Emily Blunt

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Posted by motoman 03/01/2009 @ 12:40

Tags : emily blunt, actors and actresses, entertainment

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Why Emily Blunt refused to do it with Russell Brand - First Post
The English actress Emily Blunt, who made her name with a scene-stealing role in The Devil Wears Prada and recently won plaudits for her lead role in The Young Victoria, has reportedly pulled out of a film because it would involve too many sex scenes...
Why Emily Blunt won't be romping with Russell Brand - Daily Mail
Emily Blunt has pulled out of a new film because the sex scenes were too explicit. The actress who won rave reviews for her recent performance in The Young Victoria, had been lined up to star with Russell Brand in Get Him To The Greek, but quit because...
Powder room - WA today
Dudas, who lists Rose Byrne, Jennifer Hawkins and Emily Blunt among her clients, says it's vital to know what suits and "less is more" in most cases. "It's important to look after the skin so you have good skin and can go without make-up....
"24" actress talks family-work balance - KGO-TV
The movie also stars Amy Adams and Emily Blunt, as sisters who find the meaning of life when they team up to run a service cleaning up after crime scenes and traumas. Her character Lynn is the object of Emily Blunt's sexual obsession....
Emily Blunt and Jason Segel: “Gulliver's Travels” - The Gossip Girls
Hard at work on her latest movie “Gulliver's Travels,” Emily Blunt was spotted filming scenes in Oxfordshire, England earlier today (May 6). The “Jane Austen Book Club” cutie looked authentically medieval as she ran lines in a beautiful shimmery blue...
Can Miramax survive? - Los Angeles Times
Also in the works is an animated feature, "Gnomeo and Juliet," conceived of as a big-budget project at Disney Animation but now a lower-cost production in Toronto with a score by Elton John and voice-overs by actors James McAvoy and Emily Blunt....
He Said, She Said movie review: 'Sunshine Cleaning' characters ... - Enterprise-Record
By ALLEN LUNDE and MICHELLE MacEACHERN - The Buzz "Sunshine Cleaning" stars Emily Blunt and Amy Adams as sisters who establish their own crime scene cleaning business. MICHELLE: I'm about to sound like a big, fat hypocrite. I'm always the first one to...
Fashion Forward Fashion: Michelle Obama, Emily Blunt, Jesus Luz - Gay Wired
Emily Blunt, why do you continue to astonish, dazzle and otherwise amaze us? This spread of you in May's Vanity Fair is the stuff a million little girls would kill for! While we'd certainly like to snuggle with Scott Herman, the hot underwear model...
Dailies: Amanda Peet Going On "Gulliver's Travels" - The Business Insider
Amanda Peet has joined Jack Black, Jason Segel and Emily Blunt in the Fox remake of Gulliver's Travels. (THR) DVD sales plunged 14% in the first quarter of the year to $2.9 billion. Blu-ray disc sales, however, more than doubled to $230 million in the...

Emily Blunt

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Emily Olivia Leah Blunt (born 23 February 1983) is an English actress known for her work in the film My Summer of Love and her appearance in The Devil Wears Prada. She won the 2007 Golden Globe Award for Best Supporting Actress for the BBC TV film Gideon's Daughter and was nominated for the same award for The Devil Wears Prada.

Blunt is from Roehampton, London, England. She is one of four children born to a barrister father, who became a Queen's Counsel, and teacher mother. Her uncle is Crispin Blunt, Conservative Member of Parliament for Reigate. At the age of 16 Blunt moved to a sixth-form college known for its performing arts programme, Hurtwood House, which is where she attracted an agent.

Blunt lived in London and Vancouver. In the latter she shared a home with her now ex-boyfriend, Canadian singer Michael Bublé, whom she first met in Melbourne backstage at the Australian television Logie Awards in 2005. Bublé thought Blunt was a television producer when they met. She later provided background vocals on his cover of "Me and Mrs. Jones" on his album Call Me Irresponsible.

In July 2008, Blunt ended her three-year relationship with Bublé, due to their busy schedules. Blunt is currently dating actor John Krasinski, who plays Jim on the NBC series, The Office.

Blunt made her professional debut in Bliss a new musical, written by Paul Sellar, at the 2000 Edinburgh Fringe while she was still an A-level student. She went on to perform at the National Theatre and at Chichester Festival Theatre. In 2003, she made her screen debut in the British television drama Boudica, about the life of the ancient British warrior-queen who fought the Romans. She also won considerable praise for her performance as the 16th-century queen Catherine Howard in the two-part British television drama Henry VIII.

Blunt's breakout role was as Tamsin in the dark British movie, My Summer of Love in 2004, which depicted a story of deception and lesbian love in the English countryside. She shared an Evening Standard British Film Award for Most Promising Newcomer with co-star Nathalie Press.

In 2005 she co-starred with Bill Nighy and Miranda Richardson in the British TV drama Gideon's Daughter, an original screenplay written and directed by Stephen Poliakoff, in which she played the troubled only child of New Labour spin doctor Gideon Warner, played by veteran British character actor Bill Nighy.

More recently, she starred opposite Meryl Streep and Anne Hathaway in the box-office success, The Devil Wears Prada. Streep and Hathaway received most of the critical attention initially, but Blunt proved to be equally memorable with Entertainment Weekly naming her the Best Female Scene-Stealer in their end-of-summer special issue. She appeared at the 79th Academy Awards where she co-presented the award for best costume design with her The Devil Wears Prada co-star Hathaway. Blunt and Hathaway also lost weight for their roles in the film. In an interview with Us Weekly, Hathaway said “I basically stuck with fruit, vegetables and fish (to slim down for the movie). I wouldn't recommend that. Emily Blunt and I would clutch at each other and cry because we were so hungry." Blunt also spoke about the weight loss, claiming she had to go "painfully thin".

Blunt later co-starred with Susan Sarandon in the independent drama Irresistible. When Sarandon became attached to starring in another movie, The Girl In The Park, she strongly suggested that director David Auburn should cast her. Blunt did audition for the part—she almost received the role—but lost out to Kate Bosworth. She has also worked on a number of upcoming movies: The Young Victoria (in which she plays the title character), Wild Target and The Wolf Man. In 2007, she appeared in the film Charlie Wilson's War. She recently voiced a character for The Simpsons.

