1 00:00:00,200 --> 00:00:02,280 Speaker 1: Next Question with Katie Curic is a production of I 2 00:00:02,400 --> 00:00:06,800 Speaker 1: Heart Radio and Katie Couric Media. Hi, everyone, welcome to 3 00:00:06,880 --> 00:00:09,920 Speaker 1: Next Question. I'm Katie Kuric. I can already tell that 4 00:00:10,039 --> 00:00:13,160 Speaker 1: this moment in my life I'll look back on and say, 5 00:00:14,040 --> 00:00:18,640 Speaker 1: what the hell is I think? Greta Gerwig is a 6 00:00:18,680 --> 00:00:22,040 Speaker 1: modern version of a Hollywood triple threat. With films like 7 00:00:22,079 --> 00:00:25,599 Speaker 1: Frances Ha and twenties Century Women, She's proved to be 8 00:00:25,640 --> 00:00:29,319 Speaker 1: a formidable actress, but since she's turned her focus to 9 00:00:29,560 --> 00:00:32,880 Speaker 1: behind the camera, she's become one of the most successful 10 00:00:32,960 --> 00:00:36,640 Speaker 1: writer directors in the business. Her last film, Lady Bird, 11 00:00:37,000 --> 00:00:41,800 Speaker 1: was heralded by critics and audiences alike, including me. Gretta 12 00:00:41,880 --> 00:00:45,920 Speaker 1: once again is exploring the complexities of female relationships and 13 00:00:46,040 --> 00:00:50,199 Speaker 1: ambition with her new adaptations of Little Women, based on 14 00:00:50,240 --> 00:00:53,159 Speaker 1: the Louisa may Alcock classic that so many of us 15 00:00:53,280 --> 00:00:57,040 Speaker 1: remember from our Childhood's Little Women is a love letter 16 00:00:57,120 --> 00:01:00,520 Speaker 1: to all of us who break the shackles of invention 17 00:01:01,000 --> 00:01:04,440 Speaker 1: and write our own stories. So my next question is 18 00:01:04,680 --> 00:01:08,400 Speaker 1: what is gretti Girlwig story? And ken Hollywood handle it? 19 00:01:10,360 --> 00:01:13,880 Speaker 1: You realized you were a great storyteller because of a 20 00:01:14,000 --> 00:01:18,360 Speaker 1: very funny incident in seventh grade. Oh god, yes, wow, 21 00:01:18,480 --> 00:01:22,040 Speaker 1: you really we really did our research gradish, I know, 22 00:01:22,640 --> 00:01:27,240 Speaker 1: Oh my god, yes, yes, Well I had an incident 23 00:01:27,240 --> 00:01:31,240 Speaker 1: in seventh grade. It was a new school, uh in California, 24 00:01:31,760 --> 00:01:34,720 Speaker 1: you know, Junior High is its own seventh and eighth grade. 25 00:01:34,720 --> 00:01:37,559 Speaker 1: They're like, let's take you at your most awkward two years, 26 00:01:37,880 --> 00:01:41,039 Speaker 1: put you in a group that's much bigger and scarier, 27 00:01:41,160 --> 00:01:43,640 Speaker 1: and then just see how you do. Which I don't 28 00:01:43,640 --> 00:01:46,600 Speaker 1: know why they do that. That's very Darwinian, isn't it. Yeah, 29 00:01:46,680 --> 00:01:49,480 Speaker 1: it really is. I have this visual memory of walking 30 00:01:49,520 --> 00:01:53,880 Speaker 1: in and knowing my classmates from elementary school, and I 31 00:01:53,920 --> 00:01:56,680 Speaker 1: felt like everyone was just like, spend for yourself, we'll 32 00:01:56,680 --> 00:01:59,200 Speaker 1: see you in high school. Like it was. It was 33 00:01:59,520 --> 00:02:03,120 Speaker 1: definitely the Lord of the Flies. But I was taking 34 00:02:03,120 --> 00:02:07,320 Speaker 1: a math test, a placement test, and I didn't know 35 00:02:07,960 --> 00:02:10,040 Speaker 1: was I allowed to get up? Was I allowed to 36 00:02:10,080 --> 00:02:12,079 Speaker 1: say I had to go the bathroom? And so I 37 00:02:12,160 --> 00:02:15,480 Speaker 1: didn't and I was anyway anyway, I ended up peeing 38 00:02:15,520 --> 00:02:20,160 Speaker 1: my pants during the math test. But actually the true 39 00:02:20,200 --> 00:02:23,520 Speaker 1: thing that happened, which I was the girl next to 40 00:02:23,560 --> 00:02:27,040 Speaker 1: me saw it happen, and she took off her sweatshirt 41 00:02:27,080 --> 00:02:28,480 Speaker 1: and gave it to me, and she was like put 42 00:02:28,520 --> 00:02:30,840 Speaker 1: this around her, raised and go run to the nurse's office, 43 00:02:30,919 --> 00:02:34,000 Speaker 1: like she took care of me. And I loved that girl, 44 00:02:34,360 --> 00:02:37,440 Speaker 1: I know. But isn't it interesting that act of kindness 45 00:02:38,080 --> 00:02:42,880 Speaker 1: but entirely new lends on what might have been a 46 00:02:43,040 --> 00:02:46,360 Speaker 1: soul crushing experience for you? Right yeah, I mean it 47 00:02:46,440 --> 00:02:51,200 Speaker 1: wasn't my favorite experience. I'm not saying it was, but 48 00:02:51,240 --> 00:02:55,120 Speaker 1: it was. That's the thing I remember, and in in 49 00:02:55,800 --> 00:03:00,799 Speaker 1: so many ways, is that someone just being kind And honestly, 50 00:03:01,520 --> 00:03:05,760 Speaker 1: kids who are thirteen and fourteen, they're not necessarily kind 51 00:03:06,200 --> 00:03:08,880 Speaker 1: and looking out for each other. And I thought that 52 00:03:08,880 --> 00:03:13,280 Speaker 1: that was a moment that UM defined in some ways 53 00:03:13,360 --> 00:03:16,919 Speaker 1: my worldview of people. Kind of you can you can 54 00:03:16,960 --> 00:03:19,080 Speaker 1: be paying your pants in a math test and someone 55 00:03:19,160 --> 00:03:23,280 Speaker 1: will help you. Someone will give you their sweatshirt, like 56 00:03:23,320 --> 00:03:26,600 Speaker 1: I got you. Um. And in fact, you wrote a 57 00:03:26,639 --> 00:03:28,600 Speaker 1: piece of about it. You wrote a paper about it 58 00:03:28,639 --> 00:03:31,480 Speaker 1: a year later, right, well, actually the next year in 59 00:03:31,639 --> 00:03:35,040 Speaker 1: eighth grade, I wrote this like UM kind of essay, 60 00:03:35,160 --> 00:03:37,480 Speaker 1: like this humor essay. It was like a sort of 61 00:03:37,640 --> 00:03:41,880 Speaker 1: piece of creative writing, and and the teacher liked it, 62 00:03:42,040 --> 00:03:44,760 Speaker 1: so she put it up on the bulletin board. Um, 63 00:03:44,880 --> 00:03:48,760 Speaker 1: and then everyone read it, and then they anyone who 64 00:03:48,840 --> 00:03:50,840 Speaker 1: didn't know that this had happened, was all of a 65 00:03:50,880 --> 00:03:53,720 Speaker 1: sudden like I thought that was just a rumor that 66 00:03:53,800 --> 00:03:56,280 Speaker 1: you really did that, And I was like, no, I was, 67 00:03:56,880 --> 00:03:59,680 Speaker 1: but I had a sense that it was funny anyway. 68 00:03:59,680 --> 00:04:02,400 Speaker 1: I you it was funny. I knew it was. It 69 00:04:02,480 --> 00:04:06,080 Speaker 1: was like a humiliation that was actually quite funny. You're 70 00:04:06,160 --> 00:04:08,560 Speaker 1: pretty brave to put yourself out there because a lot 71 00:04:08,600 --> 00:04:11,440 Speaker 1: of people would never want to think about that incident again, 72 00:04:11,440 --> 00:04:14,000 Speaker 1: and yet you write a paper. So the people, as 73 00:04:14,040 --> 00:04:17,880 Speaker 1: you said, who didn't know all now I know they 74 00:04:17,920 --> 00:04:21,960 Speaker 1: all knew. No, I think, Um, I think that's the 75 00:04:22,000 --> 00:04:25,599 Speaker 1: way I've found to deal with most things is to 76 00:04:25,720 --> 00:04:29,680 Speaker 1: make it into art somehow, whether it's you know, in 77 00:04:29,720 --> 00:04:32,440 Speaker 1: the eighth grade writing a little humor essay or now 78 00:04:32,800 --> 00:04:36,200 Speaker 1: I think I am always turning the thing that happens 79 00:04:36,279 --> 00:04:42,120 Speaker 1: into um into story, into into a movie, into a character, 80 00:04:42,880 --> 00:04:47,360 Speaker 1: because it's it's my coping mechanism, but also into an 81 00:04:47,400 --> 00:04:52,520 Speaker 1: almost universal experience. Right you You almost want to, I 82 00:04:52,520 --> 00:04:57,119 Speaker 1: wouldn't say necessarily normalize something like that, but you want 83 00:04:57,200 --> 00:05:02,760 Speaker 1: to expose it because it shows everyone how vulnerable we 84 00:05:02,800 --> 00:05:04,919 Speaker 1: all are. I mean, we all could have been that 85 00:05:05,040 --> 00:05:08,960 Speaker 1: seventh grader MP during the math test, right, it is yes, 86 00:05:09,040 --> 00:05:12,600 Speaker 1: And I think it is that kind of I think 87 00:05:12,760 --> 00:05:16,240 Speaker 1: it's funny because sometimes you can feel like, am I 88 00:05:16,279 --> 00:05:18,600 Speaker 1: screaming into a void? Does anyone hear this? And that 89 00:05:18,720 --> 00:05:22,320 Speaker 1: she says, yeah, everyone knows. Everyone knows, And I think 90 00:05:22,320 --> 00:05:25,000 Speaker 1: that that's um when I go to the movies, when 91 00:05:25,000 --> 00:05:27,040 Speaker 1: I go to theater, when I read a book. It's 92 00:05:27,120 --> 00:05:30,479 Speaker 1: amazing to me still that art is the thing that 93 00:05:30,560 --> 00:05:35,240 Speaker 1: can reach out and uh and touch you. But in 94 00:05:35,279 --> 00:05:37,800 Speaker 1: this way that you say, or I always say to myself, 95 00:05:37,839 --> 00:05:41,200 Speaker 1: I'm like, oh my god, somebody knows. They know, like 96 00:05:41,560 --> 00:05:45,039 Speaker 1: like some part of yourself you thought was wrong or 97 00:05:45,200 --> 00:05:48,760 Speaker 1: weird or just embarrassing or anything, and then you see 98 00:05:48,760 --> 00:05:52,000 Speaker 1: it reflected back at you and you thought it's there. 