Q&A: Resurrections, Musicals and "Julianne Pfeiffer"
Monday, August 15, 2011 at 3:07PM 
I feel like if I talk about the Oscars anymore than I already do I will slowly become one! Gold plating, lopped off head, ... the works. This week's question were extremely Oscar focused. In order to escape my immobile sword-holding genital-free fate, I'm not answering them just yet. I'm also not answering any "top ten" questions but feel free to go on giving me top ten list ideas ;)
I'm suddenly realizing this Q&A series is like writing 10 blog posts at once. Which is... well, must rethink this series! So only non-Oscar focused questions today and then we'll just gag on naked gold men tomorrow and Wednesday, K?
Here we go.
Luiserghio: If you could resurrect one classic director to direct a modern actress/actor?
Nathaniel: My first thought was William Wyler for just about any actor or actress that needs a chance to really nail a top flight dramatic adult piece. Who has a better track record for directing actors to grand serious performances with nuance and depth? Nobody. But then Vincente Minnelli directing Anne Hathaway popped up and I'll go with that. Not because she wants to play Judy Garland and he's the expert but because he understands color and musical numbers and Hathaway would soar under both conditions. Plus she seems to have an 'Old Hollywood' soul as it were so she'd be perfect for any resurrection.
Mandy Patinkin, Eartha Kitt and Toni Collette in "The Wild Party"Robert G: If you could guarantee one stage musical from any time in history would be adapted to a film, what would it be?
Nathaniel: If you'd ask me this five years ago I would've said Sweeney Todd.
This is such a tough question as there are so many great ones. Many stage musicals I love wouldn't transfer well like A Choru -- whoops! I regularly try and picture "The Light in the Piazza" and "Caroline, Or Change" as feature films. I think a masterpiece could be made from Sondheim's "Follies" but what director alive is both genius enough to handle the complexity of it and has enough industry muscle to demand that only extraordinarily gifted singing actors handle the vocally demanding songs? So maybe I should just say Michael John LaChiusa's "The Wild Party" because I am weirdly obsessed with it and because there's more room for error. By which I mean it's busy with noise and dancing and banter and that's easier for modern Hollywood to understand than pure singing musicals. If they made a mistake here and there they wouldn't destroy a masterwork and we'd still get an entertaining film. Please note: This guarantee wish comes with Toni Collette reprising her lead role as alcy showgirl "Queenie".
Queenie was a blonde and her age stood still and she danced twice a day in the
... vau-de-ville ♫
Sean C: Which of the four actors do you think has the biggest opportunity to drop the theatrical dramedy-ic ball in CARNAGE?
John, Jodie, Christoph and Kate checking out TFE's Oscar charts!
Nathaniel: Such a mean-spirited (or maybe just worried?) question. I'll give you my answer after the jump.
Kate Winslet has the least challenging role if you ask me so she'll be fine. We already know that Waltz can work on multiple levels with a great facility for gallows-humor (see: Basterds). John C Reilly will probably be fine but I'm still disappointed because I thought Matt Dillon was such an interesting choice. So I have to go with Jodie Foster who...
a) has the hardest role
b) is not particularly "funny"
c) tends to be strongest in extremely narrow dramas.
I don't say "narrow" in a derogratory way. Just that her best work (which I consider to be 3 of her 4 nominated roles, excluding The Accused) has women trapped in extreme circumstances or struggling in very narrow worlds who are only focused on that. On the other hand, I guess "God of Carnage" could be described that way. Hmmm. I guess it's the comedy part I'm worried about. I thought she really struggled with against-type work in Inside Man. And if there's truth to "if you rest, you rust" than Jodie is too corroded for something this difficult.
Ty: What director/actress collaboration do you find the most interesting?
Nathaniel: There are many starting all the way back in the silents with Pabst & Brooks. So I'll restrict my answer to two that came to mind right away that are less traditional director/muse relationships and more director/regular-troupe member. I might die of happiness if Wes Anderson ever moved away from poor little rich boys and wrote and directed a stylized vehicle for Anjelica Huston. Shake things up!
...but I really really freak out over Woody Allen / Dianne Wiest. Out of all his frequent ladies -- despite the unarguable brilliance of Diane Keaton and Mia Farrow -- she's the one that seems to exist most fully outside his amorous svengali control within his movies. Notably she's almost never the romantic object in the traditional way and I think that helps. Those two Oscars she has from his movies don't lie; it's a thrilling match.
QUESTION OF THE WEEK!
