SuperBad

Production Notes & Credits in English and Spanish & Photos

 

 

   

 

   

 

  

      

In movies and television programs, Judd Apatow has embraced both the outrageous and the emotional. As the writer and director of the feature films Knocked Up and The 40-Year-Old Virgin, the producer of the blockbuster comedies Talladega Nights: The Ballad of Ricky Bobby and Anchorman: The Legend of Ron Burgundy, and the creator of the acclaimed television series “Freaks and Geeks” and “Undeclared,” Apatow has developed a reputation for stories that are equal measures sentimental and unrefined.

The latest film from Apatow as a producer is no exception. Superbad is a coming-of-age cautionary tale about two socially inept teenage boys about to graduate high school. Theirs is a ridiculously dependent friendship—but now, they've gotten into different colleges and are forced to contemplate life apart. Evan (Michael Cera) is sweet, smart, and generally terrified. Seth (Jonah Hill) is foul-mouthed, volatile, and all-consumed with the opposite sex. This is the story of their misguided attempts to approach the objects of their affections in one panic-driven night...that awful, humiliating night you cherish for the rest of your life.

Superbad is directed by Greg Mottola and written by Apatow’s longtime collaborators, Seth Rogen & Evan Goldberg. Apatow first collaborated with Rogen when he was an actor on “Freaks and Geeks”; soon after, Rogen submitted his first screenplay (written with his best friend, Evan Goldberg) to Apatow as a writing sample, and the producer was impressed. That screenplay was Superbad.

Columbia Pictures presents an Apatow Company production, Superbad, starring Jonah Hill, Michael Cera, Seth Rogen, and Bill Hader. Directed by Greg Mottola, the film is produced by Judd Apatow and Shauna Robertson and written by Seth Rogen & Evan Goldberg. The executive producers are Seth Rogen and Evan Goldberg. The director of photography is Russ Alsobrook ASC. The production designer is Chris Spellman. The film is edited by William Kerr. Co-producer is Dara Weintraub. Costume designer is Debra McGuire. Music by Lyle Workman.

Superbad has been rated R by the Motion Picture Association of America for pervasive crude and sexual content, strong language, drinking, some drug use and a fantasy/comic violent image—all involving teens. The film will be released by Columbia Pictures on August 17, 2007.

 

ABOUT THE PRODUCTION

Columbia Pictures’ hilarious new comedy Superbad began in the most unlikely of places: the brains of the then-teenage neophyte screenwriters, Seth Rogen and Evan Goldberg. After watching movies that they felt weren’t accurate (or even funny) portrayals of high school life, Rogen and Goldberg decided to give it a try themselves. Rogen explains, “We tapped into the mind of a desperate high schooler in a way that very few films do.” And why not? After all, the first piece of advice many young writers receive is “write what you know.”

Rogen and Goldberg had written a screenplay with characters inspired by themselves and the people around them—and they went so far as to name the main characters Seth and Evan. The movie focuses on a shared experience, “that one night in which everything that can go wrong goes wrong,” says Jonah Hill, who plays Seth in the film.

“Everything in the movie is just like high school in real life,” says Christopher Mintz-Plasse, the first-time actor plucked from his Los Angeles high school to play a role in Superbad. “I mean, I never got arrested and hung out with the cops, but the parties and guys trying to get with girls—that’s just like everyone’s high school experience. That’s how Seth and Evan wrote it; they wanted it to be realistic.”

Superbad doesn’t have the traditional high school hierarchy that you see in movies,” adds Michael Cera, best-known for his role as George-Michael Bluth on the television series “Arrested Development,” who plays Evan. “Jonah had a good point—high school isn’t divided into the jocks and the losers. You might not be hanging out with the popular girls, but you know them, say hi to them, and are passing friends with them. You slip under the radar.”

Producer Shauna Robertson notes that even though the film represents the universal high school experience, it is also inspired by the experiences of its two writers. “It’s fun to watch Seth and Evan—they wrote this when they were so young, and now, they argue about how things really went down. They have two very distinct images of how their pasts played out, and it’s fun to watch them argue about it.”

A few years after beginning the screenplay, Rogen made his way from Canada to Los Angeles, where—almost immediately—he came under the wing of producer Judd Apatow. “It became clear I wasn’t going to graduate high school, so I needed some kind of avenue of making money for myself,” the writer-actor relates. “I was doing stand-up and decided to try acting when I auditioned for ‘Freaks and Geeks.’” Rogen was cast on that show, and when it ended, he transitioned to both the cast and writing team of Apatow’s next show, “Undeclared.”

It was then that Rogen gave the screenplay to producer Judd Apatow. “At some point during ‘Undeclared,’ Seth said to me, ‘I wrote a script with my friend Evan from Canada. It’s called Superbad. Will you read it?’ I thought it was hilarious, but there weren’t any other movies like it out there.”

Apatow took the opportunity to guide the screenwriters, pumping up the emotion at the center of the outrageous story. “At its heart, Superbad is a movie about being terrified to move on,” he notes. “The characters are terrified to go to different colleges and be apart for the first time. There’s nothing more painful than separating from your high school friends. That’s how you know you’re growing up; you don’t have those people to depend on anymore. That fear and pain turns into an obsession of accomplishing this goal—getting with these girls. To me, that makes this a sweet movie, despite the fact that all of the comedy is really far out.”

Once the movie was on the fast track, finding the director was the first issue of business. Apatow relates, “Greg directed five episodes of ‘Undeclared’—he was always one of our favorite people to work with. Over the years, I’ve always looked for an opportunity to collaborate with him. He was the first person I thought of.”

“I was in a cafe with my wife in Brooklyn, where I live, procrastinating because I was supposed to be writing a script, and my cell phone rang. It was Judd,” remembers Mottola. “‘Hey, Greg, it’s Judd. Remember Superbad? Do you want to do it?’ I tend to be long-winded, so I started to say, ‘Well, you know, actually, it is one of the few scripts I’ve read...’ And Judd’s like, ‘Yeah, fine, okay. I’ll call you in a week. We’re making it.’ He called me in a week and said, ‘Okay, you gotta fly to L.A.’ I didn’t realize it could be that easy. I wasted eight or nine years of my life thinking it was much harder than that.”

Producer Robertson says, “We never considered anyone else and we were thrilled he wanted to do it.”

In fact, Mottola had been familiar with the screenplay for some time. “I went to a reading of Superbad a couple of years earlier. What I liked about it the most was the jokes were behavioral—not just people telling jokes. A lot of it came out of some kind of ridiculous teenage psychology. The fact that it all takes place in one night really appealed to me. That kind of story has a ticking clock.”

With Mottola on board, the filmmakers turned their attention towards casting the film. Obviously, Rogen and Goldberg had written the characters Seth and Evan as extensions of themselves. For Rogen, it once seemed natural that he would play the part that bears his name. “Evan never wanted to be in it and the real Fogell was never interested in acting, but I wanted to play Seth,” he says. Fleeting time stole the opportunity from Rogen. “My inability to look young has destroyed everything,” he says. “The fact is, when I was 16 I looked 30. Now, I look like I’ve been dead for four years.”

Rogen may have taken some comfort in the fact that he proved to be nearly impossible to replace. Mottola explains, “It was difficult to find somebody who had the combination of personality quirks and the hilarity to make that character palatable, tolerable. In the auditions, everyone was a little bit hateful, not through any fault of their own. It’s a very hard character to pull off.”

The search was both exhaustive and exhausting. “I was getting really frustrated,” says Apatow. Then, inspiration struck when Apatow looked around at those closest to him. “At that time I was directing Knocked Up, another film in which Jonah Hill was acting. I was walking with Seth and looked over at Jonah and said, ‘I guess Jonah will do it.’”

The writers did not respond kindly to the suggestion at first. “I was like, ‘Like hell it’s Jonah,’” says Goldberg. “‘He looks 27. You’re all crazy. You’ve all lost your minds.’”

Rogen adds dryly, “Jonah was our dead last choice.”

Robertson explains, “Jonah was just someone we forgot to consider because I don’t like to admit that he’s that young. He’s one of my wisest friends, so I keep forgetting that he’s not a 43-year-old man.”

Hill says, “Judd just looked at me and asked, ‘How young can you play?’ I said, ‘I don’t know. 17 or something.’ And then he asked me if I wanted to play the lead in Superbad.” On the spur of the moment, the actor shot a videotape of himself in the role of Seth. Apatow sent the tape to director Greg Mottola and the chairman of the studio, and that was that. He had the part.

“The minute Jonah opened his mouth on the audition tape, I knew we had the guy,” says Mottola. “I felt really lucky, because I knew I didn’t really have to work that hard. Jonah would make me look good, no matter what.”

“It’s one of those crazy Hollywood stories that you hear sometimes,” says Hill. “You think stuff like that just doesn’t happen and then it happens. I’m lucky.”

“It’s funny—Jonah is only a year or two younger than Seth,” says Apatow. “I don’t know why, but Jonah was able to pull off the illusion of being an eighteen-year-old high school student.”

Casting Evan was a much easier task. “I’d directed a couple of episodes of ‘Arrested Development,’ and was a big fan of Michael Cera,” says Mottola. “I’d seen what he was capable of. That show was filled with a lot of funny, talented people, and Michael completely held his own—sometimes, he was the best in the room.”

Mottola adds that Cera and Hill make a perfect combination: “Michael makes being sweet and dorky incredibly hilarious. Jonah makes being a vulgar loudmouth into something really kind of sweet.”

Cera was the first actor cast and when Jonah fell into the mix, the filmmakers, unaware that the two already knew each other socially, and wanting to make sure they had chemistry, came up with a brilliant idea. “We wanted to force them to spend as much time as possible together,” recalls Robertson. “Judd said to me very early on, ‘Maybe we should make them live in the same apartment together!’” After all, this is a group that is well known for working with their own friends. Robertson explains, “We mostly make these movies to put our friends in awkward situations.”

“We did a lot of rehearsals and read-throughs before shooting,” says Cera. “Jonah and I hung out a lot. It’s kind of funny the way they were trying to plan these hang-out dates for us, when we were already hanging out.”

“There’s something just naturally funny about Michael and I together,” says Hill. “I think Judd put us together because there’s something weird about it. I’m brash and angry, while Michael is quieter, softer.”

Casting the cops was even easier than casting Cera. “As soon as it became clear that I was too bloated to play a high schooler, I thought, ‘Oh, at least I can be one of the cops.’ It was an instantaneous decision,” says Rogen. One cop down, one to go.

To cast the other cop, the filmmakers called on “Saturday Night Live’s” Bill Hader. “Within five minutes of meeting Seth and Evan, we started talking about comic books,” says Hader. “As we realized we were all nerds, Evan said, ‘You know what he’d be really good as? The cop in Superbad.’ I was like, ‘What’s Superbad? Is that some kind of superhero story?’” Once Hader was aboard, he and Rogen began rehearsing and working on their chemistry and the parts were tailored for the two actors.

Finally, there was Fogell. “The Fogell character always ran the danger of just being a stock nerd guy,” Mottola says. “One of the things I’ve always liked about the script is that the character that you assume is going to be the third wheel turns out to have his own entire storyline.”

Story interest aside, Rogen had concerns of his own. “I knew most of my scenes were with the Fogell character. As a selfish actor, I really wanted there to be a funny guy in that role.”

And so the search began. And went on. And on. Robertson, looking back, says “I feel like we saw 500 actors and they all just were great in their own way but really not nailing it.”

Having seen every professional choice available, casting director Alison Jones started to bring in non-pros. “She found some strange Improv Olympics thing that high schools do where they compete with each other,” says Mottola, noting that the results were less than spectacular. “Most of them were just way too green. They just couldn’t handle it.”

Then, towards the end of the day, came Christopher Mintz-Plasse. “Chris was one of the last ones we saw. I remember him leaving the room and Alison and I looking at each other, thinking, ‘That can’t be as good as it seems, can it?’” says Mottola. “Chris was the first person to play him as the arrogant nerd—the guy who thinks he’s Frank Sinatra, even though he looks like Truman Capote. It was hilarious.”

“Chris is one of those wonderful little miracles,” says Apatow. “You’re looking for a hilarious young person, someone hears about your movie, comes in for a short audition and is instantly great; during the shoot, he gets even better than you ever hoped he could have been.”

“I’ve worked with just about everybody in the cast before except for Chris,” adds Robertson. “Chris came into that atmosphere, where everything is very free and loose, and he just knocked it out of the park.”

“I never thought I would act in my life,” says Mintz-Plasse. “My friend found out about the casting call and said, ‘You look like you could fit the part, you should come down with us.’ I went with two of my friends, we auditioned, I got called back three times, and I finally got the part. It was my first audition, my first acting role—the first anything I’ve ever done.

“The first week was really tough,” adds Mintz-Plasse. “I thought I wasn’t funny, that everyone else was funnier than me, that I didn’t know what I was doing. But by the end of that week, I’d gotten the hang of it and was comfortable.”

Michael Cera says that Mintz-Plasse needn’t have worried about being funny. “It took them so long to find Fogell—they had to find just the right guy. They narrowed it down to a final eight and Chris was the last one and really funny. They took a risk and we’re lucky to have him.”

“It’s weird to say that Seth Rogen and Jonah Hill are my friends now—just a few months ago I was just a regular kid,” Mintz-Plasse continues. “I’m still a regular kid, but my friends and I are all huge fans of The 40-Year-Old Virgin—it’s hilarious—and now, I’m in a movie with those guys. As we were finishing filming on Superbad, I was just so sad. This was the best experience of my life, and it was going to end and I’d go back to my high school and my regular life. Hopefully, they’ll be able to use me for more movies—we’ll see.”

Casting Mintz-Plasse also provided Michael Cera the opportunity to pass on a torch, of sorts. “Superbad is the first show I’ve ever worked on where I haven’t had to go to school on set—I’m 18 now,” he says. “I did that for nine years, and it was really nice to watch Chris go. He was extremely put off about it, but too bad, man. That’s show business.”

Rounding out the cast are of the objects of the guys’ affections: Becca is played by Martha MacIsaac and Jules is brought to life by Emma Stone. Mottola says that he wanted to bring an element of realism to the girls. “Neither of them are the bland blonde girl that the teen guys are chasing after,” he says. “They’re both real, young women in the real world and very different from each other.”

At the end of the day, Robertson says, the friendly atmosphere amongst the filmmakers and cast was infectious. “Superbad is really a group of friends making a movie about a group of friends,” she says.

 

HOW TO BE SUPERBAD

“Even though it’s not really necessary for the movie, I thought it would be really funny to train the guys how to shoot guns,” Robertson says. “It was good excuse for us all to go to a gun range, which I’d always wanted to do.” So, Rogen, Goldberg, Hill, Mintz-Plasse, Hader, and Robertson shuttled off to a local gun range for a little research. “And then it was not so fun,” she goes on. “We quickly settled into two groups: those of us who really enjoyed shooting, and then there was the other group.” Which was not so much a group as it was Robertson and Bill Hader. “Bill and I were really scared and sat in the van the whole time. We shot a few guns and got the hell out of there. But Seth and Jonah and Chris loved it.”

