When Jerry Evans was hired to choreograph the blockbuster superhero comedy “The Mask,” which celebrates its 25th anniversary Monday, he was surprised when director Chuck Russell informed him he was…
,” which celebrates its 25th anniversary Monday, he was surprised when director Chuck Russell informed him he was secretly making a musical.
Rounding out the cast was a charmer named Max, a Jack Russell Terrier, who played Stanley’s beloved pet, Milo. Stanley, he said, “talks to the audience” like Ryan Reynolds’ masked Deadpool. “They break the fourth wall. He’s doing all these cartoony insane things. He’s a crime fighter, a superhero in a dark way like Deadpool.”
Before he hired Carrey, though, he had to convince New Line of “two or three things that were very different for them at the time — that was using this [new digital] technology and doing ‘The Mask’ as a comedy rather than a horror film.” Champion said she was looking at the top models of the day without any luck. So, she asked a friend who had a modeling agency in the same building as the New Line offices if she had anybody to recommend.When they met in Champion’s office, the casting director realized she had “instant likeability.”
Diaz, Russell explained, “was the only person for the part as far as I was concerned after her first reading. And then I saw the chemistry with her and Jim. Eight callbacks later, including improvs with Jim, I finally convinced producers.” Diaz wasn’t the only performer who made their film debut in “The Mask.” So did feature director Anne Fletcher who was at the time a dancer and assistant to choreographer-director Adam Shankman.“We had the best time ever,” recalled Fletcher. “This was an exceptional job. You had Jim Carrey, Cameron and Chuck and all of these people. We had so many dancers on it, it was just so much fun. It was so big because I had nothing to compare it to.
“Jim is very much like Dick Van Dyke,” noted Evans. “Chuck was smart, he said these two people, they’re not dancers, but this is going to be a big production piece, so I’m going to give you two weeks before we start production to rehearse them every day. So, I had the luxury of working with them at least four hours a day separately.”
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