Elisabeth Moss Studied Kurt Cobain, Amy Winehouse, and Marilyn Monroe to Play an Unleashed Rock Star in ‘Her Smell’ — TIFF
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Elisabeth Moss Studied Kurt Cobain, Amy Winehouse, and Marilyn Monroe to Play an Unleashed Rock Star in ‘Her Smell’ — TIFF


The actress and producer tells IndieWire she turned to some of Hollywood’s biggest tragedies to inspire her role in Alex Ross Perry’s hard-hitting rock drama.

It’s easy to hate Becky Something, the hurricane of rock n’ roll destruction at the center of Alex Ross Perry’s “Her Smell.” Played with ferocious intensity by actress and producer Elisabeth Moss, the star’s third teaming with Perry sees Moss hitting another high note after the pair’s vicious “Queen of Earth,” but it also comes with a timely addiction narrative that she was eager to get right.

Told in a five-act structure and interspersed with flashbacks, “Her Smell” unfolds over nearly a decade as Becky and her bandmates (Agyness Deyn and Gayle Rankin, worthy matches for Moss) struggle with the price of fame and creative freedom as their band, Something She, rises and falls, mostly due to Becky’s whims.

As the band cycles through bad gigs (three out of five of the film’s acts take place in grimy backstages) and even worse trips, Becky is forced to grapple with the havoc she’s wreaked on everyone around her, made still more frightening by her drug addiction and emotional unease.

It’s familiar territory for Moss and Perry, who previously used 2015’s “Queen of Earth” to stage another incisive view into the bonds between women threatened by mental illness, but “Her Smell” goes even deeper.

Moss remembers her “Queen of Earth” director texting her in 2015 with an idea: to follow “a rock star who was on the outs in her career and was an addict and had a baby, and dealing with that, what that would be like to have that kind of addiction and lifestyle and have a baby.” That’s all she needed, and she encouraged Perry to write so they could set about making it.

First, however, she had to prepare for the role that would be emotionally and physically draining, from her on-stage performances to some high-energy tantrums.

I watched any music documentary I could get my hands on, honestly,Moss told IndieWire in a recent interview. “All the usual suspects, ‘Kurt Cobain: Montage of Heck,’ which I’d already seen but now I’ve seen a million times, ‘Amy,’ the Amy Winehouse documentary. And also things on Marilyn Monroe, like that kind of thing, just to get a grasp of that fame and that addiction. Anything I could find about somebody who was incredibly famous or successful, but also dealing with addiction, was very helpful.

Some early reactions to the film compared Becky to Courtney Love, but Moss bristles a bit at the need to trade one blonde rocker for another. As she put it, “Why isn’t she Axl Rose?

Moss also looked beyond well-publicized stories of Hollywood tragedy, opting to spend time with recovering addicts who showed her “things that you can’t get from reading a book or watching a documentary, but things that were very real.

I have not, thankfully, dealt with addiction myself personally, but I tried as much as I could to, not just watch documentaries, but actually talk to people who’ve dealt with it and were now sober,Moss said. “A couple of people that I spoke to, obviously who will remain anonymous, were so open and vulnerable about it. … You actually have to be able to talk about it, and you have to be able to face it.

The film doesn’t glamorize drugs; instead, it drops the audience into Becky’s story long after she has gone off the rails. “It was very important for me to try to be as accurate and truthful about that as possible,Moss said. “That’s why we don’t even show a lot of drugs being taken in the movie, because we do not want to glamorize it. We want to show the effects on the people around her, of that addiction.

For Moss, those effects were the most informative element of the film. “I think that it’s one thing to be crazy and fun, and say crazy shit and talk really fast, but it’s specifically in Act Three, which is at the height of her demise, she’scruel,Moss said. “So much of the film deals with not only the person who is going through the addiction, but how it affects everyone in her orbit, her bandmates, her ex-husband, her child, her mother, and affects the people that are connected to them.

She continued, “When you’re that fucked up and you’ve really lost yourself, you can go places that you would never think that somebody would be able to go.

Her Smell” premiered at the 2018 Toronto International Film Festival. It is currently seeking U.S. distribution.

Elisabeth Moss Finally Gets to Cut Loose in Her Smell
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Elisabeth Moss Finally Gets to Cut Loose in Her Smell

Vanity Fair  

Alex Ross Perry’s rock-star movie will be divisive—but there’s magic in it when Moss is on-screen.

