تدريب Shadowing: Devil Wears Prada 2 cast explain why they came back | BBC News - تعلم التحدث بالإنجليزية مع YouTube
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Miranda, Andy, Emily and Nigel are back for The Devil Wears Prada 2.
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Miranda, Andy, Emily and Nigel are back for The Devil Wears Prada 2.
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And 20 years on from the first film, we're here in London to speak to the cast.
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Stanley Tucci, Emily Blunt, Anne Hathaway and of course, Meryl Streep.
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Oh my God, just hide a feeling for once, please.
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You know, there is a crisis in print media, in journalism right now.
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So, you know, how did it feel to partake in something that is so culturally relevant and kind of bring weight to that idea?
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Well, that was the only way that we would sign on to do a sequel was if it spoke to the moment.
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You know, everything, I think, has to have its own necessity for being.
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There has to be a reason for doing something.
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Do you think that people will see this film and not know about the journalism industry and what it's going through and perhaps learn something?
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I think you'd have to be under a rock not to know, not to feel these seismic changes in every part of society.
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When we made the first movie it was before the iPhone even was released.
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So the world has changed profoundly.
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We're all carrying these devices and they're all about to take our jobs.
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So I was listening to the New York Times podcast feature the other day.
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There was a plea from the editor-in-chief of the New York Times saying this is normally the point where I would ask you to subscribe to the New York Times, but today I'm going to ask you to subscribe to any long-form journalism.
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Support any newspaper, local, national, anything, because we really really need you.
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And that for me was like a clarion call.
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I'm like when the New York Times is out there pitching for the health of the entire industry.
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That's a big, that's a big, I'm not sure we've been here before.
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One of the things that I think the film does really well is shows that you have to participate in the world that you want to live in.
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And so that's what I hope.
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I hope that people realise that the fate of journalism really rests with them.
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Andy's character inspired lots of young people, myself included, to go into journalism.
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Nice!
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Really?
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Yeah, watching it as a little girl, like growing up, I was like maybe I could be a journalist.
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That's beautiful, thank you for telling me that.
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Do you have a hope that, you know, people take something else from this film that there's a, you know, that when they grow up that they can be inspired as well?
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Yeah, I absolutely hope that people take hope from this because it sounds like We've made you know Spotlight or something.
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We've made The Devil Wears Spotlight.
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There's a lot of fun and fashion and what I hope people take is just to preserve the human.
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And kind of selfishly I do hope that people are inspired to dream for their lives because of this movie like you were from the first one because that's what movies mean to me.
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You know when I was a kid certainly couldn't travel the world but I saw so much of it through movies and now it's very different.
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We've got devices and you can see a lot more but actually seeing a story that centers around a character that you can connect to that that inspires you to invent, to invent your life.
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That's a huge reason why I don't know why I'm sitting here right now and so because I love movies because movies are also under siege right now like journalism like fashion like all of these things.
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I do hope people get inspired because I think it will deepen their love for movies.
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For young women who who pursue a career it's always been ambition is seen as a an unattractive quality in women
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and we would hope that feeling would be obsolete but it isn't and it's still alive and kicking
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and so it's it's i think it's great that this film has andrea has made her decisions about her life what she's kept in the forefront she's kept her dreams and her and her conscience both alive and done it through her work.
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And you do have to say that you know stories about women who love what they do and who work at it and who do prioritize it, they're a few and far between in Hollywood so I think that's why this one resonated with people 20 years ago.
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I think that's why people are responding to it this time because there are a lot of us out there who feel that way and it's nice to see it's
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it's it's lovely and Emily I guess you know your character is a tastemaker has always been I mean she'd like to think so but because she sets
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the standard doesn't she of kind of how we we look at fashion we look at the fashion industry yeah and I think that she she's a
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very bold sort of wild dresser I mean everything she wears is so outrageous I think everything she wants to do is pull focus towards her and to be deemed iconic.
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And yet I do feel in how she's branched out as this big executive at Dior, that she's sort of moved with the time.
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She's evolved.
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She understands where her bread is buttered.
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She knows where the money is, and it is in retail.
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And she's kind of shameless about that.
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And yet I do think still wants to be iconic.
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Well, she wants to be Miranda.
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Yeah.
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One of the things that was really important about this film was getting the tone right.
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So talk to me about the early stages of development when you got your scripts.
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How did you feel about where this film was being taken?
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Well, I think we like the context of it and we like, obviously, the setting of it,
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and the fact that it's dealing with the issues of today, which is the loss of control that journalists have because of social media and because of AI.
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And I like that it addresses that.
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But, yeah, we got the script and it was good and then we gave our notes and then that was better.
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And why do you think it was important, I think you kind of touched on it there, to kind of retain that integrity that came with the first film in terms of centering, sorry, Stanley, around three women and yourself,
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but to keep that as the focus, I know you say there's the FaceTimes, there's the kind of relationships but really it's about these three women and their lives and their careers.
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This man as well, I don't agree.
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I beg to differ.
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I'm sorry but thank you for coming.
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This is about the core four and how they adjust and reflect off each other.
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I think that, I think it's people love these characters.
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They loved them a lot more than we realized.
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And you want to see how they rock in this whole new world.
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Yeah, I think that, no, I understand what you're saying about the three women.
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I do.
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And I think that the thing is, Nigel is there to help Miranda in any way he can, you know.
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He's always sort of behind the scenes a bit, a lot.
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And all he wants is for her to be successful.
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And he wants what they created together to remain a success and to continue with integrity.
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But he does take a back seat, there's no question.
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I think she would be rather lost without him.
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That kind of steady devotion.
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She'd be nothing.
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She'd be nothing without me.
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A huskable woman.
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And neither would Meryl Streep, right?
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Well, no need to say that.
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Oh boy.
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And I guess, you know, this is a film, you said that it's so well loved, the first film.
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With the second film, there is, you know, there's a lot about kind of repenting or growing up.
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And I think that reflects the audience, right?
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That is gonna be watching this film.
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They might have been really young, you know, when they saw it, and now they're grownups.
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So how do you kind of bridge that gap?
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Yeah, I don't think you...
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I think you bridge the gap simply by making the best movie you can.
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I don't think you can try to cater to any of those demographics.
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The beauty of the film, of the first film, is that it touches every demographic, even those that I don't think people thought it would ever touch.
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Like men who are dragged along unwittingly.
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Yeah, men who are dragged along.
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Guys will come up to me and say, you know...
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Conspiratorily.
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Conspiratorily, yeah, because they don't want anyone to know.
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It's weird.
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They'll go like, you know, that movie you made, you know, my wife, she dragged me.
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I didn't want to go.
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But, you know, I saw it.
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I loved it.
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I mean, you were great.
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But then they're checking.
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And then they go like, yeah, anyway.
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Anyway.
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