First look at TÁR and Borderlands shown at CinemaCon
Posted on
Apr 29, 2022

First look at TÁR and Borderlands shown at CinemaCon

Happy Friday, everyone!

Attendees of CinemaCon 2022 in Las Vegas were treated to a first look at TÁR and Borderlands which will be both released this year. There is also an additional article with interview with Cate from The Hollywood Reporter for Chaplin  Awards.

TÁR Reaction

First footage of TÁR was specifically created to be shown at the event on Wednesday (April 27th). The movie is on the upcoming slate of Focus Features and is schedule to be released on October 7th 2022.

Cate Blanchett Smokes The Competition As A World-Famous Conductor

According to Deadline, the film will follow Blanchett’s Lydia Tár, a (fictional) renowned and groundbreaking conductor who becomes the first woman to lead a major German orchestra. “Joker” composer Hildur Guðnadóttir will score the picture, while Field is writing and producing in addition to directing. Nina Hoss, Noémie Merlant, Julian Glover, Mark Strong, Allan Corduner, Sylvia Flote, and cellist and Royal Academy of Music alum Sophie Kauer are among the announced cast.

The film is in post-production, but CinemaCon audiences were treated to an exclusive first look at the footage so far.

The footage shown at CinemaCon was brief, albeit striking. A woman (Cate Blanchett with her face obscured) stands against a black background, slowly opening her mouth to let smoke pour out. I know, I know, smoking is bad, but Blanchett makes it look like the coolest, sexiest thing in the world. The shot is presented with a narration discussing how the pandemic has had a massive impact on our culture and belief systems.

“But there are other plagues,” the narrator says.

The narration continues, talking about nature, but the camera remains on this single shot of smoke leaving her lips, and pulsating into a strange form that continues obscuring her face. The narration takes a turn for the intense, and says that you must “stand in front of God and obliterate yourself.” Finally, the camera cuts to a different image, one of a woman conducting the orchestra. Lydia Tár may not be a real person, but whomever this woman is that Blanchett is bringing to life, seems like an absolute badass.

Official plot details about “TÁR” are scarce, but Focus Features says it’s “set in the world of classical music, starring the incomparable Cate Blanchett.”

Focus Features shows the new Todd Field movie at CinemaCon

Audiences got a look at TÁR, the first film from Todd Field (Little Children) in 16 years. Not much is known about the film just yet, only that it takes place in the world of classical music and stars Cate Blanchett. That should be enough. The footage shown at CinemaCon was created exclusively for the event and consisted of Blanchett exhaling smoke in slow motion while a monologue about the nature of power played underneath. 

Borderlands Reaction

On the last day of CinemaCon 2022, Lionsgate has presented their 2022 slate which includes Borderlands starring Cate Blanchett, Kevin Hart, Jamie Lee Curtis, Jack Black, Ariana Greenblatt and Florian Montaneau. There is no release date for the yet. Based on the reports from the attendees, a clip for Borderlands that run for one minute was shown during Lionsgate sizzle reel.

IGN Southeast Asia — The first look at the Borderlands movie was revealed at CinemaCon 2022, and it looks to be a faithful adaptation of the beloved video game franchise. While we only saw about a minute of footage, it was immediately clear that this film is set in the Borderlands universe. From the artstyle to hearing Jack Black as Claptrap to seeing Cate Blanchett as Lilith, Jamie Lee Curtis as Dr. Patricia Tannis, and Kevin Hart as Roland, all the familiar beats from Borderlands are being hit, albeit with a bit of Hollywood starpower being thrown in.

The Hollywood Reporter — The first footage for Borderlands has arrived — and just like the immensely popular video game series, it was spectacular.

The highly-anticipated film, based on the blockbuster gaming series developed by Gearbox Software and published by 2K, got a sneak peek Thursday during the Lionsgate panel at CinemaCon.

Lionsgate showed approximately a minute of electric footage that showcased Oscar-winner Cate Blanchett as she’s never been seen before, in a fire-engine-red wig, toting a gun and fighting her way through a vibrantly colored cityscape. Kevin Hart also appeared as did Jack Black voicing the robot Claptrap that unexpectedly takes a bullet from Blanchett’s gun with a punchline to follow.

SlashFilm — The “Borderlands” footage came as part of a sizzle reel from Lionsgate, which also showcased footage from “The Hunger Games” prequel “The Ballad of Songbirds and Snakes” and the upcoming “Dirty Dancing” sequel. In the footage, we see Cate Blanchett as Lilith in a killer bright red wig, which seems worth the price of admission alone. Kevin Hart’s character Roland says, “Nothing better than a little wham, bam, thank you, man.” There’s a robot (fans of the games will recognize as Claptrap) voiced by Jack Black, who says, “Whoopsie, you accidentally shot me in the face again.”

And that’s about all there was to see! It isn’t much, just enough to give a little tease of the upcoming “Borderlands” movie, which looks like it will maintain the humorous tone of the game.

JoBlo — A small amount of footage from the live-action adaptation of Borderlands was also teased, with Bumbray saying that the colour scheme looks insane. Cate Blanchett stars as Lilith, an infamous treasure hunter with a mysterious past who reluctantly returns to her home planet to find the missing daughter of the universe’s most powerful S.O.B. The footage showcased Blanchett fighting across a cityscape, gun in hand, with Kevin Hart also appearing as Roland and Jack Black voicing Claptrap.

Cate Blanchett “Completely and Utterly Overwhelmed” by Chaplin Award Honor

On Monday night Cate Blanchett became the second-youngest recipient of Film at Lincoln Center’s Chaplin Award. And though Blanchett is a two-time Oscar winner and has worked with Scorsese, Steven Spielberg, Guillermo del Toro and Wes Anderson, among other luminaries, she was “completely and utterly overwhelmed,” she told The Hollywood Reporter, to have received this year’s honor.

“I don’t even know how to express it because you look at the look of previous honorees, and they’re so eclectic, but to a woman, they’re all of them are people who’ve had a deep influence on the American cultural landscape and on filmmaking at large internationally,” she added. “They’re people who I have individually revered, but collectively it’s like entering some sort of strange pantheon.”

She continued, laughing, “Hopefully, I can make it out of the building without them taking the award away from me.”

The honor is Film at Lincoln Center’s second Chaplin Award to be presented in the past 12 months, with Spike Lee receiving his honor in a delayed ceremony that took place in September.

Yet Monday night’s proceedings weren’t totally unaffected by the COVID-19 pandemic. It was announced at the top of the gala that director Todd Haynes, who was set to conduct a Q&A with Blanchett, would not be there since he had tested positive for COVID that morning. Then, the audience was told, presenter Bradley Cooper, who recently starred with Blanchett in Nightmare Alley, was also “not feeling well.” These two announcements, greeted with groans from the audience, were quickly followed by Blanchett shouting from the audience, “I’m here,” which prompted cheers.

The evening featured tributes from Scorsese, Richard Linklater, Hugh Jackman and producer Christine Vachon, who presented Blanchett with her award and shared with the audience that Haynes, though “devastated” not to be there, was apparently still feeling well enough to be frequently texting her throughout the event, wondering what they were doing. Film Comment co-deputy editor Devika Girish filled in for Haynes.

Prior to the gala, Film at Lincoln Center president Lesli Klainberg shared that despite Blanchett perhaps not being old enough for a lifetime achievement award, she had amassed enough impressive, diverse work over her nearly 30 years in the industry to make her worthy of this honor.

“I think Cate really embodies a really extraordinary artist of this time who has worked in independent films; she has worked on studio films; she works on blockbuster studio films,” Klainberg told THR. “The extraordinary variety of directors that she’s worked with, it’s just amazing to think about how many of the finest directors of our time she has been able to work with and all of her projects — we felt that she was also a person who was so active still, still working—this is not intended as an end of your career award.”

