Greta Gerwig on Frances Ha and the Film Industry: VICE Podcast 007

Video Statistics and Information

Video
Captions Word Cloud
Reddit Comments
Captions
EDDIE MORETTI: Hi, I'm Eddie Moretti. Welcome to the vice podcast. My guest today is Greta Gerwig. Hi. GRETA GERWIG: Hi. EDDIE MORETTI: Welcome. So I want to talk first about Francis Ha and how it's doing. And critically, it's been acclaimed across the board. I don't think I've ever read a bad review of the film. I loved it. That's a huge plus. But how's the film doing as a film, commercially? And how many screens are you, on and all that good stuff? GRETA GERWIG: Well, it's actually doing really well commercially on its terms. I mean, it opened in four theaters its first weekend. And then it expanded to 81 its second weekend. And then this weekend, it's expanding to 121 theaters, or something. EDDIE MORETTI: There's no stopping this film. GRETA GERWIG: It's the exponential growth. But it's doing really well. People are really going to see it. And I think one of the things that we didn't totally know is do people still go to the movie theaters? And apparently they do. EDDIE MORETTI: Apparently they do. GRETA GERWIG: So it's exciting. I mean, knock wood. I mean, it's still going. But I think all signs point to yes. EDDIE MORETTI: And so it opened initially just here in New York, or New York and LA? GRETA GERWIG: New York and LA. EDDIE MORETTI: Did you notice-- because you went to both premieres probably-- different reactions in each town? GRETA GERWIG: Yeah. We've done it in New York, LA, between different festivals, too, in Telluride, Colorado and in Toronto and in Berlin. And we talked to-- EDDIE MORETTI: Oh, cool. Interesting. GRETA GERWIG: Paris press. I mean, luckily everybody seems to like it. But they focus on really different things. EDDIE MORETTI: And that's the interesting part. What are they focusing on, let's say, in Europe? GRETA GERWIG: In Europe, they feel it's a film about class. EDDIE MORETTI: Wow. I never would have got that. GRETA GERWIG: And every single journalist brought it up. They were like, it's about class. EDDIE MORETTI: In what way? GRETA GERWIG: She feels that there's this sort of subtle distinction between who has money and who doesn't, and how that changes what you can do. And she's not destitute. But she's not where her roommate-- and it's sort of like these subtle distinctions. Anyway, they're all obsessed with that. EDDIE MORETTI: I'm going to do this a lot, because that's what I do. I just jump in and interview. GRETA GERWIG: Yeah, please. EDDIE MORETTI: I will fuck up your flow completely. GRETA GERWIG: No, I don't have a flow. EDDIE MORETTI: But that's interesting. So do they think Sophie is marrying Patch just for the money? GRETA GERWIG: No, they don't think she's marrying him just for the money. But they do talk about that difference, that jump. It's not about a judgment on the character as much as it is that this is actually functional in this world. And it's between this and this. It's not a huge spread, but it's enough. EDDIE MORETTI: How do you feel about that? Because it's in the film. First, Sophie's going to go to Tribeca, which is like whoa. GRETA GERWIG: Because she can afford it. EDDIE MORETTI: Which is where Frances would like to go, maybe. GRETA GERWIG: But can't. EDDIE MORETTI: But can't. And then there's people that have flats in Paris. And oh, wouldn't it be-- I'm just going to go and hang out and kind of mimic this lifestyle. So how do you feel about that? There is that. GRETA GERWIG: Yeah. I mean, it's deliberately in there. It's something we were deliberately doing, of trying to find a way. Because I think sometimes the financial circumstances in movies can be a little like they're background noise. But they're not functional in a plot. And we wanted like a whole-- like when she gets a tax rebate, that that like sets off a whole chain of events. That actually means something in her life. But yeah, we did talk about it a lot. EDDIE MORETTI: It's hard often to actually put dollars and cents on money issues in a film, because it gets dated so quickly. GRETA GERWIG: It's true. EDDIE MORETTI: Like in "Annie Hall," when Woody Allen is like they're charging you $400 a month? It's so cute now. But it's interesting because that moment when Frances gets the treasury check for her return, it doesn't come out all the way, does it? GRETA GERWIG: Well, part of the not coming out all the way without giving too much, we didn't want to see her whole name. EDDIE MORETTI: Smart. GRETA GERWIG: So it was that, too. But yeah. EDDIE MORETTI: So it's class, to the Europeans. It's interesting. GRETA GERWIG: They're just more engaged with that part of it, and ambition and how that mixes. But yeah, they're much more attuned to that. EDDIE MORETTI: Attuned to that, but loving the film regardless. GRETA GERWIG: And then, I would say LA, a lot more parents in LA of kids who moved to New York that came up to me like crying after screenings. And they were like, our daughter is in New York. And this movie makes me know