One of my favorite interviews for TAR. Great interviewer who lets Cate talk too. I see Cate gets more wavy with her hands after playing a conductor though 😂 Adorable.
Cate Blanchett is now the same as every fake celebrity. She lies, is dishonest, artificial, the only things she cares about are: beauty, youth, fame, publicity, promoting her beauty products and making money. She looks artificial and not unique and good nowadays (botox, fake over bleached teeth, nose job, injected lips...). Her mimic is so weird and she had more wrinkles 15 years ago.
I had that same experience watching "Death in Venice" when younger, and then when older - such a different perspective and experience. Cate is so brilliant! I hope Oscars do right by her...💯
Yes! Our Dudamel Is a genious AND we are proud of him. I was very happy when I saw that interview. I love Cate, I love her work. You are also an incredible human being. Gracias por ser y estar. God bless you all ! Keep on shining...
@@blackneedle1 Yes, they conduct with a monumental passion. Cate as Lidia Tàr. The movie has not arrived to movie theaters here :( I hope it will soon...:)
Sharon and Lidia were not married. It's only wishful thinking. They are partners in the movie and also in the script. She gave up taking care of Petra and went to Asia trying to restore her carrier. She lets Sharon to take Petra with her from school. I can't believe she wouldn't fight for her, she would give up her carrier for Petra. So they were not married and I guess Lidia has no parental rights over Petra. Sharon claims she would get over something like this according to Olga, Lidia's infidelity. Lidia is in deep emotional, spiritual and professional crisis encouraged by the power she had and her desire towards young women. She writes the music she dedicated to her daughter and can't find and inspiration for it. She tries to copy sounds from a device outside (A,E sound in her apartment, everyone in Germany knows that annoying sound in shops). I think Lidia herself was surprised by her connection to Petra but was so deep in her crisis she wasn't able to see it properly and contemplate pureness of this relationship. Back to Sharon she knows from the beginning who Lidia is. Maybe she's not aware of her sexual let's say naughtiness, but easily doesn't give a single f*ck about the possibility of Lidia sleeping with Olga. She if frightened by the possibility of Lidia due her actions caused someone's suicide. That's huge. So Lidia serves only to her genius. She wants to be Bach, she wants to be Mahler. She wants people to destroy themselves in front of her score. However Lidia is so lost in her character, in her desires and in her weakness. She prefers to seduces young women as some kind of sick inspiration and energy seeking instead on focus of her real values like family. Back to Sharon. She is perfectly aware of Lidia's shadows. As she said herself she accepts that. She also admire her partner's genius and supports it by creating her a good, loving conditions. And she's waiting to see the results. Personally despite transactional aspects of their relationship I think they love eachother, but they love is overwhelmed by the love to music and Lidia's talent. There is a scene in the movie where Sharon's tries to touch Lidia's back and it's hurting her. It's a tender touch. Then Lidia with fear in her eyes is looking for Sharon's approval if the work is done. She's even smiling at the end. In next scene with Olga she's back to her strong self, to her role as a great conductor. There is also a scene in the kitchen where Sharon and Lidia are discussing who will replace Sebastian. Lidia is touching Sharon's back or even lower with no particular reason. Their kiss when we meet Sharon is also tender. But the problem I see with Krista is she was instable indeed. She was of course aware Lidia has a family and I don't think Lidia would promise her anything. However she fallen in love with Lidia and she decided to cut her, from her life and from her carrier. Lidia perhaps thought she will cry a little bit and then will start a new life. But she committed suicide. In my opinion Francesca is also very interesting character. She is neglected by Lidia, but I think she would give her position of assistant Conductor. But she knew too much of Krista, so she decided to get rid of Francesca. I also this Francesca was in love with Tar and they were having an intimate relationship, but they decided to stop it. Francesca was able to live with that, Krista wasn't. But she was still jealous of Witney.
To placate current political film narrative of awarding 1st Asian woman VS accomplished actor who’s regarded as one of the greatest actors ever. Former was too enticing for them to ignore, but that doesn’t do justice to what Blanchett accomplished in TAR. Masterclass performance hands down.
