The Mask played a massive role in establishing Cameron Diaz as one of the biggest Hollywood divas. Diaz was successful in impressing the audiences in her very first outing and flaunted an incredible chemistry with Jim Carrey. However, the 1994 classic’s script was never written for her. The director Chuck Russell’s original choice for the role was Anna Nicole Smith.
Cameron Diaz and Jim Carrey in The Mask
The character of Tina Carlyle stands as one of the primary attractions of The Mask. The audience immediately fell in love with Cameron Diaz and she was an instant favorite. Interestingly, the late model Anna Nicole Smith was chosen for the role. However, Smith left the film to work on Naked Gun 33+1⁄3: The Final Insult.
How did Cameron Diaz land the role of Tina Carlyle in The Mask?
Cameron Diaz in The Mask
The Mask starring Jim Carrey, Cameron Diaz,...
Cameron Diaz and Jim Carrey in The Mask
The character of Tina Carlyle stands as one of the primary attractions of The Mask. The audience immediately fell in love with Cameron Diaz and she was an instant favorite. Interestingly, the late model Anna Nicole Smith was chosen for the role. However, Smith left the film to work on Naked Gun 33+1⁄3: The Final Insult.
How did Cameron Diaz land the role of Tina Carlyle in The Mask?
Cameron Diaz in The Mask
The Mask starring Jim Carrey, Cameron Diaz,...
- 3/23/2024
- by Subham Mandal
- FandomWire
"The Mask" remains a fan-favorite Jim Carrey comedy — but it could have been a very different movie. The project started life as an adaptation of an ultra-violent Dark Horse comic book in which the central character unleashes wave after wave of brutality on his enemies. Obviously New Line, the studio behind "The Mask," knew that approach wasn't going to work for their attempt to cross over into mainstream movies with the biggest budget project they'd yet produced. And so, the more sanitized version we all know and love was conceived.
Director Chuck Russell had always envisioned Carrey for the lead role. There was literally no one in Hollywood who could handle the physicality the part demanded. Playing the charming but down-on-his-luck pushover Stanley Ipkiss, Carrey's character would of course transform into the outlandish titular hero, whose dynamic antics were based on Tex Avery cartoons. But casting his love interest, Tina Carlyle,...
Director Chuck Russell had always envisioned Carrey for the lead role. There was literally no one in Hollywood who could handle the physicality the part demanded. Playing the charming but down-on-his-luck pushover Stanley Ipkiss, Carrey's character would of course transform into the outlandish titular hero, whose dynamic antics were based on Tex Avery cartoons. But casting his love interest, Tina Carlyle,...
- 12/2/2022
- by Joe Roberts
- Slash Film
When Jerry Evans was hired to choreograph the blockbuster superhero comedy “The Mask,” which celebrates its 25th anniversary Monday, he was surprised when director Chuck Russell informed him he was secretly making a musical.
“I said, ‘Secretly?” recalled Evans, adding that Russell admitted that “I haven’t told anybody other than you and my producer. We’ll just tell everybody when it’s time, I guess.’ He had a plan. I said ‘Sounds good to me. I love it.”’
And so did audiences and critics in the summer of 1994.
Variety‘s review called the showcase for Jim Carrey’s talents “adroitly directed, viscerally and visually dynamic and just plain fun.”
Based on the popular Dark Horse comic book series of the same name, “The Mask” turned Carrey into a superstar as the sweet, nebbish, cartoon-loving loan officer Stanley Ipkiss who turns into a green-faced human cartoon when he dons a magical mask he found.
“I said, ‘Secretly?” recalled Evans, adding that Russell admitted that “I haven’t told anybody other than you and my producer. We’ll just tell everybody when it’s time, I guess.’ He had a plan. I said ‘Sounds good to me. I love it.”’
And so did audiences and critics in the summer of 1994.
Variety‘s review called the showcase for Jim Carrey’s talents “adroitly directed, viscerally and visually dynamic and just plain fun.”