she's not having sex, and she's OK. I'm like, well, I don't know what your daughter's doing. EDDIE MORETTI: She probably is having sex. GRETA GERWIG: But I feel like parents in LA are particularly moved by it, because I think it's that thing they identify. Same with San Francisco. That was also true of San Francisco. I feel like I've traveled with this woman, talked to so many people. And I feel like a small town politician. EDDIE MORETTI: Why? GRETA GERWIG: Like at the 11th hour, when they're out on the street shaking hands with cars. I'm basically thinking of John Travolta in "Primary Colors," when he's out at the last minute. Anyway, that's how I feel with the film when I'm doing a lot of shaking hands and kissing babies. EDDIE MORETTI: And what did they say in Toronto, just out of curiosity, because that's my hometown? GRETA GERWIG: Toronto was actually kind of hard to gauge the reaction, because it was during the film festival. So I felt less like-- EDDIE MORETTI: Too much noise. GRETA GERWIG: --the people of Toronto. And it felt more like the-- EDDIE MORETTI: The industry, right, right. GRETA GERWIG: --people for the festival. But we're actually going to go back to Toronto in a week and do a thing there for it. EDDIE MORETTI: Oh cool. At the festival? GRETA GERWIG: No. It's going to open in Toronto. EDDIE MORETTI: Oh, cool. GRETA GERWIG: And we're going to go be there for the opening. So I'll know what people think. EDDIE MORETTI: It's a great film town. I can't imagine it's not going to go great up there. GRETA GERWIG: I've been to Toronto other types for film stuff outside of the festival. And it seems vibrant. EDDIE MORETTI: It's a great community. And just one more second on city reactions, the New York premiere. How special was that that night? I was there. I didn't know you at that time, or I would have come and say hello. But describe that night. It must have been special. GRETA GERWIG: Yeah, it was amazing. We'd shown the film. And we knew it was playing well, which was gratifying. But you don't watch it every single time, because it would get boring. But we were like, we're going to watch the New York premiere. And it was like, if we could have written audience reactions to what we wanted them to be reacting like while we were writing the film, it was perfect. They laughed at all the right spots. And the size laugh was perfect. You know, puns get a slight chuckle, like a nod. It was just amazing. It wasn't like a full standing ovation. But it was a half. EDDIE MORETTI: I noticed that. And I felt like everyone should have stood up. I really felt like-- GRETA GERWIG: No, but it was great. EDDIE MORETTI: But they wanted to, though. I felt like they were doing it. GRETA GERWIG: I feel like it was my version of what I imagined having a triumph feels like. It was, for me, the farthest I can get is a half standing ovation in my head. EDDIE MORETTI: Right. That's in a way more appropriate, maybe. GRETA GERWIG: Yeah, yeah. EDDIE MORETTI: And it had to have been in your mind and in Noah's mind, as you're making this film, because it's about New York in so many different ways, that that night was going to be special. GRETA GERWIG: Yeah. Even when we were deciding what film festivals to take the movie to, because we go to New York for the festival. I go to New York for the festival. And I love it. And there was some feeling of do we hold the film for Sundance? Is that a better market to sell it in? Does it make more sense? Is it smarter? And then we were like, we really just want to go to New York Film Festival. And let's go to Telluride and try. Let's do the fall festivals, even though it doesn't actually make sense from a sales perspective. EDDIE MORETTI: But culturally-- GRETA GERWIG: Let's just do it. EDDIE MORETTI: It's the endpoint of that story that you guys were on. GRETA GERWIG: And it felt like we did the movie the whole way through exactly how we wanted to, and didn't compromise at all. And it felt like well, why would we release it in a way into the world that we were suddenly becoming calculated about it? EDDIE MORETTI: Exactly. And it's really important. Because the film makes me think a lot about different moments in film history. But there was a time when directors had a festival in mind. GRETA GERWIG: Yeah, sure. EDDIE MORETTI: Where they were like, I'm going to go with my new statement to that festival. And Godard did it famously at Cannes. GRETA GERWIG: Cannes, yeah. EDDIE MORETTI: But that's what this city means to you and to Noah. It's very important. It's a center of gravity. GRETA GERWIG: And for Noah, New York Film Festival was what-- when "Kicking and Screaming" got into New York Film Festival, that basically saved that movie from being straight to video. Because all of a sudden, it was being noticed at this very fancy festival. And it really changed the course of, I think, what he was capable of doing. So it was really cool. EDDIE MORETTI: So I'm going to link that back to the first thing you said, which is that you didn't know if people still went out to cinemas. GRETA