Meet the Parents - Wikipedia
The series primarily stars Stiller, Robert De Niro, Blythe Danner, Dustin Hoffman, Barbra Streisand, Owen Wilson, and Teri Polo. The three movies earned over. “Meet the Parents” actually has its genesis in one of them, a short film by Although Pam's mom Dina (Blythe Danner) is as outwardly warm and welcoming as her dad is Although De Niro is not the first actor that comes to mind to play a of a Universal Pictures and DreamWorks Pictures presentation. Official website of Universal Pictures. Watch trailers and get details for current and future movies!.
Roach admits to have liked the script from the beginning  and was very much willing to make the film even though he thought "it needed more work. The studio was skeptical of Roach's ability to direct a "less-cartoony, character-driven script" compared to a comedy like Austin Powers. The drafts of the script were written by Herzfeld and, once De Niro and Stiller were confirmed as stars, John Hamburg was brought on board "to help fit the script to their verbal styles.
The script was not written with De Niro in mind as Jack Byrnes; the first draft of the script was completed inthree years before De Niro appeared in Analyze This. Explaining how Ben Stiller came to be cast in the role of Greg, Roach states: The film's script was initially written with Jim Carrey in the role of Greg and contained much more physical comedy, something that Stiller did not think would be successful with himself playing the role.
She ultimately lost the role to Teri Polo because the filmmakers "didn't think [Watts] was sexy enough". Jinx the cat was played by two five-year-old Himalayan cats named Bailey and Misha sometimes written as Meesha . The American Humane Association oversaw the filming of all scenes where the cats were used and ensured the animals' obedience and well-being by keeping two trainers and a veterinarian on set at all times.
The name was written into the script after Jim Carrey came up with the idea for the Focker surname during a creative session held before he abandoned the project. The filmmakers were asked if they had made up the name or if they can prove that such a name exists. The aspect ratio is 1. English language audio tracks available with the film are a 5.
Additionally, English language subtitles are provided as well. The director discusses issues that include working with the cast, utilizing the best camera angles for comedic effect, discussing scenes that were improvised and scenes that were scripted, and commenting on issues surrounding shooting on location. Fieldsand Donald O'Connor.
By the early s, the company was concentrating on lower-budget productions that were the company's main staple: The studio fostered many series: Universal could seldom afford its own stable of stars, and often borrowed talent from other studios, or hired freelance actors.
In addition to Stewart and Dietrich, Margaret Sullavanand Bing Crosby were two of the major names that made a couple of pictures for Universal during this period.
Some stars came from radio, including Edgar BergenW. Abbott and Costello's military comedy Buck Privates gave the former burlesque comedians a national and international profile. During the war years Universal did have a co-production arrangement with producer Walter Wanger and his partner, director Fritz Langlending the studio some amount of prestige productions. Universal's core audience base was still found in the neighborhood movie theatersand the studio continued to please the public with low- to medium-budget films.
Alfred Hitchcock was also borrowed for two films from Selznick International Pictures: Saboteur and Shadow of a Doubt As Universal's main product had always been low-budget filmit was one of the last major studios to have a contract with Technicolor.
The following year, Technicolor was also used in Universal's remake of their horror melodrama, Phantom of the Opera with Claude Rains and Nelson Eddy. With the success of their first two pictures, a regular schedule of high-budget, Technicolor films followed.
Arthur Rankhoping to expand his American presence, bought into a four-way merger with Universal, the independent company International Pictures, and producer Kenneth Young. The new combine, United World Pictures, was a failure and was dissolved within one year. Rank and International remained interested in Universal, however, culminating in the studio's reorganization as Universal-International; the merger was announced on July 30, Goetz, a son-in-law of Louis B.
Mayer decided to bring "prestige" to the new company.
Meet the Parents
He stopped the studio's low-budget production of B moviesserials and curtailed Universal's horror and " Arabian Nights " cycles. He also reduced the studio's output from its wartime average of fifty films per year which was nearly twice the major studio's output to thirty-five films a year.
Play media Universal-International Studio, Goetz set out an ambitious schedule. Universal-International became responsible for the American distribution of Rank's British productions, including such classics as David Lean 's Great Expectations and Laurence Olivier 's Hamlet Broadening its scope further, Universal-International branched out into the lucrative non-theatrical field, buying a majority stake in home-movie dealer Castle Films inand taking the company over entirely in For three decades, Castle would offer "highlights" reels from the Universal film library to home-movie enthusiasts and collectors.
