TÁR Music Video, & Magazine Features
Posted on
Nov 11, 2022

TÁR Music Video, & Magazine Features

Happy Friday, Blanchett fans!

Deutsche Grammophon released the abstract music video on one of the tracks, Mortar by Hildur Guðnadóttir, from TÁR’s soundtrack. Cate also covers the December 2022/January 2023 issue of the Pianist Magazine with a new interview. She and Todd Field are also featured on the latest issue of Coup De Main.

Mortar Music Video

Deutsche Grammophon’s groundbreaking concept album for Todd Field’s critically acclaimed new film TÁR captures the process of music-making that lies at the heart of the film. The soundtrack features a series of stunning new works by Hildur Guðnadóttir. Representing the psychological aspect of the story, and the protagonist’s troubled state of mind, Guðnadóttir’s score has an unsettling, almost unearthly feel. Its purpose, says the composer, “is to be otherworldly and to be this kind of invisible thing that seeps into your unconscious”. One of the tracks that helps build this disquieting atmosphere is “Mortar”, featuring the composer herself on cello. Todd Field has made a standalone video for the piece in which Guðnadóttir and the cast of TÁR all appear, their distorted images again mirroring Lydia Tár’s disintegrating world.

“The idea was born from conversations with Cate Blanchett,” explains the director. “This piece of film was conceived as an in-between place for the main character to fall into herself. A place where the natural laws of her waking state do not apply. The shooting process involved all cast members, and was photographed at the end of each day during principal photography in Berlin and South East Asia in 2021. In September 2022 Hildur and I met again in Berlin where she stepped back into this place and bound herself to the other players.”

Magazine Features

Cate covers the new issue of Pianist Magazine which will be out on November 18th. She talks to editor, Erica Worth about TÁR. You can order here.

Cate with Todd Field are featured on the latest issue of Coup De Main DIY magazine where they talk about TÁR. You can order here.

TÁR Interviews and Concept Album Booklet
Posted on
Oct 29, 2022

TÁR Interviews and Concept Album Booklet

Hello, folks!

Cate Blanchett and Todd Field’s podcast interview with John Horn is out now. Some interviews were published too. We also have the scans from the booklet that came with TÁR’s concept album.

Beware of spoilers!

With ‘TÁR,’ Cate Blanchett Continues Her Search for ‘The Great Noble Failure’

If Cate Blanchett remembers correctly, her first meeting with the filmmaker Todd Field could not have gone worse. “I maintain that we met in the foyer of the Four Seasons in Los Angeles,” she says, “and I remember it being one of the most uncomfortable meetings of my entire life. I was meeting a director who clearly didn’t want to meet me, about a project that he was never going to cast me in.”

“He insists that wasn’t him and that I just have early onset dementia,” Blanchett deadpans. “We have a bit of a dispute about this.”

That was 10 years ago, when Field was co-writing a political thriller with Joan Didion which the actress would have starred in. (For what it’s worth, Field recalls his first meeting with Blanchett being “actually really lovely.”) That movie never came to be, but, years later, he sent her a script for another project which he’d written with her in mind. If Blanchett had said no, Field has claimed, he simply wouldn’t have made it. None of which she knew until after they’d wrapped. “That would be an incredibly pressuring thing to hear before you step on set.”

“It was just an undeniable opportunity,” she tells A.frame. “He hasn’t made a film for upward of 15, 16 years. And it’s not because he’s lazy. It’s because he wants to make sure that he can make something which is going to have fully expressed what he wants to say. I think this is definitely that.”

The film is TÁR. It’s about power, its shifting transactional nature, and how it corrupts those in dangerous proximity to systems of power. It’s about culture and cancel culture, celebrity and #MeToo. Blanchett stars as Lydia Tár, a polymath, EGOT winner, renowned composer, and the first woman to conduct the Berlin Philharmonic, considered the world’s greatest orchestra. We meet her at the height of her career. And, over the course of the film, we watch her fall.