The experience proved useful when it came time to shoot the big scene in which the cops, with the help of Fogell, shoot their own squad car. “That was maybe the greatest night of shooting of my entire life,” Rogen enthuses. “It was terrifying standing next to Chris as he was holding a live firearm and shooting at a flaming police car. On the other hand, I got to throw a flaming Molotov cocktail and we got to be put on the back of this crazy rig that spun us around. I didn’t throw up. To me, that’s a successful day of shooting.”

Although Hader didn’t really find much use for the gun range, he did have a little fun on set. “I got to pull a gun on Michael Cera and Jonah Hill, and that was awful—they looked so scared,” he laughs. “It was a real gun and poor Michael Cera, especially, just completely freaked out.”

For his part, Cera remembers the night a little differently. “When Bill pulls a gun on us for no reason—it’s one of my favorite moments of the movie.” In the film, moments later, his character sprints off into the dark. “They didn’t offer me a stunt runner. I think you have to request one, which I am not ashamed to do. There’s no shame in that.”

Perhaps that was a call Cera should have made. “It’s remarkable how funny just the image of Michael Cera running is,” enthuses Goldberg.

Hader marks another event as his personal highlight of the shoot: “Seth dancing as a cop is one of the funniest things I’ve ever seen in my life, but still not as funny as Michael Cera dancing.”

Shooting the film digitally allowed the actors an unusual amount of creative freedom to ad-lib and find the funny moments. “There was one day that Bill and I did a 16-minute take,” says Rogen. “For driving scenes, you usually have to stop every eight minutes to reload the camera. Instead, we just drove around for 45 minutes and did the scene over and over again.”

Jonah Hill was similarly notorious for stretching his scenes. “I always make fun of Jonah for his long takes,” says Shauna Robertson. “Shooting digitally, he had the freedom to do whatever he wanted—he had one take that was 21 minutes long. There’s really no limit. Over the course of the shoot, we learned to moderate ourselves and not go crazy just because we could.”

As freeing as improvisation is for the actors, the method is difficult for the director. “It becomes very technical,” says Mottola. “It impacts the shooting—where you put the camera and how much you can move the camera. You need options, so that you can reshape scenes after the filming is over. You need to know that the shots will cut together, that you won’t be missing important bits of information.”

 

THE SUPERBAD CAST

In the short time since he debuted his penchant for dramatic comedy with the one-scene plays he wrote and performed at the gritty Black & White bar in New York City, JONAH HILL (Seth) has already worked alongside many of the most sought-after actors, directors, and producers in Hollywood. His first feature film was I Heart Huckabees with Dustin Hoffman and Lilly Tomlin for director David O. Russell. He then secured small roles in Judd Apatow’s summer comedy hit The 40-Year-Old Virgin with Steve Carell and in Adam Sandler’s Click.

Hill can currently be seen in the hit summer comedy Knocked Up from Judd Apatow and Universal Pictures. The film stars Hill alongside Seth Rogen, Katherine Heigl, Paul Rudd, and Leslie Mann. When their friend (Rogen) gets a girl (Heigl) pregnant after a drunken night at the bar, the rest of the group struggles along with him to determine how a baby will fit into their fraternity-esque lifestyle. Hill can also be seen in Evan Almighty, the follow-up to Bruce Almighty, with Steve Carell reviving his role as Evan Baxter—now a newly appointed Congressman in Washington, D.C. Hill plays Eugene, one of Baxter’s aids, alongside Wanda Sykes and John Michael Higgins.

Hill is also writing a project for Apatow Productions, in which he is also set to star. The comedy, entitled The Middle Child, centers on a teenager (Hill) who finds out that his parents gave up a child for adoption before he was born. When the son returns, he seemingly becomes the new family favorite while Hill’s character must acclimate to his new position as the “middle child.”

He will also appear in two upcoming projects. The first, Strange Wildnerness, will be released by Paramount in January of 2008, and co-stars Steve Zahn, Justin Long, and Ashley Scott. One Part Sugar stars Hill as a confused teenager who turns to a life of buying and selling drugs when he finds out the father who raised him (Dylan Walsh) is not his biological father.

Previously, Hill was seen in Accepted with friend and co-star Justin Long. He was also featured in the independent film 10 Items or Less starring Morgan Freeman for director Brad Silberling, and in Grandma’s Boy for Twentieth Century Fox and Happy Madison Productions. He also had a recurring role in the improvisational television series “Campus Ladies,” a comedy from executive producer Cheryl Hines and the co-executive producers of “Reno 911.”

 

Probably best known for his portrayal of George-Michael Bluth in the Emmy Award-winning Fox series “Arrested Development,” MICHAEL CERA (Evan) began acting at the tender age of nine.

In motion pictures, Cera will next star opposite Jack Black in a Judd Apatow-produced comedy to be directed by Harold Ramis. He recently completed production on Juno for Mandate Pictures and director Jason Reitman. He will also be seen in the independent comedy Parental Guidance Suggested. Cera starred as a young Chuck Barris in George Clooney’s Confessions of a Dangerous Mind, and Frequency with Dennis Quaid.

His television credits include “Tim and Eric Awesome Show, Great Job,” “Tom Goes to the Mayor,” regular roles on the ABC Family series “I Was a Sixth Grade Alien,” and Fox’s “The Grubbs;” a guest starring role in the CW’s popular “Veronica Mars,” the telefilms “Custody of the Heart,” “Familiar Stranger,” and “Walter and Harry,” as well as the award-winning telefilm “My Louisiana Sky.”

Cera recently launched a web based series at www.clarkandmichael.com. Entitled “Clark and Michael,” Cera co-wrote, directed, produced, and stars in the series with Clark Duke.

 

SETH ROGEN (Officer Michaels) most recently starred in and executive produced Judd Apatow’s smash hit Knocked Up, which has taken in over $140 million at the box office. Rogen recently completed production in the action/comedy Pineapple Express, which he co-wrote and executive produces with his Superbad writing partner Evan Goldberg, for producer Judd Apatow. The film also stars James Franco, Danny McBride, and Rosie Perez, and it will be released next summer.

Other credits include You, Me and Dupree, Donny Darko, Anchorman: The Legend of Ron Burgundy, and The 40-Year-Old Virgin, which he also co-produced.

Rogen also lent his voice to the smash hit animated feature Shrek the Third. He will also voice roles in the upcoming Kung Fu Panda, Horton Hears a Who, and The Spiderwick Chronicles.

Rogen began his career in stand-up comedy at the age of 13 in Vancouver. In his late teens, he moved to Los Angeles, where he tried out for and was cast in Judd Apatow’s critically acclaimed comedy, “Freaks and Geeks.” When that show ended, Apatow invited Rogen to become part of his new show, “Undeclared,” as both a writer and an actor.

 

BILL HADER (Officer Slater) is a cast member on NBC’s venerable comedy institution “Saturday Night Live.” He will return this fall for his third season with the show.

Hader has a full slate of film work in the summer of 2007 that began with a role in Judd Apatow’s box-office hit and critically acclaimed Knocked Up. Next up for Hader will be a role with SNL cast mates Will Forte and Kristen Wiig in The Brothers Solomon, directed by Bob Odenkirk, to be released in September.

Hader is currently in production on the upcoming feature Tropic Thunder with Jack Black, Robert Downey Jr., Danny McBride, and Ben Stiller, who is directing the film as well.

Prior to beginning work on Tropic Thunder, Hader completed a role in producer Judd Apatow’s Pineapple Express, directed by David Gordon Green. †The film also finds him sharing the screen with Rogen and McBride.

Originally from Tulsa, Oklahoma, Hader made an early splash on “SNL,” debuting his uncanny impressions, including most notably, Al Pacino and Vincent Price (hosting macabre holiday specials).†

A Second City Los Angeles alum, Hader currently lives in New York with his wife, filmmaker Maggie Carey.

 

CHRISTOPHER MINTZ-PLASSE (Fogell) marks his first professional acting job with Superbad. Born and raised in Southern California, Mintz-Plasse was discovered through the Comedy-Sports Club, in which he has been active during his last two years in high school.

 

THE SUPERBAD FILMMAKERS

GREG MOTTOLA (Director) is the writer and director of the movie The Daytrippers (1997), starring Hope Davis, Parker Posey, Liev Schreiber, Anne Meara, Campbell Scott, and Stanley Tucci. The Daytrippers was chosen for the Cannes Film Festival and Toronto International Film Festival, and it was awarded the audience and jury prizes at the Deauville Festival of American Films. Mottola went on to team with Judd Apatow and Seth Rogen as the director of several episodes of the Fox television series "Undeclared.” He has also directed episodes of "Arrested Development" and HBO's "The Comeback.”

Greg attended graduate film school at Columbia University, where he studied with Sidney Lumet, David Mamet, and George Roy Hill. He has also acted—not particularly well, he says—in the Woody Allen movies Celebrity and Hollywood Ending. Mottola hopes some day to have a better bio.

 

SETH ROGEN & EVAN GOLDBERG (Screenwriters, Executive Producers) grew up in Vancouver, British Columbia together and wrote their first screenplay, Superbad, when they were 13 years old.

After moving to Los Angeles, Rogen served as a staff writer on Judd Apatow’s television series “Undeclared.” †The duo went on to write for Sacha Baron Cohen’s cult hit “Da Ali G Show,” as well as the feature film Pineapple Express, which the pair also executive produce. In addition, Rogen penned the upcoming Owen Wilson comedy Drillbit Taylor, directed by Steven Brill.

Rogen served as co-producer on Apatow’s sleeper hit The 40-Year-Old-Virgin, and executive produced, along with Goldberg, Apatow’s blockbuster hit Knocked Up, starring Rogen, Katherine Heigl, Leslie Mann, and Paul Rudd.

JUDD APATOW (Producer) made his feature directorial debut with the 2005 summer box-office smash The 40-Year-Old Virgin starring Steve Carell. †He followed up with the blockbuster comedy Knocked Up, starring Katherine Heigl, Seth Rogen, Leslie Mann and Paul Rudd; Apatow also wrote and produced the film, which has gone on to take in over $140 million at the U.S. box office. Apatow has several films slated for release from Columbia Pictures, including Walk Hard—The Dewey Cox Story, which Apatow is co-writing with director Jake Kasdan and producing; Pineapple Express, produced by Apatow and for which he teamed on the story with screenwriters Seth Rogen & Evan Goldberg; Step Brothers, which he is producing, starring Will Ferrell and John C. Reilly; and You Don’t Mess with the Zohan, which Apatow is co-writing with Adam Sandler and Robert Smigel. He is also producing Drillbit Taylor and Forgetting Sarah Marshall, both set for release next spring.

Apatow also produced last summer’s hit Talladega Nights: The Ballad of Ricky Bobby, starring Will Ferrell, and executive produced the independent film The TV Set, a scathingly funny look at the television industry starring David Duchovny and Sigourney Weaver. Prior to that, he produced the hit DreamWorks comedy Anchorman: The Legend of Ron Burgundy, also starring Ferrell, Christina Applegate, and Paul Rudd.

Considered one of the most sought after comedy writers in the business, Apatow recently co-wrote the screenplay for the remake of Fun with Dick and Jane, starring Jim Carrey and TÈa Leoni. †He made his feature film debut as a co-writer and executive producer on the comedy Heavyweights. †He also served as a producer on the dark comedy The Cable Guy, directed by Ben Stiller and starring Jim Carrey and Matthew Broderick.

Apatow is perhaps best recognized for his work as a producer and a writer on some of the most acclaimed television shows in recent years. †He served as an executive producer of the critically praised, award-winning series “Freaks and Geeks,” which debuted in the 1999-2000 season. †He also wrote and directed several episodes of the series, which, while no longer on the air, still maintains a following and was recently released on DVD. †He also created and executive-produced the series “Undeclared,” which will be released on video August 16. †“Undeclared,” about college freshmen, was named one of Time magazine’s Ten Best Shows of 2001. † †

Apatow previously worked as a writer, director, and producer on the award-winning and widely acclaimed series “The Larry Sanders Show,” starring Garry Shandling. †For his work on the show, he earned an Emmy nomination for Outstanding Writing for a Comedy Series and received five consecutive Emmy Award nominations for Outstanding Comedy Series. †In addition, “The Larry Sanders Show” brought Apatow two Cable ACE Awards for Best Comedy Series and a Writers Guild of America Award nomination. †

Born in Syosset, New York, Apatow aspired to become a professional comedian at an early age. †While still in high school, he created a radio show and began interviewing comedy personalities he admired, including Steve Allen, Howard Stern, and John Candy. †Some of his interviewees also included such then-unknowns as Jay Leno, Jerry Seinfeld, and Garry Shandling. †Inspired, he began performing his own standup routines by the end of his senior year.

Following an appearance on HBO’s Young Comedians special, Apatow eventually stopped performing in favor of writing. †He wrote for the Grammy Awards, as well as cable specials for Roseanne and Jim Carrey, before going on to co-create and executive-produce “The Ben Stiller Show.” †Although the critically acclaimed show was canceled after only 12 episodes, it brought Apatow an Emmy Award for Outstanding Individual Achievement in Writing in a Variety or Music Program. †Fresh from his Emmy win, Apatow joined “The Larry Sanders Show” in 1993 as a writer and consulting producer, and would later serve as a co-executive producer for the show’s final season.

SHAUNA ROBERTSON (Producer) is currently shooting Forgetting Sarah Marshall for Universal in Hawaii. The film stars Jason Segel, Mila Kunis, Kristen Bell, and Russell Brand, as well as a slew of Apatow regulars in cameo roles.

She recently completed principal photography on Pineapple Express for Sony. Written by Seth Rogen & Evan Goldberg, the film is directed by David Gordon Green and stars Rogen, James Franco, and Danny McBride.

Most recently in theaters is Knocked Up with writer-director-producer Judd Apatow for Universal pictures. The film, starring Seth Rogen, Katherine Heigl, Leslie Mann, and Paul Rudd, was released to great critical acclaim and has gone on to take in more than $140 million at the box office.

Previously, Robertson produced the summer breakout smash The 40-Year-Old Virgin. The film garnered more than $100 million in the domestic box office. Prior to that, she executive-produced the box office hit Anchorman: The Legend of Ron Burgundy. The Will Ferrell comedy, which was produced for under $25 million, went on to gross over $85 million domestically.

In another successful teaming with Ferrell, Robertson produced the surprise smash Christmas hit Elf, directed by Jon Favreau.

