The Wedding Planner
http://www.spe.sony.com/movies/weddingplanner/ 

No one understands love and romance like Mary Fiore (Jennifer Lopez). After all, she’s the most prestigious wedding planner in San Francisco. Specializing in making everyone else’s dreams of love come true, she’s too busy to have a love life of her own.

While celebrating her newest and most lucrative account—the wedding of internet tycoon Fran Donolly (Bridgette Wilson-Sampras)—Mary is rescued from a near-fatal collision with a runaway dumpster by handsome Dr. Steve Edison (Matthew McConaughey). After spending the most enchanting evening of their lives together, Mary thinks she’s finally found a reason to believe in love. Think again. Mary’s world is thrown upside down when she discovers Steve is actually Fran Donolly’s groom-to-be, and Mary is their wedding planner. Career and cupid have collided head on.

Just when Mary thinks things can’t get any worse, her father, Salvatore (Alex Rocco), takes it upon himself to fix Mary’s limp love life by pre-arranging her marriage to Massimo Lanzetta (Justin Chambers), who just arrived from Sicily.

It’s a showdown between love and logic, and the future of Mary’s heart is at stake. Will she abandon her cynicism and embrace romance? Will she learn to believe in the one event she has so diligently planned yet so emphatically eschewed? Will Mary be true to her work or true to her heart?

The Columbia Pictures and Intermedia Films presentation "The Wedding Planner" is A Tapestry Films/Dee Gee Entertainment/IMF Production in association with Prufrock Pictures. Adam Shankman makes his directorial debut after being one of the most successful choreographers in films. Peter Abrams, Robert L. Levy, Jennifer Gibgot, Debra Del Prete and Gigi Pritzker are the producers. Prufrock Pictures’ Nina R. Sadowsky and Pacifica’s Moritz Borman are the executive producers. The original screenplay is written by Pamela Falk & Michael Ellis.

The creative team is comprised of director of photography Julio Macat ("Crazy in Alabama," "Home Alone"); editor Lisa Zeno Churgin (Academy AwardÒ -nominated for "The Cider House Rules"); production designer Bob Ziembicki ("Dudley Do-Right," "Boogie Nights"); and costume designer Pamela Withers ("Me, Myself & Irene," "The Suburbans"). "The Wedding Planner" is rated PG-13 by the Motion Picture Association of America for language and some sexual humor.

Director Adam Shankman was attracted to "The Wedding Planner" for several reasons. "The script reminded me of old movie classics starring Rosalind Russell and Cary Grant, or Katherine Hepburn and Spencer Tracy. I’m a huge fan of romantic comedy with dialogue that is witty and crackling," says Shankman. "It also has movie musical elements and several dance numbers in it. As a choreographer, I could envision how these factors could enhance the magic, the romance and the comedy."

But most of all, Shankman warmed up to the overall theme of the story, which mixes both old-fashioned romance and modern attitudes. "It’s destiny when two people from different worlds meet. On the surface, they shouldn’t be together, but the subtext of the characters is inextricably linked. They need to come together. More specifically, this film is about risking your heart and not being afraid to go for it," says Shankman.

The idea for the film began to take shape when screenwriting partners Pamela Falk & Michael Ellis saw an ad in the Learning Annex catalog on How to Be a Wedding Planner. "We thought: what kind of person plans other people’s weddings?" says Ellis. Taking the idea a step further, "We thought it would be a funny juxtaposition to have a wedding planner with a non-existent love life," says Ellis.

For their research, Falk and Ellis went to the Los Angeles Festival of Brides, a trade show for anything and anyone connected with weddings. "We met a lot of wedding planners there, set up meetings with them and then interviewed them to find out what they actually did and how they operated," says Falk.

"What we found out was that it’s a world that’s very far from romance and love. We had lunch with one wedding planner who told us that she didn’t even believe in marriage. So we took that to the next level in the script, where Mary is not only unsentimental about the weddings she plans, but has them down to a science. She can actually tell how long a couple will stay together by the different choices they make for their wedding song or the color of the bridesmaids’ dresses," says Falk.

Producer Jennifer Gibgot responded to the material because she felt the story was timeless. "A lot of couples feel complacent and comfortable with each other. They’re afraid to leave the relationship, so they take the next step because that’s what’s expected. ‘The Wedding Planner’ is about that, but it’s also about getting married for the first time for the right reasons," explains Gibgot.

After falling for the script, producers Peter Abrams and Gibgot went about finding the right director for "The Wedding Planner." They wanted someone who could balance the film’s musical and dance concerns with the story’s classic romantic comedy style. Equally strong was their desire to give the film a stunning visual look.
After interviewing dozens of people, they found the man of their dreams right under their noses—Adam Shankman. Abrams, who had previously worked with Shankman when he choreographed his film "She’s All That," describes him as an obvious choice for several reasons. "There are two big dance numbers in the film, and that’s Adam’s strength; he’s been the top movie choreographer for years. Also, ‘The Wedding Planner’ is really a throwback to the romantic comedies of the ’30s and ’40s, and that’s very much Adam’s sensibility. He knows how to make the comedy, romance, music and dance sparkle."

Gibgot, who is also Shankman’s younger sister, agrees. "Adam has seen every single musical and classic romantic comedy ever made, so I brought him in to meet with the studio executives, like all the other directorial candidates. He pitched his take on the film, and they hired him right there in the room."

After Shankman signed on, casting the role of Mary was the next task at hand. The director describes her as "a workaholic who has transferred all her feelings about love into her career. She’s constantly immersed in what most couples think is the most romantic, important day of their lives. But for Mary, they’re just exercises in physical beauty," he says.

Speaking of physical beauty, casting the lovely Jennifer Lopez as Mary was not an obvious choice for Shankman. "I thought she was too sexy for the role," he says. "I didn’t think Jennifer would be someone a bride-to-be would want around her fiancée," he explains.

But Lopez got a hold of the script and met with Shankman. "She came to the restaurant and absolutely dazzled me," says the director. "She answered every question about who Mary was, beyond correctly. She bit into this project and wouldn’t let go—her passion for it was so intense."

Explaining her interest in the part, Lopez says: "I was anxious to do a romantic comedy after starring in action films and heavy dramas. I know how goofy I am in real life, so this film seemed like a great way to show that side of me. When I read the script, it had a little bit of that magic that the best romantic comedies have, that waiting-for-prince-charming type of fairy tale quality that I like in romantic comedies."

