Author Judy Blume is a progenitor of popular Young Adult fiction books. She’s written children’s books and adult fiction too, but her books geared towards tweens and young adults put her on the map as a voice that reflected the peaks and valleys of growing up. Tales of a Fourth Grade Nothing, Superfudge, Blubber, Forever, Deenie, and Are You There God? It’s Me, Margaret. became a part of the pop culture lexicon in the 1970s. During that era, many topics were taboo and for young girls to be able to read about having their first crush or getting their period was a bit rebellious and liberating. 

Writer/ director Kelly Fremon Craig consumed Judy Blume novels when she was growing up. They were part of her creative sphere and makeup. She’s written and directed a couple of features, including the James L. Brooks produced The Edge of Seventeen (2016). While it can be a little scary approaching an iconic book like Are You There God? It’s Me Margaret., Kelly didn’t let that deter her from developing her ideal project. The beloved book hits the big screen as a Lionsgate release. Abby Ryder Fortson, who has the innocent precociousness of a young Quinn Cummings, is Margaret. Rachel McAdams shines as her sensible but hip mother, Barbara Simon. Kathy Bates is Sylvia Simon, Margaret’s grandmother, and she’s a pistol – part sugar, part vinegar, all love. Benny Safdie, Elle Graham, Amari Alexis Price, Katherine Mallen Kupferer, and Kate MacCluggage are some of the other stellar cast.

By casting young actors who aren’t well known in the features realm, the story isn’t overshadowed. The soundtrack captures the heartbeat of 1970, and so do the clothes and setting. Puberty and adolescence are timeless topics and Are You There God? It’s Me, Margaret. portrays the clumsiness of growing up, mentally, physically, and spiritually in a relatable, no frills way. Kelly Fremon Craig recently spoke with us about challenges of adapting this adored book.

Had you already read the book prior to taking this assignment?

Yes, I read it when I was eleven and absolutely fell in love with it and Judy across the board. I felt like I needed to read everything she ever wrote, and I did.

Reading the book as an adult, what seems different about it now?

In some ways, I had a really different experience reading it as an adult. I felt a lot of the things I felt when I read it when I was eleven. Related to how awkward that age was. But the difference was, I related to the adult characters in a way I didn’t when I was a kid. I was oblivious to them before; they were like furniture. The other thing that struck me was that this whole thing was pinned together with this spiritual journey that this kid goes on. She’s really searching for something greater than us. I was so moved by that search and that she doesn’t find it in the traditional place but alone in her room. It was so beautiful. I love her crisis of faith and that it ends with that hope. The sense that she does believe that there’s something out there. She doesn’t quite know how to name it. You get the feeling that her search is going to continue and her relationship with whatever this is is going to continue.

What do you think is the difference in writing about adolescents and teens from the 1970s and modern day kids?

I have to say, it actually feels no different at all. Before I set out to make the film, I sat down with a bunch of eleven- and twelve-year-olds and interviewed them because I thought to myself, “I wonder how different it is today?” I really wanted to understand the differences. What came out of those interviews was the realization that hardly anything has changed. Surprisingly! Obviously, there’s social media and certain details that have changed but the feelings are exactly the same. The complexity…the weird friendship dynamics… all of that is unchanged.

Kelly Fremon Craig. Photo by Dana Hawley/ Lionsgate

Was this your first adaptation?

Yes!

How did you get attached to the project?

After I made my first film, The Edge of Seventeen, I was thinking about what I want to do next. I started to reread a lot of Judy Blume’s books. She was the author that influenced me in a lot of ways. She turned me into a reader, which turned me into a writer so it really all started with her. When I was rereading her books and I got to Margaret, I was so moved by it. I felt so certain that it had to be a film. I emailed her and told her what an inspiration she was to me and that I thought this would make an incredible film. She wrote back, which I didn’t expect. I didn’t know if she would even read the email. She emailed back and it turned out she had seen my first film and she was interested in the idea. It wasn’t a full yes, but there was an opening. I’d heard this was a title that she would never adapt because it’s her crown jewel and she didn’t want someone to mess it up.

What was it like collaborating with her?

It was surreal on so many levels. It’s hard to explain how crazy it is to be working with someone who is a hero to you and who meant so much to you from the time you were eleven. It’s mindboggling. I still can’t quite wrap my brain around it.

What were the challenges of adapting such an iconic book?

I desperately wanted to do right by the readers and by Judy, most of all. I had to get over the pressure of trying not to screw up. There was a period of having to get over my own paralysis.

Whose decision was it to make the cast diverse?

That was a decision I made early on, with the full support of Judy Blume. She felt that that was important too. We all felt that it was important and meaningful to have girls from different races see themselves reflected in this film and feel that they’re being represented in a way that’s specific to them and honest. One of the scenes that I spent a lot of time trying to get exactly right was the scene where Janie gets ready for the party and her mom helps her… washes her hair in the sink and uses the hot comb.

What was the most difficult scene to write in the script?

One of the most difficult scenes to film was the party scene with all the kids. It actually winds up being one of my favorite scenes in the movie. When we filmed the spin-the-bottle scene, we had about ten minutes to film it. It was such a packed day. The kids were rowdy because they were really playing spin-the-bottle. Norman had to kiss Janie. He froze. It was a challenging but beautiful day because it was filled with so much laughter, but we also got it done by the skin of our teeth!

Would you say that was your most memorable day on the set?

Actually, I’d say it was when Margaret puts a pad on for the first time. I don’t know if anyone’s ever filmed that, maybe they have, but I’ve never seen it. It felt like we were filming something so honest and intimate…. there’s something electrifying about that. 

How do you overcome writer’s block?

I feel like the more I care about something, the more terrified I am by the blank page. I do a lot of production rewrites where a movie is in production or it’s about to go into production and I have no fear. I can just jump in. But when I write something where I’m building it from the ground up, and it’s something I know I want to direct, there’s a different pressure I put on myself and a different fear that I have. But I have to get to the point where I just dive in, and I let it be bad at first. I really believe in allowing yourself to do crappy first drafts.

What was your rewrite process like for this project?

It was a process of, in particular, figuring out pacing. It was start with everything, including the kitchen sink, and pull out things like double beats or elements we didn’t really need for the story to function.