Cate Blanchett is featured on the August 28th issue of the french magazine Madame Figaro, here are digital scans.
“Truth,” the James Vanderbilt film that stars Robert Redford and Cate Blanchett in the behind-the-scenes story of Dan Rather’s last days at CBS, will open the 2015 Hamptons International Film Festival, which also has set the lineup for its narrative and documentary competition films.
In “Truth,” Redford plays Rather and Blanchett appears as CBS News producer Mary Mapes, upon whose memoir the film is based. Topher Grace, Elisabeth Moss and Dennis Quaid are also among the cast of the movie, which premieres at the Toronto Film Festival ahead of its Oct. 8 screening at HIFF. The Sony Pictures Classics movie is due for theatrical release Oct. 16.
The festival also announced the 10 films that make up the competition slates, with five titles apiece set for the narrative and documentary categories. The 2015 edition of HIFF, the 23rd annual outing for the fest, runs Oct. 8-12.
Cate Blanchett is to receive the British Film Institute’s highest honor, the BFI Fellowship, at the BFI London Film Festival’s awards ceremony on Oct. 17 at London’s Banqueting House.
“Truth,” starring Blanchett and Robert Redford, will have its U.K. premiere on the same night. Based on the book “Truth and Duty” by Mary Mapes, the film tells the story of Mapes, a CBS News journalist and Dan Rather’s “60 Minutes” producer, and the risks she took to expose a story about President George W. Bush.
Greg Dyke, chairman of the BFI, said: “Cate Blanchett is a compelling and brave actress whose mesmerizing screen presence has captivated audiences since her earliest roles. We are absolutely delighted to honor her extraordinary talents with a BFI Fellowship at this year’s LFF awards.”
The Fellowship is awarded to individuals in recognition of their “outstanding contribution to film or television.” The BFI described her as a “fearless and subtle actress,” adding, “She has the rare gift of seeming utterly to inhabit the characters she plays and has an amazing ability to convey complex layers of emotion to stunning effect.”
Blanchett also appears at the festival in Todd Haynes’ “Carol,” which is the American Express Gala screening on Oct. 14. She plays an alluring woman trapped in a loveless marriage who falls for a young woman, played by Rooney Mara, working as a department store clerk in 1950s Manhattan. Blanchett won a Golden Globe for her performance in Haynes’ “I’m Not There,” in which she plays an incarnation of Bob Dylan.
Previous BFI Fellowships at the same LFF ceremony have been presented to Stephen Frears in 2014, the late Christopher Lee in 2013, Tim Burton and Helena Bonham Carter in 2012, and Ralph Fiennes in 2011. In the past year, Al Pacino and Mel Brooks were also awarded BFI Fellowships.
Le Figaro has revealed that the new Malick’s movie will open in Europe much earlier than in the U.S., while the Deauville American Film Festival will pay homage at the director this September.
Cate Blanchett is on the cover of the new T Magazine’s issue! The magazine will be on sale from August 23rd!
Cate Blanchett is known for playing women who are just barely holding it together. In life, she’s firmly in control.
It was Cate Blanchett’s second time climbing the Sydney Harbour Bridge. She couldn’t really say why she wanted to do it, or what it is about heights that appeals to her. She has no interest in skydiving or bungee jumping or parachuting. She’s not especially sporty or athletic. It’s not thrills she likes; it’s control. She once drove her children to the edge of Mount Yasur, an active volcano on the island of Tanna.
“It was fantastic to be able to say, I’m deciding to do this,” she said. “I’m deciding the level of safety for my children without someone telling me what to do.”
She was wearing a baggy blue and gray flight suit — baggy enough to slip over a pair of loose leather pants and leave room to spare. It wasn’t that she looked good in the suit so much as she made the suit irrelevant. A strap hanging off the belt connected to a cable that ran inside the thousand feet of stairs, catwalks and steel beams of the bridge.
