00:00I didn't want that scene to end. It felt so good.
00:03Just over on that side of the thing, there were hippos,
00:07and they're the most dangerous animals in Africa.
00:09They're the ones who most often attack people.
00:12There was a moment where we had to stop because one of them came and
00:18opened his mouth, and we beat a hasty retreat to lunch.
00:22Hi, I'm Meryl Streep.
00:23I'm here today watching some scenes from my movies for Vanity Fair.
00:30It needs a battery.
00:32That's what my grandchildren say.
00:34It needs a battery, Mimi.
00:52Oh, God, Stellan.
00:55Oh, my God.
01:00You can cut it off now, thank you.
01:02Oh, that's about all I can.
01:05That was shot in the historically rainiest summer London had ever experienced.
01:14We were shooting in Pinewood Studios.
01:16All the towns around us, including Oxford, were underwater, were flooded.
01:22It was the worst weather, and we would go to work and open the door to the great big
01:27Pinewood Studio, and there would be grease and sunshine and girls in bathing suits, and,
01:34you know, it was ridiculous.
01:35It was complete fantasy, and so, so, so much fun, except for Pierce.
01:41We were shooting in the James Bond studio, and he was so afraid when he was walking the set
01:46in his spandex, you know, that he'd run into Daniel Craig, who was playing Bond at the time,
01:52and he would be humiliated.
01:53But he, it was so much fun.
01:55So much fun.
01:56Made some great friends, lifelong friends on that movie.
02:00Yeah.
02:00I loved it.
02:01And they were all game.
02:02Look at how Colin Firth humiliated himself in that movie.
02:06I mean, we all just, I was in overalls.
02:10What was I thinking?
02:11I don't know.
02:12It was great.
02:19Amanda, I think I really, really took notice of her when we were doing the pre-record,
02:25before we started shooting.
02:27Her voice is extraordinary, and, and it's almost like born to sing that, or she could
02:34sing actually anything, but when I heard her sing, I thought, oh my God, she's an angel.
02:39But she's so inventive, and just an interesting, interesting girl.
02:43And I loved the scene that we did in Mamma Mia, and she sat on my lap, and the song
02:50is slipping
02:50through my fingers, and it really made me think how swiftly things change.
02:55She was a baby then.
02:56Look at how she's grown up.
02:58Yeah.
03:00Now there's my ride.
03:08Loud and long, and all the while, his eyes went to and fro.
03:14Ha ha, quoth he, full plain I see.
03:19Ha ha.
03:19Look at Bob Redford.
03:21Was he the most divine man in the world?
03:24Will you head back?
03:28He prayeth well, who loveth well, both man and bird and beast.
03:37It's not a sex scene.
03:39It's a love scene.
03:40And basically, he didn't know how to, he'd never of course washed anyone's hair, except
03:45his own.
03:46Maybe even not his own, but he had to be taught.
03:51So my long time makeup man, Roy Hallen, J. Roy Hallen, he showed him how to do it.
03:58And he really got into it.
04:01He was really amazing.
04:03I didn't want that scene to end.
04:05It felt so good.
04:13That's better.
04:15We did it quite a number of times, because just over on that side of the thing, there
04:20were hippos in the water, in the river.
04:23And they're the most dangerous animals in Africa.
04:26They're the ones who most often attack people.
04:29There was a moment where we had to stop, because one of them came and opened his mouth, and
04:36we beat a hasty retreat to lunch.
04:38But it was a great morning.
04:40I remember it well.
04:48The Dolly Stoneman Beauty book my butt!
04:50Wait a second!
04:50Free weights, exercise?
04:52I don't think this is a miracle at all!
04:54You're a pro, Helen.
04:55You're a walking lion.
04:56I can see right through you.
05:01Speaking of which, as a friend, some advice.
05:03I would stay out of a bathing suit for a while. At least do these. Or, if I...
05:12There it goes.
05:16I remember being in a green spandex suit that encompassed my whole body and then
05:26little pins being stuck in it and they measured something. So no, I wasn't in
05:32my costume. And then they, for part of this, when they take your head off, I'm not sure how they
05:39do it,
05:40but it's not like playing in a scene that Arthur Miller wrote or anything.
05:45It's a completely different animal.
05:48Tedious is kind of a little word for what it is. It's excruciating.
05:52And then, when we get to the scene, and we just do the scene all silly and fabulous,
05:57me and with Goldie, we just laughed. We just had a lot of fun. And she's the best laugher
06:04in America, really. She laughs like,
06:08and then they have to stop shooting. But it was really, that part was fun. But the VFX,
06:14or what do they call it? That part is not, not that fun.
06:22On guard!
