WEBVTT 00:00:00.000 --> 00:00:02.419 Welcome to the Deep Dive. Today we're exploring 00:00:02.419 --> 00:00:06.440 the really quite incredible career of Cate Blanchett. 00:00:06.519 --> 00:00:09.339 We're looking at the sources, the history, and 00:00:09.339 --> 00:00:12.580 trying to chart the... well the almost architectural 00:00:12.580 --> 00:00:14.460 path she's taken that's a great way to put it 00:00:14.460 --> 00:00:16.300 yeah our mission today is really to get past 00:00:16.300 --> 00:00:19.260 just listing awards you know we want to dig into 00:00:19.260 --> 00:00:21.800 how she built this professional life step by 00:00:21.800 --> 00:00:24.660 step exactly how does someone become this powerhouse 00:00:24.660 --> 00:00:27.859 actor but also a theater director producer and 00:00:27.859 --> 00:00:31.120 well a global citizen all at once right we're 00:00:31.120 --> 00:00:33.100 looking at the sheer range obviously but also 00:00:33.100 --> 00:00:34.939 the record she holds is kind of dual career she 00:00:34.939 --> 00:00:38.780 manages stage versus screen Art versus activism. 00:00:39.020 --> 00:00:41.380 Yeah, it's less about like tabloid stuff and 00:00:41.380 --> 00:00:43.659 much more about the deliberate choices, the conscious 00:00:43.659 --> 00:00:46.479 decisions that, you know, elevate someone from 00:00:46.479 --> 00:00:48.799 just being talented to being truly generation 00:00:48.799 --> 00:00:52.259 defining. Precisely. So let's lay down some foundational 00:00:52.259 --> 00:00:54.840 facts for you. Catherine Elise Blanchett, born 00:00:54.840 --> 00:00:57.979 Melbourne 1969, known everywhere, holds dual 00:00:57.979 --> 00:01:00.460 citizenship, Australia and the U .S. And the 00:01:00.460 --> 00:01:02.880 awards. I mean, it's staggering. It really is. 00:01:02.920 --> 00:01:05.540 Two Academy Awards, four BAFTAs, four Golden 00:01:05.540 --> 00:01:08.040 Globes. And that's just scratching the surface. 00:01:08.180 --> 00:01:12.159 Hundreds of nominations and wins. So that level 00:01:12.159 --> 00:01:14.859 of consistent quality, it really makes you want 00:01:14.859 --> 00:01:16.540 to look closer, doesn't it? We're trying to uncover 00:01:16.540 --> 00:01:19.260 the thinking behind it all. How did she go from 00:01:19.260 --> 00:01:23.099 intense Australian stage work to global film 00:01:23.099 --> 00:01:26.549 star while, you know... Running a major theater 00:01:26.549 --> 00:01:29.390 company and doing significant humanitarian work. 00:01:29.569 --> 00:01:31.390 That's the core question. Okay, let's dive into 00:01:31.390 --> 00:01:34.450 segment one. From Melbourne wallflower to Australian 00:01:34.450 --> 00:01:37.569 stage star, her family background itself sounds 00:01:37.569 --> 00:01:39.750 like something out of a movie. It really does. 00:01:39.829 --> 00:01:41.709 And you can almost see the duality starting there. 00:01:41.810 --> 00:01:45.569 Her mom, June, Australian teacher, property developer, 00:01:45.810 --> 00:01:48.590 very grounded, right? But her dad, Robert DeWitt 00:01:48.590 --> 00:01:50.840 Blanchett Jr., he was American. Mm hmm. From 00:01:50.840 --> 00:01:53.079 Texas. Yeah. U .S. Navy chief petty officer, 00:01:53.260 --> 00:01:55.680 then an advertising exec. Completely different 00:01:55.680 --> 00:01:58.819 world. And how they met is just perfect. His 00:01:58.819 --> 00:02:00.500 ship broke down in Melbourne. Yeah, exactly. 00:02:00.540 --> 00:02:03.239 So you've got this blend, this American maybe 00:02:03.239 --> 00:02:06.280 pragmatism meeting Australian resilience right 00:02:06.280 --> 00:02:08.099 from the start. But there was early tragedy, 00:02:08.139 --> 00:02:12.199 too. Yes. Her father died very suddenly. A heart 00:02:12.199 --> 00:02:15.099 attack when Kate was only 10, losing a parent 00:02:15.099 --> 00:02:18.930 that young. It's often mentioned as a really 00:02:18.930 --> 00:02:21.310 pivotal shaping experience for her. Yeah, you 00:02:21.310 --> 00:02:22.969 can imagine. Maybe that explains how she described 00:02:22.969 --> 00:02:25.310 herself later. Part extrovert, part wallflower. 00:02:26.110 --> 00:02:30.210 And the teenage experimentation, the goth phase, 00:02:30.330 --> 00:02:33.330 the punk phase, shaving her head. Right. That 00:02:33.330 --> 00:02:36.370 desire to kind of outwardly transform, push boundaries. 00:02:36.710 --> 00:02:38.849 Yeah. Maybe that's the first hint of the performer 00:02:38.849 --> 00:02:41.469 to come. Could be. But interestingly, her first 00:02:41.469 --> 00:02:44.090 plan wasn't acting at all. She went through the 00:02:44.090 --> 00:02:46.229 Melbourne school system, Ivanhoe East Primary, 00:02:46.610 --> 00:02:49.210 Ivanhoe Girls Grammar, Methodist Ladies College. 00:02:49.430 --> 00:02:51.449 Okay. And then enrolled at the University of 00:02:51.449 --> 00:02:54.710 Melbourne. But get this, for a Bachelor of Business 00:02:54.710 --> 00:02:57.590 Administration. Business. Seriously. Unexpected. 00:02:57.810 --> 00:03:00.830 Totally. Very practical, very non -arty. But 00:03:00.830 --> 00:03:02.969 she dropped out. And this is where, like, the 00:03:02.969 --> 00:03:05.229 planned life just takes a sharp turn. So wait, 00:03:05.270 --> 00:03:07.169 how did she end up acting then? It wasn't a direct 00:03:07.169 --> 00:03:09.969 path. Not at all. She dropped out of uni, was 00:03:09.969 --> 00:03:12.349 traveling, needed cash, and ended up in Egypt. 