Amanda Peet
"It's Not the End of the World or Anything..."
Amanda Peet does not strike one as a traditional leading lady. Throughout her career, she has played supporting roles in countless films ranging from The Whole Nine Yards and its sequel The Whole Ten Yards, Saving Silverman, Something's Gotta Give, The Ex, and The X-Files: I Want To Believe.
Now, even as the 37 year-old actress stars in what is inarguably the biggest movie of her career, it's once again a role as a supporting player. It's the special effects disaster film 2012, directed by who she calls the "master of disaster"Â, German filmmaker Roland Emmerich. Emmerich is best known for such special effects bonanzas as Independence Day, Godzilla, and The Day After Tomorrow.
"I really loved The Day After Tomorrow,"Â she enthuses, "I was like riveted and terrified. And Independence Day, I saw when it came out and I remember loving it and being so entertained, but I don't remember it, because it was such a long time ago. But The Day After Tomorrow, I feel like I'd scen it recently enough when I met him that I felt like he was going to deliver something awesome."Â
"You're not signing on to work with a first-time director or somebody who's only done character dramas or something like that,"Â Peet adds, "So I definitely think he's somebody who's very bold and sort of the master of this genre, so it was kind of a no-brainer."Â
As praised as Emmerich's films have been for their memorable action spectacle sequences like the destruction of the entire White House by an alien spaceship in Independence Day, they have often been criticized for severely lacking quality in casting, character development, and dialogue. Peet says that she believes both personally and professionally, Emmerich is, to borrow from the most recent example of this type of spectacle-driven style of film commonly shredded by critics, "more than meets the eye"Â.
"Well, I think Roland's a master storyteller and a master entertainer and I don't think that
Amanda Peet
"It's Not the End of the World or Anything..."
his primary focus in terms of this particular movie or some of his bigger movies is, OK, how can I really be topical and socially enriching right at this moment with this particular movie,"Â Amanda believes, "You know the movie is not Syriana. But, at the same time, I think that Roland is incredibly considerate and aware and concerned and I think that we're all really anxious."Â"We live in unstable times and I definitely think he's sort of playing with that idea that we all live in fear of some great catastrophe, whether you believe it's a manmade catastrophe or something else,"Â she adds, "I think we go to the movies to have a catharsis, sort of like, OK, there's a global catastrophe, what happens? And I think Roland's fantasy is that nations come together, that it's this great equalizing thing, and people come together the way New Yorkers did and help each other, and that's his fantasy and he dares to dream."Â
Amanda also says her faith in 2012 paid off in observing how much equal attention Roland brings to the actors' performances.
"I think this is partly why he's so gifted at these kind of massive shitkickers, because he knows there has to be a human element, there has to be like a personal relationship that is, at least, somewhat compelling."Â Amanda believes, "Otherwise, when you see these massive catastrophic scenes, I think you're kind of impervious to it. That's why I was saying he's surprisingly intimate. He wouldn't leave a scene."Â
"There's one scene where we're putting the safety vests on the kids and it took us a long time to shoot it because you're not there, you don't have that emotional, it's not there yet,"Â she continues, "Eventually, he said to me and John [Cusack], this is about you two and you should look at each other a lot. It's not about the kids. I think he really strives for that and he
Amanda Peet
"It's Not the End of the World or Anything..."
doesn't"¦so whether he's the master of disaster and he's this guy who works on this epic scale, he's also incredibly intimate and he doesn't know how to do it without making those little moments really important."ÂAmanda says she was also surprised by how calm and even-keeled Roland is as a director, dealing with both a massive production and a massive cast.
"The thing that surprised me the most about the experience was how easy it was and how sweet Roland is and he never loses his temper or raises his voice and he is really intimate and just so gentle,"Â she believes, "It's hard for me to believe how anyone can be in control of that many people and so many different aspects of a difficult production on that scale and not be a lunatic egomaniac tyrant and he's none of those things at all. It's just bizarre. I don't know how he gets anything done being so gentle."Â
Another thing Peet says she was surprised by was how Emmerich's massive vision for the film managed to feasibly come into fruition in the final cut.
