The unexpected influence of Sylvester Stallone on Greta Gerwig
Given the length and breadth of his career, it’s reasonable to expect that Sylvester Stallone has influenced countless people in the film industry. However, few would immediately guess that Greta Gerwig would be among those to cite his artistic force. We tend to think of Gerwig as more thoughtful than thunderous, more experiential than expendable, but Stallone’s cultural reach has undeniably extended to her. In fact, his influence on her filmmaking becomes strikingly clear once you see the connection—it’s obvious in hindsight.
“When Ryan Gosling and I were texting a lot, we kind of both stumbled upon our mutual love of Sly Stallone,” Gerwig once explained. That’s right, Ken’s look in the Barbie movie is based on Sly Stallone. “Everything that we reference in the movie is only ever stuff that we love. And I mean, I love Sylvester Stallone,” says Gerwig. “I love those Rocky movies. I love him a lot” – the metal Ken belt buckle is his version of the heavyweight title belt.
And Ken’s bandana? Suddenly, it feels like a blatant Rambo reference. This is precisely what makes Barbie such a remarkable piece of cinema and highlights Greta Gerwig’s skill as a director. The diverse and unexpected influences she weaves into the film—including a direct nod to the Rambo franchise—speak to her ability to create a work that is both playful and profound, pulling from a wide range of cinematic inspirations.
“We were talking about his look in the ‘70s and how terrific it was,” says Gerwig. “And he really adorned himself as a man. And we thought, ‘Well, that’s a good place to start.’ I mean, there are just sort of fabulous images of him, particularly in the Rockys. I always want to return to it.”
Gerwig has tapped into something meaningful and interesting—there was a certain lavishness to the masculinities of the past, particularly in the 1970s, that feels lost today. Whether or not a film is set in that era, the 1970s can serve as a rich point of inspiration for costume designers and wardrobe departments. Perhaps that’s why Paul Thomas Anderson’s 1970s-set films or classics like Almost Famous are so visually captivating, as they draw on that distinctive style to create a bold and memorable aesthetic.
But for Gerwig, Stallone is more than just a glamorous boxer in a robe or an icon in an extremely similar fur coat. He was also a creative force to follow in the footsteps of. “Another thing we were looking at was also, obviously, great song-and-dance man of the ’70s, John Travolta. And also Sly Stallone directing John Travolta in Staying Alive.”
While Stallone’s acting talents and widespread influence are undeniable, his directorial efforts receive far less attention. If Gerwig is aiming to prove her genuine admiration for Stallone, citing Staying Alive as a directorial influence is a bold move—one that suggests a true appreciation for Sylvester Stallone.
“There were so many touch points to Sylvester Stallone, even when he wasn’t onscreen,” she said. “So anyway, that’s it.”