99 00:05:52,080 --> 00:05:54,400 Speaker 1: It's there in the world, and someone else knows about 100 00:05:54,440 --> 00:05:58,200 Speaker 1: this and you recognize yourself and the story. And that's 101 00:05:58,320 --> 00:06:00,839 Speaker 1: very much the case I think GETA when it comes 102 00:06:00,880 --> 00:06:03,920 Speaker 1: to Ladybird. In some ways, you grew up in Sacramento, 103 00:06:04,279 --> 00:06:07,920 Speaker 1: not unlike Ladybird. Were you a big movie person growing up? 104 00:06:07,960 --> 00:06:11,240 Speaker 1: Do you remember seeing movies and thinking, oh my gosh, 105 00:06:11,520 --> 00:06:15,719 Speaker 1: one day. You know, actually, for me it was theater. 106 00:06:15,880 --> 00:06:21,200 Speaker 1: It wasn't movies. I didn't really movies seemed not they 107 00:06:21,240 --> 00:06:24,280 Speaker 1: weren't my medium. I didn't. I didn't really understand how 108 00:06:24,279 --> 00:06:27,279 Speaker 1: they were made. Um. They felt like they were handed 109 00:06:27,320 --> 00:06:29,760 Speaker 1: down from God's They didn't seem like they had been 110 00:06:29,800 --> 00:06:34,800 Speaker 1: made by people. So UM. I loved theater because you 111 00:06:34,800 --> 00:06:36,760 Speaker 1: could see the people who made it right in front 112 00:06:36,760 --> 00:06:40,039 Speaker 1: of you, and you know, you could read. You know, 113 00:06:40,520 --> 00:06:42,400 Speaker 1: my favorite playwright when I was in high school was 114 00:06:42,440 --> 00:06:45,120 Speaker 1: Tom Stoppard, and I love Tom Stoppard plays. And I 115 00:06:45,120 --> 00:06:47,040 Speaker 1: could get one of my friends together and we could 116 00:06:47,040 --> 00:06:49,880 Speaker 1: memorize it all and put it on like which we did, 117 00:06:50,000 --> 00:06:52,440 Speaker 1: which was extremely weird because no one was asking for 118 00:06:52,520 --> 00:06:54,839 Speaker 1: it and we were doing Rosencrants and Guildenstern are Dead. 119 00:06:54,920 --> 00:06:58,280 Speaker 1: But the all female version that was an unsanctioned, like 120 00:06:58,480 --> 00:07:00,880 Speaker 1: class productive, like no, what he said, why don't you 121 00:07:00,920 --> 00:07:03,599 Speaker 1: go do this? Um? But it felt like theater was 122 00:07:03,600 --> 00:07:06,039 Speaker 1: something I could just make. I didn't need that much 123 00:07:06,520 --> 00:07:12,080 Speaker 1: to make it. UM. And film I didn't. I did, 124 00:07:12,080 --> 00:07:15,160 Speaker 1: We didn't watch TV. I didn't go to the movies 125 00:07:15,200 --> 00:07:19,160 Speaker 1: that much. UM, and it was not something I really 126 00:07:19,200 --> 00:07:22,760 Speaker 1: related to until college. And then I went to college 127 00:07:22,800 --> 00:07:24,960 Speaker 1: in New York. And because I went to college here, 128 00:07:26,160 --> 00:07:30,440 Speaker 1: I started going to Film Forum Downtown, which had a 129 00:07:30,480 --> 00:07:35,840 Speaker 1: great repertory program of older movies and new Arthouse movies, UM, 130 00:07:36,640 --> 00:07:41,200 Speaker 1: the Museum of Moving Image, UM Anthology, Film Archives, the 131 00:07:42,080 --> 00:07:46,200 Speaker 1: r I P. Lincoln Lincoln Center Theater. The best UM was, 132 00:07:46,240 --> 00:07:51,160 Speaker 1: which was New Arthouse movies, and and I slowly started 133 00:07:51,720 --> 00:07:55,760 Speaker 1: becoming a cinephile, but it was late relatively. It was 134 00:07:55,920 --> 00:07:57,960 Speaker 1: you know, when I was eighteen or nineteen. It wasn't. 135 00:07:58,080 --> 00:07:59,680 Speaker 1: It wasn't when I was a kid. And this was 136 00:07:59,760 --> 00:08:03,560 Speaker 1: when you were a Barnard majoring in philosophy and English. 137 00:08:04,160 --> 00:08:08,000 Speaker 1: And it sounds like movies, well, movies on the side, definitely. 138 00:08:08,000 --> 00:08:11,080 Speaker 1: I know. I took film studies classes there, but they 139 00:08:11,120 --> 00:08:13,720 Speaker 1: didn't have a film because it was it's not a 140 00:08:13,800 --> 00:08:15,840 Speaker 1: b f A, so it wasn't a film practice. It 141 00:08:15,880 --> 00:08:21,920 Speaker 1: was like it was a film series, film UM, film history. UM. Yeah, 142 00:08:22,120 --> 00:08:24,440 Speaker 1: I know you were. You wanted to get your m 143 00:08:24,520 --> 00:08:30,040 Speaker 1: f A y Yale. They rejected. Okay, can I just 144 00:08:30,080 --> 00:08:32,040 Speaker 1: say I can relate to that. I wanted to go 145 00:08:32,080 --> 00:08:34,959 Speaker 1: to Smith College, where my two older sisters went by 146 00:08:35,080 --> 00:08:38,679 Speaker 1: Beta cap of the whole nine yards Smith Loved sisters 147 00:08:39,800 --> 00:08:43,560 Speaker 1: not even waitlisted. Didn't even get the waitlisted, not even waitlisted. 148 00:08:43,640 --> 00:08:47,280 Speaker 1: I got one of those envelopes back in the day. 149 00:08:48,760 --> 00:08:52,240 Speaker 1: It was terrible. I mean, they must have really not wanted. Now, 150 00:08:52,280 --> 00:08:54,600 Speaker 1: when I run into the president of Smith, you know what, 151 00:08:54,679 --> 00:09:02,920 Speaker 1: I say, big mistake, just like Julia Robertson exactly, big digue, huge. No, 152 00:09:03,160 --> 00:09:05,800 Speaker 1: that's that makes me so happy that you didn't get 153 00:09:05,840 --> 00:09:08,440 Speaker 1: into Smith. Also because your sisters went it, that makes 154 00:09:08,440 --> 00:09:11,000 Speaker 1: it so much worse. You must have fe like there's 155 00:09:11,040 --> 00:09:14,120 Speaker 1: really something wrong with me. Oh yes, I mean that's 156 00:09:14,160 --> 00:09:18,280 Speaker 1: a whole other podcast. That's such a wonderful thing to know. 157 00:09:18,520 --> 00:09:22,960 Speaker 1: I think, I think claiming moments of disappointment and not 158 00:09:23,160 --> 00:09:27,440 Speaker 1: working out it's so important because I think, you know, 159 00:09:27,800 --> 00:09:30,600 Speaker 1: I think it's easy to look and say, well that 160 00:09:30,720 --> 00:09:34,120 Speaker 1: she always knew, she always had all the things, everybody thought, 161 00:09:34,200 --> 00:09:36,440 Speaker 1: she was great and smart, and she just sailed her 162 00:09:36,480 --> 00:09:39,199 Speaker 1: way through life, and you're like, no, let's face it, 163 00:09:39,200 --> 00:09:42,480 Speaker 1: it's a series of disappointments. Yeah. I mean, even when 164 00:09:42,480 --> 00:09:44,840 Speaker 1: things are going well, it's a it's a given A take. 165 00:09:45,200 --> 00:09:48,040 Speaker 1: Was it crushing for you when you didn't get into Yale, 166 00:09:48,120 --> 00:09:50,640 Speaker 1: or were you just like they don't deserve me? It 167 00:09:50,720 --> 00:09:52,959 Speaker 1: was all through. I was Yale, Juilliard, and n YU 168 00:09:53,120 --> 00:09:56,400 Speaker 1: for playwriting, and I got rejected from all three. Um so, 169 00:09:57,080 --> 00:10:00,480 Speaker 1: I mean, certainly, I think that the thought crosses your mind, 170 00:10:01,080 --> 00:10:04,839 Speaker 1: perhaps I should not do this anymore, like the world 171 00:10:04,840 --> 00:10:07,640 Speaker 1: seems to be telling me I'm not very good at this. 172 00:10:07,880 --> 00:10:13,199 Speaker 1: But I I just I just I couldn't. I loved 173 00:10:13,240 --> 00:10:17,880 Speaker 1: it too much, I thought, you know, um, even if 174 00:10:17,920 --> 00:10:20,080 Speaker 1: even if I'm terrible at this, I want to do 175 00:10:20,160 --> 00:10:23,280 Speaker 1: it because I love it so much. And you started 176 00:10:23,320 --> 00:10:25,640 Speaker 1: doing it after Burnett. I know, you got into the 177 00:10:25,679 --> 00:10:30,680 Speaker 1: indie world of filmmaking something called mumble core. One of 178 00:10:30,720 --> 00:10:33,720 Speaker 1: your earliest films that falls into that category, I think 179 00:10:33,800 --> 00:10:38,040 Speaker 1: is Hannah Takes the Stairs, which also start Mark Duplas. 180 00:10:38,160 --> 00:10:40,040 Speaker 1: You know. I didn't tell you this today yet, but 181 00:10:40,120 --> 00:10:43,720 Speaker 1: you look really beautiful on that mask. Yeah, you really, 182 00:10:43,760 --> 00:10:49,920 Speaker 1: just you look so gorgeous. Thank you? Do you look 183 00:10:49,960 --> 00:10:53,400 Speaker 1: beautiful in your mask. I didn't really know much about 184 00:10:53,480 --> 00:10:56,480 Speaker 1: mumble core until I was preparing for this interview. It 185 00:10:56,640 --> 00:10:58,599 Speaker 1: is a term that has been used to describe the 186 00:10:58,679 --> 00:11:01,760 Speaker 1: set of films. But it was never a thing where 187 00:11:01,760 --> 00:11:04,680 Speaker 1: we said we're making mumblecore movies and here's what they are. 188 00:11:04,880 --> 00:11:07,280 Speaker 1: It's that there were just all these different filmmakers at 189 00:11:07,320 --> 00:11:12,080 Speaker 1: this particular moment kind of between two thousand and five 190 00:11:12,160 --> 00:11:17,200 Speaker 1: and two thousand and eight ish where they started making 191 00:11:17,240 --> 00:11:20,640 Speaker 1: movies for not a lot of money with not professional actors, 192 00:11:20,720 --> 00:11:26,280 Speaker 1: where it was about a feeling of people behaving more, 193 00:11:26,360 --> 00:11:30,800 Speaker 1: how people behave less like you know, waking up with um, 194 00:11:31,320 --> 00:11:35,559 Speaker 1: you know, perfectly lit makeup and all this stuff. It 195 00:11:35,920 --> 00:11:38,880 Speaker 1: was the feeling of like, this is not how people 196 00:11:39,000 --> 00:11:42,920 Speaker 1: live like about films. It was like that's not I 197 00:11:42,960 --> 00:11:47,840 Speaker 1: don't recognize people here. It was also heavily relied on 198 00:11:47,960 --> 00:11:49,920 Speaker 1: not all of them because there's a kind of a 199 00:11:49,960 --> 00:11:52,680 Speaker 1: catch all phrase. But there's a lot of improvisation that 200 00:11:52,760 --> 00:11:57,480 Speaker 1: went on which was very useful. Um and and and 201 00:11:57,520 --> 00:11:59,760 Speaker 1: the sort of all hands on debt quality was very 202 00:12:00,120 --> 00:12:06,400 Speaker 1: full because I learned how to make movies by making movies. 203 00:12:06,559 --> 00:12:11,240 Speaker 1: And there was no boom operator. I held the boom, 204 00:12:11,320 --> 00:12:13,560 Speaker 1: there was no editor. We all sat around it and 205 00:12:13,679 --> 00:12:17,160 Speaker 1: edited it at night. It was this very collaborative process, 206 00:12:17,240 --> 00:12:22,520 Speaker 1: and I think I learned quickly how movies work what 207 00:12:22,720 --> 00:12:25,600 Speaker 1: is interesting on camera, and we weren't making them as 208 00:12:25,760 --> 00:12:30,920 Speaker 1: calling cards to another movie. That was the movie. We 209 00:12:30,920 --> 00:12:35,240 Speaker 1: were taking it seriously and it ended up being like 210 00:12:35,320 --> 00:12:38,440 Speaker 1: my graduate school. Was there anyone in particular he felt 211 00:12:38,480 --> 00:12:42,880 Speaker 1: like you really learned from There's a filmmaker. We still 212 00:12:42,920 --> 00:12:47,760 Speaker 1: love his work. Um Andrew Buljoski, who I think last 213 00:12:47,840 --> 00:12:51,000 Speaker 1: year he made this wonderful film Support the Girls, UM, 214 00:12:51,080 --> 00:12:53,800 Speaker 1: which if you haven't seen it, go see it. It's great. 215 00:12:54,440 --> 00:13:00,720 Speaker 1: And he even though it seemed like his dialog was improvised, 216 00:13:00,760 --> 00:13:03,280 Speaker 1: it wasn't. It was very tightly scripted and very precise. 217 00:13:03,360 --> 00:13:05,240 Speaker 1: And I really loved the way he shot films and 218 00:13:05,280 --> 00:13:08,600 Speaker 1: thought about films, and UM, I looked up to him 219 00:13:08,640 --> 00:13:12,360 Speaker 1: a great deal, and um he's continued to make great movies. 220 00:13:12,400 --> 00:13:16,080 Speaker 1: But it was that kind of um, very precise cinematic 221 00:13:16,120 --> 00:13:21,240 Speaker 1: writing that sounds like conversation, which is then became the 222 00:13:21,280 --> 00:13:25,199 Speaker 1: thing I was chasing. So I moved away entirely from 223 00:13:25,200 --> 00:13:30,200 Speaker 1: improvisation because I started trying to get that sense of 224 00:13:30,240 --> 00:13:34,440 Speaker 1: the language mattering, UM, which was really in line with 225 00:13:34,480 --> 00:13:36,520 Speaker 1: what I was interested in as a play, right, which 226 00:13:36,520 --> 00:13:39,679 Speaker 1: is about writing, but also I imagine about cadence. You know, 227 00:13:39,760 --> 00:13:43,079 Speaker 1: the way people talk over each other, the way they interrupt, 228 00:13:43,200 --> 00:13:47,600 Speaker 1: the way that natural conversation occurs. It is very um 229 00:13:47,600 --> 00:13:54,199 Speaker 1: appealing to me, natural sounding conversation that's been sculpted. It's 230 00:13:54,840 --> 00:13:59,080 Speaker 1: it's my preference. It's my favorite. It's my favorite one. 231 00:13:59,120 --> 00:14:03,200 Speaker 1: It it's seems like it's not written, and people say, oh, 232 00:14:03,240 --> 00:14:07,680 Speaker 1: it was it improvised? No, of course not. It's every 233 00:14:07,679 --> 00:14:10,360 Speaker 1: word I like it said exactly how I wrote it. 234 00:14:10,640 --> 00:14:15,480 Speaker 1: So you moved Greta from acting initially to to writing 235 00:14:15,640 --> 00:14:20,760 Speaker 1: and directing. I'm curious why why you decided you wanted 236 00:14:21,080 --> 00:14:24,760 Speaker 1: to be more behind the scenes. I wanted to get 237 00:14:24,800 --> 00:14:30,120 Speaker 1: my hands on it however I could in terms of uh, 238 00:14:30,520 --> 00:14:35,080 Speaker 1: theater and film and um. I loved acting because that 239 00:14:35,200 --> 00:14:38,440 Speaker 1: was the way I could interact with it. But I 240 00:14:38,480 --> 00:14:40,840 Speaker 1: didn't really realize I could write. It was a professor 241 00:14:40,880 --> 00:14:44,280 Speaker 1: who said because I kept writing monologues and stuff for 242 00:14:44,400 --> 00:14:46,120 Speaker 1: other people, and they're like, do you want to take 243 00:14:46,160 --> 00:14:48,200 Speaker 1: a playwriting class? And I was like, no, no, no, 244 00:14:48,600 --> 00:14:51,280 Speaker 1: other people do that, and like, you keep doing it, 245 00:14:51,400 --> 00:14:54,040 Speaker 1: so maybe you'd like to do this. And this was 246 00:14:54,080 --> 00:14:56,960 Speaker 1: in college. I was in college, but I had written, 247 00:14:57,080 --> 00:14:59,680 Speaker 1: I had been writing the whole time. When I was 248 00:14:59,680 --> 00:15:02,800 Speaker 1: in high school. Whenever there was a like an assembly 249 00:15:02,840 --> 00:15:05,640 Speaker 1: and they needed a sketch, I would always write the sketches. 250 00:15:05,720 --> 00:15:07,840 Speaker 1: That always. But I never thought of myself as a 251 00:15:07,840 --> 00:15:10,000 Speaker 1: writer because, to be totally honest, I thought it was 252 00:15:10,880 --> 00:15:13,080 Speaker 1: I thought someone who was much smarter than me, and 253 00:15:13,200 --> 00:15:16,320 Speaker 1: probably a man would be would be doing the writing. 254 00:15:16,480 --> 00:15:19,760 Speaker 1: I thought it was. I didn't know any female playwrights. 255 00:15:19,760 --> 00:15:22,760 Speaker 1: I didn't know any female writer directors. I just didn't 256 00:15:22,920 --> 00:15:26,080 Speaker 1: And and then I I got educated about them, but 257 00:15:26,840 --> 00:15:29,520 Speaker 1: it was something that had not occurred to me on 258 00:15:29,560 --> 00:15:32,440 Speaker 1: some deep level even though I was doing it, and 259 00:15:32,520 --> 00:15:36,880 Speaker 1: I had to be very literally told, this is an 260 00:15:36,880 --> 00:15:39,840 Speaker 1: option for you. Um. And then I started doing. I mean, 261 00:15:39,880 --> 00:15:42,600 Speaker 1: I was writing, I was producing, I was directing, but 262 00:15:42,680 --> 00:15:45,720 Speaker 1: I was also UM. I was a stage manager, I 263 00:15:45,760 --> 00:15:49,320 Speaker 1: worked in lights and sound. I did a lot of 264 00:15:49,360 --> 00:15:52,120 Speaker 1: different things because I wanted to be part of the 265 00:15:52,160 --> 00:15:54,000 Speaker 1: world so much, and I figured if I could do 266 00:15:54,040 --> 00:15:56,080 Speaker 1: lots of things, they'd have to let me in somewhere. 267 00:15:56,560 --> 00:15:59,280 Speaker 1: And that was really smart of you, So, you know, honestly, 268 00:15:59,400 --> 00:16:04,640 Speaker 1: because you became an apprentice and all these different um, 269 00:16:04,680 --> 00:16:08,840 Speaker 1: you know, disciplines and and then of course you learned 270 00:16:08,880 --> 00:16:12,800 Speaker 1: how to be the conductor because you understood what everybody 271 00:16:12,840 --> 00:16:16,800 Speaker 1: did and probably honestly respected it too. I mean, that's 272 00:16:16,880 --> 00:16:20,880 Speaker 1: definitely how I hope I took all that experience, because 273 00:16:21,480 --> 00:16:26,960 Speaker 1: filmmaking is the most collaborative art form, so getting to 274 00:16:27,880 --> 00:16:30,800 Speaker 1: operate in all the different areas of constructing a movie 275 00:16:30,840 --> 00:16:35,160 Speaker 1: is incredibly useful. And I'm I'm dead in the water 276 00:16:35,280 --> 00:16:39,280 Speaker 1: without the people around me, And every single person who's 277 00:16:39,320 --> 00:16:42,360 Speaker 1: working on a film is to me, they are the 278 00:16:42,400 --> 00:16:46,080 Speaker 1: filmmaker for the thing that they're doing. You tell the 279 00:16:46,160 --> 00:16:50,600 Speaker 1: story in so many ways, and I need every single 280 00:16:50,600 --> 00:16:54,200 Speaker 1: person on set to to tell it with me otherwise 281 00:16:54,200 --> 00:16:57,000 Speaker 1: I guess what am I doing. Of course, Lady Bird, 282 00:16:57,040 --> 00:17:02,280 Speaker 1: which your big, big breakthrough, and it so much about relationships. 