Aline Brosh McKenna

And then there was a day where, so I had little kids when we were making the first one.

They're grown men now, but they were little kids.

And it was on the weekend day.

So I went to the Starbucks and

And I was sitting there and I was emailing the speech to David, who was emailing it to Meryl and then getting notes from Meryl and then conveying them to me.

So, for instance, I said I'd written in the section about blue.

I sent a list to him that said lapis azure cerulean.

And she picked Cerulean.

She said, great.

You know, and it and as we worked on it, it got larger and larger and larger.

It wasn't really meant to be so much of an aria.

But I thought, you know, knowing how movies are and this you almost you do this often, which is like, OK, well, it's going to be I'm going to write this thing that had been three or four lines will now be a page and a half.

And so I kept building on it and it was great.

Really thrilling, you know, knowing that it was going pinging for Meryl back to me and getting her feedback.

And then I sent it back and said, you know, here's this big chunk.

I don't know.

You can cut it down.

You do use whatever you want or and they shot all of it and it's all in the movie.

On that first movie, I was so eager that when I tried to be on set as much as I could, and then when I wasn't there, I would wake up in L.A., I would wake up at their rehearsal time, and then David would call me after the rehearsal and say, what about this line, or maybe could you improve this, or you could improve that.

So I'd sleep clutching my phone and then get up for the rehearsal and then write a bunch of alts and send them to him.