A great new article from Improper Bostonian and photoshoot!
A suite on the 31st floor of the Waldorf Towers is a study in costly surfaces. Celeste blue wallpaper, cabriole legs, curtains slung in dangling brocade. The armchairs are plashed in old silk, the prints are a-trot with thoroughbreds. It is, in short, a stage.
In a chair by the tea service, John Krasinski is talking with the fluid animation of an Ivy League grad bolstered by nine seasons of an international hit sitcom and a marriage to Emily Blunt.
“It’s not about the control,” he says, referring to the production of his new movie, Promised Land. “It was about the camaraderie.”
As if on cue, one of the world’s top box office draws—and Promised Land’s costar and cowriter—arrives. Matt Damon is polite, even courtly, although his hair is shaved in a penal crop from reshoots on Neill Blomkamp’s upcoming sci-fi flick, Elysium. After shaking hands he swerves towards the refreshments tray, his brow furrowed over the breakfast china.
“Did you try the coffee?” asks the voice of Jason Bourne.
“No, is it good?” replies the voice of Jim from The Office.
“Well, mine wasn’t. Mine was really watered down. Maybe it came from the same pot.… We’re about to find out.” He sloshes it into a hotel issue cup. “No, no, no, no. This is much more rich.”
“They give me the good stuff,” laughs Krasinski. Rapidfire, Damon tosses shreds of muffin into his mouth and scoots up a chair.
“Awesome,” he says. “I’m in.”
People didn’t expect Matt Damon’s second major co-writing credit to appear alongside the name of John Krasinski. “Matt and Ben” is as much of a pop culture cliché as “My boy’s wicked smaht.” Krasinski’s former colleague on The Office, Mindy Kaling, made her name with those names, writing a play about how Good Will Hunting got made. But when the Internet started jabbering about an upcoming screenplay by Krasinski and Damon, it seemed like a natural match. Damon was a superstar, and by the second season of The Office, Krasinski had supplanted Barney Frank as Newton’s favorite son—his eyebrow alone expresses as much submission to cosmic absurdity as Camus’ Myth of Sisyphus. And hometown ties count.
A great article on NY Times, which will be in print this sunday. Thanks Ali for the heads up!
“IT’S the moment every actor actually fears,” Matt Damon said, looking around a suite at the Waldorf-Astoria in mock terror.
The night before he’d been at Cipriani, of all harrowing places, to receive a tribute at the Gotham Independent Film Awards. “It was one of those career achievements that makes me feel like it’s over for me,” he said, not entirely seriously. John Krasinski, a star of “The Office” on NBC, had presented the award. Now he sat grinning in the next chair. The two men wore suspiciously similar sweaters.
“How did you like your time here, Matt?” Mr. Krasinski asked, affecting a stern tone.
“Wait, what, sorry?” Mr. Damon said, playing along. He mimed being dragged away. “Then they take you in the back room ——”
“And shiv you,” Mr. Krasinski finished, with evident relish.
The banter was spontaneous, the rapport hard-earned. Mr. Damon, 42, and Mr. Krasinski, 33, are friends; they met through Mr. Krasinski’s wife, the actress Emily Blunt, when she starred opposite Mr. Damon in last year’s romantic thriller “The Adjustment Bureau.” They’re also collaborators and co-stars in a new movie, “Promised Land.” Their ease at improvising a scene is the result of practice. In addition to acting in “Promised Land” they wrote and produced the film, running lines and hammering out drafts in between day jobs, working weekends alongside Mr. Damon’s four rambunctious children in his Los Angeles home.
The film, directed by Gus Van Sant, concerns what happens when a natural gas company comes to a small town somewhere in the Marcellus Shale in the rural Northeast, intent on persuading the town’s working-class residents to allow the company to drill on their land. Mr. Damon plays Steve Butler, a blithely confident representative of the drilling company; Mr. Krasinski plays Dustin Noble, an earnest environmental activist with a nasty edge. At issue is the technique of fracking, the controversial method that the company in the film uses to extract gas, and the corrosive influence of the vast wealth that Mr. Damon’s character can promise and that Mr. Krasinski’s character is intent on resisting.