Resolved: rock stars are a handful. Few recent movies attest to this as brashly, or as uncomfortably, as Her Smell, the newest collaboration between offbeat indie writer and director Alex Ross Perry and his as-ever surprising, invigorating star, Elisabeth Moss.

Moss plays Becky Something, lead singer, in the 1990s, of the three-woman punk band Something She—which used to sell out large venues and grace the cover of Spinmagazine but has, as of the movie’s opening minutes, fallen into a bit of a slump.

You can thank Becky for that. Loud, unpredictable, chain-smoking Becky, who’s been canceling tours at the last minute, who insists on dragging an overpaid and likely fraudulent shaman with her from venue to venue to cleanse her life of bad vibes—which must be hard when Becky is the bad vibe. Her behavior backstage and in the studio has prevented the band from releasing an album for years; audiences have shrunken down to their nostalgic devotees. She’s an addict, plain and simple. And Her Smell gives us a front-row seat to how powerfully this undermines her relationships and her sense of who she is, to say nothing of her career.

 Not that you’re entirely aware of her condition at first. One of the more curious choices Perry makes in Her Smell is to avoid a specific sense, for most of the film’s run time, of just what’s driven Becky off the rails. We never see her drink or do drugs; in the film’s opening stretches, she could just as well be having a manic episode—or, frankly, be acting like a rock star. Which must be the point. Her Smellopens exhaustingly, with the world-consuming orgy of bad behavior that, as anyone who’s followed the lives of Kurt Cobain, Amy Winehouse, or Axl Rose knows, come with the territory.

But that doesn’t mitigate the utter shock, the outsize discomfort, of Her Smell’s opening minutes. Perry and his sterling cast jump-start their movie by throwing us to the wolves. Becky, backstage with her bandmates, Marielle (Agyness Deyn) and Ali (Gayle Rankin), after a show, is chaos incarnate—and so is the filmmaking, a whirlwind of clashing colors and tight shots that makes the bodies on-screen feel like they’re in a constant state of collision. Becky’s by turns distraught, amused, angry face smears the screen with unpredictable emotion, against a constant clash and clatter of music.

 What’s happening is easy enough to suss out: Becky is high, and has received a visitor—“Dirtbag” Dan (Dan Stevens), ex-husband and father of her child—whose presence, and new wife, seem to set her off. Other things happen. Her manager, Howard (Eric Stoltz), has reached the end of his patience, to say nothing of his credit line. Zelda E. Zekiel (Amber Heard), Becky’s former collaborator, has arrived with an offer to perform together—which Something She needs, but which Becky, proud and erratic, declines.

It’s just one stage in a series of high-strung encounters Perry and Moss have cooked up for their heroine, whose behavior is tracked in five spacious, aesthetically discreet scenes, each separated by home-video interludes of the good old days—when the band was still young, still traveling. We tag along with Something She in the midst of their downfall, from the backstage antics, to a disastrous studio encounter in which Becky latches onto a younger girl group (played by Cara Delevingne, Dylan Gelula, and Ashley Benson) in a rash attempt at rejuvenation, to—in a clear-eyed, disheartened moment of sobriety—Becky’s home, a year after the film’s opening showdowns.

It’s all there, in a clear arc, to lead us to the film’s final moments: when Becky has sobered up, has attempted reconciliation with her band, and is thinking of taking the leap back into her damaged career. But even that sequence is as nauseating and unpredictable as the rest. The movie knows that though an addict may clean up her act, the damage to everyone else lingers, despite their faith. They all seem to know that things could go wrong again any minute—which doesn’t stop them from giving Becky extra chances. Love is, unexpectedly, the force that buoys the movie. Marielle says it best: “You were horrible, but it never made me not love you.”

Is it redemption what the movie’s after? Somewhat. But what I love about the last leg of the film is that it’s all so tenuous. If the movie hits with you, that hesitation to trust is what ultimately breaks your heart. The fragility of it—of the world built atop the ashes from when the addict let the world burn.

Her Smell sounds like a sentimental story, and it’s true that by the end, I was surprised by how moved I was; you wouldn’t predict from the chaos of the film’s opening hour and change that it plans to swing around toward clarity—and Becky’s fear of it. I watched the whole film with a knot in my stomach, and that’s largely thanks to Moss, who roars and rampages with an abandon we’ve rarely seen from her—except in Perry’s movies. (This is their third collaboration, after 2015’s Queen of Earth and 2014’s Listen Up Philip.)