As for what’s next for her, Blanchett said she doesn’t have a particular type of project she hasn’t done that she wants to do, but she looks forward to getting a “strange ask.”

“I always think that the job I just finished is my last, and I will finally go and grow orchids in my greenhouse,” she said of her career plans. “I guess if I look back, it’s that I’ve always gravitated towards the strange ask or the ask that’s just an antidote to what I’ve done in some way. It’s an undeniable ask, and the directors I’ve worked with have usually made those asks of me. Not necessarily that I’ve achieved what I’ve wanted to achieve through that role or that production or that they have either, but the ask has been really undeniable.”

Sources: SlashFilm-TAR, JoBlo-TAR, THR-Borderlands, IGN, SlashFilm-Borderlands, JoBlo-Borderlands, THR

Stateless wins at Screen Producers Australia Award; & New Magazine Scan
Posted on
Mar 30, 2022

Stateless wins at Screen Producers Australia Award; & New Magazine Scan

Hi, everyone!

Slow news day on Cate but Stateless won at this year’s (SPA) Screen Producers Australia’s Award. Stateless is based on the idea by Cate, she is a co-creator and co-executive producer on the series. The series is available to stream on Netflix (outside Australia). There’s also a new magazine scan from Palace Scope.

Screen Producers Australia Awards 2022 Winners

“Every year, the SPA Awards are an acknowledgement of Australian screen industry excellence, uplifting diverse, locally-made productions with cultural impact and worldwide reach. Alongside the Queensland Government as Principal Partners, Screen Queensland is proud to have brought Screen Forever back to the Gold Coast — a globally renowned screen industry hub and a dazzling setting for tonight’s celebrations,” said Screen Queensland CEO Kylie Munnich.

“SPA members continuously raise the global bar for creativity and skillful producing, and tonight that talent was on full show. The task at hand is storytelling, and the winners of our 2022 Awards take this task seriously. They understand the significance of their work and the contribution it makes to the Australian economy, generating jobs for local creatives, and showcasing Australia and its unique heritage to millions around the world,” said SPA CEO Matthew Deaner.

Telemovie or Mini-Series Production of the Year (Tie)
• A Sunburnt Christmas – Every Cloud Productions
• Alice-Miranda Friends Forever – SLR Productions
• Hungry Ghosts – Matchbox Pictures
• Operation Buffalo – Porchlight Films
Stateless – Matchbox Pictures
• The Gloaming – The Two Jons
• The Secrets She Keeps – Lingo Pictures
• The Unusual Suspects – Aquarius Films

Palace Scope – March 23rd 2022

Source: TVTonight

Cate Blanchett on Perfect Magazine
Posted on
Mar 22, 2022

Cate Blanchett on Perfect Magazine

Hi, everyone!

Cate has been featured as one of the covers on Perfect Issue Two. You can read the accompanying interview with the photoshoot below. A few film posters are also made. The magazine is available to purchase here.

Perfect Issue Two


Perfect Issue Two – 2022 (Scans)

Towards the end of a brief, if instructive, telephone exchange with Cate Blanchett, the actress drops in a small life detail which explains a sizeable corner of her story. Blanchett has an unblemished media profile. She is loved by audiences and industry alike for her work, while left alone to her private life without seeming either cautious or guarded. She has spoken up on weighty issues while appearing neither sanctimonious nor overly punctilious. She is allowed both a sense of humour and circumspect seriousness, knowing as if by instinct exactly when to powerfully deploy both.

So our conversation begins with a genial exchange about her loyal, old, incontinent dog, Fletcher, who is starting to develop some other old-man issues.

‘I watched The Father again the other day,’ she says breezily. ‘It’s such a beautiful film and the performances are all so perfect. I’ve started to call our Labrador Anthony because he has dementia. As in Hopkins.’

He doesn’t sound like the easiest pet.

‘I know. But I love him. I adore him. Now that we’ve all turned our Zoom cameras off and resorted to the old-fashioned telephone – which is a relief, frankly – I was having quite a high-powered conversation with someone. It went silent and so I had to ask, “What has happened to you?’”And she had to say, “The cat’s just been sick in my hand.”’

It is the week before Christmas, 2021. Blanchett has just wrapped Todd Field’s Tár, an experimental film about the first German female orchestra conductor, a script she describes as ‘undeniable’. Her latest theatrical release, Don’t Look Up, a talking-point satire on the climate catastrophe with a peerlessly starry cast, is about to drop onto Netflix on Christmas Eve. It has yet to split opinion directly down the middle. Within seven days of talking to her, it turns into the cultural touchstone of this year’s festivities, the film on which everyone must have an opinion. Again, it is the kind of perfect social media storm from which Cate Blanchett has somehow managed to stay eternally, imperviously at arm’s length.

I’d asked the actor if she kept a journal throughout her work, making personal records of her professional experience. Blanchett has been central to some of the most profound cinema of the late movie age, her portfolio taking in both epic blockbusters and arthouse curios with an even hand, bringing something unique and imperceptible to both. Her best performances, in Todd Haynes’ Carol, for which she was Oscar-nominated, and Woody Allen’s Blue Jasmine, for which she won, mine a tricky vein of human behaviour, lodged somewhere at the sticking point between repression and expression, a point where neither quite triumphs.

She is one of the big screen’s few certainties at a time when cinema’s crown is slipping, as the medium resistantly twists from collective, committed experience to more spurious, dip-in-dip-out home entertainment. Blanchett is primed to have documented this epoch in detail. Her production company moved deftly into television with the startling birth-of-US-feminism story, Mrs America, and she has enjoyed a five-year tenure as an artistic director at the Sydney Theatre Company. Yet she will always be most revered for becoming as trusted a pair of performance hands as Hollywood knows.

Has she kept a diary throughout it all?

She laughs aloud. ‘Hahaha, I wish.’

One of Blanchett’s great professional skills is to give complicated material a strangely relatable twist, to find the human burrowed away in the emblematic. I first noticed her do it in The Talented Mr Ripley, when she played romantic deception and being taken for a fool with skittish ire rather than boo-hoo breakdown. The script could have gone either way.

In Don’t Look Up she plays a daytime TV host with toxic bleached hair and figure-hugging scarlet skirt suit who treats the impending end of the earth as oddly sexual. The film has been criticised for some of its broadsides. Blanchett is categorically not one of them. It is Blanchett’s character who notices the hotness of Leonardo DiCaprio’s space scientist behind the beard, christening him an AILF (‘astronomer I’d like to fuck’). With finely honed, demented determination, she manifests the action speedily, decisively and with some enviable truculence. Again, it feels like a new performance route, underlining the transactional nature of sex among high-flying professionals.

‘I have an actor friend,’ she says, on the subject of keeping a personal record of work. ‘A male friend. He was very studious about that. Back in the days when you put cuttings in scrap books, he was always about recording the things that he had done, probably to make them real for himself. In a way, it was controlling it.’ She doesn’t specify who the actor was. ‘Ultimately, I think he was quite interested in legacy. Whereas I’m more interested in the experience. I don’t know. I think it’s all quite ephemeral and random. It’s not for me to record those things.’

She pauses politely, but the point is made. Her career is about getting good work done, not celebrating the fact that good work has been done.

‘Maybe I should?’ she asks, flipping into the conversation the possibility that she might have been getting her attitude to work wrong all this time. To which one can only respond: as if.

For awards season 2022, Cate Blanchett has two steady horses in the race. The first is Don’t Look Up, the first full commercial crossover from the politically minded director, Adam McKay. Its contention has been utterly delightful, suggesting it will be the one film from 2021’s patchy cinema sketchbook that we may still be talking about in 2041. McKay uses some of his collaged, found-material signature style and abstract taste for pricking pomposity to propel an energetic story about a meteorite heading towards earth.

