Lindsay Lohan shot to worldwide attention after having grown up before the camera - from her feature film debut as precocious estranged siblings in "The Parent Trap" to the acclaimed comedies "Freaky Friday" and "Mean Girls." JUST MY LUCK's Ashley Albright represents the actress' first adult lead. "It's a great story about coming of age and I thought it would be the perfect part for me to transition into adult roles," says Lohan.
"Ashley has got her head on straight and she's determined, which I think is great," Lohan continues. "But she has never been tested; she has never known what it's like to really work for something and through that experience learn what life is."
"Lindsay has such a warm and likable screen presence that you can't begrudge her character's initial good fortune," says co-screenwriter Amy B. Harris. "When Ashley is down on her luck and her life is literally falling down around her, Lindsay is able to bring a real sense of fun and broad physical comedy while still showing vulnerability."
Director Donald Petrie felt Lohan's performances in "Freaky Friday" and "Mean Girls" revealed a budding comedienne within her striking beauty. "Lindsay has a sparkling comedic talent," he says. "Her ability to make physical comedy flow so naturally while also being funny and charming, makes her an absolute joy to have in front of the camera."
Petrie has directed numerous actresses in breakout comedic roles, such as Kate Hudson in "How to Lose a Guy in 10 Days," Sandra Bullock in "Miss Congeniality," and Julia Roberts in "Mystic Pizza." "I loved those movies," says Lohan. "I love comedy and I really wanted to work with Donald on this film."
Lohan found some of the physical comedy more challenging than she'd imagined. "You don't realize how hard it can be until you're actually there," she says. "You're reading the script and you say, 'Oh, that'll be so much fun to do,' but then you perform the action or stunt, and that's the hard part. But it's fun when you can just let go and free yourself. It's like therapy in a way."
Lohan's on-screen leading man, Chris Pine, appreciated Petrie's flair for physical comedy. "You know when Donald gives you direction that he knows exactly what he's doing."
Pine ("Princess Diaries 2: Royal Engagement") plays Jake, who works at a rock-'n'-roll bowling alley while nurturing dreams of someday making it as a record producer. "Jake is a guy from a small town who finally made it to New York City and is swimming upstream with thunderstorms and lightning to make it," Pine says.
"Jake is an unlucky schlub of a guy who, once it all turns around, you still believe will be dashing and charismatic without being arrogant about his good fortune," adds co-producer Marjorie Shik.
Pine came to the filmmakers' attention during video tests of young actors, from which he immediately stood out. "Donald saw something in Chris's eyes that was about heart and warmth," remembers producer Arnold Rifkin. "He approached the role with a wonderful, admirable spirit."
"I think the saving grace of Jake is that he's honest and optimistic," Pine says. Jake's relationship to 10-year-old Katy (Makenzie Vega, the young Nancy in "Sin City") adds a dimension to his character that makes him instantly likable. "Jake has accepted his rather unfortunate plight in life," says producer Rifkin, "being broke, looking after his young neighbor and cousin, Katy and helping her with her homework. He's not angry. He has no concept of fate. He didn't look for luck. He's just assumed Murphy's Law."
"Katy's his best friend," says Pine. "In fact, she's his only friend. Jake's luck is so bad that he has no friends his age. Their relationship was easy for me to relate to because I have a wonderful sister I'm really close to who also happens to be named Katie."
Missi Pyle, who is best known for her roles in the Tim Burton films "Charlie and the Chocolate Factory" and "Big Fish," plus the comedy hit "Dodgeball: A True Underdog Story," plays Ashley's boss, Peggy Braden, head of the prestigious PR firm, Braden & Co. Making sure Peggy's needs are met is just one of the tasks at hand during Ashley's big night at the masquerade ball, which must go smoothly for record producer Damon Phillips, played by Faizon Love (one of Santa's helpers in "Elf"). All the New York glitterati are there. But closing in is Jake who is gambling it all on getting the CD of the band McFly into the right hands.
"In order to get into this big, beautiful Masquerade Ball, Jake has to pretend he's a male dancer," Pine says. "Jake is not physically inclined in the least, and neither am I, so it's a nightmare to say the least." But it all turns around when Jake is pushed onto the dance floor with Ashley. Moments before, Ashley had been warned by a fortune teller, Madame Z (Tovah Feldshuh), that those who don't appreciate their good luck risk losing it forever. Ashley brushes off the advice, and joins Jake.
"It's a bit of a lark for her," says co-producer Shik. "She figures, 'Sure, I'll dance with this guy, why not?' It's nothing to her but for Jake's character it's a really daring moment because he's been turned down so often. They just dance and get caught up in that moment and of course, kiss."

