Middle Age Hollywood

A preview of Julianne Moore for Talbots Spring 2011 Campaign by Mert & Marcus

Julianne Moore talks about her character Jules in The Kids Are All Right.

Julianne Moore's children's books are being turned into a musical.

The 'Far From Heaven' actress has promised that the production of 'Freckleface Strawberry' - which will open in New York off-Broadway on October 4 - will have appeal to people of all ages and will stay true to her original story of a seven-year-old girl trying to come to terms with her red hair and freckles.

She told the New York Times newspaper: "It's really exciting and fun, and kind of amazing and given my history as a performer, super-weird to be in this other position.

"Everybody should enjoy it, but remember that Freckleface Strawberry is 7 years old. That's the character, so I wanted to make sure that in the jokes and the humour, we stay within that, because that's the charm."

he 46-year-old star - who has two children, nine-year-old Cal, and five-year-old Liz with director husband Bert Freundlich - wrote the books based on a nickname she was given age seven.

She said "Of course, you grow up and you go, 'What's so bad about that?' The message in the book is that the little girl grows up and her freckles don't go away. I didn't want it to be a fairytale. We all have things about ourselves that aren't our favorites, but in the grand scheme of things, it's the last thing that's important."

The musical will be directed by Buddy Crutchfield and choreographed by Gail Pennington Crutchfield.

The cast has not yet been announced, but will reportedly feature adults in the children's roles.

Previews will begin on September 9.

Go behind the scenes as Julianne Moore reprises her role as Frannie Hughes on ATWT. She first airs April 3.

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PMK/HBH was the biggest and most powerful public relations firm in the world, until they merged with the marketing giant BNC under their conglomoerate Interpublic. Many of the publicists working for PMK/HBH thought this would be detrimental to their clients, so they left with them.

Clients that left PMK/HBH for ID PR

Natalie Portman, Rachel Weisz

Clients that left PMK/HBH for SLATE PR

Gwyneth Paltrow, Jennifer Aniston, Anne Hathaway,Demi Moore, Julianne Moore, Uma Thurman, Kirsten Dunst, Liv Tyler, Johnny Depp, Orlando Bloom, Daniel Craig, Ryan Gosling, Naomi Watts, Sarah Jessica Parker, Jimmy Fallon, Harrison Ford, Woody Harrelson, Benicio DelToro, Hugh Laurie and Katie Holmes, Sam Mendes, Ang Lee, Ridley and Tony Scott, Michael Patrick King, the USA Network, Tom Ford, Akiva Goldsman, Jude Law, Annette Bening, Ryan Murphy, Working Title, Tribeca and Gore Verbinski, plus the SAG awards, the American Music Awards, Critics Choice Awards, and the Vanity Fair Oscar Party.

Clients that left PMK/HBH for VIEWPOINT PR:

Matt Damon, Jodie Foster, Shia LaBeouf, Chris Pine, Katherine Heigl, Kevin James and Christian Bale.

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The soon-to-be-history As the World Turns may be one of the least-watched soap operas in daytime TV but it’s looking to go out with a bang: Sources confirm to EW exclusively that the CBS sudser is in serious talks with Julianne Moore to reprise her role as Frannie and Sabrina Hughes.

The Oscar-nominated actress got her start on ATWT in 1985 by playing the half-sisters - a depiction that earned her a Daytime Emmy in 1988, the year she left the show.



It’s unclear how Moore will be woven into the final episodes of the drama, which will end its 54-year-run in September.

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Julianne Moore talks about going the extra mile in another erotically charged role in Chloe.


Julianne Moore is a true rarity. It’s not just that her hair flames like no other star since Katharine Hepburn. Or that alone of her generation she seems impervious to middle age’s indignities – she is 50 this year. There’s something else. Having worked with dinosaurs in The Lost World and a cannibal in Hannibal, she is mainstream enough to be considered a genuine leading lady. But much of her most eye-catching work, often written for her by indie directors like Todd Haynes and Paul Thomas Anderson, is fiercely extreme in spirit.

Pornography, incest, erotica of various hues – hers would be bargepole roles for most actresses. But Moore isn’t most actresses. She is the closest the English language can boast has to a French actress. Hence Chloe.

Adapted from Anne Fontaine’s Parisian three-hander Nathalie (2003) Moore plays a Toronto gynaecologist who, suspecting her husband (Liam Neeson) of infidelity, commissions a prostitute to seduce him and report back: this is Catherine’s creative way of looking for clues which might explain why the spark has exited the bedroom. It’s a thoroughly French scenario, given a cool Canadian twist by Atom Egoyan.

It turns out that Moore didn’t actually know about Nathalie. “They told me it’s based on a French film,” she says, "and I didn’t watch it deliberately because I’m incredibly suggestible and I didn’t want to be in a place where I felt like I was doing Fanny Ardant. Chloe takes the idea of the French film,” she adds, “and goes that much farther.”

