Category: Movies

The House with a Clock in its Walls: interviews

The House with a Clock in its Walls: interviews

Hey everyone!

The House with a Clock in its Walls promotion tour has finished but we are still getting some content. Enjoy the interviews and the scans added to the gallery!

C’est au Magic Castle, l’une des plus anciennes bâtisses de Hollywood où de grands magiciens comme Houdini ont fait leurs débuts que Cate Blanchett nous reçoit. L’Australienne est à l’affiche de «La prophétie de l’horloge», actuellement dans les salles de cinéma en Suisse romande.

Votre personnage du film «La prophétie de l’horloge» est habillée en couleur pourpre constamment. Est-ce votre choix?

Non ma couleur favorite à porter est le noir… Même si on m’a appris dans l’enfance que techniquement cela n’est pas une couleur. C’était intéressant en préparant le tournage de travailler sur les croquis d’Edward Gorey qui illustrent le livre. J’avais lu l’ouvrage dans ma jeunesse et je ne ressemble guère à la description physique de cette sorcière qui est, à la base, une dame de 90 ans qui fume cigarette sur cigarette. Disons que les producteurs dans l’entourage de Steven Spielberg ne voulait pas de cette image pour leur adaptation destinée à un large public.

La maison hantée du film est remplie de pendules en tout genre. Quels sont vos relations avec le temps ou l’heure?

Mon mari et moi avons pris un engagement au soir de notre mariage; celui de ne jamais aller au lit avec nos montres au poignet… Mais je n’en dirais pas davantage (elle éclate de rire).

Êtes vous une fan de magie?

Et comment! Le simple fait de vous rencontrer au Magic Castle qui est devenu un club privé où l’on doit connaître un magicien pour assister aux shows, cela suffit à me faire frisonner. Je pourrais crier de joie si un magicien entrait dans la pièce pour nous faire un simple numéro de cartes. Je retrouve mon âme de 5 ans dès que je vois de la magie. La lévitation m’impressionne à chaque fois car je ne vois jamais les trucages.

Avez-vous pris cela comme un compliment ou une insulte qu’on vous propose d’incarner la plus puissante sorcière au monde de 90 ans?

Je vous avoue que l’idée m’a intrigué car je me demandais bien comment Eli Roth allait réussir cette adaptation. L’intérêt pour moi était surtout de collaborer avec ce réalisateur, réputé pour ses films d’horreur, et qui signe ici son premier long métrage familial. Eli a réussi à conserver le côté frisson qu’il maîtrise totalement tout en faisant une aventure pour toutes les générations.

Certaines critiques comparent «La prophétie de l’horloge» à la série des films« Harry Potter». Êtes vous prête pour une trilogie?

Je ne fonctionne qu’un projet à la fois. C’est vrai qu’il existe plusieurs autres livres que je n’ai pas lu. Je comprends la référence à Harry Potter mais il existe des dizaines d’autres livres sur la magie. La force de «La prophétie de l’horloge» est que le livre est ancré dans la réalité. Vous avez 3 personnages principaux qui ont été brisés par la vie. Le premier est un enfant orphelin, le second est un survivante de l’holocauste et le troisième s’est échappé de sa famille très jeune. Il a connu les horreurs de la guerre et doit se battre pour éviter qu’un sorcier malsain détruise le monde. On est quand même loin de Poudlard, non?

Cela doit aussi être sympa pour vous en tant que maman de faire un film que vos 4 enfants peuvent regarder…

Mon fils aîné, Dashiell, a 16 ans et il regarde déjà des films bien plus élaborés que celui-là. Il adore voir l’histoire du cinéma et me parlait récemment des films de Bogard qu’il a adorés. D’ailleurs, je ne vous cache pas que c’est lui qui m’a poussé à accepter «La prophétie de l’horloge». Quand je lui ai dit qu’Eli Roth serait le réalisateur, Dashiell m’a répondu: «Fonce maman, ca va être de la bombe!» Comment dire non après cette réflexion.

