Cate Blanchett’s Shocking Decision: Quitting Acting for a New Life?

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Upon being asked to identify herself, Cate Blanchett replied, ‘I am an actress.’

The man next to her, theater director John Tiffany, remarks, “You seemed deep in thought there.” To which Blanchett responds, “Indeed, I was contemplating. It’s due to my decision to step down.

Giving up?

Although they find it hard to believe, I assure you I am sincere about leaving acting behind. There are many paths I aspire to walk in my lifetime.

Let’s not rush things; we’re currently in Blanchett’s dressing room at the Barbican, London. She has only seven more performances left before wrapping up a well-received run of Chekhov’s The Seagull. In this production, the two-time Academy Award winner from Australia portrays Arkadina, a character known for her decline and disillusionment.

On the door to the dressing room, there’s an A4-sized paper with the label “CB” written in large, 50-point font. Outside the window of this dressing room is the view of the Barbican’s Brutalist, multi-story parking lot. It’s not exactly glamorous. Yet, there sits Blanchett, surrounded by everyday dullness, radiating an inner light that one would expect from a movie star.

Apart from appearing somewhat preoccupied, there’s an air of absent-mindedness about her. Interviews aren’t really her thing. In her own words, “I find myself rather unexciting and I find others far more intriguing,” she admits, confessing a sense of profound boredom with herself.

She describes herself as restless. She feels more at ease moving around and it’s taken her a while to get used to the idea of being photographed. She often feels like an outsider, which makes her surprised when she finds acceptance or belonging anywhere. She approaches new environments with curiosity rather than expecting acceptance or warmth. Over time, she has learned to be comfortable with feelings of discomfort.

In her 50s, does she find it easy to be at peace with herself and fully engage in the moment? She responds playfully, “What’s your rush?” before suggesting cold water swimming as a method for achieving an intense sense of presence. “The key is taking deep breaths,” she says, implying that one should focus on breathing when seeking mindfulness. In other words, just keep breathing to find your way through.

Previously, Blanchett mentioned that her daily morning cold shower is “perhaps the only moment in the day, aside from being on stage, when I’m genuinely – and I must confess this isn’t a pleasant admission – fully present.” In her opinion, performing on stage demands “a kind of sonic immersion, like a submarine, regarding the quality of your attention and presence.” For her, theater thrives or perishes based on the performer’s connection with the audience and their ability to listen to audience reactions while trying to involve them emotionally. Additionally, she emphasizes the importance of maintaining a strong bond with the fellow actors through active listening. This level of concentration is so intense that she strives to incorporate it into her everyday life.

Additionally, in a casual remark, Blanchett reflects: “I believe I’m rather agreeable during rehearsals. However, I can be quite intolerable in real life.

In her own words, Blanchett expresses, “Much like many others, I appreciate being alive. I immerse myself in life, even in unexpected situations. Perhaps that’s why my professional journey, which you can indeed refer to as a career, has been remarkably diverse.

Cate Blanchett’s versatility spans from ethereal Galadriel in The Lord of the Rings to the leather-clad deity Hela in Thor: Ragnarok, and her roles extend to the complex, mysterious, and lesbian Carol in various productions. This range includes both blockbuster movies and independent films (arthouse). In 2022’s Tár, Blanchett gave an outstanding performance as a troubled conductor and a stylish, predatory lesbian character, successfully bridging the gap between arthouse and blockbuster cinema.

Previously, Blanchett had not participated in any radio plays, even though radio holds a significant role in her personal experiences and surroundings.

She expresses her fascination with the psychological atmosphere found within people’s vehicles. Many of her deepest, most impactful conversations with her children occur in the car. This unique space, she explains, is a psychological bubble shared among travelers, encompassing the tunes sung during road trips, shared stories and jokes, as well as the radio played. This distinctive environment was instrumental in introducing her 16-year-old to Desert Island Discs, sparking his newfound obsession, and serving as her personal sanctuary for long-form radio dramas during their school commute.

If Cate Blanchett were to listen to something related to her work (which she typically doesn’t), this coming Saturday, it could be “The Fever” by Wallace Shawn. This 90-minute monologue is directed by John Tiffany, a two-time Tony and Olivier award winner, along with frequent collaborator Steven Hoggett. In the play, an unidentified traveler (played by Blanchett) falls ill in a war-torn foreign country. As she battles her fever, she comes to understand that her first-world comfort and wealth are built upon the hardships and oppression of those living in developing nations. This poignant, powerful piece is a stark critique of global capitalism, implicating us all as participants.

The first time I encountered it, it caught me off guard,” she notes. “It’s urgent, challenging, and provokes some awkward self-examination. Moreover, its intimacy lends it a unique charm that suits broadcast mediums like radio.

Blanchett points out that her character expresses thoughts many people might be embarrassed to acknowledge. She suggests that acknowledging and addressing these embarrassing feelings can lead to personal growth. In other words, it’s important to face and work through things we feel ashamed about in order to keep learning and growing as individuals.

She expresses optimism, as she clearly states, “I am hopeful.” However, if empathy is perceived as a detriment, as Mr. Elon Musk suggested recently, then we find ourselves in a very challenging situation.

She maintains her optimism by explaining that she has four children, implying there’s no room for despair in her life. She’s not pretending to be overly optimistic or claiming to have all the solutions, but rather emphasizing the importance of finding shared ground, fostering communication, and resisting fear as we work together towards a solution. In her view, just like fevers eventually subside, so shall our difficulties.

Blanchett acknowledges that The Fever may not drastically alter the lives of the less fortunate, as she herself puts it, “Artists who produce art that evokes empathy and moral values might not directly transform the lives of the impoverished.

As a movie enthusiast, I can’t help but anticipate the potential backlash when Cate Blanchett openly criticizes the very industry that has elevated her to stardom. After all, when someone as esteemed as she is challenges the system, it’s only natural for some sections of the media to take offense. Yet, when I find myself defending in such a manner, it’s usually because I’ve been moved or provoked by something deeper, and I’d rather avoid confronting those feelings head-on. Such is the case with this article, as she shoots me a glance that seems to say, “You know this isn’t going to be easy.

Oh, Cate Blanchett, actress (for now anyway) is ready for whatever comes.

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2025-04-14 23:39