Category: Interviews

Manifesto – A new festival, photos and a interview

Manifesto – A new festival, photos and a interview

Good afternoon dear fans & followers! I’d like to open this post thanking the lovely Patricia that with her very generous donation almost covered the whole cost of the host (the server where the site is hosted). An heartfelt “Thank you!” from the team of Cate Blanchett Fan and I hope from all the ones that visit this site daily. Thanks from the bottom of our hearts!

Talking about Manifesto, the movie is in the official program of the 3rd IndieBo – Festival De Cine Independiente De Bogotà (Colombia) that takes place from in July (13-23). The detailed program in not available yet.
A new interview with Cate has appeared in the lastest issue of Gente (Italy), and two new stills come from the Russian promotion of the movie, that opened there last week.



Cate Blanchett on her beauty philosophy and favourite fragrances

Hi everybody!

Cate Blanchett spoke to Elle UK for the Beauty Matrix section. Time for beauty tips! Enjoy the reading!

Interview: Cate Blanchett on motherhood, fashion and beauty

Hey everyone!

A new interview with Cate Blanchett for La Dernière Heure (DH.be) magazine!Enjoy the reading!

Cate Blanchett: “Maman, c’est un job à plein temps”

À la tête d’une fratrie de trois garçons et une fille, Cate Blanchett est une actrice et une mère épanouie. Voici ses recettes pour rester zen…
C’est l’une des actrices les plus récompensées du star system. Une institution à elle toute seule. Une quasi légende. Elle a volé sa pâleur à Madame la lune et pourrait sortir d’une toile de Boldini. Lorsqu’elle vous sourit, on dirait en effet le soleil qui entre dans la pièce. Sacrée dimension. Sacré physique surtout. Imposant et léger à la fois. Comme son jeu. Comme ses rôles. Silhouette d’ajonc et volonté d’airain, depuis que cette blonde Australienne s’est lancée dans le cinéma, les superlatifs pleuvent. Tout comme les comparaisons. Nouvelle Meryl Streep pour certains, DeNiro en version féminine pour d’autres, Catherine Elise Blanchett pour l’état civil n’a pas fini de nous séduire ! Rencontre avec une muse protéiforme…

Parlez-nous de vos enfants, Roman, Dashiell, Ignatius, Edith. Sont-ils imaginatifs ? Est-ce qu’ils jouent, lisent, vous font-ils rire ?

“Ils sont trop drôles. L’autre jour, on était en voiture et on chantait à tue-tête ! L’un de mes fils avait ses mains sur ses oreilles, et il m’a dit : ” S’il te plaît. Est-ce que tu peux arrêter maman de chanter ? Quelqu’un risquerait de t’entendre !” (rires) En ce qui concerne leur imaginaire, j’espère qu’il est très riche. Parfois il m’arrive d’aller chez d’autres gens et de me dire, que mes gamins n’ont décidément pas beaucoup de jouets. Je me souviens qu’à un Noël, nous avons proposé à mon aîné, qui avait 11 ans, de lui offrir une tablette Kindle alors qu’on partait en vacances. Comme son sac était déjà plein de livres, il a dit non ! Je pensais qu’il avait décliné ce cadeau potentiel parce qu’il n’avait plus de place dans son sac à dos ! En fait, pas du tout. Il m’a sorti le plus sérieusement du monde qu’il préférait l’odeur de l’encre et tourner les pages en papier ! J’étais très fière de lui et de… moi. Dans mon for intérieur, je me suis dit que je l’avais bien éduqué !”

Élever trois gars, plus une petite fille, cela ne doit pas être de tout repos ?

“Il faut avoir de l’énergie à revendre. C’est un job quasiment à plein temps ! Lorsque j’ai commencé à prendre des cours d’art dramatique, ma grand-mère avait l’habitude de me répéter : “Quand tu joues une pièce, allume les petites lumières de la création qui se trouvent dans ta tête. Mais dès que tu rentres chez toi, éteins-les et redescends sur Terre. Il y a un temps pour l’abstrait et un temps pour le concret !” Elle avait raison et c’est d’ailleurs ce que je m’efforce de faire avec mes enfants. Il y a un temps pour le travail et un autre pour eux !”

Malgré tout vos efforts pour rester une mère standard, vous n’avez pas le sentiment d’être une mère décalée dans votre for intérieur à cause de votre notoriété ?

“Aucunement ! Je suis dans le concret. Je vous donne un exemple. Quand je me rends au supermarché avec mes garçons, je dois, moi aussi, leur expliquer qu’avant de devenir un morceau de viande dans une boîte en plastique, il y avait une vache qui broutait de l’herbe dans la prairie ! Et comme toutes les mères, je dois aussi faire face à leurs réactions. À savoir : des yeux exorbités et un air qui veut dire : Pouah, je ne mangerai plus jamais de viande !”

Quelle mère pensez-vous être ?

“Oh la la, je ne sais vraiment pas ! Je ne me pose jamais la question ! Franchement, vous me voyez m’asseoir à une table et me dire avec un doigt sur la tempe : “Alors Cate, es-tu une bonne ou une mauvaise mère ?” La seule chose que je peux vous dire présentement, c’est quelle mère je ne suis pas ! Avec mon mari, par exemple, nous n’adhérons pas à cette mode actuelle dans les familles dites modernes, mode qui consiste à faire copain-copain avec nos enfants ! Nous pensons aussi, qu’il est extrêmement dangereux de vouloir à tout prix faire en sorte que notre progéniture nous ressemble. Nous ne sommes, bien sûr, pas très à l’aise non plus lorsqu’il s’agit de fliquer nos gars ! Vous savez, donner de l’amour, c’est certes beaucoup plus évident que de hausser le ton. Mais en y réfléchissant bien, un enfant qui n’est pas cadré est un enfant qui se sentira à un moment ou à un autre complètement déboussolé. Moralité : il faut savoir doser ! J’ajoute enfin que le plus important, c’est de laisser ses enfants s’exprimer. Surtout quand ils ont tort ou qu’ils viennent – je ne sais moi – vous casser un truc dans la maison. Cela leur apprend à structurer leur pensée mais aussi à prendre leurs responsabilités…”

L’autorité n’est donc pas pour vous quelque chose de figé ?

