Category: Movies

Thor Ragnarok: Open Casting Call in Atlanta

Thor Ragnarok: Open Casting Call in Atlanta

Great news for are American fellows living in Georgia!

Looks like the new Thor movie Titled Thor:Ragnarok is getting set for production in the ATL. The next installment of the Thor series is filming in Australia this summer but casting calls are also out in Georgia, so it seems that parts of the upcoming action flick are also going to be filmed at Pinewood Georgia. Thor Ragnarok will mark the third movie in Marvel’s series. Atlanta’s Central Casting has released an open casting call for a series of projects including the Thor 3 film.
According to production Weekly, the working title for Marvel’s next Thor film is “Creature Report.”
Along with the new Thor film, seems that Central is also seeking local talent for Star season 2, Heaven season 1, The Resident season 1, the Avengers movie, MacGyver season 2 and the upcoming Ant Man Vs. The Wasp movie.

Thor: Ragnarok casting call:
Project: Creature Report
Rate: $68/8
Work Dates: July 12th, and July 18th
Central Casting is looking for “Futuristic” types!
Males and Females should have modern, interesting looks and average sizes.
Must be OK with lots of Makeup and confining clothing!
If this is you and you are available ALL dates and fit the description above, please submit to with the subject line “FUTURE”

via Audition Free

Manifesto goes to Auckland for NZIFF

Manifesto goes to Auckland for NZIFF

Good morning everyone! After a brief stop, Manifesto is touring film festivals again. The next stop is in Auckland for the New Zealand International Film Festival (July 14 – August 6), the detailed programm has yet to be released.

Below there is the list of current and coming sceenings as published by FilmRise

Film Forum – TICKETS

Washington, DC – NOW PLAYING
Landmark E Street – TICKETS

Rochester, NY – 6/9 through 6/22
Little Theater – TICKETS

Vancouver, BC
Vancity Vancouver – 6/16 through 6.19, 6/22, 6/27 ONLY – TICKETS
Rio Vancouver – 7/1 through 7/6 – TICKETS

Philadelphia, PA – NOW PLAYING
Ritz @ The Bourse – TICKETS

Eugene, OR – OPENS 6/23
Broadway Metro – TICKETS

Denver, CO – OPENS 6/23
SIE Film Society – TICKETS

Lake Worth, FL – OPENS 6/23
Stonzek Theatre at The Lake Worth Playhouse – TICKETS

Pelham, NY – OPENS 6/23
The Picture House

Olympia, WA – OPENS 6/23
Capitol Theater – TICKETS

San Francisco, CA – OPENS 6/23
Landmark Opera Plaza – TICKETS

Asheville, NC – OPENS 6/23
Grail Moviehouse – TICKETS

Berkeley, CA – OPENS 6/23
Landmark Shattuck Cinemas – TICKETS

Fort Worth, TX – 6/23 through 6/25
Modern Art Museum of Fort Worth – TICKETS

Seattle, WA – 6/23 through 6/25

Boulder, CO – 6/28 through 7/1
Boedecker Theatre (Dairy Center of the Arts) – TICKETS

Waterville, ME – OPENS 6/30
Railroad Square – TICKETS

Rome, NY – OPENS 6/30
Rome Capitol Theatre – TICKETS

Coral Gables, FL – 6/30 through 7/6
Cosford Cinema – TICKETS

Toronto, ON – 6/30 through 7/6
Hot Docs Ted Rogers Toronto – TICKETS

Montreal, QC – 7/1 through 7/3
Parc Montreal (Enligh) – TICKETS

Wilkes-Barre, PA – OPENS 7/5
Kirby Center for the Performing Arts – TICKETS

New York, NY – 7/7 through 7/9 ONLY
Roxy Cinema – Tribeca Hotel

Dayton, OH – 7/8, 7/9, 7/12 ONLY
Neon Movies – TICKETS

Chicago, IL – OPENS 7/14
Gene Siskel Film Center – TICKETS

Winston-Salem, NC – OPENS 7/21
a/perture Cinema

Key West, FL – OPENS 7/27
Tropic Cinema

Cleveland, OH – 7/28 & 7/30 ONLY
Cleveland Cinematheque

Austin, TX – 8/11, 8/12, 8/13, 8/15 ONLY
Austin Film Society

Ellsworth, ME – OPENS 8/15
The Grand

Minneapolis, MN – OPENS 10/20
Walker Art Center

Most of the international releases are set for Autumn 2017, we’ll keep you posted!

Where’d You Go Bernadette – Looking for extras in Pittsburgh

Hello dears! The principal photography for Cate’s next project it’s about to start pretty soon in Pittsburgh (PA), and they are looking for extras! Click on the image below to access the dedicated site.

Andy Serkis praises Cate Blanchett’s work in “Jungle Book”

Andy Serkis praises Cate Blanchett’s work in “Jungle Book”

Good morning! Andy Serkis, director of Jungle Book, (formerly known as Jungle Book: Origins) set for October 2018, gives us some news on the motion-capture animated movie.

MOTION capture expert Andy Serkis says that Cate Blanchett is “phenomenal” in his coming version of The Jungle Book.
The Aussie two-time Oscar-winner plays the snake Kaa in the version being directed by Serkis, alongside fellow Oscar-winner Christian Bale as panther Bagheera, and Oscar nominee Benedict Cumberbatch as the villainous tiger Shere Khan.
Serkis, most famous for his playing Gollum in the Lord Of the Rings trilogy, is still working on the film using his state of the art technology and this month had his LOTR co-star Blanchett slithering around on the floor in a motion capture suit.
“I was working with her a couple of weeks ago,” Serkis said. “You should see her — and one day you will. You will some amazing footage of her doing just that and it’s phenomenal.”
Serkis, the world’s premiere motion capture expert thanks to his work as Gollum, King Kong and Caesar the chimp in the Planet Of the Apes trilogy, says that it’s now easy to attract A-list talent to what was once seen as a gimmick, with actors excited by the possibilities it presents.
“There is a sense of actors wanting this,” he said. “Philosophically it offers you so much. Your career can go on and you can keep expanding and changing into different things and you can play anything. When you have had a long career like Cate or Benedict Cumberbatch or Christian Bale, to then have the ability to go ‘wow, there is this whole other world where I can play all these different things’. You can play a panther or tiger and fully embody it — not just stand in a booth and do a voice but to really become it and own it. It is a phenomenal 21st Century tool for an actor.”

via News Australia

Photo in the top image from 2006: complete photoshoot here

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.

Voyage of Time and Song to Song to be released in DVD this summer

Voyage of Time and Song to Song to be released in DVD this summer

Bonjour! We have some news on the two last Malick’s movies. Voyage of Time:Life’s Journey will hit the French cinemas again, for one night only, on June 29. The movie is set for DVD release in France on September 13, in Japan on August 2.

About Song to Song: the movie will be relased in Digital HD on June 27 and Blu-ray, DVD and VOD from July 4. (Source)

Please support the site leaving a donation, or sending material. You can freely contact us for more specific information leaving a comment or sending a mail at Thanks

Manifesto – Update list of screenings

Manifesto – Update list of screenings

Hello people! A month ago Manifesto opened in NY theaters, and more cinemas had been added. You can find the list below, taken by the official site. Remember to check the site from time to time, maybe you’ll find a cinema next to you.

OT: This fansite is going to sustain the larger part of its maintenance costs in two months time. Since we widely extended our archive in the last year, the costs are increased and we can no longer sustain them our own. This site is maintained by the admins in terms of money, material and time (a lot) for free. Nothing we gain for it, so we humbly ask all of you to support the site, and leave a donation. Thanks

Film Forum – TICKETS

Santa Fe, NM – Now Playing
The Screen – TICKETS

Portland, OR – OPENS 6/2
Cinema 21 – TICKETS

Tempe, AZ – OPENS 6/2
Harkins Valley Art

Lancaster, PA – OPENS 6/2
Zoetropolis – TICKETS

Santa Monica, CA – OPENS 6/2
Laemmle Monica Film Center – TICKETS

Pasadena, CA – OPENS 6/2
Laemmle Playhouse 7 – TICKETS

San Diego, CA
Digital Gym – TICKETS

Howell, MI – OPENS 6/9
Historic Howell Theater

Hollywood, CA – OPENS 6/9
Arena Cinelounge

Columbus, OH – OPENS 6/9
Gateway Film Center – TICKETS

Vancouver, WA – OPENS 6/9
The Kiggins Theatre – TICKETS

Albuquerque, NM – OPENS 6/9
The Guild Cinema – TICKETS

Fort Lauderdale, FL – OPENS 6/9
The Classic Gateway – TICKETS

Washington, DC – OPENS 6/9
Landmark E Street – TICKETS

Chattanooga, TN – 6/9 through 6/15
Palace Picture House – TICKETS

Rochester, NY – 6/9 through 6/22
Little Theater – TICKETS

Brooklyn, NY – 6/12 through 6/15
The Syndicated

Montreal, QC
Festival du Nouveau Cinema Mtl (*at Parc) – 6/15
Parc Montreal (Enligh) – 7/1 through 7/13 – TICKETS

Richmond, VA – 6/15 through 6/18
Bijou Film Center – TICKETS

Vancouver, BC
Vancity Vancouver – 6/16 through 6.19, 6/22, 6/27 ONLY – TICKETS
Rio Vancouver – 7/1 through 7/6

Philadelphia, PA – OPENS 6/16
Ritz @ The Bourse – TICKETS

Pelham, NY – OPENS 6/23
The Picture House

Eugene, OR – OPENS 6/23
Broadway Metro – TICKETS

Denver, CO – OPENS 6/23
SIE Film Society – TICKETS

San Francisco, CA – OPENS 6/23
Landmark Opera Plaza

Berkeley, CA – OPENS 6/23
Landmark Shattuck Cinemas

Lake Worth, FL – OPENS 6/23
Stonzek Theatre at The Lake Worth Playhouse

Fort Worth, TX – 6/23 through 6/25
Modern Art Museum of Fort Worth – TICKETS

Seattle, WA – 6/23 through 6/25
SIFF FIlm Center

Boulder, CO – 6/28 through 7/1
Boedecker Theatre (Dairy Center of the Arts) – TICKETS

Waterville, ME – OPENS 6/30
Railroad Square

Rome, NY – OPENS 6/30
Rome Capitol Theatre – TICKETS

Coral Gables, FL – 6/30 through 7/6
Cosford Cinema

Toronto, ON – 6/30 through 7/6
Hot Docs Ted Rogers Toronto

Wilkes-Barre, PA – OPENS 7/5
Kirby Center for the Performing Arts – TICKETS

Chicago, IL – OPENS 7/14
Gene Siskel Film Center

Cleveland, OH – 7/28 & 7/30 ONLY
Cleveland Cinematheque

Austin, TX – 8/11, 8/12, 8/13, 8/15 ONLY
Austin Film Society

Ellsworth, ME – OPENS 8/15
The Grand

New clips for Manifesto and Canada openings

New clips for Manifesto and Canada openings

Hello there! Manifesto is opening in Canada in three diffent cities
Vancouver June 16 VanCity – tickets
Toronto June 30 Hot Docs Ted Rogers CInema
Montreal July 7 Cinema du Parc
Two new clips from the movie had been released. Enjoy!

The Los Angeles Times
Yahoo! Movies

Manifesto – Screenings in two more festivals

Manifesto – Screenings in two more festivals

Hello everyone!! June is coming in a few days and more film festivals are unveiling their programs. Starting with the Americas, Manifesto it’s scheduled for the Festival du nouveau cinéma in Montreal, Canada on June 15.
The movie is also part of the 2nd edition of Secret Florence (Italy) where the movie will be screened on June 16.

The complete screening can be easily found in the official site

In the gallery you can find two new stills, a lot of replaced images with HQs ones and the movie poster. Enjoy!

Manfesto’s installation tours in Argentina

Manfesto’s installation tours in Argentina

Hola amigos Argentinos!
Manifesto’s installation is coming to South America this August to stay until November at Fundación Proa (Buenos Aires). You can read the official press release here.
On the right sidebar, in the projects section, there is the complete list of museums hosting the installation. Buenos días a todos!

Sydney Film Festival: RED screens with Manifesto

Sydney Film Festival: RED screens with Manifesto

Hello folks! We just found out the RED, the short film directed by Del Kathryn Barton, where Cate Blanchett embodies the female red back spider during the mating ritual, is going to be screened with Manifesto on June 8 and 12. You don’t have any more excuses not to buy a ticket now!

News on Where’d You Go Bernadette

News on Where’d You Go Bernadette

Hello everyone!
We have some news on the upcoming filming of Where’d You Go Bernadette, the movie starring Cate Blanchett and Kristen Wiig, directed by Richard Linklater.
After several rumors a non official confirmation comes from a charity auction: Richard Linklater has made a role available to support the Robert F. Kennedy Human Rights, confirming one more location.
The movie, set to film in Vancouver (Canada), will also film in Pittsburgh (Pennsylvania) from July to September (source)!

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 on her new film ‘Manifesto: Three promotional interviews

Cate Blanchett on her new film ‘Manifesto: Three promotional interviews

Hello everybody!


It’s time for more articles and interviews for the linear version of Manifesto. Read them below!

Cate Blanchett says ‘My dreams are like dog dreams.’ Find out what she means.

Apart from Tilda Swinton, there is really no other instantly recognizable, Oscar-winning actress who can shift so easily from tentpole Marvel blockbusters to avant garde experimental cinema like Cate Blanchett.

Manifesto (now in theaters) is most definitely the latter — an operatic 94-minute movie version of a gallery installation by German artist Julian Rosefeldt. It’s the only Blanchett that audiences are going to see onscreen until Thor: Ragnarok (out in November) and Ocean’s Eight (next year), but luckily it’s a lot of her. She plays 13 characters, in fact, all speaking different manifestos, from Karl Marx’s “Communist Manifesto” up to Lars von Trier’s “Dogme 95.”

The art installation was a sensation when it played at New York’s Park Avenue Armory. The film is a different but unexpectedly robust experience, with some segments that are hilariously droll. In the funniest one, Blanchett plays a newscaster named Cate speaking via satellite to a weather person, also played by Blanchett, also named Cate. It might not be for all tastes — as Blanchett and Rosefeldt admitted when they sat down with EW last week — but those who casually dismiss a challenging and unique project like Manifesto probably shouldn’t consider themselves real fans of the actress.

ENTERTAINMENT WEEKLY: Cate, when I was watching Manifesto, I thought about Todd Haynes’ I’m Not There, where you play Bob Dylan, and Jim Jarmusch’s Coffee and Cigarettes, where you’re yourself and your punk, lower-class cousin.

CATE BLANCHETT: Yeah, for me, this is probably akin to those experiences.

JULIAN ROSEFELDT: I’m Not There actually plays a really important role in the genesis of this project. Cate and I first met three years ago at an exhibition of mine.

BLANCHETT: We were looking for something to do together.

ROSEFELDT: We talked and talked. I remember we talked about Andrei Tarkovsky films. And she was so sweet and started to compliment my work.

BLANCHETT: It was all bulls—. I just wanted to work with you and I’d say whatever it took.

ROSEFELDT: [Laughs] But I felt like a little boy. I’m being complimented by Cate Blanchett! So I brought up that scene at the end of I’m Not There, when Cate as Bob Dylan looks right into the camera. I was talking to [I’m Not There cinematographer] Ed Lachman last night and he said that it was you who decided to do that, not Todd Haynes.

BLANCHETT: Oh, really. I can’t remember.

Also there’s the ending of the other Todd Haynes film that Cate starred in. She look right into the camera in the last seconds of Carol too.

ROSEFELDT: Ah, that’s true.

BLANCHETT: Nah, I’m not looking into the camera there. I’m looking at Rooney [Mara]

ROSEFELDT: But that glance in I’m Not There for me is one of the strongest moments of anything Cate has ever done. Amazing, amazing. You can feel it’s not overly scripted, it feels like it’s just happening. So I mentioned to Cate that I found that moment to be particularly extraordinary. But, of course, right away she started talking about Todd’s earlier film.

BLANCHETT: Superstar? The Karen Carpenter film. It’s brilliant.

ROSEFELDT: Yes, which I hadn’t seen at the time. And so she was telling me all about it.

Cate, how much do you love the opportunity to play more than one character?

BLANCHETT: Oh, I love doubling. And when you’re working in cinema, you rarely get to double. It’s often done on stage but much more rarely on screen. On film, you’re usually inviting an audience into a very literal narrative experience. So to allow an audience to free associate and find points of common reference is very exciting.

There’s that one sequence in Manifesto when you’re the news reporter and the weather person.

ROSEFELDT: That maybe reminded you of Coffee and Cigarettes.

Yes, I loved it. And it’s really hilarious. How much did you both allow yourselves to have fun with all this heavy material?

BLANCHETT: The material is absurd. And actually we laughed a lot. It’s also slightly hysterical because of the pace we were working at. For me, doing it all in 11 days was quite hysterical and instinctual. So there was that natural absurdity that was built-in.

ROSEFELDT: Sometimes I’m asked if I’m making fun of those certain manifestos where there is comedy. It is not mockery, because I do love all these texts. But the humor does help discover that some of these texts were not written with 100 percent total sincerity. I mean, the guys writing “Dogme 95” were, of course, having a big laugh. Or at least an amazing fun time.

BLANCHETT: Oh, for sure. They are provocations. As in, ‘What are you gonna make of this, huh? I’m gonna blow it all up!’ But now most of these artists — and of course most of them are male — are part of what we perceive to be the establishment. But at the time they were outsiders, which is always the place of an artist. So they can be outside and look in, challenging us to look at the way we live and breathe and work and think.

Cate, you play 13 different people, including a homeless man. But were there any ideas that you considered but decided against because they were too gonzo? Like playing different ethnicities, for example.

ROSEFELDT: We had a post-coital scene at one point, with a man falling asleep while the woman is still talking.

BLANCHETT: We talked about having me speak different languages. It would have been great if I could’ve spoken Mandarin, but then there is a cultural sensitivity to crossing those lines. Art still needs to be liberated from notions of bureaucratized thinking. I mean, look at the work of Cindy Sherman. She crosses ethnicity boundaries and that’s part of the provocation.

ROSEFELDT: Let me actually ask you a question. You say you liked the “news show” scene, where the text is very comprehensible. But in some of the other scenes, where the material is much more dense, were these texts understandable for you?

No, to be honest. But I thought the experience was more about sinking into those worlds and not paying attention to every word.

BLANCHETT: I know I didn’t! [laughs]

You weren’t paying attention to every word?

BLANCHETT: I couldn’t. But each of them has a particular energy, so it made much more musical sense to me than intellectual sense. It’s like a ballet of words.

Cate, you mentioned how quickly you filmed this. I’m curious about when you’re playing all of these characters, what do you dream about at night?

BLANCHETT: My dreams tend to be like dog dreams. I’m usually so tired that I hardly dream at all. In a way, I do think that the zone one performs in — without getting too ooga-booga about it — it’s like that moment when you wake up in the morning and you’re emerging from a dream state but you’re not quite up. Where are you? Can you hear the birds? Or is that the traffic? It’s that zone in which I perform. It’s like one foot in reality and one foot in a dream state. I spend most of my life in that state!

Do either of you think that events in the world have changed this picture? Do I, seeing it for the first time now, have to interpret it somewhat differently?

ROSEFELDT: You have to.

BLANCHETT: Just by force of circumstances you do. That’s what art does. It has very specific meaning at the time that it’s made. But a great work of art mutates and it’s meaning is porous enough to allow an audience to place themselves in it.

ROSEFELDT: And now after every Q&A for the film, I’m asked about populism. In Turkey, in France, in Sundance, in New York. When Cate as the newscaster says “All current art is fake,” everybody laughs because you think about “fake news” now.

BLANCHETT: Of course you do. Language is so powerful. Artists are like temperature takers of their time. And we need them more than ever.

via Entertainment Weekly

Interview: An Art History Lesson From 13 Different Cate Blanchetts

Manifesto is a bit of a high-minded Frankenstein’s monster, an unwieldy, electric project from German artist Julian Rosefeldt that is as hard to explain as it is unable to explain itself. Originally an art installation, Manifesto morphed into a film (but even that isn’t the right term), a collection of 12 voice-overs and monologues culled from history’s great manifestos, explosive calls to action and destruction from the world of art, architecture, film and beyond. And, naturally, for 12 different vignettes the artist enlisted 13 different Cate Blanchetts; the two-time Oscar-winning chameleon and soon-to-be Marvel menace appears as everything from a tattooed punk rocker to a news anchor speaking to a weatherwoman (both Blanchett) to a mud-covered homeless man shouting Situationism theory into a bullhorn. It’s a dazzling experience, and one that, for someone whose experience with art extends mostly to the paneled page, is continuously overwhelming.

So, I went to the source. I met up with Blanchett and Rosefeldt at SoHo’s Crosby Hotel for what turned into a widespread discussion on art, acting, empathy and, dare I say, the meaning of life…and how it all boils down to a baboon sitting on a trash can.

What drew you to the idea of manifestos? I had no idea there was just…so many of them.
Julian Rosefeldt: The starting point was another project where I studied Feminist theory and read two manifestos by a French futurist, Valentine de Saint-Point, who had a really interesting, crazy life. She ended up as a Muslim in Egypt but before that, she wrote a really radical feminist manifesto. “Lust is a force.” I had already met Cate, and we had the idea to do something together. My own interest in artist’s writings started when I was a young high school student, I got into it, read hundreds of manifestos. Not only visual artists, but political manifestos, feminist manifestos, filmmakers, architects, theater makers. The idea was to do, on one side, an homage to these writings because they have been mostly forgotten or covered over by the visual work of those artists, but also trying to find out if they are applicable, if they can be used today, and what they mean to us. But it was very much driven by the beauty, the pure poetry of these texts. When I read them, I got the idea that [Blanchett] could do them because I could already sense them being performed, hearing her voice saying them instead of just reading them as art history.

In the hundreds of manifestos that you read, and the dozens that you performed, did you notice a throughline?

JR: There are many things that connect them. Insecurity —

Cate Blanchett: Assertion of their individuality. [laughs]

JR: It’s surprising because they’re all so angry so they seem secure, but if you see when they’re written you find out they can only be insecure and fragile at that moment in life. Manifestos are a wish to create utopia, ideas that can never be fulfilled but because they are so large they need to be drafted down and shouted out into the world.

CB: There’s a desire for them to change what they perceive to be the status quo. It’s an energetic response to what they percieve to be the institutions that are forcing them to be outside the system.

JR: Nowadays, it’s not so risk-taking to write a manifesto. Manifestos have certainly transformed into different possibilities of saying what you want to say. The art scene is global and massive and you do these things, like interviews and panel discussions, publish them on a blog.

CB: When I first discovered manifestos, I was at university studying art history. Part of the pleasure and the excitement is to take these assertions out of their historical context and to see what sticks. So [Manifesto] is deliberately…it’s a subversion in and of itself, but also it’s quite perverse because the characters are often antithetical to what the text is saying, or what the text is asserting. In doing that, I personally found an energetic similarity to all of them, the texts, that was quite often angry, but very youthful, and idealistic. Even though they were talking about what they wanted to irradicate, they were also talking about building something new. It was kind of a positive forward-looking, creative sense of what could come. Which doesn’t seem to be very alive in the world at the moment.

So much of the language is hyperbolic — “I want to destroy this, do away with this.”

CB: Yeah, but a much as you’re wanting to provoke change in the world around you, you’re wanting to provoke and challenge yourself.

Did you have to shy away from performing each character in that loud, overblown way or, I guess, separate the words of the manifestos from what you were actually doing?

CB: Well it was quite forensic in the planning, like which part of these manifestos lent themselves to be more dialogue, monologue and conversational, and which parts would be said from an interior voice. And when it was an interior voice, who was the voice talking to? What was the attitude, or the reason for saying it? So I found the parts that we filmed were much more easily ascribed than doing the voice-over. Because the voice-over is speaking directly to the audience…or are they speaking to themselves? We played a lot with that.

JR: The inner voice, although she speaks with the same dialect, often becomes a comment on the whole project, almost like a goddess who looks at the scenery.

CB: We talked a lot about it, because they’re not really characters, they’re just masking and then unmasking, but the voice is quite unmasked. So does that go to a neutral place? And if so, given that each person is inhabiting each of these personas, each of these situations, what then becomes neutral? Is that me?

Was there a lot of room to play with how you did each vignette?

JR: We had a very tight window for scheduling, about 12 days with Cate so it had to be prepared very well. Cate, with her experience, and her sensibility, and empathy for human beings, saw things in the text that weren’t there before. She experimented. I remember you [to Blanchett] were playing with the School Teacher, quoting Jim Jarmusch’s “Golden Rules of Filmmaking,” after saying “nothing is original. You can steal from architecture, books, random conversations…” and when you say random conversations, you used that moment to apply it directly as a teacher speaking to a student.

CB: It was a way to try and find…it’s like a piece that I saw in Berlin called “Murmeln Murmeln,” which means “Mumble Mumble,” and the actors were all basically saying “mumble, mumble, mumble” but, as children who learn language do, they intone it in different ways. Oftentimes, the texts, for me, became like that; I didn’t think about what I was saying, it was about the intention. I could be speaking Swahili right now, but you could glimpse what I was talking about by the stress, or the way I’m using my hands. But it was very instinctual. I just had to have no shame. Because we had no time, there were no rehearsals, per se. The night before we’d talk and I’d say, “Okay, let’s make this one Scottish! This one will be, I don’t know, a bit Cockney.” We talked a lot, so you can make very quick decisions because you feel like you’re all singing from the same song book.

There are surprising moments, though; I was walking through that derelict series of buildings as the Homeless Guy. I knew I’d be walking past Julian’s camera, but they were busy focusing on a baboon sitting on a rubbish tub [laughs]. That’s what the piece is. I do something, Julian does something.

JR: I remember you saying, “now we’re doing art.”

CB: That’s art.

JR: What I learned from Cate in Manifesto is that the curiosity doesn’t end with rehearsing the text. It’s neverending. Her curiosity for the human nature is never-ending. It goes on, and on, and on. I think that’s what makes an actress extraordinary. You never stop being curious. You want to keep loving humanity more. If you’re cynical, if you detest life, you will be very limited in your language. If you embrace life, if you see all things happening as surprises in front of your eyes, you can’t stop learning.

Manifesto is now playing in theaters.

via Observer

Cate Blanchett Talks Playing a Punk Rocker and a Puppeteer in the Multichannel Movie Manifesto

“It’s… is it a film?” It’s a fair question Cate Blanchett asks. Manifesto is now playing at New York’s Film Forum, and it screened as part of the Tribeca and Sundance Film Festivals, and yet the tricky epistemological matter of what exactly it is remains. The work—that’s a nice neutral noun, right?—began as a multichannel video installation by the artist Julian Rosefeldt, with Blanchett playing a dozen different characters reading texts compiled from sources ranging from Marx and Engels to Lars von Trier. The “linear version,” as Blanchett and Rosefeldt call it, condenses those channels into one, and further trims the installation’s collective two-plus hours of footage into a tidy 90-odd minutes. The result is neither fish nor fowl, no longer video art but not quite a coherent theatrical feature, even an abstract and non-narrative one.

One thing Manifesto, in any manifestation, is: a showcase for Blanchett’s prodigious talents. In the course of the movie (let’s just call it that), she plays a frumpy hausfrau, an imperious, Russian-accented choreographer, a shambling, raccoon-eyed punk singer, and a bearded homeless man. (The first list of potential characters numbered around 60.) Although Blanchett’s personae sometimes match up to the words she’s saying—a patiently tsk-tsking schoolteacher instructs grade-school children in the elements of von Trier’s abstemious Dogme95 manifesto—the scenes weren’t conceived as dramatic set pieces, Rosefeldt explained alongside Blanchett at a New York hotel last week, nor was there necessarily an intellectual rationale for placing a given scene in a given setting. “An analyst might find a reason for it,” he said, “but that wasn’t really the recipe. The aim was always peeling out the original core of the idea and context.” His slice-and-dice approach to the original texts, with bits of a dozen or more combined into a single monologue, strips the manifestos of their intended prescriptive meaning, leaving a kind of urgent, all-purpose exhortation. “There’s a heavy, thick layer of dust, of interpretation, throughout history. If you blow this away, all of a sudden, you find a very fresh text that not necessarily connects to the visual work, but therefore is beautiful to discover or re-discover as pure poetry and utopia.”

Although Manifesto’s characters were conceived without any psychological underpinnings, Blanchett didn’t find it especially difficult to grasp them through their actions, even though the entire project was captured in only nine days of shooting. “The thrust of the character was very much about what they did, and what they said, rather than how they felt,” she said. “It was more about making a mask that could be taken on and off. It was much more interesting for us to elaborate them as part of a mosaic that creates society as a whole, like a puzzle.” Blanchett’s fitness for projects like Manifesto or Todd Haynes’ I’m Not There makes you wonder if she’s not an avant-garde actress who is only incidentally a movie star. Much more challenging, she says, was recording the movie’s voiceover, in which Rosefeldt’s bricolage monologues had to be spoken as a continuous whole. “I thought my eyeballs were gonna drop out, or my ears were gonna start bleeding,” she said. “When you’re not distracted by the visuals, you have to make sense of these things, which are often nonsensical. It was really hard to find a psychological attitude toward something that doesn’t have one.”

Perhaps the most charming of Manifesto’s segments is the one in which Blanchett plays a puppeteer who creates and then interacts with a puppet version of herself. The interplay between real Blanchett and puppet-Blanchett is so fluid that I wonder if she’d previously honed her skills on some past project. Blanchett chuckles. “What puppetry skills?” But Rosefeldt was equally impressed. “After you did that scene,” he says to Blanchett, “there were rumors in the crew, like when did you learn this?” He turns towards me, and away from her playful oh-you scoff. “She says, ‘I think I learned it two minutes ago.’”

