The daughter of a military judge and a Scottish social worker, Julianne Moore was born in Fayetteville, North Carolina on December 3, 1960. She spent the early years of her life in over two dozen locations around the world with her parents before she finally found her place at Boston University, where she earned her Bachelor of Fine Arts (B.F.A.) degree in acting from the School of the Performing Arts. After graduation (in 1983), Julianne moved to New York and worked extensively in theater, including appearances off-Broadway in two Caryl Churchill plays, Serious Money and Ice Cream With Hot Fudge and as Ophelia in Hamlet at The Guthrie Theatre. But despite her formal training, Julianne fell into the attractive actress' trap of the mid-1980's: TV soaps and miniseries. She appeared briefly in the daytime serial "The Edge of Night" (1956) and from 1985 to 1988 she played two half-sisters Frannie and Sabrina on the soap "As the World Turns" (1956). This performance later led to an Outstanding Ingénue Daytime Emmy Award in 1988. Her subsequent appearances were in mostly forgettable TV-movies, such as Money, Power, Murder. (1989) (TV), The Last to Go (1991) (TV) and Cast a Deadly Spell (1991) (TV). She made her entrance into the big screen with 1990's Tales from the Darkside: The Movie (1990), where she played the victim of a mummy. Two years later, Julianne appeared in feature films with supporting parts in The Hand That Rocks the Cradle (1992) and the comedy The Gun in Betty Lou's Handbag (1992). She kept winning better and more powerful roles as time went on, including a small but memorable role as a nurse who spots Kimble Harrison Ford and attempts to thwart his escape in The Fugitive (1993). (A role that made such an impression on Steven Spielberg that he cast her in the Jurassic Park (1993) sequel without an audition in 1997). In one of Moore's most distinguished performances, she recapitulated her "beguiling Yelena" from Andre Gregory's workshop version of Chekhov's Uncle Vanya in Louis Malle's critically acclaimed Vanya on 42nd Street (1994). Director Todd Haynes gave Julianne her first opportunity to take on a lead role in Safe (1995). Her portrayal of Carol White, an affluent L.A. housewife who develops an inexplicable allergic reaction to her environment, won critical praise as well as an Independent Spirit Award nomination. Later that year she found her way into romantic comedy, co-starring as Hugh Grant's pregnant girlfriend in Nine Months (1995). Following films included Assassins (1995), where she played an electronics security expert targeted for death (next to Sylvester Stallone and Antonio Banderas) and Surviving Picasso (1996), where she played Dora Maar, one of the numerous lovers of Picasso (portrayed by her hero, Anthony Hopkins). A year later, after co-starring in Spielberg's The Lost World: Jurassic Park (1997), opposite Jeff Goldblum, a young and unknown director, Paul Thomas Anderson asked Julianne to appear in his movie, Boogie Nights (1997). Despite her misgivings, she finally was won over by the script and her decision to play the role of Amber Waves, a loving porn star who acts as a mother figure to a ragtag crew, proved to be a wise one, since she received both Golden Globe and Academy Award nominations. Julianne started 1998 by playing an erotic artist in The Big Lebowski (1998), continued with a small role in the social comedy Chicago Cab (1997) and ended with a subtle performance in Gus Van Sant's remake of Psycho (1960). 1999 had Moore as busy as an actress can be. She starred in a number of high-profile projects, beginning with Robert Altman's Cookie's Fortune (1999) , in which she was cast as the mentally challenged but adorable sister of a decidedly unhinged Glenn Close. A portrayal of the scheming Mrs. Cheveley followed in Oliver Parker's An Ideal Husband (1999) with a number of critics asserting that Moore was the best part of the movie. She then enjoyed another collaboration with director Anderson in Magnolia (1999) and continued with an outstanding performance in The End of the Affair (1999), for which she garnered another Oscar nomination. She ended 1999 with another great performance, that of a grieving mother in A Map of the World (1999), opposite Sigourney Weaver.IMDb Mini Biography By: Catherine Grace
|Bart Freundlich||(23 August 2003 - present) 2 children|
|John Gould Rubin||(3 May 1986 - 25 August 1995) (divorced)|
Red hair and green eyes
Cries in emotional scenes
Frequently portrays adulteresses
Her father was a judge in the Army's Judge Advocate General Corps and her mother was a psychiatric social worker.