GERWIG: Oh yeah, I said that. EDDIE MORETTI: So you said that. And then you've been around the world to these festivals. You know better than me and anyone else here-- I don't know-- what the state of film culture is around the world. GRETA GERWIG: I mean, people certainly are watching movies and watching content. I mean, definitely, but numbers-wise, people are not going to movie theaters as much as they used to, especially for smaller films. Like event films are different, if it's in 3D or it's part six of a "Fast and Furious," or whatever. Those movies get people out. But part of the thing is-- I mean, I feel two ways about it. This is what I feel. It's like bookstores in the '90s got killed by Barnes and Noble. Barnes and Noble and Borders killed independent bookstores. And then Amazon killed-- EDDIE MORETTI: Killed them. GRETA GERWIG: --Barnes and Noble. But the ones that survived the whole time, they're still around. Like, for some reason in Sacramento, where I grew up, there's a bookstore called The Avid Reader, which is still going. And it lasted. And it feels like those institutions are going to be OK, or like Three Lives or Shakespeare and Company or whatever in New York. And in LA, there's a bookstore called Book Soup. I mean, stuff like that. EDDIE MORETTI: This neighborhood, Williamsburg, has tons of them. GRETA GERWIG: Yeah. And it feels that way for film too. In a way, we're getting killed. But if we can kind of stay alive long enough, then, I always say it's like the cockroaches. EDDIE MORETTI: Yeah. But beautiful cockroaches. GRETA GERWIG: Yeah, but it's like indestructible, after nuclear annihilation. EDDIE MORETTI: Well, I have this theory about things like this that you can look at the changes and the innovations in the food world. That's your best barometer and bellwether on how little cockroaches, like great indie films, will survive and even flourish in the middle of the bigger business of films. Because food culture across this country and around the world has been transforming over the last decade. And I've always noticed now restaurants popping up in Williamsburg or the Lower East Side or anywhere in New York and in Greenpoint or whatever being run by people who 10 years ago would have started a band. And instead of starting up a band, they're having a restaurant. And the restaurant is like a little cockroach, because it's just resilient. It's not part of a big chain. And it's innovative and the food is good. GRETA GERWIG: The cockroach metaphor doesn't take you so far. I appreciate you trying to. EDDIE MORETTI: We'll stamp that one. GRETA GERWIG: I think it's hard, because I also don't love independent cinema for the sake of it being independent. If great movies could be made in a certain way in the studio system, I'd love that. I mean, we love well-made movies about people. And this movie, it took a long time to make. The script took a long time to write. We shot for 50 days. I mean, it was made on a budget. But it was also made rigorously. And if there was a way to do that, if studios were financing movies in a way that they used to and really aren't any more, of a certain kind, that would be great. But they're not. EDDIE MORETTI: They're not. GRETA GERWIG: But I'm not interested-- it's like I feel like-- EDDIE MORETTI: I get it. I get it. I hope everyone else does. But I just got it. GRETA GERWIG: Yeah. It's not just about indie and stuff. EDDIE MORETTI: No. The cinematic expression is meant to compete at the highest possible level, even though you don't have a million dollars or less than a million dollars. We're not aiming our sights at the budget. We're aiming our sights at-- GRETA GERWIG: The product. EDDIE MORETTI: --the work of art and its literary value, its cinematic value, and its potential to get to go from to 4 to 150 plus screens and counting. GRETA GERWIG: I know. EDDIE MORETTI: So let's move a little bit, but not too far. GRETA GERWIG: OK. EDDIE MORETTI: My partner, Shane Smith, one of the other founders of Vice had a question at the screening that we did for the film. But I didn't pick him. So he was upset that I didn't pick him. But his question was interesting. And it kind of follows. He said great story, amazing. You guys are very accomplished. You write the script. You go out for financing. And everyone's like, amazing. This is a great story. These characters are well written. It's funny. I laughed. And you and Noah and whoever else, the producers, get to that point where you're like, and it's going to be in black and white. And that's when everyone goes, ugh, generally. GRETA GERWIG: Right. EDDIE MORETTI: Was there that moment in the process? GRETA GERWIG: All of those steps happened. They just happened in a slightly different order. Noah had made a deal and I had made a deal with the people who financed the movie. It's these Brazilian guys. EDDIE MORETTI: I know. I met them. They invited me to the screening. Great guys. GRETA GERWIG: They're great. EDDIE MORETTI: Great guys. GRETA GERWIG: They're awesome. I mean, they really gave us