“I’d watch you,” Blanchett says to Rosefeldt. “You have an incredible facility. I often find with directors that if you turn the sound down on what a director says to you, there’s something about the way in which a director communicates; they’re giving you the direction in a physical sense. Or if you watch their eyes you think, ‘Oh, I think I understand what you mean.’”

It’s fitting that in a project devoted to stripping words from their original meaning that so much of the communication would be nonverbal. And in breaking apart the sometimes blustering rhetoric of its sources, Manifesto also finds room for a new voice. “When you see it in all in one piece, it seems like it’s from a group mind rather than an assertion of individual expressions, and I think you’re much more aware, as an end result, that you’ve got a whole lot of manifestos written by men,” Blanchett says. “But the female presence is also much stronger in the linear version. I think you make that connection a lot stronger. The female presence is more acute.”

via Slate

Cate Blanchett shares an anecdote about her work with Terrence Malick and Manifesto

Cate Blanchett shares an anecdote about her work with Terrence Malick and Manifesto

Hi everyone!

One more promotional interview about Manifesto! Enjoy the reading!

Cate Blanchett Borrowed a Technique From Terrence Malick To Make ‘Manifesto’

Cate Blanchett continues to mesmerize and surprise us. She can give dramatic performances as riveting as the ones in Blue Jasmine and Carol, transform into a decadent menace as Cinderella’s evil stepmother, then play a Marvel villain in Thor: Ragnarok. But on the off-chance you’re not yet totally sold on Blanchett’s otherworldly versatility, her latest film will seal the deal.

In Manifesto, Blanchett plays 13 characters with a dozen different accents. The art film from German artist Julian Rosefeldt, which began as a gallery exhibit and is now being released as a 95-minute feature, features Blanchett as a homeless man, a grade school teacher, a puppeteer, a scientist, a choreographer, a news anchor, and a punk musician, among others. On top of memorizing a hefty amount of dialogue about Dadaism, Surrealism, Futurism and other art movements, the Oscar winner only had 11 days to shoot the entire project, and on some days she played multiple characters. When I asked her how she pulled it off, Blanchett shared an anecdote about her work with Terrence Malick, and how she borrowed a technique of his to make Manifesto.

There have been many stories about the mysterious filmmaker and his unorthodox, script-free process – like how he gave Thomas Lennon a note card with an inspirational phrase on it in lieu of dialogue in Knight of Cups. Blanchett, who appeared in Knight of Cups with Christian Bale and Song to Song alongside Ryan Gosling, shared an interesting tidbit about Malick’s experimental process that involved reading his actors poetry via an earpiece:

“I’d just recently come from doing a little bit on a Terrence Malick film and he was really interested in the actors having earwigs in. Obviously Terry writes reams and reams of poetry, and you never know whether it’s going to be in the film or not in the film. So I had him in my ear reading Heidegger and bits and snatches of things. And so I’d be saying – I’d be like George Bush during the presidential debates – I’d be saying Terry’s lines to Christian [Bale]. And then, ‘Sorry, what was that Terry?’”

That gave Blanchett the idea to do something similar for Manifesto. At the end of all 13 shorts in Rosefeldt’s film, Blanchett turns to the camera to recite a monologue in a high-pitched, monotonous tone. To make sure she maintained the same tone of voice, she recorded each monologue then listened back via an earpiece to recite them again for the camera:

“Because there’s so much text with the pitch-tone, the night before I would record it in a very neutral, measured, slow way so that then when the pitch-tone moment came up, which was in my ear, [it] would switch on, I’d hear my voice and I’d be able to [says in monotoned voice] ‘pitch da da da and be listening to this.’ It was very, very, very technical, actually.”

One challenge for Blanchett during the project was trying to remove herself from each of her characters. Despite using a variety of accents, from Canadian to New Yorker, the monotone voice at the end of each segment is essentially Blanchett’s natural Australian accent. She referenced the neutral mask acting exercise she learned in drama school, where an actor tries to separate their character from themselves. “I was very frustrated because the inner voice and the connected tissue that’s really clear in the linear version is my voice, this is my natural accent,” she said. “It’s almost like I wanted to make it more neutral, and unfortunately you can never truly eradicate yourself.”

Do all the Marvel movies and experimental films you want Cate Blanchett, just please don’t eradicate yourself. Manifesto opens in limited release on May 10.

via Screen Crush

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