"The Hours" Discussion Pt. 2: Score, Performance, Re-Casting

previously... Joe Reid and Nick Davis discussed fidgety hand acting and ravenous kisses in The Hours for it's 10th anniversary. We rejoin them for the second half of their conversation. - Nathaniel R

JOE REID: OH that Phillip Glass score. I'm with you, obviously. I actually did much of my writing with that soundtrack playing in the background in the year or two after The Hours, because I'm just that kind of impressionable. But beyond being beautiful and haunting music in its own right, it also immediately sets the mood of the urgently mundane which pervades the whole movie. Laura trying and failing and trying again to bake a cake. Virginia scrawling out a first sentence. Clarissa getting the flowers. The score is repetitive and plain but increasingly frantic. I could roll around in it, crumbs in the frosting and all. 

So not to get too common about it, but rather than risk ignoring the elephant in the room, let's get to evaluating and ranking those leading ladies, am I right? You mentioned some ambivalence about Julianne Moore's performance, and I think I read somewhere that you value Streep's work here quite highly? Feel like making some friends/enemies among the blog-reading populace?

Nick's answer and more provocative questions after the jump

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Breakfast With... Clarissa, Virginia, and Laura

We begin our 10th anniversary celebration of The Hours, in the only logical place: morning rituals

Good morning ladies: Laura would like to sleep in, Virginia never sleeps, Clarissa sleeps fitfully

A woman's whole life in a single day. Just one day. And in that day, her whole life. 
-Virginia Woolf, The Hours

The central framing ambition of The Hours, is vocalized about 17 minutes in after the genius author Virginia Woolf (Nicole Kidman) has written the first and soon to be rather famous sentence to (one of) her masterpiece(s) "Mrs. Dalloway." I'd liken it to that moment when the tea kettle starts whistling except that nobody is having tea. But, nevertheless the movie's three strands (1923, 1951, and 2001) have been simmering with, bubbling over and spilling into one another in Stephen Daldry's pot and we're definitely full steam. But first things first... what are our ladies having for breakfast?

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Nicole as Grace on Paris Match

I haven't mentioned Nicole Kidman in forever! (heh) The goddess has been busy. In addition to awards press for The Paperboy, she's been been filming Grace of Monaco and now she's covering Paris Match.

I tend to like Nicole's riskier messy projects more than her prestige polished ones. Give me a Dogville or a The Paperboy any day over a Cold Mountain or a Human Stain (anyone remember that one?). So I'm not looking forward to Grace of Monaco or The Railway Man, her 2013 films, in quite the way I usually look forward to her projects but I'll definitely see them for her. Stoker on the other hand...

I'm not sure that cover does Nicole any favors but I've been steeling myself for the inevitable "she's too old to play Grace Kelly" criticisms to come, which will conveniently forget that Grace Kelly lived to be 52 and that we only think of her as a startling young beauty because she was frozen in the public imagination for work she did in her early 20s (High Noon, Dial M For Murder, The Country Girl and Rear Window). 

Grace Kelly in 1961 when she was 32

The film takes place in the early 60s when Grace was in her 30s. I'm not sure where I was going with this so I'll quit now.

10th Anniversary: Nicole Kidman On Her Oscar Win

Today is the 10th anniversary of the release of The Hours. That's just another reason to feel merry today and remember that gratitude isn't just for Thanksgiving. Especially not when it comes to the gift of cinema. We celebrate the movies all year long but we get extra weepy about the greatness of the artform right about now when drowning in awards and top ten lists .

Christmas 2002 brought three very special actresses together

Not that The Hours is an especially festive or celebratory movie but each Christmas does seem to bring us a super-depressing Best Picture Event (this year's iteration: Les Misérables). The Hours tracks three parallel women Virginia Woolf (Oscar winning Nicole Kidman), Laura Brown (Oscar nominee Julianne Moore) and Clarissa Vaughan (Meryl Streep) who are connected by difficult personalities, anxious spirits ("I feel as if I'm unravelling"), and Woolf's masterpiece "Mrs Dalloway" which she is writing and Laura and Clarissa are reading in the braided plots. 

The 2002 Best Picture nominee is a beloved classic to actressexuals the world over and, as such, I know it's close to the heart of many of you. When I spoke with Nicole Kidman recently, we took a time machine detour to talk about her winning year. (I thought I'd save that piece of our conversation for a surprise Christmas gift for you. Surprise!) The Oscar winner herself was totally taken aback when I mentioned the approaching anniversary. "Wow. That was ten years ago?!?" 

Indeed it was, Nicole, indeed it was. 

NATHANIEL R: You've been invited back to the Oscars with Rabbit Hole recently but what's your most vivid memory of that winning journey with The Hours?

NICOLE'S PERSONAL MEMORIES AFTER THE JUMP...

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Nicole Kidman Wore a Tiara To Our Interview

Nathaniel, it's Nicole!" 

[!!!] 

After the briefest of pauses in which we both waited for my bewilderment to pass -- Nicole Kidman is calling me (?) -- she let out a hearty familiar laugh, instantly delighting and relaxed. She was, as it happened, a full hour early to our scheduled interview, having just finished a day's filming on Grace of Monaco. 

Academy voters will be filling out their nomination ballots online for the first time this year -- they started voting this week and will continue through Thursday, January 3rd. One prays that this shake-up to their old school paper & pen system might also shake up their aesthetic palette. If it does, you'll hear Nicole Kidman's name read out for her genius star turn in The Paperboy. In this polarizing sweaty film, Nicole plays a tawdry beautician with a thing for violent inmates. This is not, as you have undoubtedly ascertained whilst reading about the film, the type of role which is usually nominated. This is, as you will undoubtedly discover while watching the film, the type of performance that deserves to be.

Early in our phone conversation, I shared with her my awe at her latest quick-change. "You've gone from Charlotte Bless to Grace of Monaco? Talk about an about-face!". She didn't skip a beat in her quippy response:

Kidman on the set of "Grace of Monaco"

 I'm standing here in a tiara and a white beaded dress and Cartier jewels."

As well she should.

Herewith our conversation...

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