The Devil Wears Prada

Production Budget Analysis

What was the production budget for The Devil Wears Prada?

Directed by David Frankel, with Meryl Streep, Anne Hathaway, Emily Blunt leading the cast, The Devil Wears Prada was produced by Fox 2000 Pictures with a confirmed budget of $35,000,000, placing it in the low-budget category for drama films as part of the The Devil Wears Prada Collection.

With a $35,000,000 budget, The Devil Wears Prada sits in the mid-range of studio releases. Marketing costs for a wide release at this level typically add $30–60 million, putting the break-even point near $87,500,000.

Budget Comparison — Similar Productions

• 1941 (1979): Budget $35,000,000 | Gross $94,900,000 → ROI: 171% • Two for the Money (2005): Budget $35,000,000 | Gross $30,526,509 → ROI: -13% • Ghost Ship (2002): Budget $35,000,000 | Gross $71,142,361 → ROI: 103% • Guillermo del Toro's Pinocchio (2022): Budget $35,000,000 | Gross N/A • Lion of the Desert (1981): Budget $35,000,000 | Gross $1,502,136 → ROI: -96%

Key Budget Allocation Categories

▸ Above-the-Line Talent Drama films live or die on the strength of their performances. Securing award-caliber actors and experienced directors represents the single largest budget line item, often consuming 30–40% of the total production budget.

▸ Location Filming & Period Production Design Authentic locations — whether contemporary or historical — require scouting, permits, travel, lodging, and often significant dressing to match the story's time period. Period dramas add the cost of era-accurate props, vehicles, and set decoration.

▸ Post-Production, Color Grading & Score The editorial process for dramas is typically longer than genre films, with careful attention to pacing and tone. Color grading, a nuanced musical score, and detailed sound mixing are critical to achieving the emotional resonance that defines the genre.

Key Production Personnel

CAST: Meryl Streep, Anne Hathaway, Emily Blunt, Stanley Tucci, Simon Baker Key roles: Meryl Streep as Miranda Priestly; Anne Hathaway as Andy Sachs; Emily Blunt as Emily; Stanley Tucci as Nigel

DIRECTOR: David Frankel CINEMATOGRAPHY: Florian Ballhaus MUSIC: Theodore Shapiro EDITING: Mark Livolsi PRODUCTION: Fox 2000 Pictures, Wendy Finerman Productions FILMED IN: United States of America

Box Office Performance

The Devil Wears Prada earned $124,740,460 domestically and $201,965,655 internationally, for a worldwide total of $326,706,115. Revenue was split 38% domestic / 62% international.

Break-Even Analysis

Using the industry-standard 2.5x multiplier (P&A + exhibitor shares of 40–50% + distribution fees), The Devil Wears Prada needed approximately $87,500,000 to break even. The film surpassed this threshold by $239,206,115.

Return on Investment (ROI)

Revenue: $326,706,115 Budget: $35,000,000 Net: $291,706,115 ROI: 833.4%

Profitability Assessment

VERDICT: Highly Profitable

The Devil Wears Prada was a clear financial success, generating $326,706,115 worldwide against a $35,000,000 production budget — a 833% ROI. After estimated marketing costs, the film still delivered substantial profit to Fox 2000 Pictures.

INDUSTRY IMPACT

Franchise: The Devil Wears Prada is part of the The Devil Wears Prada Collection.

The outsized success of The Devil Wears Prada likely influenced studio greenlight decisions for similar drama projects.

In 2016, Vanity Fair noted how some better-remembered films had been bested by films that have not stood the test of time. It called Superman Returns' win over The Devil Wears Prada the "most ironic" of these victories. In 2025, it was voted for the "Readers' Choice" edition of The New York Times list of "The 100 Best Movies of the 21st Century," finishing at number 111.

PRODUCTION NOTES

▸ Writing

When the book became a bestseller, elements of the plot were incorporated into the screenplay. Most took their inspiration from the 2001 Ben Stiller film Zoolander, satirizing the fashion industry.