Graduated from Boston University's School of the Arts.
Moved into $900,000 3-bedroom loft in Greenwich Village. [November 1999]
Worked briefly as part-time waitress in Boston, MA.
Is a staunch pro-choice advocate and an active member of Planned Parenthood.
Born Julie Anne Smith, she had to change her name when she registered with the Actor's Guild as every variation of her name seemed to be taken. She then combined her first two names and assumed her father's middle name as her surname.
Lived in Juneau, Alaska, for about a year and a half and attended school there from 1971-1972.
After Jodie Foster turned down the chance to reprise her Oscar-winning role of Clarice Starling in Hannibal (2001), several actresses were considered for the part. Moore triumphed over such contenders as Helen Hunt, Gillian Anderson and Cate Blanchett.
In order to convincingly portray the role of a housewife suffering from an immune disorder in Safe (1995), she lost 10 pounds off of her already petite frame.
She reads every script she receives.
Her younger brother, Peter Moore Smith, is an author and has written the book "Raveling", for which Moore has bought the film rights. She also has a younger sister named Valerie.
She was on Entertainment Weekly's list of "The 25 Greatest Actresses of the '90s" (issue date: 11/20/98).
Chosen as one of People Magazine's '50 most beautiful' list. 
Moved into $2.65-million duplex penthouse in Greenwich Village, New York City. 
Graduated from Frankfurt American High School in Frankfurt, Germany, in 1979.
She is one of the elite ten thespians to have been nominated for both a Supporting and a Lead Acting Academy Award in the same year. In 2003, she was nominated for a Supporting Oscar for her role in The Hours (2002), and in the Lead category for her role in Far from Heaven (2002). The other nine are Fay Bainter, Teresa Wright, Barry Fitzgerald (he has been nominated in both categories for the same role in the same movie), Jessica Lange, Al Pacino, Sigourney Weaver, Emma Thompson, Holly Hunter, Cate Blanchett and Jamie Foxx.
While in college, she auditioned for the prestigious Guthrie Theater Drama School at the Guthrie Theater, Minneapolis, Minnesota, but continued to pursue her BFA at Boston instead. A few years later, she performed at the Guthrie Theater in the Ensamble, production of George Bernard Shaw "Heartbreak House".
Received triple nominations from the Screen Actors Guild Awards in both 2000 and 2003.
Appears in Boogie Nights (1997), The Big Lebowski (1998) and Magnolia (1999) with Philip Seymour Hoffman. Both of them have played characters in the Hannibal Lecter series. Moore played Clarice Starling in Hannibal (2001), and Hoffman played Freddie Lounds in Red Dragon (2002).
Appears in The Lost World: Jurassic Park (1997), the sequel to Jurassic Park (1993), in which Laura Dern was the heroine. Also appears in Hannibal (2001), the sequel to The Silence of the Lambs (1991), in which Jodie Foster preceded her as "Clarice Starling". Laura Dern and Jodie Foster appeared together in Alice Doesn't Live Here Anymore (1974).
Friend of Ellen Barkin.
Was member of the dramatic jury at the Sundance Film Festival in 1996.
Was listed as a potential nominee on the 2007 Razzie Award nominating ballot. She was suggested in the Worst Actress category for her performance in Freedomland (2006), but she failed to receive a nomination.
Parents married when they were 19 and 20 years old.
Her father was a lawyer in the US Army, and the family moved 23 times before she turned 18. She went to nine different schools.
Chose to remain uncredited in her role as the voice of "Aria" in Eagle Eye (2008).
Participated in the 3rd Munchkin's Project Pink annual breast cancer awareness campaign to raise money for breast cancer research. The project consists of the donation of celebrity-decorated and autographed bath ducks, put up for auction. [October 2008]
Artist ambassador for "Save the Children".
Her mother, Ann Love Smith, died on April 29, 2009 at the age of 68.
Born at 5:53 PM (EST).
