Yesterday we posted a clip, today we have the complete interview!
The award season is in full spring, and it’s pretty hard to keep up with every award, so here you can find a list, in alphabetical order, updated at today.
Austin Film Critics Association Awards: Nominated (Pending)
Broadcast Film Critics Association Awards: Nominated (Pending)
Chicago Film Critics Association Awards: Nominated
Dallas-Fort Worth Film Critics Association Awards: 2nd Place
Detroit Film Critics Society Awards: Nominated
Golden Globes: Nominated (Pending)
Gotham Indipendent Film Awards: Nominated
Houston Film Critics Society Awards: Nominated (Pending)
Independent Film Spirit Awards: Nominated (Pending)
Indiana Film Journalists Association Awards: Nominated
International Online Film Critics’ Poll Awards: Nominated (Pending)
Kansas City Film Critics Circle Awards: Nominated (Pending)
Las Vegas Film Critics Society Awards: Nominated
London Critics Circle Film Awards: Nominated (Pending)
Online Film Critics Society Awards: WON
Phoenix Critics Circle Awards: Nominated
Phoenix Film Critics Society Awards: Nominated (Pending)
San Francisco Film Critics Circle Awards: Nominated
Satellite Awards: Nominated (Pending)
Screen Actors Guild Awards: Nominated (Pending)
St. Louis Gateway Film Critics Association Awards: Nominated (Pending)
Toronto Film Critics Association Awards: Runner-up
Vancouver Film Critics Circle: Nominated (Pending)
Washington DC Area Film Critics Association Awards: Nominated
Women Film Critics Circle Awards: Nominated
The Oscar nominations are set for January 14th, and on January 2nd, Cate Blanchett will received the Desert Palm Achievement Award during the Palm Spring International Film Festival.
In the meantime, Cate received her first, and very particoular, award for Cinderella, by the Women Film Critics Circle: Mommie Dearest/Worst Screen Mom of the Year Award for her Lady Tremaine in Cinderella.
Cate Blanchett spoke with Awardsline (Deadline) about her new movies. Plus: a new photoshoot!
After winning the Best Actress Oscar for Blue Jasmine less than two years ago, Cate Blanchett got busy. She had been spending much of her time doing theater projects in her native Australia or appearing in smaller parts in such blockbusters as The Hobbit trilogy and How To Train Your Dragon 2. But this year has been a virtual Blanchett-fest, starting in March with her role as the stepmother in Disney’s Cinderella, and continuing this fall with leading roles in the 1950s lesbian romance Carol, and as 60 Minutes producer Mary Mapes in Truth. Both latter roles have won wide praise and yet present a quandary for Oscar voters. They are both leads—and Academy rules state that only one acting performance can be nominated in the same category, which means the votes for both roles could split. But this is a good problem to have, especially for someone who already has two Oscars on her mantle—the first won 10 years ago for her role as Katharine Hepburn in The Aviator. It’s been a great decade for today’s Great Cate.
What a year you’re having between Cinderella and Carol and now Truth.
Yes, it’s funny. Truth we made really quickly; it was like a freight train. I madeCinderella two or three years ago, and Carol I made at the beginning of last year. So it’s sort of everything coming out at once.
Do you like that?
It’s a little confusing. You hope that one film doesn’t end up getting lost because both Carol and Truth, I think, are really interesting stories by two very interesting filmmakers.
I saw Truth in Toronto, where it was well-received. I got to meet Dan Rather.
Isn’t he something? Both he and Mary (Mapes) are cut from the same cloth in the sense that they have this searing intelligence, this fiery sense of fighting injustice and a hatred of hypocrisy, and they’re also deeply emotional people. It’s a really interesting combination. I mean, no wonder they gravitated towards each other.
It must have been interesting to work with Robert Redford. This is the first time that you worked with him, right?
Yeah, but hopefully it’s not the last. He’s extraordinary. We would have these situations on set where they’d be setting up for the shot and he’d just start talking to me, and I’d have this terrible sense of déjà vu, thinking, “We had this conversation before.” And then it’d suddenly dawn on me that he was running lines. We seemed to be talking about things around the scene, and then the lines would just be drip-fed in.
