Cate Blanchett: ‘Covid-19 has ravaged the whole idea of small government’
Posted on
Oct 28, 2020

Cate Blanchett: ‘Covid-19 has ravaged the whole idea of small government’

Hi, Blanchetters!

Cate has written an essay as part of the new book, Upturn: A Better Normal After COVID-19, by Tanya Plibersek.

Here’s an extract:

The other day I had to go into town for a dental appointment. I put on all sorts of lovely clothes as if I were going out to dinner and an opening night. The prospect of being out and about was both exhilarating and daunting. I so desperately wanted to be among people and in the city, but I’d also completely forgotten what an event was. The dentist did not seem surprised by my sartorial over-commitment – but then, I was not the first patient he had seen since lockdown.

As a person working in the arts sector, the lockdown was strangely familiar on one level – a lot of actors get stuck in a kind of limbo waiting for someone else to give them permission to do what they are good at. It was as if we were all waiting by the phone for our agent to call. It was also strangely unfamiliar because the community that holds us together, the audiences, as well as the changing of the shows and the new releases, were all put on hold too. The flow between us all was severely affected, and I was both heartened and horrified when it began to surface online. Heartened because the urge to express ourselves and the desire to communicate seems undaunted by anything. Horrified because the worst place to rehearse and perform is alone in the mirror, and sometimes the phone is just a mirror.

It was amazing, though: the opera singers belting it out on their balconies, the dancers doing their solos in their living rooms, the DJs setting up on the verandahs of their apartments. Communication is definitely a need and not a want. And talent has to express itself. That need is like the roots of a tree seeking space and nutrition, and that single cell in the root hair that is the porous gateway between the soil and the plant – that exists in all of us, in our need to communicate and make shared sense. The porous gateway between audience and artist is just that – a two-way street where both seemingly separate worlds are alive together. The pub choir where everyone got on a group Zoom and sang. For themselves? Yes. For each other? Yes. For the uni- verse? Yes. Wonderful space that came alive and thrived and tried to reach across the divide.

Covid-19 has made one thing terribly clear – government is not the same as business. The role of government is to regulate and guide the increasingly complex social landscape. Business is only a part of that landscape. Health, infrastructure, the legal system, education: these are not businesses. First and foremost they are part of society, part of our duty to each other and to the system that we are all beneficiaries of – or should be beneficiaries of – but that is a whole other catastrophe that has been made awfully clear in the last six months.

So what has Covid-19 ripped open? The fragility of social space and the robustness of our need to share. The catastrophic misdirection of the past 30 years of economic and social planning (the guiding non-principle being that there is no such thing as society). No, short of nostalgia and regret, Covid-19 has ravaged the whole idea of small government, and highlighted the importance of social and economic justice. Powerfully illustrating these concerns, the most recent wave of Black Lives Matter (BLM) activism has underlined the need for an equitable and humane social plan.

For the arts, I fear the good old days of root and soil porous gateway-ism are a thing of the past. The relationship between artist and audience has changed fundamentally. The tools of the future on hand today, from selfies to Zoom, are just awkward attempts to grab back the surface appearance of connectivity. Real connectivity will need to find a new way. The good news is, it will – and it will be fascinating and illuminating and confronting.

My guess is, it will be in the event. The fabulous event of coming together; gathering and going out (even to the dentist) and I think it will be in politics first and foremost, in argument and protest. The iconic images and moments of lockdown for me are: “I can’t breathe” written on the face masks of the BLM protesters; that courtyard in Italy filled with singing neighbours; that anonymous Lady Godiva protester in Portland, sitting stark naked in front of the police; the quiet skies; and the self-proclaimed business-genius president of the most important democracy in the world recommending ingesting or injecting disinfectant.

The common link between these iconic events is profoundly political, because the political space is where we gather, and with rhetoric or imagery or gesture, with some kind of enhanced reality (let’s call it a performance) we express what we need to say. Each one of these is startling. There is a profound element in them that is revelatory. We engage with the performance of the gesture and the whole of it is greater than the sum of its parts. I think this need to gather is fundamental to who we are, and it has been stymied by Covid-19 but also underlined by it, and that need in us for community addresses the difficult lesson we have to learn: business is not government and government is not a business. The biggest choice as governments began thinking about easing lockdowns, the choice that really seems to divide us deeply, is that between community and economy.

Like life, art can be a business. But like life, art is not all business – and it is that endangered space where life and art are not just about money that government is there to help safeguard.

