Manifesto – Cate Blanchett Like You’ve Never Seen Her Before

Manifesto – Cate Blanchett Like You’ve Never Seen Her Before

Good evening! Cate Blanchett talks with Vogue in a new promotional interview for Manifesto. Enjoy!

When Cate Blanchett agreed to star in German artist Julian Rosefeldt’s Manifesto, she had no idea how many roles she was taking on. “Originally, I thought I would play about four characters. Julian thought I would play about 24. The two of us agreed to meet somewhere in between – but I have a terrible memory, and when I arrived in Berlin to start filming, I was convinced that it was nine when it was 13,” she says, perched on a couch with Rosefeldt in a suite at the Haymarket Hotel near Trafalgar Square. Not that the lack of preparation time seems to have fazed the Oscar winner. “The reality of acting is that you can do all of the homework in the world for a part – but my relationship with performance is much more circus-like. I have to jump into someone’s hands. They have to catch me at the right moment. Otherwise, there’s no trapeze act.”
And what a trapeze act. In Manifesto, Blanchett embodies a homeless man pushing a shopping cart through a post-apocalyptic landscape; a glossy American newscaster (and the rain-beaten weather person she is interviewing); a Southern housewife reading grace around a dinner table to her husband and children; a puppeteer manipulating a doll-like version of herself; a funeral attendee delivering a tearful speech in a graveyard – among several other personas. Each one voices a text collage derived from a selection of more than 50 manifestos – from Karl Marx’s communist treatise to Lars von Trier’s “Dogme 95”. Originally displayed as vignettes at 13 galleries around the world, the character studies have now been rolled into an extraordinary 90-minute film available to download or stream.
The avant-garde masterpiece was years in the making. Blanchett first met Rosefeldt at a gallery in Berlin in 2010, deciding to work with him on a project that same night – but it was only in 2014 that Rosefeldt found the right concept. “I had read lots of artistic and political manifestos when I was studying – but I forgot about them until I came across works by the Futurist poet and choreographer Valentine de Saint-Point,” he explains. “Then I started exploring other manifestos for a variety of movements: Surrealism, Creationism, Vorticism, Dadaism, Minimalism…I had always seen those texts as works of history – but imagining Cate performing them suddenly brought them to life.”
A few months later, he had a series of monologues and a rough character sketch to go with each one – all of which he carefully refined with Blanchett over a few days in New York. Her initial response to the scripts? “I was attracted to Julian’s work because of the quietness – and then he came up with the polar opposite of a silent film,” she laughs. “I was rather distressed, but, you know, I’d already said yes.” As for whether she was nervous about taking on such an unusual project? “The amount of text was nerve-wracking. I’ve never been an exhibitionist, and this required me to push myself to the limit – but I’ve never been afraid of failing. I do it constantly!”

via Vogue UK

Every Cate Blanchett Performance, Ranked (+ Parklands)

Every Cate Blanchett Performance, Ranked (+ Parklands)

Good evening! First of all, we wish to thank (another) Sandra for her generous donation; second, Vulture just published a very nice article on Cate’s movie career (here). To all the new fans, it’s an useful reading to catch up with her career, and to all the “old” fans, maybe it’s time to rediscover some great movies.
Talking about films, we recovered the first (and only) TV movie Cate Blanchett was in: Parklands. Below you can find the little material available online. The 51-minutes-long movie is featured in the DVD of Travelling Light, directed by same author, Professor Kathryn Millard. Enjoy!


Synopsys – via IMDB

Rosie returns to her home city on the death of her father, a former policeman. His diaries hint at corruption, and she also receives hints and veiled threats which support her suspicions. Rosie puzzles about who he was, and about her early life and relationship to him.

To complete our gallery we only miss, as far as we know, one more movie and a tv serie episode: Police Rescue – The movie (1994), available only in VHS, and G.P. “Natural Selection” (6×27) aired on August 9, 1994. If you have them, please contact us.

New promotional pictures and interviews for Sì (2017 campaings)

New promotional pictures and interviews for Sì (2017 campaings)

Good evening! We have just stumbled upon several missing pictures and interviews that need to be added in the gallery.
In all these links here there are interviews in greek, arabic and jewish, that the site can’t properly read. Also Matthew Frost’s Instagram for the B&W picture. Enjoy!

New promotional images for Sì Christmas campaing

New promotional images for Sì Christmas campaing

Good evening! Cate Blanchett is featured in two new advertisements for Sì Christmas campaing. The images come from the last issue of Vogue Russia. We wish to thank Sandra for her generous donation to the site and we invite all of you to join us in the chat, the instructions are in the post pinned on the top. Enjoy!

P.S.: we also added the scans from the last issue of Marie Claire Brazil, have a look!

Manifesto – Radio interview and infos about Canadian exhibition

Manifesto – Radio interview and infos about Canadian exhibition

Good evening! Cate Blanchett and Julian Rosefeldt speak with BBC Radio 4, during Front Row. The interview aired yesterday, and the presenter relased a picture as well.

Interview starts around 11:49. Enjoy!

We previously announced the Manifesto’s exhibition is going to be expose in Montreal in 2018. The Konig Galerie revealed the exact time frame:

Manifesto – Promotional interview

Manifesto – Promotional interview

Hello! Cate and director Julian Rosefeldt where recently interviewed during London Film Festival. Cate mainly talks about Manifesto, but she also mentions Thor: Ragnarok in the end. Full interview here. Enjoy!