Mr Ripley: Recast Michelle Pfeiffer in a Julianne Moore part and Julianne in a Michelle part! Any era.
Nathaniel: Jesus. Tough. They've both done coke whores (Scarface, Boogie Nights), aging trophy gals (Chéri, Magnolia), and forbidden love with Dennis Haysbert (Love Field, Far From Heaven... Oscar noms for both) so let's eliminate those movies straightaway to make it easier. I also have to eliminate unimproveable star turns so gone are Pfeiff's Fabulous Baker Boys, Batman Returns and White Oleander and Moore's Safe.
Moore could do The Deep End of the Ocean's maternal turmoil in her sleep (and best Pfeiffer) but she has much more trouble selling loose vibrant comedy or mainstream genre stylizations (I can't imagine her pulling off, say, Married to the Mob or What Lies Beneath) but I'd want to challenge her so I'd give her maybe The Witches of Eastwick which has a little of both but not too much of either and still works in some weird maternal flourishes. Plus, I'd love for Julianne to have more opportunities to act opposite other actresses; The Hours doesn't count since they didn't share scenes! Either that or The Age of Innocence because Moore doesn't get to do romantic dramas nearly enough. We haven't really seen what she can do there. I assume because she's never been "bankable" per se and romantic dramas usually count on the female lead to sell them.
Switcheroos. Trade romantic epics?As for Pfeiffer, this will seem kind of unfair to take from Moore given what I just said but I'd loved to have seen what she could have done with The End of the Affair. It's a Movie Star role and she has that energy in spades. I've basically always agreed with Martin Scorsese's early 90s assessment of Pfeiffer as "our greatest romantic actress" so that seems like the obvious choice, becaue she didn't embrace that side of herself too much beyond The Age of Innocence. On the other hand, I'd kind of die to see Pfeiffer really pushed from her comfort zone so... can I change my answer?
How sickening could Pfeiffer get with Savage Grace: threeways, incest, balls-out crazy?
But Pfeiffer in Magnolia. Just to shake her up but good.
Fuck you, too. Don't call me "lady". I come in here, I give these things to you, you check, you make your phone calls, look suspicious, ask questions. I'm sick. I have sickness all around me and you fucking ask me about my life? "What's wrong?" Have you seen death in your bed? In your house? Where's your fucking decency? And then I'm asked fucking questions. What's... wrong? You suck my dick. That's what's wrong. And you, you fucking call me "lady"? Shame on you. Shame on you. Shame on both of you.
Pfeiffer's Ice Queen, shattering into millions of itty bitty shards right there in the pfucking pfarmacy.
I'd like to change my answer again.
Your turn: Which actress/director pairings do you obsess over? Which Pfeiffer/Moore roles would you trade? Musicals to screen? Sound off on any of these questions. You know there's at least one where you were raising your hands, all "Pick me! Pick me!"
Reader Comments (45)
I actually see Pfeiffer in the Annette Bening role from Kids.
I wish Kubrick were alive to collaborate with Kidman again. I know her performance in Eyes divides people, but, I'm usually in the minority with Kidman's movies and performances.
I think O Russell and Almodovar could do wonders for Anjelica Huston -- Wes Anderson sees her as decoration. I wish Jon Avnet would write and direct a lesbian romance between a grandmother (Kathy Bates) and a masculine pin-stripe suit wearing dyke (Tilda Swinton).
Julianne as Catwoman would be INSANE. I didn't think anyone could capture that Catwoman's bitchiness like Michelle, but now that I think of it, I think Julianne could top it. I mean, Julianne walking into the office the next day like fuck you after being thrown out the window? Damn.
I am in love with the Almodovar/Cruz combo and would gladly see any more of their films. I'd actually like to see more foreign directors with America actresses...like I would die if Almodovar ever decided to make a fim with say Angelina Jolie (returning to her sexy, creepy phase) or Maggie Gyllenhaal.
Caroline or Change would make a fantastic movie. I keep thinking that one of these days someone will make a Miss Saigon film...
Swinton and Ingmar Bergman would be am amazing duet, I think.
Also, Kubrick and Winslet, based on the former's collaboration with Kidman.
I totally agree about Follies as a film. Unfortunately, Hollywood has zero idea as to what makes a good movie musical. After Nine, I got very angry.
And so good to see another Wild Party fan! Toni Colette gave one of the greatest performances I had ever seen in a Broadway show. That show was highly underrated and massacred for no good reason.
