00:00 She is Greta Gerwig.
00:01 She directed this, this and especially this,
00:03 the most anticipated film of the year.
00:05 From the project proposed by Margot Robbie,
00:06 to the filming in the sets of Barbie London,
00:08 through the writing of the script and its film influences,
00:10 she tells us the crazy story of the film Barbie.
00:12 [Music]
00:15 Noah Baumbach, who is my partner,
00:17 he and I wrote it together really at the height of lockdown.
00:22 I mean it influenced it in every way.
00:24 I think there was a, we had this kind of sense of
00:26 who knows if people will go back to the movie theater ever again.
00:30 I think the fact that there was nothing led us to
00:34 really create this kind of anarchic, joyful, wild ride of a movie
00:40 because it was almost like,
00:42 well if we ever go back to the movie theater,
00:44 let's do something outrageous.
00:45 I don't have anything big planned,
00:46 just a giant blowout party with all the Barbies
00:48 and planned choreography and a bespoke song.
00:50 You should stop by.
00:51 So cool.
00:52 And Mattel invited me and I went to their,
00:54 they have a headquarters in El Segundo.
00:57 You know a lot of ideas came out of that.
00:59 I'm very, very grateful that Mattel gave me
01:01 extraordinary free reign to do whatever I wanted,
01:05 which I sort of still can't believe they let me do.
01:07 But I'm a man.
01:08 But not a doctor.
01:09 Can I talk to a doctor?
01:10 You are talking to a doctor.
01:11 Can I need a clicky pen?
01:12 No.
01:13 A sharp thing?
01:14 No.
01:15 There he is.
01:16 Doctor!
01:17 The movie came to me at this particular time,
01:18 but I think how we think about feminism
01:19 has continued to evolve and change,
01:21 and I think Barbie is being part of that.
01:24 She's been on different sides of it.
01:26 You know, again, from 1959 until now,
01:28 it's like Barbie had a dream house and a dream card
01:31 before women were allowed to have credit cards,
01:34 even though she had this completely unrealistic body
01:36 where she wouldn't have been able to stand up properly
01:39 because her proportions are impossible.
01:42 She also did have a job.
01:44 So she's always been kind of an interesting figure that way
01:48 because she's always been, you know,
01:50 neither a hero nor a villain.
01:52 [music]
01:53 Do you guys ever think about dying?
01:55 [record scratch]
01:57 Honestly, once we had the script,
01:58 I knew I wanted to direct it.
02:00 It was so outrageous as an idea.
02:04 I just thought if they're going to let someone do it,
02:07 I've got to be the one who does it.
02:09 I mean, really, I wanted to direct it,
02:11 but the whole time I just kept thinking,
02:12 "Well, they're not going to make this.
02:14 This is too strange."
02:16 And then they did.
02:17 So many movie inspirations.
02:19 There was sort of the classic soundstage musicals
02:22 that I was interested in,
02:23 really from the '30s through the early '60s.
02:26 ♪ There's a bright golden haze on the meadow ♪
02:31 Vincent Minnelli's musicals.
02:33 They just have this particular look and surreality,
02:36 which was exactly what we were going for.
02:38 Powell and Pressburger's movies,
02:40 The Red Shoes and A Matter of Life and Death.
02:42 They both have this kind of heightened theatricality,
02:45 which I loved.
02:46 All those Howard Hawks movies for how fast they talk.
02:49 I love Peter Weir's movies, just in general.
02:51 Why don't you let me fix you some of this new mococo drink?
02:54 What the hell are you talking about?
02:57 Who are you talking to?
02:58 He's such an amazing filmmaker
03:00 who's worked in so many different kinds of movies.
03:03 When I was watching The Truman Show,
03:04 I had that sense of like,
03:06 I know that this is shot outside because it's too--
03:09 you could not get a soundstage big enough
03:12 to do all of that stuff.
03:13 But I was like, "But how does it feel like it's lit?"
03:17 Because it felt like it was lit by, you know, stage lighting.
03:20 And so I managed to get-- he got on the phone.
03:23 He was so generous.
03:24 He talked to me for a couple of hours
03:25 and talked to me about how he did it
03:27 and how he shot it outside,
03:28 but with lights in Florida.
03:30 And he said it was just outrageously hot.
03:33 And he said, "I don't suggest you do that."
03:36 I was like, "It's really, really hot."
03:38 After my conversation with him,
03:39 it was the thing that made me want to lean
03:41 even more into completely doing it inside.
03:44 This is the real world.
03:46 What's going on?
03:47 Why are these men looking at me?
03:48 Well, shooting on Venice Beach
03:50 after being in the dreamland of Barbie World
03:53 was actually jarring, which was great
03:56 because it felt like it was mirroring
03:58 the experience that Barbie and Kent were having
04:01 was to be on the Venice boardwalk
04:03 and feel like they're totally exposed,
04:06 they're totally self-conscious.
04:07 It's completely overwhelming.
04:09 Three, two, one.
04:10 Fear, let us show you.
04:12 Yes, that's great.
04:13 I mean, we had a really brilliant visual effects supervisor,
04:17 producer, Glenn Pratt.
04:18 In addition to building large versions of the sets,
04:21 we built all these miniatures, which were amazing.
04:24 And it helped us with this thing.
04:26 Like, most of the time when you're building miniatures for movies,
04:29 you're building them with the idea that, you know,
04:31 you hope the audience doesn't know they're miniatures.
04:34 And there was something slightly different about this one,
04:36 which is that we didn't mind that the audience knew
04:39 they were miniatures because we wanted it to feel like
04:42 this kind of confusion of scale,
04:44 that you feel like, "Okay, they built miniatures."
04:46 And then you think, "Did they?"
04:48 Because now we're in the house, so what had just happened?
04:51 Like, your brain tries to puzzle it out.
04:53 I think the first day of shooting, too,
04:56 I almost had this feeling of, like, everybody was so great,
05:00 and the crew was so amazing,
05:02 and everybody was just so at a high level.
05:05 I almost had, for the first day, this feeling of, like,
05:07 I don't even know really what I'm meant to do
05:09 other than just watch this happen.
05:11 And then, you know, of course, I figured out.
05:13 The scale of it and the excellence of everyone involved was staggering.
05:18 Did you bring your rollerblades?
05:20 I literally go nowhere without them.
05:22 The whole marketing of it, the whole--
05:25 it's incredible, it's amazing.
05:27 And I think when that picture of them in rollerblades came out
05:30 and people seemed very excited by that,
05:32 I thought, "Oh, maybe they know what we know."
05:35 You can go back to your regular life,
05:37 or you can know the truth about the universe.
05:39 The first one, the high heel.
05:41 You have to want to know, okay? Do it again.
05:43 I'm going to sleep for two months.
05:45 No, I really am going to sleep for two months, man.
05:47 But it's great. I mean, there's nothing else I'd rather do,
05:50 and I'm so proud.
05:53 [music]
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