At a meeting with Finerman, Frankel said he thought the story unnecessarily punished Miranda. Aline Brosh McKenna, who related her own youthful experiences to the story, produced a draft that struck a balance for Finerman and Frankel, whose notes were incorporated into a final version, rearranging the plot significantly, McKenna consulted with fashion acquaintances to make her screenplay more realistic, made difficult since they did not want to offend Wintour. Weisberger stated that McKenna's draft took it away from the "typical chick flick" direction it was going in.

▸ Casting

Michelle Pfeiffer, Glenn Close, and Catherine Zeta-Jones were considered for the role of Miranda. Her casting helped offset the difficulties Wintour's resistance to the film had created. Kirsten Dunst, Natalie Portman and Scarlett Johansson, were considered for the role.

Tucci agreed to play Nigel only three days before shooting started. among 150 other actors.

Daniel Sunjata had read unenthusiastically for Tucci's part, but then read the Holt part and asked if he could audition for it. Simon Baker auditioned by sending a video of himself, wearing the same self-designed green jacket he has on when he and Andy meet for the first time.

Wintour reportedly warned major fashion designers that they would be banished from the magazine if they appeared in the film; Wintour's spokespeople deny the claim. Other cameos include Heidi Klum as herself and Weisberger as the twins' nanny. Gisele Bündchen agreed to appear if she did not play a model.

▸ Production

Fox bought the rights to Weisberger's novel before the book's prose was finished. Carla Hacken, then the studio's executive vice president, had only seen the first hundred pages of the manuscript and an outline for the rest of the plot. Frankel recalls the experience as having high stakes, since it was the biggest project they had yet attempted, with barely adequate resources.

Weisberger is believed to have based Miranda on Anna Wintour, the editor in chief of Vogue, for whom she herself had once worked as a personal assistant. Fear of what Wintour might do in retribution for any visible cooperation with the production posed obstacles in the fashion industry and the film industry.

After touring fashion magazine offices, Jess Gonchor gave the Runway offices a clean, white look meant to suggest a makeup compact. Gonchor told Women's Wear Daily that he had based the set on an online photo of Wintour's office; Wintour had her office redecorated after the movie's release. In 2021, Frankel said Gonchor had managed to sneak into Vogues offices to get a look at Wintour's. "They got it really, really close", Weisberger said. Gonchor chose separate computer wallpaper to highlight different aspects of Blunt's and Hathaway's characters: Paris's Arc de Triomphe on Blunt's suggests her aspirations to accompany Miranda to the shows there, while Andy's floral image suggests the natural, unassuming qualities she displays as she begins with the magazine. For the photo of Andy with her parents, Hathaway posed with her own mother and David Marshall Grant. The Dengel twins said they were asked every day for three years if the Harry Potter advance copies were real, but they were "all gibberish". They auctioned them for $586 on eBay, along with clothing used in the film, to benefit the Dress for Success charity.

thumb |upright |The 1221 Avenue of the Americas, home to Elias-Clarke in the film

▸ Filming & Locations

thumb |right |Anne Hathaway |Hathaway between takes while shooting a scene in [[Midtown Manhattan ]]

Principal photography took place over 57 days in New York and Paris in late 2005. The film's budget was initially $35 million and was to only include filming in New York. The co-op boards at many apartment buildings refused to let the production use them for Miranda's, p because of Wintour's influence. Ballhaus composed many shots to take in busy New York street scenes as background, to convey the glamor of the industry. He used a handheld camera in Miranda's office, to better convey the flow of action, and slow motion for Andrea's entrance after her makeover. After six weeks, Frankel persuaded the studio to budget for limited shooting in Paris, but to save money, Streep did not go.

[Filming] thumb |right |Anne Hathaway |Hathaway between takes while shooting a scene in [[Midtown Manhattan ]]

Principal photography took place over 57 days in New York and Paris in late 2005. The film's budget was initially $35 million and was to only include filming in New York. The co-op boards at many apartment buildings refused to let the production use them for Miranda's, p because of Wintour's influence. Ballhaus composed many shots to take in busy New York street scenes as background, to convey the glamor of the industry. He used a handheld camera in Miranda's office, to better convey the flow of action, and slow motion for Andrea's entrance after her makeover. After six weeks, Frankel persuaded the studio to budget for limited shooting in Paris, but to save money, Streep did not go.