McKay’s move to major-league director has had deep audience repercussions, which may yet come to help or hinder its reception at The Academy. It hardly matters. Whichever side of the Don’t Look Up fence you sit on – for what it’s worth, I loved it – the film’s prominence during a cultural year dominated with the reheated leftovers of the late 20th-century mass market (Abba, West Side Story, The Beatles, Dune, James Bond etc) arrived like a breath of fresh air. As another year trundled to its slow, diseased end, at least someone was talking about something that mattered in the here and now.

Blanchett’s second awards contender is the delightfully prickly Nightmare Alley, a story of one man’s complete moral collapse – already notorious prior to release for a brief first cinematic sighting of leading man Bradley Cooper’s penis in an early bathtub scene. It is the virtuoso cineaste Guillermo del Toro’s follow-up to his atypically sweet-natured fantasia The Shape of Water, the last Oscar-winning Best Picture prior to Covid. Del Toro is back to his noir finest with the picture, letting his visual imagination run wild, this time in the mis-en-scène of a mid-century circus.

Blanchett’s co-stars in both, besides Cooper and DiCaprio, read like a roll-call of modern screen celebrity: Meryl Streep, Timothée Chalamet, Ariana Grande, Jennifer Lawrence, Rob Morgan, Jonah Hill, Kid Cudi, Tyler Perry, Rooney Mara, Toni Collette, Willem Defoe, Ron Perlman, David Strathairn. The actress says she selects work starting with the director.

‘In the end, when people ask “what sort of roles do you want to play?” I have no idea,’ she notes. ‘It’s about the arc and what comes along. If Guillermo asks you to do something, you say “absolutely – what do you want me to do?” It’s about being part of that conversation, you know?’ She felt the same about McKay. ‘I thought that was a story that I wanted to be a part of telling. That was a director I wanted to work with. The cast evolved to be, like Nightmare Alley, extraordinary. But it all starts with the director. It’s a double whammy.’

Del Toro had been attached to The Lord of the Rings trilogy, the films which sent Blanchett’s star astral in the early 2000s, before being replaced by Peter Jackson. ‘By the time I came along it was back in the hands of Peter, so I don’t know what happened there,’ she says. ‘But I think that Guillermo had been there for a while, that was the early stages. We’d been talking for a while about working together. There was talk of a television series, one thing and another several years ago, which didn’t come about. It was so wonderful to finally make something together. Without wanting to sound pretentious, I was so excited to be a part of Guillermo’s cinematic vision.’

She describes Nightmare Alley as ‘first and foremost about this self-made monster’. Cooper plays Stanton Carlisle, a hot, shady brute with Indiana Jones headgear and a past, who arrives at a carnival to teach himself the skills of the circus. As he leaves the fair to make his way in the city with his belle on his arm, he encounters Blanchett’s Lilith, a sly, vampish psychoanalyst who spots a phoney. She determines to untangle the immaculately ruthless showman Stan has become; to reveal, like the Wizard in Oz, the charlatan beneath.

‘There are three very different types of women that Stan encounters,’ says Blanchett. ‘He encounters almost a mother figure [Colette], an innocent [Mara] and then an ambiguous, unknowable, world-weary woman [Blanchett] with dark secrets and untold damage. Each of the women and each of those relationships are quite particular. I hope I fulfilled that function.’

She says the moment she stepped on set she was absorbed into the world of Del Toro’s twisted imagination. ‘Oh, totally. I spent all my time, really, with Bradley in one room. That room, when the doors shut, was just us.’ They make spectacular sparring partners, attempting to outsmart one another in a series of balletically choreographed psychosexual set-pieces. ‘There was no need for bits of green-screen. No wondering how the film might come to life. No worrying that you might not feel it. It’s intimate. All of those details are there for you. It’s not like somebody else comes along and inspects the set. Guillermo is over every single detail.’

Even at script-reading stage, the wonderfully dystopian world of Nightmare Alley was alive to her. ‘The thrust of the scenes and their function within the whole narrative is really clear. You get the reader’s script and [are] compelled by the narrative. In terms of the detail of the dialogue, that was finessed on the set.’ She describes working for Del Toro as a surprisingly fluid affair. ‘Really, he’s incredibly open to seeing how the actors might want to move in the space. For Bradley and I, all of our stuff happens in that one office. It was a luxury in a way. We got to work it out. There were a specific number of scenes we had together – how does that feel? How does it move? How does it look?’ Hearing her process is both engaging and informative. ‘We were constantly playing and rehearsing, even when we were shooting.‘

Blanchett is gifted the best line of the film as her exit, while wrapped in a telephone wire. ‘From memory, I think that came up on the day,’ she says. ‘I was being strangled by a cord but not wanting to make it a purely violent scene, to make it complicated. The character of Lilith really pushes Stan to the edge. She wants him to reveal the things that make him who he truly is so that he can see who he truly is. He can’t hide from himself any more. When he starts to really become that weak, that’s the most terrifying part of the journey for him. But she has to push him that far at her own peril.’ Viewers will be routinely forgiven for spotting an allegory for old Hollywood in the story.

The part of Lilith is almost quintessentially Cate Blanchett, feeling at once as if it is lifted from another time and place, a golden age of cinema which she could have quite happily glided through; hair set just so, red lips immaculately applied. She avers at the observation. ‘I don’t know what that is. What does that mean?’

It’s almost super-you.

‘Super-me? I don’t know if that’s an insult or a compliment.’

Rarely does Blanchett sound as in control of a conversation than when she undercuts herself. It’s quite the skill.

Cate Blanchett was one of the earliest voices in cinema to speak up on the disasters of the environment. As her fame escalated, she brought her conscience along for the ride. Her role in Don’t Look Up brings with it a depth and acuity few others could offer in her steely interpretation of the tin-eared newscaster. ‘I think actors are hungry for big stories,’ she says. ‘I think audiences are, too. I don’t mean big stories that are long. I just mean high stakes. Big images where you can dispense with language. In a way, narrative can be suspended, almost.’

Few issues come bigger than the climate, yet so little art is made about it. ‘Yes,’ she says conclusively. ‘I don’t know that there’s been a moment in history that has been this collectively faced, where culturally it hasn’t been addressed.’

The great abandonment of the climate by the arts might be attributable to the idea of the end of the world being such a trope in film already. Every superhero narrative follows an arc of a threat to the world and the superpower who can save it. ‘The end of the world has always been shrouded in notions of the future, whereas the end of the world now feels possible in the near present. It’s very hard to find a laugh or be transported by it. And Adam has somehow been able to.’

With Don’t Look Up, McKay has fashioned the definition of an iron fist in a velvet glove. It has tapped nerves for all the right reasons. ‘Climate change itself gets addressed in essays and long-form journalism and journals, but artists themselves have not yet addressed it through narrative or fiction or works of cinema.’ Cate Blanchett understands the reasoning. ‘I think it’s because it’s become, unfortunately, a political battleground. So somehow, if you discuss it or imagine a way of setting a story within that landscape, it automatically becomes agit-prop.‘

Protesting war is sexy. Protesting injustice and prejudice is righteous. Protesting the planet is complicated, murky and enormous. ‘Where Adam has come so far is by making a film that’s about climate change that is not about climate change. And it’s funny and it’s witty and it’s really, ultimately incredibly moving.’

It is also prescient. ‘Every two or three weeks I’d text him when something new happened,’ she explains. ‘You know, there was a point where a meteorite was coming close to the earth’s orbit? And I said, “Did you have a crystal ball?” He wrote this and we were meant to film it pre-pandemic. Then it got pushed and pushed and pushed. He imagined all of this. He had this in his mind for quite some time. I find that kind of incredible, actually.’

The reason Cate Blanchett has a blemish-free media slate is mostly because she has a blemish-free belief in the power of storytelling.

What has acting taught her about the extremes of the human condition?

‘That you can’t rule anything out. You know, we often behave in quite unexpected ways in extreme conditions.’

