Jason Bateman as Nick Hendricks An executive at a financial firm who is manipulated into jumping through hoops in order to get a promotion that his boss never intended to give him. Markowitz based the character on a former boss, claiming she was "very sexually aggressive with everybody". When writing the script, Markowitz intended for the role to go to Aniston. It was like flirting with a cobweb. It's all part of his grandiose sense of self-esteem, which is probably masking a deeper sense of being a disappointment to his father and being riddled with envy over the relationship his father had with Kurt, and all kinds of other things.
With Pellit, Seth gave me complete license to act as pathologically screwed up as possible. Spacey signed up for the role in June Foxx described the appearance as "a guy who maybe went to jail for a minute and now he's living in his own time capsule.
When he got out he went right back to the clothes he thought were hot when he went in. Mustafa was quoted as saying "It's a smaller role".
Julie Bowen appears in the film as Rhonda, Harken's wife. Bowen stated that her character "may or may not be a hussy", the character described as intentionally making her husband jealous. Byrne plays Kenny Sommerfeld, a former investment manager, now scrounging for drinks, while Wendell Pierce and Ron White play a pair of cops. Meghan Markle has a role in the film as Jaime. Design[ edit ] "It's like we have a team of three people playing against an opposing team of three, with the Jamie Foxx character as referee.
We wanted to distinguish these three environments and play the two sides off each other. Each environment is a reflection of the person who controls it. Nick and Harken's workplace is the "Comnidyne" bullpen, which was designed to "enhance the discomfort and anxiety of lower-level employees clustered in the center of the room where every movement is monitored by the boss from his corner office.
Costume designer Carol Ramsey worked with Frankel and set decorator Jan Pascale to match Harken's suit to that of the surrounding "cold grey and blue" color palette of his office.
Harken's home was described as "equally lacking in warmth" as the office but more lavishly decorated and "for show", including an intentionally oversized portrait of him with his "trophy wife". Frankel approached the design through Julia's mentality, stating, "She's a Type A professional at the top of her game, who likes to play cat-and-mouse, so it's a completely controlled environment, with apertures and views into other rooms so she always knows what's going on".
The blinds close, the door locks and you think, 'It's the Temple of Doom. Frankel described the contrast as "the company reflects [Jack Pellitt's] human touch, whereas [Bobby Pellitt's] home is a shameless shrine to himself and his hedonistic appetites.
To take advantage of the surrounding imagery, the warehouse required an extensive series of overhauls, including cutting windows into concrete walls and creating new doorways to allow for visuals of the warehouse exterior and provide a setting for the final scene of Sutherland's character.
Lennertz attempted to remain "authentic" to the characters' progression from average worker to calculated killer. To achieve this aim, he decided against recording digitally, instead recording the tracks on two-inch analog tape , intending each musical cue to sound as if it was emanating from a vinyl record.
It isn't over-produced or shiny and digital in any way. It's brash, noisy, and full of bravado and swagger. I knew that if we could harness some of this sonic magic in the score, then the toughness and confidence of the music would play against Bateman, Sudeikis, and Charlie Day to really emphasize and elevate the humor in the situations that transpire.
At the end of the day, Seth [Gordon] and I wanted to produce a score that is as irreverent and full of attitude as the movie itself. I think we did it