Cate Blanchett FanYour source for Cate Blanchett

New interview and promotional image for Cinderella.

It’s a wonderfully upbeat time for Cate Blanchett. Not just a hit Hollywood movie but a new adopted baby, Edith, has joined the three sons she has with husband Andrew Upton.
With up to four more movies expected to open this year and another one filming, the family are planning a move overseas once Upton’s contract directing the Sydney Theatre Company expires.

So there is much to talk about as Blanchett arrives at an upmarket Sydney hotel the morning after the Australian premiere of Cinderella. Disappointingly, the two-time Oscar winner, dressed in a stylish blue pantsuit, is dropped off in an anonymous black hire car. Surely, after the movie’s successful international opening, Disney should have made an effort.

Where is the ornate gold coach, created magically from a pumpkin and drawn by white horses?
“The service only runs to midnight,” Blanchett flashes back.

Whether it’s from spending so much time around theatres and film sets or just high spirits, she does excellent banter.
Blanchett played Katharine Hepburn well enough in The Aviator to win an Oscar, and she seems to share some of that actress’s characteristic sassiness. Not to mention her directness.
“Mind if I pee?” she says, scanning the marble foyer.
“We’ve got a room,” says a publicist, gesturing to the lift.
“Ah, we’ve got a room,” she says, stepping inside with publicist and journalist. “People will talk.”
We are here to talk about films, but once settled, having ordered a skinny latte and a cup of hot water with lemon, Blanchett opens up – just a little – on the topic that everyone seems most interested in lately: the tiny bundle who appears, from the paparazzi photos taken since she arrived back from the US, to be a particularly gorgeous baby.
“She’s more beautiful in real life,” Blanchett says.

What’s it like having a new bub again?
“It’s extraordinary. It’s been an absolute gift and we’re utterly besotted.”
And how have her sons – Dashiell, 13, Roman, 10, and Ignatius, 6 – reacted?
“They’ve been extraordinary. I remember spending hours and hours on a Saturday afternoon with my siblings in a whole separate universe and coming downstairs to my parents and their life would have continued and they had no idea what we’d been up to.
“Not that it was devious, but it was just apart from them. I find it extraordinary, glimpsing them becoming a unit. And a very welcoming unit. I’m very proud of them.”

I ask if she wants to talk about adopting. While joking that she will shut down if the questions get too intrusive, Blanchett admits they have wanted to adopt for more than a decade. “We’ve been talking about it since our first son was born,” she says.
But it was not from a particular desire to have a daughter. “Adoption – the process – it’s pot luck,” she says. “It’s not about designing a family. It’s about welcoming. There’s a lot of children out there in need, both children who are up for adoption but also children in the foster system. So it wasn’t necessarily about having a girl, but that’s what landed in our lap and we feel absolutely blessed.”
The Cate Blanchett everyone knows is an ethereal celebrity who delivers famous performances on stage and screen and looks impossibly glamorous at premieres and awards ceremonies.
But if that suggests a remoteness from ordinary life – a detachment from reality courtesy of fame, beauty and wealth – Blanchett has sometimes revealed how politically engaged she is. She attended Prime Minister Kevin Rudd’s 2020 Summit in 2008 – she calls it “very flawed but noble” – so that the arts had a place at the table. In her time at the STC, the couple made the theatre more environmentally sustainable with the Greening the Wharf project. In 2011, she became a high-profile advocate for the carbon tax. And, late last year, she delivered a thoughtful speech praising Gough Whitlam’s initiatives in free tertiary education, healthcare, support for the arts, the country’s relationship with Asia, women’s rights and indigenous issues at the former prime minister’s memorial service.
At 45, her celebrated career includes two Oscars, four other nominations, an enviable mix of commercial hits and smart art-house films around the world, and widespread acclaim for theatre performances in the likes of Hedda Gabler, A Streetcar Named Desire, Uncle Vanya and The Maids.
But she doesn’t mind admitting that not everything has been a triumph.
“Shitty, crappy niche films, I’ve made plenty of those,” she says.

Blanchett also admits she has to be careful what she says publicly. If a reminder was needed, it came when she was attacked as “Carbon Cate”, presumably a green version of wartime propagandist Tokyo Rose, by Murdoch newspapers.
“In terms of weighing into a political debate, it’s so noisy,” she says. “Even speaking to you, it can sound like one’s proferring one’s opinions left, right and centre. It’s not really who I am. You have to be quite judicious about what you weigh into and when.
“If you’re a blonde actress who makes movies, you can be a hindrance sometimes. When they don’t like what you say, you’re a multimillionaire celebrity. And when they do like what you say, you’re an internationally respected actress.”

