Cate Blanchett, the renowned Australian actress, revealed at the Rotterdam Film Festival that she “never, ever” thought she “could work in the film industry.” During her talk on Saturday, she expressed, “I was resigned, happily, to a career in theater. I didn’t think I was that girl.” Her remarks highlighted her initial doubts about her place in a film landscape that often views women as having a limited “shelf life.” Nonetheless, a pivotal experience watching Luchino Visconti’s “The Stranger” during French class reignited her passion for filmmaking, stating, “I learnt more about cinema than I did about French. I was hypnotized by the cinematic storytelling.”
She reminisced about growing up in a vibrant era of Australian cinema, recalling films like “Picnic at Hanging Rock” and “Sweetie,” which made her ponder, “Maybe I will be able to step into that frame.” Blanchett’s participation in the festival caused excitement among attendees, with ticket holders scrambling for the best spots in the lengthy queues that formed.
Earlier in the day, Blanchett took the opportunity to endorse the newly established Displacement Film Fund at the festival, which is aimed at supporting displaced filmmakers. Despite her successful career, she candidly shared her eclectic taste in films, mentioning her former fondness for the horror genre but lamenting, “Since I had children, I can’t do that at all. I love my kids, but I’m sad about that.”
The actress also discussed her upcoming project “Rumours,” alongside Canadian filmmaker Guy Maddin. She humorously recalled how, “I thought I was going to your garage in Winnipeg, I packed for that, and then we were in the forest in Budapest.” The film, directed by Maddin along with Evan Johnson and Galen Johnson, has been described as a “wildly entertaining shaggy-dog satire” that transitions from a G7 summit to a chaotic zombie apocalypse. It premiered at the prestigious Cannes Film Festival.
Reflecting on the film, Maddin explained how the creative team often analyzed YouTube clips of the G7 summit to capture the unique mannerisms of world leaders, likening it to a “weird, silent movie pantomime.” He also lightheartedly spoke about an idea he had to score the film “entirely with national anthems.” However, their collaborative talks led to a deeper connection, with Blanchett playfully recalling that they spoke for 61 minutes without really discussing the project until the last minute when Maddin proposed they should. “Someone had to,” she laughed, revealing her respect for Maddin’s previous works.
Maddin, in turn, expressed his admiration for Blanchett’s roles, reminiscing about her portrayal in “Notes on a Scandal” where she has an affair with a student, and her performance in “Tár,” asserting, “Cate was robbed at the Oscars!” His enthusiasm for her work was clear when he discussed her versatility, citing her performance in “Manifesto,” wherein she brilliantly plays multiple characters. Their banter illuminated the deep mutual respect and admiration that both artists hold for one another.
Having been part of the festival circuit before, Maddin had been previously subject to a retrospective at the International Film Festival Rotterdam back in 2003. He spoke of how David Lynch’s “Eraserhead” impacted him, noting, “I couldn’t sleep at night. I couldn’t believe David made a movie about me.” He mentioned that it emboldened his desire to create films, recognizing that though he couldn’t write, filmmaking provided a release for his creative expressions.
During her candid conversation, Blanchett highlighted the intimate ritual of watching films on VHS, appreciating the physicality of the medium and its gradual degradation, which enhanced her viewing experience. She playfully mentioned that her most frequently watched VHS was “Jane Fonda’s Workout.”
With genuine insight, Blanchett advised aspiring filmmakers to embrace influences from others, stating, “We are told you have to find your own voice. I would say: Steal from anyone. It’s an homage and a way of connecting through recognition.” She argued that the pursuit of originality can often lead artists astray, suggesting that learning from mistakes is crucial, as she noted, “I learn more from my failures.” The festival also showcased her impressive body of work in a celebratory clip, to which a visibly impressed Maddin quipped, “I just shit my pants. Why did you work with me?! God.”
Blanchett’s journey in the film industry is unexpected yet inspiring, highlighting the challenges and triumphs she faced along the way. She reflected upon her versatile roles and called out her memorable impersonation of Bob Dylan in “I’m Not There.” With renewed enthusiasm for her craft, she described feeling more at ease with people approaching her to share, “I am sorry I haven’t seen your movie yet.” Cate Blanchett’s unexpected journey in the film industry continues to resonate, proving that dreams can come true, even when one least expects it.