Full page view
HISTORY

When the film opens, an old book is shown. As the pages of the book are turned, Mike Myers, as his character, “Shrek, ” narrates off-screen what is written, the story of a princess kept in a castle, guarded by a dragon. As a page turns to “For her true love and true love’s first kiss,” it is ripped from the book as Shrek scoffs “Like that’s ever gonna happen.” A moment later, Shrek emerges from an outhouse. The film’s title then appears, followed only by the names Mike Myers, Eddie Murphy, Cameron Diaz and John Lithgow. Shrek marked the final feature film of long-time character actress Kathleen Freeman, who provided the voice for the "Old Woman" who sells "Donkey."
       Early news items and production charts list Kelly Asbury as the film’s director, and some news items in trade publications listed Asbury as co-director with Andrew Adamson, but Asbury is only credited onscreen as "Story artist." A 24 Jan 1996 HR news item noted that DreamWorks paid $500,000 for the rights to William Steig’s children's book and that Tommy Swerdlow and Michael Goldberg were to write the script. Neither Swerdlow nor Goldberg were credited onscreen and their contribution, if any, to the completed project has not been determined.
       According to various feature articles, news items and HR production charts, Chris Farley, Tom Bosley, Marion Ross, Janeane Garofalo and Linda Hunt, whose voices were not included in the completed film, were cast in the picture. Farley, who died on 18 Dec 1997, had recorded several sessions as Shrek, according to news items, and the filmmakers had hoped to salvage ... More Less

When the film opens, an old book is shown. As the pages of the book are turned, Mike Myers, as his character, “Shrek, ” narrates off-screen what is written, the story of a princess kept in a castle, guarded by a dragon. As a page turns to “For her true love and true love’s first kiss,” it is ripped from the book as Shrek scoffs “Like that’s ever gonna happen.” A moment later, Shrek emerges from an outhouse. The film’s title then appears, followed only by the names Mike Myers, Eddie Murphy, Cameron Diaz and John Lithgow. Shrek marked the final feature film of long-time character actress Kathleen Freeman, who provided the voice for the "Old Woman" who sells "Donkey."
       Early news items and production charts list Kelly Asbury as the film’s director, and some news items in trade publications listed Asbury as co-director with Andrew Adamson, but Asbury is only credited onscreen as "Story artist." A 24 Jan 1996 HR news item noted that DreamWorks paid $500,000 for the rights to William Steig’s children's book and that Tommy Swerdlow and Michael Goldberg were to write the script. Neither Swerdlow nor Goldberg were credited onscreen and their contribution, if any, to the completed project has not been determined.
       According to various feature articles, news items and HR production charts, Chris Farley, Tom Bosley, Marion Ross, Janeane Garofalo and Linda Hunt, whose voices were not included in the completed film, were cast in the picture. Farley, who died on 18 Dec 1997, had recorded several sessions as Shrek, according to news items, and the filmmakers had hoped to salvage his work for the completed film. However, in Aug 1998, Myers was brought in as a replacement and Shrek’s dialogue was completely redone. Garofalo’s voice was not in the completed film, but she was listed on early HR production charts, and was to have provided the voice of “Fiona.” Bosley, Ross and Hunt’s roles were cut from the completed film. Hunt was to have given voice to a character named “Dama Fortuna,” a witch in a segment called “Fiona’s Prologue,” Bosley and Ross were cast as Shrek’s parents.
       In a 25 May 2001 feature article in Entertainment Weekly , Myers explained that the accent used for the film was inspired by his mother, who was born in Liverpool, England, but moved to Canada, where Myers was born. As Myers described it, he wanted the character to “have the Scottish accent of somebody who’s lived in Canada 20 years.” The article also noted that Myers was not happy after seeing how his dialogue meshed with the animation and talked producer Jeffrey Katzenberg into allowing him to re-record his entire role. The article estimated that the re-recording added $4,000,000 to the film’s overall budget, which a 22 May 2001 LAT article estimated at $48,000,000 to $60,000,000.
