Pratica di Shadowing: Emily Blunt & Anne Hathaway | Actors on Actors - Impara a parlare inglese con i video
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I'm actually time traveling.
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I'm actually time traveling and I'm on the set with you
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and it takes just about to go and you've just said something really, really funny.
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And I'm just sitting on top of this bubble.
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Or we'd make fart noises.
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They'd be like, rolling, rolling, and I'd be like .
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All right, yeah, we're back.
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We're back.
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Hi, honey.
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Hello, hello.
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So, I'm sure everyone is curious, how did we meet?
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We met, did we meet before the table read of Devil Wears Prada?
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Was it at the table read?
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This is so embarrassing because I remember every second of the first time I met you and you're like, did we?
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No, because I also am very blurry on most memories.
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I'm so much more into you than you are in a movie.
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It's fine.
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It's fine.
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How did we meet?
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I remember because I was during the cast just before you.
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Yeah.
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And I was like, oh, who's going to play Emily?
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Who's going to play Emily?
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And he said...
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They were like some random who no one's ever heard of.
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No, he hadn't been cast yet.
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And so, no, no, what I mean is...
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That was a bad joke.
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What I mean is I was hearing that, you know, your name came up.
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And they said, it's this amazing girl out of England and she's so funny.
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And then I remember David calling and saying that you'd gotten the part.
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And I remember walking into the room and like turning and meeting you.
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And I just remember going like, hi, buddy, in my head.
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And instant thought, I was like, what a movie star.
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What?
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First thought, like there was like, you were like shedding stardust.
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It was crazy.
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Are you getting this?
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And I just remember thinking to myself, Emily Blunt is going to be the biggest deal.
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and then we just chatted and we went for coffee and I took you for a walk around where I live.
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So I will say I was just talking to our mutual friend this morning to Jen
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and I was saying you know I was so green coming into
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that situation and I said she was so kind to me
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and I didn't know New York I didn't know anyone
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and you were like the warmest embrace and you were
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so good to me and even though you were a colossal movie star at
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that time there was you treated me like a complete equal
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to you always you are one of the people i've known
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longest we've known each other for 18 years what 18 years
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our relationship is the age of an adult it really is
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an adult relationship it's crazy it's a drone a drinking age in some countries we are
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so drunk in england right exactly
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exactly it was the wildest thing
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and i know we just had a joy bomb of a time on
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that movie it was so wild i don't know
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if any of us knew it was going to become what
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it did i mean it's quoted to me every week i
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don't know about you it it will be the movie
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that changed my life and you couldn't have been kinder to me
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and truly truly because it was nerve-wracking
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and i mean we were both absolutely terrified we were but
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that last street i was i was
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so grateful to you your gift of a personality
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but also like your britishness
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because i found like the more nervous you get the funnier
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you are like yeah that's how i get myself in trouble i make stupid jokes no
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but thank god for them
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because i mean it was like i love what you said
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it was like a joy bomb just of non-stop mrs doubtfire references yeah
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and which now my children love stop so much oh my gosh they They quote a run by fruiting to me.
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And they try and do the voice and everything.
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Go on, do it for them.
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Oh, I saw him, dear.
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It was a run by fruiting.
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It's the best.
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It's the best.
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Oh, the terrorists, they ran that way.
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It was a run by fruiting.
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So we are in the Dev Wars Prada Club together, which is incredible.
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And now we're in another club together, the Christopher Nolan Club.
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Oh, yeah.
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Oh, yeah.
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Oh, yeah.
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Captain Extraordinary.
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I have been calling to him all fucking day.
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When we did Interstellar, Matthew McConaughey noted that when we were up in the glacier, like the colder it was and the harder the conditions were,
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like the bluer Chris's eyes got and the blonder his hair was and he just...
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I always feel with Chris's hair, I can tell when he's very happy with a take because his hair starts to dance.
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He has quite expressive hair, I noticed and I can tell, it's almost like he sort of vibrates a little bit when he's really happy with the take.
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He's not going to tell you that he's that happy because he's very English and so his version is like, happy?
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Yeah, moving on, okay.
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Yeah, alright, let's go.
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And you're like, was it good?
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You know.
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I remember when I first met Robert Downey Jr. I said, you're going to just love it so much
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and the screws are going to get tightened on you so much and it's just the most focused, wonderful, unchaotic set.
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I said, but you're going to get some very British compliments there will be no smoke blowing up your ass
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and you're gonna have to be all right with it but um
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he is extraordinary he's like a tempest of a talent encased in this completely
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calm or authoritative person but he's fun isn't he and warm
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and accessible and it's all those things
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that people kind of don't assume about him i think everyone's in very intimidated i think very very very intimidated
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and it's so exciting when you talk to him
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and you realize he's still a human being yeah having a life
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that is very real good dad and
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and yeah like we've all been on those sets where the
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director is like a bad dad you know what i mean
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like a bad dad a bad dad who has an ego
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and agenda and i just feel chris is a good one the part
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that blows my mind about about Chris is that he, because he is authoritative in the best sense of the word, is how deeply he really listens.
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Oh my God, so curious.
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And he's so present with you.
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Yeah, did you like how he'd stand by the camera and watch you, like no monitors, no sort of yelling from the tent in a puffy coat as we're all freezing.
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He's there freezing with you and he's just watching you and he's leaning into you.
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And it's all about the work.
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Yeah, completely.
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And the whole set is so focused on that.
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Yeah, I remember when I was on Dark Knight Rises, one of the crew members, we were just chatting one day, she said, you know, I've really got imposter syndrome being here.
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I said, oh really?
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She said, yeah, but then someone else told me, if you're on a Christopher Nolan set, that means you might be one of the three best people at your job in the world.
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Wow.
