The film, which is directed by Tom Kalin, tells the true story of the American socialite Barbara Baekeland, who in 1972 was murdered in London by her 26-year-old son, with a kitchen knife to the chest. Responsibility, or the absence of it, Moore says as she settles on the sofa after locating some crayons from a drawer, is at the heart of the tragedy in Savage Grace. It explains too, perhaps, the arc of a career that has brought her back to work with particular writers and directors again and again – the late Robert Altman, Todd Haynes, Paul Thomas Anderson. And yet, she can be childlike too, giggling with her daughter, or goofing around with her husband, the director Bart Freundlich. It’s why she lives in New York, where her neighbours know her kids’ names. “I think it’s the ideal way for people to live,” she calls out from the hallway. Moore’s life, it would seem, is informed by her belief in communities, the families we make at work, in our homes, and our responsibility to the world around us. And she talks about the spirited commitment of the handful of South and Central American directors who are working internationally (she is about to start filming with The Constant Gardener and City of God director Fernando Meirelles). She sizes up the climate of the independent film industry in America right now – “gambling” is how she describes investors backing small projects with their fingers crossed behind their backs for box office returns. She talks politics and liberal positions on intervention, in Iraq and Darfur (by way of David Hare’s thorny play, The Vertical Hour, in which she made her Broadway debut last year).
Julianne Moore is youthful, girlish even, if the word can be used to describe a smart and engaged woman in her 40s.
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