Cate Blanchett talks to us about making her latest film Tár, shooting a 10-minute long shot that went wrong, and more
IF YOU APPROACH watching Cate Blanchett’s latest film, Tár, expecting definitive answers, you won’t find any – and that’s the joy of it.
Tár was written specially for Blanchett, and her portrayal of such a complicated, layered, frustrating yet charismatic figure has her tipped for an Oscar. The film pushes Lydia Tár to the brink, as she gets ready to launch two major projects: a book named Tár on Tár, and a recording with the Berlin Philharmonic of Mahler’s Symphony No 5.
No doubt Blanchett’s extensive theatre work – she is a former artistic director, alongside her husband Andrew Upton, of the Sydney Theatre Company, and has tread the boards countless times – helped there. But Field himself said in an interview that his lead had ‘no safety net’ for these scenes. “This student has a bouncing knee, which is driving her crazy. And so I think [it influences] the way she’s speaking to him, but of course I said the audience is not going to get that… But because he’s the filmmaker that he is, I think you get that stuff homeopathically and perhaps if you’d cut into that scene, you wouldn’t – it would have made that stuff too front and centre.”
And so she can take a lot because she decides to be okay with that. But what does that mean in the long run for the relationship? And why does she do that? What does she get out of this relationship? For Hoss, it was about exploring the pair’s relationship and what Sharon gets out of it. “I just wanted the observant Sharon to be in power of the situation and not being like… this leaf that just follows behind. Agency – she had agency.
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