ABOUT THE PRODUCTION

Fish and Company: Inviting Dupree Into Filmmakers' Homes
Perhaps he is the last man standing after all of our friends get married.  Or maybe he is that well-intentioned pal who lingers on your couch a little too long when he drops in for a vacation, insisting you go out every night for beers.  Who among us doesn't have a "Dupree?"  It was exactly this character archetype that inspired screenwriter Michael Le Sieur to pen You, Me and Dupree.
"The idea started during my own wedding a year and a half ago," says Le Sieur.  "It was a time when a lot of my friends were also getting married, and my groomsman was in most of their weddings.  He was the one who was 'always the groomsman but never the groom,' the one who helped pick out the china patterns--the so-called orphan of the crowd.  I thought it could be a great backdrop for a film: two guys, who are best friends, until one of them breaks the rules and finds a wife." 
As Le Sieur was writing the script, Dupree took on a life of his own, and the screenwriter quickly realized that his character has a universal appeal.  The words on his pages spelled it out: there's practically no one who doesn't have a "Dupree" in his or her life.
"There seems to be enormous identification with this guy," continues Le Sieur. "He inspires comments from a lot of people who want to share their own personal 'Dupree' stories with me.  Either they have someone just like him in their life or they are the 'Dupree' to their friends." 
Luckily for Le Sieur, this project defied all the rules in traditional filmmaking. It had quite a short gestation period, going from concept to script to the first day of shooting in less than a year--almost unheard of by Hollywood standards.
"Owen Wilson became involved with the project during the development process," explains the writer.  "We were in the same agency, and my agent gave Owen the first draft.  He was always my dream actor for the role, but when he became a collaborator the project took off.  His contributions are sprinkled throughout the script, maximizing the inventiveness of the characters.  My first meeting with Owen was in December 2004 and by the middle of March, we sold it.  By the first week of October 2005, we were filming.  It's been an unbelievable 12 months."
Producer Scott Stuber, who recently transitioned from vice chairman of worldwide production for Universal Pictures to an exclusive, five-year production deal with his partner, Mary Parent, chose You, Me and Dupree as one of his first projects.  He instantly clicked with the concept and soon he, Parent and Wilson brought brothers Anthony and Joe Russo on board.
"I felt You, Me and Dupree hit universal themes," says Stuber.  "It was funny, unique and a perfect role for Owen Wilson.  It's hard to find a comedy with a continuum of concept that also has depth.  This is a great story about marriage, friendship and family.  The first thing I remember thinking was, 'I know this guy Dupree…and so will a lot of other people.'"
Fellow producer Mary Parent continues, "What I responded to in the script was that it wasn't just telling one side of the story.  We see shifting points of view--male and female opinions of marriage and of how things change for a couple and their friends once they say 'I do.'  There are many layers to the story that contribute to the comedy as well as the heart and emotion of the film.  The nature of friendship and how it is tested in both good and challenging times is explored as Dupree's quest to find a calling dovetails with Carl's struggle to maintain his own sense of self as the pressures of marriage and career begin to escalate."
In approaching his role, Wilson agreed with Le Sieur that one of the keys to the film's believability was ensuring that Dupree maintain a lack of guile, in spite of the havoc he creates for Carl and Molly. 
For Wilson, the script represented the kind of comedy to which he could easily relate.  Fresh off 2005's monster comedy-hit Wedding Crashers, he easily connected with the quirky nature of this character.  "It was fun brainstorming on this script," says the actor/producer.  "Both Mike and I found the same things funny, so there was a lot of laughing.  He has such an amazing ear for dialogue that the process of creating new ideas and putting them into the mouths of these characters was uncannily natural."
Wilson continues, "One of the clues to getting into Dupree's character is the way he relates to the neighborhood kids.  When he moves into Carl and Molly's house, he makes friends with the kids more than any adults.  He speaks their language, because he's such a kid himself.  It wasn't such a stretch for me, because I share a little bit of that quality."
