Anne Hathaway Rewatches The Princess Diaries, The Devil Wears Prada & More | Vanity Fair

Vanity Fair
25 Mar 202411:44

Summary

TLDRAnne Hathaway revisits pivotal scenes from her acting career, reflecting on the profound impact of her experiences and the people she's worked with. From her awe of Julie Andrews and Gary Marshall to her rigorous training for a physically demanding role in a Christopher Nolan film, Hathaway's journey is a blend of nostalgia, growth, and pride. She shares insights into the importance of character development, the magic of live singing in films, and the emotional depth of her performances, showcasing the evolution of her career and the legacy she's built.

Takeaways

  • 🌟 Anne Hathaway reflects on her career and rewatches scenes from her past movies, expressing a mix of nostalgia and pride.
  • 🎬 She discusses the impact of working with legendary actors like Julie Andrews and Gary Marshall, highlighting their magical presence.
  • 📚 Anne recalls being 17 during the filming and how the experience changed her life, acknowledging the significance of her early career.
  • 🀣 Technical difficulties and improvisation moments are shared, such as the brush scene where the prop didn't break as planned.
  • 👑 The role of a princess and its significance in her life is mentioned, as well as the emotional weight it carried.
  • 📰 Anne's journey to New York as an aspiring journalist and her experiences on the set of "The Devil Wears Prada" are highlighted.
  • 🎭 The importance of Meryl Streep's influence and the meticulous attention to costume design are emphasized.
  • 🥋 Training for physical roles, as seen in Christopher Nolan's films, is discussed, showing the dedication Anne puts into her characters.
  • 🎶 Live singing in musicals is a unique and challenging aspect of acting that Anne appreciates, as it allows for emotional freedom.
  • 🖌 The color purple and its symbolic meaning in the movie 'One Day' are explored, illustrating the character development of a gallery owner.
  • 🏆 Anne expresses gratitude for her filmography and the joy of looking back on her work, despite her focus on the present and future projects.

Q & A

  • Who is the main speaker in the transcript?

    -Anne Hathaway is the main speaker in the transcript.

  • What movie is Anne Hathaway rewatching scenes from?

    -The transcript does not explicitly mention the title of the movie Anne Hathaway is rewatching, but it is inferred that she is referring to 'The Princess Diaries' given her comments about being 17 and working with Julie Andrews and Gary Marshall.

  • How long has it been since Anne Hathaway last saw the movie she is discussing?

    -Anne Hathaway mentions that it has been maybe two decades since she last saw the movie.

  • What was Anne Hathaway's initial career aspiration?

    -Anne Hathaway initially aspired to be a journalist and moved to New York for that purpose.

  • What was the impact of 'The Princess Diaries' on Anne Hathaway's life?

    -The Princess Diaries was a life-changing film for Anne Hathaway, as she describes it as the film that changed her life and left a lasting impression and legacy.

  • How did Anne Hathaway prepare for her role in 'The Dark Knight Rises'?

    -Anne Hathaway trained very hard for her role in 'The Dark Knight Rises', focusing on performing as many of her stunts as possible and was involved in the fighting sequences without the need for a double for non-specialized skills.

  • What was Anne Hathaway's reaction to working with Meryl Streep?

    -Anne Hathaway was very impressed with Meryl Streep's work ethic and the way she respected and crafted the production design for her character, absorbing everything from her and being a sponge around her.

  • What was unique about the musical 'Les Misérables' in terms of its production?

    -The musical 'Les Misérables' was unique because the actors sang live on set, which allowed for a greater degree of emotional freedom and technical precision not typically possible when lip-syncing to a pre-recorded track.

  • How did Anne Hathaway describe her character's relationship with color in 'One Day'?

    -In 'One Day', Anne Hathaway's character is a gallery owner who responds almost psychedelically to color, which is an essential aspect of her character development and the movie's exploration of a woman's bloom in life.

  • What does Anne Hathaway say about her approach to her career and looking back?

    -Anne Hathaway mentions that she is not one to spend a lot of time looking back or reflecting. Instead, she works hard to be present and focuses on what's coming ahead.

  • How did Anne Hathaway feel about her overall filmography after rewatching these scenes?

    -Anne Hathaway expresses pride and happiness with her filmography after rewatching these scenes, stating that it brings her a great deal of pride and joy.

