UNCHR Video Campaign; and TÁR interviews
Posted on
Nov 14, 2022

UNCHR Video Campaign; and TÁR interviews

Hi, everyone! Hope we will all have a good week ahead.

UNHCR Spain released another video campaign with UNHCR Goodwill Ambassador, Cate Blanchett, to encourage people to donate to help the people of Ukraine for the coming winter.

There are also a few interviews from Sydney screening of TÁR and listen to an extended interview from The Late Show with Stephen Colbert.

UNHCR Campaign

The tragic war in #Ukraine continues to destroy lives. And now winter is coming, threatening sub-zero temperatures. Cate Blanchett explains how UNHCR is helping millions of families displaced by violence who have to survive this harsh winter.

You can donate here.

TÁR Interviews

#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.

In Aid of UNHCR – STIL Lifestyle Auction
Posted on
Jul 2, 2022

In Aid of UNHCR – STIL Lifestyle Auction

Hi, Cate fans!

Cate Blanchett has donated a custom-made suit by Grayscale in support of Ukraine and UNHCR. According to STIL Lifestyle, where some of her pre-owned items has been sold in 2020 in order to raise funds for UNCHR, the suit that Cate donated will be auctioned this Autumn along with other donated items from “most iconic, inspiring, and stylish women”. All proceeds will go to UNHCR.

The Channel 4 documentary “Ukraine: Life Under Attack” that Cate narrated was also co-executive produced by her. Follow the link below to watch.

Click image to watch



Continue reading In Aid of UNHCR – STIL Lifestyle Auction

World Refugee Day & Dispatches Episode Narration
Posted on
Jun 19, 2022

World Refugee Day & Dispatches Episode Narration

Good day! A new video of UNHCR Goodwill Ambassador Cate Blanchett has been released ahead of #WorldRefugeeDay tomorrow (June 20th). You can head to UNHCR.org for more information and how to donate. She also narrated an episode of Dispatches — Ukraine: Life Under Attack — about the battle for Kharkiv which is “told through the eyes of civilians and emergency workers who bore the brunt of the Russian onslaught.” The episode premieres on June 27th at 10pm BST on Channel 4.




Cate Blanchett on Course Correction Podcast
Posted on
Apr 12, 2022

Cate Blanchett on Course Correction Podcast

Hi, everyone!

Cate is a guest on Course Correction podcast season 3 episode 4. The third season of the podcast is in partnership with United Nations High Commissioner for Refugees (UNHCR) “to illuminate all aspects of the refugee experience”. Cate talked about her work with the agency and refugees as UNHCR Goodwill Ambassador. You can listen on links below. There’s also the interview on the recent magazine scan from Palace Scope that we posted previously.

We’d like to thank Rebecca for her donation to the site!

Course Correction Podcast

Nelufar Hedayat speaks with Academy Award-winning actor Cate Blanchett about her experiences as a UNHCR Goodwill Ambassador advocating for refugees. Blanchett explains that educating refugee children and young adults provides opportunities to be leaders in rebuilding their homelands while also benefiting their host countries.

This is a Google translated article

Cate Blanchett: “What I like above all is going against the grain”

An honorary Caesar for Cate Blanchett! That’s what warmed our hearts. As if the mere presence of this great lady of the cinema, with her intelligence above the fray, her fascinating magnetism, was already a promise of happiness. As if a close-up on her was enough to make us happy. Her feline smile, the magical sparkle of her aquamarine gaze, full of stars, the glamorous blonde and her pink complexion… “A special effect in itself,” a journalist once said of this luminous wonder of a woman, who, at 52, seems to be constantly getting younger. And this elegance, worthy of the greatest Hollywood goddesses! When host Jimmy Fallon asked her about the honorary trophy awarded to her by the French Académie des César, she exclaimed happily: “French cinema has influenced me so much!”

