Category: Interviews

Voice Enhancer – New promotional interview for Sì

Voice Enhancer – New promotional interview for Sì

Hello people! A new promotional interiew to promote The Present and Sì Rose Signature


Cate Blanchett can be forgiven for not knowing that Drew Barrymore wants to eat her.

The two-time Oscar winning actress is currently appearing on Broadway in an adaptation of Chekhov’s “The Present,” and her schedule is punishing. The actress has nine performances weekly, each clocking in at almost three hours, which doesn’t leave much time to catch E News, where Barrymore, promoting her new Netflix series about a suburban mom who becomes a cannibal, proclaimed Blanchett to be the person she’d most like to eat “because she’s like the most amazing woman ever.”

Blanchett laughs a deep throaty laugh when she hears the story, and immediately gives the love right back. “She’s an angel, a very talented angel.” But the actress — who today is conducting interviews with international beauty editors in her role as the face of Giorgio Armani’s Si fragrance before heading to the theater for her evening performance — has been avidly following the political news during her time in New York.

In January, for example, she joined the The Ghostlight Project’s protest march on Broadway, wearing a pink knit “pussy” hat, and while she couldn’t attend the Women’s March on Washington because of her performance schedule (“I was there in spirit,” she says), she hasn’t been reticent about speaking her mind.

“When Elizabeth Warren is told that she can not speak in the Senate, they are dark days,” says Blanchett. “I don’t know what century I’m in. I thought that the equal pay for equal work conversation was boring and reactionary enough, but this is deeply shocking. We have the choice now to evolve as a species and part of that is finally getting rid of the shocking inequalities that exist not only between the genders but the wealth divide.”

Blanchett’s relationship with Armani has been a longstanding one — she likes to tell the story of running out to buy an Armani suit after getting her first acting paycheck and is quick to note that she still owns it (“his clothes don’t date”) — due in part to his espousal of gender equality. “He was one of the first designers to really unlock the complexity of the female aesthetic. He liberated women from the need to wear traditionally feminine clothes or traditionally sexy clothes,” says Blanchett. “There is a kind of Eastern simplicity, and also an Eastern mélange of the opposites that exist in his designs — you’ve got the masculine with the feminine and the soft with the hard.

“He is interested in all of those dualities,” she continues, “and when he was creating Si he wanted all of those complexities and dualities to exist.” It is a message that has resonated. Industry sources estimate that Si, which is currently launching its second flanker called Rose Signature, has reached retail sales of $80 million in the U.S. since launching in 2014.

Sitting in the Presidential Suite on the 53rd floor of the Mandarin Oriental Hotel, Blanchett, wearing a navy Armani trouser suit, has a commanding view of New York City and Central Park. When asked if she’s enjoyed working in New York, she gives a brief hesitation. “It’s very confronting at the moment, for sure, but it’s a great city,” she says.

While she’s performed in New York before, “The Present” marks her Broadway debut. As for what’s next to tick off on the bucket list? Blanchett reels off a list of directors she’d like to work with, including Thomas Ostermeier, Julian Rosefeldt (who directed her in the one-woman multiscreen film installation, “Manifesto”) and Andrea Arnold. “And I’d also like to finally get some chickens in my chicken coop,” she adds. “So there is a lot to do.”

via WWD

Cate Blanchett on Her New Play and Performing Post-Election

Good morning to you all! Cate Blanchett promotes The Present with InStyle, during the launch of the new Sì Rose Signature. Enjoy!

With over 25 years of stage experience, Cate Blanchett is a veteran when it comes to the theater. But while the Oscar-winning Australian actress has performed in stage productions around the globe, her recent Broadway debut in The Present managed to keep her on her toes. Written by Blanchett’s husband, Andrew Upton, the limited-run play was initially performed in Sydney before it made the move to New York City in December—and for Blanchett, the new setting offered a completely fresh perspective on the project.

