How Tár director Todd Field hit all the right notes with Cate Blanchett—and Oscar voters
When I write, I’m adapting material. That’s typical. And when you write original material, it’s on spec. And I have a large family and I never have the kind of time to sit down and write a spec script, you know? So the difference is, I try to come at the material ... as an amateur reader. And just like a reader of fiction, I make the person in my own head. And that person is probably not an actor. I try to stay in that feeling when I’m adapting material because there’s so much more possibility.
Now, on this film, I had the great honor and privilege and surprise of having somebody tell me that I could write an original script. For whatever reason, which I think it’s pretty easy to imagine, Cate Blanchett just appeared on my desk one day and wouldn’t leave. So I couldn’t think about this character as anyone but her. Going back to talking about [Cate and Kate] or Nina Hoss, it’s different now because I’ve worked with all three of those actors and I’ve seen very particular sides to them.
AVC: So after the script writing process and Blanchett saying yes, what then surprised you in the filming? Was there anything you hadn’t known about her abilities before she brought Lydia to life?]. Everyone wants to know that because you want to know, like, how did the elephant suddenly appear on stage? Did that surprise you? Because it surprised me! So I completely understand the question. But the enormity of her craft, the enormity of her art, is so breathtaking.
And it’s not like she’s walking around in character, walking around like Lydia Tár. She’s walking around as Cate Blanchett, the most delightful dinner companion anyone would ever have, very courtly and kind and concerned about everyone that’s working on the film. And then when the camera rolls, something happens. There were moments on this film where a hush would come over the crew. And you would look at, in some cases, some very hardened, tough, German males that would just melt.
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