"Cinderella" Official synopsys

From the press release
The story of Cinderella follows the fortunes of young Ella whose merchant father remarries following the tragic death of her mother. Keen to support her loving father, Ella welcomes her new stepmother Lady Tremaine and her daughters Anastasia and Drisella into the family home. But, when Ella’s father suddenly and unexpectedly passes away, she finds herself at the mercy of a jealous and cruel new family. Finally relegated to nothing more than a servant girl covered in ashes, and spitefully renamed Cinderella, Ella could easily begin to lose hope. Yet, despite the cruelty inflicted upon her, Ella is determined to honor her mother’s dying words and to “have courage and be kind.” She will not give in to despair nor despise those who abuse her. And then there is the dashing stranger she meets in the woods. Unaware that he is really a prince, not merely an employee at the Palace, Ella finally feels she has met a kindred soul. It appears as if her fortunes may be about to change when the Palace sends out an open invitation for all maidens to attend a ball, raising Ella’s hopes of once again encountering the charming “Kit.” Alas, her stepmother forbids her to attend and callously rips apart her dress. But, as in all good fairy tales, help is at hand as a kindly beggar woman steps forward and, armed with a pumpkin and a few mice, changes Cinderella’s life forever.

"Blue Jasmine" English promotion (Video, interview and radio) - Edit

New still
Cate Blanchett's Help For Woody Allen
WOODY ALLEN did well to cast Cate Blanchett in his latest film, Blue Jasmine. Not only does she offer a cringe-inducing poignant performance as deluded and disgraced Upper East Side princess Jasmine, but she was also responsible - along with costume designer Suzy Bezinger - for her character's groomed wardrobe.According to Blanchett, Allen has "no interest or understanding" in the aesthetic of his characters - a surprising omission considering the strong sense of style imbued in many of his leading ladies, from the androgynous Diane Keaton in Annie Hall to sophisticated Mariel Hemmingway in Manhattan."He'd say that himself," she laughed. "He's been wearing the same Ralph Lauren sweatpants and T-shirt for the last 20 years and doesn't understand why anyone would change their wardrobe according to their mood, or how they want to present themselves. He just doesn't get it."But to Blanchett (who is the human equivalent of a thoroughbred), her character's costumes were crucial. After Jasmine's privileged life falls apart in New York, she begrudgingly flees to San Francisco to stay with her less-moneyed sister. All she has left of her old life are her impeccable clothes, a white Chanel jacket ( kindly loaned by Karl Lagerfeld), a Birkin bag and a suitably refined Carolina Herrera cocktail dress, which she uses to create the same polished allure as she had before her situation took a downturn. Jasmine is a modern day reinvention of the delusional and tormented Blanche DuBois from Streetcar Named Desire, who Blanchett had previously played on stage (which, incidentally, wasn't the reason Allen hired her; he'd seen her inThe Talented Mr Ripley 20 years before and had admired her ever since)."There's a tragedy to her clinging onto those threadbare things - a bit like Blanche DuBois, trying to make herself as attractive and alluring as possible," said Blanchett. "Like Blanche, she has such a romanticised sense of self. Because of the internal pain, sometimes it's easier to exist in a world of fairy lights and fantasy. One of the primary industries in America is fantasy, and so there's a naivety behind that. And I think that makes Jasmine an anti-hero of her time in her way."The film - aside from its harsh lesson that realitytends to prove better than fantasy in the end - is also a reminder not to forsake freedom even if it does seems easier."Jasmine is a woman without any agency, without any autonomy, she's given that away to her husband, and that's what makes her current today - even in this post-feminist world," she said. "There are a lot of women out there who have given their power away to their husbands, to their brothers, to their fathers and the only way that they can see a way of getting themselves out, or reinventing themselves, is to attach themselves to another man. It's very sad."
Source

Edit - Three new stills (HQ)

 both with Peter Sarsgaard
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Cate will talk at BBC Radio 4, tomorrow afternoon

On BBC radio 4 - Thu 26 Sep 2013 -  16:00
Source

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Cate with Lorraine Kelly - September 24
The video is here

New interview for The Guardian

New interview for Hollywood Foxy
Edit - Two new interviews


New photoshoot by Jan Welters for Elle International October 2013

Many thanks to edenliaothewomb.tumblr.com





 From Twitter

One new
 Different quality for this one

New interviews to promote "Blue Jasmine"

