It's impossible to overstate the experience of working with Julianne Moore on Na sigurnome (1995), and the projects that followed. I don't think I ever wrote or conceived of a more challenging character on the page for an actor to embody than Carol White, who's just so absent from herself when you first encounter her. There's so many barriers set up for the viewer's access to her that we usually come to expect from movies, not the least of which is the fact she's not a very fleshed-out or interesting person. Initially, Julianne had total respect for that predicament: the fragility of the interior world of Carol White. Julianne not only respected the character and the person, but also the filmmaking, which really distinguishes her from a lot of actors. Julianne really thinks about what the stylistic language of the film is and what the frame is, and she really wants to work with directors who have a strong sense of how that process can be articulated in different ways to serve different kinds of stories. She understands that, so she doesn't try to fill in as some actors, understandably, feel compelled to do, to feel they're helping the viewer out. Ultimately, Julianne recognizes viewers have incredible intuition, and power of reading information on the screen, and reading narrative form and style. An audience's hunger for stories to unfold a certain way are actually opportunities actors and directors have at their disposal to illicit but also betray, play with, or toy with - and we were certainly doing some of that with "Safe". She really trusted me and the writing, but, ultimately, it's the trust in herself that gives her the ability to underplay and let an audience find you in the frame, and not always be waving desperately for their attention. She's really extraordinary that way. When I saw it again recently she... I'm proud of the film, but it rests entirely on that performance. It's an inconceivable piece of work without someone as powerful as Julianne at the core.[2014]