She plucks an example from the air. ‘It’s like when the car’s about to crash. You expect screaming and yelling, but everyone is suddenly quite calm. There’s quiet. Often, we behave in polar opposite ways than we would anticipate. I think that everything’s up for grabs at the moment, because we are in such an unprecedented world. Though we should have seen it coming, of course, the situation of a species that we have all been through, no matter what our socioeconomic standing or our economic loss or our uncertainty. I think we’re all alive to behaving in ways that are surprising to other people, but also to ourselves.’

Perfect Issue Two – Film Posters

Source: Perfect

Cate Blanchett podcast interviews; & conversation with Bradley Cooper
Posted on
Jan 21, 2022

Cate Blanchett podcast interviews; & conversation with Bradley Cooper

Happy Friday, blanchetters!

We continue to get awesome interviews with Cate as part of promotion for Nightmare Alley. Searchlight Pictures released new interview with Cate and Bradley Cooper. She also talked about Don’t Look Up and her upcoming projects. Sirius XM uploaded another short video which was part of the podcast interview with them. Listen to the podcast interviews below. Beware of spoilers, especially at the second half of the conversation with Bradley Cooper!

Cate Blanchett on playing a murderous psychoanalyst in Nightmare Alley

‘It’s about unlocking the human monster’: The actor discusses her role in Guillermo del Toro’s new film noir, which takes us into the bizarre world of carnivals

Guillermo del Toro is known for his grotesque creations. In Pan’s Labyrinth, the Mexican director dreamed up a child-eating demon with eyes in its palms; in Cronos, a vampire licks blood off a public bathroom’s floor. For his 11th feature, Nightmare Alley, his first without fantastical elements, del Toro deploys the noir genre to showcase a new type of monster: Cate Blanchett as a psychoanalyst with a murderous edge.

Mixing fraud with Freud, Lilith Ritter (Blanchett) upends the 1940s-set thriller on its painterly head. For the first hour, Stan (Bradley Cooper) toils at a carnival before fleeing with a romantic partner, Molly (Rooney Mara). He then moonlights as a mentalist, faking an ability to read wealthy minds – except Lilith can out-scheme a schemer. In 1999, Blanchett depicted a naïve socialite who’s duped in The Talented Mr Ripley; two decades later, Lilith may as well be renamed The Talented Ms Ritter.

“Guillermo, more than any other director, is fascinated by monsters,” Blanchett, 52, tells me over the phone from London in mid-January. “But in this one, it’s about unlocking the human monster. There’s a dark, monstrous creature inside Bradley that he’s in absolute denial of. My character encourages him to face that monster. It’s a dance of death. She knows that one of them’s going to be destroyed by it.”

Del Toro is the second director to adapt William Lindsay Gresham’s 1946 novel for the screen. In the book, Gresham wrote that Lilith bears “the smile of a well-fed kitten” and laughs with “the bark of a fox”; in del Toro’s screenplay, which he penned with Kim Morgan, Lilith is “an icy woman of indeterminate age”. Helen Walker’s interpretation in the 1947 movie is more of a fake friend – a nightmare ally, if you will.

“Hopefully Lilith is an enigma,” Blanchett says. “Someone who’s completely unknowable. Anyone who’s been in psychoanalysis is desperately trying to unlock the recesses of their therapist’s mind. It’s a magnetic pull, because they seem to be like the Sphinx – they hold the answer to all the riddles they ask you. But in the end, they hold a mirror up to yourself.”

In a jagged, microphone-rigged office decorated like an image from a captcha test, Lilith welcomes Stan into her lair. As she treats numerous upper-class patients, Lilith provides Stan with their deepest, most sordid secrets, enabling him to continue his con; often these exchanges unfold in whispers, both leaning in for a kiss but settling for a flirtatious, breathy conversation that, coincidentally, propels the story along. At circuses, a geek – a performer who bites live chickens – is typically an alcoholic in need of booze; here, the psychoanalyst drip-feeds Stan with sex and romance, knowing he’ll do anything if the affection suddenly evaporates.

Then again, Lilith feeds off Stan, too, because everyone in Nightmare Alley self-medicates. It could be opium, it could be love. “Or maybe it’s acting!” Blanchett interjects. “The set was incredibly claustrophobic. I didn’t leave that office for four weeks. It’s like I was in the Amber Room, buried three storeys underground. Apart from the Copacabana, you never see her outside, whereas Stanley’s out in the world. He’s an instrument. A blunt instrument, unfortunately. She’s hoping he’s a Stradivarius, but it turns out he’s just an Okie with straight teeth.”

Blanchett is both a modern A-lister – her recent credits include a Leo DiCaprio-seducing TV host in Don’t Look Up, and the CGI-contorting Hela in Thor: Ragnarok – and a performer suited to period pieces. Comfortable as a young Bob Dylan in I’m Not There and Katharine Hepburn in The Aviator, Blanchett inhabits Lilith as a classical femme fatale of the black-and-white era. “But normally the motivations of a femme fatale are in service of the plot, whereas I felt with Lilith there’s a higher purpose to it. Stan believes his lies, and my character is trying to unlock the truth in all its terrifying hideousness.”

Because I welcomed Blanchett “into my office” at the start of the phone call, the interview is littered with references as to how I’m the Lilith Ritter of our chat – until I describe Lilith’s voice as seductive and motherly. “Ooh, seductive and motherly,” she says. “Does that say more about you or me? Who’s on the couch now! Well, I think the room’s a psychic space as much as a physical office. It was important to have a voice that felt like it was inside Stan’s head, because he’s in such denial about who he is, what’s motivating him, and his ineptitude.” She also sought to create a hybrid between how people speak now and in the forties. “Hopefully the voice is timeless.”

In 2019, Stanley Kubrick’s assistant, Leon Vitali, revealed that Blanchett did uncredited voice work on Eyes Wide Shut. When Tom Cruise attends the orgy, the masked woman played by Abigail Good was overdubbed by Blanchett. “That happened after the fact,” she recalls. “I wasn’t allowed to see the film. It’s always a strange thing, when you’re asked to voice somebody else.”

So were Cruise and Nicole Kidman, who both recommended Blanchett, searching for someone vocally seductive (the character is nude) and motherly (she also rescues Cruise)? “They didn’t use the word ‘motherly’.” So just seductive? “Yeah. I mean, if you look at the sequence, it’s very strange and dreamlike and otherworldly – and a psychic space. Maybe that’s what they were after.”

In Britain, BAFTA longlisted Blanchett for Don’t Look Up; in America, SAG nominated her for Nightmare Alley. When I ask if there’s a cultural divide, she opts to skip the question and instead emphasise that Nightmare Alley is intended for the big screen. “It’s cinematic,” she continues. “There’s nothing like sitting with strangers in the dark, watching things. A master like Guillermo, having big, big, epic thoughts, in all of this glorious visual wonderment? It’s delicious.” Do people in the UK have a moral duty to see it in theatres? “A moral duty? Uh… OK, I’ll let you say that. That’s a good one.”

However, Blanchett describes Nightmare Alley, and its deconstruction of the American Dream, as a topical film, even if it’s set in the forties. “But it couldn’t be further from agitprop. It’s set in a circus and a world that feels familiar but strange. It provides us with a space, in an entertaining way, to reflect on what’s going on, without having it banged over our heads.”

So if it gets remade in 50 years’ time when the planet is underwater, will it still resonate? “Guillermo might be right for that remake – he’s good with underwater creatures. Look, you can’t view anything at the moment without reflecting on what we’re going through as a species. But this had been brewing for Guillermo and Kim for quite a long time. He’s really obsessed with how monstrous we’ve become when we start to believe our own lies. And that feels like an incredibly resonant theme to explore.”

