Cate Blanchett at For Sama Screening and New Podcast Interview
Posted on
Apr 25, 2022

Cate Blanchett at For Sama Screening and New Podcast Interview

Happy Monday, everyone!

Tonight in New York, Cate will be honored at the 47th Chaplin Awards but while we wait Film Comment has released the podcast interview they did with her discussing her most memorable roles. Cate also moderated a Q&A last night for the documentary For Sama.

Podcast

Every year, Film at Lincoln Center honors a luminary of the film industry with the Chaplin Award. This year’s recipient, the 47th, is an actress who has essayed some of the most iconic performances of the last quarter-century, and whose nearly superhuman versatility is matched by the consistency of her craft: Cate Blanchett. In an in-depth tribute essay, the scholar Amy Herzog writes that “Blanchett’s almost otherworldly range has generated certain tropes in reviews of her work: she is often described as ‘chameleonic,’ or said to ‘disappear into the character. But these takes, which suggest an innate and natural ability for imitation, or even an erasure of the self, don’t capture the careful calibrations of Blanchett’s craft.”

A couple of weeks ago, I sat down with Blanchett to dig into those calibrations and the process behind some of the most interesting performances of her career. We discussed her iconic turns in Jim Jarmusch’s Coffee and Cigarettes, Todd Haynes’s I’m Not There, Taika Waititi’s Thor: Ragnarok, and some deeper cuts, like her early roles in the Australian miniseries Bordertown and Tom Tykwer’s Heaven (which was written by Krystof Kieslowski).

Film Comment

FOR SAMA Screening

Cate moderated a Q&A for the documentary FOR SAMA after a screening at Forest Row Townhall. The documentary is directed by Waad Al-Kateab and Edward Watts and has been nominated for Best Documentary Feature at the 2020 Academy Awards. The screening was originally scheduled in March 29th 2020 but was cancelled due to COVID lockdown. Cate has also previously hosted a screening of the movie in November 2019.

FOR SAMA is both an intimate and epic journey into the female experience of war. A love letter from a young mother to her daughter, the film tells the story of Waad al-Kateab’s life through five years of the uprising in Aleppo, Syria as she falls in love, gets married and gives birth to Sama, all while cataclysmic conflict rises around her.

There is also campaign to end targeted attack on hospitals in Syria. You can check more information about #ActionForSama here.

Source: For Sama

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

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

Happy Sunday, everyone!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Climate of Change podcast is out now on Audible.

The rest of the interview is on the magazine scan.

The New Review – April 17th 2022

Climate of Change Interview and Promos
Posted on
Apr 15, 2022

Climate of Change Interview and Promos

Hello, everyone!

You can now watch the interview with Imogen Heap, who is a guest on episode 6 of Climate of Change podcast. The podcast is now available on Audible. Check out two promotional videos below.

Promotional Videos

 

Cate Blanchett on Climate of Change Podcast
Posted on
Apr 14, 2022

Cate Blanchett on Climate of Change Podcast

Good day, everyone!

The Climate of Change with Cate Blanchett and Danny Kennedy, which was co-created, co-produced, and co-hosted by Cate, is now available on Audible UK. An outtake from the podcast interview with Prince William was also released. Check them below.

Click image for higher resolution

The six-part series, Climate of Change with Cate Blanchett and Danny Kennedy, will see the Oscar winner explore eco-anxiety and optimism with environmental activist Kennedy, as the pair raise awareness of the emerging technological revolution with the help of some special guests.

“Throughout the series, Cate and Danny speak directly to visionaries and trendsetters who are making innovative strides to turn the tide on climate change, from the Navajo Nation in Arizona to the Australian Outback,” Audible teases.

The guests on the podcast ranges from different backgrounds: former President of Ireland Mary Robinson, social historian Rutger Bregman, Prince William, 2021 Earthshot Finalists and Winners, economic thought leader and author Tony Seba and Agamemnon Otero, Katy Milkman, author and inventor Saul Griffith, director Adam McKay (Don’t Look Up), artist Luke Jerram (Gaia), fashion activist Livia Firth and musician Imogen Heap.

Click the image to be redirected to Audible UK where you can listen to clips or full episodes.

Climate of Change

Climate of Change Promotional

Promotional Screencaptures

Source: Radio Times, Audible UK

Cate Blanchett on Course Correction Podcast
Posted on
Apr 12, 2022

Cate Blanchett on Course Correction Podcast

Hi, everyone!

