|
|
« July 2006 |
メイン
| September 2006 »
NJ.comというニュージャージーの情報サイトがジュリアンのインタビュー付き記事「Working mom」を掲載しています。Part1～Part4までありますので、時間があるときにゆっくりご覧ください。
Working mom : Part 1 / Part 2 / Part 3 / Part 4
Working mom
Julianne Moore continues to balance two very busy lives
Sunday, August 20, 2006
A drug-addled porn star fighting desperately to regain visitation rights with her children. A '50s suburban wife who risks everything for a tender affair with her black gardener. A shabbily dressed woman who stumbles into a Jersey hospital, babbling about a carjacking and a missing child.
A sex star, a white-gloved matron, a working-class casualty. What's the connection?
If you guessed, correctly, that they've all been played by Julianne Moore -- in "Boogie Nights," "Far From Heaven" and "Freedomland" -- then the actress will be very flattered.
If you said, however, only that they're all mothers -- then the 45-year-old redhead, gracious as she normally is, may find it difficult to keep her annoyance in check.
"I had a female journalist once ask me, 'Gosh, so what about all these mothers you play, what makes them different?'" Moore recalls, relaxing in a Manhattan hotel suite. "And I got really upset. I said 'Wow. Wow.' I mean, almost everybody I know now has children, but the people are all different -- they're actors, lawyers, writers. They're all individuals. It's kind of shocking that that's what they get summed up as."
Moore, who has two children with her husband, director Bart Freundlich, plays a mother in their new romantic comedy together, "Trust the Man." But her character is also an actress, struggling with a new challenge. And a wife, worried about a straying husband. And a trusted confidante, involved in a girlfriend's troubles.
And it bothers Moore that those sides of fictional characters -- and real women -- are sometimes ignored.
Moore has never limited herself. As an actress she's done soap operas and theater, worked for Robert Altman and co-starred with Sylvester Stallone, headed up summer blockbusters and movies that never made it out of film fests. And in whatever she's done she's been luminously beautiful and almost spookily precise.
"You almost never see her persona in any character," says Freundlich, 36, who met Moore on the set of his first feature, 1997's "The Myth of Fingerprints," and quickly cast her in his life, as well. "So I liked the idea of challenging her with a character who was only a little bit to the side of who she is in real life, someone with her sense of style and her sense of humor."
"Yeah, most of the stuff I've done has been pretty dramatic," Moore says. "For one reason or another, most of my stuff has been very dark. But 'The Big Lebowski' was a comedy. 'Laws of Attraction' was a romantic comedy, although not a lot of people saw it. I like to be funny." She laughs, nervously. "I mean, I certainly hope I'm funny in this!"
Working mom : Part 1 / Part 2 / Part 3 / Part 4
Page 2 of 4
Freundlich isn't worried.
"Getting her for the movie was like having Michael Jordan on my pickup basketball game," he says. "And getting actors like Julie and Billy Crudup and Maggie Gyllenhaal, who don't usually do romantic comedies and approach it as a character piece, I think that brings an originality to it. The paradox is what makes it more interesting also makes it more of a challenge to market. Studios know how to market a Julia Roberts romance. This is a little different."
Moore's road to acting was a little different, too.
She didn't have a childhood marked by brutal parents, or a splintered family, or a learning disability. She didn't even spend hours in musty movie theaters, dreaming of future Oscar speeches. Instead she was born Julie Ann Smith in North Carolina and grew up, moving a lot, as the daughter of a military judge and a social worker; during high school she joined the drama club, because she liked telling stories.
"We had this wonderful teacher who, instead of having us do 'Barefoot in the Park,' would have us rehearsing 'Tartuffe,'" she says. "Who knew from Moliere in the 11th grade? But she always made things challenging and interesting and one day she said to me, 'You know, I think you're talented and you can study this, you know, you can make a career out of this, people do this.' And that had never occurred to me."
It had never occurred to her parents either, who -- Moore recalls -- were "shocked and appalled" that she wanted to be an actress.
"But ultimately they were OK with it, which looking back on it, I can't quite believe," she says. "And once I started doing it, I realized I liked it and while I didn't seem to be able to do anything everyone else could do, this was something I was good at. It wasn't a big revelation -- Ah, this is what I want to do with my life. I don't think I ever even truly expected it to work out. It was just step by step."
After graduation from Boston University, Moore moved to New York where her career progressed, incrementally. "You don't start out thinking, I'm going to be a star!" she says. "You think, I hope I get an agent. Then, I hope I get an audition. Then, I hope I get a callback. Then, I hope I get a job. If you think too far ahead it's just overwhelming. It's better just to keep on going, bit by bit, one foot in front of another."
Moore worked off-Broadway, landed a gig on "The Edge of Night" in 1984 and then moved on to more than three years on "As the World Turns," where she won an Emmy. But she saved most of the melodrama for the tube.
"I was pretty straight-laced growing up," says the actress who still peppers her conversations with "wow" and "oh my gosh." "Even when I was on my own and wilder, I was still pretty straight-laced. I spent my 20s basically working and coming home and going to bed early and then getting up and getting ready for work again. I look back on all this clubbing my friends did and what was I doing? Cleaning my apartment, probably."
Working mom : Part 1 / Part 2 / Part 3 / Part 4
Page 3 of 4
Somehow, though, she found the time to get out and get married -- and divorced -- twice. And she began toting up credits. It began slowly -- step-by-step -- with things like "Tales From the Darkside: The Movie" and "The Hand That Rocks the Cradle." But then she had an indelible part in "Short Cuts" as a furious wife so intent on arguing she forgets to finish getting dressed. And followed that up with a strong lead performance as the oddly fragile housewife of "Safe."
Only to then move on to dreary Hollywood assignments like the Hugh Grant comedy "Nine Months," or Stallone's thuggish "Assassins," or the forgettable "The Lost World: Jurassic Park," in which she co-starred with a passel of CGI monsters.
"Sometimes it's not always what you aspired to," she admits. "If the script isn't that great, well, maybe you can offer some suggestions and they'll be receptive. If the director and you aren't in sync -- if it seems like you're making two different movies -- that's even more difficult. But all you can do it try your best. It goes back to being that good, straight-laced kid, I guess. You show up, you change what you can, and you do your job."
There have been other disappointments. Despite four Oscar nominations -- including the 2002 awards, when she was nominated as both Best Supporting Actress for "The Hours," and Best Actress for "Far From Heaven," -- she has never won. Last year, some people thought her best shot would be her lead role in "Freedomland," a story about a mother who may or may not have killed her own son.
But then the studio decided to put all their Oscar hopes, vainly, on "Memoirs of a Geisha," and Moore's movie was downgraded from a plum December '05 berth to a low-profile February '06 one.
"I think all of us were a little disappointed because it was the kind of movie that fit in well with the movies there were coming out at the end of that year, that were complicated and had something to say," she says. "I think 'Freedomland' had a lot to say, not even just about race but about poverty. But you know what, as an actor, (release dates) aren't a part of my world. That's part of their world."
When the film did open, director Joe Roth insisted Moore wouldn't be forgotten when the nominations were announced. "'Silence of the Lambs,' 'Erin Brockovich,' "Pretty Woman' and "Eternal Sunshine of the Spotless Mind' were all released early and still won their female stars nominations," he says. "So I think Julianne will still be remembered at the end of the year."
"Freedomland" co-star Edie Falco said she certainly hoped so.
"She's just so good," she said. "I was impressed just by the fact that Julianne was able to take on this part, being not just a mother but such a consummate mother. She's so lovely and her family is such a huge part of her ... for me, anyway, if I have stuff in my real life that's close to what the character is going through, I find it harder to portray it."
Moore politely accepts the compliments, but says she doesn't dwell on awards and doesn't even necessarily agree with the praise. Playing someone like her is no more difficult than playing someone unlike her, she insists. Because none of this is ever about her.
Working mom : : Part 1 / Part 2 / Part 3 / Part 4
Page 4 of 4
"If I see everything through the prism of my own experience, than I diminish the character," she says. "You have to approach the story from as neutral a place as possible. I once heard an actress say, 'Well this character would never do that, because I would never do that' and I just thought, oh my gosh. That's just heartbreaking, and wrong. Because what you think does not matter to an audience. It's what they feel."
They feel a lot in Julianne Moore movies. They marvel at performances that can make Amber Waves' sex with Dirk Diggler in "Boogie Nights" seem nurturing, or pepper a romantic comedy like "Trust the Man" with genuine, deeply felt scenes of betrayal. If Moore hasn't yet won the awards of a Meryl Streep, or gained the starry profile of a Nicole Kidman she is every bit their equal -- a fact she proved, effortlessly, in "The Hours," in which they all appeared.
