABOUT THE CHARACTERS

To play the hapless sorority sisters of Zeta Alpha Zeta, the filmmakers turned to a group of young stars on the rise.

At the center of the group is Natalie, the president of the sorority. Though Natalie is super-smart, she's also more than a little clueless. She likes boys, and she wants boys to like her, too, but she has no idea how to approach the opposite sex, or, once she approaches, what to say.

Emma Stone, who had a co-starring role in last summer's hit Superbad, takes on the role. She says, "Natalie might be a little uncomfortable, but she has a heart of gold - and she certainly sees through Shelley's bunny exterior to understand Shelley's heart very well. They end up becoming close friends because of what they see in each other."

Parry notes, "We'd just seen an early screening of Superbad, so we were excited to have Emma come in and audition. She first read for one of the Phi Iota Mu girls, and then read the part of Harmony. Only after she left did we think, 'You know, she'd be great as Natalie.' She'd already left the Sony lot, so we made her turn around and come back. She was nervous - she'd parked somewhere restricted and the whole time was afraid that her car was going to get towed. It worked out for her - she got the part."

"It was fun to undergo the transformation, from the grays and navies that Natalie wears at the beginning, to the hair extensions and makeup and fun costumes," says Stone. "Of course, the characters also come to realize that though all that stuff fits the look that Shelley likes, it's not really who they are."

Natalie's sorority sister, Mona, is just about the last person who you'd think would make that transformation. She has multiple piercings and adopts a very women's-studies vibe, and signs on to Shelley's plan more for the opportunity to conduct a sociological experiment than to become popular.

There was one and only one person who the filmmakers considered for the role. Kat Dennings played the part during an early table read at a time when the only other actor cast was Anna Faris. She was so great at the table read that the producers stopped looking.

Dennings knew the character immediately. "Mona has an issue with males," Dennings deadpans. "They make her very uncomfortable and she makes them very uncomfortable - mostly because she goes around wearing shirts that say 'legalize castration.'"

Making her motion picture debut in The House Bunny is singer Katharine McPhee. Her character, Harmony, is a very pregnant, and very flower-child, sorority sister. She is always seeing the best in people and always being shocked by how cruel others can be sometimes. As she prepares to give birth, Harmony is the classic beautiful-on-the-inside type who flowers when Shelley begins her lessons.

For her part, McPhee sees the character a little differently. "She's supposed to be this hippie chick, but I think she's just free-spirited, which is definitely a side to my personality," she says.

"Katharine McPhee is obviously a great singer," enthuses writer McCullah Lutz, "but she's a good actress, too."

McPhee couldn't resist the chance to show off her pipes during a karaoke scene in the film. "I knew that the scene couldn't be like it was me singing," she laughs, "but Harmony is a free spirit, willing to try anything, and excited about life, and I think she'd definitely belt out the song to the best of her ability."

McPhee was also thrilled by the chance to sing for the film - a new version of the 80s pop anthem "I Know What Boys Like," which plays over the end credits. "I had a great time recording the song," she says, "but to be honest - shooting the movie was even better."

To play the role of Joanne, a shy girl in a back brace, the filmmakers looked to a member of the next generation of Hollywood's A-list: Rumer Willis.

"Joanne has always hidden behind her brace," says Willis. "Even though she doesn't need it anymore, it's kept her from having to show the world her true self."

"Talk about physical comedy," Covert gushes. "Rumer just ran with it the minute she found out she was going to be that person. She took the brace as a prop and used it to find the comedy and become that character."

"That brace was like my purse for eight weeks - it went everywhere I went," Willis says. "At one point, we were rehearsing - I was lying on a blanket, and I couldn't stand up. Fred comes over, and goes 'Are you serious or are you just kidding?'" the actress laughs. "I was like a turtle on its back, arms waving helplessly, until somebody helped me up."

Faris says that as filming continued, each of the girls naturally fell into the roles of the characters they were playing in the film. "I felt like a house mom," she says. "I was a little concerned initially that maybe with all the girls, some of them wouldn't get along, but everyone really did seem to love each other and everyone brought their own uniqueness to the table."

