One sequence in the script called for Eddie Murphy to dart perilously across eight lanes of north and southbound freeway traffic, narrowly missing a steady stream of vehicles traveling at 55 miles per hour. In an unprecedented coup, Allen closed a mile-long stretch of the Glendale Freeway for two days to film this hysterical sequence.
Costumes for the film were designed by veteran costumer Joseph G. Aulisi, a job which provided him with a great deal of creative freedom.
"It was a lot of fun creating the looks for these wonderfully colorful characters," Aulisi says. "With Bowfinger’s wardrobe we needed over-the-top costumes that weren't cartoonish. A lot of color and patterns were used in Bowfinger's contemporary designs."
As for Carol, another larger-than-life character, Aulisi dated her in layered, fluid 70s wear to reflect her character's nostalgia.
"We also over-accessorized her with a lot of big jewelry and scarves to indicate that this is a woman trying to mask her age while keeping it together," he says.
Aulisi adds, "While Daisy undergoes her transformation from Midwestern plain Jane to Hollywood actress, so does her wardrobe. Her skirts get shorter, tighter, and the colors stronger as her outfits become more tailored and more Hollywood."
Bowfinger is an extremely witty and clever comedy," says Oz. "Steve Martin has done an amazing job of creating a very funny bunch of disillusioned dreamers. Where better to set the stage for a group like this than Los Angeles and the film business? I hope audiences see this as a feeling comedy and go along with the dream."
