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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: It's award season and we're listening back to some of

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Speaker 1: our favorite interviews with Oscar winners. Julianne Moore won an

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Speaker 1: Oscar in two thousand fifteen for Still Alice. She'd been

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Speaker 1: nominated four times before. This is Alec Baldwin and you're

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Speaker 1: listening to Here's the Thing. My chance to talk with artists, policymakers,

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Speaker 1: and performers, to hear their stories. What inspired their creations,

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Speaker 1: what decisions change their careers, what relationships influenced their work.

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Speaker 1: My guest today is Julianne Moore. She's been nominated for

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Speaker 1: an Academy Award four times for Boogie Nights, The End

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Speaker 1: of the Affair, Far From Heaven, and the Hours. David Cronenberg,

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Speaker 1: who directed her recently and Maps to the Stars, said,

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Speaker 1: more is on her sweet, approachable self up until the

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Speaker 1: moment the camera starts rolling. Then she becomes quote this

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Speaker 1: character that you wouldn't want to spend any time with unquote.

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

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Speaker 1: I needed to pick up some prescriptions Avian Facon and

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Speaker 1: san X It's soft more plays troubled women with a

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

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

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Speaker 1: Alice More plays a linguistics professor diagnosed with Alzheimer's have

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

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Speaker 1: you 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, full 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, romance,

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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. When you

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Speaker 1: look back on it now, you know, yeah, it's weirdness,

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Speaker 1: so good, but not so bad either, you know, I

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Speaker 1: mean you can't at least your father had a job exactly.

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Speaker 1: It's looking on the bird side, but it's true. Yeah,

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Speaker 1: you know. So we're all kind of a collection of

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Speaker 1: our experiences, and in the sense it really gave me

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Speaker 1: a something. I had an understanding of where I wanted

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Speaker 1: to be in terms of what you do for a living.

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Speaker 1: I think, so you were never there long enough to

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Speaker 1: connect to people. Did you get into some kind of

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Speaker 1: I didn't get into any trouble. I was very I'm

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Speaker 1: a very good girl, like very good you only played.

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Speaker 1: That's how you get real if you're very sweet, good girl.

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Speaker 1: But no, I think I think it's pretty common that

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Speaker 1: actors come from an itinerant background, you know, creatures kids

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

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

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Speaker 1: behavior is not character and once you figure that out,

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Speaker 1: you're like, well, that means that I can behave anyway

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Speaker 1: I want. That people are choosing to behave certain ways.

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Speaker 1: Its speech is a choice, and movement is a choice,

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Speaker 1: and accents are all choices. So it's an interesting thing

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Speaker 1: to understand. I think at a very young age, I

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Speaker 1: lived in the same town my entire life. Why are

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Speaker 1: you an enctor them? That's interesting. It just had to

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Speaker 1: do with having to entertain yourself. I grew up in

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Speaker 1: an era where there was no iPads, and there was

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Speaker 1: no HBO, and there was no storytelling, and no one

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Speaker 1: would let you watch television. We had a television, but

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Speaker 1: it was when I grew up with the age of

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Speaker 1: like Fantasy Island and Love Bow Show. They were okay.

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Speaker 1: But my point being is that that idea of storytelling,

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Speaker 1: playing voices, dialects, watching movies and remembering every line in

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Speaker 1: the movie and acting out the movies. That kind of

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Speaker 1: think that was really a big part of my That's interesting,

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

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Speaker 1: my whole life. But you know, it's interesting what you

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Speaker 1: say about narrative, because that's what it is for me too.

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

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

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Speaker 1: that 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. I was like, why not, why not?

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Speaker 1: I'll read them. I probably known so I would do.

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Speaker 1: I just read them, read and read and read. And

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

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Speaker 1: 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. Yeah, well, I thought,

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Speaker 1: when did that start 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 sorts. I just

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Speaker 1: wasn't you're too good. And I couldn't dance. I couldn't

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Speaker 1: do any of that stuff. So I went out for

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

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

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

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Speaker 1: had a teacher when we moved to Germany, some named

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

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

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

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

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

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Speaker 1: So she had 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 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 atually 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 and yet equally supportive because we lived in Phase

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Speaker 1: and then they were like a couple of Golden globes. Well,

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Speaker 1: you know, they were living in Germany. And I've filled

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Speaker 1: out all these applications. These are days too when you

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Speaker 1: failed out your own college application. So I applied to

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Speaker 1: the pen Yeah, Carnegie Melon Boston University, and by accident

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Speaker 1: the graduate program at n y U because I didn't

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Speaker 1: read the paper, I guess. So my mother and I

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Speaker 1: flew to New York City where I auditioned for those schools.

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Speaker 1: When I went to in my U one, they were like,

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Speaker 1: how old are you? Eighteen? And they said, you know,

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Speaker 1: this is a graduate program. We don't accept people out

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Speaker 1: of high school. So days try and then oh, I

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Speaker 1: you know, I just for the other two schools and

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Speaker 1: got into both of them and chose Boston because I

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Speaker 1: wanted to go to Boston rather than had you lived

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Speaker 1: there before, So you don't have roots. And anyway, no,

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Speaker 1: even though people think you think, yeah, yeah, because I

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Speaker 1: looked to be Up and Up Lounge and Keimla Square,

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Speaker 1: that's where you worked with you with school, you went

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Speaker 1: 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 need 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 and 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: you know, it hasn't seemed to need it. And there

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Speaker 1: are a lot of things that I didn't drama school

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Speaker 1: that I think I didn't need either. But then in retrospect,

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Speaker 1: I'm like, you know, it's helpful. Did you go drama school?

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Speaker 1: Where'd you go? Okay? Did you go straight on to

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Speaker 1: search for tomorrow? The doctors? I can't believe you just

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Speaker 1: said that. I can't believe why, because I have in

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

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Speaker 1: off that window. You were Fanny and Sabrini Hughes. That's right, 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, I know, I mean, couldn't have

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Speaker 1: been Francy. Was Fanny's Hugh? You were? You were Fanny

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Speaker 1: and Sabrini used on World Turns And before that you

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Speaker 1: did Edge? I did Edge? Were you on Edge? See?

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Speaker 1: If you're on soaps? Only when you're on soap, can

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Speaker 1: you say egg search World Turns days days? That's so

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Speaker 1: funny because I was on Edge when they were on

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Speaker 1: East forty Street and that really really tiny studio. Remember

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Speaker 1: now Rachel Ray shoots there. Really you're gone. I know

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Speaker 1: they're gone. They're gone. Soaps are 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: that he was from there. He started that show. He

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

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

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Speaker 1: when 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 exaggerated,

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Speaker 1: but he 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 there. No, no, there's no dialogue.

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Speaker 1: I mean the dialogue is so rough, so basic. All

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Speaker 1: you're doing is is establishing story. I used to do

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Speaker 1: what 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, absolute discipline.

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Speaker 1: It was discipline and confidence because I loved that. Yeah.

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

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

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Speaker 1: are working fast, the other actors are working really quickly.

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Speaker 1: You're just on your own. Remember Marissa tom May, she

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Speaker 1: played my best friend Marcy. She said, we got into

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Speaker 1: the we got into the elevator and she looked at

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Speaker 1: me and she goes, remember l is for lunch because

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Speaker 1: that was where the lobby was, and so in that

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Speaker 1: cafeteria and that was like the best piece of vice

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Speaker 1: because it was my own. Remember ell is for lunch.

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Speaker 1: And then we did a scene together and it went

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Speaker 1: by so quickly. You know, we didn't want wanted to

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Speaker 1: have takes or something. And because you feel terrible, don't you,

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Speaker 1: I said, ah, she goes, It happens all the time.

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Speaker 1: You'll get used to it. You're gonna work out from

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Speaker 1: 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 didn't 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 contracts?

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Speaker 1: My contract? It was a three year contract for three

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

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Speaker 1: ABC once we do two years and stuff. But they

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Speaker 1: never gave me an option, although they had the option

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Speaker 1: to fire me at any time. Right and when you

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Speaker 1: finished What You Do? I went to the Guthrie Theater

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Speaker 1: actually and I did Hamlet with Hamlet. I saw you

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Speaker 1: you did not I saw you come on 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 you did it with Shelco. You

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

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

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Speaker 1: saw you do Hamlet at the at the Gut three. Well,

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Speaker 1: I was in the hamlet. I was a feeling hamlet.

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

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Speaker 1: was fantastic. You don't remember me? Do you want to

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

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Speaker 1: you were child. He was probably one of the best

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Speaker 1: Hamlets I've ever seen because he didn't have to push.

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Speaker 1: He seems like a very dark, kind of conflicted and

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Speaker 1: he also seemed like a very young man. You know.

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Speaker 1: I think that was interesting that both Jelko and I

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Speaker 1: are very very small, very slender and tiny, and we

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Speaker 1: looked like teenagers kind of, you know. So who directed

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

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Speaker 1: I loved Garland. He was great. It was a really

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Speaker 1: interesting production. People strained for when they play hammot that

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

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Speaker 1: and I went to the Wing to Actors Theater of

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Speaker 1: Louisville and did some plays there, and Arthur Coppet play

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Speaker 1: and and then there wasn't an idea that you want

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Speaker 1: to kind of strap yourself into the rocket sled here

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

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

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Speaker 1: I did some place, and then I met Andre Gregory

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Speaker 1: and I did Vanya and all along though I was

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

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Speaker 1: and things, and but it wasn't until I was twenty

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

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Speaker 1: HBO movie called Cast a Deadly Spell. And then I

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Speaker 1: did and the Rucks at Cradle, and then I did Shortcuts,

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Speaker 1: and I did Safe and then and then my movie

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Speaker 1: career didn't really start happening till I was twenty thirty.

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Speaker 1: So for it was just theater. Shortcuts was the biggest

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Speaker 1: break you out at that time. Well what happened was

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Speaker 1: I did Shortcuts, Bonnet Street and Safe. So it's kind

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Speaker 1: of the beginning of the independent theater movement, if you will.

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Speaker 1: And they all came out within the same year. And

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Speaker 1: I went from being an actress who had no profile

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Speaker 1: at all in film, none because I couldn't I couldn't

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Speaker 1: get arrested doing movies. I mean, I would never get cast.

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Speaker 1: I don't know, you know, honestly, I would just didn't

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Speaker 1: get him. I didn't get him. And in the eighties

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Speaker 1: I can remember, I mean, I just for a ton

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Speaker 1: of things remember addition for the lists of merchant Ivory movies.

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Speaker 1: I always wanted to get one of those because those

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Speaker 1: were such a big deal. I would act for big comedies.

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Speaker 1: I just didn't get them. And I was like, you know,

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Speaker 1: I remember the same thing. You'd be sitting there going, man,

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Speaker 1: I want to give me one of them John Sales movies.

