As Good As it Gets


2h 10m 1997

Brief Synopsis

An obsessive-compulsive writer comes out of his shell to help a struggling waitress and an injured artist.

Film Details

Also Known As
Livet från den ljusa sidan, Mejor imposible
MPAA Rating
Genre
Drama
Comedy
Romance
Release Date
1997
Distribution Company
TriStar Pictures
Location
New York City, New York, USA; Los Angeles, California, USA

Technical Specs

Duration
2h 10m

Synopsis

Melvin Udall is a sarcastic writer who lives alone in an apartment, eats at the same restaurant each day, is afraid of germs, and generally hates people. His neighbor, Simon, is a gay artist whose dog is constantly becoming entangled in Melvin's life annoying Melvin and giving rise to much anti-homosexual sentiment on his part. Carol is a waitress at Melvin's usual eating spot who is trying to take care of an asthmatic son and has to suffer Melvin's obnoxious behavior. However, the door to Melvin's self-awakening is opened by Simon's dog who Melvin has to watch after Simon is brutally mugged. He comes to love the dog and respect Simon, and to see that Carol's son receives much-needed medical care.

Crew

Greg Addison

Lighting Technician

Daniel J Adkins

Costume Supervisor

Patricia Adlesic

Assistant Location Manager

Chad Ahrendt

Production Assistant

Petra Alexandria

Assistant

Rochelle S Allen

Art Assistant

Mark Andrus

From Story

Mark Andrus

Story By

Mark Andrus

Screenplay

Carrie Angland

Makeup Artist

Julie Ansell

Special Thanks To

Linda Arnold

Hair

John Bailey

Director Of Photography

John Bailey

Dp/Cinematographer

Declan Baldwin

Location Manager

Nathan Barr

Assistant

Ron Bartlett

Rerecording

James Bartolomeo

Assistant Camera Operator

Ray Beal

Animal Trainer

Henri Belolo

Song

Hans Berggren

Dga Trainee

Stacey Berns

Assistant

Michael Besman

Special Thanks To

William Best

Song

John Bickford

Dailies

Brian Black

Production Assistant

Peter Blakeley

Song

Gena Bleier

Assistant Editor

Bruce A. Block

Consultant

Stacye Branche

Makeup Artist

Danielle Brisebois

Song Performer

Dr. Arthur L Brody

Consultant

James L. Brooks

Producer

James L. Brooks

Screenplay

Megan Brown

Animator

Suzy Brown

Animator

Bill Brzeski

Production Designer

Michele Burke

Makeup Supervisor

David Burnett

Chief Lighting Technician

George Campos

Apprentice

Teresa Carriker-thayer

Art Director

Donna D Casey

Assistant Costume Designer

Al Cerullo

Helicopter Pilot

Martin Charles

Graphic Designer

S Todd Christensen

Assistant Location Manager

Nat King Cole

Song Performer

Ralph Coleman

Location Manager

Walter Coleman

Song

Matt Colleran

Other

Shawn Colvin

Song

Shawn Colvin

Song Performer

Laura H Congleton

Assistant Editor

William M Connor

Assistant Director

Mike Connors

Dolly Grip

Don Coufal

Boom Operator

Steve Craft

Camera Assistant

B J Davis

Stunts

George A Davis

Other

Sandy De Crescent

Music Contractor

Gary Deaton

Construction Coordinator

Mathilde Decagny

Animal Trainer

Vincent Del Castillo

Transportation Captain

Elena Del Rio

Wardrobe Supervisor

William B Doane

Special Effects Coordinator

John P. Dolan

Key Grip

Deirdre Cook Donohue

Production Coordinator

Mark Dornfeld

Visual Effects

Stephen Douglas

Art Department

Chris Douridas

Song

Dennis Drummond

Sound Editor

Kim Drummond

Dialogue Editor

Patrick Drummond

Sound Effects Editor

Richard Duarte

Foley Mixer

Kira Edmunds

Assistant Sound Editor

Katherine Eisenstein

Casting Associate

Karen E. Etcoff

Extras Agent/Coordinator

Alex Fernandez

Production Assistant

Pablo Ferro

Main Title Design

Darrell Fielder

Hair Stylist

Christopher Flick

Foley Editor

Jeff Ford

Assistant Editor

Bruce L. Fowler

Music Arranger

Giela Fredman

Accounting Assistant

Ken Fritz

Stunt Coordinator

Art Garfunkel

Song Performer

Michael Germain

