Julianne Moore

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.

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 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 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.

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.

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?

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?

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.

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.

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

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

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

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

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