She also served as a co-producer on Jay Roach’s Meet the Parents, starring Ben Stiller and Robert De Niro. In 1997, Robertson partnered with Roach to form Everyman Pictures. Under the Everyman banner, she worked on such notable film projects as the mega-hit comedy Austin Powers: International Man of Mystery and its blockbuster sequel Austin Powers: The Spy Who Shagged Me, as well as Mystery, Alaska and the adaptation of Douglas Adams’ novel The Hitchhiker’s Guide to the Galaxy.

RUSS ALSOBROOK ASC (Director of Photography) first crossed paths with Judd Apatow when he shot several episodes of the critically acclaimed “The Ben Stiller Show” in the early 1990s. The two teamed again for Apatow’s “Freaks and Geeks” and “Undeclared.”

Other television series credits include the ABC one-hour drama “Dragnet,” starring Ed O’Neill, Alicia Silverstone’s series “Miss Match,” the Disney Channel hit “Lizzie Maguire,” HBO’s current hit “Big Love,” starring Bill Paxton and Jeanne Tripplehorn, and ABC’s “What About Brian?”

In motion pictures, Alsobrook worked with director Mike Binder on Man About Town, starring Ben Affleck, and Reign Over Me, starring Adam Sandler and Don Cheadle.

Alsobook also lensed several movies for television, including “The Shaggy Dog,” “The Computer Wore Tennis Shoes,” “Escape to Witch Mountain,” and “Freaky Friday.”

 

Superbad is CHRIS SPELLMAN’S (Production Designer) second assignment as production designer, having previously designed the live-action portion of The SpongeBob SquarePants Movie.

Spellman’s credits as a set decorator include Joel and Ethan Coen films The Man Who Wasn’t There and The Big Lebowski, Robert Altman’s Dr. T and the Women, and Paul Thomas Anderson’s Magnolia.

Other credits as set decorator include Albert Brooks’ Looking for Comedy in the Muslim World, as well as Daddy Day Care and Holy Man, both starring Eddie Murphy; Anger Management, with Adam Sandler and Jack Nicholson, Jake Kasdan’s Orange County, October Sky, Grosse Point Blank, The Indian in the Cupboard, and Michael Mann’s The Insider.

In addition to Superbad, Spellman worked with Judd Apatow on the television series “Freaks and Geeks” and “Undeclared,” as well as the feature films Knocked Up and Heavyweights. Spellman is currently at work on the Apatow-produced film Pineapple Express.

Born in New Orleans, Spellman moved to Los Angeles after college. There, he met production designer Dennis Gassner and set decorator Nancy Haigh, who served as his mentors.

 

WILLIAM KERR (Editor) most recently cut Curtis Hanson's drama Lucky You staring Eric Bana, Drew Barrymore, and Robert Duvall. Previously, Kerr edited the Ben Stiller-Jennifer Aniston hit Along Came Polly, as well as Undercover Brother, Nutty Professor II: The Klumps, starring Eddie Murphy, and the cult comedy hit Tommy Boy.

Kerr first worked with Judd Apatow on Apatow's first writing job, an HBO comedy special with Tom Arnold and Roseanne Barr. They have re-teamed on many projects including the television series "Undeclared.”

 

Among DEBRA MCGUIRE’S (Costume Designer) many accomplishments as a costume and fashion designer she is best known for her ten-year run on the hit show “Friends.”

In motion pictures, McGuire most recently completed designing Knocked Up for Judd Apatow, Shades of Ray, and the upcoming Al Pacino feature 88 Minutes. She is currently working on Walk Hard, also produced by Apatow and directed by Jake Kasdan.

In addition, McGuire designs the NBC hit “Heroes,” and continues her six-year run on NBC’s “Crossing Jordan.”

Other film credits include Kasdan’s The TV Set and Orange County, as well as The 40-Year-Old-Virgin, Anchorman: The Legend of Ron Burgundy, and Just Married.

In television, McGuire’s previous credits include “What About Brian?,” “Undeclared,” “Freaks and Geeks,” and “Veronica’s Closet.”

McGuire also has an atelier located on trendy Ocean Avenue in Santa Monica, California, and in 2003 launched Style Maker on the Home Shopping Network, a lifestyle label that includes jewelry, apparel, shoes, and handbags. In 2005 she began a clothing line designed for HSE Germany and the European market.

 

LYLE WORKMAN (Music) was born and raised in San Jose, California. Largely self-taught, Workman began playing guitar as a child, copying Beatles songs and popular music from the radio. By emulating such greats as Hendrix, Alvin Lee and Pete Townsend, he further developed his proficiency and later delved into progressive rock and fusion jazz; while at college he studied music theory and composition. Committed to a career in music, he began playing in a variety of local bands.

Workman's break into professional music came when he joined Bourgeois Tagg, who recorded two records for Island Records in 1986 and 1987, including “Yo-Yo,” produced by Todd Rundgren. Reflecting Lyle's earliest influences were the Beatlesesque pop strains of "I Don't Mind at All," Bourgeois Tagg's hit single co-written by Workman and band co-founder Brent Bourgeois. This propelled the group into the international spotlight with concerts throughout North America and Europe. Television appearances and music videos followed on such programs as “The Tonight Show,” “American Bandstand,” “Top of the Pops,” MTV, and Much Music.

After Bourgeois Tagg disbanded in 1989, Workman (along with fellow Tagg members) recorded and toured as part of Todd Rundgren's band. This lineup yielded the recording of "Nearly Human" and "Second Wind." During this period, Workman began to write instrumental music and assumed the title of musician, composer, arranger, engineer and producer for his premiere solo project, “Purple Passages,” released by Immune Records, which was dubbed "possibly the best guitar album of the year" by Guitar Shop Magazine.

Back to pursuing new musical adventures in the pop field, Workman hooked up with the group Jellyfish, who brought his guitar work onboard for the recording of “Spilt Milk,” released in 1993. Shortly afterwards, Workman teamed with ex-Pixies frontman Frank Black for the recording of “Teenager of the Year,” and as a member of Frank Black and the Catholics, toured and recorded through the summer of 1998. During that period, jazz great Tony Williams brought Workman in the studio and recorded one of Workman's pieces for his record “Wilderness.” After temporarily leaving the road to concentrate on composing and working at home in Los Angeles, Workman finished his second instrumental project “Tabula Rasa” and in late 1999, his love for live performing brought him back onstage, playing guitar with pop artist Beck. After playing guitar on numerous recording sessions for television commercials, Workman began composing music for TV spots for Nike, Reebok, Miller, Sears, Hanes, FX, and A&E, to name a few. He co-composed the score of Made, the feature film written, directed by and starring Jon Favreau, and composed the music for “Dinner for Five,” a show created by Favreau for the Independent Film Channel. His work has been recognized by Shoot magazine's Top 10 Spot Tracks.

Workman previously collaborated with Judd Apatow in providing the score to The 40-Year-Old Virgin.

“ACADEMY AWARDÆ” and “OSCARÆ” are the registered trademarks and service marks of the Academy of Motion Picture Arts and Sciences.

 

 

 

Dentro del cine y la televisiÛn, Judd Apatow ha abrazado tanto lo desopilante como lo emocional. En su car·cter de escritor y director de los largometrajes Knocked Up y The 40-Year-Old Virgin, el productor de las taquilleras comedias Talladega Nights: The Ballad of Ricky Bobby y Anchorman: The Legend of Ron Burgundy, y el creador de las aclamadas series televisivas “Freaks and Geeks” y “Undeclared,” Apatow ha desarrollado una reputaciÛn de crear historias que contienen iguale cantidad de locura y sentimiento.

Y casualmente, la ·ltima pelÌcula de Apatow como productor no es una excepciÛn. Superbad es un relato sobre el paso hacia la adultez de dos inadaptados sociales adolescentes quienes est·n a punto de graduarse del colegio. Existe entre ambos, una relaciÛn de amistad ridÌculamente dependiente —pero ahora, han entrado a universidades diferentes y se ven forzados a enfrentar la vida cada uno por su lado. Evan (Michael Cera) es dulce, inteligente y casi todo el tiempo se encuentra aterrado. Seth (Jonah Hill) es grosero, vol·til, y est· completamente obsesionado con el sexo opuesto. …sta es la historia de sus fallidos intentos por acercarse al objeto de sus deseos en una noche cargada de p·nico…esa terrible y humillante noche que guardar·s con cariÒo por el resto de tu vida.

Superbad es dirigida por Greg Mottola y escrita por los colaboradores de siempre de Apatow, Seth Rogen & Evan Goldberg. Apatow colaborÛ por primera vez con Rogen cuando este era actor en “Freaks and Geeks”; poco tiempo despuÈs, Rogen le entregÛ su primer guiÛn (escrito junto a su mejor amigo, Evan Goldberg) a Apatow como una muestra de trabajo, y el productor quedÛ impresionado. Ese guiÛn era Superbad.

Columbia Pictures presenta Superbad, una producciÛn de Apatow Company, protagonizada por Jonah Hill, Michael Cera, Seth Rogen, y Bill Hader. Dirigida por Greg Mottola, esta pelÌcula es producida por Judd Apatow y Shauna Robertson y escrita por Seth Rogen & Evan Goldberg. Los productores ejecutivos son Seth Rogen y Evan Goldberg. El director de fotografÌa es Russ Alsobrook ASC. El diseÒador de producciÛn es Chris Spellman. La pelÌcula es editada por William Kerr. La co-productora es Dara Weintraub. La diseÒadora de vestuario es Debra McGuire. La m·sica es de Lyle Workman.

Superbad ha sido clasificada R por la Motion Picture Association of America por contenido sexual crudo y penetrante, lenguaje fuerte, bebidas, algo de uso de drogas y una imagen fant·stica/cÛmica violenta—todo esto con la presencia de adolescentes. La pelÌcula ser· estrenada por Columbia Pictures el 17 de Agosto del 2007.

 

SOBRE LA PRODUCCI”N

La hilarante nueva comedia de Columbia Pictures Superbad comenzÛ en el lugar menos esperado: los cerebros de los neÛfitos adolescentes guionistas, Seth Rogen y Evan Goldberg. Luego de ver gran cantidad de pelÌculas que ellos sentÌan no eran correctas (o graciosas) en lo referente a la vida durante la secundaria, Rogen y Goldberg decidieron intentarlo por su cuenta. Explica Rogen, “Nos introdujimos a la mente de un desesperado adolescente de un modo que muy pocas pelÌculas han probado con anterioridad.” Y por quÈ no? despuÈs de todo, el primer consejo que reciben muchos jÛvenes escritores es “escribe sobre lo que conoces.”

Rogen y Goldberg habÌan escrito un guiÛn con personajes inspirados en ellos mismos y en la gente que los rodeaba—y llegaron hasta el punto de llamar a los personajes principales Seth y Evan. La pelÌcula se centra en una experiencia compartida, “esa noche en la cual todo lo que puede llegar a salir mal, sale mal,” cuenta Jonah Hill, quien interpreta a Seth en la pelÌcula.

“Todo en la pelÌcula es exactamente como es en la vida real dentro de la secundaria,” cuenta Christopher Mintz-Plasse, el novato que fue arrancado de su secundaria en Los ¡ngeles, para interpretar un papel en Superbad. “Quiero decir, nunca me arrestaron, pero las fiestas y los chicos tratando de “pescar” a las chicas—esa es una experiencia que todos tienen en la secundaria. Y de esa forma es que Seth y Evan la escribieron; querÌan que fuese real.”

Superbad no tiene esa jerarquÌa tradicional de una secundaria, que uno suele ver en las pelÌculas,” agrega Michael Cera, mejor conocido por su papel como George-Michael Bluth dentro de la serie televisiva “Arrested Development,” que interpreta a Evan. “Jonah tenÌa un buen punto de vista—la secundaria no est· dividida por los ganadores y perdedores. Tal vez no estÈs andando con las chicas m·s populares, pero las conoces, les dices hola, y tienes amigos en com·n. Pasas desapercibido por el radar.”

La productora Shauna Robertson destaca que aunque la pelÌcula representa la experiencia universal de la secundaria, est· tambiÈn inspirada en las experiencias de sus dos escritores. “Es divertido verlos a Seth y a Evan (escribieron esto cuando eran jÛvenes) y ahora, discuten sobre cÛmo realmente sucedieron las cosas. Ambos tienen dos visiones muy distintas de como se desarrollÛ el pasado, y es gracioso verlos discutir sobre eso.”

Unos cuantos aÒos despuÈs de comenzar el guiÛn, Rogen se mudÛ de Canad· a Los ¡ngeles, donde—casi de inmediato—pasÛ a estar bajo la tutela de Judd Apatow. “Se volviÛ muy claro que no me iba a graduar de bachiller, asÌ que tenÌa que encontrar una manera de ganarme la vida,” relata el escritor-actor. “Estaba haciendo pequeÒas presentaciones cuando decidÌ probar la actuaciÛn y audicionar para ‘Freaks and Geeks.’” Rogen fue seleccionado para ese programa, y cuando este finalizÛ, hizo la transiciÛn tanto al equipo de escritura como al elenco del siguiente programa de Apatow, “Undeclared.”

Fue ahÌ que Rogen le dio el guiÛn al productor Judd Apatow. “En alg·n momento durante ‘Undeclared,’ Seth me dijo, ‘EscribÌ un guiÛn con mi amigo Evan de Canad·. Se llama Superbad. øTe animas a leerlo?’ Me pareciÛ hilarante, pero no habÌan otras pelÌculas como esta circulando afuera.”

Apatow tomÛ la oportunidad de guiar a los dos guionistas, elevando la emociÛn en el corazÛn de la desopilante historia. “En su centro, Superbad es una pelÌcula sobre estar aterrado en continuar el camino,” destaca. “Los personajes est·n aterrados de tener que ir a universidades diferentes y quedar separados por primera vez. No hay nada m·s doloroso que esa separaciÛn de tus amigos de la secundaria. AhÌ es cuando sabes que est·s creciendo; ya no puedes depender de esa gente. Ese miedo y dolor se transforma en esta obsesiÛn por conseguir esta meta — lograr estar con estas chicas. Para mÌ, eso hace Èsta una pelÌcula dulce, a pesar del hecho de que toda la comedia realmente va un poco m·s all·.”

Una vez que el proyecto pelÌcula ya estaba en marcha, encontrar el director era el primer asunto a tener en cuenta. Apatow relata, “Greg dirigiÛ cinco episodios de ‘Undeclared’—Èl siempre fue una de nuestras primeras opciones para el trabajo. Durante los aÒos, siempre he estado buscando una oportunidad para colaborar con Èl. Fue la primera persona en la que pensÈ.”

