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by Nigel M Smith
January 4, 2013 1:10 PM
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Rosemarie DeWitt On The Tricky Nature of 'Promised Land' and What To Expect From Lynn Shelton's 'Touchy Feely'

Focus Features "Promised Land"

Prior to last year, Rosemarie DeWitt was best known as Don Draper's ex-mistress on "Mad Men" and as the titular character in Jonathan Demme's Oscar-nominated "Rachel Getting Married. In 2012, the actress had what was arguably her highest-profile year to date by appearing in a whopping five features including Lynn Shelton's improvised comedy "Your Sister's Sister" (which recently surprised at the Gotham Award by picking up Best Ensemble over "Moonrise Kingdom" and "Silver Linings Playbook") and Gus Van Sant's fracking drama "Promised Land" (which opens wide this Friday after opening in select theaters late last year). Her 2013 is shaping up nicely too, with her second Shelton film "Touchy Feely," set to world premiere at this month's Sundance Film Festival.

Indiewire sat down with DeWitt in New York in December to discuss her role as a small-town elementary school teacher who finds herself at the center of a love triangle in "Promised Land" and what it was like to reunite with Shelton for "Touchy Feely."

How would you characterize this year? Would you say it's been your best yet, careerwise?

It's so funny because for me what's amazing is doing the job. You know what I mean? It's great to see the movie when it comes out. But for me, where the experience lives is when we shoot. I feel lucky that there's been this bounty of work and that the flow has continued. But to me, it doesn't feel encapsulated in this year.

The last few years have been good. I've gotten to work with some really talented writers and directors and actors. That's really exciting. It does ruin you a little bit, because you then want to keep working with people on that level all of the time. Those are always the gets. It's like "Promised Land"… what a crew to work with! But yeah, it's been a good couple of years.

Focus Features "Promised Land"

How did you get on Gus Van Sant's radar? Was it John Krasinski who brought you on board following your work together in "Nobody Walks"?

We joke that it was Emily Blunt [Krasinski's wife], since we worked together before. But I think it was Francine Maisler, the casting director. I had come close… she had brought me in for various projects over the years and we got really close. I think initially the character was conceived a bit younger. Francine told me not to pay attention to that and just make a tape. I was in North Carolina at the time -- my husband was doing a movie there -- and they said, "The only thing is that you have to do is send it to Gus today." So I just read the script all day and when my husband wrapped at two in the morning, we were in a hotel room with a flip camera making a tape for Gus. And then I guess from the tapes he saw a bunch of girls. I met with Matt and we shot in a bar at 9 am for a screen test.

You know what Gus did that was really cool? He then took all the auditions and edited them together like a film for the studio. I think that always helps you get the job -- when you have his fingertips on your audition tape.

It's so bewildering to hear that Gus had to sell you to the studio.

I think they have to sell everybody. I mean there's so much on the line, especially with the economy, raising money for film. Unless you're someone they know, that the audience is going to come see, then it's all a gamble.

I just figured someone like Gus had carte blanche to cast whomever he wants.

I think it's easier to get jobs with those guys, because they've earned the right to cast who they want. So I think the studios give them more leeway.

Focus Features "Promised Land"

About fracking: did you know anything about it before taking this on?

A little bit, but I felt I learned a lot working on this movie. The thing I learned the most was just how complicated the issue was. And going to shoot in Pittsburg, you really felt that. There were people showing up on set, local people, who said "Don't make a movie that says it's bad, 'cause we need this." And we felt that they needed it. Then I was even more proud to be a part of this movie, because it's great to be something that starts a conversation. Like you asked, "Do you know anything about it?" A lot of people don't know anything about it. And even though I know that the movie isn't about that, they can take any topical issue and put it at the center -- it's one man and his journey of how to become part of a community -- I was really happy that people will get to learn about fracking, because it is a tremendous resource.

The film makes a good case for that.

Yeah, and it's good to see what all the different moving parts are, because we're going to be asked these questions in the near future. If we don't live in upstate New York or somewhere near, we're going to be asked at some point, no matter where we live or what community we're a part of, to say, "What do you want to do?"

Did you really ingrain yourself into that community to prep?

Well, the shoot was only 30 days. You know what it was -- I guess people had heard of the movie before we started to shoot, and they wanted to be heard. No matter where they stood on the issue, they wanted their voices heard, so they showed up on set.

1 Comment

  • Helena Von Weinberg | January 4, 2013 4:03 PMReply

    Helena Von Weinberg| January 4, 2013 4:00 PMReply

    This is an open letter to Keri Putnam and Jill Miller and is also a petition directed to the Board of Directors at the Sundance Film Institute to discharge both Keri Putnam and Jill Miller of their positions at the Sundance Institute. Both Keri Putnam and Jill Miller have refused to acknowledge the inappropriate conduct of the head of the programming departments, John Cooper whose lack of professional judgement, courtesy, and general management capabilities is appalling; furthermore, I intend to expostulate the current matter until I nullify Sundance Institutes mandatory submission process and it ceases to accept fees from filmmakers who it has been bamboozling from its monotonous antiquated pretenses.
    This open letter is posted on my web-site www.malibubeachla.com
    Signed Helena Von Weinberg