00:03:12.490 --> 00:03:15.330 Yeah. Took a job as an extra playing an American 00:03:15.330 --> 00:03:19.229 cheerleader, of all things, in this 1990 Egyptian 00:03:19.229 --> 00:03:22.250 boxing movie called Kaboria. Just needed the 00:03:22.250 --> 00:03:24.689 money. Wow. That's about as accidental a start 00:03:24.689 --> 00:03:26.949 as you can get. Isn't it? But maybe that little 00:03:26.949 --> 00:03:29.270 taste of being on set did something. Because 00:03:29.270 --> 00:03:31.090 when she got back to Australia, she didn't go 00:03:31.090 --> 00:03:33.189 back to business studies. She moved to Sydney. 00:03:33.349 --> 00:03:35.949 And enrolled at NIDA. Exactly. The National Institute 00:03:35.949 --> 00:03:38.219 of Dramatic Art. And let's be clear for you listening. 00:03:38.419 --> 00:03:41.500 NID is the place in Australia. Think Mel Gibson, 00:03:41.740 --> 00:03:45.120 G .D. Davis. It's the top tier. Graduating from 00:03:45.120 --> 00:03:47.340 there in 92 with a Bachelor of Fine Arts that 00:03:47.340 --> 00:03:50.699 signals serious training, serious classical grounding. 00:03:50.960 --> 00:03:53.400 And the impact was immediate. Yeah. Unbelievably 00:03:53.400 --> 00:03:57.039 fast. Straight out of NID in 92, her first professional 00:03:57.039 --> 00:03:59.879 stage role is Carol in David Mamet's Oleana, 00:04:00.039 --> 00:04:02.280 opposite Geoffrey Rush. That's a challenging 00:04:02.280 --> 00:04:04.780 play to start with. Hugely. And in the same year, 00:04:04.800 --> 00:04:07.599 she's also doing classical tragedy cast as Clytemnestra 00:04:07.599 --> 00:04:10.159 in Sophocles' Electra. Yeah. Then she actually 00:04:10.159 --> 00:04:12.479 stepped up to play Electra herself during rehearsals. 00:04:12.560 --> 00:04:15.120 The range, right from day one. And this leads 00:04:15.120 --> 00:04:18.120 to something pretty amazing in 1993. She sets 00:04:18.120 --> 00:04:21.500 a record. First actor ever in Australian theater 00:04:21.500 --> 00:04:24.879 history to win the Sydney Theatre Critics Best 00:04:24.879 --> 00:04:27.399 Newcomer Award for a really experimental play, 00:04:27.560 --> 00:04:30.939 Kafka Dances. Okay. And Best Actress for Oleana, 00:04:31.060 --> 00:04:34.639 that gritty, modern, verbal sparring match. Both 00:04:34.639 --> 00:04:37.439 awards, same year. Wow. Okay, so that tells you 00:04:37.439 --> 00:04:40.120 something fundamental. Oleana needs that sharp 00:04:40.120 --> 00:04:43.560 contemporary realism. Kafka Dances is what, physical 00:04:43.560 --> 00:04:45.779 theater, abstract? Exactly. So she wasn't just 00:04:45.779 --> 00:04:48.180 good. She was immediately versatile across totally 00:04:48.180 --> 00:04:49.839 different styles. She had the technique nailed. 00:04:50.360 --> 00:04:52.120 Right out of the gate. And she kept honing the 00:04:52.120 --> 00:04:54.500 classical side, too. Mm -hmm. Played Ophelia 00:04:54.500 --> 00:04:57.899 in Hamlet in 94 and 95, again, often with Rush. 00:04:57.980 --> 00:05:00.459 So she's mastering Shakespeare years before Hollywood 00:05:00.459 --> 00:05:02.560 really knows who she is. That stage foundation, 00:05:02.800 --> 00:05:04.480 that classical architecture, it's absolutely 00:05:04.480 --> 00:05:06.980 key to everything that follows on screen. Okay, 00:05:07.000 --> 00:05:09.220 so that incredible Australian stage grounding 00:05:09.220 --> 00:05:11.420 really set her up for the next big phase, which 00:05:11.420 --> 00:05:13.800 is segment two, Queen Elizabeth and the international 00:05:13.800 --> 00:05:16.370 launch, starting around 97. Yeah, the move to 00:05:16.370 --> 00:05:19.550 screen was gradual at first, but seemed pretty 00:05:19.550 --> 00:05:22.089 deliberate. Little bits on Aussie TV Heartland 00:05:22.089 --> 00:05:25.550 in 94, Bordertown 95. Then her first feature 00:05:25.550 --> 00:05:28.430 film was Paradise Road in 97, a supporting role, 00:05:28.550 --> 00:05:31.110 building the CV. But the role that really got 00:05:31.110 --> 00:05:33.129 the critics buzzing was her first lead, wasn't 00:05:33.129 --> 00:05:35.829 it? Oscar and Lucinda. Absolutely, yeah. 1997, 00:05:36.310 --> 00:05:38.810 opposite Ralph Fiennes. That's when people really 00:05:38.810 --> 00:05:41.050 started saying, OK, who is this? I remember the 00:05:41.050 --> 00:05:44.410 reviews. Manuel Levy called her a luminous newcomer. 00:05:44.790 --> 00:05:47.370 And... basically predicted stardom right there. 00:05:47.449 --> 00:05:50.240 So she was bound to become a major star. When 00:05:50.240 --> 00:05:51.959 a big critic says that about your first lead. 00:05:52.139 --> 00:05:54.220 It means something. And she was busy back home, 00:05:54.279 --> 00:05:57.540 too. Won her first AFI Best Actress award for 00:05:57.540 --> 00:06:00.259 a rom -com, Thank God He Met Lizzie, that same 00:06:00.259 --> 00:06:02.800 year. Right. So Oscar and Lucinda created the 00:06:02.800 --> 00:06:04.939 buzz, but the film that properly launched her 00:06:04.939 --> 00:06:06.939 internationally was, of course, Elizabeth in 00:06:06.939 --> 00:06:10.019 1998. Playing Queen Elizabeth I. Directed by 00:06:10.019 --> 00:06:12.019 Shikhar Kapoor, that was the one. Goldenblow, 00:06:12.120 --> 00:06:15.100 BAFTA win, first Oscar nomination. Suddenly, 00:06:15.220 --> 00:06:17.779 she's global. And the role itself demanded so 00:06:17.779 --> 00:06:20.019 much transformation. Yeah. Yeah, it wasn't just 00:06:20.019 --> 00:06:21.879 putting on the costumes. Critics talked about 00:06:21.879 --> 00:06:24.279 how she built the character. David Rooney said 00:06:24.279 --> 00:06:26.980 she did it imperceptibly, showing that shift 00:06:26.980 --> 00:06:29.879 from this, you know, uncertain young woman to 00:06:29.879 --> 00:06:33.120 the formidable virgin queen with real grace, 00:06:33.300 --> 00:06:36.139 poise, and intelligence. But here's the really 00:06:36.139 --> 00:06:39.319 smart architectural move, I think. Straight after 00:06:39.319 --> 00:06:42.279 Elizabeth, she's suddenly this major historical 00:06:42.279 --> 00:06:46.860 figure actor, right? What does she do next? Most 00:06:46.860 --> 00:06:48.720 actors would probably lean into that, do more 00:06:48.720 --> 00:06:51.839 period pieces. Exactly. But she completely switches 00:06:51.839 --> 00:06:55.379 gears. 