“It’s very interesting to perform the play for an American audience now, because everyone—no matter who you voted for—is in such a state of turmoil,” she told InStyle last week while celebrating the launch of Giorgio Armani’s new Si Rose Signature fragrance (she’s the face of the collection). “There are uncertain days; it’s very fragile. And the play deals a lot with the fragility and lack of time.” Blanchett’s character, Anna, is facing those topics head-on in The Present. The entire play focuses on the widowed Anna’s 40th birthday, which she’s celebrating with a group of friends at her Russian country house. With time to kill and plenty of booze to go around, things soon spiral out of control as Anna and co. reminisce about the past and revisit old relationships while trying to figure out their next steps in life.

Blanchett explains that she relates to her character’s fear of the unknown the most. “She’s very unresolved about her past and uncertain about her future,” said the 47-year-old star. “I probably share her uncertainty about the future, and I don’t think I’m alone there.” While Blanchett is similar to Anna on that front, she’s more interested in the ways that she’s unlike her stage persona. “I’m always looking for the points of difference, I think, between me and a character,” she said. “So it’s not necessarily that I share personality traits with her, but I definitely connect with her preoccupation with time being so precious and so important; spending time with people, and how little we do it. That’s probably where I connect with her most.”

Anna’s perspective on aging—and, specifically, turning 40—is wrought with mixed emotions, but for Blanchett, it’s simply a non-issue. “It’s funny, but I just didn’t have that same mentality [about turning 40],” she said. “I felt like I should, if only because everyone talks about it. I think men get talked about in a slightly different way—their age means something different. They’re somehow liberated when they’re in their forties, whereas women are meant to be sort of fixing themselves up and trying to stave off the inevitable.”

That wasn’t the case for Blanchett, who found herself unfazed upon hitting the big 4-0. “When I reached 40, I was actually sort of relieved and excited,” she said. “You approach it with such a sense of fear because it’s built up to such a degree, but it wasn’t as bad as I thought it would be. We’re so full of fear, but these situations are often the opposite of what we expect.”

While it might be tricky to predict how she’ll feel on special occasions, there’s one thing that Blanchett can expect: memorable gifts from her family. “During the first couple of years of our marriage, my husband gave me a vacuum cleaner and a blender on our anniversaries,” she said. “I think he was trying to give me a few hints about being a bit more active in our domestic life.” Other than appliances, the presents that really rate with Blanchett inherently pack a special meaning. “In the end, I love the things that people—especially my children—have made,” she said. “They make things out of matchsticks, and my middle child once made a clay skull that he had drawn a bit like the Day of the Dead. It’s the handmade things that I really love.”

And, unsurprisingly, it’s family time that ranks highest on her list of favorite activities. When she’s not busy performing, Blanchett relishes relaxing with her kids at home—in one spot, specifically. “I’m growing to love my bed more than any other item of furniture in the house,” she said. “The best thing is when all four of the kids and my husband and I are just sitting there. I think we probably have our best conversations as a family in our bed. Thank god it’s enormous.”

Of course, there are a few culturally-relevant books taking up space on her nightstand at the moment. “I’m reading Behold the Dreamers by Imbolo Mbue, which is about an immigrant family living in America,” said Blanchett. “And then the other book I have is Hillbilly Elegy by J.D. Vance, which is about the disconnect between the white working class and the sort of perceived privileged classes,” said Blanchett. “So it’s a book for both Democrats and Republicans. It’s about the state of the nation, really, and how America has got to where it is.” Topical, indeed.

Six Questions for Cate Blanchett

Six Questions for Cate Blanchett

Hello everyone! New interview with Cate for T Magazine/ The New York Times Style Magazine and a new image from the campaign’s set. Enjoy!

Cate Blanchett for Sì Rose Signature Limited Edition 2017

The title of “The Present,” now playing on Broadway, is a clever one. The play takes place at a summer house in Russia on the occasion of a 40th birthday, and there are a few physical gifts in play — notably, a chess set and an antique gun. (The play is a Chekhov adaptation, so yes, both get used before the final curtain falls.) But it’s also concerned with the specters raised by “the present” as a concept, particularly in a group of friends with years of history between them: How does the past of each relationship impact how we might feel about it now? How much can we ever depend on the future?

