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At the South by Southwest Film Festival in 2006, her senior year, she saw a film directed by a woman around her age.
2006年，也就是畢業(yè)那年，葛韋格在西南電影節(jié)上看到了由和她同齡的一位女性執(zhí)導(dǎo)的一部電影。
"I thought, Wait, are we allowed to do that? Who told you you could?"
“當(dāng)時(shí)我就想，等等，咱們也可以拍電影嗎？誰(shuí)跟你說(shuō)你能拍的？”
And then she realized: "Nobody told her. She was just gonna do it, like the guys were doing it."
然后她意識(shí)到：“沒(méi)人告訴她。她就自己決定拍了，就跟那些男人一樣。”
It was one in a series of moments, many involving female directors giving her advice and encouragement, that led to her deciding to do it too.
一系列的瞬間，其中有很多次都是她從女性導(dǎo)演那里得到了建議或者鼓勵(lì)，導(dǎo)致葛韋格做出了自己也要拍電影的決定，那一刻就是其中之一。
We are still waiting for her meal to arrive, prior to our epic walk, when an angelic voice emerges from her phone: "Sail away, sail away, sail away."
我們正在等服務(wù)員給她上菜，在我們開(kāi)始徒步的壯舉之前，她的手機(jī)傳出了天籟般的鈴聲：“遠(yuǎn)航，遠(yuǎn)航，揚(yáng)帆遠(yuǎn)航”。
Before picking it up, she apologizes: "Oh, sorry—I have Enya as my ringtone."
拿起手機(jī)時(shí)，她道歉說(shuō)：“啊，不好意思 - 我把恩雅的歌設(shè)置成我的鈴聲了。”
After she finishes a brief phone conversation, she explains, "The phone ringing is an anxious event, and Enya always calms you down."
在接了一通短短的電話后，她解釋到，“電話響起來(lái)會(huì)讓人很焦慮，恩雅的歌能讓你沉靜下來(lái)。”
Gerwig has a calm presence to begin with.
不過(guò)她本來(lái)就已經(jīng)很沉靜了。
In conversation, she is earnest, with her shaggy blond hair taking on new configurations each time she runs a hand through it.
交談時(shí)她很認(rèn)真，而她每次撩頭發(fā)，那蓬松的一頭金發(fā)都會(huì)換上新的造型。
She'll go deep on Tolstoy (the way he shifts narrative perspective to the dog in Anna Karenina)
一分鐘的時(shí)間，她就能跟你從托爾斯泰（講他在《安娜卡列尼娜》里如何將敘事視角轉(zhuǎn)移到了一條狗身上），
and Tina Fey (how she learned to listen through improv) in the space of a minute.
聊到蒂娜·菲（講她如何通過(guò)即興表演學(xué)會(huì)了聆聽(tīng)）。
In many ways, the 25 films she appeared in over the course of a decade served as a substitute for film school.
從很多方面來(lái)看，她在十年間出演25部電影的經(jīng)歷彌補(bǔ)了她沒(méi)有上電影學(xué)院的缺失。
She's best known for her flaky aspiring dancer in 2013's Frances Ha, which she co-wrote with director Noah Baumbach, now her partner of several years.
她最出名的是她在2013年的《弗蘭西絲·哈》中飾演的那個(gè)古里古怪又頗有抱負(fù)的舞蹈演員，該片的劇本也是她與該片導(dǎo)演諾亞·鮑姆巴赫共同創(chuàng)作的，如今，諾亞已經(jīng)是她多年的搭檔了。
She received a Best Actress Golden Globe nomination for the role.
她還憑借這一角色拿到了金球獎(jiǎng)最佳女演員提名。
But for all that she put into the performance,
即便她為這一角色付出了很多，
she was working overtime after her scenes were done, loitering on set to take notes on the lighting and production design.
在拍完她的戲份之后，她還是加班加點(diǎn)地在片場(chǎng)跑來(lái)跑去學(xué)習(xí)照明和美術(shù)指導(dǎo)。
"When you're an actor on a movie, people don't kick you off the set," she explains. "They assume you have a right to be there."
“如果你是片中的演員的話，大家就不會(huì)趕你走，”她解釋道。 “他們會(huì)覺(jué)得你是有權(quán)待在那里的。”
As she immersed herself in this self-directed curriculum,
她一邊沉浸在這種自我導(dǎo)向的課程中，
she continued acting in films like the historical drama Jackie and the acclaimed coming-of-age indie 20th Century Women.
一邊繼續(xù)出演電影，如歷史劇《杰基》以及備受贊譽(yù)的成長(zhǎng)類獨(dú)立電影《20世紀(jì)女性》。
She missed sitcom fame when a How I Met Your Mother spinoff she starred in failed to get picked up.
她出演的《老爸老媽的浪漫史》續(xù)集未能播出，她便失去了在情景喜劇界出頭的機(jī)會(huì)。
She also appeared in Woody Allen's 2012 filmTo Rome With Love.
她還出演了伍迪·艾倫2012年執(zhí)導(dǎo)的電影《愛(ài)在羅馬》。
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