Thanks to the “Marvel Studios Phase 3” special feature, which is included in the Digital HD/Blu-ray release of Doctor Strange, a new concept art image featuring Cate Blanchett as Hela has been released. Enjoy!
via Comic Book
Thanks to the “Marvel Studios Phase 3” special feature, which is included in the Digital HD/Blu-ray release of Doctor Strange, a new concept art image featuring Cate Blanchett as Hela has been released. Enjoy!
via Comic Book
Good morning to you all! Cate Blanchett promotes The Present with InStyle, during the launch of the new Sì Rose Signature. Enjoy!
With over 25 years of stage experience, Cate Blanchett is a veteran when it comes to the theater. But while the Oscar-winning Australian actress has performed in stage productions around the globe, her recent Broadway debut in The Present managed to keep her on her toes. Written by Blanchett’s husband, Andrew Upton, the limited-run play was initially performed in Sydney before it made the move to New York City in December—and for Blanchett, the new setting offered a completely fresh perspective on the project.
“It’s very interesting to perform the play for an American audience now, because everyone—no matter who you voted for—is in such a state of turmoil,” she told InStyle last week while celebrating the launch of Giorgio Armani’s new Si Rose Signature fragrance (she’s the face of the collection). “There are uncertain days; it’s very fragile. And the play deals a lot with the fragility and lack of time.” Blanchett’s character, Anna, is facing those topics head-on in The Present. The entire play focuses on the widowed Anna’s 40th birthday, which she’s celebrating with a group of friends at her Russian country house. With time to kill and plenty of booze to go around, things soon spiral out of control as Anna and co. reminisce about the past and revisit old relationships while trying to figure out their next steps in life.
Blanchett explains that she relates to her character’s fear of the unknown the most. “She’s very unresolved about her past and uncertain about her future,” said the 47-year-old star. “I probably share her uncertainty about the future, and I don’t think I’m alone there.” While Blanchett is similar to Anna on that front, she’s more interested in the ways that she’s unlike her stage persona. “I’m always looking for the points of difference, I think, between me and a character,” she said. “So it’s not necessarily that I share personality traits with her, but I definitely connect with her preoccupation with time being so precious and so important; spending time with people, and how little we do it. That’s probably where I connect with her most.”
Anna’s perspective on aging—and, specifically, turning 40—is wrought with mixed emotions, but for Blanchett, it’s simply a non-issue. “It’s funny, but I just didn’t have that same mentality [about turning 40],” she said. “I felt like I should, if only because everyone talks about it. I think men get talked about in a slightly different way—their age means something different. They’re somehow liberated when they’re in their forties, whereas women are meant to be sort of fixing themselves up and trying to stave off the inevitable.”
That wasn’t the case for Blanchett, who found herself unfazed upon hitting the big 4-0. “When I reached 40, I was actually sort of relieved and excited,” she said. “You approach it with such a sense of fear because it’s built up to such a degree, but it wasn’t as bad as I thought it would be. We’re so full of fear, but these situations are often the opposite of what we expect.”
While it might be tricky to predict how she’ll feel on special occasions, there’s one thing that Blanchett can expect: memorable gifts from her family. “During the first couple of years of our marriage, my husband gave me a vacuum cleaner and a blender on our anniversaries,” she said. “I think he was trying to give me a few hints about being a bit more active in our domestic life.” Other than appliances, the presents that really rate with Blanchett inherently pack a special meaning. “In the end, I love the things that people—especially my children—have made,” she said. “They make things out of matchsticks, and my middle child once made a clay skull that he had drawn a bit like the Day of the Dead. It’s the handmade things that I really love.”
And, unsurprisingly, it’s family time that ranks highest on her list of favorite activities. When she’s not busy performing, Blanchett relishes relaxing with her kids at home—in one spot, specifically. “I’m growing to love my bed more than any other item of furniture in the house,” she said. “The best thing is when all four of the kids and my husband and I are just sitting there. I think we probably have our best conversations as a family in our bed. Thank god it’s enormous.”