In an interview Mr. Van Sant described “Promised Land” as a “simple learning film,” an earnest, Capraesque meditation on the conflicting dictates of stewardship, hardship economics and fraying community values. By Mr. Damon’s standards, it’s a small movie, made for a modest budget of about $15 million and opening Friday in a limited number of theaters. (A wider release will come in January.) But it’s also a turning point — and something of a departure — for both Mr. Damon, who was scheduled to direct “Promised Land” before bowing out at the last moment, and Mr. Krasinski, whose show “The Office” is ending after an eight-year run.
“I feel like I’m on a precipice, jumping off for good,” Mr. Krasinski said. “To not be sure what’s next after that is completely terrifying.”
For Mr. Damon the stakes are equally real, if more elusive. He does not exactly lack for work. Last year he starred in Cameron Crowe’s “We Bought a Zoo,” Steven Soderbergh’s “Contagion” and George Nolfi’s “Adjustment Bureau,” among other high-profile films, and next year he’ll be in “Elysium,” a science-fiction blockbuster from the director Neill Blomkamp. When shooting went long on that film, Mr. Damon was forced to give up the director’s chair on “Promised Land” for lack of time to prepare.
Uncharacteristically “Promised Land” will be the only film that Mr. Damon appears in this year. And that, he said, is a point of pride. “It’s a different feeling to work this in depth with a movie. Usually we show up, and we’re the mercenaries.”
His longtime friend Ben Affleck noted that it was neither easy nor politically simple for an actor of Mr. Damon’s stature to take a year off to work on his own project. “His career is full of the most extraordinary opportunities that an actor could ever dream of. So naturally the instinct isn’t to just turn away from that and say, ‘Let me sit at home staring at a blank page for six months.’ ”
On “Promised Land” Mr. Damon and Mr. Krasinski did everything from recruiting the cast, which also includes Rosemarie DeWitt, Hal Holbrook and Frances McDormand, to scouting locations. That involvement provided “a much richer and deeper feeling of ownership,” Mr. Damon said.
The film may be Mr. Van Sant’s first collaboration with Mr. Krasinski, who previously wrote and directed an adaptation of David Foster Wallace’s “Brief Interviews With Hideous Men.” But Mr. Van Sant and Mr. Damon have some history together. The director is fond of recalling a wager he was once tempted to make with the producer Laura Ziskin, back when Mr. Damon was an unknown actor auditioning for a part in Mr. Van Sant’s mordant comedy “To Die For.”
“He came in, he did a regular reading like everybody else, and when he left, the producer said, ‘That’s a movie star.’ ” Mr. Van Sant recalled. “You meet a lot of magnanimous, forthcoming, attractive, intelligent, talented people in your casting sessions. But somehow she just thought he was the thing. And if I was asked to bet — like a Las Vegas bet — I would’ve voted against.”
Most moviegoers know the rest of this story. Mr. Damon did not get the part. But he and his writing partner, Mr. Affleck, did eventually win Mr. Van Sant over, persuading him to take on a screenplay of theirs called “Good Will Hunting.” That script led Mr. Damon and Mr. Affleck to an Oscar, cementing their reign at the end of the last century as “the most overpublicized writing duo in some time,” as Mr. Affleck ruefully put it.
This month is the 15th anniversary of “Good Will Hunting,” and Mr. Damon admitted he’d been thinking about the film more than he had in a while. Writing “Promised Land,” Mr. Damon said, “we’d basically just be in a room with a laptop open and kind of hashing out the scenes, pacing around the room. It’s really exactly the way Ben Affleck and I wrote ‘Good Will Hunting.’ ”
And how, a reporter tentatively asked, did Mr. Krasinski compare to Mr. Affleck?
“Strikingly similar,” Mr. Damon said, laughing. “Honestly. The writing experience is the same.” (Mr. Affleck said, by way of wry response, “I think John is very, very talented.”)
This time Mr. Krasinski originated the idea to write a film about “American identity,” as he put it, one that focused on the working people whom he saw as marginalized in the present political climate.
“My dad grew up in a steel mill town just outside of Pittsburgh, and all his stories of growing up seemed so incredibly inspiring,” Mr. Krasinski said. “I wanted to write a movie where these people were in a situation that was representative as a whole of everything that we’re going through as a country.” Mr. Krasinski called the author Dave Eggers, whom he knew from the film “Away We Go,” and the two men worked out a basic concept (Mr. Eggers has a story credit on “Promised Land”) before Mr. Krasinski took the idea to Mr. Damon.
