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Speaker 1: This is Alec Baldwin and you're listening to Here's the thing,

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Speaker 1: My chance to talk with artists, policymakers and performers, to

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Speaker 1: hear their stories. What inspired their creations, what decisions change

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Speaker 1: their careers, what relationships influenced their work. My guest today

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Speaker 1: is Julianne Moore. She's been nominated for an Academy Award

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Speaker 1: four times for Boogie Nights, The End of the Affair,

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Speaker 1: Far From Heaven, and The Hours. David Cronenberg, who directed

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Speaker 1: her recently and Maps to the Stars, said More is

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Speaker 1: her sweet, approachable self up until the moment the camera

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Speaker 1: starts rolling. Then she becomes quote this character that you

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Speaker 1: wouldn't want to spend any time with. Unquote. I have

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Speaker 1: a flu I need cigarettes American spirit and I needed

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Speaker 1: to pick up some prescriptions Avian Viking and say Alex

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Speaker 1: it's a lot. More plays troubled women with a complicated

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Speaker 1: mix of fierceness and vulnerability. I've had the pleasure of

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Speaker 1: working with her on two different projects recently, Instill Alice

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Speaker 1: More plays a linguistics professor diagnosed with Alzheimer's have good days,

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Speaker 1: bad days, and on my good days, I can you

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Speaker 1: know almost pass for a normal person on thirty Rock

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Speaker 1: More was my character's high school crush, Boston native Nancy Donovan.

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Speaker 1: I'll give you two words, four final offer. I'll wait,

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Speaker 1: not forever, I'll try wicked hard. Julianne Moore's resume is

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Speaker 1: an actor's wish list, with films in every genre horror, suspense, roman, ants,

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Speaker 1: and comedy. Her acting range more than demonstrates that she's

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Speaker 1: comfortable with change. That flexibility springs in part from her childhood.

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Speaker 1: You'd be somewhere a year, maybe two, sometimes three, but Germany,

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Speaker 1: we were in Panama, we were in Alabama. That worked

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Speaker 1: for you. When you look back on it now, you

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Speaker 1: know it's weird. Yeah, it's weirdness so good but not

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Speaker 1: so bad either, you know. I mean you can't at

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Speaker 1: least your father had a job exactly looking on the broadside.

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Speaker 1: But it's true. Yeah, you know. So we're all kind

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Speaker 1: of a collection of our experiences. And in the sense

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Speaker 1: it really gave me something. I had an understanding of

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Speaker 1: where I wanted to be. You in terms of what

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Speaker 1: you do for a living, I think so you were

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Speaker 1: never there long enough to connect to people. Did you

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Speaker 1: get into some kind of I didn't get into any trouble.

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Speaker 1: I was, I'm a very good girl, Like very good, Yeah,

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Speaker 1: you only played bad people in movies. That's how you

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Speaker 1: get that real if you're very sweet, good girl. But no,

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Speaker 1: I think I think it's pretty common that actors come

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Speaker 1: from an itinerant background, you know, creatures kids and IBM

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Speaker 1: kids to military kids and um. For some reason, I

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Speaker 1: think it teaches you that behavior is mutable, that behavior

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Speaker 1: is not character, and once you figure that out, you're like, well,

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Speaker 1: that means that I can behave anyway. I want that

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Speaker 1: people are choosing to behave certain ways. Its speech is

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Speaker 1: a choice, and movement is a choice, and accents are

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Speaker 1: all choices. So it's an interesting thing to understand. I

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Speaker 1: think at a very young age, I lived in the

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Speaker 1: same town my entire life. Why are you an enctor them?

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Speaker 1: That's interesting. It just had to do with having to

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Speaker 1: entertain your stuff. I grew up in an era where

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Speaker 1: there was no iPads, and there was no HBO, and

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Speaker 1: there was no storytelling, and no one would let you

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Speaker 1: watch television. We had a television, but it was when

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Speaker 1: I grew up with the age of like Fantasy Island

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Speaker 1: and Love Bow Show. They were okay, But my point

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Speaker 1: being is that that idea of storytelling, playing voices, dialects,

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Speaker 1: watching movies and remembering every line in the movie and

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Speaker 1: acting out the movies. That kind of think that was

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Speaker 1: really a big part of my cho That's interesting, but

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Speaker 1: we didn't know I lived in the same time my

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Speaker 1: whole life. Well, you know, it's interesting what you say

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Speaker 1: about narrative. That's what it is for me too. I

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Speaker 1: was a big reader, you know, and that's what I

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Speaker 1: did from a really early age. And I was that

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Speaker 1: kid who won the library contest every summer. You know,

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Speaker 1: how many books can you read the library? And would

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Speaker 1: say to me, you know, you can't take out twelve

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Speaker 1: books at a time. And I was like, why not,

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Speaker 1: why not? I'll read them. I've probably known so I

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Speaker 1: would do. I just read them, read and read and read.

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Speaker 1: And so with that sense of narrative, did you know

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Speaker 1: then you were going to end up doing what you're doing. No,

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Speaker 1: I thought it'd be a librarian, you did, Yeah, well,

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Speaker 1: I thought did that to change? You know? I thought

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Speaker 1: I would be a doctor, a lawyer. I thought I

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Speaker 1: would go to graduate school because my parents wanted that

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Speaker 1: for us. Um I started doing plays after school in

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Speaker 1: the sixth grade, because I couldn't do anything else. I

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Speaker 1: tried out for drill team. I didn't make it. I

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Speaker 1: didn't ever make cheerleading. I couldn't do sts. I just

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Speaker 1: wasn't me, You're too good. And I couldn't dance. I

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Speaker 1: couldn't do any of that stuff. So I went out

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Speaker 1: for the play and I got parts in the place

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Speaker 1: and I was like, oh, this is fun, you know,

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Speaker 1: And and that was my after school thing. And then

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Speaker 1: I had a teacher when we moved to Germany so

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Speaker 1: named Roby Taylor, who said, you know, you can do

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Speaker 1: this for a living. And I was like, oh, well,

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Speaker 1: I didn't know anybody who did. I never been to

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Speaker 1: a play except for high school players or community theater.

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Speaker 1: The people in the movies and on TV didn't seem real.

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Speaker 1: So she hand to me a copy of Dramatics magazine

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Speaker 1: and said, you can choose a school. And I came

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Speaker 1: home to my parents, and you know, it was seventeen,

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Speaker 1: and said, I'm going to be an actor. Who would

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Speaker 1: you tell? My mom and my dad at dinner, and

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Speaker 1: my brother and my sister were there too. My mother said, oh, Julie,

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Speaker 1: did everybody in the family look at you like that

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Speaker 1: was like, yeah, oh no, Well, my sister was so supportive.

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Speaker 1: She she's a year and three days younger than I am,

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Speaker 1: and she what does she do. She's a lawyer, but

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Speaker 1: she actually works in real estate. And my brother is

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Speaker 1: in advertising. Yeah, he's a writer. He's a novelist and

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Speaker 1: he works in advertising. But you know, my sister used

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Speaker 1: to help me with all my lines and stuff. She'd

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Speaker 1: run lines with me, and so she kind of always knew.

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Speaker 1: I think that it was a possibility. One of your

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Speaker 1: parents more supportive than the other. They were equally aghast

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Speaker 1: and yet equally supportive because we lived was in a

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Speaker 1: gas phase, and then they were like when you're a

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Speaker 1: couple of Golden globes. We're living in Germany. And I

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Speaker 1: filled out all these applications. These are the days too,

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Speaker 1: when you filled out your own college application. So I

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Speaker 1: applied it with the pen Yeah, Carnegie Mellon, Boston University,

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Speaker 1: and by accident, the graduate program at m y U.

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Speaker 1: Because I didn't read the paper, I guess. So my

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Speaker 1: mother and I flew to New York City where I

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Speaker 1: auditioned for those schools. And when I went to my

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Speaker 1: U one they were like, how old are you? Eighteen?

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Speaker 1: And they said, you know, this is a graduate program.

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Speaker 1: We don't accept people out of high school. So they's

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Speaker 1: try and then so I, you know, I just for

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Speaker 1: the other two schools and got into both of them

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Speaker 1: and chose Boston because I wanted to go to Boston

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Speaker 1: rather than lived there before. So you don't have roots

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Speaker 1: in an even though people think you don't. Think yeah, yeah,

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Speaker 1: because I think you could be up and Up lounge

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Speaker 1: in Kemall Square. That's where you worked when you with school.

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Speaker 1: You went to be you did four years for solid years. Yeah,

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Speaker 1: that was the program. It was good. You know, it

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Speaker 1: was an undergraduate theater program. When you were done with it,

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Speaker 1: did you feel that you that it helped you that

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Speaker 1: you needed or could you have bypassed those four years,

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Speaker 1: you know, and still ended up where you are. That's

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Speaker 1: a very interesting question because I was for some reason

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Speaker 1: thinking about a friend of mine who didn't go to

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Speaker 1: drama school in the car on the way here, and

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Speaker 1: I wonder what it was like for her, because she

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Speaker 1: hasn't seemed to need it, And there are a lot

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Speaker 1: of things that I didn't drama school that I think

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Speaker 1: I didn't need either. But then in retrospect, I'm like,

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Speaker 1: you know, it's helpful. Did you go drama school? Where'd

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Speaker 1: you go? And you? Okay? Did you go straight on

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Speaker 1: to search for tomorrow? Then the doctors? I can't believe

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Speaker 1: you just said that. I can't believe why because I

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Speaker 1: have in front of me. I wasn't going to go there.

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Speaker 1: Right off that window. You were Fanny and Sabrina Hughes. Franny,

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Speaker 1: not Fanny, Franny and Sabrina. Someone else was Fanny Hughes.

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Speaker 1: You were Franny, Yeah, exactly, I know. I mean, couldn't

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Speaker 1: have been Fancy or for dirt was Fanny's you were?

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Speaker 1: You were Fanny and Sabini used on World Turns and

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Speaker 1: before that you did Edge. I did Edge? Were you

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Speaker 1: on Edge? See if you're on soaps only when you're

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Speaker 1: on soap? Can you say Edge, World Turns days days?

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Speaker 1: That's so funny because I was on Edge when they

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Speaker 1: were on East forty nine Street and that really really

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Speaker 1: tiny studio. Remember now, Rachel Ray shoots there really are gone.

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Speaker 1: I know they're gone, They're gone gone. This is a

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Speaker 1: couple of his four soaps left, and I worked with people.

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Speaker 1: The guy that played my dad, Um Don Hastings was

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Speaker 1: he was from there. He started that show. He started

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Speaker 1: on that show two months before I was born, so

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Speaker 1: he had been on that show my entire lifetime when

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Speaker 1: I got on, and he when the show was gone,

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Speaker 1: he was still on it too. He was the most

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Speaker 1: wonderful guy. So funny. But do you feel in some ways?

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Speaker 1: I mean, in some ways, I don't want to be exaggerate,

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Speaker 1: but I wasn't doing a soap like some of the

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Speaker 1: most honest work you've ever done. Absolutely, because you have

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Speaker 1: nothing to help you. No. No, there's no dialogue. I

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Speaker 1: mean the dialogue is so rough, so basic. All you're

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Speaker 1: doing is is establishing story. I used to do what

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Speaker 1: they called emotional I called it in any emotional applicate,

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Speaker 1: where if I had to say something that was really

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Speaker 1: just plot oriented, I try to like cry on top

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Speaker 1: of it or laugh on top of it or anything

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Speaker 1: just to make it mean something. Right, Yeah, because it's

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Speaker 1: all exposition. Well, I read somewhere where you said that

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Speaker 1: doing the soap gave you experience and confidence discipline. It

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Speaker 1: was disciplined and confidence because I loved that. Yeah, because

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Speaker 1: no one, no one has time to help you. You know,

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Speaker 1: the directors are working really fast, the writers are working fast,

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Speaker 1: the other actors are working really quickly. You're just on

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Speaker 1: your own. Remember Marissa Tommy, she played my best friend Marcy.

