I guess I prefer to be quite private. It's a myth that actors are exhibitionists.
— Cate Blanchett
Believe it or not, I'm pretty good at just doing nothing.
I admire the work of brilliant actresses such as Judi Dench, Maggie Smith and Helen Mirren, who have had such varied careers. They have never stopped working, and they are as great today as they ever were.
I applaud Women in Film - not only for celebrating the successes of women, but for providing a safety network to mentor women and to discuss the particular issues that arise in a very male-dominated industry.
Those of us in the industry who are still foolishly clinging to the idea that female films with women at the center are niche experiences - they are not. Audiences want to see them and, in fact, they earn money. The world is round, people.
I tend to use really basic creams, and I like to put an oil on, like an emu oil from Australia. It's from the emu, and it's really nourishing. I prefer an oil to a cream.
We're constantly morphing into different outward manifestations of ourselves. That's what I find curious about people.
My husband went through a phase of giving me vacuum cleaners, sewing machines and Mixmasters. It's ironic. He is encouraging me to develop a hobby, I think.
I think our Western society is very much about, 'Tuck your head in; make sure you're safe. Don't rock the boat.'
Conservatism is affecting the way women perceive who they are in the world.
People are always saying they loved me in 'Titanic.'
I love dressing up, although that doesn't mean necessarily on the school run.
I think marriage is all about timing.
In my career, I thought I've never wanted to get anywhere in particular. I just wanted to work with interesting people on interesting projects.
I always dressed as a man when I was at school. I loved wearing a tie and a shirt, and I was always wearing suits. Annie Lennox was my hero. I was always playing men in high school.
My father died when I was young, and after he did, my mother had it tough. Very tough.
I care about climate change because of our children. I want to safeguard their future.
I think there are way too many films made, and I've probably made way too many films.
I said to Martin Scorsese, 'When are you going to make another film with a woman at the center?'
I want to be able to follow the example of those extraordinary British actresses who move effortlessly from film to TV to theatre roles.
You don't ever really get to know Woody Allen.
When anyone plays a mother on film, there is a whole raft of judgment in that a mother is a particular archetype or that every mother is the same. That's complete rubbish.
I believe that a creative career is only as good as the risks that you take with it.
Louise Frogley is a brilliant designer. I always find her wardrobe fittings really informative and creative. Together, you kick images and ideas around.
The great thing about not being American is that you don't assume you know what a Southern accent sounds like, so you have to be specific.
Because the picture is called 'Veronica Guerin,' you expect a biopic. But it's really about the last two years of her life.
Australia is a remarkable country with incredible technical and physical resources and a capacity to be a world leader in renewables.
I'm constantly humbled.
Armani makes a fantastic lip gloss called 'Beige 100.'
I would really have liked to have gone to Broadway with 'A Streetcar Named Desire.' I was proud of that.
I'm not particularly needy, and I'm not particularly anxious. I don't look for a director to tell me I'm doing a good job or that I'm great. I don't need to be stroked. It's more my own yardstick.
I think that what appeals to me in my work is having the opportunity to inhabit different genres and so to reach different audiences.
I've known the panic of financial struggle. I didn't grow up with money at all, and my family has certainly known the panic of, 'Oh, gosh, where's the next bit of money coming from?'
There is so much talent in Australia.
I'm either sitting very still or running very fast.
Ageing is something that both men and women are utterly terrified about.
You have to know how to evolve with age without trying to hang on to your younger image of yourself from the past.
I can be a real pessimist. You know that when you win an Oscar, and you walk offstage, and your first thought is: 'Oh God, I've peaked.'
When you are proud of something you have done, and you have made a film you feel has merit, and it's found an audience and is critically well received, that's a pretty pleasurable place to be. I mean, you don't want it gathering dust at the bottom of someone's DVD collection.
I never want to work. Even when you're presented with these great opportunities, I think, 'I really love being in my pajamas with the kids.'
Who would want a face that hasn't seen or lived properly, hasn't got any wrinkles that come with age, experience and laughter? Not me, anyway.
Every time I create a character, I don't assume they speak like I do, even if they're Australian.
In every war, there's looting.
There is a societal cost of increased pollution, and that's what I'm passionate about as a mother.
I'm not interested in using my father's death as some touch point for why I've become an actor - it's grossly opportunistic.
I don't like a heavy mask of make-up day or night - mascara and a bit of bronzer.
Fine-tuning a play like 'Uncle Vanya,' which is already well-known to the people playing it, is not so much a verbal exercise as it is a visceral one.
When I have my moments of insomnia, you'll find me on style.com.
A lot of people are frightened by old age - by being around people who are, basically, on their way out - but I'm fascinated by it. It's an amazing thing to be around someone who has had a life well lived.
I want to see a connected and progressive future for Australia, where we harness our greatest natural resources: sun, wind, and brain power.