Source: The Guardian

Cate Blanchett and IWC CMO Talk Sustainability, Dirty Films as Executive Producer for Apples (2020), and Narration of an Animation for GCFA
Posted on
Oct 12, 2020

Cate Blanchett and IWC CMO Talk Sustainability, Dirty Films as Executive Producer for Apples (2020), and Narration of an Animation for GCFA

Hello, Blanchetters! We’ve got some news and videos on Cate! Enjoy!

Cate Blanchett and IWC CMO Talk Sustainability

After IWC Schaffhausen released its second sustainability report, we can see its evident leading role in sustainable luxury watchmaking. Actor and producer Cate Blanchett joined Franziska Gsell, IWC CMO, for a virtual video conference about sustainability, where they discussed the brand’s management of its environmental and social impact.

For those who didn’t know, Cate Blanchett has been an IWC brand ambassador since 2006. The two-time Academy Award winner said, “When Franziska and I first met in 2015, we quickly discovered our mutual interest in sustainability topics. It is more important than ever for brands to review their environmental footprint and take concrete steps towards sustainability. The notion of transparency is key because clients want to know how a luxury product is manufactured.”

“Cate and I often speak about sustainability, and it’s truly a topic that is close to both of our hearts. It was a great honor to connect with her virtually, and I appreciate her shining a light on the efforts that we are undertaking on our journey to become a fully sustainable luxury company,” said Franziska Gsell.

https://www.youtube.com/watch?v=nTjBS1bT5Oo

 

 

Green Carpet Fashion Awards 2020

Cate lend her voice to narrate a short animation as part of the 2020 Green Carpet Fashion Awards which was introduced by Lewis Hamilton. You can go to part 39:00.

https://www.youtube.com/watch?v=P_54O0nHTiQ

 

 

Cate Blanchett And Her Dirty Films Team Board As Exec Producers Of Venice Premiere Pic ‘Apples’

Cate Blanchett and her team at Dirty Films are coming on board as executive producers on the Christos Nikou-directed Apples, the film which opened Venice Orizzonti section to strong reviews and was also a selection of Telluride and TIFF and is a potential for the Greece’s choice for Best International Feature Film.

Blanchett, Andrew Upton, and Coco Francini of Dirty Films are now exec producers of the pandemic-set film, which is now playing all the festivals. While most of those festivals were virtual, Venice was the exception and Blanchett discovered the film while she presided over the jury of the Golden Lion section, and took time to see the film in the Orizzonti section. She formed a new creative collaboration with the film and Nikou, who made his debut as director after working as AD for filmmakers including Richard Linklater and Yorgot Lanthimos.

“Apples is an unforgettable, prescient cinematic experience,” said Blanchett, Upton, and Francini. “Christos Nikou’s film is a unique and beautiful fable about memory and loss which resonates deeply with the unrecognisable terrain in which we currently find ourselves. We are invigorated to be in creative dialogue with Christos and to help share his warmth, humour and his fascinating world view.”

In a film with a most timely presence, Apples takes place amidst an unpredictable, sweeping pandemic that causes people to develop sudden amnesia. A man finds himself enrolled in a recovery program designed to help him build a new life. His treatment: performing daily tasks prescribed by his doctors on cassette tape, and capturing these new memories with a Polaroid camera.

Said Nikou: “I don’t know how selective our memory is, but this is a moment that will remain unforgettable! I am so thrilled to welcome in to our Apples‘ team the amazingly talented producers and tastemakers Cate Blanchett, Andrew Upton, and Coco Francini.”

They join Nikos Smpiliris as exec producers. Pic is produced by Iraklis Mavroidis, Angelo Venetis, Aris Dagios, Mariusz W?odarski, and Nikou. Associate producers are Virginie Devesa, Jerome Duboz, and Antoine Simkine, and Co-producers are Ales Pavlin, Andrej Stritof, Stefanos Ganos, and Stavros Raptis. The film was written by Nikou and Stavros Raptis, shot by Bartosz Swiniarski, and stars Aris Servetalis (Alps) in the lead role.

Dirty Films’s credits include Truth, Carol, Little Fish and The Turning, and Stateless and Mrs. America on the small screen. AlphaViolet is handling international sales, and CAA Media Finance is representing U.S.

