Demi Moore Talks with Jia Tolentino

Summary

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The New Yorker Radio Hour — Demi Moore Talks with Jia Tolentino

Date: January 6, 2026
Host: David Remnick
Guests: Demi Moore, Gia Tolentino
Episode Focus: A candid conversation about Demi Moore's early life, career, iconic roles, motherhood, evolving personal value, and her new projects.

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Overview: Main Theme & Purpose

This episode offers an in-depth dialogue between New Yorker staff writer Jia Tolentino and actor Demi Moore, recorded at the New Yorker Festival. Through frank anecdotes and reflection, Moore discusses her peripatetic childhood, the pressures she faced navigating early stardom and motherhood, her approach to transformative roles, and how her sense of self has evolved across her four-decade career. The discussion touches on themes of adaptability, gender expectations, body image, risk, and artistic integrity, using touchpoints from Moore's filmography—including Indecent Proposal, G.I. Jane, and her new projects.

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Key Discussion Points & Insights

1. Childhood, Adaptability, and Becoming an Actor

[01:38 – 04:14]

• Frequent Moves & Early Adulthood: Moore recounts attending at least two schools per year, leading to expertise in adaptability and “loading a U-Haul.”
• Impact on Friendships:

  “...I became very adaptable… On the plus side, I also learned the positive side of not clinging to attachment. The downside is that it made it harder to nurture friendships.” — Demi Moore [02:23]

• Fitting In vs. Selfhood: Early on, Moore focused on evaluating situations to fit in, sometimes at the expense of knowing her own likes or sense of self.

2. Early Career and Motherhood

[04:14 – 06:33]

• Moore began acting in her teens while balancing motherhood before it was common among peers.
• A Few Good Men: Moore was eight months pregnant during auditions and started rehearsals a month after her second child was born.

  “I was moving around all right, but I could tell [Tom Cruise] felt that it was a bit awkward.” — Demi Moore [04:50]

• Work-Life Pressure:

  “I look back at that time now and I go, what the fuck was I thinking? I mean, what was I even trying to prove?” — Demi Moore [06:13]

3. Performance in Indecent Proposal & Public Reception

[06:33 – 11:47]

• Memorable Scene Replay: Watching her performance, Moore describes recognizing old lines and feeling a newfound appreciation for her past work.

  “Sometimes what's nice at this point in my life is that I actually have the ability to look back and have more appreciation… Versus remembering being in it, how critical I was, how much I dissected all that wasn't…” — Demi Moore [07:25]

• Filming with Woody Harrelson: Describes awkwardness filming love scenes with a close family friend.
• The Movie’s Moral Core:

  “The pain of making a choice and having to live with the consequences is what that scene is really all about. And the unforeseen consequences of doing something that's for the higher good...” — Demi Moore [09:02]

• Gendered Double Standard in Shame:

  “Somehow she is shamed for it.” — Demi Moore [10:35]

• Tolentino’s Modern Reversal: Suggests that, today, many people would vie for a night with Robert Redford, underscoring cultural shifts about sexuality and agency.

4. G.I. Jane and Physical Transformations

[11:47 – 16:13]

• Attachment to the Role: Moore’s personal favorite, G.I. Jane, was transformative due to the challenge of embodying a woman fighting to break gender barriers.

  “There was something in that, for me, that really addressed so many bigger questions at play in women's roles.” — Demi Moore [11:52]

• Grueling Training:

  “When I went to do the training… it was literally me and 40 guys. They made it so that I really had to feel just like in the movie…” — Demi Moore [15:35]

• On-Screen Dynamics & Integrity: Discusses unusual decision for films at the time: her roles often avoided sexualization or romantic subplots, prioritizing character integrity.

  “…there was an expectation that if an attractive woman showed up on film, it was only a matter of time before you saw her in bed. [...] I always really appreciated that they took a stand for the integrity of the material because it wouldn't have ever been right.” — Demi Moore [18:26]

5. Career Themes: Agency, Body, and Gender Expectations

[13:04 – 14:03]

• Moore regularly chose roles with “tough, incredibly capable women” whose bodies became battlegrounds for financial, social, or literal survival.

