The actress and her collaborators reflect on the hits ('Juno') and misses ('Camping'), even recounting the movies Garner almost didn't take ('Dallas Buyers Club')."Acting is a very hungry, greedy career and a very unforgiving one," says Jennifer Garner, "and for someone who has chosen family way more often than I probably should have, I can’t believe I’m still here." And by the looks of her development pipeline, which includes a potential drama, thriller and musical, Garner has no plans to slow down. With her next project, family comedy Yes Day set to hit Netflix March 12, she looks back at her Hollywood career. ALIAS (2001-06)Though ABC took convincing, J. J. Abrams was certain Garner, whom he'd worked with on Felicity, was his star. "She's open and accessible, and she works harder than anyone," says Abrams. "She's also deeply decent. I'll never forget, she was in every scene — I mean, she'd work more in a couple of days than most actors would in weeks — and then she'd show up to set having baked for the crew, because that's just who she is." Garner likes to say the network thriller, in which she played a co-ed by day, spy by night, not only launched her career but also gave her a toughness that's served her well. "I was very Southern and obsequious, and I needed a little swagger," she says now, adding that she'd gladly participate in an Alias reboot: "I'll grab Bradley [Cooper] by the scruff of his neck."DAREDEVIL (2003)She parlayed her TV action star status into her first major film role, which had her starring opposite future husband Ben Affleck. But the Marvel movie (and its 2005 sequel Elektra) came before Kevin Feige refreshed the superhero brand. "It's such a shame, honestly, because once Kevin took over everything there was elevated: the writing, the direction, the comedy inside of the stories they were telling," she says. "And I did not have that experience."13 GOING ON 30 (2004)The beloved rom-com proved that Garner could do far more than simply action, but she was hesitant to sign on initially. "I was afraid it could be a joke," she says of the film's body-swapping premise, but credits the late director Gary Winick and his extensive rehearsals at the Shutters hotel in Santa Monica for sidestepping that trap. "He'd have us run scenes and then we'd sit down and break down why the scene wasn't working, and he actually took the time to rewrite it and rewrite it and rewrite it," recalls Garner. "People say they're going to do that but then they get to the end and they say, 'Well, we can't because this location is set' or 'We can't because it's going to change this,' or 'We've already cast this actor.' Gary didn't care. He was tireless. And I don't know, because it's so beloved, if I look at it in reverse with just the biggest rose-colored glasses possible — but I don't think so; I think it really was that special."JUNO (2007)Director Jason Reitman says Garner's star power was key to getting his critical darling made.


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