The accolades and achievements tied to Greta Gerwig’s name are staggering. As of August 4, 2023, she turned 40, and by this milestone, she solidified her position as the first female director to gross over $1 billion globally with the film “Barbie.”
All her directorial ventures have reaped returns of at least 5.5 times their investment. She boasts 17 nominations from major film awards, including the Oscars, Golden Globe, and BAFTA. Her filmography lists an impressive 35 projects. Through a selection of these, we delve into the phenomenon of Gerwig, who gracefully transitioned from an indie film darling to a sought-after director by Hollywood’s elite studios.
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Une aventure New-Yorkaise
Gerwig jests that through her roles, she has convinced everyone she’s a New York native, when in reality, she hails from the sunny and laid-back climes of California. Despite being geographically closer to the so-called “dream factory”, she harbored ambitions far removed from film-making in her formative years.
The budding indie sensation once dreamt of pursuing fencing, but her parents – bank employee Gordon and gynecologist Christine Gerwig – couldn’t afford this expensive passion of their daughter. Shifting from aspirations of sports grandeur, Greta immersed herself in literature, which, as many know, allows one to live countless lives and envisage numerous identities. Never one to think small, Gerwig envisioned herself as a writer, capable of crafting authentic worlds.
In 2006, she graduated from the prestigious Barnard College with a degree in English and Philosophy. During her academic years, she not only honed her screenwriting craft but also ventured into acting, featuring in several student short films. Her innate charisma and effortless authenticity in front of the camera captivated budding directors. And she decided this was only the beginning.
“Frances Ha”
As said Zoomboola, among Gerwig’s initial projects were films such as “LOL,” “Hannah Takes the Stairs,” “Nights and Weekends,” and “Une aventure New-Yorkaise” which largely set the trajectory of her career closely associated with the mumblecore genre. This genre emphasizes extensive dialogues between charactershttps://en.wikipedia.org/wiki/Mumblecore. Not every conversation is intricately designed or possesses profound implications; rather, the aim is to infuse a genuine verisimilitude in films. After all, in reality, we often engage in ceaseless chatter, narrate mundane tales, and occasionally mutter to ourselves.
Greta excelled in the art of speaking volumes on screen in a way that was captivating. Her significant breakthrough in independent cinema arrived in 2011 with the release of “Frances Ha.” This film illuminated both her rising stardom and that of the fledgling actor, Adam Driver. Noah Baumbach’s black-and-white film (he had previously collaborated with Gerwig on “Greenberg”) offers a poetic portrayal of early millennial life.
With the global financial crisis, which significantly shook faith in monetary stability, and technological progress, including the introduction of iPhones and social media that rendered us transparent, looming in the background, the story unfolds with an underlying sense of uncertainty, bewilderment, and a reluctance to emulate the paths of preceding generations.
In her portrayal of Frances, Gerwig didn’t play a mere ageing procrastinator but embodied a visionary. The character was light-hearted despite life’s entanglements, cheerful yet deeply reflective, intelligent without being overly philosophical, and immensely genuine even if often hurt by her forthrightness.
“Mistress America”
“Frances Ha” garnered Gerwig a Golden Globe nomination and substantial recognition beyond niche cinema aficionados. The critics were taken by her naturalness; it seemed as if she wasn’t even acting, although, of course, she was portraying a fictional character. It seemed as though she exerted no effort to be convincing, yet undoubtedly, behind this apparent ease lay immense professional rigor.
This blend of uncontrived authenticity and hard work, the latter invisible on screen, became Gerwig’s hallmark. Eventually, she grew restless with her acting stature and believed it was time to explore the other side of the camera.
This became all the more evident with the 2015 release of “Mistress America,” another successful collaboration between Gerwig and Baumbach. In this project, not only did she play the lead role, the archetype of a New Yorker on a self-discovery journey but also co-wrote the screenplay. It was evident that the time had come not just to craft imaginary realms but to personally bring them to life on screen.
