Barbie, the doll, is celebrating 64 years of existence, but the upcoming movie adaptation of Barbie is a product of the pandemic. Greta Gerwig, the acclaimed filmmaker behind “Little Women” and “Lady Bird,” conceived the idea during a time of uncertainty about the future of movies. Gerwig aimed to create a film that captured the essence of both longing and exuberance, overflowing with a desire to be experienced together on the big screen.
“Barbie,” which opens in theaters soon, is a vibrant and eccentric masterpiece, starring Margot Robbie and Ryan Gosling. Co-written by Gerwig and her partner Noah Baumbach, the film was made while they were also welcoming their two sons, one a toddler and the other just five months old, into the world.
In an interview with the Associated Press, Gerwig discusses the film, its positive reviews, the balancing act between art and commerce, and the unexpected connection between “Barbie” and “Oppenheimer.” She mentions her engagement with reviews, admitting that while she values film criticism, it can also be overwhelming during the emotional release of a film. Gerwig draws a comparison between receiving reviews and giving birth, emphasizing the need to process feedback in due time.
Gerwig sought advice from Peter Weir, the director of “The Truman Show,” on how to create an artificial yet emotionally authentic world for Barbie Land. Weir shared his experience, suggesting the use of large stage lighting to create a theatrical feel even when shooting outside. However, he warned against creating a hot filming location, as it would be uncomfortable for the cast and crew.
The filmmaker reflects on the generosity of other directors in sharing their knowledge and experiences. She recalls Steven Spielberg’s assistance during the making of “Little Women,” where he offered her insights and research from his own film set in the same time period. Gerwig emphasizes the camaraderie among directors, despite the unique journeys each filmmaker undertakes.
Regarding the target audience of “Barbie,” Gerwig dismisses the notion of strict categorization between films for kids and adults. She believes that everyone has a connection to their own childhood and the process of growing up, subjects that continually interest her.
The conversation shifts to the unexpected inclusion of Proust Barbie in the film, inspired by Marcel Proust’s famous literary work “Remembrance of Things Past.” Gerwig humorously mentions that Oppenheimer, referred to earlier in the interview, would have adored this detail.
Gerwig also references a scene in the movie where Barbie experiences objectification on Venice Beach, relating it to her own experiences as an actor feeling the pressure to conform to certain beauty standards. She shares an anecdote about an audition when she wore overalls and was met with disapproval, which made her doubt her talent.
Speaking about the recurring themes in her films, Gerwig acknowledges that while each project absorbs her completely, she recognizes connections in retrospect. She expresses a deep interest in exploring the messy and unpredictable aspects of life, particularly within the realm of women’s experiences and intergenerational conversations. Gerwig believes that life doesn’t always need to be organized; it thrives in its inherent chaos.
Gerwig concludes the interview by mentioning a Guardian article about indie directors “selling out” and how it relates to her film “Barbie.” She suggests that “Barbie” can simultaneously be a Mattel commercial venture and a thought-provoking artistic piece, highlighting the idea that multiple perspectives can coexist harmoniously.