March 13, 2024 • 53 mins
LOOK OUT! It’s only Films To Be Buried With! A REWIND CLASSIC!
Join your host Brett Goldstein as he talks life, death, love and the universe with the fabulous, the truly great, the acting legend that is SHARON STONE!
Below will be the original writeup for this episode which originally aired around June 2020. It was in the early days of the pandemic, when the world seemed truly bizarre, scary and plain weird. It's odd sometimes to think back especially when it's to a specific episode, as it can really timewarp you back there more than just a vague general memory of the era. Sharon was a delight, and rose to the occasion spectacularly, so please enjoy this glimpse into the past! It's me on the intro/outro (your producer Buddy Peace), so don't be alarmed. I mean you no shock or surprise.
Video and extra audio available on Brett's Patreon!
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I was going to start with “You may remember Sharon from such films as…”, but of course - that ‘may’ is redundant and superfluous. You KNOW her from such films as Basic Instinct, Sliver, Casino and SO so many more, and her filmography is as strong as it gets with appearances in all kinds of great movies dating back to the early 80’s. She and Brett meet in her garden (with a remote Brett in his house), for a very fun, interesting and revealing chat which goes into her past acting experiences, life and important work she’s been involved with around the world. Truly fascinating, you’ll love this one.
SUPERBOB (Brett's 2015 feature film)
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Bojo Reword.
Speaker 2 (00:54):
Hello, my name is Buddy Peace. I'm a producer and
editor at DJ and music maker Shook one, and for
intro and outro purposes, I'm temporarily standing in for your
regular host and proud creator of this particular podcast, mister
Brett Goldstein, as Big Pun once said, dead in the
middle of Little Lily Little, did we know that we
(01:14):
riddled two middlemen who didn't do diddley and unrelated, I
caught a triple bill of little Women, Chicken, Little and
in the middle of the River. The last one does
exist if you want to check it out on IMDb.
I would never dispute you, Big Pun. Every week Bretton
writes a guest on he tells them they've died and
then talks to them about their life through the medium
of film. But this week we are revisiting an earlier
(01:36):
episode of the podcast while we take an ever so
quick break. Yes, indeed, is that time once more for
a films to be buried with rewind classic. This rewind
is from some time around June twenty twenty, a period
for which some of us might see a sign in
our imagination simply saying footage missing. This was the early
(01:56):
moments of the pandemic and an interesting time for a
huge amount of podcasts as the Zoom platform started to
form a very large piece of the puzzle. But so
many of us also became so familiar with the intricacies
in glitches and overlapping, Uh no, you go ahead, or
can you hear me of Zoom because we were communicating
with people in day to day life that way too.
(02:17):
One thing is for sure, though, At a time when
being in the same room as someone for a podcast
recording was an unwise move, an episode with the one
and only Sharon Stone would have otherwise been impossible. So
here we have it. A look back at episode ninety
nine with Sharon Stone, who you know from well, let's
just say Films, Basic Instinct, Sliver, Casino to name but three.
(02:41):
But in this chat we heard so much of what
Sharon does went off screen, including some really inspiring charity
work and her experiences in that world. Of course, we
also get some great eight anecdotes from her career in
acting and some really awesome film digs which don't often
come up on the podcast, which I can confirm. Now
we're almost on episode three hundred, let me take this
(03:01):
opportunity to also remind you that Brett has a Patreon
page for the podcast, upon which you will get an
extra section on every episode with a secret from each guest,
more questions, and a video of each episode which looks
all nice and fresh. There are a selection of tears
on there too, and on the uppermost tiers. I make
you a cinematic soundtrack mixtape every month with full track
(03:21):
list that I reckon you'll enjoy very much. So if
you're of a supporting nature and feel like some extras
from this show, you'll find them all there. So that's
it for now. Let's get you settled in now with
a lovely look back at a really great episode with
acting royalty Sharon Stone. She was recording outside and there
are some outside sounds here and there, and at the
(03:42):
time I did what I could to rescue some of
the harder to hear moments. I've given it a new
sweep too, just to make sure, but just to note
that the sound is very occasionally a little bit funky.
All right, catch you at the end for a quick
sign off, But for now, please enjoy episode ninety nine
via episode two ninety of Films to be Buried.
Speaker 1 (04:10):
Hello, and welcome to films to be buried with. It
is I Bret Comstein from South London, and I am
joined today by an activist, a hero, a producer, a writer,
an actor, a legend, a woman of the year, a
woman of the century, and one of the greatest film
(04:32):
stars of all time. Please welcome to the show, the
incredible Sharon Stone.
Speaker 3 (04:39):
Yeah. Yeah, maybe you should just introduce me everywhere I go.
I'd love to and I go to the next room
to see my children, would be great, Am I guessing
your look up from the computer.
Speaker 1 (04:53):
You need to be more excited than she's here. I'll
keep saying that every day we are recording is at
the zoom you were in your garden in Beverly Hills.
Thank you so much for doing this. How are you
so far with lockdown living?
Speaker 3 (05:10):
You know, I've never gotten to spend this much time
with my teenage sons, so I'm really happy. You know,
they don't get to really complain about hanging out with me.
Is so it's awesome. You know. I give them all
the time they want on their computers, and in exchange,
we have dinner together every day.
Speaker 1 (05:30):
That's the trade off, is it?
Speaker 3 (05:32):
Kind of? And you know, they have their chores and
I have mine, and we do them relatively without complaint,
and it's good, you know, it's it's actually fun and
we're doing things together that we enjoy and we feel
so blessed. I mean, my kids get it that we're
lucky that we have our own roof over our head
(05:53):
and food to eat, and that we're well and you know,
so far everything's okay here. We're really great. You know,
we have to talk about it before we eat. We
sit down at the table and we either say a
prayer or we talk about it, or we have some
moments of gratitude. And I think it's really grounding and
(06:14):
just being able to be more fully in our core
personalities has been well. Frankly, I think it's good for everybody.
Speaker 1 (06:22):
Yeah, I think so, that's very nice. I wanted to
ask you. There are a couple of things I want
to ask you. One then, was you do a lot
of work in lots of different areas, because now with
a lot of us enforced not working, you know, do
you like that or does it make you anxious? Are
you are you happy to relax and not work or
do you need to work?
Speaker 3 (06:42):
Oh, I'm working? A lot of what I do, I
don't leave home to do it. Sometimes I do. I
travel a lot internationally, but a lot of what I
do does work like this anyway, you know, because I
talked to people internationally, and you know, like it can
(07:03):
be as simple as you know. I worked with an organization. Well,
when I let's go back further, when I worked with
Amphar and I was doing trying to find a cure
vaccine for AIDS. We started to realize that one of
the things we wanted to do was stop mother to
child transmission. We developed through giving grants, we developed this
(07:24):
drug called the verapede that stopped mother to child transmission.
So in third world countries there was a big problem
with that because the mothers couldn't breastfeed and they had
sealthy water, and so it was like, are you giving
your kid malaria? Are you giving your kid AIDS? So
then I started to realize, we've got to really work
on clean water. So I went to Africa with a
(07:45):
group and I started to become educated about how to
drill wells, how to drill and I went to northern
Uganda and where you put them? Can you put them
in bedrock? Can you put them in dirt? How do
you put them in how much does it cost? How
do you broker with these like very small area politicians
who you know are corrupt in ways that are you know,
(08:09):
it's hard to really explain. So you're trying to deal
with why things cost so much money that shouldn't cost
that much money, and then how to get these towns
to invest. And then I work with Mohammed Yunis, who
invented the microlan, who I met when I was lucky
enough to host the Nobel Peace Price Concert and I
got to interview him. So then I helped bring the
microlan to America because even though we're a first world country,
(08:32):
there's a lot of areas that need the micro loan
where we can get very very small loans and start
businesses and get homeless people off the street. So all
these things start to interconnect. And then ultimately I meet
all people from all different kinds of five oh one
to three c's, which are what these charities are called.
So I'm able to sometimes say, hey, you who are
(08:56):
a charity who put in cattle, chickens things like that
into areas. Pay you who are putting in water? Hey,
you who are giving micro loans. Can I organize you
so that we start putting them in the same place.
So if somebody you can direct somebody and say, would
you like to put your water where someone has already
(09:19):
put livestock? Hey, you would you like to give some
micro loans in an area so those people don't get
raped when they're going from the latrine back to the village,
so they can have sell lights. And then this becomes
Now we're starting to have a functioning town, and then
we start to end poverty in this area. So a
(09:40):
lot of the work that I do is just hooking
people up with each other. As the work I've done
over the last twenty five years, I've met so many
people and I know so many different people from all
over the world that people know me and they know
that I don't have any but thing in the game.
I just want things to go better.
Speaker 1 (10:00):
That's so amazing. That's brilliant, that's incredible. I didn't know
half of that. That's some serious shit.
Speaker 3 (10:08):
It's actually quite quite terrific.
Speaker 1 (10:11):
So you've seen that toual like success and positive grath
and all this stuff.
Speaker 3 (10:14):
From all these things, Yes, and then I also have
the opportunity to know wonderful people who work in the
UN and people who work at World Health, and they
keep me educated as what we're doing this, and here's
the statistics there. And maybe they go to Ruhenga and
go in these refugee camps and I'm watching them, I'm
(10:35):
live there with them on their cameras, and they're saying
to me, oh, did you know the average time that
someone spends in a refugee camp is twelve years? Well,
I didn't know that. So what happens to me is
then I start to be able to tell people like
you that, and we start to ask governments, well, then
why aren't you putting in toilets or showers or schools
(10:58):
if you know that's the average amount of time. Where
is the compassion of funding? Why are we treating people
like this? Why are we letting diseases run rampant? And
then why when we come to places like now we're
in a pandemic? Were we just doing that? So if
that happened, all these people would die? I mean, what
is the endgame here? So this is I said that
(11:24):
sometimes you just have to go out aside and like
just scream at the top of your lungs and if
I don't, I don't know how to cope with all
of the.
Speaker 1 (11:34):
Who see you seem to be dealing and seeing such
a vast amount of stuff at once. I don't know
how one person can hold it all in without having
to scream or cry or explain amazing, And.
Speaker 3 (11:50):
That, my friend, is why we should not be going out. Now.
