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LITTLE BLACK BOOK

About The Production
Though the story is set in New York and New Jersey, Little Black Book was shot mainly near Los Angeles. One of the biggest overall challenges for production designer Bob Ziembicki was making a very hot, dry Pasadena summer look like a green, lush New Jersey/New York spring. But the filmmakers overcame that hurdle with some creative location selections.

For the style of the movie, Ziembicki followed director Hurran's dictate that the production avoid the color blue. "He felt that would keep our overall palette in very warm tones, particularly for the night time scenes.” 

The chaotic nature of some of the film's key scenes, were another challenge. "There was so much going on at once,” says Murphy. "There were sometimes half a dozen scenes in one, because we were shooting the ‘Kippie Kann' audience reacting, the warm-up man and whatever was going on onstage. On top of that, we were shooting in the control room and the characters in there talking to the people on the floor and to the cameramen. In the background there were emus and orangutans walking down the hallway where Holly and I were doing a scene. I've never been in a picture where there were so many different things going on at once.”

It's also doubtful that Murphy ever had a scene in which she has to submit to a pelvic exam. "It is sort of fascinating how real that scene turned out to be,” says Hurran. "In the story Stacy discovers that one of her boyfriend's exes, Rachel, is a gynecologist, and submits to the procedure in order to meet her.”

"Brittany and I got very comfortable with each other very quickly,” says Rashida Jones, who plays Rachel. "There was so much activity and so much to be done that it almost made our interaction easier. But it was really funny.” 

Every time Jones would pop up from behind Murphy's dressing gown, Murphy cracked up. "But she made it through,” says Jones.

Another memorable scene was the lengthy "Kippie Kann Show” pitch-meeting sequence. The cast members got a bit carried away, coming up with outrageous pitches for the show. "Every take, we would pitch the shows, and then at the end of the take, we'd keep going with things like ‘midgets who got kicked out of the KKK,'” says Kevin Sussman. 

Jason Antoon came up with some of the most memorable pitches. "I made up absurd things, like ‘80-year-old virgins,'” he says. "It was actually a lot of fun. Because after doing it a few times, we'd just take an idea and run with it.”

The climactic scene at the end of the movie where nearly all the film's characters converge on the stage of the "Kippie Kann Show” encompassed nearly 15 script pages. "It didn't feel that long when I read it,” admits Hurran. "So much is happening within that scene. Yet, it never read to me like such a mountain to climb. It proved to be all-consuming technically. But in the end, it was a joy.” 

"Most of the third act of the film is the climactic ‘Kippie Kann Show,' so it was imperative that we really nail it,” says Goldsmith Thomas. "Nick did an amazing job orchestrating the dozens of cameras in what was essentially shooting a television show within a movie.” 

In the scene, the show's host, played by Kathy Bates, is a "fallen Oprah” whose once popular New York show is now syndicated out of New Jersey. Taking pride in their successful efforts to eternally lower the bar, her producers serve up such slop as "cheerleading midget lesbians” and "hoochie mama makeovers.”

The production created a perfectly functioning TV show within a film. Film cameras shot the TV cameras that shot the action on stage and the live studio audience. "The TV show is kind of another character in the movie. It had a whole reality unto itself,” says Holly Hunter. 

Video supervisor Dean Striepeke was the "Wizard of Oz” who controlled the TV show. "Everything on the set worked essentially the same w

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