"The truth of the matter is," adds Shankman, "that at that time, Jennifer was very much like Mary."

Lopez concurs. "When I signed on to do the film, my life really mirrored Mary’s. I was very focused on my career, and I put my love life on the back burner at that time. I could really relate to her. Mary definitely does believe in prince charming, it's just not that important to her right at the beginning of the story. She's focused on her career; she's very set in her life right then."

To prepare for her role, Lopez learned about what it takes to be a wedding planner. She discovered that wedding planning isn’t just about flowers, photographers and happily ever after. It’s a challenging balancing act between the many details involved in getting a couple, and everyone else involved, through the ceremony and off into their new life together.

"To be a wedding planner, you have to be a therapist too," Lopez explains. "You’re dealing with the biggest event in a lot of people's lives; their big night; their big show. Everybody wants to take part, and the bride and groom want it to be perfect. It's such a big step for so many people that it stirs up a lot of strong emotions.

"What makes Mary so good at her job is that, first of all, she loves what she does," Lopez continues. "She’s organized and meticulous, and it shows in her work. She's built herself a reputation, and she’s very good at making people feel like everything is going to be OK."

Although Mary is a whiz at weddings, her dedication takes its toll on her personal life. But a chance meeting with a handsome doctor soon changes all that. Her prince charming comes in the form of handsome Matthew McConaughey, who unsettles Mary and literally sweeps her off her feet.

As Dr. Steve Edison, McConaughey plays the loyal groom-to-be in the fateful wedding Mary is planning. Like Lopez, the actor also responded to the film because it offered him a different kind of character to play.

"This is one of the first characters I’ve played where I’m not heavily defined by my profession. I’ve been a lawyer, a cowboy, a theologian and a lieutenant in different films. Being a doctor in this film, though, is really beside the point," he explains.

Lopez explains the charm of McConaughey and his character. "He's a southern kind of gentleman, and that's so becoming. He's the kind of guy who, when he looks at you, makes you giggle like a little girl."

McConaughey has his own take on Steve and his relationship to Mary. "He's not too complicated a guy. He's a lover, he’s a doctor, so he’s a caregiver."

Mary’s reaction to Mr. Right is straight out of a film from Hollywood’s golden age. "They have this kind of chance meeting," Lopez says. "It's a big accident, and then they get thrown together for the rest of the day. She definitely feels something right away, and it's something she hasn't felt in a long time. It takes her by surprise. She doesn't really know what to make of it, but it's exciting."

According to McConaughey, "Mary and Steve, through a bunch of different circumstances, are forced to be in each other's company because she's obviously planning the wedding. A relationship cultivates from there, and they sort of grow on each other. This story is a fable, a love story between Mary and Steve. That's the fun of it. It’s a classic comedy."

Rediscovering love, and seeing and feeling it in a new way, is something that Steve, as well as Mary, must experience. "Steve, as a character, has many of his own issues with love and marriage that need to be worked out through the story," McConaughey says. "Meeting Mary sends a shock through his life that helps wake up his mind and his heart. She makes Steve realize what's going on, what he wants out of life, what’s possible."

For Shankman, the pairing of Lopez and McConaughey resulted in an unexpected alchemy. "In real life and in the film, Jennifer and Matthew come from different sides of the world—she’s the Bronx city girl, and he’s the Texas cowboy. Their characters in the film kind of mirror this—Mary’s the sophisticated event planner, letting nothing get in her way, and Steve’s a laid back pediatrician going with the flow. Yet their differences compliment each other—Mary needs to relax and enjoy life a little more, and Steve needs be more focused and serious about what’s important to him. So they complete each other, besides looking so right together."

Shankman next cast beautiful blond Bridgette Wilson-Sampras to play Steve’s bride-to-be, internet mogul Fran Donolly—the perfect foil to Mary.

Wilson describes Fran as "a high-powered, successful, very direct woman who knows what she wants. Fran’s been with Steve for a long time, and I think she probably decided it was time to get married so that’s why she doing it."

Like Mary and Steve, Fran must learn that love is something that it is uncontrollable and that doesn’t always respond to logic or plans. "Fran and Steve have a great relationship, and they really like each other. They’re good friends," Wilson explains. "However, the story sort of proves that even though you're really good friends, it doesn't mean you're necessarily right to marry one another. That’s what Fran and Steve learn, that although they've been together for so long, they aren’t meant to get married."

To square off the film’s romantic quartet, Shankman cast good-looking, Calvin Klein model-turned actor Justin Chambers to play Massimo, the young man from the old country whom Mary’s Italian immigrant father has arranged for her to marry.

Chambers describes Massimo this way: "Massimo loves life. He loves people. He is not judgmental. He's passionate and creative and maybe a little needy, but he's fun. He's a fun person.

"Massimo is kind of a surprise for Mary at the beginning of the story," Lopez says of Chambers’ character. "She kind of takes offense to the idea that her father is trying to set her up. But Massimo is so gung-ho about it because he's from the old country, and he's okay with it. He provides a lot of comic relief in the movie, and Justin brings a lot to it. He’s one of the most enjoyable characters in the movie."

Shankman also feels that Chambers brought a lot to the character. "Justin plays Massimo as a kooky wild card. He conveys warmth, depth and a you-never-know-what’s-going-to-happen-next kind of feeling in every scene he’s in."

Shankman feels that these four main characters embody different elements of romantic love. "Mary is the cynic—she’s been hurt before so she’s not going to leave herself open to that again. Steve represents loyalty—he’s made a commitment, and he’s going to follow through on it. Fran is a modern working woman with a plan, thinking with her head more than her heart. Massimo symbolizes vulnerable, open love."

None of the characters examine the consequences of embodying these qualities, adds Shankman. "Mary’s cynicism keeps her from trusting people and risking things. Steve’s loyal to a fault; he’s gotten himself into a marriage that is not necessarily the right one for him. Objectively, Fran feels Steve is the right guy at the right time of her life, but she’s really cheating herself out of actually falling in love with somebody because she’s used to this guy. Massimo is so guileless that he’s wrapped up in a one-sided love affair. So it’s really sweet in a way because there are no villains in this story except everybody’s foibles."