“I look for the great noble failure, I think, at this point in my life,” considers Blanchett. “When I began reading the script [for TÁR], I fortunately have a 26-volume edition of the Oxford English Dictionary. And I had to look up every term until, after about the third page, I put it away, and I went, ‘There’s an incredible rhythm happening here. And, in fact, I don’t need to know any of this.’ I found a subterranean connection that I still don’t understand fully. Maybe I don’t ever want to understand it; I just want the reverberations to be with me forever.”

“But I thought, ‘I am going to have to do a lot of work in order to get the audience to feel the same way,’ to understand that this woman knows her onions. Which I found thrilling and terrifying at the same time.”

Blanchett began with a to-do list and started working her way through it: Learn how to play the piano. Learn to speak German. When the film was pushed back a year due to the pandemic, she suddenly had more time to study the skills she would need to embody Lydia Tár. “No one wants to see my homework! Nothing could be less boring,” Blanchett baulks modestly. But she loves the homework. She studied with the conductor Natalie Murray Beale and learned to conduct herself, and then, did so with the Dresdner Philharmonie, the German symphony orchestra that appears in the film.

“I’ve spent many, many decades on stage, so I felt strangely most at home when I was on stage with the orchestra,” she says. “And I said to them in my terrible German, I said, ‘I am not a conductor. And you are not actors. So, somewhere in that liminal space between the two of us, we will find our way together.’ They laughed, and then, we just got on. And I knew I couldn’t apologize for what I needed to do to get there.”

Still, the night before Blanchett would arrive on set and be Lydia Tár for the first time, she couldn’t be sure that she’d gotten there.

“I always ask my husband the night before I start shooting, ‘What’s my process?! What do I— what’s my process?'” she recounts, feigning mock panic. “And he said, ‘Don’t worry.’ He said, ‘You’ll find it. Just stop thinking about yourself and your process and get to work.'” She laughs, “And if the process of preparing this was a slow and steady one, the experience of making the film was an explosion.”

“I don’t want to sound too mauve, but I feel very changed by it,” she smiles. “Because I felt in a really brave — I hate the word ‘brave’ — in a really potent way, shall we say, that we knew where we needed to get. But the process of making it shifted both of us somewhere slightly unexpected. Which was really, really exciting. In a way, no matter what the outcome was, I felt so grateful for that, because I felt shifted as a performer, which doesn’t happen all the time.”

So, how does Blanchett ultimately measure the success of a film like TÁR for herself?

“In the end, it’s how it connects with an audience. I mean, that is everything, right? I learnt a lot as an actor, and I’m grateful for that, but who cares about that, apart from me?!” she guffaws. “My mother, maybe.”

“I look to be in dialogue with people who are able to move the needle,” states Blanchett. “Whether it ultimately works or not — you always hope it does — the process, I know, will be really fascinating. So, I can’t be objective about myself — who cares? — but from that perspective, I think it’s a success.”

Full article on AFrame

High Árt: the TÁR team on mapping their film’s tempo

Some cast members came to TÁR fully baptized into music (Kauer, who is a cellist, and Allan Corduner, a jazz and classical pianist who plays Tár’s assistant conductor, Sebastian), whereas Hoss and Blanchett both learned their respective violin and conducting skills for the job. As befitting her character’s illustrious reputation and desire for the spotlight, Blanchett brings a dramatic lust to Tár’s conducting style.

“Holy guacamole!” the actress exclaims when I ask what she learned about herself from the intensely physical work (that really is her leading the orchestra on the soundtrack). “I feel shifted off my axis by the experience of making this film. I’m not being disingenuous, but I don’t quite… I haven’t fully processed the experience yet, even though we finished shooting a year ago. I don’t know yet, to be honest.” 

Processing requires time, and time is both the enemy and the accomplice in TÁR: the time it has taken Field and his artists to bring the film to the screen, and the times that it has been released into. The snail’s pace at which the classical world moves, and the quickness of a tweet. The way Lydia Tár has only a minute for one person, and a whole night for another.