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And I thought about that, and I was like, it's kind of true, actually.
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And so I just, I mean...
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I remember this day, because he really expects it from everyone, you know, he really wants that kind of excellence.
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Because he gets it.
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He brings it.
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He gives it.
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And he, you know, he just, the magnitude of what he is capable of, I think he just expects the same from everyone.
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I remember we were doing this shot around a table
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and it was a very difficult shot to get as the dolly's coming behind me like that.
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And we did it a few times and we couldn't get it.
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And the dolly had to come around to me and rack focus as I turned to Killian and the whole scene's about, she's a drunken mess and everything.
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As per usual.
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Again.
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Again.
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And it comes around and it was just hard to get it right.
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And so I said, do you want me just to turn on a specific line, Chris?
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And he goes, no, that's not for you to worry about.
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He goes, cause that's why I've hired the best, right, Ryan?
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Because you're gonna get it, aren't you?
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And Ryan on the dolly was like, absolutely, you know.
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But it was just kind of that assumption that he would get it and he did get it.
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And it was just, I don't know, he just is.
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I just love him.
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I know, it's kind of hard to express because I love what you said about the magnitude of him.
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And so the last thing you expect from someone like that is that they're also kind.
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Oh, so kind.
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And they also really value kindness.
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Yeah.
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I remember there was this one day we were doing a shot on Dark Knight Rises, and he came to me beforehand.
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He said, now I just want you to know, the shot has lived in my head for many years.
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Oh, God.
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So I'm going to be very specific about it.
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I'm going to make you do it a lot, but it's not actually you.
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It's just because I have it in my head a certain way.
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And I just, I couldn't, because he didn't have to, like, I would have done it however many times he wanted.
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Like a thousand, a thousand more.
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Like whatever you need.
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Just to preface it by saying so that you didn't shrink and start to question yourself.
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Exactly.
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He's just, he's wonderful.
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I get lost for words about it.
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I mean, we all felt that way.
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And we're all so proud to be in it.
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Like we're so blown away.
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Can I tell you that I saw that watching the movie?
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Yeah.
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Because the movie is, the movie's the movie
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and I am at a loss for words and you are just so wonderful in it.
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I was so...
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Just because I've known you for so long, I was so proud of you.
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Oh, thank you.
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She was so different than you.
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Yeah.
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Like, so different.
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And you're so warm and you're so funny and you're just like...
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Just a room is better with you in it.
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And she's kind of like the opposite of you.
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She's kind of like a dying star that, like, contracts...
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Yeah.
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...painfully and dramatically and reacts to things and is frightening.
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You don't get to commit the sin and then I will all feel sorry for you that you had consequences.
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Knowing you as I do, I knew that that's a stretch.
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So the way Kitty contracts around her life, you know, rather than kind of opening to it,
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and then when she finally does open and you realize,
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oh, God, the pain that she'd been in the whole time and sort of the indignity of her life, that someone...
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That's an amazing word to use and actually the perfect word to use.
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And I so appreciate everything that you're saying.
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I can't even tell you.
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It's so, because you speak so beautifully and you kind of word things
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that even I haven't quite been able to grasp about her and what it meant to play her.
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I did find her ferocity so exciting.
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I thought she was so exhilarating.
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I mean, he was her fourth husband by the time she was 29.
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Like, clearly she was a bit of a nonconformist for the time.
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And that deterioration that she goes through, and the indignity, as you say,
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of having to contort herself into something that was so unnatural
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for that extraordinary brain and the capacity of it that was so straightjacketed and squandered really and wasted.
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And I understood the anger so much and the resentment at her lot in life,
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you know, and why she must have just wanted to numb it out, you know.
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Yeah.
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And the isolation and loneliness of Los Alamos, you know, she was a big party animal as well.
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Yeah.
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Yeah, she'd throw cocktail parties, but she wasn't good at the small talk.
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She didn't like doing it.
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And so she definitely got the reputation of not being terribly nice.
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And I understand why.
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But she was a bad mother.
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She did not read good housekeeping, you know, at all.
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She did not subscribe.
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But she knew she needed a kitchen.
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She knew she needed a kitchen, but she was probably not a very good...
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Just to shake up a martini.
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Where else were you going for the ice?
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Where's the freezer?
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I kind of fell in love with her completely and all of her ugliness.
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Yeah.
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Loved it.
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It's just it was all so very long ago, Mr. Rob, wasn't it?
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Not really.
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Long enough to have forgotten.
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Could you return the card or rip it up?
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The card whose existence I've forgotten.
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That scene that you talk about,
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the testifying scene, I saw it as that reclamation of that brilliant brain,
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like coming back to life.
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And when all the odds were against her
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and no one believed in her and she was so volatile and so unpredictable at that time, it was so exciting.
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It's such a cool setup that Chris gave me, you know, and it literally says in the script, she's barely walking in a straight line, getting into the, and you're just like, oh my God, she's going to choke, you know.
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Oh, and the way you choke.
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The way you did before he gives you the glass of water.
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The thing I loved was I couldn't tell.
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You managed to make me equally believe that it was put on, she was luring them in, and that it was something that was happening
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and she was smart enough to know how to lean into it and use it.
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And she was playing chess with the moment.
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But I couldn't tell right off the bat if it was something that she was like, I know exactly how they see me.
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I know exactly where their biases are and I know exactly how to play them.
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Yeah.
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I also remember in the scene, Jason Clarke, who's just a great dance partner, you know, for a scene.
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Yes.
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He's so brilliant.
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Yes.
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But I remember he said to Chris, I think I'm going to just move my chair in and I'm going to get really close to her.
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And actually, I remember it made me like bristle and it kind of made me go, let's roll.
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Like, let's do this.
