Crazy Stupid Love Movie
July 29, 2011 by Post Team
Crazy Stupid Love Movie, After more than 50 films, Julianne Moore has played almost every kind of character you can imagine, so it’s almost a shock when you play someone normal. In “Stupid Crazy Love,” Moore plays an unhappy wife who asks her husband (played by Steve Carell), a divorce, sending two of them in a mid-life crisis careening, because determining whether to save her relationship or simply move on. Speakeasy Moore reached by phone to discuss “Stupid Crazy Love” in New days the film in New York press, where he talked about the process of making sense in the past, present and future of their characters, and continuing to choose roles that are as rewarding as they are commercially creative.
How do I create a palpable familiarity between you and Steve, for the beginning of this film seems to have shared together a true story?
That’s a challenge because you never know – much of it has to do with chemistry with the actor in particular, especially when it’s supposed to be a very familiar. But Steve is someone who responded to immediately, I have always admired his work so much – he’s very talented and very moving and it was so easy to connect with that I think is for the public when it is displayed. So for me it was a matter of trying to illuminate the meaning and goes with it. I think it helps both have been married for a very long time; we both have children and who were familiar with a kind of a long-term. But he just made it incredibly easy. You’re always looking for nuances in each and provided the mining connection, really.
Is the script most of the work to determine what those details that away from Cal, or character development have to invent some kind of motivation, if only in your own head?
Basically, the script starts with what you see on the screen with her saying “I want a divorce.” However, you can only imagine that there has been for many months or even years, that “trying to communicate their displeasure with him, and finally can not take it anymore and has to break with him. But all that kind of work yourself, but the script was so beautifully drawn and funny and even details like the “Twilight” line, which is so fun. It was very touching to me because you think, wow, this woman was starving so for romance that actually went to a teen romance movie middle of the afternoon. So a detail which is so full of extreme mood still incredibly telling about their relationship.
When you read a line of dialogue like that in a script, you are immediately able to identify the importance of that?
Yes, immediately. Well, well, a number that is really funny, and number two, which is where she was emotionally.
How to have two directors on “Crazy Love Stupid” increase or change the process of collaboration?
They were great because they were so generous with us, have encouraged improvisation, and let you try a little something. They laughed, and I love that John and Glenn, who were a great audience, so if you liked something, they laughed, it was so nice for an actor, because then you feel like, oh, look made me laugh (laughs). It works! He was part of the team, not that it was’ my way or the highway “but we would all imagine how it would be more emotional and more funny. They also wanted to make sure that when we come to what was high comedy, which were losing the party was based in reality. I’m thinking specifically of the scene you’re after meeting the teacher was very loud and fun but is serious when you realize that they have endangered the relationship again.
Did you know that a group of ideas on the test or the reading table for moments like this, or was it a discovery process in the set as the scene was shot?
There are a lot of different stages of it. They come with their own ideas, go to the reading table, to do everything possible in the trials, and then you get on set and try different things. You could say, try this or try that. It is very involved, not necessarily a way to it. And then you discover something while you’re doing. That’s the other thing about acting – you want to be in a position where we expect something that is happening in the scene, and then when the camera captures that actually feels real.
How formal or concrete is the process of preparing for a role?
Always comes from writing. Always start with the script, and I like to read it again and again, and am fairly intuitive. I can kind of know if I connect with the character immediately when I read it and know if I’ll be able to do, and then once you’ve done that, it is a matter of work [you do it]. Each director is different, every game is different, so there will be some movies where a lot of trials and much discussion, and then there are some movies that just a little right to it, there is only one to shoot with that (laughs). But above all of my work is only work in the real script; I do a lot of back-story – which is not very helpful to me. Only the script language itself is very important.
This has been a summer of great comedies driven by female characters. Is there something to do that seems to be leading this renaissance of women driven pieces of entertainment or fun, at least with a strong character, interesting woman?
Not. For Lisa [Cholodenko] and her co-writer Stuart, “The Kids Are Alright” was all very personal, and I thinks Kristen Wiig, wrote “bridemaids,” people are writing very personal stories. Dan Fogelman is a screenwriter who wrote such incredibly well balanced, very interesting human characters. I mean, even in “Cars,” the drama of it and feel it really comes from the characters he wrote. I think there is a desire also to see that. I like movies relationship, I like comedies relationship, and I want to see women. And I think there is a desire out there in the audience too.
How difficult or easy has been to continue to find interesting or challenging roles as an actress?
I feel very fortunate to be honest with you, and extremely grateful for the opportunities I had. And I think the scripts are out there, but it’s only a matter of finding them and reading them, I feel very lucky “Kids” and “A Single Man” and the film and some of the things I’ve done recently. As with this, I was like, wow – I was lucky to get it.
It takes a certain degree of strategy? I read an interview where he said a good judge of scripts, so it is just look at the scripts and decide which can be approached in a creative way?
That’s more or less what it is. With “The Kids Are Alright”, he met Lisa Cholodenko and I, and expressed the desire to work together, and she gave me “Children,” and that was six years before we funded it. He was always a script we were trying to work. So I knew I wanted to do, and this was something I read and I loved it and asked me to do it. So things have appeared, but you have to read things and you really have to make determinations about what you like and what you do. And sometimes you have to put the champion that others are not defending, or maybe they are just taking a long time to obtain financing.
Do you have a special preference for work in this type of configuration set in two or three stories of characters?
At this point, I’ve done like 55 movies, so it’s a little hard to find a pattern. It’s mostly a build-up (laughs). I have worked in class and gender and stuff, but I feel that if something I have a collection of things that are really hard writing materials.
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