But one is a stranger, a woman she notices while she sits on a bench, gathering herself. It’s a type of woman she has never seen before, because there are no old women in Barbieland. When Barbie looks at her, she finds her beautiful and tells her so. The woman already knows. Suddenly Barbie, the fraught aspirational figure, has beheld someone she might aspire to be, and it is a radiantly content nonagenarian, reading a newspaper on a Los Angeles bench, who knows what she’s worth.
“The idea of a loving God who’s a mother, a grandmother — who looks at you and says, ‘Honey, you’re doing OK’ — is something I feel like I need and I wanted to give to other people,” Gerwig says. When it was suggested that this scene, which Gerwig calls a “transaction of grace,” might be cut for time, she remembers thinking: “If I cut that scene, I don’t know why I’m making this movie. If I don’t have that scene, I don’t know what it is or what I’ve done.”
one day you think: I want to die. and then you think, very quietly: actually. actually. I think I want a coffee. a nap. a sandwich. a book. and I want to die turns day by day into want to go home, I want to walk in the woods, I want to see my friend, I want to sit in the sun, I want a cleaner kitchen, I want a better job, I want to live somewhere else. I want to live.
- via duckbunny