“Promised Land” quickly found a home at Warner Brothers, where Mr. Damon has a production deal. But the financing was contingent on Mr. Damon’s directing.
“I knew that when I bowed out that we were going to lose our” — Mr. Damon used another word for emphasis — “money.” In desperation he e-mailed their script to Mr. Van Sant from an airport runway. By the time he had landed, Mr. Van Sant had signed on, and the project eventually found a new home with Focus Features.
“As a producer I like to say that the smartest thing I did on the movie was firing myself as the director,” Mr. Damon said.
The behind-the-scenes experience on “Promised Land,” both men said, was something that they were eager to repeat.
“It was my wife who said to me after we’d been writing for a couple months, ‘I haven’t seen you this happy working,’ ” Mr. Damon said.
“And it’s true. I’d forgotten how much fun it is to start from scratch.”
In the 15 years since Matt Damon and Ben Affleck won the Academy Award for their “Good Will Hunting” screenplay, Damon has worked with some of Hollywood’s best directors, become a humanitarian in Africa and even parodied himself with the help of Kevin Smith and Jimmy Kimmel. What he hasn’t done is write another script.
In partnership with John Krasinski of “The Office,” Damon, 42, has returned to the blank page, co-writing “Promised Land,” a script that he initially intended to direct, about a young comer in the natural gas industry who is selling the controversial practice of “fracking” to homeowners in struggling rural communities.
Despite the lengthy interlude between scripts, the process, he said, felt remarkably familiar to his collaboration with Affleck.
“John usually has his laptop, and we jump around the room gesturing at each other and he writes stuff down,” said Damon during a conversation with Krasinski, whom he credits with shepherding the project through. “It’s actually the way Ben and I did it. Ben and John are the two funniest guys I know, and it ends up that we just laugh for eight hours straight and at the end we have a few scenes that we really like.”
Krasinski would crisscross North America, meeting up with Damon on weekends in Vancouver, Canada, while Damon was shooting “Elysium,” or in New York when the married father of four was back home doting on his household full of women.
“We wrote in the middle of barbecues, pizza time. I was a villain for a month and a half, the dude that was taking their dad away,” said Krasinski, 33, whose wife, Emily Blunt, starred opposite Damon in “The Adjustment Bureau.” That’s how the men met.
Despite the almost 10-year age gap, Damon and Krasinski have a lot in common. Both hail from Boston, each could compete in a pearly whites contest with their bright Hollywood smiles and, surely if Damon were ever to hand off his “nicest guy in Hollywood” title, it would have to go to Krasinski. Still, despite the easy rapport the two have, the process of getting “Promised Land” to production was anything but simple.
First, there was their working styles. Krasinski is lightning fast; Damon not so much.
“John is like a supercomputer. His mind is fast. And I go in real time. I read at the speed in which I talk,” said Damon. “John would spit out all these ideas, and it would literally put me into brain freeze, where I would just sit there.”
Which in turn would throw Krasinski into bouts of insecurity seeing Damon’s stony reaction to his ideas. “I thought he hated me and wanted me to leave.”
That is until Damon’s wife unlocked the secret to that blank stare. “She said, ‘You know how Matt works? Before bed, I’ll say we’ve got to do this, pick this kid up, do this with this person, and he would just stare at me and I’d get really furious,'” relayed Krasinski.
“I’m just trying to make sure I can do everything she says,” Damon jumped in.
“The moment she told me that, the light bulb went off,” Krasinksi said. “The second half of [writing] was so much easier. I didn’t slow down, but I’d wait. I’d go watch a half hour of television. Then I’d come back and Matt would say, ‘Oh, I got it. I like it.'”
The next hurdle was the story itself. The project began as a story about wind farms. A two-hander, abstractly sketched with the help of novelist Dave Eggers. It featured Damon as a slick city boy in CAA-agent-quality suits and a female country mouse, to be played by Frances McDormand, with Krasinski as the interloper. But when the two writers went to scout locations in upstate New York to confirm their premise that fly-by-night companies were erecting wind towers only to collect the government subsidies and hand them over to coal companies — never actually powering up the towers — they were shocked.