And what a career! From her beginnings as a “messy young girl terrified of sophisticated women”, as she says, the journey is dizzying. “I was born in Melbourne, my father was Texan and my mother Australian. Just before entering university to study fine arts, I traveled for a year. In Italy, I slept in convents, I was fascinated by the nuns.” In Egypt, she did some extras in a film about boxing! When she returned to Australia, she discovered her vocation: the theatre. While rising the wave of Australian stars, Nicole Kidman and Russell Crowe, she graduated from the National Institute of Dramatic Art in Sydney. The movie theater? “Frankly, I could stop cinema. I would also be happy staying at home knitting,” says the divine, who, against all odds, readily shows herself to be schoolboy, full of playfulness, and very rock’n’roll. Let’s not forget that she played the role of Bob Dylan! “But the desire to transcend is always stronger. Becoming an actress stabilized me. The mystery and unpredictability of this job suits me well. Being an actress consists above all in not being interested in oneself, but in taking the point of view of a gallery of characters that I carry around with me. What I like above all is to go against the current.”

When does an actor’s roles merge with her life? Two Oscars (best supporting role in 2005 for The Aviator, best actress in 2014 for Blue Jasmine), four children (three sons now teenagers and a daughter), a husband she describes as a “legend”: the friendly screenwriter and director Andrew Upton, with whom she ran the Sydney Theater Company. Conquering Hollywood and staying away from it – half in the picturesque suburbs of Sydney, half in England – is only given to the greatest. And all these crazy and impossible bets of a chameleon actress, starting with that, sumptuous, of Queen Elizabeth, a role that would crown her on the international scene at 29 years old. And propelling her to Todd Haynes, Jim Jarmusch, Woody Allen, Martin Scorsese, David Fincher, Terrence Malick… which in no way prevented her from conquering mainstream cinema! The Lord of the Rings and The Hobbit trilogy, of course, but also Indiana Jones and the Kingdom of the Crystal Skull, Thor: Ragnarok (role of evil creature acclaimed by her sons), Ocean’s 8, Cinderella, several animated films…

Last year, Cate Blanchett fiercely defended a feature film, Apples, to help its director. This year, she has already blown us away in two shocking roles: overly tanned TV host and ultra-bright teeth in Adam McKay’s Don’t Look Up. And a femme fatale, limping and bamboozling Bradley Cooper, in Nightmare Alley, by Guillermo del Toro . Two films nominated for the Oscars. We will also see her again soon in Borderlands, a science fiction by Eli Roth, who had already directed her in the children’s film The House with Clocks in Its Walls . And in Tár from Todd Field, where she plays an orchestra conductor. “I don’t choose my roles, they choose me. Of course I really wanted to act with Bradley Cooper! But, at the end of the day, it’s always the director first. When someone like Guillermo, for whom I also did a voice in Pinocchio, calls me, I go for it! It is the directors who provoke the momentum, the desire for an encounter, the desire to immerse themselves in their world and to come back from it larger.”

Among her dreams as filmmakers, two are coming true. Cate Blanchett will be the heroine of the first film in English by Pedro Almodóvar: A Manual for Cleaning Women based on the novel by Lucia Berlin: the story of a woman who has known a thousand lives. And, after having worked with the other two amigos, Alejandro González Iñárritu (Babel) and del Toro, she will turn under the direction of Alfonso Cuarón in the Disclaimer series: there she will be a journalist, threatened when her own secrets are revealed by a novelist played by Kevin Kline. Cate Blanchett is co-producing both projects through her own production company, Dirty Films.