Le Sieur adds, "There's more to Dupree than just being a slacker or his surface zaniness.  He's completely unassuming, with a heart of gold and would never do anything to purposely disrupt this marriage.  He comes out of a place of such innocence and is so good-natured that he's hard to not forgive.  The way that Owen portrays him,  Dupree possesses unintentional wisdom."
With the production team in place and a viable script to shoot, it was up to Wilson, Stuber and Parent to select the director.  Initially, a number of different directors were considered, but when the Russo brothers showed interest in the Dupree script, the producers knew they had found a solid fit.  Anthony and Joe Russo's work on Welcome to Collinwood and the critically acclaimed television series Arrested Development demonstrated that they possessed an interesting new comedy voice with a young, fresh feel to their work. 
Notes director Joe Russo, "What really attracted us to the project was the theme.  The film represents love and friendship.  There's a great dynamic happening between all the characters, but it's a real buddy film at its heart…a coming-of-age-story for adults."
"It just seemed like a really iconic idea," reflects director Anthony Russo.  "That moment in life where a best friendship between two guys becomes altered because of one's relationship with a woman."
After reading the script, Anthony Russo realized, "You're rooting for Molly's relationship with Carl just as much as you are the relationship between Carl and Dupree.  That's the great balance of this film."
The producers would soon find that the Cleveland-born directing team had a unique shorthand communication--a dynamic that worked perfectly for this kind of comedy, so grounded in reality.
Working with two directors would likely provide some challenges with actors used to working with only one.  Wilson soon felt any concerns assuaged after stepping onto the set.  "It's an interesting collaboration to work with these brothers," says Wilson,  "almost a little like eavesdropping inside their heads.  They're both very involved with every aspect of directing.  Since they don't always agree, we get to hear their process--a unique advantage, unavailable with only one director.  I've never been privy to the inside of a director's mind while they're making decisions, but Anthony and Joe take us into that private domain while they talk it out between themselves.  They have a familial rhythm that is natural and organic and works really well for the film."
For the brothers, in order to keep things orderly on set (and the laughs coming from their actors), it was imperative to maintain a cool and collaborative atmosphere, not always simple with two directors at the helm of a project.
"We're fortunate we work well in a partnership," offers Anthony Russo. 
"Everything's done through looks and gestures," agrees Joe Russo.  "The best concept between us makes it to the surface.  But…we're Italian, so sometimes we'll stand there and argue it out.  Whoever has the better argument wins."
"Better films and performances are always the result of close collaboration," reflects Parent.  "Anthony and Joe understand that, and that comedy should be fun to shoot.  Believe me, when the actors are having fun on set, it translates on screen.  They are much more willing to take risks which they feel comfortable with fellow cast and crew."

Whirled Into the Dervish: Comic Actors Join the Cast
With Owen Wilson signed on for the title role, the production team turned their attention to casting the film's other key roles.  Their first order of business was to find actors to play Molly and Carl Peterson, the new bride and groom who would be the target of Dupree's adulation and accidental mischief. 
In approaching the role of Molly, Wilson and Le Sieur agreed with Stuber, Parent and the Russo brothers that one of the keys to the film was ensuring that Molly was absolutely, adorably likeable.
"One of the first names that came up to play Molly was Kate Hudson," says Le Sieur.  "It would be easy for Molly to come across as nagging.  She has to put up with a lot--especially being newly married--and we didn't want that.  Kate is so loveable that she brings genuine sparkle to the character.  She's luminous, definitely a burst of light that lets the audience know immediately why Carl is in love with her." 
Anthony Russo agrees that the team never looked at any of the three main players as the ultimate antagonist, especially Molly.  "There are moments in the film where each one plays the role of antagonist, but they're imminently sympathetic."
Continues Joe Russo, "With Kate, her charisma is stunning, and that was so important for this character.  She gives Molly such texture, charm and charisma."
"This is the first time I've ever gotten to play the straight guy in a comedy," laughs Hudson.  "It's a lot harder than I thought, because if you're not really grounded it doesn't work.  Molly is mostly deadpan, and acting with Owen is such a crack up, that it was hard for me to play it straight and not break up."
