SHE'S FUNNY THAT WAY
About The Production
SHE'S FUNNY THAT WAY marks the long awaited return to the big screen of Peter
Bogdanovich, one of the most acclaimed filmmakers of his generation. After a
fifteen year absence, during which he directed films for television, the
documentary "Tom Petty and the Heartbreakers: Runnin' Down a Dream," acted, and
wrote about the movies, Bogdanovich also returns to the comedy genre, which he
was so adept at with his early classics, the critically acclaimed, box office
hits "What's Up, Doc?" and "Paper Moon," as well as the cult favorite, "They All
Like "They All Laughed," SHE'S FUNNY THAT WAY was filmed entirely in New York
and, again, Bogdanovich shows off the city at its glistening, romantic best. And
known for his work with actors, from his award-winning breakout film "The Last
Picture Show" to his last feature "The Cat's Meow," for SHE'S FUNNY THAT WAY,
Bogdanovich has assembled a stellar ensemble cast, headed by Owen Wilson, Imogen
Poots, Kathryn Hahn, Will Forte, Rhys Ifans, and Jennifer Aniston all working
together at the top of their form.
SHE'S FUNNY THAT WAY is a classic style romantic comedy, with touches of the
equally classic screwball comedy, in the best sense of those words. Although
completely modern in its characters, situations, and settings, it's a film that
harkens back to the landmarks of the genre from Hollywood's heyday of the 30s
and 40s, with sparkling wit, charm, and sophistication amidst the craziest and
zaniest of premises and situations.
The film centers around Isabella "Izzy" Patterson (Imogen Poots), a
Brooklyn-born call girl with aspirations to be an actress who, during a
rendezvous at the Barclay Hotel in Manhattan with Arnold (Owen Wilson) - a
successful Hollywood director about to direct a play on Broadway, is offered
$30,000 to do something else with her life. As Arnold explains to her, there are
those people who go to the park and feed nuts to the squirrels. But why not
sometimes feed squirrels to the nuts? It turns out this isn't the first time
Arnold has said that to a call girl. Izzy isn't his first squirrel and
'squirrels to the nuts' is a line that reverberates throughout the film to great
Although Isabella is clearly stunned, she accepts the offer. But when she does,
it starts a chain of events which also changes the lives of everyone she
encounters: Arnold's wife and star of his play, Delta Simmons (Kathryn Hahn),
Delta's co-star Seth Gilbert (Rhys Ifans), who is Arnold's rival for Delta's
affections, the playwright Joshua Fleet (Will Forte) who falls in love with Izzy,
her therapist, Jane (Jennifer Aniston), who turns out to be Joshua's girlfriend,
and the distinguished and esteemed Judge Pendergast (Austin Pendleton), a former
client of Izzy's, who is obsessed with her. Added to the mix are Izzy's parents
(Cybill Shepherd and Richard Lewis) and a mysterious detective (George Morfogen),
who turns out to be the playwright Joshua's father. And by the end of the film,
through a series of comedic encounters, twists and turns, nothing is the same
for any of them.
The story unfolds with a wraparound structure, as Isabella sits with a cynical
interviewer (Illeana Douglas), down the block from Bergdorf's in New York, and
relates how she, a girl from Brooklyn, working as a call girl, became a movie
star. And through the course of the interview we see how all of that happened,
how her love of the movies and her dreams of Hollywood, turned into a reality,
just like some kind of fairy tale.
Peter Bogdanovich originally conceived the story for the film, which he wrote
with his now ex-wife Louise Stratten. Stratten was going to play the Isabella
Patterson role, now played by Imogen Poots, and John Ritter, the role of Arnold,
now played by Owen Wilson. But after John Ritter's untimely death, Bogdanovich
decided to put the script and project aside.
Years later, when Bogdanovich became friends with Owen Wilson, he discussed the
role of Arnold and the script with Wilson while binge watching "Breaking Bad" at
Wilson's Malibu home, and then decided to resurrect the project, with Wilson
attached as Arnold. And so began SHE'S FUNNY THAT WAY's journey to the big
Two other friends of Bogdanovich, the acclaimed filmmakers Wes Anderson and Noah
Baumbach also read the resurrected script. "They read it, they liked it, and
they said they'd like to help me get it made," recalls Bogdanovich. "They like
my pictures. They're both fans and I'm a fan of theirs. We're all very friendly.
