Cate Blanchett Fan @Cate-Blanchett.comYour source for Cate Blanchett


Vogue Australia December – One more photo & Article Preview

I’ve added another photo in HQ from the Vogue Australia December issue that will be out on the 23rd and a preview from the article via Daily Telegraph. The cover has also been replaced with a HQ version.

Cate Blanchett Vogue Australia December 2015

Cate Blanchett takes emerging Australian actor Ryan Corr under her wing

ACADEMY Award winner Cate Blanchett has taken emerging Australian actor Ryan Corr under her wing.

Blanchett, who struck up a friendship with the Packed to the Rafters star when he played a role in the Sydney Theatre Company’s production of Sex with Strangers, said the 26-year-old has what it takes to make it in a very fickle industry.

Blanchett, who features in the December issue of Vogue Australia, a tribute edition to her and husband Andrew Upton’s contribution to the arts in Australia, said: “Ryan’s talent and adventurous spirit are enervating to be around.

“His work ethic is inspiring but he makes it all look so easy.

“His generosity as an actor is palpable on stage and screen, and the ­relationships we witness him in have such chemistry as he invests his energy in connecting with, and getting under the skin of, not only the character he’s playing but actors he’s working opposite.”

When Confidential told Corr about Blanchett’s fondness for him, he was almost speechless.

“It makes me feel all giddy on the inside, she is a goddess,” he said. “That is so lovely to hear.

“Obviously Cate is a women crush of mine and a goddess on stage and ­incredible at what she does.”

He said he has enjoyed his time with the STC and hopes to continue to work with the respected company.

“It is a real family over there and I think they make amazing work,” he said.

“It has been wonderful to be part of that circle for a while and to be invited back is a wonderful privilege and hopefully that is a pat on the bum saying ‘you’re doing the right thing’.”

The December issue of Vogue will hit the stands on Monday, November 23.

November 17th, 2015

Carol promotion: Academy Conversations and Good Morning America

On November 14 the cast and crew of Carol attented the Academy Conversations. Watch the interview below!

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To promote Carol, Cate went to Good Morning America on Monday.

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November 17th, 2015

Cate Blanchett covers Vogue Australia – December 2015

For the second time this year, Vogue Australia dedicates its cover to Cate Blanchett!

via Fashion on rock

November 17th, 2015

Cate Blanchett and Rooney Mara for USA Today

First images from a new photoshoot for USA Today!

November 17th, 2015

Carol – First Tv spot, new poster and press junket interviews

The first Tv spot for Carol came out few days ago. New footage with Cate!

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First character poster for Carol Aird

And a bunch of new promotional interviews!

Access Hollywood

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November 17th, 2015

Carol New York Premiere

Cate Blanchett looked beautiful in gold at the New York Premiere of Carol tonight, here are the first photos:

November 17th, 2015

Cate Blanchett Covers W Magazine December 2015

Cate Blanchett is the cover of the December issue of W Magazine, here are the cover, photoshoot and a preview of the article. Dont forget to pick up your issue on the newsstand or the digital version!

Cate Blanchett: A Rose Without Thorns
Cate Blanchett insists she is not the embodiment of perfection. We beg to differ.

