Julianne Moore
speaker
84 appearances
2 recordings
2 series
first heard Dec 2024
last heard Dec 2024
Julianne Moore’s voice in public audio — every appearance, attributed to the second.
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Appearances
The New Yorker Radio Hour · Julianne Moore Explains What She Needs in a Film Director · 31 Dec 2024
podcast
Whether she's playing a 1950s housewife, a 1970s adult film star, a linguistics professor losing her memory, or Sarah Palin... She brings depth and humor and tragedy and incandescence to all her roles. And she's the author of the bestselling children's book, Freckleface Strawberry.
Robert Altman, Louis Malle, Todd Haynes, Paul Thomas Anderson, Lisa Cholodenko, Steven Spielberg, The Coen Brothers, Ridley Scott, Stephen Daldry, Alfonso Cuaron, Rebecca Miller, Jesse Eisenberg, Tom Ford, Kimberly Pierce, David Cronenberg, Julie Taymor, and George Clooney. And she's just added to the list, Pedro Almodovar.
In his first English language feature, The Room Next Door, co-starring Tilda Swinton.
Have you decided where we're going? That's why I called.
Please welcome the gigantically gifted Julianne Moore. My God, I'm so flattered.
Thank you very much. Thank you.
I mean, let's start with that list because, my God, I mean, that's just an incredible roster of people. And I'm curious, when you choose roles, how important is the idea of wanting to work with someone or wanting to work with someone again? Yeah. versus like a particular character or the script? Do you actually have like, do you have like a life list, like a birder or something of directors? Well,
You know, first of all, we don't have as much choice as you think. That's what's sort of interesting. And as you're going through that list, I thought, wow, I never, ever thought in my life I would work with that roster of talent. And my film career didn't even start until I was 30. And before then, I was really working in television. I started on a soap opera and I did lots of, yeah, right on.
It's here for As the World Turns. But I just got the jobs I got, right? And so I came to New York thinking that I was going to work in the theater. And then I also thought that somehow I could work at a regional theater for the rest of my life, which is difficult to do.
And ended up mostly doing television stuff and auditioning for Broadway things and not getting it and feeling frustrated by not getting any film work. And then... Then when the independent film world started in the early 90s, suddenly my life changed. And one of the people who changed it was Robert Altman.
Right, shortcuts.
Right, because he saw me in a production of Uncle Vanya that became Vanya on 42nd Street, which Louis Moll filmed. And at that same time, I also auditioned for Todd Haynes for Safe. So those three movies came out at the same time in the early 90s and completely changed my life completely. Um, and it was sort of, it wasn't intentional, you know, that I didn't seek these people out.
It was just this weird confluence of opportunity. Um, and I, and I suddenly had this film career.
Yes. However, I mean, when I look at this list of directors and I've been throwing myself a Julianne Moore film festival over the last couple of weeks, which I've really enjoyed, um, What's striking is how these are all very visionary, auteur kind of directors that you've worked with. They're all very different. And yet you're able to really... find, you know, fit yourself into all of them.
And I can only imagine that, you know, an Altman film is completely different than being in at least a Cholodenko film or, you know, a Cronenberg film. How do you figure out sort of what that means for each director? Are you like going back and watching their previous movies? Are you like just sitting down discussing with them? Like, what is the style that you want? Or is it like more intuitive?
Yeah.
That's an interesting question. I think that, I mean, the most important thing about a director is point of view. And when people ask me, they'll say, why is Ridley Scott so special or why is so-and-so different from this other director? And I'm like, I don't really see the differences. What I see is that through line of point of view. All of them have a really distinct way of telling a story.
And a lot of them write their own scripts as well. That's something I've been very drawn to, people who are also writers. And I can sort of tell in the language, especially with first-time directors, what they're trying to communicate. So that's really important to me, the language. And And then you see it in the frame.
You know, it's like I could, Todd and I, when we did Safe, we didn't have a lot of time. We didn't have any time to really talk. We had a little bit of rehearsal. I felt like the language was very specific, but then I would always ask him to show me the frame before we, you know, and he had a lot of storyboards too. And then I could kind of see it.
from the way he was looking at it in combination with the language where I was supposed to be in it, how he saw me. I was like always searching for, once again, his point of view. Where does my character exist in this narrative?
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