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Speaker 1: She said, we got into the we got into the

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Speaker 1: elevator and she looked at me and she goes, Remember

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Speaker 1: l is for lunch because that was where the lobby was,

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Speaker 1: and so in that cafeteria and that was like the

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Speaker 1: best piece of rise because it was remember hell is

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Speaker 1: for Lunch. And then we did a scene together and

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Speaker 1: it went by so quickly. You know, we didn't want

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Speaker 1: wanted the have takes sort and because you feel terrible,

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Speaker 1: don't you, I said, She goes, it happens all the time.

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Speaker 1: You'll get used to it. Yeah, you're gonna walk ahead

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Speaker 1: from the crappy two out of five days of the week.

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Speaker 1: I just remember when I did that show. You had

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Speaker 1: to show up on time. I had to know your dialogue,

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Speaker 1: and no matter how excruciating it was, if you didn't,

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Speaker 1: they fired you. You had to be there at seven

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Speaker 1: o'clock in the morning and rehearse you were on camera.

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Speaker 1: I would have sometimes thirty pages of dialogue a day

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Speaker 1: for three it was like, you know, for three years.

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Speaker 1: So it was like a boom boom boom, boom boom,

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Speaker 1: and then you finished maybe seven thirty eight nine. If

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Speaker 1: you go late, you know, it was how long did

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Speaker 1: you do this? So for the World Turns was your contract?

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Speaker 1: By contract? It was a three year contract for three years.

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Speaker 1: CBS they gave they would do three years, the ABC

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Speaker 1: once would do two years and stuff. But they never

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Speaker 1: gave me an option, although they had the option to

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Speaker 1: fire me at any time. And when you finished what

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Speaker 1: you you? I went to the Guthrie Theater actually and

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Speaker 1: I did Hamlet with Hamlet. I saw you. You did

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Speaker 1: not I saw you. Come on. I want to know something? Yeah,

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Speaker 1: I can tell you right now. I did Loot with

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Speaker 1: him on Broadway in six You did it with Jelco.

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Speaker 1: You did the show the following year, in eight seven seven.

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Speaker 1: I flew to Minneapolis to see I saw you do.

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Speaker 1: I saw you do Hamlet at the at the Gut

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Speaker 1: three Well. I was in the Hamlet. I was a feeling.

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Speaker 1: I saw you. What did you think? I thought it

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Speaker 1: was fantastic. Do you'll remember me? Do you want to

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Speaker 1: know something? I do? And gelko Evonick you were very young,

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Speaker 1: you were child and Shelkovoni. He was probably one of

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Speaker 1: the best Hamlets I've ever seen because you didn't have

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Speaker 1: to push. He seems like a very dark, kind of complicted,

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Speaker 1: seemed like a very young man, you know. I think

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Speaker 1: that was interesting that both Jelco and I are very

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Speaker 1: very small, very slender and tiny, and we looked like

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Speaker 1: teenagers kind of, you know. So who directed Garland Wright,

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Speaker 1: who I adored. He passed away, but boy, I loved Garland.

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Speaker 1: He was great. It was a really interesting production. Was

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Speaker 1: the thing that people strained for when they play Hammot

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Speaker 1: that he has and she did the Gut three and

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Speaker 1: then and I went to the I'm going to Actors

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Speaker 1: Theater of Louisville and did some plays there and Arthur

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Speaker 1: Coppet play and and then there wasn't an idea that

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Speaker 1: you want to kind of strap yourself into the rocket

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Speaker 1: sled here and get going l A TV movies now now,

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Speaker 1: I mean I just did also worked, I worked at

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Speaker 1: the Public, I did some place, and then I met

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Speaker 1: Andrei Gregory and I did Vanya and all along though

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Speaker 1: I was I was auditioning for stuff, and I got

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Speaker 1: TV movies and things, and but it wasn't until I

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Speaker 1: was twenty nine that I got my first movie, which

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Speaker 1: was an HBO movie called Cast a Deadly Spell. And

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Speaker 1: then I did Hand the Rucks the Cradle, and then

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Speaker 1: I did Shortcuts, and I did Safe and then and

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Speaker 1: then my movie career didn't really start happening till I

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Speaker 1: was thirty, So for it was just theater. Shortcuts was

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Speaker 1: the biggest break you out at that time. Well, what

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Speaker 1: happened was I did Shortcuts, Bonnie and forty seconds Reason Safe.

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Speaker 1: So it's kind of the beginning of the independent theater movement,

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Speaker 1: if you will. And they all came out within the

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Speaker 1: same year. And I went from being an actress who

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Speaker 1: had no profile at all in film, none because I

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Speaker 1: couldn't I couldn't get arrested doing movies. I mean, I

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Speaker 1: would never get cast. I don't know, you know, honestly,

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Speaker 1: I would just didn't get him. I didn't get him.

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Speaker 1: And in the eighties I can remember, I mean, I

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Speaker 1: just for a ton of things. Remember audition for the

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Speaker 1: lists of merchant Ivory movies. I always wanted to get

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Speaker 1: one of those because those were such a big deal.

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Speaker 1: I would action for big comedies. I just didn't get them.

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Speaker 1: And I was like, you know, I remember the same thing.

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Speaker 1: You'd be sitting there going, man, I want to give

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Speaker 1: me one of them John Sales movies. Why I need

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Speaker 1: to be one of those auditioned for him constantly. I

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Speaker 1: never bought them. I actually got really close to a

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Speaker 1: few things, but I never got anything. Where I did

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Speaker 1: really well was in television. I kept like booking TV things,

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Speaker 1: but they would put you on hold, and then they

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Speaker 1: do do pilots for them, And that's the other thing

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Speaker 1: to my pilots holding deals, they would wouldn't get picked up.

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Speaker 1: Whenever anybody says how do you plan your career? You know,

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Speaker 1: I mean you left because we don't have any control.

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Speaker 1: There's the thing about it is you seem like somebody

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Speaker 1: who's had a plan. Once you started making films, where

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Speaker 1: the things you just didn't do anymore. Did you try

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Speaker 1: to say, I'm going to put all my eggs in

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Speaker 1: this basket. No. Most of the time we just do

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Speaker 1: with what you're offered. You do the best of what

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Speaker 1: you're what you're offered. You know. I think after I

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Speaker 1: was on the soap, I did you know, I didn't

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Speaker 1: spend a lot of money. I kept my money in

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Speaker 1: the banks, so then I spent some time doing theater

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Speaker 1: because I really felt like I wanted to do that,

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Speaker 1: you know, to comparing yourself. Yeah, I wanted to do

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Speaker 1: that kind of stuff. And then I would do some

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Speaker 1: TV movies and try to get you know, and then

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Speaker 1: the holding deals to that. You make money doing that,

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Speaker 1: But in between short cuts and playing Sarah Palin, it's

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Speaker 1: not a lot of TV in between there. Once you

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Speaker 1: start making movies big time, you're making movies. Yes, that's

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Speaker 1: you don't go back to TV very much at all. No, No,

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Speaker 1: because also it's kind of it changed, you know, because

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Speaker 1: there was a period to where because now now it's

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Speaker 1: sort of like called you know, now it's the golden

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Speaker 1: needs with television. Now there there's such kind of um

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Speaker 1: interesting quality stuff until you know, great writing, great acting,

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Speaker 1: and you know. So I think things have changed, But

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Speaker 1: there was a period when TV was very basic. Network

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Speaker 1: stuff was not terribly interesting. What was it like when

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Speaker 1: you met Altman? Oh Man, he came to see Vanya,

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Speaker 1: you know, when we were doing Uncle Vanya, and he

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Speaker 1: sat there and I couldn't believe he was there. I

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Speaker 1: don't even know if I said anything to him that day,

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Speaker 1: because he was He's the reason that I feel like

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Speaker 1: I'm a film actor because when I went to school

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Speaker 1: in Boston, they were all the revival houses. To remember

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Speaker 1: revival houses. This is like Grandpa, Grandma remember that, remember

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Speaker 1: take your walk? Where would you? I went to the

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Speaker 1: Brittle Theodore in Harvard Square, Hard Square. So the Brittle

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Speaker 1: was a revival house and used to have all these

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Speaker 1: different weird double bills and stuff. And I saw Three

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Speaker 1: Women Altman's Three Women. And somehow I made it through

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Speaker 1: the seventies without seeing Nashville or or Bruster McCloud or

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Speaker 1: Came Mrs Miller any of those movies. So I watching

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Speaker 1: mash So I'm watching this movie and I was like,

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Speaker 1: who's this? Who made this movie? This movie is incredible.

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Speaker 1: And it was the first time, as a young person

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Speaker 1: that I noticed directorial hand, you know where I was like,

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Speaker 1: this is a specific kind of storytelling and it's eliciting

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Speaker 1: specific kind of acting. I kind of walked out of

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Speaker 1: there and I thought I want to do that, And

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Speaker 1: of course it wasn't in the realm of possibility for

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Speaker 1: me the first ten years of my career. He came,

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Speaker 1: so he's Alvania and then he met me on the

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Speaker 1: player which I desperately wanted. I remember sitting there talking

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Speaker 1: to him. He said, I'm not going to give this

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Speaker 1: to you. It's like okay, and that was it. I

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Speaker 1: was devastated. And then I got this phone call out

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Speaker 1: of the blue for shortcuts. Hi, it's Bob Aaltman. Do

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Speaker 1: you remember me? Know who I am? And I was.

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Speaker 1: I thought was somebody playing a trick on me? I

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Speaker 1: really did. I didn't think it was possible that he

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Speaker 1: you know, that's when we had hard lines to pick

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Speaker 1: up your phone and he said, I have this movie

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Speaker 1: that I want you to do. I said, I'll do it.

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Speaker 1: I'll do it because no, I want you to read

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Speaker 1: it first and then you can tell me if you

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Speaker 1: want to do it. You know. But it was really,

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Speaker 1: I mean really, really a dream come true to work

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Speaker 1: with him. What an amazing man. Did you make a

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Speaker 1: movie with him? No? You know, from what I could see,

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Speaker 1: he was someone who listen. It's no secret I think

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Speaker 1: when you're in the business that we're out of it,

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Speaker 1: but especially when you're in the business that casting and

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Speaker 1: effective casting is six or more of a director's job.

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Speaker 1: They want to just bring people to the party who

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Speaker 1: know how to hit the ball, and he was someone

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Speaker 1: who I'll never forget, someone said to me. They were

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Speaker 1: all gathered there in this air sense rehearsals. Some of

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Speaker 1: them were able to attend it somewhere, and Bob just

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Speaker 1: turned everybody and said, uh anooka May was in it

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Speaker 1: in Australiani and so Fielder. And he would looked at

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Speaker 1: them and he was like, now a nook, you just

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Speaker 1: go ahead and speak French. You speak French if you

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Speaker 1: want to, or English or Italian Marcello, say whatever you

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Speaker 1: want to say. Y'all, just say anything you want to say,

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Speaker 1: and speak in whatever language you want to speak in

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Speaker 1: and I'll fix it in the edit, sub titler or whatever.

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Speaker 1: He seems so uncontrolling he was. The thing about Bob

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Speaker 1: was that you couldn't do anything wrong, so it made

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Speaker 1: you feel like you could do anything, and you would

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Speaker 1: do anything for him. You'd be like, oh, what can

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Speaker 1: I do? What can I do? It's like whatever you

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Speaker 1: want to do. But it wasn't like it was chaos.

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Speaker 1: You know, he's set up. It was like there was

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Speaker 1: a corral that all the actors were in was his corral.

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Speaker 1: And even with an improv he'd say, okay, you know

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Speaker 1: improv this. He said that a let's do it again,

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Speaker 1: but this time you just say that part. So he

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Speaker 1: was in complete control of it. But he really made

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Speaker 1: you feel so free and so love non judgmental. Yeah,

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Speaker 1: there's a quote I read about you where someone says

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Speaker 1: they cast you in shortcuts and you were total unknown. Right,

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Speaker 1: She's a total unknown, they said casting. I thought, and

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Speaker 1: I think you've been working for most ten years. For

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Speaker 1: ten years. However, within that cast, I was the only

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Speaker 1: person with thirty people and who wasn't famous. So it

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Speaker 1: isn't amazing how in the movie business, if you haven't

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Speaker 1: done a movie, any of us have seen exactly what

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Speaker 1: changed if you did that film? Did you change personally?

