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

TÁR Music Video, & Magazine Features

Happy Friday, Blanchett fans!

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

Mortar Music Video

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

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

Magazine Features

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

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

#EndStatelessness Campaign; & The Making of TÁR
Posted on
Nov 9, 2022

#EndStatelessness Campaign; & The Making of TÁR

Good day!

UNHCR has released a new video campaign with UNHCR Goodwill Ambassador, Cate Blanchett, to highlight the need to support the stateless refugees and end statelessness.

Netflix has released the full trailer for Guillermo Del Toro’s Pinocchio. The Hollywood Reporter has published an article with interviews from the cast and crew of TÁR. You can check the scans below. There is also a new clip released, UK release of TÁR is moved a week earlier to January 13th.

UNHCR #EndStatelessness Campaign

Pinocchio Trailer

TÁR: Anatomy of a Contender

It was the heart of winter when Tár writer-director Todd Field and editor Monika Willi unexpectedly took up residency at a 15th century Scottish nunnery outside Edinburgh. They had intended to meet up in London, but another COVID-19 lockdown in early January 2022 waylaid their plans. As it turned out, the nunnery and the silence were a perfect environment to foster the filmmaker’s storytelling tempo and sense of discipline. Amid long walks watching the seasons slowly change, he and Willi got to work, spending nearly four months stringing together the melody of his first film in 16 years.

Tár stars Cate Blanchett as Lydia Tár, a fictional world renowned conductor of the Berlin Philharmonic who is brought down for exploiting power to pursue relationships with younger protegées, including a woman who commits suicide. The maestro is in denial regarding the influence of social media in the age of cancel culture; contributing to her undoing is a searing, impolitic exchange she has with a BIPOC Juilliard student that goes viral. While Field and Blanchett consider the film something of a fairy tale in that no top-tier orchestra today is led by a female conductor, Tár nevertheless upends the prevailing narrative in making a powerful woman a potential predator.

Tár has major Oscar ambitions and is widely expected to earn Blanchett her fifth nomination for best actress, as well as land a spot in the best picture race and other top categories. The Focus Features film has done relatively well for an art house pic, grossing nearly $4 million to date since its early October release, but is having a tough time striking a chord with mainstream audiences.

Field is a maestro in his own right, at least metaphorically. He studied music in college before setting his sights on the movie business (and his acting credits include Stanley Kubrick’s Eyes Wide Shut, in which he played a jazz pianist). Field’s directorial debut, the 2001 drama In the Bedroom, scored five Oscar nominations, including for best picture. The only other film he’s directed until now was the acclaimed Little Children, which played in theaters in 2006. Several high-profile projects came his way in the intervening years, including the possibility of directing a political thriller written by Joan Didion, but they fell apart. Nor did he have interest in directing a studio tentpole based on superheroes or other IP.

Then, when the pandemic struck, Focus told him he could write anything he wished. “I sat down and started writing. It was a sprint, to be honest with you. It came together in about 12 weeks,” he says. “The studio gave me no notes and let me do exactly what I wanted. I have no excuses. If anybody has any problems with the film, then they can point their finger at me. It’s the most creatively free I’ve ever felt.”

Focus executives weren’t the only ones who were blown away by the script. “I inhaled it,” says Blanchett. “I had never read anything like it. Psychologically, it was totally uncompromising. It was a rhythmic challenge, and it dives into a world that I knew precious little about.”

In total, the Tár shoot was 65 days, with Field and some of his team going to Asia, for crucial third-act scenes, after wrapping in Berlin. Next came the editing process amid the stillness at the nunnery, where Willi says much of the challenge had to do with soundwork. Field wanted the sound, and score, to be as subtle as the camerawork.

Blanchett didn’t initially know that Field wrote Tár with her in mind, and her alone (they first met a decade ago, to discuss the Didion project). The actress, who was in Budapest shooting Eli Roth’s sci-fi action-comedy Borderlands when she received Field’s script, immediately said yes.

The director says he has long wanted to explore the structure of power. “If the story was about a white male, you’d know how to feel in five seconds,” he says. “But it was important to try to figure out another way to examine power itself. It seemed like there was perhaps a more nuanced way to look at the behavior as opposed to the mask.”

Blanchett says much the same thing. “We understand white male corruption. If you had a man in that role, it would have been a story about that, whereas Tár is so much more,” Blanchett says. “I do think that’s why I found it so challenging. I felt it was all up in the air and we weren’t trying to pin it down. We were just trying to have the conversation. I hope audiences can go into it to experience the film, not thinking about the politics of it. The gift for me was that there were also many physical things that I had to prepare for — the piano, the conducting, the reading of the score, the musical reference points.”

She continues: “It’s interesting that the character has been called a predator by various people. I think it’s reductive. That’s not what Tár is about. That is why I’ve been so reticent to talk about the film, because I feel it operates on so many levels.”

Blanchett didn’t want to talk about the film in relation to some of the high-profile men she’s worked with who have since been canceled, including Woody Allen (she won her first best actress Oscar for Allen’s Blue Jasmine).

Field says he could have set the story in any industry but chose the classical music world: “A concert band itself is shaped in a pyramid shape, and the fulcrum, the tip of that shape, is the conductor.”

Blanchett started prepping for the role in the early fall of 2020. She took German lessons and picked up the piano again (she’d played as a child). Because of the pandemic, she couldn’t see a real symphony in action, so she watched video after video of different conductors without the sound on. “Thank goodness for YouTube,” says Blanchett. She also worked with Natalie Murray Beale, a conductor whom she knew, and found a concert pianist in Budapest to help with her lessons.

Field is exacting but compassionate. He didn’t want Willi to have to travel to the United States — Field lives on the East Coast — and be so far from her family in Germany, so he arranged for them to work at the nunnery when London fell through. He would walk in the morning, while Willi would run. They’d talk about the goals for their day, and then would take a long walk together before resuming work. “We saw lambing season and livestock being born. Then we would cut seven days a week,” Field says. “It was very rigorous.”

Blanchett understands that rigor all too well. “Certainly, Todd threw down the gauntlet. When we were shooting, I felt like I was going into battle every day, in a positive way,” she says.

“It was much bigger than me or the sum of any of its parts. It was like climbing a mountain that I couldn’t see the top of. I don’t think I’ve ever felt so alive.”

You can read the full article on the scans below.

Cate Blanchett Gotham Awards Nomination; & International Piano Magazine Interview
Posted on
Oct 26, 2022

Cate Blanchett Gotham Awards Nomination; & International Piano Magazine Interview

Great day, everyone!

Cate Blanchett has been nominated for Outstanding Leading Performance for her role as Lydia Tár at 2022 2022 Gotham Awards. TÁR has been nominated in an total of five categories: Best Feature Film, Best Screenplay for Todd Field, and Best Supporting Performance for both Nina Hoss and Noémie Merlant. The movie will have wide release in the US this Friday.

The latest issue of International Piano magazine is out now and you can read the interview with Cate.

Two Hairdressers in Bagglyport airs on IFC tonight and is now available to stream on AMC+.

International Piano Magazine

Documentary Now!

 

 

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

TÁR Premiere at 60th New York Film Festival and Promotion

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

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

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

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

Like we always remind, beware of spoilers.

Day 1 – SAG Screening (NY) and Press Junket

Press Junket and SAG Screening – Outside

Day 2 – GMA Guesting and NYFF Premiere

Good Morning America
GMA – Outside

NYFF Press Conference

NYFF Press Conference
NYFF Press Conference – Outside

NYFF Premiere

NYFF Highlights

NYFF Premiere
NYFF Premiere Q&A

Day 3 – BAFTA and NYFF Screening

BAFTA Q&A

NYFF Screening

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

Day 4 – Museum of Moving Image Screening

The post screening discussion was moderated by Laurie Anderson.

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

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

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

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

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

Day 6 – SAG, BAFTA, and AMC Special Screening

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

SAG LA Screening

AMC Special Screening

BAFTA LA Screening

Day 7 – Academy Screening

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

Interviews

Twitter Movies

ET Canada – NYFF

ET Canada

Yahoo Entertainment
WHYY – PBS

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Full article on USA Today

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Full article on AP News

TÁR Photo Session
 

Cate’s glam team during US press tour:

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

Sources: USA Today, AP

Magazine Scans and Interviews (TÁR)
Posted on
Oct 6, 2022

Magazine Scans and Interviews (TÁR)

Hi, everyone!

We have compiled the interviews that Cate Blanchett did the past few days as part of promo tour for TÁR. We also found the recorded Q&A from Screen Actors Guild (SAG) screening that happened last Sunday. There are also magazine scans from Harper’s Bazaar UK where Cate is the cover for the November 2022 issue, and Gramophone where she wrote a piece and shared her musical passion. Cate, with Todd Field, also visited the Criterion Closet the other day.

Series 2 of Climate of Change with Cate Blanchett and Danny Kennedy has just been released today. You can click on the link below to listen.

Photos and videos from the NYFF premiere and other appearances will be added on the site in a couple of days so stayed tune for more updates.

Beware of spoilers!

Cate Blanchett and Todd Field at the Criterion closet

Climate of Change with Cate Blanchett and Danny Kennedy

Cate Blanchett celebrates our natural world

Wearing a shimmering brocade gown and platform heels, a glacially imposing Cate Blanchett carefully picks her way onto the Bazaar cover set, which is taking place in a cavernous studio in north London. Behind her on a screen, a line drawing of a lunar underwing moth, projected to vast size, springs into sudden life. Blanchett shuts her eyes and undulates on the spot, her body seeming to morph into the moth’s, her arms swaying with the slow beat of its wings, their markings embellishing her dazzling dress. For a moment, superstar and artwork become one, captured in the snap of the shutter, as the insect itself might once have been caught and trapped under glass.

