Hollywood

Must be talking to an Anjel

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”…

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Turn, turn, turn

Arianna Huffington says that she’s had a “political conversion” — not from right to left, but “beyond right and left”. Disillusioned with the “degradation” of US politics, the outspoken Greek-born author and columnist has broken with her conservative past and, apparently, opened up to the sufferings of the poor and underprivileged. She denies she’s become a liberal, but believes that the political system can be changed “through a movement throughout the country, along the lines of the civil rights movement”.

She is also frustrated with the money flooding into US politics; ironic, some say, since her former husband, then-congressman Michael Huffington of California, spent nearly $30m on his unsuccessful senate run in 1994. But that campaign was an “eye-opener”, says Arianna, who is now a staunch supporter of Arizona Senator John McCain’s campaign finance reform efforts…

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Natural-born misfit

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…

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A very Cybill affair

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”…

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Costner’s last stand

Kevin Costner has never given up on his search for the people who he reckons are the most “difficult to find”: the ones “who think outside the box”. He looked for them — futilely yet persistently — when he first called himself an actor and hoped that someone would hire an ambitious college graduate without a single acting credit on his CV.

He broke just about every Hollywood rule when he produced, directed and starred in “Dances with Wolves”, the more than three hour-long western epic he had been repeatedly warned against, and it won him an Academy Award for best director, the respect of the film-making community and tens of millions of dollars.

He then defied all modern trends in his business, choosing non-commercial — and often unattractive by many standards — roles, some of which provoked harsh criticism and doubts about his talent. He has invested more than $20m in businesses that haven’t made him a dime, and has been trying for years to build a luxurious resort in the Black Hills of South Dakota, against the will of the Sioux Indians…

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Wherever I lay my hat

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…

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