“My name is Greta Gerwig and I am the co-writer and director of ‘Barbie’.” “(SINGING) I’m just Ken. Anywhere else I’d get a ten. “The thing I can say most about that sequence is that it was the thing where I knew what I wanted the most, and no one else knew what I wanted it to be. Every time I look at this, it’s just the ridiculousness of how we did this, which is they’re obviously coming on these paddle boats onto a beach with no water. It’s massive with these waves that are sculptures. And I had everyone in that scene pretend to move in slow motion, except for Ryan, who was singing. And I think I took four takes of it, and I I thought, This is just — is this so ridiculous that I’m pretending to slow down? But then I thought, I think I just have to commit. Now I’ve done it. There’s nothing I can do do anything else. My stunt coordinator, Roy Taylor, is a brilliant, brilliant person, and he worked with my choreographer, Jenny White, because I wanted all the fights to be somewhere between dancing and some sort of vaudevillian ridiculousness of a Buster Keaton or a Charlie Chaplin. I love this kind of physical comedy. So we see men dancing in the background in addition to fighting. Because they are Kens, they are children. It all sort of goes together. “Ah!” “Ah! Ah! » “Then we have our Barbies, who kind of look with their pink jumpsuits, and I think Jacqueline Durran, who is the costume designer, did the pink jumpsuits because I wore jumpsuits every day. And she said to me, “I decided what the Barbies would wear when they took over Barbieland.” And I cried when I saw it because I was like, oh, this is a tribute to me. Much of this sequence consists of the song written by Mark Ronson and Andrew Wyatt, which was not included in the script. But I asked them because they were writing the song that became Dua Lipa’s “Dance the Night.” I said we needed a Ken song, and I think it fits the bill. And then they wrote this song from Ken’s point of view. And then I said: Ryan, are you ready to sing this? And he finally said yes. But initially, I don’t know. I think he was saying you never said anything about it at first. But I think they sent me 30 seconds of an idea for the song, which I loved. And then I said to myself: Can you do 11 minutes? Because I want it to go through this whole sequence. And then this part, this dream ballet part, Sarah Greenwood, who is a production designer, and Katie Spencer built this scene to echo the dream ballet scene from “Singin’ in the Rain” because I love that movie. And it has one of the best dream ballets of all time because they have a dream ballet that’s inside another dream ballet, and I think, when people wonder, will anyone understand this? I was like, yes. There is a context for this. They will understand it. And every Ken, every Barbie is always a dancer. And then I also chose all the actors because they were good dancers. Jenny White, who was my choreographer, she and I watched a lot of different musicals, different dream ballets. But Busby Berkeley was a huge reference. “(SINGING) I’m just Ken. Anywhere else I’d get a ten. “I kind of like the ‘put on a show’ element of this film, which is very much about theater and also the fun of doing something in a childish way. And we started with dance rehearsals, and I think that was a good way to get everyone in the mindset that it’s not about perfection. It’s about that joy. And they obviously embodied it. In a way, you want the audience to come out and say, I’d like to go do something. I want to go play. I want to go organize something. I want to perform. And that’s what I felt when I watched a lot of movies as a kid, or in the theater. I immediately said to myself: I’m going to organize my own version of “Starlight Express” right now. “(SINGING) Nobody else Nobody else, I’m just Ken.”
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