       The computer-generated animation featured in Shrek was developed by DreamWorks and Pacific Data Images (PDI), the Palo Alto-based company at which the film was shot. PDI/DreamWorks had also produced Antz (2000), and many of the production and artistic team who worked on that film also worked on Shrek , including Adamson, who made his directing debut with Shrek . As noted in many reviews and feature articles, Shrek brought the level of computer-generated animation to a higher level, particularly in techniques developed for facial expressions and muscle and cloth movement.
       According to the film’s presskit, the depth of movement and viscosity in the film was made possible by PDI/DreamWorks’ Fluid Animation System (FLU). High levels of realism in facial and muscle movement and shading were made possible by a newly developed software technique nicknamed the “Shaper.” A Wall Street Journal article noted that PDI made use of the Linux operating system instead of software from Microsoft or Silicon Graphics, Inc., which had been the more dominant software systems used for computer-generated animation and special effects. When Shrek opened in May 2001, it was released in both traditional and digital formats, the first time for any DreamWorks film, according to a HR news item. The digital version of the film was exhibited at eleven theaters throughout the U.S. and Canada and was handled by LucasFilm’s THX division.
       The presskit also notes that there were thirty-six separate scenic locations in the completed film. The swamp was inspired by a magnolia plantation outside Charleston, SC, and Duloc was inspired by San Simeon (Hearst Castle) in California, Stratford-on-Avon in England and Dordogne, France.
       In Jun 2000, Hollywood trade papers reported that DreamWorks was planning a joint venture with IMAX to release a 3-D version of Shrek . The IMAX version was to coincide with the DVD release of the film. However, news items in Nov 2000 noted that the deal had fallen through. A HR article on 9 Nov 2000 noted that the project had been abandoned by IMAX due to the escalation of the costs related to creative changes in the project.
       According to various news items, the extensive marketing and promotional campaign for Shrek was one of the largest in film history, including promotional tie-ins with Burger King restaurants and Heinz ketchup, among others. Book tie-ins were also launched to coincide with the film’s theatrical release, including a new edition of Steig’s book and a novelization of the film. In late Dec 2000, a DV article noted that DreamWorks had just signed a five-year deal with TDK Mediactive to develop computer games based on Shrek .
       Shrek was put into competition at the May 2001 Cannes Film Festival, the first animated film to be placed into official competition for the Palme d'Or since Walt Disney’s Peter Pan in 1953. After its North American release in May 2001, Shrek had the largest non-holiday opening for an animated film and was the largest DreamWorks opening to date. It was the first release of the summer to take in more than $200,000,000 at the box office and went on to gross over $267,000,000 domestically, the second highest grossing film of 2001.
       The DVD release of the film included videotaped storyboard conferences for three unused segments of the film, including “Fiona’s Prologue,” mentioned above, which was to have explained how Fiona became cursed. A second segment, called “The Deal,” involved negotiations between “Lord Farquaad” and Shrek for the deed to the swamp. A third segment, titled “Fiona Gets Them Lost,” was to take place after Shrek, Fiona and Donkey escape from the Dragon’s castle and start on the road to Duloc. Storyboards indicate that some of the action was to involve a cave-enclosed roller-coaster-like sequence similar to one in Indiana Jones and the Temple of Doom .
       Within Shrek (which means “horror” in Yiddish) there are numerous parodies of well known fairy tales and popular animated films. The Wicked Witch from The Wizard of Oz , Robin Hood and his band of Merry Men and other well-known characters and films are also parodied. For example, the scene in which Fiona fights with Robin Hood emulated the kind of stop-action special effects photography popularized in The Matrix . Satirizations of Disney films, Disneyland and Disney-related items provide the film with many of its comic moments. When Shrek and Donkey first arrive at Duloc, they see a series of crowd-control ropes and a turnstile similar to those used in Disneyland and other amusement parks. Later, they open a cabinet and tiny animated figures sing a cheerful song similar to “It’s a Small World,” the tune that is heard throughout the epononymously named ride at Disneyland.
