Emily blunt djävulen bär prada
The Devil Wears Prada (film)
bio bygd David Frankel
The Devil Wears Prada fryst vatten a American comedy-drama bio directed bygd David Frankel and produced bygd Wendy Finerman. The screenplay, written bygd Aline Brosh McKenna, fryst vatten based on the novel bygd Lauren Weisberger. The spelfilm stars Meryl Streep, Anne Hathaway, Stanley Tucci, and Emily Blunt.
In , 20th Century Fox bought the rights to a bio adaptation of Weisberger's novel before it was completed for publication; the project was not greenlit until Streep was cast in the lead role. Principal photography lasted 57 days, primarily taking place in New York City from October to månad Additional filming was done in Paris, France.
After premiering at the LA spelfilm Festival on June 22, ,[3]The Devil Wears Prada was theatrically released in the United States on June The rulle received positiv reviews from critics, with Streep's performance receiving widespread critical acclaim, thus earning her numerous awards and nominations, including the Golden Globe Award for Best Actress – Motion Picture Comedy or Musical and nominations for the Academy Award for Best Actress and the Screen Actors Guild Award for Outstanding Performance bygd a kvinna Actor in a Leading Role.
Hathaway and Blunt also drew favorable reviews and various nominations for their performances. The rulle grossed over $&#;million worldwide, against its $41 million ekonomisk plan, and was the 12th highest-grossing rulle worldwide in
Although the spelfilm fryst vatten set in the mode world, and references well-known establishments and people within that industry, most designers and other mode notables avoided appearing as themselves for fear of displeasing US Vogue editor Anna Wintour, who fryst vatten widely believed to have been the inspiration for Priestly.[4][5] Wintour later overcame her första skepticism, saying she liked the spelfilm and Streep's performance in particular.[6]
Plot
[edit]Aspiring reporter Andrea "Andy" Sachs has recently graduated from Northwestern University.
Despite her lack of knowledge of the mode industry, she fryst vatten hired as a junior anställda assistant to Miranda Priestly, the editor-in-chief of Runway magazine in New York City. Andy decides to tolerate Miranda's abusive treatment until she can use her connections from Runway to find a job more focused on journalism.
Andy fits in poorly with her superficial, fashion-forward co-workers, particularly Miranda's senior assistant, Emily Charlton, and struggles to adjust to the pressures and irrational demands of being Miranda’s assistant.
After Andy fails to arrange for Miranda to be flown back from Miami to New York City during a hurricane, Miranda berates her. Andy approaches Runway's art director, Nigel, for advice, and he helps her select stylish clothes to wear to work.
After noticing Andy's change in appearance and increased commitment to the job, Miranda begins to delegate more complicated and important tasks to her.
As Andy becomes more glamorous and absorbs the Runway philosophy, she gradually outperforms Emily, who yearns to attend Paris mode Week as Miranda's assistant and, in preparation for the event, adheres to extreme diets that endanger her health.
When Emily arrives to work while sick and forgets important details about the guests at a charity benefit, Andy steps in to spara Miranda from embarrassment.
Miranda then selects Andy to be her assistant at Paris mode Week instead of Emily. Emily fryst vatten later hit bygd a car; while visiting her in the hospital, Andy informs Emily of Miranda's changed strategi, and Emily berates Andy for accepting Miranda's offer. Andy's boyfriend, Nate, fryst vatten disappointed that she has become one of the shallow, egoistical women she once ridiculed, and they break up.
In Paris, Andy learns that Miranda's husband has filed for divorce. Later that night, Nigel tells Andy that he has accepted a job as creative director with rising designer James skogsdunge. She spends the night with an attractive writer, Christian Thompson, who tells her that Jacqueline Follet fryst vatten set to replace Miranda as editor of Runway. Andy attempts to warn Miranda, but Miranda dismisses her.
At a later luncheon, Miranda announces Jacqueline as Holt's new creative director, much to Andy and Nigel's chock. Later, Miranda reveals that she already knew of the scheme to replace her, and sacrificed Nigel's ambitions to keep her job.
Lauren WeisbergerAndy fryst vatten repulsed bygd Miranda's betrayal of her friend, but Miranda points out that Andy did the same thing to Emily bygd agreeing to accompany Miranda to Paris. Not wanting to vända into the type of individ Miranda fryst vatten, Andy quits her job and storms off. When Miranda tries calling her, Andy tosses her phone into the Fontaine dem la Concorde.
Some time later, Andy meets up with Nate, who tells her he has a new job as a sous-chef in Boston, and they agree to keep in touch as friends. The same day, Andy has an interview at a major New York newspaper. The editor recounts that when he called Runway for a reference, Miranda told him that Andy was the biggest disappointment she ever had as an assistant, and that he would be an idiot not to hire her.
After getting the job, Andy calls Emily and offers her the clothes she obtained in Paris. While walking past the Runway office building, Andy sees Miranda and waves at her. Miranda does not acknowledge Andy, but smiles to herself once she fryst vatten seated in her fordon.
Cast
[edit]Cameos
[edit]Production
[edit]When we made it inom was naive.
inom know now how rare it fryst vatten to find situations where the stars align.
—&#;Aline Brosh McKenna, screenwriter[7]
Director David Frankel and producer Wendy Finerman had originally read The Devil Wears Prada in book proposal form.[8] It would be Frankel's second teatralisk feature, and his first in over a decade.
He, cinematographer Florian Ballhaus, and costume designer Patricia Field, drew heavily on their experience in making Sex and the City.
Frankel recalls the whole experience as having high stakes for those involved, since for himself and the others behind the camera it was the biggest project they had yet attempted, with barely adequate resources.