"In that moment our luck passes," Pine adds. "My bad luck passes to her and her good luck passes to me and all of a sudden I'm not accident-prone," he says.
Though he's enchanted with Ashley, Jake also has a now-or-never shot at getting to Damon Phillips. "He's desperate to stay with this girl he's probably fallen in love with," says Pine, "yet he only has moments to get the McFly CD to Damon Phillips, and happens to save Damon's life in the process. The next day he has his own office and the band is signed and playing the radio - all because he kissed Ashley. Jake's struck dumb because nothing ever goes his way."
Ashley's best friends are Dana and Maggie, played by Bree Turner ("Bring it On Again") and Samaire Armstrong ("The O.C.," "Entourage"), respectively. "Dana's a bit older," says Turner, "and has been working a little, so naturally she's wondering, 'Wait a minute! You get all of these things and I've been working my butt off and I should have it.' They're not horrible to each other, but it's just baffling to work so hard and not have the luck to get ahead, whereas Ashley gets everything she could ever hope for with very little effort."
Samaire Armstrong plays Maggie, who keeps her friends together through thick and thin. "She really believes in the bond between all of her friends and cares a lot about that," Armstrong says. "She's a struggling musician and doesn't want any kind of success if it means compromising her friendships."
"There's a nice dynamic between the three with Ashley being the most well- rounded," Turner says. "Maggie is the extreme of sweetness and I'm a bit more of the other extreme, hard-edged and intense."
Peggy Braden, Ashley's sophisticated boss, is played by Missi Pyle. Peggy is "likably mean," says Pyle. "She's a fun character." Adds Lohan: "On paper she's like a bulldog, no heart, cold. But Missi brings such a vulnerability to her character that makes it so much funnier."
"Peggy is a very tightly wound woman," Pyle says. "Her shoes are tight; everything she does is sort of severe and bottled up." When Ashley sets her up on a date with her neighbor, Antonio (played by Latin pop icon Carlos Ponce), Peggy's inner self is unleashed. "Everyone is shocked because Peggy is so uptight and Antonio is so easy-going, yet they really hit it off," says Pyle.
The band Jake manages is played by real life British band McFly. With two solid hits in the UK, McFly (comprised of lead singer Tom Fletcher, Danny Jones, Dougie Poynter and Harry Judd) was brought to the attention of filmmakers through music supervisor Lisa Brown. "Petrie had a hand in choosing the songs, going through McFly's older and new works," says co-producer Shik. "He wanted to use the band's big hit in the UK, 'Five Colors in Her Hair,' as a signature song in the film."
As Jake and McFly's stars ascend, Ashley's descends. After losing everything, she's forced to move in with her friends Dana and Maggie. But someone else takes an interest in her sudden bad luck. Not realizing it's the girl he kissed at the party, Jake takes the newly destitute and unlucky Ashley under his wing and gets her his old job at a bowling alley.
"He meets up with Ashley for the second time when he sees her at this diner," explains Pine. "This poor girl is trying to get a coffee but can't even afford that. It's one of those moments of shared pain where you see someone going through what you've been through, what you went through as a kid and Jake wants to help her out in any way he can. And of course, she's great to look at, which never hurts."
As Ashley closes in on the truth of her fate, she must brace herself to discover that the one to whom she gave all her good luck is the same boy with whom she has fallen in love. "Ashley takes advantage of the fact that she is so lucky and doesn't really recognize how much she had before," says Lohan. "She then has to go through the hardships of struggling and having to get a normal job working at a bowling alley to figure out that nothing is really worth having unless you've worked for it. And she finds love in the midst of it all."
"Sometimes what makes us happy is not what we were looking for," adds co-screenwriter I. Marlene King.
JUST MY LUCK was shot in locations in New Orleans (prior to when the tragic hurricane devastated the city) before moving to Manhattan to capture the exteriors of Ashley's world.
The filmmakers searched for interiors that would bring to mind the style and energy of New York City. The first location was a high-rise office building on busy Pydras Street in the Business District standing in for Braden & Co., the PR firm where Ashley works. Production designer Ray Kluga referenced the New York offices of high-powered public relations firm to capture the energy of Ashley's workplace environment.
To create the Rock 'N' Bowl, where Jake works and McFly serves as the popular house band, the filmmakers found inspiration and a living set at New Orleans' Mid-City Lanes Rock 'N' Bowl. This provided myriad backgrounds for the montage which shows Ashley, who also takes a job there when her luck spirals downward, armed with a plunger and gas mask cleaning out toilets, and performing an array of unglamorous custodial tasks.
Ashley and her boss, Peggy Braden, are jailed as a direct result of Ashley's plummeting luck. The filmmakers, needing a realistic jail setting, set their sights on Jefferson Parish Correctional Facility, just outside New Orleans. State officials sealed off a section of the working prison to allow the crew to shoot in an authentic environment. The historic State Palace Theatre, adjacent to New Orleans' French Quarter, mirrored London's Apollo Hammersmith concert arena for the filming of a live McFly concert in front of thousands of screaming fans (extras recruited locally in New Orleans).
Kluga's biggest challenge was bringing to life the all-important masquerade ball, where Ashley and Jake have their life-altering kiss. The event is to be Ashley's ultimate expression of style, where she must live up to her boss' enormous expectations and wow even the most sophisticated member of New York's glitterati. For this event, Kluga and Petrie used the Beaux Arts interior of New Orleans' historic FNBC Bank Building near the French Quarter to stand in for the New York Palace.
