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tasse-boo.se Eine Webseite vom Autor Nikolas Pravda, die regelmäßig. Falschnachrichten zu politischen und Gesundheitsthemen. Hatten Deine Großeltern Lebensmittelallergien? Meine bestimmt nicht. Eine krasse Gegenüberstellung zur wachsenden Epidemie der Lebensmittelallergien,​. Doktor trägt Prada: Modedesigner und TV-Produzenten spenden Schutzkleidung​. Weltweit fehlt es an Mundschutz und Handschuhen. Andy kommt gerade frisch von der Uni und hat einen großen Traum: Sie will Journalistin bei einer renommierten New Yorker Zeitung werden. Nun landet sie​. Der Teufel trägt Prada. Was steckt wirklich hinter der eiskalten, manipulativen und modebesessene Miranda (Meryl Streep)? © Twentieth.

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Der Teufel trägt Prada. Was steckt wirklich hinter der eiskalten, manipulativen und modebesessene Miranda (Meryl Streep)? © Twentieth. Tv-sendung Der-teufel-traegt-prada Bid_ | Finden Sie einfach die besten Sendungen im TV-Programm heute. Ihr Fernsehprogramm auf einen Blick​. tasse-boo.se Eine Webseite vom Autor Nikolas Pravda, die regelmäßig. Falschnachrichten zu politischen und Gesundheitsthemen. The term 'personal assistant' has been degraded over the years and is now almost synonymous with the overworked, underpaid heroine of the movie and book The Devil Wears Prada. Please Wait! Additional filming also occurred in Paris. Mankind wants to make even go here. In20th Awake deutsch film Fox bought the rights to a film adaptation of Weisberger's novel before it was completed for publication. Four screenwriters worked on the property. Earn a CoolCash Here Certificate As a thanks for purchasing, when your order ships you'll receive a coupon for instant savings off your next order.

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Real life stories. Further, Andy spends the night with an attractive young writer, Christian Thompson, who reveals to her that Miranda is set to be replaced by Jacqueline Follet as editor of Runway.

Feeling bad for Miranda in her current situation, Andy attempts to warn her but does not manage to get through. At a luncheon later that day, however, Miranda announces Jacqueline as the new creative director to Holt, leaving Andy and Nigel stunned.

Later in the car, Miranda explains to Andy that she already knew of the plot to replace her and sacrificed Nigel instead to keep her own job.

When Andy seems repulsed, Miranda points out that Andy did the same with Emily by stepping over her and agreeing to go to Paris.

When they stop, Andy gets out and throws her cell phone into the fountain of the Place de la Concorde , leaving Miranda, Runway , and fashion behind.

Sometime later, Andy meets up with Nate and apologizes, though it is unclear if they eventually reconcile.

The same day, Andy is interviewed and accepted to work at a major New York publication. The editor recounts how he called Runway for a reference, and was told by Miranda herself that he would be an idiot not to hire Andy.

While passing the Runway office building in the evening, Andy sees Miranda get into a car and waves. Miranda does not acknowledge or wave back, but smiles to herself once she is seated in the car.

He, cinematographer Florian Ballhaus and costume designer Patricia Field , drew heavily on their experience in making Sex and the City.

Frankel recalls the whole experience as having high stakes for those involved, since for himself and the others behind the camera it was the biggest project they had yet attempted, with barely adequate resources.

Fox bought the rights to Weisberger's novel before it was not only published in , but even finished.

Carla Hecken, then the studio's executive vice president, had only seen the first hundred pages of manuscript and an outline for how the rest of the plot was to go.

But for her that was enough. Work on a screenplay started promptly, before Weisberger had even finished her work. When it became a bestseller upon publication, elements of the plot were incorporated into the screenplay in progress.

Most took their inspiration from the Ben Stiller film Zoolander and primarily satirized the fashion industry. But it was still not ready to film.

