50 First Dates/Mr. Deeds [2 Discs]

DVD FEATURES:

• Region: 1
• Number of Discs: 2
• Aspect Ratio: 1.33:1 (Pre-1954 Standard)
• Audio: Dolby Surround, Dolby Digital 5.1
• Screen: Color, Enhanced Wide Screen Letterbox for 16x9 TV
• Subtitle: French, English
• Features:
  • • cc 50 First Dates:
    • Commentary with director Peter Segal and star Drew Barrymore
    • Five deleted scenes with optional commentary
    • "The Dating Scene: The Making of 50 First Dates"
    • Music video: "Hold Me Now" by Wayne Wonder
    • Music video: "Love Song" by 311
    • Music video: "Amber" by 311
    • Comedy Central Reel Comedy Special
    • Gag reel
    • "Talkin' Pidgin" featurette
    • Filmographies
    • Previews
    • Mr. Deeds: Digitally mastered audio & video
    • Mastered in high definition
    • Full screen presentation
    • Audio: English 5.1 (Dolby Digital), French
    • Subtitles: English, French
    • Director and writer commentary
    • Deleted scenes
    • "Clothes Make the
    • Man" featurette
    • "From Mandrake Falls to Manhattan" featurette
    • Outtakes reel
    • Deeds' greeting cards
    • "Spare No Expense" featurette
    • Music video "Where Are You Going" by Dave Matthews Band
    • Animated menus
    • DVD-ROM: Screen-to-script, weblinks
    • Filmographies
    • Theatrical trailers

ADDITIONAL INFORMATION:

• Director:

  Steven Brill, Jared Harris, Peter Segal

• Producer:

  Jack Giarraputo, Sid Ganis, Steve Golin, Nancy Juvonen

• Screenwriter:

  Peter Lyons Collister, Tim Herlihy, George Wing

• Cinematographer:

  Peter Lyons Collister, Jack N. Green

• Musical Direction/Supervision:

  Michael Dilbeck

• Composer (Music Score):

  Teddy Castellucci

• Editor:

  Jeff Gourson

• Production Designer:

  Perry Andelin Blake, Alan Au

• Art Director:

  Stephen McCabe, Steve Carter, Domenic Silvestri

• Co-producer:

  Alex Siskin, Scott Bankston, Larry Kennar

• Associate Producer:

  Allen Covert, Kevin Grady

• Executive Producer:

  Adam Sandler, Joseph M. Caracciolo, Jr., Michael Ewing, M. Jay Roach, Scott Bankston, Daniel Lupi, Jay Roach

• Set Designer:

  Lauri Gaffin, Beth A. Rubino, Kevin Cross, Al Hobbs, James Bayliss, Martha Johnston, Robert Greenfield

• Costume Designer:

  Ellen Lutter, Leslie Brown, Michael A. Russell

• Sound/Sound Designer:

  Felipe Borrero, David Kelson

• Makeup:

  Robin Fredriksz, Ann Pala

• Special Effects:

  Sony Pictures Imageworks

• First Assistant Director:

  Gary Marcus, John Hockridge, Adam Druxman

• Animator:

  Sony Pictures Imageworks

• Camera Operator:

  Joseph Urbancszyk, Stephen Campanelli

• Stunts:

  Michael Adams, Michael Brady, Gary Guercio, Brycen Counts, Paul Eliopolus, Tara Fuller

• Casting:

  Roger Mussenden

• Production Manager:

  Lila Yacoub, Tim Wiles, Max Brehme, William W. Weiske III

• Title Design:

  Howard A. Anderson Company

• Supervising Sound Editor:

  Elmo Weber

• Short Story Author:

  Frank Budington Kelland

• Music Editor:

  J.J. George

• Pilot:

  Cliff Fleming

• Special Effects Coordinator:

  John Hartigan

• Makeup Special Effects:

  K.N.B. EFX Group

• Department Head Makeup:

  Rose Librizzi

• Stunts Coordinator:

  Webster Whinery

• Assistant Art Director:

  Don Woodruff

• Unit Production Manager:

  Daniel Lupi

• Key Hairstylist:

  Pauletta Lewis-Irwin

• Negative Cutter:

  Mo Henry

• Key Grip:

  Charles Saldana

• ADR Supervisor:

  David Bach

• Second Assistant Director:

  Michael L. Phillips

• Production Assistant:

  Anthony Hoffman

• Visual Effects Producer:

  Victoria Alonso

• Head Animal Trainer:

  Steve Berens

• Conductor:

  Pete Anthony

• ADR Recordist:

  Howard London

• Unit Publicist:

  Spooky Stevens

• Extra Casting:

  Central Casting

• Location Manager:

  Timothy Hillman

• Production Coordinator:

  Susan M. Ehrhart

• Foley Artist:

  Vincent Guisetti, Pamela Nedd Kahn

• Assistant Chief Lighting Technic:

  Michael K. O'Melia

• Chief Lighting Technician:

  Mark Vuille

• Assistant Location Manager:

  Martin L. Hudson

• Costumes Supervisor:

  Robert Q. Mathews

• Hair Styles:

  Lona Vigi

• Assistant Properties:

  Chuck Askerneese

• Storyboard Artist:

  Alexander Hill

• Sound Effects Director:

  Derek Vanderhorst

• Casting Associate:

  Elizabeth Torres

• Set Dresser:

  John Hammer Maxwell

• Best Boy Grip:

  John Powers

• Casting Assistant:

  Kendra Carter

• Second Assistant Director:

  Joe Kontra

• Second Second Assistant Director:

  Timothy Grant Engle

• First Assistant Camera:

  Bill Coe

• Script Supervisor:

  Nancy Karlin

• Storyboard Artist:

  Gary Thomas

• Assistant Location Manager:

  Justin Healy

• Foley Editor:

  Marc Glassman

• Set Dresser:

  Cameron Matheson, Chris Parker

• Production Secretary:

  Kerri Smeltzer

• Second Unit Director:

  Jim Bissell

• Visual Consultant:

  Jim Bissell

• Construction Coordinator:

  Karen D. Higgins

• Still Photographer:

  Darren Michaels

• Leadman:

  Mark C. Weissenfluh, Sean Ginevan

• Sound Effects Director:

  Cameron Steenhagen

• Production Assistant:

  David Alexandre

• Script Supervisor:

  Summer Banner

• Matte Artist:

  Dave R. Bleich

• Model Effects:

  Francois Bordez

• Gaffer:

  Allan Brady

• Production Assistant:

  Anthony Buchanan

• First Assistant Editor:

  Tom Costain

• Assistant Production Coordinator:

  Demelza Cronin

• Extra Casting:

  Margaret J. Doversola

• Special Effects Supervisor:

  Sheena Duggal

• Assistant Location Manager:

  Leann Emmert

• Dialogue Editor:

  Russell Farmarco

• Matte Artist:

  Josh Geisler-Amhowitz

• Production Assistant:

  Katherine Gourley

• First Assistant Editor:

  Jason Gourson

• Key Costumer:

  Mari Grimaud

• Music Editor:

  Stuart Grusin

• Assistant Costume Designer:

  Clare Hallworth, Nina Hallworth

• Matte Artist:

  Ivo Horvat

• Assistant Sound Editor:

  Drake Jenevein

• Sound Effects Director:

  Orada Jusatayanond

• Production Assistant:

  Norman Kali

• Assistant Costume Designer:

  Jeannie H. Kelly

• Second Assistant Camera:

  Bill Marti

• Storyboard Artist:

  Kevin McCarthy

• Second Assistant Camera:

  Bobby McMahan

• Additional Music:

  Tom Mgrdichian

• Assistant Production Coordinator:

  Lisa Lee Mitchell

• Production Assistant:

  Nicole Nakamoto, Carrie L. Ringler

• Camera Loader:

  Shayna Ritenour

• Production Assistant:

  Brad Robinson

• Digital Effects:

  Allen Ruilova

• Additional Music:

  Carl Rydlund

• Production Assistant:

  Nancy Senaga, Rob Severin, Ryan Staniec

• Key Make-up:

  Carme Tenuta

• Production Assistant:

  J.J. Titone

• Location Manager:

  Jim Triplett

• Digital Effects:

  Vince Truitner, Carlo Volpati

• Foley Editor:

  Clay Weber

• Dolly Grip:

  James D. Wickman

• Voice Casting:

  The Reel Team

• Foley Mixer:

  Kyle Rochlin

• Art Department Coordinator:

  Dru Homer

• Special Effects Foreman:

  Chris Walkowiak

• Graphic Design:

  Martin T. Charles

• Negative Cutter:

  Boyd Steer

• Video Assist:

  Alfred Ainsworth

• Production Assistant:

  Scott Berri

• Pilot:

  Thomas Hauptman

• Negative Cutter:

  Phillip Janssens

• Production Assistant:

  Ed Kashiba

• Visual Effects Editor:

  Steve Rhee

• First Assistant Editor:

  Laura J. Weiss

• Department Head Hair:

  Nanxy Ton Heater

• First Assistant Camera:

  Peter Green

• Boom Operator:

  Robert C. Jackson

• Dialogue Editor:

  Robert C. Jackson

REVIEW:

• 50 First Dates pulls off a neat little trick. The opening 20 minutes are filled with familiar Adam Sandler movie bits (walrus puke, sexually ambiguous co-worker, a horny and ethnic Rob Schneider) that even he seems tired of but knows need to be there for his core audience. In a pleasant surprise, the movie manages to disengage from its autopilot setting once the film's high concept kicks in. The Memento-meets-Groundhog Day conceit is actually thought out by first-time screenwriter George Wing. The film actually takes the time to figure out how Drew Barrymore's inability to make new memories affects those who love her most, and manages to find complications and solutions that are logical and thematically resonant. Director Peter Segal and Sandler, recognizing that they have been given a charming love story, are confident enough to back away from the more pedestrian moments of outlandishness that open the film. Sandler and Barrymore made a winning duo in The Wedding Singer. That film marked the first time Sandler tried to take his film persona in a new direction -- something he attempted more boldly in Paul Thomas Anderson's underappreciated Punch-Drunk Love. Sandler obviously learned from his experience on Punch-Drunk Love how his infantile screen persona can be allowed to grow up. With 50 First Dates, he has taken the lessons from that film, and packaged them in a way that his audience can accept. ~ Perry Seibert, Rovi