MONSTER-IN-LAW

About the Production
The inspiration for screenwriter Anya Kochoff’s Monster-in-Law script – her feature film debut – originally came from years of conversations the writer had with her girlfriends. They would compare notes with other newly-married couples, and Kochoff discovered a treasure trove of funny and sometimes heart-breaking incidents at her fingertips. After thinking about a story for almost a year, she eventually sat down at her computer and wrote the first draft of the script in just a month.

In writing the script, Kochoff realized that in the telling of these family squabbles, listeners appeared more sympathetic to the mother. But she wanted to tell her story from the girl’s point of view. “I wanted the audience to experience what it is like to adopt a mother, to adopt a family,” Kochoff explains. “I wanted people to appreciate how difficult it can be for the women marrying the sons of their soon to be mother-in-laws.”

“There’s an old saying, when you marry the guy, you marry the family,” she continues. “I never believed that until I got married myself. It’s hard enough to deal with the idiosyncrasies of your own relatives without taking on the problems of a whole new family. That’s what this movie is really about – it’s about being so excited to meet the man of your dreams and then realizing that there’s an entirely separate set of issues that come with it because even perfect love has its drawbacks. This is a story of overcoming those drawbacks; it’s the bride-underdog story.”

The story captured the interest of producers Chris Bender and JC Spink, who from their first read of the script knew they wanted to make the film. “The title alone had me interested,” says Spink. “Some of the best movies seem to work when you know what to expect just from the title. Of course it works best if the audience has a strong connection through a universal theme, like Meet The Parents, for example. There is a great deal of commonality in the title. In the same vein, the script for Monster-in-Law delivers the title’s promise because it’s a funny and compelling story at its core.”

“Finding a great script is like the feeling you had in high school when, in the middle of reading something really fascinating, you suddenly realized it was an assignment, not a comic book or magazine article – ‘Oh my God, is this homework!?’ It’s the same with a good script, you forget you’re reading, and you forget it’s your job.”

When the producers brought the project to New Line Cinema, the studio then turned to former-agent-turned-producer Paula Weinstein for yet another perspective and tapped her to join the production team already in place. Weinstein was thrilled to come aboard.

“You say Monster-in-Law and people go, ‘Oh my God, do I have a story for you!’” says Weinstein. “It doesn’t matter whether you are talking about the mother-in-law or the daughter-in-law; it all depends on your point of view.”

New Line Cinema co-chairman and CEO Bob Shaye also believed that Weinstein’s good friend and former client, Jane Fonda (who initially introduced Weinstein and Shaye), might find the material captivating enough to return to the big screen. Fonda had been sent many scripts throughout the years, but was too busy with other pursuits to even contemplate returning to Hollywood. Whether it was kismet or the planets aligning just right, Fonda felt the time had come to try her hand at acting again.

At the same time the producers sent Fonda the first draft of the script, they were wooing Jennifer Lopez, who eventually committed to the project in early May 2003. She then became an integral part of the production team and worked with filmmakers throughout the pre-production and production process.

“It’s hard to find a romantic comedy with a fresh premise,” says Lopez, who has made her mark in the genre. “The audience already knows the ending, so it’s really got to be about the journey. This is a story about a free-spirited girl who hasn’t tied herself down to anything because of her own fears about life and commitment, but the movie also looks at today’s mores juxtaposed with those of from Viola’s generation. Women like Viola were very focused and driven. Things were supposed to be done in a certain way, at a certain time in your life. The comedy comes from watching these two generations relate in a setting where they are pitted as rivals; it lent for funny situations, especially when the mother behaves against type and becomes totally out of control.”

While the mother may be the character in the title role, the story is actually driven by the would-be daughter-in-law.

“Charlie is actually the key to the story,” explains screenwriter Anya Kochoff. “Her character must be sympathetic and Jennifer fits the role perfectly as this beautiful, sweet girl who is very innocent and is so in love with Kevin.”

“Charlie is a 2005 woman,” continues the writer. “She’s not sure what she wants to do with her life, and the last thing she’s looking to do is get married, which of course, makes her a better catch. She’s also used to running when relationships get too close or too hot or complicated. So one of the bigger hurdles she has to overcome is learning how to stick it out and deal with problems. She decides she’s going to make it work because she really loves the guy. She’s going to have to beat Viola at her own game, which for me was the most fun.”

Lopez was delighted with the idea of Jane Fonda playing opposite her. “After they mentioned her name, I couldn’t picture anyone else in the role, so it was perfect when she accepted,” says Lopez. “I was very excited to be working with an actress of her caliber and legendary status.”

The two actresses formed an immediate bond. “We really liked each other,” says Lopez. “We had a mutual respect for one another. There is no halfway with Jane; she gives one hundred percent every single time, every single line, every single scene. I admire the way she handles herself, her preparation, and the passion she has after being in this business for so many years. She comes to set and takes risks and doesn’t care what anybody thinks – that’s Jane Fonda. She is the epitome of what you hope an actor is when you first start out. She is the real thing. It made me love her even more.”

Fonda was equally impressed with her co-star.

“I will tell you one thing about Jennifer Lopez – this woman is deeply talented,” says Fonda. “She really knows her stuff. I can see her directing one day because she knows how to plan out each scene and she’s not scared to try anything. She is very smart.”

“Jennifer was very helpful to me, especially during the extremely physical comedy,” continues Fonda. “She’s terrific. We worked very well together, although I did get a little jealous when (director) Robert Luketic put her picture on his computer’s screen saver!”

The producers were thrilled not only with Fonda’s chemistry with Lopez, but also to have such a legendary actress take on the role.

“Viola is someone a lot of people are familiar with and she’s someone a lot of people can identify with,” says producer JC Spink. “We knew we wanted an icon to play this character, and Jane Fonda is one of the greatest actresses of our time. Her presence could match the size of the character, but she’s someone you’d never expect to see in this role because even though we see her in the news, we haven’t seen her in movies for a while. Also, Jane has never played the villain per se, but she fit the bill better than anyone else.”

Screenwriter Anya Kochoff agreed, noting that Fonda “brought her instincts and her vast experience to the project. Viola is like an old friend of Jane’s.”

For her part, Fonda says she couldn’t fully explain what motivated her to return to the big screen.

“I can’t explain it, but I was ready and some vibe must have drifted into the atmosphere because people started calling my agent,” she says. “I am a different person than I was 15 years ago and I was curious to see how that would read on screen and whether that would affect my work. Up until now, I hadn’t really wanted to go back to work. I hadn’t even thought about it.”

Shortly after both leading ladies signed on, the production team found its director in Robert Luketic. A true collaborative spirit, Luketic proved to be the glue that kept everyone together on the same page.

“Robert just seems to have fun in all his movies and you can see it on the screen,” says Spink. “Even though this is a movie about a battling mother-in-law and daughter-in-law, there’s so much fun to it because the comedy moves from being broad to smaller, intricate moments. We wanted someone who really liked comedy, and Robert is great because he is particularly talented in that arena. He makes it look effortless. I don’t think he realizes how many other directors struggle with comedy because it comes so naturally for him.”

In addition to his grasp of comedy, Luketic brought a sense of teamwork to the project that proved vital on set. “Robert’s greatest gift is his collaborative nature,” says producer Chris Bender. “He led the charge, but there was never a moment when he tried to control the process or dissuaded anyone from expressing an opinion or new idea. He is very respectful of everyone’s role and everyone’s viewpoint; he listened to everyone’s notes and incorporated those ideas into the film, which is why working on this movie was so special.”

One would expect a hint of trepidation or anxiety from a young director embarking on only his third film with a cast that featured two of Hollywood’s biggest stars, but Luketic exhibited neither. Rather, he was excited, and from their first meeting the three worked in unison throughout the production.

“Robert was not intimidated in the least,” recalls Bender.

Luketic initially received a copy of the script before the talent had signed on and was intrigued instantly by the story’s possibilities. “The potential of such strong personalities on screen and off excited the hell out of me,” he says.

Luketic first met Jennifer Lopez at her home and still talks about how taken he was with her beauty and the way she smelled. “I was mesmerized. We had a wonderful meeting but she still won’t tell me anything about the top-secret perfume,” he jokes. “Jennifer is an incredibly impressive force, juggling her many careers, but what comes across strongest is how fundamentally sweet she is. We became quite close during production.”

