In the film, Garner makes use of her experience with physical action — only this time it’s in the service of comedy. “I think there’s a huge correlation between physical action and physical comedy,” she says. “It’s all about being used to being in your body and not being afraid to go for it.”
Her invaluable partner in the transition to physical comedy was her director, she says, who allowed her free rein, but always kept her focused through his keen attention to detail. “I don’t know if it’s because of his background in independent films, but Gary is better with story than anyone I’ve ever worked with,” she says. “He was always aware of the logic of this strange little world we’d created for the character and the reality of what would happen to her from moment to moment. There was never a second when I didn’t feel like he elevated what I was doing.”
Greer was also taken with Winick’s highly personal style of directing, again a product of his background in independent film. “He was never back at the monitor or hidden behind 14 assistants,” she says. “He was right there next to the camera, watching us, talking to us. And I came to trust him to that degree that I knew he wouldn’t stop until he had gotten what he wanted out of us. He knew what he wanted and was able to tell us what it was.”
The producers were also enthused about Winick’s team-player approach as well as the personal insights he brought to the project. “Gary understands women very, very well,” says Arnold, “and he’s dogged about the things he believes in. He always remains true to himself, and yet at the same time he is unbelievably collaborative. He’s eager for input and was open to all our ideas and gave them the weight and respect they deserved.”
Adds Matthews, “He really cares about being truthful to the theme and that the audience really understands Jenna’s journey. Gary had a strong sense of both the comedic elements and the truth of the story. And that combination is priceless. It brought wonderful levels of subtlety to the film.”
Coming from the independent world of digital-video and minimal crews, Winick’s first foray into Hollywood-style filmmaking initially took him aback. “I think he was a bit shocked when he walked onto set the first day and there were 100 people there instead of just four,” laughs Arkoff Roth.
Winick admits that the sheer size of the production took some getting used to. “I came in thinking that dealing with such a large crew might be frustrating, especially since I was able to accomplish a great deal on Tadpole in 12 days with a digital-video camera and just a few people. On 13 Going on 30, I was suddenly dealing with more than 100 crew people at a time. Once I got to know everybody’s names it was great to have. There were some, like the men and women down on the street controlling that traffic, who I hadn’t even met yet. But what was gratifying was the level of experience and professionalism. They thought of everything. Nothing ever got by them. And that’s very comforting for a director.”
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