Aline Brosh McKenna

My favorite thing to do is run in a new joke.

I'll just come in and say, what about this?

You know, like maybe you say this this time, as long as the director, as long as David feels like he has it.

And so that's absolutely with Emily.

Often I'll run out and give her a joke and then the problem will be she'll say to me, I just don't know if I can get it out without laughing.

And that's just the best is seeing her like do the line and then just bust out laughing after they say cut.

On the first movie, I remember Stanley was about to do the scene where he tells Andy, you deign to work here.

And I remember I said to Stanley, do you want me to make any adjustments or change anything for you?

And he said, no, I'm good.

And that was like,

As meaningful a collaboration to me, knowing, okay, that's where the target zone is for him, as it is when an actor sometimes wants to come over and really, like, go through every scene.

And then in both Prada movies, Annie is in almost every scene and has to carry, you know...

the entire Soup to Nuts story.

I mean, literally Soup to Nuts.

And so I always have worked really closely with Annie about the complete arc of that character because it's so much work for one person.

It's so much through the scrim of her perception.

Meryl had looked at those, those few lines had been in the script for a long time.

And I would say maybe like,

five or six days before we shot it, David said, Meryl wants to talk about that scene and she feels like it could be more and it could be built into a speech.

And I started working on it and I started making it longer and longer.