Tár may be the biography of a fictional conductor, but the classical music she brings to life throughout the film is very real. Just as Cate Blanchett had to learn the art of conducting in order to portray the maddening genius of Lydia Tár, her costars were playing live to the beat of her metaphorical drum. This perfectly parallels the story itself, written and directed by Todd Field (Little Children), in which Blanchett’s Lydia plays those around her like a fiddle even as she inspires the world through the power of music.
Rather than watching her work her way up, Tár begins at the peak of her musical victory before examining the inevitable downfall to come. Lydia is preparing for a lavish presentation of Mahler’s Fifth Symphony with the German orchestra, of which she is the first female conductor, when her relationships past and present begin to interfere with her music and career. Nina Hoss and Sophie Kauer play two of the people closest to her orbit, Lydia’s partner Sharon (with whom she shares a child) and Olga, who is the newest member of the orchestra.
Screen Rant spoke to Kauer and Hoss about the intense preparation for a film like Tár, especially the former’s transition from playing the cello for the stage to playing for the screen and the latter’s onscreen work alongside leading lady Cate Blanchett.
Stars Talk Playing As Other People In Tár
Sophie, you are a cellist and this is your onscreen film debut. How much preparation did this role take, and how does playing for film differ from playing in real life?
Sophie Kauer: The fact is that I’m playing the cello as someone else, so that is quite a challenge in itself. In addition to which, Todd is a musician himself, so he has a lot more understanding for that. But he also has a lot of ideas of his own, so he had very specific ideas as to how he actually wanted Olga to play.
I can’t really comment on the physicality, because that’s just what it is. But for the actual music, he had very specific ideas as to how he wanted it to be phrased, timing-wise, and so on. That was quite hard for me to fit into a new character, because it goes against everything that you’re always told to do. You’re always told to be true to yourself and your intentions, and then it will be okay. But then you’re like, “What do you do when you have to play like someone else?”
One thing that surprised me was the time pressure. I thought we’d have loads of rehearsals and loads of takes for all the scenes, but it wasn’t like that at all. Todd wanted the film to be super authentic, so all the playing you hear in the film was live. Nothing’s done in post, so that in itself [was tough]. Yeah, it’s Nina playing too, and she does an amazing job. But that, in itself, is kind of terrifying. You have just a few takes to get it right.
Cate was also conducting herself and playing, so that obviously came with challenges. Because although she does an amazing job, she’s not been specializing as a musician for the vast majority of her life.
Nina Hoss: From my point of view, when I watched you in this moment where she plays the Elgar solo piece, I thought, “That might be you maybe, in a few years time.” And you have that experience right now in character. It was an amazing combination of reality and fiction. I saw the excitement in her privately, but also as an actor being in the character and everything; it was a beautiful combination.
I have to say this whole experience of being, for two weeks, within an orchestra—for the first time, I heard what it sounds like. The beauty of it, the power, that sound has. You all as individuals come together and create something in this moment that is of such beauty; it was just phenomenal. Everything that you experienced personally was also something that you could give to the character you embody. That was amazing, of course, because you are a musician. It was great to see.
I definitely came away from the film being like, “I need to watch an orchestra live now.”
Sophie Kauer: Some of the early reviews talk about the amazing music in the film, and lots of people think that everything in the film was just specially written for the soundtrack. But that’s not the case at all. It’s this beautiful mix of old and new compositions, and that in itself kind of proves that if people don’t let themselves be blinded by their prejudices or ideas they have about classical music being inaccessible or difficult to understand, and just let it hit you… The whole purpose is we’re meant to, like actors, make you feel something and move you.
I know that obviously we’re extremely specialized, but you don’t have to understand every single chord to be able to enjoy it.
Nina Hoss: You don’t have to have studied anything. And also, by the way, you don’t have to think this movie will be too much for you if you have no idea about the classical world. Because that’s also not what it’s about. On the contrary, I would say you start, like you say, to want to go and see it live. “What is this beauty? This world they’re talking about and telling us about is so rich and fascinating.” At least I hope that’s what’s going to [happen].
Sophie Kauer: I’m very excited.
You both get to work with the incredible Cate Blanchett. Not that you are not also incredible, but she’s one of those names that I imagine has fellow actors feeling similarly to how the characters feel about Lydia Tár. What was that experience like on set?
Nina Hoss: It’s just fascinating to be acting alongside her, because it’s just so inspiring. When you were talking about her conducting, the way she poured herself into that task [was amazing]. We started with shooting all the scenes with the orchestra and, at the beginning, I think it was daunting for me and for Cate. But at the end of the day, we both said, “That was actually great, because it told us so much about who they are. Who Lydia is and how the way she conducts informs so much about everything we would work on later.”
And the way she found that character in these first two weeks—probably she had it already. But when she starts working on it, it was just fascinating to see. She was on this pedestal for all of us, and we could watch this transformation. It was incredible. She’s just a very, very inspiring actor.
Sophie Kauer: She just gives everything her all, like you really have to, especially as a conductor. I think it’s really interesting that you said it’s good that you started off with the orchestra, because you kind of take that with you for the rest of the performance. When I think about conducting, it’s amazing because you normally practice in silence. So, when you finally stand up in front of the orchestra, and that sound comes back at you, I just have no idea how she did it. Because it’s her conducting. No click track; it’s her, and the orchestra’s following her. It’s just incredible how she managed to do it.
About Tár
Renowned musician Lydia Tár is days away from recording the symphony that will elevate her career. When all elements seem to conspire against her, Lydia’s adopted daughter Petra becomes an integral emotional support for her struggling mother.
Tar arrives in select theaters on October 7 before opening nationwide on October 28.
Key Release Dates
Tar
Release Date:2022-10-07
