Category: General

Cate Blanchett on the cover of Vanity Fair Italia

Cate Blanchett on the cover of Vanity Fair Italia

Hey everyone!

Time to add one more magazine to our collections! We are not complaining!
Cate Blanchett graces the cover of Vanity Fair Italy new issue (October 3). The site of the magazine has released a part of the interview. Enjoy!

Cate Blanchett: «Il futuro che vorrei costruire»

Cate Blanchett si è rotta un dito del piede poco prima di posare per le foto che vedete in queste pagine e di rilasciare l’intervista che state per leggere.
Niente di grave, incerti del mestiere. Il dito se lo è rotto saltando con troppa forza nell’enfasi interpretativa di un episodio di Documentary Now!, una serie ideata dagli stessi produttori dello show comico Saturday Night Live. Cate è stata chiamata a fare la parodia di un’artista-performer stile Marina Abramovi?.
«Una parodia o un omaggio?», si domanda, sorridendo, la splendida Cate durante questo nostro incontro, in qualità di global ambassador di Giorgio Armani Beauty.
Negli ultimi mesi, sui tappeti rossi – da Cannes, dove era presidente della giuria, a Venezia – è apparsa ancora più splendida e carismatica del solito, come se avesse raggiunto lo zenit dello stato di grazia e consapevolezza, capace di maneggiare alla perfezione, unica della sua specie, i segreti del divismo e del talento, della popolarità di massa e dell’indiscusso rispetto di registi, artisti, colleghi.

Tema del giorno: l’industria del cinema che cambia, le polemiche pro e contro Netflix. Lei come la vede?
«Lo streaming è una novità dirompente che serve ad aprire a un nuovo pubblico e a generare nuove forme di consumo del cinema. Probabilmente era anche una evoluzione inevitabile e necessaria, perché ha messo in discussione un sistema che si stava avvitando su se stesso: stessi film, sequel e prequel, stessi cliché e stesse strategie di marketing. Ma non ha senso dire che il cinema in sala non esiste più, queste esperienze possono coesistere. I festival, per esempio, continuano ad avere un grande valore perché hanno quel sapore di “evento” che inevitabilmente si perde se guardi un film a letto, in pigiama, addentando una pizza. Ma le cose diventano irrilevanti solo quando… diventano irrilevanti. E il cinema non lo è ancora».

A proposito di festival. Verrà presto alla Festa del Cinema di Roma con il film Il mistero della casa del tempo.
«Nasce dal desiderio di tornare ai tempi d’oro della casa di produzione Amblin, che ha realizzato tanti film per bambini e ragazzi che trasmettevano un senso di reale pericolo, con vera suspense. Pensi a titoli ormai classici come Poltergeist, Gremlins e ovviamente E.T. In anni recenti, l’idea del film per bambini è stata spesso “igienizzata”, semplificata. Allora, hanno chiamato come regista Eli Roth, che è un maestro dell’horror, un genere che anch’io amo moltissimo. Eli è regista e attore, una persona molto brillante e creativa. È figlio di uno psicoanalista freudiano: non stupisce che si sia dato all’horror (ride, ndr). Ci siamo divertiti parecchio».

Alla Mostra del Cinema di Venezia, si è visto un documentario in cui il regista tedesco Hermann Vaske ha rivolto per trent’anni ad attori, registi, musicisti la stessa domanda: «Perché siamo creativi?». Lo chiedo anche a lei.
«Siamo creativi perché siamo istintivamente curiosi, come i bambini che chiedono perché, perché, perché milioni di volte. La qualità delle domande è importante quanto quella delle risposte. Da adulti, siamo o non siamo creativi perché sappiamo che per esserlo bisogna correre rischi. Non c’è grande scoperta o rivelazione che non sia frutto di un grande errore o un grande fallimento precedente. Nell’arte come nella scienza. La bellezza non è solo nelle parole o nei dipinti, ci può essere grande bellezza anche nei numeri».

È cambiata la sua idea di bellezza, nel corso degli anni?
«In termini estetici, direi proprio di no. Ma sono cambiate le qualità interiori che rendono, ai miei occhi, una persona attraente».

Si definisce femminista?
«Sì, lo sono sempre stata e non l’ho mai considerato negativo. Crescendo in una famiglia di donne, per me è un termine da sempre associato a forza e uguaglianza, e mi sono sempre sentita la beneficiaria di tutte le lotte precedenti, so quanto è costato loro quanto abbiamo ottenuto noi, delle generazioni successive. Ma c’è ancora tanto da fare! In qualunque modo chiamiamo i movimenti attuali, con qualunque hashtag li definiamo, il punto è ancora un discorso contro il potere. Non lontano dal discorso di ogni generazione di artisti che per ribellarsi contro l’establishment vuole distruggere le roccaforti istituzionalizzate. Ho fatto parte di un’installazione intitolata Manifesto con un amico artista, Julian Rosefeldt, che parlava proprio di questo, del bisogno di distruggere quello che c’è stato prima. Ma non sempre è necessario: si può anche costruire sopra quello che c’è stato prima, senza raderlo al suolo».

(to be continued)

Source

Cate Blanchett to deliver the keynote address at the Nansen Refugee Award ceremony

Cate Blanchett to deliver the keynote address at the Nansen Refugee Award ceremony

Hello Blanchetters!

UNHCR goodwill ambassador Cate Blanchett is set to deliver the keynote address at the ceremony of the anual UNHCR Nansen Refugee Award ceremony. This year, the ceremony will take place on Monday 1 October at the Bâtiment des Forces Motrices in Geneva. the public can watch the event streamed live on the UNHCR Facebook channel 1 October. The ceremony also coincides with the annual UNHCR Executive Committee (Excom) meeting that will take place 1-5 October at Palais des Nations.
Read full press note from agency AFP below:

A South Sudanese doctor who runs an overcrowded hospital with a dimly-lit surgical theatre and no regular supply of general anaesthetics on Tuesday won the UN refugee agency’s prestigious Nansen award.

Evan Atar Adaha’s Maban hospital in the South Sudanese town of Bunj serves more than 144,000 refugees from Blue Nile state in neighbouring Sudan, UNHCR said.

The hospital’s X-ray machine is broken, but Atar and his team perform nearly 60 surgeries per week in a room with just one light, with staff using “ketamine injections and spinal epidurals” instead of general anaesthesia, the agency said.

UNHCR chief Filippo Grandi said Atar’s “profound humanity and selflessness” had saved thousands of lives.

Atar had previously run a hospital in Blue Nile but was forced to relocate when a conflict erupted there in 2011 between the Khartoum government and rebel fighters.

Khartoum unilaterally announced a ceasefire in the area in March.
The Nansen prize, awarded annually, is named for Norwegian polar explorer Fridtjof Nansen, who served as the first high commissioner for refugees during the failed League of Nations.

Last year’s winner was Nigerian Zannah Mustapha, who helped negotiate the release of some of the girls kidnapped by Boko Haram Islamists from their school in Chibok in 2014.

UNHCR said actor and goodwill ambassador Cate Blanchett will deliver the keynote address at the ceremony in Geneva next week.

Source

More information

The Ellen Degeneres Show – Screencaptures

The Ellen Degeneres Show – Screencaptures

Cate went to promote The House with a Clock in its Walls at the Ellen DeGeneres Show last Monday. Watch the interview below, and we added some images in the gallery!




“The House With A Clock In Its Walls” – Press junket + Magazine scans

“The House With A Clock In Its Walls” – Press junket + Magazine scans

Hello Blanchetters!!

We have been blessed with a wave of new interviews for “The House with A Clock In Its Walls”. This time we have clips and an audio, also we have added “Nouveau” magazine scans and a new still from the time the cast attended “The One Show” to our gallery. Enjoy!



YAHOO MOVIES: Hey guys, how are you?

JACK BLACK: Good thanks.

CATE BLANCHETT: Good, how are you?

YM: Yeah, alright. I’m going to TIFF tomorrow so I’m a bit stressed out trying to organise things last minute. (EDITOR’S NOTE: This is interview took place before the Toronto Film Festival)

CB: Is it TIFF already?

JB: What is TIFF again?

CB: Toronto International Film Festival, that’s what they call it in the biz.

YM: Have you got any tips?

CB: No, just don’t go shopping. There’s not a lot to buy in Toronto fashion-wise.

JB: Oh yeah? I don’t know.

CB: It’s a long time since I’ve been there but it’s all pretty spread out.

JB: I feel like I’ve been there but I can’t remember why. It wasn’t really memorable but I do have fond memories of the city in general.

CB: You’ve shot there though?

JB: I remember hearing that one time Sean Penn and Nicolas Cage got in a fight at TIFF.

CB: A tiff at TIFF.

JB: Sean Penn accused Nicolas Cage of selling out and Nicolas Cage was like “oh yeah mother f**ker let’s take this to the streets.” It was a bloody fist fight that almost ended in a Sean Penn fatality. I might be exaggerating that last bit.

YM: I hope not, but we probably should talk about this movie.

JB: No, let’s talk about TIFF.

CB: Oh goodness what is that? (Cate finds the dictaphone between her and Jack on the sofa).

JB: Oh we put that there while you were talking to that guy.

CB: I thought it was yours and thought that is really strange. You record your own interviews.

JB: Just so I can prove that I never said this or that!

YM: Yeah you get that a lot with celebs saying their words were taken out of context so…

JB: Exactly, the lawsuits fly.

YM: So this film, it’s a children film that goes into rather dark subjects like loss and grief. Why do you think that’s a common theme in children’s films?

CB: It’s a huge fear of a child being abandoned. I know I felt it, I know my kids have felt it from time to time, it’s part of realising your own resilience. It’s imagining a future where you don’t have parents and then you end up with these parents! OK, how you going to navigate that?

YM: It’s rather lovely that it shows this blended family, that isn’t conventional.

CB: It’s not neat. The world is not neat.

YM: So your character, Cate. I got the impression she spent time at a concentration camp.

CB: Yes, there’s the tattoo. Both, Jonathan and Florence, their relationship to their magic and their ability, or stepping into their power, however, is a little bit complicated and broken because of their painful past. Hers is to do with losing her child and her husband in a camp, but obviously being a children’s film that’s just a kind of an aside that children might not even pick up or they might ask their parents, “what was that tattoo?”

YM: Is that a detail that appeared in the book?

CB: It’s there that they’ve been through the war, that they’ve been friends for a long time and that her family had, yeah, it’s alluded to and there are many many books so as the journey goes on you find out more about them.

YM: Jack, I read in an interview that you now only want to do movies with Cate.

CB: Did my agent tell you to say that?

JB: No, and I haven’t broached the subject with you but yeah I have told my agents that I am only doing Cate Blanchett films from now on.

YM: How come it’s taken so long?

JB: I know what kept us apart all these years? There is a conspiracy to keep us apart.

CB: Because they knew how dynamite it would be. It was other pairings.

JB: That’s right I think it was DiCaprio because he realised the power of our possible coupling.

CB: It was Clooney and Julia Roberts.

JB: Those two didn’t want us to ever.

CB: And they’re pretty powerful. (Laughs)

YM: I really loved your insults back and forth to each other in the film. Was there a point when you were improvising that it got pretty inappropriate?

CB: Oh any nasty words? I had so many on the tip of my tongue. Terrible.

JB: You should see the ones that ended up on the cutting room floor. Yeah, we got a whole different film.

CB: Eli let us put a few in.

YM: I only know Eli as a horror film director, and Inglourious Basterds, but love that he’s switched it up with this. How was it working with him?

JB: I’ve always had a lot of fun with his movies and yeah he’s not the obvious choice to do a family horror film for obvious reasons. He goes to very dark places that you wouldn’t let kids ever see but that was the excitement of this particular project because he had an opportunity to make this other kind of scary film.

I’ve found, personally in my career, that when you put the Governors on, when you put the limitations on and you say, “ok we’re never going to cross this line, we’re never going to show blood we’re never going to use any F-bombs,” that it forces a creativity, it raises the bar in other areas of your game and I was looking forward to seeing what Eli would do when he had to stay within the bounds of this film.

YM: Is there a calling card as a director that stands out for Eli, you know, a style of filmmaking?

CB: His knowledge of cinema is encyclopedic and I think he brings an actor’s sensibilities to things because he’s also been there, done that. He’s also really irreverent and meticulous. He’s this strange impossible storm or confluences of influences.

JB: He’s almost like a savant when it comes to his knowledge of cinema. He knows every single movie that has ever been made, from 1972 to 2012, he knows too many things. You’re like wait, this is not normal human memory but it’s pretty impressive the things that he can pull from, in reference to obscure films that you have definitely never seen.

CB: He’s also a 12-year-old. You know some people who have an impossible knowledge about a certain area or that they’re somehow exclusive about that knowledge or intimidating with it? He’s not like that at all.

JB: He did pull some cool references in the movie, like Amblin references. There’s a marquee on a movie theatre that we walk by early on, me and Owen. [It says] Space Man From Pluto and that’s a reference to another movie in Back to the Future (EDITOR’S NOTE: Spaceman from Pluto was an alternative title for Back to the Future suggested by a studio exec).

I think that there are a lot of little Easter eggs that are specifically the history of Amblin cinema. That’s what he wanted to capture in this movie too, some of that Amblin magic, that early Spielberg.

CB: That’s the spirit of Eli, he’s more delicious like that than exclusive.

YM: Speaking of Amblin, it’s actually been ten years since you starred in Indiana Jones, Cate.

CB: Is it? It must be because I was pregnant with Iggy when I made that film.

JB: I didn’t know you had some Amblin in your…

CB: Yeah, I did a baddie in The Kingdom of the Crystal Skull.

JB: Noice.

YM: Do you watch your old movies now?

CB: No, no, no, no. You get to the point where you can sit through a screening of them because you get slightly more immune to it but, (to Jack) do you sit there and think, “oh let’s watch Bernie again?”

JB: Never. No. I loved that experience but I don’t like watching myself very often.

YM: One of my favourite of yours is The Holiday and, of course, High Fidelity especially for Bruce Springsteen.

CB: Did you see him on Broadway? That was something.

JB: I don’t remember being invited to that and it feels like that is something I should have been invited to and been there.

CB: He extended it. It might still be on. You’re going, right? They’re sending you [to New York], you should get tickets.

JB: I should bop into High Fidelity? Wait, what are we talking about?

CB: No, Bruce Springsteen!

JB: Oh Bruce Springsteen? They’re not going to let me in that’s like 10,000 bucks a ticket. Did you see it? What’s it called?

CB: I did I took Dash, erm Bruce Springsteen?

JB: How did we get onto the Springsteen subject?

YM: Because I mentioned High Fidelity and he had that cameo.

JB: Oh right!

CB: It was amazing, yes. You could get tickets, just call CAA.

JB: You think it’s as simple as just pulling a few strings? I think that as we get closer to their final show it gets harder and harder.

CB: Jack Black, the only reason why you couldn’t get in is because he’d be threatened!

JB: I wanna see this show.

CB: He’s the most wonderful raconteur in the way that Michael Moore’s show was aggressively political in the way that he is, and it was fabulous and provocative but you’re talking to people who have paid $700 a ticket. Whereas Bruce’s show, he just gently talked about this tree…

JB: Literally 10,000 bucks a ticket here’s what Bruce is saying when he hears (Jack does a Bruce impression) ‘OK Blanchett? Yeah, yeah, oh absolutely, put her in my hot seats. Jack Black? Ahhh, it’s just tough but there’s just no seats left.’ That’s how that is going to go down. (Laughs)

YM: So before you guys go I wanted to ask you about the Oscars and this new popular film category as your film could technically be in the running.

JB: I don’t know what you’re talking about, there’s a new category? Popular? That’s absurd! That’s Teen Choice Awards!

CB: That’s what the People’s Choice Awards are for. There are so many awards show and ceremonies that kind of you know…

JB: There already is a most popular award and it’s whatever one makes the most money at the box office and wins. That trophy is unnecessary. You already got your prize. That was the billions of dollars that came through.

CB: Or is that best marketing award? I don’t get it, who is all this for?

YM: I think it was to try and get more viewers watching the show maybe?

JB: I tell you what there should be, I know this is going to sound like sour grapes but there should be a comedy category that’s all I’m going to say. Next subject.

CB: The thing is, I’ve never understood that you could have something like Funny Girl and that is funny and tragic, and the whole thing about saying a comedy is a less important genre. Or Ordinary People and Funny Girl, if they’ve both got merit. The whole thing about saying one picture is Best Picture. That’s the issue, isn’t it? The whole thing is flawed.

YM: So my final question is about representation for LGBT in Hollywood and what roles they are or aren’t getting. As someone who has played Bob Dylan, and a lesbian in Carol…

CB: I’ve also played a journalist, but I’m not a journalist. (To Jack) You’ve played a murderer, but I don’t think you’ve killed anyone.

JB: That we know of.

YM: I suppose the argument though is that there’s been n-number of opportunities for straight, cisgender actors and there aren’t enough opportunities for trans actors or people who are LGBT. What do you think about that whole situation?

CB: I think the central issue is one of inclusion and for a long time mainstream cinema has been dominated by a certain perspective, certain stories have been told, and certain stories have been kept either locked out or on the fringe.

The more diverse the types of stories we tell one another the more we diversify the storytelling. I think eventually time will make the hotness of people’s agendas calm down a little bit. I think everyone is jockeying for attention at the moment and I think that’s a natural part of change.

Source

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BBC Radio 6 – Click HERE

“The House With A Clock In Its Walls” – Press junket + New clips+ Behind The Scenes+ Magazine scans+Stills

“The House With A Clock In Its Walls” – Press junket + New clips+ Behind The Scenes+ Magazine scans+Stills

Hello Everyone!

Let’s see, where do we begin?… It’s Press tour time!

Cate is currently in LA promoting “The House With A Clock In Its Wall” so we will be getting new content during these days. Tomorrow is the US Premiere but before that, here are some new stills, interviews and magazine scan we have added to our gallery. 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




“The House With A Clock In Its Walls” – Behind The Scenes clips + Interviews

“The House With A Clock In Its Walls” – Behind The Scenes clips + Interviews

Hello Everyone!

Since the Red Carpet has been moved to Sunday, we will be getting more interviews and material during the following days. Warner has released two new behind the scenes clips and CineNews shared an interview with Cate and Jack. Also, we have added to our gallery SFX Australia magazine scans with” The House With A Clock In Its Walls” cast. Enjoy!

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