The Devil Wears Prada (film)

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The Devil Wears Prada is a 2006 American comedy film based on Lauren Weisberger 2003 novel of the same name. The star of this screen adaptation is Meryl Streep as Miranda Priestly, the editor of a powerful fashion magazine, and Anne Hathaway as Andrea (Andy) Sachs, a college graduate who goes to New York City and gets a job as assistant assistant to Priestly. Emily Blunt and Stanley Tucci as co-star co-assistant Emily Charlton and art director Nigel, respectively.

Adrian Grenier, Simon Baker, and Tracie Thoms played a major supporting role. Wendy Finerman produced and David Frankel directed the film, which was distributed by 20th Century Fox. Streep's performance won critical acclaim and earned numerous award nominations, including his record of winning the 14th Oscar, as well as the Golden Globe for Best Actress in Comedy or Music. Blunt also drew favorable reviews and nominations for his performance, as did many of those involved in film production.

The film was well received by film and public critics and became a shocking box-office hit after the June 30 release in North America. Commercial success and critical acclaim for Streep's performance continued in overseas markets with the film leading the international box office for much of October. Likewise, the US DVD release is the top rental during December. The film finished in the Top 20 2006 both in the US and abroad and raked in over $ 300 million, mostly from the international term.

Although the film is made in the fashion world, most designers and other fashion figures avoid appearing as themselves for fear of an unpleasant US editor Vogue Anna Wintour, who is widely believed to have been an inspiration for Priestly. However, many are allowing their clothes and accessories to be used in films, making it one of the most expensive films in history. Wintour then overcame his initial skepticism, saying he liked movies and Streep in particular.

Video The Devil Wears Prada (film)

Plot

Andy is a newly graduated journalist from Northwestern University. Though he mocks the superficial industry fashion, he gets his job as a junior personal assistant for Miranda Priestly, the editor-in-chief of the magazine Runway . Andy plans to confront Miranda's excessive demands and shameful treatment for one year in the hope of getting a job as a reporter or writer elsewhere.

At first, Andy fumbles his work and fits with his gossip-aware and fashion-conscious colleagues, especially Miranda's senior assistant, Emily Charlton. However, he finds an ally in Nigel's art director, and gradually learns his responsibilities and starts dressing more stylishly to show his efforts and commitment to the position. He also met an interesting young writer, Christian Thompson, who offered to help him in his career. As he spends an increasing amount of time with calls and calls from Miranda, problems arise in relation to his college friends and home-living girlfriend, Nate, a chef who is climbing the career ladder.

Miranda is impressed by Andy and allows him to be the one who brings precious "Books", a copy of the upcoming edition, to his home, along with his dry cleaning. She was given instructions by Emily about where to leave stuff and was told not to talk to anyone at home. Andy arrives at Miranda's house only to find out that the instructions he receives are unclear. As she tries to find out what to do, Andy starts to panic. Miranda's twins, Caroline and Cassidy, falsely told her that she could leave the book on the stairs as Emily did on many occasions. At the top of the stairs, Andy interrupts Miranda and her husband quarrel. Forged, Andy left the book and ran out of the house.

The next day, Miranda tells Andy that he wants a new unpublished Harry Potter book for his daughter and, if Andy can not find a copy, he will be fired. Andy tried hard to find the book and almost gave up, but eventually got it through Christian contact. He surprised Miranda by not only finding the book but having a copy sent to the girls at the train station, leaving no doubt that he accomplished Miranda's "impossible" task, thus saving his job. Andy gradually began to outperform Emily at her job, and slowly but surely became more glamorous and began to align herself, unwittingly at first, with Runway's philosophy.

One day, Andy saved Miranda from shame at a charity benefit, and Miranda rewarded her by offering to take her to an autumn fashion show in Paris instead of Emily. Andy hesitates to take this privilege from Emily but is forced to accept the offer after being told by Miranda that he will lose his job if he refuses. Andy tries to tell Emily about how it works, but Emily gets hit by a car. Andy then delivered the news to an Emily who was hospitalized.

When Andy told Nate that he was going to Paris, he was angry with his refusal to admit that he became what he once scorned, and they broke up. Once there, Miranda, without makeup, opens herself to Andy about the effect of Miranda's divorce that will happen to her daughter. That night, Nigel told Andy that he had accepted a job as a Creative Director with rising fashion star James Holt, on Miranda's recommendation. Andy finally succumbed to Christian charm and, after spending the night with him, learned from him about plans to replace Miranda with Jacqueline Follet as a Runway editor. Regardless of the pain he suffered on the orders of his boss, he tried to warn Miranda.

At lunch later that day, however, Miranda announces that it is Jacqueline instead of Nigel who will leave Runway for Holt. Nigel told Andy who was amazed that despite his disappointment, he had to believe that his loyalty to Miranda would one day pay off. Later, when Miranda and Andy are being pushed to an event, he explains to Andy who is still amazed that he is grateful for the warning but has already learned of a plan to replace him and sacrifice Nigel to defend his own work. Pleased with this loyalty, he tells Andy that he sees things in him. Andy, disgusted, says he can never do that to anyone. Miranda replies that she has done it, stepping over Emily when she agrees to go to Paris. When they stop, Andy comes out and throws his cell phone into the Place de la Concorde fountain, leaving Miranda, Runway, and the mode behind.

Some time later, Andy met Nate, who moved to Boston because he got a new job as a sous chef in a restaurant. They agreed to start dating again and see the future. On the same day, Andy was interviewed and accepted to work for a major publishing company in New York. The editor told how he called Runway for reference to Andy, and got Miranda's response. Miranda describes Andy as "her biggest disappointment" - and says that the editor would be "an idiot" if she did not hire her. Emily offers her Paris wardrobe by Andy and both go in good condition. Andy passes the "Runway" office building and sees Miranda getting into the car. Andy gives the wave, but Miranda does not admit it. Andy got used to this and went even further into the crowd. Once inside the car, Miranda smiled and then ordered the driver to drive.

