![]() ![]() (Belated spoiler alert for the 25-year-old film.) In addition to being a more modern inspiration for Barbieland's artificiality, Gerwig and Weir also discussed how to light their sets to capture that feeling. While working on Barbie, Gerwig spoke with director Peter Weir about how he shot the 1998 film about a man who unknowingly lived within a reality TV set. She said that she wanted to give Barbieland the "authentically artificial" feel of The Wizard of Oz and other techincolor musicals made in the '30s, '40s, and '50s (several of which come up again below). In an interview with Letterboxd, Gerwig mentioned the 1939 film as a huge inspiration for Barbieland's aesthetic, mentioning Oz's decorated soundstages hand-painted backdrops which even extended to the skies. ![]() Some shot-for-shot references include the shot of the sun rising above Barbie, one girl touching the doll, the main blonde girl using the baby doll to smash her tea party, and the same girl (who New Rockstars pointed out looks like a young Greta Gerwig) throwing the bone in the air to become the Barbie logo. While in the 1968 film, the mysterious monolith spawns the creation of conscious thought, the first-ever Barbie marks a crossover where girls no longer solely play at being mothers with baby dolls, but are able to imagine their own futures as adults. Barbie begins with the same sequence from the first teaser trailer, a recreation of the monolith scene from Stanley Kubrick's 2001: A Space Odyssey.
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