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Do you mean that he, because he and the character, or wanted to invade your space?
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Yeah, he wanted to intimidate me and invade my space.
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And like that thing is most women have experienced when a man tries to intimidate you.
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You go up to the wall, but not through it.
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That's right.
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And it's just like, it kind of just makes you want to fight.
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Yeah.
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It was really fun.
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It was a very exhilarating scene.
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It was so fun.
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It looked really, really fun.
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And when you let this cackle out, I was like, there she is.
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I was so relieved.
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There she is.
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Probably like relieved.
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Yeah, it was a really, It's such a heroic moment for her,
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and I'm so grateful that she gets that moment because she had deteriorated to such an extent.
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It was so wonderful to give her a moment of soaring at the end.
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The whole metaphor of a star dying and what Chris did with the cinematographer.
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Who was your cinematographer?
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Hoite van Hoite.
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It was Hoite?
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I thought it was.
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Hoite did Interstellar.
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Oh, he's just heaven.
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He's heaven, he's so brilliant.
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I know, he is.
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And they're like soul twins together.
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Chris and Hoytta.
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So I worked with Hoytta and Chris on the first one, so they must be like so deep in love.
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You can tell.
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They're secret language stuff.
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You can tell how in love they are.
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Every shot, I mean every time.
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Chris loves Hoytta more than anyone in the world, I think.
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I mean, apart from Emma and his children, sorry.
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But she's this quickly.
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But the whole cast felt, it was one of those thrilling things because you know what it is.
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Like there's the moment, the times when you're number one on the call sheet, you're the Killian of the cast, and then there's the ensemble work.
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And it's such an exciting place to be as an actor, to be like, okay, I don't just get my moment, I just don't get my solo,
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but I have to hold space for everybody.
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And you're like, this job is about being present and listening and creating the veracity of the world around this person.
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It's so true, and actually, because it's told from Killian's perspective, he's so extraordinary and mercurial and all of those things
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and intimate oh god so intimate in his he's so intimate
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and he's so vulnerable and beautiful
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but i think all of these other characters come in who are quite colorful you know
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and they just extract different facets of this
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very mysterious personality and so i i kind of love
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that all of our scenes were so i feel like i would jet pack in
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and just have these very high octane emotional scenes with him and then
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leave and then come back ten days later and do another thing.
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I mean, it was much easier for us.
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But it also seems to me like that's the Chris of it and the Oppenheimer of it.
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It's like that thing I could see every single cast member aware that they were in the presence.
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That's right.
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Of probably the best director that they were ever going to work with.
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Oh, I think, you know, and so it's that extra, I saw it.
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I saw it and then there was one scene, there was like 20 speaking parts in it.
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And everybody was so, it was just like actor.
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I was in such heaven because everyone was so open, so listening and so specific in their part.
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Everyone had worked their craft so much.
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Yeah.
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If they had a line, if they were just in the scene.
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Yeah.
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The entire cast showed up so prepared.
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It was beautiful that way.
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It was so focused.
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That level of respect and inspiration.
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Well, he kind of, I mean, you just do.
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Like, he walks in the room and you know it's going to be a very rare day.
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Day after day was a rare day.
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It was amazing.
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Wake up!
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It is Strauss.
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It's always been Strauss and you know it.
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Why won't you fight him?
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The film was a hit.
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I know.
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The film was a hit.
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It was so big.
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It was so like historical drama, even though I don't even want to call it that
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because I think it's like a horror movie and it's a love story and it's a chase thriller and it's just...
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Paranoid thriller where at the end you're just like, but I actually do have so much to be scared about.
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Like I'm not paranoid.
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Yes.
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It's just very, very terrifying.
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Kind of like a three hour heart attack, the film.
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You know?
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Little bit.
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Completely.
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I couldn't feel my legs afterwards.
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I remember staggering towards Chris going, I don't know how to describe this experience.
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But I can't believe, none of us, none of us, we are all very awestruck by the success of it
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and that people ran to the theaters and they ran over and over again to see it.
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And I don't think even Chris understands how it all happened.
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I think we're all just enjoying this kind of meteoric moment that's really difficult to word.
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And I think people want the full kidnap of an experience, and you are going to get that with a Chris Nolan movie.
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Absolutely.
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I think that kind of togetherness
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that people crave we crave experiencing something in the dark together
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and being pinned to our seats by the experience
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that is impossible to word and I think people are overwhelmed
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and heart-wrenched by it and he doesn't sort of presuppose
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that you're not going to understand anything he's really uncompromising in that vision.
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He expects you to be at your most heightened awareness of what's going on
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and like he doesn't leave anyone behind but he's also nothing spoon-fed
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and I will never forget like I think when I realized
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that Oppenheimer was going to be part of a big movement and a very
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um significant moment in history in cinema it was you know
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because of the strike we were never able able to watch the movie with an audience any of us
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and it was really sad you know
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because I of all the movies I've done I was like is that one
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that I want to see at the premiere normally I don't
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even I don't really need to watch it at the premiere we'll go have a party
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or whatever but I really wanted to watch it with an audience
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and we didn't get to so I remember opening weekend John
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and I managed to find two seats at an IMAX in Nyack New York perfect in a shopping mall at 4 p.m.
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And we went and we snuck in when the lights went dark.
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And I saw a group of teenage boys coming in dressed as him in Nyack, New York.
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And I got like chills.
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I was like, oh my God.
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I remember calling Killian after so you're not gonna believe what I just saw.
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I love- Like 15 year old boys with like a fake martini.
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So with like pipes dangling out of them.
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Nyack, we love you.
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Yeah, Nyack, we love you.
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It was wild.
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It was wild.
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I have my own ideas.
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Kind ideas.
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You can never tell anyone, do you understand?
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Promise me.
