The new action comedy, which Feig will direct from Rob Yescombe’s script, will kick off filming next week and will premiere on Prime Video worldwide.
Says Feig, “I love action comedy and extreme physical comedy and this movie has both in abundance, as well as a boatload of heart and hilarity. This lotto will make winners of us all.”
According to Amazon and MGM Studios boss Jennifer Salke,
“’Grand Death Lotto’ is the kind of original idea audiences have been craving, and there’s no one better than the endlessly talented Paul Feig to steer the ship. We can’t wait to watch John Cena, Awkwafina, and Simu Liu bring this fun, action-packed script to life for our Prime Video customers around the world.”
Though he’s mostly been known for more straightforward comedy, Feig is hardly a stranger to adding action in the mix –– 2016’s ‘Ghostbusters’ featured plenty of spooky combat, while there was espionage threats in ‘Spy’, cop shootouts in ‘The Heat’ and magical battles in his recent ‘The School for Good and Evil’.
Paul Feig attends the World Premiere Of Netflix’s ‘The School For Good And Evil’ at Regency Village Theatre on October 18, 2022 in Los Angeles, California. Photo by Charley Gallay/Getty Images for Netflix.
The official synopsis reads: “In the very near future, the Grand Lottery has been established in economically challenged California. The only catch? Kill the winner before sundown and you can legally claim their prize. New LA transplant Katie (Awkwafina) accidentally finds herself with the winning ticket and must join forces with amateur jackpot protector Noel (Cena) to make it to sundown in order to claim her multi-billion dollar prize, all while dealing with Noel’s protection rival Louis Lewis (Liu), who also wants to get her to sundown in order to claim his rich protection commission.
Awkwafina will next be seen in horror comedy ‘Renfield’ (in theaters on April 14th) and heard in Disney’s new version of ‘The Little Mermaid’, which will swim into theaters on May 26th.
And Cena –– assuming anyone can see him –– will reprise his role as Jakob Toretto in ‘Fast X’, headed our way on May 19th.
John Cena in ‘F9.’
The fear of violent death is also something that will concern Isabela Merced, who is transitioning from the romantic complications of Hulu’s ‘Rosaline’ to the new ‘Alien’ movie that Fede Álvarez is making.
Little is yet known about exactly what will happen in the movie, but according to the basic official logline, a group of young people on a distant world find themselves in a confrontation with the most terrifying life form in the universe.
And we don’t, of course, know how Spaeny, Merced and the rest’s characters will factor into that, but we’d have to guess they’ll spend some time fighting for their lives.
The new movie won’t directly follow the original series of extraterrestrial horror/action movies as kicked off by Scott’s ‘Alien’ in 1979, nor will it continue the story in the director’s ‘Prometheus’-led prequel films (Scott keeps saying he’ll make another of those himself).
Álvarez certainly has the horror chops to pull off a compelling new ‘Alien’ movie, which for the past few years has largely been the province of Scott. And though he’s been prolific of late, he hasn’t returned to the universe since 2017’s ‘Alien: Covenant’.
Sigourney Weaver as Ellen Ripley in James Cameron’s ‘Aliens.’
Neill Blomkamp took a crack around 2014/2015, releasing concept art for a movie that would follow Sigourney Weaver’s Ellen Ripley from the Scott films, but aside from a lot of social media activity, it eventually got delayed indefinitely so as not to muddy the xenomorph waters before ‘Covenant’.
You can imagine, then, that Álvarez must have come up with something interesting to have Scott give him the thumbs up. Either that, or the venerable filmmaker has so many other projects on his plate between directing and producing duties that he simply realized he needed to give someone else a chance for a while. He has his ‘Napoleon‘ film, starring Joaquin Phoenix and Vanessa Kirby, in post-production now.
Though it has yet to announce a release date, we can imagine that, with filming underway, the movie could well hit theaters in 2024.
Merced has a couple of other movies on the way, including John Green adaptation ‘Turtles All the Way Down’ and Sony’s Spider-universe superhero film ‘Madame Web’, which will be out on February 16th next year.
Currently available on Netflix is the fantasy comedy ‘The School for Good and Evil,’ which is based on the popular novels of the same name by Soman Chainani and was directed by Paul Feig.
