The House with a Clock in its Walls – Press Conference and Press Junket additions
Posted on
Sep 22, 2018

The House with a Clock in its Walls – Press Conference and Press Junket additions

Hello Blanchetters!

We have new pictures from the Press Conference held on September 13 and a new magazine scans. Enjoy!

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


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

New videos and interviews are enriching the movie’s press junket, we can barely keep up!

TVI24 (click to watch the video)

Despierta América

Ocean’s 8 – Italian Press Junket
Posted on
Aug 1, 2018

Ocean’s 8 – Italian Press Junket

Hello Blanchetters. Are you enjoying summer?
We are, of course, with the italian press junket of the movie. We have four new video interviews and one article to add to the ever growing list of Ocean’s 8 Press Junket.
The movie also opens in Japan in one week! Enjoy!

https://www.youtube.com/watch?v=NN7ZIAylk_s

‘Ocean’s 8’: Rapinateci!
Non è un remake, non è un sequel e nemmeno uno spin-off. Ma una storia di guardie e ladre, dove nessuno sente la mancanza di George Clooney. La nostra intervista al cast del film di Gary Ross.

New York City, tarda mattinata. Brusio di passeggeri misto a scortesia, qualcuno allunga le mani. Poi, mentre esco dalla stazione della metropolitana tra Fifth Avenue e l’82a, nel pieno della Museum Mile (dove ci sono più musei che case), me lo ritrovo davanti. Imponente, iconico. Con 2 milioni di opere d’arte suddivise in 19 sezioni e 180mila metri quadrati calpestabili, il Metropolitan Museum di New York è una tappa obbligatoria per chiunque capiti nella Big Fucking Apple, una miniera d’endorfina infinita per chi cerca cultura e anche per chi preferisce i social current events – vedi alla voce Met Gala, 30k a biglietto.

Per la Bestia e i lettori di RS, invece, è “solo” la sede dell’anteprima stampa e delle interviste al cast di Ocean’s 8. Il film più atteso dell’estate non è un reboot in rosa dei tre precedenti maschili, ma una storia parallela interna alla stessa famiglia di Danny Ocean (George Clooney). Una storia che inizia con l’uscita di galera della sorella Debby (Sandra Bullock) e delle sue amiche. E che amiche: Cate Blanchett, Anne Hathaway, Rihanna, Mindy Kaling, Sarah Paulsen e Miss Teen New Face 2018, cioè la rapper e comica Awkwafina, che rivedremo in sala a breve con Crazy Rich Asian. Tutte dirette dall’esperto Gary Ross (Big, Hunger Games, Free State of Jones). Superato lo shock di vedere in una sola stanza così tanto cinema, maestria, innocenza e terrore, sotto con le domande.

Com’è nata l’idea di un film con un cast tutto al femminile??
Gary Ross: Sono amico di Steven (Soderbergh) da anni e abbiamo già collaborato insieme. Io l’ho aiutato sui set dei vari Ocean’s, lui ha diretto la seconda unità in Hunger Games. Quando mi è venuta in mente l’idea l’ho chiamato e l’ha trovata geniale, dicendomi che avrei dovuto parlarne a Sandy (Sandra Bullock), che in quel periodo stava girando Gravity con George Clooney, e che sarebbe stato geniale trasformarla in sua sorella. Anche a lei è piaciuta l’idea, ma si è assicurata di poter prima leggere la sceneggiatura. Cinque anni dopo, eccoci qua. Per me è un lavoro molto personale, so che è un film d’azione nato dalla costola di un’altro franchise, ma anche un progetto inedito nella storia del cinema.

Sandra: Sinceramente non pensavo che una storia del genere sarebbe davvero diventata un film. Era una bella idea, ma quando abbiamo iniziato a girare non era ancora scoppiato lo scandalo #MeToo. Abbiamo avuto reazioni miste e contrastanti nei confronti del progetto, non tutti erano ottimisti. George Clooney invece ha sempre supportato l’idea, lui è sempre ottimista ed è contento quando tutto funziona senza intoppi.

Cate: Un ensemble di sole donne non vende. Almeno questa è sempre stata l’idea di molti produttori, tutti uomini, e tutti al centro del potere. Effettivamente fino a tre anni fa l’idea era inimmaginabile, ma oggi l’unica domanda che ci poniamo è: “Cazzo! Perché non ci abbiamo pensato prima?”. Il mondo sta cambiando e, anche se lentamente, sta andando verso un futuro migliore. Crediamoci.?

Quali saranno le conseguenze di #MeToo?
Cate: #MeToo è un movimento più importante di noi donne, molto più significativo di Hollywood. Riguarda anche gli uomini, ed è vitale che i media siano in grado di far evolvere la discussione pubblica, non solo per facilitare le donne, ma anche per non rischiare di rimanere affossati a parlare degli stessi argomenti negli anni a venire. Il punto di tutto questo casino è di raggiungere una certa parità nel campo del lavoro, e dobbiamo continuare a discuterne finché non succederà.

Awkwafina: È importante avere supporto dal sistema. Nonostante il successo di registe come Patty Jenkins, Greta Gerwig e Ava DuVernay, solo il 3% dei film che escono quest’anno sono diretti da donne. Senza nulla togliere a Gary, regista straordinario che ama le donne e che ha voluto raccontare questa storia. Senza di lui non sarebbe mai stato possibile.

Anne: Questo film è incredibile per vari motivi, soprattutto perché non dobbiamo sottovalutare il potere che l’immagine ha nei confronti delle nuove generazioni. Se le bambine di oggi crescono guardando film come questo, forse domani per loro sarà più normale vivere in un mondo dove esiste l’uguaglianza lavorativa, sessuale e di qualsiasi altro tipo. Il cinema può cambiare la mentalità delle persone, anche quelle da sempre escluse dalla Storia.?

Per chiunque voglia rispondere: credete che sia l’inizio di un nuovo trend? Film corali maschili, trasformati al femminile…?
Cate: Questo non è un remake e non è uno spin-off. Diciamo che è un film con un passato ma che adesso ha una vita autonoma. L’unico modo per poter rispondere a questa domanda è… andate a vederlo e poi ne parliamo.