“You know, it took me a long time to feel comfortable being captured in a still image, but there was a kinetic quality to what we were doing that I loved,” Blanchett says.

That moment in the studio is the culmination of a project to create a special shoot for Bazaar’s 10th Art Issue, bringing together the actress and the artist Es Devlin, whose magical set designs, fusing sculpture and light, have animated fashion shows, theatrical performances, and concert tours for stars such as Adele and Beyonce?. “I think Es’s understanding of space is extraordinary,” says Blanchett admiringly. “The inside of her mind is so animating – you feel so alive in her presence, and the way she can turn a line of intellectual inquiry into something incredibly beautiful…”

The pair have more in common than a profound understanding of staging and how to make a visual impact. They are both passionate about environmental issues, hence their mutual keenness to collaborate; Devlin will show at COP27 this year, and her latest piece, Come Home Again, commissioned by Cartier and unveiled outside Tate Modern in September, celebrated London’s 243 most endangered species – birds, insects, animals, fish, plants and fungi. Each creature has been carefully drawn by hand, then enlarged, illuminated and mounted within a scaled-down, bisected replica of St Paul’s Cathedral. Every evening for 10 days, a different choir performed a version of evensong inside the artwork, their voices mingling with those of the birds and insects depicted.

“The first step towards these species remaining with us is for us to care about them,” Devlin tells me. “I sometimes spent 18 hours a day drawing them. It’s about paying attention, just observing, and being engaged in quite an intense way with these non-human Londoners.” She has brought a selection of her exquisite line drawings to our shoot, which a team of assistants are pinning up on the walls; there is also a huge model of a human hand, out of which birds and insects are springing (it’s a nod to the scene in Luis Bun?uel and Salvador Dali?’s surreal film Un Chien Andalou in which ants emerge from a human palm, but is celebratory rather than nightmarish, Devlin explains.) “These creatures need to have not only a place in conservation plans, but a place in our imagination.”

This is a sentiment with which Blanchett would doubtless agree. Last year, she starred with Leonardo DiCaprio in Don’t Look Up, the Netflix climate-change satire, and she recently launched her own podcast, A Climate of Change, with her friend Danny Kennedy, an environmental expert. Among the impressive roster of guests who have so far joined her are Prince William, the Prince of Wales, talking about his Earthshot Prize, and Don’t Look Up’s director, Adam McKay. Blanchett also recruited Kennedy to transform the eco-credentials of the Sydney Theatre Company when she and her husband Andrew Upton, the playwright, took over as joint artistic directors in 2008, installing solar panels and rainwater-collection tanks and ensuring that all of the sets were as green as possible.

“Often, the language around climate change is about sacrifice,” she says. “But when you go out to the theatre – or to a movie, or an art gallery – and you have an extraordinary time, and you laugh, and you cry, and you’re entertained, and you eat wonderful food, and then you think: ‘Oh my goodness, my carbon footprint was pretty close to neutral,’ that’s beautiful. If you grapple with these things creatively, you can have beautiful but practical solutions that actually benefit us all. It’s not a sacrifice – it’s an opportunity.”

It’s complicated to find time to speak to her after the photo-shoot, due to her punishing travelling schedule. At 53, Blanchett is more in demand than ever. She has numerous varied projects in the pipeline, from the sublime (Todd Field’s psychodrama Ta?r, in which she turns in a breathtaking performance as a renowned conductor) to the ridiculous (playing an inept Lancashire hairdresser in a mockumentary called Two Hairdressers in Bagglyport, in which she’s unrecognisable beneath a wig and false teeth). There’s also Borderlands, a sci-fi action film; Disclaimer, a thriller television series; and she’s shortly heading back to Australia to play a ‘renegade nun’ in The New Boy.

We finally manage to schedule a Zoom call at 7am, two weeks after the shoot. Blanchett dials in from a hotel suite in Venice, where she’s been attending the Film Festival. The night before, she had been partying at the Ta?r premie?re in black-velvet Schiaparelli trimmed with flowers; now, having overslept, she’s halfway through packing to fly to Telluride, in Colorado.

So, she’s heavy-eyed behind her big tortoiseshell specs, and throughout the conversation, her computer beeps constantly with incoming WhatsApp messages from the school mums, interspersed with alerts that Blanchett has set herself. “This is what my life is like,” she says, laughing at what she calls her ‘early-onset dementia’. “I set alarms all the time. It’s the only way I can remember to do things.” It is a brief but eye-opening glimpse into the intensity of her schedule, and it makes me feel rather sorry for her.

She wouldn’t have it any other way, however. “When I was young, I thought acting was something you did for fun,” she says, recalling how she and her sister would play dressing-up games as children. “Maybe I still think that? It wasn’t about building a career; it was doing these random things.”

“Being an actor has staved off the inevitable decision about what I have to do with my life, because I’ve empathetically stepped into various different experiences, whether they’re fantastical or based in the real world,” she says. “I think I’m probably quite shy, and I find that the best way to get to know people is through making things together. It’s a way of having very active, visceral, engaging conversations with people. It keeps me social.”

Blanchett may possibly be socially timid, but she is professionally courageous – hence the dizzying variety of the projects she’s undertaking. “If I pick up a script, and I can imagine myself [acting] it, I should put it down and let someone else do it,” she says. “Because I think the process of making it and, therefore, ultimately, probably, the experience of watching it will be thin. It’s much more exciting to be outside of your comfort zone.”

There is no doubt that her latest role pushes all her boundaries. Blanchett plays Lydia Ta?r, a gay, internationally renowned conductor of a German orchestra who gets caught up in a #MeToo scandal. The challenging film tackles the thorny issues of cancel culture, social-media manipulation and identity politics, while leaving the viewer free to make their own judgement on the justice (or otherwise) of Ta?r’s eventual fate. The script was written specially for Blanchett by Field, the acclaimed director of In the Bedroom and Little Children, and marks his return to the big screen after 15 years.

“I don’t think I’ve had as visceral a first read of a script since I read Oleanna and threw it across the room,” says Blanchett, who took the lead in the Sydney Theatre Company’s production of David Mamet’s distinctly Marmite play in 1993. “When I read Ta?r, I had a similar response – what is this? I had no idea how to approach it. I said to Todd, ‘This is slightly overwhelming!’ And he said, ‘Well, you can only eat an elephant one spoonful at a time…'”

Ta?r’s downfall is precipitated in part when she clashes publicly with a student who refuses to perform Bach because of the composer’s treatment of his family. I suspect Blanchett would take Ta?r’s side in this particular argument, having herself faced questions about her decision to work with Woody Allen on Blue Jasmine (in which she turned in another scintillating performance).

“People often talk about left and right, up and down, right and wrong, good and bad. I don’t think in those terms,” she says. “Art exists in the grey area. I don’t know the answer to this question, but it’s a conversation that we must have, as artists, as humans, as a society. How do you remain in a robust and brutal relationship with the thing that you are making? You have to have a powerful inner critic, and sometimes that can come out. I have been spoken to in ways that now I could probably go to HR and complain about, but those conversations that were had with me early on in my career made me a better actor. It’s important we speak honestly with one another.”

She always looks for the flaws first, she says, when thinking herself into a character. “There’s an exercise you do at drama school, where you write down everything a character says about themselves; and then you write down what every other character says about them. Somewhere between those often contrapuntal, contradictory things lies some version of the truth. One of the phrases I just cannot say is ‘my truth’,” she goes on, suddenly outraged. “I mean, the truth is the truth, isn’t it? I think language is so important. ‘My perspective’ is one thing, but ‘my truth’? I don’t know what that is!”

Among her greatest challenges was being at ease conducting Mahler’s Fifth Symphony with a full orchestra, to whom she had to speak fluent German. As well as watching footage of Herbert von Karajan, Simon Rattle, Gustavo Dudamel and other great baton-wielders, she spoke to Simone Young, the chief conductor of the Sydney Symphony Orchestra. “What women wear on the podium, how they stand – before you lift a finger, it’s a political act, and you have to spend 70 per cent of your energy pushing that aside, simply so you can be a musician,” she says. “The focus you need is twice what a male conductor needs, even now. So my friend said, just plant yourself there. I had to pull on my power pants, put myself on the podium, claim the right to rehearse, and not worry what they thought of me.”

Dauntingly, the Dresden Philharmonic’s programme schedule meant she had to conduct them on her first days of filming. (She had previously agreed with Field that she could ease herself in gently for the first week.) “I said to myself, maybe there’s a gift in that. It meant that I went completely inside Ta?r’s physicality, and what she was born to do, and I did that first, so I knew what was at stake and what she was going to lose.”

Because of the pandemic, the orchestra hadn’t rehearsed major works together for 18 months, instead performing socially distanced chamber pieces. Consequently, when Blanchett gave the downbeat, the musicians came in all over the place. “It was a blessing,” she says, with a chuckle. “We all laughed.” (Messing up early on is a trick she learned while understudying the Australian stage actress Kerry Walker, who told her: “On the first day of rehearsal, I fuck up so badly. Then they’ll think, ‘Oh my God, she doesn’t know what she’s doing,’ and they start to direct me.”) Frankly, however, Blanchett rarely, if ever, missteps; her performance in Ta?r has already landed her the Venice Film Festival’s Best Actress award and she’s now hotly tipped for another Oscar.

When I catch up with her for a final time, she’s back at home in the English countryside and looking considerably more relaxed, her reddish-gold hair swept up in a messy knot, shirt sleeves rolled up to the elbows. Her family and domestic life must be a welcome antidote to the intensity of her career. She and Upton have four children, ranging in age from 20-year-old Dashiell, who’s studying film at university in the US, to Edith, still at primary school. “They enjoy a sense of anonymity here, which I’m grateful for,” she says.