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Wind Chill (film)

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Wind Chill is a 2007 horror film starring Emily Blunt and Ashton Holmes. George Clooney and Steven Soderbergh are among the producers of the project. The movie was directed by Gregory Jacobs, who previously directed the well-received movie Criminal. The film began filming in the Vancouver area on February 1st, 2006. The completed film opened in limited distribution on April 27, 2007. The film is also available on DVD.

In this film, a young woman from a northeastern college shares a ride home to Delaware for Christmas with a strange young man she meets from their school Ride Board. After a few hours of driving, the guy detours to what he considers a shortcut, Route 606.

The girl (Blunt) discovers the guy is not from her hometown and is an admirer-classmate from school. He reveals he knows much more about her than she had realized, causing her to become very nervous. When their car gets run off the road by another car on "scenic" Route 606, she becomes suspicious this was all planned, however she soon realizes her strange companion is the least of her worries. As the temperature drops to 30 degrees below zero, ghostly figures begin appearing in the woods where ghastly events had unfolded in the 1950s.

The college scenes in the film were shot at the University of British Columbia near Vancouver, British Columbia, Canada. Outdoor scenes of the movie were shot near Peachland, British Columbia, in February and March 2006.

Note: The characters appearing in this film are never named.

The DVD was released on May 5th in a 2-disc set. In the UK it was available with special holographic sleeve.

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Death on the Nile (2004 film)

Death on the Nile is a 2004 British television film, part of the ITV Agatha Christie's Poirot series, based on the mystery novel Death on the Nile by Agatha Christie. The film was shot almost entirely on location in Egypt.

Jacqueline De Bellefort (Emma Griffiths Malin) introduces her fiancé, Simon Doyle (JJ Feild), to her wealthy friend Linnet Ridgeway (Emily Blunt) in the hope that Linnet will give him a job. Instead, Linnet marries Simon herself and they head off for a honeymoon in Egypt (the same place where Jacqueline had planned her honeymoon with Simon). A bitter Jacqueline follows them to Egypt, appearing wherever they go.

Hercule Poirot (David Suchet) is also on holiday in Egypt. While staying in the same hotel as the newlyweds, he is approached by Linnet Doyle who is getting tired of Jacqueline's harassment. Poirot doesn't accept the job, but tries to warn Jacqueline against pursuing the Doyles any further. She ignores his warning and joins their cruise on the river Nile.

Linnet Doyle comments that she is "surrounded by enemies" on the cruise, as some of the other travellers are also known to her. They include Andrew Pennington (David Soul), her American trustee, who has orchestrated their 'coincidental' meeting in Egypt in order for her to sign some legal documents. Linnet has also upset her maid Louise (Felicite du Jeu) by interfering in her romantic affairs. Rosalie Otterbourne (Zoe Telford) and aristocrat-turned-Marxist Mr Ferguson (Alastair MacKenzie) take an instant dislike to Linnet. Miss Van Schuyler (Judy Parfitt) admires Linnet's pearls and Tim Allerton (Daniel Lapaine) has a history of being present when precious jewels have been stolen.

One night, after most of the guests have retired to their cabins, Jacqueline and Simon have an argument in the lounge. Jacqueline (who has been drinking) becomes hysterical, pulls a pistol from her purse and shoots Simon in the leg. The two guests who witness the shooting, Mr Ferguson and Cornelia Robson (Daisy Donovan), fetch Dr. Bessner (Steve Pemberton) and keep an eye on Jacqueline. Dr. Bessner tends to Simon's leg injury.

The next morning Linnet Doyle is found dead in her cabin. Her pearl necklace and Jacqueline's pistol (the one used to shoot Simon) are both missing. Although Jacqueline is a natural suspect she has a perfect alibi, having been sedated and watched all night by Cornelia Robson. Linnet's husband, Simon Doyle, was also unable to commit the crime due to his leg wound.

Poirot sets out to solve the murder, with the aid of Colonel Race (James Fox). While conducting their investigations, the maid Louise is murdered and Poirot realises she probably saw the murderer coming out of Linnet's cabin and attempted to extort money in return for her silence. Rosalie's mother Salome Otterbourne (Frances de la Tour) sees Louise's murderer and is about to tell Poirot when she is shot in the head through an open cabin door. The missing pearls are returned by Cornelia Robson, who has recovered them from Miss Van Schuyler, but they are discovered to be a paste replica. Poirot later reveals that fake pearls were substituted by Tim Allerton.

After various suspects are eliminated Poirot reveals that Simon Doyle murdered his wife, with Jacqueline working as his accomplice. They staged Simon's shooting, leaving him free to murder Linnet while the doctor was being fetched by Mr Ferguson and Jacqueline attended to by Cornelia Robson. Simon was left alone for long enough to shoot Linnet, return to the lounge and shoot himself in the leg. Jacqueline killed the maid and Salome Otterbourne, who were both witnesses to the murders. It is revealed that Simon's marriage to Linnet had been cleverly plotted in order to gain her money. When they realise the evidence is against them, Jacqueline shoots Simon and then herself in dramatic fashion.

The story ends happily, at least for Cornelia Robson and Dr. Bessner, who become engaged.

The television film adaptation differs from the original Agatha Christie novel Death on the Nile in various ways. Most of the passengers on the Nile cruise have motives for murdering Linnet in the novel, and some characters from the novel (Jim Fanthorp, Mr Richetti, Miss Bowers) do not appear in the film. The romance between Tim Allerton and Rosalie Otterbourne has its outcome changed: instead of the pair winding up happily in love, Tim refuses Rosalie gently, implying that he is gay.

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My Summer of Love

My Summer of Love is a 2004 British film directed by Pawel Pawlikowski and co-written by Pawel Pawlikowski and Michael Wynne. Based on a novel by Helen Cross, the film explores the relationship between two young women from different classes and backgrounds. Working class Mona (Press), whose once-hotheaded brother (Considine) became a born again Christian in prison, meets upper middle class Tamsin (Blunt) who suffers from a lack of love in her family. Filmed in West-Yorkshire, the film went on to win a BAFTA.

