Cate Blanchett is not an actor who skims a screenplay when she’s considering it. “I read scripts very, very slowly,” she says, “but this one I read incredibly quickly. I knew from the get-go that i…
is not an actor who skims a screenplay when she’s considering it. “I read scripts very, very slowly,” she says, “but this one I read incredibly quickly. I knew from the get-go that it was aboutbig things — metaphysical, existential things that I was interested in — so I read it very quickly and said yes immediately.” She turns to, the writer-director of the film in question, “Tár,” and says, “And you crashed your car.
Oh, and that rattling sound you hear in Lydia’s Porsche as she drives? It’s recorded from Field’s own car, never fixed properly after the accident. In other words, there are ghosts in “Tár,” which this ghost of Field’s real-life bad experience illuminates. Blanchett and Field have a lot of affection for each other. At the photo shoot for this cover story, when photographer Alexi Lubomirski asks Blanchett to channel Lydia’s rage by throwing sheet music at the camera, she does a few takes. Then Field pipes up from the back of the room, telling Blanchett to toss the pages higher so they stay in the air longer. She follows his direction andOur first conversation takes place in person before that shoot.
Blanchett has won two Academy Awards and three BAFTAs, was the co-artistic director of the prestigious Sydney Theatre Company for five years and has starred in blockbusters such as Peter Jackson’s “Lord of the Rings” trilogy and “Thor: Ragnarok.” And still she was petrified at the start of production on “Tár.
Blanchett wanted to take tiny bites. With “Tár” beginning to shoot in Dresden on Sept. 18, 2021, she asked to start slowly: perhaps with some scenes without dialogue, she suggested to Field, or of Lydia crossing the street? What Field told her instead was they had to film all of Lydia’s conducting scenes with the Dresdner Philharmonie symphony orchestra — standing in for the fictional Berlin Philharmonic —at once.
“She’s still in love, my character,” Merlant continues. “She needs time to realize that Lydia is not in love anymore with her.”“The film doesn’t give you easy footholds into understanding what any of those relationships are,” Blanchett says. “So we absolutely had to go into the nuances. And it’s almost like we overwrote all of the scenes in our heads — and then you cut out all the dialogue until it’s sort of like a haiku.
“It’s just completely commonplace,” Blanchett says now. “And it’s not an issue for anybody, that she’s in a same-sex relationship, with an adopted child. I think that’s why you have that incredibly long interview at the beginning, because she has an unassailable right to be there. This is not some gender hire.”
For Merlant, the fact that the abuser in “Tár” is a woman made her nervous. “To talk about the dynamic of power set in a patriarchal world, but with women having the power … ,” Merlant says, trailing off. “I was scared! But, finally, I thought maybe with this distance, we could go further into these questions.”
As for whether we are to believe our eyes when we watch “Tár,” Field wants viewers to know that there are no wrong answers. “I’m not trying to be cute about it, but I think your question begs another question,” he says. “Your question begs that there are rules of interpretation, and there are rules of engagement with this character, in terms of what you invest or divest from her. And, again, I simply have no interest in getting in the way of that for you.
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