The film stars Sophia Anne Caruso as Sophie, a young girl from the village of Gavaldon who wants to be a princess. Sophie’s dreams come true when she and her best friend the cynical Agatha (Sofia Wylie) are selected for The School for Good and Evil, but Sophie’s dream becomes a nightmare when she is admitted to the School of Evil and Agatha is delivered to the School for Good.
Upon arrival, they meet the Dean of the School for Good, Prof. Clarissa Dovey (Kerry Washington), and the Dean of the School for Evil, Lady Leonora Lesso (Charlize Theron), as well as the mysterious School Master (Laurence Fishburne).
Believing a mistake has been made, Sophie and Agatha must now find Sophie’s true love and receive her true love’s kiss in order for her to be accepted at the School for Good, and so Agatha can return to Gavaldon.
Paul Feig may have begun his career as an actor on ‘Sabrina, the Teenage Witch,’ but he has transitioned into an acclaimed writer and director, and one of the most successful filmmakers working today.
Feig has directed such beloved television shows as ‘Freaks and Geeks,’ ‘Arrested Development,’ ‘The Office,’ ’30 Rock,’ and ‘Mad Men.’
Moviefone recently had the pleasure of speaking with Paul Feig about his work on ‘The School for Good and Evil,’ adapting the source material, his casting process, working with Charlize Theron and Kerry Washington, using practical vs. visual effects, his next project, and the possibility of making more ‘Good and Evil’ movies.
Paul Feig attends the World Premiere Of Netflix’s ‘The School For Good And Evil’ at Regency Village Theatre on October 18, 2022 in Los Angeles, California. Photo by Charley Gallay/Getty Images for Netflix.
You can read our full interview below or click on the video player above to watch our interview with Paul Feig about ‘The School for Good and Evil.’
Moviefone: To begin with, how did you get involved with this project and what excited you about the characters and mythology established in the source material?
Paul Feig: I got sent this from Netflix almost three years ago, and fantasy’s never been top of my list of genres to do. But when I read it, I just so fell in love with this friendship between these two leading characters. I’m always looking for good, three dimensional roles for women. It just really spoke to me and I realized that the fantasy genre was such a great way to explore it, and to challenge it, and to have it ultimately come out on top. So, I was in the minute I read it, I should say.
MF: The film deals with themes such as finding your power and your place in the world, nature versus nurture, and the thin line between good and evil. What were some of the themes of the novel that you really wanted to explore with this movie?
PF: Well, those are all part and parcel with it. I’m very fascinated with the idea of good and evil, and how I think it’s such a simplistic dynamic that we rely on that causes most of our problems. The fact that we’re so divided right now, and it is because we’re going like, “Your side is evil, and our side is good.” I thought this was a really non-preachy, interesting way to deconstruct that so that the message is there, but we’re not hanging a hat on it.
So that really, I do love. Then as far as finding out who you are, that’s a theme I feel like I explored my entire career and will continue to do that. Because I think so many of us just don’t know our place in the world, or don’t feel like we know what our place in the world is and truly who we are. It takes a big event to focus you on that and to be challenged, and then have that challenge make you have a little more clarity. I mean, do we ever fully have clarity? No, probably not. But I think life is a constant movement towards trying to figure that out.
MF: Can you talk about your casting process in general and specifically in terms of this movie?
PF: Yeah, I cast like a fan. I don’t have people in mind, especially when I’m writing something. I tend not to write for anybody because I just explore the characters. But when something comes to me that I haven’t written the first draft of, you start to get ideas and you start to see archetypes in your head of who could play things. Then I just really spend a lot of time being thoughtful, like “Who would be great in these roles?”
It’s been said before, one of the biggest things a director does is cast the movie. Because once you’ve got the right cast, then it makes my job easier in that regard because I know those people are then going to make it great. It’s just up to me to make sure I record them correctly and I give them the right direction to steer them into different places with it. But I also want their creativity from it.
So, it’s really just who’s going to bring the most to these roles? Not just show up and read the lines, but who’s going to add their personality into it? Who’s going to add their creativity to it? So, it’s my favorite part of the process and we work very hard on it when we’re putting it together. The casting is a really long process, but at the same time I always walk out of it going like, “Oh man, I think we got a great cast.”
MF: Can you talk about the friendship between Sophie and Agatha and also casting Sophia Anne Caruso and Sofia Wylie in those roles?
