ABOUT THE PRODUCTION

	Woody AllenÕs latest crime caper, ÒThe Curse of the Jade Scorpion,Ó stars Allen as 
crackerjack insurance investigator CW Briggs.  Briggs might be forced to relinquish 
bragging rights to being the best in the business when he falls under the spell of a 
crookÑand a beautiful colleagueÑin his most baffling case to date, and finds that he is the 
one left clueless.
	In ÒThe Curse of the Jade Scorpion,Ó Woody Allen returns to the period of the 
1940s to entrance audiences with an idea he had been musing about for a whileÑthe 
hypnosis craze that seemed to mesmerize many of the Jazz Era, and is still captivating 
people today. 
ÒWoody always says he has more ideas than he has time to make them,Ó says 
producer Letty Aronson.  ÒLike several of his films, ÔThe Curse of the Jade ScorpionÕ is a 
period movie, but like a lot of his movies set in the Ô30s and Ô40s, its themes are very 
current, which is why they play to contemporary audiences.Ó
	ÒThis was an idea I had wanted to do for quite a while,Ó the writer/director offers.  
ÒIÕve never been hypnotized, and there was no specific reason to do it; it was just a funny 
premise, and the rest is whatever spun out from that.Ó
What spun out was an amusing take on denied desires both romantic and illegal.  Is 
it really true that no power of suggestion can make us do anything we donÕt really want to 
doÉespecially when it comes to love?
That clearly surfaces in how the womanÕs role plays out in the manÕs world of the 
Ô40s setting.  While his characters play to the archetype on the surface, Allen flips it as the 
key players let their outer masks slip, exposing their true selves. 
ÒCertainly Elizabeth BerkeleyÕs character, Jill, is a classic type of the 1940s,Ó says 
Allen.  ÒShe plays the sexy secretary, a real staple of films of that era.  By all 
appearances, Helen HuntÕs Betty Ann Fitzgerald is the stronger woman.Ó
But only at first blush, as Helen Hunt notes.  ÒAs a woman in the workplace, she 
couldnÕt be more powerful for her time, which is something you didnÕt see a lot of back 
then.Ó
Despite her outwardly steely office demeanor, ÒFitz,Ó as she is often called, is 
involved in a clandestine affair with her boss, Mr. Magruder, a risky romance then, as well 
as now.  This duality was one of the things Hunt liked best about her character.  ÒHer love 
for him is her biggest weakness,Ó Hunt remarks.  ÒFitz just has this big blind spot when it 
comes to men and love, like a lot of women do.  Where she is able to stand up to men in the 
office, she isnÕt able to stand up to them in her personal life.  ThatÕs whatÕs so great about 
playing this characterÑfor all of her strength and sexuality, sheÕs the girl whoÕs really a 
mess, the girl who literally winds up on a ledge.  She is not as controlled as she tries to 
appear.Ó
On the flip side: Jill.
ÒSheÕs the office girl that all the men want, but sheÕs the one who always goes 
home at night alone,Ó says Elizabeth Berkeley, who plays the role of the proverbial Òpinch 
and tickle girl.Ó  ÒShe loves all the flirtation and the forbidden passion going on in the office.Ó
Nevertheless, it is Jill who knows how to hold her cards close, realizing the power 
of her attractiveness and how to wield it with a sense of control, whereas Fitz cannot.  
Berkley notes, ÒYou see it in the scene where Jill has dinner with Briggs and some of the 
other executives.  While she flirts with CW, teasing him coyly, she never caves to the 
office romance.  Again, Jill goes home alone; she knows where to draw the line.Ó
There comes a third woman in CW BriggsÕ life, Charlize TheronÕs Laura Kensington, 
the stunningly beautiful, spoiled little rich girl, who is used to getting any man she wants.  
She takes Briggs as an easy mark for her seductive wiles, but his mysterious rebuff 
proves the ultimate attraction for the blonde temptress.
