Launch of the new Australian Pavilion in the historic Venice Biennale Gardens and the inaugural exhibition, Fiona Hall: Wrong Way Time at the 56th International Art Exhibition, La Biennale di Venezia
At 4pm Tuesday 5 May in Venice, Italy (EST midnight Tuesday 5th May) the new Denton Corker Marshall designed Australian Pavilion in Venice’s historic Biennale precinct will be officially opened by Senator the Hon George Brandis QC, Attorney-General and Minister for the Arts, with remarks made by Mr Rupert Myer AM, Chair of the Australia Council for the Arts, Australian Commissioner and lead donor for the new pavilion, Mr Simon Mordant AM, Paolo Baratta, President of the Venice Biennale, architect John Denton and pavilion donor, Cate Blanchett.
Cate Blanchett to open the Australian Pavilion at the 56th International Art Exhibition – La Biennale di Venezia
New interview with Cate Blanchett!
Mirror, mirror on the wall, how much fun did Cate Blanchett have playing one of the most wicked stepmothers of them all? OK, that’s from Snow White, but in the box office smash, Cinderella, the two-time Oscar winner tears it up as Cindy’s evil stepmom. “It was fun…Once you reach a certain level, you can lose your drive to experiment,” says the Aussie actress. “So my attitude is, ‘I really want to try this, even if I fall flat on my face.'” It’s hard to imagine the 45-year-old failing at anything, but here she cops to her own parenting challenges and what makes her marriage to playwright Andrew Upton work (hint: It rhymes with ex).
You seemed to get a kick out of playing a classic meanie. And those clothes she wears!!
I was interested in looking into what makes someone wicked and why she does ugly things. Hopefully, you get a glimpse of someone who’s tried to start her life again but jealousy overwhelms her. I say let me play anything different, whether it be a villain or an elephant.
In your personal life, you are a mom of four. Is the role what you imagined?
Before we had kids [three biological sons, Dashiell, Roman, and Ignatius, and a daughter, Edith, whose adoption was announced earlier this year] a lot of people talked to me about children in a vaguely negative way—how your life is going to change and how it was all about the compromises you would have to make and how your relationship with your partner would change. Of course all that’s true, but for me, it was like I turned the corner and opened this door to this whole other universe. It was like I’d fallen down the rabbit hole.
It’s a never-ending challenge, isn’t it?
It’s absolute chaos, but if you give yourself over to it, it’s the most extraordinary experience. Every single day brings a challenge—your sense of your own immortality, what sort of world you want to bring your children up in and the enormous responsibility of educating them.
As you became a star, did you ever worry that your career would have to take a backseat to being a mom?
It’s important to know that there is not a right time to have children. You can sort of prepare yourself, but there’s a new being that’s going to affect the rhythm of your life. You just have to be open to it. I’ve never been worried about how it’s going to affect my career. I’m not a fearful person. There’s more to life than acting, love it as I do.
Has all this made you appreciate what your own mother gave to you?
I think, having children, I understood just how much I was loved by my own parents because you realize that the love you give to your children is unconditional. My mother is very encouraging and very optimistic, so she’s always the sort of person to pat people on the shoulder and say, ‘Come on, don’t give up.’ If you get along with your parents, it’s a really great thing.
What makes your relationship with your husband Andrew work? It’s obviously very successful.
We don’t take ourselves too seriously. I just love him. It is quite simple actually. I think when things are good, they are very simple. He is just incredibly gifted and a generous human being, and I’m blessed. I’m going to start to cry if I talk about this much more. He was the first person I could actually talk to about my acting, get down and dirty and talk about work and still have a really good friendship and a great sex life. He’s my confidant.
Do you ever get concerned that you’re expected to share too much of your personal life?
It’s nice to talk about my children and my wonderful husband, but I don’t want it ever to become just blah, blah, blah, and I don’t want to go too far. I don’t want to know what stars had for breakfast or where they shop. I just want to see their films. It’s a lot easier to see them as the character they’re playing. That’s why I worry about exposing too much of the real Cate Blanchett. I love watching a performance by an actor who hasn’t revealed too much of his or her personal baggage.
German magazine Monopol, on newsstand tomorrow, dedicates four covers to Manifesto, a project by Julian Rosefedlt to celebrate Cate Blanchett’s career. Have a look at four of the thirteen roles Cate will give life in the movie. Manifesto is set to premiere in December.
Good evening! A new still from the movie Carol it’s been released, featuring Cate Blanchett as Carol Aird and Rooney Mara as Therese Belivet,
and a new behind the scenes photo, with Cate and director Todd Haynes.
thanks to Miss Belivet
On June 26, 2014 Cate Blanchett sat to chat with Anne Summers on the Sydney Theatre Company stage. The video from that evening it’s been released today. Screencaptures will follow soon.
The official selection lineup for the Cannes Film Festival it’s been revealed earlier today. Cate Blanchett will be there with the movie Carol, by Todd Haynes, based on the book “The Price of Salt” by Patricia Highsmith.
“Carol” (Todd Haynes, U.S.-U.K.). Cate Blanchett and Rooney Mara star in this adaptation of Patricia Highsmith’s novel about a lonely young department-store clerk who falls for an elegant older woman in 1950s New York. Haynes’ recent films (“Far From Heaven,” “I’m Not There”) have played the fall festival circuit, and this latest drama, which the Weinstein Co. is releasing Stateside this fall, will mark his first appearance at Cannes since 1998’s “Velvet Goldmine,” which received a prize for artistic contribution from the jury. (Sales: HanWay Films)
After Vogue Australia, Cate Blanchett graces the cover of another magazine: Harper’s Bazaar Australia (May Issue). Photo by Tom Munro.
‘Since I’ve been struttin’ the red carpet, things have changed a lot,’ Blanchett told Harper’s Bazaar Australia. ‘The way women are asked about those red-carpet moments. Oh my God. It’s just a dress!
‘People forget the fact that women are up there [at the Academy Awards} because they’ve given extraordinary performances. It’s a wonderful excuse to dress up and have F.U.N. But let’s not forget the work.’
On the subject of the controversial ‘Mani Cam’, which a number of celebrities including Jennifer Aniston and Julianne Moore refused to participate in, Cate joked: ‘Next it will be, “What brand tampon are you wearing?”
‘How much more intimate can they get? “Show us your knickers”? There is a line.’
The 45-year-old actress had a glamorous goth makeover for the magazine cover shoot, which sees her sporting sultry smoky eye make-up and leather.
The fringed leather jacket is by Giorgio Armani and costs an eye-popping $11,935.
The star is promoting her new film Cinderella, but plans to take a break until June, to take some time out to bond with her adopted baby daughter Edith Vivian Patricia Upton.
via Daily Mail
New magazine cover for Ms. Blanchett, even if the photoshoot it’s from 2013 (Harper’s Bazaar UK).
COVER STORY: CATE BLANCHETT
She’s been a monarch and an ethereal elf, and now Cate Blanchett is beguiling as Cinderella’s cruel stepmother. With a strong interest in environmental issues, women’s rights and the arts, Blanchett is also now a mother of four, thanks to her and her husband’s recent adoption of a baby girl.
The May issue will be on newsstand from April 7, 2015 in New Zealand, and from April 9, 2015 in Australia.
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.
Three new press junket interviews for Cinderella! Enjoy!
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.”
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
The show starts at 6:30 PM.