A bevy of fine actors rounds out the film’s supporting cast. Veteran actor Alex Rocco portrays Salvatore, Mary’s caring, protective Italian father. Judy Greer plays Mary’s screwball wedding planning assistant. Kevin Pollak is Dr. John Dojny, Steve’s oversexed buddy and colleague. Charles Kimbrough and Joanna Gleason play Fran’s pretentious yet endearing parents.

For the first few months, production on "The Wedding Planner" was based in Los Angeles. The production then moved on to three weeks of filming in San Francisco for scenes that could be shot nowhere else but in the real jewel of the California Gold Coast.

It was Shankman’s idea to change the original location in the script from New York to San Francisco. "It’s always struck me as a romantic, beautiful city, and I wanted to make this film a kind of Valentine to it. Also, with its upper crust attitude, it would be a perfect location for a savvy wedding planner to exploit all the new-moneyed, techno-millionaires who want to be accepted into old-money society. This is what Fran Donolly and her parents exemplify."

Shankman and cinematographer Julio Macat shot this love letter to the city at such locations as lush Golden Gate Park, where the Donolly wedding takes place; the magnificent Filoli House and Gardens just outside the city, which doubled for an upscale Napa Inn; the opulent, newly renovated City Hall; Victorian Park on San Francisco Bay; Grace Cathedral and the distinctive Nob Hill neighborhood.

"My big edict to the locations scout was that I didn’t want to see any cable car wires or power lines. Also, I didn’t want to emphasize the city’s hills. I wanted to take the clichés away from the city and make it look more European," says Shankman. "That way, the romance of the city would shine through.

"My goal for the look of the movie was to infuse it with the old-fashioned glamour of some of my favorite films, like ‘His Girl Friday,’ ‘Bringing Up Baby’ and ‘Roman Holiday,’" continues Shankman. "These films were populated with truly beautiful people who bantered with smart dialogue, who wore beautiful clothes and lived in beautiful settings. For audiences, it was pure entertainment. It lifted you out of your seat a little bit, out of your life a little bit. It became another world."

The dance scenes in "The Wedding Planner" most exemplify director/choreographer Shankman’s tip of the hat to the great musical films. Screenwriters Falk & Ellis are huge dance fans as well. "We both love to dance and include such numbers in almost all our screenwriting. We think of it as the ultimate symbol of romance, because it’s the closest that two people can come without kissing or actual sex. It’s foreplay," says Ellis.

"Dancing is a great symbol of a connection without saying anything," explains Falk. "So in ‘The Wedding Planner,’ we tried very hard to make the dance integral to what the characters were feeling emotionally at that point in the story," she says.

One of the key scenes in the film is the dance number in the park where Mary and Steve have an incredible first date. Screenwriters Falk & Ellis based this scene on what they had observed at New York City’s Bryant Park, which is just behind the New York Public Library.

"In the summer, at night, they show old movies against the library wall," says Falk. "I thought, wouldn’t it be amazing if they showed old musicals, and during the musical numbers everyone got up and danced along."

Shankman took that enchanting thought from the page to the stage, so to speak. "I think I was hired to direct this movie based on my take of this scene," states the director, who also choreographed the film.

"He did great," says Lopez of Shankman’s dances and direction. "I was so impressed with him. I knew how hard it was going to be to shoot this scene; to get the emotion of what we were both feeling and get the steps right. He just did it so incredibly well.

"I am a dancer and I was worried about it," continues Lopez. "This was one of the hardest scenes I've ever shot. I've done action scenes and all kinds of weird things in movies, but this was definitely very, very tough to pull off."

The lovely grounds of the Los Angeles Veterans Administration served as the generic San Francisco Park for the scene. Shankman and production designer Bob Ziembicki pulled out all the stops to make this the most romantic park ever. They dressed it with glowing lanterns, a lighted Ferris Wheel, and a colorful carousel, just for starters.

Shankman chose the obscure film "Two Tickets to Broadway," starring Tony Martin and Janet Leigh, to show on the park screen. "Most people would have gone for Fred Astaire and Ginger Rogers," says Shankman, "but I wanted something a little unexpected here. Also, the film was shot in Technicolor so I knew it was going to look really beautiful in the background."

For this fantasy dance scene, Shankman called upon 40 dancers with whom he’d danced when he was a dancer and then choreographed in other films. With his assistant choreographer, Anne Fletcher, Shankman choreographed and rehearsed the scene with the dancers over several weekends prior to filming it.

The song that he used for the dance number from the film is called "The Closer You Are," by Jule Styne. "It’s the falling-in-love song in the film, and it bursts into a waltz. To me, the waltz is one of the most romantic partner dances, because two people are holding each other in their arms and sweeping each other around and around. It feels perfect for the sentiment and emotion of the scene, and it pushes Mary and Steve closer together," says Shankman.

Matthew McConaughey agrees. "To me, the dance scenes in the film are really the love-making scenes, so to speak. When Mary and Steve are dancing together the world evaporates around them. They’re in their own intimate world."

The next dance number was a tango. Falk, Ellis and Shankman all thought this was the perfect dance for the scene in which Mary finds out Steve is engaged. "It’s a dance of fire and passion. Although they’re verbally resisting each other at the time, it’s contrapuntal to how well they fit together," explains Shankman.

Shankman was very impressed with Lopez’s dancing talent. "She’s as good a dancer as I’ve ever worked with. She’s amazing," he says. But Lopez found this scene very challenging. "Although I’ve done a lot of action films, this was one of the toughest scenes I’ve ever done because it was an important scene to the storyline, with a lot of dialogue, and a lot of beats to contend with," she says.

Even so, Lopez and Shankman had an immediate rapport through dance. To McConaughey, this dancing stuff was a foreign language.

McConaughey rehearsed for two months to get the tango scene down. Not only did he have to learn to tango like Rudolph Valentino, but he and Lopez had to combine it with two pages of heated repartee.

"Matthew was so dedicated to getting this right. In between his other scenes, he would go with my assistant, Anne, into a rehearsal hall and just work hour after hour. Both Jennifer and he really nailed it," says Shankman.

McConaughey agrees. "I must admit I was pretty anxious about it, but once I learned it, it was quite a treat. In fact, that was one of the attractions of doing ‘The Wedding Planner.’ I’ve always wanted to dance in a film."

Costume designer Pamela Withers was brought on to give the film’s characters that "classic beautiful look" that Shankman wanted in "The Wedding Planner."