It is also under this banner that she produced and adapted, two years ago, two series reflecting her humanitarian commitment: Mrs. America and Stateless . The first deals head-on with feminism. Cate Blanchett, it should be remembered, is one of the great figures of #Mee Too in Hollywood. The other series, based on a true story, denouncing Australia’s immigration policy. “The more the world regresses, the more I have to get involved,” says the one who was appointed Goodwill Ambassador for the United Nations High Commissioner for Refugees in 2016. “We must keep hope, especially for the younger generation, but , and it’s the same for the climate, I am appalled by the fight to be led. When we were filming Don’t Look Up, we hadn’t realized how much our satire was becoming a realistic documentary!” And if Cate Blanchett, when she presided over Venice, had chosen to wear only “recycled” outfits, it was not to lecture. “To encourage each of us,” she insists, “when we can, to do our part.” Feet in reality, head in the stars! Latest news is that Ms. Blanchett set to add a private art gallery to her Victorian mansion in Sussex. A wing to replace an old shed, with preservation of the bats that lived there… This new building, dedicated to the actress’ contemporary art collection will also include a meditation space and a studio for her rehearsals. When we tell you that Cate Blanchett is a bit of a rock star!

Source: Course Correction, Palace Scope

Cate Blanchett UNHCR video and Apples conversation clip
Posted on
Mar 23, 2022

Cate Blanchett UNHCR video and Apples conversation clip

Hello, blanchetters!

A new UNHCR video has been released for Women’s History Month. Meanwhile, Apples which was directed by Christos Nikou and executive produced by Cate was released in Japan on March 11th with new conversation clip released. Watch them below.


CATE BLANCHETT Watching “Apples” reminded me of Alfonso Cuarón’s words, “A good director has a solid sense of the” pause “in the movie.” There was a solid “pause” in this movie as well, and I felt that the story unfolded naturally as I got into the experience of memory loss. It was very complete and captivated. I couldn’t believe this was the first feature film. I wanted to meet the director, so I met Christos. I hit it off right away. My wish is to help bring this “Apples” to people.

I was overwhelmed by the acting of the main character, the man. I heard he is a former dancer. That’s why he can manipulate his own body at will. You can tell a lot with a little gesture. I think it has the same kind of lightness as Jacques Tati. It has a strong presence in satirical comedy. But his acting has a lot of weight, and it makes the unreal world convincing. Absurd scenes make me feel very painful. You can be light while having grace and solemnity. I realized that it wasn’t black humor, but humor driven by melancholy.

This work is not only about acting style, but also about directing and the atmosphere of the whole movie. Visually very impressive, clear and unique. Christos is an extraordinary film director. He throws away all the molds and makes a movie. He wants you to see “Apples” on a big screen.

Source: Bitters-Apples

UHNCR – Humanitarian aid for the displaced and refugees from Ukraine
Posted on
Mar 6, 2022

UHNCR – Humanitarian aid for the displaced and refugees from Ukraine

Hi, everyone!

UNHCR Goodwill Ambassador Cate Blanchett is urging people who can donate to help those who have fled and fleeing Ukraine due to the current situation their country is facing right now.

The UN High Commissioner for Refugees, Filippo Grandi has stated that the humanitarian consequences on civilians of this conflict will be devastating.

We urgently need your help to continue providing life-saving protection to families forced to flee their homes.

UNHCR has stepped up our operations and capacity in Ukraine and neighbouring countries. We remain firmly committed to support all affected populations in Ukraine and countries in the region.

Your support can help ensure that Ukrainians forced to flee their homes are sheltered and safe.

You can click HERE to donate.

Source: UNHCR

UNHCR Goodwill Ambassador, Cate Blanchett, shares her definition of “refugee” in The Refugee Dictionary
Posted on
Jul 28, 2021

UNHCR Goodwill Ambassador, Cate Blanchett, shares her definition of “refugee” in The Refugee Dictionary

Hi, everyone!

It looks like we are on a Cate Blanchett hiatus. But here’s a bit of a news in relation to her work as UNHCR Goodwill Ambassador – Cate has shared her definition of the word “refugee” in The Refugee Dictionary.

We also would like thank those who have donated to the site, we are able to reach our goal for hosting renewal this August.