In the fourth gallery of “Picasso Sculpture,” a retrospective at the Museum of Modern Art, Cate Blanchett stopped in front of an elegant, elongated woman assembled from wood and wire that looked like her. It was early October, and Blanchett had come to Manhattan from her home in Sydney to attend the New York Film Festival premiere of Carol, a love story between two women set in the 1950s (in theaters November 20). Blanchett, who was nursing a sore throat from too many flights and events, wore loose black slacks, a white shirt, flat shoes, a flower-print blazer, and pink aviator glasses. Her blonde hair was still damp from a shower, and she wasn’t wearing any makeup. She looked, as she invariably does, effortlessly beautiful. Unlike most actresses, her clothes had not been chosen by a stylist; they were a manifestation of her personality and current mood.
“I love these women,” Blanchett said enthusiastically of the sculpture and its four companions. “They remind me of Giacometti.” She launched into a story about male artists and their obsessions. “I read about this artist who left his girlfriend for four years. He wanted to make art away from any distractions, but he came home with four matchboxes filled with dust. He was so obsessed with her and with art that he ended up creating nothing. Every time I start a project—and I certainly felt this way with Carol—I have to embrace the fear that it might be a disaster. I like that feeling of consequence.” Blanchett gestured around the gallery at the variety of bodies and faces, all of them female. “Like being with these sculptures, making films is a little like existing in a dreamscape. You only reenter consciousness when the shooting is over.”
Having seen Blanchett stun the international film crowd in May at the Cannes Film Festival, where Carol received a thunderous standing ovation, and then watching her bond with Picasso at the museum, I began to wonder whether she was, in fact, the embodiment of perfection. She has had a remarkable film career, winning countless awards, including the Oscar for best actress for 2013’s Blue Jasmine; she and her husband, Andrew Upton, ran the Sydney Theatre company for five years, where Blanchett starred in productions like A Streetcar Named Desire and The War of the Roses (in which she played King Richard II). She has four children—three boys and a newly adopted baby girl, who is not quite 1 year old. And then there is her vast curiosity, professional courage, sense of style, and innate charisma. I, for one, wanted to know her secret. So, somewhere between Picasso’s fantastic bust of a woman that brought to mind a kangaroo, and a beauty with a particularly noble nose, I outright asked her, “What’s the key to your perfection?”
She scoffed. “I am not perfect,” she insisted. “The wheels are constantly falling off.” She paused and then (sort of) changed the subject. “When Andrew and I decided to run the theater company, in 2008, I didn’t think I’d have a movie career to go back to. But that was okay: When I consider the characters I might play, I find turning points to be very interesting. There’s a line from the novelist Jeanette Winterson: ‘What you risk reveals what you value’—and that’s always stuck with me.”
Carol is based on the novel The Price of Salt, which the writer Patricia Highsmith published in 1952 under the pseudonym Claire Morgan. In the film adaptation, Blanchett plays the title role, Carol, who falls in love with Therese, a much younger woman, portrayed by Rooney Mara. Directed by Todd Haynes, it is not meant to be a gay love story but, simply, a love story. That lack of political message irritated some critics at Cannes, who wanted more explicit sex scenes and seemed disappointed that neither Mara nor Blanchett were actual lesbians. Early in the festival, when Blanchett was asked if she’d ever had “relationships” with women, she replied: “Many times. But if you mean, ‘Have I had sexual relationships with women?’ the answer is no.”
Blanchett still seemed surprised by the mild uproar over the casting of Carol. “I mean, look at this!” she exclaimed, motioning toward a Cubist guitar made of iron wire, sheet metal, and painted tin. “Art is supposed to be a provocation, not an education. In 2015, the point should be: Who cares if I had lesbian relationships or not? Call me old-fashioned, but I’ve always thought that my job as an actor was to raise and expand the audience’s sense of the universe.”
She paused, perhaps worried that she was being conceited by comparing herself to the legendary artist. “I so admire Picasso’s unwillingness to be predictable,” Blanchett said, overwhelmed by six large wooden figures, bathers that he created in 1956. There was something primitive about the works—most of which had distinct faces and faint genitals. “They look like refugees,” Blanchett observed. “Or audience members.” She smiled. “I am sure that these sculptures were not understood at first. And I have always found criticism interesting. Like art, film should never be absolute or bow to a market survey of ‘correct intentions.’?”
Blanchett’s belief in cinematic invention can be traced to her first major role, as the virgin queen in Elizabeth (1998). The director, Shekhar Kapur, had no interest in historical accuracy. “I realized then that I wasn’t making documentaries,” Blanchett said. Having originally trained as a stage actor, Blanchett also learned on Elizabeth how to create a character for the screen. “Films are a very different thing. For instance, I love working with the costume designers on movies. You can visually represent the character through a dress or a bag or shoes. In Blue Jasmine, clothes illustrated my character’s demise. If I can pair a Birkin bag with a knockoff sweater from Wal-Mart that looks like Chanel, I can subtly reveal the character, and I don’t have to play that emotion.”
During the shoot for this story with Tim Walker, when Blanchett slipped into Prada pajamas, she immediately transformed into Antoine de Saint-Exupéry’s Little Prince. As Carol, Blanchett wears a strikingly huge mink coat with a shawl collar that symbolizes her wealth and social status. Carol is not only older and more sophisticated than Therese, who works as a clerk in a department store, but she’s from a different world altogether, a point the coat conveys without words. “The mink was old and it kept falling apart,” Blanchett told me. “Between takes, Sandy Powell, the costume designer, would sew it back together by hand. I considered changing coats, but when you find the right thing, you know immediately: That coat was the one to tell Carol’s story. It was perfect.”

