Category: Interviews

New Magazine Scans + New interview with Cate Blanchett for Vogue Arabia

New Magazine Scans + New interview with Cate Blanchett for Vogue Arabia

Hi Blanchetters!

Thanks to the generous Katarzyna the scans from Wysokie Obcasy Extra magazine are now available in our gallery!


Also, there is a new interview with Cate in Vogue Arabia. Read it below!

Cate Blanchett on Why the Industry, and World, Need to Change


A subtle whiff of Armani Sì permeates the air as Cate Blanchett sits down. She is – clichés be damned – every bit as ethereal as she looks on screen. She’s in a Marni houndstooth-print pencil skirt and so green silk blouse, her skin milky smooth, her hair in a modern blunt cut, her makeup minimal. Yet she’s the first to dispel this Hollywood deception of perfection: “This is not what I look like on a regular school run!” She’s been an otherworldly elf queen, a formidable goddess of death, a fast-talking Katharine Hepburn, a powerful young English monarch. She’s been nominated for seven Academy Awards and won two – for best supporting actress in The Aviator in 2004, and best actress in Blue Jasmine in 2013, Woody Allen’s unflinching dark comedy of a woman slowly losing her grip on her reality after her husband is convicted of large-scale financial fraud. In person, though, she’s warm, engaging, and sharp as a tack. There’s no hesitation in her clear, strong voice, the Australian accent so but discernable. This is a woman in her prime: unafraid, uncompromising, unabashed.

The 48-year-old actor is in Dubai to head the jury of the IWC Filmmaker Award at the Dubai Film Festival; her third year of involvement with the prize, as an IWC Schaffhausen brand ambassador. For the past six years, the Swiss watchmaker has worked to boost the Gulf ’s film industry by awarding this prize to a feature-length film project in production. This year’s crop of four finalists included three female directors, a feat Blanchett is proud of, especially for the region. “All the submissions were extraordinary,” she enthuses. Saudi Arabia’s first female filmmaker, Haifaa Al Mansour, walked away with the top honors – and a US $100 000 cash prize – for her script Miss Camel, an inventive stopanimation tale about a Saudi teenager longing to escape an arranged marriage, and then discovering she can talk to animals. It’s a tale of selfdiscovery and female empowerment, and seems apt for the times. The Los Angeles-based director is no stranger to accolades – her 2012 film, Wadjda, was the Kingdom’s first social entry for best foreign language film at the Academy Awards. She’s also recently completed Mary Shelley with Elle Fanning, as well as the Netflix movie NappilyEverAfer.

“The finalists’ work was very diverse, surprising, and innovative,” Blanchett says. “None of them ended up where I expected them to when I started reading. For this particular award, it’s not just about the story – it’s also about the filmmaker’s vision for it.” She’s full of praise for the region’s film industry, which, while often dealing with triumph over diversity or confronting hardship and conflict, both familial and societal, tackles the themes in diverse ways. “It’s interesting that there are a lot of comedies being made here. Comedy is a really important part of dealing with the world at the moment,” she says with a knowing smile. “We all need to laugh. What I find most impressive is about the films from this region that come to the West are often made with very few resources, and the level of invention and how accomplished they are in their realization is quite breathtaking.”

While it might be easy to surmise that the mother of three boys – Dashiell (16), Roman (13), and Ignatius (9) – would’ve focused her film choices on strong female roles with the arrival of her youngest, daughter Edith, in 2015, she swiftly puts that notion to bed. “I’ve always been very personal in my choices. If you have true engagement in the world in which you live, your choices will end up being current and relevant. I’ve never made consciously political choices but I have a strong, innate sense of wanting to be in interesting, engaged conversations and my gender shouldn’t be an impediment to that happening.” To this end, she doesn’t limit herself with genres, being that rare actor who can seamlessly move from comedies to heavy-hitting dramas, experimental art films, and fun action adventure roles, like last year’s Thor: Ragnarok. She is disappointed, however, that she hasn’t worked with as many female filmmakers as she would’ve liked. Here the conversation takes a weighty turn and it’s clear she is serious yet spent that society is still having the same conversations about discrimination and diversity. “As a species, we are very slow to learn and so I should be unsurprised that yet again we’re talking about equal pay for equal work; we’re talking about the intolerance for sexual abuse and domestic violence. But the difference, I think, is that women have had enough. Certainly, in my industry, women have had enough for a long time. We cannot be in this same place in 10 years, having the same conversation. It doesn’t behoove us economically, socially, morally, politically. Women are half the population. That’s the momentum we cannot lose this time. There’s an incredible opportunity to shift our thinking. We all talk about progression, innovation… Diversification leads to deeper innovation and real innovative change is always scary and daunting before it happens.”