"Adam and I saw Mary’s style as very sophisticated, conservative and timeless, like such everlasting icons as Audrey Hepburn, Grace Kelly or Jacqueline Kennedy. Mary also seemed like a woman who saved her money and invested it in a few good designer pieces," says Withers. "I dressed her in such things as a classic blue Armani cotton sheath, a tan leather Prada coat and an Emporio Armani two-piece top and skirt with a little cardigan. The audience may not be used to seeing Jennifer Lopez like this, but she looks stunning.

"Mary starts out dressing very business-like when the film begins," observes Withers, "but her wardrobe becomes a touch sexier, lighter and more romantic as the film goes on."

For McConaughey, Withers chose comfortable upscale things, all of which were slim and trim-lined for him. "We wanted things to hug his chest. He’s got great pecs," she reveals.

Color and style were very important elements for the two leads. "For instance, in the scene where Mary and Steve meet and he rescues her, she’s in bright blue and tan, and he’s in navy and chocolate, so they compliment each other," says Withers.

"Conversely, when they’re dancing the tango together, I put Mary in a red dress to symbolize anger and passion, and Steve wears a maroon shirt, which clashes just a little with her dress. Subconsciously, it jars you just a touch and shows the disconnectedness at that time in their relationship."

Mary plans four weddings in the film, and Withers had a lot of fun choosing four distinct wedding dresses for these scenes. Two Vera Wang gowns bracket the film. "The bride in the church wedding that opens the movie is wearing a very traditional strapless dress with rhinestones and silver beading across the bodice. She also wears a platinum bow that picks up the silver beading," describes Withers. "Fran Donolly wears the other Vera Wang, at the end of the film. This was our most formal, most extravagant gown because her wedding is the biggest and the best. The dress has a lace bodice covered with diamond cut sequins, to give her a little sparkle, spaghetti straps and a full silk organza under-skirt covered by layers of lace.

"For the Moroccan wedding, the bride wears a lovely beaded, bias-cut Badgley Mishka slip dress. And for the Greek wedding, the bride wears a satin, ballerina length Werk Statt dress."

The four weddings themselves were given more authenticity and distinction by high-end Los Angeles wedding planner Rob Smith from Laurels, one of the top floral designers in the city. He, along with production designer Bob Ziembicki and set decorator Barbara Munch, created incredible works of art for each affair.

For instance, the church wedding, which was filmed at Pasadena’s stained glass Westminster Presbyterian Church, was adorned with blossoming cherry trees among its pews. The Greek wedding, filmed at the historical Wilshire Ebell Theater in Los Angeles, was accentuated with olive and orange trees, Greek food and plate throwing. The Moroccan wedding was filmed at The Athenaeum at Caltech, where guests felt they had arrived in Fez, with cushioned seating and Moroccan touches everywhere. Finally, the Donolly wedding was filmed in glorious Golden Gate Park where glistening globe lanterns hung from sycamore trees and a half-domed stage framed the opulent, sumptuous event.

Other important Los Angeles locales in the film were the glorious Huntington Gardens in Pasadena, which stood in for Golden Gate Park’s Japanese Gardens, and the verdant Ventura Farms, where the horseback riding scene takes place.

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Shankman may have achieved his aesthetic vision in the film, but he also hopes to leave the audience with a message: "In a relationship, it’s important to take care of yourself and be honest with your partner. Keep the lines of communication open because things can get messed up when you don’t.

"I also think that women will walk away thinking that they’re insane if they don’t use a wedding planner!" the director adds.

Jennifer Lopez couldn’t agree more. "I absolutely would not get married without one," she concludes.

JENNIFER LOPEZ (Mary) earned widespread acclaim for her work in the title role of "Selena" and was then showered with extensive praise for her role opposite George Clooney in Steven Soderbergh’s "Out of Sight."

In 1995, Lopez made her feature film debut in the highly acclaimed feature film "My Family/Mi Familia," garnering an Independent Spirit Award nomination for her role as young mother Maria Sanchez. Her other film credits include Oliver Stone’s "U-Turn;" "Money Train," with Woody Harrelson and Wesley Snipes; Francis Ford Coppola’s "Jack," with Robin Williams; "Blood and Wine," which starred Jack Nicholson; and "Anaconda," with Jon Voight, Eric Stoltz and Ice Cube. She can also be heard in the DreamWorks animated feature "Antz," voicing the character of Azteca alongside Woody Allen and Sylvester Stallone. She most recently starred in the thriller "The Cell," opposite Vince Vaughn.

As a recording artist, Lopez stunned the music industry with her double-platinum-selling 1999 debut album "On the 6." One smash single, "If You Had My Love," spent five weeks at No. 1 on the Billboard charts, and the accompanying video earned four MTV Video Music Award nominations. Another smash single, "Waiting for Tonight," garnered her a Grammy nomination last year for Best Dance Recording. Lopez was recently nominated for a 2001 Grammy in the same category for the single "Let’s Get Loud."

The multi-talented superstar, whose latest album, "J.Lo," arrives in stores January 23, hails from New York City’s Castle Hill section of the Bronx. After years of dance classes, she began her career in 1990 as one of the acclaimed Flygirls on Fox’s groundbreaking comedy series "In Living Color" before going on to features.

MATTHEW McCONAUGHEY (Dr. Steve Edison) made his motion picture debut in Richard Linklater’s film classic "Dazed and Confused," while attending the University of Texas. After only a short time in Los Angeles, McConaughey soon received leading man status with his riveting performance in "A Time To Kill," director Joel Schumacher’s adaptation of John Grisham’s first novel. The film also starred Sandra Bullock, Kevin Spacey and Samuel L. Jackson. It surpassed over $100 million dollars in domestic box office and earned McConaughey rave reviews.

McConaughey solidified his resume by working with A-list directors and highly regarded co-stars. He starred opposite Jodie Foster in Robert Zemeckis’ "Contact," which was another $100 million dollar domestic box-office hit for Warner Bros. McConaughey then worked with Steven Spielberg in "Amistad," which co-starred Anthony Hopkins and Morgan Freeman. The film was based on the true story of a 1839 revolt by Africans on the slave ship "Amistad" and their subsequent trial.

McConaughey broadened his resume by starring in Ron Howard’s "Ed TV" for Universal Pictures, playing a young man caught up in the fame of reality TV. He most recently starred in the submarine action-thriller "U-571"—a German submarine which is boarded by disguised Americans trying to capture the German’s Enigma cipher machine. The film was directed by Jonathan Mostow.