“We couldn’t hear each other because the windmills were blowing so loud,” said Krasinski with a laugh. “They were working so well,” added Damon, that they quickly realized their whole premise for the film, which they had spent hundreds of hours writing, was completely wrong.
“It was devastating,” said Damon. “We had put in a lot of time at that point, and we knew we couldn’t carry out the story we had written.”
That was June 2011, and Damon was about to begin production on the sci-fi film “Elysium” opposite Jodie Foster. Rather than abandon the project, the duo, still attached to their characters, found a new backdrop to house them, landing on the natural gas industry with help from reports on “60 Minutes” and in the New York Times. Now Damon plays a representative of a natural gas company, and Krasinski, well, he’s still an interloper.
“Weirdly, not only did it work, it upped the ante and immediately became high-stakes poker,” said Krasinski. “It was no longer about neighbors pointing to a windmill and saying it’s big and makes noise. It was people saying, ‘I could be a millionaire’ and others saying, ‘Our town could be unusable in 50 years.’ The potential gains and losses were so dramatic.”
But the drama wasn’t over yet. Despite endorsements of the script from their high-profile friends, including Cameron Crowe, Affleck, Steven Soderbergh and others, and a financial commitment from Warner Bros., Damon gave up his director’s seat weeks before he was set to begin pre-production. Exhausted from his lengthy shoot and missing his family, he just wasn’t up to it, and there went their financing.
Luckily for the crushed Krasinski, Gus Van Sant, who had directed “Good Will Hunting,” stepped in quickly as the replacement, and Focus Features came in to finance and produce the film.
“Pretty much overnight I agreed to do it,” said Van Sant from an airport terminal on his way to Poland. “A lot of screenplays I read have a few things missing. To me, this one had it all. It was funny, entertaining, serious, romantic, tragic, everything. It was a nice, balanced story.”
Matt Damon talks again about a possible Bourne sequel. Honestly, in my opinion, as much as I love the movies, I think it’s time to let it go. The Bourne Legacy had a weak plot and it’s time to let it rest. Reboot it in 30 years.
Last time Matt Damon, star of the original ‘Bourne’ trilogy, was out doing press, he said he hadn’t seen “The Bourne Legacy,” this past summer’s extensive reboot of the franchise that placed Jeremy Renner at the center of the action. The film upped the franchise’s science-factual underpinnings by having Renner’s character (part of the next generation of government-sanctioned killers) controlled by a series of drugs that would boost his reflexes and intelligence. When we spoke with Damon about the sequel/prequel yesterday, during the actor’s press rounds for the upcoming “Promised Land,” he did confirm that he’s seen the movie but said that it might make it harder for him to re-enter the franchise.
“I did see it…” Damon said, trailing off. When we asked him what he thought of the movie, he said: “I think it’s going to make it harder for us to make another one. I’m just trying to figure out like… Because they used our characters, anything that happens in that world, that’s the ‘Bourne’ world now. So the pill popping and all that stuff happens.” When we suggested that Damon’s Bourne character was actually from a different era of the project, he conceded a little bit. “Right, I’m from a different program,” Damon said.
When we asked if he would do one with Renner, he sounded even more skeptical. “I don’t know what that story would be,” Damon said. “I love Jeremy and I’m a huge fan of him and I know him personally and love him outside of work, too. But I just don’t know what that story would be. I could never see Bourne teaming up with anyone. And all he said was – he wanted out, he wanted out, he wanted out. So how do you get that character going again?”
Damon said that this was a problem that he had faced before, back when he and Paul Greengrass (who directed “The Bourne Supremacy” and “The Bourne Ultimatum” and re-teamed with Damon for “Green Zone”) were trying to hammer out plans for the fourth film in the franchise. “Literally, we couldn’t figure out how to do it three years ago,” Damon said. He then broke down why, exactly, a ‘Bourne’ movie came out this year anyway. “The studio had a deal with the Ludlum estate and they had to get a ‘Bourne’ movie out. So they said to us, ‘Why don’t you guys do one?’ And we said, ‘We don’t know what to do!’ So once they realized we weren’t going to solve that problem, they went a totally different way.”