“I love to climb high things,” she said. We were standing on the midpoint of the exterior archway, with a sniper’s vantage on the opera house. She wanted to go even higher, up a short ladder that led to a rotating red light, but Nick, the climb guide, said it wasn’t allowed.
Nick had seen a fur seal in the harbor on his morning run, and Blanchett wanted to know all about it: how big it was, and if it was furry. She had questions about Shark Island. She pointed to Cockatoo Island. “It was a prison for convicts and then it was a reform school for wayward girls, so you can imagine what goes on there.” She pointed and pointed — to ports, to mountains, to secluded spots of green. To mangrove beaches where you can wander and never meet another soul. “People go to the usual places,” she lamented. Then she laughed and her voice dropped into sarcasm. “Like this, for instance. It’s the insider’s Sydney you’re experiencing today.”
Blanchett had descended to the interior archway and was deploring the gentrification of Brooklyn when a line of identically blue and gray flight-suited figures above began clamoring for attention. They were leaning over the bars, whooping and clapping.
“They’re waving at you,” I said.
“I don’t know,” she said.
“It’s like when you’re on a boat,” Nick said helpfully.
Blanchett agreed that this situation was like when you’re on a boat. She half-waved at the admirers, a motion at once friendly and plausibly deniable, and continued the descent. She paused on a slip of the bridge that sits between two sets of train tracks to remember when Kevin Spacey pushed somebody — she couldn’t remember who — in front of a train on “House of Cards.” She wished that a train would pass us — better, that two trains would pass us, in opposite directions, at the same time.
“What if it went, ‘Choom! Choom!’?” she said. “We could have the double action!”
Then she laughed. “Oh my god, I’m getting hysterical.” Through the open steps the water of the harbor glittered green and jewel-like below.
“Transport!” she yelled giddily and threw her arms in the air. A train sped by, granting half her wish. “It’s amazing.”
The vibrations from the train faded into the noise of automobile traffic as we proceeded single-file toward the climb base. Blanchett was shouting about Chekhov. She especially likes the way he does silences. Chekhov’s silences, she said, are like the moments at a dinner party when everyone stops talking — “stupid silences,” the Hungarian director Tamas Ascher calls them. It’s not that people are thinking of something to say, or motivated by some particular desire. They’re just — there. Just — between.
Blanchett, who is 46, is currently starring in her husband Andrew Upton’s adaptation of Chekhov’s “The Present” at the Sydney Theatre Company. She and Upton moved home to Australia in 2008 to take over the company as co-artistic directors. (Her first-ever professional acting job was at the Sydney Theatre, as an understudy in Caryl Churchill’s “Top Girls.”) They live with their four children — biological sons Roman, Dash and Iggy, and newly adopted baby Edith, from America — in a suburb of Sydney. Blanchett officially stepped down as co-director of the theater in 2013, but Upton will run the company through the end of the year, and in practice she remains involved; as she put it, “We do everything together.”
Back at the base, Blanchett signed photos for the Sydney Harbour Bridge Climb’s celebrity wall and we walked to a nearby restaurant for dumplings and salad. She sat with her back to the window and removed the sunglasses that had obscured half her face all morning. A fine wrinkle cut a shallow line into the side of her jaw, which somehow made her look younger.
She explained that running the theater company had been transformative. It wasn’t only that she shepherded productions she was proud of, including “The Secret River,” based on a novel about Australia’s racial history; “The Long Way Home,” which was performed by servicemen returned from Iraq and Afghanistan; and Botho Strauss’s forgotten “Gross und Klein,” which afforded her the “personally liberating” experience of working with director Benedict Andrews. She also became an advocate for the theater community as a whole. She had to think bigger than just her own company: A healthy “theatrical ecology” means that lots of companies are thriving and everyone’s audiences are growing. This required her to take the microphone, come out of her shell a bit.
“I learned to not feel responsible to other people’s perceptions of who you are,” she said. “I suppose I’ve gone through a process of maturation, in a way, because running the company is a public position.”