The Pat Kenny Show

5 Minutes On – Cate Blanchett – “how we’ve lost the meaning of truth”

The Australian’s latest role as a psychoanalyst in Guillermo del Toro’s ‘Nightmare Alley’ has already secured her a nomination at next month’s Screen Actors Guild Awards. The film is a neo-noir psychological thriller set in the 1940s about a conman, played by Bradley Cooper, who starts believing his own lie. Cate Blanchett thinks it’s a theme that will resonate in today’s world, in which she says the truth has been politicised – and the confusion between fact and fiction has created a challenging environment for us all. For 5 Minutes On, she’s been talking to our entertainment correspondent, Colin Paterson, about the film, the future of cinema – and how during lockdown the only way she could engage her seven-year-old in home schooling was to dress up as her teacher and impersonate her voice.

 

BBC

Cate Blanchett on Her Double Oscar Buzz, Skipping ‘Ricardos’ and New Pedro Almodóvar Movie

Cate Blanchett delivers two outstanding performances that are both in the awards conversation this year: “Don’t Look Up” and “Nightmare Alley.” The star shepherds grace and a hypnotic trance that has the viewer hanging on every single word she releases.

With another impressive turn in Adam McKay’s “Don’t Look Up,” Blanchett is a contender in what is easily our strongest field of supporting actress contenders in the last 30 years. Blanchett was shortlisted at BAFTA for “Don’t Look Up,” and also picked up a SAG Award nod for Guillermo del Toro’s “Nightmare Alley.”

Variety’s Awards Circuit Podcast recently spoke with Blanchett about her double dip in the awards arena this season, and having to turn down the role of Lucille Ball in Aaron Sorkin’s “Being the Ricardos,” which ultimately went to Nicole Kidman. Plus, the Australian actor talks about her next project with Pedro Almodóvar and why she thinks it’s important to get back to movie theaters.

In what was reported exclusively on Variety, Blanchett will next work with Almodóvar on “A Manual for Cleaning Women,” his first English-language feature, which she will star in and also produce.

She also discusses her other upcoming movies like “TÁR” from Todd Field, “Pinocchio” from Guillermo del Toro and “Borderlands” from Eli Roth. Another possible project in the works is Francis Ford Coppola’s “Megalopolis,” which she’s been rumored to be circling alongside other stars such as Oscar Isaac and Zendaya. Isaac was said to be in discussions to play Desi Arnaz in Aaron Sorkin’s “Being the Ricardos” around the time that Blanchett was being eyed to play Lucille Ball.

“It became the movie it needed to be,” she says of what ultimately transpired with “Ricardos.” “Those things happen in the right way, at the right time. In the best possible way, you don’t always envisage the same thing; and then it goes on to become a different entity.” As for the possibility of working with Coppola she says, “When Francis calls, you just have to say yes. Because you’re on the epic, life-changing adventure ride. You’re on that roller coaster. I’m ready for that.”

“Don’t Look Up” is distributed by Netflix and is now streaming on the platform. “Nightmare Alley” is distributed by Searchlight Pictures and is now playing in theaters.

 — Variety

Sirius XM

 

Cate Blanchett on the Jess Cagle podcast with Julia Cunningham
Posted on
Jan 18, 2022

Cate Blanchett on the Jess Cagle podcast with Julia Cunningham

Hi, everyone!

Here’s the new podcast interview with Cate with some video clips released by Sirius XM

 

Cate Blanchett in Porter Magazine; & New Nightmare Alley Clips, and Don’t Look Up Still
Posted on
Nov 29, 2021

Cate Blanchett in Porter Magazine; & New Nightmare Alley Clips, and Don’t Look Up Still

Hello, everyone! Feeling ecstatic with this new Cate update!

Cate covers Porter Magazine. We have updated the gallery with the editorials and the outtakes. There are new footage from Nightmare Alley clips, and Vogue published an article on the costumes in the movie. Also, new still from Don’t Look Up has been released.

Leading Light with Cate Blanchett

Few actors have the cachet of CATE BLANCHETT, but what really drives the multi-Oscar-winning star these days? She talks to AJESH PATALAY about choosing projects that provoke, overcoming parenting challenges and why she’s not interested in ‘winning’ the scene

Click image for higher resolution

When Cate Blanchett finds her groove, it’s like a wind catching in her sails – and a wonderful thing to behold. She’s currently in Berlin, where she’s shooting Tàr, a movie written and directed by Todd Field, in which she plays an eminent music conductor. Having just come off a night shoot when we speak, the actor takes a few minutes to revive. Talking about Berlin, a city she adores, instantly warms her up. “There are so many expat Australians living here,” she effuses. “I feel very at home.”

Next, Blanchett moves into enthusiastic discussion about Tàr, in which she gets to conduct (or pretend to) a full orchestra: “It’s been astonishing. Just to be vibrating in that space with that many musicians.” This leads her on to a rhapsody about a National Trust performance that was broadcast live during the first UK lockdown in 2020, for which five musicians in different locations began playing as daylight broke where they were, building from a solo to a quintet. “My husband and I lay there – we’re sort of on a hill…” Blanchett says of the manor estate in East Sussex (which includes an orchard where, naturally, she presses apples in her downtime), where she lives with her playwright/director husband Andrew Upton and their four children. “We just watched the dawn, in russet mantle clad, emerging,” she says, quoting Shakespeare, “knowing there were about 5,000 other people listening to this music. It was the most beautiful gift that came out of the pandemic.”

Five minutes later, we’re on to climate change and Blanchett is firing on all cylinders. The subject is her next release, Don’t Look Up, a boisterous satire from writer/director Adam McKay about two astronomers (played by Leonardo DiCaprio, himself a fierce advocate for climate action, and Jennifer Lawrence) who try to warn mankind about an approaching comet that will destroy Earth. Everyone, from clickbait pundits and tech billionaires to inept presidents, is subject to ridicule in a story that becomes an obvious metaphor for global warming. Blanchett plays a TV talk-show host, a model of artificiality with bleached-blonde hair, blinding white teeth and impossibly bronzed skin. “Actually, it’s a revolting moment when you wash that makeup off and see the sludge going [down the drain],” she recalls. “It’s quite confronting.”

On the environmental matters that inform the film, she doesn’t sugar any pills. “Everyone is trying to be positive, talking about 1.5 degrees of global warming,” she says. “But 1.5 would still be disastrous. We need to be fucking scared… and demand change; be collectively courageous enough to face that fear and do something about it.” The movie, for all its doomsday messaging, is actually a laugh a minute. And there’s a particular thrill in seeing so many Hollywood stars onscreen at the same time. One pivotal scene in the White House Situation Room brings together five Oscar winners and one Oscar nominee: Blanchett, DiCaprio, Lawrence, Meryl Streep (who plays a catastrophically useless president), Mark Rylance and Jonah Hill.

What was it like being in that room? “It did feel like a Last Supper,” Blanchett says, but this was less a measure of the star wattage than of the strict Covid protocols that were in place, along with the film’s apocalyptic plot. Still, she concedes, getting to high-five Streep (which is the extent of their interaction onscreen) “was great”.

At the same time, Blanchett stars opposite Bradley Cooper in Guillermo del Toro’s Nightmare Alley, a period noir set in the world of a traveling carnival that follows the “rise and fall of a liar”, according to del Toro. Many will see the film (like Don’t Look Up) as a response to the Trump era. “I definitely think this was something boiling in Guillermo,” says Blanchett. “[The film] is a real dark night of the soul. You watch a man breaking the rules, getting away with it… and refusing to show sympathy or compassion.”

McKay has said Don’t Look Up was inspired by a litany of “disastrous presidents”. And Blanchett points to other populist leaders, remarking on the common thread. “I’m hoping it’s a white-male ghost dance,” she says. “They realize they’re on the edge of extinction and they’re panicking. We’re witnessing them in their death throes, which is why it’s so aggressive and destructive.” I ask if, on the contrary, such leaders could see a resurgence. “That’s why people have to vote,” she fires back. “And exercise their power. I’m sounding like I’m on a soapbox, which I’m not interested in, but it’s important to not give in. I’m not giving up hope. As I say to my kids [on climate change], if we’re going out, how do we choose to go out? It’s a terrible conversation to have with your 13-year-old, isn’t it? But anyway. We do laugh around the dinner table. That’s what’s good about Adam’s film. You have to laugh.”

