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
Okay, see, but this is totally fascinating to me because a lot of the actors who I have spoken to absolutely will not watch themselves on playback because I mean, someone like Adam Driver, for instance, I profiled him. He won't ever watch anything he's in. And if you try to make him, he'll run to the bathroom and throw up. How does that not make you get inside your own head, self-conscious?
What are you getting out of watching yourself as you are shooting?
Well, you know, interesting enough, I don't like to watch the final product. I also don't back in the day when we had dailies, I hated dailies. Because dailies are that's the footage that you shot that day. So you've already shot it. And it used to be that people would watch their own dailies. And then I don't know, but it made me feel sick. Because I can't change it at that point. I've done it.
But I love playback. Because playback, I'm like, oh, there's the frame. There's the camera movement. That's where I am. That's what, oh, that lens is bigger than I thought. Oh, I'm further away. I need to do. So playback helps me adjust. Storyboards are fantastic. I like to look through the lens. All of those things inform what I'm doing. Once it's done, forget it. I don't want to see that.
That's like, that's a mess, you know, but in the process of making it, it's very exciting to watch it.
I mean, that's probably partly why you're such a director's actor, because that's a kind of directing of yourself, like analyzing how you look in a frame and figuring out what to change. Yeah.
Yeah, yeah, I get, you know, yeah, I feel like it's a tool, right? You know, I'm always like, what do they see? What are they communicating? You know, everything in film is a kind of a communication. You know, that's why I always hate the let's see what happens kind of directing because I'm like, no, or the script is a blueprint. I'm like, no, the script is not a blueprint. It's specific.
You know, shots are specific. All of those things add to our understanding of a story.
I mean, without naming names, are there other things that like directors have done that have sort of turned you off or made you sort of alienated you from their process where you're like, I just, I can't really work like that?
When they don't have a shot list. That's really, really hard because then I'm like, well, wait, you know, if you get to the set and the director hasn't prepared and they don't know how they want to shoot something, I feel lost because I'm like, well, wait, well, I don't understand. I don't understand. how you see it. So how am I supposed to, you know, do, do my work too?
It's not, it's not, um, yeah, it feels too general to me actually.
Hmm. What would, I mean, what was Altman's process like? Cause he seems like it was very freewheeling in a way. I mean, maybe I'm thinking of like Nashville, which is sort of like a sprawling.
Well, exactly. So I'm not, I don't think I mean like you have to be strict with your shots so that they have to be tight or something. Um, But Altman, first of all, he was a person that made me want to be a film actor because I just I had never I made it kind of all the way to college without ever having seen an Altman film.
I missed everything in the 70s and it wasn't until the 80s when I got to college and I saw three women in a revival house dancing. that it kind of woke me up. And I'd never seen that kind of acting before. And I'd never seen that point of view before. And I'd never seen this kind of naturalism to it. And I was like, that's what I want to do. I want to work with him. I want to do that kind of work.
So he had such a generous kind of viewpoint of humanity. He so loved individuality and flaws and just everything that was sort of... like weird about us. And he put all these people in a room and everyone thought it was chaos, but it was very, even with the improv, you might say something and then the next one he'd go, okay, now you say that and you say what you said before.
So it was like, there was this incredible shape to it with the way he was shooting it and with language, you know, and we were all in this pen that he kind of controlled, but you knew where the boundaries were. You know, he always created a boundary.
Right, right. So what about Amadovar? I mean, what struck you about just, he obviously talked about someone with a point of view, he's a very strong one. What struck you about just his process of directing?
What I didn't understand about Pedro was that everything in his movies is so intensely personal that, you know, I think I thought, because I'm an American too, when I first saw like Women on the Verge of a Nervous Breakdown, I was like, oh, Spain must be like that. I know. I know. And then I sort of learned, I was like, no, that's not Bane.
You know, but when we were there and Tilda and I walked into his apartment, I saw every single one of his movies in his apartment, like all of the stuff that
the red kitchen and all the little figures and the stacks of books and dvds and their opera was on the lights were low and i was like so overstimulated i was like i don't think i can concentrate but that's his world and then after working with him and meeting like his producers and other people on the crew i realized i'd seen them all in his movies too like even the people are in there
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