Born: December 3, 1961, Fayetteville, North Carolina
Height: 5' 5"
Children: Son, Caleb (b. 12.04.97) & Daughter, Liv Helen (b. 04.11.02) Father - Bart Freundlich
"You never have sex the way people do in the movies. You don't do it on the floor, you don't do it standing up, you don't always have all your clothes off, you don't happen to have on all the sexy lingerie. You know, if anybody ever ripped my clothes, I'd kill them."
Julianne Moore comes from a long and vital tradition of Army brats who have spun their childhood ability to adapt to an ever-changing social milieu into an acting career. The daughter of a psychiatric social worker and a military judge, Moore alighted in some 23 different places all over the world before landing at Boston University. After earning her B.F.A. degree in acting from the university's School of the Performing Arts, Moore touched down in Manhattan, where she appeared in a number of late-'80s off-Broadway plays, including productions of Caryl Churchill's Serious Money and Ice Cream With Hot Fudge. She branched out into television with a short-term part on the daytime drama The Edge of Night, which led in turn to a three-year stint (1985 to 1988) playing half-sisters Frannie and Sabrina on As the World Turns, a dual role for which Moore earned an Outstanding Ingenue Emmy in 1988.
Moore's first minor coup on the small screen came in the form of a supporting role as Valerie Bertinelli's friend in the 1987 prime-time mini-series Judith Krantz's I'll Take Manhattan. A subsequent string of forgotten TV movies certainly benefited from her striking presence, but they did little in return to boost her career. Moore's feature debut as the victim of a mummy in the deplorable Tales From the Darkside: The Movie (1990) also failed to raise her prominence in Hollywood, but she fared significantly better as the salon-coifed, outspoken real estate agent in the 1992 thriller The Hand That Rocks the Cradle. Things were looking up significantly the following year: she played a fleeting, but pivotal, role in the Harrison Ford-Tommy Lee Jones blockbuster The Fugitive; she shouldered the thankless burden of playing Willem Dafoe's wife in the execrable Body of Evidence; and she stole the show as the waitress girlfriend of Aidan Quinn in the endearing fable Benny & Joon. In Robert Altman's Short Cuts, Moore startled audiences with one of 1993's most talked-about scenes: in the role of Matthew Modine's artist-wife, she delivers a feisty monologue while standing before him in the nude from the waist down. She capped off the banner year by appearing opposite Al Pacino in a workshop production of Strindberg's The Father.
In one of her more prestigious performances to date, Moore reprised her beguiling Yelena from Andre Gregory's ongoing workshop version of Chekhov's Uncle Vanya in the late Louis Malle's critically acclaimed Vanya on 42nd Street. Following another secondary role as D.B. Sweeney's social-worker wife in Peter Yates's Roommates, Moore tackled her first lead in underground filmmaker Todd Haynes's societal critique, Safe, in which she delivered a stunning performance as a well-to-do L.A. housewife who develops an inexplicable and terrifying allergic reaction to her oh-so-ordered twentieth-century existence. She offset the gravitates of that film with performances as Hugh Grant's pregnant girlfriend in the fluffy romantic comedy Nine Months, and as a sassy and smart electronics security expert targeted for assassination by Sly Stallone and Antonio Banderas in Assassins. She then helped illustrate that Pablo Picasso (Anthony Hopkins) was a right bastard, with her compelling portrayal of Dora Maar in the Merchant-Ivory team's Surviving Picasso (1996).
Though the titian-haired beauty has garnered uniformly rave reviews from critics and audiences alike for her scene-stealing performances in both commercial and independent features, Moore's seemingly inevitable rise to superstardom has been slow in coming. But her relatively anonymous standing changed significantly in 1997. Her three-minute performance as Harrison Ford's doctor colleague in The Fugitive was enough to convince Steven Spielberg to cast her — without an audition — in the female lead, as Jeff Goldblum's paleontologist girlfriend, in the Jurassic Park sequel, The Lost World . Apart from the history-making, record-smashing success that was that film's lot, Moore tested her box-office drawing potential in two more feature films that year: she co-starred with Noah Wyle and Blythe Danner in The Myth of Fingerprints, the story of a dysfunctional-family Thanksgiving; and she scored a Best Supporting Actress Oscar nomination for her work in Boogie Nights, Paul Thomas Anderson's dark tale about a family of filmmakers who aspire to elevate the adult-entertainment industry to a high art form.
Moore kicked off 1998 with a role as a sinister seductress in the Coen brothers' mistaken-identity farce The Big Lebowski, and closed it out with a subtle performance as the sister of the ill-fated Marion Crane (Anne Heche) in director Gus Van Sant's remake of Psycho. Another sisterly role — this time opposite Glenn Close — in Robert Altman's Cookie's Fortune marked her first celluloid contribution of 1999; far more wicked was her follow-on turn opposite Rupert Everett as a scandal-monger widow in the Oscar Wilde adaptation An Ideal Husband. Speaking of Oscar, Moore capped off the year with a brace of Academy Award-worthy performances: she co-starred opposite Ralph Fiennes as an adulterous wife in the Graham Greene adaptation The End of the Affair; and re-teamed with Boogie brethren William H. Macy, Philip Seymour Hoffman, and John C. Reilly for Magnolia, Paul Thomas Anderson's operatic drama about a day in the lives of a group of lonely San Fernando outsiders. The former brought her a Best Actress Oscar nomination.
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