Fly on the Wall with Dana Carvey and David Spade - Sharon Stone

Episode Date: March 20, 2024

Working with De Niro and Pesci, an SNL monologue fight, and almost doing a different Barbie with Sharon Stone. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

This show is sponsored by BetterHelp. If you had one extra hour a day in your life, what would you do? Take a nap, go for a run, read a book, or watch Wayne's World? I would do crunches and watch Wayne's World. Okay. You know, a lot of us spend our lives wishing we had more time. The question is time for what, right? If time was unlimited, how would you use it?

You know, therapy can help find what matters to you. So you can do more things that matter to you. You have to sort of pinpoint it. Then you can take some action. Yes. I actually had therapy and I still do it occasionally and, uh, it just kind of checks your thoughts, organizes your thoughts. We all get into negative thinking, worrying so much, especially in this crazy world.

So I do think that therapy is very useful. And for one hour, you can reset some of your thinking and your lifestyle, David. I've done therapy. No one believes it. I have. You're like, well, you need more. Because you're good enough, you're smart enough, and gosh darn it, people like you. Dog on it. People like you. Yep. If you're thinking of starting therapy, give Better Help a try. It's entirely online, designed to be convenient, flexible, and suited to your schedule. You fill out a brief questionnaire.

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Sharon Stone, what can you say, R? You're gonna be listening to her in 22 seconds, depending how long we go. You wish, it'll be way longer. Sharon Stone, you know, just. Did my first movie with the lovely Sharon Stone. She was perfectly wonderful on it. We didn't have a lot of scenes together,

but we stayed in the same apartment complex. Every time I see her, I bore the shit out of her with that story. And I thought I saw her at the Oscar at a thing, and I went hunting for her. I wanted to say hi to her. And she's always fun, upbeat, and very much a movie star, and sort of kind of old school movie star. Just really pretty from basic instinct on, actually from total recall.

Always followed what she did. She's very interesting to talk to. I mean, she mentioned Humphrey Bogart. You know, it was the first time we kind of dove into Humphrey Bogart that way his suits were tailored. So she manders in a lot of different directions. She's a painter that has shows all over the world. She's been an iconic figure in American cinema.

We'll talk a lot about Casino and what's the difference between acting with Joe Pesci and Robert De Niro. Oh, that's right. There is. You're not, if you're driving your car, you're going, boy, I'm not pulling over. I'm going to stick it out. It's great. She's charming, smart and quite a delight.

One of the few hosts that took a pee break. She says, I'm not allowed to take a pee break. And David said, no. And I said, no, no, no, come on. I said, uh, you're the only host to do it, but let's do it. And she hosted SNL too. She was such a good sport and we talk about the comedy that we did in 1992 with Sharon Stone. We would be literally arrested now. So she was a good

sport about it, but that was 1992. You know what? Someone would have come out of the islands and done a citizens cancel. Just hold you till the cops come to cancel you. It was a, it was a, but she was so good in it. She said, well, anyway, listen to this podcast. It's really interesting. I enjoyed it. There she is. Hi. Long time.

I haven't seen you. How are you? I know. Why do you look the same and I look like I belong in an old folks home? We are getting old, aren't we? It's incredible. Sharon thought I was Nick Nolte when she jumped on.

That's true, I did. You do have a Nolte sort of from Prince of Tides though, or from- Jesus. Reggie. You need a little bit more of that shag cut into the top of your hair to be Nick Nolte. Did you know that Nick Nolte and Mickey Rourke

are best friends? Well, I gotta say, they're both unbelievably nice men. I know both of them quite well. I worked with Nick, which was fantastic. I did a movie with Nick and Jeff Bridges. It was wonderful. And then a Sam Shepard film. And then Mickey, I've known forever.

I went to Russia with Mickey to help raise money for Children's Oncology Award. And Mickey and his best friend went out and got a Santa suit and bought presents for every kid in the ward. And he's just so kind. Mickey's such a kind man. And so crazy, brilliant. The wrestler, he did, you know, a few years back or not, kind of a next level type of acting. Nicolas Cage, you know, in the early days, they all wanted to be friends with Mickey. So Nicolas Cage wanted to be friends.

He'd be like, yeah, I'll come over. And he said that Mickey Rourke would always have him go to like the store on the way over there. Hey, could you give me some orange juice? It's funny. He's so, so nice. Nick is so nice. Nick is a fabulous actor too, wow. Nicky Nolte, yeah. No, Nick Cage.

He'll make these incredible, strange movies and no matter what he does, they're so fascinating. Pig was fabulous. I don't know if you saw that. It was about- I heard about Pig. Yes, I did see it. He doesn't believe in realism. I did a movie with him once.

He goes, in this next take, I'm going to do Daniel Day Lewis from The Name of the Father. But the movie had nothing. It was a comedy, nothing to do with that. So he came in and he just dropped to his knees. Why? Why? He is the most eccentric, the funniest guy ever.