And like all great performers, Moore treats her work as, well, work.
"There's all this emotional stuff going on during a scene, yes, but you still need to have an intellectual awareness of where the camera is, where your light is, where your mark is, where you are in the frame," she says. "You have to be aware because that's part of the job, too, and nobody else is going to do it for you. It's not just all about you and what you're 'feeling.' You have a job to do, and a responsibility to everybody on that set."
The sets she shares with Freundlich have gotten more familial over the years. "Trust the Man" was shot near their home, in Greenwich Village; the cast was drawn from friends like James LeGros and Billy Crudup with whom they've worked before.
"Bart and I work together very well," says Moore. "The stress I feel is at home, because now we're working identical hours, and we have two children and a house and it's like, whoa, wait a minute, how are we going to work this one out? Those are the stresses we face and there are times when I think it'd probably be easier if he cast someone else and I could manage things at home."
Moore's life has changed since she had children although no more, she says, "than any working parent." She prefers projects that shoot in New York, or at least don't involve lengthy location work. Appearances at foreign premieres and chic film festivals depend on "whether I have to get the kids to school that week." She will be doing David Hare's play "The Vertical Hour" in November, and while she's excited about making her Broadway debut, she worries that she won't be home in time to tuck her children in.
But, she says, it's a limited run. And this is the career she's built, step by step.
"You never feel sure about this, ever," she says. "Will you stop getting scripts? Stop getting work? It happens all the time. Maybe sometimes it's for other reasons, but people just disappear. It's a freelance job and you have to make that effort to find that next part, and the one after it. You never know. But you never know about anything these days. So why not at least do what you want?"
You can contact film critic Stephen Whitty at (212) 286-4298 or at swhitty@starledger.com.
iTunes & Podcastを持っている方へ朗報：バートのTrust the Manのメイキング＆解説ビデオがPodcastで見れます。iTunes＆Podcastが使える方、一度試してみてくださいませ。ただし全編英語で字幕無しです。あしからず。
a video podcast with TRUST THE MAN writer/director Bart Freundlich :
itpc://www2.foxsearchlight.com/trusttheman/podcasts/bart/rss.xml
2006/8/19現在、２エピソード配信中。（全９回？）
8/18に公開されたTTMのこれまでのレビューを総括：
レビューを保存用で掲載しておきましたが、読んでみるとビミョーなものが多い。（苦笑）
「ウッディ・アレンの地位を乗っ取ろうとする」と言っているものもあれば、「 バート・フレインドリッチ４作品の中で最悪なもの」といっているものもある。（爆）評価は★半分～★３つで平均は★２つ（満点：★４つ）。
あとレビューのなかで興味深かったところをピックアップ：
「Will & Graceのエピソードみたいなものを１時間半というのはどうか。普通その手のコメディは30分だから見ていることができるのだが。」
「女優である妻に対してワガママを言うトム(DD)は監督（バート）の分身なのか？が我々の気になるところ」
「レベッカ（ジュリアン）が結婚について２本の棒にたとえて語るところは必見」
「トビー（ビリー）とエレイン（マギー）の描写がステレオタイプ的」
「コメディ映画としては失敗。しかしそんな脚本を演ずる俳優陣はすばらしい」（←？）
う～ん、「面白い」「コメディ」の基準というものは難しい、ということで。
で、俳優陣は優秀なのね。まぁ、批評家の記事は「専門家から見た観点」ですので、普通の一般大衆が見て面白いか否かは自分自身の目で確認してみないことには何も始まりませんものね。（と DDがTTMブログで申しておった。）なので、怖いもの見たさ（？）もありますが、是非日本でも見てみたいぞ、TTM！（日本の配給会社の皆様、どうかよろしくお願いします。）
MercuryNews.com | 08/18/2006 | `Husbands and Wives,' lite
Posted on Fri, Aug. 18, 2006
By David Germain
Associated Press
``Trust the Man,'' a romantic comedy from writer-filmmaker Bart Freundlich, features a top-notch cast -- Julianne Moore, David Duchovny, Maggie Gyllenhaal and Billy Crudup, among others.
But despite its potential, this attempt at an urbane, adult chronicle of love and marriage is a disappointment, with too many phony plot contrivances and stereotypical characters: the thirtysomething man-child who can't commit; the longtime girlfriend obsessed about a baby; the career-oriented woman who won't have sex with her spouse; the neglected hubby who finds what he's looking for elsewhere.
Moore and Duchovny play a seemingly affectionate couple well adjusted to their working-woman, stay-at-home-dad roles. Yet they don't have sex, and that's not for any apparent reason but to push Freundlich's artificial story forward. Similarly, Crudup's character is a big, goofy kid who refuses to grow up only so the filmmaker can set him at odds with his girlfriend (Gyllenhaal).
Moore, who co-starred in husband Freundlich's ``The Myth of Fingerprints'' and ``World Traveler,'' plays Rebecca, a successful Hollywood actress performing on stage in New York. Husband Tom (Duchovny) minds their two kids, and the couple visits a marriage counselor (Garry Shandling). But after complaining about their non-existent sex life, they then cuddle and kiss on the street like romantic fools.
Tom's best pal is Rebecca's brother, Tobey (Crudup), who has dated Elaine (Gyllenhaal) for eight years but keeps resisting her desire to marry and start a family.
If these characters are synthetic, the performers are not. Moore and Duchovny, who starred in the alien-invasion comedy ``Evolution,'' have a relaxed grace. Crudup displays a nice comic charm, and Gyllenhaal infuses far more depth into her character than the script does.
In addition to Shandling's cameo, there's Ellen Barkin playing a book editor whose encounter with Elaine seems potentially meaningful but goes nowhere. Eva Mendes is Tobey's old flame, and James Le Gros manages some quirky humor as a new suitor of Elaine.
``Trust the Man'' plays out like a lightweight version of Woody Allen's ``Husbands and Wives,'' with the leads struggling to resolve their issues while an audience of strangers looks on.
Unfortunately, what Freundlich intended to be a literate, insightful piece becomes a trivial, empty farce that isn't even funny.
`Trust the Man'
**
Rated: R (profanity, sexual content)
Cast: Julianne Moore, David Duchovny, Maggie Gyllenhaal, Billy Crudup, Garry Shandling, Ellen Barkin, Eva Mendes, James Le Gros
Writer-director: Bart Freundlich
Running time: 1 hour, 40 minutes
BostonHerald.com - Movie News: For Moore and director hubby, it’s a matter of ‘Trust’
By Stephen Schaefer
Boston Herald Entertainment Reporter
Wednesday, August 16, 2006
In ‘‘Trust the Man,” Julianne Moore has a role much like her own life: a famous actress married with children.
So it’s not surprising to learn ‘‘Trust” (opening Friday) is a family affair - it’s the third time Moore has trusted her career to writer-director husband Bart Freundlich. Even their two children, Caleb and Liv, have cameos in the comedy, which casts David Duchovny as Moore’s stay-at-home writer husband and Billy Crudup and Maggie Gyllenhaal as their best friends.
But isn’t Moore worried viewers might think Duchovny’s unfaithful husband is autobiographical?
Moore laughed. People are more likely to think ‘‘I’m dating a sex addict,” she said.
‘‘This is fiction. The infidelity is a fiction, but there are always parts of every movie that are taken from people’s lives and stuff, because you can’t kind of help that.”
She mentioned a few, such as the moment in ‘‘Trust” when she chokes on a birthday cake. That really happened to Moore at the Golden Globes (although without the Heimlich maneuver).
‘‘And the retainer is mine,” she said. ‘‘It’s not a fake retainer. It’s a real retainer.”
‘‘Trust” also seems to eavesdrop on Moore’s life with a question about Botox.
For Moore, Botox wasn’t the issue.
‘‘Bart says, ‘Don’t touch your face.’ But actually, there was a summer when I wasn’t working and I was in a bikini the entire summer just feeling awful. I did think maybe I should get boobs. But then I just abandoned the idea.
‘‘But the horrible thing,” Moore added, ‘‘is whenever you say that, men go, ‘Oh, that’s not a bad idea.’ ”
Being a director’s wife can get complicated, if not downright irrational, when it comes to the smooching and sex scenes. Freundlich admits to being jealous.
‘‘Oh, it’s awful!” Moore said. ‘‘I’m like, ‘I’m just pretending.’ He should know that.”
As she was kissing Duchovny in the back of a cab,
‘‘Bart’s in the front seat looking at us. That’s the other thing - it is a kiss, but there are also a million people around you. I had to kiss a guy the other day for this movie I’m filming now, ‘Savage Grace,’ and his moustache color got all over my face. That’s not romantic.”