It’s the chronos and the kairos of the strangely wonderful gift that is any immersive, ephemeral artwork—a film, a concert, a play, a dance—where life outside the theater carries on at pace for, in this case, 158 minutes while inside, time slows as Tár’s ambitiously crafted world unravels over several months. And the weeks that follow, when our synapses start tickling, connecting a seemingly small detail in one section to a line of dialogue in another; the work of a production designer connecting to a costume detail connecting to a composer’s refrain, all the instruments of this filmmaking orchestra playing their part.

What Blanchett does know: “The process of actually bringing music back into my life and the encounter with the Dresdner Philharmonie, I feel profoundly changed by it. And, I hope, for the better. It’s been very rich, and very deep.”

Full article on Letterboxd

TÁR Concept Album


TÁR interviews and gallery update
Posted on
Oct 20, 2022

TÁR interviews and gallery update

Good day, Blanchett fans!

TÁR expands to 100 theatres in the US this Friday, October 21st, so please go see the movie in a theatre near your area. Cate Blanchett will be attending the Australian premiere at Adelaide Film Festival this Friday too. An almost hour interview with Zane Lowe has been released. We have updated the gallery with magazine scans, HQs from interviews, and additional photos from TÁR photo session with Todd Field from New York promo.

The Zane Lowe Interview

The interview is available to watch on Youtube but you can also listen to it on Apple Music.

Click this image for more

Australian actor Cate Blanchett sits down with Zane Lowe to reflect on her experience embodying renowned composer Lydia Tár in the film TÁR. Though she is not a musician in her real life, Cate Blanchett molds herself to fit into the role of one of the greatest living composer-conductors for the film. Cate explains how she experienced major imposter syndrome while acting as the first-ever female music director of a major German orchestra. She and Zane also discuss more broadly the impact of music and humanity’s relationship with sound.

The Zane Lowe Interview

The New York Times Magazine Culture Issue – October 16th 2022

Yahoo Entertainment
Happy Sad Confused
60th New York Film Festival TÁR Q&A
60th New York Film Festival TÁR Press Conference
TÁR Photo Session

TÁR Premiere at 60th New York Film Festival and Promotion
Posted on
Oct 9, 2022

TÁR Premiere at 60th New York Film Festival and Promotion

Hi, folks! Cate Blanchett fans certainly got the best this past week.

This is going to be a long post. We have compiled interviews and other TÁR related news. The movie is now out in select theatres and will have wide release on October 28th in the US.

Cate, Todd Field, Nina Hoss, Sophie Kauer, and Hildur Guðnadóttir were all present at the 60th New York Film Festival. There was a press conference earlier in the day, then the premiere which was followed by a Q&A moderated by Film at Lincoln Center’s director of programming, Dennis Lim.

Cate was also a guest at The Late Show with Stephen Colbert last Thursday. Throughout first week of October she has attended Q&As in New York and Los Angeles after screenings for TÁR.

Like we always remind, beware of spoilers.

Day 1 – SAG Screening (NY) and Press Junket

Press Junket and SAG Screening – Outside

Day 2 – GMA Guesting and NYFF Premiere

Good Morning America
GMA – Outside

NYFF Press Conference

NYFF Press Conference
NYFF Press Conference – Outside

NYFF Premiere

NYFF Highlights

NYFF Premiere
NYFF Premiere Q&A

Day 3 – BAFTA and NYFF Screening


NYFF Screening

On the second screening of TÁR at New York Film Festival, Cate with Nina Hoss and Todd Field introduced the movie to the audience.

Day 4 – Museum of Moving Image Screening

The post screening discussion was moderated by Laurie Anderson.

Day 5 – The Late Show with Stephen Colbert and Academy Screening

Cate was already in Los Angeles for another leg of TÁR press tour when her episode with The Late Show with Stephen Colbert aired. It was taped on October 4th.