But he's got all these cool character parts he's doing lately that are so brilliant. Just quirky movies. Yeah. Who was you when you were a little girl? I just, I like to do Oprah stuff. Like who were the actors or actresses that you went, holy shit, or the movies that you saw? I was obsessed with Humphrey Bogart. He was the greatest,

greatest, greatest actor. And he was so cool. And his suit jackets always fit really well. fit really well. The back of his suit jackets fit really beautifully around his waist and his bum, tailored so beautifully. Like someone knew how to like really fit his clothes and I thought Spencer Tracy was really so... So he had such a great way of expressing his tenderness in a very quiet way. He had such a quality where you really felt like you could trust him somehow. He had something where he let you open up to the characters he played. And I really liked that. Do you know what's in my wife and I, I always go by movies you will revisit.

And so guess who's coming to dinner? It's become a thing that we see once a year now. And Spencer Tracy, you know, his speech at the end, you know, just cut you in half to, to about the love of Sydney Poitier. And, you know, Sydney Poitier, by the way, what a phenomenal human being. And I had the great joy and pleasure of being friends with Sydney. And, you know, he gave me a lot of advice over the years and what a good man. Just what a, wow. Elegant, elegant man just to watch him walk.

It was just a elegant soul. Yeah. With a great wisdom about life and a great understanding about life and I know I got to make him laugh once I did these events for Cedar Sinai Heart Stuff and I would do like my little shtick and then he stopped me and I was so nervous to be around him and he's, I've seen you many times and he gave me a compliment. So I said, I used to do you. So all I could think of was they call me Mr. Dibbs, which was 1968 or something. It was unbelievable in that movie with Rod Stuck. Yeah. It was so- Oh yeah, in the heat of the night. Yeah, because you know, I had also the privilege of working with Rod Steiger earlier

in my career and you know, he was tough. He wasn't fooling around, man, and he put you through your paces on set. I mean, he was a tough dude and you know, I'm sure he wasn't easy on Sidney either. tough dude. And, you know, I'm sure he wasn't easy on Sydney either. Yeah. Whatever chemistry they had, I think it's one of the seminal moments in film history is when I believe Sydney Poitier slaps some white Southern guy. Yeah. He slaps the sheriff when the sheriff slaps him, slaps him back. Yeah. And that was like,

phenomenal. Yeah. You've, who, Who haven't you worked with? I haven't worked with some of the, like I haven't worked with Javier Bardem, who is someone I would like to work with. I haven't worked with a lot of these like new directors, and I would really like to do that. I say new, they're probably not so new, but they're new since my spree in the 90s.

There's a lot of these great young people now that are really exciting. Who do you think? Shalif LaBeef or, sorry. Shia LaBoo. Sorry, Shari, Shia LaBoo. Sorry. Shia LaBoo. I'm sorry.

Great actor. I am. I like, I think Shia LaBoo is actually very, very talented. And I think he's really, really intelligent. And I think that his intelligence is probably a bit high for our occupation. And I think that people don't always understand him. I think the opera that he did, the Shia LaBeouf opera was just so brilliant.

And that some of these things that he does are probably just a little over the head of some of the people that are looking at him. You know, I had the opportunity to sit next to him one night at an event and he was just so, he's brilliant human being. And I see this with some actors that people don't understand.

Sometimes they're just super smart. Well, like me, but you know, with Shia LaBeouf, I think he comes out in Transformers and people just think he's going to have sort of a cookie cutter situation career that they could predict. And he does something a little beyond that and beyond that every time and people don't quite get it. And they they're like, wait, what are you doing? And he should be allowed to do all that because it's very cool. Can I ask you both a question? What was the name of the movie where it was about his childhood

and his dad was a stage dad? And that's such a heartbreaking movie. And if that is autobiographical, you could see where all his stuff comes from. Because I just saw a little clip of William DeFoe talking about how all actors are scared and if they're not scared, they don't give a shit. And frankly, I don't think that's really true.

And I think that Shia LaBeouf is one of them that isn't scared. And he also isn't that he doesn't give a shit. I think that he grew up with so much terror that like this thing that he does now expressing the truth of his imagination is probably the most freeing and lacks such severe consequences that he is able to go beyond some of the things

that people who haven't been through what he's been through can ascertain and can get to. Yeah, he has that quality, like you feel like he needs to do this, you know, it's medicinal. It's not like just a career. It's an art, it's his vocation. Yeah. Right?

And I think for many of us who just keep going, it's because it really is our vocation. Being an artist really is our vocation. It's not just a job, you know. In the beginning, I thought, oh, you're supposed to take all these parts because, you know, came from a very blue collar family. And I thought, well, that's what jobs are. Yeah, it's just work. I didn't really understand that we were actually allowed really understand that we were actually allowed to be our whole self as an artist. You know, that's not something that anybody talks to you about when you start becoming an actor, that you should express yourself fully, especially for women. They're like, shut the fuck up.