New York couples (and their shrinks) try to work it out
Ruthe Stein, Chronicle Senior Movie Writer
Friday, August 18, 2006
Trust the Man: Romantic comedy. Starring David Duchovny, Julianne Moore, Billly Crudup, Maggie Gyllenhaal and Ellen Barkin. Directed by Bart Freundlich. (R. 103 minutes. At Bay Area theaters.)
Director Bart Freundlich has gamely taken over the territory deserted at least temporarily by Woody Allen. In "Trust the Man," Freundlich's superficially entertaining romantic romp, the streets of New York exude urban sophistication. Square mile for mile, they're as enticing as they ever looked in "Annie Hall" and "Manhattan."
But "Trust the Man" is on shakier ground inside the offices of numerous therapists where the main characters unload their relationship problems. It isn't just that Allen brought subtle humor to the process of baring one's psyche while these sessions are mostly silly. A bigger problem is that psychotherapy itself seems so 20th century.
When Tom (David Duchovny), an adman who's quit his job to stay home with the kids and be supported by his actress-wife Rebecca (Julianne Moore), attends group therapy for sex addicts, you think: Do people still do that? And when Rebecca's ne'er-do-well brother Toby (Billy Crudup) bemoans to his shrink that what's the point of anything when we're all going to die anyway, it literally stops the action. Manhattan may be available for lease, but Allen owns death outright. Even the usually resourceful Crudup can't make expressions of existential angst sound anything other than imitative.
The movie's symmetry strains credibility. Besides their in-law status, Tom and Toby also happen to be best buddies, while Rebecca is chummy with her brother's long-suffering girlfriend Elaine (Maggie Gyllenhaal).
But the cast is fun to watch, especially Duchovny, whose comic timing couldn't be better. They're all adept at repartee, a good thing considering how these couples natter on. Moore, who is married to Freundlich and has worked with him twice before, obviously gets his drift, and she brings genuine emotion to Rebecca's speech about the sanctity of love.
There are enough funny moments that you won't be bored. My favorite is when Tom brings a porno tape to bed and asks his wife to tell him everything she sees while he closes his eyes and pleasures himself. She spends rather more time describing the porn star's wax job than he might desire.
True to the romantic comedy formula, conflict soon arises. On a blustery winter night, Elaine and Toby go searching for their auto only to discover it's been towed. The weather cleverly mimics the chilliness between the two. Frustrated at her boyfriend's resistance to marrying and starting a family, Elaine breaks up with him right on the spot where the car should be. The first person she calls with the news is Rebecca, who soon after throws her husband out of the house for having an affair, whereupon she and Elaine soak away their sorrows during a pedicure.
In an apparent attempt to humanize these ultra sophisticates, Freundlich brings them down a notch. Tom has gone from creating the "Got Milk" ad campaign to organizing his days around picking his son up from school. Rebecca is returning triumphant to the New York stage after becoming famous in movies. Yet nobody pays any attention to her on her wanders around town. That they're just ordinary folks is reinforced by having them throw up and discuss bodily functions, which turns out to be more than you care to know about them.
"Trust the Man" has a sketchy overall feel, as if Freundlich didn't finish thinking it through. For instance, Elaine is consumed with finishing her first book, an illustrated children's story. A hotshot publisher (Ellen Barkin, in a funny turn) invites her to lunch ostensibly to discuss the project. Afterward, she comes on to Elaine, then vanishes from the movie, along with any further mention of a lesbian relationship or publication of her book.
The film also suffers from not knowing when to end. An obvious grand finale set at Lincoln Center is followed by two more endings that feel tacked on. Fortunately, neither takes place in a shrink's office.
-- Advisory: Sex scenes, sexual references and language.
BostonHerald.com - Movie Reviews:Your ‘Trust’ well-placed in Moore’s raunchy comedy
By James Verniere
Boston Herald Film Critic
Friday, August 18, 2006 - Updated: 10:09 AM EST
In the uneven but frequently raucously funny “Trust the Man,” writer-director Bart Freundlich makes a credible bid to be a new Woody Allen.
In the film, Julianne Moore (also known as Mrs. Freundlich) and David Duchovny play Rebecca and Tom. She’s a - hmmm - movie star who also takes turns appearing on the New York stage. He’s a Mr. Mom who reads Camus in bed and used to be in advertising. He’s also smart and funny and loves their two children. The family, not unlike the Freundlichs, lives in unostentatious comfort in Manhattan’s legendary West Village.
Rebecca and Tom’s best friends are her younger brother Tobey (Billy Crudup), a writer of some sort and professional smart aleck, and Elaine (Maggie Gyllenhaal), an aspiring author of children’s books. Tobey and Elaine have been together for seven years, and she wants to get married and start a family.
The action begins inauspiciously with a couple of fart jokes and involves the meltdown of Rebecca and Tom’s marriage, caused in part by his out-of-control sexual urges and her unexplained sexual indifference. It also charts the slow breakup of Tobey and Elaine’s relationship due to his obsession with mortality (a well-known Allen concern) and his - argh - refusal to commit.
Yes, it’s nothing new in terms of romantic comedy plots. The comedy in “Trust the Man” springs as it should from dialogue, characters, situations and performances, and these things work often enough to keep you seated and laughing. As the horndog Tom, Duchovny especially rebounds from his 2004 semiautobiographical catastrophe “House of D,” and I can’t help but wonder if he’s the most interesting character in the film because he is its creator’s obvious alter ego.
Some of the fun of watching “Trust the Man” comes from playing: Is it real or not? Both male leads are men outshined professionally by the women in their lives.
Coincidentally or not, Moore’s acting career has thrived, while Freundlich’s work - “The Myth of Fingerprints,” “World Traveler” - has been met with some scathing reviews, although granted he has bravely soldiered on in spite of them.
A large part of “Trust the Man” does not work, including the title and a contrived climax set at Lincoln Center. But scenes in which Tom meets with a sex-addict support group are amusingly raunchy, and Ellen Barkin is terrific in a bit part as a sexy publisher who makes a pass at Elaine. Also in the supporting cast, James LeGros and Glenn Fitzgerald are memorable.
Notably, Freundlich’s script hints that Tom’s waywardness is a subconscious attempt to lash out against his more famous and successful wife. Are you listening, Julianne?
(“Trust the Man” contains raunchy dialogue and situations.)
Can We Trust the Man? - ComingSoon.net
August 18, 2006
Anyone who thinks that Bart Freundlich (World Traveler, The Myth of Fingerprints) is the luckiest director on the face of the earth, being married to the beautiful Julianne Moore and having her readily available for all of his movies, only needs to see Trust the Man to get some idea that being married to a glamorous actress may not be all it's cracked up to be.
It's Freundlich's first foray into comedy, and of course, his wife was along for that ride, as were his good friends David Duchovny and Billy Crudup, and poor innocent bystander, Maggie Gyllenhaal. Duchovny plays a stay-at-home husband married to Moore's actress, while Crudup is her slacker brother Tobey who has been in an 8-year relationship with Maggie Gyllenhaal's Elaine, but won't commit to getting married and having kids.
CS Indie talked to all five of them, separately, in an early Saturday morning junket at the very tip of New York, which plays the prominent fifth character in Freundlich's comedy.
Freundlich kicked things off by giving us an idea how he turned a bunch of random ideas into his latest movie. "The way I tend to write things is I just have a scene in mind for something. I don't have any idea where it's going to fit into a story, and then I start to form the narrative around that as I'm building. I did know I wanted to write a comedy, so I was taking a lot of notes about things that happened with my kids that were funny or just experiences in the city that were very specific to where I was living. I started with a germ of a few very autobiographical things and just grew it out into these different characters. The first thing I wrote down was the exact conversation that David Duchovny has with his son on the toilet, which was exactly what I had with my son. Oddly, the domesticity of it kind of grew out of that, trying to have an adult relationship and be a parent and have these preposterous conversations. Just a contemporary view of a relationship where two people are working and trying to balance out everything of their lives and be happy."
"I think that maybe the person I put forward is the funny person, but I'm really sad and tragic inside," Freundlich said facetiously when asked why he decided to turn from drama to comedy. "I guess it's a lot of work to make a movie, so I always felt that it should be about something important and I think in doing that, I closed myself off to certain parts of myself that I think were valuable for making this movie."
"Bart is very funny," his wife Julianne Moore chimed in enthusiastically. "I think all of his friends have been encouraging him for a long time to do a comedy. Everybody always says--after they say how handsome he is--they say how funny he is."