They call me pop. And I call each of them son - Son Noah and Son Wes. We're very
close and they were very helpful in getting the picture off the ground. By
having them aboard, we were able to get Owen and Jennifer Aniston attached.
Quentin Tarantino also loved the script. He read it a long time ago when it was
going to star John Ritter. And Quentin loved it then. So when I called him
during the filming and said, 'Can you do this cameo? - I told him what it was
and he laughed - he said, 'Sure, I'll do that. It would be a kick to be in a
Bogdanovich picture.' And I said 'Well, can you do it the day after tomorrow?'"
"I read the script and liked it a lot" says producer Holly Wiersma. "I'd always
been a huge Peter Bogdanovich fan; I grew up watching his movies. And I'm also a
big fan of Owen Wilson and Jennifer Aniston, who were already attached.
"What I particularly liked about the screenplay," continues Wiersma, "is that it
reminded me of the classic, old-time Hollywood movies that you don't see
anymore. I think the closest any filmmaker today comes to making movies like
that is Woody Allen. But otherwise, there just aren't movies like that anymore.
They don't get made; I don't think they even get written. So the script for
SHE'S FUNNY THAT WAY, with Owen and Jennifer attached, was very exciting to me.
And I decided to come on board the film as a producer, along with Logan Levy and
his company Lagniappe to arrange the financing."
How did Bogdanovich originally conceive the project? "It started with two
things," Bogdanovich explains: "the title at the time 'Squirrels to the Nuts,'
which has now been changed, and the notion of someone giving money to a hooker
in order to help her stop being a hooker. I did that a couple of times in
Singapore when I was there directing 'Saint Jack.' There were some ladies of the
evening that I saw there - one was from Bangkok and one was from Malaysia -
Singapore is sort of the melting pot of all of Asia - and I just felt that both
of these girls were not happy with what they were doing and I gave them some
money to go home and stop being hookers. And they did actually."
"That was sort of the impetus for the script," continues Bogdanovich. "I liked
the title 'Squirrels to the Nuts,' because I always liked the Lubitch film that
it was based on, 'Cluny Brown.' The title came from some dialogue in 'Cluny
Brown,' Lubitch's last film. He's one of my favorite directors."
"And that's where it started," recalls Bogdanovich. "My ex-wife, Louise Stratten
and I were talking about writing a script together. And I said how about we
write this thing - I have this idea and we set it in New York. Originally Louise
was going to play the lead girl, Isabella, and John Ritter and Cybill Shepherd
were going to play the director/husband, Arnold, and his actress wife. It was
quite a bit more slapstick then."
"We subsequently changed the title," continues Bogdanovich, "because in the
post-production work, the picture went from being more of a screwball comedy,
with romantic comedy overtones, to being more of a romantic comedy, with
screwball comedy overtones. And so 'Squirrels to the Nuts' didn't seem to go
with this particular version of the film. SHE'S FUNNY THAT WAY, from a 1930s
song, seemed more appropriate. I'm partial to that song as well as songs from
the 30s in general."
Owen Wilson for the part of the director Arnold was the first person cast in the
film. As Bogdanovich relates, "I got to know Owen, we became friendly over the
years and we hung out a bit. And he's one of the few actors today who's a movie
star in the sense that he has a personality which comes across that is very
appealing. And so a movie like Woody Allen's 'Midnight in Paris' just works so
well because he holds it together. I mean it's a good script, but Owen just
holds it together with his charisma. You just want to watch him. And I remember
my mother-in-law said, 'Who's that guy? He's really good, he should get more
money, he made it work.' Owen is one of the only stand in's for Woody Allen who
didn't play it like Woody. He played it like himself and he's just great. I love
talking to him, I love being his friend. We watched a lot of TV shows together -
'Breaking Bad' and 'Game of Thrones' - and we just got friendly. So I said,
'Would you like to do this comedy?' and he read it and he thought there was a
bit too much slapstick for him. So I took most of that out because the slapstick
had been written for John Ritter who was brilliant at that and, with Owen, it's
not his long suit. But he comes up with great lines. He ad-libbed a number of
lines in the picture and they're very funny. When he's asked, 'Where do I find
you?' he says, 'I've been asking myself that for 40 years and I still haven't
got the answer.' That's an ad-lib."