Outlines

00:00

🎬 Reflecting on a Life-Changing Film

Anne Hathaway reminisces about her experience working on a film that significantly impacted her life. She expresses her awe and admiration for her co-stars Julie Andrews and Gary Marshall, highlighting the special bond she felt with them. Anne also shares her surprise at how the film has become a cultural touchstone and left a lasting legacy. She discusses the emotional journey of rewatching the movie after nearly two decades and the pride she feels for being part of such a meaningful project.

05:02

🀞‍♀ Training for a Role: Stunts and Transformation

Anne talks about her rigorous training for a physically demanding role in a film directed by Christopher Nolan. She emphasizes the director's desire for her to perform her own stunts and fights, which led to her most intense physical preparation for a role to date. Anne's admiration for Michelle Pfeiffer's portrayal of Catwoman and her determination to do justice to the character are highlighted. She also reflects on the growth she experienced as an actress, transitioning from roles of younger, insecure women to a more confident and complex character.

10:04

🎚 Embracing Character Through Color and Art

In this paragraph, Anne delves into the importance of color in shaping her character's identity in a film where she plays a gallery owner. She discusses how the color palette of the movie contributed to the narrative of a woman's bloom at a stage in life often perceived as less vibrant. Anne also shares her appreciation for the pottery pieces used in the film and the audition process that led to the casting of Nick Galitzine, who she believes perfectly embodied the role he played. She concludes with a reflection on her overall pride in her filmography and the joy of being present in the moment.

Mindmap

Keywords

💡Reminiscing

Reminiscing refers to the act of looking back on past experiences with nostalgia or pleasure. In the context of the video, Anne Hathaway is reminiscing about her career and the various roles she has played, expressing her feelings and memories associated with each one. This is evident when she talks about how radiant Julie Andrews was and how the film changed her life, as well as her pride in being part of the movie and her joy in watching her past performances.

💡Career Milestone

A career milestone refers to a significant achievement or event in one's professional journey. In the video, Anne Hathaway is rewatching scenes from her career, which represent various milestones. These milestones include working with notable figures like Julie Andrews and Gary Marshall, as well as the transformative impact of certain roles on her life and career.

💡Emotional Connection

An emotional connection is a deep, personal bond or response felt towards something or someone. In the video, Anne Hathaway expresses an emotional connection to her past roles and the people she worked with, which is evident in her reactions and the feelings she describes while watching the scenes.

💡Physical Transformation

A physical transformation refers to the process of altering one's appearance or body for a role, often through training or costume design. In the context of the video, Anne Hathaway talks about the physical training she underwent for a role, emphasizing the importance of performing her own stunts and the effort required to achieve the character's physicality.

💡Costume Design

Costume design involves the creation of clothing and accessories for characters in film, theater, or other performances. It plays a crucial role in character development and storytelling. In the video, Anne Hathaway reflects on the costumes she wore in her roles, noting how they contributed to her understanding and portrayal of the characters.

💡Acting Improvisation

Acting improvisation is the spontaneous creation of dialogue or action by actors during a performance, without a pre-determined script. In the video, Anne Hathaway discusses moments where she and her co-star had to improvise to achieve a desired effect in a scene, showcasing the flexibility and creativity required in acting.

💡Cultural Impact

Cultural impact refers to the influence a piece of art, such as a film, has on society and its values. In the transcript, Anne Hathaway reflects on how her work has become woven into the culture and has left a lasting impression on audiences, indicating the cultural significance of her films.

💡Character Development

Character development is the process by which a character's personality, traits, or motivations change and grow over the course of a story. In the video, Anne Hathaway discusses how her roles evolved and how she approached the development of her characters, particularly in terms of their emotional depth and personal growth.

💡Live Performance

A live performance refers to an act of presenting a piece of art, such as a song or a play, in real-time before an audience. In the context of the video, Anne Hathaway discusses the unique challenges and freedoms of performing songs live on set, which allowed for spontaneous emotional expression and technical precision.

💡Artistic Interpretation

Artistic interpretation is the process of understanding and expressing the meaning or message of a piece of art, such as a song or a film, in a personal and creative way. In the video, Anne Hathaway shares her personal interpretation of a song from one of her roles, relating it to the emotional journey of the character she played.

💡Casting Process

The casting process involves selecting actors for roles in a production through auditions and other means of assessment. In the video, Anne Hathaway discusses the casting process for a particular role, highlighting the specific talents and qualities sought after and the excitement of finding the right fit.

Highlights

Anne Hathaway reflects on rewatching scenes from her career after a long time.