▸ Music & Score

Composer Theodore Shapiro relied heavily on guitar and percussion, with the backing of a full orchestra, to capture a contemporary urban sound. He ultimately wrote 35 minutes of music for the film, which were performed and recorded by the Hollywood Studio Symphony, conducted by Pete Anthony. His work was balanced with songs by U2 ("City of Blinding Lights", Miranda and Andy in Paris), Madonna ("Vogue" & "Jump", Andrea's fashion montage & her first day on the job, respectively), KT Tunstall ("Suddenly I See", female montage during opening credits), Alanis Morissette ("Crazy", Central Park photo shoot), Bitter:Sweet ("Our Remains," Andy picks up James Holt's sketches for Miranda; Bittersweet Faith, Lily's art show), Azure Ray ("Sleep," following the breakdown of her relationship with Nate), Jamiroquai ("Seven Days in Sunny June," Andy and Christian meet at James Holt's party) among others. Frankel had wanted to use "City of Blinding Lights" in the film after he had used it as a soundtrack to a video montage of Paris scenes he had put together after scouting locations there.

In 2015, it was reported that Broadway producer Kevin McCollum had signed a deal two years earlier with Fox to develop some of the films from its back catalog into musicals for the stage. Two he expressed particular interest in were Mrs. Doubtfire (1993) and The Devil Wears Prada. Early in 2017, McCollum announced that in partnership with Fox Stage Productions, he was developing a musical version of The Devil Wears Prada (based on both the film and the book). Sir Elton John and Shaina Taub will be writing the score and lyrics for the project with playwright Paul Rudnick, who had written some early scenes for the screenplay,

In July 2019, the show held its first industry-only presentation of the initial reading for the show. It featured Emily Skinner as Miranda, Krystina Alabado as Andy, Heléne Yorke as Emily and Mario Cantone as Nigel.

▸ Marketing & Release

Originally intended just to convince Fox to fund some shooting in Paris, Frankel's sizzle reel led the studio to put a stronger marketing push behind the movie. It moved the release date from February to summer, scheduling it as a lighter alternative audiences could consider to Superman Returns at the end of June 2006, and began to position it as an event movie in and of itself.

AWARDS & RECOGNITION

Summary: Nominated for 2 Oscars. 21 wins & 53 nominations total

Awards Won: ★ National Board of Review: Top Ten Films

Nominations: ○ Academy Award for Best Actress (79th Academy Awards) ○ Academy Award for Best Costume Design (79th Academy Awards)

CRITICAL RECEPTION

The Devil Wears Prada received positive reviews from critics. On Rotten Tomatoes the film holds an approval rating of 75% based on 195 reviews, along with an average rating of 6.7/10. The website's critics consensus reads, "A rare film that surpasses the quality of its source novel, this Devil is a witty expose of New York's fashion scene, with Meryl Streep in top form and Anne Hathaway more than holding her own." On Metacritic, the film has a weighted average score of 62 out of 100, based on 40 critics, indicating "generally favorable reviews". Audiences surveyed by CinemaScore gave the film an average grade "B" on an A+ to F scale.

Initial reviews of the film focused primarily on Streep's performance, praising her for making an extremely unsympathetic character far more complex than she had been in the novel. "With her silver hair and pale skin, her whispery diction as perfect as her posture, Ms. Streep's Miranda inspires both terror and a measure of awe," wrote A. O. Scott in The New York Times. "No longer simply the incarnation of evil, she is now a vision of aristocratic, purposeful and surprisingly human grace."

David Edelstein, in New York magazine, criticized the film as "thin", but praised Streep for her "fabulous minimalist performance". J. Hoberman, Edelstein's onetime colleague at The Village Voice, called the movie an improvement on the book and said Streep was "the scariest, most nuanced, funniest movie villainess since Tilda Swinton's nazified White Witch in The Chronicles of Narnia: The Lion, the Witch and the Wardrobe.

Blunt, too, earned some favorable notice. "[She] has many of the movie's best lines and steals nearly every scene she's in," wrote Clifford Pugh in the Houston Chronicle. Other reviewers and fans concurred. While all critics were in agreement about Streep and Blunt, they pointed to other weaknesses, particularly in the story.