Understandably, Blanchett prefers discussions about her work and not to be caught soapboxing. “I couldn’t be less interested in agitprop [or] telling people what to think,” she says. But she is drawn to films that “ask provocative questions” and she isn’t afraid to get behind causes she believes in, such as Prince William’s Earthshot Prize, which awards contributions to environmentalism. She also recognizes how fraught being outspoken in public can be. “You have to be judicious,” she says. “I’ve been asked to do things by people and I’ve said, ‘I think I’m going to be a liability’.” Her presence can derail a debate, she acknowledges, as she draws the focus over the issues.

She also sees how polarized – and mired by point-scoring – public discourse has become. “I’m very sad about the loss of genuine debate,” she says, “where leaders, public intellectuals and everyday citizens try to find common ground, try to understand the issue, rather than try to win… Even in acting, people talk about [how] to ‘win’ the scene. No, we have to make the scene come alive. And we might have to lose a bit here, win a bit there.”

iven how social media is sharpening the debate, I wonder how much that comes up in conversations with her teenage children Dashiell, Roman and Ignatius, and her youngest, Edith. “A lot,” she says. “Because so much of our so-called information comes through social media. I’m old enough to have been taught at school what a primary, secondary and tertiary source is. I say to the children when they mention something, ‘Where did you read it? Who has [authenticated] that? You have to learn how to read an image and article. And if you’re going to share something, you’d better make sure you have checked the sources.’ Of course, they roll their eyes. But when you hear them talk to their friends, I think they’re responsible. My son is studying physics and philosophy, so he is really interesting to talk to about [technology]. I don’t want to become a separated generation, because I also feel responsible for the landscape he is about to emerge into as an adult.”

On to lighter topics and there’s still one question of vital, global importance I have yet to ask: what did Blanchett make of Adele holding her up as ‘her style icon’ in a recent interview for Vogue? The actor laughs. “I was absolutely chuffed! I think she is amazing. So down to earth. Our paths crossed when she came to Australia on tour.”

As for her own style icons, Blanchett cites Iris Apfel and Fran Lebowitz. And her regard for fashion can be traced back to her early years playing dress-up with her sister: “My sister would dress me up and I would pretend to be whatever the costume told me to be,” she recalls.

She’s clearly not lost her appetite for childish play because, when asked to name the role she’s most enjoyed playing across her illustrious career, it isn’t the historical dramas, fantasy epics or action blockbusters that first spring to mind. It’s “voicing a monkey” in Guillermo del Toro’s upcoming version of Pinocchio. “That was hilarious,” she says. “I’d listen to a lot of different chimpanzees, then try everything out. You go back to being six years old. I mean, I have a six-year-old, so [I did] a bit of work with [her] too.” That must have been fun for her daughter. “Actually, she got rapidly sick of my noises,” Blanchett smiles. “Hopefully, the audience won’t.” As if we ever could.

‘Don’t Look Up’ is in cinemas from December 10 and on Netflix from December 24. ‘Nightmare Alley’ is in cinemas from December 17 (US) and January 21 (UK)

Porter Magazine

Creating the Costumes for the Charlatans, Hustlers, and Con Artists of Guillermo del Toro’s Nightmare Alley

Nightmare Alley is Del Toro’s homage to classic film noir, where a character’s alluring façade can mask ulterior motives. Take Dr. Lilith Ritter, a glamorous psychiatrist who attempts to expose Stanton as a fraud before getting tangled in his web of deception. She’s played by Cate Blanchett in full femme fatale mode, and her collection of stylish gowns and velvet capes reveals more about the character than any verbal description.

“Luis designed a reality with his costumes that reflect personality and help tell the story,” Del Toro says. “Leather, wool, embroidery—they all define character and integrate visually to a color and texture palette, seamlessly.”

Ahead of Nightmare Alley’s December 17 premiere in theaters, Sequeira shared some of his costume sketches with Vogue and spoke about bringing Del Toro’s sinister world to life.

Dr. Ritter represents the world of distinguished old money that Stanton wishes to inhabit. Sequeira cites her as his favorite character to dress in Nightmare Alley, drawing inspiration from Paris fashion sketches from the ’40s for Blanchett’s designs. “It was all about working with Cate’s body frame and making her look as beautiful as possible, which isn’t difficult,” he says. The designer culled materials from various archives across Spain, Italy, and the U.K., pulling different types of velvet for Dr. Ritter’s collection of glamorous eveningwear. “There’s one gown that had little brass stitching throughout, so in the low lighting of the Copa, any kind of movement really made the fabric sing.”

Click image for higher resolution and more concept art photos:

Check these two new clips with some unseen clips from the movie.

 

Vogue

Don’t Look Up

Don’t Look Up offers plenty of comedic knives for Trumpism (the title is the rallying cry of science deniers), but it’s also a brutal send-up of the media. Cate Blanchett’s take on a morning show anchor for a show called The Daily Rip is as close to Mika Brzezinski as one could get without being an impersonation. Even The New York Times comes in for a spanking.

Vanity Fair

First Look at Cate Blanchett on set of TÁR; & ‘The Champions’ Movie Adaptation
Posted on
Nov 14, 2021

First Look at Cate Blanchett on set of TÁR; & ‘The Champions’ Movie Adaptation

Happy Sunday, blanchetters!

We have our first look at Cate in TÁR. Also, Cate will be producing and starring in the movie, The Champions, with Ben Stiller who will also direct it.

Cate Blanchett on set of TÁR

Cate Blanchett in ‘The Champions’ Movie Adaptation

Ben Stiller and Cate Blanchett are teaming up to turn the 1960s espionage television series “The Champions” into a movie.

In addition to acting, Stiller is directing the upcoming film adaptation. Blanchett is producing through her company Dirty Films, and Stiller is producing through his label Red Hour Productions. Additional producers include ITV Studios America and New Republic Pictures.

“The Champions” movie, paying homage to the TV show from Dennis Spooner, follows three United Nations agents whose plane crashes into the Himalayas. Upon being rescued by an advanced civilization secretly living in Tibet, they are granted enhanced intellectual and physical abilities. When the agents return to the outside world, they use their new superhuman abilities to become champions of law, order and justice.

“’Champions’ is a long-forgotten gem that will excite a new generation in the same strange and magnificent way that the original series spoke to us. I’ve long wanted to work with Ben — the director and the actor. He is one of the most engaged and versatile directors working today. Anyone who can make both ‘Zoolander’ and ‘Escape at Dannemora’ is a creative force to be reckoned with,” said Blanchett.

Stiller adds, “I’m a huge fan of Cate’s for a very long time. I’m hoping this project will help people to finally take her seriously as an actress.”

The small-screen version of “The Champions” ran in the U.K. on ITV. The series, which consists of 30 episodes, aired in the U.S. on NBC starting in the summer of 1968. Stuart Damon, Alexandra Bastedo, William Gaunt and Anthony Nicholls starred in the show.

“There’s no doubt that we have a superhuman team on board to bring this riveting series to life for a new audience,” said Philippe Maigret, President of ITV Studios America.

“The Champions” marks the latest collaboration between New Republic and Dirty Films through its first-look deal. They previously announced “Queen Bitch and the High Horse,” written by Eric Matthew Brown and directed by Bert and Bertie.

“New Republic Pictures is thrilled to be teaming up with Ben Stiller and Cate Blanchett — an irresistible cinematic spy duo if ever there were one — along with our friends at ITV and Dirty Films, as we reimagine ITV’s fun and iconic 1960’s espionage franchise, ‘The Champions.’ Literally can’t wait,” said New Republic president Bradley Fischer, who is serving as a producer with Brian Oliver. Andrew Upton and Coco Francini of Dirty Films will also produce.