Of course, there are a few culturally-relevant books taking up space on her nightstand at the moment. “I’m reading Behold the Dreamers by Imbolo Mbue, which is about an immigrant family living in America,” said Blanchett. “And then the other book I have is Hillbilly Elegy by J.D. Vance, which is about the disconnect between the white working class and the sort of perceived privileged classes,” said Blanchett. “So it’s a book for both Democrats and Republicans. It’s about the state of the nation, really, and how America has got to where it is.” Topical, indeed.
Cate Blanchett appears wearing The Row, the brand owned by Mary-Kate & Ashley Olsen, in a new photoshoot for Vogue Magazine. See the article and the photo by Annie Leibovitz below.
15 Iconic Female Designers on Where Fashion—and the World—Are Going
One feels luxuriously dressed in a calm, pure, and minimal way,” says Cate Blanchett, serene and soigné in a cashmere blanket coat from the label she’s lauding: The Row. Like Blanchett herself, The Row is synonymous with quality and a kind of independent synergy. Of course, she’s hardly the only fan: Mary-Kate and Ashley Olsen’s customers are helping the eleven-year-old label claim the mantle of the wardrobe of our time in the same way that Donna Karan defined New York women’s essentials in the nineties.
Behind their international success, Mary-Kate and Ashley have always worked privately and mindfully, showing beautiful clothes their way, sans spectacle. In fact, they loathe fuss. But how did two former child stars—who just turned 30 this past June—become such connoisseurs of so many different women’s wardrobes? The twins are as succinct in their response as they are in their designs: “Continuity,” says Mary-Kate. “We are a trustworthy brand that really sells exactly what we say we’re selling.” Adds Ashley: “The only people we feel we need to answer to are our clients.”
They attribute their perfectionist resolve to having been given a voice at a very young age and having sat in many meetings with heads of the entertainment and finance industries, allowing both of them to hone their ability to decipher “the good influences versus the bad influences,” as Ashley puts it, while staying focused. “We own our brand. We don’t get pushed in any direction.”
With the exception of a few Italian knits, they manufacture all of their ready-to-wear in the United States. “That means a lot,” Mary-Kate says. “We’ve created at least 80 jobs.” Their elegant designs, by their very nature, challenge fast fashion.
As it turns out, the Olsens were ahead of their time in more than just style. In their April 2001 issue of Mary-Kate and Ashley magazine, they predicted Hillary Clinton’s presidential campaign as part of a feature devoted to the question “When will we get our first female president, and who might it be?” Sixteen years later, their designs defy age and—even though they have just launched menswear—gender. “It’s more about respecting one another, whether you’re a female or a male or whatever,” says Mary-Kate. With the Women’s March on Washington then around the corner, she adds, “Women are not the only ones that feel this way—a lot of people feel it. The atmosphere around the entire globe is very interesting right now.”
“What’s going to happen tomorrow? Collectively, I feel everyone is asking that,” says Ashley, who’s made a positive attitude her goal of the year. “What we’ve built so far is pretty incredible. I would like to push that further—but also to be a little lighter on ourselves.”—Emma Elwick-Bates
via Vogue Magazine
Hello everyone! New interview with Cate for T Magazine/ The New York Times Style Magazine and a new image from the campaign’s set. Enjoy!
The title of “The Present,” now playing on Broadway, is a clever one. The play takes place at a summer house in Russia on the occasion of a 40th birthday, and there are a few physical gifts in play — notably, a chess set and an antique gun. (The play is a Chekhov adaptation, so yes, both get used before the final curtain falls.) But it’s also concerned with the specters raised by “the present” as a concept, particularly in a group of friends with years of history between them: How does the past of each relationship impact how we might feel about it now? How much can we ever depend on the future?
The linchpin of the proceedings is the birthday girl, Anna, played by Cate Blanchett with wit, grace and physical deftness. She spends much of the play’s first half smiling in amusement, resolutely unruffled by the impassioned meltdowns of those around her, and much of its second half shouting and seducing and dancing on tables. During a busy time for Blanchett — in addition to the three-hour run of the play each night, she’s also the face of Armani’s Sì fragrance, which launches a new iteration of its Rose Signature scent next month — she answered a few questions for T.