  “I do think you're 100%. There is a thread that goes through, even if it's an unconscious one. And I think mine tend to also challenge the status quo.” — Demi Moore [14:03]

• Physicality in acting helped her confront personal discomfort about her body.

6. Shifting Artistic Identity & Recent Recognition

[18:49 – 21:45]

• The Substance & New Vulnerability: Moore’s new role in The Substance departs from her typical, fearless characters. Here, fear and vulnerability come to the forefront.
• Old Industry Labels: Moore references being labeled a “popcorn actress” — good for box office but not artistry — and describes the validation in recent nuanced appraisals of her craft.

  “For a very long time [I saw] only that of what I wasn't, everything I hadn't done. And I really didn't have a sense of my own value or appreciation.” — Demi Moore [20:03]

• Risk and Longevity:

  “...there's a point in my early career where I had nothing to lose because I didn't have anything. And then I had a little bit of success where you then start to get afraid of losing that success… And so what I've always tried to do is keep pushing myself beyond that limit.” — Demi Moore [21:19]

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Notable Quotes & Memorable Moments

• “You have to find a way of holding on to your own center as you are in entirely new settings, environments, and with different people.” — Demi Moore [02:03]
• “At that moment, none of my peers were having children. There was still a feeling you had to choose. You had to choose a career or being a mother. I just felt like that didn’t make sense.” — Demi Moore [05:43]
• “Sometimes what's nice at this point in my life is that I actually have the ability to look back and have more appreciation… Versus remembering being in it, how critical I was, how much I dissected and tore apart all that wasn't. Versus today, where I can really appreciate all that is.” — Demi Moore [07:25]
• “If Tom and Demi aren't gonna sleep together, then why is Demi a woman?” — Studio executive, quoted by Moore [18:16]
• “...to do stuff that's still, you know, really pushes the envelope, that pushes me to places. I need to do something enough that I'm willing to fail.” — Demi Moore [20:51]

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Timestamps for Important Segments

• Demi Moore’s Adaptable Childhood: [01:38 – 04:14]
• Motherhood and A Few Good Men: [04:14 – 06:33]
• Indecent Proposal Reflections: [06:33 – 11:47]
• On GI Jane and Breaking Gender Norms: [11:47 – 16:13]
• Challenging Industry Stereotypes & New Projects: [18:49 – 21:45]

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Conclusion

This conversation paints a portrait of Demi Moore as an artist shaped by instability, driven by integrity and risk, and transformed through experience—both personal and professional. The episode delves into how her roles mirrored and challenged societal expectations around gender and body, providing listeners with a rare look at both the Hollywood machine and the internal world of a celebrated actor who continues to evolve, defy labels, and seek authentic growth.

Transcript

[WNYC Studios Announcer]

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[David Remnick]

This is the New Yorker Radio Hour. I'm David Remnick. Demi Moore was one of the biggest stars of the 80s and 90s, and for a time, she was the highest paid actress in Hollywood. And since she re emerged as a lead in the 2024 film the Substance, Demi Moore, very busy. She's got a major role in the new season of Taylor Sheridan's Landman, and she stars in two widely anticipated films that are coming out this year. First, there's a science fiction film directed by Boots Riley. And then there's Strange Arrivals where she plays a role alongside Colman Domingo. And it's about a couple who claim to have been abducted by aliens. Sounds pretty good. Demi Moore's memoir Inside out came out a few years ago, and this fall at the New Yorker Festival, she sat down to talk with staff writer Gia Tolentino.

[Gia Tolentino]

You had quite young parents. You moved around a ton. You were required to grow up very quickly. And you write in the memoir that all the adapting that you had to do as you moved from place to place was part of perhaps early training to become an actor. Can you just talk about that? Yeah.

[Demi Moore]

I mean, so I was in roughly never less than two schools a year. So we were always moving. And I became quite excellent at loading a U haul. But one of the things when you don't know any different is that there's two aspects to that. Yes, I became very adaptable to being in a new environment, new schools, new friends. And on the plus side, I also learned kind of the positive side of not clinging to attachment. And, you know, the downside of that is that it made it harder to know how to really nurture friendships. But that ability to be adaptable lent itself very much to what the nature of being an actor is, because that is entirely what we're asked and required to do, not just in our roles, but, you know, with, with each project. It's kind of like many marriages, many families that you're stepping into, and each is slightly different, and you have to find a way of holding on to your own center as you are in entirely new settings, environments, and with different people.

