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 trailer for Nightmare Alley; Eli Roth’s History of Horror Season 3 Appearance
Posted on
Sep 16, 2021

First trailer for Nightmare Alley; Eli Roth’s History of Horror Season 3 Appearance

Hi, dear blanchetters!

The long-awaited trailer of Nightmare Alley has been released with the movie poster! Cate will also appear in the season 3 of Eli Roth’s History of Horror which will premiere in October 2021. The series will feature Sam Raimi’s The Gift which Cate starred in. Lastly, they have recently made Vogue Australia’s June/July 2020 cover, where Cate graced the cover, available in print. Check the details about it below.

Nightmare Alley trailer and poster

Screencaptures

Cate Blanchett to appear in Eli Roth’s History of Horror Season 3

The third season of Eli Roth’s History of Horror will return to AMC on Friday, October 1 at 10 pm ET/9c. The premiere episode will be available early on Saturday, September 25 on AMC+. The remaining episodes will be available to AMC+ subscribers on the same day they premiere on air. The upcoming season of Eli Roth’s History of Horror continues to explore the fun and the fear of scary films – both timeless classics and wildly frightening films that flew under the radar. This season will tackle the topics of “Sequels (That Don’t Suck),” “Infections,” “Psychics,” “Apocalyptic Horror,” “Holiday Horror,” and “Mad Scientists.”

Master of Horror Eli Roth, who also executive produces the series, returns as host with an all-star lineup of interviewees including (in alphabetical order) Cate Blanchett, Margaret Cho, Jeffrey Combs, Jamie Lee Curtis, Geena Davis, Lex Scott Davis, Robert Englund, Vanessa Hudgens, Elliott Knight, David Koechner, Christopher Landon, Meat Loaf, Greg Nicotero, Jonah Ray, Giovanni Ribisi, Jessica Rothe, Madeleine Stowe, Quentin Tarantino, Jennifer Tilly, Edgar Wright, Rob Zombie, and many others.

Episode 303 – “Physics” – Premieres Friday, October 15 at 10 pm ET/9c on AMC and AMC+

What’s the downside of having psychic powers? The idea of being able to read minds or manipulate objects without moving a muscle is an attractive fantasy. But what if those powers showed you things you wished you hadn’t seen? What if people wanted to exploit your gift for their own sinister ends? Worse than that: what if someone with psychic abilities turned their powers against you?

Movies about psychics play on the ego of our species – humans rose to the top thanks to their large, multilayered brains – but they also exploit our insecurities. We understand little about cognition and the nature of free will, and we know we’re just a brain tumor away from radical personality shifts and psychotic behavior. The fear of psychic powers gone wrong is the fear of our own turbulent minds.

This episode features a wide range of psychic films made by superstar creators, including David Cronenberg’s Scanners and The Dead Zone, Mike Flanagan’s thrilling adaptation of Stephen King’s Doctor Sleep, Brian DePalma’s The Fury, Sam Raimi’s The Gift, Peter Jackson’s The Frighteners and Tim Burton’s horror/comedy masterpiece Beetlejuice.

Vogue Australia’s June/July 2020 cover with Cate Blanchett now on print

Fiona Lowry is an Archibald Prize-winning artist and has painted Blanchett to create an image that spoke about the moment in time for both artists. Lowry explored the option of painting her work mid-Covid, and her initial thoughts about anxiety about the future, constant cleaning of ourselves and our homes, to becoming an opportunity for reflection and personal change. ‘My initial thought was to see Cate coming out of the water, reflecting an idea of cleansing and renewal. But after we emailed back and forth about what we were experiencing felt, it became about stillness and the idea of solitude and how it can make us reflect. In retrospect it was such a fleeting moment, and the chaos was still swirling around us, but it was a moment I’m sure we will always remember.’

Cate was photographed by her husband, Andrew Upton, at their home in the UK and Fiona describes how ‘I imagined Cate wearing a Vampire’s Wife dress and wonderfully, designer Susie Cave sent some dresses to use for the shoot. Her dresses are so dreamy and nostalgic, and I had read somewhere that she described the dresses as having a ‘subversive mystery’. I also like my paintings to sit within that mystery and often what painting can do is try to unravel or understand the structure of the underlying dream or mystery that we are embedded in.”

Lowry’s paintings are done with acrylic spray paint and have an ethereal and soft dreamy effect. Cate has described the work as wonderful, matching the serenity of her expression.

If you would like to purchase, you can go to FINEPRINT.

Source: Bleeding Cool

First look at Cate Blanchett in Nightmare Alley
Posted on
Sep 14, 2021

First look at Cate Blanchett in Nightmare Alley

Hello, blanchetters!