Cate is a guest on Course Correction podcast season 3 episode 4. The third season of the podcast is in partnership with United Nations High Commissioner for Refugees (UNHCR) “to illuminate all aspects of the refugee experience”. Cate talked about her work with the agency and refugees as UNHCR Goodwill Ambassador. You can listen on links below. There’s also the interview on the recent magazine scan from Palace Scope that we posted previously.

We’d like to thank Rebecca for her donation to the site!

Course Correction Podcast

Nelufar Hedayat speaks with Academy Award-winning actor Cate Blanchett about her experiences as a UNHCR Goodwill Ambassador advocating for refugees. Blanchett explains that educating refugee children and young adults provides opportunities to be leaders in rebuilding their homelands while also benefiting their host countries.

This is a Google translated article

Cate Blanchett: “What I like above all is going against the grain”

An honorary Caesar for Cate Blanchett! That’s what warmed our hearts. As if the mere presence of this great lady of the cinema, with her intelligence above the fray, her fascinating magnetism, was already a promise of happiness. As if a close-up on her was enough to make us happy. Her feline smile, the magical sparkle of her aquamarine gaze, full of stars, the glamorous blonde and her pink complexion… “A special effect in itself,” a journalist once said of this luminous wonder of a woman, who, at 52, seems to be constantly getting younger. And this elegance, worthy of the greatest Hollywood goddesses! When host Jimmy Fallon asked her about the honorary trophy awarded to her by the French Académie des César, she exclaimed happily: “French cinema has influenced me so much!”

And what a career! From her beginnings as a “messy young girl terrified of sophisticated women”, as she says, the journey is dizzying. “I was born in Melbourne, my father was Texan and my mother Australian. Just before entering university to study fine arts, I traveled for a year. In Italy, I slept in convents, I was fascinated by the nuns.” In Egypt, she did some extras in a film about boxing! When she returned to Australia, she discovered her vocation: the theatre. While rising the wave of Australian stars, Nicole Kidman and Russell Crowe, she graduated from the National Institute of Dramatic Art in Sydney. The movie theater? “Frankly, I could stop cinema. I would also be happy staying at home knitting,” says the divine, who, against all odds, readily shows herself to be schoolboy, full of playfulness, and very rock’n’roll. Let’s not forget that she played the role of Bob Dylan! “But the desire to transcend is always stronger. Becoming an actress stabilized me. The mystery and unpredictability of this job suits me well. Being an actress consists above all in not being interested in oneself, but in taking the point of view of a gallery of characters that I carry around with me. What I like above all is to go against the current.”

When does an actor’s roles merge with her life? Two Oscars (best supporting role in 2005 for The Aviator, best actress in 2014 for Blue Jasmine), four children (three sons now teenagers and a daughter), a husband she describes as a “legend”: the friendly screenwriter and director Andrew Upton, with whom she ran the Sydney Theater Company. Conquering Hollywood and staying away from it – half in the picturesque suburbs of Sydney, half in England – is only given to the greatest. And all these crazy and impossible bets of a chameleon actress, starting with that, sumptuous, of Queen Elizabeth, a role that would crown her on the international scene at 29 years old. And propelling her to Todd Haynes, Jim Jarmusch, Woody Allen, Martin Scorsese, David Fincher, Terrence Malick… which in no way prevented her from conquering mainstream cinema! The Lord of the Rings and The Hobbit trilogy, of course, but also Indiana Jones and the Kingdom of the Crystal Skull, Thor: Ragnarok (role of evil creature acclaimed by her sons), Ocean’s 8, Cinderella, several animated films…

Last year, Cate Blanchett fiercely defended a feature film, Apples, to help its director. This year, she has already blown us away in two shocking roles: overly tanned TV host and ultra-bright teeth in Adam McKay’s Don’t Look Up. And a femme fatale, limping and bamboozling Bradley Cooper, in Nightmare Alley, by Guillermo del Toro . Two films nominated for the Oscars. We will also see her again soon in Borderlands, a science fiction by Eli Roth, who had already directed her in the children’s film The House with Clocks in Its Walls . And in Tár from Todd Field, where she plays an orchestra conductor. “I don’t choose my roles, they choose me. Of course I really wanted to act with Bradley Cooper! But, at the end of the day, it’s always the director first. When someone like Guillermo, for whom I also did a voice in Pinocchio, calls me, I go for it! It is the directors who provoke the momentum, the desire for an encounter, the desire to immerse themselves in their world and to come back from it larger.”