"One [friend] in particular, director Peter Berg, pushed and pushed and pushed me to write a comedy," Freundlich confirmed. "It wasn't coming naturally to me. It wasn't in my instinct to do that because it felt indulgent on some level. I just put the indulgence aside and said I'm going to make this because a lot of the movies I like to watch are like this. The earlier Woody Allen stuff or the current Alexander Payne or David O. Russell [movies] feel very three-dimensional in character but also easier to watch and entertaining."
"I think he's a very funny person in general," Billy Crudup told us. "We make each other laugh a lot, so I was glad that he was pursuing a comedy. I always like his writing, so it matched my sensibility very well. I think the fact that we wanted to work together again shows that we have similar tastes, and the comedy writing was right up my alley."
Like Crudup, David Duchovny was long-time friends with the director, but that didn't make things easier. "Actually, it's more nerve-wrecking to make movies with your friends, because you really don't want to disappoint them," he admitted. "If you disappoint a stranger you are like, 'Maybe I'll run into him, it will be awkward and you will say 'Sorry I f*cked up your movie,'' but you can't with a friend."
Duchovny had worked with Freundlich's wife before in Ivan Reitman's 2001 comedy, Evolution. "This time, when she went off to sleep with the director, I wasn't shocked," he joked, before explaining why he liked working with Moore again. "We know each other as people and as friends and we are in this fictional space where we are lying, we are making believe and there is always, this moment 'Oh I wonder if she thinks, I am full of sh*t or a bad actor right?' So there is little more of that. On the other hand, maybe there is little more trust."
The mutual admiration goes both ways. "The two of us have a nice energy together," Moore told us. "We feel like a realistic couple. He's very, very funny, he's very smart, and we've been friends for a long time, so there's a degree of comfort that we have. That was one of the nice things about this movie when we started, there wasn't a 'getting to know you' period with anybody. Maggie, she was the only one. Poor Maggie, she was feeling a bit nervous because we all knew each other, but I was like 'Don't worry. Everybody's an @$$hole,' then she laughed and felt better, but she kind of quickly became one of our friends, too, so it was nice."
"It took about five minutes until it felt totally comfortable," Maggie Gyllenhaal said in agreement. "We're all friends now. We were shooting in my neighborhood and have remained friends. I think that must be how it is working with them. We really got to know each other the real way."
"I found Bart to be really comfortable as a director and really relaxed on the set," David remarked on being directed by his good friend. "To me, the quintessential Bart story is when we were shooting the last sequence when we were in the theater, and Bart came up to me and he looked really intense. I thought he wants something else [in the scene], but he goes, 'Can I ask something? Do I have bad breath right now?' And he was serious. He wanted me to tell him if his breath was bad or not."
And how is it for Moore, having made three movies with her husband while also living together, caring for a family, etc.? "That's the hardest part, because honestly, he's a great director. One of the things that I think is wonderful about him, and I noticed this with 'Fingerprints' is that there was this enormous cast, and he knew how to speak to everybody in the way that they liked to be spoken to. Every actor likes to be directed in a different way, and he was able to instinctively figure it out, which is a gift, because a lot of people can't do that. We've always had an easy time working together, but the hardest part of him working as a director and me working as an actor is we have two kids that have to get to school every day and be picked up and taken to basketball."
"Bart's in all of these characters; there's parts of him in all of them," Billy Crudup affirmed, when it was suggested that Tobey might be another of Bart's alter-egoes. "I think Bart really likes to explore different parts of himself through all of his characters. For instance, sometimes he's feeling really selfish, or he's feeling particularly infantile, he'll use the whole character of Toby as the personification of that feeling. So that's not really the way Bart is, but he has some of those feelings, and for me, it's really fun to be an extension of that, because you're in a dialogue with a friend of yours about their life."
"There are lots of things in there from our life or from other people's lives that we know," Moore confessed. "Another thing that's sort of from our life is when Billy's on the phone and like, 'Calm down! Calm down! First, which remote do you have?' That's the thing, I cannot tell you. We have so many remotes and I can't operate any of them. I'm furious all the time, and when you have a three year old that wants to watch something and you're home by yourself and you can't get that television on. I've made that phone call. All I ask is that I'm able to push the button."
"A lot of it is personal," her husband agreed. "There's that distinction between being personal and being autobiographical. There are some autobiographical moments in it, but I would say that all-in-all, it's fiction. There's so much stuff that's personal to me in it in that I live with Julie and she's an actress. I'm not a stay-at-home Dad, but I am home a lot with my children."
Moore seemed fine with her husband possibly revealing private secrets about what it's like being married to an actress. "I liked the fact that she's presented as an actress, but she's a person who has a job. It's not like she's walking around being like 'I'm an actress, I'm an actress.' She's like, 'I have to go to work' and 'I need to do this' or 'I'm going to get the kids" and 'let's get dinner ready.' That's the reality of our lives. I love my job, but it is a job. It's not like this calling that I have where I go into a trance and whatever. I love the way that was presented, and then I think it also does deal with things in his real life, that the reality of living with an actress is different than the fantasy. The fantasy is that you have this very glamorous woman at your beck and call; it's not that you have somebody with a retainer in your bed. The retainer was my idea because he had her [wearing] face cream and I was like 'Nobody really goes to bed with that stuff on your face!' I said to think about the one thing that really truly disgusts you."
"I think basically the movie is about just the trials of relationships," Gyllenhaal explained when asked about her own character's relationship in the movie. "I think this sort of idea that there's a man who is not willing to commit. I think I've been in that situation. I think almost everybody has. That's kind of what I imagine a good relationship is, that you're kind of constantly saying that to each other, "Okay, we got to this point, but now I kind of want to go here. Can you come with me? I really hope so.'"
"Tobey's an infant, so I don't totally empathize," Crudup admitted, when asked if he could relate to his character. "If I was Tobey's friend, I would be very critical and very frustrated with him. I empathize with anybody who's going through a substantial change in their life, and offers to alter their behavior in some way, because it's a hard thing to do as an adult, to realize you've been wrong about something, accept that, accept responsibility, and then change. All of those are really difficult steps for anyone, so I'm admiring that Toby took that leap eventually, but I don't particularly empathize with the route that he took to do it."
"People have been saying to me, 'Why are you with him?'" Maggie Gyllenhaal remarked, "but I think it takes two people to stay in a relationship like that. Elaine is flawed too, and sometimes that can be appealing. It doesn't mean it's healthy, but sometimes it can be. I think ultimately she gets to a place where she just says 'you need to grow up and step up or I'm not interested in this anymore.'"
"Well, there is something endearing about him, too," Crudup said in Tobey's defense. "You pair up with people for a multitude of reasons, and some of the best pairs are some of the most unlikely. I think that's something that I kind of find interesting and lovely about love. You never know exactly who's going to get caught by it. Some people really long for stability and simplicity in relationships, and Tobey's girlfriend had a lot of chaos in her life. She was very ambitious, working in a profession in [which] she was facing a lot of rejection, and there was a lot of instability in that. So I think to some extent she was grateful for his simplicity. He wasn't particularly intellectually challenging for her, but he did provide a sense of warmth, and a sense of general enthusiasm, and I think she found him funny, too. I think at a certain point, though, she said 'Those are things that I needed from a boyfriend when I was 24, and now I'm 30. I don't need those things anymore. I need some other things, so if you wanna continue to do that, you have to make some space inside yourself for characteristics that more closely resemble a man (as opposed to a teenager).'"
You can see how things turn out with these two dysfunctional relationships in Bart Freundlich's Trust the Man, which opens in select cities today, July 18.
'Trust the Man': Days of Whines and @ washingtonpost.com
By Ann Hornaday
Washington Post Staff Writer
Friday, August 18, 2006; Page C05
Julianne Moore and Maggie Gyllenhaal wear a succession of fabulous coats, boots and nail polishes in "Trust the Man," a romantic roundelay set in the chic precincts of downtown Manhattan. Written and directed by Moore's real-life husband, Bart Freundlich, this urban romantic comedy has clearly been conceived as a showcase for Moore, here seen in the self-referential role of an actress whose career has eclipsed her husband's.
Often resembling the visual equivalent of name-dropping on the Web site Gawker Stalker, "Trust the Man" belies that cuteness with a string of alternately mordant and nasty comments on marriage and commitment. It might look like a little jewel on the outside, but once you open the velvet-lined box, watch out.
Moore plays Rebecca, who has just started rehearsals on a new play; her husband, Tom, a would-be writer played by David Duchovny, has agreed to be the John to her Yoko, staying home with their two kids. It's a great arrangement for her but not so inspiring for him, as his conversations with his best friend Tobey (Billy Crudup), Rebecca's brother, indicate. Together, the two men bemoan the scourge that is monogamy, with Tom living vicariously through Tobey as the latter resists marrying his live-in girlfriend, an aspiring children's author named Elaine (Gyllenhaal). Meanwhile, the girls are experiencing some flirtatious temptations of their own.
