New Interviews with Cate Blanchett
Posted on
Nov 24, 2019

New Interviews with Cate Blanchett

Hello dear Blanchetters!
As you guys know, last September, Cate has been to Italy for Giorgio Armani dinner and during the event, she had an interview with Madame Figaro!

That interview has been published this week, and there were several questions she was answering about her life as an actress, beauty, style, inspirations and Feminism.

Also, there is another interview to Now To Love New Zealand.
Take a look at the new content below!!

Madame Figaro

La Giudecca, septembre dernier. Cate Blanchett vous attend dans une suite immense du Cipriani, avec vue imprenable sur Venise, l’île voisine, le canal et les églises. Le soir même, elle assistera à l’avant-première du Joker (c’était la Mostra) avant d’honorer de sa starissime présence un dîner pour Giorgio Armani Beauty, dont elle est l’égérie – elle est également le visage du parfum Sì.

Il n’existe pas aujourd’hui une star de cinéma qui fasse autant d’effet que Cate Blanchett, actrice remarquable, capable de se glisser dans la peau d’une reine ou de… Bob Dylan. C’est une femme à effet spécial, faite de blanc et d’or, le teint d’albâtre et la blondeur, les pommettes hautes et les yeux laser.

On pourrait la surnommer The Look, si ce terme n’était pas réservé pour l’éternité à Lauren Bacall. Les yeux de Cate Blanchett sont bleus et pénétrants, des yeux faits pour les close up, des yeux faits pour exprimer le désir, le bonheur, la détresse ou la folie, tout comme sa voix, ce timbre grave, puissant et profond, un timbre fait pour le théâtre, où elle est «née à l’art».

Bref, sa beauté un peu étrange convoque à elle seule tout un imaginaire hollywoodien qu’on pense englouti – Greta Garbo, Bette Davis, Katharine Hepburn – mais d’une modernité implacable : actrice «globale», elle est partout, virevolte entre films d’auteur (Carol, de Todd Haynes) et blockbusters (Le Seigneur des anneaux), biopics (une de ses spécialités – elle va bientôt incarner Lucille Ball pour Amazon), ne redoutant pas les rôles à risques, qu’elle parfume de son exceptionnelle expressivité.

À l’affiche de Bernadette a disparu, de Richard Linklater (sortie début 2020), Cate Blanchett vient de terminer une mini-série TV qu’elle a coproduite, Mrs. America, où elle joue Phyllis Schlafly, une activiste américaine réactionnaire et antiféministe des années 1970. En bref, un contre-emploi.

Actrice

«Je suis née à Melbourne, mon père était texan et ma mère australienne. Juste avant d’entrer à l’université, j’ai choisi de voyager pendant un an. En Italie, je dormais dans des couvents, j’étais fascinée par les nonnes. Lorsque je suis revenue à Sydney, j’avais découvert ma vocation : le théâtre. Devenir actrice m’a stabilisée. Le mystère et l’imprévisibilité de ce métier me conviennent bien.»

Beauté

«Venant du théâtre, où le glamour n’est pas une priorité, je n’ai jamais pris en considération cette beauté qu’on m’attribue aujourd’hui, je n’y pensais même pas. Je n’ai plus 20 ans, j’ai pris de la distance avec tout ça et, de toute façon, le physique n’a jamais été ma carte de visite. La beauté conventionnelle présente assez peu d’attraits à mes yeux. Ce qui m’intéresse, c’est de rendre séduisant, ou acceptable, ce que je possède en moi.»

Style

«J’étais une adolescente brouillonne et assez terrifiée par les filles sophistiquées. Mais le style, c’est un contexte : il évolue, s’adapte, répond à l’environnement. Je suis très attentive et très inspirée par les références picturales, par l’esthétisme, par la beauté. J’aime les gens uniques. Regardez Frida Kahlo : il en a existé une et une seule. Ma définition du style ? Irrévérence, transgression et détachement. Le style ne doit pas être trop travaillé ou conscient, car le contrôle est l’ennemi de la beauté.»

Inspirations

«Les femmes qui m’impressionnent sont au-delà de la beauté : elles sont intenses. Je pense à Maggie Smith, Judi Dench, Liv Ullmann ou Charlotte Rampling. Je pense à Bette Davis dans Eve ou à Katharine Hepburn dans Sylvia Scarlett. À Judy Davis, formidable actrice australienne. Mais aussi à Cindy Sherman ou Georgia O’Keeffe. Je pense aussi à Katharine Graham, qui a dirigé le Washington Post. Des femmes remarquables qui ont fait bouger les lignes…»

Féminisme

«Nous perdons du terrain. Nous avons progressé de façon spectaculaire jusqu’aux années 1970, celles de l’émancipation, et depuis il y a beaucoup de signes d’un retour en arrière. L’égalité entre les hommes et les femmes ne devrait même plus être l’objet de discussions ou de débats. Nous les femmes, nous représentons la moitié de la population de la terre. Dans le monde du cinéma, la sous-représentation reste flagrante, même si un changement profond s’est produit : nous ne sommes plus silencieuses et nous avançons, je crois, dans la même direction. »

Some answers from the Madame Figaro interview are translated to English below:

Actress

“I was born in Melbourne, my father was Texan and my mother was Australian. Just before entering university I chose to travel for a year. In Italy, I slept in convents, I was fascinated by the nuns. When I came back to Sydney, I discovered my vocation: Theatre. Becoming an actress stabilized me. The mystery and unpredictability of this job suit me well.”

Beauty

“Coming from theatre, where glamour is not a priority, I have never considered the beauty that is attributed to me today, I did not even think about it. I am over 20 years old, I’ve been getting away from it all, and in any case, the physical has never been my business card. Conventional beauty has few attractions for me. What interests me is to make seductive, or acceptable, what I have in me.”

Style

“I was a scrambled teenager and quite terrified by sophisticated girls. But style is a context: it evolves, adapts, responds to the environment. I am very attentive and very inspired by pictorial references, by aesthetics, by beauty. I like unique people. Look at Frida Kahlo: there was one and only one. My definition of style? Irreverence, transgression and detachment. The style should not be too worked or conscious, because control is the enemy of beauty.”

Inspirations

“The women who impress me are beyond beauty: they are intense. I think of Maggie Smith, Judi Dench, Liv Ullmann or Charlotte Rampling. I think of Bette Davis in Eve or Katharine Hepburn in Sylvia Scarlett. To Judy Davis, a wonderful Australian actress. But also to Cindy Sherman or Georgia O’Keeffe. I am also thinking of Katharine Graham, who headed the Washington Post. Outstanding women who moved the lines … ”

Feminism

“We are losing ground. We have progressed dramatically until the 1970s, those of emancipation, and since then there are many signs of a retreat. Equality between men and women should not even be the subject of discussion or debate. We women, we represent half of the population of the earth. In the world of cinema, the under-representation remains flagrant, even if a profound change has occurred: we are no longer silent and we are moving, I believe, in the same direction. ”

Source 1

Magazine Madame Figaro

Interview Now to Love

If you are scandalized by the notion of an unfaithful-to-the-book film adaptation, you might not get along with Cate Blanchett.

“Why even bother?” she said recently, of films that take little to no creative liberties. “The only reason to turn something from a book to the screen is if you’ve got something more to say.”

The actress was being asked about her starring role in Where’d You Go, Bernadette? Based on Maria Semple’s best-selling book of the same name, the movie, which hit theatres earlier this year, tells the story of an agoraphobic architect wrestling with her own wasted potential as her daughter, for whom she put her career ambitions aside, prepares to leave home for university.