Cate Blanchett on Blue Jasmine
Talking to the multi-award winning actress, it's evident that this Australian star isn't one for pretensions. She talks eloquently about her work, with the confidence and breadth of knowledge of someone who's devoted a large portion of her life to the arts.
Her latest project is Blue Jasmine, written and directed by Woody Allen, a man who's created many indelible female characters. Blanchett plays Jasmine (or Jeanette, as she was born).
"She was a girl who changed her name at school, so she already had a romanticised version of herself," says the actress.
The film introduces the New York socialite shortly after she's suffered a breakdown triggered by the cataclysmic collapse of her marriage to wealthy financier Hal (Alec Baldwin).
Until that point, Jasmine's entire identity was wrapped around being an elegant, immaculate and culturally sophisticated woman living the Manhattan high life. Now that's over, her mental and emotional state is rapidly veering off course.
Suffering for your art
"I was terrified and excited about accepting the role," admits Blanchett, 44. "It was such an incredible opportunity, so complicated, and there was so much to do, so many avenues to explore, her physical, as well as mental state.
"I mean what happens when you take [anti-depressant] Xanax and alcohol?" she says, laughing. "I had a little bit of vodka but I didn't do the Xanax! But it's amazing what you can find on YouTube."
Jasmine's freefall isn't dissimilar to that of Blanche DuBois' in Tennessee Williams's classic A Streetcar Named Desire. It's a comparison that hasn't escaped Blanchett, who portrayed Blanche on stage.
"The first time I read the script, I was sitting at the kitchen bench and saying to my husband, 'Oh, I wonder if Woody saw me'. He hadn't and he never mentioned it, but then Woody's sensibility as a writer is entirely different to Tennessee Williams's.
"He's much more urban, neurotic. He doesn't have that same lyricism that Tennessee does, that ephemeral nostalgia. Certainly, I think it's delicious that any parallels might exist, but they're incidental rather than deliberate."
Woody’s style
Allen is notoriously swift in his directorial style, usually completing a scene in one or two takes.
"Often Sally and I would say, 'Let's go again'," says Blanchett, referring to British actress Sally Hawkins, who plays Jasmine's adopted 'underdog' sister Ginger. "Woody would go, 'I think I've got it, but if you want to go again, go for it'."
Although Blue Jasmine is less whimsical that Allen's recent offerings, there are lighter moments, and Blanchett feels that's imperative.
"I find even when you're playing something like Hedda Gabler or Blanche, those immensely tragic trajectories they go on, you have to find the ridiculous, the absurd, because otherwise you don't earn the tragic," she says.
"I think that's something Woody innately understands. He understands how we always yearn for the wrong person, or we're so deluded to who we actually are. And I think therein lies the comedy.
"We all suffer from delusions of grandeur," she adds. "We're all the heroines or heroes in our own narrative and I, like anyone, have had those narcissistic moments, but Jasmine's much more interesting and complex than me."
Finding balance
It's why she doesn't see the point of being cast in a role and reducing it to her experiences. "The whole pleasure of being an actor is you go, 'Why do they do that?' It's like reading a great novel. You turn the page to try and work out why they're doing what they're doing."
She admits there are certain roles that can affect your "balance", however.
"There's a lot of talk in Woody's films, so there's a lot to get your head around," she explains. "I didn't sleep a lot. But while I think certain roles do affect you, you don't necessarily want other people to suffer for that."
Particularly her three sons, Dashiell, 12, Roman, nine, and five-year-old Ignatius.
"They're a great leveller," says the actress. "You go home at the end of the day and they just want you to put them to bed, do their homework, give them a bath."
While Blanchett has never considered herself "particularly method", she used to have more anxiety about roles when she was younger. "And then when you've given birth to a child you think, 'Oh God, nothing matters'. You learn to scale things."
Being an addict
The children have now joined her in Britain while she shoots Kenneth Branagh's Cinderella. He's another actor-director – like Allen and George Clooney, who helmed her upcoming movie The Monuments Men.
"They all come from entirely different places but the thing is they're all unpretentious and workman-like," says Blanchett, who'll soon be looking to prove her own worth behind the lens with her directorial debut, a dark thriller called The Dinner.
As successful as Blanchett is, she admits to thinking about changing her profession "every day".
"I'm like an addict," she says, laughing. "I feel I have to go into rehab and stop this silly business and get a real job."
Cate Blanchett: 'Woody Allen doesn’t want to get in an actor’s way'
Actors who work with Woody Allen for the first time are all bemused by the short audition process he submits them to and, later, the lack of directorial instructions he issues once filming has begun.
But Cate Blanchett probably holds the record. Allen telephoned her in Australia, he offered her the title role in his latest movie Blue Jasmine, they talked for 45 seconds and, she recalls, he told her, “Great, you want to do it. I’ll see you in San Francisco.”
Then, during the filming his direction was limited to: “That’s awful,” or “That’s good,” she says, laughing. “I think he really doesn’t want to get in an actor’s way. When you work with Woody Allen, 97 per cent of his direction is in the script, and his word choices are so particular and he has such a rhythm to his writing that you have to rise to that.”
Jasmine is not an easy character to like and, says Blanchet, “A lot of what Jasmine says and does is shocking and narcissistic and unpalatable, but the thing that I hope humanises her is that she is someone with no centre who is desperately looking for her identity in other people. I think her heart’s in the right place.
“Woody has this gift of being able to make us laugh at the most painful things and find the most serious things utterly absurd. So the tone was one of the biggest challenges.”
There are strong similarities between the damaged and dysfunctional Jasmine and Blanche DuBois, the troubled woman at the center of Tennessee Williams’s A Streetcar Named Desire, whom coincidentally Blanchett played in Liv Ullman’s off-Broadway production. “There are parallels to Streetcar in the setup but the way the characters interact, and the payoff, is quite, quite different,” she says. “It’s a Woody Allen creation. Woody’s writing is entirely different rhythmically and tonally to Tennessee Williams and I thought about all those Upper East Side women and the financial scandals as much as I thought about Blanche Dubois.”
Cate Blanchett, 44, is her usual cheerful, down-to-earth self when we talk at the Four Seasons Hotel in Beverly Hills. She is wearing a mauve dress with a wide collar and, fittingly for someone who prefers to wear jeans and tee-shirts, does not know the designer – “It’s just a dress,” she shrugs.
Two days previously she had finished her seven-week stint in a production of Jean Genet’s The Maids for the Sydney Theatre Company, of which she and her husband of 16 years, Andrew Upton, are joint artistic directors.
Surprisingly for such a highly regarded actress who has starred in so many high-profile films, she has kept her distance from Hollywood and barely gets recognised walking down the street, which suits her just fine.
“Some people lust for the public eye and find it helps them in their work and others don’t,” she says. “I guess I prefer to be quite private. It’s a myth that actors are exhibitionists. I don’t think all actors are. It’s the research and working with people that fascinates me.”
Unlike most of her fellow actresses, she cares little for her looks and is happy to play what she calls “ugly” roles. She considers the biggest compliment she ever received was when someone told her she had “an actor’s face.”
Her acting career began when she appeared as an extra in a film made in Egypt while she was traveling there as a teenager. On returning to Australia she enlisted in drama school without any high expectations. “I’d seen a lot of brilliant actors who didn’t work very often and when you’re starting out there’s more rejection than acceptance so I said I would give myself five years because I didn’t think I was strong enough to deal with the rejections,” she says.
“But I’ve been so incredibly lucky. My first job was at the Sydney Theatre Company working with Geoffrey Rush in a David Mamet play, Oleanna. Now I find myself in the position of being co-artistic director and CEO of the Sydney Theatre Company and about to make a film, Blackbird, with David Mamet. That is luck.”
Despite the critical praise and awards buzz that surrounds her she is never happy with her performances and has a rule that she never watches her movies more than once. “I’m eternally dissatisfied,” she says. “Maybe that’s why I keep working. I find it gets less excruciating watching myself because I’ve got used to it. But no, I’m endlessly disappointed.”