PF: Yeah, I always amass people in my travels and watching stuff. A friend of mine was an investor in ‘Beetlejuice’ on Broadway. So, I went to see that and saw Sophia Anne Caruso in the lead. This was before I even knew ‘The School for Good and Evil’ existed. I was just like, “Who is that young woman? She’s amazing.” So, I kind of wrote her name down, and said “Okay, remember her, we got to put her in something.”
Then when we started casting though, I didn’t know Sophia Wiley, I hadn’t seen ‘High School Musical: The Musical: The Series’ or anything. But she was just somebody who had sent an audition tape. So, I was watching that and just going, “Who is this young woman? She’s so good.”
But there was a few candidates and I was kind of like, “How do I decide?” I was like, “You know what, let’s have them record the big death scene at the end.” And even my casting director was like, “That’s really a hard thing for somebody to do on their phone.” I was like, “I know, but let’s just see what happens.” Literally, this is every actor’s nightmare.
I was out for a walk, my morning walk, with my phone and my earbuds in and just was like, “Oh, let me watch that audition.” Which is terrible. It’s a really, really terrible way to do it. But she was so good, and I was literally crying as I’m walking. If you can make a director impressed when they’re watching on their phone walking through their neighborhood, that was it. But then what we had to do is, you always kind of end the process of casting a duo by having them do a chemistry read.
Normally what you’ll do is you’ll fly them in or have them come into the office and sit together and do the scene, and you kind of watch how they play off each other. But we were in COVID, so we couldn’t do that. So, we had to do it on Zoom. I had to do a chemistry read between our two leading actors on Zoom. Their chemistry was so strong through the computer, that I was like, “Okay, if they can kill it on Zoom, then when they get together on the movie set, it’s going to be magic.” And it was.
MF: What was it working with iconic actors like Charlize Theron, Kerry Washington, Michelle Yeoh, and Laurence Fishburne?
PF: I’d worked with Charlize back in 2005 on ‘Arrested Development’ and we’d had a ton of fun together. So, we always stayed in contact of “What do we do together? We got to find something to do.” So, when I read Lady Lesso, I was like, “Okay, this is Charlize, she will just absolutely destroy this role.”
Kerry is somebody who I’ve been dying to work with. I became friendly with her because one of my best friends is Betsy Beers, who’s Shonda Rhimes‘ producing partner. So, I was always like, “You got to introduce me to Kerry.” We met and hit it off. Again, same situation, “What do we do together? We got to find something.” It was when I saw her on ‘Saturday Night Live’ when she hosted that time, I was like, “Oh my God, Kerry’s really funny.” So, I was just like, there’s no other Professor Dovey that I want than Kerry Washington.
Then Michelle Yeoh and I had worked together on ‘Last Christmas,’ and she’s one of my closest friends. I was just like, “Would you come in and do this? It’s not a giant part, but it’s a really fun part.” She’s like, “Of course.” She came in and quarantined for 10 days in Belfast. I was like, oh my God, that’s a real friend that will come in and do that, especially when you’re about to win an Oscar, which I’m sure she’s going to, if there’s any justice in the world.
Then Laurence Fishburne I’d never worked with before, but I was always a fan and he’s just delightful. Absolutely a delightful person. So, that was great. Then Cate Blanchett, who I’ve kind of had the same thing with. We had lunched a few years ago and we’re always trying to figure out something to do, and when we had this, I was like, “Oh Cate, would you want to play the voice of a pen?” And she’s like, “Sure.” I said, “Okay, cool.”
MF: Obviously you’ve used visual effects before in movies like ‘Ghostbusters,’ but can you talk about using VFX versus practical effects in a fantasy film like this?
PF: Well, I love it. It’s really fun, but my goal is always to make sure we do as much as we can in camera, practical. Even if it’s something that then we’re going to augment with CG. But I just never want my cast acting against tennis balls in front of a green screen. So, it’s really important to me to build these sets. Those sets are all real. I mean we built those giant sets, all the interiors of the school, that’s ours.
We did a little bit of green screen on some of the outdoor work, but even when they’re in the forest, the blue forest, that looks like CG, but that is a real place. I’m telling you. We added some of the blue smoke, but otherwise it’s this place called Big Dog Forest, which is outside of Belfast. It’s about two hours outside and is one of the hardest locations to get into. It’s just in the middle of nowhere. I’ve never seen something that looked like this in a movie. So, we slept out there and worked in the rain for several days.