[Gia Tolentino]

Did you feel when you were little that you. Did you have a sense of what that center was, or did it take longer to realize that you had to hold on to?

[Demi Moore]

I think the thing is, when you're always trying to just. I became very quick at assessing what the situation is, who's who, who's popular, who's not, and the effort became how to fit in. But in doing so, sometimes I didn't always have a sense of myself at all. I think that that's something that evolved much more as. As I matured and in truth, as I made a clearer decision about what path I wanted to take. By the way, that was still at only 15 years old. But, no, I think I actually didn't know, well, what do I like? What do I like? Because I was so always working towards just fitting in and belonging and then.

[Gia Tolentino]

Right, so you started acting as a teenager and you were, you know, as they say, you were booked and busy. You. And you were also, you know, you were quite young when you had children, too. You were kind of in the thick of it in terms of your career. I was. I don't think that any one of us watching A Few Good Men could really have had any idea that you began rehearsing for that movie. I mean, mere weeks after having your second child.

[Demi Moore]

Yeah, she was a month old when we started rehearsing. And all I could think about is that I was gonna be in a military uniform.

[Gia Tolentino]

Well, you're right. And you auditioned or you started. You were in talks with.

[Demi Moore]

When I auditioned for A Few Good Men, I was almost eight months pregnant, which was quite awkward reading those lines with Tom Cruise with this gigantic belly. I think Tom was quite embarrassed. I actually felt okay about it. I was moving around all right, but I could tell he felt that it was a bit awkward.

[Gia Tolentino]

Well, I mean, it's kind of amazing. Like, you. You really. You pushed yourself to, you know, like, there was an unbelievable amount of discipline and play, an unbelievable amount of just, like, will and effort. There was another part of the memoir you were writing about when you were filming Indecent Proposal. Shooting days were 4am to 4pm so you'd get up at 1:30am, start training by 2, do a full day shoot. You'd get off, your kids would still be up.

[Demi Moore]

Yep.

[Gia Tolentino]

Hang out with them. You know, it's And I'm. I'm kind of wondering, like, what does that time period feel like to you now?

[Demi Moore]

At that moment, none of my peers were having children. And I think that there was still a bit of a feeling that you had to choose. You had to choose a career or being a mother. And it's one of many things for me that I just felt like that that didn't make sense. And so I challenged that to say, why not? Why can't you have both? But with that, I think came a lot of pressure I put on myself to, in a sense, prove that it was possible. And it was a lot. I look back at that time now and I go, what the fuck was I thinking? I mean, and what was I even trying to prove? But it wasn't as supported as it is today, you know, to be breastfeeding and then blocking and rehearsing a scene.

[Gia Tolentino]

Well, I was wondering. Let's just go to the first clip from the movie that you were getting up at 1:30 to train for from a decent proposal.

[Demi Moore]

You want me to lie? You want me to say he's awful. So you know what I'm gonna tell you he's awful. And you won't believe me. How can I win?

[David Remnick]

Just tell me the truth, Dee.

[Demi Moore]

It was sex, David. Just sex. Not love, just sex.

[David Remnick]

Was it good sex?

[Gia Tolentino]

Don't do this, David.

[David Remnick]

Can you just tell me that, Dee?

[Gia Tolentino]

Is it good?

[David Remnick]

What are you hesitating for? Just tell me. Was it good? Was it good? Was it good?

[Demi Moore]

Yes.

[Gia Tolentino]

Watching you watch it, the lines are still in your head.

[Demi Moore]

I mean, I haven't seen it in such a long time.

[Gia Tolentino]

They were coming. Your mouth was making the.

[WNYC Studios Announcer]

Like.

[Gia Tolentino]

I mean, it's lodged, right. I mean, is it like that for a lot of stuff or just these really pivotal scenes?

[WNYC Studios Announcer]

I don't know.