She didn't learn to swim until she was 26, and only learned to drive at age 27.
Ralph Fiennes, her co-star in The End of the Affair (1999), said of her, being interviewed for "Inside the Actors Studio: Ralph Fiennes (#12.8)" (2006): "Julianne Moore has the most extraordinary spirit to act opposite. And funny, and sense of humor - we giggled a lot. I felt so relaxed with her. And her humor - not only her great talent, but her humor. A great friendship, and I am still friends with Julianne. So that's changed me, I've made a friend who I trust and love and would love to work with again.".
$127,000 worth of jewelry was stolen from her New York City apartment [October 4, 2012].
Nominated for an Outstanding Actress award for her work in Game Change (2012) (TV) at The Women's Image Network (WIN) Awards 2012.
Born on the same day as Daryl Hannah.
Has an "obsession" with furniture designers Paavo Tynell and Harvey Probber.
Her very first role on stage came in 6th grade when she played the Little Red-Haired Girl in "You're A Good Man, Charlie Brown" at Anne M. Dorner Middle School in Ossining, NY. She was scared and didn't like it.
You never have sex the way people do in the movies. You don't do it on the floor, you don't do it standing up, you don't always have all your clothes off, you don't happen to have on all the sexy lingerie. You know, if anybody ever ripped my clothes, I'd kill them.
In grade school I was a complete geek. You know, there's always the kid who's too short, the one who wears glasses, the kid who's not athletic. Well, I was all three.
[reerring to her broken toe while at the GLAAD Media Awards, in regards to executives at Paramount Pictures who were putting together a TV show for Laura Schlessinger, a right-wing radio talk-show host who has angered the gay community with her sometimes rabidly negative comments about homosexuality] I wish I could say I broke this kicking down the door at Paramount, but I was running after my son.
[what life was like for her as a child] I was a goody-goody. I was one of those kids who played by the rules. I used to have to take people to the principal's office. Isn't that awful?
[on losing the 2000 Best Actress Oscar] Only five people got nominated in that category, and that's not very many people. So I did all right.
I'm looking for the truth. The audience doesn't come to see you, they come to see themselves.
[October 2000, about her views on abortion and reproductive rights] Now that the FDA has legalized RU-486, it makes us feel that politically the winds are blowing our way. But, if someone has a problem with reproductive freedom, I won't even consider voting for them. George W. Bush is anti-choice, and I really believe that should he be elected, we will end up in a really difficult situation.
[about the birth of her son, Caleb Freundlich, and being a mother] It is the most wonderful experience of your life. It deepens absolutely everything. You have a greater understanding of things, so in a way it is a gift. For me it has made everything much better. I'm so happy; I am extremely fortunate.
I hesitate to call things companion pieces or to draw comparison between films because I think you reduce the films by doing that.
It's true, the classic, iconic American ideal, that heroine, our idea of perfection is this blonde woman in a blue dress and a blue car.
That's the beauty of what actors do, that you only have yourself as a resource. And so the trick is to find something in them that you connect to somewhere. And with every single one of my characters, I have to find something that I really understand and ultimately believe.
My parents were very liberal. That's a misconception about the military. I'm a proud army brat. I love the military. It breaks my heart what this war [the Iraq war] has done to it. These back-door, draftlike returns of soldiers to the front - you don't do that. You don't send a soldier back three or four times. That's not OK.
When someone says, "I'm not political", I feel like what they're saying is, "I only care about myself. In my bathtub. Me and my bathtub is what I care about".
There's always a female audience. But we will only go if they make movies for us because we're just too busy. It makes me crazy when people ask why women don't go to the movies. Number one, there are no movies for us and, number two, we have jobs and families. I never get out of the house with two little kids. If I go, I want to know it really is something for me. I want it to be relevant to me.
The great disappointment is that when you're acting, you've literally become a different person in your head, and when you see it you go, Oh! It's the same face! You feel sometimes so limited by your physiognomy. You are desperately trying to look different, but it doesn't always work. There are some things that you can change, but unfortunately you're always left with the same face.
I try to make my characters as specific as I can.