We’ll have more from our interview with Damon as “Promised Land” release date approaches at the end of the month.
Even as camera flashes lit up Broadway and taxis shot uptown, Matt Damon’s mind was focused on the small, rural towns that dot the American landscape.
His new film, Promised Land, debuted Tuesday night on the Upper West Side of Manhattan, providing a smooth, celebratory push for a project that has already had a stormy path to the big screen, thanks to the politics of environmentalism and corporate influence.
Damon, who co-wrote the Gus Van Sant-directed film with co-star John Krasinski, stars as a hotshot salesman for a natural gas procurement company; his job is to get residents in down-on-their-luck rural towns to sign away the rights to drill deep into the shale deposits located underneath their land. It’s a controversial practice called fracking, which many scientists believe pollutes local water supplies with various chemicals, killing farmland and endangering the citizenry. Damon’s character, Steve Butler, argues that the sometimes-rich contracts are a godsend for the fading heartland, but is frustrated when a small Pennsylvania community decides to vote on whether to allow Global’s drills into its town. He also is surprised when he learns of some inconvenient truths about the process.
The natural gas industry and conservative organizations have already attacked the film as a liberal polemic (Focus Features CEO James Schamus jokingly thanked the Heritage Foundation in his introduction Tuesday), and while the movie does explain the downside to fracking, Damon’s main concern was using the issue as a greater statement about who controls American democracy.
“One thing [natural gas companies] are very worried about is decisions being made at the local level,” Damon told The Hollywood Reporter at the premiere. “They really would rather have decisions being made at the state level. And their argument is that it’s far more efficient for them to understand what the regulations are for an entire state, rather than try to argue town-to-town about how to do things and have different zoning laws.
“Okay, that’s an understandable argument,” he continued, “but the flip side of it for these local communities is like, are we going to let somebody legislate from the other side of the state what can and can’t be done in our actual backyards? So you can see each side there and we’ll see what happens. But this definitely takes the view that we should be in charge of what happens in our communities.”
In that sense, the outcome of the deliberation — which takes twists and unexpected turns — is not the film’s main concern. “The democracy has been hijacked,” Damon explained, and “it’s not about how they vote, it’s about them taking the vote back.”
One of the many big-name New Yorkers in attendance was Robert F. Kennedy Jr., the lawyer and environmental activist, and he was far less circumspect on the issue of drilling for natural gas.
“I think that fracking ultimately is going to be a big mistake in our country,” he explained to THR. “It has a promise, which is that it will help make us energy independent, but we have much cheaper ways, more efficient ways, more patriotic ways and more wholesome and safe ways to do that. I think one of the things that the producers of this film wanted to show was the subtle ways that fracking doesn’t just poison water supplies but it poisons human communities, it poisons human relationships. It’s not a good thing for our country.”
One of the movie’s more subtle displays of corporate power comes when Steve and his co-worker Sue (Frances McDormand) shop for flannels and other regional-appropriate clothing at a local store. In order to convince the residents they have their best interests in mind, they must look like them — even if they’re just playing a part.
“Well we talked with landmen who do this, and a lot of them said ‘Look, the car you drive up in matters. You drive up in a foreign car in some of these places and they’re not really going to want to talk to you,'” the star recalled. “I talked to one guy who said he always puts on a John Deere hat before he goes out. It’s just something these guys do; they’re salesmen and they’re trying to make a sale and they want the people to identify with them as much as possible. So they have little tricks that they do.”
Whether or not the film changes any minds, it’s determined to at least open some eyes.
DEADLINE EXCLUSIVE: Matt Damon is negotiating to join The Monuments Men, the period drama that George Clooney will direct in January in Europe as a co-production between Sony Pictures and 20th Century Fox. Damon joins what continues to be shaping up as an amazing cast. Besides Damon and Clooney, the film will star Skyfall‘s Daniel Craig, Bill Murray, Cate Blanchett, The Artist’s Jean Dujardin, Argo‘s John Goodman, Hugh Bonneville and Bob Balaban. Clooney and Damon did the Ocean’s Eleven movies together and Syriana.
