Category: Magazines

Sì Fiori – New promotional image from Grazia Italy

Sì Fiori – New promotional image from Grazia Italy

Hello Blanchetters!

Grazia Italy, on its newest issue, released the first promotional pictures for Sì Fiori

Read the interview below


Plus, a new small behind the scenes picture. Enjoy!

Sources: Daily Luxury, Hia Mag

Cate Blanchett on her new movie “Where’d You Go, Bernadette”

Cate Blanchett on her new movie “Where’d You Go, Bernadette”

Hello Blanchetters!!

Cate Blanchett and director Richard Linklater talked to Entertainment Weekly about their new movie Where’d You Go, Bernadette. The article/interview available in the Summer Movie preview issue also features a new still of the production. We added this image to the gallery and also the other one released by Fandango last week. Read the article below and enjoy the new images!!!


How Cate Blanchett and Richard Linklater figured out Where’d You Go, Bernadette

Figuring out Bernadette Fox wasn’t easy for Cate Blanchett. “It wasn’t just how complex and painfully absurd her life is, but the brittle way she pits herself against the world,” the actress, 49, says. “In the end, the trickiest thing was tone. It’s one thing to listen to an unrelenting sardonic inner voice in a novel, and another thing entirely to hear it on screen.”

Fans of Maria Semple’s Where’d You Go, Bernadette should know what she’s talking about. The 2012 novel, which spent more than a year on the New York Times best-seller list, presents significant challenges for a big-screen adaptation, particularly Semple’s uniquely sarcastic voice and her use of catty emails, phone transcripts, and police reports to drive the narrative. A once-renowned architect, Bernadette retreats into a shell of her former self after she gets married and has children. And then she vanishes to Antarctica(!), leaving her plucky 14-year-old daughter, Bee (Emma Nelson), to solve the mystery of what happened, and why.

All involved with the adaptation immediately connected with the book upon reading it. Blanchett, particularly, vividly recounts her first experience with it: “It was the first of Maria’s books I read and I ate it alive — I was unprepared and embarrassingly, I read it on a plane. Weeping and laughing and nearly peeing my pants in public. But I couldn’t put it down.” Nelson, making her feature-film debut in Bernadette, read Semple’s novel after getting a callback for the part, but before reading the script. “Especially for someone my age, [Bee] is not a character you usually see in books: I think I appreciated that aspect,” she says. “It showed her as not somebody that was in the way of things or acting childish, but rather, somebody driving the story and driving her own determination.”

As for the vision of director Richard Linklater (Boyhood)? “I concentrated on what I felt the book was really about at its emotional core, which was an intense portrait of motherhood,” he says. “For someone else who loves the book, their favorite part might be something else. You’ve got to jump in as a storyteller and say, ‘Well, this is my version.’ There’s no one version of any book or story. [It’s] what you’re moved by and what you personally want to explore via this story and these characters.” Linklater believes, for instance, that another filmmaker might have leaned more heavily into the broad comedy of Semple’s work. Linklater, conversely, was attracted to its humanity.

This meant working closely with Blanchett and Nelson during an entire month of rehearsals. “We talked through everything,” Nelson says. “‘Is this part of my character? Would I say this? Is this how the conversation would really go?’” Blanchett has nothing but praise for the process: “[Richard Linklater] sits and chats and reads with the actors as he writes…It was a hilarious and touching process. I adore him.”

Blanchett describes the collaboration as a “fascinating challenge,” but always felt intimately connected to her character. “I think so many women relate to Bernadette: She’s someone who has been eaten alive by failure and buried her creative identity in child-rearing,” she says. “Haven’t we all thought at one point, ‘Oh, s—, this mess is all too much. [Wouldn’t it] just be easiest to disappear?’”

The film opens in theaters on Aug. 16.

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Cate Blanchett covers Mujer Hoy Spain + Ellen von Unwerth’s VON magazine

Cate Blanchett covers Mujer Hoy Spain + Ellen von Unwerth’s VON magazine

Hey Blanchetters!

