TÁR world premiere at 79th Venice Film Festival
Posted on
Sep 8, 2022

TÁR world premiere at 79th Venice Film Festival

Hi, everyone!

A week ago today, TÁR had it’s premiere at the 79th Venice Film Festival where the movie and Cate Blanchett had received rave reviews. It was reported that the movie received a standing ovation that went on for over six minutes. TÁR is an original screenplay by director Todd Field and his first film in 16 years. He said during the press conference of the movie that he wrote it for Cate Blanchett. Blanchett plays the titular character, the fictional Lydia Tár, who is considered to be one of the greatest conductor and is the first female conductor of a major German orchestra. The movie had also it’s North American premiere in Telluride this past weekend. Before it’s October 7th release in the US it will have it’s New York premiere on October 3rd as part of New York Film Festival main slate then it will be released across the globe around January-February 2023.

We have gathered video interviews and some of the reviews on the film. You can check them below.

Day 1

On the first day of the festival, Cate Blanchett arrived where she did some interviews for TÁR then attended a dinner organized by Armani Beauty in honor of Regé-Jean Page, who is the face of Armani Code men’s fragrance.

79th Venice Film Festival – Day 1
Armani Beauty Dinner
Photographed by Greg Williams

‘Tár’ Earns Ecstatic 6-Minute Standing Ovation in Venice, Generating Instant Oscar Buzz

The 79th Venice Film Festival officially kicked off the fall Oscar race on Thursday afternoon with Todd Field’s “Tár,” a drama starring Cate Blanchett as a famous composer embroiled in a public scandal. The film was showered with an ecstatic six-minute standing ovation as the audience inside the Sala Grande Theatre kept chanting “Bravo!“

Clutching the hand of festival chief Alberto Barbera, Blanchett took a bow — but the clapping continued and even grew louder. When the applause finally ended, a misty-eyed Blanchett turned to someone on her team and said: “Let’s get a drink.”

Indeed, Blanchett’s work in “Tár” will likely be one of the most toasted performances of Oscar season. The enthusiastic reviews for the film all but guarantee Blanchett will land her eighth Oscar nomination for acting. (She’s already won two Academy Awards — for 2005’s “The Aviator” and 2014’s “Blue Jasmine” — but “Tár” is bound to stir up speculation that she could take home a third statuette in March 2023.)

Please be aware that some reviews and interviews with the cast and director include spoiler from the movie.

Day 2

79th Venice Film Festival – Day 2

Photocall

TÁR Photocall

Press Conference

TÁR Press Con begins at 2:22:00

TÁR Press Conference

Red Carpet

TÁR Premiere Arrivals

Video from Il Gazzettino

Cate Blanchett arrives at around 32:00

TÁR Red Carpet

Reviews

In Tár, Cate Blanchett Gives a Dazzling Performance as an Orchestra Conductor on the Edge

In writer-director Todd Field’s dazzling, uncompromising high-wire act Tár—playing at the 79th Venice Film Festival—Cate Blanchett plays Lydia Tár, a conductor at the top of her game, and of her world. We don’t see her struggling to be the best, or complaining about how hard it is to be recognized in a field dominated by men. In fact, she believes women conductors have no reason to complain about disadvantage or discrimination. While men often use money and power to fuel their sense of entitlement, Lydia stakes her claim on her own intelligence. She takes what she wants from people and leaves scorched earth behind. She’s great and awful in equal measure, so compelling you can’t turn away from her, but also touching in a way that never courts our pity. She’s unlike anyone we’ve ever seen onscreen, which may help explain why this is only Field’s third movie as a director, even though he has worked steadily through the years as an actor: he’s obviously a guy who waits for the right one to come along.

Tár, Field’s first film in 16 years, is extraordinary. It’s also, in places, disconcertingly chilly and remote, possibly the kind of movie that’s easier to love than it is to like. But people will surely be talking about it, and about Blanchett’s performance specifically. Blanchett, though extremely gifted, can be excessively mannered. (Her 2014 Oscar-winning role in Blue Jasmine is Exhibit A; she hits each Blanche du Bois-inflected note with tuning-fork precision.) But she can also be a performer of great, near-alien strangeness and beauty, and that’s the subterranean current she’s tapping as Lydia Tár. This is a willful, charismatic performance, stubborn and elegant as a vine.

Field’s previous two films were adapted from previously existing sources: In the Bedroom, from 2001, was drawn from an Andre Dubus short story, and Little Children, from 2006, was based on Tom Perrotta’s novel of the same name. But Tár, he has said, was written specifically for Blanchett, and his surefooted direction makes the most of her every line and gesture. When Blanchett as Lydia stands before her musicians, she’s so open she may as well be listening through every pore. In her kingdom of woodwinds and strings, she can hear things we can’t, like the rush of wind beneath a bird’s wing—she knows intuitively whether that whoosh is too loud or too soft, and she can shift it accordingly. Blanchett learned to speak German, play piano and conduct an orchestra for the role, though what she does goes beyond mere research and memorization. Her movements are precise, definitive, balletic: Blanchett plays a woman who knows what she was born to do, and the thrill of it sets her eyes ablaze. Tár doesn’t offer anything as comfortable as redemption, and it asks us to fall in love, at least a little, with a tyrant. But how often do we see women portrayed this way, as magnificent rather than admirable? Lydia Tár is the antithesis of tote-bag feminism, not least because she knows that the power of a question is greater than that of a slogan.

Full review on TIME

TÁR: a sly, scabrous symphony

Cate Blanchett is mesmerizing as a monstrous orchestra conductor in Todd Field’s latest masterpiece, one of the most grippingly brilliant films of the year.

Todd Field’s TÁR is a two-hour-38-minute slow dive into the increasingly alienating psychology of a world-famous orchestra conductor. It moves to a rarefied tempo: philharmonic politics, contested cello solo auditions and live-recording contract negotiations for one of Mahler’s more daunting works. It is replete with classical-music-world in-jokes and casually caustic namedrops that must mystify anyone who failed to graduate from Juilliard with honors before pursuing a doctorate in Advanced Stravinsky. It has absolutely no business being even remotely watchable, and yet here it is, one of the most grippingly brilliant films of the year, featuring, in Cate Blanchett’s mesmerizing central turn, perhaps the season’s first truly irreplaceable star performance.

Full review on Sight and Sound

‘Tár’ Review: Cate Blanchett Orchestrates Her Own Destruction

“TÁR” is so much more than the Great American Movie about “cancel culture” — a phrase that it humiliates with every movement — but this dense and difficult portrait of a female conductor’s fall from grace also demands to be seen through that singular lens from its very first shot. Todd Field’s thrilling, deceptively austere third film exalts in grabbing the electrified fence of digital-age discourse with both hands and daring us to hold onto it for 158 minutes in the hopes that we might ultimately start to feel like we’re shocking ourselves.

The “Little Children” maestro’s first movie in 16 years — and the only original screenplay he’s ever directed — isn’t quite the ultra-mordant satire you might imagine if someone just told you where its final scene takes place. On the contrary, Field has come back to us with a savage yet acutely sincere character study that’s slathered in a million shades of gray. “TÁR” tells the story of a trailblazing woman whose aspiration to embody the grandeur of the past makes her vulnerable to the uniquely modern pitfalls of the present. The film is every bit as brilliant and implosive as she is.

Cate Blanchett makes for a magnificent 21st century Icarus. Expertly weaponizing her inimitable gravitas away from art and towards predatory self-preservation instead, the “Carol” star commands the movie’s lengthy and unbroken scenes as if she were conducting them herself; as Lydia gradually loses her ability to modulate the tempo of the world around her, “TÁR” finds a sickening pleasure in the dissonance between a spiraling character and an actor in perfect control of her instrument.

We’ve seen Blanchett play women on the verge of a nervous breakdown before, but she’s never obliterated herself on screen with such concussive force. The controlled demolition of a performance she delivers here provides a more nuanced (and cautiously sympathetic) interpretation of the social dynamics behind the #MeToo movement than any male actor or character might be able to offer. It’s because of Blanchett that “TÁR” is able to elevate the uselessly outmoded paradigm of separating the art from the artist into the visceral portrait of an artist separating from herself.

Full review on Indiewire

Cate Blanchett May Have Found Her Magnum Opus in the Tremendous TÁR\

The film is loaded with references to high-culture figures, to literature, to music theory. It all sounds pretty impressive. Which is the point: how often have we been so glamoured by smarts and talent and accomplishment that we miss an obvious pattern, or disregard contrary narratives as bitter noise? TÁR offers itself up as instructive tool, diligently tearing down the specific mythos that Field has worked so meticulously to create.

Somehow, this all happens without the moralistic droning of a lecture. TÁR is breathtaking entertainment, beautifully tailored in luxe, eerie Euro sleekness by production designer Marco Bittner Rosser and cinematographer Florian Hoffmeister, and ominously scored by Hildur Guðnadóttir (who gets a little meta shout-out in the film). That fine craftsmanship is all anchored by Blanchett’s alternately measured and ferocious performance, a tremendous (but never outsized) piece of acting that is her most piercing work in years. Alluring and frighteningly vituperative, Lydia is a beguiling creation, all the more villainous for the beauty that birthed her.

Full review on Vanity Fair

Tár review by Guy Lodge

From the get-go, then, Tár aims to disrupt conventional rhythms — as does its eponymous protagonist Lydia Tár (Blanchett), a celebrated classical conductor known worldwide for her unorthodox approach to music, but known only to her most intimate inner circle for personal dealings that cross the line from unorthodox to dysfunctionally toxic. She has every award available to her art, her lifelong dream job conducting the Berlin Philharmonic, a cavernous Architectural Digest apartment that she shares with her beautiful, gifted violinist partner Sharon (Nina Hoss) and their angelic moppet of a daughter — everything, in other words. And when has having everything ever boded well for a character? Tár feels jinxed from the film’s first full scene, an agonisingly obsequious onstage Q&A — played by Blanchett with a performative graciousness that feels wryly knowing and meta — in which her manifold achievements are trotted out like a list of potential charges against her.