[Demi Moore]

Like, literally, I don't. I. I don't know. I think I was maybe wondering what was gonna be coming out of my mouth, but it's. Sometimes what's nice at this point in my life is that I actually have the ability to look back and have more appreciation.

[Gia Tolentino]

Yeah.

[Demi Moore]

Versus crush it in me. I was like, yeah, that was pretty damn good. Versus remembering being in it. How critical I was, how much I just dissected and tore apart all that wasn't. Versus today, where I can really appreciate all that is. And so it's really nice. And I appreciate being able to, like, see that. And I love Woody so much.

[Gia Tolentino]

He's so.

[Demi Moore]

Although doing it, I have to say, you know, I met Woody because he was good friends with Bruce. And so doing the scenes with him, which obviously we have quite a few love scenes, was literally like having to do it with my brother, which was a little bit awkward.

[Gia Tolentino]

Well, I wondered, you know, I wonder if you can talk about filming it. This scene is probably the most vulnerable moment for Diana, your character, in the whole movie, despite the fact that Indecent Proposal is engineered around what's ostensibly this other moment of vulnerability. This, you know, if you haven't seen it, you know, the billionaire played by Robert Redford offers her a million dollars for a single night. And we don't see that moment, like, very wisely. It's cut out. But tell us about filming that. That scene and summoning that.

[Demi Moore]

The one particular with Redford.

[Gia Tolentino]

No, sorry, this one.

[WNYC Studios Announcer]

Yeah.

[Demi Moore]

I mean, I think, you know, this was such an interesting film in terms of the provocative nature, the deep question that it was bringing forward, which is, is there a price for everything? Does everyone have a price? And also, like, what. What we will do to survive? Like, and in this case, it's, you know, the. The. The pain of making a choice and having to live with the consequences is what that scene is really all about. And the unforeseen consequences of doing something that's for the higher good and not really knowing the depth of loss that could be at stake.

[Gia Tolentino]

Yeah. But you know what's also. It is. It is profoundly provocative movie. Especially, you know, I went back and re all the coverage, but there was something about it that was, you know, just like you were saying, so much has changed in terms of what women who are in the middle of their careers and having young children, what they can sort of demand and expect and sort of. It's quite different watching, like, all of reviews are like, you know, this scandalous, you know, this unspeakable, like. But it's like, you know, David and Diana, they talk about what happened in Vegas. Like, it's this mortal sin, right? This sin that they committed together, but that also within kind of the sexual morality of the time, kind of has to sit upon your character. Like, it's. It's made that it's. It's a thing they did together, but.

[Demi Moore]

Somehow she is shamed for it.

[Gia Tolentino]

Yeah. And I'm also like, I mean, if you built a contemporary movie around this choice, like, I mean, it is my sense that many more people, men and women, would have offered a million dollars to spend a night with Robert Redford, which is okay, you know, like, it's.

[Demi Moore]

I'm in.

[Gia Tolentino]

Like, does it feel less like it carries the provocation that it really did at the time. But is it funny to kind of think about it, think about it that way?

[Demi Moore]

I mean, it is interesting, but I think at the core, at the core of our humanness, like, while there are aspects of, you know, that the what's at question may have changed in terms of our morality, I think in terms of the core of our humanness, the idea that you break a certain bond of being chosen, which is what's really occurring, is that we have two people who've chosen each other. And by breaking that bond, by her going outside for them, it's like a glass breaking that can never quite be put back together. And I don't know if that's any different today than it was then. Totally.

[Gia Tolentino]

This is.

[Demi Moore]

Do you have a favorite character that I've played?

[Gia Tolentino]

Yeah.

[Demi Moore]

I have a partial attachment to GI Jane because there was something in that, for me, that really addressed so many bigger questions at play in women's roles, and particularly just this idea of if there is someone who is skilled and has the desire, why wouldn't we want them in that? Why is gender or even a question? But just on a personal level, it was really transformative for me.

[David Remnick]

Demi Moore speaking with the New Yorker's Gia Tolentino. More in a moment.

[Gia Tolentino]

From viral moments to cultural revolutions, celebrity deep dives to social commentary, basement open mics to comedy legends spilling the tea, Amazon Music's got something for everyone. With millions of podcast episodes.