       Many fairy tale figures included in Disney films appear briefly in Shrek , often against type. At Shrek and Fiona’s wedding, for example, Cinderella slugs Snow White in order to catch Fiona’s bridal bouquet. Many reviews and feature articles on Shrek suggested that Katzenberg, who had been head of animation production at Disney prior to becoming a partner in DreamWorks SKG, was taking satiric revenge against his former studio.
       A number of critics pointed out a more serious side to the film in its Holocaust allusions, particularly evident in the sequence in which the fairy tale characters are turned in for rewards. Some feature articles speculated that the characterization of “Lord Farquaad” was a self-parody of Katzenberg, while others suggested that the demeanor, if not the physical stature, of the character was based on Disney CEO Michael Eisner. The physical appearance and clothing of the character closely resembles the appearance of actor-director Laurence Olivier in his production of William Shakespeare’s Richard III .
       A number of feature articles commented on a "rivalry" between Shrek and Disney/Pixar’s Monster’s, Inc. , which opened on 2 Nov 2001. The DVD version of Shrek was released on the same date as Monster’s, Inc. ’s opening, prompting some news items to indicate a deliberate attempt to undermine the domestic box office of Monster’s, Inc. The DVD was released in a two-disc set, with eleven hours of special features, including an additional three-minute segment of the film’s “I’m a Believer” musical finale and the videotaped storyboard conferences noted above for the three unused segments of the film. The DVD release of Shrek set an all-time record, with 2.5 million units sold within three days.
       In addition to being nominated by AFI as Movie of the Year, Shrek received twelve Annie nominations and one award from the International Animated Film Society and a Golden Globe nomination for Best Picture, Musical or Comedy. The film won an Academy Award for Best Animated Feature of the year and was nominated in the category of Best Screenplay based on previously published or produced materials. A sequel to the film, Shrek 2 , which began pre-production in mid-2001, was released in 2004. That film, which was directed by Andrew Adamson, Kelly Asbury and Conrad Vernon, also featured the voices of Myers, Diaz and Murphy, as well as Julie Andrews, John Cleese and Antonio Banderas. More Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
20 Nov 1998.
---
Daily Variety
21 Dec 2000.
---
Daily Variety
7 May 2001
p. 4, 8.
Daily Variety
9 Aug 2001.
---
Entertainment Weekly
25 May 2001
pp. 44-47.
Entertainment Weekly
24-31 Aug 2001
p. 107.
Hollywood Reporter
24 Jan 1996.
---
Hollywood Reporter
6 May 1997.
---
Hollywood Reporter
15 Jan 1998.
---
Hollywood Reporter
22 Jan 1998.
---
Hollywood Reporter
23 Jun 1998.
---
Hollywood Reporter
13 Aug 1998
p. 3, 25.
Hollywood Reporter
10 Nov 1998.
---
Hollywood Reporter
9 Nov 2000.
---
Hollywood Reporter
30 Jan 2001
p. 10, 70.
Hollywood Reporter
27 Feb-5 Mar 2001
p. 34.
Hollywood Reporter
7 May 2001
p. 2, 12.
Hollywood Reporter
21 May 2001.
---
Hollywood Reporter
23 May 2001.
---
Hollywood Reporter
21 Jun 2001.
---
Hollywood Reporter
20 Nov 2001
p. 16.
Los Angeles Times
16 May 2001
Calendar, p. 1, 5.
Los Angeles Times
22 May 2001.
---
Los Angeles Times
27 May 2001
Calendar, pp. 19-20.
Los Angeles Times
30 Oct 2001
Calendar, p. 1, 4.
New York Times
16 May 2001
Arts, p. 1, 5.
