IN CONVERSATION WITH MARY ELIZABETH WINSTEAD
interview by JANA LETONJA
photography by MATTHEW PRIESTLY
Mary Elizabeth Winstead has built one of the most dynamic and enduring careers in Hollywood, effortlessly moving between indie gems, action blockbusters, and prestige television. This fall, she returns in ‘The Hand That Rocks the Cradle’, 20th Century Studios’ reimagining of the 1992 thriller, streaming on 22nd October on Hulu and Disney+. With ‘The Hand That Rocks the Cradle’, she dives once again into complex emotional territory, exploring motherhood, vulnerability, and the darkness that can lurk just beneath the surface of the familiar.
‘The Hand That Rocks the Cradle’ is such an iconic ’90s thriller. What drew you to this reimagining, and what made you feel it was the right story to tell now?
When I read the script, I was blown away by the way it subverted expectations of the genre, bringing a real feminine and empathetic lens to this story. It became something sinister and scary, but also quite tragic and truthful in a way that totally drew me in. The collaboration between screenwriter Micah Bloomberg and our director Michelle Garcia Cervera was clearly such a strong vision, and I wanted to be part of it.
The film explores themes of trust, domesticity, and manipulation. What intrigued you most about Caitlin Morales as a character?
I think it’s always incredibly fun and rewarding to play a character who is hiding something and not being true to themselves. There were so many layers to Caitlin and I absolutely loved getting to slowly peel those layers back over the course of the film and uncovering her true self. She is a deeply flawed character, but I loved her, and in that way I also loved the Polly character as well. Two women stuck in these roles they cannot escape.
The original film is remembered for its psychological intensity. Did you revisit it for reference, or did you want to approach this story with a completely fresh perspective?
After I read the script, I looked up the original film and the synopsis alone felt so different from the direction our film was going. There are obviously major similarities and it is where the plot is derived from, but these characters come from completely different backstories and have very different motivations. For that reason, I felt it was better that I stayed away from it, and carved my own path. There’s no doubting how iconic the original is though, and even without watching, it still loomed large in my mind and in the atmosphere on set.
How did you prepare to capture the emotional nuances of Caitlin’s world, especially as a mother navigating fear and vulnerability?
It was quite easy to tap into the maternal aspect of Caitlin, even though she’s quite different as a mother than I am. She struggles in a way to connect with her children, and that was something that pulled on my emotions a lot. I think every mother wishes that every aspect of motherhood was easy and natural, and it can be soul crushing on the days it doesn’t feel that way. Then, those vulnerabilities are preyed upon and taken advantage of, so I tapped into the sadness I felt for her in those moments.
You’ve always chosen characters with depth and emotional complexity. How do you decide when a role is right for you?
Ultimately, it always comes down to my connection with the story and the character. It’s not something you can really put into words, it’s just a feeling. Sometimes I read a script and I just think “I have to do this.”
What kind of roles or stories do you find yourself drawn to at this stage of your career?
I’m definitely drawn to stories about the complexities of motherhood as that’s a big part of my world these days and something I feel I can bring a lot of myself to. I also want to play every kind of human being, really. I just want to keep finding roles that are layered and give me a big space to play in.
You’ve worked with so many visionary directors, from Quentin Tarantino to James Ponsoldt to Michelle Garza Cervera. What do you value most in a director-actor relationship?
I’ve been so lucky to work with those directors who are all absolutely incredible. Mutual respect and communication are the most important things. I love to collaborate and to be made a part of the process, if the director finds that’s helpful to them as well. As long as we both recognize and value one another as artists and we are on the same page about what we are making, I am fully in and along for the ride.
Looking back, what’s been the most challenging role of your career, and what did it teach you?
I’ve had quite a few challenges. One that stands out is when I played a stand-up comedian in Eva Vives’ ‘All About Nina’. It was a very complex role and went to some really deep emotional places, but along the way, I also had to learn how to be funny in a very different way than I had been before. I had to perform stand up for days at 6 am for a room full of extras who weren’t sure if they were supposed to laugh or not. It was true stage fright. But I loved being pushed into doing something that terrified me, and ultimately it boosted my confidence immensely. It was a lesson to keep pushing myself, and keep doing things I’m not sure I can do.
You’ve evolved alongside your career, now also balancing motherhood and creative projects. Has motherhood changed the way you approach your work?
Motherhood has changed everything for me, in the best way. It’s made my world so full, so everything else feels like icing on the cake. If I get to keep doing movies, I’ll be very happy. But if it all goes away, as long as I can still take care of him, I’ll be ok.
Acting often requires deep emotional vulnerability. How do you take care of yourself after exploring such intense characters?
To be honest, there doesn’t seem to be much time for that anymore. After a long hard job, I usually just need a little down time without too much to do or too many people to see. To sit quietly with myself and reset.
Finally, as ‘The Hand That Rocks the Cradle’ premieres, what can you share with us about your upcoming projects?
Who knows. I am very happy to take it slow and wait for the right thing to come along. I have been very lucky to have had a very busy year shooting ‘The Hand that Rocks the Cradle’ and the second season on ‘Ahsoka’ back to back, both projects that brought me so much joy personally and artistically. My cup feels very full. I’m open to whatever is coming.
