So when he was setting up, I saw the position of the camera as a proscenium: If I stand stage-right, it’s going to mean something profoundly different than if I’m center-stage left. Todd always has the camera in the right position. You have to know where the camera is: OK, I’ve got to rotate more than three quarters because otherwise you’re not going to see into my eye and that’s really important.Īt the same time, you have to allow this thing to flow through you. I don’t know if it’s from spending years and years onstage, but I have the ability to be objective and subjective simultaneously. Where do you fall on Method acting? Did you try to stay in character between scenes?ĬB: There were some parts of the character’s situations or intensity of the focus that I didn’t quite drop in between setups. There was a certain point where we had her do that. TF: We even tried to bring that into the film. Yet when we were working with the Dresden orchestra, I woke up with my hand in the air, moving sound. The night before he’d be prepping and talking about what needed to be done the next day. In a film that is asking big metaphysical and existential questions, it was a very practical experience.
As we got on, we would occasionally have the odd dinner. There was much to do in terms of the conversations that Todd and I were having. It was really very lonely in a strange way, and running a major cultural institution is a very lonely experience.
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My job was not just to rise to the occasion of the screenplay but the quality of the people I was working alongside.ĬB: Well, the pandemic was still on and my kids were not as free to come and go. Then Hildur Guðnadóttir got involved to do the music, and I thought it doesn’t get much better than this. When the cast started to come together, Nina Hoss elevated it yet again. When I read it, I was so daunted by the ask of it - not just what was necessary to play the character, but also the depth of questioning in the screenplay and my relationship to it, which kept shifting depending on which scene we were shooting or which relationship we were focused on that day. It just started a very immediate, rich conversation between the two of us in September 2020 and we’re still having it.ĬB: The character came out of those rich conversations. I didn’t really have to any language to give her. TF: I sent Cate the script and I’d written the script for her. Todd, how much did your initial script change as a result of her involvement?
So much about “TÁR” is built around Cate’s performance. It must be hard to discuss in interviews.Ĭate Blanchett: There’s so much to talk about.ĬB: Yet it’s one of the hardest movies I’ve ever had to talk about, because it’s so hard to define.
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IndieWire: This movie is saying a lot about the world we live in today. The interview has been edited and condensed for clarity. They also spoke about the broader challenge of making movies with a theatrical audience in mind. This week, as “TÁR” made its North American premiere at the New York Film Festival ahead of its theatrical release, the movie’s director and star sat down with IndieWire at the Whitby Hotel to dig into the themes that emerge from Lydia’s story and how they address contemporary circumstances.
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