Among her dreams as filmmakers, two are coming true. Cate Blanchett will be the heroine of the first film in English by Pedro Almodóvar: A Manual for Cleaning Women based on the novel by Lucia Berlin: the story of a woman who has known a thousand lives. And, after having worked with the other two amigos, Alejandro González Iñárritu (Babel) and del Toro, she will turn under the direction of Alfonso Cuarón in the Disclaimer series: there she will be a journalist, threatened when her own secrets are revealed by a novelist played by Kevin Kline. Cate Blanchett is co-producing both projects through her own production company, Dirty Films.

It is also under this banner that she produced and adapted, two years ago, two series reflecting her humanitarian commitment: Mrs. America and Stateless . The first deals head-on with feminism. Cate Blanchett, it should be remembered, is one of the great figures of #Mee Too in Hollywood. The other series, based on a true story, denouncing Australia’s immigration policy. “The more the world regresses, the more I have to get involved,” says the one who was appointed Goodwill Ambassador for the United Nations High Commissioner for Refugees in 2016. “We must keep hope, especially for the younger generation, but , and it’s the same for the climate, I am appalled by the fight to be led. When we were filming Don’t Look Up, we hadn’t realized how much our satire was becoming a realistic documentary!” And if Cate Blanchett, when she presided over Venice, had chosen to wear only “recycled” outfits, it was not to lecture. “To encourage each of us,” she insists, “when we can, to do our part.” Feet in reality, head in the stars! Latest news is that Ms. Blanchett set to add a private art gallery to her Victorian mansion in Sussex. A wing to replace an old shed, with preservation of the bats that lived there… This new building, dedicated to the actress’ contemporary art collection will also include a meditation space and a studio for her rehearsals. When we tell you that Cate Blanchett is a bit of a rock star!

Source: Course Correction, Palace Scope

Interviews and Magazine Scans
Posted on
Mar 12, 2022

Interviews and Magazine Scans

Hi, Blanchetters!

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

 

Video link

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

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

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

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

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

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

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

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

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

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

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

This is a Google translated interview

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

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

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

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

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

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

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

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

Meaning what?

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

We generally find relief in movies, in stories.

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

Cinema as therapy?

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

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

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

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

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

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

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

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

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

What else can you tell us about Guillermo?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SmartLess Podcast

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

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

Magazine Scans

Paris Match No. 3798 – February 23rd 2022

Entertainment Weekly – March 2022

Variety -Match 9th 2022

Io Donna – March 12th 2022


Source: IoDonna, Variety, TV Tonight

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

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

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

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

A Tea with Cate Blanchett

Goya Awards Ceremony

36th Goya Awards – Stage – February 12th 2022

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

Photocall and Press Conference

Photocall

 Press Con

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

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

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

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

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

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

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

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

Project with Almodovar

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

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

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

Academies and festivals

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

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

Arrival and red carpet

Source: La Vanguardia, Premios Goya

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

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

Hi, everyone!

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

Talk Easy with Sam Fragoso

Cate Blanchett Surpasses Record for Female Actor in Best Picture Nominees

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

Source: THR, AwardsWatch

Cate Blanchett to co-host a podcast; and more updates
Posted on
Feb 3, 2022

Cate Blanchett to co-host a podcast; and more updates

Hi, everyone!

Cate will be co-hosting an Audible podcast. She is one of the actors included in British Vogue’s 25 of the world’s talked about stars. There’s also an accompanying video interview for the photoshoot. We have added some behind the scene photos from Don’t Look Up.

Cate Blanchett to Co-host a Climate Change Podcast At Audible

Click image for higher resolution

Audible has commissioned a new original podcast, Climate of Change with Cate Blanchett and Danny Kennedy.

Co-created and co-hosted by multi award-winning actor, producer and environmental advocate, Cate Blanchett and climate entrepreneur and activist, Danny Kennedy, it will feature “out-of-the-box thinkers”, innovators and high-profile guests, who will be announced at a later date.

Two seasons have been commissioned in the deal between Audible and Blanchett’s Dirty Films (in association with StoryHunter), with the first series set to launch globally this April ahead of Earth Day.

The collaboration marks the first time that Cate Blanchett and Danny Kennedy will create and host a podcast together, as well as Audible’s first major original climate change podcast series.

Climate of Change sees the two long-term friends explore despair, optimism and hope in the face of environmental change.

