CBF Chat is here!

CBF Chat is here!

Hello Blanchetters!

Our chat is finally here! Every Cate Blanchett fan is welcome!

CBF Chat is being hosted on Discord platform, a free voice and text chat originally designed for gamers but that after some consideration, we thought that would be good enough for our needs. It’s free, fast and funny!
Discord is a 100% free communication platform available for Windows, MAC, Linux, Android, iOS and web so you can register and join the chat in the way you want. Also, 21 languages are supported in this tool.
If you have have doubts about the platform, you can look for solutions on the Discord official page (HERE – Recommmended) or try the thousands of tutorials available on you tube.
Once you are in the chat, don’t forget to READ the #rules-guidelines section carefully! This step is VERY important!
Our main purposes with this chat are to share and discuss information, photos, videos and news about Cate and to connect with another fellow fans from different countries.
So, let’s be RESPECTFUL and make new friends if we want to. We might even discover fans from the same country!

To conclude, we remind you that CBF has NO connections with Mrs. Cate Blanchett or her staff. She WON’T be in the chat and we WON’T be able to deliver any message to her.

For general questions contact us through cateblanchettfancom@gmail.com
For chat support leave a message on #support section.

Here’s the link of the #CBFChat> CBF Chat
To have full access, register and then leave a message on #cbf-wait-room section. Admins will add you as soon as possible.

See you there!

New promotional pictures and interviews for Sì (2017 campaings)

New promotional pictures and interviews for Sì (2017 campaings)

Good evening! We have just stumbled upon several missing pictures and interviews that need to be added in the gallery.
In all these links here there are interviews in greek, arabic and jewish, that the site can’t properly read. Also Matthew Frost’s Instagram for the B&W picture. Enjoy!





New promotional images for Sì Christmas campaing

New promotional images for Sì Christmas campaing

Good evening! Cate Blanchett is featured in two new advertisements for Sì Christmas campaing. The images come from the last issue of Vogue Russia. We wish to thank Sandra for her generous donation to the site and we invite all of you to join us in the chat, the instructions are in the post pinned on the top. Enjoy!




P.S.: we also added the scans from the last issue of Marie Claire Brazil, have a look!

Manifesto – Radio interview and infos about Canadian exhibition

Manifesto – Radio interview and infos about Canadian exhibition

Good evening! Cate Blanchett and Julian Rosefeldt speak with BBC Radio 4, during Front Row. The interview aired yesterday, and the presenter relased a picture as well.


Interview starts around 11:49. Enjoy!

We previously announced the Manifesto’s exhibition is going to be expose in Montreal in 2018. The Konig Galerie revealed the exact time frame:
JULIAN ROSEFELDT | MANIFESTO
MUSÉE D’ART CONTEMPORAIN DE MONTRÉAL, MONTRÉAL, CA | 17.10.2018–21.1.2019

Manifesto – Promotional interview

Manifesto – Promotional interview

Hello! Cate and director Julian Rosefeldt where recently interviewed during London Film Festival. Cate mainly talks about Manifesto, but she also mentions Thor: Ragnarok in the end. Full interview here. Enjoy!

Cate Blanchett: artists are being silenced
A news anchor, a widow, a bearded drunk … Cate Blanchett’s new film sees the actor take on 13 personas in a script cribbed from 50 revolutionary texts. She and director Julian Rosefeldt explain why Manifesto is an artistic call to arms in the age of Trump.

Here’s Cate Blanchett as you’ve never seen her before: as a bearded old man pulling a shopping cart through a post-industrial wasteland. In a drunken Scottish accent he/she proclaims: “We glorify the revolution aloud as the only engine of life. We glorify the vibrations of the inventors young and strong. They carry the flaming torch of the revolution!” Now Blanchett is a grieving widow telling a funeral congregation, “to lick the penumbra and float in the big mouth filled with honey and excrement”. Now she’s an American news anchor in the studio, talking to a reporter standing in the rain under an umbrella. The reporter is also Blanchett. “Well Cate, perhaps this could all be dealt with if man was not facing a black hole,” she tells her other self. Now she’s a 1950s mother, clasping her hands in prayer before the Thanksgiving family dinner: “I am for art that comes out of a chimney like black hair and scatters in the sky,” she murmurs, as the children eye the turkey hungrily.