[WNYC Studios Announcer]

Just download the Amazon music app and start listening.

[Gia Tolentino]

I'm interested in, you know, these commonalities. I've had such a fun time rewatching my way through your filmography. And, you know, you were always playing tough, incredibly capable women who are in the middle of some battle between the complex reality that this woman lives in and the larger world's idea of how she should be. I mean, it's maybe not every single role, but it's GI Jane. The substance and the battles often center on the body. Right. Like high stakes have been placed on your character's bodies in many of your movies, whether it's the financial salvation of the household, like in Indecent Proposal or Striptease, you know, or the entry of women into combat or, you know, in the substance. Decades of box office, millions of dollars have been riding on Elizabeth Sparkle and, yeah, disclosure. Like, there are many movies of yours that engage these ideas. And I was wondering if you ever remember a moment of sort of seeing these commonalities and trying to, like, at what point did you realize that you were playing These characters that were, I.

[Demi Moore]

Mean, I think so often. Well, one, I really feel like roles choose you as much as you choose them. And I do think you're 100%. There is a thread that goes through, even if it's an unconscious one. And I think mine tend to also challenge the status quo. And there is a certain physicality. And I think that a lot of that was in an effort also for me to overcome some of my own issues around my body and my own discomfort in my own body. And, you know, with particularly the ones that were so physical, like GI Jane, where I really knew that my body was a real pivotal part of the character. It pushed me to have to, in a sense, face myself and face that discomfort.

[Gia Tolentino]

And you, you wrote in the memoir that this was, you know, the film that you were most proud of because it was the hardest for you to make in every way, emotionally, physically, mentally. And I wonder if you can tell us about just, you know, playing this character. The training, I think, like, you did it all. You outlasted Sam Rockwell.

[Demi Moore]

Yeah.

[Gia Tolentino]

You dropped out because of the water shoots or, you know, whatever. And you, you know, you wrote that they called you Jordan, your character's name the whole time. And by the end, you know, they were yelling at the guys, are you going to let yourself get beaten by some mother of three?

[Demi Moore]

Yeah, I mean, it was, you know, when I went to do the training, before we started filming, it was literally me and 40 guys. They, like made it so that I really had to feel just like in the movie. I had to feel like physically, emotionally, mentally, what the experience would be that you go through, through the BUDS training and I mean, even down to being freezing in the water and saying, oh my God, I have to pee, and somebody saying, well, let it go and I hope it comes downstream. I'm like, wow, I am really in it. I am in this.

[Gia Tolentino]

Well, I was. When rewatching the movie, I was struck by this other confrontation between you and Viggo Mortensen's character. This moment where he is haranguing Jordan in the shower.

[Demi Moore]

The Israelis tried it.

[David Remnick]

Women in combat. Seems men couldn't get used to the sight of women blown open. They'd linger over the wounded females, often trying to save those who are obviously couldn't be saved, often to the detriment of the mission.

[Demi Moore]

You were given a Navy Cross, right? Can I ask what you got it for?

[David Remnick]

Since it bears on this conversation, I got it for pulling a 240 pound man out of a burning tank.

[Demi Moore]

So when a man tries to Rescue another man. He's a hero. But when he tries to rescue a woman, he's just gone soft.

[David Remnick]

Could you pull that man clear, Lieutenant? You couldn't even haul your own body weight out of the water today.

[Demi Moore]

Permission to get dressed, Master Chief.

[Gia Tolentino]

And it's.

[Demi Moore]

It's. It's.

[Gia Tolentino]

It's an interesting decision that I love so much. Looking back, it's like, she's nude. She's in the shower. It's this intimate and charged moment. The two of you are obviously incredibly hot. But it's not play. But it's the movie. It's not played like that. There's no. It's. It's brusque. It's short. There's no charged like. It's. There was not a sexual.

[Demi Moore]

It's not.