Uno degli aspetti più interessanti del franchise originale è proprio il profondo rapporto di amicizia che esiste nel cast. Nel vostro caso come avete legato??
Sandra: Ci siamo trovate subito bene, nessuna di noi ha fatto la diva. Dopo aver lavorato tutto il giorno, ci trovavamo la sera per mangiare o bere tequila, il mio drink preferito. Abbiamo capito subito che potevamo essere oneste e sincere senza problemi di gelosie. Poi, ovviamente, i media hanno inventato storie di litigi, tutti volevano metterci contro per ragioni stupide, ma non è mai successo. L’atmosfera tra noi era molto spontanea, è stata una bellissima esperienza, mai avrei mai immaginato che saremmo riuscite a creare un legame così profondo.?

Anne: Non mi sono mai sentita sola o esclusa, ognuna di noi è stata libera di condividere le proprie idee ed esperienze senza aver paura di essere giudicata. Inizialmente ho esitato ad accettare il ruolo perché avevo partorito da poco ed ero sovrappeso. Gary mi ha aiutato tantissimo dicendomi che c’erano otto donne nel film e che voleva assolutamente avere attrici con corpi diversi. Quando ho incontrato Rihanna mi ha squadrata e mi ha detto che finalmente avevo messo su un bel culo, proprio come il suo!

Awkwafina: Sì, Gary ci ha tenuto molto a rappresentare accuratamente questo gruppo di donne, sottolinearne la diversità non solo del colore della pelle, ma come persone con caratteri ben distinti. Spesso vedi gente di colore messa li? solo per fare vetrina. In Ocean’s 8 io sono una newyorkese del Queens, e il mio essere asiatica non ha niente a che vedere con la storia, non mi definisce come persona. Credo che questa sia la direzione giusta da seguire, soprattutto se noi donne vogliamo ottenere parita? razziale e di genere.

Gary, sei riuscito a convincere tutte le attrici che volevi nel film?
Gary: Si?, al 100%. Sandy e? stata la prima a essere coinvolta e partendo da lei abbiamo iniziato a pensare a chi potesse bilanciare la sua personalita?. E? come quando organizzi una cena, non puoi invitare la gente a caso, altrimenti cambia totalmente la dinamica della conversazione. E? stato un processo che si e? evoluto naturalmente: quando ho incontrato Mindy Kaling non sapevo che fosse cresciuta in una comunita? di indiani del Queens famosa per la sua industria di gioielli. Da questi dettagli ho delineato il suo personaggio, e lo stesso e? successo con Rihanna: la sua eredita? creola mi ha permesso di dare al suo personaggio uno stile a? la Bob Marley, i capelli e il modo in cui si veste rappresentano la sua eredita? culturale.

Il film e? molto glamorous. Come avete scelto lo stile dei personaggi?
Cate: Siamo donne e ci piace vestirci bene, anche se il film non e? assolutamente un fashion show. Lo stile rappresenta i vari caratteri e tutti hanno un’i- dentita? ben definita. Solo per me la costumista ha creato piu? di 40 look diversi ispirandosi alla scena newyorkese di inizio anni ’70 e ne anni ’80, quando il rock incontrava la new wave e Keith Richards si evolveva in Debbie Harry. Un bel mix, molto adatto alla mia personalita?.

Sandra: Tutti i designer sono stati molto generosi e hanno collaborato per soddisfare le nostre richieste. Il mio vestito per il Met Gala, disegnato da Alberta Ferretti, ha degli accorgimenti fatti per quando ruberemo e… (viene improvvisamente zittita da un balzo di Cate, che le impedisce di parlare, nda). OK, ok, ok non dico nulla. Il vestito richiedeva determinate misure, taglia e colore visto che devo rendermi invisibile. I ricami dell’abito hanno un tema acquatico, con piastre di ricci di mare, stelle marine e onde, visto che mi chiamo Ocean… Molto bello.

Anne: Io avrei voluto indossare tutto quello che aveva Cate, soprattutto i pezzi in velluto di Burberry. Per la serata al Met indosso Valentino, un abito stupendo. E? stato un evento unico e indimenticabile.

A quando l’atteso sequel?
Sandra: A me piacerebbe molto, ma e? presto per dirlo…
Cate: Se ci sara?, non so se saro? disponibile… Sai com’e?, ho sempre da fare, ruoli importanti, scelte sociali, battaglie da portare avanti…

Si alzano ridendo.
E, cosi? com’erano arrivate, se ne vanno.

Source

Truth – New promotional interviews from Germany
Posted on
Jun 2, 2016

Truth – New promotional interviews from Germany

Hello everybody! Truth opens today in Germany, titled Der Moment der Wahrheit, so support your favourite actress and go watch the movie in cinemas!


Gallery Links:

Cate Blanchett: “Ich hatte viel Glück im Leben.”

Sie ist eine der ganz großen in Hollywood und das ohne viel Gehabe. Die ausgebildete Theaterschauspielerin Cate Blanchett war “Elizabeth”, beim “Herrn der Ringe” und beim “Hobbit” dabei, wechselt zwischen großen Blockbustern und kleinen Arthousefilmen, hat für “Aviator” und “Blue Jasmine” zwei Oscars zu Hause stehen. Aktuell ist sie wieder im Kino, in dem Journalistendrama “Der Moment der Wahrheit”. Anna Wollner hat Cate Blanchett in London getroffen und mit ihr über ihre Liebe zum Theater, den Film und ihr Verhältnis zur Presse gesprochen.

Anna Wollner: Sie spielen in “Der Moment der Wahrheit” die Investigativ-Journalistin Mary Mapes, die versucht hat, George W. Bush zu Fall zu bringen. Ist es ein politischer Film?

Cate Blanchett: Unser Film ist nicht über George W. Bush oder die Republikaner. Genauso wie “All the Presidents Men” kein Film über Nixon ist. Es geht eher um das ungesunde Verhältnis zwischen der Wirtschaft, den Medien und der Politik. Diese Vermischung findet statt. Jeden Tag. Das sollte man immer im Hinterkopf haben, wenn man Wählen geht.