She expresses her amazement at Julie Andrews' radiance and the impact of Gary Marshall on her early career.

The film she's watching changed her life, and she's emotional seeing it again after 20 years.

Anne discusses the improvisation with Larry in a scene where a brush breaks.

She reminisces about her role and the significance of being called a princess in the film.

Anne talks about her preparation for a physically demanding role in a Christopher Nolan film.

She shares her excitement about playing Selina Kyle and the influence of Michelle Pfeiffer's Catwoman.

Anne describes the unique experience of singing live on set, allowing for emotional freedom and technical precision.

She recalls the importance of Russell Crowe in helping the cast bond through singing.

Anne discusses the significance of color in her character's development as a gallery owner.

She talks about the casting process and finding the perfect actor for a role.

Anne expresses her pride in her filmography and the joy of reflecting on her career.

She mentions her approach to staying present and looking forward rather than dwelling on the past.

Anne's gratitude for the opportunity to revisit her career through this rewatching experience.

The transcript showcases Anne's deep connection to her roles and the people she's worked with.

She reflects on the evolution of her characters and the personal growth she's experienced.

Transcripts

00:00

[Anne gasping]

00:01

- Who are you?

00:02

- Sorry, I just have to pause.

00:03

Just so you understand,

00:04

all of you have seen this movie

00:05

way more recently than I have.

00:07

It's been, if not over a decade,

00:09

maybe two decades since I've seen this movie.

00:11

So this is like, this is amazing.

00:13

Hello, I'm Anne Hathaway,

00:15

and today I will be rewatching scenes

00:17

from throughout my career.

00:18

[upbeat music]

00:26

[tape clicking]

00:28

[electronic whirring]

00:32

- You're late.

00:33

- I know, I'm really sorry about it.

00:35

- And where is Paolo?

00:36

- Send in Paolo.

00:38

[Paolo speaking Italian]

00:39

- We're so pleased you could make yourself

00:41

available to be here.

00:42

- I'm sorry, I just have to pause there,

00:44

and say how radiant is Julie Andrews?

00:46

I was 17 years old when we made this,

00:49

and so I hadn't met as many people yet in my life.

00:54

And so I knew Gary Marshall was really special,

00:56

and I knew Julie Andrews was really special.

00:59

But now sitting here watching this from this point of view,

01:02

they're two of the most magical people I have ever met.

01:04

This was the film that changed my life.

01:07

Like it's so weird to watch it.

01:08

I haven't seen this movie in maybe 20 years,

01:10

and it's a little,

01:13

I'm a little bit speechless with this one.

01:15

This is, it's actually, it's very emotional to see it.

01:20

- [Paolo laughing] Like a wolf.

01:22

[dramatic music]

01:24

- Ow.

01:25

- It's all right [Paolo laughing],

01:26

[brush cracking]

01:28

- So he really had to break the brush in this.

01:30

They pre-broke the brush,

01:31

and it was supposed to break kind of easily,

01:32

but it didn't quite happen [Anne laughing].

01:34

So that's me and Larry kind of improving,

01:36

trying to get it to go.

01:38

And I don't remember if the ow was real

01:40

or if I was just buying him some time.

01:42

But the brush was being stubborn that day.

01:45

- Take this and this,

01:48

and give you!

01:49

- [Both] A princess.

01:52

[ethereal music]

01:56

- I don't know what to say.

01:57

It's like it's almost too big to,

02:03

it just, it felt so big at the time,

02:05

and it wound up being so big,

02:08

and it's kind of just gotten bigger

02:11

as my life has progressed.

02:12

So this is total fusion of life and work,

02:18

and all the things,

02:19

and I'm just so proud to be in this movie.

02:21

I'm really glad that I'm that girl right there.

02:24

[upbeat music]

02:25

[tape clicking]

02:26

[electronic whirring]

02:29

- This is foul.

02:31

Don't let her see it.

02:32

- That's-

02:33

- Go!

02:34

[Anne laughing]

02:35

- Emily is so brilliant in this movie.

02:36

I mean, period, but like, also she's just like,

02:39

let's see [gasps].

02:41

- Who are you?

02:42

- Sorry, I just have to pause.

02:43

Just so you understand,

02:45

all of you have seen this movie

02:46

way more recently than I have.

02:47

It's been, if not over a decade, maybe two decades

02:50

since I've seen this movie.

02:51

So this is like, this is amazing.