Makeup Artist

George Gershwin

Song

David Giammarco

Sound Editor

Jeff Gomillion

Adr Mixer

Galen Goodpaster

Assistant Sound Editor

Dale Grahn

Color Timer

Bryce Gregory

Stunts

Harry Gregson-williams

Music Conductor

Clay A. Griffith

Set Decorator

Robert Griffon

Property Master

Linda Grimes

Makeup Artist

Albert Griswold

Special Effects Coordinator

Zig Gron

Music Editor

Jeff Hand

Camera Assistant

Shari Hanger

Assistant Director

Barbara Harris

Adr Voice Casting

Jimi Hendrix

Song

Amy Herman

Unit Production Manager

Gary Holland

Other

Spike Allison Hooper

Adr

Heather Hope

Assistant

Susanna Horng

Other

Bart Hubenthal

On-Set Dresser

Heather Hughes

Assistant Editor

Eric Idle

Song

Sound Dogs Inc

Sound

Lori C Ingle

Associate Editor

John Adam Jacobson

Unit Production Manager

Jacqueline Jacobson-scarfo

Set Decorator

Todd Jacques

On-Set Dresser

Chris Jenkins

Rerecording

Bridget Johnson

Producer

Scott Jones

On-Set Dresser

Lisa Kahatriya

Rotoscope Animator

Maria Kavanaugh

Associate Producer

Darren King

Dialogue Editor

Kathleen King

Boom Operator

Pat King

Transportation Co-Captain

Dr. David Kipper

Medic

Jonathan Klein

Foley Editor

Nicholas Vincent Korda

Adr Editor

Gabor Kover

Camera Operator

Diane Krakower

Assistant

Michael M Krevitt

Key Grip

Mike Lang

Soloist

James Henry Lapidus

Costumes

Gene Lebell

Stunts

Lewis Lebish

Song

John Leventhal

Song

John Ly

Effects Assistant

Jeff Machala

Assistant Property Master

Molly Maginnis

Costume Designer

Karen Maidment

Consultant

Francine Maisler

Casting

Andy Malcolm

Foley Artist

Laurence Mark

Executive Producer

Richard Marks

Editor

Richard Marks

Coproducer

Michael Martinez

Assistant Camera Operator

Cindy Marty

Sound Effects Editor

John D Maskovich

On-Set Dresser

Masako Masuda

Assistant Art Director

John H. Maxwell

On-Set Dresser

Tim Mcgovern

Visual Effects Supervisor

Richard Mclaughlin

Transportation Co-Captain

Andy Mensing

Production Assistant

Eric Mention

Production Assistant

George Merkert

Visual Effects

Scott R Meyers

Production Assistant

Alan Meyerson

Sound Mixer

Hal Miles

Rotoscope Animator

Debbie Modrow

Assistant

Theresa Repola Mohammed

Negative Cutting

Marisa Morabito

Editorial Production Assistant

Jacques Morali

Song

Van Morrison

Song

Van Morrison

Song Performer

Michael Moyer

Lighting Technician

Brendan Murphy

Assistant

Scott Myers

Production Assistant

Rupert Nadeau

Music

Moanike'ala Nakamoto

Assistant

Felicia Nalivansky

Assistant

John Nava

Art Department

Ralph Nelson

Photography

Rob Nokes

Sound

Thomas J. O'connell

Adr Mixer

Phil O'dell

Stunts

Edward O'donnell

Transportation Captain

Felix Ojeda

Visual Effects

Megan Omi

Visual Effects

Judith Owen

Song Performer

Judith Owen

Song

Chris Palzis

Production Assistant

Lover Patterson

Song

Hector Pereira

Song

Susan Perlman

Dga Trainee

Rudy Pi

Other

Todd Pilger

Visual Effects Designer

Paul Plannette

Camera Assistant

Kristen Ploucha

Production Assistant

Jeffrey Pollack

Music Supervisor

Aldric Porter

Assistant Director

Aldric Porter

Associate Producer

Ray Quiroz

Script Supervisor

Mike Revell

Production Accountant

Lucas Richmond

Music Conductor

Gary H Rizzo

On-Set Dresser

Denise Lynne Roberts

Stunts

Al Rodgers

Camera Assistant

Brana Rosenfeld

Assistant Set Decorator

Marge Rowland

Production Accountant

Phil Roy

Song

Jason Rubenstein

Production Assistant

Richard Sakai

Executive Producer

Film Details

Also Known As
Livet från den ljusa sidan, Mejor imposible
MPAA Rating
Genre
Drama
Comedy
Romance
Release Date
1997
Distribution Company
TriStar Pictures
Location
New York City, New York, USA; Los Angeles, California, USA

Technical Specs

Duration
2h 10m

Award Wins

Best Actor

1997
Jack Nicholson

Best Actress

1997
Helen Hunt