Also ein aktueller Kommentar auf den amerikanischen Wahlkampf?

Wenn Sie so wollen, ja. Das Rennen hat ja schon längst begonnen. Das erschreckende für mich ist immer wieder, dass es gar nicht um Inhalte, Ideale und Visionen geht, sondern um Personenkulte und Inszenierungen. Das passiert nicht nur in Amerika, nein auch in Australien oder Deutschland. Es fühlt sich an, als würden die Medien Wahlkampf betreiben und nicht die Ideen, die hinter den Parteien stehen.

Wie war ihr Treffen mit der echten Mary Mapes?

Kurz vor Beginn der Dreharbeiten kam Sie nach New York und sah mich im Theater. Für Sie war es vermutlich schlimmer als für mich. Mich da oben auf der Bühne stehen zu sehen und zu wissen, dass ich sie bald in einem Film verkörpern werde. Aber wir sind schnell miteinander warm geworden. Ich wollte eigentlich nur von ihr wissen, was sie heute über all das denkt. Wissen, wie tief die Wunden noch sind. Ich glaube sie sind immer noch ein bisschen offen.

Wie groß ist ihre Verantwortung als Schauspielerin, wenn Sie eine noch lebende Person verkörpern?

Das ist ein ungemeiner Druck. Der Film basiert lose auf ihren Erinnerungen. Es war also eine Chance um Marys und Dan Rathers Perspektive der Geschichte zu erzählen. Denn sie konnten damals nicht mit der Presse reden. CBS wusste das zu verhindern. Jeder hatte also eine Meinung über die Geschehnisse. Nur sie durfte nichts sagen. Sie genoss es also, dass ihr endlich jemand zuhörte. Nicht um irgendwas richtig zu stellen, sondern einfach um gehört zu werden und eine neue Perspektive zu geben.

Sie spielen immer wieder Theater, gerade erst standen Sie als “Hedda Gabbler” in New York auf der Bühne. Was reizt Sie daran?

Warum ich immer wieder Ibsen mache? Das ist ein Klassiker und Klassiker sind dazu da neuinterpretiert, noch einmal auseinandergenommen zu werden. Ich habe schon überall auf der Welt ganz unterschiedliche Inszenierungen mit unterschiedlichen Ansätzen gesehen. In England, Australien, selbst in Deutschland. Jede Kultur interpretiert das Stück aufs Neue – es ist eben eine sehr zeitlose Geschichte.

Worauf achten Sie bei ihren Theaterrollen?

Ich habe immer versucht Rollen wie Hedda Gabler oder Blanche DuBois in Endstation Sehnsucht zu vermeiden. Am Ende haben mich immer die Regisseure überzeugt. Mein Mann hat in Sidney eine ganz tolle Inszenierung von Hedda Gabler gemacht. Er hat den Begriff Skandal neu ausgelegt. Heute kann ein Skandal eher eine Karriere schaffen, als sie vernichten. Hedda Gablers Angst vor einem Skandal hat mich gereizt. Die Angst davor an die Öffentlichkeit gezerrt zu werden.

Ein Gefühl, dass Sie als Schauspielerin sicher kennen?

Natürlich spreche ich öfter mit der Presse als mir lieb ist. Da führt als Schauspielerin kein Weg dran vorbei.

Wie fühlen Sie sich als Hollywoodstar von den Medien behandelt?

Ich sehe mich gar nicht als Hollywood- oder Filmstar. Ich bin Schauspielerin, Das war’s. Ich habe weder Facebook noch Twitter noch Instagram. Ich habe vier Kinder, leite ein Theater und bin froh darüber, dass meine Arbeit mich ausfüllt. Natürlich ist das ein Luxusproblem.

Wie haben Sie es geschafft unterhalb des Presse-Radars zu fliegen?

Ich rede nicht über mein Privatleben. Ich mache meine Arbeit und mein Privatleben bleibt mein Privatleben. Ich veröffentliche keine Fotos von mir im Urlaub. So einfach ist das. Allerdings muss ich gestehen, dass sich in den letzten 15 Jahren wirklich viel verändert hat.

Wie finden Sie die Balance zwischen ihrer Theater- und ihrer Filmarbeit?

Der Job eines Schauspielers besteht doch darin das Gleichgewicht zu verlieren. Natürlich muss ich absolut organisiert sein, um das Chaos zuzulassen. Ich hatte viel Glück im Leben. Ich war auf der Schauspielschule, hätte aber nie gedacht, dass ich überhaupt in der Lage bin, im Filmgeschäft zu bestehen. Als ich aber die Chance bekam, habe ich Blut geleckt. Zum Glück kann ich hin- und her springen zwischen den Welten.

Haben Sie da eine Art Fahrplan? Nach einem Filmprojekt kommt ein Theaterprojekt und dann wider ein Film?

Nein. In den letzten acht Jahren habe ich überwiegend Theater gemacht, die Ausflüge zum Film genieße ich daher umso mehr. Mir reicht es auch oft, als Produzentin im Hintergrund zu agieren. Umso schöner ist es, dass meine Produktionsfirma “Dirty Skys” auch an meinen letzten beiden Filmen “Der Moment der Wahrheit” und “Carol beteiligt war. Das waren zwei Projekte, in die ich all meine Leidenschaft gesteckt habe. Ich muss nicht immer vor der Kamera oder auf einer Bühne stehen um glücklich zu sein. Teil einer Diskussion zu sein reicht mir.

via MDR Kultur

Cate Blanchett: “Es ist fast unmöglich, sich nicht in Robert Redford zu verlieben!”

Im auf wahren Begebenheiten basierenden Journalisten-Krimi “Der Moment der Wahrheit” (Kinostart: 2. Juni) lösen Cate Blanchett und Robert Redford einen Medienskandal aus. Im Interview spricht Cate Blanchett über ihre Rolle als TV-Journalistin Mary Mapes.