Blanchett is currently in production on Todd Field’s drama “Tar” and recently wrapped filming on Eli Roth’s video game adaptation “Borderlands.” She will be seen next in Guillermo del Toro’s thriller “Nightmare Alley” for Searchlight Pictures and Adam McKay’s environmental satire “Don’t Look Up” at Netflix.”

Source: Variety

Cate Blanchett to lead ‘A Manual for Cleaning Women’ with script by Pedro Almodovar; Preview Interview from Portrait of An Artist; & TAR Updates
Posted on
Oct 2, 2021

Cate Blanchett to lead ‘A Manual for Cleaning Women’ with script by Pedro Almodovar; Preview Interview from Portrait of An Artist; & TAR Updates

Hi, everyone!

We’ve compiled recent news on Cate. We have a preview of Cate’s interview with Hugo Huerta Marin which was published on his book Portrait of An Artist. Cate is also circling the lead in A Manual for Cleaning Women which Pedro Almodovar wrote the screenplay. On TÁR related news, it has finished filming in Dresden, Germany and continues it in Berlin. Cate is also a signatory on a letter calling on Google, Amazon, Fox, Netflix, Disney & more to demand congress to support Biden’s climate plan.

Portrait of An Artist

Portrait of an Artist: Conversations with Trailblazing Creative Women by Hugo Huerta Marin is published by Prestel and is now available in the United States and will be out in the UK on October 5th, 2021. You can pre-order here.

Cate Blanchett leads the project ‘A Manual for Cleaning Women’ with a script by Pedro Almodóvar

This interview was Google translated, original interview in Spanish from El Pais is linked below.

“The actress [Cate Blanchett] loves the script and the shooting would be in English, but we no longer have the rights to the stories,” explains producer Agustín Almodóvar

Pedro Almodóvar premieres next Friday Parallel Mothers, the drama for which Penelope Cruz won the Volpi Cup at the last Venice Film Festival, “and he is already thinking about his next project,” as the producer and brother of the filmmaker told EL PAÍS, Agustín Almodóvar. “It has always been like this, as soon as I had finished a film I was already thinking about the next one,” he explains by phone. But it is not clear that it is a Manual for Cleaning Women, as was his initial plan before the pandemic, and of course before the short film The Human Voice, with Tilda Swinton, and Parallel Mothers, whose script wrote during confinement. As Agustín Almodóvar explains, “it is a question of rights and interests”.

Almodóvar adapted into a libretto – he has been with the project for three years – several of the 43 stories that make up the Manual for Cleaning Women, by Lucia Berlin, one of the books whose reading has most impressed him in recent years. The stories unfold between Texas, Oakland, and Mexico, in English and Spanish. “Two fifths of the script take place in Mexico,” recalls Almodóvar, the producer. “So it could be shot in Spain in locations in the Canary Islands, Andalusia…”. The script impressed who would have been its protagonist, Cate Blanchett. “Although the female character changes profession and sometimes physique, she is always, deep down, Lucia”, explains the producer. Handbook for cleaning ladies it would mark the filmmaker’s debut in a feature length in English, “after happily shooting the short with Tilda, although it is true that it was a small project carried out as a family,” says his brother. Almodóvar had already been offered projects to direct in the US, among them A Nun of Care or The Boy from the Newspaper, although they were commissions and he never felt that they came out organically from him. Julieta even wrote based on texts by Alice Munro for Meryl Streep, before deciding that the story would work much better in Spain and moved it from place and language, losing in the trip to the Hollywood star.

So what happened to Manual …? “The transfer of rights to the book is over,” explains the producer, who specifies his statements in a podcast from Castilla-La Mancha Media.” The script was done and Cate was excited about it.” But when the time came to definitively buy the adaptation rights, with what it involved an economic effort, and in doubt as to whether or not it would be shot, the Almodóvar production company El Deseo decided not to make the payment. “Now, Cate has decided to stick with him. He hasn’t bought the rights yet, he’s working on it, and he would do it with Pedro’s script ”. And then several possibilities would open up: from when the film is not made until it is directed by another director, or in the end by Pedro Almodóvar himself. “In international projects everything is uncertain”, recalls the producer. “If he goes ahead with another director, Pedro would appear as a scriptwriter and both he and I as co-producers”, with which they could even have a voice when choosing who directs the script. “The experience with Tilda was great, and Cate is the same kind of person. However, it is not at all clear that this is Pedro’s next shoot, ” his brother concludes.

CATE BLANCHETT RAVES ABOUT DRESDEN: “IT WAS A PLEASURE!”

The shooting of the film “TÁR” by director Todd Field, with Cate Blanchett in the role of conductor Lydia Tár, ended on Tuesday. Since September 16, the film had been shot in the Kulturpalast and, most recently, in the Palais in the Great Garden in Dresden .

Those involved in the film said goodbye with a lot of praise for the Saxon state capital and the Philharmonie.

“Thank you so much for welcoming us so warmly and generously to your impressive city,” said Blanchett enthusiastically. “It was a pleasure to work with his fantastic orchestra in the Kulturpalast.”

Director Field, who entered the city’s Golden Book during the recording, also spoke in the highest tones of Florence on the Elbe: “Dresden has a world-class orchestra and is a world-class city,” said the 57-year-old. “The Kulturpalast is a place for everyone: from small children who come here and look at picture books, to young adults who simply meet here or listen to music, to concert audiences. In the United States, I have never heard of anything like that. ”

As a special surprise, Todd Field had a letter from leading actress Cate Blanchett with him. She wrote to Mayor Dirk Hilbert: “Thank you for letting us be here in Dresden. You have a world class orchestra! I very much hope that I can come to Dresden again.

Dozens Of A-listers Calling On Google, Amazon, Fox, Netflix, Disney & More To Demand Congress Support Biden’s Climate Plan

As Democratic leadership tries to unite its progressive and moderate wings, a group of 80-plus artists, celebrities and activists called on the leaders of Google, Disney, Amazon, Fox, Facebook and more to urge Congress to support President Biden’s Biden’s Build Back Better plan.

Boldfaced signatories to the group letter included J.J. Abrams, Greg Berlanti, Cate Blanchett, Jack Antonoff, Don Cheadle, Ellen DeGeneres, Selena Gomez, Chris Evans, Jimmy Kimmel, Lady Gaga, John Legend, Chuck Lorre, Julia Louis-Dreyfus, Lin-Manuel Miranda, Sean Penn, Joaquin Phoenix, Billy Porter, Robert Redford, Ryan Reynolds, Shakira, Barbra Streisand, Wes Studi, Justin Timberlake, Kerry Washington and many more. The full list of names is below.

Dear Entertainment Industry Executives:

Climate change has arrived on our doorstep: California is on fire, record-breaking and deadly storms are flooding New York City, hurricanes are devastating the Gulf. This summer alone, nearly one in every three people in the United States experienced an extreme weather event.

Scientists warn that if we fail to act now, every single one of us will feel the impacts, a billion people will be displaced, and low-income people and communities of color will continue to be hit first and worst. Right now, we have a critical window of opportunity to do something about it. And we need all hands on deck to demand that our leaders protect the people we love and the places they live before it’s too late.

Congress has a once-in-a-generation opportunity to invest in a clean, just, and equitable future for all by passing the robust climate action that President Biden called for in his Build Back Better agenda. This legislation will create healthier communities, put millions to work in clean energy jobs, and free us from the fossil fuels that are driving climate change.

As the top leaders of the entertainment industry—one of the nation’s most powerful and influential business sectors—you are needed to lead our community’s call for action and embrace this vision for a better world. The entertainment community has a long, proud tradition of driving societal change. Our industry is already leading the charge toward more sustainable practices within our own businesses and productions. Now is the time to use your influence to shape our future.

Congress needs to hear you demand, unequivocally, that it put forward and pass the most ambitious climate change agenda in U.S. history.