Matt Dillon's character, Carl, arguably has the toughest arc in the movie.  In the beginning, he has it all: he's confident, sexy, the alpha male in his group and newly married to his boss' daughter.  But as the story evolves, so does he…unfortunately, it's in the wrong direction.
"With Matt, you get the added heavy artillery of an amazing dramatic actor who has very good comedic instincts.  He knows how to give something an extra twist so the character doesn't become too dark," offers Stuber.  "By the end of the second act, his entire paradigm has shifted and he really starts to unravel.  Dupree's intrusion into his marriage--plus his father-in-law's pressure at work--has caused Carl to become unglued.  There's not one aspect of his life that has not become embroiled in chaos."
Joe Russo feels, "Matt was able to come in and provide a center to his relationship with Dupree and his marriage to Molly.  At the same time, we get a lot of comedy from his character's unraveling as he is squeezed from all sides."
For Dillon, You, Me and Dupree offered the chance to interpret a character not traditionally associated with his work.  "Carl is the protagonist in this story.  It's his journey," Dillon reflects.  "Carl's reaction to the insanity unfolding around him is what makes things interesting--even when his actions only make things worse.  The only way the audience can laugh at his misfortunes is if they know he's a guy who can take it."
With Wilson, Hudson and Dillon cast as the trio, the filmmakers next turned to finding an actor to play the powerful and prominent father-of-the bride, Mr. Thompson.  The dream cast was complete when Michael Douglas agreed to play Molly's dad.  He brought an instant identification to the character of Mr. Thompson, a man who carries the weight and intimidation of power and wealth.  Douglas' history of acting choices ensured that the role of Thompson fit like a glove.
Director Anthony Russo offers, "Thompson is this fabulously rich guy, so we wanted to find a father-daughter combo that would be really intimidating to someone like Carl.  Enter Michael Douglas."
Echoes producer Stuber, "One cannot think of Douglas' iconic role as Gordon Gekko in Wall Street and not be reminded of Mr. Thompson.  There are certain men, Michael Douglas being one, who are considered titans.  He is a truly formidable guy to be up against and knows how to press Carl's buttons better than anyone else." 
Douglas, a two-time Academy Award®-winning actor and producer whose film resume spans decades, admits he found the role of Mr. Thompson a welcome change of pace.
"I don't do comedy that often," admits the actor, "so when I got this script I could see the opportunity for a lot of fun.  I frankly liked the idea of not having to carry the movie; it was a chance to enjoy and have fun.  I play a very successful Southern California developer, a widower who dotes on his only daughter, who unfortunately decides to marry Carl.  My job is to push all of Carl's buttons to see what kind of son-in-law he's really going to be." 
Douglas jokes, "I don't think I'm going to get a lot of sympathy votes with this character, but who's counting?"
The team was happy to have assembled such a talented cast and crew so quickly.  Commenting on Dupree's supporting cast, Parent shares, "The film really benefits from the talents of Seth Rogan, Bill Hader and Harry Dean Stanton playing supporting roles, each creating memorable moments.  It takes Dupree to another level."
During the shoot, Stuber soon noticed how the directors kept the comic cast grounded in reality.  "The best filmmakers know how to walk that line," Stuber says.  "So much of this script comes out of the human moment, and it would be easy to make it too broad.  Joe and Anthony instinctively sensed when that happened and knew just when to reel it in."

Cheeseburger in Paradise: Shooting Dupree
The cast in place, the crew would now address the challenges of the film's location shoots.  It seemed logical (and fortunate) to all involved to film the movie's opening honeymoon sequences on the exotic isles of Hawaii.
You, Me and Dupree commenced principal photography October 7, 2005, on a sunny pineapple field in Kaawa, Hawaii, on the island of Oahu.  The mood on set was "pure holiday," thanks to the filmmakers' decision to shoot Carl and Molly's wedding, reception and honeymoon over the first ten days of filming. 
One of the first scenes shot for Dupree is best man Randolph Dupree's late arrival for the rehearsal.  Rushing into the island in a small crop duster--because he first landed on the wrong island--Dupree arrives with a bang.  Carl and one of his groomsmen, Neil, played by Seth Rogen, are impatiently waiting to meet him.
