During the craziness of Catching Fire publicity we missed this tidbit from series producer Nina Jacobson: President Coin will have a larger role in Mockingjay.
Speaking to Indiewire, Jacobson says that Coin – played by Julianne Moore – will be expanded because they can tell the film from perspectives outside of Katniss’. Plus, it doesn’t hurt that the Mockingjay book is being split into two movies.
“You’ll see that Julianne Moore’s role in Mockingjay [the third installment] is much bigger in the movie than it is in the book,” Jacobson said. “Again, in the book, you can only see it from Katniss’ point of view. There are a lot of scenes that Katniss wasn’t a part of that we get to see in the film. Even when we go away from Katniss, it’s always still about her.”
President Coin is the leader of the rebellion movement’s District 13 and has a strict system in place that Katniss has to deal with in Mockingjay. Coin rescued Katniss during the 75th annual Hunger Games along with Beetee and Finnick, but Peeta unfortunately couldn’t be saved from the grips of the Capitol in time. Things grow tense between Katniss and Coin starting when the Mockingjay makes demands about what she needs in order to be the figurehead of the rebellion.
We’re glad to hear confirmation of Coin’s expanded role and expect others to be broadened as well. In recent weeks while promoting Catching Fire, director Francis Lawrence has teased that there will be several surprises thanks to the opportunity to add more scenes. He’s also said that the films will probably be shorter than Catching Fire.
Mockingjay opens in theaters November 2014 and November 2015. The two-part finale began shooting in October.
Julianne led the way to the just-finished room, which feels like a glimpse into the future: a fully equipped, heart-of-the-house kitchen designed like a living room, with freestanding furniture-like cabinetry, large-scale contemporary photos hung gallery-style, and a Berber carpet under the table. It’s a room that’s at once formal and informal, welcoming and grand. “Isn’t it risky to have a shaggy wool rug in the kitchen?” we asked. “Actually, it’s incredibly forgiving,” she said. “Everything comes out of wool.”
She may be one of the great actresses of our day, but she moonlights as one of us: a design junkie (case in point: she acted as the shoot stylist, looking into the camera and readying every angle). Just get her on the subject of doormats, and you know she’s fully committed. During idle moments on movie sets, she told us, she strikes out in search of ceramics (“I like local pottery, utilitarian things”), such as the stoneware candelabra on her kitchen table, a find from the Mississippi Mud shoot near Marigold, Mississippi.
Over the years, Julianne has developed her own design rules—inspired in part by the spare yet warm aesthetic of Belgian architect Vincent Van Duysen (“I steal from his stuff all the time”)—which go something like this:
• Control the colors you allow into your life. The palette in the house (and even the backyard garden) is limited to ivory, gray, black, brown, and the occasional touch of purple. When she initially remodeled the townhouse 10 years ago, the first floor was done in shades of gray (shots of it buzzed around the web, inspiring copycat paint jobs the world over). But she started longing for a brighter outlook and went for an off-white: “It felt dark in here. White lets the furniture to pop.”
• Spotlight interesting textures. “Color is just not what I like to look at,” she says. “I like natural things.” Toward that end, a giant sea sponge rests on an Eames pedestal, antique turtle shells decorate the back wall, a brown sheepskin from the Union Square Farmer’s Market drapes over a wooden armchair, and a thrift store driftwood lamp stands like an animated scarecrow next to the sink. Also high on her list: natural materials like plaster, wax, rattan, and rice paper (the latter is what the room’s giant Noguchi lantern light is made of).
• Matte trumps shiny. Oliver knows never to suggest any finish that gleams. The counter is honed black granite. The backsplash is made from concrete squares that closely match the color of the wall. (And it was such a hard sell that Julianne only agreed to add it to the stove area; the kitchen sink is deep enough that it gets away without a backsplash.) And the table, a modern farmhouse design, has a vegetable-based finish that she points out is satisfyingly “super matte.”
• Art should be everywhere. It elevates a room and works its magic over a sink just as much as it does over a formal mantel (yes, the kitchen has one of those, too, a holdover from its days as a parlor). Currently on display: Large-scale photos by Jack Pierson, Ori Gersht, and Nan Goldin.