The linchpin of the proceedings is the birthday girl, Anna, played by Cate Blanchett with wit, grace and physical deftness. She spends much of the play’s first half smiling in amusement, resolutely unruffled by the impassioned meltdowns of those around her, and much of its second half shouting and seducing and dancing on tables. During a busy time for Blanchett — in addition to the three-hour run of the play each night, she’s also the face of Armani’s Sì fragrance, which launches a new iteration of its Rose Signature scent next month — she answered a few questions for T.

When watching “The Present,” we get the impression that all of these characters are entrenched in ways of relating to each other, which then transform or explode as the play goes on. How did that back story take shape for you?

I think you’re absolutely right. The characters all want things from each other that they can’t deliver on; they’re all in love with the wrong person at the wrong time. A 40th birthday with a lot of alcohol and unresolved lust and longing is a very combustible set of circumstances. It was really exciting to work with people that I’ve worked with for a long time on this, because in Chekhov, not a lot happens, but everything happens. It’s all about time spent with each other.

Continue reading the main story
You’ve spent a long time with Anna by now — you were playing her when you were interviewed for an August 2015 T cover story. Are you still discovering new things about her and about this story as you continue to play it?

When you work with really playful, inventive, intelligent actors who are very open, as I’m having the great good fortune to do right now, I think it constantly opens up; and if the work is rich and deep, it’s a joy to return to it. We first performed it about 18 months ago, and then we had a hiatus and people went off and did other things, and then we came back together. We sort of collided with the past experience, but took it somewhere — not different, but somewhere deeper.

I don’t know if you’ve ever had that experience of driving home, and the route is exactly the same, but you’re preoccupied with something different, so you forget how you got here. On a good night, that’s the experience you have in the theater. People are always saying, “Oh, my god, it must be so tiring to do the same thing every night.” It’s the same journey, but you arrive there slightly differently depending on what other people do.

And also, I must say, performing to an American audience right now in the wake of the inauguration of the current administration, there’s whole layers of meaning — of moral compromise and uncertainty of the future and what is right, what is wrong — that have always been in the play, but because the audience brings that to bear, it’s shifted the play slightly, which has been really interesting.

How, as an actress, have you seen that borne out when you’re playing the part? Is it just a feeling in the air, is it that laugh lines are slightly different…?

As an actor on stage, the audience often thinks that they’re there to be entertained, but they’re a vital, active component of the evening. It’s not about laughter, necessarily; it’s quality of listening. Broadway audiences are so literate: They love theater, they love being told stories, they love a surprise. And that, coupled with the current — it’s not even a political climate, it’s like a moral climate — has meant that the play’s been attended to in a slightly different way.

I think we’re all so hyperaware of our relationships to the truth right now, and to our sense of objectivity, in every interaction we have throughout a day.

Language is incredibly powerful: the words we choose to use, and how we choose to use them. I remember ages ago, the word “evil” was purloined, and it’s been very bewildering to me watching the word “refugee” morph into the word “immigrant” morph into the word “terrorist” within the space of nine months. “Truth” is an immutable word: Something is true or it is not. Theater, actually, its currency is language.

You mentioned the inherent drama of a 40th birthday party that collects people from different stages in someone’s life. Do you think there’s anything specific about that time of life that is more likely to give rise to dramatic situations?

It’s very built up, that moment in a person’s life, the 40th. And I think for her, it’s compounded with the need or desire to move on and to take stock of where she’s at; and take what is useful and valuable and worthwhile from the past, and jettison that which is not as she moves into the future. There’s certain points in one’s life where one takes stock, and I think in an archetypical way, turning 40 is often that moment, but for many people it’s not. For many people it’s their mid-40s or their 50s or their 60s. It depends on the degree of maturation, I think, and self-awareness that the person has.

You’ve been a brand ambassador for Armani for some time — what were your first impressions of the new Sì fragrance? Are there any memories or emotions it evokes for you?

