Cate Blanchett Pretends No One's Watching While Eating Spicy Wings ｜ Hot Ones [4_OzoinTmw0].webm.wav.txt

 But now I know.
 It's just, you turn upstage, you've got a little bit of hot sauce on your finger.
 And then, yeah, you can play Greek tragedy.
 Hey, what's going on, everybody?
 For First Weed Feast, I'm Sean Evans, and you're watching Hot Ones.
 It's the show with hot questions and even hotter wings.
 And today we're joined by Cate Blanchett.
 She's one of the most decorated and accomplished actors of our generation
 with a resume that includes more than 70 films and 20 plus theatre productions,
 along with countless awards, including multiple Oscars.
 Her latest project, though, is the Todd Field written and directed psychological drama Tar,
 which opens in select theatres beginning October 7th,
 with a wider release scheduled for later this month on October 28th.
 Cate Blanchett, welcome to the show.
 Thank you.
 Before we get started, how are you around spicy food
 and what's going through your mind as we prepare to take on the Hot Ones challenge?
 I'm really scared, but I guess it's probably the closest you'll ever get to knowing what menopause feels like.
 So, yeah, I've been through it.
 So I don't... Spicy food I love, but I'm...
 Look, I'm really sweating already.
 I'm getting anticipatory anxiety.
 OK, layer one gone.
 The layers are coming off. That means we're ready to go.
 [MUSIC]
 OK.
 OK, that's my doctor. OK.
 Ready?
 [MUSIC]
 That's manageable.
 Mm-hmm.
 That's nice.
 So in your latest movie, Tar, you play a world-famous composer
 whose life begins to unravel as they approach a career milestone.
 What was the experience like presiding over the actual Dresden Philharmonic
 for the scene featuring Mahler's Fifth?
 I've heard you describe an electric charge that went through you at the Rays podium.
 Yeah, do you play an instrument?
 No, I don't.
 The spoons? Anything?
 Just the hot sauce symphony over here.
 The hot sauce symphony.
 Yeah, well, it was absolutely terrifying.
 I mean, I played the piano as a girl,
 so I kind of... I sort of understood an instrument that way.
 But, you know, a conductor's instrument is the orchestra.
 And so the weirdest thing is, and I don't know why it seems so obvious,
 that you prepare in silence because you have the score in front of you
 and you imagine the music in your head.
 And Mahler's Five, you know, for those of you who haven't listened,
 you must listen to it.
 It's a massive, massive, exciting work.
 And when he gave the downbeat, the trumpet started,
 and then that traumas opened up.
 It was like an electric charge because that's your instrument,
 and you hear the sound that you'd kind of imagined,
 but when you have an orchestra like that, it's just...
 it was better than I imagined.
 It was really addictive, actually.
 Any suggestions? Upper, lower lip?
 Just dive in.
 Just dive in.
 That's quite different. That's very sweet.
 See?
 That doesn't do... I mean, the other one was...
 Had a little more of a kick.
 See, I wasn't joking, though, about the hot sauce symphony.
 Look, you're conducting right now.
 Yeah, yeah.
 Right.
 Has anyone ever thrown up?
 Oh, not on the set.
 Okay.
 Why, do you feel like you might?
 Not yet.
 Not yet? All right.
 Just keep...
 But I'm prone.
 So I'm intrigued by this quote of yours for an upcoming role
 that you have in Guillermo del Toro's Pinocchio,
 where you play an animated monkey and said,
 "I'd listen to a lot of different chimpanzees,
 then try everything out."
 How does finding the right tone for an animated monkey,
 how, if at all, does it compare to mastering a regional dialect
 or the many accents that you've taken on throughout your career?
 From which forest did I choose the actual chimpanzee?
 It was kind of a melange of a lot of different chimps.
 But if you listen to a lot of chimps, they do sound very different,
 depending on their age,
 and then you just get in there and work out what makes Guillermo laugh.
 And, yeah, that's what I did.
 Because you have to...
 I mean, because they make...
 So that was...
 It was a bit like I had to do a bit of opera warm-up to get into my...
 Stress test.
 Stress test, yeah.
 So that was...
 It wasn't tedious, but it was taxing.
 Because, you know, you get into the booth,
 and it's like hour after hour of...
 Yeah.
 OK, pico pico.
 Pico rico, even.
 This looks like a fine wine.
 Yeah.
 Got a chili oil in this one.
 Have you ever drunk a whole bottle of it?
 A whole bottle of...
 How far do you go?
 Like, have you ever... Of a hot sauce?
 Have you ever drunk a whole bottle of it?
 No, but you know what I did do is I ate a Carolina Reaper,
 which is the hottest pepper in the world.
 So just, like, taking the pepper and just eating it straight.
 I did that one time,
 and that's probably more extreme than, like, chugging a bottle.