Two more covers to be added to our 2019 collection! Cate Blanchett is featured in two new magazines. First, we have the latest issue of Mujer Hoy in which there is a promotional interview for Sì Fiori and Armani Beauty. Then the long waited photoshoot by Ellen von Unwerth made last year during Cannes Film Festival that will be featured on the n°2-2 of Ellen von Unwerth’s VON magazine, the cinema issue, available in May. Take a look!

Cate Blanchett: “Este es un momento decisivo y fascinante para todas”

Las mujeres no pueden dejar de mirarla. Lo tenemos comprobado. El famoso vídeo viral en el que la actriz Kathryn Hahn observa embelesada a Rachel Weisz se queda corto ante el efecto Cate Blanchett. La primera vez que observamos el fenómeno en Mujerhoy fue hace casi una década. A las puertas de una fiesta de gala en Ginebra, Cate conversaba con unos amigos, magnífica y etérea. Todas las mujeres que pasaban a su lado la recorrían de arriba abajo con la mirada. No eran celos, era admiración en estado puro. Los hombres, sin embargo, no se sentían impelidos a mirar.

Las pruebas irrefutables nos las ofreció la prensa internacional en Londres hace apenas unas semanas. Fue en la cena de presentación oficial de Sì Fiori, el nuevo perfume de Giorgio Armani del que, por supuesto, es musa. A los postres, la actriz se sentó unos minutos en cada una de las mesas para charlar con los invitados, una mayoría abrumadora de mujeres. A su alrededor se formaba un corro de rostros absortos, miradas de fascinación, algunas bocas abiertas y gestos de asentimiento absoluto. “Todavía tengo dos horas de coche hasta mi casa en el campo. Estoy encantada con mi jardín, está inspirado en el trabajo de Darwin”, era el tipo de cosas mundanas que relataba Cate. Y la audiencia asentía entregada, como si le escucharan recitar Shakespeare solo para ellas.

Cálida y cercana
Nadie es inmune al hechizo de Blanchett. En las distancias cortas es imposible no dejarte llevar por ese timbre cadencioso, por esa presencia imponente y serena. De sus respuestas educadas se puede inferir que su familia está por encima de todo; que su concepto de la belleza va más allá de aplicarse cremas; que el cuidado del interior es lo que se muestra en el exterior (un mantra que lleva a rajatabla); que, como a los hobbits de la Comarca, un paseo por los alrededores de su casa en la compañía adecuada es una experiencia tan plena como cualquier viaje a un destino lejano. “Es mi idea de un día perfecto: salir al campo con los niños y los perros, y que la jornada termine de una forma inesperada y sorprendente que no habrías imaginado al despertar”, asegura. La normalidad hecha perfección rural.

Cate y su marido, el dramaturgo Andrew Upton, se trasladaron a vivir a la campiña inglesa de Sussex hace un par de años. Con ellos vinieron sus tres hijos adolescentes (Dashiell, 17; Roman, 15; e Ignatius, 11) y su hija adoptada de cuatro años, Edith. Un cambio de registro tras casi una década asentados en Sidney que le ha permitido volver al West End de Londres con obras como When we have sufficiently tortured each other, de Martin Crimp. Un contrapunto crudo y transgresor al extensísimo repertorio de una actriz que, como le dijo una vez su hermana Genevieve, se funde con cada personaje hasta que ella misma desaparece completamente de la escena. Y solo quedan reinas legendarias, elfas mitológicas, diosas escandinavas, amas de casa en crisis moral, sexual y social, damas de alta sociedad venidas a menos…

Mujeres al poder
Ella, que las ha interpretado a todas (y se ha hecho con dos premios Óscar por el camino), entiende que las mujeres están ahora en una encrucijada. “Es un momento decisivo y potencialmente fascinante para todas. Estamos en el proceso de convertirnos en algo. Pero no solo nosotras, creo que tenemos que llevar a los hombres a nuestro lado. Lo realmente apasionante de este preciso momento de la historia es que se ha escuchado a las mujeres. Pero no como individuos concretos, sino como grupo. Lo que estamos aceptando es que somos seres humanos increíbles”. Lo dice con la sabiduría de los 50 años que cumple el 14 de mayo.