My number one dream musical to movie would be FOLLIES... But indeed it is *critical* that exceptional singers be cast. And I think NEXT TO NORMAL could make a really, really powerful movie as well.
Even though they are no longer married, I would KILL for Kenneth Branagh to direct Emma Thompson again... They were my favorite director/actress combo.
"Follies" would be great, as would "Wild Party", but your comment regarding directing talent for such feats, is too true. I keep hoping Rob Marshall will become a stronger director, Baz is very picky, and I'm not confident in Chris Columbus (Rent). Maybe Lars Van Trier, but I'm guessing a "Next To Normal" adaptation might be closer to his cup of tea. Perhaps Sam Mendes for "Wild Party"? Plus, I'm definitely in favor of another film adaptaion of "A Chorus Line", since the first was a little less than stellar.
I think a real challenge for Moore would've been Pfeiffer's part in Hairspray. It's hard to think of Pfeiffer in any of Moore's roles, but she would've probably nailed Moore'a part in Far from Heaven.
/3rtfull -- yeah. i can't join you there. I know that eyes wide shut is supposed to be dreamlike but to me there's a difference between dreamlike and somnabulistic and Kidman's slow delivery just made me crazy. GET THOSE WORDS OUT. But you're probably right that Anderson can only see Huston as decoration. His loss. Ah well. at least she gets cool little gigs with him.
Terence -- if Viola Davis could sing like a champ (but i'm assuming she can't or wouldn't we know this about her by now) than CAROLINE OR CHANGE would be the ultimate Oscar vehicle. But if it ever becomes a movie and they don't ruin it's really thorny meditations than it could be just so amazing.
Alejandro -- yay. likewise. The Wild Party i always think of as a movie because though it all takes place inside one house, it's a well... wild party... and it could even be a low budget movie provided the director was gifted. You just have to capture and follow the energy, grant depth to the desperate lives, and celebrate the rude comedy. oh and yeah, not fuck up the music. but this hollywood has issues with.
Dianne Wiest in Hannah and Her Sisters is one of my favorite movie namesakes. I laugh *so hard* every time she inwardly complains about being taken home first after the awkward three-way date with Sam Waterston and Carrie Fisher. L.O.V.E.
Since we're mentioning Next to Normal . . . Toni Colette should do the movie.
My choices for the Pfeiffer/Moore switch woudl be Dangerous Minds for Moore and Chloe for Pfeiffer (I think she and Seyfreid would have made it REALLY creepy)
Fernando --- !!!!!!!! yes that with the mother/daughter creepy.
Joel V -- i keep wondering how we'd get another stanley donen or vincente minnelli. I mean, to some degree the movies are affected by the true A talent pros. Like where is the Tarantino of movie musicals? Couldn't one spring up from somewhere who studies the past and GETS how to modernize. I mean... look at how Tarantino absorbed cinema (of a different kind) and then emerged as this nearly fully formed director that totally shook up cinema.
where is the tarantino of musicals????? If i had known we wouldn't get one maybe i would've gone to film school and tried to develop a directorial-ready personality ;)
Five years ago, I would have said The Wild Party with Toni Collette and Eartha Kitt reprising their roles. Now I have to think of a substitute for Eartha Kitt. Great choice. Love that show.
James T, 'Bergman and Tilda' was my answer when I asked the question!
Which Pfeiffer/Moore roles would you trade? Julianne in Dangerous Minds (or One Fine Day, just for the pleasure of watch her against Clooney) and La Pfeiffer in A Single Man.
Robert G -- replacing eartha kitt would be a nightmare. How does one do that?!
Nathaniel, I love the idea of a Tarantino for musicals . . . my worry is the studios would probably interfere. I am sure a lot of the terrible decisions that have been made in many recent musical adaptations have been at the hands of the studios (except for Sweeney Todd where the decision to cast Depp and Bonham Carter was definitely Burton's).
I also think the balance of musical as artform and entertainment is very hard to find. I think Moulin Rouge! was probably the last great movie musical . . . it managed to be both lyrical and entertaining at the same time.
yyyyyyaaaaaaaaaaaayyyyyyyyyyy question of the week,i knew it was a good one
michelle > julianne - i would pick a single man
julianne > michelle - i would pick white oleander
There was a rumor some years ago that Aaron Sorkin was writing a screenplay for Follies. Could be interesting, but I think Hollywood needs to step away from the Sondheim unless, as you said, it has a strong director. And I would like to add a strong writer who understands movies and musicals.
