en 's home was described as " equally lacking in warmth " as the office but more lavishly decorated and " for show " , including an intentionally oversized portrait of him with his " trophy wife " .   Designing Julia 's office was described as a " challenge " , infusing a " sensual vibe " into a dental office . Frankel approached the design through Julia 's mentality , stating , " She 's a Type A professional at the top of her game , who likes to play cat @-@ and @-@ mouse , so it 's a completely controlled environment , with apertures and views into other rooms so she always knows what 's going on " . " It 's highly designed , with rich wallpaper and tones , sumptuous artwork and subtle lighting — all very disarming till you step into her private office . The blinds close , the door locks and you think , ' It 's the Temple of Doom . ' " Similarly approaching the character 's home , the design allowed for wide windows which face onto a public street " which afford her the opportunity to put on the kind of show she couldn 't get away with at work . "   Bobby 's environments were designed with more contrast , the character being new to the work area . Frankel described the contrast as " the company reflects [ Jack Pellitt 's ] human touch , whereas [ Bobby Pellitt 's ] home is a shameless shrine to himself and his hedonistic appetites . " Frankel continued , " It features a mishmash of anything he finds exotic and erotic , mostly Egyptian and Asian motifs with an ' 80s Studio 54 vibe , a makeshift dojo , lots of mirrors and a massage table . " Some parts of the house design were provided by Farrell and Gordon 's interpretation of the character and his " infatuation " with martial arts and " his delusions of prowess " .   = = = Filming = = =   Filming of Horrible Bosses took place in and around Los Angeles . The production team attempted to find locations " that people haven 't already seen a hundred times in movies and on TV " , aiming for the film to appear as if it could be taking place anywhere in America " where people are trying to pursue the American dream but getting stopped by a horrible boss . " " Comnidyine " was represented by an office building in Torrance , California , with the crew building the set on a vacant floor . For " Pellitt Chemical " , the production team found a " perfect landscape of pipes and containers " in Santa Fe Springs , surrounding an unoccupied water cleaning and storage facility . To take advantage of the surrounding imagery , the warehouse required an extensive series of overhauls , including cutting windows into concrete walls and creating new doorways to allow for visuals of the warehouse exterior and provide a setting for the final scene of Sutherland 's character . A T.G.I. Friday 's in Woodland Hills , Los Angeles , was used as a bar frequented by Nick , Dale , and Kurt , while the bar scene where they meet with Jones was staged in downtown Los Angeles .   