Justo ahora, Cate se convierte en la nueva imagen global de Giorgio Armani Beauty. Eso significa que, además de encarnar a la heroína optimista, elegante y todopoderosa de la familia de fragancias Sì, también va a ser embajadora del maquillaje y del tratamiento de la firma que pilota el creador italiano. “El último de los grandes de la moda, ahora que hemos perdido a Karl Lagerfeld”, apunta

Sabe que el cine del que es estrella indiscutible ha ayudado al genio a definir un nuevo tipo de feminidad. “Su estética me influyó mucho antes de conocerlo”. Lo dice porque el diseñador fue la piedra angular de su armario con un traje de chaqueta gris que se compró con su primer sueldo cienematográfico. Todavía lo conserva. “Trabajar con el señor Armani ha sido uno de los grandes privilegios de mi vida”, afirma. “Lo que adoro de cómo ve el mundo es que no pierde jamás la curiosidad. No es una presencia creativa estática”, añade.

En la moda y también en los aromas: “A través del perfume que llevas estás invitando a los demás a descubrir tu particular mundo emocional. Es algo muy privado”, postula. Y esas sensaciones la devuelven a la infancia. “De niña me escondía en el armario de mi madre para pensar a oscuras. Su ropa emanaba esa fragancia tan suya. Era peculiar y muy glamourosa. Porque, por supuesto, cuando somos niñas, nuestras madres son siempre las mujeres más elegantes de nuestra existencia”. Una distinción que siempre ha marcado con unos labios rojos. Hasta ahora. “Es curioso, porque solía ser mi esencial de todos los días. Es un tono que claramente te sitúa en el mundo y que dice: “Aquí estoy yo”. Pero ahora apenas lo uso. Quizá en una alfombra roja. Pero soy mucho más de nudes rosas”, concluye.

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Cate Blanchett on Elle Spain for Sì Fiori + Updates

Cate Blanchett on Elle Spain for Sì Fiori + Updates

Hey Blanchetters!

Time for another Sì Fiori promotional interview with Cate Blanchett. This time on the latest issue of Elle Spain. We also updated few contents from Armani Beauty in the gallery. Take a look below and enjoy!





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New interviews and magazine articles featuring Cate Blanchett

New interviews and magazine articles featuring Cate Blanchett

Hello Blanchetters!!

A couple of promotional interviews with Cate Blanchett on Sì Fiori, the new version of perfume Sì by Giorgio Armani, and new articles have been added to the gallery. Enjoy the reading!

Cate Blanchett : “On peut se tromper, mal faire les choses et les réparer”

Actrice phénoménale, féministe engagée … A peine sortie d’une pièce de théâtre sulfureuse à Londres jouée à guichets fermés, l’égérie du parfum Sì de Giorgio Armani nous parle risques, aventures et éducation.

Identité – “La pièce que je viens de jouer à Londres, When We Have Sufficiently Tortured Each Other , évoquait les jeux de rôles, le genre, l’identité, l’idée de consentement et de pouvoir, des thèmes qui m’interpellent ces derniers temps. Katie Mitchell, qui l’a mise en scène et avec qui je rêvais de travailler depuis longtemps, s’attache à présenter des points de vue féminins dans des domaines où ceux des hommes prévalent traditionnellement. C’était physique et passionnant.”

Égalité – “J’élève ma fille exactement comme mes trois fils. Je leur apprends qu’il ne faut jamais identifier quelqu’un à son genre, que tout commence par le respect de soi et des autres. Cette génération ne se définit plus selon la perception des autres. Dans l’éducation, on dit très tôt aux enfants qui ils sont et ce qu’ils vont être, et cela peut les empêcher de s’épanouir librement. L’un de mes fils adorait les jeux traditionnels de filles, je ne l’ai pas empêché.”

Féminité – “J’ai aimé que le film publicitaire du nouveau parfum Sì Fiori de Giorgio Armani soit réalisé par une femme (Fleur Fortuné, ndlr). Il véhicule des valeurs fortes à mes yeux qui redéfinissent la féminité : la confiance en soi, la soif d’aventure, la prise de risques et le fait de ne pas avoir peur de l’échec.”