I think there’s a definite optimism in calling a fragrance Sì at the moment, particularly a female scent. We have to be positive and forward-looking, and we have to say yes to those things we believe in and yes to ourselves. When Mr. Armani spoke to me about being the face of the fragrance, I had no idea there were going to be so many iterations. I love a fragrance that has those deeper woody notes that develop so beautifully — but this has got a double rose. Normally, I’m not a fan of rose, but because the rose is green, and there’s a Turkish rose in there, which has a hint of orange to it, it’s actually really beautiful. It’s humorous and optimistic, which I think is a good way to start the day.

This interview has been edited and condensed.

Gallery Links:

via T Magazine

Video – Cate Blanchett at Live with Kelly

Video – Cate Blanchett at Live with Kelly

Good afternoon, yesterday Cate went to Live with Kelly to promote The Present. Video and screencaptures below, enjoy!

#CateBlanchett with Kelly and @busyphilipps! #LiveKelly

A post shared by LIVE with Kelly (@livekelly) on




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[Video] NEW interview of Cate Blanchett for The Present #Broadway

[Video] NEW interview of Cate Blanchett for The Present #Broadway

Hello everybody!

New interview with Cate Blanchett and the all-Australian cast bringing “The Present” to Broadway. Enjoy!

via NBC NEW YORK

Cate Blanchett will be on The Tonight Show with Jimmy Fallon next Monday, January 23

Cate Blanchett will be on The Tonight Show with Jimmy Fallon next Monday, January 23

Hello everyone! Save the date for the next tv appearance of Cate Blanchett.
She will visit The Tonight Show with Jimmy Fallon on January 23 to promote The Present, currently on Broadway.

via NBC

Cate Blanchett on How Her Broadway Debut ‘The Present’ Resonates With Today’s Politics

Cate Blanchett on How Her Broadway Debut ‘The Present’ Resonates With Today’s Politics

Cate Blanchett is making her Broadway debut in “The Present,” an adaptation, directed by John Crowley, of an early Chekhov play. For her, the production — now in previews for a Jan. 8 opening — brings to mind recent political upheavals, ranging from Brexit to the election of Donald Trump.

“You can’t present anything at the moment without thinking of the state the world is in,” she says in a rehearsal room in New York City. “We’re in a real state of” — Blanchett stops and thinks — “I was going to say ‘transition,’ but I think it’s more of a realization of what we’ve lost. We’ve lost the state of passivity, perhaps, that we’ve all been in, no matter what side of the political spectrum you are.”

When actors and creatives reunited in New York for a production first mounted in 2015 by the Sydney Theater Company, they discovered that “The Present” had taken on a notable resonance with, well, the present. The playwright Andrew Upton, Blanchett’s husband and the former artistic director of STC, has lifted the late 19th-century events of Chekhov’s early, ungainly play “Platonov” and set them in 1990s Russia, as the oligarchs rose to power at the end of the Soviet era.

“Hearing it all again, a year and a half after we first did it, you notice the feeling of powerlessness of the people in the face of the government,” Upton says. “There’s a kind of free-for-all going on that feels oddly familiar. That, and the disparity between the rich and the poor, is a very strong element inside the world of this play, and it’s speaking quite loudly at the moment.”

Although the production marks Blanchett’s first time on Broadway, the actress has always made time for the stage. With Upton, she was co-artistic director of the STC from 2008 to 2012, and some of her performances there were transferred to New York, including “Uncle Vanya” in 2012 and “The Maids,” opposite Isabelle Huppert, in 2014.

In “The Present,” she portrays the landowner Anna Petrovna, one of the women in love with disillusioned schoolmaster Mikhail Platonov, played by Richard Roxburgh. The two actors have worked together multiple times onstage, including in the New York “Vanya.”

“Because they’ve known each other and worked together on and off over the years,the depth of that relationship is available to them effortlessly,” says Crowley, a Broadway veteran who also directed the Oscar-nominated film “Brooklyn.” “They work very differently as actors. Rox is like an anchor in a scene, whereas Cate is like a clown one second, then a tragedian a second later.” He adds, “The energy and the tone is very different from the work we’ve come to know of her from film, which is more poised and still.”

“The Present” will run during the first months of the presidency of Donald Trump — a man Blanchett once said she’d play “in a heartbeat.” Does she still feel the same way?