I said that I would have thought that being a Hollywood actress would have felt like a public position. Blanchett has appeared in 48 feature films. My in-flight entertainment system had offered seven of them.
She frowned, and her eyes clouded. She did not like the phrase “Hollywood actress.” “That’s what they say about you when they want to insult you,” she said.
She ignores the trappings of celebrity as best she can, and advises younger actresses not to go on social media, which “creates a culture of self-consciousness.” She is drawn to figures who “have utterly shedded self-consciousness but are completely masters of their technique, like Louise Bourgeois and Georgia O’Keeffe. They’ve got that raw, wrought intelligence.” She also admires Pina Bausch. “If I had my time over, I would have loved to have been in her company,” she said. “She was an incredible, incredible creature — fierce.”
She ran her hand across her hair smoothly, turning in profile with her chin slightly angled down. It’s a gesture she makes repeatedly in “Blue Jasmine” — a moment of putting yourself back together, preparing to meet another.
Consider how many of Blanchett’s most notable characters have struggled with these very issues — the burdens of recognition and fame, or the shame of being watched or hunted. Bob Dylan, Katharine Hepburn, Jasmine, Queen Elizabeth, even the art teacher who sleeps with the high school student in “Notes on a Scandal” — they are all tortured by their awareness of other people’s perceptions, and, in the process, lose their composure. Blanchett is especially good at performing this state of just-barely-holding-it-together, that veneer that cracks to reveal an unhinged or demented person inside. Yet her performances grant refinement to the most degraded or distressing situations. She telegraphs something regal and elite; even when her characters are not financially well-to-do, they are never “ordinary.”
This winter she will add another elegant woman under surveillance to her repertoire of roles, playing the title part in Todd Haynes’s beautiful new film “Carol.” (She is also starring in “Truth,” as the CBS producer who approved the “Sixty Minutes” investigation into George W. Bush’s National Guard service.) “Carol” is adapted from “The Price of Salt,” the 1952 Patricia Highsmith novel widely regarded as the first lesbian novel with a happy ending (i.e., nobody dies). The plot concerns an affair between young, unsophisticated ingénue Therese (Rooney Mara) and Carol, a glamorous older woman. Readers of the novel will know the famous road trip sequence — it’s said that Nabokov copied it for “Lolita” — in which the lovers are pursued by a private detective hired by Carol’s ex-husband to build a child custody case against her.
Blanchett has admired Haynes since they first worked together on “I’m Not There.” She compares him to Klausner, a character in the Roald Dahl story “The Sound Machine,” who can hear the clouds moving in the sky and the grass screaming under the blades of a lawnmower. “Todd is a good person, and a wild person, and a responsible person,” she said. “You could probably tell him anything.”
As for Highsmith, she first discovered her novels in the late 1990s, when she was cast in “The Talented Mr. Ripley.”
“She writes so fearlessly — and often ambiguously, but often ferociously — about human relationships and the human heart,” Blanchett said. “I always have this terrible sense of foreboding, like a thrilling sense of foreboding, like something terrible is going to unfold. Like you never feel safe.”
The key to suspense, of course, is control. The knowledge that someone is in control makes danger pleasurable. So much of Blanchett’s life and work revolves around a very careful calibration of control and chaos. Control is what makes ferocity effective rather than only cruel. Control is what makes it fun to visit a volcano. As for her occasional, well-documented eruptions — her facetious comment to a reporter who queried her sexuality, her punch-drunk interview on a “Cinderella” junket in the spring — they would mean something different were it not for their divergence from her usual poise.
The conversation returned to the peculiar problem of theater acting: how to be in and out of the flow of the moment, how to practice and prepare and bind together all the “Eureka moments” that recapture the spark of a first reading. The way she explained it, when a scene is working, the actors are equally aware of the person unwrapping a snack in row G and the other bodies on the stage.