Cate Blanchett, shares her definition of “refugee” in The Refugee Dictionary

A dictionary defining only one word – refugee – has been unveiled to mark today’s 70th anniversary of the UN Refugee Convention, which the UK helped launch and ratify in 1951. Containing over 1,000 personal definitions submitted by members of the public, including faith leaders, local communities, high profile figures and refugees themselves, ‘The Refugee Dictionary’ demonstrates a strong sense of solidarity and helps to illustrate the stories, lives and contributions of refugees in the UK. The dictionary was created by the UN Refugee Agency’s UK charity partner, UK for UNHCR.

‘The Refugee Dictionary’ was today accessioned by the British Library for its Contemporary British Publications collection, as a record of the anniversary and a work commemorating the rich tapestry of stories and futures made possible because of this significant human rights convention. The Convention defined who a refugee is in law and set out the human rights of women, men and children fleeing the horrors of war and persecution to seek safety in another country.

Contributions have been made to the dictionary by a wide range of people, including Mevan Babakar, who was a refugee for five years as a child after fleeing the Gulf War; Lord Alf Dubs who fled Nazi Germany on the Kindertransport; the first female Syrian refugee pilot and UNHCR Goodwill Ambassador Maya Ghazal; the United Nations High Commissioner for Refugees, Filippo Grandi; as well as a wide range of refugee university students.

Faith and community leaders including The Most Reverend Justin Welby, Archbishop of Canterbury, Andrew Copson, Chief Executive, Humanists UK, The Chief Rabbi Ephraim Mirvis, Zara Mohammed, Secretary General of the Muslim Council of Britain, Cardinal Vincent Nichols, Archbishop of Westminster, and Jasvir Singh OBE also shared their definitions, alongside high profile supporters including Cate Blanchett, UNHCR Global Goodwill Ambassador and actor; David Morrissey, actor and UNHCR Goodwill Ambassador; Khaled Hosseini, novelist, former refugee from Afghanistan and UNHCR Goodwill Ambassador; actor Emma Thompson; lexicographer Susie Dent; actor, influencer and UNHCR Goodwill Ambassador Tanya Burr; broadcaster, author and UNHCR Goodwill Ambassador Anita Rani; and poet Harry Baker.

You can also share your definition of the word refugee through the UN Refugees website.

Source: UN Refugees, London Post

UNHCR Ambassador Cate Blanchett sees pandemic as chance for reflection on plight of refugees; & Borderlands wraps filming.
Posted on
Jun 19, 2021

UNHCR Ambassador Cate Blanchett sees pandemic as chance for reflection on plight of refugees; & Borderlands wraps filming.

Hello, Blanchetters!

Here’s a bit of a news on Cate’s works. Ahead of World Refugee Day tomorrow, June 20th, Reuters has published a short interview with Cate. Also, Borderlands wraps filming this weekend and new set photos were shared by Jamie Lee Curtis. Check them out below.

Edit: We’d like to thank Anamary, Kelly, Michael, Shelby, Winnie, Jessica, Silvia, Erzbert, Laura, Imke, and Mary for their donation to the site.

Cate Blanchett sees pandemic as chance for reflection on plight of refugees


This year’s World Refugee Day offers a chance to reflect on the uncertainty faced by those forced to flee their homes, Oscar winner Cate Blanchett says as the world grapples with the unpredictability of the COVID-19 pandemic.

The Australian actor, a goodwill ambassador for UNHCR, the UN Refugee Agency, said the annual June 20 event came during a time of “challenge and reflection”.

“We’ve been forced to confront what uncertainty feels like and of course that is the situation that the majority of refugees live with, year in, year out,” Blanchett told Reuters in an interview.

“There’s a kind of an opportunity … to think about how we have dealt with uncertainty and perhaps place ourselves in the shoes of mothers and fathers and doctors and lawyers who have been, through no fault of their own, displaced and have been living with, for often for upwards of 18, 19 years, in that state that we have been dealing with for 18 months.”

World Refugee Day honours those who have been forced to flee their homes due to conflict or persecution. This year’s theme calls for greater inclusion of refugees in health systems, education and sport.

“Sadly, even in COVID, conflicts have continued around the world,” Gillian Triggs, UNHCR’s assistant high commissioner for protection, said in the joint interview.

