Devil Wears Prada 2 cast explain why they came back | BBC News

0:00 Miranda, Andy, Emily, and Nigel are back for The Devil Wears Prada 2.

0:06 And 20 years on from the first film, we're here in London to speak to the cast.

0:10 Stanley Tucci, Emily Blunt, Anne Hatheraway, and of course, Merryill Stre.

0:22 Oh my god.

0:22 Just hide a feeling for once, please.

0:28 you know, there is a crisis in in print media, in journalism right now.

0:32 Um, so, you know, how did it feel to to partake in something

0:36 that is so culturally relevant and kind of bring weight to that idea?

0:41 Well, that was the only way that we would sign

0:43 on to do a sequel was if it spoke to the moment.

0:48 You know, everything, I think, has to have its own necessity for being.

0:54 There has to be a reason for doing something.

0:57 Do you think that people will see this film and, you know,

0:59 not know about the journalism industry and what

1:01 it's going through and perhaps learn something?

1:04 I think you'd have to be under a rock not to know

1:06 uh not to feel these seismic changes in every part of society.

1:11 When we made the first movie, it was before the iPhone even was released.

1:16 So, the world has changed profoundly.

1:18 We're all carrying these devices and they're all about to take our jobs.

1:22 So, I was listening to the New York Times podcast uh feature the other day.

1:27 There was a a plea from the editor-inchief of the New York Times saying,

1:31 "This is normally the point where I would

1:32 ask you to subscribe to the New York Times,

1:34 but today I'm going to ask you to subscribe to any long form journalism.

1:39 Support any newspaper, local, national, anything, because we really,

1:43 really need you." And that for me was like a clarion call.

1:46 I'm like, when the New York Times is out there

1:49 pitching for the health of the entire industry,

1:52 that's a big that's a that I'm not sure we've been here before.

1:55 One of the things that I think the film does really well is shows

1:58 that you have to participate in the world that you want to live in.

2:02 And uh so that's what I hope I hope that people

2:04 realize that the fate of journalism really rests with them.

2:07 Andy's character inspired lots of young people,

2:10 myself included, to go into journalism.

2:12 Watching it Yeah.

2:13 watching it as a little girl like growing up

2:15 I was like maybe I could be a journalist.

2:17 That's beautiful.

2:18 Thank you for telling me that.

2:19 Do you have a hope that you know people take something else from this film

2:23 that there's a you know that when they

2:25 grow up that they can be inspired as well.

2:28 Yeah.

2:28 I thought well I absolutely hope that people take hope

2:33 from this because it sounds like we've made you know spotlight or something.

2:39 No, we've made the devil.

2:40 There's a lot of fun and fashion.

2:43 And what I hope people take is is just to to preserve the human.

2:49 Yeah.

2:48 And and kind of selfishly, I do hope that people are inspired

2:52 to dream for their lives because of this movie

2:54 like you were from the first one because that's what movies mean to me.

2:57 You know, um when I was a kid, certainly couldn't travel the world,

3:01 but I saw so much of it through movies.

3:03 And now it's very different.

3:04 You've got we've got devices and you can see a lot more.

3:08 But actually seeing a story that centers around a character that you

3:11 can connect to that that inspires you to invent to invent your life.

3:17 Um that's that's a huge reason why I don't know why I'm sitting here right now.

3:21 And so because I love movies and because

3:22 movies are also under siege right now like journalism,

3:24 like fashion, like all of these things.

3:26 Um I do hope people get inspired because

3:28 I think it will deepen their love for movies.

3:30 for young women who who pursue a career.

3:32 It's always been ambition is seen as a an unattractive quality in women.

3:39 And we would hope that feeling would be obsolete, but it isn't.

3:45 And it's still alive and kicking.

3:48 And so it's it's I think it's great

3:50 that this film has Andrea's made her decisions about her life,

3:55 what she's kept in the forefront.

3:56 She's kept her dreams and her and her conscience

4:00 both alive and done it through her work.

4:03 And you do have to say that, you know,

4:06 stories about women who love what they do

4:07 and who work at it and who do prioritize it.

4:10 They are few and far between uh in Hollywood.

4:12 So, I think that's why this one resonated with people 20 years ago.

4:15 I think that's why people are responding to it this time because there are

4:19 a lot of us out there who feel that way and it's nice to see.

4:22 It's it's it's lovely.