Yet it takes us time to spot the makings of her downfall, in part because Field’s film so cleverly guards our access to her, gradually peeling away her shellacked layers of public decorum and lucidity and wit, making us — and, one feels, the forever surrounded Tár — wait and wait to get her alone. This isn’t a typically romantic portrait of unhinged genius: the maestro (and don’t you dare call her maestra) here has an implacable core of self-knowledge and self-belief that make her spiralling sociopathic impulses all the harder to square with her sleek-suited image. Suffice it to say that MeToo-era queries of abuse, offence and cancellation are raised in the film’s complex, prickly inquiry; you can probably guess that Field and Blanchett have no interest in tidy answers.

Not since Carol has Blanchett got to negotiate this degree of inner turmoil on screen; not since her Oscar-winning turn in Blue Jasmine has a part stretched to both the most icily contained and hotly raging extremes of her range. In a film expressly about the power granted by untouchable brilliance, hers makes this impossible moral minefield of a woman warm to the touch; the unpredictable tics and intricately detailed facial maps of thinking that she grants Tár make this nearly three-hour film consistently riveting, as tense as it is languid.

Full review here.

Interview

Cate Blanchett changes music and conquers Venice with the film Tàr by director Todd Field

The first noteworthy style is the look of our conductor, Lydia Tár, a.k.a the shining Cate Blanchett; a tailor-made men’s suit, a white shirt, the blond hair on her shoulders, freshly combed, and pale make-up showcased both on the podium and in the brutalist house she shares in Berlin with her violinist wife Sharon (Nina Hoss). In rhythm, in heartbeats, in the mathematical simplicity of music is defined Lydia’s imaginary life, told in Todd Field’s film Tár, which narrates the rise and fall of the Berlin Philharmonic’s film female conductor. Cate, good friend of the Venice Film Festival, whom she supported in attendance in the darkest moments of the Covid pandemic, returns to shine, with a role tailored to her legend: a eulogy of emancipation in a world as separate and non-inclusive as the world of classical music, but spiced up with the complexities of the decision-making and the dramas of the post #MeToo era. “My character”, said the actress, “is enigmatic, she confronts power and is at the top of her career, a loner in the female world. But her life is difficult, the big apparatuses and financiers press her; every time she must prove something more. Such a struggle exhausts her. It is always more difficult for a woman in a top position”. Tár is a film with a very broad and visionary ambition, for which the Australian Blanchett studied piano, an American accent, German, and posture to be able to conduct the orchestra from the podium in a credible way. Venice is already ready to beat time with her, Cate, an absolute icon who certainly mirrors Lydia’s passion, success, and eagerness to live.

Press Junket

Day 3

79th Venice Film Festival – Day 3
Source: Variety, Elle Italia,

Cate Blanchett on Vanity Fair European Edition
Posted on
Aug 31, 2022

Cate Blanchett on Vanity Fair European Edition

Hi, Cate Blanchett fans!

TÁR’s premiere is upon us but before that Cate Blanchett has appeared on three different covers for Vanity Fair, while this is not the first time she has appeared on multiple covers for the same issue, this is the first time where it is multiple covers for three different countries (France, Italy, and Spain) released at the same time. Vanity Fair France, Italy, and Spain September 2022 issue go on sale today, August 31st. Check out the interview and photos below.

Vanity Fair France — We made this singular choice for the cover of this September Issue, with this portrait of Cate Blanchett photographed by the duo Luigi and Iango. The session took place in London at the beginning of the summer and each edition of Vanity Fair in Europe could choose its image of the Australian star for the front page. We let you imagine the debates within our editorial staff, on the framing, the intensity of the gaze and the chroma. Is black and white the subtraction of life and color? Or the multiplication of contrasts and emotion? We leave you to judge.

Vanity Fair Italy — Three different covers, an international diva and a couple of the most important photographers in the world. To celebrate the Venice Film Festival, Vanity Fair arrives on newsstands with a triple European special edition dedicated to Cate Blanchett, the artist who presents the film Tár in competition at the Venetian festival.

The actress was photographed exclusively by Luigi & Iango, a duo of star photographers with whom the magazine has started a collaboration that will see new and surprising chapters over the next year.

Vanity Fair Spain — The Australian actress returns to the big screen as the protagonist of Tár, the new film by Todd Field. Regarding her presentation at the Venice Film Festival, Antonella Bussi talks via video call with Cate Blanchett about this film in which she gives life to an orchestra conductor and where, among others, topics such as the culture of cancellation and the use of power.

VANITY FAIR European Edition – September 2022
This is a google translated interview from Spanish to English. You can find the link to the original text in Spanish, Italian and French below.

In Tár, Todd Field’s latest film, actress Cate Blanchett plays an orchestra conductor, a role for which she had to become familiar with a job traditionally attributed to men. It is one of the most anticipated projects among those that will be presented these days at the Venice Film Festival, and it deals with issues such as the fear of the passage of time, the abuse of power or the cancellation policy. Many times we have needed female examples that make us believe that evolution is possible, that male hegemony is a questionable totem. “In principle, the conductor should have been a man, in which case perhaps we would talk about it in another way. But the fact that she is a woman takes us into a space from which we can look at the issue more impartially,” the Australian tells us in our cover interview. Art has to be years ahead of society for us to visualize goals and imagine other possible futures. And for that we need the cinema, we need the stars that inspire us, we need Blanchett, sure of herself and sure of working with Field. There is always something exciting about mythical and unprolific authors. Every time they open their mouths we are sure that they will say important things.

If in September 2020, the first year of the pandemic, Cate Blanchett (Ivanhoe, Australia, 1969) presided over the Venice Film Festival jury with her resilient spirit, now, two years later, the actress returns to the Lido to compete in an edition that promises to be full of great stories and illustrious names. In the long afternoon video call that we share, Blanchett tells us about the topics that Tár addresses, the film in which she is the absolute protagonist. I log in ahead of time and am surprised to see that she’s already there. The black screen is named after Cate Upton. It is the surname of her husband, Andrew, the Australian playwright and filmmaker with whom she has been married for 25 years. She wears her hair up, glasses, a beige linen suit, and no makeup. Her voice sounds powerful: “I was looking at email,” she clarifies with her kitchen as a backdrop.

Tár is the long-awaited film by Todd Field, who returns to directing 15 years after his success with Little Children. Lydia Tár, the character played by Blanchett, is a conductor in full professional swing, but also a woman whose shadows are accentuated by the world in which she moves.

— Tár is a brave film. What was it that convinced you to play the lead?

— Look, first of all, it’s already rare for Todd to make a movie. So I wasted no time when he called me on the phone to tell me “I have a script”. And in general, I tend to be slow. I have a thousand things to think about and it takes me two weeks to read a script, but I devoured this one in 24 hours. It was very visceral. I felt that it was about something that affected my body and my spirit. That, coupled with the desire to work with Todd, was decisive in convincing me.

—How does one prepare to play a conductor?

— I asked a friend who is and I realized that it is a bit like being the center of the stage: if you do not have the perception of space, if you do not occupy it, the public does not follow you, does not know where to look or takes you seriously.

I have to be honest: on the one hand I was terrified like never before in my life. There was the pandemic, I had also lived through it, so the musicians had not played important works for a long time and, as if that were not enough, when I raised my arm to mark the rhythm I did it a little out of time. But then I realized that they needed me and I desperately needed them, and somehow the music would flow. I learned the gestures and I am unable to express how wonderful it is to feel how the music flows. It is an engaging experience!

—Indeed, it must be incredible that so many people depend on your gestures.

— All the conductors I have consulted have told me that you have to dominate the podium, you cannot show weakness. It’s a trick, like those of theater actors. You have to pretend that you know what you’re doing even if that’s not the case, it’s a question of leadership. In Australia, I participated in a leadership program and we wonder what it will be like to lead in 20, 30, 50 years. My suspicion is that being a leader will have to include the ability to say “I don’t know” or “I don’t know yet.” Have doubts and admit them. But nowadays the model is different: if you are a leader you have to say “I know, so follow me”. It’s a problem, but that’s the way things are today.

—Lydia, the protagonist, seems to experience in first person all those great issues that today divide public opinion. The first of them, that of age and the passage of time…

— Lydia is turning 50, a special moment in anyone’s life. At that point, you are aware of everything you have already done and wonder how much time you have left and what to do with it. You are at the peak of your life and your career. But what happens when you start to descend from the mountain? We always talk about success, but the path to get there is, without a doubt, much easier than that of relegation, that of failure. That is the theme of the film.

— Another issue raised by the film is the use of power by those who occupy a dominant position. Lydia, for example, uses her charisma to obtain sexual favors, to not always be correct or honest…

— Certainly. And clearly that is unacceptable. The power system can lead anyone to separate from herself. In principle, the conductor should have been a man, in which case we might talk about the subject in another way. But the fact that she is a woman brings us to a space from which we can analyze the matter more impartially. The world of classical music is one of masters, comparisons to composers of the past, and greatness that raises the question of what is allowed in the pursuit of excellence. The question is simple: “What are we allowed once we occupy a position of power? To what extent might the prodigies you meet have been corrupted by it? The film deliberately avoids giving an answer and perhaps doesn’t want to give one either, because questions are always more powerful than any answer. At this historical moment it is interesting to first understand what is happening, without judging. The power of art lies precisely in that: in helping us understand what is in front of us and only then allowing us to judge it.

—Lydia has a partner and an adopted daughter whom she loves and professes great tenderness. In it there is family intimacy but also an opposite desire, that of escaping.

— She is restless because sometimes, when things are going well for you, you feel the need to break them. For artists, creating something often means making something else die. Of course, that’s not what I do, but I get it.

—The film also addresses the issue of cancel culture, of suppression in the name of political correctness. What do you think about that?

— Making movies, music, theater or art is not a political act. What can become so is the way it is spread, digested and processed, but its production itself is not. In my opinion, the reflection that must be done is another: what do we study? I am in favor of studying how things happen in a historical context and asking questions. For example: how did women think at a certain time? Certain ideas today may seem dangerous, but erasing them and not talking about them can exacerbate the danger, because then we would be condemned to repeat the same mistakes. There must be confrontation and at the same time we must confront the systems that perpetuate abuse and prejudice. Only through these actions can progress be built.