Elizabeth Gabler, later head of production at Fox, noted that the finished novel did not have a strong narrative. In the meantime, the studio and producer Wendy Finerman sought a director.

Out of many candidates with experience in comedy, David Frankel was hired despite his limited experience, having only made one feature, Miami Rhapsody , along with some episodes of Sex and the City and Entourage.

He was unsure about the property, calling it "undirectable At a meeting with Finerman, Frankel told her that he thought the story unnecessarily punished Miranda.

Why do the excellent people have to be nice? Two days later his manager persuaded him to reconsider and look for something he liked that he could shape the film into.

He took the job, giving Finerman extensive notes on the script and laying out a detailed vision for the film.

Four screenwriters worked on the property. Peter Hedges wrote the first draft, but didn't think he could do more; another writer passed.

Paul Rudnick did some work on Miranda's scenes, followed by a Don Roos rewrite. I felt I was allowed to do what the movie wanted to be, a Faust story, a Wall Street for ladies.

McKenna also initially toned down Miranda's meanness at the request of Finerman and Frankel, only to restore it later for Streep.

Hire the smart fat girl" line, which she felt summed up the disparity between Andy and the world she found herself in. In a interview with Entertainment Weekly , McKenna revealed that the character she and Frankel had the most discussions about was Andrea's boyfriend Nate.

She likened his role in the story to that usually played by a male protagonist's girlfriend or wife who regularly reminds him of responsibilities at home that he has neglected.

McKenna consulted with acquaintances who worked in fashion to make her screenplay more realistic. In a British Academy of Film and Television Arts lecture, she told of a scene that was changed after one of these reviews, where Nigel told Andy not to complain so much about her job.

Originally, she had made his speech more of a supportive pep talk ; however one of those acquaintances said that would not happen: "1309o-one in that world is nice to each other There's no reason to be, and they don't have time.

The " cerulean speech", [15] where Miranda draws the connection between the designer fashion in Runway ' s pages and Andy's cerulean sweater, criticizing Andy's snobbishness about fashion and explaining the trickle-down effect , had its origins in a scene cut from earlier drafts that Streep had asked to have restored.

It slowly grew from a few lines where the editor disparaged her assistant's fashion sense to a speech about "why she thought fashion was important She is so aware that she is affecting billions of people, and what they pick off the floor and what they are putting on their bodies in the morning.

That scene wasn't about the fun of fashion, it was about marketing and business. McKenna recalls that she kept expanding it to suit Streep and Frankel, but even a few days before it was scheduled to be filmed she was unsure if it would be used or even shot.

She was revising it at a nearby Starbucks when she realized that Miranda would describe something not as just blue—chosen as the color for Andy's sweater since it would work best on screen [12] —but would instead use an exact shade.

From a list of shades McKenna sent, Streep picked cerulean; the final speech takes up almost a page of the script, long for a mainstream film.

The speech has become one of the film's most memorable moments; "Miranda's signature monologue" to The Ringer.

Once the script was finished, the filmmakers and Fox focused on getting Meryl Streep to play Miranda; Hacken recalled she was seen as so perfect for the part that no one had discussed any alternatives although McKenna recalls writing provisional dialogue should the producers have had to settle for another actress.

The news that Streep would meet with Frankel was celebrated at Fox. But while Streep, for her part, knew the movie could be very successful, she felt the pay she was being offered for playing Miranda was "slightly, if not insulting, not perhaps reflective of my actual value to the project.

This was an interesting way to get back at them. She insisted on the scenes where she explains to Andy the connection between the blue sweater she is wearing and the haute couture industry, [17] and the scene where Miranda briefly opens up to Andy, without makeup, about her divorce.

Casting Andy was less clear-cut. Fox wanted an A-list younger actress, and felt Rachel McAdams , then coming off successes in The Notebook and Mean Girls , would help the film's commercial prospects.

However, she declined several offers to play Andy, telling the studio she was trying to avoid mainstream projects for a while.