Like much of Moore’s best work, this is an understatement. In both films, gynaecologist and prostitute grow intriguingly co-dependent. In Nathalie, the emotional connection threatens to turn sexual, but no sooner is that door opened that it’s closed again. Egoyan barges right on through. The result is that Moore and the comely Amanda Seyfried - 24 years her junior - find themselves acting out every male fantasist’s softly lit girl-on-girl scenario. What on earth did Moore think when she read the script?

She emits a startled laugh. Projecting an air of such peachy comfort in her own skin, of open-minded clarity of thought, I can’t quite tell if the laugh betrays something vulnerable.

“It made me nervous,” she concedes. “It’s tricky stuff to do. Had this come to me with somebody other than Atom attached it would have really given me pause. Honestly, unless you’re in Catherine’s decisions every step of the way, then yeah, it can be prurient or salacious. Obviously there’s something inherently dangerous about doing a scene like that, but it was all very deliberately staged, we watched playback, we were able to adjust things.”

According to Moore, the film needs the sexual encounter – and as a preamble to Egoyan’s revamped ending, perhaps it does. The interesting thing, she says, “was that in the scene I won’t look at her. The line that Catherine is drawing is about sheer fantasy, it’s about how do I get back to him, so she says, 'Show me, how does he do it?’”

It’s another erotically charged role in which Moore goes the extra mile. How does she do it? “It’s not like I ever intend to!” she protests. “I never do. I think it’s happened a lot of times because I’m involved in things that are love stories. There are times when I feel it’s absolutely not necessary at all.” She cites Savage Grace (2007), an Oedipal saga based on a true story in which a boy bloodily terminates his mother’s incestuous obsession. “My character had some nudity and I said, 'I’m not doing it. It’s really not right for this.’”

Moore plays a lot of troubled mother figures. She suddenly leaks tears at the memory of her own Scottish-born mother, who died last year. The weeping interviewee is seen in some journalistic circles as an interviewer’s Holy Grail, but I’m not so sure. weird It happens when I ask her, having played the odd Englishwoman, how Scottish she feels.

“I look just like her,” she says. “When I was growing up people would always say, 'Why does your mother talk so funny?’ And she did. She had an accent for a very long time. When her mother died that was when she kind of lost it, because she didn’t hear it any more.” And now Moore can’t hear her mother’s. lol lame

“Sorry I fell apart,” she offers. awww it is okay bb In fairness, the sight is familiar. Much her most exposing role was in Far from Heaven (2002), Haynes’s pastiche of the Fifties weepie in which Moore matchlessly embodied a fey housewifely brittleness (she used some of the same brushstrokes in The Hours). Here the nakedness was all emotional: she was entirely clothed. “And pregnant,” she volunteers. Did the raging hormones make a difference? “I don’t think so. It was my second trimester when generally you feel OK. The great thing for me was that it distracted me. I was pregnant in The Big Lebowski too.”

Her son and daughter are now 12 and 7. The family lives in Manhattan where, in 2007, Moore was persuaded to make a prodigal return to the stage – before she was scooped up by cinema at 30, all her work was in theatre and cheesy television. The play was The Vertical Hour, David Hare’s thinkpiece on the morality of warmongering in the Gulf. She made friends, particularly with her co-star Bill Nighy. But for her it didn’t quite work.

“It’s very difficult to do when you have kids because the hours are fairly extreme. I did find it particularly difficult to do Broadway. It was not my favourite way to perform. When I do theatre I like it to be smaller, I like the audience to be closer, I like it to be less presentational.”

For a mistress of the filigree nuance, working in such subtle gradations of period-sensitivity, that makes sense – see her alcoholic divorcee in A Single Man. But Moore yearns to explore other areas of her palette. She was hilariously slow-witted in Robert Altman’s Cookie’s Fortune (1999) and regrets the lack of opportunity to make audiences laugh. “I like any kind of situational comedy. It breaks my heart that I’m not going to be in it.” In fact she recently guested in 30 Rock.

But honestly, are there any circumstances in which she’d do gross-out comedy? “I think just about any,” she says. What, even gel her with semen? “Oh sure! I thought Cameron Diaz was great in that movie. I really enjoy watching all that kind of stuff. Really you want to have variety as an actor. If you spend your career doing one thing solidly, people get burned out.” No evidence yet.

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First she was Tom Ford’s leading lady, now she’s Bulgari’s!

Last month, we reported that A Single Man star Julianne Moore, 49, would be making her debut as the face of Bulgari’s Spring Summer 2010 jewelry and watch ad campaign that launches in February. Now, the campaign, which they’re calling “Eccentric Charisma,” has arrived, featuring Moore bedazzled in several Bulgari bracelets, rings and handbags — she even shares her luxury spotlight with an exotic bird!

The luscious photos were taken by fashion-favorites Mert Alas and Marcus Piggot at legendary interior designer Tony Duquettes’s estate in Beverly Hills.

Of their choice of the Oscar-nominated beauty, who has already lent her face and trademark red hair to Revlon, the Italian luxury brand said, “She exudes a timeless charisma and inescapable magnetism; her extraordinary combination of extraordinary beauty, sharp intelligence and confidence are ideal for Bulgari’s campaign.”

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