freedom. And we actually didn't show them the script. EDDIE MORETTI: I like that strategy. GRETA GERWIG: They knew we were going to shoot in black and white. And the only thing that they really knew was that they would get a movie. And it would be a real movie. It wouldn't be an experimental movie. It would be a movie that-- EDDIE MORETTI: A narrative. GRETA GERWIG: It was a narrative. It would have a script. It would be similar to Noah's other movies, and that I would be in it. They really took it on faith. EDDIE MORETTI: That's wild. GRETA GERWIG: And they came and visited the set. And they watched the early cuts and were really supportive and were totally on board with the festival schedule. And when we got the black and white thing, though, honestly, was when we went to sell it to distributors. EDDIE MORETTI: So the producers accepted it. GRETA GERWIG: Yep, they did. EDDIE MORETTI: So explain now. You go to sell the film and "love it, but." GRETA GERWIG: Yeah, everybody said "love it, but." And I didn't know a lot of this before, but a way a lot of these distribution companies stay afloat is that they cover themselves by making output deals with television, so that even if the movie loses money, they're covered. And they can't make output deals on a black and white movie. EDDIE MORETTI: I did not know that. GRETA GERWIG: So they can not cover themselves. So Sony Pictures Classics and Focus Features and Fox Searchlight couldn't buy it, because it couldn't cover it. It was too risky. It was actually just dollars and cents, it was too risky. EDDIE MORETTI: But was the asking price that high? GRETA GERWIG: No, it wasn't so high. EDDIE MORETTI: Do you think it was a little bit like-- GRETA GERWIG: To release a film is expensive, even if the price of the film isn't a lot. it's an investment. I mean, I also think it's risky. It is risky. Black and white is risky. EDDIE MORETTI: But is it a cultural thing with some producers, obviously not these guys who are great, but with the distributors that, ahhh, that already says something about this film? It's not going to go far and wide. And how can that even be after "The Artist"? GRETA GERWIG: Yeah, well, that's Harvey Weinstein, though, working his magic. EDDIE MORETTI: So he can just push black and white down everyone's throats. GRETA GERWIG: Yeah. I think it's when they see it, it's that they see a limit to how big it can be. So they immediately see it, and they're like, well, we know it can't do x amount of dollars, because at a certain point, people won't go see black and white movies. But I think that in some ways, it makes it more special and more sought-after by a certain demographic of an audience if it's in black and white. And Alexander Payne's new movie, "Nebraska," is in black and white. And "Good Night and Good Luck" is in black and white, and Coen brothers-- EDDIE MORETTI: The new one? GRETA GERWIG: No, the old one. "The Man--" EDDIE MORETTI: "Who Knew Too Much." GRETA GERWIG: No. EDDIE MORETTI: That's Hitchcock's. GRETA GERWIG: But "The Man--" who did something-- EDDIE MORETTI: Interesting, worthy of us shooting a film about it. GRETA GERWIG: I think Billy Bob Thornton was in it. EDDIE MORETTI: Oh yeah, yeah, yeah. The creepy-- yes. GRETA GERWIG: Yeah. EDDIE MORETTI: Yeah. Got it, yeah. GRETA GERWIG: But anyway, it's limiting is the point. EDDIE MORETTI: Got it. So when was it a black and white film? At what point in the conception? GRETA GERWIG: Really, early. Really early in writing it, we knew it was going to be in black and white. And then over the course of writing it, Noah was doing tests with Sam Levy, the DP on different cameras, with the help of the late, great Harris Savides and Pascal Dangin, who is a colorist. And the three of them kind of cooked up the way it looks. And it took a lot of testing, though. And some of the style is dictated by the limitations of the camera. It doesn't handle movement super well. EDDIE MORETTI: Oh, wow. So lot of fixed camera lock-down. GRETA GERWIG: Locking it down. But that was sort of always the way we saw it, too. EDDIE MORETTI: It's not a hand-- it doesn't feel like-- GRETA GERWIG: It's not hand-held. EDDIE MORETTI: --a hand-held script, though, if you read it, probably. GRETA GERWIG: It might feel like a handheld script if you read it. I don't know. Actually the way I always saw it when we were writing it. And I told Noah this. And he said, I see it the same way. I think I remember turning to him at some point. I was like you know I see this as like moving tableaux, right? And he was like, yup. That's exactly how I see it. And I was OK, good. Because sometimes you don't know if you're making the same thing. And I think for him, "Greenberg" was more lock-down actually as a look. It was all handheld follow shots. And so I know he has the ability to go both ways as a filmmaker. EDDIE MORETTI: Is that little episode indicative of your creative collaboration? GRETA GERWIG: Yeah. Basically it's been-- EDDIE MORETTI: Like, affirmative. Move on. GRETA GERWIG: Yeah. EDDIE MORETTI: And isn't that