Exciting news! We finally have our first look at Cate Blanchett as Lilith Ritter in Nightmare Alley plus an interview with Guillermo del Toro. The trailer will drop on Thursday, September 16th 2021. Also, IMDb has listed Nightmare Alley release dates for other countries. Check them below:

Click the images for higher resolution.

Deception is at the core of Guillermo del Toro’s new thriller Nightmare Alley, but the Oscar-winning filmmaker actually wants to be completely honest with audiences: This movie is not what you might think it is. The ominous title, combined with del Toro’s long history of bringing ghosts, ghouls, and twisted creatures to the screen in films from Cronos to The Shape of Water, may lead to the mistaken assumption that it’s another otherworldly tale. Nightmare Alley is actually his take on classic film noir, marking a stark shift for the filmmaker. But he knows the false impression might stick.

“That is a distinct possibility,” del Toro tells Vanity Fair. “It has happened to me in the past with Crimson Peak, where people went in expecting a horror movie. I knew it was a gothic romance but it was very difficult to put that across. But yes, this has no supernatural element. It’s based completely in a reality world. There is nothing fantastic. It’s a very different movie from my usual, but yes, the title and my name would create that [impression].”

There are still monsters in this film, out December 17, but these are all human beings: glamorous, elegant, and more alluring than off-putting. Maybe that makes them even more dangerous. Bradley Cooper stars as Stanton Carlisle, a former carnival worker who becomes a big-city star as a nightclub performer, using cold-reading tricks he picked up in the sideshow to create the impression he is a powerful mind reader. Now the marks and rubes he targets are millionaires. Cate Blanchett plays Dr. Lilith Ritter, a psychiatrist who first tries to expose him as a charlatan, then becomes embroiled in his schemes.

“The carnival is almost like a microcosm of the world,” del Toro says. “Everybody’s there to swindle everybody. But at the same time in the carnival, the [workers] know they need each other. In the city, much less so.”

Nightmare Alley is based on a 1946 novel by William Lindsay Gresham, made previously into a gritty 1947 film starring Tyrone Power. Del Toro says his screenplay with Kim Morgan is drawn from the page rather than the screen, which required heavy reworking. “From the beginning, our interest was to go for the novel, but it’s almost impossible to adapt because it has a very kaleidoscopic, very peculiar voice. You would need a six-hour miniseries and shifting points of view, and this and that,” del Toro says. “We started from the novel, and didn’t want to do a remake as much as a new adaptation.”

Del Toro says he first became interested in the project in the early 1990s when his longtime collaborator Ron Perlman (Cronos, Hellboy, Pacific Rim) brought him the story in the hope they might make it together, but the rights proved to be too difficult to untangle. “So I put it on the back burner,” the director says. The yearning to make it remained. “When I was growing up, I wanted for sure to do two genres: noir and horror,” he says. Del Toro has directed a lot of the latter, but this was his chance to finally do the former.

“Curiously enough, in approaching Nightmare Alley, I said I’m not going to do any of the clichés associated with the genre. I’m not going to do an artifact. I’m not going to do the Venetian blinds, and voiceover, and detectives walking with fedoras in wet streets. I wanted to do the universe of the novel, which is a little gritty, but also strangely magical. It has a very strange, mystical allure— and mythical. I was very attracted to that possibility.”

Nightmare Alley begins with Stanton as a nobody, working a roustabout job with a small-time carnival that is not the innocent fairground of American mythology. The traveling show he’s part of, overseen by backroads impresario Clem Hoately (Willem Dafoe) is a far more illicit and disturbing affair. “This carnival is really, really operating in the fringes,” del Toro says.

Its “geek show” is one reason it exists on the periphery. Long before geek came to mean someone who obsesses over, for example, pop culture, it was the term for a carnival act in which a “subhuman” shocks the crowd by attacking animals—snakes, rodents, and usually chickens—and killing them with his teeth. Often the “geek” was an alcoholic or opium addict, desperate to do anything for some cash or a hit, and the violence was real. It was a degrading experience for everyone involved, including the audience.

“This act was illegal in most states, but small carnivals still carried it. And they were operating on a wing and a prayer until they got caught,” del Toro says. “And that’s the type of carnival Willem incarnates. This is a rougher, rougher world.”

In real life, carnival performers who considered themselves legitimate took pride in never working with a show that exploited a geek act, so this would be the dregs of entertainment. It’s why Cooper’s Stanton is eager to escape to a better place of business, taking the scamming tricks he has learned to shake the carnie dirt from his heels and break into high society. What he doesn’t realize is that his desperation could turn him into the lowlife, preying on the unwitting and vulnerable, even when he’s doing it in front of a crowd.

