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Director: Tom Shadyac

Nov 1, 1997 12:00 PM, Anthony Montesano

"With new techniques in computer graphics, the playing field is wide open," says director Tom Shadyac, of the comic possibilities in film. Shadyac is considered something of a comedy expert by Hollywood producers. His first three feature films each grossed more than $100 million.

Shadyac's inventive, special effects-filled remake of Jerry Lewis's The Nutty Professor marked an epiphany for him. He admits that prior to making Professor and working with make-up specialist Rick Baker (American Werewolf In London), he knew little of special effects.

"I was excited to explore how makeup and effects could be used as additional comic elements in the film," says Shadyac. For Baker, it was the first time his traditional latex and foam approach was extensively combined with the digital animation of Hollywood animation house Rhythm & Hues. The effort scored Baker his fourth Oscar.

For Shadyac, though, special effects are not the cornerstone of his films. While all his films have a fantastical element, they ultimately succeed due to the director's ability to capture performances with which audiences connect. "If I have a talent," says Shadyac, "It's that I get the most out of the stars in my films. I draw their natural talents out."

Shadyac rocketed through the Hollywood stratosphere from his collaboration with Jim Carrey on Ace Ventura: Pet Detective. The film's success-which hinged on Carrey being provided a larger-than-life stage onto which he could experiment and improvise-surprised Hollywood insiders and American moviegoers alike. The film literally turned Carrey from a little-known third-wheel on Living Color into the leading comic of his generation.

"Jim excited me, challenged me, and scared me to death," recalls Shadyac, of their first meeting. "I had seen him on In Living Color and thought, 'If I could tap into those characters and Jim's raw talent, we'd have a home run.'"In 1996, The Nutty Professor similarly saved Eddie Murphy's sagging caree r. "I hadn't seen Eddie do the stuff he did on Saturday Night Live for years," says Shadyac. "I suggested he go back to his strength-losing himself in characters."

In the film's now-famous dinner scene, Murphy played five members of his own family, a challenge both in production and post. Shadyac filmed each character separately with four locked-off cameras. Murphy was required to play the entire scene opposite a tennis ball positioned to represent a different family member. DP Julio Macat had to imagine how the lighting would work with each character and the nuances of each character's make-up and costume. Seamless digital compositing by The Computer Film Company, using their proprietary software and hardware, completed the illusion.

Carrey began looking for more edgy material, a process which resulted in the disappointingly dark The Cable Guy. Carrey's agents and managers sought to bring the actor back in line with the expectations of his huge worldwide audience. The mainstream comedy vehicle Liar, Liar helped Shadyac soften Carrey's edge and make his screen persona more redeemable. "I wanted Jim to be more empathetic to the audience, like the characters Steve Martin plays," the director says.

Tonally, the film represents an attempt to create It's a Wonderful Life-style moments, given that Jimmy Stewart is Jim Carrey's hero and Capra was a huge influence on Shadyac.

Shadyac moved to Los Angeles in 1983 and, after a brief stint as a stand-up comic, became a joke writer for Bob Hope. Hope offered the 23-year-old comedy writer some sage advice: Time is the best test of talent. "The first thing Bob Hope said to me when he read my jokes was, 'These are funny, but can you do it again?'" Shadyac recalls.

After graduating from UCLA in 1989 with a master's in film, Shadyac worked as a script-doctor on MOWs for the Fox TV network. In 1991, he directed the Fox TV MOW Frankenstein: The College Years.

Next up in Shadyac's evolutionary career is the comedy/drama Patch Adams with Robin Williams, a true story about a doctor who treated his patients with laughter. "I approach everything as an audience member," says Shadyac. "And I assume the broadest possible audience will see the film." Not a bad attitude for a pursuer of the Frank Capra mantle.

© 2008 Penton Media, Inc.