Heather Parry agrees. "They all championed one another, which can sometimes be rare in Hollywood. While we were shooting the film, Emma Stone had Superbad coming out and the girls went to the premiere to surprise her. They all became fast friends and really supportive of one another. It was the greatest thing to see."

The seven sisters of Zeta House are not the only ones to get a makeover. While Shelley's mission is to transform the dowdy damsels in distress into glamour girls, the girls help Shelley with her own transformation when she meets a guy unlike any she has ever met before. Colin Hanks takes the role of Oliver, the sweet-natured administrator of a nursing home. "Shelley instantly falls for Oliver's kindness and his charm. I always imagine that she never met anybody like that. He's not the kind of guy that hangs out at the Playboy Mansion."

And Oliver had never met anyone quite like Shelley. Hanks says, "They go on a series of dates that don't really go very well because Shelley is constantly trying to impress Oliver. First she's playing the hard-to-get girl, and that doesn't really impress him. She tries to be the super-smart-bookworm, and that doesn't impress him. What impresses him is when she starts just being herself. He sees something in Shelley that is cute and endearing and special. The way that Oliver sees her is not the way that most people see her."

Making his motion picture debut in The House Bunny is Tyson Ritter, lead singer of the band The All-American Rejects. Ritter takes on the role of Colby, the object of Natalie's affections from afar. He describes his involvement with the film this way: "Eight beautiful women every day for two weeks. Paradise!"

The Zetas are rounded out by Dana Goodman as Carrie Mae, Kimberly Makkouk as Tonya, and Kiely Williams as Lily. Also joining the cast are Beverly D'Angelo as Mrs. Hagstrom, the house mother of Phi Iota Mu, the Zetas' rival sorority, and Christopher McDonald as Dean Simmons.

ABOUT THE PRODUCTION

The House Bunny is a tale of two houses - the drab, dreary Zeta House vs. the fantasy-life-come-true of the Playboy Mansion. Creating and juxtaposing these two worlds largely depended on the production and costume designers, Missy Stewart and Mona May.

"The characters go through such transitions that there were clear demarcations," says production designer Missy Stewart, who previously designed the films Legally Blonde, 21, and many others. "The first part of the script developed our main character Shelley and her fall from grace from the Playboy Mansion and her attempt to enter the 'real' world. I like to think of it as her paradise lost period. So we tried to create paradise in the first act in every way."

The producers scored a huge coup when Alta Loma Entertainment, a subsidiary of Playboy Enterprises, Inc. and producers of "The Girls Next Door," secured Hugh Hefner's participation in the filming and opened up the legendary Playboy Mansion to the production.

"We wrote it all into the script but we didn't know if Playboy was actually going let us use the name and the Mansion," says writer McCullah Lutz. "So we didn't go there or do any research." So just how did they characterize the bunnies within? "We just figured that's what bunnies were like. It wasn't too hard to come up with. You see a lot of them wandering around Los Angeles."

While the lifestyle of the Playboy Mansion is known throughout the world, relatively few people have been past the gates. It was a first-time experience for the cast and crew. "It was one of the most surreal experiences I've ever had," says Faris.

Producer Allen Covert was also astonished. "Hef was awesome. We got to shoot in his bedroom. I sat on his bed. Then I got nervous - I thought, 'Is he gonna know that I sat on his bed? Are we gonna get thrown out of here because I'm sitting on his bed?'" the producer laughs.

Misplaced paranoia aside, the company had a great time at the Mansion. "We were so thankful that Hef let us use the Mansion to shoot," McCullah Lutz beams. "It's just a bonus that he's playing himself."

Contrasted with the Mansion is the Zeta House - the home that the sorority is so desperate to keep. The structure itself goes through the same character arc as the girls living within - starting unloved and neglected, but with good bones.

"We had a great task: to find a great old house that was a wreck," says Stewart. They found their home, but had their work cut out for them. "It was such a wreck that we had to bring it up to make it look like a livable wreck," Stewart says. "The yards were overgrown, there was no lawn, there was no backyard. The windows were falling apart. We even had to rebuild part of the house to shoot in it. The inside was so stained and messy that it required paint and re-aging and then removing all the carpet and fixing the floors and then re-aging those. So it was kind of a backwards process. But the house had such great bones that we knew we had a winner - it went through that transition really smoothly."