These are not clips from the two-time Oscar-winning actor’s showreel; this is Manifesto, originally a multi-screen gallery installation, now an unclassifiable feature directed by German artist and film-maker Julian Rosefeldt. The script is collaged from more than 50 artists’ manifestos from the past century, and recited by 13 different Blanchetts.

Today, the actor is in another persona – different from any of her characters in the film, or any previous roles. Certainly different from her current turn as a green-screen-chewing, emo-styled goddess of destruction in Thor: Ragnarok. This is Blanchett as artistic collaborator. Sipping tea alongside Rosefeldt in a London hotel suite, discussing big ideas in overlapping sentences, they are an articulate double act.

“Well the first thing is: is it a film?” Blanchett begins.

“She keeps asking that,” says Rosefeldt.

“The amazing thing,” Blanchett continues, “is that there are all these assertions of debasing and debunking and destroying what comes before in order to create this fundamental moment of unique artistic expression, but in performing, you’re struck by the similarities between these manifestos: the rhythmic similarities, the energetic similarities and just the intellectual attack.”

Rosefeldt takes up her point: “There’s a lot of ‘down with this’ and ‘to hell with that’. They definitely want to break with structures. Many of them were written when they were just 20 or 21 years old. We now look at these as texts by world famous artists but at the time, often the artwork wasn’t even there yet. They were just angry young people.”

Blanchett continues: “But you know, what I admire, whether or not there are certain things in the manifestos that I might find personally repugnant, there’s something brave and noble about having the courage to commit to something. I think the artist understands that you have to invest in something, absolutely.”

Blanchett certainly invests here. They shot Manifesto in just 11 days on locations in and around Berlin, which often meant playing being, say, the old Scottish man in the morning and the newsreader in the afternoon, then preparing the next days’ accents in the hotel room in the evening. Even simply learning all her lines was a challenge, she says. They got by with the help of a voiceover, hidden smartphones, earpieces and giant cue cards. Still, there are sizable tracts Blanchett addresses straight to camera. Often they only had time to do one extended take.

She seems to have enjoyed the change of pace: “I always work best – which is why I love theatre – where it’s just: ‘The audience is there. It doesn’t matter whether I feel like doing this or not. I’ve just got to do it.’ It’s got the adrenaline of standup.”

The political landscape has shifted towards populism and against “elitism”, Rosefeldt suggests, which puts topics such as art history in the firing line. “Every populist wants to cut down cultural budgets and educational budgets for a good reason: because they need stupid minds to be manipulated and to become sheep of consumerism.”

Blanchett agrees: “It’s that notion of ‘elitism’, provocative ideas being the domain of the educated, and keeping those ideas separate from the people who they’re trying to keep uneducated and disenfranchised. This is why artists’ voices are being taken away, and the social and political discourse we’re dealing with at the moment is so utterly simplistic.

“As much as Manifesto is about the role of the artist, I think it also asks, ‘What’s the role of the audience?’ Often their attention span is underestimated, and if you’re constantly shooting below the intelligence or the capability of an audience then the work gets thinner and thinner.”

So how does she square that with appearing in Thor: Ragnarok?

She laughs. “Yeah. All things are an experiment, aren’t they? If you know the outcome then why do it really? There’s got to be an element of risk and fun and fuck-up. That’s what keeps me energised: involvement in projects of different scale and ambition.”

Is there a certain dissonance between, let’s say, Manifesto Blanchett and Thor Blanchett?

“Well, I haven’t done that many effects movies, believe it or not,” she insists. “I went in as wide-eyed and bushy tailed to [Thor] as I did into this. And also, it shouldn’t be thus, but I felt like I was speaking to different audiences.”

Perhaps she’s channelling Tristan Tzara’s Dada Manifesto: “I write this manifesto to show that people can perform contrary actions together while taking one fresh gulp of air.”

In Dadaist spirit, then, Manifesto acknowledges and celebrates contradiction, which is another way of saying it has its cake and eats it. It can be appreciated as a representation of challenging ideas and ideals, or as a surreally entertaining one-woman sketch show that might just expose audiences to some provocative ideas, maybe even inspire them to write their own manifesto.

