For every awards-bound prestige movie, there’s a paycheck-delivering tentpole, or perhaps an experimental Aussie project. “She had a kind of magic that harked back to an earlier era in movies.”įrom attending drama school in her native Australia to her Hollywood breakout in Elizabeth to her success since, Blanchett has managed a prolific and varied filmography while raising four children with her husband of 25 years, the theater-world veteran Andrew Upton.
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“From movie to movie, she was extraordinarily precise about character, physically, vocally, emotionally,” he says. Scorsese noticed this from the moment he became aware of her with 2000’s The Gift. Even in noisy blockbusters-the Lord of the Rings trilogy, Thor: Ragnarok, Robin Hood-she pulls off unusual performances. The ingeniously screwball take on, yes, Katharine Hepburn in The Aviator, for which she won her first of two Oscars (the second being for Blue Jasmine). The immaculate glamour in Carol and Nightmare Alley, masking women of incredible force. Onscreen, Blanchett always holds your attention like there’s nothing else to see: those ferocious monologues in Elizabeth and Blue Jasmine that command complete silence. Swimsuit by Dilara Findikoglu gown by Acne Studios bag by Simone Rocha. “I don’t know if I’m an ambitious person or a restless person.” She squints at me and grins.
“It’s synonymous with being ruthless.” Then she turns the inquiry on herself-“I look at the things that I choose to take on as ambitious, and that always contains a very strong possibility of monumental, catastrophic failure”-before chewing on it a little more. So what does ambition mean to Blanchett? “It’s something that traditionally is seen as being an unattractive thing for a woman to hold,” she replies quickly. She calls the role “skinless” at one point, the best clue she’ll provide to this intense connection between the portrayer and the portrayed. She’ll stop herself often: “Sorry, I can’t remember, what were you asking me?” She’s not being evasive on the contrary, she’s wildly curious, giving long and thoughtful answers. She keeps getting tripped up by my questions about this.
She acknowledges something “happened” during filming. Yet she is deeply haunted-by her abuses of power that went in tandem with her rise, for one thing, but also by aging and wondering what happens after you confront your white whale. As she obsesses over an upcoming live recording of her white whale, Mahler’s Fifth, she arrogantly squashes anything that could get in her way. She has ascended to the top of her field, honed her craft to a place beyond perfection. Tár is an extraordinarily ambitious woman. “But because there was so much to do, it meant that there wasn’t any time for nerves.” I didn’t know where to start and so I had to just start in an incredibly practical way,” she says. (The film is set in Berlin and was largely shot there.) “I was utterly terrified of it.
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Due to COVID-induced delays, she had months to prepare-to learn how to conduct, to master the piano, to speak German. He didn’t write Tár with her in mind he wrote it for her, and only her.īlanchett said yes immediately after reading the script. “She will run rings around anyone.” He’d begun thinking about Tár around the same time, and years later, when he received the greenlight from Focus Features, Blanchett popped into his head once more. “She has just the most intense wit,” he says. Field found her unforgettable even after a single dinner. One project, a script he’d been collaborating on with Joan Didion, brought him into Blanchett’s orbit a decade ago. It’s his first movie in 16 years, a fact he attributes at least partially to struggles with financing. Tár was written and directed by Todd Field, the Oscar-nominated filmmaker of In the Bedroom and Little Children. She couldn’t stop smiling through it all. On opening night in October, I joined her for a public Q&A at the AMC in Century City, Los Angeles, and when I asked how she felt about the tricky ending, she threw the topic to the audience in an instant, engaging with and validating diverging theories. She worked very hard on it, and she’s compelled by its thorny, prescient provocations. Blanchett has promoted it tirelessly since its premiere at the Venice Film Festival in September, which is not typical of an actor of her status, with two Oscars to her name and a profile hardly at risk of declining. In the film, she plays a revered orchestra conductor facing a public reckoning. Well, a screening or something else-it’s hard to keep track. But because there was so much to do, it meant that there wasn’t any time for nerves.”īlanchett has another screening of Tár later tonight, she tells me as we get going.
Blanchett had to learn how to conduct, to master the piano, to speak German: “I was utterly terrified of it.
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