The Texas native from Uvalde and Longview had contemplated a career in law before deciding to tackle the world of entertainment. He studied at the University of Texas at Austin and graduated in 1992. During his senior year, he directed a 12-minute short film centered on the world of low riders called "Chicano Chariots."

Before moving to Los Angeles, he won the villain role as "Vilmer," the bloodthirsty truck driver, in "Texas Chainsaw Massacre: The Next Generation." Upon arriving in Los Angeles he landed roles in such films as Herbert Ross’ "Boys On The Side," Disney’s "Angels In the Outfield" and John Sayles’ "Lone Star."

McConaughey’s production company, j.k. livin’ (short for ‘just keep livin,’ which he adapted from one of his lines in "Dazed and Confused"), produced "Making Sandwiches" with Sandra Bullock’s Fortis Films. The company also executive produced the feature documentary "Hands On A Hard Body," which won raves from critics. McConaughey also wrote, produced and directed a short entitled "The Rebel," in which he plays the title character, a man who breaks arbitrary rules while imagining himself to be a criminal.

BRIDGETTE WILSON-SAMPRAS (Fran Donolly) is hot off her co-starring role in the twisted romantic comedy "Love Stinks." She also starred as a sexy, opinionated journalist searching for the real story in the thriller "House On Haunted Hill" and in Sally Field’s directorial debut, "Beautiful," co-starring opposite Minnie Driver in the story about the life of a beauty queen.

Additionally, she recently finished shooting John Hughes’ "The Visitors" and "Buying the Cow," starring opposite Jerry O’Connell.

The variety of roles she has conquered include those in films like "The Real Blonde," "Nevada," "I Know What You Did Last Summer," "The Suburbans," "Nixon," "Higher Learning," "Unhook the Stars," "Mortal Kombat" and "Billy Madison."

Born and raised in Gold Beach, Oregon, the 27-year-old beauty relocated to Los Angeles in 1991. Immediately following her departure from the TV show "Santa Barbara," Wilson-Sampras began auditioning for feature film roles. Her second audition was for the female role in "Last Action Hero," in which she performed all her own stunts.

JUSTIN CHAMBERS (Massimo) most recently starred in Barry Levinson’s critically acclaimed film "Liberty Heights." He will next be seen playing the title role in "D’Artagnan," opposite Mena Suvari, Stephen Rea, Tim Roth and Catherine Deneuve for director Peter Hyams.

For television, Chambers has appeared in "New York Undercover" and "Swift Justice," as well as in the CBS miniseries "Seasons of Love," with Rachel Ward and Peter Strauss.

Chambers is also a Calvin Klein model, an occupation which has taken him across the globe.

He currently lives in New York City with his four daughters, all under the age of 5, and his wife.

ALEX ROCCO (Salvatore) is probably best known to movie fans as Moe Green, the character who was gruesomely executed by getting a bullet in the eye in "The Godfather." The veteran actor has appeared in approximately 50 feature films, including "A Bug’s Life," "That Thing You Do!," "Get Shorty" and "The Stuntman."

In addition to his extensive film career, Rocco has also made over 400 television appearances. He won an Emmy Award for his portrayal of Al Floss in "The Famous Teddy Z," directed by Hugh Wilson. Rocco has also been a series regular on such television shows as "The George Carlin Show" and "Sibs," and he has appeared as a recurring character in such series as "The Simpsons" and "The Facts of Life" as Jo’s dad. He has also worked on numerous movies for television, including "Love Honor & Obey: The Last Mafia Marriage," "An Inconvenient Woman" and "How to Marry a Millionaire."

JUDY GREER (Penny) most recently starred in Mike Nichols’ "What Planet Are You From?" with Garry Shandling.

Hollywood newcomer Greer appeared as George Clooney’s love interest in David O. Russell’s "Three Kings." Her motion picture credits include the upcoming independent film "The Specials," in which she stars opposite Jamie Kennedy and Rob Lowe. She also starred in "Jawbreaker," a black comedy with Rose McGowan and Rebecca Gayheart.

Born and raised in Detroit, Michigan, Greer is a recent graduate of The Theatre School at Chicago’s DePaul University. While living in Chicago, Greer was cast in the Universal feature "Kissing a Fool," opposite David Schwimmer and Jason Lee.

KEVIN POLLAK (Dr. John Dojny) has established himself as both a comedic and dramatic actor, having appeared in over 30 films in the past decade. His ability to portray a wide range of characters has made him one of the first stand-up comedians to have a successful dramatic film career. Pollak was seen starring opposite Arnold Schwarzenegger and Gabriel Byrne in Universal Pictures’ "End of Days," directed by Peter Hyams. He followed this performance with a starring role in Paramount Classics’ political thriller "Deterrence," written and directed by Rod Lurie ("The Contender"). The film, co-starring Tim Hutton and Sheryl Lee Ralph, received critical acclaim at the 1999 Toronto Film Festival.

Recently, Pollak was see in the Warner Bros. release "The Whole Nine Yards," directed by Jonathan Lynn, opposite Bruce Willis and Matthew Perry. He followed that role with "Steal This Movie," a film based on the life of Abbie Hoffman starring Janeane Garofalo and Vincent D’Onofrio.

Prior to his film career, Pollak had been performing stand-up comedy since the age of 10. He became a touring professional stand-up at age 20, and then in 1988 landed a role in George Lucas’ "Willow," directed by Ron Howard. In 1990, he co-starred in Barry Levinson’s "Avalon," for which he received an overwhelming response from the film community. It was Pollak’s role in the 1992 film "A Few Good Men," directed by Rob Reiner and starring Tom Cruise, Jack Nicholson and Demi Moore, that garnered him fellowship among a select group of highly respected character actors.

After co-starring with Jack Lemmon and Walter Matthau in the box-office success "Grumpy Old Men" and its sequel, "Grumpier Old Men," Pollak received an award from the National Board of Review for his work in "The Usual Suspects." The film also won two Academy AwardsÒ and became an international sensation. Other highlights include working with Robert De Niro and Joe Pesci in Martin Scorsese’s "Casino."