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Speaker 1: That's why I liked to be one of the I

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Speaker 1: auditioned for him constantly. I never bought them. I actually

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Speaker 1: got really close to a few things, but I never

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Speaker 1: got anything where I did really well. Wasn't television. I

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Speaker 1: kept like booking TV things, but they would put you

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Speaker 1: on hold, and then they do pilots for them, and

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Speaker 1: that's the other thing to my pilots holding deals. They

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Speaker 1: would wouldn't get picked up. Whenever anybody says how do

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Speaker 1: you plan your career? You know, I mean, you laugh

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Speaker 1: because we don't have any control. There's about it. You

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Speaker 1: seem like somebody who's had a plan. Once you started

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Speaker 1: making films where the things you just didn't do anymore.

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Speaker 1: Did you try to say, I'm going to put all

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Speaker 1: my eggs in this basket. No. Most of the time

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Speaker 1: we just do with what you're offered. You know, you

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Speaker 1: do the best of what you're what you're offered, you know.

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Speaker 1: I think after I was on the soap, I did

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Speaker 1: you know, I didn't spend a lot of money. I

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Speaker 1: kept my money in the bank. So then I spent

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Speaker 1: some time doing theater because I really felt like I

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Speaker 1: wanted to do that, you know, Yeah, I wanted to

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

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

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

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Speaker 1: but in between short cuts, yeah, and playing Sarah Palin.

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Speaker 1: It's not a lot of TV in between there. Once

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

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Speaker 1: you don't go back to TVA 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 the called you know, now it's the Golden

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Speaker 1: Age or television now. There there was such kind of

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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, we were doing Uncle Vanya and he sat

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

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Speaker 1: 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 would school in Boston,

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

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Speaker 1: This is like Grandpa, Grandma Sha remember that, remember take

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

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Speaker 1: Bridle Theodore in Harvard Square Haad Square. So the Brittle

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Speaker 1: was the 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: Became Mrs Miller, any of those movies. So I'm 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. So he's

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Speaker 1: Alvania and then he met me on the player, which

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Speaker 1: I desperately wanted. I remember sitting there talking to him.

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

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

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Speaker 1: And then I got this phone call out of the

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Speaker 1: blue for shortcuts. Hi, It's Bob Altman. Do you remember me?

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Speaker 1: You know who I am? And I was. I thought

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Speaker 1: was somebody playing a trick on me? I really did.

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Speaker 1: I didn't think it was possible that he you know.

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Speaker 1: That's when we had hard lines to pick up your

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

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

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Speaker 1: I'll do it because no one 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, really,

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Speaker 1: really a dream come true to work with him. What

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Speaker 1: an amazing man. Did you make a movie with him? No?

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Speaker 1: You know, from what I could see, he was someone

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Speaker 1: who listen. It's no secret I think when you're in

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Speaker 1: the business who were out of it, but especially when

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Speaker 1: you're in the business that casting and effective casting is

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Speaker 1: six or more of a director's job. They want to

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Speaker 1: bring people to the party who know how to hit

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Speaker 1: the ball. And he was someone who I'll never forget.

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Speaker 1: Someone said to me. They were all gathered there in

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Speaker 1: this air sence rehearsals. Some of them were able to

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Speaker 1: attend it somewhere, and Bob just turned everybody and said, uh,

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Speaker 1: nooka may was in its Yanni and field. And he

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Speaker 1: would looked at them and he was like, now a nook,

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

365
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Speaker 1: and tou 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, subtitler or whatever.

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

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

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

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

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

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Speaker 1: you 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

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Speaker 1: corral and something. Even with an improv he'd say, okay,

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Speaker 1: you know improv this. He said that a let's do

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Speaker 1: it again, but this time you just say that part.

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

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Speaker 1: really made 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 known.

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Speaker 1: That's right, She's a total unknown, they said. I thought,

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

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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 who wasn't famous. So it isn't

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

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Speaker 1: movie any of us have seen exactly what changed if

390
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Speaker 1: you did that film? Did you change personally? Did I change?

391
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Speaker 1: I'm ugly and I have no talents, right, and now

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

393
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Speaker 1: then I became yeah, talented and I know everything. You know.

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Speaker 1: It was interesting and I think this is it's actually

395
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Speaker 1: very similar to what I felt growing up as a kid.

396
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Speaker 1: You would be In one situation, you'd be at a

397
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Speaker 1: school and maybe you would be a kid who wasn't

398
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Speaker 1: very popular and no one thought you were very interesting

399
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Speaker 1: or something. And then you'd moved to another school that's cool,

400
00:19:53,320 --> 00:19:55,480
Speaker 1: everybody would think you were interesting for some reason. It

401
00:19:55,480 --> 00:19:57,800
Speaker 1: would just happen, and you think, like, well, I was

402
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Speaker 1: the same person. I haven't changed much, So it's a perception.

403
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Speaker 1: Perception has changed. The perception was changed after all, so well,

404
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Speaker 1: and so that's what happened to me too. So after

405
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Speaker 1: ten years of doing television and theater, although people don't

406
00:20:10,600 --> 00:20:12,440
Speaker 1: see the theater, so they don't think you really exist.

407
00:20:13,080 --> 00:20:15,640
Speaker 1: Is she TV? People thought, oh, she's a TV actress?

408
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Speaker 1: And then I do work with Andre Gregory and Louis

409
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Speaker 1: Mall and I work with you, Robert Altman, and I

410
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Speaker 1: work with Todd Haynes, and suddenly I'm a huge film discovery.

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Speaker 1: I'm in this amazing yeah. And then I'm like, I'm

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Speaker 1: the same, the same thing. So I think, oddly, what

413
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Speaker 1: happens is that you don't change a perception of yourself.

414
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Speaker 1: You're like, well, clearly, it's just other people's perception. It

415
00:20:37,080 --> 00:20:40,360
Speaker 1: solidified my own work ethic that it doesn't matter where

416
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Speaker 1: I'm working. Did you feel that the way you grew

417
00:20:42,760 --> 00:20:45,560
Speaker 1: up fed this in terms of you being because because

418
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Speaker 1: you had to reinvent yourself. Yeah, well you were seen

419
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Speaker 1: by a fresh set of again and again and again.

420
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Speaker 1: You just you have to discover a core self and

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Speaker 1: a corpse. Of course, that's the values. And people kind

422
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Speaker 1: of poop poo and say like, oh TV or oh

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00:20:59,359 --> 00:21:03,040
Speaker 1: this or that. I'm like, you know, it's all valuable,

424
00:21:03,119 --> 00:21:05,920
Speaker 1: all of it. You know. Yeah, when I do radio announcing,

425
00:21:07,240 --> 00:21:10,960
Speaker 1: it's work, it works working, and it's also it's it's

426
00:21:11,040 --> 00:21:13,280
Speaker 1: valuable for you to do your bus no matter where

427
00:21:13,320 --> 00:21:16,080
Speaker 1: you are too. I really really believe that you know

428
00:21:16,359 --> 00:21:18,560
Speaker 1: in everything you do. And I also resent it when

429
00:21:18,560 --> 00:21:20,680
Speaker 1: people say that they can't do something like they can't

430
00:21:21,160 --> 00:21:24,040
Speaker 1: they were terrible waitress, And I'm like why because you

431
00:21:24,080 --> 00:21:28,119
Speaker 1: weren't paying attention. You're supposed to write down. So it's

432
00:21:28,280 --> 00:21:30,600
Speaker 1: it's important no matter what you're doing, to put effort

433
00:21:30,640 --> 00:21:33,360
Speaker 1: into it. I think, did you have a good representation

434
00:21:33,440 --> 00:21:37,400
Speaker 1: during that time? I did? Well. It's interesting I've been

435
00:21:37,440 --> 00:21:39,840
Speaker 1: with the same agent now and the same manager for

436
00:21:40,040 --> 00:21:44,120
Speaker 1: twenty years. My first ten years I did change representatives

437
00:21:44,119 --> 00:21:46,919
Speaker 1: a few times before I landed where I landed. My

438
00:21:47,040 --> 00:21:50,520
Speaker 1: first agent was it was terrible. Was this an agency

439
00:21:50,560 --> 00:21:54,800
Speaker 1: called Hesseltine Baker, you remember them. So they got me

440
00:21:54,920 --> 00:21:58,800
Speaker 1: out out of school. So they put pulled me out

441
00:21:58,840 --> 00:22:00,560
Speaker 1: of school. It was a big deal, have an agent.

442
00:22:00,600 --> 00:22:04,600
Speaker 1: And I had no auditions at all, nothing, absolutely nothing

443
00:22:05,359 --> 00:22:08,880
Speaker 1: an agent. Yeah, no one called my answering service. No auditions.

444
00:22:08,880 --> 00:22:12,040
Speaker 1: And then I got a phone call um Bob Bob

445
00:22:12,080 --> 00:22:14,200
Speaker 1: Hezeltine and what was it? Who was the guy? Anyway,

446
00:22:14,240 --> 00:22:16,480
Speaker 1: I remember the guys. But one of the big guys

447
00:22:16,560 --> 00:22:18,800
Speaker 1: called me and said he had something really really important

448
00:22:18,920 --> 00:22:21,560
Speaker 1: and a great opportunity for me. And I got so excited,

449
00:22:21,600 --> 00:22:23,399
Speaker 1: and he said it was for a friend of his.

450
00:22:23,480 --> 00:22:25,480
Speaker 1: They needed a girl to fit in the costume to

451
00:22:25,600 --> 00:22:28,840
Speaker 1: ride on a float in the Thanksgiving aperade. Do you

452
00:22:28,840 --> 00:22:31,560
Speaker 1: remember what the costume was? I don't. Maybe it was

453
00:22:31,600 --> 00:22:38,679
Speaker 1: a turkey, a super hot turkey. And that's when I

454
00:22:38,720 --> 00:22:41,960
Speaker 1: was like, this is ridiculous, Thank you very much, I'm leaving.

