Cate Blanchett plays a charismatic conductor who uses her power to take sexual advantage of young women she's mentoring. Both Blanchett and Tár director Todd Field have been nominated for Oscars.
My background in classical music is zilch, other than a passing interest, like most people, and having certain favorites. And in this case, I was very, very lucky because, ironically, the world had just locked down, it was the middle of March 2020 and orchestras couldn't play and conductors couldn't conduct. So we were all captive. And, in this case, I was very lucky to be able to have the tutelage of John Mauceri, who had been Leonard Bernstein's assistant, ...
... Nothing can prepare you for the charge that moves through you when you get the down beat and the sound happens. Particularly with Mahler, it's magnificent and timeless. ... Bernstein says that you prepare with an inhalation and the music sounds as exhalation. ... Conducting is a form of deep communication, and you have in your arsenal your fingertips, your hands, your arms, your chest, your facial postures — all of this is a form of communication in order to elicit sound. Also, of course, this is, as Todd said, this is not a film about conducting, nor is it a performance film. You see the music being made, which we made with the Dresden Philharmonic Orchestra.
I think the character is obsessed with sound, and music is one of those things. Our backstory for her [is] she grew up in quite a silent household, and so music was a life raft for her. So in a way, it's not just an academic obsession. It's a kind of a lifelong obsession with sound. So every single sound can set her off.
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