This sort of inchoate desire, or desire that doesn’t have an object, is interesting to me, because I think it’s so much a dimension of what it is to be an ambitious woman. Because, for every other moment in human history, [that ambition] had nowhere to go… I knew I could not do the ending [of LITTLE WOMEN] just as the book did—especially because LouisaMay Alcott didn’t really want to end it that way… and if we can’t give her an ending she would like, 150 years later, then what have we done? We’ve made no progress. — Greta Gerwig
Gerwig’s LITTLE WOMEN—a complete artistic success and Noah Baumbach’s favorite film of the year—is here.
On January 3, Gerwig, Saoirse Ronan, and the American Cinematheque present a double-feature screening of LITTLEWOMEN and LADY BIRD at the Egyptian Theatre, with a between-film conversation.
Elvis Mitchell: “Tell us about your first day as a director.”
Greta Gerwig: “I prepared and I over-prepared. Film is weird—it’s a timed art. For everything you’re doing [on set], that’s something else you’re not able to do. But I was ready. It’s a mix of being totally in control and totally out of control. It’s thrilling.”*
Actor-screenwriter Gerwig grew up in Sacramento, went to a Catholic high school, attended Barnard, and wanted to be a dancer.
The last part of that story provided the basis for Frances Ha (2012), her screenplay collaboration with her work and life partner Noah Baumbach.
For LADY BIRD, Gerwig took over the directing reins for the first time, and the completed work—a roughly autobiographical coming-of-age tale about the Sacramento years, starring Saoirse Ronan in the title role and Laurie Metcalf as her mother—is one of the standout films of 2017.
LADY BIRD, now playing.
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