Goetz licensed Universal's pre—Universal-International film library to Jack Broeder's Realart Pictures for cinema re-release but Realart was not allowed to show the films on television.
The production arm of the studio still struggled. While there were to be a few hits like The Killers and The Naked CityUniversal-International's new theatrical films often met with disappointing response at the box office. By the late s, Goetz was out, and the studio returned to low-budget and series films.
The inexpensive Francisthe first film of a series about a talking mule and Ma and Pa Kettlepart of a series, became mainstays of the company. Once again, the films of Abbott and Costello, including Abbott and Costello Meet Frankensteinwere among the studio's top-grossing productions.
But at this point Rank lost interest and sold his shares to the investor Milton Rackmilwhose Decca Records would take full control of Universal in Besides Abbott and Costello, the studio retained the Walter Lantz cartoon studio, whose product was released with Universal-International's films. The studio also had a success with monster and science fiction films produced by William Allandwith many directed by Jack Arnold.Universal Pictures / DreamWorks Pictures
Other successes were the melodramas directed by Douglas Sirk and produced by Ross Hunteralthough for film critics they were not so well thought of on first release as they have since become. Although Decca would continue to keep picture budgets lean, it was favored by changing circumstances in the film business, as other studios let their contract actors go in the wake of the U.
Paramount Pictures, et al. Leading actors were increasingly free to work where and when they chose, and in MCA agent Lew Wasserman made a deal with Universal for his client James Stewart that would change the rules of the business. Wasserman's deal gave Stewart a share in the profits of three pictures in lieu of a large salary.
When one of those films, Winchester '73proved to be a hit, the arrangement would become the rule for many future productions at Universal, and eventually at other studios as well.
Meet the Fockers – Variety
MCA takes over Ceremonial gate to Universal Studios Hollywood the theme park attached to the studio lot In the early s, Universal set up its own distribution company in Franceand in the late s, the company also started a production company in ParisUniversal Productions France S. It was only involved in approximately 20 French film productions. In the early s, the unit was incorporated into the French Cinema International Corporation arm. By the late s, the motion picture business was again changing.
The Music Corporation of America MCAthe world's largest talent agency, had also become a powerful television producer, renting space at Republic Studios for its Revue Productions subsidiary. After a period of complete shutdown, a moribund Universal agreed to sell its acre 1. MCA owned the studio lot, but not Universal Pictures, yet was increasingly influential on Universal's product. The company reverted in name to Universal Pictures from Universal-International.
As a final gesture before leaving the talent agency business, virtually every MCA client was signed to a Universal contract.
And so, with MCA in charge, Universal became a full-blown, A-film movie studio, with leading actors and directors under contract; offering slick, commercial films; and a studio tour subsidiary launched in Television production made up much of the studio's output, with Universal heavily committed, in particular, to deals with NBC which much later merged with Universal to form NBC Universal; see below providing up to half of all prime time shows for several seasons.
An innovation during this period championed by Universal was the made-for-television movie. At this time, Hal B. Walliswho had recently worked as a major producer at Paramount, moved over to Universal, where he produced several films, among them a lavish version of Maxwell Anderson 's Anne of the Thousand Daysand the equally lavish Mary, Queen of Scots Wallis retired from Universal after making the film Rooster Cogburna sequel to True Gritwhich Wallis had produced at Paramount.
Rooster Cogburn co-starred John Waynereprising his Oscar-winning role from the earlier film, and Katharine Hepburntheir only film together.
The film was only a moderate success. Although Universal did produce occasional hits, among them AirportThe StingAmerican Graffiti alsoEarthquakeand a big box-office success which restored the company's fortunes: JawsUniversal during the decade was primarily a television studio.
There would be other film hits like E. UIP began distributing films by start-up studio DreamWorks indue to connections the founders have with Paramount, Universal, and Amblin Entertainment.
InMGM dropped out of the UIP venture and went with 20th Century Fox 's international arm to handle distribution of their titles, an arrangement which remains ongoing. Hoping to build an entertainment empire around Universal, Seagram bought PolyGram in and other entertainment properties, but the fluctuating profits characteristic of Hollywood were no substitute for the reliable income stream gained from the previously held shares in DuPont.
To raise money, Seagram head Edgar Bronfman Jr. In JuneSeagram was sold to French water utility and media company Vivendiwhich owned StudioCanal ; the conglomerate then became known as Vivendi Universal.