November 16th, 2015

Carol Los Angeles Press Conference

A press conference for Carol was held on Friday in Los Angeles, here are the first photos:

November 16th, 2015

Academy of Motion Picture Arts and Sciences’ 7th annual Governors Awards

On Saturday Cate attended the 7th Annual Governors Awards hosted by the Academy of Motion Picture Arts and Sciences, and, style-wise, showing that you don’t need a dress to look elegant. Here are some pictures.

November 16th, 2015

SAG/AFTRA Foundation – Conversations with Carol Cast & Director

On Friday, Cate joined the Carol Cast and Director at the SAG-AFTRA Foundation for a chat about the movie, here are some photos:

November 16th, 2015

NET-A-PORTER Celebrates Hollywood Style

Last Thursday, Cate joined NET-A-PORTER as they celebrated Hollywood style, here are a couple of pictures, I’ll post more if I find some.

November 16th, 2015

Director Julian Rosefeldt and Cate Blanchett talk about Manifesto

The Sydney Morning Herald dedicates the Spectrum insert to Manifesto, on newsstand November 14!

A whiskery old man hoves into view on the parapet of a ruined industrial building, screaming into a megaphone in what seems to be a Glaswegian accent.

It’s difficult to make out those strangulated words at first, but he’s shouting something about art. His voice drops to a growl and the words become clear.

“Our culture induces total participation against preserved art. It is an organisation of the directly lived moment!” At the same time, you register the face.

It can’t be, but it is: Cate Blanchett in the drag of a derelict. And there she is on another screen, more immediately recognisable as a ballet teacher whose accent and severity announce her as a Bolshoi import; elsewhere, she looks and sounds like her Australian self as she plays a high-school teacher berating a room full of blank-faced students.

“Nothing is original,” she tells them. “So you can steal from anywhere that resonates with inspiration and fuels your imagination.”

In his home studio, a long mezzanine overlooking the kitchen in a former schoolhouse – one of those remarkable conversions of forgotten Berlin buildings bought for peanuts by artists when the Berlin Wall fell – we look at the sequences that will make up the installation.

His small son comes in to join in on his favourite Dada line. “From now on,” he hoots in barely accented English, “we want to shit in different colours!”

The whole work, Rosefeldt explains, will consist of 13 screens running concurrently. Blanchett appears on 12 of those screens as various personae – and on one screen as two characters, a CNN-style newsreader and her interviewee – telling us what art should be.

The language is mostly frenzied, delivered by the masters when they were full of crazy youthful zeal. Marinetti in all his fascistic Futurist fury; the self-consciously iconoclastic Tristan Tzara speaking for Dada; pop artist Claes Oldenburg demanding art that will involve cake, turkey and Pepsi: we don’t know who’s who, unless we happen to recognise them, but they are all certainly emphatic.

There are some other elements to the mix: smatterings of Marx and Engels – “of course, because that for me is the mother of all manifestos,” says Rosefeldt – and a section on architecture. A denunciation of capitalism by the John Reed Club is muddled up with pronouncements from Russian constructivist Rodchenko and Guy Debord, the situationist who reminded us that under the pavement lay the beach: the result is the script delivered by Blanchett as the homeless man.

Rosefeldt finds the original John Reed Club text and scrolls through it. “The present crisis has stripped capitalism naked!” is a typical phrase.

“Isn’t it amazing?” he muses fondly; all the writers now feel like the kind of friends who drop in late and argue around the kitchen table. “Written in 1932 just before Hitler came to power and now, 80 years later, we are exactly there.”

Rosefeldt is not aiming to put forward a manifesto of his own, however; the sense of the individual lines doesn’t necessarily matter. He can tell me the provenance of each one, but there are no attributions on screen. What matters, when it comes down to it, is their sound and fury.

One crucial aspect of the work is that Blanchett recites each monologue at a different pitch. At one point, all 12 characters break the theatrical “fourth wall” and turn to look at the camera as the 12 notes combine in a sustained chord; the effect, says Rosefeldt, should feel like a universal humming.

Back in London, Blanchett enthuses about Manifesto in between doing promotional interviews for her two most recent films. It seems a far cry from Todd Haynes’ lesbian melodrama, Carol, or Truth, in which she plays a hard-nosed political journalist opposite Robert Redford.

