“Obvious Child” marks the feature film directorial debut of Gillian Robespierre, and it is one of the most assured directorial debuts that have come out in some time. It tells the story of aspiring stand-up comedian Donna Stern (Jenny Slate in a star making performance) whose life has just hit rock bottom. As the movie starts she gets dumped by her boyfriend, gets fired from her job, and then she finds herself pregnant after a one-night stand. Suffice to say, this is not the best of times for her. But at the same time, what happens from there results in one of the best romantic comedies you could ever hope to see.
I got to hear Robespierre’s thoughts when she appeared at the Four Seasons Hotel in Los Angeles, California. Now since Donna decides to get an abortion, “Obvious Child” has been labeled by many as the first ever “abortion comedy.” But while Robespierre is glad that this has given her movie far more attention than she ever expected, she does not share that point of view in the slightest.
“That’s not why we made this movie, to be called an abortion comedy, because we don’t think it is,” Robespierre said. “I don’t think abortions are funny or hilarious, and I think that shorthand leads to believe that we’ve been flippant or glib with the topic. We wanted to accomplish a couple of things with making this movie, and one was making a romantic comedy that was very entertaining, had a lot of romance, had a really funny leading lady, and had somebody who was recognizable onscreen who felt like she could be you or your sister or your best friend. And her parents were recognizable and her best friends were recognizable in a genre that sometimes doesn’t seem relatable. That’s what we wanted to do and really wanted to show. And we wanted to take some stigma away from abortion at the same time and show a procedure that was not full of regret and shame. Donna doesn’t put it on herself and her friends and the characters around her don’t put it on her either. That’s simply all we wanted to accomplish.”
Indeed, the movie is really about how Donna picks herself up from her depressed state, comes to empower herself, and eventually learns to trust other people again after getting her heart shattered. This allows Robespierre to find humor in the more serious moments, and at the same time she succeeds in keeping things both human and intimate. These days it seems incredibly difficult to make a movie with such down to earth characters, but she pulls that off with what seems like relative ease.
“I think when we talk sometimes even in one sentence, offstage or on stage in a movie or in real life, sometimes we write comedy and tragedy in one beat,” Robespierre said. “I think we’re just trying to take that sort of natural tone that we have and put it on the screen and cut out all the fat that movies and romantic comedies have and have the tone just be very realistic. Donna is a naturally funny character so in one beat she’ll be saying something very self-deprecating, and in the next second she’ll be saying something very sweet and heartfelt. I think that’s just how we interact with each other. To me, it’s just a realistic portrayal of how modern people speak to each other.”
When it came to the movie’s title, Robespierre admitted that it came from the song of the same name by Paul Simon. She explained why that was the case.
“I don’t think Donna is a child or an obvious child. I think Donna is somebody who’s not ready for what the late 20s is giving her, and she thought she would be someplace else,” Robespierre said. “She didn’t know that the late 20s is just as hard as her early 20s, and she’s just trying to figure out how to be confident in where her voice is on and offstage. She’s just trying to figure out how to take over this passivity that seems to be a running narrative in her life, and I think she’s mature and thoughtful, and I think she’s doing something that needs to be done.”
The fact that Robespierre chose the title of a Paul Simon song for her movie made me wonder if the lyrics played a big part in that decision. But when I asked her about that, her response truly surprised me.
“I’m a rhythm girl,” Robespierre said. “I do know the lyrics to the song, I’ve read the liner notes, and I think that determines the feel of the song. It’s not just like drum and bass, it’s obviously Paul Simon’s beautiful poetry that he’s written. But I just liked it for nostalgic reasons and I’m a sucker for nostalgia. I listened to that song a lot when I was little in my car looking out the window, making up my little movie ideas; ‘Oh look at that tree, I feel like I’m in a movie.'”
Of course, with this movie being a comedy, you come out of it wondering how many of its scenes were improvised as opposed to scripted. When you have a strong comedic talent heading your cast, we are quick to believe that the director had no choice but to let their main star rewrite the screenplay themselves. But to hear Robespierre say it, the job of a director is to work with people instead of for them.
“I think filmmaking makes me really excited about being a filmmaker, and wanting to do this in the first place is that you get the chance to collaborate with a lot of smart, creative, intelligent actors, cinematographers, and editors,” Robespierre said. “Every step of the way is collaboration, and what Jenny and I found in each other was a tone of how we like to speak with one another, and a comfortability of where our parameters are. I was very comfortable with letting Jenny go because she knows Donna just as well as I do, and we were really on the same page. So if a word didn’t feel true and if a sentence would have been funnier this way, I was very malleable. I have an ego but it’s a different kind of ego.”
“Obvious Child” started off as a short film that Robespierre made, and the realization of that makes one wonder about the differences between making a short as opposed to a feature length movie. Her immediate response was time and money as she never had enough of either, but she did go into more detail about what she had to deal with this time around.
“We had a crew of 30 people which was very new for me,” Robespierre said. “The short was just four or five people all from film school. This was a real movie set where my producer Elizabeth and I worked really hard to hire a crew. We were a boss and paid 30 people, and there’s something really exciting about that and really scary about that. To be somebody’s employer comes with I think a lot of heaviness and respect for the people who work for you and who were coming in every day and bringing in so much of themselves to their roles whether it’s Jenny coming in every day focused, but also the crafty person and the DP and the gaffer. Everybody was full f–king focused.”
Still, with “Obvious Child” dealing with the divisive issue of abortion, people can’t help but think that pro-life supporters have been giving the filmmakers and actors a lot of grief. Robespierre responded that she hasn’t personally received any feedback from any pro-life groups, and she again reiterated that her movie is really not an abortion comedy. In my opinion, I liked how it dealt with abortion in an intelligent and refreshing manner. Movies like “Juno” and “Knocked Up” (and I love them both) sidestep abortion in favor of dealing with unplanned pregnancies in another way, but in this post Roe vs. Wade world it’s almost surprising that we haven’t had more movies like “Obvious Child.” But while it may seem like a revolutionary movie, Robespierre made it clear that she wasn’t out to reinvent the wheel.
“There’s room for other storytellers out there,” Robespierre said. “I think just because one movie is tackling unplanned pregnancy that ends in childbirth, that’s a real narrative and that’s a story that happens. We’re tackling it in a different way but also making it a comedy using a genre that we love which is the romantic comedy. I was just watching ‘Knocked Up’ last night, it was on TBS, and I laughed my head off.”
At this point in 2014, “Obvious Child” is very likely to make my list of the ten best movies of the year. While Jenny Slate is getting the praise she deserves for her performance, the movie’s success is really thanks to Gillian Robespierre whose work here bodes well for the great future she has ahead of her. In a sea of independent films that constantly get lost in the shuffle of all the superhero blockbusters being unleashed on us, it’s great to see a movie like this get the attention it deserves.
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