AP: I wondered going in if “Barbie” was going to be for kids, but then about 15 minutes in I realized that this is exactly the type of movie that I wish I’d had to obsess over at age 8 instead of, like “Grease 2.” Even though you’re only ever in your own in your own dream of your own movie, there’s camaraderie in the loneliness. He opened up all of his research, all the lighting diagrams that he did with his cinematographer. I had the same experience when I was making “Little Women.” Steven Spielberg was incredibly generous with me because he had made “Lincoln,” which took place in the same year. And other directors want to give you the knowledge that they’ve gotten that they can’t use anymore because they’ve already made that movie. Whatever lessons you learned on the last one, you can apply some of them, but it’s going to be a new set of issues. GERWIG: In my experience, directors are so generous speaking about what they’ve done and how they did it and what were the problems, because you’re only ever on your own movie AND movies are hard and they always feel completely unlikely and completely impossible but in a new way that the other one wasn’t. It works but you might want to avoid making a place that’s hot, hotter. And then he said it made everything like 120 degrees and that he did not suggest that. There’s obviously parts of his movie that are done on a stage, but then there are other parts of it that can’t possibly be on a stage because it’s too big, but it feels like it’s on a stage, you know? Why does it feel like it’s on a stage? He explained to me they did shoot a lot of it outside in this community in Florida, but that they hung big stage lighting everywhere so it would look lit even though it was outside. But as big as soundstages are, they’re not the world. I had this idea of making Barbie Land basically an interior soundstage world. GERWIG: He was so generous getting on the phone with me. Is there anything he told you that you can share? AP: I read that you called Peter Weir (“The Truman Show” director) to get advice on creating an artificial world with emotional authenticity. (“Barbie”) seems to have been received in the spirit that it was meant, which is exciting. … All my metaphors go to giving birth because I have a five-month-old but it would be like if you just give birth and then you’re like, “What are the reviews of the baby?” But I did check the email and I’m pleased. What I tend to do is know which ones I’m going to go back to in a few weeks when I can take it in more. But it can feel very scary at the moment that you’re at the emotional pitch of releasing a movie to take it in. Film criticism matters to me as a person and also being in conversation with people who think about cinema matters. There’s a lot of reviewers that I really respect and have really liked. I was like go to sleep, wake up, caffeinate, get your kid to summer camp and then find out where we are. I didn’t actually look last night because I just knew I would be too anxious. I’m wondering if you engage with those and how you’re feeling? Remarks have been lightly edited for brevity and clarity. Gerwig spoke to the AP this week about the film, the reviews, the tension between art and commerce, and the unlikely connection between “Barbie” and “Oppenheimer.” (Hint: It’s not just the release date.) She co-wrote it with her partner, Noah Baumbach, with whom she shares two sons - a toddler and a five-month-old whom they welcomed into the world while getting “Barbie” out to the world. Her “Barbie,” which releases in theaters on Friday, is a joyful, maximalist, deeply weird, insightful and defiantly pink confection starring Margot Robbie and Ryan Gosling. “Because I thought we’ll never make any movies again, but if they’re going to, I’d like this.” “I wanted to channel something that had that ache in it, but also something so wild and unruly and something that was so just spilling out over the edges of it that you want to be in a group and see it big,” Gerwig told The Associated Press this week. Greta Gerwig, the Oscar-nominated filmmaker behind “Little Women” and “Lady Bird,” started dreaming it up at a time when she wasn’t sure movies would ever come back. Business & Finance Click to expand menu.īarbie, the doll, may be 64 years old, but “Barbie,” the movie, is a pandemic baby.
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