Molly Rogers

And I was sitting at the Fendi show in Milan, and they had a lot of blue.

And I knew something from that show had to happen in one of these montages.

It was just so striking.

And Annie wears a Fendi spring look in one of them.

Very, very fast.

But the other problem, although I love them, they're not on the shooting schedule usually.

It's always at the bottom of the call sheet saying, if time permits.

So you're like at the starting gate of a horse race.

You don't know if it's going to happen today.

You may be waiting on a shoe from Chanel that may not be there the day that you – you kind of style it on the fly.

You have these massive amounts of clothes for each of the characters, and then they're like, we're going to have time today.

We're going to have enough sunlight, or this is perfect.

We're going to use a corner of that restaurant.

And you just art direct it on the fly and you pin it or glue it on them because it's so fast you don't have to tailor it.

But everything, when I art direct scenes like that, I always go off of what Meryl's wearing.

She determines what color or print someone else is going to be in.

No, that you usually have time to prep.

It's not on the fly.

You know, you, of course, have the generosity of everyone in the fashion world.

And you usually know ahead of time what cameos are coming in.