Both Bogdanovich and Wiersma believe that Owen Wilson was the perfect actor for
the role of Arnold and few actors could have made the character come across so
likeable or sympathetic. "I think Owen Wilson has three things about him that
make Arnold work," explains Wiersma. "Owen is the everyman, there's that star
quality that shines through, and he's likeable. There aren't that many actors
who could play the role of Arnold where at the end of the day you'd still like
him. When we tested the movie, Owen was one of the actors in the film who tested
the highest. How many actors could pull that off? Arnold is a guy who's cheating
on his wife and calling hookers on the phone while his children are on the other
line. He's doing some things that most people would view as despicable. Yet at
the same time you never hate this guy, it just never goes through your mind,
which not many actors could have pulled off."
"I love Owen," adds Bogdanovich. "I love him personally and I love him as an
actor. He's one of the few movie stars today that I was interested in working
with - because he's like the old-fashioned kind of movie star, you know what
When Jennifer Aniston was approached to do the film it was with the idea of her
playing the role of Delta, Arnold's actress wife. But as Bogdanovich relates,
"She just had no interest in playing the wife, but said she'd love to play Jane,
the therapist. I tried to convince her that maybe the part of Delta was more
central to the story, but she had her heart set on playing Jane. So finally I
said, 'Okay, play Jane.'"
"And she's very good at it, she's excellent in the part," continues Bogdanovich.
"She wears a wig which she insisted upon for the role and which I liked. And
everything she did was fine with me. I think she did a great job. It was very
much a stretch for her with the performance. She never played anything quite
like that. She basically played a complete bitch. And audiences laughed when
they saw her in the part because they know she's not like that. That's one of
the reasons the dynamic works. So she's playing it like that whereas, if she
actually was known to be a bitch it wouldn't be funny."
In addition, a lot of Aniston's dialogue has a sped up tempo like in classic
Hollywood comedies of the 30s. "It's a comedy tempo to build a certain pace,"
explains Bogdanovich. "She's good at that and we worked at it. I kept saying
'faster.' Joanna Lumley, who was one of the cameos in this, did a picture with
me called 'The Cat's Meow' and when they interviewed her and she was asked, 'How
did Peter direct you?' she replied, 'Pedro? Mainly, he just said faster,
"Frank Capra told me an interesting thing," relates Bogdanovich, referring to
the legendary director: "He said he didn't know why, but 'films slow things
down, so if you play something at a normal speed it'll seem slow, but if you
play it at a somewhat faster than normal speed it'll seem normal. Then if you
really want to go faster than that you've got to speed up.' And he's right,
absolutely right. I don't know why but film seems to slow it down. If you play
something at a normal speed it just seems interminable. That's maybe because
film is bigger than life. I remember when we did 'What's Up, Doc?' Barbara
Streisand said, 'Can we take a moment here?' And I said, 'There'll be no moments
in the entire picture.'"
"I think the reason Jennifer Aniston works so well in the role of Jane is that
it's so different from anything she's ever done," says Wiersma. "I think the
closest would be 'Horrible Bosses.' But I feel even with that she played a
sexier role, whereas in SHE'S FUNNY THAT WAY, she really went for it, with the
wig, as well as her whole demeanor. She said that 'What's Up, Doc?' was her
favorite movie so when she got this script it was one of those things she really
wanted to do. She wanted to work with Peter and she knew Owen. She was the
second person cast in the film and she stayed with it and stuck with it for a
year as the project was put together for filming. It's so different than
anything that she's usually cast in and she just played the role so well. And
she was great to work with."
"I'm really pleased with Imogen Poots as 'Isabella,'" says Bogdanovich. "She's
an extraordinary actress. And I'd never seen her in anything before I met with
her. There was a list of up and coming girls that was given to me. I saw four of
them in L.A., then came to New York and Imogen heard that we wanted to see her.
She was shooting a picture in Atlanta and she flew up to see me. We met at the
Palm Court at the Plaza hotel, a kind of old-fashioned place to meet, and within
five minutes I knew she was the girl. She didn't audition, we just talked. And
the reason I knew it was that she was quirky, just quirky as a person, but not
trying to be quirky. She wasn't pretentious or putting on airs or being cutesy
pie - none of that. She was just being herself, but she was quirky. And I
recognized that quickly. And after about 20 minutes I said, 'Look, I'm not
supposed to do this, but when you leave here, just know you've got the part.
I'll work out the details.' So that was it."