It's personal. It's not like switching jobs at a department store. It's not any complaint. It's personal. It's not like switching jobs at a department store. It's not any complaint. It's a glamorous profession to the outsiders. But when you're in something that really sucks and you know you're going down with the ship and the bullets, you're out in front of the bullets and you go to the dailies and you go, oh, this sucks. It's a horrible piece of shit. And I always knew that meant I was going gonna be the one selling it because all the male partners have abandoned ship and Sharon's selling this one.

Yeah. And it would be called Sharon Stone's whatever. Like as if it's you were the director, the producer, the writer. Yeah. Did you run into a lot of macho men in the 80s that treated women not very well. 80s and 90s. There's no way.

80s and 90s until yesterday. I don't know. Was it? Yeah, of course. Piggy men? No, I know. I was just kidding. But when I started working, the rules were very different.

People were taking their pizzas out in the makeup trailer and doing coke off the back of the makeup mirrors and hookers were coming to the set and drug dealers and all of that. A lot of coke, yeah. You know, you're old enough to remember this stuff. Oh, I remember, I would hear men in a room talk about women with such contempt together. It kind of shocked me because I had like a rough childhood. I didn't like the way my dad treated my mom

and I didn't come from that place. But yeah, there's a lot of anger toward women. Yeah. Whoa, whoa, where's this coming from? Yeah. So you obviously you went through the gauntlet and a lot of the brunt of that anger. Because if you're a woman that starts to get any power at all, like shut up. You know, you started producing, co-producing production company. You're taking the reins of your career. And they're like, Sharon, you're doing really well. We still want you to shut up. Do you understand? Yeah, exactly.

Yeah. And, and, and I heard really recently, like as recently as a few weeks ago, a statement about me, which was nobody likes a loudmouth broad. Did you just think that was about you or was it about you? It was a direct, it was directly about me. Jesus. So Harvey Weinstein gave an interview or from prison? He hasn't. And I get it. I get it. I really get it because I am a loudmouth robot and I get it.

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and we've received your monthly payment. Did you say bimbo.com? No, bingo. Bingo.com, Where's your mind? I'm on bimbo. In the gutter. That's what I was thinking. Oh, wow, wow.

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rocketmoney.com slash fly. That's rocketmoney.com slash fly. Rocketmoney.com slash fly. They said it couldn't be done. They say it bordered on impossible. When someone says I can't do something, I usually agree with them. And now, against all odds,

this completely mediocre comedy podcast has done the unthinkable. They got listeners. We got listeners. No way. Amazing. Now available on the Odyssey app or wherever you listen to podcasts. I'm so happy we're at Odyssey now. Oh my god they're amazing. The commercial break podcast. You heard it here last. Before you, who tried to take the reins away from the men and who pushed back like you? And you of our generation was probably the first and also was in this spectacular global hit,

which gave you so much power. But were there anyone before you that you looked to? Would Cassidy Hepburn pretty tough in a way, or you wouldn't take it? You know, she made her own production company, which was so unheard of. Bette Davis made her own production company, which was really, really unheard of.

Lucy, Lucy, who I actually met and got to put on stage a couple of times early when I was doing events. I got to be the wing person that got to put her on stage. So I met some really interesting people from that old guard. And you know, it was, I mean, it's, it's not nice to say that these women were battle axes. It's a weird expression, but they had had all their way through. I mean, hard core battling it and they wore that battle, you know, it wasn't, it wasn't

easily won anything that any of those women did. CB Well, you came through, which is slightly different from I would say there, as a sex symbol, whatever you want to call it. So when you were exploding, you also were a sex symbol and a woman. It was a different lane than previous. There might have been other beautiful women, but you were the first that I think played essentially got a Golden Globe or it could have been Academy Award nomination for Basic Instinct and also being very, very beautiful young woman. So were you the first in that way to explode in a movie as the co-lead with Michael Douglas? I think no one was really ready for what happened with that movie.

It was tough to make that film. We had a lot of resistance, a lot of resistance in the street, a lot of resistance everywhere. I mean, resistance within, it was just a hard movie to get made. I mean, resistance within... It was just, it was a hard movie to get made. It was a hard movie to make. It was a hard movie to finish.

My name wasn't even on the poster. It was a Michael Douglas movie. It was Michael Douglas in basic instinct. And I was on the poster, but not my name, which ultimately worked out to be quite beneficial for me because people were like, who's the girl? Right. You know, who's that girl?

Geez, she's all through that movie. Who's that girl? And it helped. Did you audition? Did you have to audition a bunch? Who did you beat out? I auditioned for eight and a half months and I was the 13th woman that they offered the film to.

They didn't offer it to me right away. I had to wait for 13 other more important actresses to turn it down and many, they really wanted Michelle Pfeiffer. They didn't want me, but she turned it down and they kept going back to her and she kept turning it down, thankfully. And they offered it to just a ton of different people

that weren't me. And I just kept hanging in there and I kept screen testing and I kept auditioning for over eight months. Wow, it's smart you didn't say, fuck this. Now it's getting humiliating. I'm gonna walk away. You just stayed, stayed, stayed. And then you got it. No, I did that for Casino too. I mean, they saw every show girl in Vegas. They saw tons and tons and tons of actresses.

