Martin Scorsese Archives | Nicholas Kralev

Stories about Sharon Stone

Just after 3 pm on an unseasonably hot spring day, an elegant, black sports car pulls up in front of a posh, downtown hotel in San Francisco, and out steps Sharon Stone. Sporting a stylish red scarf, she takes off her sunglasses and walks towards a virile-looking man in a dark suit and cowboy boots. This is Phil Bronstein, her husband of two years and executive editor of the San Francisco Examiner.

Stone and Bronstein then sit down for their first interview together since their wedding on Valentine’s Day, 1998. At the time, gossip columnists were quick to give their marriage no more than a year. They were wrong, but the couple acknowledge the difficulties of a marriage involving two of the most fickle of all professions.

“You work really, really hard at it, because that’s what’s required for a successful relationship,” Stone says, once the waiters in the hotel’s restaurant finally retire, having assured her of the pleasure of her presence…

Seeing John Malkovich

John Malkovich fails all attempts to describe him, even though he is not necessarily an enigma. The moment you utter a word supposed to illustrate a certain part of his character, you realise that another one, with quite a different meaning, would suit him much better. The most common adjective people use to express their opinions of him — both complimentary and dismissive — is “weird”, but, with a little imagination, most of what he says and does makes sense.

In fact, imagination and creativity are key to understanding an actor who has starred in nearly 40 films over only 18 years, including “Empire of the Sun”, “The Glass Menagerie”, “Of Mice and Men” and “Being John Malkovich”, and just directed his first, “The Dancer Upstairs”, yet still claims to have “no knowledge of what a real movie is”…

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”…

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…