Julianne Moore on Sirens, Echo Valley, and the Appeal of the Domestic Drama

Summary

Episode Summary: "Julianne Moore on Sirens, Echo Valley, and the Appeal of the Domestic Drama"

Release Date: June 12, 2025

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1. Introduction and Advertisements (00:01 - 00:26)

The episode opens with Arden Fanning Andrews, Vogue's Beauty Editor at Large, promoting eBay as a premier destination for vintage fashion treasures. Highlighting the resurgence of tassels, Arden shares her excitement about a "vintage triple chain belt with golden tassels" she discovered on eBay, emphasizing its "elegant, timeless" appeal.

2. Vogue Wellness Retreat with Deepak Chopra (00:27 - 02:52)

Speakers: Choma Nadi & Chloe Mao

Choma Nadi and Chloe Mao delve into Vogue's inaugural wellness retreat held at Daylesford Farm in the Cotswolds. The retreat featured renowned keynote speaker Deepak Chopra, who led a guided meditation session. Choma shares her memorable experience of dining next to Chopra, describing the conversation as "intense and riveting" (01:31).

Notable Quotes:

• Choma Nadi (01:35): "He does five hours of yoga and meditation every single day."
• Choma Nadi (01:39): "He has a 100% sleep score, like consistently."

The discussion highlights Deepak Chopra's disciplined routine, including his commitment to yoga, meditation, and innovative ventures into AI for well-being.

3. Julianne Moore on Her Latest Projects (03:00 - 23:05)

Speakers: Choma Nadi, Chloe Mao, Taylor Antrim & Julianne Moore

Choma and Chloe introduce this week's special guest, Julianne Moore, to discuss her Netflix series "Sirens" and the thriller "Echo Valley," which is set to release on Apple TV on June 13th. The conversation touches upon Julianne's personal connections, including her father's last film, "Vanya on 42nd Street" (03:37).

Cover Story Featuring Dua Lipa (04:41 - 07:12)

The hosts compliment Choma on Vogue's new cover featuring Dua Lipa, styled in a "bullet bra," symbolizing a modern pin-up and female empowerment. Choma elaborates on the creative process behind the cover, citing inspirations like Bettie Page and the resurgence of bullet bras in contemporary fashion (05:03-07:12).

Key Highlights from Julianne's Interview:

• Acting Process: Julianne discusses her immersive approach to acting, particularly in "Echo Valley," where she underwent scuba training for underwater scenes. She shares anecdotes about handling large birds on set and the unpredictability of working with animals (16:25-29:18).

• Storytelling and Themes: She expresses a preference for narratives centered around domestic dramas and relationships, drawing parallels to classic women's pictures from the 1940s. Julianne emphasizes the depth and complexity of ordinary women's lives facing extraordinary challenges (23:13-24:55).

• Industry Insights: Julianne reflects on the rapid pace of modern media consumption, attributing it to technological advancements. She contrasts the prolonged cultural impact of blockbuster films from the past with the instantaneous viral trends of today (20:04-20:43).

Notable Quotes:

• Julianne Moore (32:50): "What we do is an act of imagination."
• Julianne Moore (31:36): "Calm down, calm down just for one second."
• Julianne Moore (34:02): "I think about stories about relationships and often relationships in a domestic sphere."

4. Vogue Editorial Updates (08:27 - 09:24)

Speakers: Choma Nadi & Chloe Mao

The hosts announce that Mark Guiducci, a visionary behind The Run-Through podcast, has been appointed the new editor of Vanity Fair. Chloe shares her personal connection with Mark, highlighting their 15-year collaborative relationship and expressing excitement for his new role (08:27-09:24).

5. Highlights from The Tony Awards (09:24 - 12:06)

Speakers: Choma Nadi, Chloe Mao & Julianne Moore

Choma and Chloe recap the recent Tony Awards, showcasing standout fashion moments such as Cynthia Rivera's nine outfit changes and Nicole Scherzinger's stunning appearance in Rodarte during her win for "Sunset Boulevard." Julianne adds her observations on the event's vibrant atmosphere and memorable red carpet looks (09:24-12:06).

6. Sports Update: Coco Gauff Wins the French Open (12:07 - 13:08)

Speakers: Choma Nadi & Taylor Antrim

The discussion shifts to sports, with Choma and Taylor celebrating Coco Gauff's victory at the French Open. They critique Irina Sabalenka's post-match comments, viewing them as unsportsmanlike, and emphasize the significance of Coco's achievement in the tennis world (12:07-13:08).

Notable Quotes:

• Choma Nadi (12:15): "It smacked so much of poor loser and everybody kind of on everybody happy."
• Choma Nadi (35:10): "Nothing is constant except for change."

7. Current Events and Vogue's Coverage (12:15 - 13:26)

Speakers: Chloe Mao & Choma Nadi

Chloe and Choma address recent protests in Los Angeles, discussing Vogue's initiatives to cover the impact on LA garment factories. They mention collaborations with Vogue Business and commend Wired for their piece on safe protesting, highlighting the challenges posed by increased security measures like the National Guard (12:15-13:26).

8. Fashion Trends: 80s Opulence via eBay (13:36 - 42:31)

Speakers: Arden Fanning Andrews & Chloe Mao

Arden returns to spotlight the revival of 80s glamor, sharing her finds from eBay, including an 80s Chloe blazer, Miu Miu kilt, and Dior boots. She emphasizes that trend forecasting often taps into past styles, making platforms like eBay valuable for discovering unique, archival pieces (13:36-14:37).

Notable Insights:

• Chloe Mao (14:37): "Very opulent, 80s style is making a significant comeback."

9. In-Depth Interview with Julianne Moore (14:40 - 41:32)

Speakers: Julianne Moore, Choma Nadi & Taylor Antrim

The latter part of the episode features an extensive interview with Julianne Moore, where she delves deeper into her roles in "Sirens" and "Echo Valley." Topics include her approach to portraying complex maternal relationships, the influence of her personal life on her acting, and her experiences working with esteemed directors like Todd Haynes.

Key Takeaways:

• Motherhood and Character Development: Julianne discusses how her own experiences as a mother inform her portrayal of maternal responsibility and the emotional depth of her characters (25:32-27:19).