After shooting at the West Adams house for two weeks, the production moved to other locations for one week as Stewart and her team fixed up the place. During that week, Stewart's team put in lawns, flowers, new windows, painted, reupholstered furniture, and hung drapes. "We decorated the house in the Zeta colors - pinks and teals and oranges. It became a very lively place," says Stewart. "It was fun to see the house go through that transformation. I knew Mona was going to go crazy with the costumes as the girls go through their makeover, so I wanted to give her a nice palette that wouldn't compete with the costumes for attention. It's quiet and colorful."

"I'm a colorist," explains costume designer Mona May, who previously designed costumes for the films Clueless and Enchanted. "I work with color and it's very important in my work. I was working very closely with the production designer Missy to make sure that everything goes together."

"What happens in a movie like this when you have so many girls, you have to worry who's wearing what," May continues. "What color are they wearing? Are they going to go together in the clothing that they're wearing? You only have so many colors in the color wheel. So if there's already pink and yellow and blue, you want to make sure nobody's wearing the same color and the patterns are not clashing."

May set out to define each character and each character's transition. "The wardrobe very much supports that transformation. With Fred we worked very closely to make sure the character stays true to the whole film even as they're transforming from one look to another. The punk girl always stays punk. The hippie girl always stays hippie."

With eight leading characters, the volume of clothing, shoes and accessories alone was head-spinning, requiring two wardrobe trailers. "It was really fun to work with that many girls," May goes on, "I think that each one of the Zetas has about 30 changes. Anna had about 50 changes. So it's about 300 changes that I dealt with on this show. Fantastic craziness. Fred stayed away from our trailer," the designer winks.

The final creation of the character Shelley nearly rendered Faris unrecognizable. Parry says that to play the role, Faris was fully committed as an actress. "She was so disciplined," she says. "She was in perfect shape and a driving force in creating the look of the character. She was willing to do whatever it took to bring Shelley alive."

In fact, Faris spent more than three hours every day between the make-up and wardrobe trailers to get into character. Faris relates, "There's all kinds of hair up here that isn't mine. Padding here that's not mine, and tons of wardrobe fittings. I've got fake hair, fake chest, fake tan - but Shelley's heart is real." Then there is the matter of those insane shoes. "Shelley likes to wear heels," the actress continues, "Some of the shoes are around 7 or 8 inches high. In fact, there was one scene I couldn't wear my high heels and it threw me for a loop -- I was totally unnerved. I felt like I couldn't play Shelley properly."

For many of the other girls getting into character was, "All about bras and bra pads," jokes May. "I've never been on a show where I've had so many bras."

"Mona May did an amazing job," says Rumer Willis. "I wouldn't really notice until we would be on set or I'd see some pictures of us together, of how much thought goes into it and every day. We would wear different colors but the color palette of all of us together - it's amazing to see how that all works out."

Once Shelley's makeover of the Zeta girls is complete, they decide to make their college social debut with an Aztec party. "When I interviewed with Fred, he told me he wanted to make a volcano out of Jell-O. I laughed because I knew that was impossible," laughs Stewart. "But I did have this idea that we could make a fairly credible volcano out of foam, a pool of Daiquiri mix where the girls would land, add some steam, and them make a huge caldera of Jell-O. So we started testing Jell-O weeks before we shot. Fred added a slide. We just went crazy with it. It wound up being so tribal it was like an Aztec rave - there were drummers and music and torches and smoke. It worked out perfectly."

McCullah Lutz was impressed. "On the day we shot the Aztec party, we were looking at a volcano that was about 800 times bigger than we imagined when we wrote it. We pictured a little paper mâché structure with some Jell-O coming down the sides - they gave us this three-story epic structure. It was pretty fun to see it come to life. Actually, I'm hoping that we start a trend. I want to go to some random college party in a couple of years and see them have a volcano where they sacrifice a virgin," the writer laughs.

"I like to think of the Aztec party as them being the climax of the second act, because they've gone as far as they can in that direction," says Stewart. Not long after the party, the Zetas do decide that they've turned into Shelley's vision of the perfect girls, but not their own.