455
00:22:42,760 --> 00:22:45,679
Speaker 1: What advice does an agent give you? Oh, people, they

456
00:22:45,680 --> 00:22:47,960
Speaker 1: don't give you any advice. They don't. They were like

457
00:22:47,960 --> 00:22:51,920
Speaker 1: air traffic controllers. Well, here's the interesting thing I think

458
00:22:51,960 --> 00:22:53,679
Speaker 1: about acting, and I hear this from I hear this

459
00:22:53,720 --> 00:22:56,440
Speaker 1: with young actors and stuff too. And when people would

460
00:22:56,480 --> 00:22:59,520
Speaker 1: say in the press, they say, I didn't choose that,

461
00:22:59,720 --> 00:23:02,280
Speaker 1: you know, my agent chose that for me. And my

462
00:23:02,400 --> 00:23:04,399
Speaker 1: agent said I should do it, or so and so

463
00:23:04,600 --> 00:23:07,919
Speaker 1: made me do it. And I'm like, that's bologney. No

464
00:23:08,000 --> 00:23:10,440
Speaker 1: one makes you do anything. It isn't interesting when you

465
00:23:10,520 --> 00:23:14,920
Speaker 1: run into that type of person who's heavily, heavily coached

466
00:23:15,280 --> 00:23:18,360
Speaker 1: by agents and composes, which is such a foreign thing

467
00:23:18,400 --> 00:23:20,479
Speaker 1: to me. Yeah, I mean it is your life, you know,

468
00:23:20,600 --> 00:23:23,160
Speaker 1: and it's and you make the decisions and you control

469
00:23:23,400 --> 00:23:27,160
Speaker 1: you know, you can totally self determining the material you've done. Yeah,

470
00:23:27,520 --> 00:23:30,080
Speaker 1: ever talked into doing a movie. I've talked myself into

471
00:23:30,160 --> 00:23:32,800
Speaker 1: doing things for money, you know. But but then but

472
00:23:32,800 --> 00:23:35,040
Speaker 1: then I have, but I take responsibility for it. I

473
00:23:35,040 --> 00:23:37,200
Speaker 1: don't think there's anything where somebody said you really should

474
00:23:37,280 --> 00:23:39,200
Speaker 1: do this piece where I did it unless I felt

475
00:23:39,240 --> 00:23:44,440
Speaker 1: like there was an economic imperative. But mostly Julianne avoids

476
00:23:44,480 --> 00:23:47,439
Speaker 1: the money trap. She works instead with some of the

477
00:23:47,440 --> 00:23:51,080
Speaker 1: best in the business. Coming up, she'll discuss her collaborations

478
00:23:51,080 --> 00:23:58,600
Speaker 1: with David Cronenberg and Gus van Zant. Next time on

479
00:23:58,800 --> 00:24:01,960
Speaker 1: Here's the Thing, I talk with tennis legend John McEnroe.

480
00:24:02,520 --> 00:24:05,760
Speaker 1: His idea to improve the game will not surprise you

481
00:24:06,000 --> 00:24:07,920
Speaker 1: if you really want to make the game more popular.

482
00:24:07,960 --> 00:24:11,439
Speaker 1: To me, no umpires on the court, no linesman. You

483
00:24:11,480 --> 00:24:15,359
Speaker 1: don't need linesmen. They've already proven they can't see anything

484
00:24:15,400 --> 00:24:18,960
Speaker 1: over the course of last fifty years. John McEnroe talks tennis,

485
00:24:19,119 --> 00:24:22,560
Speaker 1: family and his love of music. Next time on Here's

486
00:24:22,600 --> 00:24:39,040
Speaker 1: the Thing. This is Alec Baldwin. My guest today is

487
00:24:39,119 --> 00:24:42,520
Speaker 1: Julianne Moore. I have always assumed that Moore picked her

488
00:24:42,560 --> 00:24:46,280
Speaker 1: projects carefully, and that she turned down mediocre films that

489
00:24:46,400 --> 00:24:49,280
Speaker 1: offered huge payots. To be honest with you, I mean,

490
00:24:49,320 --> 00:24:50,920
Speaker 1: I would like to say that I did, but I don't.

491
00:24:50,960 --> 00:24:54,920
Speaker 1: I didn't have a whole like huge, leading leady people

492
00:24:55,000 --> 00:24:57,399
Speaker 1: hiring you. What were they hiring you for? I don't know.

493
00:24:57,480 --> 00:24:59,120
Speaker 1: I mean, I mean a lot of things that I've done,

494
00:24:59,119 --> 00:25:02,480
Speaker 1: we're smaller but budgeted things. I think, what did they

495
00:25:02,480 --> 00:25:05,720
Speaker 1: expect from you? Acting? Was I have an idea? But

496
00:25:05,760 --> 00:25:08,000
Speaker 1: you tell me? Really, I don't know. Well, you know,

497
00:25:08,280 --> 00:25:09,960
Speaker 1: in the nineties, in particular, when there are a lot

498
00:25:09,960 --> 00:25:11,880
Speaker 1: of people who were working, who are who were writer

499
00:25:11,960 --> 00:25:14,560
Speaker 1: directors and they were kind of, I'm sort of a

500
00:25:14,600 --> 00:25:17,760
Speaker 1: really great, great period for independent film. I think people

501
00:25:17,800 --> 00:25:22,520
Speaker 1: were looking to tell these really unusual stories and there

502
00:25:22,560 --> 00:25:27,040
Speaker 1: wasn't an economic expectation on them either. That's changed. So

503
00:25:27,320 --> 00:25:29,800
Speaker 1: it was about being involved in that narrative and that

504
00:25:29,960 --> 00:25:32,159
Speaker 1: in that vision and stuff. You know. It really was

505
00:25:32,280 --> 00:25:35,240
Speaker 1: bringing that story to life, I think. But yeah, I

506
00:25:35,240 --> 00:25:36,960
Speaker 1: mean in the commercial films that I've done, I've done

507
00:25:36,960 --> 00:25:40,280
Speaker 1: I've done, yeah, but I had I've had great directors

508
00:25:40,359 --> 00:25:44,840
Speaker 1: like Steven Spielberg and Ridley Scott only did the first sequel. Yeah,

509
00:25:44,840 --> 00:25:47,200
Speaker 1: he did the first one and then they was out

510
00:25:47,200 --> 00:25:49,480
Speaker 1: of it. Does the opportunity to work with him that

511
00:25:49,560 --> 00:25:54,320
Speaker 1: was amazing? But did that take forever? It took six months?

512
00:25:54,320 --> 00:25:55,960
Speaker 1: I guess. Yeah. You know. I did a movie called

513
00:25:56,000 --> 00:25:58,399
Speaker 1: Nine Months that also took six months back in those days,

514
00:25:58,600 --> 00:26:00,160
Speaker 1: you know, But I don't think I ever took off

515
00:26:00,200 --> 00:26:02,600
Speaker 1: as a commercial movie. You could. Really, what do you

516
00:26:02,640 --> 00:26:05,679
Speaker 1: think you did Jurassic I don't know. I don't know

517
00:26:05,720 --> 00:26:09,080
Speaker 1: that I could have. I mean, I did you send

518
00:26:09,080 --> 00:26:11,040
Speaker 1: singles to the business that you were not in that game?

519
00:26:11,480 --> 00:26:14,199
Speaker 1: People do that well, honestly, I don't think so, I

520
00:26:14,200 --> 00:26:16,359
Speaker 1: don't think I did. I think I was, you know,

521
00:26:16,400 --> 00:26:18,520
Speaker 1: I think I kind of was like all Playball. But

522
00:26:18,560 --> 00:26:20,399
Speaker 1: I don't know that any of those movies were hits.

523
00:26:20,560 --> 00:26:22,720
Speaker 1: You know. I was in Hannibal. That wasn't a huge hit.

524
00:26:23,200 --> 00:26:25,400
Speaker 1: I don't know, you know, I really, I really don't know.

525
00:26:26,720 --> 00:26:29,840
Speaker 1: But I do know that I really like what I do.

526
00:26:30,040 --> 00:26:32,439
Speaker 1: You know, I like you made every kind of movie.

527
00:26:32,680 --> 00:26:36,720
Speaker 1: I've made every kind of You've made every kind of movie. Yeah. Yeah,

528
00:26:37,000 --> 00:26:40,800
Speaker 1: You've done movies with Steven Spielberg, that's right. You've done

529
00:26:40,800 --> 00:26:44,120
Speaker 1: sequels or Anthony Hopkins chops his own hand off because

530
00:26:44,119 --> 00:26:47,800
Speaker 1: he's so in love with you. Right, I've done independent

531
00:26:47,840 --> 00:26:54,399
Speaker 1: drawing movies Anderson, Yeah, scary movies. Bad did you do?

532
00:26:55,320 --> 00:26:58,679
Speaker 1: I don't know what I have. They didn't remake Psycho

533
00:26:58,720 --> 00:27:00,240
Speaker 1: and Black and whaty did it in color? Did it

534
00:27:00,280 --> 00:27:01,840
Speaker 1: in color? Yet? But that was a remake. That was

535
00:27:01,880 --> 00:27:04,280
Speaker 1: a shot by shot that I know, you know, so

536
00:27:04,560 --> 00:27:06,800
Speaker 1: which which in an interview I read you thought that

537
00:27:06,920 --> 00:27:09,000
Speaker 1: was something you should not have done. I think it failed.

538
00:27:09,080 --> 00:27:10,800
Speaker 1: I don't think that I shouldn't have done it, but

539
00:27:10,880 --> 00:27:13,280
Speaker 1: I do think that when you're doing the film that

540
00:27:13,400 --> 00:27:15,000
Speaker 1: is a shot by shot. I mean not just saying

541
00:27:15,040 --> 00:27:17,679
Speaker 1: this fascinating psychologically when you do a film. I mean,

542
00:27:17,720 --> 00:27:19,200
Speaker 1: I'm not just saying this for your benefit. You are

543
00:27:19,240 --> 00:27:23,360
Speaker 1: a very very, very very talented woman. And Van's aunt

544
00:27:23,440 --> 00:27:26,600
Speaker 1: is a good director director. What does van Zant when

545
00:27:26,600 --> 00:27:28,760
Speaker 1: he's remaking a shot by shot one of the greatest

546
00:27:28,760 --> 00:27:31,880
Speaker 1: thrillers in history? Did van Zant have to say anything

547
00:27:31,920 --> 00:27:34,080
Speaker 1: to bolster you to get through that experience? But he's

548
00:27:34,160 --> 00:27:36,720
Speaker 1: like trying to know, and it wasn't like it wasn't

549
00:27:36,760 --> 00:27:38,080
Speaker 1: like we had to be bolster to get through it.

550
00:27:38,080 --> 00:27:42,520
Speaker 1: I think we're all very specifically trying to create recreate it.

551
00:27:42,560 --> 00:27:44,879
Speaker 1: But in a month and now, I wish if if

552
00:27:44,880 --> 00:27:46,639
Speaker 1: we're do it again, I would like to do it

553
00:27:46,680 --> 00:27:48,240
Speaker 1: in black and white. I'd like to do it in

554
00:27:48,280 --> 00:27:50,399
Speaker 1: the same costume. I'd like to do it with the

555
00:27:50,440 --> 00:27:55,199
Speaker 1: exact same information. Let's do the better remake of Psychic

556
00:27:55,480 --> 00:27:57,240
Speaker 1: that that to me, I think that would have been

557
00:27:57,800 --> 00:28:00,760
Speaker 1: that we sort of modernized it but then helped the

558
00:28:00,840 --> 00:28:05,200
Speaker 1: old pacing and it was Yeah. She who's great? Oh

559
00:28:06,040 --> 00:28:10,480
Speaker 1: um um. Vince Vaughan was as a director, he was great.

560
00:28:10,520 --> 00:28:13,560
Speaker 1: He's such a lovely person, very very soft spoken, you know,

561
00:28:13,720 --> 00:28:17,080
Speaker 1: just incredibly incredibly soft spoken. I liked him a lot.