“Non, elle doit se nuancer, s’ajuster et être remise en question à chaque étape de l’évolution de ses enfants. Au fur et à mesure, on pose des lois nouvelles et on assouplit d’anciennes. Aujourd’hui, je le constate autour de moi, les parents préfèrent être aimés que craints. Alors, on veut être obéis mais sans se fâcher, interdire mais sans frustrer. J’en conviens, ce n’est pas évident. Trouver la bonne mesure entre le respect de l’enfant et les règles indispensables est un slalom permanent. Mais vous ne m’ôterez pas de l’esprit que la seule autorité valable est celle qui ne se voit pas, ne se remarque pas !”

Comment vous y prenez-vous pour que vos enfants ne soient pollués par ce cirque médiatique ?

“Je ne sais pas vraiment ce qu’est une enfance normale. Je pense que l’enfance par essence même est quelque chose de totalement… anormal ! (rires) Tous les enfants ont une vie imaginaire et il ne faut en aucun cas la museler, la brider. Avec mon mari, nous menons une vie qui s’apparente à un cirque permanent ! On essaie pour autant de la gérer tout en restant le plus stable possible. Comme tous les parents qui travaillent, je présume. Ce qui est génial pour mes enfants, enfin il me semble, c’est qu’ils ont l’opportunité de voir l’envers du décor. Beaucoup de gens, pas seulement les jeunes d’ailleurs, sont obsédés par la notoriété. La chance de mes garçons, c’est qu’ils peuvent voir tout le travail qu’il y a derrière. Les efforts que l’on doit faire pour être au
top. Ils ne voient pas un produit fini uniquement, en l’occurrence un film, mais tous les préparatifs derrière chaque scène ! Mes enfants ne me perçoivent donc pas comme une icône glamour du coup mais comme une maman qui se démène pour répondre aux attentes d’un réalisateur ! Le fait qu’ils soient témoins de ce processus créatif normalise l’aspect paillettes demon métier.”

Avez-vous pressenti chez vos aînés, une envie de suivre les mêmes traces que vous ?

“Pour l’heure, ils sont plutôt à fond dans les mangas ! Quoique, pas plus tard qu’hier soir, un de mes fils est entré fièrement dans ma chambre en me disant qu’il envisageait de devenir Hamlet. Sans vraiment savoir qui c’est ! (Rires). J’ai un rêve concernant mes garçons : qu’ils deviennent ce qu’ils souhaitent devenir ! Mon rôle consiste uniquement à les aider à réaliser leurs rêves. À leur baliser un peu les routes à emprunter mais en aucun cas les leur imposer.”

BIEN DANS SA TETE, BIEN DANS SON CORPS

Tournant le dos aux diktats de la mode, Cate Blanchett choisit ses tenues au coup de cœur. Et remercie son coiffeur…

Vous êtes toujours sublime, toujours très apprêtée quand on vous voit. Comment faites-vous pour arriver sur le tapis rouge si resplendissante et en même temps si naturelle ?

“Le secret c’est de foire ami-ami avec son coiffeur et son maquilleur, (rires). Dites-vous bien que sans eux, sons leur sens artistique, sans leur aide, je ne serais pas là où j’en suis aujourd’hui ! Maintenant si vous portez une robe Armani couture taillée sur mesure, les probabilités pour vous faire remarquer sont encore plus grandes ! Vous savez, 50 % de mon métier consiste à passer dans les mains de ces véritables artistes ! L’image est essentielle au cinéma et il leur faut parfois qu’une dizaine de minutes pour transformer mon air de maman fatigué en un teint lumineux ! Mais je peux aussi comprendre que pour certaines de mes collègues cela soit une vraie plaie d’être l’objet de toutes les attentions !”

Si vous deviez décrire votre dressing ?

“Nous les actrices, nous avons un privilège. Ce privilège, c’est que beaucoup de designers nous sollicitent pour porter leurs créations. Le piège, c’est de se faire récupérer. De devenir leur ambassadrice, sans même s’en rendre compte. J’ai choisi le parti de porter ce que mon instinct me dicte de porter et non ce que tel ou tel couturier me pousse à mettre sur mon dos… ou sur mes fesses ! Mon dressing est globalement rempli de fringues coup de cœur. Et donc pas nécessairement des griffes. ”

Votre définition de la mode ?

“Mixer, brosser, combiner, associer, déstructurer, transformer, détourner. Il m’est arrivé, par exemple, d’associer un cardigan de plusieurs milliers de dollars avec une jupe achetée en solde chez un fripier ! La mode, je vais vous dire, c’est un truc très perso. Cela me fait toujours rire quand je vois ces coaches qui vous disent ce que vous devez ou non porter. La mode, c’est aussi une question d’état d’esprit. Vous ne vous habillez pas de la même façon si vous êtes amoureuse que lorsque vous avez le moral en berne !”