I was once lucky enough to be invited to lunch with her there, and found the house large but not intimidatingly grand, the children forthcoming and friendly, and the atmosphere rather Larkin-esque, with home-made cakes on the kitchen table and pigs and bees in the rambling garden.

During lockdown, the Uptons bought a mini electric jeep to amuse the children; when I ask how Blanchett relaxes, she laughs about driving it around the garden with the dogs in the back. The previous afternoon – “I’m going to sound like Felicity Kendal,” she warns – she had donned a linen apron and wandered up to her greenhouse to decant honey, pick apples and cut sunflowers, and was almost late for the school run as a result. “I completely lost track of time,” she says. “It’s a humbling experience, trying and failing to grow things! But then, when you get seven strawberries, suddenly everyone’s so excited, and you’re like, who wants half a strawberry?” She pushes her hair back from her forehead and grins at me, touchingly enthusiastic. I reflect that it is this ability to wholeheartedly inhabit every role she takes on – whether that’s screen icon, earth mother, complex fictional character or even a moth in a work of art – that makes Blanchett by far the most compelling actress of our age.

Harper’s Bazaar UK Photoshoot
Harper’s Bazaar UK Photoshoot – Screencaptures

TÁR Interviews and Q&A

You can listen to the WNYC Radio interview with Cate and Todd Field:

Cate Blanchett Calls Playing an Orchestra Conductor in Tár “the Most Transformative Moment of My Life”

Fresh off of winning the best-actress prize at the Venice Film Festival last month for playing a fictional world-renowned conductor and composer in the psychological drama Tár, Cate Blanchett says her latest movie felt the most “urgent” to make in her storied career. The film, written and directed by Todd Field, explores contemporary themes that have made headlines in recent years, including the #MeToo scandal, the abuse of power, and cancel culture.

“There are a lot of explosive things that come up in this film and societal hot-topic issues that made this cinematic endeavor feel urgent and undeniable to make,” Blanchett said at the film’s New York Film Festival premiere screening Monday night. “Todd Field’s screenplay raises monumental, dangerous questions that the world is dealing with as of this moment. The film can be quite uncomfortable. It can be politicized and disseminated, and some may even feel disgusted by the characters, but at its core this is a nuanced, intimate, human story of a woman that synthesizes many things. It can be said it’s an examination of power, but for me, I want audiences to make their own interpretations and inspire lively debate.”

Blanchett stars as Lydia Tár, the first woman conductor at the helm of the Berlin Philharmonic, the major German orchestra that is considered to be the world’s greatest. Her great talent on the orchestra podium and her keen musical scoring have earned her EGOT status, among other accolades, and made her a master class guest lecturer at Juilliard, with a memoir on the way. She is at the pinnacle of her career and wields great cultural power. She begins to crack when the family of a female former student accuses her of sexual misconduct, threatening to derail her career and success.

Like Lydia Tár, Blanchett, a two-time Oscar winner, is at the height of a long and distinguished career. As with Blue Jasmine, Elizabeth, The Aviator, and more, she’s once again earning rave reviews and strong awards buzz for her performance in Tár, which hits theaters on October 7. When asked how she handles fame, Blanchett admitted that “it’s not easy” being in the spotlight.

“It’s taken me a long time to deal with fame. I come from the theater. I never expected to have a film career,” said Blanchett. “It’s uncomfortable to be looked at. It really is. But it’s such a privilege and a pleasure to have had all the opportunities I’ve had in my career.”

To portray a highly lauded orchestra conductor, Blanchett studied the technique of holding and moving the baton, which is called stick technique, by collaborating with the Dresdner Philharmonie, a German symphony orchestra based in Dresden. She acted as the lead conductor by rehearsing Mahler’s Symphony No. 5, the same piece her character grapples with in the film, alongside the orchestra. The Australian star admitted the experience was a daunting task.

“To beat with one hand and shape the sound with the other hand was difficult. It’s such a mix of different skills and emotions,” said Blanchett. “But I must say it was the most transformative moment of my life. There’s this intense feeling of an electric charge, giving the downbeat and hearing this big sound coming back at you. It’s something that I’ve never experienced before. In that space, standing at the podium, you really do feel like you’re the king or queen of the world.”

Cate Blanchett Says ‘TAR’ Is “About The Corruptive Nature Of Power”

“I think the film is also about many things, but it is a medication on the corruptive nature of power,” Blanchett says. “I think, in the same way that the mobile phone influenced the way narrative unfolded, we haven’t even processed the ramifications of the #MeToo movement, Black Lives Matter, and the pandemic. We are altered by these things, positively and negatively. Already, the #MeToo movement is talked about in pejorative, negative terms, as much as had a profoundly positive effect in awakening people’s consciences. But we’re changed by it. And so, any film that is alive now will have reverberations with those things that have happened to us as a species. This film is no different. But it’s not about that. You know what I mean? But of course, it’s a texture and influences the atmosphere in the film.”

Over the course of our conversation, Blanchett discusses her inspiration for Lydia, how she learned to conduct a major orchestra, whether her mother is a fan of her character in this particular film, and, much, much more.

The Playlist: Thank you so much for taking the time. I know it’s been a long day for you of doing press, so I do appreciate this.

Cate Blanchett: No, no, no. I can’t tell you. It’s been such a pleasure to sort of begin to talk about the film. Any film that I’ve ever been involved in to somehow define. It’s so elusive and about so many things, so yeah. It’s been actually really helpful to try to understand the beast.

TP: The film tells us so much about Lydia, but in many others ways, it doesn’t tell us a lot about her, at least parts of her life. I don’t want to spoil anything for people who are reading those before they saw the film, but we obviously learn things about her that we might not have initially suspected.

CB: Yes.

TP: Were there things that Todd told you about her backstory specifically or did he sort of just give you the script and let you fill in the blanks yourself?

CB: Well, like when you read any great screenplay, it asks so many questions, and so much of the information is there, not necessarily readily accessible on the first read. But as you begin to mine the script, a lot of that material is there. And so, Todd didn’t tell me much. Initially, our conversations were intensely practical, because before I could get to even first base with playing the role, there was so much groundwork that I had to do in order to be able to play the scenes, in order to even approach who she was, just technical stuff, in terms of languages, and I don’t just mean German. The musical language and reigniting my ability to read a score and revisiting piano, and then, of course, the art of conducting, which I had to put my toe in that very deep and complicated water. So, it was very practical at first.

And then once we got closer to time, I started asking a lot of questions. This is where he’s such a great director is he was more interested in me finding my own way to it. He didn’t want to give me a ready easy answer. And in my time with any great acting teacher that I’ve worked with or any great sort of public intellectual or academic, they always ask you a question which provokes another question within you. So he would throw ideas into the mix as we were shooting, things that didn’t necessarily end up in the final edit of the film, but made the back story for Lydia so alive. And I think, I hope, for an audience, that’s what makes her such a rich character. So he was really judicious about what he said. He was sort of waiting for me to unearth those jewels if you know what I mean.

TP: Absolutely.

It was one of the most intense and kind of landscape-changing, groundbreaking, whatever the description is, collaborations that I’ve ever had. It was so dynamic and alive.

TP: I caught a recent interview you conducted where you thought that the idea of learning how an actor learns how to conduct or whatever is sort of boring, and you were wondering why people would be so curious.

CB: No, no, no. I didn’t mean that at all.

TP: Oh.

CB: I don’t want the audience to see my homework. You know what I mean? You want them to be transported and to believe absolutely that this person is one of the world’s greatest conductors. So I had to do that homework, but I don’t want the audience to be taken out of the movie thinking about that stuff. Do you know what I mean? That’s what I mean. I don’t want to break the spell of anything that Todd has created by over-describing the process.

TP: Which I totally respect and understand. It actually goes to my question. You have these scenes where you are conducting symphonies and rehearsals and it starts and it stops as any rehearsal would. And I know that you worked with conductor Natalie Murray Beale, but what was the mechanism to make that work on set? Clearly, you did not want even a casual classical music fan would go, “Oh, that would never happen like that.”

CB: Exactly. It’s not a film about conducting. You have to know that conducting is as natural and essential to Lydia Tar as breathing is. I was fortunate. I was working in Budapest and I was taught piano by an incredible concert pianist, and I learned a lot about the process of conducting from her. And Ilya Musin, who’s one of the great conducting teachers, it’s amazing what you can find in YouTube, particularly during a pandemic when you couldn’t meet face to face. I watched his master classes over and over and over again to understand the concept of what the right hand did and the left hand did. The woman who was teaching me German teaches German to opera singers, Francisco Roth, and so she was really across the musical language and the relationship of the conductor to the orchestra. And so, I had all these amazing people, various different points of insight, and also then, for me, having gone to a lot of classes of music concert myself and having heard the music, I then watched every single conductor I could get my hands on from different generations, from different cultures in different sized orchestras, their different way in to see. I realized very quickly that their form of communication was entirely idiosyncratic, and then there are textures in the film which aren’t, as I said, in there.

I imagine that she was the child of deaf parents, so how does sign language influence the way she conducted and her relationship to sound? She has an acute sensitivity to sound. But it wasn’t until I did all that homework, it wasn’t until I stood up in front of the Dresdner Philharmonie who were profoundly generous with … Even with the entire cast and crew. When you raise your hand, you get the downbeat, and the sound starts, and you find your own way with them. So, they had to act. It was outside their comfort zone, and I had to conduct them, which was also outside of my comfort zone. And so, somewhere, like any conductor in any orchestra, somewhere between us, the music happened. And of course, there was a lot of groundwork that needed to be done in terms of selecting [the music]. Todd had written these rehearsal scenes, but then Natalie and I went through them all and said, “Well, what about this piece? This piece with 19 bars would be great and there’s a dynamic counterpart to the previous six bars that we’ve done in rehearsal.” So then, we suggested those pieces to Todd and he edited them, and then I just listened to them on repeat, on repeat, on repeat. And of course, listened to all symphonies to see how this one differed or echoed, and read a lot about Mahler, because trying to delve into the process that great conductors do, which is to give a context and a take on the music.

