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About The Production
It's Beginning to Look a Lot Like "A Very Harold & Kumar 3D Christmas” Every time-honored Christmas tradition is turned on its mistletoe, Harold and Kumar style, in their new holiday misadventure. "Harold & Kumar Go to White Castle” and "Harold & Kumar Escape from Guantanamo Bay” took on race and politics. Completing the trifecta of taboo subjects, this go-round they're tackling religion, specifically the glory of Christmas.

Todd Strauss-Schulson, who makes his feature film directorial debut, offers, "It's like Harold and Kumar are hijacking a Christmas movie. It looks like a Christmas movie and has the form and aesthetic of a Christmas movie, but the content is irreverent and constantly pushes the envelope. That juxtaposition was an exciting contrast for me.” "What makes it a Harold & Kumar Christmas,” adds Kal Penn, who returns in the role of the slacker Kumar, "is an incredible amount of heart and incredible amount of inappropriateness. You're used to seeing heart in a holiday movie...inappropriateness, not so much.”

John Cho, who reprises his role as Harold, the more uptight half of this odd couple, notes, "Making a Harold & Kumar movie is always fun and it's always outrageous. Even though the films draw a line further out than most, they also have a surprisingly earnest and innocent attitude towards everything, which makes them weirdly lovable. And we are following Christmas movie rules. At first glance anyway.”

Greg Shapiro, who has produced all the Harold & Kumar films, says, "After going to White Castle and escaping from Guantanamo Bay, celebrating the joy of Christmas seemed the next logical step for Harold and Kumar. It was either that or going on a space adventure to the moon. I think we made the right choice.”

Screenwriters Jon Hurwitz and Hayden Schlossberg, who have written all three films, also serve as co-producers on the third. They relished the opportunity to skewer every Christmas icon from the ridiculous to the sublime. Hurwitz remarks, "We loved the idea of capturing the fuzzy feeling of a typical holiday movie, while still maintaining the Harold & Kumar style.”

Neil Patrick Harris, who returns as the inimitable NPH—surprisingly full of life since Harold and Kumar last saw him—adds, "These movies are so random and so preposterous; you never know what's going to happen. It's quite the ride.”

Schlossberg allows, "Our protagonists are as nice and as normal as people you'd find in any holiday movie, yet they get into crazy, insane, balls-out situations. That's the fun of it. We give every wholesome Christmas symbol the Harold & Kumar treatment.”

Nothing is sacred, or spared, as Harold and Kumar roll through various vignettes with disaster on their heels. Harold and Kumar get right to the merry mayhem at the outset of the film, when Kumar inadvertently sets Harold's Christmas tree on fire—and not just any tree, but the one home grown by Harold's already disapproving father-in-law. Now the two old friends are rejoined in a singular mission: to find a replacement tree before Harold's father-in-law gets home and roasts Harold's chestnuts. Easier said than done. Especially when Harold and Kumar haven't seen each other in two years… and each has a new best friend.

But, in the spirit of Christmas, the real present under this tree may be the rekindling of their friendship.

Hark! The Harold & Kumar Angels Sing

As the story begins, we learn that Harold and Kumar are now living very different lives. Harold has climbed the ladder of success at Brewster Keegan, while Kumar is unemployed after failing a drug test. Harold is living the American dream, with a beautiful house in the suburbs, and Kumar is barely getting by in the same apartment he once shared with Harold.

However, despite the fact that their characters have grown apart, the charismatic constant of any Harold & Kumar movie is the chemistry of Cho and Penn.

Strauss-Schulson attests, "Harold and Kumar are the engine in the comedy and so are John and Kal. The franchise is near and dear to their hearts. They've been living with their characters for years and keep a clear eye on their storyline. It was really great collaborating with them.”

Cho offers, "It feels like I'm a graduate student in the University of Harold & Kumar at this point. It's fun working with Kal, who is unique. He's very serious about his job, but on the other hand, we'll get to the fifth take and he'll throw out the most revolting improvs. And Todd brings a fresh eye and a lot of enthusiasm, which is infectious.”

"It's cool for us to come back to the characters and discover this evolution they went through right alongside Todd, who's discovering the characters for the first time,” Penn elaborates. "John Cho is awesome to work with. We're good friends in real life, although I'm more of a Harold and he leans Kumar. I'm neurotic about focusing on the work, and he's much more extroverted, but by the end, we switch and balance each other out.”

Mirroring the distance that has developed between their characters, Penn and Cho did not even work together the first two weeks. "

It was weird,” says Penn, "being Kumar without Harold. By the time John and I finally did our first scene, it was like a real reunion. When they first see each other at Harold's, the undercurrent is they want to reconnect, so actually being apart a while added to it.”

"Harold and Kumar are, for all intents and purposes, a couple,” Cho muses. "They're basically attached at the hip for the first two movies, and then Harold gets married and goes off to start his own family, eventually leaving Kumar behind. How do you keep that friendship together when you're leading separate lives?”

The two haven't done such a great job. Strauss-Schulson notes, "Their relationship is fractured. They're out of rhythm with each other and need to find each other again. I loved the idea of this being an atypical romantic comedy: in this case, it's a ‘bromantic comedy.'”

"Without the counterbalance that each provides to the other,” Shapiro adds, "we find them slightly exaggerated versions of themselves, as time and age have calcified some of their quirkier traits. To reconcile their friendship, they will have to depend on the magic of Christmas, the help of a little pot and, of course, some well-timed assistance from NPH.”

Strauss-Schulson, who coincidentally turned thirty just three days into shooting the film says, "Our guys are approaching the big 3-0, which is a tumultuous time. You still feel like a kid, yet you're an adult, so you have to act like one. But you don't necessarily know how to do that.”

Silent Night. Holy Crap.

The film opens on a quintessential Christmas movie tableau: a toy store dressed to the holiday nines, with the "it” item of the season, the Wafflebot, at the center of the window display. Inside, a line of kids are waiting to whisper their Christmas list to a jolly Santa. Until Kumar cuts in, looking for something green in Santa's baggie.

Penn offers, "Kumar only has two buddies, this questionable mall Santa and a really annoying next door neighbor, who we get the feeling is a friend out of sheer geographical convenience. It's no wonder Kumar jumps at the chance to be friends again with Harold.”

That chance arrives in the form of an anonymous package left on his doorstep on Christmas Eve, addressed to his former roommate. Kumar decides to deliver it personally to Harold, but their awkward reunion proves


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