![]() The night before, she had been partying at the Tár première in black-velvet Schiaparelli trimmed with flowers now, having overslept, she’s halfway through packing to fly to Telluride, in Colorado. Blanchett dials in from a hotel suite in Venice, where she’s been attending the Film Festival. We finally manage to schedule a Zoom call at 7am, two weeks after the shoot. There’s also Borderlands, a sci-fi action film Disclaimer, a thriller television series and she’s shortly heading back to Australia to play a ‘renegade nun’ in The New Boy. She has numerous varied projects in the pipeline, from the sublime (Todd Field’s psychodrama Tár, in which she turns in a breathtaking performance as a renowned conductor) to the ridiculous (playing an inept Lancashire hairdresser in a mockumentary called Two Hairdressers in Bagglyport, in which she’s unrecognisable beneath a wig and false teeth). At 53, Blanchett is more in demand than ever. It’s complicated to find time to speak to her after the photo-shoot, due to her punishing travelling schedule. It’s not a sacrifice – it’s an opportunity." If you grapple with these things creatively, you can have beautiful but practical solutions that actually benefit us all. "But when you go out to the theatre – or to a movie, or an art gallery – and you have an extraordinary time, and you laugh, and you cry, and you’re entertained, and you eat wonderful food, and then you think: 'Oh my goodness, my carbon footprint was pretty close to neutral,' that’s beautiful. "Often, the language around climate change is about sacrifice," she says. Blanchett also recruited Kennedy to transform the eco-credentials of the Sydney Theatre Company when she and her husband Andrew Upton, the playwright, took over as joint artistic directors in 2008, installing solar panels and rainwater-collection tanks and ensuring that all of the sets were as green as possible. ![]() Among the impressive roster of guests who have so far joined her are Prince William, the Prince of Wales, talking about his Earthshot Prize, and Don’t Look Up’s director, Adam McKay. Last year, she starred with Leonardo DiCaprio in Don’t Look Up, the Netflix climate-change satire, and she recently launched her own podcast, A Climate of Change, with her friend Danny Kennedy, an environmental expert. This is a sentiment with which Blanchett would doubtless agree. ![]() "The inside of her mind is so animating – you feel so alive in her presence, and the way she can turn a line of intellectual inquiry into something incredibly beautiful." "I think Es’s understanding of space is extraordinary," says Blanchett admiringly. That moment in the studio is the culmination of a project to create a special shoot for Bazaar’s 10th Art Issue, bringing together the actress and the artist Es Devlin, whose magical set designs, fusing sculpture and light, have animated fashion shows, theatrical performances, and concert tours for stars such as Adele and Beyoncé. "You know, it took me a long time to feel comfortable being captured in a still image, but there was a kinetic quality to what we were doing that I loved," Blanchett says. For a moment, superstar and artwork become one, captured in the snap of the shutter, as the insect itself might once have been caught and trapped under glass. Blanchett shuts her eyes and undulates on the spot, her body seeming to morph into the moth’s, her arms swaying with the slow beat of its wings, their markings embellishing her dazzling dress. Behind her on a screen, a line drawing of a lunar underwing moth, projected to vast size, springs into sudden life. ![]() Wearing a shimmering brocade gown and platform heels, a glacially imposing Cate Blanchett carefully picks her way onto the Bazaar cover set, which is taking place in a cavernous studio in north London.
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