“I don’t necessarily think it’s about playing Donald Trump or [the Australian politician] Pauline Hanson or whoever it is,” she says. “I think it’s more about doing work that looks at how we’ve ended up where we’ve ended up.”

via Variety

The Present director John Crowley talks about the play and the cast

The Present director John Crowley talks about the play and the cast

Hello everybody!

John Crowley, director of The Present, shares his experience with The Observer. You can read some passages about Cate Blanchett below. Enjoy!

From the cast’s perspective, The Present might also mean the Broadway debuts that all 13 Australian actors are making on Crowley’s watch. This is his second time around with the play. “We did it in Sydney last August for a regular seven-week run. This time around, we had a week’s re-rehearsal and a week’s tech. Re-rehearsing this show with the exact same cast is a challenge because, of course, what worked originally could have gotten calcified from repetition over a seven-week run.”

Compared to the kind of classics Blanchett usually travels in, her husband’s rewrite of Chekhov is almost an untested new play and, thus, a surprising choice with which to charge Broadway. “I don’t know if Cate chose to make her Broadway debut with it or if it was a happy coincidence of events,” says Crowley. “We’d talked about doing something together for years, and when it came together, they invited producer Stuart Thompson to see it. He was keen to bring something from the Sydney Theater Company over and had tried to do it a few times, but the timing was never right.”

The problem has always been carving out enough stage time from Blanchett’s tightly packed film schedule, which now numbers 65 screen credits since 1993.

Liveness, which spell check still stubbornly refuses to accept as a word, is the main word that Crowley uses for what Blanchett brings to the stage and any co-star in her immediate vicinity. “The way we rehearsed it is to try and create the feeling among the ensemble of being alive to every moment,” he explains. “Cate just flies with this.”

When Crowley first started working with her in Sydney, he was surprised at her playfulness. “Some actors—especially actors who do film—have to focus on where they want to get the moment right. Cate wants to open that moment up and know what the parameters are. There will be times when something will go against the story, so you have a conversation and say, ‘If you do that, then that’s going to read as blah blah blah,’ and she’ll instantly rethink it or nix it. The emphasis and the degree of liveness are what she’s after—whether it’s rehearsing or performing on stage.

“Cate likes stress-testing moments in the play to see what they’re made of and how they’ll break. If she goes too far with it, she’ll pull back on it. She’s not somebody who likes to sit around, discussing things endlessly. She’s happier working on the floor, figuring out with another actor what the moment is about. Some actors really do have a more academic approach. Not Cate. She’s fantastically bright, but it’s allied to an instinct for playful acrobatics. You just need to give her enough rope to play with in scenes rather than too tight a space. She’ll rupture—with Richard Roxburgh, in particular, because he has very different energy as an actor. There’s more of a stillness there, and he in lots of ways is the anchor to her higher-acrobatic instincts.”

Blanchett and Roxburgh practically qualify as The Lunts of Australia, having acted together for 21 years, starting out as Ophelia and Hamlet. After years of stage-teaming, their kinetic sensuality hasn’t diminished. They can still fling sparks.

“When they go out in those big emotional scenes every night,” says Crowley, “there may be subtle variations on differences and emphases, but they wind up in the same place emotionally. That’s because they are comfortable with each other. I’ve never seen one of them make a choice in a moment than the other one felt, ‘Oh, God! That’s hard for me!’ They almost egg each other on, making each other better as actors.”

[Video] Cate Blanchett set to Make Broadway Debut Next Month in Adaptation of Chekhov Play ‘The Present’

[Video] Cate Blanchett set to Make Broadway Debut Next Month in Adaptation of Chekhov Play ‘The Present’

Hollywood superstar Cate Blanchett is set to make her Broadway debut. NY1 theater correspondent Frank DiLella filed the following preview.

Two-time Academy Award winner Cate Blanchett is finally making her Broadway bow. The actress is currently in previews in “The Present,” an adaptation of Anton Chekhov’s first play “Platonov.”

DiLella: What does Broadway mean to you?