• Collaborations with Directors: She highlights her chemistry with director Todd Haynes, noting their shared understanding of domestic dramas and narrative depth (36:13-37:10).

• Personal Reflections: Julianne offers advice to her younger self, urging calmness amidst life's changes, and reflects on the non-linear nature of creative gratification in the acting profession (31:32-35:32).

Notable Quotes:

• Julianne Moore (25:12): "You're always on to what to hang on to. But there's never anything."
• Julianne Moore (36:28): "We are all learning from others. That's how it is."

10. Closing Remarks and Production Credits (41:32 - 42:31)

The episode wraps up with additional mentions of 80s fashion trends via eBay, reinforcing the earlier discussion on vintage style resurgence. Production credits are listed, acknowledging the efforts of Chelsea Daniel, Alex DePalma, Joanna Solotaroff, Jake Loomis, Mike Kutchman, Stephanie Karaoke, and Chris Bannon (41:32-42:31).

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Conclusion

This episode of The Run-Through with Vogue offers a rich blend of fashion insights, celebrity interviews, and cultural commentary. Julianne Moore's candid discussion provides listeners with an intimate look into her artistic process and personal philosophies, while the hosts seamlessly weave in current events and industry updates. Notable quotes punctuate the dialogue, adding depth and resonance to the conversations.

Highlighted Quotes:

• Choma Nadi (01:35): "He does five hours of yoga and meditation every single day."
• Julianne Moore (32:50): "What we do is an act of imagination."
• Julianne Moore (31:36): "Calm down, calm down just for one second."
• Chloe Mao (07:19): "It's like such a sliding doors meet cute."

Listeners gain valuable perspectives on the intersection of fashion, wellness, entertainment, and personal growth, making this episode both engaging and insightful for those seeking to stay connected with Vogue's dynamic world.

Transcript

[Arden Fanning Andrews]

This episode of the Run through is brought to you by ebay. I'm Arden Fanning Andrews, Vogue's beauty editor at large. Everyone's talking about tassels right now, and that's the moment that I end up typing it into ebay. I found the perfect vintage triple chain belt with golden tassels. And it just looks so elegant, timeless. And it's on the way in the mail to me, thanks to ebay.

[Chloe Mao]

This is the Run Through. I'm Chloe Mao.

[Choma Nadi]

And I'm Choma Nadi.

[Chloe Mao]

And Choma, I want to know where you are right now. I see some beautiful farmhouse stone walls. This is not the Adelphi.

[Choma Nadi]

No, this is not. This definitely not the Adelphi. So I'm actually in the Cotswolds in a. On a beautiful farm called Daylesford. And where we have just had the most amazing Vogue wellness retreat is our first one.

[Chloe Mao]

How did it go and what does it consist of?

[Choma Nadi]

Good question. Basically, it is all the things I love over the course of two days. So our headline or keynote speaker was Deepak Chopra. So we actually were treated to a guided meditation from Deepak. There was a dinner the night before and I actually managed to score a seat next to Deepak. So the dinner conversation, as you can imagine, was pretty intense and riveting.

[Chloe Mao]

Did he give you life advice you'll.

[Taylor Antrim]

Take with you forever?

[Choma Nadi]

I did. I was very curious about his daily routine.

[Taylor Antrim]

Ooh, yeah.

[Chloe Mao]

What is his daily routine?

[Choma Nadi]

He doesn't start work until 11.

[Julianne Moore]

Huh. Okay.

[Choma Nadi]

But he does five hours of yoga and meditation every single day.

[Chloe Mao]

Five hours.

[Choma Nadi]

Five hours. So because I said, what are your non negotiable. Because he basically. I said, do you go on vacation? He goes, my. My work is. Is like a holiday. Wow. So he doesn't go on vacation. He does travel a lot. He does five hours. He does five hours of yoga and meditation every day. He goes to bed asleep. Is very much. He has 100% sleep score, like consistently. Consistently. Because he said it started when he was training to be a doctor and they would have to sleep in four hour intervals on and off.

[Julianne Moore]

Wow.

[Choma Nadi]

We talked about how now he's witnessing doctors doing surgery from Dubai on someone remotely with robots.

[Julianne Moore]

Wow.

[Choma Nadi]

So he's very deeply into AI. In fact, he's going to Cannes lion to do a talk about it. And he has this app that is kind of incredible and is an AI for well being and longevity. So he basically can ask Deepak anything. So yeah, it was really interesting. He doesn't socialize anymore. That's how he manages to do five hours of yoga a day. I said, oh, yeah, that'll do it.

[Chloe Mao]

I mean, my sleep score would be better if I didn't socialize, too.

[Choma Nadi]

I know, but would your life be better if you didn't socialize?

[Taylor Antrim]

But I feel like I do spend.

[Chloe Mao]

A lot of my going to bedtime thinking about, oh, I should have said this. I shouldn't have said that to that person. So I figured if I wasn't talking to people, it'd be a lot easier. Well, speaking of talking to people and making your life better, we had the best conversation with Julianne Moore this week. Me and Taylor Antrim spoke to her. We got to talk all about her Netflix show Sirens and her thriller Echo Valley, which is currently in theaters and coming to Apple TV on June 13th. She was just such a dream.

[Choma Nadi]

I loved hearing that you and Julianne had a special connection for your dad. Didn't your dad direct her in Vanya on 42nd Street?

[Chloe Mao]

Yes, it was one of Julianne's first movies. It was in 1994, and it was actually the last film my dad made before he died. So we always think about that film very. Has a special place. And actually it was at the. The theater on 42nd street, the new Victory Theater, which I now go back to because it's been renovated and has amazing children's theater productions. And my father's memorial was held there because of Vonnie on 42nd Street. So it all sort of was coming back together. But Julianne's always so lovely. I'm actually listening to her reading Joan Didion's new book, Notes to John. She is the narrator on the Audible audiobook, and it is such a treat. And it was so fun to hear her talking about reading that. So that was exciting. And really, it's been fun listening to her doing that.

[Choma Nadi]

She's got such a beautiful voice, too.

[Chloe Mao]

Yes, exactly. Choma, your new cover is so fab. Raul showed it to me in his office a few weeks ago, and I was like, this is what a glamorous, coy summer cover should be. It's so playful and knowing and fun and charming. I just love it. Can you tell everyone what it is a bit?