"There is another transformation for them to go through," says May. "Fred wanted to make sure that we really find the essence of the girls in their last change. What happens is they really find themselves. So we asked ourselves, Who are they now? What is the meaning of the film and the way the clothing supports that?"

Shelley also transforms. "You really are starting as this very cartoon-y character," the designer says of Shelley. "We specifically made the clothes very cartoon-y with bubblegum colors, plastic jewelry, big hair and it's all about pink and bright blue and shiny objects pointing to your breasts. As she goes through this transformation, we strip the bling off of her and start covering her up a little bit more."

ABOUT THE CAST

ANNA FARIS (Shelley/Executive Producer) will next be seen starring opposite Seth Rogen in Observe and Report, opposite Topher Grace in Kids in America, and in the ensemble British comedy Frequently Asked Questions About Time Travel. Faris is currently voicing an animated character in Sony Pictures Animation's Cloudy with a Chance of Meatballs opposite Bill Hader.

Most recently seen starring in Smiley Face for director Gregg Araki, Faris has earned rave reviews for her roles in the Oscar®-nominated film Lost in Translation for director Sofia Coppola and Brokeback Mountain for director Ang Lee, as well as her memorable role in Just Friends opposite Ryan Reynolds.

Faris' additional film credits include Waiting ... and the lead role in all four of the Scary Movie films, Dimension Films' most successful franchise to date. On television, Faris delivered in her recurring role on the final season of "Friends" as the surrogate mother of Monica and Chandler's adopted baby.

COLIN HANKS (Oliver) was most recently seen in the thriller Untraceable opposite Diane Lane. He will next be seen in The Great Buck Howard with John Malkovich, which premiered at the Sundance Film Festival.

Previously, Hanks played Preston in Peter Jackson's King Kong. He was also seen in Orange County for director Jake Kasdan, the comedy Get Over It with Kirsten Dunst, and the independent film Alone With Her.

Additional film credits include Standing Still, Rx, 11:14, Whatever It Takes, and the award-winning ten-part miniseries "Band of Brothers" for HBO.

In 2002, Colin appeared, to critical acclaim, in the theatrical performance of This Is Our Youth, written by Kenneth Lonergan at the Garrick Theater in London's West End.

With her striking beauty and sincere talent, EMMA STONE (Natalie) is quickly emerging as one of Hollywood's most sought-out actresses. Emma was recently seen as Jonah Hill's love interest in the Judd Apatow comedy Superbad.

Emma recently wrapped New Line Cinema's romantic comedy Ghosts of Girlfriends Past opposite Matthew McConaughey, Jennifer Garner, Breckin Meyer, and Lachey Chabert. The film is slated for release in February 2009.

Emma can soon be seen in the Twentieth Century Fox comedy, The Rocker, opposite Christina Applegate and Rainn Wilson. The music-themed comedy follows failed, down-and-out-drummer (Wilson) who - twenty years after being kicked out of his now famous group - gets a second shot at fame drumming for his nephew's high school rock band. The Rocker is slated for release on Friday, August 1st, 2008.

Stone's television credits include Twentieth Century Fox's "Drive" and the VH1 series, "In Search of the Partridge Family." She's also guest-starred on series such as "Malcolm in the Middle," "Medium," "Lucky Louie," and "The Suite Life of Zach and Cody."

KAT DENNINGS (Mona) recently completed filming Screen Gems' Nick and Nora's Infinite Playlist starring opposite Michael Cera, The Dream of the Romans with Jeff Daniels, and Robert Rodriguez's Shorts with William H. Macy and Leslie Mann. Dennings was most recently seen in Charlie Bartlett with Robert Downey, Jr. and was previously in Judd Apatow's smash hit The 40-Year-Old Virgin with Steve Carell and Catherine Keener.

Other film credits include Raise Your Voice, Down in the Valley opposite Edward Norton, London with Jessica Biel and Big Momma's House 2. Dennings also appeared in IFC's Wonderlust and was selected to participate in the prestigious 2005 Sundance Filmmaker's Lab, where she worked with Robert Redford on director Dante Harper's Dreamland.

Television appearances include "ER," "CSI: Miami," "CSI: NY," "Without a Trace," and "Sex and the City."

KATHARINE McPHEE (Harmony) makes her motion picture debut in The House Bunny.