Maps The Devil Wears Prada (film)

Cast

Cameos

• Valentino Garavani
• Giancarlo Giammetti
• Carlos de Souza
• Bridget Hall
• Lauren Weisberger as the nanny of the twins
• Robert Verdi as a fashion journalist in Paris who interviewed Miranda
• Heidi Klum
• Ivanka Trump
• Nigel Barker

src: blog.castingnetworks.com

Production

Director David Frankel and producer Wendy Finerman originally read The Devil Wears Prada in the form of a book proposal. This will be Frankel's theatrical feature of the second, and the first in more than a decade. She, cinematographer Florian Ballhaus and costume designer Patricia Field, relied heavily on their experience in making Sex and the City.

Frankel recalls the whole experience as a high bet for those involved, because for himself and others behind the camera it was the biggest project they had ever tried, with an almost inadequate resource. "We knew we were in a very thin layer of ice," he told Variety for the 2016 article on the film's 10th anniversary. "Maybe this could be the end of the road for us."

Pre-production

Fox bought the rights to the Weisberger novel before it was not only published in 2003, but even completed. Carla Hecken, then executive vice president, saw only the first one hundred pages of manuscripts and an outline of how the rest of the plot should be aired. But for him that was enough. "I think Miranda Priestly is one of the biggest criminals ever," she recalled in 2016. "I remember we aggressively went in and scooped it up."

Write

Work on the scenario starts quickly, before Weisberger finishes his job. When it became a bestseller at the time of publication, plot elements were incorporated into the ongoing scenario. Most took inspiration from Ben Stiller 2001's Zoolander and the fashion industry. But it's still not ready for filming. Elizabeth Gabler, who later became chief of production at Fox, noted that the completed novel lacked a strong narrative. "Since there is no strong third action in the book," he later said, "we need to create it."

Meanwhile, studio and producer Wendy Finerman are looking for a director. Of the many candidates with experience in comedy, David Frankel was hired despite his limited experience, making only one feature, Miami Rhapsody , along with several episodes of Sex and the City and Entourage . He was not sure about the property, calling it "unattainable... a satire rather than a love story." Later, he quotes Unzipped, the 1995 documentary about designer Isaac Mizrahi, as his model for the film's fashion stance: "[It] has fun in some fashion fools, but also very seriously."

When meeting Finerman, Frankel told him that he thought the story did not have to punish Miranda. "My view is that we should be grateful for excellence Why should great people have to be nice?" He prepares to continue and consider more scripts. Two days later, his manager persuaded him to reconsider and look for something he liked so he could form the film. He took the job, gave Finerman complete records on the script and put a detailed vision for the film.

Four screenwriters work on the property. Peter Hedges wrote the first draft, but did not think he could do more; other writers passed. Paul Rudnick did some work on the Miranda scene, followed by Don Roos's re-writing. After that, Aline Brosh McKenna, who was able to relate his own youth experience trying to start a journalism career in New York for the story, produced the draft after a month's work that reached the right balance for Finerman and Frankel, whose record was put into a final version, significantly, follow the book more closely and focus the story on the conflict between Andrea and Miranda. She found her story writing experience with female protagonists who were not centered on "very liberating... I feel I am allowed to do what the film Faust, Wall Street's wanted for women."

McKenna also initially softened Miranda's atrocity at the request of Finerman and Frankel, only to return it later to Streep. He then quotes Don Rickles as his main influence for humiliation in dialogue; even before he started working on the scenario, he came up with "Take a chance, hire a fat fat girl" Miranda, whom she feels concluded the difference between Andy and the world she is in.

McKenna consults with acquaintances working in the fashion world to make the scenarios more realistic. In a lecture by the British Academy of Film and Television Arts 2010, he recounts a scene altered after one of these reviews, in which Nigel told Andy not to complain too much about his work. Initially, he has delivered more speeches about supportive talks; But one of the acquaintances said that it would not happen: "[N] o-one in the world is good to each other... There is no reason for that, and they do not have time." he quoted him.

Speech sweater cerulean

"Cerulean speech", in which Miranda drew a link between fashion designers on the Runway page and sweaters cerulean Andy, criticized Andy's arrogance about fashion and explains the trickle-down effect, having the origin - in the scene snippet from the previous draft that Streep requested to be restored. Slowly grew from a few lines where the editor belittled his fashion assistant's taste for a speech about "why he thinks fashion is important... He is very conscious that he affects billions of people, and what they take off the floor and what they wear their bodies in "Streep said in 2016 he was interested in" the responsibility that lies on the shoulders of a woman who is the head of a global brand... The scene is not about fashion fun, it's about marketing and business. "

McKenna recalled that she continued to expand it to suit Streep and Frankel, but even a few days before it was scheduled to be filmed she was not sure if it would be used or even shot. She was revising her at a nearby Starbucks when she realized that Miranda would portray something not just blue - chosen as the color for Andy's sweater because it would work best on screen - but instead uses the right colors. From the color list that McKenna sent, Streep took cerulean; the last speech takes almost a page of the script, long for mainstream film. "I like, it would be cool if half of it ended up in the movie," says the author. "Every word is in the movie." References to the collection of past designers are entirely fictitious, McKenna explains, because the speech was written around the color of the sweater (however, Huffington Post later showed, designers often took their fashion inspiration from the streets).

Speech has become one of the most memorable moments in this movie; "Miranda's signature monologue" for The Ringer . "'Cerulean' [never] sounds more sinister," wrote Huffington Post in 2016, Liz Jones, former English editor of Marie Claire, said it was "rare to catch a glimpse of how where the most bizarre and extreme exponents of fashion... influence and enrich all our lives, even if we only shop at Marks & Spencer or Gap. "

Casting

After the script is over, filmmakers and Fox focus to invite Meryl Streep to play Miranda; Hacken remembered that he looked perfect for a part that no one discussed the alternative (although McKenna recalls writing a dialogue while the producers should be satisfied with other actresses). Weisberger, who originally could not imagine Streep playing that role, recalled that after seeing him on the set it was "very clear" that he was perfect for the role.