Mitten im US-Wahlkampf 2004 stößt die TV-Journalistin Mary Mapes (Cate Blanchett, GOLDENE KAMERA 2002) auf brisante Details aus der Militärakte von Präsident George W. Bush. Sie glaubt beweisen zu können, dass Bush sich mithilfe familiärer Beziehungen um einen Einsatz in Vietnam herumdrückte und selbst in Texas zeitweilig gar nicht zum Dienst erschien.

Der renommierte TV-Moderator Dan Rather (Robert Redford) berichtet in der Sendung “60 Minutes” davon. Nach der Sendung zweifeln Netz-Aktivisten die Authentizität der Papiere an. Es werden Stimmen laut, dass es sich bei den Dokumenten um Fälschungen handeln könne und dass sich ihre Echtheit nicht verifizieren lasse. Im Internet beginnt ein Shitstorm.

n den USA ist dieser Medienskandal als “Rathergate-Affäre” bekannt. Er gilt als erste Politaffäre der USA, in dem seriöser Journalismus unter den Druck des Internets geriet. Die Konsequenzen in der Realität wie im Film: Mary Mapes wird gekündigt, Moderator Dan Rather tritt ab.

Mit viel Überzeugungskraft spielt Cate Blanchett in “Der Moment der Wahrheit” die kritische TV-Journalistin, deren Ruf und Integrität am Ende zerstört sind. Eine packende Geschichte, vor allem vor dem Hintergrund der gegenwärtigen Glaubwürdigkeitskrise des Journalismus.

Können wir den Nachrichten noch glauben? Oder ist das Vertrauen gebrochen?

Ich bin mit dem Glauben aufgewachsen, dass alles wahr ist, was man liest. Und dieser Irrtum schlummert auch heute noch etwas in mir. Die Ereignisse in “Der Moment der Wahrheit” spielen sich in 2004 ab – vor der Wiederwahl von Präsident George W. Bush – was nicht allzu lange her erscheint, aber es liegen Welten zwischen damals und heute. Presse und Politik sind gegenwärtig so unsichtbar miteinander verstrickt, die politische Berichterstattung hat sich extrem verändert. Wir haben eine neue Beziehung zu Nachrichten und Informationen entwickelt. Wir twittern über Penisse, und die Kardashians sind unsere Definition eines Skandals (lacht). Die Pressefreiheit ist einer der Voraussetzungen einer gesunden Demokratie, aber wie urteilsfrei sind die Nachrichten, wenn ein Profit von ihnen erwartet wird? Einer der interessanten Fragen, die dieser Film aufwirft, ist die Rolle des Journalisten. Es ist leicht, Mary Mapes als naiv abzustempeln, aber sie befand sich plötzlich zwischen dem Neuland von Blogs und Social Media, der Toxizität der politischen Atmosphäre und der immer kooperativer werdenden Nachrichten. Sie wurde dafür kritisiert, dass sie George W. Bushs Dienst in der Texas Air National Guard in Frage stellte, aber genau das ist die Aufgabe eines Journalisten.

Was war die größte Herausforderung für Sie?

Die Verantwortung, eine Person zu spielen, die gesund und munter ist. Ich habe für diese Rolle Archivmaterial von Marys Interviews nach der Krise studiert, in der sie sich im freien Fall und Trauma befand. Aber dann hatte ich auch das Glück, sie persönlich kennen zu lernen. Mary besuchte mich zusammen mit Regisseur James Vanderbilt und Produzent Brad Fischer, als ich letztes Jahr in New York ein Theaterstück vorführte. Wir gingen alle zusammen aus, und ich habe mich auf Anhieb mit ihr verstanden. Aber es war eine andere Mary, als die, die ich recherchiert hatte. Ihre Leidenschaft und ihr Hass gegen Hypokrisie und Ungerechtigkeit waren unverändert, aber anstatt depressive Züge vorzuweisen war sie voller Lebensfreude und Energie und Humor. Nach diesem Abend sind wir per Skype in Kontakt geblieben. Wenn ich eine Rolle wie Elizabeth I spiele, kann diese mir nicht via Skype sagen, dass ich alles falsch darstelle (lacht). Aber Mary, und auch Dan Rather, haben uns während der Dreharbeiten besucht, und das waren die nervösesten und peinlichsten Momente meiner Karriere.

Wie nervös waren Sie, mit Robert Redford vor der Kamera zu stehen?

Vor meiner ersten Begegnung wusste ich nicht, wie ich ihn ansprechen sollte. Mr. Redford? Oder Robert? Ich kann ihn doch nicht Bob nennen! Aber Bob war so locker und offen und charmant, nach der ersten Sekunde hat man das Gefühl, dass man schon seit drei Monaten befreundet ist. Er ist nicht nur ein toller Schauspieler, sondern auch ein fantastischer Mensch, der sich vor keiner Herausforderung scheut – egal ob sie politisch oder sozial oder kulturell ist. Er kennt keine Angst, was ich total in ihm bewundere. Dan und Marys Beziehung war die einer intellektuellen symbiotischen Ehe mit gegenseitigem Respekt und Loyalität. Meine kreative Umarmung mit Robert Redford in diesem Film spiegelt diese Beziehung wider, mit einer Ausnahme: ich fühle mich auch sexuell zu Bob angezogen (lacht). Es ist fast unmöglich, sich nicht in Robert Redford zu verlieben!

Das ist das zweite Mal, dass Sie eine Journalistin spielen. Hätten Sie Lust auf diesen Job?

Mary Mapes und Veronica Guerin sind beide sehr intelligente Frauen mit unheimlich viel Widerstandskraft und extremer Neugier. Ich bin sehr von Menschen wie diesen beiden Journalistinnen beeindruckt. Wie sie es schaffen, das Vertrauen der befragten Personen zu gewinnen und ihnen die härtesten Fragen stellen können. Ich glaube nicht, dass die Unverfrorenheit dazu hätte. Ich bin einfach zu höflich dafür (lacht). Und zu feige. Veronica Guerin hat für ihren Beruf mit ihrem Leben gezahlt. Und Mary Mapes’ Integrität und Ruf wurden zerstört.

via Goldene Kamera

I’ve also found the new posters


Gallery Links:

And a promotional image with Robert Redford, Mary Mapes and Dan Rather

Posted on
Mar 8, 2016

Promotional interview for ‘Truth’

This one is from Singapore!

