Cate Blanchett to lead charity play reading in Middle Temple Hall on 24 March
Posted on
Mar 11, 2019

Cate Blanchett to lead charity play reading in Middle Temple Hall on 24 March

Hey everyone!

New event in London!
It has been announced that Cate Blanchett is set to lead a play reading in Middle Temple Hall for The Kalisher Trust’s annual fundraising.
The play selected for this year event is ‘Land of the Free’ by award winning playwright Diane Samuels and will be performed at Middle Temple Hall on Sunday 24th March 2019. The play reading will run for a max of 90 minutes straight through and will be directed by Joe Harmston. Full casting is to be announced on The Kalister Trust website soon.

Read more information below and if you have the chance to go, don’t miss it!

Land of the Free
DATE: sunday, 24 March 2019
TIME: 6:00 pm
LOCATION: Middle Temple Hall
TICKETS PRICES: £10 – £60
Tickets Here

Official Website
The Kalisher Trust is a legal charity which helps young people from diverse backgrounds to develop the power of advocacy and supports those who aspire to become criminal barristers.

Land of the Free interrogates the conflict between personal and political love as seen in the context of political discourse in the United States from the hysteria of the McCarthy era to the year of the Twin Towers attack. Inspired by real figures and their extraordinary experiences at the hands of the FBI as machine of the American state, her play explores the true price of freedom and the cost of devoting one’s life to fighting for a more just world.

Learn More >>

LAND OF THE FREE
1969, the shores of Lake Champlain, upstate New York. Rosa Gold, wife of radical lawyer Joe Gold, and mother of five, sees a naked woman emerge from the water in the moonlight. Uncompromising and determined, Heidi lives the life Rosa, herself a communist, failed to sustain. Rosa had been arrested for spying for the Soviets in 1949. Joe had been her defence lawyer – he rescued her from the death penalty, then she married him. Still haunting her is the mysterious figure of Bud, FBI agent, defender of the Land of the Brave and the Free.

LAND OF THE FREE explores what it is to be a revolutionary in the USA in the late twentieth century, the nature of personal and political love, marriage for life, betrayal and the struggle to make a fairer world.

Source

Special thanks to Catepedia from CBF Chat for sharing this news!

Updates | Documentary Now! episode “Waiting for the Artist” featuring Cate Blanchett
Posted on
Mar 10, 2019

Updates | Documentary Now! episode “Waiting for the Artist” featuring Cate Blanchett

Hello everyone!

Have you watched Documentary Now! episode “Waiting for the Artist”?
We have and we think Cate is amazing as perfomance artist Izabella Barta! The episode is hilarious and memorable!
If you haven’t watched it yet, make sure you do!
Here are our updates on this awesome project. Enjoy!


‘Documentary Now!’: The Incredible Cate Blanchett Episode That Had to Be Made in Four Days

There are few TV shows with as much obsessive attention to detail as “Documentary Now!” That’s probably why it came as no surprise to series co-creators Alex Buono and Rhys Thomas that one shot of Cate Blanchett riding a mini tricycle in a massive Hungarian courtyard ended up taking a big chunk of an entire day.

“There was one moment in it where she’s riding on a tricycle in the square. And that’s on screen for like five seconds. And that probably cost us about five hours to get that shot. When you’re shooting for four days total, that was an expensive shot to get. But it’s worth it because they’re just going to take place as her somewhere,” Buono told IndieWire.

It’s the kind of creative choice that “Documentary Now!” has the freedom to make, given its bizarre mission statement. Over 17 episodes to date, the IFC series has taken some of the most venerated and iconic documentary films and flipped them on their head. But in the process of crafting these comedic versions, they still have to follow some of the same filmmaking tenets that govern the works they’re parodying.

Read More:‘Documentary Now!’ Trailer: That’s Not Actually Marina Abramovic, That’s Cate Blanchett
“You’re making a documentary. So the ability even just to put it up for a few frames, it has an immense value to opening up the scale,” Thomas said. “Sometimes the crew’s like, ‘Do you really need that thing?’ I feel like we always push to do more of that.”

The series, now in its third season, has tackled plenty of the biggest documentary titles of recent years. The show’s most recent episodes have tackled parody versions of “Wild Wild Country” and the classic D.A. Pennebaker look behind the recording of the Broadway cast album for the Steven Sondheim musical “Company.”

