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Directed by | |||
| Jay Roach | |||
Writing credits(WGA) | ||
| Greg Glienna | (characters) & | |
| Mary Ruth Clarke | (characters) | |
| Jim Herzfeld | (story) and | |
| Marc Hyman | (story) | |
| Jim Herzfeld | (screenplay) and | |
| John Hamburg | (screenplay) | |
Produced by | |||
| Robert De Niro | .... | producer | |
| Jon Poll | .... | co-producer | |
| Jay Roach | .... | producer | |
| Jane Rosenthal | .... | producer | |
| Amy Sayres | .... | executive producer | |
| Larry Stuckey | .... | associate producer | |
| Nancy Tenenbaum | .... | executive producer | |
Original Music by | |||
| Randy Newman | |||
Cinematography by | |||
| John Schwartzman | |||
Film Editing by | |||
| Alan Baumgarten | |||
| Lee Haxall | |||
| Jon Poll | |||
Casting by | |||
| Francine Maisler | |||
Production Design by | |||
| Rusty Smith | |||
Art Direction by | |||
| Andrew Neskoromny | |||
Set Decoration by | |||
| Sara Andrews | (as Sara Ingrassia) | ||
Costume Design by | |||
| Carol Ramsey | |||
Makeup Department | |||
| Terry Baliel | .... | hair department head | |
| Kate Biscoe | .... | makeup department head | |
| Judith A. Cory | .... | hairdresser: Ms. Streisand | |
| David DeLeon | .... | makeup artist: Barbra Streisand | |
| Maggie Fung | .... | key makeup artist | |
| Teressa Hill | .... | key hair stylist | |
| Grady Holder | .... | makeup effects technician: K.N.B. EFX Group | |
| Colleen LaBaff | .... | assistant hair stylist | |
| Maryann Marchetti | .... | assistant makeup artist | |
| Matthew W. Mungle | .... | special makeup effects artist | |
| Cheryl Ann Nick | .... | makeup artist (as Cheryl Nick) | |
| Valli O'Reilly | .... | makeup artist: Dustin Hoffman | |
| Tijen Osman | .... | additional hair stylist | |
| Carol Pershing | .... | hair stylist | |
| Victoria Wood | .... | wig maker: Barbra Streisand | |
| Joy Zapata | .... | hair stylist: Ben Stiller, pick up shots | |
Production Management | |||
| Peter Oillataguerre | .... | executive in charge of production | |
| Lisa Rodgers | .... | post-production supervisor | |
| Lenny Vullo | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Marcei A. Brown | .... | second assistant director (as Marcei A. Brubaker) | |
| Doug Coleman | .... | second unit director | |
| Marisa Ferrey | .... | second second assistant director | |
| Jill Frank | .... | first assistant director: second unit | |
| Josh King | .... | first assistant director | |
| Marc Newland | .... | dga trainee | |
| Jon Poll | .... | second unit director | |
| Dominick Scarola | .... | additional second second assistant director | |
| Marco Schnabel | .... | additional second unit director | |
Sound Department | |||
| George H. Anderson | .... | supervising sound editor (as George Anderson) | |
| Chris Carpenter | .... | sound re-recording mixer | |
| Derek Casari | .... | adr engineer | |
| Chris Diamond | .... | cable utility | |
| Ryan Ferro | .... | boom operator | |
| Louis Hone | .... | foley recording mixer | |
| Scott Jacobs | .... | boom operator | |
| Jason W. Jennings | .... | sound effects editor | |
| Andy Koyama | .... | sound re-recording mixer | |
| Goro Koyama | .... | foley artist | |
| Greg LaPlante | .... | digital mastering | |
| Julie Lindner | .... | assistant adr editor | |
| Andy Malcolm | .... | foley artist | |
| Anna Malkin | .... | foley recording assistant | |
| James Matheny | .... | dialogue editor | |
| Ken McLaughlin | .... | production sound mixer | |
| Bill Meadows | .... | sound recordist | |
| Frank D. Menges | .... | sound mixer: second unit | |
| Stephen Muir | .... | foley recording assistant | |
| Charleen Richards | .... | adr mixer (as Charleen Richards-Steeves) | |