TP: Thematically the film is tackling a number of subjects, but it really touches on the recent trends of the #MeToo movement and cancel culture. Did your own opinions on those topics influence your portrayal of Lydia, or is it more Todd’s voice in that regard?

CB: It’s many things. There’s a line in the script where it says right at the beginning that, “Lydia Tar is many things,” and that she’s had a varied career. I think the film is about also many things, but it is a meditation on the corruptive nature of power. I think, in the same way, that the mobile phone influenced the way narrative unfolded, we haven’t even processed the ramifications of the #MeToo movement, Black Lives Matter, and the pandemic. We are altered by these things, positively and negatively. Already, the #MeToo movement is talked about in pejorative, negative terms, as much as had a profoundly positive effect in awakening people’s consciences. But we’re changed by it. And so, any film that is alive now will have reverberations with those things that have happened to us as a species. This film is no different. But it’s not about that. You know what I mean? But of course, it’s a texture and influences the atmosphere in the film.

TP: Many actors will say that no matter what your character does or has done, you have to believe in them or at least try to understand what they’re thinking so that you can play them. Did you inherently think that Lydia was a good person, or do you feel like everything she has done has been for her own benefit?

CB: I don’t think about things in terms of good and bad. My mother had said to her friend, because my mom has seen the film, she warned her friend, “You won’t like her.” But I think it’s more accurate to say that you may not want to like her because Lydia does things that we could all possibly do ourselves when no one is watching, and she’s very charismatic. The personalities of conductors often cement their reputations. She’s also enigmatic. She’s also human. And so, it wasn’t about me thinking she was good or bad, but I did understand her. The “liking” her or thinking she was good never came into it for me because I find that quite a general way to look at someone or a situation. I like this. I hate that. I understand the sacrifices and the compromises that she had to make to get where she got, and also I understood how brutal and how disciplined she had had to be with herself, and also often with other people because when she felt that they were holding back because of fear.

I think that the tragic thing is that once she’s got into a position of power, once anyone gets close to power, just how seductive it is and how difficult it is not to be changed by it, and how desperately one can want to hold on to it. Peter Brooks says this fantastic thing, that, “You’ve got to hold on tightly and let go lightly.” But that’s really difficult. Look at all of our politicians. Once they’re in power, they spend most of their time trying to hold on to it as a flame, and we’re moths, and it takes an inordinate inner strength and an incredible spirit to let go of power. So, I think I was trying to understand that situation.

TP: Does it bother you if people ask you if you based Lydia on anyone you know?

CB: No. No. No one person in particular. I looked at the tortured nature of Carlos Kleiber. One of my favorite conductors is Bernard Haitink. I’m absolutely inspired every single day by Nathalie Stutzmann, who’s been a contralto who’s now moved over into conducting through being a singer, and she’s about to take over in Atlanta, which is really exciting. There’s an incredible, very rough, raw documentary about Antonia Brico. I thought about [Herbert] von Karajan and [Claudio] Abbado, all of these people, [Valery] Gergiev, how politically compromised he has become to get how massive his career is and his conducting style.

So, it was sort of all of those, all many of those people, and then also I thought about the CEOs of major banking corporations and massive architects who don’t necessarily make the work anymore, but are across the construction of buildings, and how, in my own experience, I think running a major cultural institution, how you can get isolated from the artists that you’re working with because you have a corporate responsibility as much as you have a creative artistic responsibility. So there were a lot of things that were coming into play with me, but it wasn’t based on any one person in particular.

TP: When you saw the final film, what did you come away with the most? What was your reaction to how it all came together?

CB: I didn’t see dailies at all. It was fast and furious. I was so kind of inside the experience with Todd and with Nina and everybody. I saw it with my husband, thank goodness. I fell into the film, which I think is a testament to Todd’s filmmaking. I just thought there were some things that we shot that are no longer in there, but they’re sort of homeopathically in there. If that makes sense.

TP: It does.

CB: And the first time I read the script, I found the end quite tragic, but I was so uplifted by the end. I thought, “I really want people to see this,” and I wanted them to see it in the cinema. I was bowled over by the sound as well, and the silence. One of my favorite parts of the “Mahler’s Five,” for instance, is the silence at the end of the scherzo before the adagietto begins. I feel Todd’s use of silence was really powerful when in a film about music. So, there were so many parts of it that I felt like I wanted to go back and watch it again. He’s such an extraordinary filmmaker. I feel so, so deeply lucky to have worked with him.

Full article on The Playlist

Cate Blanchett on Learning How to Play Piano and Conduct for ‘Tár,’ How Movie Depicts the ‘Corrupting Nature of Power’

On the red carpet at the North American premiere of “Tár,” Blanchett spoke with Variety about the parallels between Lydia Tár’s ferocious musical ambitions and her own illustrious acting career.

“Any parallels between my experience and her experience will just be there,” Blanchett said. “I had the experience of running a major cultural institution. Lydia is an artist, too. She’s a musician running, as the film describes, one of the greatest orchestras in the world. With that comes a lot of corporate responsibility, which can have an impact on your relationship to what it is that you do as an artist.”

Blanchett, a two-time Oscar winner for her roles in 2005’s “The Aviator” and 2014’s “Blue Jasmine,” said that she “understood that dynamic” despite not being a musician herself.

“All of the musical terms, the relationship to the score, the ability to conduct and play on the piano — all that stuff I had to learn,” Blanchett said. “Her experience is quite different, but you don’t have to be an artist to understand the corrupting nature of power.”

During a Q&A discussion that followed the “Tár” screening in Alice Tully Hall, Fields revealed that he wrote the entire script with Blanchett in mind — long before she agreed to sign on for the film. The second person to join the project was composer Hildur Guonadóttir, who previously won an Academy Award for her work on “Joker.”

Cate Blanchett and Todd Field on Method Acting, #MeToo, and the Movie Theater Crisis

“TÁR” has a lot going on. Director Todd Field’s first feature since 2006’s “Little Children” is an immersive acting showcase for Cate Blanchett, who plays the revered Lydia Tár as if her life depended on it. As the composer overseeing a symphony in Berlin when a scandal derails her career, Blanchett inhabits the character in every scene with stunning precision. Unlike Field’s previous work, the movie is a slow-burn immersion into Lydia’s world that often verges on documentary when it isn’t an unsettling psychological thriller or a pitch-black comedy of errors.

Beyond all that, “TÁR” is a treatise on modern times. Lydia’s experiences with social media and repercussions for her actions register as an angry response to the age of accountability. Yet even as the movie premiered to raves Venice and Telluride, Field and Blanchett have been careful about how much they have addressed these issues in limited press for the movie.

The interview has been edited and condensed for clarity.

IndieWire: This movie is saying a lot about the world we live in today. It must be hard to discuss in interviews.

Cate Blanchett: There’s so much to talk about.

Todd Field: There’s a lot to talk about.

CB: Yet it’s one of the hardest movies I’ve ever had to talk about, because it’s so hard to define. It’s about so much.

So much about “TÁR” is built around Cate’s performance. Todd, how much did your initial script change as a result of her involvement?

TF: I sent Cate the script and I’d written the script for her. I didn’t really have to any language to give her. It just started a very immediate, rich conversation between the two of us in September 2020 and we’re still having it.

CB: The character came out of those rich conversations. When I read it, I was so daunted by the ask of it — not just what was necessary to play the character, but also the depth of questioning in the screenplay and my relationship to it, which kept shifting depending on which scene we were shooting or which relationship we were focused on that day.

When the cast started to come together, Nina Hoss elevated it yet again. Then Hildur Guðnadóttir got involved to do the music, and I thought it doesn’t get much better than this. My job was not just to rise to the occasion of the screenplay but the quality of the people I was working alongside.

Did you bring Lydia Tár home with you?

CB: Well, the pandemic was still on and my kids were not as free to come and go. It was really very lonely in a strange way, and running a major cultural institution is a very lonely experience. That was life imitating art. There was much to do in terms of the conversations that Todd and I were having. As we got on, we would occasionally have the odd dinner. In a film that is asking big metaphysical and existential questions, it was a very practical experience. The night before he’d be prepping and talking about what needed to be done the next day. Yet when we were working with the Dresden orchestra, I woke up with my hand in the air, moving sound.

TF: We even tried to bring that into the film. There was a certain point where we had her do that.

CB: Work dreams. We’ve all had those.

Where do you fall on Method acting? Did you try to stay in character between scenes?

CB: There were some parts of the character’s situations or intensity of the focus that I didn’t quite drop in between setups. I don’t know if it’s from spending years and years onstage, but I have the ability to be objective and subjective simultaneously. You have to know where the camera is: OK, I’ve got to rotate more than three quarters because otherwise you’re not going to see into my eye and that’s really important.

At the same time, you have to allow this thing to flow through you. Todd always has the camera in the right position. So when he was setting up, I saw the position of the camera as a proscenium: If I stand stage-right, it’s going to mean something profoundly different than if I’m center-stage left. You were very generous about letting us know what the frame was so we know how best to use it.

I don’t know if you find this, Todd, but for me, it’s not so much that you take the character home each night. It’s more about you focus on when you’re walking on the street at night during the odd day off we had. I would hear things differently. I’d come into a room and notice the curtain as opposed to the bathroom. Your focus shifts.

TF: The whole world starts talking at you based on the thing you’re working on.

