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The Production Design
Much of the film is about contrasting Jack and Jill – highlighting their superficial differences to underscore all of the ways that deep down they are exactly alike. One way the filmmakers were able to do that was to show the twins living very different lives – Jack in his Brentwood mansion and Jill in her spartan Bronx home.

"We made them two extremes,” says production designer Perry Andelin Blake, who has worked on countless Sandler projects. "Jack's house is big, beautiful, and open, with a great back yard, a swimming pool, and greenery and trees and flowers everywhere. The rooms are huge, light, spacious, and comfortable. At the end of the film, you see Jill's house in the Bronx – she drives up in her little Honda Civic, parks by the dirty snow, and walks up to a tiny, cramped house with stuff everywhere.”

For the artwork on the walls of the Sadelsteins' home, the filmmakers got personal with their inspiration. "Artwork is so subjective and people's opinions of it are so varied – we asked ourselves, what kind of artwork would he have on the walls of his house? Our director, Dennis Dugan, is also a photographer, and we came up with the idea to use his pictures for the artwork at Jack's house. Jack is an ad guy; we thought an ad guy would have good taste, cool taste, and he might have a collection of art photography, as opposed to other kinds of art. Dennis pulled about 50 pictures from his years of photography and we started going through it – photographs from the 60s and 70s, from his travels in Europe and other places in the world. Not only was there a variety that we could use, but we could tweak it in ways that it looked more like a collection of a number of different photographers – for example, we could tweak a photograph in Photoshop to make it really colorful, or print it on canvas or fabric and make it into a hanging, or print on slick paper and mount it, or frame it. They contrast nicely with the house – this old Spanish-style house that has been refurbished and made new for this family – they give it a very contemporary feel and it doesn't feel stuffy at all.”

Blake also had the chance to design the living room of a Majorcan castle – but his favorite set, perhaps, is the one for the Dunkin' Donuts commercial that closes the film. "It looks exactly like a Dunkin' Donuts store – we got really into it, down to the details, the counters, the signage, even the actual doughnuts from Dunkin' Donuts. And then the camera pulls back and it turns into a fantastic Busby Berkeley scene with Al Pacino in a tuxedo and, people singing and dancing, a shiny, black floor and colorful lighting. That was really fun.”


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