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

First look at TÁR and Borderlands shown at CinemaCon

Happy Friday, everyone!

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

TÁR Reaction

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

Cate Blanchett Smokes The Competition As A World-Famous Conductor

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

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

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

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

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

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

Focus Features shows the new Todd Field movie at CinemaCon

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

Borderlands Reaction

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cate Blanchett podcast interviews; & conversation with Bradley Cooper

Happy Friday, blanchetters!

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

Cate Blanchett on playing a murderous psychoanalyst in Nightmare Alley

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Pat Kenny Show

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

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



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

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

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

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

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

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

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

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

 — Variety

Sirius XM


UNHCR Ambassador Cate Blanchett sees pandemic as chance for reflection on plight of refugees; & Borderlands wraps filming.
Posted on
Jun 19, 2021

UNHCR Ambassador Cate Blanchett sees pandemic as chance for reflection on plight of refugees; & Borderlands wraps filming.

Hello, Blanchetters!

Here’s a bit of a news on Cate’s works. Ahead of World Refugee Day tomorrow, June 20th, Reuters has published a short interview with Cate. Also, Borderlands wraps filming this weekend and new set photos were shared by Jamie Lee Curtis. Check them out below.

Edit: We’d like to thank Anamary, Kelly, Michael, Shelby, Winnie, Jessica, Silvia, Erzbert, Laura, Imke, and Mary for their donation to the site.

Cate Blanchett sees pandemic as chance for reflection on plight of refugees


This year’s World Refugee Day offers a chance to reflect on the uncertainty faced by those forced to flee their homes, Oscar winner Cate Blanchett says as the world grapples with the unpredictability of the COVID-19 pandemic.

The Australian actor, a goodwill ambassador for UNHCR, the UN Refugee Agency, said the annual June 20 event came during a time of “challenge and reflection”.

“We’ve been forced to confront what uncertainty feels like and of course that is the situation that the majority of refugees live with, year in, year out,” Blanchett told Reuters in an interview.

“There’s a kind of an opportunity … to think about how we have dealt with uncertainty and perhaps place ourselves in the shoes of mothers and fathers and doctors and lawyers who have been, through no fault of their own, displaced and have been living with, for often for upwards of 18, 19 years, in that state that we have been dealing with for 18 months.”

World Refugee Day honours those who have been forced to flee their homes due to conflict or persecution. This year’s theme calls for greater inclusion of refugees in health systems, education and sport.

“Sadly, even in COVID, conflicts have continued around the world,” Gillian Triggs, UNHCR’s assistant high commissioner for protection, said in the joint interview.

“What we’re trying to talk about … is to support the host countries to enable people to be included in access to education, children to school, family members to work, but of course, most particularly in this time of COVID, access to health and to vaccines,” Triggs added.

In its annual report released on Friday, UNHCR said the number of people forced to flee their homes due to conflict, persecution and human rights abuses had doubled in the past decade to reach 82.4 million at the end of 2020. L2N2NY1MV

In her UNHCR role, Blanchett has travelled to Lebanon, Jordan and Bangladesh, and has addressed the UN Security Council on the Rohingya refugee crisis.

“There’s been a lot of fear-based rhetoric around the notion of people who have been forcibly displaced, either internally or outside their own country,” she said.

“I think that World Refugee Day couldn’t come at a better time because we can really think about how we can collectively build a stronger and safer and more humane world and that being inclusive is a superhuman power.”

Borderlands wraps filming this weekend

New (silhouette) photos were shared by Jamie Lee Curtis ahead of the finish of the production of the movie in Budapest.


Source: Reuters


First Look of Cate Blanchett in Borderlands and Official Movie Website
Posted on
Jun 2, 2021

First Look of Cate Blanchett in Borderlands and Official Movie Website

Hello, blanchetters!

Jamie Lee Curtis has teased us the first look of Cate as Lilith in the movie adaptation of the video game Borderlands. They are still in production which officially began last April 1st 2021. Also, check the official movie website link below too.

Jamie Lee Curtis via instagram: Welcome to BORDERLANDS and a secret BTS shot I took of Lilith, our legendary heroine, psycho blasting, vault hunting, vixen with a bad attitude and two Oscars to add to the baddasery in her tool belt, the once and future Queen of EVERYTHING, #cateblanchett Maybe next week, if you’re nice and let them know you want MORE and they don’t fire me for posting this, I’ll post other pictures of Roland @kevinhart4real Tiny Tina @ariana_greenblatt Krieg @bignasty Claptrap @jackblack and moi, Tannis and soon you will get to see the amazing mix of adventure and badonkadonk action and comedy from the brilliant minds of @borderlandsfilm director @realeliroth and game creator Randy Pitchford and the creative teams of @gearbox @picturestart @Lionsgate Arad Productions #shutterbugger


Click on the image to be redirected to the official website of the movie:


Cate Blanchett presents Book of the Year Award at 2021 ABIA; & on set photo of Borderlands
Posted on
May 1, 2021

Cate Blanchett presents Book of the Year Award at 2021 ABIA; & on set photo of Borderlands

Hi, everyone!

Cate presented an award at this year Australian Book Industry Awards, and we also have an on set photo of Borderlands cast. Vogue Brasil published all 31 questions asked during the launch Sì Eau de Parfum Intense. Check them below.