And by the time Casino came around, I was like, I am not gonna line up with show girls. And I am not gonna line up with the other 3000 actresses. And I finally just said, no, I'm not gonna line up with Showgirls. And I am not gonna line up with the other 3000 actresses. And I finally just said, no, I'm not coming in till you get down to serious casting and I'm done being yanked around in the business. I really want this part and I'm really right for it.

And when you get to real casting, let me know. Wow, I mean, it just shows you, cause you've done Total Recall before Basic Instinct. Sure. And then, you know, and then you've done many other movies. So yeah, just, you're always auditioning in Hollywood. It never really ends. Wasn't Total Recall really big?

It just, I mean, it can't compete with, I guess, Basic Instinct, but Total Recall in my recollection was huge. It was big and I was famous for a few months and then it kind of... you know what I mean? Yeah, that's what happens. It buys you six more months in the business. Yeah. It was like, okay, you did that and then what?

But it didn't hold enough power to get me the part in Basic Instinct. Shit. Wow. So then here you are in your career, basic instinct goes crazy. And then you get a call from Lauren Michaels. Well, I, you know, I think Lauren is a wonderful person. I mean, you guys have much closer relationships with him quite obviously than I do, but he personally saved my life. You know, I came to do Saturday Night Live with you guys,

which I was so excited to do and scared, really scared. And I came out to do the monologue live, which is always super scary. And a bunch of people started storming the stage saying they were gonna kill me during the opening monologue. And the police that are always in there during all that and the security that's always in there froze because they'd never seen anything like that happen.

And they sort of, they froze and Lawrence started screaming, what are you guys doing watching the fucking show? And Lawrence started beat himself, beating up and pulling these people back from the stage and the stage manager looked at me and went hold for five. And I thought he meant five minutes and he meant five seconds. And so all these people were getting beat up and handcuffed right in front of me. And we went live.

And I was doing this live monologue while they were handcuffing and beating up people at my feet. And if you think the monologue is scary to start with, try doing it while people are saying they're gonna kill you and they're handcuffing them while you're doing the monologue. Can I ask you-

What were they so mad about? Yeah. Yeah. Well, first of all, when you watch it on YouTube, are you watching the dress monologue or it's actually the one right after the melee? When you watch it on YouTube. It's the melee. Okay. What were they mad about? They were mad because it was the beginning of my work as an AIDS field worker It was the beginning of my work as an AIDS field worker and as an AIDS activist. And they didn't understand, nobody understood at that time what was really happening. And they didn't know if AmFAR could be trusted

or if we were against gay people or what was, they didn't really know. And so instead of waiting for an informative, intelligent conversation, they just decided, well, we'll just kill her. And it was like, it was very intense. And I went through, you know, a couple of years of really tough times with that until we people started to really understand what we were trying to do. And gosh, I just, I was so not prepared. And in those days, as you remember, the audience wasn't up like it is now. You literally ran through the audience to make your changes.

And so every time we were making a change and you're really physically changing your clothes while you're running through the audience. I was just terrified. I honestly, I blacked out for half of the show. I knew part. I mean, we did that skip going through the airport security. I'm sure you remember that. And, you know, it's all funny, but I came to for that one. I mean, I came to for like two skits. But for most of the show, I was completely blacked out with terror. I didn't even know where I was. First of all, I mean, I, as you mentioned this, I remember it, but I must have

been getting a wig on or something, but you're saying that Lorne Michaels actually waited in, how many were there? Like 10 people and they must have been like secret agents. They had to go in very stealthy. I don't know how many there were or if there were three or five or something, but it wasn't a huge number of people, but it was, it was enough that Lorne was in there physically trying to contain them himself. Helping. And he told me about it at the party.

He said, it was, you know, there was a sucker punch. I went for an uppercut. I got a leg lock in. I think that Jen Hooks had a gentleman in a headlock and then like Sharon landed the monologue. It was like that. It was so really- Well, the monologue was great.