The tool Stanton uses to pry his way into a high-paying nightclub act is a subtle verbal code developed by tarot reader Zeena (Toni Collette) and her drunkard husband Pete (David Strathairn) that allows her to stand onstage and pretend to psychically intuit things audience members have written and given to him in the stands. The code—based on sounds and inflections made by the operative in the audience as he gathers the questions—is a valuable piece of intellectual property, and Stanton has no problem stealing it.

He also steals Molly (Rooney Mara), a young carnival worker who becomes his girlfriend and, once he teaches her the code, his audience operative. Her strongman protector, Bruno (played by Perlman) can protect her no longer. The pair escape to the city and start a new act. With a new look. And a newfound willingness to take their con to a new level.

When Zeena and Pete did the act, their goal was only to wow the crowd with a bit of misdirection and magic. Despite the underhandedness of the sideshow, del Toro says it’s a place where both the performers and the audience have an unspoken agreement about what’s happening.

“Ultimately, the carnival is a place where you will get swindled or you will get scammed, but they all know they’re doing it,” the filmmaker says. “The [audience] knows it’s a system, and [the performers] know that they give people what they want in return: an escape, bright colors, life, some laughter, and a place not to think of your daily life. So the trade is very fair.”

It’s less fair when Stanton decides that maybe he can take his performance off the stage and use it to grift rich people by exploiting their worst pains and losses with his apparent supernatural ability to communicate with the beyond.

That’s where Blanchett’s psychiatrist, Dr. Ritter, enters the picture, determined to prove that Stanton’s act is a sham. “She’s there to disprove him. And basically, he tries to measure himself against her,” del Toro says. “Stan was the smartest guy in the room at the carnival, but now he’s at sea with much bigger sharks. He’s tempting fate. And he goes against Lilith, who is quite formidable.”

If there’s an innocent party here, it’s Molly, who gets swept away by this raging, shark-filled sea. “Molly acts as the moral center of the movie,” del Toro says. “She knows what’s right. And she knows what’s wrong. She knows the difference.”

Stanton is the central figure in this story, but you obviously wouldn’t call him the hero.

That’s part of del Toro’s effort to invert some of the archetypes of classic film noir. Traditionally, the central character would be a stoic who is tempted by an alluring woman who uses sex appeal and a lack of scruples to manipulate and destroy. This time, Cooper is that enticing, dangerous character. “Thematically, I’m very interested in exploring the genre from a different point of view,” the director says with a chuckle. “Instead of a femme fatale, I have three very strong female figures and an homme fatale.”

Can Stanton be saved or redeemed? That’s the mystery of this story. People who are struggling will often find ways to lash out and take down those they consider to be more fortunate. They justify and rationalize it in many ways, and sometimes they might be right. But when there is no bottom to how low you will go, it’s easy to get lost in the abyss.

Release dates:

Source: Vanity Fair, IMDb

May 2021 magazine scans and new Armani Beauty promotional photo
Posted on
Aug 29, 2021

May 2021 magazine scans and new Armani Beauty promotional photo

Hi, blanchetters!

While we are waiting for recent news on Cate, here are some magazine scans from May 2021 which our former admin, Mary, found. Also a never before seen promotional photo for Armani Beauty. Enjoy!

Click image for higher resolution:

MAITÊ – May 2021

Vanity Fair Italia – May 12th 2021

Happy Birthday, Cate Blanchett! – Gallery Update 2021
Posted on
May 14, 2021

Happy Birthday, Cate Blanchett! – Gallery Update 2021

Hello, Blanchetters, it is Cate Blanchett Day!

Happy 52nd birthday to the one and only, our favourite actress, Cate Blanchett!

And just like the previous years, to celebrate Cate’s birthday in our own way we have uploaded some unseen photos and updated some photos to larger resolution. We have also updated all the screen captures of her movies (with the exception of Thank God He Met Lizzie and The Good German) to HQ and Blu-ray versions. We’d like to thank  (Cate Blanchett China) for the photos from Hamburg premiere of Elizabeth (1998). Click each thumbnails to open the updated folders. Also, Armani Beauty has released a new ad for Crema Nera today!

This site is run by fans for free and the annual hosting renewal is near, the deadline is in August to reach our US$300 goal.  We would appreciate any amount donated to keep the site running (you can scroll down to see Donate button if you are on your mobile phone or click on the right sidebar if using a desktop, or click below). Thank you!

Or using QR Code:

 

Here’s the new video and photos. Enjoy!

Brochure Scans

Magazine/Newspapers Scans

Blu-ray/HD Screencaptures

 
 

Cate Blanchett talks about why she loves surprises
Posted on
Apr 25, 2021

Cate Blanchett talks about why she loves surprises

Happy Sunday, everyone!

Harper’s Bazaar Czech Republic released an interview and new pictures of Cate on their May 2021 Issue. This is for the new campaign for Armani Beauty and Si Eau de Parfum Intense. Click the images for higher resolution.

