Tag Archives: Cate Blanchett

Sarah Millican Responds To Criticism About Her Appearance On The Red Carpet

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The red carpet can be a brutal place for women: their talent is put to one side and they are based entirely on the sum of their parts and ability to dress. This is what happened to Sarah Millican at last year’s BAFTA Awards.

“I’m sorry. I thought I had been invited to such an illustrious event because I am good at my job. Putting clothes on is such a small part of my day. They may as well have been criticising me for brushing my teeth differently to them” She wrote in her Radio Times Essay.

 

Sarah millican responds to trolls BAFTA Awards

Trolls on the internet attacked her red carpet look, calling it “disastrous” and “nana”-like. She was hurt but choose to respond and point out the sexism of a woman being judged on her appearance rather than celebrated for her achievements.

“I’m not a model (I’m a comedian), have never learnt how to pose on a red carpet (I’m a comedian) and I have pretty low self-esteem.”

She also had this to say about her John Lewis dress:

“Fancy expensive designer shops are out for me as I’m a size 18, sometimes 20, and I therefore do not count as a woman to them.”

“It was like a pin to my excitable red balloon. Literally thousands of messages from people criticising my appearance. I was fat and ugly as per usual. … I cried. I cried in the car.”

Then she got angry….

“Why does it matter so much what I was wearing? … I felt wonderful in that dress. And surely that’s all that counts.”

 

Cate Blanchett also got sick of the sexist double standards after the cameras kept scanning her up and down at this year’s SAG Awards. She asked, “Do you do that to the guys?”

Funnily, Millican, points out the sexism of the situation: “My husband wasn’t asked who he was wearing, which disappointed him. Mainly because he was dying to tell ANYONE he was wearing an Asda tux.”

Even better, Millican had this to say about the dress she wore:

“I made a decision the following day that should I ever be invited to attend the Baftas again, I will wear the same dress. To make the point that it doesn’t matter what I wear; that’s not what I’m being judged on.”

 

 

Gravity Picks Up 6 Honours At The EE British Academy Film Awards 2014

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British Film Gravity picked up six awards at the EE British Academy Film Awards and it also picked up four other awards for Best Visual Effects, Cinematography, Sound and Original Film Music while Gravity Director, Alfonso Cuarón, won the Director Award. 12 Years a Slave received the award for Film while Chiwetel Ejiofor won Leading Actor for his role in the film.  Other winners included Cate Blanchett who won Leading Actress for her role in Blue Jasmine, Jennifer Lawrence who was named Supporting Actress for her role in American Hustle, Captain Phillips star Barkhad Abdi won Supporting Actor and Philomena won Adapted Screenplay. Dame Helen Mirren was awarded the Academy Fellowship, BAFTA’s highest accolade, in recognition of her exceptional contribution to film.

BAFTAs 2014 BAFTAs 2014 BAFTAs 2014 BAFTAs 2014

Champagne Taittinger, official Champagne Partner to the British Academy for the 12th year running, once again added extra sparkle to the proceedings.   Special BAFTA labelled Magnums and 75cl bottles of Champagne Taittinger Brut Réserve were produced for the Awards. A bottle was also included in the gift bags, given to all nominees and presenters.  Taittinger is one of the few premium Champagne houses to remain owned and actively managed by the named family.  It is proud to support the work of BAFTA to acknowledge and encourage the highest achievements in film and television.

 

As New Zealand’s most awarded winery for more than 30 years, Villa Maria makes a very fitting Wine Partner to the Academy.  Guests at the glamorous Awards dinner enjoyed the delicious Villa Maria Private Bin Sauvignon Blanc 2013 which perfectly complimented the Smoked Loch Fyne Salmon and Dorset Crab starter and the Villa Maria Private Bin Merlot Cabernet Sauvignon 2012 which made a mouth-watering match with the main course of Fillet of Aberdeen Angus and Braised Short Ribs.