I watched it. I watched it this morning. I want to apologize publicly for the security check sketch where I played an Indian man and we're convincing Sharon, her character or whatever, to take her clothes off to go through the security thing. So offensive. her clothes off to go through the security thing. Rob Schneider. It's so 1992. It's from another era. I feel very, I don't have as many, I know the difference between a misdemeanor and a felony. And I think that we were all committing misdemeanors because we didn't think that there was something

wrong then. We didn't have this sense. I had much bigger problems than that. You know what I mean? That was funny to me. I didn't care. I was fine being the butt of the joke. But I feel like now we're in such a weird and precious time

because people have spent too much time alone. People don't know how to be funny and intimate and for any of these things with each other. And everybody's so afraid that they're putting up such barriers around everything that people can't be normal with each other anymore. It's lost all sense of reason. We need real laws so that we know what's a felony,

what's a misdemeanor, and what's an offense to me. And you can say, I'm offended. No, that's against the law. You know, we need to know. And the fact that we don't know has a lot of people who shouldn't be making up things, making them up. Well, as a comedian, you do self-censor yourself, or if you're sitting around with friends and you're kind of laughing,

thinking of stuff, you go, well, you can't say that, or you can't say that, or you can't do that. You just automatically get into that zone where, you know, obviously for me, when I was doing the Indian character and I actually have an Indian cardiologist who's famous and whenever I do events for him, he wants me to do him. There was no malice in it. There was no sense of, it was really me rhythmically trying to get laughs at. I just want to say that watching it, comedy needs a straight person and you were perfect in it. You were completely sincere and you made us funny

because you're like, oh, come on guys, really? And then, all right, but this is the last one. So the idea that you were blacked out in that, but you know, but- No, she woke up for that one. Oh, you woke up for that one. I usually woke up when people start asking me to take my clothes off. You have a tendency to wake up for that one. Oh, you woke up for that one. I usually woke up when people start asking me to take my clothes off. You have a tendency to wake up for that.

These buzzwords, take off your flouse. Yeah. Yeah. That whole show was really fun. Pearl Jam. Um, I remember I just started and we were looking forward to going, oh my God, Sharon Stone and Pearl Jam coming up. You're mad.

It's like a beautiful, I mean, that's a beautiful memory. God, Sharon Stone and Pearl Jam coming up. You imagine, what a beautiful, I mean, that's a beautiful memory. Well, we all loved hanging out with you and you had a wing woman who was incredibly nice too. I'm sorry, I forget her name. Probably your best friend, but she was there all week too. Excuse me? Mimi.

Yeah, who's incredibly nice. And the two of you were so charming and nice and it was just fun. It was a fun show for me having you out there. And I don't know, just, I thought you were great. Oh, it's really fun. I'd love to do it again. You know, Lauren always says,

oh, you're welcome back anytime because I think that he wants to make it up to me that I come on the show and no one will try to kill me. Yeah. Yeah. We've had death squads before, of me that I can't punish, oh, and no one will try to kill me. We've had death squads before, but Sharon was the first. I think that, oh, sorry, we love Lauren. But you can't, Lauren is a singularity of a human being and with a gigantic brain and a gigantic heart, but we can't not do him because he's so fun to inhabit that attitude.

David, did you have something to say? I was just saying that early in my days when I was 21, I did my first movie with Sharon and she had a part in it and she couldn't have been more stunning and I couldn't have been more starstruck and she wasn't even a star. And she was so lovely on it. I was a skateboarder in it. And aside, two things I remember from that movie, Sharon was in my same apartment complex, the, where they put us up. And when she was wrapped a little earlier than me, she gave me all her stuff from

her apartment in her fridge, which I took and, and, uh, cause I blew all my per DM at the strip club. And then this is in Toronto. And then the other thing I remember is when I was at the rap party, I thirstily went to the rap party and, uh, I went and I had a headache before I went. So I went and bought their version of Tylenol, which is two 22s, which are just all codeine. It's like taking four Vicodin.

So I started getting feeling better at the party. Tylenol, which is two 22s, which are just all codeine. It's like taking four Vicodin. So I started getting feeling better at the party. Then I said, I think I'm going to go home. Then I said, I think I'm going to sprint home. And it was about three miles. Then I was going to dig a pool. And then I was just running around Toronto all night. Cause I didn't know why I was so wired and I didn't put together that they're, they're over the counter codeine, which is why I want to move back.

That's a long story. I think I still have a bottle of that in my medicine cabinet. Oh my God, it was so great. I couldn't believe it. Then I was like, oh wait, I'm going to be the first one to get addicted. That'll be my goal. But anyway, Sharon was lovely. And then when she came on SNL, it was very fun for me because I was just a new writer,

but I thought she went up on a rocket ship and she was doing great. And she was perfectly sweet to everyone there for being that level of craziness. Like you can't even imagine that whirlwind. And then just had a real fun week with us. I went home and when I got in the airport, Mimi went to get the luggage so I could go and get in the limo. And while she was gone, these two, there used to be a guy called the Kamikaze Paparazzi. And he and his friend, they dove,

the limo driver got out to put the bags in the back of the car, and they dove in the front of the driver's seat and started screaming like they were like warriors on crack or something and were coming through the space to the back seat taking pictures of me while they were screaming at the top of their lungs. It was so crazy and the driver had to pull them out and he started beating them up to get them out of the car and then we got got the car and we started down the freeway

and they started behind us and they kept hitting the limo with their car. They kept rear-ending us and side swiping us. And it was so terrifying. And I got the police on the phone and the police are like, well, stop, stop the car because we don't know which town from the airport to my house you're in. And I'm like, I'm not gonna stop the car.