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Okay.
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I found Eileen completely riveting.
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Thank you.
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And I was completely intoxicated by Rebecca.
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And I felt gripped by how you just would glide
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into this very muted world with this ferocious allure
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that you have you are so sexy in this movie it's crazy thank you she ruins it
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and you just would glide in and i couldn't figure out it's
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that thing of going do i want to be with her
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or be her it was just so ambiguous and seductive
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and your chemistry with eileen is just It's so beautiful
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and I couldn't even figure out
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if you were like almost a ghost of her mother or the idealized version of who her mother was.
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Like is she like a specter?
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Is she a friend?
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Is she a foe?
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Oh, it was so deliciously deceptive and it was just gorgeous.
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Never stop talking.
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Thank you.
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Oh my God.
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It was just so magnetic.
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I love the sound of your voice singing to sleep tonight.
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I always find you so magnetic, but there was something, I love you just embracing all of that kind of allure and sexuality and like it's just beautiful.
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And I want to know why you wanted to do it and what was it about the part that made you go, oh, I'm so in.
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Oh, thank you.
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You're welcome.
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Thank you.
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It's all true.
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It's beautiful.
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William Olderoyd, the director, made a film called Lady Macbeth with Florence Pugh.
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Yes.
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And I saw it when it came out because I'm always really curious about emerging filmmakers.
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And I was just, my jaw was on the floor.
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I mean, I couldn't believe it.
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I thought it was so bold.
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Her performance.
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Isn't she brilliant?
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Yes.
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Yes.
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She's brilliant.
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Really, really brilliant.
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And it was like Aphrodite coming out of a shell because I'd never seen her before.
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And then all of a sudden it was this person sitting in front of me picking her teeth
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and it was so unreal.
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And I thought, well, you know, it's his first film and she's new, so if it's all her, he knew what he had.
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And if it's him too, amazing.
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So I was really curious about what it would be like to work with him and then...
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What was he like?
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Dream.
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Really?
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Oh my gosh, he's so fun.
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He's so fun and he had this, first of all, he's brilliant.
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that kind of has come up through the theater.
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And so, and he's joyful.
432
Yeah.
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And he's funny.
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Yeah, you could feel it in the movie.
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There was like a sort of relishing the violence and the shocks.
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And there was this wonderful relishment of it that was wicked, you know.
437
He's a giggle of a person while also being, you know, delighted by darkness.
438
Yeah, it was wonderful.
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And then I was delighted by darkness.
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It was just, it was just, he knew exactly kind of how to pull you into this vortex of just this devilish darkness.
441
It was so cool.
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I think, and the thing about Will that I appreciated so much was we were in Indy.
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So like we had a tiny, tiny, tiny budget.
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What did you make it for?
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I don't remember, but it was in New Jersey.
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So I imagine eight to $11 million.
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And Ari Wegner was our cinematographer who just watching her work was so exciting.
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And, you know, she would need at the time she needed to for her art and her work.
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And then we would have so much to do.
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And it was indie and it was and we were all in wigs and, you know, all the underpinnings and all the stuff.
451
And I'd be like, we don't have enough time to shoot the scene.
452
The scene is so complicated.
453
And somehow Will would like dilate time around us.
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and all of the stress of being on an independent film set
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where you can imagine people are just like looking at the watch and kind of killing the vibe, Will body blocked the entire thing.
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Heaven.
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And actually, so I would come out of scenes like in a blackout thinking
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that we'd been filming it for seven hours and it had been like 50 minutes.
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Like it was just, it kind of started to, it was amazing.
460
And I had to trust him so much because it was such a, I was stepping so far outside my comfort zone, you know, with this one like
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because there's a version where you hug the safe stuff
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and you're just like i know how i look as a
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brunette i know how my voice sounds i know you know
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what uh what playing someone a little bit more like me is
465
and then i'm like yeah but it's so wonderful
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but this other person yeah but it was so dangerous
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and cool and i wanted we wanted her to be dangerous
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and it was great i remember it's okay to be a
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bit scared isn't it don't you find i feel like it's
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i feel braver now i love it i enjoy it yeah oh oh god
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when you mean when you're making it yeah it's a bit of terror is great i i'm I'm learning to enjoy it.
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This is the film that kind of got me to transition into enjoying it
473
because I remember sitting with a friend like just on a weekend, just like this.
474
And he's like, you okay?
475
And I'm just like, I think I've gone too far this time.
476
And he was just like, tell me everything.
477
And I'm just like, oh God, I'm blonde.
478
And I invented an accent.
479
And I'm just like, she's just, she's self invented.
480
And so I did all these, I just made all these choices that don't have any kind of, I don't know.
481
I'm not playing someone, I'm not basing it on anyone except for my own imagination.
482
This is the way I saw her and this is how I just want her to be.
483
And I just feel like maybe I've gone too far.
484
Oh, but that's why she's so, she's like this rare bird that comes in and just bewitches everybody.
485
And so it's sort of wonderful that everything was so put on because you couldn't get a beat on her.
486
That was the hope.
487
You couldn't get a beat on her.
488
She was so mysterious.
489
Well, he turned to me and he just goes, I hear that, but you'd have been so mad at yourself if you hadn't gone for it.
490
And I was just like, oh yeah, you're right.
491
And then the film came out and I realized I was
492
so happy because my instinct was to trust Will
493
and to trust everybody really and to just kind of get lost in the making of it because, you know, and especially being in that cast,
494
Thomas and Mackenzie and Marin Ireland.
495
Yeah, that monologue.
496
Oh my God.
497
Oh my God.
498
And Shea Whigham.
499
And so it was kind of like, stop worrying so much.
500
Just be here.
501
Just be here.
502
You're playing a part in this cast and it's a really important part because you're the one that makes everybody doubt everything.