Interview for L'Express (France) - "Blue Jasmine" promotion

Elle arrive tout juste de Sydney et enchaîne les interviews dans un palace parisien, longue silhouette en tailleur-pantalon noir. Elle a retiré ses chaussures. "Excusez-moi, je suis fatiguée", dit-elle en s'allongeant sur le canapé.  
Cate Blanchett, vous êtes tout excusée. La star aux pieds nus, maman de trois petits garçons, cumule depuis quinze ans de grands rôles dans lesquels elle s'efface avec discrétion: ElizabethBob Dylan (I'm Not There), la reine des Elfes Galadriel (Le Seigneur des anneaux), ou Katharine Hepburn (Aviator), qui lui valut un oscar. 
Dans Blue Jasmine, trajectoire d'une bourgeoise de la Ve Avenue touchée par la crise économique et obligée de se réfugier chez sa soeur prolo, à San Francisco, la comédienne est au sommet. 

Qu'est-ce qui vous a attirée dans Blue Jasmine?
L'opportunité de tourner avec Woody, bien sûr ! J'ai accepté sans rien savoir du script ni de la distribution. Quand j'ai lu le scénario, j'ai eu hâte d'incarner cette femme désillusionnée, déprimée, brisée, qui rappelle la Blanche DuBois d'Un tramway nommé Désir. Le film la suit dans ses hauts et ses bas, surtout ses bas. 
Les personnages avec des failles sont-ils plus intéressants?
Cela dépend. Parfois, le plaisir de jouer vient de l'histoire. D'autres fois, du rôle. Ou bien des deux, comme ici. Woody Allen y montre tout son génie d'auteur dramatique. 
Les femmes de Blue Jasmine portent particulièrement sa marque: elles sont originales et bizarres. Ce que je trouve triste, chez Jasmine, c'est qu'elle évolue dans le royaume du fantasme. Elle s'est inventé un prénom, un personnage. 
Woody affirme que nous sommes tous ainsi: on s'invente des identités, que ce soit sur Internet, au travail, avec nos amis. Ce jeu de faux-semblants rend nos vies plus intenses, mais cela peut nous faire perdre conscience de la réalité. Le gouffre entre le moi intime et le moi public se révèle souvent violent, irréconciliable. 
Comment devient-on une héroïne de Woody Allen?
Fébrilement. J'ai passé beaucoup de temps avec Suzy Benzinguer, la costumière. On a réfléchi au look de Jasmine, aux vêtements qu'elle porterait pour travailler en tant que réceptionniste, au fait qu'elle absorbait beaucoup d'anxiolytiques et d'alcool. 
Ensuite, Sally Hawkins, qui interprète la soeur de Jasmine, et moi avons imaginé leur enfance, et puis je me suis lancée. De toute façon, un premier jour de tournage est toujours terrifiant. 
Jasmine représente une certaine idée de l'élégance?
Qui est éloignée de la mienne. L'élégance, pour moi, c'est trouver son propre style et ne surtout pas être esclave de la mode. Jasmine, elle, est dans l'apparence, dans le tourbillon des marques de luxe et tout ce que symbolisent les statuts sociaux. 
La mondanité est devenue une part d'elle-même, et lorsque, soudain, elle se retrouve sans ressources, elle ne sait plus qui elle est ni comment s'occuper. 
Quel est selon vous le message de Blue Jasmine?
Woody n'est pas vraiment un réalisateur à message. Je pense qu'il se voit plutôt comme un entertainer, mais il plante le décor de chacun de ses films dans un contexte spécial. 
Blue Jasmine, c'est la crise monétaire, la banqueroute des banques... Cela nous rappelle à quel point nous sommes fragiles, combien la société occidentale est matérialiste, traitée avec des médicaments. Et que la culture américaine est un cocktail d'ascension sociale et de chute vertigineuse. 
Est-ce que jouer, c'est apprendre sur soi?
Personnellement, je n'envisage pas la comédie comme une thérapie, plutôt comme une ouverture aux autres. On peut être acteur pour plein de raisons différentes. Moi, je le suis pour m'oublier. Quand je joue, j'avance sur un fil. 
Je trouve également fascinant le côté anthropologique de ce métier. Observer les habitants de l'Upper East Side, c'est regarder vivre les rois du monde, alors que la fracture entre les nantis et les autres ne cesse de grossir. C'est fou de se dire que le sac ultrachic de Jasmine représente l'équivalent du budget des costumes d'un film. 
On vous surnomme l'actrice caméléon. Quels sont vos acteurs de référence?
Des hommes, donc?
Je me sens reliée à eux, à leur présence, à leur intelligence, à l'entièreté de leur jeu. Mais j'aime aussi des actrices: Bette DavisAnna MagnaniIngrid BergmanGiulietta MasinaLiv Ullmann. Je ne dis pas que je voudrais être elles, mais je les trouve tellement formidables. 
Quels sont les points communs entre les personnages que vous avez interprétés? La mélancolie, l'énergie?
Peut-être. Je ne sais pas. J'aime diversifier mes choix, je n'ai pas de plan particulier en tête, je me laisse porter. Par exemple, Blue Jasmine est arrivé de nulle part. 
Pour moi, c'est d'abord le metteur en scène et l'histoire qui comptent. Le rôle arrive en dernier. Si points communs il y a, c'est inconscient de ma part. 
Vous avez codirigé le Sydney Theater Company avec votre mari, le dramaturge Andrew Upton. Quelle expérience en avez-vous retirée?
Un important savoir-faire. Une leçon d'humilité. Pendant presque six ans, nous avons travaillé pour le public et monté des pièces afin de réunir des talents qui, en Australie, travaillaient séparément. 
Nous avons cherché à produire des créations intéressantes et à construire des tournées internationales. Je suis assez fière de ce que l'on a fait. 
Parlez-nous des Bonnes, de Genet, que vous avez joué cet été avec Isabelle Huppert.
J'admire Isabelle. Elle est venue me voir dans Big and Small, au Théâtre de la Ville, l'an passé, on a réfléchi à un sujet, et Les Bonnes a semblé un choix parfait. 
En quoi vous a-t-elle surprise comme partenaire?
C'est une pile électrique. Une comédienne qui n'a peur de rien. 
Les actrices pointent souvent la difficulté de dénicher de beaux rôles. Qu'en pensez-vous?
Au théâtre, on peut mener plus facilement une longue carrière, mais on trouve aussi du travail au cinéma. Hélas, les actrices ont plus de mal que les acteurs pour passer à la réalisation notamment de grosses productions. A moins que ce ne soit pour raconter des histoires de femmes. 
J'aimerais qu'il y ait davantage de réalisatrices, la majorité des spectateurs sont quand même des femmes. 
Le réalisateur Shekhar Kapur, qui vous a dirigée à deux reprises, dans Elizabeth (1998) puis Elizabeth. L'âge d'or (2007), vous a décrite comme "candide et secrète, grégaire et solitaire, spirituelle et mélancolique". Etes-vous d'accord?
Euh, oui. [Silence.] Oui... oui. J'ajouterais peut-être timide. Je pense que cela prend un certain temps de savoir qui l'on est... Grâce à mon travail, on le saura tôt ou tard. 
On vous découvre ce mois-ci égérie du nouveau parfum de Giorgio Armani, Sì... 
Nous entretenons une longue relation et j'ai toujours aimé son stylisme. Giorgio m'a proposé, avec Sì, d'incarner l'idée d'une féminité moderne, positive, forte. A une époque où tout le monde dit non à tout, ça m'a fait plaisir de dire oui tout simplement. 
Vous avez embrassé à l'écran George ClooneyJude LawJohnny DeppBrad PittLeonardo DiCaprio...
Vous savez, je fais juste mon job... [Rires.] 