What got you involved in Truth?
I had (the script) for a little while. My life is very full with the amount of children that we have and my husband running a theater company. Often by the time I get into bed at night and read a script it’s like taking a sleeping pill. I just fall asleep. It has nothing to do with the writing and everything to do with my age. But when I read this, I just ate it alive because you step on this conveyor belt, and you almost lose your balance because it goes so quickly. I knew about the story but I did not know about the fallout.
What kind of research did you do? Did you go to 60 Minutes or to a newsroom?
I didn’t. I’ve been in newsrooms and I’ve been sort of hauled over the coals in my own small way, so I know personally what that feels like but in a much smaller, lesser degree than Mary experienced. So I felt like that was something I understood.
And then Carol coming out a month later. You and Rooney Mara are so great together.
She and I gravitate to similar filmmakers. She’s had such a great creative relationship with David Fincher and Steven Soderbergh and Todd (Haynes,Carol director), and she just worked with Joe Wright. So I felt like we were very sympatico creatively.
That was an interesting period in our history, the early ’50s.
What’s interesting about the film that Todd’s made, and also about Patricia Highsmith’s novel, is that in the end it’s about falling in love. And it’s as much about the age gap between the women as it is about the outsider nature of their love. And so he’s made a beautiful film about falling in love and heartbreak and maturity.
How long do you have to make a film like this?
There were times when we barely had time to do one take. Todd is like no other director I’ve ever worked with. He’s a master making a student film, in the sense that he has that sort of danger and hunger that a student filmmaker has but this incredible finesse and expertise and facility and insight that an auteur has. And the intersection of those two atmospheres is really unique.
Actors are the only artists who can’t be nominated twice for an Oscar in the same category. You’re a member of the actor’s branch of the Academy and you have two great performances this year.
I’m not a lobbyist, so I don’t get tied up in those machinations. Perhaps that stuff matters more to producers than it does to me. To simply be in that dialogue is more than enough, and, I mean, it seems a bit hubristic to be having this conversation. The first port of call is that the films find an audience. So that’s the bit that I feel a responsibility towards. The rest is outside.
A behind-the-scenes it’s been online for a couple of months
If you have the scans or find more photos, don’t be shy and leave a comment!
Scans and uncut photo!
Yesterday the People’s Choice Awards nominee voting has officially started! That means you can vote your favourites across movies, music, and television to ultimately determine the top five nominees in each category.
Vote Cinderella as nominee for Favourite Movie – vote here
Vote Cate Blanchett as nominee for Favourite Movie Actress – vote here
Vote Cate Blanchett as nominee for Favourite Dramatic Movie Actress – vote here
Vote Cinderella as nominee for Favourite Family Movie – vote here
The top five nominees in various categories will be unveiled during the People’s Choice Awards 2016 press conference on Nov. 3, 2015.
What are you waiting for?
New interview and promotional image for Cinderella.
It’s a wonderfully upbeat time for Cate Blanchett. Not just a hit Hollywood movie but a new adopted baby, Edith, has joined the three sons she has with husband Andrew Upton.
With up to four more movies expected to open this year and another one filming, the family are planning a move overseas once Upton’s contract directing the Sydney Theatre Company expires.
So there is much to talk about as Blanchett arrives at an upmarket Sydney hotel the morning after the Australian premiere of Cinderella. Disappointingly, the two-time Oscar winner, dressed in a stylish blue pantsuit, is dropped off in an anonymous black hire car. Surely, after the movie’s successful international opening, Disney should have made an effort.
Where is the ornate gold coach, created magically from a pumpkin and drawn by white horses?
“The service only runs to midnight,” Blanchett flashes back.
Whether it’s from spending so much time around theatres and film sets or just high spirits, she does excellent banter.
Blanchett played Katharine Hepburn well enough in The Aviator to win an Oscar, and she seems to share some of that actress’s characteristic sassiness. Not to mention her directness.