The film was shot digitally using the Panavision Genesis camera . Gordon encouraged the actors to improvise , though Aniston claimed to not have taken advantage of the offer as much as her co @-@ stars , stating , " My dialogue was just so beautifully choreographed that there wasn ’ t much that I needed to do ” .   = = = Music = = =   The soundtrack was composed by award @-@ winning composer Christopher Lennertz , with music contributed by Mike McCready of Pearl Jam , Stefan Lessard of Dave Matthews Band and Money Mark — a collaborator with the Beastie Boys . McCready , Lessard , and Mark worked with musicians Matt Chamberlain , David Levita , Aaron Kaplan , Victor Indrizzo , Chris Chaney , Davey Chegwidden and DJ Cheapshot to develop the music . Major contributions were provided by Mark on keyboard , McCready and Levita on guitar , Chaney and Lessard on bass , Indrizzo on drums and DJ Cheapshot on turntables .   Lennertz recorded the soundtrack at The Village recording studio in West Los Angeles and Capitol Records . Lennertz attempted to remain " authentic " to the characters ' progression from average worker to calculated killer . To achieve this aim , he decided against recording digitally , instead recording the tracks on two @-@ inch analog tape , intending each musical cue to sound as if it was emanating from a vinyl record . He explained , " The idea was to put together a band that would record the score together the same way that they would make an album . It isn 't over @-@ produced or shiny and digital in any way . It 's brash , noisy , and full of bravado and swagger . I knew that if we could harness some of this sonic magic in the score , then the toughness and confidence of the music would play against
en Ġ' s Ġhome Ġwas Ġdescribed Ġas Ġ" Ġequally Ġlacking Ġin Ġwarmth Ġ" Ġas Ġthe Ġoffice Ġbut Ġmore Ġlav ishly Ġdecorated Ġand Ġ" Ġfor Ġshow Ġ" Ġ, Ġincluding Ġan Ġintentionally Ġoversized Ġportrait Ġof Ġhim Ġwith Ġhis Ġ" Ġtrophy Ġwife Ġ" Ġ. Ġ Ġ ĠDesign ing ĠJulia Ġ' s Ġoffice Ġwas Ġdescribed Ġas Ġa Ġ" Ġchallenge Ġ" Ġ, Ġinf using Ġa Ġ" Ġsens ual Ġvibe Ġ" Ġinto Ġa Ġdental Ġoffice Ġ. ĠFran kel Ġapproached Ġthe Ġdesign Ġthrough ĠJulia Ġ' s Ġmentality Ġ, Ġstating Ġ, Ġ" ĠShe Ġ' s Ġa ĠType ĠA Ġprofessional Ġat Ġthe Ġtop