In 1997, Pollak starred in "The Underworld," a crime telepic for Warner Bros. and NBC, which he co-created and co-executive produced with Chris McQuarrie (Academy AwardÒ -winning screenwriter of "The Usual Suspects") and his producing partner, Lucy Webb. He has also starred in two of his own HBO stand-up comedy specials, the latest being "Kevin Pollak: Stop With The Kicking," directed by David Steinberg.

Pollak, with his Calm Down Productions, Inc. partner Lucy Webb, has had first-look overall deals with Warner Bros. and CBS Television to create comedic and dramatic programming. Calm Down Productions, Inc. currently makes its home in Los Angeles.

In 2001, look for Pollak in "3000 Miles To Graceland," starring Kevin Costner, Kurt Russell and Courtney Cox Arquette. Pollak has just finished shooting Morgan Creek’s Comedy "Juwanna Mann" and is now shooting "Dr. Dolittle 2" with Eddie Murphy.

Between films, Pollak continues to perform his stand-up comedy, smoke cigars and play poker.

JOANNA GLEASON (Mrs. Donolly) has appeared in such features as "American Perfekt" with Paul Sorvino and Amanda Plummer; "Road Ends" with Peter Coyote and Dennis Hopper; "FX2" with Brian Dennehy and Bryan Brown; "Life Under Water" with Keanu Reeves and Sarah Jessica Parker; "For Richer, For Poorer" with Jack Lemmon; Woody Allen’s "Crimes and Misdemeanors" and "Hannah and Her Sisters;" and Mike Nichols’ "Heartburn."

On Broadway, Gleason starred in Stephen Sondheim’s "Into the Woods," for which she earned a Tony Award for Best Actress as well as a Drama Desk Award and an Outer Critics Circle Award. Her other credits include "Nick and Nora," starring as Nora; "Social Security," written by Andrew Bergman and directed by Mike Nichols, for which she received the Drama Desk Award; "Joe Egg," for which she received a Tony Award nomination and Drama Desk nomination; and Mike Nichols’ "The Real Thing" and "I Love My Wife," for which she earned a Drama Desk Award.

Her television credits include the series "Friends," in which she played Jennifer Aniston’s boss, "E.R.," "King of the Hill" and "Love and War." Her movie-of-the-week credits include "For the Love of Aaron," "Born Too Soon" and "The Boys."

Gleason has also taught at high schools and colleges all over the country. She has taught workshops for composers and lyricists, as well as staged new works for theater.
She is married to actor Chris Sarandon, and they have four children between them.

CHARLES KIMBROUGH (Mr. Donolly) is best known to television audiences for his work on "Murphy Brown." On that show, Kimbrough starred as Jim Dial, "FYI"’s stuffy anchorman, a newsman for 25 years who remarkably never developed any sense of humor.

His feature film credits include "The Water Engine," "The Good Mother," "Switching Channels," "The Seduction of Joe Tynan," "The Front," "Starting Over" and "It’s My Turn."

On television, he has appeared on the series "The Nanny" and "The Love Boat: The Next Wave," as well as in the movies-of-the-week "Weekend War," "A Doctor’s Story" and "For Ladies Only."

He has appeared on Broadway in "Sunday in the Park with George," which earned him a Drama Desk nomination; "Company," which earned him a Tony Award nomination for Best Supporting Actor; "Hay Fever," "Same Time, Next Year," "Candide," "The Water Engine," "The New Phoenix Repertory Theatre" and "Cop-Out."

ADAM SHANKMAN (Director) makes his feature film directorial debut with "The Wedding Planner" after being one of the entertainment world’s premier choreographers.

Shankman has put his creative stamp as a dance and physical comedy choreographer on many well-known comedies, dramas, thrillers and animated films. Some of his projects include "Monkey Bone," "She’s All That," "Inspector Gadget," "Blast From the Past," "Antz," "The Out of Towners," "Forces of Nature," "Scream 2," "Anastasia," "A Life Less Ordinary," "George of the Jungle," "Boogie Nights," "Miami Rhapsody," "The Flintstones" (for which he was nominated for a Bob Fosse Award) and "Don Juan DeMarco."

A native of Los Angeles, Shankman developed a love for the theater at an early age. After high school, Shankman moved to New York and attended Juilliard in the dance program for two years. After five years of work as an actor/dancer in New York and regional theater, Shankman moved back to Los Angeles and began dancing in music videos, including those of Paula Abdul and Janet Jackson. He also performed at the 1989 Academy Awards.

At age 24, Shankman teamed up with influential video director Julian Temple and began working as a music video choreographer. One of the first videos he choreographed was Whitney Houston’s "I’m Your Baby Tonight." He has also choreographed videos for The B-52’s, Barry White, Aaron Neville, Chic and Stevie Wonder.

Shankman directed the well-received short film "Cosmo’s Tale," which was an official entry at the Sundance Film Festival in 1997.

PETER ABRAMS (Producer) is a principal with Robert L. Levy and J.P. Guerin in Tapestry Films. Abrams has produced such features as the hit "She’s All That," "Pay It Forward," "Point Break," "Jane Austen’s Mafia," "The Last Time I Committed Suicide," "A Kid in King Arthur’s Court," "Enemy of My Enemy," "A Kid in Aladdin’s Court," "Denial," "Full Eclipse," "Warlock—The Armageddon," "A Killing Time" and the soon-to-be-released "Serendipity," starring John Cusack and Kate Beckinsale.

He executive produced the features "Swing," "Black & White," "Payback," "The Chain," "The Granny" and "Dark Tide."

Abrams graduated from Harvard University with a Bachelor of Arts degree. He then went on to George Washington University School of Law where he earned a Juris Doctor degree. He served as a bond trader at Goldman Sachs & Co. in New York before entering the film business. He produced "A Talent for Murder," starring Angela Lansbury and Laurence Olivier, for Showtime’s "Broadway on Showtime" series prior to forming a creative partnership with Robert L. Levy.

ROBERT L. LEVY (Producer) has written and/or produced motion pictures for over 20 years. He is a principal with Peter Abrams and J.P. Guerin in Tapestry Films. He also directed and produced "A Kid in Aladdin’s Court," the sequel to Tapestry’s "A Kid in King Arthur’s Court." His additional producing credits include "She’s All That," "Pay It Forward," "Point Break," "Mafia!," "The Last Time I Committed Suicide," "Enemy of My Enemy," "Denial," "Full Eclipse," "Warlock—The Armageddon," "A Killing Time" and the soon-to-be-released "Serendipity," starring John Cusack and Kate Beckinsale.