—How much of Cate is there in the character of Lydia?

— Lydia’s character made me think a lot about what is allowed and considered acceptable in the pursuit of excellence. I recently spoke with an actress friend about how important Stella Adler, a great acting teacher, was for her career. However, today Stella would be “cancelled” and her methods would be considered excessively brutal. I think that in art a certain brutality is necessary, because if you want to stand out you must have a judge within you, be hard on yourself, have a strong critical sense of what you do. Who cares what others think, it is to their interior that any writer, actor, musician or painter must be accountable, to the point of always demanding more. But this way of generating excellence that we have used for decades no longer works because kindness is now required.

But then what is the price of excellence?

— I do not know. And I don’t think I’m great. Excellence is my mistress, I court her every day, but she is very elusive!

More than a lover, perhaps a companion.

— I hope so. However, excellence is different from success. I know many artists who have not received the recognition they deserve. That is the cruelty and riskiness of my profession. And then the obsession with legacy comes into play, as it does with my character. We see this in the Elon Musks of the world, capable of doing anything in order to leave a mark. There is a great human cost, as well as personal and artistic, in that. But what we leave to those who come after is totally out of our control and it is arrogant to think otherwise. You can only decide what you will leave to your children.

—Is it so difficult to know how to manage success?

—Someone told me at the beginning of my career that success reveals who you are, and I think it’s true because it exposes you a lot. But failure is an exceptional teacher.

— How do you survive failure?

— You can always be reborn, right? As long as you’re strong enough. T.S. Eliot said: “In my end is my beginning.” And there is always a new chapter, which sometimes requires a fall to exist. But humility is needed, another undervalued virtue. That’s why for me the film has an optimistic ending, despite everything. 

— You’re going to Venice to attend the Venice Film Festival, a big event that we hope will encourage people to return to the cinemas.

— It will be great to go to Venice and, of course, I hope that the festival will help to fill the cinemas. It has been and continues to be a difficult time for everyone. One of little leadership and great economic instability. Women are always the first affected, they lose their rights and control over their bodies. This instability amplifies our desire to get together, listen to music, go out. And to go to the movies, where you find stories that also help to delve into yourself, into the person you are. With the pandemic we have had a great collective experience and we must realize that we are all in this together and we have to be humble.

—You speak of humility, but yours is a truly extraordinary life…

— I’ll tell you one thing: this summer there has been an incredible heat wave in Europe and we Australians are obsessed with water and how to conserve it. Five years ago we wanted to buy several large warehouses for our house in England and people thought we were crazy because it always rains here. But there had already been a drought in Sussex and now we are in this heat. Today I have been watering my raspberries at five in the morning using the water from the tank so as not to waste the main one. If we run out of water, no matter who you are or where you are, we are out of it. We are all connected and we have to be humble.

Sources: VF France, VF Italy, VF Spain, French Interview, Italian Interview, Spanish Interview

Madame Figaro (Magazine Scan)
Posted on
Jul 1, 2022

Madame Figaro (Magazine Scan)

Hello!

Madame Figaro has interviewed Cate Blanchett and Steven Stokey-Daley during LVMH Prize at the beginning of June 2022. The interview below is Google translated. You can check the scan for the original text.

Madame Figaro – July 1st 2022
 

“GOSH … IT’S LIKE AN OSCAR!” The young Englishman Steven Stokey-Daley hugs the golden trophy of the 9th edition of the LVMH Prize, rewarding a promising talent in fashion, an actress multi-Oscar winner, a sublime woman with a magnetic and benevolent gaze, has just presented it to him. On this improvised stage, Cate Blanchett does not play. The Australian-American star is really happy to see the emergence of this young generation of creators focused on beauty and ethics. This prize has already been a springboard for today’s world-renowned creators, such as Nensi Dojaka (winner of the previous edition), Jacquemus or Marine Serre. The endowment of 300,000 euros and mentoring within the LVMH group aim to help the winner develop and promote his brand. Like all the nominees, Steven Stokey-Daley is inhabited by the historical vocation of fashion designers: to make people dream. But also by the new role taken on by this prodigious industry: to be a vector of sustainable development. It is in this spirit that he has designed, under his label S.S.Daley, a collection that diverts the codes of the fan tassed wardrobe of English private schools, a universe opposed to his own since he comes from the working class of Liverpool. Recovered materials, vintage pieces…, he even transformed old napkins dedicated to tea service into patchwork shirts! The 26-year-old designer has already worked for Alexander McQueen and Tom Ford, and also dresses pop star Harry Styles, actress Emma Corrin and singer Dua Lipa.  There’s punk in it, but soft, rounded, dotted with flowery patterns. His fashion thwarts identities and questions the unwritten rules of tradition. And we are delighted, on this British Jubilee Day, to launch this meeting between these two subjects of Her Majesty.

MADAME FIGARO: Steven Stokey-Daley, how do you feel?

STEVEN STOKEY-DALEY: The truth? I did not expect that! I’m still in shock, and so happy!

MF: Cate Blanchett, what did you think of the finalists and the winner?

CATE BLANCHETT: I am amazed by everyone, and I must say quite moved by the message and the story of Steven’s collection, which values British craftsmen. I am originally from Australia, I know the fragility of certain know-how lost forever. I think of those women who mastered old techniques of printing and dyeing fabrics… (She turns to him.) That you managed to show us that with your collection really touched me.

S.S.D: Did you notice? Thanks! In fact, I started working on this collection during the pandemic, in full confinement. Nothing entered the interior of the country, so I made it my mission to find the best local artisans, to highlight our heritage, those who work with silk, spinners and spinners of Scottish wool, weavers  and Irish linen weavers…

MF: Do you think the pandemic has taught us anything or that we will go back to business as before?

S.S.D: This period inevitably changed our outlook and our way of working. Forced to look at what we had in us, inside, we notably rediscovered small local crafts.

CB: I think that the big brands are inspired by this emerging generation of designers who have in their DNA a responsible approach in terms of practice, image and relationships with others. Even in how they treat employees and customers, they drive change.

S.S.D.: My generation shares the same values, it’s almost second nature for us to be eco-responsible. But if I did upcycling, it’s also because I didn’t have the means to buy luxurious fabrics… By pushing me to play with materials that I had already used, sustainable development also allowed me to do my job!

MF: On this subject, you preach a convinced: Cate Blanchett you made the headlines for having walked the red carpet with dresses that you had already worn in the past…

CB: I love beautiful things, and when we have the privilege and the luxury of being able to wear a couture garment made expressly for you, it would not only be sad but inelegant and absurd to wear it only once! You’ll laugh, when I arrived in Cannes with a sumptuous dress, some journalists, looking a little embarrassed for me, slipped me quietly: “I think you’ve already worn it…” I replied: “Yes, I know!” Where I had thought of a form of celebration, they saw inattention…

S.S.D.: This is a way of educating and sensitizing the public: showing the world that a piece of clothing can live for more than the time of an evening, however chic it may be!

MF: Your professions, fashion and cinema shape the imagination and have often accompanied societal changes, sometimes announcing them: do you think this is still the case?

CB: The future is always shaped in the minds of artists. This is where the dream begins. We tell a story and we invite people to enter it whether it’s a film, a fashion collection, a choreography or a book… They enter an imaginary landscape without ideas preconceived, all possibilities open, offered. To come back more specifically to your question, in our respective sectors, even if we are not the worst polluters, we produce quite a lot of waste. We can do better and demonstrate that it is possible to reduce our carbon impact.

S.S.D.: Fashion is a form of theater that carries a message about society and can drive change. It shows how to be poetic, how to dream and be ambitious without doing any damage!

CB: Yes!

MF: Cate Blanchett, thanks to your profession, you have been able to wear clothes from all eras, even the clothes of Queen Elizabeth, which are not very practical…

CB: Everything can be reinterpreted today, Nicolas Ghesquière (artistic director of Louis  Vuitton, editor’s note) did well with basket dresses in its fashion shows! I love inhabiting these silhouettes as much as their minds: it’s the great privilege to enter into the imagination of creators. For me, even if obviously the relationship with the director is essential, when I have to interpret a character, it is with the costume designer that I start the conversation, with them the character‘s psychology takes shape. Basically, there is a big difference between what we think we are, who we aspire to be and who we really are… Often, we dress either to hide ourselves or to reveal ourselves. Fashion understands this perfectly, it accompanies and facilitates our desires, our aims and our inspirations.

S.S.D.: Today, fashion no longer prescribes lines to follow all drawn, everyone can draw from a thousand different wardrobes without having to display who they are…

CB: Yes, I agree. People often ask me questions about identity, but – and it is. Maybe that’s why I’m an actress – my identity is so fluid! Obviously I am not an amoeba, I have a solid moral base and strong convictions, but my identity is fluid…

S.S.D.: I understand perfectly. I started doing theater as a teenager, in a national company.  For a while, I even thought I was going to make it my career. It’s interesting what you say about building a character through clothing. Me, I first think of a character to define his look.

MF: So it’s not the habit that makes the monk…

S.S.D.: No, it is the monk who makes the habit, the character defines the clothes. For a collection, I create my little universe with six or seven characters…

CB: Oh, it’s exciting!

S.S.D.: Thank you… I’m writing their whole story, their background… It’s a lot of work, too much writing!  But all this information defines the garment, the cut, the material, the details, what the person can do with it and in what situation…

MF: Artists, by definition, you live from the desire of the other: is this need for public recognition a brake or a driving force?

CB: Paying attention to how you are going to be greeted before you even start work is putting the cart before the horse, a dangerous way to work. You can’t think about what’s going to happen first. I imagine it’s the same for a collection, you just have to move forward, one step after another.

S.S.D.: Absolutely. I forbid myself to think about the outcome, or how the result of my work will be perceived. Otherwise, I couldn’t move forward…

CB: We wouldn’t get up in the morning… But it takes courage. I, for example, am full of fears and doubts. But at the end of the day, we get up and do what we have to do. When the film comes out, I go back under the duvet thinking: “Anyway, no one is going to see it”…and that’s often the case! (Laughs.) The idea of ??doing everything for people to like, it’s so unpleasant, precisely. And at the same time, it‘s so brutal to be on display, to do a job that lives off the public.