This week’s episode has a slightly more narrow focus — the 2012 Matthew Akers film “Marina Abramovi?: The Artist Is Present” — but it enlisted the services of Blanchett, arguably the show’s most famous guest cast member to date. Luckily for the show, she came in with the same level of preparation that goes into making these episodes feel so close to the spirits of their predecessors. Playing this exaggerated version of notorious performance artist Abramovi? (the “Documentary Now!” version is named Izabella Barta), Blanchett plunged into all the wild riffs that the script called for.

“The way she threw herself into it was unforeseen. We knew she’d be good, but you don’t know until they walk up on set whether that they understanding the tone and the level of commitment, you know?” Thomas said. “But once she was on board, she was doing all this research. She had teeth made to shift her jawline. She had 15 wigs or something that she worked on with her longtime hair or makeup people. Her commitment to the detais matched our detail-oriented thinking.”

Filming all of Blanchett’s scenes in such a short time period meant not just making sure that all the logistical details were in place before production, but that the team could construct an entire fictional life’s worth of archival and artistic material in a single day.

“We basically created the body of work of her entire career. We had one day to do that because we needed to get all that footage and put together to projections and photos and stuff for the actual exhibit that we did at the end. We prepped like nuts. We were in Budapest about two weeks before we did it. Just seven days of 20-something-hour days, really trying to get it dialed in.”

One setpiece in particular gave the team an unexpected hurdle. One of the fake performance art pieces called for a prop toilet stall. In venue after venue, from the lodgings that inspired “The Grand Budapest Hotel” to one of the city’s famous train stations, the people in charge of the venues repeatedly balked at having something bathroom-related in a public space.

“Cate Blanchett is going to be in lingerie and she’s going to be lapping up milk and there’s going to be a cat there. She’s going to be tied to a wall,” Buono said, describing the pitch at various locations. “Then we said, ‘OK, we’re going to put a toilet stall right here.’ The Hungarians were just like, ‘Wait a minute, what do you mean a toilet stall? This is offensive that you would even suggest that.’ They wouldn’t budge.”

Eventually, they obtained clearance to film the scene in the Budapest Opera House. But that necessity of being flexible in the face of absurdity is a reflection of the same things the show asks of its performers, too.

“You’re moving so fast that unlike other shows, you don’t have trailers. Because the talent is never gonna go back to the trailers. It’s just, ‘No, no, no, stay with us. You’re gonna be shooting again in five minutes’” Buono said.

It all goes back to the insane weekly time crunch of another show that gave so many of the creative team their start.

“So many of us that make the show came from ‘Saturday Night Live’ and had been there for a very long time. I think a lot of our crew would rather not be that way, but we all respond really well to quick [turnarounds],” Buono said.

“It’s kind of exciting,” Thomas added. “That’s always the challenge of, ‘Well, how are we going to do it?’”

Source

‘We Hope She Likes It’: Fred Armisen Explains How He and Cate Blanchett Parodied Marina Abramovic and Ulay

This week, the world was finally treated to “Waiting for the Artist,” a pitch-perfect parody of the 2012 documentary Marina Abramovic: The Artist Is Present.

The mockumentary, which is part of the third season of Documentary Now!, stars two-time Academy Award winner Cate Blanchett as Izabella Barta (a thinly veiled Abramovic) and Fred Armisen as Dimo (a fictionalized Ulay, the artist who collaborated with Abramovic in in the 1970s and ’80s).

Throughout the episode, we follow Barta as she struggles to come up with a new work for an upcoming show in Budapest. “The question on everyone’s mind that they’re not saying is, ‘does she have anything new to say?’” Dimo tells the filmmaker. “I think maybe not; her best work is in the past.”

The show is full of small delights for art-world insiders. There’s a Klaus Biesenbach-type curator, an appearance by the real-life Mr. Brainwash, and even a sequence in which Blanchett (as Barta) trains young performance artists, which is presumably inspired by Abramovic’s plans to open the Marina Abramovic Institute for the Preservation of Performance Art.

There is also a clever bit of gender politics. In the show, Barta labors to advance her career, while Dimo, a lazy unoriginal, and conceited artist, finds success easily. “I put no thought and no time into it,” he says at one point about one of his exhibitions. “Opening night, I went to the store and bought a bunch of crap,” including a fork and a toothbrush that he displays to acclaim.

Barta, on the other hand, is best known for her piece Bucket Series, in which the audience is invited to litter the gallery floor with all sorts of objects before the artist rushes in with bucket over her head, racing to answer a phone ringing in the center of the room.

In an interview with artnet News, Armisen was quick to clarify that he has nothing against Ulay. “In any narrative piece, you need a sort of villain, for lack of a better word,” he says. The choice to make Dimo lazy was plot driven, providing a foil to Barta’s unfailing dedication to her work.

