Even a two-hour-plus movie couldn’t contain all the comedy talent of these hilarious women. Now that Bridesmaids is out on DVD and Blu-ray, you finally get to see a ton of alternate takes and scenes you didn’t see in theaters. EW spoke to four of the Bridesmaids ladies — Kristen Wiig, Rose Byrne, Wendi McLendon-Covey, and Ellie Kemper (sorry, not recent Emmy winner Melissa McCarthy) — about the stuff salvaged from the cutting room floor, and their ideas for a sequel!
ENTERTAINMENT WEEKLY: The DVD has tons of extras and deleted scenes. What scenes are you most excited for fans to see for the first time?
KRISTEN WIIG: Well, I love the date scene with the little boy [who spouts off outrageous statements]. That’s in the new director’s cut. And the scene with Paul Rudd — I really missed those date scenes.
They bring a whole new level of sadness to your character.
Yeah, we really piled it on.
There are a lot of alternate takes to your opening sex scene with Jon Hamm. How long were you in those positions together?
Seventy-two hours. No, it was only one day. It was actually our last day of shooting. While we were shooting it, we were all kind of like, “What if he swings me around, or pulls me under the bed like one of those horror movies, where you just see my hands coming out?”
Your fingernails making scratch marks on the floor…
Exactly! So that was really fun thinking about the different ways he could kind of beat me up.
What’s a premise for a Bridesmaids sequel that you think would be funny to see?
We actually did think of one. In one of the outtakes, Megan, Melissa [McCarthy]’s character, wanted us to go on the Nevada Project. It’s kind of this horrible outdoor survival thing, and she improvised all these horrible things that would happen to you on this trip. [Laughs] Like you’re blindfolded and left outside for days and days, and it’s supposed to be this bonding experience. So we always joked around that we would all go on the Nevada Project and have to, like, rescue each other.
Like Bridesmaids-meets-Tropic Thunder.
Either that or we’d be on a submarine underwater. We’re just headed for a big reef, and all six of us are trying to maneuver the submarine … That’s a terrible idea. That won’t happen. That’s not even funny.
In one of the extras, we got a glimpse at you and [co-writer] Annie Mumolo doing a ton of improv together. Was that what the writing process was like?
Yeah! We wrote every page together. When you’re writing a screenplay with someone, there are different dynamics — like some people write everything together, some people say, “Oh, write five pages and send it back to me,” some people work on story while the other person works on dialogue … there are so many different combinations, and Annie and I tried all of it. We love just working together and improvising together, trying to find the best flow.
Did you leave a lot of room in the script to just make things up on set?
No, everything was written-through, we didn’t leave any spaces. It wasn’t like a skeleton of a script, or anything. We had everything written out, but there were certain scenes … like the plane scene, for instance. I knew that I’d be drunk and on pills, and we’d be able to just see how that was going to go. You know, Ben [Falcone] and Melissa, their whole thing with the air marshal, that was added later to the script, so they improvised a lot with each other, because, you know, they’re married, so they have a good rapport, they work together a lot. [Laughs] But we encouraged everyone to, if they didn’t feel comfortable with something, or they felt like maybe there was something they wanted to add, we would shoot it all different ways. We’d shoot it scripted, a little improvised, and then Paul [Feig] the director would say, “Dealer’s choice,” and people could just kind of do whatever they want to. We weren’t strict about it.
Did you and Annie have a laugh test for what made it into the script?
Yeah. Especially when you are working with deadlines, a lot of times I would fly to L.A. during my hiatus [from SNL] and go to her apartment, and we would just write for 12 hours a day. You know, there were moments when we’re just be staring at the wall, like, “Wait, what do you see?” And some other times we’re just crying on the floor laughing, like, “Oh my God, we can’t write that. That’s too insane!”
And then look at the finished product.