In Yorkshire, two girls meet for the first time when Tamsin (Emily Blunt), a manipulative rich girl suffering from parental neglect, rides into a field on horseback and chances upon Mona (Natalie Press), a simple working-class girl, while the latter is resting in the grass. Opposites attract as the girls come from vastly different backgrounds and meet under very different circumstances - the former is from an upper-middle-class family and is under suspension from boarding school for being a bad influence, while the latter, bored with her mundane life, comes from a dysfunctional family, her recently-released prisoner brother, Phil (Paddy Considine), being her only living family member. The new acquaintances set off together, one on horseback and the other on an engineless scooter.

When Mona arrives home, she finds her brother, in the pub that was once run by their mother, removing all the alcohol. He has undergone an extreme religious transformation during his stint in prison and this is part of his preparation for a rally for Christian converts. Mona meets her lover that night, whereupon they have sex in his car, right before he breaks up with her. A disgusted Mona is then left alone in the parking lot. The next day, Mona arrives at Tamsin's in order to escape from the rally organised by her brother. The girls begin to bond as they spend the day drinking and smoking while talking about the problems they face in their lives. Their sharing brings to light several of Tamsin's family secrets, such as the fact that Tamsin's sister, Sadie, died due to anorexia, as well as her father's extramarital affair.

The next day, Tamsin takes Mona to the place where her father is cheating on her mother with his secretary. They smash a window of his car and run away, after which Mona agrees to spend the night in Tamsin's house, as Tamsin's parents are not at home. The next day begins with Tamsin purchasing an engine for Mona's scooter, after which they drive to a small river to swim. The girls share their first kiss while in the water, bikini-clad. The two go back to Tasmin's house and Mona tries on dresses, and later dances in one of them out in the yard as Tasmin plays a song on her cello. Mona falls to the ground at the end of the song, and Tasmin kisses her passionately, resulting in the two girls having sex for the first time, later that night, in Tamsin's bed.

The next day, Phil finds the girls sunbathing, Tamsin topless. She does not cover herself and merely gazes at him as he invites the girls to his rally, in which he wants to erect a large cross on the hill next to their village. The girls go and join the born-again Christians on their way up the hill. Tamsin behaves as if immediately attracted to Phil during the course of the rally.

Later that day, Mona and Tamsin go to a dancehall where they behave intimately, disturbing the mostly older patrons and prompting the bouncer to kick them out. They then go back to the river where they first kissed and declare their eternal love to each other, solemnly swearing that they would kill each other if one should leave the other.

In the morning, Tamsin wakes by the river with a cold, and the girls leave to breakfast at Tamsin's house. Phil then arrives at Tamsin's house searching for Mona, whereupon Tamsin pretends to seduce him. He reacts and attempts to kiss her, but she laughs him off insultingly, sparking his fury and violence, as he grabs Tamsin by the neck in a fit of anger. He proceeds to forcibly ground Mona, forbidding her to see Tamsin. Mona refuses to give in to his demands, and something in Phil snaps when he finally comes to see the loyalty Mona has towards Tamsin. He then kicks the born-again Christians out of the former pub, while Mona leaves the pub determined to start a new life with Tamsin.

However, she arrives at Tamsin's and discovers that Tamsin is to return to boarding school. Mona also belatedly uncovers Tamsin's deception - Tamsin's sister, Sadie, is in fact alive, and did not die of an eating disorder; this was just a lie fed to Mona as part of Tamsin's idea of summer fun. Mona, feeling disgusted and dejected by the fact that she's been used as summer theatrics, leaves for the girls' special spot at the river.

Tamsin finds her there and tells Mona that it should have been clear from the start that their relationship was doomed. In explaining why she lied about Sadie's "death", Tamsin tells Mona, "I'm a fantasist, for God's sake." They then slip into the water fully clothed again, re-enacting the earlier kissing scene. Mona uses this opportunity to fulfill her earlier oath, attempting to kill Tamsin, but ultimately leaving her alive, going off, instead, on her own.

Casting the two lead actresses for the film proved difficult for Pawlikowski, and the overall casting procedure took about eight months. Pawlikowski searched in schools, universities, theatre groups and public castings. He discovered Nathalie Press first, but he still had to find her counterpart and so held some workshops together with Press and Considine. During this process, he finally found Emily Blunt, and felt her to be the ideal Tamsin. The chemistry between Press and Blunt was perfect right from the start and they first did a tryout with the "Piaf-dancing scene", which worked out perfectly. Emily Blunt is a competent cellist, and is listed in the credits as the performer of "The Swan" by Camille Saint-Saëns. Pawlikowski already knew Paddy Considine from their earlier collaboration Last Resort and cast him as Phil.

The film was shot during the span of five weeks after some intensive location-scouting by Pawlikowski. The script only contained 35 pages and was far from being complete. The whole script was a kind of work in progress: a lot of scenes and dialogue were improvised while shooting, with a lot of participation by the actors. The scene in which Mona draws a portrait of Tamsin on the wall of her room was entirely improvised - during Pawlikowski's travelling together with Press, he discovered that she used to do a lot of drawing while she was thinking, so he decided to integrate it into the movie and made a scene out of it. The whole shoot was done on location in Todmorden during the hottest summer Yorkshire had seen in 50 years.

The score of the film was written by Goldfrapp and the movie theme is a variation of the Goldfrapp song "Lovely Head", which was the first song of their 2000 album Felt Mountain.

The performances of the leading actors have been acclaimed, with trophies from the Evening Standard British Film Awards and the London Critics Circle Film Awards. Also, Pawlikowski's unconventional style of directing has been rewarded with a BAFTA for Best British Film and the Michael Powell award for Best British Film at the Edinburgh Film Festival (where the film had its world premiere in 2004), along with many nominations across the British Independent Film Awards and the European Film Awards.

The novel with the same title My Summer of Love by Helen Cross only served as a blueprint for the film: Whereas the novel pays a lot of attention to the social background of England in the 1980s, Pawlikowski reduced the book to its essentials and focused on the relationship between the girls. Most of the characters in the novel were left out in the film and the character Phil was invented and added by Pawlikowski, who had previously directed a documentary on born-again Christians in Yorkshire. In many interviews Pawlikowski said that he was not interested in portraying typical teenage life in England, but he wanted to give the movie a certain "timeless feeling".

