In Columbia Pictures’ comedy The House Bunny, Anna Faris charms as Shelley Darlingson, a Playboy Bunny who teaches an awkward sorority about the opposite sex – only to learn that what boys really like is what’s on the inside.
Shelley is living a carefree life until a rival gets her tossed out of the Playboy Mansion. With nowhere to go, fate delivers her to the sorority girls from Zeta Alpha Zeta. Unless they can sign a new pledge class, the seven socially clueless women will lose their house to the scheming girls of Phi Iota Mu.
In order to accomplish their goal, they need Shelley to teach them the ways of makeup and men; at the same time, Shelley needs some of what the Zetas have — a sense of individuality. The combination leads all the girls to learn how to stop pretending and start being themselves.
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“What happens to the people who have lived in the surreal Playboy Mansion world, where it’s parties and fun all the time? And why do they leave that world – do they get too old, or are they simply ready to move on to a different phase in their lives?” asks Anna Faris, the star of Columbia Pictures’ comedy The House Bunny, which focuses on Shelley, a Bunny who is facing that exact crisis.
Screenwriters Kirsten Smith and Karen McCullah Lutz – previously the screenwriters of the hit movie Legally Blonde – were, first and foremost, intrigued by the possibility of working with Faris. “We had just seen Just Friends and we both really enjoyed her performance in that movie, ” says McCullah Lutz. “So we called and set up a meeting to have coffee.”
At the meeting, the writers and the star discussed an idea for the character of Shelley – the Playboy Bunny who changes her life. “Shelley has spent her whole adult life living in the Mansion, but when she gets booted out, she’s completely adrift. We took that idea and spent a few months ruminating over where she would land, and we finally came up with the idea that she should enter the world of a sorority – a misfit sorority that desperately needs her help, ” says McCullah Lutz.
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When Shelley first meets the girls, they are in danger of losing their house, due to a dearth of pledges. “Shelley has this idea that if she changes the Zetas into super hot girls, then they will be able to get guys – and if they can get guys, they can get pledges and keep their house, ” Faris explains.
“She teaches the girls how to be cool and cute and popular – that’s definitely true – but for Shelley, it’s all about self-confidence, ” McCullah Lutz continues.
But the Zetas are not the only ones who make transformations. At the beginning of the film, most people – including Shelley herself – see the Bunny as “just a Bunny.” According to McCullah Lutz, “Shelley defined herself as a Bunny and thought that was all she was capable of. She only defined herself in terms of her value as an object for male eyes. But then she learns she has more inherent talents and a bigger purpose in life than just being a Bunny.”
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“It’s not just a message for girls, but everyone learning to accept themselves and love themselves for who they are, ” says Faris. “When we first meet Shelley she may think she’s the hottest girl, but she learns to realize that how you look is not important – it’s about how you look at yourself.”
After Smith and McCullah Lutz worked out the story beats and the characters, they took their act on the road, pitching the story with Faris. “It was the best way to pitch. When you have the actual movie star in the room with you, the studio sees the movie coming alive. It’s much better than having them listen to Kirsten and I try to do the parts, ” says McCullah Lutz.
The trio landed in the office of producer Heather Parry, who works at Happy Madison Productions. Parry – a fan of Faris and of the Legally Blonde writers – liked the idea and took it to Adam Sandler and his producing partner Jack Giarraputo. They had already worked with Faris on the comedy The Hot Chick and were huge fans of the actress, and brought it to their home studio at Columbia Pictures.
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Parry says that although The House Bunny is Happy Madison’s first female-driven comedy, it shares the same underlying comedy goal. “It’s funny and it has heart, ” Parry says. “Every girl goes through a time in her life in which she tries on new looks and new attitudes – and The House Bunny looks at that time in a really funny and charming way.”
To direct the film, the producers tapped Fred Wolf. Producer Allen Covert says that the Happy Madison team had known Wolf for years, since he had written for Sandler at “Saturday Night Live.” “You might not think that Fred would be the type of director to helm this female-driven comedy, but when he was at ‘SNL’ he transitioned from the Sandler-Farley-Spade-Schneider years into the Molly Shannon-Cheri Oteri years – all of a sudden, that show had a lot of women cast members. Fred’s strength as a director for this film was his background writing for and working with female comedians.”
“It can be hard out there for girls, ” says Wolf. “They’re constantly bombarded by messages – how to dress, what makeup to wear, but also how to behave and how to think. I grew up with three brothers and come from the primarily male-dominated stand-up world, but now I have two young daughters and I have found how important it is for them to shrug off those messages and believe in themselves and love themselves for the people they are inside. I hope this movie contributes a little to helping them understand how important that is.”
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To play the hapless sorority sisters of Zeta Alpha Zeta, the filmmakers turned to a group of young stars on the rise.
At the center of the group is Natalie, the president of the sorority. Though Natalie is super-smart, she’s also more than a little clueless. She likes boys, and she wants boys to like her, too, but she has no idea how to approach the opposite sex, or, once she approaches, what to say.
Emma Stone, who had a co-starring role in last summer’s hit Superbad, takes on the role. She says, “Natalie might be a little uncomfortable, but she has a heart of gold – and she certainly sees through Shelley’s bunny exterior to understand Shelley’s heart very well. They end up becoming close friends because of what they see in each other.”
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Parry notes, “We’d just seen an early screening of Superbad, so we were excited to have Emma come in and audition. She first read for one of the Phi Iota Mu girls, and then read the part of Harmony. Only after she left did we think, ‘You know, she’d be great as Natalie.’ She’d already left the Sony lot, so we made her turn around and come back. She was nervous – she’d parked somewhere restricted and the whole time was afraid that her car was going to get towed. It worked out for her – she got the part.”
“It was fun to undergo the transformation, from the grays and navies that Natalie wears at the beginning, to the hair extensions and makeup and fun costumes, ” says Stone. “Of course, the characters also come to realize that though all that stuff fits the look that Shelley likes, it’s not really who they are.”
Natalie’s sorority sister, Mona, is just about the last person who you’d think would make that transformation. She has multiple piercings and adopts a very women’s-studies vibe, and signs on to Shelley’s plan more for the opportunity to conduct a sociological experiment than to become popular.
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There was one and only one person who the filmmakers considered for the role. Kat Dennings played the part during an early table read at a time when the only other actor cast was Anna Faris. She was so great at the table read that the producers stopped looking.
Dennings knew the character immediately. “Mona has an issue with males, ” Dennings deadpans. “They make her very uncomfortable and she makes them very uncomfortable – mostly because she goes around wearing shirts that say ‘legalize castration.'”
Making her motion picture debut in The House Bunny is singer Katharine McPhee. Her character, Harmony, is a very pregnant, and very flower-child, sorority sister. She is always seeing the best in people and always being shocked by how cruel others can be sometimes. As she prepares to give birth, Harmony is the classic beautiful-on-the-inside type who flowers when Shelley begins her lessons.
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For her part, McPhee sees the character a little differently. “She’s supposed to be this hippie chick, but I think she’s just free-spirited, which is definitely a side to my personality, ” she says. “Katharine
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