Cate Blanchett: P?itahuje mne tichá, nenápadná krása

O tom, pro? miluje p?ekvapení, jak probíhalo její první setkání s Giorgiem Armanim a na co v pé?i o sebe nedá dopustit, se v exkluzivním rozhovoru rozpovídala oscarová here?ka a ambasadorka zna?ky Armani Beauty Cate Blanchett.

Nebudeme zastírat, že pro p?vodem australskou here?ku Cate Blanchett máme slabost. Skoro se nechce v??it, že to je už t?iadvacet let, co vstoupila na mezinárodní filmovou scénu jako královna Alžb?ta, za jejíž ztvárn?ní si vysloužila první ze svých mnoha oscarových nominací. Její p?ízna?ná krása a nesporný talent pak p?itáhly ješt? celou ?adu fascinujících rolí, a? už to byla elfí královna Galadriel v sáze Pán prsten?, uhran?ivá Katherine Hepburn v dramatu Letec, p?ed o?ima se m?nící osudová láska Daisy v Podivuhodném p?ípadu Benjamina Buttona, neurózou sklí?ená Jasmine v Jasmíniných slzách, nebo nezdolná konzervativní politi?ka Phyllis Schlafly v seriálu Mrs. America. Dokázala se ale prom?nit i doslova k nepoznání – ztvárnila Boba Dylana ?i hned t?ináct r?zných postav ve snímku Manifesto.

Um a lehkost, s jakými se dokáže pohybovat mezi jednotlivými rolemi, dokazuje i ve své pozici globální beauty ambasadorky zna?ky Giorgio Armani Beauty. Momentáln? je tak tvá?í nejnov?jšího p?ír?stku do rodiny parfém? Sì, v?n? Sì Eau de Parfum Intense s nótami ?erného rybízu a kv?tin. „Moje vazba k parfém?m Sì a kosmetice Armani vyplynula p?irozen? z mého tv?r?ího vztahu s panem Armanim. Není žádným tajemstvím, že si ho velice vážím a že m? již ?adu let inspiruje tím, jak oslavuje ženy ve vší jejich r?znorodosti. Moje role? Zd?raznit hodnoty, za kterými si Armani stojí: šarm, nenucenou eleganci, lásku k p?írod? i k životu,“ ?íká Cate Blanchett.

Ambasadorkou zna?ky Armani Beauty jste od roku 2013. Vzpomenete si, kdy jste pana Armaniho potkala poprvé? 

Náš vztah za?al ješt? p?edtím, než jsme se v?bec osobn? setkali. Za svou první výplatu jsem si totiž koupila oblek od Armaniho, který dodnes mám a nosím. Poprvé jsme se potkali p?ed Armani Privé p?ehlídkou. Fitoval na mn? jedny šaty a byli jsme u toho jen sami dva. Moje francouzština byla tehdy trochu kostrbatá, takže jsme spíše jen ml?eli, zatímco on kle?el u mých nohou a špendlil lem mých šat?. Úpln? m? to tehdy dojalo. Rád na vše dohlíží osobn?, je velmi sebejistý, ale zárove? skromný.

Jak chápete pojetí ženské krásy podle Giorgia Armaniho? 

Smysl pana Armaniho pro ženskou krásu a ženskost je neuv??iteln? bohatý a zárove? nenucený a sebev?domý. Pan Armani m?l na m? velký vliv. V?nuje se tolika r?zným obor?m – od architektury až po módu, nábytek a mnoho dalších odv?tví, kde p?ichází ke slovu design a estetika. Je plný optimismu a zvídavosti a je jedním z pr?kopník?, kte?í pochopili, že ženská krása má neuv??itelné množství podob, což je myšlenka, která mi byla vždycky blízká. Nikdy jsem nebyla p?esp?íliš „hol?i?í“ v tom ot?epaném smyslu slova. Mám ráda ženskost, ale zárove? tíhnu k pánským st?ih?m. Pohybuji se na estetické hran?, které pan Armani dob?e rozumí. ?lov?k nemusí být to, ?i ono, m?že být obojí zárove?.

Jaké emoce ve vás obvykle vyvolávají parfémy?

Skrze parfém k nám promlouvají emoce a vzpomínky. Je to velmi osobní vyjád?ení sebe sama a našich vnit?ních tužeb. Nezbytné, ale také povzbuzující.

Co vás nejvíce p?itahuje na v?ni Sì?

Už jen to, že se parfém jmenuje Sì je silné a pozitivní gesto, které vyzývá ženy, aby p?ijaly nejen samy sebe, ale i ostatní. ?íkat „ano“ životu, možnostem, zážitk?m je n?co, co pan Armani d?lá celý život. Užívá si život se vším všudy: tím dobrým, špatným, krásným, vzrušujícím, smutným, soukromým i ve?ejným. To vše je sou?ástí našeho života.

