Cate Blanchett appointed Companion of the Order of Australia

Cate Blanchett appointed Companion of the Order of Australia

Good evening! Cate Blanchett received no award yesterday for The Present, but a new accolade was just around the corner. The Queen’s Birthday Honour are awarded every year in celebration of Queen Elizabeth II’s birthday in the Commonwealth Realms, and Cate has been nominated Companion of the Order of Australia. You can read the official press statement below. Rejoice and (donate)!

CATHERINE ELISE BLANCHETT NSW AC
For eminent service to the performing arts as an international stage and screen actor, through seminal contributions as director of artistic organisations, as a role model for women and young performers, and as a supporter of humanitarian and environmental causes.

Source

Cate Blanchett to attend The 2017 Tony Awards

Cate Blanchett to attend The 2017 Tony Awards

Hey guys!

According to HuffPost, Cate Blanchett will be attending The 2017 Tony Awards ceremony. Cate is nominated in the Best Actress category for her perfomance in The Present.
HuffPost:

Well, fear not, theater fans, because the Tony Awards are upon us, with host Kevin Spacey leading the festivities this year on CBS. The stars of stage and screen (alert: Cate Blanchett will be in attendance) will gather in New York City on Sunday night to celebrate the stellar year in theater.

71st Tony Awards air at 8 p.m. June 11 on CBS.

Visit CBS.com/allaccess Live Stream for details.

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

New York, NY – NOW PLAYING
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
(source)
Two new clips from the movie had been released. Enjoy!

The Los Angeles Times
Yahoo! Movies

Cate Blanchett covers the launch issue of Australian Muse Magazine

Cate Blanchett covers the launch issue of Australian Muse Magazine

Cate is the feature cover of the launch issue of Australian magazine Muse. I added digital scans from the issue to the gallery.


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!



Cate Blanchett on her beauty philosophy and favourite fragrances

Hi everybody!

Cate Blanchett spoke to Elle UK for the Beauty Matrix section. Time for beauty tips! Enjoy the reading!

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!

Interview: Cate Blanchett on motherhood, fashion and beauty

Hey everyone!

A new interview with Cate Blanchett for La Dernière Heure (DH.be) magazine!Enjoy the reading!

Cate Blanchett: “Maman, c’est un job à plein temps”

À la tête d’une fratrie de trois garçons et une fille, Cate Blanchett est une actrice et une mère épanouie. Voici ses recettes pour rester zen…
C’est l’une des actrices les plus récompensées du star system. Une institution à elle toute seule. Une quasi légende. Elle a volé sa pâleur à Madame la lune et pourrait sortir d’une toile de Boldini. Lorsqu’elle vous sourit, on dirait en effet le soleil qui entre dans la pièce. Sacrée dimension. Sacré physique surtout. Imposant et léger à la fois. Comme son jeu. Comme ses rôles. Silhouette d’ajonc et volonté d’airain, depuis que cette blonde Australienne s’est lancée dans le cinéma, les superlatifs pleuvent. Tout comme les comparaisons. Nouvelle Meryl Streep pour certains, DeNiro en version féminine pour d’autres, Catherine Elise Blanchett pour l’état civil n’a pas fini de nous séduire ! Rencontre avec une muse protéiforme…

Parlez-nous de vos enfants, Roman, Dashiell, Ignatius, Edith. Sont-ils imaginatifs ? Est-ce qu’ils jouent, lisent, vous font-ils rire ?

“Ils sont trop drôles. L’autre jour, on était en voiture et on chantait à tue-tête ! L’un de mes fils avait ses mains sur ses oreilles, et il m’a dit : ” S’il te plaît. Est-ce que tu peux arrêter maman de chanter ? Quelqu’un risquerait de t’entendre !” (rires) En ce qui concerne leur imaginaire, j’espère qu’il est très riche. Parfois il m’arrive d’aller chez d’autres gens et de me dire, que mes gamins n’ont décidément pas beaucoup de jouets. Je me souviens qu’à un Noël, nous avons proposé à mon aîné, qui avait 11 ans, de lui offrir une tablette Kindle alors qu’on partait en vacances. Comme son sac était déjà plein de livres, il a dit non ! Je pensais qu’il avait décliné ce cadeau potentiel parce qu’il n’avait plus de place dans son sac à dos ! En fait, pas du tout. Il m’a sorti le plus sérieusement du monde qu’il préférait l’odeur de l’encre et tourner les pages en papier ! J’étais très fière de lui et de… moi. Dans mon for intérieur, je me suis dit que je l’avais bien éduqué !”