[Gia Tolentino]

It's brusque. It's quick. And I was. And I was. I was thinking about that and how, you know, kind of, for even a movie of that time, that's unusual. That's an unusual decision, to not have there be kind of a. Like a moment. And I was thinking about another bit of your memoir. When you wrote. When you were writing about A Few Good Men. He wrote. What I admired most about A Few Good Men was the originality Aaron Sorkin and Rob Reiner showed by not having my character in Tom's get involved in anything romantic or even unprofessional. There was an expectation at that time on the part of studios and audience that if an attractive woman showed up on film, it was only a matter of time before you saw her in bed with the leading man, or at least half naked. Sorkin said he wrote to an exec who had been lobbying hard for a sex scene. And he said, I'll never forget what the executive wrote back, which was, well, if Tom and Demi aren't gonna sleep together, then why is Demi a woman?

[Demi Moore]

And in that time, to be like that, you know, it was really a big part of the dynamic that was at play. And so I really. I always really appreciated that they took a stand for the integrity of the material because that it wouldn't have ever been right. And it didn't need it. Yeah, it didn't need it.

[Gia Tolentino]

There's something different about the substance in that. Your characters have tended to be fearless, more or less. I mean, they have their vulnerabilities, but they go through life like they do what needs to be done. Like they are just doing. Like they are unbelievably competent. They don't. They don't have a breakdown in kind of, you Know the front they put on to the world, basically. And your performances are all fearless. But this film struck me as a little different because Elizabeth is actually racked with fear, and she. And she shows it. You said, accepting your Golden Globe, that a producer had told you 30 years ago that you were a popcorn actress, meaning, as you said, that I could make very successful films that make a lot of money, but I wasn't going to be recognized. And you said, there came a moment where I thought that was it. Maybe I was complete and I had done what I was supposed to do. And, you know, and people in the substance, you know, people reacted in a way that repudiated all of that so forcefully. Like people responding to your. Your acting, your craft, like, not your presence, not your star power, but really the particularity and the nuance of what you were doing. And I wondered if that changed the way that you. Like, what does that do to your own process now? Like, if it changed the way either you look for and consider new roles or if it made you think differently about the work that you had done in past decades.

[Demi Moore]

I mean, I think, you know, in my own growth, you know, what I've learned is how we relate to the issue. Is the issue, how I related to myself for a very long time was only that of what I wasn't, everything that I hadn't done. And I really didn't have a sense of my own value or appreciation. So if there's probably any thread of everything I've done, it's probably in finding that sense of value that I didn't get in the foundation of when I grew up.

[Madeline Barron]

That.

[Demi Moore]

And so I. I don't know. So how do I. So your question is, let me go back. Is, do I see myself differently now?

[Gia Tolentino]

Did you change the way you go after new roles now?

[Demi Moore]

I mean, no, it's still the same for me. It's, you know, really looking to do stuff that's still, you know, really pushes the envelope, that pushes me to places I need to do something enough that I'm willing to fail. So I think my only other thing I was going to share is that I realized today that there's a point in my early career where I had nothing to lose because I didn't have anything. And then I had a little bit of success where you then start to get afraid of losing that success. And sometimes that fear of losing creates a contraction, and then you fear taking a risk. And so what I've always tried to do is keep pushing myself beyond that limit.

[David Remnick]

Jimmy Morse spoke at the New Yorker Festival with Gia Tolentino, and she's starring in the new season of Taylor Sheridan's Landman. You can read Gia [e-mail] including her terrific profile of Jennifer Lawrence, which came out recently. You can also subscribe to the New Yorker there as well. New yorker.com I'm David Remnick. Happy New Year from all of us at the New Yorker Radio Hour. See you next time.

[WNYC Studios Announcer]

The New Yorker Radio Hour is a co production of WNYC Studios and the New Yorker. Our theme music was composed and performed by Meryl Garbus of Tune Yards, with additional music by Louis Mitchell and Jared Paul. This episode was produced by Max Balton, Adam Howard, David Krasnow, Jeffrey Masters, Louis Mitchell, Jared Paul and Ursula Sommer, with guidance from Emily Bottin and assistance from Michael May, David Gable, Alex Barish, Victor Guan and Alejandra Deckett.

[Demi Moore]

And special thanks this week to Katherine.

[David Remnick]

Sterling, Amanda Miller, Julia Rothschild, Nico Brown and Michael Etherington.

[WNYC Studios Announcer]

The New Yorker Radio Hour is supported in part by the Turina Endowment Fund.

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[David Remnick]

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