The restrictions of the medium mean the film’s plot necessarily diverges from that of the novel.
“But it’s tangentially fascinating,” reasons Cate, whose true-blue Aussie background mitigates the pretentiousness of her frequently over-the-top turns of phrase. “It’s not a replication because the novel exists!”

Cate, it’s fair to say, doesn’t do replicas. Having shot to fame playing Queen Elizabeth I in 1997’s Elizabeth and fearful of being typecast, the now 50-year-old actress turned down a number of period films in the years that followed, explaining that in rehashing “pre-masticated versions” of previous roles, “there was no potential for discovering anything new. There was no risk.”

This is not to say there’s no common thread in the roles she’s taken on since. “Malice and mania” is how one journalist described it. “The King Lear end of the spectrum” is how it’s summed up by Cate herself.
We might instead comment on the ‘complexity’ of characters like Elizabeth’s headstrong virgin queen, Notes on a Scandal’s cradle-snatching high school teacher, Carol’s bi-curious housewife, and Blue Jasmine’s socialite brought low.

Gripped by creative failure and, according to Cate, “experiencing the kind of identity crisis that comes with recognising this enormous gulf between who she thinks she was and who she really is”, Bernadette is yet another highly complex character.

“She’s got this relentless negativity that’s acerbic and hilarious and slightly unhinged,” she explains, pointing out that anyone who’s made professional sacrifices for the sake of family will relate to Bernadette’s despair, and the drastic decisions born from it.

“We all have a certain image of ourselves and we’re all clinging to a particular perception of ourselves that is different from the reality.”

You might think it’s a generous ‘we’ – secretly denoting ‘you and I’, not ‘she’ of the double Academy Award winner, worth $134 million, who has been happily married for 22 years with four children.

But as it happens, Cate is no stranger to a career-centred existential crisis. She certainly said as much to fellow A-Lister Julia Roberts, who in a piece for Interview earlier this year, elicited from Cate an admission that Bernadette’s “creative shut-down” resonated deeply.

Question time

It arose, however, that the trigger for Cate wasn’t exactly creativity or a lack thereof. Instead, questions of deeper fulfilment and its sources were raised and debated, with the Australian saying to the American, “When you’re inside a richly lived life, you suddenly think, ‘Do I need to pretend to live inside these other experiences?'”

Without dismissing her career and the associated experiences that have added to the richness of her life (one of her happiest days was spent kayaking in Greenland, shooting scenes for Bernadette), she makes it clear that acting means taking the good with the bad. And that ‘the bad’ isn’t something she is willing to put up with forever.

“When I was younger,” she told Julia, “I would wonder why the older actors I admired kept talking about quitting. Now I realise it’s because they want to maintain a connection to their last shreds of sanity.

As I get older, I ask myself if I still want to submit to the shamanistic end of this profession and go completely into madness… I’m on the proverbial couch thinking, ‘Do I want to go in that direction, or do I actually want to live?'”

There’s no question of what the family-oriented actress would do were she to give up the craft and make ‘living’ her sole focus. But first, a brief history: Having begun her acting career in Sydney, where she met and married fellow thespian Andrew Upton, Cate relocated to the UK in the late ’90s to pursue the parts – including Elizabeth – that would make her a star of international proportions.

Then, in 2006, when Andrew was invited to take over as artistic director of the Sydney Theatre Company, the couple returned down under, and Cate spent what she calls “the most enjoyable six years of [her] career” working and raising their young family in an eco-friendly mansion in the North Sydney suburb of Hunters Hill.

Family happiness

When work opportunities called them back to the UK in 2016, purchasing an idyllic piece of real estate in rural Sussex complete with a lawn and a lake was a no-brainer. It’s from here that Cate and Andrew have continued to raise sons Dashiell, 17, Roman, 15, and Ignatius, 11, as well as daughter Edith, four, who they adopted in 2015. “It wasn’t about biology,” Cate explained to the Daily Telegraph. “We felt we had space, enough emotional room in our hearts and we’re privileged enough to have the capacity to have another child.”

A big proponent of ‘having it all’, she likes her children to see her working. It is, however, important to her to be a highly-engaged parent which, by celebrity standards, means opting into the tasks she could presumably delegate – school drop-offs and pick-ups; making her kids’ lunches; cooking the family dinner.

At times, ingredients are a bone of contention. A vegetarian for a number of years, Cate says her “Machiavellian” plan to turn her children off meat by adopting two pet piglets was a huge failure.

“I explained to them that if they wanted to eat bacon or sausages, that’s where it would come from. They were fine with that and I was horrified!”

But despite having spent “a lot of time running away from being an actor”, it transpires that Cate, unlike Bernadette, has enough creative outlets to keep her in the game for the time being.

She recently remarked that her work with visual artists and choreographers was “more rewarding at the moment than the cookie-cutter projects” – a hangover, perhaps, from helping her husband helm the STC, where she developed a taste for running the show.

This doesn’t mean she’s relegating herself to standing behind the camera, or even swearing off big blockbuster films. And in fact, come 2020, she’s set to appear on the small screen for the first time, playing conservative commentator Phyllis Schlafly in FX’s Mrs America.

A nine-episode limited series about the rise of feminism in the 1970s and the push for the Equal Rights Amendment (ERA), of which the anti-feminist was a key opponent, the production is already attracting positive attention from critics.

With women’s rights issues a hot topic in today’s America where, due in large part to the work of Phyllis, the ERA remains unratified, the show’s subject matter rings close to home.

Cate – who is also an executive producer on the project – says that the opportunity to “peel back the layers of this recent period of history” couldn’t have come at “a more appropriate time”.

Sisterhood in film

Time, after all, is up. Somewhat controversially, you won’t find Cate making specific statements about the movement’s major targets. Reluctant to wade in on Harvey Weinstein or Woody Allen, who directed her in Blue Jasmine and who continues to deny the abuse allegations levelled at him by his own daughter, she argues that contributing to the “white noise” already before the courts would be “unhelpful to the goal [she is] ultimately interested in,” which is to see justice served.

She does, however, speak positively about how the #TimesUp and #MeToo movements have enabled women to rewrite the power structure. “It’s a matriarchy,” she said to Julia Roberts about the current sense of sisterhood in the film industry and beyond.

“It’s not about competition – it’s about collaboration.” Recounting to Harper’s Bazaar the tale of a male director who pitted female cast members against one another in what she calls a “classic divide and conquer”, she notes that such an approach wouldn’t fly any more, “because women are talking… that’s the biggest, most profound change I’ve felt. It’s shifted things in a really permanent way.”

She adds that with more women in the writers’ room, we can expect more female-centred narratives.

“These characters are being placed in very interesting backdrops and the stories that are being told about them are more sophisticated and complex,” she told Vogue UK in March.

Just as they did at the very start of her career, complex women, it seems, will continue to intrigue and inspire Cate into the future – and not just from an acting perspective, but from an ageing one, too.
“I don’t think about ageing at all until someone brings it up,” she said in the same Vogue UK interview. “When I think of some of the faces that inspire me most, it’s Louise Bourgeois and Georgia O’Keeffe. I’m looking into the spirit of the woman and that’s what I love.”

Yes, she’s realistic about how getting older will impact her work.