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Speaker 1: Did I change? I'm ugly and I have no talents, right,

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Speaker 1: and now i'm and then I and then I was,

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Speaker 1: and then I became yeah, talented and I know everything

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Speaker 1: we know. It was interesting and I think this is

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Speaker 1: and it's actually very similar to what I felt growing

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Speaker 1: up as a kid. You would be in one situation.

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Speaker 1: You'd be at a school and maybe you would be

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Speaker 1: a kid who wasn't very popular and no one thought

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Speaker 1: you were very interesting or something, and then you'd moved

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Speaker 1: to another school. That's school everybody would think you were

399
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Speaker 1: interesting for some reason. It would just happen, and you think, like, well,

400
00:19:38,480 --> 00:19:41,359
Speaker 1: I was the same person. I haven't changed that much.

401
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Speaker 1: So it's a perception. Perception has changed. The perception was

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Speaker 1: changed after all of them. So well, and so that's

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Speaker 1: what happened to me too. So after ten years of

404
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Speaker 1: doing television and theater, although people don't see the theaters,

405
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Speaker 1: they don't think you really exist. She TV people thought, oh,

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Speaker 1: she's a TV actress. And then I do work with

407
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Speaker 1: Andre Gregory and Louis Mall and I work, you know,

408
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Speaker 1: Robert Altman, and I work with Todd Haynes, and suddenly

409
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Speaker 1: I'm a huge film Discovery. I'm in this amazing everyone. Yeah.

410
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Speaker 1: And then I'm like, I'm the same, the same thing.

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Speaker 1: So I think, oddly, what happens is that you don't

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Speaker 1: change a perception of yourself. You're like, well, clearly, it's

413
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Speaker 1: just other people's perception. It solidified my own work ethic

414
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Speaker 1: that it doesn't matter where I'm working. Did you feel

415
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Speaker 1: that the way you grew up fed this in terms

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Speaker 1: of you being because because you had to reinvent yourself. Yeah,

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00:20:28,160 --> 00:20:30,240
Speaker 1: well you were you were seen by a fresh set

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Speaker 1: of eyes again and again and again. You just you

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Speaker 1: have to discover a core self and a corpse. Of course,

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00:20:35,840 --> 00:20:38,480
Speaker 1: that's the values. And people kind of poo poo and

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Speaker 1: say like oh DV or oh this or that. I'm like,

422
00:20:41,240 --> 00:20:45,480
Speaker 1: you know, uh, it's all valuable, all of us, you know. Yeah.

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Speaker 1: When I do radio announcing, it's work. Work, work is work,

424
00:20:50,840 --> 00:20:53,000
Speaker 1: and it's also it's it's valuable for you to do

425
00:20:53,080 --> 00:20:55,399
Speaker 1: your best no matter where you are too. I really

426
00:20:55,520 --> 00:20:58,520
Speaker 1: really believe that you know in everything you do. And

427
00:20:58,520 --> 00:21:00,520
Speaker 1: I also resent it when people say they can't do

428
00:21:00,640 --> 00:21:03,680
Speaker 1: something like they can't they were terrible waitress, And I'm

429
00:21:03,720 --> 00:21:07,399
Speaker 1: like why because you weren't paying attention. You're supposed to

430
00:21:07,400 --> 00:21:09,919
Speaker 1: write down what I said. So it's it's important, no

431
00:21:09,920 --> 00:21:12,560
Speaker 1: matter what you're doing, to put effort into it. I think,

432
00:21:13,119 --> 00:21:16,400
Speaker 1: did you have a good representation during that time? I did? Well.

433
00:21:16,440 --> 00:21:19,600
Speaker 1: It's interesting I've been with the same agent now and

434
00:21:19,640 --> 00:21:23,440
Speaker 1: the same manager for twenty years. My first ten years,

435
00:21:23,440 --> 00:21:26,480
Speaker 1: I did change representatives a few times before I landed

436
00:21:26,480 --> 00:21:30,520
Speaker 1: where I landed. My first agent was terrible. Was this

437
00:21:30,960 --> 00:21:35,480
Speaker 1: an agency called Hesseltine Baker. Remember them, so they got

438
00:21:35,560 --> 00:21:40,159
Speaker 1: me out. So they put pulled me out of school.

439
00:21:40,160 --> 00:21:41,600
Speaker 1: It was a big deal to have an agent. And

440
00:21:41,600 --> 00:21:47,320
Speaker 1: I had no auditions at all, nothing, absolutely nothing an agent. Yeah,

441
00:21:47,600 --> 00:21:50,000
Speaker 1: no one called my answering service. No auditions. And then

442
00:21:50,040 --> 00:21:53,600
Speaker 1: I got a phone call, um Bob Bob Hesseltine and

443
00:21:53,800 --> 00:21:55,520
Speaker 1: what was it? Who was the guy? Anyway, I remember

444
00:21:55,520 --> 00:21:57,800
Speaker 1: the guys. But one of the big guys called me

445
00:21:57,840 --> 00:22:00,159
Speaker 1: and said he had something really really important and a

446
00:22:00,200 --> 00:22:02,600
Speaker 1: great opportunity for me. And I got so excited. And

447
00:22:02,600 --> 00:22:04,560
Speaker 1: he said it was for a friend of his. They

448
00:22:04,560 --> 00:22:06,720
Speaker 1: needed a girl to fit in a costume to ride

449
00:22:06,720 --> 00:22:09,760
Speaker 1: on a float in the Thanksgiving a parade. Do you

450
00:22:09,760 --> 00:22:12,480
Speaker 1: remember what the costume was. I don't. Maybe it was

451
00:22:12,520 --> 00:22:17,920
Speaker 1: a turkey, a super hot turkey, a redheaded turkey. And

452
00:22:19,119 --> 00:22:21,879
Speaker 1: that's when I was like, this is ridiculous, Thank you

453
00:22:22,000 --> 00:22:26,520
Speaker 1: very much, I'm leaving. What advice does an agent give you? Oh, people,

454
00:22:26,520 --> 00:22:28,879
Speaker 1: they don't give you any They don't. They were like

455
00:22:28,920 --> 00:22:32,840
Speaker 1: air traffic controllers. Well, here's the interesting thing I think

456
00:22:32,880 --> 00:22:34,600
Speaker 1: about acting, and I hear this from I hear this

457
00:22:34,640 --> 00:22:37,400
Speaker 1: with young actors and stuff too. And when people would

458
00:22:37,400 --> 00:22:40,480
Speaker 1: say in the press, they say I didn't choose that,

459
00:22:40,680 --> 00:22:43,199
Speaker 1: you know, my agent chose that for me, and my

460
00:22:43,320 --> 00:22:45,359
Speaker 1: agent said I should do it or so and so

461
00:22:45,520 --> 00:22:49,520
Speaker 1: made me do it, And I'm like, that's Blowney makes

462
00:22:49,560 --> 00:22:53,120
Speaker 1: you do anything? Isn't interesting when you run into that

463
00:22:53,200 --> 00:22:57,639
Speaker 1: type of person who's heavily, heavily coached by agents and publicists,

464
00:22:57,680 --> 00:23:00,280
Speaker 1: which is such a foreign thing to me. I mean,

465
00:23:00,280 --> 00:23:02,159
Speaker 1: it is your life, you know, and it's and you

466
00:23:02,240 --> 00:23:04,880
Speaker 1: make the decisions and you control you know, you can.

467
00:23:04,920 --> 00:23:08,320
Speaker 1: You're totally self determining the material you've done. Yeah, were

468
00:23:08,320 --> 00:23:10,800
Speaker 1: you ever talked into doing a movie? I've talked myself

469
00:23:10,840 --> 00:23:13,720
Speaker 1: into doing things for money, you know, But then but

470
00:23:13,760 --> 00:23:15,960
Speaker 1: then I have, but I take responsibility for it. I

471
00:23:15,960 --> 00:23:18,199
Speaker 1: don't think there's anything where somebody said you really should

472
00:23:18,200 --> 00:23:20,120
Speaker 1: do this piece where I did it unless I felt

473
00:23:20,160 --> 00:23:25,359
Speaker 1: like there was an economic comparative. But mostly Julianne avoids

474
00:23:25,400 --> 00:23:28,359
Speaker 1: the money trap. She works instead with some of the

475
00:23:28,359 --> 00:23:32,000
Speaker 1: best in the business. Coming up, she'll discuss her collaborations

476
00:23:32,040 --> 00:23:39,560
Speaker 1: with David Cronenberg and Gus van Zandt next time on

477
00:23:39,720 --> 00:23:42,879
Speaker 1: Here's the Thing. I talked with tennis legend John McEnroe.

478
00:23:43,440 --> 00:23:46,679
Speaker 1: His idea to improve the game will not surprise you.

479
00:23:46,960 --> 00:23:48,600
Speaker 1: If you really want to make the game more part

480
00:23:48,680 --> 00:23:51,480
Speaker 1: bear to me. No umpires on the court, No linesman.

481
00:23:52,320 --> 00:23:56,320
Speaker 1: You don't need linesmen. They've already proven they can't see anything.

482
00:23:56,320 --> 00:23:59,119
Speaker 1: Over the course of the last fifty years, John McEnroe

483
00:23:59,119 --> 00:24:02,760
Speaker 1: talks tennis, family and his love of music. Next time

484
00:24:02,960 --> 00:24:19,280
Speaker 1: on Here's the Thing. This is Alec Baldwin. My guest

485
00:24:19,359 --> 00:24:22,920
Speaker 1: today is Julianne Moore. I have always assumed that More

486
00:24:23,040 --> 00:24:26,679
Speaker 1: picked her projects carefully, and that she turned down mediocre

487
00:24:26,720 --> 00:24:30,000
Speaker 1: films that offered huge payouts. To be honest with you,

488
00:24:30,040 --> 00:24:31,480
Speaker 1: I mean, I would like to say that I did,

489
00:24:31,520 --> 00:24:35,440
Speaker 1: but don't. I didn't have a whole like huge leading leady.

490
00:24:35,440 --> 00:24:37,200
Speaker 1: When people hired you, what were they hiring you for?

491
00:24:37,840 --> 00:24:39,440
Speaker 1: I don't know. I mean, I mean a lot of

492
00:24:39,480 --> 00:24:42,200
Speaker 1: things that I've done were smaller budgeted things. I think

493
00:24:42,400 --> 00:24:44,600
Speaker 1: the budget decide what did they expect from you acting? Was?

494
00:24:45,960 --> 00:24:47,600
Speaker 1: I have an idea? But you tell me, really, I

495
00:24:47,640 --> 00:24:50,320
Speaker 1: don't know. Well, you know, in the nineties in particular,

496
00:24:50,440 --> 00:24:52,000
Speaker 1: there are a lot of people who were working who

497
00:24:52,000 --> 00:24:54,159
Speaker 1: are who were writer directors, and they were kind of

498
00:24:54,920 --> 00:24:58,000
Speaker 1: I'm sort of a really great great period for independent film.

499
00:24:58,040 --> 00:25:02,400
Speaker 1: I think people were the to tell these really unusual

500
00:25:02,440 --> 00:25:06,280
Speaker 1: stories and there wasn't an economic expectation on them either.

501
00:25:06,520 --> 00:25:09,880
Speaker 1: That's changed. So it was about being involved in that

502
00:25:10,000 --> 00:25:12,600
Speaker 1: narrative and that in that vision and stuff. You know.

503
00:25:12,640 --> 00:25:15,040
Speaker 1: It really was bringing that story to life, I think.

504
00:25:15,720 --> 00:25:17,560
Speaker 1: But yeah, I mean in the commercial films that I've done,

505
00:25:17,560 --> 00:25:20,159
Speaker 1: I've done, I've done, yeah, but I had I've had

506
00:25:20,280 --> 00:25:24,760
Speaker 1: great directors like Steven Spielberg and Ridley Scott only did

507
00:25:24,760 --> 00:25:27,639
Speaker 1: the first sequel. He did the first one and then

508
00:25:27,680 --> 00:25:29,640
Speaker 1: they was out of it. Does the opportunity to work

509
00:25:29,680 --> 00:25:33,439
Speaker 1: with him that was amazing? But did that take forever?