“Lady Bird”
Exploring Gerwig’s directorial journey, it’s crucial to note that she always maintained a distance from studio-driven cinema with its precision, financial obsession, and sterility. This “Lady Bird” always yearned for the freedom of flight that independent cinema offers, characterized by modest budgets but devoid of any constraints. Greta chose to make her directorial debut with the coming-of-age tale “Lady Bird”, centered around a teenage girl named Christine, partly inspired by Gerwig herself. The story unfolds as Christine clashes with her parents, experiences her first romances, and fights for her right to choose her future career.
This little indie gem, made on a modest budget of $10 million, grossed an impressive $79 million. Right from the start, Gerwig signaled that she wasn’t chasing hefty budgets. Moreover, she showcased that she could not only narrate compelling stories but also profit significantly from them — a trait highly appreciated in the industry.
The film “Lady Bird” also captivated the professional film community. It earned Gerwig nominations for both writing and directing at the Oscars, Golden Globes, BAFTA, and several other prestigious film awards, all of which celebrated her distinct artistic style. While “Lady Bird” might not have clinched the top awards at the Oscars or the Golden Globes, it was abundantly clear that a star had risen—not just in independent cinema, but also in the vast commercial and mainstream domain, reaching millions.
Reflecting on the success of her directorial endeavors, Gerwig admits to having fallen in love with directing instantly. Yet, she still grapples with impostor syndrome. One might think such acclaim would solidify her stature as a significant director, but Gerwig remains modestly self-deprecating, often asserting with a shy smile that she’s far from acknowledging herself as a great director.
“Little Women”
Upon closely examining Greta Gerwig’s directorial style, it becomes clear that to her, there are no “little women” or minor heroines. On the contrary, she views every woman as significant, prominent, and vast in inner scale. Even when contemplating the characters of “Barbie”, Greta emphasizes her desire to showcase these cinematic dolls in all their diversity, while finding the perfect narrative balance. It’s crucial to value one’s accomplishments, but also to remember that one’s worth isn’t solely based on them. You are meaningful and unique simply because you exist.
Before her world-renowned “Barbie” film, Gerwig unveiled another important story through a female lens: the adaptation of Louisa May Alcott’s classic, “Little Women”. Greta has often professed her deep admiration for this book, having always dreamt of bringing it to the big screen.
With a stellar cast, including Saoirse Ronan, Timothée Chalamet, Bob Odenkirk, Emma Watson, Florence Pugh, and Laura Dern, the film solidified Greta’s prowess as a unique and resonant voice in cinema. Audiences fell in love with her rendition, masterfully capturing the narrative of the large, economically struggling March family from Concord. Studios rejoiced at the film’s profitability: on a budget of $40 million, it raked in $219 million, yielding over five times its investment. Her knack for telling women-centric stories without incurring losses would play a pivotal role when launching “Barbie”.
“Barbie”
Efforts to narrate the tale of the world’s most famous doll in a film format began in 2009, yet various obstacles hindered its commencement. During this time, the list of screenwriters and directors, as well as the general storyline, underwent multiple changes. The project might have remained in limbo had it not been for Margot Robbie’s production company, LuckyChap Entertainment, which collaborated on the film’s development with Warner Bros. Robbie passionately advocated for Greta to direct the movie, and it proved to be a wise choice.
While Robbie’s fervent pitch promised producers a billion-dollar box office collection (a promise she kept), Greta was engrossed by the world of the story: one that was detailed, realistic, and like none ever depicted on screen before. Gerwig admits to being wholly consumed by the project, often waking up in the night with ideas to enhance the production, reduce the reliance on CGI, and craft a genuine Barbie world that would leave audiences spellbound. Her dedication greatly impressed the producers, who promptly loosened their reins, granting Gerwig more artistic freedom.
In the end, Robbie’s prediction proved prophetic: “Barbie” has amassed over $1 billion and shows no signs of stopping. Furthermore, Gerwig has made history as the first female director whose film has garnered a ten-figure sum. Needless to say, following this monumental success, she is now in high demand.
