Navigation Bar - Text Links at Bottom of Page

THE HOUSE BUNNY

About The Production
The House Bunny is a tale of two houses – the drab, dreary Zeta House vs. the fantasy-life-come-true of the Playboy Mansion. Creating and juxtaposing these two worlds largely depended on the production and costume designers, Missy Stewart and Mona May.

"The characters go through such transitions that there were clear demarcations,” says production designer Missy Stewart, who previously designed the films Legally Blonde, 21, and many others. "The first part of the script developed our main character Shelley and her fall from grace from the Playboy Mansion and her attempt to enter the ‘real' world. I like to think of it as her paradise lost period. So we tried to create paradise in the first act in every way.”

The producers scored a huge coup when Alta Loma Entertainment, a subsidiary of Playboy Enterprises, Inc. and producers of "The Girls Next Door,” secured Hugh Hefner's participation in the filming and opened up the legendary Playboy Mansion to the production.

"We wrote it all into the script but we didn't know if Playboy was actually going let us use the name and the Mansion,” says writer McCullah Lutz. "So we didn't go there or do any research.” So just how did they characterize the bunnies within? "We just figured that's what bunnies were like. It wasn't too hard to come up with. You see a lot of them wandering around Los Angeles.” 

While the lifestyle of the Playboy Mansion is known throughout the world, relatively few people have been past the gates. It was a first-time experience for the cast and crew. "It was one of the most surreal experiences I've ever had,” says Faris. 

Producer Allen Covert was also astonished. "Hef was awesome. We got to shoot in his bedroom. I sat on his bed. Then I got nervous – I thought, ‘Is he gonna know that I sat on his bed? Are we gonna get thrown out of here because I'm sitting on his bed?'” the producer laughs.

Misplaced paranoia aside, the company had a great time at the Mansion. "We were so thankful that Hef let us use the Mansion to shoot,” McCullah Lutz beams. "It's just a bonus that he's playing himself.” 

Contrasted with the Mansion is the Zeta House – the home that the sorority is so desperate to keep. The structure itself goes through the same character arc as the girls living within – starting unloved and neglected, but with good bones.

"We had a great task: to find a great old house that was a wreck,” says Stewart. They found their home, but had their work cut out for them. "It was such a wreck that we had to bring it up to make it look like a livable wreck,” Stewart says. "The yards were overgrown, there was no lawn, there was no backyard. The windows were falling apart. We even had to rebuild part of the house to shoot in it. The inside was so stained and messy that it required paint and re-aging and then removing all the carpet and fixing the floors and then re-aging those. So it was kind of a backwards process. But the house had such great bones that we knew we had a winner – it went through that transition really smoothly.”

After shooting at the West Adams house for two weeks, the production moved to other locations for one week as Stewart and her team fixed up the place. During that week, Stewart's team put in lawns, flowers, new windows, painted, reupholstered furniture, and hung drapes. "We decorated the house in the Zeta colors – pinks and teals and oranges. It became a very lively place,” says Stewart. "It was fun to see the house go through that transformation. I knew Mona was going to go crazy with the costumes as the girls go through their makeover, so I wanted to give her a nice palette that wouldn't compete with the costumes for attention. It's quiet and colorful.”

"I'm a colorist,” explains costume designer Mona May, who previously designed costumes for the films Clueless and E

TOP

Home | Theaters | Video | TV

Your Comments and Suggestions are Always Welcome.
Contact CinemaReview.com

2014 4,  All Rights Reserved.

Google

Find:  HELP!

Google