But our wolf guards are real, those are guys in animatronic suits. Even when we’re doing things that are full CG, like Hester’s demon that comes out of her tattoo, we built these big green screen puppets and we had this puppeteer named Mikey who would then put on a green suit and he would fly around, run around and actually act out the thing with the actors. So, the actors are interacting with it. Then we just replace it with CG. But again, it’s not a tennis ball, they’re actually getting to act and I’m getting to see how I’m going to shoot it because I know what’s in the frame.
MF: Finally, you have both a sequel to ‘A Simple Favor’ and ‘Spy’ recently announced, which movie do you think will be your next project?
PF: Well, we’re figuring that out right now, to be honest. There’re about three different projects that are kind of in contention to go next. I’m just trying to figure out which one I want to do. Scheduling wise, Hollywood is a rough business. Just trying to get everybody’s schedules together is literally impossible.
So, one of those, but then hopefully another one of these, if we continue doing as well as we are on the platform so far, we’d love to make more. I mean, there’s six plus books in the series, so there’s a lot more to explore in ‘The School for Good and Evil.’
MF: Do you have a dream project? A movie that you are dying to get made?
PF: Well yeah, I’ve got a few. I don’t know if they’ll ever get made. I got my monster movie over at Universal, ‘Dark Army’ that I love. Whether it’ll get made, I don’t know. But that, and I’m dying to do a musical. I don’t even know what it is. We’ve been trying to develop an original musical for a while, we still aren’t happy with what we have, but at the same time, that would be fun.
I just want to work my way through all the genres. I think that’d be really fun. One of my heroes is Howard Hawks, who went from screwball comedies to a gangster movie, to a Western, just so effortlessly. That’s fun, I want to live in that world.
(L to R) Jeff Kirschenbaum, Soman Chainani, Kit Young, Charlize Theron, Jamie Flatters, Laurence Fishburne, Patti LuPone, Sofia Wylie, Paul Feig, Sophia Anne Caruso, Kerry Washington, Michelle Yeoh, Laura Fischer, Kane Lee, and Jane Startz attend the World Premiere Of Netflix’s ‘The School For Good And Evil’ at Regency Village Theatre on October 18, 2022 in Los Angeles, California. Photo by Charley Gallay/Getty Images for Netflix.
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Adapted from Soman Chainani’s best-selling book series, our story starts in the village of Gavaldon, where two misfits and best friends, Sophie (Sophia Anne Caruso) and Agatha (Sofia Wylie), share the unlikeliest of bonds. Sophie, a lover of fairy tales, dreams of escaping her ordinary village life, while Agatha, with her grim aesthetic, has the makings of a real witch. Then one night under a blood red moon, a powerful force sweeps them away to the School for Good and Evil — where the true story of every great fairy tale begins.
Yet something is amiss from the start: Sophie is dropped into the School for Evil, run by the glamorous and acid-tongued Lady Lesso (Theron), and Agatha in the School for Good, overseen by the sunny and kind Professor Dovey (Washington).
As if navigating classes with the offspring of Cinderella, Captain Hook, and the dashing son of King Arthur (Jamie Flatters) wasn’t hard enough, according to the Schoolmaster (Laurence Fishburne), only true love’s kiss can change the rules and send the girls to their rightful school. But when a dark and dangerous figure (Kit Young) with mysterious ties to Sophie reemerges and threatens to destroy the school and the rulebook entirely — the only way to a happy ending is to survive the fairytale first…
As the new, full trailer suggests, Sophie is all too ready to embrace her bad side, while Agatha will have to fight to save her.
They’ll have help from the likes of Yeoh as Professor Anemone, who teaches beautification at the School for Good. From the looks of the trailer, she’s got a nice line in zingers to go with her powers.
There’s plenty of subversive fantasy action to be found here, which will hopefully lift this above the many movies that have come along in the wake of the ‘Harry Potter’ franchise, many of which wouldn’t even make the grade at Hogwarts.
And given the presence of Feig (who wrote the script with David Magee) behind the camera, there’s plenty of scope for this to have a decent vein of humor running through it.
‘A Simple Favor’, adapted from Darcey Bell’s novel, told the story of widowed single mother and crafting/parenting vlogger Stephanie Smothers (Kendrick), who strikes up an unexpected friendship with glamorous fellow mother Emily Nelson (Lively). The two share drinks and swap stories, though the power dynamic in the friendship always seems weighted towards the more confident, secretive Emily.
