In the romantic dramedy Something Borrowed, actress Ginnifer Goodwin plays Rachel, a talented attorney at a top New York law firm. She is a loyal friend who is generous, much to her own detriment, when it comes to her best friend Darcy (Kate Hudson). When Rachel unexpectedly reveals to Darcy’s fiancé, Dex (Colin Egglesfield), that she’s had a crush on him since their time in law school, one thing leads to another and Rachel finds herself caught between her life-long friendship with Darcy, and the love of her life.
At the press day, Ginnifer Goodwin and her co-star John Krasinski, who often is the voice of reason in the film, talked about the challenge of finding sympathy for characters doing very unlikeable things, why some friendships just aren’t meant to be, what songs they danced to in front of the mirror when they were kids, and the difference between exploring a character for film and for television. John also talked about his role in The Muppets, and Ginnifer talked about her ABC pilot Once Upon a Time, in which she plays Snow White. Check out what they had to say after the jump:
GINNIFER GOODWIN: I loved the challenge of finding sympathy for this character and trying to represent her in a way that the audience could find sympathy for her because I actually judge her harshly and think she makes piss-poor decisions, at every turn. I don’t necessarily believe that she deserved to have true love in the first place, given her actions and her lack of responsibility taken.
So, you think what she did was terrible?
GOODWIN: Oh, yes, from page one until she gets busted in the end.
GOODWIN: Oh, Gigi was such a good girl. Gigi did right by everyone, always. They’re opposites. She sees the best in everyone and is hopeful, to a fault. She’s positive and optimistic, to a fault, as I probably am. That’s probably why all of my characters are infused with that.
Can either of you relate to this issue of people who are just too paralyzed by fear to speak up and can’t make decisions?
JOHN KRASINSKI: Yeah, sure. It’s definitely particular to each situation, but whether it is a long history, or someone that you’re intimidated by, or someone that you didn’t think you ever had a shot at, at the end of the day, I think we’re all living through high school, every day.
GOODWIN: We’re all still terrified of rejection.
KRASINSKI: So, I can totally relate to it.
GOODWIN: Absolutely! It took me realizing that a broken heart has never actually killed anyone to find the courage to ask for what I want, in just about every situation. That was part of my own growing up.
GOODWIN: We got along immediately. We become friends, the moment we met. We’re both girl’s girls. Neither one of us is competitive with other actresses. We have the same life priorities, so as different as we may be, we’re exactly the same in the most important ways, so we became fast friends. That part wasn’t difficult. We never had to work on representing the chemistry between us. And, I turned to her a lot, during the movie, for advice. She’s really an artist, in this genre. She is an artist in many genres, but I definitely feel like she understands the math of this genre in a way that I don’t, so she was a great resource. This role was a stretch for her. It was interesting because she did it so convincingly well. She’s as free-spirited and vivacious as you would want her to be, but without all of that horrible oppression that comes with Darcy.
Do you think people can really forgive cheating? Will Rachel and Darcy ever be friends again?
GOODWIN: Gosh, I’m not sure they should be friends. No matter how much love is there, these aren’t two people who are actually good for each other. They don’t help each other grow. They stifle each other’s growth.
KRASINSKI: It’s almost like the cheating was a catalyst. In a lot of relationships, when you’re an adult, you realize that you’ve actually just been repeating a pattern. When someone breaks that pattern and it makes you realize what’s right or wrong about the person, you’re like, “Oh, my god, we’ve never really been that close.” You’re happy to write it off because there’s no conflict and no effort. But, when you actually have to confront it, that’s probably why a lot of adult relationships don’t survive.
KRASINSKI: History. I know more people who have gone through it than I actually went through it myself. But, if you did go to high school and then college, there’s definitely a solidarity with someone that is from your hometown and knows your mom, and all that stuff. There’s this weird politeness that we have, as a society. You don’t want to make it hard for anybody.
GOODWIN: Darcy and Rachel were friends from the time that they were little bitty girls. Rachel always found her self-worth in what was left over from Darcy’s sunshine. She didn’t really know any better. She was always under Darcy’s thumb, and she didn’t understand that she deserved more. It took something like this to break the pattern. I think they got something from each other. I think that Darcy made life fun for Rachel. Where Rachel is an incredibly passive person, Darcy gave her life, in many ways, that Rachel would have never claimed for herself. But, there’s just so many negatives to that relationship that, ultimately, I’m not sure the pros outweigh the cons.
What song did you dance to, when you were in front of the mirror as a kid?
GOODWIN: “I Heard It Through The Grapevine,” by Marvin Gaye, and I performed it with my best girlfriends in a talent competition, in which I wore a garbage bag, sunglasses and purple tights.
