Jason Bateman: You actually warrant a bit of a writing credit. You see that look of innocence in that little girl's eyes and you say, 'I need to push her into the stairs. We wrote them all down, and some of them happen, we put them in the script- it actually says "alt"-just so we'll remember it. Ryan Reynolds: We spent a few weeks throwing a football around in a big hall out here, before shooting- quite literally- just coming up with alts and making each other laugh. We saw you guys shooting a bunch of different alternate takes and different ways. Jason Bateman: A research thing, you know. Ryan Reynolds: Just to see what it would sound like. Jason Bateman: And during rehearsal we swapped quite a bit. 'I don't know, I'll play Dave for the bulk of the movie I guess. I was easy either way, you were easy either way. Ryan Reynolds: And when we first started talking about the film, we both put our hands up into the air as to which role we wanted to play. We hear that about a third of the way through the movie, you get on the fuck train, you go crazy. It becomes a bit more palatable and doesn't seem like we're really pandering for, 'Oh, it's a hard, edgy R laugh there!' If that happened to you, you'd say 'Fuck!' as opposed to 'Darnit.' And 'fuck' is going to get you an R and 'darnit' doesn't. Most of the time they're not driving these unseemly situations, they're a victim of them. Jason Bateman: And they're really doing a great job by putting us in as risqué and gratuitous situations as possible, but having the characters be charmingly underwater. You get a day pass here, and what would you do with it? There's a lot of things that happen both nefarious and fun, and they're both kind of the same actually, that you couldn't do in a PG-13. Also seeing these two guys, in their own way, take advantage of the situation. You do all the things you wish you could have seen in those other movies. The R rating is the reason that I'm here. Ryan Reynolds: I don't think there's any point in making it any other way. It's a great, simple, easily relatable concept made fresh by throwing the whole fish out of water conceit into deeper and rougher waters. They've done a fresh version of that by making it R. We've all seen them and they've been great. ![]() I don't know if it was (screenwriters) (Jon) Lucas and (Scott) Moore's intention, but there has been a few PG and PG-13 versions of the body-swapping movie. Jason Bateman: There's stuff there that we could probably push it. Jason Bateman: You guys have a good scoop here today.Ĭan you talk about the level of humor in the film? We've heard it is a very hard R. Ryan Reynolds: Basically it's an ad campaign done targeting young gay youth who are subjected to bullying. Jason Bateman: Is that another date site? We've come real close on a couple of things, close to working together, and I'm glad those didn't work out because we might not be sitting here right now. Ryan Reynolds: We've been trying to do something together for a long time. Jason Bateman: We've been mutually complimentary for a bunch of years. All of the appointments set up in the first 15 minutes (The big presentation! My Tuesday night fuck-fest!) along with the personal problems (My marriage has grown cold! I don't like my dad!) must then be handled as the two try to track down the magic fountain.Ryan Reynolds: We've known each other for a long time. They piss in a magic fountain and wake up in the other's body. The two have been growing apart and go for a guy's night out where they each voice their envy for the other's life. His life-long friend Mitch (Ryan Reynolds) is a man-child who can't go more than ten seconds without uttering something foul-mouthed and/or outrageously offensive. The result is a film that's painfully funny, quickly forgettable, and a little bit mean.ĭave (Jason Bateman) is a workaholic who is about to make partner in his law firm and isn't spending enough time with his kids and his hot wife Jamie (Leslie Mann). The Change-Up turns that concept on its head by re-setting it into a raunchy, gross-out R-rated film and making the characters look inward at to what they're missing in their own lives rather than appreciating the person whose form they've taken. ![]() Two people who don't understand each other's lives switch bodies through magical means and are given new appreciation for what the other does. The body-switching comedy is a silly concept which is why it's been resigned to family films.
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