... If I have a hesitation on reading, I don't commit. I respond to the material or not. I like story. That's what I'm attracted to even more than character. It's no fun if it's a great character but not a good story.
What did [Gustave Flaubert] say? "Be ordinary in your life so that you can be violent and original in your work!" I believe that.
My family life is incredibly important to me. I want to be with them as much as I can. I try to work in New York, or I work in the summer time when my family can come with me. The days of me doing a big film where I need to be away for months during the school year are over. It doesn't seem to affect the roles I get. That's the reality of my life so I don't think about it too much."
[on feeling invisible] It started when I was a kid. I moved frequently because my dad was in the army so I was always new in school. I think if you've ever done that, you know what it means to not matter in a room. I think it's a good experience for everyone to have, to feel like they're not noticed, because it teaches you to be empathetic.
[on the death of her mother in 2009] She's gone. So that's hard. It's just one of those things. She was only 68. It was not fair. It has been really, really, tremendously difficult. It was completely sudden and unexpected and she was a month away from retirement. It was an infection and then an embolism. My mother got sick and she died the next morning. And I was on a plane on my way there when she passed away. It was really awful. We all miss her. It's been very bad. It's the thing about loss, and you see it in this movie [A Single Man (2009)], too, that unfortunately this is what happens. None of us is spared.
My friends make jokes that I won't go see something if there's only men in it because I don't know who to look at. Like big war films. I don't have a way in here. Let me in. Give me a woman to look at so I can enter the story. So I think you want to represent other women and give them access to tell their stories.
[on living in Los Angeles in the early 1990s] For me, it was hard to be that close to the business, like being in a steel mill town. Some people like the lifestyle. But I'm someone who doesn't respond well to that kind of pressure.
Women in their late 30s or early 40s talk about how they're not middle-aged. And I just think, "How long are you expecting to live?" They're in the middle. If you're lucky you get to live to your 80s; if you're unlucky, like my mother, you don't.
My children don't watch my movies. First of all, they're not interested and, secondly, my movies are not for children. As an actor, you're trying to portray the human condition and sometimes we don't wear clothes. I made a movie called Chloe (2002)and there's a great deal of sexual material in it. The director, Atom Egoyan said, "You know, people do this. And when they do it, they're usually nude."
My very first director told me that if you have red hair, somebody is casting you for a reason. He said, "There will be parts that you don't get because, especially onstage, people can see you." I've been wigged plenty of times, but the funny thing is that even when I have a different hair color, people tend to still remember me as having red hair.
[on growing up with dreams of an acting career] I thought I was going to be a stage actress. One of the pathetic, secret parts of my personality is I love musical theater. I did that in high school but not very well. Even now, I love musicals: Hairspray (1988) is genius. But I think people think of me as a bore, you know. A tragic bore. Dark is not something I am, but from the beginning people assumed my métier was tragedy. When I started out, I was cast on a soap opera, "As the World Turns" (1956), as a quintessential good girl. I did that for a while and then they created the role of my evil, selfish half-sister/cousin. I played that, too. They immediately thought of me as dark.
[on growing up as an Army brat] . . . that life teaches you that behavior is not concrete. A lot of people think that how you behave is a given or that behavior is character. When you move around a lot, you learn that behavior is mutable. I would change, depending on where I was. I would go to one school and everyone would dance one way and, then, at a new school, you'd notice that no one picked up their feet when they danced. You're like, OK, I'll shuffle my feet like them. You learn that there's no one way to dance or be. For some reason, a lot of actors come from these peripatetic backgrounds - army kids, missionary kids, kids of salesmen. It teaches you to watch, to reinvent, that character can change.
I always find that aspect of a character important. But, you can't say, "Ooh - I like that Cristóbal Balenciaga dress and I'm going to wear it." You have to wear something that the character has access to. People tell stories about themselves with their clothing, their hair, with the way they move and the way they present themselves. I learned that when I was young. I was always on the lookout for clues. And there are a lot of clues in how people dress.
The script [for Boogie Nights (1997)] is primarily about love and loss and human connection, and although Tom reveals himself very slowly, what he reveals is very genuine.