Based on the popular Dark Horse comic book series of the same name, “The Mask” turned Carrey into a superstar as the sweet, nebbish, cartoon-loving loan officer Stanley Ipkiss who turns into a green-faced human cartoon when he dons a magical mask he found.
- 7/28/2019
- by Susan King
- Variety Film + TV
A host of Irish crew members and co-productions have been nominated for this year's Primetime Emmy Awards including 'Game of Thrones', 'Treasure Island' and Neil Jordan's 'The Borgias'. Irish costume designer Lorna Marie Mugan has been nominated for a prestigious Emmy for her creations for Irish co-production 'Treasure Island'. Northern Irish-based production mixers Ronan Hill and Mervyn Moore have been nominated in the Outstanding Sound Mixing category for HBO fantasy series 'Game of Thrones', which is currently filming season three in Northern Ireland. Amy Hubbard, of Irish-owned Hubbard Casting, is up for Outstanding Casting for a Mini-series, Movie or Special for the History Channel's 'Hatfields and McCoys', along with Fern Champion.
- 7/19/2012
- IFTN
Ever watched any of these hugely successful films '‘The Police Academy' , '‘The Mask', 'Naked Gun’, or 'Mortal Kombat'? How about the super successful TV Show '90210?' If you have, then you’ve seen Fern Champion’s amazing casting ability. Most recently, Fern has cast such films as 'Tekken,' based off the hit martial arts video game.
Iae visited Fern in her Beverly Hills office to discuss the profession of casting talent, from an A++ veteran in film. Fern is the casting director who discovered Cameron Diaz and she share her strong love for comedy and finding new talent.
Iae: Can you please tell us where you’re from and how did you get into casting?
Fern: I’m a New York girl to the heart! I think I've been very fortunate in that I started my career with ‘Saturday Night Fever,...
Iae visited Fern in her Beverly Hills office to discuss the profession of casting talent, from an A++ veteran in film. Fern is the casting director who discovered Cameron Diaz and she share her strong love for comedy and finding new talent.
Iae: Can you please tell us where you’re from and how did you get into casting?
Fern: I’m a New York girl to the heart! I think I've been very fortunate in that I started my career with ‘Saturday Night Fever,...
- 7/13/2010
- I Am Entertainment Magazine
Fern Champion on Cameron DiazWe were working at New Line, casting 1994's "The Mask." The story that everybody knows now is that Anna Nicole Smith was the first choice because the men at New Line thought she was stunning. Didn't say she could walk and talk, but she was stunning. We needed someone to talk. The good news is Anna Nicole opted to do "Naked Gun 33 1/3." Oh, too bad. So Fern's back to the drawing board. I'm at my wit's end, because we had gone through all the top models and all the top actors, and nobody was pleasing New Line co-ceo Bob Shaye, executive producer Mike De Luca, and director and executive producer Chuck Russell.I called my girlfriend at the talent agency upstairs at the New Line building, and I said, "Is there anybody we haven't seen?" She said, "I have to tell you something: There's one gal; she hasn't done any acting.
- 7/7/2010
- backstage.com
When writer-producer David Landsberg invited friends to join distributors, sales agents and exhibitors for Thursday's screening of the low-budget, high-concept comedy "Sex Tax," his pitch wasn't just come to see the film but also to celebrate his life and the launch of his indie production company.
"What I told everybody is, 'Don't come to my funeral. Don't come see me when I'm dead,' " Landsberg said. " 'Come when I'm alive, when I'm doing something, not when I'm a little box of ashes.' "
It was pure Landsberg. After 35 years in Hollywood as a commercials and TV actor before moving behind the camera as producer and writer on "Herman's Head," "The Cosby Show," "Love Boat" and other series, Landsberg had suffered through several heart attacks -- an experience that changed his views about himself and the world.
"As a writer, I had been Tony Thomas' voice, Aaron Spelling's voice,...