Levy executive produced such films as "Swing," "Black & White," "Payback," "The Chain," "The Granny" and "Dark Tide." He also executive produced and wrote the story for "Smokey and the Bandit."

Levy graduated from the University of California at Los Angeles and received a producing fellowship from the American Film Institute.

JENNIFER GIBGOT (Producer) has been with Tapestry Films since January 1995. She was just promoted to president of the film production company after the enormous success of their film for Miramax, "She’s All That," starring Freddie Prinze, Jr. and Rachael Leigh Cook. Gibgot also co-produced the film, which was based on her idea. Other projects that Gibgot has brought to Tapestry are the Touchstone comedy "Mafia!," directed by Jim Abrahams of "Airplane" fame, and the independent movie "The Last Time I Committed Suicide," starring Thomas Jane and Keanu Reeves. Most recently, she produced the thriller "Tangled," starring Rachel Leigh Cook.
Gibgot grew up in Los Angeles with her brother, director Adam Shankman. She graduated from Sarah Lawrence College.

DEBORAH DEL PRETE (Producer) is co-owner with partner Gigi Pritzker of Dee Gee Entertainment. Dee Gee is a full-service entertainment production company dealing in film, television and theatre. They own one of L.A.’s landmark cultural institutions, The Coronet Theatre, which is the focal point of their multi-faceted company.

Her first feature film directing assignment was the independent "Simple Justice" starring Cesar Romero, Doris Roberts and John Spencer. She recently completed her second feature, "Ricochet River," starring Kate Hudson, Jason James Richter and Douglas Spain. She has produced and/or directed numerous television programs, music videos, commercials, industrials and documentaries.

Some of her selected credits are "The People Versus," a 5-part dramatic series starring Meg Ryan for Viacom; "Something’s Afoot," starring Tom Bosley for A&E; "Journey to Adventure," a long-running syndicated travel series; "Maintenance Men’s Lounge" for ABC; and "Gifts From the Fire," for CBC.

She also directs theatre and screenplay readings at the Coronet Theatre.

Del Prete is a board member of the Playwrights’ Kitchen Ensemble, a non-profit play discovery and reading series formed to advance the performing arts in theatre, as well as to identify and promote new playwrights and their work, providing regional theaters across the country with new plays and artists. After purchasing the Coronet Theatre in 1996, Del Prete and Pritzker invited the Playwrights’ Kitchen Ensemble to use this outstanding venue as its producing home.

GIGI PRITZKER (Producer) is co-owner with partner Deborah Del Prete of Dee Gee Entertainment. Dee Gee is a full service entertainment production company dealing in film, television and theatre. They own one of L.A.’s landmark cultural institutions, The Coronet Theatre, which is the focal point of their multi-faceted company.

To date Dee Gee Entertainment has completed a feature project for HBO, three feature films and documentaries for ABC, BBC, CBC, NHK, PBS and syndicated television. The company is currently working on a slate of six film projects. In 1996, the company purchased the historic Coronet Theatre in Los Angeles. As a board member of the Playwrights’ Kitchen Ensemble, a non-profit play discovery and reading series, she and Del Prete invited them to use the Coronet Theatre as their home base. They are currently working on a number of theatre-based projects.

Pritzker studied anthropology at Stanford University where she also taught autistic and schizophrenic children at the local United Way center. After a year of study at documentary film school in Santa Fe, New Mexico, she moved to New York and worked as an assistant in the film business. In 1985, she began producing with the BBC, and during that time she met Deborah Del Prete. Together, they defected and began Dee Gee Entertainment.

NINA R. SADOWSKY (Executive Producer) has been president of Meg Ryan’s Prufrock Pictures since joining the company in November of 1995. During Sadowsky’s tenure, Prufrock Pictures has entered into a first-look feature deal with Castle Rock Entertainment and an overall long-form television deal with Polygram/Universal Television.

The Prufrock-produced supernatural thriller "Lost Souls" for New Line Cinema was released in October 2000. Directed by two-time Academy AwardÒ -winning cinematographer Janusz Kaminski, "Lost Souls" stars Winona Ryder, Ben Chaplin, John Hurt and Philip Baker Hall. Currently in post-production is "Desert Saints," an independent film starring Kiefer Sutherland, Melora Walters and Jamey Sheridan, for which Initial Entertainment Group has acquired worldwide distribution rights.

Under Sadowsky’s direction, Prufrock has set up numerous other feature projects, including "The Women," a remake of the 1939 classic, which has been scripted by Diane English and which Prufrock developed with Julia Roberts’ Shoelace productions for New Line Cinema; "All Fall Down," also for New Line, which re-teams Prufrock with "Lost Souls" writer Pierce Gardner; the Bob Dolman-scripted "Beauty Pageant Project," in conjunction with Artists Production Group, also for New Line; the political thriller "The Protected," written by Stacy Title and Jonathan Penner for Working Title; a Charles Randolph-scripted dramatic comedy starring Meg Ryan and Diane Keaton set in the world of network news for Castle Rock; a comedy based on the extraordinary life of undercover cop Harry Bridgwood for Castle Rock; the Dana Stevens script, "Sylvia," for Castle Rock; and the romantic comedy "When I Close My Eyes" for Fine Line, which was written by "The Wedding Planner" team of Pamela Falk & Michael Ellis.

In the television arena, Ryan and Sadowsky joined forces with Diane Keaton and Blue Relief, Inc. to produce "Northern Lights" for The Disney Channel and Alliance. This family comedy/drama, starring Keaton, premiered in the summer of 1997 on The Disney Channel. Prufrock also teamed with writer Heather Thomas to create the animated half-hour comedy pilot "Quints" for UPN.

Exclusive of her duties at Prufrock, Sadowsky is producing, along with Chris Moore and Sydney Pollack’s Mirage Enterprises, a political thriller based on the life of Carol Howe, which Alexander Seros is scripting for Sony. As a writer, Sadowsky scripted "The Way They Shake," which will be financed by Kinowelt, USA, and co-wrote "The Theory of Relativity," which has been optioned by Propaganda Films for producers Mimi Gitlin and Matthew Davidge.

