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About The Location

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

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

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

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

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

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

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

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

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

For instance, the church wedding, which was filmed at Pasadena's stained glass Westminster Presbyterian Church, was adorned with blossoming cherry trees among its pews. The Greek wedding, filmed at the historical Wilshire Ebell Theater in Los Angeles, was accentuated with olive and orange trees, Greek food and plate throwing. The Moroccan wedding was filmed at The Athenaeum at Caltech, where guests felt they had arrived in Fez, with cushioned seating and Moroccan touches everywhere. Finally, the Donolly wedding was filmed in glorious Golden Gate Park where glistening globe lanterns hung from sycamore trees and a half-domed stage framed the opulent, sumptuous event. Other important Los Angeles locales in the film were the glorious Huntington Gardens in Pasadena, which stood in for Golden Gate Park's Japanese Gardens, and the verdant Ventura Farms, where the horseback riding scene takes place.

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