Ġof Ġher Ġgame Ġ, Ġwho Ġlikes Ġto Ġplay Ġcat Ġ@ - @ Ġand Ġ@ - @ Ġmouse Ġ, Ġso Ġit Ġ' s Ġa Ġcompletely Ġcontrolled Ġenvironment Ġ, Ġwith Ġa pert ures Ġand Ġviews Ġinto Ġother Ġrooms Ġso Ġshe Ġalways Ġknows Ġwhat Ġ' s Ġgoing Ġon Ġ" Ġ. Ġ" ĠIt Ġ' s Ġhighly Ġdesigned Ġ, Ġwith Ġrich Ġwallpaper Ġand Ġtones Ġ, Ġsum pt uous Ġartwork Ġand Ġsubtle Ġlighting ĠâĢĶ Ġall Ġvery Ġdis arming Ġtill Ġyou Ġstep Ġinto Ġher Ġprivate Ġoffice Ġ. ĠThe Ġblind s Ġclose Ġ, Ġthe Ġdoor Ġlocks Ġand Ġyou Ġthink Ġ, Ġ' ĠIt Ġ' s Ġthe ĠTemple Ġof ĠDoom Ġ. Ġ' Ġ" ĠSimilarly Ġapproaching Ġthe Ġcharacter Ġ' s Ġhome Ġ, Ġthe Ġdesign Ġallowed Ġfor Ġwide Ġwindows Ġwhich Ġface Ġonto Ġa Ġpublic Ġstreet Ġ" Ġwhich Ġafford Ġher Ġthe Ġopportunity Ġto Ġput Ġon Ġthe Ġkind Ġof Ġshow Ġshe Ġcouldn Ġ' t Ġget Ġaway Ġwith Ġat Ġwork Ġ. Ġ" Ġ Ġ ĠBobby Ġ' s Ġenvironments Ġwere Ġdesigned Ġwith Ġmore Ġcontrast Ġ, Ġthe Ġcharacter Ġbeing Ġnew Ġto Ġthe Ġwork Ġarea Ġ. ĠFran kel Ġdescribed Ġthe Ġcontrast Ġas Ġ" Ġthe Ġcompany Ġreflects Ġ[ ĠJack ĠPell itt Ġ' s Ġ] Ġhuman Ġtouch Ġ, Ġwhereas Ġ[ ĠBobby ĠPell itt Ġ' s Ġ] Ġhome Ġis Ġa Ġshameless Ġshrine Ġto Ġhimself Ġand Ġhis Ġhe don istic Ġappet ites Ġ. Ġ" ĠFran kel Ġcontinued Ġ, Ġ" ĠIt Ġfeatures Ġa Ġmish m ash Ġof Ġanything Ġhe Ġfinds Ġexotic Ġand Ġerotic Ġ, Ġmostly ĠEgyptian Ġand ĠAsian Ġmotif s Ġwith Ġan Ġ' Ġ80 s ĠStudio Ġ54 Ġvibe Ġ, Ġa Ġmakeshift Ġdo jo Ġ, Ġlots Ġof Ġmirrors Ġand Ġa Ġmassage Ġtable Ġ. Ġ" ĠSome Ġparts Ġof Ġthe Ġhouse Ġdesign Ġwere Ġprovided Ġby ĠFarrell Ġand ĠGordon Ġ' s Ġinterpretation Ġof Ġthe Ġcharacter Ġand Ġhis Ġ" Ġinf at uation Ġ" Ġwith Ġmartial Ġarts Ġand Ġ" Ġhis Ġdelusions Ġof Ġprowess Ġ" Ġ. Ġ Ġ Ġ= Ġ= Ġ= ĠFil ming Ġ= Ġ= Ġ= Ġ Ġ ĠFil ming Ġof ĠHor rible ĠBoss es Ġtook Ġplace Ġin Ġand Ġaround ĠLos ĠAngeles Ġ. ĠThe Ġproduction Ġteam Ġattempted Ġto Ġfind Ġlocations Ġ" Ġthat Ġpeople Ġhaven Ġ' t Ġalready Ġseen Ġa Ġhundred Ġtimes Ġin Ġmovies Ġand Ġon ĠTV Ġ" Ġ, Ġaiming Ġfor Ġthe Ġfilm Ġto Ġappear Ġas Ġif Ġit Ġcould Ġbe Ġtaking Ġplace Ġanywhere Ġin ĠAmerica Ġ" Ġwhere Ġpeople Ġare Ġtrying Ġto Ġpursue Ġthe ĠAmerican Ġdream Ġbut Ġgetting Ġstopped Ġby Ġa Ġhorrible Ġboss Ġ. Ġ" Ġ" ĠCom n idy ine Ġ" Ġwas Ġrepresented Ġby Ġan Ġoffice Ġbuilding Ġin ĠTor rance Ġ, ĠCalifornia Ġ, Ġwith Ġthe Ġcrew Ġbuilding Ġthe Ġset Ġon Ġa Ġvacant Ġfloor Ġ. ĠFor Ġ" ĠPell itt ĠChemical Ġ" Ġ, Ġthe Ġproduction Ġteam Ġfound Ġa Ġ" Ġperfect Ġlandscape Ġof Ġpipes Ġand Ġcontainers Ġ" Ġin ĠSanta ĠFe ĠSprings Ġ, Ġsurrounding Ġan Ġun occupied Ġwater Ġcleaning Ġand Ġstorage Ġfacility Ġ. ĠTo Ġtake Ġadvantage Ġof Ġthe Ġsurrounding Ġimagery Ġ, Ġthe Ġwarehouse Ġrequired Ġan Ġextensive Ġseries Ġof Ġoverhaul s