Greta Gerwig, Accidental Movie Star 

Page 3 of 6


He has a remarkably inclusive worldview, I think. I like that he writes about these very circumscribed social microcosms where you don’t really have the option of not socializing with somebody because of personal animosity or romantic rivalry and then by the end everybody is sort of reconciled to each other.
I think he likes all his characters, I don’t think he writes bad people. Even the people who are difficult, like Violet, or the Kate Beckinsale character in The Last Days of Disco, he likes them. He’s generous with all of them.

Is it interesting, because he’s I guess 60 years old now—
He is? Oh my goodness, I didn’t know.

Well, I was interested because it’s a much different perspective on this age bracket than many of the films you’ve made with people who are much closer to you in age.
I know. It’s a much more interesting perspective.

It’s what youth looks like I suppose to somebody else, for once.
I don’t think—you know it’s funny, but I never really thought about it as a movie about young people. I think in his world adults behave the same way. I tend not to look at like, this is about young people—I mean, most things are about young people, so it’s hard to…

Yes, but I mean there’s things specifically—

Well not even college, but the way that somebody like your character repeats things and the way your character tests out everyone else’s formulations. It seems at least sort of formative or tentative. Not to get sidetracked into arguing…
No, I just thought it was interesting that I never really thought of it like that. I mean it just seemed so out of time, in a way. I guess it didn’t have that “this is how young people live today” feeling, which, some of the other movies I’ve done feels like that. It felt like it was about young people in a world that never existed.

How was it working with a group of younger and, at this point, lesser-known actresses for the most? I guess that’s fairly a fairly recent development for your career right, at least in terms of larger films.
It is. They were great. I mean, it was sort of like, actually most of us were around like 27 or 26 when we made it. Annaleigh Tipton’s younger, but everyone else was sort of—me and Aubrey Plaza and Megalyn and Caitlin were all sort of… it was actually kind of nice in that way, acting like you’re in college after you’re out of college, only Analeigh was actually college age, but the idea of being the known element is utterly absurd still to me. But I would say more than being sort of a whatever-that-means known element, it’s the first time I’ve ever been number one on the call sheet. It’s different the way that you feel in a movie. Because even if you’re a big part but you’re not the biggest part you still come in and do your work, but you’re not setting the tone for everyone. And actually doing that was a challenge, I loved doing it but it’s terrifying because—it must be, this is an unfair comparison, but it must be sort of what it feels like to have a child, where you realize, “Well, my parents never knew what they were doing. You just… can have a baby.” You always feel like, when you’re lower down on the call sheet, the person who’s number one seems that they must have some secret knowledge that you don’t have. But for the most part they don’t, everyone’s just acting every day.


Showing 1-1 of 1

Add a comment

Subscribe to this thread:
Showing 1-1 of 1

Add a comment

More by Mark Asch

  • The Best Old Movies on a Big Screen This Week

    From a highpoint in subtitled genre fare to Peter Jackson's most ambitious film.
    • Jun 11, 2014
  • The Best Old Movies on a Big Screen This Week

    Eleven films, from the Mexican Porky's to William Hurt blowing the hinges off the doors of perception.
    • May 21, 2014
  • More »

Latest in Features

© 2014 The L Magazine
Website powered by Foundation