Category: TV Shows

Cate Blanchett as a presenter on Australian Story episode

Cate Blanchett as a presenter on Australian Story episode

Hey Blanchetters!

As we announced here a few days ago, Cate was going to introduce the latest episode of Australian Story featuring Muriel’s Wedding directors, Jocelyn Moorhouse and PJ Hogan. Take a look at the episode entitled The Kids are Alright below.


Jocelyn Moorhouse & Pj Hogan are featured on Australian Story introduced by Cate Blanchett

Jocelyn Moorhouse & Pj Hogan are featured on Australian Story introduced by Cate Blanchett

Hello everybody!

ABC’s Australian Story will have Cate Blanchett as its presenter next Monday. She will be introducing directors Jocelyn Moorhouse & Pj Hogan in the episode called Jocelyn Moorhouse and PJ Hogan – The Kids are Alright. The program offers an intimate portrait of Muriel’s Wedding directors as they speak candidly about the challenges, heartbreak and unexpected joys of living with two severely autistic children and why Moorhouse dropped out of sight and didn’t direct a movie for 18 years.

Australian Story will air Monday, April 15 at 8pm (Australia Time) on ABC and ABC iview.

Episode will be later available HERE

Here are the trailer and photo of Cate shooting her participation*.




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*Special thanks to Edith’s Nanny from CBF Chat from sharing this info.

Updates | Documentary Now! episode “Waiting for the Artist” featuring Cate Blanchett

Updates | Documentary Now! episode “Waiting for the Artist” featuring Cate Blanchett

Hello everyone!

Have you watched Documentary Now! episode “Waiting for the Artist”?
We have and we think Cate is amazing as perfomance artist Izabella Barta! The episode is hilarious and memorable!
If you haven’t watched it yet, make sure you do!
Here are our updates on this awesome project. Enjoy!


‘Documentary Now!’: The Incredible Cate Blanchett Episode That Had to Be Made in Four Days

There are few TV shows with as much obsessive attention to detail as “Documentary Now!” That’s probably why it came as no surprise to series co-creators Alex Buono and Rhys Thomas that one shot of Cate Blanchett riding a mini tricycle in a massive Hungarian courtyard ended up taking a big chunk of an entire day.

“There was one moment in it where she’s riding on a tricycle in the square. And that’s on screen for like five seconds. And that probably cost us about five hours to get that shot. When you’re shooting for four days total, that was an expensive shot to get. But it’s worth it because they’re just going to take place as her somewhere,” Buono told IndieWire.

It’s the kind of creative choice that “Documentary Now!” has the freedom to make, given its bizarre mission statement. Over 17 episodes to date, the IFC series has taken some of the most venerated and iconic documentary films and flipped them on their head. But in the process of crafting these comedic versions, they still have to follow some of the same filmmaking tenets that govern the works they’re parodying.

Read More:‘Documentary Now!’ Trailer: That’s Not Actually Marina Abramovic, That’s Cate Blanchett
“You’re making a documentary. So the ability even just to put it up for a few frames, it has an immense value to opening up the scale,” Thomas said. “Sometimes the crew’s like, ‘Do you really need that thing?’ I feel like we always push to do more of that.”

The series, now in its third season, has tackled plenty of the biggest documentary titles of recent years. The show’s most recent episodes have tackled parody versions of “Wild Wild Country” and the classic D.A. Pennebaker look behind the recording of the Broadway cast album for the Steven Sondheim musical “Company.”

This week’s episode has a slightly more narrow focus — the 2012 Matthew Akers film “Marina Abramovi?: The Artist Is Present” — but it enlisted the services of Blanchett, arguably the show’s most famous guest cast member to date. Luckily for the show, she came in with the same level of preparation that goes into making these episodes feel so close to the spirits of their predecessors. Playing this exaggerated version of notorious performance artist Abramovi? (the “Documentary Now!” version is named Izabella Barta), Blanchett plunged into all the wild riffs that the script called for.

“The way she threw herself into it was unforeseen. We knew she’d be good, but you don’t know until they walk up on set whether that they understanding the tone and the level of commitment, you know?” Thomas said. “But once she was on board, she was doing all this research. She had teeth made to shift her jawline. She had 15 wigs or something that she worked on with her longtime hair or makeup people. Her commitment to the detais matched our detail-oriented thinking.”

Filming all of Blanchett’s scenes in such a short time period meant not just making sure that all the logistical details were in place before production, but that the team could construct an entire fictional life’s worth of archival and artistic material in a single day.

