The ‘Barbie’ star and director reunite for “The Lady Wins,” a story inspired by unapologetic, powerful women in entertainment.
On a bright but freezing January day in New York, America Ferrera was swirling a martini glass beside a baby grand piano in the Presidential Suite of New York’s Carlyle hotel, swathed head to toe in ivory silk, her hair styled into a high-volume bob so shiny it was nearly reflective.
Gerwig had seen Thomas’s solo show, “Mickalene Thomas: Origin of the Universe,” at the Brooklyn Museum a decade ago, and it left an impression. When asked to suggest a collaborator for the shoot, she quickly determined that Thomas was, she said, “the dream. I wanted something that felt big and bold, and Mickalene brought exactly that kind of drama.”
A week later, the women reconvened on Zoom. Gerwig—who was back in London, where she’s living temporarily while her husband and frequent cowriter, Noah Baumbach, is filming a movie—joined a few minutes late because her dog had eaten a bowl of raisins that her 5-year-old, Harold, had left on the floor. “I didn’t know raisins were toxic for dogs,” she said. “It was an exciting thing! We took her straight to the vet, and they gave her a shot. They said, ‘She’ll be sick now for the next 30 minutes.
According to Ferrera, the key to such genuine performances is that a role—be it in a blockbuster or in a photo shoot—make sense in her own mind. Gloria’s famous monologue, for example, resonated with her from the first moment. “I think the reality of the situation is that I’ve been a woman for 40 years and so has Greta, and when I read what she’d written, there wasn’t that much to say about it other than ‘yeah.
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