Také na všechno ?íkáte Sì? A je n?jaké Sì, které byste ješt? cht?la ?íct?

T?ch Sì, které jsem ješt? ne?ekla, je tolik! Tolik v?cí, které jsem ješt? nezažila, tolik míst, která jsem ješt? nenavštívila, tolik zážitk?, nápad? a p?ekvapení m? ješt? ?eká. Miluji p?ekvapení. Vždycky jsem byla otev?ená tomu nechat se navést tam, kam by m? to samotnou ani nenapadlo. M?j život je bohatý a posledních dvanáct m?síc? bylo mnohem klidn?jších, nabízely prostor ke zkoumání sebe sama, ale i to bylo p?ekvapení, kterému jsem ?ekla ano. ?asto se ?íct Sì neobejde bez rizika, ale jen to nás dovede k n?jakému dobrodružství, a jak jsem si sama ov??ila, otevírá dve?e k dosud nepoznanému.

Která v?n? z kolekce Sì je vaše nejoblíben?jší? Sì Eau de Parfum, Sì Eau de Parfum Intense, ?i Sì Passione?

To je strašn? t?žká otázka! ?asto kombinuji dv?. Sì Eau de Parfum Intense je nejspíše ta, kterou volím nej?ast?ji, ale ráda ji míchám s t?mi zbylými, jak se postupn? den m?ní v noc. Všechny si spolu dob?e rozum?jí.

Myslíte si, že se naše vnímání krásy b?hem let m?ní?

Lidé ?asto mluví o kráse o?ividné, která jim vyrazí dech. Já ale ?asto objevuji krásu postupn? nebo náhodou. Zejména v posledních dvanácti m?sících jsem více narážela na nenápadnou, tichou krásu, možná proto, že jsem v??i ní vnímav?jší. Krása spo?ívá v detailech, ?asto skrytých mali?kostech, kterých si na první pohled nevšimneme.

Co d?lá podle vás ?lov?ka krásným?

Pohled na sv?t, životní elán, energie, smysl pro humor a cokoli, co ho d?lá jedine?ným. Je to práv? ta jedine?nost, která d?lá ?lov?ka skute?n? krásným.

Koho jste považovala za krásného, když jste vyr?stala?

Vždycky jsem obdivovala krásu Davida Bowieho. Když jsem ?etla o italské here?ce Eleano?e Duse, pomyslela jsem si, že musela být doslova uhran?ivá, a hlas Niny Simone je jedním z nejkrásn?jších, jaké jsem kdy slyšela.

 

 

Source: Harper’s Bazaar CZ

77th Venice Film Festival Behind the Scenes; The Four Temperaments and more
Posted on
Sep 26, 2020

77th Venice Film Festival Behind the Scenes; The Four Temperaments and more

Hi, Blanchetters!

We’ve updated gallery with stills from The Four Temperaments and behind the scene photos from 77th Venice Film Festival and some of them at a higher resolution. Cate also interviewed photographer, Gregory Crewdson, for the Gagosian Quarterly which you can read below. You can watch a part of The Four Temperaments and an interview for Stateless below. Enjoy!

 

Cate Blanchett Stars in a High Culture Project You Can Watch on Your Phone

What’s an actor to do during a pandemic? There are Zoom plays, homemade music videos about the trials of love in lockdown, or, if you’re Cate Blanchett, avant-garde video projects exploring the human condition. As of Friday, at the Michael Fuchs Galerie in Berlin, you can watch Blanchett turn inside out two simple phrases—“I love you” and “I don’t love you”—in Marco Brambilla’s video The Four Temperaments. (If you’re staying closer to home these days, you can also experience the work, as of today, via the augmented reality app Acute Art.)

Blanchett’s pulsing iterations of the phrases are filtered through four different colors, her face bathed in a carmine yellow glow one minute and traffic-light green the next. The colors are meant to evoke the four humors as described by the ancient Greek philosopher and medical writer Galen, with each tone corresponding to a specific temperament: sanguine (yellow), choleric (red), melancholic (blue), and phlegmatic (green).

This is not the first time that Blanchett has participated in a project more at home in a museum than a multiplex. In 2016, the actor starred in 13 short films, simultaneously projected in the cavernous Park Avenue Armory in Julian Rosefeldt’s Manifesto. That work transplanted the texts of historical manifestos—by visionaries ranging from the Dadaists and Russian abstract artist Kazimir Malevich to filmmaker Jim Jarmusch—and the effect was disorientingly powerful. Dated didacticism, when animated by a genre-bending character (a woman resembling an elementary school teacher, or a wandering homeless man—all played by Blanchett), felt fresh and eye-opening.