@@yvesntual12I agree with sentiment. Yeoh performance for me was good but definitely not Oscar worthy. Editing did most of the weight in her performance imo. Apparently if you can make audience cry, that will win an Oscar. For me I have stopped caring about them quite a while but this year sealed the deal. Cate Blanchett’s Lydia Tar was Daniel plainview in TWBB. So undeniable, she even surpassed her astounding performance in Blue Jasmine.
Along with many other women before her, Lydia Tár groomed Krista. She lured her into bed, making her think her dream could come true. Krista went along with it, maybe not having many other ways of reaching the top other than sleeping with the top art lady. She gave in to cheating in that way. All the while, Lydia betrayed the trust of her wife Sharon and put her daughter Petra at risk of being caught up in a fight between her two mothers. Lydia breaks up with Krista, blacklisted her and Krista ends up killing herself. Lydia lead Krista to her death. She should answer for her wrongdoing and the hurt she put Krista and other women through. Before killing herself, Krista must have felt like Petra while fleeing war-torn Syria : hopeless, fearful, lonely, in dire need of care, love and help. I bet she started out full of hopes and dreams, looking up to the stars before her eyes. Lydia played her like a cello. By blacklisting her, she stripped her from the hope things could get better. She closed all the doors for her to work doing what she loved. Krista is guilty too. She gambled getting ahead by sleeping with the boss and lost her bet. She could have thought about Sharon and Petra as well. She was blinded by the spotlight. But she must have worked hard for years since childhood for the dream of her lifetime to come true and Lydia crushed it. By not answering her cries for help, she left Krista thinking there was no other way for her to go forward than to end to her life. She drove her to death. She never seems to feel bad about what she did, nevermind putting herself in the shoes of someone who took their own life. It could have been her killing herself years ago back when she was starting out. It's only her nightmares who remind her of the guilt she always runs away from. She should feel ashamed. She is guilty. She should spend time in a court of law and maybe in jail, not teaching children to play music in the Philippines where many children are being sold, worked to the bone and raped. Much like I wouldn't want Woody Allen to babysit children, I wouldn't want Lydia Tar to be a teacher to any children, knowing she thinks one should wreck oneself. For what ? To thinking highly of oneself ? To boast about how great one is ? To show off how much one knows about the so-called greats whose work often came at a great cost for those around them. Like Herbert Von Karajan, I can shout and get angry and throw a temper tantrum until I get what I want. Like Stanley Kubrick, I can bully those I work with. Me too can play the game both like a baby and a tyrant like Kim Jong-un if I allow myself to hate others so much that I want them to be hurt, ill and even dead. But I don't allow myself to behave like that, I couldn't live with myself. So why should these so-called greats ? What gives them the right to carelessly crush those around them and even sometimes struck themselves out by the same swing of the hand ? And for what ? To hear crowds bursting with clapping at the end of a show and break into a wide smile while there's a bump of dust under the rug and a slew of skeletons in the closet ? All that mess for big bucks, shiny sports cars and big empty houses warm as grey stone ? I don't understand why Lydia, Sharon, Francesca, Krista, Olga break their back and those around them to reach those ends. It's not worth killing someone over. It's not worth killing yourself over. It's not worth wrecking your household, it's not worth crushing dreams. It's not worth it for the craft, for the work, for the show, for the heed, for the claps, for the stares, for the writtens by hands in the street on an old shot, for the writings in the news and the small gold naked cockless men to grab onto. I don't think it's not worth it. We don't even know if Lydia ever sees her daughter again. What about Petra ? What happens to her ? I wouldn't even trust Sharon. She watched the whole thing fold out before her eyes without doing much, she only got out of the car when she feared Lydia would crash it with the two of them inside. She must have known what her wife was doing was wrong, she's not free from guilt either. What will Petra do as she grows up having been through all that and having being raised that way ? In French, we say "Hold me back or I make mess" and I think that's love. I don't think there was much love between Lydia and Sharon. They made a deal for work.
