Cate Blanchett reunites with adamgopnik, her opening-scene partner in the Oscar-nominated film Tár,” for a conversation about listening to music, the limits of language, and the art of acting in life and in the movies.
.” Over the many hours of filming our scene together—a staged interview at a fictional version of the annual New Yorker Festival—I was struck not by Blanchett’s self-evident virtuosity but by her professionalism, which, of course, is the pragmatic form that virtuosity takes. Take after take, she found new things in our very discursive material that somehow added to the whole without ever breaking the continuity of the past take’s work.
And so, [Todd and I], we have this symbiotic relationship. And I can feel that. He’s like Martin Scorsese. He sits not behind the monitor but by the camera. And you can feel the energy. He wouldn’t give line readings, per se, but I could almost feel that I was channelling something through him. I watched everyone. It was watching conductors talk about conducting and watching concert musicians and how they presented themselves. And there are many, many documentaries that were hagiographies, really, visual hagiographies that talk about Herbert von Karajan and the persona—
I mean, you read a lot about the relationship between von Karajan and Bernstein and this long sort of exchange. Bernstein was never really invited over there [during von Karajan’s tenure]. But I think von Karajan was quite obsessed with him. Yes, exactly. It’s the scaffolding she needs to climb up to the position that she deserves to have. That’s what makes it complicated.
I have to tell you, I was speaking with a wonderful composer who often writes film scores and the ending was the only part of the film he didn’t like, because he thought it was implicitly condescending to movie-score writing, which was the farthest thing . . . It was like I was in a floatation pod. I didn’t want a single sound to come into my world. Also, I like vinyl. In a way, albums are like symphonies, put together in an order, because your ear is guided through in a way that completely bypasses the intellect—you can intellectualize it later, but even contemporary music is put together the way an album is produced. It’s so important. The rhythm of it, the sequence of it.
Which is part of her predicament. I was going to say: I was sort of stunned by some of the responses to the film. You’re wise to keep away from it, obviously.
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