MF: Do prizes help you move forward?

CB: I experienced something very strange this year, and very unexpected: I received three important awards. You have to understand that as an Australian, I would never have imagined being recognized and rewarded outside of my culture. I still can’t believe it, it’s very intimidating for me and I imagine you, Steven, must feel the same way when this international group that is LVMH gives you a prize…. At the same time, the prizes are gratifying, but it is the failures that allow us to learn. The path to success—whatever that word means—is a bumpy road. I know, it sounds a bit like advice from a mother, but it‘s so true: you do not learn much by winning a prize, you should not lock yourself into it.

MF: Cate Blanchett, based on your experience, would you have any advice to give him?

CB: Oh no! Advice is unbearable. Ask my children, I’m constantly on their backs.

MF: So, any question you would like to ask him?

CB: Two. What music inspires you? And where do you see yourself in five years?

S.S.D.: Kate Bush! I’m obsessed with her, I listened to her a lot during the preparation of this collection. And in five years… Gosh… I don’t know. I hope to be happy and in agreement with my choices.

CB: Who would you like to collaborate with? No, do not answer, call me next week! (Laughs.)

Cate Blanchett and Cindy Sherman on New York Times
Posted on
May 4, 2022

Cate Blanchett and Cindy Sherman on New York Times

Ciao, everyone!

Last week Cate went to an exhibition by Cindy Sherman while she was in New York and NYT has released an article about the visit.

On the 45th anniversary of Sherman’s acclaimed series “Untitled Film Stills,” they toured her show, discussing what an image, or a smile, may reveal.

Cindy Sherman and Cate Blanchett had only met in passing, a few times. And yet there is an identifiable thread connecting the work of Sherman, the artist who (dis)appears, disguised in character, in her own photographs, and Blanchett, the protean and Oscar-winning Australian actress. On a gray morning in late April, the women, mutual admirers, convened at Hauser & Wirth gallery on the Upper East Side of Manhattan, where a collection of Sherman’s critically acclaimed early work opened May 4, and where they quickly forged a connection.

“I’m a massive fan,” said Blanchett, proving her adulation with detailed questions, both technical (does Sherman use a timer?) and philosophical (“where does rhythm sit in photography?”). Blanchett had whisked into town to receive an award from Film at Lincoln Center, before heading back to London, where she is filming “Disclaimer,” an Apple TV+ series directed by Alfonso Cuarón.

Sherman was busy overseeing the exhibition, which includes all 70 of her untitled film stills, the black-and-white photos that put her on the map, and shook up the art world, starting in the late ’70s, as well as her subsequent rear screen projection and centerfold images, all in color and all starring her. Sherman, 68, and Blanchett, who turns 53 this month, toured the exhibition together, eagerly finding commonalities.

“She really takes on different personas,” Sherman said admiringly.

In 2015, Blanchett performed in “Manifesto,” a 13-channel video art installation by the German artist Julian Rosefeldt, in which she played at least a dozen different characters, from news anchor to homeless man, reciting various artistic and political manifestoes. (It was later released as a feature film.) “That was inspiring,” Sherman said, adding that she felt like she’d done some of those characters too. “It was a nice confirmation, of feeling like we’re on the same wavelength a little bit.”

In what was less a conversation than a cosmic matchup, they talked about getting into character, childhood play, the value of makeup, and the horror of clowns. These are edited excerpts.

How do you make use of each others’ work?

CATE BLANCHETT Filmmaking can be very literal. So, I find anything you can do to move yourself to a more abstract space. Sometimes it’s a piece of music. But invariably it’s an object. Oftentimes, I’ll make a whole tear sheet composition about the feeling around something I can’t articulate, images that had nothing to do on a conscious level with what I’m doing. Like the Clown series, for instance. I can’t even begin to express my revulsion and terror — the visceral feeling of seeing those works [Sherman’s series of lurid clowns]. I tore it out for [the Guillermo del Toro film] “Nightmare Alley” recently.

I find if you slam something left of field up against what you need to do as an actor, it can create something slightly more ambiguous. It doesn’t always work.

CINDY SHERMAN I don’t really get into the characters that way, but there’s a big difference between what I’m doing and acting. I’m just standing still, and because I’m also working alone, I can really mix it up, do the complete opposite of what I thought the character should do — and sometimes that works.

Did either of you grow up thinking that you had very malleable faces?

SHERMAN I didn’t.

BLANCHETT No. I used to do this thing with my sister where she would dress me up, stand me in front of the mirror and give me a name. Then I’d have to figure out that person. My favorite one — we kept saying we were going to make a movie about him — his name was Piggy Trucker. He was a little short guy, a bit like an Australian Wally Shawn [the actor and playwright Wallace Shawn], and he drove a pig truck. [I was] probably about 7, 8 years old.

SHERMAN It was playing dress-up. My mother would go to the local thrift store and for 10 cents buy these old prom dresses from the ’40s or ’50s. There was also, I think it was my great-grandmother’s clothes that were left in the basement. I discovered them, and it was like, wow. It looked like old lady clothes, but also the pinafore type of things. When I was 10 or 12, I would put them on, stuff socks to hang down to the waist to look like old lady [breasts], and walk around the block.

BLANCHETT [laughing, pretending to be Sherman] I knew then I wanted to be an artist!

Often, these things start as play and then the exploration becomes, I imagine, a seamless transition. It’s not conscious — some of these things, you’re doing without thinking.

SHERMAN Yeah. When I was in college, I was putting makeup on and transforming myself in my bedroom when I was studying painting. I think I was working out my frustration with whatever was going on in my life, and my boyfriend at the time finally just said, you know, maybe this is what you should be taking pictures of. And that seemed like a good idea.

Sometimes, I’ll be making up [a character] and look in the mirror as I pose, and I suddenly feel like I don’t recognize [myself]. Wow, where did she come from? It’s kind of spooky, kind of cool. [To Blanchett] How do you come up with characters? Like all those for Julian [Rosefeldt]?

BLANCHETT It was so fast. It was quite interesting for me actually, because you can get really hung up on your character’s back story, particularly in American acting culture. It’s all about your connection — if your mother died or father died, then use that. That is really alien to me anyway. I’ll talk to my therapist about that. What was really great about the Julian thing was, there was no psychology. It was just a series of actions. Most of the time, we’re not thinking about what makes us tick. You’re doing things. [To Sherman] You’ve done a few male incarnations too.

SHERMAN That was a lot harder. I had to just become confident in a way that I, as a woman, maybe am not. Once I relaxed into the character, I [sometimes] felt, this is a very sensitive guy.

Sometimes, I’ll be making up [a character] and look in the mirror as I pose, and I suddenly feel like I don’t recognize [myself]. Wow, where did she come from? It’s kind of spooky, kind of cool. [To Blanchett] How do you come up with characters? Like all those for Julian [Rosefeldt]?

BLANCHETT It was so fast. It was quite interesting for me actually, because you can get really hung up on your character’s back story, particularly in American acting culture. It’s all about your connection — if your mother died or father died, then use that. That is really alien to me anyway. I’ll talk to my therapist about that. What was really great about the Julian thing was, there was no psychology. It was just a series of actions. Most of the time, we’re not thinking about what makes us tick. You’re doing things. [To Sherman] You’ve done a few male incarnations too.


Click images for higher resolution

SHERMAN That was a lot harder. I had to just become confident in a way that I, as a woman, maybe am not. Once I relaxed into the character, I [sometimes] felt, this is a very sensitive guy.

BLANCHETT Often a smile is a defense. It’s actually a shut down rather than an invitation. When you smile with your eyes, that’s where the genuine thing comes from. One of the many things that’s so powerful about your work is creating that expectation [of emotion] but not delivering, so there’s an eerie sort of hollowness to it. It’s the disconnect from what we present to who we actually are, and that vacuum between the two. It’s often the space where all our personal horror sits.

[To Cindy]It’s interesting, you go through this process by yourself. I’m not a great fan of the monologue. I did a play once, a Botho Strauss play, where I had a monologue for 25 minutes. It was like, wow, this is lonely. Often on films, there’s zero rehearsal or even conversation about stuff. You’re just meant to walk on and deliver. You’re thinking about the result, and I find that a pretty deathly way to work.

I’ve realized over the years that my relationship with the costume designer and the hair and makeup people is really profound. It’s profound to see what the character looks like, and therefore how a character might move or project. Those departments — so-called “female guilds” — are often things that male directors profess to know nothing about. “I’ll just leave that bit to you.”

I played Elizabeth I years ago and the director, whom l love and respect, was always, I just want the hair down, flowing in the wind. I said, have you seen the pictures of Elizabeth I? There weren’t that many like that.

But it’s because [some male directors] need to feel attracted. They can’t see that there are other ways — and not even in a sexual way — you can be alluring. You can draw an audience into a character’s experience in many different ways. I keep going back to the clown images — you can tell I’m really disturbed by them. When you’re taking them, do you think: I want people to feel repulsed by this?

SHERMAN Even the repulsive things I’ve done — grotesque things with rotten food — I want people to feel kind of repulsed, but attracted and laughing at it, all at once. I don’t want people to take it too seriously.

I’ve always been attracted to horror movies, and I equate that to the feeling of being on a roller coaster. You know you’re not going to fall out, but you can still be terrified. And then it’s all over. I think that’s how fairy tales functioned way back when. I was trying to do that with my work, to make it seem from a distance like, oh, pretty colors! And up close — oh, it’s a little awful. But then you get the joke.

In the mid-80s, this company in Paris asked me if I would make some ads for French Vogue. That’s when I started playing with fake blood and fake noses. They hated it, of course. That inspired me to make it much more dark. I got fake scar tissue and fake body parts. Eventually I found these prosthetics — fake [breasts and butts] was the perfect way to start playing with nudity, partly because I think I’ve been hiding in the work. The idea of revealing any part of myself literally was never the point.

BLANCHETT I’m quite kinesthetic — that’s why I love being onstage, I feel like I’m always better in movement. You’re so incredible, there’s so much movement, and then, it’s all captured in this vibrating, still image.