She hates monologue. For her, everything interesting is in collaboration. “That’s the dangerous side,” she said. “You really don’t know where you’re going to go.”
via T Magazine
Cate Blanchett stars in a new commercial for Giorgio Armani’s “Sì” – via Tudou
Returning for its 38th year, the Mill Valley Film Festival (MVFF) runs Thursday, October 8 – Sunday, October 18, 2015, and here’s the early word on what’s to come: 11 days of films, panels and performances in Marin County.
This year’s lineup already boasts plenty of Oscar contenders, Cannes winners and Bay Area premieres. The full slate will be revealed on September 15, 2015. Here are the early titles announced thus far, many from Cannes (language courtesy of the festival):
Todd Haynes’ (Poison, Safe, Velvet Goldmine, Far From Heaven) British-American romantic drama CAROLstars Cate Blanchett, Rooney Mara (tied for Best Actress at Cannes) and Kyle Chandler. This captivating, sensuous and richly observed film tells the story of a young shopgirl in the early 1950’s who falls for an older, married woman.
As the fall festival season continues to take shape, the Austin Film Festival is the latest event to announce its upcoming screenings. This year marks the festival’s 22nd anniversary, and it seems they’re celebrating in award-winning style based on the first slate line-up below. The 2015 AFF runs October 29 – November 5. The complete list of programming, including short films, competition titles and Conference panels, will be announced in mid-September.
The first round of screenings is listed below. Synopses provided by AFF.“Carol”Texas PremiereWriter: Phyllis Nagy; Director: Todd Haynes
In an adaptation of Patricia Highsmith’s seminal novel “The Price of Salt,” “Carol” follows two women from very different backgrounds who find themselves in an unexpected love affair in 1950s New York. Starring Cate Blanchett, Rooney Mara, Sarah Paulson, Kyle Chandler, Jake Lacy and Cory Michael Smith.
Cate Blanchett and Robert Redford star as 60 Minutes producer Mary Mapes and anchor Dan Rather in Truth, a gripping docudrama about the newsmagazine’s investigation into George W. Bush’s alleged draft-dodging during Vietnam. The film will be shown at TIFF next month.
Directed by James Vanderbilt and costarring Topher Grace, Elisabeth Moss and Dennis Quaid, this will be the world premiere of Truth.
Meanwhile other Hollywood heavyweights will be gracing the TIFF screens – Susan Sarandon, Elle Fanning and Naomi Watts appear in About Ray, which follows a teen transitioning from a female to a male; Drew Barrymore and Toni Collette can be seen in the comedy I Miss You Already; and Sam Rockwell and Anna Kendrick star in Mr. Right, which will close out TIFF.
The Toronto International Film Festival runs from September 10-20.
via Crave Online
The first teaser trailer for Carol it’s been released less than an hour ago. The movie will hit the U.S. cinemas on November 20th and in the U.K. on November the 27th.
The movie will have its London premiere on October 14th, during the 59th BFI London Film Festival.
The 59th BFI London Film Festival in partnership with American Express® is thrilled to announce Carol, Todd Haynes’ beautiful 1950s set drama, as the Festival’s American Express Gala. The film will receive its UK Premiere on Wednesday 14 October at the Odeon Leicester Square, attended by Academy Award nominated director Todd Haynes and his luminous stars Academy Award winner Cate Blanchett and Academy Award nominee Rooney Mara.
via BFI Film Forever
As you may remember the italian designer Giorgio Armani, celebrates this year the 40th anniversary of his activity. To celebrate his work Vanity Fair publish a letter written by Matin Scorsese and the photos from the Armani’s Silos Opening in Milan.
via Vanity Fair
The 2015 New York Film Festival has locked in its main slate of features, with a total of 26 films on the roster including the world premiere of Steven Spielberg’s “Bridge of Spies” with Tom Hanks, as well as festival-circuit buzzmagnets including Todd Haynes’ “Carol,” Michael Moore’s “Where to Invade Next,” Yorgos Lanthimos’ “The Lobster” and John Crowley’s “Brooklyn.”