503
Oh, that scream you do in the kitchen.
504
Thank you.
505
I actually went back and watched it again because I just loved it so much.
506
I was like, boop.
507
I think that's what I love about these moments of sort of startling force
508
that you had that was so out of nowhere.
509
You know, so she just felt so edgy and dangerous to me all the time.
510
And you could see this girl.
511
Thomason.
512
Thomason.
513
But I don't know if she had to even, you know, push anything in those scenes because she must have just been like that.
514
To Eileen, my Christmas savior.
515
Savior?
516
I didn't do anything.
517
Well, you being a friend, that's everything.
518
Cheers.
519
I want you to tell me about that bottle of wine scene
520
and how on earth did you open it like that and what, how?
521
Tell me everything about that moment.
522
Well, it was in the script.
523
Okay.
524
And we were in a home in January in New Jersey, and it said in the script,
525
she puts a bottle of wine in a shoe and hits it against the wall until the cork pops out.
526
That was a great trick.
527
Who's done that?
528
Does it work?
529
I know.
530
Does it work?
531
You just go, does it?
532
And the prop guy assured me that it did.
533
Should we just do it as a party trick now?
534
Now we should.
535
Now it's a thing now.
536
And TikTok, please, what are you?
537
TikTok, make this a thing.
538
And it was funny because that moment, I'm someone I love to be in a space ahead of time.
539
I love to work at my props.
540
I love to know my path with it.
541
And I don't remember which day of filming it on, but we were like, it was that thing where we were talking about that terror.
542
Like I was sitting on top of the terror And it felt like things were going okay, but it also, you know, you're flying so blind.
543
And I just remember grabbing the bottle and the first hit was so satisfying.
544
And I was just like, I know exactly why she is doing this.
545
And the cork popped out on one the first time because I was so, I was just so full of some kind of fury.
546
I didn't even know what it was.
547
Cause you know how sometimes you're like, I don't even know what's coming into me right now or what's, like, I'm downloading something, or channeling something,
548
it feels so, but there was this force to her in that scene.
549
And also she's been so poised up to that point and so in control,
550
and she's so disturbed and so unnerved by what's going on.
551
And she's just, she is sitting on top of a scream, and this is the moment that happens just before the scream.
552
And so to actually get the physical release,
553
because I feel like there's a physical component to the film as well about how people, we need to go crazy.
554
We do.
555
We need to bust out or we're just going to, oh, I can't say it because it gives away too much about the film,
556
but the film for me is such a metaphor as to why we keep falling backwards.
557
To me, the ending of the film is very ambiguous.
558
It is, it's so ambiguous.
559
I was like, more, no one needs to know more.
560
But that to me is the terrifying part of it.
561
I'm like, it's so ambiguous that sudden, I can't talk about it.
562
I just desperately wanted to know more.
563
I wanted to know what happened.
564
And that sort of ambiguous smile she has at the moment and whatever awakening you triggered in her,
565
you know that it has been life shifting and the fingerprints of you will be on her forever.
566
And it's just, it was terribly human as well.
567
Like we don't always have all the answers.
568
We don't always know what the outcome of things will be.
569
But I did love that in that scene with the wine and then into the scream, is that it's also a different side of you,
570
this wobbly, vulnerable, unnerved side of the character.
571
And you'd gone from being so pulled together and so poised and so exciting.
572
And then I think the danger, weirdly, is how weary you look and unnerved suddenly in that
573
and conflicted and I just didn't know what was going on with you in that scene and then you went,
574
I have her tied up downstairs and I was like, oh, sorry.
575
I love that you just brought up how weary she is
576
because that's what let me be so heightened in the beginning because I just thought, oh, I can have so much fun playing someone.
577
I kind of imagined her as something.
578
But what a thing to hold together.
579
So much pressure to uphold that mirage all the time.
580
So much pressure to uphold the mirage.
581
But I also thought she's made a deal with the devil.
582
He's also a great dancer, so you could have a...
583
That was fun.
584
And she's aware that she's walking into a space where there's never been someone like her.
585
And she knows that she's going to meet this wall of resistance.
586
And so she's just like, they're not going to see me any other way except for as a woman when I walk into this room.
587
So I'm going to give them quite a woman.
588
And while they're over here kind of staring at the bright, shiny thing, I'm gonna be doing exactly what it is that I want to do.
589
And there's a deception kind of built into her in that, but I think that's exactly what the definition of glamorizing is.
590
On day one of filming, we began with a scene in the bar.
591
So, and it was like a five page monologue.
592
I'm like, wow, Rebecca talks a lot.
593
And we got to this page two and it was like a three page monologue.
594
I'm like, yeah, she's still talking.
595
And then we got to the third scene and I'm like, oh God, she's a serial monologuer.
596
And I was just like, what a, like, and I'm just like, oh, she's one of those people that's probably so amazing to meet and then like becomes so... So...
597
And then at a certain point you're just like...
598
Maybe she'd be probably great at a dinner party though.
599
She's perfect.
600
Professional dinner guest.
601
She's a professional dinner guest.
602
She's so good at it, but a long weekend.
603
And I bet she never gets that messy.
604
I'm gonna make a young woman with so much gumption.
605
I'm like that too.
606
I don't give her a rat's ass, what people think.
607
They're probably scared of you.
608
Oh, goody, have we got some fun questions? and make
609
that turn okay man okay
610
so we have some incredible quotes in the devil worth product
611
some are your character's line some are other characters oh my god
612
do you want me to go first i would love it
613
is there some reason my coffee isn't here has she died
614
or something remember that one and i think
615
that was improv'd has she died or something there was
616
so much there's different ones she was
617
so you too by the way i remember
618
that i remember coming in after seeing like Meryl come up with like 18 different lines on the spot, Stanley doing the same you, and I was just like this kindergartner who was like, how are they all so good?
