Category: Articles

“The House with a Clock in Its Walls” – Interviews + Still

“The House with a Clock in Its Walls” – Interviews + Still

Hello everyone!

“The House with a Clock in Its Walls” is being released around the world so we are getting some interviews from some places around the globe. We have added a new still and two interviews; one from El Pais Uruguay and The New Zealand Herald. Enjoy!

Click on the image to download the HQ version available in the gallery

Click on the image to download the HQ version available in the gallery

Click on the image to download the HQ version available in the gallery

W Magazine October 2018 – The Female Gaze: Guest Editor Cate Blanchett

W Magazine October 2018 – The Female Gaze: Guest Editor Cate Blanchett

Hello Bees and Blanchetters! Today is Christmas!
The long awaited special issue of W Magazine is here! The site released sneak peak of the new issue of the magazine, with four covers, nine, and I repeat, nine photoshoots featuring Cate, plus two shorts films, a video interview and a converation with Miuccia Prada. Our lovely lady is coming to be a guest editor after her first foray 18 years ago for Harper’s Bazaar Australia. Read everything below and enjoy!

Cate Blanchett, Interpreted: 9 Female Artists and Photographers Expose the Actress’s Power as a Muse in a Special Issue of W Magazine

At the Cannes Film Festival this year, 82 women, all of whom have starred in, directed, written, or otherwise worked on movies, including many that have been shown over the festival’s 72-year history, were celebrated together on the long red carpet that leads to the Grand Théâtre Lumière. It was a beautiful and profound statement that spoke directly to the #MeToo movement. Instead of commiserating about injustice, these women, from different backgrounds and countries, were proudly displaying their talent, range, and creativity. It was an active gesture of solidarity. “We need to remake the industry in a new and fresh way,” said Cate Blanchett, who was the head of the jury in Cannes and is also the guest editor of this issue of W. Our idea was to create something similar to that amazing female empowerment scene in Cannes: to show what female photographers, artists, directors, and stylists can create. This issue, spearheaded by the greatest actress of her generation (who, most recently, plays a complex witch in The House With a Clock in Its Walls, out on September 21), is an extraordinary ode to the female gaze. All of our contributors in these pages are women. For Blanchett, who was the muse for nine of these varied talents in this cover portfolio—including Alex Prager, who cast her in a murder mystery; Cass Bird, who captured Blanchett on the night of her Ocean’s 8 premiere, in Times Square; and Shirin Neshat, who envisioned her as a raven-haired chanteuse—the breadth of vision was thrilling. “I don’t like to generalize about gender,” Blanchett explained, “but, for me, the biggest question was: Why haven’t I worked with these remarkable women more?! Where have they been?” They are here. World: Take notice.

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Some on set pictures, taken on June 7 in New York


Cate Blanchett, In Her Own Words, On Guest Editing a Special Issue of W Magazine
“Such are the two ways of the Photograph. The choice is mine: to subject its spectacle to the civilized code of perfect illusions, or to confront in it the wakening of intractable reality.” —Roland Barthes

Every photograph presents us with this fork in the road, but if we keep going down the same old path, we only ever get the same old answer. This issue is the other path: all female collaborators, female photographers, female visions, creative acts, aspirations, and endeavors. And that’s just the tip of the iceberg.

I’m wary of mission statements, expressions of vision. I prefer opening gambits, perhaps. Starting points. Launching pads. Language is all-important, and the way one begins a conversation, whether it be with a director, the W team, or, indeed, the W readers, will influence the way the project and its outcomes unfold. I’d like to think this issue is one such opening gambit. A provocation to look at life through a different lens. We hope it’s a fresh, exciting, and inclusive one.

Insanely busy as all the photographers were, they ­perforated their schedules to be part of what felt like an exploration of possibilities: a mash-up, a riotous juxtaposition of wildly different creative perspectives. And whoa!…did we laugh. Running around New York City in the middle of the night with Cass Bird; frolicking through the daisies in the English countryside with Sharna Osborne; lip-synching with Shirin Neshat; typing—bunny style—with Sam Taylor-Johnson; et cetera, et cetera, et cetera. And then, being in conversation with the incomparable Miuccia Prada and brainstorming with the indefatigable, fearless, adventurous, and profoundly generous W team.

I hope the energy and va-va-voom that has gone into this issue leaps off the pages and into your hearts and minds. It certainly got my creative juices flowing…
With love,

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When Miuccia Prada was immersing herself in the student politics of Milan at the end of the 1960s, fashion was not considered a suitable career for an educated young Italian woman of means. And when Cate Blanchett was growing up in suburban Melbourne amid the struggles for equal pay and paid maternity leave of 1970s Australia, acting seemed, at best, a navel-gazing indulgence. So the paths that young Miuccia and Cate went on to take were perhaps the most radical ones available to them—by their second-wave feminist sisters’ estimation, at least. They each got married and followed their hearts’ desires, doing whatever gave them pleasure.
The strategy worked out well for both of them. Since Prada took over her parents’ leather goods company in the ’70s, which the designer still runs with Patrizio Bertelli, whom she married in 1987, she has turned it into a $11.4 billion enterprise, one comprising not only a hugely influential fashion label but also an increasingly important cultural institution: the Fondazione Prada, whose Rem Koolhaas–designed space in Milan opened in 2015. Blanchett was already an accomplished stage actor when she met the director Andrew Upton in 1996, and together, as the husband-and-wife artistic directors of Sydney Theatre Company, they went on to run an ambitious stage program for five years, as Blanchett’s movie career went interstellar. Now a two-time Oscar winner and the recipient of a staggering 149 other awards, she is one of the actors most respected by other actors—an ambition, she says, she held from Day One.
Success may have set Prada, 69, and Blanchett, 49, apart from their respective peers, but what has made them an inspiration for other women is how their work communicates beyond appearances—Prada’s by inspiring desire in her consumers, while reassuring them they have made an intelligent, discerning choice; Blanchett’s through roles that provoke as well as seduce her audience. For this portfolio, the pair reversed this scenario, highlighting women whose work and lives inspire them, and who are pictured below.

Penny Martin: Are you two old friends?

Miuccia Prada: We met at the Guggenheim in 2007. The artist ­Francesco Vezzoli put on a play, Right You Are (If You Think You Are), and Cate was in it.

Cate Blanchett: Yes, by Pirandello. It was something! We never rehearsed it. Everyone assembled in the morning to read the play once, and then we took over the museum. It was so risky. Elaine Stritch was there, which was the highlight of my life.

Martin: Mrs. Prada, is it true you studied mime?

Prada: Yes. There was this theater in Milan called the Piccolo Teatro, where all the clever people were in the ’60s, and I wanted to be with them. I was studying political science at the time, but mime sounded more interesting to me. Afterward, I hated it, but I studied for five years, and I think it taught me discipline. You know Decroux, the father of mime? One day, he limited us to only moving our fingers—the body control was extreme.

Blanchett: When you’re studying something wordy like politics, the minimalism of a simple gesture can be powerful.

Prada: In those days, I was heavily into politics and rebellion. I never set foot in the university, except for exams. I was too involved in politics.

Blanchett: On campus?

Prada: No, in the Union of Women. I was active for years but hated speaking in public, so I gradually began working at my parents’ company, which was the worst thing you could ever do in the ’60s and ’70s, as a feminist—to work in the fashion industry. I was ashamed, but I liked it so much.

Martin: Why ashamed? Because clothing was perceived as feminine and thus lightweight?

Prada: Yes, the idea that fashion is stupid.

Blanchett: And I don’t think much has changed. I still get battered if I express an interest in costume or fashion.
Prada: It’s the toughest industry to work in. But you know what has made me appreciate my job? The super-clever people around me—directors, artists, and intellectuals who appreciate the ideas. I have always believed in collaborations and made sure I worked with and supported female artists. With the Fondazione, in addition to Laurie Anderson and Goshka Macuga, we have done amazing projects with Mariko Mori, Louise Bourgeois, Nathalie Djurberg, and others. In cinema, we have worked with great female directors for the short films we commission for our “Miu Miu Women’s Tales” series, and recently even with cartoonists in our Prada collection. It’s because I’m a successful fashion designer that I’m able to realize the artwork. My job is being the anchor.

Martin: Cate, your story reads less like one of rebellion than of destiny. Weren’t you acting, directing, and producing when you were still at school?

Blanchett: Yes, but it’s like I never chose acting. Even coming out of drama school, I said I would give it five years. Every time I’ve been pregnant, I’ve said I’m going back to finish my university degree—I studied fine arts and economics. You know, theater and cinema may be fundamental to the national cultural identity in the U.K. or Italy, but in Australia acting or writing is so utterly irrelevant to the fabric of society.

Prada: What is valued there?

Blanchett: Physical exercise—they like a triumph over the elements. That and when people achieve things overseas. They don’t appreciate it when it’s in their own backyard.

Martin: You spent five years as co–artistic director of Sydney Theatre Company with your husband, Andrew Upton. That’s something you and Miuccia share—you both brought your husbands into your working lives.

Blanchett: Well, my husband brought me into his world. You both push each other, for better or worse.

Prada: I probably wouldn’t have done this job had I not met my husband. Everything has happened between us, but we’re still together, after more than 40 years!

Martin: Most people would think working with one’s husband would end a marriage. What’s the secret?

Prada: I have no idea. It’s mysterious.

Blanchett: For me, it’s having a common goal, even if you’re running at it from completely different directions.

Martin: So if your national culture didn’t particularly champion cinema, Cate, were films something you grew up perceiving as foreign?

Blanchett: Yes, growing up with just a few TV channels in the ’70s and ’80s, what one consumed on a Saturday afternoon were B-grade American films. My taste is really eclectic as a result. Bette Davis, Gregory Peck…and Anna Magnani and Giulietta Masina, when I eventually saw them, whom I absolutely loved. On the small screen, I worshipped Lucille Ball.

Prada: I started when I was a really small kid. My father brought us to the cinema to see Westerns. Soon enough, I was going all the time: three movies a day! My education was Antonioni, Godard, Buñuel…Now I probably watch a film a night, in bed. Alice Rohrwacher’s new one, Happy as Lazzaro, is very good. Alice can suspend time. Watching her films, you’re always torn between the delicacy of her humanity and the roughness of reality.

Blanchett: To be honest, some of the most profoundly formative experiences I’ve had were with dance—when I first watched butoh, it blew my mind.

Prada: One of the best weeks of my life was in Venice, where Pina Bausch was performing every day—it was incredible.

Martin: Do you think the fact that it was a female-led company made it resonate with you?

Prada: The power was in seeing the body used in a different way. Do you ever suffer from the feminine position, being a woman, Cate? It’s possibly because I come from a privileged position, but I never felt inferior to a man.

Blanchett: Sometimes, in England, I have a double sense of inferiority—I’m female and I’m Australian, from the colonies. But I rarely think about my gender until it’s pointed out to me, generally in interviews. The adjectives that are applied to me—I’m “forceful” or I “take no prisoners,” all because I express an opinion that I was asked for.

Martin: Often, the subtle, practical things are the most insidious. I was struck by what the director Agnès Varda said during the talk she gave in Venice a few summers ago to accompany her film for Miu Miu’s “Women’s Tales.” She explained that even though she was an accepted figure of 1960s cinema in France, and married to Jacques Demy, she couldn’t get cameramen and sound guys to carry out her instructions on set. To the extent that she had to set up her own production company.

Blanchett: From a positive perspective, having to create your own context really tests your need to do a project. It might take longer, but finding your own way in creates work that’s specific to that structure; it’s quintessentially yours.

Prada: Agnès is such an incredible woman. Cléo From 5 to 7 impressed me enormously in my youth. Her work has been, and is still now, so experimental. A good example is her latest, Faces Places. It is quite remarkable that she still has the energy, the spirit, and the need for such a project.

Martin: I gather that since Alejandro Iñárritu’s virtual reality piece, Carne y Arena, was shown at the Fondazione Prada last year, you plan to experiment more with VR and other alternative forms of cinema. Have you any dreams of directing?

Prada: No! But a fashion show is kind of a movie.

Martin: In which you are the director. How do you choose the directors for your “Women’s Tales” films, several of whom were photographed for this story—Ava DuVernay, Agnès Varda, Alice Rohrwacher—as well as people like Miranda July, Crystal Moselle, and Naomi Kawase?

Prada: I didn’t want the “Women’s Tales” to be purely commercial. Ava, for example, is an inspiration because she’s never afraid to stand up for what she believes in.

Martin: You’ve always been quite clear about keeping your art and fashion projects separate from one another.

Prada: In the beginning, I kept them separate because I wanted the respect of the art world. I’ll collaborate with anyone, but I draw the line at decorating a bag with someone else’s artwork.

Martin: What about the other way around? You made costumes for Baz Luhrmann’s The Great Gatsby, costumes for New York’s Metropolitan Opera.

Prada: Well, it’s rare that I’m asked, and, actually, costume design is a completely different job from fashion. There’s so much “You can’t do it like this.”

Martin: Cate, one of the most memorable costume moments has to be from the film Elizabeth, when a character is struggling to get out of a poisoned corset before it kills her. In fact, a good number of the awards for which you’ve been nominated are for playing real people: Bob Dylan, Katharine Hepburn, Veronica Guerin, as well as Elizabeth I.

Blanchett: Often, the audience thinks it takes more homework to play a real person, and, as they like to see how hard people have worked, they think it makes you more worthy of an award. I’m not interested in “the work” in terms of what it costs me personally. Art is not instructional, I think: It’s provocative. As such, my job is to be inconsistent, impolite, and disruptive.

Prada: Meanwhile, the media wants an explanation, a definition that will stay the same forever. At this moment, everything is being simplified—politics, life. But life is complicated; I am complicated, and my interests are varied—from the super cheap to the elevated. That’s why artists envy my job, or yours, because we do things quickly, and afterward we change.

Martin: Still, there are some underlying values that never change. They’re what make other women continue to look to you as role models.

Blanchett: There is a bottom line, yes. I have my own set of political beliefs, and hopefully a moral backbone. But when I was at university, thinking about what I wanted to do, I decided the only two things I wanted were to travel and to have the respect of my peers—whether that meant being an actor, an architect, or a gallerist.

Prada: As I get older, I do like to teach young girls about life, and I do have expectations of myself: What can I do that is clever, that is interesting, new, and fun? But other people’s expectations, I care less about. Your main obligation is to yourself. We are our own best competitors.

Source

Cate Blanchett looks all chic in Sydney as she runs errands in her Porsche convertible

She is praised by many as the Australian actress that has become one of the biggest Hollywood stars, as well as among the most bankable names in the tinseltown over the years. Cate Blanchett flaunted her love for sports cars recently when she was spotted driving a Porsche convertible, looking for a spot to go shopping in Sydney. The world-popular 49-year-old actress looked like the perfect picture of chic elegance as she was seen gently coming out of her luxury drive. Cate Blanchett was last seen in Ocean’s 8, the female version of Ocean’s 11 in which she played the female equivalent of Brad Pitt’s character. Her chemistry with Sandra Bullock in the movie is not to be missed!

A picture of elegance

Getting back to Cate Blanchett’s Sydney outing, she was seen sporting a concerned and serious expression as she hopped out of her silver Porsche. She was wearing a flowing bone coloured overcoat, over a plain white blouse, both of which beautifully covered her svelte frame. She combined that with a pair of three-quarter drawstring pants of the same tone, adding a casual cool air to the ensemble. The Oscar-winning actress completed her outfit with a pair of nude sneakers, with her short flaxen locks blowing away in the comforting Sydney breeze. Cate used a brown leather handbag and tortoise shell-frame sunglasses to accessorise.

Outing with the family

A reliable source revealed to Dailymail Australia that Cate Blanchett was out in Sydney with her husband Andrew Upton for a spot of shopping. Not too long ago both were also spotted indulging in a rare PDA. It was further revealed by the insider source that the couple donated a handful of used clothes to Red Cross, with Andrew coming very close to making the fatal error of giving away one of the actress’s designer handbags. Being the kind of in-demand actress that Cate Blanchett is, she has everything but free time on hand, something that was well evident in how she was constantly glued to her phone throughout the outing. She could be seen chatting happily with the mystery person on the other end (of the phone), waving in between to someone, believed to be her husband Andrew.

Guest appearance in ‘Documentary Now!’

Recently it was also announced that Cate Blanchett will make a guest star appearance as a Marina Abramovic-type of performance artist in a soon to be aired episode of ‘Documentary Now!.’ Titled appropriately as ‘Waiting for the Artist’ after the widely acclaimed documentary from 2012 – Marina Abramovic: The Artist is Present, Cate Blanchett’s character Barta will be seen reconciling her relationship with her former lover named Dimo Van Omen (played by Fred Armisen), who is known to be a provocateur of the art world. This episode was shot at a location in Budapest, Hungary few months ago. As everyone might be aware, IFC with ‘Documentary Now!’ is all set for two Emmy nominations and scoring an excellent second quarter growth. That they are going to have an Oscar-winning actress in an episode is only going to increase their popularity even more!

Magazine scans + Ocean’s 8 interviews

Magazine scans + Ocean’s 8 interviews

Hello Everyone!

We are adding more magazine scans to our gallery and of course, Ocean’s 8 interviews. We have to treasure these because we are heading to the last days of international promotion and soon we will be missing these daily goodies. But before that, let’s spoils us one more time!

Click on the image to download the HQ version available in the gallery



Ocean’s 8 – Press, press, press!!

Ocean’s 8 – Press, press, press!!

Hello Blanchetters!!
We have a lot of new contents to share with you all. As you can see the updates are slowing down a bit, but they are more rich. The amount of work is simply too much to post more frequently, but, hey, it’s promotion time, and we love it!

Let’s start with some recent magazine scans, without any new interviews, but a lot of lovely pics:




New photoshoot for Madame Le Figaro, shot in Cannes. Photo by Damon Baker

And now, Ocean’s 8 press junket. Enjoy!

The Associated Press interviews have a different editing from Twitter to Youtube, we have added them all.


The cast of Ocean’s Eight supports the Moments Worth Paying For Campaing promoted by The Industry Trust. Read more here


New promotional video!

She'll get the job done.

She'll get the job done. #Oceans8 Get tickets: https://www.fandango.com/oceans8

Posted by Ocean's 8 on Friday, June 1, 2018



From the video interviews to the written words

Cate Blanchett on ‘Ocean’s 8’: I have hit the jackpot

LOS ANGELES—Cate Blanchett, striking in a bright yellow pantsuit, gold heels and the reddest lipstick, walked into a hotel meeting room in Manhattan looking like she owned the world.

“No, I think Viacom and Google own the world,” she quipped.

The Aussie, who recently headed the Cannes Film Festival jury, is one of the few actresses in contemporary cinema who evokes true glamour and the magnetism of the stars of Hollywood’s golden age.

Asked how she does it—consistently among the stunners on the red carpet—Cate cracks, “Oh it’s easy. I wake up and look like that. No hair and makeup people. I do it all myself (laughs). What is great is that I have had a long creative relationship with a lot of designers, Mr. Armani being one of them. When I got my first check from my very first job, I bought an on-sale Armani suit which I still have.”

But this afternoon, the Time’s Up cofounder was wearing Stella McCartney. “What I really wanted to do in Cannes was wear all-female designers. It’s great to wear young, emerging female designers when you have that platform. Being a woman who has a brain doesn’t necessarily mean you don’t like dressing up. I do it for a living (laughs).”

In “Ocean’s 8,” Cate and Sandra Bullock play Lou and Debbie, respectively—who are partners in crime pulling off an elaborate heist at New York’s fabulous Met Gala.

The goal is a $150-million Cartier necklace worn by an actress, Daphne Kluger (Anne Hathaway). Also in the cast are Helena Bonham Carter, Mindy Kaling, Sarah Paulson, Awkwafina and Rihanna.

Cate and her husband, playwright and screenwriter Andrew Upton, their three biological sons and one adopted daughter live in the UK.

Excerpts from the interview:

Would you make a good thief? If you could steal anything, what would it be? Oh gosh. Awkwafina or Nora (Lum) said this funny thing, “I am going to steal the narrative!” So I am with her. I would make a terrible thief. I have such guilt and shame about so much stuff. But my thing is that I go to the supermarket and that is when I want to start stealing stuff—apples, oranges, chocolate bars, cocoa powder, Altoids and little things like that.

If someone gave you a $150-million Cartier necklace, what would you do with it? I would cut it up and divide it between the have-nots in this world.

This movie shows the friendship between these women. Did you know most of your costars before this movie? How did you make the less experienced actors feel confident? Everyone felt like they were at the top of their game. Nora has such incredible energy, as does Rihanna even though they may have necessarily not made as many movies. Mindy is an extraordinary writer and problem solver and an amazing listener. I have met Sandy (Sandra Bullock) and Annie (Anne Hathaway) before. I worked with Sarah before.

Everyone else was new. So there was a sense of everyone sniffing each other out, which happens in the film. But it really only took a couple of days and then we were starting to get into the rhythm.

What was it like working with Rihanna? She is one of the most fluid, easy, relaxed and natural performers that I have ever seen. And those eyes. You just look at her and your jaw would drop.

When did you feel like you hit the jackpot in your professional life? I remember when I was cast years ago in a play right out of drama school called “Oleanna” by David Mamet, opposite Geoffrey Rush at the Sydney Theatre Company. I wept when I got the job. I thought it doesn’t get any better than this and it’s going to be all downhill from here.

Early on in my career, I took on roles that actresses turned down because they were girlfriend roles. I tried to subvert that cliché and find something fresh in them, so I try to make an opportunity out of whatever.

But yeah, I feel, particularly with this film, look at them (looks at the all-women cast in the poster beside her), that’s a f***ing jackpot right there (laughs). That doesn’t happen often and it’s rare.

We made the film awhile back. And even in the last 18 months, two years, the landscape has changed enormously. It still felt like an anomaly. There are so many female-centric films being made, on development slates at the moment, that I think there is going to be an explosion.

We had a fan screening and we popped in and it was a really diverse mix in the audience. There were men and women of all ages, shapes, sizes and nationalities. This is not a niche film. It’s a great, funny, entertaining tentpole movie. So I feel like I have hit the jackpot.

And when did you hit the jackpot, personally? Meeting my husband (Andrew Upton). And, as a result, my family.

How did the addition of a girl change the family dynamics? How did your three boys adjust to having a sister? I wasn’t a girl who grew up thinking I would love to have kids. But then, I met my husband and we had a child. We talked about adopting after our first child. Then we had another child and talked about adopting again (laughs).

So it wasn’t about having a little girl. When we adopted, we felt like we had space in our lives. I am so proud of my three boys for the way they have welcomed her into their lives. She is wise beyond her years but she is only 3 years old.

You have been at the forefront of the Time’s Up movement. What are your hopes in how this movement will change Hollywood? There is no forefront to this movement. It’s a nonhierarchal inclusive movement that is rolling like a massive rolling stone, bigger than any of the individuals involved. I am in a very public industry, and when one stands up and says anything outside one’s lane, outside the lane of what you are wearing, you are open to criticism.

I feel that it’s upon us to make the seismic changes we need to make in our industry. So that those changes can happen in other, less visible industries. Because there is not an industry I can think of where there is equal pay for equal work, or where abuse as a power doesn’t exist, for men and for women. So equality is not a political issue—it’s a human issue.

How much did you enjoy being the president of the Cannes Film Festival jury? It was one of the great privileges of my life. It was one of the happiest and most fascinating experiences I have ever had. It was a privilege and a huge responsibility, but it’s a democratic process. When you are in a great position of leadership, one of the strongest skills you can have is to listen.

Source

Ocean’s 8: See Sandra Bullock, Cate Blanchett, and the gang in a new still for the movie

Ocean’s 8: See Sandra Bullock, Cate Blanchett, and the gang in a new still for the movie

Hello fans!

We have been blessed this morning with a new still for Ocean’s 8, the new film directed by Gary Ross and starring Sandra Bullock, Cate Blanchett, Anne Hathaway, Sarah Paulson, Helena Bonham Carter, Mindy Kaling, Rihanna and Awkwafina. The movie is set to be released in June. See the article released by Entertainment Weekly.

Ocean's 8 Still Cate Blanchett Fan

Click in the image to download the full size version available in the gallery.

Eight powerhouse ladies. $150 million in diamonds. One star-studded fashion gala. And a heist to rule them all.

Sandra Bullock and her team of grifters usher in this summer’s cool factor with Ocean’s 8, an expansion of Steven Soderbergh’s George Clooney-starring franchise that features Danny Ocean’s sister Debbie (Bullock) taking the wheel.

“The vibe of the Ocean’s universe, which felt like a smooth drive in a vintage car with somebody who knew how to shift gears beautifully, I think we have that too,” says Anne Hathaway, who plays Daphne, an actress who wears the diamond necklace at the center of the heist at the Met Gala.

The con of the century deserves only the best team, and Debbie and her co-conspirator Lou Miller (Cate Blanchett) know just the gang: suave hacker Nine Ball (Rihanna), jeweler Amita (Mindy Kaling), fashion designer Rose (Helena Bonham Carter), savvy fence Tammy (Sarah Paulson), and street con artist Constance (Awkwafina).

“We tried to make each one of these women distinct people, who share a lot but reflect a wide range of backgrounds and experience,” says director and co-writer Gary Ross, adding that he and writer Olivia Milch continued to hone the characters after casting the actors. “Nine Ball wasn’t originally written to be of Caribbean descent, but we talked about how much fun it would be to lean into that. And Mindy’s character Amita wasn’t written to be specifically from Jackson Heights [in Queens], where there is a thriving Indian community, but it ended up being a wonderful fit.”

“She’s more buttoned-up than almost any character that I’ve ever played, which is a challenge for me,” Kaling said about playing Amita, who lives with her mother, works in her family’s jewelry business, and has to contend with a glamorous, newly married older sister. Meanwhile, Hathaway shed her good-girl image as the rather unlikable Daphne. “She’s awful,” Hathaway says with a laugh, “and those are always the most fun characters to play. She’s very self-absorbed, entitled, and insecure — and lonely as a result.”

There was no loneliness on the New York set of the film, however, with the cast — who remain on a text chain together — forming firm friendships over shared experiences. “I learned a lot about parenting from seeing Cate and Sandy bring their kids to set. I was very excited to tell everyone that I was pregnant, and they were so happy for me,” said Kaling.

Watching Bullock and Blanchett’s dynamic in the movie alone is worth tuning in for, Kaling added.

“They’re so loved by women and they never do the same kind of movies,” she said. “It’s really fun to see them playing best friends in a film.”

Source