"Well, Roland would show us the pre-vis (pre-visualization) on the laptop the idea of what was going to happen,"Â she recalls, "They're crude, but they still made me laugh and still think they were going to be scary. It's sort of like a video game. He doesn't draw them. He has people who do that for him. But it was certainly nothing compared to what the final product was like. It was kind of shocking and amazing."Â
"I had no idea how he was going to make the cars look like they came out of a plane," Amanda adds, "I was like, there's no way he's going to do that. There's tons of things where I was like there's no way he's going to do that and he does. He's very bold and his boldness pays off"¦unlike me. My boldness doesn't pay off. My
Amanda Peet
"It's Not the End of the World or Anything..."
boldness is embarrassing."ÂOne aspect of doing 2012 that Amanda says she loved was getting to work with co-star John Cusack, who she has worked with before twice in the films Identity and Martian Child. This time around, Cusack and Peet play divorcee couple Jackson and Kate Curtis.
"Well, at least, we got to do something, like we were lovers in this movie more than we were ever allowed to be, so that was kind of fun,"Â Peet says, "He's very special to me. This is our third one. Also, every time I work with him again, I remember how he's just so brilliant. Really, very rare, like people ask me what's so great about him and I can never explain it."Â
"He has this vulnerability, this sort of Tom Hanks everyman thing, but yet, he's kind of slightly more edgy maybe and he has a very dry sense of humor always and intelligence, I think,"Â she continues, "Not that Tom Hanks doesn't, but I think he elevates everything that he's in. He's just really special. He should have a lot of Oscars coming soon, damn it!"Â
One of the tricky aspects Amanda says of doing a film like 2012 is how much she had to interact with green screen technology.
"You watch the pre-vis and you get what the beats are, what the scary beats are and the horrendous moments of horror and then, it's really sort of ridiculous,"Â Peet notes, "You have our first AD (assistant director) Tommy [Gormley] would sometimes just narrate the visuals and you would just look at a spot on the wall and pretend that this horrible thing was happening and something my acting teacher told me never to do, never conjure up something that's never there, always respond to real things, but in this case, it was there. I got paid to do something else. It's probably not a good idea to get too used to that for the very reason she was
Amanda Peet
"It's Not the End of the World or Anything..."
afraid of."Â"My acting teacher never believed in those kinds of classes where you sit in a chair in the middle of the room and just cry about your dog or something,"Â she continues, "She always believed that emotions should just be byproducts of your action in a scene with another person or if it's not another person, then you're like Jason Bourne and you have an action, you're running to get something or save someone. You're responding to the given circumstances before you not just conjuring an emotion by yourself because that would be gratuitous and indulgent and probably fake. All things I was during this shoot, you can ask Roland, who would be like, 'Cut! This isn't a silent movie, Amanda.' He was like, you got to bring it down. It's hard to because you can't see your own face. You're obviously responding to nothing, so it's hard to calibrate these things. It's not hard for John. As soon as John was there, we were like Tom McCarthy and like, 'Wow, we suck! We really suck!' Because we want it to be really big."Â
Peet says 2012's timing is not only perfect because of its escapism in a world currently in a malaise of economic doldrums, but because of the political uncertainties that still exist in the world as well. She also explains why even in such presently chaotic times like this one, she believes the film will instantly appeal to audiences.
"It's sort of a coordination of our anxiety that we all feel these days,"Â Amanda explains, "Whether you're worried about the Middle East or North Korea or nuclear terrorism, biohazard terrorism, we all feel vulnerable and we're all, in a low-grade way, anticipating something. And we're being told that our planet is falling apart, so I think it's that."Â
"And it's a little bit like when you go and you're younger, and maybe others go now, but I can't anymore because I just get sick,
Amanda Peet
"It's Not the End of the World or Anything..."
but you go to an amusement park and you go on a rollercoaster,"Â she continues, "It's a controlled way to scare yourself. It's like a safe enactment of something really scary. And you kind of get to anticipate up, up, up and you feel the suspense and you know it's coming, but because it's in a safe, controlled environment, you can kind of weirdly enjoy it in this sort of masochistic way."ÂAmanda also believes that there's more audiences will come away with from 2012 that two and a half hours of spectacle and peril.
"I think usually in disaster movies, the idea is that you want in your final moments to make the best decisions you can possibly make and hope that your last choices are honorable and you can sort of rectify some of the mistakes you made in whatever small way,"Â she says, "I think that's a really compelling thing for audiences, whether it's a play or a TV show or a book about war, or whatever, what would you do if it were the end. That's sort of the question. I think Roland loves that, loves people in that situation. I'd really hope that they'd come together and I definitely feel like my generation just got a little bit of a kick in the ass with Obama and everything like that, so I feel like I woke up a little bit and hopefully, people will feel a little bit more involved now.
"I wasn't here for September 11th, but I was born, grew up, and raised here, so a lot of my friends were here, so I heard about different stories,"Â Peet continues, "My mom worked on the hotlines. She was a retired social worker, so she went and worked the hotlines and Starbucks stayed open until 1:00AM. The New Yorkers came together and everybody was everybody's neighbor and that was a great thing. For Roland, that's the point of the whole movie, it's
Amanda Peet
"It's Not the End of the World or Anything..."
what his dream would be if something like this would happen. It's his fantasy of how things would be."ÂThere's already early word that 2012 will be a springboard for a TV series that will continue the story. Peet says she'd be happy to do one, on one condition.
"If Roland were involved in it, I'd do it, yeah,"Â she replies.
She also says she would also be open to doing another special effects film, providing it had the same level of talent as with this film.
"Yeah, sure, if it was a good script and a good director and great co-stars,"Â Amanda says, "When I turn the pages and read a script really quickly, I know it's a good sign. It's always a bad sign when you're kind of trying to get through it throughout the day or throughout the weekend or whatever. But I'm not a writer, so I don't know how to create suspense and calibrate making the audience really uncomfortable, but also sucking them in, I don't know how they do it."Â
Amanda also stresses that the final result of Roland Emmerich's latest foray into disaster-laden spectacle pulls out all the stops and will have something to delight everybody, even the filmmaker's most hardened critics.
"If you like to go on a rollercoaster, then you're going to like this movie,"Â Peet states, "I think awesome is a really good word to describe this movie. Roland said he felt that it might be his last disaster movie and it looked like he was going for broke. Roland said he felt it might be his last disaster movie and it definitely feels like he was going for broke. So if you want to see the master of disaster in all his glory, this is probably the one to see."Â
Though Peet says the one thing she does not believe in regarding 2012 is the actual Mayan legend the film itself bases its plot off.
"No, I couldn't be more skeptical about
Amanda Peet
"It's Not the End of the World or Anything..."
it,"Â Amanda says flatly, "I don't believe in it. I think there's a lot to fucking worry about with our planet, but that's the least of my worries."ÂAmanda shared with us what is next on the horizon from her.
"I shot Nicole Holofcenter's next movie with Catherine Keener and the lovely Rebecca Hall and Oliver Platt and it's called Please Give and it's coming out in the spring,"Â Peet reveals, "It was my life's ambition to work with Nicole Holofcenter and I've been stalking her for like eight years, poor woman. So I feel like I can almost walk away now that I've worked with her, but not quite."Â
"And then, I did Gulliver's Travels with Jack Black and Emily Blunt and Jason Segel in London,"Â she adds, "So much green screen and I'm so glad I did 2012 right before that because I wasn't as flummoxed when I got there. I was talking to an 'X' on the screen and Emily Blunt over here, pretending that the 'X' was Emily Blunt. It was a lot easier because I had that little bit of experience."Â
Peet mentions that one holdover from Please Give was working alongside actor Oliver Platt.
"We saw each other twice,"Â Amanda says, "We had just done Nicole's movie, but we spent a lot of time with him there luckily. We only crossed paths mainly on Nicole's movie because he plays Catherine Keener's husband and I try to seduce him, so we mainly worked a lot on Nicole's movie.
Finally, we asked Amanda if she could pick any next film, what type of genre would she prefer.
"I think if some genie came and said, 'I'll grant you a wish. What movie would you like to do?' I'd probably would like to do a comedy, a romantic comedy or a Grosse Point Blank kind of comedy or something like that,"Â Peet replies, "But they are very hard to pull off these days. Almost everything's been done, chemistry's hard
Amanda Peet
"It's Not the End of the World or Anything..."
to come by, but mostly, I think a good romantic comedy script is really hard to come by. If I could have anything, it'd probably be something like Studio 60 where it has a lot of comedic aspects to it."Â










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