Sources: Flair Magazine, Deadline

Cate Blanchett interviews Gregory Crewdson, New Sì Campaign Ad, & Earthshot Prize Council Member
Posted on
Oct 8, 2020

Cate Blanchett interviews Gregory Crewdson, New Sì Campaign Ad, & Earthshot Prize Council Member

Hello, everyone!

A new promotional photo for Sì has been released and new interviews with Cate.

Click on the image for bigger size.

 

Cate Blanchett joins Prince William on the Earthshot Prize Council

 

 

The list of people joining the Duke of Cambridge on The Earthshot Prize Council has been unveiled.

On Thursday, Prince William announced the launch of the environmental prize, which aims to incentivise change and help to repair the planet over the next 10 years. It is hoped that the money will provide at least 50 solutions to the world’s greatest environmental problems by 2030.

William will be joined by a host of high-profile leaders from the environmental, philanthropic, business, sporting and entertainment worlds to form The Earthshot Prize Council.

The organisation states that each member is committed to championing positive action in the environmental space.

The list of influential figures includes natural historian David Attenborough, actor and humanitarian Cate Blanchett, singer Shakira, Her Majesty Queen Rania Al Abdullah, professional footballer Dani Alves and basketball player Yao Ming.

Other names highlighted on the list are former UN climate chief Christiana Figueres, environmental activist Hindou Oumarou Ibrahim, former chairman and CEO of PepsiCo Indra Nooyi, philanthropist Jack Ma, economist Dr Ngozi Okonjo-Iweala and former astronaut Naoko Yamazaki.

In the coming months, additional members of The Earthshot Prize Council will be announced as the global coalition supporting the Prize expands.

To mark the launch of the prize, a short film has been released which shows William and Sir David at Kensington Palace, speaking about their passion for the environment and the critical role that The Earthshot Prize can play in repairing the planet.

The film also features each of the 11 other announced members of The Earthshot Prize Council, who explain their motivations for becoming involved in The Earthshot Prize and the differing environmental challenges faced globally.

Speaking about The Earthshot Prize, Blanchett said she feels “extremely honoured” to have been selected for the council.

“I feel humbled and invigorated to be amongst such extraordinary activists, experts and leaders in the environmental sector,” she said.

“All around the world, science and community-based initiatives are leading to ground-breaking inventions and solutions which, if provided with the platform and resources to be implemented on a larger scale, could have a significant and positive impact on the environment and global economy.”

 

 

 

Gregory Crewdson and Cate Blanchett in Conversation about his latest work An Eclipse of Moths

 

 

Source: The Independent, Earthshot Prize

How Cate Blanchett Embraced a New Era of Red Carpet Beauty
Posted on
Sep 29, 2020

How Cate Blanchett Embraced a New Era of Red Carpet Beauty

Hello, Blanchetters!

Here’s a short interview with Cate Blanchett and her friend and make-up artist, Mary Greenwell with new behind the scene picture from Venice.

It’s not yet October, and the fall calendar is already three film festivals in, with the current one in New York mostly playing out across virtual screenings and drive-in movie theaters. It’s refreshingly democratic, watching premieres (or a teenage Laura Dern in Smooth Talk) from the easy reach of one’s living room or car. The mood is triumphant, and the dress code casual, even for a director piped in for an onscreen appearance. Still, it’s easy to miss the usual pomp of festival proceedings—the sartorial snap to attention after an under-the-radar summer.

Last month’s Venice Film Festival—with its cautiously orchestrated red carpets and glittery faces intermittently covered by masks—was the exception. And at the center of that fanfare was Cate Blanchett, who presided over the jury. She also set a high-water mark for red carpet beauty in this new era, with amped-up eyes and an unflappable sense of cool.

“It felt courageous—on all levels,” Blanchett wrote by email. “With the challenges ahead for reopening cinemas and allowing filmmakers and audiences alike to think big, a festival like Venice became not only an important test of how this might happen, but an important symbol to the industry at large that we can and will find a way through these murky waters.” Part of that business-as-usual spirit—the bright light through the murk—was Blanchett’s quintessential poise within the star machinery, with help from her longtime makeup artist, Mary Greenwell.

The two women have been working together for a few decades, Greenwell estimates. “My first job with her was with Annie Leibovitz for a Vanity Fair cover,” the makeup artist explains in a call from London, where that initial shoot took place. Blanchett was in ascendance, following her well-powdered turn in 1998’s Elizabeth. Now Hollywood royalty in her own right, Blanchett is the kind of actor who doesn’t need to shift personas on the red carpet, let alone at Venice this year. “It was very much her show, in a sense,” Greenwell says. “Cate is so professional and so beautiful that she just kind of gets on with it.”