Best Actor

1997
Jack Nicholson

Best Actress

1997
Helen Hunt

Best Picture

1997

Award Nominations

Best Editing

1997
Richard Marks

Best Original Screenplay

1997

Best Picture

1997

Best Score

1997

Best Supporting Actor

1997
Greg Kinnear

Best Director

1997
James L. Brooks

Best Supporting Actor

1997
Greg Kinnear

Best Writing

1997

Articles

As Good as It Gets - As Good As It Gets


James L. Brooks first made a name for himself writing and producing television shows such as The Mary Tyler Moore Show, Taxi, and Lou Grant. Then he proved himself on the big screen as the writer, producer, and director of Terms of Endearment (1983) and Broadcast News (1987). In both films, Brooks worked with Jack Nicholson, who received an Academy Award for his role in Terms of Endearment. Continuing their good luck streak, Nicholson and Brooks teamed up once again for As Good As It Gets (1997). Originally writer Mark Andrus sent his script to Brooks hoping he'd direct, but Brooks liked it so much he decided to also produce it. Brooks explains how he also earned a writing credit on the project, "I started to try and write some of what I wanted the movie to be about. It ended up being a year of writing for me." One of the characteristics that appealed to Brooks was that the tone was "completely up for grabs. I'd never seen anything like it." Sure enough, it isn't easy to categorize the film. Most agree it's a romantic comedy at heart, but after the "boy" meets the "girl," Brooks states, "It defies any conventional way of telling what the story is."

Jack Nicholson plays Melvin Udall, a romance novelist who has an obsessive-compulsive disorder. In addition to his often unmanageable behavior, Melvin seems to take pride in offending people and spends most of his time alone because others can't stand to be around him. One of the few people who can handle Melvin, however, is the waitress who serves him lunch everyday, Carol Connelly (Helen Hunt). She's a single mother raising her young son who suffers from severe asthma. On occasion Melvin also sees his neighbor Simon Bishop (Greg Kinnear) although the two men have nothing in common. Simon is an artist whose gay lifestyle Melvin enjoys criticizing plus Melvin likes tormenting Simon's small dog. Due to a chain of events that start with Simon being brutally attacked, this trio forms an unlikely bond that ultimately changes them all.

In an interview after the film was complete, James L. Brooks stated, "I honestly couldn't think of anyone who could have played the part of the lead other than Jack Nicholson. I had to think of someone who could play this monster, but not completely turn the audience off, someone who could in the end be loved. Jack was just the only choice." Actually, Brooks had briefly considered Jim Carrey for the role but later admitted his casting "would have made it a completely different movie." Nicholson, on the other hand, wasn't so sure he was right for the part at first. At one point during filming, he offered Brooks the chance to replace him because he didn't think his performance was what Brooks wanted. Nicholson recalls, "It was one of the toughest movies he and I will ever do."

The biggest challenge in creating the Melvin Udall character was developing his fragile mental and emotional state without totally alienating audiences. Brooks said, "There's something wrong with Melvin, but the nature of what is wrong with him is that he spends his life disguising what's wrong with him. It was a big decision to make it a clinical illness. It's an illness that most of us can relate to. We all get obsessed, and we are all compulsive about certain things - just not clinically so." Although Nicholson insists that Melvin "lives nowhere in me," he sees the character as "one of the most lovable people I've ever played. The job of the film is to redeem him."

