Judy Blume’s “Are You There, God? It’s Me, Margaret.” has been made an impact on the lives of adolescents since 1970. For over 40 years, the book has been part of a right of passage for young girls they venture into puberty and growing up. Now, Margaret Simon’s story has been brought to the big screen by writer/director Kelly Fremon Craig. We spoke to Kelly Fremon Craig about Are You There, God? It’s Me Margaret., balancing motherhood and the creative self, and coming of age films. 

Morgan Roberts: Kelly, thank you for speaking with me. I want to hear first a bit about your relationship with the book, “Are You There, God? It’s Me, Margaret.”
Kelly Fremon Craig:  I read it for the first time when I was 11. And was just knocked over by it. I just – first of all, I had never up to that point read anything that felt like my life, you know, ripped from the pages of my life. And it really is the book that turned me into a reader and made me want to read everything that Judy Blume had ever written. And also, ultimately turned me into a writer. I was just so taken at that age, and still am by the absolute honesty of her work. I mean, she really captures the experience in such a vividly real way. And my experience, when I read something that feels deeply honest, is I feel less alone. You know, I feel like I’ve had a hug or something. I’ve loved her from the time I was little and still do.

Morgan Roberts: Absolutely. I think that was a lot of us kind of going into the film. And I know that this is the first time that she’s allowed for this piece to be adapted. So what was it like getting the opportunity to be able to adapt this work?
Kelly Fremon Craig: First of all, just so exciting, because I love it so much. I mean, I’m such a diehard fan of her work. And I feel like it’s been in me for so long, and it’s informed so much of my own work. That was just really exciting to get to serve, you know, to serve her and, and her writing. You know, that’s really what I felt like I was doing was trying to make a film that was really in service her work and something that would carry on the spirit of her work, you know? And it’s just really been, like, maybe the most rewarding thing of my life to get to do it.

Morgan Roberts: And one of the things that I find very interesting, and I’m sure it’s quite a challenge is you can’t make a straight adaptation from the book and bring it to the screen. So what was the process like, having to determine what pieces were going to be essential to the work and then what pieces were potentially going to be altered?
Kelly Fremon Craig: So, what became kind of my guiding light as I was writing it was: Does it make me feel the way her book made me feel? So even as I was adding things or subtracting things, that was the litmus test for me. And that’s what made me feel like I was on the right track, and also made me feel that I could play. That it didn’t have to be a literal word for word adaptation. It really just had to be in the spirit of her work.

Morgan Roberts: And you can kind of feel that throughout the film, [the film] also kind of having its own life to it. I am just kind of wondering, what have been reactions from people that I’m sure that there are plenty of diehard fans of the book. What are the things that they’ve brought to you that they have taken away from that?
Kelly Fremon Craig: It’s been so exciting to watch the way people have reacted to the film, not only people who grew up with the book, and already have a fondness for but also people who have never read the book, and don’t know anything about Judy Blume. I also think that part of the surprise in watching the film is that I think a lot of people, at least the ones who grew up with the book, I think that they’re going to go in and experience a bunch of nostalgia about, you know, where they relate to how they felt when they were Margaret’s age. But I think the surprise is that there’s a lot about being a mom and being a grandma and those stages of life. So I think there’s a lot to relate to on a more immediate level, too.

Morgan Roberts: Yeah, absolutely. And maybe it’s because I’m not a teenager anymore. But watching this film certainly felt like it was not only a coming of age story for Margaret, but certainly for Barbara. 
Kelly Fremon Craig: Yes!

Morgan Roberts: I’m kind of wondering what it was like exploring those two parallel journeys, while they were also kind of very different, because they’re two women at different stages in our lives.
Kelly Fremon Craig: Yeah. So I found that I went through a real coming of age when I became a mom. That was very distinct before and after in my life. And so I wanted to explore that with Rachel McAdams’ character [Barbara]. In particular, what I have found difficult about motherhood and I still find difficult about motherhood is that there’s kind of this constant trying to balance selfhood and motherhood, like all my own creative passions and pursuits. And then all the things that I want to give my child and that role that I play in their lives. A lot of times, it feels almost like those two things are at odds; that if I serve the selfhood part, then maybe I’m taking away from the motherhood part. So I’m constantly trying to balance those things. And I wanted to see that explored in the film. I think Rachel just does such a gorgeous job of conveying that complexity, you know.