“What we’re trying to talk about … is to support the host countries to enable people to be included in access to education, children to school, family members to work, but of course, most particularly in this time of COVID, access to health and to vaccines,” Triggs added.

In its annual report released on Friday, UNHCR said the number of people forced to flee their homes due to conflict, persecution and human rights abuses had doubled in the past decade to reach 82.4 million at the end of 2020. L2N2NY1MV

In her UNHCR role, Blanchett has travelled to Lebanon, Jordan and Bangladesh, and has addressed the UN Security Council on the Rohingya refugee crisis.

“There’s been a lot of fear-based rhetoric around the notion of people who have been forcibly displaced, either internally or outside their own country,” she said.

“I think that World Refugee Day couldn’t come at a better time because we can really think about how we can collectively build a stronger and safer and more humane world and that being inclusive is a superhuman power.”

Borderlands wraps filming this weekend

New (silhouette) photos were shared by Jamie Lee Curtis ahead of the finish of the production of the movie in Budapest.


Source: Reuters


Cate Blanchett on Madame Figaro (Photoshoot & Scans), UNHCR videos, & Nightmare Alley wraps filming
Posted on
Dec 18, 2020

Cate Blanchett on Madame Figaro (Photoshoot & Scans), UNHCR videos, & Nightmare Alley wraps filming

Hey, everyone!

A bit of news – new magazine cover with an interivew with Cate, UNHCR has released two new videos, and we got release month for Nightmare Alley!

Cate Blanchett : “J’évite les réseaux sociaux, je fuis la pensée unique”

Son magnétisme et sa capacité de pouvoir tout jouer en font une star célébrée. Présidente du dernier Festival de Venise, l’égérie d’Armani Beauty et visage des parfums SÌ, nous parle de confinement, de cinéma et de l’importance d’être singulière.

Elle a incarné deux fois et avec panache la reine Elisabeth Ire. Les mandats de présidente ne sont donc pas de taille à effrayer Cate Blanchett. Elle a mené le Festival de Cannes en 2018 avant de régner, en septembre dernier, sur celui de Venise. «La présidente» Cate Blanchett, outre ses fonctions régaliennes cinématographiques, y a assuré à elle seule le show sur tapis rouge, un red carpet invisible de l’extérieur puisque réservé aux seuls photographes, Covid oblige. Même sans public, elle rayonnait, effet spécial à elle seule avec son élégance jamais prise en défaut, gigantesque et longiligne, teint d’albâtre, cheveux d’or et regard bleu acier, un écrin haute couture idéal pour les créations de Giorgio Armani : Cate Blanchett est l’égérie du parfum Sì et l’ambassadrice d’Armani Beauty, par ailleurs partenaire officiel de la Mostra.

La beauté singulière de Cate Blanchett convoque un imaginaire hollywoodien fantasmagorique – elle possède l’aura des stars des années 1940, comme Katharine Hepburn qu’elle a jouée dans Aviator, de Martin Scorsese -, tout en imposant une implacable modernité : actrice superpuissante, elle est aussi à l’aise sur une scène à Broadway que dans un blockbuster (Le Seigneur des anneaux), une performance (Manifesto, de Julian Rosefeldt) ou une série TV (Mrs America). Bref, Cate Blanchett, deux Oscars, ne dédaigne aucun moyen d’expression et se fait un devoir de défendre le cinéma quel qu’il soit. Interview téléphonique.