1999, she does Pushing Tin, a contemporary 00:06:55.379 --> 00:06:57.500 comedy about air traffic controllers. Right. 00:06:57.579 --> 00:07:00.379 With John Cusack and Billy Bob Thornton. And 00:07:00.379 --> 00:07:03.519 then, same year, the talented Mr. Ripley, critically 00:07:03.519 --> 00:07:05.579 acclaimed, another BAFTA nomination, so boom, 00:07:05.600 --> 00:07:08.199 boom, historical, epic, modern comedy, psychological 00:07:08.199 --> 00:07:10.079 thriller. She's sending a message right away. 00:07:10.139 --> 00:07:12.480 Don't typecast me. Totally. She's an actor. Full 00:07:12.480 --> 00:07:14.680 stop. Capable of anything. And interestingly, 00:07:14.839 --> 00:07:16.600 she was already dipping her toes into producing 00:07:16.600 --> 00:07:19.800 back then. Really? As early as 99? Yeah, produced 00:07:19.800 --> 00:07:22.379 and acted in a short film called Bangers. Her 00:07:22.379 --> 00:07:24.660 husband, Andrew Upton, wrote and directed it. 00:07:24.740 --> 00:07:27.920 So that desire to, you know, control the creative 00:07:27.920 --> 00:07:32.889 side, it was there from very early on. Which 00:07:32.889 --> 00:07:34.689 brings us nicely into segment three, roughly 00:07:34.689 --> 00:07:39.050 2001 to 2007. And this is where we see her masterfully 00:07:39.050 --> 00:07:42.430 balancing massive global blockbusters with really 00:07:42.430 --> 00:07:45.769 challenging artistic roles and setting that first 00:07:45.769 --> 00:07:48.170 Oscar record. Okay, so the blockbuster side, 00:07:48.250 --> 00:07:49.750 you can't ignore The Lord of the Rings, right? 00:07:49.829 --> 00:07:52.029 Absolutely not. Playing Galadriel in Peter Jackson's 00:07:52.029 --> 00:07:54.149 trilogy, I mean, the scale is just phenomenal. 00:07:54.490 --> 00:07:57.579 What did those films gross? Something crazy. 00:07:57.740 --> 00:08:00.399 Nearly $3 billion. Yeah. And they're still seen 00:08:00.399 --> 00:08:02.240 as, you know, the pinnacle of fantasy filmmaking. 00:08:02.500 --> 00:08:05.100 So playing Galadriel made her instantly recognizable 00:08:05.100 --> 00:08:07.639 to literally billions of people. She became this 00:08:07.639 --> 00:08:10.379 fantasy icon. But crucially, while she's being 00:08:10.379 --> 00:08:12.800 this ethereal elf queen, she's making completely 00:08:12.800 --> 00:08:15.279 different choices elsewhere. Deliberately, it 00:08:15.279 --> 00:08:17.639 seems. Definitely. Look at 2001. She does Bandits, 00:08:17.660 --> 00:08:19.959 a crime comedy. Her first big comedy role, really. 00:08:20.079 --> 00:08:22.139 And people noticed her comedic timing. Oh, yeah. 00:08:22.439 --> 00:08:24.720 The BBC singled her out, said she was a real 00:08:24.720 --> 00:08:28.019 find as a comedian, called her performance unhinged, 00:08:28.019 --> 00:08:30.480 though undeniably sexy. I mean, that's about 00:08:30.480 --> 00:08:32.840 as far from Galadriel as you can get. And then 00:08:32.840 --> 00:08:34.940 The Year After Heaven, that was intense. Super 00:08:34.940 --> 00:08:37.759 intense. Directed by Tom Tykwer from a Kieslowski 00:08:37.759 --> 00:08:40.860 script. Playing a woman who commits this, uh... 00:08:41.080 --> 00:08:43.460 Act of terrorism out of grief. The New York Times 00:08:43.460 --> 00:08:45.539 called it her most compelling screen performance 00:08:45.539 --> 00:08:48.559 up to that point. Praise the raw emotion. So 00:08:48.559 --> 00:08:50.299 she's actively pushing her own boundaries, not 00:08:50.299 --> 00:08:52.700 just relying on the big hits. The range in just 00:08:52.700 --> 00:08:55.460 those few years is wild. She did Jim Jarmusch's 00:08:55.460 --> 00:08:57.639 Coffee and Cigarettes, playing two different 00:08:57.639 --> 00:09:00.840 characters. And Veronica Guerin, that biographical 00:09:00.840 --> 00:09:04.120 film. Very raw again. Which leads us to 2004 00:09:04.120 --> 00:09:07.620 and The Aviator. Directed by Scorsese, playing 00:09:07.620 --> 00:09:09.299 Katharine Hepburn. And this is where she wins 00:09:09.299 --> 00:09:11.519 her first Oscar. Best Supporting Actress. And 00:09:11.519 --> 00:09:13.820 sets that really specific, almost unbelievable 00:09:13.820 --> 00:09:15.799 record. Yeah, it's fascinating, isn't it? She 00:09:15.799 --> 00:09:17.899 becomes the first actor ever to win an Academy 00:09:17.899 --> 00:09:19.879 Award for playing another Academy Award winning 00:09:19.879 --> 00:09:22.500 act. It's like peak acting inception or something. 00:09:22.759 --> 00:09:25.039 It speaks volumes about the preparation, right? 00:09:25.120 --> 00:09:28.440 What did Scorsese ask her to do? He was serious 00:09:28.440 --> 00:09:30.620 about getting Hepburn right. Apparently, he had 00:09:30.620 --> 00:09:34.460 her watch 35mm prints of Hepburn's first 15 films. 