One commentator in the show sums up their relationship thusly: “you had a woman who risked everything for her art, and a man who risked nothing.” (In real life, Abramovic and Ulay have had their ups and downs, but have set aside their differences in recent years, even making plans to write a joint memoir.)

We talked with Armisen about the episode, the challenges of parodying art, and waiting in line at art museums. This conversation has been edited and condensed for clarity.

What was it like filming this episode with Cate Blanchett?
We shot it in Budapest, and there was a video art piece at the museum with Cate Blanchett in it. A total, total coincidence! [Julian Rosefeldt’s Manifesto, in which Blanchett plays 13 different roles, was at the National Gallery from May 30–August 12, 2018.]

Amazing! That’s a great piece. And it really shows what a chameleon Cate is.
We weren’t prepared for how much work she was going to put into it! She showed up with her own wardrobe, with outfits that were like Marina’s. Cate even had some sort of dental things to make her look more like Marina. Sometimes I like to fancy myself the person who over-prepares and really gets into it—she was 10 times that. She could have done the whole episode on her own. The accent, the posture, oh man, it was incredible.

Even her skin had the right kind of… sheen.
Yeah! Whatever that quality is, she had it.

Did you see the MoMA show?
No! There was a line! I saw the movie and I love pieces like that, but I can never wait in line to see art. It’s not that I’m a snob, it’s that I can’t enjoy it if i’ve been waiting. It’s too much for me. I like a nice empty gallery, an empty performance.

Have you spoken to Marina about the episode at all?
No! I wish I did. I’ve never met her. Let her know that we are huge fans and we hope she likes it.

Why is she a good parody subject?
The boldness of her presence—and I know her documentary is called The Artist Is Present—there is something about that, the fact that it moved so many people. That, I think, is moving. If a band has a hit record, something worked, something resonated. I consider her to be somebody who had a hit piece, a hit art performance. It’s a rare thing to hit the mainstream. It happens sometimes 100 years after you’re dead. The fact that she did that in present day is really rare. How great is that? I really respect her art.

What’s your favorite part of the episode?
I like the footage of Cate putting the pail over her head with the marbles on the floor. It just made me laugh. It’s a silly part to it—I underestimate silliness.

I loved the Mr. Brainwash cameo. Any chance you guys would do a Exit Through the Gift Shop parody?
Maybe. It’s just too hard to really nail. We kind of did one on Portlandia, where one of the characters thought he was Banksy. He saw some graffiti and he was like, “oh that looks like my handwriting. I wonder if I’m Banksy?” Whenever you depict art, it’s very difficult because it can come off as just lazy or easy.

Source



BTS photos from Documentary Now Instagram

See visual guide of Cate’s perfomances on Documentary Now >>here

New video and still of Documentary Now! episode with Cate Blanchett
Posted on
Mar 6, 2019

New video and still of Documentary Now! episode with Cate Blanchett

Hey everyone!

Tonight, the Documentary Now! episode “Waiting for the artist” starring Cate Blanchett and Fred Armisen will be airing on IFC Network (11 pm). After tonight, the episode will air again Saturday 3:30 am and then 6am (Thanks to Bello from CBF Chat for this info). For more info check IFC site
While we wait for tonight’s show, let’s enjoy a new video and still of Cate as Izabela Barta!


Posted on
Mar 5, 2019

National Theatre Up Next Gala – First Look

Hey Blanchetters!

Cate attended the Up Next Gala fundraising event tonight. She was among the guests attending The NationalTheatre’s Gala tonight, hosted by Rufus Norris. She took a risk with Gucci but still fabulous! Here are the first photos. Stay tuned for more soon!

Cate Blanchett and Fred Armisen in new footage of Documentary Now!
Posted on
Mar 4, 2019

Cate Blanchett and Fred Armisen in new footage of Documentary Now!

Hey everyone!

New footage of Cate Blanchett as Izabella Barta has been released today and it’s absolutely funny and impressive the Marina Abramovic impression made by Cate. Take a look the new content below and don’t miss Documentary Now! episode Waiting for the Artist this Wednesday, March 06, 11Pm on IFC network!



Source: https://www.youtube.com/watch?v=FdSxP4i9fus

Watch Cate Blanchett Play the Ultimate Tortured Artist in Documentary Now!

Cate Blanchett playing a visionary, eccentric artist struggling to find the right way to celebrate her art and grapple with a terrible old boyfriend during her career retrospective? Yeah, sign us up.