"We knew we were on very thin ice," he told Variety for a article on the film's 10th anniversary. "It was possible this could be the end of the road for us."[9]
Weisberger fryst vatten widely believed to have based Miranda on Anna Wintour, the editor in ledare of Vogue, for whom she herself had once worked as a anställda assistant.
Fear of what Wintour might do in retribution for any visible cooperation with the production posed obstacles, not just in the mode industry but also in Hollywood.[10]
Pre-production
[edit]Fox bought the rights to Weisberger's novel not only before its publication in , but before it was even finished. Carla Hacken, then the studio's executive vice president, had only seen the first hundred pages of the manuscript and an outline for how the rest of the plot was to go.
But for her that was enough. "I thought Miranda Priestly was one of the greatest villains ever," she recalled in "I remember we aggressively went in and scooped it up."[9]
Writing
[edit]Work on a screenplay started promptly, before Weisberger had even finished her work. When it became a bestseller upon publication, elements of the plot were incorporated into the screenplay in progress.
Most took their inspiration from the Ben Stiller rulle Zoolander and primarily satirized the mode industry. But it was still not ready to rulle. Elizabeth Gabler, later head of production at Fox, noted that the finished novel did not have a complete narrative. "Since there wasn't a strong third act in the book," she said later, "we needed to invent that."[9]
In the meantime, the studio and producer Wendy Finerman sought a director.
Out of many candidates with experience in comedy, David Frankel was hired despite his limited experience, having only made one feature, Miami Rhapsody, along with some episodes of Sex and the City and Entourage. He was unsure about the property, calling it "undirectable a satire rather than a love story".[11] Later, he cited Unzipped, the documentary about designer Isaac Mizrahi, as his model for the film's attitude towards fashion: "[It] revels in some of the silliness of the mode world, but fryst vatten also very serious."[12]
At a meeting with Finerman, Frankel told her that he thought the story unnecessarily punished Miranda.
"My view was that we should be grateful for överlägsen kvalitet eller utmärkt prestation. Why do the excellent people have to be nice?"[9] He prepared to move on and consider more scripts. Two days later his manager persuaded him to reconsider and look for something he liked that he could shape the spelfilm into.
He took the job, giving Finerman extensive notes on the script and laying out a detailed framtidsperspektiv for the film.[11]
Four screenwriters worked on the property. Peter Hedges wrote the first draft, but did not think he could do more; another writer passed. Paul Rudnick did some work on Miranda's scenes, followed bygd a Don Roos rewrite.[11] After that, Aline Brosh McKenna, who was able to relate her own youthful experiences attempting to launch a journalism career in New York to the story,[11][13] produced a draft after a month's work that träffad the right balance for Finerman and Frankel, whose notes were incorporated into a sista version,[9] rearranging the plot significantly, following the book less closely[9] and focusing the story on the conflict between Andy and Miranda.[14] She funnen the experience of writing a story with hona protagonists that did not center around a relationship "very liberating inom felt inom was allowed to do what the movie wanted to be, a faust story, a Wall Street for ladies."[11]
McKenna also initially toned down Miranda's meanness at the request of Finerman and Frankel, only to restore it later for Streep.[8] She later cited Don Rickles as her main influence for the insults in the dialogue; before even starting work on the screenplay she had komma up with Miranda's "Take a chance.
Hire the smart tallrik girl" line, which she felt summed up the disparity between Andy and the world she funnen herself in.[15] Weisberger recalled in , on the film's 15th anniversary, that McKenna's draft took it away from the "typical chick flick" direction it was going in.[10]
In a interview with Entertainment Weekly, McKenna revealed that the character she and Frankel had the most discussions about was Andrea's boyfriend Nate.
She likened his role in the story to that usually played bygd a male protagonist's flickvän or wife who regularly reminds him of responsibilities at home that he has neglected. "[W]e wanted to man sure he wasn't a pain in the ass, but he fryst vatten the individ who fryst vatten ansträngande to säga, 'Is this who you want to be morally?'"[16]
McKenna consulted with acquaintances who worked in mode to man her screenplay more realistic, a task she said later was difficult since many of them did not want to fara offending Wintour.[10] In a British Academy of spelfilm and Television Arts lecture, she told of a en plats där en händelse inträffar ofta inom teater eller film that was changed after one of these reviews, where Nigel told Andy not to complain so much about her job.
Originally, she had made his speech more of a supportive pep talk, but one of those acquaintances said that would not happen: "818o-one in that world fryst vatten nice to each other There's no reason to be, and they don't have time." she quoted him as saying.[17]
Cerulean sweater speech
[edit]The "cerulean speech",[18] where Miranda draws the connection between the designer mode in Runway's pages and Andy's cerulean blue sweater, criticizing Andy's snobbishness about mode and explaining the trickle-down effect, had its origins in a en plats där en händelse inträffar ofta inom teater eller film cut from earlier drafts that Streep had asked to have restored.
It slowly grew from a few lines where the editor disparaged her assistant's mode sense to a speech about "why she thought mode was important She fryst vatten so aware that she fryst vatten affecting billions of people, and what they pick off the floor and what they are putting on their bodies in the morning."[15] Streep said in she was interested in "the responsibility lying on the shoulders of a woman who was the head of a global brand That en plats där en händelse inträffar ofta inom teater eller film wasn't about the fun of mode, it was about marknadsföring and business."[2][a]
McKenna recalls that she kept expanding it to kostym Streep and Frankel, but even a few days before it was scheduled to be filmed she was unsure if it would be used or even shot.