When Stephanie agrees to look after Emily’s son, Emily then goes missing, leading Stephanie and Emily’s husband Sean Townsend (Henry Golding) to investigate what happened – and to start up a relationship of their own.
We won’t spoil what happens next in case you haven’t read the book or seen the original movie, but while ‘Favor’ does feature a relatively wrapped-up ending, it also leaves some ideas for a potential follow-up, which is where Lionsgate (which originally plucked the first movie from the depths of 20th Century Fox development and brought it to screens), and Amazon Studios are headed. Especially since that movie made $97 million worldwide from a $20 million budget.
Blake Lively in Paul Feig’s ‘A Simple Favor.’
Bell hasn’t written a sequel book, so the movie will be an original story featuring the same characters. Quite what happens in the new movie is a mystery for now.
Feig has his latest directorial outing, ‘The School for Good and Evil’ headed to Netflix. The movie, which adapts Soman Chainani’s book, follows the adventures of best friends Sophie and Agatha at the titular school, where ordinary kids are trained to be fairy tale heroes and villains. Sophie (Sophia Ann Caruso) has princess aspirations and expects to be picked for the School for Good and Agatha (Sofia Wylie) seems a natural fit for the villains in the School for Evil. Yet soon the girls find their fortunes reversed, putting their friendship to a test…
Kendrick last appeared in another Netflix movie, the sci-fi thriller ‘Stowaway’ and has also been busy lending her voice to the ‘Trolls’ franchise. Her next movie to arrive is Mary Nighy’s ‘Alice, Darling’, in which Kendrick plays a woman trapped in an abusive relationship becomes the focus of an intervention staged by her best friends. Wunmi Mosaku and Kaniehtiio Horn are also in that one.
Anna Kendrick in Paul Feig’s ‘A Simple Favor.’
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Clarke plays Kate, a bundle of bad decisions who isn’t too happy with her job as an elf in a year-round Christmas store. Then, she runs into Tom (Golding), who seems too good to be true — handsome, funny, charitable, with the ability to see through Kate’s barriers.
As London transforms into the most wonderful time of the year, Kate starts to realize she can turn her life around — you gotta have faith.
Yes, as the title indicates, the movie is backed by a soundtrack filled with songs by the late George Michael, including that bittersweet holiday tune. The movie will also premiere new, unreleased material by the legendary Grammy-winning artist.
“Last Christmas” also stars Emma Thompson and Michelle Yeoh, and opens in theaters November 8.
WarnerMedia has ordered one of its first TV series for its upcoming streaming service, and the project reunites Anna Kendrick and Paul Feig.
The two are executive producing a romantic comedy anthology series called “Love Life,” Variety reports. Kendrick will star in the series as well. She previously had a lead role in the 2018 mystery thriller “A Simple Favor,” which Feig directed.
“Love Life” comes from creator Sam Boyd, who is set to direct. WarnerMedia gave the series a 10-episode order, and each will be a half-hour long. As an anthology series, it will have different protagonists each season. The episodes will tell different relationship stories.
Kendrick has never starred in a TV series before. She is best known for her work on the big screen, including in the Twilight movies, the Pitch Perfect series, “A Simple Favor,” and more. Meanwhile, Feig has extensive TV and film experience. He directed “Bridesmaids” and “Ghostbusters,” as well as created the TV series “Freaks and Geeks.” They should again make for a formidable team.
Lionsgate Television and FeigCo Entertainment are producing “Love Life.” Jessie Henderson, Bridget Bedard, and Dan Magnante all join Kendrick and Feig as executive producers.
Universal is moving up “Last Christmas,” the Paul Feig-directed romantic comedy starring the “Game of Thrones” star, the “Crazy Rich Asians” breakout, and Emma Thompson. It will now open November 8, 2019, instead of November 15.
“Last Christmas” is inspired by the hit song by the late George Michael and will feature unreleased music by the former Wham singer.
The story follows Kate (Clarke), who harrumphs around London, a bundle of bad decisions accompanied by the jangle of bells on her shoes, another irritating consequence from her job as an elf in a year-round Christmas shop. Tom (Golding) seems too good to be true when he walks into her life and starts to see through so many of Kate’s barriers. As London transforms into the most wonderful time of the year, nothing should work for these two.
Jason Reitman has nothing but love for all the “Ghostbusters.”