The drama, which was scripted by Clooney and partner Grant Heslov, confronts the final chapter of Germany’s rule, which came down to the absolute destruction of everything that makes a culture keep its standing, including the lives that are lost and the sacrifices that are made. All of this is in danger of being lost forever as Hitler and the Nazis try to cover the tracks of a murderous regime. A crew of art historians and museum curators unite to recover renown works of art that were stolen by Nazis before they are destroyed.
Heslov is producing through their Smokehouse banner. Alexandre Desplat is doing the score, and the crew is the same as from the Ben Affleck-directed Argo, which Clooney and Heslov produced and Desplat scored. Damon will next be seen in the Oscar-bait Gus Van Sant-directed Promised Land, which Damon and co-star John Krasinski wrote together and which Focus Features releases wide January 4 after an Oscar-qualifying run later this year. Damon is repped by WME.
Matt Damon knows the power of a good suit! And that’s what he told the audience when he accepted a Special Career Tribute honor at the 22nd annual Gotham Independent Film Awards presented by the Independent Film Project in New York City last night. “I was here 15 years ago at the Gotham Awards and I remember that because it was right before Good Will Hunting came out and it was the first time my life became surreal because Calvin Klein gave me a suit for free,” he said during his acceptance speech. “I realized I was putting it on, and I added up all the clothes I had ever owned in my life, they wouldn’t be worth as much as the suit I as putting on. I feel very privileged to do what I do. I have never taken it for granted and I never will.” Fast forward 15 years, he can still get as many CK suits as he wants—and picked another one for last night’s event, a symbolic decision (even though the label sponsored the ceremony). “I was putting it on, and I saw that it was Calvin Klein, another free suit, again, that surreal part of my life,” he told InStyle.com of wearing the slate gray style when we caught up with him backstage after his speech. “My wife would tell you that I haven’t transformed at all fashion-wise,” he added. “There are these things where they give you a suit, and so it looks like you know what the hell you are doing!”
The new movie “Promised Land,” which Matt Damon co-wrote and co-produced, came in under budget and ahead of schedule because it had a script, the actor and Oscar-winning screenwriter said Tuesday night in New York. The talk was distributed on the Internet through Livestream.
Damon, who discussed the film along with co-star and co-producer John Krasinski of the NBC sitcom “The Office” and director Gus Van Sant, contrasted that to his last Jason Bourne movie, which he said they were writing day to day while they were shooting it. “It took years off our lives. It was so much pressure because you’re so aware of how much money … once you get on set, the money is just burning.”
He added, “(Director) Paul Greengrass and I would say like we’re in the wrong country. … It was 4 in the morning and we’re on a street and I’m going, Is there anything else we can shoot in Spain?”
Damon said watching “The Bourne Legacy,” the fourth movie in the series based on Robert Ludlum’s novels and the only one in\which he did not appear, was “very odd.” “It had a lot of same bells and whistles of the Bourne series but I didn’t know anything about it.”
That movie made it less likely that Damon will appear in another movie about the assassin with amnesia though “I don’t think it makes it impossible,” he said.
Damon said “Promised Land,” which opens in New York on Dec. 28 and nationwide Jan. 4, was made for slightly less than $18 million. It deals with the controversial procedure of capturing natural gas called fracking.
A nice article from ComingSoon.net
As we mentioned in our Gotham Awards coverage, this is the week when Focus Features is stepping up their game to get word out on Matt Damon and John Krasinski’s Promised Land, directed by Gus Van Sant. Earlier today, ComingSoon.net was one of a couple dozen journalists invited to a special luncheon at midtown New York’s prestigious Aquavit restaurant, specializing in Swedish cuisine and famous for kicking off the career of superstar chef Marcus Samuelsson. Damon, Krasinski and Van Sant were all on hand to field questions and talk about their movie in between bites.
Our positive review of the movie is still under embargo, but the film has Matt Damon playing the salesman for a natural gas company who comes to a small town along with a co-worker, played by Frances McDormand, with the intention of leasing land from the local farmers where they can extract natural gas. Along comes an activist named Dustin, played by Krasinski, who throws a monkey wrench in their progress at convincing the locals to sign contracts, and that’s where the film gets interesting.