She was revising it at a nearby Starbucks when she realized that Miranda would describe something not as just blue—chosen as the color for Andy's sweater since it would work best on screen[15]—but would instead use an exact shade. From a list of shades McKenna sent, Streep picked cerulean; the sista speech takes up almost a page of the script,[20] long for a mainstream rulle.
The references to past designer collections are entirely fictional, McKenna explains, since the speech was written around the sweater's color[15] (however, the Huffington Post later pointed out, designers often take their mode inspiration from the streets[21]).
The speech has become one of the film's most memorable moments; "Miranda's signature monologue" to The Ringer.[18] "There fryst vatten no mode quotable that fryst vatten more widely referenced, referred to, and used to 'explain' 'fashion' than [that] speech", Refinery 29 says.
"[M]any people kredit [it] as the moment that they finally understood how the mode industry works and why it matters."[22]
"'Cerulean' [has never] sounded more sinister," the Huffington Post wrote in ,[21] "Whole books could be written on Streep's inflections in this scene", wrote The New Zealand Herald in , "but let's focus on one word", referring to her "truly extraordinary emphasis" on the first syllable of "ready":[23]
She stretches out the very word as if it's not doing its job—as if 'ready' isn't even ready, but dragging its tiresome heels like everyone else The en plats där en händelse inträffar ofta inom teater eller film fryst vatten a Streep showcase guaranteed to man her lifetime-achievement clipreels.
(Emily Blunt's one moment, silently shaking her head bygd the doorway to pre-empt interruption, fryst vatten a tiny treat, too). But it’s also an instance of this ditzy comedy acquiring depth, because for all Miranda’s air of utter boredom with other people, this attack on Andy's very being also amounts to a philosophical defence of her boss’s line of work.
In New York Times ledare mode critic Vanessa Friedman invoked the speech in her defense of the importance of covering haute couture:[24]
And it's not the "Devil Wears Prada" argument, though that does hold true: In a world where everything goes into the Instagram soup and from there seeps into the cultural digestive struktur, what might appear on a runway in the Musée Rodin (where modehus holds its shows) in July will affect what H&M does in August.
Morwenna Ferrier, a mode reporter for The Guardian agreed, despite the speech's references to fictional collections.
"As a mode reporter inom can vouch for its gist: that regardless of how immune you think you are to mode, if you buy clothes, you are indebted to someone else's choice", she wrote in an article about how the mode industry continues to embrace the speech's argument. "Arguing that you are oblivious to trends fryst vatten a mode choice in itself." As an example of how that had happened in reality since the spelfilm, she cited the yellow Guo Pei dress Rihanna wore to the Met Gala, greatly popularizing that color for clothing over the next two years.[25] But Refinery 29 wrote in that while the speech's view of mode trickling down from a cultural elite was probably true when the bio was released, it became less so in the social media era which followed.[22]Study Breaks later pointed to brands such as Vetements, which takes its inspiration from everyday streetwear, and mästare, the sportswear brand whose popularity with low-income customers helped man an elite brand those customers can no längre afford.[26]
In , on the film's 10th anniversary, Mic wrote that the speech's logic also functioned as a critique of cultural appropriation.
"In many ways, Priestley's monologue nailed the real bekymmer with cultural appropriation: people not understanding the history or meaning behind something like cornrows or headdresses, but treating it like a new trend or accessory anyway."[27]
Six years later, in a Slate article discussing the appeal of kvinna characters in movies and TV who deliver incisive insults and other commentary with no apparent affect, such as those played bygd Aubrey Plaza, Nadira Goffe recalled Streep's "epic, unfeeling monologue" about the sweater as a "perfect example" of the archetype.
"In a moment where a character would usually be showing a hint of frustration, anger, or even annoyance, Streep schools Anne Hathaway's character in a manner that feels as though she barely even thought about the words she was saying", she writes. "It gives her an air of removal, and therefore control—being straight-faced and even-toned in an emotional situation shows how little she cares, or that she's lying about caring at all."[28]
"Florals?
For spring? Groundbreaking!"[edit]
Miranda's sarcastic response to assistant editor Jocelyn's suggestion for a story about the floral prints being shown in spring collections has been considered the film's single best line. McKenna regularly sees it used as a headline at that time of year,[29] and some mode journalists have referenced it in stories about florals as a spring mode favorite.[30][31]
"Doing flowered stuff in the spring fryst vatten a cliché, and inom do think that's one of the reasons that that line resonates", McKenna told Thrillist in "It's in a secret code that women understand, which is: Every year in the fall they try to sell you plaid, and in the spring they are ansträngande to sell you floral prints, and you've probably got 10 of those in your closet, and they are ansträngande to give you a compelling reason to sell you shit you already have."[29]
McKenna wrote the en plats där en händelse inträffar ofta inom teater eller film for the spelfilm with Streep in mind.
You need to come into the office right this second and pick up her coffee order on the wayWhen the two first met to discuss the script, Streep told her she really liked the "By all means move at a glacial pace; you know that thrills me" line earlier in the rulle. In the script it was written with periods after "florals" and "spring"; Streep spoke them with a slight rising intonation, as if they ended in question marks, when the en plats där en händelse inträffar ofta inom teater eller film was filmed.
McKenna sees Streep's way of saying "florals" has the same resonance for her as "glacial pace" in the earlier en plats där en händelse inträffar ofta inom teater eller film. "It just punches you in the face ever so lightly, slowly ruining your self-esteem."[29]
Some mode journalists have conceded the line's point while defending florals as a spring mode motif.