00:09:34.600 --> 00:09:38.259 Not just DVDs, like proper prints. Wow. So she's 00:09:38.259 --> 00:09:40.399 studying the physicality, the voice, everything 00:09:40.399 --> 00:09:42.919 from the original source. Exactly. She said herself 00:09:42.919 --> 00:09:45.879 it was very daunting trying to represent Kate 00:09:45.879 --> 00:09:47.840 Hepburn and Froome, the same medium she existed 00:09:47.840 --> 00:09:49.960 in. And meanwhile, she's still investing back 00:09:49.960 --> 00:09:52.440 home in Australia, her production company Dirty 00:09:52.440 --> 00:09:55.769 Films with Andrew Upton. Right. In 2005, she 00:09:55.769 --> 00:09:58.490 wins the AFI Best Actress Award for Little Fish, 00:09:58.690 --> 00:10:02.029 which Dirty Films also co -produced. So she's 00:10:02.029 --> 00:10:03.889 maintaining that connection, nurturing the local 00:10:03.889 --> 00:10:06.289 industry alongside the global career. Which all 00:10:06.289 --> 00:10:09.049 builds towards 2007. That was just an incredible 00:10:09.049 --> 00:10:11.529 year for her, cinematically. Unbelievable. Two 00:10:11.529 --> 00:10:13.649 Oscar nominations in the same year. But look 00:10:13.649 --> 00:10:16.029 at the roles. Best Actress for playing Elizabeth 00:10:16.029 --> 00:10:18.889 again in Elizabeth, The Olden Age. Reprising 00:10:18.889 --> 00:10:21.659 the role. And best supporting actress for playing 00:10:21.659 --> 00:10:24.360 Jude Quinn, one of the Bob Dylan figures in I'm 00:10:24.360 --> 00:10:26.740 Not There. Think about that for a second. The 00:10:26.740 --> 00:10:29.580 technical jump from playing 16th century English 00:10:29.580 --> 00:10:34.159 royalty, all formal and historical, to embodying 00:10:34.159 --> 00:10:39.220 this like androgynous 60s counterculture folk 00:10:39.220 --> 00:10:43.159 icon in the same year. It's an astonishing display 00:10:43.159 --> 00:10:45.639 of range. And it led to those two Oscar records 00:10:45.639 --> 00:10:48.929 getting nominated twice in one year. and being 00:10:48.929 --> 00:10:51.509 the first actress nominated twice for playing 00:10:51.509 --> 00:10:53.830 the same character, Elizabeth I. Roger Ebert 00:10:53.830 --> 00:10:55.830 summed it up perfectly, didn't he? He did. That 00:10:55.830 --> 00:10:58.409 Blanchett could appear, playing Elizabeth and 00:10:58.409 --> 00:11:01.690 Bob Dylan, both splendidly, is a wonder of acting. 00:11:01.850 --> 00:11:03.409 It's not just talent at that point, it's total 00:11:03.409 --> 00:11:06.539 mastery. OK, so segment four, roughly 2008 to 00:11:06.539 --> 00:11:09.299 2016. This phase is maybe the most unique part 00:11:09.299 --> 00:11:11.320 of her career structure because she's juggling 00:11:11.320 --> 00:11:14.120 global film stardom with running a major theater 00:11:14.120 --> 00:11:17.360 company. Right. From 2008 to 2013, she and Andrew 00:11:17.360 --> 00:11:19.639 Upton are co -CEOs and artistic directors of 00:11:19.639 --> 00:11:21.840 the Sydney Theater Company, the STC. And this 00:11:21.840 --> 00:11:24.279 wasn't just like a figurehead role, was it? Not 00:11:24.279 --> 00:11:26.830 at all. This was proper leadership. Managing 00:11:26.830 --> 00:11:29.509 budgets, fundraising, setting the artistic vision 00:11:29.509 --> 00:11:31.830 for one of Australia's biggest arts organizations. 00:11:32.230 --> 00:11:35.389 It's a massive corporate and creative job, all 00:11:35.389 --> 00:11:37.629 while still making movies. It honestly sounds 00:11:37.629 --> 00:11:40.149 impossible, but the work they produced at STC 00:11:40.149 --> 00:11:42.549 during that time was world class. Absolutely. 00:11:42.789 --> 00:11:44.649 Their productions toured internationally and 00:11:44.649 --> 00:11:48.009 got rave reviews. Think about 2009. She plays 00:11:48.009 --> 00:11:52.409 Blanche Dubois in a streetcar named Desire, directed 00:11:52.409 --> 00:11:54.950 by... Liv Ullman, no less. And that production 00:11:54.950 --> 00:11:56.690 went to the U .S., didn't it? Brooklyn Academy 00:11:56.690 --> 00:11:59.809 of Music. Yep. And the critics went wild. Jane 00:11:59.809 --> 00:12:01.950 Fonda saw it and called it perhaps the greatest 00:12:01.950 --> 00:12:04.330 stage performance I have ever seen. That's high 00:12:04.330 --> 00:12:06.889 praise. It doesn't get much higher. John Lahr 00:12:06.889 --> 00:12:09.049 in The New Yorker basically said he never expected 00:12:09.049 --> 00:12:10.929 to see a better Blanche DuBois in his lifetime. 00:12:11.190 --> 00:12:14.129 Wow. And then she did Chekhov, too. 2011, Uncle 00:12:14.129 --> 00:12:17.190 Vanya played Yelena, toured internationally again. 00:12:17.669 --> 00:12:19.669 Ben Brantley at The New York Times wrote that 00:12:19.669 --> 00:12:22.429 she Confirms her status as one of the best and 00:12:22.429 --> 00:12:25.070 bravest actresses on the planet, being called 00:12:25.070 --> 00:12:27.870 brave for tackling Chekhov. That says something. 00:12:28.029 --> 00:12:30.409 And this directorship period allowed her to weave 00:12:30.409 --> 00:12:32.730 in her other passions too, right? The environmental 00:12:32.730 --> 00:12:36.389 stuff. Yes, the Greeny the Wharf program at STC. 00:12:36.490 --> 00:12:39.850 This is a fantastic example of her using that 00:12:39.850 --> 00:12:41.929 leadership position. So what did it involve? 00:12:42.129 --> 00:12:44.470 It wasn't just putting out recycling bins, presumably. 00:12:44.629 --> 00:12:47.730 No, no. It was major infrastructure, installing 00:12:47.730 --> 00:12:50.330 huge solar panel arrays on the theater's roof, 00:12:50.509 --> 00:12:53.509 massive rainwater harvesting systems, completely 00:12:53.509 --> 00:12:56.129 overhauling waste management for the whole building. 