"Trust the Man" circles around the foursome as they whine and dine together, the women commiserating over lunches at Barney's, the boys making furtive complaints over blintzes on the Lower East Side. It's all very redolent of Woody Allen and such latter-day Manhattan miniaturists as Nicole Holofcener ("Walking and Talking") and Noah Baumbach ("The Squid and the Whale"). Indeed, with its self-conscious literary references and trendy settings (it's a veritable Zagat guide to hip eateries, from the Magnolia Bakery to Da Silvano and Serendipity), "Trust the Man" quickly begins to feel hopelessly derivative of other, better movies.
Lately Moore seems to have taken a page from Ashley Judd's career, appearing in a string of generic, instantly forgettable thrillers; "Trust the Man" returns her to the small canvas on which she first made her mark, most notably in Paul Thomas Anderson's "Boogie Nights" and "Magnolia." But Freundlich possesses none of Anderson's skills as a writer, and his attempts at edgy realness -- usually in the form of scatological and coarsely sexual humor -- land with an offensive thud.
Moore has her luminous moments, as she always does; she has a particularly pungent exchange with Crudup outside Lincoln Center. But too often Freundlich rushes her through the movie, especially when she delivers her most important speech -- in which Rebecca compares marriage to two people holding a stick. Gyllenhaal is bewitching here as a young woman who has finally stopped pushing the snooze button on her biological clock; her performance, as well as Moore's, make Duchovny and Crudup's all the more bizarre, as they scowl and yell their way through playing two barely reconstructed louts.
Supporting characters come and go without much consequence (James LeGros parachutes in to deliver a few genuine laughs as a smarmy alt-rock god), and the same can be said of the entire movie, in which scenes ping-pong aimlessly from richly appointed apartments to a Sexaholics Anonymous meeting to the de rigueur therapist's office. By the time "Trust the Man" arrives at its wildly contrived climax and self-congratulatory conclusion, audiences won't trust -- or believe -- a word of it.
Trust the Man (103 minutes, at area theaters) is rated R for profanity and sexual content.
Julianne Moore stays close to home in new movie - Yahoo! News
By Claudia Parsons Fri Aug 18, 4:57 PM ET
NEW YORK (Reuters) -
Julianne Moore plays an actress whose husband cheats on her and is a self-confessed sex addict in her new film "Trust the Man," which was written and directed by her husband, Bart Freundlich.
But don't go making assumptions about their marriage, they hasten to say while promoting the film in New York, where they live. The movie was filmed on the city's streets and in the restaurants and bars they frequent in Greenwich Village.
"I've never been to a sex addicts' meeting, although I think probably every guy thinks he's a sex addict if you ask him," said Freundlich. He has two young children with Moore, as do the couple in the movie, which opens on Friday. Both of Moore's children appear in the film as her children.
Oscar-nominated Moore plays Rebecca, whose marriage to Tom, played by
David Duchovny, is in a rut. Her brother Tobey, played by
Billy Crudup, is a lazy slacker unwilling to commit to his girlfriend, Elaine, played by
Maggie Gyllenhaal.
Freundlich said there were elements of his character in both men in the film, a romantic comedy about the gulf between the way men and women approach life.
"They're both extremes," he said. "I'm somewhere between the two of them ... I'm sort of freelance like Tobey is (but) I don't sit in my car and make grilled cheese. I don't cheat on my wife, I don't stay home and take care of the kids all the time, but I do some of the time."
Moore said while there was a certain amount of autobiography in the movie, particularly "the affection and the importance of our relationship and our family life," it was a mistake to take movies too literally.
"You have a germ of an idea in something that might be based in a reality but not all of it's true, it's just to illuminate something," she said in an interview. She added that a scene where she chokes while gulping down a slice of cake late at night was inspired by something that really happened.
BEYOND AUTOBIOGRAPHY
Freundlich, who met Moore when he directed her in "The Myth of Fingerprints" a decade ago, said "Trust the Man" was more personal than his previous work because of the subject matter.
"But because it was through a comedic lens, it was really blown up beyond the point of autobiography," he said.
"It was like, OK, I watched Julie choke on a cake once. Imagine if I had to give her the Heimlich maneuver, and imagine if we had just come home and we hadn't had sex for a long time and she was like 'We're going to have sex tonight,' and that happened," he said.
The movie has won a mixed reception in early reviews, with some comparisons to
Woody Allen's quirky Manhattan-focused view of the world and relationships, but also some criticism about its failure to break the mold of a "stagnating genre."
Moore, who has four Oscar nominations to her name for films such as "The Hours" and "The End of the Affair," said she can't help taking reviews to heart, especially if they're bad. "It's still incredibly painful," she said. "Someone will always read it to you even if you've managed to not look at it."
But she added, "If you're going to bask in the glow of the good stuff, you have to take the killer stuff."
Moore started her career in daytime soap operas such as "As the World Turns" and she's had her share of misses along with the hits, but she said she didn't regret any of her choices.
"It's a bit like bad boyfriends, how would you know a good one unless you've had a couple of bad ones?"
Reuters/VNU
このブログの投稿はDDが書いているのですが、個人的に面白いと思ったので取り上げてみました。
「（前略）・・・僕が思うに、映画に対する批評家の反応についてみんなあまり喜んでいない。これは残念だ。
しかし僕らは批評家のために映画を作っていない。みんなが映画を見に行って、楽しんだり、笑ったり、泣いたりするために作っている。そんな映画じゃないと攻撃するのは簡単だ。僕が思うに「snakes on a plane」のようにワクワクすることはとても楽しい、なぜなら映画を作ることはみんなができそうなことだし、多分できることだと思う。僕はTTMのような映画に対して、それがみんなに与えようとしている思い：楽しい時間、笑い、共感するときなんかも、そしてひょっとすると合理的な失望感もあるかもしれない、そんな観点で映画に接してほしい。なぜなら、この点においてすべて含んでいるこの映画は発言者であって、無駄口をたたいている声ではなく、取り上げられるべき声なのだ。・・・（後略）」
...いかん、ちんぷんかんぷんな訳かも。「word of mouth. not the mouths that carp. the mouths that count」がよくわかっていない（爆）もし訳の正誤があれば遠慮無く教えてくださいませ。
ちなみにこの部分は後半の部分です。前半も結構良いこと言っているんですよ。（でも翻訳する能力・気力が無いのでこれで勘弁してくださいませ）
彼自身、自分で映画製作をしたことがあるせいか、とても的を得た発言をしています。確かに映画は批評家のために作るものじゃなくて、みんなが楽しむために作るものなんですよ。だから映画を見た人が自分で感じ取るのが一番なんです。
なので是非TTMを日本で見てみたいので、配給会社の皆様、日本公開の方よろしくお願いします。（そう来るか。：笑）
Trust The Man: the day after
i've been out of it here in vancouver getting ready to start a new movie and therefore a little out of touch, but it's good to know that bart and i and julie won't be the only ones discussing the film any more. there are many experiences to doing a film. there's the primary one---how it feels on set in character with the other characters and the people playing them, your life in that time and place, there's your individual experience as you watch the finished product, then there's the release to the public, then there's the slow process of a film settling down in to a long history of film. i don't know which stage is fraught with more anxiety and intensity; each brings up its own set of terrors and exhilirations. my sense is that not everybody is pleased with the critical response to the film. that's unfortunate. but we don't make films for critics. we make them for a wide audience to go and enjoy, laugh, cry etc. it is easy to attack a film for what it is not. i suppose it feels good to get excited about something like snakes on a plane cause it makes moviemaking seem like anybody could do it. maybe anybody can. i wish that people would approach a film like ttm in the spirit in which it is offered---a good time, laughs, perhaps a moment of empathy or three---and maybe some legitimate disappointment (who knows---that's certainly fair)because at this point all that carries this film is word of mouth. not the mouths that carp. the mouths that count. yours. thanks for joining in on all this. d
Posted by David Duchovny on August 19, 2006 09:30 AM
New role hits close to home for Moore
Sunday, August 13, 2006
By AMY LONGSDORF
SPECIAL TO THE RECORD
As far as Julianne Moore is concerned, there's nothing better than making a movie a couple of blocks from your home, with your spouse behind the camera and your kids and best friend in the cast.
Moore can't say enough good things about "Trust the Man," which opens Friday. Shot in Manhattan's West Village, it was directed by Moore's husband, Bart Freundlich, and features appearances by the couple's children -- 8-year-old Cal and 4-year-old Liv -- as well as Moore's longtime buddy, Ellen Barkin.