Élever trois gars, plus une petite fille, cela ne doit pas être de tout repos ?

“Il faut avoir de l’énergie à revendre. C’est un job quasiment à plein temps ! Lorsque j’ai commencé à prendre des cours d’art dramatique, ma grand-mère avait l’habitude de me répéter : “Quand tu joues une pièce, allume les petites lumières de la création qui se trouvent dans ta tête. Mais dès que tu rentres chez toi, éteins-les et redescends sur Terre. Il y a un temps pour l’abstrait et un temps pour le concret !” Elle avait raison et c’est d’ailleurs ce que je m’efforce de faire avec mes enfants. Il y a un temps pour le travail et un autre pour eux !”

Malgré tout vos efforts pour rester une mère standard, vous n’avez pas le sentiment d’être une mère décalée dans votre for intérieur à cause de votre notoriété ?

“Aucunement ! Je suis dans le concret. Je vous donne un exemple. Quand je me rends au supermarché avec mes garçons, je dois, moi aussi, leur expliquer qu’avant de devenir un morceau de viande dans une boîte en plastique, il y avait une vache qui broutait de l’herbe dans la prairie ! Et comme toutes les mères, je dois aussi faire face à leurs réactions. À savoir : des yeux exorbités et un air qui veut dire : Pouah, je ne mangerai plus jamais de viande !”

Quelle mère pensez-vous être ?

“Oh la la, je ne sais vraiment pas ! Je ne me pose jamais la question ! Franchement, vous me voyez m’asseoir à une table et me dire avec un doigt sur la tempe : “Alors Cate, es-tu une bonne ou une mauvaise mère ?” La seule chose que je peux vous dire présentement, c’est quelle mère je ne suis pas ! Avec mon mari, par exemple, nous n’adhérons pas à cette mode actuelle dans les familles dites modernes, mode qui consiste à faire copain-copain avec nos enfants ! Nous pensons aussi, qu’il est extrêmement dangereux de vouloir à tout prix faire en sorte que notre progéniture nous ressemble. Nous ne sommes, bien sûr, pas très à l’aise non plus lorsqu’il s’agit de fliquer nos gars ! Vous savez, donner de l’amour, c’est certes beaucoup plus évident que de hausser le ton. Mais en y réfléchissant bien, un enfant qui n’est pas cadré est un enfant qui se sentira à un moment ou à un autre complètement déboussolé. Moralité : il faut savoir doser ! J’ajoute enfin que le plus important, c’est de laisser ses enfants s’exprimer. Surtout quand ils ont tort ou qu’ils viennent – je ne sais moi – vous casser un truc dans la maison. Cela leur apprend à structurer leur pensée mais aussi à prendre leurs responsabilités…”

L’autorité n’est donc pas pour vous quelque chose de figé ?

“Non, elle doit se nuancer, s’ajuster et être remise en question à chaque étape de l’évolution de ses enfants. Au fur et à mesure, on pose des lois nouvelles et on assouplit d’anciennes. Aujourd’hui, je le constate autour de moi, les parents préfèrent être aimés que craints. Alors, on veut être obéis mais sans se fâcher, interdire mais sans frustrer. J’en conviens, ce n’est pas évident. Trouver la bonne mesure entre le respect de l’enfant et les règles indispensables est un slalom permanent. Mais vous ne m’ôterez pas de l’esprit que la seule autorité valable est celle qui ne se voit pas, ne se remarque pas !”

Comment vous y prenez-vous pour que vos enfants ne soient pollués par ce cirque médiatique ?

“Je ne sais pas vraiment ce qu’est une enfance normale. Je pense que l’enfance par essence même est quelque chose de totalement… anormal ! (rires) Tous les enfants ont une vie imaginaire et il ne faut en aucun cas la museler, la brider. Avec mon mari, nous menons une vie qui s’apparente à un cirque permanent ! On essaie pour autant de la gérer tout en restant le plus stable possible. Comme tous les parents qui travaillent, je présume. Ce qui est génial pour mes enfants, enfin il me semble, c’est qu’ils ont l’opportunité de voir l’envers du décor. Beaucoup de gens, pas seulement les jeunes d’ailleurs, sont obsédés par la notoriété. La chance de mes garçons, c’est qu’ils peuvent voir tout le travail qu’il y a derrière. Les efforts que l’on doit faire pour être au
top. Ils ne voient pas un produit fini uniquement, en l’occurrence un film, mais tous les préparatifs derrière chaque scène ! Mes enfants ne me perçoivent donc pas comme une icône glamour du coup mais comme une maman qui se démène pour répondre aux attentes d’un réalisateur ! Le fait qu’ils soient témoins de ce processus créatif normalise l’aspect paillettes demon métier.”