CB: Which is a privilege, because you are seeing the world from a different point of view.

And that point of view deals with a very sensitive subject in this movie — essentially cancel culture. The character is put on public trial due to reports about her behavior. How much did you see this story as a microcosm of larger issues?

TF: The classical music world is a rich and interesting one for me, but in terms of the story, it’s a backdrop. It could’ve been any kind of pyramid scheme, any kind of power structure. It could’ve been a multinational corporation or an architectural firm. Pick your poison. In all our conversations, we talked about this examination of power — how we look at power and how we decide the way we look at it.

CB: And who benefits from it.

TF: If you really want to talk about power and the long reach of history — the abuse and complicity of power, how it corrupts, all these clichés we’ve grown up with — you have to reckon with the idea that there is no black or white. To find the truth of something requires a little more rigor.

There’s a scene where Lydia is a guest lecturer at Juilliard, where she takes a young student to task for resisting Beethoven and Mozart because they were white men with questionable personal lives. Was this based on something real?

TF: I have friends that teach and that’s one of the inspirations behind the scene. There’s another bigger idea behind it, which is what you would tell your younger self. The student is representative of who Lydia Tár was coming out of Harvard at 24, wanting to push the boundaries, wanting to do experimental music, wanting to bust up the establishment, but she’s gotten past that. She’s at another point in her life. It’s like she’s saying, “Yes, there’s this, but it’s not mutually exclusive.”

It doesn’t go very well for her.

TF: In terms of talking about power in a more thorough way, what’s potentially troubling is when conversation is extinguished and we don’t have the ability to walk in one another’s shoes. I don’t need to be a cobbler to understand whether my shoes fit or not. We all have the ability to try to see someone else’s point. My older son wanted to go study rhetoric at Berkeley. It’s one of the oldest schools in America where you can do that. The idea of debate as a healthy part of social discourse is so fundamental to Western civilization and the idea that it would be extinguished or somehow neutered is frightening.

Cate, when did you start to be more cautious about how you discussed ideas in public?

CB: I’ve always been cautious about interfacing with the media. I’ve always been very private. There are not a lot places where you can have nuanced debate about complicated issues. We haven’t even processed what’s called “The Black Lives Matter #MeToo Moment.” What do you mean? It’s not over. We’re still living through this.

A huge part of that process is rage. If it’s channeled correctly — if heard and understood and listened to — rage is a really, really important transitional tool and is totally understandable. I feel like we’re in a moment of profound transition, which is terrifying for some people. But we’re used to the churn of change because we’re making things.

How do you feel about the way people, as well as storytelling, can be judged through a moral framework?

CB: I think there are certain behaviors that are intolerable. But when it comes to things like banning books, you have to understand the context under which these books were written, even if they may not be your taste. You may find them offensive, but let’s talk about why. I’m much more interested in igniting the conversation with people who think differently than shutting the conversation down.

TF: It’s the times we live in. This is not a social treatise on this moment we’re having. It’s an interesting conversation to have. That scene in the classroom is just the reality of what we live in. The important part of this scene for that character is having a conversation with herself that she’s not successful at having.

CB: She’s been trying to sweep it under the rug. We’ve been talking about origin stories a lot – the connections that conductors have to their mentors is incredibly important in cementing their unassailable right to play their music. But a lot of Lydia’s origin story is invented. So what does that mean? Does she not have a true connection to her origin story or does this one allow her access to a space that unleashes her talent?

When you first started getting attention for your roles…

CB: Did I make shit up? [laughs]

Or feel like you were being judged in ways that were beyond your control.

CB: It sounds a bit like a copout to say that it was a different landscape, but it was that. I came to making films very late. In dog years, my career was almost over as an actress. My first role was when I was 25. I didn’t expect it to continue. I thought I had five years. I thought at 35 that they put you out to pasture as an actress. That’s certainly changed. That’s because women are at the helm more. They’re not the exception anymore. There are a lot of female-driven narratives. I hate that term. I think there are a lot of good women making good shit that’s being seen. They’ve always made it.

TF: If you look at the birth of Hollywood, the great filmmakers that are long-forgotten are female, as were the great screenwriters and editors. There was a shift in Hollywood after the pre-Code days where it became much more patriarchal. But the origins of Hollywood and narrative filmmaking really began with women.

CB: But it was also international. I think one of the world’s greatest filmmakers was Larisa Shepitko. She only made a handful of films, but my god, I can’t unsee the movies that she’s made.

Since you bring it up, does this mean you plan to work with more women directors?

CB: It’s so random what we end up doing. A lot of it has to do with family and time and who approaches you and when you’re available. It was immaterial to me what gender Todd was. It was just the conversation.

Todd, it’s been 16 years since you made your last movie. How much has the industry changed since then?

CB: You used to do interviews on phonograph, didn’t you?

TF: Direct to disc. [laughs] I mean, nothing has changed about making a movie. I think the world for cinema-goers has changed drastically in a way that I probably needn’t add to. Other people have said it at least as well or better than I could and have been attacked or inflamed for it. But let’s put it this way. I went out to tech theaters in New York today and it was really depressing. Super depressing.

Because of the projection quality?

TF: No. At the beginning of the pandemic a lot of us put in what we could to try to support independent repertory houses, the arthouses in America. We knew that since their margins were so close anyway that there was a good chance they’d close up and die. Should that happen, we’re all in real trouble.

We’re very lucky we have a place like the New York Film Festival 60 years and going or a place like the San Francisco Film Festival that’s the oldest film festival in America, but most people can’t get to those things. What about having a single-screen house you can go to? They’re disappearing. So now you’re showing a film somewhere with paper-thin walls where you’ve got a different kind of movie bleeding over into your house, with seats that you can’t really sit in, screens that aren’t maintained, and an infrastructure that has no love at all. You’re a long way from New Yorker Films or something like that.

CB: But go and see this movie in the cinema! [laughs]

TF: I may be sitting here shilling for this movie, but this is something that absolutely has to be addressed: the fact that there is not a standard. It’s one thing to rail on about the death of film and how we have to keep the photochemical process alive, but that’s just a line item that’s not going to happen anymore. I can tell you that from shooting advertising.

Because it’s too expensive?

TF: It’s not. We used to make $100,000 Roger Corman movies and the line item budget that was expected was that we were shooting on film, we’re doing dual mag, we were in the bar afterwards with the crew, we’re watching that together as a group, we’re getting off on that and shooting the next day. It was an accepted part of doing business. It’s just that it’s not accepted anymore. That’s why film died. It wasn’t supported. By the same token, we have a dying arthouse community.

CB: It’s unsupported.

TF: It’s a broken infrastructure to actually go and see cinema. I’m not just talking about end-of-year cinema. I’m talking about world cinema. I’m talking about being able to see things with a collective community and walking out and feeling different. I remember reading this book about Kie?lowski where he said he resented that people always said theater is a different kind of collective experience but not film. He said that’s bullshit. You come in and you feel that energy in the room. The only difference is the performers. If you want people to go to the cinema, to have an immersive experience and sit together with other people, you had better give them the opportunity to do that properly.

Cate, you often serve as a producer on your projects through your Dirty Films banner. I was sorry to hear that you won’t be making an adaptation of “A Manual for Cleaning Women” with Pedro Almodóvar.

CB: Well, look, it’ll happen in some other form. I adore Pedro and totally respect him. He’s got to work in the language he feels like he can thrive best in. Maybe we’ll make something better. It just won’t be that.

How does your awareness of the fragile ecosystem for getting films made and released impact the work you do as a producer?

CB: My husband and I produced many, many shows a year when we were running the Sydney Theatre Company. Working on films is just an extension of that. It’s just a different medium. But you have to be really careful. Some films can still live and breathe on equal measure on a small screen and some can’t. You have to be really careful who you partner with from the get-go. That’s the idea of the creative producer: someone who has grown up on-set, who understands how a script is developed, and how a movie is made. But they also have a financial sense and ability to understand where to place that movie and distribute it. That role is a dying art, and it’s why a lot of actors and directors are stepping into it.

They’re invested in the success on a creative level.

CB: They know they have to care for the thing from soup to nuts. A lot of times, things are just thrust out, and it’s immaterial to the producer what screen it’s placed on or what the rollout is. When you’ve been in the industry for a while, you’ve seen the ups and downs, not necessarily because of the quality but simply how projects have been handled. I’m quite passionate about being involved in that. I do care about what I make. Sometimes it doesn’t work. No one tries to make a bad movie, but if it’s good, you want to know that it has a fighting chance of finding an audience.

Post SAG Screening Q&A

Cate with Todd Field, Nina Hoss, and Sophie Kauer attended the Screen Actors Guild screening Q&A last Sunday. It was moderated by Adam Gopnik.

Magazine Scans

Gramophone Magazine Awards 2022

Click image for higher resolution

Harper’s Bazaar UK November 2022

Source: Harper’s Bazaar UK, WNYC, Vanity Fair, Variety, Indiewire

TÁR Press Junket and Good Morning America interview
Posted on
Oct 3, 2022

TÁR Press Junket and Good Morning America interview

Happy Monday, everyone!

This is going to be a long week for Cate Blanchett fans. Cate has already started promoting TÁR which will have limited release in the US this Friday. Last night, There was a SAG screening with a Q&A after it – Cate with Todd Field, Nina Hoss, and Sophie Kauer are present at the Q&A. They also did press junkets in the morning.

Today, Cate is a guest on GMA and later in the evening is the NYFF premiere.

Press Junket & SAG Screening

Good Morning America

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

TÁR Official Trailer and Empire Magazine Scan

Hello, everyone!