Votre couleur préférée…

“Le noir ! Quand vous êtes rousse ça fait ressortir vos cheveux et la blancheur opaline de votre visage!”

Quatre enfants et une ligne de déesse, nos lectrices sont en droit de se demander. Mais comment fait-elle ?

“J’ai toujours refusé d’écouter ou de lire toutes les conneries qui tournent autour des régimes. Qui plus est lorsque ces régimes sont des régimes Mode in Hollywood. Ils ont élaboré selon moi par des charlatans qui n’ont aucun scrupule à mettre la vie des femmes les plus fragiles en péril. En outre, je sais que, si je m’étais affamée, les hémisphères de mon cerveau auraient quelque peu merdouillé. Conséquences : je n’aurai jamais pu fournir un
travail de qualité sur grand écran. Dans The Aviator (de Martin Scorsese, NdlR), j’incarnais Katherine Hepburn, l’une des célèbres maîtresses du nabab Howard Hughes. Pour la préparation de ce film; j’avais dû me mettre au golf activement et au tennis car Miss Hepburn était une véritable athlète. Pratiquer un sport intensivement, évidemment cela vous aide à garder la ligne. Mais d’ordinaire, je ne suis pas très portée sur ce type d’activité ! Suer ! J’exècre. Bon, d’accord, je l’admets, lorsque j’attendais Dash, je m’étais inscrite pour des cours de pilâtes. Et puis, finalement, je n’y suis jamais allée. Trop H.S. à la fin de la journée !”

En attendant, vous êtes la preuve que l’on peut avoir plus de quarante ans à Hollywood et être encore sollicitée…

“Je pense que les actrices de plus de 40 ans sont en train de prendre une belle revanche à Hollywood. On ne les regarde plus comme des pestiférées, au contraire, on les respecte ! Il aura fallu du temps. Cela devenait usant de se battre contre ces a priori. Je pense que l’on peut toutes d’ailleurs remercier des actrices comme Meryl Streep ou Diane Keaton. C’est grâce à des femmes de cette trempe que nous avons pu démontrer que l’âge n’avait pas à interférer. Un acteur, une actrice ne peut pas être normée car sa fonction même, son essence même est d’offrir une infinité de palettes, de nuances. Et le fait de vieillir en fait partie. Aujourd’hui, on voit sur les écrans, des femmes bien en chair et pour certaines très en chair. On voit aussi des acteurs qui n ‘ont pas forcément un
physique de play-boy, de tombeur. Hollywood a su se réformer en profondeur en sortant des stéréotypes. C’est la même chose avec les actrices de plus quarante ans. Aujourd’hui, les bons rôles ne sont plus derrière nous,
mais devant nous ! A nous de savoir les saisir !”

via DH

Magazine Scans – Town & Country and Grazia France

Magazine Scans – Town & Country and Grazia France

Hello folks! We have the scans from the last issue of Town & Country, and we discovered a new promotional interview for Sì Rose Signature in Grazia France. Both magazines are currently in newsstands.




Cate Blanchett on Motherhood, Stigmas About Aging, and Self-Care #MothersDay

Hey Everyone!

New promotional interview with Cate Blanchett for SK II. Enjoy the reading!

When you find yourself in the presence of Cate Blanchett what do you talk about? This isn’t a trick question. The actress has accolades by the dozen, is a devoted mother of four, and is a staunch advocate for women. Truly, where do you start?

Luckily, I’m with catching up with her for an SK-II press junket, so skin care and unrealistic standards about aging make natural entry points for discussion. The brand is celebrating its limited-edition Mother’s Day essence, a gift, I’ve got to say, is hard to hand over. I already have three different versions of the treatment. It’s light and refreshing—a joy to spritz and pat on, and if using it at every opportunity means I’ll have skin as radiant as Blanchett’s in 13 years (which is as long as she’s been the brand’s spokeswoman), I’ll happily hoard this bottle too. (Sorry, Mom.)

Here, the Broadway sensation talks masking, motherhood, and the importance of making time for yourself. Even if that’s only long enough to moisturize.

First off, I’ve just got to say your skin is phenomenal. What’s your current routine?

It changes depending on whether I’m just running around in everyday life or whether I’m on stage. Because obviously doing eight shows a week [on Broadway], I‘m taking my makeup on and off three times a night, eight times a week. So my cleansing regimen changes. On those nights, I use an oil cleanser because it gently removes all your eye makeup well. And then any other time, I use the SK-II LXP range morning and night: the facial treatment essence, the eye cream, the serum, and the moisturizer. For nearly an entire decade, I was decanting the essence into a spray bottle, and then I finally talked SK-II into doing a mist, which I now use day and night. And then, say today before an event, I put a mask on.

What kind of masks are your favorite?

I love to do a brightening mask [before appearances], because it evens out your skin tone and it helps to luminize it. It gives your skin more radiance. For a big event like a red carpet, I might do a treatment mask [to moisturize] the day before and then do a brightening mask while getting ready. And when I’m traveling, I’ll do a facial treatment mask because it’s really hydrating.

You have three sons, and you recently adopted a daughter. How has she changed the way you view societal pressures on women?

I think women are in a very challenging place at the moment. And the challenge is to band together no matter what your socioeconomic standing is. We’re all female humans. I’ve felt that way raising sons too. Because as a mother of sons you have a responsibility to instill in them the need to and the benefits of respecting women. That hasn’t changed. But what’s never been more important is the necessity to impart in young girls a sense of self-respect, a sense of having expectations, and a right to achieving quality. And of course having a young daughter now, one becomes more acute on a daily basis. I wake up to a reminder of that responsibility to lead by example.