About 12 years ago, i was hoping someone would make "Once On This Island" as an animated musical. I thought that was idea was kinda fun. And I'm sure my theatre queen card will get revoked for this, but The Drowsy Chaperone as a movie I think would be fun. Only instead of a man listening to his favorite record, The Drowsy Chaperone, he's watching his favorite movie, The Drowsy Chaperone, that he taped on his Betamax. Again, it could be fun if he was watching the movie and giving the audience a commentary of his favorite movie.
Oh and I forgot to add that I am surprised, and a little let down, that they didn't make the recent Grey Gardens, with Drew Barrymore and Jessica Lange, as a movie musical. I love love love Grey Gardens, esp. the music, as was hoping that they would have just added the spectacular music to the movie, as well as Jessica Lange playing both Big Eddie and Little Eddie. But alas.
And what's up with Footloose not being a full blown musical. I mean, it worked for Hairspray. I was quite disappointed when I found out that Footloose was not a musical, but just a remake of the 80's version.
Nathaniel, I actually thought Pfeiffer was great in The Deep End of the Ocean. Despite the movie's many limitations and traps it falls into, I think Pfeiffer did a great job of fleshing out a full-fledged human being out of Beth Cappadora. I can only wonder what Julianne could have brought to the role, and how different a direction she could have verged from the one Pfeiffer took (no doubt she would have been great in her own way). But I think Pfeiffer's casting was probably the most intelligent choice of the movie.
LOVE the idea for Follies to be a film, but it would take a hell of a director to get the right mix of surrealism and bitterness. Baz doesn't have the cynicism, Marshall doesn't have the skill, Von Trier doesn't seem too fond of the very American brand of nostalgia needed for it. It needs a Fosse in All That Jazz mode. But speaking of Michelle Pfeiffer, she would be AMAZING as Phyllis. Her "Could I Leave You?" would be a knockout.
Nathaniel- If not Viola Davis for Caroline, or Change, then how about Audra McDonald? Someone needs to get her a movie musical....and stat!
Best working actor/director collaborators: Nicole Holofcener & Catherine Keener
Dead director I’d like to see work with an actress from today: Max Ophuls & Juliette Binoche / Luis Bunuel & Nicole Kidman / Rainer Fassbinder & Sandra Bullock (hey, she allegedly speaks German fluently...I’d like to see more american actresses exported, the opposite happens too often) / Visconti & Penelope Cruz / Billy Wilder & Melanie Laurent / Bergman & Isabelle Huppert (because she wouldn’t be scared of inserting glass objects in...oops sorry)
Swap that role: Guess I always imagine how it’d be if Michelle Pfeiffer had been cast as Clarice Starling? But that role is too iconic to even wish to be recast. Sicne then I always imagine that a role that Michelle didn’t want, Jodie Foster took. So let’s swap Panic Room with What Lies Beneath. I’d swap Renee Zellweger as Bridget Jones with Miss Piggy, just for the hell of it (And because I always thought Miss Piggy should have had a rom-com sans Muppets)
I couldn't make Julianne do The Deep End of the Ocean. The thing where she's always with the missing/screwed up kids...
I've always thought Pfeiffer was just a tad glamorous for her role in Frankie & Johnny, so it'd be interesting to see what Moore could bring to it.
There are so many Moore roles I could see Pfeiffer slipping into, but I think my top pick would be Short Cuts, that "shattering of the ice queen" like Magnolia.
I know this was just a reader question, but I think it'd be a great weekly feature. I know I'd love seeing more actress swaps like this!
I would love to see "Ragtime" made into a film, but I cannot imagine casting such a beast of a piece. I have nightmares of Usher and Beyoncé as Coalhouse and Sarah. I wonder why directors of a more auteur persuasion are never called on to direct musicals.
Seriously. You'd need to find a gorgeous older actress who can sing legit jazz music and be able to get any man she wants. That's hard to find in a role that can easily be promoted as major in a show like this. You want name recognition in that part so the character works even better in the context of the show.
I didn't even mention my own dream project in the last comment. Turn The 25th Annual Putnam County Spelling Bee into a musical mockumentary. The character songs all happen in one on one interviews or in inserted footage from home interviews. The action songs (like Pandemonium and My Favorite Moment/Second) happen with inter-spliced confessionals over the current action of the spelling bee. I think it would be a hoot if you raised the character's ages to high school students and changed the next round to a limited statewide competition.
Nat, if you want, maybe you can attempt to control (corralling?) the questions a bit - suggest a loose "theme" each time? That said, I love reading the randomness of the questions.
