{"id":70947,"date":"2015-01-18T14:27:33","date_gmt":"2015-01-18T14:27:33","guid":{"rendered":"https:\/\/0de2709a84.nxcli.net\/0-kjasnb\/2015\/01\/18\/still-alice-press-conference-interviews\/"},"modified":"2018-12-18T03:52:48","modified_gmt":"2018-12-18T03:52:48","slug":"still-alice-press-conference-interviews","status":"publish","type":"post","link":"https:\/\/www.blackfilm.com\/read\/still-alice-press-conference-interviews\/","title":{"rendered":"Still Alice Press Conference Interviews"},"content":{"rendered":"

Still Alice<\/a> Press Conference Interviews<\/strong>Posted by Wilson Morales<\/p>\n

January 19,2015<\/p>\n

\"Still<\/a><\/p>\n

Very recently Blackfilm.com attended the\u00a0press conference for ‘Still Alice<\/a>‘ at New York\u2019s Crosby Hotel, where Julianne Moore, Kristen Stewart, Kate Bosworth<\/strong> and co-director Wash\u00a0Westmoreland<\/strong> participated.<\/p>\n

Renowned linguistics professor Dr. Alice Howland (Julianne Moore) knows the truth of Bishop\u2019s poetic insight as well as anyone. Diagnosed with early-onset Alzheimer\u2019s, Alice learns the art of losing every day.<\/p>\n

At first, Alzheimer\u2019s means losing her way around the streets of Manhattan, but soon \u2014 far too soon for her husband John (Alec Baldwin)\u00a0and her children (Tom (Hunter Parrish) and Anna (Kate Bosworth)\u00a0\u2014 it\u2019s much more. But even as it puts her marriage to the test, Alice\u2019s new condition does provide the opportunity to reconnect with her youngest daughter, Lydia (Kristen Stewart), with whom she\u2019s never seen eye-to-eye. The fact that Alice is a lifelong student of language and communication proves a powerful resource in her fight against mental decline, but it also means that she has a uniquely troubling understanding of what\u2019s to come.<\/p>\n

Here’s the full press conference (audio)<\/p>\nhttps:\/\/www.blackfilm.com\/read\/wp-content\/uploads\/2015\/01\/Still_ALICE_pc.mp3<\/a><\/audio>\n

\"Still<\/a><\/p>\n

When fleshing out a role, does it help if you\u2019ve played similar characters before?<\/strong><\/p>\n

Julianne Moore:<\/strong> I tend not to work that way. I think sometimes when you look at someone\u2019s career, you look for threads and references, but believe it or not, as actors, we\u2019re freelancers who literally go from job to job so you make a movie and then the next one and the next one. Then, when someone asks me about a movie I made 10 years ago, I barely remember it. Often people remember things in my movies and quote lines, and I\u2019m like, \u201cWhat\u2019s that?\u201d<\/p>\n

Poor Michael Angarano. He\u2019s so great and so cute and funny. We were doing this little comedy called, \u201cThe English Teacher,\u201d and we had to kiss in it. He told the story on \u201cLetterman\u201d or something. We kissed and he said, \u201cWas that sexy?\u201d And I went, \u201cYeah, Michael, that was great. You were terrific.\u201d He said he wanted to die of embarrassment because he was quoting a line from \u201cBoogie Nights.\u201d [Laughs] (Loool)<\/p>\n

\"Still<\/a><\/p>\n

But, getting back to your question, I think everything you do as a person and everything you do as an actor ends up in your work, but it\u2019s not that direct. It\u2019s all just like life \u2014 accumulative.<\/p>\n

What was your reaction when you got the script? Were you afraid a movie about Alzheimer\u2019s would make people say \u201cThat\u2019s depressing\u201d and not want to see it?<\/strong><\/p>\n

Kristen Stewart:<\/strong> Typically, no. Every experience is different when you\u2019re an actor and doing it for the reasons we do. Yeah, it\u2019s definitely morbid, and it\u2019s not like a walk in the park, but sometimes, it sounds silly, but it can be very important. I knew for a fact as soon as I knew Julianne was playing this part, I knew that she was going to be doing something important. I knew this movie was being made so she could do that and would say something. It was intimating that it was our job to hold her up. There\u2019s a possibly the only reason I felt completely driven and competent walking into was because Wash (Westmoreland) and Rich (Glatzer) hired me. They have more aspect to the story unlike anyone I have ever me. If they thought I could do it, then I could. It\u2019s not like having fun and making people laugh and going to the movies and having a great time, but I think a movie can really say something and I think this movie does.<\/p>\n

\"Still<\/a><\/p>\n

Kate Bosworth:<\/strong> I felt the same way. I\u2019d read the book before the script, and probably everyone in this same room has been effected by Alzheimer\u2019s. When I read the book I see my grandparents, who had Alzheimer\u2019s, and my parents rallied the family to take care of them, and i touched me deeply. I felt like this is an opportunity to shine a light on this disease in a way that hadn\u2019t been done cinematically before. That was the real draw for me and to be able to work with Julie (Moore). I\u2019ve known her for years, but never had the opportunity to work with her and I wanted the opportunity to sit and watch her do what’s she done and it’s really spectacular just to be around her, watch and learn and be part of the process.<\/p>\n

\"Still<\/a><\/p>\n

JM:<\/strong> I did it for the money. No, sorry, it was just such a great script, a wonderful, wonderful script and such a great book that Lisa [Genova] wrote. What she did that is so remarkable is that she presented the disease completely subjectively. What would it be like? What does it feel like to go through this process? We never get to see that. And, Rich and Wash took that novel and made it cinematic in a very deceptively simple way, I think. It was a thrill to be involved in something like that, and I think that\u2019s what attracted us to it. It\u2019s the human side of the story. You\u2019re watching this family\u2019s journey through this very difficult situation.<\/p>\n

\"Still<\/a><\/p>\n

KS:<\/strong> It\u2019s interesting that this is the kind of story where you know if it is done right, everyone is going to talk about it. If it were done badly, well. Do you know what I\u2019m saying? The alternative is so polarized. So I thought, \u201cIf we do it right, it\u2019s going to be more important than anything we\u2019ve done in a long time.\u201d<\/p>\n

Wash Westmoreland<\/strong>: We didn\u2019t want this to be a depressing movie. We wanted to shine a light on the human element, and the connections people can make during even the most difficult times. We wanted to make a powerful film about what it means to be alive.<\/p>\n

KB<\/strong>: I think even through the tragedy, what I love the most about the movie is the comedic moments; those moments are so human. I take care of my grandmother with my parents, and there are some moments that have an edge where you don\u2019t know if they\u2019re tragic or hilarious. I feel like that element was very important to you, Wash, and Richard, specifically putting the humanity in Julianne\u2019s journey, especially with Alec. There are moments that make it very real.<\/p>\n

\"Still<\/a><\/p>\n

Wash, what was the process of collaborating with Lisa on adapting her book into the film, especially on the set?<\/strong><\/p>\n

WW<\/strong>: Well, often times when you get into a situation where you collaborate, there can be a lot of tension. But Richard and I wrote the first draft of the screenplay before we showed it to Lisa. So we were nervous when we sent it to her. But Lisa\u2019s initial response was incredibly positive.<\/p>\n

Lisa was helpful to us while we were filming, as she was able to give us target feedback. She would visit the set, and we had a wonderful time. We very much enjoyed seeing her work not only shine through in the screenplay, but also in these amazing performances. We were very much in tune all the way throughout.<\/p>\n

\"Still<\/a><\/p>\n

One of the challenges of adapting the book was the fact that the story\u2019s told through Alice\u2019s internal point-of-view. So we had to figure out how to create that tone, so that the audience members can understand the story through her point-of-view. Then they could stay with her through her disappointments and triumphs.<\/p>\n

Another challenge for us while making the film was deciding what material we should leave out. Typically, it takes 16-18 hours to read a book, which allows for a lot of time for events to unfold. But when you\u2019re watching a movie, there\u2019s a much shorter span of time for those events to play out. I think some adaptations try to cling onto too much information. So you have to be disciplined to be able to get to the core of the story, and make it a cinematic experience that works.<\/p>\n

\"Still<\/a><\/p>\n

Julianne, did you reach out to any Alzheimer\u2019s organizations while you were preparing for your role? How has the film impacted your thoughts on the disease?<\/strong><\/p>\n

JM<\/strong>: Boy, did I ever! I knew nothing about Alzheimer\u2019s. I\u2019m one of those rare people who hadn\u2019t had any contact with the disease. I didn\u2019t know anyone personally who had it.<\/p>\n

So I started working with one of our producers, Elizabeth Gelfand Stearns, who told me about her experiences with her mother and grandmother. The National Alzheimer\u2019s Association also set me up to do Skype calls with women who have been diagnosed with Early Onset Alzheimer\u2019s, and I was able to talk to them about their experiences.<\/p>\n

\"Still<\/a><\/p>\n

I also attended support groups, which supplied me with a lot of information. From there, I went to a long-term care facility, where I spoke to caregivers and families. I also watched many documentaries on the subject, and immersed myself in the illness.<\/p>\n

I told Rich and Wash that I didn\u2019t want to do anything on camera that I hadn\u2019t seen, because I felt like I didn\u2019t have the authority to do so. Whenever I was unclear about something, I would check on the behavior with someone familiar with the illness. I think people were so happy and excited that we wanted to know about the illness, and get it right, so they really extended themselves.<\/p>\n

A lot of times, people with Alzheimer\u2019s don\u2019t feel seen, as we often look the other way, since it\u2019s hard to look at. Alzheimer\u2019s patients feel like there\u2019s some kind of shame attached to cognitive decline. There\u2019s one line in the film where Alice says, \u201cI wish I had cancer instead,\u201d because it\u2019s easier to see what\u2019s happening. So it was great to see the experience of the people I spoke to, and I really owe a lot to them.<\/p>\n