At the time, Helen Hunt was appearing in the television series Mad About You while making As Good As It Gets so she had to work her shoot schedule around the series, working during the show's winter hiatus. Hunt has nothing but praise for the script, "It's my favorite story that I've read in years....I can't imagine another part coming along that I would want to do as badly as this one."

In a decidedly offbeat bit of casting, Greg Kinnear went against his romantic leading man image (Sabrina, 1995) to take on the role of Melvin's victimized gay neighbor Simon, scoring a Best Supporting Actor Oscar nomination in the process. In an interview, he later admitted "there was a storyline cut out between Simon and the character played by Skeet Ulrich, a hustler. In the original script, there was a little flirty thing happening. The fact of the matter is, there was a whole secondary plot about a percolating love story between the two of us. It takes place in my apartment, and we're talking about life. The flirting is all done through words but done very, very effectively. But much of that storyline was lost just because the original cut of the movie was considerably longer than it is now. That was a part of the movie that I had to go through a bit of a mourning process on."

Principal photography on As Good As It Gets occurred in New York City with locations used in Greenwich Village and the Prospect Park district of Brooklyn. The film ended up receiving seven Academy Award nominations including Best Supporting Actor, Best Picture, Best Screenplay Written Directly for the Screen, Best Film Editing, and Best Original Musical Score. Both Jack Nicholson and Helen Hunt received Oscars and Golden Globes for their roles in As Good As It Gets and the film also received the Golden Globe for Best Musical or Comedy Picture.

Director: James L. Brooks
Producer: James L. Brooks, Bridget Johnson
Screenplay: Mark Andrus, James L. Brooks
Cinematography: John Bailey
Art Direction: Philip Toolin
Music: Hans Zimmer, Judith Owens, Jimi Hendrix
Cast: Jack Nicholson (Melvin Udall), Helen Hunt (Carol Connelly), Greg Kinnear (Simon Bishop), Cuba Gooding, Jr. (Frank Sachs), Shirley Knight (Beverly Connelly), Skeet Ulrich (Vincent Lopiano), Harold Ramis (Dr. Bettes), Yeardley Smith (Jackie Simpson).
C-139m. Letterboxed.