What ways are you trying to make your daughter’s experience different from yours?

I grew up with a mother who was big on self-respect and sent me to attend a very feminist school. So much so, that we weren’t doing school plays with boys because [they] felt that plays always skewed to favoring roles for them. We had to invent our own drama. And I’m sure that’s where my love of drama was born and nurtured. My mom was very much about being self-directive as a woman and not finding your identity in who you were with.

What’s also important—and not to generalize—but women are great community builders. We have to recognize our right to self-expression and our right to discover and grow our individual identities. And yet, also at this moment, I think it’s important to remember our collective identity. It’s been a long time now since universal suffrage. Equal pay for equal work sounded like an odd conversation last year, and now it seems like an impossible conversation. Around the world, there are countries reducing the legal age where the girls can enter into marriage. Even in this country, there are states where girls can get married at the age of 14. And, talking about reproductive rights, we’ve lost a lot of ground. We’re only going to get that ground back and move forward if we act collectively. It’s a two-prong thing: it’s enshrining our ability to be individuals, but also to work together.

To that point, self-care has become a big buzzword lately—and it’s even harder to do when you have others you care for. Did you find it more difficult to take care of yourself when you became a mom?

Absolutely. When anything momentous happens in your life—if you take a big career turn, or you fall in love for the first time, or you have a child, adopt a child, even when you turn a certain age—it often takes a while to recalibrate and work it out. You realize, “I don’t have two legs anymore; I have four legs.” A lot of things went out the window for me for awhile. Looking after yourself is usually the first thing to go. But then I quickly realized if you’re incapable of looking after yourself, you’re incapable of looking after other people. It’s about trying to find as much as you can of a balance. I mean, life is constantly out of balance. I haven’t found a balance.

Totally. I think work-life balance is a myth.

It is a myth! Life is chaos. And that’s why taking literally three minutes for myself in the morning and at night—to put on two sets of moisturizers and a serum—sounds really small, but it certainly became an indispensable life raft. Now, I’m like, “I’m taking these three minutes, and I’m not leaving the house until I’ve done it.” You wouldn’t go out of the house without brushing your teeth, right? I do often go out of the house without brushing my hair. Something’s got to go! But I’ll always have moisturizer and sunscreen on—and underpants.

You mentioned earlier about there being societal pressure “even when you turn a certain age.” At what time in your life did you stop feeding into those unrealistic expectations?

I think there’s far more pressure on women than there is on men. The fact that we’re having this very conservation is proof. I think, like anybody, you have good days, and you have bad days. It doesn’t really have a rhyme or a reason. The media often says [that] when you hit 40 or 50, or whatever the milestone is, you have to prepare yourself for it. I think we all grow in very random, personal ways. So anything you have to do to make yourself feel better or more confident, whether it’s looking after your skin, getting a massage, going to the gym, or sleeping—anything!—you should do it.

We often talk about quick beauty fixes, but sometimes you just need to sit down and turn your phone off for 20 minutes, and that’s all you need to make your face relax. People think you look so much better, and it’s just because you’ve gotten rid of the stress. It’s hard, particularly at the moment. I think there’s a lot of fear and anxiety being cultivated by our various governments around the world. It’s increased people’s stress loads. Give up social media. That’ll take 10 years off you.

Do you think the way we discuss aging and self-care has evolved?

I grew up in a house with three generations of women. I was brought up by my mother and my grandmother in the same house. So I’ve grown up around people older than me. I think as a society, we need to banish the notion of “old age.” We don’t get to know and cohabit and mingle with people who are several generations ahead of us. And as a result, we’ve become more fearful of aging. And you know, how funny my mom and my grandmother were, how active they were, [it was inspiring]. I used to love hearing the stories from when they were girls. So it’s never been a fearful space for me. I mean, no one wants to die. But we’re all heading in that direction, and it’s really helped me move through knowing that there are more interesting things to come.

And, look, I’m very privileged. I’m financially secure. I have healthy children. I’ve been blessed in a lot of ways, so it’s very easy for me to say that [I’m comfortable]. And you know, it wasn’t always that way for me. It certainly wasn’t for my mother or my grandmother. But growing up alongside them was really formative.

What were their viewpoints on aging? Did they ever give you advice?

My grandmother had a few regrets, I think. [Her big lesson to me] was don’t leave life regretting not having done something. Don’t say, “I wish I had done that.” Just go and try and do it. But on a practical level, my mother was very big on protection and moisturizing—taking care of herself the best she could then. She had limited means, but she still took care of herself. She didn’t expose herself to the sun. And that’s something that was passed down to me, which I’m really grateful for.

And before we go, what are you looking forward to most this Mother’s Day?

I’m looking forward to having no plans whatsoever. Just an open horizon for the whole day. That’s my idea of bliss.

This interview has been edited and condensed.

via Glamour

Interview: Cate Blanchett, Beyond Character #Manifesto

Interview: Cate Blanchett, Beyond Character #Manifesto

New Cate Blanchett interview!

“Chameleon” always feels like the inevitable mot juste when describing Cate Blanchett. In Manifesto, Blanchett’s latest starring vehicle in which she interprets 12 distinct personae—each one a “conduit” (as she calls them) for the recitation of around 60 spliced-up artist manifestos—her agile shape-shifting becomes the driving force. Throughout the film, she morphs from a primetime news anchor to a Russian choreographer to a schoolteacher, and from Marxism and Dadaism to Futurism and Fluxus. The result is a consciously disorienting experiment that’s variously provocative, surreal, and bitingly comical as it leaves us to draw our own conclusions.

