Elle, c'est Greta Gerwig, la réalisatrice du film Barbie, avec Margot Robbie et Ryan Gosling en tête d'affiche.
Un film exaltant qui donnera envie aux gens de retourner au cinéma, c'est ce que Greta a voulu faire en le réalisant.
Elle nous raconte la folle histoire de ce chef-d'œuvre ✨
Le film Barbie est disponible au cinéma
Un film exaltant qui donnera envie aux gens de retourner au cinéma, c'est ce que Greta a voulu faire en le réalisant.
Elle nous raconte la folle histoire de ce chef-d'œuvre ✨
Le film Barbie est disponible au cinéma
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Court métrageTranscription
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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06:01 [music]