The truth about Cate Blanchett

The Australian actress gives her take on politics and the upcoming US elections, but keeps her private life to herself

Cate Blanchett, a marching wind of navy-but-almost black in a deceptively comfortable-looking pantsuit, glides into a suite at London’s Corinthia Hotel, meaning business.

“Right… nnngh. What are we talking about today?” she asks, eyes aflash with a steady, open gaze; hair smoothed neatly in a blonde bob around a strong-boned face.

The subject of discussion, it turns out, is social realism, philosophy and Ibsen. A Norwegian journalist has cut into the game quickly via a question about her theatrical work.

“These plays are classics because they are always ripe for reinvention and re-examination,” the actress says, referring to Norwegian playwright Henrik Ibsen’s An Enemy Of The People as an example.

“I’ve seen a lot of different productions in England, in Australia, in Germany, so it clearly crosses a lot of cultures – that somebody who’s inside the system, someone who sees the system as broken, compromised and corrupt and trying to expose that corruption and ultimately being destroyed.”

Blanchett, 46, could go on to debate the frayed morals of society and all the individual intractable stakes in it, and how the stage is a useful refraction of the incorrigibility of the world. But she is here to talk instead about her involvement in James Vanderbilt’s Truth, about the rise and fall of American TV news programme 60 Minutes producer Mary Mapes.

In 2005, the TV executive was systematically and politically persecuted over her alleged exposure of former president George W. Bush’s draft dodging via undocumented falsified military records in the 1970s.

Masterfully segueing into the topic that brought the press team into the room in the first place, Blanchett says: “Truth – it’s about a very particular pocket of American history but I think it has a universality that Ibsen does.”

But she also adds that it is not a biopic about Dan Rather, the journalist caught in the controversy, or Mapes.

“In some way that All The President’s Men is not about (former president Richard) Nixon, this film is not about George W. Bush or the Republicans either. It’s more about the unhealthy crucible of corporate America, its media and its politicians.

“And I think that’s an interesting question… it raises a series of interesting questions for not only the American public but for the Western media generally, about the global media.”

Slowly but surely, the Australian actress is provoking thoughts on the upcoming elections in the United States and, by extension, political reporting around the world.

“It’s an interesting question to have in your mind when you’re going to the polls. Because the horse races have begun.

“There’s very little content, very little ideology, it’s all about personality. It happens in the US and in Australia, I’m sure it happens everywhere. It feels like the media is running the election, rather than the ideas driving the election.”

Fast-talking and quick-thinking, she slides easily between topics in conversation, casually holding onto her reign as queen of court among four journalists at this interview. She has been a 16th-century monarch incarnate twice in her breakout film role Queen Elizabeth I in 1998 (Elizabeth) and again in 2007 (Elizabeth: The Golden Age).

When Hollywood first descended upon her with a slew of opportunities after Elizabeth, she was already a successful stage actress. Her star rose through the ranks with successful appearances in the film world. Roles ranged from gutsy crime reporter Veronica Guerin (Veronica Guerin, 2003) to the ethereal Galadriel in the Lord Of The Rings series, to a cross- dressing Bob Dylan in I’m Not There (2007) and campy evil baddies in Indiana Jones And The Kingdom Of The Crystal Skull (2008) and Cinderella (2015). She was also nominated for a best actress Oscar in Todd Haynes’ acclaimed Carol (2015), where she plays an older woman romancing a young photographer (Rooney Mara) in 1950s New York.

And yet she insists that she still has “never really worked in Hollywood” and never bought into the media circus. “I personally don’t like knowing anything about the actors I see on screen because I find it gets into the way of immersing myself into the story,” she says.

Unafraid to comment on fellow Australian Rupert Murdoch, she muses further: “I don’t think a monopoly of media ownership is healthy for any country. And certainly this is centralisation of media ownership in Australia. A democracy can function only when it has a truly free and diverse press.

“Particularly now – we digest captions and that’s enough,” she adds. “It’s very hard to get news these days because it’s so mixed up with the memes. There’s an erosion of investigative journalism and the space in televised media. With the twittersphere, the advent of the blogosphere… it’s very difficult to separate opinion news from factual news. But we need diversity to find out what’s going on.”

Does she still believe in journalism? “I mean… here we all are,” she says with a shrug, looking at all the reporters in the room with irony, flashing a tired smirk.

“I end up speaking to the media much more than I like. I consume news. I’m interested in what’s going on in the world.

“But I don’t have Facebook or a Twitter account, I’m not on Instagram. I’ve got four children, I run a theatre company in Australia, I’m lucky enough to do the work that interests me. It’s a high-class problem,” adds Blanchett, who is married to long-time husband Andrew Upton, fellow director of her Sydney Theatre Company, where she has been “primarily happily working for the last eight years, with the occasional foray into film”.

Indeed. She will thump your head with irresistible elan and beautiful words over the degenerating politics of the world, or her support of green causes, or her feminist response to media fetishisation of actresses’ bodies in the name of fashion. But she will give you zilch on her private life and thoughts.

“I don’t talk about it. Don’t publish photos of myself on holiday. My work is my work and my private life is my private life. It’s expanded exponentially in the last 15 years. The landscape was quite different when I first started.”

What movie magazines and the Internet will tell you is that she is the middle child of a Texan-born naval petty officer and a teacher, and raised in a Melbourne suburb. Dropping out of university to travel around the world – and thereby accidentally making her first movie appearance as an extra in a party scene on an Egyptian film set, she eventually went to drama school and dove onto the stage.

She is lined up for no fewer than five other film openings over the next two years, including the Terrence Malick project Weightless.

Still, her life off-stage is not only the silver screen: She is eager to let you know she spends valuable time “producing the work of others”.