06:24Bitch!
06:25Goldie, she was always late to set, but she was so adorable. And I'm always on time, you know,
06:32and annoying. But she's late, and she had a red convertible, I remember. And she'd drive herself
06:40to set. And so that was the, that was probably the problem. She'd drive herself to set.
06:47She said, here, oh gosh! Sorry! You know, and everybody thought, oh, she's so cute.
06:56Yeah. So I had a beef with her. But I loved her. I love her. She's one of my buddies.
07:03And,
07:03you know, over the years, we've, we've had some laughs about that movie, because people love it.
07:08I thought it was like a documentary on Beverly Hills.
07:12Girls! Girls! Let's just calm down. I'm sure we can settle this peacefully.
07:18Oh, Bruce was divine. I guess he was a bad boy on certain sets,
07:23and came with a little reputation for being difficult, but we had so much fun with him.
07:28He was such a gent, and so game, and willing to be ridiculous,
07:32and I just thought he was wonderful.
07:49We were shooting in a trailer in, I think, Weirton, West Virginia, or maybe Steubenville, Ohio.
07:55I can't remember. But they're right across the river from each other.
07:58I'm wearing a polyester shirt and a mohair sweater, and my hair was all puffy and done.
08:04And it was 106 in the trailer. And the whole camera crew had stripped down.
08:10Vilmos Zygmunt, who was the cinematographer, was wearing one of those European bathing suits that's
08:18beyond. And, but they were cool. And I was just sweating buckets, and my makeup man had to keep coming
08:25in
08:26and just patting and doing everything he could and blowing air up into this hair so it stayed puffy.
08:33Bob De Niro didn't even break a sweat. Not at all.
08:38That man is, I mean, he's in control of his craft. He is intensely where he is in the moment.
08:48That he was in October in a cool, probably drafty, cool trailer that didn't have its heat.
08:58And I was where we were. I was, like, dying. But it was, again, really memorable, memorable time in my
09:07life.
09:07I just felt like it was such a gift to get cast in that. And then to play with all
09:12those amazing, wonderful actors.
09:16God bless America, my home sweet home.
09:26I didn't have much to do with him in that film. But I had preceded it. We had done measure
09:31for measure in Central Park.
09:33And a lot of things I learned from him. And I think about every time I work.
09:39Because the director used to call him, oh, here comes 20 questions. He had always, every morning, 20 questions at
09:47least.
09:47He just dug, dug, dug, dug, dug deep to ask the questions that had not even really occurred to me,
09:55you know, to ask.
09:57And then he was just an amazing listener. The quality of his, what he, and intensity of how he soaked
10:07in whatever was happening in the scene.
10:09And outside in the park, a lot of things happened. And everything happened to him. You could feel, see it
10:18on his skin.
10:19He was alive in the moment. It was a great lesson.
10:29I'm actually a journalist now. I've been published in, it doesn't matter.
10:35Anyway, we are all well aware that running that story was a mistake and are taking immediate steps.
10:39I cannot actually get over this. It's really remarkable. A senior editor at Runway. You.
10:47Yep. We're all so thrilled. Mm-hmm.
10:51You know what's funny is you've changed. You have. You're much more confident.
10:55Oh. Kept those eyebrows though, didn't you?
10:57Okay, there you go. Emily Blunt. Ladies and gentlemen, Emily Blunt.
11:03You know, who takes charge of this movie? It's not Miranda. Clearly. Who takes charge is Emily Blunt.
11:11I am the new features editor at Runway. No, you're not. Are you serious?
11:16Wow. Wonders never cease.
11:19This version of events, everything, what else hasn't changed, you know?
11:25Social media now directs our lives, our children's lives, to greatly ill effect.
11:34The industry of journalism and certainly print magazines, newspapers.
11:41And as a result, the effect on culture has been profound. It's hard to get the narrative of where we're
11:52going.
11:53Everybody's sort of destabilized. And so in this movie, Miranda is on the shoals of that dilemma.
12:02How to keep her enterprise going, how to keep it viable, how to keep it financially working.
12:10He said that, I mean, Runway needs to take control of the narrative of the Speed Pass story and restore
12:19credibility.
12:19And he thought someone with my expertise would be a good idea.
12:23But I thought that for sure you had approved and were excited.
12:28And that's why I came in here all like, oh.
12:29In the second film, because I'm sort of beginning in crisis, it's not Miranda in control.
12:39So her authority is slightly under siege.
12:46And that part is, it's funny. And so I felt like I could relax with my friends a little bit
12:54better.
12:54Also, I'm older and I don't probably give as many fucks as I used to about things like that.
13:08Thank you so much for watching.
13:11Fuck.
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