Written, directed, and produced by German visual artist Julian Rosefeldt, Manifesto was originally exhibited in 2015 as a multi-panel video installation. Trading conventional narrative for poetic cadence in its feature-length form, it feels like a return to the European art-house films of the ’60s. The framing of these monologues into seemingly incongruous, banal scenarios distills the power of Blanchett’s performance down to the most minute details of her delivery. “It was a painstaking process to develop [scenarios] that allowed enough openness so that the manifesto wasn’t squashed by the situation, but was rather set free,” she reveals. “I didn’t think about them being characters, necessarily. It’s more that they do and say certain things within a framework or situation.”

Prior to Manifesto’s release at Film Forum in New York City last week, we caught up with Blanchett and Rosefeldt at the Tribeca Film Festival.

FRANK CHLUMSKY: You both met for the first time in Berlin in 2010. Did you develop the concept for this project collaboratively?

JULIAN ROSEFELDT: This project wouldn’t exist if we wouldn’t have met. Years before when we first met we had decided to do something together, and then it became intensely collaborative after I did research on all the manifesto texts. I sent her the work and some ideas for scenes, and she contributed other ideas for scenes. Then it was all about which text-collage goes with which scene and which character.

CATE BLANCHETT: [Julian] has sort of touched on this before in other work: the idea of mining the manifestos with his own provocations.

CHLUMSKY: Did you develop a concrete approach first, or did this come together in a more experimental fashion?

BLANCHETT: The whole thing was an experiment, an investigation; the architecture around the piece was very clear, but within that it allowed for an incredible amount of freedom.

ROSEFELDT: One thing that shaped it a lot was the time pressure. We had two weeks for everything, including preparations for makeup and costumes. We had 11 days together, which meant that we had to do a lot of work after we decided on the characters and combinations of scenes. “How is this going to look? What’s going to happen?” And then again it was very experimental, because Cate was thrown into cold water every morning. So were we, in a way. When you encounter another scenario every day, you don’t have time to get used to it. Every day is like starting from scratch, coming back to another reality.

CHLUMSKY: How does Berlin as a shooting location function in terms of the visual atmosphere?

ROSEFELDT: Berliners have a hard time saying that this is Berlin. My intention is that what you see is a big city, but not necessarily Berlin.

BLANCHETT: It’s elastic enough. At one point, we were talking about going outside the city down to Bavaria where we would use the forest to film, but that didn’t become logistically possible; we found more interesting locations closer to home.

ROSEFELDT: We had many more ideas for scenes than we were actually able to realize. In one she was supposed to be a climber in the mountains, playing with her echo. You know, when you climb a mountain you have this euphoria like, “Woo-hoo!”

BLANCHETT: There was another where she was a sports coach giving a pep talk. There were all these other really wonderful scenarios. [But] it wasn’t supposed to describe too closely what the manifesto was trying to get to—we didn’t want to make it too literal.

ROSEFELDT: Also the attitude of the character wasn’t supposed to be too close to that of an art-historian or someone who just teaches or talks about those manifestos. Whenever you have a situation where someone just talks to an audience, it could be easily understood as someone just talking about manifestos…

BLANCHETT: There was another one we talked about: having an after-hours cleaner in an art museum. So a lot of it would be interior monologue, but then we found that that would seem as if they were talking about the art museum. That then became the person who worked at the garbage facility.

ROSEFELDT: Other [scenarios] were just to too funny, too jokey. There was a sexual scene where the woman just talks and talks and the man that falls asleep—that was just a joke. Sometimes you didn’t find the texts that would match that, you needed something that just copes with that energy. That was difficult. You know a lot now! [laughs] You’re the first person to hear about all these unmade scenes.

CHLUMSKY: [laughs] Well, I did want to ask about the process of building characters. They seem to exist as avatars, or some kind of highly-stylized mouthpieces for these recontextualized and collaged manifestos. What is the experience like of interpreting a character whose dialogue is removed from their context?

BLANCHETT: Yes, it’s not often that the dialogue they’re saying is nonsensical, or that they’re trying to say something banal, prosaic, or domestic; they’re trying to do a domestic action—like explain something to someone, or ask someone to do something, like in the situation of the teacher—but they’re actually saying something that is not one-to-one with that acting action. It always felt sort of contrapuntal, this relationship between the text and the reality of the situation. I found that quite interesting; in a way I was trying to make energetic sense rather than intellectual sense, and hoped that that would produce an interesting tension in an audience that was expecting to make an intellectual connection on account of them being artist manifestos. But in fact they’re making a different connection. You feel it very acutely in the museum as a multi-channel work, where you see the mask come down and they all become, in a way, neutral masks. So the hair and makeup—the facade of the mask—is on, but the mask is dropped by the actor because they’re just being neutral. You’re then self-consciously aware that there’s an actor acting. I think you probably get that slightly less in [the film version].

CHLUMSKY: Why the decision, then, to turn it into a feature-length film from a visual installation?

ROSEFELDT: [looks at Blanchett and laughs] She knows I’ve not said this before, but there wasn’t a decision; there was an obligation to do this, in a way, because I needed to finance the installation. There was a TV channel that was willing to support the installation generously, but they of course needed something linear. I had to cope with that idea that it would have to take this shape. I also found this very exciting, because it’s a different audience. The museum can be a very self-selective audience.

CHLUMSKY: In sequencing the film linearly, was there a narrative logic you were trying to find?