“An actor’s job is to be slightly out of balance. If everything is neat and siloed and tied up in little bows, it becomes a little dull. You need a little bit of chaos. I guess you need to be hyper-organised if you’re going to have chaos.”

via Straits Times

Recent interviews
Posted on
Mar 6, 2016

Recent interviews

Hello everyone! Another interview from the SK-II #changedestiny event in LA, introduced by an quick meeting behind the scenes of the last Academy Awards (click on the image below to open the video)



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And a new press junket interview from the Japanese promotion of Carol


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An interview from France via Closer Mag

CATE BLANCHETT : “ETRE PERSÉCUTÉ JUSTE CAR ON EST ATTIRÉ PAR UNE PERSONNE DU MÊME SEXE, C’EST UNE ABERRATION”

Malgré le succès, la magnifique actrice australienne arrive à tout concilier : carrière, mari, enfants… A l’occasion de la sortie du film “Carol”, qui raconte l’histoire d’amour entre une bourgeoise et une jeune employée d’un magasin, Cate Blanchett se confie à “Closer”.

Pourquoi avez-vous souhaité tourner un film sur le thème d’une femme tombant amoureuse d’une autre femme ?

Cate Blanchett : J’ai accepté ce film sans penser au sexe des deux personnages et en pensant encore moins au thème qui, de nos jours encore, peut être controversé. J’ai simplement trouvé intéressante l’histoire de ces deux êtres humains qui se rapprochent alors que tout les sépare : la différence d’âge, la catégorie sociale… Ce n’est pas réellement une histoire d’amour entre deux femmes, mais plutôt une histoire de désir et d’attirance entre deux personnes qui éprouvent de l’admiration l’une pour l’autre.

Avez-vous l’impression que les mentalités ont évolué sur l’homosexualité ?

Oui, heureusement. Mais ce n’est pas suffisant. Il y a encore beaucoup de tabous concernant l’homosexualité, sans parler de l’injustice et de l’hypocrisie ambiantes. Enormément de travail reste à faire. Si j’ai fait ce film, c’est aussi pour montrer à quel point il était difficile d’être différent dans les années 1950. Etre persécuté, arrêté par la police juste parce qu’on est attiré par une personne du même sexe, c’est une aberration sans nom !

Hormis l’injustice et l’hypocrisie, qu’est-ce qui vous irrite le plus dans la vie ?

Je suis effarée par le manque de responsabilité de nombreuses personnes face à la protection de notre environnement. Quand on est mère de famille, c’est tout de même un devoir de se battre contre la pollution et d’aider nos enfants à vivre dans un environnement plus sain et moins pollué ! J’ai la chance d’avoir un mari également très impliqué dans la protection de notre planète.

Quelles actions entreprenez-vous ensemble ?

Avec mon époux, nous avons rejoint l’organisation créée par Al Gore, Climate Reality Project, qui nous aide à mieux comprendre les changements climatiques. Maintenant que je suis impliquée et investie, je me sens plus utile. J’ai au moins l’impression d’œuvrer, même modestement, pour vivre dans un environnement plus propre.

Vous semblez toujours très complice avec votre mari…

Je me sens extrêmement chanceuse d’avoir rencontré l’âme sœur. Je suis d’autant plus heureuse que j’ai croisé mon mari au bon moment. Nous avons une belle relation et nous essayons de respecter les envies et les intérêts de l’un et de l’autre.

Quel est le secret de la longévité de votre relation ?

Je crois que c’est parce que nous sommes très complémentaires. Il n’y a aucune rivalité. Ce qui fait la force de notre couple, c’est le respect mutuel et surtout la tendresse. Mon mari me fait tout le temps rire ! Et c’est d’ailleurs pour ça que je tombe encore régulièrement amoureuse de lui !

Parlez-nous de la récente adoption d’Edith, 10 mois…

Nous n’avons pas pris cette décision sur un coup de tête. Depuis le début de notre histoire, nous avons toujours évoqué la possibilité d’adopter un jour. Et puis, nous avons eu des enfants [Ignatius, 7 ans, Roman, 11 ans, et Dashiell, 14 ans, NDLR]. Le temps a passé, et nous étions enfin prêts à entamer une procédure d’adoption. Mener à terme ce projet, qui s’est révélé compliqué et délicat, était important pour nous. J’ai, par ailleurs, un profond respect pour l’association Adopt Change, fondée par Deborra-Lee Furness [l’épouse de l’acteur Hugh Jackman, NDLR]. Elle permet de garder le lien entre les mères, les parents adoptifs et surtout les enfants, dans le respect de chacun.

Allez-vous être une mère différente maintenant que vous avez une fille ?

Non, je ne pense pas l’éduquer différemment de mes garçons. Mais je peux vous dire que c’est extraordinaire de regarder mes fils s’occuper de leur petite sœur. Je suis comblée, heureuse et fière d’avoir une famille aussi unie.

Est-il vrai que vous souhaitez adopter d’autres enfants ?

Je crois que nous avons clos ce chapitre.

Comment faites-vous pour gérer aussi bien votre carrière et votre vie familiale ?

J’essaie de lister mes priorités et, surtout, de prendre du temps pour moi. Mon refuge, c’est la méditation et les activités physiques. C’est important de s’occuper des autres, mais c’est aussi primordial de prendre soin de soi !

Cette interview a été publiée dans le Closer n°553

5 CHOSES QU’ON NE SAIT PAS SUR CATE BLANCHETT

1. A 15 ans, elle s’est rasé la tête. Un changement de look qui a failli lui coûter son job dans une maison de retraite.

2. Elle aurait aimé être architecte, bien qu’elle admette que “cela aurait tout de même été un désastre”.

3. L’actrice adore faire la liste de choses à faire, et les barrer une fois faites.

4. Pas très sexy ! Elle a gardé les sous-vêtements que sa mère lui confectionnait au lycée. “Je ne sais pas quoi acheter quand je me rends dans un rayon lingerie.”