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Wild Target

Wild Target is an upcoming 2009 comedy film, directed by Jonathan Lynn. It is based on the 1993 French film Cible Emouvante. Lucinda Coxon wrote the screenplay, and Martin Pope and Michael Rose are producing it.

Production is in the filming stage as it began shooting in London on September 16, 2008, with Bill Nighy, Emily Blunt, Rupert Grint and Eileen Atkins heading the cast. Filming will also take place on the Isle of Man later this year.

Wild Target is a comedy about uptight Victor Maynard (Bill Nighy), a middle-aged, solitary assassin, who lives to please his formidable mother Louisa (Eileen Atkins), despite his own peerless reputation for lethal efficiency. His professional routine is interrupted when he finds himself drawn to one of his intended victims, Rose (Emily Blunt).

He spares her life, unexpectedly acquiring a young apprentice in the process, Tony (Rupert Grint). Believing Victor to be a private detective, his two new companions tag along, while he attempts to thwart the murderous attentions of his unhappy client (Rupert Everett).

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The Devil Wears Prada (film)

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The Devil Wears Prada is a 2006 comedy-drama film, a loose screen adaptation of Lauren Weisberger's 2003 novel of the same name. It stars Anne Hathaway as Andy Sachs, a recent college graduate who goes to New York City and gets a job as a co-assistant to powerful and demanding fashion magazine editor Miranda Priestly, played by Meryl Streep. Emily Blunt and Stanley Tucci co-star in support of the two leads, as catty co-assistant Emily Charlton, and critical yet supportive Art Director Nigel, respectively. Adrian Grenier, Simon Baker and Tracie Thoms play key supporting roles. Wendy Finerman produced and David Frankel directed; the film was distributed by 20th Century Fox.

Streep's performance drew rave reviews from critics and later earned her many award nominations, including her record-setting 14th Oscar bid, as well as a Golden Globe for Best Actress in a Comedy or Musical. Blunt also drew favorable notice and nominations, as did many of those involved in the film's production. While critical reaction to the film as a whole was more measured, it was well received by the public becoming a surprise summer box-office hit following its June 30 North American release. The commercial success and critical praise for Streep's performance continued in foreign markets, with the film leading the international box office for most of October. The U.S. DVD release likewise was the top rental during December. Ultimately, it would gross over $300 million, mostly from its international run, and finish in 2006's top 20 both in the U.S. and overseas. It is also the 2nd highest-grossing film in Streep's career (the first being Mamma Mia!) and the highest grossing in Hathaway's. A television series is being developed.

Although the movie is set in the fashion world, most designers and other fashion notables avoided appearing as themselves for fear of displeasing U.S. Vogue editor Anna Wintour, who is widely believed to have been the inspiration for Priestly. Many designers did, however, allow their clothes and accessories to be used in the film, making it the most expensively-costumed film in history. Wintour later overcame her initial skepticism, saying she liked the film and Streep in particular.

Andrea "Andy" Sachs (Anne Hathaway), an aspiring journalist fresh out of Northwestern University, lands the magazine job "a million girls would kill for": junior personal assistant to icy editor-in-chief Miranda Priestly (Meryl Streep), who dominates the fashion world from her perch atop Runway magazine. She puts up with the eccentric and humiliating requests of her boss because, she is told, if she lasts a year in the position she will get her pick of other jobs, perhaps even the journalistic position she truly craves.

At first, she fits in poorly among the gossipy fashionistas who make up the magazine staff. Her lack of style or fashion knowledge and fumbling with her job make her an object of scorn around the office. Senior assistant Emily (a name Miranda also uses to refer to Andy) Charlton, her co-worker, is condescending to her. Gradually, though, with the help of art director Nigel (Stanley Tucci), Andy adjusts to the position and its many perks, including free designer clothing and other choice accessories. She begins to dress more stylishly and do her job competently, fulfilling a seemingly impossible request of Miranda's to get two copies of an unpublished Harry Potter manuscript to her daughters.

She also comes to prize chance encounters with attractive young writer Christian Thompson (Simon Baker), who helped her obtain the Potter manuscript and suggests he could help her with her career. However, her relationships with her boyfriend Nate (Adrian Grenier), a chef working his way up the career ladder, and other college friends suffer due to the increasing time she spends at Miranda's beck and call.

Shortly afterwards, Andy saves Miranda from social embarrassment at a charity benefit when the cold-stricken Emily falters in reminding Miranda who an approaching guest is. As a result, Miranda tells Andrea that she will accompany her to the fall fashion shows in Paris, rather than Emily who had been looking forward to the trip for months. Miranda warns Andy that if she declines, it could adversely affect her future job prospects. Emily is hit by a car before Andy can tell Emily the next morning, making her choice moot.

During a gallery exhibit of her friend Lily's photography, Andy again encounters Christian, who openly flirts with her, much to the shock and disgust of Lily, who witnesses it all. After Lily calls her out and walks away, Andy bumps into Nate, who, when she tells him she will be going to Paris, is angered that she refuses to admit that she's become the girls she's made fun of and that their relationship has taken a back seat. As a result, they break up in the middle of the street the night before she leaves for Paris.

In Paris, Nigel tells Andy that he has got a job as creative director with rising fashion star James Holt (Daniel Sunjata), at Miranda's recommendation, and will finally be in charge of his own life. She also finally succumbs to Christian's charms, and sees her boss let down her guard for the first time as she worries about the effect an impending divorce will have on her daughters. In the morning, Andrea finds out about a plan to replace Miranda as Runway editor with Jacqueline Follet, editor of the magazine's French edition, later that day. Despite the suffering she has endured at her boss's behest, she attempts to warn Miranda but is seemingly rebuffed each time.