New Yorker
21 May 2001.
---
Newsweek
7 May 2001
pp. 61-64.
Newsweek
19 Jun 2001.
---
Newsweek
19 Nov 2001.
---
People
4 Jun 2001
p. 17.
Publisher's Weekly
24 Jun 1996.
---
Publisher's Weekly
16 Apr 2001.
---
Rolling Stone
7 Jun 2001
p. 119.
Screen International
16 Jun 2000.
---
Screen International
30 Jun 2000.
---
Screen International
27 Apr 2001
pp. 1-2.
The Times (London)
28 Jun 2001
Arts, pp. 13-14.
Time
21 May 2001.
---
Variety
7 May 2001
p. 49, 58.
Variety
24 Sep 2001.
---
Variety
12 Nov 2001
p. 30.
Village Voice
22 May 2001
p. 129.
Wall Street Journal
17 May 2001
B, p. 5, 9.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
PRODUCERS
Co-exec prod
Exec prod
Co-prod
Co-prod
Assoc prod
WRITERS
Addl dial
Addl dial
Addl dial
Co-head of story
Co-head of story
Story/Ed supv
Addl story supv
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
Story artist
PHOTOGRAPHY
Rostrum cam
ART DIRECTORS
Prod des
Art dir
Character des
Char des
CG visual development
Prod illustrator
Prod illustrator
Prod illustrator
Prod illustrator
Head sculptor
Sculptor
Model maker
Tech supv, matte painting
Tech dir, matte painting
Tech dir, matte painting
Matte painter
Matte painter
Matte painter
Matte painter
Paint fix
Paint fix
FILM EDITORS
1st asst Avid ed
1st asst film ed
Ed apprentice
Addl ed supv
Negative cutter
Post prod facilities provided by
Prod supv, film room
Tech, film room
Film rec
Film rec
Film rec
Laser film coord
Laser film rec
SET DECORATORS
Set des
Addl set des
COSTUMES
Cost des
MUSIC
Orig score
Score rec and mixed by
Score rec at
Score mixed at
Score mixed at
Addl rec
Addl mixing
Asst eng
Asst eng
Asst eng
Score cond
Orch
Mus preparation
Orch contractor
Orch leader
Choir
Guitars performed by
Mus clearance
Mus asst
Mus asst
Mus asst
Mus asst
Propellerhead
Propellerhead
Propellerhead
Propellerhead
SOUND
Supv sd ed
Supv sd ed
Re-rec mixer
Re-rec mixer
Dial/ADR supv
Dial/ADR supv
Sd FX ed
Sd FX ed
Sd FX ed
Sd FX ed
Foley ed
Foley ed
1st asst sd ed
1st asst sd ed
Asst sd ed
Foley artist
Foley artist
Foley mixer
Foley rec
ADR rec
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
ADR group
LA Studios rec mixer
ADR mixer
Re-rec eng
VISUAL EFFECTS
Visual eff supv
End titles
Seq supv
Seq supv
Seq supv
Seq supv
Sr. prod supv
Prod supv
Assoc prod supv
Assoc prod supv
Assoc prod supv
Tech dir
Tech dir
Tech dir
Lead lighter
Lead lighter
Lead lighter
Lead lighter
Lead lighter
Lead lighter
Lead lighter
Lighter
Lighter
Lighter
Lighter
Lighter
Lighter
Lighter
Lighter
Lighter
Lighter
Lighter
Lighter
Lighter
Lighter
Eff lead
Eff lead
Eff lead
Eff
Cloth eff
Cloth eff
Cloth eff
Cloth eff
Dir of prod eng
Supv tech dir, prod eng
Supv tech dir, prod eng
Lead tech dir, prod eng
Prod eng
Prod eng
Prod eng
Prod eng
PE/Rendering coord
Anim technology coord
Render asst
Render asst
Render asst
Render asst
Render asst
Render asst
Render asst
Render asst
Render asst
Render asst
Render asst
Render asst
PRODUCTION MISC
Prod mgr
Casting
Casting assoc
Casting assoc
ADR voice casting
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst, story