The news that Streep will meet Frankel is celebrated at Fox. But while Streep, for his part, knows the movie could be very successful, he feels the fee offered to play Miranda is "a little, if not offensive, may not reflect the true value for this project." The producers doubled it to about $ 4 million, and he signed, allowing Fox to highlight the film. According to Frankel, Streep sees the film as an opportunity to "deceive the doyennes of the fashion world." She has three daughters, and as an eager feminist, feeling that fashion magazines "twist the minds of young women around the world and their priorities.This is an interesting way to reward them." In addition, he said, the film passed the Bechdel test.

He insisted on the scene in which he explained to Andy the connection between the blue sweater he used and the haute couture industry, and the scene in which Miranda briefly opened himself to Andy, without makeup, about his divorce. "I want to," she explains, "to see the face without her protective glaze, to see the woman in her women."

Casting Andy is less clear. Fox wants a young actress A-list, and feels Rachel McAdams, then coming from success on The Notebook and Mean Girls , will help the film's commercial prospects. However, he rejected several offers to play Andy, saying his studio was trying to avoid a major project for a while.

Instead, Hathaway, actively searching for that section, traces the "Hire me" in the sand of the zen garden on Hacken's desk when he talks about the project with the executive. While Frankel loves it enough not to require him to audition, he knows he is not the studio's first choice and should be patient (other accounts say he is the only actress to be considered for lead). Fox production head Elizabeth Gabler said the studio did not realize how powerful the audience was after the film <<> Princess Diaries . He took part to work with Streep, but also for some personal aspects. She celebrates when she finds out that she has earned that role.

Over a hundred actresses had been considered for Emily before one of the casting agents recorded Emily Blunt read a few lines elsewhere in the lottery fox as she was leaving for London to audition for Eragon. Though he read it in his original English accent even though his character was written as an American as he was in the novel, Frankel was interested; Finerman loves it for his sense of humor. After the maker of Eragon had thrown Sienna Guillory, Frankel called her in the "several diving clubs" in London, where she consoled herself with her sister. She tells him that while she will throw it only from the tape, the studio wants to see another audition with more characteristic outfits. He insisted on continuing to play character as an Englishman; Both Hathaway and Emily Blunt lose weight for their roles, with Hathaway then telling her that "[he] and I will embrace each other and cry because we are so hungry." Blunt later denied rumors that he did this at the request of the filmmakers.

Colleen and Suzanne Dengel, the twins who played Miranda's daughter, were cast two weeks after auditioning for Frankel and Finerman. The director and producer laugh, which the sisters believe is helping them get the role. They remember in 2017 that they were excited about being able to work together in front of the camera for the first time, as well as the chance to compete against Hathaway as they are big fans of Princess Diaries.

Tucci is one of the last actors players; he agreed to play Nigel just three days before the filming began. The filmmakers are reported to have auditioned creative directors Barney Simon Doonan and Robert Verdi from E !, both open gay men are very visible as media fashion commentators, for their part; The BBC's Graham Norton also auditioned. Verdi later said that there was no intention to actually hire him and the producers had just used him and Doonan to give to anyone they end up doing a filmed study to use in playing gay characters (he would end up with the running part as a fashion journalist at Paris). Tucci said he did not realize this: "All I know is someone called me and I realize this is a big part." He based his character on various people he knew, insisting on the glasses he wore. Daniel Sunjata initially reads for Tucci's part, rather unenthusiastically because he has just finished playing the same character, but then reads the Holt section and asks if he can audition for it. Simon Baker auditioned by sending a video of himself, wearing a green jacket that he designed himself when he and Andrea met for the first time.

Weisberger is widely believed to have based Miranda on Anna Wintour, the powerful editor of Vogue. Wintour reportedly warned key fashion designers who were invited to make a cameo appearance as themselves in the movie that they would be removed from the magazine pages if they did. Vogue and other women's and fashion magazines have avoided reviewing or even mentioning books on their pages. A Wintour spokeswoman denied the claim, but costume designer Patricia Field said many designers told him that they did not want to risk Wintour's anger.

Only Valentino Garavani, who has designed the black night dress worn by Streep in a museum benefit scene, opted to perform. Coincidentally, he was in New York during production and Finerman Dared Field, an acquaintance, to ask him personally. To her surprise, she accepted it. Other note cards include Heidi Klum as herself and Weisberger as the twin caregivers. Princess Streep's film debut as a barista at Starbucks is cut. Gisele BÃÆ'¼ndchen agrees to be in the movie only if she does not play the model.

Filming

The main photography lasted 57 days in New York and Paris between October and December 2005. The film budget was $ 41 million. It was initially lower, which caused problems with multiple locations - the crew could not get permission to shoot at the Museum of Modern Art or Bryant Park.

Ballhaus, at the suggestion of Finerman and Frankel, drew up as many shots as possible, both interior and exterior, at least partly to take on a busy New York street scene in the background, to convey the excitement of working in a glamorous industry in New York. He also used a hand-held camera during several busy meeting scenes at Miranda's office, to further convey the flow of action, and slow motion for Andrea's entry into the office after his change. It takes several shooting processes, especially to place the exterior views behind the set windows and in the Mercedes where Miranda and Andrea are having their climax conversations.

Fox initially refused permission to let Frankel shoot some scenes from the third round in Paris, where he arranged, due to his low budget. But after six weeks of "nightmare" shooting, he asked the editor to make "sizzle reel" highlights. It convinced the studio to increase its budget to allow limited shooting abroad (Streep did not go because Fox believed it would be too expensive).