It’s somewhat in her DNA to be interested in what women do and the challenges they face – After the death of her father when she was 10, her mother, June, left her teaching career for property development in order to support her three children. Blanchett’s grandmother also lived with the family. After a gap year in Egypt with plans to become a museum curator, Blanchett returned to Australia and, in 1992, graduated from Sydney’s National Institute of Dramatic Art. She quickly set stages alight with her commanding presence. Hollywood beckoned, but it was her arresting, nuanced turn in Elizabeth (1998) that announced her Old Hollywood star power to the world.

She and her husband, playwright Andrew Upton, got married in 1997 after a breakneck romance, and currently live in the UK, where they also run a production company. (His unusual keepsake from her career? The prosthetic elf ears she wore in The Lord of the Rings). One son is still completing school in Australia – “it’s been hard” – but don’t get her started on the societal pressures working mothers face. Her brow furrows, her voice becomes clearer, more strident. “If I get asked one more time how I balance work and having children, when my husband and male actors never get asked that question… We have to stop putting pressure on women that they have to have it all, do it all, or that anyone can have it all. You can’t. You’ll never sleep. But this is not just about women – you have to bring the men along, too. Whenever a man supports a woman by taking paternity leave or sharing child-rearing responsibilities, he’s somehow ‘emasculated.’ Only when that’s seen as a genuine, positive thing for partners to do, will women be freed to enter the workplace guilt-free. You have to remove the guilt and the stigma.” And with that, she turns her mesmerizing gaze straight ahead. Focused. Powerful. Forthright. A woman of – and for – our times.

Source

All about Eve?

All about Eve?

Hello everybody!

With the two new magazines added to our gallery, it is time to address some information concerning “All about Eve”, theatre production announced earlier this year.
Since the first article reported this new play for next year, many fans have been planning to go to London to see Cate on stage. However, last October, in a interview with Italian magazine D La Repubblica, Cate said that she has declined the offer to be in the production of “All about Eve” which left everyone who read the magazine wanting more information about it. See both original and translated version of the interview excerpt below:

Di passaggio in Italia, é giá pronta a rientrare nella sua tenuta a Crowborough, nell’East Sussex, a poche ore da Londra, dove si é trasferita da Sydney con il marito, il drammaturgo Andrew Upton, e i quattro figli. «La famiglia mi impegna parecchio», dice a proposito del fatto che non portera a teatro una piece a cui teneva moltissimo, Eva contro Eva, nel ruólo di Bette Davis. «Grazie ai bambini ho imparato a economizzare i tempi e diventare piü brava. Ma stavolta ho rinunciato. E molto difficile che nella vita le nostre passioni si allineino».
**********
Passing through Italy, she is ready to return to her estate in Crowborough, East Sussex, just a few hours from London, where she has moved from Sydney with her husband, playwright Andrew Upton, and her four children. “My family engages me a lot”,
She says about the fact that she will not bring a piece to the theater that she really cared about, All about Eve, in the role of Bette Davis. “Thanks to the children, I’ve learned how to be more economical and become better. But this time I gave up. It’s very difficult for our passions to align in life”.

Also, S Moda Spain January 2018* published that:

Donde sí la veremos es en el teatro.
Lamentablemente, por asuntos familiares he tenido que cancelar Eva al desnudo [la actriz tenía previsto volver a las tablas en Londres con esta obra en primavera]. ¿A quién no le gusta Margo Channing? ¡No sé cuántas veces habré visto la cinta! Es una de esas películas perfectas.
**********
Where we will see her is in the theater.
Unfortunately, due to family matters I have had to decline on All about Eve [the actress had planned to return to the stage in London with this production in spring]. Who does not like Margo Channing? I do not know how many times I have seen the film! It’s one of those perfect movies.

Plus, according to the site The Stage UK

Cate Blanchett has hinted at a return to the UK stage following a hiatus of five years.
The Oscar-winning actor told The Stage theatre was her “first and truest” love, but said her return might not necessarily be to the West End stage.

Her comments appear to raise doubts about reports earlier this year that she is set to star in a stage production of All About Eve in the West End, produced by Sonia Friedman.

“It may not be the West End but it‘s my first and truest love the theatre, you are very accountable and connected to your audience as an actor on stage,” she told The Stage at this year’s London Evening Standard Theatre Awards.

Blanchett added: “So yes, now I have moved back to England I would love to be on stage here – whether it’s the West End I don’t know necessarily.”

Blanchett’s last UK theatre appearance was in Big and Small at the Barbican Theatre in 2012.

A spokesman for Friedman confirmed that the production of All About Eve was still happening, but “not for some time and the casting is unconfirmed”.

Cate was also interviewed by BBC Radio 2

And in a interview published by A West End Whinger last November, director Ivo Van Hove also commented on the production:

Q: What’s next for you Ivo?

IvH: It’ll be All About Eve with Cate Blanchett.

Q: Can you talk about your take on that?

IvH: Vell, the story begins at a theatre avards bash so ve vere going to do the whole thing as a Tony Avards style ceremony hosted by Kevin Spacey but of course ve’ve had to edit that out. Now I’m going to set the whole thing on an airplane. The audience vill have to check in for the performance, bringing their passports vith them, go through very tight security before queuing for unreserved seats in the auditorium vhere they’ll vatch the whole show on in-flight entertainment systems. Every few minutes their TVs will be interrupted by Cate’s voice telling them “fasten your safety belts”…

Q: Interesting. Will the audiences actually see Cate?

IvH: She’ll be there but will stay in the dressing room throughout. It is a backstage story after all. After that I’d like to tackle a musical. I’m thinking about Sunday in the Park Vith George vhere the audience are invited to try on-stage paint-balling or Gypsy but vithout any songs.

With many information circulating, the status of the next theatre production with Cate is very uncertain and yet to be confirmed. Therefore, we need to wait for the next chapters to unfold before we decide to pack our suitcases to travel to see her on stage.

*Special thanks to Blanchetters on CBF Chat for this info.

Interviews and magazine scans

Interviews and magazine scans

Good evening, new interview from Dubai International Film Festival and from magazines scans. Thanks to all the Blanchetters that reported all this news! Enjoy!

Cate Blanchett on Hollywood’s ‘casting couch’ mentality
Award-winning actress was at the Dubai International Film Festival as the head of jury for the IWC Filmmaker Award

Cate Blanchett begins our conversation perfectly in character: by complimenting another woman.
The two-time Oscar winner had just seen Hostiles the night before, when it opened the 14th Dubai International Film Festival. The tense period western has garnered buzz due to a lead performance from Christian Bale. But Blanchett, poised with her finger to her mouth, says, “Rosamund was amazing, wasn’t she?”

She means Rosamund Pike, of course, Bale’s co-star and actress extraordinaire.

Later, Blanchett returns to this: women supporting women is the most exciting and profound change she’s seen in Hollywood. Pitted against one another for so long, “we’ve been seeing each other as competitors rather than collaborators.”

The Australian actress, who stars in the upcoming Ocean’s 8 with an all-female cast, further delved into the importance of dismantling the ‘casting couch’ mentality in the film industry (i.e. exchanging sexual favours for employment opportunities) — and what it was like to turn into a super villain for the big screen.
We just saw you in Thor: Ragnarok. What was it like to play a villain — and an all-powerful one at that?
It was fascinating for me, I think, because there’s so much post-process in it. It’s the equivalent of acting to a tennis ball, but obviously the tennis ball happens to be Chris [Hemsworth]. Working with [director] Taika Waititi was great — I didn’t get to work with Mark Ruffalo unfortunately, who I love — but it was Taika’s vision that was really interesting to me. Being part of a superhero universe, you get to speak to a really different audience. Having gone to comic con — I didn’t go the first time around with the Lord of the Rings, but I went with the Hobbit. And those people completely own the genre.
Have you seen fan reactions to your character on Twitter? They’re extreme.
No! But we went online, prior to shooting, and there were women doing Hela make-up. We took a lot of inspiration from that; she’s the goddess of death, so they did all these veins. It wasn’t a direction that Marvel were thinking of. Initially they just wanted me to have a headdress all the time, and we talked about she would look like without the headdress. What I loved about Marvel and Taika was they were really open to that.
You’ve always been a proponent of women in Hollywood…
Well, I am one.
What are your thoughts on the state of affairs in Hollywood today?
The creative industries are always going to deal with doubt. They’re always examining themselves because their job is to examine the world around them. The example that we’re setting is going to be — and has to be — a positive one. Because we’re not the only industry that has unequal pay for equal work. And we’re not the only industry where women are not given the same level of opportunities, where there’s an equivalent of a casting couch. It’s in a lot of industries and I hope that other industries will follow suit. I feel hopeful.
Ocean’s 8 is a great example of that. How was it like working with such a big cast?
In the end for me, the result was immaterial. It was the opportunity to hang out and work with all these women. I’ve long loved Helena [Bonham Carter], for instance. We’d been in Cinderella but we didn’t get to do anything together. I just adore her. And Sarah [Paulson], and finally getting to work with Sandy [Sandra Bullock] and with Annie [Anne Hathaway]. And you know, meeting Nora [Lum] and Mindy [Kaling], who I didn’t know at all, and Rih Rih [Rihanna], who is such a firebrand. What she’s done in the music industry, of course, is incomparable, but also with her new beauty line — she’s a really, really interesting person. It was a game-changer for me.
Do you think you’ve made that movie, Ocean’s 8, your own?
Oh, I haven’t seen it. I don’t know. Gary Ross was directing it — he’s in the editing room at the moment and I haven’t spoken to him, so I hope it’s gonna be great. But what was great and will continue to be great was the relationship with those women.
You’ve won several awards over the span of your career. Is there one you hold closest to your heart?
I think the Order of Australia that I received recently for my perceived contribution to cultural life in Australia was a pretty profound one for me. I’ve received several honorary doctorates. They meant an incredible amount to me.
You’ve portrayed iconic characters in the past, like Katharine Hepburn and Queen Elizabeth I of England.
But it depends who’s looking at you. You can act your socks off in the best screenplay ever written, but if the director is disinterested, if you don’t have a great cinematographer, if you’re not working with an amazing focus-puller and other actors who are engaged… It’s a conversation. I was really fortunate that Shekhar Kapur [director of Elizabeth] believed in me and was interested in what I had to offer.
When you were starting out, did you ever suffer imposter syndrome?
I think the imposter syndrome gets worse.
It does?
Oh, yeah. Definitely. You’ve got nothing to lose, in a way. And you’ve got no time to be frightened. The more that’s expected of you, the harder it is to put those expectations aside and continue to risk trying new things and failing. That space becomes more difficult, I think.
I heard you recently moved to the country. Is that a necessary move in order to get away from the noise? Or do you like city life just as much?
I do. But my husband’s a writer. To find a bit of quiet is difficult, not only with how busy our lives are, but how busy cities are and how noisy the 24-hour news cycle is. It’s also for our children. We both grew up riding our bikes around neighbourhoods with a bit of benign neglect from our parents, and it’s really hard to find that space now because we all keep one another under surveillance. It’s really great to be in places that don’t have WiFi.
What’s your favourite part of living in the country?
Probably the pigs and the chickens. But also, we’re undertaking constructing a garden, which has been so… You have to be very humble and very patient. You can’t plant certain things until the next seasons. Sometimes your so-called crops will fail. It’s about learning patience.
This is your third time at Diff. What keeps you coming back?
Chairing the IWC Filmmakers jury the first time [where four Gulf directors compete for partial funding], I just found the submissions really interesting and diverse. Film is not only a temporal medium but it’s a mirror that a society holds up to itself. What it chooses to examine and how it chooses to examine it.