510
00:25:34,119 --> 00:25:36,280
Speaker 1: It took six months? I guess. Yeah. You know, I

511
00:25:36,280 --> 00:25:38,160
Speaker 1: did a movie called Nine Months that also took six

512
00:25:38,200 --> 00:25:40,160
Speaker 1: months back in those days, you know, But I don't

513
00:25:40,160 --> 00:25:42,119
Speaker 1: think I ever took off as a commercial movie. You

514
00:25:42,160 --> 00:25:45,560
Speaker 1: could really, what do you think he did Jurassic I

515
00:25:45,600 --> 00:25:47,640
Speaker 1: don't know. I don't know that I could have. I mean,

516
00:25:48,119 --> 00:25:51,080
Speaker 1: I did you send singles to the business that you

517
00:25:51,080 --> 00:25:54,640
Speaker 1: were not in that game that well? Honestly, I don't

518
00:25:54,640 --> 00:25:56,680
Speaker 1: think so. I don't think that I did. I think

519
00:25:56,680 --> 00:25:58,199
Speaker 1: I was, you know, I think I kind of was

520
00:25:58,240 --> 00:26:00,359
Speaker 1: like all Playball. But I don't know that any of

521
00:26:00,400 --> 00:26:02,520
Speaker 1: those movies were hits. You know. I was in Hannibal.

522
00:26:02,600 --> 00:26:05,040
Speaker 1: That wasn't a huge hit. I don't know, you know,

523
00:26:05,080 --> 00:26:08,360
Speaker 1: I really I really don't know. But I do know

524
00:26:08,680 --> 00:26:11,600
Speaker 1: that I really like what I do. You know, I

525
00:26:11,720 --> 00:26:14,240
Speaker 1: like you made every kind of movie. I've made every

526
00:26:14,320 --> 00:26:17,640
Speaker 1: kind of You've made every kind of movie. Yeah. Yeah,

527
00:26:17,920 --> 00:26:21,720
Speaker 1: you've done movies with Steven Spielberg, dinosaurs that you've done

528
00:26:21,720 --> 00:26:25,199
Speaker 1: sequels or Anthony Hopkins chops his own handoff because he's

529
00:26:25,240 --> 00:26:29,000
Speaker 1: so in love with you. Right, I've done independent drawing,

530
00:26:29,400 --> 00:26:34,000
Speaker 1: Anderson movies Anderson, Yeah, scary movies, black and white movies.

531
00:26:35,040 --> 00:26:36,639
Speaker 1: Did you do a black and movie? I don't know

532
00:26:36,680 --> 00:26:40,000
Speaker 1: what I have. They didn't remake Psycho and Black and

533
00:26:40,040 --> 00:26:41,240
Speaker 1: what they did it in color? They did it in

534
00:26:41,320 --> 00:26:42,840
Speaker 1: color yet, But that was a remake. That was a

535
00:26:42,880 --> 00:26:45,680
Speaker 1: shot by shot that I know, you know, so which

536
00:26:45,840 --> 00:26:47,919
Speaker 1: which in an interview I read you thought that was

537
00:26:47,920 --> 00:26:49,919
Speaker 1: something you should not have done. I think it failed.

538
00:26:50,000 --> 00:26:51,720
Speaker 1: I don't think that I shouldn't have done it, but

539
00:26:51,800 --> 00:26:54,200
Speaker 1: I do think that when you're doing the film, that

540
00:26:54,359 --> 00:26:55,960
Speaker 1: is a shot by shot. I mean, I just done

541
00:26:55,960 --> 00:26:58,600
Speaker 1: this fascinating psychologically when you do a film. I mean,

542
00:26:58,640 --> 00:27:00,119
Speaker 1: I'm not just saying this for your benefit. You are

543
00:27:00,160 --> 00:27:04,320
Speaker 1: a very very, very very talented woman. And van Zant

544
00:27:04,400 --> 00:27:07,720
Speaker 1: is a good director. What does van Zant when he's

545
00:27:07,720 --> 00:27:10,080
Speaker 1: remaking a shot by shot one of the greatest thrillers

546
00:27:10,119 --> 00:27:12,919
Speaker 1: in history? Did Van zan have to say anything to

547
00:27:13,040 --> 00:27:15,159
Speaker 1: bolster you to get through that experience? Was he like

548
00:27:15,200 --> 00:27:17,760
Speaker 1: trying to know? And it wasn't like it wasn't like

549
00:27:17,800 --> 00:27:19,040
Speaker 1: we had to be bolster to get through it. I

550
00:27:19,080 --> 00:27:23,439
Speaker 1: think we're all very specifically trying to recreate, recreate it,

551
00:27:23,480 --> 00:27:25,800
Speaker 1: but in a month and now, I wish if if

552
00:27:25,840 --> 00:27:27,480
Speaker 1: we were do it again, I would like to do

553
00:27:27,520 --> 00:27:29,040
Speaker 1: it in black and white. I'd like to do it

554
00:27:29,119 --> 00:27:31,240
Speaker 1: in the same costume. I'd like to do it with

555
00:27:31,280 --> 00:27:34,800
Speaker 1: the exact same vestation. Let's do Let's do the better

556
00:27:35,080 --> 00:27:37,600
Speaker 1: remake of PSYCHOA that that to me? I think that

557
00:27:37,640 --> 00:27:40,560
Speaker 1: would have been that we sort of modernized it but

558
00:27:40,600 --> 00:27:44,720
Speaker 1: then kept the old pacing and it was Yeah. Who's great?

559
00:27:45,960 --> 00:27:51,400
Speaker 1: Oh um, Vince Vaughan was as a director, he was great.

560
00:27:51,440 --> 00:27:54,480
Speaker 1: He's such a lovely person, very very soft spoken, you know,

561
00:27:54,640 --> 00:27:58,000
Speaker 1: just incredibly incredibly soft spoken. I liked him a lot.

562
00:27:58,000 --> 00:27:59,639
Speaker 1: I'd like to work with him on something that he

563
00:28:00,160 --> 00:28:02,560
Speaker 1: you know that I loved Elephant Elephant. I always tell

564
00:28:02,560 --> 00:28:06,000
Speaker 1: people see Elephant, which is his Columbine film. Oh my god,

565
00:28:06,040 --> 00:28:08,800
Speaker 1: what an amazing film. It's been an amazing film. It's

566
00:28:08,800 --> 00:28:12,600
Speaker 1: like the most hypnotic film that has a Columbine type

567
00:28:12,640 --> 00:28:15,640
Speaker 1: of theme to it. And I love US. I think

568
00:28:15,680 --> 00:28:17,960
Speaker 1: Us is incredible. I think my favorite kind of acting

569
00:28:18,000 --> 00:28:20,520
Speaker 1: to do. Though. We saw Todd Haynes, my friend Todd

570
00:28:20,520 --> 00:28:22,639
Speaker 1: Haynes I made Far from Heaven and Safe with and

571
00:28:22,760 --> 00:28:24,439
Speaker 1: we had dinner together and we were talking about our

572
00:28:24,440 --> 00:28:28,320
Speaker 1: experience and he said, why did you understand? How did

573
00:28:28,359 --> 00:28:30,119
Speaker 1: you understand how minimal the acting was going to be?

574
00:28:30,160 --> 00:28:31,760
Speaker 1: And I said, I felt like I saw it in

575
00:28:31,800 --> 00:28:35,199
Speaker 1: the language. His language was so spare and so specific,

576
00:28:35,640 --> 00:28:37,320
Speaker 1: and then I would say, let me see the frame,

577
00:28:37,400 --> 00:28:39,880
Speaker 1: and his frames were also I felt like he was

578
00:28:39,920 --> 00:28:43,680
Speaker 1: communicating so much just in the frame. So my favorite

579
00:28:43,720 --> 00:28:46,160
Speaker 1: thing is an actor is to know what the director's

580
00:28:46,200 --> 00:28:48,880
Speaker 1: vision is, to be communicated that way through the language

581
00:28:49,120 --> 00:28:50,880
Speaker 1: and in the shot, and then I'm like, now I

582
00:28:50,960 --> 00:28:54,960
Speaker 1: know what I'm doing. Give me an example. Well, like

583
00:28:55,080 --> 00:28:59,320
Speaker 1: when Todd Todd had a shot of a very wide

584
00:28:59,400 --> 00:29:01,520
Speaker 1: living room, you know, at a baby shower, and there

585
00:29:01,520 --> 00:29:03,960
Speaker 1: were a bunch of women all the way at the

586
00:29:04,080 --> 00:29:06,840
Speaker 1: right side of the frame. I had crossed all the

587
00:29:06,880 --> 00:29:09,280
Speaker 1: way across and was standing up on the left side

588
00:29:09,280 --> 00:29:11,280
Speaker 1: of frame, and I just asked where the ladies room

589
00:29:11,280 --> 00:29:13,360
Speaker 1: in My only line is can you tell me where

590
00:29:13,360 --> 00:29:15,880
Speaker 1: the lady's room is, please, or something like that. And

591
00:29:15,920 --> 00:29:18,600
Speaker 1: I could see it was all about this movement of her,

592
00:29:18,720 --> 00:29:20,800
Speaker 1: kind of trying to reach over these people. So so

593
00:29:20,840 --> 00:29:22,520
Speaker 1: once I looked at that, I was like, Okay, well

594
00:29:22,560 --> 00:29:24,640
Speaker 1: I can see if I hunched my shoulders forward, then

595
00:29:24,800 --> 00:29:27,200
Speaker 1: my then this little figure is kind of bowed in

596
00:29:27,240 --> 00:29:30,160
Speaker 1: this big, wide frame, you know. So he's telling the

597
00:29:30,240 --> 00:29:32,560
Speaker 1: story of alienation. You know, you don't have to talk

598
00:29:32,560 --> 00:29:35,560
Speaker 1: about anything, you just do it. It's great. When I

599
00:29:35,600 --> 00:29:38,240
Speaker 1: was saying before, how I think, you know, I know

600
00:29:38,320 --> 00:29:43,480
Speaker 1: what it is. People hire you for what they expect

601
00:29:43,480 --> 00:29:46,240
Speaker 1: from you. I think the the ingredient in the meal

602
00:29:46,360 --> 00:29:49,440
Speaker 1: that you are is a tremendous amount of emotional truth.

603
00:29:50,680 --> 00:29:52,880
Speaker 1: You have a kind of emotional residence, but you turn

604
00:29:52,960 --> 00:29:55,320
Speaker 1: on and off, you know, like I always I want

605
00:29:55,320 --> 00:29:56,840
Speaker 1: to talk to about Pete Anderson for a minute, like

606
00:29:56,840 --> 00:29:59,120
Speaker 1: when you do Boogie Nights and that character you played,

607
00:29:59,280 --> 00:30:02,480
Speaker 1: you played someone who was so cut off to that.

608
00:30:02,480 --> 00:30:05,560
Speaker 1: Then that's what I perforce reality. What I perceived was

609
00:30:05,560 --> 00:30:08,040
Speaker 1: was did you make a choice with this woman? That

610
00:30:08,120 --> 00:30:10,280
Speaker 1: famous scene you have with him where he's going to

611
00:30:10,360 --> 00:30:12,200
Speaker 1: have sex with you when you tell him you can

612
00:30:12,240 --> 00:30:14,760
Speaker 1: do this to me, and you're very do this, do this,

613
00:30:14,800 --> 00:30:16,240
Speaker 1: do this, you can do this to me, go ahead,

614
00:30:16,280 --> 00:30:18,000
Speaker 1: go ahead, and you're kind of holding it. It's like

615
00:30:18,000 --> 00:30:20,320
Speaker 1: his first day at school. Or she's a complete denial

616
00:30:20,360 --> 00:30:22,800
Speaker 1: about what's going on. And she's someone who's made an

617
00:30:22,840 --> 00:30:25,240
Speaker 1: economic choice, you know, really she's given up her family,

618
00:30:25,280 --> 00:30:27,200
Speaker 1: has given up her child. She probably was in a

619
00:30:27,240 --> 00:30:28,760
Speaker 1: position where this was the only kind of work she

620
00:30:28,760 --> 00:30:30,640
Speaker 1: could get. She's a drug add you meet any of

621
00:30:30,680 --> 00:30:33,760
Speaker 1: those people, Yeah, she's a drug addict. My favorite scene

622
00:30:33,760 --> 00:30:35,920
Speaker 1: in the movie is when she goes to court to

623
00:30:35,920 --> 00:30:37,640
Speaker 1: get custody of her son. We're talking about booge and

624
00:30:38,160 --> 00:30:40,040
Speaker 1: people who are listening, and she's all dressed up and

625
00:30:40,080 --> 00:30:42,200
Speaker 1: she's trying to be kind of a straight arrow and stuff,

626
00:30:42,200 --> 00:30:45,720
Speaker 1: and she feels very self righteous about getting her child back,

627
00:30:46,240 --> 00:30:48,440
Speaker 1: and the Judge looks at her and says, Maggie, have

628
00:30:48,560 --> 00:30:52,479
Speaker 1: you ever been arrested? And that's the end, and you go,

629
00:30:52,600 --> 00:30:55,440
Speaker 1: oh my god, this you know, she's she's of course

630
00:30:55,440 --> 00:30:58,120
Speaker 1: she's been arrested, you know, and she's just sobs and

631
00:30:58,160 --> 00:31:00,360
Speaker 1: stops and stops, and you go, So, this is who,

632
00:31:00,480 --> 00:31:02,440
Speaker 1: in her head thinks that she can be a parent,

633
00:31:02,920 --> 00:31:05,720
Speaker 1: but she's she can't. She's not living a life is

634
00:31:05,720 --> 00:31:07,960
Speaker 1: going to allow herself to parent a child, but she won't.