In Her Smell, Moss hops and flits and stomps around from subject to subject, crisis to crisis, with mock-Shakespearean villainy—her insults are delightful doses of venom—and an extraordinarily damaged sense of largesse. You don’t need to see her doing coke to know that it’s the gas in her tank, catapulting her off the deep end. To say nothing of all the buried traumas and disappointments, hinted at in the script, that Moss slyly signals in the precision of her whirligig moods.

Watching the movie, I laughed more than I expected to, but in a sick way; Perry’s humor often comes with the price of noxious disgust. (Remember seeing two siblings kiss in The Color Wheel?) I didn’t know what the film was ultimately about until this last section—which is also when something truly clicked for me in Moss’s performance. What resounds is not merely the sense that Moss is great, but the sense that we’ve barely scratched the surface of what she can do.

IndieWire: Elisabeth Moss Is One of the Most Noxious Movie Characters of All Time in Brave and Rewarding Punk Epic
Filed in Articles Elisabeth Her Smell Interviews Movies News

IndieWire: Elisabeth Moss Is One of the Most Noxious Movie Characters of All Time in Brave and Rewarding Punk Epic


So about that title. It stinks. It’s pungent and rancid. “Her Smell” could have a positive connotation, but you just know that it doesn’t here. There’s a hostility to it, like an odorous barrier you’d have to get through in order to reach the woman exuding it. Viewers familiar with any of Alex Ross Perry’s previous films will probably be holding their noses as they walk into this one. Newbies might want to follow suit.

Perry knows what he’s doing. His work has always had the courage to be profoundly unpleasant. We’re talking about a guy whose breakthrough film (“The Color Wheel”) was a micro-budget 16mm road trip comedy that built to a sudden eruption of incest, and whose comparatively star-studded follow-ups (“Listen Up, Philip,” “Queen of Earth,” and “Golden Exits”) have shined a light on some of New York’s shittiest people. The most “likable character” in his entire body of work is a cat named Gadzookey. But if all of Perry’s stories have been hard to stomach, “Her Smell” takes things to impressive new lows before hitting bottom and tunneling out through the other side. It’s truly one of the most noxious movies ever made, which might help to explain why it’s also Perry’s best.

Imagine if Danny Boyle’s “Steve Jobs” was about Courtney Love in the mid-’90s and you’ll be on the right track. Chronicling the reckless fall and cautious rise of punk rocker Becky Something — lead singer of the band Something She — “Her Smell” is told across five long scenes that stretch over 10 years, each of the vignettes unfolding in real time. Three of them take place in the snaking bowels of a concert venue’s backstage area, where the drug-addled riot grrrl (a bravely loathsome and unhinged Elisabeth Moss) is surrounded by fellow musicians (Amber Heard), her manager (Eric Stoltz as Howard Goodman), her mother (Virginia Madsen), her ex (Dan Stevens), their baby, and even some kind of huckster shaman who she’s paid to cloud her mind with nonsense.

Every member of this motley crew is hanging on for dear life, trying to weather a storm that’s been raging around them since Becky Something first became famous. Most of them seem like decent people, especially Becky’s two longtime bandmates: Ali van der Wolff (“GLOW” star Gayle Rankin) and the star’s closest friend, Marielle Hell (a raw and layered Agyness Deyn, already making good on the incredible promise she displayed in “Sunset Song”).

The other girls are guilty of all the usual vices, but they’re nothing like their lead singer. Becky is nothing short of a manic emotional terrorist on bath salts. She’s your estranged older sister, the girl you don’t want to talk to at a party, the crazy lady on the bus, and the musician who’s auditioning for her own episode of “Behind the Music” all rolled into one. She exclusively speaks in the kind of coked out, incoherent stage banter that demands some applause even if you can’t understand it; one second she’s smiling, the next she’s trying to stab Marielle with a shard of broken glass. The more Becky smiles, the harder she cries. Her mascara runs an ultra-marathon every night. Nobody describes her smell, but I’d guess it’s something like the stench that would come from throwing a cherry bomb into a meth lab.

Later, after it becomes clear that Becky is far too broken to finish her new album, Howard signs a wide-eyed trio called the Akergirls in a desperate bid to save his label, the film’s ridiculously loaded cast growing even larger with the introduction of Ashley Benson, Cara Delevingne, and Dylan Gelula (all of whom are terrific, even if their specific pop-punk vibe doesn’t feel like it has any real cultural precedent, and the movie suffers as a result). Becky is the rotted trunk of a wilting family tree that’s still adding new branches, and Perry forces us to watch the decay from the inside out.