ABIA 2021 Virtual Awards Event

Cate appears at 1:01:02



On set of Borderlands in Hungary


31 perguntas para Cate Blanchett sobre beleza, feminismo e cinema


“As pessoas geralmente associam uma mulher poderosa a dinheiro e influência, mas as mulheres mais poderosas que conheço são donas de si, engajadas, generosas e sábias”. A frase é de Cate Blanchett, em conversa com a Vogue Brasil, sobre empoderamento feminino e as transformações da sociedade em relação ao lugar da mulher que, claro, é onde ela quiser. Rosto do tradicional perfume Sì desde 2013, ela também segue com a grife neste lançamento que acaba de chegar ao Brasil, aposta para homenagear mulheres fortes no Dia das Mães: o Sì Eau de Parfum Intense, versão mais profunda e sofisticada.

Para a atriz de 51 anos, ainda falando sobre o papel feminino na sociedade, é encantador ver como as estruturas estão sendo ressignificadas. “Nunca estive tão animada com a colaboração feminina quanto estou hoje. Está acontecendo um nível maior de abertura, honestidade e experiência compartilhada; uma vontade de olhar para o nosso passado coletivo a fim de avançar de forma produtiva e positiva para o futuro. Agora é aceitável discutir nossos fracassos e medos quanto compartilhar nossos sucessos e inspirações”, diz.

A seguir, fizemos 31 perguntas à Cate Blanchett sobre beleza, feminismo, cinema e fragrâncias. Confira:


1. Você acha que o conceito de beleza evoluiu ao longo dos anos?

As pessoas costumam ficar “maravilhadas” com a beleza, mas muitas vezes acho que alguém descobre o que é verdadeiramente belo ou tropeça nele, quase por acidente. Particularmente, nos últimos 12 meses senti que a beleza tranquila se revelou para mim, talvez porque eu estivesse mais aberta a ela. A beleza está nos detalhes, muitas vezes nos detalhes pequenos, quase ocultos, que a princípio podemos ignorar.

2. O que torna alguém bonito para você?

As várias perspectivas de uma pessoa, sua força, sua energia e o seu senso de humor são o que as torna única. E, para mim, é essa singularidade que a torna verdadeiramente bela.

3. Na juventude, havia alguém que você admirava pela beleza?

Sempre achei David Bowie profundamente lindo; ao ler sobre Eleonora Duse, passei a crer que ela deveria ter sido absolutamente cativante; e a voz de Nina Simone é uma das coisas mais bonitas que já ouvi.

4. A beleza de Armani tem muito a ver com autoconfiança: quando você se sente mais confiante?

Sinto-me mais confiante quando estou fluindo: no palco, em movimento, na água, em uma conversa sem esforço. Quando estou inspirada, acho que perco a noção do meu eu exterior, talvez seja quando estou mais confiante.

5. Qual é uma das primeiras memórias de maquiagem que ficou para sempre com você?

A memória mais antiga de maquiagem foi descobrir o poder do batom. Como isso pode transformar seu rosto, como, quando criança, eu o achava tão sofisticado e atraente.

6. Se você tivesse que sair pela porta em cinco minutos, como você agilizaria sua rotina?

Minha rotina é sempre simplificada. Estou constantemente sem tempo, então é um bom hidratante, o Crema Nera da Giorgio Armani, protetor solar, máscara de cílios Armani e perfume. Nunca falta o perfume, pois melhora meu humor e mantém meus sonhos vivos durante o dia.

7. Que conselho de beleza você daria para a sua versão mais jovem?

Aceite suas falhas. Seu rosto e seu corpo mudarão constantemente ao longo da sua vida, então é melhor você abraçar essa mudança! O melhor conselho de beleza é cuidar da sua pele. É o maior órgão do seu corpo.

8. Existe alguma regra de beleza ou de cuidados com a pele que você ignora?

Dormir é muito importante para pensar com clareza, para cuidar do corpo, mas sempre vou para a cama tarde demais.

9. Sua pele é notoriamente luminosa. Qual é o seu segredo número um?

Eu gostaria que fosse algo mais misterioso, mas honestamente, além de um bom multivitamínico – vitamina C e zinco são vitais – é simplesmente ficar longe do sol, beber muita água, vinagre de maçã pela manhã e dormir.

10. O quão próximo você trabalha com sua maquiadora de longa data, Mary Greenwell, na criação de um look de beleza para cada ocasião?

Adoro a Mary, tanto como maquiadora quanto como uma amiga querida. Nós nos divertimos muito juntas. Ela tem um olho tão incrível e está tão envolvida na vida e no mundo estético em todas as suas formas que acabamos sendo muito espontâneas juntas.


11. Qual é a sua visão de ser mulher hoje?

Nunca estive tão animada quanto hoje com a perspectiva de colaboração feminina em todas as culturas e gerações. Está acontecendo um nível maior de abertura, honestidade e experiência compartilhada; uma vontade de olhar para o nosso passado coletivo a fim de avançar de forma produtiva e positiva para o futuro. Obviamente, ainda existem caminhos muito difíceis que muitas mulheres têm que percorrer, mas sinto que o clima está evoluindo. Agora é aceitável discutir nossos fracassos e medos quanto compartilhar nossos sucessos e inspirações. A vida é complexa.