I have to agree with 3rtfull on Kubrick/Kidman - when I watched EWS I wanted to stop all that wandering in the streets nonsense and focus on the Harfords. In fact, I wanted to get rid of Cruise altogether (talk about a dead performance, or at least flat affect - but it's a "dream" so I guess that's the point?) and replace him with another actor more sympatico with Nic's style. I thought she was electrifying in that one.
And, totally agree about the underuse of Anjelica by Anderson. When is someone going to give her another great role? She's clearly still got the chops.
Best actor/director combination is definately Martin Scorsese and Robert DeNiro. All their movies together are just sick. Actress/director is harder, either Frances McDormand and the Coen Brothers or Uma Thurman and Quentin Tarantino.
David Lean could direct anyone, maybe Marion Cotillard or Penelope Cruz. Or how about Hitchcock paired up with a beautiful blonde, Cate Blanchett, Kate Winslet, Scarlett Johansson etc.?
Question of the week is a though one. I could see Pfeiffer in so many Moore roles: Magnolia, Chloe, A Single Man, Boogie Nights. But imagine her in The Big Lebowski. Golden.
The other way around is harder. Pfeiffer I think relies more on her beauty. I think she would be great in The Deep End of the Ocean or - shaking things up - in Batman Returns.
Working directors that should do musicals: Lee Daniels (though isn't he committed to Miss Saigon?), Stephen Daldry, Todd Haynes, PT Anderson. With Daldry, I already think of The Hours as an opera, with the constant music and the theatrics and the awesome ladies, and he's directed both versions of Billy Elliot, so that's not much of a stretch, but it's time for him to commit. Like, I would *die* of *excitement* if Daldry did Sunset Boulevard.
One thing to address -- you don't like answering questions about Streep. I think she deserves her own FAQ posting. Sometimes I envy the lovers of Streep because she will continued to be talked up and nominated, unlike the rest of the women, primarly, American women, who have to take cameo bit parts, television gigs, theatre gigs, or The View.
I still can't get over Pfeiffer, Weaver, and Lange are all doing horror based projects. WTF! I need to thank God for Bates' atypical Best Actress win. No matter what -- She's still apart of the rare sisterhood of Best Actress winners, with 11 women being double winners, the tie between Babs and Hepburn, and Hepburn's own 4 wins -- I can't believe Cher, Bates, and Berry were ever able to get them.
For the musical question, I'd personally love to see In the Heights made as a movie musical. It's such a fun, heart-felt musical and would offer all kinds of roles for unknown Latino actors/actresses. Throw in a few West Side Story references and it could be really interesting...
If Next to Normal was done, I'd personally recommend Gus Van Sant as director. I'd fully support that musical-to-movie adaptation too.
Also, I'm proud that nobody has mentioned Wicked.
Janice,
I want Huston working with Almodovar. She's the only American actress I can think of who'd fit his style without him making adjustments to accommodate. The 80s and the early 90s were the best period for her to find US productions that could marry her talents and persona. Now Anjel isn't really Anjel anymore. She's not bad these days. Although, there's a lot lacking because filmmakers are sort of just plugging her in without a part that suits her strength as an actor.
Kidman in EWS: have you ever heard the story? Shut is where she began working with her acting guru Susan Batson. Susan and Nic worked tirelessly on the bedroom scene. Once Kidman performs it as rehearsed for Kubrick and crew -- only the crew were impressed -- Kubrick told Kidman, are you done now? He did not want a visibly rehearsed performance.
If people don't understand that her work by design from Kubrick's direction is meant to be in his perferred "flat" acting style -- I don't know what else to say!
Luiserghio: If you could resurrect one classic director to direct a modern actress/actor?
George Cukor to direct Glenn Close
Robert G: If you could guarantee one stage musical from any time in history would be adapted to a film, what would it be?
Kiss of the spider woman (with Charlize Theron in the Chita Rivera role)
Sean C: Which of the four actors do you think has the biggest opportunity to drop the theatrical dramedy-ic ball in CARNAGE?
Waltz, definetely
Ty: What director/actress collaboration do you find the most interesting?
Joe Wright/Keira Knighltey (I'm salivating over Anna Karenina already)
Mr Ripley: Recast Michelle Pfeiffer in a Julianne Moore part and Julianne in a Michelle part! Any era.
