The Story Behind Bridesmaids

Weddings get a bad rep at the movies. Generally speaking, they’re the scene of more heinous crimes against fashion, friendship and food than your (not so) friendly local Liquid nightclub. Case in point: Bride Wars. My Best Friend’s Wedding. Runaway Bride.

Which is probably why actress and writer Kristen Wiig didn’t want to work on a movie about a wedding. Not at all. Not even when the film she found herself writing with friend/co-writer Annie Mumolo ended up being called Bridesmaids.

“I feel like when we started writing it, we never saw it as a wedding movie,” says the Saturday Night Live alumnus.

“In the earlier drafts for the first three years, there wasn’t even a wedding in it at the end. We didn’t really set out to make it different from other movies or make any statement about those movies.

“We just wanted to write a fun script where our friends could come in and play and write something that had a lot of women in it…”

The Story Behind Kung Fu Panda 2

“Since the release of Kung Fu Panda, there has been one burning question that people are desperate to answer,” says director Jennifer Yuh Nelson. “The question that defies explanation is: Why is Po’s dad a goose?”

It’s a head-scratcher, to be sure, especially since the Po in question is that film’s eponymous panda. An irksome conundrum, and a fittingly oddball one for a film that came out of nowhere and surprised even the most ardent Pixar fans with its creative animation and winsome storyline.

Released in 2008, Kung Fu Panda amassed a colossal $633m worldwide, garnered warm reviews (“A master [course] in cunning visual art and ultra-satisfying entertainment,” said TIME) and landed an Oscar nom in the Best Animated Feature Film category.

A return trip to ancient China and the world of Po (Jack Black) was pretty much a sure thing – and the seeds of a sequel had already been sewed in that paternity mystery.

“For Po, the Dragon Warrior, it was logical for him to finally realise his father is not his biological father and to seek his origin,” agrees Nelson. Adds producer Melissa Cobb: “We always imagined we had more story to tell with the continuation of Po and his journey…”

The Making Of Apocalypse Now

“They used to call it Apocalypse When,” recalls director Francis Ford Coppola. “It was just being portrayed as this wild, irresponsible picture.”

It’s not hard to see why. Tormented by a production that suffered one disaster after another, Coppola’s Vietnam War movie Apocalypse Now looked like it might never see the light of a movie projector.

Wrestling with a tricky subject matter was taxing enough, but Coppola faced numerous problems during production of his magnum opus – including torrential weather storms that destroyed expensive sets, a problem actor in Marlon Brando, and a runaway schedule – not to mention a runaway budget.

It’s a small miracle that Coppola was able to piece together the kind of film that was even viewable, let alone one worthy of an Oscar or two…

The Making Of Julia’s Eyes

Google the phrase ‘Julia’s Eyes’, and two main topics come up. One is how to apply make-up just like Julia Roberts. The other is a slew of articles about a new Spanish horror film.

While we’re genuinely interested in seeing how we can get Julia Roberts’ look, it’s the latter that grabs our attention. For no other reason than another well-known name: Guillermo del Toro.

Back in August 2009, when the Pan’s Labyrinth director was still deep in pre-production work on The Hobbit, he signed on to help guide another burgeoning new filmmaker’s vision to the big screen.

Or, as the case would be with Julia’s Eyes, his vision of a lack of vision. Having helped the likes of J.A. Bayona (The Orphanage) and Vincenzo Natali (Splice) make their own uniquely dark horror tales into movie realities, del Toro spied something interesting in fledgling director Guillem Morales’ Julia’s Eyes script, which he co-wrote with Oriol Paulo.

Says Paulo: “The thriller’s an excuse to talk about a woman who overcomes her limitations; it’s a journey of self-discovery…”

The Making Of The Tree Of Life

If director Terrence Malick lived life by a mantra, we’d put good money on that mantra being ‘Slow and steady wins the race’. The cult director of Badlands and The Thin Red Line has been making movies for over 30 years, but until recently he still only had four feature directing credits to his name.

His fifth and latest is The Tree Of Life, a CG-infused dramatic human-struggle genre-splicer that seemingly takes its title from Norse mythology, and has been consistently shrouded in mystery. But like all of Malick’s films, Tree has taken its time getting to the big screen.

With attempts to premiere the film at Cannes falling through and word that CGI work was coming along at a snail’s pace, Tree has failed to break into the public arena just yet. Which only serves to make the project even more enticing. Because Tree could just be Malick’s most ambitious, outrageous work to date…