"And I wasn't wrong - she's fabulous in the role," enthuses Bogdanovich. "She's
really good. She's very, very, very good. And she's very original. She's just
herself, she's not like anybody. The Brooklyn accent was always in the script
because the girl that the character is slightly based on is a girl from Brooklyn
who had that accent. So I just told Imogen that she had to do a Brooklyn accent
- and she worked hard at it. She had a vocal coach, she took it seriously and
did it very well, particularly given that she's British! But the British are
superb actors, generally speaking. They just are, they're just good. They're
trained well, they have a culture and a tradition which we don't have and
they're just dynamite. And she's one of them."
"I knew Imogen would bring a genuine quality to the role of Isabella, very real,
not actory," says Bogdanovich, "and I was right. Her being quirky without trying
to be quirky really works for the character. And she's enormously appealing and
likeable. She's also attractive without being Ava Gardner. She's just really
attractive and looks different every time you look at her. Every time you look
at her she doesn't look the same. "And she does everything superbly. She's a
great actress. And she dominates the screen. The camera likes her as they used
"I think it's a tricky role to pull off," adds Bogdanovich, "but Imogen made it
seem easy. She never gave me a hard time. At one point in the film when she
auditions for the play, they were playing it sort of for comedy, and I said,
'No, we have to play this audition scene real.' I told her she had to cry
because audiences equate good acting with crying. If you can cry, you must be a
good actor. So I said, 'We haven't got a lot of time, so cry.' So she did it and
was crying at the end of the scene and did it very well. Then I came over to her
and whispered, 'It was very good, darling, but you screwed up your face. I want
you to cry and still be attractive.' And she said, 'Jesus, Peter!' And I told
her 'You can do it. Cry with your eyes, don't make faces.' And she did it."
"I think what's so interesting about Imogen is that there's a toughness to her,
but also something about her that's very fragile," adds Wiersma. "She has both
innocence and toughness. And to have that combined is something you don't see
often. Most actresses could do one of the two parts of her character's story.
But in the movie you have to believe Isabella as both a movie star and a call
girl. And she is from Brooklyn. And Imogen is beautiful, but not in a classic
way. She's so interesting to watch. And she always kind of looks a little bit
different from scene to scene."
Obviously, one of the things Bogdanovich also had to consider was how Imogen
would play opposite Owen Wilson. "They were great together," says Bogdanovich.
"They really liked each other and worked very well together. And their chemistry
shows on screen. But Imogen worked well with everybody in the cast. She's a pro.
And everybody liked her and got along with her. There really wasn't any
temperament on the picture in front of the camera."
As for the casting of Kathryn Hahn as Arnold's wife Delta and Will Forte as
Joshua Fleet, the playwright, Bogdanovich couldn't be more pleased with
selecting them for those roles. "I wasn't familiar with Kathryn Hahn's work, but
she's a close friend of Jennifer's," explains Bogdanovich. "And when Jennifer
said she wanted to play Jane she said, 'I know who should play Delta: Kathryn
Hahn.' They both have the same agent and manager. So I met with Kathryn, I liked
her, saw some stuff she was in and that was it."
"Kathryn was wonderful," says Bogdanovich. "And I don't think she's ever looked
as good in a picture. She said it herself, she said, 'I look good.' And I said,
'Well, you should. You're playing a leading lady, so we made you look like a
leading lady.' We shot her that way. She's very good. She has a natural flair
for comedy and she's very real. And again, I didn't have to direct her much. She
had it. She played it much more down to earth than like a prima donna. She
played it like herself; she is very down to earth."
"And I thought she and Owen were really believable as a married couple and I was
really torn as to whether or not to break them up at the end. But women objected
to them getting back together, women thought she would never forgive him that
"They worked well together," says Bogdanovich. "I think Kathryn and he were very
good together and were excellent playing off each other. Their relationship came
across as very warm and that helps the story too. They seem to get along very
well. You buy that they're married. And the cab scene in which they're talking
over each other worked so well, it was really perfect. And that was all
ad-libbed. That was great."
"All the ad-libbing over each other - that was all Owen and Kathryn. They just
did it and wonderfully so. I didn't rehearse it either, they just did it. If you
have really good actors you're way ahead of the game. I once said to Orson
Welles, 'I thought it was a pretty good picture, but it wasn't very well acted.'