“We basically created the body of work of her entire career. We had one day to do that because we needed to get all that footage and put together to projections and photos and stuff for the actual exhibit that we did at the end. We prepped like nuts. We were in Budapest about two weeks before we did it. Just seven days of 20-something-hour days, really trying to get it dialed in.”

One setpiece in particular gave the team an unexpected hurdle. One of the fake performance art pieces called for a prop toilet stall. In venue after venue, from the lodgings that inspired “The Grand Budapest Hotel” to one of the city’s famous train stations, the people in charge of the venues repeatedly balked at having something bathroom-related in a public space.

“Cate Blanchett is going to be in lingerie and she’s going to be lapping up milk and there’s going to be a cat there. She’s going to be tied to a wall,” Buono said, describing the pitch at various locations. “Then we said, ‘OK, we’re going to put a toilet stall right here.’ The Hungarians were just like, ‘Wait a minute, what do you mean a toilet stall? This is offensive that you would even suggest that.’ They wouldn’t budge.”

Eventually, they obtained clearance to film the scene in the Budapest Opera House. But that necessity of being flexible in the face of absurdity is a reflection of the same things the show asks of its performers, too.

“You’re moving so fast that unlike other shows, you don’t have trailers. Because the talent is never gonna go back to the trailers. It’s just, ‘No, no, no, stay with us. You’re gonna be shooting again in five minutes’” Buono said.

It all goes back to the insane weekly time crunch of another show that gave so many of the creative team their start.

“So many of us that make the show came from ‘Saturday Night Live’ and had been there for a very long time. I think a lot of our crew would rather not be that way, but we all respond really well to quick [turnarounds],” Buono said.

“It’s kind of exciting,” Thomas added. “That’s always the challenge of, ‘Well, how are we going to do it?’”

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‘We Hope She Likes It’: Fred Armisen Explains How He and Cate Blanchett Parodied Marina Abramovic and Ulay

This week, the world was finally treated to “Waiting for the Artist,” a pitch-perfect parody of the 2012 documentary Marina Abramovic: The Artist Is Present.

The mockumentary, which is part of the third season of Documentary Now!, stars two-time Academy Award winner Cate Blanchett as Izabella Barta (a thinly veiled Abramovic) and Fred Armisen as Dimo (a fictionalized Ulay, the artist who collaborated with Abramovic in in the 1970s and ’80s).

Throughout the episode, we follow Barta as she struggles to come up with a new work for an upcoming show in Budapest. “The question on everyone’s mind that they’re not saying is, ‘does she have anything new to say?’” Dimo tells the filmmaker. “I think maybe not; her best work is in the past.”

The show is full of small delights for art-world insiders. There’s a Klaus Biesenbach-type curator, an appearance by the real-life Mr. Brainwash, and even a sequence in which Blanchett (as Barta) trains young performance artists, which is presumably inspired by Abramovic’s plans to open the Marina Abramovic Institute for the Preservation of Performance Art.

There is also a clever bit of gender politics. In the show, Barta labors to advance her career, while Dimo, a lazy unoriginal, and conceited artist, finds success easily. “I put no thought and no time into it,” he says at one point about one of his exhibitions. “Opening night, I went to the store and bought a bunch of crap,” including a fork and a toothbrush that he displays to acclaim.

Barta, on the other hand, is best known for her piece Bucket Series, in which the audience is invited to litter the gallery floor with all sorts of objects before the artist rushes in with bucket over her head, racing to answer a phone ringing in the center of the room.

In an interview with artnet News, Armisen was quick to clarify that he has nothing against Ulay. “In any narrative piece, you need a sort of villain, for lack of a better word,” he says. The choice to make Dimo lazy was plot driven, providing a foil to Barta’s unfailing dedication to her work.

One commentator in the show sums up their relationship thusly: “you had a woman who risked everything for her art, and a man who risked nothing.” (In real life, Abramovic and Ulay have had their ups and downs, but have set aside their differences in recent years, even making plans to write a joint memoir.)

We talked with Armisen about the episode, the challenges of parodying art, and waiting in line at art museums. This conversation has been edited and condensed for clarity.

What was it like filming this episode with Cate Blanchett?
We shot it in Budapest, and there was a video art piece at the museum with Cate Blanchett in it. A total, total coincidence! [Julian Rosefeldt’s Manifesto, in which Blanchett plays 13 different roles, was at the National Gallery from May 30–August 12, 2018.]

