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Associated Press
Greta Gerwig has already had three major movies released this year.

Gerwig’s rise no surprise

Many saw her talent from the beginning

Greta Gerwig has a remarkable career on her hands.

The 28-year-old actress-writer-filmmaker already has three major movies in release just this year: Whit Stillman’s “Damsels in Distress,” Daryl Wein’s “Lola Versus” and Woody Allen’s “To Rome With Love.” There’s also a reportedly completed “Untitled Greta Gerwig Project,” which she wrote and stars in.

Gerwig has succeeded through a combination of unaffected craft and artless talent. You see her up on the big screen, but you don’t see an actress or even a character; you watch a person. She skipped through rough-edged, no-budget art films to more polished, modestly budgeted indies, and now to the point where she’s been on a set with Allen.

All that Gerwig has achieved doesn’t surprise anyone who knew her or worked with her in her formative years in Sacramento, Calif., where she was born.

Writer-director Anthony D’Juan was an artistic associate with Ed Claudio’s Actor’s Workshop when she attended classes there, and D’Juan directed her in a 2001 production of “The Seagull.”

“Everything that she is now, was completely apparent from the beginning,” D’Juan said.

Does Gerwig posses some ethereal innate talent or has she absorbed a meticulous and now invisible level of craft?

It’s likely both.

Sacramento acting guru Ed Claudio worked consistently with Gerwig from the time she was in elementary school through her high-school years at St. Francis.

“She was a natural actress and always made really good, sharp choices that were right on target. When she played Nina in ‘The Seagull,’ she was Nina,” Claudio said.

“As an acting teacher, the best you can do with people like that is draw out their talent, encourage them and help them grow,” Claudio said.

In the earnest micro-budget early movies that first earned Gerwig recognition, her naturalistic style was quietly melded with a deliberately handmade aesthetic.

Still, she stood out in the modest movies made with understated auteur Joe Swanberg. In “Hannah Takes the Stairs” and the more dramatically striking “Nights and Weekends,” which Gerwig also co-wrote and co-directed, her characters are the movie’s real centers and she is performing, not simply playing an extension of herself.

Gerwig has a confident physicality and makes subtle adjustments from character to character.

Tall, lithe and athletic (she was a nationally ranked junior fencer as a teenager), she’s not afraid to deglamorize her striking personal appearance. For “Greenberg” she said she imagined a character whose “thighs rubbed together when she walked.” As Sally, Jesse Eisenberg’s doctoral-candidate girlfriend in “To Rome With Love,” she makes herself just a bit shlumpy next to Ellen Page’s nubile neurotic.

Gerwig has indeed developed her craft, which is something her high-school drama teacher, Cheryl Watson, thinks people need to know.

“She’s very serious about it, and has always taken it seriously,” Watson said.

Watson watched close up as Gerwig moved through her high-school years participating in all the St. Francis theater productions.

“We did a lot of musicals, and she was always game to play different parts. She especially enjoyed the dancing we did,” Watson said.

“From the time she was a freshman, she was adventurous and she’d try things. You’d ask her to do something and she’d give it a shot. She took direction very well,” Watson said.

Gerwig works often and moves easily between small indie features and larger mainstream efforts such as the new Allen film. Her ability soars even when the movies she’s in are falling flat.

If you need an example, just watch the 2011 remake of “Arthur” starring Gerwig and British comic actor Russell Brand. While you couldn’t say she elevates the pedestrian material, her game Naomi Quinn emerges unsmudged from the celluloid wreckage around her.

In the similarly predictable “No Strings Attached,” Gerwig as star Natalie Portman’s character’s best friend drifted above the middling reviews of the film and occasionally earned standout notices, such as this mention from Movieline’s Stephanie Zacharek: “And it’s a stroke of genius to cast Greta Gerwig. ... Gerwig’s space-case sense of timing gives her an air of mystery rather than predictability: Someone needs to cast her in a screwball comedy about a seemingly ditzy Nobel Prize-winning genius.”

Gerwig has charmed her adopted hometown of New York. Features about her turn up regularly in The New York Times and photos of her in her apartment spread out across the pages of New York magazine.

But she maintains her longtime connections in Sacramento, turning up at pal Connor Mickiewicz’s “Merrily We Roll Along” opening night in April, casually lounging with friends and family at a pre-performance reception. Similarly, she invites old friends to the Los Angeles premieres of her films.

There is an unaffected grounding in Gerwig that is not an act. The magic she works in front of the camera seems there for the long run as well.

“She always, always had it,” playwright D’Juan said.

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