But there was one catch to the family affair, Moore admits. Even though her husband wrote the script for the romantic comedy, he didn't enjoy shooting a scene in which Moore and movie spouse David Duchovny make out in the back of a taxi.
"Bart hates to see me kissing anybody onscreen, and David is one of his best friends," Moore, 46, says. "So there he was hanging over the front seat of the taxi staring at me and David.
"Every time I have to kiss somebody for a movie I tell Bart, 'I'm just pretending.' He should know that. But he always dreads those scenes. Dreads them."
When a script calls for Moore to hit the sheets with another actor, it precipitates "a two-month cold war" between the pair, she adds.
"Bart won't visit the set. He won't talk about the movie. I was negotiating something in the car the other day on an upcoming film, and Bart got so mad. I said, 'What's wrong?' And he said, 'You started talking about it! You brought it up! You brought it up!' "
Moore laughs so hard she practically doubles over.
Sitting in her Battery Park hotel suite, Moore is the picture of genteel elegance. She's wearing a white, lacy dress and high heels. Her skin is so pale, it seems untouched by the sun.
And yet she is anything but a starched presence. She whoops with laughter every chance she gets.
Despite a career that includes serious, even somber movies like "Safe," "Far From Heaven," "Vanya on 42nd Street" and "The Hours" -- and four Oscar nods -- Moore rarely takes herself seriously.
During the shooting of the downbeat "Freedomland," which was released earlier this year, Moore's co-star, Samuel L. Jackson, marveled at how easily she could turn her emotions on and off.
"At that time Julianne was kind of caught up in 'American Idol' and we'd be standing there ready to shoot and she'd be, like, 'Bo was singing so good last night.' And then the director would go 'Action!' and she would start crying. As soon as he said, 'Cut!' she would go, 'I really hope he wins tonight!' We both dove right into it and came right back out of it, and that was refreshing to me."
Freundlich believes Moore's talent is instinctive. "I think Julie's compassion is what makes her so inspiring as an actress," he says. "She told me that even as a kid when she was reading stories out loud in class, she could always see the whole thing from the perspectives of all of the characters. She's a genuine artist."
Moore and Freundlich met in 1996, while she was appearing in his first movie, "Myth of Fingerprints." At the time, she lived in Los Angeles and he in New York.
"After the movie wrapped, we commuted to see each other 35 weekends in a row," he recalls. "Then I moved out there for eight months while she shot 'The Lost World' and 'Boogie Nights.' But I finally convinced her to move back with me to New York, and we've been here ever since."
As it happens, New York is almost another character in "Trust the Man," a low-budget indie that follows the adventures of two tempestuous couples -- successful actress Rebecca (Moore) and her Mr. Mom husband, Tom (Duchovny), and her slacker younger brother Tobey (Billy Crudup) and his aspiring-novelist girlfriend, Elaine (Maggie Gyllenhaal).
Tobey's commitment issues lead to a fracture in his relationship with Elaine while Rebecca and Tom hit a speed bump when she discovers he cheated on her with a mom at their kids' school.
"I liked playing Rebecca because she's an actress but she just lives a regular life," Moore says. "She has this family and they all live in New York and she goes off to do her job. Bart presents it in a matter-of-fact way.
"I also like how the characters spend a lot of time talking about their marriage, their kids, their friends, their neighborhood. I think it's an interesting film in that it's very realistic-seeming, but it has a Hollywood-type happy ending, which confirms that men can be heroes in their own lives.
"It's a movie that values families and relationships above all else."
Is Moore worried that audiences will think that the Rebecca-Tom relationship is based on her own marriage to Freundlich?
"This is fiction; the infidelity is fiction," she clarifies. "But, sure, there's some parts that are autobiographical. I once almost choked on cake at a Golden Globes bash. Bart put that in the movie. The retainer is mine, only mine. It's not a fake retainer. It's a real retainer."
Working with her kids was a fun experience for Moore, who was happy to discover that Cal was more interested in talking to his tutor than emoting in front of the camera. Liv, meanwhile, proved herself a prime candidate for the family business.
"She's going to be an actress, no doubt," says Moore, a North Carolina native whose father was a military judge and whose mother was a social worker. "She loves costumes and makeup. Everything for her is role-playing in a gigantic way."
New York Daily News - Movies - Love 'n' Duchovny
Love 'n' Duchovny
The actor warms to movie romance
for his friend, director Bart Freundlich
BY MICHAEL GILTZ
Actor David Duchovny's new movie, "Trust the Man," opening Friday, revolves around friendship, so it's appropriate that he and writer-director Bart Freundlich were practically set up on a sort-of "date" years ago by mutual pals who said they would get along.
"Our first date was actually playing basketball at Collegiate School," jokes Freundlich about Duchovny, when the two are interviewed separately. "We went back and played with David's old high school coach against the team at Collegiate [the Upper West Side prep school Duchovny attended]. David and I went and we brought a couple of friends. We were huffing and puffing after a while. I think we won. We used our smarts."
In classic fashion, Duchovny remembers it differently.
"Actually, the first time I met Bart was on the set of 'Evolution' in 2001 when he was visiting Julie [Freundlich's wife, actress Julianne Moore]. The next time I saw him, I came down to my kitchen and he was coming out of the bathroom. My friend, [actor/director] Peter Berg, said, 'Oh yeah, Bart was supposed to stay at my house and I said he could stay here.'
"So what did Bart say about Collegiate?" Duchovny asks with a smirk. "Did he have a good time, or did it feel awkward? It was a good first date."
Okay, so it's a case of he says/he says - clearly, both men share a droll sense of humor, something Freundlich mined when writing his new film. In it, Duchovny plays Tom, a former ad executive who has quit his job and is taking care of the kids while his movie star wife (Moore) moves from success to success. His best pal is her brother (Billy Crudup), a freelance writer who is too afraid to commit to his ever-patient girlfriend (Maggie Gyllenhaal).
When Duchovny's character cheats on his wife and Crudup's character gets dumped, they both realize they're letting the women they love slip away. The movie glides from a realistic romantic comedy into a screwball finale where - hopefully - true love can triumph. But not before Duchovny can stumble across a pornographic Web site involving horses and join a sex addict meeting where he feels pressured to embellish his modest cheating with a fetish for deli meat.
"Tom's so earnest and neurotic that he has this one affair and he's so agonized over it that he says, 'I'm a sex addict!'" laughs Duchovny.
Clearly, Duchovny is not addicted to conquering Hollywood - his grab bag of credits range from doing the narration to the goofily cheesy softcore cable series "Red Shoe Diaries" to guest spots on "Sex and the City," from providing a voice for the straight-to-DVD animated flick "Queer Duck: The Movie" to costarring in the 2000 chick flick "Return to Me" to a hilarious cameo in Ben Stiller's "Zoolander."
If there's been a plan to Duchovny's career since hitting big on TV's "The X-Files," he's happy to say it's tough to see.
"It's hard to seem this unstructured," deadpans the 46-year-old New York-born and raised Duchovny, who's married to actress Tea Leoni and has two children. "There's no plan. Even people with a plan have no plan. I mean, they have a plan, but God help them if it works out. I work with friends like Bart or in a genre I want to do or the best thing that's available.
"I'll take something that's not fantastic because I want to stay sharp. I'll pretty much try anything if I can figure out the challenge of it - and sometimes, the challenge is, 'This [project] really sucks. How can I do okay with it?'"
That scattershot approach has paid off with unexpected highlights like his hilarious turn on "The Larry Sanders Show," and his goofy weatherman Johnny Volcano on "The Bonnie Hunt Show."
"And that got an Emmy nomination!" says Duchovny of the latter series. "It took me what, five years to get a nomination for 'The X-Files'? Bonnie, a friend of mine, calls me up and says, 'Hey, come and do this part.' So a week later I come in for a day and do the part, and that's an Emmy nomination."
So he won't bother with planning. But Duchovny's got several intriguing films in the works, including a sharp satire on network television called "The TV Set," costarring Sigourney Weaver, and "The Secret," a drama costarring Lili Taylor. And, of course, another "X-Files" movie is a possibility - the 1998 movie from the series left plot doors open - though not at the moment, as his "X" costar, Gillian Anderson, is pregnant.
But he will make one ambition: to direct another movie and build on the experience making his 2004 labor of love, "House of D."
Was it hard after directing to just go back to acting?
"He has that director's eye," says Freundlich. "David would ask, 'How are you going to do this?' I was like, 'None of your business, just go hit your mark,'" he laughs. "Actually, it helps [with actors].... When it's your 14th hour of filming, they know why you're still there."
Duchovny agrees.