[Choma Nadi]

Yeah, I can. It is the formidable Dua Lipa. I think there was a moment, actually, when we were at the shows and I was sitting next to Laura Ingham, who is our fashion director. And basically, we saw. We saw. We saw these bullet bars coming down the Runway at Miu Miu. We were like, we have to get this on a cover. It Just felt like the bullet bra has. It's just fully made a comeback and it's been in the Ethereum, I guess since the Met last year. I think Charli XCX wore one and there were a few people who wore them. But the latest collections, where was it really fully exploded. And I just thought we have to dress someone in the bullet bra. And, you know, thankfully Camilla Nickerson, who styled the COVID was fully game. The COVID was shot by David Sims as the first cover he's shooting since I started my job. And so it's pretty exciting. And they really had this fun, fun concept. It was something that Dewa and David cooked up. I think there were many references to Bettie Page and this idea of a modern pinup. But Camilla really wanted Dua to feel fully empowered and I think she does. And actually she's wearing only female designers in the portfolio, Female creators.

[Taylor Antrim]

Oh, cool.

[Chloe Mao]

I know. I love that leather Marie and Ser like leather corset.

[Choma Nadi]

Yeah. I mean, she wears some, some amazing pieces from, from Dallara as well, who's a fabulous British designer who's had an incredible year. So, yeah, I mean, and the story's just. I think it's the most open that Dew has ever been. She spoke to Gabby Woods. Gabby trailed her on tour in Madrid and she opened up about Callum for the first time. It was so interesting hearing her talk about the fact that it felt like their meat. Their meeting was almost fated. They met several times throughout their life without or had these connections where I think they shared the same roommate. They were introduced finally by Ruthie Rogers, but they'd been in the same places or there are pictures of them in the same spaces.

[Chloe Mao]

Oh, my God. I thought that was crazy. It's like such a sliding doors meet cute. And that they were reading the same book when they finally met.

[Choma Nadi]

And the reading the same book took me out, I have to say.

[Taylor Antrim]

Spooky.

[Choma Nadi]

Very spooky. So it felt like they were meant to be. And she seems so comfortable, so into him. I don't know, it just. It feels like she's really coming into her own. She's turning 30 this summer. She has these sold out shows. She looks incredible. Yeah, it was a real pleasure to read, so I hope people enjoy it.

[Chloe Mao]

No, I love it. Gabby Wood's so good at those stories. Like, I just feel like she paints such a full portrait of someone and I didn't know that much about Dua and now I feel like I have a really full appreciation of her life and her background and where she is Right now. So I feel I'm a do expert.

[Choma Nadi]

I know. And I feel like she had the hotspot to move to. To London at 15 from Albania.

[Chloe Mao]

I know. I couldn't believe that by herself.

[Choma Nadi]

I know. I didn't know that story. No, it was, it was. I feel really. I feel really excited for people to. To read it because she's such a force and she's so. She's just really warm as well. She's a. She's a very warm, lovely person to be around.

[Chloe Mao]

Well, I'm very excited for everyone to read and see that story, but I.

[Choma Nadi]

Guess we have to talk about the big news of the week at Conde.

[Chloe Mao]

We do. We absolutely do. Our beloved Mark Guiducci, a real visionary of the run through podcast, is the new editor of Vanity Fair and we.

[Choma Nadi]

Are global editorial director.

[Julianne Moore]

Yes.

[Chloe Mao]

And we are so excited for him. And I have to say, when the news that Radhika Jones was leaving Vanity Fair dropped in April, I was on a flight. And then yesterday when this news dropped, I was also on a flight. So I was like, the only times I'm out of the office, I miss the big moments. But yes, it's very exciting. We're all thrilled. Yeah. It's fun to see exciting things happen.

[Taylor Antrim]

I know. And we've.

[Choma Nadi]

We've kind of grown up with Mark.

[Chloe Mao]

Yeah. I mean, Mark and I have been working together for 15 years. I feel like he's been my work husband for a long time. So this is very, very exciting moment.

[Choma Nadi]

Oh, but also the Tonys this week, I was watching from afar. Seemed quite. It seemed like quite an eventful awards night.

[Chloe Mao]

Yeah, people were excited about the Tonys this year.

[Julianne Moore]

They.

[Chloe Mao]

It felt very buzzy. People seemed to tune in more than usual. Cynthia Rivo, I thought, did a great job. She had nine outfit changes.

[Choma Nadi]

Oh, my God. The SCAP was my favorite.

[Chloe Mao]

Schiaparelli was fab. I also thought some of her jokes were very funny. Giving Oprah a bag of toy cars made me actually.

[Choma Nadi]

Lol.

[Chloe Mao]

And the Hamilton reunion was fun. I mean, there was just a lot of buzzy moments. Amal Clooney dripping in pearls is always great to see.

[Choma Nadi]

Love to see Cola Scola in Guiderhof.

[Chloe Mao]

Yes. Nicole Scherzinger, who won for Sunset Boulevard, she looked incredible in Rodarte. We did a diary with her and she truly had to rush from a matinee to the Tonys.

[Julianne Moore]

Wow.

[Chloe Mao]

If you've seen the show, you know that she ends the show covered in blood. So that's a big makeup switcheroo.

[Choma Nadi]

I Wonder how many hours it takes her to get off in the shower.

[Chloe Mao]

Yeah, exactly. Well, she didn't have that time.

[Choma Nadi]

Oh, we did talk about the tennis.

[Taylor Antrim]

Oh, yes.

[Choma Nadi]

So Coco won the French Open. Her opponent was Irina Sabalenka. And Irina gave this very. The definition of a sore loser speech and basically said that Coco was fine, but because Irina wasn't on her top of her game, that was the only reason that she won. The only reason that she won was because she. Irina, made all of these errors and had it been someone else, you know, she. She would have. She would have. She would have won if she was at the top of her game. And it was just so. It was. It was just. It smacked so much of poor loser and everybody kind of on everybody happy. People were not happy. It was just not in the spirit of, like, great sportsmanship, so. And then Irino issued a statement saying that, you know, basically walking it all back. But that even didn't feel. I don't know, I just feel like hopefully moving forward, we don't see our sports people making. Making errors like that because it just doesn't feel like in the spirit. You have good days, you have your bad days. Fair. But it's not. You don't have to excuse yourself.