Ġ, Ġincluding Ġcutting Ġwindows Ġinto Ġconcrete Ġwalls Ġand Ġcreating Ġnew Ġdoor ways Ġto Ġallow Ġfor Ġvisuals Ġof Ġthe Ġwarehouse Ġexterior Ġand Ġprovide Ġa Ġsetting Ġfor Ġthe Ġfinal Ġscene Ġof ĠSutherland Ġ' s Ġcharacter Ġ. ĠA ĠT . G . I . ĠFriday Ġ' s Ġin ĠWood land ĠHills Ġ, ĠLos ĠAngeles Ġ, Ġwas Ġused Ġas Ġa Ġbar Ġfrequ ented Ġby ĠNick Ġ, ĠDale Ġ, Ġand ĠKurt Ġ, Ġwhile Ġthe Ġbar Ġscene Ġwhere Ġthey Ġmeet Ġwith ĠJones Ġwas Ġstaged Ġin Ġdowntown ĠLos ĠAngeles Ġ. Ġ Ġ ĠThe Ġfilm Ġwas Ġshot Ġdigitally Ġusing Ġthe ĠPan av ision ĠGenesis Ġcamera Ġ. ĠGordon Ġencouraged Ġthe Ġactors Ġto Ġimprov ise Ġ, Ġthough ĠAn iston Ġclaimed Ġto Ġnot Ġhave Ġtaken Ġadvantage Ġof Ġthe Ġoffer Ġas Ġmuch Ġas Ġher Ġco Ġ@ - @ Ġstars Ġ, Ġstating Ġ, Ġ" ĠMy Ġdialogue Ġwas Ġjust Ġso Ġbeautifully Ġchore ographed Ġthat Ġthere Ġwasn ĠâĢ Ļ Ġt Ġmuch Ġthat ĠI Ġneeded Ġto Ġdo ĠâĢ Ŀ Ġ. Ġ Ġ Ġ= Ġ= Ġ= ĠMusic Ġ= Ġ= Ġ= Ġ Ġ ĠThe Ġsoundtrack Ġwas Ġcomposed Ġby Ġaward Ġ@ - @ Ġwinning Ġcomposer ĠChristopher ĠLenn ert z Ġ, Ġwith Ġmusic Ġcontributed Ġby ĠMike ĠMcC ready Ġof ĠPearl ĠJam Ġ, ĠStefan ĠLess ard Ġof ĠDave ĠMatthews ĠBand Ġand ĠMoney ĠMark ĠâĢĶ Ġa Ġcollaborator Ġwith Ġthe ĠBeast ie ĠBoys Ġ. ĠMcC ready Ġ, ĠLess ard Ġ, Ġand ĠMark Ġworked Ġwith Ġmusicians ĠMatt ĠChamberlain Ġ, ĠDavid ĠLev ita Ġ, ĠAaron ĠKaplan Ġ, ĠVictor ĠInd ri zzo Ġ, ĠChris ĠCh aney Ġ, ĠDave y ĠChe g w idden Ġand ĠDJ ĠCheap shot Ġto Ġdevelop Ġthe Ġmusic Ġ. ĠMajor Ġcontributions Ġwere Ġprovided Ġby ĠMark Ġon Ġkeyboard Ġ, ĠMcC ready Ġand ĠLev ita Ġon Ġguitar Ġ, ĠCh aney Ġand ĠLess ard Ġon Ġbass Ġ, ĠInd ri zzo Ġon Ġdrums Ġand ĠDJ ĠCheap shot Ġon Ġtur nt ables Ġ. Ġ Ġ ĠLenn ert z Ġrecorded Ġthe Ġsoundtrack Ġat ĠThe ĠVillage Ġrecording Ġstudio Ġin ĠWest ĠLos ĠAngeles Ġand ĠCapitol ĠRecords Ġ. ĠLenn ert z Ġattempted Ġto Ġremain Ġ" Ġauthentic Ġ" Ġto Ġthe Ġcharacters Ġ' Ġprogression Ġfrom Ġaverage Ġworker Ġto Ġcalculated Ġkiller Ġ. ĠTo Ġachieve Ġthis Ġaim Ġ, Ġhe Ġdecided Ġagainst Ġrecording Ġdigitally Ġ, Ġinstead Ġrecording Ġthe Ġtracks Ġon Ġtwo Ġ@ - @ Ġinch Ġanalog Ġtape Ġ, Ġintending Ġeach Ġmusical Ġcue Ġto Ġsound Ġas Ġif Ġit Ġwas Ġemanating Ġfrom Ġa Ġvinyl Ġrecord Ġ. ĠHe Ġexplained Ġ, Ġ" ĠThe Ġidea Ġwas Ġto Ġput Ġtogether Ġa Ġband Ġthat Ġwould Ġrecord Ġthe Ġscore Ġtogether Ġthe Ġsame Ġway Ġthat Ġthey Ġwould Ġmake Ġan Ġalbum Ġ. ĠIt Ġisn Ġ' t Ġover Ġ@ - @ Ġproduced Ġor Ġshiny Ġand Ġdigital Ġin Ġany Ġway Ġ. ĠIt Ġ' s Ġbr ash Ġ, Ġnoisy Ġ, Ġand Ġfull Ġof Ġbrav ado Ġand Ġsw agger Ġ. ĠI Ġknew Ġthat Ġif Ġwe Ġcould Ġharness Ġsome Ġof Ġthis Ġsonic Ġmagic Ġin Ġthe Ġscore Ġ, Ġthen Ġthe Ġtoughness Ġand Ġconfidence Ġof Ġthe Ġmusic Ġwould Ġplay Ġagainst