On a film set, different actors maintain different approaches to the production schedule, with some adhering strictly to the call sheet while others maintain a more flexible routine. For Meryl Streep, arriving on time was the standard for her professional conduct. For Goldie Hawn, the approach was considerably more relaxed.

In a recent interview with Vanity Fair, as reported by The Independent, Streep candidly described the tension that simmered beneath the surface of the 1992 black comedy Death Becomes Her. While the film is remembered for its high-energy rivalry between two women fighting for immortality and the affection of a man played by Bruce Willis, the real-life friction was rooted in something far more mundane: the clock.

The red convertible and the punctuality gap

Streep, known for a disciplined approach to her craft, found herself frustrated by Hawn’s habit of arriving late to the set. The source of the delay, Streep recalled, was a specific logistical choice that felt like a luxury the production’s schedule couldn’t always afford.

“I’m always on time, you know, and annoying, but she’s late. She had a red convertible, I remember, and she’d drive herself to set. And so that was probably the problem. She’d drive herself to set.” Meryl Streep, actor

The image of the red convertible serves as a sharp contrast to the professional rigor Streep maintained. While Streep was ready and waiting, Hawn drove herself to the production location, often arriving later than the scheduled call time. This discrepancy in timing created a source of frustration for Streep during the filming process.

Streep noted that Hawn’s entrance was often accompanied by a disheveled appearance and a quick apology, which the rest of the crew found endearing. She had her hair all over. She’s like, ‘Oh gosh, sorry!’ Streep recalled. The result was a dynamic where the crew viewed Hawn as so cute, effectively neutralizing any professional reprimand for her tardiness.

This dynamic meant that Hawn’s late arrivals were generally accepted by the production staff. For Streep, this discrepancy led to what she described as a beef with her co-star, highlighting the different ways the two lead actresses approached their professional obligations on the set.

Satire and the Beverly Hills aesthetic

Despite the behind-the-scenes tension, the chemistry between the two performers translated into a film that has maintained a lasting cult appeal. Directed by Robert Zemeckis, the production was a technical feat for its time, eventually earning an Oscar for its visual effects. The movie’s depiction of vanity and the desperate pursuit of youth in the hills of Los Angeles became a hallmark of 90s dark comedy.

Streep has since looked back on the film’s exaggerated portrayal of wealth and beauty with a sense of irony. She suggested that the movie’s depiction of the area was so spot-on that it felt less like a scripted comedy and more like a study of the environment.

“Over the years, we’ve had some laughs about that movie because people love it. I thought it was like a documentary on Beverly Hills.” Meryl Streep, actor

This satirical lens extended to the rest of the cast. Streep praised Bruce Willis for his role in the production, describing him as divine and noting that he was such a gent and so game and willing to be ridiculous. While the lead women were locked in a battle of professional temperaments, the shared willingness to embrace the absurdity of the plot helped the production maintain its momentum.

From set rivalry to lasting friendship

The trajectory of a celebrity relationship often evolves from the intensity of a shared project into a more relaxed kinship. In the case of Streep and Hawn, the beef born of red convertibles and late arrivals did not result in a permanent rift. Instead, the friction seems to have become a point of shared humor in the years following the film’s release.

Streep confirmed that she and Hawn remain friends to this day, noting that they have had a great laugh about the experience of shooting the film. The fact that they moved past their professional disagreements indicates that the tension was a temporary conflict related to the specific circumstances of the 1992 production.

While the available reporting doesn’t provide specific details on how they maintain their friendship today, the public acknowledgment of their past friction serves as a testament to their current rapport. It is a rare instance where a performer is willing to admit to a professional grudge, only to confirm that the bond survived the ego clashes of a major studio set.

As Streep continues her career with high-profile projects—including a return to her role as Miranda Priestly in the sequel to the 2006 film The Devil Wears Prada and an upcoming role in Greta Gerwig’s Narnia: The Magician’s Nephew—she carries with her the lessons of the Zemeckis set. The legacy of Death Becomes Her is not just in its visual effects or its satire of Beverly Hills, but in the human dynamic of two powerhouse actors finding a way to coexist.

“The main quartet were so well-suited to their original roles that all Streep needs to do is play thoughtfully with a beaded necklace and, instantly, it’s like Miranda never left us.

The Evolving Relationship Between Fashion and Film

This change reflects a broader shift in the fashion industry. Twenty years ago, the world of fashion was more closed off, hierarchical, and characterized by strong egos. However, the times have changed, influenced by scandals and a growing awareness of cultural sensitivities. This has led to a “rebranding” of Anna Wintour, who has become more open and less of a distant figure. She aims to avoid appearing outdated.

The Power of Social Media and Film Promotion

The way films are promoted has also evolved. “The Devil Wears Prada came out 20 years ago. Instagram didn’t exist then,” says Georgette Koning, editor-in-chief of Mirror Mirror magazine. The increased focus on the lead actors, brands, and cameos, particularly on social media, is a natural progression.