00:12:56.370 --> 00:12:58.929 Why would a theater company do all that? Because 00:12:58.929 --> 00:13:01.809 she and Upton made it a priority. They used their 00:13:01.809 --> 00:13:04.110 influence to say our art needs to be sustainable, 00:13:04.289 --> 00:13:07.259 ethically and environmentally. It connected her 00:13:07.259 --> 00:13:09.840 public advocacy for the environment with concrete 00:13:09.840 --> 00:13:12.879 action within an institution she led. And it 00:13:12.879 --> 00:13:15.440 won awards, like a Green Globe Award. That's 00:13:15.440 --> 00:13:17.500 impressive integration. And all this while she's 00:13:17.500 --> 00:13:19.960 still doing massive blockbusters? Yep. 2008, 00:13:20.100 --> 00:13:22.379 she's the villain Arena Spalco in Indiana Jones 00:13:22.379 --> 00:13:25.080 and the Kingdom of the Crystal Skull. Huge hit. 00:13:25.159 --> 00:13:28.700 Nearly $800 million worldwide. And she reprised 00:13:28.700 --> 00:13:31.879 Galadriel for the Hobbit trilogy. Right. Apparently, 00:13:31.899 --> 00:13:34.059 Peter Jackson specifically added the character 00:13:34.059 --> 00:13:37.059 back into the story. partly because they really 00:13:37.059 --> 00:13:39.179 wanted her involved. That shows her star power. 00:13:39.379 --> 00:13:41.860 So this combination of stage cred, environmental 00:13:41.860 --> 00:13:44.799 action, and box office clout sets the stage for 00:13:44.799 --> 00:13:48.360 her second Oscar win. Exactly. 2013 Blue Jasmine, 00:13:48.659 --> 00:13:51.539 Woody Allen film. And the performance was just 00:13:51.539 --> 00:13:54.580 universally lauded. People called it maybe the 00:13:54.580 --> 00:13:56.899 best thing she'd ever done. Mark Kermode's analogy 00:13:56.899 --> 00:14:00.139 was great, like... a peak fitness runner facing 00:14:00.139 --> 00:14:03.179 a marathon yeah it was this incredibly demanding 00:14:03.179 --> 00:14:06.919 portrayal of a total psychological collapse holding 00:14:06.919 --> 00:14:09.529 on to this facade of grandeur Technically, what 00:14:09.529 --> 00:14:12.009 made it so hard? Just the sheer emotional and 00:14:12.009 --> 00:14:14.850 physical commitment, I think. Living that breakdown, 00:14:15.009 --> 00:14:17.350 that spiral, convincingly for the whole film. 00:14:17.409 --> 00:14:20.169 It required absolute control and absolute abandon 00:14:20.169 --> 00:14:22.409 at the same time. And winning Best Actress for 00:14:22.409 --> 00:14:24.769 that made her the first Australian to win two 00:14:24.769 --> 00:14:27.690 acting Oscars. And only the sixth actress ever 00:14:27.690 --> 00:14:29.970 to win in both lead and supporting categories. 00:14:30.570 --> 00:14:33.029 Joins a very elite club. There was controversy 00:14:33.029 --> 00:14:34.889 around the director at the time, though. How 00:14:34.889 --> 00:14:36.610 did she handle that when accepting the award? 00:14:36.830 --> 00:14:40.519 She addressed it, yeah. Carefully. Acknowledged, 00:14:40.519 --> 00:14:42.379 you know, the power of social media in the Me 00:14:42.379 --> 00:14:45.379 Too conversation. But she emphasized that platforms 00:14:45.379 --> 00:14:47.419 like that are not the judge and jury. Right. 00:14:47.519 --> 00:14:49.700 Her point was that these serious allegations 00:14:49.700 --> 00:14:52.580 need to go into court to establish legal facts 00:14:52.580 --> 00:14:55.320 and protect people properly. She was basically 00:14:55.320 --> 00:14:58.100 advocating for due process over immediate public 00:14:58.100 --> 00:15:00.940 verdict. It was quite a measured statement in 00:15:00.940 --> 00:15:03.059 a heated moment. And she didn't slow down artistically 00:15:03.059 --> 00:15:06.259 after that win either. Carol in 2015. Gorgeous 00:15:06.259 --> 00:15:09.039 film. She executive produced and gave that incredibly 00:15:09.039 --> 00:15:11.679 nuanced performance, got another Oscar nomination. 00:15:11.779 --> 00:15:14.120 Many people consider it one of her absolute best 00:15:14.120 --> 00:15:15.919 roles. And then something completely different 00:15:15.919 --> 00:15:18.919 again, Manifesto. Oh, Manifesto. That was 2015 00:15:18.919 --> 00:15:21.919 as well. Julian Rosefeld's art installation film. 00:15:21.980 --> 00:15:25.120 She played 13 different characters. From a homeless 00:15:25.120 --> 00:15:27.700 man to a news anchor to a school teacher, each 00:15:27.700 --> 00:15:30.220 one delivering lines from famous art manifestos. 00:15:30.220 --> 00:15:33.539 It was just pure technical brilliance. The New 00:15:33.539 --> 00:15:36.039 York Times called it an absolutely stunning tour 00:15:36.039 --> 00:15:38.679 de force, showed she was still hungry for really 00:15:38.679 --> 00:15:41.460 experimental, performance -driven work, even 00:15:41.460 --> 00:15:45.440 at the absolute peak of her fame. So, Segment 00:15:45.440 --> 00:15:48.559 5 takes us into the modern era, say, 2017 to 00:15:48.559 --> 00:15:51.440 now. And here we really see her leveraging that 00:15:51.440 --> 00:15:54.019 producer role, conquering Broadway, and making 00:15:54.019 --> 00:15:56.440 major moves in prestige TV. Right, the stage 00:15:56.440 --> 00:15:58.279 power continued. She made her Broadway debut 00:15:58.279 --> 00:16:02.299 in 2017. In the present. Based on Chekhov. Earned 00:16:02.299 --> 00:16:04.940 her a Tony nomination straight off the bat. Proved 00:16:04.940 --> 00:16:07.399 she could command a Broadway stage just as powerfully 00:16:07.399 --> 00:16:09.919 as London or Sydney. And then she entered the 00:16:09.919 --> 00:16:12.879 Marvel Universe. Yep. 2017. Hela, the goddess 00:16:12.879 --> 00:16:16.379 of death in Thor. Ragnarok. Smart move, strategically. 