amazing? GRETA GERWIG: It's amazing. It's the only time I've ever really experienced that. I mean, I kind of excel at getting behind lots of people's world views, which makes me a good actor, but maybe a bad politician? I don't know. But I can easily get behind the way a director wants to do something. But I've never quite felt like the way I wanted to do it, it was the same, that I wanted to it-- EDDIE MORETTI: This sounds like exchange, right? GRETA GERWIG: And he wanted-- EDDIE MORETTI: There's an exchange of vision. And when someone communicates the vision and the other person gets it, it's almost like, great, let's move on to the next part of the challenge. And was it like rapid fire, creative challenge, problem-solving, sharing? GRETA GERWIG: Yeah. The writing process was a little slower. Because with acting and with writing, I feel like there's a part of you that doesn't know what you're doing, which is the part of you that probably comes up with the most interesting stuff. But then the part of you that knows what it's doing helps organize that other part and shape it and mold it. And you kind of need to zoom in and out between those two modes of thinking. And I think in some ways, you'll make something or you'll write something and you're like I don't even know what it is. And you have to kind of let it sit with yourself. And then you're like I know what it is. It goes here. So I felt like the writing process, you let it marinate. EDDIE MORETTI: Do you like writing? GRETA GERWIG: I like it. EDDIE MORETTI: A lot? Do you love it? GRETA GERWIG: I love it. I find it really scary. EDDIE MORETTI: But satisfying, ultimately? GRETA GERWIG: The most satisfying. EDDIE MORETTI: I want to agree with you. GRETA GERWIG: The most, but-- you don't? EDDIE MORETTI: I do. GRETA GERWIG: You do. EDDIE MORETTI: I want to. OK, I did. GRETA GERWIG: You did. EDDIE MORETTI: I just did. I agree with you. I think it is the most satisfying. And I love the temporality of the process, because a lot of times you don't know. And you will not pick up the pen for extended periods of time. It was only after having some success with that kind of process that when you get to those periods, you stop seeing them as writer's block. And you start seeing them as-- GRETA GERWIG: You're doing something. EDDIE MORETTI: You're actually really working really hard, because you don't want to put bullshit down. You want to get to the truth of what you're creating. GRETA GERWIG: Maybe it's different for a novelist. I wrote plays and stuff in college and after college. And I collaborated on more devised ideas of screenplays. But they weren't actually written. And I felt like I'd moved away from writing because I was acting a lot. But I feel like, for screenplays, I think there's an idea of writing much as there's an idea from math that we've been given by movies, which is, apparently you have to do all your math on a mirror or on a window. And that's not what people doing math looks like. It's not like someone scribbling feverishly or be like, I can't look at you right now. EDDIE MORETTI: Crumpling up paper and throwing it across the room. GRETA GERWIG: Actually, a friend of mine pointed out in "Good Will Hunting," there's this scene where they're doing math together, him and his mentor. And they literally are canceling out things in an equation. And my friend's a mathematician. And he's like nobody cancels out things after algebra. It's done. No more canceling. And I was like, true. That doesn't make sense at all. But I feel like there's this idea of a writer who's sitting down, typing constantly. And novels have a lot of words. But screenplays and plays don't. You can't solidly type for eight hours. I mean, you can. But it's going to be drivel. A lot of it is thinking. A lot of it's staring out the window. A lot of it is almost physically organized. Sometimes I just cut lines out and try to find the way they're organized physically. I just feel like this idea of writing I have from movies is totally misleading. And I think it makes me feel like I'm less productive than I am. EDDIE MORETTI: And how long was the writing period for "Frances Ha"? GRETA GERWIG: It was a year. EDDIE MORETTI: It was a year. And what were you doing in that year? GRETA GERWIG: I mean, I was acting a lot. EDDIE MORETTI: A lot. GRETA GERWIG: So it was also happening in between stuff and make-up chairs. It wasn't all concentrated. EDDIE MORETTI: But how often did your brain go to the story and the character? GRETA GERWIG: You know, it's funny. Because for me, it's almost like I put the money in the machine. It's almost like I give myself these questions, like here are the problems in the script. And I don't actively think about them. I just keep remembering the problem in the back of my head. And then they'll solve themselves. EDDIE MORETTI: But was there a joy in that process? GRETA GERWIG: Yes, so fun. Because it felt like I was letting my brain do something. But I wasn't thinking my way through it in any literal way. EDDIE MORETTI: But in a way, in those moments, the