Pfeiffer in Children of men (SPOILER: her death would have been more shocking having her in the role) and Moore in Hairspray (more evil and funny)
I know this might not belong here but I'm obsessed with Viola Davis right now after she killed me with with her fierce emotion in The Help. I'd like to see her in a great romantic role. Imagine Davis in The End of The Affair or Far From Heaven in Juli's role..... omg. Or her and Daniel Day Lewis in a remake of Who's Afraid of Virginia Woolf.... somebody give her a movie, as Meryl said.
This is SUCH a good post, I wanna roll around in it, Nate!
I'll try to avoid repeating others' choices.
If you could resurrect one classic director to direct a modern actress/actor?
Kurosawa/Rinko Kikuchi
Hitchcock/Uma Thurman
Kazan/Kidman
Lean/Tilda
Welles/Clooney
Fellini/Depp
Truffaut/Cotillard + Binoche
Cassavetes/Patricia Clarkson
Ashby/Julianne Moore
If you could guarantee one stage musical from any time in history would be adapted to a film, what would it be?
Sundays In The Park With George directed by Jean-Pierre Jeunet
Assassins directed by Paul Thomas Anderson
South Pacific directed by Terrence Malick -- Just imagine! *sighs*
What director/actress collaboration do you find the most interesting?
--Clooney + Soderbergh, they should do more together as they fit each other like gloves.
Recast Michelle Pfeiffer in a Julianne Moore part and Julianne in a Michelle part! Any era.
--All the great possible options have been explored. I, personally, would've loved to have seen Pfeiffer in the PTA films and Moore in Age of Innocence. Also, Pfeiffer for Children of Men would've been crazy amazing.
Mark -- thank you. I wanna roll around in your resurrected director/actor combos, which are brilliant.. Also South Pacific by Terrence Malick (LOL!)
Aw, thanks! I really tried to think of some directors who would absolutely love some of today's modern cast. Like, how is Uma not the most perfect modern Hitchcock blonde? He'd be all over that! Ditto Truffaut + the French stunners. Kazan, a real actor's director, would LOVE Kidman and I suspect, she him. I could totally see Orson Welles gravitating towards the Clooney magnet and Fellini/Depp would be a match made in weirdo heaven.
LOL my South Pacific suggestion is purely based on beauty. We're pretending South Pacific has never been adapted before btw. Imagine the otherworldly sunsets Malick could get for one of the numbers or the real lived-in feeling of WWII uncertainty and nostalgia he could really bring to the whole piece. Basically, The Thin Red Line: The Musical! LOL
Julianne in The Age Of Innocence. Michelle in Savage Grace.
Excellent blog, well done. I am curios as to who your Oscar nominees will be...
/3rtfull,
I hadn't heard that story, so thank you. After I posted what I did, it occured to me I was probably being a bit hard on Cruise's perf (he has given at least a couple of great ones, after all); no doubt he was giving Kubrick exactly what he wanted.
If you could resurrect one classic director to direct a modern actress/actor
Bergman - Cate Blanchett/ Ryan Gosling
Kazan - Kate Winslet/ Christian Bale
Fellini - Tilda Swinton/ Alan Rickman
Hitchcock - Rachel Weizs/ Ralph Fiennes / Michelle Pfeiffer
Kurosawa - Daniel Day Lewis/ Maggie Chung/ Tony Leung/ Rinko Kikuchi
Lean - Jude Law/ Naomi Watts
Truffaut - Kristin Scott Thomas/ Charlotte Gainsbourg/ Jodie Foster
Wyler - Anne Hathaway/ Emma Stone
Welles - Anthony McKey/ Olivia Williams
What director/actress collaboration do you find the most interesting?
Mortensen/ Cronenberg
Thurman/ Tarantino
Pitt/ Fincher
Moore/ Todd Haynes
Which of the four actors do you think has the biggest opportunity to drop the theatrical dramedy-ic ball in CARNAGE?
Kate Winslet
Recast Michelle Pfeiffer in a Julianne Moore part and Julianne in a Michelle part! Any era
Magnolia, Children of Men, The End of the Affair, The Shipping News and A Single Man
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1. Alfred Hitchcock with Sean Penn
Robert Zemeckis with Renee Zellweger
Clint Eastwood with Sally Fields
Tim Burton with Grace Kelly (I know that's a weird one)
Tim Burton with Gwyneth Paltrow
2. Probably "Cats"
3. Winslet
4. This is the most difficult question for me. I decided Michelle Pfeiffer in "Maps to the Stars" and Julianne Moore in "A Thousand Acres"