So you’re either Our Cate or That Crazy Actress?
“Exactly. So you just have to think, ‘Am I going to help here or am I going to be a hindrance?'”
Since the final stages of her six years co-directing the STC with Upton – she finished in 2013 – Blanchett has been one of the world’s most in-demand actresses.
The Monuments Men, in which she played a French art curator, was a disappointment enough for director-star George Clooney to agonise about not sleeping for 30 hours after the bad reviews in an email leaked during the Sony Pictures hack.
But there was acclaim at every turn when she played a New York socialite brought down to earth in Woody Allen’s Blue Jasmine. She won her second Oscar – one of more than 30 awards for the performance – and made a rousing speech about the need for more Hollywood movies centring on women. “The world is round, people,” she declared.
As well as returning as the ethereal Galadriel in the Hobbit movies, voicing a dragon rider in How to Train Your Dragon 2, and small comedic roles in both The Turning and Rake, Blanchett shot two movies back-to-back with master director Terrence Malick (The Tree Of Life).
In the poetic drama Knight of Cups, which premiered at the Berlin Film Festival in February, she was the doctor ex-wife of a troubled screenwriter (Christian Bale). In typical Malick fashion, details of the second film – even the title – remain sketchy.
“The suite of films he’s been making lately are part of one big investigation,” Blanchett says.
There has also been a second film with director Todd Haynes. After playing a version of Bob Dylan in 2007’s I’m Not There, Blanchett plays a married woman who attracts the affections of a young department store clerk (Rooney Mara) in the romantic drama Carol, set in 1950s New York.
And in James Vanderbilt’s drama Truth, she plays 60 Minutes producer Mary Mapes, who became embroiled in a 2004 controversy when newsman Dan Rather (Robert Redford) reported criticisms of President George W. Bush’s military service during the Vietnam War.
While Lily James is the star of Kenneth Branagh’s Cinderella, Blanchett has won rave reviews as the wicked stepmother, Lady Tremaine, who resembles a 1940s screen siren in a succession of spectacular gowns. She is a cruel figure motivated by jealousy, with her apparent elegance undermined by a coarse laugh.
“I think it terrified Ken, which I found very exciting the first time I did it,” she says. “You’re always seeing how far you can push it. I probably push things too far and then pull it back – hopefully pull it back – but the look of horror and revulsion on his face! I thought, ‘That’s perfect’.
“It’s always a thing when a woman plays someone who does and says things that are unlikeable. I had the same thing with Woody Allen on Blue Jasmine. The male director often gets very concerned that the audience is going to – they use the word – ‘relate’ to them. But what they mean is ‘sympathise’ or ‘be attracted’ to them. That’s a red rag to a bull with me.”
In one of the movie’s central themes, Cinderella’s mother advises her daughter to “have courage and be kind”. For Blanchett, encouraging her children is more by example than any similar motto. “Children are hypocrisy detectors,” she says. “And it’s constantly, ‘You’re not doing that, you’re saying it’.
“Having three sons, I hope I’m setting a good example for the many different things a woman can be. It’s about respect. Maybe it’s something my own mother said to me: it’s about respecting others and respecting yourself and having boundaries.
“Something we do talk a lot about is layers of intimacy. Something I find very heartwarming is they seem to have really good friends, true friends, friends who can keep their confidence, friends who can have their back in a way. Long after we’re gone … ”
She baulks at that downbeat note and starts again. “In the end, no matter what they do, you want them to be able to have – without getting too ooger-booger about it – truly loving relationships.”
Has Hollywood listened to her call for more movies centring on women? Blanchett seems optimistic that female producers collaborating with other women with clout in Hollywood are making these kind of movies – and that Cinderella shows they can make money, despite the myth for years that anything not made for 13-year-old boys has only a niche audience.
“There’s a critical mass of women audience members as well as participants in the industry who have just said, ‘enough, enough’,” she says. “We’ve known for years this is rubbish. We’ve been told to shut up because we’re complaining.
“When you’ve got a certain number of women running studios and a certain number of female producers with runs on the board, you think, ‘OK, what are your pet projects? How long are you going to be doing one for the boys, doing one for the team?’