That’s how a matter-of-fact Blanchett approached her pandemic-era makeup. “I didn’t overanalyze it, but certainly the way one reads a face with a mask on is different,” notes the actor. “The eyes obviously become a major focus.” With Blanchett a longtime Armani Beauty ambassador, Greenwell’s kit is well stocked, beginning with the Eye Quattro shadow palette. “Taupes and browns are the most flattering colors for everybody because they are the most natural to one’s skin tone,” says Greenwell, who adapted the makeup to Blanchett’s rotating fashion looks, whether a wash of color across the lid or a softly dimensional eye. “Because of the mask situation, I find it quite important to accentuate the underlid as well—underneath the lower lashes,” Greenwell points out. Plus, of course, “loads of mascara—always, always, always.” The classic Eyes to Kill is her go-to. “Unless you’re going swimming in the sea, why wear waterproof mascara?”

“The most important product of all, to me, is concealer—especially in the time of COVID,” continues Greenwell. As masks concentrate the focus above the bridge of the nose, the first focal point is the undereye area, where all secrets of jet lag or lost sleep are spilled. The makeup artist swears by the creamy Luminous Silk concealer (“beyond fabulous”). On top, she layers on Neo Nude powder—a modest antidote to the humid exhales inside a mask. (The effect is weightless, says Blanchett: “After months of wearing little to no makeup, I didn’t want to look or feel artificial. Mary is the master of layering.”) The eyebrows are the last exposed element. Greenwell doesn’t abide by “a heavy brow on anybody, unless you are Cara Delevingne, who has a naturally gorgeous heavy brow.” She skips overly darkened arches in favor of subtle definition, brushing on a formula akin to cream eye shadow.

Finally—on the carpet, in front of the flash—the mouth gets its due. Armani’s latest Venezia lip collection, with a liquid-to-matte formula in a range of warm tones, arrived right on time. “It won’t dry the lips, but it will stay on longer than any kind of gloss or wet lipsticks,” says Greenwell, who wanted to forgo the need for touchups.

It all amounted to the right tonal shift in a complicated year. Blanchett in embroidered Alexander McQueen and a quiffed updo conveyed a kind of modern panache; behind big-personality sunglasses and a mask, she played a lighthearted Invisible Man. Projected confidence—in oneself and in the industry—has the power to linger, even if the future is uncertain. “In this COVID time, we just never know when we’re going to be working again,” Greenwell says. While the two women await the next red carpet, they did just spend an off-duty Sunday at the beach—the rare time for a slick of waterproof mascara.

 

 

Source: Vanity Fair

77th Venice Film Festival Behind the Scenes; The Four Temperaments and more
Posted on
Sep 26, 2020

77th Venice Film Festival Behind the Scenes; The Four Temperaments and more

Hi, Blanchetters!

We’ve updated gallery with stills from The Four Temperaments and behind the scene photos from 77th Venice Film Festival and some of them at a higher resolution. Cate also interviewed photographer, Gregory Crewdson, for the Gagosian Quarterly which you can read below. You can watch a part of The Four Temperaments and an interview for Stateless below. Enjoy!

 

Cate Blanchett Stars in a High Culture Project You Can Watch on Your Phone

What’s an actor to do during a pandemic? There are Zoom plays, homemade music videos about the trials of love in lockdown, or, if you’re Cate Blanchett, avant-garde video projects exploring the human condition. As of Friday, at the Michael Fuchs Galerie in Berlin, you can watch Blanchett turn inside out two simple phrases—“I love you” and “I don’t love you”—in Marco Brambilla’s video The Four Temperaments. (If you’re staying closer to home these days, you can also experience the work, as of today, via the augmented reality app Acute Art.)

Blanchett’s pulsing iterations of the phrases are filtered through four different colors, her face bathed in a carmine yellow glow one minute and traffic-light green the next. The colors are meant to evoke the four humors as described by the ancient Greek philosopher and medical writer Galen, with each tone corresponding to a specific temperament: sanguine (yellow), choleric (red), melancholic (blue), and phlegmatic (green).