619
No, that is not true.
620
And I went up to you and I was like, how are you doing this?
621
And you went, I practiced the night before.
622
Yeah.
623
You're like, I'm prepared.
624
You're like, I'm prepared.
625
Yeah.
626
Is that how this works?
627
I loved that.
628
Is that how this works?
629
Is, uh, does she say that?
630
She says it to me, right?
631
She says it to me and you're late.
632
And then that's when you get up and you're just like, get in here, I have to pee or something like that.
633
Yes, yes, get in here, I have to pee.
634
I haven't peed since you left.
635
What took you so long?
636
I have to pee.
637
You haven't peed since I left?
638
No. That's right.
639
All right.
640
Doesn't it all come back so vividly?
641
Yeah, it's amazing.
642
Okay.
643
This is so good.
644
Looking at these, this is wild.
645
Okay.
646
Can you please spell Gabana?
647
Can you please spell Gabbana?
648
Hello? Were you there?
649
That was the cutest.
650
Were you there when you did that?
651
I was there.
652
Was I, or had I gone to pee?
653
That's it, you were on your pee break.
654
I was on my pee break.
655
Because I remember when we filmed the club.
656
And your cute little voice.
657
And your cute little sweater and that hair and that skirt.
658
Can you spell Gabbana?
659
Oh, that's so cute.
660
So this is a fancy story.
661
And then they hang up on you?
662
Hello?
663
Stefano?
664
I was in Italy recently and I showed up at the hotel and they baked a cake.
665
I arrived in my hotel room to a cake and I was like, this is amazing.
666
It was Italian cake, so it was really good.
667
And they had written on the top, can you please spell Gabana? That is so...
668
Is that not the greatest?
669
That is the greatest.
670
Oh my God.
671
It is quoted to me all the time.
672
I mean, my flight attendant coming over went...
673
And I'm still working on my stomach flu.
674
It was so cool.
675
And I was like, yeah.
676
And then people also misquote that I'm one stomach flu away from my goal weight.
677
Do you correct them?
678
Or do you let them live in it?
679
No, I just let them say it.
680
Because I think there's various versions, you know.
681
Like, older version of me, me, 1.0, would have been like, actually the line is.
682
And I would have so nice, nicely.
683
Yeah, exactly.
684
But no, 2.0, I'm like, that's your Devil Wears Prada.
685
That's it.
686
That's not me.
687
Okay, this is one of my favorites.
688
Oh, I'm sorry, do you have some prior commitment?
689
Do you have some hideous skirt convention to go to?
690
Some hideous skirt convention you have to go to? Because sometimes...
691
I love it.
692
I felt...
693
You crack yourself up 18 years later, because that's what happened on the day.
694
No, because I would laugh all the time, because I just felt I was so horrible to you most of the time in this movie.
695
And it was your little face, like this beautiful, like slightly sort of baffled face, stunned by the mirror.
696
Steaming the headlights.
697
Oh, I could barely ever get through that.
698
Some hideous skirt can be.
699
It was just, I don't even know if that was scripted or if we, at some point it was.
700
No, it wasn't.
701
It was, how did, and I have to say, there's something about your particular voice saying the word hideous.
702
Hideous.
703
It's in this really good spot.
704
And I have to say, if you've never seen the Devil Wears Prada blooper reel, I highly recommend it because this one is charm.
705
I mean, you look like you're having more fun than anyone has ever had on any front set.
706
And I can vouch for it.
707
You were.
708
I had so much fun.
709
Do you remember, so it was my first day of shooting, and it's actually on the blooper reel, and it's when I'm running down the corridor,
710
pushing everyone out of the way, and I'm not very good walking in heels this person is unbelievable in heels.
711
As you've seen in Doublelift's Brothers, she's just like leaping around cobblestone streets, five inch stilettos.
712
I was like, oh, I'd be dead.
713
I would have no heels, they'd be gone.
714
But I remember racing down the corridor and it was a kind of, I guess it was on a dolly or something, and I'm racing down and I'm supposed to crash into Meryl,
715
or try almost crashing into it at the end.
716
And I had to do this like turn and I fell so hard out of frame.
717
And I just remember Meryl going, oh, oh.
718
I don't understand why it's so difficult.
719
I think she always wanted to join in the fun.
720
And she kept herself so in character.
721
Do you know, she's never done method acting since.
722
She said it made her so miserable on this one.
723
Because we were all having a party on the other side of the set.
724
And she was like, I won't do this again.
725
No, it was so, because I remember a couple times trying to talk to her.
726
I'm like, I can't tell if I'm really off about this.
727
But I think she wants to talk to me.
728
I think it wasn't that we couldn't approach her.
729
It was just that, no, she didn't quite.
730
She's such a broad and she's so fun and more.
731
And I think it just...
732
Do you remember in the morning, she would like be Meryl in rehearsals and it was like the blonde hair and it was just like this.
733
Mike Nichols once described her as this irrepressible spring.
734
And I'm like, oh, that's so good.
735
Oh my God, it's so true.
736
And she would just be that person.
737
And then she would come back and just be this block of ice.
738
Yeah.
739
And it was just, it was...
740
Oh, couldn't penetrate.
741
Just amazing.
742
I remember coming in and you being like, I really ate it on this one take.
743
I really was.
744
You're like, I ate it on this one take.
745
Yeah, I ate it.
746
Went down.
747
But the thing that was, you're a magical performer.
748
I was just thinking the other day about you in Into the Woods and the way you're walking through and you're like, first a prince, then a child, then a prince, then a woman.
749
First a witch, then a child, then a prince, then a woman who can.