Don't go out, You'll only become a statistic. And while
statistics are in fact extremely important, if we actually would
have intelligent behavior, and we would have a team of
people who would go door to door all through this country,
(12:11):
phone to phone, taking statistics professionally, we wouldn't have to
kill people to get statistics. We just need a team.
We don't need to really die to get these statistics. Now.
Speaker 1 (12:24):
Yeah, I much prefer round using phones than everyone having
to die.
Speaker 3 (12:31):
We're all we're all bugged anyway they have. Oh, come on,
if you have a cell phone, if you have a computer,
everybody knows everything that everyone is doing. It's not that large.
We can really easily get these statistics done. You don't
have to die for them, in my opinion. And yes,
the economy is going to go to shit, but every
(12:55):
country is just going to have to stand up and
forgive every other country's debts, and then it'll be exactly
like it is right now, nothing will have changed.
Speaker 1 (13:05):
That's the bit I can't get my around. But I'm
not half as intelligent as you is. I just sort
of think, isn't the economy it's just all it's made up.
Speaker 3 (13:13):
It's all number machine, it's all made up anyway, So
why doesn't every country just say we're going to start
from zero, forgive everybody's debts on the entire planet, every
human being, each other, every single person is starting over.
Speaker 1 (13:31):
I think that's honestly, that's my I also think in
terms of like even creative stuff, like every everyone's making
such weird stuff because we're all locked in. I sort
of feel like, when this is all over, let's just
well wipe the slightly. We won't. Everyone can forget all
the mad things that we did to get through this,
and like we'll start from zero. Start, the economy will
(13:52):
start creatively everything, right, Take it as a fresh start.
That's what it was.
Speaker 3 (13:56):
For, right, See where we are, See who we are.
Speaker 1 (14:00):
See who we are. I would like that, can we
do that? I'll do that. You're me all right, so
tell me this can I ask you this creatively. You
said to me, if I may, before we started this,
you said you were writing short story? Short story? Are
you writing lots of things? A creative stuff?
Speaker 3 (14:17):
I wrote a book. It's coming out in January of
twenty one.
Speaker 1 (14:21):
And I got it's.
Speaker 3 (14:27):
About me and I am a bit of another. So
we'll see.
Speaker 1 (14:35):
That sounds exciting. Is it your your memoirs?
Speaker 3 (14:38):
Hard to say? Okay, I don't know if that I
would call it a memoir. It's exploring a moment in
my life and how I got there.
Speaker 1 (14:46):
Fascinating. So it's just about one short period.
Speaker 3 (14:51):
Yeah, I had a stroke and a nine day brain hemorrhage.
And it starts when I'm on the table with the
doctor telling me that I'm having a brain hemorrhage, and
then it's me trying to figure out how the fuck
did that happen? What did I do to end up there?
Speaker 4 (15:10):
Yeah?
Speaker 3 (15:11):
What happened in my life that led me there nine days?
Speaker 1 (15:16):
Yeah, parent's done. You have lived a life, Thank God.
Speaker 3 (15:22):
That's what it's about.
Speaker 1 (15:23):
Well, that sounds fascinating. One last question I wanted to
ask you before we get to the main stuff that
I'm always fascinated with, is that as an actor, you
were working very hard and very well and doing lots
of your stuff for quite a while before you were
suddenly massively famous and a massive film stuff. So there
were a few years before that, and in that time, I imagine,
(15:46):
and I could be wrong, but I imagine you have ideas
of what it is like to be at the level
that you then got to. But when it actually happened,
when you sort of broke through, was it terrifying and
the nightmare? Or was it amazing and wonderful all a
bit of back.
Speaker 3 (16:01):
Yeah, it was, it was a lot. I think that
we sometimes have an understanding pieces of our destiny. It's
like if a does a caterpillar know it's going to
be a butterfly? Does it like the way it feels
when it's being broken apart? Does it like that feeling?
(16:22):
Does it feel good when it's smashing through? Does it
feel like it's dying? And then when it starts to
fly does that feel good? Do other butterflies say, hey,
you made it? Or do they say, like, you know,
get the fuck away from it. What's going to happen next?
That was really intense. I don't know what's going to
happen now. It's a lot like that, right, And there
(16:48):
was something about the nature of me that was was singular. Right.
I wasn't the kind of star that everybody was like, Oh,
let's all get together and be with her.
Speaker 1 (17:04):
You were alone, butterfly.
Speaker 3 (17:06):
Yeah, I wasn't like, you know, a flock of sparrows,
a gathering of these things. It wasn't like there were
a whole lot of us and I was going to
be Oh, look, I'm one of them. You know. It
was like, what the fuck? And that's an intense reality.
Speaker 1 (17:27):
Yeah, I can only imagine. I imagine it being quite terrifying.
The idea of the thing that I imagine is terrifying.
I imagine a lot of it's very exciting and thrilling,
but it's not being able to turn it off.
Speaker 3 (17:44):
It's good to have a sense of humor. Yeah, And
I was very blessed not to be so young. I
was already thirty two, thank god, or I probably would
be dead. And I was very lucky to have friends
that i'd had already for a long time, and those
same friends now great. So that's the thing. That's the
(18:05):
thing I really think about with the stars that become
stars so very young, you know, and that's like, I
really like Taylor Swift. Yeah, and I think a lot
because she writes such cool lyrics, and I think a
lot about that. I hope she has friends and she
has keeps those same friends and they stay her friends
(18:26):
for ten, twenty, thirty, forty fifty years, because you know,
it's unbelievable to sit in the kitchen and say, remember
when when we were at the other house thirty years
ago and I couldn't get there, couldn't get any furniture,
and those things really make a difference.
Speaker 1 (18:45):
That's beautiful. Have a sense of you. We're going to
keep your friends. It's good advice. Yeah, Sharon, I've forgotten
to tell you something and it's it's really bad that
I didn't tell you. It's up top at the beginning
of the podcast. I feel like an idiot. I'll just
(19:06):
have to say it. It's awkward, but I just have
to say it. You've You've died, You've died. I know,
how did you die?
Speaker 3 (19:19):
Each time, the time, the next time, the next time.
Because I've been hit with lightning. I had spoke you
got hit by lightning. I got hit by lightning. What's
that light Wow, it really intense. I was it sounds
(19:41):
like it. I was at home. We had our own well.
I was filling the iron with water and I had
one hand on the faucet at one hand on the iron,
and the well got hit with lightning and the lightning
came up through the water and I got picked up
and thrown across the kitchen and I hit the and
(20:02):
I was like whoa. And my mother was standing there,
and my mother just belted me across the face. What
brought me too? Like I was in such an altered state,
like just so I don't know how to describe it,
so bright, like wow. And she threw me in the
(20:24):
car and drove me to the hospital. And the EKG
was just showing such electricity in my body. I had
to coach ats like every single day for like ten days. Wow,
it was so crazy. Yeah, it was like, yeah, okay,
I've had a lot of things. It's crazy death.
Speaker 1 (20:47):
What's your ideal death? Basically you can choose.
Speaker 3 (20:49):
Your dream death under a clothesline. I had my neck
cut to like sixteenth of an inch from my jugular
vein when I was fourteen. Right, you're a miracle, it's right.
So it's like, how am I going to die next time?
Probably something again super dramatic and nuts, but me all
(21:11):
the way, I doubt it, I know, or am I
dead now? And just like hey, sense, yeah.
Speaker 1 (21:19):
You were so much electricity when you got stuck by
light that you just you're just here on my screen.
So what's your what's your big dramatic death? What should
we choose? Giant boulder comes from the sky crushes you
prove it?
Speaker 3 (21:35):
Oh no, no, no, I hope I'm like picked up
by aliens and I have to move through there like
energy source.
Speaker 1 (21:42):
And it's too much in your body exploits.
Speaker 3 (21:45):
I don't know, something or transforms into like their kind
of life force and then I have to be alive
in their thing and see what that's like.
Speaker 1 (21:53):
All right, you can have that. Do you do you
worry about death? You've been so through it so many times?
Is it something now you're you?
Speaker 3 (22:00):
No? No, I mean sometimes I get like tired of
like I have frailties, and sometimes I get bored with
the frailties.
Speaker 1 (22:08):
That's fair. Do you do you believe in an afterlife
or another life or you've.
Speaker 3 (22:13):
Had so many?
Speaker 1 (22:15):
Yeah? Okay, so.
Speaker 3 (22:18):
I believe in like seeing again maybe I like that
so much.
Speaker 1 (22:24):
Well, listen, I've got news for you. You're right. If
you like, you're right. There is reinformation, but there's a
bit in the middle. There's a pause, and this is
where we're meeting. We're meeting in the pause in heaven,
and in heaven they're obsessed with films. They're obsessed with films,
weird in it. And what they want to know about
is your life but through film. And the first thing
(22:46):
they ask you is what is the first film that
you remember seeing. She's got her homework.
Speaker 3 (22:51):
I'm sorry, pressed, Well, actually I don't need that. I mean,
I watched films on television, but the first one I
saw properly, my mother took me to the drive in
and we saw Georgie Girl with Lynn Rendbrey, and I thought,
first of all, it was scandalous kind of that she
would take me. I was like a little too young
(23:13):
to be there. I was probably like eleven, and I
just remember thinking about how women were wearing girdles and
like really funny underwear, and she was just like trying
to fight to have her own real life. And you know,
my mother was really interested in that. You know, I
just thought she was so cool and really like a
(23:34):
wonderful actress, you know what I mean. I just thought
she was great. I thought it was great, Like it
was different than the kind of movies I'd seen on TV.
It had so much more reality and grit.
Speaker 1 (23:45):
Do you remember deciding to be an actress and actor?
Did that happen because of Do you remember watching that film?
I think, and I want to do that?
Speaker 3 (23:53):
What was part of it? I think that film really
influenced my work in Bobby. I would say that that
was more my Linen Red Gravy kind of tribute work,
you know what I mean. And it was like I
saw her like that. I saw that character very like
like her, you know, that chick who was like you
(24:14):
may think I'm just here, but I have a bigger
plan that you don't really get. But if you really
saw me, you'd get me.
Speaker 1 (24:24):
Yeah, that's great. Where was this? Where were you going
to driving? Where did you grow up?