I think these questions are exactly what Todd wants us to leave the theater with. Other than Petra, you can't really stand behind any of these characters (Krista and Francesca included). They are (and maybe we are) just rotten humans inside.
@@dhiai707 Krista killed herself, I feel bad for her, how you can you not ? She was wronged by everybody and she also wronged herself. I feel bad for all of them: Lydia, Sharon, Francesca, Olga. As you say, they are rotting but they could heal. It's like they are driven by a hunger to shine bright, to be outstanding, to stand out of the crowd, to show their gift, their grit, their skill, their work, to be cared about, to feel worthy, to be loved, to stand at the top and stare at its towering oversight. But they leave a dirty trail in their wake as we often do when we are pulled to the top. One can step on the hands of another on the way up. It's about the means to an end and the end of means, what comes first ? Does anything go ? Is it all for show ? What about the craft before the show ? The work, the step by step, the lead up to the show. Again, I think about Petra but also about Krista since she's not around anymore by her own making. Krista's death is Lydia's deepest shame and darkest guilt. Krista slept with Lydia to get ahead and that was her wrongdoing. It was unfair to others striving as she did to hold the stick who I bet were as skilled and as hardworking as she was. She followed Lydia on a dark road and ended up with her back against the wall. But I don't think she earned to die. Nobody does. We all started out in life small and guilt-free. And then life happens and we start to hurt each other. But even the worst hurt can heal. Even the worst pull into doing something wrong, something that breaks the law, something that hurts others, can shift into doing something good, something healing, something that rights the wrongs; agreeing that right and wrong are not the same for everybody. I think even the worst of us can get better. Whether we want them to or allow them to get better is something else. But this film throws the one who died out the screen. That felt so wrong. And again, you think of the child in all of this. How does it shape her ?
@@marklana I made up little of what I said. Karajan may have not shouted or threw many temper tantrums or gotten angry but he did drive a sports car, wedded a woman much younger than he was, was far right-wing most of his life, wrote many times to Hitler and said he didn't like that there was many Jews in Volksoper in Vienna. That's called behaving like a manchild and being angry towards others. A woman called Krista kills herself in the movie, what do you think drives someone to kill themselves ? I think what I talk about is like a dead body burried in the ground. It's sitting under a thick layer of dirt, wrapped up in a blanket, all bundled up. It's not sitting out in the open to be easily seen and found. It's not moving anymore. You cannot hear it talk. It's dead and willfully hidden. You gotta take out the shovel and dig the ground to find it, have a look at it, think about what happened to it and how you feel about it.
I saw that interview with G. Dudamel. I’ve always admired his technique. But above all that I admire his purity. He has this childlike curiosity and a big sense of wonderment. He is interested in people. I admire that.
It's crazy, she was my favorite actress for years and I admired her. Now I don't watch her, movies and my admiration is gone. I have 0% respect for her.
should’ve had 3 oscars by now, with TÁR, 4
"It's in my DNA" -Cate Blanchett! Greatest actress! Brilliantly thoughtful mind! I always admire her!!!👏
I think botox and plastic surgery are in her DNA.
@@Marc-13 How is that relevant to the interview or her acting whatsoever?
@@martacalabrese7928 Because of that I can't look in her face anymore and I lost my respect.
@@Marc-13If you can't look at her, stop watching her interviews. Like a told you before, you're obsessed with her. Find a hobby
@@yvesntual12 I don't watch her interviews!
One of my favorite interviews for TAR. Great interviewer who lets Cate talk too. I see Cate gets more wavy with her hands after playing a conductor though 😂 Adorable.
Cate Blanchett is now the same as every fake celebrity.
She lies, is dishonest, artificial, the only things she cares about are: beauty, youth, fame, publicity, promoting her beauty products and making money.
She looks artificial and not unique and good nowadays (botox, fake over bleached teeth, nose job, injected lips...). Her mimic is so weird and she had more wrinkles 15 years ago.
I need a dictionary please while am watching Cate. Thank you
Great interview
I had that same experience watching "Death in Venice" when younger, and then when older - such a different perspective and experience. Cate is so brilliant! I hope Oscars do right by her...💯
Great interview Pete
Yes! Our Dudamel Is a genious AND we are proud of him. I was very happy when I saw that interview. I love Cate, I love her work. You are also an incredible human being. Gracias por ser y estar. God bless you all ! Keep on shining...
The way she conducted did remind me of him.
@@blackneedle1 Yes, they conduct with a monumental passion. Cate as Lidia Tàr. The movie has not arrived to movie theaters here :( I hope it will soon...:)
I think she looks plastic and weird. Botox destroyed her mimic and her nose looks awful since her surgery.
Lo ripeterò fino allo sfinimento :l'Academy ha fregato l'ennesimo Oscar a Cate Blanchett 😂😂😂
Lydia Tar is also an Oscar winner in the film! So she has played 3, even if one is fictional
This was a great interview. Pete did a great job with the questions.
Great in Sparks' new video.😀👍
Great interview, thanks for that.
Ahí toda tu muy yo te doy el OSCAR QUIENES TE Queremos MARAVILLOSA🇪🇦🇪🇦🇪🇦 por fa tu ROCA DONDE RECUERDA PARA SIEMPRE❤❤❤
❤💜♥️⚘🇧🇷
Sharon and Lidia were not married. It's only wishful thinking. They are partners in the movie and also in the script. She gave up taking care of Petra and went to Asia trying to restore her carrier. She lets Sharon to take Petra with her from school. I can't believe she wouldn't fight for her, she would give up her carrier for Petra. So they were not married and I guess Lidia has no parental rights over Petra. Sharon claims she would get over something like this according to Olga, Lidia's infidelity. Lidia is in deep emotional, spiritual and professional crisis encouraged by the power she had and her desire towards young women. She writes the music she dedicated to her daughter and can't find and inspiration for it. She tries to copy sounds from a device outside (A,E sound in her apartment, everyone in Germany knows that annoying sound in shops). I think Lidia herself was surprised by her connection to Petra but was so deep in her crisis she wasn't able to see it properly and contemplate pureness of this relationship. Back to Sharon she knows from the beginning who Lidia is. Maybe she's not aware of her sexual let's say naughtiness, but easily doesn't give a single f*ck about the possibility of Lidia sleeping with Olga. She if frightened by the possibility of Lidia due her actions caused someone's suicide. That's huge. So Lidia serves only to her genius. She wants to be Bach, she wants to be Mahler. She wants people to destroy themselves in front of her score. However Lidia is so lost in her character, in her desires and in her weakness. She prefers to seduces young women as some kind of sick inspiration and energy seeking instead on focus of her real values like family. Back to Sharon. She is perfectly aware of Lidia's shadows. As she said herself she accepts that. She also admire her partner's genius and supports it by creating her a good, loving conditions. And she's waiting to see the results. Personally despite transactional aspects of their relationship I think they love eachother, but they love is overwhelmed by the love to music and Lidia's talent. There is a scene in the movie where Sharon's tries to touch Lidia's back and it's hurting her. It's a tender touch. Then Lidia with fear in her eyes is looking for Sharon's approval if the work is done. She's even smiling at the end. In next scene with Olga she's back to her strong self, to her role as a great conductor. There is also a scene in the kitchen where Sharon and Lidia are discussing who will replace Sebastian. Lidia is touching Sharon's back or even lower with no particular reason. Their kiss when we meet Sharon is also tender. But the problem I see with Krista is she was instable indeed. She was of course aware Lidia has a family and I don't think Lidia would promise her anything. However she fallen in love with Lidia and she decided to cut her, from her life and from her carrier. Lidia perhaps thought she will cry a little bit and then will start a new life. But she committed suicide. In my opinion Francesca is also very interesting character. She is neglected by Lidia, but I think she would give her position of assistant Conductor. But she knew too much of Krista, so she decided to get rid of Francesca. I also this Francesca was in love with Tar and they were having an intimate relationship, but they decided to stop it. Francesca was able to live with that, Krista wasn't. But she was still jealous of Witney.
Muchas gracias por su resumen. Cate es brillante, excelente, única, gran ser humano, gran actriz y bella en general gracias por la entrevista.
Мне очень нравится Кейт Бланшетт вроли Галадриэль эльфийской королевы
I dont understand why she didnt won the oscar
Because Oscar jury was focusing on how to please a below average movie. Last year's oscars were so bad.
To placate current political film narrative of awarding 1st Asian woman VS accomplished actor who’s regarded as one of the greatest actors ever.
Former was too enticing for them to ignore, but that doesn’t do justice to what Blanchett accomplished in TAR. Masterclass performance hands down.
Because Michelle Yeoh would have thrown a tantrum if she didn't win it
@@yvesntual12I agree with sentiment. Yeoh performance for me was good but definitely not Oscar worthy. Editing did most of the weight in her performance imo. Apparently if you can make audience cry, that will win an Oscar. For me I have stopped caring about them quite a while but this year sealed the deal. Cate Blanchett’s Lydia Tar was Daniel plainview in TWBB. So undeniable, she even surpassed her astounding performance in Blue Jasmine.
Omg she is Katharine Hepburn, reincarnated, I swear!
Tar was good, but a bit too long. Two long scenes in the beginning should have been edited. And there were 3 scenes of Tar jogging in Berlin.
Along with many other women before her, Lydia Tár groomed Krista. She lured her into bed, making her think her dream could come true. Krista went along with it, maybe not having many other ways of reaching the top other than sleeping with the top art lady. She gave in to cheating in that way. All the while, Lydia betrayed the trust of her wife Sharon and put her daughter Petra at risk of being caught up in a fight between her two mothers. Lydia breaks up with Krista, blacklisted her and Krista ends up killing herself. Lydia lead Krista to her death. She should answer for her wrongdoing and the hurt she put Krista and other women through. Before killing herself, Krista must have felt like Petra while fleeing war-torn Syria : hopeless, fearful, lonely, in dire need of care, love and help. I bet she started out full of hopes and dreams, looking up to the stars before her eyes. Lydia played her like a cello. By blacklisting her, she stripped her from the hope things could get better. She closed all the doors for her to work doing what she loved. Krista is guilty too. She gambled getting ahead by sleeping with the boss and lost her bet. She could have thought about Sharon and Petra as well. She was blinded by the spotlight. But she must have worked hard for years since childhood for the dream of her lifetime to come true and Lydia crushed it. By not answering her cries for help, she left Krista thinking there was no other way for her to go forward than to end to her life. She drove her to death. She never seems to feel bad about what she did, nevermind putting herself in the shoes of someone who took their own life. It could have been her killing herself years ago back when she was starting out. It's only her nightmares who remind her of the guilt she always runs away from. She should feel ashamed. She is guilty. She should spend time in a court of law and maybe in jail, not teaching children to play music in the Philippines where many children are being sold, worked to the bone and raped. Much like I wouldn't want Woody Allen to babysit children, I wouldn't want Lydia Tar to be a teacher to any children, knowing she thinks one should wreck oneself. For what ? To thinking highly of oneself ? To boast about how great one is ? To show off how much one knows about the so-called greats whose work often came at a great cost for those around them. Like Herbert Von Karajan, I can shout and get angry and throw a temper tantrum until I get what I want. Like Stanley Kubrick, I can bully those I work with. Me too can play the game both like a baby and a tyrant like Kim Jong-un if I allow myself to hate others so much that I want them to be hurt, ill and even dead. But I don't allow myself to behave like that, I couldn't live with myself. So why should these so-called greats ? What gives them the right to carelessly crush those around them and even sometimes struck themselves out by the same swing of the hand ? And for what ? To hear crowds bursting with clapping at the end of a show and break into a wide smile while there's a bump of dust under the rug and a slew of skeletons in the closet ? All that mess for big bucks, shiny sports cars and big empty houses warm as grey stone ? I don't understand why Lydia, Sharon, Francesca, Krista, Olga break their back and those around them to reach those ends. It's not worth killing someone over. It's not worth killing yourself over. It's not worth wrecking your household, it's not worth crushing dreams. It's not worth it for the craft, for the work, for the show, for the heed, for the claps, for the stares, for the writtens by hands in the street on an old shot, for the writings in the news and the small gold naked cockless men to grab onto. I don't think it's not worth it. We don't even know if Lydia ever sees her daughter again. What about Petra ? What happens to her ? I wouldn't even trust Sharon. She watched the whole thing fold out before her eyes without doing much, she only got out of the car when she feared Lydia would crash it with the two of them inside. She must have known what her wife was doing was wrong, she's not free from guilt either. What will Petra do as she grows up having been through all that and having being raised that way ? In French, we say "Hold me back or I make mess" and I think that's love. I don't think there was much love between Lydia and Sharon. They made a deal for work.