Matriarcat – “Mon père est mort quand j’étais jeune. J’ai donc été élevée par ma mère et ma grand-mère, dans une maison pleine de femmes fortes. J’ai vu ma mère reprendre le boulot, cela m’a donné un grand sens des responsabilités personnelles et du travail. On peut se tromper, mal faire les choses et les réparer. C’est ce qui m’a permis de me construire en tant que femme.”

Langage – “Les mots qui ont été associés à celui d'”actrice” depuis une dizaine d’années sont ceux de “célébrité”, “visage” ou “figure de proue”, qui ne sont que des descriptions superficielles. Ils ont depuis été remplacés par “militante” ou “activiste”, et c’est bien plus intéressant. En revanche, les rôles sont distincts. Je ne vois pas mon rôle d’actrice comme politique, plutôt comme provocateur. Les gens oublient que vous êtes aussi un être humain. (Rires.) Un parent, un partenaire, un citoyen, et c’est avec ces nombreuses casquettes que l’on s’engage sur d’autres questions.”

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Cate Blanchett for Beauty Papers magazine VII Glamour issue

Cate Blanchett for Beauty Papers magazine VII Glamour issue

Hey Blanchetters!!

Time for a new interview with Cate Blanchett! She is in the cover of Beauty Papers magazine VII Glamour issue released today. Cate Blanchett stars as American artists Bruce Nauman and Andy Warhol in a short video and photoshoot for the magazine.
If you can, make sure you buy a copy!

Performance: Cate Blanchett

[…] Undeniably beautiful, yet she is too intelligent, too complex and too layered to be shoved into an easy package. It is this complexity that makes her arguably the best of her generation. She leapt to international fame with regal period excess in Elizabeth, progressed through waspish 1950s bourgeois in The Talented Mr Ripley and excelled with ethereal elvish mystery in The Lord of the Rings. She has worked with directors such as Todd Haynes, Sally Potter, Jim Jarmusch and Martin Scorsese on comedies, dramas, thrillers and period pieces. She is an Australian who can seem faultlessly Scottish, Russian, American or British. Blanchett has won Oscars for Blue Jasmine and The Aviator, been nominated for four others, and notched up three Golden Globes. She is at the top of her game, yet not afraid to be experimental, as her collaboration with artist Julian Rosefeldt in 2015 demonstrated. Away from the stage and the screen, she is also a UNHCR Global Goodwill Ambassador, working on human rights projects.

Many of her roles have played with or unpicked the image of beauty. The mature lesbian chic of Carol, the disintegrating edges of Jasmine in Blue Jasmine or the confused attraction of Sheba in Notes on a Scandal all highlight the fact that there is something beyond perfect hair, clothes and sex appeal. Blanchett truthfully comes across as a woman of substance.

Francesca Gavin: Your career grew out of theatre and you worked with the Sydney Theatre Company for a long period, more recently working on Broadway and in London. Are you still attracted to working on the stage? Which aspects of your stage experiences do you think have had the most influence on your approach to acting and creating?

Cate Blanchett: Now that is a question and a half… My time as co-artistic director of the Sydney Theatre Company was probably the most formative regenerative period of my career thus far. A homecoming of sorts – to the rich and hungry artistic community from which I sprang. But apart from the enormous responsibility for the fiscal and creative health of the company and indeed fostering the careers of emerging and mid-career artists, Andrew [Upton, husband] and I were placed into a dynamic national creative conversation. This was so very galvanising. For better or worse, one still has to fight in Australia for the basic notion that the arts should be available and central to people’s lives. But perhaps this is rapidly becoming a global issue. Wasn’t it Winston Churchill who refused to cut arts funding during the war as an austerity measure saying, ‘Then what are we fighting for?’ In spite of all the talent my country possesses, there is still a profound lack of confidence in our artistic output. That was in large part why we made it our mission to tour the company’s work internationally.

FG: How do you approach finding such a breadth of roles? Variety feels something central to your choices.

CB: Oh yes, variety is very much the spice of my life… but I’m beginning to think about repetition much more. When I say that, I mean in order to go more deeply into things – not always looking for the next and the new. Perhaps part of why I’m an actor is that I’m far more interested in the thoughts, feelings and experiences of others than of my own – mine are a tad boring. I’m sure there are a myriad of people who would back me up there! But to try to answer your question… my choices have always been made on instinct. And, since having children, around school holidays.