283 00:17:03,200 --> 00:17:07,680 Speaker 1: Why didn't you just say pick up your face? You're 284 00:17:07,880 --> 00:17:13,159 Speaker 1: so infurious not yelling? Oh it's perfect? What was it 285 00:17:13,200 --> 00:17:17,600 Speaker 1: about that film that made it resonate so much? Everyone? 286 00:17:18,040 --> 00:17:22,760 Speaker 1: Everyone has a family, everybody understands, everybody comes from somewhere. 287 00:17:22,840 --> 00:17:26,199 Speaker 1: Everybody knows what it is to love and what it 288 00:17:26,320 --> 00:17:30,560 Speaker 1: is to lose. Everyone there's no pre what requisites for 289 00:17:30,680 --> 00:17:33,680 Speaker 1: understanding a story, and I think that with lady bird. 290 00:17:33,720 --> 00:17:37,159 Speaker 1: It's that thing of you. You don't come from a 291 00:17:37,200 --> 00:17:40,760 Speaker 1: generalized place. You come from a specific place. And my 292 00:17:40,880 --> 00:17:43,480 Speaker 1: specific place that I could speak to was Sacramento. But 293 00:17:43,560 --> 00:17:45,320 Speaker 1: I think that that connects. I think, you know, the 294 00:17:45,320 --> 00:17:47,920 Speaker 1: more specific you get, the more universal it can be 295 00:17:47,920 --> 00:17:51,000 Speaker 1: because it connects back to everyone. And then you think 296 00:17:51,000 --> 00:17:53,240 Speaker 1: of the specific house you grew up in and what 297 00:17:53,320 --> 00:17:56,960 Speaker 1: your specific relationship with all those people were, and and 298 00:17:57,000 --> 00:17:59,159 Speaker 1: I think, Um, I had lots of men tell me 299 00:17:59,760 --> 00:18:02,040 Speaker 1: they like, I know it's about a teenage girl, but 300 00:18:02,280 --> 00:18:05,399 Speaker 1: I am. I feel like I'm ladybird. I was like, 301 00:18:05,880 --> 00:18:08,000 Speaker 1: that's fine, you're six year old man, and I totally 302 00:18:08,040 --> 00:18:10,720 Speaker 1: support you in that. I think that that's right, your ladybird. 303 00:18:12,200 --> 00:18:14,960 Speaker 1: I loved her relationship with her mom. Course, I worship 304 00:18:15,800 --> 00:18:18,440 Speaker 1: luring that calf and I mean, she was just so 305 00:18:19,040 --> 00:18:23,359 Speaker 1: phenomenal in it. Um. And I think again, that sort 306 00:18:23,359 --> 00:18:26,520 Speaker 1: of goes back to your mumble core days. Don't you 307 00:18:26,560 --> 00:18:31,480 Speaker 1: think you were heavily influenced by the reality of their relationship. 308 00:18:31,600 --> 00:18:34,360 Speaker 1: People are like, yeah, I remember going through clothes with 309 00:18:34,400 --> 00:18:38,159 Speaker 1: my mom. I mean, taking these very typical scenes and 310 00:18:38,200 --> 00:18:41,040 Speaker 1: everyone's like, oh, yeah, I did that with my mom. Yeah, 311 00:18:41,080 --> 00:18:44,080 Speaker 1: my mom drove me crazy about this. I remember saying 312 00:18:44,080 --> 00:18:46,320 Speaker 1: this at the time. If you stop any woman on 313 00:18:46,359 --> 00:18:49,160 Speaker 1: the street and ask how's your relationship with your mom, 314 00:18:49,200 --> 00:18:51,280 Speaker 1: It's never going to be a one word answer. It's 315 00:18:51,280 --> 00:18:54,240 Speaker 1: never gonna be like good, like that's just not people 316 00:18:54,240 --> 00:18:57,360 Speaker 1: don't that's not true. And I felt like the whole 317 00:18:57,359 --> 00:19:00,040 Speaker 1: time when we were making it, I kept saying, I 318 00:19:00,040 --> 00:19:03,159 Speaker 1: can't believe no one's made this yet, like this seems like, 319 00:19:03,320 --> 00:19:06,800 Speaker 1: so why wouldn't you make this movie? Speaking of that 320 00:19:07,240 --> 00:19:10,000 Speaker 1: sitting there, how did your parents feel about that movie? 321 00:19:10,280 --> 00:19:13,160 Speaker 1: And how is your relationship with your mom? How long 322 00:19:13,200 --> 00:19:16,520 Speaker 1: do you have? No, I'm getting they sound super normal 323 00:19:16,560 --> 00:19:19,199 Speaker 1: by the way, wonderful. Yes, and then it sounds like 324 00:19:19,240 --> 00:19:22,600 Speaker 1: they're they're um that you might be sort of the 325 00:19:22,680 --> 00:19:25,280 Speaker 1: quirky one in the group. Am I right? Yes? I am. 326 00:19:25,320 --> 00:19:27,199 Speaker 1: I mean what I will say, and this is not 327 00:19:27,880 --> 00:19:32,400 Speaker 1: there really good people. They're good people, and and they're 328 00:19:32,480 --> 00:19:35,479 Speaker 1: good in in a in a sense that I think, um, 329 00:19:36,680 --> 00:19:39,440 Speaker 1: you know, I think in some ways actually with with 330 00:19:40,119 --> 00:19:43,320 Speaker 1: Little Women, I felt like I was able to tap 331 00:19:43,359 --> 00:19:45,520 Speaker 1: into that as well. It feel very personal to me 332 00:19:45,560 --> 00:19:48,720 Speaker 1: in that way. But there, um, they have a sense 333 00:19:48,720 --> 00:19:54,040 Speaker 1: of civic responsibility, moral responsibility, responsibility to their city and 334 00:19:54,080 --> 00:19:56,480 Speaker 1: their family and their community. And it's a very like 335 00:19:58,080 --> 00:20:02,399 Speaker 1: It reminds me when I go back home that you 336 00:20:02,440 --> 00:20:05,959 Speaker 1: can be a good citizen and a good person and 337 00:20:06,000 --> 00:20:08,199 Speaker 1: you can take care of each other. And I think that, 338 00:20:08,440 --> 00:20:11,640 Speaker 1: um uh, you know every and also everyone who meets 339 00:20:11,640 --> 00:20:14,840 Speaker 1: my mom is like your mom is wonderful. OK. I know, 340 00:20:15,560 --> 00:20:20,239 Speaker 1: I know are lucky. Yes, I am very lucky. Coming up, 341 00:20:20,240 --> 00:20:24,320 Speaker 1: Gretta talks about her latest movie, Little Women, and how 342 00:20:24,359 --> 00:20:32,040 Speaker 1: she made the Louisa may Alcock classic her own. Let's 343 00:20:32,040 --> 00:20:36,919 Speaker 1: talk about Little Women. You've assembled a dream team in 344 00:20:36,960 --> 00:20:40,560 Speaker 1: this latest movie. You have Sir Sha Ronan, who I've 345 00:20:40,600 --> 00:20:45,200 Speaker 1: got such a girl crush on, Emma Watson, Laura Dern 346 00:20:45,520 --> 00:20:49,280 Speaker 1: also a girl crush on Meryl Street, Eliza Scamblin, and 347 00:20:49,520 --> 00:20:55,000 Speaker 1: Florence Pugh who are the newer, newer, young, obviously incredibly 348 00:20:55,040 --> 00:20:59,200 Speaker 1: talented actors. Um. Before we talk about the film, let's 349 00:20:59,240 --> 00:21:02,200 Speaker 1: talk about the book. Were you a big fan of 350 00:21:02,280 --> 00:21:05,040 Speaker 1: the book growing up? Yes? I was that the book 351 00:21:05,200 --> 00:21:08,040 Speaker 1: was It was one of my favorite books. I read 352 00:21:08,040 --> 00:21:10,119 Speaker 1: it over and over and over. I mean I was 353 00:21:10,200 --> 00:21:13,920 Speaker 1: a rereader as a child. I think maybe it's something 354 00:21:14,000 --> 00:21:16,800 Speaker 1: children do that the adults stopped doing, of watching the 355 00:21:16,840 --> 00:21:19,240 Speaker 1: same movie as or reading the same books over and 356 00:21:19,240 --> 00:21:23,560 Speaker 1: over again, like it becomes part of you somehow. Um. 357 00:21:23,600 --> 00:21:27,120 Speaker 1: It's also sort of comforting. It's very comforting, and it's 358 00:21:27,119 --> 00:21:33,800 Speaker 1: that ritualistic, uh revisiting of characters. It's another reason why 359 00:21:34,040 --> 00:21:37,480 Speaker 1: like the structures of I'm a huge Law and Order fan, 360 00:21:38,040 --> 00:21:41,560 Speaker 1: but like, I know, it's my favorite, but there's a 361 00:21:41,680 --> 00:21:45,600 Speaker 1: deep relaxation in me that occurs because I know the 362 00:21:45,640 --> 00:21:49,320 Speaker 1: beats of the show. And I think that's one of 363 00:21:49,320 --> 00:21:53,040 Speaker 1: the reasons why people love it is because Okay, well 364 00:21:53,080 --> 00:21:55,640 Speaker 1: it's only minute twenties, so that's not the guy. We're 365 00:21:55,640 --> 00:21:59,080 Speaker 1: gonna wait to get him till minute forty five. I'm not, 366 00:21:59,200 --> 00:22:02,280 Speaker 1: you know you just no, Um, I'm going to have 367 00:22:02,359 --> 00:22:05,439 Speaker 1: to pay do a little matchmaking between you and Marishka. 