They keep hitting me. They're hitting me. I'm terrified to stop the car because I don't know what they'll do to me. And they're like, well, we don't know how to help you because you're moving, you're a moving target. And I'm like, I think you better get a helicopter because they're ramming the shit out of our car.

That used to be legal. And I think now about these young superstars like Taylor Swift and stuff, like how did we get from one place to the next safely? I think that there's a lot of security that's never discussed because it has to be a small army and very stealthy. It has to be 24-7. But you know, when this happened to me,

the studios weren't going to pay me more money and they weren't going to pay for an army of security. And I didn't make the money to pay for it myself because they weren't paying women. And it was a freaking nightmare. I mean, helicopters in my backyard and just quick and craziness. And no one seemed to think there was a reason to give me the money to take care of myself. And yet there was a reason to keep pushing me out there. Think of the last time you bought something to wear, something to decorate your house, something for your family or friends.

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risk of loss. Kraken's registration details at kraken.com slash legal slash ca dash pru dash disclaimer. Were you dating back then or were you married? That's another thing that's hard to keep secret. I was dating, not during basic instinct, but I met my boyfriend at the time, Bob Wagner, on The Quick and the Dead and we were together for several years, which was very helpful. Very helpful. Oh, we had one question. We don't know.

This is an actor question. Why is Michael Douglas so good at playing guilty, horny men who are succumbing to seductive women? Fatal attraction, basic instinct, and disclosure. What is the secret sauce? Because no one looks more guilty than Michael. But you two were great in Basic Instinct. He is such a smart person.

And I think he really knows what works and what will work and what won't work. And he's a fantastic producer, and he's also a fantastic activist. He really has a sense of the world and how it works and what's happening and what isn't happening. And I think he picks projects that he knows how to handle and how to make them work and how to make them sell. And I think he's, you know, he's, he said to me when I came on to do the show, he said, you got the best part. The villain is the best part.

You can, because you don't have to follow any rules at all. You can do whatever you want. You can play it the way you feel like it and you can do anything at any time because a villain doesn't have to be consistent or dependable in any way. You can just do anything at any time and you don't have to explain why you're doing it.

And I think it's a really good hook on that. So when he plays the unlikable person, he just lets it go. that. So when he plays the unlikable person, he just lets it go. Well, yeah. Well, you two were so good together in that. And he's great. Also, he's great. I think it's their falling down, really, you know, Verhoeven is a fantastic director and he's not afraid of the perverse or the kinky or the strange. You know, he just really not afraid. Yeah. Basically, I can say it goes some places that are definitely at that time or maybe

even today, just interesting cycles, social, not even sexual, but just sort of people that are damaged or whatever you want to call it. No, like when he did RoboCop and he had the robot screen turnoff, it was the first time that a movie went black to see how long an audience could sit in the theater with a black screen and have it meaningful and have the audience to consume that empty space as part of their own journey. I mean, he takes a lot of risks and you know, I think it might've been. I don't know,

but in one other one of his movies where he started using humans as a bullet shield, and no one had done that before, and it was considered so out there. And we look at what we see now, it's so nothing. We've come a long way, that's great. Did you, Pris? Did you press? Did you?

Okay. Don't underestimate the perversiveness of America. That's the big lesson. They always want more. Oh, it's a lesson now, isn't it? Yeah. It's nothing like a human shield. I have a question for her, Dana.

It absorbs the bullets. I have a question too. You go ahead. Okay. Well, the quick one is Margot Robbie is sort of in your situation now. Would Barbie be something that you would have been interested in? Is that Up Your Alley, that kind of movie? I went to the studio to try to make Barbie in the 90s.

Bingo. With another producer, a friend of mine, and I had the then, I guess he was the CEO of Mattel on our side and I literally, we got thrown out of the studio. They were like, why would you take this American icon and want to destroy it? Like, what is wrong with you?

I mean, I got a lecture and an escort to the door. Do you run into them today and just go, guys? Oh, they're not, they're not there anymore. You know, if they're still alive, they probably think, I hate her. Was it going to be, what kind of angle would you take on a Barbie back then? I wouldn't even think of what to do with, know what to do. Well, I mean, we had it so that the opening scene would be Barbie pulling up to Mattel in her Barbie car and then Secret Service come out and their feet are as big as the

car and they escort her into Mattel and everybody just falls aside because she's the most important member of Mattel and how all the big people are chasing her around and kissing her ass because she's the queen of Mattel and about the power of being Barbie and what Barbie could do in the world because she was so powerful. But- Wow, well, you were ahead of your time. No, they didn't think Barbie should so powerful. Wow. Well, you were ahead of your time.

No, they didn't think Barbie should be powerful. The men were behind the times then. Keep Barbie in the dream car or whatever. Yeah, in her Barbie dream car. And keep her quiet. And Ken. So, The Quick and the Dead, which is a movie. I love westerns. The Quick and the Dead, which is a movie I love Westerns, Gene Hackman, Russell Crowe, before he was Russell Crowe, you were a producer on the movie.

