Jianne Moore has done it again. As she earns her fifth Oscar nomination and the spot as frontrunner for Best Actress at next week’s awards ceremony, the actress and mom is solid proof that women in film are a force to be reckoned with.
By Amy Spencer
Julianne Moore has a theory of why people are so touched by her film Still Alice. “It’s not just because it’s a disease movie,” she says of the fictional story of Dr. Alice Howland, a 50-year-old university linguistics professor and a mother of three who is struck with early-onset Alzheimer’s disease. “It’s a movie about mortality and being,” she says. “It makes us really think about our lives. You’re never closer to loving life than when you’re closest to loss.”
And Moore is loving her life right now. The actress, 54, lives in New York City with her husband, director Bart Freundlich, who she’s been with for 19 years and married to for 10. They have two kids, son Caleb, 17, and daughter Liv, 12. And home really is where her heart is. “Right before I met my husband, I always felt as if the party was happening somewhere else,” she says. “Like, ‘Where is everybody else going?’ And once I met him and we had our children, I was like, ‘This is where the party is.’ There’s nowhere else I want to be. I see a tremendous amount of purpose and a feeling of belonging.”
When Moore carries that sense of purpose to her work, Hollywood can’t help but sit up and take notice. For whether she’s meant to or not, Moore has become a truly positive representation of the 21st century woman. Not only is she a mom with a family and a five-time Oscar nominee (many predict she’ll take home her first statuette for Best Actress for her performance in Still Alice at next Sunday’s awards), she’s also carved out a strong niche for herself working in both mainstream and quality independent films that mean something. Also, she doesn’t take her roles to prove a point. She does it, she says, because she loves to tell a good story.
“I’m always excited by really interesting narratives,” Moore says, “and within a great narrative you can generally find a great character.” She’s built those characters in roles ranging from the soap opera As the World Turns to critically acclaimed turns in the movies Boogie Nights, Far from Heaven, The Hours and The Kids Are All Right to comedic parts like the one she played on TV in 30 Rock opposite her Still Alice costar Alec Baldwin.
Beauty. Brains… Balls. In Still Alice, Julianne Moore delivers yet another heavenly (read: Oscar-worthy) performance.
The sky is low and mercury-colored and seems to press down on New York this afternoon, crushing the holiday crowds that move shoal-like along the sidewalks. The midwinter wind is whipping down Broadway and seeping determinedly through the windows into this loud, overcrowded café, which compensates by having the radiators on overdrive: They hiss and splutter indignantly against the walls, steaming up the windows. Anyway you look at it, this is an odd place to choose for an interview. Indeed, it’s hard to imagine a lunch spot in downtown New York that might be busier, and yet it’s here and now that Julianne Moore, who lives a stone’s throw away in Greenwich Village, has decided we should meet.
But despite Moore’s rarefied place in popular culture, despite the numerous Oscar nominations (five), and despite her presence in the biggest movie of the year (The Hunger Games: Mockingjay, Part 1), she moves with ease among the crowds, just another West Village mother who has spent the morning doing yoga and meeting up with girlfriends. In many ways, it’s precisely this anonymity that sets Moore apart as an actress: Her preference—her burning desire—is to watch, not to be watched. Taking off her gray cashmere beanie, she shakes loose her long red hair, and puts her iPad and book, Russell Hoban’s Turtle Diary, down on the table, staring with those crystalline green eyes and grinning widely, her cheeks flushed from the cold: “Well, what do you want to know?” Five minutes later, it’s as if there’s no one else in the room.
Though she’s unassuming in person, Moore has played some of the most memorable female characters in the past 20 years of cinema. While she occasionally takes roles in big-budget blockbusters, she is happiest in independent film. From intense, indelible parts in The Big Lebowski, Boogie Nights, and Magnolia to her nuanced handling of repressed female characters in films including The End of the Affair, The Hours, and Far From Heaven, Moore has spent her career shocking, enthralling, seducing, and occasionally terrifying audiences; in what was perhaps her breakout role, as Marian Wyman in Robert Altman’s Short Cuts (1993), she delivers a Raymond Carver-penned harangue whilst entirely naked from the waist down. Moore doesn’t take on characters lightly and when she does, she inhabits them fully, creating work that at its best is nothing less than art—quite simply, as good as acting can be. Not that she would ever talk about her work that way: “All I know is that I feel like I need to accomplish stuff and I guess I try to do it and just forget it. I really care about it when I’m doing it, but then when I’m done with it I have to be done with it, because there’s nothing else I can do.”
Read the entire article at LA Confidential
Captures of Julianne from Blindness have been added to the image gallery.
Film & TV Productions > 2008 – Blindness > HD Captures
Captures of Julianne from A Single Man have been added to the image gallery.
Film & TV Productions > 2009 – A Single Man > HD Captures
Images of Julianne from the BAFTA’s have been added to our image gallery. Thanks to Annie for all the images!
Appearances > Appearances from 2015 > February 7: Charles Finch and CHANEL Pre-BAFTA Dinner
Appearances > Appearances from 2015 > February 8: EE British Academy Film Awards 2015 – After Party
Appearances > Appearances from 2015 > February 8:EE British Academy Film Awards Arrivals and Show
Appearances > Appearances from 2015 > February 8: EE British Academy Film Awards 2015 – Winners Room