[Taylor Antrim]

No.

[Choma Nadi]

Make fall over yourself to sort of prove that the other person isn't up to. Up to par, because obviously she was number one in the world. So she felt. She must have obviously felt a certain sense of shame. But it was such a big win for Coco and I just, you know, love her. Coco's so cute.

[Taylor Antrim]

We love Coco now.

[Choma Nadi]

I know, I know. So good to see Coco on top. Excited for Wimbledon, which is coming up. The beauty awards were this week too, weren't they? Yeah.

[Chloe Mao]

Dochi accepted Best Female Hip Hop Artist, and she had a very moving speech about immigration policies. And so that felt like it's. It's hard to hit the right note with political speeches, but I thought that threaded the needle correctly. But, yes, it's been. It's been a tough week here. There's been a lot of discussion about how Vogue can and should be covering what's happening in la. Obviously, we've been talking a lot about the LA garment factories and how much is produced in downtown LA there. Vogue Business is working on a story about that. Wired did a great piece about how to safely protest and sort of what to bring with you and what to wear. And I thought that was well handled. But, yes, it's definitely. It's a tough moment.

[Choma Nadi]

It just feels like. I honestly question if there is a safe way to protest, because it feels like there's quite. There's a real force there with the. With the National Guard there. And that feels like has escalated things to a level that feels difficult, challenging.

[Chloe Mao]

We will be back with Julianne Moore in just a moment.

[Arden Fanning Andrews]

The other day, I, like, went on a real ebay spree. There's this huge push for like 80s opulence and 80s sort of glamour. And we're going to see that returning. And so I was already kind of tapped into that just from my gorgeous ebay watch list. And I found a really beautiful Chloe blazer from the 80s and a really great Miu Miu kilt, these great Dior boots. And I'm combining them all together. Sometimes trend forecasting doesn't require something that's gonna be, like, produced in the future. Sometimes you can like, tap into the past and tap into the archive as well. That's what makes ebay a fun place to actually discover things because you're not going in with something so specific in mind, but you have an idea of what you're interested in or what you're excited or, you know, just truly trend forecasting. And so one thing that I would say people should be watching out for is like, very opulent, 80s style.

[Chloe Mao]

And we're back.

[Taylor Antrim]

Julian, we are very excited to have you.

[Chloe Mao]

This is a big treat for us.

[Julianne Moore]

And happy to be here. Thanks, guys.

[Taylor Antrim]

I have to tell you that all of the ladies and gentlemen in the Vogue office are extremely invested in sirens.

[Julianne Moore]

I can't believe. I mean, I have to say, this has been. I texted Megan today saying, like, can you believe this? Like, everybody's seen it. It's nuts.

[Taylor Antrim]

Taylor and I were sort of prepping for this interview right in front, and Taylor sits in front of Anna's office and one of Anna's assistants goes, stop. I'm on the last episode. Too much.

[Chloe Mao]

Totally, totally.

[Unknown]

Because I confess I haven't finished it. So I was. I was getting Chloe to sort of like, fill me in because I find.

[Taylor Antrim]

The last episode quite Shakespearean. Like, it's pretty great. It's really amazing.

[Julianne Moore]

It's a wonderful reveal. Were you.

[Taylor Antrim]

Did you gasp when you first read it and did you anticipate that kind of reveal for Mikayla?

[Julianne Moore]

I knew it was coming. The thing about this kind of television too is that you don't actually. They have an outline. They know how it's gonna end. They don't know exactly how. So it's like we had the first couple of scripts and then Molly was sort of developing things as we worked. And so there were things that were changing a little bit. Wow. But I knew what the. I knew what the final moment was gonna be. Yeah.

[Taylor Antrim]

Wow. I wonder if there was any inspiration for Mikayla. Cause for me, it sort of felt almost Daphne du Maurier esque. There was an All About Eve thing. Like, there were lots of different strains of anti heroines.

[Julianne Moore]

She is definitely a constructed personality. That was what was fun about it. But I think about what she's projecting, what she cares about and what her position is in that. And so, you know, you learn later on that her position is pretty tenuous and she experiences that way. So that makes her projection that much more forceful.

[Taylor Antrim]

Had you ever worked with falcons before?

[Julianne Moore]

I love birds, so, you know, I'm a bird person.

[Taylor Antrim]

Really?

[Julianne Moore]

Yeah. I had an African grey at one point. Wow. And I like handling birds, and I've handled them quite a bit.

[Taylor Antrim]

They got very lucky.

[Julianne Moore]

Well, they did kind of. Cause that was.

[Taylor Antrim]

Not everyone can say they handle birds.

[Julianne Moore]

I didn't lead with that. Right. But I've never handled falcons before. Big, big birds. So that was fun and they were sweet. And I don't know if you saw the third episode, but there's. I did. Okay. So there's a moment when I'm talking to Simone, Millie, and I have my hand up, and I've been talking to the bird, who was a really young, very sweet bird, who was kind of nervous, didn't even want to take food from me, which is a little piece of raw chicken. Didn't want to take that. But I'd been talking to him and stroking him and just kind of sitting there. And so my hand was like this. And I'm talking to Millie, and in the middle of the scene, he hopped on my hand.

[Taylor Antrim]

Do you remember I was gonna say, bit off my finger?

[Julianne Moore]

No, no. He just hopped on. And I was like, this better be in the show.

[Choma Nadi]

But it was.

[Julianne Moore]

Yeah. I love them. I love them. I mean, they're, you know, they're used to people, but it's fun.

[Taylor Antrim]

We've had a lot of discussion in our office about the clothes on Sirens. One of our writers wrote about sort of nailing, spoke to the costume designer about nailing these sort of exaggerated, almost camp preppy aesthetic. But I feel like Mikayla's clothes were the only wardrobe one really coveted from the show. Did you?

[Choma Nadi]

Yeah.

[Julianne Moore]

Carol Duncan and I worked on that pretty closely. It's like she has a higher fashion pitch than everybody else. She's the. You know, she's the Queen bee. So she wants to differentiate herself and signal her power. So we talked about keeping her in, you know, ivories a lot.