“Whether you agree or disagree with the notion of a manifesto, it’s an effort to engage,” says Blanchett. “It’s an encouragement. It’s about something.”

Rosefeldt concurs: “Something that started as a love declaration to these writings has almost bcome a call for action. You feel like it’s time for action again.”

New promotional interview for Sì

New promotional interview for Sì

Gooe evening! Marie Claire Brazil published an article on their website. If you read it carefully, you might get the name of the next Sì campaing. Enjoy!

Beleza de estrela: Cate Blanchett revela seus cuidados
Poucas atrizes em Hollywood reúnem tanto talento, beleza e star quality quanto a australiana de 48 anos. Vencedora de dois Oscar, também coleciona campanhas, como a da nova fragrância de Giorgio Armani, Sì Passione. Em Milão, Cate recebeu Marie Claire para falar sobre idade, liberdade e elegância.

Algumas horas do desfile Primavera-Verão 2018 de Giorgio Armani, em setembro, encontrei Cate Blanchett, 48 anos, em uma das luxuosas suítes do hotel Armani. Na cidade para a Semana de Moda e também para lançar Sì Passione, o perfume da marca que chega ao Brasil no próximo semestre, ela vestia um terninho preto de corte impecável, marca registrada da grife italiana, e camisa de seda vermelha. Sentada à minha espera em um sofá que contornava todo o ambiente, a atriz se levantou assim que me viu, abriu um sorriso de ponta a ponta, elogiou meu bracelete e as mulheres brasileiras. Em questão de segundos, desmanchou a imagem de diva inacessível, tão colada às personalidades de Hollywood. E me fez esquecer de todo o entourage – dos assessores de imprensa aos seguranças – que me escoltaram até ela. Sem pudor, falou sobre padrões de beleza, envelhecimento e cuidados essenciais.

PELE EM JOGO
“Não abro mão de filtro solar por nada e, no dia a dia, evito maquiagem. Não me importo se vou deparar com paparazzi na porta de casa. Se fizerem uma foto minha sem make, paciência. Até mesmo em encontros como os de hoje, em entrevistas e desfiles, uso pouquíssimos produtos. Pele levemente corrigida, um iluminador, máscara para ressaltar os cílios e batom nude são mais do que suficientes.”

AVERSÃO A PLÁSTICAS
“O maior engano que uma pessoa pode cometer esteticamente é fazer intervenções cirúrgicas muito cedo. O tempo passa para todo mundo, não é? E isso é bonito. Já tive oportunidade de me ver mais velha graças à caracterização do cinema em O Curioso Caso de Benjamin Button [2008]. Quando fiquei pronta, achei interessante. Fiz uma foto e enviei para minha mãe. Foi legal dividir isso com ela, já que praticamente nenhuma mãe chega a conhecer a filha aos 80 anos de idade.”

O SEGREDO DAS MASSAGENS
“Foi com a supermaquiadora britânica Mary Greenwell [preferida das top models dos anos
90, da princesa Diana e de Uma Thurman] que aprendi um dos mais valiosos conselhos de beleza de toda minha vida. Você pode usar o melhor cosmético do planeta, mas, se sua
pele não estiver preparada por massagens faciais para recebê-lo, os resultados serão infinitamente inferiores. Faço sempre.”

ROTINA FRENÉTICA
“Acabo de lançar Manifesto durante o Festival de Cinema de Londres, estou às vésperas de estrear Thor: Ragnarok e ando envolvida de corpo e alma na produção-executiva do remake de The House with a Clock in Its Walls. Como se a vida profissional já não fosse intensa, tenho quatro filhos [Dashiell, 15, Roman, 12, Ignatius, 10, e Edith Vivian, 2, a única garotinha da família, adotada com poucos meses de idade. Todos com o marido, Andrew Upton]. A falta de tempo é constante em minha vida, principalmente para me exercitar como gostaria. Quando estou em casa, pratico ioga. Se a agenda aperta ou viajo, faço longas caminhadas ao ar livre. Gosto de estar em contato com a natureza. Me ajuda a respirar melhor, a manter a forma e a colocar as ideias no lugar.”

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