Greta Gerwig interviews

Only a couple of Greta Gerwig interviews about Damsels in Distress have appeared over the past week.

Greta Gerwig
Damsels in Distress: Greta Gerwig

First, Steven Rea at Philly.com has a horribly ugly article – swamped in ads and split over three pages – but I include it in the interest of completeness:

Gerwig says that at the first of the table reads, before production had started, she found herself struggling. “It felt in a way like I was preparing for a race. I would always start out pretty good, but then it would be like I got winded. Not literally winded, but I would run out of steam for the character. … I would start off strong and feel like I was kind of distinguishing the points she was making, and finding it, but it was so tiring that by the end it was all running together. So I had to take whatever initial spark I had, or instinct, and then just train myself to keep that going and make it work.”

An then “Bsimon” at ShockYa has a fairly long interview with Gerwig:

ShockYa: He also has a very specific pitch and meter to his dialogue. Did he talk about that a lot?

GG: Not per se. He wouldn’t give us specific direction regarding sound, but I would say the big thing for me, because I had such an idea of other people doing his dialogue, was getting those voices out of my head – like getting Chris Eigeman out of my head, or Kate Beckinsale out of my head. I didn’t want to be doing an imitation of the way they sounded when they did his dialogue, which is what I think what happens a lot with writer-directors with a very strong voice. In their later films, when people know what they’re doing, it’s what happens in Woody Allen films where they do an imitation of him. But when he was making films in the 1970s people weren’t doing imitations of what they thought it was. I think sometimes when things become iconic, the rhythms get set in a way that’s hard to break out of. The big thing for me was that I tried to come at it internally. It’s so tempting when you get a big monologue to score it almost like a musical score, and say, “Here’s the first thought, here’s the next,” to block it off and underline operative words and really prepare it because it’s a large chunk of text. But I tried to almost memorize it without meaning beforehand, and then find the meaning as I’m making my point to another person, so that I didn’t do this intellectual rhythmic process before, which would have been based on what his other actors had done. I tried to find the words spontaneously based on the thought pattern, if that makes sense. (laughs) Other people may do other things.