00:16:16.779 --> 00:16:19.179 How so? Well, it plants her flag firmly in the 00:16:19.179 --> 00:16:21.639 biggest cinematic universe going, ensures she's 00:16:21.639 --> 00:16:23.899 relevant to that huge global audience, helps 00:16:23.899 --> 00:16:26.059 a film like Ragnarok get critical respect alongside 00:16:26.059 --> 00:16:29.440 its massive box office, what was it, $854 million. 00:16:29.820 --> 00:16:31.759 Wow. And then she followed that with Ocean's 00:16:31.759 --> 00:16:35.120 8 in 2018. Right, the all -female ensemble heist 00:16:35.120 --> 00:16:39.019 movie. Her presence just adds a layer of cool, 00:16:39.139 --> 00:16:41.480 of gravitas to these big commercial projects. 00:16:41.960 --> 00:16:44.480 But the really interesting shift maybe is seeing 00:16:44.480 --> 00:16:47.320 her production company, Dirty Films, become a 00:16:47.320 --> 00:16:50.100 major force, especially in TV, and connecting 00:16:50.100 --> 00:16:53.639 it back to her activism. Exactly. Look at Stateless 00:16:53.639 --> 00:16:57.139 in 2020. Australian drama about immigration detention. 00:16:57.340 --> 00:17:00.700 She co -created it, executive produced it, had 00:17:00.700 --> 00:17:02.860 a guest role. And the inspiration came directly 00:17:02.860 --> 00:17:06.119 from her UNHCR work. Explicitly, she said so. 00:17:06.440 --> 00:17:08.900 It's a perfect example of using her industry 00:17:08.900 --> 00:17:12.339 power, her capital, her platform to create work 00:17:12.339 --> 00:17:15.180 that tackles issues she cares deeply about. It's 00:17:15.180 --> 00:17:17.220 architecture again. Yeah. Building bridges between 00:17:17.220 --> 00:17:19.319 her roles. And in the same year, she does Mrs. 00:17:19.440 --> 00:17:22.160 America. Phenomenal series. FX miniseries. She 00:17:22.160 --> 00:17:24.700 headlines as Phyllis Schlafly, the conservative 00:17:24.700 --> 00:17:26.339 activist who fought against the Equal Rights 00:17:26.339 --> 00:17:28.269 Amendment. And she produced it, too. That was 00:17:28.269 --> 00:17:30.250 a fascinating choice for her, wasn't it? Playing 00:17:30.250 --> 00:17:32.150 someone whose political views seem pretty much 00:17:32.150 --> 00:17:34.509 the opposite of her own public stances. Yeah, 00:17:34.569 --> 00:17:37.569 requires real skill and empathy to embody that 00:17:37.569 --> 00:17:40.109 kind of figure authentically without caricature. 00:17:40.230 --> 00:17:43.009 And the critics recognize that. The New York 00:17:43.009 --> 00:17:45.849 Times pointed to her final scene, wordless and 00:17:45.849 --> 00:17:47.710 devastating. Got nominations for everything, 00:17:47.829 --> 00:17:51.240 right? Emmy, Golden Globes, SAG. Yep. Proved 00:17:51.240 --> 00:17:53.900 she could dominate prestige TV just as easily 00:17:53.900 --> 00:17:57.619 as film. And cementing that power, Dirty Films 00:17:57.619 --> 00:18:00.019 now has first look deals with New Republic Pictures 00:18:00.019 --> 00:18:03.460 for movies and FX for TV. So they're set up to 00:18:03.460 --> 00:18:05.339 keep producing high level stuff across the board. 00:18:05.460 --> 00:18:07.619 And here's a stat that really shows her consistent 00:18:07.619 --> 00:18:11.319 quality and influence. In 2021, she broke a longstanding 00:18:11.319 --> 00:18:14.119 Hollywood record. Oh, yeah. Which one? She starred 00:18:14.119 --> 00:18:16.279 in two films nominated for Best Picture that 00:18:16.279 --> 00:18:19.119 year, Nightmare Alley and Don't Look Up. Okay. 00:18:19.259 --> 00:18:21.519 Doing that meant she surpassed Olivia de Havilland 00:18:21.519 --> 00:18:23.759 for the most credited roles by a female actor 00:18:23.759 --> 00:18:27.059 and Best Picture nominees ever. Wow. That says 00:18:27.059 --> 00:18:29.720 a lot about her choices, doesn't it? It means 00:18:29.720 --> 00:18:32.019 the projects she picks, the roles she gets, are 00:18:32.019 --> 00:18:34.400 consistently considered among the very best films 00:18:34.400 --> 00:18:36.839 being made. Yeah. Year after year. It's not just 00:18:36.839 --> 00:18:39.000 acting skill. It's incredible discernment. And 00:18:39.000 --> 00:18:42.359 all that leads, almost inevitably, to Tar in 00:18:42.359 --> 00:18:45.859 2022. The Tar phenomenon. Playing Lydia Tar, 00:18:46.059 --> 00:18:49.500 that fictional, brilliant... deeply flawed conductor, 00:18:49.799 --> 00:18:52.819 it became a massive cultural talking point. And 00:18:52.819 --> 00:18:55.200 hailed as another career highlight for her. Absolutely. 00:18:55.500 --> 00:18:57.500 The Hollywood Reporter called it an astonishing 00:18:57.500 --> 00:19:00.299 performance and suggested it might be her greatest. 00:19:00.740 --> 00:19:03.259 The technical skill involved learning conducting, 00:19:03.579 --> 00:19:06.599 the German language, plus the incredibly complex 00:19:06.599 --> 00:19:10.380 exploration of power, genius, cancellation. It 00:19:10.380 --> 00:19:12.339 was extraordinary. And the awards followed again. 00:19:12.539 --> 00:19:14.859 Fourth Golden Globe, fourth BAFTA. And her eighth 00:19:14.859 --> 00:19:17.430 Oscar nomination. Which ties her, I think, fourth 00:19:17.430 --> 00:19:19.569 overall for the most nominated actress in history. 00:19:19.690 --> 00:19:21.750 She's just operating at this insanely high level 00:19:21.750 --> 00:19:25.309 consistently. Okay, so segment six. Let's shift 00:19:25.309 --> 00:19:28.269 the focus fully now to her role as a global citizen. 