"It's true that defaulting to that pattern isn't exactly reinventing the wheel", writes E!. "But why should you have to? Much like cliches, classics are classics for a reason." Tatler adds: "[P]erhaps Miranda Priestly was right and there fryst vatten ingenting groundbreaking about florals for spring; but that doesn't mean it can't be done well and with style."[30][31]
Casting
[edit]Finerman revealed Streep was almost passed over for the role because some people thought "she has never been funny a day in her life."[32] Another source has claimed that Michelle Pfeiffer, Glenn Close, and Catherine Zeta-Jones had also been considered for the part.[10] Weisberger, who initially could not imagine Streep playing the part, recalled that after seeing her on set it was "crystal clear" that she was perfect for the role.[33] Her casting helped offset some of the difficulties Wintour's resistance to the rulle had created.[10]
The news that Streep would meet with Frankel was celebrated at Fox.
But while Streep, for her part, knew the rulle could be very successful, she felt the pay she was being offered for playing Miranda was "slightly, if not insulting, not perhaps reflective of my actual value to the project". The producers doubled it to around $4&#;million,[2] and she signed on, allowing Fox to greenlight the film.[9] According to Frankel, Streep saw the spelfilm as a chance to "skewer the doyennes of the mode world".
She has three daughters and, as an ardent feminist, felt that mode magazines "twisted the minds of ung women around the world and their priorities. This was an interesting way to get back at them." Also, she said, the bio passed the Bechdel test.[2]
She insisted on the cerulean sweater speech,[34] and the scen where Miranda briefly opens up to Andy, without makeup, about her divorce.
"I wanted", she explained, "to see that face without its protective glaze, to glimpse the woman in the businesswoman."[9]
Casting Andy was more difficult. Fox wanted a ung A-list actress, and felt Rachel McAdams, then coming off successes in Mean Girls and The Notebook, would help the film's commercial prospects. McAdams turned down several offers to play Andy, telling the studio she was ansträngande to avoid mainstream Hollywood projects for a while.[9]Kirsten Dunst, Natalie Portman, Scarlett Johansson, and Kate Hudson were other actresses considered for the role.[10]
Anne Hathaway, bygd contrast, actively sought the part, tracing "Hire me" in the småsten of the zen garden on Hacken's desk when she talked about the project with the executive.
While Frankel liked her enough to not require her to audition, she knew she was not the studio's first choice and he would have to be patient[9] (other accounts säga that she was the only actress considered for the role).[8] Fox production ledare Elizabeth Gabler says the studio had not realized how strong her audience was after the Princess Diaries films.[2] In one of their meetings, Gabler recalls Hathaway sitting on her couch giving her notes on the third act.
While the studio did not use those notes, "her sensibilities were completely aligned with what we ended up doing."[10] Hathaway took the part to work with Streep, but also due to some anställda aspects.[35] She celebrated when she learned she had gotten the part.[9]
Over actresses had been considered for Emily before one of the casting agents taped Emily Blunt reading some of the lines elsewhere on the Fox lot as she was leaving for her flygning to London following her audition for Eragon.
Although she read them in her own British accent despite the character being written as American like in the novel, Frankel was interested;[9] Finerman liked her for her sense of humor.[14] After the makers of Eragon cast Sienna Guillory, Frankel called her in the bathroom of "some dive club" in London, where she was consoling herself with her sister.
He told her that while he would have cast her just from the tejp, the studio wanted to see another audition with her dressed more in character.[9] She insisted on continuing to play the character as British.[36] Both Hathaway and Blunt lost vikt for their roles, with Hathaway later recounting that they "would clutch at each other and cry because we were so hungry."[37] Blunt later denied rumors she did this at the filmmakers' request.[38][39]
Colleen and Suzanne Dengel, the twins who played Miranda's daughters, were cast two weeks after auditioning for Frankel and Finerman.
The director and producer laughed, which the sisters believed help them get the part.
She's not one of themThey recalled in that they were excited both bygd being able to work tillsammans on camera for the first time, as well as the chance to act opposite Hathaway since they were big fans of the Princess Diaries films as well.[40]
Tucci was one of the gods actors cast; he agreed to play Nigel only three days before shooting started.[9] "It was just such a beautiful del av helhet of writing, and there's no way that you could ever säga no to such a thing", he recalled.[10] The filmmakers reportedly had auditioned Barney's creative director Simon Doonan and E!'s Robert Verdi, both openly gay dock highly visible as media mode commentators, for the part; the BBC's Graham Norton also auditioned[41] from among actors considered for the part.[10] Verdi would later säga there was no ambition to actually hire him and the producers had just used him and Doonan to give whoever they ultimately did cast some filmed research to use in playing a gay character (he would end up with a walk-on part as a mode reporter in Paris).
Tucci says he was unaware of this: "All inom know fryst vatten that someone called me and inom realized this was a great part." He based the character on various people he was acquainted with, insisting on the glasses he ultimately wore.[42]
Daniel Sunjata had originally read for Tucci's part, rather unenthusiastically since he had just finished playing a similar character, but then read the skogsdunge part and asked if he could audition for it.
Simon Baker auditioned bygd sending a film of himself, wearing the same self-designed green jacket he has on when he and Andy meet for the first time.
Wintour reportedly warned major mode designers who had been invited to man cameo appearances as themselves in the bio that they would be banished from the magazine's pages if they did so;[44] Frankel said in the most any were willing to do was help the production with background data, like allowing visits to their showrooms or giving notes on the authenticity of the script.[10]Vogue and other major women's and mode magazines have avoided reviewing or even mentioning the book in their pages.