[Taylor Antrim]

Grecia things kind of.

[Julianne Moore]

Yeah, the whole kind of yagoddess stuff and stuff. That's not particularly practical. Right.

[Taylor Antrim]

Did you keep anything?

[Julianne Moore]

I did, but I actually gotta laugh because the outfit that I kept was the one that I wore at the very end of the show.

[Taylor Antrim]

Oh, my gosh. I'm like, Mary.

[Julianne Moore]

Cause I was like, that I'll wear. That was a Suede Kate jacket. I loved it. I was like, I really want this jacket.

[Taylor Antrim]

Oh, that is hilarious.

[Julianne Moore]

And a pair of row jeans that I loved. And this great sweater. And yeah, that's what I kept.

[Taylor Antrim]

Do you often or ever bring any of your own clothes onto set?

[Julianne Moore]

I try to avoid it. Sometimes I bring shoes. Cause I'm really particular about how my shoes fit and whether or not I can walk in. And so I'm familiar with my own and I'll bring those. But you know, costumes get dirty, you get makeup on them, you're kind of in dirty places. And so if you have something really nice, you don't want to bring it to work.

[Taylor Antrim]

I want to know if Mikayla's life at Cliff House has any correlation to Julianne's life in Montauk.

[Julianne Moore]

Oh, no, no, no. As a matter of fact, this I really like. I went to the beverage store in Montauk last weekend to get my case of lemon Lacroix and my mini Diet Pepsis and stuff.

[Arden Fanning Andrews]

And I'm.

[Julianne Moore]

And the woman that I know from the beverage store was saying, like, I really love that show. But wow, she's not like you at all. Oh, nice. I don't think Kiki buys her own mini Diet Pepsi.

[Unknown]

You know, it's funny, I mean, you started by saying that you noticed that everyone's watching this show.

[Julianne Moore]

Yeah.

[Unknown]

And one of the things that I'm so curious about is the way a show like this pops off now. And, you know, you've been at this a long time. You've been a lot of, like, big blockbuster y movies that have big, you know, premieres and box office numbers. And then now we're in a new era where something like siren starts to dominate the conversation. What are your thoughts on that? And how do you become aware of something like this really hitting the zeitgeist, you know? Cause it's different now than it used to be.

[Julianne Moore]

Tech just, you know, generally that has changed everything for us, has changed the way we consume entertainment, the way we communicate, our sense of the World and its size, you know, it's really been. It's been. Will look back and see this as a revolution, I think. And so for. For us in our. In our business, it's consumed differently. It kind of permeates culture differently. It happens really, really fast. That's what I notice. Because even if you were in a blockbuster movie when. When. When they were thriving, you felt it, but it sort of. It was longer. It was a longer. Percolated. Right. And now it's fast. Like everything happens all at once.

[Unknown]

Yeah. I just wonder from your end if you feel the same sort of gratification with these projects that percolate differently throughout the culture.

[Julianne Moore]

I do think that as an actor, I've always had to do my work for myself because I love it, I really enjoy it, and I can't have any expectation about how it's going to be received in the world and who's gonna watch it, because I can't control that. So there's things that I've had great experiences with that have been, you know, maybe not been consumed until like, 10 years later, you know. So your dad's movie, for example, is something that was really important to me and was a theater project that took five years, and then we shot it in two weeks. And then it's become, you know, as the years go on, it's just become this enormous classic people refer to.

[Taylor Antrim]

Well, thanks to Criterion in large part. I mean, it wasn't available for a long time. For a long time. It was a production of Vanya at the sort of derelict Victory Theater in the early 90s. And Andre Grego was having voluntary workshops.

[Chloe Mao]

That were over for years, but he.

[Taylor Antrim]

Would only invite, like, four to five people to come to each one. And it became this thing in New.

[Julianne Moore]

York where people were.

[Taylor Antrim]

It was a must see because you couldn't see it. So it's sort of the opposite of streaming.

[Julianne Moore]

Exactly, exactly. Yeah.

[Taylor Antrim]

And then Louis filmed it, and then people still really couldn't see it.

[Julianne Moore]

It's been for a long time. I know, I know, I know.

[Taylor Antrim]

My family all thinks very fondly on that production because that was his last film.

[Julianne Moore]

It was great. It was a great experience for me, too. Really was.

[Taylor Antrim]

I also, on the way home last night, walked by everyone breaking down the red carpet for Echo Valley.

[Julianne Moore]

So you live uptown. Okay, I know where you live.

[Taylor Antrim]

I'm on the Upper west side.

[Julianne Moore]

Okay.

[Taylor Antrim]

And so then that's the next thing that's coming out into the world. And I loved your velvet Alaia dress.

[Julianne Moore]

Thank you. Me, too. I Love that dress.

[Taylor Antrim]

How did you pick that?

[Julianne Moore]

Well, they offered. They wanted to make me a custom dress. And I was really grateful to Peter and very, very excited. And they, you know, because he's just. He's so gifted. I mean, we loved the drawing. It was just amazing.

[Chloe Mao]

It's so beautiful.

[Julianne Moore]

I was in Cannes for the carrying dinner, and they came for a fitting and put it on me, and I was like, this is amazing. But they made it, like, lickety split. It's really gorgeous.

[Taylor Antrim]

It's beautiful.

[Unknown]

Well, I was sort of. You guys were. You guys were talking about your dad's movie, and I was just thinking about nostalgia and one of the things I loved about Echo Valley, which I had a lot of fun watching.

[Julianne Moore]

Oh, you saw it? Oh, good.

[Unknown]

Yeah, yeah, yeah, yeah.

[Taylor Antrim]

It's too stressful for me.

[Unknown]

I mean, this is like a mother's worst nightmare thriller, honestly. But I just thought to myself, I wish they made more movies like this. I feel like, you know, 20 years ago there were more sort of like, you know, fun, twisty thrillers that would come out. And now it feels like if it's not, you know, robots and dinosaurs and, you know, superheroes, it's gotta be tiny, tiny little indie something or other. And this movie was in the middle, and I was so appreciative of that.