Prod asst, story
Prod supv, art dept
Prod coord, art dept
Prod asst, art dept
Prod asst, art dept
Prod coord, character tech dir
Prod coord, modeling and surfacing
Prod coord, modeling and surfacing
Prod coord, layout
Prod coord, anim
Prod coord, lighting and eff
Prod coord, lighting and eff
Coord, art and tech development
Coord, art and tech development
Prod controller
Prod accountant
Asst prod accountant
Central prod coord
Central prod coord
Asst to Jeffrey Katzenberg
Asst to Jeffrey Katzenberg
Asst to Jeffrey Katzenberg
Asst to Penney Finkelman Cox
Asst to Sandra Rabins
Asst to the dir
Asst to Aron Warner
Asst to Aron Warner
Asst to David Lipman
Asst to Ted Elliott & Terry Rossio
Dir of traning
Dir of IT
Tech wrt
Tech wrt
Systems programmer
Systems programmer
Systems programmer
Senior systems admin
Senior systems admin
Senior systems admin
Systems admin
Systems admin
Systems admin
Systems admin
Systems admin
Systems admin
Systems admin
I/O admin
I/O admin
Ed tech
Junior systems admin
Junior systems admin
Junior systems admin
Post prod exec
Post prod assoc
VP spec projects, PDI
Head of prod, PDI
Head of prod, PDI
VP of human resources, PDI
Dir of digital operations, PDI
Head of marketing, PDI
Head of studio recruitment & staffing, PDI
Human resources mgr, PDI
Creative services specialist, PDI
Marketing asst, PDI
Recruiter, PDI
Recruiter, PDI
Recruiting coord, PDI
Facilities mgr, PDI
Facilities mgr, PDI
Facilities mgr, PDI
Facilities maintenance, PDI
Receptionist, PDI
Receptionist, PDI
Operations asst, PDI
Operations asst, PDI
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
Los Angeles pre prod
ANIMATION
Supv anim
Co-supv, character tech dir
Co-supv, character tech dir
Lead character TD's
Lead character TD's
Prod supv, character tech dev
Resource mgr, character tech dev
Character TD's
Character TD's
Character TD's
Character TD's
Character TD's
Character TD's
Character TD's
Character TD's
Character TD's
Addl character TD support
Addl character TD support
Addl character TD support
Addl character TD support
Addl character TD support
Addl character TD support
Addl character TD support
Addl character TD support
Modeling supv
Prod supv, modeling and surfacing
Modeler
Modeler
Modeler
Surfacing lead
Surfacing
Surfacing
Surfacing
Surfacing
Surfacing
Addl surfacing
Head of layout
Prod supv, layout
Prod supv, layout
Tech dir, layout
Rough layout
Rough layout
Rough layout
Rough layout
CG set builder
Layout
Layout
Layout
Layout
Layout
Dir anim
Dir anim
Dir anim
Dir anim
Addl anim supv
Prod supv, anim
Tech dir, anim
Anim
Anim
Anim
Anim
Anim
Anim
Addl anim
Dir of development, R & D
R & D staff
R & D staff
R & D staff
R & D staff
R & D staff
R & D staff
R & D staff
R & D staff
R & D staff
R & D staff
R & D staff
R & D staff
R & D staff
R & D staff
R & D staff
COLOR PERSONNEL
Col timer
SOURCES
LITERARY
Based on the novel Shrek! by William Steig (New York, 1990).
AUTHOR
MUSIC
“Whipped Cream,” written by Naomi Neville, performed by Herb Alpert & The Tijuana Brass, courtesy of A&M Records, under license from Universal Music Enterprises.