"Did Bart say I gave him any tips?" asks Duchovny. "Because I've directed I would have thoughts. I'd say to Bart, 'Look, I have an idea. Take it or leave it. Do you want to hear it? 'Cuz I don't need to say it....' And he'd say, 'No, what is it?'
"When I'm directing, I want that too. I say, 'Tell me the idea, just don't be sensitive - I probably won't use it.' But I wouldn't ever say, 'How dare you tell me how to direct?!'"
Originally published on August 14, 2006
「Trust the Man」のプロダクション・ノートがネット上にあったので拾ってきました。興味のある方は下のリンクからダウンロードしてみてください。ただし映画のネタバレをしたくない方はおやめ下さい。
ていうか、何故か今回のTTM関係のものは何でもネット上にあるんだね。ビックリだわ。
TTM プロダクションノート：(PFDファイル：右クリックで保存してください。サーバに負担をかけないこと。）：
http://tcnweb.ne.jp/~square/TTMProductionNotes.pdf
ジュリアンが約束通りブログに投稿してくれました！バート、よくやった！（？）彼女の投稿分は以下の通りです。日本語の意訳も載せておきますので、参考程度にご覧下さい。（もし訳ミスがあったらゴメンナサイ。）
【日本語訳】
オーケイ、これって変。私は今までブログしたことがなくて多分間違えていると思うんだけれど。ちゃんと正しいサイトで「talladega nights」とかみたいなものではないことを祈ります。もしこれが正しければ。こちらはジュリアン・ムーアです（バートとして投稿）。私は現在バルセロナにいて、Savage Graceという映画を撮影中です。あと２週間あってその後家に帰ります。Trust the Manの公開にはとても興奮しています。私はこの映画を作れてとても良かったし、家のあるニューヨークで私たちの友達や家族のメンバーを集められるだけ集めて撮影できたのは素晴らしいことだと思いました。そして私は普段なかなか出会えないと思われる（というのは私だけ？とにかく）、家庭を持ち、仕事が役者という女性のキャラクターを演ずることが出来てとても良かったです。まるで私とか私の友達みたい！バートと一緒に仕事するのは素晴らしかったし、脚本もとても面白かった。私が一番残念だったのはとても面白かったものが最終的に映画に入らなかったこと。たとえばデイヴィッド（・ドゥカブニー）の振動する玉の話とか、私とビリー（・クラダップ）のハムスター事件とか。しかし妙なことにマギー（・ギレンホール）は妊娠することになったし、私は秋に舞台をすることになったし。
多分バートは超能力者なのかも。
Trust The Man: this is weird
okay this is weird, i've never blogged before and i think maybe i'm doing it wrong - i hope i've gone to the right site and not talladega nights or something. if this is the right place - this is julianne moore [posting as Bart] and i am in barcelona, shooting a movie called savage grace. i have 2 more weeks and then i come home. i'm very excited about the opening of trust the man - i loved making this movie. it was wonderful to shoot at home in new york with all of our friends and just about every family member we could round up. and i loved playing a character that i don't think you get to see that often - ( or i don't anyway) a woman with a family who just happens to have a job acting. kind of like me and alot of my friends! bart was wonderful to work with, and the script was so funny - my biggest disappointment was that some of the funniest stuff ended up not being in the movie - like david and his vibrating balls, and me and billy and the hamster incident. and oddly - maggie has ended up pregnant and i'm doing a play in the fall.
maybe bart is psychic.
Posted by Bart Freundlich on August 14, 2006 10:06 AM
以前 Trust the Manのオーディション用脚本がネットで出回った、というニュースをお伝えしましたが、その脚本と実際の映画のシーンをみると本当に使われているシーンが沢山あってビックリ。脚本を読んでみたい方・興味のある方は下のリンクからダウンロードしてみてください。ただし映画のネタバレ・ストーリーを知りたくない方はおやめ下さい。
オーディション用スクリプト(PFDファイル：右クリックで保存してください。サーバに負担をかけないこと。）：
http://tcnweb.ne.jp/~square/TrustTheManSides.pdf
今回のバートのブログで気になる点：ジュリ様が子ども向けの本を書いて来年出版予定なの？初耳情報でビックリでした。
この記事の注目点：映画と実生活とのつながり（ジュリ様、マギーの場合）、俳優である友人を監督することの利点（バートとＤＤの口臭漫才）、ヒーロー風ジャンプの話（背が高い方が不利）
Trust The Man: directing the actor
Hi all... Sorry for the delay... I did not get to hold a baby lion but my dog cherry did sit in my lap while I watched david holding the baby lion. The premiere was a great night... though I am anxious for the film to finally come out which will allow people I dont know see it... (or lets hope)
I was reminded of a couple things on the night of the premiere. One was how odd it is that in a lot of cases I think life imitates art, as oppose to the more traditional view that art imitates life... Maggies character Elaine screams out in the film "I want to get married and have a baby!' and there she was at the premiere 18 month later hugely pregnant with her fiance... Also Julie character "Rebecca" is a film actress doing a broadway play (by Edmund Middleton... my brother and my middle names combined, [trivia tidbit]) and though Julie has never done a play or expressed any interest in doing one since we've been together she will appear on broadway this winter for the first time ever... also like maggie's character Elaine Julie just finished writing a children's book to be published next year. Anyway... its not like im saying that my movie is responsible for all those things I just think its interesting that sometimes actors are attracted to things that deal with issues that are floating around in their subconscious that have yet to come to fruition... does that make any sense? Some how they, me, we work things out in our heads by exploring them in a fictional world but then we find some of that fictional world has spilled over into our real lives...
A couple other things I was reminded of: One day on the set I approached David with a serious look on my face and he has since told me he thought "oh great, here comes a really insightful direction into my character, I could really use that right now". I then walked up leaned in close and said, "tell me the truth "(pause as I look directly into his eyes) "Do I know or have you ever thought that I have bad breath?" So much for the great directing... But thats the advantage of having such close friends on the set. It also speaks to another directorial trait... vanity... its not just for actors.
Later that night we were shooting a shot where david and Billy jump through the doors like super heros ready to reclaim their women back at all costs. It's a somewhat tongue in cheek moment, here are these buffoons acting larger than life and I kept encouraging them to make the jump bigger... "More super-hero like" I would shout... "you can even go bigger with that"... finally "Jump as high as you can on this next one". Well this wasnt a problem for Billy because he is short... I know those of you whove seen almost famous find that hard to believe but yes... 5'9"... but davis who is 6'2" leaped and smashed his head into the metal door frame above making a sound so sickening that I was sure he had cracked his skull open. To his credit he finished the take without so much as a whimper... Turned out to be just a goose egg. I always know my actors trust me when i can direct them to do something ridiculous that could very well end their careers and they do it... DD thanks for that and sorry.... I also had to throw a wooden spoon at my wifes face, but thats a different story...
bart
Posted by Bart Freundlich on August 13, 2006 07:42 PM
JULIANNE MOORE - ART IMITATED LIFE FOR CHOKING MOORE
A choking scene in JULIANNE MOORE's new movie TRUST THE MAN is based on a real-life incident when the actress nearly suffocated. In the movie, Moore's character embarks on a no-carbohydrate diet but gets caught out stuffing herself with birthday cake in front of her husband, played by DAVID DUCHOVNY. The film was written and directed by Moore's husband BART FREUNDLICH, who tells the New York Daily News, "The cake thing really happened. She had such a big piece in her mouth. I saved her. It was in LA around Golden Globes time. And it was my birthday. "She's in this nice, beautiful dress and she's wearing a $100,000 necklace. I come out of the bathroom and see her choking."
