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21-09-2013
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randhrshipper1's Avatar
 
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She pulls of this latest dress SO WELL! And she does look young!

 
 
03-10-2013
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Quote:
Actress Cate Blanchett attends the Gala Tribute for Cate Blanchett during the 51st New York Film Festival at Alice Tully Hall at Lincoln Center on October 2, 2013 in New York City.

zimbio

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03-10-2013
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That color watches her out, and the dress is very similar to the other Armani she wore few weeks ago...

 
03-10-2013
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she looks fantastic here... at a blue jasmine luncheon.




justjared

more here...
http://www.justjared.com/photo-galle...-cannavale-06/

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03-10-2013
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Agreed! She looks fabulous.

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She looks great there and happy.

 
06-10-2013
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I saw Blue Jasmine a few weeks ago and still remember that scene where she's with her "new friends" having touristy pics taken in one of these SF streets and it cracks me up anywhere I am . She's so brilliant.... one of my favorite movies this year and probably my favorite character from Cate ever, mostly I loved the irony, because the character, as stuck-up as she is, is admired by all the traits usually used by the media (and the fashion world) on Cate... I think Woody had such a wicked sense of humor in casting her and I love the sense of humor Cate showed in accepting to do the role and pretty much play a dark parody of her public image... all the 'elegance' and 'class' that is held so highly and how both Woody and Cate makes it so hilarious and hypocritical.

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07-10-2013
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Elle Poland November 2013
newsstand and subs cover



facebook.com/ellepolska

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07-10-2013
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^GREAT covers for Cate!

 
07-10-2013
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good stuff! I particularly love the second one with her head thrown back

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05-11-2013
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^


Quote:
Harper's Bazaar UK December 2013.

Quote:
Cate Blanchett is one of the world's most prolific, elegant and successful actresses. For Harper's Bazaar's December issue, she poses as our cover star, dressed in Armani, and talks to Woody Allen about Blue Jasmine, the casting couch, children and their love of…prunes. Below we take extracts from their conversation.

Woody Allen ‘So, what are we talking about?’
Cate Blanchett We’ve already talked about prunes for breakfast.
Harper’s Bazaar Why? Are both of you prune eaters?
Woody Allen I’ll let Cate handle that one.
Cate Blanchett (Smiling) I prefer kiwi fruit. Anyway, where should we start?

On the casting couch…
CB Can I ask about the casting couch that people barely get to sit on? Why do you bother? What are you looking for in the five seconds that you meet people for a role?
WA I bother because [the casting director] Juliet Taylor makes me. If I know the person, there is no problem. I don’t have to meet Alec Baldwin. But let’s say it’s someone she’s introducing me to. She shows me a film, I’ve never heard of that person, I see them on film, they look right for the part. But then she says: ‘But I don’t want you to cast that person until you meet them…’
CB (Laughing) Until you form a deep bond? A connection?
WA She wants to know that I’ve hit it off with them, whatever that means. So I have to go through the excruciating process of meeting someone I don’t really want to meet and who I am happy to cast without meeting. They come in, I have nothing to say, I am embarrassed, they are tense because they want the job, we already want them; the whole situation is so awkward.
CB It is funny because I often feel the only way to have something to talk about with someone is to work together. Then at least you’ve got something to discuss. Are you good at social events?
WA No, I am not into any of that.
CB Well, when you cast me, I was lucky because I lived so far away and we could keep it brief on the phone. We didn’t even have to see one another.
WA Even the phone terrified me. When we sent you the script and you wanted to do it that was fine with me. Then I got the call from Juliet Taylor saying: ‘Cate would like to speak to you on the phone.’
CB (Indignantly) You told me to call you when I’d read it. I wasn’t going to call you otherwise.
WA There is no way I would have said that. That happened when I cast Marion Cotillard. They said: ‘She wants to do it, but she would like to talk to you on the phone for a few minutes.’ And Colin Firth too: he wanted to talk to me on the phone. My heart always sinks.
CB I thought you had asked to talk to me. My knees were sweating. It was your request, that’s why I had nothing to say.
WA No, I knew you could act.
CB And I knew you could direct and write.
WA I just wanted you to show up and do it.
CB (Laughs) You had high expectations, then.
WA I thought you could come in and be great. I knew if you had a question you could ask it. Though I would prefer you put it in writing. (They both laugh) You’d show up, do it and leave me out of it. There is nothing you need from me. We don’t have to have a conversation about what the character might be wearing…
CB I never expected to have that conversation.
WA Or any conversation. It would’ve been fine with me to never speak. I don’t like that we’re talking now.
CB I know. It’s excruciating… You say you don’t like to talk but once we got going, you had interesting things to say.

Quote:
On directing…
WA Once in a while, I remember saying: ‘Do this scene a little faster,’ or a peripheral comment. But I had seen you in a number of movies and there was no question in my mind that you were perfect for this. I always feel if you hire great people, the best thing is to get out of their way and let them do the things they have been doing for years.
CB What I really welcomed was that if you didn’t like something, you’d say it. What happens a lot in film, though not so much in the theatre, is that you get stroked and sort of massaged, like a little guinea pig. Whereas you’re very clear. I don’t know whether it’s your history in stand-up; it works or it doesn’t work, it’s interesting or it’s boring. Is that easier when you’re acting in a film, because you can feel it from the inside?
WA People always think it’s harder – how can you be in it and direct yourself – when in fact it’s twice as easy, because you don’t have to explain the scene to another actor. Most of the time, the people I work with don’t need me to explain it to them.
CB I love being directed, and whatever this man says, he does direct, but it is different when you feel that somebody hasn’t liked something and they’re frightened that they’re going to wound you by telling you. I think actors are much more robust than that. Often I find it’s not until you’ve made a monumental blunder that you realise you’ve turned the wrong corner. Maybe that’s because I’m used to working in theatre and having six weeks in rehearsal to screw up and work out you’ve being going in the wrong direction so you can work out what the right direction is. But the tone in Blue Jasmine was tricky.
WA You found it. Maybe the first couple of days you were not as sure. By the third day you’d found what you wanted to know and then I could hide for the rest of the shoot and let the actors take over. The same with the crew: I work with terrific people who do a very good job under difficult circumstances, often because there is no money.

On ‘that’ Hermes Kelly Bag…
WA I was shocked to learn by reading in The New York Times that the costume designer on Blue Jasmine, Suzy Benzinger, had a budget of only $35,000 for every costume in the film. I knew the budget was limited, but I had no idea.
CB Yes, she pulled in a lot of favours.
WA Well, it worked. She did a very good job. I mean, people buy a dress for $35,000.
CB The Hermčs bag I was carrying was worth more than her whole budget, and there I was, throwing it on the sidewalk again and again. I felt her blood pressure go up every time it hit the pavement.
WA How did we get it?
CB We borrowed it. But the waiting list for those bags is decades. You’re in wheelchairs before they arrive. I think I borrowed the PR girl’s bag, but I didn’t find that out until I’d thrown it on the sidewalk for the seventh time.
WA It’s to their advantage for you to be seen in their clothes with their bag. My wife took me on a tour – or forced me into going on the tour – of the Hermčs bag factory.
CB That’s a very sneaky way of getting one, by showing you the craftsmanship that goes into making them.
WA They made it clear there were no discounts.
CB (Laughs.)
WA They showed us every step in the making of a bag. You can imagine how hard it was to keep awake. But the bags are beautiful, especially the ones made from the grey skins of crocodiles.
CB It’s that thing: if something is exclusive, it’s desirable. A bit like you.

On film-making…
CB I have a question: what do you find hardest about film-making?
WA I guess shooting is the toughest part. Writing it, you can throw away what you’ve written and start over; editing is OK because you are sitting in a comfortable room with friends, you can order a few sandwiches and change things; but when you’re shooting, the clock is ticking, you’re spending more than $100,000 a day and you’ve got to keep it going.
CB For me, publicity is the hardest. I was trying to explain to someone yesterday that the decisions you make as an actor have to be instinctual, it has to come alive between you and the other actors. Maybe because I am a goldfish, when a shoot ends I leave behind the reasons I’ve done what I have done. To come back six months later and dredge all that stuff up for publicity is difficult.
WA And you’re all over the place playing six million different characters. I couldn’t do that. I’m like Groucho Marx: I am happy to do the same thing, to be the guy that gets dropped into a situation and makes the jokes.
CB Maybe you’ve gotten used to it, but the public has such a sense of ownership of ‘Woody Allen’ in inverted commas because you have played that character in so many of your films. Does that ever get tiresome?
WA That’s fine. I can play maybe two things. I’m happy with it. I don’t have any acting ambitions. I’ve no interest in being Uncle Vanya.

Quote:
On performing…
CB I think the trickiest thing about performing is allowing yourself to be looked at. Some people feel very comfortable. Maybe because I am not from the social-media generation, I don’t really engage in all of that. That sense of constantly wanting to present myself is not something I do. It took me a long time to feel comfortable on-screen because the camera sees everything. It is so interesting when you meet an actor in real life and they look completely different. The camera sees something in their face, the camera loves them and they come alive.
WA Yes, the camera likes certain people and is apathetic to other people, even if they are very fine stage actors. I’ve seen actors onstage who were terrific but never had the charisma of some of the great movie stars, who are not nearly as good actors but have some kind of connection with the camera.
CB It’s a different energy. I mean, I’m from Australia where the film industry is potent but small. I didn’t expect to have a career in film. I went to drama school to work in the theatre. In actress years, I came into film quite late. Playing the part of Jasmine was pretty intense, but strangely, having done primarily theatre for the last five years probably helped because onstage you have such a well-defined sense of audience. I remember you saying I needed to do a scene again because the audience had already left the theatre; it was too slow or languid. You are very clear about who you are making a film for.

On family…
WA To me, family and work are two divorced things. Work is work, with or without a family. It doesn’t matter. Coincidentally, on Blue Jasmine, it was my wife who had the idea for the picture. I was having lunch with her and she told me about this woman who had lost everything. In this case, my family was very influential on my work, but otherwise, whether I am single, dating or with a family, work has remained separate and compartmentalised.
CB After I had children, I think by necessity I became a lot more economical in the way that I worked. My first question when my agent calls is: ‘Who’s directing and when are they shooting?’ I always ask: ‘How long do they need me?’ Which sounds banal, but it helps keep you rational. Like you were saying, you shoot in the school holidays. Of course, my children’s summer holidays are entirely different, as we live in the hemisphere that fills Woody with horror: that hot, faraway, long-haul hemisphere.
WA Your summer is my winter, right?
CB Yes. Nothing fills Woody with more terror… But children are hilarious. My children were very impressed when I became a piece of Lego [for Indiana Jones and the Kingdom of the Crystal Skull]. I warned them there wouldn’t be any merchandise from Blue Jasmine.
WA My children have expressly said: ‘Dad, you are such a loser.’ I am quoting directly there. They are totally unimpressed with what I do, or by me.
CB Have you forced them to watch your films?
WA I’ve made 45 movies or so, and I think one of the girls has seen two of them, and that’s it. They go to the movies with their friends and see the drivel that their peer group watches. You know they’re nice kids but they have no interest in me. They see me as an idiot savant who can make films but can’t change his typewriter ribbon.
CB I showed my children Vertigo the other night and they loved it. Even our five-year-old watched. We’ve been teaching them about suspense. I want them to watch Rope just to show them how long you can play it out.
WA I would have died for that as a kid.
CB Do you take your kids to films?
WA I’ve tried, but they never want to go. I’ve shown them one or two Marx Brothers movies and Shadow of a Doubt, but they have no real interest. I could put all the riches of the celluloid world at their disposal and they wouldn’t exhibit the slightest interest in any of it – or in me, for that matter. They love me, but they are very underwhelmed by me.
cateblanchettfan, harpersbazaar


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05-11-2013
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And looking like the total queen that she is in Givenchy...
Quote:
Cate Blanchett arrives at the Harper's Bazaar Women of the Year awards at Claridge's Hotel on November 5, 2013 in London, England.





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05-11-2013
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Beautiful!

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Love it!!

 
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classy a** woman

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