SONGS
“All Star,” written by Greg Camp, performed by Smash Mouth, courtesy of Interscope Records, under license from Universal Music Enterprises, produced and mixed by Eric Valentine
“On the Road Again,” written by Willie Nelson, performed by Eddie Murphy
“Friends,” written by Mark Klingman and Buzzy Linhart, performed by Eddie Murphy
+
SONGS
“All Star,” written by Greg Camp, performed by Smash Mouth, courtesy of Interscope Records, under license from Universal Music Enterprises, produced and mixed by Eric Valentine
“On the Road Again,” written by Willie Nelson, performed by Eddie Murphy
“Friends,” written by Mark Klingman and Buzzy Linhart, performed by Eddie Murphy
“Escape (The Piña Colada Song),” written and performed by Rupert Holmes, courtesy of MCA Records, under license from Universal Music Enterprises
“Meditation,” written by Antonio Carlos Jobim, Norman Gimbel and Newton Mendonca, performed by Antonio Carlos Jobim, courtesy of Verve Records, under license from Universal Music Enterprises.“Welcome to Duloc,” music by Mike Himelstein, lyrics by Eric Darnell
“Bad Reputation,” written by Joan Jett, Kenny Laguna, Ritchie Cordell and Marty Kupersmith, performed by Joan Jett, courtesy of Blackheart Records
“I’m on My Way,” written by Charlie Reid and Craig Reid, performed by The Proclaimers, courtesy of Chrysalis Records, Ltd., under license from EMI-Capitol Music Special Markets
“Merry Men,” written by Kirby Tepper, Andrew Adamson and Conrad Vernon, performed by Vincent Cassel
“My Beloved Monster,” written by E, performed by eels, courtesy of DreamWorks Records
“You Belong to Me,” written by Pee Wee King, Redd Stewart and Chilton Price, performed by Jason Wade, courtesy of DreamWorks Records
“Hallelujah,” written by Leonard Cohen, performed by John Cale, courtesy of Menhir Music
“Try a Little Tenderness,” written by Harry Woods, Jimmy Campbell and Reg Connelly, performed by Eddie Murphy
“I’m a Believer,” words and music by Neil Diamond, performed by Smash Mouth, courtesy of Interscope Records, produced and mixed by Eric Valentine, additional vocals by Eddie Murphy
“Stay Home,” written by Matt Mahaffey, performed by Self, courtesy of DreamWorks Records, produced and mixed by Eric Valentine
“Best Years of Our Lives,” written by David Jaymes and Geoffrey Deane, performed by Baha Men, courtesy of S-Curve Records, produced by Michael Mangini and Steve Greenberg
“Like Wow!,” written by Jimmy Harry and Sandra St. Victor, performed by Leslie Carter, courtesy of DreamWorks Records
“It’s You (I Have Loved),”music by Harry Gregson-Williams, John Powell and Gavin Greenaway, lyrics by Dana Glover, performed by Dana Glover, courtesy of DreamWorks Records, produced by Gavin Greenaway and Harry Gregson-Williams.
