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Keeping It Kosher

Observant Jewish director helms "Cats and Dogs."

PFEFFERMAN
NAOMI PFEFFERMAN
Jewish Journal of Greater Los Angeles

y

ie.

ou make a movie with ani-
mals in the post-Babe era,
the critters had better do
more than talk.
"They have to, like, do kung fu,"
says Larry Guterman, director of Cats
& Dogs, about a secret war between
man's best friends.
In the effects-laden, live-action flick,
canines detonate bombs and drive
doggy mopeds. Felines throw knives
and perform Ninja moves. "It's like
James Bond meets Loony Tunes," says
Guterman, who waged his faux war
with a seamless mix of live animals,
puppetry and computer graphics.
The 30-something director, who
coyly states his age as "between 4 and
5 in dog years," says he didn't have
any pets while growing up in an obser-
vant Jewish home in Montreal and

Toronto. But he did direct spy thrillers
with his Super 8 camera and yeshiva-
bocher classmates.
Guterman later studied physics at
Harvard, impressed Jeffrey Katzenberg
with his USC film grad-school thesis,
directed segments of Antz and was
signed to direct the ill-fated Curious
George for Universal.
When Cats and Dogs came his way
in February 1999, he created a test reel
that helped convince Warner Bros. to
green-light the movie.
During principal production in
Vancouver, kosher food was trucked in
for Guterman's lunch every day. The
trickiest sequence: a pooch Pentagon
scene that involved more than 21 dogs
and "got pretty hairy," he says.
Guterman concedes that cats are the
bad guys of the movie, but hey, felines
are aloof and haughty — perfect qualities
for film villains, he insists.
For example, the movie's dastardly

Dr. Know

The Hebrew University plays a part in Steven
cementing a longtime partnership
Spielberg
between the filmmaker and the Israeli institution.

NAOMI PFEFFERMAN
Jewish Journal of Greater Los Angeles

IV

hen Hebrew University
of Jerusalem attorney
Roger Richman met with
Steven Spielberg produc-
er Bonnie Curtis last spring, the discus-
sion was strictly confidential.
Spielberg needed the university's
help on his top-secret film A.I.:
Artificial Intelligence, about a robot
child who longs to become a real boy.
The director had written the screen-
play based on a detailed treatment and
storyboards commissioned by his
friend, the late Stanley Kubrick.
One of those sketches depicted Dr.
Know, a hologram in an arcade game
who provides key information to the
hero. "It was very important to us to
maintain Stanley's original vision of an
Albert Einstein-like character [for Dr.

Know]," Curtis said in an interview.
Enter Hebrew University, which has
owned Einstein's image since the scien-
tist bequeathed his archive and likeness
to the school before his death in 1955.
Because the university is protective of
Einstein, licensing expert Richman care-
fully studied pages of the script pertain-
ing to Dr. Know (voiced in the movie
by Robin Williams) and met with Curtis
to scrutinize the character's design.
During their closed-door session,
Curtis opened her portfolio to reveal the
whimsical Einstein caricature, complete
with bristly mustache and fluffy white
hair. Richman instantly approved.
Though studios usually pay hefty
fees to utilize Einstein's image, Warner
Bros. and DreamWorks got it essential-
ly free for a 12-minute scene in A.I..
That's because Spielberg's ties to the
school date back to 1987, when he
received the 'university's Scopus Award