Prior to joining Prufrock, Sadowsky was an independent producer of such films as "Jumpin’ at the Boneyard" for Lawrence Kasdan and Twentieth Century Fox, which was featured in the Sundance, Montreal and Toronto Film Festivals. An entertainment attorney, Sadowsky previously served as a business affairs executive at Kaufman Astoria Studios and the Shubert Organization, both located in New York. While living in New York, she also served on the Boards of Directors for the innovative legitimate theatre companies Home for the Contemporary Art and David Mamet’s and William H. Macy’s Atlantic Theatre Company.

Beginning in German television production in the 1970s as a producer and director, MORITZ BORMAN (Executive Producer) became a Directing Fellow at the American Film Institute in Los Angeles in 1977. In L.A., Borman segued into producing and directing programs for European television as well as TV commercials for American and European advertising agencies.

Borman produced a number of films between 1984 and 1989, including John Huston’s "Under the Volcano" (special Jury Prize, Cannes Film Festival, and two Academy AwardÒ nominations); "The Lightship" for CBS, starring Robert Duvall and Klaus Maria Brandauer; "Homer and Eddie," starring Whoopi Goldberg and Jim Belushi (First Prize, San Sebastian Film Festival); and "Seven Minutes," starring Brian Dennehy and Klaus Maria Brandauer (outstanding Film of the Year, London Film Festival).

In the 1990s, Borman turned his attention to film financing and the acquisition of film libraries. In 1997, he formed Pacifica Entertainment, a multifaceted Los Angeles based film entertainment company backed by the European production company IMF. IMF/Pacifica has produced such films as "Clay Pigeons," starring Joaquin Phoenix, Vince Vaughn and Janeane Garofalo; "Where the Money Is," starring Paul Newman and Linda Fiorentino; "Nurse Betty," starring Renee Zellweger, Morgan Freeman and Chris Rock; and "The Crow: Salvation," starring Kirsten Dunst, Eric Mabius and Fred Ward.

In early 2000, Borman merged his Pacifica Entertainment with Intermedia Films, headed by Nigel Sinclair and Guy East, to form IM Internationlmedia AG, which has been listed on the Frankfurt Neuer Market stock exchange since May 2000. Intermedia is a diversified entertainment investment company with offices in London, Los Angeles and Munich, that develops, finances and distributes motion pictures in collaboration with leading producing partners.

Borman, East and Sinclair will executive produce major forthcoming titles such as "K-19: The Widowmaker," starring Harrison Ford; "Basic Instinct 2," with Sharon Stone; "Terminator 3," with Arnold Schwarzenegger; "Adaptation," starring Nicolas Cage; and "The Quiet American," starring Brendan Fraser.

PAMELA FALK & MICHAEL ELLIS (Screenwriters) Michael Ellis wanted to be a screenwriter since he was six and saw Charlie Chaplin’s "City Lights." In fact, his third grade teacher wrote "Invite me to your first movie premiere" in his elementary school yearbook. Pamela Falk, on the other hand, had no interest whatsoever in pursuing a career in film. She even attended Philadelphia’s Drexel University to study engineering, but soon discovered she was bored out of her mind. CUT TO:

NYU Undergraduate Film School—Pamela, in a sugar coma after eating two Snickers bars, can’t figure out how to fill out her class registration form. Delirious, she copies the schedule of the guy in front of her and, as fate would have it, that guy turns out to be Michael. As a result, they end up in all the same classes, become best friends, writing partners and finally, boyfriend and girlfriend.

Five years and seven scripts later, they sold their second original screenplay, "The Wedding Planner," but their personal relationship began to die a slow death. Pamela moved out on Tuesday night, but because they were under contract, she was back at Michael’s place on Wednesday morning rewriting scenes about true love, passionate romance and "happily ever after." SLOW DISSOLVE TO:

Michael and Pamela in couples therapy. After a rocky start, it worked—mainly because they were too cheap to pay $150 per session.

"The Wedding Planner" is Michael and Pamela’s first produced script, and it’s beyond a dream come true. And yes, they’re still best friends. Yes, they still argue. And no, they’re never getting back together.

JULIO MACAT (Director of Photography) began his career in the film business at age 19 in his native Argentina under the tutelage of the legendary Mario Tosi, A.S.C., working on short films and commercials.

He soon became focus-puller for John Alcott on the features "The Beastmaster" and "Triumph of a Man Called Horse." Macat next formed an alliance with Russian director Andre Konchalovsky, graduating to camera operator for the films "Runaway Train" and "Shy People" before directing both the second and first camera teams on "Tango & Cash."

Macat has filmed "Crazy in Alabama," all three parts of the "Home Alone" trilogy, as well as "The Nutty Professor," "So I Married an Axe Murderer," "Ace Ventura, Pet Detective," "My Fellow Americans," "Only the Lonely," "Moonlight and Valentino" and "Miracle on 34^th St."

BOB ZIEMBICKI (Production Designer) has designed such projects as "The Skulls," "Dudley Do-Right," "Boogie Nights," "Blast From the Past," "Deadman," "Scream 2," "Dragon: The Bruce Lee Story," "Trapped in Paradise," "Barfly," "29^th Street," "The Waterdance," "Black Magic," "Eat a Bowl of Tea," "End of Summer," "Fires Within," "Wait Until Spring, Bandini," "Dudes," "Chained Heat," "Land of Little Rain" and "Body and Soul."

PAMELA WITHERS (Costume Designer) has designed the clothes on such films as "Me, Myself & Irene," "Nobody’s Baby," "Dude, Where’s My Car?" and the upcoming "Osmosis Jones," as well as the Jennifer Love Hewitt pilot, "Time Of Your Life."

Withers was the assistant costume designer for the features "There’s Something About Mary," "Thick as Thieves" and "Paulie."

LISA ZENO CHURGIN (Editor) most recently received an Academy AwardÒ nomination for "The Cider House Rules." Her additional credits include "200 Cigarettes," "Gattaca," "Dead Man Walking," "Unstrung Heroes," "Reality Bites," "Bob Roberts," "Closetland," "Love at Large" and two episodes of Tom Hanks’ HBO series "From the Earth to the Moon."

Born and raised in New Jersey, Churgin graduated from Oberlin College with a Bachelor of Arts in English. She then moved to New York, where she started her editing career as an assistant to Susan Morse on "The Warriors." She was then an assistant editor on "Raging Bull."

Churgin left the film business from 1982-1984 to earn her MBA from Columbia University.