00:19:28.410 --> 00:19:30.809 Her activism, her humanitarian work, because 00:19:30.809 --> 00:19:33.250 it's clearly not just a side project for her. 00:19:33.289 --> 00:19:35.869 It's woven into the fabric of her career. Yeah, 00:19:35.930 --> 00:19:38.230 the environmental advocacy goes way back. It's 00:19:38.230 --> 00:19:40.190 not a recent thing. She joined Al Gore's Climate 00:19:40.190 --> 00:19:44.529 Project in 2006. and became an ambassador for 00:19:44.529 --> 00:19:46.829 the Australian Conservation Foundation in 2007, 00:19:47.089 --> 00:19:50.230 later got honorary life membership. And she hasn't 00:19:50.230 --> 00:19:52.470 shied away from tricky policy stuff either, like 00:19:52.470 --> 00:19:54.890 publicly supporting a carbon tax in Australia. 00:19:55.049 --> 00:19:57.970 Right, which wasn't universally popular, obviously. 00:19:58.130 --> 00:20:00.390 But it shows her commitment isn't just about, 00:20:00.430 --> 00:20:03.630 you know, celebrity endorsements. She's willing 00:20:03.630 --> 00:20:06.299 to engage in actual political debate. And as 00:20:06.299 --> 00:20:08.900 we mentioned, that STC period was key with the 00:20:08.900 --> 00:20:11.519 Greening the Wharf project, taking institutional 00:20:11.519 --> 00:20:14.940 responsibility. Exactly. Turning advocacy into 00:20:14.940 --> 00:20:17.589 action within her own organization. And it's 00:20:17.589 --> 00:20:19.849 ongoing since 2020. She's been on the council 00:20:19.849 --> 00:20:22.289 for Prince William's Earthshot Prize, trying 00:20:22.289 --> 00:20:24.710 to find and fund real environmental solutions. 00:20:25.009 --> 00:20:27.089 She even launched her own podcast on it, Climate 00:20:27.089 --> 00:20:29.809 of Change. Yeah, in 2022. Dedicating a whole 00:20:29.809 --> 00:20:31.849 platform just to talking about the climate crisis. 00:20:32.049 --> 00:20:34.130 But interestingly, the sources also mention a 00:20:34.130 --> 00:20:36.670 real -world complication here, the Eco House 00:20:36.670 --> 00:20:39.569 project in Cornwall. Ah, yes. She and Andrew 00:20:39.569 --> 00:20:42.289 Upton are building this sustainable home in Cornwall, 00:20:42.390 --> 00:20:44.970 England. But it's caused some local friction, 00:20:45.089 --> 00:20:48.680 hasn't it? Yeah, reports in 2023, 2024 about 00:20:48.680 --> 00:20:51.420 neighbors objecting to construction noise, the 00:20:51.420 --> 00:20:53.920 scale of the development. It's a useful reminder, 00:20:54.119 --> 00:20:56.440 isn't it, that even for someone deeply committed 00:20:56.440 --> 00:20:59.220 to sustainability, translating those big ideals 00:20:59.220 --> 00:21:02.039 into actual on the ground projects can run into 00:21:02.039 --> 00:21:05.259 very real, practical community level challenges. 00:21:05.359 --> 00:21:07.789 The friction between the vision. and the reality. 00:21:07.990 --> 00:21:10.849 Okay, shifting to her humanitarian work. Her 00:21:10.849 --> 00:21:14.190 role with the UN Refugee Agency, UNHCR, seems 00:21:14.190 --> 00:21:17.029 incredibly significant. It really does. Started 00:21:17.029 --> 00:21:19.430 working with them in 2015, appointed a global 00:21:19.430 --> 00:21:22.289 goodwill ambassador in 2016. And this involves 00:21:22.289 --> 00:21:24.589 serious field work, right? Not just appearances. 00:21:25.029 --> 00:21:27.509 Definitely. She's traveled extensively to Jordan, 00:21:27.690 --> 00:21:30.809 Lebanon, meeting Syrian refugees, to Bangladesh, 00:21:31.150 --> 00:21:34.309 meeting Rohingya refugees who fled Myanmar. These 00:21:34.309 --> 00:21:36.009 aren't quick visits. They're about understanding 00:21:36.009 --> 00:21:37.910 the situation. firsthand and bringing attention 00:21:37.910 --> 00:21:39.970 to these crises. And she's used that platform 00:21:39.970 --> 00:21:41.990 at the highest levels, addressing the UN Security 00:21:41.990 --> 00:21:44.529 Council in 2018. Yeah, about the Rohingya crisis. 00:21:44.970 --> 00:21:47.269 That's using her unique position, her global 00:21:47.269 --> 00:21:49.970 recognition, to speak directly to world leaders 00:21:49.970 --> 00:21:52.910 about atrocities. It's powerful. And she made 00:21:52.910 --> 00:21:54.589 it very personal in that speech, didn't she? 00:21:54.730 --> 00:21:57.190 She did. She talked about seeing her own children 00:21:57.190 --> 00:21:59.750 reflected in the eyes of the refugee children 00:21:59.750 --> 00:22:03.299 she met. That ability to connect the global crisis 00:22:03.299 --> 00:22:07.099 to a very human parental emotion makes her advocacy 00:22:07.099 --> 00:22:10.220 incredibly effective, very relatable. And on 00:22:10.220 --> 00:22:12.900 the personal side, just briefly, married to Andrew 00:22:12.900 --> 00:22:17.240 Upton since 97. Four kids. Three sons. And they 00:22:17.240 --> 00:22:20.309 adopted a daughter in 2015. which she'd apparently 00:22:20.309 --> 00:22:22.109 wanted to do for a long time. And there's that 00:22:22.109 --> 00:22:24.250 interesting detail. She prefers the term actor 00:22:24.250 --> 00:22:27.250 to actress. Yeah, it feels consistent with her 00:22:27.250 --> 00:22:29.829 focus on the craft, the technique, rather than 00:22:29.829 --> 00:22:32.329 being defined by gender. She's also spoken out 00:22:32.329 --> 00:22:35.329 quite a bit about wider issues, hasn't she? Concerns 00:22:35.329 --> 00:22:38.349 about like a wave of conservatism affecting women's 00:22:38.349 --> 00:22:40.829 rights. And the pressures women face in Hollywood, 00:22:40.890 --> 00:22:43.390 the focus on appearance, the idea of a use by 00:22:43.390 --> 00:22:46.150 date. She seems willing to critique the system, 00:22:46.250 --> 00:22:48.509 even while operating so successfully within it. 00:22:48.680 --> 00:22:49.940 All right, let's pull it all together in segment 00:22:49.940 --> 00:22:53.039 