From women-led energy solutions in Uganda, to a Navajo solar farm in the Arizona desert, to ideas that could transform the global fashion industry; Cate and Danny will tell stories of ingenuity and resilience.

Cate and Danny interview guests along the way, discussing the biggest challenges humankind face and the ground-breaking work being done to tackle the crisis.

Some of the world’s leading authors and thought leaders in the green economy, behaviour change and sustainability will feature, as well as grass-roots innovators who are making a positive impact on their local communities by creating clean energy solutions.

The exclusive soundtrack to the podcast is by Grammy Award-winning electronic artist Imogen Heap.

Cate Blanchett, Partner, Dirty Films, said: “This podcast is a joyous extension of a long-standing friendship that all of us at Dirty Films have had with the wonderful Danny Kennedy.

“Danny’s knowledge about and passion for climate solutions is infectious, and our experience developing this project with the folks at StoryHunter for Audible has been a shot in the arm – and has gone a long way to tempering our eco-anxiety.

“We hope that our listeners enjoy hearing the conversations as much as we have enjoyed having them.”

Aurelie De Troyer, Senior Vice President of International English Content at Audible, added: “We are thrilled to be working on such an exciting and important series as Climate of Change.

“Podcasts are the perfect vehicle to educate and raise awareness of important issues and it’s an honour to collaborate with the extremely talented Cate and Danny on their first podcast.

“We have been blown away by the passion for this project from the team at Dirty Films and StoryHunter and we know this will be something special.”

Vogue UK 2022 Hollywood Portfolio

Screencaptures

Tell us about your first ever audition.

“It was for the church musical. I got the part of Mr Worldly Wiseman. We performed at a couple of shopping centres and I thought I’d made it.”

What is the best piece of advice you’ve ever been given?

“Something I tell my children, which is to stay out of the sun.”

Click image for higher resolution:

Don’t Look Up Behind the Scenes


Source: Vogue UK, Podcasting Today

Cate Blanchett podcast interview and Netflix’s Pinocchio Teaser and Release Date
Posted on
Jan 24, 2022

Cate Blanchett podcast interview and Netflix’s Pinocchio Teaser and Release Date

Hello, blanchetters!

France Inter has released the podcast interview with Cate. Guillermo del Toro’s Pinocchio, where Cate is voicing Sprezzatura (a monkey) will be released in December 2022.

Cate Blanchett in all facets

Some call her “the chameleon” and consider her one of the greatest actresses in the world. Cate Blanchett is the guest of Augustin Trapenard.

Double Oscar winner, on the big screen, she played Elizabeth I, Galadriel in The Lord of the Rings , Katherine Hepburn in Scorsese, Bob Dylan in Todd Haynes and many others. She is currently starring in ” Nightmare Alley”, Guillermo del Toro ‘s new film , and will soon receive an honorary César for her entire career.

Excerpts from the show

“I’m a complete fan of Bette Davis. It’s no matter how much we claim our individuality, when we see an extraordinary actor or when we are crossed by a superb film, we are inevitably influenced. We actors are porous creatures”

“In ‘Nightmare Alley’, the three main characters are archetypal women, but they are imagined as parts of a whole. movie”

“The camera can lay bare something of our humanity. Indigenous peoples were afraid that the camera would steal a part of their soul. There is an essential truth here that even the actor is not aware of, and which is reveals in spite of himself

“Truth has become a modifiable, switchable and highly politicized product. Five years ago, truth was based on established, verified facts, and suddenly it became something vague, moving. I find that terrifying “

“You are the product of your habits. You can never really escape from yourself. But the privilege of the actor is to be able to slip into different lives and escape your own habits”

Pinocchio Teaser Trailer and Release Date

Netflix has announced the director’s stop-motion, musical adaptation of “Pinocchio” is set for release in December 2022. Del Toro co-directs this long-in-the-works passion project with Mark Gustafson. To mark the date announcement, Netflix unveiled a brief teaser with the first footage of Ewan McGregor voicing Cricket.

Starring opposite McGregor in “Pinocchio” is David Bradley as Geppetto, Gregory Mann as Pinocchio, Finn Wolfhard, Cate Blanchett, John Turturro, Ron Perlman, Tim Blake Nelson, Burn Gorman, Christoph Waltz and Tilda Swinton. Del Toro’s adaptation is set in Italy during the 1930s, a time when fascism is on the rise and Benito Mussolini is consolidating control of the country.

Source: France Inter; Variety