Carrie-Anne Moss discusses her emotional turn with Ryan Reynolds in “Fireflies in the Garden”

Carrie-Anne Moss discusses her emotional turn with Ryan Reynolds in “Fireflies in the Garden” (photo)

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Playing a superwoman is something that Carrie-Anne Moss has always done exceedingly well; her turn as Trinity in “The Matrix” films is third maybe only to Sigourney Weaver in “Aliens” and Linda Hamilton in “Terminator 2” as one of the movies’ most formidable female characters. But lately, the actress has stepped away from action-heavy films to tackle a new character, that of being a parent. And evidenced by her turn in “Fireflies in the Garden,” it seems like her role in real life has started to be reflected more vividly in the ones she tackles on screen.

In the film Moss plays Kelly, the estranged ex-girlfriend of Ryan Reynolds’ Michael Taylor, who steps in to play peacemaker and provide support after his mother dies. Although her role is only a small one in a film filled with plenty of big names, including Reynolds, Julia Roberts and Willem Dafoe, she leaves a memorable impression, particularly after she offers Reynolds’ character affection in some particularly unexpected ways – at least for a reunion at a funeral, anyway.

IFC caught up with Moss to talk about her role in “Fireflies in the Garden,” which is rolling out in theaters in limited release. In addition to talking about what drew her to the role of Kelly, Moss discussed the challenges of balancing an acting career with the responsibilities of raising a family, and continuing to find opportunities that challenge her without compromising her relationship with her kids.

Is there a sense of freedom or responsibility when you’re playing a character with a limited amount of screen time?

I don’t know – I don’t really look at it like that, I guess. I guess when you’re carrying a film, you feel the weight of that, because you’re there every day and you feel the weight of your character that way. But I really just loved this script and wanted to be part of it. And at the time that we shot it, there were other scenes that they did that ended up changing the direction of the film. I just loved the story. And I just saw the movie again, I saw the final cut of it the other day, and I thought it really turned out great. And I remember when I was watching why I wanted to do the movie: I remember reading the script and after I finished it, I ran into my kids, who were sleeping, and like smelled them and snuggled them and kissed them. It just made me want to remember how – I mean, I already know this, but just how precious our children are, and how important it is to love them and how important it is to nurture them. And the thought that anyone could be so hard on their child the way that [Willem’s] character is so hard on him, it was heartbreaking – it’s heartbreaking as a mother. And it just made me want to love my kids even more, and that was the main reason I wanted to do it.

It wasn’t because it was, oh, this is the role of a lifetime for me, or I have to play her; it wasn’t like that. I loved the movie, and Julia Roberts, I’m such a huge fan of hers, and I always have been. She’s a big part of why I became an actor, because I remember seeing her in movies and thinking to myself, wow, I feel similar to her, when I was younger. Like, there’s somebody kind of like me in movies – that age, and it just made it feel attainable to me somehow. And her portrayal of that mother in that movie for me when I watched it was really powerful, how much she loves her children and what a great mother she was, and how she couldn’t really do anything about how her husband was. There’s something about the way she played that that I just loved watching.

When you have these scenes that are so wrought with unspoken tension – and it’s supposed to be so long-held – what’s the best way to prepare for that? Stay serious and focused or keep it light?

I don’t know. I think you do your homework, whatever that looks like, and then ultimately you just let it all go and you just try to be in the moment and listen and try to bring the truth for yourself into it. I don’t think there’s any formula; sometimes you’re laughing, and sometimes you’re not, you know? But I don’t really know the answer to that. But I know what you mean – but in a way, coming back to your very first question, I guess it is quite freeing in a way because you could play it really anyway, couldn’t you? You’re not connecting it to anything that’s happened for the audience.

Was any of Kelly’s back story worked out beforehand, even if it’s not going to be explained or explored in the film?

Well, [director] Dennis [Lee] talked to me about it, about her, and what he was looking for, and then I made my own things to complement that. But ultimately I think you throw it all away, you do that stuff and then you try not to be in your head when it actually comes time to shoot.

Given that your character shares a complicated history with Ryan’s, and you show up at this particularly tense time during a funeral, how do you make sure all of those levels are there, but you’re not necessarily addressing it directly?

Well, I think right there, just the logistics create that tension: it’s a funeral, it’s obvious that his wife, who he’s having difficulty with, we’ve figured that out as an audience, right? But those things are there already, so I don’t think that for me as an actress it’s difficult. It’s sort of built-in in a way, if that makes sense. And I personally love things not being said – I hate where everything’s written out so clearly so that everything connects so everyone knows. Life is not like that; when is life ever like that? So I really loved that scene and the way that it was written, that it didn’t answer all of the questions, you know? You understood that it was complicated, and that you didn’t necessarily know why. I love that, and I think sometimes we’re forced to spell things out too much for the audience.

Was there a lot more material in the script, or maybe in other footage you shot, that didn’t make it into the film?

Yeah, there originally was [a plot line] that she was pregnant, and that’s revealed near the end of the film – and she was struggling with how to tell him and all of that. And actually having a child when she’s had this life that’s been quite destructive for herself. But ultimately it didn’t really need to be in the film, so I think they made the right decision not having it; it wasn’t that it was bad, it was that the way the direction of the movie went, it wasn’t needed, I think. But I’m not the editor, I’m not the director, so I don’t know.

You mentioned how this movie wanted you to go be with your kids. How difficult is it to find roles that you really want to throw yourself into, and juggle your family life?

I didn’t want to spend more time with my kids because until then, I’d pretty much been a stay-at-home mom who hadn’t been working at all. It was more just wanting to just love them, to just breathe them in, because this goes by so quick, you know? Having children, as everyone says, they grow up so quickly. But I think it’s a pretty impossible balancing act – I think it’s impossible to balance it. But I think at certain times, something has to take priority, and for me, my children take priority most of the time. And when I am working, my husband takes that priority, and someone comes and helps us take that energy. But I think it’s a difficult thing that everybody has to have, being a mom and working, because it’s hard. Because little kids need their mom, so I think I’ve figured out what works for me, and I’m starting to work more now as my children are getting older. But I still have a little, little child, and I still bring her with me – but it’s hard. It’s certainly there’s no one way to do it, that’s for sure.

Do you have a specific criteria for the roles you’re looking for now?

I don’t know. I just know when I read something if it’s something that I want to do. I did a movie a few years ago with Sam Jackson and I was in every scene, and I hadn’t done that since I had kids. I think it was a month I shot that in, and it was really a big deal for me to do that, but I really wanted to do it, and it was a great experience. But when I read I read something and it’s like I’m carrying something, I have to look at where I’m at with my family, where everyone’s at – is it something that I really want to play? Is it something that I think I would be good in? Is it something I want to explore? Where does it shoot? All of those little things that when you don’t have a family, you don’t have to think about. When I first had kids, I had a suitcase under my bed that I didn’t even put away, and I was excited about going to all of these new places all of the time. And I still do love to do it – I just got back from being away when I did a movie in Toronto, and I was there for a week – and there’s a season for everything, I think, and I think I’m in the season of shorter things that four-five month things.

Will you be checking out Carrie-Anne Moss in “Fireflies in the Garden”? Let us know below or on Facebook or Twitter.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar


IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”

Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”

But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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