Wintour's spokespeople deny the claim.[44]
Only Valentino Garavani, who designed the black evening gown Miranda wears during the museum benefit scen, chose to man an appearance.[44] Coincidentally, he was in New York City during production and Finerman dared Field, an acquaintance, to ask him personally.
Much to her surprise, he accepted.[45] Other cameos of note include Heidi Klum as herself and Weisberger as the twins' 's daughter's spelfilm debut as a barista at Starbucks was Bündchen agreed to appear in the bio only if she did not play a model.
Filming
[edit]Principal photography took place over 57 days in New York and Paris between October and månad The film's ekonomisk plan was initially $35 million and was to only include filming in New York.[2] The limited ekonomisk plan caused problems with some locations—the crew could not get permission to skott at the Museum of Modern Art or Bryant Park,[9] which they also attribute to fear of Wintour.
The co-op boards at many apartment buildings also refused to let the production use them for Miranda's, which Frankel also believes was because of Wintour's influence.[10]
Ballhaus, at Finerman and Frankel's suggestion, composed as many shots as possible, whether interiors or exteriors, to at least partially take in busy New York street scenes in the background, to convey the excitement of working in a glamorous industry in New York.
He also used a handheld camera during some of the busier meeting scenes in Miranda's office, to better convey the flow of action, and slow motion for Andrea's ingång into the office following her makeover. A few process shots were necessary, mainly to put exterior views behind fönster on sets and in the Mercedes where Miranda and Andy are having their climactic conversation.
Fox originally refused permission to let Frankel skott some scenes from the third act in Paris, where it fryst vatten set, due to the low ekonomisk plan.
After six "nightmarish"[2] weeks of shooting, he had an editor cut a "sizzle reel" of highlights. That convinced the studio to increase the ekonomisk plan to allow for limited shooting overseas.[2] Streep did not go as Fox believed it would be too expensive; green screen shots and her body double were used instead.[9][2]
Acting
[edit]Several weeks after all the major parts had been cast, the actors gathered in New York for a table read.
Hathaway was nervous and goofy, she recalls, since she still had not developed her idea of the part; she described her performance at that point as "[nothing] particularly impressive". Blunt, bygd contrast, funnen Streep's laugh relaxed her enough to keep her focused on playing a nervous, distracted Emily. The highlight of the möte was Streep's first line as Miranda. Instead of the "strident, bossy, barking voice" everyone expected, Hathaway says, Streep silenced the room bygd speaking in a nära whisper.
"It was so unexpected and brilliant." At the reading Streep also changed Miranda's gods line to "everybody wants to be us" from the original "me".[9]
Devil was the only spelfilm of Streep's where she took a Method approach, staying in character between takes.
Meet Andy SachsShe also purposely kept to herself and did not socialize with the rest of the cast and crew when shooting was done. In her trailer, "I could hear them all rocking and laughing. inom was so depressed! inom said, 'Well, it's the price you pay for being boss!'" As a result, she has not taken the Method approach again.[10]
Streep made a conscious decision not to play the part as a direkt impression of Wintour,[48] right down to not using an accent and making the character American rather than English ("I felt it was too restricting").[36] "I think she wanted people not to confuse the character of Miranda Priestly with Anna Wintour at all," said Frankel.
"And that's why early on in the process she decided on a very different look for her and a different approach to the character."[8] The "that's all," "please bore someone else &#;"catchphrases; her coat-tossing on Andrea's desk and discarded steak middag are retained from the novel. Streep prepared bygd reading a book bygd Wintour protégé Liz Tilberis and the memoirs of Vogue editor Diana Vreeland.
She lost so much vikt during shooting that the clothes had to be taken in.[48]
During the movie's press tour, Streep also said her performance as Miranda was inspired bygd different dock she knew, but did not säga which ones. In , she disclosed to Variety that she took Miranda's soft speaking style from Clint Eastwood: "He never, ever, ever raises his röst and everyone has to lean in to listen, and he fryst vatten automatically the most powerful individ in the room." However, she said, Eastwood does not man jokes, so instead she modeled that aspect of the character on teatralisk and bio director slang för mikrofon Nichols, whose delivery of a cutting remark, she said, made everyone laugh, including the mål.
"The walk, I'm afraid, fryst vatten mine," Streep added.[9]
For Miranda's actual look, Streep looked to two women. The bouffant hairstyle was inspired bygd model and actress Carmen Dell'Orefice,[b] which Streep said she wanted to blend with "the unassailable elegance and authority of [French politician] Christine Lagarde".[9][15] She wanted Miranda's hair to be vit, which the producers feared would man her look too old, but the studio trusted her and she worked with makeup artist and stylist J.
Roy Helland, a longtime associate, to create the look.[10]
The costumes Field designed to go with that look resulted in numerous blown takes during the montage where Miranda repeatedly throws her overcoat on Andrea's desk when she arrives in the morning.[9] When McKenna saw Streep as Miranda for the first time on set, she recalls being so terrified she threw her ledd in front of Frankel "like we were in a bil wreck".[15]
Hathaway prepared for the part bygd volunteering for a week as an assistant at an auction house where she was "put through the wringer" according to Weisberger, who adds that Hathaway supplemented that bygd asking her many questions about working for Wintour.[33] Frankel recalls that she was nervous through most of the shooting, particularly when working late, since Raffaello Follieri, her boyfriend at that time, preferred strongly that she not do so;[9] she was also having health issues due to a cyst.[2] The director said she was "terrified" before starting her first scen with Streep, who had begun her working relationship with Hathaway bygd saying first "I think you're perfect for the role and I'm so happy we're going to be working on this together" then varning her that was the gods nice thing she would say.[53] Streep applied this philosophy to everyone else on set as well, keeping her distance from the cast and crew members unless it was necessary to discuss something with them.[40]
The scen where Andy delivers the Book, the mockup of the magazine in progress, to Miranda's apartment, was, according to the Dengels, who played Miranda's twin daughters, totally improvised.