02:53

Yeah, I came to New York to be a journalist,

02:55

and sent letters out everywhere

02:57

and then finally got a call from Elias-Clarke

02:59

and met with Sherry up at Human Resources,

03:01

and basically it's this our Auto Universe.

03:05

- So you don't read "Runway."

03:07

- I was there the first time Meryl walked into that set,

03:10

and I saw the way she respected the work

03:13

of our production designer,

03:15

but also like crafted it into something

03:17

that felt more the way she saw the character,

03:19

and I just, I was such a sponge around her.

03:22

I just wanted to absorb everything.

03:24

The way she did it.

03:25

Look at that wig.

03:27

Oh my god, Roy J. Helland, who is the next, like,

03:32

next level at his craft.

03:34

- You have no style or sense of fashion.

03:37

- Well, um.

03:39

- And just look at my wonderful costume [Anne laughing].

03:43

I mean, I know the costumes wind up becoming more glamorous,

03:46

but I have to say that is post grad frump

03:50

gorgeousness right there.

03:52

I remember thinking the corduroy,

03:54

the corduroy of the jacket felt like the right choice,

03:58

and I knew that that color sweater,

04:01

the kind of bruised lilac

04:04

wasn't the most flattering on me. [Anne laughing]

04:06

So yeah, wait, sorry, I'm taking up too much time.

04:09

Oh my gosh, reminiscing is fun.

04:12

- That wasn't a question.

04:15

- Um, I was Editor in Chief of The Daily Northwestern.

04:20

- She's being very brave right now.

04:21

- I also won a national competition

04:23

for a college journalist

04:24

with my series on the janitors union,

04:26

which exposed the exploitation of.

04:28

- That's all.

04:29

- [Interviewer] When you were shooting this film,

04:30

did you have any sense for how huge it would become?

04:33

- Yeah, I did, I did.

04:35

Not as huge as it's become,

04:37

but I just had, it had a magnetic quality to me

04:42

that I had to be a part of it.

04:44

Not this though, not the way

04:46

that it's just sort of woven into the culture now,

04:48

and it's become such a touchstone for so many people.

04:50

I didn't realize it was gonna have

04:52

such a lasting impression,

04:53

so I didn't realize it was gonna leave such a legacy.

04:56

[upbeat music]

04:57

[tape clicking]

04:59

[electronic whirring]

05:02

[dramatic music]

05:06

[Anne gasping]

05:07

I'm so sorry.

05:09

- I remember every second.

05:10

I remember every second of all of this,

05:12

but I remember every second of this.

05:13

- It is Mr. Wayne, isn't it?

05:15

- I'm so thrilled I'm in this movie.

05:17

- You wouldn't beat up a woman

05:18

anymore than I would beat up a cripple.

05:20

[Anne laughing]

05:22

- Oh, that's such a good edit.

05:23

- Sometimes exceptions have to be made.

05:26

- Oh, I worked so hard on this back flip.

05:30

- Goodnight, Mr. Wayne.

05:31

- Christopher Nolan came to me

05:33

at the beginning of production, and he said,

05:34

I'd like you to train very hard for this.

05:36

It has nothing to do with anything

05:38

except that I would like you to do

05:39

as many of your stunts as possible,

05:42

as much of the fighting, anything that, you know,

05:44

isn't like a ridiculously special skillset

05:47

like riding the Batpod, I want to be you.

05:50

And I want you to be able to do it every single take,

05:53

which, and sometimes we film these sequences for three days,

05:56

and I said, sign me up, no problem.

05:59

And so I went straight to the gym, and up to this point,

06:02

this was the hardest I'd ever trained for a role physically.

06:05

[dramatic music]

06:07

[footsteps crunching gravel]

06:10

Michelle Pfeiffer's Catwoman

06:11

was everything to me growing up.

06:13

So when I found out that there was a chance

06:16

for someone of my generation to play this,

06:18

to play Selina Kyle,

06:20

I was just like, I don't. [Anne exhaling deeply]

06:24

And with Christopher Nolan,

06:26

and this franchise

06:27

that was so unlike anything that had ever been.

06:31

I wanted to do her justice.

06:34

And it's kind of cool to see it

06:36

right after those first two roles

06:38

where I was playing such kind of younger women

06:41

who were a little insecure and unsure of themselves.

06:44

They're stuttering a little bit more,

06:46

and to see the scene begin that, and then that oops happens.

06:51

- Oops, nobody told me it was uncrackable.

06:54

- I'm kind of amazed that this happened,

06:58

and that that's me, that's really cool.