“Mind if I pee?” she says, scanning the marble foyer.
“We’ve got a room,” says a publicist, gesturing to the lift.
“Ah, we’ve got a room,” she says, stepping inside with publicist and journalist. “People will talk.”
We are here to talk about films, but once settled, having ordered a skinny latte and a cup of hot water with lemon, Blanchett opens up – just a little – on the topic that everyone seems most interested in lately: the tiny bundle who appears, from the paparazzi photos taken since she arrived back from the US, to be a particularly gorgeous baby.
“She’s more beautiful in real life,” Blanchett says.
What’s it like having a new bub again?
“It’s extraordinary. It’s been an absolute gift and we’re utterly besotted.”
And how have her sons – Dashiell, 13, Roman, 10, and Ignatius, 6 – reacted?
“They’ve been extraordinary. I remember spending hours and hours on a Saturday afternoon with my siblings in a whole separate universe and coming downstairs to my parents and their life would have continued and they had no idea what we’d been up to.
“Not that it was devious, but it was just apart from them. I find it extraordinary, glimpsing them becoming a unit. And a very welcoming unit. I’m very proud of them.”
I ask if she wants to talk about adopting. While joking that she will shut down if the questions get too intrusive, Blanchett admits they have wanted to adopt for more than a decade. “We’ve been talking about it since our first son was born,” she says.
But it was not from a particular desire to have a daughter. “Adoption – the process – it’s pot luck,” she says. “It’s not about designing a family. It’s about welcoming. There’s a lot of children out there in need, both children who are up for adoption but also children in the foster system. So it wasn’t necessarily about having a girl, but that’s what landed in our lap and we feel absolutely blessed.”
The Cate Blanchett everyone knows is an ethereal celebrity who delivers famous performances on stage and screen and looks impossibly glamorous at premieres and awards ceremonies.
But if that suggests a remoteness from ordinary life – a detachment from reality courtesy of fame, beauty and wealth – Blanchett has sometimes revealed how politically engaged she is. She attended Prime Minister Kevin Rudd’s 2020 Summit in 2008 – she calls it “very flawed but noble” – so that the arts had a place at the table. In her time at the STC, the couple made the theatre more environmentally sustainable with the Greening the Wharf project. In 2011, she became a high-profile advocate for the carbon tax. And, late last year, she delivered a thoughtful speech praising Gough Whitlam’s initiatives in free tertiary education, healthcare, support for the arts, the country’s relationship with Asia, women’s rights and indigenous issues at the former prime minister’s memorial service.
At 45, her celebrated career includes two Oscars, four other nominations, an enviable mix of commercial hits and smart art-house films around the world, and widespread acclaim for theatre performances in the likes of Hedda Gabler, A Streetcar Named Desire, Uncle Vanya and The Maids.
But she doesn’t mind admitting that not everything has been a triumph.
“Shitty, crappy niche films, I’ve made plenty of those,” she says.
Blanchett also admits she has to be careful what she says publicly. If a reminder was needed, it came when she was attacked as “Carbon Cate”, presumably a green version of wartime propagandist Tokyo Rose, by Murdoch newspapers.
“In terms of weighing into a political debate, it’s so noisy,” she says. “Even speaking to you, it can sound like one’s proferring one’s opinions left, right and centre. It’s not really who I am. You have to be quite judicious about what you weigh into and when.
“If you’re a blonde actress who makes movies, you can be a hindrance sometimes. When they don’t like what you say, you’re a multimillionaire celebrity. And when they do like what you say, you’re an internationally respected actress.”
So you’re either Our Cate or That Crazy Actress?
“Exactly. So you just have to think, ‘Am I going to help here or am I going to be a hindrance?'”
Since the final stages of her six years co-directing the STC with Upton – she finished in 2013 – Blanchett has been one of the world’s most in-demand actresses.
The Monuments Men, in which she played a French art curator, was a disappointment enough for director-star George Clooney to agonise about not sleeping for 30 hours after the bad reviews in an email leaked during the Sony Pictures hack.
