Robin Wright Talks Her Directorial Debut ‘Land,’ Grief, Survival & Renewed Hopefulness [Sundance Interview]

While we’re wearing different hats: you’re in a very specific, dark headspace throughout the film. Was that a unique challenge to go there but to also be behind the camera directing at the same time?
It’s only challenging in the sense that you can’t just be looking down the barrel of the lens and watching the evolution of what actors do. You have to stop the camera, and then you have to go back and watch playback, and make sure that you achieved what you wanted. So it takes a little more time, but it is a job that we do at the end of the day. Yes, it’s an emotional job, and you have to pull yourself to an emotion; you have to create pictures in your mind to achieve that emotion, let’s say. And that kind of stuff, that is the tough part of acting. And I just needed quiet on the set for 30 seconds or a minute, just let me prepare, let me get into it, because I was directing as well, you know? So you just needed to take a pause, and then you do your job.

How did you prepare for the physical part of the job, both as an actor and director in this case? It’s a muscular movie, with hunting, fishing, and the elements.
I’m in nature, a lot. We camped a lot when we were kids. I’m very familiar with living in a tent for periods of time and not having running water and not having electricity. I loved it, growing up like that. [We were] able to really learn from our mountain man, we called him our mountain man, he was our guide. He taught us all of those skills, how to properly chop wood, and how difficult it really is, and how you do get blisters. We, Demián and I, who plays Miguel, experienced all of the struggles with what it is like to walk that far just to get water in two jugs and then carrying those heavy jugs up a mountain for half a mile or a mile. These are not easy tasks. We had to learn how to do it all, at least.

I am really thrilled that the relationship between Edee and Miguel didn’t turn romantic. They were connected through something greater, almost spiritual. How did you build that chemistry, you and Demián Bichir?
We really didn’t have rehearsal time. When I first met Demián, I had received a message through my agent from his agent, and he had read the script the minute he received it and got back to me the very day and just said, “I need to do this movie.” And then, when we met, I asked him why. And he said, “This is exactly what human beings do. When they’ve gone through a similar experience, it’s redemption for that human being to help someone else when they are in need. And they gave each other something.”

Edee allowed him a quality of redemption that he wasn’t feeling before, and we clearly see what he gives her. And I think it’s a given of beautiful humankind. And so Demián understood that completely. And he said, “If there was one thing you could give me as a title, as that guide, he’s her guide. What is he to her?” And I said, “Edee’s Saint.” And he went, “Great. That’s all I need.” And we hugged goodbye. And I said, “I’ll see you in a month.” And we met on the top of the mountain a month later and just started shooting, and that was the dynamic. It was just naturally who we were with each other.

Part of what makes the relationship between Miguel and Edee special is the pacing of the script. We don’t learn too much too soon, just in drips. You do flashbacks, but also show a lot of restraint there.
Originally, there were dialogue scenes, multiple scenes of her past life, and we shot those scenes. And when we watched it in the edit, it didn’t work; it took you out of the movie. It took you away from going on this journey with this woman, so we ultimately ended up with what you see, which is elliptical flashbacks, the way you do remember your loved ones—silent images.

You have a wide-ranging career, both in front of and behind the camera, from superhero fare to quieter stories, TV to film. Is there a thread that connects it all for you? What do you look for in a project?
Really and truly, it’s seasonal. It depends where you are in your life. Why do you respond to material in the month of May, that you wouldn’t have responded to that previous year in December? It’s in sync with [something] twofold. What are you responding to, what’s resonating? And what is the message you want to portray, and express, and share? Because we are sharers of story, actors, directors. What is that story you want to share, and why? Like right now, I would love to direct a comedy.

I think we can all use one after the four years we had.
Oh, I think so too.

It sounds like there was almost a political way in for you to “Land,” based on what you’ve mentioned earlier about gun violence. I’m not sure if you set out to make a political film, but the human aftermath of it feels political at an individual level.
What I hope people walk away with is the feeling of hopefulness. You can have a renewed sense of faith and hope when you think it’s impossible. And it generally happens with another human being holding your hand through it. So it is about resilience and hope and human kindness. So if that is political, it’s the beautiful side of politics.

I agree. I feel like sometimes we try to isolate the word “political” too much in our lives. But it’s connected to anything that concerns the human experience.
Absolutely. And I think it’s politically correct. I feel that intrinsic need the way Miguel does, where he just said, “Oh, you were in my path, I was meant to help you.” And I think we should be responsible for those organic feelings that we have as human beings.

There was an omnibus project that was announced a few years back, “Together Now,” you and a group of other women filmmakers were attached to. Is that still happening?
That’s not something I’m involved with anymore. I think it’s still going on. But I’m going to be directing a couple of episodes of “Ozark,” the show on Netflix.

“Land” opens February 12 via Focus Features.

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