Madame Figaro. – Quelle est l’humeur du jour ?
Cate Blanchett. –
 L’optimisme prudent. Un repli relatif. En ce moment, je vis à la campagne, en Angleterre. Je viens d’arroser les plantes, j’ai nourri les animaux et mon mari fait du pain. Je m’amuse de constater que tous les hommes de mon entourage se sont mis à faire du pain depuis le confinement…

Ressentez-vous, comme chacun d’entre nous en cette période de crise mondiale, une nécessité de vous réinventer en tant que femme ou en tant qu’actrice ?
Eh bien, vous savez, c’est inévitable pour chacun d’entre nous, ce sont des mutations auxquelles nous devons faire face depuis des décennies, depuis la révolution industrielle, en schématisant. Depuis, nous acceptons les changements sans trop nous poser de questions. Aujourd’hui, ceux auxquels nous sommes confrontés sont catastrophiques. Cette crise nous oblige donc à faire face à des problèmes préexistants auxquels nous n’avions pas envie de remédier. D’une certaine façon, c’est la nature qui rappelle à notre espèce son obligation d’évoluer. Ainsi, nous remarquons encore plus qu’auparavant les inégalités entre les différentes classes sociales, les populations et les cultures, et cela a tendance à nous diviser davantage. Mais dans le même temps, je remarque aussi beaucoup d’opportunités qui s’offrent à nous. Il suffit de regarder toutes ces initiatives, souvent lumineuses, lancées par des groupes et des individus qui cherchent à vivre différemment. Et ces projets solidaires font boule de neige. Je suis convaincue que le désir de changement est très fort, et qu’il est désormais impossible de revenir en arrière, à notre ancien mode de fonctionnement.

Au cours de ces mois difficiles, avez-vous découvert en vous de nouvelles vertus ?
Au contraire, je dirais plutôt que j’ai découvert beaucoup de vices ! Je n’ai pas particulièrement trouvé de solution ni de remède à mes inquiétudes ou à mes craintes, ni même corrigé quelques mauvaises habitudes qui rythment mon quotidien. La seule leçon de vie, finalement, c’est l’apprentissage de la patience, car, comme la majorité d’entre nous, j’aime avancer vite et beaucoup accomplir dans ma vie et dans mon métier d’actrice. Tous ces mouvements ont évidemment été considérablement freinés. L’énergie de l’autre, le regroupement, le collectif, tout cela me manque beaucoup.

Êtes-vous quand même revenue un peu à la vie normale ? Avez-vous retrouvé le chemin des studios ?
Le retour à la vie normale ne m’intéresse pas du tout ! Comme beaucoup de personnes qui travaillent, et pas forcément dans le cinéma, je cherche surtout à ralentir et à me recentrer sur moi-même… Pour 2020, j’avais décidé de prendre une année sabbatique, notamment pour mon fils aîné qui termine un cursus scolaire et que je souhaitais épauler dans le but d’améliorer son développement personnel. Le confinement n’a fait qu’accentuer cette pause.

Vos projets en cours ont-ils été maintenus ?
Je travaillais avec le réalisateur Guillermo del Toro pour le film Nightmare Alley (un thriller avec Bradley Cooper, NDLR) quand le confinement a été décrété. Rooney Mara (autre actrice du film, NDLR) a accouché de son premier enfant et je suis rentrée chez moi. Je pense que le film doit être au stade de la postproduction. Mais au-delà de l’arrêt des tournages, qui finira par n’être qu’un mauvais souvenir, le vrai challenge, c’est le retour en salles des spectateurs. Je suis obnubilée par cette composante sociale fondamentale sur laquelle repose le cinéma : un film, c’est une histoire projetée sur un grand écran, dans une salle plongée dans le noir, que l’on regarde réunis avec des inconnus, tous ensemble. L’idée, c’est que ce rassemblement, ce cérémonial, est une chose précieuse, une chose qui repousse l’isolement, une chose qu’il faut préserver absolument intacte. Bien sûr, les plateformes de streaming sont incroyables et l’offre proposée toujours plus intéressante et riche, mais je persiste à penser que certaines visions cinématographiques ne se révèlent pleinement que sur grand écran.

En tant que présidente du dernier Festival de Venise, vous avez eu la chance de voir des films en salles…
Oui, mon jury et moi avons vécu ce festival comme dans un rêve, et cela semble aujourd’hui assez surréaliste de constater que beaucoup de salles ne sont toujours pas rouvertes. Je suis extrêmement sensible aux festivals de cinéma, à qui j’apporte un soutien total et actif, car ils sont essentiels dans la vie des films et dans la carrière de réalisateurs émergents. Venise, pour revenir à cette expérience, a représenté à la fois une preuve de solidarité et une leçon d’optimisme réaliste. Je suis ravie que cette édition si particulière ait quand même permis de porter la voix et le point de vue de cinéastes qui n’auraient pas eu cette chance autrement. C’est ce qui a rendu cette expérience si unique.

À Venise, vous avez également montré une autre facette de vous : égérie pour la maison Armani. Selon vous, quelle est la définition d’une muse ?
Je ne peux pas parler à la place de Monsieur Armani. Mais pour moi, une muse sert à atteindre une certaine vision. Il s’agit d’un point de départ, un préalable pour toute inspiration. Mais pour être honnête, je ne m’envisage pas du tout de cette façon. Je n’y pense pas.

Quel est votre lien avec la beauté, en tant qu’actrice et aussi en tant que femme ?
À mon avis, la beauté réside souvent dans cette esthétique japonaise, le wabi-sabi : comment les imperfections, les anomalies, les défauts donnent leur grâce, leur authenticité et leur unicité aux choses. Il m’est assez incompréhensible que l’être humain cherche à gommer ses imperfections au lieu de les travailler ou même de les souligner. Voilà ce qui rend unique, et donc beau. La beauté devrait être, doit être, honnête, sans complexes, et s’enraciner dans la liberté d’être tel que l’on est. Et j’accorde plus de crédit que jamais à la notion de liberté. Bref, la beauté conventionnelle ou uniformisée présente peu d’attraits à mes yeux. Ce qui m’intéresse, c’est de rendre acceptable ou séduisant ce que je possède en moi.

Et d’un œil un peu plus superficiel, quelles sont vos astuces pour devenir la championne des tapis rouges comme vous l’êtes, Cate Blanchett, la star hollywoodienne ?
Je ne vois absolument pas de qui il s’agit. (Elle rit.) Si vous parlez d’une beauté supposée, je vous dirais qu’elle se trouve dans l’œil de celui qui regarde. Je n’aime pas les opinions dominantes, les diktats, et je valorise plus volontiers la différence comme vous l’avez compris. J’évite les réseaux sociaux, je fuis la pensée unique et l’hégémonie du goût mondialisé. Je suis en relation avec beaucoup de créateurs de mode, ces hommes et ces femmes ont des talents infinis, et j’estime avoir beaucoup de chance de porter leurs vêtements. Par ailleurs, même s’il m’arrive d’être un peu nostalgique de mes tapis rouge de l’«ancien monde», j’ai décidé dorénavant de privilégier des tenues que j’ai déjà portées au lieu d’encourager constamment la consommation…

En tant qu’actrice, considérez-vous votre visage et votre corps comme des outils ? À votre avis, quel est votre meilleur atout ?
Mon meilleur atout, c’est ma curiosité. Pour le reste, oui, le visage et le corps sont des outils et des instruments de travail… Pour s’engager dans un rôle, la seule façon d’y parvenir, c’est de s’approprier le corps d’un autre et de s’immerger dans le monde qui l’entoure.

Madame Figaro – December 18th 2020 (Venice Film Festival Photoshoots)

Madame Figaro Scans – December 18th 2020 

Nightmare Alley wraps filming

Nightmare Alley will be released in December 2021. Guillermo del Toro is also putting finishing touches on his other film, Pinocchio, where Cate will voice a character.

UNHCR Goodwill Ambassador, Cate Blanchett, encourages people to donate to help refugee families during winter season, and talks a bit about the humanitarian crisis in Yemen


Also, here’s a video of when Cate won Best Supporting Actress in a TV series at 2020 AACTA. There’s no recorded speech from her but she sent a message to her friend and co-creator/producer on Stateless, Elise McCredie which she read.

Source: Madame Figaro, Indiewire