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

TÁR Trailer

TÁR Official Trailer Screencaps

Empire UK

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

Here is a part of the article:

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

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

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

Interviews, Magazine Scans, and other project updates
Posted on
Sep 15, 2022

Interviews, Magazine Scans, and other project updates

Good day, Blanchett fans!

We have compiled updates on other Cate Blanchett-related projects and causes she supports, ranging from interviews, magazine scans, and recent or upcoming event appearances. You can check them below.

 

— UNHCR Goodwill Ambassador, Cate Blanchett has penned an piece for Politico urging global leaders to do more for the Rohingya refugees.

It’s more important than ever that we don’t look away, despite other emerging humanitarian and refugee crises in the world.

Gul Zahar, a young Rohingya woman, was forced to flee her home in western Myanmar’s Rakhine State. Escaping brutality and widespread abuse, she and around 200,000 fellow Rohingya refugees sought safety in Bangladesh. That was in 1978.

After returning home, another wave of violence against the Rohingya forced her to seek safety in Bangladesh once more. That was in 1992.

Many years later, Gul and her four-generation family were among the 720,000 Rohingya who made that same desperate journey to safety, yet again forced from their homes by violence. Trekking through jungles and mountains and crossing the river, it was one of the largest and fastest refugee influxes the world had seen for decades.

That was five years ago, in 2017.

Today, over 925,000 Rohingya refugees live in the densely populated camps near Cox’s Bazar, Bangladesh. Over 75 percent are women and children.

The Rohingya are the largest stateless community in the world.

Although they have lived in Myanmar for generations, they aren’t recognized as citizens. And they face a host of discriminatory practices limiting their daily lives, in addition to the violence and persecution carried out against them.

When I visited Bangladesh in 2018 in my role as a goodwill ambassador for the U.N. Refugee Agency (UNHCR), I was not prepared for the depth of suffering that I saw.

I witnessed mothers enduring the unending pain of seeing their children live through these experiences. I sat with countless refugee children who had endured brutality and uncertainty, as I pictured my own children safe at home, joyful and carefree.

Following the influx in 2017, the emergency response to the refugee crisis, led by the government and people of Bangladesh, was exemplary. With the help of the international community, they provided medical assistance, food and relief items, and built makeshift shelters. Rohingya refugees were registered and issued with identity documentation — the first many had received in their lives.

Over time, however, the camps have developed their own fragile ecosystem, with their health care, water and sanitation facilities becoming severely challenged.

Rohingya refugees themselves play a vital role as the first responders in their community, including in the areas of emergency preparedness and disaster response, health, education, as well as community response and mobilization. During the COVID-19 pandemic, for instance, refugee volunteers took the lead in informing their community about health and hygiene, monitored signs of illness and connected refugees with critical health services. Their ingenious efforts saved countless lives.

Five years since that latest mass influx from Myanmar to Bangladesh, the collective effort in responding to the ongoing Rohingya refugee crisis — and the role undertaken by Rohingya refugees themselves — should be commended.

But despite this acknowledgment, we mustn’t be allowed to forget that the Rohingya shouldn’t be refugees at all — not the women, men and children who fled in 2017, nor those who fled in the successive waves of violence in previous decades.

The protracted exile of the Rohingya is simply unacceptable and unsustainable.

Diminishing hopes of returning home are pushing increasing numbers of Rohingya refugees, including children, to undertake perilous boat journeys in search of a future. Placing themselves at the mercy of smugglers and the treacherous waters of the Bay of Bengal, they are at risk of dehydration, starvation, physical and sexual abuse, and death. They do so, as many feel that they have little choice.

Today, it is more important than ever that we don’t look away from Rohingya, despite other emerging humanitarian and refugee crises in the world.

We must continue to support Bangladesh and other host communities in enabling Rohingya refugees to live full and dignified lives in exile. This includes providing them with greater access to education, skills training and opportunities for earning livelihoods.

Rohingya refugees, in particular the large proportion of youth among them, are resilient and resourceful. They want to rebuild their lives and ensure they are prepared for the future — including a return to their homes.

It is vital the international community continues to press for the rights of Rohingya in Myanmar.

They long for their homeland. They want to return but cannot do so unless conditions are safe, unless they can exercise their fundamental human rights — the right to move freely within their own country, the right to services such as education, livelihood and health care, and a clear pathway to citizenship — the rights so many of us take for granted.

In a conversation she had with the UNHCR in 2018, Gul had made clear what her wishes were: “I want to die on my soil,” she said.

Heartbreakingly, Gul passed away last year at the age of 94 in Bangladesh, her deepest yearning unrealized.

A life lived in limbo.

 

— Cate is also a council member of Earthshot Prize, which is “a global prize for the environment, designed to incentivise change and help to repair our planet over the next ten years”. There is going to be a summit in partnership with Bloomberg Philanthropies where Cate is confirmed as a speaker. It will be held on September 21st from 8:00am-12:30pm ET at The Plaza Hotel in New York City.

The Earthshot Prize Innovation Summit

The Earthshot Prize and Bloomberg Philanthropies previewed confirmed speakers and programming for The Earthshot Innovation Summit, which will take place on the morning of September 21, 2022 at The Plaza Hotel in New York City. The Summit, hosted by Michael R. Bloomberg, the UN Secretary-General’s Special Envoy on Climate Ambition and Solutions, will bring together heads of state, government and civil society leaders, philanthropists, business executives, and grassroots climate activists from around the world to spotlight emerging, systems-changing solutions and showcase the critical need to turbocharge ground-breaking climate innovations to address the world’s most pressing environmental challenges.

Global Australian Awards 2022

Cate alongside her friend and co-host of Climate of Change podcast, Danny Kennedy, were presenters at this year’s Global Australian Award. You can watch them present at around 43:19.

Global Goals Yearbook 2022

Vanity Fair European Edition

Click images for higher resolution

Click the images to open the scans.

Vanity Fair France – September 2022

Vanity Fair Italy – September 2022

Vanity Fair Spain – September 2022

Film Updates

— Another movie with Cate that will be released this year is the stop-motion version of Pinocchio directed by Guillermo Del Toro and Mark Gustafson. Three episodes of Documentary Now premiered at Toronto International Film Festival last weekend.

On a sadder news, Pedro Almodóvar has pulled out of directing job in A Manual for Cleaning Women but Cate is still attached to star and produce under Dirty Films.

Meanwhile, TÁR continues to be part of film festival lineups. It will have it’s Australian premiere at Adelaide Film Festival, US West Coast premiere at Mill Valley Film Festival, it is also part of Orcas Island Film Festival lineup. There is a concept album to be released in October 2022 where Cate can be seen and heard conducting a rehearsal of Dresden Orchestra. Cate also did an interview with Swedish newspaper Dagens Nyheter while she was in Venice at the beginning of this month, the movie will be released on October 23rd in Sweden.

Pinocchio

Cate voiced the monkey, Spazzatura. The movie will have it’s world premiere at London Film Festival on October 15th. You can buy tickets here.

Documentary Now

Over the weekend, three episodes from the new season of IFC’s iconic mockumentary series Documentary Now! premiered at the Toronto International Film Festival (TIFF).  And during a post-screening Q&A, it was revealed that we have Australia’s own Cate Blanchett to thank for its long awaited return.

In front of a sold out audience at the Scotiabank Cinemas, directors Alex Buono, Rhys Thomas, and co-creator and series regular Fred Armisen – all of whom met in the writer’s room on Saturday Night Live – talked about how Cate, who also appeared in the third series of the mockumentary, reached out expressing her interest in parodying an obscure British TV documentary.

Cate had taken a shining to the 1994 BBC documentary, Three Salons at the Seaside, which she discovered with her hair & makeup team while filming her FX series Mrs. America in Toronto, Canada.

The Cate Blanchett episode in question – “Two Hairdressers in Bagglyport”, which screened at TIFF – was filmed over four days at the original location of the documentary in Blackpool – redressed to match its original time period.

Having seen the episode, which unfolds like a beautifully written stage play, I can safely say that the persistence of Blanchett paid off – it’s one of the finest of the series to date. And, simultaneously, may be the most obscure documentary they’ve lovingly parodied.

Pedro Almodóvar departs A Manual for Cleaning Women

Oscar-winning Spanish filmmaker Pedro Almodóvar will not be making his first English-language feature directorial debut with A Manual for Cleaning Women, which has Cate Blanchett set to star and produce under her Dirty Films, Deadline has learned.

The filmmaker finally had all the elements to realize the magnitude of this future production. However, he came to the decision that he’s not ready to tackle such a monumental project in English. A search for another director is underway.

The feature project was first announced back in January based on Lucia Berlin’s 43-part collection of short stories, examining the lives of women working a wide variety of demanding jobs.

“It has been a very painful decision for me,” Almodóvar tells Deadline. “I have dreamt of working with Cate for such a long time. Dirty Films has been so generous with me this whole time and I was blinded by excitement, but unfortunately, I no longer feel able to fully realize this film.”

Dirty Films producers Blanchett, Andrew Upton, and Coco Francini tell us, “We have the utmost respect for Pedro and his extraordinary body of work, and while the stars may not have aligned this time, we hope to collaborate with Pedro and El Deseo on another project in the future. Dirty Films’ passion for A Manual for Cleaning Women and Lucia Berlin’s unique and searing voice – full of danger, joyousness and loss – has not dimmed, and we are excited to continue this project with our partners at New Republic.”

TÁR at Film Festivals

Mill Valley Film Festival World Cinema Lineup. Showings on October 7th and 8th, tickets can be booked here.

Australian premiere on October 21st as part of Adelaide Film Festival Special Presentation lineup. Tickets here.

Orcas Island Film Festival runs from October 6th-10th, festival passes are now on sale but no scheduled showing yet for TÁR.