Hathaway, by contrast, actively sought the part, tracing "Hire me" in the sand of the zen garden on Hacken's desk when she talked about the project with the executive.

While Frankel liked her enough to not require her to audition , she knew she was not the studio's first choice and had to be patient [7] other accounts say that she was the only actress considered for the lead.

Over a hundred actresses had been considered for Emily before one of the casting agents taped Emily Blunt reading some of the lines elsewhere on the Fox lot as she was leaving for her flight to London following her audition for Eragon.

Although she read them in her native British accent despite the character being written as American as she is in the novel, Frankel was interested; [7] Finerman liked her for her sense of humor.

He told her that while he would have cast her just from the tape, the studio wanted to see another audition with her dressed more in character.

Colleen and Suzanne Dengel, the twins who played Miranda's daughters, were cast two weeks after auditioning for Frankel and Finerman.

The director and producer laughed, which the sisters believed help them get the part. They recalled in that they were excited both by being able to work together on camera for the first time, as well as the chance to act opposite Hathaway since they were big fans of the Princess Diaries movies as well.

Tucci was one of the last actors cast; he agreed to play Nigel only three days before shooting started. Tucci says he was unaware of this: "All I know is that someone called me and I realized this was a great part.

Simon 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.

Wintour's spokespeople deny the claim, [30] but costume designer Patricia Field says many designers told her they did not want to risk Wintour's wrath.

Only Valentino Garavani , who had designed the black evening gown Streep wears in the museum benefit scene, chose to make an appearance.

Much to her surprise, he accepted. Principal photography took place over 57 days in New York and Paris between October and December 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.

Fox originally refused permission to let Frankel shoot some scenes from the third act in Paris , where it is set, due to the low budget.

But after six "nightmarish" [2] weeks of shooting, he had an editor cut a " sizzle reel " of highlights. That convinced the studio to increase the budget to allow for limited shooting overseas Streep did not go as Fox believed it would be too expensive.

Several weeks after all the major parts had been cast, the actors gathered in New York for a table read. Hathaway was nervous and goofy, she recalls, since she still had not developed her idea of the part; she described her performance at that point as "[nothing] particularly impressive.

The highlight of the session was Streep's first line as Miranda. Instead of the "strident, bossy, barking voice" everyone expected, Hathaway says, Streep silenced the room by speaking in a near whisper.

Streep made a conscious decision not to play the part as a direct impression of Wintour, [34] right down to not using an accent and making the character American rather than English "I felt it was too restricting".

She lost so much weight during shooting that the clothes had to be taken in. During the movie's press tour she also said her performance as Miranda was inspired by different men she knew, but did not say which ones.

In she disclosed to Variety that she took Miranda's soft speaking style from Clint Eastwood : "He never, ever, ever raises his voice and everyone has to lean in to listen, and he is automatically the most powerful person in the room.

For Miranda's actual look, Streep looked to two women. The bouffant hairstyle was inspired by model and actress Carmen Dell'Orefice , [b] which Streep said she wanted to blend with "the unassailable elegance and authority of [French politician] Christine Lagarde.

Hathaway prepared for the part by volunteering for a week as an assistant at an auction house where she was "put through the wringer" according to Weisberger, who adds that Hathaway supplemented that by asking her many questions about working for Wintour.

That scene, where Andi delivers the Book, the mockup of the magazine in progress, to Miranda's apartment, was, according to the Dengels, who played Miranda's twin daughters, totally improvised.

Nevertheless, it took three more days of filming to get the shot of the girls up in the stairwell the way Frankel wanted it, a look she believes was inspired by a similar scene with twin girls in The Shining.

Streep is the one who suggested the editorial meeting scene, which does not advance the plot but shows Miranda at work without Andrea present.

In she told Howard Stern that she had overheard a mother saying that to a child in a supermarket during production. Frankel, who had worked with Patricia Field 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.