“You can’t hope to be of relevance to every generation,” she says. But when it comes to the experience she brings to the table, it occurs that age is, in a sense, Cate’s biggest asset.

And if Bernadette is your touchstone? It’s safe to say she isn’t going anywhere.

Source 2

Already leaving us? Take a look at this brand new interview released few days ago!

Interview, Beauty Papers and Von – Magazine Scans (and some pics)
Posted on
Jun 4, 2019

Interview, Beauty Papers and Von – Magazine Scans (and some pics)

Hello Blanchetters, a long awaited post!

We had purchased and scanned the last three magazine featuring a brand new photoshoot with Cate Blanchett. Meanwhile we have also found some pics to add in the photoshoot section. (Remeber to clear your cache to see the updated pics)
Enjoy!

Interview Magazine – March 2019
Magazine



Behind the scenes




BTS Sources: 2

Beauty Papers
Magazine


Photoshoot



Promotional videos focused on each characther


Ellen Von Unwerth’s VON
Magazine



Photoshoot and Behind the scenes



BTS source: Von’s Insta

Cate Blanchett for Beauty Papers magazine VII Glamour issue
Posted on
Apr 1, 2019

Cate Blanchett for Beauty Papers magazine VII Glamour issue

Hey Blanchetters!!

Time for a new interview with Cate Blanchett! She is in the cover of Beauty Papers magazine VII Glamour issue released today. Cate Blanchett stars as American artists Bruce Nauman and Andy Warhol in a short video and photoshoot for the magazine.
If you can, make sure you buy a copy!

Performance: Cate Blanchett

[…] Undeniably beautiful, yet she is too intelligent, too complex and too layered to be shoved into an easy package. It is this complexity that makes her arguably the best of her generation. She leapt to international fame with regal period excess in Elizabeth, progressed through waspish 1950s bourgeois in The Talented Mr Ripley and excelled with ethereal elvish mystery in The Lord of the Rings. She has worked with directors such as Todd Haynes, Sally Potter, Jim Jarmusch and Martin Scorsese on comedies, dramas, thrillers and period pieces. She is an Australian who can seem faultlessly Scottish, Russian, American or British. Blanchett has won Oscars for Blue Jasmine and The Aviator, been nominated for four others, and notched up three Golden Globes. She is at the top of her game, yet not afraid to be experimental, as her collaboration with artist Julian Rosefeldt in 2015 demonstrated. Away from the stage and the screen, she is also a UNHCR Global Goodwill Ambassador, working on human rights projects.

Many of her roles have played with or unpicked the image of beauty. The mature lesbian chic of Carol, the disintegrating edges of Jasmine in Blue Jasmine or the confused attraction of Sheba in Notes on a Scandal all highlight the fact that there is something beyond perfect hair, clothes and sex appeal. Blanchett truthfully comes across as a woman of substance.

Francesca Gavin: Your career grew out of theatre and you worked with the Sydney Theatre Company for a long period, more recently working on Broadway and in London. Are you still attracted to working on the stage? Which aspects of your stage experiences do you think have had the most influence on your approach to acting and creating?

Cate Blanchett: Now that is a question and a half… My time as co-artistic director of the Sydney Theatre Company was probably the most formative regenerative period of my career thus far. A homecoming of sorts – to the rich and hungry artistic community from which I sprang. But apart from the enormous responsibility for the fiscal and creative health of the company and indeed fostering the careers of emerging and mid-career artists, Andrew [Upton, husband] and I were placed into a dynamic national creative conversation. This was so very galvanising. For better or worse, one still has to fight in Australia for the basic notion that the arts should be available and central to people’s lives. But perhaps this is rapidly becoming a global issue. Wasn’t it Winston Churchill who refused to cut arts funding during the war as an austerity measure saying, ‘Then what are we fighting for?’ In spite of all the talent my country possesses, there is still a profound lack of confidence in our artistic output. That was in large part why we made it our mission to tour the company’s work internationally.

FG: How do you approach finding such a breadth of roles? Variety feels something central to your choices.

CB: Oh yes, variety is very much the spice of my life… but I’m beginning to think about repetition much more. When I say that, I mean in order to go more deeply into things – not always looking for the next and the new. Perhaps part of why I’m an actor is that I’m far more interested in the thoughts, feelings and experiences of others than of my own – mine are a tad boring. I’m sure there are a myriad of people who would back me up there! But to try to answer your question… my choices have always been made on instinct. And, since having children, around school holidays.

FG: What do you find interesting about the process of transformation – visually, but also internally and psychologically – when you become different characters?

CB: All I ever see is myself. Which bores me rigid. Transformation is not a focus for me. The story is – do I want to be part of this conversation? Do I have anything to offer it? But in terms of character – which is always the point of entry for me in a project – I am very text-based. The rhythm of good writing. The tempo of a character as well as what they choose not to say. Often, what someone says is a smokescreen to what they actually think or feel. Who does a character think they are as opposed to who they actually might be.

FG: What are your feelings about the pressures that Hollywood presents to women in terms of their looks?

CB: Oh, those boring pressures are age-old and eternal. Men feel them too, I’m sure, but the reaction to this manifests itself in different ways. But I feel there is a healthy interest in people’s points of difference, their uniqueness, which means performers are stepping into a space of boldly finding their own non-cookie-cutter way of doing ‘their thang’. Women, in particular, are collectively now prizing their worth and their individuality. I think that extends to challenging the male gaze which has run mainstream cinema for so long. Nothing wrong with a male gaze – it’s just mind-numbingly boring and exclusive if other perspectives are suffocated.

FG: Some of the characters you have played on screen – for example, Jasmine in Blue Jasmine – are very conscious of their perceived image. What have you found interesting about that sense of self-preoccupation?

CB: I’m always saying yes, perhaps to my own detriment. I just get excited by fabulous ideas – and the prospect of nutting out a world and sets of experiences or theories I have no present knowledge of. The only hard part about that for me is the doing of it. I’m a little on the shy side. Kaboom! Not all actors are exhibitionists.

FG: What is your definition of glamour?

CB: Glamour shines, it’s effortless and unselfconscious and damn sexy. It’s also quite unattainable. Something to reach for. It probably also involves brushing one’s hair?

FG: You have played some incredibly strong, powerful proto-feminist women, from Elizabeth to Katharine Hepburn. What do you like about these individuals who are either in positions of power or innately powerful? To what extent do you feel that is a reflection of yourself?

CB: If there is any similarity between characters I’ve played on film and myself it’s utterly unintentional. But when you say powerful, what do you mean exactly? That these women have a strong impact on the narrative? They know and speak their minds? Because a woman in a position of power is not an interesting enough byline for a film in and of itself. Often in the past, producers have been fascinated by certain so-called powerful women in history, women who have made an impact on events, on the world around them, broken new ground, women who are complicated and conflicted. But then haven’t bothered to find a reason to make a film about them. Having had the imagination to locate them in a riveting story that is more than their character alone. The story is the thing. The perspective. Interesting ‘powerful’ male characters have more often than not been encased in a great ripping story.

FG: What are your feelings about the representation and limitations of gender?

CB: I’ve been reading Maggie Nelson lately, who is fascinating and revelatory on the subject of gender binary thinking. She talks about gender as not being volunteerism, about it not being performative. She referenced Judith Butler about dealing with the question of how do we rework the trap we are all inevitably in. I’m fascinated right now with how one turns the inclusive nature of feminism, female equality, from downfall to unassailable strength. How one claims it without allowing it to be weaponised…It’s why I wanted to be in Martin Crimp’s play with Katie Mitchell [When We Have Sufficiently Tortured Each Other]. To investigate all this ‘stuff’.

