Greta Gerwig’s Studio Film Stints That Paid the Bills
Before her directing days, Greta Gerwig took on big studio roles just to get by, calling those gigs a lifeline during tough times.
These days, Greta Gerwig is a household name for her work behind the camera, with a string of acclaimed films under her belt. She’s picked up Oscar nods for Lady Bird and Little Women, and her 2023 hit Barbie smashed records, becoming the first solo female-directed film to crack the billion-dollar mark. She even managed to outdo Christopher Nolan at the box office, something not even Scorsese could pull off. But before all that, Gerwig spent years acting in the indie mumblecore scene, where the pay was more about passion than profit.
Early Indie Days and Financial Struggles
Gerwig’s early career was all about low-budget projects, working with the likes of Joe Swanberg on films that barely paid the rent. By 2010, she was in a tough spot, having made a handful of indie flicks but still struggling to cover basic expenses. The reality of the industry hit hard—art doesn’t always pay the bills, and she found herself needing a proper paycheque to keep going.
It was at this point that she landed roles in two major studio productions: No Strings Attached and Arthur. The first, a rom-com with Natalie Portman and Ashton Kutcher, saw Gerwig playing Patrice, a mate and fellow doctor to Portman’s character, with a dating history that was even more tragic. The second, a remake of an ’80s classic, starred Russell Brand as a wealthy layabout, with Gerwig cast as his love interest. The work might not have been glamorous, but it was a lifeline when she needed it most.
Studio Films as a Lifeline
Gerwig has never shied away from admitting why she took those roles. She was on the verge of a breakthrough with Greenberg, directed by Noah Baumbach, but even on the night of its premiere, she didn’t have a place to stay. The offers from No Strings Attached and Arthur came at just the right moment, and she’s been upfront about their impact.
“I don’t care if people don’t like those movies,”
she told The Hollywood Reporter back in 2016.
“Those movies saved my fucking life.”
Despite the less-than-stellar reviews and the fact that neither film is likely to top anyone’s list of favourites, Gerwig credits them with getting her through a rough patch. They gave her the breathing room to keep working in the industry without having to give up on her creative ambitions.
Turning Point and Staying True to Her Roots
After Greenberg, things started to look up. The film was a success and kicked off a long-running collaboration with Baumbach, who she’d later marry. Roles in Frances Ha and Mistress America followed, and soon she was back in the indie world, this time with a bit more security. She managed to avoid getting stuck in the studio system, instead choosing projects that matched her artistic sensibilities.
Gerwig’s decision to stick with independent films, even after tasting mainstream success, says a lot about her priorities. She could have chased bigger paydays, but instead, she kept her focus on stories that mattered to her. The fact that she moved from niche indie projects to award-winning films is a testament to her judgement and her knack for picking the right path, even when the easy option was right there.