But there was acclaim at every turn when she played a New York socialite brought down to earth in Woody Allen’s Blue Jasmine. She won her second Oscar – one of more than 30 awards for the performance – and made a rousing speech about the need for more Hollywood movies centring on women. “The world is round, people,” she declared.
As well as returning as the ethereal Galadriel in the Hobbit movies, voicing a dragon rider in How to Train Your Dragon 2, and small comedic roles in both The Turning and Rake, Blanchett shot two movies back-to-back with master director Terrence Malick (The Tree Of Life).
In the poetic drama Knight of Cups, which premiered at the Berlin Film Festival in February, she was the doctor ex-wife of a troubled screenwriter (Christian Bale). In typical Malick fashion, details of the second film – even the title – remain sketchy.
“The suite of films he’s been making lately are part of one big investigation,” Blanchett says.
There has also been a second film with director Todd Haynes. After playing a version of Bob Dylan in 2007’s I’m Not There, Blanchett plays a married woman who attracts the affections of a young department store clerk (Rooney Mara) in the romantic drama Carol, set in 1950s New York.
And in James Vanderbilt’s drama Truth, she plays 60 Minutes producer Mary Mapes, who became embroiled in a 2004 controversy when newsman Dan Rather (Robert Redford) reported criticisms of President George W. Bush’s military service during the Vietnam War.
While Lily James is the star of Kenneth Branagh’s Cinderella, Blanchett has won rave reviews as the wicked stepmother, Lady Tremaine, who resembles a 1940s screen siren in a succession of spectacular gowns. She is a cruel figure motivated by jealousy, with her apparent elegance undermined by a coarse laugh.
“I think it terrified Ken, which I found very exciting the first time I did it,” she says. “You’re always seeing how far you can push it. I probably push things too far and then pull it back – hopefully pull it back – but the look of horror and revulsion on his face! I thought, ‘That’s perfect’.
“It’s always a thing when a woman plays someone who does and says things that are unlikeable. I had the same thing with Woody Allen on Blue Jasmine. The male director often gets very concerned that the audience is going to – they use the word – ‘relate’ to them. But what they mean is ‘sympathise’ or ‘be attracted’ to them. That’s a red rag to a bull with me.”
In one of the movie’s central themes, Cinderella’s mother advises her daughter to “have courage and be kind”. For Blanchett, encouraging her children is more by example than any similar motto. “Children are hypocrisy detectors,” she says. “And it’s constantly, ‘You’re not doing that, you’re saying it’.
“Having three sons, I hope I’m setting a good example for the many different things a woman can be. It’s about respect. Maybe it’s something my own mother said to me: it’s about respecting others and respecting yourself and having boundaries.
“Something we do talk a lot about is layers of intimacy. Something I find very heartwarming is they seem to have really good friends, true friends, friends who can keep their confidence, friends who can have their back in a way. Long after we’re gone … ”
She baulks at that downbeat note and starts again. “In the end, no matter what they do, you want them to be able to have – without getting too ooger-booger about it – truly loving relationships.”
Has Hollywood listened to her call for more movies centring on women? Blanchett seems optimistic that female producers collaborating with other women with clout in Hollywood are making these kind of movies – and that Cinderella shows they can make money, despite the myth for years that anything not made for 13-year-old boys has only a niche audience.
“There’s a critical mass of women audience members as well as participants in the industry who have just said, ‘enough, enough’,” she says. “We’ve known for years this is rubbish. We’ve been told to shut up because we’re complaining.
“When you’ve got a certain number of women running studios and a certain number of female producers with runs on the board, you think, ‘OK, what are your pet projects? How long are you going to be doing one for the boys, doing one for the team?’
In her latest role, Blanchett has started playing the snake Kaa in Jungle Book: Origins, with Benedict Cumberbatch as the tiger Shere Khan and Christian Bale as the panther Bagheera.
“Andy Serkis, who I revere and adore, is doing a motion capture version,” she says. “I’d witnessed motion capture obviously on The Lord of the Rings and The Hobbit but I’d never been a participant. So I did a couple of days on that. He calls it authoring a performance. It was so liberating. It was like being back in the rehearsal room for a play.
“They mocked up the tree and so you’re working in tandem with a bank of people behind computer screens who are getting all the information from your bodily movements and it helps you find the voice. The voice comes out of the body. All of that information gets immediately fed into the computer and so then you can start to see where your 10-metre long slithering body is moving.”
From an evil, jealous stepmother to a snake, it seems there is a dark turn to Blanchett’s roles. What’s next? The devil? “I’m up for anything,” she says. “I never say no to anything.”
After a moment’s thought, it turns out that’s not quite right. “In fact, I say no to everything and have to get seduced into doing it,” she says. “I’ve got no grand plan.”
Well, there is one plan. To take the family overseas when Upton finishes at the STC. And possibly direct a film.
Eighteen months ago, Blanchett was mooted as director of The Dinner, based on a Dutch novel that is described as a psychological thriller about “how far some parents might go to protect their children”.
“When he was asked to renew his contract and we looked at how long we’d been running the company and how extraordinary it’s been, we decided there were other things that we wanted to pursue,” she says of the end of Upton’s tenure. “That may well be in Europe and there’s a few projects in the States directorially.
“But as a mother of now four children, it’s not just the shooting of something, it’s the pre- and post- that mean a lot of time away. But we were always planning to take some sort of sabbatical with the children. So maybe there’s an opportunity to dovetail those desires.”
So it could be either Europe or the States? “Yes, it’s a circus existence. One byproduct – a gift – of running the Sydney Theatre Company is that it’s been a real anchor, going deeper into the cultural life of this country but also deeper into our connections with our family, and that stability has been fantastic for the kids.
“It’s a circus life when you’re freelance. It’s like being a diplomat without the respect.”
But at least there is respect at home when it comes to her conflict with Cinderella. “My son said, ‘I didn’t like it when you lost in the end,'” she says.
Cate Blanchett has revealed her wish to star in Downton Abbey.
Speaking on Good Morning Britain (watch the video here), the Oscar-winning actress said that she has enquired about the possibility of making a cameo appearance in the period drama.
She told Richard Arnold: “I did have words and I followed up with my agent, no call has yet been received – but I’m seeing the girls again today, so I’ll get them to put a good word in.”
via Digital Spy
Another promotional interview for Cinderella
On March 15, 2015, Cate Blanchett attented the Cinderella Australian premiere in Sydney. Watch the videos interviews from the red carpet below.
Video Screencaptures > Events > 2015 > Cinderella Sydney Premiere: Interview Big Pond Movies – March 15th, 2015
Cate Blanchett knows why fairy tales have worked for hundreds of years, and it shows in her diabolical turn as Lady Tremaine, the wicked stepmother of Disney‘s new, live-action “Cinderella.”
The two-time Oscar winner told Speakeasy in a telephone interview that she found the rather straightforward approach to the fairy tale “refreshing” in this age of reimaginings, reboots and twists meant to conform classic stories to the zeitgeist of the day. In the case of “Cinderella,” she said, much of it comes down to how faithful the Kenneth Branagh-directed film is to the way the story has a variety of important roles for women — even if some of them are villains.
“You see sisters, you see godmothers, you see stepmothers, you see birth mothers, you see daughters, and so you see a lot of different female dynamics,” she said.
Blanchett also weighed in on the power of wigs, Patricia Arquette’s stirring call for equal pay for women and how Blanchett channeled Fred Flintstone during the filming of “Cinderella,” which opens Friday. An edited version of the interview follows.
You’ve played a wide range of characters. How do you jump from something like Galadriel (“The Lord of the Rings” and “Hobbit” films), who’s sort of like the fairy tale ideal of a woman, to the evil stepmother in “Cinderella”?