“It was thrilling, really thrilling,” she says. “It is a really interesting idea, the idea of language being reduced to sound. These manifestos, which are full of dogmatic sets of belief systems and shades of meaning: in a way, when you shout them in the one tone, they become one thing.”

At the same time, the things she was asked to say raised all sorts of thorny questions about creativity that rebound on her own work.

“Can you make something that connects to people without having a belief system? Is art political?” she asks rhetorically.

“Do people – because of their own perspective on the world – ascribe a meaning to a work? Or does the work tell you what to think?”

It’s clear that she doesn’t want answers to any of these questions: an answer is closure, whereas this work is opening doors for her.

Within the cinema world, she goes on, the manifesto that is most familiar is the Danish Dogme vow of chastity. “Those films were so fresh when it came out because they were being really rigorous,” she says. “But art is so fluid. Can it be constrained by an idea?”

Any controlling idea, she says, necessarily belongs to its own time. Future audiences won’t be able to connect to it. Perhaps they find it hard to connect to any belief.

“A lot of these manifestos were written when God existed. God exists, therefore He doesn’t exist. When religion was commonplace, art could have that dogmatic quality. But I don’t know if art could have that any more.”

Blanchett appears habitually curious; even at the comparatively trivial level of a junket interview, she contrives to ask more questions than she answers. When I arrive to interview her about Carol, she wants first to know what word I dislike the most. (Her own choice is “panties”. “They’re undies! Just call them undies!”)

Just two days later, we meet to talk about Truth; she immediately asks how I get my news, do I read a physical newspaper, do I watch Al Jazeera? The third time – we are both at the London Film Festival, where she is something of a feature of proceedings – she just laughs and says she’s stalking me. It’s a funny thing to say, given that I’m so obviously the stalker.

“She’s extremely modest,” says Rosefeldt later. Blanchett’s modesty recurs several times in his story of their collaboration; every time he says the word, he seems just as surprised.

They met a few years ago at a gallery opening in Berlin; they had a mutual friend in Thomas Ostermeier, artistic director of the Schaubuhne Theatre. “Thomas and Andrew [Upton] and I have been talking long about doing something together,” she says. They never managed to coincide during the eight years she and Upton were directing the Sydney Theatre Company.

“I’d still love it to happen; I think he’s extraordinary. Anyway, Thomas and Julian had collaborated on a show at the Schaubuhne and we met and got on.”

Rosefeldt says they discussed her performance as Bob Dylan in her first collaboration with Todd Haynes, I’m Not There. “And then she said, ‘Well, if you ever need anything from me, let me know’.” He laughs. “You know, in her super-modest way. Maybe it was a bit spontaneous of her; I don’t know if she underestimated my persistence.”

His first idea was just that he wanted to make a piece in which a woman performed multiple roles; I’m Not There came to mind, bringing Blanchett with it.

“I think she is very good at diving in to an identity and merging with what she does. So I thought it would be great on the one hand to have her performing many different characters and on the other hand it had to have something to do with art, because her idea of working with me came from her interest in art. Then I thought it would make it easier for both of us if we focused on language as a subject.”

In the end, with the help of an expert hair and make-up crew Blanchett brought with her, they shot all 13 characters in eight days.

All Rosefeldt’s gallery films have been complicated and visually ambitious – three of them will be on show at ACMI along with Manifesto – but he didn’t think about the fact that he would be working with a Hollywood star. The important thing, he says, was that he needed a consummate actor.

“It is an experiment for me to work with so much text, but it is also a big homage to her talent in a way.”

For audiences who associate Blanchett only with mainstream films – with her Oscar-winning turns in Woody Allen’s Blue Jasmine and Martin Scorsese’s The Aviator, say – it is an indicator of what a very particular talent she is.

Many actors I interview – probably most of them – shy away from talking about guiding ideas. Their business is to become a character and defend that character, which often means avoiding thinking too much about overall themes, philosophical ramifications or the author’s intentions. Blanchett seems to me to take almost an opposite approach.

Her approach to playing Carol, for example, was to comb the Patricia Highsmith novel on which the film was based repeatedly for clues to her character, like a detective piecing together evidence. When I say carelessly that, of course, you can’t act an idea, she immediately recalls a favourite piece of direction from David Hare when she was playing Susan Traherne in his play Plenty.