TÁR (Music from and inspired by the motion picture)

TÁR concept album is set to be released on October 21st, an LP version will be released on January 20th 2023. You can pre-order at Deutsche Grammophon, JPC, Roan Records or Amazon.

Deutsche Grammophon presents Hildur Guðnadóttir’s exciting new film project – a groundbreaking concept album for Todd Field’s new movie TÁR, starring Cate Blanchett in the title role.

The multi-faceted concept album features music from and inspired by the movie, including a series of stunning new tracks by Guðnadóttir, as well as extracts from major works by Elgar and Mahler. It complements the film by presenting completed, real-life versions of the music on which we see the fictional protagonist Lydia Tár working. One of the aims of the album is to reveal something of the complex process that goes on behind orchestral rehearsals and recordings.

“The tracks, like the film, are meant to invite the listener to experience the messiness involved in the making of music.” Todd Field

Written and directed by three-time Oscar-nominated filmmaker Field, TÁR tells the story of high-powered composer-conductor Lydia Tár, played by Cate Blanchett. The two-time Oscar winner immersed herself in every aspect of her character’s life and can be seen – and heard on the DG album – conducting rehearsals of a Mahler symphony with extraordinary skill. Her fellow cast members include talented young British-German cellist Sophie Kauer, whose playing also features on the concept album.

This is a Google translated interview from Swedish to English.

Cate Blanchett: “There’s a lot of unresolved anger in the wake of MeToo”

Almost 25 years ago, Cate Blanchett came to Venice for the first time with “Elizabeth”, where she made an unforgettable portrait of the 16th-century regent who “married England”. Now the Australian Hollywood star is back at the Lido with another majestic full-length portrait of a woman with enormous power in her world.

In Todd Field’s magnetic “Tár”, Blanchett plays a fictional star conductor who has mentor Leonard Bernstein at her back, stands at the peak of her career as a celebrated composer and is the first female chief conductor of the prestigious Berlin Symphony Orchestra. A demanding recording of Mahler’s Fifth Symphony is at hand. Lydia Tár is certainly married to the orchestra’s female concertmaster (played by the German Nina Hoss) but is much more loyal to her position of power – which she exploits wildly in private – than her wife.

Learning to conduct believably was the least of the challenges with “Tár”, says Blanchett.

– For me, “Tár” is not really so much about the conducting itself. For Lydia, it’s like breathing. It was simply about finding the right way to breathe. But it’s clear that I studied many conductors that I became quite obsessed with, from Carlos Kleiber who had such a tormented and ambivalent approach to his work – to women like Antonia Brica, Marian Alsop and my compatriot Simone Young, says Cate Blanchett at a hotel room with sea view on the festival island Lido.

She is dressed in a white summer suit that elegantly mirrors the expensive tailored suits her character wears in the film. Speaks enthusiastically in a voice that is slightly higher than Lydia’s deep voice.

– The most important thing was to understand the structures of the classical world and how orchestras work. It was so interesting to follow the development, from the autocratic times when the conductor’s word was law and then over the fall of the Berlin Wall when more democratic tendencies began to seep into this world as well. It’s clear that the classical music world is still very much about canon and hierarchies, but the dynamic has clearly changed.

Her character Lydia Tár stands in the middle of that process, and not unexpectedly ends up in a storm when she not only manipulates younger women for her own needs, but also suppresses students who question the canon, like Bach, for reasons of identity politics.

Was it time for a reverse method drama?

– There is a lot of unresolved anger to explore in the wake of MeToo, and it is something we are far from done with. The system still needs to be fundamentally changed. The cancel culture is part of this process. But for me it is still only one aspect of “Tár”. Todd, who also wrote the screenplay, did a huge amount of research for the film and I think he has found mined ground that is very exciting.

To the now classic question of whether you can separate the author from the work, Blanchett answers with an anecdote from the early nineties when she had just graduated from acting school in Australia.

– It is in many ways a generational issue. At 22, I was cast in a production of David Mamet’s “Oleanna” and was full of strong opinions about gender and power. The first time I read the play I threw it at the wall. Second and third time too. When we finally played it, it became an incredibly exciting and challenging debate among the audience. And probably a lot of divorces, laughs Blanchett.

– The lesson from that is that if we are to avoid everything that is controversial or disturbing in art, or authors who have behaved questionably, then we miss out on a lot, both experiences and a significant critical debate. God knows what went on in Picasso’s studio, but “Guérnica” is still one of the world’s most important works of art, and so on.

What is “Tár” above all about, for you?

– It’s almost hard to say, there are so many layers to it. Lydia is both perpetrator and victim of a system where men have been kings for so long that she constantly has to prove that she is capable. But I woke up this morning and thought that it is above all a meditation on power, she says and elaborates:

– It is not only about institutional power but also creative power. Conductors often call the orchestra their instrument, but at the same time it’s about many different individuals, says Blanchett, who received praise for her interpretation of the role.

– “Tár” depicts the trend breaking that takes place in a world where the collective has been hierarchically controlled but where the individual and how one identifies oneself has become a new factor of power, she says.

Having long run theater in Sydney with her husband Andrew Upton, she can easily identify with institutional power, but personally she is more interested in creative power and how to convey it to others.

– Often the most creative thing you can say is “I don’t know, yet” when people demand answers. But there’s a funny difference depending on who’s saying it. If a male director says it, people find it exciting. But if it’s a female director, people just get nervous, ha ha.

– That’s one thing I really appreciate about “Tár”. It asks questions, but does not judge.

Cate Blanchett and Nina Hoss

 

Sources: Politico, Bloomberg, The AU Review, Dagens Nyheter

TÁR world premiere at 79th Venice Film Festival
Posted on
Sep 8, 2022

TÁR world premiere at 79th Venice Film Festival

Hi, everyone!

A week ago today, TÁR had it’s premiere at the 79th Venice Film Festival where the movie and Cate Blanchett had received rave reviews. It was reported that the movie received a standing ovation that went on for over six minutes. TÁR is an original screenplay by director Todd Field and his first film in 16 years. He said during the press conference of the movie that he wrote it for Cate Blanchett. Blanchett plays the titular character, the fictional Lydia Tár, who is considered to be one of the greatest conductor and is the first female conductor of a major German orchestra. The movie had also it’s North American premiere in Telluride this past weekend. Before it’s October 7th release in the US it will have it’s New York premiere on October 3rd as part of New York Film Festival main slate then it will be released across the globe around January-February 2023.

We have gathered video interviews and some of the reviews on the film. You can check them below.

Day 1

On the first day of the festival, Cate Blanchett arrived where she did some interviews for TÁR then attended a dinner organized by Armani Beauty in honor of Regé-Jean Page, who is the face of Armani Code men’s fragrance.

79th Venice Film Festival – Day 1
Armani Beauty Dinner
Photographed by Greg Williams

‘Tár’ Earns Ecstatic 6-Minute Standing Ovation in Venice, Generating Instant Oscar Buzz

The 79th Venice Film Festival officially kicked off the fall Oscar race on Thursday afternoon with Todd Field’s “Tár,” a drama starring Cate Blanchett as a famous composer embroiled in a public scandal. The film was showered with an ecstatic six-minute standing ovation as the audience inside the Sala Grande Theatre kept chanting “Bravo!“

Clutching the hand of festival chief Alberto Barbera, Blanchett took a bow — but the clapping continued and even grew louder. When the applause finally ended, a misty-eyed Blanchett turned to someone on her team and said: “Let’s get a drink.”

Indeed, Blanchett’s work in “Tár” will likely be one of the most toasted performances of Oscar season. The enthusiastic reviews for the film all but guarantee Blanchett will land her eighth Oscar nomination for acting. (She’s already won two Academy Awards — for 2005’s “The Aviator” and 2014’s “Blue Jasmine” — but “Tár” is bound to stir up speculation that she could take home a third statuette in March 2023.)

Please be aware that some reviews and interviews with the cast and director include spoiler from the movie.

Day 2

79th Venice Film Festival – Day 2

Photocall

TÁR Photocall

Press Conference

TÁR Press Con begins at 2:22:00

TÁR Press Conference

Red Carpet

TÁR Premiere Arrivals

Video from Il Gazzettino

Cate Blanchett arrives at around 32:00

 

TÁR Red Carpet

Reviews

In Tár, Cate Blanchett Gives a Dazzling Performance as an Orchestra Conductor on the Edge

In writer-director Todd Field’s dazzling, uncompromising high-wire act Tár—playing at the 79th Venice Film Festival—Cate Blanchett plays Lydia Tár, a conductor at the top of her game, and of her world. We don’t see her struggling to be the best, or complaining about how hard it is to be recognized in a field dominated by men. In fact, she believes women conductors have no reason to complain about disadvantage or discrimination. While men often use money and power to fuel their sense of entitlement, Lydia stakes her claim on her own intelligence. She takes what she wants from people and leaves scorched earth behind. She’s great and awful in equal measure, so compelling you can’t turn away from her, but also touching in a way that never courts our pity. She’s unlike anyone we’ve ever seen onscreen, which may help explain why this is only Field’s third movie as a director, even though he has worked steadily through the years as an actor: he’s obviously a guy who waits for the right one to come along.

Tár, Field’s first film in 16 years, is extraordinary. It’s also, in places, disconcertingly chilly and remote, possibly the kind of movie that’s easier to love than it is to like. But people will surely be talking about it, and about Blanchett’s performance specifically. Blanchett, though extremely gifted, can be excessively mannered. (Her 2014 Oscar-winning role in Blue Jasmine is Exhibit A; she hits each Blanche du Bois-inflected note with tuning-fork precision.) But she can also be a performer of great, near-alien strangeness and beauty, and that’s the subterranean current she’s tapping as Lydia Tár. This is a willful, charismatic performance, stubborn and elegant as a vine.