In her latest role, Blanchett has started playing the snake Kaa in Jungle Book: Origins, with Benedict Cumberbatch as the tiger Shere Khan and Christian Bale as the panther Bagheera.
“Andy Serkis, who I revere and adore, is doing a motion capture version,” she says. “I’d witnessed motion capture obviously on The Lord of the Rings and The Hobbit but I’d never been a participant. So I did a couple of days on that. He calls it authoring a performance. It was so liberating. It was like being back in the rehearsal room for a play.
“They mocked up the tree and so you’re working in tandem with a bank of people behind computer screens who are getting all the information from your bodily movements and it helps you find the voice. The voice comes out of the body. All of that information gets immediately fed into the computer and so then you can start to see where your 10-metre long slithering body is moving.”

From an evil, jealous stepmother to a snake, it seems there is a dark turn to Blanchett’s roles. What’s next? The devil? “I’m up for anything,” she says. “I never say no to anything.”
After a moment’s thought, it turns out that’s not quite right. “In fact, I say no to everything and have to get seduced into doing it,” she says. “I’ve got no grand plan.”
Well, there is one plan. To take the family overseas when Upton finishes at the STC. And possibly direct a film.

Eighteen months ago, Blanchett was mooted as director of The Dinner, based on a Dutch novel that is described as a psychological thriller about “how far some parents might go to protect their children”.
“When he was asked to renew his contract and we looked at how long we’d been running the company and how extraordinary it’s been, we decided there were other things that we wanted to pursue,” she says of the end of Upton’s tenure. “That may well be in Europe and there’s a few projects in the States directorially.
“But as a mother of now four children, it’s not just the shooting of something, it’s the pre- and post- that mean a lot of time away. But we were always planning to take some sort of sabbatical with the children. So maybe there’s an opportunity to dovetail those desires.”

So it could be either Europe or the States? “Yes, it’s a circus existence. One byproduct – a gift – of running the Sydney Theatre Company is that it’s been a real anchor, going deeper into the cultural life of this country but also deeper into our connections with our family, and that stability has been fantastic for the kids.
“It’s a circus life when you’re freelance. It’s like being a diplomat without the respect.”
But at least there is respect at home when it comes to her conflict with Cinderella. “My son said, ‘I didn’t like it when you lost in the end,'” she says.

via Sydney Morning Herald

Press Junket interviews for Cinderella

Posted by MLS on
March 26th, 2015

Three new press junket interviews for Cinderella! Enjoy!

Canal+ France

Gallery Links:

Vogue Australia April 2015 Photoshoot

Posted by Annie on
March 23rd, 2015

Here are some photoshoot pictures in good quality from the April issue of Vogue Australia. I’m still trying to get scans from the magazine, but I can’t even access the magazine app from my phone >.<

Cate Blachett and her husband, Andrew Upton, attented the Sydney Theatre Company Pillow Talk, as a part of the Spectrum Now Festival, yesterday.

Can anyone compete with Hugh Jackman? Is watching The Mummy six times grounds for divorce? Can anyone recover from serving steamed broccoli and eggs on a first date? Is a buttery muffin the way to a man’s heart? On Sunday, Cate Blanchett and Andrew Upton, Richard Roxburgh and Silvia Colloca, Richard Glover and Debra Oswald and Wesley Enoch and David McAllister shared the stage for Spectrum Now’s Pillow Talk event. With a combined 72 years of romantic experience between them, they gave a glimpse into their lives together. So what can we learn from four of Australia’s most well-known creative couples?

1. First impressions don’t always count …

Bum cracks do. That was the first thing Blanchett saw when she met Upton 18 years ago. Granted, his head was in an oven at the time (he was making a movie). While Glover’s bum wasn’t emerging from an oven, Oswald’s first thought was, “Oh, lordy, what a wanker” when they met at ANU in Canberra. A few weeks later he offered to paint her set (and no, that’s not a euphemism, it was the set of a play she was producing). For Enoch and McAllister, it was a friend who first tried to get the pair together: “A mutual friend who I used to stay with, had Wesley over for a drink and after he left, she said: ‘Wesley’s lovely, isn’t he?’ And I was like, ‘Are you trying to matchmake? Ew. He’s way too famous and fabulous for me’.”

2. Although sometimes they do

When Colloca arrived at the read-through for the film Van Helsing, she was confronted with a room full of incredibly attractive men – Hugh Jackman and David Wenham to name but two – when in walked Roxburgh. Like many women before her, it was lust at first sight. For Upton, once he removed his head from the oven, Blanchett told him a joke that he finds funny to this day (yeah, cheekbones and a sense of humour.).

3. This is how you flirt…

“Hi, I’m Silvia. I’m your Italian wife”: Colloca introducing herself to Roxburgh for the first time (she was, after all, playing one of his three vampire brides).

