Taking a trip down memory lane, Emily Blunt was tasked with identifying lines from her filmography during Variety Know Their Lines presented by Lifetime. The first line she was…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Taking a trip down memory lane, Emily Blunt was tasked with identifying lines from her filmography during Variety Know Their Lines presented by Lifetime.
The first line she was tested with was “You went upstairs? You went upstairs. Oh my God. Why didn’t you just crawl into bed with her and ask for a bedtime story?” Blunt immediately recognized that line belonging to her “Devil Wears Prada” character, also named Emily. “I think I’d just been dressing like a teenage boy until that happened, and I learned a lot,” she said of her role in the film.
Next, Blunt identified her line “You don’t get to commit the sin and then ask us all to feel sorry for you when there are consequences” from “Oppenheimer.” She explained that she read “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer,” the book Christopher Nolan’s movie is based on, to study Katherine “Kitty” Oppenheimer. “When I read the script, I wasn’t sure if he was truly atoning for his sins or if he was playing the martyr to try to absolve himself of it,” she said.
She then aced identifying lines from “Mary Poppins,” “Five-Year Engagement” and “Jungle Cruise,” reminiscing her time on set of each film. Moving on, Blunt whispered the line “Who are we if we can’t protect them? We have to protect them” from “A Quiet Place,” which she said to her husband John Krasinski in the movie. “You can communicate so much you realize without having to overword things,” she said of the film’s limited dialogue.
Blunt was stumped by the line “All this power, wasted on parties, when there are far greater uses” from “My Little Pony: The Movie.” “How did I not pull that out?” she asked after the answer was revealed to her. She then incorrectly guessed that the line “Anything is possible because I am not the girl I used to be” was from “Young Victorian.” The line was from “The Girl on the Train,” which gave Blunt the opportunity to reflect on playing the lead role.
“Of course you read the book, and then you realize you’re going to have to create your own version of what people have loved about the character, And also that you’ve got an unreliable hero is fun to play that because you’re playing two things with that part. You’re playing the truth of what she’s experiencing, but also you need to remember what the audience is going through,” she said.
“Come find me when you wake up” from “Edge of Tomorrow” was the next line she was given, which she remembers saying to Tom Cruise. “I love working with Tom. He’s really joyful to work with because he’s so excited about the process. He’s so passionate. He was unbelievably generous to me and I felt challenged me and tightened the screws on me when it came to what I thought I could do physically. He’s got no problem jumping off buildings, so you kind of have to join the party,” she added.
Finally, Blunt identified the line “When we catch him, I want you to set me on fire” from her first TV project “Boudica.”
“In the beginning, I don’t remember having sort of outlandish ambitions for myself. I remember being thrilled at whatever gig I got. I still maybe disassociate a bit, like where I am now compared to where I started out. But I’m grateful for the journey,” Blunt said.