And he said, 'How could it be a good picture if it's not well acted? What else
is there? Who cares about the camerawork, it's the acting.' And he's right,
"We're so glad that Jennifer Aniston did a little bit of casting for us by
recommending Kathryn Hahn for the character of Delta," says Wiersma. "We met
with Kathryn and thought she was perfect for the role. And she really is
fabulous in the movie. It's funny, but although Kathryn's done so many different
roles in so many movies for years, you've never seen her in a role like this. I
feel, in a weird way, this is probably the role she's most like in real life.
She's so cool and she's so pretty. And she never gets to play pretty in movies.
So it was fun to see her in this and she was a joy to have on set. Everyone's
What did Kathryn Hahn bring to the role of Delta? "I think what was great about
Kathryn's performance is that she just played it very straight," says Holly
Wiersma. "She didn't try to play it as an over the top, dramatic actress. She
played it like everywoman. Lots of women you know have in some way been cheated
on and she never played it as the victim and yet also never played it as the
cad. And I thought that was really interesting."
"With Will Forte, we had a number of possibilities for that part," continues
Bogdanovich, "and I liked him best. He's kind of a leading man, pretty straight,
easy going - and looks like a playwright. He looks intelligent. Orson Welles
used to say, 'It's very hard to believe that an American actor is a writer or an
intellectual. That's why we often cast English people to play those kind of
parts.' Orson, himself, looks like a man who thinks and reads. But there aren't
that many. Cary Grant did so he could play professors and things. But it was not
common with American actors. I remember when Bob Redford made 'Quiz Show' he had
to get two Englishmen to play the Van Doren father and son."
"Will Forte looks like a playwright," says Bogdanovich. "And he's kind of a nice
leading man. It's not a comedy part really; it's more of a straight part. And I
thought he was very appealing. He has a gentleness about him and there's an
intellectual part to him as well. You believe that he could write a play. And he
was just easy to work with, a joy. None of the actors on this film were
difficult to work with."
"Will Forte is another person whom Jennifer had recommended," adds Wiersma. "She
and he had worked together on another independent film before us. She loved
working with Will on that film, so she told us about him and suggested him for
the part of Joshua Fleet. And when we met him, we thought he'd be perfect for
the role and they would be the perfect combination for the playwright and his
therapist girlfriend. He was just coming off 'Nebraska' and he was amazing. He's
a writer, intelligent, a great straight man, the good guy."
Rhys Ifans, who plays Seth Gilbert, the actor who stars opposite Arnold's wife
Delta in the play, was one of the last people we cast," recalls Bogdanovich. "I
think we cast him the day before he appeared in the film. We had been thinking
of using more of a romantic, matinee idol type. And we did decide to use Jack
Huston. I liked him for the part as a matinee idol. But he was doing 'Boardwalk
Empire' and they wouldn't let him go, even for a couple of days. So we had to
move on. And I think George Drakoulias, one of our producers and the music
supervisor (who was also a producer on my documentary about 'Tom Petty and the
Heartbreakers'), had worked with Rhys on Noah Baumbach's picture 'Greenberg' and
suggested him not as a matinee idol type, but more of a rock star type movie
star. And when I met him I thought he'd be terrific. We met him and he worked
the next day."
"He was superb in the role of Seth," says Bogdanovich. "And he was wonderful to
work with. He loved the script, loved the part, and most importantly, understood
it completely. I didn't have to direct him much, he just got it. The looks he
gives to Owen are absolutely perfect. It was written for more of a matinee idol
like Bradley Cooper or Jack Huston. But I think this worked out better because
he's more of a rock star type of actor in the film. And he's funnier, wittier.
He's very witty in the part."
"Austin Pendleton I've wanted to work with again since we did 'What's Up, Doc?'
enthuses Bogdanovich. "We wrote the Judge for him and the detective for George
Morfogen. When we wrote it they were a bit younger, 15 years younger, but we
wrote it for them and I didn't want to cast anybody else. George has been a
friend of mine since I was 18. We met at Shakespeare in the Park, Joe Papp's
production of 'Othello.' We were both in it. I was a spear carrier and George
was the understudy for Lago. We worked together numerous times and he's also
worked behind the camera with me. He was co-producer with me of 'Saint Jack,'
'At Long Last Love,' 'They All Laughed.' He worked with me behind the scenes on
those. 'Saint Jack' he wasn't in, but he was in 'They All Laughed,' as well as
being one of the producers."