More loudly stylized than his earlier films, “Her Smell” is visceral nightmare from the moment it starts; if the script evokes John Cassavetes, the aesthetic seems more inspired by Gaspar Noé. Sean Price Williams’ sinuous 35mm tracking shots follow Becky and her bandmates through the grimy backstage halls, taking us deep into a labyrinth of pain and self-preservation. Keegan DeWitt’s queasy, bass-heavy score pounds through the ceiling, like the entire first half of the movie takes place on the floor below the loudest house party of all time. Huge chunks of the dialogue are drowned out by the din, which is just as well, because every word you hear from Becky makes you loathe her more.

Moss is such a whirling dervish that you can’t help but fear for the safety of those around her. You wonder how they don’t give up. “Where do you find the faith?” one of them asks. It’s a rhetorical question. At this point, it’s hard to believe that Perry even knows where to look.

But then it turns. Time passes. We realize that, in broad strokes, “Her Smell” is sort of like “A Star Is Born” in reverse (though Olivier Assayas’ “Clean” might be the more helpful reference point). Becky gets sober, the film u-turns towards catharsis, and — for the first time in his career — Perry leans hard into sincerity. The second half of the movie is so rich and hopeful that it almost feels like a sweet reward for not walking out of the theater. After running our hands under a burning hot faucet for more than an hour, Perry turns off the tap and lets the burn sink in.

Highlighted by a moving and uncut piano rendition of Bryan Adams’ “Heaven” — easily the most convincing music scene in the movie, as Moss’ looks sheepish and lost when she’s onstage for the Something She gigs — these scenes are an absolute reckoning, and they get under our skin because of all we had to suffer through in order to see them.

One beautifully framed shot, in which Moss strums a guitar with her back turned to Deyn, aches with a lifetime of regret, as we come to appreciate how Becky wore her addiction (and general awfulness) as a suit of armor to protect herself from, well, everything but herself. As much as the people in her life used to need her, she needs them now even more. It’s unexpectedly moving to see the most narcissistic and insufferable character Perry has ever written earn a chance to become his most redemptive, as well.

It takes an unfathomable degree of confidence to bury such a resonant story about the strength we get from each other in the backend of an obscenely unpleasant 135-minute ordeal that’s designed to make you give up on the movie at every turn, but that bold stroke is what allows the final chapters of “Her Smell” to go up your nose and get under your skin. For us, it feels like an endurance test. For Perry, it carries the whiff of an exorcism. Time passes. People change. Artists grow up, and sometimes the good ones get even better.

Elisabeth Moss attends ‘Her Smell’ TIFF Premiere
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Elisabeth Moss attends ‘Her Smell’ TIFF Premiere

Elisabeth Moss attended the premiere of Her Smell during the 2018 Toronto International Film Festival on Sunday (September 9) in Toronto, Canada.

The Emmy-winning actress was joined at the event by co-stars Amber HeardAgyness DeynGayle Rankin, and Dylan Gelula, as well as writer-director Alex Ross Perry.

Moss was wearing a vintage Alaia dress, Christian Louboutin heels and Jennifer Meyer jewelry at the premiere.

Check the pics in our gallery:

Appearances & Public Events > 2018 > Sep. 09 │2018 Toronto International Film Festival – “Her Smell” Premiere


Elisabeth attends the screening of “Her Smell” at TIFF
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Elisabeth attends the screening of “Her Smell” at TIFF

On September 09, Elisabeth Moss attended the screening of her upcoming movie “Her Smell” at the 2018 Toronto Film Festival.

She also visited the Variety Studio presented by AT&T and made an appearance at the DIRECTV House with her co-stars.

Moss was wearing a black blouse with a red skirt by DiorNicholas Kirkwood shoes, and Jennifer Meyer jewelry.

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Candids > 2018 > 9 September │ Arriving to a screening of “her smell” at the 2018 toronto film festival

Appearances & Public Events > 2018 > Sep. 09 │Variety studio presented by at&t

Appearances & Public Events > 2018 > Sep. 09 │ Directv house presented by at&t


Elisabeth Moss attends the GQ Men Of The Year Awards
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Elisabeth Moss attends the GQ Men Of The Year Awards

On September 05, Elisabeth Moss attended the 21st annual  GQ Men of the Year Awards in association with luxury lifestyle group HUGO BOSS at the Tate Modern.

Elisabeth, 36, was presented with her coveted television actor of the year gong by Gwendoline Christie, and proudly acknowledged her ‘wifey’ during her acceptance speech.

The annual awards ceremony honours the men and women who have shaped the world’s cultural landscape over style, politics, entertainment and sport this year, with 22 gongs up for grabs.

Moss was wearing a floral dress by Vivienne Westwood and clutch Jimmy Choo.

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Appearances & Public Events > 2018 > Sep. 05 │ gbr: gq men of the year awards 2018


Elisabeth Moss says ‘Her Smell’ role “Hardest Thing I’ve Ever Done”
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Elisabeth Moss says ‘Her Smell’ role “Hardest Thing I’ve Ever Done”

The Hollywood Reporter – Elisabeth Moss is back in Toronto, where she stars in the locally shot Hulu drama The Handmaid’s Tale, for which she won both an Emmy and a Golden Globe for best actress in a drama.

But Moss is this week at the Toronto Film Festival to debut her latest movie, Alex Ross Perry’s Her Smell, where she plays a maniacally destructive punk rock star battling substance abuse and personal demons in a failed bid to stay famous and creative.

This was the hardest thing I’ve ever done,Moss said of her third collaboration with Perry and her role as Becky Something, the brilliant and brash frontwoman of a ’90s rock band who finds herself giving up everything and everyone as her emotional freight train speeds toward a cliff’s edge.

Before the world premiere for Her Smell on Sunday night at Toronto’s Winter Garden Theater, Moss talked to The Hollywood Reporter‘s Etan Vlessing about preparing to play a self-destructing punk rocker with emotion and sweat, developing skin calluses to play the guitar without pain, and possible award season buzz for her latest movie star turn.

You spend so much time in Toronto shooting The Handmaid’s Tale. How does it feel bringing Her Smell to TIFF?

Toronto has become a second home. I’ve spent so much time there, around six or seven months of the year. I spend more time in Toronto than I do in New York City, where I live. For me, it’s great. I’m staying at the house that I’m going to live in for season three [of Handmaid’s] for the festival. I know the neighborhood. I can tell the driver where to go, as opposed to a few years ago at the festival when I didn’t know where I was. I know Toronto really well. So it’s incredibly convenient.

In Her Smell, you play Becky Something, a character who battles everyone and everything to stay sober and not self-destruct. How did you balance your character having an emotional breakdown while carrying the movie’s audience on a wild ride?

One of the interesting things is we pick up at the start of her demise, at the start of her descent, rather than her rise to fame. That’s one of the conceits of the script that Alex wanted to do, to watch somebody fall, rather than launch them and see them rise up. We’ve kind of seen that story and know it is a great one. But with this character, you want to see what happens at the beginning of their demise and descent from popularity and fame.

Tell us about who Becky Something is.

She’s an incredible artist and she’s an incredible singer and songwriter and has a vitality to her that’s difficult to keep in a box. She’s an addict, which has a huge effect on her personality and her life. And when we start the movie, she’s at the height of her addiction and struggling to chase the high of the fame and adulation as well. It’s not just the drugs, as she struggles to be as famous and relevant as she once was.

How do you prepare for a role where, emotionally and physically, you hit rock bottom?

I did a lot of research into addiction and spoke to a few people who were very generous and very open and willing to share their stories. It’s amazing how personal the people I spoke to were able to be, as they gave me an insight into issues that are difficult to talk about — not just the mechanics of addiction, but the personal stories.

Becky is an incredible musician. I’m assuming you are not. How did you prepare for that side of the role?

It was about six months of preparation in learning to play the guitar and the piano and learning the songs. I know how to sing, so I listened to a lot of punk and grunge music. I’m not really into either punk or grunge, as I was raised on jazz and blues music and classical, because I was a ballet dancer. So it was a deep dive into that punk and grunge world.

First teaser trailer for “Her Smell”
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First teaser trailer for “Her Smell”

The first teaser for “Her Smell” was released on Friday, September 7th. The film is directed by Alex Ross Perry (Queen of Earth), and is produced and starring Elisabeth Moss, in the film the actress plays the character Becky Something, a star of destructive punk rock.

The film is scheduled to premiere today (September 9) at the TIFF.

Check out the teaser:

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Movies Productions > Her Smell [2018] > Teaser

Movies Productions > Her Smell [2018] > Poster


Elisabeth Moss on a Decade of Critical Acclaim & Becoming a Top Halloween Costume
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Elisabeth Moss on a Decade of Critical Acclaim & Becoming a Top Halloween Costume

L.A. Confidential 

Amid Emmys season madness, Elisabeth Moss surveys her glittering domain as the Queen of Peak TV.

This time of year is always pleasantly surreal for Elisabeth Moss. Hardly a September passes without her navigating the red-carpeted run-up to the Emmy Awards (she finally won in 2017 after nearly a decade of nominations); and then, in October, come the Halloween costumes.

For a while, it was all about Peggy in a tight ’60s dress carrying a martini glass,Moss says with a smile. Peggy Olson was the determined copywriter she played on Mad Men for seven seasons. This was after she spent seven seasons as Martin Sheen’s daughter on The West Wing. Now the trick-or-treat pick is Offred, the dystopian protagonist Moss portrays on the Hulu drama The Handmaid’s Tale, which earned her dual Emmys last year for acting and producing. “Honestly, I didn’t see it coming, this fascination with the long red robe and the white bonnet,” she says.

It is not lost on Moss that these tributes—high, low and fashionable—add up to validation both about her exemplary decision-making and her ability to totally rock a period frock. “When people all over are dressing up like you, it’s definitely flattering and also kinda bizarre,” she says. “You realize how much of this work is beyond your control.

That’s certainly the case lately for Moss. With television hit after hit after hit after hit (the 2013 miniseries Top of the Lake landed her a Golden Globe, a Critics’ Choice Award and an Emmy nod), she’s been dubbed “The Queen of Peak TV.” But now with two seasons of The Handmaid’s Tale streaming to universal acclaim, and a third on its way in 2019, Moss, 36, is an unwitting icon in a culture waking up to #MeToo, the treatment of immigrants and the battle over women’s bodies. The drama, based on Margaret Atwood’s dark classic, is set in an authoritarian alternate present that many say mirrors the far-right extremism of current-day politics. Radical Muslims are blamed for government problems, and women are stripped of basic rights and sexually violated. Much of what draws people to the series is Moss’ unflinching portrayal of Offred, a woman who submits to ritualized rape on a regular basis as part of her duty to male masters. It makes sense that the character’s gown-and-hood look is a staple alongside pink hats at women’s rights rallies.

We never intended to copy what’s happening in the world, but like most other people, I feel that things on the show are way too close to home,Moss says. “It’s this sense of, ‘Hey, if we don’t pay attention, if we stop listening, if we fail to take action against injustice, we’re getting pretty close to the dystopia we see on-screen.’”

Lizzie Moss didn’t set out to become a feminist meme. Growing up in Laurel Canyon in Los Angeles, the older of two kids to musicians Ron and Linda Moss, she was on track for a career in dance, having studied ballet as a teen at The School of American Ballet in New York City and The Kennedy Center in Washington, D.C., while pursuing an acting career. But when her side passion of acting began paying off, Moss made the decision at 15 to commit to show business full time. “I could imagine not dancing, but I couldn’t imagine not acting for the rest of my life,” she says. At 17, she won the recurring part of first daughter Zoey Bartlet on The West Wing and has worked steadily and to great acclaim ever since. “I’ve been doing this long enough to see how fortunate I’ve been, and I never take it for granted,” she says. “It’s unusual as an actor to feel that sense of security, so I sometimes just kinda pinch myself.

Moss, who can be slightly imposing despite being only 5 feet, 3 inches tall, lives in Manhattan now and stays mostly quiet about her personal life. A few details are well-known: She and actor Fred Armisen were married in 2009 and separated the following year. Also, she was born and raised a Scientologist. Moss has said the church helps “[make you] a better you, not necessarily changing who you are,” and with “empowerment and respecting yourself as an individual.” On this particular day, with meetings and fittings, cats to be fed and laundry to be done, along with filming Her Smell, out next year, Moss laughs and says, “My spiritual life consists mostly of trying to watch a little TV and get enough sleep.” Pressed further about her religion and the increasing focus on it, she says, “It’s an odd feeling. I put myself emotionally into my work. Beyond that, I have to keep something for myself.

It’s hard to find an actor more emotionally all-in. The second season of The Handmaid’s Tale opens with Moss stripped bare in an intense sex romp with costar Max Minghella. Another scene has her lopping off her hair along with a chunk of her GPS-tagged left ear to avoid being tracked by the menaces from Red Center. The brutality has been a sticking point for some viewers. Does showing women being mistreated on-screen ever cross a line for Moss?