I know you fought for him. And then Leonardo DiCaprio as a fetus, he's like 15 or something. He's 17. He turned 18 on our movie. And didn't you insist on him or pay his salary? I don't know, I read stuff that, about your relationship with those two actors,

Russell Crowe and Leonardo DiCaprio. I really believed in, I really did believe in both of them. I felt that both of them were sort of teed up to become major stars. I thought they were both very unusually talented and in specific ways. And, you know, there's a pattern in filmmaking, right?

And I thought that Russell was like the Richard Burton of his time, that he was, you know, that actor who could play, you know, the captain of a ship. The, you know, he had that heavy masculinity. And that was sort of fading out in that period when we had, oh, I think there was a name for it then. It was different. It was like men were kind of, I don't know,

there was a name for it where men couldn't be. Metro-sexuals. Oh, that's what it was, Metro-sexual. And Russell was certainly not metrosexual. Russell was very, you know, old school man. And I felt there was a place for that in our industry. I felt this way about Ken Watanabe, that he was a big place for him in film.

And, you know, I just, I see different actors and I think, oh, you've really got it. I just met a guy named Aaron Pierre and I feel certain that this guy, Aaron Pierre is going to be a gigantic star. Just just gigantic. I think he's just going to explode in stardom. He's- What is his type? What does he look like? Is he, is a Russell Crowe or is he a, he just has played Malcolm X in the upcoming limited series about Malcolm X. Oh, okay.

And he's, he's a big kind of strong looking, uh, has just a beautiful elocution. He's got a certain way about him. He carries something that just to me screams stardom. I think he's really gonna be just a huge star, huge. Okay. We will have you back on our podcast in a year. We'll track it. And we're gonna talk all about that guy.

One thing about Russell Crowe I just wanted to say is, because I do voices, he has a next level deep voice and a big deep voice. And one of my favorite movies, I don't know if you guys have seen it, Master and Commander that Peter Weir did with Russell Crowe playing the commander, twice on numbers, twice on guns.

And it's really hard to do him because he's like Obama, it's a tonally. But and Leonardo just, obviously he's just aged into this incredible actor. And he looks so, so young in the quick and the dead and he was, but boy is he great. He was so infested and he looks so, so young and the quick and the dead and he was, but boy, is he great. He was so infested and he was so able to access his vulnerability. And the other kids that came in

were really good. I mean, Matt Damon came in for the part and he was so good, so good. the part and he was so good, so good. But Leo came in and he cried when his father rejected him, when Gene Hackman rejected him. Leo was the only one that cried and wanted his dad to notice him and care about him. And he was trying so hard to be enough of a man that his father would pay attention to him, which was really the crux of the character and the crux of the development. And when he was gonna die and couldn't get it, he just, you know, he was crying for his father's attention and affection. And it was so profoundly moving and so brave for a 17 year old kid to come in on

an audition and let that out. And I just thought that kid has a lot going on and he is going a long ways because not any other person came in and we saw everybody in the town, not anybody else that came in was willing to just rip it open like that. And that's why I stood up for him because I thought, you know, you have a kind of guts in your vulnerability that is what makes the star. And that is what makes the star. And that combination of intense courage with your own vulnerability is so rare. And he just has it in spades.

I mean, that's why you see him in the Wolf of Wall Street and he just lets it rip, you know? And he's not embarrassed or ashamed or pulling his rip, you know? And he's not embarrassed or ashamed or pulling his punches, you know? And that's absolutely fascinating. Yeah. He's a good movie star, you know? And you were saying Sydney Portier earlier.

I was wondering, I'm sure there are, but it doesn't seem like there's as many of those old school, elegant, great looking, cool movie stars like there used to be, there probably is, but I think when you grew up with a certain onesie look up to you, it feels like it's thinning a bit. Yeah, I think this kid, he doesn't look like a kid, but he is young.

This Aaron Pierre has that, I think he has that elegance. And you're right, it is so rare because for some reason, young people seem to have this kind of disregard and disrespect for the way they appear in public and the way they treat the press, as though the press isn't your sole liaison to the public. the press isn't your sole liaison to the public. It's like, get a clue. If they don't wanna shoot you

and they don't wanna support you and they don't wanna believe in your films, you should probably leave town. Love the idea of leaving town still. Get out of town. With all our connectivity. Can we talk about casino for a second? Cause I was talking to of leaving town still. Get out of town. With all our connectivity. Can we talk about Casino for a second? Because I was talking to my wife about that.

She goes, oh my God, Sharon was so brilliant in that movie. Because I guess it's the actress meets the part, meets the director, meets De Niro, meets Pesci. And that was magic in that role. It was my dream. My whole dream was to work with Robert De Niro. My acting teacher is like, what do you really want out of this?