When watching “The Present,” we get the impression that all of these characters are entrenched in ways of relating to each other, which then transform or explode as the play goes on. How did that back story take shape for you?
I think you’re absolutely right. The characters all want things from each other that they can’t deliver on; they’re all in love with the wrong person at the wrong time. A 40th birthday with a lot of alcohol and unresolved lust and longing is a very combustible set of circumstances. It was really exciting to work with people that I’ve worked with for a long time on this, because in Chekhov, not a lot happens, but everything happens. It’s all about time spent with each other.
Continue reading the main story
You’ve spent a long time with Anna by now — you were playing her when you were interviewed for an August 2015 T cover story. Are you still discovering new things about her and about this story as you continue to play it?
When you work with really playful, inventive, intelligent actors who are very open, as I’m having the great good fortune to do right now, I think it constantly opens up; and if the work is rich and deep, it’s a joy to return to it. We first performed it about 18 months ago, and then we had a hiatus and people went off and did other things, and then we came back together. We sort of collided with the past experience, but took it somewhere — not different, but somewhere deeper.
I don’t know if you’ve ever had that experience of driving home, and the route is exactly the same, but you’re preoccupied with something different, so you forget how you got here. On a good night, that’s the experience you have in the theater. People are always saying, “Oh, my god, it must be so tiring to do the same thing every night.” It’s the same journey, but you arrive there slightly differently depending on what other people do.
And also, I must say, performing to an American audience right now in the wake of the inauguration of the current administration, there’s whole layers of meaning — of moral compromise and uncertainty of the future and what is right, what is wrong — that have always been in the play, but because the audience brings that to bear, it’s shifted the play slightly, which has been really interesting.
How, as an actress, have you seen that borne out when you’re playing the part? Is it just a feeling in the air, is it that laugh lines are slightly different…?
As an actor on stage, the audience often thinks that they’re there to be entertained, but they’re a vital, active component of the evening. It’s not about laughter, necessarily; it’s quality of listening. Broadway audiences are so literate: They love theater, they love being told stories, they love a surprise. And that, coupled with the current — it’s not even a political climate, it’s like a moral climate — has meant that the play’s been attended to in a slightly different way.
I think we’re all so hyperaware of our relationships to the truth right now, and to our sense of objectivity, in every interaction we have throughout a day.
Language is incredibly powerful: the words we choose to use, and how we choose to use them. I remember ages ago, the word “evil” was purloined, and it’s been very bewildering to me watching the word “refugee” morph into the word “immigrant” morph into the word “terrorist” within the space of nine months. “Truth” is an immutable word: Something is true or it is not. Theater, actually, its currency is language.
You mentioned the inherent drama of a 40th birthday party that collects people from different stages in someone’s life. Do you think there’s anything specific about that time of life that is more likely to give rise to dramatic situations?
It’s very built up, that moment in a person’s life, the 40th. And I think for her, it’s compounded with the need or desire to move on and to take stock of where she’s at; and take what is useful and valuable and worthwhile from the past, and jettison that which is not as she moves into the future. There’s certain points in one’s life where one takes stock, and I think in an archetypical way, turning 40 is often that moment, but for many people it’s not. For many people it’s their mid-40s or their 50s or their 60s. It depends on the degree of maturation, I think, and self-awareness that the person has.
You’ve been a brand ambassador for Armani for some time — what were your first impressions of the new Sì fragrance? Are there any memories or emotions it evokes for you?
I think there’s a definite optimism in calling a fragrance Sì at the moment, particularly a female scent. We have to be positive and forward-looking, and we have to say yes to those things we believe in and yes to ourselves. When Mr. Armani spoke to me about being the face of the fragrance, I had no idea there were going to be so many iterations. I love a fragrance that has those deeper woody notes that develop so beautifully — but this has got a double rose. Normally, I’m not a fan of rose, but because the rose is green, and there’s a Turkish rose in there, which has a hint of orange to it, it’s actually really beautiful. It’s humorous and optimistic, which I think is a good way to start the day.