At a luncheon later that day, however, Miranda announces that it is Jacqueline instead of Nigel who will leave Runway for Holt. Later, when the two are being driven to a show, she explains to a still-stunned Andrea that she was grateful for the warning but already knew of the plot to replace her and sacrificed Nigel to keep her own job. Pleased by this display of loyalty, she tells Andrea she sees some of herself in her. Andrea, repulsed, said she could never do to anyone what Miranda did to Nigel, primarily as Nigel mentored Andrea. Miranda replies that she already did, stepping over Emily when she agreed to go to Paris. If she wants to get ahead in her career, that's what she'll have to be willing to do. When Andrea questions if the cut-throat fashion industry is truly where she wants to be, Miranda icily replies that "everybody wants to be us" -- implying that in Miranda's eyes, Andrea's transformation from the idealistic and empathetic aspiring journalist to a fellow fashionista is now complete.

Andrea gets out of the limo at the next stop, going not into the show with Miranda but out into the street, where instead of answering yet another call from her boss she throws her cell phone into the fountain of the Place de la Concorde, leaving Miranda, Runway and fashion behind.

While the basic plot elements of Weisberger's novel remain in place, many changes were made to the specifics. Screenwriter Aline Brosh McKenna created an entirely different crisis at the end of the story, and this required changes to many of the characters.

In the novel, Andrea is forced into confronting Miranda at the climax when, back in New York, Lily is involved in a car accident, which leaves her comatose. Andrea's friends and family challenge her via phone calls to stand up for herself. Andrea ends her time with Miranda by telling her, very publicly, "Fuck you, Miranda. Fuck you!" The conspiracy to remove Miranda as Runway editor, and everything associated with it, was written entirely for the film.

To set up the climax, details along the way were changed or added. Irv Ravitz, head of Elias-Clark, was given a far bigger part in the movie. The scene where Andrea succeeds where the sick Emily faltered at the benefit was adapted from a similar scene in the novel which did not involve Emily. Her inability to go to Paris in the novel is due to a bout of mononucleosis. McKenna and Frankel decided to have her suffer the car accident instead of Lily to let Andrea out of a moral dilemma that could have made her less sympathetic in viewers' eyes.

Afterwards, the novel's Andrea sells her leftover clothing to a second-hand shop for $38,000 and finances her writer's life for the next year. She, too, eventually returns to publishing when she sells a short story to Seventeen, and then returns to Elias-Clark to discuss freelance writing assignments with another of the company's magazines, The Buzz.

All the major characters were revised at least slightly from their counterparts in the novel. Andrea was made a graduate of Northwestern instead of Brown, and a native of Ohio rather than Connecticut. Her career aspirations were changed from writing for The New Yorker to newspaper journalism. The film added a subplot about Miranda's failing marriage, and made her character more sympathetic overall. On the other hand, the film made Emily less sympathetic; the novel's Emily is kinder to Andrea and lives in just as much fear of Miranda, sometimes engaging in passive-aggressive behavior toward her. Andrea's boyfriend's name was changed from Alex to Nate for the film, and he was made a chef instead of an elementary school teacher through Teach for America in the Bronx.

Lily underwent the most significant change from novel to film. Her role in the novel is far larger: she has been Andrea's best friend since eighth grade and the two went through college together. Instead of running an art gallery, she is a graduate student in Russian literature at Columbia University. Stressed from her studies, she starts to pick up men in bars and develops a drinking problem, which leads to her car accident and the climactic confrontation between Andrea and Miranda.

The novel depicts Lily, Andrea, Alex/Nate, and Miranda all as having come from Jewish backgrounds. The film makes no reference to any character's ethnicity.

Among the minor characters, James Holt and Jacqueline Follet, who figure prominently in the film's resolution, were created for the film and do not exist in the novel. Likewise, several gay male Runway staffers mentioned in the novel were combined into the film's Nigel, very different from the original Nigel modeled on André Leon Talley. Miranda's nanny Cara and the Elias-Clark security guard Eduardo were also eliminated for the film. Only Christian is similar to his text counterpart, although his part was made much smaller and his name was changed from Christian Collinsworth to Christian Thompson.

Director David Frankel and producer Wendy Finerman had originally read The Devil Wears Prada in book proposal form. It would be Frankel's second theatrical feature. He, cinematographer Florian Ballhaus and costume designer Patricia Field, drew heavily on their experience in making Sex and the City.

Four screenwriters worked on the property before Aline Brosh McKenna, who was able to relate her own youthful experiences to the story, produced a draft that struck the right balance for Finerman and Frankel, rearranging the plot significantly and focusing the story on the conflict between Andrea and Miranda. She also toned down Miranda's meanness at the request of Finerman and Frankel, only to restore it at Streep's request. Hathaway, the only actress considered for the lead, took the part to work with Streep, but also due to some personal aspects. Blunt, whom Finerman desired for her sense of humor, denied rumors she lost weight at the filmmakers' request. She insisted on playing the character as British. Gisele Bündchen agreed to be in the movie only if she didn't play a model.

Tucci was one of the last actors cast. Supposedly, the filmmakers had auditioned Simon Doonan, the creative director at Barney's and E!'s Robert Verdi, both openly gay men highly visible as media fashion commentators, for the part. Verdi would later claim there was no intention to actually hire him and the producers had just used him and Doonan to give whoever they ultimately did cast some filmed research to use in playing a gay character (he would end up with a walk-on part as a fashion journalist in Paris). Tucci claims he was unaware of this: "All I know is that someone called me and I realized this was a great part." He based the character on various people he was acquainted with, insisting on the glasses he ultimately wore. Sunjata had originally read for Tucci's part, rather unenthusiastically since he had just finished playing a similar character, but then read the Holt part and asked if he could audition for it. Baker auditioned by sending a video of himself, wearing the same self-designed green jacket he has on when he and Andrea meet for the first time.

Weisberger is widely believed to have based Miranda on Anna Wintour, the powerful editor of Vogue. Wintour reportedly warned major fashion designers who had been invited to make cameo appearances as themselves in the film that they would be banished from the magazine's pages if they did so. Vogue and other major women's and fashion magazines have avoided reviewing or even mentioning the book in their pages. Wintour's spokespeople deny the claim, but costume designer Patricia Field says many designers told her they did not want to risk Wintour's wrath.