Avez-vous pressenti chez vos aînés, une envie de suivre les mêmes traces que vous ?

“Pour l’heure, ils sont plutôt à fond dans les mangas ! Quoique, pas plus tard qu’hier soir, un de mes fils est entré fièrement dans ma chambre en me disant qu’il envisageait de devenir Hamlet. Sans vraiment savoir qui c’est ! (Rires). J’ai un rêve concernant mes garçons : qu’ils deviennent ce qu’ils souhaitent devenir ! Mon rôle consiste uniquement à les aider à réaliser leurs rêves. À leur baliser un peu les routes à emprunter mais en aucun cas les leur imposer.”

BIEN DANS SA TETE, BIEN DANS SON CORPS

Tournant le dos aux diktats de la mode, Cate Blanchett choisit ses tenues au coup de cœur. Et remercie son coiffeur…

Vous êtes toujours sublime, toujours très apprêtée quand on vous voit. Comment faites-vous pour arriver sur le tapis rouge si resplendissante et en même temps si naturelle ?

“Le secret c’est de foire ami-ami avec son coiffeur et son maquilleur, (rires). Dites-vous bien que sans eux, sons leur sens artistique, sans leur aide, je ne serais pas là où j’en suis aujourd’hui ! Maintenant si vous portez une robe Armani couture taillée sur mesure, les probabilités pour vous faire remarquer sont encore plus grandes ! Vous savez, 50 % de mon métier consiste à passer dans les mains de ces véritables artistes ! L’image est essentielle au cinéma et il leur faut parfois qu’une dizaine de minutes pour transformer mon air de maman fatigué en un teint lumineux ! Mais je peux aussi comprendre que pour certaines de mes collègues cela soit une vraie plaie d’être l’objet de toutes les attentions !”

Si vous deviez décrire votre dressing ?

“Nous les actrices, nous avons un privilège. Ce privilège, c’est que beaucoup de designers nous sollicitent pour porter leurs créations. Le piège, c’est de se faire récupérer. De devenir leur ambassadrice, sans même s’en rendre compte. J’ai choisi le parti de porter ce que mon instinct me dicte de porter et non ce que tel ou tel couturier me pousse à mettre sur mon dos… ou sur mes fesses ! Mon dressing est globalement rempli de fringues coup de cœur. Et donc pas nécessairement des griffes. ”

Votre définition de la mode ?

“Mixer, brosser, combiner, associer, déstructurer, transformer, détourner. Il m’est arrivé, par exemple, d’associer un cardigan de plusieurs milliers de dollars avec une jupe achetée en solde chez un fripier ! La mode, je vais vous dire, c’est un truc très perso. Cela me fait toujours rire quand je vois ces coaches qui vous disent ce que vous devez ou non porter. La mode, c’est aussi une question d’état d’esprit. Vous ne vous habillez pas de la même façon si vous êtes amoureuse que lorsque vous avez le moral en berne !”

Votre couleur préférée…

“Le noir ! Quand vous êtes rousse ça fait ressortir vos cheveux et la blancheur opaline de votre visage!”

Quatre enfants et une ligne de déesse, nos lectrices sont en droit de se demander. Mais comment fait-elle ?

“J’ai toujours refusé d’écouter ou de lire toutes les conneries qui tournent autour des régimes. Qui plus est lorsque ces régimes sont des régimes Mode in Hollywood. Ils ont élaboré selon moi par des charlatans qui n’ont aucun scrupule à mettre la vie des femmes les plus fragiles en péril. En outre, je sais que, si je m’étais affamée, les hémisphères de mon cerveau auraient quelque peu merdouillé. Conséquences : je n’aurai jamais pu fournir un
travail de qualité sur grand écran. Dans The Aviator (de Martin Scorsese, NdlR), j’incarnais Katherine Hepburn, l’une des célèbres maîtresses du nabab Howard Hughes. Pour la préparation de ce film; j’avais dû me mettre au golf activement et au tennis car Miss Hepburn était une véritable athlète. Pratiquer un sport intensivement, évidemment cela vous aide à garder la ligne. Mais d’ordinaire, je ne suis pas très portée sur ce type d’activité ! Suer ! J’exècre. Bon, d’accord, je l’admets, lorsque j’attendais Dash, je m’étais inscrite pour des cours de pilâtes. Et puis, finalement, je n’y suis jamais allée. Trop H.S. à la fin de la journée !”