 

other winners included:

ORIGINAL SCREENPLAY                                              ANIMATED FILM

American Hustle                                                         Frozen

 

FILM NOT IN THE ENGLISH LANGUAGE                      PRODUCTION DESIGN                        

The Great Beauty                                                        The Great Gatsby

 

MAKE-UP AND HAIR                                                   EE RISING STAR

American Hustle                                                         Will Poulter

For the full list of winners visit: www.bafta.org

 

5 Minutes With Makeup Artist Mary Greenwell: On The Silhouette Icon Campaign & Cate Blanchett

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cateblanchette

Interview with makeup artist Mary Greenwell as she works on the

Silhouette Icon for an Icon campaign with Cate Blanchett

 

Q. Is there a difference between working with people who are wearing glasses, and those that aren’t? Are there any techniques you use to enhance the eyes behind glasses?

A. No. There aren’t at all! I always say that the glasses come after the makeup. The glasses, if chosen properly, are the perfect addition to your makeup look. So I don’t manipulate the makeup for glasses at all:

do your makeup up how you want it to look and then put your glasses on. They should just be an extension of your personality! That’s the benefit of the Silhouette Icon specs; they’re frameless so people can look into you, and see your face, so you should wear whatever makeup and clothing you want to wear.

 

Q. Do you think this is different from people who wear heavy frames?

No not at all, it’s exactly the same.

 

Q. And from a makeup artist’s perspective, do you manipulate makeup application to accommodate glasses?

A. Well, the model tends to be chosen as they represent the look or theme the styling team want to achieve, so you work to enhance the face, with either a smokey eye, or a bold lip, or a natural finish, whatever is required and then just add glasses.

 

Q. Do you prefer any of the different makeup looks paired with glasses.

A. Not really, it’s whatever you want to wear! If you want a flicky eye: great. Smokey eye: go for it! The question is ‘does your makeup look good without glasses’?

 

Q. So then your general stance is that the glasses don’t affect your makeup application or use at all?

A. Absolutely! Just don’t worry about it. Focus on finding a pair of frames that suit your face. It’s quite a thing to go out and suddenly start wearing glasses, so the frameless Silhouette glasses are ideal to still show off your face and allow the light to access it, so stick to the makeup that you know.

 

Q. Do you think that glasses draw attention to the eyes, as an ‘accessory’?

A. I guess they can portray your personality if you go for a Barbara Cartland sort of look, but ideally, they just showcase your face and work to enhance your natural personality, especially if you go for a Silhouette frameless pair which allows the light to get to your face.

 

Q. What do you think glasses say about a person?

A. I don’t think they represent a personality trait at all. I wouldn’t like to think that way either. It seems a rather stereotyped process to assume someone is more intelligent because they wear glasses. That’s ridiculous!

 

Q. So do you think there is a general idea that people appear more intelligent wearing glasses?

A. No. Personally, I don’t think so. People wear them that way in down-time i’m sure. I’m sure there are people out there, who put on spectacles and head out to dinner in an attempt to appear more intelligent, but that isn’t the way that I see glasses at all. What shows intelligence is the look in someone’s eyes and mirroring what they’re saying, which is why I love the Silhouette Icon glasses, they allow you to see more of the face and the eyes. I mean, I would love for my glasses to make me look more intelligent, but that just isn’t the case!

 

Q.  Working with Cate, are there any makeup styles that she likes/prefers, or you think suit her best?

A. I work with Cate all the time, and she’s a very beautiful person. She doesn’t need any makeup at all really. But obviously, with photography, you apply makeup to even out the skintone, and make the eyes pop a bit more, and that’s all we did really with this Silhouette Icon campaign. There’s not very much makeup used at all.

 

Q. So were you briefed to use minimal/barely there makeup?

A. Well, Cate just looks great in natural makeup, and this wasn’t about a smokey eye or fuller coverage. That wouldn’t work. It’s not how we work, and it’s not how Peter Lindbergh works. He works in a minimalist fashion, and although this wasn’t minimalist makeup, it was natural makeup. That’s what works in the bright sunshine of LA with the light shining through, and you wouldn’t dream of doing anything else. It’s just about making someone look really good. A small amount of makeup will always enhance the face, and too much just doesn’t work.