07:01

[upbeat music]

07:02

[tape clicking]

07:03

[electronic whirring]

07:06

♪ There was a time love when was blind ♪

07:10

♪ and the world was a song ♪

07:14

♪ and the song was exciting. ♪

07:18

- I just feel really bad for her.

07:19

So my mother played this part,

07:22

and we were talking about it,

07:25

just the song and the interpretation,

07:28

and I told her that I sort of imagined,

07:32

you know, when you're watching a match go out,

07:35

and you just hope it stays a light, but it shrinks

07:41

and you just want it to hold on but it doesn't?

07:44

That's what this song is for me.

07:46

It's the extinguishing of a flame,

07:49

which is just so sad.

07:50

So when I see that I'm watching someone's life

07:53

like drain out of them.

07:54

So it's just, it's hard to watch.

07:56

♪ There are dreams that cannot be ♪

08:02

♪ And there are storms we cannot weather ♪

08:08

- The thing that was so magical about singing live

08:10

is that you're in some ways the conductor

08:14

and the performer at the same time.

08:16

Like right at the end you can see

08:18

I kind of held some emotion come up,

08:20

and I took a few extra breaths.

08:21

If you're on stage or in maybe a larger number

08:25

or if you're doing it to a track,

08:27

you have to decide all of those things in advance.

08:29

And so a spontaneous thing occurring like that,

08:33

it might not make it into the movie.

08:34

And so being able to do it live

08:37

allowed us a certain amount of emotional freedom.

08:41

It also demanded quite a lot of technical precision.

08:44

I found the process fascinating.

08:46

You know, it was hard,

08:48

but that's the kind of hard that you pray for.

08:50

♪ I had a dream, my life would be ♪

08:55

♪ So different from this hell I'm living ♪

09:00

- Russell Crowe was such an important part of the process

09:02

'cause he would have us over on Friday nights,

09:04

and we would sing in front of each other.

09:07

And that was such a huge part of breaking down nervousness

09:12

and fear and us getting used to just being this film family,

09:16

this cast, this ensemble

09:17

where singing was just as normal as talking.

09:21

I don't know that they've done a live sung musical since.

09:25

It had never been attempted before.

09:27

So, I don't know.

09:28

We went through something really beautiful.

09:31

[upbeat music]

09:32

[tape clicking]

09:34

[electronic whirring]

09:36

- This is a surprise.

09:38

- I did some online sleuthing for a SolÚne of Silver Lake

09:42

and well, I have this very large empty flight in London

09:45

that desperately needs some artwork.

09:49

So I was thinking maybe you could,

09:52

- Okay, um.

09:54

- I'm wearing vintage Chanel in this,

09:57

and that purple on the top

10:00

became such an essential thread to my character

10:03

because she is a gallery owner.

10:07

And so she really responds

10:07

like in an almost psychedelic way to color.

10:09

And that color like led me through finding her.

10:13

So much of this movie is about a woman's bloom

10:17

at a stage in her life where she's,

10:20

I mean, where women are often told that we're going to dull,

10:25

but actually she opens and learns more.

10:27

And so the color palette in this movie was so important.

10:31

And anyway, I'm just really enjoying seeing it.

10:33

So these pieces were thrown

10:35

by a fantastic potter we work with called Susan Habel.

10:37

- Mmm, she threw them at the wall?

10:39

- Mm, no, she,

10:42

that's what they call it when they do the work on the wheel.

10:44

It's called throwing.

10:46

- Right.

10:47

- Right.

10:48

- This was the audition scene.

10:49

We met with amazing, amazing actors for this role.

10:53

And Nick kind of had the part

10:56

from the second he just walked in.

10:57

He just was, he just, he was just it.

10:59

He was everything we needed.

11:00

We needed such a specific talent for this.

11:05

Like the movie needed it.

11:06

He needed to be able to sing, act, dance.

11:09

He needed to be charming.

11:10

You needed to, I mean, he was just,

11:12

I just, we're so lucky that Nick Galitzine is here.

11:17

[upbeat music]

11:20

[tape clicking]

11:22

I'm proud.

11:23

I'm not someone who spends a lot of time

11:25

looking back or reflecting.

11:26

I work really hard to be present

11:28

and to look at like kind of what's coming.

11:31

So this has actually been a joy,

11:33

and I'm really proud to have a filmography

11:35

that makes me so happy and brings me so much pride.

11:39

That's lovely.

11:40

Thanks for watching.

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