Only Valentino, who had designed the black gown Streep wears in the museum benefit scene, chose to make an appearance. Coincidentally, he was in New York during production and Finerman dared Field, an acquaintance, to ask him personally. Much to her surprise, he accepted. Other cameos of note include Heidi Klum as herself and Weisberger as the twins' nanny. Streep's daughter's film debut as a barista at Starbucks was cut.

Principal photography took place over 57 days in New York and Paris between October and December 2005. The film's budget was $35 million.

Ballhaus, at Finerman and Frankel's suggestion, composed as many shots as possible, whether interiors or exteriors, to at least partially take in busy New York street scenes in the background, to convey the excitement of working in a glamorous industry in New York. He also used a handheld camera during some of the busier meeting scenes in Miranda's office, to better convey the flow of action, and slow motion for Andrea's entrance into the office following her makeover. A few process shots were necessary, mainly to put exterior views behind windows on sets and in the Mercedes where Miranda and Andrea are having their climactic conversation.

Streep made a conscious decision not to play the part as a direct impression of Wintour, right down to not using an accent and making the character American rather than English ("I felt it was too restricting"). "I think she wanted people not to confuse the character of Miranda Priestly with Anna Wintour at all," said Frankel. "And that's why early on in the process she decided on a very different look for her and a different approach to the character." The "that's all," "please bore someone else ..." catch phrases; her coat-tossing on Andrea's desk and discarded steak lunch are retained from the novel. Streep prepared by reading a book by Wintour protegé Liz Tilberis and the memos of legendary Vogue editor Diana Vreeland. She lost enough weight during shooting that the clothes had to be taken in.

Hathaway prepared for the part by volunteering for a week as an assistant at an auction house; Frankel said she was "terrified" before starting her first scene with Streep. The older actress began her working relationship with Hathaway by saying first "I think you're perfect for the role and I'm so happy we're going to be working on this together" then warning her that was the last nice thing she would say. Streep applied this philosophy to everyone else on set as well, keeping her distance from the cast and crewmembers unless it was necessary to discuss something with her.

She also suggested the editorial meeting scene, which doesn't advance the plot but shows Miranda at work without Andrea present. It was also her idea that Miranda not wear makeup in the scene where she opens up to Andrea and worries about the effect on her daughters of her divorce becoming public knowledge.

Frankel, who had worked with Patricia Field, before on his feature-film debut, Miami Rhapsody as well as Sex and the City, knew that what the cast wore would be of utmost importance in a movie set in the fashion industry. "My approach was to hire her and then leave the room," he joked later.

While none appeared onscreen, designers were very helpful to Field. Her $100,000 budget for the film's costumes was supplemented by help from friends from throughout the industry. Ultimately, she believes, at least $1 million worth of clothing was used in the film, making it one of the most expensively costumed movies in cinema history. The single priciest item was a $100,000 Fred Leighton necklace on Streep.

Chanel asked to dress Hathaway for the film, and Dolce & Gabbana and Calvin Klein helped Field as well. Although Field avoids making Streep look like Wintour, she dresses her in generous helpings of Prada. (By Field's own estimate, 40% of the shoes on Streep's feet are Prada.) Field added that much of the audience would not be familiar with Wintour's look and that "Meryl looks nothing like Anna, so even if I wanted to copy Anna, I couldn't." But, like Wintour and her Vogue predecessor Diana Vreeland, the two realized that Miranda needed a signature look, which was provided primarily by the white wig and forelock she wore as well as the clothes the two spent much time poring over look-books for. Field said she avoided prevailing fashion trends for Miranda during production in favor of a more timeless look based on Donna Karan archives and pieces by Michael Vollbracht for Bill Blass, a look she describes as "rich-lady clothes." She didn't want people to easily recognize what Miranda was wearing.

She contrasted Andrea and Emily by giving the former a "textbook" sense of style, without much risk-taking, that would suggest clothing a fashion magazine would have on hand for shoots. Much of her high-fashion wardrobe is, indeed, Chanel, with some Calvin Klein thrown in for good measure. Blunt, on the other hand was "so on the edge she's almost falling off." For her, Field chose pieces by Vivienne Westwood and Rick Owens, to suggest a taste for funkier, more "underground" clothing. After the film's release, some of the looks Field chose became popular, to the filmmakers' amusement.

She just sort of sits there with her cigarette and her hair, and she would pull stuff — these very disparate elements — and put them together into this ensemble, and you'd go, "Come on, Pat, you can't wear that with that." She'd say, "Eh, just try it on." So you'd put it on, and not only did it work, but it works on so many different levels — and it allows you to figure out who the guy is. Those outfits achieve exactly what I was trying to achieve. There's flamboyance, there's real risk-taking, but when I walk into the room, it's not flashy. It's actually very subtle. You look at it and you go, "That shirt, that tie, that jacket, that vest? What?" But it works.

He found one Dries van Noten tie he wore during the film to his liking and kept it.

After touring some offices of real fashion magazines, Jess Gonchor gave the Runway offices a clean, white look meant to suggest a makeup compact ("the chaste beiges and whites of impervious authority," Denby called it). Miranda's office bears some strong similarities to the real office of Anna Wintour, down to an octagonal mirror on the wall, photographs and a floral arrangement on the desk (a similarity so marked Wintour had her office redecorated after the movie). The magazine itself is very similar to Vogue, and one of the covers on the wall of the office, showing three models, is a direct homage to the August 2004 cover of that magazine.

She even chose separate computer wallpaper to highlight different aspects of Blunt's and Hathaway's character: Paris's Arc de Triomphe on the former's suggests her aspirations to accompany Miranda to the shows there, while the floral image on Andy's suggests the natural, unassuming qualities she displays at the outset of her tenure with the magazine. For the photo of Andrea with her parents, Hathaway posed with her own mother and David Marshall Grant. One of the purported Harry Potter manuscripts was later sold at auction for $586 on eBay, along with various clothing used in the film, to benefit Dress for Success, a charity which provides business clothing to help women transition into the workforce.

Aside from the clothing and accessories, some other well-known brands are conspicuous in the film.

The crew was in Paris for only two days, and used only exteriors. Streep did not make the trip.