 

Q.  Are there any key products that you can’t do without?

A. Oh definitely. I can achieve any makeup look using these products:

YSL BB Cream

Chanel No. 5 beige bronzer for bronzing and contouring

Chanel cream eyeshadow in Eblouis

Illusion D’ombre eyeshadow

Sensai volumising mascara

Suku eyebrow pencil

MAC lipstick in ‘cream in your coffee’

 

With those 6 products, you can make your look either really heavy or really light. You can change the look by applying shadow up to the brow bone, or applying just up to the socket for example. Whether you apply less product for a more natural look, or build it up for more emphasis, these products are definitely my go-to!

 

Q. And is there one key product in your professional kit that you would choose?

A. I couldn’t! Everybody is different, and they need different products because of that.

 

Q. When your clients are wearing glasses is there a particular method used to give the eyes stand-out?

A. Wearing glasses actually focuses attention on the eyes, so you can use this to your advantage and wear a bold lipstick to balance out the features. If you are keen to frame the eyes under thicker lenses, then use a liquid eyeliner along the upper lash line, and create a feline flick at the outer corner for added definition. Finishing the look with volumising mascaras will enhance the eye further.

 

Q. Would you use different focuses or emphasis on makeup with different types of glasses?

To complement a thick-rimmed pair of glasses, I would use minimalistic makeup on the eyes and cheeks, but focus on the lips. The classic pillar box red lends to the seductive secretary look, and immediately frames the face. If you have a full lip, wear a darker shade of red to avoid a clustered feel. Those with thinner lips can wear a bright shade. Line the lips first to give extra shape to the mouth.

 

Rimless glasses allow for more versatile makeup looks. Whether you want to enhance the eyes with a smokey eye, focus on the lips, or colour block the cheeks, the more subtle-glasses wear means that any of this is possible.

 

Q. Do you have any top tips on applying liquid liner and creating the different types of flicks?

A. If you aren’t blessed with a steady hand, then there are definitely tricks to help you on your way. Resting your elbow on a firm surface will support the hand and allow you to trace the lash line smoothly and close to the edge. When creating your preferred flick, place a dot where you want the flick to end, and then join the dot to the liner at the corner of the eye.

 

Q. How would you conceal tired and dark circles under the eyes?

A. An illuminator is the perfect tool! Choose a shade that is slightly lighter than your natural skin tone and apply under the eyes. When blending, smooth the illuminator in clear strokes to ensure an even finish. The illuminator will then reflect light particles off the skin and limit the appearance of bags/dark circles.

Thank you Mary.

 

 

58th London Evening Standard Theatre Awards, in association with Burberry

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Cate Blanchett, Anne-Marie Duff, Rupert Everett, Adrian Lester, Eddie Redmayne, Joely Richardson, Michael Sheen, Sheridan Smith and David Suchet are among the stage stars tipped

 

 

The London Evening Standard today unveils the longlist for its 2012 Theatre Awards, presented for the first time this year in association with Burberry.

 

·       In a remarkable year for Nicholas Hytner’s National Theatre, it leads the longlist with 22 entries; followed by the Royal Court with 13.

 

·       With four nods, the most longlistedplay this year is The Curious Incident of the Dog in the Night-time, Simon Stephens’ adaptation of Mark Haddon’s novel about a boy with Asperger’s.

 

·       Olympic Closing Ceremony set designer Es Devlin is longlisted in the Design category for The Master and the Margarita, at the Complicite at the Barbican.

 

·       Eddie Redmayne, Simon Paisley Day and Michael Sheen battle it out for Best Actor with their leading Shakespeare roles in Richard II, Taming of the Shrew and Hamlet.

 

·       It is a good year for women, with inaugural productions from new female artistic directors recognised and a host of stellar performances in strong female roles.

 

·       This year a new award has been announced with the Burberry Award for Emerging Director. The award celebrates a young director who is set to be a star of tomorrow’s London stage.

From Hollywood A-listers to Britain’s most celebrated playwrights, the longlist for the 2012 London Evening Standard Theatre Awards, in association with Burberry, puts an array of big names – and rising stars – in the running for a statuette. All are recognised for contributing to a stellar year in the capital’s theatres.