The Late Show with Stephen Colbert
The Late Show with Stephen Colbert Candids

There has been a screening at the Academy Museum of Motion Pictures for members of the recording academy, the Q&A was moderated by Jonathan Franzen.

TÁR Screening at Academy Museum of Motion Pictures – Candids
TÁR Screening at Academy Museum of Motion Pictures

Day 6 – SAG, BAFTA, and AMC Special Screening

On Friday, Cate attended three different post screening Q&As — SAG LA screening was moderated by Jenelle Riley, AMC special screening moderated by David Canfield, BAFTA LA screening moderated by Jazz Tangcay.

SAG LA Screening

AMC Special Screening

BAFTA LA Screening

Day 7 – Academy Screening

Last day of US promo tour, Cate, Nina, Sophie, with production designer – Marco Bittner Rosser, costume designer – Bina Daigeler, and editor – Monika Willi attended The Academy screening. Cate and Nina are wearing matching attire, the blazer is from the 1993 collection of Moschino.


Twitter Movies

ET Canada – NYFF

ET Canada

Yahoo Entertainment

How Cate Blanchett got the role of a lifetime in ‘TÁR’

“‘Tár’ takes on the devastating spectacle of ‘cancellation,'” reads The Atlantic’s review of her new film, while The Telegraph calls it the “the first cancel-culture thriller.” Written and directed by Todd Field (“In the Bedroom”), the chilling drama traces the gradual downfall of a world-famous classical music conductor named Lydia Tár (Blanchett) amid sexual misconduct allegations. But the movie can’t be boiled down to a single hot-button issue, the actress says.

“This has been the hardest film for me to reduce to some digestible sound bite,” Blanchett says, sipping tea in a Midtown hotel suite with co-star Nina Hoss. “It’s an examination of the corruptive nature of power in all its forms, but it’s also about so many other things,” both psychological and existential.

“You sound wanky talking about that, but it’s rare to see a film that has genuinely big questions. And it respects the audience enough to ask them.”

Despite the movie’s timely premise, Lydia is a fictional character who “I’d been thinking about for quite a while,” Field says. He wrote the character specifically for Blanchett, after meeting the actress years ago and discussing the possibility of collaborating.

“That meeting left an impression I couldn’t shake, as if someone had permanently scalded me with a branding iron,” Field recalls. “A true genius. So, who better to play a genius?”

Blanchett, 53, says she had never read anything like “Tár” before. She was compelled by its themes of legacy and the “tragic nature” of time, as Lydia faces turning 50 and wonders what’s left – if anything – for her to still accomplish.

“I had a seismic response to it that I still don’t quite understand,” Blanchett says. “It spoke to a lot of things I had been thinking about for a long time: not only in relation to power structures, but also for me personally, the creative process. When you get to a certain point in your career and you’ve done a few things – some of them have worked, some of them haven’t – at what point do you risk throwing it all away? Is that the bravest thing you could possibly do?”

She was also drawn to how the movie “doesn’t allow the audience to sit in easy judgment of the characters.” Lydia brutally castigates students whose tastes she deems too “woke.” She has no qualms about promoting a pretty young cellist (Sophie Kauer) over a more experienced one, or hacking her assistant’s (Noémie Merlant) laptop in an effort to erase incriminating emails.

“It’s very rare that women get portrayed like that,” Hoss says. “If female characters are powerful, or they’re slightly more complicated than normal, you usually get an explanation why that happened: a certain motivation or a trauma from childhood. That does not necessarily happen if you’re male.”

The character’s prickly demeanor hasn’t tempered critics’ enthusiasm for the film, which has 98% positive reviews on aggregate site Rotten Tomatoes. Blanchett is widely expected to earn her eighth Oscar nomination for her towering turn, after two wins, for best actress (2013’s “Blue Jasmine”) and best supporting actress (2004’s “The Aviator”).

Last month, Blanchett received the Volpi Cup for best actress at Venice Film Festival for “Tár.” Her 7-year-old daughter, Edith, and mother, June, were both on hand to watch her accept the prize.

“It was really nice for my mom to be there,” Blanchett says. “(The Volpi Cup) is such an honor, of course, but everyone seems to talk about performances as if they exist without an ensemble. People go and see ‘Hamlet,’ but they don’t really feel the play unless there’s an incredible Gertrude.”

“That’s very kind,” Hoss says. “But take the compliment. Take the compliment!”

Together, Blanchett and Hoss embarked on a “crash course in absolutely everything to do with classical music.”

The German actress (“Phoenix”) trained in violin, while Blanchett learned how to conduct and play piano. She also learned German, although Hoss insists that she didn’t give her co-star any pointers on her native language.

“I didn’t need to,” Hoss says, glancing at Blanchett with a grin. “She was perfect.”

Full article on USA Today

Cate Blanchett and Todd Field grapple with power, process in ‘TÁR’

Cate Blanchett has heard the line before. “I wrote this part for you” is a director-actor pickup line, she said. It is not usually to be believed.

But what she didn’t know when Todd Field sent her his script for “Tár,” a modern-day parable about an extraordinary conductor and composer at the height of her career whose status begins to crumble amid misconduct allegations, was that he wouldn’t have done it without her. The production company and distributor Focus Features didn’t know this either. And he was dragging his feet a bit in sending it off to Blanchett. Not only would it be his first film in over 15 years, but it was the first wholly original screenplay he’d written since 1995. It was, he said, a scary moment.

Blanchett laughs about it now. Of course she was going to say yes. She was rapt by Field, the actor, writer and director who she’d met years earlier about a project he was working on with Joan Didion that never came to be, and by the complex story of “Tár” and the challenge of it. In the process of preparing for “Tár,” she’d learn to play piano, to speak German and conduct an orchestra, all of which she does really does in the film.

“I am still processing the experience, not only because it spoke to a lot of things that I had been thinking about, but I feel so expanded by having been in Todd’s orbit,” Blanchett said in an interview with Field earlier this week. “It was a very, very fluid, dangerous, alive process making the film.”

“Tár,” which is currently playing in limited release and expands nationwide on Oct. 28, was born out of a desire to scratch at questions about power that Field had thinking about for the past few years — the abuses of power, the structures of power and why those pyramids exist in the first place. And what better place to set that than the world of classical music?

The film lets us into Lydia’s rarefied, first-class world and invites us to meet and ponder those around her, from her partner Sharon (Nina Hoss), the lead violinist in the orchestra, to her assistant Francesca (Noémie Merlant) and wonder about their own complicities.

“I really hope that people are not put off by thinking this is an elitist film or an elitist topic. You don’t at all have to be a connoisseur. It’s about so many other things,” Hoss said. “It makes you think, hopefully, about who are the people supporting people in power positions to do certain things and do you sometimes do that because you actually profit from it. It’s also about being creative: Does leading such an institution as this big orchestra hinder you in doing what you actually want to do?”

Merlant, in her first English-language role, is still asking herself questions about Francesca, who wants to be a conductor like Tár but is at the moment is mainly fetching coffee, booking flights, managing schedules and other administrative tasks under the guise of mentorship. And she has to consider her role in the Tár machine as the allegations intensify.

“She would do anything for her, up to a certain point,” Merlant said. “That I found very interesting.”

The egos stayed in front of the camera, though. Behind the scenes of “Tár,” she said, Field and Blanchett fostered an atmosphere of respect and openness.

“Sometimes we have this sensation that in order to create an amazing piece of art, you have to struggle,” Merlant. “But it is possible to do great things in a nice environment.”

The production took pains to make the world of “Tár” to feel authentic, not like a “toy town” version of the classical music world. They enlisted the help of the Dresden Philharmonic, casting some of its members in speaking roles like Dorothea Plans Casal and Fabian Dirr, and looking to Concertmaster Wolfgang Hentrich for his expertise. Hildur Guðnadóttir, the Oscar-winning Icelandic composer, crafted the score. Hoss played the violin too. That Blanchett would conduct, Field said, was just a given.

“I didn’t even have to ask her,” Field said. “If I said, okay, this is about somebody that builds a skyscraper, I knew that she was going to build the skyscraper with no question that she would become Howard Roark.”

Still, it was a tense moment the first time Blanchett took the podium at the Dresden Hall to conduct a rehearsal scene. Then, Field said, someone “clammed.” Everyone laughed and the ice was broken.

It was a powerful moment when it came together, though. Hoss, who was sitting in the orchestra when Blanchett raised her arm for the first time and everyone started playing together, said that “all of us were on the verge of tears.” Merlant too would often sit and watch her co-star in awe.

They cast a first-time actor in the key role of Olga, a talented Russian cellist who Tár takes an interest in. Sophie Kauer, who is currently studying classical cello performance at the Norwegian Academy of Music in Oslo, beat out hundreds of cellists for the part.

“The first time I met Cate it was actually a conducting rehearsal, so I had to play for her,” Kauer said. “That was just mildly terrifying. But, you know, you got to do what you got to do. I think the thing about musicians is we’re very workman like we just always get the job done.”

This summer, Blanchett, Guðnadóttir, Kauer, and Field even met up again at Abbey Road Studios to record a Tár concept album that will be available to the public.

But Field’s biggest hope is that “Tár” is a film that audiences seek out in theaters. It was made as an aural and visual experience for the big screen.

“It’s not something to sit at home and watch,” Field said.

The reception for “Tár” has been roundly rapturous since its world premiere at the Venice Film Festival, where Blanchett was awarded the top acting prize — which could be the first of many for the already decorated actor. But Field bristles at the mention of awards.

“Sincerely that’s not why the two of us made this film. We want people to go in and we want them to come out and hopefully be talking to each other in a lively manner in the parking lot on the way to their cars or to the subway or wherever they’re off to, you know?” Field said. “It’s a film that begs a conversation.”

Full article on AP News

TÁR Photo Session

Cate’s glam team during US press tour:

Make-up by Mary Greenwell
Hair by Robert Vetica
Styling by Elizabeth Stewart

Sources: USA Today, AP

TÁR Official Trailer and Empire Magazine Scan
Posted on
Sep 29, 2022

TÁR Official Trailer and Empire Magazine Scan

Hello, everyone!

A full trailer for TÁR has been released and we also have scans from Empire Magazine where Cate had a short interview. We are a few days away from the New York premiere of the movie, on October 3rd there is a Q&A with Cate, Todd Field, Nina Hoss, Sophie Kauer, Mark Strong, and Hildur Guðnadóttir then on October 4th, Cate, Nina, and Todd will introduce the movie to the audience.

TÁR Trailer

TÁR Official Trailer Screencaps

Empire UK

Empire UK November 2022 issue is out now and can be ordered here.

Here is a part of the article:

The film is a psychological drama from Todd Field, who had almost worked with Blanchett on a 2012 political thriller that didn’t get off the ground. “As soon as I knew Todd was sending me a script, I instinctually knew I was going to do it,” Blanchett tells Empire. “Then I read it and it was absolutely mindblowing, because I didn’t know what it was. That for me is the most exciting and dangerous way to start a project.”

The initial idea for TÁR, which deals with the corruption and fragility of power, the paranoia that comes with being the best and the complex world of gender politics, came to Field during the pandemic. “I’d been thinking about this character for a while; someone who has done everything they could to climb out of [a difficult upbringing] and attain their dreams.” he explains.

The shoot was intense with Blanchett learning to conduct for the role. “When you’re a singer, you have one melody to sing. When you’re a conductor, you have eight to ten coming out of your fingers,” she says.