Amazing! That’s a great piece. And it really shows what a chameleon Cate is.
We weren’t prepared for how much work she was going to put into it! She showed up with her own wardrobe, with outfits that were like Marina’s. Cate even had some sort of dental things to make her look more like Marina. Sometimes I like to fancy myself the person who over-prepares and really gets into it—she was 10 times that. She could have done the whole episode on her own. The accent, the posture, oh man, it was incredible.

Even her skin had the right kind of… sheen.
Yeah! Whatever that quality is, she had it.

Did you see the MoMA show?
No! There was a line! I saw the movie and I love pieces like that, but I can never wait in line to see art. It’s not that I’m a snob, it’s that I can’t enjoy it if i’ve been waiting. It’s too much for me. I like a nice empty gallery, an empty performance.

Have you spoken to Marina about the episode at all?
No! I wish I did. I’ve never met her. Let her know that we are huge fans and we hope she likes it.

Why is she a good parody subject?
The boldness of her presence—and I know her documentary is called The Artist Is Present—there is something about that, the fact that it moved so many people. That, I think, is moving. If a band has a hit record, something worked, something resonated. I consider her to be somebody who had a hit piece, a hit art performance. It’s a rare thing to hit the mainstream. It happens sometimes 100 years after you’re dead. The fact that she did that in present day is really rare. How great is that? I really respect her art.

What’s your favorite part of the episode?
I like the footage of Cate putting the pail over her head with the marbles on the floor. It just made me laugh. It’s a silly part to it—I underestimate silliness.

I loved the Mr. Brainwash cameo. Any chance you guys would do a Exit Through the Gift Shop parody?
Maybe. It’s just too hard to really nail. We kind of did one on Portlandia, where one of the characters thought he was Banksy. He saw some graffiti and he was like, “oh that looks like my handwriting. I wonder if I’m Banksy?” Whenever you depict art, it’s very difficult because it can come off as just lazy or easy.

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BTS photos from Documentary Now Instagram

See visual guide of Cate’s perfomances on Documentary Now >>here

New video and still of Documentary Now! episode with Cate Blanchett

New video and still of Documentary Now! episode with Cate Blanchett

Hey everyone!

Tonight, the Documentary Now! episode “Waiting for the artist” starring Cate Blanchett and Fred Armisen will be airing on IFC Network (11 pm). After tonight, the episode will air again Saturday 3:30 am and then 6am (Thanks to Bello from CBF Chat for this info). For more info check IFC site
While we wait for tonight’s show, let’s enjoy a new video and still of Cate as Izabela Barta!


Cate Blanchett and Fred Armisen in new footage of Documentary Now!

Cate Blanchett and Fred Armisen in new footage of Documentary Now!

Hey everyone!

New footage of Cate Blanchett as Izabella Barta has been released today and it’s absolutely funny and impressive the Marina Abramovic impression made by Cate. Take a look the new content below and don’t miss Documentary Now! episode Waiting for the Artist this Wednesday, March 06, 11Pm on IFC network!



Source: https://www.youtube.com/watch?v=FdSxP4i9fus

Watch Cate Blanchett Play the Ultimate Tortured Artist in Documentary Now!

Cate Blanchett playing a visionary, eccentric artist struggling to find the right way to celebrate her art and grapple with a terrible old boyfriend during her career retrospective? Yeah, sign us up.

On Wednesday, IFC will debut “Waiting for the Artist,” a Documentary Now! episode based on the performance artist documentary Marina Abramovi´c: The Artist Is Present. (For the uninitiated, Fred Armisen, Bill Hader, Seth Meyers, and Rhys Thomas’s comedy series enlists actors and comedians to parody famous documentaries, including Original Cast Album: Company, Nanook of the North, The Thin Blue Line, and Grey Gardens, with extreme precision.) In “Waiting for the Artist,” Blanchett plays Izabella Barta, whose lover Dimo (Armisen) is an infamous provocateur. Dimo spent most of their relationship stealing Izabella’s ideas and cheating on her—so naturally, as she anticipates reuniting with him at her retrospective, she’s feeling the pressure.
As seen in this exclusive clip, Blanchett plays the tortured artist with exacting wit: an exhausted removal of her bright red glasses here, a condescending rub of the eyelids there. The idea she’s trying to sell is a bit unconventional: at the retrospective, she wants attendees to walk from room to room admiring her past art. In the end, they will find her in the final room—dousing the place in gasoline and setting it on fire before running out of the burning museum.
Sure, the idea might raise a few concerns—but as Izabella insists, “Art is not supposed to be safe! It’s supposed to be radical!”
Unfortunately, the city won’t see things that way—and so Izabella is hurtled back to square one. The tortured wail she then releases from behind a locked door—further evidence of Blanchett’s knack for understated over-the-top comedy—pretty much says it all.

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Documentary Now! episode starring Cate Blanchett: New content

Documentary Now! episode starring Cate Blanchett: New content

Hello everyone!

We have a new still and a couple of details about the Documentary Now episode starring Cate Blanchett entitled “Waiting for the artist”. Enjoy! The episode “Waiting for the Artist,” is set to air on IFC, March 6.



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[…] In the case of “Waiting for the Artist,” a riff on the Marina Abramovi? documentary “The Artist Is Present,” the process involved coming up with several decades’ worth of performance-art pieces, replete with photographs and performance videos shot on period equipment. Ms. Blanchett went through 13 wigs in four days.

“She provided some of her own costumes,” says Mr. Thomas. “She really met us on the plane of obsessive detail.”
[..]

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MEYERS: Yeah! They said, “Who is your dream for this?” and that was the answer, and they came back and said she was in (laughs). That was surreal. But because we all of a sudden weren’t just picking things that we thought Bill and Fred could be good at, we could just take any documentary and just cast based on what fit best. Obviously no one has more range than Bill and Fred, but there are still limits to that range and certainly Cate Blanchett’s a good example of how it would not have been the same if it was still a Bill and Fred only show.

It’s worked out. I miss Bill and I miss Fred in half the episodes, but it’s great to see people like Cate Blanchett or Michael Keaton in this. What’s the process of choosing the documentaries like? Does that happen before you cast the people I guess?

MEYERS: Yeah I mean Far Side was a holdover from Season 2 as far as an idea, but then everything else was new business. And then it was just trying to find things that felt unique versus previous seasons, so we’d never done a sports documentary which led to bowling, and we felt the art world would be a fun place to look which led to Waiting for the Artist.

I wanted to get into a couple of the episodes specifically. Without spoiling the ending, I’ll just say that Waiting for the Artist is very carefully constructed and the punchline is amazing. How did you hit upon the ending, and how was that one put together?

MEYERS: I really like The Artist Is Present, but there’s not really a narrative thrust other than just, “Here’s her career. Here’s the show.” And in the early drafts of it we felt it was lacking a narrative arc, because the reality is a lot of Abramovic’s art is pretty hilarious to begin with, so to do different versions of it felt a little one for one (laughs). We started watching other art documentaries and building out the character of Fred and sort of making that a character that, while you were paying attention to one thing, we managed to lay in that there was another thing happening, which is it wasn’t just a retrospective but it was also sort of a story about how even women who are incredible artists and you think have power, there’s always gonna be some guy who’s fucking it up for them (laughs). And again it was a perfect role for Fred to bring alive.

I’m fascinated by selling Cate Blanchett on this. I know she’s done comedy before, but this is such a silly and funny idea. Were there any discussions beforehand or anything?

MEYERS: I only heard she said yes (laughs). Really, three days after I said her name she said she was in. I had never met her and we sat down in New York for coffee one morning. I had heard she wanted to have coffee and so I went into it prepared to get her notes and hear what she wanted to do with it, but the only way to describe it was totally game. She had a take on how to play it, but she didn’t have any issues or suggestions for the script. Obviously if you watch it it’s like your dream for being a writer on it or for the directors of it, she just jumped in with both feet. It’s just a joy to watch. You think that there has to be this really protracted negotiation to get somebody like Cate Blanchett, but one of the things she told me was, “No one really asks me to do stuff like this.” And you realize sometimes you’ve just gotta take a risk and realize that somebody like Cate Blanchett’s just waiting for the day to go to Budapest and shoot for five days to make a fake documentary (laughs).

I mean she seemed to have a blast making Thor: Ragnarok. I think it’s funny that a lot of people think actors of her caliber aren’t interested in silly comedy, but clearly this shows her range.

MEYERS: It’s really true. There is something similar with the way she performs in Thor, which is, “Oh this is somebody who really likes to have fun.” Sometimes people who are as great an actor as she is, people just assume, “Oh what she does must be so arduous,” but the reality is to get a part like this or to get a part in Thor must just be such a relief to her to just let loose and have a great time.
[…]

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[…]the episode from this season that I will re-watch, and that deepened my engagement with the documentary form, is “Waiting for the Artist,” in which Cate Blanchett guest-stars as the performance artist Izabella Barta. Blanchett perfectly captures an essence of Marina Abramovic, who allowed a crew to follow her as she staged her MoMA retrospective for the 2012 film The Artist Is Present. The self-aggrandizing mission statements, the anxiety meltdowns as the show nears, the abstruse declarations about the purpose of performance art—Blanchett mimics all of these. Famous Barta pieces include “Gender Roles on Spin Cycle,” in which she sits inside an industrial dryer; “Domesticated,” in which she drinks from a bowl of milk on the floor while she screams “I am human!” over and over to a cat; and “Ein Tag, Ein Frankfurter,” in which she eats only one hot dog, very slowly, every day for a year as a way to process a breakup.
These pieces seem absurd, but no more than many that Abramovic really staged throughout her career. Consider “Carrying the Skeleton,” in which she hoisted a skeleton on her back and walked around with it as a way to show that she was confronting grief. In her real MoMA show, Abramovic sat in a gallery of the museum all day, allowing members of the public to sit across from her and experience her presence. Many cried, or said they had spiritual revelations. In Documentary Now!, Blanchett stages the same sort of experience, except it takes place in a sculpture of a public bathroom, in which patrons pass toilet paper to her underneath a stall (many cry, many have spiritual revelations). It is not that the episode doesn’t take performance art seriously; it simply suggests that perhaps Abramovic’s work has always been in dialogue with comedy.?

In real life, Abramovic often worked with her longtime lover, Ulay. When they broke up, they made the separation official by staging a grand performance of meeting each other to say goodbye in the middle of the Great Wall of China. In “Waiting for the Artist,” Armisen plays the Ulay character, here named Dimo, a provocateur who is constantly trying to take credit for Izabella’s work and admits that he was cheating on her while she was ascetically devoted to her art. Abramovic had an emotional reunion with Ulay in her documentary, when he sat across from her and grabbed her hand in the museum. The parody offers no such closure. Instead, it allows Barta to humiliate Dimo in such a public and emasculating way (which I won’t spoil here) that the episode almost doubles as a radical work of feminist art.[…]

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[…] Take the season’s biggest swing in terms of guest star casting: Two-time Oscar-winner Cate Blanchett, playing a variant of performance artist Marina Abramovi? in “Waiting For The Artist.” Armisen and Hader have both demonstrated that they can play women at a level that defies easy labels like “parody,” but it’d still be hard to swallow a tale of female artistic empowerment like this—especially from a creative team so overwhelmingly white and male—without a woman of commanding skill in the leading role. And because we haven’t seen Blanchett play any other characters on the show, it short-circuits the little voice in the back of your head that whispers “That’s such a Hader part” every time he shows up on the screen. Instead, she simply is Abramovi?—or rather, Izabella Barta, creator of such modern-art masterpieces as the blatantly self-harming “Bucket” series. (It doesn’t hurt that Blanchett is unsurprisingly gifted at feeding the silliness of her characters’ artistic ideas without ever sacrificing her dignity and humanity in the process.) Buono and Thomas frequently discuss pulling their writers back from the urge to make the show a cavalcade of jokes, ruining the reality of its carefully crafted universes. Casting an actress of Blanchett’s skill in the part achieves a similar effect: By forcibly giving up the comfort of Hader’s comic skills, the show’s third season of fake documentaries feels “realer” than anything that’s come before.
[…]

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Some Reviews

The New Season of Documentary Now! Is So Canny, You Might Forget It’s Satire

*Documentary Now! Is So Much More Than Parody

*‘Documentary Now!’ Season 3 Review: Musicals, Cults, and Bowling Make for a Hilarious, Diverse Run

*With Season 3, ‘Documentary Now’ Continues to be the Best (and Most Sorely Overlooked) Television Comedy for Cinephiles
Huge thanks to the fans from CBF Chat for sharing these infos with us!!!

*IFC’s Basically Perfect ‘Documentary Now!’ Is Back For Season 3, Thank God

*Documentary Now! An ode to the funniest spoof on television

*TV Review: Documentary Now! Season 3 Presents Another Festival of Uproarious Mockumentaries

*How Documentary Now! Spoofs Male Genius