This year’s winners will be revealed at an evening dinner and Awards ceremony, presented by One Man, Two Guvnors star James Corden at the Savoy Hotel on Sunday 25th November 2012.

The event is co-hosted by London Evening Standard Owner Evgeny Lebedev, Burberry Chief Creative Officer Christopher Bailey and American Vogue Editor-in-Chief Anna Wintour.

 

The longlist reflects a heavy-weight year for women, with the Natasha Richardson Award for Best Actress category featuring some of the biggest female roles for the stage. Three Ibsen plays provided meaty roles for: Sheridan Smith, thrilling as the capricious Hedda in Hedda Gabler; Hattie Morahan, moving as the trapped housewife Nora in A Doll’s House; and Joely Richardson, luminous as Ellida in Lady from the Sea. In this role, Richardson follows her mother Vanessa Redgrave’s 1979 portrayal and the 2009 performance of her late sister, Natasha, in whose memory this award is given.

 

Cate Blanchett’s sellout performance as Lotte in the translation of German play Big and Small is also recognised, along with Imelda Staunton’s Mrs Lovett in the hit West End production of Sweeney Todd.

 

It is a good year for women behind the scenes too, with two new artistic directors hitting the mark with their inaugural productions. New Donmar chief Josie Rourke is up for Best Director for her exciting staging of The Recruiting Officer. At the Tricycle, Indhu Rubasingham’s opening production, new play Red Velvet, wins a longlist place for its first-time author, Lolita Chakrabarti, in The Charles Wintour Award for Most Promising Playwright category. Red Velvet also offers Adrian Lesterthe chance to pick up the award for Best Actor, as real-life 19th century black actor Ira Aldridge, who was hounded off the London stage.

 

Also featuring on the longlist is Es Devlin, the Olympic Closing Ceremony set designer whose work for Master and the Margarita puts her in the Best Design category.

 

Battling it out with Lester and others for Best Actor are Eddie Redmayne, Simon Paisley Day and Michael Sheen – all for their leading roles in Shakespeare productions, with Redmayne playing Richard II at the Donmar Warehouse, Paisley Day playing Petruchio in Taming of the Shrew and Sheen in the Young Vic’s production of Hamlet.

 

The most longlisted play this year is The Curious Incident of the Dog in the Night-time, Simon Stephens’ adaptation of Mark Haddon’s novel about a boy with Asperger’s. The National Theatre production, in the Cottesloe space, is mentioned in four categories:  Best Director, Best Play, Best Actor and Best Design.

 

Two musical productions that originated at the Chichester Theatre and transferred to the West End are rivals for the Ned Sherrin Award for Best Musical: Sweeney Todd and Singin’ in the Rain. The consistently strong fringe venue Southwark Playhouse also fields two shows in this category: Floyd Collins (directed by Derek Bond) and Mack & Mabel (directed by Thom Southerland).  Swallows and Amazons, which features the music and lyrics from Divine Comedy’s Neil Hannon, is also in the running.

 

The National Theatre leads the longlist, with 22 entries across its three stages. Next, the Royal Court, home of new writing, has 13.

 

This year’s awards has eight categories: with Best Play, Best Director, Best Actor, Best Design, Natasha Richardson Award for Best Actress, Ned Sherrin Award for Best Musical, Milton Shulman Award for Outstanding Newcomer and Charles Wintour Award for Most PromisingPlaywright – an award named in memory of the former Editor of the Evening Standard and Anna Wintour’s father.

 

In addition to eight longlisted awards, which are decided by a panel of theatre critics and London Evening Standard’s editor, Sarah Sands, five other special awards will be presented on the night. These are the Burberry Award for Emerging Director (new for this year), the Lebedev Special Award, the Editor’s Award, Beyond Theatre and the Moscow Art Theatre’s Golden Seagull.

 

The shortlist will be announced in the London Evening Standard on 12 November.

 

The London Evening Standard Theatre Awards 2012 in association with Burberry.

