**Maya Rudolph: **Honestly, I've always felt that Melissa is hands down one of the most incredible performers I've ever worked with. I can put them both over my head and comb my goddamn hair." Like she said, "Do you like this leg? I got another one just like it.
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In the scene outside the bathroom, she had to say, "Let's go to the restroom-and not rest," and after that she was free to improv. Melissa's talking about putting a Nano up my butt, or up her butt-the Nano was going up someone's butt.
**Ben Falcone: **From the skeleton of the script, the plane ride became wildly improvised. Judd suggested they don't get to Vegas because something happens on the plane, and the airplane sequence was born. Judd was just like, "We can't do Vegas it's in every movie right now." As writers, you want to pee yourself. There was a Vegas sequence that was in there for four years, and we literally tossed it in a period of hours. **Annie Mumolo, co-writer: ** The airplane sequence wasn't in the original script. To this day she's like, "Well, the audience liked it." She finally head-butts the freaking thing, and it pops, and she smashes her face into the stage and breaks her nose. She couldn't get one to pop, but she wasn't going to lose. Once she had a sketch where this guy spurns her, and she gets so mad that she tries to pop these balloons she's brought him. **Ben Falcone, "Air Marshal Jon": ** Melissa will do anything to get a laugh. The scene "Look away!" was in the script, but there was this whole thing she improvised where she's suddenly screaming at the dress-shop owner, "Give me your fucking jacket!" She wanted to wipe her ass with the woman's jacket. She got stuck, but she just committed to the scene. **Paul Feig: ** In the bridal-salon scene, she hefts the couch: "Oh, that's nice." I remember just telling her to jump over it. I don't even think she really thought about "How is this sounding? What do I look like?" She just became Megan. **Kristen Wiig: **The lines were coming to her so quickly. For me a lot of the comedy comes from the tension between the wildness of her ideas and the way she would say them with such authority and confidence and speed. Melissa's beautiful and feminine, but Megan's tone-it's almost like she's a coach. That's not hiring someone to do what they do that's a real performance. **Rose Byrne: **Melissa is nothing at all like Megan. I could never get it into the movie, but it made me laugh so hard. Melissa goes on this whole run of how she needs to do that because there's a squirrel infestation at her house, and a squirrel had burrowed into her vagina and was living in her vagina.
During the Brazilian-restaurant scene, Helen's talking about this big house she has and that people can stay with her if they want. **Paul Feig: ** Melissa has the ability to take something that's weird or challenging and personalize it and make it real. Once I look like the character, it really locks me in, even if people sometimes say, "We need you not to be repulsive." I knew exactly what I wanted her to look like, to sound like, and I got an intense feeling of "I like her so much! This will never work out!" For the audition, I wore no makeup and a bad pant. **Melissa McCarthy, "Megan": ** I read the script and had such a weird, fast reaction to Megan. To discover how the role came together, we spoke with McCarthy, Bridesmaids director Paul Feig, and her castmates-many of whom first met a decade ago doing improv with L.A.'s renowned Groundlings troupe.
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This spring, in a career-making performance, TV veteran Melissa McCarthy ("Gilmore Girls," "Mike Molly") stole Bridesmaids as Megan, a self-made woman of great machismo, voracious sexual appetites, mysterious financial resources, and a truly atrocious wardrobe. It happens in the Excel spreadsheets wielded by studio accountants, in the tired plots of a thousand mediocre screenplays, and, rarely and thrillingly, in movies in which unheralded actors have lucked into the roles of their lives. Thievery takes a multitude of forms in Hollywood.
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