wow
I think these questions are exactly what Todd wants us to leave the theater with. Other than Petra, you can't really stand behind any of these characters (Krista and Francesca included). They are (and maybe we are) just rotten humans inside.
@@dhiai707 Krista killed herself, I feel bad for her, how you can you not ? She was wronged by everybody and she also wronged herself. I feel bad for all of them: Lydia, Sharon, Francesca, Olga. As you say, they are rotting but they could heal. It's like they are driven by a hunger to shine bright, to be outstanding, to stand out of the crowd, to show their gift, their grit, their skill, their work, to be cared about, to feel worthy, to be loved, to stand at the top and stare at its towering oversight. But they leave a dirty trail in their wake as we often do when we are pulled to the top. One can step on the hands of another on the way up. It's about the means to an end and the end of means, what comes first ? Does anything go ? Is it all for show ? What about the craft before the show ? The work, the step by step, the lead up to the show. Again, I think about Petra but also about Krista since she's not around anymore by her own making. Krista's death is Lydia's deepest shame and darkest guilt. Krista slept with Lydia to get ahead and that was her wrongdoing. It was unfair to others striving as she did to hold the stick who I bet were as skilled and as hardworking as she was. She followed Lydia on a dark road and ended up with her back against the wall. But I don't think she earned to die. Nobody does. We all started out in life small and guilt-free. And then life happens and we start to hurt each other. But even the worst hurt can heal. Even the worst pull into doing something wrong, something that breaks the law, something that hurts others, can shift into doing something good, something healing, something that rights the wrongs; agreeing that right and wrong are not the same for everybody. I think even the worst of us can get better. Whether we want them to or allow them to get better is something else. But this film throws the one who died out the screen. That felt so wrong. And again, you think of the child in all of this. How does it shape her ?
You're making this up
@@marklana I made up little of what I said. Karajan may have not shouted or threw many temper tantrums or gotten angry but he did drive a sports car, wedded a woman much younger than he was, was far right-wing most of his life, wrote many times to Hitler and said he didn't like that there was many Jews in Volksoper in Vienna. That's called behaving like a manchild and being angry towards others. A woman called Krista kills herself in the movie, what do you think drives someone to kill themselves ? I think what I talk about is like a dead body burried in the ground. It's sitting under a thick layer of dirt, wrapped up in a blanket, all bundled up. It's not sitting out in the open to be easily seen and found. It's not moving anymore. You cannot hear it talk. It's dead and willfully hidden. You gotta take out the shovel and dig the ground to find it, have a look at it, think about what happened to it and how you feel about it.
I saw that interview with G. Dudamel. I’ve always admired his technique.
But above all that I admire his purity. He has this childlike curiosity and a big sense of wonderment.
He is interested in people. I admire that.
It's crazy, she was my favorite actress for years and I admired her. Now I don't watch her, movies and my admiration is gone. I have 0% respect for her.
I’m
Ingrid Bergman /
케이트, 당신이 오스카상을 받아야 합니다.
기도합니다.
당신은 탁월합니다.
당신을 매우매우 사랑합니다.