368 00:22:06,160 --> 00:22:10,920 Speaker 1: I love her, I mean I love her, do you know? Okay, 369 00:22:10,960 --> 00:22:12,439 Speaker 1: I don't want to meet her because I love her 370 00:22:12,480 --> 00:22:15,560 Speaker 1: so much. No, you're gonna love her in person. Most comforting, 371 00:22:15,880 --> 00:22:18,840 Speaker 1: you know, like in meditation when they say, like go 372 00:22:19,320 --> 00:22:21,920 Speaker 1: think of a beach or something that makes you feel safe, 373 00:22:22,040 --> 00:22:24,960 Speaker 1: And I was thinking of Mashka his face because I 374 00:22:25,000 --> 00:22:27,840 Speaker 1: feel like she's so compassionate and it really just comes 375 00:22:27,920 --> 00:22:31,560 Speaker 1: through on the screen. I feel like she's so wonderful 376 00:22:31,680 --> 00:22:34,119 Speaker 1: and I don't know anything about her really in her life, 377 00:22:34,200 --> 00:22:37,760 Speaker 1: but I think that the person she is shines through, 378 00:22:38,280 --> 00:22:42,160 Speaker 1: like she makes you feel so unjudged. I'm gonna send 379 00:22:42,280 --> 00:22:45,240 Speaker 1: I'm going to send that to her and get her reaction. 380 00:22:45,320 --> 00:22:48,240 Speaker 1: What a nice compliment, I love. I mean, this is amazing, 381 00:22:48,359 --> 00:22:51,639 Speaker 1: It's so funny, it's wonderful. All this is the sixth, 382 00:22:52,359 --> 00:22:56,320 Speaker 1: sixth film adaptation of Little Women, so I think it's 383 00:22:56,320 --> 00:22:59,119 Speaker 1: a seventh, is it? Yeah? Yeah, I'm gonna have to 384 00:22:59,240 --> 00:23:05,399 Speaker 1: fire Mirace and two animes shows to animal and a 385 00:23:05,520 --> 00:23:08,280 Speaker 1: musical and an opera. Oh my god, all right, did 386 00:23:08,320 --> 00:23:10,399 Speaker 1: you watch all the movies, Bretta? No? You know what 387 00:23:10,440 --> 00:23:13,119 Speaker 1: I did was I have have seen all the movies 388 00:23:13,200 --> 00:23:15,000 Speaker 1: at different points. I didn't look at any of the 389 00:23:15,560 --> 00:23:20,359 Speaker 1: movies because I wanted it because with Little Women, obviously 390 00:23:20,400 --> 00:23:22,439 Speaker 1: the books put around for a hundred and fifty years. 391 00:23:22,520 --> 00:23:26,840 Speaker 1: But I feel that the iconography of Little Women, the 392 00:23:26,960 --> 00:23:29,840 Speaker 1: kind of collective memory of what it is is that 393 00:23:30,080 --> 00:23:33,240 Speaker 1: it's the error text. It's the text writ large and 394 00:23:33,280 --> 00:23:35,120 Speaker 1: I think as a filmmaker, when I wanted to do 395 00:23:35,840 --> 00:23:40,919 Speaker 1: was to take that collective memory that we have of 396 00:23:40,960 --> 00:23:43,119 Speaker 1: what Little Women is. Whether it's you know, Marmie and 397 00:23:43,160 --> 00:23:45,840 Speaker 1: the girls sitting around by the fire, or Amy burning 398 00:23:45,840 --> 00:23:47,880 Speaker 1: the book or the dance. You know, there's all these 399 00:23:47,920 --> 00:23:50,240 Speaker 1: things that we have in our minds of what Little 400 00:23:50,240 --> 00:23:53,680 Speaker 1: Women is. That I felt like I could take that 401 00:23:53,800 --> 00:23:56,680 Speaker 1: and kind of create something that was to be honest, 402 00:23:56,720 --> 00:24:00,639 Speaker 1: like a cute cubist piece of out it because I 403 00:24:00,680 --> 00:24:02,600 Speaker 1: wanted to look at it from another side, which is 404 00:24:03,080 --> 00:24:05,320 Speaker 1: I started the movie when they're adults, and then they 405 00:24:05,359 --> 00:24:08,720 Speaker 1: go back to childhood as a kind of a yearning 406 00:24:09,040 --> 00:24:13,560 Speaker 1: and uh and uh, this snow globe housy on days 407 00:24:13,640 --> 00:24:18,000 Speaker 1: of something that's gone and they can't recapture. I want 408 00:24:18,080 --> 00:24:20,119 Speaker 1: to be an artist in Rome and be the best 409 00:24:20,240 --> 00:24:22,440 Speaker 1: painter in the worlds. What do you want to isn't 410 00:24:22,440 --> 00:24:24,560 Speaker 1: it Joey to be a famous right? Yes? It sounds 411 00:24:24,600 --> 00:24:28,120 Speaker 1: so crass when she says, my girls have a way 412 00:24:28,160 --> 00:24:32,879 Speaker 1: of getting into mischief. You know you, in fact, do 413 00:24:33,119 --> 00:24:38,640 Speaker 1: I think to such an interesting spin on on Little Women? Um? 414 00:24:38,680 --> 00:24:44,040 Speaker 1: And I think you intertwine. Louisa Mett May Alcott's journal 415 00:24:44,200 --> 00:24:49,160 Speaker 1: entries and letters, so it's almost a mash up between 416 00:24:49,200 --> 00:24:51,679 Speaker 1: her life story and the story that she wrote in 417 00:24:51,680 --> 00:24:54,440 Speaker 1: the book. So tell us a little bit about that process, 418 00:24:54,880 --> 00:24:57,800 Speaker 1: and also, Greta, how you sort of did it in 419 00:24:57,840 --> 00:25:01,680 Speaker 1: a very different way in terms of the time framed. Yeah, Well, 420 00:25:02,240 --> 00:25:06,840 Speaker 1: Louise May Alcott was as I researched her, because I 421 00:25:06,840 --> 00:25:09,200 Speaker 1: didn't really know anything about her when I was growing up. 422 00:25:09,320 --> 00:25:12,879 Speaker 1: I loved Joe March, but I didn't know who Louise 423 00:25:12,920 --> 00:25:17,720 Speaker 1: May Alcott was. And when I was researching Louisa, I 424 00:25:17,920 --> 00:25:23,680 Speaker 1: found that she she is the heroine behind the heroine, 425 00:25:23,760 --> 00:25:27,280 Speaker 1: like she is the woman that I had unconsciously been 426 00:25:27,960 --> 00:25:32,159 Speaker 1: drawn to. And um of the many extraordinary things about 427 00:25:32,160 --> 00:25:37,480 Speaker 1: her was that, you know, she never got married, she 428 00:25:37,560 --> 00:25:41,320 Speaker 1: never had children, and she kept the copyright of her book, 429 00:25:41,480 --> 00:25:45,479 Speaker 1: which I thought, that's incredible that a woman in the 430 00:25:45,560 --> 00:25:48,840 Speaker 1: nineteenth century knew to keep the copyright to her book. 431 00:25:49,320 --> 00:25:51,040 Speaker 1: And I was like, well, I have to put this 432 00:25:51,080 --> 00:25:52,800 Speaker 1: in the movie. And then I so I started to 433 00:25:53,960 --> 00:25:57,479 Speaker 1: I started to weave who Louise may Alcott was into 434 00:25:57,560 --> 00:26:02,600 Speaker 1: who Joe is, and I start in her you know, 435 00:26:03,480 --> 00:26:06,840 Speaker 1: mid twenties, her adulthood. And I did that with time 436 00:26:06,920 --> 00:26:11,000 Speaker 1: because I wanted to introduce this idea of fiction and 437 00:26:11,040 --> 00:26:14,800 Speaker 1: writing and authorships, so that the past isn't just the past, 438 00:26:14,880 --> 00:26:17,959 Speaker 1: it's also fiction. It's also the thing that you wrote 439 00:26:18,160 --> 00:26:21,000 Speaker 1: out of your life. And um, I think as a 440 00:26:21,040 --> 00:26:25,359 Speaker 1: writer myself, that distance between what happened versus what did 441 00:26:25,400 --> 00:26:29,240 Speaker 1: you write is something that's inherently emotional to me. And 442 00:26:29,400 --> 00:26:32,080 Speaker 1: I put all kinds of details about who Louisa was 443 00:26:32,119 --> 00:26:35,760 Speaker 1: in the movie, things like she was ambidextrous. She taught 444 00:26:35,760 --> 00:26:38,439 Speaker 1: herself how to write with her left hand because I 445 00:26:38,560 --> 00:26:41,800 Speaker 1: noticed that her hand would cramp, her hand would cramp 446 00:26:43,320 --> 00:26:44,960 Speaker 1: her I noticed that in the film because you didn't 447 00:26:44,960 --> 00:26:48,520 Speaker 1: actually talk about it. I just noticed it. I thought 448 00:26:48,520 --> 00:26:50,679 Speaker 1: it was cinematic and kind of beautiful to have her 449 00:26:50,760 --> 00:26:54,080 Speaker 1: right with both hands, and that that was that was Louisa. 450 00:26:54,119 --> 00:26:58,320 Speaker 1: Because the Outcot family unlike the March family. The March 451 00:26:58,400 --> 00:27:01,280 Speaker 1: family are like the genteel poor. They were like the 452 00:27:01,320 --> 00:27:05,600 Speaker 1: Bennetts or something from Pride and Prejudice. The Alcoots were 453 00:27:05,640 --> 00:27:09,520 Speaker 1: wretchedly poor. They moved something like thirty times in four 454 00:27:09,600 --> 00:27:12,560 Speaker 1: years because I could never pay the rent. And Louisa 455 00:27:12,600 --> 00:27:14,960 Speaker 1: and her sisters went out to work when they were teenagers, 456 00:27:15,000 --> 00:27:17,480 Speaker 1: and she worked, she sewed, and so she would sew 457 00:27:17,520 --> 00:27:19,440 Speaker 1: all day and then she would come home and she'd 458 00:27:19,440 --> 00:27:21,600 Speaker 1: write her stories at night, which she had been composing 459 00:27:21,600 --> 00:27:23,639 Speaker 1: in her head to sell for not a lot of 460 00:27:23,640 --> 00:27:26,680 Speaker 1: money because it was for penny dreadful papers. And she 461 00:27:26,800 --> 00:27:28,920 Speaker 1: would write with her right hand and then it would 462 00:27:29,200 --> 00:27:31,040 Speaker 1: cramp and bleed, and she taught herself how to write 463 00:27:31,040 --> 00:27:33,320 Speaker 1: with her left hand so she could keep writing. And 464 00:27:33,359 --> 00:27:36,560 Speaker 1: that kind of physical act of what it means to 465 00:27:36,640 --> 00:27:42,440 Speaker 1: write and to produce something. Um, it just felt heroic 466 00:27:42,760 --> 00:27:46,720 Speaker 1: to me that that that determination to keep to keep 467 00:27:46,760 --> 00:27:49,640 Speaker 1: putting it on paper. And there were other ways that 468 00:27:49,680 --> 00:27:54,159 Speaker 1: you intertwined the two stories, right, and you know, was it? 469 00:27:54,200 --> 00:27:59,040 Speaker 1: Is it commonly believed that Louisa that Joe was Louisa, 470 00:27:59,119 --> 00:28:02,760 Speaker 1: Louisa was. Yes, that's the feeling. Also, Louisa and Joe 471 00:28:02,840 --> 00:28:07,720 Speaker 1: both have three sisters. Um, they both have I mean, 472 00:28:07,760 --> 00:28:10,360 Speaker 1: I mean I feel like everyone knows this, but they 473 00:28:10,400 --> 00:28:13,479 Speaker 1: both have loss in their life of one you know, 474 00:28:14,240 --> 00:28:19,400 Speaker 1: specific person and um, but so it's easy to look 475 00:28:19,440 --> 00:28:23,200 Speaker 1: at it and say, oh, I see that's a that's 476 00:28:23,280 --> 00:28:28,439 Speaker 1: that's Louisa. But the differences are emotional and striking, and 477 00:28:28,440 --> 00:28:30,359 Speaker 1: that's why I started the film with the quote, Um, 478 00:28:31,160 --> 00:28:33,960 Speaker 1: I've had lots of troubles, so I write Jolly Tails 479 00:28:34,720 --> 00:28:37,159 Speaker 1: And I thought, oh, that just kills me. You know 480 00:28:37,280 --> 00:28:40,680 Speaker 1: so much. First story, Greta is about dealing with men 481 00:28:40,720 --> 00:28:45,040 Speaker 1: in charge, men controlling her art, and um, I shouldn't 482 00:28:45,080 --> 00:28:48,760 Speaker 1: have been surprised, but against the backdrop of the modern woman, 483 00:28:49,040 --> 00:28:51,240 Speaker 1: it is still It was still jarring for me to 484 00:28:51,320 --> 00:28:56,080 Speaker 1: watch women with so much spirit and so little agency. Yes, 485 00:28:56,520 --> 00:28:58,640 Speaker 1: I believe we have some power over who we love. 486 00:28:58,680 --> 00:29:01,160 Speaker 1: It isn't something that just happened to a person. I 487 00:29:01,160 --> 00:29:04,560 Speaker 1: think the poets might disagree. Well, I'm not a poet. 488 00:29:05,400 --> 00:29:08,760 Speaker 1: I'm just a woman. And as a woman, there's no 489 00:29:08,800 --> 00:29:11,800 Speaker 1: way for me to make my own money, not enough 490 00:29:11,840 --> 00:29:15,840 Speaker 1: to earn a living or to support my family. And 491 00:29:15,880 --> 00:29:18,120 Speaker 1: if I had my own money, which I don't, that 492 00:29:18,160 --> 00:29:20,840 Speaker 1: money would belong to my husband the moment we got married, 493 00:29:21,120 --> 00:29:23,240 Speaker 1: and if we had children, they would be his, not mine. 494 00:29:24,200 --> 00:29:26,440 Speaker 1: They would be his property. So don't sit there and 495 00:29:26,480 --> 00:29:29,840 Speaker 1: tell me that marriage isn't an economic proposition, because it is. 496 00:29:30,640 --> 00:29:34,080 Speaker 1: Was that something that you also as a modern American 497 00:29:34,200 --> 00:29:38,560 Speaker 1: woman in a position of power now that you grappled 498 00:29:38,560 --> 00:29:43,240 Speaker 1: with a vent sort of how how limited their options were. 499 00:29:43,760 --> 00:29:47,200 Speaker 1: Where I am, where we are. What's possible now is 500 00:29:47,200 --> 00:29:49,880 Speaker 1: is possible because of all these generations of women who 501 00:29:49,880 --> 00:29:51,600 Speaker 1: have worked so hard to get to where we are. 502 00:29:52,000 --> 00:29:54,320 Speaker 1: And I think, to me, I feel, I feel this 503 00:29:54,400 --> 00:29:56,400 Speaker 1: deep sense of you could draw a straight line from 504 00:29:56,480 --> 00:29:59,760 Speaker 1: Louisa Mayl called to me, and what I'm able to 505 00:29:59,800 --> 00:30:03,640 Speaker 1: do is is indebted to what she did because she 506 00:30:03,680 --> 00:30:06,120 Speaker 1: wrote about the lives of girls and women and that 507 00:30:06,240 --> 00:30:08,880 Speaker 1: people read it and loved it, and it prepared, It 508 00:30:09,040 --> 00:30:11,280 Speaker 1: stayed in print over a hundred and fifty years. It 509 00:30:11,720 --> 00:30:15,320 Speaker 1: was translated into fifty two languages. It became important because 510 00:30:15,320 --> 00:30:18,840 Speaker 1: there was an audience for which nobody recognized, which was 511 00:30:19,120 --> 00:30:22,760 Speaker 1: girls and women. And now what I think, and I 512 00:30:22,800 --> 00:30:26,360 Speaker 1: have them have this discussion in the film is um 513 00:30:26,400 --> 00:30:30,520 Speaker 1: I would love those to not be uh works that 514 00:30:30,560 --> 00:30:33,680 Speaker 1: have asterix next to them. I would love them not 515 00:30:33,800 --> 00:30:38,280 Speaker 1: to be you know, women's literature, women's stories, or women's 516 00:30:38,480 --> 00:30:41,520 Speaker 1: chick flicks. I don't think that they should be, and 517 00:30:41,560 --> 00:30:43,880 Speaker 1: I don't think that they are. I think that they're 518 00:30:44,560 --> 00:30:49,320 Speaker 1: human stories. And something Meryl Streep said to me. She said, 519 00:30:49,320 --> 00:30:52,840 Speaker 1: we have lots of practice as women imagining ourselves in 520 00:30:52,920 --> 00:30:56,480 Speaker 1: male narratives. We've done it our whole lives because we're 521 00:30:56,480 --> 00:30:59,680 Speaker 1: always reading books and going into films and looking at 522 00:30:59,720 --> 00:31:04,040 Speaker 1: men and projecting ourselves into their stories. And I actually 523 00:31:04,040 --> 00:31:07,120 Speaker 1: think that they have huge capacities to do the same. 524 00:31:07,680 --> 00:31:09,840 Speaker 1: Men have a capacity to go to films or read 525 00:31:09,920 --> 00:31:13,600 Speaker 1: novels and to feel themselves within a female character like 526 00:31:13,680 --> 00:31:16,600 Speaker 1: that man said, I'm lady bird, right, Bird, that's right. 527 00:31:17,360 --> 00:31:19,480 Speaker 1: And I think that there's a fear that maybe I 528 00:31:19,520 --> 00:31:21,080 Speaker 1: don't know, I don't know where it comes from, but 529 00:31:21,120 --> 00:31:24,080 Speaker 1: maybe there's a fear that it diminishes their masculinity somehow. 530 00:31:24,600 --> 00:31:26,640 Speaker 1: But I only think it makes the expression of who 531 00:31:26,640 --> 00:31:29,960 Speaker 1: you are deeper if you can see yourself as as 532 00:31:30,000 --> 00:31:33,640 Speaker 1: as multiple, as many as not just um in your 533 00:31:33,720 --> 00:31:38,120 Speaker 1: narrow category. And so I think for me it's there's 534 00:31:38,520 --> 00:31:44,320 Speaker 1: many possibilities now, But still it feels like we say 535 00:31:44,320 --> 00:31:47,160 Speaker 1: they're niche. And also because i'm you know, movies are 536 00:31:49,400 --> 00:31:52,520 Speaker 1: you make them and you hope people will go see them, um, 537 00:31:52,560 --> 00:31:54,880 Speaker 1: and they're there. You need a lot of people, you 538 00:31:55,040 --> 00:31:58,520 Speaker 1: need money, they're expensive, so you do have these discussions 539 00:31:58,520 --> 00:32:01,880 Speaker 1: about and who's the audience, And um, you know, it's 540 00:32:02,000 --> 00:32:04,240 Speaker 1: very classic thing in Hollywood, that's say, girls will go 541 00:32:04,280 --> 00:32:06,560 Speaker 1: to boys movies and boys will not go to girls movies. 542 00:32:06,760 --> 00:32:09,640 Speaker 1: Do you think that's changing, Grata? I think it is changing, 543 00:32:09,680 --> 00:32:13,840 Speaker 1: and I think it's changing so quickly that we haven't 544 00:32:13,840 --> 00:32:17,480 Speaker 1: registered the change yet. And um, but I think it's 545 00:32:17,520 --> 00:32:22,720 Speaker 1: it's transforming right now. It's called empathy, after all. That's 546 00:32:22,960 --> 00:32:26,080 Speaker 1: I always say that movies are emphathy machines. That's what 547 00:32:26,120 --> 00:32:30,840 Speaker 1: they do, and so that that is, that is the thing. 