635
00:31:08,080 --> 00:31:10,480
Speaker 1: It's a huge space between what she feels about herself

636
00:31:10,520 --> 00:31:13,200
Speaker 1: and what the actual what was actually happen. That's the

637
00:31:13,200 --> 00:31:16,120
Speaker 1: first time you worked with Anderson. Yeah, what have you

638
00:31:16,160 --> 00:31:20,720
Speaker 1: been doing before that? What did he see you in? What? Safe?

639
00:31:20,800 --> 00:31:22,400
Speaker 1: I don't know. I think he saw me and but

640
00:31:22,520 --> 00:31:24,600
Speaker 1: I think he saw the shortcuts and Safe and Vannie

641
00:31:24,640 --> 00:31:26,680
Speaker 1: and all that stuff. You know. Paul was very young.

642
00:31:26,720 --> 00:31:28,440
Speaker 1: He was twenty six when we met. We met at

643
00:31:28,440 --> 00:31:30,880
Speaker 1: a party and a friend of mine introduced me to

644
00:31:30,920 --> 00:31:32,600
Speaker 1: him and said, this guy wrote this script and he

645
00:31:32,640 --> 00:31:34,040
Speaker 1: wants you to do it. And I was like, I

646
00:31:34,080 --> 00:31:36,040
Speaker 1: would love to read it, and he said, you're going

647
00:31:36,080 --> 00:31:38,200
Speaker 1: to be in my movie. Man. I got the script

648
00:31:38,200 --> 00:31:40,160
Speaker 1: and I read it and I was like, holy cow,

649
00:31:40,280 --> 00:31:43,440
Speaker 1: yes I am. This is fantastic. He has such an

650
00:31:43,440 --> 00:31:47,520
Speaker 1: original voice, was so exciting. It was such an amazing

651
00:31:47,640 --> 00:31:50,960
Speaker 1: story and so emotional and wonderful and rich, and yeah,

652
00:31:51,000 --> 00:31:53,600
Speaker 1: I was lucky to get it. You know what you

653
00:31:53,600 --> 00:31:55,959
Speaker 1: were saying. I was thinking about, how let me talk

654
00:31:55,960 --> 00:31:58,320
Speaker 1: about emotion, you know on camera and stuff. You have

655
00:31:58,440 --> 00:32:01,880
Speaker 1: that too. You have this, You have this tremendous vitality,

656
00:32:02,360 --> 00:32:05,240
Speaker 1: like a real sense of being alive and a lot,

657
00:32:05,400 --> 00:32:09,680
Speaker 1: a lot contained inside you. And it's wonderful to work

658
00:32:09,720 --> 00:32:12,200
Speaker 1: with you because it just permeates the scene, like you know,

659
00:32:12,240 --> 00:32:15,600
Speaker 1: you feel that. That's the trick. The trick is how

660
00:32:15,680 --> 00:32:18,360
Speaker 1: do you live on camera? How do you become alive

661
00:32:18,440 --> 00:32:21,800
Speaker 1: on camera? So that's all the stuff about acting. You know,

662
00:32:22,080 --> 00:32:24,560
Speaker 1: you can kind of create all this kind of stuff,

663
00:32:24,640 --> 00:32:28,280
Speaker 1: you know, since you have to story about how you love. Yeah,

664
00:32:28,480 --> 00:32:31,640
Speaker 1: but be alive, be alive. You did that great thing

665
00:32:31,640 --> 00:32:33,600
Speaker 1: when we had that scene in Still Alice. You know,

666
00:32:33,640 --> 00:32:36,040
Speaker 1: we had to say, remember Santorini, which is always really

667
00:32:36,080 --> 00:32:38,720
Speaker 1: hard to start a scene with that kind of thing,

668
00:32:38,760 --> 00:32:41,920
Speaker 1: and you said, and then you made you started laughing

669
00:32:42,200 --> 00:32:45,240
Speaker 1: so hard, and then I started laughing. And then suddenly

670
00:32:45,560 --> 00:32:48,560
Speaker 1: it's a scene about two people laughing because I was

671
00:32:48,600 --> 00:32:53,880
Speaker 1: trying to remember. But you know, it's it's like, that's

672
00:32:53,880 --> 00:32:55,400
Speaker 1: what you want, you know. That's why I like to

673
00:32:55,440 --> 00:32:58,520
Speaker 1: talk when I work. What do people expect from you

674
00:32:58,640 --> 00:33:00,440
Speaker 1: or think of you when they meet you. I think

675
00:33:00,440 --> 00:33:02,360
Speaker 1: they think that I'm going to be more serious than

676
00:33:02,400 --> 00:33:04,160
Speaker 1: I am. I guess because of all the dramas and

677
00:33:04,160 --> 00:33:06,080
Speaker 1: the crying and stuff, they think that I'm going to

678
00:33:06,160 --> 00:33:08,960
Speaker 1: be really dramatic and emotion of the film. But I'm not.

679
00:33:09,040 --> 00:33:11,880
Speaker 1: As you know, I'm not a very serious person, and

680
00:33:11,960 --> 00:33:16,880
Speaker 1: I'm not a very I'm not a terribly sad person. Sure, yeah,

681
00:33:16,920 --> 00:33:20,520
Speaker 1: I can be serious, but I like to I'm very chatty.

682
00:33:20,680 --> 00:33:22,520
Speaker 1: I like to talk all the way up to action.

683
00:33:23,040 --> 00:33:25,520
Speaker 1: I do. I do, And if you can't talk to me,

684
00:33:25,560 --> 00:33:28,239
Speaker 1: I'm really disappointed. Then I get lonely, and I want

685
00:33:28,280 --> 00:33:29,600
Speaker 1: to be lonely when I want, I want to be

686
00:33:29,640 --> 00:33:31,400
Speaker 1: with my buddy. I'm going to talk to me. You

687
00:33:31,480 --> 00:33:33,240
Speaker 1: talk to me, friend, Let's buddies talk to you. What

688
00:33:33,280 --> 00:33:34,360
Speaker 1: did you do this morning? What do you have for

689
00:33:34,360 --> 00:33:36,360
Speaker 1: dinner last night? What are you doing later today? Are

690
00:33:36,360 --> 00:33:38,320
Speaker 1: you cold? You like that sweater? Don't you like my sweater?

691
00:33:38,600 --> 00:33:40,920
Speaker 1: What are you doing? Action acting? I love it, That's

692
00:33:40,960 --> 00:33:44,120
Speaker 1: my favorite part. Then you get this great connection with

693
00:33:44,200 --> 00:33:46,960
Speaker 1: other human being and then the scene is like comes alive.

694
00:33:47,120 --> 00:33:49,360
Speaker 1: You do you think that that emotion is so available

695
00:33:49,400 --> 00:33:54,440
Speaker 1: to you? Why it's inside It's inside everybody everyone. So

696
00:33:54,480 --> 00:33:57,000
Speaker 1: it's like, how do you access that? You know your

697
00:33:57,000 --> 00:33:59,600
Speaker 1: own story, everybody else's story. You know what you're getting

698
00:33:59,640 --> 00:34:02,920
Speaker 1: on top, it's just like the tiniest little like shell.

699
00:34:03,360 --> 00:34:06,479
Speaker 1: Other than that, there's all this stuff. But then, but then,

700
00:34:06,520 --> 00:34:08,080
Speaker 1: like I said, it's easier for me to get into

701
00:34:08,120 --> 00:34:10,040
Speaker 1: it when i'm when I'm you know, talking to you

702
00:34:10,120 --> 00:34:13,120
Speaker 1: about you know how much I like your sweater? And

703
00:34:13,320 --> 00:34:15,560
Speaker 1: you know where you live? And are you going to

704
00:34:15,680 --> 00:34:18,279
Speaker 1: rent or are you going to buy? Or you know

705
00:34:18,320 --> 00:34:20,200
Speaker 1: all that kind of stuff. You know, how are your kids?

706
00:34:20,600 --> 00:34:23,000
Speaker 1: You know? How was seventh grade for so and so?

707
00:34:23,160 --> 00:34:26,600
Speaker 1: I mean, I I love all that stuff. I remember

708
00:34:26,760 --> 00:34:29,240
Speaker 1: when I was younger, I think it was even unconsciousness.

709
00:34:29,280 --> 00:34:35,080
Speaker 1: I would see people acting films and the predominant examples

710
00:34:35,120 --> 00:34:38,279
Speaker 1: would be like Brando or Gina or something like that,

711
00:34:38,320 --> 00:34:43,879
Speaker 1: where them breaking down wasn't a big deal. These are

712
00:34:43,880 --> 00:34:46,920
Speaker 1: like notes you played in music, like that's just what

713
00:34:46,960 --> 00:34:49,600
Speaker 1: people do. I didn't think about it, like like it

714
00:34:49,680 --> 00:34:51,680
Speaker 1: was separate because I went to Strasbourg where they really

715
00:34:51,880 --> 00:34:53,440
Speaker 1: they put you in the frying pan and they really

716
00:34:53,520 --> 00:34:55,400
Speaker 1: made you get to that. And I went to act

717
00:34:55,480 --> 00:34:57,440
Speaker 1: to school for a year where we basically cried for

718
00:34:57,480 --> 00:34:59,279
Speaker 1: like a year. They will they try to get you

719
00:34:59,360 --> 00:35:02,360
Speaker 1: used to being a but the funny thing is is

720
00:35:02,400 --> 00:35:04,399
Speaker 1: that that's just a technique to get you to tap

721
00:35:04,440 --> 00:35:06,880
Speaker 1: into it because people don't really behave that way, but

722
00:35:06,960 --> 00:35:08,880
Speaker 1: you have to find it once again. It's all about

723
00:35:08,960 --> 00:35:12,719
Speaker 1: what's true, what's real. It's like guns in movies and

724
00:35:12,760 --> 00:35:16,800
Speaker 1: guns going off and people hitting people. Sometimes, especially early

725
00:35:16,880 --> 00:35:18,680
Speaker 1: on in my career, people be like and then someone

726
00:35:18,760 --> 00:35:21,799
Speaker 1: gets slapped, and I thought, wait, people don't slap each other,

727
00:35:22,160 --> 00:35:25,600
Speaker 1: and if somebody does, it's shocking. So remember that when

728
00:35:25,800 --> 00:35:28,799
Speaker 1: when there's a physical altercation, you're shocked by it. When

729
00:35:28,800 --> 00:35:31,359
Speaker 1: people cry, it's upsetting. You're not trying to cry. You're

730
00:35:31,400 --> 00:35:33,320
Speaker 1: trying not to cry because you don't want to be embarrassed,

731
00:35:33,360 --> 00:35:35,240
Speaker 1: you know. So it's like, so all that acting school

732
00:35:35,280 --> 00:35:38,560
Speaker 1: stuff is about learning how to locate all those feelings.