The plan currently before Congress will protect people’s health and clean up our drinking water. It will create a just transition away from dirty fossil fuels and create millions of new jobs. It will protect communities from climate change through investments in clean energy, clean transportation, and infrastructure upgrades. And it will make sure we finally prioritize and invest in the low-income communities and communities of color that are hit hardest by both fossil fuel pollution and climate impacts.

This plan will create a stronger, brighter, and more just America—and we need you to help make this vision a reality.

At this pivotal moment, please lead the call. Demand publicly and loudly that our senators and representatives in Congress pass this critical legislation.

And we pledge to do our part as well. We will use our platforms to remind all Americans: Tell your senators and representatives in Congress that you demand climate action now. Advocate for Congress to take up the president’s climate agenda. And don’t stop there. Tweet. Post. E-mail. Call. Whatever it takes.

Sincerely,

J.J. Abrams
Anitta
Jack Antonoff
Troian Bellisario
Greg Berlanti
Cate Blanchett
Benny Blanco
Dave Burd aka “Lil Dicky”
Camila Cabello
Dove Cameron
Alessia Cara
Don Cheadle
Glenn Close
Coldplay
Jacob Collier
Lily Collins
James Corden
Ellen DeGeneres
Cara Delevingne
Leonardo DiCaprio
Zac Efron
Billie Eilish
Chris Evans
Jimmy Fallon
Finneas
Selena Gomez
Conan Gray
Grimes
Todrick Hall
Hugh Jackman
Jimmy Kimmel
Joey King
Liza Koshy
Lady Gaga
Cyndi Lauper
John Legend
Adam Levine
Kevin Liles
Dua Lipa
Lorde
Chuck Lorre
Julia Louis-Dreyfus
Demi Lovato
Ziggy Marley
Shawn Mendes
Idina Menzel
Lin-Manuel Miranda
Sean Penn
Joaquin Phoenix
Billy Porter
Zachary Quinto
Addison Rae
Robert Redford
Ryan Reynolds
Mark Ronson
Kyra Sedgwick
Shakira
Lilly Singh
Troye Sivan
Barbra Streisand
Wes Studi
Ryan Tedder
Justin Timberlake
Kerry Washington
Sigourney Weaver
Shailene Woodley
Calum Worthy

Source: El Pais, Tag24, Saechsische, Deadline

First Look at Cate Blanchett in Don’t Look Up; and TÁR updates
Posted on
Sep 8, 2021

First Look at Cate Blanchett in Don’t Look Up; and TÁR updates

Hello, everyone!

We finally have our first look at Cate Blanchett as Brie Evantee in Don’t Look Up. Netflix has released the first stills and teaser which features Cate. Don’t Look Up’s runtime is 2 hours and 25 minutes.

We also have some news on Todd Field’s TAR which is currently in production in Berlin. Check them below.

First Look at Don’t Look Up

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Cate Blanchett to play a chief conductor of an orchestra in TÁR

Production is now getting underway in and around Berlin for Todd Field’s first film in fifteen years, TAR. Led by Cate Blanchett, the first announcement for the long-awaited new feature by the director of In the Bedroom and Little Children was slim on details, but now after a logline was revealed, more of the cast has been announced.

A pair of international cinema’s greatest talents, Nina Hoss (Barbara, Phoenix, My Little Sister) and Noémie Merlant (Portrait of a Lady on Fire, Paris 13th, District), have joined Blanchett in the drama, according to the German outlet Diesachsen. Icelandic composer Hildur Guðnadóttir (Joker, Sicario: Day of the Soldado) will provide the score, with filming confirmed at performances of the Dresden Philharmonic this month.

The actress will play the role of the first woman (Lydia Tár) ever to be invited as chief conductor of a large German orchestra, announced the Dresden Philharmonic. The shooting will start on September 16 in the concert hall of the Kulturpalast. 93 musicians from the Dresden Philharmonic are involved in the film project.

This filming also includes two regular concerts by the Dresden Philharmonic on September 18 and 19, for which tickets are still available. Gustav Mahler’s Symphony No. 5 in C sharp minor will be performed under the direction of Stanislav Kochanovsky. Pictures are shot with the audience – according to the Philharmonie, however, “no close-ups”. Several tents and trucks will be set up around the Kulturpalast for the 120-strong film team.

Source: The Film Stage, MDR

Cate Blanchett in talks for Francis Ford Coppola’s Megalopolis; & first plot detail for Todd Field’s TAR
Posted on
Aug 31, 2021

Cate Blanchett in talks for Francis Ford Coppola’s Megalopolis; & first plot detail for Todd Field’s TAR

Hi, blanchetters!

Great news, Cate is in talks to star in the new movie by Francis Ford Coppola, and TAR is moving along as we get our first plot details and Cate was already seen in Berlin to begin production.

Cate Blanchett in talks for Francis Ford Coppola’s Megalopolis

Breathtaking bets on his vision established him as one of the greatest living American filmmakers and a vineyard magnate. Now, Francis Coppola is ready to put a lot of his hard-won chips on the table one more time to make his epic dream project, Megalopolis.

While the financial configuration is still evolving, Coppola at 82 years young is betting big on himself once again, by sharing the financial risks of a film that will cost between $100 million-$120 million. He is in deep discussions with a stellar cast of actors eager to work with the director of The Godfather trilogy, Apocalypse Now!, The Conversation and other classics, on a seminal picture that is decades in the making.

While some conversations are further along then others, the actors Coppola is discussing roles with include Oscar Isaac, Forest Whitaker, Cate Blanchett, and Jon Voight, with Zendaya, Michelle Pfeiffer and Jessica Lange also among those he is seeking. He will also reunite with James Caan, whose role as Sonny Corleone in Coppola’s The Godfather made Caan one of the biggest stars of that era. This for a big tapestry film that will have many other actors in the cast.

“I’m committed to making this movie, I’d like to make it in the fall of 2022,” Coppola revealed. “I don’t have all my cast approved, but I have enough of them to have confidence that it is going to be a very exciting cast. The picture’s going to cost between $100 million and $120 million. Needless to say, I hope it’s closer to $100 million. I’m prepared to match some outside financing, almost dollar for dollar. In other words, I’m willing to put my money where my mouth is. What’s interesting about that is, there was a documentary about my dream studio, when I owned Zoetrope Studios and I was unafraid to risk everything I had in order to make my dream come true. Well, I really haven’t changed my personality, at all.”

Megalopolis concerns an architect (Isaac) dreaming of a utopic version of New York City in the near future and his battle with the conservative mayor (Whitaker) during a financial crisis.

First Plot Details for Todd Field’s TAR Starring Cate Blanchett

Earlier this year we got the long-awaited news that Todd Field was, in fact, embarking on his first feature film in 15 years after a handful of projects in development never saw the light of day. Following 2001’s In the Bedroom and 2006’s Little Children, Field will return with TAR, a Focus Features project starring Cate Blanchett.

Set to film in Berlin, a casting notice has now revealed the first details regarding the plot: “The intellectual drama tells the story of world-renowned musician Lydia Tár (Blanchett), who is just days away from recording the symphony that will take her to the very heights of her already formidable career. Lydia Tár’s remarkably bright and charming six-year-old adopted daughter Petra has a key role to play here. And when elements seem to conspire against Lydia, the young girl is an important emotional support for her struggling mother.

The casting notice is specifically for Petra, who is of Syrian origin. “The girl was adopted into privileged circumstances a few years ago where she happily leads the normal life of a young school girl,” the notice says. “She is very bright, self-confident and rather mature for her age. She has already experienced a lot. However her positive charisma supports her mother where she needs it most.”

With the makings of a complex leading role for Blanchett, we can’t wait to see Field return behind the camera. It also looks like the reported September start will occur as Blanchett has already been spotted in Berlin.

Sources: Deadline, The Film Stage, The Film Stage – Megalopolis