"What I told everybody is, 'Don't come to my funeral. Don't come see me when I'm dead,' " Landsberg said. " 'Come when I'm alive, when I'm doing something, not when I'm a little box of ashes.' "
It was pure Landsberg. After 35 years in Hollywood as a commercials and TV actor before moving behind the camera as producer and writer on "Herman's Head," "The Cosby Show," "Love Boat" and other series, Landsberg had suffered through several heart attacks -- an experience that changed his views about himself and the world.
"As a writer, I had been Tony Thomas' voice, Aaron Spelling's voice,...
- 4/13/2010
- by By Alex Ben Block
- The Hollywood Reporter - Movie News
Veteran casting director Fern Champion launched her career more than 30 years ago in New York, casting for Sidney Lumet, John Badham, Alan Pakula, and Herbert Ross. When producer Robert Stigwood asked her to cast "Sgt. Pepper's Lonely Hearts Club Band," she relocated to Los Angeles. Since that time her credits have grown to include "The Naked Gun," "Police Academy," and "The Mask." On television she cast the epic miniseries "War and Remembrance," "Beverly Hills, 90210," "The Highlander," and "Babylon 5," in addition to features for Lifetime and Hallmark. In the past year, she has cast several soon-to-be-released films, including a remake of Stephen King's "Children of the Corn," "The Kings of Appletown," "Tekken," and "The Awakening of Spring." For the past five years, she has worked with casting director Paul Ruddy.Submissions That Stand OutI absolutely look at the pictures and résumés of actors who don't have representation. If an...
- 11/5/2009
- backstage.com
Gramercy's "Keys to Tulsa" might also be titled "Tulsaville". It's a swirling, saucy mix of Southwestern intrigue and turpitude. Headed by a first-rate ensemble cast, including Mary Tyler Moore and James Coburn, "Keys'" roiling dramatics are unfortunately short-changed by an atonal ending and some abrupt shifts in story emphasis.
Overall, select-site viewers may savor its thick and saucy atmospherics despite the thick-and-thin narrative.
In this oily saga, Eric Stoltz stars as Richter Boudreau, a self-admitted "black sheep son of a black sheep," who despite his smug outsider sensibility finds himself smack-dab back in the privileged world he so cavalierly disdains. Like "Dallas" and other gushy potboilers, "Tulsa" is aswirl with trouble and outfitted with bigger-than-life characters where everyone not only has hidden agendas but knows how to play them out with the most skilled and cunning virtuosity.
The more "normal" people who keep up the front -- including Richter's mother (Moore), who's on her umpteenth marriage -- are also pretty lethal.
The plot itself gushes around a bizarre and somewhat convoluted blackmail scheme that Richter finds himself embroiled in. Although he prides himself on his smarts, he soon finds he's matched against some crazed and cunning foes. Thematically and stylistically, "Keys to Tulsa" is Okie Gothic, awash with the dense delirium of yarns one usually associates with the Deep South. Credit goes to producer-director Leslie Greif for infusing "Tulsa" with its musty, murky tones.
The look is especially vital: kudos to production designer Derek R. Hill, whose opulently decadent look clues us to the inner beings of the characters, and to cinematographer Robert Fraisse for the harsh hues.
Unfortunately, the narrative's somewhat fractured nature -- vacillating between sardonic humor and soap operatics -- is, alas, an oil-and-water mix.
The acting is, perhaps, "Tulsa"'s strength, with Stoltz delivering a wonderfully conflicted performance as the braggadociousbut boondoggled "black sheep." Moore is a delight as his amoral, high-society, serial-marrying mother, while Coburn flashes his wily menace as a bartender you don't mess with. Dudded up in a neo-Elvis look, James Spader is spookily threatening as a cross-wired wacko.
