Emily Blunt was cast as Jackie Q but had to withdraw before production started. Rose Byrne stepped into the role. Jonah Hill's character was originally going to be the same one he played in Forgetting Sarah Marshall - weirdo waiter Matthew - but it was quickly changed as Hill thought Matthew was "too weird and stalkerish".
In order to get the right angry reaction from Sean Combs, Jonah Hill would interrupt his sentences and ask him pointless questions until he was genuinely annoyed, then they would start the scene. While filming in Trafalgar Square in London, Brand was pushed into the fountain by a member of the public. During his Scandalous tour Brand performed as Snow at a show at the O2 in order to get footage of Snow at a huge concert.
The high level of improvisation meant that sometimes the cast would spend the entire day filming one dialogue scene. Both Jonah Hill's dad and brother work in the music industry. His dad is an accountant for musicians and his brother manages bands. He used them for research for the role. Today's Best Deals 1. ShortList is supported by you, our amazing readers. Did you know Edit. Trivia A 4. The quake and Jonah Hill 's startled reaction were captured in the take and included in the DVD's gag reel.
Goofs In Las Vegas, the view out the window clearly shows the circular hotel tower of the old Sands hotel and casino, which was imploded in Quotes Sergio Roma : You've been mind-fucked before? Crazy credits After the end credits role, Aaron Green's hallucination of Sergio's head appears saying, "Go home.
Get the fuck out of the theater. The movie's over. Alternate versions There is also an unrated version which runs 5 minutes longer than the theatrical version. User reviews Review.
Top review. So much puke. It's not quite Pixar-like, Judd Apatow's streak of very funny, very good films, but it's close. As a producer, he's as close as it gets to Mr. Apatow's done it the right way, by surrounding himself with a gang of truly funny people and by recognizing what a lot of timid, gloss-obsessed Hollywood folks won't: that guys like Jonah Hill, Michael Cera, Steve Carell and Seth Rogan could carry pictures.
They're all But all of them can write their own jokes, all of them are funny, and as Hill proves in the new Get Him to the Greek, all of them can carry the weight of a big film on their back, despite their schlubbiness, despite the films not being SNL spin-offs. There's just talent and comedy, that's both fresh and charmingly old-fashioned. Snow is the last true rockstar, recently fallen hard off the wagon post-a disastrous, career-threatening single about starvation in Africa called "African Child".
Worried about slumping record sales and a label-head the surprisingly entertaining Sean "Diddy" Combs looking for "the next thing", intern Aaron Green Hill suggests the company return to its rock roots and sponsor a gig at the Greek theatre in L.
Green is sent to London to collect him, packing an adrenaline shot and instructions to do whatever it takes to get the slippery, deluded, hard-partying rock god to L. Very funny hijinks ensue. Brand as Snow is the spectacle, the wild spark that animates the whole film.
Snow vacillates wildly from petulant artistic preciousness to aggressive junkie posturing to anarchic drug logic and back. Story-wise, tt's a dangerous thing to chance, as the rock-excess thing has been parodied to near-death. Brand, though, limns the edges of his chaos with occasional moments of human frailty. The film notes late in the going that Snow's self-appointed rock messiah is intelligent, and it's a small ignorable moment that speaks to the subtle bits of originality in the film's script and in Brand's performance: he's a pompous idiotic waster in true rock fashion, but there's a cruel, manipulative intelligence underneath it all that helps the whole film feel fresh and funny, even if it's going over well-trod Spinal Tap ground.
The discovery of the film, though, is Jonah Hill as Aaron Green, the spectacular punching bag at the heart of a film that mercilessly visits every kind of humiliation and degradation on him. But what makes Hill's performance truly funny is that while he is in essence a nebbish, a victim, a barf-coated ill-looking cannonball of a man he nonetheless retains a really kind of compelling dignity and oddly endearing self-confidence.
He's not an oversize wild-man, he's not a tiny Michael Cera-esquire mumbler. He's doing something new, and it along with everything else in this film is very very funny. Can he keep it together long enough to make it to the Greek? Will he bring down straight-laced Aaron with him?
Segal is a producer and helped write some of the Infant Sorrow songs, but perhaps the movie would've been better if he'd helped in the scriptwriting process as well. This is a much darker, more tedious movie. It lacks the sweetness and warmth of its predecessor.
Most of the jokes rely on Aaron's public embarrassment at the hands of Aldous Snow. This is far from the worst movie Judd Apatow has produced in recent years. That would be the shockingly uneven "Funny People. Strikingly, the best comic moments come from Combs' Sergio. He also is able to point out the sycophantic nature of the music industry when he tells Aaron that if he is asked, he should say he loved "African Child" and "bought ten copies the day it came out," even if it's a lie.
The movie does have its share of memorable moments. There's an inspired bit about a fur-covered wall and how a "Jeffrey" isn't quite as innocuous as it sounds.
One of the funniest scenes involves a shot of adrenaline. Unfortunately, if you've seen the ads on television, you've pretty much seen this already. Yes, Paul Krugman!
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