The 53rd New York Film Festival runs Sept. 25-Oct. 11
Unfortunately, the premiere day has yet to be announced.
For tickets info click here
On August 4th, Cate Blanchett’s new play, The Present, made its debut in Sydney. Read below the entusiastic reviews, and have a look at the behind-the-scenes and on stage performance.
Cate Blanchett attacks her role, and the tenets of the text, with a forceful conviction that can only emerge from the extremely talented. The star’s undisguisable passion for her craft is a coherent match for the determination and fortitude of Anna, a woman coming very close to the end of her tether. Her portrayal of drunken and unhinged abandonment in Act Two is sheer theatrical delight, and a beautiful blend of studied precision with courageous impulse. Blanchett’s incredible allure keeps us spellbound, and she uses it to deliver the many thoughtful intentions of the play, which we absorb with enthusiastic acquiescence.
via Suzy Go See
The thirteen-strong cast here are all impressive, even if they are only in a few scenes; as the old adage goes, ‘there are no small parts, only small actors.’ Led by Richard Roxburgh as Mikhail (Platonov) and Cate Blanchett as Anna, the production shows just how interlinked this whole group of people are, how much they all depend upon each other for survival and well-being, and this is one (among many) of this production’s great strengths. Roxburgh’s usual almost-neurotic stage-presence is here toned down, and he has a number of quite poignant moments, more often than not with Blanchett’s Anna. Rather than an overbearing and self-centred character as he could very easily be, Roxburgh plays up the tragicomedy in the role, and comes to stand for every single one of the others, whether they know it or not, with their dashed dreams and shattered hopes. Blanchett’s Anna is a force to behold, blowing her way across the stage like a whirlwind, equal parts passion, compassion, tenderness, and untapped conviction; there are many beautiful moments to her performance, not least the end of Acts Two and Four.
Cate Blanchett is luminous as Anna, twice thwarted in the love stakes, with a husband she loved dying and yearning for Mikhail unconsummated. Left with an estate she cannot manage she faces the prospect of a fiscally forced marriage to Yegor to continue the life she has grown accustomed to and Blanchett balances the strong, stoical sophisticate aspect of Anna with the reckless abandon of youth as youth abandons her.
via Australian Stage
With Roxburgh and Cate Blanchett earmarked for these roles from the off, who can blame him? Their chemistry is electrifying as ever. But The Present is a true ensemble piece, both in its expanded characters and the near perfect cast who bring them to life. Their constantly overlapping dialogue and emotional dance moves are masterfully choreographed by director John Crowley, particularly in the supper scene at the centre of this long day’s journey into the night.
Jacqueline Mackenzie is spot on as a do-gooding neurotic, Eamon Farren brings an air of menacing entitlement to his rich kid DJ type. But no one plays drunk quite like the Rox, his Rake persona turned up here to 11. No one else except Blanchett who moves from bored languor to free abandon and back again with total conviction.
via The Guardian
But his cast is all deft and intelligent when it comes to comedy and the crucial element of comic timing to land the most rewarding repartee. Roxburgh and Schmitz excel in casual insults, particularly, and Ryan captures a very Australian self-deprecating sad-sack vibe that’s immensely appealing, even in The Present‘s world of 1990s Russia. Susan Prior’s sweet, well-meaning awkwardness as Sasha was played for laughs but behind them, clearly, remained the warmest of intentions. Eamon Farren’s crass DJ Krill demanded laughs and received them easily; the entire cast, this large and unreasonably talented ensemble, chartered the rise and fall from laughter to anger to tears very well.