via Gulfnews
Radio interview for the Kris Fade Show

A snippet from another interview

New magazine scans

Upcoming interviews from Dubai Film Festival

Upcoming interviews from Dubai Film Festival

Good evening! We have news of two upcoming interviews from the press jucket that followed the IWC photocall (December 7)
One intervie is set for Sunday, during the Kris Fade Show on Virgin Radio


The second interview is been announced by lebanese TV presenter Raya Abirached of Scoop with Raya on MBC Lebanon. Check her site!

Yesterday will go down in my memory as a remarkable evening. 3 female directors were finalists of the #iwcfilmmakeraward & 1 won! We celebrated women in a spectacular way and i was sooo happy to be surrounded by: -Remarkable women in film: #CateBlanchett @yousrawyagroup @hendsabri @mennagram @bushraofficial @haifaa.almansour @naylaalkhaja @muznaalmusafer @sonamkapoor @tubabustun.official (only to name a few!) -Remarkable women in television: my darling MBC girls @nardineffarag @mariamsaidofficial @shahadballan @mahiraabdelaziz (missed you @dialamakki!) -Remarkable women in media @halgergawi @lara_mansour @vashionista @sossiwartanian (missed you @zoyasakr ??) -Remarkable women in fashion @rymsaidi @lanaelsahely @tamaraalgabbani @nouraridaofficial @thefierce_nay @jessicakahawaty -Remarkable women in PR, marketing, events… Especially you @sarayassine_ At some point of the evening a photographer while taking a picture sarcastically asked us to give him our "influencer smile" and i had to laugh at him ? We may all end up "influencing" but it is as the result of the remarkable careers that we have behind us & our talent for multitasking work, motherhood & facing any difficulty that comes our way!… not our "influencer smiles" Love you girls!!!

Un post condiviso da Raya Abirached (@rayaofficial) in data:

Recent magazines scans

Recent magazines scans

Good evening! Cate Blanchett is on the cover of Jumeirah, magazine that sponsor the 14th Dubai International Film Festival, starting tomorrow. Cate will be head of the IWC Filmmakers Jury for the sixth IWC Filmmaker Award, that will be presented to the winning filmmaker at a star-studded gala on December 7. Open the scans by cliking on the cover.

We also recovered some missing magazines from 2017. Enjoy!



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.”

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