 And what happened?
 It just felt like I had food poisoning for, like, a whole evening.
 And then you did it again.
 And then I did it again, and then I did it again,
 and then I did it again.
 How old were you when you did that?
 I was a young man, 28, you know.
 Still naive.
 When did you stop doing this?
 When did you realize that this was your gift?
 Oh, well, thanks for putting it that way.
 I almost think of it as like the cross that I bear at this point, you know.
 Right.
 But it wasn't a huge hit at first,
 but then we had this moment where it kind of, like, broke through
 in this mass discovery sort of way.
 Yeah, yeah.
 And I remember at the time, I was talking to Chris,
 who I started the show with.
 Hi, Chris.
 Hey, Chris.
 And I was--
 I see that you're over there, and you're not up here.
 Yeah, he likes to hide in the shadows.
 He doesn't want to be accountable, you know.
 It's always been that way, right?
 He doesn't want to answer for any of this.
 Yeah.
 But I was joking with him, like, I'm eating a lot of hot food.
 Nobody cares.
 And then we had this moment where it kind of broke through
 with a Key and Peele episode that kind of went, like, crazy viral,
 and then the whole catalog kind of lifted with it.
 And then we were kind of off to the races from there.
 And then here we are, season 19, with you in the seat.
 Season 19.
 I can't believe it.
 [MUSIC PLAYING]
 Well, has anyone ever just stopped right at the beginning?
 It's crazy.
 We've done, like, 300 episodes of this.
 And maybe only, like, 15 or 16 people have stopped
 before the end, which is--
 No pressure.
 No-- I'm not trying to lead the witness or put any pressure
 on you about that.
 OK.
 When we had Elijah Wood on the show,
 he gave us a crash course and forced perspective.
 What was the piece of cinematic wizardry
 that blew your mind the most when you saw it in action
 on "Saturday Lord of the Rings"?
 I think it was what Peter Jackson was called--
 and I'm sure they're being used a lot now-- is a split frame diopter.
 It's something they do with the lens so that you can hold
 two people of monumentally different sizes in the same frame
 and that they would build a table where on one side,
 everything was obviously-- it was a bit like, you know,
 a piece of theater is that everything was large on one side
 and everything was small on the other side.
 But there was something to do with the lens
 where they're able to hold them, a bit like a kind of a funhouse
 mirror, which was really incredible because it was done in camera,
 which was pretty cool.
 Because a lot of that stuff-- and I think you can feel it
 when it's all done in post, you know?
 I love it when those tricks are done in camera.
 [MUSIC PLAYING]
 OK, this one looks really scary.
 [MUSIC PLAYING]
 I like that one.
 Me too.
 Do you cook?
 Not often, but you should see me order off a menu.
 I'm great.
 [LAUGHS]
 I'd order that one.
 That's great.
 Yeah.
 So I love this quote of yours.
 "Theater is all about foyers and conversation
 and digesting what you've seen.
 What's the role of the theater itself and how audience receive
 and digest plays, and then out of curiosity,
 is there a theater that stands out in your memory
 as just having the best foyer?"
 One of my first jobs was in a--
 I mean, in Australia, a lot of the theaters are found spaces.
 So one was in a tomato sauce factory,
 and another one was in a stable.
 And so the actual dressing room was as literally as big
 as these two tables put together, and I was in a cast of 12.
 And so it was pretty tight.
 And the downstairs was--
 I mean, you literally kind of had to climb a ladder
 to get up to the theater.
 And that was great.
 The old stable was pretty cool.
 What did you learn from being on the other side
 of the audition table during your time running the Sydney Theater Company?
 Well, actually, you know, when I first came into drama school,
 people didn't know what to do with me.
 I sort of didn't fit into any kind of box.
 And a casting director in Sydney took pity on me,
 and she would call me in to read opposite people.
 And that was such an education, because you could tell when--
 as soon as people walked in, you go, "You're not going to get the job."
 Like, as soon as they walked in the door.
 And you could tell the people who had a fighting chance.
 And so reading opposite them was kind of incredible.
 But then when we were--
 my husband, who's here, who's not eating hot sauce today--
 But here for support.
 Yeah, here for support.
 Yeah, he's going to hold my hair back as I throw up into the bin.
 But it was amazing to be on the other side of the dressing room door
 to the theater.
 You know, when you're directing a play or when you've produced a show,
 the actors go out.
 And I felt a profound relief that I didn't have to go out there.
 And then in talking about your relationship
 to doing film roles versus theater,
 I've heard you say that you're filled with regret
 on the last day of a movie shoot,
 because it's then when you really start to understand the character.
 Yeah, and all the things you could have, should have, would have done.
 Is there a movie role of yours that you most wish you had eight shows a week to hone?
 Probably the one I just did.
