Julianne Moore

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.

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?

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?

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.

Yeah.

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.

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.

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.

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.

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.

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.

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?

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?

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?