+
DETAILS
Release Date:
18 May 2001
Premiere Information:
World premiere at the Cannes Film Festival, Cannes, France: 12 May 2001
Los Angeles and New York opening: 16 May 2001
Production Date:
began 15 October 1996
principal animation at Pacific Data Images (PDI) in Palo Alto, CA
Copyright Claimant:
DreamWorks Animation, LLC
Copyright Date:
14 June 2001
Copyright Number:
PA00010036170
Physical Properties:
Sound
DTS Digital Sound; Dolby Digital; SDDS (Sony Dynamic Digital Sound) in selected theatres
Color
gauge
35mm
Lenses/Prints
Technicolor; AVID; KODAK
Duration(in mins):
85
MPAA Rating:
PG
Country:
United States
Language:
English
PCA No:
38125
Passed by NBR:
No
SYNOPSIS

One night, Shrek, a large ogre who lives in a cozy cottage in a swamp, has his solitude interrupted by torch-carrying villagers from a nearby town. After Shrek politely frightens the villagers away, he picks up a dropped piece of paper that reads: “Wanted Fairy Tale Creatures Reward.” The next day, as dozens of terrified fairy tale creatures are being brought in for rewards, an Old Woman turns in a Donkey, saying that he talks. Donkey refuses to speak, but when a tiny fairy crashes into him, sprinkling him with magic dust, he starts to fly and gleefully boasts out loud. Crashing to earth, Donkey escapes and runs into Shrek. They are soon approached by guards, who order them to halt by order of Lord Farquaad, but Shrek scares them away. The jive-talking Donkey, who immediately warms to his new acquaintance, decides to tag along with Shrek, despite the ogre’s gruff insistence that he likes to be alone. Back at the swamp, Shrek refuses to allow Donkey to stay inside his cottage, but soon finds his dinner interrupted by the appearance of three Blind Mice, a nightgown-clad wolf and a myriad of other fairy tale creatures. Shrek loudly orders them to leave his swamp and return home, but they reply that they cannot because Farquaad has evicted them. The disgusted Shrek determines to remedy the situation by finding Farquaad and demanding that the creatures be sent back. Amid the gleeful cheers of the creatures, Shrek, accompanied by the unshakable Donkey, sets off to find Farquaad. Meanwhile, in a castle in Duloc, the diminutive Farquaad tortures a Gingerbread ... +


One night, Shrek, a large ogre who lives in a cozy cottage in a swamp, has his solitude interrupted by torch-carrying villagers from a nearby town. After Shrek politely frightens the villagers away, he picks up a dropped piece of paper that reads: “Wanted Fairy Tale Creatures Reward.” The next day, as dozens of terrified fairy tale creatures are being brought in for rewards, an Old Woman turns in a Donkey, saying that he talks. Donkey refuses to speak, but when a tiny fairy crashes into him, sprinkling him with magic dust, he starts to fly and gleefully boasts out loud. Crashing to earth, Donkey escapes and runs into Shrek. They are soon approached by guards, who order them to halt by order of Lord Farquaad, but Shrek scares them away. The jive-talking Donkey, who immediately warms to his new acquaintance, decides to tag along with Shrek, despite the ogre’s gruff insistence that he likes to be alone. Back at the swamp, Shrek refuses to allow Donkey to stay inside his cottage, but soon finds his dinner interrupted by the appearance of three Blind Mice, a nightgown-clad wolf and a myriad of other fairy tale creatures. Shrek loudly orders them to leave his swamp and return home, but they reply that they cannot because Farquaad has evicted them. The disgusted Shrek determines to remedy the situation by finding Farquaad and demanding that the creatures be sent back. Amid the gleeful cheers of the creatures, Shrek, accompanied by the unshakable Donkey, sets off to find Farquaad. Meanwhile, in a castle in Duloc, the diminutive Farquaad tortures a Gingerbread Man, then asks a Magic Mirror how he can become king. Magic Mirror advises him to marry a princess and shows him three choices, Snow White, Cinderella and, finally, Princess Fiona, who is locked in a castle guarded by a Dragon. Farquaad does not listen to Magic Mirror's warning that something happens to the beautiful Fiona at night and chooses her, then determines to find a champion to free her. When Shrek and Donkey arrive at the immaculately maintained Duloc, the town is deserted, but they find everyone in the stadium listening to a speech by Farquaad, who is holding a tournament to determine a champion. Seeing Shrek, Farquaad announces that the person who kills the ogre will be the champion. Shrek easily bests his attackers and so impresses Farquaad that he names Shrek his champion and agrees to give him the deed to the swamp and send the fairy