KEYS TO TULSA
Gramercy Pictures
Producers Leslie Greif, Harley Peyton
Director Leslie Greif
Screenwriter Harley Peyton
Based on the novel by Brian Fair Berkey
Executive producers Michael Birnbaum
Peter Isacksen
Line producer Elliot Rosenblatt
Co-producer Guy J. Louthan
Director of photography Robert Fraisse
Music Stephen Endelman
Production designer Derek R. Hill
Editors Eric L. Beason, Louis F. Cioffi
Michael R. Miller
Costume designer Marie France
Casting Fern Champion, Mark Paladini
Sound mixer Lance Hoffman
Color/stereo
Cast:
Richter Boudreau Eric Stoltz
Trudy Cameron Diaz
Louise Brinkman Randy Graff
Preston Liddy Dennis Letts
Cynthia Boudreau Mary Tyler Moore
Billy Josh Ridgway
Bedford Shaw Marco Perella
Harmon Shaw James Coburn
Ronnie Stover James Spader
Vicky Michaels Stover Deborah Kara Unger
Running time -- 113 minutes
MPAA rating: R...
Overall, select-site viewers may savor its thick and saucy atmospherics despite the thick-and-thin narrative.
In this oily saga, Eric Stoltz stars as Richter Boudreau, a self-admitted "black sheep son of a black sheep," who despite his smug outsider sensibility finds himself smack-dab back in the privileged world he so cavalierly disdains. Like "Dallas" and other gushy potboilers, "Tulsa" is aswirl with trouble and outfitted with bigger-than-life characters where everyone not only has hidden agendas but knows how to play them out with the most skilled and cunning virtuosity.
The more "normal" people who keep up the front -- including Richter's mother (Moore), who's on her umpteenth marriage -- are also pretty lethal.
The plot itself gushes around a bizarre and somewhat convoluted blackmail scheme that Richter finds himself embroiled in. Although he prides himself on his smarts, he soon finds he's matched against some crazed and cunning foes. Thematically and stylistically, "Keys to Tulsa" is Okie Gothic, awash with the dense delirium of yarns one usually associates with the Deep South. Credit goes to producer-director Leslie Greif for infusing "Tulsa" with its musty, murky tones.
The look is especially vital: kudos to production designer Derek R. Hill, whose opulently decadent look clues us to the inner beings of the characters, and to cinematographer Robert Fraisse for the harsh hues.
Unfortunately, the narrative's somewhat fractured nature -- vacillating between sardonic humor and soap operatics -- is, alas, an oil-and-water mix.
The acting is, perhaps, "Tulsa"'s strength, with Stoltz delivering a wonderfully conflicted performance as the braggadociousbut boondoggled "black sheep." Moore is a delight as his amoral, high-society, serial-marrying mother, while Coburn flashes his wily menace as a bartender you don't mess with. Dudded up in a neo-Elvis look, James Spader is spookily threatening as a cross-wired wacko.
KEYS TO TULSA
Gramercy Pictures
Producers Leslie Greif, Harley Peyton
Director Leslie Greif
Screenwriter Harley Peyton
Based on the novel by Brian Fair Berkey
Executive producers Michael Birnbaum
Peter Isacksen
Line producer Elliot Rosenblatt
Co-producer Guy J. Louthan
Director of photography Robert Fraisse
Music Stephen Endelman
Production designer Derek R. Hill
Editors Eric L. Beason, Louis F. Cioffi
Michael R. Miller
Costume designer Marie France
Casting Fern Champion, Mark Paladini
Sound mixer Lance Hoffman
Color/stereo
Cast:
Richter Boudreau Eric Stoltz
Trudy Cameron Diaz
Louise Brinkman Randy Graff
Preston Liddy Dennis Letts
Cynthia Boudreau Mary Tyler Moore
Billy Josh Ridgway
Bedford Shaw Marco Perella
Harmon Shaw James Coburn
Ronnie Stover James Spader
Vicky Michaels Stover Deborah Kara Unger
Running time -- 113 minutes
MPAA rating: R...
He's lewd, crude and rude, and he's got viewers glued to the tube. Meet Rodney Dangerfield as a trash TV icon, beloved by the masses but a bane to sponsors and his bosses. Fights, nudity and bad taste abound on his show, but this Trimark release doesn't capitalize well on the sleazy milieu.