Cate Blanchett: artists are being silenced
A news anchor, a widow, a bearded drunk … Cate Blanchett’s new film sees the actor take on 13 personas in a script cribbed from 50 revolutionary texts. She and director Julian Rosefeldt explain why Manifesto is an artistic call to arms in the age of Trump.

Here’s Cate Blanchett as you’ve never seen her before: as a bearded old man pulling a shopping cart through a post-industrial wasteland. In a drunken Scottish accent he/she proclaims: “We glorify the revolution aloud as the only engine of life. We glorify the vibrations of the inventors young and strong. They carry the flaming torch of the revolution!” Now Blanchett is a grieving widow telling a funeral congregation, “to lick the penumbra and float in the big mouth filled with honey and excrement”. Now she’s an American news anchor in the studio, talking to a reporter standing in the rain under an umbrella. The reporter is also Blanchett. “Well Cate, perhaps this could all be dealt with if man was not facing a black hole,” she tells her other self. Now she’s a 1950s mother, clasping her hands in prayer before the Thanksgiving family dinner: “I am for art that comes out of a chimney like black hair and scatters in the sky,” she murmurs, as the children eye the turkey hungrily.

These are not clips from the two-time Oscar-winning actor’s showreel; this is Manifesto, originally a multi-screen gallery installation, now an unclassifiable feature directed by German artist and film-maker Julian Rosefeldt. The script is collaged from more than 50 artists’ manifestos from the past century, and recited by 13 different Blanchetts.

Today, the actor is in another persona – different from any of her characters in the film, or any previous roles. Certainly different from her current turn as a green-screen-chewing, emo-styled goddess of destruction in Thor: Ragnarok. This is Blanchett as artistic collaborator. Sipping tea alongside Rosefeldt in a London hotel suite, discussing big ideas in overlapping sentences, they are an articulate double act.

“Well the first thing is: is it a film?” Blanchett begins.

“She keeps asking that,” says Rosefeldt.

“The amazing thing,” Blanchett continues, “is that there are all these assertions of debasing and debunking and destroying what comes before in order to create this fundamental moment of unique artistic expression, but in performing, you’re struck by the similarities between these manifestos: the rhythmic similarities, the energetic similarities and just the intellectual attack.”

Rosefeldt takes up her point: “There’s a lot of ‘down with this’ and ‘to hell with that’. They definitely want to break with structures. Many of them were written when they were just 20 or 21 years old. We now look at these as texts by world famous artists but at the time, often the artwork wasn’t even there yet. They were just angry young people.”

Blanchett continues: “But you know, what I admire, whether or not there are certain things in the manifestos that I might find personally repugnant, there’s something brave and noble about having the courage to commit to something. I think the artist understands that you have to invest in something, absolutely.”

Blanchett certainly invests here. They shot Manifesto in just 11 days on locations in and around Berlin, which often meant playing being, say, the old Scottish man in the morning and the newsreader in the afternoon, then preparing the next days’ accents in the hotel room in the evening. Even simply learning all her lines was a challenge, she says. They got by with the help of a voiceover, hidden smartphones, earpieces and giant cue cards. Still, there are sizable tracts Blanchett addresses straight to camera. Often they only had time to do one extended take.

She seems to have enjoyed the change of pace: “I always work best – which is why I love theatre – where it’s just: ‘The audience is there. It doesn’t matter whether I feel like doing this or not. I’ve just got to do it.’ It’s got the adrenaline of standup.”

The political landscape has shifted towards populism and against “elitism”, Rosefeldt suggests, which puts topics such as art history in the firing line. “Every populist wants to cut down cultural budgets and educational budgets for a good reason: because they need stupid minds to be manipulated and to become sheep of consumerism.”

Blanchett agrees: “It’s that notion of ‘elitism’, provocative ideas being the domain of the educated, and keeping those ideas separate from the people who they’re trying to keep uneducated and disenfranchised. This is why artists’ voices are being taken away, and the social and political discourse we’re dealing with at the moment is so utterly simplistic.

“As much as Manifesto is about the role of the artist, I think it also asks, ‘What’s the role of the audience?’ Often their attention span is underestimated, and if you’re constantly shooting below the intelligence or the capability of an audience then the work gets thinner and thinner.”

So how does she square that with appearing in Thor: Ragnarok?

She laughs. “Yeah. All things are an experiment, aren’t they? If you know the outcome then why do it really? There’s got to be an element of risk and fun and fuck-up. That’s what keeps me energised: involvement in projects of different scale and ambition.”

Is there a certain dissonance between, let’s say, Manifesto Blanchett and Thor Blanchett?

“Well, I haven’t done that many effects movies, believe it or not,” she insists. “I went in as wide-eyed and bushy tailed to [Thor] as I did into this. And also, it shouldn’t be thus, but I felt like I was speaking to different audiences.”

Perhaps she’s channelling Tristan Tzara’s Dada Manifesto: “I write this manifesto to show that people can perform contrary actions together while taking one fresh gulp of air.”

In Dadaist spirit, then, Manifesto acknowledges and celebrates contradiction, which is another way of saying it has its cake and eats it. It can be appreciated as a representation of challenging ideas and ideals, or as a surreally entertaining one-woman sketch show that might just expose audiences to some provocative ideas, maybe even inspire them to write their own manifesto.

“Whether you agree or disagree with the notion of a manifesto, it’s an effort to engage,” says Blanchett. “It’s an encouragement. It’s about something.”

Rosefeldt concurs: “Something that started as a love declaration to these writings has almost bcome a call for action. You feel like it’s time for action again.”

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