On Wednesday, IFC will debut “Waiting for the Artist,” a Documentary Now! episode based on the performance artist documentary Marina Abramovi´c: The Artist Is Present. (For the uninitiated, Fred Armisen, Bill Hader, Seth Meyers, and Rhys Thomas’s comedy series enlists actors and comedians to parody famous documentaries, including Original Cast Album: Company, Nanook of the North, The Thin Blue Line, and Grey Gardens, with extreme precision.) In “Waiting for the Artist,” Blanchett plays Izabella Barta, whose lover Dimo (Armisen) is an infamous provocateur. Dimo spent most of their relationship stealing Izabella’s ideas and cheating on her—so naturally, as she anticipates reuniting with him at her retrospective, she’s feeling the pressure.
As seen in this exclusive clip, Blanchett plays the tortured artist with exacting wit: an exhausted removal of her bright red glasses here, a condescending rub of the eyelids there. The idea she’s trying to sell is a bit unconventional: at the retrospective, she wants attendees to walk from room to room admiring her past art. In the end, they will find her in the final room—dousing the place in gasoline and setting it on fire before running out of the burning museum.
Sure, the idea might raise a few concerns—but as Izabella insists, “Art is not supposed to be safe! It’s supposed to be radical!”
Unfortunately, the city won’t see things that way—and so Izabella is hurtled back to square one. The tortured wail she then releases from behind a locked door—further evidence of Blanchett’s knack for understated over-the-top comedy—pretty much says it all.

Source

Cate Blanchett Film Screenings at Brazilian Museum MIS in São Paulo
Posted on
Mar 2, 2019

Cate Blanchett Film Screenings at Brazilian Museum MIS in São Paulo

Hey Blanchetters!

Good news for Brazilian fans!

In celebration of International Women’s Day and the upcoming 50th birthday of Cate, the MIS SP/Museu da Imagem e do Som (Museum of Image and Sound) holds a Cate Blanchett Film Exhibition (Mostra Cate Blanchett) running from Março/March 5 – 10 in São Paulo (Brasil). If you have the chance to go, don’t miss this opportunity! The event is free! See details below:

Program

Local/Place: Auditório MIS SP
Ingressos/Tickets: Gratuito | Retirada 1h antes de cada sessão / Free | free tickets available 1h before each screening.

05/03/2019

16h | Oscar e Lucinda (Oscar and Lucinda) | Dir. Gillian Armstrong, Austrália/EUA, 1997, 132 min, 12 anos, digital
18h | Manifesto | Dir. Julian Rosefeldt, Alemanha, 2017, 98 min, 12 anos, digital

06/03/2019

18h | Paraíso (Heaven) | Dir. Tom Tykwer, EUA/Alemanha/França/Reino Unido/Itália, 2002, 97 min, 18 anos, digital
20h | Carol | Dir. Todd Haynes, EUA/Reino Unido, 2015, 118 min, 14 anos, digital

07/03/2019

18h | Elizabeth | Dir. Shekhar Kapur, Reino Unido, 1998, 124 min, 16 anos, digital
20h30 | Elizabeth – A era de ouro (Elizabeth: The Golden Age) | Dir. Shekhar Kapur, 2007, Reino Unido, 115 min, 14 anos, digital

08/03/2019

18h | Não estou lá (I’m Not There) | Dir. Todd Haynes, Alemanha/EUA, 2008, 129 min, 12 anos, digital
20h30 | Blue Jasmine | Dir. Woody Allen, EUA, 2013, 98 min, 12 anos, digital

09/03/2019

16h | O custo da coragem (Veronica Guerin) | Dir. Joel Schumacher, EUA/Irlanda, 2003, 98 min, 14 anos, digital
18h | Babel | Dir. Alejandro González Iñárritu, EUA, 2006, 143 min, 16 anos, digital
20h30 | Manifesto | Dir. Julian Rosefeldt, Alemanha, 2017, 98 min, 12 anos, digital

10/03/2019

16h | Notas sobre um escândalo (Notes on a Scandal) | Dir. Richard Eyre, Reino Unido, 2006, 92 min, 14 anos, digital
18h | Carol | Dir. Todd Haynes, EUA/Reino Unido, 2015, 118 min, 14 anos, digital

Mais informações/More info >> MIS Official Site

New trailer for Documentary Now! episode starring Cate Blanchett
Posted on
Mar 1, 2019

New trailer for Documentary Now! episode starring Cate Blanchett

Hello everyone!