“Me encontraba con mi esposa en un cafÈ en Brooklyn, que es donde vivo, dejando el tiempo pasar ya que se suponÌa que debÌa estar escribiendo un guiÛn, y mi celular sonÛ. Era Judd,” recuerda Mottola. “‘Oye, Greg, soy Judd. Te acuerdas de Superbad? Quieres hacerla?’ suelo ser medio prolijo, asÌ que empecÈ a decirle, ‘Bueno, sabes, de hecho es uno de los pocos guiones que lleguÈ a leer...’ Y Judd me respondiÛ algo como, ‘Si, bueno, okay. Te llamo en una semana. La estamos haciendo.’ Me llamÛ luego de una semana y me dijo, ‘Okay, tienes que volar a L.A.’ No me di cuenta que podÌa ser asÌ de f·cil. DesperdiciÈ ocho o nueve aÒos de mi vida pensando que era mucho m·s difÌcil que eso.”

La productora Robertson dice, “Nunca pensamos en otra persona y nos entusiasmÛ que Èl quisiese hacerla.”

De hecho, Mottola ya estaba familiarizado con el guiÛn hacÌa un tiempo. “Fui a una lectura de Superbad hace un par de aÒos. Lo que m·s me gusto fue que los chistes eran sobre comportamientos—no solo personas contando chistes. Mucho de ese humor saliÛ de esa especie de ridÌcula psicologÌa adolescente. El hecho que todo se desarrollase en una noche realmente me atraÌa mucho. Ese tipo de historias tiene un timing preciso.”

Con Mottola ya abordo, los realizadores se enfocaron en elegir el elenco. Obviamente, Rogen y Goldberg habÌan escrito los personajes Seth y Evan como extensiones de ellos mismos. A Rogen le parecÌa de lo m·s natural tomar la decisiÛn de interpretar la parte que llevaba su nombre. “Evan nunca quiso estar en ella y el verdadero Fogell nunca estuvo interesado en actuar, pero yo querÌa interpretar a Seth,” cuenta. El paso del tiempo le robÛ la oportunidad a Rogen. “Mi falta de habilidad para verme otra vez joven ha destruido todo,” dice. “El hecho es que cuando tenÌa 16 parecÌa de 30. Ahora, me veo como si hubiese estado muerto durante cuatro aÒos.”

Rogen puede que se haya sentido mejor por el hecho de que demostrÛ ser casi irremplazable para el papel. Explica Mottola, “Era muy difÌcil encontrar a alguien que tuviese esa combinaciÛn hilarante y esa singular personalidad que lograse hacer del personaje alguien aceptable, tolerable. En las audiciones, todos eran un poco odiosos, no por culpa de ellos. Es realmente un personaje muy difÌcil de interpretar.”

La b·squeda fue al mismo tiempo exhaustiva y extenuante. “Realmente estaba llegando a un punto de frustraciÛn,” cuenta Apatow. Luego, la inspiraciÛn golpeÛ a la puerta cuando Apatow comenzÛ a mirar hacia aquellos a quienes tenÌa m·s cerca. “En ese momento me encontraba dirigiendo Knocked Up, otra pelÌcula en la que se encontraba actuando Jonah Hill. Estaba caminando junto a Seth cuando lo vi a Jonah y dije, ‘Bueno, supongo que Jonah serÌa una buena opciÛn.’”

Inicialmente los escritores no respondieron de manera amable a la sugerencia. “Yo estaba como, ‘Ni muerto va a ser Jonah,’” cuenta Goldberg. “‘Parece de 27. Est·n todos locos. A todos se les safÛ un tornillo.’”

Rogen agrega secamente, “Jonah era nuestra verdadera ·ltima opciÛn.”

Robertson explica, “Jonah fue alguien a quien simplemente nos olvidamos de tener en cuenta debido a que no me gusta admitir que Èl es asÌ de joven. Es uno de mis amigos m·s sabios, asÌ que siempre me olvido que no es un hombre de 43 aÒos.”

Dice Hill, “Judd simplemente me mirÛ y preguntÛ, ‘Que tan joven puedes aparentar en la pantalla?’ Y le dije, ‘No se. 17 o por ahÌ.’ Y luego me preguntÛ si querÌa el papel protagÛnico en Superbad.” Con la viada del momento, el actor filmÛ una cinta de Èl en el rol de Seth. Apatow enviÛ la cinta al director Greg Mottola y al presidente del estudio, y eso fue todo. El papel era suyo.

“Al minuto que Jonah abriÛ su boca para hablar en la cinta, sabÌa que era la persona correcta,” cuenta Mottola. “Me sentÌ con mucha suerte, debido a que sabÌa que no iba a ser necesario que trabajase tan duro, Jonah me harÌa quedar bien, sin importar las dificultades.”

“Es una de esas locas historias que a veces escuchas de Hollywood,” cuenta Hill. “Piensas que en verdad cosas asÌ no pasan y luego va y te pasa. Tengo suerte.”

“Es gracioso—Jonah es solo un aÒo o dos menor que Seth,” cuenta Apatow. “No se por que, pero Jonah fue capaz de crear la ilusiÛn de ser un estudiante de dieciocho aÒos de la secundaria.”

El elegir a Evan fue mucho m·s f·cil. “Yo habÌa dirigido un par de episodios de ‘Arrested Development,’ y era un gran fan de Michael Cera,” cuenta Mottola. “HabÌa visto de lo que era capaz. Ese programa estuvo lleno de un montÛn de gente talentosa y muy graciosa, y Michael se daba su lugar—a veces, era el mejor en el cuarto.”

Mottola agrega que Cera y Hill crean una perfecta combinaciÛn: “Michael hace que el ser dulce y bobo sea increÌblemente gracioso. Jonah hace que el ser grosero y vulgar sea algo realmente dulce.”

Cera fue el primer actor en ser elegido y cuando Jonah entrÛ al baile, los realizadores, ignorantes de que los dos ya se conocÌan socialmente, y queriendo asegurarse que tuviesen quÌmica, salieron con una brillante idea. “QuerÌamos forzarlos a que pasen juntos el mayor tiempo posible,” recuerda Robertson. “Judd me habÌa dicho bastante al comienzo, ‘Tal vez deberÌamos hacerles vivir juntos en el mismo departamento!’” DespuÈs de todo, este es un grupo que es bien conocido por trabajar con sus propios amigos. Explica Robertson, “Principalmente hacemos estas pelÌculas para poner a nuestros amigos en situaciones bastante incomodas.”

“Hicimos una gran cantidad de ensayos y lecturas antes de filmar,” cuenta Cera. “Jonah y yo and·bamos juntos todo el tiempo. Es medio gracioso el modo como intentaron planear este tipo de salidas para que nos amiguemos, cuando ya solÌamos ser amigos.”

“Hay algo que es naturalmente gracioso en el hecho de Michael y yo juntos,” cuenta Hill. “Pienso que Judd nos puso juntos debido al hecho que hay algo bizarro en la situaciÛn. Yo soy insolente y enojÛn, mientras que Michael es m·s callado, tranquilo.”

Elegir a los policÌas fue aun m·s f·cil que elegir a Cera. “Tan pronto como se hizo evidente que estaba pasado en aÒitos para interpretar a un estudiante secundario, pensÈ, ‘Oh, por lo menos puedo ser uno de los policÌas.’ Fue una decisiÛn instant·nea,” cuenta Rogen. Con un policÌa en el bolsillo, faltaba el otro.

Para elegir al otro policÌa, los realizadores llamaron a Bill Hader de “Saturday Night Live.” “Luego de cinco minutos de conocer a Seth y a Evan, comenzamos a hablar sobre revistas de comics,” cuenta Hader. “Al darnos cuenta que todos Èramos unos nerds, Evan dijo, ‘Sabes como quÈ serÌa Èl realmente bueno? PolicÌa en Superbad.’ Y yo estaba como, ‘Que es Superbad? Es una especie de historia de superhÈroes?’” Una vez que Hader estaba a bordo, Èl y Rogen comenzaron a ensayar y trabajar en la quÌmica entre ambos y los roles fueron armados para los dos actores.

Finalmente, estaba Fogell. “El personaje Fogell siempre corriÛ el peligro de quedar enmarcado en el tÌpico personaje nerd,” dice Mottola. “Una de las cosas que siempre me gustaron del guiÛn es que el personaje que uno asume va a ser la tercera rueda resulta que tiene su propia lÌnea dram·tica.”

Dejando de lado el interÈs por la historia, Rogen tenÌa algunas preocupaciones propias. “SabÌa que la mayorÌa de mis escenas eran con el personaje Fogell. Siendo un actor egoÌsta, realmente querÌa que en ese papel estuviese un tipo gracioso.”

Y asÌ comenzÛ la b·squeda. Y continuÛ. Y continuÛ. Mirando en retrospectiva Robertson dice “Siento como que vimos a 500 actores y todos eran grandiosos a su manera pero realmente no estaban dando en el blanco.”

Habiendo agotado todas las opciones disponibles en el ·mbito profesional, la directora de casting Alison Jones comenzÛ a traer a no-profesionales. “EncontrÛ unas raras Olimpiadas de ImprovisaciÛn desarrolladas por las secundarias donde competÌan entre sÌ,” cuenta Mottola, resaltando que los resultados fueron algo menos que espectaculares. “La mayorÌa de ellos eran aun muy verdes. Simplemente no podÌan manejarlo.”

Luego, hacia el final del dÌa, apareciÛ Christopher Mintz-Plasse. “Chris fue uno de los ·ltimos que vimos. Recuerdo que abandonÛ el cuarto y Alison y yo nos quedamos mir·ndonos, pensando, ‘Eso no puede ser tan bueno como parece, o si?’” cuenta Mottola. “Chris fue el primero en interpretarlo como el “nerd” arrogante—el tipo que se cree Frank Sinatra, aunque tiene la pinta de Truman Capote. Fue genial.”

“Chris es uno de esos raros y maravillosos milagros,” dice Apatow. “Est·s buscando una desopilante joven figura, alguien escucha sobre tu pelÌcula, llega para una corta audiciÛn y de inmediato resulta grandioso; y durante la filmaciÛn se pone aun mejor de lo que hubieses imaginado posible.”

“Con anterioridad habÌa trabajado con casi todos los del elenco, exceptuando a Chris,” agrega Robertson. “Chris llegÛ a esa atmÛsfera, donde todo es muy libre y suelto, y Èl simplemente hizo lo suyo.”

“La verdad que nunca pensÈ actuar en mi vida,” cuenta Mintz-Plasse. “Mi amigo se enterÛ sobre el llamado a casting y me dijo, ‘Tienes el perfil para el papel, deberÌas venir con nosotros.’ Fui con dos de mis amigos, audicionamos, me volvieron a llamar tres veces, y finalmente me dieron el papel. Fue mi primera audiciÛn, mi primer papel como actor—mi primera vez en cualquier cosa.

“La primera semana resultÛ muy dura,” agrega Mintz-Plasse. “PensÈ que no era gracioso, que todos eran m·s graciosos que yo, que no sabÌa lo que estaba hacienda. Pero para el final de esa semana, ya le habÌa agarrado la mano y me sentÌa a gusto.”

Michael Cera dice que Mintz-Plasse no tiene porque preocuparse de ser gracioso. “Les costÛ tanto trabajo encontrar a Fogell—que debÌan encontrar al tipo correcto. Estaban entre ocho y Chris era el ultimo y de verdad era muy gracioso. Se jugaron y tenemos mucha suerte de tenerlo.”

“Es raro decir que Seth Rogen y Jonah Hill son ahora mis amigos—hace algunos meses yo era un tipo com·n y corriente,” continua Mintz-Plasse. “Sigo siendo un tipo com·n y corriente, pero mis amigos y yo somos grandes admiradores de The 40-Year-Old Virgin—es desopilante—y ahora estoy en una pelÌcula con esos tipos. Cuando nos encontr·bamos terminando de filmar Superbad, me puse triste. Esta fue la mejor experiencia de mi vida, e iba a terminar y regresarÌa a mi secundaria y a mi vida regular. Ojal· puedan volver a usarme para otras pelÌculas—veremos.”

El elegir a Mintz-Plasse tambiÈn le proveyÛ a Michael Cera con la oportunidad de poder pasar una especie de antorcha. “Superbad es la primera pelÌcula en la que he trabajado en la cual no he tenido que ir a la escuela dentro del set—ahora tengo 18,” cuenta. “Hice eso durante nueve aÒos, y fue muy lindo verlo a Chris tener que ir. …l se sentÌa muy contrariado por el hecho, pero, que pena man. AsÌ es el show business.”

Cerrando el elenco est·n los objetos del deseo de los muchachos: Becca que es interpretada por Martha MacIsaac y Jules que es interpretada por Emma Stone. Mottola cuenta que querÌa traer un elemento de realismo en lo que respecta a las chicas. “Ninguna de las dos es esa rubia despampanante que los adolescentes est·n siempre persiguiendo,” cuenta Èl. “Ambas son dos jÛvenes mujeres muy reales, que viven en el mundo real y que son muy diferentes entre sÌ.”

Al finalizar el dÌa, cuenta Robertson, la amistosa atmÛsfera existente entre los realizadores y el elenco era contagiosa. “Superbad realmente es un grupo de amigos que est·n hacienda una pelÌcula sobre un grupo de amigos,” cuenta ella.

 

COMO SER SUPERBAD

“Aunque no era realmente necesario para la pelÌcula, pensÈ que serÌa realmente divertido entrenar a estos muchachos en cÛmo disparar un arma,” cuenta Robertson. “Fue una buena excusa para que todos vayamos a un rancho de tiro, que es algo que siempre quise hacer.” Asi que, Rogen, Goldberg, Hill, Mintz-Plasse, Hader, y Robertson se embarcaron hacia un pequeÒo rancho local de tiro para realizar un poco de investigaciÛn,” continua ella. “R·pidamente nos separamos en dos grupos: aquellos a los que realmente nos gustaba disparar, y luego estaba el otro grupo.” Que realmente no podÌa ser denominado un grupo ya que eran solo Robertson y Bill Hader. “Bill y yo est·bamos realmente asustados y nos quedamos en la camioneta todo el tiempo. Disparamos algunas armas y salimos lo m·s r·pido posible de ahÌ. Pero Seth y Jonah y Chris lo adoraron.”

La experiencia demostrÛ ser provechosa a la hora de filmar la gran escena en donde los policÌas, con la ayuda de Fogell, le disparan a su propia patrullera. “Esa fue quiz·s mi m·s grandiosa noche de tiro de toda mi vida,” dice Rogen de modo entusiasta. “Fue terrorÌfico el estar parado al lado de Chris mientras tenÌa en sus manos un arma de verdad y disparaba a un auto policÌa en llamas. Por el otro lado, tuve la oportunidad de lanzar una bomba Molotov y de que nos pongan encima de esta loca gr·a que giraba en cÌrculos. No vomitÈ. Para mi, ese fue un muy exitoso dÌa de filmaciÛn.”

Aunque Hader realmente no le encontrÛ mucho uso a la clase de tiro, sÌ se divirtiÛ un poco en el set. “Tuve que mostrarles un arma a Michael Cera y Jonah Hill, y eso fue horrible—se veÌan muy asustados,” rÌe. “Era un arma de verdad y especialmente, el pobre de Michael Cera, se asustÛ completamente.”