ROSEFELDT: Visual narrative, I would say. There’s no story there, so we had to play with the tricks of filmmaking, adding up music, trusting that rhythm, speed, and edits would perfectly match with the images. The wonderful thing is that we had the film, because we wanted things to happen at the same time in different parts of the room like the spiral staircase, or two children playing in a circle. Through the edits these cuts became directly connected to each other: the stock exchange, which you see in a wide angle, cuts directly to the opener of the single mother and this kind of suburban housing complex where she lives. It was nice to see that thing that we had instinctively had shot for the installation worked so well as edits or transitions for the film.

CHLUMSKY: Which scenarios do you enjoy most?

ROSEFELDT: I would say the teacher, I think. One sort of contains the recipe of the entire project, but mostly because I like the hope in it. The children are there, and they will have to deal with whatever we do and carry this thought into the future. Besides, it’s very funny. [whispering, pointing to Blanchett] She likes the newsreader best [laughs].

BLANCHETT: I do also like the mashup of the manifestos with the Fluxus, in the scenario with the choreographer. I find that text very provocative.

ROSEFELDT: That’s interesting because it’s a very complicated collage. There’s feminism and there’s Fluxus.

CHLUSMKY: What do you feel the collaging of the manifestos does to their effect? Does it blow-up their significance and expose how conflated they can be? Does it reveal something entirely different?

ROSEFELDT: It’s certainly not mockery. I’ve been asked before if I’m making fun of those manifestos. The humor in the piece deals with the self-ironic aspect of the manifesto. We often forget that because we treat them as masterpieces. Humor is often forgotten by art historians and art critics when thinking about the work. Every piece of art that’s living on at the MoMA or something is monumental in its meaning, but when it was created, it wasn’t at all that. Very often these texts were written before the art was actually there. With the editing, we had different many ideas. It was driven by sympathy between the many voices but disagreement between the ideas as well. So inside you see a lot of controversy, just as in real life.

via Interview Magazine

Cate Blanchett discusses playing 13 different characters in ‘Manifesto’

Cate Blanchett discusses playing 13 different characters in ‘Manifesto’

Cate Blanchett interview with Indiewire about Manifesto and a new exclusive clip!

Cate Blanchett Plays 13 Characters in ‘Manifesto’ Because She’s Frustrated That Film Has Become Far Too Literal

“I couldn’t be less interested in my own life and my own experience and telling the world what I think,” the actress said.

“I loved the movie,” I told Cate Blanchett.

“Is it a movie?” Cate Blanchett replied.

“Um…” I said, still shaking her hand.

“Really,” she said. “I was hoping you could tell me.”

In another context, that could have been a trick question. But I was meeting with the Artist Formerly Known as Carol to discuss “Manifesto,” and there are no easy answers when it comes to the her beguiling collaboration with German video pioneer Julian Rosefeldt (whom she met at a gallery opening six years ago and vowed to work with that same night). In fact, it could be argued that the movie — or not movie — exists to embarrass easy answers, to encourage critical thinking, to challenge our preconceptions of what art should be and what art should be called.

Initially staged as an immense multi-screen installation that viewers could walk through and process at their own pace, the project has been newly reshaped as a linear 94-minute theatrical experience; movie or not, it’s now playing in movie theaters. The basic premise remains the same: From Tristan Tzara’s “Dada Manifesto” to Werner Herzog’s “Minnesota Declaration” and all points in between, Rosefeldt takes the defining artistic diatribes of the last two centuries, threads them into a beautiful havoc of conflicting ideas, and funnels them through the mouth of the world’s most fluid star.

Blanchett plays 13 different characters, and none of them agree with each other — most of them don’t even agree with themselves. In the funniest of these gorgeously shot vignettes, Blanchett appears as a prim teacher who rattles off film treatises to a bored class of elementary schoolers. One moment she’s reciting Dogme 95’s “Vow of Chastity” and preaching about the need to restore purity to the cinema, the next she’s quoting Jim Jarmusch’s “Golden Rules of Filmmaking” and telling her students to “steal from anywhere that resonates with inspiration or fuels your imagination.”

The kids fidget in their seats as they repeat after the only adult in the room. It’s up to them to strafe through this intellectual crossfire and make some kind of sense from what they find in the rubble.

Blanchett is a heavily bearded homeless man who stands on the rooftop of an abandoned factory and screams Guy Debord’s “Situationist Manifesto” at the sky. She’s a bridge-and-tunnel stockbroker who sits in a sea of computer terminals and orates about futurism. She’s a surrealist puppeteer who makes herself into a marionette, a news reader who quizzes herself about conceptual art, and a scientist whose speech on suprematism is interrupted by the discovery of a monolith. At one point, in a bit that seems lifted directly from a Roy Andersson film, she recontextualizes Tristan Tzara’s “Manifeste de M. Antipyrine” as a funeral oration: “Dada remains within the framework of European weaknesses, it’s still shit, but from now on we want to shit in different colors.” Amen.

Manifestos are first and foremost expressions of identity, and so the idea of one person delivering more than one of them — let alone 13 — is a fascinating thing to process, particularly when that person is able to level the playing field between them all. Blanchett, who refuses to pass judgement, ensures that each of her characters is silly, and that each of their messages is seductive.

“I’m very non-hierarchical in the way I work,” she said, sitting inside a dimly lit room near the projection booth of the Tribeca Performing Arts Center, minutes before “Manifesto” was set to enjoy its New York premiere. Her brilliant career has borne that out from the start, and only more so as she moves further into the stratosphere.