The masses will stay away from the libidinous farce "Meet Wally Sparks". With only Dangerfield's waning appeal to recommend it, first-time feature director Peter Baldwin's unremarkable comedy is not salvaged by the few genuinely hilarious lines and routines.
"Meet Wally Sparks" is notable for the many cameos and bit players -- from Burt Reynolds to Michael Bolton to Tim Allen -- who appear as backup to 75-year-old Dangerfield, playing his familiar character, a goofy, randy, blunt jerk who drinks a lot and causes much unintentional destruction of property.
More substantial supporting chores are handled by David Ogden Stiers as the governor of Georgia, an Old Boy conservative who despises Sparks; and the governor's wife (Cindy Williams).
The threadbare plot revolves around a young fan of Sparks' inviting him to a formal party given by his father, the governor.
In need of new material and facing cancellation of his show, Sparks approaches Stiers' character under false assumptions, and comically Dangerfield gives him his best shot, including a truly inspired dance sequence.
Behind the major players, Sparks' vampish producer Debi Mazar manipulates the smitten assistant of the governor.
It's hard to imagine a film with more penis jokes and salacious banter, but the pace is slowed down by subplots that go nowhere and more than a few limp gags.
MEET WALLY SPARKS
Trimark Pictures
A Leslie Greif production
A Peter Baldwin film
Director Peter Baldwin
Producer Leslie Greif
Writers Rodney Dangerfield, Harry Basil
Co-producers Harry Basil, Elliot Rosenblatt
Production designer Bryan Jones
Costume designer Alexandra Welker
Editor Raul Davalos
Director of photography Richard Kline
Music Michel Colombier
Casting Fern Champion, Mark Paladini
Color/stereo
Cast:
Wally Sparks Rodney Dangerfield
Gov. Preston David Ogden Stiers
Sandy Debi Mazar
Emily Preston Cindy Williams
Spencer Burt Reynolds
Judge Williams Alan Rachins
Running time -- 105 minutes
MPAA rating: R...
The masses will stay away from the libidinous farce "Meet Wally Sparks". With only Dangerfield's waning appeal to recommend it, first-time feature director Peter Baldwin's unremarkable comedy is not salvaged by the few genuinely hilarious lines and routines.
"Meet Wally Sparks" is notable for the many cameos and bit players -- from Burt Reynolds to Michael Bolton to Tim Allen -- who appear as backup to 75-year-old Dangerfield, playing his familiar character, a goofy, randy, blunt jerk who drinks a lot and causes much unintentional destruction of property.
More substantial supporting chores are handled by David Ogden Stiers as the governor of Georgia, an Old Boy conservative who despises Sparks; and the governor's wife (Cindy Williams).
The threadbare plot revolves around a young fan of Sparks' inviting him to a formal party given by his father, the governor.
In need of new material and facing cancellation of his show, Sparks approaches Stiers' character under false assumptions, and comically Dangerfield gives him his best shot, including a truly inspired dance sequence.
Behind the major players, Sparks' vampish producer Debi Mazar manipulates the smitten assistant of the governor.
It's hard to imagine a film with more penis jokes and salacious banter, but the pace is slowed down by subplots that go nowhere and more than a few limp gags.
MEET WALLY SPARKS
Trimark Pictures
A Leslie Greif production
A Peter Baldwin film
Director Peter Baldwin
Producer Leslie Greif
Writers Rodney Dangerfield, Harry Basil
Co-producers Harry Basil, Elliot Rosenblatt
Production designer Bryan Jones
Costume designer Alexandra Welker
Editor Raul Davalos
Director of photography Richard Kline
Music Michel Colombier
Casting Fern Champion, Mark Paladini
Color/stereo
Cast:
Wally Sparks Rodney Dangerfield
Gov. Preston David Ogden Stiers
Sandy Debi Mazar
Emily Preston Cindy Williams
Spencer Burt Reynolds
Judge Williams Alan Rachins
Running time -- 105 minutes
MPAA rating: R...
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