Por su parte, Cera recuerda la noche de manera un poco diferentemente. “Cuando Bill nos muestra un arma sin razÛn—ese es uno de mis momentos favoritos.” Momentos despuÈs, en la pelÌcula, su personaje emprende una r·pida carrera hacia la oscuridad. “No me ofrecieron un doble corredor. Creo que uno lo tiene que solicitar, lo cual no tengo verg¸enza en hacer. No hay verg¸enza en eso.”

Tal vez ese es un pedido que Cera deberÌa haber hecho. “Es sorprendente lo graciosa que resulta la sola imagen de Michael Cera corriendo,” dice Goldberg entusiastamente.

Hader marca otro evento como su punto preferido dentro de la filmaciÛn: “Seth bailando como policÌa es una de las cosas m·s graciosas que he visto en toda mi vida, pero no tan gracioso como Michael Cera bailando.”

El filmar la pelÌcula de modo digital les brindÛ a los actores una gran cantidad de libertad creativa para darle m·s consistencia y encontrar los momentos graciosos. “Hubo un dÌa en el que Bill y yo hicimos una toma de 16 minutos,” cuenta Rogen. “Para las escenas de manejo, usualmente tienes que parar cada ocho minutos para recargar la c·mara. En vez de eso, simplemente manejamos durante 45 minutos e hicimos la escena una y otra vez.”

Jonah Hill fue similarmente notorio por estirar sus escenas. “Siempre le bromeaba a Jonah por sus largas tomas,” cuenta Shauna Robertson. “Al filmar digitalmente, Èl tenÌa la libertad de hacer lo que quisiera—tuvo una toma que durÛ 21 minutos. Realmente no existe un lÌmite. Durante el desarrollo de la filmaciÛn, aprendimos a moderarnos y no enloquecer por el simple hecho de que podÌamos hacerlo.”

AsÌ como el mÈtodo es liberador para los actores, resulta difÌcil para el director. “Se vuelve muy tÈcnico,” dice Mottola. “Le afecta a la filmaciÛn—el lugar donde se pone la c·mara y que tanto la puedes mover. Necesitas opciones, para que asÌ puedas tener la posibilidad de reformatear las escenas una vez que la filmaciÛn ha terminado. Necesitas estar seguro que las tomas van a encajar, que no te vas a perder importantes pedazos de informaciÛn.”

 

EL ELENCO DE SUPERBAD

En el corto tiempo desde que debutÛ en el bar Black & White de New York en una obra de una sola escena, JONAH HILL (Seth) ya ha trabajado junto a muchos de los actores, productores y directores m·s buscados de Hollywood. Su primer largometraje fue I Heart Huckabees con Dustin Hoffman y Lilly Tomlin para el director David O. Russell. Luego obtuvo un pequeÒo papel en la exitosa comedia de verano de Judd Apatow, The 40-Year-Old Virgin, con Steve Carell y, m·s tarde, trabajo en Click de Adam Sandler.

Actualmente Hill puede ser visto en la exitosa comedia de verano Knocked Up de Judd Apatow y Universal Pictures. El film es protagonizado por Hill junto a Seth Rogen, Katherine Heigl, Paul Rudd, y Leslie Mann. Cuando el amigo (Rogen) deja embarazada a una mujer (Heigl) luego de una noche de alcohol en un bar, el resto del grupo lucha junto a Èl para analizar cÛmo el niÒo encajar· en el esquema de vida de ellos. Hill tambiÈn puede ser visto en Evan Almighty, la continuaciÛn de Bruce Almighty, con Steve Carell reviviendo su papel de Evan Baxter—ahora elegido Congresista en Washington, D.C. Hill act·a de Eugene, uno de los colaboradores de Baxter, junto a Wanda Sykes y John Michael Higgins.

Hill tambiÈn est· escribiendo un proyecto para Apatow Productions, en donde tambiÈn actuar·. La comedia, llamada The Middle Child, se trata de un adolescente (Hill) quien descubre que sus padres dieron un hijo en adopciÛn antes de que Èl naciera. Cuando el hijo vuelve, se convierte en el favorito de la familia, mientras que el personaje de Hill se siente desplazado.

TambiÈn aparecer· en dos proyectos futuros. El primero, Strange Wildnerness, ser· estrenado por Paramount en enero de 2008, y es co-protagonizado por Steve Zahn, Justin Long, y Ashley Scott. El otro, One Part Sugar, es protagonizado por Hill quien interpreta a un adolescente confundido quien comienza a vender y comprar drogas cuando se entera de que el padre que lo criÛ (Walsh) no es su padre biolÛgico.

Anteriormente, Hill fue visto en Accepted con su amigo y co-protagonista, Justin Long. TambiÈn trabajÛ en el film independiente 10 Items or Less protagonizado por Morgan Freeman para el director Brad Silberling, y en Grandma’s Boy para Twentieth Century Fox y Happy Madison Productions. Hill tambiÈn tuvo un papel recurrente en las series de televisiÛn “Campus Ladies,” una comedia del productor ejecutivo Cheryl Hines y los co-productores ejecutivos de “Reno 911.”

 

MICHAEL CERA (Evan), muy conocido por su interpretaciÛn de George-Michael Bluth en las series de Fox ganadoras de los premios Emmy, “Arrested Development,” comenzÛ en la actuaciÛn a la temprana edad de nueve aÒos.

En la pantalla grande, Cera prÛximamente protagonizar· junto a Jack Black una comedia producida por Judd Apatow y que ser· dirigida por Harold Ramis. Recientemente completÛ la producciÛn de Juno para Mandate Pictures, bajo la direcciÛn de Jason Reitman. TambiÈn ser· visto en el film independiente Parental Guidance Suggested. Asimismo, Cera protagonizÛ al joven Chuck Barris en el film de George Clooney, Confessions of a Dangerous Mind, y trabajÛ en Frequency con Dennis Quaid.

Sus crÈditos en televisiÛn incluyen “Tim and Eric Awesome Show, Great Job,” “Tom Goes to the Mayor,” papeles regulares en la serie de ABC “I Was a Sixth Grade Alien,” y en la de Fox “The Grubbs;” un papel como protagonista invitado en la popular serie de CW “Veronica Mars,” en los telefilms “Custody of the Heart,” “Familiar Stranger,” y “Walter and Harry,” como asÌ tambiÈn trabajÛ en el premiado telefilm “My Louisiana Sky.”

Recientemente Cera lanzÛ unas series web www.clarkandmichael.com. Llamadas “Clark and Michael,” Cera co-escribiÛ, dirigiÛ, realizÛ la producciÛn, y protagonizÛ las series con Clark Duke.

 

SETH ROGEN (Oficial Michaels) recientemente protagonizÛ y realizÛ la producciÛn ejecutiva del sensacional Èxito de Judd Apatow, Knocked Up, que obtuvo m·s de $135 millones en la taquilla. Recientemente Rogen finalizÛ la producciÛn de la comedia de acciÛn, Pineapple Express, que co-escribiÛ y realizÛ la producciÛn ejecutiva junto a su compaÒero de trabajo en Superbad, Evan Goldberg, para el productor Judd Apatow. El film tambiÈn es protagonizado por James Franco, Danny McBride, y Rosie Perez, y ser· estrenado el prÛximo verano.

Otros crÈditos incluyen: You, Me and Dupree, Donny Darko, Anchorman: The Legend of Ron Burgundy, y The 40-Year-Old Virgin, que tambiÈn realizÛ la co-producciÛn.

Rogen tambiÈn prestÛ su voz para el sensacional film animado, Shrek the Third. Asimismo, se escuchar· su voz en los prÛximos films como Kung Fu Panda, Horton Hears a Who, y The Spiderwick Chronicles.

Rogen comenzÛ su carrera como comediante a la edad de 13 aÒos en Vancouver. En los ·ltimos aÒos de su adolescencia, se trasladÛ a Los Angeles, donde fue seleccionado para actuar en la aclamada comedia de Judd Apatow, “Freaks and Geeks.” Cuando el show terminÛ, Apatow invitÛ a Rogen a integrar su nuevo show, “Undeclared,” como escritor y como actor.

 

BILL HADER (Oficial Slater) es miembro del elenco de la venerable comedia de NBC, “Saturday Night Live.” Este otoÒo retomar· su tercera temporada en el show.

En el verano de 2007 Hader tiene una agenda completa de trabajos en cine que comenzÛ con un papel en el aclamado y taquillero film de Judd Apatow, Knocked Up. Luego trabajar· con sus compaÒeros de elenco de SNL, Will Forte y Kristen Wiig, en The Brothers Solomon, dirigido por Bob Odenkirk, que ser· estrenado en Septiembre.

Actualmente Hader est· trabajando en la producciÛn del prÛximo film, Tropic Thunder, con Jack Black, Robert Downey Jr., Danny McBride, y Ben Stiller, y que tambiÈn dirigir·.

Antes de comenzar a trabajar en Tropic Thunder, Hader finalizÛ su papel en el film producido por Judd Apatow, Pineapple Express, y dirigido por David Gordon Green. En film tambiÈn comparte cartelera con Rogen y McBride.

Originario de Tulsa, Oklahoma, Hader realizÛ una temprana incursiÛn en “SNL,” demostrando sus increÌbles representaciones que incluyen como las mas notables las de Al Pacino y Vincent Price (siendo el anfitrion de diversos feriados macabros especiales.)

Hader actualmente reside en New York con su mujer, la realizadora Maggie Carey.

 

CHRISTOPHER MINTZ-PLASSE (Fogell) marca su primer trabajo actoral profesional con Superbad. Nacido y criado en California del Sur, Mintz-Plasse fue descubierto a travÈs del Comedy-Sports Club, donde participÛ activamente durante sus ·ltimos dos aÒos de la escuela secundaria.

 

LOS REALIZADORES DE SUPERBAD

GREG MOTTOLA (Director) es el escritor y director de la pelÌcula The Daytrippers (1997), protagonizada por Hope Davis, Parker Posey, Liev Schreiber, Anne Meara, Campbell Scott, y Stanley Tucci. The Daytrippers fue elegida para el Festival de Cine de Cannes y para el Festival de Cine Internacional de Toronto, y fue premiada en el Festival de Deauville de Films Americanos. Luego Mottola formÛ un equipo con Judd Apatow y Seth Rogen como director de varios episodios de la serie de televisiÛn de Fox, "Undeclared.” TambiÈn dirigiÛ episodios de "Arrested Development" y de "The Comeback” de HBO.

Greg asistiÛ a la escuela de cine de la Universidad de Columbia, donde estudiÛ con Sidney Lumet, David Mamet, y George Roy Hill. TambiÈn actuÛ —particularmente no muy bien, Èl dice— en las pelÌculas de Woody Allen: Celebrity y Hollywood Ending. Mottola desea poder tener alg·n dÌa una mejor biografÌa.

 

SETH ROGEN & EVAN GOLDBERG (Guionista, Productores Ejecutivos) crecieron en Vancouver, British Columbia juntos y escribieron su primer guiÛn, Superbad, cuando tenÌan 13 aÒos de edad.

Luego de trasladarse a Los Angeles, Rogen trabajÛ como escritor del staff en las series de televisiÛn de Judd Apatow, “Undeclared.” El duo continuÛ escribiendo para el Èxito de culto de Sacha Baron Cohen, “Da Ali G Show,” como asÌ tambiÈn para el largometraje, Pineapple Express, que ellos tambiÈn realizaron la producciÛn ejecutiva. Asimismo, Rogen escribiÛ la comedia de prÛximo estreno de Owen Wilson, Drillbit Taylor, dirigida por Steven Brill.

Rogen trabajÛ como co-productor en el Èxito de Apatow, The 40-Year-Old-Virgin, y realizÛ la producciÛn ejecutiva junto a Goldberg del sensacional Èxito de taquilla de Apatow, Knocked Up, protagonizado por Rogen, Katherine Heigl, Leslie Mann, y Paul Rudd.

JUDD APATOW (Productor) realizÛ su debut como director de cine con el sensacional Èxito de taquilla del verano de 2005, The 40-Year-Old Virgin, protagonizado por Steve Carell. ContinuÛ con la exitosa comedia, Knocked Up, protagonizada por Katherine Heigl, Seth Rogen, Leslie Mann y Paul Rudd; Apatow tambiÈn escribiÛ y realizÛ la producciÛn del film, que obtuvo m·s de $140 millones en la taquilla de Estados Unidos. Apatow esta trabajando en varios films a ser estrenados por Columbia Pictures, incluyendo Walk Hard—The Dewey Cox Story, que Apatow est· co-escribiendo con el director Jake Kasdan y tambiÈn est· produciendo; Pineapple Express, producido por Apatow y que tambiÈn escribiÛ junto a los guionistas Seth Rogen & Evan Goldberg; Step Brothers, que est· produciendo, protagonizado por Will Ferrell y John C. Reilly; y You Don’t Mess with the Zohan, que Apatow est· co-escribiendo con Adam Sandler y Robert Smigel. TambiÈn est· produciendo Drillbit Taylor y Forgetting Sarah Marshall, ambos confirmados a ser estrenados la prÛxima primavera.

Apatow tambiÈn realizÛ la producciÛn del Èxito del verano pasado, Talladega Nights: The Ballad of Ricky Bobby, con Will Ferrell, y realizÛ la producciÛn ejecutiva del film independiente, The TV Set, una mordaz y divertida mirada de la industria de la televisiÛn protagonizada por David Duchovny y Sigourney Weaver. Con anteriordad, Apatow realizÛ la producciÛn de la exitosa comedia de DreamWorks, Anchorman: The Legend of Ron Burgundy, tambiÈn protagonizada por Ferrell, Christina Applegate, y Paul Rudd.

Considerado como uno de los escritores de comedia m·s buscados del negocio, Apatow recientemente co-escribiÛ el guiÛn para la remake de Fun with Dick and Jane, con Jim Carrey y TÈa Leoni. RealizÛ su debut cinematogr·fico como co-escritor y productor ejecutivo en la comedia Heavyweights. TambiÈn trabajÛ como productor de la comedia negra The Cable Guy, dirigida por Ben Stiller y protagonizada por Jim Carrey y Matthew Broderick.

Apatow es tal vez m·s reconocido por su trabajo como productor y escritor de muchos de los shows m·s aclamados de televisiÛn de los ·ltimos aÒos. TrabajÛ como productor ejecutivo de las aclamadas y premiadas series “Freaks and Geeks,” que debutaron en temporada 1999-2000.†TambiÈn escribiÛ y dirigiÛ varios episodios de las series, las que, aunque no sigan en el aire, todavÌa mantienen sus seguidores y recientemente fueron estrenadas en DVD. TambiÈn creÛ y realizÛ la producciÛn ejecutiva de las series “Undeclared,” que ser·n estrenadas en video el 16 de agosto prÛximo. “Undeclared,” que trata sobre el primer aÒo en la universidad, fue colocada por la revista Time como uno de los Diez Mejores Shows de 2001.

