Category: All About Nina

In a new interview with Ion Cinema, director Eva Vives revealed how she decided to cast Mary in her new film All About Nina, hitting select theaters on September 28. Be sure to click the link to read it in full:

I was wondering what characteristics, sensibilities, perhaps even previous roles help shape your casting choice for Mary Elizabeth Winstead? What were those first conversations like about the character of Nina like?

Vives: Well, most of her work really because I think she’s fantastic and versatile and layered and subtle, which is not valued these days as much as it should be. Specially in women. But the moment that made me fall in love with her (and I told her this) was the scene when she pisses herself in SMASHED. And even more specifically, a particular moment right after she pees when she actually looks relived and happy for a second! I love that. I rewatched it again when I was thinking about casting her and I thought: someone who can play all those emotions so quickly, can also play Nina.

The biggest question for Nina (for any actress) was anger. The very first meeting I had with Mary she said the over-riding emotion for her for Nina was rage. The minute she said that word, I knew we saw her the same way. We had a lot of conversations (on set specially) about how much rage she was keeping down at any given moment. She’s a tough character to play because of all the things she doesn’t say. That’s what I think Mary excels at – and that’s saying a lot because she’s such a great actor overall. I also particularly enjoyed seeing her come to her anger with Nina because Mary is SO not like that. So it was really an amazing transformation to witness.

I would say “action” and she would just… turn into someone else. I remember one day, when we were shooting the first scene with Jay Mohr and Mary said her line: “Have fun jacking off to me tonight.” Jay asked her to say it again and Mary was like: “No, fuck off!” And Jay was like: “No, I just need to get my line right.” We all started laughing because she was so in character that she told him to fuck off which is exactly what Nina would have done.

 

Lavallee: Can you discuss the collaborative process you had with your cinematographer?
Vives: Thomas Scott Stanton, my wonderful DP, was seminal in helping me choose the look of the film, of course. But also, and since we are acknowledging the contributions that key people have on film, I want to say that Thomas was so so great in dealing with actors.

or example, in the scene in which Nina cries in the bathroom… I went to see Mary in her trailer and as soon as I saw her, I realized she was ready to go. So I left and ran back to the set and the bathroom where Thomas was lighting with his team and I said: “She’s ready. We gotta go.” And he saw my face and understood, I didn’t want to miss it, to let the moment pass with Mary. So he said: Ok.

She came in, I said lets just do one shot and let it go and see what happens and the minute I said action, she started crying like… she hadn’t in years (the character I mean). We let her cry as long as she wanted, until she was done. I checked in with Thomas a couple of times. He gave me the thumbs up. And that was that.

It sounds simple but he could have fucked that up by adjusting lights too much or being precious about something in that moment. He understood that Mary’s performance was integral to the film and if he didnt get that, the rest didnt matter.

Two new videos of Mary at the Tribeca Film Festival world premiere of All About Nina have been uploaded. Check out the vids below:

Under the Radar magazine caught up with Mary and her All About Nina director Eva Vives during the Tribeca Film Festival last week. You can read part of the interview below and click the link provided to read it in full:

Do either of you have any experience doing stand-up?

Winstead: Now I do. This was my first foray into it.

Eva Vives: I was there for her first performance.

Winstead: It was one of the most nerve-wracking things I’ve ever done, I think. I was kind of paralyzed with fear about it. When we were just at the stage of getting ready to do it, I’d always thought I’d really throw myself into it, and immerse myself in it. I’d do open mics, and I’d do all of these things. But then, I was scared to do it. And then part of me thought, “You know, I’m not really a comedian.” Like, [my character] is supposed to be good at it, and if I just went and did open mics, I’d suck at it. [Laughs] it wasn’t necessarily going to do what I wanted it to do, you know?

So instead I just tried to harness her confidence with it. I’d just go in and believe in what I was saying, and believe that it was funny. It helped that it was funny, between what Eva had written and the consultant we worked with, Jamie Loftus, who came in and helped us as well.

Mary, what are things that excited you most about the role?

Winstead: I mean, all of those things: the layers of the character are undeniable. Sometimes you read scripts, and especially for a woman looking for an interesting role, it’s really clear when it’s there on the page, because it doesn’t happen all the time.

At first I was reading the script just casually, but then I was reading it, and reading it, and reading it, and I got through to the end and just went, “Oh my god.” This was an incredible opportunity to be really challenged by a character, and also to do something really meaningful in terms of what it was saying. It was kind of a no-brainer. When I met with Eva, I was so on board immediately.

The role looks like it was very challenging. The character shows such a wide range of emotion – she’ll be on stage, confident and in command in one scene, and then a crying mess moments later.

Winstead: It was a challenge, which is what I wanted. The best experiences, for me, are when you’re excited about something and then you go to do it, and you’re sick with nerves over whether you actually might be able to pull it off. As awful as that moment is, it’s always the best. That’s really what I strive for in the roles I take on.