FG: What are your feelings about make-up and costume? Do you find them inspiring elements in your process of creation?

CB: I adore make-up and costume. The most delicate and robust creative time on any project happens in wardrobe fitting and in the make-up business. And so very many of those elastic tossing-ideas-around and trying-things-out sessions have been with Morag [Ross]. Her eye and her sense of risk are very, very inspiring.

FG: Your job is to constantly embody other people. How do you maintain your sense of self?

CB: My sense of self, if I have one, is non-linear and utterly elastic. And honestly, apart from owning my fuck-ups and missteps, of which there are many, I try to think about myself as little as possible. There is just too much else to be concerned about in the world right now. The void under the Thwaites Glacier? The Dakota Pipeline, anyone? Australia’s offshore detention horrors…?

Source


Cate Blanchett covers Interview Magazine March 2019 issue
Posted on
Feb 26, 2019

Cate Blanchett covers Interview Magazine March 2019 issue

Hey Blanchetters!

The first magazine cover and photoshoot of 2019 have arrived! Cate looks amazing!
Cate Blanchett is on the cover of the new issue of Interview Magazine and with a brand new interview by fellow actress Julia Roberts. Take a look!

The Inimitable Cate Blanchett Asks Julia Roberts the Timeless Question: Is Enough Enough?

Cate Blanchett does not play nice. Her performances almost always hinge on the unhinged. Although she is nothing if not regal—audiences will forever remember her as Queen Elizabeth I, a part that earned her the first of her seven Oscar nominations—Blanchett has never backed away from malice and mania, or what she describes as the “King Lear end of the spectrum.” The 49-year-old Australian actress has stalked down the darker corridors of human complexity by inhabiting a sexually repressed housewife in Carol, a shrill and martini-drowned socialite in Blue Jasmine, and, most recently, an agoraphobic architect in Richard Linklater’s adaptation of the Maria Semple novel Where’d You Go, Bernadette, out later this year. And yet, from a hotel room near London’s National Theatre, where she has been taking the stage in a production of When We Have Sufficiently Tortured Each Other, Blanchett wonders whether enough is enough. From across the ocean, at home in Los Angeles, Julia Roberts helps her grapple with the answer.

———

JULIA ROBERTS: Hello, Queen Cate.

CATE BLANCHETT: Hello, movie star. You want to know something? We just had your film Ben Is Back on, I kid you not. It made me cry after five minutes. And then, being totally brain-dead, I suddenly thought, “What day is it?” An alarm went off in my head, and I went, “I’ve got to go talk to that actress lady!”

ROBERTS: You want to talk about being brain-dead? I’ve had the craziest day. I woke up sick, and I was at Urgent Care for an hour and a half with one of my son’s friends who cut his foot when he was surfing. He got eight stitches.

BLANCHETT: You are a good friend. I’ve just had a half-bottle of red after a rather challenging day of rehearsal for a play I’m doing at the National Theatre [When We Have Sufficiently Tortured Each Other]. As you get older, acting just gets more and more humiliating. When I was younger, I would wonder why the older actors I admired kept talking about quitting. Now I realize it’s because they want to maintain a connection to the last shreds of their sanity. As I get older, I ask myself if I still want to submit myself to the shamanistic end of this profession and go completely into madness. It’s the King Lear end of the spectrum of what we do, right? So I’m on the proverbial couch thinking, “Do I want to go that direction, or do I actually want to live a life?”

ROBERTS: The great thing about doing theater is that there’s never really a “This is it” moment. There’s that alchemy every night.

BLANCHETT: And I certainly love that alchemy as an audience member.

ROBERTS: What are you up to right now?

BLANCHETT: At the moment I’m thinking, “Where do the radical ideas actually exist?” I gravitate toward museums and galleries but often they tend to speak predominantly to audiences that have time to go into that quietude. There are such large sections of our communities that don’t have the time because they’re working two or three jobs. But what I love about those things is that they get to deal with abstract ideas. We get so used to these narrative structures, but there are certain ideas that don’t fit into that slot, so I’m finding my work with visual artists or choreographers more rewarding at the moment than the cookie-cutter projects.

ROBERTS: For someone like you, it probably has to do with the fact that you have accomplished so many things on such an incredibly creative level.

BLANCHETT: Maybe it’s just time to stop.

ROBERTS: Stop saying that.

BLANCHETT: No, but it really is. I have to go onstage in my underwear yet again, and I’m thinking, “Why? Why don’t I just feed the chickens and read Proust?” It’s on my bookshelf staring at me right now. All these volumes I have purchased and not yet read. Why have I not picked those up? Why am I still bothering to make movies? Why do you make movies?

ROBERTS: They call to me.

BLANCHETT: Is it a response to someone else’s idea of who you might be?

ROBERTS: I think the first time that Danny [Moder, Roberts’s husband] and I worked together after we were married was the first time that I suddenly thought, “Oh my gosh, what I do for a living is so silly. I’m calling myself a different name. I’m wearing somebody else’s clothes. And I’m basically playing pretend on a huge scale.” I had never been so self-conscious until I was suddenly doing it in front of my husband, thinking, “What must he think?”

BLANCHETT: When you’re so inside a richly lived life, you suddenly think, “Do I need to pretend to live inside these other experiences?” When you have a richly lived experience, you can empathetically extrapolate out from there. That’s what women like Rachel Cusk and Maggie Nelson do in their writing. And that’s where I found Bernadette. I recognized something very deeply about a creative life that shuts down.

ROBERTS: And yet, you want to stay home and feed the chickens.

BLANCHETT: I’m quite happy sitting here looking at my unread Proust, talking to you and feeding my pigs. I was a vegetarian for years when my husband wanted to get pigs. I said, “I’ll get pigs as long as we tell the kids that the sausages and bacon they eat are from our pigs.” We called them Benson and Hedges.

ROBERTS: You can’t name something that you’re going to kill. That’s the number-one rule of being a farmer.

BLANCHETT: [Laughs.]

ROBERTS: And now they’re in the freezer.

BLANCHETT: It was this Machiavellian vegetarian plan that I had for my kids, that they would form this deep connection with the piglets, which were very cute and smelled kind of like smelly people. And then I would tell them that if we eat sausages, they’re coming from these pigs. The kids were just totally fine with that and I was horrified. My plan to turn my family vegetarian was a monumental failure.

ROBERTS: What type of roles do you automatically turn down? Is there such a thing?

BLANCHETT: When I feel like it’s a pre-masticated version of something I’ve already done? Like a margarine commercial, where the agency thinks, “This worked before, so, hey, let’s do it again!” After I played Queen Elizabeth, I got offered myriad roles that were basically the same story with a different costume. There was no potential for discovering anything new. There’s no risk.

ROBERTS: In Where’d You Go, Bernadette, you play the spouse of Billy Crudup, one of my favorite actors and someone who played my spouse in a film [Eat Pray Love].

BLANCHETT: We worked together years ago on a film in France called Charlotte Gray. He’s so open and egoless. As we all know, that is rare in a male actor. How many times have you and I said, “That’s a great role—I’m not the lead, but the male lead is a great actor and I’d really love to be a part of this project”? Invert that, and you don’t have a lot of men who would come to the party in the same way for a woman. Billy is one of those guys who says yes. It’s rare that you get an actor of his caliber who is prepared to play the so-called “husband role.” The best thing for me about this post–[Harvey] Weinstein era is the opportunity to learn from it. We can change the structure, to have horizontal conversations rather than hierarchical ones. That’s a matriarchy. I think the opportunity here is to reinvent the power structure so that it is genuinely more inclusive. It’s not about competition—it’s about collaboration.

ROBERTS: You’re incredible. Honestly, I could sit and just listen to you talk about things for hours.

BLANCHETT: I wish I were interviewing you. It feels a little like a veil has been lifted, and we’re talking to one another in a muscular way about stuff that we’ve had to deal with. We can all pretend that we live in a community, but we actually live in a capitalist environment and our worth is being measured in dollars. It’s a really boring conversation to have because when you talk about the creative industry, it’s always seen as, “Well, you’re famous. You’ve got the opportunity to do this, and now you’re being greedy to talk about money.” But you’re not. You’re talking about really practical things such as residuals, producing credits, insurance. In the end, you’re actually talking about status. And status opens doors, whether you’re in the banking sector or the film industry or whatever. They’re not attractive conversations. They’re not conversations that women are traditionally meant to have because we’re expected to be more demure, but there are certainly robust “masculine” compensations that are had by our male counterparts, so why shouldn’t we be a part of that dialogue?

ROBERTS: Do you have a nickname?

BLANCHETT: Maybe it should be Blabbermouth? Sometimes my husband calls me Poss, like possum. Do you have one?

ROBERTS: When my kids’ friends were little, they couldn’t say Julia, because it’s a lot of syllables, so they’d call me Juju. They still call me that.

BLANCHETT: That is really sweet. You are such a mensch.

ROBERTS: Juju and Poss, a love story.

———


Source

Cate Blanchett covers Harper’s Bazaar UK October issue
Posted on
Aug 29, 2018

Cate Blanchett covers Harper’s Bazaar UK October issue

Hello everyone!

Cate Blanchett is the cover star of the new issue of Harper’s Bazaar UK. It’s a double cover and while we wait for the entire magazine, let’s enjoy the interview and the awesome photos released! The October issue of Harper’s Bazaar is on newsstands from 4 September.

Click on the image to download the HQ version available in the gallery

Leading light: Cate Blanchett
The actress on baking and Brexit, gardening and growing older, Me Too, motherhood and more

[…] Cate Blanchett is a perfect example, a modern Garbo. Despite her global celebrity, one knows so little about her. Where does she live, even? How many children does she have? What are her politics? You can’t even draw any conclusions from her choice of roles; she segues effortlessly from children’s films, such as Cinderella, to brilliant art-house drama like Blue Jasmine and Carol, to populist blockbusters including The Lord of the Rings, Thor: Ragnarok or her latest outing as a motorbike-mad conwoman in Ocean’s 8. The only consistency is that Blanchett is the best thing about the film she’s in; the silver-screen icon herself remains deliberately remote.

So I’m truly astonished when our prearranged, safely anonymous encounter at the South Bank is cancelled, and an alternative invitation extended for lunch at her family home. When I arrive, on one of the hot summer’s hotter days, it is to find the place a hive of activity. Workmen are clambering over the scaffolding that covers the large period house, and the family dogs– a black labrador and a heavy-breathing pug called Doug – offer an enthusiastic welcome. I am led to a book- filled study, painted in a chic dark grey and adorned with numerous family photos. After I’ve been waiting for a quarter of an hour or so, Blanchett rushes in from the nursery-school run, dressed in jeans and slip-on shoes, full of apologies.

Here’s the first surprise: I have mentally prepared myself for a chilly ice-queen, a real life Galadriel, but the porcelain skin and feline features are misleading. In the flesh, Blanchett is warm and friendly, calling out greetings in her deep, Australian-accented voice, joshing the housekeeper, introducing me to her husband, the screen-writer and director Andrew Upton.

Click on the image to download the HQ version available in the gallery

“I thought we’d have a picnic,” Blanchett suggests, leading the way out of the front door and across the sun-bleached lawn down towards a small lake. In the centre of it is a tiny island, about 20 feet across, accessed by a wooden bridge. A table covered in a white cloth has been set up here in the shade of a tall pine-tree twined with last Christmas’ fairy lights. We sit down to homemade quiches and plates of ham and cheese, while Doug snuffles greedily at our feet. “I never drink wine at lunchtime,” jokes Blanchett, pouring out glasses of iced rose?.

What follows feels less like an interview than a cosy chat with an intelligent friend; our conversation ranges seamlessly from the joys of north London, where we have both lived, to the World Cup – “I have never, ever cared about soccer more than this year” –to Brexit. “The rage I feel at the lazy incompetence of the men who set this in motion!” she expostulates. “Whichever way you voted, you cannot but be disappointed in the way the architects of Brexit have behaved.”

Click on the image to download the HQ version available in the gallery

All the same, Blanchett seems delighted to be back in the UK, after a decade in Australia, during which she and Upton together ran the Sydney Theatre Company. The children are attending local schools, and Blanchett is channelling her inner Jill Archer, with mixed results. “I did go through a jam-making phase,” she says, “and I quite like baking.” At one stage she acquired two pigs, Benson and Hedges, in a vain attempt to persuade the family to turn vegetarian. “Unfortunately, the sausages are delicious,” she says with a rueful laugh. “But at least we are closer to the process.” She has started taking pottery lessons, which she describes as “therapeutic, because you make it with your sense of touch – a lot of my life is spent listening and looking”. Sorting out the huge, rambling garden, with its derelict outbuildings and encroaching woods, is another major project. “I think the garden is going to teach me something that I have been meaning to learn all my life, which is patience, and to slow down a little bit. I am quite hungry for experience and that can often lead me into doing too much.”

What gives Blanchett the greatest sense of fulfilment, however, is being present for her family. She and Andrew have three sons, Dashiell, who has just taken his GCSEs, Roman, who is 14, and 10-year-old Ignatius, and in 2015, the couple also adopted a baby girl, Edith, who is now three, a fairy-like creature with a head of blonde curls. “She has been an extraordinary blessing for all of us.”

Her arrival saw Blanchett take a conscious step back from her film career; and she still finds the biggest joy in her maternal role. “It’s a huge part of what I am and what I want to do. I can’t help it, it’s part of my instinct,” she says. “Edith woke up in the middle of the night and said: ‘Will you pick me up from school tomorrow?’ I’d sort of said to the babysitter, I really can’t pick her up, because I didn’t want to be late for you. But I was really happy to be able to.

“Being able to do what you say you’re going to do – there is nothing better. I love it when I wake up thinking that there’s something on, and then I realise that I’ve got the day wrong, and all of us can just stay in our pyjamas…”

Click on the image to download the HQ version available in the gallery

Such duvet days are a still a rare treat, however. Despite working in an industry known for being both ageist and sexist, Blanchett’s stock remains as high as ever. It seems absurd for her to say that, at 49, she worries about being sidelined – “You can’t hope to be of relevance to every generation” – when there are so many new projects in the pipeline. Autumn sees the release of her new film, a gothic children’s fantasy called The House with a Clock in Its Walls, in which she plays a benevolent witch. In January she will be making her National Theatre debut opposite Stephen Dillane in a new play by Martin Crimp, When We Have Sufficiently Tortured Each Other, based on Samuel Richardson’s epistolary novel Pamela. And in March, she will take the title role in the film of Maria Semple’s bestseller, Where’d You Go, Bernadette.

The apparently effortless, relaxed grace with which Blanchett navigates her Hollywood career owes itself perhaps to the fact that acting was never her dream; indeed, she tells me she went into it “against my will”. The middle of three children, she was brought up in Melbourne in a middle-class matriarchal household, headed by her mother and grandmother (her father died of a heart attack when she was 10 years old).

“The only thing I wanted to do when I left high school was travel with my work. I didn’t at all think about notoriety or fame. I thought maybe I’d move into the visual arts, but from a curatorial perspective, or architecture, even though my maths was absolutely woeful.”

But a chance remark from her sister Genevieve who came to see her perform (“Afterwards she said to me, ‘I can’t see you any more on stage – I can only see the character'”) led Blanchett to abandon her economics and fine-arts degree at the University of Melbourne, and instead to apply to drama school in Sydney.

She graduated in 1992, and began a career as a stage actress, almost immediately garlanded with awards. Paradise Road was her first feature film, in which she played an Australian nurse captured by the Japanese during World War II. In the same year, she married Upton, whom she had known casually for many years as a fellow member of Sydney’s theatrical circle, after a whirlwind romance.

The couple moved to the UK together to further Blanchett’s career; her breakout performance in Elizabeth brought her international renown, a Bafta and a Golden Globe. She followed this with The Talented Mr Ripley, The Lord of the Rings, and The Aviator, the Howard Hughes biopic in which she played Katharine Hepburn and won her first Oscar.

In 2006, Upton was invited to take over as artistic director of the Sydney Theatre Company, where Blanchett had started out. “He suggested that we both do it together,” she says. “It was one of those crazy ideas – we’d just moved to Brighton, we had two children… but once the little door had been opened, we couldn’t close it.” She describes what followed as “the most enjoyable six years of my career.

“What I loved about it was that it was facilitating the work of others… I really loved those moments on opening night when the actors went one way and I went the other way,” she says, a touch wistfully. But there were starring roles too, of course: she took the lead in Woody Allen’s film Blue Jasmine in a break between the STC’s productions of Uncle Vanya and The Maids.

Click on the image to download the HQ version available in the gallery

Her performance, as a neurotic socialite down on her luck, was universally acclaimed and brought her a second Oscar. But it has since been overshadowed by renewed accusations of abuse levelled at Allen by his daughter, which were first made in the early 1990s and have resurfaced with the Me Too movement, itself precipitated by Allen’s son Ronan Farrow’s expose? of Harvey Weinstein…

“It’s complicated,” sighs Blanchett when I bring it up. “I don’t read biographies of people before I work with them. You have an instinct about people and the work and you act in good faith on that instinct.” She doesn’t even want to mention Weinstein by name, referring to him as “that producer”; her worry is that what she calls “the white noise” of unsubstantiated allegations will prevent justice being done in the courts.

“Me weighing in on social media about whether I believe something or don’t believe something is in the first instance unhelpful to the goal that I am ultimately interested in, in a profound and a legal and a moral way: being called to account,” she says. “There are some things that have to go through a democratic process. The precedent needs to be set.”

Yet she is positive about the Me Too movement, describing it as “an incredibly important concept… There is not a single industry that is not touched by those issues.

“I think the biggest and most profound change that I’ve felt is the way that women are talking to each other, that has really shifted. We didn’t want to be seen to be a problem, or tell other women we had issues; we were sort of self-isolating.” She tells me about a job she did, “where the male director really divided all the female members of the cast, and we didn’t realise until afterwards… it’s the classic divide and conquer, isn’t it? I think that has shifted in a permanent way”.

Despite her own fame and fortune, she shakes her head when I ask if she’d be happy to see her children follow in her footsteps. “I think if I was in a different profession, if I was a lawyer, or a doctor, or an architect, maybe, or if I had a trade that I could actually use in the Armageddon, then there would be a sense that that would be a great and expected thing,” she says. “Certainly my children do not want to be “the son of”, and I know that my feisty daughter will not want to be “the daughter of ”… And there is more rejection than there is acceptance.”

Though not for Blanchett herself, of course. “I don’t know what I am going to do next as an actor,” she says. “I never do really. But I feel like I’ve got probably a couple more years left in it, before I lose my sanity.” Then, perhaps she might consider trying her hand at directing, she says, “if the offers are still there. And if they’re not, then maybe I can throw some pots?

“I suppose that’s what I like about coming back here,” she concludes. “There are so many books I haven’t read, so many films I haven’t watched, so many conversations I haven’t had, so many plants I haven’t planted… It’s important to sort of sit and think what could be next.”

Source

New Cate Blanchett Interview
Posted on
Aug 16, 2018

New Cate Blanchett Interview

Hello everyone!

New interview with Cate for Cambio 16 magazine from Spain.

[…]

Conseguimos hablar con ella en Nueva York, después de su paso por Cannes y antes de recorrer Europa promocionando su ultimo trabajo, Ocean’s 8.

Más bella en persona que en la pantalla
Su entrada en el hall de un hotel de Manhattan, vestida por Stella McCartney, deja una estela de luz tras ella. Ninguno de los presentes se percata hasta que ha pasado de largo. Cate Blanchett es como una visión fugaz, que se materializa más tarde cuando te recibe efusivamente en una suite del hotel.

En persona es mucho más bella, si cabe, que en la pantalla. Una belleza difícil de reconstruir. Facciones angulares, nariz ancha, dientes desiguales. Una piel tan transparente que hacen que sus ojos, profundamente azules, asuman el protagonismo. Mantener ese esbelto, elegante y atractivo físico no parece que requiera ningún esfuerzo por su parte. Lo mismo ocurre con su trabajo.

-Después de unos años dedicada al teatro en Australia, ha vuelto al cine con tres películas que están pendientes de estreno. ¿Le teme al paro?

-Lo que temo es caer en satisfacer las expectativas de los demás, cosa que evito todo el tiempo. No estoy en esta profesión esperando que a la gente le guste lo que hago. Créame, soy una persona muy autocrítica y por ello hago cosas que supongan un riesgo para mí y he fallado muchas veces, pero eso es lo más excitante de mi trabajo. A pesar de los éxitos conseguidos yo trato cada papel que me llega como si fuera el primero y el último y eso hace que me empeñe más en hacerlo bien.

-¿Y al fracaso?

– El fracaso forma parte de la evolución como artista. Es el deseo de mejorar lo que hace que siga en esta profesión. Eso y el poder hacer, de vez en cuando, algo divertido, como ha sido el caso de Ocean’s 8.

-¿Que es lo que más le divirtió?

Para empezar, el trabajar con este grupo de extraordinarias actrices, de cualidades tan distintas, y la gran camaradería que reinó entre nosotras. Lo divertido de esta franquicia es que el plan tan meticuloso que tienen diseñado para el atraco es, por otra parte, un plan totalmente ridículo e imposible. Lo bueno es ver como consiguen escapar del atraco sin que las pillen. Además combina moda con humor, lo cual es muy divertido.

-¿Sería usted una buena ladrona?

-Sería terrible (ríe). El sentimiento de culpa y de vergüenza no me dejaría vivir. Eso sí, cuando voy al supermercado me entran unas tremendas ganas de robar cosas pequeñas como chocolate y Altoids. Todas esas chucherías que exponen en las estanterías de las cajas donde vas a pagar. Pero no lo hago. Soy muy, pero que muy honesta. Soy una actriz (ríe).

Blanchett es una de las pocas mujeres en Hollywood con suficiente influencia como para llevar el peso de una película y para hacer que las cosas empiecen a cambiar en la industria del cine. Su participación en el movimiento Time’s Up, fundado por varias estrellas de cine con el objetivo de combatir los abusos sexuales, ha tenido una fuerte repercusión.

Una muestra de la visión de Blanchett sobre esto fue el acto reivindicativo que lideró en lo alto de la escalinata del Gran Teatro Lumiére, en el pasado festival de cine de Cannes. Allí, acompañada de 82 mujeres, todas trabajadoras del cine que representaban a las 82 mujeres directoras cuyas películas han competido en las 71 ediciones del festival, leyó un manifiesto en el que exigieron igualdad y diversidad real en los puestos de trabajo.

-¿Ha disfrutado presidiendo el jurado del festival de Cannes?

-Ha sido uno de los grandes privilegios que he tenido en mi vida. Sin duda ha sido una experiencia fascinante y de las más felices que he vivido en mi profesión. Como digo, es un gran privilegio ser elegida para dirigir un jurado en un festival de esta categoría. Pero al mismo tiempo es una gran responsabilidad. Es un proceso muy democrático.

-¿Tiene usted madera de líder?

-Eso lo tendrán que decir los miembros del jurado que trabajaron conmigo. Una de las cualidades más importantes que tiene que tener un líder es la de saber escuchar las opiniones de los demás y asegurarte de que todo el mundo puede expresarlas. En el caso de un jurado, no estamos ahí para juzgar, sino para elegir lo que nos parece mejor y eso es un proceso muy doloroso y difícil, como lo es el trabajo de un líder. Un privilegio que una no se puede tomar a la ligera.

-¿Qué esperanzas tiene de que se produzcan cambios en la industria del cine tras todos estos actos de solidaridad con las mujeres en los que ha participado en los últimos meses?

-Ya se están produciendo. Tras el acto en Cannes, el delegado general del festival y los responsables de la Quincena de Realizadores y la Semana de la Crítica firmaron la Carta por la Paridad y la Diversidad en los festivales de cine. Esas 82 mujeres que participamos en ese acto representamos una cifra ridícula si se compara con los 1.688 directores que han participado en la historia del festival de Cannes. Solo 12 mujeres han presidido el festival y solo una directora ha conseguido alzarse con la Palma de Oro. Estos son hechos claros e innegables.

Blanchett afirma que es preciso dar el paso para que se produzca el cambio. “El cambio sísmico que se necesita en esta industria y que sin duda hará que las cosas cambien en todos los demás sectores laborales. No conozco ninguna industria en la que exista igualdad salarial entre hombres y mujeres o no se produzcan abusos de poder. No se trata de un asunto político, sino de un asunto humanitario”, asegura.

-¿Fue usted la que les instigó a firmar esa carta?

-No, ni mucho menos. Yo era una invitada en suelo francés y no fui allí exigiendo nada. El movimiento Time’s Up ya estaba presente en Francia como extensión del que surgió en Estados Unidos. Pero fue iniciativa de Thierry Fremaux y Pierre Lescure, representantes del festival, que junto con otros representantes de festivales de todo el mundo decidieron que ya era hora de que haya más mujeres presentes en los festivales. No es que la creatividad femenina esté adormecida, sino que no está suficientemente representada en festivales de cine. Por eso este compromiso supone un cambio muy positivo.

-¿Se ha sentido alguna vez ignorada u olvidada por los productores y estudios de cine?

-Cuando se me ha cerrado una puerta, mi instinto me ha llevado a olvidarme de esa puerta y buscar otra en otro sitio. Cuando salí de la escuela de arte dramático, nunca pensé que haría cine porque la gente no sabía qué hacer conmigo, no daba el físico requerido. Por eso decidí buscar pequeños papeles y tratar de hacer lo que pudiera con lo que tenía a mano. Era muy feliz haciendo teatro y lo sigo siendo. El teatro estará ahí siempre. Aun así, pienso que las cosas están empezando a cambiar en el cine y la televisión. Ya no es un tipo de físico el que se busca. Es la representación de todas las mujeres, cualquiera que sea su edad, raza o aspecto físico. No hay vuelta atrás.

La australiana, que ahora vive en Londres con su marido y sus cuatro hijos, tiene otros intereses más allá de las fronteras de la actuación. Elegida embajadora de buena voluntad de Naciones Unidas en 2016, Blanchett invierte parte de su tiempo visitando campos de refugiados, centros de salud y centros de acogida y ayuda a mujeres en situación de exclusión social.

Últimamente, Blanchett estuvo en Bangladesh. Allí ha visitado centros de mujeres y en Líbano y Jordania. En esos lugares se reunió con refugiados y personas desplazadas por la guerra de Siria.

-¿Tiene mentalidad política?

-En los tiempos que corren es imposible no tenerla. Nos están dando por todas partes, estamos perdiendo el civismo y están amenazando nuestra moral. A veces las culturas tienen que tocar fondo para poder cambiar y eso es lo que está ocurriendo ahora. Pero yo soy positiva y creo que el positivismo es lo que planta cara al miedo y la adversidad.

El miedo y la adversidad es a lo que se enfrentan los emigrantes que huyen de países en guerra o de la hambruna. Se encuentra con las puertas cerradas de los países que se niegan a acogerles. Así está ocurriendo en Europa.

-¿Cómo ve la situación desde su posición de representante de la ONU?

-La crisis de refugiados es un problema global, como el cambio climático. Ningún país puede resolver este problema por sí mismo. Es responsabilidad de todos y el no ayudar es un acto de profunda irresponsabilidad civil. La Unión Europea ha hecho buenas cosas, pero actualmente está haciendo aguas y está abandonando el valor de la solidaridad. Por suerte mi país ha aumentado la cuota de acogida, pero no es suficiente. Yo no me considero una persona religiosa. Pero creo que ahora es el mejor momento para practicar la noción de la caridad cristiana.

-¿Se consideras una activista?

– No creo que sea mi papel decirle a la gente lo que tiene que pensar. Pero lo que me mueve como actriz y como persona es averiguar qué es lo que incita a la gente a pensar o hacer ciertas cosas. Me mueve la empatía y el construir puentes de diálogo. Creo que esa es la función de las artes, crear conexiones entre lo posible y lo imposible. Me gusta estar involucrada en el mundo, de otra manera me dedicaría a otra profesión.

-Cine, teatro, filantropía, política y familia numerosa. ¿Cómo consigue organizar su apretada agenda?

-Es como una operación militar. Se requiere mucha disciplina, dotes organizativas, mucha energía y sobre todo pasión por lo que haces. Claro que sin la ayuda de mi marido (el productor y autor teatral Andrew Upton) no podría llevar a cabo la mitad de las cosas que hago.

-Forman ustedes una de las parejas más estables del panorama artístico. ¿Qué es lo que les mantiene unidos?

-Mi marido es el mayor premio que me ha dado la vida y como resultado de ello, mis hijos. Lo que nos mantiene unidos es el profundo respeto y admiración que sentimos el uno por el otro. Entre nosotros no hay celos ni competencia, al contrario, nos apoyamos mutuamente en todos nuestros intereses y pasiones. Amamos nuestro trabajo pero eso no lo es todo. También ayuda el que nos lo pasemos muy bien juntos, nos reímos mucho.

-¿Ayuda el hecho de que no vivan en Hollywood?

-Creo que el índice de divorcios es parecido en Hollywood, en Australia e Inglaterra, que es donde vivimos actualmente. Recuerdo que una de las primeras veces que visitamos Estados Unidos hicimos un viaje en coche atravesando el país y cada vez que veíamos esos grandes carteles en la carretera que dicen 1-800 Divorce (ríe) nos entraba la risa y nos decíamos: “esperemos que nunca tengamos que llamar a ese número. No lo hemos hecho todavía (ríe).

-¿Han expresado sus hijos algún interés por seguir el camino artístico de sus padres?

-Cuando se trabaja y se vive en esta atmósfera artística en la que vivimos nosotros tienes que tener muy claro si esto de verdad te apasiona porque son muchos los altibajos por los que pasan los artistas. Mis hijos son todavía pequeños, pero cuando llegue el momento, la decisión la tomarán ellos y nosotros la respetaremos y apoyaremos. Tanto Andrew como yo tratamos de educarles en todo tipo de campos y actividades culturales y artísticas, tanto el teatro y la música como en el arte. En casa hablamos de casi todo con ellos, pero como todos sabemos, los hijos, sobre todo cuando entran en la pubertad, rechazan lo que les dicen sus padres. Lo que nos gustaría conseguir, aunque sea difícil, es que ellos piensen por sí mismos y no por lo que digan los demás.

Source

New interviews with Cate Blanchett for Psychologies Russia & Gala France magazine
Posted on
Jun 17, 2018

New interviews with Cate Blanchett for Psychologies Russia & Gala France magazine

Hey Blanchetters!

Two new interviews with Cate Blanchett available in our gallery. They are from Psyhcologies Russia July issue and Gala France from June 13. Enjoy!

[Click on the image to download the HQ version available in the gallery]

[Click on the image to download the HQ version available in the gallery]

The ladies of Ocean’s 8 try to play ‘Never Have I Ever’ + New Clip
Posted on
May 22, 2018

The ladies of Ocean’s 8 try to play ‘Never Have I Ever’ + New Clip

Hello Blanchetters!

The release of Ocean’s 8 is just a couple of weeks away and we are getting more goodies. This time Buzzfeed shared this hilarious video of the cast trying to play “Never Have I ever” game. We also got a new clip featuring Cate, Sandra Bullock and Rihanna. Enjoy!

Caps

Caps

Cate Blanchett on Elle Norway – Interview
Posted on
Apr 15, 2018

Cate Blanchett on Elle Norway – Interview

Hello Blanchetters!

Cate gave an interview to Elle Norway and talks about her creative collaboration with Mr Armani. Enjoy!

Crush på Cate!
Enda en romanse har spiret i duftverdenen. Helt siden Marilyn Monroe avslørte at hun gikk til sengs kun iført Chanel N°5, har skuespilllere fungert som muser for verdens mest kjente parfymer. Elizabeth Taylor for Elizabeth Ardens White Diamond. Natalie Portman for Diors Miss Dior. Kristen Stewart for Chanels Gabrielle. Og siden 2013, Cate Blanchett for Armanis Sì.

Er det fordi en parfyme kan være så allsidig, at man kan kle seg i ulike stemninger og endre karakterer – akkurat som når skuespillere tolker en rolle? Jeg tar med meg spørsmålet inn på Armanis eget hotell i Milano der Cate sitter – uklanderlig kledd i en hvit dress fra Armani.

Cate Blanchett er vanskelig å ta øynene fra. Hun har en sterk karisma og en kjapp humoristisk sans, men hun er også reflektert og svarer med dype resonnementer og en stor dose ydmyket på alt man spør hun om. I suiten står et stort portrett av Cate og den nye Sì Passione-duften.

–?Herregud, det er så rart å sitte og se på seg selv på den måten, jeg klarer nesten ikke konsentrere meg, haha.

Er du enda ikke vant til å se deg selv på film og bilder?

–?Nei, det tror jeg aldri at jeg kommer til å bli. Det er nok også derfor jeg har så vanskeligheter med å ta en selfie, jeg synes nesten det er motbydelig for å være ærlig.

Men hvem er egentlig Cate Blanchett?

–?Haha, ja, hvem vet egentlig hvem man er? Jeg har alltid vært nysgjerrig og fascinert av menneskers kompleksitet. At vi, inkludert meg selv, bærer med oss så mange paradokser – både styrker og svakheter.

Hva har fått deg og Mr Armani til å jobbe så bra sammen i så mange år?

–?Mitt forhold til Armani går langt tilbake i tid. Jeg har alltid vært opptatt av klassisk herresøm – jeg elsker å være kvinne, men elsker også å gå kledd i dress og slips. Jeg kjøpte faktisk min første Armanidress på salg i Sidney med min første store lønning, så mye har jeg beundret hans talent. Vi deler også en kreativ måte å se livet på og har utviklet et dypt vennskap opp gjennom årene. Han er enormt generøs og har vært en fantastisk mentor for meg. Ærlig talt er jeg fremdeles beæret over at jeg får være ansiktet utad for en så sterk signaturduft som Sì – jeg vet at det er en beslutning Mr. Armani selv har tatt, fra hjertet.

Hva er det viktigste du har lært av han?

–?Han har et så positivt livssyn og ser så mange muligheter i livet. Bare det faktum at han har skapt en parfyme som heter Sì (ja), sier mye spør du meg. For han handler det om å se det positive i livet og det prøver jeg å ta med meg i denne gale verden vi lever i.

Apropos en gal verden, hvordan bruker du din plattform til å påvirke andre?

–?Jeg er engasjert i UNICEF og prøver å gjøre det lille jeg kan for å gjøre en forandring her i verden. Det er mange som er kritiske til at kjente personer engasjerer seg i veldedighet, men jeg tenker at det er noe av det viktigste jeg kan gjøre. At jeg har en mulighet til å nå ut til folk – og at det på et sett kan hjelpe andre, om så bare i liten grad, ser jeg på som et privilegium.

Duften Sì Passione er den syvende duften i Sì-familien. Cate har vært duftens muse siden lanseringen i 2013. Sì Passione er skapt av parfymøren Julie Massé.

Source

Pics


Cate Blanchett talks to The Londoner/The Evening Standard
Posted on
Mar 28, 2018

Cate Blanchett talks to The Londoner/The Evening Standard

Hey everyone!

Last Monday, Cate Blanchett attended the launch party of the Locksmith’s Primrose Hill animation studio in London. During this event, Cate talked to The Londonner/Evening Standard. Read it below. Thanks to WLC on CBF Chat for sharing the news with us!

Cate gets behind a female trio who plan to shake up film animation

CATE Blanchett has offered her seal of approval to a new London film venture. The Oscar-winning actress was in Primrose Hill last night for the launch of the UK’s first dedicated high-end CG feature animation studio, Locksmith Animation.

The new purpose-built, female-led studio is being fronted by Sarah Smith, Elisabeth Murdoch and Julie Lockhart, pictured left to right. “I’m here because of the amazing women I’m supporting tonight,” Blanchett told The Londoner. “Julie and Sarah have been leading for so long and them linking up with the likes of Liz is not only exciting for audiences but the industry. It’s time we saw women in these positions.”

Who knows, we might be seeing Cate in one of Locksmith’s forthcoming movies. “I’m a huge fan,” she said. “I remember the first time I saw an animation by Disney it blew my mind.”

Source