Con anterioridad Apatow trabajÛ como escritor, director, y productor de las aclamadas y premiadas series “The Larry Sanders Show,” protagonizadas por Garry Shandling. Por su trabajo en el show, ganÛ una nominaciÛn para los Premios Emmy por Historia Sobresaliente para Series de Comedia, y recibiÛ cinco nominaciones consecutivas para los Premios Emmy por Series de Comedia Sobresalientes. Asimismo, por “The Larry Sanders Show”, Apatow ganÛ dos Premios de Cable ACE a la Mejor Serie de Comedia, y una nominaciÛn para el Premio Writers Guild of America.

Nacido en Syosset, New York, Apatow, a temprana edad ya aspiraba a convertirse en un comediante profesional. Mientras estaba en la escuela secundaria, creÛ un show de radio y comenzÛ a realizar intrevistas a grandes comediantes que el admiraba, incluyendo Steve Allen, Howard Stern, y John Candy. Algunos de sus entrevistados tambiÈn incluyeron a algunos desconocidos, en ese momento, como Jay Leno, Jerry Seinfeld, y Garry Shandling. Al final del ·ltimo aÒo, comenzÛ a interpretar sus propias rutinas de comedia.

Luego de una apariciÛn en el especial de JÛvenes Comediantes de HBO, Apatow eventualmente dejÛ la actuaciÛn a favor de la escritura. EscribiÛ para los Premios Grammy, como asÌ tambiÈn para especiales de cable para Roseanne y Jim Carrey, antes de co-crear y realizar la producciÛn ejecutiva de “The Ben Stiller Show.” A pesar de que el aclamado show fue cancelado despuÈs de 12 episodios, le valiÛ a Apatow un Premio Emmy por Logro Individual Sobresaliente en Escritura en una Variedad o Programa Musical. Luego de su triunfo del Emmy, Apatow se uniÛ al “The Larry Sanders Show” en 1993 como escritor y productor consultivo, y m·s tarde trabajarÌa como co-productor ejecutivo para la temporada final del show.

SHAUNA ROBERTSON (Productora) actualmente est· filmando Forgetting Sarah Marshall para Universal en Hawaii. El film es protagonizado por Jason Segel, Mila Kunis, Kristen Bell, y Russell Brand, como asÌ tambiÈn un grupo de regulares a Apatow en roles especiales.

Recientemente, Shauna completÛ la fotografÌa principal de Pineapple Express para Sony. Escrita por Seth Rogen & Evan Goldberg, el film es dirigido por David Gordon Green y protagonizado por Rogen, James Franco, y Danny McBride.

M·s recientemente trabajÛ en Knocked Up con Judd Apatow como escritor-director-productor para Universal pictures. El film, protagonizado por Seth Rogen, Katherine Heigl, Leslie Mann, y Paul Rudd, fue estrenado con una excelente crÌtica y ha ganado m·s de $140 millones en la taquilla.

Previamente, Robertson realizÛ la producciÛn del sensacional Èxito del verano, The 40-Year-Old Virgin. El film ganÛ m·s de $100 millones en la taquilla nacional. Con anterioridad, ella realizÛ la producciÛn ejecutiva del Èxito de taquilla, Anchorman: The Legend of Ron Burgundy. La comedia de Will Ferrell, que fue producida por menos de $25 millones, recaudÛ m·s de $85 millones en el paÌs.

En otro exitoso equipo con Ferrell, Robertson realizÛ la producciÛn del sensacional Èxito de Navidad Elf, dirigido por Jon Favreau.

Ella tambiÈn trabajÛ como co-productora del film de Jay Roach, Meet the Parents, protagonizado por Ben Stiller y Robert De Niro. En 1997, Robertson se asociÛ con Roach para crear Everyman Pictures. Baja la marca de Everyman, ella trabajÛ en proyectos de cine tan notables como la exitosa comedia Austin Powers: International Man of Mystery y su taquillera secuela Austin Powers: The Spy Who Shagged Me, como asÌ tambiÈn Mystery, Alaska y la adaptaciÛn de la novela de Douglas Adams, The Hitchhiker’s Guide to the Galaxy.

RUSS ALSOBROOK ASC (Director de FotografÌa) primeramente se cruzÛ con Judd Apatow cuando filmÛ varios episodios del aclamado “The Ben Stiller Show” a principios de los 90¥. Los dos se volvieron a juntar para los films de Apatow “Freaks and Geeks” y “Undeclared.”

Otros crÈditos en series de televisiÛn incluyen: el drama de una hora de ABC, “Dragnet,” protagonizado por Ed O’Neill; las series de Alicia Silverstone “Miss Match;” el Èxito de Disney Channel “Lizzie Maguire;” el actual Èxito de HBO “Big Love,” con Bill Paxton y Jeanne Tripplehorn, y “What About Brian?” de ABC.

En cine, Alsobrook trabajÛ con el director Mike Binder en Man About Town, protagonizado por Ben Affleck, y Reign Over Me, con Adam Sandler y Don Cheadle.

Alsobrook tambiÈn fotografiÛ varias pelÌculas para televisiÛn como “The Shaggy Dog,” “The Computer Wore Tennis Shoes,” “Escape to Witch Mountain,” y “Freaky Friday.”

 

Superbad es el segundo trabajo de CHRIS SPELLMAN (DiseÒo de ProducciÛn) como diseÒador de producciÛn, habiendo diseÒado con anterioridad la parte de acciÛn real de The SpongeBob SquarePants Movie.

Los crÈditos de Spellman como decorador de sets de filmaciÛn incluyen los films de Joel y Ethan Coen, The Man Who Wasn’t There y The Big Lebowski, el film de Robert Altman, Dr. T and the Women, y Magnolia de Paul Thomas Anderson.

Otros crÈditos como decorador de set incluyen: el filme de Albert Brooks, Looking for Comedy in the Muslim World, como asÌ tambiÈn Daddy Day Care y Holy Man, ambos protagonizados por Eddie Murphy; Anger Management, con Adam Sandler y Jack Nicholson, la pelÌcual de Jake Kasdan, Orange County, October Sky, Grosse Point Blank, The Indian in the Cupboard, y The Insider de Michael Mann.

Adem·s de Superbad, Spellman trabajÛ con Judd Apatow en las series de televisiÛn “Freaks and Geeks” y “Undeclared,” como asÌ tambiÈn los films Knocked Up y Heavyweights. Spellman actualmente est· trabajando en el filme producido por Apatow, Pineapple Express.

Nacido en New Orleans, Spellman se trasladÛ a Los Angeles luego de la universidad. AllÌ, conociÛ al productor de diseÒo Dennis Gassner y a la decoradora de set, Nancy Haigh, quien fue su mentora.

WILLIAM KERR (Editor) m·s recientemente editÛ el film dram·tico de Curtis Hanson, Lucky You, con Eric Bana, Drew Barrymore, y Robert Duvall. Previamente, Kerr editÛ el Èxito de Ben Stiller-Jennifer Aniston, Along Came Polly, como asÌ tambiÈn Undercover Brother, Nutty Professor II: The Klumps, con Eddie Murphy, y la exitosa comedia de culto, Tommy Boy.

Kerr primeramente trabajÛ con Judd Apatow en el primer trabajo que escribiÛ, un especial de comedia para HBO con Tom Arnold y Roseanne Barr. Ellos se volvieron a juntar en varios proyectos incluyendo las series de televisiÛn "Undeclared.”

Entre los muchos logros de DEBRA MCGUIRE (DiseÒadora de Vestuario) como diseÒadora de modas y de vestuario, se destaca su trabajo durante diez aÒos en el exitoso show “Friends.”

En cine, McGuire m·s recientemente finalizÛ el diseÒo de Knocked Up para Judd Apatow, tambiÈn realizÛ el diseÒo de Shades of Ray, y del prÛximo film de Al Pacino, 88 Minutes. Actualmente est· trabajando en Walk Hard, tambiÈn producida por Apatow y dirigida por Jake Kasdan.

Asimismo, McGuire diseÒÛ el Èxito de NBC, “Heroes,” y contin·a su sexta temporada en “Crossing Jordan” para NBC.

Otros crÈditos en cine incluyen: The TV Set de Kasdan y Orange County, como asÌ tambiÈn The 40-Year-Old-Virgin, Anchorman: The Legend of Ron Burgundy, y Just Married.

En televisiÛn, anteriores crÈditos de McGuire incluyen: “What About Brian?,” “Undeclared,” “Freaks and Geeks,” y “Veronica’s Closet.”

McGuire tambiÈn tiene un atelier ubicado en la famosa Ocean Avenue en Santa Monica, California, y en 2003 lanzÛ Style Maker en el Home Shopping Network, una marca que incluye joyas, accesorios, zapatos y carteras. En 2005 comenzÛ una lÌnea de ropa diseÒada para HSE de Alemania y para el mercado europeo.

LYLE WORKMAN (M·sica) naciÛ y fue criado en San JosÈ, California. En gran parte un auto-didacta, Workman comenzÛ a tocar guitarra desde niÒo, copiando las canciones de los Beatles y m·sica popular de la radio. Al emular a grandes como Hendrix, Alvin Lee y Pete Townsend, fue desarrollando su talento y, m·s tarde, hurgÛ en el roch y en jazz; mientras que en la universidad estudiÛ teorÌa de la m·sica y composiciÛn. Dedicado a la carrera de m·sico, comenzÛ a tocar en varias bandas locales.

El quiebre de Workman hacia la m·sica profesional se produjo cuando se uniÛ a Bourgeois Tagg, quien grabÛ dos discos para Island Records en 1986 y en 1987, incluyendo “Yo-Yo,” producido por Todd Rundgren. Reflejando las anteriores influencias de Lyle fueron las melodÌas pop parecidas a la m·sica de los Beatles de "I Don't Mind at All," el exitoso single de Bourgeois Tagg co-escrito por Workman y el co-fundador de la band, Brent Bourgeois. Este disco lanzÛ al grupo a la arena internacional con conciertos a travÈs de AmÈrica del Norte y Europa. Luego, siguieron apariciones en televisiÛn y videos musicales en programas tales como “The Tonight Show,” “American Bandstand,” “Top of the Pops,” MTV, y Much Music.

Luego que Bourgeois Tagg se dividiÛ en 1989, Workman (junto con los miembros de Tagg) grabÛ y realizÛ tours como parte de la band de Todd Rundgren. Esta formaciÛn produjo la grabaciÛn de "Nearly Human" y "Second Wind." Durante este perÌodo, Workman comenzÛ a escribir m·sica instrumental y asumiÛ el tÌtulo de m·sico, compositor, ingeniero y productor para la premiere de su solo, “Purple Passages,” estrenado por Immune Records, que catalogado “posiblemente el mejor album de guitarra del aÒo” por Guitar Shop Magazine.

Nuevamente buscando nuevas aventuras musicales en el campo del pop, Workman se uniÛ con el grupo Jellyfish, y le aportÛ su trabajo de guitarra para la grabaciÛn “Spilt Milk,” estrenado en 1993. Poco despuÈs, Workman se uniÛ con el ex presentador de Pixies Frank Black para la grabaciÛn de “Teenager of the Year,” y como miembro de Frank Black y los Catholics, realizÛ tours y grabaciones durante el verano de 1998. Durante ese perÌodo, el grande del jazz Tony Williams llevÛ a Workman al studio y grabÛ una de las piezas de Workman para su disco “Wilderness.” Workman luego dejÛ temporariamente la calle para concentrarse en componer y trabajar en su casa en Los Angeles, y terminÛ su segundo proyecto instrumental “Tabula Rasa” y a fines de 1999, su amor por la interpretaciÛn en vivo lo llevÛ nuevamente al escenario, tocando la guitarra con el artista pop Beck. Luego de tocar la guitarra en numerosas sesiones de grabaciÛn para comerciales de televisiÛn, Workman comenzÛ a componer m·sica para spots de TV para Nike, Reebok, Miller, Sears, Hanes, FX, y A&E, para nombrar algunos. Luego co-compuso la m·sica de Made, el filme escrito, dirigido y protagonizado por Jon Favreau, y compuso la m·sica para “Dinner for Five,” un show creado por Favreau para el Independent Film Channel. Su trabajo ha sido reconocido como Top 10 Spot Tracks por la revista Shoot.

Con anterioridad Workman colaborÛ con Judd Apatow en la m·sica de The 40-Year-Old Virgin.

“ACADEMY AWARDÆ” and “OSCARÆ” are the registered trademarks and service marks of the Academy of Motion Picture Arts and Sciences.