12. O que significa para você ser uma mulher poderosa?

Ser poderosa, geralmente, está associado a dinheiro e influência. Algumas das pessoas mais genuinamente poderosas que conheci, entretanto, são pessoas que estão no comando de si mesmas, que são controladas, engajadas, generosas e sábias. Pessoalmente, sinto-me mais confiante em minha própria pele quando sinto que não estou tentando provar nada a ninguém além de mim mesma.

13. Quão importante é ousar ser você mesma?

Ser “você mesma” é um conceito complicado porque descobrir quem você é, isso é uma jornada para toda a vida. Estamos em um constante estado de ‘transformação’. Mas a autoexpressão em todas as suas formas pode ser algo angustiante e que expõe muito, portanto, quando você tem o apoio e a confiança das pessoas ao seu redor, e a coragem de suas próprias convicções, isso certamente ajuda.

14. Que mensagem você espera transmitir às mulheres por meio de seu papel em Armani beauty?

Acho que o senso de beleza do Sr. Armani contém complexidade e facilidade de uso. Ele contém bom humor e envolvimento com o mundo ao nosso redor e sempre contém amor. Amor e respeito pelos outros e pelo mundo natural, é claro, mas também por si mesmo.


15. Qual é a melhor parte de atuar?

Quando você se conecta com o público. Tive a sorte de trabalhar com pessoas incrivelmente talentosas que me inspiram e expandem o que eu acho que é possível criativamente.

16. Qual o seu critério na hora de aceitar um novo papel?

No final, as decisões são tomadas instintivamente e moderadas pelo tempo, não muito diferente de um caso de amor.

17. Dos filmes em que você estrelou, qual é o seu look de beleza favorito?

Poxa. Eu não penso em um personagem como sendo ‘bonito’ ou não, isso depende do público, eles são os observadores. Criar um visual para um personagem é sempre incrivelmente divertido e depende totalmente do diretor de fotografia, do figurinista, do roteiro, etc. O filme Manifesto, de Julian Rosefeldt, em particular, foi muito divertido porque havia uma gama diversificada de personagens.

18. Como cada um dos diretores com quem você trabalhou influenciou seu estilo de atuação?

Trabalhar com um grande diretor é como ter uma ótima conversa. É evolutivo, surpreendente, de longo alcance e inspirador. Influencia 110% das escolhas que se faz, os riscos que se corre e influencia profundamente o ambiente no set e, portanto, o resultado final do filme.

19. Você também assina como produtora…

Sempre gostei de fazer parte de um projeto completo. Para mim, meu papel como atriz é frequentemente o último ponto de foco, então estar dentro de um projeto como produtor é um espaço incrivelmente excitante e natural para eu habitar. Alguns produtores pensam financeiramente, alguns produtores pensam criativamente e alguns produtores estão interessados e são capazes de abranger os dois campos. Eu gostaria de pensar que estou na última categoria.


20. Você é o rosto de Sì desde 2013 e é a Embaixadora Global de Beleza de Giorgio Armani. Como você se sente por ter um relacionamento tão antigo com a marca e como você define o seu papel?

O relacionamento com Sì e com Armani Beauty cresceu organicamente a partir do meu relacionamento criativo com o Sr. Armani. Não é nenhum segredo que tenho muita estima por ele e há muito tempo que me inspiro em como ele abraçou e celebrou as mulheres em toda sua complexidade maravilhosa. Meu papel? Acho que é ampliar o que Armani representa: graça, luxo sem esforço, elegância bem-humorada, amor pela natureza e amor pela vida.

21. O que você mais gosta em Giorgio Armani? Qual é a sua primeira lembrança do Sr. Armani?

Tenho um relacionamento criativo com Giorgio Armani há muito tempo, antes mesmo de conhecê-lo. Com meu primeiro pagamento, comprei um terno Armani que ainda uso. Eu o conheci em um desfile Giorgio Armani Privé. Fizemos a prova de um vestido e estávamos apenas ele e eu. Tivemos um momento muito tranquilo em que ele se ajoelhou e prendeu a barra do meu vestido. Eu achei isso tão comovente. Ele é muito ativo e seguro de si, mas também muito humilde.

22. O que é a feminilidade de Giorgio Armani para você?

O senso de beleza feminina e feminilidade do Sr. Armani é incrivelmente complexo, mas ao mesmo tempo, fácil e confiante. O Sr. Armani foi uma influência estética e intelectual muito importante em minha vida. Ele conhece tantas formas de expressão artística, da arquitetura à moda, passando por móveis e todas as partes do design e da estética. Ele é um homem muito otimista e curioso, e é um dos pioneiros em abraçar todas as possibilidades das nuances da estética feminina, algo pelo qual sempre me interessei. Nunca fui, particularmente, abertamente feminina no sentido clichê da palavra. Eu adoro feminilidade, mas também sou muito atraída pela alfaiataria masculina. Eu ando nessa linha estética, que o Sr. Armani entende tão bem. Uma pessoa não precisa ser um ou outro, pode ser os dois simultaneamente. O senso de estilo do Sr. Armani, sua elegância sem esforço, sua mistura de linhas tradicionalmente masculinas e femininas têm sido uma inspiração para mim. Eu sinto que sempre aspirei à graça, simplicidade e atemporalidade que o Sr. Armani e seus designs incorporam.