“I think it’s got a very particular and eclectic audience,” Blanchett said. “I was really interested to see that Simon McBurney’s ‘Encounter’ is sitting alongside sort of ‘Hamilton’ and ‘Kinky Boots.’ I’m excited to be performing, all of us to be performing for that sort of eclectic mix of people.”

The play is set at a birthday party for Blanchett’s character of Anna.

“And so she brings everyone from her past together to see what’s worth salvaging,” the star said.

“The Present” has been adapted from the original Chekhov source material by Blanchett’s husband Andrew Upton.

“I got very attracted to, it’s really only one of the strands in the narrative, which is this beautiful dynamic between three men and a woman,” Upton said.

“The Present” comes to New York after a run at The Sydney Theatre Company back in 2015. The Broadway production features the entire Australian cast including Richard Roxburgh.

“It’s a play about a woman having a birthday and inviting all of her great friends around to share this experience, and of course it all goes terribly wrong. To do that with a company of players that you’ve worked with for so many years across so many permutations of experience is very special,” said Roxburgh.

And you can catch “The Present” starring Cate Blanchett and Richard Roxburgh now in previews at The Barrymore Theatre. Opening night is set for Sunday, January 8.

Via www.ny1.com

Cate Blanchett and Richard Roxburgh for The New York Times

Cate Blanchett and Richard Roxburgh for The New York Times

New interview and photoshoot for the New York Times. A printed version of this article will available on December 25. Enjoy!

Cate Blanchett and Richard Roxburgh, in Love and Battle
The Australian actors team up yet again onstage, this time in “The Present.” It can’t possibly end well, can it?

When Cate Blanchett and Richard Roxburgh fall for each other, it rarely ends well. Dynasties crumple. Lives smash. Murder can follow. Or suicide. Sometimes both.

But these Australian actors, who have performed opposite each other for more than 20 years, seemed in rude health at a recent weekday brunch. On a break from rehearsals for “The Present,” an adaptation of an early Anton Chekhov play now in previews at the Barrymore Theater, they nestled in a corner booth at the Russian Samovar and listened to a waiter describe infused vodkas. “You cannot leave this place without trying many,” the waiter demanded.

“We have to do this,” Mr. Roxburgh said.

“We have to try this,” Ms. Blanchett concurred.

“Out of respect for Chekhov,” Mr. Roxburgh said.

Tipsy or sober, they do have a helpless reverence for Chekhov and a shared history with his plays. They played Nina and Trigorin in “The Seagull” in 1997 (dead child, wrecked life). They reunited as Yelena and Vanya for “Uncle Vanya” in 2010 (attempted murder, attempted suicide). Ben Brantley described this three-hour Sydney Theater Company production as “among the happiest of my theatergoing life.”

Continue reading the main story
They’re reuniting for “The Present,” a hectic and sometimes wrenching comedy directed by John Crowley (“Brooklyn,” “The Pillowman”). When it had its premiere in Sydney, The Daily Telegraph called it “blisteringly brilliant.”

Adapted by Andrew Upton, Ms. Blanchett’s husband, it is a bold and boldly comic rendering of Chekhov’s first full-length play, never performed in his lifetime and discovered in a safe deposit box in 1920, 16 years after his death. In its original form, the manuscript is an untitled, fragmented, 300-page muddle of a melodrama, most often called “Platonov.”

Mr. Upton has updated the action to 1990s Russia. “That shift out of communism, through perestroika and glasnost, and into the rise of the oligarchs — it’s such a lost opportunity,” he said by telephone. “For the world, but really for the Russians.”

She first saw him in a Dennis Potter play. He first saw her in a drama-school performance, playing Shakespeare’s Rosalind “with phenomenal poise and wit,” he said. Ms. Blanchett recalled their work on “Hamlet” fondly until, as she said, “you deliberately dislocated your knee so that you wouldn’t have to work with me anymore.”
“That’s sort of an outlandish version of events,” Mr. Roxburgh said. He still remembers the way she said, “My lord, I have remembrances of yours/That I have longed long to redeliver.”

Those remembrances, under Neil Armfield’s direction, included a monkey finger puppet, but for Mr. Roxburgh, that moment was “was deeply wounding and profound,” he said tenderly. “Every night.”

Are they the same actors they were then? Yes and no. Ms. Blanchett has never settled on any particular approach, though she did note that, “As a parent I’ve become a lot more economical.”

“That’s a great word,” Mr. Roxburgh said. “I don’t tie myself up in such knots anymore about trying to get something that is unattainable or ——”

“Perfect,” Ms. Blanchett said.

Both of them are busy with children and competing projects. Ms. Blanchett has three sons and a toddler daughter. Mr. Roxburgh has two sons and a daughter due in March. He has been occupied with his Australian television series, “Rake,” in which he plays an ethically challenged lawyer whose dissipation rivals Mikhail’s. (In Season 3, Ms. Blanchett had a cheeky cameo as his lesbian alter ego.)
She has several films on the go and is appearing at the Park Avenue Armory in the video installation “Manifesto,” in which she plays 12 characters declaiming on art and life. This is in stark contrast to Anna, who is given to wearied statements like: “I’m so bored. Bored and disappointed.”

But neither of them had any compunction about returning to Chekhov, first at the Sydney Theater Company and now again on Broadway through March 19. They spoke warmly about the richness of his characters and his writerly compassion for their follies and absurdities “They’re as slippery as we are as human beings.” Ms. Blanchett said. “They’re full of secrets and self-delusion.” Mr. Roxburgh agreed, though he cautioned that he had seen Chekhov plays that made him want “to put my eyes out.”

Both of them were excited to encounter a fresh version of a Chekhov play and Ms. Blanchett was struck by some of its contemporary resonances. The characters, she said, inhabit a political world in which “they’ve been lied to, they know they’ve been lied to, the people who are telling the lies know that they know, but everyone is pretending that the truth is being told.”

Both liked the play’s wildness. When Mr. Roxburgh read it, “I was so gobsmacked by the anarchy in the thing,” he said. Ms. Blanchett added that Mr. Upton “hasn’t kept the formal mess of the original manuscript, but he’s kept the emotional mess.”

If they were going to make a mess, they wanted to make it with each other, playing, as Mr. Roxburgh explained, “two people who are absolutely kindred, who know one another so intimately, but who can’t do anything with it.”

This sense of kindred spirits applies to the actors, too, as many of their colleagues insist. “They’re both prepared to look like idiots,” Mr. Upton said. “They’re very witty, and they’re very prepared to be foolish. They’re not frightened of a mistake.”

Mr. Crowley, the director, said: “What I’m always surprised by is how practical they are. But sitting around discussing scenes and the meaning of a moment, nothing interests them less. They really are hands on.”

Mr. Crowley also described their differences. Mr. Roxburgh is “almost like Cate’s anchor,” he said, a steadying force that lets her surrender to her instinct for clowning. And Ms. Blanchett is a goad to Mr. Roxburgh, a double-darer, who keeps things interesting. There are moments when they act together, Mr. Crowley said, “when I can see a smile crack across his face, when I can see his delight.”

You could glimpse that even in the middle of a draining technical rehearsal. Running a party scene, Mr. Roxburgh sat at one end of the table, his body stilled in melancholic repose, watching with obvious pleasure as Ms. Blanchett stomped and cackled and practiced the ways she might fire a shotgun she shouldered. You could glimpse something else, too, the electrochemical charge that crackles when they’re together.

A few hours later, as they sat in the theater a few seats apart, talking with Mr. Crowley on a break, I wondered if they’d ever fallen in love, before spouses and film deals lured them elsewhere.

“No, we never did,” Mr. Roxburgh said.

Mr. Crowley was glad they’d never been personally involved. “I can’t imagine you guys untangling the emotional mess of this play if there was any real baggage there — it would be too complicated,” he said.

Ms. Blanchett agreed. Then she turned her eyes to Mr. Roxburgh with all the love and trust and teasing care that two decades of collaboration bring. “Platonov says to Anna, ‘You are me.’ Well, when I look at you, I think, ‘That’s the actor I want to be.’”

Mr. Roxburgh, a man rarely at a loss for words, was struck dumb.

“I think she means that in a good way,” Mr. Crowley said.

Finally, Mr. Roxburgh collected himself. “It feels like I’ve had a whole sort of emotional life with you,” he said. “So many ups and downs and fights and longings across time. This parallel-universe marriage.”

via The New York Times

Cate Blanchett on the cover of IN New York (and more interviews)

Cate Blanchett on the cover of IN New York (and more interviews)

Good afternoon! The first cover of 2017, for IN New York, the cover shot it’s from this photoshoot for Variety.




A new promotional interview for Sì Night Light, written in Italian and in English, for Posh Magazine.


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And three older magazines:

Cate Blanchett promotes Sì with Vogue Italy

Cate Blanchett promotes Sì with Vogue Italy

Hello everyone! Another promotional interview for Sì Night Light, this time Cate speaks with Vogue Italy about the fragrance, UNHCR and women.



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Cate Blanchett on the cover of Rhapsody Magazine

Cate Blanchett on the cover of Rhapsody Magazine

Hello everyone, brand new cover and photoshoot for Cate. She talks with United’s Rhapsody Magazine on The Present, theatre, her Broadway debut, Thor and her sons. Photos by Michele Aboud.





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Read online here or here. Thanks to the girls at the L Chat for the links

New interview with the Evening Standard

Hello everyone!

The Evening Standard interviewed Cate Blanchett about her love for London. Enjoy!

Home is…

A work in progress. At the moment it’s somewhere between New York, where I’m doing an Ocean’s film, Sydney, where my husband is currently directing a play, and just outside London in the country.

Last play you saw?

We took our boys to see The Play That Goes Wrong in the West End and absolutely loved it. They peed their pants. Before that it was One Man, Two Guvnors, which was more elevated emotionally and psychologically for them.

Most romantic thing someone’s done for you?

Taken me out for lunch and then taken me out for dinner. On the same day.

Favourite shops?

Labour and Wait in Shoreditch. I love that it stocks utilitarian objects for everything from the garden to camping trips. I also love Daunt Books and Mint interiors in Kensington. Lina, the owner, has the most extraordinary eye and does interesting collaborations with artists and designers.

Best thing a London cabbie has said to you?

A cabbie once asked me what fragrance I was wearing, because it was his girlfriend’s birthday. And I was so touched that I gave him the bottle. It was actually a very exclusive Armani Privé scent, and I didn’t have another one, but I had to give it to him because I thought he would never find it.

If you could buy any building in London, which would it be?

Wilton’s Music Hall. You can just feel that many a jolly evening has been had in there. The shape of it is so unusual that I think it’s really inspiring for theatre makers because they start to reinvent their relationship with the audience. It’s magical.

Best piece of advice you’ve been given?

David Hare once passed on a piece of advice to me that Judi Dench once gave him: ‘F*** ‘em, f*** ‘em, f*** ‘em.’ It has been very useful, in life and in the arts.

What are you up to at the moment?

I’m building a pigpen, reading How Did We Get Into This Mess by George Monbiot and working with the BFI on the launch of the IWC Filmmakers Bursary award, which gives young directors their first foot on the funding ladder.

Most memorable meal? 

I’m a great fan of the sausage and sauerkraut at Fischer’s in Marylebone (below).

What building would you like to be locked in overnight?

The National Portrait Gallery.

Who is your hero? 

Angela Merkel. She has been extraordinary in holding things together and offering patient, long-term solutions to very complicated problems.

Last album you downloaded? 

I much prefer buying albums to downloading them — I like to hold them like books — but I did download Nick Cave’s last beautiful album Skeleton Tree. I think he’s an extraordinary person, and it was so full of the stuff of life and death and the pain of being alive.

Cate Blanchett interview: InStyle Magazine December 2016

Hi everyone!

Recently, Cate Blanchett sat down with InStyle to talk about serving as a goodwill ambassador to the U.N. High Commissioner for Refugees, overcoming high school insecurities, and learning to embrace fear. The interview is part of the I am that girl campaign supported by InStyle magazine . Enjoy the reading! #InnerStyle


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