2017 serves as a perfect microcosm of her versatility, her unwillingness to discriminate between high and low: She began the year with “Manifesto,” and followed that up by earning a Tony nomination for her dazzling performance in “The Present,” an unbridled modern update of Chekhov’s first play. This fall, she’ll be seen in multiplexes across the world as the villain in the new “Thor” movie.

Still, “Manifesto” was the rare project that gave Blanchett pause. “I’m known for my work in a narrative medium, so I hoped that I wasn’t going to be a liability in the context of the art world. I was afraid that might subvert the audience’s willingness to try and not make sense of it,” she said. “That was my only worry.”

Rosefeldt, a genially confident man who tends to talk in a whisper, was terrified for the opposite reason. “I have a slightly different position of this,” he said, “because I worked with the team for almost a year preparing the film, and then Cate arrived and we just threw her into this world… I was scared to death knowing that I was going to work with a Hollywood star.”

“Maybe one day you will,” Blanchett cracked.

Rosefeldt elaborated: “For me, day one was very nervous because it could be we don’t get along or something. It turned out to be wonderful, and from day two we just had fun, even though it was very tiring. It was a beautiful trip, in a way like a road movie or a holiday, where every day you encounter a different world.”

“It wasn’t a holiday, believe me,” Blanchett insisted, thinking back on a Berlin shoot so hectic that she once had to play two characters — the homeless man and the news anchor — on the same day. “It was many, many things, but a holiday it was not. I’ve seen photos of your holidays,” she said to Rosenfeldt with a smile, “and this wasn’t one of them.”

Their work may have been hard, but it was rewarded with a uniquely fruitful collaboration, one that somehow only grew more interesting as it continued to assume new shapes. It wasn’t always certain that things were going to turn out that way. Rosefeldt, who first conceived the theatrical version of “Manifesto’ in order to help finance the installation, remembered how nervous he was to tell Blanchett of his plan, and Blanchett confirmed that her director had good reason doubt. “I was a little skeptical of what the piece would even mean in this linear context,” she said. “But I think something else has been found.”

The installation version of “Manifesto” is undeniably a more visceral experience, but this new version offers its own unique rewards. While the former created an incredible sense of scale and polyphony, surrounding viewers with Blanchetts that would sync into a high-pitched choir of indistinct voices every 11 minutes, the latter better exploits Blanchett’s celebrity. The very thing that she and Rosefeldt were nervous about has now become their project’s ace in the hole.

In a piece that hinges on divorcing things from their context, reconfiguring “Manifesto” for Blanchett’s usual medium only calls greater attention to the tension between words and images. In this format, watching the actress dress like a punk and spout Manuel Maples Arce’s “A Strident Prescription” immediately calls to mind Blanchett’s perfect mimicry of Bob Dylan in “I’m Not There,” or Mary Maples in “Truth.” Are all of her performances manifestos? Does the fact that we never forget that we’re watching Cate Blanchett make it easier to be taken by these manifestos, or does it make it easier to discredit them?

Both invisible and indivisible at the same time, Blanchett becomes the medium, and not the message. Rosefeldt has referred to her as “an artist-scientist, deeply researching the human condition,” and it’s clear that the actress likes that description. “I couldn’t be less interested in my own life and my own experience and telling the world what I think,” she said when I suggested that “Manifesto” and its call for critical thinking might be particularly compelling at a time when people are so quick to conflate depiction with endorsement.

“Film has increasingly become a very literal medium,” she continued. “I’m always asked at what points I, the actor, connect personally with the material. It’s like people feel you can only give a truly, deeply, resonant performance that costs you something if you’re recalling the death of your dog. No! The point of difference, the empathetic connection to somebody else’s circumstances that are outside my own experience, that’s what drives me. It should always be a provocation, and trying to establish empathetic inroads between yourself, the work, and the audience, because that’s who it’s for.”

Rosefeldt nodded along beside her. “It was all about creating a mental space, a tension between what you see on screen and the audience,” he said. “The audience should always be included, and not just as a receptionist to the story. You have to create participation by triggering the senses — I can feel goosebumps when I listen to some of the words in ‘Manifesto,’ and I know them all by heart.”

In a world of arguing that Ryan Gosling saved jazz and accusing Martin Scorsese of supporting Jordan Belfort, “Manifesto” argues that the relationship between the art and the artist isn’t nearly so important as the relationship between the art and ourselves. That cinema’s greatest value can’t necessarily be found by reflecting our own worldview, but also by broadening it. “Manifesto,” I concluded as I said goodbye to Blanchett and Rosefeldt, is a movie, it just doesn’t allow us to watch it like one.

Check out an exclusive clip from “Manifesto” below.


via IndieWire

Cate Blanchett va por más – Interview with Caras Chile #SaySì

Hello everyone!

Cate Blanchett spoke to Caras Chile magazine as part of the promotional interviews for the new Sì Rose Signature.
Read it below!

Tras un aplaudido debut en Broadway con The Present y otros dos esperados proyectos cinematográficos para la segunda mitad del año, la actriz australiana habla de sus ambiciones y se manifiesta abiertamente por los derechos de la mujer. Divertida e irónica, conversamos con ella en Manhattan durante el lanzamiento del nuevo perfume Sì Rose Signature de Giorgio Armani, que la tiene como rostro.