Morgan Roberts: Definitely. It makes me think of the scene where she is at home, still struggling to unpack, and she finds a bird outside and goes to paint it. What was it like kind of crafting that scene? Because it feels so intimate and very vulnerable.
Kelly Fremon Craig: Yeah, that scene was very much about having lost that thing that lights her up, you know. Having put it away to be in service of her family and her daughter and stuff like that. And then all of a sudden to have that reignited. Like, just the, “oh my gosh, I haven’t felt that in so long.” I mean, that’s how I feel about writing and filmmaking. It fills me up. But it’s such an exciting process of creative discovery. And I love being a mom and all the things that come with that. But what I’ve realized is I have to serve that creative part of me, because it is so important to my own life force. It’s so important to my joy.

Morgan Roberts: Absolutely. And I find it so interesting that self discovery, and rediscovery is also part of Margaret’s journey. And I find it very compelling that the film kind of captures both the lighthearted, uncomfortable pieces of growing up while also handling the very serious moments of life. What is the trick for you to be able to handle those two very different tones, and serve both of them without detracting from either one?
Kelly Fremon Craig: Well, first of all, I think that is life. It’s dark and painful, and serious, and it’s also funny and absurd and silly. You know what I mean? It’s all the things and they’re all mixed up together in one big soup,. That’s my experience of it anyway. But one of the things that definitely drew me to the project was was this kid’s very earnest spiritual search, that she’s really asking,” is there something greater beyond us?” And, I, first of all,  had never seen that explored in a film. I’ve never seen that. But I also just related to that, because I felt like, in my own life, it was that age when I was going through the throes of puberty, and the ground was shifting under my feet that I started to ask, “what’s the deal? Is there anything? Is there anybody in charge? Is anyone making sure I’m okay, because it sure doesn’t feel like I’m okay.” And that, question came up in the center myself, and I feel like I still carry that question with me today. I loved the idea of having the opportunity to explore that in the film.

Morgan Roberts: And I would be remiss if I didn’t mention your feature debut, The Edge of Seventeen, which is also a brilliant coming of age film, like [Are You There, God? It’s Me] Margaret. For you, what is a coming of age film that was very impactful in your view?
Kelly Fremon Craig: Gosh, a lot of the John Hughes films definitely got into me. Um, but you know, honestly, a lot of the reason that I wanted to make like, I wanted to make The Edge of Seventeen and [Are You There’s God? It’s Me,] Margaret. is I hadn’t seen coming of age films from the female perspective, I hadn’t seen that very much. I grew up with Judy Blume. So I found myself in books, but I didn’t quite as much find myself in cinema. And so I think obviously, part of why I wanted to make films was to change that slowly.

Morgan Roberts: Absolutely. And one final question. Who is a woman in your industry that you are most inspired by and what about her inspires you?
Kelly Fremon Craig: Oh, that’s a great question. I’ve always been very inspired by Nora Ephron I just went back and was re-reading all of her all of her books and did a whole deep dive on her. And I don’t know, I think that she wrote with such honesty. Really said it like it is. And I’ve always admired that. Definitely, she was a big inspiration for a long time.

Morgan Roberts: Kelly, I can’t thank you enough for spending this time with me and talking about your film. 
Kelly Fremon Craig: Thank you so much. I so appreciate it. So great meeting you.

You can find Morgan’s review of Are You There, God? It’s Me Margaret. here on In Their Own League.
You can find our own review of Are You There, God? It’s Me Margaret. here.
Are You There, God? It’s Me Margaret. is currently available to rent or buy.