KRASINSKI: I don’t think I even needed a mirror, but I was big on listening to the radio. As a kid, around 12 or 13, it was Kris Kross. And, it’s on record, thank god. I tried to wear my pants backwards and found that it was very uncomfortable, and then I realized that they designed those pants specifically for them. Corduroys don’t feel good backwards.
You both have experience on television with communicating an arc very slowly and saying things that you’re reluctant to say, but you’ve got to get on with it in a movie. Was that more of a challenge, or was that easier?
GOODWIN: It’s a challenge to work a character’s arc into a format in which you only have a very limited amount of time to grow and develop a character. Ultimately, I do leave movies going, “Oh, I wish I had done x, y and z with my representation, my form of expression and with the choices that I made.” I don’t necessarily have those regrets when I’m on a TV show because there’s time to go home and realize it could go in some other direction and shift the focus.
KRASINSKI: I don’t think there’s any comparison to what is more fun to do. It’s definitely The Office, only because I’m given many more opportunities to flesh out these characters and this decision and this relationship so slowly and intricately. That’s amazing. It’s like saying that you can have the color red, or you can have 18 versions of the color red and pick your exact choice. Here, you just have to get something on screen. They’re two totally different challenges. This was fun, for sure. I basically had to blurt out my feelings in one scene, and you couldn’t even see that it was coming, a mile away. It was actually pretty easy. It was like, “It’s now or never,” which is what the character was going through.
John, how was to shoot that last episode of The Office with Steve Carell?
KRASINSKI: Brutal, in no uncertain terms. I only say that so clearly because it wasn’t so clear when it was happening. I think I was under the impression of my logical brain saying, “This is just what happens. People move on and they have contracts that expire and it’s nothing personal.” Then, you realize that a huge part of your show, a huge part of your every day life and a huge part of the energy around you every day is gone, and it’s just sad to lose a friend like that. So, it was tough, but it’s all fantastic. Our energy level on set is tremendous. We all feel incredibly excited about what’s to come. Everybody was talking about a spin-off, two and a half or three years ago, and this is our spin-off. This is the show sans Steve. It’s The Office 2.
Did anybody cry when he was finished?
KRASINSKI: Oh, I definitely cried on the last day. I wasn’t expecting it. The last scene of the day was our goodbye of characters. We hadn’t said goodbye, and so that was an incredibly existential black hole. There was way too much happening. So, there were definitely tears.
GOODWIN: Everybody asks if it was bittersweet, but it was just bitter. That’s the best job I’ve ever had, and it’s the best job I will ever have. I miss it, every day. Oh, my gosh, we all burst out crying. When we found out that it was going to end, we actually shut down production for two hours. It was towards the beginning of a work day, and even the crew that have been with us for years and years and years, burst out crying. Everyone had to go recover and call our mommies, before we could get back to work. It was really an amazing day, actually, because everyone said, “We will start working again when everybody feels that they are capable of working again, so take whatever time you need to digest this.” And then, on the last day, they tried to make it festive. Our producers threw a humongous party for us. It was the night before Christmas, so they actually brought these Dickensian Christmas carolers to set to try to cheer us up, and we’d just ball through the day and have to cut and clean up again. I miss it. There was nothing like that job.
KRASINSKI: I am, yeah. I did a small part in that movie, and it was an honor like I’ve never had before. That was my very childlike self and my 31-year-old self, at both ends of the spectrum, being totally thrilled to be a part of that.
Are you playing a character, or are you playing yourself?
KRASINSKI: I think I’m playing myself, really. I don’t even know if it’s deciphered. It’s just a quick little thing. I’m not a major part of the movie, but it was just so much fun to do. And, I really hope that this movie triggers a return of the show. I think the Muppets, in general, are a presence that are not only missed, but vital to everything else that’s happening. They’re a great added piece of the pie.
Which Muppets did you get to work with?
KRASINSKI: I don’t think I’m allowed to say anything.
Ginnifer, what are you doing next?
GOODWIN: I just shot a pilot for ABC, so please light a candle that we get picked up. It’s an hour-long drama called Once Upon a Time, and I play Snow White. It has been explained to me, in no uncertain terms, that I am not allowed to talk about what happens and what it’s about, but I can tell you that it was written and created by [Edward] Kitsis and [Adam] Horowitz, who were instrumental to the creative success of Lost, and we have the Lost blessings of the godfathers, who are helping us along the way. It’s a really special project. I wasn’t planning on going right back to television, but I was frustrated with the lack of substantial film scripts and asked to read the television pilots, and realized that’s where all the good writers are going. It’s really as original as it gets. It’s a study of time. It’s set in multiple times. They are running with the success of the Lost form of storytelling.