Êtes vous une fan des films d’horreur ou du macabre?

Quand j’ai quitté la maison familiale pour aller à l’école d’arts dramatique, j’ai habité dans une maison où un meurtre avait été commis. Au début j’espérais tous les soirs y voir un fantôme ou un esprit. Quelques mois plus tard, j’ai appris que la personne avait été assassinée dans la chambre où je dormais. Mais comme je n’avais pas d’argent, j’étais vraiment désespérée pour trouver une chambre dans une colocation. Je suis restée dans cet endroit trois ans car c’était le loyer le plus abordable que j’avais trouvé. Je n’ai rien vu, ni entendu, pendant toute cette période. Mais le jour où j’ai quitté cette maison, en refermant la porte de la chambre, je vous jure que j’ai entendu une voix dire «Cate». A ce jour, je ne sais toujours pas si c’était un bruit, un truc dans ma tête ou un esprit.

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Michele Manelis talks to Cate Blanchett about casting her spell in family movie The House With a Clock in Its Walls.

Your new film, The House with a Clock in Its Walls, is about a mysterious house. How do you feel about magic?

Magic makes me scream. Literally. If a magician was to walk in here now and cut open a lemon and find the card that I’d guessed, I would scream uncontrollably like a 5-year-old. I’m a total sucker for magic, levitation, whatever, card tricks.

So, is that what attracted you to this movie?

A huge draw, apart from loving the book as a child, was to work with [director] Eli Roth. It’s those unusual unexpected juxtapositions that I find really enticing. And given his history as a horror director, the fact that he was asked to make a family film, I thought that was going to be something. I like magic, and the idea of playing a witch whose magic was broken I found quite touching.

This is not your first movie which addresses otherworldly creatures.

True. I made a movie years ago with Sam Raimi called The Gift, a little film, which was really special for him to make. It was set in Savannah and Savannah has definitely got some uga buga going down there. I was playing a psychic, a clairvoyant. And so I met a lot of clairvoyants in Los Angeles for research.

Did they tell you anything interesting?

One of them said to me: “You’re going to play a writer who’s ahead of their time. She has short hair; she gets killed for what she writes. Her name is something like Guaven, Gueven, and you’re going to have two bodyguards.” And I went, “Me? Bodyguards? You’ve got to be kidding.” And I found myself two years later on the set of Veronica Guerin, who was a journalist who got shot for what she wrote about the underworld. And because the John Gilligan case had opened up (the man who was convicted of her murder), the producers had put bodyguards on set. And so, I was coming from set, covered in blood, having just shot the scene where she was killed. I had short hair and I was walking to the car and I turned around to talk to someone and there were two bodyguards there. I had a flashback, thinking “She said this two years ago!” Creepy! She also said I’d have four kids when at the time I had no kids. And that came to pass as well.

You’ve been outspoken about the #metoo movement. What is your assessment of where things are now?

I’ve been reading a lot lately about the women’s movement in the 70s and the lead up to the election of Reagan and it does seem a little bit like Groundhog Day. I think the important thing is that we’re not having the same conversation in 30 years time. And some changes will happen and have happened very quickly and some changes will take longer. And I think the media has an enormous responsibility in the way they use language around this conversation and how it’s reported on. And that this is not seen as being an isolated issue just for women, or for women in this industry, but it’s in every industry.

You’re bringing up children in an affluent environment. How will you make sure they’re not spoiled?

Unfortunately money is an issue. We live in a very capitalist world, capitalism is rampant and the centralisation of wealth, the divide between the haves and the have-nots is growing, and that trend is going deeper and deeper by the day. So, I think the kids are very aware of their relative privilege. And on the couple of missions that I’ve been on with UNHCR, I’ve taken the children with me, obviously not in dangerous situations, but I think it’s important to expose them to current events, to expose them to other people’s experiences and to not bring them up in an isolated bubble.

After raising three boys, how did the dynamic change with adopting a little girl?