750
And you eat your scarf or something, your apron, but you just like, It's just like, you're so alive in your work.
751
And I just remember like, I think I was stunned.
752
I think I was a deer in headlights because I was like, who is this creature who's just effervescent?
753
Like it's amazing.
754
No, and Stanley and I talk about this all the time.
755
He's now my brother-in-law.
756
I mean, how crazy is that?
757
By the way.
758
Fell in love with him on that movie.
759
I'm just so happy to know that like the love and the chemistry that I was feeling off of you, like I was like, he's really a lot.
760
I'm like, I was actually watching a family before.
761
Yeah, and we are.
762
Which is really special.
763
He's wonderful.
764
And we always talk about it, that we could come in with all our sort of sharp edges and,
765
you know, one-liners, but you are the glue of that.
766
You hold the whole thing together.
767
You had an impossible part to shine like that and be
768
that believable and just wonderfully charming and endearing
769
and we all have been you andy you know it was
770
david it was david franklin a lot of okay give me
771
your line no i'm not gonna go all the way there
772
it was very tempting oh god by all means move at a glacial pace you know how
773
that thrills me oh you know how that thrills me
774
that day that was that was fantastic
775
that day like changed me as an actor
776
because um i like knew i was i was like it was meryl doing an emotional scene
777
and the set was so quiet was it
778
so quiet i remember you telling me about it afterwards
779
and you said it was the most raw thing you'd seen
780
and you were everyone's energy was like
781
so reduced to keep her i think people would just like i think everyone was grateful everyone it was
782
when we're talking about the chris thing of it all
783
because there's an aspect of our industry
784
that you know like i i'm i'm i think there's an
785
etiquette to set i don't think you bring your phone on to set
786
and you're scrolling in between takes i think
787
that you're working with something very precious and ephemeral
788
and can break very easily and um i love to have a laugh on set
789
but i do take what we do very seriously
790
and i think it was the crew realizing they were witnessing something great yes
791
and being one and being fully present in it yes and
792
and stripped back she suddenly was talk about the mirage yeah
793
and i also think it was her i think it was her like her just sitting there
794
so greatest actress ever and and just no makeup
795
and just sitting there just having the space
796
and none of us wanted to be the one to do not even disturb it it wasn't that It wasn't that fragile.
797
We just all wanted to just not get in the way.
798
And so we all wanted, so we all just did our jobs as well as we could.
799
You know, that was the way the respect was shown.
800
So I was supposed to ask you how you remembered that, but I've filled in the answer.
801
What, that scene?
802
Yes.
803
Well, I mean, okay.
804
Is it me?
805
Shall I ask?
806
Okay.
807
This is it.
808
This is the line.
809
Well, I don't eat anything, and when I feel like I'm about to faint, I eat a cube of cheese.
810
When I feel like I'm about to faint, I eat a cube of cheese.
811
Guys, it works a treat. Can we? Can we?
812
One of the most iconic lines in cinema history, Emily.
813
I do.
814
That line gets misquoted to me as well.
815
They go like, I don't know.
816
People always kind of paraphrase it.
817
Oh, God.
818
I remember feeling so lost in that scene and just like you were so in the pocket.
819
And I'm like, thank God she's here.
820
You were never lost in the scene, by the way.
821
Never.
822
No, no, no. I just...
823
Do you remember when you're like, God, Em, you look so thin.
824
Do you look, yeah.
825
And I say, well, I'm on this new diet.
826
And then that's what I just, I just also like, just love that.
827
Like, Emily was the authority on this aspect of herself.
828
Like, you know, so, cause she was always running, you know, I think I'm, yeah.
829
But it was just, it was such a funny.
830
Oh, and you were so cute with your cold.
831
With a very red nose and sort of, they would actually spray menthol in my eyes.
832
I sort of had this idea.
833
I was like, why don't you just like put menthol in my eyes
834
and then they'll stream and then my nose got so red.
835
And I remember walking into the, remember the board meeting they're having?
836
Yes.
837
And Meryl was so repulsed by me coming in.
838
Like she was, I remember handing her, I don't know, a clipboard of something.
839
And she was like, what did she say?
840
Like antibacterial wipe or something.
841
But I just.
842
It was so cool.
843
I've used the eye-watering trick, by the way, since when you have a cold, I mean, because it really, it activates your sinuses in a very helpful way.
844
I remember going home and I was like, I think I do feel sick.
845
You kind of have been streaming with this fake cold all day
846
that I did feel a bit sick at the end of it.
847
Did you come up with, I love my job, I love my job?
848
Yeah.
849
I just have to say, so much of this film is David Frankel, just like giving space.
850
Space.
851
You know, and just- To let you kind of throw the kitchen sink at it.
852
And like, of course, you're gonna kind of poop the bed sometimes, and it's not always gonna be great, but his curiosity to see, and I just remember him giggling behind the camera.
853
Giggling, and just creating an environment where you just, he let joy live on the set.
854
Completely, completely.
855
You know, and he encouraged it, and he's so good.
856
I mean, he's an amazing person.
857
He is, he's heaven.
858
Yeah, he is.
859
He's heaven, he's heaven, he's a good dad.
860
Talk about a good dad.
861
Yeah.
862
Is it my turn?
863
It's your turn.
864
She's not happy unless everyone around her is panicked, nauseous, or suicidal.
865
She is not happy unless everyone around her is panicked, nauseous, or suicidal.
866
I don't remember this.
867
Ah, he's making the grilled cheese and you go, I'm not even hungry anymore.
868
I'm not even hungry anymore.
869
Okay.
870
Yeah.
871
Fun fact, I am wearing my cousin's headband in that scene.
872
We used to do face masks together.
873
Do you know what I loved about you and that headband is your little bangs would stick up.