When Hathaway enters the office after Nigel gives her access to Runway 's closet, she is dressed entirely in Chanel. Field explained in that "I felt Annie Hathaway was a Chanel girl organically, as opposed to let's say a Versace [or Roberto Cavalli ] girl.

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 Michaele Vollbracht for Bill Blass.

She contrasted Andrea and Emily by giving Andrea a sense of style, without much risk-taking, that would suggest clothing a fashion magazine would have on hand for shoots, clothing a recent college graduate with little sense of style would feel comfortable wearing in a fashion-conscious workplace.

Tucci praised Field's skill in putting ensembles together that were not only stylish but helped him develop his character:.

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? 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 [29] "the chaste beiges and whites of impervious authority," Denby called it [50].

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 [51] Gonchor later told Women's Wear Daily that he had based the set on a photo of Wintour's office he found online; the similarity led Wintour to have her office redecorated after the movie's release.

She even chose separate computer wallpaper to highlight different aspects of Blunt's and Hathaway's character: Paris's Arc de Triomphe on Blunt'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. Aside from the clothing and accessories, some other well-known brands are conspicuous in the film.

The crew were 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.

Composer Theodore Shapiro relied heavily on guitar and percussion, with the backing of a full orchestra , to capture a contemporary urban sound.

He ultimately wrote 35 minutes of music for the film, which were performed and recorded by the Hollywood Studio Symphony, conducted by Pete Anthony.

Frankel had wanted to use "City of Blinding Lights" in the film after he had used it as a soundtrack to a video montage of Paris scenes he had put together after scouting locations there.

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.

Among the tracks not included is "Suddenly I See," which disappointed many fans. Originally intended just to convince Fox to fund some shooting in Paris, Frankel's sizzle reel led the studio to put a stronger marketing push behind the movie.

It moved the release date from February to summer, scheduling it as a lighter alternative audiences could consider to Superman Returns at the end of June , and began to position it as an event movie in and of itself.

Two decisions by the studio'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.

Gabler credits the studio's marketing team for being "really creative". Fox saw the film as "counterprogramming" on the weekend Superman Returns was released.

While they knew that the material and Hathaway would help draw a younger female audience that would not be as interested in seeing that film, "[w]e didn't want it to just seem like a chick flick coming out.

The Devil Wears Prada received positive reviews from critics. The site's critical consensus reads, "A rare film that surpasses the quality of its source novel, this Devil is a witty expose of New York's fashion scene, with Meryl Streep in top form and Anne Hathaway more than holding her own.

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.

Streep's Miranda inspires both terror and a measure of awe," wrote A. Scott in The New York Times. 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.

David Edelstein , in New York magazine, criticized the film as "thin", but praised Streep for her "fabulous minimalist performance.

Hoberman, Edelstein's onetime colleague at The Village Voice , called the movie an improvement on the book and said Streep was "the scariest, most nuanced, funniest movie villainess since Tilda Swinton 's nazified White Witch [in 's The Chronicles of Narnia: The Lion, the Witch and the Wardrobe ].

Blunt, too, earned some favorable notice. Reviewers familiar with Weisberger's novel assented to her judgment that McKenna's script greatly improved upon it.

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! Denby said "she suggests, with no more than a panicky sidelong glance, what Weisberger takes pages to describe.

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 include toe rings.

The film brilliantly skewers a particular kind of young woman who lives, breathes, thinks fashion above all else

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Ich kann die Einwilligung jederzeit per E-Mail an kontakt imfernsehen. Die USA befinden sich inmitten eines Umbruchs. Older posts. TV-Termine von Der Teufel trägt Prada. Regie: David Frankel. Mit Meryl Streep, Anne Hathaway. Tv-sendung Der-teufel-traegt-prada Bid_ | Finden Sie einfach die besten Sendungen im TV-Programm heute. Ihr Fernsehprogramm auf einen Blick​.

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