Cate at "The Andrew Marr Show" - September 22 - Edit

Unfortunately I can't post the video, but we have a transcript from part of the interview
Blanchett, 44, told Andrew Marr: "Whether a character says or does sympathy things is not of interest to me. I don't think my job is to make people like the character, I think that's quite nauseating."
When asked by Marr whether people would relate to Jasmine as a character, Blanchett said Jasmine's "great privilege" may prompt a lack of sympathy from the film's audience.
"I think there's this incredible weight of judgement that we bring to when we see a character," she added.
Blue Jasmine follows the story of elegant New York socialite Jasmine (Blanchett), who is forced to move in with her down-to-earth sister Ginger (Sally Hawkins) in San Francisco after she finds herself bankrupt and broken.
"You looked like you had no make up on at all in the last scenes," said Marr, to which Blanchett quipped: "That's probably a bit of a career-killing decision, but nonetheless film's a finite decision and I made that decision.
"She's a woman on the verge, she's this febrile cocktail of rage and guilt and fear. But she's also on a cocktail of Xanex and vodka."
The Australian actress described the film's director Woody Allen as "an incredible dramatist in the line of Bergman", and that each film he makes represents a chapter in his body of work.
When asked by Marr if this was the single most challenging film role she'd ever had, Blanchett responded: "Yes probably, I mean you find the challenge in everything you do. There are pitfalls, obviously it's a Woody Allen film so someone's going to go and see it, even if you screwed it up, but it was a very complex character and so for me I really relished trying to tease all of those corners, and to go into every recess."
Speaking about one of his most high-profile roles, playing Galadriel in the Lord of the Rings film trilogy, Blanchett spoke of the challenges in assuming such an ethereal character.
"I didn't know how to be an elf, you find the challenge in everything. The ears help," she laughed.
"We share that at least," agreed Marr.