Act

A few weeks after all the main parts were thrown, the actors gathered in New York to read a table. Hathaway was nervous and ridiculous, he recalled, because he still had not developed his idea of ​​the passage; he describes his performance at the time as "[nothing] very impressive." Blunt, on the other hand, found that Streep's laughter made her quite relaxed to keep her focused on playing anxious, restless Emily. The highlight of this session is Streep's first line as Miranda. Instead of "a shrill, bossy, barking voice" everyone expected, Hathaway said, Streep silenced the room by speaking in a close whisper. "It was very unexpected and brilliant." On reading Streep also changed Miranda's last line to "everyone wants to be us " from the original "I".

Streep made the conscious decision not to play the role of Wintour's direct impression, not to use an accent and to make American characters rather than English ("I feel that's too limiting"). "I think he wants people not to mess up the character of Miranda Priestly with Anna Wintour," Frankel said. "And that's why at the beginning of the process he decided on a very different view for him and a different approach to character." "That's it," "please give someone else..." his slogan; his coat on Andrea's table and the discarded steak lunch are still preserved from the novel. Streep is prepared by reading a book by Wintour protà © à © gà ©  © Liz Tilberis and memoirs of Diana Vreeland's Vogue editor. He lost so much weight while filming that clothes should be taken.

During the movie press tour, he also said his appearance as Miranda was inspired by the different men he knew, but did not say which. In 2016 he revealed to Variety that he took Miranda's gentle talk of Clint Eastwood: "He never, ever, ever raises his voice and everyone has to lean to listen, and he is automatically the most powerful person in the room. "However, he says, Eastwood does not make jokes, so he instead exemplifies the character aspect of the theater director and the movie Mike Nichols, whose cutting speech delivery, he says, makes everyone laugh, including the target. "Walking, I'm afraid, is mine," added Streep.

For Miranda's true appearance, Streep looks at the two women. The bouffant hair style is inspired by the model and actress Carmen Dell'Orefice, which Streep wants to blend with "the unassailable and unwavering authority [French politician] Christine Lagarde." The costume field designed for the performance resulted in many picks during a montage where Miranda repeatedly tossed her coat onto Andrea's desk when she arrived in the morning. When McKenna saw Streep as Miranda for the first time on set, she recalled that she was so scared that she threw her arm in front of Frankel "like we were in a car accident."

Hathaway prepared the part by volunteering for a week as an assistant at an auction house where she was "put through a blackmailer" according to Weisberger, who added that Hathaway added that by asking many questions about working for Wintour. Frankel remembered that he was nervous throughout most of the shootings, especially when working overtime, because Raffaello Follieri, his girlfriend at the time, preferred he did not; he also has health problems due to cysts. The director says he's "scared" before starting his first scene with Streep, who has started his relationship with Hathaway by saying first "I think you're perfect for that role and I'm so glad we'll work on this together" then warns him that it's the the last good thing he will say. Streep applies this philosophy to everyone on the spot as well, keeping his distance from the cast and crew members unless you need to discuss something with them.

The scene, where Andi gave the Book, the magazine's ongoing mockups, to Miranda's apartment, was, according to Dengels, who played Miranda's twin daughters, was really improvising. "It was just something we did with Anne and it made the cut," Colleen Dengel told BuzzFeed in 2017. However, it took another three days to shoot the girls on the stairs. the way Frankel wanted it, a display he believed to be inspired by a scene similar to the twin girls at The Shining .

Streep was the one who suggested an editorial meeting meeting, which did not advance the plot but showed Miranda at work in the absence of Andrea. It was also his idea that Miranda was not wearing makeup in a scene where she opened herself to Andrea and worried about the effect on her daughter about her divorce being common knowledge. Blunt, for his part, contributed the line where he told Andy "I heard this", while opening and closing his hand, "and I want to hear this" keep closing it. In 2015, he told Howard Stern that he heard a mother say it to a kid in a supermarket during production.

Costume

Frankel, who worked with Patricia Field on his Miami Rhapsody film debut and Sex and the City, knows that what players wear will be very important in a movie set in the fashion industry. "My approach is to hire her and then leave the room," she jokes later. While only Valentino Garavani appeared on the screen, many other designers helped Field. The $ 100,000 budget for this film costume coupled with the help of friends across the industry. In the end, he believes, at least $ 1 million worth of clothing is used in films, making it one of the most expensive films in the history of cinema. The single most expensive item is Fred Leighton's $ 100,000 necklace in Streep.

When Hathaway entered the office after Nigel gave him access to the Runway cabin, he was fully dressed at Chanel. Field explains in 2016 that "I feel Annie Hathaway is an organic Chanel girl, as opposed to say a Versace [or Roberto Cavalli] girl." When he calls the company for help, they are happy because "they want to see Chanel at a young girl to give another point of view," showing it as a brand for "not only middle-aged women with suits, but youthful and funky." Calvin Klein rounded off Andrea's closet.

Dolce & amp; Gabbana and Calvin Klein helped Field as well, with some contributions from Lebanese designer Georges Chakra. Although Field avoids making Streep look like Wintour, he puts it in the generous form of Prada (according to Field's estimates, 40% of the shoes at Streep's feet are Prada). "I know his character is basically based on Anna Wintour," said Field, "but I do not want to imitate someone's style." But, like Wintour and his predecessor, Diana Vreeland, they both realized that Miranda needed a signature look, provided primarily by the white wig and the forelock he wore and the time-consuming clothing. examine the search book. "[I] chose her wardrobe, my idea is she is the main fashion editor, she has her own style," Fields told Women's Wear Daily in 2016. "We create original characters."

Field said he avoided the prevailing fashion trends for Miranda during production for a more lasting look based on the archives and pieces of Donna Karan by Michaele Vollbracht for Bill Blass. He does not want people to recognize what Miranda is wearing.