4. And this is how not to flirt

“Greetings from sunny Sydney.” One of the “flirtatious texts” Roxburgh sent to Colloca while he was home in Sydney on a break from filming Van Helsing.

5. Cooking is not always the easiest way to a woman’s heart…

When Glover first invited Oswald over for dinner, he turned to The Vegetarian Epicure and served “disgusting sliced eggplant and steamed broccoli”. Thinking of a way he could jazz up the meal – no expense spared – he cracked two eggs over the broccoli. They have somehow been together for 34 years.

6. But it might win you the sympathy vote

Roxburgh and Colloca had been dating for a week, when Roxburgh decided to invite her around for dinner – “It was always a winner when I cooked something in the dating process” – and she offered to help. After half an hour, Colloca had prepped all the ingredients of a dish she had never made before in a cuisine she was unfamiliar with (poor Richard, not every woman you offer to cook dinner for will go on to create a food blog, write several cookbooks and host their own cooking show).

7. Sometimes all it takes is a buttery muffin

McAllister: “Our first date was in Melbourne. We met up at a little cafe and we had buttery muffins.”

Enoch: “Why did you just say that?”

McAllister: “I don’t know.”

Enoch: “He says this story and says we had buttery muff. Don’t ever think that I’m the crude one!”

8. Romantic gestures don’t always have to be flashy …

They can also come in the form of wildflowers picked on the side of the road and tied together with used dental floss found on the floor of a ute (nice one, Glover).

9. They can come from Harvey Norman, too

Well, maybe if you are giving Blanchett a gift. In that case a vacuum cleaner makes a good second wedding anniversary present, followed over the years by a breadmaker, Mixmaster and sewing machine.

10. Working with your partner can be tricky…

When Roxburgh was filming the first season of Rake in 2010, Colloca was cast in an episode. He couldn’t look at her without seeing his wife instead of the character. She ended up having to stand out of his eyeline, making Roxburgh the only man in history to tell Silvia Colloca he couldn’t bear to look at her.

11. Or a blessing

Blanchett and Upton have worked on scripts together in disabled loos or late at night in bed. For Glover and Oswald, working together at home means there is always a race to empty the dishwasher in the name of procrastination.

12. If you want something done, ask Upton and Blanchett …

Blanchett calls Upton “big picture” while he says Blanchett is methodical and fast-moving when it comes to decision making.

13. But don’t ask Roxburgh

To go into K-Mart and buy wrapping paper. It will take him half an hour and he will buy a laminator instead.

14. When work gets too much, it’s OK to flub…

When Blanchett goes home she “bakes, and I bake, and I bake or I wash the clothes and wash the clothes and wash the clothes”. Meanwhile Upton “flubs” – he plays the guitar, cooks and, um, brushes his hair. Upton says it is his life project to find Blanchett’s ‘off’ switch, but he has yet to find the button.

14. Or watch Twilight

Eighteen times (Enoch, I’m looking at you!). Or, if you are Upton, The Mummy, six times.

15. If you want to help Oswald write the next series of Offspring

Help her take the dog for a walk, it’s where she works out her problems. FYI: she also has a certificate in non-friable asbestos removal.

16. Be the captain of each other’s team…

Glover admires Oswald’s resilience for her ability to be long-term artist in Australia, while she admires his faith and support of her, which she says has kept her going (“We’ve been together for 34 years, and that’s the nicest thing she’s ever said to me!”). Roxburgh loves the authenticity of Colloca, while she is still blown away by the “sheer magnificence of the man I married”. McAllister respects Enoch’s ability to stand up and say things that other people won’t, and Enoch is moved by McAllister’s compassion and the depth of regard and love that people have for him.

17. But don’t be afraid to give feedback

Roxburgh: “If it’s a good relationship, it furthers you.”

Colloca: “I’ve learnt to control my Italian temper.”

Roxburgh: “Not really, though.”

18. Make each other laugh

Humour is the main currency in the Glover-Oswald house (“That’s the way to win our love”), while for Blanchett and Upton it’s about taking the work seriously, but not each other.

19. Take a leap

Blanchett and Upton say a shared spirit of adventure keeps them together. They have Stalin-esque five-year plans, which never come to anything, a bit like Stalin, really – boom, boom, with thanks to CB.

20. And don’t order Enoch’s peppermint tea for him …

“I’m a feminist, I can look after myself.”

via Sydney Mornign Herald

More photos on SmugMug

Cate Blanchett is set to be a guest at “The Project”, an australian TV Show this Wednesday, March 25th.