548 00:32:31,320 --> 00:32:33,800 Speaker 1: And I found myself in the movie theater many times 549 00:32:34,240 --> 00:32:39,560 Speaker 1: feeling like I've lived through something that I haven't because 550 00:32:39,600 --> 00:32:42,720 Speaker 1: of the way the movie makes me feel, and places 551 00:32:42,760 --> 00:32:46,400 Speaker 1: and people and experiences that just connect back to to 552 00:32:46,920 --> 00:32:49,600 Speaker 1: who you are. I do think you imbue a lot 553 00:32:49,640 --> 00:32:55,040 Speaker 1: of modern uh sensibilities into this movie. For example, I 554 00:32:55,080 --> 00:33:00,400 Speaker 1: think the exploration of Joe's character is much otter and 555 00:33:00,520 --> 00:33:06,200 Speaker 1: more profound, given how we're reevaluating not only gender roles, 556 00:33:06,320 --> 00:33:10,840 Speaker 1: but gender identity, sexual orientation. And it seems to me 557 00:33:11,120 --> 00:33:17,360 Speaker 1: that perhaps Louisa may Alcott today, if she were here today, 558 00:33:17,640 --> 00:33:21,240 Speaker 1: might might not be a straight woman. Yeah, well, there's 559 00:33:21,280 --> 00:33:26,640 Speaker 1: actually really interesting um right writing that she did I 560 00:33:26,640 --> 00:33:29,880 Speaker 1: mean to start with Joe, she says, I mean, she 561 00:33:29,920 --> 00:33:31,840 Speaker 1: really does say the whole book. She wants to be 562 00:33:31,840 --> 00:33:34,360 Speaker 1: a boy, she says, the whole time. And it's hard 563 00:33:34,920 --> 00:33:38,440 Speaker 1: to look at that with the century lens, because the 564 00:33:38,480 --> 00:33:41,000 Speaker 1: truth is Joe wanting to be a boy. It can 565 00:33:41,040 --> 00:33:44,680 Speaker 1: be interpreted in lots of ways. One way is just well, 566 00:33:44,680 --> 00:33:46,520 Speaker 1: why wouldn't she want to be a boy? They were 567 00:33:47,120 --> 00:33:51,400 Speaker 1: they got to do options. She had none, and so 568 00:33:52,000 --> 00:33:55,560 Speaker 1: you don't always want to ascribe some category that she 569 00:33:55,600 --> 00:34:00,000 Speaker 1: didn't have. But I do, definitely I think that there 570 00:34:01,040 --> 00:34:03,360 Speaker 1: there was something going on. I mean the Louisa has 571 00:34:03,480 --> 00:34:07,640 Speaker 1: Um some of the letters she wrote this um she wrote, 572 00:34:07,680 --> 00:34:11,680 Speaker 1: I sometimes I believe I'm a man in a woman's body, 573 00:34:11,760 --> 00:34:13,680 Speaker 1: for I've fallen in love in love with a dozen 574 00:34:13,719 --> 00:34:16,480 Speaker 1: pretty girls, and I've never once felt that way from him. 575 00:34:16,600 --> 00:34:19,000 Speaker 1: Do you think, oh my god, we might have something 576 00:34:19,080 --> 00:34:27,520 Speaker 1: for you. But but it's you know, it's also difficult. Um. 577 00:34:27,560 --> 00:34:30,200 Speaker 1: I didn't want to become didactic, and I didn't want 578 00:34:30,200 --> 00:34:34,120 Speaker 1: to give her something. I didn't want to give it. 579 00:34:34,239 --> 00:34:36,440 Speaker 1: I did again. I didn't want to assign her something 580 00:34:36,640 --> 00:34:39,799 Speaker 1: or label her as something but I did want to 581 00:34:40,400 --> 00:34:46,160 Speaker 1: allow the mess of just the raw feeling to come through. 582 00:34:46,520 --> 00:34:50,120 Speaker 1: Talk about raw feelings. You also gave her permission to 583 00:34:50,120 --> 00:34:55,200 Speaker 1: be angry. I get in a passion, I get so savage, 584 00:34:55,239 --> 00:34:59,560 Speaker 1: I could hurt anyone and I'd enjoyed it. You remind 585 00:34:59,600 --> 00:35:06,080 Speaker 1: me of my myself. But you are never angry. I'm 586 00:35:06,120 --> 00:35:09,319 Speaker 1: angry nearly every day of my life. One of the 587 00:35:09,360 --> 00:35:11,279 Speaker 1: lines that stood out to me, and I thought it 588 00:35:11,640 --> 00:35:15,520 Speaker 1: has this always been in the book was um Marmy's 589 00:35:15,560 --> 00:35:18,960 Speaker 1: saying to Joe, I'm angry almost every single day of 590 00:35:19,000 --> 00:35:21,879 Speaker 1: my life, which I said, That's not what I think 591 00:35:21,880 --> 00:35:25,240 Speaker 1: of when I think of Marmy, but it's it's right there, 592 00:35:25,440 --> 00:35:29,160 Speaker 1: and I think, you know it's actually talking about it. 593 00:35:29,200 --> 00:35:33,880 Speaker 1: I I I get uncomfortable talking about anger, UM or 594 00:35:34,000 --> 00:35:39,200 Speaker 1: talking about, you know, feeling upset about things, because because 595 00:35:39,760 --> 00:35:43,560 Speaker 1: I still I grew up in this culture. I know 596 00:35:44,120 --> 00:35:48,440 Speaker 1: you don't want to be the angry the angry girl UM. 597 00:35:48,520 --> 00:35:51,840 Speaker 1: So you know, I think I have been given a 598 00:35:51,880 --> 00:35:55,000 Speaker 1: lot more permission to be so by by people who 599 00:35:55,080 --> 00:35:59,080 Speaker 1: are writing and thinking and doing. And I think UM, 600 00:35:59,200 --> 00:36:01,799 Speaker 1: for me, one of the the beautiful things about UM 601 00:36:02,239 --> 00:36:07,640 Speaker 1: writing fiction and UM and and having characters say things. 602 00:36:07,640 --> 00:36:10,000 Speaker 1: And sometimes I can allow my characters to go farther 603 00:36:10,040 --> 00:36:12,600 Speaker 1: than I feel comfortable going because I can, I can 604 00:36:12,640 --> 00:36:16,440 Speaker 1: give them all of my thoughts and feelings and and 605 00:36:16,560 --> 00:36:21,560 Speaker 1: let them let them let it rip. Yeah, what makes 606 00:36:21,560 --> 00:36:25,319 Speaker 1: you angry right now? Oh? Are you? Are you fitel? 607 00:36:25,360 --> 00:36:29,640 Speaker 1: What's your sort of dominant emotion emotional state right now? 608 00:36:29,760 --> 00:36:33,279 Speaker 1: My dominant emotional well, actually, my dominant emotional state right 609 00:36:33,280 --> 00:36:38,919 Speaker 1: now is is um, some sort of like frantic euphoria 610 00:36:39,040 --> 00:36:43,919 Speaker 1: of because I have a baby and also so it's yeah, 611 00:36:44,120 --> 00:36:45,920 Speaker 1: but so so it's kind of like you know, a 612 00:36:45,960 --> 00:36:49,319 Speaker 1: tiny baby head where you're like babies and then you're 613 00:36:49,360 --> 00:36:53,480 Speaker 1: running around and doing all this stuff. So they're so 614 00:36:53,600 --> 00:36:58,960 Speaker 1: pure and everything else is so dirty. Well it's that babies. 615 00:36:59,080 --> 00:37:02,919 Speaker 1: Babies are one different thing, um, which is which is nice. 616 00:37:03,040 --> 00:37:06,279 Speaker 1: But yes, I feel I feel like, um, I can 617 00:37:06,320 --> 00:37:10,080 Speaker 1: already tell that this this moment in my life I'll 618 00:37:10,080 --> 00:37:13,760 Speaker 1: look back on and say, what the hell was I thinking? 619 00:37:14,680 --> 00:37:17,120 Speaker 1: How did how did any of that come to that? 620 00:37:17,239 --> 00:37:19,080 Speaker 1: I feel like everything in my life is half done 621 00:37:19,120 --> 00:37:24,280 Speaker 1: and I'm always eating something as I'm running to another thing. So, um, 622 00:37:24,320 --> 00:37:28,440 Speaker 1: I don't know, I don't know, for tiredness when we 623 00:37:28,520 --> 00:37:32,360 Speaker 1: come back, our women finally getting the recognition they deserve 624 00:37:32,920 --> 00:37:36,480 Speaker 1: or not. And in the wake of Me Too and 625 00:37:36,840 --> 00:37:47,560 Speaker 1: Time's Up, has Hollywood really changed? You talked about you 626 00:37:47,640 --> 00:37:50,960 Speaker 1: hope that boys will want to see movies about girls, 627 00:37:51,000 --> 00:37:56,120 Speaker 1: but what about the structure of the systematic uh, sort 628 00:37:56,160 --> 00:38:00,400 Speaker 1: of misogyny that seems to be pervasive and almost every 629 00:38:00,480 --> 00:38:04,280 Speaker 1: area of American culture, but particularly Hollywood. Do you feel 630 00:38:04,280 --> 00:38:07,520 Speaker 1: like that is starting to change? You know, when Frances 631 00:38:07,600 --> 00:38:12,239 Speaker 1: McDormand talked about inclusion writers and there has been this 632 00:38:12,480 --> 00:38:16,040 Speaker 1: reckoning with Me Too and Times Up? But but do 633 00:38:16,080 --> 00:38:19,239 Speaker 1: you I mean you're on the inside, Gretta, you know, 634 00:38:19,480 --> 00:38:24,439 Speaker 1: is there a reason to hope? Or yes? There's yes, 635 00:38:24,719 --> 00:38:27,600 Speaker 1: it was first of all, this year was the Annenberg 636 00:38:27,640 --> 00:38:29,960 Speaker 1: study that they do every year came out and and 637 00:38:30,040 --> 00:38:34,560 Speaker 1: it's it's this year in terms of the top grossing films. 638 00:38:34,640 --> 00:38:36,600 Speaker 1: It's it's better. I mean, it's not there, it's not 639 00:38:36,680 --> 00:38:42,040 Speaker 1: there women UM, women of color. Uh. Still there's a 640 00:38:42,080 --> 00:38:45,440 Speaker 1: long way to go in terms of UM authorship and 641 00:38:45,480 --> 00:38:49,400 Speaker 1: ownership and a diversity of storytellers. But it's it is 642 00:38:49,480 --> 00:38:53,440 Speaker 1: getting better. And I do think studios are pushing themselves 643 00:38:53,640 --> 00:38:59,320 Speaker 1: and to to hire to hire women, to hire different 644 00:38:59,360 --> 00:39:02,280 Speaker 1: kinds of stories, tillers, to to put women in charge 645 00:39:02,280 --> 00:39:06,360 Speaker 1: of projects. I actually, I actually think this is changing substantively, 646 00:39:06,920 --> 00:39:10,360 Speaker 1: which is what is so hopeful. And then I also 647 00:39:10,440 --> 00:39:14,200 Speaker 1: think it's changing in terms of you know, the women 648 00:39:14,200 --> 00:39:17,319 Speaker 1: who drove Times up. What was so meaningful about that 649 00:39:17,480 --> 00:39:23,200 Speaker 1: was it was this this coming together and this organizing 650 00:39:23,239 --> 00:39:27,000 Speaker 1: and this funding to help other women in all industries, 651 00:39:27,320 --> 00:39:33,080 Speaker 1: and how and how that mobilized into something that that 652 00:39:33,440 --> 00:39:38,000 Speaker 1: kind of community, I think is what's um what's so 653 00:39:38,080 --> 00:39:42,600 Speaker 1: powerful and what is continuing UM And it can't change overnight. 