Meryl Streep and Anne Hathaway on Devil Wears Prada sequel

0:00Lovely to meet you. Lovely to see the bed. I've got the Rebecca. This is 20 years old. Like the film. So this was one of the first things that I went and spent my heart and money when I got a job in journalism. You got a bag too. It's one of the first things I did too. Well, good taste. And I have to say, and I took your suggestion and got some Australian wool and knitted a very small serrullian cozy, talented, neat, well known. Now, I know you're a knitter as well, Marilyn. So I don't want you to look too closely, because I've thought there you go. Now, typically. As a true Australian, I've already drunk this champagne for this closure. But that is a tourist thing that I've ever seen. Australians are in the scene. I just couldn't tell you. It's true. It's true. It's true. We are so excited for this movie. I have to start first, and have you been surprised by the level of enthusiasm

1:04because the attention, it's been extraordinary. You know what I've been amazed by just the depth of it? Because you sort of think, oh, well, in this spot it's popular. And then we'll go to the next spot and maybe not so much. But I swear it's growing. When we go from place to place. To realize that something that we made 20 years ago has carried people, that they've taken it into their heart, that it's meant so much, that they've made it grow. Cross the cultures and the generations. Giving it to their babies and put them in front of it. Oh, my gosh. It's been incredible to speak with the journals from Thailand, to speak with the journals from Australia. And it's been overwhelming. Have I been surprised? Yeah, a little bit. I don't think my brain knew how to imagine it, you know? No, I'm not online, so I don't know about the meaning of it. But you saw the people turn up when you were shooting. That was a big shocker. Yeah, was it? Was it a bit intimidating almost had those kind of crowds?

2:05I know you used to be in film, but there were many phones on you filming you. Yeah, no, I didn't know that was going to happen. We were filming on the street. The first day, hundreds and hundreds of people out there. And shouting, you know, and people... We shot the Metcala, sort of, there's a scene of that. And, you know, I fell down the stairs. I was so discombobulated by it early on. Once we got in the studio, I was in total command and everything. But when we were out there, I was just like, what's going on? Buses pulled up. They had police barriers. I mean, it was nuts. You shoot movies in New York and series and famous series. Big, famous series. Nobody gives them down, you know. Nobody goes out to watch it. Yeah, but this is different. And that's because I think for 20 years, the audience has been waiting and it's finally here. And I want to ask you a question. I know that you made a point with the producers about the models, the size of them.

3:08And I know you were 23 when you filmed this first film. So what would the 23-year-old version of yourself say to the fact that we're still having that conversation? What would she say about that? Because when you first shot, you might have thought, oh, in 20 years time, things might be different. I think giving 23-year-old me a lot of credit. I don't think I was that forward thinking. I don't think that I... You know, it was such a time of such rigid beauty standards. And it was a time of such geek keeping. And I couldn't have imagined how the definition of beauty would expand in my lifetime. And, you know, when I went to the producers to say that I... You know, because also I want to make sure that I'm not like revershaming anybody. Like, some people really are naturally quite thin and you don't want to make anybody feel bad about any aspect, any type of body. Believe me, they're not going to feel bad about it. True. Show me that co-host. Okay, thank you.

4:08Okay, okay, okay. Okay, okay, okay. I heard it had to be too rich. Now I hear it. So all I wanted to do was go to producers and say, Hey, in the last 20 years, we've expanded the definition of what beauty is, what a beautiful body is, wouldn't it be great if our movie reflected that expansion? Yeah, but don't you think, I think, that 20 years ago, there was more awareness. That was when it was beginning. And there were more models, first of all, racially, you know, suddenly. We had amazing models from every ethnicity. Before that, I mean, in the 60s, in 70s, in 80s, in 90s. It wasn't that way, but it was things were really changing in 2006. But I think there's been recidivism. I think we're sort of winding back in so many ways, culturally, with women. Maybe it's just the backlash to whatever it was that allowed there to be more diversity

5:09in body shapes and things like that. But it's definitely back, that whole, yeah. That does feel we're under a particular lens. Just to end on a lighter note, I know Andy gave away the Chanel, but please tell me, did you keep it? Did you keep both of you something from the original wardrobe? Please tell me you have the civilian net. I am going to take the fifth one where that sweater is. One thing that did happen, so it wasn't possible to keep close from the first film because we rented all of them. We borrowed it. We rented the runway for the worst film. It wasn't like that, the sick and tongue around, I'm imagining. No, people lent us, it gave us things, just hurled wonderful designers. I don't know how awful. But one of the things that did happen was we... Not to keep them. Some of the vintage pieces that Patricia Field had found in the first film one of being auctioned off for a charity called Rest for Success. And one of Andy's coats was up on the auction block,

6:11and I decided to bid on it, and I wound up getting it. So I actually had the green coat with the kind of animal print collar in my closet at home. I love that. I think Anna Winter was very instrumental in, because when we decided we wanted to auction the things that some of the valuable pieces, there were pieces, there were some great things in there. Anna helped us put that whole thing together, and the auction and the benefit party and everything. She was worried about the first film, how it would be, but she was generous when she'd seen it, and with her help, because she recognized that it was good, and it was good for business. And I must say then, before I go, also a lovely cover. I must be with Anna and yourself. That must be the first cover where a couple of grandmothers

7:11with ten grandkids between them is on Vogue. I'd have to say, I don't think we've had that before. Boom! Beautiful. I hope it's a sea of sorollian, in cinemas that I'm taking is the greatest. That is the greatest. Can I just see? Open up this quickly. Oh, that is so good. I couldn't do the cable knit. That might tell us. That's wonderful. Oh, no. I mean, please. No, it's a Australian ball. It's marina. It is. You are so clever. Wow. It is embarrassing that you're now looking at the empty champagne bottle that I took. Look at the lid back on, dude. It's got a detail. Well, I used a Christmas knit. I can send it to you. If you want to do it a Christmas time, but you can make a snowflake. Oh, that's all I do, isn't it? For these horrible grits. Oh, no. Thank you. Thank you. Love visiting you. Thank you. I love the pathway to see them with you. We like it. Thank you.