Not Moore of the same to Ju­lianne

The Gold Coast Bulletin - Play Magazine - - MOVIES -

AC­TORS of­ten get pi­geon­holed into cer­tain film and TV gen­res. Not Ju­lianne Moore. On TV, she’s gone from por­tray­ing the real Sarah Palin in the po­lit­i­cal drama Game Changer to the fic­tional Nancy Dono­van on 30 Rock. Her film roles in­clude a porn star ( Boo­gie Nights), FBI agent ( Han­ni­bal), di­nosaur hunter ( The Lost World: Juras­sic Park) and com­puter voice ( Ea­gle Eye). Her ca­reer is full of a broad range of char­ac­ters – from her lat­est roles as an easy-go­ing sex­u­ally lib­er­ated col­lege stu­dent in Don Jon to a mer­ci­less mother who thinks sex is the root of all evil in Car­rie. The roles have one thing in com­mon. ‘‘Any­time you do some­thing, you think ‘Maybe I’ll suck and ev­ery­one will hate it’,’’ Moore says. She does ev­ery­thing she can to make sure the work doesn’t, uh, ‘‘suck’’. She does re­search, which in the case of Car­rie meant go­ing back to the orig­i­nal Stephen King novel. She also tries to find the el­e­ments that will make the au­di­ence re­act to the char­ac­ter. In Car­rie, that meant play­ing the mum as a woman who does evil things, but in some strange way is bas­ing all her ac­tions on a deep love of her daugh­ter. The key to both the book and movies is the twisted mother/daugh­ter re­la­tion­ship. Moore found play­ing the motherly role a lot eas­ier be­cause of co-star Chloe Grace Moretz. ‘‘She’s so pro­fes­sional and was al­ways so pre­pared,’’ Moore says. ‘‘I think the thing I love the most about her is that she’s a mama’s girl. She loves her mother. She loves her brothers . . . that made it easy for me to get close to her. I wanted her, more than any­thing else, to feel su­per safe with me. I wanted her to feel if she had a ques­tion, she could come to me. If she had any kind of need or de­sire, she should come to me.’’ Moore’s con­vinced the bond they formed helped them through the phys­i­cal and emo­tional de­mands of the movie. As for the ma­ter­nal part of the per­for­mance, all Moore had to do was think of her own two chil­dren. Those in­stincts went into over­drive in the open­ing scene where Moore’s char­ac­ter be­lieves she’s dy­ing of can­cer but is ac­tu­ally giv­ing birth. In the scenes, where a real in­fant was used, Moore found her­self more con­cerned about the wel­fare of the baby than the film pro­duc­tion. Once she was con­fi­dent the child was safe and se­cure, she would switch to her ac­tor side.


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