As Margot Robbie pointed out, though, it ended well. “I think this is a really great pairing, actually. It’s a perfect double billing, ‘Oppenheimer’ and ‘Barbie,’” she said. “Clearly the world agreed. Thank God. The fact that people were going and being like, ‘Oh, watch Oppenheimer first, then Barbie.’ I was like, ‘See? People like everything.’ People are weird.”
Cillian Murphy seconded that sentiment, replying, “And they don’t like being told what to do. They will decide, and they will generate the interest themselves.” Not only is he right, but Robbie’s next observation was particularly astute: “I think they were also really excited by the filmmakers. People were itching for the next Chris Nolan film and itching for the next Greta Gerwig film.”
Robbie, frankly, is right. Christopher Nolan and Greta Gerwig are two of the most unique and talented directors working today, and the best part about their work is how wildly it diverges. While Gerwig usually tackles coming-of-age stories like “Lady Bird,” Nolan’s projects are notably high-concept, like “Dunkirk,” which used practical effects to their fullest extent. It’s worth noting, though, that both filmmakers have played fast and loose with timelines — Gerwig in “Little Women” and Nolan in “Tenet.” Looks like they’ve got more than a shared release date in common.