562
00:28:17,080 --> 00:28:18,720
Speaker 1: I'd like to work with him on something that he

563
00:28:19,200 --> 00:28:21,600
Speaker 1: you know that. I loved Elephant Elephant. I always tell

564
00:28:21,640 --> 00:28:24,760
Speaker 1: people see Elephant, which is his Columnbine Films, Oh my,

565
00:28:25,400 --> 00:28:27,960
Speaker 1: what an amazing film. It's been amazing film. It's like

566
00:28:27,960 --> 00:28:31,760
Speaker 1: the most hypnotic film that has a Columbine type of

567
00:28:32,359 --> 00:28:34,879
Speaker 1: theme to it. And I love Gus. I think Us

568
00:28:34,960 --> 00:28:37,600
Speaker 1: is incredible. I think my favorite kind of acting to do. Though.

569
00:28:37,840 --> 00:28:40,120
Speaker 1: We saw Todd Haynes, my friend Todd Haynes, I made

570
00:28:40,160 --> 00:28:42,320
Speaker 1: Far from Heaven and Safe with and we had dinner

571
00:28:42,360 --> 00:28:45,040
Speaker 1: together and we were talking about our experience and he said,

572
00:28:45,080 --> 00:28:48,320
Speaker 1: why did you understand? How did you understand how minimal

573
00:28:48,400 --> 00:28:49,720
Speaker 1: the acting was going to be? And I said, I

574
00:28:49,760 --> 00:28:52,480
Speaker 1: felt like I saw it in the language. His language

575
00:28:52,520 --> 00:28:55,480
Speaker 1: was so spare and so specific, and then I would say,

576
00:28:55,560 --> 00:28:57,640
Speaker 1: let me see the frame, and his frames were also

577
00:28:58,320 --> 00:29:00,880
Speaker 1: I felt like he was communicating so much just in

578
00:29:00,880 --> 00:29:03,960
Speaker 1: the frame. So my favorite things an actor is to

579
00:29:04,080 --> 00:29:06,800
Speaker 1: know what the director's vision is, to be communicated that

580
00:29:06,840 --> 00:29:09,200
Speaker 1: way through the language and in the shot, and then

581
00:29:09,240 --> 00:29:11,200
Speaker 1: I'm like, now, I know what I'm doing. Give me

582
00:29:11,240 --> 00:29:17,040
Speaker 1: an example. Well, like when Todd Todd at a shot

583
00:29:17,440 --> 00:29:19,600
Speaker 1: of a very wide living room, you know, and at

584
00:29:19,600 --> 00:29:21,479
Speaker 1: a baby shower, and there were a bunch of women

585
00:29:21,520 --> 00:29:24,160
Speaker 1: all the way at the right side of the frame.

586
00:29:24,600 --> 00:29:27,479
Speaker 1: I had crossed all the way across and was standing

587
00:29:27,560 --> 00:29:29,280
Speaker 1: up on the left side of frame, and I just

588
00:29:29,320 --> 00:29:31,200
Speaker 1: asked where the lady's room. And my only line is,

589
00:29:31,560 --> 00:29:33,680
Speaker 1: can you tell me where the lady's room is, please,

590
00:29:33,840 --> 00:29:35,840
Speaker 1: or something like that. And I could see it was

591
00:29:35,880 --> 00:29:38,560
Speaker 1: all about this movement of her kind of trying to

592
00:29:38,600 --> 00:29:40,680
Speaker 1: reach over these people. So so once I looked at that,

593
00:29:40,720 --> 00:29:42,200
Speaker 1: I was like, okay, well I can see if I

594
00:29:42,280 --> 00:29:45,360
Speaker 1: hunched my shoulders forward, then my then this little figure

595
00:29:45,400 --> 00:29:47,800
Speaker 1: is kind of bowed in this big wide frame, you know.

596
00:29:48,440 --> 00:29:51,040
Speaker 1: So he's telling the story of alienation. You know, you

597
00:29:51,040 --> 00:29:53,080
Speaker 1: don't have to talk about anything, you just do it.

598
00:29:53,080 --> 00:29:56,040
Speaker 1: It's great. When I was saying before, how I think,

599
00:29:56,720 --> 00:29:59,040
Speaker 1: you know, I know what it is people hire you

600
00:29:59,080 --> 00:30:03,640
Speaker 1: for what they expect from you. I think that the

601
00:30:03,840 --> 00:30:06,640
Speaker 1: ingredient in the meal that you are it is a

602
00:30:06,680 --> 00:30:10,360
Speaker 1: tremendous amount of emotional truth. You have a kind of

603
00:30:10,360 --> 00:30:13,640
Speaker 1: emotional residence but you turn on and off, you know,

604
00:30:13,680 --> 00:30:15,040
Speaker 1: like I always I want to talk to about pet

605
00:30:15,120 --> 00:30:16,880
Speaker 1: Anderson for a minute, Like when you do Boogie Nights

606
00:30:17,160 --> 00:30:19,360
Speaker 1: and that character you played, you played someone who was

607
00:30:19,400 --> 00:30:22,480
Speaker 1: so cut off to that. Then that's what I from

608
00:30:22,520 --> 00:30:25,280
Speaker 1: her reality. What I perceived was was did you make

609
00:30:25,320 --> 00:30:28,040
Speaker 1: a choice with this woman that famous scene you have

610
00:30:28,120 --> 00:30:29,960
Speaker 1: with him where he's going to have sex with you

611
00:30:30,040 --> 00:30:31,880
Speaker 1: when you tell him you can have this to me,

612
00:30:31,960 --> 00:30:34,320
Speaker 1: and you're very do this, do this, do this, you

613
00:30:34,320 --> 00:30:35,880
Speaker 1: can do this to me, go ahead, go ahead, and

614
00:30:35,880 --> 00:30:37,560
Speaker 1: you're kind of holding it. It's like his first day

615
00:30:37,560 --> 00:30:40,400
Speaker 1: at school. Or she's a complete denial about what's going on.

616
00:30:40,440 --> 00:30:43,320
Speaker 1: And she's someone who's made an economic choice. You really,

617
00:30:43,360 --> 00:30:45,320
Speaker 1: she's given up her family, has given up her child.

618
00:30:45,600 --> 00:30:47,080
Speaker 1: She probably was in a position where this was the

619
00:30:47,080 --> 00:30:49,000
Speaker 1: only kind of work she could get. She's a drug

620
00:30:49,280 --> 00:30:52,120
Speaker 1: to meet any of those people, Yeah, she's a drug addict.

621
00:30:52,200 --> 00:30:53,920
Speaker 1: My favorite scene in the movie is when she goes

622
00:30:54,440 --> 00:30:56,200
Speaker 1: to court to get custody of her son. We're talking

623
00:30:56,240 --> 00:30:58,760
Speaker 1: about booge Nights who are listening, and she's all dressed

624
00:30:58,840 --> 00:31:00,560
Speaker 1: up and she's trying to be kind of a straight

625
00:31:00,640 --> 00:31:03,640
Speaker 1: arrow and stuff and she feels very self righteous about

626
00:31:03,640 --> 00:31:06,400
Speaker 1: getting her child back, and the judge looks at her

627
00:31:06,440 --> 00:31:09,880
Speaker 1: and says, Maggie, have you ever been arrested? And that's

628
00:31:09,920 --> 00:31:13,400
Speaker 1: the end, and you go, oh my god, this you know,

629
00:31:13,600 --> 00:31:16,360
Speaker 1: she's she's of course she's been arrested, you know, and

630
00:31:16,400 --> 00:31:18,680
Speaker 1: she's just sobs and sobs and stops, and you go, So,

631
00:31:18,720 --> 00:31:20,520
Speaker 1: this is a woman who in her head thinks that

632
00:31:20,600 --> 00:31:24,000
Speaker 1: she can be a parent, but she's she can't. She's

633
00:31:24,040 --> 00:31:25,760
Speaker 1: not living a life is going to allow herself to

634
00:31:25,800 --> 00:31:28,120
Speaker 1: parent a child, but she won't. It's a huge space

635
00:31:28,160 --> 00:31:30,280
Speaker 1: between what she feels about herself and what the actual

636
00:31:30,960 --> 00:31:33,080
Speaker 1: what was actually happened. That's the first time you worked

637
00:31:33,080 --> 00:31:36,120
Speaker 1: with Anderson. Yeah, what have you been doing before that?

638
00:31:36,520 --> 00:31:40,520
Speaker 1: What did he see you when Safe? I don't know.

639
00:31:40,680 --> 00:31:41,840
Speaker 1: I think he saw me and but I think he

640
00:31:41,880 --> 00:31:44,240
Speaker 1: saw the shortcuts and Safe and Vannie and all that stuff.

641
00:31:44,480 --> 00:31:46,640
Speaker 1: You know. Paul was very young, he was twenty six.

642
00:31:46,760 --> 00:31:49,120
Speaker 1: We met. We met at a party and a friend

643
00:31:49,120 --> 00:31:50,640
Speaker 1: of mine introduced me to him and said, this guy

644
00:31:50,680 --> 00:31:52,440
Speaker 1: wrote this script and he wants you to do it.

645
00:31:52,520 --> 00:31:54,120
Speaker 1: And I was like, I would love to read it.

646
00:31:54,440 --> 00:31:55,960
Speaker 1: And he said, you're going to be in my movie.

647
00:31:56,040 --> 00:31:57,760
Speaker 1: Man got the script and I read it and I

648
00:31:57,800 --> 00:32:01,560
Speaker 1: was like, holy cow, yes, I am, um, this is fantastic.

649
00:32:02,000 --> 00:32:04,440
Speaker 1: He has such an original voice. Was so exciting. It

650
00:32:04,520 --> 00:32:08,960
Speaker 1: was such an amazing story and so emotional and wonderful

651
00:32:09,000 --> 00:32:11,000
Speaker 1: and rich, and yeah, I was lucky to get it.

652
00:32:12,240 --> 00:32:13,800
Speaker 1: You know what you were saying. I was thinking about,

653
00:32:13,840 --> 00:32:16,680
Speaker 1: how let me talk about emotion, you know on camera

654
00:32:16,720 --> 00:32:19,000
Speaker 1: and stuff. You have that too. You have this, You

655
00:32:19,040 --> 00:32:23,080
Speaker 1: have this tremendous vitality, like a real sense of being

656
00:32:23,120 --> 00:32:27,640
Speaker 1: alive and a lot, a lot contained inside you. And

657
00:32:27,680 --> 00:32:30,400
Speaker 1: it's wonderful to work with you because it just permeates

658
00:32:30,400 --> 00:32:33,200
Speaker 1: the scene, like you know, you feel that. That's the trick.