She compared Andrea and Emily by giving Yates a sense of style, without much risk, that would suggest the outfits that fashion magazines would have for shoots, new college grad clothes with a little sense of style would feel comfortable wearing clothes. - workplace in the subconscious. Blunt, on the other hand is "so on the edge he almost fell." For him, Field picked pieces by Vivienne Westwood and Rick Owens to suggest a taste for funkier clothing, more "underground". After the release of the movie, some of Field's select appearances became popular, for the entertainment of the filmmakers.

Tucci praises Field's expertise in putting together a not only stylish ensemble but helps her develop her character:

He just sits there with his cigarettes and hair, and he will pull things - very different elements - and put them together into this ensemble, and you will go, "Come on, Pat, you can not wear it with that. "He'll say," Uh, try it. " So you'll wear them, and not just succeed, but also work on different levels - and that allows you to find out who the man is. The clothes reach what I want to achieve. It's flamboyant, there's a real risk, but when I get into the room, it's not flashy. Actually very subtle. You see it and you go away, "That shirt, the tie, the jacket, the vest? What?" But it worked.

He found a Dries van Noten tie he wore during the movie as he wished and kept it.

Production design

After walking around several real-fashion magazine offices, Jess Gonchor gave the Runway office a clean white look intended to suggest a quick makeup ("holy and white beiges of fire-proof authority," Denby calls it). Miranda's office had some strong similarities with Anna Wintour's real office, down to the octagonal mirror on the walls, photographs, and wreaths on the table. Gonchor later told Women's Wear Daily that he had based the set. on Wintour's office photo she found online; the similarity that Wintour led to having his office redecorated after the film was released. The magazine itself is very similar to Vogue , and one of the covers on the office wall, showing three models, was a direct tribute to the magazine's cover in August 2004.

She even chose separate computer wallpapers to highlight different aspects of Blunt and Hathaway characters: Paris Arc de Triomphe at Blunt's shows her aspirations to accompany Miranda to the show there, while the flowers on Andy show the natural, simple qualities she shows early in his tenure with magazine. For photos of Andrea with his parents, Hathaway posed with his own mother and David Marshall Grant. Dengel's twins remember being asked every day for three years in a row if the copy of Harry Potter's face was real; to their great disappointment is not and in fact is "all nonsense". They finally auctioned for $ 586 on eBay, along with the various outfits used in the movie, to get Dress for Success, a charity that provides business attire to help women switch to the workforce.

Products

Apart from clothes and accessories, some other famous brands are very striking in this film.

• An Apple computer is used at the Runway Office , consistent with many real publishers.
• Italy's San Pellegrino mineral water bottle is seen at the Runway office .
• The Mitel IP phone is used in the offices of RUNWAY Magazine - including reception desk outside Miranda Priestly (played by Meryl Streep), Magazine Editor.
• Miranda drinks coffee from nearby Starbucks.
• Andrea uses Danger Hiptop 2 (or T-Mobile Sidekick 2), and Miranda Motorola RAZR V3 in silver, just like Nigel's.
• Both are often driven in Lincoln Town Cars and Mercedes-Benz S-Class S550 (without vehicle registration plate) sedan.
• In one scene, Anne Hathaway drives a Porsche 911 Carrera Cabriolet.
• Andrea gives her friend Bang & amp; Call Olufsen.

Locations

New York

• The McGraw-Hill Building on Sixth Avenue is used for the exterior and lobby of Elias-Clarke headquarters.
• The Office Runway is a partial corridor in the neighboring Fox building and part set.
• Elias-Clarke's cafeteria is in the Reuters office in Manhattan.
• The apartments of Nate and Andy are on the Lower East Side.
• Andy took the subway at Spring Street station and got off at 51st Street, both on Lexington Avenue Line.
• Bubby's, the restaurant Nate works at (and where Andrea, Doug and Lily dine on occasion) is at TriBeCa.
• The Smith & amp; Steak Wollensky and his kitchen are used.
• The Calvin Klein showroom is used in deleted scenes.
• Studio Holt is an attic used by real designers.
• The American Museum of Natural History is used for the outside benefits of the museum, while the lobby of one of Foley Square's court buildings is used for interiors.
• The Priestly Townhouse is on the Upper East Side and belongs to Finerman's friends. It should impose a short notice after the other can not be used.
• Christian gives Andy an unpublished script Harry Potter at King Cole Bar St. Regis Hotel.
• The Amtrak train the twins take will ascend to the Hudson River in Haverstraw Bay.
• Streep came out of his limousine, supposedly in Paris, on 77th Street and Central Park West.
• The newsroom New York Mirror where Andrea was hired at the end of the movie is now dead New York Sun .
• The cafe where Andy apologizes to Nate is Mayrose at 920 Broadway (near the Flatiron Building), which has since closed. On its website is the Flying Tiger Copenhagen store.

Paris

The crew was in Paris for only two days, and only used the exterior. Streep does not travel.

• The fountain Andy throws his cell phone into Place de la Concorde.
• All the interior of the hotel is actually St. Regis in Manhattan. The fashion show was filmed on the sound stage in Queens. Likewise, the Christian hotel is the Times Square W Hotel.

Postproduction

Editing

Mark Livolsi realizes, as McKenna does on the other hand, that this film works best when it focuses on the storyline of Andrea-Miranda. Thus, he cut out a number of major transitional scenes, such as Andrea's job interview and staff journey Runway to Holt's studio. He also takes the initial scene where Miranda praises Andrea. After reviewing them for the DVD, Frankel admits that he did not even see them before, since Livolsi did not include them in the prints he sent to the director.

Frankel praised Livolsi for making four key film montages - opening credits, Miranda's throwing coat, Andrea makeover and Paris introduction - work. The third is very challenging because it uses passing cars and other obstacles to cover up Hathaway's clothing changes. Several scenes were also created in the editing room, such as the reception at the museum, where Livolsi took a B-roll tape to keep the action flowing.