That work, it turns out, provided fodder for Brambilla’s project, which plays out on a smaller but no less compelling scale. Brambilla came across Albrecht Dürer’s Melencolia in the course of some research; this led him to Galen, and then to the idea of having one person attempt to embody all of the philosopher’s temperaments. While Manifesto’s effect was dependent on unexpected contrasts and evocations of whole historical landscapes, Brambilla set out to test, as he puts it, “something far simpler”: “Would you be able to create drama using only two lines of dialogue and four basic character types in dialogue with one another, and all performed by the same actor?” Of course, not just any actor would suffice. Having seen Manifesto, Brambilla knew he wanted to work with Blanchett. “Cate performing all the characters made the piece compelling since her range and ability to recede into the character is unique even among the most experienced actors,” he says.

Though it was filmed in the artist’s studio in the midst of the pandemic, the process of creating the work, says Brambilla, was not actually that different than it would have been in more normal times. The film was conceived as a virtual experience as much as a physical one. “I think art will have to engage with people beyond gallery and museum walls,” says Brambilla. “With the advent of virtual reality and now augmented reality, we can bring artworks into almost any setting, public or private, and the engagement can in some cases be even more powerful than a conventional museum installation.”

Stateless Interview

Gregory Crewdson discusses his new work with actor Cate Blanchett

CATE BLANCHETT I have to say, without sounding stalker-ish, that I’m a huge admirer of your work. There are a thousand questions I want to ask you. Your works have really affected the way I look at the world, but I suppose specifically how I look at America. I think it’s hard not to find, or to search out, social commentary in art, even at the best of times. Everything seems so resonant to this strange, vertiginous time that we find ourselves in at the moment. And I’m wondering, given that you’re about to unveil a new body of work, how you feel about the way that it might be received? Do you think about your work in a social-commentary way? One work in particular from An Eclipse of Moths really struck me, and that was Red Star Express [2018–19], with the teenagers looking at a truck on fire, each seemingly unaware of their relationship with one another. Where do you sit in terms of social commentary and how the work might be received?

GREGORY CREWDSON Well, it’s very interesting to me because I made this series of pictures in 2018 and 2019. And I knew that I was dealing with certain particularly American themes about isolation and a certain kind of brokenness, I would say. But for the most part I was just building on my own iconography, making what I hoped would be beautiful and mysterious pictures.

My central intention is to make a picture that feels moving on some level, but also haunting. I’m really interested in what I call the uncanny. That is, I’m trying to explore what, on the surface at least, seems to be everyday life, and trying to find within that some unexpected anxiety, or fear, or wonder, even. In that way the pictures are very much in line with all my previous pictures, but as with anything else, context, the period we’re in, shapes a work of art. The pictures can’t help but take on new meanings as time passes; that’s just part of how art works. I feel that all art functions in reference to other pictures while at the same time referring to your own particular story, you know, the story that we all have within us. And then, finally, it makes some kind of connection to the moment we’re in. So I’m hoping that these pictures, in one way or another, do all those things.

CB Speaking of the uncanny, your titles are so enigmatic, unexpected, and often mysterious. I mean, why An Eclipse of Moths?

GC Well, it’s an actual term to describe the congregation of moths to a light. I thought that was such a beautiful metaphor on many levels, starting with the fact that I think all my pictures at their foundation are concerned with light. All of the narrative codes in my pictures use light as a way of transforming the subject or making the picture.

And then one of the themes that run through the pictures is the streetlamp. It’s in almost every single picture. I’ve thought of the photographs’ lone figures wandering through empty streets in that way: they are drawn to the streetlamp almost as a kind of force, or for some sense of the possibility of redemption.

CB A woman walking alone at night thinks of a streetlamp as a place of refuge, but there’s also something sinister and alien about the iconography of the streetlamp. In Starkfield Lane [2018–19] the lamp has actually collapsed—there’s something very vulnerable about the streetlamps in the series, they’re not places of refuge. And the streets themselves seem like the streets of Los Angeles and every major city around America right now [during this lockdown]. It’s almost like you’ve got second sight or something. There’s no comfort in the light, somehow, in the ways there perhaps had been in previous works of yours.

GC One of my primary interests in these pictures was the theme of emptiness. Where a lot of my previous work was more predetermined in terms of the story lines, I wanted these to feel open-ended and unresolved in terms of what’s happening, what happened before, and what will happen after. I’m really hoping these pictures feel somewhat outside of time, and yet, almost paradoxically, relevant to the moment we’re in. If you notice, there are no signs of contemporary life in the pictures. There are no cell phones. There are no new cars. I want everything in the pictures to feel both nondescript and slightly worn, slightly broken. So I look for locations that can accommodate that narrative or that state, and we put in our own prop cars and our own street signs, and we work closely with the city to make sure that no streets are paved and that all the grass remains unmowed. We want the feeling of a place that’s been somewhat forgotten and neglected. We change out all the streetlamps—we actually put different bulbs into the streetlamps, and we work with the fire department to wet down all the streets, and we use fog machines. All this is part of an effort to create a world that feels both familiar and enchanting at the same time.