En attendant, vous êtes la preuve que l’on peut avoir plus de quarante ans à Hollywood et être encore sollicitée…

“Je pense que les actrices de plus de 40 ans sont en train de prendre une belle revanche à Hollywood. On ne les regarde plus comme des pestiférées, au contraire, on les respecte ! Il aura fallu du temps. Cela devenait usant de se battre contre ces a priori. Je pense que l’on peut toutes d’ailleurs remercier des actrices comme Meryl Streep ou Diane Keaton. C’est grâce à des femmes de cette trempe que nous avons pu démontrer que l’âge n’avait pas à interférer. Un acteur, une actrice ne peut pas être normée car sa fonction même, son essence même est d’offrir une infinité de palettes, de nuances. Et le fait de vieillir en fait partie. Aujourd’hui, on voit sur les écrans, des femmes bien en chair et pour certaines très en chair. On voit aussi des acteurs qui n ‘ont pas forcément un
physique de play-boy, de tombeur. Hollywood a su se réformer en profondeur en sortant des stéréotypes. C’est la même chose avec les actrices de plus quarante ans. Aujourd’hui, les bons rôles ne sont plus derrière nous,
mais devant nous ! A nous de savoir les saisir !”

via DH

Magazine Scans – Town & Country and Grazia France

Magazine Scans – Town & Country and Grazia France

Hello folks! We have the scans from the last issue of Town & Country, and we discovered a new promotional interview for Sì Rose Signature in Grazia France. Both magazines are currently in newsstands.




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)!

Cate Blanchett on Motherhood, Stigmas About Aging, and Self-Care #MothersDay

Hey Everyone!

New promotional interview with Cate Blanchett for SK II. Enjoy the reading!

When you find yourself in the presence of Cate Blanchett what do you talk about? This isn’t a trick question. The actress has accolades by the dozen, is a devoted mother of four, and is a staunch advocate for women. Truly, where do you start?

Luckily, I’m with catching up with her for an SK-II press junket, so skin care and unrealistic standards about aging make natural entry points for discussion. The brand is celebrating its limited-edition Mother’s Day essence, a gift, I’ve got to say, is hard to hand over. I already have three different versions of the treatment. It’s light and refreshing—a joy to spritz and pat on, and if using it at every opportunity means I’ll have skin as radiant as Blanchett’s in 13 years (which is as long as she’s been the brand’s spokeswoman), I’ll happily hoard this bottle too. (Sorry, Mom.)

Here, the Broadway sensation talks masking, motherhood, and the importance of making time for yourself. Even if that’s only long enough to moisturize.

First off, I’ve just got to say your skin is phenomenal. What’s your current routine?

It changes depending on whether I’m just running around in everyday life or whether I’m on stage. Because obviously doing eight shows a week [on Broadway], I‘m taking my makeup on and off three times a night, eight times a week. So my cleansing regimen changes. On those nights, I use an oil cleanser because it gently removes all your eye makeup well. And then any other time, I use the SK-II LXP range morning and night: the facial treatment essence, the eye cream, the serum, and the moisturizer. For nearly an entire decade, I was decanting the essence into a spray bottle, and then I finally talked SK-II into doing a mist, which I now use day and night. And then, say today before an event, I put a mask on.

What kind of masks are your favorite?

I love to do a brightening mask [before appearances], because it evens out your skin tone and it helps to luminize it. It gives your skin more radiance. For a big event like a red carpet, I might do a treatment mask [to moisturize] the day before and then do a brightening mask while getting ready. And when I’m traveling, I’ll do a facial treatment mask because it’s really hydrating.

You have three sons, and you recently adopted a daughter. How has she changed the way you view societal pressures on women?

I think women are in a very challenging place at the moment. And the challenge is to band together no matter what your socioeconomic standing is. We’re all female humans. I’ve felt that way raising sons too. Because as a mother of sons you have a responsibility to instill in them the need to and the benefits of respecting women. That hasn’t changed. But what’s never been more important is the necessity to impart in young girls a sense of self-respect, a sense of having expectations, and a right to achieving quality. And of course having a young daughter now, one becomes more acute on a daily basis. I wake up to a reminder of that responsibility to lead by example.

What ways are you trying to make your daughter’s experience different from yours?

I grew up with a mother who was big on self-respect and sent me to attend a very feminist school. So much so, that we weren’t doing school plays with boys because [they] felt that plays always skewed to favoring roles for them. We had to invent our own drama. And I’m sure that’s where my love of drama was born and nurtured. My mom was very much about being self-directive as a woman and not finding your identity in who you were with.