• Everything should be put to use—or else nixed. Julianne credits this philosophy to her mother: “I was a military brat and we moved a lot, but my mother knew how to pull together a room and liked a Scandinavian aesthetic. She inspired my interest in design.” The use-everything approach extends to the furniture: “Nothing should be so precious that children and dogs aren’t welcome on it.”
Nice way to live, right? For a full exploration of the kitchen, see our new book, Remodelista, A Manual for the Considered Home, with a foreword written by Julianne Moore herself. And you can get copies autographed by Julie Carlson via Book Passage.
Julianne turns 53 today! We here at Divine Julianne Moore want to wish her a safe and happy one with her loved ones.
• Appearances > Appearances from 2013 > Nov 6 – Remodelista.com (Say Media)Celebrate The Launch Of Their First Book ‘Remodelista, A Manual For The Considered Home’
• Appearances > Appearances from 2013 > November 11 – CFDA And Vogue 2013 Fashion Fund Finalists Celebration
Actress Julianne Moore initially snubbed the chance to appear in new comedy Don Jon as she was convinced it was a porn movie. The Hours star has a role in Joseph Gordon-Levitt’s feature-length directorial debut, in which he stars as a young man struggling with a porn addiction, but she almost turned down the movie offer when she was first handed the script as she feared the plot would be used as an excuse for multiple sex scenes. She tells Britain’s Event magazine, “I heard that the subject was porn and thought, ‘Ugh, I don’t want to read it…’ (I read the script when) I was on a plane sitting next to my husband; I looked at him and said, ‘Wow, this is not about porn, it’s about unrealistic media images that are preventing people from being themselves…’ Ultimately it’s a film about intimacy, which is quite daring.”
Julianne Moore is smoking-hot!
Just take a look at her recent cover of Health magazine, where she’s positively radiant in a sequined red tank paired with flattering skinny jeans, stacked gold rings and a delicate gold necklace.
The 52-year-old star’s striking red hair is casually worn down with a simple middle part, and we have to say she looks cool and confident while flaunting her fit figure and toned arms.
So how does she maintain her healthy physique while keeping up with a busy schedule? She mixes it up!
“I try to do Ashtanga yoga two to three times a week. I’ve also started working out with a trainer, doing light weights and a lot of jumping around,” she tells the magazine.
As for her favorite sneaky way to work out while still having fun, Moore embraces ocean life.
“I paddle board. But it’s not the kind of exercise people say it is. I think you have to really paddle hard. But if you’re just gliding along like I am, then no!” she laughs. “The main problem is I can’t do anything six days straight because I get hurt. That’s the thing about old age—eventually your hip starts to hurt and you have to switch to do something else.”
And when all else fails, Moore relies on alternative medicine, specifically acupuncture, to alleviate those aching muscles and joints.
“For back pain, it’s amazing. I also had a period after my mother died where I couldn’t sleep. I mean, I was just in shock for the longest time and didn’t sleep for, like, a year. I was just a wreck. And I had some really intense acupuncture treatments, and it kind of reset my nervous system. So I think it’s very helpful.”
One of the creakiest critical clichés is to salute an actor for “disappearing” into her role. Beyond being overused, this cliché is ridiculous because it suggests that a certain kind of great performance can be gauged by the fact that we don’t notice the actor’s personality in the portrayal. The problem with such praise is that it tends to be doled out to larger-than-life actors who, for a change, decide to rein themselves in, as if restraint is some incredibly challenging undertaking that only the bravest can endure.
Julianne Moore disappears into her role as Carol White in “Safe,” but it’s a different type of disappearing act, a better one. And it’s perfectly in keeping with the character she plays, a woman convinced she’s fatally allergic to the 20th century.
Set in the San Fernando Valley in 1987, writer-director Todd Haynes’ 1995 film is part psychological horror movie and part social commentary. When it was made, Moore was just beginning to become the celebrated actor who would go on to be nominated for four Academy Awards. Graduating from daytime television and bit parts in forgotten studio movies, Moore had impressed in back-to-back independent films, Robert Altman’s “Short Cuts” and Louis Malle’s “Vanya on 42nd Street.” But “Safe” was her most adventurous role to that point, portraying a seemingly typical Valley housewife who falls out of alignment with her enviable life of the nice house, businessman husband, and lengthy lunches with friends. She starts feeling lethargic…then it’s trouble breathing…then it’s bloody noses. Her doctor says she’s fine, but inside she doesn’t feel that way. And it’s only getting worse.