ÒThis is my second film with Woody after ÔCelebrity,Õ and I would work with him 
again and again,Ó Theron says.  ÒWhat he does with the writing, the dialogue, is different 
from anybody elseÉat least for me.  It may be period, but the characters have a modern 
feel.  Also he writes me these great, fabulous, flamboyant parts, like Laura Kensington.  I 
loved this characterÉand I especially loved her clothes, but,Ó she adds with a teasing 
pout, ÒI didnÕt get to keep them.Ó
	Theron recalls that when Woody first spoke to her about playing Laura, he made 
the role sound almost irresistible for any actress.  ÒThe first time I talked to him about doing 
the part, he said, ÔIf I were making this film in the Ô40s I would cast Lauren Bacall.  Would 
you be interested?Õ  Okay, so Woody Allen and Lauren BacallÑhow difficult a decision is 
that?  Who wouldnÕt jump at the chance to be Lauren Bacall?Ó
Aronson reveals that one of AllenÕs great strengths is knowing which actors are 
perfect for the roles.  ÒHe just has this instinct for knowing who is right,Ó she says. ÒHeÕs 
not a director who works by committee, but is guided solely by his own vision; he knows 
exactly what he is looking for.Ó
Working with Woody Allen for the first time, that approach suited Helen Hunt 
perfectly.  ÒYou know, all that any actor really wants is to work with a director who really 
knows what they want and is truly passionate about it,Ó she says, adding that she got an 
equal charge acting opposite the comedy legend.  ÒIÕve done a lot of comedy, but it was 
almost impossible to keep from laughing watching Woody as Briggs play off of my 
character.Ó
In preparing for their roles, Helen Hunt and Elizabeth Berkley watched such Ô40s 
classics as ÒDouble IndemnityÓ and ÒHis Girl Friday,Ó which served as valuable resources 
for the tone and style of the era.  Berkley relates that she tried to bring some of that style 
into her audition, but nature had other plans.  ÒI had my hair done like Veronica Lake for the 
audition, but as I was walking over, the skies just opened up.  By the time I got there, I 
looked more like I had fallen in Lake Veronica than I did Veronica Lake.Ó
	Despite that nearly disastrous audition, Allen knew he wanted Berkley for the role 
of Jill, saying ÒI have always loved Elizabeth and wanted to work with her, because she 
has a really great sense of timing, and I knew she could be very funny.Ó
The director offered equal praise for his other female stars.  ÒHelen is such an 
amazing actress; she really made the character so much more than it was written.  And 
what can I say about Charlize?  SheÕs funny, sexy, smart and was just born to play a Ô40s 
femme fatale,Ó he says.
The men in the main cast are mostly alumni from previous Woody Allen movies, with 
one notable exception: Dan Aykroyd, who stars as Betty Ann FitzgeraldÕs boss and illicit 
paramour.  Though their paths had crossed on a number of occasions over the years, 
Allen and Aykroyd had never had an opportunity to collaborate, though, they are both quick 
to note, it was not for lack of interest.
ÒI have been a huge fan of his since his ÔSaturday Night LiveÕ days, but I just never 
had the right part until now,Ó Allen says.
Aykroyd indicates that the part was worth the wait, remarking, ÒI love that I got to 
play a heel in the classic Ô40s sense.  I think Magruder loves Betty Ann, but he is just too 
weak.  When she starts wanting more, itÕs easier to dump her than to deal with the 
scandal.Ó  As for working with Allen for the first time, the actor simply asks, ÒWhat artist in 
this industry has not wanted to work with Woody?Ó
	The question is rhetorical to the three actors who had worked with Allen in the past 
and were only too happy to again: Brian Markinson, Wallace Shawn and David Ogden 
Stiers.  ÒThe Curse of the Jade ScorpionÓ marks StiersÕ fifth collaboration with Allen, 
though, the actor quips, ÒI have no idea why he keeps calling me.Ó
	In this case, the reason is a no-brainer.  Stiers, with his familiar deep and 
commanding voice, was the perfect choice to play the role of Voltan, the hypnotist at the 
center of the crime caper.  While he is also a veteran of a number of animated hits, it was 
one of the rare times that StiersÕ voice played such a pivotal role in a live action film, though 
the actor recalls that Allen didnÕt give him much to go on when they first talked about the 
part.