23. Como você percebe a visão de beleza do Sr. Armani? Ela está de acordo com a sua própria visão de beleza?

A noção de beleza está sempre mudando. Em primeiro lugar, acho o mundo natural profundamente belo e inspirador. Muitas vezes é inesperado e surpreendente em sua dualidade. A noção de beleza como um estado de perfeição é estranha para mim porque é nas falhas ou imperfeições que algo revela sua singularidade, sua graça e seu poder. Em última análise, para mim, acho que a verdadeira beleza está sempre evoluindo.

24. Qual foi o momento mais memorável com Armani beauty ao longo dos anos?

Foram tantos. Ficar na ilha italiana de Pantelleria foi transformador. É um lugar muito poderoso onde se pode sonhar profundamente, pensar expansivamente e amar profundamente. É magnético e primitivo, não muito diferente do próprio Sr. Armani!

25. O que a Itália significa para você?

Resiliência, gosto, vida, amor e família. Já tive tantas aventuras por lá e estou sonhando com a próxima… Sempre me inspirei no design italiano, tanto passado quanto presente.


26. Que emoções um perfume geralmente evoca em você? Que poder você diria que uma fragrância tem?

A fragrância é definitivamente um canal para a emoção e a memória. É uma expressão muito pessoal do eu interior e dos desejos da pessoa. Essencial, claro, mas também revigorante.

27. O que você mais gostou na mensagem transmitida pela fragrância Sì?

Chamar uma fragrância exclusiva de Sì é uma mensagem poderosa e positiva, que convida as mulheres a se conectar positivamente com elas mesmas e com os outros, não importa a hora do dia. Dizer sim à vida, à possibilidade, à experiência, é essencialmente o que o Sr. Armani fez durante toda a sua vida. Ele abraça a vida em todas as suas complexidades: o bom, o mau, o belo, o emocionante, o assustador, o privado e o público. Tudo faz parte de estar verdadeiramente vivo.

28. Você sempre diz “Sì” para as coisas? Existe algum “Sì” que ainda não foi dito em sua vida?

São tantos “Sì” que eu ainda não disse, tantas coisas que ainda não fiz, tantos lugares em que ainda não estive; mas tantas experiências, ideias e surpresas ainda no horizonte. Adoro ser surpreendida pela vida. Estou sempre aberta para a minha vida seguir direções que eu não poderia ter imaginado. Minha vida está muito cheia e os últimos 12 meses foram muito mais tranquilos e introspectivos do que nos anos anteriores, mas isso por si só foi uma surpresa para a qual tive que dizer sim. Muitas vezes, dizer “Sì” envolve riscos, mas o risco muitas vezes leva à aventura que sempre revela algo até então desconhecido.

29. Sì Eau de Parfum Intense, uma nova versão da fragrância está sendo lançada, e combina notas que incluem baunilha proveniente de Madagascar através do programa Fornecimento Solidário de Giorgio Armani, que contribui para apoiar economicamente as comunidades agrícolas. Como você se sente com relação a essa iniciativa de marca?

Eu absolutamente apoio e aplaudo materiais provenientes de uma cadeia de produção ética. É o único caminho a seguir.

30. Entre Sì Eau de Parfum, Sì Eau de Parfum Intense e Sì Passione, qual fragrância você prefere da coleção Sì?

Essa é uma pergunta tão difícil! Frequentemente, combino duas fragrâncias. Eu acabei de descobrir Sì Intense, e é a que eu mais tenho usado, mas eu combinaria algumas das fragrâncias, principalmente se eu tiver compromisso que vão da manhã até à noite. Sinto que elas são tão complementares umas às outras.

31. A última campanha de Sì foi filmada por Tom Munro e dirigida por Fleur Fortuné. Qual é a sua relação criativa com cada um deles?

Eu adoro o Tom, tanto como ser humano quanto como fotógrafo. Ele é tão ágil e adaptável, caloroso e inteligente e eu adoro o tempo que passei conversando com ele e respirando o mesmo ar, mesmo quando nós dois estávamos usando máscaras. Temos um amor compartilhado pela natureza, por longas caminhadas, tanto quanto por tirar uma ótima foto, e ele é incrivelmente engraçado. Fleur é maravilhosamente efervescente. Sua alegria e criatividade são inspiradoras e as duas vezes em que trabalhamos juntas foram de pura alegria.

Source: Vogue Brazil

Cate Blanchett to present ABIA Book of the Year Award, and Borderlands filming begins
Posted on
Apr 4, 2021

Cate Blanchett to present ABIA Book of the Year Award, and Borderlands filming begins

Happy Easter, blanchetters!

Another virtual event for this month and Borderlands filming has begun. There’s also a Vogue article on Giorgio Armani in which Cate has few things to say about the Italian designer. Check them below.

Cate Blanchett will present ABIA Book of the Year Award

Cate will be presenting Book of the Year Award from Australian Book Industry Awards on April 28th 2021, 6:30PM-11:55PM (Sydney Time).


Borderlands starts filming

Fans can rejoice in hearing that production on the Borderlands film is finally underway, and there’s a picture to prove it. The highly-anticipated video game adaptation has been in development ever since 2015, but only recently gained steam and the greenlight under the guise of horror maestro Eli Roth.

Playing the fan-favorite Tiny Tina, Ariana Greenblatt went to Twitter to confirm the start of principal photography in Hungary alongside the director, taking into account COVID-19 precautions of course.