This is not the first time that Blanchett has participated in a project more at home in a museum than a multiplex. In 2016, the actor starred in 13 short films, simultaneously projected in the cavernous Park Avenue Armory in Julian Rosefeldt’s Manifesto. That work transplanted the texts of historical manifestos—by visionaries ranging from the Dadaists and Russian abstract artist Kazimir Malevich to filmmaker Jim Jarmusch—and the effect was disorientingly powerful. Dated didacticism, when animated by a genre-bending character (a woman resembling an elementary school teacher, or a wandering homeless man—all played by Blanchett), felt fresh and eye-opening.

That work, it turns out, provided fodder for Brambilla’s project, which plays out on a smaller but no less compelling scale. Brambilla came across Albrecht Dürer’s Melencolia in the course of some research; this led him to Galen, and then to the idea of having one person attempt to embody all of the philosopher’s temperaments. While Manifesto’s effect was dependent on unexpected contrasts and evocations of whole historical landscapes, Brambilla set out to test, as he puts it, “something far simpler”: “Would you be able to create drama using only two lines of dialogue and four basic character types in dialogue with one another, and all performed by the same actor?” Of course, not just any actor would suffice. Having seen Manifesto, Brambilla knew he wanted to work with Blanchett. “Cate performing all the characters made the piece compelling since her range and ability to recede into the character is unique even among the most experienced actors,” he says.

Though it was filmed in the artist’s studio in the midst of the pandemic, the process of creating the work, says Brambilla, was not actually that different than it would have been in more normal times. The film was conceived as a virtual experience as much as a physical one. “I think art will have to engage with people beyond gallery and museum walls,” says Brambilla. “With the advent of virtual reality and now augmented reality, we can bring artworks into almost any setting, public or private, and the engagement can in some cases be even more powerful than a conventional museum installation.”

Stateless Interview

Gregory Crewdson discusses his new work with actor Cate Blanchett

CATE BLANCHETT I have to say, without sounding stalker-ish, that I’m a huge admirer of your work. There are a thousand questions I want to ask you. Your works have really affected the way I look at the world, but I suppose specifically how I look at America. I think it’s hard not to find, or to search out, social commentary in art, even at the best of times. Everything seems so resonant to this strange, vertiginous time that we find ourselves in at the moment. And I’m wondering, given that you’re about to unveil a new body of work, how you feel about the way that it might be received? Do you think about your work in a social-commentary way? One work in particular from An Eclipse of Moths really struck me, and that was Red Star Express [2018–19], with the teenagers looking at a truck on fire, each seemingly unaware of their relationship with one another. Where do you sit in terms of social commentary and how the work might be received?

GREGORY CREWDSON Well, it’s very interesting to me because I made this series of pictures in 2018 and 2019. And I knew that I was dealing with certain particularly American themes about isolation and a certain kind of brokenness, I would say. But for the most part I was just building on my own iconography, making what I hoped would be beautiful and mysterious pictures.

My central intention is to make a picture that feels moving on some level, but also haunting. I’m really interested in what I call the uncanny. That is, I’m trying to explore what, on the surface at least, seems to be everyday life, and trying to find within that some unexpected anxiety, or fear, or wonder, even. In that way the pictures are very much in line with all my previous pictures, but as with anything else, context, the period we’re in, shapes a work of art. The pictures can’t help but take on new meanings as time passes; that’s just part of how art works. I feel that all art functions in reference to other pictures while at the same time referring to your own particular story, you know, the story that we all have within us. And then, finally, it makes some kind of connection to the moment we’re in. So I’m hoping that these pictures, in one way or another, do all those things.

CB Speaking of the uncanny, your titles are so enigmatic, unexpected, and often mysterious. I mean, why An Eclipse of Moths?

GC Well, it’s an actual term to describe the congregation of moths to a light. I thought that was such a beautiful metaphor on many levels, starting with the fact that I think all my pictures at their foundation are concerned with light. All of the narrative codes in my pictures use light as a way of transforming the subject or making the picture.

And then one of the themes that run through the pictures is the streetlamp. It’s in almost every single picture. I’ve thought of the photographs’ lone figures wandering through empty streets in that way: they are drawn to the streetlamp almost as a kind of force, or for some sense of the possibility of redemption.

CB A woman walking alone at night thinks of a streetlamp as a place of refuge, but there’s also something sinister and alien about the iconography of the streetlamp. In Starkfield Lane [2018–19] the lamp has actually collapsed—there’s something very vulnerable about the streetlamps in the series, they’re not places of refuge. And the streets themselves seem like the streets of Los Angeles and every major city around America right now [during this lockdown]. It’s almost like you’ve got second sight or something. There’s no comfort in the light, somehow, in the ways there perhaps had been in previous works of yours.

