As a seasoned actress and now jury chief at Camerimage, I can tell you that being on a festival jury is akin to stepping into a grand symphony where each film is a unique note played by masterful cinematographers. Each day brings new harmonies as we listen, debate, and learn from one another.
This week, the Academy Award-winning actress, Cate Blanchett, is in Toruń, Poland, to honor the craft of filmmaking at the innovative Camerimage Film Festival. She is presiding over the main competition jury for this festival.
The two-time Oscar winner has previously led the juries of both the Venice and Cannes film festivals — arguably the film world’s two most prestigious events. But, in many ways, Camerimage is also a natural fit for her. Famously a thespian to her core, the actor is also an avowed movie mega-fan, known for rattling off obscure references in interviews, as well as taking an increasingly hands-on approach as a producer to all aspects of the filmmaking process for the projects she joins. The Polish festival could hardly ask for a jury chair more astute to the nuances of craft behind the camera as well as in front of it.
Nonetheless, Blanchett arrived in Toruń during a turbulent year. In August, the organization Women in Cinematography initiated a petition calling on Camerimage to take more steps to promote the work of women cinematographers, who continue to be significantly under-represented in the field. Instead of making a pledge to enhance representation at the festival, as Cannes, Berlin, and Tokyo film festivals have done lately, Camerimage’s founder published an editorial that seemed to suggest that advocating for increased female representation might lead to lower artistic standards within the programming.
The international film community swiftly responded to the remarks, with prominent cinematography guilds publicly denouncing them. Filmmakers Steve McQueen (of Blitz) and Coralie Fargeat (The Substance) withdrew from scheduled appearances as a form of protest. However, Blanchett and her fellow jury members, along with other high-profile industry figures such as Alfonso Cuarón, cinematographer Ed Lachman, Shogun star Hiroyuki Sanada, and others, chose to remain involved in the event.
Cate Blanchett, following the triumph of her work on Apple TV+’s “Disclaimer,” will engage in a panel discussion in Toruń this coming Wednesday evening. Topics likely to be addressed include the matter of gender equality and other hurdles faced by the movie industry.
On the inaugural day of Camerimage, The Hollywood Reporter had a quick conversation with Blanchett at Torun’s luxurious Hotel Bulwar, which is nestled by the picturesque Vistula River.
Why did you decide to attend Camerimage for the first time this year, out of all the intriguing film festivals and cultural events you’re often invited to globally? What was it about this event that caught your interest and led to your participation?
For quite some time, I’ve heard about this unique festival, and it always seemed extraordinary due to its rarity in celebrating the individuals behind the camera as extensively as it does here. Consequently, exploring the synergy between cinematographers and directors, or perhaps even cinematographers and actors, was a fascinating opportunity I wanted to delve into for a week. This is not a topic that’s often discussed, truth be told.
I was wondering if you could shed some light on your experience with the cinematographer while working on a film. As a non-expert, it’s not difficult to imagine an actor interacting with different elements of movie production. You certainly work closely with the director, bring scripts to life, undergo wardrobe fittings and wear costumes designed by others, and move through environments designed by the production team. However, when it comes to the cinematographer, I assume you’re essentially within their control of light and framing. Could you describe what that relationship is like?
As a fan, I’ve found myself growing quite attuned to our director while navigating through the chilly waters of filmmaking. They carry a weight of worries, especially during breaks between takes, often focusing on more than just the actors. So, I’ve cultivated an unspoken bond with the cinematographers. During takes, they seem to glide like mysterious underwater creatures, and after each take, there’s a moment of stillness, a sort of decompression. Over time, as we work together day by day, week by week, I’ve learned to sense when they’re pleased with a shot, when it’s worth preserving.
Frequently, when I glance at the cinematographer or camera operator, I subtly tilt my head like this [Blanchett tilts her head slightly], and they respond with a similar nod of their head [Blanchett now nods her head slightly]. This isn’t about challenging the director but rather about reinforcing the use of the frame in a more impactful manner. I’ve learned an immense amount about framing from collaborating with exceptional Director of Photography (DP) talents – many of whom have been recognized at this festival. I initially became aware of Camerimage through Remi Adefarasin, who won the Golden Frog for Elizabeth in 1999. Naturally, Ed Lachman is also here to receive a lifetime achievement award; we worked together on Todd Haynes’ films I’m Not There and Carol; Florian Hofmeister on Tár; Warwick Thornton’s The New Boy, which won the Golden Frog; and Mandy Walker, who shot my very first film, Parklands, in 1996. Each time I collaborate with these individuals, whose perspectives and approaches to lighting differ significantly, I find myself growing from that experience.
