Interviews, Magazine Scans, and other project updates
Posted on
Sep 15, 2022

Interviews, Magazine Scans, and other project updates

Good day, Blanchett fans!

We have compiled updates on other Cate Blanchett-related projects and causes she supports, ranging from interviews, magazine scans, and recent or upcoming event appearances. You can check them below.

 

— UNHCR Goodwill Ambassador, Cate Blanchett has penned an piece for Politico urging global leaders to do more for the Rohingya refugees.

It’s more important than ever that we don’t look away, despite other emerging humanitarian and refugee crises in the world.

Gul Zahar, a young Rohingya woman, was forced to flee her home in western Myanmar’s Rakhine State. Escaping brutality and widespread abuse, she and around 200,000 fellow Rohingya refugees sought safety in Bangladesh. That was in 1978.

After returning home, another wave of violence against the Rohingya forced her to seek safety in Bangladesh once more. That was in 1992.

Many years later, Gul and her four-generation family were among the 720,000 Rohingya who made that same desperate journey to safety, yet again forced from their homes by violence. Trekking through jungles and mountains and crossing the river, it was one of the largest and fastest refugee influxes the world had seen for decades.

That was five years ago, in 2017.

Today, over 925,000 Rohingya refugees live in the densely populated camps near Cox’s Bazar, Bangladesh. Over 75 percent are women and children.

The Rohingya are the largest stateless community in the world.

Although they have lived in Myanmar for generations, they aren’t recognized as citizens. And they face a host of discriminatory practices limiting their daily lives, in addition to the violence and persecution carried out against them.

When I visited Bangladesh in 2018 in my role as a goodwill ambassador for the U.N. Refugee Agency (UNHCR), I was not prepared for the depth of suffering that I saw.

I witnessed mothers enduring the unending pain of seeing their children live through these experiences. I sat with countless refugee children who had endured brutality and uncertainty, as I pictured my own children safe at home, joyful and carefree.

Following the influx in 2017, the emergency response to the refugee crisis, led by the government and people of Bangladesh, was exemplary. With the help of the international community, they provided medical assistance, food and relief items, and built makeshift shelters. Rohingya refugees were registered and issued with identity documentation — the first many had received in their lives.

Over time, however, the camps have developed their own fragile ecosystem, with their health care, water and sanitation facilities becoming severely challenged.

Rohingya refugees themselves play a vital role as the first responders in their community, including in the areas of emergency preparedness and disaster response, health, education, as well as community response and mobilization. During the COVID-19 pandemic, for instance, refugee volunteers took the lead in informing their community about health and hygiene, monitored signs of illness and connected refugees with critical health services. Their ingenious efforts saved countless lives.

Five years since that latest mass influx from Myanmar to Bangladesh, the collective effort in responding to the ongoing Rohingya refugee crisis — and the role undertaken by Rohingya refugees themselves — should be commended.

But despite this acknowledgment, we mustn’t be allowed to forget that the Rohingya shouldn’t be refugees at all — not the women, men and children who fled in 2017, nor those who fled in the successive waves of violence in previous decades.

The protracted exile of the Rohingya is simply unacceptable and unsustainable.

Diminishing hopes of returning home are pushing increasing numbers of Rohingya refugees, including children, to undertake perilous boat journeys in search of a future. Placing themselves at the mercy of smugglers and the treacherous waters of the Bay of Bengal, they are at risk of dehydration, starvation, physical and sexual abuse, and death. They do so, as many feel that they have little choice.

Today, it is more important than ever that we don’t look away from Rohingya, despite other emerging humanitarian and refugee crises in the world.

We must continue to support Bangladesh and other host communities in enabling Rohingya refugees to live full and dignified lives in exile. This includes providing them with greater access to education, skills training and opportunities for earning livelihoods.

Rohingya refugees, in particular the large proportion of youth among them, are resilient and resourceful. They want to rebuild their lives and ensure they are prepared for the future — including a return to their homes.

It is vital the international community continues to press for the rights of Rohingya in Myanmar.

They long for their homeland. They want to return but cannot do so unless conditions are safe, unless they can exercise their fundamental human rights — the right to move freely within their own country, the right to services such as education, livelihood and health care, and a clear pathway to citizenship — the rights so many of us take for granted.

In a conversation she had with the UNHCR in 2018, Gul had made clear what her wishes were: “I want to die on my soil,” she said.

Heartbreakingly, Gul passed away last year at the age of 94 in Bangladesh, her deepest yearning unrealized.

A life lived in limbo.

 

— Cate is also a council member of Earthshot Prize, which is “a global prize for the environment, designed to incentivise change and help to repair our planet over the next ten years”. There is going to be a summit in partnership with Bloomberg Philanthropies where Cate is confirmed as a speaker. It will be held on September 21st from 8:00am-12:30pm ET at The Plaza Hotel in New York City.

The Earthshot Prize Innovation Summit

The Earthshot Prize and Bloomberg Philanthropies previewed confirmed speakers and programming for The Earthshot Innovation Summit, which will take place on the morning of September 21, 2022 at The Plaza Hotel in New York City. The Summit, hosted by Michael R. Bloomberg, the UN Secretary-General’s Special Envoy on Climate Ambition and Solutions, will bring together heads of state, government and civil society leaders, philanthropists, business executives, and grassroots climate activists from around the world to spotlight emerging, systems-changing solutions and showcase the critical need to turbocharge ground-breaking climate innovations to address the world’s most pressing environmental challenges.

Global Australian Awards 2022

Cate alongside her friend and co-host of Climate of Change podcast, Danny Kennedy, were presenters at this year’s Global Australian Award. You can watch them present at around 43:19.

Global Goals Yearbook 2022

Vanity Fair European Edition

Click images for higher resolution

Click the images to open the scans.

Vanity Fair France – September 2022

Vanity Fair Italy – September 2022

Vanity Fair Spain – September 2022

Film Updates

— Another movie with Cate that will be released this year is the stop-motion version of Pinocchio directed by Guillermo Del Toro and Mark Gustafson. Three episodes of Documentary Now premiered at Toronto International Film Festival last weekend.

On a sadder news, Pedro Almodóvar has pulled out of directing job in A Manual for Cleaning Women but Cate is still attached to star and produce under Dirty Films.

Meanwhile, TÁR continues to be part of film festival lineups. It will have it’s Australian premiere at Adelaide Film Festival, US West Coast premiere at Mill Valley Film Festival, it is also part of Orcas Island Film Festival lineup. There is a concept album to be released in October 2022 where Cate can be seen and heard conducting a rehearsal of Dresden Orchestra. Cate also did an interview with Swedish newspaper Dagens Nyheter while she was in Venice at the beginning of this month, the movie will be released on October 23rd in Sweden.

Pinocchio

Cate voiced the monkey, Spazzatura. The movie will have it’s world premiere at London Film Festival on October 15th. You can buy tickets here.

Documentary Now

Over the weekend, three episodes from the new season of IFC’s iconic mockumentary series Documentary Now! premiered at the Toronto International Film Festival (TIFF).  And during a post-screening Q&A, it was revealed that we have Australia’s own Cate Blanchett to thank for its long awaited return.

In front of a sold out audience at the Scotiabank Cinemas, directors Alex Buono, Rhys Thomas, and co-creator and series regular Fred Armisen – all of whom met in the writer’s room on Saturday Night Live – talked about how Cate, who also appeared in the third series of the mockumentary, reached out expressing her interest in parodying an obscure British TV documentary.

Cate had taken a shining to the 1994 BBC documentary, Three Salons at the Seaside, which she discovered with her hair & makeup team while filming her FX series Mrs. America in Toronto, Canada.

The Cate Blanchett episode in question – “Two Hairdressers in Bagglyport”, which screened at TIFF – was filmed over four days at the original location of the documentary in Blackpool – redressed to match its original time period.

Having seen the episode, which unfolds like a beautifully written stage play, I can safely say that the persistence of Blanchett paid off – it’s one of the finest of the series to date. And, simultaneously, may be the most obscure documentary they’ve lovingly parodied.

Pedro Almodóvar departs A Manual for Cleaning Women

Oscar-winning Spanish filmmaker Pedro Almodóvar will not be making his first English-language feature directorial debut with A Manual for Cleaning Women, which has Cate Blanchett set to star and produce under her Dirty Films, Deadline has learned.

The filmmaker finally had all the elements to realize the magnitude of this future production. However, he came to the decision that he’s not ready to tackle such a monumental project in English. A search for another director is underway.

The feature project was first announced back in January based on Lucia Berlin’s 43-part collection of short stories, examining the lives of women working a wide variety of demanding jobs.

“It has been a very painful decision for me,” Almodóvar tells Deadline. “I have dreamt of working with Cate for such a long time. Dirty Films has been so generous with me this whole time and I was blinded by excitement, but unfortunately, I no longer feel able to fully realize this film.”

Dirty Films producers Blanchett, Andrew Upton, and Coco Francini tell us, “We have the utmost respect for Pedro and his extraordinary body of work, and while the stars may not have aligned this time, we hope to collaborate with Pedro and El Deseo on another project in the future. Dirty Films’ passion for A Manual for Cleaning Women and Lucia Berlin’s unique and searing voice – full of danger, joyousness and loss – has not dimmed, and we are excited to continue this project with our partners at New Republic.”

TÁR at Film Festivals

Mill Valley Film Festival World Cinema Lineup. Showings on October 7th and 8th, tickets can be booked here.

Australian premiere on October 21st as part of Adelaide Film Festival Special Presentation lineup. Tickets here.

Orcas Island Film Festival runs from October 6th-10th, festival passes are now on sale but no scheduled showing yet for TÁR.

TÁR (Music from and inspired by the motion picture)

TÁR concept album is set to be released on October 21st, an LP version will be released on January 20th 2023. You can pre-order at Deutsche Grammophon, JPC, Roan Records or Amazon.

Deutsche Grammophon presents Hildur Guðnadóttir’s exciting new film project – a groundbreaking concept album for Todd Field’s new movie TÁR, starring Cate Blanchett in the title role.

The multi-faceted concept album features music from and inspired by the movie, including a series of stunning new tracks by Guðnadóttir, as well as extracts from major works by Elgar and Mahler. It complements the film by presenting completed, real-life versions of the music on which we see the fictional protagonist Lydia Tár working. One of the aims of the album is to reveal something of the complex process that goes on behind orchestral rehearsals and recordings.

“The tracks, like the film, are meant to invite the listener to experience the messiness involved in the making of music.” Todd Field

Written and directed by three-time Oscar-nominated filmmaker Field, TÁR tells the story of high-powered composer-conductor Lydia Tár, played by Cate Blanchett. The two-time Oscar winner immersed herself in every aspect of her character’s life and can be seen – and heard on the DG album – conducting rehearsals of a Mahler symphony with extraordinary skill. Her fellow cast members include talented young British-German cellist Sophie Kauer, whose playing also features on the concept album.

This is a Google translated interview from Swedish to English.

Cate Blanchett: “There’s a lot of unresolved anger in the wake of MeToo”

Almost 25 years ago, Cate Blanchett came to Venice for the first time with “Elizabeth”, where she made an unforgettable portrait of the 16th-century regent who “married England”. Now the Australian Hollywood star is back at the Lido with another majestic full-length portrait of a woman with enormous power in her world.

In Todd Field’s magnetic “Tár”, Blanchett plays a fictional star conductor who has mentor Leonard Bernstein at her back, stands at the peak of her career as a celebrated composer and is the first female chief conductor of the prestigious Berlin Symphony Orchestra. A demanding recording of Mahler’s Fifth Symphony is at hand. Lydia Tár is certainly married to the orchestra’s female concertmaster (played by the German Nina Hoss) but is much more loyal to her position of power – which she exploits wildly in private – than her wife.

Learning to conduct believably was the least of the challenges with “Tár”, says Blanchett.

– For me, “Tár” is not really so much about the conducting itself. For Lydia, it’s like breathing. It was simply about finding the right way to breathe. But it’s clear that I studied many conductors that I became quite obsessed with, from Carlos Kleiber who had such a tormented and ambivalent approach to his work – to women like Antonia Brica, Marian Alsop and my compatriot Simone Young, says Cate Blanchett at a hotel room with sea view on the festival island Lido.

She is dressed in a white summer suit that elegantly mirrors the expensive tailored suits her character wears in the film. Speaks enthusiastically in a voice that is slightly higher than Lydia’s deep voice.

– The most important thing was to understand the structures of the classical world and how orchestras work. It was so interesting to follow the development, from the autocratic times when the conductor’s word was law and then over the fall of the Berlin Wall when more democratic tendencies began to seep into this world as well. It’s clear that the classical music world is still very much about canon and hierarchies, but the dynamic has clearly changed.

Her character Lydia Tár stands in the middle of that process, and not unexpectedly ends up in a storm when she not only manipulates younger women for her own needs, but also suppresses students who question the canon, like Bach, for reasons of identity politics.

Was it time for a reverse method drama?

– There is a lot of unresolved anger to explore in the wake of MeToo, and it is something we are far from done with. The system still needs to be fundamentally changed. The cancel culture is part of this process. But for me it is still only one aspect of “Tár”. Todd, who also wrote the screenplay, did a huge amount of research for the film and I think he has found mined ground that is very exciting.

To the now classic question of whether you can separate the author from the work, Blanchett answers with an anecdote from the early nineties when she had just graduated from acting school in Australia.

– It is in many ways a generational issue. At 22, I was cast in a production of David Mamet’s “Oleanna” and was full of strong opinions about gender and power. The first time I read the play I threw it at the wall. Second and third time too. When we finally played it, it became an incredibly exciting and challenging debate among the audience. And probably a lot of divorces, laughs Blanchett.

– The lesson from that is that if we are to avoid everything that is controversial or disturbing in art, or authors who have behaved questionably, then we miss out on a lot, both experiences and a significant critical debate. God knows what went on in Picasso’s studio, but “Guérnica” is still one of the world’s most important works of art, and so on.

What is “Tár” above all about, for you?

– It’s almost hard to say, there are so many layers to it. Lydia is both perpetrator and victim of a system where men have been kings for so long that she constantly has to prove that she is capable. But I woke up this morning and thought that it is above all a meditation on power, she says and elaborates:

– It is not only about institutional power but also creative power. Conductors often call the orchestra their instrument, but at the same time it’s about many different individuals, says Blanchett, who received praise for her interpretation of the role.

– “Tár” depicts the trend breaking that takes place in a world where the collective has been hierarchically controlled but where the individual and how one identifies oneself has become a new factor of power, she says.

Having long run theater in Sydney with her husband Andrew Upton, she can easily identify with institutional power, but personally she is more interested in creative power and how to convey it to others.

– Often the most creative thing you can say is “I don’t know, yet” when people demand answers. But there’s a funny difference depending on who’s saying it. If a male director says it, people find it exciting. But if it’s a female director, people just get nervous, ha ha.

– That’s one thing I really appreciate about “Tár”. It asks questions, but does not judge.

Cate Blanchett and Nina Hoss

 

Sources: Politico, Bloomberg, The AU Review, Dagens Nyheter

Cate Blanchett: “I want to spend more time being myself”
Posted on
Mar 13, 2022

Cate Blanchett: “I want to spend more time being myself”

Happy Sunday, everyone!

A new interview with Cate has been released. This is a Google translated interview from Spanish to English.

Cate Blanchett: “I spend most of my time being someone else. I want to spend more time being myself.”

Other than her two Oscars, Cate has added in recent weeks from Europe the first International Goya and a César for her entire career. Actress, producer, and farmer, the versatile Australian performer, also an ambassador for Armani fragrances, she confesses that with age she feels more limitations when it comes to acting. She laments that she is sometimes still the only woman on a shoot and she fears that the platforms will become monopolies.

Cate Blanchett (Melbourne, 52 years old) thinks there are too many awards. And she knows what she’s talking about. Because she has almost all of them: two Oscars, three Baftas, three Golden Globes and three from the Screen Actors Guild. As if they weren’t enough, she has now embarked on the conquest of Europe. She has just received an Honorary César in Paris and a month ago she picked up the International Goya from Pedro Almodóvar, with whom she is going to shoot the first film in English by the Spanish director, A Manual for Cleaning Women. She welcomes us in Valencia, hours before hugging him and thanking him for a recognition that serves to strengthen ties with the Latin film industry. She wears trainers and a metallic pink suit by Giorgio Armani, the firm whose line of fragrances is an ambassador. Under the jacket, the skin, and around her neck, several golden chains with padlocks and snake heads that she plays with as she speaks. After premiering Nightmare Alley last February under the direction of Guillermo del Toro and dazzling the world with her false teeth in Don’t Look Up, she says she wants to spend more time playing herself. Normal: the character is exciting.

In an interview Julia Roberts did for Interview Magazine, you said that as you gets older, you find acting more and more humiliating.

It gets more difficult. Why? I think that when you work in the artistic field — also if you are, for example, a writer—, this field becomes more and more entangled in your life. I spend most of my time being someone else, and I think I want to spend more time being myself. Also, as an actor you are very exposed. I do not know how to explain it. Six years ago [photographer and artist] Cindy Sherman started using digital effects to create her works [in which she often appears]. And people threw their hands in their heads because she had always used prosthetics and had worked her body as if it were a malleable object. She simply explained that she had reached an age where she was less malleable. And that she had to resort to digital technology to maintain the same skill.

Is it the same as an actor?

You feel a bit the same, that your palette is getting smaller and smaller. But the truth is that I am not very interested in digital advances. What I like are magic tricks, I still scream when someone does one in front of me. Because with magic you become an accomplice: you know you are being deceived, but in the digital universe you don’t know what is real and what isn’t. It’s like when you see Gary Oldman without prosthetics or digital treatment, the interpretation of him is something that he builds from the inside and you believe it. He is really inspiring. I’ve worked with digital retouching on The Curious Case of Benjamin Button and, yes, it can be liberating, but in the end, as you get older, you face more and more of your limitations, and that’s humbling.

Is the film industry easier for women now than when you started?

If we keep talking about it, the problem still exists. But we have to keep talking and working on it until it is no longer a topic of conversation. Sometimes I keep walking on set and there are 30 men and I’m the only woman, and I think, “This is so out of sync with what’s going on in society. How is it possible for us to connect with the audience like this?” When you’re in a predominantly male or white work environment, it feels old-fashioned and you feel like it’s also starting to be irrelevant. I think there has been a big change. But you have to stand firm and understand that changes are very fragile, as is democracy. So you have to persevere.

You were artistic director of the Sydney Theater Company. Has that experience influenced your way of understanding her work as an actress?

We were not only artistic directors [and her husband, screenwriter and playwright Andrew Upton], but also CEO, so we were responsible for the financial and creative health of the company. And many times these two aspects are conceived as mutually exclusive. But they don’t have to be: throughout my career I’ve worked with producers who are amazing at keeping finances in order while also helping with creative decisions.

Is that producer profile in danger of extinction?

Yes, unfortunately, because it is something I aspire to. It’s not all about being in front of the camera. I don’t feel obligated. No longer. I’ve already done it. I’ve bored the audience enough already. I do not need it. No more.

Throughout your career you have played everything from action characters to femme fatales, through comedic roles or even men, such as Bob Dylan. How do you choose your characters? Is there any kind of woman you would never play?

Many decisions are based on instinct and timing. I have a wonderful and great life, with a lot of commitments and things that interest me, starting with my farm, with my sheep, my pigs, my cows, and with my children, of course. So sometimes not all projects fit into my schedule. But nothing happens. There is no need to bleed for it. You have to let them go. It’s one of the best things the film industry has taught me.

The fact that?

You make a film and you let it go because after your work comes post-production work and finally, if you’re lucky, it reaches the public. And by that time you will have already done one or two other things. And that film happens to become a kind of second cousin. And then, hopefully, you can see it again with fresh eyes and appreciate it.

What do you expect now from A Manual for Cleaning Women, your project with Almodóvar?

We had talked many times about working together, but it was never the right time. He is a man of incredible taste and insight. He is very precise and, like his films, very free. We are very aligned and excited about the project. I love it because he works with his heart and with his hands. And with his head, of course. He is a person very connected with what happens in the world, but at the same time someone who follows his own path. So I think this project will be unique. His work has a clearly Spanish framework, but it has always transcended and has been recognized internationally because it connects very well with American concerns: the family, being outside the majority culture, being an outcast. I think it’s going to be a fascinating journey in search of that hybrid between the American and the Latin experience.

You have a master’s degree in that Latino perspective. You have worked with Alejandro Cuarón, Guillermo del Toro and now Almodóvar. Is there something that differentiates Latino directors from the rest?

They all have incredible hearts and a certain brutality, but not in the bad sense of the word. I mean they don’t run away from things that others prefer not to name. And they are profoundly plastic artists. His intellectual pursuits are very sumptuous to digest visually. Latino and Australian directors have a very special, unique vision of the world, and that is why they have more and more weight in the US film industry.

I said before that Almodóvar was a very precise director. Is he the kind of director you like to work with, someone who gives a lot of directions and controls every detail?

I think the project is what dictates how you have to work. For me, the perfect thing is to have a clear line of communication with the director based on trust, because there are moments in the shoot when you have to say that something is rubbish, and you have to know that it comes and is said from respect. Rehearsals and filming are not always friendly. They are not disrespectful, but sometimes you have to fight a thing to the bottom and it’s not comfortable.

Woody Allen even told you on the first day of shooting Blue Jasmine that the take was horrible, and so were you.

But in the end I realized that the location was wrong, the camera was wrong… so we changed everything. And then the scene was cut, it was never in the final footage. You can’t take it personally, you have to listen to it and think that it’s teamwork, that sometimes a director can say something challenging but it doesn’t necessarily have to be about you, but about the product.

How do you feel that the film and fiction industry has changed in recent years with the emergence of platforms and the rise of series? Are you interested in that new channel?

Well, I did Mrs. America (Hulu) with a group of fabulous women. And there are a couple of projects in development that look very good. But in the end, what interests me are really lasting experiences, although only time can tell which ones will be. On the one hand, streaming platforms represent a wonderful opportunity for the audience and also for a lot of people in the industry who have stayed afloat for these two years thanks to them. But this model cannot go forward without being examined.

What is the perceived risk?

It is necessary to analyze the potential monopolies that are emerging from this format, and that are not good for anyone. They are not good creatively and neither for the public. And, of course, they have never been good for the industry. We do not want to replicate the old studio system in a more radical and irrevocable way. I am worried about this. Very worried.

Do you think this system of monopolies is accelerating?

Yes, and I think the public can perceive it. Because everything looks alike. The offer is uniform. There is nothing special anymore. However, going to the movies is still an event.

But after the pandemic, due to fear or routine, cinemas continue to lose viewers, at least that is what is happening in Spain.

Yes, and also in the United States there are a lot of small theaters that have been acquired by the platforms to project their content. But there are still places like a small theater in Pittsburgh called Row House and that has only 50 seats where retrospectives of Tarkovsky, of Wes Anderson are shown… I am confident in that differential value that the cinema can continue to offer and that people appreciate you can still be interested.

The pandemic has changed our consumption patterns, but also other industry tools such as awards and red carpets. Do they still make sense?

I think there are too many prizes. They all look the same and people are tired. But this was already happening before the pandemic. So I think we have to be critical. We have a very good opportunity to change things: to ask ourselves what we want to do, what we want it to look like and, above all, if bigger is always synonymous with better. And I’m not just talking about red carpets, but events in general. We don’t want to go back to that old narrative. I personally don’t want to go back to the good old days because I think they weren’t really that good.

But in the end the old physical events have their magic. Even Giorgio Armani, the first designer to suspend a show due to COVID, has returned to the physical catwalk with guests.

It is a live event. That is why the performing arts are so special. When you walk into a room and you can see the fabrics, hear the music, you are there. You remember. But I think the key is the same in fashion as it is in film. Mr. Armani is always aware of every detail. Even at his age, he is a tireless worker and his control over the quality of the products is incredible. He thinks the more you do, the less special he is. And this happens in all industries, including the film industry.

Source: EL PAÍS

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

Cate Blanchett on the Jess Cagle podcast with Julia Cunningham

Hi, everyone!

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

 

Cate Blanchett in Pedro Almodóvar’s First English-Language Feature; & Nightmare Alley and Don’t Look Up Updates
Posted on
Jan 8, 2022

Cate Blanchett in Pedro Almodóvar’s First English-Language Feature; & Nightmare Alley and Don’t Look Up Updates

Happy weekend, Blanchetters!

Cate will produce and star in Pedro Almodóvar’s First English-Language Feature — A Manual for Cleaning Women. She also appeared on #FallonTonight last Wednesday to promote Nightmare Alley. We updated the FYC Campaign folder and uploaded the scans from latest issue of Total Film with a short interview with Cate. You can also check a behind the scene footage from the movie. The conversation with cast of Don’t Look Up is also out. Check them below. Beware of spoilers!

We would like to thank Susann for her donation to the site!

Cate Blanchett to Star in Pedro Almodóvar’s First English-Language Feature ‘A Manual for Cleaning Women’

Cate Blanchett has officially signed on to star in Pedro Almodóvar’s first English-language feature film, “A Manual for Cleaning Women.”

The film is an adaptation of Lucia Berlin’s short story collection of the same name, which includes 43 stories about women in multiple types of demanding jobs.

It was confirmed to Variety exclusively that the project is in the early stages of development, with Blanchett’s production company Dirty Films producing the feature for New Republic Pictures, in association with El Deseo. Andrew Upton and Coco Francini are producing alongside Blanchett for Dirty Films. Brian Oliver and Bradley Fischer are producing for New Republic Pictures alongside Almodóvar.

Almodóvar spoke with Variety for our “Up Next” series in December about the project, saying he was writing the script in Spanish before translating it to English.

FYC

Total Film – January 2022

The Tonight Show Starring Jimmy Fallon

Screencaptures

Screencaptures

Special behind-the-scenes look at powerful casting in Guillermo del Toro’s ‘Nightmare Alley’

Adam McKay + Cast In Conversation for Don’t Look Up

Source: Variety, ABC7

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

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

Hi, everyone!

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

Portrait of An Artist

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Dear Entertainment Industry Executives:

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

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

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

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

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

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

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

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

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

Sincerely,

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

Source: El Pais, Tag24, Saechsische, Deadline