| Philip Rogers | .... | adr recordist | |
| Roy Seeger | .... | supervising foley editor | |
| Greg Steele | .... | adr mixer | |
| Cherie Tamai | .... | first assistant sound editor | |
| Renee Tondelli | .... | supervising adr editor | |
| Don White | .... | foley recording mixer | |
Special Effects by | |||
| John S. Baker | .... | first unit supervisor | |
| Tony Centonze | .... | special effects foreman | |
| Andy Clement | .... | animatronic effects | |
| Donald Krause | .... | special effects technician | |
| Josh Neugass | .... | special effects technician | |
| Clay Pinney | .... | special effects supervisor | |
| Joshua Pinney | .... | special effects foreman | |
| Arnold J. Verbiesen | .... | special effects foreman | |
Visual Effects by | |||
| David D. Johnson | .... | visual effects supervisor | |
| Sean Kennedy | .... | visual effects: Pacific Vision Productions | |
| Steve Koch | .... | digital artist | |
| Kurt E. Soderling | .... | visual effects cameraman | |
Stunts | |||
| Cass Asher | .... | stunt double: Owen Wilson | |
| Rick Avery | .... | stunt double | |
| Doug Coleman | .... | stunt coordinator | |
| Greg Fitzpatrick | .... | stunt double: Ben Stiller | |
| Ross Gallo | .... | stunts | |
| Charles Page | .... | stunt double | |
| Kerry Rossall | .... | stunts | |
| Bill Willens | .... | precision driver (uncredited) | |
Casting Department | |||
| Vanessa Rodriguez | .... | casting assistant | |
| Pamela Lynn Thomas | .... | casting associate | |
Costume and Wardrobe Department | |||
| Marisa Aboitiz | .... | costume supervisor | |
| Fran Allgood | .... | set costumer | |
| Jeanie Baker | .... | set costumer | |
| Lois DeArmond | .... | assistant costume designer | |
| Kendall Errair | .... | costumer: Ms. Streisand | |
| Jill Korengold | .... | costumer: Dustin Hoffman | |
| Marcie Olivi | .... | costumer: Mr. DeNiro | |
| Douglas J. Stewart | .... | textile artist | |
| Haik Tateossian | .... | fabric dyer & printer | |
| Christine Wada | .... | key costumer | |
Editorial Department | |||
| Craig Alpert | .... | additional editor | |
| Gary Burritt | .... | negative cutter | |
| Ahmadu Garba | .... | post-production assistant | |
| Gene A. Lewis Jr. | .... | post-production assistant | |
| Kelly Matsumoto | .... | additional editor | |
| Ray Neapolitan | .... | assistant editor | |
| Kurt Smith | .... | color timer | |
Music Department | |||
| Mark Bensi | .... | assistant music editor | |
| Bryan Clements | .... | scoring crew | |
| Bruno Coon | .... | composer: additional music | |
| Bruno Coon | .... | supervising music editor | |
| Sandy DeCrescent | .... | musician contractor | |
| George Doering | .... | musician | |
| Mark Eshelman | .... | scoring crew | |
| Luana Jackman | .... | vocal contractor | |
| Greg Loskorn | .... | scoring technician | |
| Adam Michalak | .... | score recordist | |
| Maria Newman | .... | musician | |
| Jonathan Sacks | .... | orchestrator | |
| Steven L. Smith | .... | music preparation | |
| Patrick Spain | .... | score assistant engineer | |
| James Thatcher | .... | musician: french horn | |
| Frank Wolf | .... | score mixer | |
| Frank Wolf | .... | score recordist | |
Transportation Department | |||
| Orlando Avila | .... | driver: cast | |
| John A. Brubaker | .... | transportation coordinator | |
| Jack Carpenter | .... | driver: camera car | |
| David W. Dale | .... | driver: Robert De Niro | |
| Robert E. Dingle | .... | driver | |
| Glen Evans | .... | driver: Ben Stiller | |
| Troy Flynn | .... | transportation | |
| Adam Fox | .... | driver: Dustin Hoffman | |
| Joey Freitas | .... | driver | |
| J. Armin Garza II | .... | driver: camera car | |
| Rita Lundin | .... | transportation | |
| Marco Lupi | .... | driver | |
| Dennis McCarthy | .... | picture car coordinator | |
| A.J. Mink Jr. | .... | driver | |
| Jack Jay Reece | .... | driver (as Jay Reece) | |
| Sean C. Ryan | .... | driver | |
| Fred Teague | .... | driver | |
| Steve D. Weinmuller | .... | transportation captain | |
| Richard Denson | .... | driver (uncredited) | |
Other crew | |||
| Natalie Alexander | .... | adr voice | |
| Netta Bank | .... | representative: American Humane Association | |
| Dawn Barkan | .... | head animal trainer | |
| Julie Benson | .... | personal assistant: Dustin Hoffman | |
| Jeff Berger | .... | assistant: Jane Rosenthal | |
| Laura Berman | .... | consultant: sex therapy | |
| Brian Bird | .... | key assistant location manager | |
| Oren Bonen | .... | assistant: Robert De Niro | |
| Calvin Callaway | .... | production assistant | |
| Al Cerullo | .... | helicopter pilot | |
| Tony Cicola | .... | photo double: Ben Stiller | |
| Brett Marcus Coady | .... | assistant: Mr. DeNiro (as Brett Coady) | |
| Derek Cole | .... | production assistant | |
| Rebecca Feldman | .... | second assistant accountant | |
| Jaroslava Fernandez | .... | special effects contact lens technician | |
| Wilma Garscadden-Gahret | .... | script supervisor | |
| Eric Glasser | .... | production assistant | |
| Rick Granville | .... | production secretary | |
| Barrett Gregory | .... | production assistant | |
| Jennifer Hamilton | .... | assistant choreographer | |
| Michael A. Heath | .... | asset manager | |
| Kevin Lane Hummel | .... | assistant location manager | |
| Nicki Johnson | .... | assistant production coordinator | |
| Perry M. Kimura | .... | digital scanning and recording | |
| Hannah Kozak | .... | assistant location manager | |
| Marisa Lederman | .... | assistant baby wrangler | |
| Marisa Lederman | .... | baby production assistant | |
| Brigette Lester | .... | production coordinator | |
| Andrew Lipschultz | .... | unit publicist | |
| Scott Allen Logan | .... | key location manager | |
| Michael B. Louis | .... | assistant location manager | |
| Cody Lutz | .... | script assistant | |
| Marlene Marks | .... | payroll accountant | |
| Ryan McCormick | .... | assistant: Mr. Roach | |
| Michael Morgenthal | .... | production accountant | |
| Tim Nagasawa | .... | office production assistant | |
| Denis O'Sullivan | .... | production assistant | |
| Kyle Oliver | .... | assistant location manager (as Kyle 'Snappy' Oliver) | |
| Bill Phillips | .... | construction accountant | |
| John Polce | .... | stand-in: Robert DeNiro | |
| Denise Anderson Poore | .... | key set production assistant | |
| Keith Potter | .... | personal assistant: Dustin Hoffman | |
| Stephen Richards | .... | additional production assistant | |
| Gail Rose | .... | first assistant accountant | |
| Marissa Schwierjohn | .... | alligator wrangler | |
| Rhonda Sherman | .... | baby wrangler | |
| Rhonda Sherman | .... | studio teacher | |
| Billy Slaughter | .... | stand-in: Dustin Hoffman | |
| Anthea Strangis | .... | assistant accountant | |
| Summer Valdes | .... | production assistant | |
| Ted Yonenaka | .... | craft service | |
| Terri Farley-Teruel | .... | production services (uncredited) | |
| Richard Lilly | .... | location assistant (uncredited) | |
| Seth Marshall | .... | assistant: Robert De Niro (uncredited) | |
| Melissa Milo | .... | assistant: Mr. De Niro (uncredited) | |
| Peter F. Tegan | .... | photo double: Robert DeNiro (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb USA section |
Series note: As this is a direct continuation of Meet the Parents (2000), it is recommended that you watch that film first. It gives necessary background exposition and characterization for this film.