659
00:32:33,480 --> 00:32:36,640
Speaker 1: The trick is how do you live on camera? How

660
00:32:36,680 --> 00:32:38,520
Speaker 1: do you become alive on camera? So there's all the

661
00:32:38,520 --> 00:32:42,040
Speaker 1: stuff about acting, you know, you can kind of create

662
00:32:42,040 --> 00:32:48,360
Speaker 1: all this kind of stuff, you know, yeah, be alive,

663
00:32:48,560 --> 00:32:51,120
Speaker 1: be alive. You did that great thing when we had

664
00:32:51,160 --> 00:32:53,240
Speaker 1: that scene in Still Alice. You know, we had to say,

665
00:32:53,280 --> 00:32:55,800
Speaker 1: remember Santorini, which is always really hard to start a

666
00:32:55,840 --> 00:32:58,800
Speaker 1: scene with that kind of thing, and and you said,

667
00:32:58,840 --> 00:33:02,560
Speaker 1: and then you made these are laughing so hard, And

668
00:33:02,600 --> 00:33:05,120
Speaker 1: then I started laughing and then suddenly it's a scene

669
00:33:05,120 --> 00:33:12,200
Speaker 1: about two people laughing because trying. But you know it's

670
00:33:12,280 --> 00:33:14,040
Speaker 1: it's like, that's what you want, you know. That's why

671
00:33:14,080 --> 00:33:16,600
Speaker 1: I like to talk when I work. What do people

672
00:33:16,800 --> 00:33:19,080
Speaker 1: expect from you or think of you when they meet you.

673
00:33:19,200 --> 00:33:20,760
Speaker 1: I think they think that I'm going to be more

674
00:33:20,800 --> 00:33:23,160
Speaker 1: serious than I am. I guess because all the dramas

675
00:33:23,160 --> 00:33:25,080
Speaker 1: and the crying and stuff, they think that I'm going

676
00:33:25,120 --> 00:33:27,560
Speaker 1: to be really dramatic and Sam motion of the film. Yeah,

677
00:33:27,640 --> 00:33:29,760
Speaker 1: but I'm not. As you know, I'm not a very

678
00:33:29,800 --> 00:33:32,160
Speaker 1: serious person and I'm not a very I'm not a

679
00:33:32,240 --> 00:33:36,760
Speaker 1: terribly sad person. You are sure, Yeah, I can be serious,

680
00:33:36,760 --> 00:33:40,120
Speaker 1: but I like to I'm very chatty. I like to

681
00:33:40,160 --> 00:33:43,440
Speaker 1: talk all the way up to action. I do. I do,

682
00:33:43,640 --> 00:33:45,840
Speaker 1: And if you can't talk to me, I'm really disappointed.

683
00:33:45,880 --> 00:33:47,760
Speaker 1: Then I get lonely, and I want to be lonely

684
00:33:47,760 --> 00:33:49,520
Speaker 1: when I won't, I want to be with my buddy.

685
00:33:49,600 --> 00:33:50,960
Speaker 1: I'm going to talk to me. You talk to me

686
00:33:50,960 --> 00:33:52,280
Speaker 1: and my friend. Let's be buddies. Talk to you. What

687
00:33:52,320 --> 00:33:53,440
Speaker 1: did you do this morning? What do you have for

688
00:33:53,440 --> 00:33:55,400
Speaker 1: dinner last night? What are you doing later today? Are

689
00:33:55,440 --> 00:33:57,360
Speaker 1: you cold? You like that sweater. Don't you like my sweater?

690
00:33:57,640 --> 00:34:00,000
Speaker 1: What are you doing? Action acting? I love it. That's

691
00:34:00,040 --> 00:34:03,120
Speaker 1: my favorite part is then you get this great connection

692
00:34:03,120 --> 00:34:06,000
Speaker 1: with other human being and then the scenes like comes alive.

693
00:34:06,200 --> 00:34:08,440
Speaker 1: You know, you think that that emotion is so available

694
00:34:08,480 --> 00:34:13,520
Speaker 1: to you. Why it's inside It's inside everybody everyone, So

695
00:34:13,560 --> 00:34:16,080
Speaker 1: it's like, how do you access that? You know, your

696
00:34:16,080 --> 00:34:18,680
Speaker 1: own story, everybody else's story. You know, what you're getting

697
00:34:18,719 --> 00:34:21,960
Speaker 1: on top is just like the tiniest little like shell.

698
00:34:22,440 --> 00:34:25,520
Speaker 1: Other than that, there's all this stuff. But then, but then,

699
00:34:25,600 --> 00:34:27,160
Speaker 1: like I said, it's easier for me to get into

700
00:34:27,200 --> 00:34:29,040
Speaker 1: it when I'm when I'm shot, you know, talking to

701
00:34:29,080 --> 00:34:31,040
Speaker 1: you about you know how much I like your sweater?

702
00:34:31,880 --> 00:34:34,520
Speaker 1: And you know where you live? And are you going

703
00:34:34,600 --> 00:34:37,279
Speaker 1: to rent or are you going to buy? Or you

704
00:34:37,280 --> 00:34:38,719
Speaker 1: know all that kind of stuff. You know, how are

705
00:34:38,760 --> 00:34:41,680
Speaker 1: your kids? You know? How was seventh grade for so

706
00:34:41,760 --> 00:34:45,000
Speaker 1: and so? I mean, I I love all that stuff.

707
00:34:45,080 --> 00:34:47,120
Speaker 1: I remember when I was younger, I think it was

708
00:34:47,280 --> 00:34:52,920
Speaker 1: even unconsciousness. I would see people acting films, and the

709
00:34:52,960 --> 00:34:57,040
Speaker 1: predominant examples would be like Brando or Gina or something

710
00:34:57,120 --> 00:35:02,000
Speaker 1: like that, where them breaking down wasn't a big deal.

711
00:35:02,560 --> 00:35:05,719
Speaker 1: These are like notes you played in music, like that's

712
00:35:05,719 --> 00:35:08,440
Speaker 1: just what people do. I didn't think about it, like

713
00:35:08,440 --> 00:35:10,359
Speaker 1: like it was separate because I went to Strasbourg where

714
00:35:10,400 --> 00:35:12,239
Speaker 1: they really they put you in the frying pan and

715
00:35:12,239 --> 00:35:14,239
Speaker 1: they really made you get to that. And I went

716
00:35:14,280 --> 00:35:16,080
Speaker 1: to act to school for a year where we basically

717
00:35:16,120 --> 00:35:18,360
Speaker 1: cried for like they will. They try to get you

718
00:35:18,440 --> 00:35:20,960
Speaker 1: used to being able to do. But the funny thing

719
00:35:21,120 --> 00:35:23,080
Speaker 1: is is that that's just a technique to get you

720
00:35:23,120 --> 00:35:25,799
Speaker 1: to tap into it because people don't really behave that way,

721
00:35:25,880 --> 00:35:27,480
Speaker 1: but you have to find it once again. It's all

722
00:35:27,520 --> 00:35:31,640
Speaker 1: about what's true, what's real. It's like guns in movies

723
00:35:31,680 --> 00:35:35,480
Speaker 1: and guns going off and people hitting people. Sometimes, especially

724
00:35:35,560 --> 00:35:37,440
Speaker 1: early on in my career, people be like and then

725
00:35:37,480 --> 00:35:40,440
Speaker 1: someone gets slapped, and I thought, wait, people don't slap

726
00:35:40,480 --> 00:35:44,160
Speaker 1: each other, and if somebody does, it's shocking. So remember

727
00:35:44,200 --> 00:35:47,640
Speaker 1: that when when there's a physical altercation, you're shocked by it.

728
00:35:47,680 --> 00:35:50,279
Speaker 1: When people cry, it's upsetting. You're not trying to cry.

729
00:35:50,320 --> 00:35:51,800
Speaker 1: You're trying not to cry because you don't want to

730
00:35:51,800 --> 00:35:53,680
Speaker 1: be embarrassed, you know. So it's like, so all that

731
00:35:53,719 --> 00:35:56,839
Speaker 1: acting school stuff is about learning how to locate all

732
00:35:56,880 --> 00:36:00,399
Speaker 1: those feelings but then over time, with experience, you learn,

733
00:36:01,120 --> 00:36:04,640
Speaker 1: like the greats like Brando, to modulate them. When you

734
00:36:04,640 --> 00:36:08,279
Speaker 1: worked with PT with Paul Thomas Anderson, Boogie Knights was

735
00:36:08,320 --> 00:36:10,400
Speaker 1: the first film was he helpful to. He was a

736
00:36:10,480 --> 00:36:12,200
Speaker 1: director who did it all basically take care of itself.

737
00:36:12,239 --> 00:36:14,239
Speaker 1: Because it was take care of itself. I have to

738
00:36:14,239 --> 00:36:18,359
Speaker 1: say the great directors, all the greatest directors say very

739
00:36:18,480 --> 00:36:21,719
Speaker 1: very little. Magnolia was harder because it was so emotional

740
00:36:21,840 --> 00:36:24,080
Speaker 1: and I was really trying to plot it, you know,

741
00:36:24,080 --> 00:36:26,160
Speaker 1: because I had to literally cry in every scene, and

742
00:36:26,200 --> 00:36:28,239
Speaker 1: so I had to I'm like, all right, Paul, Paul,

743
00:36:28,280 --> 00:36:31,040
Speaker 1: this is this is like the smaller crying into the bigger,

744
00:36:31,080 --> 00:36:33,239
Speaker 1: crying at the biggest, crying to the big, big, big,

745
00:36:33,360 --> 00:36:35,000
Speaker 1: you know. So it's like I had to find a

746
00:36:35,040 --> 00:36:37,520
Speaker 1: way to not be. It wasn't like the level of

747
00:36:37,560 --> 00:36:40,360
Speaker 1: hysteria had to change, you know. I had to be modulated.

748
00:36:40,680 --> 00:36:42,440
Speaker 1: I couldn't be at ten. I had to be at

749
00:36:42,440 --> 00:36:44,200
Speaker 1: two and you know, get to ten and all that

750
00:36:44,239 --> 00:36:46,360
Speaker 1: kind of There are times when I'll say to director,

751
00:36:47,320 --> 00:36:50,120
Speaker 1: I want you to watch my vocal pattern. I want

752
00:36:50,120 --> 00:36:51,920
Speaker 1: you to watch my level of hysteria. I want you

753
00:36:51,960 --> 00:36:57,640
Speaker 1: to whatever but basically I want them to direct the movie.

754
00:36:57,800 --> 00:37:00,000
Speaker 1: Do you know I feel like I feel like they're

755
00:37:00,080 --> 00:37:03,080
Speaker 1: a It's a misnomer that the director is an acting coach.

756
00:37:03,200 --> 00:37:05,600
Speaker 1: The director is there to direct the audiences I through

757
00:37:05,640 --> 00:37:08,720
Speaker 1: a film. The actor is doing the acting. They shouldn't

758
00:37:08,760 --> 00:37:11,799
Speaker 1: have to say, you know, I think a tough time

759
00:37:11,800 --> 00:37:13,960
Speaker 1: with the director. How was it tough? Without naming names?