Rounding out the cast in smaller roles are Cybill Shepherd and Richard Lewis as
Izzy's parents, Nettie and Al Finkelstein. Shepherd and Bogdanovich, of course,
have known each other for many years and worked on various films together,
beginning with Shepherd's film debut in "The Last Picture Show." Comedian/actor
Lewis and Bogdanovich are longtime friends, although this is the first time
they've worked together. Both Shepherd and Lewis really liked the script and
eagerly joined the cast to work with Bogdanovich and help get the film made.
And when Bogdanovich and the producers decided to shoot a wrap around for the
movie, they cast Illeana Douglas as Judy, the journalist interviewing Izzy.
"I've worked with Illeana on three films, including 'Factory Girl,'" explains
Wiersma, "so it was easy to call her at the last minute and I knew she'd be
perfect for the role."
"The story of SHE'S FUNNY THAT WAY is a bit complicated for me to explain," says
Bogdanovich. "But basically, it's about a girl who's an escort and how she
evolves into being a movie star through a series of odd circumstances. That's
what it's about. And all the people in the movie are sort of involved in getting
her to that place, inadvertently or not. And it's about the accidental nature of
things. Things just happen to her through a bunch of strange coincidences.
Robert Graves, who's my favorite writer said, 'There were so many chains of
coincidence in his life that he's come to think of it as a habit.'"
Producer Holly Wiersma describes the film as "a throwback to old Hollywood
movies which pays homage to the classic romantic comedies. The story is told
through the point of view of Imogen Poots' character, Izzy, and throughout it
she references various older movies - the kind I grew up watching - like
'Breakfast at Tiffany's,' as well as movie stars of yesteryear such as Audrey
Hepburn, Marilyn Monroe, Lana Turner, Humphrey Bogart and Lauren Bacall, Fred
Astaire and Ginger Rogers. And there are some screwball comedy elements in the
film as well."
"And the story is about a girl who is sitting with an interviewer and telling
her about incidents that occurred in New York a couple of years before and how
she got to where she is today," explains Wiersma. "It's kind of a classic rags
to riches story. As people say, it's a small world. And in this movie, Izzy and
all the people she meets through unlikely encounters find their lives changed in
the process. Is it coincidence or is it fate?"
The use of music has always been integral to Bogdanovich's films. "We did a
bunch of different scores on this picture," explains Bogdanovich, "but none of
them were quite right. I liked the idea of Louis Armstrong in the score, but
every score that we did with records - because I've done that through most of my
career - was done in counterpoint. So there were blues, but they weren't bluesy,
but rather kind of sarcastic. I think I did about four different scores with
records. Then, we finally decided to use a composer. We chose Ed Shearmur, and
he did a superb job. And it's the first picture of mine that's been scored, that
has a real score all the way through. I never did that before. And I really
think Ed did great work. He understood the picture. He saw the picture, he liked
the picture, he got what it needed, and he did a very good job. We only used a
couple of songs, for the beginning and end of the film."
There are also numerous cameos sprinkled throughout SHE'S FUNNY THAT WAY,
including actors who have had significant roles in previous Bogdanovich films,
such as Tatum O'Neal, Colleen Camp and Joanna Lumley. Actor Michael Shannon and
filmmaker Quentin Tarantino, both of whom Bogdanovich knows, also make
"The cameos in the film are really terrific," says Wiersma. "We were in New York
and we wanted SHE'S FUNNY THAT WAY to really be a New York movie, so it was
great to call people the day of or the day before and say, 'Hey, come be in our
movie. Help us sell New York. This is a movie about Broadway and famous people.
Let's use that to our advantage and put fun people into the cameos, even if they
don't say anything on screen. So we started with Graydon Carter, as Owen
Wilson's limo driver, who's one of the first people you see when we flashback
from Isabella's interview to New York a few years earlier. With Graydon, it
doesn't get any more New York than that. And then Owen Wilson walks into the
hotel and there's a friend of mine, an actor who lives in California and New
York - Jake Hoffman, Dustin Hoffman's son. We'd run into him in the Bowery and
said, 'Come, be in the movie.' And then Owen Wilson walks to the hotel desk and
there's the amazing artist and designer, Scott Campbell, who's walking by. And
the one who is walking with him is Erin Heatherton, the Victoria Secret
supermodel. We wanted to open the first New York scene with famous New York
Home | Theaters | Video | TV
Your Comments and Suggestions are Always Welcome.
© 2018 29®, All Rights Reserved.