By Deborah L. Johnson
As Good As It Gets - As Good As It Gets

As Good as It Gets - As Good As It Gets

James L. Brooks first made a name for himself writing and producing television shows such as The Mary Tyler Moore Show, Taxi, and Lou Grant. Then he proved himself on the big screen as the writer, producer, and director of Terms of Endearment (1983) and Broadcast News (1987). In both films, Brooks worked with Jack Nicholson, who received an Academy Award for his role in Terms of Endearment. Continuing their good luck streak, Nicholson and Brooks teamed up once again for As Good As It Gets (1997). Originally writer Mark Andrus sent his script to Brooks hoping he'd direct, but Brooks liked it so much he decided to also produce it. Brooks explains how he also earned a writing credit on the project, "I started to try and write some of what I wanted the movie to be about. It ended up being a year of writing for me." One of the characteristics that appealed to Brooks was that the tone was "completely up for grabs. I'd never seen anything like it." Sure enough, it isn't easy to categorize the film. Most agree it's a romantic comedy at heart, but after the "boy" meets the "girl," Brooks states, "It defies any conventional way of telling what the story is." Jack Nicholson plays Melvin Udall, a romance novelist who has an obsessive-compulsive disorder. In addition to his often unmanageable behavior, Melvin seems to take pride in offending people and spends most of his time alone because others can't stand to be around him. One of the few people who can handle Melvin, however, is the waitress who serves him lunch everyday, Carol Connelly (Helen Hunt). She's a single mother raising her young son who suffers from severe asthma. On occasion Melvin also sees his neighbor Simon Bishop (Greg Kinnear) although the two men have nothing in common. Simon is an artist whose gay lifestyle Melvin enjoys criticizing plus Melvin likes tormenting Simon's small dog. Due to a chain of events that start with Simon being brutally attacked, this trio forms an unlikely bond that ultimately changes them all. In an interview after the film was complete, James L. Brooks stated, "I honestly couldn't think of anyone who could have played the part of the lead other than Jack Nicholson. I had to think of someone who could play this monster, but not completely turn the audience off, someone who could in the end be loved. Jack was just the only choice." Actually, Brooks had briefly considered Jim Carrey for the role but later admitted his casting "would have made it a completely different movie." Nicholson, on the other hand, wasn't so sure he was right for the part at first. At one point during filming, he offered Brooks the chance to replace him because he didn't think his performance was what Brooks wanted. Nicholson recalls, "It was one of the toughest movies he and I will ever do." The biggest challenge in creating the Melvin Udall character was developing his fragile mental and emotional state without totally alienating audiences. Brooks said, "There's something wrong with Melvin, but the nature of what is wrong with him is that he spends his life disguising what's wrong with him. It was a big decision to make it a clinical illness. It's an illness that most of us can relate to. We all get obsessed, and we are all compulsive about certain things - just not clinically so." Although Nicholson insists that Melvin "lives nowhere in me," he sees the character as "one of the most lovable people I've ever played. The job of the film is to redeem him." At the time, Helen Hunt was appearing in the television series Mad About You while making As Good As It Gets so she had to work her shoot schedule around the series, working during the show's winter hiatus. Hunt has nothing but praise for the script, "It's my favorite story that I've read in years....I can't imagine another part coming along that I would want to do as badly as this one." In a decidedly offbeat bit of casting, Greg Kinnear went against his romantic leading man image (Sabrina, 1995) to take on the role of Melvin's victimized gay neighbor Simon, scoring a Best Supporting Actor Oscar nomination in the process. In an interview, he later admitted "there was a storyline cut out between Simon and the character played by Skeet Ulrich, a hustler. In the original script, there was a little flirty thing happening. The fact of the matter is, there was a whole secondary plot about a percolating love story between the two of us. It takes place in my apartment, and we're talking about life. The flirting is all done through words but done very, very effectively. But much of that storyline was lost just because the original cut of the movie was considerably longer than it is now. That was a part of the movie that I had to go through a bit of a mourning process on." Principal photography on As Good As It Gets occurred in New York City with locations used in Greenwich Village and the Prospect Park district of Brooklyn. The film ended up receiving seven Academy Award nominations including Best Supporting Actor, Best Picture, Best Screenplay Written Directly for the Screen, Best Film Editing, and Best Original Musical Score. Both Jack Nicholson and Helen Hunt received Oscars and Golden Globes for their roles in As Good As It Gets and the film also received the Golden Globe for Best Musical or Comedy Picture. Director: James L. Brooks Producer: James L. Brooks, Bridget Johnson Screenplay: Mark Andrus, James L. Brooks Cinematography: John Bailey Art Direction: Philip Toolin Music: Hans Zimmer, Judith Owens, Jimi Hendrix Cast: Jack Nicholson (Melvin Udall), Helen Hunt (Carol Connelly), Greg Kinnear (Simon Bishop), Cuba Gooding, Jr. (Frank Sachs), Shirley Knight (Beverly Connelly), Skeet Ulrich (Vincent Lopiano), Harold Ramis (Dr. Bettes), Yeardley Smith (Jackie Simpson). C-139m. Letterboxed. By Deborah L. Johnson

Quotes

Trivia

Miscellaneous Notes

Nominated for a 1997 Eddie Award for best editing in a motion picture by the American Cinema Editors (ACE).

Nominated for Outstanding Directorial achievement in 1997 by the Directors Guild of America.

Nominated for the 1997 Golden Laurel Award (Lawrence Bender) by the Producers Guild of America.

Winner of the 1997 award for Best Screenplay Written Directly for the Screen by the Writers Guild of America (WGA).

Winner of two 1997 awards, including Best Actor (Jack Nicholson) and Best Supporting Actor (Greg Kinnear) from the National Board of Review.

Expanded Release in United States December 25, 1997

Limited Release in United States December 23, 1997

Released in United States on Video May 19, 1998

Released in United States Winter December 23, 1997

Jack Nicholson reportedly received $10 million for this role.

Some additional photography took place in New York City in June 1997.

Jack Nicholson reportedly received $10 million for this role.

Began shooting September 19, 1996.

Completed shooting February 8, 1997.

Released in United States on Video May 19, 1998

Limited Release in United States December 23, 1997

Released in United States Winter December 23, 1997

Expanded Release in United States December 25, 1997

Film dedicated to Diane Brooks, Ted Bessell & Boo.