The guiding principle is honesty,” she says. “Whatever you see in terms of violence or sex is an accurate representation of the world we’re in, which is why it never feels false or gratuitous. I think that’s a common thread in all my work. The question is always: ‘Does this feel real? Are we being true? Because it’s only by being accurate to reality that audiences can escape from it for a little while.

Moss escapes whenever she can. She’s an avid traveler and especially loves Italy and New Zealand. In the infinitesimal spaces between jobs, she’s learning to play piano and guitar for her upcoming role as lead singer of a punk rock band in Her Smell and spends quality time with her cats, Lucy and Ethel, who were found on the street in Brooklyn when she was making Listen Up Philip. “They’re quite famous,” Moss says, arching an eyebrow. “Lucy’s kind of private but Ethel is kind of a big deal, at least on social media.” (A recent Instagram post on @elisabethmossofficial that showed the feline lounging luxuriously in Moss’ Upper West Side apartment—it was slugged “Current mood. #ethel”—got more than 15,000 likes.)

Chalk it up as one more fascinating side effect of being Elisabeth Moss. In a way, having a celebrity pet is no more unreal than Oprah walking over to say she loves The Handmaid’s Tale (“Totally crazy!Moss says) or Hillary Clinton praising the “amazing” series in front of 10,000 middle and high school girls, as she did at Los Angeles Convention Center last year (“I was like, ‘Holy shit!’”). And who knows what will happen this year on Halloween? “I was shooting last year, so I missed it,” she says, “but if I need a costume, I know where I can get one.

Check the pics in our gallery:

Photoshoots & Portraits > 2018 > L.A. Confidential

Magazine & Scans > 2018 > L.A. Confidential


How Elisabeth Moss spent her summer ‘vacation’: Four movies and a floor covering
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How Elisabeth Moss spent her summer ‘vacation’: Four movies and a floor covering

LA TimesElisabeth Moss began her summer break from “The Handmaid’s Tale” planning to shoot two movies, unpack the 15 boxes she shipped home from Toronto and, maybe, just maybe, finally buy a rug for her one-bedroom New York apartment.

Flash forward a couple of months: Moss has finished the two films — playing a destructive punk rocker in “Her Smell” and starring alongside Melissa McCarthy and Tiffany Haddish in the crime drama “The Kitchen” — and added two more movies to her calendar.

At the moment, she’s shooting “Shirley,” playing the reclusive short story master Shirley Jackson in a film that sounds very much like the kind of spooky thriller Jackson might have written.

Shortly, Moss will leave the New York location of “Shirley” and fly to California to begin work on “Us,” Jordan Peele’s follow-up to “Get Out.” Then she’ll go back east and finish “Shirley,” return to California to complete “Us” and then fly to Toronto to start shooting the third season of “The Handmaid’s Tale.”

She had boundless, unfathomable energy,” “Handmaid’s Tale” creator Bruce Miller says. “I get tired just listening to what she’s doing day to day.

Do I covet a bit more sleep?Moss says. “Yeeeesss. But what am I going to do? I’m not going to pass up opportunities like these.

Moss is sitting in her publicist’s office in Beverly Hills. She has been in Los Angeles for a couple of hours, and she’ll take a red-eye flight back home after participating in a “Handmaid’s Tale” Emmy panel at the Academy of Motion Picture Arts and Sciences’ Samuel Goldwyn Theater that night.

Near her chair on a ledge, there’s a Jon Hamm bobblehead figure wearing a St. Louis Cardinals jersey, and upon spying it, Moss, a die-hard Cubs fan, feels obliged to rotate it so she doesn’t have to look at her onetime “Mad Men” costar’s offending garb.

That quiet gesture is vintage Moss, who, as you can glean from her career choices, revels in acts of playful, subversive mischief. Last year, she played a journalist in Ruben Ostlund’s squirmy satire “The Square,” a performance notable for, among many things, a spirited post-coital tug of war over a used condom and the scenes she shared with a monkey for reasons even Ostlund described as completely arbitrary. (“Why not a monkey?” Moss asked me by way of explanation at a “Handmaid’s Tale” Emmys party last year, while holding two trophies, one for acting, the other for producing.)

All of which is to say that if you were one of those people — and there were many — upset by the decision that Moss’ “Handmaid’s” character, June, made during the Season 2 finale to remain in repressive, authoritarian Gilead after all the time and energy spent on getting her out, know that Moss (kind of) revels in your displeasure, if only because all that grief signaled a deep emotional investment in the show.