5. Son mari l’a demandée en mariage un mois seulement après leur premier rendez-vous.

And a new interview to promote Truth via The Belfast Telegraph

Several years ago, I worked with a New York-based TV producer, a friend of Mary Mapes, the CBS News producer Cate Blanchett plays in Truth. I asked her if, rather than barrelling back and forth in search of stories, she wouldn’t prefer the cosy milieu of celebrity interviews. She looked at me with horror. “Not a chance,” she said. “That would be so controlled, run by PR people and studios, you’d never get the truth.”

As I watch Cate Blanchett get escorted into a hotel room for another round of junket interviews, I can’t help wondering what the fearless Mary Mapes would have said if they could see her being carefully doled out in one-question portions: the minimum access for the maximum promo.

“It’s frustrating for all of us,” Cate agrees. “Maybe if you were going to write a 10-page feature on me we’d be talking for more than a few minutes, but then who’d read that? There is a complex set of questions that this film raises and you might like to write about those, or you might like to write about, you know, how many wrinkles Robert Redford has.”

This was in reference to an earlier query by a Spanish journalist, who, to the horror of all present, asked Cate: “Do you not think Robert Redford is a bit old to play Dan Rather?”

If Hollywood’s publicity machine has no idea how to deal with journalists and their preposterous questions, Hollywood itself certainly loves to portray them on screen. Two of the biggest films of the year so far have lionised hackery: Spotlight, which deals with the Boston Globe’s investigation into clerical child abuse, and Truth, Cate’s second outing as a journalist (the first, of course, was Veronica Guerin).

It depicts the CBS News investigation that claimed to show that George W Bush received preferential treatment in being allowed to enlist in the Texas Air National Guard, thus avoiding Vietnam.

Despite Cate’s typically excellent performance and good reviews, it has been overshadowed somewhat. Spotlight easily eclipsed it as journalism movie of the year at the box office and at the Oscars, where it won the Best Picture award. Blanchett had been nominated for an Oscar for her performance in Carol.

Her role in Truth is interesting because of the parallels between Mapes’s story and Cate’s life. Much of the action in the film centres around the veracity of military service records in Texas. Cate’s father, Robert, was a US Navy officer from Texas, who later moved to Australia, where he worked as an advertising executive and met Cate’s mother June.

In Truth we are shown how the journalist’s fractious relationship with her father colours her future career motivations – he never let her ask questions, so she ends up doing just that professionally.

Growing up in Australia, Cate had to deal with the loss of her father, who died from a heart attack. Her mother was left to raise three children alone.

“If you read Mary’s memoir, her relationship with her father is a part of her upbringing. Any event in childhood has an enormous impact on who you are. I don’t sit around referencing [her own father’s death] in my life as the singular moment of grief, but I think it gave me a well-honed sense of empathy because of seeing my mother and what she went through.”

In her teens she went travelling and ended up in Cairo, where she took a bit part in a movie in exchange for five Egyptian pounds. A passion wasn’t quite born, exactly, but back in Australia she enrolled at drama school and decided to develop her talents. While still a student she won a reputation for herself as a formidable stage actress, until her film breakthrough, the titular role in Elizabeth, won her a Bafta and she was on her way.

Since then, she has hardly put a foot wrong, mixing arthouse work with multiplex behemoths. She won her first Oscar for her portrayal of Katharine Hepburn in Martin Scorsese’s The Aviator, and her second for her role in Woody Allen’s Blue Jasmine.

Cate says she has focused on the acting process rather than the commercial outcomes. “When too many people who run creative organisations are interested in money rather than content, you have them believing things like, ‘we can’t cast this person because they don’t have enough Instagram followers’. When I was starting out there was a sense that if an actress wore a certain dress she’d be more likely to win a role.”

In her twenties, she met the Australian playwright Andrew Upton. He proposed within weeks of meeting her. They now have three sons, along with baby Edith, whom they adopted last year. Motherhood has not slowed her career. It was reported last year that, collectively, her films have made nearly a billion dollars. She is still the only foreign actress ever to do a believable Irish accent, playing Veronica Guerin, the former crime correspondent with the Sunday Independent, who was murdered in 1996.

“I didn’t think about Veronica, to be honest, when playing Mary, they’re quite different characters,” she tells me. “They had quite different relationships with the organisations they were working for, but they were both outsiders. I had the impression Veronica operated much more as a lone wolf, whereas Mary is a collaborator. They were both women operating within a man’s world and they shared a distaste for hypocrisy.”

And as we get ready to wrap up she tells me her latest subject believed it was possible for ‘real’ journalists to do celebrity interviews too – as long as they were done the right way.

“She also said she enjoyed interviewing George Clooney. But I think she had a long-held belief that journalism is about providing a service.”

Hear, hear.

New promotional interviews for ‘Truth’
Posted on
Feb 24, 2016

New promotional interviews for ‘Truth’

A video interview, recorded few months ago,


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and a recent interview with Vogue

It’s hard to think of many moments in the past decade when it could not have been said that Cate Blanchett was having kind of a big year. With that caveat: Cate Blanchett had a pretty big 2015.

This fall saw the release of two much-anticipated Blanchett vehicles: Carol, director Todd Haynes’s adaptation of Patricia Highsmith’s 1952 novel The Price of Salt, and Truth, director James Vanderbilt’s adaptation of disgraced CBS News producer Mary Mapes’s 2005 memoir, Truth and Duty: The Press, The President, and the Privilege of Power.

Carol is the story of a forbidden mid-20th-century love affair between the titular character (Blanchett), a glamorous, wealthy middle-aged wife and mother, fighting for custody of her young daughter in the midst of a vicious divorce, and Therese (Rooney Mara), an aspiring photographer tentatively exploring the bounds of her own sexuality. Gorgeously art-directed and subtly told, Haynes’s film was revered by critics and recognized with six Oscar nominations, including nods for Blanchett and Mara (though notably not for Haynes in the coveted Best Director or Best Picture categories).

