Julianne Moore

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.

You know, shots are specific. All of those things add to our understanding of a story.

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?

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?

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?

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?

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.

It's not, it's not, um, yeah, it feels too general to me actually.

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.

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.

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.

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.

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.