Music

Theodore Shapiro composer relies heavily on guitars and percussion, with full orchestral support, to capture contemporary urban voices. He eventually wrote 35 minutes of music for the movie, which was performed and recorded by Hollywood Studio Symphony, conducted by Pete Anthony. His work is balanced with songs by U2 ("City of Blinding Lights", Miranda and Andrea in Paris), Madonna ("Vogue" & Jump, fashion magazine and Andrea; KT Tunstall ("Suddenly I See", female montage during credit opening), Alanis Morissette ("Crazy", Central Park photo shoot), Bitter: Sweet ("Our Remains," Andrea takes James Holt's sketch for Miranda; Bittersweet Faith, Lily performing arts), Azure Ray ("Sleep," following the description of his relationship with Nate), Jamiroquai ("Seven Days in Sunny June," Andrea and Christian met at James Holt's party) among others. Frankel wanted to use "City of Blinding Lights" in the movie after he used it as a soundtrack for a video montage of the Paris scene he composed after searching for locations there. Likewise, Field has advocated just as strongly for "Vogue."

The soundtrack album was released on July 11 by Warner Music. It includes all the songs mentioned above (except "Jump" Madonna) as well as a series of Shapiro themes. Among the tracks that are not included are "Suddenly I See," which disappointed many fans. It became popular as a result of the film.

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Pre-release and marketing

Originally intended only to convince Fox to fund several shots in Paris, his lead flute leads the studio to put a stronger marketing push behind the film. This moved the release date from February to the summer, scheduling it as a lighter alternative audience could consider for Superman Returns at the end of June 2006, and began positioning it as a show film in and of itself.

Two decisions by the studio marketing department that was meant to be the beginning eventually became an integral part of promoting the film. The first is the creation of a red stiletto heel that ends in a pitchfork as a teaser poster of the film. It's very successful and effective, being almost an "icon" (in Finerman's words), which is used for actual release posters as well. It became a brand, and was eventually used on any media associated with the movie - reprinting novels and soundtracks and DVD covers as well.

The studio also collected snapshots of scenes and pictures strictly from the first three minutes of the film, where Andrea met Miranda for the first time, for use in previews and film festivals until they could make trailer trailers more standard than the entire movie. But, again, this proved very effective with the initial audiences being maintained as the main trailer, as it created anticipation for the rest of the movie without giving anything away.

Gabler praised the studio marketing team for being "so creative." Fox saw the movie as "counterprogramming" on the weekend Superman Returns was released. While they know that the material and Hathaway will help attract younger female viewers who will not be interested in seeing the movie, "[w] e does not want to just look like a girl movie coming out."

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Reception

Critical response

The Devil Wears Prada received positive reviews from critics. At Rotten Tomatoes, the film has a 75% rating, based on 191 reviews, with a critical consensus of the site reads, "A rare film that goes beyond the quality of its novel source, this Devil is an ingenious exposition of the New York fashion scene , with Meryl Streep in top form and Anne Hathaway more than holding her own. "At Metacritic, the film has a score of 62 out of 100, based on 40 critics, showing" favorable overview ".

The film's initial review focuses primarily on Streep's performance, praising him for making a highly sympathetic character much more complex than the one in the novel. "With her silver hair and pale skin, diction whispered as perfectly as her posture, Miranda's Ms. Streep inspired both terror and admiration," wrote A. O. Scott in The New York Times. "No longer just the incarnation of evil, he is now the vision of aristocratic grace, directed and surprising to man." Kyle Smith agrees in the New York Post: "Streep who winds wisely chooses not to imitate Vogue editrix Anna Wintour, the inspiration for the book, but creates a very trustworthy character.. "

David Edelstein, in New York magazine, criticized the film as "thin," but praised Streep for his "extraordinary minimalist performance." J. Hoberman, Edelstein's colleague at The Village Voice , called the film an improvement in the book and said that Streep is "the scariest, most nuanced, funniest movie criminal since the unmanned White Witch Tilda Swinton [ in 2005 The Chronicles of Narnia: The Lion, the Witch and Wardrobe ]. "

Blunt, too, gets some good notices. "[She] has many of the best movie lines and stole almost every scene she entered," wrote Clifford Pugh at the Houston Chronicle. The reviewers and other fans agree. While all critics agree on Streep and Blunt, they point to another weakness, especially in the story. The reviewers familiar with the Weisberger novel agree with his opinion that the McKenna script is greatly developed. The exception is Angela Baldassare at The Microsoft Network Canada, who feels the film needs more bad things that other people tell her abundantly in the novel.

David Denby summarized this response in his review New Yorker : " The Devil Wears Prada tells a familiar story, and never goes far below the surface of what to say. , what surface! "The reaction to Hathaway's performance was not worth much of his comrades. Denby said, "he suggested, with nothing more than a panicked glance, what Weisberger took the page to describe." On the other hand, according to Baldassare, he "barely carries a load."

Fashion industry description

Some media allow their existing or former reporters to consider how realistic the film is. Their responses vary widely. Booth Moore at Los Angeles Times denounced Field for creating "a fantasy fashion fantasy with little to do with reality," a world that reflects what the outsider thinks it is like not what the industry really is. Unlike films, in their experience, fashionistas tend not to wear makeup and are more likely to appreciate the edgier-clad style (which does not include the toe rings). "If they want a documentary, they can watch History Channel", replied Field. Another newspaper's fashion writer, Hadley Freeman of The Guardian, also complains that the film is flooded with sexism and clichés that, for him, affects films about fashion in general.