Damon met Krasinski when he was working with his future wife Emily Blunt on The Adjustment Bureau in New York and they began working on the script together two years ago after author Dave Eggers helped Krasinski develop the story but then had to go off and write his own book.
The film was shot earlier this year outside of Pittsburgh in a small town much like the one in the film and during his time at our table, Krasinski talked to us about how his father’s own small town experiences inspired him to write the screenplay and how freaked out he got when his father visited the set and started pointing out places where they spent time in his youth.
Krasinski also told us an amazing story about his early years as an actor in New York and how he was almost ready to give up when he traveled to Los Angeles and two weeks later booked the pilot of “The Office.” The rest as they say is history.
All three mentioned how the films of Frank Capra and Elia Kazan were hugely influential on the writing process and the feel of the film, and they’re trying hard not to focus too much on the political side of the story and how “fracking” for natural gas has become a huge political and environmental issue in recent years.
When Matt Damon came over to our table, we spoke with him about the process of writing Promised Land with Krasinski and how that differed from writing Good Will Hunting with Ben Affleck over 15 years ago while they were both struggling actors. He told us how neither of them had any formal education on how to write a screenplay.
Damon complimented Krasinski on the speed at which his brain worked in terms of trying to figure out the mechanics of the screenplay and we heard some amazing stories from both of them about their co-stars, Frances McDormand and Scoot McNairy.
Krasinski was really impressed by what McDormand brought to her role, seemingly without even trying, although she did tell them at the very beginning of the project that she wouldn’t do any press. It’s a shame since it might be her best performance since the Coens’ Fargo, for which she won her Oscar.
McNairy’s audition so impressed the three of them that they changed one of the characters in order to give him a speech. The speech McNairy gives in the film was originally going to be performed by an older actor whose son went to war in Afghanistan, but after seeing his audition, they changed the role for McNairy. Apparently, McNairy did a reading on camera for Van Sant and after it was over, he started talking about his wife and her own struggles with the subject of the movie. Van Sant started rolling tape again to capture the emotion in McNairy’s story, and the part was changed for him. McNairy is having a bit of a moment, appearing not only in this movie but also Andrew Dominik’s Killing Them Softly, opening this weekend, and Ben Affleck’s Argo.
Krasinski also told us how he was crushed when right before last Christmas, Damon decided not to direct the film himself after they had all the pieces in places to go into production, but having to go right into pre-production in January would have kept Damon away from his family for too long.
Director Gus Van Sant filled in the rest of the story, telling us how he came on board in the project’s hour of need when Matt texted him asking if he would read the script and he sent it right over in PDF form before boarding a plane, and Van Sant decided to do it. Van Sant talked about some of his sound design and production decisions and how his style has changed from ten years ago when he made Elephant.
Since this was a fairly informal luncheon, we also talked about more esoteric New Yorker topics like the new Barclay Center in Brooklyn (thumbs up from Matt!), living on the Upper East Side (Krasinski and a couple other journalists, not us) and such. Even though both actors are from Boston, they both try to spend as much time in the city as possible.
Hopefully we’ll have more formal interviews with actual quotes from the trio sometime leading up to Promised Land’s release in New York and L.A. on December 28 and wide release on January 4, 2013.
In “Promised Land,” you get a chance to see Matt’s inherent likability. Some actors have that quality, some don’t. And that likability is necessary to play this kind of scam artist and still be as caring as you are for his trip.
His face is an open book from the first frame when he’s washing his face and he’s tormented and nervous about what’s to come. He handles it without pushing. And he ends the picure with a final speech before the town, telling them the entire truth and what’s he’s been involved with. It’s emotional and powerful without being pushed.
In some ways, Matt is like John Wayne, who had that inherent feeling of trust. Which you also get from Matt. There’s a direct truthfulness there that a lot of actors don’t have. They have to get tricky. Matt has this inherent shit detector. He’s a very good listener, but he also has the ability to handle lengthy dialogue, which is becoming a relatively lost art in film.
He produced this picture and wrote it, and from my own experience with doing dual roles, it never gets in the way for him. Matt has enough knowledge as a writer and producer to surround himself with the best people possible. He’s not threatened by talent. He enjoys it.
Promised Land opens on: December 28, 2012, on a limited release and wide release on January 4, 2013.
Here’s the trailer: