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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，也就是毕业那年，葛韦格在西南电影节上看到了由和她同龄的一位女性执导的一部电影。
"I thought, Wait, are we allowed to do that? Who told you you could?"
“当时我就想，等等，咱们也可以拍电影吗？谁跟你说你能拍的？”
And then she realized: "Nobody told her. She was just gonna do it, like the guys were doing it."
然后她意识到：“没人告诉她。她就自己决定拍了，就跟那些男人一样。”
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.
一系列的瞬间，其中有很多次都是她从女性导演那里得到了建议或者鼓励，导致葛韦格做出了自己也要拍电影的决定，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."
我们正在等服务员给她上菜，在我们开始徒步的壮举之前，她的手机传出了天籁般的铃声：“远航，远航，扬帆远航”。
Before picking it up, she apologizes: "Oh, sorry—I have Enya as my ringtone."
拿起手机时，她道歉说：“啊，不好意思 - 我把恩雅的歌设置成我的铃声了。”
After she finishes a brief phone conversation, she explains, "The phone ringing is an anxious event, and Enya always calms you down."
在接了一通短短的电话后，她解释到，“电话响起来会让人很焦虑，恩雅的歌能让你沉静下来。”
Gerwig has a calm presence to begin with.
不过她本来就已经很沉静了。
In conversation, she is earnest, with her shaggy blond hair taking on new configurations each time she runs a hand through it.
交谈时她很认真，而她每次撩头发，那蓬松的一头金发都会换上新的造型。
She'll go deep on Tolstoy (the way he shifts narrative perspective to the dog in Anna Karenina)
一分钟的时间，她就能跟你从托尔斯泰（讲他在《安娜卡列尼娜》里如何将叙事视角转移到了一条狗身上），
and Tina Fey (how she learned to listen through improv) in the space of a minute.
聊到蒂娜·菲（讲她如何通过即兴表演学会了聆听）。
In many ways, the 25 films she appeared in over the course of a decade served as a substitute for film school.
从很多方面来看，她在十年间出演25部电影的经历弥补了她没有上电影学院的缺失。
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《弗兰西丝·哈》中饰演的那个古里古怪又颇有抱负的舞蹈演员，该片的剧本也是她与该片导演诺亚·鲍姆巴赫共同创作的，如今，诺亚已经是她多年的搭档了。
She received a Best Actress Golden Globe nomination for the role.
她还凭借这一角色拿到了金球奖最佳女演员提名。
But for all that she put into the performance,
即便她为这一角色付出了很多，
she was working overtime after her scenes were done, loitering on set to take notes on the lighting and production design.
在拍完她的戏份之后，她还是加班加点地在片场跑来跑去学习照明和美术指导。
"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."
“如果你是片中的演员的话，大家就不会赶你走，”她解释道。 “他们会觉得你是有权待在那里的。”
As she immersed herself in this self-directed curriculum,
她一边沉浸在这种自我导向的课程中，
she continued acting in films like the historical drama Jackie and the acclaimed coming-of-age indie 20th Century Women.
一边继续出演电影，如历史剧《杰基》以及备受赞誉的成长类独立电影《20世纪女性》。
She missed sitcom fame when a How I Met Your Mother spinoff she starred in failed to get picked up.
她出演的《老爸老妈的浪漫史》续集未能播出，她便失去了在情景喜剧界出头的机会。
She also appeared in Woody Allen's 2012 filmTo Rome With Love.
她还出演了伍迪·艾伦2012年执导的电影《爱在罗马》。
译文由可可原创，仅供学习交流使用，未经许可请勿转载。
