For aspiring comedian Donna Stern (Jenny Slate), her own life provides ample material for her humor. Donna is unapologetically herself in her stand-up routines, joking about topics as intimate as her sex life and as crude as her day-old underwear. But when Donna winds up unexpectedly pregnant after a one-night stand, she is forced to face the uncomfortable realities of independent womanhood for the first time. Her drunken hook-up with nice-guy Max (Jake Lacy) turns out to be the beginning of an unplanned journey of self-discovery and empowerment. Writer/Director Gillian Robespierre handles the topic of Donna’s unwanted pregnancy with refreshing matter-of-factness rarely seen on-screen. Jenny Slate gives a star-making performance in this film, one that is both hilarious and poignant. Obvious Child also features an ensemble cast of talented and funny actors including Gaby Hoffmann, David Cross, Gabe Liedman, Richard Kind and Polly Draper. I recently took part in a roundtable discussion with Jenny Slate and Gillian Robespierre and asked them how they felt about how the film was being billed.
How weird is it for you that people keep referring to this film as the first “abortion comedy?”
Gillian Robespierre: It’s not that it’s weird — we’re very excited that people are talking about us at all, it’s humbling and encouraging and we understand that journalists have a shorthand — but we don’t really like it being pegged as an “abortion comedy.” That’s not our point of view. I don’t think that abortions are funny and I think that shorthand might lead people to believe that we’ve been flip or glib with the topic. At the same time, we did want to take some stigma away from abortion and show a situation that was not full of regret and shame. Donna doesn’t put that on herself. That’s all we wanted to accomplish.
Jenny Slate: It’s just not representative of how the film unfolds. But trying to look on the positive side, if people think that’s all it is, when they go see the film they’ll be delighted to see how complex and thoughtful it is. And funny. This is just the story of one woman trying to understand the process of how to make choices. It’s a human story.
Where did the title of the movie come from?
Gillian: Paul Simon’s song! I don’t really think Donna is an “obvious child,” I think she’s someone who’s not ready for what her late twenties are giving her — she thought she would be someplace else. She’s trying to figure out what her voice is on and off the stage. I liked the title for nostalgic reasons. I listened to that song a lot when I was younger, in the car looking out the window, thinking up movie ideas.
“One day I’ll make a movie called Obvious Child!”
Yeah, sort of!
Jenny: I remember riding the subway in New York. You know how when it gets dark and you’re in a tunnel and the window across from you becomes a mirror? I remember looking at myself in that mirror listening to the Amélie soundtrack on repeat and imagining myself as a woman in a movie!
Gillian: I think a lot of people connect to music in that way!
I think showing someone doing stand-up in a movie can be very tricky. Jenny, Donna’s act seems so natural and real — did you write that yourself from your own material?
Jenny: We collaborated on it. Gillian wrote it first based on my style — loose storytelling, having a conversation with the audience that’s always evolving. Then we did some workshopping where I improvised the set based on what she’d written, and on the day of the shoot we turned it into bullet points so I could be natural as I went through those subjects. Some of them were exactly from the script and some of them came up that day. Gillian would also call out to me while we were shooting. She’d be like, “Circle back to talking about dirty underwear!”
The whole cast is so great in this film. I have to admit that I’m a borderline Gaby Hoffmann fanatic—
So is everyone. She’s the best!
I thought you two looked so much alike that it took me a while to realize your characters weren’t supposed to be sisters. Can you talk about working with her?
I’ve always wanted to be an actress, I can’t remember ever wanting to do anything else. Gaby and I are the same age and she was already acting when I was a kid growing up. I used to think that I looked like her, too, and I’d always say, “I want to be like that girl!” When I finally got to meet her as an adult, I was blown away. She’s so wise, so open, and a real no-nonsense type of person. She’s fearless and sets the bar really high for performance. While we were making the film, I always felt that I wanted to impress her. I just think Gaby Hoffmann is the closest thing you can get to a Goddess — she’s got that kind of mythical vibe.
You need to make another movie with her where you do play sisters!
God, that would be wonderful. I would love to do anything with her, even go for a hike.
When Donna is on stage, she tends to talk a lot about her relationships which causes problems in her personal life. Is that something you’ve ever had to deal with?
I don’t do it — it’s just never seemed right to me. I’m not Donna, I know my boundaries. Although my stand-up is about things like being horny and having diarrhea, I feel that it’s actually paired with really nice manners! My relationships are precious — I don’t talk about my husband onstage unless it’s something flattering. But even then, if it’s something that might embarrass him, I don’t do it, there are just too many other things to talk about.
Gillian: People always joke to me about how something they said or did might end up being in my next movie. And I say, “It might!” but if they’re telling me something in confidence I would never put that into a script unless I asked and got permission!
Do you expect to get any kind of feedback about the film from pro-life groups?
We haven’t yet but because of that shorthand “abortion comedy” label that journalists have been using, we might get some of that.
Most likely from people who haven’t seen the film.
Of course! Which is a shame but if they do see the film, I hope they’d see that it’s not an accurate description. But if the film ignites any conversations about this topic, we’re excited.
The topic has been so demonized that the way Donna deals with it is such a refreshing approach for a movie — very different from other popular films such as Juno or Knocked Up—
Jenny: Every story is different. We think those movies are really funny, our movie is just telling a different story.
Gillian: There’s room for all kinds of stories. I just watched Knocked Up on TV last night.
Donna has a pretty horrific Valentine’s Day in the film. Jenny, do you have any of your own bad Valentine’s Day stories?
Jenny: I wouldn’t call Donna’s Valentine’s Day horrific. She goes on a date with Max and as he says, it’s both the best and the worst Valentine’s Day he’s ever had. I had a really bad Valentine’s Day one year because I had a really shitty boyfriend who forgot it was Valentine’s Day and then gave me his digital camera — in his sock! Um…thanks?
Gillian: Ugh, it would have been better if he hadn’t given you anything!
Jenny: I know! I never wanted a digital camera! I don’t even like technology, I just wanted some fucking chocolate!