seven. Style, legacy, and accolades. What's the 00:22:53.039 --> 00:22:55.539 overall picture? Well, the consensus is pretty 00:22:55.539 --> 00:22:57.900 clear. She's considered one of the absolute finest, 00:22:58.079 --> 00:23:01.079 most versatile actors working today. Full stop. 00:23:01.259 --> 00:23:03.259 And the technical skill is always mentioned, 00:23:03.440 --> 00:23:06.519 especially the accents. Oh, yeah. Her mastery 00:23:06.519 --> 00:23:10.579 of accents is legendary. English, Irish. French, 00:23:10.579 --> 00:23:13.859 all sorts of American regional dialects. She 00:23:13.859 --> 00:23:16.740 seems to have this incredible ear and the technical 00:23:16.740 --> 00:23:20.200 discipline to nail almost anything. She can convincingly 00:23:20.200 --> 00:23:22.680 belong anywhere, anytime. There was that great 00:23:22.680 --> 00:23:25.559 description in Vulture magazine. What was it? 00:23:25.700 --> 00:23:28.940 About her key skill. Ah, yeah, that was good. 00:23:29.140 --> 00:23:31.720 They said her greatest skill was combining relatability 00:23:31.720 --> 00:23:34.920 and elusiveness. Explain that a bit. Like, she 00:23:34.920 --> 00:23:38.200 can feel incredibly human. and present in a role, 00:23:38.359 --> 00:23:40.599 someone you connect with. But there's often also 00:23:40.599 --> 00:23:42.640 something held back, something you can't quite 00:23:42.640 --> 00:23:44.700 grasp. It makes your performances really compelling, 00:23:44.799 --> 00:23:46.980 keeps you watching. Mesmerizing is a good word. 00:23:47.140 --> 00:23:49.779 And the official honors reflect that huge CV, 00:23:50.000 --> 00:23:52.180 right? Both in Australia and internationally. 00:23:52.480 --> 00:23:54.799 Absolutely. Companion of the Order of Australia, 00:23:54.960 --> 00:23:56.559 that's the highest civilian honor back home. 00:23:57.180 --> 00:23:58.660 Chevalier of the Order of Arts and Letters in 00:23:58.660 --> 00:24:01.259 France. The BFI Fellowship in the UK in 2015. 00:24:01.700 --> 00:24:04.319 Sir Ian McKellen presented that one. Right. And 00:24:04.319 --> 00:24:06.319 honorary doctorates from three Australian... 00:24:06.319 --> 00:24:08.779 universities. So recognition not just from the 00:24:08.779 --> 00:24:11.660 film world, but from government, cultural institutions, 00:24:11.980 --> 00:24:14.380 academia. And commercially, she's a powerhouse. 00:24:14.539 --> 00:24:17.019 Empire magazine put her in their 50 greatest 00:24:17.019 --> 00:24:20.319 actors list in 2022. And the box office numbers. 00:24:20.740 --> 00:24:23.819 Staggering. As of 2019, her films had grossed 00:24:23.819 --> 00:24:27.619 over $9 .8 billion worldwide. That kind of commercial 00:24:27.619 --> 00:24:29.880 clout gives you enormous freedom and influence. 00:24:30.059 --> 00:24:32.259 And she's clearly not slowing down, still mixing 00:24:32.259 --> 00:24:34.880 it up with recent projects like the miniseries 00:24:34.880 --> 00:24:37.799 Disclaimer, upcoming stuff like a sci -fi comedy 00:24:37.799 --> 00:24:40.339 Alpha Gang, and even heading back to the stage 00:24:40.339 --> 00:24:43.279 for Chekhov's The Seagull in 2025. So if you're 00:24:43.279 --> 00:24:44.799 trying to summarize this career architecture. 00:24:45.309 --> 00:24:47.490 As someone who reached the absolute peak in global 00:24:47.490 --> 00:24:49.809 cinema, mastering everything from blockbusters 00:24:49.809 --> 00:24:53.829 to intense indie dramas, but simultaneously she 00:24:53.829 --> 00:24:56.029 committed deeply to classical theater, even running 00:24:56.029 --> 00:24:58.490 a major company, then pivoted seamlessly into 00:24:58.490 --> 00:25:00.789 producing and starring in high -end political 00:25:00.789 --> 00:25:03.569 television. And threaded through all of that 00:25:03.569 --> 00:25:06.950 is this consistent, visible commitment to major 00:25:06.950 --> 00:25:10.150 global issues, humanitarian crises, climate change, 00:25:10.390 --> 00:25:12.730 using her platform very deliberately. So the 00:25:12.730 --> 00:25:14.509 takeaway for you listening, think about that 00:25:14.509 --> 00:25:17.509 dual impact. Cate Blanchett's enduring relevance 00:25:17.509 --> 00:25:20.450 isn't just about that incredible $9 .8 billion 00:25:20.450 --> 00:25:23.529 box office figure. It's equally about how she 00:25:23.529 --> 00:25:26.269 has consciously, architecturally applied that 00:25:26.269 --> 00:25:28.789 influence to things like the refugee crisis and 00:25:28.789 --> 00:25:30.609 climate action. Which leaves us with a final 00:25:30.609 --> 00:25:32.529 thought for you to consider. For an actor who 00:25:32.529 --> 00:25:35.150 is now so established as a producer, an artistic 00:25:35.150 --> 00:25:37.910 director, an activist, where does her most profound 00:25:37.910 --> 00:25:40.890 impact lie in the next decade? Is it still primarily 00:25:40.890 --> 00:25:43.569 through creating characters on screen? Or is 00:25:43.569 --> 00:25:45.609 her most significant legacy now being built by 00:25:45.609 --> 00:25:48.509 actively shaping the real world through advocacy, 00:25:48.769 --> 00:25:50.589 through leadership, through production choices? 00:25:50.849 --> 00:25:53.089 Based on the architecture we've seen, it feels 00:25:53.089 --> 00:25:55.509 like that real world shaping might be becoming 00:25:55.509 --> 00:25:58.170 the dominant structure. A truly fascinating career 00:25:58.170 --> 00:26:01.210 to dissect. Absolutely. A deep dive indeed. Thanks 00:26:01.210 --> 00:26:03.410 for diving deep with us today. We'll catch you 00:26:03.410 --> 00:26:03.910 next time.