Speaker 3 (24:29):
In a little town in Pennsylvania near the Great Lakes,
near the seaports like Lake Erie, Lake Michigan, all those
lakes and uh, a lot of lakes, a lot of
Amish people, a lot of monsters, basic seaport, you know,
kind of Dingy seaport, railroad, zipper factory, bars, churches, very
(24:54):
Italian kind of environment, Polish Irish Italian like, very immigrant
sort of.
Speaker 1 (25:01):
Forgive my lack of geography knowledge. How far is it
from where you are now? Is it like a very long.
Speaker 3 (25:07):
Way the exact other side of the country. Okay, it's
the state below New York. Philadelphia is in Pennsylvania, which
is like where the you know, it's this capital of
our country.
Speaker 1 (25:23):
Yeah, okay, got it. Tell me this. What is the
film that scared you the most? And you like being scared?
Speaker 3 (25:31):
Where's the thing? I get scared more by psychological things
than by like boo things, you know. And then I
get scared more deeply by things that make me really
have to think about stuff. And the one that's made
me that really got into me the most was this
film called The Life of David Gaale, which was a
(25:54):
film that Kevin Spacey and and my favorite Kate were in,
and it was a film about capital punishment. And I
watched that movie and you know, later went to bed
and in the middle of the night, I just sat up,
threw my legs over the side of the bed and
was just just sat there like like a like out
(26:16):
of a stead sleep and I was just sitting there like, Wow,
this is so intense and the impact of it was
so deep. And these people have become I would say
they're probably through my favorite actors. They just the way
they embody their work, the depth to which they're willing
(26:38):
to explore their work. So yeah, so that was it.
Speaker 1 (26:42):
That's amazing. Do you I was going to ask, and
I assume that answers that have you ever have you
found making films has lessened you being able to just
enjoy watching films? Do you find yourself analyzing them all
from it?
Speaker 3 (26:54):
It certainly lessened my ability to like a shitty film,
mediocre film, or a film where the boom operator keeps
dropping the mic the frame or.
Speaker 1 (27:10):
That's my favorite kind of film, or any.
Speaker 3 (27:12):
Of those kind of films, or the film where they
cross the line and it's like the guys over here
and then the woman's in the wrong place when you
and I'm like, what did you do you think we're
not going to notice that they're jumping around. I can't
hear I can't even see that. I can't hear what
they're saying.
Speaker 4 (27:34):
You can do another take like that?
Speaker 3 (27:39):
Yeah, and the other thing.
Speaker 1 (27:40):
The other thing I wanted to know when you're acting,
if I may, do you work instinctively instinctually or do
you do loads and loads of homework and loads of
loads of research and your character lines of or do
you just let it go? Or both or a third
option if you like.
Speaker 3 (27:55):
Each character has its own way that we approach each other.
Speaker 1 (28:00):
I like that.
Speaker 3 (28:01):
Some of them possess me like a demon. Some of
them we make friends. Some of them we work together
and something happens, you know, they were like colleagues. You know.
It's like it depends on the character. You know, characters
have their own way of we meet differently. You know,
(28:24):
it's a it's like a it's a relationship. And some
of them, you know, are easier to say goodbye than
others too. Yeah, some of them it's like get the
fuck off me, like thank you. And some of them
you have rituals. Some of them is just like the
end of the day, like whatever, you know, and some
(28:46):
of them, for me, some of them just don't take
as well as others.
Speaker 1 (28:49):
I really love that. Right, What is the film that
made you cry? The nice you cry?
Speaker 3 (28:55):
A lot of films I was thinking and thinking and
I think it's the Boy in this stripe pajamas.
Speaker 1 (29:02):
Oh boy, that's a film.
Speaker 3 (29:04):
I think that was it. I don't really like sentimentality.
I like sentiment, but there's something about seeing this kind
of profound understanding through child like I just alternatively, Life
of a Dog I thought was just so extraordinary. Yes,
(29:25):
I love that film so much. When that kid had
that string running up and down his face, I just
that was it. I was done before. But the Boy
in the stripe pajamas.
Speaker 1 (29:39):
What is the film that Critically it's not acclaimed, most
people don't like it, but you love it and you
don't care.
Speaker 3 (29:46):
What most people think. But it's triple X.
Speaker 1 (29:56):
That is the perfect answer.
Speaker 3 (29:59):
Triple X. And you know, I'm an adult. I'm in
the film. And I totally believed that Triple X had
the triple X tattoo on the back of his neck
and his name was triple X. And I was at
a party with my then husband and I turned to
(30:22):
him and said, it's striple X. Oh my god, triple X.
Look at triple X. Come on, let's follow him. He'sil
around a party going, oh my god, Triplex, look at
triple X. She doesn't want the tattoo. He doesn't have
it on his neck, and it was like someone told
(30:43):
me that the Easter Bunny did not exist. When I
saw Vin Diesel without the three xes on his neck,
I was astounded that.
Speaker 1 (30:57):
When he found out it wasn't a documentary, that heartbreaking moment.
Speaker 3 (31:09):
I was so sold some childlike part of my character.
Speaker 1 (31:20):
I love that. Did you talk to him or was
he scared?
Speaker 3 (31:24):
Awards of my sanity were gone?
Speaker 1 (31:38):
Oh my god, did he have to call security? Sharon
Stone is follow me everywhere shouting, I'm not triple.
Speaker 3 (31:46):
She's bounce on.
Speaker 1 (31:48):
Indeed, she's looking at my neck.
Speaker 3 (31:57):
Was like, what is wrong with you? You it's trouble X.
He's like Jesus Christ.
Speaker 4 (32:10):
That.
Speaker 1 (32:10):
I really was not expecting that answer, and I'm delighted,
absolutely delighted sharing What is the film that you used
to love? You loved it dearly, but you've watched it
recently and you're going, oh, no, I don't like this anymore.
For whatever reason.
Speaker 3 (32:27):
That might be breakfast at Tiffany's.
Speaker 1 (32:30):
Oh boy, talk to.
Speaker 3 (32:33):
Me, Mickey Rooney as this guy. Yes, please, Jesus Christ.
Speaker 1 (32:40):
It is a shocker when you watch that back.
Speaker 4 (32:43):
Oh out, Oh it's a real like, Oh boy.
Speaker 3 (32:58):
You can't under say that you're not unsea with the
team the Crossing. Oh oh oh, I have to go
(33:20):
into the Shredder. That can't even be in the like
we you know, we clean that movie up and put
it in the vault for them. That is lovely.
Speaker 1 (33:32):
You can't be in Memoria. No, that's got to go
in there. This never happened. We don't talk about it.
That is so true. It's so shocking, and it's such
a everyone remembers. It's such a lovely film. And then
(33:52):
you see it and you go, fuck, you know, make
you stop where Sharon? What is the film that means
the most to you? Not necessarily the film itself is
any good, but because the experience you had around seeing
(34:12):
it that will always make it special.
Speaker 3 (34:14):
I started being allowed to go being dropped off at
movies when I was about fifteen, and I think it
was I went to see Cleopatrick Jones. Oh wow, And
I was the only white girl in the theater in
a little town where you know, we were quite segregated, right,
(34:37):
And she came on the screen, come on, and she
was so fabulous, right, And I was in the theater
like Okay, this is the way to see a movie.
And I was like okay. And they shot her like
like the way shot Varushka, like from the ground up.
Speaker 1 (34:59):
You know.
Speaker 3 (35:00):
She was like like this giant goddess. And it was like,
wait a second. My entire framework is being shifted, my
reality of life and film and people, and okay, this
is fantastic, Like this is very important thing for me
(35:21):
in my life. And my father was very much he
was a Democrat in a town where the paper was
the Tribune Republican. You know, he was a very much
a humanist and you know, but still it's a segregated town,
there was is this not a diverse This is a
farm fire. This is like one stoplight town, Amish people, gangsters.
(35:49):
You know, it's not fascinating. So all of a sudden,
I'm like, oh, multi racial reality, it's big for me.
Speaker 1 (35:59):
What is the film that you must relate to? What
film do you relate to the most?
Speaker 3 (36:03):
You know, just recently it's a television film. Yeah, and
it's a series and it's called Normal People.
Speaker 1 (36:12):
We have been watching that myself.
Speaker 3 (36:14):
Yeah, yeah, I really related to that, to.
Speaker 1 (36:18):
Both characters, all the characters.
Speaker 3 (36:21):
Related to the girl. Yeah, I mean, obviously it's a
more you know, it's a more theatrical character. But I
related to the girl in that.
Speaker 1 (36:30):
Can I ask you in what way, like when you
you feel like in the way that she's different, Like, you.
Speaker 3 (36:39):
Know, I was a girl that was writing other people's
term papers and but still sort of isolated and thought
I was really unattractive and separate, and then kind of
reinvented myself and became this other thing. And then the
other thing wasn't really me either, and then I had
to sort of figure out how to be the original
(37:00):
me and make it work.
Speaker 1 (37:03):
Yeah, that's really good. Thank you. What is the sexiest
film you've ever seen?
Speaker 3 (37:11):
Because I am such a huge Humphrey Bogart him put
to me is between Casablanca and African Queen, because there's
just something about that kind of like I like this
survivalist relationships that are like we're doing it together. We're
(37:34):
in this and we're in it together, and we're figuring
out what we're going to do and we're doing it together.
There's something to me that's very sexy about that. I
like that partnering through this thing. I always like that
thing that I think it was Oscar Wilde that said
that real love is not just looking deeply into each
(37:54):
other's eyes, but looking outward at the same thing. Yeah,
it's like I I think that that is it. It's
not just that ability to look so lovingly at each other,
but to stand side by side and look at something
with the same kind of intention. To me, is really sexy.
Speaker 1 (38:14):
That's great, now, Sharon, this next question. You're very classy individual.
But if I don't ask you this, everyone who listens
to this podcast will be mad at me for leaving
this question out. The next question is a subcategory to
the sexiest film, which is called and Forgive Me. It's
called Traveling Bonus Worrying Why Dunes. And the question is
(38:40):
the question is what film did you find sexy that
you thought perhaps.
Speaker 3 (38:45):
You shouldn't The Heat of the Night?
Speaker 1 (38:48):
Okay, why is that? May I ask?