733
00:35:38,600 --> 00:35:42,640
Speaker 1: But then over time with experience, you learn, like the

734
00:35:42,760 --> 00:35:45,920
Speaker 1: greats like Brando, to modulate them when you worked with

735
00:35:46,040 --> 00:35:49,560
Speaker 1: PT with Paul Thomas Anderson, Boogie Knights was the first

736
00:35:49,680 --> 00:35:51,879
Speaker 1: film was he helpful to. He was a director who

737
00:35:51,880 --> 00:35:53,440
Speaker 1: did it all basically take care of itself. Because it

738
00:35:53,480 --> 00:35:55,480
Speaker 1: was so care of itself, I have to say, all

739
00:35:55,560 --> 00:35:59,319
Speaker 1: he stands great directors, All the greatest directors say very

740
00:35:59,400 --> 00:36:02,640
Speaker 1: very little. Magnolia was harder because it was so emotional

741
00:36:02,760 --> 00:36:05,000
Speaker 1: and I was really trying to plot it, you know,

742
00:36:05,040 --> 00:36:07,080
Speaker 1: because I had to literally cry in every scene, and

743
00:36:07,120 --> 00:36:09,160
Speaker 1: so I had to I'm like, all right, paula, Paul,

744
00:36:09,200 --> 00:36:12,000
Speaker 1: this is this is like the smaller crying into the bigger,

745
00:36:12,000 --> 00:36:14,200
Speaker 1: crying at the biggest, crying to the big, big, big,

746
00:36:14,280 --> 00:36:15,920
Speaker 1: you know. So it's like I had to find a

747
00:36:15,960 --> 00:36:19,000
Speaker 1: way to nothing. It wasn't like the level of hysteria

748
00:36:19,120 --> 00:36:21,279
Speaker 1: had to change, you know. I had to be modulated.

749
00:36:21,600 --> 00:36:23,359
Speaker 1: I couldn't be at ten. I had to be at

750
00:36:23,400 --> 00:36:25,120
Speaker 1: two and you know, get to ten and all that

751
00:36:25,160 --> 00:36:27,280
Speaker 1: kind of There are times when I'll say to director,

752
00:36:28,239 --> 00:36:31,040
Speaker 1: I want you to watch my vocal pattern. I want

753
00:36:31,080 --> 00:36:33,320
Speaker 1: you to watch my level of hysteria. I wanted it whatever,

754
00:36:33,719 --> 00:36:38,759
Speaker 1: but basically, I want them to direct the movie. Do

755
00:36:38,840 --> 00:36:41,080
Speaker 1: you know I feel like I feel like there's a

756
00:36:41,480 --> 00:36:44,000
Speaker 1: it's a misnomer that the director is an acting coach.

757
00:36:44,160 --> 00:36:46,520
Speaker 1: The director is there to direct the audiences I through

758
00:36:46,560 --> 00:36:49,640
Speaker 1: a film. The actor is doing the acting. They shouldn't

759
00:36:49,680 --> 00:36:52,520
Speaker 1: have to say, you know, when you had a tough

760
00:36:52,560 --> 00:36:54,759
Speaker 1: time with the director, how was it tough without naming names?

761
00:36:54,920 --> 00:36:57,520
Speaker 1: What was tough when they talk to me too much? Well,

762
00:36:57,560 --> 00:36:59,799
Speaker 1: because I always say to everybody, please don't speak to

763
00:36:59,840 --> 00:37:02,640
Speaker 1: me before I've done any acting, I said, because I'm

764
00:37:02,680 --> 00:37:05,279
Speaker 1: just trying to, Yeah, see what I come up with.

765
00:37:05,440 --> 00:37:07,719
Speaker 1: And if I'm way off base, and please, by all means,

766
00:37:07,719 --> 00:37:09,680
Speaker 1: come up and say like, wow, that wasn't what I expected.

767
00:37:10,160 --> 00:37:12,600
Speaker 1: But if I hear too much, I mean, this is

768
00:37:12,680 --> 00:37:15,200
Speaker 1: gonna sound really silly and precious. But I always say

769
00:37:15,239 --> 00:37:18,160
Speaker 1: that acting. So it's like this little flame and you've

770
00:37:18,160 --> 00:37:20,520
Speaker 1: got this little thing and you're thinking, Okay, I wanted

771
00:37:20,560 --> 00:37:21,879
Speaker 1: to this to work, but you don't want to blow

772
00:37:21,920 --> 00:37:24,120
Speaker 1: it out. If somebody comes along and says this is

773
00:37:24,160 --> 00:37:26,799
Speaker 1: what I think, they might just blow it out and

774
00:37:26,840 --> 00:37:29,160
Speaker 1: then you have nowhere, you know, then you can't reach

775
00:37:29,160 --> 00:37:32,279
Speaker 1: it anymore. And that was emotional as you are, and

776
00:37:32,280 --> 00:37:37,319
Speaker 1: you have this remarkable emotional residence in your work. What

777
00:37:37,360 --> 00:37:39,279
Speaker 1: do you like privately to the extent that you want

778
00:37:39,320 --> 00:37:43,800
Speaker 1: to say, You're a mother. Yes, you were married before before,

779
00:37:43,800 --> 00:37:46,120
Speaker 1: married again married. I'm married now, but I've been with

780
00:37:46,160 --> 00:37:48,919
Speaker 1: my husband for eighteen years. We have two children, they're

781
00:37:49,000 --> 00:37:53,840
Speaker 1: sixteen and twelve. I have a fantastic, fantastic family. I

782
00:37:53,880 --> 00:37:57,000
Speaker 1: have two dogs. They're black, one is small and one

783
00:37:57,080 --> 00:38:00,360
Speaker 1: is big, a Chihuahua and a lab and uh. We

784
00:38:00,440 --> 00:38:02,439
Speaker 1: live in New York City. I have a really nice life.

785
00:38:02,480 --> 00:38:05,040
Speaker 1: I'm really really lucky. You try to keep it simple,

786
00:38:05,239 --> 00:38:07,640
Speaker 1: oh man, Yeah, I really do. I try to keep

787
00:38:07,640 --> 00:38:10,400
Speaker 1: it when he tagged team work because he makes films.

788
00:38:10,440 --> 00:38:12,839
Speaker 1: He makes films on television too. You know, we've been

789
00:38:12,920 --> 00:38:15,520
Speaker 1: very fortunate. I mean, it's interesting because the work life

790
00:38:15,520 --> 00:38:19,000
Speaker 1: balance thing is always an issue for everybody when they're little.

791
00:38:19,280 --> 00:38:22,239
Speaker 1: When they were babies, it was super super easy because

792
00:38:22,280 --> 00:38:24,200
Speaker 1: babies don't know where they are and you can bring

793
00:38:24,239 --> 00:38:29,320
Speaker 1: them everywhere. And also we have an incredibly tolerant business

794
00:38:29,600 --> 00:38:32,800
Speaker 1: towards women with children. I have to say thank goodness

795
00:38:32,840 --> 00:38:34,960
Speaker 1: for the movie business. I remember my son was when

796
00:38:35,000 --> 00:38:36,759
Speaker 1: I was doing Psycho. As a matter of fact, my

797
00:38:36,800 --> 00:38:38,600
Speaker 1: son was nine months old and I was still getting

798
00:38:38,680 --> 00:38:41,120
Speaker 1: used to having a baby, and he was always with

799
00:38:41,160 --> 00:38:44,040
Speaker 1: me and stuff, and he was hysterical in the trailer

800
00:38:44,040 --> 00:38:45,680
Speaker 1: one day and I was nursing him and trying to

801
00:38:45,719 --> 00:38:47,440
Speaker 1: him to calm down. They knocked the trailer door and

802
00:38:47,480 --> 00:38:54,320
Speaker 1: they said, you know, we need you. And I was like, come,

803
00:38:55,080 --> 00:38:58,480
Speaker 1: and this adorable p a said, no, worries, man, take

804
00:38:58,520 --> 00:39:01,800
Speaker 1: your time, and I was like, holy cow, I'm the

805
00:39:01,840 --> 00:39:04,000
Speaker 1: luckiest woman in the world, you know, I mean so

806
00:39:04,000 --> 00:39:06,920
Speaker 1: so our business is very tolerant. We're lucky, and I

807
00:39:07,000 --> 00:39:09,000
Speaker 1: have no complaints as an actress. Did you turn down

808
00:39:09,000 --> 00:39:11,680
Speaker 1: a lot of work with your family? So you do?

809
00:39:12,000 --> 00:39:13,920
Speaker 1: You do? I shout, you turn things down because you

810
00:39:13,960 --> 00:39:16,200
Speaker 1: can't travel, you know, You're like, once the kids are

811
00:39:16,200 --> 00:39:20,840
Speaker 1: in school, I can't go in a few days, and

812
00:39:20,840 --> 00:39:25,080
Speaker 1: I feel terrible. I do. Yeah, it's tough, and it's

813
00:39:25,120 --> 00:39:27,360
Speaker 1: tougher on women because when you have infants, you know,

814
00:39:27,400 --> 00:39:29,160
Speaker 1: I mean, it's it's easier for you because you can

815
00:39:29,200 --> 00:39:30,440
Speaker 1: go and come back, but it it doesn't make it mean

816
00:39:30,600 --> 00:39:33,600
Speaker 1: it's emotionally easy for you. But yeah, so I work.

817
00:39:33,920 --> 00:39:35,480
Speaker 1: I try to work. If I have to travel. I

818
00:39:35,520 --> 00:39:38,000
Speaker 1: do it in the summertime when everybody can come. I

819
00:39:38,080 --> 00:39:40,560
Speaker 1: work in the city when they're in school, and you know,

820
00:39:40,680 --> 00:39:43,000
Speaker 1: try to a bunch things. If I have to travel,

821
00:39:43,040 --> 00:39:45,120
Speaker 1: a bunch of together, and you know, and I have

822
00:39:45,160 --> 00:39:48,680
Speaker 1: a partner who's an equal parent, and we alternate. Michael

823
00:39:48,680 --> 00:39:50,520
Speaker 1: Fox said that once years ago. He said, they send

824
00:39:50,560 --> 00:39:52,640
Speaker 1: you a script. Into the script said open on the

825
00:39:52,680 --> 00:39:55,400
Speaker 1: skyline of Manhattan. He closed the script and say, I'm in.

826
00:39:57,640 --> 00:40:01,440
Speaker 1: That's it. Absolutely, I'm I'm done. Just write me a check.

827
00:40:01,440 --> 00:40:03,719
Speaker 1: I've no idea. This tax break in New York City

828
00:40:03,719 --> 00:40:05,879
Speaker 1: has been a godsend. You got to keep that going.

829
00:40:06,000 --> 00:40:09,000
Speaker 1: It's amazing because I've been able to do so many

830
00:40:09,040 --> 00:40:11,600
Speaker 1: movies at home. I mean it really and yeah, I'm like,

831
00:40:11,760 --> 00:40:15,080
Speaker 1: it's a New York alright, Fine, it's great, or at

832
00:40:15,160 --> 00:40:17,520
Speaker 1: least a place that has an airport that's really accessible

833
00:40:17,520 --> 00:40:19,120
Speaker 1: and you can, you know, go in and out for

834
00:40:19,160 --> 00:40:23,840
Speaker 1: three days. Someone who is as well regarded and who's

835
00:40:23,920 --> 00:40:27,560
Speaker 1: made as many great films as you've made. When you're

836
00:40:27,560 --> 00:40:29,040
Speaker 1: one of those people that you look over the list

837
00:40:29,040 --> 00:40:30,839
Speaker 1: of films you've made, it's kind of amazing. The list

838
00:40:30,880 --> 00:40:34,200
Speaker 1: of movies that thing you've done. Uh, when you think

839
00:40:34,239 --> 00:40:36,360
Speaker 1: about co stars of yours, men and women that you

840
00:40:36,440 --> 00:40:38,600
Speaker 1: worked with, were there times you did films that you

841
00:40:38,640 --> 00:40:40,279
Speaker 1: just thought to yourself, God, I'm so lucky that you

842
00:40:40,320 --> 00:40:43,280
Speaker 1: were really excited. Do you get excited to work with people?

843
00:40:43,840 --> 00:40:45,200
Speaker 1: Give me a couple of examples of people over the

844
00:40:45,239 --> 00:40:48,920
Speaker 1: years you work with you were really happy Alec No, No, seriously,

845
00:40:49,000 --> 00:40:53,399
Speaker 1: but other than conducting a radio No, it's true. It's true.