So if the pictures have a social commentary, it’s elliptical. It doesn’t reveal itself overtly; it should remain a mystery. All photographs do that in a way—no still photograph can fully reveal its meaning, it’s always left as a question. That’s part of why I respond to photography in the way I do, unlike other narrative forms like movies or literature.

CB I find myself returning continually to works of yours, and it’s really interesting that the meaning and the reference points resonate with different pockets of my life. In both theater and film, when the set designer or the director prepares a mood board, there’s so often a Gregory Crewdson photo on it to say “We want this type of atmosphere.” Your images are so loaded with atmosphere that you can place your own reference points on top.

Do the concepts crystallize as images for you in an almost dreamlike moment? Where do they begin?

GC The process always begins with location. I drive around endlessly—I think being removed from the place, slightly detached, is important, and through that process of returning over and over to a place, an image will come to mind. And usually a quite simple one. I work early to write descriptions with Juliane [Hiam]. We write a one-page description of what’s happening in that picture. That becomes the guidepost for the process. Then I work very closely with my director of photography, Rick Sands, whom I’ve worked with for many years. Slowly but surely, through a long process of preproduction and then production and postproduction, we build up to the making of the picture.

CB I don’t know if this has ever happened to you, but being Australian, when I drive long distances there’s this strange vertiginous thing that happens: even though the steering wheel is here, it could be seven or eight meters away. I often get that vertiginous relationship with your work, too—I’m only arrested from completely falling in by the players, the personas who are in there. And it’s interesting, in this new body of work, the players seem dwarfed by the environment—they seem more inconsequential than they’ve ever been in your photographs. Why is that?

GC I really wanted the pictures to be first and foremost about place. These figures exist in a place that feels meaningful and specific and particular. The figures are centrally important, but it’s their scale in relationship to the larger world that really establishes those themes of dislocation and isolation: the figure gets lost in an expanse of the larger world, or figures are isolated from each other. That dynamic of social distance exists in all of the pictures.

CB In some of your earlier work, the figures somehow seem to be experiencing entrapment. But there’s a slightly different quality here: they’re at bus stops, they’re on doorsteps, they’re on stoops. It’s not being trapped, it’s a profound sense of waiting. Maybe I feel that acutely because of the state we’re finding ourselves in globally, but I found that really resonant in the images.

GC You named something I’m maybe not even conscious of but I think is absolutely correct—that moment of deliberation or waiting. I think that’s key to the work, that psychological paralysis of some sort. It wasn’t something I was really conscious of when I was making the pictures, but looking back at it now, I see a connection of sorts to a series of health issues I was facing. Onto all of my pictures, as all artists do, I project whatever fears or anxieties I’m having. It’s not conscious. Maybe part of what I was looking for in these figures is some version of myself: on some basic level I feel my pictures are revealing of my persona, my character, my biography.

CB There’s a strong relationship in your work between the inside and the outside. Is there a moment in your childhood or early on that you now look back on and think, “That was when I started to form a sense of myself in relation to my aesthetic, in relation to the outside world”?

GC Well, my father was a very powerful figure for me. He was a psychoanalyst, and when I was growing up, in Park Slope, Brooklyn, he had his office in the basement of our home, underneath the living room.

CB Oh, okay. You could hear the screams and the cries [laughs].

GC That was defining for me on many different levels. One of my earliest memories is of watching patients come up the street and go through the basement door, and then there’d be these sessions happening underneath our living room floor. We had to be very quiet during those times, and I remember I used to put my ear to the floorboards and try to overhear the sessions. I never was really able to do that, but that image of lying on the living room floor, trying to hear my father’s sessions with his patients, I think is defining for me: it’s trying to look in everyday life and search beneath the surface for a secret, something forbidden, you know, and trying to project an image in my head of what that might be. That runs through absolutely every one of my pictures, and I think I’ve carried it with me throughout my life—searching for meaning, searching for secrets, searching for mystery within everyday life from a certain distance. Like all photographers, I think, in one way or another I have a relationship to voyeurism. Photography gives you access to worlds that you wouldn’t ordinarily have. It gives you a license, an alibi, in a certain way.

CB It’s like a child’s knowledge that there’s a parallel reality that you can’t name, you don’t have the language to participate in, but you can start to visualize. And it makes me think of Alice Munro and Raymond Carver, those great North American storywriters, and how the work understands and harnesses the banality in which the child lives, but the child understands the cataclysmic, you know? The narratives that you capture and create—do they form between your present and that past? Do you feel there’s always an interplay between your memory and your present state?