\"Still<\/a><\/p>\n

One of the great aspects of the film is the support Alice receives from her family. So when you spoke to the families of Alzheimer\u2019s patients, how much did you take away from speaking to them?<\/strong><\/p>\n

JM<\/strong>: Well, I saw that every family is different. Some are very supportive and are there with the patient, while others are not, and refuse to even acknowledge the illness. One woman told me that her children refuse to accept that she has Alzheimer\u2019s. Another family talked about how the father wouldn\u2019t talk about it, and then the kids didn\u2019t know what to do. So every family, and even friend, dynamic is completely different. Patients have said they\u2019re surprised about who sticks around, and who disappears.<\/p>\n

\"Still<\/a><\/p>\n

In the movie, we see the one daughter who you expect to stick around actually not be able to take it, because of her own potential diagnosis when she gets older. Then the other daughter, who you\u2019d expect to not come back home to help her mother, is able to handle it.<\/p>\n

The dynamic in the marriage was also so interesting to me. Alec was so incredibly compassionate in his performance. You see how much you love his wife, and he says how much he\u2019s going to be there. But at the end of the day, he can\u2019t handle it-he wants to be with the old version of his wife.<\/p>\n

\"Still<\/a><\/p>\n

WW<\/strong>: My co-director, Richard, has ALS, and we\u2019ve discovered how some people have become so distant. No one ever said anything mean, but they have re-prioritized. Meanwhile, other friends would come forward, and really be emotionally present. So we wanted to create within the family dynamic, a situation where people\u2019s presence meant as much as people\u2019s absence.<\/p>\n

It\u2019s really interesting to see how that works with the family members throughout the film. Lydia is initially the antagonistic one, and is absent from the birthday dinner. But she comes through for her mother in the end. Meanwhile John, who\u2019s in love with his wife, struggles constantly as he\u2019s dealing with the disease.<\/p>\n

\"Still<\/a><\/p>\n

I also find it fascinating that Kate\u2019s character, Anna, is the child who learns she has the gene that can lead to Alzheimer\u2019s. She then becomes absent for a while after that, as she can\u2019t deal with her mother. When she comes back, she\u2019s still clearly dealing with these problems with her mother. But ultimately when she has her babies, there\u2019s a feeling that a new relationship can start between her and her mother again.<\/p>\n

What was the most challenging scenes for you all to film, and then watch later on when the film was completed?<\/strong><\/p>\n

JM<\/strong>: The most challenging scene for me to shoot was actually the family scene, where Alec and I were supposed to give the news to our kids. Alice wasn\u2019t in a place where she began declining yet. She was just diagnosed, so she\u2019s still very present and articulate. So how do you give that news to anyone? She\u2019s worried about her children, their relationships and their potential diagnoses. So I was worried about how that scene started and ended, making that the most difficult day.<\/p>\n

\"Kristen<\/a><\/p>\n

WW<\/strong>: It was tough, because it\u2019s like a bomb going off within the family. It was really about how people initially responded emotionally. It was different for each character. It took a lot of working out to get that emotional tone right.<\/p>\n

KB<\/strong>: I agree-that scene was difficult for everybody, as we were trying to figure out the tone. I feel like my character, Anna, was Alice\u2019s mirror. They knew each other\u2019s short hand, and were very close. While everyone else was asking if Alice and John were getting divorced, I had the line during the scene where I asked, \u201cAre you sick?\u201d<\/p>\n

My character felt the most vulnerable there, and she then closes up during the rest of the film. She isn\u2019t able to handle the fate of having the gene, as she\u2019s watching her mom decline, and begins realizing that\u2019s how she may decline. So she starts to shut off from that relationship quite a bit.<\/p>\n

\"Still<\/a><\/p>\n

Kristen, was that something you related to, as well?<\/strong><\/p>\n

KS<\/strong>: Personally I did relate to it, as well.<\/p>\n

You have two starkly different representations of people. Lydia has so many traits of her mother [Alice] and because of this accelerated period might be able to find that key and reach a level with each other and appreciate each other. But first you have a girl [Lydia] who does not want anything to nail her down. Lydia is not isolated but she is different than her family. She is a very creative person and she wants to live every moment and appreciate it.<\/p>\n

\"Kristen<\/a><\/p>\n

One other thing the movie shined the light on is the present moment. Being there and not being ruined by protecting [yourself] too much. It\u2019s funny that Lydia becomes sort of a backbone. It\u2019s counterintuitive. She\u2019s flimsy but then she actually ends up being emotionally the strongest for her mom and she learned a lot.<\/p>\n

Kristen, I saw the Assayas film (Clouds of Sils Maria) and you were at the New York Film Festival and so fantastic and I wonder after a big franchise that you had, do you feel if you have to redefine yourself as an actor now?<\/strong><\/p>\n

KS:<\/strong> Gosh, luckily through by my experience and by my gut, I don’t have to do anything (like that). At this point, I’m just doing what inspires me and what I love and it’s falling off the truck the way that you see it.<\/p>\n