Cate Blanchett with Hyla
Denise Scott
Gretel Killeen

The show starts at 6:30 PM.

via Channel Ten Network


Updates for Cinderella [Updated]

Posted by MLS on
March 22nd, 2015

Good Sunday! New stuff for Cinderella:


behind the scene photo

featurette (with new footage from the set)

and interview (watch it here)


Gallery Links:

Cate Blanchett wants Downton Abbey role

Posted by MLS on
March 19th, 2015

Cate Blanchett has revealed her wish to star in Downton Abbey.

Speaking on Good Morning Britain (watch the video here), the Oscar-winning actress said that she has enquired about the possibility of making a cameo appearance in the period drama.

She told Richard Arnold: “I did have words and I followed up with my agent, no call has yet been received – but I’m seeing the girls again today, so I’ll get them to put a good word in.”

via Digital Spy

Another promotional interview for Cinderella

Gallery Links:

On March 15, 2015, Cate Blanchett attented the Cinderella Australian premiere in Sydney. Watch the videos interviews  from the red carpet below.

Daily Mail

Sky News Australia

7 News Australia

Gallery Links:


Gallery Links:
Video Screencaptures > Events > 2015 > Cinderella Sydney Premiere: Interview Big Pond Movies – March 15th, 2015

Better late than never! On May 18th, 2014 Cate Blanchett was filming the IWC – A Sparkle to the Wrist campaign in Portofino, Italy.

Gallery Links:

Egoiste January 2015 Scans

Posted by Annie on
March 16th, 2015

Happy Monday, everyone! I’ve added scans from the January 2015 issue of Egoiste Magazine. They come from a Chinese Cate Blanchett community, thanks Lilly for sending them our way.

Cinderella – Press Junket Interviews

Posted by MLS on
March 16th, 2015

New press junket interviews for Cinderella!

Dzie? Dobry TVN Poland

Entertainment Tonight


Good Day


Sky Cine News Italy

Gallery Links:

Cinderella Australian Premiere Photos

Posted by Annie on
March 15th, 2015

Cate attended the Australian Premiere for Cinderella today in Sydney, here are the first pictures:

Cate Blanchett covers Vogue Australia April 2015

Posted by Annie on
March 15th, 2015

Cate Blanchett is the cover feature of the April issue of Australian Vogue. Photographed by Emma Summerton and Styled by Christine Centenera, here is the cover and 2 photos from inside. I’ll post scans when I get them!


SINGAPORE: Top designers Diane von Furstenberg, Victoria Beckham and Thakoon will be showing their Fall/Winter 2015 collection at the Singapore Fashion Week (SFW) 2015. Von Furstenberg will be the opening designer of the festival, while Beckham will close the week showcasing her designs.

Previously branded as the Audi Fashion Festival (AFF), the five-day long event will see luminaries such as SK-II ambassador and Oscar-winning actress Cate Blanchett and L’Oreal Professionnel spokesperson Yoon Eun Hye gracing the front rows of the fashion shows.

This year’s SFW will also feature a healthy dosage of local fashion heroes, including apparel label exhibit and accessories label ALT by Curated Editions, two returning brands which debuted their collections at the AFF last year.

Velda Tan, who used to run online boutique Love, Bonito, will unveil her new clothing label, COLLATE THE LABEL, at this year’s fashion edition.

Singapore Fashion Week will run from May 13 to 17 at Tent@Orchard, Ngee Ann City Civic Plaza.

via Channel News Asia

Cate Blanchett knows why fairy tales have worked for hundreds of years, and it shows in her diabolical turn as Lady Tremaine, the wicked stepmother of Disney‘s new, live-action “Cinderella.”

The two-time Oscar winner told Speakeasy in a telephone interview that she found the rather straightforward approach to the fairy tale “refreshing” in this age of reimaginings, reboots and twists meant to conform classic stories to the zeitgeist of the day. In the case of “Cinderella,” she said, much of it comes down to how faithful the Kenneth Branagh-directed film is to the way the story has a variety of important roles for women — even if some of them are villains.

“You see sisters, you see godmothers, you see stepmothers, you see birth mothers, you see daughters, and so you see a lot of different female dynamics,” she said.

Blanchett also weighed in on the power of wigs, Patricia Arquette’s stirring call for equal pay for women and how Blanchett channeled Fred Flintstone during the filming of “Cinderella,” which opens Friday. An edited version of the interview follows.