 I mean, it's always the one I just did.
 But kind of for good reasons, not filled with regret.
 Just that I felt so, I don't know, alive.
 Kind of like eating my hot sauce, really.
 That's what it does.
 It blew my mind.
 Yeah.
 Gets the blood pumping.
 Gets the heart racing.
 And on the topic, are you ready to move on here to sauce number six?
 Okay.
 Scotch bonnet.
 That's very good for your gut, turmeric.
 Nobody's got better digestion than me.
 No.
 That's the Scotch bonnet.
 Kind of a deeper burn here.
 Which was a bigger challenge for you in your preparation
 for your Oscar-award-winning performance as Catherine Hepburn in The Aviator?
 Was it learning to play tennis or taking cold showers?
 Tennis was actually, tennis was a homecoming
 because I used to play a lot of tennis when I was a girl.
 And we were filming in Montreal, so we joined the oldest tennis club.
 Now it's starting to get hot.
 Yeah, yeah.
 The oldest tennis club.
 Tennis club in Montreal, and you had to wear all whites.
 So it's a pressure when you're playing in a club
 because everyone takes it really seriously.
 It's a bit like golf.
 Do you play golf?
 No, no.
 There's one thing.
 It's like, I don't understand leaf blowers, and I don't understand golf.
 Well, now I'm interested.
 Moving leaves from one place to another, only for them to be blown back again,
 and then you go, I'm going to blow them again.
 Like the gardeners, I mean, their faces,
 they know that what they're doing is stupid.
 It's really, it's bad.
 Oh, it's when you, you can't believe it.
 I know. We're at that point in the show.
 Kama Sauce.
 That's a great name.
 It is.
 I'm taking smaller and smaller bites.
 That's how it goes.
 That's how it goes on this show.
 That's sweet too.
 Yeah, but then it kind of builds on you a little bit.
 See, I've just been pushing them all to the corner of my mouth.
 Oh, you've got a hack over here.
 I'm going to plug a chip in.
 Do you have a favorite one of your scenes or most memorable Cate Blanchett scene
 revolving around food?
 Oh, I had to, that's really hot.
 Yeah.
 I had to cook, I had to prepare a meal in a Barry Levinson film
 that about two and a half people saw called Bandits.
 And that, so that was more about the preparation process
 and it was a dance number.
 So it was more about that. I love that. I love that.
 Now my eyes are watering.
 I know, I know. But just be careful. Be careful.
 No, but that's an amazing trick.
 Actually, an actor told me, an older actor, stage actor told me,
 you know, if you need to cry, you turn up stage and pull a nostril hair
 and it works.
 But now I know.
 It's just you turn up stage, you've got a little bit of hot sauce on your finger
 and then, yeah, you can play Greek tragedy.
 One more food question for you.
 Okay, can I?
 Sure.
 Yeah.
 No, I'm fine, I'm fine.
 Be careful. I know. Yeah, yeah.
 Okay.
 Where does being the original Tim Tam girl fall on your list of career accomplishments?
 And then do you have a favorite line from one of those 90s commercials?
 Yeah, no, no. I wanted to go to India and I didn't have any money
 and then I got a Tim Tam commercial, which is pretty much up there
 because it's one of my all-time favorite biscuits.
 But I mean, talking about having to eat the same thing over and over,
 that's the thing with doing something like that is I had a lot of Tim Tams
 and then I never ate them ever again because you do eat a lot of them when you,
 you know, I guess it's like if you did a car commercial, right?
 Yeah, or if you did a show where you eat wings all the time.
 Can you imagine?
 It is what it says in the bottle, I guess.
 Beyond insanity.
 All right.
 It hasn't kicked in yet.
 Maybe it won't.
 Maybe. It's like it hurt.
 It's when you talk and eat at the same time.
 Right.
 It's like parents always say don't talk and eat at the same time.
 There's a reason for that.
 Yeah.
 So with Halloween right around the corner,
 I think it's a good time to lean into your affection for the horror genre.
 Once saying, "I love being terrified."
 It used to be a badge of honor if you could sit through Halloween II
 off the top of your head and without thinking about it,
 what is like your scariest, quintessential movie that you have to watch during Halloween?
 I think it would have to be something by Sam Raimi.
 It would have to be Evil Dead.
 The thing that makes me scream in magic tricks,
 like if you were to do a pull a card out of a lemon right now
 or anything like that or make an airplane disappear,
 which my musician,
 a magician told me the other day that he could do.
 I mean, they always say, "Oh, you're a magician."
 I'm like, "Yeah, I'm a magician."
 Magician told me the other day that he could do.
 I mean, they always talk big, right?
 Right.
 But I made a delirious jet disappear.
 I was like, "Oh, did you?"
 I'm so gullible.
 Magic tricks, that's what makes me scream.