Luketic later had lunch with Jane Fonda and found himself equally impressed. “Jane was interested, but hadn’t committed, although she was clearly excited at the prospect of working with Jennifer,” said Luketic. “I think she wanted to meet the kid who was going to direct her, so I put on my best shirt and headed to the restaurant. In walks Jane Fonda and suddenly I am sitting across from Barbarella and Brie Daniels and all the other characters she’s played. I spent the whole lunch staring at her; not only does she look great, she is utterly fascinating.”

Fonda’s first impressions of Luketic were slightly different. “My first impression of Robert was that he could be my son,” says Fonda. “I’ve never worked with a director that could be my son – he wears braces, rides around on a scooter, plays on his computer all day, and laughs through every take. He’s like a kid.”

But once they got on set, it didn’t take long for Luketic to win over everyone associated with the project.

“I fell in love with Robert Luketic for the fiftieth time on Jane’s first day of camera test,” says producer Paula Weinstein. “The key crew was all there, Jane walked on set, they rolled film and after the first take, Robert said, ‘Cut! Welcome back, Miss Fonda.’ The set erupted in applause. It was wonderful of him to acknowledge her return and for the crew to feel strong enough to applaud as they did.”

Both Fonda and Lopez credit Luketic’s team spirit and casual demeanor on set for making the process smooth and stress-free. They also cite his ability to listen to suggestions as well as criticisms. Luketic was never put off by the star power surrounding him.

“Robert is confident because he’s good at what he does,” says Lopez. “Somebody who is confident won’t be intimidated by someone else’s resume. From our first meeting, I felt I could talk to him and that my ideas were food for thought. He could say anything to me and give me suggestions I would process into my work.”

For Luketic, one of the most impressive things about his stars was the way that they were able to inhabit their characters and rise above their larger than life tabloid personas.

“Both Jennifer and Jane have created such solid characters, that you forget the personalities,” he says. “But for my money, anyone worth their salt does tend to create polarized opinions; they create discussion and debate, it’s fundamental to the cult of celebrity.”

Luketic encouraged every actor involved to contribute his or her two cents, but no one added as much overall comedic value as talented actress and comedienne Wanda Sykes. On a daily basis, Sykes would come up with hysterical shtick that brought tears to the eyes of cast and crew alike. Her talents led Luketic to call her the “comic muse of the film” and earned her the nickname of “the unstoppable Wanda Sykes.” “Wanda blew away all our expectations,” says producer Chris Bender. “I think it was (New Line production president) Toby Emmerich who first brought her up. We’d all seen her on “Curb Your Enthusiasm” and thought she was hilarious, and then some of us had seen her stand-up act, but with Wanda in the role of Ruby, the character just came alive like it never had before – even the writing of the part came alive.

“Wanda created this incredible duo with Jane,” Bender adds. “Their camaraderie not only services insight into Viola’s character, it also stands on its own as truly incredible comedy.”

To round out the main cast, the filmmakers needed to find just the right actor to play the character of Kevin Fields.

“The whole point of Kevin is that he is the perfect guy,” says Anya Kochoff. “He’s a great guy and a super-good catch. He’s good looking, funny, successful and a caring doctor. He possesses all the personality traits most women look for in a husband. The only thing wrong with him is his mother.”

The production found their man that fit the description perfectly in Michael Vartan.

Lopez agreed that Vartan was the right man for the job. “The relationship between Charlie and Kevin is the through-line of the movie, so without a strong man to deal with these zany, crazy ladies to keep it going, you’re in a lot of trouble,” she says. “Michael is solid that way.”

Vartan was thrilled to have the opportunity to take on the role and particularly enjoyed cutting loose during everyone’s favorite fantasy sequence.

“I do play the straight guy, so I didn’t really have the opportunity to be funny,” he says. “But the cake scene where Kevin proposes to Charlie in front of his mother and she imagines shoving Charlie’s face in the cake, allowed me to cut loose. I could do all this weird stuff and be out of my mind. My best moments will probably be in the outtakes.”

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