Jay Roach Poster


Jump to: Overview (3) | Mini Bio (1) | Spouse (1) | Trade Mark (1) | Trivia (9) | Personal Quotes (29) | Salary (1)

Overview (3)

Date of Birth 14 June 1957Albuquerque, New Mexico, USA
Birth NameMathew Jay Roach
Height 6' 0½" (1.84 m)

Mini Bio (1)

Jay Roach was born on June 14, 1957 in Albuquerque, New Mexico, USA as Mathew Jay Roach. He is a producer and director, known for Meet the Parents (2000), Meet the Fockers (2004) and Austin Powers: The Spy Who Shagged Me (1999). He has been married to Susanna Hoffs since April 17, 1993. They have two children.

Spouse (1)

Susanna Hoffs (17 April 1993 - present) (2 children)

Trade Mark (1)

Often uses a chaotic breakfast, lunch or dinner scene

Trivia (9)

Graduated from USC School of Cinema-Television (1986)
Signed to direct The Hitchhiker's Guide to the Galaxy (2005) feature movie, adapted from the novels by late sci-fi comedy author Douglas Adams, but has pulled out due to scheduling conflicts with Meet the Fockers (2004).
Graduate of Stanford University.
Among the many projects he is attached to direct are, "Austin Powers 4", which is in development with Mike Myers. "Used Guys" with Ben Stiller and Jim Carrey. "The Party", a remake of the Peter Sellers comedy. Among other projects.
Was originally going to direct 50 First Dates (2004) with Adam Sandler but dropped out due to scheduling conflicts.
Member of the Jury for AFI Awards For Motion Pictures 2005
Son-in-law of Tamar Simon Hoffs.
Brother-in-law of John Hoffs and Jesse Hoffs.
A huge fan of Elia Kazan's 1957 political classic A Face in the Crowd (1957), which he carefully analyzed before making Game Change (2012) for HBO in 2012.

Personal Quotes (29)

Why comedies can't have as big budgets as action films is a long story, but evidently they can't.
I think we'll all keep pushing each other, which is a great thing.
When I'm shooting, really the audience I'm thinking the hardest about is that first test screening audience who I want to like the film and that first opening weekend audience.
My favorite laser disk ever was the laser disk for The Graduate, which had a commentary track that wasn't even the filmmakers, it was a professor, some film criticism guy who just happen to be this amazing commentator who went off into the whole theory of comedy.
On the other track I got to talk with Jon Poll, my editor, and we go into more detail about the decisions we made in both the production and the post-production. So I hope the combination becomes something worth collecting.
Because I actually find the next take after they've controlled it a little bit and repressed the laughter is actually a really interesting take, because that's still going on underneath the surface. That struggle to maintain composure becomes part of the joy of the scene.
I hope we're all kind of influencing each other now to keep the quality up on those things. They seem to be getting better and better and better as there's not only sort of a film geek audience, there's also a general interest in the overall film consuming population.
I think sequels should be earned and we won't do it unless the script is better than the first one.
I love making people laugh. It's an addiction and it's probably dysfunctional, but I am addicted to it and there's no greater pleasure for me than sitting in a theater and feeling a lot of people losing control of themselves.
As long as we, again, kind of keep earning the sequels with material and I'm confident Mike can, I'm in. You know I always want to do those. But I also want to keep going in some of the direction as Meet the Parents has.
My biggest role as director on the film is keeping a sense of the overview - how to cast the movie and shoot it in such a way that it will cut together. And how to design the style and tone.
I do love DVD and I've always taken them seriously. You know, on the Austin things, we really put a ton of work into them because there's so much design involved. And in this one, we thought a lot about it and what could go in.
I'm developing some other things in other genres, including one dramatic piece. So, anything's possible.
But I couldn't cut that whole septic tank scene out because the audience liked it so much. So I sort of fell right back into getting a cheap laugh, but I still loved it.
I've recently enjoyed the Paul Thomas Anderson commentaries and the David Fincher commentaries.
But I always reassure them that as far as my contractual rights can go, I will protect them and make sure that they have approval over every bit of it so that they know I won't show something that's embarrassing.
It was an interesting process trying to get Bob to talk about the film because he's such a shy person. He generally likes to talk when he really knows he has something to say.
I really enjoy the consolation when I'm having to cut loose stuff I love, of saying 'Well, at least it will make it onto DVD.' There's a couple of scenes which I liked very much, but couldn't fit them into the film that are on there.
I figure if it's turns out well the film will have its own momentum and will carry into the video release. So it's hard to really picture the DVD version when I'm in production.
I learn so much from watching films like that with commentary and then when you get to hear another filmmaker talk about their films it's a really great experience.
I'm not one of these directors, so far, that wants to have a whole separate director's cut of these things. So far they've turned out to be kind of the length that they wanted to be.
The success of the second 'Austin Powers' caught us by surprise a little bit. We had decided not to do even a second one, unless the audience wanted it and we could do something better.
We collaborate on everything. I'm involved in the writing and pre-production. There's a whole bunch of people who keep in touch at every step about everything.
The commentary track became a lot like the movie and there are some funny, long, awkward pauses that you can tell we're just trying to find stuff to say. None of us had gotten to really talk about the movie until that moment and they were in New York and we were in L.A.
The DVD does make it a little easier for myself to trim things that are otherwise very difficult to let loose of - knowing that they'll make it on the DVD.
Sometimes I would like the opportunity to do character-driven comedy and that's really what I was trying to do in Meet The Parents. I think in a way this is a more old fashioned type of comedy.
You could get in rehearsals, pre-production, anything that would actually contribute to the understanding of how a film gets made. I actually find those things increase people's interest in a movie and like that better than worrying about showing the tricks behind the curtain.
We had to do the same thing here. To top that sequel was quite a task. Mike had a couple of good conceptual humour and character ideas, which got me back into it.
[on "Meet the Parents"] But I was trying to have in a kind of forties-farce way, the opportunity to create realistic characters, but heighten the comedic situations and predicaments a bit so that they're still very funny and there is still some very broad humor, but you would connect to the characters and completely identify with Ben Stiller's anxiety about not only meeting Robert De Niro's character and all, but the kind of characters from his past that come with him.

Salary (1)

Austin Powers in Goldmember (2002) $10,000,000

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