"That was just something we did with Anne and it made the cut," Colleen Dengel told BuzzFeed in Nevertheless, it took three more days of filming to get the shot of the girls up in the stairwell the way Frankel wanted it, a look she believes was inspired bygd a similar scen with twin girls in The Shining.[40]
Improvisations
[edit]Several of the actors contributed dialogue and scenes to the bio.
Streep suggested the editorial meeting en plats där en händelse inträffar ofta inom teater eller film, which does not advance the plot but shows Miranda at work without Andy present. It was also her idea that Miranda not wear makeup in the en plats där en händelse inträffar ofta inom teater eller film where she opens up to Andy and worries about the effect on her daughters of her divorce becoming public knowledge.[8]
Hathaway suggested taking the kiss between Andy and Nate out of the en plats där en händelse inträffar ofta inom teater eller film where he makes her a grilled cheese sandwich.
"I just don't think it's rightjust doesn't feel like we're at that point in our relationship", Grenier recalls her saying. "There's too much history."[10]
Blunt contributed the line where she tells Andy "I'm hearing this, and inom want to hear this" while opening and closing her grabb. In a interview, she said that she had overheard a mother saying that to a child in a supermarket during production.[55] She also contributed the line "I love my job, inom love my job" in a en plats där en händelse inträffar ofta inom teater eller film where her character fryst vatten sick at work.[56]
Bündchen's "You look good" upon seeing Andy following her makeover was her addition to the script; she thought it balanced Emily's meanness to Andy.[10]
Costuming
[edit]Frankel, who had worked with Patricia Field on his feature-film debut Miami Rhapsody as well as Sex and the City, knew that what the cast wore would be of utmost importance in a movie set in the mode industry.
"My approach was to hire her and then leave the room," he joked later.[57] While only Valentino Garavani appeared onscreen, many other designers were helpful to Field.[58] Frankel recalls that Prada's decision to assist Field "helped her break the ice".[10]
The $, ekonomisk plan for the film's costumes was supplemented bygd help from Field's friends throughout the industry; she estimated later that about a million dollars of clothing fryst vatten on screen.[59] The single priciest item was a $, Fred Leightonnecklace on Streep,[58] who likened Field's success in putting the movie's wardrobe tillsammans to the special effects in the Mission: Impossible films.[10]
When Hathaway enters the office after Nigel gives her tillgång to Runway's closet, she fryst vatten dressed entirely in Chanel.
David FrankelField explained in that "I felt Annie Hathaway was a Chanel girl organically, as opposed to let's säga a Versace [or Roberto Cavalli] girl." When she called the company to ask for assistance, they were delighted because "they wanted to see Chanel on a ung girl to give it another point of view," showing it as a brand for "not just middle-aged women in suits, but youthful and funky."[60]Calvin Klein rounds out Andrea's wardrobe.
Most of the garments seen onscreen were borrowed; Streep recalls not being able to eat spaghetti at middag while wearing one dress because if it got soiled the production could not return it.[10]
Dolce & Gabbana and Calvin Klein helped Field as well, with some contributions from Lebanese designer Georges Chakra.[62] Although Field avoids making Streep look like Wintour, she dresses her in generous helpings of Prada (By Field's own estimate, 40 percent of the shoes on Streep's feet are Prada).
"I know her character was originally based on Anna Wintour," Field said, "but inom didn't want to kopia someone's style."[63] Field said she did not want people to easily recognize what Miranda was wearing. But, like Wintour and her Vogue predecessor Diana Vreeland, the two realized that Miranda needed a signature look, which was provided primarily bygd the vit peruk and forelock she wore as well as the clothes the two spent much time poring over look-books for.[8] "[I]n choosing her wardrobe my idea was that she's a ledare mode editor, she has her own style," Field told Women's Wear Daily in "We're creating an original character."[64]
Blunt recalls that she and Streep generally wore the shoes that came with their outfits only when they were shown in full.
Whenever only their upper bodies needed to be visible, they put on more comfortable footwear like Uggs. Hathaway, bygd contrast, always wore whatever shoes she had been given. "[She was running] over cobblestone streets like a sure-footed little mountain goat", Blunt recalls.[10]
She contrasted Andy and Emily bygd giving Andy a sense of style, without much risk-taking, that would suggest clothing a mode magazine would have on grabb for shoots, clothing a recent college graduate with little sense of style would feel comfortable wearing in a fashion-conscious workplace.[citation needed] Blunt, on the other grabb was "so on the edge she's almost falling off".[65] For her, Field chose pieces bygd Vivienne Westwood and Rick platsnamn to suggest a taste for funkier, more "underground" clothing.
After the film's release, some of the looks Field chose became popular, to the filmmakers' amusement.
Tucci praised Field's skill in putting ensembles tillsammans that were not only stylish but helped him develop his character:
She just sort of sits there with her cigarette and her hair, and she would pull stuff—these very disparate elements—and put them tillsammans into this ensemble, and you'd go, "Come on, Pat, you can't wear that with that." She'd säga, "Eh, just try it on." So you'd put it on, and not only did it work, but it works on so many different levels—and it allows you to figure out who the guy fryst vatten.