874
It was just so cute.
875
It was so nerdy.
876
And I wanted that grilled cheese so badly.
877
It looked so good.
878
I know.
879
Do you remember how mad he was?
880
Seven dollars of Jarlsberg.
881
You eat carbs for Christ's sake.
882
God, I think was the line.
883
You eat carbs for Christ's sake.
884
As I'm just, it's not fair.
885
You're eating your pudding.
886
It's so unfair. So unfair.
887
And how I'm like, finally, do you remember how the nurse comes in and he brings me a tray of food and I'm so grateful.
888
You turn like angelic in your martyrdom.
889
Thank you very much, you know, because it's the first time she's like, you know, forever.
890
Who is that sad little person?
891
Are we doing a before and after piece?
892
I don't know.
893
Oh my God, it's Stanley.
894
That's Stanley's one.
895
Sad little person.
896
Oh my God, it's so Stan, isn't it?
897
Who is that sad little person?
898
I know, we're going through.
899
I think she was thinking of Stanley on that, on the day he found his ring.
900
His enormous ring.
901
Like, could kill someone with that ring.
902
I think...
903
Yeah.
904
Stanley's on set.
905
I think he asked to keep it.
906
He's gesticulating.
907
He did ask to keep it, maybe, that ring.
908
Yeah.
909
Ask him.
910
Call your brother-in-law.
911
I know.
912
Call him.
913
I can now.
914
You can.
915
I get free pans.
916
Oh, God.
917
It's a big deal.
918
Has he given you a Parmesan wheel?
919
He tried to, but we don't live in England, I was like, how are you going to get me a parmesan wheel?
920
You know.
921
He smuggled it.
922
Yeah.
923
But he's- In a very stinky piece of hand luggage.
924
And we went over to their house during COVID and they were like our family, literally, they are a family.
925
And he made this carbonara inside the cheese wheel.
926
I can't.
927
Like put the pasta inside the dugout parmesan wheel, whisked it around.
928
And it was just like, I can't even talk about it.
929
That's great.
930
I do eat carbs, for Christ's sake.
931
It's fantastic.
932
I'm not going to lie, I got a little turned on by that.
933
Oh, thank you, guys.
934
Like the idea, oh.
935
See, the kindest.
936
I'm so happy.
937
Oh, so good.
938
Did you guys dig it?
939
Thank you.
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Cose che imparerai con questo video
Questo dialogo tra Emily Blunt e Anne Hathaway è una vera lezione di pratica di conversazione in inglese. Imparerai a gestire le pause naturali nelle conversazioni informali, a usare espressioni colloquiali come "hi, honey" o "it's fine" e a mantenere un flusso fluido anche quando si corregge o si ricorda qualcosa. Inoltre, osservando come le due attrici si interrompono e si completano a vicenda, migliorerai la capacità di adattarti al discorso dell'altro, fondamentale per le interazioni reali.
Ascolta questi suoni e collegamenti
Nella conversazione, noterai molti esempi di connected speech, ovvero la connessione tra le parole. Ad esempio, "I'm actually" diventa quasi "I'mactchually" e "did we meet" si trasforma in "didwe meet". C'è anche la riduzione di "you've" a "youv'" e di "it's" a "its". Questi dettagli rendono l'inglese parlato più veloce e naturale: ascolta attentamente come le sillabe si fondano tra loro!
Parla come un madrelingua con lo shadow speak
Per migliorare la pronuncia inglese, prova lo shadow speak: ripeti le frasi delle attrici immediatamente dopo averle sentite, cercando di imitare il ritmo, l'accento e l'intonazione. Nota come Anne Hathaway mette l'enfasi su "amazing girl" e "so funny", o come Emily Blunt abbassa la voce quando dice "18 years". Il segreto è seguire il flusso: non preoccuparti di capire ogni parola, ma concentrati su come le parole sono pronunciate e su come il tono cambia per esprimere emozione. Con la pratica, il tuo inglese diventerà più fluido e naturale, proprio come quello delle due attrici.
Lo shadowspeak è un metodo efficace per internalizzare le sfumature del linguaggio parlato: usa questo video come esercizio giornaliero e noterai i risultati in poco tempo!
La grammatica di questo video
Le strutture che chi parla usa di più, con le parole esatte del video:
| Struttura | Nel video |
|---|---|
| Present perfect continuous have/has been + -ing — un’azione iniziata prima e ancora in corso | have been calling · have been streaming |
| Present perfect have/has + participio passato — un’azione passata che conta ancora adesso | you've just said · i've known · we've known |
| Forma passiva be + participio passato — conta ciò che accade, non chi lo fa | been cast · was put · being pinned |
| Frasi relative who / which + frase — un’informazione in più su una persona o una cosa | together, which is · woman who can |
Cos'è la tecnica dello Shadowing?
Shadowing è una tecnica di apprendimento delle lingue supportata da studi scientifici, originariamente sviluppata per la formazione dei traduttori professionisti e resa popolare dal poliglotta Dr. Alexander Arguelles. Il metodo è semplice ma potente: ascolti un audio in inglese di madrelingua e lo ripeti immediatamente ad alta voce — come un'ombra che segue il parlante con un ritardo di solo 1–2 secondi. A differenza dell'ascolto passivo o degli esercizi di grammatica, lo shadowing costringe il tuo cervello e i muscoli della bocca a elaborare e riprodurre simultaneamente i modelli di discorso reale. La ricerca dimostra che migliora significativamente la precisione della pronuncia, l'intonazione, il ritmo, il discorso connesso, la comprensione dell'ascolto e la fluidità del parlato — rendendolo uno dei metodi più efficaci per la preparazione alla prova di speaking dell'IELTS e per la comunicazione reale in inglese.