654 00:39:42,640 --> 00:39:44,920 Speaker 1: I mean, it does take time, but you feel like 655 00:39:44,960 --> 00:39:47,400 Speaker 1: that was the kick in the pants the industry needed. 656 00:39:47,680 --> 00:39:50,319 Speaker 1: You know, It's so interesting because I think it was. 657 00:39:50,719 --> 00:39:54,160 Speaker 1: It was, But I also think, um, this has been 658 00:39:54,200 --> 00:39:58,760 Speaker 1: growing in terms of hiring more female directors for a while, 659 00:39:59,000 --> 00:40:01,480 Speaker 1: that this had been growing, and then it just you know, 660 00:40:02,560 --> 00:40:05,560 Speaker 1: kicked it kicked it to a new level. And yet 661 00:40:06,200 --> 00:40:10,400 Speaker 1: the Golden Globes were announced, not one female director was nominated, 662 00:40:10,480 --> 00:40:14,440 Speaker 1: and that's so aggravating to so many of us. Well, 663 00:40:14,480 --> 00:40:17,240 Speaker 1: I think it was such a banner year for female 664 00:40:17,239 --> 00:40:22,480 Speaker 1: filmmakers and UM, but I think I think actually every 665 00:40:22,560 --> 00:40:25,759 Speaker 1: year has has been a has a banner year, and 666 00:40:25,800 --> 00:40:28,680 Speaker 1: every year I see lots of female directed films that 667 00:40:28,800 --> 00:40:32,600 Speaker 1: I think are just as worthy and just as important 668 00:40:32,640 --> 00:40:36,240 Speaker 1: to hold up. And I mean I was very happy 669 00:40:36,280 --> 00:40:39,080 Speaker 1: that in Foreign Film Portrait of Lady on Fire and 670 00:40:39,200 --> 00:40:42,200 Speaker 1: UM and The Farewell both were acknowledged in Foreign Film. 671 00:40:42,680 --> 00:40:45,000 Speaker 1: But come on, and no, no, no, I mean that, 672 00:40:45,040 --> 00:40:48,200 Speaker 1: but that's that's good. That's good, that's that's important. But 673 00:40:48,320 --> 00:40:52,919 Speaker 1: certainly I think acknowledgement of UM the the tremendous work 674 00:40:52,920 --> 00:40:56,319 Speaker 1: being done this year, and I mean about last year too. 675 00:40:56,320 --> 00:40:59,520 Speaker 1: It happened last year. I mean, it did happen last year, 676 00:40:59,800 --> 00:41:04,399 Speaker 1: and it happened actually the year before that. So I mean, 677 00:41:05,320 --> 00:41:07,520 Speaker 1: you know what the thing that I I keep going 678 00:41:07,520 --> 00:41:09,759 Speaker 1: to is, but we're still making them, and we're still 679 00:41:09,760 --> 00:41:12,640 Speaker 1: we still keep making these strides and the and and 680 00:41:12,680 --> 00:41:17,240 Speaker 1: it is still happening. So PS, you're making remarkable movies 681 00:41:17,360 --> 00:41:21,280 Speaker 1: that are doing really well and really resonating. And PS, 682 00:41:21,320 --> 00:41:26,440 Speaker 1: we still don't know about the Academy Awards. Hope. The 683 00:41:26,520 --> 00:41:29,800 Speaker 1: thing that I see is like, you know, I see Lulu, 684 00:41:29,920 --> 00:41:33,080 Speaker 1: I see I see Mari who did direct the Farewell, 685 00:41:33,080 --> 00:41:35,680 Speaker 1: who directed Beautiful Day in the Neighborhood. I see Molina 686 00:41:35,719 --> 00:41:38,200 Speaker 1: who directed Queen and Slim, and that's just a few. 687 00:41:38,600 --> 00:41:42,280 Speaker 1: This is happening, and I feel like it's also um, 688 00:41:42,360 --> 00:41:46,480 Speaker 1: you know, it's gathering steam, it's gathering energy. I love movies, 689 00:41:46,560 --> 00:41:49,960 Speaker 1: I love filmmakers. I think everyone who's up there deserves 690 00:41:50,000 --> 00:41:52,080 Speaker 1: to be up there. I just want, I want. I 691 00:41:52,120 --> 00:41:55,719 Speaker 1: want these women recognized. I want to sell collectively recognized 692 00:41:55,719 --> 00:41:58,160 Speaker 1: because there's so much good work. Oh and Loreen Scafaria, 693 00:41:58,239 --> 00:42:00,359 Speaker 1: who did Hustle. I mean, there's so many. I feel 694 00:42:00,400 --> 00:42:03,560 Speaker 1: like every time I hesitate even I need my list 695 00:42:03,600 --> 00:42:05,799 Speaker 1: of names just that I can go to. But it's 696 00:42:05,840 --> 00:42:08,480 Speaker 1: just um, and that's a real step forward, right that 697 00:42:08,640 --> 00:42:11,160 Speaker 1: you actually have a list of names. I have a 698 00:42:11,200 --> 00:42:13,960 Speaker 1: list of names every year. I really do. I have 699 00:42:14,000 --> 00:42:16,959 Speaker 1: a list of names every year. And and I think 700 00:42:18,000 --> 00:42:22,480 Speaker 1: when we're just going to keep making and and I 701 00:42:22,520 --> 00:42:26,760 Speaker 1: think people want to see it. You're such a huge talent, Greta. 702 00:42:26,760 --> 00:42:30,360 Speaker 1: I'm so happy for your success, and you're gonna be 703 00:42:30,520 --> 00:42:34,440 Speaker 1: inspiring so many young women for your work. The same 704 00:42:34,480 --> 00:42:38,320 Speaker 1: with Lena and all the other women that you mentioned. 705 00:42:38,440 --> 00:42:41,759 Speaker 1: So you're just opening up so many possibilities for them 706 00:42:41,800 --> 00:42:44,600 Speaker 1: because you know, listen, you're how old thirty four? Oh no, 707 00:42:44,719 --> 00:42:48,600 Speaker 1: I'm thirty sixty six. Sorry, but you know, isn't it 708 00:42:48,640 --> 00:42:52,040 Speaker 1: crazy that a thirty six year old woman didn't really 709 00:42:52,080 --> 00:42:56,919 Speaker 1: have anybody when you were in college to say, oh, look, 710 00:42:57,000 --> 00:42:59,600 Speaker 1: that could be met. It is interesting. There was a 711 00:42:59,640 --> 00:43:01,960 Speaker 1: group of them, and I don't want to downplay because 712 00:43:01,960 --> 00:43:04,759 Speaker 1: now now that now I know more, but there was 713 00:43:05,200 --> 00:43:09,000 Speaker 1: I learned about Jim Campion and right, and then Sofia 714 00:43:09,040 --> 00:43:11,880 Speaker 1: Coppola happened while I was in school. But it was 715 00:43:11,920 --> 00:43:14,040 Speaker 1: just sort of at the beginning. It was at the beginning, 716 00:43:14,080 --> 00:43:18,120 Speaker 1: and um, um, I learned about Lena vert Muller, who 717 00:43:18,239 --> 00:43:20,440 Speaker 1: I had the privilege of giving an award to, I mean, 718 00:43:20,800 --> 00:43:25,200 Speaker 1: Catherine Bigelow. But it was it was a small group 719 00:43:25,280 --> 00:43:27,640 Speaker 1: and now it feels like it's getting a much bigger 720 00:43:27,840 --> 00:43:32,160 Speaker 1: and that's um, that's good. It's a better band. Well, 721 00:43:32,200 --> 00:43:34,319 Speaker 1: it sure is, and we're so glad you're in it. 722 00:43:34,400 --> 00:43:39,320 Speaker 1: Thank you, Thanks Greta, Thanks everyone so much for listening. 723 00:43:39,360 --> 00:43:42,239 Speaker 1: I hope you enjoyed hearing from Greta as much as 724 00:43:42,280 --> 00:43:45,440 Speaker 1: I did. And by the way, if you're overwhelmed, by 725 00:43:45,600 --> 00:43:49,600 Speaker 1: the tsunami of information exploding on your iPhone every single day. 726 00:43:50,080 --> 00:43:53,000 Speaker 1: Check out my morning newsletter Wake Up Call. Go to 727 00:43:53,080 --> 00:43:56,760 Speaker 1: Katie currect dot com to subscribe, and of course follow 728 00:43:56,840 --> 00:44:01,959 Speaker 1: me on Instagram, Facebook and Twitter. Oh LinkedIn too. I'm 729 00:44:02,000 --> 00:44:06,480 Speaker 1: everywhere people until Next Time and my Next Question, I'm 730 00:44:06,600 --> 00:44:12,320 Speaker 1: Katie Couric Later. Next Question with Katie Couric is a 731 00:44:12,320 --> 00:44:15,239 Speaker 1: production of I Heart Radio and Katie Curic Media. The 732 00:44:15,280 --> 00:44:18,960 Speaker 1: executive producers are Katie Kuric, Lauren Bright Pacheco, Julie Douglas, 733 00:44:19,000 --> 00:44:22,360 Speaker 1: and Tyler Klang. Our show producers are Bethan Macalouoso and 734 00:44:22,440 --> 00:44:26,880 Speaker 1: Courtney Litz. The supervising producer is Dylan Fagan. Associate producers 735 00:44:26,880 --> 00:44:30,720 Speaker 1: are Emily Pinto and Derek Clemens. Editing is by Dylan Fagin, 736 00:44:30,920 --> 00:44:35,080 Speaker 1: Derek Clements, and Lowell Berlante. Our researcher is Barbara Keene. 737 00:44:35,480 --> 00:44:38,080 Speaker 1: For more information on today's episode, go to Katie Currek 738 00:44:38,160 --> 00:44:40,759 Speaker 1: dot com and follow us on Twitter and Instagram at 739 00:44:40,800 --> 00:44:49,799 Speaker 1: Katie Couric. For more podcasts for My Heart Radio, visit 740 00:44:49,840 --> 00:44:52,640 Speaker 1: the I Heart Radio app, Apple Podcast, or wherever you 741 00:44:52,719 --> 00:44:54,000 Speaker 1: listen to your favorite shows.