The 'Sellout' Roles That Saved a Future A-List Director
Today, she's the celebrated filmmaker behind 'Barbie,' but a decade ago, one of Hollywood's brightest talents was on the verge of financial ruin. Discover the surprising story of the two major studio pictures she took on just to get by, and how they unexpectedly changed her career path.
Greta Gerwig is now a household name, a celebrated filmmaker with Oscar nominations for 2017’s indie hit Lady Bird and 2019’s star-studded Little Women under her belt. Her 2023 blockbuster smashed box office records, becoming the only picture from a solo female director to surpass $1 billion. More impressively, she managed to beat Christopher Nolan in ticket sales, a feat even Martin Scorsese couldn't accomplish. But before she was a powerhouse behind the camera, Gerwig spent a decade as an actress in the ultra-low-budget world of mumblecore cinema.
From Indie Darling to Broke Artist
Making a movie like Baghead is a labor of love, not a path to riches. By 2010, despite having a few indie projects with director Joe Swanberg to her name, Gerwig was facing a harsh reality. The pay was minimal, and she was finding it nearly impossible to get by financially. Her artistic pursuits had left her in a precarious position, struggling to cover basic living expenses in an untenable situation.
A Lifeline from Hollywood
It was during this period of financial instability that she made a pragmatic decision to accept parts in a couple of big-budget productions – No Strings Attached and Arthur. The first one, a romantic comedy featuring Natalie Portman and Ashton Kutcher saw Gerwig playing Patrice, a friend and fellow doctor to Portman's character, who has an even worse dating history. The plot follows two acquaintances who try to maintain a purely physical relationship, with predictable results.
The second project was a remake of the 1981 movie of the same name, starring future conspiracy theorist and YouTube hack Russell Brand as a rich dickhead. Gerwig was cast as his love interest. No matter how much she was paid for the work, it was absolutely not enough. For Gerwig, these jobs were not about art; they were about survival.
The Turning Point
The future Hollywood mogul viewed these opportunities as her saving grace. Her collaboration with the Noah Baumbach film Greenberg was about to put her on the map, but on the night of its premiere, she was so strapped for cash she didn't even have a place to stay. The sudden offers for the two studio comedies felt like a miracle. “I don’t care if people don’t like those movies,” she told The Hollywood Reporter in 2016. “Those movies saved my fucking life.”
Fortunately, she wouldn't have to rely on such roles for long. Greenberg was a success and marked the beginning of a long and fruitful partnership with Baumbach, whom she later married.
Integrity Over Easy Money
With her financial footing more secure, Gerwig could have easily continued to pursue lucrative, high-profile acting gigs. Instead, she pivoted back to the independent scene. Projects like Frances Ha and Mistress America soon followed, and before she could be tempted by another cinematic atrocity on par with Arthur, she was starring in acclaimed, auteur-driven awards fodder like 20th Century Women and Jackie.
This quick shift wasn't just a lucky break. While the timing of the studio offers was fortunate, her choice to return to independent cinema speaks volumes about her artistic commitment. Her journey from a niche genre to Oscar-y features demonstrates not only her acting skills but also her remarkable foresight and restraint.