I want Moore.

Julianne Moore's greatest tool? Her mouth...

Whether she's gasping for breathe in [safe]...

Erupting on a truly deserving pharmacist in Magnolia...

Or struggling to maintain the perfect image of wife and mother in Far From Heaven...

Her mouth is the core, the indicator for the rest of her performance. You can go further with her mousy Laura Brown in The Hours, how her lips struggle to utter a word, or her Barbara Baekeland in Savage Grace, where her mouth is more deadly than any weapon.

Moore's mouth is a cinematic treasure trove, and what makes it all the more delicious is that it is also responsible for one of the most infectious laughs I have ever heard and fortunately a reoccuring presence during her Screen Talk that coincided with the 53rd London Film Festival, where she screened not one but two new films, A Single Man and Chloe. (Both of which I was lucky enough to have seen, and will discuss later).

Humble to the point of frustration (how I didn't scream "YOU ARE A GODDESS" I am unsure), Moore was as intelligent, entertaining and enchanting as her film roles would suggest and any hints of superiority, in any capacity, were distinctly absent. In fact her message was quite clear, acting is simply a job and film is a director's medium, actors are only their vessel for which they can achieve their vision and be a cultural force. This was accompanied by an interesting ancedote of new-mum Moore on the set of Magnolia, where she would instinctively alternate from her role as gold digger in the midst of hysteria to mother rather than complaining "I can't mother my child, I'm in character!". Both interesting scenarios...that would surely scare any child senseless.

The questions - from the The Script Factory's director, Briony Hanson - played safe with general interest; how did you get into X character, how do you find working with X, etc. And the interview progressed rather smoothly (quite unlike my usual encounters with Moore in the cinema), only on a handful of occassions did Hanson trigger the unanticapated from Moore. And in a flash, she was gone. As this flash lasted approx an hour and a half I cannot complain, but the greedy film fanatic inside me naturally wanted more. What about Savage Grace?, future theatre work?, and - most importantly for me - talk about your mouth!

Fortunately there are always her performances to obsess over, and her work in A Single Manand Chloe are worthy additions to her astonishing array of characters. A Single Man is undoubtedly the greater film, and will surely land her a fifth Oscar nomination come March 2010 yet it is Chloe that proves more interesting from the perspective of Moore. It sums up my own feelings on her career; in 'indie' film she rules as Queen, but once she steps into the realm of the commercial she begins to struggle.

The first hour or so acts as a wonderful examination of long-term relationships that have grown loveless and the loss of sexuality. Then a 'twist', more a disjointed change of characters and genre, throws all this good work out the window (teehehe) in a desperate attempt to incorporate a bunny-boiler finale. It is an odd decision that reaps no rewards, unless you enjoy your paint-by-numbers Hollywood thrillers with lesbian overtones (I imagine, to my dismay, many do!). Only Moore comes out unscathed; she could anchor a ship with the automatic empathy she summons. Just look at this failed attempt at a smile for the 'unsuspecting' prostitute she is about to enlist in order to discover her husband's infidelities...

She is wonderful, no?

- ticklepickleme

Julianne Moore. 23.10.09. 18:30. BFI Southbank.

A sort of unknowing curiousity circled my head as we made our way to our seats in an auditorium that was to be for the next two hours the location for an interview with the one and only Julianne Moore. Certainly the person beside me was almost bursting out of his seat with excitement, anticipation and what was quite frankly a death-defying bubble of love for this woman. But what about the rest of us? Sure I knew who she was. Did I like Children of Men? Of course. Far From Heaven? It frustrated me. Was I really aware of anything else this woman had been in? Not really. So what the hell was I doing amongst all these 'fans' waiting to hear this woman, about whom my lack of knowledge didn't even permit me to form any sort of opinion, and allow us rather insignificant individuals a brief glimpse into her fantastical existence? Well, Michael, I owe it to you. your absolute adoration of this woman is so infectious and admirable that I wanted to be a part of your dreams coming true. Yes I was curious, intrigued, but perhaps, quite ashamedly, I just wanted to see what all the fuss was about. From what I did know, I wasn't exactly struck down by her glamour, her beauty, or even necessarily her presence. But as she glided into that auditorium, and a room full of heads, mine included, in a split second spun to see this wonderful figure make her entrance, to say I was taken aback is something of a understatement. In that brief moment she owned the room and everyone in it. A head of cascading auburn hair framing what I never thought I'd consider to be one of the most beautifully stunning faces I'd ever seen. Her, again surprisingly, petite figure dressed head to toe in black chic; she was, quite simply, beautiful. And so the interview began. Conducted by Briony Hanson, whose rather impressive back catalogue, including an ownership to co-devising the first ever Sing-along-a-Sound-Of-Music, had earned her the all-empowering position of directing Ms. Moore's deconstruction to us.

With crossed legs and an air of effortless ease, Ms. Moore responds to Hanson's intrusions with a charming wit and infectious laugh, both necessary considering the, shall we say, near-the-knuckle nature of the talk. Why is it that you seem to consistently appear in such controversial roles? Incestuous Mother? Drug Addicted Porn Star? Etc? Well, it's not about the controversy. Boogie Nights is not a film about sex and drugs (although it is), it's about finding yourself. The nudity is not about getting your clothes off, it's not crass, it's not indecent, it's all about the messages: the connotations. And as for the nudity, well, it's a job. Yes, a job. Albeit high profile, but a job nonetheless. Do Oscar nominations put pressure on your next film? No, they get me my next film. They pay the mortgage. That's not to say Ms. Moore goes about her 'job' in a nonchalant, dismissive fashion. No. Into her work she inspires a commitment and a trust so unremitting and so admirable that her success speaks for itself. What this woman is, however, is realistic. Humble. Gracious. A preciously treasured family life forbids her career to become all emcompassing: "No I can't take care of my son, I'm in character" she jokes. A stab a Daniel Day-Lewis? Perhaps. But it made us laugh. Why did you first work with Paul Thomas Anderson? Because his script was beautiful. Why did you first work with Todd Haynes? Because his script was beautiful. Do you get disappointed when your films are criticised? Who wouldn't? Do you have a piece of work you feel most proud of? No, I feel most proud when I'm on set, when I achieve something. The end product is the director's baby, and being in the moment of producing a scene, that's mine.

Perhaps Hanson's questions were slightly repetitive. Perhaps the constant revisiting to Ms. Moore's seeming preference for erotic controversy was arguably in fact a guilty reflection of Hanson's own adoration? Perhaps. But whilst one interviewer's desires were satisfied, so were a whole room of spectator's. Taking her career seriously, but not herself, Julianne Moore is infectious to listen to and a beauty to look at. Her attitude to life is admirable: a woman truly grateful for the hand she has been dealt, but certainly not one to take any of it for granted.

As for me? The cynical but curious spectator amongst a sea of adoration? A little crush? I think so.