GC One of my primary interests in these pictures was the theme of emptiness. Where a lot of my previous work was more predetermined in terms of the story lines, I wanted these to feel open-ended and unresolved in terms of what’s happening, what happened before, and what will happen after. I’m really hoping these pictures feel somewhat outside of time, and yet, almost paradoxically, relevant to the moment we’re in. If you notice, there are no signs of contemporary life in the pictures. There are no cell phones. There are no new cars. I want everything in the pictures to feel both nondescript and slightly worn, slightly broken. So I look for locations that can accommodate that narrative or that state, and we put in our own prop cars and our own street signs, and we work closely with the city to make sure that no streets are paved and that all the grass remains unmowed. We want the feeling of a place that’s been somewhat forgotten and neglected. We change out all the streetlamps—we actually put different bulbs into the streetlamps, and we work with the fire department to wet down all the streets, and we use fog machines. All this is part of an effort to create a world that feels both familiar and enchanting at the same time.

So if the pictures have a social commentary, it’s elliptical. It doesn’t reveal itself overtly; it should remain a mystery. All photographs do that in a way—no still photograph can fully reveal its meaning, it’s always left as a question. That’s part of why I respond to photography in the way I do, unlike other narrative forms like movies or literature.

CB I find myself returning continually to works of yours, and it’s really interesting that the meaning and the reference points resonate with different pockets of my life. In both theater and film, when the set designer or the director prepares a mood board, there’s so often a Gregory Crewdson photo on it to say “We want this type of atmosphere.” Your images are so loaded with atmosphere that you can place your own reference points on top.

Do the concepts crystallize as images for you in an almost dreamlike moment? Where do they begin?

GC The process always begins with location. I drive around endlessly—I think being removed from the place, slightly detached, is important, and through that process of returning over and over to a place, an image will come to mind. And usually a quite simple one. I work early to write descriptions with Juliane [Hiam]. We write a one-page description of what’s happening in that picture. That becomes the guidepost for the process. Then I work very closely with my director of photography, Rick Sands, whom I’ve worked with for many years. Slowly but surely, through a long process of preproduction and then production and postproduction, we build up to the making of the picture.

CB I don’t know if this has ever happened to you, but being Australian, when I drive long distances there’s this strange vertiginous thing that happens: even though the steering wheel is here, it could be seven or eight meters away. I often get that vertiginous relationship with your work, too—I’m only arrested from completely falling in by the players, the personas who are in there. And it’s interesting, in this new body of work, the players seem dwarfed by the environment—they seem more inconsequential than they’ve ever been in your photographs. Why is that?

GC I really wanted the pictures to be first and foremost about place. These figures exist in a place that feels meaningful and specific and particular. The figures are centrally important, but it’s their scale in relationship to the larger world that really establishes those themes of dislocation and isolation: the figure gets lost in an expanse of the larger world, or figures are isolated from each other. That dynamic of social distance exists in all of the pictures.

CB In some of your earlier work, the figures somehow seem to be experiencing entrapment. But there’s a slightly different quality here: they’re at bus stops, they’re on doorsteps, they’re on stoops. It’s not being trapped, it’s a profound sense of waiting. Maybe I feel that acutely because of the state we’re finding ourselves in globally, but I found that really resonant in the images.

GC You named something I’m maybe not even conscious of but I think is absolutely correct—that moment of deliberation or waiting. I think that’s key to the work, that psychological paralysis of some sort. It wasn’t something I was really conscious of when I was making the pictures, but looking back at it now, I see a connection of sorts to a series of health issues I was facing. Onto all of my pictures, as all artists do, I project whatever fears or anxieties I’m having. It’s not conscious. Maybe part of what I was looking for in these figures is some version of myself: on some basic level I feel my pictures are revealing of my persona, my character, my biography.

CB There’s a strong relationship in your work between the inside and the outside. Is there a moment in your childhood or early on that you now look back on and think, “That was when I started to form a sense of myself in relation to my aesthetic, in relation to the outside world”?

GC Well, my father was a very powerful figure for me. He was a psychoanalyst, and when I was growing up, in Park Slope, Brooklyn, he had his office in the basement of our home, underneath the living room.

CB Oh, okay. You could hear the screams and the cries [laughs].

GC That was defining for me on many different levels. One of my earliest memories is of watching patients come up the street and go through the basement door, and then there’d be these sessions happening underneath our living room floor. We had to be very quiet during those times, and I remember I used to put my ear to the floorboards and try to overhear the sessions. I never was really able to do that, but that image of lying on the living room floor, trying to hear my father’s sessions with his patients, I think is defining for me: it’s trying to look in everyday life and search beneath the surface for a secret, something forbidden, you know, and trying to project an image in my head of what that might be. That runs through absolutely every one of my pictures, and I think I’ve carried it with me throughout my life—searching for meaning, searching for secrets, searching for mystery within everyday life from a certain distance. Like all photographers, I think, in one way or another I have a relationship to voyeurism. Photography gives you access to worlds that you wouldn’t ordinarily have. It gives you a license, an alibi, in a certain way.

CB It’s like a child’s knowledge that there’s a parallel reality that you can’t name, you don’t have the language to participate in, but you can start to visualize. And it makes me think of Alice Munro and Raymond Carver, those great North American storywriters, and how the work understands and harnesses the banality in which the child lives, but the child understands the cataclysmic, you know? The narratives that you capture and create—do they form between your present and that past? Do you feel there’s always an interplay between your memory and your present state?

GC Any readings I can make of the pictures usually happen retrospectively. I wasn’t even aware when I was making those pictures that maybe they had to do with either some sort of larger social issue or something about my past or present concerns. I had no idea. It’s only now, when I look back at them, that I’m like, Oh yeah, I never really noticed these themes emerging, you know? Because I’m entirely invested in the singular moment, and I look at it so myopically, like my obsession with getting every blade of grass correct. I don’t really have the luxury, in a way, of looking on a larger scale and figuring out for myself what the pictures are about. Even now, I could hazard a guess, but I don’t think I’d really be interested in the pictures if I knew precisely what they were about. Ultimately, the picture has to lead to the next picture. It’s always a search to try to find something that’s continually slightly outside your grasp.

CB There’s a writer, Michael Chekhov, who writes about acting and atmosphere, and in one story he describes a group of revelers coming into a haunted house, and either the atmosphere of the haunted house will gradually subdue the revelers or the revelers will change the atmosphere of the haunted house. There seems to be the same tension between your version of the revelers and the atmospheres that they find themselves in. And I’m wondering, sometimes you place professional actors inside your frames and other times the people are less well-known, almost found faces who are more incidental to the frame. The atmosphere has overwhelmed them. How do you talk to the people who populate your pictures? How do you lead them to understand the world they’re in and their part within it?

GC Well, in this series, all the figures are from the area. We sometimes cast them hours before the picture, or we’d find someone on the street who I thought would be perfect, or I noticed them while we were location scouting a week before. They’re primarily people who live in these areas. We give them a description, and by the time they come on set, I know exactly how they’re going to be positioned. I know exactly what they’re going to be wearing and their gesture, it’s all in my head. I know exactly what I want from the figures and it’s usually almost nothing in terms of a gesture. I want less. I want a moment that feels almost emptied out.

CB We were talking before about the notion of inside and outside. To go at it another way, I always think about the sublime when I look at your work, because there’s something about the towns always bordering the natural world. The relationship to nature that the towns have—towns are built to eradicate nature, but then we see nature’s coming back in. Particularly when the figures are either in the ground or in the water or by the water, they seem almost like fish out of water, returning to something but not knowing how to return. That relationship with nature is really powerful, and I wonder if it links for you to dormant, recessed, deep images from childhood.

GC I’m so glad you mentioned the theme of nature because it’s central to the work. These pictures were made during the height of summer, which is critical. The relationship between these industrial landscapes and impinging nature—there’s a certain underlying suggestion of anxiety in that. But in the end it’s about renewal, and I think that’s really key: nature persists. I do think that ultimately the photographs offer some sense of hope, or beauty, or even redemption.

Source: Vogue, Gagosian

77th Venice Film Festival: Additional Photos and Video Links
Posted on
Sep 15, 2020

77th Venice Film Festival: Additional Photos and Video Links

Hello, Blanchetters! Hope you’re all having great day/evening.

This is quite a lengthy post but we have added hundreds of photos on our gallery from Day 0-11 of 77th Venice Film Festival. We’ve also added social media posts with Cate and links from where you can watch her red carpet appearances, jury press conference, opening and closing ceremony. Enjoy!

 

Jury Press Conference starts at 1:13:00

 

Cate arrives at the red carpet at 30:40; opening ceremony starts at 58:20

 

Cate arrived at 45:00

 

Cate arrived at 46:00

 

Closing Ceremony started at 2:45

 

Main Competition Jury Press Conference started at 2:58:00

 

 

 

 

 

 

 

 

 

 

 

77th Venice Film Festival – Day 11 – Closing Ceremony Photos
Posted on
Sep 13, 2020

77th Venice Film Festival – Day 11 – Closing Ceremony Photos

Hi, Blanchetters!

This concludes the 2020 Venice Film Festival but we will be adding more pictures on the gallery. Meanwhile, here’s our first look on the closing ceremony.

77th Venice Film Festival – Closing Ceremony – Stage
77th Venice Film Festival – Closing Ceremony – Inside
77th Venice Film Festival – Closing Ceremony – Stage

Cate Blanchett supports students of SZFE (University of Theater and Film Arts) in Hungary + The Four Temperaments exhibition
Posted on
Sep 12, 2020

Cate Blanchett supports students of SZFE (University of Theater and Film Arts) in Hungary + The Four Temperaments exhibition

Hello, Blanchetters!

A little break from Venice Film Festival news (today is the last day of the festival). Cate has shown her support to the students of University of Theatre and Film Arts in Hungary. Meanwhile, The Four Temperaments has opened at Michael Fuchs Gallery, check a short clip from the exhibition below.

Cate Blanchett, Helen Mirren és Eddie Redmayne is kiáll az SZFE mellett

A brit kulturális élet meghatározói alakjai nyílt levélben biztosítják támogatásukról a Színház- és Filmm?vészeti Egyetem hallgatóit.

Úgy tudjuk, hamarosan a brit újságolvasók elé kerül az a levél, amelyet a brit kulturális- és közélet képvisel?i írtak alá a Színház- és Filmm?vészeti Egyetem „hiteles vezetése” melletti kiállásaként. A levélben sorra veszik a SZFE átalakításainak az állomásait, az új kuratórium kinevezését?l a szenátus lemondásáig, illetve az egyetem elfoglalásáig.

A levélben azt írják, az SZFE átalakítása része egy olyan kultúrharcnak, amelyen keresztül a kulturális szférát és az intézményeket megpróbálják megfosztani az autonómiájuktól.

A levél végén azt kérik a magyar kormánytól, hogy állítsa vissza az SZFE intellektuális és vezet?i autonómiáját, amely szerintük létfontosságú a m?vészi kreativitás, az akadémiai kutatás és oktatás tekintetében.

Az aláírók között van az SZFE mellett már egy fotóval is kiálló Salman Rushdie író, több színész Cate Blanchett-t?l kezdve Eddie Redmayne-en át Helen Mirrenig, Michael Chabon író és Pawel Pawlikowski rendez? is.

 

The Four Temperaments by Marco Brambilla

Source

Cate Blanchett in The Four Temperaments
Posted on
Sep 11, 2020

Cate Blanchett in The Four Temperaments

Hi, everyone!

We have a new art project with Cate which will open tomorrow, September 11th, 2020 (12p.m.-8p.m.) in Berlin at Michael Fuchs Galerie. Read the details below.

Coinciding with Berlin Art Week, a new sound and video installation by Marco Brambilla debuts tomorrow at Michael Fuchs Galerie, featuring a performance by Cate Blanchett. Entitled The Four Temperaments, the work follows Greek philosopher Galen’s classification of four personality dispositions—sanguine, choleric, phlegmatic, and melancholic.

In the film, Blanchett is seen playing four characters, each representing one of the temperaments. Denoted by color, we see the actor’s face appear on the screen bathed in yellow portraying sanguine, red for choleric, blue as melancholic, and green for phlegmatic. As Blanchett’s personalities are displayed in a series of synchronized images, she begins establishing each distinguished character.

After a few moments on the screen, the characters begin saying the words “I love you,” which swell into a chorus of the same phrase echoed on repeat. Blanchett’s personalities continue to speak the words tenderly, tearfully, thoughtfully, and ferociously, placing the viewer at the receiving end of a storm of emotions.

Once each has explored the phrase in their own way, in morphs to “I don’t love you.” Mixed like a multilayered musical score, the ensemble of voices continues. Confronted with conflicting elements of gentleness and brutality, intimacy and distance, viewers are left in a pensive silence as the last whispering frame disappears.

On view through November 14, the work is also available for free download via the Acute Art augmented reality app.

 

Source: Whitewall.Art