 

BEST PLAY

 

Choir Boy  by Tarell Alvin McCraney,  (Royal Court Upstairs)

 

Constellations by Nick Payne (Royal Court Upstairs)

 

The Curious Incident of the Dog in the Night-Time by Simon Stephens (National’s Cottesloe)

 

Jumpy by April De Angelis (Royal Court Downstairs)

 

The Last of the Duchess by Nicholas Wright (Hampstead)

 

Love and Information by Caryl Churchill  (Royal Court Downstairs)

 

Love Love Love by Mike Bartlett (Royal Court Downstairs)

 

Reasons to Be Pretty by Neil LaBute (Almeida)

 

South Downs by David Hare (Chichester Minerva)

 

This House by James Graham (National’s Cottesloe)

 

The Witness  by Vivienne Franzmann (Royal Court Upstairs)

 

 

BEST DIRECTOR

 

Benedict Andrews for Three Sisters (Young Vic)

 

Lucy Bailey for Uncle Vanya (The Print Room)

 

Tom Cairns for Scenes from an Execution (National’s Lyttelton)

 

Carrie Cracknell for A Doll’s House (Young Vic)

 

Marianne Elliott for The Curious Incident of the Dog in the Night-time (National’s Cottesloe)

 

Polly Findlay for Antigone (National’s Lyttelton)

 

Sean Foley for The Ladykillers (Gielgud)

 

Jeremy Herrin for This House (National’s Cottesloe)

 

Nicholas Hytner for Timon of Athens (National’s Olivier)

 

Jonathan Kent for Sweeney Todd (Chichester Festival and Adelphi)

 

James Macdonald for Love and Information (Royal Court Downstairs)

 

Roger Michell for Farewell to the Theatre (Hampstead)

 

Lindsay Posner for Noises Off  (Old Vic)

 

Ian Rickson for Hamlet (Young Vic)

 

Josie Rourke for The Recruiting Officer (DonmarWarehouse)

 

Lyndsey Turner for Philadelphia, Here I Come! (Donmar Warehouse)

 

 

BEST ACTOR

 

Simon Russell Beale, Collaborators (National’s Cottesloe)

 

Charles Edwards, The King’s Speech (Wyndham’s) and This House  (National’s Cottesloe)

 

Rupert Everett, The Judas Kiss (Hampstead)

 

Laurence Fox, Our Boys (Duchess)

 

David Haig, The Madness of George III (Theatre Royal Bath and Apollo)

 

Douglas Hodge, Inadmissible Evidence (Donmar Warehouse)

 

Alex Jennings, Collaborators (National’s Cottesloe)

 

Rory Kinnear, The Last of the Haussmans (National’s Lyttelton)

 

Adrian Lester, Red Velvet (Tricycle Theatre)

 

Simon Paisley Day,  The Taming of  the Shrew (Shakespeare’s Globe)

 

Eddie Redmayne, Richard II (Donmar Warehouse)

 

Adrian Scarborough, Hedda Gabler (Old Vic)

 

Michael Sheen, Hamlet (Young Vic)

 

Scott Shepherd, Gatz (Elevator Repair Service at Noel Coward)

 

David Suchet, Long Day’s Journey Into Night (Apollo)

 

Luke Treadaway, The Curious Incident of the Dog in the Night-time, (National Theatre’s Cottesloe)

 

 

NATASHA RICHARDSON AWARD FOR BEST ACTRESS

 

Eileen Atkins, All That Fall (Jermyn Street)

 

Pippa Bennett Warner, The Witness (Royal Court Upstairs)

 

Eve Best, The Duchess of Malfi (Old Vic)

 

Cate Blanchett, Big and Small (Sydney Theatre Company for Barbican)

 

Anna Chancellor, The Last of the Duchess (Hampstead)

 

Anne-Marie Duff, Berenice (Donmar Warehouse)

 

Mariah Gale, Three Sisters (Young Vic)

 

Tamsin Greig, Jumpy (Royal Court Downstairs andDuke of York’s)

 

Sally Hawkins, Constellations (Royal Court Upstairs)

 

Martina Laird, Moon on a Rainbow Shawl (National’sCottesloe)