	ÒWhen I got the call from Woody, all he tells me about the character is this: ÔHeÕs a 
guy named Voltan.  He wears a turban.  He doesnÕt have an accent.Õ
	ÒI say: ÔYou gotta guy with a Middle European name and no accent?Õ
	ÒHe says: ÔOh, this Voltan is from Brooklyn.Õ
	ÒHow do you turn that down?Ó
Rather, Stiers turned to the Amazing Randy in Florida and Mark Sweet at the Magic 
Castle in Los Angeles for a little hypnotic inspiration.  He jokes that he also found 
motivation, appropriately enough, in the stars.  ÒIÕm a double Scorpio and youÕve got that 
Jade Scorpion thing going onÉÓ
Behind the camera, ÒThe Curse of the Jade ScorpionÓ brings together a number of 
veterans from earlier Woody Allen movies, including cinematographer Zhao Fei, production 
designer Santo Loquasto, editor Alisa Lepselter and costume designer Suzanne McCabe.  
Loquasto, especially, was no stranger to the storyÕs period backdrop, having revisited the 
first half of the 20th century with Allen on such films as ÒBullets Over BroadwayÓ and 
ÒRadio Days.Ó
Allen offers, ÒI tend to like certain periods.  The `20s, `30s and `40s were a very 
exciting time in New York.  They were the decades of gangsters and gamblersÑthe music 
was great, the clothes were greatÉ  ItÕs just a period that appeals to me.Ó
	One element from the past that resonates through all of AllenÕs filmsÑperiod or 
notÑis music.  It typically is from the Jazz Era.  ÒHe just loves the music,Ó says AllenÕs 
longtime collaborator Santo Loquasto.  ÒIt is his inspiration.  When weÕre discussing the look 
of any of his productions, our meetings are on top of his album collection.  The breadth of 
his knowledge of music from that era is truly amazing.Ó
	Another one of AllenÕs proclivities that stayed true to form for ÒThe Curse of the 
Jade ScorpionÓ shoot was its location: New York, New York.  The insurance office where 
CW Briggs, Fitz and Magruder all work was located in a government building at 80 Center 
Street.  Loquasto notes, ÒWoody likes that Depression-era look, which was perfect for 
1940, so we kept the palette for the office in warm, earth tones.  He wanted the office to 
have that ÔFront PageÕ look.Ó 
In designing BriggsÕ and FitzgeraldÕs apartments, Loquasto drew inspiration from 
the 1957 film ÒDesigning Woman.Ó  BriggsÕ somewhat dumpy apartment, located on 85th 
Street, takes after that of Gregory PeckÕs character in that film, while FitzÕs stylish pad, at 
Park Avenue and 35th, echoes Lauren BacallÕs glamorous apartment.
Built in the 1920s, the latter building presented a challenge to the production 
designer, as well as director of photography Zhao Fei.  ÒThe main problem we had was 
that her apartment was really too small and shaped like a pie, which made it really hard to 
light,Ó Loquasto notes.  ÒBut we managed to pull off a few tricks with the lighting to make it 
work.Ó 
	A New York warehouse was reconfigured to serve as VoltanÕs elaborate Oriental 
private den.  Loquasto also reveals that Laura KensingtonÕs posh bedroom was located in 
the same mansion that was used as Helen SinclairÕs home in ÒBullets Over Broadway.Ó
	Costume designer Suzanne McCabe, who also worked on ÒBullets Over 
Broadway,Ó comments that the costumes for this film called for a far more understated 
style.  ÒThey werenÕt as outlandish as the mobster look in ÔBullets Over Broadway.ÕÓ
McCabe gave Helen HuntÕs wardrobe a tailored professional look, though, she 
says, ÒWoody definitely wanted her also to appear soft and feminine, not all brass tacks.Ó  
Contrastingly, the designer put Elizabeth Berkley in dresses that, while appropriate for the 
office, could be a distraction for the men for whom she worked.  The men wore suits and 
hats custom-made in the fashion of the day.
	ÒThe clothes, like the music, are there to help support the story,Ó Allen says.  
ÒEverything has to contribute to making the tale workÑitÕs true of any film I do, and IÕm sure 
most directors feel the same.Ó



6