What’s also important—and not to generalize—but women are great community builders. We have to recognize our right to self-expression and our right to discover and grow our individual identities. And yet, also at this moment, I think it’s important to remember our collective identity. It’s been a long time now since universal suffrage. Equal pay for equal work sounded like an odd conversation last year, and now it seems like an impossible conversation. Around the world, there are countries reducing the legal age where the girls can enter into marriage. Even in this country, there are states where girls can get married at the age of 14. And, talking about reproductive rights, we’ve lost a lot of ground. We’re only going to get that ground back and move forward if we act collectively. It’s a two-prong thing: it’s enshrining our ability to be individuals, but also to work together.

To that point, self-care has become a big buzzword lately—and it’s even harder to do when you have others you care for. Did you find it more difficult to take care of yourself when you became a mom?

Absolutely. When anything momentous happens in your life—if you take a big career turn, or you fall in love for the first time, or you have a child, adopt a child, even when you turn a certain age—it often takes a while to recalibrate and work it out. You realize, “I don’t have two legs anymore; I have four legs.” A lot of things went out the window for me for awhile. Looking after yourself is usually the first thing to go. But then I quickly realized if you’re incapable of looking after yourself, you’re incapable of looking after other people. It’s about trying to find as much as you can of a balance. I mean, life is constantly out of balance. I haven’t found a balance.

Totally. I think work-life balance is a myth.

It is a myth! Life is chaos. And that’s why taking literally three minutes for myself in the morning and at night—to put on two sets of moisturizers and a serum—sounds really small, but it certainly became an indispensable life raft. Now, I’m like, “I’m taking these three minutes, and I’m not leaving the house until I’ve done it.” You wouldn’t go out of the house without brushing your teeth, right? I do often go out of the house without brushing my hair. Something’s got to go! But I’ll always have moisturizer and sunscreen on—and underpants.

You mentioned earlier about there being societal pressure “even when you turn a certain age.” At what time in your life did you stop feeding into those unrealistic expectations?

I think there’s far more pressure on women than there is on men. The fact that we’re having this very conservation is proof. I think, like anybody, you have good days, and you have bad days. It doesn’t really have a rhyme or a reason. The media often says [that] when you hit 40 or 50, or whatever the milestone is, you have to prepare yourself for it. I think we all grow in very random, personal ways. So anything you have to do to make yourself feel better or more confident, whether it’s looking after your skin, getting a massage, going to the gym, or sleeping—anything!—you should do it.

We often talk about quick beauty fixes, but sometimes you just need to sit down and turn your phone off for 20 minutes, and that’s all you need to make your face relax. People think you look so much better, and it’s just because you’ve gotten rid of the stress. It’s hard, particularly at the moment. I think there’s a lot of fear and anxiety being cultivated by our various governments around the world. It’s increased people’s stress loads. Give up social media. That’ll take 10 years off you.

Do you think the way we discuss aging and self-care has evolved?

I grew up in a house with three generations of women. I was brought up by my mother and my grandmother in the same house. So I’ve grown up around people older than me. I think as a society, we need to banish the notion of “old age.” We don’t get to know and cohabit and mingle with people who are several generations ahead of us. And as a result, we’ve become more fearful of aging. And you know, how funny my mom and my grandmother were, how active they were, [it was inspiring]. I used to love hearing the stories from when they were girls. So it’s never been a fearful space for me. I mean, no one wants to die. But we’re all heading in that direction, and it’s really helped me move through knowing that there are more interesting things to come.

And, look, I’m very privileged. I’m financially secure. I have healthy children. I’ve been blessed in a lot of ways, so it’s very easy for me to say that [I’m comfortable]. And you know, it wasn’t always that way for me. It certainly wasn’t for my mother or my grandmother. But growing up alongside them was really formative.

What were their viewpoints on aging? Did they ever give you advice?

My grandmother had a few regrets, I think. [Her big lesson to me] was don’t leave life regretting not having done something. Don’t say, “I wish I had done that.” Just go and try and do it. But on a practical level, my mother was very big on protection and moisturizing—taking care of herself the best she could then. She had limited means, but she still took care of herself. She didn’t expose herself to the sun. And that’s something that was passed down to me, which I’m really grateful for.

And before we go, what are you looking forward to most this Mother’s Day?

I’m looking forward to having no plans whatsoever. Just an open horizon for the whole day. That’s my idea of bliss.

This interview has been edited and condensed.

via Glamour

Happy Birthday Cate!

Happy Birthday Cate!

It’s Cate’s Birthday!

From Cate Blanchett Fan team, we want to wish Cate a very Happy Birthday and an exciting Mothers Day! We hope she has an amazing time surrounded by those she loves.

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

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