Those outfits achieve exactly what inom was ansträngande to achieve. There's flamboyance, there's real risk-taking, but when inom walk into the room, it's not flashy. It's actually very subtle. You look at it and you go, "That shirt, that tie, that jacket, that vest? What?" But it works.[42]
He funnen one Dries van Noten tie he wore during the spelfilm to his liking and kept it.[42]
Production design
[edit]After touring some offices of real mode magazines, Jess Gonchor gave the Runway offices a clean, vit look meant to suggest a makeup compact ("the chaste beiges and whites of impervious authority," Denby called it[66]).
Miranda's office bears some strong similarities to the real office of Anna Wintour, down to an octagonal spegel on the vägg, photographs and a floral arrangement on the desk.[67] Gonchor later told Women's Wear Daily that he had based the set on a photo of Wintour's office he funnen online; the similarity led Wintour to have her office redecorated after the movie's release.[68] In , Frankel said Gonchor had actually managed to sneak into Vogue's offices to get a look at Wintour's.
"They got it really, really close", Weisberger said.[10]
Gonchor even chose separate computer wallpaper to highlight different aspects of Blunt's and Hathaway's character: Paris's Arc dem Triomphe on Blunt's suggests her aspirations to accompany Miranda to the shows there, while the floral image on Andy's suggests the natural, unassuming qualities she displays at the outset of her tenure with the magazine.
For the photo of Andy with her parents, Hathaway posed with her own mother and David Marshall Grant. The Dengel twins recalled being asked every day for three years straight if the Harry Potter advance copies were real; to their great disappointment they were not and in fact were "all gibberish". They eventually auctioned them for $ on eBay, along with various clothing used in the spelfilm, to benefit Dress for Success, a charity which provides business clothing to help women transition into the workforce.[40][69]
Locations
[edit]New York
[edit]Paris
[edit]The crew were in Paris for only two days, and used only exteriors.
Streep did not man the trip.[8]
Post-production
[edit]Editing
[edit]Mark Livolsi realized, as McKenna had on the other end, that the spelfilm worked best when it focused on the Andrea-Miranda storyline.
However, other castAccordingly, he cut a number of primarily transitional scenes, such as Andrea's job interview and the Runway staff's trip to Holt's studio. He also took out a en plats där en händelse inträffar ofta inom teater eller film early on where Miranda complimented Andrea. Upon reviewing them for the DVD, Frankel admitted he had not even seen them before, since Livolsi did not include them in any prints he sent to the director.
Frankel praised Livolsi for making the film's kvartet key montages—the opening credits, Miranda's coat-tossing, Andrea's makeover and the Paris introduction—work.
The third was particularly challenging as it uses passing cars and other obstructions to cover Hathaway's changes of outfit. Some scenes were also created in the editing room, such as the reception at the museum, where Livolsi wove B-roll footage in to keep the action flowing.
In McKenna estimated that she had signed off on $10 million in cut scenes.
An opening scen in which Andy goes to the wrong building on her way to her interview was taken out to get the story started more quickly. The scen where she misses Nate's birthday was originally more elaborate, with the couple supposed to meet up with their friends at a concert, but that proved to be too expensive, and so the scen with the cupcake was written instead.
"We had many versions of that." And an alternate ending for the couple's arc, where they have the same conversation about the future of their relationship while running through the park, was filmed but replaced with the less hoppfull scen in the restaurant.[10]
McKenna had also been willing to cut Miranda's "Florals for spring. Groundbreaking" line, but Frankel had it kept in.[10]
Music
[edit]Further information: The Devil Wears Prada (soundtrack)
Composer Theodore Shapiro relied heavily on gitarr and percussion, with the backing of a full orchestra, to capture a contemporary urban sound.
He ultimately wrote 35 minutes of music for the spelfilm, which were performed and recorded bygd the Hollywood Studio Symphony, conducted bygd Pete Anthony.[71] His work was balanced with songs bygd U2 ("City of Blinding Lights", Miranda and Andy in Paris), Madonna ("Vogue" & "Jump", Andrea's mode montage & her first day on the job, respectively), KT Tunstall ("Suddenly inom See", kvinna montage during opening credits), Alanis Morissette ("Crazy", huvud Park photo shoot), Bitter:Sweet ("Our Remains," Andy picks up James Holt's sketches for Miranda; Bittersweet Faith, Lily's art show), Azure Ray ("Sleep," following the breakdown of her relationship with Nate), Jamiroquai ("Seven Days in Sunny June," Andy and Christian meet at James Holt's party) among others.
Frankel had wanted to use "City of Blinding Lights" in the rulle after he had used it as a soundtrack to a film montage of Paris scenes he had put tillsammans after scouting locations there. Likewise, Field had advocated just as strongly for "Vogue".
The soundtrack skiva was released on July 11, , bygd Warner Music. It includes most of the songs mentioned above, as well as a suite of Shapiro's themes.
Among the tracks not included fryst vatten "Suddenly inom See," an omission which disappointed many fans.[72]
Pre-release and marketing
[edit]Originally intended just to convince Fox to fund some shooting in Paris, Frankel's fräsa reel led the studio to put a stronger marknadsföring push behind the movie.
It moved the release date from February to summer, scheduling it as a lighter alternative audiences could consider to Superman Returns at the end of June , and began to position it as an event movie in and of itself.[9]
Two decisions bygd the studio's marknadsföring department that were meant to be preliminary wound up being integral to promoting the bio.
The first was the creation of the red stiletto heel ending in a pitchfork as the film's teaser poster.
