Cate Blanchett and Michael Fassbender on Playing Married Spies in Steven Soderbergh’s Thriller ‘Black Bag’: ‘It’s Got to Be Sexy’

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As a fan, I’m excited about “Black Bag,” a fresh, intelligent thriller where Cate Blanchett and Michael Fassbender team up as spouses on screen again. Contrary to popular belief, they previously shared the screen in 2017’s “Song to Song,” one of Terrence Malick’s more abstract and puzzling productions. However, it seems that their roles in this film have left such an enigmatic impression on them that they struggle to remember their time working together in that movie!

Blanchett remarks as she rubs her forehead, trying diligently to recall it, ‘We seemed to pass each other by.’

During an interview at New York’s Whitby Hotel, Michael Fassbender, seated to her right, chipped in with some valuable information. He explained that a wealthy individual, who kindly provided the movie with his home and vehicles, was also present in the film scene.

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At Manhattan’s Whitby Hotel during an interview, Michael Fassbender, sitting next to her, offered insightful details. He mentioned that a rich man, who lent the filmmakers his house and cars, was actually part of the scene too.

It feels like a perfect fit, as Blanchett enthusiastically agrees. “Indeed,” she says, “every day on set with Terry was like going fishing, where it was uncertain whether you’d catch anything or if the catch would be edible. So I wasn’t sure if I was actually in the film or if Terry simply wanted me to tag along for a fortnight. To be honest, I wouldn’t use the word ‘collaborate’ when describing my experience with Michael.

In “Black Bag,” Fassbender’s and Blanchett’s characters are pivotal in solving a mystery, compensating for any missed screen time. Here, Michael Fassbender plays George Woodhouse, who is assigned to unmask a double agent selling a lethal cyberweapon to foreign powers. Among the five prime suspects at the top-secret organization, George’s wife Kathryn St. Jean (Cate Blanchett) is one of them. This puts George in a difficult position, as he may have to make a painful decision.

As a cinephile, I find myself deeply moved by the strong bond they share. It feels as if she stands resolutely beside him, offering unwavering support. There’s a profound respect and mutual understanding that exists between them, making it a heart-wrenching dilemma for George: should his allegiance be to his nation or to his beloved wife?

Working on “Black Bag” also provided an opportunity for each actor to reconnect with director Steven Soderbergh, having previously worked with Fassbender in 2011’s “Haywire,” and Blanchett in 2006’s “The Good German.” To their delight, the script penned by David Koepp offered a depth and nuance that was simply captivating.

She remarks, “As I read through it, their characters became crystal clear to me – each one was unique in their own way. The world depicted seemed real and vivid.” She continues, “This is a mid-range budget production intended for mature audiences, a rarity these days. And among contemporary filmmakers, few excel at crafting intelligent, sophisticated narratives as skillfully as Steven does.

Soderbergh not only takes charge of the direction for his films, but he also handles the editing process and serves as the cinematographer. In other words, during filming, he’s both behind the camera and making key decisions about how the movie should play out.

Fassbender notes that it’s as if you dance with him, for he exudes an incredible energy and radiates self-assurance throughout the set. This is because he’s not only handling the camera but also lighting the room, and later on, editing everything. It gives you a sense of security knowing he’s in charge.

The significance of these sequences became quite evident during the filming process, as they were the most challenging to stage and capture, taking place primarily around a dining room table. In one instance, George orchestrates a dinner party, spiking the meal with truth serum in an attempt to elicit information from the suspects. The climax, where he reveals the mole’s identity, is another dramatic sequence that presents some unexpected turns. Soderbergh had the actors rehearse these scenes once, solely for him to plan his camera angles. Subsequently, he divided the scene into smaller segments to maintain a high level of tension throughout.

Blanchett confesses it felt confusing. During our extended breaks between takes, we chatted about various topics to keep the scene fresh. Then, we performed multiple variations. By the second day, I got confused about what we were doing next. It was as if I had forgotten our plan.

Regé-Jean Page, one of the actors playing a fellow spy alongside Blanchett and Fassbender in this film, mentioned that collaborating with the star-studded cast during their intense action sequences made him stay alert.

Page described it as if we were walking onto a stage to engage in an exhilarating conversation like a game of tennis with words,” he said. “Steven emphasized that his main focus was on people’s responses, their emotions, and how they were being influenced by the discussion. This required us to constantly monitor the shifting danger level around the table.

Soderbergh explicitly outlined his desired mood for “Black Bag,” which should not be gritty, grimy, or overly realistic throughout its succinct 93-minute duration. Instead, he aimed for a more energetic and exciting feel.

As a movie enthusiast, I’ve come to realize that the lives of spies can often feel isolating and melancholic. Yet, when it comes to portraying them on screen, Steven had a different vision: “No,” he said, “this isn’t about gloom. It needs to be seductive, it needs to have panache.

During our pre-filming dinner, Michael Fassbender and Cate Blanchett didn’t delve too deeply into our character interpretations or the nature of our on-screen relationship prior to production. Instead, we chose to explore those aspects organically as the story unfolded on set.

I’m not particularly fond of engaging in conversations,” I confess. “For me, it doesn’t yield much benefit. Instead, I prefer to wait until we’re on set so I can observe Cate’s interpretation and the ideas she presents. This requires my full attention and immediate response, which I find more thrilling than discussing it beforehand.

Actors usually don’t seek advice from actual spies, as the nature of their work involves a lot of confidentiality, making it unlikely for them to discuss office matters or share secrets with movie stars. However, Cate Blanchett did delve into the memoirs penned by former agents.

Blanchett points out that many spy agencies still exhibit unconscious sexism towards female spies. It’s frustrating, she adds, because these women can gather significant details that male spies might overlook due to their gender. People tend to trust and share more with them since they don’t typically expect women in such roles.

In relation to her own field, Blanchett frequently voices concerns about its male-dominated and exclusive nature, advocating for greater diversity both onscreen and off. For example, in 2023, she co-founded the Proof of Concept program, which aids female, transgender, and nonbinary filmmakers. This initiative was part of a broader movement sparked by the #MeToo revelations and George Floyd’s death, prompting studios and streaming platforms to commit to revising their hiring methods and fostering more inclusive work environments. However, since Donald Trump’s re-election, there has been a trend among entertainment companies of either retreating from these pledges or completely abandoning them, as he has expressed intentions to dismantle DEI (Diversity, Equity, and Inclusion) programs.

Blanchett expresses worry about the potential impact on our common, daily activities since we operate in such a highly visible sector. It gives off an unfavorable impression.

If they revert to their traditional methods for creating films and television programs, studios will realize that they are making a mistake.

If studios return to the old method of producing movies and shows, they’ll soon see that they are on the wrong path.

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Studios might find out that they have erred if they go back to their old ways of movie and show production.

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If studios decide to stick with the old approach for making films and series, they’ll discover that they’ve made a mistake.

Blanchett states, ‘If our landscapes, sets, and writing environments lack diversity, the result will be uninteresting, as uniformity often stifles intricate, thrilling, evolving art in all its forms.’ She adds, ‘No one desires that monotony.’

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2025-03-15 01:44