You’ve played a wide range of characters. How do you jump from something like Galadriel (“The Lord of the Rings” and “Hobbit” films), who’s sort of like the fairy tale ideal of a woman, to the evil stepmother in “Cinderella”?

Wigs. It’s all the wigs. (laughter) It’s what’s demanded of you. Both tales are very well known, and there’s a sense of what are you going to do with this? What are you creating? What are the actors going to do with this? What I really found completely refreshing about this version of “Cinderella” is that it had this sumptuous, inventive, completely satisfying and enticing storybook universe, but it had really three-dimensional characters. I read the script, and I said to Ken [director Kenneth Branagh], “This is basically the story.” I come off being an audience member to a lot of twisted fairy tales, a lot of fairy tales being told from a very zeitgeist-y twist, and this didn’t have that. I found that really refreshing, both to be in and to watch.

Disney has been doing a lot of revisionist fairy tales, and this was unique in that it wasn’t revisionist.

You have a director at the helm who understands why, for centuries, we would continue to want to see and want to perform “Hamlet.” We all know how it ends. We all know the story. But when you see a great production of it, you feel like you’ve been told the tale for the first time. And I’ve noticed this in my own children — is often, when they enjoy a book, they’ll want you to read it again, or have it read to them again. They’ll love it, and they’ll watch it over and over and over again. There’s something really robust about the fairy tales, I think. … There’s something really pure about the re-telling and, I think, ultimately very satisfying.

There’s a visceral reaction to villains who are women, moreso it seems than toward male villains. You see it on TV a lot, for instance. Male villains become so beloved, like Tony Soprano or Walter White, whereas Cersei Lannister or Skyler White are reviled. Do you think this has its roots in fairy tales, where traditionally women are either princesses or mother figures, good or bad?

Well, the notion of the stepmother is a child’s worst nightmare. Women are sort of socialized to be kind, to be true, to be generous, to be demure. And when you have somebody who presents that way, who, in fact, isn’t your mother, it’s every child’s worst nightmare — that the loving mother figure will turn on them. That’s the way society has worked for a very long time, for better or worse. I think it’s the way horror works, as well. It’s the way Scooby-Doo works! … One of the wonderful things about “Cinderella” is there’s so many female examples, examples of female behavior. And also there’s cruelty among women to women. It’s a story that has — in this particular retelling, there’s also a very beautiful father-son relationship — but you see sisters, you see godmothers, you see stepmothers, you see birth mothers, you see daughters, and so you see a lot of different female dynamics.

One of the most striking things about your performance is how you would pose your body and it would just fit the frame so perfectly. Did you work on this with Kenneth a lot, or did you have ideas going into it?

The first time I stepped onto the step — and when you’re working on a set that’s been designed by Dante Ferretti, you want to use every inch of it — I was really struck by the potential there. Whether that comes from being an actor who works on the stage, so understanding what the frame is going to be is very important to me because you want every frame of the film to feel like the next exciting page in a storybook. We’re in a storybook universe. So I would always check what the shot was, what the setup was, what the frame was, and to see how best to use that. I had a bit of a “Flintstones” moment! You know how Fred and Barney — the car sails along, but the feet are going rapidly underneath? I wanted to be able to glide, and I had to have a bit of practice to be able to glide. [The character] has a very self-conscious, designed grace that hopefully that becomes more and more of a burlesque as the story develops, as her panic sets in.

It was good for a few laughs …

Look, when you need to get a cheap laugh, just go for it.

Another thing was your voice, the inflections, the tones. Were there any specific reference points? I remember Anthony Hopkins saying that he based Hannibal Lecter’s voice on Katherine Hepburn and Truman Capote –


I was wondering if you had any reference points like that?

I just wanted her to sound slightly that she was from the wrong class and that she worked very, very hard on sounding and being in the right class … Not that I based her on this character, but there’s this wonderful character in “Brief Encounter,” when they’re at the railway station, and the woman that works behind the bar, she’d drop a few proper-sounding vowels into her very arch, cultivated sort-of traditionally lower-class accent, but she’s trying to stay above her station.

What was your response to Patricia Arquette’s speech at the Oscars? It generated a lot of excitement among female actors in the audience.

About pay for women?


Yeah, I mean it’s ridiculous that in 2015 we’re even having a conversation. It’s very, very hard … when you cannot walk in, no matter what your profession is, and get equal pay for equal work. How do you get to a sophisticated dialogue about anything in an industry where there’s heightened inequality financially. It’s ridiculous. So, yeah, she hit the nail right on the head.

via Wall Street Journal

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