Charla Krupp, executive editor of SHOP, Inc., said: "This is the first film I see that is correct... [It] has a political feel and tension better than any movie - and betrayal and siphon." Joanna Coles, editor US edition Marie Claire , agrees:

This film brilliantly denied certain types of young women who live, breathe, think fashion above all... young women who are ready to die rather than go without the latest Muse bag from Yves Saint Laurent that cost three times their monthly salary. This is also accurate in his understanding of the relationship between editor-in-chief and assistant.

Ginia Bellefante, a former fashion reporter for The New York Times, called it "very easy to describe the true culture of fashion since No zipper " and praises for portraying the way fashion has changed. in the early 21st century. Ruth La Ferla, her colleague, found a different opinion from industry insiders after a special preview screening. Most found the fashion in the movie too safe and its beauty too exaggerated, more in line with the 1980s than the 2000s. "My job is presenting entertainment, the world can be visited and making small trips," Field answered.

Liz Jones, former English editor of Marie Claire, wrote in The Daily Mail that the movie was "a terrible reminder of the most real three years of my life." The only detail he found inaccurate was the absence of interest in Miranda's Paris hotel room - during his tenure as editor, his rooms there or in Milan received so much interest from designers that he thought he was "dead prematurely." He personally guarantees Miranda's personality: "It took only a few weeks in my work to mutate into an exotic and spoiled strange creature: magazine expert, whose every wish, like Miranda... must be mastered."

Commercial

On the 30th of June opening weekend, just before the Independence Day holiday, the film is in 2,847 screens. Through That Week, July 2, it grossed $ 27 million, second only to a much larger budget Superman Returns, breaking the six-year record for The Patriot the biggest pickup by the film released on the weekend holidays that do not win weekends; a record that stood until Ice Age: Dawn of the Dinosaurs broke it in 2009.

During the first week, he added $ 13 million. This success led to Fox adding 35 more screens the following weekend, the largest domestic distribution the film enjoyed. Although there has never been a grossing movie this week, the film has remained in the top 10 through July. The theatrical game continued until December 10, shortly before the DVD release.

"The main marketing is for women," Gabler recalled, "but men do not refuse to go to the movies." She feels that male viewers respond well to the movie because they are looking for a glimpse in fashion, and because Miranda is "fun to watch." The release date helps generate word of mouth when people who have seen it discuss it at a holiday meeting. "They talked about it, like a summer reading book," Gabler said.

It was very successful in theaters, making nearly $ 125 million in the United States and Canada and over $ 325 million worldwide, a career high for the three top-billed actresses of the time. Streep will surpass him two years later with Mamma Mia while Hathaway surpasses her with 2010 Alice in Wonderland. Blunt will not be in a higher-grossing film until the 2014 film adaptation of Broadway musicals Into the Woods (also starred by Streep).

It was also Tucci's best-selling film to Captain America: The First Avenger in 2011.

Anna Wintour

Anna Wintour attended the premiere of a New York movie, wearing Prada. Her friend, Barbara Amiel, reported that she said not long afterwards that the movie would go straight to DVD. But in an interview with Barbara Walters that aired the day when the DVD was released, she called the movie "very entertaining" and said she appreciated the "assertive" nature of Streep's portrayal. "Anything that makes fashion entertaining and glamorous and exciting is great for our industry, so I'm 100 percent behind it." Streep says Wintour "may be more angry with the book than the movie". Anna Wintour's popularity skyrocketed after her role in The Devil Wears Prada . He is pleased with the portrayal he gets from Meryl Streep who does not place him in a criminal position where he feels an unjust representation of him. Meryl Streep says she does not base her character on The Devil Wears Prada on Anna Wintour, instead of saying she was inspired by a man she knew before: "Unfortunately you do not have enough ladies in power, or at least I do not know them , to copy. "

International

Novel Weisberger has been translated into 37 different languages, giving the film a strong foreign potential audience. The international box office will eventually generate 60% of the gross film. "We did our European premiere at the Venice Film Festival", says Gabler, where the city gondolas wear red shirts with the film's logo. "So many people around the world are captivated by the glossy fashion world that's sexy and international."

The Devil Wears Prada topped the charts at the weekend of Europe's first major release on October 9, following the strong opening of September Oceania and Latin America. It will be the weekend's best-selling movie in Britain, Spain and Russia, for a total of $ 41.5 million overall. Continuing a strong weekend when it opened across Europe helps stay above the overseas charts for the rest of this month. At the end of the year only China's opening is left; it was released there at the end of February 2007 and took $ 2.4 million.

The largest share of the international box office total of $ 201.8 million came from the UK, with $ 26.5 million. Germany next with $ 23.1 million, followed by Italy at $ 19.3 million and France at $ 17.9 million. Outside Europe, the Japanese box office was the highest at $ 14.6 million, followed by Australia at $ 12.6 million.

Most of the reviews from the international press echoed domestic response, piling praise on Streep and other actors, but called the whole movie "predictable." The Guardian Peter Bradshaw, who found the movie "quite entertaining," took Blunt to the task, calling it "real disappointment... tense and awkward. "In The Independent, Anthony Quinn says Streep" may have given us a classic here "and concludes that the film as a whole is" just as sharp and watery as fresh gum. "

In most markets, titles remain unchanged; English is spoken or translated to local languages. The only exceptions are Chile, Colombia, Ecuador, Mexico and Venezuela, where it is El diablo que viste Prada and El diablo se viste a la moda . In Poland, the title is Diabe? ubiera si? u Prady which roughly means "Devil's Dress (itself) in Prada" rather than "The Devil Wears Prada." In Italian the title is "Il diavolo veste Prada" which roughly means "Satan uses Prada". In Turkey, the title is "Eytan Marka Giyer", which is roughly translated as "Satanic Brand Names." In Romania, the title is "Diavolul se ÃÆ'®mbrac? De la Prada," which roughly means "The Devil Dresses itself from Prada", the same construction is found in the French title, "Le Diable s'habille en Prada". The Japanese version is titled "????????", Which translates as "Devil wearing Prada".