“Safe” can be seen as a barbed response to our paranoia about the latest societal scare. (The movie came out at a time when premillennial anxiety was just about to rev up, but its late-’80s setting places it in the AIDS era. Seen today, “Safe” plays like a disturbingly prescient take on post-9/11 terrorism fears.) But Haynes, who would go on to make “Far From Heaven” and “I’m Not There,” fiendishly refuses to nail down what is making Carol sick—or even if her illness is real or self-invented. The movie’s mystery isn’t what exactly is happening to Carol but why it’s happening, and Moore’s precise performance is central to the film’s power.
For most viewers, Moore was a relative unknown, and so there wasn’t much baggage from previous roles influencing our vision of her as Carol. But even from our current vantage point, Moore is extraordinary at playing a woman who’s vanishing before our eyes. At first, it’s the way that Carol seems to be minimized by all those around her: her distracted husband, her rudely dismissive stepson, a society that only makes her feel comfortable at aerobics classes and on pointless errands. Once her illness starts to take hold and she begins investigating possible remedies—fruit diets, oxygen masks, food allergy treatments—it becomes clear that Carol isn’t so much looking for a cure as she is searching for an identity, a way of being in a world from which she feels alienated.
Come Oscar season, we’re used to seeing actors dying of diseases in the name of awards, but Carol’s illness has a sting to it because its origins are unfathomable. (There’s not the comfort of a typical disease narrative because we don’t know where “Safe” is going or how bad it might get.) Moore plays Carol as an innocent, well-meaning woman without a backbone or a sense of self. These are not characters that some actors like to play: They’re weak, indecisive, and potentially exasperating. Carol is all three, but Moore makes her enormously sympathetic anyway. Part of this is due to Haynes’ nonjudgmental view of the character, but much of the credit must go to Moore, who radiates such warmth that we always sense that a sweet, decent woman is there inside Carol, except she’s so consumed with finding contentment through alternative medicines and self-help gurus that she never had the confidence to find herself.
As meek as Carol is, Moore’s performance has a steeliness to its vulnerability. That sounds like a contradiction, but Moore makes it work—it’s hard to think of a movie in which a character so fiercely tries to keep her head above water while drowning at the same time. With her feeble, placid voice and somewhat vapid observations, Carol is a pretty nobody, and Moore never tries to make her anything more than anonymous. That’s why “Safe” is such a wrenching experience. In real life, Carol is the sort of unexceptional person whose suffering we’d never notice. By making her disappear so tragically, Moore ensures that Carol’s plight is unforgettable.
Tim Grierson is a film and music critic for Screen International, Paste, Deadspin, and Playboy. His new biography of the band Wilco, “Sunken Treasure,” is available now.
Actress Julianne Moore is convinced teachers, parents and teenagers need to see her Carrie movie revamp – because it might prevent another school massacre like Columbine or Newtown.
The Hours star plays the isolated title character’s domineering and unbalanced mum in the latest adaptation of Stephen King’s novel, and she insists Chloe Grace Moretz’ portrayal of Carrie will highlight the issues faced by marginalised, lonely kids.
She tells WENN, “The character of Carrie was based on two girls Stephen King had gone to high school with; both of whom were extremely isolated and marginalised by everyone at school – one by extreme poverty and the other by her parent’s extreme religious views. He combined them and came up with the idea of Carrie. They both died in their 20s of different causes.
“The story is really what the cost of that social isolation is; when you do marginalise people what are the consequences?
“The book is about the cause of social isolation and the rage that ensues from that. I don’t want to minimise what happened in Newtown but that was a boy who was extremely socially isolated. He spent a lot of time alone. I think there are real dangers to people being left out.”
And Moore admits she is making sure her kids go out of their way to include marginalised kids in their class: “I always say, ‘Make sure that no one is sitting alone. Pay attention to people by themselves. No one should have to go through that. Everyone wants to feel included and make an effort in that direction’. They’re both very friendly and they do do that.”
December (13) marks the first anniversary of the Sandy Hook Elementary massacre in Newtown, Connecticut, where a lone gunman killed 20 students before turning the gun on himself.