Movies

Married spies with secrets? After their recent demanding roles, that’s almost a vacation

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It’s only after some initial hiccups that Cate Blanchett and Michael Fassbender managed to meet on a Zoom call. Cate has been busy readying for a stage production of “The Seagull” at the Barbican in London, her first performance since 2019. Meanwhile, Michael had taken some time off with his family before heading back home to Lisbon. This delay might be why their synchronous hour, which finally worked for everyone, seemed almost magical as these talented actors exchanged tales about their work.

During their friendly reunion, they’ve both been reminiscing about filming Steven Soderbergh’s movie “Black Bag” last spring. Michael Fassbender asks about her feelings leading up to the play’s opening night (a bit anxious), while Cate Blanchett inquires if he finished his series “The Agency” (yes, in December). Their conversation flows effortlessly, hinting at a deep past. However, in reality, they had only met a few times before working on “Black Bag.

In 2014, they reminisce about crossing paths at different award ceremonies. This was when Fassbender was up for an Oscar as a supporting actor in “12 Years a Slave” directed by Steve McQueen, and Blanchett took home the lead actress prize for “Blue Jasmine,” a film by Woody Allen. A few years down the line, they found themselves working together on the set of Terrence Malick’s 2017 movie, “Song to Song,” which was filmed in Austin, Texas.

“We actually did a scene together in that,” Fassbender remembers.

As a devoted cinephile, I can’t help but express my thoughts candidly: “If you want to put it that way,” I remark with a hint of irony, nestled comfortably in my home office. ” frankly, I don’t believe my performance significantly contributed to the film. During the production of that movie, Terry was in an unusually prolific phase, having made one film every decade, and then churning out three or four in quick succession.

Speaking from a beautifully decorated room with high ceilings, Fassbender reminisces, “I followed ‘Knight of Cups’ directly with ‘Song to Song.'” He then turns to Blanchett and inquires, “Did you also work on ‘Knight of Cups?’

She confirms, “Yes, I did what was required.” However, I’m unsure if any of my actions made it into the final film. Yet, isn’t that how contracts work?

Or more casually:

She says yes, she followed through with her part. But I’m not sure if any of it ended up in the movie. Still, isn’t that the deal we agreed on?

With their current director, Soderbergh, efficiency and command are more than just legends. As Blanchett puts it, “When you work with him, everything you film is guaranteed to make the final cut.” She speaks with pride, further adding, “In fact, he’s already finished shooting, editing, and preparing the project before any of us even arrive on set.

Movies

Frequently, the cinematographer behind the scenes of the Academy Award-winning film “Traffic” himself conceived an innovative concept for a first-person horror movie, one that necessitated a certain level of endurance.

In “Black Bag,” Blanchett and Fassbender portray a secretive married couple, both high-ranking spies within the British government. Initially, Soderbergh and Blanchett intended to work together on another project, but when that fell through, the director turned his attention to David Koepp’s offbeat, humorous approach to an espionage narrative. Having previously worked with Koepp on “Kimi” and the chilling ghost story “Presence,” Soderbergh was drawn to the script’s wide-ranging appeal.

In our conversation in London recently, Soderbergh expressed that it’s tough to discover commercial products that are also top-notch. He mentioned that the project had some difficulties he was worried about, and he wanted to check if he could manage those challenges successfully.

The filmmaker has a striking impact that at times seems distant, and Cate Blanchett openly confessed her initial fear, stating she was “completely petrified” of him.

Blanchett describes working on “The Good German” in 2006 as a mystery: “He was like an enigma,” she says of the director. “He was always there, but it was hard for me to connect with him. After that challenge, we eventually became acquainted.

She likens him to a Peregrine Falcon, as his actions seem to move at a completely distinct pace compared to everyone else.

Fassbender concurs, saying “he’s much like an observant bird.” Whenever he enters a room, he takes in every detail.