 

Columbia Pictures Presents

An Apatow Company Production

“SUPERBAD”

Jonah Hill

Michael Cera

Seth Rogen

Bill Hader

Kevin Corrigan

Joe Lo Truglio

Martha MacIsaac

Emma Stone

and Introducing

Christopher Mintz-Plasse

Casting by

Allison Jones

Costume Designer

Debra McGuire

Co-Producer

Dara Weintraub

Music Supervision by

Jonathan Karp

Music by

Lyle Workman

Edited by

William Kerr

Production Designer

Chris Spellman

Director of Photography

Russ Alsobrook, ASC

 

Executive Producers

Seth Rogen

Evan Goldberg

Produced by

Judd Apatow

Shauna Robertson

Written by

Seth Rogen & Evan Goldberg

Directed by

Greg Mottola

CAST

Seth Jonah Hill

Evan Michael Cera

Fogell Christopher Mintz-Plasse

Officer Slater Bill Hader

Officer Michaels Seth Rogen

Becca Martha MacIsaac

Jules Emma Stone

Nicola Aviva

Francis the Driver Joe Lo Truglio

Mark Kevin Corrigan

Homeless Guy Clement E. Blake

Liquor Store Cashier Erica Vittina Phillips

Liquor Store Clerk Joseph A. Nunez

Greg the Soccer Player Dave Franco

Gaby Marcella Lentz-Pope

Jesse Scottie Gerbacia

Shirley Laura Seay

Miroki Roger Iwami

Prosthetic Leg Kid Clint Mabry

Evan’s Mom Stacy Edwards

Father with Bat Mark Rogen

Good Shopper Cashier Charlie Hartsock

Old Lady Dona Hardy

Good Shopper Security Charley Rossman

Period Blood Girl Carla Gallo

Quince Danbury Ben Best

Tut Long John Silver Jody Hill

Patrick Manchester Kevin Breznahan

Benji Austin David Krumholtz

Billy Baybridge Mousa Kraish

Coffee Fairmount Nicholas Jasenovec

James Masselin Martin Starr

Wild Bill Cherry Keith Joseph Loneker

Kane Cloverdale Matthew McKane

Scarlett Brighton Lauren Miller

Tiger Greendragon Peter Salett

Muffin Selby Rakefet Abergel

Mrs. Hayworth Brooke Dillman

Gym Teacher Michael Naughton

Math Teacher Steve Bannos

Young Seth Casey Margolis

Young Becca Laura Marano

Vagtastic Voyager Matthew Bass

Vagtastic Voyage Girls Aurora Snow

Jenna Haze

Bartender Ted Haigh

Bus Driver Michael Fennessey

Elementary Principal Brian Huskey

Party Teenagers Clark Duke

Stephen Borrello IV

Naathan Phan

Teacher Pamella D’Pella

Stunt Coordinator Tim Trella

Stunts Kenny Alexander

Cody Gill

Buddy Joe Hooker

Mic Rodgers

Michael Runyard

Todd Warren

Unit Production Manager Dara Weintraub

First Assistant Director Scott Robertson

Second Assistant Director Steven F. Beaupre

Production Supervisor Christa Vausbinder

Art Director Gerald Sullivan

Set Decorator Robert Kensinger

Property Master Michelle Spears

Script Supervisor Ronit Ravich-Boss

Camera Operator Steven H. Smith

First Assistant Camera Jason Garcia

Second Assistant Camera Rigney Sackley

“B” Camera Operator/Steadicam Jerome Fauci

First Assistant “B” Camera Timothy Kane

Second Assistant “B” Camera Betty Chow

Digital Imaging Technician Nick Theodorakis

Costume Supervisor Mary E. Walbridge

Key Costumer Michael A. Russell

Costumers Jennifer Iizuka

Edward Nino

Margaret Rogers

Department Head Makeup Kimberly Greene

Key Makeup Artist Lana Horochowski

Makeup Artist Maggie Fung

Special Makeup Effects by Robert Hall

Department Head Hair Melissa A. Yonkey

Key Hair Stylist Merribelle A. Anderson

Hair Stylist Dena Fayne

Chief Lighting Technician Christopher Napolitano

Assistant Chief Lighting Technician Ron Alexus

Rigging Gaffer Dave Parks

Key Grip T. Daniel Scaringi

Best Boy Grip Robert Chinello

Dolly Grips Paul E. Sutton

Michael Wahl

Rigging Key Grip Robert J. Reilly

Production Mixer Harrison D. Marsh

Boom Operator Tom Fox

Video Assist Jay Huntoon

Video Playback Rick Whitfield

Special Effects Coordinator Bob Stoker

Special Effects Technician Paul E. Vigil

Location Manager Christine Bonnem

Assistant Location Managers Jeffrey Garrett

Matthew Messina

Christi Neubeiser

Production Coordinator Sara Scarritt

Assistant Production Coordinators Carrie Arnold

Jenifer Bonisteel

Production Secretary Justin Giugno

Production Accountant Edward Allen

Assistant Accountants Beth Waller

Saundra Marie Ardito

Set Designers Alicia Maccarone

Natalie Richards

Leadman Thierry Labbe

Graphic Designer Ted Haigh

Storyboard Artist Darryl Henley

Art Department Coordinator Kat Wilson

On-Set Dresser Mark Brooks

Assistant Property Master Kim Richey

Assistant Props Jeffrey Barnett

Construction Coordinator Karen D. Higgins

General Foreman Steven Kissick

Labor Foreman Edward A. Giron

Paint Supervisor Michael R. Blaich

Standby Painter Joey Genitempo

Key Greens Jason Vanover

Unit Publicist Kym Langlie

Still Photographer Melissa Moseley

2nd Second Assistant Director Nicole Swasey

Assistants to Mr. Mottola Elisabeth Stone

John Schwert

Assistants to Mr. Apatow Andrew Epstein

Greg Cohen

Assistants to Ms. Robertson Paul Sweeny

Chelsey Dailey

Assistant to Mr. Rogen & Mr. Goldberg Matthew Bass

Assistant to Ms. Weintraub Tora Chung

Production Assistants Sage Asteak

Cris DeArce

Scott Koche

Mikki Levi

Allan Marasco

Gunnar Moulton

Brad Pero

Stephen Richards

Hirotatsu Taniguchi

Derek Wade

Casting Associate Dorian Frankel

Extras Casting Central Casting

Catering by Gala Catering

Craft Service Chance P. Tassone

` Joseph Milito

Studio Teacher Nancy A. Flint

Medic Ericka Bryce Poniewaz

Transportation Captain Mike Menapace

Transportation Co-Captain James D. D’Amico

POST PRODUCTION

Additional Editor Michael L. Sale

1st Assistant Editor Dov Samuel

Assistant Editors Laura Yanovich

Kristen Young

Stacey Clipp

Apprentice Editor Brian Scott Olds

 

Supervising Sound Editor George Anderson

Assistant Sound Editors Cherie Tamai

Ann Ducommun

Dialogue Editors James Matheny

Larry Kemp

Sound Effects Editor Cindy Marty

Supervising ADR Editor Tammy Fearing

Foley Editor Joe Schiff

Foley Artists Pamela Nedd Kahn

Vincent Guisetti

Foley Mixer Kyle Rochlin

Supervising Sound Mixers Marc Fishman

Tony Lamberti

Loop Group The Reel Team

Post Sound Services Provided by Sony Pictures Studios

Culver City, California

Music Editor Jonathan Karp

Score Mixer Chris Fogel

Music Contractor Gina Zimmitti

Music Prep JoAnn Kane

Bootsy Collins & The Superbad Band

Bootsy Collins - bass, vocals

Bernie Worrell - clavinet, organ

Clyde Stubblefield - drums

John "Jab'o" Sparks - drums

Phelps "Catfish" Collins - guitar

Luis Conte - percussion

Jeff Babko - organ, clavinet, moog

Lyle Workman - guitar

Jerry Hey - trumpet, orchestrator

Main Title Design by Yard VFX

End Titles by Right Lobe Design Group

Digital Intermediate by Technicolor Digital Intermediates

Digital Colorist John Persichetti

Negative Cutter Mo Henry

 

Visual Effects by Pacific Vision

Pacific Title

 

Filmed at Sony Pictures Studios

Culver City, California

 

MUSIC

“Too Hot To Stop”

Written by Fred Freeman and Harry L. Nehls

Performed by The Bar-Kays

Courtesy of The Island Def Jam Music Group

Under license from Universal Music Enterprises

“Soul Finger”

Written by James Alexander, Ronnie Caldwell, Ben Cauley,

Carl Cunningham, Phalon R. Jones, Jr. and Jimmy King

Performed by The Bar-Kays

Courtesy of Atlantic Recording Corp.

By arrangement with Warner Music Group Film & TV Licensing

“Do Me”

Written by Kenneth Gamble and Leon Huff

Performed by Jean Knight

Courtesy of Stax Records

By arrangement with Concord Music Group, Inc.

“Roda”

Written by Jo„o Augusto and Gilberto Gil

Performed by Sergio Mendes & Brasil ‘66

Courtesy of A&M Records

Under license from Universal Music Enterprises

“Bustin’ Out (On Funk)”

Written and Performed by Rick James

Courtesy of Motown Records

Under license from Universal Music Enterprises

“Are You Man Enough”

Written by Dennis Lambert and Brian Potter

Performed by The Four Tops

Courtesy of Geffen Records

Under license from Universal Music Enterprises

“High Class”

Written by Brian Lapin, Terence Yoshiaki Graves

and Michael Fratantuno

Performed by The Transcenders

Courtesy of Transcenders, LLC

“Why Do I Cry?”

Written by Barry Tashian

Performed by The Remains

Courtesy of Epic Records

By arrangement with SONY BMG MUSIC ENTERTAINMENT

 

“Stranglehold”

Written and Performed by Ted Nugent

Courtesy of Epic Records

By arrangement with SONY BMG MUSIC ENTERTAINMENT

“This Is Your Captain”

Written by Ian Blurton

Performed by C’mon

Courtesy of Maple Music

By arrangement with Coda Music

“Echoes”

Written and Performed by The Rapture

Courtesy of Mercury Records Limited

Under license from Universal Music Enterprises

“Big Poppa”

Written by Notorious B.I.G., Ronald Isley, Rudolph Isley,

O’Kelly Isley, Ernie Isley, Marvin Isley and Chris Jasper

Performed by Notorious B.I.G.

Courtesy of Bad Boy Records LLC

By arrangement with Warner Music Group Film & TV Licensing

Contains a sample of “Between The Sheets”

Performed by The Isley Brothers

Courtesy of Epic Records

By arrangement with SONY BMG MUSIC ENTERTAINMENT

“Shake”

Written by Joey Levine and Kris Resnick

Performed by The Friggs

Courtesy of Apex Recording Service

By arrangement with Bug

“Dangerous Woman (With A 45 In Her Hand)”

Written by Robert Ellen

Performed by Sonny Terry & Brownie McGhee

Courtesy of Mainstream Records Inc.

“Policy Game”

Written by Robert Ellen

Performed by Lightnin’ Hopkins

Courtesy of Mainstream Records Inc.

“Chop Chop You’re Dead”

Written by Zack Frank, Simon Toye,

Matt Winters and Craig Nordemann

Performed by Cities In Dust

Courtesy of Paper Bag Records

By arrangement with Coda Music

 

“Journey To The Center Of Your Mind”

Written by Ted Nugent and Steven O. Farmer

Performed by Ted Nugent & The Amboy Dukes

Courtesy of Mainstream Records Inc.

“These Eyes”

Written by Burton Cummings and Randy Bachman

“Ace Of Spades”

Written by Ian Kilminster, Edward Clarke

and Philip Taylor

Performed by Motˆrhead

Courtesy of Sanctuary Records

“Baby Please Don’t Go”

Written by Robert Ellen

Performed by Ted Nugent & The Amboy Dukes

Courtesy of Mainstream Records Inc.

“These Eyes”

Written by Burton Cummings and Randy Bachman

Performed by The Guess Who

Courtesy of The RCA Records Label

By arrangement with SONY BMG MUSIC ENTERTAINMENT

“Here I Come”

Written by Karl Jenkins, Richard Nichols, Malik Smart,

Ahmir Thompson and Tarik Trotter

Performed by The Roots featuring Malik B. & Dice Raw

Courtesy of The Island Def Jam Music Group

Under license from Universal Music Enterprises

“I’m Your Boogie Man”

Written by Harry Wayne Casey and Richard Finch

Performed by KC & The Sunshine Band

Courtesy of Rhino Entertainment Company

By arrangement with Warner Music Group Film & TV Licensing

“Blow Your Whistle”

Written by Yung Berg, Patrick Batiste,

Jules Batiste and William Warner

Performed by Morgan Smith

Courtesy of Interscope Records

Under license from Universal Music Enterprises

“My Favorite Mutiny”

Written by Tarik Collins, Talib Kweli and Boots Riley

Performed by The Coup

Courtesy of Epitaph

 

“My Lady”

Written by Jeremy Ball and M. Sagapolutele

Performed by Mareko

Courtesy of Dawn Raid Entertainment

“Capital S.A.”

Written by Nathan Holmes, Daniel Taupe Maoate

and Demetrius Christian Savelio

Performed by Alphrisk featuring Savage

Courtesy of Dawn Raid Entertainment

“Pork And Beef”

Written by Boots Riley

Performed by The Coup

Courtesy of Epitaph

“Panama”

Written by David Lee Roth, Alex Van Halen and Edward Van Halen

Performed by Van Halen

Courtesy of Warner Bros. Records Inc.

By arrangement with Warner Music Group Film & TV Licensing

“P.S. I Love You”

Written and Performed by Curtis Mayfield

Courtesy of Rhino Entertainment Company/Curtom Classics, Inc.

By arrangement with Warner Music Group Film & TV Licensing

 

© 2007 Columbia Pictures Industries, Inc.

All Rights Reserved

Columbia Pictures Industries, Inc., is the author of this film

for the purpose of copyright and other laws.

Seth's Drawings by David Goldberg

Ultimate Fighting ChampionshipÆ footage provided by Zuffa, LLC © 2005

All Rights Reserved.

Panavision Genesis

Prints by DELUXE Æ

 

This is a work of fiction. The characters, incidents, and locations portrayed and the names herein are fictitious, and any similarity to or identification with the location, name, character or history of any person, product or entity is entirely coincidental and unintentional.

This motion picture photoplay is protected pursuant to the provisions of the laws of the United States of America and other countries. Any unauthorized duplication and/or distribution of this photoplay may result in civil liability and criminal prosecution.

APATOW PRODUCTIONS

COLUMBIA PICTURES

A Columbia Pictures Release

A SONY PICTURES ENTERTAINMENT COMPANY

 

     

 

   

 

    

 

    

 

 

 

 

 

 

Columbia Pictures Presenta

Una ProducciÛn de Apatow Company

“SUPERBAD”

Jonah Hill

Michael Cera

Seth Rogen

Bill Hader

Kevin Corrigan

Joe Lo Truglio

Martha MacIsaac

Emma Stone

e Introduciendo a

Christopher Mintz-Plasse

Casting por

Allison Jones

DiseÒadora de Vestuario

Debra McGuire

Co-Productora

Dara Weintraub

SupervisiÛn Musical por

Jonathan Karp

M·sica de

Lyle Workman

Editada por

William Kerr

DiseÒador de ProducciÛn

Chris Spellman

Director de FotografÌa

Russ Alsobrook, ASC

 