[Julianne Moore]

Thank you. This felt also feels like maybe even the throwback to, like, the thrillers of the 40s. Actually, to me, like, when I read it, it felt like those traditional, kind of interesting, surprising, mysterious, like, women's pictures that they used to make where there was such a. There was a woman at the center of a narrative. And it was often a domestic narrative, a domestic situation with a partner or with a child or in a town. And then it would start to unfold. And they were always ordinary women. You know, this is a woman who's really trying to hold her life together at the death of her spouse and trying to hold onto the farm that she maintains by herself and has a daughter who's struggling with addiction. So she has all of these kind of enormously painful things that are happening. But she's ordinary, right? She's just a regular person. And in the face of all this adversity, she ends up being really, really surprising. And those are the movies that I think we used to see. It's really. It's a lot of fun, you guys.

[Unknown]

The last. I mean, the last act of this movie is really remarkable because the way Julianne comes across in the beginning of the movie, extremely vulnerable, extremely sort of like, beset by circumstance. It's really. It's one of the pleasures of the movie is how it turns it around, and suddenly, like, you're completely in control.

[Julianne Moore]

And you're like, wait a second. And that's Brad Inglesby, who's our wonderful writer. And I can remember I had Covid when I read the script. I remember I was. Yeah, I was sitting in my bed, and I was like, oh, I'm so sick. And I was like, oh, my God. It's just such a. It's a really wonderful reveal.

[Unknown]

Well, can we talk a little bit about the motherhood angle of it? Because we were talking about our kids before we started, and my daughter's 13. And so I'm not quite where you are as your character with Sydney Sweeney, who's a grownup, but I just thought to myself, oh, my gosh, this is pulling all those parental triggers of a mother's worst nightmare. Tell me, is that something that sort of you thought about and drew you to the script or. Of course, you're a mother yourself. So did you bring any of your own thoughts about, you know, maternal responsibility to the performance? How did you think about it?

[Julianne Moore]

I think I thought about her a lot. I thought about this character and what she felt she had to lose and what she was trying to hold onto. And she's not someone who's necessarily handling her daughter's addiction in the way, you know, if you're gonna look at it clinically and say, like, what are the steps? And how do you. You know, how do you help someone? You have to let them help themselves. And so she's. She's someone who definitely feels like she's compromised in lots of ways.

[Unknown]

Yeah.

[Julianne Moore]

Yeah. But it's everything that she does, and it's very morally complicated. She does out of love. So what I did think about is that she's not thinking very far ahead. She's just thinking, how do I get from point A to point B? Her daughter comes home. She's wet and she's cold, and she's crying, and she's covered in blood. And so the first thing she says is, calm down. Just calm down. Just take a deep breath.

[Unknown]

And, guys, we should say that the daughter is played by Sydney Sweeney.

[Julianne Moore]

Yeah, she's wonderful.

[Unknown]

I don't think we'd said that yet.

[Julianne Moore]

And then she says, you know, and then she sees the blood on her, and she says, are you hurt? So that's the next step. My daughter. My child must be hurt. And then she says, no, I'm not hurt. It's someone else's blood. And so you realize step by step by step, she's learning about this and making decisions. So it's not like she goes from, like, A to Z, you know, she really goes from A to B to C, you know, and it all adds up.

[Unknown]

I mean, it's so human. That's the thing. It's like you really want to think of yourself as going by the clinical route or exactly what you're supposed to do. But we all know that in those kind of moments, you're just gonna sort of swim to the bottom of the lake.

[Julianne Moore]

Swim to the bottom of the tank.

[Unknown]

Did you swim to the bottom of the lake? Of course you didn't, but there's a lot of underwater stuff.

[Julianne Moore]

I swam to the bottom of a tank.

[Choma Nadi]

That's what I did.

[Julianne Moore]

I swam to the bottom of the tank. So all of this stuff that you see in the exteriors is in an actual lake in New Jersey. And that lake is a cold lake. And I had a real rowboat, and I really, you know, dove jumped off and did all that stuff. Then when we go underwater, that's a tank. In London.

[Taylor Antrim]

In London.

[Julianne Moore]

Interesting. At Pinewood, and I'd never done any tank work, and I've never worked with a regulator. I've never done scuba stuff at all.

[Unknown]

No James Cameron movies?

[Julianne Moore]

No. So you have a couple. You have an afternoon of training using the regulator, and then you do it. And basically, I also learned I'm very floaty. Like, I think I have hollow bones. I just sort of pop up to the top. So my diver companion, I put the regulator in, and she'd push me. She was less floaty, but she has all that equipment on. She'd push me down, and I'd have to. In order to not pop up, I'd have to hold on to things at the bottom, all the fake stuff, so I could pull myself along and then do all the acting. No, but it's fun. I mean, it was really a lot of fun. And I wouldn't do any of it in real life because I'm such a chicken. So it's nice to be forced to do it at work.

[Taylor Antrim]

I want to hear about the horses in Echo Valley.

[Julianne Moore]

Okay.

[Taylor Antrim]

Do you like horses? I do like horses, but I like that you were a bird person. Are you also an equestrian?

[Julianne Moore]

I rode a little bit, but not for. Not for very long. I like all of the things on a set that are really unpredictable. You know, everybody always says, like, you know, when you work with an animal or you work with a Child or you work with the babies are fun. I love the unpredictability of it and I like the aliveness of it. And so it's the same way when you work with a horse or a bird. They're really alive, you know, and you kind of get their attention and they could look at you. And all the horses had different personalities. Some of them didn't like each other. They couldn't be next to each other. There was one that was kind of a secret biter. He would be really placid and you'd get in there, he'd like, nip at somebody.

[Unknown]

No spoilers. But what happens to these horses you become very invested in by the end of the movie. Echo Valley people are gonna love it.

[Julianne Moore]

Yeah. Yeah.

[Taylor Antrim]

I thought it was very charming that Sydney Sweeney said that. I dream of being you in an interview.

[Julianne Moore]

And I also.

[Taylor Antrim]

Megan Fahey. We were very excited because. Because Megan Fahey and her. We have.

[Unknown]

She's in Sirens.

[Julianne Moore]

Yeah, yeah, she's in Sirens.

[Chloe Mao]

On our Beauty Secret series. Video series.

[Taylor Antrim]

Megan Fahey in her beauty secrets was like, well, I watched one of these.

[Chloe Mao]

That Julianne Moore said that she pats.