760
00:37:13,960 --> 00:37:16,600
Speaker 1: What was tough when they talk to me too much? Well,

761
00:37:16,640 --> 00:37:18,880
Speaker 1: because I always say to everybody, please don't speak to

762
00:37:18,920 --> 00:37:21,719
Speaker 1: me before I've done any acting, I said, because I'm

763
00:37:21,760 --> 00:37:24,000
Speaker 1: just trying to hang onto this. Yeah, see what I

764
00:37:24,000 --> 00:37:26,160
Speaker 1: come up with. And if I'm way off base, and please,

765
00:37:26,239 --> 00:37:27,759
Speaker 1: by all means, come up and say like, wow, that

766
00:37:27,800 --> 00:37:31,160
Speaker 1: wasn't what I expected. But if I hear too much,

767
00:37:31,320 --> 00:37:33,160
Speaker 1: I mean, this is gonna sound really silly and precious.

768
00:37:33,200 --> 00:37:35,600
Speaker 1: But I always say that acting. So it's like this

769
00:37:35,719 --> 00:37:39,280
Speaker 1: little flame and you've got this little thing and you're thinking, okay,

770
00:37:39,280 --> 00:37:40,520
Speaker 1: I want to say this to work, but you don't

771
00:37:40,520 --> 00:37:42,560
Speaker 1: want to blow it out. If somebody comes along and

772
00:37:42,600 --> 00:37:45,040
Speaker 1: says this is what I think, they might just blow

773
00:37:45,040 --> 00:37:47,640
Speaker 1: it out and then you have nowhere you know, then

774
00:37:47,680 --> 00:37:50,399
Speaker 1: you can't reach it anymore. And that was emotional as

775
00:37:50,440 --> 00:37:55,160
Speaker 1: you are, and you have this remarkable emotional residence in

776
00:37:55,160 --> 00:37:57,959
Speaker 1: your work. What do you like privately, to the extent

777
00:37:58,040 --> 00:38:01,320
Speaker 1: that you want to say, You're a mother. Yeah, I'm married.

778
00:38:01,360 --> 00:38:05,040
Speaker 1: Before I was married, I'm married now. But I've been

779
00:38:05,080 --> 00:38:07,720
Speaker 1: with my husband for eighteen years. We have two children,

780
00:38:07,760 --> 00:38:12,360
Speaker 1: they're sixteen and twelve. I have a fantastic, fantastic family.

781
00:38:12,800 --> 00:38:15,839
Speaker 1: I have two dogs. They're black, one is small and

782
00:38:15,880 --> 00:38:19,279
Speaker 1: one is big, a Chihuahua and a lab and uh.

783
00:38:19,360 --> 00:38:20,919
Speaker 1: We live in New York City. I have a really

784
00:38:21,040 --> 00:38:23,680
Speaker 1: nice life. I'm really really lucky. You try to keep

785
00:38:23,680 --> 00:38:26,480
Speaker 1: it simple, oh man, Yeah, I really do. I try

786
00:38:26,480 --> 00:38:29,480
Speaker 1: to keep it. He tag team work because he makes films.

787
00:38:29,520 --> 00:38:31,920
Speaker 1: He makes films and television too. You know, we've been

788
00:38:32,000 --> 00:38:34,600
Speaker 1: very fortunate. I mean, it's interesting because the work life

789
00:38:34,600 --> 00:38:38,080
Speaker 1: balance thing is always an issue for everybody when they're little.

790
00:38:38,320 --> 00:38:41,320
Speaker 1: When they were babies, it was super super easy because

791
00:38:41,360 --> 00:38:43,279
Speaker 1: babies don't know where they are and you can bring

792
00:38:43,280 --> 00:38:47,600
Speaker 1: them everywhere. Yeah, and also we have an incredibly tolerant

793
00:38:47,920 --> 00:38:51,520
Speaker 1: business toward women with children. I have to say thank

794
00:38:51,520 --> 00:38:53,759
Speaker 1: goodness for the movie business. I remember my son was

795
00:38:53,920 --> 00:38:55,359
Speaker 1: when I was doing Psycho. As a matter of fact,

796
00:38:55,719 --> 00:38:57,359
Speaker 1: my son was nine months old and I was still

797
00:38:57,360 --> 00:38:59,880
Speaker 1: getting used to having a baby, and he was always

798
00:39:00,040 --> 00:39:02,719
Speaker 1: with me and stuff, and he was hysterical in the

799
00:39:02,760 --> 00:39:04,680
Speaker 1: trailer one day and I was nursing him and trying

800
00:39:04,680 --> 00:39:06,480
Speaker 1: to him to calm down. They knocked the trailer door

801
00:39:06,480 --> 00:39:07,600
Speaker 1: and they said, you know, we need you, and I

802
00:39:07,640 --> 00:39:16,080
Speaker 1: was like, I can't come, and this adorable p a said,

803
00:39:16,360 --> 00:39:19,920
Speaker 1: no worries, man, take your time, and I was like,

804
00:39:20,040 --> 00:39:22,160
Speaker 1: holy cow, I'm the luckiest woman in the world, you know,

805
00:39:22,239 --> 00:39:25,280
Speaker 1: I mean so so our business is very tolerant. We're lucky,

806
00:39:25,400 --> 00:39:27,640
Speaker 1: and I have no complaints as an actress. Did you

807
00:39:27,719 --> 00:39:30,080
Speaker 1: turn down a lot of work with your family? So

808
00:39:30,440 --> 00:39:32,600
Speaker 1: you do? You do? I shut you turn things down

809
00:39:32,640 --> 00:39:34,880
Speaker 1: because you can't travel, you know, You're like, once the

810
00:39:34,920 --> 00:39:38,440
Speaker 1: kids are in school, I can't go. I can't go

811
00:39:38,560 --> 00:39:42,880
Speaker 1: in Australia in a few days and I feel terrible. Yeah,

812
00:39:43,120 --> 00:39:45,640
Speaker 1: it's tough, and it's tougher on women because when you

813
00:39:45,680 --> 00:39:47,719
Speaker 1: have infants, you know, I mean, it's it's easier for

814
00:39:47,760 --> 00:39:48,840
Speaker 1: you because you can go and come back or it

815
00:39:48,880 --> 00:39:51,919
Speaker 1: doesn't make it mean it's emotionally easy for you. But yeah,

816
00:39:51,960 --> 00:39:54,080
Speaker 1: so I work. I try to work. If I have

817
00:39:54,120 --> 00:39:56,080
Speaker 1: to travel, I do it in the summertime when everybody

818
00:39:56,080 --> 00:39:59,000
Speaker 1: can come. I work in the city when they're in school,

819
00:39:59,080 --> 00:40:01,480
Speaker 1: and I you know, try alright, bunch of things. If

820
00:40:01,480 --> 00:40:03,840
Speaker 1: I have to travel, a bunch of together, and you know,

821
00:40:03,880 --> 00:40:06,040
Speaker 1: and I have a partner who's an equal parent, and

822
00:40:06,560 --> 00:40:09,040
Speaker 1: we alternate. Michael Fox said the time once years ago,

823
00:40:09,080 --> 00:40:10,560
Speaker 1: he said, they send you a script. Into the script

824
00:40:10,640 --> 00:40:13,680
Speaker 1: said open on the skyline of Manhattan. He closed the

825
00:40:13,680 --> 00:40:20,560
Speaker 1: script and say, I'm in. That's it. Absolutely just you

826
00:40:20,640 --> 00:40:22,799
Speaker 1: have no idea. This tax break in New York City

827
00:40:22,800 --> 00:40:24,960
Speaker 1: has been a godsend to me. You gotta keep that going.

828
00:40:25,080 --> 00:40:28,040
Speaker 1: It's amazing because I've been able to do so many

829
00:40:28,120 --> 00:40:30,680
Speaker 1: movies at home. I mean it really and yeah, I'm like,

830
00:40:30,840 --> 00:40:34,399
Speaker 1: it's New York alright, fine, it's great, or at least

831
00:40:34,440 --> 00:40:36,680
Speaker 1: a place that has an airport that's really accessible and

832
00:40:36,719 --> 00:40:38,800
Speaker 1: you can, you know, go in and out for three days.

833
00:40:38,800 --> 00:40:44,080
Speaker 1: Someone who is as well regarded and who's made as

834
00:40:44,120 --> 00:40:46,800
Speaker 1: many great films as you've made. When you're one of

835
00:40:46,840 --> 00:40:48,440
Speaker 1: those people that you look over the list of films

836
00:40:48,480 --> 00:40:50,320
Speaker 1: you've made, it's kind of amazing. The list of movies

837
00:40:50,440 --> 00:40:54,160
Speaker 1: that you've done. Uh, when you think about co stars

838
00:40:54,160 --> 00:40:56,279
Speaker 1: of yours, men and women that you worked with, were

839
00:40:56,280 --> 00:40:58,480
Speaker 1: there times you did films that you just thought yourself, God,

840
00:40:58,520 --> 00:41:00,680
Speaker 1: I'm so lucky that you were really sited. Do you

841
00:41:00,719 --> 00:41:03,800
Speaker 1: get excited to people? Give me a couple of examples

842
00:41:03,840 --> 00:41:04,920
Speaker 1: of people over the years and you work with you

843
00:41:05,000 --> 00:41:11,440
Speaker 1: were really happy? Alec No, no, no, seriously, but tho, Okay, no,

844
00:41:11,560 --> 00:41:14,839
Speaker 1: it's true. It's true. I love you. I always wanted

845
00:41:14,840 --> 00:41:16,680
Speaker 1: to work with you and I had at such a

846
00:41:16,719 --> 00:41:18,960
Speaker 1: great time. That's why I wanted Wash to stop talking

847
00:41:19,719 --> 00:41:21,520
Speaker 1: so I could send The director would come up and

848
00:41:21,560 --> 00:41:23,719
Speaker 1: give us notes and look, I give you this look

849
00:41:23,760 --> 00:41:27,080
Speaker 1: like can't you see that Julie and I are hanging out? Yeah,

850
00:41:27,200 --> 00:41:30,640
Speaker 1: this better be important. Anyways, some other people if I loved,

851
00:41:30,680 --> 00:41:34,040
Speaker 1: Oh my gosh, Ray Finds. We had a great time

852
00:41:34,080 --> 00:41:36,560
Speaker 1: together on end of the affair was really really special,

853
00:41:37,560 --> 00:41:41,239
Speaker 1: like a great, really great connection. James Grow, you know

854
00:41:41,320 --> 00:41:43,120
Speaker 1: James le Grow. He's a friend of mine. I've worked

855
00:41:43,320 --> 00:41:47,360
Speaker 1: with him on a couple of movies Single Man. Oh yeah, Colin,

856
00:41:48,200 --> 00:41:50,080
Speaker 1: he was amazing. You know, I've worked at so many men.