She will soon begin production on Robert Angelo Masciantonio's The Storyteller opposite Wes Bentley. The story follows a writer (Bentley) who goes on a downward spiral when his father dies, causing his assistant (McPhee) to start investigating whether his muse as well as narrator for his stories is a figment of his imagination. The Storyteller will be produced by Jeffrey Erb for Feverpitch Pictures.

McPhee is currently working on her second solo album with 15-time Grammy-winning producer/writer David Foster.

McPhee is best known for her success on "American Idol." McPhee was the 2006 runner-up and went on to debut her first album "Katharine McPhee" on RCA/19 Recordings which reached No. 2 on the Billboard 200. Her first single "Somewhere Over the Rainbow"/"My Destiny" debuted at No. 2 on Billboard's Hot Singles Sales chart.

In 2007, McPhee garnered a Young Hollywood Award for "Best Break-Out Female Vocalist."

McPhee recently signed a deal with Neutrogena for their new skincare line which will launch in June 2008.

RUMER WILLIS (Joanne) recently wrapped Wild Cherry with Rob Schneider. She was most recently seen in the independent film From Within for director Phedon Papamichael, starring Adam Goldberg and Thomas Dekker, which premiered this April at the Tribeca Film Festival.

The daughter of Demi Moore and Bruce Willis, Willis made her film debut at the age of 5 in Now and Then. Willis continued acting alongside her parents in such films as Striptease, The Whole Nine Yards, and Hostage.

This year, she is one of the Young Hollywood faces of Ocean Pacific.

TYSON RITTER (Colby) fronts the band The All-American Rejects. The band was formed when Ritter and guitarist/co-songwriter Nick Wheeler were teenagers in 1999. The pair left their Stillwater, Oklahoma, homes and trekked to the Big Apple to record what would become their debut platinum-selling record. They drove across the heartland to New York with less than $1,000 between them, but armed with a notebook full of songs and big rock and roll dreams.

Ritter and Wheeler, who were subsequently joined by guitarist Mike Kennerty, 24, and drummer Chris Gaylor, 26, toured the world behind the chart-topping success of their debut single "Swing Swing," initially released on Ohio on independent label Doghouse Records in October 2002, followed by a release on major DreamWorks Records in February 2003.

"Move Along," their second album, was released in 2005 to critical and commercial acclaim. The album has been certified double platinum.

More information about the band may be found at
www.theall-americanrejects.com.

ABOUT THE FILMMAKERS

FRED WOLF (Director) made his directorial debut with Strange Wilderness, starring Steve Zahn, Justin Long, and Jonah Hill.

Wolf began his career as a writer, and later head writer, on "Saturday Night Live" from 1992-1997, and moved on to feature writing with Tommy Boy and Black Sheep, both starring Chris Farley and David Spade; Dirty Work, which starred Norm MacDonald and Chevy Chase; and Joe Dirt, another David Spade vehicle.

Wolf started his career in comedy doing stand-up and recently sold a pitch called Mad Families to Sony with Chris Rock and David Spade attached to star.

KAREN McCULLAH LUTZ & KIRSTEN SMITH (Screenwriters/Executive Producers) have been writing partners for 12 years. They followed-up their first film and solid hit 10 Things I Hate About You, which starred Heath Ledger and Julia Stiles, with the box-office smash Legally Blonde, starring Reese Witherspoon.

Other credits include the Anne Hathaway film Ella Enchanted and She's The Man, which starred Amanda Bynes.

The team's next work is The Ugly Truth, set for release by Columbia Pictures for April 3, 2009.

ADAM SANDLER (Producer) has enjoyed phenomenal success in the entertainment industry as an actor, writer, producer and musician.

Sandler may currently be seen starring in the hit comedy You Don't Mess with the Zohan, a film he co-wrote and produced. Prior to that, he starred opposite Kevin James and Jessica Biel in Universal's hit comedy I Now Pronounce You Chuck & Larry, which opened No. 1 at the box office. He also starred opposite Don Cheadle in Columbia Pictures' Reign over Me for director Mike Binder, as well as 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. Sandler will next be seen in Disney's Bedtime Stories.