Speaker 3 (38:50):
Well, it's when Rod Steiger has this confrontation with Sidney
Poitier and he says to him he's called Virgil. I
don't know if you remember the film.
Speaker 1 (39:04):
He says, they tips.
Speaker 3 (39:06):
Right, but but Rodsteiger screams at him, what do they
call you? Up there? And then he said stands up
to him and he says, they call me mister TIBs,
and he did that in that film. I thought, you
are the sexiest motherfucker I have ever laid eyes on
in my entire life. I'm dying right now. I can't
(39:31):
take it. And I oh, and I said, is this
supposed to be sexy? I don't know what's happening, but like,
I can't take it. And then in my lifetime I
got to be friends and have Sidney Poitier be my mentor. Wow,
(39:51):
I got to work with Rod Steiger in a movie
and he was a villain and I got to be
just hate him in the movie and it was so fit. Asked,
I was like, Yes, this is all working out perfectly.
Speaker 1 (40:04):
For mister Tips. That's great. Sarry. Can I just say
thank you for letting me ask that question and thank
you for answering it properly. I appreciate that what is objectively,
objectively the greatest film of all time? Not necessarily a favorite,
(40:25):
but objectively for.
Speaker 3 (40:27):
Me, and it is kind of my favorite, but objectively
to me, I think The Last Emperor and I just
I feel that Bart Lucy is a spectacular filmmaker and
it's a great film because it's so well made. And
it's a great film because it's an historical film. And
(40:49):
it's a great film because it's a film that stands
the test of time. It's a great film because children
can watch it, adults can watch it. It's a beautiful film.
I really I heard that film as a filmmaker. I
love that film.
Speaker 1 (41:03):
Yeah, you know what, No one has picked that on
this show. And it's brilliant. Such a good film. Film.
Tell me this, what film have you or could you
watch the most over and over again?
Speaker 3 (41:24):
I do watch over and over again. Cabaret. It's a
great film on so many levels. It's a great film
because of the way it tells such a horrific story.
Is a great film because the costumes are insane, the
performances are insane, and the stories within the big story
(41:47):
are very important. The stories of racism, the stories of homophobia,
the stories of class realities, the stories of the period
and the time, this just the stories of greed. Everything
within the story is fantastic. All the elements are so beautiful.
(42:08):
The costumes are magnificent, the makeup is incredible, and the
sense of the surialistic sense of the way he cut
and shot it almost creates a magical realism on the screen.
I find it to be a spectacularly made film and
a film that whether you're German or American, you look
(42:31):
at and think, yes, it was incredibly nuts, that it
was nuts, that war was nuts. And the music is beautiful.
The score is spectacular. The words, the lyrics to the
music are beautiful. The dancing is Bob Fosse's kind of
dancing is just speaks of volumes to the story he
(42:55):
was telling. I just think it's overall just so well done.
Speaker 1 (42:58):
Yeah, fucking great film. I think about a lot that's
at the moment, where is it the song the Future
belongs to Me? And you only see this swastika right
at the end. It's so brilliant. It's a brilliant. It's
really profound that film. I know this sexual fluidity. Yeah, yeah,
(43:19):
it's it's got it.
Speaker 3 (43:21):
The movie is very mallifluous. But when he s does
the Future belongs to Me? They're very crisp, very clean.
There's so much they're the clean people.
Speaker 1 (43:31):
Yeah, they're very clean.
Speaker 3 (43:33):
Yeah, be scared, right.
Speaker 1 (43:35):
We don't like to be too negative, but we'll do
this quickly. What's the worst film you ever see? How
dare you. I love that film is a masterpiece. Anaconda
is the Triplex of snake films. Anaconda is great and
(43:58):
it's got John Voyd doing faces j LO. It's great. Well,
could you possibly not like about? Okay? Fair enough? Right,
you're a funny person. What is the funniest film you've
(44:19):
ever seen? Correct? It's just brilliant.
Speaker 3 (44:24):
Nothing is funnier than when they're crapping in the street.
Speaker 1 (44:28):
And it's so beautifully shot as well.
Speaker 3 (44:30):
Or when Melissa McCarthy puts her leg up in the airplane.
I just that when she put her leg up, I
just I don't know what it is about that, but
that's the funniest move. She's so funny when she just
starts telling someone that how awful they are, that's my
(44:52):
funniest for I just.
Speaker 1 (44:55):
Oh, she's really really special.
Speaker 3 (45:00):
Of her.
Speaker 1 (45:00):
Can I ask you? Can ask you a question you
might not have an answer and that and it's not
on your list. Do you have a favorite of your
own films? Of the films that you've been in? Do
you have a favorite?
Speaker 3 (45:10):
I have things that I like about different ones for
different reasons, you know. I mean, obviously, Casino I think
is the certainly overall the best film I've I've been in,
and it's it's just the best, and it stands the
test of time. And you can watch it with without sound,
as you can with any Scorsese film, because Thelma Schumancher
(45:33):
is the greatest editor of and the film she edited,
you know, for Deceased Husband or also Michael Powell fabulous,
So the editing is really something, and you can watch
it to music, you know. I think if you watch listen,
particularly if you put on Maria Callous and listen to
(45:56):
any of his films, I think you see there's quite
good to Callous. There's a certain deep authenticity of this
operatic form that those films are very good too. So
I think that. But of course I really enjoyed The
Muse because I think Albert Brooks is so special, really
(46:21):
so smart and so special. I just love him. I
did very much like making Lovelace. I thought that this
was these writers. They had done the Harvey Milk story,
and I think they really understood how to make an
independent film. And I thought that this was a sound
(46:42):
independent film that told a very interesting story. I thought
it was quite a good story and a powerful story.
I thought the actors were good in it. And when
I worked with Jim Jerremotion Broken Flowers again, same thing.
I thought that good. See such a terrific independent director.
He knows how to make a good independent film, not
(47:05):
seeking the big audience, telling us particular type of story.
I think he's very good. I thought that was in
its genre, quite quite a good film.
Speaker 1 (47:16):
I love you in the in the Bob Dylan film,
but I guess you probably can't talk about that. I
don't know.
Speaker 3 (47:23):
Yeah, I mean it's a mockumentary and.
Speaker 1 (47:26):
Yeah, you're so good at it.
Speaker 3 (47:28):
Well, first of all, all of us are in the film,
do know, Bob, Okay, that's why we were chosen to
be in the film. Okay, great, we all have very
discrete relationships that we would never never exploit. Yeah, so
we got to do this film in the same way.
Speaker 1 (47:47):
It's so good.
Speaker 3 (47:48):
It's so good.
Speaker 1 (47:50):
I mean, it's such an amazing performance. Completely you're just like, well, yeah,
that's real, that's completely real.
Speaker 3 (47:58):
I mean I can make it for me because I
love him and I think he's the greatest songwriter. I
think he's the greatest poet since you know, Socrates, Plato,
and I genuinely believe that it's it's real to me,
and I find him to genuinely be that descent of
(48:21):
a human being, and so that's my truth.
Speaker 1 (48:26):
I love it. Sstin what's your favorite film? And it
might be different from what you think is the greatest film.
Speaker 3 (48:32):
My favorite film is The jungle Book, the original jungle Book,
the animated jungle Book. Those musicians the Jungle Book were
the truly great musicians of that time. And George Saunders
as the cat who when he committed suicide, his note
(48:53):
was on nui that he had on. Now I've already
thought that he was the cat's pajamas. These weird movies
like The Portrait of Durian Gray by that amazing director
that did those two movies, the Portrait of Dorian Gray
and Pandora's Box, which are two fantastic movie because I
(49:19):
don't know if you've seen Pandora's Box. That's Abe Gardner
and James with this fantastic voice, the English James. Yes,
and she only made and it was a woman director
and she only made two fantastic films. And the Portrait
of Dorian Gray is George Saunders again, who I just thought,
why was it I alive to hang out with Foots
(49:41):
because I know that we would have been best friends,
and he would have killed himself out of boredom because
we would have laughed so much. I know it.
Speaker 1 (49:50):
But you were, you were alive to be in the
era of Triple.
Speaker 3 (49:53):
X killed himself on me. Jesus that even funny, like
his suicide note was a joke. I can't take it.
Speaker 1 (50:04):
That's really good. So listen, Sharon, you have been beyond brilliant. However, yes,
when you died the next time by being picked up
by some aliens and taken to a new energy force
that you were adapted to, your soul adapted to. But
your body was left behind where you were standing, which
(50:25):
was just on the street, and I was walking past,
and I was like, what's happened here? And I was like,
she's been struck by lighting again? What is going on?
And I touched you and it was like, she's still
got electricity in what we're going to do anyway? I
got this coffin. I'll put you in the coffin. But
the thing is, because of all the electricity and stuff,
there was like lots of you attracted layers of metal,
(50:47):
so there's a lot yeah, so there was a lot
more of you than that plan. Exactly, I'll put camera,
You're taken one DVDA to her. You're going to take
cabret Yeah, okay, they're going to have a writ out
time up there with you.
Speaker 3 (51:06):
Because we have it, we can watch the movie. Yeah,
we can have a good time, arguments.
Speaker 1 (51:15):
You can all of it. Now, listen. That is the
that brings us to the end. Is there anything that
you would like to tell people to look out for
that you're going to be in or to listen to,
or anything you want people to know about.
Speaker 3 (51:31):
Well, if you like Ryan Murphy, I'm going to be
in the Ryan Murphy series starring Sarah Paulson, Judy Davis,
Cynthia Nixon. Me in September on Netflix. Ratchet Ratchet and
it's the pre story of nurs.
Speaker 1 (51:55):
Ratchet.
Speaker 3 (51:56):
No, Sarah's Ratchet, you even more villainous.
Speaker 1 (52:02):
That's exciting. Sara's Stone, you have been an absolute delay
and I really appreciate it. Thank you very much and
enjoy your next live.
Speaker 2 (52:14):
So that was Sharon Stone on a rewind Classic episode.
Be sure to check out the Patreon page at patreon
dot com. Slash Brett Goldstein where you get an extra
chat video and mixtapes at Various Tears and otherwise. If
you fancy leaving a note on Apple podcasts, that would
be lovely too, but make it a review of your
favorite film. Much more fun and it can be like
(52:36):
the review section on movie where people use huge words
like ostentatiously directed and ardently relished and so on.