[Taylor Antrim]

Oil onto her skin. So now I do that every night.

[Julianne Moore]

That's really funny. And I think I did it because the makeup artist I was working with told me do it like this. We're all learning from others. That's how it is.

[Taylor Antrim]

Is there anything, Are they asking advice about anything? Because a lot of these women are starting in their careers and really launching onto the main stage. Sidney Sweeney, Millie Alcott, Megan Fahey.

[Julianne Moore]

They're great, all of them, all three of them, they're just wonderful actors and great people and great partners. And one of the things that I think is really interesting about what we do, and I learned this as a young person, I'm experiencing it as an older person, is that whoever you meet on a set, you meet as a peer. You know, so often people talk a lot about, you know, who did you learn from or what did you do. There's not a lot of time with what we do. And I also think it's a very high bar to entry, you know, so if somebody. When somebody gets there, they're expected to bring it and they can bring it. So when you're. When I was starting out and I was 23, I was like, oh my God, I have to bring it. It's like, no one's gonna tell me how to, you know. But then you do and you see in your 50 year old partner and they're like, good Great. Come on. You know, and it's like you have this and in no other. I don't know. I mean, this has been my only professional job, really. You know, this kind of peer relationship is, I think, very unusual where you might work with an actor. Well, back to Vanya again. George Gaynes, who was in his 70s at the time, and I was playing his wife when I was 27. And it was so interesting to be in a romantic relationship with an actor who was much, much older than me. But it was, but you approach it, like I said, as peers. So anyway, back to these three wonderful actresses. They're just great. They were a joy to work with. And it's exciting. It's exciting to work with people who are new, exciting to people who are that kind of emotionally available and that imaginative. And it was a great experience.

[Taylor Antrim]

Is there any advice you would give your 25 year old self?

[Julianne Moore]

Calm down, calm down just for one second.

[Taylor Antrim]

The run through will be back in just a moment.

[Arden Fanning Andrews]

I like ebay for one of a kind items, things that feel limited edition or collections that can't be found in stores. And with the ebay authenticity guarantee, I know that when it arrives, it's real. It is a piece that is coming from the designer's collection, the designer's archive. One of the biggest conversation points for some of the parties that I'll go to during Fashion Week are the pieces that I'm getting off of ebay. Everyone's a little bit intrigued and excited whenever they hear that you were able to find something on this digital treasure hunt.

[Taylor Antrim]

I feel like there's been a lot of quotes that you've given about how you sort of like, like there's the Flaubert quote, be regular and orderly in your life so that you can be violent and original in your work. And I feel like I really appreciate that and relate to that. And I wonder if that sort of keeps you being able to be as creative as possible in the roles you're choosing.

[Julianne Moore]

I think that what we do, I think what you, you know, what we do is an act of imagination. And that's what's exciting about it, you know, that's what's creative about it. And so when I get a script, right, you kind of meet that person's act of imagination and you bring your imagination to it together, you know, and then with the director and all that, you know, you're all of you bringing something together collectively to create something. It's a construct. Super exciting. However, I realize that I have a tendency to be attracted to stories or constructs that are about relationships and often relationships in a domestic sphere. Because I think that's interesting. That's sort of the. I think that's sometimes the engine of our lives. You know, who we marry, how that relationship develops, the children that we have, people in our community, in our immediate circle. I think I feel like that's where. That's where our lives live. And I'm more attracted to that than I am the stories about like spaceships, you know, I just don't. But some people love that. And I wouldn't be opposed to being in a spaceship movie. I'm not saying that I would, but I think that when I read stuff, I'm like, ooh, oh, look at this people. And you know, people being human. People being human. Yeah. You know, But I do think there's.

[Taylor Antrim]

Something so appealing about knowing what people are doing day to day and examining that and knowing what people's routines are.

[Julianne Moore]

Okay, so I mentioned this in another show once about how we're so fascinated by the my Monday morning or my Sunday morning or the Sunday routine. All of those things where you're just like, oh, okay, so she gets up at 8:30, all right. She doesn't eat right away. She goes for a walk. She doesn't check her email and she goes. And we keep doing. And we do that because we are endlessly fascinated with one another and behaviors.

[Taylor Antrim]

What's your Sunday morning?

[Julianne Moore]

Oh, man. All my days are strangely alike. I like to get up at 8 o' clock. It's my favorite time if I'm not working. I like to get up at 8. I read, I look at the New York Times, I look at my emails. I would prefer to read first thing in the morning because then I think. But I always bring my book down with me and then I open my iPad and look at the New York Times. But then I try to take the dog for a walk, go do yoga.

[Unknown]

I mean, I think we're all looking for guides, right? Like this is. This is how to live, right? Like we all want to be like, told. Just like, this is the routine so we can follow it.

[Julianne Moore]

That's right. And be better.

[Unknown]

And actually I have a question for you along these lines because back to the parenting thing. I mentioned the age of my kids, 13 and 10, and empty nesting is not here, but it's sort of on the horizon. And it is just such a profound shift to my routine. I see coming. So what can you tell me? I'm looking for wisdom and grace.

[Julianne Moore]

I think what I can tell you is that it's another developmental stage. That's what's surprising is that you think that in your life you're like, oh, I understand this, or, I understand change. You don't. You don't. It's that thing that they always tell you that nothing is constant except for change. So. And that's why we keep looking at people's routines, because you're like, I need to know what to hang on to. But there's never. There's never anything, you know, that's the problem. But we can keep. We keep trying.

[Unknown]

One never likes to play favorites on microphones, but I was just thinking of all these amazing directors you've worked with and these directors that we revere and have such mystique to them. From Todd Haynes, obviously, Paul Thomas Anderson, Robert Altman, Tom Ford.

[Julianne Moore]

You want me to rank them, right?

[Unknown]

No, I don't. Ranking would be fine, but I just wondered if there was, like, a moment of uncommon chemistry with one of the. These structures. You could tell, is there someone that. You just were like, this person and I speak the same language.

[Julianne Moore]

Well, Todd and I are really similar. I mean, we're very similar just in terms of, like, we're the same age. We have not dissimilar backgrounds. Our parents were very, very young when they got married. We're both the oldest of three. We have kind of a similar energy. I feel like we sort of recognize each other, see each other in that way. And he tells. Once again, he tells a lot of stories about people in domestic situations, the drama of that kind of life. So I think we both understand that.