I knew people were going to be like, ‘Why the … didn’t she get in that van?’” Moss says, smiling. “I get it. I totally do. But she has to make the harder choice. She has to find her daughter.”

This isn’t to say that Moss doesn’t think about servicing the needs of the show’s fans. She says she feels “very in tune” with them, meaning that June most definitely will not be confined once again to the beautifully lighted attic in the Waterfords’ home next season. That last moment in the finale, when June raises her red handmaid’s hood and disappears into the night, signaled the arrival of a June reborn, a woman finally possessing a sense of agency. (The third season, Miller says, moves from “blessed be the fruit” to “blessed be the fight.”)

I’m a big fan of letting the story guide you, and you’re already starting to see the cracks in Gilead.


Everyone, it seems, is ready for a change.

She’s going back to fight,Moss says. “She really means business. There’s no more … around. Yeah. It’s going to be really fun. It’s time.

That doesn’t mean that Moss buys into the criticism that the show’s second season spun its wheels a bit, mired in darkness and despair. (A search for “Handmaid’s Tale” and “misery” generates 369,000 hits, including think pieces with headlines like: “Is ‘The Handmaid’s Tale’ still worth the agony of watching it?”)

I get a little pissy when someone comes up to me and says that they’re too scared to watch the show or they find it too disturbing,Moss says. “I’m like, ‘Buck up.’ That’s the problem. If you’re not brave enough to watch the TV show, how are you going to be brave enough to face the reality?

I get that it’s dark,” she continues. “I don’t expect it to be easy to watch. But you have to be brave enough to face the truth of these things.Moss pauses, saying she really doesn’t want to turn this into a political conversation. Still. “It’s hard to look at those images and see the things we see on a daily basis and face that kind of reality. But if you don’t, aren’t you doing a disservice to the people who are actually going through it?” She pauses again. “This is obviously very different because it’s a TV show.

Moss leans back and lets out a nervous laugh, aware that there were times during the airing of “Handmaid’s” second season when the collision of the show’s images and the day’s headlines felt a little too close for comfort. President Trump picked an unlikely fight with Canada just as the episode exploring the uneasy tensions between Gilead and Canada aired. The following week, June was granted a brief reunion with Hannah, the daughter Gilead had taken from her, while the news cycle was dominated by news of the U.S. government separating immigrant children from their families.

The traumatic mother-daughter reunion was written in consultation with United Nations experts who offered advice on how such extreme, emotionally fraught situations play out. (“Never as expected,” Miller says.) The following episode, save for a brief, biting interlude with the Waterfords, featured June alone on screen, first looking for escape and then giving birth to her long-awaited baby. That delivery scene — moaning, groaning, guttural, beautiful — was thoroughly researched as well, with Moss watching dozens of YouTube videos of home births.

We wanted women to watch and go, ‘Yeah, that’s what it sounds like. That’s what it looks like,’Moss says. “It’s one of the hardest things I’ve ever done physically … I almost lost my voice from all that groaning.” Pause. “Though, I’m sure, it wasn’t as difficult as giving birth. Let’s maintain some perspective here.

On the subject of perspective, Moss, an executive producer on the show, initially said she’d bite her tongue when told that Miller had sketched out 10 seasons for “The Handmaid’s Tale.” But her reluctance to speak on the subject doesn’t last long.

I’m a big fan of letting the story guide you, and you’re already starting to see the cracks in Gilead,” Moss says. “We know from the book that Gilead ends. So you know, at some point, you have to bring it to a close. If we can’t finish the story until Season 7 or 8 …” As she trails off, it’s suggested that it feels like “The Handmaid’s Tale” could easily wrap up in five seasons.

Moss cups a hand over her mouth. “I think so,” she whispers. “I just feel like with most shows, five is the sweet spot,” citing “The Wire” and “Breaking Bad” as examples.

Several weeks after this conversation, Moss calls from the backyard of her family’s home in the Chicago suburbs. “The Handmaid’s Tale” just earned 20 Emmy nominations, and Moss is, of course, thrilled. But she’s nearly as enthusiastic about finally buying that rug for her apartment, an act of commerce she had earlier guaranteed would not happen any time soon.

It was a huge accomplishment just to get it under the bed,Moss says, laughing. “You think June giving birth was hard? Getting the rug under that … bed was impossible.