Truth, released only about a month before Carol, received less fanfare and was met with more controversy. In Vanderbilt’s film, Blanchett plays Mapes, the Texas-based 60 Minutes producer who was herself, in 2004, having kind of a big year. First she helped break the Abu Ghraib prisoner abuse story, a segment that would go on to win a Peabody Award. Then she uncovered evidence that President George W. Bush received preferential treatment during his service in the Texas Air National Guard. Under a time crunch, Mapes produced that piece with her mentor, longtime CBS Evening News anchor Dan Rather (played by Robert Redford), their case hinging on a series of damning memos leaked by a somewhat wobbly source.

The story may have had truth to it, but the authenticity of the memos was called into question, and the oversight became a major national news event, a high-profile humiliation for CBS, and eventually cost both Mapes and Rather their jobs. Vanderbilt’s film, based on Mapes’s account, skews sympathetic to her team of journalists, seen as thrown under the bus by network brass kowtowing to conservative corporate overlords with not-so-hidden political agendas.

Some critics heaped praise on Vanderbilt’s efforts. Others took offense to what they saw as glorification of bad journalism. (This charge landed particularly hard when Spotlight’s homage to painstaking reportorial process hit theaters only a few weeks later.)

But most agreed that Blanchett had turned in another captivating, nuanced performance as the besieged Mapes, suddenly in the midst of the sort of career-ending controversy that is every journalist’s nightmare, in a political climate deeply hostile to any perceived liberal bias.

Truth came out on DVD a couple weeks ago, which offered an occasion to get Blanchett on the phone. A little more than a week ahead of next Sunday’sAcademy Awards, we chatted about Truth, Carol, and the “conservatism” of the Oscar race.

The agenda for this interview is technically the DVD release of Truth. I feel this movie got a bit lost in the hubbub over Carol.
It’s never a happy moment when you’ve got two films coming out on top of one another, particularly two films that I felt equally passionate about. But that was unfortunately outside of my control.

I think it’s interesting that there were two really different films made about the process of putting stories together, Spotlight and Truth. It’s still, in a way, much easier for an audience, and for the media, to process the hideous and destructive transgression of the Catholic Church than to discuss the unhealthy crucible of American politics, media, and big business. It’s a very complex and unexamined relationship those three entities have. I think it needs to be talked about.

And the timing is interesting, that this came out during our current insane election cycle, and that it takes place during Bush’s re-election in 2004.
But you know, that’s when a lot of the spin in American politics started to ramp up. It became a real whirligig during that second Bush election. Certainly in the first Bush election. But one transgression, one event just rolled into the other, undiagnosed, unprocessed. It’s the 24-hour news cycle.

I’ll call him the character of Dan Rather, even though this is based on true events, but he harks back to a time when that cycle did not exist. That beast has to keep being fed, whether that information is true or accurate or otherwise.

Do you remember when the story on which Truth is based broke?
I remember the Abu Ghraib story. I remember there being a question mark over Bush’s service in the National Guard. But I didn’t know anything about the personal fallout for Mary Mapes. That was all really from Mary’s memoir. It’s important when playing a role like that to try and canvass and understand everyone’s opinion. Mary’s memoir was certainly warts and all. So that was a real revelation to me. I said, “Why hasn’t this been discussed?”

The interesting thing, too: [In the aftermath of the discrediting of Mapes’s reporting,] she was still an employee of CBS, even though she was suspended, and she was told not to speak to anybody until the so-called independent panel held at Black Rock had taken place. Whether you agree with the story going ahead or not, for one party to be silenced and the other to have all the airtime seems slightly undemocratic.

It strikes me that in both of your major films this year, Carol and Truth, you play women who have been subjected to a certain degree of oppression from the establishment. For Carol, in the 1950s, that treatment was certainly both anti-gay and deeply sexist. Do you feel Mary Mapes’s treatment was sexist?
I think the environment in which she worked was. But I think that’s the same in every single industry. I think the attacks on her were definitely to do with her gender. It’s really interesting. I just spoke to a male journalist. One of the first things he said was: Your portrayal of Mary is not sympathetic. I remember, years ago, I played an Irish journalist called Veronica Guerin. A lot of producers went to absolute lengths to justify how, as a mother, she could place herself in a dangerous position. That’s not a question you would ever ask of a male journalist.

Both movies actually have quite interesting takes on motherhood.
What I liked about Truth is that James Vanderbilt’s script didn’t overplay the mother card. Mary was a mother, her husband was a journalist. He was based in Dallas, she came and went. The film doesn’t justify how she can operate as a mother, which I think is probably some progress in cinematic storytelling from 15 years ago, when I made this other film.

You’re up for an Oscar for Carol. This year has had a particularly political run-up to the ceremony. You’ve generally had a way of staying above the Hollywood fray. Have you deliberately stayed out of that conversation?
You mean, in terms of films like Beasts of No Nation and Straight Outta Compton not being [nominated]?

Yes, exactly.
Yeah. Not deliberately. I think every year it’s important to remember: A healthy Academy, a healthy industry, is a diverse industry. A monochromatic industry is never creative.

I think what [also] needs to be remembered every year—because it doesn’t seem to shift ever—is where are the female directors? Where are the women Best Actors who are in movies made for more than a wing and a prayer? Let’s get to first base on that one. Somebody!

There’s a conservatism at work on many levels. I hazard a guess that there are many Academy members who didn’t even see films like Carol who said, “Aww, this is just a film about two women who fall in love. I don’t know if that’s going to appeal to me.”

I think it’s important to be open-minded. Todd [Haynes] has directed an extraordinary film. It’s resonated with critics and audiences. In the end that’s the most important thing. Todd has been doing this for so long, and has been so influential because he’s got an outsider’s perspective. What he’s done with Carolis he’s brought the authenticity of that perspective but made a completely insidefilm. And I think that’s a quiet revolution. For his work not to be recognized, I find it bewildering.

Posted on
Feb 23, 2016

New still and press junket interview for Carol

Cate Blanchett was nominated for a Satellite Award and an International Cinephile Society Award as Best Actress, but she lost both times. To overcome the sadness enjoy a new still

and another interview from Japan.

https://www.youtube.com/watch?v=-LkJfWRJzCE


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