Field’s previous two films were adapted from previously existing sources: In the Bedroom, from 2001, was drawn from an Andre Dubus short story, and Little Children, from 2006, was based on Tom Perrotta’s novel of the same name. But Tár, he has said, was written specifically for Blanchett, and his surefooted direction makes the most of her every line and gesture. When Blanchett as Lydia stands before her musicians, she’s so open she may as well be listening through every pore. In her kingdom of woodwinds and strings, she can hear things we can’t, like the rush of wind beneath a bird’s wing—she knows intuitively whether that whoosh is too loud or too soft, and she can shift it accordingly. Blanchett learned to speak German, play piano and conduct an orchestra for the role, though what she does goes beyond mere research and memorization. Her movements are precise, definitive, balletic: Blanchett plays a woman who knows what she was born to do, and the thrill of it sets her eyes ablaze. Tár doesn’t offer anything as comfortable as redemption, and it asks us to fall in love, at least a little, with a tyrant. But how often do we see women portrayed this way, as magnificent rather than admirable? Lydia Tár is the antithesis of tote-bag feminism, not least because she knows that the power of a question is greater than that of a slogan.

Full review on TIME

TÁR: a sly, scabrous symphony

Cate Blanchett is mesmerizing as a monstrous orchestra conductor in Todd Field’s latest masterpiece, one of the most grippingly brilliant films of the year.

Todd Field’s TÁR is a two-hour-38-minute slow dive into the increasingly alienating psychology of a world-famous orchestra conductor. It moves to a rarefied tempo: philharmonic politics, contested cello solo auditions and live-recording contract negotiations for one of Mahler’s more daunting works. It is replete with classical-music-world in-jokes and casually caustic namedrops that must mystify anyone who failed to graduate from Juilliard with honors before pursuing a doctorate in Advanced Stravinsky. It has absolutely no business being even remotely watchable, and yet here it is, one of the most grippingly brilliant films of the year, featuring, in Cate Blanchett’s mesmerizing central turn, perhaps the season’s first truly irreplaceable star performance.

Full review on Sight and Sound

‘Tár’ Review: Cate Blanchett Orchestrates Her Own Destruction

“TÁR” is so much more than the Great American Movie about “cancel culture” — a phrase that it humiliates with every movement — but this dense and difficult portrait of a female conductor’s fall from grace also demands to be seen through that singular lens from its very first shot. Todd Field’s thrilling, deceptively austere third film exalts in grabbing the electrified fence of digital-age discourse with both hands and daring us to hold onto it for 158 minutes in the hopes that we might ultimately start to feel like we’re shocking ourselves.

The “Little Children” maestro’s first movie in 16 years — and the only original screenplay he’s ever directed — isn’t quite the ultra-mordant satire you might imagine if someone just told you where its final scene takes place. On the contrary, Field has come back to us with a savage yet acutely sincere character study that’s slathered in a million shades of gray. “TÁR” tells the story of a trailblazing woman whose aspiration to embody the grandeur of the past makes her vulnerable to the uniquely modern pitfalls of the present. The film is every bit as brilliant and implosive as she is.

Cate Blanchett makes for a magnificent 21st century Icarus. Expertly weaponizing her inimitable gravitas away from art and towards predatory self-preservation instead, the “Carol” star commands the movie’s lengthy and unbroken scenes as if she were conducting them herself; as Lydia gradually loses her ability to modulate the tempo of the world around her, “TÁR” finds a sickening pleasure in the dissonance between a spiraling character and an actor in perfect control of her instrument.

We’ve seen Blanchett play women on the verge of a nervous breakdown before, but she’s never obliterated herself on screen with such concussive force. The controlled demolition of a performance she delivers here provides a more nuanced (and cautiously sympathetic) interpretation of the social dynamics behind the #MeToo movement than any male actor or character might be able to offer. It’s because of Blanchett that “TÁR” is able to elevate the uselessly outmoded paradigm of separating the art from the artist into the visceral portrait of an artist separating from herself.

Full review on Indiewire

Cate Blanchett May Have Found Her Magnum Opus in the Tremendous TÁR\

The film is loaded with references to high-culture figures, to literature, to music theory. It all sounds pretty impressive. Which is the point: how often have we been so glamoured by smarts and talent and accomplishment that we miss an obvious pattern, or disregard contrary narratives as bitter noise? TÁR offers itself up as instructive tool, diligently tearing down the specific mythos that Field has worked so meticulously to create.

Somehow, this all happens without the moralistic droning of a lecture. TÁR is breathtaking entertainment, beautifully tailored in luxe, eerie Euro sleekness by production designer Marco Bittner Rosser and cinematographer Florian Hoffmeister, and ominously scored by Hildur Guðnadóttir (who gets a little meta shout-out in the film). That fine craftsmanship is all anchored by Blanchett’s alternately measured and ferocious performance, a tremendous (but never outsized) piece of acting that is her most piercing work in years. Alluring and frighteningly vituperative, Lydia is a beguiling creation, all the more villainous for the beauty that birthed her.

Full review on Vanity Fair

Tár review by Guy Lodge

From the get-go, then, Tár aims to disrupt conventional rhythms — as does its eponymous protagonist Lydia Tár (Blanchett), a celebrated classical conductor known worldwide for her unorthodox approach to music, but known only to her most intimate inner circle for personal dealings that cross the line from unorthodox to dysfunctionally toxic. She has every award available to her art, her lifelong dream job conducting the Berlin Philharmonic, a cavernous Architectural Digest apartment that she shares with her beautiful, gifted violinist partner Sharon (Nina Hoss) and their angelic moppet of a daughter — everything, in other words. And when has having everything ever boded well for a character? Tár feels jinxed from the film’s first full scene, an agonisingly obsequious onstage Q&A — played by Blanchett with a performative graciousness that feels wryly knowing and meta — in which her manifold achievements are trotted out like a list of potential charges against her.

Yet it takes us time to spot the makings of her downfall, in part because Field’s film so cleverly guards our access to her, gradually peeling away her shellacked layers of public decorum and lucidity and wit, making us — and, one feels, the forever surrounded Tár — wait and wait to get her alone. This isn’t a typically romantic portrait of unhinged genius: the maestro (and don’t you dare call her maestra) here has an implacable core of self-knowledge and self-belief that make her spiralling sociopathic impulses all the harder to square with her sleek-suited image. Suffice it to say that MeToo-era queries of abuse, offence and cancellation are raised in the film’s complex, prickly inquiry; you can probably guess that Field and Blanchett have no interest in tidy answers.

Not since Carol has Blanchett got to negotiate this degree of inner turmoil on screen; not since her Oscar-winning turn in Blue Jasmine has a part stretched to both the most icily contained and hotly raging extremes of her range. In a film expressly about the power granted by untouchable brilliance, hers makes this impossible moral minefield of a woman warm to the touch; the unpredictable tics and intricately detailed facial maps of thinking that she grants Tár make this nearly three-hour film consistently riveting, as tense as it is languid.

Full review here.

Interview

Cate Blanchett changes music and conquers Venice with the film Tàr by director Todd Field

The first noteworthy style is the look of our conductor, Lydia Tár, a.k.a the shining Cate Blanchett; a tailor-made men’s suit, a white shirt, the blond hair on her shoulders, freshly combed, and pale make-up showcased both on the podium and in the brutalist house she shares in Berlin with her violinist wife Sharon (Nina Hoss). In rhythm, in heartbeats, in the mathematical simplicity of music is defined Lydia’s imaginary life, told in Todd Field’s film Tár, which narrates the rise and fall of the Berlin Philharmonic’s film female conductor. Cate, good friend of the Venice Film Festival, whom she supported in attendance in the darkest moments of the Covid pandemic, returns to shine, with a role tailored to her legend: a eulogy of emancipation in a world as separate and non-inclusive as the world of classical music, but spiced up with the complexities of the decision-making and the dramas of the post #MeToo era. “My character”, said the actress, “is enigmatic, she confronts power and is at the top of her career, a loner in the female world. But her life is difficult, the big apparatuses and financiers press her; every time she must prove something more. Such a struggle exhausts her. It is always more difficult for a woman in a top position”. Tár is a film with a very broad and visionary ambition, for which the Australian Blanchett studied piano, an American accent, German, and posture to be able to conduct the orchestra from the podium in a credible way. Venice is already ready to beat time with her, Cate, an absolute icon who certainly mirrors Lydia’s passion, success, and eagerness to live.

Press Junket

Day 3

79th Venice Film Festival – Day 3
Source: Variety, Elle Italia,

Cate Blanchett in the new teaser for TÁR; poster and still released ahead of world premiere in Venice
Posted on
Aug 26, 2022

Cate Blanchett in the new teaser for TÁR; poster and still released ahead of world premiere in Venice

Hi, everyone!

— From producer-writer-director Todd Field comes TÁR, starring Cate Blanchett as the iconic musician Lydia Tár. TÁR examines the changing nature of power, its impact and durability in our modern world.

Focus Features has released a new teaser trailer for TÁR, it just looks as enigmatic as the first one that was released a month ago. A poster and a new still were also released. The official website of the movie has already been updated today. You can follow TÁR’s social media accounts for updates which we will be linking below. Some countries already have release dates, it will be distributed by Focus Features in the US, then Universal Pictures for global distribution.

TÁR Facebook | TÁR Instagram | TÁR Twitter

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TÁR Teaser

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Release dates

October 7, 2022
USA, Canada

November 3, 2022
Italy

January 4, 2023
France

January 19, 2023
Netherlands

January 20, 2023
UK, Ireland, Spain, Lithuania

February 9, 2023
Singapore

February 23, 2023
Germany, Switzerland, Austria

March 10, 2023
Turkey

Source: IMDb