Edit


And if you are in the United Kingdom you can watch the whole interview here 

Q&A with Daily Mail

What’s your earliest memory? My father was always doing things: I never saw him in bed until he had a heart attack in his thirties – I remember going into the bedroom and craning my neck to see him over the mattress. 
What sort of child were you? Part extrovert, part wallflower. I was a daredevil, always trying to ingratiate myself with my peers by doing risky things like jumping off walls. I was naughty and I hope I still am. Hopefully I’m more extrovert than introvert now.   
What are you best at?I cook a mean Sunday lunch. My idea of heaven is a lunch outside on a beautifully sunny Sunday afternoon. It’s the time to gather everyone together. Heston Blumenthal does an amazing roast leg of lamb with garlic, anchovies, rosemary and groundnut oil. 
What do you want to be better at?Technology. Being useless with electronic gadgets has its advantages, though. I get to look out and enjoy the scenery from a train, rather than be glued to a screen.  
What’s the worst thing you’ve read about yourself?One critic wrote, ‘The only thing worse than casting Cate Blanchett would have been casting Dame Edna Everage.’ I tried really hard to take that as a compliment. 
Who is your dream dinner date?Queen Maxima of The Netherlands. I think she’s a fascinating, liberal figure. She’s been a force for good in terms of promoting tolerance of gay marriage.  
What is your biggest fear?Like any mum I fear some mysterious illness befalling my children. Apart from that I’m not good with spiders. People who say there’s nothing to fear from spiders have clearly never been to Australia.  
Who do you most admire?Woody Allen. I’d wanted to work with him for years, then he called to ask if I was interested in Blue Jasmine. I started to sweat. The conversation lasted two minutes. When I called him to say how much I loved it, that conversation lasted 45 seconds. He doesn’t waste time. He has the brutal understanding of a stand-up, knowing instinctively if something works or not.
 
When did you last tell a lie?People assume actors are born liars but I’d argue the actor’s job is to tell the truth. And I’ve realised I’m not a good liar.  
What do you dream about?We owned a beautiful house in Brighton right by the sea. I dream about the starlings over the West Pier. Every afternoon, at precisely 4.10, they’d swoop past my window and along the beach. I’d like to think they did it just for me.   
What is your worst character trait?My short-term memory is shockingly bad. It’s a real struggle when people ask me what I’ve seen or read recently. 
Tell us a secret about yourself.I can scratch the back of my head with my elbow. Try it. It’s not as easy as it sounds.   
When did you last feel really happy?A couple of weeks ago I went to Kangaroo Valley, outside Sydney, which has the most amazing flora and fauna. I was on the river when the sun came through the trees and hit the water. It was like a ray from God.  
The best night of your life?Last summer we spent the night on a beach in Queensland. Out of the blue, my children decided me and my husband should remarry. So they conducted this hilarious ceremony. You have to acknowledge perfect moments when they happen. A minute later you might be collecting the rubbish from the back yard.  
Who would you like to say sorry to?A few years ago I got a fan letter from an old man. Inside was this collection of stamps. In return, he wanted an autograph. But I lost his address so couldn’t reply. If he’s reading this, I’m terribly sorry.  
What’s your most embarrassing moment?I never get embarrassed. If I ever feel embarrassed, I’m able to completely hide it. When I feel like I’m about to blush I can will it not to happen. The trick is being able to control your body temperature. It’s such a gift and might partly explain why I’ve got to where I am in life. I’m beyond embarrassment.  
What is your most treasured possession?In my loft are three boxes with my children’s first teeth, their first curls, their baby bracelets and birth certificates. They’re precious.   
How would you like to be remembered?For the quality of my banana upside down cake. I made my first one just the other day and it was received with some acclaim. I’m a good baker but I truly excelled on this occasion.
Source

New clip from "Blue Jasmine"

New clip with Michael Stuhlbarg

More photos from "Beauty in Wonderland"

From various articles






From Instagram


I've updated the previous post with a new interview, and the post "Press Interview" it is been updated in "Blue Jasmine London promotion" with two new interviews

Video from "Beauty in Wonderland" red carpet - Edit

Cate at the beginning (photocall) and at 0:55. Blake Lively and Franca Sozzani are in the video, too.
One new video

Edit Cate leaving the place
                            

"Beauty in Wonderland" presentation for Milan Fashion Week - September 19 - Edit

New public event!




Sources GossipcenterWireimage
A lot more photos NewscomGettyimagesKikapress (with candids of Cate leaving the event), MilestoneMediaDaily Mail

Edit
From Vogue Italy
 with Jonathan Newhouse, Franca Sozzani, Cate Blanchett e Joanne Crewes
From Vanity Fair Italy




From Instagram