FG: What do you find interesting about the process of transformation – visually, but also internally and psychologically – when you become different characters?

CB: All I ever see is myself. Which bores me rigid. Transformation is not a focus for me. The story is – do I want to be part of this conversation? Do I have anything to offer it? But in terms of character – which is always the point of entry for me in a project – I am very text-based. The rhythm of good writing. The tempo of a character as well as what they choose not to say. Often, what someone says is a smokescreen to what they actually think or feel. Who does a character think they are as opposed to who they actually might be.

FG: What are your feelings about the pressures that Hollywood presents to women in terms of their looks?

CB: Oh, those boring pressures are age-old and eternal. Men feel them too, I’m sure, but the reaction to this manifests itself in different ways. But I feel there is a healthy interest in people’s points of difference, their uniqueness, which means performers are stepping into a space of boldly finding their own non-cookie-cutter way of doing ‘their thang’. Women, in particular, are collectively now prizing their worth and their individuality. I think that extends to challenging the male gaze which has run mainstream cinema for so long. Nothing wrong with a male gaze – it’s just mind-numbingly boring and exclusive if other perspectives are suffocated.

FG: Some of the characters you have played on screen – for example, Jasmine in Blue Jasmine – are very conscious of their perceived image. What have you found interesting about that sense of self-preoccupation?

CB: I’m always saying yes, perhaps to my own detriment. I just get excited by fabulous ideas – and the prospect of nutting out a world and sets of experiences or theories I have no present knowledge of. The only hard part about that for me is the doing of it. I’m a little on the shy side. Kaboom! Not all actors are exhibitionists.

FG: What is your definition of glamour?

CB: Glamour shines, it’s effortless and unselfconscious and damn sexy. It’s also quite unattainable. Something to reach for. It probably also involves brushing one’s hair?

FG: You have played some incredibly strong, powerful proto-feminist women, from Elizabeth to Katharine Hepburn. What do you like about these individuals who are either in positions of power or innately powerful? To what extent do you feel that is a reflection of yourself?

CB: If there is any similarity between characters I’ve played on film and myself it’s utterly unintentional. But when you say powerful, what do you mean exactly? That these women have a strong impact on the narrative? They know and speak their minds? Because a woman in a position of power is not an interesting enough byline for a film in and of itself. Often in the past, producers have been fascinated by certain so-called powerful women in history, women who have made an impact on events, on the world around them, broken new ground, women who are complicated and conflicted. But then haven’t bothered to find a reason to make a film about them. Having had the imagination to locate them in a riveting story that is more than their character alone. The story is the thing. The perspective. Interesting ‘powerful’ male characters have more often than not been encased in a great ripping story.

FG: What are your feelings about the representation and limitations of gender?

CB: I’ve been reading Maggie Nelson lately, who is fascinating and revelatory on the subject of gender binary thinking. She talks about gender as not being volunteerism, about it not being performative. She referenced Judith Butler about dealing with the question of how do we rework the trap we are all inevitably in. I’m fascinated right now with how one turns the inclusive nature of feminism, female equality, from downfall to unassailable strength. How one claims it without allowing it to be weaponised…It’s why I wanted to be in Martin Crimp’s play with Katie Mitchell [When We Have Sufficiently Tortured Each Other]. To investigate all this ‘stuff’.

FG: What are your feelings about make-up and costume? Do you find them inspiring elements in your process of creation?

CB: I adore make-up and costume. The most delicate and robust creative time on any project happens in wardrobe fitting and in the make-up business. And so very many of those elastic tossing-ideas-around and trying-things-out sessions have been with Morag [Ross]. Her eye and her sense of risk are very, very inspiring.

FG: Your job is to constantly embody other people. How do you maintain your sense of self?

CB: My sense of self, if I have one, is non-linear and utterly elastic. And honestly, apart from owning my fuck-ups and missteps, of which there are many, I try to think about myself as little as possible. There is just too much else to be concerned about in the world right now. The void under the Thwaites Glacier? The Dakota Pipeline, anyone? Australia’s offshore detention horrors…?

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