846
00:40:53,760 --> 00:40:56,040
Speaker 1: I've always wanted to work. I always wanted to work

847
00:40:56,080 --> 00:40:58,080
Speaker 1: with you and I had at such a great time.

848
00:40:58,200 --> 00:41:00,880
Speaker 1: That's why I wanted Wash to stop talking so I

849
00:41:00,880 --> 00:41:02,799
Speaker 1: could send The director would come up and give us

850
00:41:02,800 --> 00:41:05,080
Speaker 1: notes and look, I give him this look like can't

851
00:41:05,120 --> 00:41:08,160
Speaker 1: you see that Julie and I are hanging at this

852
00:41:08,280 --> 00:41:11,560
Speaker 1: better be important? Anyways, some other people if I loved,

853
00:41:11,600 --> 00:41:14,960
Speaker 1: Oh my gosh, Ray Finds. We had a great time

854
00:41:15,000 --> 00:41:17,520
Speaker 1: together on end of the affair was really really special,

855
00:41:18,480 --> 00:41:22,040
Speaker 1: like a great, really great connection. James Grow Do you

856
00:41:22,080 --> 00:41:23,799
Speaker 1: know James le Grow. He's a friend of mine. I've

857
00:41:23,800 --> 00:41:26,600
Speaker 1: worked with him on a couple of movies Single Man.

858
00:41:27,040 --> 00:41:30,279
Speaker 1: Oh yeah, Colin, he was amazing. You know, I look

859
00:41:30,360 --> 00:41:33,640
Speaker 1: at so many men I never worked with women. I

860
00:41:33,640 --> 00:41:35,480
Speaker 1: mean Laura Dern and I worked together. She played a

861
00:41:35,520 --> 00:41:38,359
Speaker 1: small part in a movie that were I had no women.

862
00:41:38,719 --> 00:41:40,279
Speaker 1: We did the Hours, you didn't have scenes with that.

863
00:41:41,080 --> 00:41:43,319
Speaker 1: We were all in separate movies. So I remember, I

864
00:41:43,400 --> 00:41:45,520
Speaker 1: was like, so I got to be great friends with Laura.

865
00:41:45,640 --> 00:41:47,279
Speaker 1: Was so excited that she was there and we had

866
00:41:47,520 --> 00:41:50,200
Speaker 1: She did this beautiful thing. It was a scene where

867
00:41:50,239 --> 00:41:51,640
Speaker 1: I'm supposed to be with a bunch of women at

868
00:41:51,680 --> 00:41:53,160
Speaker 1: a party and it's like the first time I've been

869
00:41:53,200 --> 00:41:56,600
Speaker 1: out and I feel really independent and terrific, and and

870
00:41:56,640 --> 00:41:59,080
Speaker 1: she's this lovely woman I've only corresponded with. And we

871
00:41:59,120 --> 00:42:01,280
Speaker 1: had this big scene all the him a chatting and talking,

872
00:42:01,719 --> 00:42:04,000
Speaker 1: and she looked over at me. And this is off camera,

873
00:42:04,120 --> 00:42:06,000
Speaker 1: by the way, too, so you can you know you

874
00:42:06,040 --> 00:42:08,239
Speaker 1: wouldn't you can see this was just personal. And she

875
00:42:08,280 --> 00:42:10,840
Speaker 1: grabbed my hands, squeezed it and like winked, gave me

876
00:42:10,840 --> 00:42:13,800
Speaker 1: a little wink and I almost burst into tears because

877
00:42:13,800 --> 00:42:15,400
Speaker 1: that's what the scene was last what it was like

878
00:42:15,480 --> 00:42:17,880
Speaker 1: for my character, like to be seen by this other woman,

879
00:42:17,920 --> 00:42:20,439
Speaker 1: to have this connection, this friendship, and Laura just did

880
00:42:20,440 --> 00:42:22,319
Speaker 1: it and I was like, oh, I love you. So much.

881
00:42:22,719 --> 00:42:25,400
Speaker 1: It really is remarkable when you have that kind of

882
00:42:25,440 --> 00:42:28,640
Speaker 1: experience with with an actor, that sort of connection. I

883
00:42:28,719 --> 00:42:32,279
Speaker 1: love it. Can you name one role you played that

884
00:42:32,520 --> 00:42:35,840
Speaker 1: It was really hard. It was really a challenge, and

885
00:42:35,880 --> 00:42:37,719
Speaker 1: when it was over and you saw the film, you thought,

886
00:42:37,760 --> 00:42:40,279
Speaker 1: you know, that's a pretty good movie. The hours did.

887
00:42:40,440 --> 00:42:42,640
Speaker 1: The hours was really really hard. It was a really

888
00:42:42,680 --> 00:42:46,200
Speaker 1: hard shoot. My son was three, and we worked really

889
00:42:46,239 --> 00:42:48,040
Speaker 1: long hours and I would get home and he'd be

890
00:42:48,080 --> 00:42:50,520
Speaker 1: waiting up with in London, and he was waiting up

891
00:42:50,520 --> 00:42:52,120
Speaker 1: for me. He wouldn't go to sleep until I got home,

892
00:42:52,160 --> 00:42:53,719
Speaker 1: you know, because he slept in my bed for a

893
00:42:53,800 --> 00:42:56,799
Speaker 1: long long time until he was four and off. Um.

894
00:42:56,960 --> 00:42:59,560
Speaker 1: He'd be mortified to hear that on the radio, but

895
00:43:00,480 --> 00:43:03,799
Speaker 1: it was the radio, you know, hope you wanted to

896
00:43:03,800 --> 00:43:07,359
Speaker 1: cut that won't listen, You won't listen, but he um.

897
00:43:07,440 --> 00:43:10,600
Speaker 1: So I was worriorded about getting home. I was in

898
00:43:10,719 --> 00:43:13,759
Speaker 1: scenes with another little boy who was not easy to

899
00:43:13,800 --> 00:43:15,440
Speaker 1: deal with because he was only six and he was

900
00:43:15,480 --> 00:43:18,040
Speaker 1: kind of all over the place. We kept changing shots.

901
00:43:18,080 --> 00:43:20,000
Speaker 1: It was very hard, and I just couldn't feel like

902
00:43:20,000 --> 00:43:22,400
Speaker 1: I was getting anything right. And I think each and

903
00:43:22,560 --> 00:43:24,640
Speaker 1: all these separate segments and then I saw the movie

904
00:43:24,680 --> 00:43:26,760
Speaker 1: to Get and I was like, Holy Cow's movie beautiful.

905
00:43:27,120 --> 00:43:28,960
Speaker 1: I mean, you just don't know, you really don't know.

906
00:43:29,320 --> 00:43:33,239
Speaker 1: You don't know. Ever, Yeah, you did a film recently

907
00:43:33,440 --> 00:43:37,440
Speaker 1: and you were you can explain the whole travel slip

908
00:43:37,520 --> 00:43:39,760
Speaker 1: up here where you weren't able to accept this award,

909
00:43:39,800 --> 00:43:42,640
Speaker 1: but you won Best Actress of the can Film and

910
00:43:42,719 --> 00:43:45,120
Speaker 1: you were there. I did. I was there while I

911
00:43:45,160 --> 00:43:47,759
Speaker 1: was there for an entire week. So I'd gotten there

912
00:43:47,800 --> 00:43:50,520
Speaker 1: to do work for Loreal, who I work with, and

913
00:43:50,560 --> 00:43:53,040
Speaker 1: then I had Hunger Games Press because they were doing something,

914
00:43:53,239 --> 00:43:55,080
Speaker 1: and then I had a film and competition called Maps

915
00:43:55,160 --> 00:43:57,920
Speaker 1: the Stars David Cronenberg. Movie was Cronenberg the same as

916
00:43:57,960 --> 00:43:59,400
Speaker 1: the other ones where he didn't say very much. No,

917
00:43:59,520 --> 00:44:03,080
Speaker 1: he's saying anything, very very little. Um. So at that

918
00:44:03,120 --> 00:44:05,520
Speaker 1: point I've been there for seven days. I was really exhausted.

919
00:44:05,640 --> 00:44:08,440
Speaker 1: And we got home and it was Thursday before Memorial

920
00:44:08,520 --> 00:44:10,520
Speaker 1: Day weekend, and Friday we picked our kids up from

921
00:44:10,520 --> 00:44:12,400
Speaker 1: school and we came out to MONTALUK where I have

922
00:44:12,480 --> 00:44:16,120
Speaker 1: a house, and Saturday morning is when the awards happened

923
00:44:16,160 --> 00:44:19,040
Speaker 1: in can and I wasn't expecting anything, and I figured

924
00:44:19,080 --> 00:44:20,799
Speaker 1: if they were going to tell me something that they

925
00:44:20,840 --> 00:44:23,760
Speaker 1: would let me know. And I just got a phone

926
00:44:23,760 --> 00:44:26,200
Speaker 1: call while I was folding towels at the pool after

927
00:44:26,200 --> 00:44:29,240
Speaker 1: sweeping out my shed and stuff like that, Memorial Day weekend,

928
00:44:29,719 --> 00:44:32,279
Speaker 1: saying you just I just accepted Best Actress for you

929
00:44:32,360 --> 00:44:35,520
Speaker 1: I can from Bruce Wagner, the screenwriter. I was stunned.

930
00:44:36,680 --> 00:44:40,279
Speaker 1: What kind of movie is it. It's a Cronenberg film,

931
00:44:40,320 --> 00:44:43,480
Speaker 1: you know, it's a movie about all these people in Hollywood.

932
00:44:43,480 --> 00:44:46,239
Speaker 1: It's it's about families. I think. Actually, I mean a

933
00:44:46,280 --> 00:44:48,440
Speaker 1: lot of people think that it's about Hollywood, but I

934
00:44:48,520 --> 00:44:52,759
Speaker 1: really think it's about families and about people's desire to

935
00:44:53,280 --> 00:44:56,560
Speaker 1: connect and be seen and instead of being seen intimately

936
00:44:56,640 --> 00:44:58,839
Speaker 1: by a family member, they want to be validated by

937
00:44:58,840 --> 00:45:02,719
Speaker 1: the outside world, and how destructive that is and how

938
00:45:02,880 --> 00:45:06,480
Speaker 1: cruel it can be. It's really rough. And David did this.

939
00:45:06,480 --> 00:45:08,800
Speaker 1: This is what was cool about seeing how director communicates

940
00:45:08,840 --> 00:45:11,040
Speaker 1: to you. Because my first day of shooting and he

941
00:45:11,080 --> 00:45:13,200
Speaker 1: was setting up these shots and he brought me in

942
00:45:13,239 --> 00:45:15,399
Speaker 1: on a kind of a long angle and I sat

943
00:45:15,440 --> 00:45:20,359
Speaker 1: down at a table and he shot me a washakuska

944
00:45:20,440 --> 00:45:22,640
Speaker 1: and he shot me and then I realized that he

945
00:45:22,719 --> 00:45:27,080
Speaker 1: didn't do a two shot, and that we didn't ever

946
00:45:27,200 --> 00:45:30,040
Speaker 1: come into each other's frame. We never crossed frames. At

947
00:45:30,040 --> 00:45:32,960
Speaker 1: one point I came around, I entered her frame, but

948
00:45:33,040 --> 00:45:35,879
Speaker 1: I never pushed into her frame. There was never any

949
00:45:35,880 --> 00:45:38,239
Speaker 1: physical So everyone in the film is isolated, and I

950
00:45:38,280 --> 00:45:41,239
Speaker 1: was like, oh, I get it. So, you know, he

951
00:45:41,480 --> 00:45:45,160
Speaker 1: kept everybody purposely isolated, and it's really devastating to see

952
00:45:45,160 --> 00:45:47,440
Speaker 1: something shot that way, with that kind of remove, and

953
00:45:47,480 --> 00:45:49,600
Speaker 1: that you think all these people want to do is

954
00:45:49,640 --> 00:45:51,319
Speaker 1: be in a frame with one another. You know, that's

955
00:45:51,320 --> 00:45:53,040
Speaker 1: all we do. We're usually right on top of each other,

956
00:45:53,160 --> 00:45:55,799
Speaker 1: is people, and David kept everybody very separate. So it's

957
00:45:55,800 --> 00:46:01,160
Speaker 1: sort of heartbreaking, very erotic film. No, no, you wish

958
00:46:01,400 --> 00:46:04,960
Speaker 1: it's not. It's it's not erotic. No, why did you

959
00:46:05,000 --> 00:46:08,280
Speaker 1: say that? Are you telling the truth? Why did people

960
00:46:08,280 --> 00:46:10,799
Speaker 1: tell me the Cronen Works movie. You're completely you have

961
00:46:10,840 --> 00:46:12,680
Speaker 1: a three way you and two other people, like a

962
00:46:12,719 --> 00:46:15,520
Speaker 1: crazy theory. It is, but it's comical. It's a comic.