Absolutely, collaborating with exceptional directors is crucial. For instance, when I learned I’d be working with Alfonso Cuarón on Disclaimer, my immediate follow-up question was, “Who will be handling the camera work?” And it turned out to be Emmanuel Lubezki and Bruno Delbonnel. This gives you a sense of the visual universe you’re stepping into, as you’re familiar with their previous works. As a result, when you re-read the script, it seems more vivid due to the unique style it will portray. To illustrate, if Ed Lachman, Mandy Walker, or Agnes Goddard were the cinematographers – each would give my sandal (pointing at your shoe) a different appearance and evoke distinct emotions.
Well, you are an especially informed reader, to be able to project that into a script.
Absolutely! It’s a fascinating partnership between an actor and the cinematographer, almost like a dance with light. One of my favorite cinematographers, Sven Nykvist, often aimed for simplicity in his work. He believed that by illuminating the actor’s face effectively, he could achieve more with less. It’s as if he was saying, “I fill in the gaps.” In a way, it echoes the famous line from Jerry Maguire: “You complete me.” Cinematographers truly do complement actors, making them appear simpler in some instances and more intricate in others. As an actor, you’re just one piece of the puzzle. The magic happens because they illuminate you.
In this current year at Camerimage Festival, there’s been a significant event that might shape its future. A debate has arisen due to comments made by the festival founder regarding the inclusion of women cinematographers in the lineup. I’m curious about your interpretation of these remarks and how the festival has responded to them. Additionally, I’d like to know what influenced your decision as jury chief and a participant this year on how you would address this issue?
Over the past few days, both the British Society of Cinematographers and Women in Cinematography have shown a positive response to the recurring issues at hand, albeit sadly so. As Anna Higgs, my fellow juror, stated: “The work is never truly finished.” Festivals serve as platforms for addressing these matters and fostering meaningful discussions. They offer both public and private avenues for industry members to engage in such dialogues, uniting us all. These issues transcend gender boundaries, affecting not only our female cinematographers but also their transgender, nonbinary, and male counterparts. This week presents a unique opportunity for constructive dialogue, which I eagerly anticipate. Of course, our primary role on the jury is to honor and showcase the selected films – a diverse and intriguing selection. However, personally, I’d like to express my admiration for some exceptional female cinematographers who have significantly influenced my perspective on cinema. Agnès Godard, Maryse Alberti, whose work I admire deeply, and Mandy Walker are just a few examples.
Before attending Camerimage, you’ve served on juries for both the Cannes and Venice Film Festivals. From an outsider’s perspective, the process seems mysterious. Could you give us a glimpse behind the scenes? What’s it like to be part of a festival jury?
Before attending Cannes, I had a chat with Guillermo del Toro, who suggested that everyone should switch seats daily. This might seem like basic advice, but it’s something many directors offer. It makes me wonder about human behavior – we tend to gravitate towards familiar spaces. If we stick to the same seating arrangement for meetings, we’ll eventually settle into the same seats. Guillermo explained that if we let this happen, the same person would always speak first and the jury would develop a fixed dynamic. I found his advice thought-provoking, so I made sure to arrive early, change my seat each day, and encourage others to do the same – thus keeping everyone on their toes and fostering fresh perspectives.
Whenever I’ve served on a jury, I find myself intrigued by the diverse insights of fellow filmmakers. The discussion is always dynamic and evolving. At first, we are asked to imagine if we had to select from the three films we’ve watched, which one would we choose. The dialogue continues in this manner. It’s fascinating how dissecting a film and engaging in discussions can significantly alter one’s perspective. For instance, there was a film at Cannes that year I found unappealing, but after Andrey Zvyagintsev and Denis Villeneuve shared their thoughts on it, I felt compelled to rewatch the movie. Instead of trying to prove my point, I prefer to express admiration for their opinions and reassess my own viewpoint. In this case, my perspective was completely transformed.
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2024-11-19 23:25