Gaylord "Greg" Focker (Ben Stiller) and fiancée Pam Byrnes' (Teri Polo) wedding is fast approaching, and their parents still have not met each other. So Greg and Pam fly from Chicago to New York to meet her parents, Jack (Robert De Niro) and Dina (Blythe Danner), before heading off with them to Miami to meet his parents, Bernie (Dustin Hoffman) and Mother Focker Roz (Barbara Streisand). The problem is that the Byrnes are staid, conservative (though slightly crazy) types who would never think of showing public affection, while the Fockers are still hippies--she is a sex therapist for elderly couples and he's a lawyer who became Mr. Mom once Gaylord was born. Can Gaylord keep his parents reined in enough to not cause Jack blow his lid and try to stop the wedding? Although I didn't think Meet the Fockers was quite as funny or successful as Meet the Parents, it's still funny and successful, with a bit less of an emphasis on nonstop outrageous humor and a bit more of an emphasis on the often amusing complexities of extended family relationships.
If you've seen Meet the Parents first--and you should--some of the material, such as Gaylord's job, jokes based on the "Focker" name, and even Jack's background and disposition will have less of an impact, which initially partially depends on novelty and surprise. Additionally, director Jay Roach and the writing team of James Herzfeld, Marc Hyman and John Hamburg telegraph quite a few of the punch lines. For just one example, it's obvious that something is going to happen to Gaylord's rental car in New York as soon as we hear him opt out of purchasing insurance, blowing it off as a "scam" to make money.
On the other hand, Roach and crew make it clear from the start that they're not exactly shooting for the same style of film as Meet the Parents. This is evident from the beginning, which cleverly pokes fun at Meet the Parents' "gradually going to hell in a handbasket" style by having everything go exactly right.
Roach aims for classic scenarios of families colliding that have surprisingly serious subtexts (and in the real world, these kinds of situations do have an attendant humor, at least when we're not right in the midst of them). Every family tends to have its own customs and norms, its own take on ethics, etiquette, politics, religion and so on. Naturally, when we try to merge families through marriages, uncomfortable, often embarrassing, and frequently tense situations abound. Aside from the humor, this is the crux of Meet the Fockers.
Another important subtext that occurs in various guises through the film (and for which the potential was there in Meet the Parents even if it wasn't capitalized on in quite the same way) is opening up to "free", honest expression of one's thoughts, feelings and desires versus showing a "proper" public face. This is particularly amusing and poignant in the case of Jack, whose job involved obtaining honest expression, but who is the strongest case of putting on a false public face--to an extent that he's bought into the persona himself. In a way, Roach and crew are suggesting that if we can really reach that ideal self-expression, maybe those family mergers, and even other kinds of cultural encounters (such as the Fockers' run-in with the police) could proceed more smoothly.
So it's not so important whether Meet the Fockers is as funny as Meet the Parents. Roach isn't just trying to make you laugh, even though he does so frequently. Despite all the comments in others' reviews about sex-oriented humor (how could you not expect that in a film with a title like this?), or general "low-brow" humor, the comic situations here are more sophisticated in many ways than a typical "outrageous" comedy. That means that you're not going to laugh out loud, with tears streaming down your face, as often as you're going to be sitting there with a big smile on your face watching scenarios such as Bernie trying, and mostly succeeding, to hold on to his hippie ideals no matter what the short term costs. This is more a humor of slightly exaggerated but realistic folly, played fabulously by a stellar cast.