Because Woody Allen doesn't get into motivation or background of a character when he's directing actors, Cate Blanchett and Sally Hawkins got together and invented the background for the sisters' relationship. So every scene when they talked about their past, although it's vague on the script and for the viewer, they both knew exactly what the sisters are talking about.
In Sophia Loren's memoir "Yesterday, Today & Tomorrow: My Life", the screen legend reveals that she still absorbs inspiration from other actors to enhance her own acting portrayals, saying, "Recently, I was struck by the last scene in 'Blue Jasmine', where Cate Blanchett has an expression on her face I'd never seen before. That expression crept inside me, and it lies there waiting to germinate a new plant, a new flower."
Woody Allen's third film with a 2.35:1 aspect ratio, after Manhattan (1979) and Anything Else (2003). Unlike those films, which were shot with anamorphic lenses, this was shot with spherical lenses in Super 35.
Many critics and viewers of this movie noted that the plot bore many essential similarities to to Tennessee Williams's 1947 play A Streetcar Named Desire. Despite the unmistakable similarities between the plots of Streetcar and Blue Jasmine, however, there was no acknowledgment of Williams in the credits, and Woody Allen was nominated for an Oscar for Best Original Screenplay (not Adapted). With Blue Jasmine, Allen was repeating the tactic for creating a screenplay that he had used for Match Point, which bears unmistakable plot similarities to to Theodore Dreiser's 1925 novel An American Tragedy but which didn't credit Dreiser. Allen was also nominated for Best Original Screenplay for Match Point.