Mark Livolsi realized, as McKenna had on the other end, that the film worked best when it focused on the Andrea-Miranda storyline. Accordingly, he cut a number of primarily transitional scenes, such as Andrea's job interview and the Runway staff's trip to Holt's studio. He also took out a scene early on where Miranda complimented Andrea. Upon reviewing them for the DVD, Frankel admitted he hadn't even seen them before, since Livolsi didn't include them in any prints he sent to the director.

Frankel praised Livolsi for making the film's four key montages — the opening credits, Miranda's coat-tossing, Andrea's makeover and the Paris introduction — work. The third was particularly challenging as it uses passing cars and other obstructions to cover Hathaway's changes of outfit. Some scenes were also created in the editing room, such as the reception at the museum, where Livolsi wove B-roll footage in to keep the action flowing.

The soundtrack album was released on July 11 by Warner Music. It includes all the songs mentioned above (except Madonna's "Jump") as well as a suite of Shapiro's themes. However, among the tracks not included is "Suddenly I See," which disappointed many fans. It became popular as a result of the film although the single did not crack the U.S. Top Forty. It nonetheless became a popular radio hit.

Two decisions by 20th Century Fox's marketing department that were meant to be preliminary wound up being integral to promoting the film. The first was the creation of the red stiletto heel ending in a pitchfork as the film's teaser poster. It was so successful and effective, becoming almost "iconic" (in Finerman's words), that it was used for the actual release poster as well. It became a brand, and was eventually used on every medium related to the film — the tie-in reprinting of the novel and the soundtrack and DVD covers as well.

The studio also put together a trailer of scenes and images strictly from the first three minutes of the film, in which Andrea meets Miranda for the first time, to be used at previews and film festivals until they could create a more standard trailer drawing from the whole film. But, again, this proved so effective with early audiences it was retained as the main trailer, since it created anticipation for the rest of the film without giving anything away.

The film did surprisingly well with audiences both inside and outside the U.S. Critics gave a fairly positive reaction to the film as a whole. Streep's performance drew universal acclaim, with some going as far as saying it was the only reason to see the film.

Metacritic reported the film had an average score of 62 out of 100, based on 40 reviews.

Initial reviews of the film focused primarily on Streep's performance, praising her for making an extremely unsympathetic character far more complex than she had been in the novel. "With her silver hair and pale skin, her whispery diction as perfect as her posture, Ms. Streep's Miranda inspires both terror and a measure of awe," wrote A. O. Scott in The New York Times. "No longer simply the incarnation of evil, she is now a vision of aristocratic, purposeful and surprisingly human grace." Kyle Smith agreed at the New York Post: "The snaky Streep wisely chooses not to imitate Vogue editrix Anna Wintour, the inspiration for the book, but creates her own surprisingly believable character." "Wintour should be flattered by Streep's portrayal," agreed Jack Mathews in the Daily News.

Blunt, too, earned some favorable notice. " has many of the movie's best lines and steals nearly every scene she's in," wrote Clifford Pugh in the Houston Chronicle. Other reviewers and fans concurred.

While all critics were in agreement about Streep and Blunt, they pointed to other weaknesses, particularly in the story. Reviewers familiar with Weisberger's novel assented to her judgement that McKenna's script greatly improved upon it. A rare exception was Angela Baldassare at MSN Canada, who felt the film needed more of the nastiness others had told her was abundant in the novel.

But those who weren't and even some who were found it a predictable morality play that was enjoyable to watch for Streep if nothing else. David Denby summed up this response in his New Yorker review: "The Devil Wears Prada tells a familiar story, and it never goes much below the surface of what it has to tell. Still, what a surface!" Many felt that the scenes away from the magazine were a drag on the story.

On its opening weekend, the film was on 2,847 screens. It grossed $27 million, second only to the much bigger-budget Superman Returns, and added $13 million more during the first week. This success led Fox to add 35 more screens the next week, the widest domestic distribution the film enjoyed. Although it was never any week's top-grossing film, it remained in the top 10 through July. Its theatrical run continued through December 10, shortly before the DVD release.

It had a very successful run in theaters, making nearly $125 million domestically and over $325 million worldwide, a career high for Meryl Streep, until Mamma Mia was released in 2008 and surpassed it.

A couple of weeks after the film's release, Reuters reported a striking phenomenon: All of the publicly traded companies that made products featured in the film had seen their share prices fall in that time. Analysts attributed the fall to the effect of rising gas prices on the economy, which led many consumers to cut back their purchases of luxury brands, rather than anything associated with the film.

Weisberger's novel had been translated into 37 different languages, giving the movie a strong potential foreign audience. It would ultimately deliver 60% of the film's gross.

The Devil Wears Prada topped the charts on its first major European release weekend on October 9, after a strong September Oceania and Latin America opening. It would be the highest-grossing film that weekend in Britain, Spain and Russia, taking in $41.5 million overall. Continued strong weekends as it opened across the rest of Europe helped it remain atop the overseas charts for the rest of the month. By the end of the year only its Chinese opening remained; it was released there on February 28, 2007.

Three months after the film's North American release (October 2006), Frankel and Weisberger jointly accepted the first Quill Variety Blockbuster Book to Film Award. A committee of staffers at the magazine made the nominations and chose the award winner. Editor Peter Bart praised both works.

The film was honored by the National Board of Review as one of the year's ten best. The American Film Institute gave the film similar recognition.

The film received ample attention from the Hollywood Foreign Press Association when its Golden Globe Award nominations were announced on December 14, 2006. The film itself was in the running for Best Picture (Comedy/Musical) and Supporting Actress (for Blunt). Streep later won the Globe for Best Actress (Musical/Comedy).

On January 4, 2007, her fellow members of the Screen Actors Guild nominated Streep for Best Actress as well. Four days later, at the National Society of Film Critics awards, Streep won Best Supporting Actress for her work both in Devil and A Prairie Home Companion. McKenna earned a nomination from the Writers Guild of America Award for Best Adapted Screenplay on January 11, 2007.

The following day, the British Academy of Film and Television Arts announced its 2006 nominations; Blunt, Field, McKenna and Streep were all among the nominees, as were makeup artist and hairstylists Nicki Ledermann and Angel de Angelis.