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 made his motion picture debut in Coneheads opposite Dan Aykroyd and Jane Curtin. He has gone on to become an almost self-contained mini studio involved in all aspects of film production. Happy Gilmore was one of the most successful movies of 1996. With a budget of just $12 million, it grossed more than $40 million at the box office and $35 million on home video. The Wedding Singer, in which he also starred with Drew Barrymore, was the first box office hit of 1998, with an opening weekend gross of more than $22 million. His next film, The Waterboy, had an opening weekend of almost $40 million. Other recent $100 million-plus grossing Sandler films include Big Daddy, Mr. Deeds, Anger Management and 50 First Dates.

Sandler collaborated with writer Tim Herlihy on the screenplays for Happy Gilmore, Little Nicky, Billy Madison, Big Daddy, and The Waterboy. Billy Madison has become a cult classic for college students across the country, with "Billy" nights and "Sandler" festivals.

Sandler served as producer through his Happy Madison Productions on Click, The Benchwarmers, Deuce Bigalow: European Gigolo and Dickie Roberts: Former Child Star, Strange Wilderness, and the upcoming film Paul Blart: Mall Cop. He executive produced Grandma's Boy, The Animal, Joe Dirt, The Master of Disguise, The Hot Chick and Deuce Bigalow: Male Gigolo. Sandler's production company, Happy Madison Productions, 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, and the upcoming Comedy Central series' "The Gong Show with Dave Atell" and "Gay Robot."

During breaks from his busy filming schedule, Sandler spends time in the recording studio. Several of his comedy albums on Warner Bros. Records have gone multi-platinum. Collectively, they have sold more than six million copies to date. Established several years ago, his web site AdamSandler.com is updated weekly with mini-movies featuring Sandler and the staff of Happy Madison in their daily routines.

JACK GIARRAPUTO (Producer) is one of Hollywood's most successful producers. His films have grossed nearly $2 billion worldwide, with eight of them topping well over the $100-million mark. These films include the current hit You Don't Mess with the Zohan as well as I Now Pronounce You Chuck & Larry, Click, The Longest Yard, 50 First Dates, Anger Management, Mr. Deeds, Big Daddy, and The Waterboy.

For nearly two decades, ALLEN COVERT (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), and I Now Pronounce You Chuck & Larry (actor, co-producer).

He also co-scripted Sony's hit comedy The Benchwarmers (starring David Spade, Rob Schneider, and Jon Heder). He also co-wrote, produced, and starred in the cult comedy hit Grandma's Boy with Nick Swardson, and produced and starred in the comedy Strange Wilderness, which was released through Happy Madison earlier this year.

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 and Abigail.

Prior to producing The House Bunny, HEATHER PARRY (Producer) enjoyed a twelve-year tenure at MTV, culminating in producing duties at MTV Films on the MTV Films/Happy Madison co-production The Longest Yard, which starred Adam Sandler, and Jim Sheridan's Get Rich or Die Tryin', starring 50 Cent.

Having started in the West Coast News Division at MTV, Parry segued into development, where she oversaw series development as well as special movie programming and marketing specials. From there, she moved to MTV Films, where she met Sandler and his producing partner Jack Giarraputo, and joined Happy Madison in 2005.

SHELLY JOHNSON (Director of Photography) most recent credits include Joe Johnston's western Hidalgo, starring Viggo Mortensen; The Last Castle, which starred Robert Redford; and the third installment of the immensely popular Jurassic Park franchise, also directed by Joe Johnston.

Television credits in include the NBC series "The Others," which garnered Johnson an American Society of Cinematographers nomination for Outstanding Achievement in Episodic TV, as well as the Stephen King mini-series, "The Shining."

Johnson was twice more nominated by the ASC for Outstanding Achievement in the Movies of the Week/Pilot category for his work on "The Inheritance" and "Everybody's Baby: The Rescue of Jessica McClure."

Johnson's extensive television credits also include episodic work on "Alien Nation" and "Tales from the Crypt."

MISSY STEWART's (Production Designer) work was most recently seen in the hit high-stakes blackjack film 21. The film was directed by Robert Luketic and starred Jim Sturgess, Kate Bosworth, Laurence Fishburne, and Kevin Spacey.