857
00:41:50,120 --> 00:41:53,480
Speaker 1: I never worked with women. I mean, Laura Dern and

858
00:41:53,520 --> 00:41:55,600
Speaker 1: I worked together. She played a small part in a

859
00:41:55,600 --> 00:41:57,880
Speaker 1: movie that were I had no women to tell you

860
00:41:57,920 --> 00:42:00,279
Speaker 1: did the hours, You didn't have scenes with that. We

861
00:42:00,280 --> 00:42:02,680
Speaker 1: were all in separate movies. So I remember. I was like,

862
00:42:02,760 --> 00:42:04,680
Speaker 1: so I got to be great friends with Laura. I

863
00:42:04,719 --> 00:42:06,319
Speaker 1: was so excited that she was there and we had

864
00:42:06,520 --> 00:42:09,120
Speaker 1: and she did this beautiful thing. It was a scene

865
00:42:09,120 --> 00:42:10,560
Speaker 1: where I'm supposed to be with a bunch of women

866
00:42:10,600 --> 00:42:12,120
Speaker 1: at a party and it's like the first time I've

867
00:42:12,120 --> 00:42:15,520
Speaker 1: been out and I feel really independent and terrific, and

868
00:42:15,520 --> 00:42:18,040
Speaker 1: and she's this lovely woman I've only corresponded with. And

869
00:42:18,080 --> 00:42:19,720
Speaker 1: we had this big scene all the women are chatting

870
00:42:19,719 --> 00:42:22,080
Speaker 1: and talking and she looked over at me. And this

871
00:42:22,239 --> 00:42:24,719
Speaker 1: is off camera, by the way, too, so you can

872
00:42:24,760 --> 00:42:26,279
Speaker 1: you know you wouldn't you can see this. It was

873
00:42:26,320 --> 00:42:28,680
Speaker 1: just personal and she grabbed my hands, squeezed it and

874
00:42:28,680 --> 00:42:31,360
Speaker 1: like winked, gave me a little wink and I almost

875
00:42:31,400 --> 00:42:33,840
Speaker 1: burst into tears because that's what the scene was. That

876
00:42:34,040 --> 00:42:35,759
Speaker 1: what it was like for my character, like to be

877
00:42:35,840 --> 00:42:38,440
Speaker 1: seen by this other woman, to have this connection, this friendship,

878
00:42:38,680 --> 00:42:40,439
Speaker 1: and Laura just did it, and I was like, oh,

879
00:42:40,480 --> 00:42:43,680
Speaker 1: I love you so much. It really is remarkable when

880
00:42:43,680 --> 00:42:46,080
Speaker 1: you have that kind of experience with with an actor,

881
00:42:46,239 --> 00:42:49,319
Speaker 1: that sort of connection. I love it. Can you name

882
00:42:49,400 --> 00:42:53,200
Speaker 1: one role you played that It was really hard. It

883
00:42:53,320 --> 00:42:55,759
Speaker 1: was really a challenge, and when it was over and

884
00:42:55,800 --> 00:42:57,200
Speaker 1: you saw the film, you thought, you know, that's a

885
00:42:57,200 --> 00:42:59,960
Speaker 1: pretty good movie. For the hours did The hours was

886
00:43:00,160 --> 00:43:02,360
Speaker 1: really really hard. It was a really hard shoot. My

887
00:43:02,400 --> 00:43:05,920
Speaker 1: son was three, and we worked really long hours. And

888
00:43:05,960 --> 00:43:07,799
Speaker 1: I would get home and he'd be waiting up. Was

889
00:43:07,840 --> 00:43:09,800
Speaker 1: in London and he was waiting up for me. He

890
00:43:09,800 --> 00:43:11,320
Speaker 1: wouldn't go to sleep until I got home, you know,

891
00:43:11,320 --> 00:43:13,399
Speaker 1: because he slipped in my bed for a long long

892
00:43:13,440 --> 00:43:16,200
Speaker 1: time until he was four and a half. Um. He'd

893
00:43:16,200 --> 00:43:19,680
Speaker 1: be mortified to hear that on the radio, but it

894
00:43:19,760 --> 00:43:26,440
Speaker 1: was hopefully you won't listen, you won't listen, but he um.

895
00:43:26,520 --> 00:43:29,680
Speaker 1: So I was worriored about getting home. I was in

896
00:43:29,800 --> 00:43:32,840
Speaker 1: scenes with another little boy who was not easy to

897
00:43:32,880 --> 00:43:34,480
Speaker 1: deal with because he was only six and he was

898
00:43:34,560 --> 00:43:37,120
Speaker 1: kind of all over the place. We kept changing shots.

899
00:43:37,160 --> 00:43:39,080
Speaker 1: It was very hard, and I just couldn't feel like

900
00:43:39,080 --> 00:43:41,440
Speaker 1: I was getting anything right. And I think each and

901
00:43:41,640 --> 00:43:43,680
Speaker 1: all these separate segments and then I saw the movie

902
00:43:43,760 --> 00:43:45,840
Speaker 1: to Get and I was like, Holy Cow's movie beautiful.

903
00:43:46,200 --> 00:43:48,040
Speaker 1: I mean, you just don't know, you really don't know.

904
00:43:48,400 --> 00:43:52,280
Speaker 1: You don't know. Ever, Yeah, you did a film recently

905
00:43:52,480 --> 00:43:56,520
Speaker 1: and you were you can explain the whole travel slip

906
00:43:56,600 --> 00:43:58,800
Speaker 1: up here where you weren't able to accept this award,

907
00:43:58,880 --> 00:44:01,719
Speaker 1: but you won Best Actress and I can film and

908
00:44:01,760 --> 00:44:04,160
Speaker 1: you were there. I did. I was there while I

909
00:44:04,239 --> 00:44:06,839
Speaker 1: was there for an entire week. So I've gotten there

910
00:44:06,880 --> 00:44:09,600
Speaker 1: to do work for Loreal, who I work with, and

911
00:44:09,640 --> 00:44:12,120
Speaker 1: then I had Hunger Games pressed because they were doing something.

912
00:44:12,320 --> 00:44:14,160
Speaker 1: And then I had a film and competition called Maps

913
00:44:14,239 --> 00:44:17,000
Speaker 1: the Stars David Cronenberg. Movie was Cronenberg, the same as

914
00:44:17,040 --> 00:44:18,480
Speaker 1: the other ones. But he didn't say very much. No,

915
00:44:18,600 --> 00:44:22,080
Speaker 1: he isn't saying anything, very very little. Um. So at

916
00:44:22,080 --> 00:44:23,680
Speaker 1: that point, I've been there for seven days. I was

917
00:44:23,760 --> 00:44:26,759
Speaker 1: really exhausted. And we got home and it was Thursday

918
00:44:26,840 --> 00:44:29,319
Speaker 1: before Memorial Day weekend, and Friday we picked our kids

919
00:44:29,360 --> 00:44:31,319
Speaker 1: up from school and we came out to Montalk where

920
00:44:31,320 --> 00:44:34,160
Speaker 1: I have a house, and Saturday morning is when the

921
00:44:34,200 --> 00:44:37,719
Speaker 1: awards happened in Cannes, and I wasn't expecting anything, and

922
00:44:37,719 --> 00:44:39,560
Speaker 1: I figured if they were going to tell me something

923
00:44:39,600 --> 00:44:42,480
Speaker 1: that they would let me know. And I just got

924
00:44:42,480 --> 00:44:44,520
Speaker 1: a phone call while I was folding towels at the

925
00:44:44,560 --> 00:44:47,040
Speaker 1: pool after sweeping out my shed and stuff like that,

926
00:44:47,400 --> 00:44:50,600
Speaker 1: Memorial Day weekend, saying you just I just accepted Best

927
00:44:50,640 --> 00:44:53,160
Speaker 1: Actress for you I can from Bruce Wagner, the screenwriter.

928
00:44:53,320 --> 00:44:57,839
Speaker 1: I was stunned. What kind of movie is it. It's

929
00:44:57,840 --> 00:45:01,320
Speaker 1: a Cronenberg film, you know. It's as a movie about

930
00:45:01,360 --> 00:45:04,760
Speaker 1: all these people in Hollywood. It's it's about families. I think, actually,

931
00:45:04,800 --> 00:45:07,360
Speaker 1: I mean a lot of people think that it's about Hollywood,

932
00:45:07,360 --> 00:45:11,040
Speaker 1: but I really think it's about families and about people's

933
00:45:11,120 --> 00:45:14,399
Speaker 1: desire to connect and be seen and instead of being

934
00:45:14,440 --> 00:45:17,200
Speaker 1: seen intimately by a family member, they want to be

935
00:45:17,280 --> 00:45:21,359
Speaker 1: validated by the outside world, and how destructive that is

936
00:45:21,480 --> 00:45:24,680
Speaker 1: and how cruel it can be. It's really rough. And

937
00:45:24,760 --> 00:45:26,799
Speaker 1: David did this. This is what was cool about seeing

938
00:45:26,800 --> 00:45:29,520
Speaker 1: how director communicates to you. Because my first day of

939
00:45:29,520 --> 00:45:31,360
Speaker 1: shooting and he was setting up these shots and he

940
00:45:31,680 --> 00:45:34,040
Speaker 1: brought me in on a kind of a long angle

941
00:45:34,040 --> 00:45:36,880
Speaker 1: and I sat down at a table and he shot

942
00:45:37,680 --> 00:45:41,480
Speaker 1: Mia Washakuska and he shot me, And then I realized

943
00:45:41,480 --> 00:45:45,520
Speaker 1: that he didn't do a two shot, and that we

944
00:45:45,600 --> 00:45:48,960
Speaker 1: didn't ever come into each other's frame. We never crossed frames.

945
00:45:48,960 --> 00:45:51,560
Speaker 1: At one point I came around, I entered her frame,

946
00:45:51,960 --> 00:45:54,719
Speaker 1: but I never pushed into her frame. There was never

947
00:45:54,760 --> 00:45:57,200
Speaker 1: any physical So everyone in the film is isolated, and

948
00:45:57,200 --> 00:46:00,239
Speaker 1: I was like, oh, I get it. So you know,

949
00:46:00,320 --> 00:46:03,960
Speaker 1: he's kept everybody purposely isolated, and it's really devastating to

950
00:46:04,000 --> 00:46:06,240
Speaker 1: see something shot that way, with that kind of remove,

951
00:46:06,400 --> 00:46:08,480
Speaker 1: and that you think all these people want to do

952
00:46:08,600 --> 00:46:10,239
Speaker 1: is be in a frame with one another. You know,

953
00:46:10,239 --> 00:46:11,759
Speaker 1: that's all we do. We're usually right on top of

954
00:46:11,760 --> 00:46:14,600
Speaker 1: each other, is people, and David kept everybody very separate.

955
00:46:14,640 --> 00:46:18,680
Speaker 1: So it's sort of heartbreaking, very erotic film. No, No,

956
00:46:19,480 --> 00:46:23,839
Speaker 1: you wish it's not. It's it's not erotic. No, why

957
00:46:23,840 --> 00:46:26,919
Speaker 1: did you say that? Are you telling the truth? Why

958
00:46:26,920 --> 00:46:29,400
Speaker 1: did people tell me the Comic Works movie? You're completely

959
00:46:29,680 --> 00:46:31,320
Speaker 1: you have a three way, you went two other people.

960
00:46:32,280 --> 00:46:35,719
Speaker 1: Very it is, but it's comical. It's a comical three way.