「Trust the Man」の映画内でレベッカ（ジュリアン）がダイエット中なのにダンナ（トム(DD)）の誕生日ケーキを台所でつまみ食いしているのが見つかってしまい、喉を詰まらせてむせるシーンがあるのですが、実際にジュリアン＆バート夫妻にあった出来事らしい。（笑）実際の場合にはLAで行われたゴールデングローブ賞のとき、バートの誕生日ケーキを授賞式のために綺麗なドレスを着ていたジュリアンがつまみ食いしていて、バートが浴室から出てきたところで喉を詰まらせてむせていたのを発見したらしい。
....ていうか、そんなジュリアンが可愛い。（笑）
Trust The Man Deleted Scene - 1: http://www.youtube.com/watch?v=9_ktX5rABf4
Trust The Man Deleted Scene - 2: http://www.youtube.com/watch?v=FTGJVvRi-ww
というわけで、前回のアウトテイク３：「Tom(DD)の○△□×を殴られた後の診察シーン」はカットされました。まれにみる症状を笑う医者も失礼だよな、と思いつつも奥田秀朗の「イン・ザ・プール」でも似たような事例があったような。（苦笑）ていうか、ひょっとしてひょっとするとプレミアの様子見次第で本編に組み込まれる可能性ってアリ？（あと１週間では無理そうな感じ。）う〜ん、惜しいクリップを逃した。
ジュリアンがファッション・デザイナーのマーク・ジェイコブズのために一肌脱ぐそうです。ていうか、ホントに脱ぐのよ。（にやり）
マーク・ジェイコブズが企画するニューヨーク大学医学部の皮膚ガン研究の新グループのためのチャリティーで、Ｔシャツの他にはいっさい身につけないそうです。この企画に賛同しているのは以下のメンバー： Carolyn Murphy, Christy Turlington, Naomi Campbell, Julianne Moore, Dita Von Teese, Selma Blair
このイベントは９月にあるマーク・ジェイコブズのファッションショーのアフターパーティで行われる模様。
Marc Jacobs has six stunning women taking their clothes off for him | Vogue
NAKED FOR JACOBS
MARC JACOBS can get any woman naked – at least, his magic has worked on Carolyn Murphy, Christy Turlington, Naomi Campbell, Julianne Moore, Dita Von Teese and Selma Blair. According to WWD, the gorgeous sixsome agreed to Jacobs and his ceo, Robert Duffy's request that they took their kit off to pose for photographer Brian Bowen Smith. The resulting shots will appear on T-shirts, above a slogan warning against the risk of skin cancer, that will be auctioned at Jacobs' after show party in September to raise money for the new York University School of Medicine's Interdisciplinary Melanoma Cooperative Group. "Every single person I asked said yes, except for Hilary Swank," said Duffy. "But I am still working on her to try to convince her. I refuse to give up." The plan was hatched as a tribute to NYU physician Jessie Rubin, who recently died, whose daughter Francine Prose is a friend of Duffy's. (August 9 2006, AM)
Dolly Jones
Julianne Moore Knows to "Trust the Man" - Yahoo! News
Jenny Peters Tue Aug 8, 1:56 PM ET
Fashion Wire Daily - Los Angeles - What's a gal to do when her husband writes a romantic comedy called "Trust the Man?" If you're three-time Oscar nominee
Julianne Moore, you actually beg him to be in it.
"He actually had someone in mind initially for this who turned it down, and he was thinking about who to go to next," said Moore. "I mean, he was always open to my doing it, but we thought that maybe he should work with someone else and that that'd be nice and whatever."
"So he gave it to this [actress] and this person said no, and then we were in bed one night and I finally piped up and said, 'You know what, I would be really sorry if I didn't get to do this. I really like this movie. I like this part a lot, and if it's okay I'd like to play the part.' He was like, 'Yeah, yeah.' So that's how it happened. I approached him!"
Moore doesn't usually have to beg for work, as she remains one of Hollywood's most in-demand actresses, despite having hit her 45th birthday. But she didn't see this as begging, exactly; more as a chance to shoot a funny film about a character - a New York-based actress, in fact - that has many elements of her real life woven into her story.
"I liked playing a person who has a job acting, who you see that her regular life - she has this family and they live in New York and she goes to do her job. What was nice about playing an actress in this movie is that there are some things in our lives, really pedestrian things," Moore chuckled, chatting easily with reporters during interviews in New York City promoting the film.
"I mean, you're still living a regular life, you're still married and you still have children, you still have family obligations and all of that kind of stuff that you still have, and if you're in the middle of an argument, someone on the street might start pointing at you and saying, 'Hey, aren't you the one from the - whatever.' So that's just part of our lives," she shrugged.
The beautiful actress even was willing to put some very real elements of her life into "Trust the Man," including shots of her wearing a retainer on her teeth - not exactly the most glamorous look for an "A" list movie star!
"I do use my own retainer in the film," she laughed. "There were no fake retainers used in the movie!"
The comedy co-stars
David Duchovny as her husband, as well as
Billy Crudup and
Maggie Gyllenhaal, and opens August 18 in selected theaters across the country.
USATODAY.com - 'Trust' stars share secrets
Updated 8/7/2006 11:31 PM ET
By Donna Freydkin, USA TODAY
NEW YORK
— Love hurts.
Just ask Rebecca (Julianne Moore), an actress married to would-be philanderer Tom (David Duchovny), a househusband who's obsessed with sex.
And there's her immature Neanderthal brother Tobey (Billy Crudup), dating a frustrated novelist (Maggie Gyllenhaal).
The two couples bicker and banter in the romantic comedy Trust the Man, which premiered Monday night in Chelsea. But that tangled romantic web belongs firmly on the big screen.
In real life, Moore has been happily married to Trust's director Bart Freundlich since 2003 and the two have daughter Liv, 4, and son Cal, 8. They started dating while shooting 1997's The Myth of Fingerprints, which Freundlich directed. Trust, their second film together, opens in limited release on Aug. 18.
On the red carpet, Moore shared the secret to their lasting partnership: "You have to really want to be there. And everything falls into place."
Did she get preferential treatment from her director husband? "He's certainly always nice to me."
Their son, Cal, has a small part in the film and acknowledged being "a little" nervous about his movie debut.
Veteran actress Gyllenhaal is expecting her first baby with fiancé Peter Sarsgaard this fall, but if she were in the dating market, she knows where she would draw the line: "Ugly hands are hard for me."
Eva Mendes, who plays Crudup's character's old flame in the film, was more flexible. "You can cheat on me as long as your fingernails are clean."
Posted 8/7/2006 9:45 PM ET
Updated 8/7/2006 11:31 PM ET
USA Todayの出演俳優コメント付き映画紹介。USA Todayはどうやら女性陣グループのインタビューを行った模様。（ OSのバートのブログ(8/7)によると先週の土日に行われたプレス向けインタビューは男性陣と女性陣に班分けして行われたようです。）そこからジュリ様関連をピックアップ。
ジュリアンの結婚長続きの秘訣：「絶対にそうしていたい！と思うこと。そうすると全部うまく収まる。」
ダンナ（監督バート・フレインドリッチ）から特別待遇されているのか？：「彼はもちろんいつも優しいわよ。」
で、息子のCal君、実は映画デビューしていたんですね。（DDの○△□×を殴る役：苦笑）ということはこの映画、主演はジュリ様、息子も娘も映画デビュー、監督はダンナ、とフレインドリッチ一家総出のファミリービジネスですがなも。（笑）
ちなみに写真はプレミアでの記念撮影のもの。ジュリアンが着ているのはBottega Venetaのドレスだそうです。
Trust The Man: premiere
Sorry for the delay in the blogging... We are gettin ready for the premiere of the film Monday. I'm working on posting a few pictures of alternate posters we had made for the film.
ブログするの遅れてごめん...。僕らは月曜日の映画のプレミアの準備をしているところだ。僕は映画のために作ったポスターの別バージョンの写真配置に取り組んでいる。
The entire cast is coming in for the event and it really makes me realize how lucky I've been getting to work with all these actors... The four big ones are obvious, but i also got to work with Eva Mendes, Garry Shandling, Bob Balaban, Justin Bartha.... It makes such a difference when you have capable actors in the supporting roles... It really helps to add a sense of three dimentionality to the story ... when you believe these character have a life that is going on even when they are not on screen.
全キャストがイベントに来てくれる。それで僕は彼らのような俳優と働くことができてラッキーだと本当に気づかされる。４人の主役はもちろんだし、他にもEva Mendes, Garry Shandling, Bob Balaban, Justin Barthaと働くことになった。このような優秀な俳優を脇役とするとかなりのインパクトがつくれる。この物語の三次元的な感覚を付け加えることができたし....だって彼らのような登場人物が画面にいなくても、彼らには生活があるって信じるだろう。
HBO has just cut together a behind the scenes special that will begin airing soon that gives a really good idea of exactly how committed all these actors were. My wife has also promised to blog in the next day.
ＨＢＯが「a behind the scenes」スペシャルを一緒に編集していて、もうすぐ放映されると思うけれど、それもこのような俳優達がどれだけ貢献しているかがよくわかると思う。 僕の妻もまた次の日にブログをすると約束してくれた。
Thanks for all the support
みんなのサポートありがとう。
bart
Posted by Bart Freundlich on August 4, 2006 12:25 PM
というわけで、現在 バートとＤＤの「Trust the Man」共同ブログがかなり進んでいるのですが、8/4のバートの投稿にすんごい文章を発見！
「 僕の妻もまた次の日にブログをすると約束してくれた。」
ってジュリ様がブログをしますか！！
というわけで、ジュリアンが TtM共同ブログに投稿するかもしれません。こうご期待。
他にも月曜日(8/7)にプレミアがあるみたいですね。あとＨＢＯが「a behind the scenes」で取り上げるとか。
|
|