Awards and nominations

Three months after the North American film release (October 2006), Frankel and Weisberger jointly received the Blockbuster Book to Film Award's first Quill Blockbuster Book to Film Award. A staff committee in the magazine makes a nomination and chooses an award winner. Editor Peter Bart praised the two works.

'The Devil Wears Prada' is a very passionate and perfect film, which has surprised some people in the industry with its box-office legs. It has been pleasing to the country, as does Lauren Weisberger's book, which is still strong on some of the nation's bestsellers lists.

The film received an award from the National Board of Review as one of the top ten this year. The American Film Institute gave similar recognition to the film.

The film received much attention from the Hollywood Foreign Press Association when the Golden Globe Award nominations were announced in December. The movie itself is on its way to Best Picture (Comedy/Musical) and Supporting Actress (for Blunt). Streep then won the Globe for Best Actress (Musical/Comedy).

In January 2007, fellow Streep members of the Screen Actors Guild nominated him as Best Actress as well. Four days later, at the National Society of Film Critics, Streep won Best Supporting Actress for her work both at Devil and A Prairie Home Companion. McKenna earned a nomination from the Writers Guild of America Award for the Best Adaptation Scenario.

When the British Academy of Film and Television Arts announced the 2006 nomination, Blunt, Field, McKenna and Streep were all among the nominees. Makeup artist and hairdresser Nicki Ledermann and Angel de Angelis were also nominated.

In late January, Streep received a 14 Academy Award nomination for Best Actress, extending his record of 13 for most nominations by male or female actors. Field received a Design Costume nomination as well. No one wins, but Blunt and Hathaway present the last-mentioned award, entertaining the audience by tucking their characters for a few lines, nervously asking who has earned his Streep cappuccino. Streep plays along with a loud expression before smiling.

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In other media

The film's success brings the proposed, but unrealized, drama series, which is being prepared to air in the 2007-08 television season on Fox. It will be produced by Fox Television Studios, with a premise tailored to the traditional half hour limit or an hour of dramedy with a camera set-up. However, it never reached the point of even generating pilot episodes.

With the release of the video, new interest appears in Weisberger's novel. It ranks eighth on the list of USA Today 2006 best sellers and is the second most borrowed book in American libraries. The audiobook version was released in October 2006 and quickly made it third on the list of best media fiction sellers.

In 2015, it was reported that Broadway producer Kevin McCollum had signed a deal two years earlier with Fox to develop several films from his back catalog into the musical for the stage. Two he expressed a special interest is madam. Doubtfire and The Devil Wears Prada . Beginning in 2017, McCollum announced that in partnership with Fox Stage Productions, he developed a music version of The Devil Wears Prada (based on movies and books). Sir Elton John will draw up a score for the project with playwright Paul Rudnick, who has written some initial scenes for the scenario, mostly with Miranda, writing books and lyrics. McCollum did not say when he expected him to premiere but hoped it would eventually play on Broadway.

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Home media

DVD was released on December 12, 2006 and has, in addition to the film, the following additions:

• Audio comments from Frankel, editor Mark Livolsi, Field, screenwriter Aline Brosh McKenna, producer Wendy Finerman and cinematographer Florian Ballhaus.
• A five-minute rickety display, among other photographs, Hathaway's unintentional pratfalls due to the high stiletto boots he has to wear. It also includes gag shots like chubby members with loose clothing running along the runway at a fashion show, and Streep announces "I have some nude photos to show you" in the Paris brunch scene. Unlike most blooper reels, it's not a sequential set, but a fast-paced montage that's set to music from movies with lots of behind-the-scenes shots and separate screenshots that allow viewers to compare actual shots with blooper. The number of shots of actors touching their noses, says Rich Sommer, a game played to give errors due to broken pickups.
• Five featurettes
  • "Journey to the Big Screen", a 12-minute display in pre-film production, discusses changes made from the novel, how Frankel was chosen to direct and other issues.
  • "NYC and Fashion", saw the real New York fashion scene and how it was depicted in the movie.
  • "Fashion Visionary Patricia Field", profile of the costume designer.
  • "Getting Valentino", discusses how designers are persuaded to appear as themselves in the movie.
  • "Boss from Hell", a short segment of a difficult boss, who has nightmares like Priestly.
• Fifteen deleted scenes, with comments from Frankel and Livolsi available (see below).
• Theater trailers, and promotional venues for other soundtrack and release albums.

Closed captions in French and Spanish are also available. This DVD is available in full screen and widescreen versions. The player images and the "Hell on Heels" tagline are added to the red heel image for the cover. It was released in the UK on February 5, 2007.

Blu-ray disc movies are released simultaneously with DVDs. Blu-ray retains the same features as DVDs; However, featurettes are dropped and replaced with trivia pop-up trivia songs that can be viewed by themselves or along with audio commentary.

Reception

Soon after the December 12 release, it became the top lease in the United States. It held the place through the end of the year, adding another $ 26.5 million to grosses movies; it's down from the top 50 at the end of March, with its grosses almost doubled. The following week he made his debut on the DVD sales charts in third. By the end of 2007, they had sold nearly 5.6 million units, totaling $ 94.4 million in sales.

Deleted scene

Among the deleted scenes are some that add more background information to the story, with comments available by editors and directors. Most of it was removed by Livolsi in order to keep the plot focused on the conflict between Miranda and Andrea, often without consulting Frankel.

Frankel generally agreed with his editor's choice, but differed in one scene, showing more about Andrea in his duties to the Calvin Klein showroom. She feels the scene shows Andrea's work more than performing personal duties for Miranda.

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Cultural and inheritance impact

In 2016, around the 10th anniversary of the film release, Vanity Fair did an overview of some of the Independence Day movie outcomes from the previous 15 years, noting how some of the better films

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