This interview has been edited and condensed.
via T Magazine
Oscar Award winning actress Cate Blanchett from “The Present”® Broadway Drama will be joined by Jason Hayes, her hair & makeup department head and the organizer of DisarmHate Rally and others for an evening of unforgettable performance to benefit the Newtown Action Alliance.
February 20, 8-10PM
The Stonewall Inn,
53 Christopher Street NY
For more information and tickets >> Newtown Action Alliance
Monday Night at the historic @stonewallnyc Join us for an epic fundraiser to benefit Newtown Action Alliance with our ally #cateblanchett performing in a #dragshow to #honorwithaction to #disarmhate and #endgunviolence #lgbt #lgbtq #lgbtpride #resist #shepersisted #indivisible #stonewall #stonewallinn #gaynyc Link in bio
Giorgio Armani Beauty released a new brief commercial to introduce the last version of Sì, Sì Rose Signature II, a limited edition on sale for Valentine’s Day.
Hello to you all! Cate Blanchett and Richard Roxburgh promote The Present at the Leonard Leopate Show. You can hear the interview below.
Good morning! After various premieres, Manifesto has found a distributor for North America, waiting to be release on Amazon Prime later in the year.
EXCLUSIVE: Match Factory is selling Julian Rosefeldt’s Sundance hit, which screens at EFM today, tomorrow and Sunday.
Film and TV distributor FilmRise has acquired the exclusive North American distribution rights to Manifesto, starring Cate Blanchett, directed by Julian Rosefeldt.
FilmRise will release the film theatrically in mid-2017. The film will also be available to stream on Amazon Prime Video later this year. The distributor opted-in to Amazon Video Direct’s Film Festival Stars program, which is designed to establish an attractive distribution model for films screened at film festivals, beginning with the Sundance Film Festival.
via Screen Daily
Giorgio Armani just released a new spot for Sì: Sì all’Amore (Yes to Love) featuring new footage from the 2015 commercial.
We also have the first images from the set of the new Sì Rose Signature Collector Ediotion. Enjoy!
Good afternoon, yesterday Cate went to Live with Kelly to promote The Present. Video and screencaptures below, enjoy!
Tomorrow, Cate will join Busy Philipps, Colin Hanks as a guest on Live with Kelly.
For more info>> Live With Kelly
Find out where and when the show airs in your city > Here
The first commercial for Giorgio Armani perfume, Sì Rose Signature, with Cate Blanchett is out! Also an hq ad from the campaign was added to our gallery. Enjoy!
First still for Ocean’s Eight is finally here! Warner Bros Pictures shared the first official image from the movie featuring all eight leading ladies: Sandra Bullock, Cate Blanchett, Sarah Paulson, Rihanna, Anne Hathaway, Helena Bonham Carter, Mindy Kaling and Awkwafina.
The names of the characters were also revealed. Read below!
Warner Bros. Pictures’ and Village Roadshow Pictures’ first look at “Ocean’s 8” from one of New York City’s most iconic locales: the subway. In Summer 2018, the tide will turn as (L-r) Debbie Ocean (Sandra Bullock) attempts to pull off the heist of the century at New York City’s star-studded annual Met Gala. Her first stop is to assemble the perfect crew: Lou (Cate Blanchett); Nine Ball (Rihanna); Amita (Mindy Kaling); Constance (Awkwafina); Rose (Helena Bonham Carter); Daphne Kluger (Anne Hathaway); and Tammy (Sarah Paulson). Photo by Barry Wetcher.
There is a new interview with Richard Roxburgh for The New York Times. He’s starring opposite Cate Blanchett in The Present, currently on Broadway, and two new stills were released with this interview. Enjoy!
RED opened yesterday at the Art Gallery of South Australia, as part of 2017 Adelaide Festival, until April 30th; in June it’s set to open in New York. Here are the first reviews, one interview with director Del Kathryn Barton and two new images. Enjoy!
Cate Blanchett is ‘fierce, sexy and scary’ as redback spider in Del Kathryn Barton’s ‘genre-busting’ RED
RED, a surreal, savage tale of female power, is the creation of Archibald Prize winner and now filmmaker Del Kathryn Barton.