artwork is really coming into your life. And is that a beautiful thing? GRETA GERWIG: So fun. It's so fun. It's also like everything-- EDDIE MORETTI: It stops being anything that resembles a career at that moment, doesn't it? And it becomes so much more important about-- GRETA GERWIG: Yeah. EDDIE MORETTI: Right? GRETA GERWIG: And it's also like-- I mean, I'm not a saintly person. I'm incredibly prone to jealousy and pettiness and self-aggrandizement. What's amazing about it is it cures all of it. The work cures all of it. It makes you so much more capable of being appreciative of other people, instead of jealous of them. EDDIE MORETTI: It makes you more sensitive, right? GRETA GERWIG: Yeah. EDDIE MORETTI: It makes you better. GRETA GERWIG: It just makes you more capable of resting in what you do and knowing that that's enough. And I feel like when I've been thwarted or frustrated, that's when I'm like kind of a small person about things. EDDIE MORETTI: Does that change that process and that kind of like-- it sounds like you had a revelation in the midst of this process. Does that change the way you think of the business of filmmaking? And do you think that if that process you described was the process that most people went on in the production of film, that our film culture would look different? GRETA GERWIG: Yeah. I mean, I don't know. I'm sure everybody's process is different. But I feel like if everybody kind of had access to that total love of doing it and joy and amazement and excite-- like that kind of engagement, yeah, I think it would be different. EDDIE MORETTI: Kind of would have to be. I get the feeling that that kind of stuff doesn't happen too often. A lot of people, even ones that love film and are very serious, are still, I think, consumed in a careerist sort of mentality, where the writing of a script is kind of mechanical. And it kind of makes sense. And it's like wow, that was great and punchy, but little beyond that. GRETA GERWIG: I don't know. I'm of two minds about it, because on the one hand, it was really life changing for me to make this movie. And I would hope I have more experiences like that. But at the same times, sometimes I think this is-- I go on both sides. Sometimes I think that having to answer to an audience is not always a bad thing. And sometimes the mechanics of making a certain type of movie-- they can have an art in themselves. I was watching-- like Hitchcock, like he's a master and it's inspired, but it's also incredibly precise and mechanical in a way. EDDIE MORETTI: For sure, but it-- GRETA GERWIG: But sometimes it doesn't-- I mean, I just watched "To Catch A Thief," which I don't think is very good. I don't like it as much. It's not as good as his other ones. And I don't know why. EDDIE MORETTI: But it's a very colorful film. GRETA GERWIG: It's colorful. And it's beautiful. But for me, there's something missing in it. And I can't tell you what. I don't know. But sometimes I feel like having that structure is good. EDDIE MORETTI: His best films were the ones that were actually most personal to him and deeply motivated by weird-- GRETA GERWIG: Weird stuff. EDDIE MORETTI: Personal tortures. GRETA GERWIG: That's true. EDDIE MORETTI: And that film was a kind of formulaic kind of whatever thief film. What do you call that? GRETA GERWIG: A caper? EDDIE MORETTI: Caper. Yeah. A caper. GRETA GERWIG: Caper. EDDIE MORETTI: A caper film. GRETA GERWIG: A thief film. EDDIE MORETTI: A thief film. It's all about thieves. So I want to go just one layer deeper into your psychology as an artist. And then we'll get out of your brain. GRETA GERWIG: I always feel nervous when I have these kinds of conversations, because I'm like this is just some bullshit I'm thinking this week. EDDIE MORETTI: No. GRETA GERWIG: And then in 10 years, someone's going to be like but you said this thing. And I'll be like I didn't know what I was talking about. Anyway, sorry. EDDIE MORETTI: So one more twist to the screw, right? GRETA GERWIG: Yeah. EDDIE MORETTI: Those moments where you're not working on the film because you're doing other things, but the film is in there-- the script, the story, the characters are percolating. And then it comes back to you as a problem or a question. And you engage with it and you feel that purity of that engagement, do you also feel at that time-- because you talked about not forgetting the audience-- this is pretty self-absorbed, right, this moment. GRETA GERWIG: Yeah. EDDIE MORETTI: Do not feel also that at that moment of maximum self-absorption, that's actually what you owe the audience. GRETA GERWIG: That's interesting. EDDIE MORETTI: Because the thing gets good when you're fully in. And actually that is what a viewer really wants is like bring me-- the worst word is authenticity, because it gets thrown around everywhere all the time. But that's what that is. It's an authentic moment. And only if you are allowed at that moment, does the thing on the other get good for a viewer. GRETA GERWIG: Right. EDDIE MORETTI: Or do you think that's bullshit? GRETA GERWIG: No. I don't think that's bullshit. I think that there's something that happens when you get so deeply into something to where I think paradoxically you almost lose yourself, even though it is inherently self-absorbed. It's like the self sort of goes away. It's weird. EDDIE MORETTI: And do you approach some kind of universal truth at that time? GRETA GERWIG: Yeah, probably at that moment. No, it's true. I have a tendency to speak dramatically about these things. So you're totally leading me right down into my comfort zone, which is like-- EDDIE MORETTI: Let's stay here. GRETA GERWIG: But I do think there is something that happens that kind of you're so in it, and then you're gone. I mean it's almost like you have to give yourself so far that you go away. And then-- EDDIE MORETTI: You lose yourself in that moment, and-- GRETA GERWIG: You come back. And I was going to say actually in "Frances Ha," this is really like inside baseball. But in the first scene, Frances and Sophie are hanging out together, and Sophie's knitting. This is in a montage. And Frances reads something to her. She says oh, this is interesting. And she reads something. And it's from this book called "Sincerity and Authenticity" by Lionel Trilling. Anyway, because I was reading it. And I thought it was really like-- Anyway the quote is "To praise a work of art by calling it sincere is to say, at best, its intentions were good" or something like that. And it's almost used as a slight. But authenticity has greater weight. It's almost those distinctions between the sublime and the beautiful. Anyway, it's really great and really interesting. EDDIE MORETTI: Well, sincere sounds like it was an attempt to capture authenticity that failed. And authenticity nails it. And this is a perfect segue, because I want to get out of your brain now. GRETA GERWIG: OK. EDDIE MORETTI: And I want to talk about the film. So you can take a deep breath. GRETA GERWIG: All right. EDDIE MORETTI: So what it is, if you can really crystallize it, the thing, the object of this authentic quest? When you kept coming back to writing "Frances Ha," it's about a lot of different things and class, like the French and the Europeans say, maybe-- but was there one thing that always brought you back, that pulled you in your guts and in your heart, that you knew this is what I'm doing here? GRETA GERWIG: Well, I mean, I think depending on the day, there were different-- I mean, sometimes I read it and I was like this is terrible. This is a terrible-- This is a boring movie. Why am I writing? Who even cares? And then other days, I'd read. And I'd be like, it's funny. I don't know. It's pretty good. But I do think that I know what I want to do, I guess, more than I know what it does. And what I wanted to do is-- I don't know. The films that I have-- god. I feel like I'm just going to go into emotional gobbledygook about films I love. EDDIE MORETTI: That's OK. GRETA GERWIG: But I feel like it's like a-- EDDIE MORETTI: It's totally acceptable to talk about that. It's not like you're going to swear like sailor on shore leave. GRETA GERWIG: But I feel that Frances goes through this kind of hero's journey almost that seems epic, in a way, even though it's small. And I think, to me, I feel like I can talk about this, even though maybe somebody will watch this who hasn't seen the movie. But at the end, to me, her doing what she does and accepting the job that she does, but then making art anyway, like choreographing her dance, there's something in the doing of it. And there's a way that she stops reaching for things. And she starts being and just working from there. I just find it very emotional when other people do that. EDDIE MORETTI: It is emotional. GRETA GERWIG: My dad, when I was growing up, did for himself. And he's not like a hammy guy. But he did stand up comedy for himself. EDDIE MORETTI: There's something triumphant in that. GRETA GERWIG: So triumphant. EDDIE MORETTI: And so heroic about that. GRETA GERWIG: And something about like-- I grew up watching a lot of community theater. There was a couple professional theater companies in Sacramento, but it was mostly like City College and the state university in Sacramento, and just like community theaters that were nonprofessional that people like substitute teachers or doctors, people in the community who worked at coffee shops would on their down time be in musicals and plays. And I don't know-- EDDIE MORETTI: It's a huge-- GRETA GERWIG: To me, that-- EDDIE MORETTI: Well, not only is it a personal triumph and of personal histories, but I think it's like maybe even a neglected character in the history of literature or film. I was always struck by the character-- if I was smarter and better, I'd remember the name-- at the end of "Amadeus"-- GRETA GERWIG: Yeah. EDDIE MORETTI: And what's his name? GRETA GERWIG: Salieri. EDDIE MORETTI: Salieri. GRETA GERWIG: Oh my god, I watched that movie so many times. EDDIE MORETTI: Do you remember that scene at the end, for me, identified a really powerful trope, which is he's the