961
00:46:35,840 --> 00:46:42,040
Speaker 1: You know those come okay, Well that's a course of

962
00:46:42,080 --> 00:46:45,160
Speaker 1: a different color. Yeah, it's not very sexy, I have

963
00:46:45,200 --> 00:46:47,359
Speaker 1: to say. And funny, the funniest thing about the three

964
00:46:47,360 --> 00:46:51,000
Speaker 1: way is that she's in bed. It's this terrible This

965
00:46:51,160 --> 00:46:55,080
Speaker 1: poor desperate woman is in bed with another man, another woman,

966
00:46:55,080 --> 00:46:56,400
Speaker 1: and the man gets up to answer the phone and

967
00:46:56,440 --> 00:46:58,200
Speaker 1: gets on the phone with a director it's working with.

968
00:46:58,280 --> 00:47:00,560
Speaker 1: And my character desperately wants a part in the in

969
00:47:00,560 --> 00:47:04,200
Speaker 1: this movie. So as she's sort of with this other woman,

970
00:47:04,200 --> 00:47:06,880
Speaker 1: she's just trying to hear him on the phone. And

971
00:47:07,040 --> 00:47:08,920
Speaker 1: he hangs up and the first thing she says is

972
00:47:09,040 --> 00:47:14,000
Speaker 1: mention me when you talk tell me about Oh. I

973
00:47:14,040 --> 00:47:16,160
Speaker 1: love him so much. He's a guy that you would

974
00:47:16,160 --> 00:47:18,560
Speaker 1: expect to be really nutty, you know, because from all

975
00:47:18,600 --> 00:47:23,200
Speaker 1: his films, he's so smart. He's interested in absolutely everything.

976
00:47:23,360 --> 00:47:27,760
Speaker 1: He he can speak eloquently on any subject. He loves people,

977
00:47:27,880 --> 00:47:30,400
Speaker 1: devoted to his family. Has worked with the same crew,

978
00:47:30,560 --> 00:47:33,560
Speaker 1: the same DP for the last thirty years or so.

979
00:47:34,160 --> 00:47:37,320
Speaker 1: You know, lives in Toronto, works in Toronto and makes

980
00:47:37,360 --> 00:47:40,799
Speaker 1: movies about kind of extreme human behavior. But it's all

981
00:47:40,840 --> 00:47:43,440
Speaker 1: within the realm of possibility. Look at a movie like Existence,

982
00:47:43,920 --> 00:47:46,720
Speaker 1: So which was so precient with that kind of crazy,

983
00:47:46,760 --> 00:47:48,760
Speaker 1: with that gaming going inside your head for the virtual

984
00:47:48,760 --> 00:47:52,720
Speaker 1: reality and Jason, the brilliant Jennifer Jason, and with the portal.

985
00:47:53,000 --> 00:47:56,440
Speaker 1: You know that that weird portal they have. But yeah, so,

986
00:47:56,560 --> 00:47:59,360
Speaker 1: I mean he really pushes with the possibilities of the

987
00:47:59,360 --> 00:48:03,440
Speaker 1: imagination are and and and our own, you know, physical possibilities.

988
00:48:03,520 --> 00:48:07,120
Speaker 1: And he's driven I think by his own intellect and curiosity.

989
00:48:07,200 --> 00:48:09,360
Speaker 1: He's a wonderful man. What are your kids? What are

990
00:48:09,400 --> 00:48:13,120
Speaker 1: your kids? My kids are great. My son is sixteen.

991
00:48:13,680 --> 00:48:16,480
Speaker 1: He's very tall, he's going to get even taller. He

992
00:48:16,600 --> 00:48:19,960
Speaker 1: loves basketball, he loves music. He's an accomplished musician. He's

993
00:48:20,000 --> 00:48:22,239
Speaker 1: like his dad. He's like his dad and a surfer

994
00:48:22,280 --> 00:48:27,120
Speaker 1: and snowboarder. And physical, yeah, physical, but also very sensitive,

995
00:48:27,120 --> 00:48:30,719
Speaker 1: emotional boy and hard working. It works very hard. My

996
00:48:30,800 --> 00:48:34,000
Speaker 1: daughter is just twelve. She's tall and slender. She loved

997
00:48:34,040 --> 00:48:36,480
Speaker 1: to ride horses. She loves fashion. She makes close. He's

998
00:48:36,520 --> 00:48:43,320
Speaker 1: a sewing machine. She loves you, Alec. She's always like, hi,

999
00:48:43,880 --> 00:48:47,840
Speaker 1: oh is that Alex God, you look sous. So Gorge's

1000
00:48:47,840 --> 00:48:53,200
Speaker 1: like thanks, thanks, She's like, well, thank you for saying

1001
00:48:53,239 --> 00:48:57,080
Speaker 1: so funny. Oh my goodness. She is fun She's a

1002
00:48:57,080 --> 00:48:59,520
Speaker 1: great spirit. She did this imitation. We were watching the

1003
00:48:59,600 --> 00:49:01,719
Speaker 1: vm as and she's playing it for me, and they

1004
00:49:01,760 --> 00:49:04,920
Speaker 1: did it. They cut to the Kardashians and the audience watching,

1005
00:49:05,360 --> 00:49:06,960
Speaker 1: and then she's like, mom, mom, this is what they

1006
00:49:07,000 --> 00:49:09,960
Speaker 1: look like. And then she and it was it was hysterical.

1007
00:49:09,960 --> 00:49:12,000
Speaker 1: I was like, you're right, that was really funny. So

1008
00:49:12,760 --> 00:49:15,480
Speaker 1: I don't know. So she's already but I don't know, right,

1009
00:49:15,480 --> 00:49:17,520
Speaker 1: Actually she wants to be a fashion designer, So we'll see.

1010
00:49:17,560 --> 00:49:21,120
Speaker 1: Who knows. You work a lot, and when you're not working,

1011
00:49:21,280 --> 00:49:23,120
Speaker 1: and if you have, especially if you have a decent

1012
00:49:23,160 --> 00:49:25,440
Speaker 1: spell of time off, what do you like to do

1013
00:49:25,480 --> 00:49:28,280
Speaker 1: with yourself? I spent a lot of time with my kids,

1014
00:49:28,360 --> 00:49:31,520
Speaker 1: taking them to school, bringing them mom school, Yeah, doing

1015
00:49:31,520 --> 00:49:34,240
Speaker 1: all the mom stuff. I'm very interested in my house.

1016
00:49:34,400 --> 00:49:37,280
Speaker 1: I like to decorate my house, go to my yoga

1017
00:49:37,320 --> 00:49:40,480
Speaker 1: place a lot. I'd love that I've been intermediate in

1018
00:49:40,520 --> 00:49:46,759
Speaker 1: you for ten years. I like to say years. She's

1019
00:49:46,800 --> 00:49:51,400
Speaker 1: good is really good. And then sometimes like this last summer,

1020
00:49:51,680 --> 00:49:54,200
Speaker 1: last winter, I guess we had a friend who could

1021
00:49:54,200 --> 00:49:56,680
Speaker 1: teach watercolor. So all my friends from from yoga got

1022
00:49:56,719 --> 00:50:00,319
Speaker 1: together and we took watercolor lessons and then we learned

1023
00:50:00,360 --> 00:50:03,360
Speaker 1: how to kind of like do deco page. I know

1024
00:50:03,480 --> 00:50:04,919
Speaker 1: that sounds crazy, but it was sort of a fun

1025
00:50:04,960 --> 00:50:07,640
Speaker 1: thing to do. And I love to read and you

1026
00:50:07,680 --> 00:50:10,440
Speaker 1: read scripts, you think about what you want to do next,

1027
00:50:10,920 --> 00:50:13,560
Speaker 1: and when you're not acting, are you mindful of that

1028
00:50:13,600 --> 00:50:15,400
Speaker 1: and you're grateful for the time and you're glad to

1029
00:50:15,440 --> 00:50:17,239
Speaker 1: have time off and be with your family, or do

1030
00:50:17,280 --> 00:50:18,640
Speaker 1: you like sitting there going I want to get back

1031
00:50:18,640 --> 00:50:21,359
Speaker 1: to working. Well, you know kind of thing. I know,

1032
00:50:21,440 --> 00:50:23,360
Speaker 1: I am a workaholic in the sense that I really

1033
00:50:23,400 --> 00:50:25,680
Speaker 1: like to be working. I like, I love to be

1034
00:50:25,719 --> 00:50:28,240
Speaker 1: at work, Like I love the crew, I love the cast,

1035
00:50:28,280 --> 00:50:30,640
Speaker 1: the other actors. I like the idea going to work.

1036
00:50:30,680 --> 00:50:35,680
Speaker 1: I like, no, I'm scared of that. I ran into

1037
00:50:35,719 --> 00:50:38,960
Speaker 1: Matthew Broderick the other day and I said, aren't you

1038
00:50:39,040 --> 00:50:43,200
Speaker 1: scared of the people, And he said, no, I mean

1039
00:50:43,239 --> 00:50:45,200
Speaker 1: I like it. It's really helps when it's a comedy.

1040
00:50:45,200 --> 00:50:47,080
Speaker 1: And I was thinking about him and Nathan Lane, and

1041
00:50:47,920 --> 00:50:50,040
Speaker 1: you know, you know when you watch Nathan Lane and

1042
00:50:50,120 --> 00:50:53,560
Speaker 1: he gets a laugh and then he stretches and it's

1043
00:50:53,600 --> 00:50:56,200
Speaker 1: like he makes the laugh bigger. And I think Nathan

1044
00:50:56,200 --> 00:50:58,319
Speaker 1: has a sense almost like if you were tickling a kid,

1045
00:50:58,360 --> 00:50:59,759
Speaker 1: like you know how to tickle a kid a little

1046
00:50:59,800 --> 00:51:04,080
Speaker 1: bit and again, yeah, and Nathan like does it like

1047
00:51:04,160 --> 00:51:06,920
Speaker 1: he tickles the audience and I don't feel like I

1048
00:51:06,960 --> 00:51:08,759
Speaker 1: have any sense, so that I think I have too

1049
00:51:08,840 --> 00:51:11,719
Speaker 1: much fear of a live audience. I like to pretend

1050
00:51:12,400 --> 00:51:14,720
Speaker 1: that no one's there, which is why I like movies.

1051
00:51:15,000 --> 00:51:17,680
Speaker 1: I like to pretend there's no one there, like I'm

1052
00:51:17,760 --> 00:51:30,120
Speaker 1: in the book. Julianne Moore continues to step into the unknown.

1053
00:51:30,640 --> 00:51:34,600
Speaker 1: She's currently working on Free Held with Ellen Page, Steve Carrell,

1054
00:51:34,760 --> 00:51:37,759
Speaker 1: and Michael Shannon. It's based on the Oscar winning two

1055
00:51:37,800 --> 00:51:41,440
Speaker 1: thousand seven documentary about two women whose life story led

1056
00:51:41,480 --> 00:51:44,840
Speaker 1: to changes in the domestic partnership laws in New Jersey.

1057
00:51:45,440 --> 00:51:46,520
Speaker 1: This is Alec Baldwin.