Set against a backdrop of intense, pulsating music, the short film stars Cate Blanchett, who re-enacts the spider’s deadly mating ritual, alongside actor Alex Russell and Sydney Dance Company’s Charmene Yap.
Ms Barton said she wanted the film to be “an intensely visceral experience with a lot of intense emotionality that on one level has that core narrative, but can move and shake and be open to interpretation.”
Cate Blanchett’s ‘immense power on set’
Three years in the making, the 15-minute film intercuts human protagonists with close-up footage of the redback mating and then savaging its prey.
The work started as a small studio-based project, but evolved into something much bigger after a funding boost which helped secure a Hollywood star.
“I put my wish list together, I thought who would be the ultimate actor for the role of mother and it was you know of course a no-brainer — Cate Blanchett has immense power in so many ways,” Ms Barton says.
“With someone like Cate Blanchett I was really actually determined to under-direct her.
“You give her the hooks and honestly what she gave to the performances that day, I could have never have asked that of her, she was incredibly generous in that way.”
via ABC Australia
Sex, death and del kathryn barton
A two-time Archibald prizewinner, del kathryn barton continues her fascination with the complex psychology of relationships, sex and fertility in her work RED (now at the Art Gallery of South Australia). This transition into film is as energetic, tumultuous, detailed and beautifully unsettling as her figurative paintings. Perhaps more so.
RED was three years in the making and it’s hard not to marvel at the coincidence of its premiere this week, when female power and outrage has reverberated across the world. RED is a slick and strident feminist work. Although it was not made with deliberate political intent, it has the potential to resonate loud and unapologetic, like a lightening rod for our times.
RED celebrates female creative energy, reaching back to the primordial, evolutionary origins of procreation. Starting out as a modest short piece, it was developed with additional support from the Australian Film, Television and Radio School and the Art Gallery of South Australia.
barton draws on the natural sciences to advance her exploration of the complex psychology of relationships. With RED, she examines mating rituals and the imperative to reproduce as evidenced in redback spiders.
RED is produced and crewed by some of the leaders in Australian film and theatre. Cate Blanchett stars as the protagonist, The Mother.
Choosing to structure the sequence as a set of narrative beats, rather than a traditional script, barton overlays the visuals with a tense and thumping soundtrack. These deep beats pulse through the sequence of jump cuts from intensive macro shots of spiders to the Mother and other human characterisations.
The Mother is at first still and brooding, crouched on a board table floating in a heaving sea, her features stark but for a totemic gash of red lipstick. She wears a classic tuxedo suit, contained and androgynous. And that’s when you notice the scissors.
Those bass beats drum out her fever as she slashes, stabs and sheers through the suit, tearing the fabric from her legs, crotch and torso to reveal a very taut female form beneath, encased in nets. She keeps her patent red shoes on.
Here, as in all her roles, Blanchett totally disappears into her character of the untamed Mother in heat; contorted, sweating and furious with the fundamental compulsion to mate. Pulsing with longing and demand, she signals to her mate with a commanding howl that would have blown Whitman’s “barbaric yawp” out of the water. She is unleashed.
Interspersed between shots of the actors are close ups of redback spiders in the act. The species is known for sexual cannibalism. In most cases, the female begins to eat her mate during or just after copulation. At some point in their evolution, this strategy was found to improve the chances of fertilisation and ensure the survival of the mother and offspring.
The climax is the pinnacle of the male’s existence. If he is selected by the female, he has one shot and that’s it. He has fulfilled his end of the deal and has no future role in parenting. Instead, he volunteers himself as a resource to be consumed by the female for the benefit of the next generation.
Blanchett’s recent work Manifesto (2015-2017) is an interesting contrast to RED: one intellectual and scholarly in its content, the other wild, unscripted and unbound.
Female creative power is an undeniable and vital force of nature. As such it is usually misunderstood, traditionally feared and difficult to restrain. Like barton’s RED, however, it demands respect and deserves to be celebrated.
via The Conversation
The interview with Del Kathryn Barton