963
00:46:15,600 --> 00:46:22,240
Speaker 1: It's a comical three way you know those Oh okay,

964
00:46:22,280 --> 00:46:25,040
Speaker 1: well that's of course of a different color. Yeah, it's

965
00:46:25,080 --> 00:46:27,239
Speaker 1: not very sexy, I have to say, and funny the

966
00:46:27,239 --> 00:46:30,439
Speaker 1: funniest thing about The Three Way is that she's in bed,

967
00:46:30,560 --> 00:46:34,480
Speaker 1: this terrible, this poor desperate woman is in bed with

968
00:46:35,000 --> 00:46:36,719
Speaker 1: another man, another woman, And the man gets up to

969
00:46:36,760 --> 00:46:38,040
Speaker 1: answer the phone and gets on the phone with a

970
00:46:38,080 --> 00:46:40,719
Speaker 1: director it's working with. And my character desperately wants a

971
00:46:40,760 --> 00:46:44,120
Speaker 1: part in the in this movie. So as she's sort

972
00:46:44,120 --> 00:46:46,120
Speaker 1: of with this other woman, she's just trying to hear

973
00:46:46,200 --> 00:46:48,800
Speaker 1: him on the phone and he hangs up in the

974
00:46:48,840 --> 00:46:52,680
Speaker 1: first thing she says is mention me when you talk.

975
00:46:53,239 --> 00:46:55,759
Speaker 1: Tell me about Cronenberg. Oh, I love him so much.

976
00:46:56,080 --> 00:46:58,280
Speaker 1: He's a guy that you would expect to be really nutty,

977
00:46:58,400 --> 00:47:01,720
Speaker 1: you know, because from all his film he's so smart.

978
00:47:01,800 --> 00:47:07,000
Speaker 1: He's interested in absolutely everything. He he can speak eloquently

979
00:47:07,080 --> 00:47:09,840
Speaker 1: on any subject. He loves people, devoted to his family.

980
00:47:10,120 --> 00:47:12,759
Speaker 1: Has worked with the same crew, the same DP for

981
00:47:12,800 --> 00:47:16,160
Speaker 1: the last thirty years or so, you know, lives in Toronto,

982
00:47:16,320 --> 00:47:20,240
Speaker 1: works in Toronto and makes movies about kind of extreme

983
00:47:20,440 --> 00:47:22,920
Speaker 1: human behavior. But it's all within the realm of possibility.

984
00:47:23,040 --> 00:47:25,920
Speaker 1: Look at a movie like Existence So which was so

985
00:47:26,080 --> 00:47:28,640
Speaker 1: precient with that kind of crazy, with that gaming going

986
00:47:28,680 --> 00:47:31,239
Speaker 1: inside your head for the virtual reality and Jason the

987
00:47:31,280 --> 00:47:34,160
Speaker 1: brilliant Jennifer Jason and with the portal, you know that

988
00:47:34,280 --> 00:47:37,840
Speaker 1: that weird they have, But yeah, so, I mean he

989
00:47:37,960 --> 00:47:41,520
Speaker 1: really pushes what the possibilities of the imagination are and

990
00:47:41,520 --> 00:47:45,319
Speaker 1: and and our own, you know, physical possibilities. And he's

991
00:47:45,400 --> 00:47:48,319
Speaker 1: driven I think by his own intellect and curiosity. He's

992
00:47:48,320 --> 00:47:50,680
Speaker 1: a wonderful man. What are your kids? What are your kids?

993
00:47:51,360 --> 00:47:55,400
Speaker 1: My kids are great. My son is sixteen. He's very tall,

994
00:47:55,480 --> 00:47:58,560
Speaker 1: he's going to get even taller. He loves basketball, he

995
00:47:58,600 --> 00:48:01,399
Speaker 1: loves music. He's an accomplishment usition. He's like his dad.

996
00:48:01,560 --> 00:48:06,240
Speaker 1: He's like his dad and a surfer and snowboarder and physical, yeah, physical,

997
00:48:06,320 --> 00:48:10,360
Speaker 1: but also very sensitive, emotional boy and hard working. It

998
00:48:10,400 --> 00:48:14,040
Speaker 1: works very hard. My daughter is just twelve. She's tall

999
00:48:14,080 --> 00:48:16,360
Speaker 1: and slender. She loved to ride horses. She loves fashion.

1000
00:48:16,480 --> 00:48:19,720
Speaker 1: She makes clothes. He's a sewing machine. She loves you, Alec.

1001
00:48:20,040 --> 00:48:26,799
Speaker 1: She's always like hi, Hi, Hi, Oh is that Alex God?

1002
00:48:27,200 --> 00:48:31,960
Speaker 1: You look so thuous, so gorge. She's like thanks, thanks,

1003
00:48:31,960 --> 00:48:34,120
Speaker 1: and she's like fining me, well, thank you for saying

1004
00:48:34,160 --> 00:48:38,000
Speaker 1: so funny. Oh my goodness. She is fun. She's a

1005
00:48:38,000 --> 00:48:40,440
Speaker 1: great spirit. She did this imitation. We were watching the

1006
00:48:40,560 --> 00:48:42,520
Speaker 1: v m as and she's playing it for me, and

1007
00:48:42,520 --> 00:48:44,960
Speaker 1: they did it. They cut to the Kardashians and the

1008
00:48:44,960 --> 00:48:47,640
Speaker 1: audience watching, and then she's like, mom, mom, this is

1009
00:48:47,640 --> 00:48:49,880
Speaker 1: what they look like. And then she and it was

1010
00:48:50,160 --> 00:48:51,800
Speaker 1: it was hysterical. I was like, you're right, that was

1011
00:48:51,840 --> 00:48:55,320
Speaker 1: really funny. So I don't know. So she's already, but

1012
00:48:55,360 --> 00:48:57,200
Speaker 1: I don't know. Right, Actually she wants to be a

1013
00:48:57,200 --> 00:49:00,359
Speaker 1: fashion designer, So we'll see. Who knows. You work a lot,

1014
00:49:01,040 --> 00:49:03,320
Speaker 1: and when you're not working, and if you have, especially

1015
00:49:03,320 --> 00:49:05,799
Speaker 1: if you have a decent spell of time off, what

1016
00:49:05,840 --> 00:49:08,040
Speaker 1: do you like to do with yourself? I spent a

1017
00:49:08,040 --> 00:49:10,280
Speaker 1: lot of time with my kids, taking them to school,

1018
00:49:10,360 --> 00:49:13,520
Speaker 1: bringing them mom school. You're doing all the mom stuff.

1019
00:49:13,640 --> 00:49:16,320
Speaker 1: I'm very interested in my house. I'd like to decorate

1020
00:49:16,400 --> 00:49:18,960
Speaker 1: my house, go to my yoga place a lot. I'd

1021
00:49:19,000 --> 00:49:22,880
Speaker 1: love that I've been intermediate in your for ten years.

1022
00:49:22,880 --> 00:49:25,439
Speaker 1: I like to say better than I am ten years.

1023
00:49:25,480 --> 00:49:30,719
Speaker 1: I'm married. She's good here is really good. And then

1024
00:49:30,760 --> 00:49:33,759
Speaker 1: sometimes like this last summer, last winter, I guess we

1025
00:49:34,360 --> 00:49:36,319
Speaker 1: had a friend who could teach watercolor. So all my

1026
00:49:36,360 --> 00:49:38,760
Speaker 1: friends from from yoga got together and we took watercolor

1027
00:49:38,880 --> 00:49:41,960
Speaker 1: lessons and then we learned how to kind of like

1028
00:49:42,800 --> 00:49:45,239
Speaker 1: do deco page. I know that sounds crazy, but it

1029
00:49:45,280 --> 00:49:47,399
Speaker 1: was sort of a fun thing to do. You read,

1030
00:49:47,680 --> 00:49:50,080
Speaker 1: and I love to read, and you read scripts when

1031
00:49:50,120 --> 00:49:51,920
Speaker 1: you think about what you want to do next and

1032
00:49:51,960 --> 00:49:54,600
Speaker 1: when you're not acting, are you mindful of that and

1033
00:49:54,600 --> 00:49:56,480
Speaker 1: you're grateful for the time and you're glad to have

1034
00:49:56,560 --> 00:49:58,319
Speaker 1: time off and be with your family, or do you

1035
00:49:58,360 --> 00:49:59,839
Speaker 1: like sitting there going I want to get back to working.

1036
00:50:00,200 --> 00:50:02,440
Speaker 1: You know. It's the kind of thing. I know. I

1037
00:50:02,480 --> 00:50:04,440
Speaker 1: am a workaholic in the sense that I really like

1038
00:50:04,600 --> 00:50:07,000
Speaker 1: to be working. I like, I love to be at work,

1039
00:50:07,040 --> 00:50:09,319
Speaker 1: Like I love the crew, I love the cast, the

1040
00:50:09,320 --> 00:50:11,600
Speaker 1: other actors. I like the idea of going into work.

1041
00:50:11,640 --> 00:50:16,080
Speaker 1: I like being like, no, I'm scared of that. I

1042
00:50:16,200 --> 00:50:19,360
Speaker 1: ran into Matthew Broderick the other day and I said,

1043
00:50:19,480 --> 00:50:23,440
Speaker 1: aren't you scared of the people? And he said, no,

1044
00:50:23,880 --> 00:50:25,680
Speaker 1: I mean I like it. It's really helps when it's

1045
00:50:25,680 --> 00:50:27,839
Speaker 1: a comedy. And I was thinking about him and Nathan Lane,

1046
00:50:27,880 --> 00:50:30,600
Speaker 1: and you know, you know when you watch Nathan Lane

1047
00:50:30,719 --> 00:50:34,279
Speaker 1: and he gets a laugh and then he stretches and

1048
00:50:34,320 --> 00:50:36,719
Speaker 1: it's like he makes the laugh bigger. And I think

1049
00:50:36,800 --> 00:50:38,880
Speaker 1: Nathan has his sense almost like if you were tickling

1050
00:50:38,880 --> 00:50:40,399
Speaker 1: a kid, like you know how to tickle a kid

1051
00:50:40,400 --> 00:50:45,040
Speaker 1: a little bit, yea. And Nathan like does it like

1052
00:50:45,080 --> 00:50:47,759
Speaker 1: he tickles the audience. He and I don't feel like

1053
00:50:47,760 --> 00:50:49,520
Speaker 1: I have any sense to that. I think I have

1054
00:50:49,560 --> 00:50:51,799
Speaker 1: too much fear of a of a live audience. I

1055
00:50:51,880 --> 00:50:54,960
Speaker 1: like to pretend that no one's there, which is why

1056
00:50:54,960 --> 00:50:57,479
Speaker 1: I like movies. I like to pretend there's no one there,

1057
00:50:58,280 --> 00:51:09,680
Speaker 1: like I'm in the book. Yeah. Julianne Moore continues to

1058
00:51:09,719 --> 00:51:13,239
Speaker 1: Step into the Unknown, which is currently working on Free

1059
00:51:13,280 --> 00:51:17,319
Speaker 1: Held with Ellen Page, Steve Carrell, and Michael Shannon. It's

1060
00:51:17,320 --> 00:51:20,760
Speaker 1: based on the Oscar winning two thousand seven documentary about

1061
00:51:20,800 --> 00:51:23,480
Speaker 1: two women whose life story led to changes in the

1062
00:51:23,520 --> 00:51:28,320
Speaker 1: domestic partnership laws in New Jersey. You're listening to here's

1063
00:51:28,360 --> 00:51:30,240
Speaker 1: the thing. This is Alec Baldwin.