Productores Ejecutivos

Seth Rogen

Evan Goldberg

Producida por

Judd Apatow

Shauna Robertson

Escrita por

Seth Rogen & Evan Goldberg

Dirigida por

Greg Mottola

ELENCO

Seth Jonah Hill

Evan Michael Cera

Fogell Christopher Mintz-Plasse

Oficial Slater Bill Hader

Oficial Michaels Seth Rogen

Becca Martha MacIsaac

Jules Emma Stone

Nicola Aviva

Francis el Chofer Joe Lo Truglio

Mark Kevin Corrigan

Hombre Sin Hogar Clement E. Blake

Cajera de LicorerÌa Erica Vittina Phillips

Empleado de LicorerÌa Joseph A. Nunez

Greg el Jugador de F·tbol Dave Franco

Gaby Marcella Lentz-Pope

Jesse Scottie Gerbacia

Shirley Laura Seay

Miroki Roger Iwami

Chico de PrÛtesis en Pierna Clint Mabry

Mam· de Evan Stacy Edwards

Padre con Garrote Mark Rogen

Cajero de Good Shopper Charlie Hartsock

SeÒora Mayor Dona Hardy

Seguridad de Good Shopper Charley Rossman

Chica con Periodo Carla Gallo

Quince Danbury Ben Best

Tut Long John Silver Jody Hill

Patrick Manchester Kevin Breznahan

Benji Austin David Krumholtz

Billy Baybridge Mousa Kraish

Fairmount CafÈ Nicholas Jasenovec

James Masselin Martin Starr

Wild Bill Cherry Keith Joseph Loneker

Kane Cloverdale Matthew McKane

Scarlett Brighton Lauren Miller

Tiger Greendragon Peter Salett

Muffin Selby Rakefet Abergel

Sra. Hayworth Brooke Dillman

Profesor de Gimnasia Michael Naughton

Profesor de Matem·tica Steve Bannos

Joven Seth Casey Margolis

Joven Becca Laura Marano

Viajero Vagtastic Matthew Bass

Viajeras Vagtastic Aurora Snow

Jenna Haze

Barman Ted Haigh

Chofer de ”mnibus Michael Fennessey

Director de Primaria Brian Huskey

Adolescentes en Fiesta Clark Duke

Stephen Borrello IV

Naathan Phan

Profesora Pamella D’Pella

Coordinador de Dobles Tim Trella

Dobles Kenny Alexander

Cody Gill

Buddy Joe Hooker

Mic Rodgers

Michael Runyard

Todd Warren

Gerente de Unidad de ProducciÛn Dara Weintraub

Primer Asistente al Director Scott Robertson

Segundo Asistente al Director Steven F. Beaupre

Supervisor de ProducciÛn Christa Vausbinder

Director de Arte Gerald Sullivan

Decorador de Sets Robert Kensinger

Encargado de Ubicar Objetos en el Set Michelle Spears

Supervisor de GuiÛn Ronit Ravich-Boss

Operador de C·mara Steven H. Smith

Primer Asistente de C·mara Jason Garcia

Segundo Asistente de C·mara Rigney Sackley

Operador C·mara “B” /Steadicam Jerome Fauci

Primer Asistente C·mara “B” Timothy Kane

Segundo Asistente C·mara “B” Betty Chow

TÈcnico en ImaginerÌa Digital Nick Theodorakis

Supervisora de Vestuario Mary E. Walbridge

Vestuarista Principal Michael A. Russell

Vestuaristas Jennifer Iizuka

Edward Nino

Margaret Rogers

Cabeza Departamento Maquillaje Kimberly Greene

Artista de Maquillaje Principal Lana Horochowski

Artista de Maquillaje Maggie Fung

Efectos Especiales de Maquillaje por Robert Hall

Cabeza Departamento Peinados Melissa A. Yonkey

Estilista Principal Merribelle A. Anderson

Estilista Dena Fayne

TÈcnico de IluminaciÛn en Jefe Christopher Napolitano

Asistente al TÈcnico de IluminaciÛn en Jefe Ron Alexus

Electricidad Principal Dave Parks

Coordinador del Personal de ProducciÛn T. Daniel Scaringi

Ayudante al Coordinador del Personal de ProducciÛn Robert Chinello

Personal de ProducciÛn a Cargo del Movimiento

de C·mara Paul E. Sutton

Michael Wahl

Coordinador del Personal de ProducciÛn Principal Robert J. Reilly

Mezclador de ProducciÛn Harrison D. Marsh

Operador de MicrÛfono Tom Fox

Asistencia en Video Jay Huntoon

Play back Video Rick Whitfield

Coordinador Efectos Especiales Bob Stoker

TÈcnico en Efectos Especiales Paul E. Vigil

Gerente de Locaciones Christine Bonnem

Asistentes al Gerente de Locaciones Jeffrey Garrett

Matthew Messina

Christi Neubeiser

Coordinador de ProducciÛn Sara Scarritt

Asistentes al Coordinador de ProducciÛn Carrie Arnold

Jenifer Bonisteel

Secretario de ProducciÛn Justin Giugno

Contador de ProducciÛn Edward Allen

Contadores Asistentes Beth Waller

Saundra Marie Ardito

DiseÒadores de Sets Alicia Maccarone

Natalie Richards

LÌder Thierry Labbe

DiseÒador Gr·fico Ted Haigh

Artista de Bocetos Darryl Henley

Coordinador Departamento de Arte Kat Wilson

Vestuarista en el Set Mark Brooks

Asistente al Encargado de Ubicar Objetos en el Set Kim Richey

Asistente de UtilerÌa Jeffrey Barnett

Coordinador de ConstrucciÛn Karen D. Higgins

Encargado General Steven Kissick

Encargado de labores Edward A. Giron

Supervisor de Pintado Michael R. Blaich

Pintor Suplente Joey Genitempo

Paisajista Principal Jason Vanover

Publicista de la Unidad Kym Langlie

FotÛgrafa Tomas Quietas Melissa Moseley

2do Segundo Asistente al Director Nicole Swasey

Asistentes al Sr. Mottola Elisabeth Stone

John Schwert

Asistentes al Sr. Apatow Andrew Epstein

Greg Cohen

Asistentes a la Sra. Robertson Paul Sweeny

Chelsey Dailey

Asistente al Sr. Rogen & Mr. Goldberg Matthew Bass

Asistente a la Sra. Weintraub Tora Chung

Asistentes de ProducciÛn Sage Asteak

Cris DeArce

Scott Koche

Mikki Levi

Allan Marasco

Gunnar Moulton

Brad Pero

Stephen Richards

Hirotatsu Taniguchi

Derek Wade

Asociada al Casting Dorian Frankel

Casting de Extras Central Casting

Catering por Gala Catering

Servicios de Mantenimiento Chance P. Tassone

` Joseph Milito

Profesor en el Estudio Nancy A. Flint

MÈdico Ericka Bryce Poniewaz

Capit·n de Transporte Mike Menapace

Co-Capit·n de Transporte James D. D’Amico

POST PRODUCCI”N

Editor Adicional Michael L. Sale

1er Asistente al Editor Dov Samuel

Editores Asistentes Laura Yanovich

Kristen Young

Stacey Clipp

Aprendiz de Editor Brian Scott Olds

 

Editor de Sonido Supervisor George Anderson

Editores de Sonido Asistentes Cherie Tamai

Ann Ducommun

Editores de Di·logos James Matheny

Larry Kemp

Editor de Efectos de Sonido Cindy Marty

Editor ADR Supervisor Tammy Fearing

Editor de Sonidos de Fondo Joe Schiff

Artistas de Sonidos de Fondo Pamela Nedd Kahn

Vincent Guisetti

Mezclador de Sonidos de Fondo Kyle Rochlin

Mezcladores de Sonido Supervisores Marc Fishman

Tony Lamberti

Grupo de Loop The Reel Team

Servicios de Post Sonido ProveÌdos por Sony Pictures Studios

Culver City, California

Editor Musical Jonathan Karp

Mezclador de M·sica de Fondo Chris Fogel

Contratista Musical Gina Zimmitti

PreparaciÛn Musical JoAnn Kane

Bootsy Collins & The Superbad Band

Bootsy Collins - bajo, vocales

Bernie Worrell - clavinet, Ûrgano

Clyde Stubblefield - baterÌa

John "Jab'o" Sparks - baterÌa

Phelps "Catfish" Collins - guitarra

Luis Conte - percusiones

Jeff Babko - Ûrgano, clavinet, moog

Lyle Workman - guitarra

Jerry Hey - trompeta, orquestador

DiseÒo de TÌtulo Principal por Yard VFX

TÌtulos Finales por Right Lobe Design Group

Intermedio Digital por Technicolor Digital Intermediates

Colorista Digital John Persichetti

Cortador de Negativos Mo Henry

 

Efectos Visuales por Pacific Vision

Pacific Title

 

Filmada en los Estudios de Sony Pictures

Culver City, California

 

 

 

 

M/SICA

“Too Hot To Stop”

Escrita por Fred Freeman y Harry L. Nehls

Interpretada por The Bar-Kays

CortesÌa de The Island Def Jam Music Group

Bajo licencia de Universal Music Enterprises

“Soul Finger”

Escrita por James Alexander, Ronnie Caldwell, Ben Cauley,

Carl Cunningham, Phalon R. Jones, Jr. y Jimmy King

Interpretada por The Bar-Kays

CortesÌa de Atlantic Recording Corp.

Bajo arreglos con Warner Music Group Film & TV Licensing

“Do Me”

Escrita por Kenneth Gamble y Leon Huff

Interpretada por Jean Knight

CortesÌa de Stax Records

Bajo arreglos de Concord Music Group, Inc.

“Roda”

Escrita por Jo„o Augusto y Gilberto Gil

Interpretada por Sergio Mendes & Brasil ‘66

CortesÌa de A&M Records

Bajo licencia de Universal Music Enterprises

“Bustin’ Out (On Funk)”

Escrita e Interpretada por Rick James

CortesÌa de Motown Records

Bajo licencia de Universal Music Enterprises

“Are You Man Enough”

Escrita por Dennis Lambert y Brian Potter

Interpretada por The Four Tops

CortesÌa de Geffen Records

Bajo licencia de Universal Music Enterprises

“High Class”

Escrita por Brian Lapin, Terence Yoshiaki Graves

y Michael Fratantuno

Interpretada por The Transcenders

CortesÌa de Transcenders, LLC

“Why Do I Cry?”

Escrita por Barry Tashian

Interpretada por The Remains

CortesÌa de Epic Records

Bajo arreglos de SONY BMG MUSIC ENTERTAINMENT

 

“Stranglehold”

Escrita e Interpretada por Ted Nugent

CortesÌa de Epic Records

Bajo arreglos con SONY BMG MUSIC ENTERTAINMENT

“This Is Your Captain”

Escrita por Ian Blurton

Interpretada por C’mon

CortesÌa de Maple Music

Bajo arreglos con Coda Music

“Echoes”

Escrita e Interpretada por The Rapture

CortesÌa de Mercury Records Limited

Bajo licencia de Universal Music Enterprises

“Big Poppa”

Escrita por Notorious B.I.G., Ronald Isley, Rudolph Isley,

O’Kelly Isley, Ernie Isley, Marvin Isley y Chris Jasper

Interpretada por Notorious B.I.G.

CortesÌa de Bad Boy Records LLC

Bajo arreglos con Warner Music Group Film & TV Licensing

Contiene una muestra de “Between The Sheets”

Interpretada por The Isley Brothers

CortesÌa de Epic Records

Bajo arreglos con SONY BMG MUSIC ENTERTAINMENT

“Shake”

Escrita por Joey Levine y Kris Resnick

Interpretada por The Friggs

CortesÌa de Apex Recording Service

Bajo arreglos con Bug

“Dangerous Woman (With A 45 In Her Hand)”

Escrita por Robert Ellen

Interpretada por Sonny Terry & Brownie McGhee

CortesÌa de Mainstream Records Inc.

“Policy Game”

Escrita por Robert Ellen

Interpretada por Lightnin’ Hopkins

CortesÌa de Mainstream Records Inc.

“Chop Chop You’re Dead”

Escrita por Zack Frank, Simon Toye,

Matt Winters y Craig Nordemann

Interpretada por Cities In Dust

CortesÌa de Paper Bag Records

Bajo arreglos con Coda Music

 

“Journey To The Center Of Your Mind”

Escrita por Ted Nugent y Steven O. Farmer

Interpretada por Ted Nugent & The Amboy Dukes

CortesÌa de Mainstream Records Inc.

“These Eyes”

Escrita por Burton Cummings y Randy Bachman

“Ace Of Spades”

Escrita por Ian Kilminster, Edward Clarke

y Philip Taylor

Interpretada por Motˆrhead

CortesÌa de Sanctuary Records

“Baby Please Don’t Go”

Escrita por Robert Ellen

Interpretada por Ted Nugent & The Amboy Dukes

CortesÌa de Mainstream Records Inc.

“These Eyes”

Escrita por Burton Cummings y Randy Bachman

Interpretada por The Guess Who

CortesÌa de The RCA Records Label

Bajo arreglos con SONY BMG MUSIC ENTERTAINMENT

“Here I Come”

Escrita por Karl Jenkins, Richard Nichols, Malik Smart,

Ahmir Thompson y Tarik Trotter

Interpretada por The Roots featuring Malik B. & Dice Raw

CortesÌa de The Island Def Jam Music Group

Bajo licencia de Universal Music Enterprises

“I’m Your Boogie Man”

Escrita por Harry Wayne Casey y Richard Finch

Interpretada por KC & The Sunshine Band

CortesÌa de Rhino Entertainment Company

Bajo arreglos con Warner Music Group Film & TV Licensing

“Blow Your Whistle”

Escrita por Yung Berg, Patrick Batiste,

Jules Batiste y William Warner

Interpretada por Morgan Smith

CortesÌa de Interscope Records

Bajo licencia de Universal Music Enterprises

“My Favorite Mutiny”

Escrita por Tarik Collins, Talib Kweli y Boots Riley

Interpretada por The Coup

CortesÌa de Epitaph

 

“My Lady”

Escrita por Jeremy Ball y M. Sagapolutele

Interpretada por Mareko

CortesÌa de Dawn Raid Entertainment

“Capital S.A.”

Escrita por Nathan Holmes, Daniel Taupe Maoate

y Demetrius Christian Savelio

Interpretada por Alphrisk presentando a Savage

CortesÌa de Dawn Raid Entertainment

“Pork And Beef”

Escrita por Boots Riley

Interpretada por The Coup

CortesÌa de Epitaph

“Panama”

Escrita por David Lee Roth, Alex Van Halen y Edward Van Halen

Interpretada por Van Halen

CortesÌa de Warner Bros. Records Inc.

Bajo arreglos con Warner Music Group Film & TV Licensing

“P.S. I Love You”

Escrita e Interpretada por Curtis Mayfield

CortesÌa de Rhino Entertainment Company/Curtom Classics, Inc.

Bajo arreglos con Warner Music Group Film & TV Licensing

 

© 2007 Columbia Pictures Industries, Inc.

Todos los Derechos Reservados

Columbia Pictures Industries, Inc., es el autor de esta pelÌcula

Para los propÛsitos de derechos de autor y otras leyes.

Pinturas de Seth hechas por David Goldberg

Material fÌlmico de Ultimate Fighting ChampionshipÆ proveÌdo por Zuffa, LLC © 2005

Todos los Derechos Reservados.

Panavision Genesis

Copias por DELUXE Æ

 

Este es un trabajo de ficciÛn. Los personajes, incidentes, y locaciones representados y sus respectivos nombres son ficticios, y cualquier similitud o identificaciÛn con la locaciÛn, nombre, personaje o historia de cualquier persona, producto o entidad es enteramente una coincidencia y no intencional.

…sta cinta fÌlmica est· protegida bajo las leyes de los Estados Unidos de NorteamÈrica y otos paÌses. Cualquier duplicaciÛn y/o distribuciÛn no autorizada de esta cinta puede resultar en acciones civiles y criminales.

APATOW PRODUCTIONS

COLUMBIA PICTURES

Un Estreno de Columbia Pictures

UNA COMPA—ÕA DE SONY PICTURES ENTERTAINMENT

 

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