[Unknown]

Yeah. Did that start right away? Safe was the first.

[Julianne Moore]

Yeah, Safe was the first safe thing I did with him. And it was another one of those things where I read it and I was like, oh, my God, this is brilliant. I'd never read anything like it in my life.

[Unknown]

It feels so contemporary still, too, right?

[Julianne Moore]

Yeah. It was the very beginning of independent film. I couldn't believe it wasn't cast. I was making a movie in Pittsburgh, and I flew home to New York and read for him and couldn't even speak because I was so nervous and felt like there was only one way to do it, you know, And I thought if he didn't like, vibe with it, then I was. Then we weren't right for each other. And it ended up being, you know, how he wanted it to be performed too. So that sort of happened right there. Yeah, yeah, yeah, yeah.

[Taylor Antrim]

I'm shifting gears to another excitement in the Vogue Office, which was your debut of Louise Trotter's Bottega at Cannes.

[Unknown]

You mentioned that.

[Julianne Moore]

I was gonna say, I hope this is gonna be about clothes. Cause I'm ready.

[Unknown]

Yeah, we're done with. Great.

[Julianne Moore]

How great is Louise, right?

[Taylor Antrim]

She's fantastic. We love Louise.

[Julianne Moore]

Ah, awesome. So, so smart and so incredibly normal. And so I met her at the Diabican event, and we were talking about, you know, not only is she moving to Milan, but she has to get three kids into school in Milan.

[Taylor Antrim]

Oh, that's a nightmare.

[Julianne Moore]

She starts this gigantic job. The dress was so chic, so special. So it really. It's very much kind of in line with the house and I think with her sensibility. And it fit me beautifully. And I love the long, kind of crazy tassel.

[Taylor Antrim]

The tassel was almost. It's funny because it looked like either. Like a horse whip or horse tail. I know. Now that I know about Echo Valley, I'm like method dressing.

[Julianne Moore]

Yeah. That's why I wanted to post that picture of me going like that with the tail, because it was just. You could see. But I love that dress. And it was really an honor, really a thrill to get to wear her first dress.

[Taylor Antrim]

This is a trend we've been noticing, which is new creative directors at houses debuting a first design on an important red carpet instead of on a Runway. Because you have to wait so long before a Runway happens. What are you wearing today?

[Julianne Moore]

Prada.

[Taylor Antrim]

Lovely.

[Julianne Moore]

It's good, right?

[Taylor Antrim]

It's sort of a crepe funnel neck.

[Julianne Moore]

Like, is it navy or black? Dark? Is there dark, navy or. It's black.

[Unknown]

Looks black.

[Julianne Moore]

It's black. Okay.

[Taylor Antrim]

The Prada in between.

[Julianne Moore]

Yeah, yeah, yeah. And then a pair of Bottega shoes and Jessica McClintock, very pretty earrings.

[Taylor Antrim]

Can you remember the first major fashion purchase you made as an adult?

[Julianne Moore]

Oh, God. It was an Alaia dress. Wow. Yeah. And it was in Venice. It was green. And it was when Dazedine was designing.

[Taylor Antrim]

Do you still have it?

[Julianne Moore]

No. I don't know what I did with it, but, you know, I don't tend to keep clothes.

[Taylor Antrim]

Oh, but your poor daughter.

[Julianne Moore]

She's 5 10.

[Taylor Antrim]

Oh, wow.

[Julianne Moore]

Yeah. And I did have a whole bunch of stuff. I remember when she was going to prom, I was like, look at all these things. She was like, no.

[Taylor Antrim]

Does she borrow anything now?

[Julianne Moore]

She does now because she's 23. She has an appreciation for this stuff. She's like, oh, oh, okay, I get it. So she'll come over and borrow. It's actually fun. It's really fun.

[Taylor Antrim]

I want to know if you Have a favorite Met Gala you've ever gone to or a favorite look for a Met Gala, because you've been to over half a dozen.

[Julianne Moore]

Have I really?

[Taylor Antrim]

You have.

[Julianne Moore]

Maybe the purple Lacroix that I wore a long time ago. That was a cool dress.

[Chloe Mao]

Yes, I believe that was for the 2004 Met Gala. The exhibition was Dangerous Liaison.

[Julianne Moore]

Yeah. But you know what I liked about that dress? It was a different time and it was super. The dress had no structure in it and it was color, and I don't usually like a lot of color, but it had these kind of flowers and it was very. It was unusual, and it was the kind of thing you could really only wear. I felt like at the time at the Met or in Europe, it wasn't something that you could wear, like in California or it didn't feel like. It didn't feel like an American dress. And I think that stuff is much more common now where there's more kind of interplay. But at the time, it felt like, oh, this is appropriate for the Met.

[Unknown]

You know, Julianne, this was so fun.

[Chloe Mao]

Hey.

[Julianne Moore]

So fun, guys.

[Unknown]

I really enjoyed talking to you.

[Chloe Mao]

Such a treat.

[Julianne Moore]

Thanks so much.

[Chloe Mao]

And that is. That's it for the show this week. We will see you guys soon. The Run through is produced by Chelsea Daniel, Alex DePalma and Joanna Solotaroff. It's engineered by Jake Loomis, mixed by Mike Kutchman. Stephanie Karaoke is our executive producer, and Chris Bannon is Conde Nast's head of Global Audio.

[Arden Fanning Andrews]

The other day, I, like, went on a real ebay spree. There's this huge push for, like, 80s opulence and 80s sort of glamour, and we're going to see that returning. And so I was already kind of tapped into that just from my gorgeous ebay watch list. And I found a really beautiful Chloe blazer from the 80s and a really great Miu Miu kilt, these great Dior boots. And I'm combining them all together. Sometimes trend forecasting doesn't require something that's going to be, like, produced in the future. Sometimes you can, like, tap into the past and tap into the archive as well. That's what makes ebay a fun place to actually discover things, because you're not going in with something so specific in mind, but you have an idea of what you're interested in or what you're excited about or, you know, just truly trend forecasting. And so one thing that I would say people should be watching out for is, like, very opulent 80s style.

[Julianne Moore]

From PRX.