Blanchett points out, “It’s impossible to replicate him. I’ve collaborated with directors who attempted to emulate the laid-back demeanor that Steven possesses on set, but he is like a tightly wound spring. He can abruptly interrupt conversations and begin shooting without warning. He’s always prepared.

The film “Black Bag” distinguishes itself from typical spy movies by prioritizing dialogue over action, particularly through two lengthy dinner party sequences. In this movie, Michael Fassbender’s character, George Woodhouse, is assigned to uncover a traitor within the U.K.’s National Cyber Security Centre. He has five potential suspects, including his enigmatic and sophisticated wife, Kathryn St. Jean (played by Cate Blanchett), who is one of the organization’s leading agents. These dinner parties serve as attempts to extract the truth from the suspects.

Speaking on the phone from New York later, Koepp shares his thought process: “I wondered if I could pull off a 14-page dinner scene since it’s typically not effective.” He explains that traditionally, six people sitting at a table and maintaining audience engagement isn’t feasible. However, he was determined to avoid typical spy movie tropes such as car chases leading to explosions. Instead, he aimed to make the climax of the film another dinner scene at the same table.

Soderbergh openly confessed to feeling both intimidated and intrigued by the challenge at hand. He admitted that if you were to ask any director about their least favorite type of scene to film, they would undoubtedly mention ‘dinner table scenes’. So, he pondered, “Can I devise a method to film this in such a way that I remain unnoticeable to the viewers but the scene still flows smoothly?

Typically, Soderbergh enjoys prolonged dining sessions with his cast prior to filming. However, this occasion, Blanchett and Fassbender could only join him for a single meal.

Blanchett remarks with a dry tone, “Given that he was aware he’d be shooting dinner sequences, it seemed to be causing him stress.” She adds, “His blood pressure levels were rising.

“We should have gone out paintballing or something,” Fassbender suggests.

Next time,” she concurs. “He invariably sets himself a formidable task as a filmmaker. He thrives on not knowing how to accomplish something. It’s not his style to make things simple for himself, which seems paradoxical given the laid-back vibe he cultivates on set.

Generally, Soderbergh doesn’t hold rehearsals for his cast. Instead, he relies on the casting process and gives actors the freedom to perform well. However, due to the technical complexities involved in these dinner scenes, Soderbergh pre-arranged them and moved the camera into the middle of the dining table to capture the shots effectively.

Fassbender shares that they had gone over those scenes before, but it was primarily for him. In an interview, he recalls his experience working with the director from the 2011 thriller “Haywire.” Fassbender notes that one of the intimidating aspects of Steven, which he had initially forgotten, is that after just one take, he would move on. This leaves you thinking, ‘Hold on a minute!’ However, he also acknowledges that Steven places a lot of trust in everyone involved in the production.

It’s not surprising that the dinner table scenes in “Black Bag” are tense and energetic. The camera swiftly shifts between characters, creating an atmosphere of suspense and tension, and the shocking disclosure of the mole is truly captivating. It’s no wonder the cast had a fantastic time working on this project, especially given their recent experiences with challenging films like “Tár” and Fassbender’s “The Killer,” directed by David Fincher.

Regarding movie production, Blanchett admits it often leaves her feeling remorseful. Fassbender agrees, expressing it as, “On the way home, that’s how I feel.

Blanchett explains, “Steven allows his sets to remain accessible, so if he leaves for the night and later reviews the edit, he might notice a missing shot or additional dialogue, or a character requiring more time. In such cases, we can return and reshoot. This flexibility isn’t always granted at the outset, but Steven adapts as he progresses, which is truly intriguing.

Awards

The actor admits that she’s grown adept at releasing things with ease, but there’s a hint of wistfulness as she reflects on those items or experiences, such as her Oscar-nominated movie.

In the 1990s, as Koepp was scripting the original “Mission: Impossible” movie, the idea for “Black Bag” emerged from his investigations. This involved conversing with numerous CIA consultants, delving into their professional experiences and private lives.