[on meeting designer Tom Ford] I met him in 1998, right after my son was born. Tom made a dress for me for the Oscars, the first time I was nominated, for Boogie Nights (1997). In that movie, I played Amber Waves, a porno actress. Tom was unbelievably charming and handsome and normal, not scary, which surprised me because he was one of the first designers I'd ever met. He made me a really beautiful black chiffon dress that kind of had an empire waist. Because I'd just had a baby, my boobs were really big. I didn't feel confident enough to wear it. But Tom was incredibly gracious. He said, "I don't care - wear it, don't wear it, it's just a dress". And that was the beginning of my friendship with Tom.
[on playing Charlotte in A Single Man (2009)] No, I wasn't thinking about Ann-Margret [in Carnal Knowledge (1971)]. A lot of the character began with a particular vocal choice: she's someone who is very wealthy, very educated and kind of a party girl. There's this way of speaking among these women where you don't know whether they're posh or hammered all the time. So, that's where I started. Then I listened to very early Julie Christie, to get the early-'60s kind of sound, and then I listened to some very modern British party girls. That's how I came up with Charly's sloppy sound.
[Interview with Miranda Crowell, September 2007]: My husband and I are very fortunate, because we have flexible jobs. If you talk to parents, that's what they're trying to do - have as much flexibility as possible.
[on giving fearless performances] I always say that to be fearless you actually have to be afraid. And acting is not something that scares me.It's something I enjoy.
If there's something that you haven't done that you've been waiting to do, the by all means, don't wait any longer. Do it!
Like all parents, we both have our strengths and our weaknesses. I'll tend to be, "Yeah, sure, you can have that gum". I'm easy with candy. I feel like, "Ugh, it's not going to kill you".
[on uncharacteristically playing a comic role in Crazy, Stupid, Love. (2011)] The older you get, the less alluring tragedy becomes. I think it's very easy, when you're 23, to see everything dark and tragic, but as you get older and see what people go through you realize people want to laugh.
I had a very wonderful teacher in Frankfurt, my English teacher, she was the drama coach and she said, "You could do this for a living." And it hadn't occurred to me, I didn't know anybody who did, I didn't know any actors, I'd never been to a real play, only school plays. So, she handled me a copy of Dramatics magazine and said, "These are schools that you can apply to", and I came home and told my parents I was going to be an actress.
[on portraying Sarah Palin in Game Change (2012) (TV)] It's daunting to play somebody who is not only a living figure, but a hugely well-known one, and it's my responsibility as an actor to be as accurate as possible. In all the research I did, this was a person who was clearly not prepared. We have her displaying moments of sheer brilliance. At her unveiling at the national convention, I think the whole country took a collective gasp, like, "Who is she? Where did she come from?" She was so incredibly charismatic, so unbelievably able to communicate, and a true patriot. Of course, on further examination, she didn't necessarily have the experience necessary to lead our country, either as Vice President or, potentially, President. That's what we tried to dramatize.
Lisa Cholodenko's movies are about relationships. There's never an event in her films. It's all about how people connect and communicate. And what they're trying to elicit from each other and how they love each other. It's the kind of film I respond to the most because it's about human behavior.
I always hate to be divisive about gender or sexuality or race or anything like that. I feel like sometimes, even with the best of intentions, when we put ourselves into boxes, it ends up being a less universal thing. But I will say that I've always worked with filmmakers who are interested in very human not so much plot driven stories, more kind of character and emotionally driven. A lot of gay filmmakers fall into that category.
[on playing Little Red-Haired Girl in sixth grade] I sat on the stage and ate a sandwich while Charlie Brown talked about me. I was so scared. I didn't get any pleasure out of that.
(September 2002) Receives two Best Actress Awards at the Venice Film Festival (by jury and public) for Far from Heaven (2002).
(October 2007) Release of her children's book, "Freckleface Strawberry".
(2009) Release of her book, "Freckleface Strawberry and the Dodgeball Bully".
(2009) Living with her family in New York.
(November 2010) Received the Marc Aurelio Awards at the International Rome Film Festival (Italy).
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