On January 23, 2007 Streep received her 14th Academy Award nomination for Best Actress, lengthening her record from 13 for most nominations by any actor male or female. Field received a Costume Design nomination as well. Neither won, but Blunt and Hathaway presented the latter award, amusing the audience by slipping into their characters for a few lines, nervously asking which of them had gotten Streep her cappucino. Streep played along with a stern expression before smiling.

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

A Blu-ray Disc of the film was released simultaneuously with the DVD. The featurettes were dropped and replaced with a subtitle pop-up trivia track that can be watched by itself or along with the audio commentary.

Immediately upon its December 12 release, it became the top rental in the USA. It held that spot through the end of the year, adding another $26.5 million to the film's grosses. The following week it made its debut on the DVD sales charts in third position.

Among the deleted scenes are some that added more background information to the story, with commentary available by the editor and director. Most were deleted by Livolsi in favor of keeping the plot focused on the conflict between Miranda and Andrea, often without consulting Frankel.

Frankel generally approved of his editor's choices, but differed on one scene, showing Andrea on her errand to the Calvin Klein showroom. He felt that scene showed Andrea's job was about more than running personal errands for Miranda.

Amidst the generally warm reception for the film, there were two criticisms apart from aesthetics. Some journalists familiar with the fashion world thought its portrayal unrealistic, and some gay viewers took issue with how the film presented Nigel.

Some media outlets allowed their present or former fashion reporters to weigh in on how realistic the movie was. Their responses varied widely.

Booth Moore at Los Angeles Times chided Field for creating a "fine fashion fantasy with little to do with reality," a world that reflects what outsiders think fashion is like rather than what the industry actually is. Unlike the movie, in her experience fashionistas were less likely to wear makeup and more likely to value edgier dressing styles (that would not, however, include toe rings). "If they want a documentary, they can watch the History Channel," retorted Field. Another newspaper fashion writer, Hadley Freeman of The Guardian, likewise complained the film was awash in the sexism and clichés that, to her, beset movies about fashion in general.

The film brilliantly skewers a particular kind of young woman who lives, breathes, thinks fashion above all else ... those young women who are prepared to die rather than go without the latest Muse bag from Yves Saint Laurent that costs three times their monthly salary. It's also accurate in its understanding of the relationship between the editor-in-chief and the assistant.

Ginia Bellefante, former fashion reporter for The New York Times, also agreed, calling it "easily the truest portrayal of fashion culture since Unzipped" and giving it credit for depicting the way fashion had changed in the early 21st century. Her colleague Ruth La Ferla found a different opinion from industry insiders after a special preview screening. Most found the fashion in the movie too safe and the beauty too overstated, more in tune with the 1980s than the 2000s. "My job is to present an entertainment, a world people can visit and take a little trip," responded Field.

Stanley Tucci told the gay magazine Out that he played the part with no doubt whatsoever that the character was gay. While many viewers, gay and straight, shared the assumption, nothing in the film directly suggests that he is other than a brief glance he makes at an attractive man. In the novel, he, and the other male Runway staffers are very out, often described as flamboyant, freely discussing their sex lives, and sometimes checking each other out.

There is none of this in the film. Instead, Nigel tells Andrea that, as a child, he told his family he was attending soccer practice when he was really taking sewing lessons, and read Runway under the covers of his bed at night with a flashlight. Finerman also says that during his first scene in the film, his visit to Andrea's hotel room in Paris to celebrate his imminent promotion, they had not yet decided how "extravagant" he would be. The film also gives no indication that he is involved in any traditional marriage or relationship with a woman. No other male staffer or editor has a significant part and indeed there is no reference to homosexuality at all. Jeffy and James, two of the gay men in the novel, were eliminated. One viewer, David Poland, pointed out this aspect of the film on his blog, The Hot Button, but noted it was part of a general desexualization that led him to call the movie No Sex in the City. On the other hand, a gay viewer who blogs about gay content in movies as Queer Beacon, found Tucci's portrayal refreshingly free of overdone stereotypes, while another gay blogger expressed his displeasure that a movie about an industry well-known for its openly gay men seemed so determined to avoid the subject. Controversy notwithstanding, readers of Gay.com voted the film the best of 2006. William Maltese, from AfterElton.com, called it "refreshing that the jokes in Devil do not come at Nigel's expense or because of his sexuality." It is also mentioned that Nigel is key for Andy's transformation from ugly-duck-to-swan propels her into the second half of the film.

Queer Beacon also wondered if Doug might be gay, since he is more aware of Miranda's importance to fashion than Andrea; also, later, when Lily takes him from Andrea at the gallery to introduce him to "someone he might find interesting," she doesn't specify that person's gender. Sommer says on his blog, however, that Doug was not written to be gay and was merely based on a friend of McKenna's.

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Sunshine Cleaning

Sunshine cleaning.jpg

Sunshine Cleaning is a 2009 comedy-drama film starring Amy Adams and Emily Blunt. Directed by Christine Jeffs and written by Megan Holley, the film premiered at the 2008 Sundance Film Festival on 18 January 2008.

It was purchased by Overture Films for distribution and is due for limited release on 13 March 2009.

Directed by Christine Jeffs (Rain, Sylvia), Sunshine Cleaning is a comedy-drama about an average family that finds the path to its dreams in an unlikely setting. A single mother and her slacker sister find an unexpected way to turn their lives around — once the high school cheerleading captain who dated the quarterback, Rose Lorkowski (Amy Adams) now finds herself a thirty something single mother working as a maid. Her sister Norah (Emily Blunt), is still living at home with their dad Joe (Alan Arkin), a salesman with a lifelong history of ill-fated get-rich-quick schemes. Desperate to get her son into a better school, Rose persuades Norah to go into the crime scene clean-up business with her to make some quick cash. In no time, the girls are up to their elbows in murders, suicides and other specialized situations. As they climb the ranks in a very dirty job, the sisters find a true respect for one another and the closeness they have always craved blossoms. By building their own improbable business, Rose and Norah open the door to the joys and challenges of being there for one another—no matter what—while creating a brighter future for the entire Lorkowski family.

Sunshine Cleaning was produced by Big Beach, an independent film company. On 26 February 2008, Variety reported that it was purchased by Overture Films for distribution. It will be put into limited release on 13 March 2009.

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Source : Wikipedia