Koepp recalls thinking, “Many of them found it extremely challenging to keep a relationship going when they were constantly deceiving others for a living.” This idea stuck with him for quite some time. A long-term marriage symbolizes unwavering trust and security. As someone in a long-term marriage, I pondered: Isn’t this supposed to be a place of certainty and safety? I wanted to explore a scenario where there was doubt and discomfort, but not about infidelity; rather, about whether one was betraying their nation or not.

In the movie, not much about Kathryn and George’s past is disclosed, but they share an unshakeable bond and a strong mutual attraction. They expertly balance their personal lives and professions, keeping anything that might jeopardize the other in a metaphorical “secret compartment.” However, this trust is tested when George becomes suspicious of Kathryn’s actions.

As a follower, I find the intrigue surrounding spies, especially cinematic spies, stems from their inner depths. It’s that delicate balance they maintain between holding strong moral principles and functioning within an immoral sphere. In a partnership, there are confidences. There needs to be some level of protection, shielding your partner from certain things, for a relationship to endure.

Fassbender notes that they maintain a constant vigilance born out of suspicion, which is what enables them to survive and hold onto their job. He also mentions that within their own department, one must always be aware and cautious. A sociopath thrives in such an environment, but having too many sociopaths in the same department might not be ideal.

In the past year, Fassbender has taken on his second role as a spy, this time as the tough CIA operative Martian in the series “The Agency,” produced by Paramount+ and Showtime. Interestingly, these two projects were presented to him within just a few days of each other, although the coincidence was unintentional.

Fassbender playfully mentions he’s taking on spy roles now, prompting Blanchett to chuckle. He adds humorously, “I just can’t get enough of deceiving everyone.” Interestingly, Fassbender managed to bring unique aspects to the character George in “Black Bag,” distinct from his Martian persona. This was facilitated by Soderbergh’s affectionate approach to the genre.

Fassbender remarks that the sense of depression often depicted in spy movies isn’t present on screen in this case. Instead, it appears sleek and alluring. He finds this an intelligent choice for the storyline, as typically, spies who have been in the field for 25 years would seem lonely and isolated.

Blanchett remarks, “Being a spy takes quite a bit of audacity.” She describes them as individuals who are both serious and entertaining. Since they never know when they’ll need to break the rules, they can’t have any boundaries. There’s a certain flexibility about them, but that flexibility is merely a disguise for the immense harm they might cause.

As a cinema enthusiast, I found myself captivated by Soderbergh’s swift approach to filmmaking. This method allowed for organic discoveries between us actors on set, a process we both relished. In her own words, Cate Blanchett describes the director as meticulously precise, yet there’s an undeniable fluidity about him.

She comments that he’s extremely adaptable,” she says. “At times, we can overanalyze situations. I used to assume, being from theater, that if you have plenty of time, you’ll capture the ideal moment perfectly. You just connect these ideal moments together. Many films have an abundance of money and time, which can drain them of life, but that’s not true for Steven.

“Restriction sometimes brings freedom,” Fassbender notes.

“Yeah,” Blanchett agrees. “Although you don’t want to say that to too many studio heads.”

How do they deal with the pressure that still comes, even with all their years of experience?

In an intriguing revelation, Blanchett mentions that she and someone else immerse ourselves in cold water every morning. Specifically, while filming “Black Bag,” they found out they both start their day with an invigorating ice bath for enhancing concentration. In fact, Blanchett’s family joined her for a refreshing dip in the Arctic Circle fjord over New Year’s!

She confides in Fassbender, as if revealing a valuable piece of information, ‘Here are the particulars, it was quite extraordinary.’

As the time runs out, her secretive demeanor fades away, and once again she directs her attention towards “The Seagull.” Just like spies, actors are adept at changing their tactics on the fly.

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2025-03-12 13:33

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