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In the extensive imaginary that the Barbie doll has been implanting halfway around the world for more than 60 years, there is a constant: pink. That tonality has permeated her dresses and shoes, but also her accessories, the other dolls and animals that have accompanied her, her cars and, of course, her houses, from motorhomes to mansions. And that color and its importance are more obvious today than ever as the film’s release approaches. Barbie, directed by Greta Gerwig and starring Margot Robbie and Ryan Gosling. Throughout the film, and from what has been seen in her previews, the Australian actress wears pink clothes and drives a pink car (with a pink steering wheel and pink upholstery) and, of course, lives in a big pink house. A house that, as it has now been known, required careful production that came to exhaust the stocks of fluorescent pink paint throughout the world.
The clue was given last week by the director of the film during an interview with the American magazine Architectural Digest, where she and head of production design Sarah Greenwood and decorator Katie Spencer (who revealed they never owned a Barbie doll) chatted about bringing the film’s spaces to life and their difficulties. For example, they commented on something obvious, but complex to translate into human dimensions: that the house has no walls or doors, that there is nothing hidden. “In dream homes, you assume you’ve never had anything you wanted to be private: there’s nowhere to hide,” Gerwig recounted of a mid-century-inspired mansion in Palm Springs, California, but recreated at the studios of Warner Bros. just outside London.
Among the amenities of the pink residence there is a pool with a pink edge -with a Barbie B-shaped float- and a slide in the same tones, a semicircular sofa, a bed with a pink glitter bedspread on a similar pile rug, closets like if they were shop windows with matching mirrors and drawers, elevator… All in search of an artifice typical of the doll. And in all of this that color was one of the keys, it was “primordial”, according to the director. “I wanted some very bright pinks, and everything had to be too much. I didn’t want to forget what made me love Barbie as a child,” she reflects. So much so that, as she literally says, “the world ran out of (color) pink.” He was referring, according to the magazine, to a specific shade of fluorescent pink from Rosco, one of the main international paint manufacturers well known for its connections to the world of cinema, since its presence is common in many productions.
However, the magazine did not go further. but the diary Los Angeles Times He asked Rosco’s global vice president, Lauren Proud, about it, who confirmed that they did indeed use “all paint stocks.” Specifically, that phosphorescent pink color that gave the doll’s objects their characteristic hue.
According to the Los Angeles newspaper, the color distribution was complicated not only by filming, but also by covid-19. The tape was recorded in 2022, and at that time the coronavirus pandemic had caused a slowdown in the global supply chain that meant that goods and products did not always easily reach their final destination, something that was especially complicated by the massive confinements in China, the great supplier of the planet. In addition, as explained Guardianthe extreme weather that the State of Texas faced in 2021, with historic and unprecedented snowfall in February and torrential rains in August of the same year, “affected the fundamental materials used to create the painting,” according to the British newspaper.
Proud herself has explained that, indeed, “there was a shortage.” “So we gave them everything we could. They left us without paint”, the vice president said in the media with total gratitude. Fans will be able to see the immensity of pink, pink and more hot pink — although neither the exact shade nor the amount has been revealed — starting July 21 in cinemas around the world.
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