Wigs. It’s all the wigs. (laughter) It’s what’s demanded of you. Both tales are very well known, and there’s a sense of what are you going to do with this? What are you creating? What are the actors going to do with this? What I really found completely refreshing about this version of “Cinderella” is that it had this sumptuous, inventive, completely satisfying and enticing storybook universe, but it had really three-dimensional characters. I read the script, and I said to Ken [director Kenneth Branagh], “This is basically the story.” I come off being an audience member to a lot of twisted fairy tales, a lot of fairy tales being told from a very zeitgeist-y twist, and this didn’t have that. I found that really refreshing, both to be in and to watch.
Disney has been doing a lot of revisionist fairy tales, and this was unique in that it wasn’t revisionist.
You have a director at the helm who understands why, for centuries, we would continue to want to see and want to perform “Hamlet.” We all know how it ends. We all know the story. But when you see a great production of it, you feel like you’ve been told the tale for the first time. And I’ve noticed this in my own children — is often, when they enjoy a book, they’ll want you to read it again, or have it read to them again. They’ll love it, and they’ll watch it over and over and over again. There’s something really robust about the fairy tales, I think. … There’s something really pure about the re-telling and, I think, ultimately very satisfying.
There’s a visceral reaction to villains who are women, moreso it seems than toward male villains. You see it on TV a lot, for instance. Male villains become so beloved, like Tony Soprano or Walter White, whereas Cersei Lannister or Skyler White are reviled. Do you think this has its roots in fairy tales, where traditionally women are either princesses or mother figures, good or bad?
Well, the notion of the stepmother is a child’s worst nightmare. Women are sort of socialized to be kind, to be true, to be generous, to be demure. And when you have somebody who presents that way, who, in fact, isn’t your mother, it’s every child’s worst nightmare — that the loving mother figure will turn on them. That’s the way society has worked for a very long time, for better or worse. I think it’s the way horror works, as well. It’s the way Scooby-Doo works! … One of the wonderful things about “Cinderella” is there’s so many female examples, examples of female behavior. And also there’s cruelty among women to women. It’s a story that has — in this particular retelling, there’s also a very beautiful father-son relationship — but you see sisters, you see godmothers, you see stepmothers, you see birth mothers, you see daughters, and so you see a lot of different female dynamics.
One of the most striking things about your performance is how you would pose your body and it would just fit the frame so perfectly. Did you work on this with Kenneth a lot, or did you have ideas going into it?
The first time I stepped onto the step — and when you’re working on a set that’s been designed by Dante Ferretti, you want to use every inch of it — I was really struck by the potential there. Whether that comes from being an actor who works on the stage, so understanding what the frame is going to be is very important to me because you want every frame of the film to feel like the next exciting page in a storybook. We’re in a storybook universe. So I would always check what the shot was, what the setup was, what the frame was, and to see how best to use that. I had a bit of a “Flintstones” moment! You know how Fred and Barney — the car sails along, but the feet are going rapidly underneath? I wanted to be able to glide, and I had to have a bit of practice to be able to glide. [The character] has a very self-conscious, designed grace that hopefully that becomes more and more of a burlesque as the story develops, as her panic sets in.
It was good for a few laughs …
Look, when you need to get a cheap laugh, just go for it.
Another thing was your voice, the inflections, the tones. Were there any specific reference points? I remember Anthony Hopkins saying that he based Hannibal Lecter’s voice on Katherine Hepburn and Truman Capote –
I was wondering if you had any reference points like that?
I just wanted her to sound slightly that she was from the wrong class and that she worked very, very hard on sounding and being in the right class … Not that I based her on this character, but there’s this wonderful character in “Brief Encounter,” when they’re at the railway station, and the woman that works behind the bar, she’d drop a few proper-sounding vowels into her very arch, cultivated sort-of traditionally lower-class accent, but she’s trying to stay above her station.
What was your response to Patricia Arquette’s speech at the Oscars? It generated a lot of excitement among female actors in the audience.
About pay for women?
Yeah, I mean it’s ridiculous that in 2015 we’re even having a conversation. It’s very, very hard … when you cannot walk in, no matter what your profession is, and get equal pay for equal work. How do you get to a sophisticated dialogue about anything in an industry where there’s heightened inequality financially. It’s ridiculous. So, yeah, she hit the nail right on the head.