It’s like when you go and see dance. It’s that moment of [sharp inhale] suspension before someone lands that’s so thrilling. Andso great that [your photographs] are not titled. You’re not led to make any particular sense of them. These works, it’s like a litmus test. Thank you.

Source: New York Times

Cate Blanchett talks about addressing the climate crisis in a new podcast
Posted on
Apr 17, 2022

Cate Blanchett talks about addressing the climate crisis in a new podcast

Happy Sunday, everyone!

There is a new interview from The Observer with Cate and Danny Kennedy for their Audible original podcast, Climate of Change. Check out the magazine scan and you can read a part of it below.

Cate Blanchett talks about addressing the climate crisis in a new podcast

Cate Blanchett is Australian. I mention this fact because I’d forgotten it, somehow, so her manner of speaking — upbeat, front-footed, Aussie-accented — comes as a surprise. And I’ve spent quite some time hearing her talk over the past couple of days, as she has a new podcast, Climate of Change, which she hosts with her friend Danny Kennedy, another Australian. Kennedy is a CEO of an environmental non-profit, New Energy Nexus, and runs the California Clean Energy Fund. Their podcast, as you may have guessed from the title, is about the climate emergency. But before you come over all world-weary and what’s-the-point, before you get tetchy about preachy celebrities telling us stuff we already know, you might as well stop. Blanchett is already there.

“You can recycle up the wazoo, Miranda,” she says (told you she was Australian), “but it can just make you feel more cross and isolated and panicky… I get that. What we’re trying to do with the podcast is to turn the magnet towards optimism in these incredibly pessimistic times.:

We’re talking via video link, but Blanchett has her camera turned off. Kennedy, who’s in his office in Oakland, California, hasn’t and he wanders around, showing us the view from the window (just some more offices really). Blanchett’s location is a secret, due to heavy-handed PRs and her natural privacy, though I’d guess she’s in the UK (she lives in Sussex).

The location doesn’t really matter, of course, as they’re talking about a worldwide problem. The climate crisis is very real — we need to halve the world’s carbon emissions by 2030 —and becoming ever more so for those living in Europe, with our reliance on Russian gas. If you think about it all too hard, you can panic.

And Blanchett does, she says. In the first episode, she chats into the mic as she drives her electric car towards London and discusses how overwhelmed she can feel by the “tide of bad news”. She describes herself as a “mother of four” (the oldest is 20, the youngest seven) and an “optimistic pessimist”, and confesses to range anxiety as she forgot to plug in her car to charge last night. Her role in the show is to represent the listener, which is weird as she’s globally famous. But Blanchett’s approach is relatable: she wonders aloud if making an effort is worth it. Why bother recycling, up the wazoo or no, if the tipping point to the end of the worlds is so close and the people in power are still locked into fossil fuels?

She and Kennedy made Climate of Change earlier this year, mostly in a studio in east London. They have some strong guests: Adam McKay, the director of Don’t Look Up, makes an appearance, as does Prince William, to talk about his Earthshot prize. (He explains it very well, actually; it sounds much more interesting than I’d realized.) Still, at the start of the series, in common with many climate emergency podcasts, the discussion can feel rather broad, with smudgy chat about tech and innovation and the “disruptive decade”. At one point, someone says” “We are the stories we tell ourselves,” which might be true but doesn’t help that much with the gas bill. By episode two, however, the show is focusing on real-life solutions and these are undoubtedly encouraging. We meet a Filipino woman who’s designed a clean energy lamp that local fishermen can use; and the Londoner who’s brought gardening to train station. One California company, OhmConnect, has such a good idea about reducing at-home electricity that I try to sign up. But it’s not yet available in the UK.

What they’re trying to do with the podcast, say Kennedy, is to appeal to people like me. To show us tired recyclers that the answers to environmental catastrophe are already out there. “The choir has heard the doom and gloom song for a long time,” he says, “and sung it from the song sheet, like a good choir would. What they haven’t been taught is the song about solutions and the fact we’ve got them.”

“A lot of people are feeling fatigued,” says Blanchett. “I think we need a sense of, ‘No don’t worry, these changes are happening.’ Because they are.”

Blanchett and Kennedy met in Sydney in the early 1990s. They were part of the same social circle – Kennedy wrote a play with Andrew Upton, now Blanchett’s husband. Later, in 2008, Blanchett and Upton were appointed co-artistic directors of Sydney Theatre Company and decided to try to make the building, an old timber-and-glass warehouse, as ecologically sound as possible. They enlisted Kennedy to help. He brought in consultants – “one guy called Gavin Gilchrist: Cate, if you recall, the fellow who did the toilet flushes” – and helped redo the insulation to make the building “tighter and better, even though it was a pretty old, leaky, wooden construction”.

The biggest proposal was the installation of solar energy panels, which proved difficult to get past heritage rules and the general cynicism of Sydney’s county council. “We were met by a lot of internal skepticism and external opposition,” remembers Blanchett. “You know: ‘What has this to do with a cultural institution, what does it have to do with making theatre, why are we bothering?’ So we thought: ‘OK, we’ll be at the theatre company for 10 years and we have a whole suite of ambitions. And the solar panels will probably be the last one we achieve, if we do.’ And it was the first one we achieved.”

It took two years. There are now 1,906 solar panels powering lights, ventilation and air con across the building. Kennedy thinks that Blanchett and Upton’s theatre project was “a catalystic moment” that kickstarted a sense in Australia that solar power was viable and cost-effective; the country is now, he says, the biggest solar market in the developed world. Blanchett thinks of it as a “symbolic gesture” that, when added to an industry shift, “all adds up”.

So she and Kennedy have known each other for ages (Blanchett recently found some old photos of his daughters when they were little) and then, last summer, Kennedy came to stay with Blanchett and her family in Cornwall. They took him to the Eden Project, which he loved, and the podcast project was started there. They visited “these old mines that are engaged in modern, clean-energy transition minerals and materials production – I’m a geek, I love that,” he says. For Blanchett, the show was “a much more primal urge. We sort of had to. I had so many questions.”

I ask her about using celebrity to get attention on important issues. “Look,” she says, “if you have your two minutes in the sun, you can highlight solar technology or you can highlight an underwear line. But I’m genuine when I say that there were a lot of questions, embarrassingly ignorant questions, that I’ve been asking Danny over the decades. And I thought, ‘Well, I can’t be alone.’ When you ask a question, however ignorant or ill-informed it may be, you’re asking to open a door to a deeper understanding.”

Climate of Change podcast is out now on Audible.

The rest of the interview is on the magazine scan.

The New Review – April 17th 2022

Cate Blanchett: “I want to spend more time being myself”
Posted on
Mar 13, 2022

Cate Blanchett: “I want to spend more time being myself”

Happy Sunday, everyone!

A new interview with Cate has been released. This is a Google translated interview from Spanish to English.

Cate Blanchett: “I spend most of my time being someone else. I want to spend more time being myself.”

Other than her two Oscars, Cate has added in recent weeks from Europe the first International Goya and a César for her entire career. Actress, producer, and farmer, the versatile Australian performer, also an ambassador for Armani fragrances, she confesses that with age she feels more limitations when it comes to acting. She laments that she is sometimes still the only woman on a shoot and she fears that the platforms will become monopolies.

Cate Blanchett (Melbourne, 52 years old) thinks there are too many awards. And she knows what she’s talking about. Because she has almost all of them: two Oscars, three Baftas, three Golden Globes and three from the Screen Actors Guild. As if they weren’t enough, she has now embarked on the conquest of Europe. She has just received an Honorary César in Paris and a month ago she picked up the International Goya from Pedro Almodóvar, with whom she is going to shoot the first film in English by the Spanish director, A Manual for Cleaning Women. She welcomes us in Valencia, hours before hugging him and thanking him for a recognition that serves to strengthen ties with the Latin film industry. She wears trainers and a metallic pink suit by Giorgio Armani, the firm whose line of fragrances is an ambassador. Under the jacket, the skin, and around her neck, several golden chains with padlocks and snake heads that she plays with as she speaks. After premiering Nightmare Alley last February under the direction of Guillermo del Toro and dazzling the world with her false teeth in Don’t Look Up, she says she wants to spend more time playing herself. Normal: the character is exciting.

In an interview Julia Roberts did for Interview Magazine, you said that as you gets older, you find acting more and more humiliating.

It gets more difficult. Why? I think that when you work in the artistic field — also if you are, for example, a writer—, this field becomes more and more entangled in your life. I spend most of my time being someone else, and I think I want to spend more time being myself. Also, as an actor you are very exposed. I do not know how to explain it. Six years ago [photographer and artist] Cindy Sherman started using digital effects to create her works [in which she often appears]. And people threw their hands in their heads because she had always used prosthetics and had worked her body as if it were a malleable object. She simply explained that she had reached an age where she was less malleable. And that she had to resort to digital technology to maintain the same skill.

Is it the same as an actor?

You feel a bit the same, that your palette is getting smaller and smaller. But the truth is that I am not very interested in digital advances. What I like are magic tricks, I still scream when someone does one in front of me. Because with magic you become an accomplice: you know you are being deceived, but in the digital universe you don’t know what is real and what isn’t. It’s like when you see Gary Oldman without prosthetics or digital treatment, the interpretation of him is something that he builds from the inside and you believe it. He is really inspiring. I’ve worked with digital retouching on The Curious Case of Benjamin Button and, yes, it can be liberating, but in the end, as you get older, you face more and more of your limitations, and that’s humbling.

Is the film industry easier for women now than when you started?

If we keep talking about it, the problem still exists. But we have to keep talking and working on it until it is no longer a topic of conversation. Sometimes I keep walking on set and there are 30 men and I’m the only woman, and I think, “This is so out of sync with what’s going on in society. How is it possible for us to connect with the audience like this?” When you’re in a predominantly male or white work environment, it feels old-fashioned and you feel like it’s also starting to be irrelevant. I think there has been a big change. But you have to stand firm and understand that changes are very fragile, as is democracy. So you have to persevere.

You were artistic director of the Sydney Theater Company. Has that experience influenced your way of understanding her work as an actress?

We were not only artistic directors [and her husband, screenwriter and playwright Andrew Upton], but also CEO, so we were responsible for the financial and creative health of the company. And many times these two aspects are conceived as mutually exclusive. But they don’t have to be: throughout my career I’ve worked with producers who are amazing at keeping finances in order while also helping with creative decisions.

Is that producer profile in danger of extinction?

Yes, unfortunately, because it is something I aspire to. It’s not all about being in front of the camera. I don’t feel obligated. No longer. I’ve already done it. I’ve bored the audience enough already. I do not need it. No more.

Throughout your career you have played everything from action characters to femme fatales, through comedic roles or even men, such as Bob Dylan. How do you choose your characters? Is there any kind of woman you would never play?

Many decisions are based on instinct and timing. I have a wonderful and great life, with a lot of commitments and things that interest me, starting with my farm, with my sheep, my pigs, my cows, and with my children, of course. So sometimes not all projects fit into my schedule. But nothing happens. There is no need to bleed for it. You have to let them go. It’s one of the best things the film industry has taught me.

The fact that?

You make a film and you let it go because after your work comes post-production work and finally, if you’re lucky, it reaches the public. And by that time you will have already done one or two other things. And that film happens to become a kind of second cousin. And then, hopefully, you can see it again with fresh eyes and appreciate it.

What do you expect now from A Manual for Cleaning Women, your project with Almodóvar?

We had talked many times about working together, but it was never the right time. He is a man of incredible taste and insight. He is very precise and, like his films, very free. We are very aligned and excited about the project. I love it because he works with his heart and with his hands. And with his head, of course. He is a person very connected with what happens in the world, but at the same time someone who follows his own path. So I think this project will be unique. His work has a clearly Spanish framework, but it has always transcended and has been recognized internationally because it connects very well with American concerns: the family, being outside the majority culture, being an outcast. I think it’s going to be a fascinating journey in search of that hybrid between the American and the Latin experience.

You have a master’s degree in that Latino perspective. You have worked with Alejandro Cuarón, Guillermo del Toro and now Almodóvar. Is there something that differentiates Latino directors from the rest?

They all have incredible hearts and a certain brutality, but not in the bad sense of the word. I mean they don’t run away from things that others prefer not to name. And they are profoundly plastic artists. His intellectual pursuits are very sumptuous to digest visually. Latino and Australian directors have a very special, unique vision of the world, and that is why they have more and more weight in the US film industry.

I said before that Almodóvar was a very precise director. Is he the kind of director you like to work with, someone who gives a lot of directions and controls every detail?

I think the project is what dictates how you have to work. For me, the perfect thing is to have a clear line of communication with the director based on trust, because there are moments in the shoot when you have to say that something is rubbish, and you have to know that it comes and is said from respect. Rehearsals and filming are not always friendly. They are not disrespectful, but sometimes you have to fight a thing to the bottom and it’s not comfortable.

Woody Allen even told you on the first day of shooting Blue Jasmine that the take was horrible, and so were you.

But in the end I realized that the location was wrong, the camera was wrong… so we changed everything. And then the scene was cut, it was never in the final footage. You can’t take it personally, you have to listen to it and think that it’s teamwork, that sometimes a director can say something challenging but it doesn’t necessarily have to be about you, but about the product.

How do you feel that the film and fiction industry has changed in recent years with the emergence of platforms and the rise of series? Are you interested in that new channel?

Well, I did Mrs. America (Hulu) with a group of fabulous women. And there are a couple of projects in development that look very good. But in the end, what interests me are really lasting experiences, although only time can tell which ones will be. On the one hand, streaming platforms represent a wonderful opportunity for the audience and also for a lot of people in the industry who have stayed afloat for these two years thanks to them. But this model cannot go forward without being examined.

What is the perceived risk?

It is necessary to analyze the potential monopolies that are emerging from this format, and that are not good for anyone. They are not good creatively and neither for the public. And, of course, they have never been good for the industry. We do not want to replicate the old studio system in a more radical and irrevocable way. I am worried about this. Very worried.

Do you think this system of monopolies is accelerating?

Yes, and I think the public can perceive it. Because everything looks alike. The offer is uniform. There is nothing special anymore. However, going to the movies is still an event.

But after the pandemic, due to fear or routine, cinemas continue to lose viewers, at least that is what is happening in Spain.

Yes, and also in the United States there are a lot of small theaters that have been acquired by the platforms to project their content. But there are still places like a small theater in Pittsburgh called Row House and that has only 50 seats where retrospectives of Tarkovsky, of Wes Anderson are shown… I am confident in that differential value that the cinema can continue to offer and that people appreciate you can still be interested.

The pandemic has changed our consumption patterns, but also other industry tools such as awards and red carpets. Do they still make sense?

I think there are too many prizes. They all look the same and people are tired. But this was already happening before the pandemic. So I think we have to be critical. We have a very good opportunity to change things: to ask ourselves what we want to do, what we want it to look like and, above all, if bigger is always synonymous with better. And I’m not just talking about red carpets, but events in general. We don’t want to go back to that old narrative. I personally don’t want to go back to the good old days because I think they weren’t really that good.

But in the end the old physical events have their magic. Even Giorgio Armani, the first designer to suspend a show due to COVID, has returned to the physical catwalk with guests.

It is a live event. That is why the performing arts are so special. When you walk into a room and you can see the fabrics, hear the music, you are there. You remember. But I think the key is the same in fashion as it is in film. Mr. Armani is always aware of every detail. Even at his age, he is a tireless worker and his control over the quality of the products is incredible. He thinks the more you do, the less special he is. And this happens in all industries, including the film industry.

Source: EL PAÍS

Interviews and Magazine Scans
Posted on
Mar 12, 2022

Interviews and Magazine Scans

Hi, Blanchetters!

Cate has shown her support for flood appeal telethon to help those who have been devastated by the flooding in Queensland and New South Wales, Australia. She has also given interviews to Variety and Io Donna plus a podcast interview which can be listened on Amazon Music for free and will be available on Apple and Spotify on March 14th. We’ve also added some magazine scans from the recent releases.

 

Video link

In a rare move, tonight Seven Network, Nine Network and Network 10 will jointly present Australia Unites: Red Cross Flood Appeal to help the people and communities who have suffered from the devastating floods across Queensland and New South Wales.

All of the funds raised during the Telethon will go to people affected by the floods.

Kym Pfitzner, Australian Red Cross CEO, said: “Red Cross is delighted and grateful to join with the major TV networks to raise money for flood-affected areas. We have all seen the enormity of the flood damage across large parts of New South Wales and Queensland, and these communities now face a long and tough road to recovery.

“Everyone coming together during this telethon will help Australian Red Cross provide financial assistance to people at a time when they really need it.

“We can only give out what we raise, so we ask everyone to dig deep and really come together to support the people who have lost so much.”Whenever disaster strikes, Australian Red Cross works side by side with organisations such as the St Vincent de Paul Society, The Salvation Army, Lifeline, and GIVIT to get help to where it’s needed most. They do an incredible job and the Red Cross is grateful to work alongside all of them.”

Donations to the Telethon will help Red Cross teams provide humanitarian support to people and communities smashed by the floods, which may include:

  • Enabling volunteers and staff to help with evacuation and relief centres and outreach services
  • Supporting people and communities to recover and build resilience to disasters

So far, 468 Red Cross emergency response team members and volunteers have provided support in 49 evacuation centres – and donations help to make that support possible.

Apart from the Telethon, Australian Red Cross has already launched a flood appeal. You can donate to it now at redcross.org.au/floodsappeal or by calling 1800 733 276.

Tonight’s Telethon will also be highlighting the great work from organisations such as the Foodbank, Rotary, Good Food 360, Koori Mail Flood Appeal, and Rural Aid.

7:30pm AEDT tonight on Seven, Nine and 10 (7plus, 9Now, 10Play)*
* check local guides.

This is a Google translated interview

Cate Blanchett: “The time has come to banish fears and face reality”

Oscar-winning actress, Cate Blanchett, just made two films about greed and selfishness. But she is preparing to celebrate “what unites us”. She is ironic and a bit philosophical, for the directors she has the energy of “a 12-year-old bad boy”. And here she tells us how she faces life on this complicated planet every day.

Six in the morning in Los Angeles, early afternoon in England: Cate Blanchett calls me from her “manor”, the manor house in East Sussex – once home to Sherlock Holmes creator Arthur Conan Doyle – where she lives with her children Dashiell, 20 years old , Roman, 17, Ignatius, 13, little Edith of 7 and husband Andrew Upton. We have had several encounters in recent years, in person, on the phone, during photo shoots or at international festivals, and they have been promptly animated: we discuss cinema, the conditions of immigrants, refugees (she produced the TV series Stateless) and women’s wage equality, with some ironic allusion to our respective roles in Hollywood as well.

In short, each of her films becomes a reason or an excuse to pick up the thread of our discussion: “What’s new in this world of ours? Is it possible to participate, to make it better for us and for future generations?”. I have always spoken with Blanchett as if she were a guru, an enlightened soul: her interests range in the most diverse fields, from art to history, to economics. She is informed and curious, but she is also generous and helpful, she knows how to manage fame and success with completely unusual naturalness and spirit.

As an eclectic and courageous actress perhaps, the most acclaimed and coveted on the current international scene – she has never lost the pleasure of having fun and playing with even the slightest tones : she is there to comment on the color of my socks or the cut of a jacket, to indicate as icons of style Iris Apfel, the famous American interior designer who has passed the century of age, and Fran Lebowitz, the 70-year-old writer to whom Martin Scorsese has dedicated two works. She says: “Please remind me of the name of that extraordinary restaurant in Turin…” and then she cites the latest essay by a sociologist, that of a physicist expert on climate and the talk of an economist who studies mathematical models of productivity and wages.

The tone of the conversation today is calm, thoughtful, reflective. Two years of Covid also leave their mark on an incurable optimist like her. We have just seen the Oscar-winning actress in two films, Nightmare Alley, film noir with Bradley Cooper directed by Guillermo del Toro, and Don’t Look Up, a catastrophic-political-ecological satire directed by Adam McKay. In the coming months we will see her in Tár, the story of the first female German conductor, Pinocchio, the animated film directed by del Toro, and Borderlands, based on the popular video game. A few days ago, the news came that the director Alfonso Cuaròn managed to grab her for his first series for Apple, Disclaimer, with Kevin Kline.

Good morning Cate. The last time we spoke we were at the beginning of the pandemic, singing on the balconies and switching from one zoom to another with friends and family. Today, after two years of forced isolation, we are all a little tired, empty. How can we find ourselves? What to rely on, who to rely on to recover strength, hope and face the world? Art and creativity have been a healthy refuge for many…

I feel exactly this emotions and feelings. But I don’t think we can tell stories, read books, listen to music or walk down the street and walk in a park without thinking about what happened, and it’s still happening in a global sense. Even if you don’t make a film about the pandemic, that’s the thing we talk about or keep quiet about. I believe the time has come to put it out of mind and celebrate what unites us. It is interesting, however, that my last two films, Nightmare Alley and Don’t Look Up, instead tell precisely what separates us from one another.

Meaning what?

Both speak of our spiritual dryness, greed, selfishness, and the need to believe our own lies. In the case of Nightmare Alley, then, there is a very strong desire to ignore the truth. My truth? Let’s focus instead on what unites us, otherwise everything becomes only debilitating, tiring, exhausting. Because life is exhausting.

We generally find relief in movies, in stories.

Yes, many have taken refuge in cinema and books, especially during the first months of the pandemic, but now I want to face reality. I found myself reflecting on what is important and what is not, what is broken and what must be resolved, on a personal and systemic level. We are not only experiencing the reality of the pandemic, there are other relevant movements for which we should move and intervene. Having said that, I am also convinced that films, in a period like the one we are experiencing, offer the possibility of reading and understanding reality better.

Cinema as therapy?

Of course, to recharge and forget our worries for a while, but above all to communicate with each other. If you think of the films of 1945, and after the Second World War, you find great works of art that helped to process terrible catastrophes and crises. A film like Nightmare Alley, it forces you to reflect on what it means to be corrupt: you see a man who does not respect any rules, shows no empathy or compassion of any kind and a weak social system that allows him to get away with it. Just recently I read in The Guardian an article that, to report the growth in wealth of the richest men in the world as a percentage, cited a billionaire whose wealth had increased by 1006 percent in the last 12 months, that is, by 1.3 billion a day. A financial disparity of this kind is impossible to digest, not even the most amazing film can make you forget it.

You are active in various social and environmental organizations. You now collaborate with activist Danny Kennedy on the Climate Change podcast, on Amazon. Is the climate issue the most urgent problem to face and solve today?

Ours is a complicated planet, isn’t it? Everything is connected, but what is striking in the world, everywhere, is the disproportionate number of refugees due to the climate and certain political realities, and this will have a ripple effect. Insisting on protecting borders is pure folly: we need an international strategy that allows us to work together. This is my answer.

Don’t you think that the world, on the other hand, is closing up and not opening up to others?

Violence is perhaps more active, but it is motivated by fear, and fear takes shape and action when the truth has flown away. I think of Bradley Cooper’s character in Nightmare Alley and what happens to those who lose the sense of who he is, to situations without any underlying truth. Lies never got the human race anywhere.

You have three teenage children. How do you deal with these issues with them?

Bits and bits, sometimes with deeper conversations, often with brief hints. Taking it for granted that everything is working well doesn’t lead to substantial changes, but at the same time you can’t get caught up in the mud. You have to give yourself a move and move forward, with attention, respect for others, and never forgetting the sense of humor. Whatever your ideology or religion, what matters is to be human, tolerant and humble.

Immediately after Nightmare Alley you wanted to work with Guillermo del Toro again.

Yes, yes, I’ll be one of the voices in his version of Pinocchio, a monkey actually (laughs). One day on the set I ask him: «When is it that we will work together again, Guillermo?». “I don’t know, now I’m doing Pinocchio” … then he looks at the producer, Miles, and blurts out: “That monkey, for example… You know what, Cate, everyone has this idea of you as a great lady when in reality you are a rascal, a dirty, cheeky 12-year-old bad boy! ” Yes, you see, he is someone who knows me well (laughs). I ended up in his next movie for this reason, probably (winks).

What else can you tell us about Guillermo?

If Guillermo asks me to work with him, I don’t hesitate for a moment: in common we have the same love for horror, and a sort of obsession for the human animal, its unpleasant and sublime complexity. Besides, he has crazy, fantastic ideas, nothing is too much for him and he keeps a flawless sense of history. In short: his is a truly stimulating space in which to work, not counting the actors and the cast that he brings together. But do you know that thanks to him I was able to work twice with Ron Perlman? (legendary American actor, favorite of John Frankenheimer and Joe Dante, ed).

How Cate Blanchett’s Dirty Films Production Company Is Making a Global Impact

Cate Blanchett, who recently appeared front of the camera in “Don’t Look Up” and “Nightmare Alley,” has been busy behind the scenes developing film and TV projects through the Dirty Films banner she co-founded with her husband, Andrew Upton.

Among those in the works: “A Manual for Cleaning Women,” her first collaboration with Pedro Almodóvar in his English-language debut; Indigenous Australian filmmaker Warwick Thornton’s “The New Boy”; and the Apple TV Plus series “Disclaimer” from Alfonso Cuarón.

Blanchett will star in each in addition to producing, building on her résumé of dual credits that includes “Carol,” “Stateless” and “Mrs. America.” Similar to how she chooses acting roles, the Dirty Films team (which also includes Coco Francini and Georgie Pym) takes a “filmmaker-driven” approach.

“No matter the budget or the genre, films are born out of interesting conversations, so that’s where we begin,” Blanchett tells Variety over the phone, chalking up the company’s “incredibly eclectic” selections to its principals’ Australian heritage.

“It’s a small country in terms of population, but we individually punch above our cultural weight, because we have such a mix of cultural influences, in a great way — also in a painful way,” she explains, alluding to the country’s birth by colonial invasion. “We have a very interesting perspective on the world.”

For her, the appeal of producing is less about finding a role to perform than about having a creative stake in the project.

“People often assume that when you have a production company, you are simply trying to develop materials for yourself. Sometimes that’s the case, and you do need to be in something,” Blanchett says, pointing to the “Stateless” as an example. The two-time Oscar-winner appeared in all six episodes of the miniseries that ultimately landed at Netflix. “I knew that I had to be in it in some way because of the material. No one wanted to make a project that was ostensibly about refugees and asylum seekers.”

Among other accolades, the drama earned 13 awards from the Australian Academy of Cinema and Television Arts. But she’s also found that an actor’s ability to work behind the scenes can be underestimated.

“Oftentimes, people think, as an actor, that you don’t have that perspective on the whole thing — that you don’t understand how a film is put together,” she observes. “After years and years and years of doing this, it’s not just sitting in your trailer, waiting for your hair and makeup call.”

Pointing to her contemporaries who also produce — including her Oscar-nominated “Nightmare Alley” producer and co-star Bradley Cooper, Matt Damon, Leonardo DiCaprio, and Reese Witherspoon — she adds, “You get involved in a project because you’re interested in the whole thing.”

“You’re involved from soup to nuts; you’re invested in that experience,” Blanchett explains. “So you get to understand how all of those cogs come together and you can see a way that they might be put together slightly differently, or what didn’t work, because you’re inside the experience. And that is what I find increasingly exciting. Acting, less and less so, frankly.”

As for stepping behind the camera to direct, Blanchett acknowledges she’s been “spoiled by some of the most astonishing directors of all time, so it feels like an act of hubris to think that I could or would.”

But she won’t count out the possibility entirely. “If it was material that took me by the short and curlies, it could happen. But just because you’re opinionated, as I painfully am, doesn’t mean you are a director.”

Last month, Blanchett accepted the 47th annual Honorary Ce?sar award, presented by French film icon Isabelle Huppert, and became the inaugural recipient of Spain’s International Goya award, given by Almodóvar and Penélope Cruz. Both prizes celebrated the actor and producer for her contributions to cinema on a global scale.

“I’ve known Isabelle for a while now; we’re both theater animals who also work in cinema, and she’s such a legend,” Blanchett says, reflecting on the “huge” honor. “Penélope’s work is constantly inspiring and [Cruz and Almodóvar] is a historic partnership. To be in Spain, presented by both of them, you die and go to heaven. I can’t work out why [they awarded me], but I didn’t say no.”

In her acceptance speeches, Blanchett shared how she’d been influenced by the great cinematic artists of those countries, including Spain’s Luis Buñuel and France’s Robert Bresson.

“Watching a Bresson film, when I was in my early teens, it blew the back of my head off. I’d never seen anything like it,” she recalls. “There’s so many Russian filmmakers that have been deeply influential on me, not only working in the cinema, but also as an actor on stage. One of my favorite films this year was Sean Baker’s ‘Red Rocket”; Janicza Bravo’s ‘Zola’ was profound. I consider American filmmakers ‘international.’”

Beyond her own range of influences and collaborations with international filmmakers, the awards represent Dirty Films’ penchant to think globally. The company is in pre-production on “Disclaimer” with Cuaro?n and will then go straight into Thornton’s “The New Boy” and, later, Almodóvar’s “A Manual for Cleaning Women.” Also, following their partnership on the critical-acclaimed “Apples,” which Dirty Films executive produced, they’ll team up with filmmaker Christos Nikou again for “Fingernails.”

According to Blanchett, their greatest strength as producers lies in their understanding of the creative process and “knowing where to cut corners and where that will enhance the ultimate, individual creative flourish of the product itself.”

“We can all find money; but money is more difficult to come by without any creative strings attached,” she says. “To find the right rhythm, the right wave, the right budget ties and the best way to film, it’s not a science, it’s an art.”

Blanchett also credits her and Upton’s time heading the Sydney Theatre Company with helping to hone their skills, particularly in reference to getting a production off the ground quickly instead of languishing in development hell.

“We have a much quicker rhythm. If we committed to an idea, we could get it on,” she says and between 2008-2013, the duo produced between 19 and 20 shows a year. In 2015, they officially awoke Dirty Films from its dormancy with Todd Haynes’ critically acclaimed “Carol” and it’s been full steam ahead ever since.

“We want to be nimble,” she explains. “There’s a lot of stuff being developed that may never see the light of day. We’re not into over-developing or over-committing. You can get the thing up eight years later, but you’ve lost the reason why [that story needed to be told]. That’s something that carried from working at the theater company.”

In recent years, Blanchett has headed the juries at the Cannes and Venice film festivals and relished watching the definition of “cinema” morph as boundaries between the big and small screens — as well as those between streaming and theatrical — blur.

“The streaming platforms have shaken things up,” she comments, regarding the way the distribution and windowing have shifted. “We don’t want them to calcify and reform and imitate the worst sides of studios in terms of monopolies, but it does mean that you don’t have to think of things in terms of length.”

Plus, she says, “Streaming platforms and series have kept us afloat, frankly, mentally and psychologically over the last two years.”

While Blanchett believes that “big ideas happen in a cinematic form,” she notes that, “There’s a lot of options there in the way we think about stories, and the possibility of how we realize those narratives. The idea of making a short film or a long masterwork — those definitions are much more nebulous now. And I think that’s really exciting.”

Additionally, the business itself has become more international and likewise has a wider reach with its themes.

“We’re finding we’re much more amoeba-like in terms of cultural boundaries. That’s where the cinematic arts are a real bridge between this surge of ridiculous, antiquated nationalism that’s happening,” Blanchett says, relating the conversation to the news of the day. “There aren’t closed borders because we are all communicating. So, this rubbish that is going on in the Ukraine — this horrendous, disgusting rubbish — is totally antithetical to the way human beings are actually communicating.”

The actor and producer, who is also a Global Goodwill Ambassador for UNHCR, the UN Refugee Agency, adds: “I think cinema can, through the lens of metaphor and allegory, help audiences. Without wanting to sound too pretentious, I think it can help society to comprehend and possibly make some kind of sense of issues that we all have a stake in.”

SmartLess Podcast

We roll up our sleeves and get down to business with none other than Cate Blanchett. She reveals her aspirations to make cheese, Sean fans-out on Lord of the Rings, Will explains his rich history in lowered expectations, and Jason explores his elasticity challenges. Pass the honey butter; it’s SmartLess.

Click the image below to listen to the podcast. This episode will be available on Apple and Spotify on March 14th.

Magazine Scans

Paris Match No. 3798 – February 23rd 2022

Entertainment Weekly – March 2022

Variety -Match 9th 2022

Io Donna – March 12th 2022


Source: IoDonna, Variety, TV Tonight

Cate Blanchett at Goya Awards 2022 – Photos & Videos; and New Podcast
Posted on
Feb 13, 2022

Cate Blanchett at Goya Awards 2022 – Photos & Videos; and New Podcast

Hola, Cate Blanchett fans! What a weekend we have!

The new episode, with Cate, of Talk Easy with Sam Fragoso has been released. You can listen below. Cate has been presented with the inaugural International Goya Award last night in Valencia, Spain. Pedro Almodóvar and Penélope Cruz presented the award. Check out the photos and videos from yesterday.

A Tea with Cate Blanchett

Goya Awards Ceremony

36th Goya Awards – Stage – February 12th 2022

https://twitter.com/AgustinAlmo/status/1492617527687528448

Photocall and Press Conference

Photocall

 Press Con

The text below is google translated but the source is linked at the end of this post.

Cate Blanchett, “speechless” for receiving the first International Goya

With a sweet “Hello!”, the actress Cate Blanchett has conquered the press that was waiting for her in the hall of the Palau de les Arts de València. Many of them welcomed her to the city that hosts, for the first time, the Goya ceremony.

She, on the other hand, “does not need introductions”, as Mariano Barroso, director of the Film Academy, has pointed out, who has accompanied her in the pose before the incessant shooting of the photographers. Then she, alone, elegantly, she has smiled at everyone dressed in a pink suit jacket and sneakers, before explaining that “I was speechless when they called me to tell me that they gave me the award.”

Cate Blanchett: “The Academy Award means that what I do has reached a different culture and audience”

It had raised maximum expectation and did not disappoint. Cate Blanchett starred this Saturday in a massive meeting with the media a few hours before receiving at the Palau de les Arts in Valencia the International Goya Award created this year by the Film Academy to “recognize personalities who contribute to cinema as an art that unites cultures and viewers of all the world”. In her case, she is also awarded for being “an actress who has played unforgettable characters that are already part of our memory and our present.” The Australian actress and producer was satisfied and excited, and she thanked the Film Academy for this recognition, which represents support for her career. “I come from Australia, where we have a small but quite powerful film industry, and being in Valencia receiving an award from the Spanish Academy means a lot to me,

In a room packed with journalists, cameras and photographers, the president of the Film Academy, Mariano Barroso , opened the event by welcoming Cate Blanchett, who was very grateful for the award. “When they called me to tell me that they were going to give me the International Goya, I was speechless, because Spanish cinema has had a fundamental influence on me, not only because of the work of Almodóvar and Amenábar, but also because of all cinema spoken in Spanish” he explained.

Winner of two Oscars, for Best Leading Actress for Woody Allen ‘s Blue Jasmine , and Best Supporting Actress for Martin Scorsese ‘s The Aviator. .In addition to three Golden Globes, three BAFTAs and three Screen Actors Guild Awards, Blanchett is one of the greatest talents in world cinema today. Some awards that represent recognition of his professional career. “I am old enough to say that I have a career, and I hope that it will continue to advance and take me in multiple directions. The creative path is full of deviations, it is not a straight line. If one decides to make applause the objective of the experience and ignore what work is, one is making a mistake. When you make a movie, a play, a book, how the audience is going to receive it is completely out of your control.”

Project with Almodovar

The actor spoke with enthusiasm about her upcoming projects, among which is Manual for cleaning women , by Pedro Almodóvar, an adaptation of the book by Lucía Berlín produced by El Deseo and Dirty Films, a company of which she is the founder and director together with Andrew Upton(with whom he chaired and artistically directed the Sydney Theater Company from 2008 to 2014. He had words of praise and admiration for the director from La Mancha. “I have known him for 20 years and we have been talking about working together for a long time. Now we have found a project that excites us both. There was another that did not materialize because it was not the right time, but now it is, “he revealed, adding that making this adaptation “means working with a person and a film culture that I love. It has always interested me and allows me to enter Pedro’s universe”.

This will be Almodóvar’s first film in English. “The key to working with him is that he is an excellent writer, an artist. All his cinema, everything he has created has a brutal influence. The script that he has proposed to me is unique, I had not seen something like it. Lucia Berlin’s stories can be represented cinematographically in very different ways, but Pedro’s point of view makes us go further, that we delve into concepts that have to do with addiction at different levels. We are going to talk about addictive relationships, but also about substance addiction, ”she recounted enthusiastically.

In addition, Blanchett currently has Nightmare Alley by Guillermo del Toro which she said “generates a great story behind each character that helps you a lot.”

Academies and festivals

Blanchett highlighted the important role of film academies and festivals today. “They have much more than nominees, red carpet and awards. There is work to support the industry and they are mentors in a process that has to look at the present and the future without fear. We find social movements such as Black Lives Matter or MeToo that must be understood and included. That inclusivity has to be adapted at all levels. If an academy does not understand these concepts and does not look to the future, it ends up being irrelevant, ”she said bluntly.

She also referenced the damage the pandemic has done to culture. “We have all missed going to a movie theater and all these types of cultural events that allow us to share experiences with complete strangers. We have missed it in the cinema, but in the theater even more”, she assured, although she acknowledged that the cinema was already “in danger” before the virus spread. “I had the hope, which I still do, that once we go out on the street we would really want to meet and we would do it in a movie theater. I don’t lose it.” But “we must be aware of what has happened: for 18 months we have been consuming on platforms,” she said, after considering that “the works should be seen as they have been planned. When we talk about creativity we talk about great ideas. The size of the screens doesn’t matter if the ideas are big”. The Australian actress and producer is currently involved in the pre-production of the series Disclaimer, directed by Alfonso Cuarón for AppleTV+, in which she will star and executive produce, and has just wrapped filming on Todd Field ‘s TAR , which she also produces and stars in, and Guillermo del Toro’s version of Pinocchio , for Netflix.

Arrival and red carpet

Source: La Vanguardia, Premios Goya

First Look at Cate Blanchett at 36th Goya Awards Photocall
Posted on
Feb 12, 2022

First Look at Cate Blanchett at 36th Goya Awards Photocall

Great day, everyone!

Cate has graced Valencia, Spain with her presence. She did a press conference local time and posed for photos during photocall. Here’s our first look. We will be updating the gallery for more photos. You can watch the press conference below.

36th Goya Awards – Photocall – February 12th 2022

Press Conference

Photocall

Cate Blanchett sets new Oscar record; Talk Easy with Sam Fragoso Podcast
Posted on
Feb 9, 2022

Cate Blanchett sets new Oscar record; Talk Easy with Sam Fragoso Podcast

Hi, everyone!

Cate will be on Talk Easy with Sam Frogoso podcast this Sunday. She may have not been nominated at this year’s Oscars but she has broken an Oscar record for having the most credited roles in a total of 9 movies nominated for Oscar’s Best Picture.

Talk Easy with Sam Fragoso

Cate Blanchett Surpasses Record for Female Actor in Best Picture Nominees

Cate Blanchett has broken a record set by Gone with the Wind actress Olivia de Havilland. Thanks to her roles in Nightmare Alley and Don’t Look Up, the two-time Oscar winner has now become the actress with the most credited roles tied to a best picture nominee. Before the 2022 nominations, Blanchett had starred in seven best picture-nominated films: The Curious Case of Benjamin Button, Babel, The Aviator, all three installments of the Lord of the Rings trilogy and Elizabeth. The record has been long-held by Havilland, who was in eight separate films nominated for best picture. She was previously tied in her seven roles with Bette Davis, Beulah Bondi, Deborah Kerr, Elizabeth Taylor, Elsa Lanchester, Gladys Cooper, Katharine Hepburn and Meryl Streep. The only actors that have more are DiCaprio (10) who also adds one this year (Don’t Look Up), Jack Nicholson (10) and Robert De Niro (11).

Source: THR, AwardsWatch