The director, who is working on “Ghostbusters 3,” a follow-up to the 1984 film and its sequel, has clarified comments he made that were interpreted as a dig against the 2016 all-female reboot.
On “Bill Burr’s Monday Morning Podcast,” Reitman said, “We are in every way trying to go back to original technique and hand the movie back to the fans.”
For many, that implied that “Ghostbusters” had been “taken away” from fans — by the very existence of the 2016 film, which was the target of sexist trolls at the time of its release. And his comment started a debate about what a “true ‘Ghostbusters’ fan” really is.
But Reitman swears he didn’t mean it that way:
Wo, that came out wrong! I have nothing but admiration for Paul and Leslie and Kate and Melissa and Kristen and the bravery with which they made Ghostbusters 2016. They expanded the universe and made an amazing movie!
Reitman seems to be trying to say that he’s incorporating many visual and musical nods toward the 1984 original in his movie.
“We went back to the work files for the sound of the proton pack. And we went back to the stems of Elmer Berstein’s score,” he explained in the podcast.
“Just for where it says, in the teaser, ‘Summer 2020,’ we went back and found the original physical vinyl letters they used to create the Ghostbusters poster in 1984, rescanned them. Then our title guys reprinted them. We filmed the titles, not like in a computer. We shot physical titles with a light and smoke effect because that’s how they would have done it back in the day.”
Reitman does have a significant supporter in Paul Feig, who directed the 2016 reboot.
Jason was a supporter of mine at a time when I couldn’t get movies made. He has always been a true gentleman to me and a supporter of Ghostbusters: Answer the Call. I can’t wait to see his take on the Ghostbusters universe. Big love and respect to you, Jason. Your fan, Paul https://t.co/2I9sqmrgTl
Here’s an early holiday gift: a romantic movie starring Emilia Clarke and Henry Golding. Even better? It’s co-written by Emma Thompson!
According to The Hollywood Reporter, the “Game of Thrones” star and “Crazy Rich Asians” breakout are set for “Last Christmas.” The movie will be directed by Paul Feig, who worked with Golding in the recently-released “A Simple Favor.”
The screenplay is by Bryony Kimmings and Thompson, who last penned 2016’s “Bridget Jones’s Baby” and won an Academy Award for writing 1995’s “Sense & Sensibility.”
Little is known about “Last Christmas,” other than that it’s a holiday romance set in London.
Clarke is wrapping up the final season of “Game of Thrones” and has appeared in movies including this year’s “Solo: A Star Wars Story” and the romantic weeper “Me Before You.”
And Golding has quickly become a leading man in demand after his breakout turn in the blockbuster romantic comedy “Crazy Rich Asians.”
Can we agree that everything is better with Paul Rudd? Apparently the exception to that unofficial rule is “Bridesmaids.” Director Paul Feig told Entertainment Weekly he “felt so bad” about having to cut Rudd’s filmed story from the final product, especially since “It was one of the funniest things I’ve ever been a witness to.” But a combination of story clarity and running time forced his hand.
The cut scene had Paul Rudd’s character on a blind date with Kristen Wiig’s Annie. Their trip to an ice-skating rink starts out well, and Rudd’s character seems perfect, but things unravel in hilarious fashion when a child accidentally skates over his finger, leaving Rudd shouting expletives at the child and basically becoming a deranged psycho.
That sounds like gold, so why did Feig cut it? The movie was already running more than 2.5 hours at that point, Feig told EW, plus he decided it didn’t really make sense for the character of Annie to be adding blind dates to her romance storyline when she was already balancing Jon Hamm and Chris O’Dowd. Here’s Feig’s explanation:
“It just didn’t ring true that in addition to Jon and Chris, she’d be also going out on other dates to try and find more love. It made more sense that she’d be caught between these two guys. Very sadly, we cut all the blind date sequences out of the movie.”
Since “Bridesmaids” turned out to be brilliant, that was probably the right call. But since we’re talking about Paul Rudd and Kristen Wiig, what they should’vedone is write an entire new movie just to include the scene.
Can we agree that everything is better with 
That sounds like gold, so why did Feig cut it? The movie was already running more than 2.5 hours at that point, Feig told EW, plus he decided it didn’t really make sense for the character of Annie to be adding blind dates to her romance storyline when she was already balancing Jon Hamm and Chris O’Dowd. Here’s Feig’s explanation: