Cate Blanchett is the cover feature of the April issue of Australian Vogue. Photographed by Emma Summerton and Styled by Christine Centenera, here is the cover and 2 photos from inside. I’ll post scans when I get them!
SINGAPORE: Top designers Diane von Furstenberg, Victoria Beckham and Thakoon will be showing their Fall/Winter 2015 collection at the Singapore Fashion Week (SFW) 2015. Von Furstenberg will be the opening designer of the festival, while Beckham will close the week showcasing her designs.
Previously branded as the Audi Fashion Festival (AFF), the five-day long event will see luminaries such as SK-II ambassador and Oscar-winning actress Cate Blanchett and L’Oreal Professionnel spokesperson Yoon Eun Hye gracing the front rows of the fashion shows.
This year’s SFW will also feature a healthy dosage of local fashion heroes, including apparel label exhibit and accessories label ALT by Curated Editions, two returning brands which debuted their collections at the AFF last year.
Velda Tan, who used to run online boutique Love, Bonito, will unveil her new clothing label, COLLATE THE LABEL, at this year’s fashion edition.
Singapore Fashion Week will run from May 13 to 17 at Tent@Orchard, Ngee Ann City Civic Plaza.
Cate Blanchett knows why fairy tales have worked for hundreds of years, and it shows in her diabolical turn as Lady Tremaine, the wicked stepmother of Disney‘s new, live-action “Cinderella.”
The two-time Oscar winner told Speakeasy in a telephone interview that she found the rather straightforward approach to the fairy tale “refreshing” in this age of reimaginings, reboots and twists meant to conform classic stories to the zeitgeist of the day. In the case of “Cinderella,” she said, much of it comes down to how faithful the Kenneth Branagh-directed film is to the way the story has a variety of important roles for women — even if some of them are villains.
“You see sisters, you see godmothers, you see stepmothers, you see birth mothers, you see daughters, and so you see a lot of different female dynamics,” she said.
Blanchett also weighed in on the power of wigs, Patricia Arquette’s stirring call for equal pay for women and how Blanchett channeled Fred Flintstone during the filming of “Cinderella,” which opens Friday. An edited version of the interview follows.
You’ve played a wide range of characters. How do you jump from something like Galadriel (“The Lord of the Rings” and “Hobbit” films), who’s sort of like the fairy tale ideal of a woman, to the evil stepmother in “Cinderella”?
Wigs. It’s all the wigs. (laughter) It’s what’s demanded of you. Both tales are very well known, and there’s a sense of what are you going to do with this? What are you creating? What are the actors going to do with this? What I really found completely refreshing about this version of “Cinderella” is that it had this sumptuous, inventive, completely satisfying and enticing storybook universe, but it had really three-dimensional characters. I read the script, and I said to Ken [director Kenneth Branagh], “This is basically the story.” I come off being an audience member to a lot of twisted fairy tales, a lot of fairy tales being told from a very zeitgeist-y twist, and this didn’t have that. I found that really refreshing, both to be in and to watch.
Disney has been doing a lot of revisionist fairy tales, and this was unique in that it wasn’t revisionist.
You have a director at the helm who understands why, for centuries, we would continue to want to see and want to perform “Hamlet.” We all know how it ends. We all know the story. But when you see a great production of it, you feel like you’ve been told the tale for the first time. And I’ve noticed this in my own children — is often, when they enjoy a book, they’ll want you to read it again, or have it read to them again. They’ll love it, and they’ll watch it over and over and over again. There’s something really robust about the fairy tales, I think. … There’s something really pure about the re-telling and, I think, ultimately very satisfying.
There’s a visceral reaction to villains who are women, moreso it seems than toward male villains. You see it on TV a lot, for instance. Male villains become so beloved, like Tony Soprano or Walter White, whereas Cersei Lannister or Skyler White are reviled. Do you think this has its roots in fairy tales, where traditionally women are either princesses or mother figures, good or bad?
Well, the notion of the stepmother is a child’s worst nightmare. Women are sort of socialized to be kind, to be true, to be generous, to be demure. And when you have somebody who presents that way, who, in fact, isn’t your mother, it’s every child’s worst nightmare — that the loving mother figure will turn on them. That’s the way society has worked for a very long time, for better or worse. I think it’s the way horror works, as well. It’s the way Scooby-Doo works! … One of the wonderful things about “Cinderella” is there’s so many female examples, examples of female behavior. And also there’s cruelty among women to women. It’s a story that has — in this particular retelling, there’s also a very beautiful father-son relationship — but you see sisters, you see godmothers, you see stepmothers, you see birth mothers, you see daughters, and so you see a lot of different female dynamics.
One of the most striking things about your performance is how you would pose your body and it would just fit the frame so perfectly. Did you work on this with Kenneth a lot, or did you have ideas going into it?
The first time I stepped onto the step — and when you’re working on a set that’s been designed by Dante Ferretti, you want to use every inch of it — I was really struck by the potential there. Whether that comes from being an actor who works on the stage, so understanding what the frame is going to be is very important to me because you want every frame of the film to feel like the next exciting page in a storybook. We’re in a storybook universe. So I would always check what the shot was, what the setup was, what the frame was, and to see how best to use that. I had a bit of a “Flintstones” moment! You know how Fred and Barney — the car sails along, but the feet are going rapidly underneath? I wanted to be able to glide, and I had to have a bit of practice to be able to glide. [The character] has a very self-conscious, designed grace that hopefully that becomes more and more of a burlesque as the story develops, as her panic sets in.
It was good for a few laughs …
Look, when you need to get a cheap laugh, just go for it.
Another thing was your voice, the inflections, the tones. Were there any specific reference points? I remember Anthony Hopkins saying that he based Hannibal Lecter’s voice on Katherine Hepburn and Truman Capote –
I was wondering if you had any reference points like that?
I just wanted her to sound slightly that she was from the wrong class and that she worked very, very hard on sounding and being in the right class … Not that I based her on this character, but there’s this wonderful character in “Brief Encounter,” when they’re at the railway station, and the woman that works behind the bar, she’d drop a few proper-sounding vowels into her very arch, cultivated sort-of traditionally lower-class accent, but she’s trying to stay above her station.
What was your response to Patricia Arquette’s speech at the Oscars? It generated a lot of excitement among female actors in the audience.
About pay for women?
Yeah, I mean it’s ridiculous that in 2015 we’re even having a conversation. It’s very, very hard … when you cannot walk in, no matter what your profession is, and get equal pay for equal work. How do you get to a sophisticated dialogue about anything in an industry where there’s heightened inequality financially. It’s ridiculous. So, yeah, she hit the nail right on the head.
New outtakes and HQ version from the Oscars behind-the-scenes photoshoot are now in the gallery.
via Vogue Taiwan
Well, this is a rich post! The movie hits the cinema on Friday.
New poster from China
Behind the scenes photos
and five interviews
We talked to the actress about bringing her own spin to Cinderella’s arch nemesis.
It looks like you’re having a lot of fun in the movie. What do you enjoy about being the baddie?
There was a buoyancy to it — the experience of being on set and also the jaunt of the narrative… The message of the film [revolves around] her courage: Be kind, be generous, be open-hearted, be resilient. So to get to not do that, and to be in every measure the opposite, is really fun.
How do you look at Lady Tremaine? Do you think she’s purely wicked, or is it more complicated than that?
She’s a survivor, I think. She exists in a world where women don’t have financial independence, where the way to survive is through marriage. She’s had two husbands die on her. She hasn’t had it easy. She’s got two rather unfortunate daughters. And she knows the only forward is for them to marry. So when her husband dies again it’s like, ‘Oh bloody hell.’ And every day she has to look upon this girl who has this natural grace and dignity.
Do you think Tremaine ruined it for stepmothers everywhere?
Look, they’ve always had a bad rap, in all these fairytales with wicked stepmothers. But fairytales are really interested in transformation. And there’s something about the archetypical mother who is meant to be nurturing and kind and good, and the inverse side, the flip side.
I used to have one of these dolls that had Red Riding Hood’s beautiful little happy face [on it], and then you flipped her up and she became The Wolf. So it’s a little bit like that. It’s every child’s nightmare that the mother who nurtures them is one day going to turn around and reject them. And so the stepmother has had a bad rap for thousands of years.
What’s your personal relationship with Cinderella? It seems like you’ve brought your own touch to the role, but did you take any cues from the animated classic?
I watched everything from Disney growing up. The Wonderful World of Disney was the thing I looked forward to every Sunday at 6 o’clock. So I’ve seen it hundreds of times. But I was never really drawn to the story of Cinderella. I found the stepsisters hilarious as a child. But I didn’t identify with Cinderella at all. Because in that version, as great as it is, she’s a bit of a doormat. I didn’t in any way understand why she put up with it, except the door was locked. She was saved because she was beautiful.
Whereas, in this version, I think that you really get a sense of the spirit of the girl, and you understand why she puts up with it, because of her mother’s legacy, and her refusal for her spirit to be broken. And that’s a really courageous thing for any child who’s been bullied. So I didn’t really consciously reference [the original] at all. I didn’t have that gray stripe in my hair. I went in a completely different direction.
Right, she’s a redhead now, as are both of the stepsisters, whereas only one was in the 1950 version. As if redheads didn’t already have it hard enough already.
Yes, I know. But it’s such a passionate color. I’ve been a redhead. I love being a redhead. But they do get a bit of a bad rap.
The idea of young girls idolizing Disney princesses has long been a hot topic. How do you feel about it? Do you think it’s fine and healthy?
Well, I suppose I’m a little bit more concerned about boys or girls picking up guns, frankly, and that being normalized for them. Although, that said, we have a very hard-and-fast gun rule in our house. So they pick up sticks and turn them into [guns].
Also the whole social media thing for young girls, and for boys, about having an identity that isn’t who you actually are. That fantasy is a really dangerous fantasy, I think, psychologically, in terms of our evolution as a species. And for [Cinderella] to walk in and say, ‘Well, I have to be who I am.’ To be seen for who you are, and not who you’re pretending to be. She doesn’t enter into a fantasy, she enters into a very real relationship on her own terms. So I don’t think that’s a bad thing at all.
You have three young sons – will you show them Cinderella? Are they open to princess stories?
Yeah. I think boys get socialized out of a lot of the fairytale stories, [in terms of] identifying with the female characters, quite early. But certainly, when we read [my sons] fairytales, [we looked at them as] everyman stories. Whether you’re Hansel or Gretel, it’s sort of the same character. In some versions you read, it’s Hansel who’s down at the bottom, and Grensel does the saving; and in some versions, it’s inverted.
But [boys in general] somehow get told that Cinderella is not for them. And I think it’s because the version that we all know, visually, is the ’50s version, which is full of ’50s morality and ’50s social mores. And of course, this is not that, and I think there’s a great everyman quality to Cinderella.
Speaking of something young boys are encouraged to love: Indiana Jones. How do you feel about the buzz that Disney is looking to bring on Chris Pratt to be the next Indy?
Yeah, I won a few brownie points for that one… It will be all about how [the filmmakers] do it. And [Pratt has] got such a unique quality. If they harness his unique quality, then it could be something. But you wouldn’t want to be filling those shoes. You wouldn’t want to be filling Harrison Ford’s shoes. You’d want to be redesigning the shoe.
On March 2nd Cate Blanchett attented the Cinderella Los Angeles Press Conference. You can read the transcript below.
Q : So did you go after this role, or…
CB : Yes, like a rabid dog, [LAUGHS], and I didn’t get the Cinderella role, [AUDIENCE LAUGHS], though I had so many friends who- they asked me what I was doing in the summer, and I said, oh, I’m, I’m, um, in a live-action version of Cinderella, and there was a big kind of awkward pause. And they didn’t quite know how to ask me, [LAUGHS], are you a little old to be playing Cinderella? Yeah. A bit Bette Davis, so yes. No, I, well, no, it sort of landed in my lap, actually.
I was very lucky, and when I, um, Sandy Powell and Dante, uh, Ferretti were on board, and they’re, you know, two of the greats, uh, you know, uh, that they’ve created such extraordinary visuals, um, in modern cinema. And, uh, and, and then Kenneth Branagh came on board who’s so fantastic with actors and with language, so it was kind of a perfect, a perfect storm.
Q : What’s your favorite scene?
CB : Ooh, well, I think the chemistry between Lily and Richard is palpable, and I wept like a baby, completely inappropriately and out of character when they waltzed for the first time. The, the music is beautiful, but also it was a real- it was really big feat because Lily was cinched in so tightly, and that dress was like an armored tank, and he was in seven hundred layers of wool, and the dance was really athletic, and they acted like a dream. And the chemistry was, um, palpable, and I just, I wept because it was beautiful to watch.
Um, but I think maybe being the, the mother of, uh, sons, I found it very, very moving, and every time I see it, I do- I’m a bit of a- I do cry a lot, [LAUGHS]. Um, but I, uh, I love the scene between, um, Derek Jacobi as the king, and Richard Madden as the prince. You know, because that’s the wonderful thing about the film, I think is that, you know, we try and shield our, our children from moments of grief and, um, and I know it from, uh, having lost a parent at the age of, of ten.
Children are resilient, and they can, in a way, it’s harder, I think, to lose a parent, you know, the age the way that we are. Well, I mean, I’m might be a thousand years older than you all, but, um, and I, and, and I found that really moving.
I thought, um, for him as a, as a man to be curled up like a young boy, you know, and I’ve had a lot of friends recently lose a parent, and whether you’re eighty or eight and you lose a parent, you- you’re always the child, and so I find that move- that scene very moving.
Q : How much fun was it to play a Disney villain?
CB : There’s a lot of great Disney villains, and a lot of them are women and, um, and they always have, um, fabulous frocks and fabulous hairdos, um, uh, and so it was an enormous amount of fun. You know, the, the wonderful message in the film, of course, um, is to have courage and to be kind. You know, kindness is a super power, and we try to teach our children, you know, you share, you be respectful, you be generous, you be thoughtful, put yourself in someone else’s shoes, and to play someone who can’t play someone who can’t do any of those things, um, you know, to have that as your avatar during the day was quite fun.
Q : There was a scene where, uh, Lily asks you, as Cinderella, why are you doing this, and you say you’re- because you’re young, and I think you’re good, and I forget what the third one was.
CB : You’re young and beautiful, and, and I’m…
Q : Yeah, what is- is that saying that an older woman is gonna be, you know, so mean, and evil, and jealous to a younger, beautiful woman, and having to work that into your character? Did you find something else that you could- some humanity in her that you could use?
CB : Well, there’s that wonderful before that moment, you, you finally get to hear the stepmother’s story, and you know, it’s, it’s not the stepmother’s story. It’s, it’s the story of Cinderella. Um, and so the stepmother is foiled for her, narratively, and they’ve both suffered an incredible amount of hardship and tragedy, and this is a world still like today’s world where a lot of women don’t have agency; don’t have financial independence, and she made a decision really early on that the world is a tough place, and the way, the way to navigate your way through that is to graft yourself onto a, a man, and that’s, and that’s what she’s imparting to her, her children.
And the way that the stepmother has dealt with grief and hardship is to close down and to become bitter and jealous, um, you know, and there’s a sense of entitlement. And Cinderella’s experienced those things, but she’s remained open-hearted and good. She’s much more glass half full. And I think that whether you’re a man or a woman, you know, it, that, that tragedy does define- can define your character. So, I mean, hopefully, you’re not, you’re not, um, you don’t, you don’t necessarily like what the stepmother does, but hopefully you understand her.
And I don’t necessarily think it’s just about older women. There’s a lot of different female characters in there. There’s Cinderella’s mother, there’s the, the daughters, you know, there’s the people at the court and, and then there’s the stepmother, as well. But I think, I think there can be like professional jealousy, um, between men. You know, the same thing can exist between, between them, and this, I think it’s interesting to see them onscreen.
Q : How did you prepare for your role? You’re so evil. I love it. [AUDIENCE LAUGHS]
CB : Thank you. Um, often on film, we don’t get a lot of rehearsal time. We got a little bit of wi- with Ken on the, on the, on the script. Um, but, you know, actors come in at various different times, and so for me, the, the most creative two parts of the process early on are your costume fittings and, um, and so working with Sandy who I’ve worked with before, but also, Morag Ross who is doing my, um, makeup, and Kay Georgia who is doing my hair, and the four of us had, um, have, have worked together quite a lot.
And it’s- we get to try things out because before you even utter a syllable, um, what you wear- I mean, we do it, we do this on a daily basis. You, we form unconscious judgments of people, um, you know, the way they smell, [LAUGHS], by the way- what they choose to wear; how you choose to present yourself, you know, it’s a big part of who we are, and particularly on film because it’s so visual, obviously. Um, you, once I knew what those silhouettes were, I knew which bits I didn’t have to act because the costume was, was re- revealing those things.
You could- you could play against it. Um, so that was an incredible amount of fun and, um, and then obviously, it gives you a sense of how the character might move, and you try those things out because the camera’s not rolling- no one’s looking at you, and the other thing I find very creative is the camera tests. Because obviously the cinematographer and the director, uh, um, are looking for lighting effects and, you know, how will it affect on your skin or the hair- with wig color. They’re not looking at you, and I always like to see the camera tests because you can try, try things out.
You can fuck things up, and think, oh, [AUDIENCE LAUGHS], I won’t, I won’t do that. Um, so that was a big part of the preparation.
Q : Hi. Um, I wanted to ask you, um, did you have any input on what you wore, and what was your favorite look of what you wore?
CB : Oh, gosh, yes, it’s been a Sophie’s Choice moment isn’t it? Um, yes, I mean, Sandy’s got very, very strong ideas. I mean, that’s what makes her Sandy Powell. Um, but we talked really early on. We started emailing, um, each other pictures that we found inspiring, you know, lighting references, hat references, drapes, fabrics, um, and we sort of- we found this pool of images that we were both drawn to and, um, and the, the big offers that Sandy began to, to make, which I found really exciting is when she pulled out the color swatches.
Okay, we’re going for chartreuse, we’re going for green, we’re going for hot pink, and we’re gonna mix them all together. Um, and so there’s a, um, yeah, that was an enormous offer- that you, you take those offers from, from Sandy.
Q : And your favorites?
CB : My favorite, well, uh, there was a lot of green- my school uniform was green, so I tend not to wear a lot of green in everyday life, and I call that, that dress that I wore at the, um, the ball, the gherkin, you know, that was my least favorite, but everyone seems to like that one.
Um, I like the blue one. There’s a scene where the stepmother goes to see the archduke, and yeah, the poppy gloves and, um, uh, and a blue hat. It was sort of, I think for memory, it had a bird on it. I mean, the detail in Sandy’s costumes are just extraordinary.
Q : There was a notably difficult scene for you that was really hard to shoot?
CB : Um, well, it was all this, you know, obviously, I’m not in the film all the time, so you have- I wanted to sort of try and chart a journey that was, um, you know, from an, an exquisite exterior- the, um, you know, with a sort of affected grace that the stepmother became increasingly brash. And so it was just trying to calibrate- calibrate that. Um, you know, the, the, the costumes were- some were slightly more difficult to maneuver. Um…
Q : You just spoke about, um, trying things out on the camera test. How much input did you have- the script or anything?
CB : A lot. I mean, I think there’s a sense, um, that actors are sort of puppets that get moved around, um, but no, I’m, uh, no, I’m always interested in input. I, my husband’s a writer, you know, and I come from the theater, so I have a great respect for the script, and oftentimes, you know, the line that you want to change is the line that you need to make work, and that once you make that line work, then you’ve actually- you’ve shifted from yourself, the line you find hardest to say.
It’s actually- so without getting too kind of complex, it’s quite a difficult neurolinguisic process to actually make someone else’s words sound like they’re your own. And so the one I find that you may find most difficult to make your own is often the one that will unlock the character. Um, but it was really important to me, and it wasn’t the case when I first read the script that, um, that Cinderella had the final line of the film. And, uh, I said to Ken, so it’s a really great message. She comes in and says, well, I’m not gonna be rescued.
If this relationship is gonna work, he has to accept me for who I am, which I think is wonderful for young girls to say. I think it’s fantastic. And then there was a line at the end where he said, shall we go, and she didn’t say anything. And I thought, it’s not his story- it’s her story. And so then they- we added in this sense of forgiveness. I forgive you, and I, I feel, I feel like that’s a wonderful kind of conclusion to her, to her, her super power. Ella has an incredibly generous spirit and, um, and, and she also closes out the film which I think is great.
Good evening. New interviews from the Los Angeles Cinderella promotion have been released these last couple of days. Enjoy!
BEVERLY HILLS, Calif. — While Cate Blanchett loved the extremely theatrical costumes created by designer Sandy Powell for the new, live-action “Cinderella” film (opening Friday), they were a huge challenge to wear.
Blanchett won one of her two Oscars outfitted by Powell (in “The Aviator,” which also brought the designer one of her three Academy Awards for costume design), but the “Cinderella” creations were a lot more involved.
“None of the women [in the film] could sit down,” said Blanchett as we chatted in a Beverly Hills hotel suite the other day. Helena [Bonham Carter, who plays Cinderella’s fairy godmother] had millions of LED lights that had to be switched on every time. Lily [James, who portrays the title character] could barely breathe when she was dancing in that blue ballgown, in the big scene with the prince.
“I had to be on one of those old-fashioned slantboards a number of times for many of my takes. And, none of us could go to the bathroom!”
All that said, Blanchett admitted, “We love working with Sandy Powell, because she makes everyone look so fabulous. She creates these silhouettes, and then we as actresses have to fill them. She gives you this great acting [gift], which really helps you find your character.
As for playing the woman named Lady Tremaine, Cinderella’s oh-so-nasty stepmother, the actress said it was “fantastic to play such an iconic ‘baddie’ as the evil stepmother, but there also is a responsibility — or a hurdle to get over — because everyone’s loved the animated classic so much.
“We had to ask ourselves, ‘What are we going to do with it?’ What I loved about this version — and what [director] Ken Branagh did — was not doing anything really drastic to it. He just unlocked the three-dimensional qualities of the fairy tale. We’ve had a lot of angles recently on the retelling of fairy tales, but I think in this case, it is everything fans of the fairy tale will want it to be.”
The actress also was happy to have a character with a bit of a back-story.
“What interested me was thinking about things like ‘What makes people ugly? What makes them cruel? What makes them wicked?’ It’s obviously not the stepmother’s story, but she’s dealt with hardship and trauma in an entirely different way in her life, and that’s a big part of what’s made her the way she is — and how she treats Cinderella.”
In real life, Blanchett is clearly much more maternal than the character she filmed for “Cinderella.” On Friday, the actress’ publicist announced that the actress and her husband, Andrew Upton, adopted a baby girl to join their family. The couple already are the parents to three sons, ages 6, 10 and 13. The only detail released was the little girl’s name: Edith Vivian Patricia Upton.
I asked Upton if the fact Branagh is such a wonderful actor makes him a better director than directors who are not actors.
She quickly stressed she had worked with “many fantastic directors who have never once acted,” but that Branagh’s gift is that, “as a director, he’s very good at speaking to everyone individually. He doesn’t have a single process that he applies to everyone. He understands when you don’t need to go again [and shoot another take of a scene], or when you do need to go again for the performance.
“When you work with him, he invites you in. He gives you a sense of responsibility to the whole film. I really loved that.”
Branagh told me that tackling “Cinderella” — such an iconic, familiar story that audiences already know so well — did not intimidate him in the least.
“You have to remember that I come from a background in the classics where you’re often coming across material that has been done very successful before,” he noted, particularly pointing to his acclaimed performances in Shakespeare’s “Henry V” and “Hamlet.”
“In approaching them [to do again] you realize that it’s because they are so good that they are worth visiting again in a fresh and a new way to present to new generations.”
Branagh chuckled recalling the first time he saw Blanchett in her first costume as the evil stepmother.
“When she walked on set for the first time in Sandy Powell’s costume, with that strong silhouette, with those strong colors, such an amazing hat, the veil, the gloves, the cat on a leash — her friend Lucifer — I was spellbound. All those things offered great fun just to be around.”