Speaker 1 (52:43):
Love it.
Speaker 2 (52:44):
Thank you so much to Sharon for her time and
presence on the podcast. Thanks to Scrubia's Pip and the
Distraction Pieces Network. Thanks to and this is where Brett
thanks me for editing and producing the podcast, so I
say it's a pleasure. Thanks to iHeartMedia and Will Ferrell's
Big Money Players Network for hosting it. Thanks to Adam
Richardson for the graphics and Lisalidm for the photography. We'll
(53:05):
be back next week with another rewind classic. But that
is it for now. Brett and I hope you're all well,
and in the meantime, have a lovely week and now,
more than ever, be excellent to each other.
Bojo Reword.
Speaker 2 (00:54):
Hello, my name is Buddy Peace. I'm a producer and
editor at DJ and music maker Shook one, and for
intro and outro purposes, I'm temporarily standing in for your
regular host and proud creator of this particular podcast, mister
Brett Goldstein, as Big Pun once said, dead in the
middle of Little Lily Little, did we know that we
(01:14):
riddled two middlemen who didn't do diddley and unrelated, I
caught a triple bill of little Women, Chicken, Little and
in the middle of the River. The last one does
exist if you want to check it out on IMDb.
I would never dispute you, Big Pun. Every week Bretton
writes a guest on he tells them they've died and
then talks to them about their life through the medium
of film. But this week we are revisiting an earlier
(01:36):
episode of the podcast while we take an ever so
quick break. Yes, indeed, is that time once more for
a films to be buried with rewind classic. This rewind
is from some time around June twenty twenty, a period
for which some of us might see a sign in
our imagination simply saying footage missing. This was the early
(01:56):
moments of the pandemic and an interesting time for a
huge amount of podcasts as the Zoom platform started to
form a very large piece of the puzzle. But so
many of us also became so familiar with the intricacies
in glitches and overlapping, Uh no, you go ahead, or
can you hear me of Zoom because we were communicating
with people in day to day life that way too.
(02:17):
One thing is for sure, though, At a time when
being in the same room as someone for a podcast
recording was an unwise move, an episode with the one
and only Sharon Stone would have otherwise been impossible. So
here we have it. A look back at episode ninety
nine with Sharon Stone, who you know from well, let's
just say Films, Basic Instinct, Sliver, Casino to name but three.
(02:41):
But in this chat we heard so much of what
Sharon does went off screen, including some really inspiring charity
work and her experiences in that world. Of course, we
also get some great eight anecdotes from her career in
acting and some really awesome film digs which don't often
come up on the podcast, which I can confirm. Now
we're almost on episode three hundred, let me take this
(03:01):
opportunity to also remind you that Brett has a Patreon
page for the podcast, upon which you will get an
extra section on every episode with a secret from each guest,
more questions, and a video of each episode which looks
all nice and fresh. There are a selection of tears
on there too, and on the uppermost tiers. I make
you a cinematic soundtrack mixtape every month with full track
(03:21):
list that I reckon you'll enjoy very much. So if
you're of a supporting nature and feel like some extras
from this show, you'll find them all there. So that's
it for now. Let's get you settled in now with
a lovely look back at a really great episode with
acting royalty Sharon Stone. She was recording outside and there
are some outside sounds here and there, and at the
(03:42):
time I did what I could to rescue some of
the harder to hear moments. I've given it a new
sweep too, just to make sure, but just to note
that the sound is very occasionally a little bit funky.
All right, catch you at the end for a quick
sign off, But for now, please enjoy episode ninety nine
via episode two ninety of Films to be Buried.
Speaker 1 (04:10):
Hello, and welcome to films to be buried with. It
is I Bret Comstein from South London, and I am
joined today by an activist, a hero, a producer, a writer,
an actor, a legend, a woman of the year, a
woman of the century, and one of the greatest film
(04:32):
stars of all time. Please welcome to the show, the
incredible Sharon Stone.
Speaker 3 (04:39):
Yeah. Yeah, maybe you should just introduce me everywhere I go.
I'd love to and I go to the next room
to see my children, would be great, Am I guessing
your look up from the computer.
Speaker 1 (04:53):
You need to be more excited than she's here. I'll
keep saying that every day we are recording is at
the zoom you were in your garden in Beverly Hills.
Thank you so much for doing this. How are you
so far with lockdown living?
Speaker 3 (05:10):
You know, I've never gotten to spend this much time
with my teenage sons, so I'm really happy. You know,
they don't get to really complain about hanging out with me.
Is so it's awesome. You know. I give them all
the time they want on their computers, and in exchange,
we have dinner together every day.
Speaker 1 (05:30):
That's the trade off, is it?
Speaker 3 (05:32):
Kind of? And you know, they have their chores and
I have mine, and we do them relatively without complaint,
and it's good, you know, it's it's actually fun and
we're doing things together that we enjoy and we feel
so blessed. I mean, my kids get it that we're
lucky that we have our own roof over our head
(05:53):
and food to eat, and that we're well and you know,
so far everything's okay here. We're really great. You know,
we have to talk about it before we eat. We
sit down at the table and we either say a
prayer or we talk about it, or we have some
moments of gratitude. And I think it's really grounding and
(06:14):
just being able to be more fully in our core
personalities has been well. Frankly, I think it's good for everybody.
Speaker 1 (06:22):
Yeah, I think so, that's very nice. I wanted to
ask you. There are a couple of things I want
to ask you. One then, was you do a lot
of work in lots of different areas, because now with
a lot of us enforced not working, you know, do
you like that or does it make you anxious? Are
you are you happy to relax and not work or
do you need to work?
Speaker 3 (06:42):
Oh, I'm working? A lot of what I do, I
don't leave home to do it. Sometimes I do. I
travel a lot internationally, but a lot of what I
do does work like this anyway, you know, because I
talked to people internationally, and you know, like it can
(07:03):
be as simple as you know. I worked with an organization. Well,
when I let's go back further, when I worked with
Amphar and I was doing trying to find a cure
vaccine for AIDS. We started to realize that one of
the things we wanted to do was stop mother to
child transmission. We developed through giving grants, we developed this
(07:24):
drug called the verapede that stopped mother to child transmission.
So in third world countries there was a big problem
with that because the mothers couldn't breastfeed and they had
sealthy water, and so it was like, are you giving
your kid malaria? Are you giving your kid AIDS? So
then I started to realize, we've got to really work
on clean water. So I went to Africa with a
(07:45):
group and I started to become educated about how to
drill wells, how to drill and I went to northern
Uganda and where you put them? Can you put them
in bedrock? Can you put them in dirt? How do
you put them in how much does it cost? How
do you broker with these like very small area politicians
who you know are corrupt in ways that are you know,
(08:09):
it's hard to really explain. So you're trying to deal
with why things cost so much money that shouldn't cost
that much money, and then how to get these towns
to invest. And then I work with Mohammed Yunis, who
invented the microlan, who I met when I was lucky
enough to host the Nobel Peace Price Concert and I
got to interview him. So then I helped bring the
microlan to America because even though we're a first world country,
(08:32):
there's a lot of areas that need the micro loan
where we can get very very small loans and start
businesses and get homeless people off the street. So all
these things start to interconnect. And then ultimately I meet
all people from all different kinds of five oh one
to three c's, which are what these charities are called.
So I'm able to sometimes say, hey, you who are
(08:56):
a charity who put in cattle, chickens things like that
into areas. Pay you who are putting in water? Hey,
you who are giving micro loans. Can I organize you
so that we start putting them in the same place.
So if somebody you can direct somebody and say, would
you like to put your water where someone has already
(09:19):
put livestock? Hey, you would you like to give some
micro loans in an area so those people don't get
raped when they're going from the latrine back to the village,
so they can have sell lights. And then this becomes
Now we're starting to have a functioning town, and then
we start to end poverty in this area. So a
(09:40):
lot of the work that I do is just hooking
people up with each other. As the work I've done
over the last twenty five years, I've met so many
people and I know so many different people from all
over the world that people know me and they know
that I don't have any but thing in the game.
I just want things to go better.
Speaker 1 (10:00):
That's so amazing. That's brilliant, that's incredible. I didn't know
half of that. That's some serious shit.
Speaker 3 (10:08):
It's actually quite quite terrific.
Speaker 1 (10:11):
So you've seen that toual like success and positive grath
and all this stuff.
Speaker 3 (10:14):
From all these things, Yes, and then I also have
the opportunity to know wonderful people who work in the
UN and people who work at World Health, and they
keep me educated as what we're doing this, and here's
the statistics there. And maybe they go to Ruhenga and
go in these refugee camps and I'm watching them, I'm
(10:35):
live there with them on their cameras, and they're saying
to me, oh, did you know the average time that
someone spends in a refugee camp is twelve years? Well,
I didn't know that. So what happens to me is
then I start to be able to tell people like
you that, and we start to ask governments, well, then
why aren't you putting in toilets or showers or schools
(10:58):
if you know that's the average amount of time. Where
is the compassion of funding? Why are we treating people
like this? Why are we letting diseases run rampant? And
then why when we come to places like now we're
in a pandemic? Were we just doing that? So if
that happened, all these people would die? I mean, what
is the endgame here? So this is I said that
(11:24):
sometimes you just have to go out aside and like
just scream at the top of your lungs and if
I don't, I don't know how to cope with all
of the.
Speaker 1 (11:34):
Who see you seem to be dealing and seeing such
a vast amount of stuff at once. I don't know
how one person can hold it all in without having
to scream or cry or explain amazing, And.
Speaker 3 (11:50):
That, my friend, is why we should not be going out. Now.
Don't go out, You'll only become a statistic. And while
statistics are in fact extremely important, if we actually would
have intelligent behavior, and we would have a team of
people who would go door to door all through this country,
(12:11):
phone to phone, taking statistics professionally, we wouldn't have to
kill people to get statistics. We just need a team.
We don't need to really die to get these statistics. Now.
Speaker 1 (12:24):
Yeah, I much prefer round using phones than everyone having
to die.
Speaker 3 (12:31):
We're all we're all bugged anyway they have. Oh, come on,
if you have a cell phone, if you have a computer,
everybody knows everything that everyone is doing. It's not that large.