Stewart also recently designed Robert Benton's Feast of Love and the Jane Fonda/Jennifer Lopez comedy Monster-In-Law. Other credits include Win a Date with Tad Hamilton!, Legally Blonde and Legally Blonde 2: Red, White & Blonde, and Moonlight Mile.

A graduate of Bennington College, with a degree in Fine Arts and Literature, Stewart continued to paint and follow an arts career until the late eighties when her interests began to shift from the world of fine art to cinema. Finding the collaborative and narrative aspects of film very appealing, she moved to Portland, Oregon, where she began to work in earnest with a group of independent filmmakers, one of whom was Gus Van Sant. She collaborated on a number of projects with him, from the early films Drugstore Cowboy and My Own Private Idaho through To Die For and Good Will Hunting.

DEBRA CHIATE (Editor) edited the independent feature Two Weeks, which starred Sally Field, and Amy Heckerling's Loser with Jason Biggs. Previously, Chiate served as editor on the Drew Barrymore film Never Been Kissed and Clueless, the breakout hit for Alicia Silverstone. Chiate's other credits include Look Who's Talking and Look Who's Talking Too.

MONA MAY (Costume Designer) made her mark again with the magical costume designs for the live action/animated Disney holiday hit Enchanted starring Amy Adams and Patrick Dempsey.

Mona designed the haunted look in the dark psychological thriller 8mm starring Nicolas Cage, Joaquin Phoenix and James Gandolfini. She was also lauded for her groundbreaking costume design for the landmark teen comedy Clueless. May's work has been requested by Adam Sandler, Drew Barrymore, Eddie Murphy and other comedy stars. For more on Mona May check out IMDB.com.

WADDY WACHTEL (Music) 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 Strange Wilderness, The Last Request, The Benchwarmers, Grandma's Boy, Dickie Roberts: Former Child Star, Joe Dirt, and Up in Smoke.

MICHAEL DILBECK (Music Supervisor) has enjoyed a career in the music and film industries that has spanned more than 25 years. He began as a concert promoter for superstar acts such as Crosby, Stills, Nash & Young; Led Zeppelin; Three Dog Night; Joe Cocker; and Chicago.

Dilbeck was the record-label executive and a consultant on Footloose and Top Gun. He was the music supervisor on Batman, Caddyshack II, Cadillac Man, Tango & Cash and Navy SEALS. As an executive with Columbia TriStar Pictures, he worked on the film soundtracks of Sleepless in Seattle, Philadelphia, My Girl, A League of Their Own, Last Action Hero, Bram Stoker's Dracula and Poetic Justice.

Dilbeck currently has his own company, Dilbeck Entertainment, and his credits include You Don't Mess with the Zohan, I Now Pronounce You Chuck & Larry, Strange Wilderness, Click, Grandma's Boy, The Benchwarmers, Deuce Bigalow: European Gigolo, The Longest Yard, 50 First Dates, Anger Management, Dickie Roberts: Former Child Star, Bad Boys, Money Train, Bulletproof, The Wedding Singer, The Waterboy, Big Daddy, Little Nicky, Deuce Bigalow: Male Gigolo, The Master of Disguise, Joe Dirt, The Animal, and Mr. Deeds.

Recording engineer/record producer BROOKS ARTHUR's (Music Supervisor) credits include "My Boyfriend's Back"; "The Locomotion"; "Chapel of Love"; "Leader of the Pack"; Van Morrison's "Brown Eyed Girl" and "Astral Weeks"; Neil Diamond's "The Early Years"; Art Garfunkel's "I Only Have Eyes for You"; and Peter Allen's "I Go to Rio." Arthur produced/engineered Janis Ian's Grammy-winning "Between the Lines" ("At Seventeen"); he was the owner and recording engineer at 914 Recording Studios, the birthplace of Bruce Springsteen's recording career.

Arthur has produced the multi-platinum comedy albums of Adam Sandler ("The Chanukah Song") and Robin Williams' Grammy-winning "Reality...What a Concept." Arthur co-wrote, co-produced and music supervised Sandler's film Eight Crazy Nights and music supervised Sandler's You Don't Mess with the Zohan, I Now Pronounce You Chuck & Larry, and Click.

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