GC Any readings I can make of the pictures usually happen retrospectively. I wasn’t even aware when I was making those pictures that maybe they had to do with either some sort of larger social issue or something about my past or present concerns. I had no idea. It’s only now, when I look back at them, that I’m like, Oh yeah, I never really noticed these themes emerging, you know? Because I’m entirely invested in the singular moment, and I look at it so myopically, like my obsession with getting every blade of grass correct. I don’t really have the luxury, in a way, of looking on a larger scale and figuring out for myself what the pictures are about. Even now, I could hazard a guess, but I don’t think I’d really be interested in the pictures if I knew precisely what they were about. Ultimately, the picture has to lead to the next picture. It’s always a search to try to find something that’s continually slightly outside your grasp.

CB There’s a writer, Michael Chekhov, who writes about acting and atmosphere, and in one story he describes a group of revelers coming into a haunted house, and either the atmosphere of the haunted house will gradually subdue the revelers or the revelers will change the atmosphere of the haunted house. There seems to be the same tension between your version of the revelers and the atmospheres that they find themselves in. And I’m wondering, sometimes you place professional actors inside your frames and other times the people are less well-known, almost found faces who are more incidental to the frame. The atmosphere has overwhelmed them. How do you talk to the people who populate your pictures? How do you lead them to understand the world they’re in and their part within it?

GC Well, in this series, all the figures are from the area. We sometimes cast them hours before the picture, or we’d find someone on the street who I thought would be perfect, or I noticed them while we were location scouting a week before. They’re primarily people who live in these areas. We give them a description, and by the time they come on set, I know exactly how they’re going to be positioned. I know exactly what they’re going to be wearing and their gesture, it’s all in my head. I know exactly what I want from the figures and it’s usually almost nothing in terms of a gesture. I want less. I want a moment that feels almost emptied out.

CB We were talking before about the notion of inside and outside. To go at it another way, I always think about the sublime when I look at your work, because there’s something about the towns always bordering the natural world. The relationship to nature that the towns have—towns are built to eradicate nature, but then we see nature’s coming back in. Particularly when the figures are either in the ground or in the water or by the water, they seem almost like fish out of water, returning to something but not knowing how to return. That relationship with nature is really powerful, and I wonder if it links for you to dormant, recessed, deep images from childhood.

GC I’m so glad you mentioned the theme of nature because it’s central to the work. These pictures were made during the height of summer, which is critical. The relationship between these industrial landscapes and impinging nature—there’s a certain underlying suggestion of anxiety in that. But in the end it’s about renewal, and I think that’s really key: nature persists. I do think that ultimately the photographs offer some sense of hope, or beauty, or even redemption.

Source: Vogue, Gagosian

77th Venice Film Festival: Additional Photos and Video Links
Posted on
Sep 15, 2020

77th Venice Film Festival: Additional Photos and Video Links

Hello, Blanchetters! Hope you’re all having great day/evening.

This is quite a lengthy post but we have added hundreds of photos on our gallery from Day 0-11 of 77th Venice Film Festival. We’ve also added social media posts with Cate and links from where you can watch her red carpet appearances, jury press conference, opening and closing ceremony. Enjoy!

 

Jury Press Conference starts at 1:13:00

 

Cate arrives at the red carpet at 30:40; opening ceremony starts at 58:20

 

Cate arrived at 45:00

 

Cate arrived at 46:00

 

Closing Ceremony started at 2:45

 

Main Competition Jury Press Conference started at 2:58:00

 

 

 

 

 

 

 

 

 

 

 

77th Venice Film Festival – Day 11 – Closing Ceremony Photos
Posted on
Sep 13, 2020

77th Venice Film Festival – Day 11 – Closing Ceremony Photos

Hi, Blanchetters!

This concludes the 2020 Venice Film Festival but we will be adding more pictures on the gallery. Meanwhile, here’s our first look on the closing ceremony.

77th Venice Film Festival – Closing Ceremony – Stage
77th Venice Film Festival – Closing Ceremony – Inside
77th Venice Film Festival – Closing Ceremony – Stage

77th Venice Film Festival – Day 8 – Wife of A Spy Red Carpet Photos
Posted on
Sep 9, 2020

77th Venice Film Festival – Day 8 – Wife of A Spy Red Carpet Photos

How are we doing, Blanchetters?

We’ve got another red carpet look from Cate and this time she re-wore Armani Prive from the Cannes premiere of Sicario in 2015. Here’s our first look on tonight’s red carpet for Wife of A Spy.

Here’s the look from 2015 Cannes Film Festival: