Cate Blanchett covers Mujer Hoy Spain + Ellen von Unwerth’s VON magazine
Posted on
Apr 27, 2019

Cate Blanchett covers Mujer Hoy Spain + Ellen von Unwerth’s VON magazine

Hey Blanchetters!

Two more covers to be added to our 2019 collection! Cate Blanchett is featured in two new magazines. First, we have the latest issue of Mujer Hoy in which there is a promotional interview for Sì Fiori and Armani Beauty. Then the long waited photoshoot by Ellen von Unwerth made last year during Cannes Film Festival that will be featured on the n°2-2 of Ellen von Unwerth’s VON magazine, the cinema issue, available in May. Take a look!

Cate Blanchett: “Este es un momento decisivo y fascinante para todas”

Las mujeres no pueden dejar de mirarla. Lo tenemos comprobado. El famoso vídeo viral en el que la actriz Kathryn Hahn observa embelesada a Rachel Weisz se queda corto ante el efecto Cate Blanchett. La primera vez que observamos el fenómeno en Mujerhoy fue hace casi una década. A las puertas de una fiesta de gala en Ginebra, Cate conversaba con unos amigos, magnífica y etérea. Todas las mujeres que pasaban a su lado la recorrían de arriba abajo con la mirada. No eran celos, era admiración en estado puro. Los hombres, sin embargo, no se sentían impelidos a mirar.

Las pruebas irrefutables nos las ofreció la prensa internacional en Londres hace apenas unas semanas. Fue en la cena de presentación oficial de Sì Fiori, el nuevo perfume de Giorgio Armani del que, por supuesto, es musa. A los postres, la actriz se sentó unos minutos en cada una de las mesas para charlar con los invitados, una mayoría abrumadora de mujeres. A su alrededor se formaba un corro de rostros absortos, miradas de fascinación, algunas bocas abiertas y gestos de asentimiento absoluto. “Todavía tengo dos horas de coche hasta mi casa en el campo. Estoy encantada con mi jardín, está inspirado en el trabajo de Darwin”, era el tipo de cosas mundanas que relataba Cate. Y la audiencia asentía entregada, como si le escucharan recitar Shakespeare solo para ellas.

Cálida y cercana
Nadie es inmune al hechizo de Blanchett. En las distancias cortas es imposible no dejarte llevar por ese timbre cadencioso, por esa presencia imponente y serena. De sus respuestas educadas se puede inferir que su familia está por encima de todo; que su concepto de la belleza va más allá de aplicarse cremas; que el cuidado del interior es lo que se muestra en el exterior (un mantra que lleva a rajatabla); que, como a los hobbits de la Comarca, un paseo por los alrededores de su casa en la compañía adecuada es una experiencia tan plena como cualquier viaje a un destino lejano. “Es mi idea de un día perfecto: salir al campo con los niños y los perros, y que la jornada termine de una forma inesperada y sorprendente que no habrías imaginado al despertar”, asegura. La normalidad hecha perfección rural.

Cate y su marido, el dramaturgo Andrew Upton, se trasladaron a vivir a la campiña inglesa de Sussex hace un par de años. Con ellos vinieron sus tres hijos adolescentes (Dashiell, 17; Roman, 15; e Ignatius, 11) y su hija adoptada de cuatro años, Edith. Un cambio de registro tras casi una década asentados en Sidney que le ha permitido volver al West End de Londres con obras como When we have sufficiently tortured each other, de Martin Crimp. Un contrapunto crudo y transgresor al extensísimo repertorio de una actriz que, como le dijo una vez su hermana Genevieve, se funde con cada personaje hasta que ella misma desaparece completamente de la escena. Y solo quedan reinas legendarias, elfas mitológicas, diosas escandinavas, amas de casa en crisis moral, sexual y social, damas de alta sociedad venidas a menos…

Mujeres al poder
Ella, que las ha interpretado a todas (y se ha hecho con dos premios Óscar por el camino), entiende que las mujeres están ahora en una encrucijada. “Es un momento decisivo y potencialmente fascinante para todas. Estamos en el proceso de convertirnos en algo. Pero no solo nosotras, creo que tenemos que llevar a los hombres a nuestro lado. Lo realmente apasionante de este preciso momento de la historia es que se ha escuchado a las mujeres. Pero no como individuos concretos, sino como grupo. Lo que estamos aceptando es que somos seres humanos increíbles”. Lo dice con la sabiduría de los 50 años que cumple el 14 de mayo.

Justo ahora, Cate se convierte en la nueva imagen global de Giorgio Armani Beauty. Eso significa que, además de encarnar a la heroína optimista, elegante y todopoderosa de la familia de fragancias Sì, también va a ser embajadora del maquillaje y del tratamiento de la firma que pilota el creador italiano. “El último de los grandes de la moda, ahora que hemos perdido a Karl Lagerfeld”, apunta

Sabe que el cine del que es estrella indiscutible ha ayudado al genio a definir un nuevo tipo de feminidad. “Su estética me influyó mucho antes de conocerlo”. Lo dice porque el diseñador fue la piedra angular de su armario con un traje de chaqueta gris que se compró con su primer sueldo cienematográfico. Todavía lo conserva. “Trabajar con el señor Armani ha sido uno de los grandes privilegios de mi vida”, afirma. “Lo que adoro de cómo ve el mundo es que no pierde jamás la curiosidad. No es una presencia creativa estática”, añade.

En la moda y también en los aromas: “A través del perfume que llevas estás invitando a los demás a descubrir tu particular mundo emocional. Es algo muy privado”, postula. Y esas sensaciones la devuelven a la infancia. “De niña me escondía en el armario de mi madre para pensar a oscuras. Su ropa emanaba esa fragancia tan suya. Era peculiar y muy glamourosa. Porque, por supuesto, cuando somos niñas, nuestras madres son siempre las mujeres más elegantes de nuestra existencia”. Una distinción que siempre ha marcado con unos labios rojos. Hasta ahora. “Es curioso, porque solía ser mi esencial de todos los días. Es un tono que claramente te sitúa en el mundo y que dice: “Aquí estoy yo”. Pero ahora apenas lo uso. Quizá en una alfombra roja. Pero soy mucho más de nudes rosas”, concluye.

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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…?

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Update | Magazines featuring Cate Blanchett
Posted on
Mar 16, 2019

Update | Magazines featuring Cate Blanchett

Hi Blanchetters!

While we wait for Cate’s next project, here are some magazines featuring interviews and articles.
Enjoy!

Cate Blanchett On Female Rage, The Smell Of Womanhood And Loving The Scent Of Cigars

It’s safe to say Cate Blanchett point blank refuses to let Hollywood define her. Whether it’s endlessly swapping between hair colours (brown to blonde in two weeks, anyone?) or playing seriously iconic women (Queen Elizabeth I and an elf, to name just a few), she defies being typecast. And we love her for it.

Catching up at the launch of Armani Si Fiori, the perfume Blanchett has helped to make a household name, the Australian native revealed the pretty ugly smells she secretly loves, the acting tips she exchanged with Margot Robbie, and her tricks for telling anxiety to get back in its box.

Red carpets can be nerve wracking, how do you overcome the jitters?
‘I think the more relaxed you can feel in any situation, whether it’s public or private, the more yourself you can be. Going on stage is up there on the nerve wracking scale! I tell my children that the feeling of anxiety is very close to the feeling of excitement, so I try and tell myself that I’m excited, not anxious. It’s a trick of the mind.’

What’s your go-to beauty look for feeling confident?
‘Someone else doing my hair and make-up! I don’t have a go-to look, I just have this ability to short circuit other people’s expectations and judgements on how I look. Maybe it’s because I’ve played so many different characters and looked so different, on camera and on stage, that my sense of self is very fluid. I don’t dress on the red carpet to get a thumbs up or thumbs down, I couldn’t care less. The secret is: don’t Google yourself and close down your social media accounts. It’s liberating.’

Which women have inspired you to be bolder in your career?
‘Gosh! I think about a young woman like Rosa Parks, or Cathy Freeman who’s an indigenous athlete in Australia. When I was younger I was quite obsessed with Frida Kahlo, Georgia O’Keefe and Lee Miller – they all broke a lot of boundaries.

‘DON’T GOOGLE YOURSELF AND CLOSE DOWN YOUR SOCIAL MEDIA ACCOUNTS. IT’S LIBERATING.’

‘I was incredibly nervous about playing Queen Elizabeth I – I actually spoke to Margot Robbie about this recently. When I heard she was playing the role I was super pleased. I said at the time when I played her, ‘Judi Dench played this role, who am I? Some nobody Australian! I’m going from the colonies to playing the great defining queen of England!’, and Margot said the same thing. We both agreed that it was a daunting role to take on, both as an actress, but also as an Australian actress.’

Why is it important for women to be fearless in 2019?
‘I think what’s happening in the world at the moment, which is quite different to the movement in the 70s, is that women are being heard and believed. Women are finally talking to one another and realising that the challenges they’ve had to face on a daily basis are not exclusive to their own experience, in fact, they’re very common and there’s no shame in it.

‘I think women carry a lot of daily shame, but the more you express, the less rage you hold onto, and the more you’re able to move positively forward together. I feel very strongly that women are not going to move backwards from that position.’

‘WOMEN CARRY A LOT OF DAILY SHAME, BUT THE MORE YOU EXPRESS, THE LESS RAGE YOU HOLD ONTO.’

You’re the face of Armani Si perfume which is all about saying yes, what’s the best thing you’ve said yes to?
‘I had someone once say to me, ‘You do not want to go to New Zealand and play an elf queen for three weeks,’ and I said, ‘It’s Peter Jackson are you kidding me?’ So I was pretty happy with that decision.

Which perfumes make you nostalgic?
‘There was a lot of hideous loud perfumes in the late 80s that used to give me headaches, like Dior Poison. So, I’ve always gravitated towards perfumes that have an oud or that sensual mysterious chypre. They linger better… They remind me of fragrances that my mother wore. Growing up in a household of women, I used to walk into my mother’s closet and I remember thinking, ‘This smells like womanhood’.

‘My grandmother smelt of talcum powder and violets. but my mother was more modern. Also, growing up in Australia the smell of the ocean, eucalyptus, and bush fires all take me right back to my childhood.’

‘I USED TO WALK INTO MY MOTHER’S CLOSET AND THINK, “THIS SMELLS LIKE WOMANHOOD.”‘

Which smells do you love that you shouldn’t?
‘I love the smell of petrol. I always find the experience of filling up my car profoundly depressing, even though I drive a hybrid, but I remember loving the smell as a child. No idea why! I also love the smell of marker pens – it’s a little more socially acceptable to sniff a pen than a gas tank… Oh, and cigar smoke! Again, I hate everything that it represents but I love the smell.’

Source


Vogue Japan – February 2019

Sha Magazine – February 2019

The Ceo Magazine – March 2019

IN Denmark – March 2019

Io Donna Italy – March 9th, 2019

Marie Claire Style Japan – March 14th, 2019

New Magazine Scans
Posted on
Dec 28, 2018

New Magazine Scans

Hello everyone!

Here are some magazine scans featuring Cate Blanchett. Enjoy!



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P.s. if we miss anything, please, contact us via mail or using the chat.

Cate Blanchett on the cover of Elle China
Posted on
Sep 27, 2018

Cate Blanchett on the cover of Elle China

Hey everyone!

Every time we blink there is a new magazine featuring Cate! We are not complaining!
Cate Blanchett is on the cover of Elle China 30th Anniversary november issue. Two covers and images from the photoshoot have been released on Weibo. Enjoy!


Photoshoot

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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

Magazine scans + Ocean’s 8 interviews
Posted on
Jul 11, 2018

Magazine scans + Ocean’s 8 interviews

Hello Everyone!

We are adding more magazine scans to our gallery and of course, Ocean’s 8 interviews. We have to treasure these because we are heading to the last days of international promotion and soon we will be missing these daily goodies. But before that, let’s spoils us one more time!

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



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]

Cate Blanchett for Variety – Video + BTS Still
Posted on
May 3, 2018

Cate Blanchett for Variety – Video + BTS Still

Hello Everyone!

We are being spoiled with more videos and behind the scenes pictures from Cate’s Variety interview. In this clip, Cate talks about her new hobbies: gardening and… beekeeping?

We would like to thank Mary for her gracious contribution. Your help means a lot for us!

Caps


We also have a new behind the scenes shot from photographer Art Streiber. And we have added it to our gallery.

Click to download the HQ version available in the gallery.

Source

Cate Blanchett on the cover of Curve Magazine
Posted on
Mar 28, 2018

Cate Blanchett on the cover of Curve Magazine

Hello Blanchetters!

Cate is on the cover of Curve Magazine on it’s spring issue. We have the scans with the interview here, enjoy!
And many thanks to Pari Naraghipour on twitter for the heads up!