Tim Robbins seems a man of contrasts at first, but what appear to be conflicting sides of his personality actually complement each other in a character of the rarest type. He has the ability to engage in the most profound conversation while provoking a genuine and contaminating laughter. On screen, he has been naively stupid (in “Bull Durham” and “The Hudsucker Proxy”) as well as shrewdly slick (in “The Player” and “The Shawshank Redemption”). And, of course, his dimpled babyish face tops a nearly 6’5” body.
So no wonder the actor-writer-director-producer Robbins is crusading against labels and stereotypes, the most common of which in his case have been “political” and “liberal”. He says he doesn’t “buy the liberal thing”, but appreciates progressivism and libertarianism. He also notes that he has a hard time distinguishing between Democrats and Republicans.
“The great illusion in America is that we have a choice, because if we don’t have that illusion, we don’t have a democracy,” he says…
Cybill Shepherd knows life like few other people do. From early stardom in Hollywood to neglect and rejection, to marriage, divorce and single parenthood, her story is one of intense emotions and great controversies. The mere mention of her name leaves no person neutral and no reaction mellow. She has been called “goddess” and “clown”, “loving” and “arrogant”, “vibrant” and “insane”. For years she viewed such extreme attitudes as part of the “bargain” she had “made with the devil”: “If I can only become rich and famous for doing what I love to do, I’ll accept the trade-off”.
Not any longer. “There is a myth that is completely untrue about me being difficult to work with,” she says passionately. “I don’t make unilateral decisions and I don’t have breakdowns; I’m wonderful, tremendously disciplined, loving and generous. I was blessed with beauty and talent, but I work really hard, like every job is the last I’ll ever have”…
Peter Bogdanovich is finally “up” again, but the warm reception his new film, “The Cat’s Meow”, has been getting is “strangely terrifying” to him. His first major movie, “The Last Picture Show”, which he made in 1971 when aged 32, was called the best work by a young American director since Orson Welles’ “Citizen Kane”. After two more hits, however, his career nosedived.
“I’ve been down so long, it looks like up to me,” he says of the renewed interest in his work, although it couldn’t compare to the success he had 30 years ago. “It’s been a long time since I had a picture that the public liked, the critics tolerated, the studio backed and I thought it was the way I wanted it. That confluence of things doesn’t happen very often”…