Kluga transformed the massive space with marble columns and grandiose chandeliers with lots of color throughout. "My idea was to use striking jewel tones," Kluga says, "unlike the typical idea of what a Manhattan nightclub looks like - which is generally sleek and grey. Because we were doing a masquerade party, I wanted to incorporate strong dashes of color. The movie starts out very light, white and neutral. But then, you get into this magic scene and suddenly the colors begin to pop. It's an explosion of shapes and exciting things."
Ashley's vision for the masquerade ball was an atmosphere where "anything can happen." The massive interior was divided into sections: a VIP area; a place for record company execs to present their artists; and an area with giant projection screens where the latest rock videos are showcased. "We created private corners that have veils of fabric so that you get a sense of 'what's going on in these dark corners?'" Kluga describes. "We built in lighting to all of the furniture, up-lighting so the people sitting in the banquettes would be artfully backlit."
To match the lush interiors, costume designer Gary Jones needed a drop-dead gorgeous ensemble for Lohan, who is at the peak of her winning streak on the night of the ball. Director Petrie wanted to make sure Lohan's eyes were visible behind her mask (it is, after all, a masquerade ball). "We had to find a way to make a mask that would not hide or bury her eyes so far behind it that we would lose her," says Jones. He designed a headpiece using beige ostrich and rooster feathers; and a mylar silver, gold and beige horse-hair veil to match her Balenciaga dress.
Lohan, a fashion enthusiast, relished the opportunity to bring her sensibilities to Ashley's wardrobe and immediately clicked with Jones. "He's amazing," she says. "We worked together on everything. We started way before we even started prepping for the movie, just bringing in clothes and having fun. It was nice for me to get to play a character that is into fashion."
At the film's start, Ashley's "lucky look" is quickly established. "She is this pristine, dressed-in-white, almost impermeable person who can walk through the streets of New York and never get a drop of anything on her," says Jones. "She wears a white Versace cashmere coat in the opening shots of the movie. Underneath is a sheer top in a creamy white color with gold threads and a great silk charmeuse skirt. Very pale, high-heeled Valentino boots, a pale Valentino purse and a white cashmere pashmina complete the look. She starts out in white and in shades of white and continues that way until she loses her luck."
To create that pristine, untouchable sparkle, makeup artist Kimberly Greene patterned Ashley's masquerade makeup after the 1940s Varga girls with bright lips and eyeliner. "She was literally born under a lucky star and everything she does is just perfect and gorgeous," Greene describes. "She knows the right make-up, the right hair, the right outfits - everything comes to her very easily."
Greene also found the task of making Lohan's eyes "visible but hidden" a challenge. "We wanted to see her and not see her; make it gorgeous and beautiful but also make it a masquerade," Greene says. The final look chosen for the masquerade ball is Italian-themed, inspired by traditional Venetian masks. Greene used Swarovski crystals and swirls of gold traced around Ashley's eyes. "The look starts out flawless," Greene says. "But when she loses her luck, everything becomes smeary. We see a physical transformation which helps to sell the idea that her luck has really gone sour."
The newly-unlucky Ashley wears a hodgepodge of clothes that reflect her unfortunate turn of events. "She starts borrowing clothes from other people, which puts her in a lot of color and a lot of different kinds of clothing that she would never have worn as Ashley, the successful and lucky young woman," says Jones. "Her 'borrowed look' is a mish-mash of sorts and takes her into a palette of bright colors, casual clothing and jeans. Her hair and makeup become clean and simple, with a natural prettiness showing through."
Ashley's look hits rock bottom as she gets doused with real mud. "It was funny because Donald Petrie likes to shoot shots from every possible angle, especially the mud scene," Lohan recalls. "And we repeated it several times and there came a point where I said, you know what? I'm just gonna put my head back in and let's just do it again while I'm already muddy." Greene put in a bid to help Lohan through it by offering up face mask mud instead of real mud, but Lohan refused, "I was like, fine, let me just do it," she says, laughing.
In March 2005, the production moved to New York City to shoot exteriors. Making themselves visible to the public proved tricky with Lohan's rapidly ascending profile as a prime target of the paparazzi. "Some days there were as many as 30 or 40 paparazzi on the set," co-producer Ellen H. Schwartz says. "The crew often had to erect physical barriers to preserve a comfortable shooting environment and eye-line for the actors."
Many of the film's pivotal scenes take place in some of the city's famous landmarks and vistas, which give the film a cosmopolitan look. Central Park and Times Square were vital set pieces to the action, with the film's finale set at the always romantic Grand Central Station.
For the climactic concert scene finale, set at the then-uncompleted Hard Rock Café in Times Square, the crew dressed the outside marquis for the movie concert scene. This enabled the filmmakers to capture a nighttime exterior of the famous, brightly lit landmark. The production team managed to get the massive Reuters video board, adjacent to the Hard Rock, to play fictional McFly concert promos which ignited a few British tourists familiar with the band into thinking their favorite band had finally hit America.