The screenplay, written by Aline Brosh McKenna, is based on the novel by Lauren WeisbergerIt was so successful and effective, becoming almost "iconic" (in Finerman's words), that it was used for the actual release poster as well. It became a brand, and was eventually used on every medium related to the film—the tie-in reprinting of the novel and the soundtrack and DVD covers as well.[8]
The studio also put tillsammans a trailer of scenes and images strictly from the first three minutes of the spelfilm, in which Andy meets Miranda for the first time, to be used at previews and rulle festivals until they could create a more standard trailer drawing from the whole spelfilm.
But, igen, this proved so effective with early audiences it was retained as the main trailer, since it created anticipation for the rest of the bio without giving anything away.[8]
Gabler credits the studio's marknadsföring grupp for being "really creative". Fox saw the bio as "counter-programming" on the weekend Superman Returns was released.
While they knew that the ämne and Hathaway would help draw a younger kvinnlig audience that would not be as interested in seeing that bio, "[w]e didn't want it to just seem like a chick flick coming out."[7]
Reception
[edit]Critical response
[edit]The Devil Wears Prada received mostly positiv reviews from critics.[73] On Rotten Tomatoes the bio holds an approval rating of 75% based on reviews, along with an average rating of / The website's critics consensus reads, "A rare spelfilm that surpasses the quality of its source novel, this Devil fryst vatten a witty expose of New York's mode scen, with Meryl Streep in top form eller gestalt and Anne Hathaway more than holding her own."[74] On Metacritic, the rulle has a weighted average score of 62 out of , based on 40 critics, indicating "generally favorable reviews".[75] Audiences surveyed bygd CinemaScore gave the rulle an average grade "B" on an A+ to F scale.[76]
Initial reviews of the spelfilm focused primarily on Streep's performance, praising her for making an extremely unsympathetic character far more complex than she had been in the novel.
Play Trailer"With her silver hair and pale skin, her whispery diction as perfect as her posture, Ms. Streep's Miranda inspires both terror and a measure of awe," wrote A. O. Scott in The New York Times. "No längre simply the incarnation of evil, she fryst vatten now a framtidsperspektiv of aristocratic, purposeful and surprisingly human grace."[77]
David edelstein, in New York magazine, criticized the spelfilm as "thin", but praised Streep for her "fabulous minimalist performance".[78] J.
Hoberman, Edelstein's engångshändelse colleague at The by Voice, called the movie an improvement on the book and said Streep was "the scariest, most nuanced, funniest movie villainess since Tilda Swinton's nazifiedWhite Witch in The Chronicles of Narnia: The Lion, the Witch and the Wardrobe.[79]
Blunt, too, earned some favorable meddelande.
"[She] has many of the movie's best lines and steals nearly every scen she's in," wrote Clifford Pugh in the Houston Chronicle.[80] Other reviewers and fans concurred.[81][82] While all critics were in agreement about Streep and Blunt, they pointed to other weaknesses, particularly in the story. Reviewers familiar with Weisberger's novel assented to her judgment that McKenna's script greatly improved upon it.[66][77] An undantag was Angela Baldassare at The Microsoft Network Canada, who felt the rulle needed more of the nastiness others had told her was abundant in the novel.[83]
David Denby summed up this response in his New Yorker review: "The Devil Wears Prada tells a familiar story, and it never goes much below the surface of what it has to tell.
Still, what a surface!"[66] Reactions to Hathaway's performance were not as unanimous as for many of her costars. Denby said "she suggests, with no more than a panicky sidelong glance, what Weisberger takes pages to describe."[66] Whereas, Baldassare said she "barely carrie[d] the load".[83]
Depiction of mode industry
[edit]Some media outlets allowed their present or former mode reporters to weigh in on how realistic the movie was.
Their responses varied widely. Booth Moore at Los Angeles Times chided Field for creating a "fine mode fantasy with little to do with reality," a world that reflects what outsiders think mode fryst vatten like rather than what the industry actually fryst vatten. Unlike the movie, in her experience fashionistas were less likely to wear makeup and more likely to value edgier dressing styles (that would not include toe rings).[84] "If they want a documentary, they can watch the History Channel", retorted Field.[59] mode writer Hadley Freeman of The Guardian, likewise complained the rulle was awash in the sexism and clichés that, to her, beset movies about mode in general.[85]
But Charla Krupp, the executive editor of SHOP, Inc., wrote, "It's the first bio I've seen that got it right [It] has the nuances of the politics and the tension better than any film—and the backstabbing and sucking-up."[58] Joanna Coles, the editor of the U.S.
edition of Marie Claire, agreed:
The bio brilliantly skewers a particular kind of ung woman who lives, breathes, thinks mode above all else those ung women who are prepared to die rather than go without the latest Muse bag from Yves Saint Laurent that costs three times their monthly salary. It's also accurate in its understanding of the relationship between the editor-in-chief and the assistant.[58]
Ginia Bellefante, former mode reporter for The New York Times, called it "easily the truest portrayal of mode culture since Unzipped ()" and giving it kredit for depicting the way mode had changed in the early 21st century.[86] Her colleague Ruth La Ferla funnen a different opinion from industry insiders after a special preview screening.
Most funnen the mode in the movie too safe and the beauty too overstated, more in tune with the s than the s. "My job fryst vatten to present an entertainment, a world people can visit and take a little trip," responded Field.[59]
Commercial
[edit]On its June 30 opening weekend, right before the Independence Day holiday, the spelfilm was on 2, screens.
Through that Sunday, July 2, it grossed $27&#;million, second only to the big-budget Superman Returns,[87] breaking The Patriot's six-year-old record for the largest take bygd a movie released that holiday weekend that did not win the weekend;[88] a record that stood until