And then there was Roxburgh and Blanchett, sharing a single chair on a bare stage, wondering if there was ever going to be a golden time for them again, these tough, aloof ones who had learned to move above feelings rather than within them, and they captured perfectly between themselves the question at the heart of Upton’s script, a true Chekhovian question: how do we live in the present knowing what we’ve learned from the past, and realistically understanding that the future isn’t full of endless possibilities after all?
via Daily Review
Roxburgh delivers the best performance I’ve seen from him since Belvoir’s Toy Symphony, revelling in a role that requires him to demonstrate just about all the non-admirable qualities you can imagine fitting into one man. After a repressed start, Blanchett pulls out all the stops, unleashing Anna’s wild side in an orgiastic second act.
Headlining a cast with Hollywood A-listers is inevitably a gift for drawing punters to a show, but Sydney audiences should also count themselves extremely blessed to have actors of the calibre of Blanchett and Richard Roxburgh willing to dedicate themselves to live theatre. Together Blanchett and Roxburgh’s rapport on stage, developed through years of working together at STC, is transfixing. Both navigate the rapidly changing narrative terrain, leaping from zinging comedy to gut-punching pathos, with astonishing athleticism, but this production is far more than just a two-hander. The Present thrives on the complexity of many intermingled lives and thus is a true ensemble effort. The 13 strong cast have worked hard, with director John Crowley, to weave in the nuances and imperfections of every day speech. People talk over each other, words are stuttered and tripped over: it creates a hugely absorbing sense of authenticity to the text that holds a mirror up to our own ways of communicating. The different personas in this complex web are all skillfully realised – particular praise must go to Jacqueline McKenzie’s Sophia, full of moral outrage and desperate frustration, and Martin Jacobs’ Alexei, groping for his youth but clinging pathetically to the past – however with stars that burn as brightly as Blanchett and Roxburgh, some of the performances from the less experienced cast members occassionally fall short of these stratospheric standards.
This immense empathy to the emotions on stage is only possible through the strength of an incredible cast – Blanchett’s Anna is incredibly captivating, her character is perhaps the most complex and unsettling on stage and this is brought out perfectly during the performance.
via The Au Review
Petrovna is a beloved widow surrounded by her admirers at this party. She is clearly a master manipulator, working to change the wants of her friends and associates, although they don’t always know it. Blanchett, as Petrovna, bubbles with enthusiasm and youthful energy in the beginning of the show, in an attempt to mask the fears that occasionally rise to the surface.
Petrovna’s party is occasionally so busy it’s hard to follow, but so is talk at every lunch party with an eclectic mix of old friends. The friends had a daunting, sprawling web of relationships that were hard to understand at first, and Upton’s script relies on the audience to decipher throwaway cues to map the web, but that work is largely rewarding.
As the first act progresses Petrovna can’t quite hide the dark intensity and instability lurking beneath the chatter. Blanchett handles Petrovna’s seemingly uncontrollable emotional extremes well – a complex dichotomy of grace and power.
via Aussie Theatre
Roxburgh and Blanchett are superb, but allow everyone around them to shine, however many lines, however little stage time they have to play with. It’s very much an ensemble effort and all the richer for it. The Present is an exquisitely enjoyable outing to cherish.
Promotional shoots (I have moved the images from the Photoshoots section)
Production Stills via Suzy Go See
A new international poster it’s been released for the new Terrence Malick’s movie!
via Blogs Indiewire
Ten days ago, Vogue Germany published a short interview with Cate Blanchett, and the first promotional image for the new Sì Eau de Toilette campaign. Enjoy!
VOGUE: Neben dem Film “Carol” nach einem Roman von Patricia Highsmith stellten Sie während der Filmfestspiele in Cannes auch einen neuen Spot für Armanis Eau de Parfum “Sì” vor. Was verbinden Sie mit diesem Duft? Haben Sie sich für die Kampagne eine bestimmte Figur ausgedacht?
Cate Blanchett: Ich finde an diesem Parfum die Mischung aus femininen und maskulinen Elementen interessant. Frauen sind komplexe Wesen. Diese Komposition zelebriert das. Die Frau im “Sì”-Spot ist nicht Cate Blanchett, sondern eine Person, die ich anstrebe zu sein. Für mich übt Mode keinen Druck aus, sondern sie lässt uns bestimmte Ambitionen entwickeln.