Giorgio Armani on Fashion’s Future—And Why He’s Not Slowing Down

Roberta Armani tells me that the future is something her uncle thinks about incessantly. “I’m sure he’s made his plans, and whatever he has decided, we will be with him,” she says, adding that she had no insight into his mention of a merger with another Italian giant. Though, she says, “it could be great, finally, to have an important Made in Italy joint venture in the fashion industry.”

Italy’s other fashion-industry billionaires commend a brand that has endured and expanded and represents, no matter where one goes, the top of the Italian food chain.

“This is a value for Italy, even more than for the industry,” Remo Ruffini, the chairman and chief executive of Moncler, tells me. He admires “King Giorgio”—“I don’t know what the brand Armani will do in the future, but the Armani style is in us all everyday,” he says.

Letting go is something Mr. Armani has flirted with many times before. He once said it would be “ridiculous” if he were still a top designer at 85. “I’ve already passed that!” he says with a sly grin, now pushing the goalposts to age 90. And while he may seem to be perpetually ruminating on a succession that he may never intend to actually happen, in the meantime he is clearly in charge: quietly issuing orders, excoriating his competitors, making aides jump to fill a glass of water at the mere clearing of his throat.

Deference is something the workaholic has grown used to and fond of. What he doesn’t like is the way his competitors and fashion colleagues talk about him as if he were so celestial as to be out of the game.

“Like I’m an honorary president,” Mr. Armani says, puncturing his studied austerity with a burst of rare laughter. While he suspects such praise is designed to “marginalize” him from fashion’s fray, he is no ribbon-cutting statesman, he insists. “I’m the prime minister,” the leader who gets his hands dirty. “I want to work, to decide, to change things.”

In terms of his own designs, he says, “I’m already doing it, in my own way.” He tells me that the collection he presented days earlier at Milan’s Fashion Week “is representative of a desire to evolve on an aesthetic level.” The company describes it as more feminine, and soft, after a brutal year. His niece talks about how the eruption of colors in Armani Prive? was a declaration of life after COVID. “It was like, enough,” she says. “There is a need for some joy.”

But those shifts, while sumptuous to behold under a frescoed ceiling in Mr. Armani’s office palace, seem more responsive to the moment rather than reimagining fashion in the viral hereafter. Even Mr. Armani’s preferred muse and brand ambassador, Cate Blanchett, who has popularized recycled red-carpet looks by digging deep into her own Armani crates, can’t help, when asked how he is changing things, but talk about the ageless quality of his clothes.

“Mr. Armani’s mix of traditionally masculine and feminine lines has long been a touchstone for me,” she writes. “I’ve always aspired to the grace, simplicity, and timelessness that both he and his designs embody.”

The Armani argument is essentially that when everything has gone mad, safe but top-notch design can be revolutionary—and empower a woman to do revolutionary things like, say, take down the British monarchy. When Meghan Markle needed to suit up for war with the House of Windsor, she chose a black silk Armani wrap dress printed with a white lotus flower.

“My work has one single goal: giving women the inner strength that comes with being at ease, with who they are and what they are wearing,” Mr. Armani, who approved of the dress beforehand, tells me when I circle back after the Oprah interview. “I am flattered that one of my dresses was chosen for such an important occasion—it means my work truly speaks.”

Source: ABIA, Collider, Vogue

Cate Blanchett in Staged and news compilation
Posted on
Jan 9, 2021

Cate Blanchett in Staged and news compilation

Hi, everyone!

Cate was recently a guest on the second season of Staged which you can stream on BBC iPlayer. She appeared on the 7th episode titled The Loo Recluse. There’s also new interview with Cate and some film related news.

Nightmare Alley release date and Borderlands filming soon to begin

Nightmare Alley

With films including Pan’s Labyrinth and The Shape of Water, Guillermo del Toro (pictured) is one of the most original, audacious directors today, his work fusing heart and horror. It will be fascinating to see what he does to reinvent Nightmare Alley, based on a novel that was adapted into the classic 1947 film noir of the same name. Bradley Cooper and Cate Blanchett star in the story of a con man who teams up with a psychologist. The rest of the amazing cast includes David Strathairn, Rooney Mara, Toni Collette, Richard Jenkins and Willem Dafoe. Who wouldn’t want to work with Del Toro? His films are always at the top of my want-to-see list. (CJ)

Released on 3 December (2021) in the US

Borderlands is set to film in Hungary

Like the rest of the world, Hungary was hit by the coronavirus pandemic and, like the rest of the movie business, COVID-19 shuttered film and TV shoots at studios in and around Budapest. But Hungary was one of the last places to shut down — low infection numbers in Spring meant there was no formal lockdown during the first wave of the pandemic in spring 2020 — and, because of smart planning and a cooperative, pro-film-industry government, the country’s studios were among the first, in early summer, to welcome back international productions.

“It’s remarkable, really, given all of the challenges that we’ve faced since this crisis began, that we’ve managed to keep going,” says Adam Goodman, head of MidAtlantic Films, Hungary’s leading production services provider. In addition to the Cage movie, and ongoing production for Halo, MidAtlantic also wrapped on Amblin’s sci-fi drama Distant, starring Naomi Scott and Anthony Ramos, and is in production on season five of Carnival/Netflix series The Lost Kingdom.

We’ve opened up space for a Lionsgate film, Borderlands [starring Cate Blanchett and Kevin Hart], we’re doing season three of Jack Ryan for Paramount TV, and we’re doing a Marvel project, which, for the usual security reasons, I can’t talk about,” notes Goodman. “We’re basically fully booked for the coming cycle, until the summer, which, hopefully, will be the last cycle of shows we have to do under COVID-19 protocols.”

Inside the Complicated “Chutzpah” of ‘Mrs. America’: Stars Uzo Aduba, Cate Blanchett, Margo Martindale and Sarah Paulson in Conversation

The actresses talk about researching their real-life counterparts, the importance of honoring the hidden legacy of female trailblazers, the relevance of the show to the modern political landscape and the limited series’ iconic costumes.

Four members of the most star-studded TV ensemble of the year — Cate Blanchett (as conservative activist Phyllis Schlafly), Uzo Aduba (Shirley Chisholm, the U.S.’ first Black female congresswoman and presidential candidate), Margo Martindale (Rep. Bella Abzug) and Sarah Paulson (Alice Macray, a fictional Schlafly supporter) — joined THR’s TV critic Inkoo Kang for the following conversation about the critically acclaimed limited series Mrs. America, which depicts the politically charged fight to pass the Equal Rights Amendment.

What was it like to research your?characters? 

MARGO MARTINDALE I did two months of research to [understand] the relationships between Bella Abzug and the people that were on her side of the fence, especially Shirley and Gloria [Steinem, played by Rose Byrne]. I knew very little about the other side. But the whole show was a complete education for me. I think I’m the oldest [castmember] and I should have known more, but I didn’t. I’m very, very, very grateful to have gotten to do this show for that reason, and to be with these incredible, fabulous women. And one man. No, there are more than that — two or three.

UZO ADUBA My mom was a fan of Shirley Chisholm’s, so I had a high-level understanding of who she was. I really learned more about her through research and came to understand how outside the lines she was playing. I didn’t know how steep the mountain was that she was up against within her own party. I didn’t know a good number of the women featured in this piece, and I think they all align on that level — to me, anyway — in terms of what they were aiming to accomplish in a time when [those opportunities] didn’t exist.

CATE BLANCHETT  It sounds a bit counterintuitive, but for me, the character is strangely the last point of entry. I had heard of Phyllis Schlafly but didn’t really know the details of her life. Sarah and I were making Ocean’s 8 in the lead-up to the 2016 election, and a lot of this stuff came into play for me then. There was this little old woman who had been brought onto the campaign trail for Trump called Schlafly, and then he went to her funeral. And I thought, “Hang on a minute. This woman is a really strong political player for the GOP. I have no idea who she is.”

I sort of reverse-engineered it from there. I thought, “She’s so polarizing.” There were people saying she’s either the Antichrist or the Mother Teresa of the Republican Party. There’s no point in judging your character — that’s for the audience to do. I read her authorized biography to try to get a balanced sense of the woman. Ironically, she’s a quintessential outsider. She was always trying to get inside the political system. 

Sarah, what was it like to play a fictional character on this vastly researched show?

SARAH PAULSON I had been shooting Ratched until 32 hours prior to traveling to Toronto to start this. I felt totally unprepared. But I comforted myself [by saying], “This is a woman who is finding her sea legs and stepping into her own discovery of herself.” I was jealous, truthfully, of the work that one can get inside when you’re knee-deep in research. I find that very liberating, when I have a blueprint that’s not my own invention or the?writer’s invention, but something that actually happened in history that I can look to. I didn’t?have to do any research, but Alice was in the?dark.

Was there any sense of irony on set that here was a group of women collaborating on a TV show about women who were destroying each ?other?

BLANCHETT Were they destroying each other, or was it the system that was never going to let them flourish? I think that’s something that Gloria Steinem talks about a lot — that catfight view of history. It certainly didn’t happen on set, and it certainly didn’t happen within the women’s movement. When you’re talking about subtle nuances in trying to reinvent the wheel — not just replicate parallel patriarchal structure, but to actually imagine a world in which power operates differently — then there are going to be missteps, and people are going to feel excluded. It’s complicated and messy. There will be disagreements and exclusions and people’s pride will be hurt. People will splinter off. That is what the women’s movement was.

Something really amazing about Mrs. America is that it’s a lot about a bunch of older women trying to change the world. We still don’t see that very often. All your characters?have these really full lives — even Alice, Sarah’s character, Is ?a grandmother.

BLANCHETT It’s really important to challenge that it’s not [about that]. People think about feminism as being from a particular age group or a particular racial group or cultural group or gender group or sexual persuasion. It wasn’t — it was truly intersectional and intergenerational. Sarah’s character was a grandmother, but it’s because you got into the process of having children when you were 20. So these women, even though they use a lot of hair spray and they might have looked calcified, we look at people [of previous generations and] we think they look ancient at the age of 22. It’s just that they weren’t given the opportunity to flourish into anything else, or given the opportunity to consider having children in their 30s or 40s or all those things that we associate with being old.

I’m not saying that, exactly — I just think it’s nice to see more stories in pop culture about women past the ingenue age. How did you all try to convey the breadth of experiences that each of your characters came ?with?

MARTINDALE Well, [Bella] was extremely smart and a real politician, a woman who knew how to maneuver the system of politics and to fight for all the things that she believed in. She believed in a multitude of civil rights and gay rights and anti-war and equal rights, so she had to choose which one to stick. She was smart enough to know that you really can’t have 15 things going at once. You’ve got to choose what you want to go first. That was something through her political career that she learned. She could see it on the other side, too. She was in her 50s, I think, when I became aware of her, though she looked like she was in her late 60s.

BLANCHETT Not the way you played ?her.

PAULSON Margo, you played her so? young.

MARTINDALE I didn’t feel like it was all catfights. I thought that we really were looking for the best in each other. Some of us knew how to get there faster. I think Bella loves Shirley. She really wanted all the things for Shirley, but it was too soon. “Shirley, we’ve got something else we’ve got to do first.”

BLANCHETT I found that that kind of professional and personal exchange between those two personas [was] some of the most painful stuff in the whole series. And to your point before, I think that’s part of the system.

MARTINDALE On the other side of this thing, back to the irony of this group of women, this group of actors. We were incredibly supportive of each other and only wanted the best in each other. I didn’t feel that it was completely ironic. I thought it kind of was reflective of what was going on.

Uzo, do you want to speak to all the crazy things that Shirley had been through in her life, and trying to convey that one scene at a time?

ADUBA I started from the thing that rang really clear and/or loudest for me, [which] was the idea of what is possible. More specifically, what is possible for you. That idea lived and seemed to breathe around her campaign. That this idea of someone like herself who’s Black, a woman. This type of Black woman, if we’re going to get really specific.

How would you describe that type of Black woman? 

ADUBA A Black woman who is not at all Eurocentric-adjacent. A Black woman who is not imperialistically beautiful. A Black woman who is quick-tongued and sharp and strong and forward-standing, long in her spine. And a Black woman who is committed to the person that she knows herself to be. [A Black woman who] is unbending in that and cannot be contained, let’s say, is a lot for that time. And I would say even now, at times, [that’s often] hard to swallow. She became a congresswoman. Now, she wants to become the president of the United States, leader of the free world. That is just not something those who surrounded her [believed she could achieve]. I’m not even talking necessarily about the Women’s Caucus or the Black Caucus. I’m talking socially, that this was not a practice. That seems such an extreme dream. I have known what it feels like to have an idea of myself and what’s possible for me, and to bear witness to what someone outside of me sees that is possible for me — and knowing that those two things do not line up.

Were there costume or production details other than the writing or directing that helped your characters? I’ll be honest, I’m thinking a lot about Bella’s hats.

MARTINDALE Aren’t they great?

PAULSON Did you like wearing those hats, Margo?

MARTINDALE Yes, I love them. I had a little bit of a problem with my first one. It was a scene we were shooting and everybody was in black and beige and gray, and I was in a baby-blue vest and skirt with an orange-and-red print blouse and red hat. This is my first outfit. This is my first time onscreen. I looked like Little Bo Peep — Big Bo Peep in a room full of beige and gray. And I said, “I can’t wear this hat.”

BLANCHETT  But you experienced her chutzpah to even wear those hats. The thing I must say about Bina Daigeler, our incredible costume designer, is that so many times you see things set in the ’70s and you feel like everyone raided their parents’ wardrobe. So people were in costume. Bina really worked to make [us] feel like [we were] wearing clothes.

MARTINDALE I thought Bina was a genius, and I wanted to kill her a few times. Finally she let me choose the hats I wanted to wear with each outfit.

PAULSON For me, it was the pantyhose. Every time I put on pantyhose, I was like, “Look!”

BLANCHETT That’s what they’re for.

PAULSON That and the kind of bra I would wear. I didn’t know the boob was supposed to look that way by design. But there was something about the pantyhose. I don’t wear them in my own life, so every time I put them on, I was reminded of all the ladies who had to do that for years.

Cate, what did you get out of Schlafly’s very specific look?

BLANCHETT She was leading the audience into the series. There had to be a porous sense to her to enable people who would have otherwise found her repulsive to lean in. Phyllis really understood the power of the media before any of those dudes did. I think that was something I had in mind, you know, how to evolve a lot.

Have you heard from any conservative or liberal women in your life about the show? 

BLANCHETT I grew up identifying as a feminist, but my mother’s generation didn’t necessarily. [Many of them thought feminists] hate men, were anti-family … To me, the greatest moment of happiness was that I finally thought I was talking to people who were finding a point of similarity between these women [who were] so polarized by politics.

ADUBA I have had a lot of friends of mine talk about how important it is to actually mark Phyllis Schlafly into history. Because I didn’t know her, either. And the fact of the matter is, here is a woman at the end of the day, a woman. Whether we believe it or support it or not, want to know it or not. A woman is responsible for having crafted what are some of the more conservative talking points. And it’s important to [recognize that] so that we don’t forget our history.

MARTINDALE I would say the conservative women from my childhood who are still conservative, most of them would not watch it. I found it extremely disappointing, because it really would broaden their minds or give them a glimpse of something that they missed. I found it almost tragic. And what can you do? They just didn’t, it wasn’t for them.

BLANCHETT I wonder if that speaks to how painful that period of history was. I think there’s a lot of pain and misunderstanding, but that needs to be talked about. And that’s really difficult for people to approach. When we first started [developing the show], it was Phyllis and Gloria. As time went on, we actually needed to bring a more conservative audience into it. Because you don’t want to have these conversations with just us. You don’t want to have these conversations with a sense of judgment of the “other side.”

MARTINDALE It was just so shocking to me — as if to say, “Well, I’m just not interested in that.” That’s really what it was.

PAULSON Isn’t that sort of fundamentally how we are today? A lot of unwillingness.

MARTINDALE It’s unwillingness, Sarah, that’s exactly right.

PAULSON Unwillingness, in general. People like to stand where they’ve been standing. They don’t want to change their worldview. They don’t want to have it shaken. People don’t want to put the effort and energy into discovering what they don’t know. Their belief system is safe, and they’re not interested in questioning it. And that’s terribly sad, but I think it’s [where we have been] for so long as a country.

Source: THR, THR-Borderlands, BBC

Cate Blanchett to Officially Star in Eli Roth’s ‘Borderlands’
Posted on
May 31, 2020

Cate Blanchett to Officially Star in Eli Roth’s ‘Borderlands’

Hey blanchetters!

This is not a drill!
Lionsgate officially confirmed that Cate Blanchett has been cast to play Lilith in the video game based movie “Borderlands”.

Cate Blanchett has officially closed a deal to star in director Eli Roth’s movie adaptation of the video game “Borderlands” at Lionsgate.

Blanchett will portray Lilith, a legendary thief equipped with magical skills. Lionsgate announced the deal on Thursday, a month after Variety first reported the attachment.

The project reunites Blanchett with Roth, who collaborated on “The House With a Clock in Its Walls.”

Blanchett currently stars in “Mrs. America,” which she also executive produces, and will star in James Gray’s upcoming “Armageddon Time” and Adam McKay’s “Don’t Look Up.” She’s won Academy Awards for her performances in “The Aviator” and “Blue Jasmine,” and was nominated for “Elizabeth,” “Elizabeth: The Golden Age,” “Notes on a Scandal” and “I’m Not There.”

Roth said, “I’m so lucky to have the amazing Cate Blanchett starring in ‘Borderlands.’ We had the most incredible collaboration together on ‘The House With a Clock in Its Walls,’ and I believe there’s nothing she can’t do. From drama to comedy and now action, Cate makes every scene sing. Working with her is truly a director’s dream come true, and I feel so fortunate that I get to do it again on an even bigger scale. Everyone brings their A-game to work with Cate, and I know together we’re going to create another iconic character in her already storied career.”

“Borderlands,” launched in 2009, is a role-playing first-person shooter game created and developed by Gearbox Software and published by Take-Two Interactive Software’s 2K label. The game is set on the planet of Pandora, which has been abandoned by a mega-corporation prior to the game events. The series has sold more than 57 million units worldwide. The most recent installment, “Borderlands 3,” was released last September.

“Borderlands” will be produced by Avi and Ari Arad, who produce through their Arad Productions banner, and Erik Feig, through Picturestart, who have shepherded the project and overseen development, including the latest draft of the screenplay by Emmy-winning screenwriter Craig Mazin. The film’s executive producers are Randy Pitchford, executive producer of the “Borderlands” video game franchise and founder of Gearbox Entertainment Company, and Strauss Zelnick, chairman and CEO of Take-Two Interactive.

Blanchett is represented by CAA. Robert Melnik negotiated the deal on behalf of Lionsgate. James Myers and Aaron Edmonds are overseeing the project for Lionsgate. Emmy Yu is overseeing the film for Arad Productions. Lucy Kitada will oversee the movie for Picturestart.

Source: Variety

Cate Blanchett in talks to star as Lilith in Borderlands film adaptation at Lionsgate
Posted on
May 10, 2020

Cate Blanchett in talks to star as Lilith in Borderlands film adaptation at Lionsgate

Hey guys!

Variety has reported that Cate Blanchett is in talks to star as Lilith in Borderlands film adaptation at Lionsgate.

Borderlands is a successful video game franchise launched in 2009. The role-playing first-person shooter game includes the following installments:

  • Borderlands,
  • Borderlands 2,
  • Borderlands: The Pre-Sequel,
  • Tales from the Borderlands,
  • and Borderlands 3.

The main setting is a futuristic sci-fi universe, a planet Pandora, where characters have fight against mega-corporations.

Directing this movie adaptation is Eli Roth (The House with a clock in its Walls). Craig Mazin (Chernobyl) wrote the latest screenplay draft.  Then, Avi and Ari Arad along with Erik Feig will be producing it.

Cate for the lead role in Borderlands?

According to Lilith’s character profile in wiki, she is one the four playable characters in the original Borderlands game. In the Pandora’s universe, Lilith is one of six Sirens from the planet Dionysus. This group of women have unbelievable powers.

Lilith’s action skill is the Phasewalk, which lets her turn invisible to enemies (but not to her teammates, to whom she appears as translucent blue). She can move much faster and cause a damaging shockwave (Phase Blast) upon entering and exiting.

When fighting in Arena Battles Phasewalk will make Lilith invisible to opposing players, but all Sirens in Phasewalk can see each other, regardless of teams (as they are all in the same dimension). Spark does not work in Arena either however it does function in duels.

Gearbox Software co-founder Randy Pitchford describes it as, “kind of like when Frodo puts on the ring, except that when she takes it off she can kill everything around her with a shock wave nova effect”. This effect can be altered by using unique artifacts that can add elemental damage to the Phase Blast.

Previous rumors on this adaptation suggested a female protagonist that could be Lilith. Nevertheless, there are no official details at this point because the production is in early days. However, after playing the remarkable MCU villain Hela in Thor Ragnarok, we can expect great things from Cate in a superhero movie.

Sources: Variety, TVOvermind