failed Mozart. He's not the good guy. He's shit. He was the one stealing. And he's exiting the sanitarium, whatever, and he's like I bless you. GRETA GERWIG: In my mind, everyone's playing Mozart as he's-- EDDIE MORETTI: Yeah, but he blesses them, like the Prince of Failure basically blesses you. It's in a really interesting character. GRETA GERWIG: That always made me-- EDDIE MORETTI: Not only that, but there are a lot of real people who had these ambitions to be a singer or to be a dancer. And at some point, there is that moment in their lives where they hang up the skates. GRETA GERWIG: Yeah. Really, for me, the idea that he was good enough to know that he was not as good as him. And he knew it the whole time, and even though he was celebrated and even though Mozart was down, he knew he wasn't as good. And that's-- EDDIE MORETTI: That torture. GRETA GERWIG: --so heartbreaking. I love that movie. I didn't make "Amadeus." EDDIE MORETTI: Frances Ha-- she's at that moment, right? GRETA GERWIG: Yeah, she is. I mean, yeah. That's sort of like the giving up, but the kind of courage in giving up a certain aspect of something as part of it. I mean, I feel like there's always kind of like a thing that I'm driving towards, and I'm sort of failing in different ways all the time. I'm always surprised that it's not better than it is, whenever I see myself act or make something, I'm like god, I thought that was really great. I mean , it's not that it's bad. But it's like for some reason, I thought it would be even better all the time. EDDIE MORETTI: Right. And how about with this film, do you feel that way? GRETA GERWIG: This is as close as I come. But I still felt like the first time I watched it all the way through with all the edits and the fixes, I was sad. I was sort of like that's it? EDDIE MORETTI: Oh shit, really? That's all we did? GRETA GERWIG: It felt like it was more! I think that's probably why everybody goes crazy at a certain point, because it feels like you're just trying. It's just endless, trying at the same thing and failing different, interesting ways. EDDIE MORETTI: Right. Yeah. I was going to say semi-pretentious about Godard saying that all of his films are failures, and he always accepted that in advance. They're never going to be the things that he wished and he wanted them to be. And the varying degrees of failure is his whole cinematic career. GRETA GERWIG: In a way, it helps you to get over any fear, because you're like, well, it's going to be bad, so I could just draw from there. EDDIE MORETTI: It saves you in a way in advance. OK. Maybe one last question. GRETA GERWIG: Oh sure. EDDIE MORETTI: Frances wanted to be something. GRETA GERWIG: Oh yeah. EDDIE MORETTI: At least one thing. GRETA GERWIG: Right. EDDIE MORETTI: Right? GRETA GERWIG: Right. EDDIE MORETTI: We don't know if she wanted to get married or anything. But she wanted to dance, right? GRETA GERWIG: Definitely. EDDIE MORETTI: And her life deals her a hand. And she is kind of Salieri in a way. But she finds a new path where she can have that and still do the other job and the other thing. Can you detach yourself now from that decision and look back at it and go I'm going to now explore the other type of person who would have said you know what-- who would like smash their fist on the table and go I do not accept that. GRETA GERWIG: Yeah. I'd like to make a film about that person. I haven't figured out how to do it yet. Yeah, I would really like to make a film about that person, because I think that person's just as real. EDDIE MORETTI: And completely different from Frances. GRETA GERWIG: And completely different. I'd like to really make more films. I love acting, and hope to keep acting. But the level of like literally feeling like there's a weight lifted off of me with making things is kind of unparalleled. And I just hope that I can get out of my way enough to be able to do it and keep doing it. Because if I'm anything, it's an expert at finding ways to stop myself from doing stuff, because it's scary. EDDIE MORETTI: Well, don't. Don't find ways to stop yourself, because you're a great writer. It was a great film. You should do it again. GRETA GERWIG: Thanks. Thank you. great. That was really fun. EDDIE MORETTI: Yeah, great, awesome.
Info
Channel: VICE
Views: 62,256
Rating: undefined out of 5
Keywords: Noah Baumbach, wild, world, vice presents, interview, actress, Frances Ha, journalism, lifestyle, vice videos, underground, actor, culture, interviews, podcast, exclusive, acting, documentaries, funny, travel, Arthur, greenburg, vice news, ocumentary, film, francis ha, independent, videos, celebrity, greta gerwig, vice guide, funny videos, vice, eddy moretti, x2, vice.com, vice mag, vice podcast, vice magazine, vicevideos, vbs.tv, barbie, barbenheimer, oppenheimer, margot robbie, ryan gosling
Id: kTmmIoBe2g4
Channel Id: undefined
Length: 43min 23sec (2603 seconds)
Published: Thu Jun 06 2013
Related Videos
Note
Please note that this website is currently a work in progress! Lots of interesting data and statistics to come.