Russell Crowe made his television debut for the first time this season with a limited series “The Loudest Voice” about the life of Fox News producer Roger Isles. The medium is no stranger to her old friend Nicole Kidman, whose second season “Big Little Lies” saw her domestic violence story resonate even after the death of her housekeeper. They talked to each other by video chatting with different types of actors on the actor issue.
Russell Crowe: I have to be completely honest. I haven’t seen the second series yet. So my reference point is the first series. This is some very fine writing.
Nicole Kidman: Liane [Moriarty] The second series came with the catalyst to launch, this character of Mary Lewis. Meryl Streep comes to play my mother-in-law. And this is my storyline. You have to see it.
Crowe: How many pictures have you taken of Meryl Streep?
Kidman: Three. Well, it counts as a film. And we just finished a movie together. There is much more to come.
Crowe: I may have had two conversations with him but I think he is very special. Talk about working with Meryl Streep.
Kidman: He has a lot in common with how we work, in the sense that he melts into it. Each reception is different. He’s like Quicksilver. You loved him. And with just working behind her back – I’ve done “Big Little Lies” where there’s a cardigan and she’s my godmother-in-law. And then we did a big musical together, which was the complete opposite of “Big Little Lies” where we were singing and dancing and absolutely ridiculous. It was called “The Prom” and was directed by Ryan Murphy. We have three more days left for shooting.
Crowe: This is the second director, you said, for the second series?
Kidman: Yes. Jean-Marc Valley is managing “Sharp Objects” with Amy Adams and she’s tired. It’s a huge feat to manage these seven hours. Because you, how many directors were there in “The Loudest Voice”?
Kidman: I’ve only ever done a limited series with one director. So I don’t know the idea of a different director coming and directing a few episodes know I just finished one more series [“The Undoing”], And she was Susan Bear. And he managed all six hours.
Crowe: I can’t see how anyone could go on a series like this and the managers get comfortable coming and going. It is a hill in Parobola. This is not extraordinary. It may exceed what you have done before. Because the next person coming is not seeing things the same way.
Kidman: Is it “loud” for you?
Crowe: I’m just saying as an observation. And come from the perspective of the movie where you get on the train with someone get then to stay in a television situation, the long schedule that you are going to be shooting for a long few months. To change attitudes, I didn’t necessarily think that was the biggest way to do it.
And I see something like “Big Little Lies” and I see continuity. This is a seven hour movie. This is not a conventional TV, where directors are coming and going. It’s stuff where you’re telling a story of a certain stress. However, it’s okay. I have enjoyed working with individual directors. But the single director is the preferred choice from my point of view.
Kidman: Me too. So, the character you created with the help of Roger Isles – a lot of it falls on the actor, doesn’t it? Its whole arch. How did you do that
Crowe: In the beginning a lot of seeds have to be sown. And then you have to make sure that the managers are in the same loop that will come. I had a fun moment with Stephen Freyers, who was a great friend and exceptional director. He came to direct the Episode 6 he wanted something to happen. And I said, “Stephen, it can’t happen now because in episode 2, something like that happened. And the fourth episode, a blah, was Bella. In 200, we confirmed it. So now it’s the sixth bit of the story. What you want can’t happen. “” And Stephen, in his wonderfully dry English tone, said: “Russell, you’ve got me in a lot of trouble, because you’ve read the script.” I like to do an original movie with Stephen. He was great.
We didn’t talk about your character and that journey, because Babu was too harsh to see it. Talk to me a little bit about where you started with understanding him.
Kidman: Eventually [the relationship between Celeste and Perry] This is based on love. And sexuality between them, which is sometimes good, and loving and gentle. And then things get stale and it starts to snowball out of control. It was really important to me, because with so many relationships in terms of domestic abuse, you wouldn’t see a very good time. It was about to focus: what is the best time? Because that’s what keeps me here. I was surprised to get a chance to play it with all its complexity that they let me do it that way because a lot of the time it gets finalized.
Got time to explore the character and was the still really strong narrative glorious? Did you like it I love that.
Crowe: I really did. Because you will be able to show [Ailes] Why people like to work with him. Instead one thing that could say, “This man is a monster” “In the end, his behaviors are disgusting and ridiculous. And he gets his curiosity. But we will show how he created the power around him that keeps him away from what he wants to do.