"Starting this movie in Hawaii got everyone off on the right foot," notes Wilson. "We were all able to bond outside of work in a great environment, and since we play a group of friends who have known each other for years, it set the mood for what followed on screen.  It was a natural way to create continuity amongst everyone."
"What better way to start a shoot than having a good time in beautiful Hawaii?" laughs director Anthony Russo.  "This was the honeymoon phase where all of the characters were getting to know one another.  Hawaii was the perfect setting for that."
For the newlywed Le Sieur, crazy bachelor parties are a reality that he's witnessed in his own life.  "The most natural thing for a guy to do before he gets married is to hang out with his buddies and get goofy," says Le Sieur.  "It's akin to watching another one of the crowd go off the plank.  In this case, the call of the wild for just one more night is too seductive, even for Carl.  Watching Matt, Owen, Seth and the rest of the groomsmen throwing down drinks felt exactly like watching some of my own buddies."
Newly golden tan, the cast and crew headed back to Los Angeles, where the filmmakers spent four days in Irvine, California--in one of the endlessly slick office buildings that would serve as The Thompson Development Company.  The empire was where Mr. Thompson could conduct business and torture his son-in-law/employee, Carl, with a litany of passive-aggressive insults.
"My character feels very much at home in this environment," says Douglas.  "The elements of faux spiritual statues sprinkled throughout all this glass and steel create a perfect background for Mr. Thompson to humiliate and demean his new son-in-law.  It really sets up his character."
A lovely old Craftsman house in the historic section of Gramercy Place in central Los Angeles was chosen for the exterior shots of Carl and Molly's home, where much of the story takes place.  It was here that Carl, Molly and Dupree would navigate many of the trips and pratfalls that come with filming this type of comedy.
"I like doing physical comedy," notes Dillon.  "It's definitely part of the fun of making movies.  Although Carl plays the straight man to Dupree, every once in a while he gets sucked into Dupree's arrested-development shenanigans."
With a cast now out of garments that dressed them to the nines or zeros, shooting complete and editing wrapped, it was time to take note of a final lesson learned from spending time with Randolph Dupree.  Recounting his wise words to Molly's schoolchildren on Career Day: "Stay loose, stay liquid, laugh a lot…and be ready.  That's what Dupree's doing with his life's little pod.  Staying nimble…until I get a call from the mother ship."
Anthony Russo reflects, "The great thing about Dupree is that he gives you an excuse to behave as if you have a little less responsibility than you have and you're younger than you actually are." 
He continues, "We begin this film thinking we're watching some relationships about to end.  But by the end, those relationships emerge intact, yet changed in a very good way for the characters."
Brother Joe Russo concludes, "Hopefully, what will translate to audiences and what they'll take away from the movie is how much Dupree cares for his best friend.  They get into great conflict and then they find their way back to each other.  It's all carried in the heart of Dupree."

ANTHONY & JOE RUSSO (Directed by) made their start writing and directing the feature film Pieces, which debuted at Slamdance in 1997.  The film later screened at the AFI Film Festival, where Joe won for Best Actor.  The Russo brothers wrote and directed Welcome to Collinwood, produced by Steven Soderbergh and his Section Eight partner George Clooney, which was selected as the closing night film for the Director's Fortnight at the 2002 Cannes Film Festival. The brothers made their move into the television world by directing the pilot for FX's Lucky and multiple episodes of Fox's Arrested Development, which won an Emmy Award for Best Comedy Direction for their work on the pilot episode.

MICHAEL LE SIEUR (Written by) was raised in Southern California and graduated from UCLA in 1994.  After a spectacular crash and burn in the life insurance industry and a two-year apprenticeship working under the foremost Western practitioner of taxidermy, specializing in small game and waterfowl, Michael entered the screenwriting program at the USC School of Cinema in 1998.  In 2000, Michael signed with United Talent Agency, and in 2001, his first spec script, The Ballad of Paul Finley, Accountant, sold to New Line Cinema.  He then worked on scripts for Fox 2000 and Warner Bros. before selling You, Me and Dupree to Universal in 2005.  Michael resides in Newport Beach with his wife and son.