 

Helen McCrory, The Last of the Haussmans (National’s Lyttelton)

 

Laurie Metcalf, Long Day’s Journey Into Night (Apollo)

 

Hattie Morahan, A Doll’s House (Young Vic)

 

Joely Richardson, The Lady from the Sea (Kingston’s Rose Theatre)

 

Sheridan Smith, Hedda Gabler (Old Vic)

 

Imelda Staunton, Sweeney Todd (Chichester and Adelphi)

 


NED SHERRIN AWARD FOR BEST MUSICAL

 

Floyd Collins (Southwark Playhouse)

Directed by Derek Bond

 

Mack & Mabel (Southwark Playhouse)

Directed by Thom Southerland

 

Singin’ In the Rain (Chichester Festival and Palace Theatre)

Directed by Jonathan Church

 

Swallows and Amazons (presented by the National Theatre in association with The Children’s Touring Partnership at the Vaudeville Theatre)

Music and lyrics by Neil Hannon

Script by Helen Edmundson

Directed by Tom Morris

 

Sweeney Todd (Chichester Festival and Adelphi)

Directed by Jonathan Kent

 

Top Hat (Aldwych)

Directed by Matthew White

Adaptation for Stage: Howard Jacques and Matthew White

 

 

BEST DESIGN

 

Hildegard Bechtler, Top Hat ( Aldwych)

 

Miriam Buether, Wild Swans (A Young Vic/American Repertory Theatre/Actors Touring Company co-production)

 

Bunny Christie, The Curious Incident of the Dog in the Night-time (National’s Cottesloe)

 

Kevin Depinet, Detroit (National’s Cottesloe)

 

Es Devlin, The Master and Margarita (Complicite at Barbican)

 

Soutra Gilmour, Inadmissible Evidence (Donmar Warehouse ) and Antigone (National’s Olivier)

 

Richard Kent, Richard II (Donmar Warehouse)

 

Ian MacNeil, A Doll’s House (Young Vic)

 

Peter McKintosh, Noises Off (Old Vic)

 

Vicki Mortimer, The Last of the Haussmans (National’s Lyttelton)

 

Lucy Osborne, The Recruiting Officer (Donmar Warehouse)

 

Michael Taylor, The Ladykillers (Gielgud)

 

Jamie Vartan, Misterman (National’s Lyttelton)

 

 

 

CHARLES WINTOUR AWARD FOR MOST PROMISING PLAYWRIGHT

 

Stephen Beresford, The Last of the Haussmans (National’s Lyttelton)

 

Lolita Chakrabarti, Red Velvet (Tricycle)

 

Ishy Din, Snookered (Bush)

 

Vickie Donoghue, Mudlarks (Bush)

 

Nancy Harris, Our New Girl (Bush)

 

John Hodge, Collaborators (National’s Cottesloe)

 

Luke Norris, Goodbye to All That (Royal Court Upstairs)

 

Nicholas Pierpan, You Can Still Make a Killing (Southwark Playhouse)

 

Tim Price, Salt, Root and Roe (Trafalgar Studios)

 

Hayley Squires, Vera Vera Vera (Royal Court Upstairs andTheatre Local Peckham)

 

Tom Wells, The Kitchen Sink (Bush)

 

 

THE MILTON SHULMAN AWARD FOR OUTSTANDING NEWCOMER

 

Jonathan Bailey, South Downs (Chichester Minerva and Harold Pinter)

 

Denise Gough, Our New Girl (Bush) and Desire Under the Elms (Lyric Hammersmith)

 

David Fynn, She Stoops to Conquer (National’s Olivier)

 

Cush Jumbo, She Stoops to Conquer (National’s Olivier)

 

Abby Rakic-Platt, Vera Vera Vera (Royal Court Upstairs and Theatre Local Peckham)

 

Matthew Tennyson, Making Noise Quietly (Donmar Warehouse)

 

Joshua Williams, Shivered (Southwark Playhouse)and  Love and Information (Royal Court Upstairs)

 

Emi Wokoma, Soul Sister (Hackney Empire and Savoy)