“He said, ‘You know she’s England; she is what is happening to Britain’. I thought well, I can’t act that, but that is brilliant. What that does is make your brain go a bit sideways. You are involved in the meta-meaning of the work, which means your performance connects to bigger things.”

No wonder she gravitates so strongly to Berlin, a city full of orchestras, theatres and slackers debating philosophy in late-night bars.

“I love Berlin although, my god, there are more Australians in Berlin than there are in Australia. But it’s a city where, if you took the culture out of that city, the lights would go off, you know. And that’s so exciting, everyone wants to be there.”

It is currently accepted truth that the Upton-Blanchett family is planning a move to Los Angeles in the near future, but she says they are undecided.

“I don’t know what we’re doing. I like it here,” she says, gazing out at the grey London skyline. “I like it in Sydney. I like it everywhere. I just want nine lives. I want to be Jane Fonda. We’ve always talked about having a sabbatical when we finished at the Sydney Theatre Company for eight years – well, Andrew has, I did for five. And you know, often when you’re stable you can make the biggest leaps.

“I feel we have had the most extraordinary eight years, primarily focusing on theatre and selfishly have grown enormously.”

So why not a less predictable country? “Iceland!” she responds immediately and enthusiastically. There is a sense she would be up for anything, provided it sounded interesting. “Everything is up in the air.”

November 13th, 2015

Manifesto – Posters and two new stills

The Australian Centre for the Moving Image keeps spoiling us! They created a new page #acmiManifesto Online hub with Instagram and Twitter live feed, and released eight posters and two new still.

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November 13th, 2015

Carol – New poster, clips and interview

A new poster, the official one, came out yesterday

via Awards Daily

New clips, the first one was shown during the Ellen DeGeneres Show

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A new interview with The Wall Street Journal

As the title character in “Carol,” Cate Blanchett grapples with forbidden passion in the 1950s. She plays a coolly elegant upper-middle-class wife and mother who falls for Therese ( Rooney Mara), a young department store clerk in Manhattan. Although the story involves a lesbian love affair, Ms. Blanchett says the film is primarily about timeless, swoony emotions.

“There are many impediments, not the least of which is their gender,” says Ms. Blanchett, who has become an early best-actress Oscar contender for the role.

The other impediments: “It’s also the gap between their classes and ages, a gap of innocence and experience,” Ms. Blanchett says. “Therese is colt-like, falling headlong into it, and Carol is thinking, ‘Can I do this again?’” Among her problems, Carol’s belligerent, estranged husband ( Kyle Chandler) threatens to take custody of their daughter.

When they do get there, after escaping on a cross-country road trip, the scene is discreet and true to the film’s graceful manner. “If you compare this to ‘Blue is the Warmest Color,’ they’re very different investigations,” Ms. Blanchett says, referring to the graphic lesbian love story from 2013. She sees the range of new films about gay and transgender characters, including the coming “The Danish Girl,” as an advantage for “Carol.” “No longer does a film like this have to stand for all gay relationships,” she says.

“Carol” is based on Patricia Highsmith’s 1953 novel, “The Price of Salt,” and Ms. Blanchett drew on other Highsmith books as well. She discovered the author when she played a small part in “The Talented Mr. Ripley,” and finds a common sensibility running through her work.

“There’s a layer of rage, of cruelty, of lusting after things that one knows one shouldn’t lust for, often within very polite society,” she says. Carol is an imperfect heroine, who can be cold and changeable toward Therese, but who is also dealing with enormous family pressures.

“Another beautiful thing Highsmith wrote is that Carol, at surprising moments, would lapse into a deep melancholic silence,” Ms. Blanchett says.

November 13th, 2015

Cate Blanchett in Talks to Star in Richard Linklater’s ‘Where’d You Go, Bernadette?’

According to The Wrap, Cate Blanchett might be in talks for a new movie!

Two-time Oscar winner Cate Blanchett is in advanced negotiations to star in Richard Linklater‘s adaptation of “Where’d You Go, Bernadette,” TheWrap has learned.
The project is set up at Annapurna Pictures, whose Megan Ellison will produce with Nina Jacobson and Brad Simpson of Color Force.
“Bernadette” follows an agoraphobic architect who disappears right before a family trip to Antarctica. Her teenage daughter narrates the story, which unfolds via emails, letters, FBI documents and correspondence with a psychiatrist.

November 12th, 2015

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