As for the enduring popularity of the “Cinderella” story, Branagh said, “I think part of it is that we recognize and sympathize with an outsider. We identify with someone who appears to be an underdog. … We want to believe it can work out— and not just because of magic, but because of a strength and a goodness we want to see inside ourselves.”
For Blanchett, portraying the evil stepmother, of course, had nothing to do with goodness.
“Oh no. That’s not who she is in the least,” said the actress with a chuckle. “But, I must say, it was fun playing her. That role was truly delicious!”
You all know I don’t usually go for personal news, but this is just so great! Congratulations to Cate and Andrew.
Report from ABC News:
Acclaimed actress and “Cinderella” star Cate Blanchett just adopted a little girl, ABC News has confirmed.
Edith Vivian Patricia Upton is the fourth child for the Oscar winner, who is already mom to Ignatius Martin, 6, Roman Robert, 10, and Dashiell John, 13, with her husband, whom she married in 1997.
“The Upton family (Cate Blanchett and [husband] Andrew Upton) have adopted a baby girl,” her rep told ABC News.
Blanchett, a two-time Oscar winner, ironically stars in “Cinderella” as the wicked stepmother. She recently told “Good Morning America” that she wasn’t initially attracted to the role.
“When I was approached to be in this, I said, ‘It wasn’t a fairy tale that I actually gravitated towards,'” she said. “Because I found the central female character really passive.”
Blanchett, 45, eventually singed on and say playing a villain was “fantastic.”
Last Monday, Cate attended a Press Conference for Cinderella in Los Angeles, here are some photos, thanks to Nicole.
A very beautiful new promotional image with Cate Blanchett as Lady Tremaine.
After playing both real and mythical queens, a golden age screen idol and Bob Dylan, Cate Blanchett is taking on another iconic, complex character – Cinderella’s evil stepmother.
In Disney’s live-action “Cinderella,” out in U.S. theaters on March 13, Oscar-winning Blanchett plays the impeccably groomed and conniving Lady Tremaine, the villain obstructing Cinderella (Lily James) on her journey to becoming a princess.
Blanchett, 45, spoke with Reuters about how “Cinderella” brings a classic story into the modern age and weighed in on women in Hollywood.
Q: How do you put your stamp on a character like the evil stepmother that has become embedded in pop culture?
A: It’s very easy to play someone who’s just bad, but then hopefully understanding what makes someone tick. I think an exploration of jealousy amongst women is an interesting thing to explore on screen.
Q: How does this re-telling contemporize the story?
A: In the 1950s classic of the story, Cinderella was a bit of a doormat – she was incredibly beautiful, she moved gracefully. You also didn’t really understand the prince apart from the fact that he was gorgeous and he rescued her.
(Director Kenneth Branagh) kept talking about kindness as a super power, which I think has taken the story into a contemporary arena. In this cutthroat world where economics is everything, if you stop and pause, have empathy and kindness towards someone, then people can walk all over you. The fact that her goodness and kindness triumphs, that it really truly is a super power, is a wonderful message in the contemporary world.
Q: Hollywood again came under fire recently for its lack of leading roles for women. How do you think traditional roles for women are changing in Hollywood?
A: The fact that we’re still talking about it means that we probably haven’t moved as far. But people always talk about Hollywood.
Let’s start with equal pay for equal work, and when we can get to that space across all industries, then we might be able to say things have shifted. And then maybe you could look at Hollywood for the nuances of how things are being represented. I think women still have to talk about it … there’s still not gender equality in any industry.
Cate Blanchett went to promote Cinderella at The Ellen DeGeneres Show, aired yesterday on NBC
and to Good Morning America, aired today on ABC.
SK-II Malaysia released the video from the Oscars behind-the-scenes photoshoot, as a part of SK-II Change Destiny Campaign.
Four new press junket interviews with Cate Blanchett!
And a very sweet interview from the Cinderella Los Angeles premiere.
Yesterday Cate Blanchett attented the Jimmy Kimmel Live! to promote Cinderella. Here are the first clips!