4:23 And Emily, I guess, you know, your character is a taste maker has always been.

4:27 I mean, she'd like to think so, but

4:29 because she she sets this standard, doesn't she,

4:31 of kind of how we we look at fashion and we look at the fashion industry.

4:35 Yeah.

4:35 And I think that she she's a very bold sort of wild dresser.

4:39 I mean, everything she wears is so outrageous.

4:42 I think everything she wants to do is

4:44 pull focus towards her and to be deemed iconic.

4:47 And yet I do feel in how she's branched out as this big

4:52 executive as at Dior that she's sort of moved with the times she's evolved.

4:58 She understands where her bread is buttered.

5:01 She knows where the money is and it is

5:03 in retail and she's kind of shameless about that.

5:06 And yet I do think still wants to be iconic.

5:09 Well, she wants to be Miranda.

5:11 Yeah.

5:12 One of the things that was really important

5:13 about this film was getting the tone right.

5:16 So, talk to me about the early stages of development when you got your scripts,

5:20 you know, how did you feel about, you know, where this film was being taken?

5:26 Well, I think we like the context of it

5:28 and we like the obviously the setting of it,

5:31 the fact that it's and the fact that it's dealing with the issues of today,

5:36 which is the loss of um control that journalists

5:42 have because of social media and because of AI.

5:47 Uh, and I like that that it addresses that.

5:50 Um but yeah, we got the script and it

5:54 was good and then we gave our notes and then that it was better.

5:59 And why do you think it was important I

6:01 think you kind of touched on it there to kind

6:02 of retain that integrity that came with the first film

6:06 in terms of centering sorry Stanley around three women and yourself.

6:10 Um, but to keep that as the focus, I know you say there's the FaceTimes,

6:14 there's the kind of relationships,

6:16 but really it's about these three women and their lives and their careers,

6:20 about this man as well.

6:21 I don't agree.

6:22 I beg to differ.

6:24 I'm sorry, but thank you for coming.

6:27 Um, I No, this No, this is about the core four

6:31 and how they adjust and reflect off each other.

6:34 I think that I think it's people love these characters.

6:38 is they loved them a lot more than we realized and you

6:41 want to see how they rock in this whole new world.

6:44 Yeah, I think that No,

6:46 I understand what you're saying about the the three wound.

6:48 I I do and I think that the thing is

6:52 Nigel is there to help Miranda in any way he can.

6:56 you know, he's always sort of behind the scenes

7:01 a bit a lot and and all he wants is

7:06 for her to be successful and he wants what they

7:11 created together to remain a success and to continue with integrity.

7:17 Um, but he does take a backseat.

7:19 There's no question.

7:20 I think she would be rather lost without him.

7:22 That kind of steady devotion.

7:24 She'd be nothing without me.

7:26 And neither would Meryill Street, right?

7:28 Well, yeah.

7:29 Well, no need to say that.

7:31 Oh, boy.

7:32 And I guess, you know,

7:33 this is a film you've said that it's so well loved, the first film.

7:37 With the second film, there is, you know,

7:40 there's there's a lot about kind of repenting or growing up.

7:44 Um, and I think that reflects the audience,

7:46 right, that is going to be watching this film.

7:48 They might have been really young,

7:50 you know, when they saw it, and now they're grown-ups.

7:53 So, how do you kind of bridge that gap?

7:56 Yeah, I don't think you I I think you bridge

7:58 the gap simply by making the best movie you can.

8:01 You can't I don't think you can try to cater to any of those demographics.

8:06 But the beauty of the film of the first

8:08 film is that it touches every demographic,

8:12 even those that I don't think people thought it would ever touch.

8:15 Yeah.

8:15 I was like men who were dragged along.

8:18 Yeah.

8:18 Men who were dragged along.

8:19 Guys will come up to me and say, you know, conspiratorally.

8:24 Conspiratorally.

8:24 Yeah.

8:24 Yeah, because they don't want anyone to know.

8:26 It's weird.

8:27 They'll go like, you know, you know my that movie you made,

8:30 you know, my wife uh she dragged me.

8:32 I didn't want to go.

8:33 Uh but uh you know, I saw it.

8:35 I loved it.

8:36 You were I mean, you were great.

8:37 But then they check and then they go like Yeah.

8:39 Anyways.

8:40 Yeah.

8:40 Anyway,