Welche Ambitionen weckt die Mode von Giorgio Armani in Ihnen?
Er ist der Designer, der die feminine Ästhetik am stärksten beeinflusst hat. Schon als ganz junge Frau fand ich einen maskulinen Kleidungsstil attraktiv. Armanis Linien sind so visionär, weil sie feminin fließende Formen mit maskulinen Schnitten verbinden.
Wie empfänglich sind Sie für Düfte?
Ich reagiere hochsensibel auf Gerüche, ob das der Dunst beim Kochen ist oder die Aura eines Raums. Zu Hause brennt immer eine Duftkerze. Ich favorisiere natürliche Aromen. Für mich ist “Sì” exakt auf dem Punkt: eine pfeffrig-überraschende Süße aus schwarzer Johannisbeere und Freesie.
Das klingt fast so, als würden Sie einen Ihrer Filmcharaktere beschreiben, etwa Carol, die in den prüden 1950er Jahren eine lesbische Beziehung wagt.
Mich faszinieren ja auch außergewöhnliche Frauenfiguren: Menschen, die eine ganz unerwartete Anziehungskraft oder Sinnlichkeit ausstrahlen.
Vervollständigt ein Parfum beim Drehen für Sie die Person, die Sie darstellen?
Die Zuschauer werden das nie wahrnehmen können. Doch ein Duft stellt eine emotionale Verbindung zu einer Figur her, die man über bloße Psychologie und Ratio nicht aufbauen kann.
Was für ein Duft war das bei der Rolle der Tudor-Königin “Elizabeth”?
Der einer tiefgreifenden Erinnerung: Als ich mit 18 Jahren das erste Mal durch Europa reiste und den Mailänder Dom besuchte, war das ein sehr intensiver Sinneseindruck: Die Sonne blendete mich durch die bunten Scheiben, ich hörte die Orgel, und der Weihrauch machte mich fast benommen. Es war derart überwältigend, dass ich weinte – dabei bin ich nicht mal sonderlich religiös! Bei Elizabeth habe ich mich daher für die großen Szenen mit weihrauchartigen Essenzen parfümiert.
“Sì” bedeutet “ja”. Wozu sagen Sie persönlich aus vollem Herzen ja?
Zu allem! Das ist mein Problem. Mein Mann(Drehbuchautor und Regisseur Andrew Upton)meint immer, ich müsse dringend lernen, auch mal nein zu sagen. Besonders beherzt sage ich ja zur Liebe. Für mich war es eine Offenbarung, als ich meinem Mann das Jawort gab. Wir kannten uns schon lange, aber der perfekte Moment stellte sich erst da ein.
Sie sind eine Frau mit vielen Facetten: Schauspielerin, Produzentin, Theaterregisseurin, Mutter von vier Kindern …
… vier Kinder! Was habe ich mir nur dabei gedacht?! Lacht.
Sie haben halt “sì” zu Kindern gesagt.
Das kann man wohl sagen.
Was denkt Cate, die vierfache Mutter, über Cate, die Stilikone?
Diese Identitäten existieren nicht in Parallelwelten, sondern ergeben eine lebendige Mischung. Natürlich bin ich in Cannes vor Hunderten Fotografen anders, als wenn ich die Kinder zur Schule bringe oder in einem Geschäftsmeeting sitze. Doch alles sind Aspekte meines Ichs. Ich höre ja nie auf, die eine zu sein, um die andere zu werden.
via Vouge Germany
Goor morning, everyone!
Cate-Blanchett.com is back online at our new host, Stars.bz. Sorry about the downtime!
I’ve done one change in the gallery, which is removing the intermediate pictures, so now when you click on a thumbnail, the image you get is the original one. It’ll look resized on your screen, but that it is the original high resolution one (if it’s a high resolution that we uploaded) and it’ll be that when you save it to your computer.
Have a happy weekend!