 I think one of the scariest movies I've ever seen is the original version of The Ring.
 We got so scared.
 We were in the house by ourselves.
 We got so scared back in the day, bitch.
 We turned the sound down, and then we watched it fast forward,
 and we were still shitting our pants.
 That's how scary it was.
 There was no blood.
 I don't actually know what the film was about, but it was terrifying.
 Okay, unique garlic.
 Oh, I've got to eat it.
 Okay, okay.
 So when we had Seth Meyers on the show, he likened documentary now to building a ship in a bottle,
 a hobby that lets him escape from his everyday work grind.
 What to you was the appeal of that show when you appeared in a parody of a performance artist loosely based on Marina Abramovich?
 Well, they asked me to do that one.
 And it's always great to, excuse me, sorry, mom.
 You should never belch in public.
 And that was such a strange ask.
 But the one I pitched to them, they said,
 "Look, have you ever seen a documentary that you think is right for kind of parodying?
 Let us know."
 And I saw this really sweet documentary set in Blackpool in the north of England
 about three different hairdressing salons.
 And up in the north of England, all they talk about is dying.
 It's just like death is just, you know, we sit down and we would have talked about how whoever, you know,
 that's all you would discuss.
 And it was such a sweet, beautiful documentary.
 And I gave it to them and they went for it.
 I mean, we could probably, how would we parody this?
 Oh, we can make it.
 Have you made it?
 Look, make a documentary about yourself, then I'll send it to Seth and then I can play you.
 Whoa.
 You know, that's a meta idea, isn't it?
 I love that idea.
 Yeah.
 That's a crowd pleaser.
 That's going to work.
 Okay.
 What's this?
 This looks really, are you going to throw it at me or something?
 Is that what this is for?
 Oh, do we have to pour this on?
 Oh, now you're just showing off.
 But I didn't want to do that.
 I didn't mean to do that.
 All right.
 So this is the moment where I could actually throw up.
 No, it's the moment that we'll forever live in glory.
 Okay.
 Cheers.
 Cheers, big ears.
 I know.
 It's really not good.
 But the good news is we've reached the end.
 And just one more question before we can roll credits.
 And I've heard you talk about the memories that you have of doing musical at university
 that would play to a crowd of three, two of whom left at intermission.
 But even after all of the success, the international franchises, the countless awards and fanfare,
 you still to this day say, the only way I can do it is I just pretend that no one's going to see it.
 How is having a no one's going to see it philosophy served you as an actor?
 Well, it was a very memorable experience we made.
 We did a musical about climate change.
 And I realized then that, you know, you should probably not have that crossover too often.
 And we did have three people in the audience.
 And after the intermission, there was one little old lady.
 And we said there were seven of us in the show.
 And we said, you know, she didn't have to stay there.
 But she really wanted us to play it out.
 So we did.
 But I think it's just the way I deal with the anxiety of it.
 Because you have to have a sense of a lack of consequence.
 You know what I mean?
 So you're going to embarrass yourself.
 And acting is embarrassing a lot of the time.
 You embarrass yourself in public.
 You really do have to pretend that no one's going to see it.
 And frankly, that's often the case with things I do.
 But hopefully not with Tar.
 Not with Tar.
 And I don't think with this episode either.
 Throwing caution to the wind, taking on the hot one's gauntlet, and living to tell the tale.
 And now there's nothing left to do but roll out the red carpet for you.
 This camera, this camera, this camera, let the people know what you have going on in your life.
 What?
 Like if you have a movie coming out or anything.
 Oh, yes.
 I just made a movie with Todd Field.
 Is this, is this, can I do this?
 Yeah.
 Can I tell people?
 Go ahead.
 I'm not going to tell you anything except that you have to go and see Tar.
 Todd Field's film about a conductor, who I play conductor, of a major symphony orchestra.
 Whose past catches up with her.
 It's not a horror movie, but man, she was haunted by a lot of ghosts.
 And you have to, it's, the sound is incredible.
 Hilda Gounodotir, who did the score for Joker's, done the composition that I played.
 It's amazing.
 Nina, the great Nina Haas, one of the great actresses, you know, we play husband and wife.
 And it's, it's amazing.
 [Applause]
 You did so good.
 You did so good.
 That's really hot.
 [Music]
 [Applause]
 [Burp]
 [Music]
 Hot Ones fans, thank you so much for watching today's video.
 If you want to get your hands on the Season 19 Hot Ones Hot Sauce Gauntlet, boy do I have good news for you.
 Just visit Heatness.com, Heatness.com, that's Heatness.com to get your hands on the 10-pack, the Season 19 Hot Ones 10-pack.
 Hot Ones in a box delivered right to your door.
 I highly recommend it.
 It's delicious.
 I eat it every week.
 (bright music)