France
Anjelica Huston has already come to terms with the fact that her first half-century will soon be behind her, but the prospect of joining the ranks of Hollywood’s much-pitied unemployed middle-aged actresses has yet to make her list of immediate concerns. With three films scheduled for release this year, another one having just started production and a script she’s writing to direct, Huston is now busier than she was in her early thirties.
She claims that one can “always find jobs” in show business, or “create jobs if one can’t find them”, although she says that her turning to writing and directing “certainly wasn’t as a result of not getting any work”.
“Most young actors aren’t being offered parts, either, so what’s the point of harping on a negative when you can create something?” she demands. “Go to a class, learn to dance, do something with your life but don’t sit complaining about what you haven’t got. I don’t have $100m — it’s too bad. But I can go and figure something that will get me my next $10m”…
Milos Forman has never rebelled against his films being labelled “quintessentially American” — he is just not a revolutionary type, he says — but the Czech-born director passionately dismisses such categorisation every time he is asked about it.
“For me, ‘One Flew Over the Cuckoo’s Nest’ is a Czech film, because when you are young in a communist country, all you dream about is breaking free,” he says of his 1975 film set in a psychiatric hospital, which earned him his first Oscar and established him as one of the world’s most prominent film-makers.
“Hair” (1979), another Forman movie now considered a classic, “was about young people rising up against the status quo — something we all dreamt about under communism but didn’t dare to do,” says the 70-year-old director…
Robert Altman spent three decades after his first hit film, the 1970 war satire “M*A*S*H”, telling the US what was wrong with it. Whether it was the unlikely mixture of country music and politics in “Nashville”, the scathing view of Hollywood in “The Player” or the suburban epic “Short Cuts”, American audiences reluctantly recognised the merits of Altman’s films but rarely gave him wholehearted approval at the box office.
Europeans loved the maverick director’s take on just about all things American, partly because his shrewd observations reflected their own perceptions of the superpower’s arrogance and greed. In fact, Altman’s name today stands next to Bergman’s, Fellini’s and Truffaut’s much more naturally than beside Coppola’s, Scorsese’s or Spielberg’s…
Madeleine Albright is almost shouting. She can’t hear me any more, she says. The noise on her aircraft has, indeed, become more deafening; but she also seems to be deliberately avoiding my question, and with good reason. This very moment is probably her happiest as secretary of state because of “the most important thing that has happened” during her nearly four-year tenure.
She has just received news about the Belgrade revolution and the ousting of Yugoslav president Slobodan Milosevic, and here I am, asking how she feels about having to leave office in three months. We’ve just spent a 30-hour day, having saved six hours by flying east-west from Egypt to Washington, and she says that’s exactly what she intends to continue doing for the rest of her term — “working every minute and extending the days”…