DONALD PETRIE (Director, Producer), a graduate of the American Film Institute, landed his first career break when Steven Spielberg viewed his film "The Expert" and hired him to direct an episode of "Amazing Stories." Petrie made his feature film directorial debut with the critically acclaimed "Mystic Pizza," the film best known for launching Julia Roberts' career. His other feature film credits include Welcome to Mooseport, Grumpy Old Men, The Favor, Miss Congeniality, and How to Lose a Guy in 10 Days.

I. MARLENE KING (Screenplay, Story) whose credits include Now and Then and the acclaimed Emmy and Golden Globe nominated HBO movie, If These Walls Could Talk, is about to helm her first feature film, Rain Falls. King also scripted and produced the acclaimed pilot, Saving Graces for the WB network.

AMY B. HARRIS (Screenplay) was a writer/producer on the Emmy®-winning HBO series Sex and the City. She then went on to write and produce the HBO show The Comeback.  Prior to her work on Sex and the City, Harris was a member of the editorial staff of Vanity Fair magazine. She also consulted for several campaigns on both the federal and state level.
On the feature side, Harris has worked on the Regency project Head Hunters. Currently she is writing "Switch" for Universal Studios.

JONATHAN BERNSTEIN (Story) is the author of Pretty In Pink: The Golden Age Of 80s Teen Movies (St. Martin's Press) and the forthcoming Dictionary Of British Slang (Canongate, 2006). His screen credits include Max Keeble's Big Move (Disney, 2001) and the recent Larry the Cable Guy: Health Inspector.

JAMES GREER (Story) is the author of the forthcoming novel Artificial Light (Akashic, 2006) and of Guided by Voices: A Brief History: Twenty-One Years of Hunting Accidents in the Forests of Rock 'n' Roll (Grove, 2005). Greer collaborated with Jonathan Bernstein on the recent Larry the Cable Guy: Health Inspector, a comedy from Lionsgate.

 MARK BLACKWELL (Story) is the cofounder of Nylon, an international fashion and entertainment magazine. He was Senior Editor of Spin magazine from 1990-94 and Editorial Director of Raygun Publishing from 1994-98, overseeing such pop culture titles as Raygun, Bikini, and MTV Europe's "Blah Blah Blah." In his magazine work he has written features on hundreds of music and film luminaries (including the Rolling Stones, U2, R.E.M., Kiss, nine inch nails, Marilyn Manson, Dr. Dre, Johnny Cash, Oasis, Green Day, Cameron Diaz, Adam Sandler, Tom Hanks, Public Enemy, Bjork, the Cure, LL Cool J, Ice Cube, Ice-T, and Wayne Newton...just to name a few).
Blackwell was Editor of 1998's On The Road With Patti Smith, a photography book by Michael Stipe of R.E.M. - and was U2's official biographer on their 1997-98 PopMart tour, traveling around the world with the band and interviewing them extensively.
He has also contributed cartoons and photographs to magazines worldwide. His prize-winning portrait of Elvis Presley made from jellybeans was hung for a time in Graceland and he once appeared on "Live With Regis and Kathie Lee" displaying his award-winning sculpture of Godzilla constructed entirely out of cheese.
Blackwell's first movie, which he co-wrote, was the 2001 Walt Disney Pictures comedy Max Keeble's Big Move. He is currently working on a book and recording a CD with his band Phoney, as well as writing and producing several other movie projects.

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