IFC network released a new trailer for Documentary Now! episode “Waiting for the artist” starring Cate Blanchett and Fred Armisen.
Waiting for the Artist” is a parody of “Marina Abramovic: The Artist Is Present” written by Seth Meyers and has Cate playing an artist called Izabella Barta. According to a recent Vox article:

In Documentary Now!’s version, which airs on March 6, Cate Blanchett plays an Abramovic-like character named Izabella Barta, and the result is as close to straight-up satire as the show ever gets, probably because the contemporary art world presents plenty to satirize. Instead of sticking to the confines of the original film, Documentary Now! constructs a winking acknowledgment of the complicated gender roles in the art world, with Armisen playing Barta’s “bad boy” ex-partner, who gets his due. It’s a thread that’s present in the world of the film, but it took “Waiting for the Artist” to pull it out. […]

Episode is set to air next week, March 06, Wed 11 pm on IFC. Stay tuned!!


New still and date for Documentary Now! episode starring Cate Blanchett
Posted on
Feb 26, 2019

New still and date for Documentary Now! episode starring Cate Blanchett

Hi everyone!

Time for some updates about Documentary Now! episode “Waiting for the Artist” featuring Cate Blanchett as performance artist Izabella Barta. A new still and a possible new date for the show have been released.
While the official IFC Network site still has the episode scheduled for March 06, the IMBD page for the show has been updated and the release date is set to March 13. As we are still trying to figure out the air date. Let’s enjoy the new still released and we also replaced another one in the gallery with a better version. Stay tuned!

New Release Date??

Cate Blanchett covers Interview Magazine March 2019 issue
Posted on
Feb 26, 2019

Cate Blanchett covers Interview Magazine March 2019 issue

Hey Blanchetters!

The first magazine cover and photoshoot of 2019 have arrived! Cate looks amazing!
Cate Blanchett is on the cover of the new issue of Interview Magazine and with a brand new interview by fellow actress Julia Roberts. Take a look!

The Inimitable Cate Blanchett Asks Julia Roberts the Timeless Question: Is Enough Enough?

Cate Blanchett does not play nice. Her performances almost always hinge on the unhinged. Although she is nothing if not regal—audiences will forever remember her as Queen Elizabeth I, a part that earned her the first of her seven Oscar nominations—Blanchett has never backed away from malice and mania, or what she describes as the “King Lear end of the spectrum.” The 49-year-old Australian actress has stalked down the darker corridors of human complexity by inhabiting a sexually repressed housewife in Carol, a shrill and martini-drowned socialite in Blue Jasmine, and, most recently, an agoraphobic architect in Richard Linklater’s adaptation of the Maria Semple novel Where’d You Go, Bernadette, out later this year. And yet, from a hotel room near London’s National Theatre, where she has been taking the stage in a production of When We Have Sufficiently Tortured Each Other, Blanchett wonders whether enough is enough. From across the ocean, at home in Los Angeles, Julia Roberts helps her grapple with the answer.

———

JULIA ROBERTS: Hello, Queen Cate.

CATE BLANCHETT: Hello, movie star. You want to know something? We just had your film Ben Is Back on, I kid you not. It made me cry after five minutes. And then, being totally brain-dead, I suddenly thought, “What day is it?” An alarm went off in my head, and I went, “I’ve got to go talk to that actress lady!”

ROBERTS: You want to talk about being brain-dead? I’ve had the craziest day. I woke up sick, and I was at Urgent Care for an hour and a half with one of my son’s friends who cut his foot when he was surfing. He got eight stitches.

BLANCHETT: You are a good friend. I’ve just had a half-bottle of red after a rather challenging day of rehearsal for a play I’m doing at the National Theatre [When We Have Sufficiently Tortured Each Other]. As you get older, acting just gets more and more humiliating. When I was younger, I would wonder why the older actors I admired kept talking about quitting. Now I realize it’s because they want to maintain a connection to the last shreds of their sanity. As I get older, I ask myself if I still want to submit myself to the shamanistic end of this profession and go completely into madness. It’s the King Lear end of the spectrum of what we do, right? So I’m on the proverbial couch thinking, “Do I want to go that direction, or do I actually want to live a life?”

ROBERTS: The great thing about doing theater is that there’s never really a “This is it” moment. There’s that alchemy every night.

BLANCHETT: And I certainly love that alchemy as an audience member.

ROBERTS: What are you up to right now?

BLANCHETT: At the moment I’m thinking, “Where do the radical ideas actually exist?” I gravitate toward museums and galleries but often they tend to speak predominantly to audiences that have time to go into that quietude. There are such large sections of our communities that don’t have the time because they’re working two or three jobs. But what I love about those things is that they get to deal with abstract ideas. We get so used to these narrative structures, but there are certain ideas that don’t fit into that slot, so I’m finding my work with visual artists or choreographers more rewarding at the moment than the cookie-cutter projects.

ROBERTS: For someone like you, it probably has to do with the fact that you have accomplished so many things on such an incredibly creative level.

BLANCHETT: Maybe it’s just time to stop.

ROBERTS: Stop saying that.

BLANCHETT: No, but it really is. I have to go onstage in my underwear yet again, and I’m thinking, “Why? Why don’t I just feed the chickens and read Proust?” It’s on my bookshelf staring at me right now. All these volumes I have purchased and not yet read. Why have I not picked those up? Why am I still bothering to make movies? Why do you make movies?

ROBERTS: They call to me.

BLANCHETT: Is it a response to someone else’s idea of who you might be?

ROBERTS: I think the first time that Danny [Moder, Roberts’s husband] and I worked together after we were married was the first time that I suddenly thought, “Oh my gosh, what I do for a living is so silly. I’m calling myself a different name. I’m wearing somebody else’s clothes. And I’m basically playing pretend on a huge scale.” I had never been so self-conscious until I was suddenly doing it in front of my husband, thinking, “What must he think?”

BLANCHETT: When you’re so inside a richly lived life, you suddenly think, “Do I need to pretend to live inside these other experiences?” When you have a richly lived experience, you can empathetically extrapolate out from there. That’s what women like Rachel Cusk and Maggie Nelson do in their writing. And that’s where I found Bernadette. I recognized something very deeply about a creative life that shuts down.

ROBERTS: And yet, you want to stay home and feed the chickens.

BLANCHETT: I’m quite happy sitting here looking at my unread Proust, talking to you and feeding my pigs. I was a vegetarian for years when my husband wanted to get pigs. I said, “I’ll get pigs as long as we tell the kids that the sausages and bacon they eat are from our pigs.” We called them Benson and Hedges.

ROBERTS: You can’t name something that you’re going to kill. That’s the number-one rule of being a farmer.

BLANCHETT: [Laughs.]

ROBERTS: And now they’re in the freezer.

BLANCHETT: It was this Machiavellian vegetarian plan that I had for my kids, that they would form this deep connection with the piglets, which were very cute and smelled kind of like smelly people. And then I would tell them that if we eat sausages, they’re coming from these pigs. The kids were just totally fine with that and I was horrified. My plan to turn my family vegetarian was a monumental failure.

ROBERTS: What type of roles do you automatically turn down? Is there such a thing?

BLANCHETT: When I feel like it’s a pre-masticated version of something I’ve already done? Like a margarine commercial, where the agency thinks, “This worked before, so, hey, let’s do it again!” After I played Queen Elizabeth, I got offered myriad roles that were basically the same story with a different costume. There was no potential for discovering anything new. There’s no risk.

ROBERTS: In Where’d You Go, Bernadette, you play the spouse of Billy Crudup, one of my favorite actors and someone who played my spouse in a film [Eat Pray Love].

BLANCHETT: We worked together years ago on a film in France called Charlotte Gray. He’s so open and egoless. As we all know, that is rare in a male actor. How many times have you and I said, “That’s a great role—I’m not the lead, but the male lead is a great actor and I’d really love to be a part of this project”? Invert that, and you don’t have a lot of men who would come to the party in the same way for a woman. Billy is one of those guys who says yes. It’s rare that you get an actor of his caliber who is prepared to play the so-called “husband role.” The best thing for me about this post–[Harvey] Weinstein era is the opportunity to learn from it. We can change the structure, to have horizontal conversations rather than hierarchical ones. That’s a matriarchy. I think the opportunity here is to reinvent the power structure so that it is genuinely more inclusive. It’s not about competition—it’s about collaboration.

ROBERTS: You’re incredible. Honestly, I could sit and just listen to you talk about things for hours.

BLANCHETT: I wish I were interviewing you. It feels a little like a veil has been lifted, and we’re talking to one another in a muscular way about stuff that we’ve had to deal with. We can all pretend that we live in a community, but we actually live in a capitalist environment and our worth is being measured in dollars. It’s a really boring conversation to have because when you talk about the creative industry, it’s always seen as, “Well, you’re famous. You’ve got the opportunity to do this, and now you’re being greedy to talk about money.” But you’re not. You’re talking about really practical things such as residuals, producing credits, insurance. In the end, you’re actually talking about status. And status opens doors, whether you’re in the banking sector or the film industry or whatever. They’re not attractive conversations. They’re not conversations that women are traditionally meant to have because we’re expected to be more demure, but there are certainly robust “masculine” compensations that are had by our male counterparts, so why shouldn’t we be a part of that dialogue?

ROBERTS: Do you have a nickname?

BLANCHETT: Maybe it should be Blabbermouth? Sometimes my husband calls me Poss, like possum. Do you have one?

ROBERTS: When my kids’ friends were little, they couldn’t say Julia, because it’s a lot of syllables, so they’d call me Juju. They still call me that.

BLANCHETT: That is really sweet. You are such a mensch.

ROBERTS: Juju and Poss, a love story.

———


Source

Documentary Now! episode starring Cate Blanchett: New content
Posted on
Feb 21, 2019

Documentary Now! episode starring Cate Blanchett: New content

Hello everyone!

We have a new still and a couple of details about the Documentary Now episode starring Cate Blanchett entitled “Waiting for the artist”. Enjoy! The episode “Waiting for the Artist,” is set to air on IFC, March 6.



Source



[…] In the case of “Waiting for the Artist,” a riff on the Marina Abramovi? documentary “The Artist Is Present,” the process involved coming up with several decades’ worth of performance-art pieces, replete with photographs and performance videos shot on period equipment. Ms. Blanchett went through 13 wigs in four days.

“She provided some of her own costumes,” says Mr. Thomas. “She really met us on the plane of obsessive detail.”
[..]

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MEYERS: Yeah! They said, “Who is your dream for this?” and that was the answer, and they came back and said she was in (laughs). That was surreal. But because we all of a sudden weren’t just picking things that we thought Bill and Fred could be good at, we could just take any documentary and just cast based on what fit best. Obviously no one has more range than Bill and Fred, but there are still limits to that range and certainly Cate Blanchett’s a good example of how it would not have been the same if it was still a Bill and Fred only show.

It’s worked out. I miss Bill and I miss Fred in half the episodes, but it’s great to see people like Cate Blanchett or Michael Keaton in this. What’s the process of choosing the documentaries like? Does that happen before you cast the people I guess?

MEYERS: Yeah I mean Far Side was a holdover from Season 2 as far as an idea, but then everything else was new business. And then it was just trying to find things that felt unique versus previous seasons, so we’d never done a sports documentary which led to bowling, and we felt the art world would be a fun place to look which led to Waiting for the Artist.

I wanted to get into a couple of the episodes specifically. Without spoiling the ending, I’ll just say that Waiting for the Artist is very carefully constructed and the punchline is amazing. How did you hit upon the ending, and how was that one put together?

MEYERS: I really like The Artist Is Present, but there’s not really a narrative thrust other than just, “Here’s her career. Here’s the show.” And in the early drafts of it we felt it was lacking a narrative arc, because the reality is a lot of Abramovic’s art is pretty hilarious to begin with, so to do different versions of it felt a little one for one (laughs). We started watching other art documentaries and building out the character of Fred and sort of making that a character that, while you were paying attention to one thing, we managed to lay in that there was another thing happening, which is it wasn’t just a retrospective but it was also sort of a story about how even women who are incredible artists and you think have power, there’s always gonna be some guy who’s fucking it up for them (laughs). And again it was a perfect role for Fred to bring alive.

I’m fascinated by selling Cate Blanchett on this. I know she’s done comedy before, but this is such a silly and funny idea. Were there any discussions beforehand or anything?

MEYERS: I only heard she said yes (laughs). Really, three days after I said her name she said she was in. I had never met her and we sat down in New York for coffee one morning. I had heard she wanted to have coffee and so I went into it prepared to get her notes and hear what she wanted to do with it, but the only way to describe it was totally game. She had a take on how to play it, but she didn’t have any issues or suggestions for the script. Obviously if you watch it it’s like your dream for being a writer on it or for the directors of it, she just jumped in with both feet. It’s just a joy to watch. You think that there has to be this really protracted negotiation to get somebody like Cate Blanchett, but one of the things she told me was, “No one really asks me to do stuff like this.” And you realize sometimes you’ve just gotta take a risk and realize that somebody like Cate Blanchett’s just waiting for the day to go to Budapest and shoot for five days to make a fake documentary (laughs).

I mean she seemed to have a blast making Thor: Ragnarok. I think it’s funny that a lot of people think actors of her caliber aren’t interested in silly comedy, but clearly this shows her range.

MEYERS: It’s really true. There is something similar with the way she performs in Thor, which is, “Oh this is somebody who really likes to have fun.” Sometimes people who are as great an actor as she is, people just assume, “Oh what she does must be so arduous,” but the reality is to get a part like this or to get a part in Thor must just be such a relief to her to just let loose and have a great time.
[…]

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[…]the episode from this season that I will re-watch, and that deepened my engagement with the documentary form, is “Waiting for the Artist,” in which Cate Blanchett guest-stars as the performance artist Izabella Barta. Blanchett perfectly captures an essence of Marina Abramovic, who allowed a crew to follow her as she staged her MoMA retrospective for the 2012 film The Artist Is Present. The self-aggrandizing mission statements, the anxiety meltdowns as the show nears, the abstruse declarations about the purpose of performance art—Blanchett mimics all of these. Famous Barta pieces include “Gender Roles on Spin Cycle,” in which she sits inside an industrial dryer; “Domesticated,” in which she drinks from a bowl of milk on the floor while she screams “I am human!” over and over to a cat; and “Ein Tag, Ein Frankfurter,” in which she eats only one hot dog, very slowly, every day for a year as a way to process a breakup.
These pieces seem absurd, but no more than many that Abramovic really staged throughout her career. Consider “Carrying the Skeleton,” in which she hoisted a skeleton on her back and walked around with it as a way to show that she was confronting grief. In her real MoMA show, Abramovic sat in a gallery of the museum all day, allowing members of the public to sit across from her and experience her presence. Many cried, or said they had spiritual revelations. In Documentary Now!, Blanchett stages the same sort of experience, except it takes place in a sculpture of a public bathroom, in which patrons pass toilet paper to her underneath a stall (many cry, many have spiritual revelations). It is not that the episode doesn’t take performance art seriously; it simply suggests that perhaps Abramovic’s work has always been in dialogue with comedy.?

In real life, Abramovic often worked with her longtime lover, Ulay. When they broke up, they made the separation official by staging a grand performance of meeting each other to say goodbye in the middle of the Great Wall of China. In “Waiting for the Artist,” Armisen plays the Ulay character, here named Dimo, a provocateur who is constantly trying to take credit for Izabella’s work and admits that he was cheating on her while she was ascetically devoted to her art. Abramovic had an emotional reunion with Ulay in her documentary, when he sat across from her and grabbed her hand in the museum. The parody offers no such closure. Instead, it allows Barta to humiliate Dimo in such a public and emasculating way (which I won’t spoil here) that the episode almost doubles as a radical work of feminist art.[…]

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[…] Take the season’s biggest swing in terms of guest star casting: Two-time Oscar-winner Cate Blanchett, playing a variant of performance artist Marina Abramovi? in “Waiting For The Artist.” Armisen and Hader have both demonstrated that they can play women at a level that defies easy labels like “parody,” but it’d still be hard to swallow a tale of female artistic empowerment like this—especially from a creative team so overwhelmingly white and male—without a woman of commanding skill in the leading role. And because we haven’t seen Blanchett play any other characters on the show, it short-circuits the little voice in the back of your head that whispers “That’s such a Hader part” every time he shows up on the screen. Instead, she simply is Abramovi?—or rather, Izabella Barta, creator of such modern-art masterpieces as the blatantly self-harming “Bucket” series. (It doesn’t hurt that Blanchett is unsurprisingly gifted at feeding the silliness of her characters’ artistic ideas without ever sacrificing her dignity and humanity in the process.) Buono and Thomas frequently discuss pulling their writers back from the urge to make the show a cavalcade of jokes, ruining the reality of its carefully crafted universes. Casting an actress of Blanchett’s skill in the part achieves a similar effect: By forcibly giving up the comfort of Hader’s comic skills, the show’s third season of fake documentaries feels “realer” than anything that’s come before.
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Some Reviews

The New Season of Documentary Now! Is So Canny, You Might Forget It’s Satire

*Documentary Now! Is So Much More Than Parody

*‘Documentary Now!’ Season 3 Review: Musicals, Cults, and Bowling Make for a Hilarious, Diverse Run

*With Season 3, ‘Documentary Now’ Continues to be the Best (and Most Sorely Overlooked) Television Comedy for Cinephiles
Huge thanks to the fans from CBF Chat for sharing these infos with us!!!

*IFC’s Basically Perfect ‘Documentary Now!’ Is Back For Season 3, Thank God

*Documentary Now! An ode to the funniest spoof on television

*TV Review: Documentary Now! Season 3 Presents Another Festival of Uproarious Mockumentaries

*How Documentary Now! Spoofs Male Genius