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About The Location
The Brothers Solomon was shot in 32 days in multiple locations around Los Angeles, with the goal of making the film look as though it were shot in "Any City USA,” according to producer Matt Berenson.

In addition to shooting in numerous locations, the production also required the building of a set. Accomplishing both in the short shooting window proved to be the biggest challenge of the movie, executive producer Paddy Cullen says.

"One week we went to 12 different locations, she says. I've never moved so fast on a movie and it was hard for me at the beginning, but after a while we got into the rhythm thanks to Bob Odenkirk and his first assistant director, Van Hayden, who are both used to moving this quickly. Bob's work on ‘Mr. Show' helped because on cable shows you move a lot faster, and with all the small skits they do a lot more in one day than is typically done on a film.”

As it turned out, the breakneck pace actually had its advantages. "We found that the best comedy in the movie came when we were rushing,” Berenson says. "When the actors were forced to do something quickly, they seemed to be most inspired and crazy things started to happen. That's probably because all three of them, Odenkirk, Forte and Arnett, come from a background that encouraged improvisation and they know how you can discover really amazing things. So it was a blessing in disguise.”

The production also had its smaller challenges. For example, at one point in the script, the brothers decide to find a doll on which to practice their parenting skills. In the scenes that follow, the doll takes some terrible abuse as the brothers cut their parenting teeth, including being dropped, drowned and burned by acid. Finding a commercial doll that could be used in those scenes proved an impossible task, Odenkirk says.

"Everything's trademarked and because the brothers do some pretty horrendous things with the doll in their stupid attempts to become good fathers, no company would let us do that to their baby doll,” he says. "So we had to design our own doll. I found this baby face in a magazine that I loved and brought it in, and we designed a little doll based on that. It's the best thing I've ever been a part of creating!”

Despite the various production challenges, the atmosphere on set was a very positive one; a fact that actress Malin Akerman (Tara) attributes in large part to Odenkirk's directorial style. "He's an amazing director because he's delved into all the aspects of this business,” she says. "So when you finish a scene with Bob, he claps and laughs and yells ‘Woo-hoo!' It's like a celebration after every cut, and you feel so empowered and so good about yourself that you're able to go on. And even if it wasn't the greatest take, he'll still clap and say, ‘Okay, great. Now, let's just try it this way.' He really knows how to handle people, and I think that comes from his experience.”

Odenkirk himself is enthusiastic about the environment on set. "It's just been fantastic. It was like being in a great comic room and finding edges and turns and corners and jokes and twists. It had a great energy and everybody was working together and appreciating each other's contributions and working off each other. I think audiences are going to find it surprising and really likable and funny throughout. People these days enjoy risqué comedy, and there's certainly loads of that. But I don't think there are any movies in this arena that have as much heart as our film does.”


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