Kidman: I loved that you could see the relationship he had with his wife, which you and Sienna did [Miller] Created. There are very few men who can make love on-screen. We’ve seen you do it in things like “gladiators”; When you love, you love. The love that you have felt on screen for that. You saw Roger Isles being able to be this husband and love his child saw that part of him that you will never see if you don’t have so much time to explore him. It was important.
Crowe: I’m really lucky cast Siena plays that role. Annabelle Wallis, Alexa Paladino, Naomi [Watts]: When I first worked with her, it was a TV thing, “Bride of Christ”. And I came in and told some unconscious Catholic boy about this and that; I think I had to tell Hale Mary that I was ejaculating and losing my virginity. And we’ve been friends for so long. And then finally, to work together in reality. It was a great moment. It was like being in Gibby with you. It’s incredible. If you think that’s where we started and came back from our aspirations, it’s not uncommon, Nicole. You and I are hanging out in Darlinghst; The career we had is unpredictable. What happened to it? Me, Naomi, Hugh [Jackman], People of this entire generation who are directly connected to touch or vaguely. It’s stunning.
Kidman: And still all friends.
Crowe: And still all work.
Kidman: I remember when you were preparing for Roger Isles, you compiled all the information about him. How did you do it?
Crowe: Okay, that’s a funny thing. Because you want to take advantage of the situations that come up. You were in New York at Hugh’s birthday party, weren’t you?
Kidman: Yes, I was there.
Crowe: And Ivanka [Trump] So Ivanka had the opportunity to have a long conversation with her husband.
Kidman: What a great.
Crowe: And he had a direct relationship with Roger about their presidential campaign. Phone calls every Sunday. So it gave me that contemporary insight that the book can’t give me.
Kidman: I don’t know you [Jared Kushner] At that party
Crowe: No one else was talking to him.
Kidman: Stop. You have obviously read the book. I remember when you were trying to get out.
Crowe: That’s what Gabriel Sherman’s book was all about – at times it’s like a single perspective. It still has virtually a bias. So now I’ve got to try the other side of the story. When you’re going to play a character, have you got those things, do they come to you? Did you find it as an actor? This is not necessarily an association, but an event has occurred where the information you need somehow seems –
Kidman: Arrive. My antenna alerts otherwise. I will find a thing that will take me forward. Because when I start, I’m almost pulling like a donkey who I can dig up just the day before. I literally called and said, “I’m not the right person for this and you have to leave me” and I don’t know how.
But once something happens, it flows. And once it flows, I have to get out of the way. My brain actually has to come out of the way. Because my brain can become very analytical and that’s not how I work. So I mold it and then I have to release.
Crowe: Tell me about “The Prom”. It’s an experience to create, because it’s so much fun when the project you’re involved in involves a lot of music when it goes beyond my experience. Everything is more fun, the regular strength of a movie is the kind of supercharge or something
Kidman: It was also a joke, so I haven’t done any comedy in so many days. And to see Meryl Streep and James Corden do their work together and see Ryan [Murphy]. This is the guy who made the “cheer”, he came in and sorted the house around.
I panicked, I was dancing fos. So Foss dance is not my dance that I was educated or trained So So how was I, “Am I too far from my comfort zone?” But would you like to make another musical instrument?
Crowe: Oh well. I want It’s the combination of my two best loves. Have you grown up singing
Kidman: No, I’m not a singer. I will act through my songs. You’re a singer I’ll sing as a character, but I’ll never get up and sing. This is not just my normal expression. But I can sing as long as I am in character. I have to find the character first.
When are we going to do a play together?
Crowe: It will be interesting. What do you want to do? “Who’s afraid of the Virginia Woolf?”
Kidman: Yes. I want to do a play with you. Please come.
Crowe: Which play did you do in England? I went to see it and it was so successful.
Kidman: “Blue Room”
Crowe: I was in your first week we were backstage, we were talking and we would hangout. Tom [Cruise] Was there.
Kidman: And then we went to Ivy?
Crowe: We did. What are your plans today?
Kidman: It’s night here. I will leave and have some dinner with my kids and Keith [Urban]. He is actually recording.
Crowe: When was the last time you wore a cowboy hat?
Kidman: I didn’t wear a cowboy hat for a while.
Crowe: When was the last time you sang a country song?
Crowe: I thought so too.