I wasn’t a girl who grew up thinking I would love to have kids and it wasn’t because I didn’t like children. But then I met my husband and we had a child and we talked about adopting after our first child and then we had another child and talked about adopting. So it wasn’t about having a little girl. We felt like we had space in our lives and I am so proud of my three boys for the way they have welcomed her into their lives and she is so lucky to have them and they are very lucky to have her. She is a blessing.

• Cate Blanchett’s The House with a Clock in its Walls is in theatres now.

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

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

Hello everyone!

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

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

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

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

“The House with a Clock in Its Walls” – Stills + Press Junket

“The House with a Clock in Its Walls” – Stills + Press Junket

Hello Everyone!

We have had very busy days with several events over the weekend but “The House with A Clock in Its Walls” is still providing new content. We have added new stills and we have some other video interviews. Enjoy!

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

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

The House with a Clock in its Walls – Press Conference and Press Junket additions

The House with a Clock in its Walls – Press Conference and Press Junket additions

Hello Blanchetters!

We have new pictures from the Press Conference held on September 13 and a new magazine scans. Enjoy!

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


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

New videos and interviews are enriching the movie’s press junket, we can barely keep up!

TVI24 (click to watch the video)

Despierta América

Sunrise Chats To Cate Blanchett & Jack Black

We spoke to Cate Blanchett and Jack Black, stars of new magical kids' film The House with a Clock in Its Walls! ?

Posted by Sunrise on Thursday, September 20, 2018

The Scary Mommy Confessional with Cate Blanchett and Jack Black

Cate Blanchett and Jack Black talk farts and other parenting confessions.

Posted by Scary Mommy on Thursday, September 20, 2018

The House With a Clock in its Walls Press Conference & Additional Premiere Photos

Hi Blanchetters!
Here are more photos of Cate Blanchett! Few images from the press conference (more on the way!) and additional photos from the UK and US premiere. As usual, click on the pictures to open the albums. Enjoy!



Cate Blanchett trailed behind her director on the red carpet. Due to the blazing September sun, she slowly crept along in a double-breasted, checkered pantsuit and shades, using her hand to shield her complexion. The two-time Oscar winner and veteran movie star seemed unaware that the Emmys were on Monday. Not that Blanchett has ruled out doing TV in the future; quite the opposite, in fact.

“Oh, for sure,” she said of her potential interest in the small screen. “I went to a theater school and one of the first gigs I got away from the theater was working in television,” she recalled. “And at the time I was making it, it was really fast. I think that now television is much better resourced because you can tell longer-form stories. And there are certain stories that I’m developing where you ask yourself, which is fantastic: ‘What’s the right form to tell the story in?’ The right form to tell this story in — ‘The House With a Clock in Its Walls’ — was a movie. But there are some stories where you need to sit with characters, and character arcs, and narrative arcs, that can only be told in television form. So absolutely, yeah.”

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

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

Hello Blanchetters!!

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



YAHOO MOVIES: Hey guys, how are you?

JACK BLACK: Good thanks.

CATE BLANCHETT: Good, how are you?

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

CB: Is it TIFF already?

JB: What is TIFF again?

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

YM: Have you got any tips?

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

JB: Oh yeah? I don’t know.

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

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

CB: You’ve shot there though?

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

CB: A tiff at TIFF.

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

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

JB: No, let’s talk about TIFF.

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

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

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

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

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

JB: Exactly, the lawsuits fly.

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

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

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

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

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

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

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

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

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

CB: Did my agent tell you to say that?

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

YM: How come it’s taken so long?

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

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

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

CB: It was Clooney and Julia Roberts.

JB: Those two didn’t want us to ever.

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

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

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

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

CB: Eli let us put a few in.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JB: Noice.

YM: Do you watch your old movies now?

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

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

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

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

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

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

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

CB: No, Bruce Springsteen!

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

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

JB: How did we get onto the Springsteen subject?

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

JB: Oh right!

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

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

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

JB: I wanna see this show.

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

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

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

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

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

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

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

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

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

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

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

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

JB: That we know of.

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

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

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

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