INT: Rachel McAdams

Canadian import Rachel McAdams continues to build on her already impressive résumé this week with the WEDDING CRASHERS. The classic beauty first turned heads in THE HOT CHICK starring the painfully unfunny Rob Schneider. Next came memorable turns in the sassy MEAN GIRLS and the sappy THE NOTEBOOK. Later this summer she stars alongside BATMAN BEGINS’ Cillian Murphy in the Wes Craven thriller RED-EYE.

Check out what she had to say about making the WEDDING CRASHERS:

Rachel McAdams

The director, David Dobkin said that you were the last person to audition for this part.

I think that happens a lot.


Yeah, I’m kind of at the bottom of the barrel. You’re really scraping it.

Has that really happened a lot?

Yeah, that happened on The Notebook, too.

When you went in for the audition, did you think you’d got it?

I really had no idea. It went really well, but that’s happened before, and then you hear nothing. So, you can’t really judge by being in the room. I felt good, and I felt like we had a great rapport, him and I, and he directed me, which is always nice. It was fun! It felt easy, and I hoped it would work.

On the movie you just finished with Diane Keaton (The Family Stone), you also worked with Owen’s brother, Luke.

Yeah! Although playing my brother. No love interest there.

Could you talk about the differences in working with Luke and Owen?

They’re very similar. They’re really sharp guys, but don’t flaunt it at all. Luke was just as good; he’s really good at improve as well. They’re charismatic, and they have that Texas charm. They’re similar in a lot of ways.

Working with Owen, did you have any idea what it would be like?

I didn’t really know what to expect. I tried to go into it with an open mind, and just take it as it comes. I knew it might get a little crazy, which it did (laughs), but you just kind of roll with it. That’s what you have to do when people are improv-ing; you have to be open to the curveballs that are going to come your way. Sometimes you deflect, sometimes you take it in, and what’s great is that it always keeps you genuine. It’s always fresh and new, and it’s not too rehearsed, which is a totally different way of working and really refreshing.

Had you worked like that before?

Not to this degree (laughs). No.

What was it like having Christopher Walken and Jane Seymour play your parents?

It was… interesting. What a pairing. And I never imagined I’d be calling Christopher Walken “Dad”. That came out of left field. You know, it’s funny, I’ve been very fortunate. It’s always been table scenes where you kind of pinch yourself, because everyone comes together. That happened on The Notebook; you know, “Joan Allen is sitting here.” And then in The Wedding Crashers, Chris Walken, Jane Seymour, and Owen is across from me. And I just finished a film where we did a big dinner scene, and Diane Keaton and Sarah Jessica Parker… those are the really overwhelming and amazing moments for me, where I just sit back and go, “I’m so blessed to have been invited to this table.”

Was it inspiring to work with Seymour and Walken?

Oh, yeah. These are people I’ve been watching my whole life from a great distance in the nosebleeds of Canada. So, to be in the same room with them, you have to step up to the plate, and I didn’t know if I could. Especially, my first scene with Chris was the dancing scene, and I know he’s a fabulous dancer.

He dances, right?

He dances. He’s smooth. So, I’m polkaing my face off before that day. But that’s the great thing you generally discover about these veteran actors: there’s a reason why they are so formidable, and they take you with them most of the time; they’re very generous people. Diane Keaton was the same way: so generous, so present. That’s what’s great! She’s so present.

Now that your career has taken off, do you find yourself getting recognized on the street now?

Yeah. I still live in Canada, so it’s not quite the same. And when I’m in L.A., I’m in a car; you don’t have the contact with the public. It’s not so bad. It’s still pretty much the same. I still feel pretty normal-ish.

So you only work here in L.A., and, then, when you’re done you go back to Canada?

Yeah. It seems that so much is being shot here now, that the business has really come back around to Hollywood. I just missed the Toronto boat – so much was shooting in Toronto, but it’s really dried up now. So, yeah, I just come in here to work and then go home for—


I pay taxes in both places. They get you on both sides.

What kind of roles would you like to do?

I want to try a lot of things that I haven’t tried. You know, I did a thriller [Red-Eye] after this, because it was so different and it was a genre I hadn’t worked in yet. Then I did a beautiful family ensemble drama. And next? I don’t know. I might go off to do a small independent in New York. I’m not sure. The quality of material is important, but, basically, I’m open to anything. I like to stay open to anything.

The thriller, is it a slasher movie?

It is a Wes Craven film, but it’s a bit of a departure for him because there’s no demons and nothing supernatural and not a lot of gore. It’s more psychological.

Was it difficult to keep a straight face working with someone like Owen Wilson?

So difficult. Oh, man, it was rough. (Laughs.) No, he was great. You know, our stuff was a little bit more serious. But, yeah, that kiss in the church – he’s got this whole monologue where he just goes off. I haven’t seen the film, so I don’t quite know what it wound up being, but it was hard because I had to be the girl who was like, “No, come on, we’re talking about love, and let’s be serious here!” I was always the heavy; I felt so bad, like “Here comes the ball and chain.” But, yeah, it’s hard to keep a straight face with those guys. They can make anything funny. That’s their job.

Did you and Owen get along right off the bat?

Yeah. I mean, he’s such an easy going guy. He’s very honest; he is who he is. We just started to collaborate right away, and a lot of communication about the scenes. It was like hanging out on the beach, and going bike riding, and hanging out on a yacht. It wasn’t that hard.

Did you spend a lot of time hanging out with them off the set?

Vince did this great thing where we were all staying on Chesapeake Bay in Maryland, and he rented a Sea-Doo. It was just like a taxi service. He’d come and pick us up on the Sea-Doo across the bay, then we’d go over to his side and have a barbeque, and then he’d bring us back and drop us off. The best image of my entire life is seeing Chris Walken on the back of a Sea-Doo. (Laughter.) It was awesome.

He just went back-and-forth, getting you all?

Yeah. Him and his assistant, they’d come up, and we’d come out of our little hotel with our backpacks on and our towels and out pants rolled up. We’d hop on the Sea-Doo, and off we’d go. It was great!

Questions? Comments? Manifestos? Send them to me at [email protected]

Source: JoBlo.com



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