We can really easily get these statistics done. You don't
have to die for them, in my opinion. And yes,
the economy is going to go to shit, but every
(12:55):
country is just going to have to stand up and
forgive every other country's debts, and then it'll be exactly
like it is right now, nothing will have changed.
Speaker 1 (13:05):
That's the bit I can't get my around. But I'm
not half as intelligent as you is. I just sort
of think, isn't the economy it's just all it's made up.
Speaker 3 (13:13):
It's all number machine, it's all made up anyway, So
why doesn't every country just say we're going to start
from zero, forgive everybody's debts on the entire planet, every
human being, each other, every single person is starting over.
Speaker 1 (13:31):
I think that's honestly, that's my I also think in
terms of like even creative stuff, like every everyone's making
such weird stuff because we're all locked in. I sort
of feel like, when this is all over, let's just
well wipe the slightly. We won't. Everyone can forget all
the mad things that we did to get through this,
and like we'll start from zero. Start, the economy will
(13:52):
start creatively everything, right, Take it as a fresh start.
That's what it was.
Speaker 3 (13:56):
For, right, See where we are, See who we are.
Speaker 1 (14:00):
See who we are. I would like that, can we
do that? I'll do that. You're me all right, so
tell me this can I ask you this creatively. You
said to me, if I may, before we started this,
you said you were writing short story? Short story? Are
you writing lots of things? A creative stuff?
Speaker 3 (14:17):
I wrote a book. It's coming out in January of
twenty one.
Speaker 1 (14:21):
And I got it's.
Speaker 3 (14:27):
About me and I am a bit of another. So
we'll see.
Speaker 1 (14:35):
That sounds exciting. Is it your your memoirs?
Speaker 3 (14:38):
Hard to say? Okay, I don't know if that I
would call it a memoir. It's exploring a moment in
my life and how I got there.
Speaker 1 (14:46):
Fascinating. So it's just about one short period.
Speaker 3 (14:51):
Yeah, I had a stroke and a nine day brain hemorrhage.
And it starts when I'm on the table with the
doctor telling me that I'm having a brain hemorrhage, and
then it's me trying to figure out how the fuck
did that happen? What did I do to end up there?
Speaker 4 (15:10):
Yeah?
Speaker 3 (15:11):
What happened in my life that led me there nine days?
Speaker 1 (15:16):
Yeah, parent's done. You have lived a life, Thank God.
Speaker 3 (15:22):
That's what it's about.
Speaker 1 (15:23):
Well, that sounds fascinating. One last question I wanted to
ask you before we get to the main stuff that
I'm always fascinated with, is that as an actor, you
were working very hard and very well and doing lots
of your stuff for quite a while before you were
suddenly massively famous and a massive film stuff. So there
were a few years before that, and in that time, I imagine,
(15:46):
and I could be wrong, but I imagine you have ideas
of what it is like to be at the level
that you then got to. But when it actually happened,
when you sort of broke through, was it terrifying and
the nightmare? Or was it amazing and wonderful all a
bit of back.
Speaker 3 (16:01):
Yeah, it was, it was a lot. I think that
we sometimes have an understanding pieces of our destiny. It's
like if a does a caterpillar know it's going to
be a butterfly? Does it like the way it feels
when it's being broken apart? Does it like that feeling?
(16:22):
Does it feel good when it's smashing through? Does it
feel like it's dying? And then when it starts to
fly does that feel good? Do other butterflies say, hey,
you made it? Or do they say, like, you know,
get the fuck away from it. What's going to happen next?
That was really intense. I don't know what's going to
happen now. It's a lot like that, right, And there
(16:48):
was something about the nature of me that was was singular. Right.
I wasn't the kind of star that everybody was like, Oh,
let's all get together and be with her.
Speaker 1 (17:04):
You were alone, butterfly.
Speaker 3 (17:06):
Yeah, I wasn't like, you know, a flock of sparrows,
a gathering of these things. It wasn't like there were
a whole lot of us and I was going to
be Oh, look, I'm one of them. You know. It
was like, what the fuck? And that's an intense reality.
Speaker 1 (17:27):
Yeah, I can only imagine. I imagine it being quite terrifying.
The idea of the thing that I imagine is terrifying.
I imagine a lot of it's very exciting and thrilling,
but it's not being able to turn it off.
Speaker 3 (17:44):
It's good to have a sense of humor. Yeah, And
I was very blessed not to be so young. I
was already thirty two, thank god, or I probably would
be dead. And I was very lucky to have friends
that i'd had already for a long time, and those
same friends now great. So that's the thing. That's the
(18:05):
thing I really think about with the stars that become
stars so very young, you know, and that's like, I
really like Taylor Swift. Yeah, and I think a lot
because she writes such cool lyrics, and I think a
lot about that. I hope she has friends and she
has keeps those same friends and they stay her friends
(18:26):
for ten, twenty, thirty, forty fifty years, because you know,
it's unbelievable to sit in the kitchen and say, remember
when when we were at the other house thirty years
ago and I couldn't get there, couldn't get any furniture,
and those things really make a difference.
Speaker 1 (18:45):
That's beautiful. Have a sense of you. We're going to
keep your friends. It's good advice. Yeah, Sharon, I've forgotten
to tell you something and it's it's really bad that
I didn't tell you. It's up top at the beginning
of the podcast. I feel like an idiot. I'll just
(19:06):
have to say it. It's awkward, but I just have
to say it. You've You've died, You've died. I know,
how did you die?
Speaker 3 (19:19):
Each time, the time, the next time, the next time.
Because I've been hit with lightning. I had spoke you
got hit by lightning. I got hit by lightning. What's
that light Wow, it really intense. I was it sounds
(19:41):
like it. I was at home. We had our own well.
I was filling the iron with water and I had
one hand on the faucet at one hand on the iron,
and the well got hit with lightning and the lightning
came up through the water and I got picked up
and thrown across the kitchen and I hit the and
(20:02):
I was like whoa. And my mother was standing there,
and my mother just belted me across the face. What
brought me too? Like I was in such an altered state,
like just so I don't know how to describe it,
so bright, like wow. And she threw me in the
(20:24):
car and drove me to the hospital. And the EKG
was just showing such electricity in my body. I had
to coach ats like every single day for like ten days. Wow,
it was so crazy. Yeah, it was like, yeah, okay,
I've had a lot of things. It's crazy death.
Speaker 1 (20:47):
What's your ideal death? Basically you can choose.
Speaker 3 (20:49):
Your dream death under a clothesline. I had my neck
cut to like sixteenth of an inch from my jugular
vein when I was fourteen. Right, you're a miracle, it's right.
So it's like, how am I going to die next time?
Probably something again super dramatic and nuts, but me all
(21:11):
the way, I doubt it, I know, or am I
dead now? And just like hey, sense, yeah.
Speaker 1 (21:19):
You were so much electricity when you got stuck by
light that you just you're just here on my screen.
So what's your what's your big dramatic death? What should
we choose? Giant boulder comes from the sky crushes you
prove it?
Speaker 3 (21:35):
Oh no, no, no, I hope I'm like picked up
by aliens and I have to move through there like
energy source.
Speaker 1 (21:42):
And it's too much in your body exploits.
Speaker 3 (21:45):
I don't know, something or transforms into like their kind
of life force and then I have to be alive
in their thing and see what that's like.
Speaker 1 (21:53):
All right, you can have that. Do you do you
worry about death? You've been so through it so many times?
Is it something now you're you?
Speaker 3 (22:00):
No? No, I mean sometimes I get like tired of
like I have frailties, and sometimes I get bored with
the frailties.
Speaker 1 (22:08):
That's fair. Do you do you believe in an afterlife
or another life or you've.
Speaker 3 (22:13):
Had so many?
Speaker 1 (22:15):
Yeah? Okay, so.
Speaker 3 (22:18):
I believe in like seeing again maybe I like that
so much.
Speaker 1 (22:24):
Well, listen, I've got news for you. You're right. If
you like, you're right. There is reinformation, but there's a
bit in the middle. There's a pause, and this is
where we're meeting. We're meeting in the pause in heaven,
and in heaven they're obsessed with films. They're obsessed with films,
weird in it. And what they want to know about
is your life but through film. And the first thing
(22:46):
they ask you is what is the first film that
you remember seeing. She's got her homework.
Speaker 3 (22:51):
I'm sorry, pressed, Well, actually I don't need that. I mean,
I watched films on television, but the first one I
saw properly, my mother took me to the drive in
and we saw Georgie Girl with Lynn Rendbrey, and I thought,
first of all, it was scandalous kind of that she
would take me. I was like a little too young
(23:13):
to be there. I was probably like eleven, and I
just remember thinking about how women were wearing girdles and
like really funny underwear, and she was just like trying
to fight to have her own real life. And you know,
my mother was really interested in that. You know, I
just thought she was so cool and really like a
(23:34):
wonderful actress, you know what I mean. I just thought
she was great. I thought it was great, Like it
was different than the kind of movies I'd seen on TV.
It had so much more reality and grit.
Speaker 1 (23:45):
Do you remember deciding to be an actress and actor?
Did that happen because of Do you remember watching that film?
I think, and I want to do that?
Speaker 3 (23:53):
What was part of it? I think that film really
influenced my work in Bobby. I would say that that
was more my Linen Red Gravy kind of tribute work,
you know what I mean. And it was like I
saw her like that. I saw that character very like
like her, you know, that chick who was like you
(24:14):
may think I'm just here, but I have a bigger
plan that you don't really get. But if you really
saw me, you'd get me.
Speaker 1 (24:24):
Yeah, that's great. Where was this? Where were you going
to driving? Where did you grow up?
Speaker 3 (24:29):
In a little town in Pennsylvania near the Great Lakes,
near the seaports like Lake Erie, Lake Michigan, all those
lakes and uh, a lot of lakes, a lot of
Amish people, a lot of monsters, basic seaport, you know,
kind of Dingy seaport, railroad, zipper factory, bars, churches, very
(24:54):
Italian kind of environment, Polish Irish Italian like, very immigrant
sort of.
Speaker 1 (25:01):
Forgive my lack of geography knowledge. How far is it
from where you are now? Is it like a very long.
Speaker 3 (25:07):
Way the exact other side of the country. Okay, it's
the state below New York. Philadelphia is in Pennsylvania, which
is like where the you know, it's this capital of
our country.
Speaker 1 (25:23):
Yeah, okay, got it. Tell me this. What is the
film that scared you the most? And you like being scared?
Speaker 3 (25:31):
Where's the thing? I get scared more by psychological things
than by like boo things, you know. And then I
get scared more deeply by things that make me really
have to think about stuff. And the one that's made
me that really got into me the most was this
film called The Life of David Gaale, which was a
(25:54):
film that Kevin Spacey and and my favorite Kate were in,
and it was a film about capital punishment. And I
watched that movie and you know, later went to bed
and in the middle of the night, I just sat up,
threw my legs over the side of the bed and
was just just sat there like like a like out
(26:16):
of a stead sleep and I was just sitting there like, Wow,
this is so intense and the impact of it was
so deep. And these people have become I would say
they're probably through my favorite actors. They just the way
they embody their work, the depth to which they're willing
(26:38):
to explore their work. So yeah, so that was it.
Speaker 1 (26:42):
That's amazing. Do you I was going to ask, and
I assume that answers that have you ever have you
found making films has lessened you being able to just
enjoy watching films? Do you find yourself analyzing them all
from it?
Speaker 3 (26:54):
It certainly lessened my ability to like a shitty film,
mediocre film, or a film where the boom operator keeps
dropping the mic the frame or.
Speaker 1 (27:10):
That's my favorite kind of film, or any.
Speaker 3 (27:12):
Of those kind of films, or the film where they
cross the line and it's like the guys over here
and then the woman's in the wrong place when you
and I'm like, what did you do you think we're
not going to notice that they're jumping around. I can't
hear I can't even see that. I can't hear what
they're saying.
Speaker 4 (27:34):
You can do another take like that?
Speaker 3 (27:39):
Yeah, and the other thing.
Speaker 1 (27:40):
The other thing I wanted to know when you're acting,
if I may, do you work instinctively instinctually or do
you do loads and loads of homework and loads of
loads of research and your character lines of or do
you just let it go? Or both or a third
option if you like.
Speaker 3 (27:55):
Each character has its own way that we approach each other.
Speaker 1 (28:00):
I like that.
Speaker 3 (28:01):
Some of them possess me like a demon. Some of
them we make friends. Some of them we work together
and something happens, you know, they were like colleagues. You know.
It's like it depends on the character. You know, characters
have their own way of we meet differently. You know,
(28:24):
it's a it's like a it's a relationship. And some
of them, you know, are easier to say goodbye than
others too. Yeah, some of them it's like get the
fuck off me, like thank you. And some of them
you have rituals. Some of them is just like the
end of the day, like whatever, you know, and some
(28:46):
of them, for me, some of them just don't take
as well as others.
Speaker 1 (28:49):
I really love that. Right, What is the film that
made you cry? The nice you cry?
Speaker 3 (28:55):
A lot of films I was thinking and thinking and
I think it's the Boy in this stripe pajamas.
Speaker 1 (29:02):
Oh boy, that's a film.
Speaker 3 (29:04):
I think that was it. I don't really like sentimentality.
I like sentiment, but there's something about seeing this kind
of profound understanding through child like I just alternatively, Life
of a Dog I thought was just so extraordinary. Yes,
(29:25):
I love that film so much. When that kid had
that string running up and down his face, I just
that was it. I was done before. But the Boy
in the stripe pajamas.
Speaker 1 (29:39):
What is the film that Critically it's not acclaimed, most
people don't like it, but you love it and you
don't care.
Speaker 3 (29:46):
What most people think. But it's triple X.
Speaker 1 (29:56):
That is the perfect answer.
Speaker 3 (29:59):
Triple X. And you know, I'm an adult. I'm in
the film. And I totally believed that Triple X had
the triple X tattoo on the back of his neck
and his name was triple X. And I was at
a party with my then husband and I turned to
(30:22):
him and said, it's striple X. Oh my god, triple X.
Look at triple X. Come on, let's follow him. He'sil
around a party going, oh my god, Triplex, look at
triple X. She doesn't want the tattoo. He doesn't have
it on his neck, and it was like someone told
(30:43):
me that the Easter Bunny did not exist. When I
saw Vin Diesel without the three xes on his neck,
I was astounded that.
Speaker 1 (30:57):
When he found out it wasn't a documentary, that heartbreaking moment.
Speaker 3 (31:09):
I was so sold some childlike part of my character.
Speaker 1 (31:20):
I love that. Did you talk to him or was
he scared?
Speaker 3 (31:24):
Awards of my sanity were gone?
Speaker 1 (31:38):
Oh my god, did he have to call security? Sharon
Stone is follow me everywhere shouting, I'm not triple.
Speaker 3 (31:46):
She's bounce on.
Speaker 1 (31:48):
Indeed, she's looking at my neck.
Speaker 3 (31:57):
Was like, what is wrong with you? You it's trouble X.
He's like Jesus Christ.
Speaker 4 (32:10):
That.
Speaker 1 (32:10):
I really was not expecting that answer, and I'm delighted,
absolutely delighted sharing What is the film that you used
to love? You loved it dearly, but you've watched it
recently and you're going, oh, no, I don't like this anymore.
For whatever reason.
Speaker 3 (32:27):
That might be breakfast at Tiffany's.
Speaker 1 (32:30):
Oh boy, talk to.
Speaker 3 (32:33):
Me, Mickey Rooney as this guy. Yes, please, Jesus Christ.
Speaker 1 (32:40):
It is a shocker when you watch that back.
Speaker 4 (32:43):
Oh out, Oh it's a real like, Oh boy.
Speaker 3 (32:58):
You can't under say that you're not unsea with the
team the Crossing. Oh oh oh, I have to go
(33:20):
into the Shredder. That can't even be in the like
we you know, we clean that movie up and put
it in the vault for them. That is lovely.
Speaker 1 (33:32):
You can't be in Memoria. No, that's got to go
in there. This never happened. We don't talk about it.
That is so true. It's so shocking, and it's such
a everyone remembers. It's such a lovely film. And then
(33:52):
you see it and you go, fuck, you know, make
you stop where Sharon? What is the film that means
the most to you? Not necessarily the film itself is
any good, but because the experience you had around seeing
(34:12):
it that will always make it special.
Speaker 3 (34:14):
I started being allowed to go being dropped off at
movies when I was about fifteen, and I think it
was I went to see Cleopatrick Jones. Oh wow, And
I was the only white girl in the theater in
a little town where you know, we were quite segregated, right,
(34:37):
And she came on the screen, come on, and she
was so fabulous, right, And I was in the theater
like Okay, this is the way to see a movie.
And I was like okay. And they shot her like
like the way shot Varushka, like from the ground up.
Speaker 1 (34:59):
You know.
Speaker 3 (35:00):
She was like like this giant goddess. And it was like,
wait a second. My entire framework is being shifted, my
reality of life and film and people, and okay, this
is fantastic, Like this is very important thing for me
(35:21):
in my life. And my father was very much he
was a Democrat in a town where the paper was
the Tribune Republican. You know, he was a very much
a humanist and you know, but still it's a segregated town,
there was is this not a diverse This is a
farm fire. This is like one stoplight town, Amish people, gangsters.
(35:49):
You know, it's not fascinating. So all of a sudden,
I'm like, oh, multi racial reality, it's big for me.
Speaker 1 (35:59):
What is the film that you must relate to? What
film do you relate to the most?
Speaker 3 (36:03):
You know, just recently it's a television film. Yeah, and
it's a series and it's called Normal People.
Speaker 1 (36:12):
We have been watching that myself.
Speaker 3 (36:14):
Yeah, yeah, I really related to that, to.
Speaker 1 (36:18):
Both characters, all the characters.
Speaker 3 (36:21):
Related to the girl. Yeah, I mean, obviously it's a
more you know, it's a more theatrical character. But I
related to the girl in that.
Speaker 1 (36:30):
Can I ask you in what way, like when you
you feel like in the way that she's different, Like, you.
Speaker 3 (36:39):
Know, I was a girl that was writing other people's
term papers and but still sort of isolated and thought
I was really unattractive and separate, and then kind of
reinvented myself and became this other thing. And then the
other thing wasn't really me either, and then I had
to sort of figure out how to be the original
(37:00):
me and make it work.
Speaker 1 (37:03):
Yeah, that's really good. Thank you. What is the sexiest
film you've ever seen?
Speaker 3 (37:11):
Because I am such a huge Humphrey Bogart him put
to me is between Casablanca and African Queen, because there's
just something about that kind of like I like this
survivalist relationships that are like we're doing it together. We're
(37:34):
in this and we're in it together, and we're figuring
out what we're going to do and we're doing it together.
There's something to me that's very sexy about that. I
like that partnering through this thing. I always like that
thing that I think it was Oscar Wilde that said
that real love is not just looking deeply into each
(37:54):
other's eyes, but looking outward at the same thing. Yeah,
it's like I I think that that is it. It's
not just that ability to look so lovingly at each other,
but to stand side by side and look at something
with the same kind of intention. To me, is really sexy.
Speaker 1 (38:14):
That's great, now, Sharon, this next question. You're very classy individual.
But if I don't ask you this, everyone who listens
to this podcast will be mad at me for leaving
this question out. The next question is a subcategory to
the sexiest film, which is called and Forgive Me. It's
called Traveling Bonus Worrying Why Dunes. And the question is
(38:40):
the question is what film did you find sexy that
you thought perhaps.
Speaker 3 (38:45):
You shouldn't The Heat of the Night?
Speaker 1 (38:48):
Okay, why is that? May I ask?
Speaker 3 (38:50):
Well, it's when Rod Steiger has this confrontation with Sidney
Poitier and he says to him he's called Virgil. I
don't know if you remember the film.
Speaker 1 (39:04):
He says, they tips.
Speaker 3 (39:06):
Right, but but Rodsteiger screams at him, what do they
call you? Up there? And then he said stands up
to him and he says, they call me mister TIBs,
and he did that in that film. I thought, you
are the sexiest motherfucker I have ever laid eyes on
in my entire life. I'm dying right now. I can't
(39:31):
take it. And I oh, and I said, is this
supposed to be sexy? I don't know what's happening, but like,
I can't take it. And then in my lifetime I
got to be friends and have Sidney Poitier be my mentor. Wow,
(39:51):
I got to work with Rod Steiger in a movie
and he was a villain and I got to be
just hate him in the movie and it was so fit. Asked,
I was like, Yes, this is all working out perfectly.
Speaker 1 (40:04):
For mister Tips. That's great. Sarry. Can I just say
thank you for letting me ask that question and thank
you for answering it properly. I appreciate that what is objectively,
objectively the greatest film of all time? Not necessarily a favorite,
(40:25):
but objectively for.
Speaker 3 (40:27):
Me, and it is kind of my favorite, but objectively
to me, I think The Last Emperor and I just
I feel that Bart Lucy is a spectacular filmmaker and
it's a great film because it's so well made. And
it's a great film because it's an historical film. And
(40:49):
it's a great film because it's a film that stands
the test of time. It's a great film because children
can watch it, adults can watch it. It's a beautiful film.
I really I heard that film as a filmmaker. I
love that film.
Speaker 1 (41:03):
Yeah, you know what, No one has picked that on
this show. And it's brilliant. Such a good film. Film.
Tell me this, what film have you or could you
watch the most over and over again?
Speaker 3 (41:24):
I do watch over and over again. Cabaret. It's a
great film on so many levels. It's a great film
because of the way it tells such a horrific story.
Is a great film because the costumes are insane, the
performances are insane, and the stories within the big story
(41:47):
are very important. The stories of racism, the stories of homophobia,
the stories of class realities, the stories of the period
and the time, this just the stories of greed. Everything
within the story is fantastic. All the elements are so beautiful.
(42:08):
The costumes are magnificent, the makeup is incredible, and the
sense of the surialistic sense of the way he cut
and shot it almost creates a magical realism on the screen.
I find it to be a spectacularly made film and
a film that whether you're German or American, you look
(42:31):
at and think, yes, it was incredibly nuts, that it
was nuts, that war was nuts. And the music is beautiful.
The score is spectacular. The words, the lyrics to the
music are beautiful. The dancing is Bob Fosse's kind of
dancing is just speaks of volumes to the story he
(42:55):
was telling. I just think it's overall just so well done.
Speaker 1 (42:58):
Yeah, fucking great film. I think about a lot that's
at the moment, where is it the song the Future
belongs to Me? And you only see this swastika right
at the end. It's so brilliant. It's a brilliant. It's
really profound that film. I know this sexual fluidity. Yeah, yeah,
(43:19):
it's it's got it.
Speaker 3 (43:21):
The movie is very mallifluous. But when he s does
the Future belongs to Me? They're very crisp, very clean.
There's so much they're the clean people.
Speaker 1 (43:31):
Yeah, they're very clean.
Speaker 3 (43:33):
Yeah, be scared, right.
Speaker 1 (43:35):
We don't like to be too negative, but we'll do
this quickly. What's the worst film you ever see? How
dare you. I love that film is a masterpiece. Anaconda
is the Triplex of snake films. Anaconda is great and
(43:58):
it's got John Voyd doing faces j LO. It's great. Well,
could you possibly not like about? Okay? Fair enough? Right,
you're a funny person. What is the funniest film you've
(44:19):
ever seen? Correct? It's just brilliant.
Speaker 3 (44:24):
Nothing is funnier than when they're crapping in the street.
Speaker 1 (44:28):
And it's so beautifully shot as well.
Speaker 3 (44:30):
Or when Melissa McCarthy puts her leg up in the airplane.
I just that when she put her leg up, I
just I don't know what it is about that, but
that's the funniest move. She's so funny when she just
starts telling someone that how awful they are, that's my
(44:52):
funniest for I just.
Speaker 1 (44:55):
Oh, she's really really special.
Speaker 3 (45:00):
Of her.
Speaker 1 (45:00):
Can I ask you? Can ask you a question you
might not have an answer and that and it's not
on your list. Do you have a favorite of your
own films? Of the films that you've been in? Do
you have a favorite?
Speaker 3 (45:10):
I have things that I like about different ones for
different reasons, you know. I mean, obviously, Casino I think
is the certainly overall the best film I've I've been in,
and it's it's just the best, and it stands the
test of time. And you can watch it with without sound,
as you can with any Scorsese film, because Thelma Schumancher
(45:33):
is the greatest editor of and the film she edited,
you know, for Deceased Husband or also Michael Powell fabulous,
So the editing is really something, and you can watch
it to music, you know. I think if you watch listen,
particularly if you put on Maria Callous and listen to
(45:56):
any of his films, I think you see there's quite
good to Callous. There's a certain deep authenticity of this
operatic form that those films are very good too. So
I think that. But of course I really enjoyed The
Muse because I think Albert Brooks is so special, really
(46:21):
so smart and so special. I just love him. I
did very much like making Lovelace. I thought that this
was these writers. They had done the Harvey Milk story,
and I think they really understood how to make an
independent film. And I thought that this was a sound
(46:42):
independent film that told a very interesting story. I thought
it was quite a good story and a powerful story.
I thought the actors were good in it. And when
I worked with Jim Jerremotion Broken Flowers again, same thing.
I thought that good. See such a terrific independent director.
He knows how to make a good independent film, not
(47:05):
seeking the big audience, telling us particular type of story.
I think he's very good. I thought that was in
its genre, quite quite a good film.
Speaker 1 (47:16):
I love you in the in the Bob Dylan film,
but I guess you probably can't talk about that. I
don't know.
Speaker 3 (47:23):
Yeah, I mean it's a mockumentary and.
Speaker 1 (47:26):
Yeah, you're so good at it.
Speaker 3 (47:28):
Well, first of all, all of us are in the film,
do know, Bob, Okay, that's why we were chosen to
be in the film. Okay, great, we all have very
discrete relationships that we would never never exploit. Yeah, so
we got to do this film in the same way.
Speaker 1 (47:47):
It's so good.
Speaker 3 (47:48):
It's so good.
Speaker 1 (47:50):
I mean, it's such an amazing performance. Completely you're just like, well, yeah,
that's real, that's completely real.
Speaker 3 (47:58):
I mean I can make it for me because I
love him and I think he's the greatest songwriter. I
think he's the greatest poet since you know, Socrates, Plato,
and I genuinely believe that it's it's real to me,
and I find him to genuinely be that descent of
(48:21):
a human being, and so that's my truth.
Speaker 1 (48:26):
I love it. Sstin what's your favorite film? And it
might be different from what you think is the greatest film.
Speaker 3 (48:32):
My favorite film is The jungle Book, the original jungle Book,
the animated jungle Book. Those musicians the Jungle Book were
the truly great musicians of that time. And George Saunders
as the cat who when he committed suicide, his note
(48:53):
was on nui that he had on. Now I've already
thought that he was the cat's pajamas. These weird movies
like The Portrait of Durian Gray by that amazing director
that did those two movies, the Portrait of Dorian Gray
and Pandora's Box, which are two fantastic movie because I
(49:19):
don't know if you've seen Pandora's Box. That's Abe Gardner
and James with this fantastic voice, the English James. Yes,
and she only made and it was a woman director
and she only made two fantastic films. And the Portrait
of Dorian Gray is George Saunders again, who I just thought,
why was it I alive to hang out with Foots
(49:41):
because I know that we would have been best friends,
and he would have killed himself out of boredom because
we would have laughed so much. I know it.
Speaker 1 (49:50):
But you were, you were alive to be in the
era of Triple.
Speaker 3 (49:53):
X killed himself on me. Jesus that even funny, like
his suicide note was a joke. I can't take it.
Speaker 1 (50:04):
That's really good. So listen, Sharon, you have been beyond brilliant. However, yes,
when you died the next time by being picked up
by some aliens and taken to a new energy force
that you were adapted to, your soul adapted to. But
your body was left behind where you were standing, which
(50:25):
was just on the street, and I was walking past,
and I was like, what's happened here? And I was like,
she's been struck by lighting again? What is going on?
And I touched you and it was like, she's still
got electricity in what we're going to do anyway? I
got this coffin. I'll put you in the coffin. But
the thing is, because of all the electricity and stuff,
there was like lots of you attracted layers of metal,
(50:47):
so there's a lot yeah, so there was a lot
more of you than that plan. Exactly, I'll put camera,
You're taken one DVDA to her. You're going to take
cabret Yeah, okay, they're going to have a writ out
time up there with you.
Speaker 3 (51:06):
Because we have it, we can watch the movie. Yeah,
we can have a good time, arguments.
Speaker 1 (51:15):
You can all of it. Now, listen. That is the
that brings us to the end. Is there anything that
you would like to tell people to look out for
that you're going to be in or to listen to,
or anything you want people to know about.
Speaker 3 (51:31):
Well, if you like Ryan Murphy, I'm going to be
in the Ryan Murphy series starring Sarah Paulson, Judy Davis,
Cynthia Nixon. Me in September on Netflix. Ratchet Ratchet and
it's the pre story of nurs.
Speaker 1 (51:55):
Ratchet.
Speaker 3 (51:56):
No, Sarah's Ratchet, you even more villainous.
Speaker 1 (52:02):
That's exciting. Sara's Stone, you have been an absolute delay
and I really appreciate it. Thank you very much and
enjoy your next live.
Speaker 2 (52:14):
So that was Sharon Stone on a rewind Classic episode.
Be sure to check out the Patreon page at patreon
dot com. Slash Brett Goldstein where you get an extra
chat video and mixtapes at Various Tears and otherwise. If
you fancy leaving a note on Apple podcasts, that would
be lovely too, but make it a review of your
favorite film. Much more fun and it can be like
(52:36):
the review section on movie where people use huge words
like ostentatiously directed and ardently relished and so on.
Speaker 1 (52:43):
Love it.
Speaker 2 (52:44):
Thank you so much to Sharon for her time and
presence on the podcast. Thanks to Scrubia's Pip and the
Distraction Pieces Network. Thanks to and this is where Brett
thanks me for editing and producing the podcast, so I
say it's a pleasure. Thanks to iHeartMedia and Will Ferrell's
Big Money Players Network for hosting it. Thanks to Adam
Richardson for the graphics and Lisalidm for the photography. We'll
(53:05):
be back next week with another rewind classic. But that
is it for now. Brett and I hope you're all well,
and in the meantime, have a lovely week and now,
more than ever, be excellent to each other.
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