tale creatures back home in exchange for freeing Princess Fiona. As Shrek and Donkey journey toward the princess’ castle, Shrek philosophizes that ogres are usually misunderstood but actually have many layers, like onions. Once at their destination, Shrek and the frightened Donkey successfully navigate a rope bridge suspended over a lava pit and enter the castle. Donkey comes face to face with the Dragon, who snaps to attention and goes after him, but Shrek dons armor and saves him. In the process, though, Shrek is flung into Fiona’s tower room. She is impressed by Shrek’s entrance and pretends to be asleep so that her “knight so bold as to rescue her” can kiss her awake. Instead, Shrek gives her a shake and is uninterested in her talk of romance. Dragging Fiona through the castle, Shrek finds Donkey, who has inadvertently awakened amorous feelings in the female Dragon. She tries to prevent them from leaving, but Shrek effects their escape and ensnares the Dragon in chains. Once safely on the road to Duloc, Fiona demands to see Shrek’s face and is disappointed by his appearance until he assures her that Farquaad has sent him. When she stubbornly insists that only her true love can rescue her, Shrek hoists her over his shoulder and continues on. During the journey, Donkey seeks Fiona’s advice on how to discourage the Dragon’s romantic interest, and Shrek and Donkey joke about Farquaad’s size. When Fiona realizes that it will soon be nightfall and Duloc is some distance away, she adamantly refuses to go farther and spends the night alone in a cave. Later, as Donkey sympathizes with Shrek’s regret that the world “has a problem” with a big ugly ogre, Fiona eavesdrops. Next morning, a very cheerful Fiona emerges from the cave and makes breakfast for Shrek. When the three resume their journey, Fiona and Shrek playfully tease each other and start to realize that they have a lot in common. When they see Duloc in the distance, both Fiona and Shrek come up with excuses to delay reaching Duloc. During dinner, Shrek and Fiona look dreamy-eyed at each other, but at sunset Fiona retreats, alone, into a deserted windmill. Donkey comments that Shrek and Fiona are “digging on each other,” but Shrek thinks that a princess would never be interested in an ogre. Donkey then sneaks into the windmill and is astonished to find that Fiona has turned into an ogre. She tells him that because of a curse she will spend her days beautiful, but at sunset turn into the ugly creature she is now, until the curse is removed by love’s first kiss. She then starts to cry, saying that she must marry Farquaad before sunset. Just as Fiona expresses doubt that anyone could love someone so ugly, Shrek, who has gathered flowers and practiced loving endearments to tell Fiona, approaches the door of the windmill and thinks that she is speaking of him. The next morning, Shrek angrily tells Fiona he heard what she said the previous night, and she assumes that he knows about the curse but does not care for her because she is ugly. Just then, Farquaad and his entourage arrive, and he proposes to Fiona, who immediately accepts and suggests that they marry that day. After Fiona rides off with Farquaad, Shrek angrily rejects Donkey’s advice and the two part. During the ensuing hours, Fiona pines for Shrek as she prepares for her wedding, while Shrek sadly returns to his lonely swamp and Donkey encounters the lovesick Dragon, who has followed him. Later, Shrek hears something outside and finds Donkey building a wall with some branches. Donkey chastises Shrek for building his own walls and for pushing away Fiona, who likes—and may even love him. Shrek then apologizes to Donkey, who forgives him because "that is what friends are for," and the two determine to stop Fiona’s marriage to Farquaad. With the aid of the happily smitten Dragon, Shrek and Donkey arrive at the Duloc cathedral just as Fiona and Farquaad are pronounced man and wife. Shrek rushes up the aisle and tells Fiona he wants to talk with her, incurring Farquaad’s contempt for being an ogre in love with a princess. Just then the sun begins to set and Fiona turns into her ogre self. When Shrek tells her he loves her, she admits that she loves him, too, and they kiss, apparently breaking the curse. Fiona does not understand why she has not transformed into her beautiful self, but Shrek assures her she is beautiful. Some time later, in the swamp, Fiona and Shrek marry, with all of their fairy tale creatures in attendance, then ride off on their honeymoon in an onion magically transformed into a coach. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award
The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.