Cate Blanchett (47) sin una gota de maquillaje y enfundada en un traje de dos piezas puede derrochar tanta elegancia como sensualidad. Así es como la ganadora del Oscar en dos ocasiones (Blue Jasmine y The Aviator) irrumpe en el backstage del histórico teatro Barrymore de Nueva York, donde hace su debut en Broadway con The Present, la obra que su marido, el cineasta australiano Andrew Upton, adaptó del guión de Antón Chéjov.
Sobre el escenario Cate es Anna Petrova, una viuda rusa que reúne a los personajes claves de su vida en una alocada fiesta para celebrar sus cuarenta años. Junto a todo un elenco australiano (que incluye a Richard Roxburgh) la rubia nuevamente cosecha los elogios de la crítica internacional. “Ha sido un privilegio actuar en este escenario y para esta audiencia”, comenta sobre este comeback a las tablas que la trasladó desde Australia a Nueva York junto al resto del clan Uptown-Blanchett; sus hijos pre adolescentes Dashiell, Roman, Ignatius y la pequeña Edith, a quien adoptaron en febrero de 2015.
En Manhattan se divide entre familia y trabajo. Reconoce que es meticulosa y perfeccionista, por algo carga una mochila de potentes actuaciones en producciones como Elizabeth (1998), El Señor de los Anillos (2001) y Carol (2015): “Tengo un leve nivel de descontento que me mantiene inquieta y me hace perseguir mis metas”. Hace un par de semanas se dieron a conocer imágenes de ella en el metro de la ciudad durante las grabaciones de Ocean’s Eight (dirigida por Gary Ross y producida por George Clooney y Steven Soderbergh), el spinoff de la trilogía que se inició con Ocean’s Eleven en 2001 y donde compartirá pantalla con Sandra Bullock, Rihanna y Anne Hathaway.
Es cercana y no demuestra aires de diva. “¿Les gustó realmente la obra?”, pregunta al bajar del escenario. Es pausada y mira fijamente mientras saluda a los más de cien invitados de todo el mundo que viajaron a la Gran Manzana.

Como la fuerza del chypre y la suavidad de las rosas fusionadas, la actriz reconoce que ve algo de la fragancia en ella misma: “Parte de ser humanos es tener dualidades y vivir junto a ellas”. Al mismo tiempo, recuerda el olor del eucalipto, um aroma que la hace viajar a esa Australia donde creció y forjó una personalidad tan pícara como ágil, que incluso la llevó a ironizar sobre la elección de Trump en el show de Jimmy Fallon. “Tomo muy en serio mi trabajo, pero siempre es importante mirarse y reírse _ ¿cierto?, nos comenta en tono de broma.
Al día siguiente, logramos detener su agitada agenda en Manhattan para entrevistarla en la suite presidencial del hotel Mandarin Oriental, a pasos de Columbus Circle en pleno centro de la ciudad. “¿Linda vista, no?”, dice mientras camina hacia el otro extremo del salón principal con un reconocible tono de voz grave, que se escucha claramente en la habitación que mira desde el piso 53 directo al Central Park.
— La crítica adora tu interpretación de Anna y es considerada un debut de alto impacto… ¿Hay algo que tengan en común?
— Me cuesta encontrar nuestro punto de similitud. Pero en el mundo de Chéjov existe una historia detrás de cada personaje. Alguien me dijo que la mujer para Chéjov era como el clima; con cambios constantes de sol, lluvia y nubes…y definitivamente me identifico con eso.
— El perfume Sì es un llamado a nuestra fuerza interna, a nuestra libertad como mujeres y a ser nosotras mismas. Es un mensaje que creó Giorgio Armani hace varios años, bastante visionario para el momento que estamos viviendo…
— Claro. Hay muchas fuerzas conspirando en contra de la igualdad, lo que me parece absurdo y muy ridículo. Tener al mundo sufriendo y luchando por conseguir avanzos…Porque digámoslo, el derecho de votar no es suficiente. Cuando Elizabeth Warren fue censurada (refiriéndose al veto al discurso de la senadora contra el entonces candidato a fiscal general, Jeff Sessions) me pregunté: ¿En qué siglo estamos viviendo? Por otro lado, mira a las marchas de mujeres en todo el mundo, que han sido tan inclusivas. Hay comunidades LGBT y hombres. Eso nos debiera engrandecer a todos, pero aún falta mucho por recorrer.
— ¿Cuál cree entonces que es el rol de los hombres en ese camino?
— No sentirse amenazados. Esto no significa que perderán algo, que dejarán de lado su masculinidad o que los echarán del trabajo. Esto significa una evolución para la especie. El hecho de compartir roles, como el de criar a nuestros hijos, es una bendición…
— ¿Ha creado distinto a Edith por ser mujer, de sus otros hijos?
— Sabes, el género es lo último que considero. A ella no la crio distinto porque sea una mujer, pero sí puedo decirte que quizás estoy más pendiente de la forma en la que el mundo avanza para cuando ella entre en él.
— Hace unos días vimos fotografías suyas en la marcha que unió a Nueva York y Washington por los derechos de la mujer… ¿Cómo fue la experiencia?
— No pude estar mucho tiempo, porque estaba en pleno ensayo, pero fuimos con mis hijos y la compañía. Fue un momento de máxima esperanza y solidaridad.
— ¿Qué mensaje daría a las mujeres que no se sienten libres?
— La verdad es que son muchísimas…aquellas que no son libres en lo emocional, espiritual, sicológico y también físico. Como una mujer que vive segura gracias a lo que hace, como una mujer blanca de un país occidental, en este momento, solo me queda imaginar lo que significa ese infierno…ese horror de vivir sin libertad, sin el derecho a elegir.
— ¿En este momento de su vida y carrera, usted se considera una mujer que se abre a la vida, que les dice sí a las nuevas experiencias…una mujer Sì?
— Realmente, ¿cuál es la otra opción?

via Caras Chile 10 Marzo 2017

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