Deborah Kaplan
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The jazzbos in the crowd will also probably have something to say about the realism of Teller’s drumming chops as well, but the non-nerds will find his snare-tapping technique to be more than passable – much better than the dubious abilities Tara Reid showed in 2001’s Josie and the Pussycats, for example.)
Consider how Josie and the Pussycats made such branding a villain within the plot of its film even as it bandied about a plethora of brand names…
They are no longer the perfect places for a race, as the setups seem like the places from the “Josie and the Pussycats” movie, overloaded with product placements.
As with John Carpenter’s They Live (about magical sunglasses that reduce the corporate upholstery of billboards and ads into simple edicts to “OBEY”) and Harry Elfont and Deborah Kaplan’s Josie And The Pussycats (about record company honchos conspiring with the U.S. government to drive teenage consumption via subliminal messaging), Snowpiercer’s howling obviousness is its greatest asset.
The character doesn't need to hate Dublin for the story to work, but it gives the screenwriters -- Deborah Kaplan and Harry Elfont, who also wrote "Josie and the Pussycats," "Can't Hardly Wait," and "Surviving Christmas" -- an excuse to tell us, later on, WHY he hates Dublin, which of course is that it's where a woman who broke his heart lives.
(Their collective output includes “Josie and the Pussycats,’’ “Shopgirl,’’ and “Surviving Christmas.’’)
Deborah Kaplan and Harry Elfont ( Josie and the Pussycats ) wrote the script.
Written by the dread team of Deborah Kaplan and Harry Elfont (authors of such classics as “Made of Honor,” “Josie and the Pussycats” and “The Flintstones in Viva Rock Vegas”), “Leap Year” stars Amy Adams as Anna, a control freak from Boston who, in the early scenes, is disappointed when her drippy doctor boyfriend (Adam Scott) fails to propose marriage at a ripe moment.
Yes, the screenwriters of “Made of Honor,” “The Flintstones in Viva Rock Vegas,” and “Josie and the Pussycats” (which they also directed) are the masterminds behind “Leap Year,” and their special sludge of awful is called upon yet again to smother a routinely peaceful genre.