And I'm like, I work opposite Robert De Niro and hold my own. I mean, that was the whole sentence. That was the whole thing. That's really all I ever wanted. And I got it. I didn't expect I was gonna get to work with Martin Scorsese, you know,

Jesus, who does, you know, and to have had this astonishing opportunity and to get to do it, you know, I wasn't going to leave anything on the floor. You didn't. You did not. What's De Niro like? Like you're in a scene with him between takes, just casual. I just love to know, like, does he change it a lot? Does he surprise you? What's it like? You're just doing a scene with De Niro. He does have his mess around on set. He doesn't small talk. He doesn't hang out. He doesn't have anything else to talk to you about other than the work of the day, nothing. Absolutely nothing else.

And he might give me a suggestion, but he doesn't tell me how to do my job. He might say, you know, in the middle of that thing you're doing, could you just give me a glance here at some point, or do you need something here from me or is this what you are you wanting this you know he's just he's very very connected to the work the outcome what you're doing he's just absolutely the most dedicated, devoted, watching him work. I learned more than I learned watching any other actor.

And I got to work with like George C. Scott. I mean, I worked with some really cool actors, you know what I mean? But De Niro is, you know, he's just like his own thing, man, you know, he's not a chit chatter. He's just like his own thing, man. He's not a chit-chatter. He's just really serious. And that's the reason I think he's so good. And what about Pesci? Joe Pesci really fought for me. He fought for me to get the part.

He believed in me. He stood up for me. He's really good to me. I really appreciate him so much. He was really good to me. I really appreciate him so much. He was really supportive of me. He absolutely believed in me in a way that I don't think anybody else really did. And we had rough scenes to shoot, you know, like, because our relationship was rough sex and dirty and secret.

And I felt completely safe with him, although when he's in that character, he's scary as all, he's all in. And it's good to work with someone that's all in. But Joey played in that film just a really, I don't know how to explain it, but like loose, ready to go, ready to kill somebody at any second.

I'm playing someone who's choking me and I'm trying to be loose with all this. It was intense and great intense, but you gotta belly up to the bar when you go to work with Jimmy Woods and Joe Pesci and Robert De Niro. There's no fucking around. You better be good. You got to hold your own. You better be present. And I think that those people often scare actresses. I've watched many, many other actresses work. And while they're sometimes quite good, often they seem And while they're sometimes quite good, often they seem a bit defended. And I think that you have to really not be separate from those guys. You have to be willing to jump in the pool with them

and know that they're not going to save you if you're drowning. What day of the week do you look forward to most? Well, it should be Wednesday. Ahem, Wednesday. Why, you wonder? Whopper Wednesday, of course. When you can get a great deal on a whopper. Flame grilled and made your way.

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Before we let you get on with your life, I just wanted to kind of mention your book, your autobiography, which got rave reviews. Do you want to talk to it a little bit? And then also your art. And right now you're in Berlin in a gallery, I believe. Your art has been well-received by critics. You've been interviewed in New York by Jerry Stass, or whatever. So- Jerry Saltz. How did that happen?

And what are you, they're big, beautiful, colorful abstracts. Are they an acrylic or oil or a combo? And do you have someone helping you bring in canvases and stretch them and jessa them? And there's a industrial part of having a studio. And how did you work toward being able to do that? Or you'd done some art before, but I'm just curious. Yeah, you know, I studied all this in university where,

you know, if you studied art, you had to do everything from jewelry making to sculpting to oils, watercolors, acrylic, you had to do everything, everything, everything. So I know how to do all that, but there's certain aspects of it I just don't want to do anymore. So I get my canvases stretched for me and I get the built elsewhere. Because it's just, it's too much for me at this point. But I do have a studio manager who is really cool named Zach, and he's terrific and he helps me a lot. And, but basically, I mean, painting is sort of a one-man band and it takes time. It takes time and dedication and devotion and it's an on-the-job learning process. The more you paint, the better you get and the more you understand. The more you study, the more you understand how to mix colors.

And the more you understand how color works, I'm fascinated by color. And the more you understand balance and story and execution and the use of all the different possible tools that you can use, it's like anything. The more you do it, the better you get. And do you work on multiple canvases at a time or do you kind of want it? I do. I have, well, I work on campus till I feel that it's at the point where I'm as far as I can go. And sometimes I complete a canvas and sometimes I think that's the underpainting.

And I need to just put that in the other room for now until I understand where I'm going from here. Yeah. That totally makes sense. Right, because you guys probably write like that, right? Yeah, and Dana paints also. Well, I'm not like you, but I was surprised how much I loved it

and I have no ability at all. I would just do doodles and little characters on yellow pads, right? And then I saw Basquiat and I go, oh, well, I'll do my version of that. So I do them on heavy paper, 30 by 32, and then sometimes I blow them up and they're just acrylic so I can go fast.

I don't want to think too much. And I often over paint them. I think over painting is smart and good. I over paint constantly. I think you don't want to waste anything. And when you know it's not working, over paint it or over paint part of it, which is what I'm coming to understand now is that when you do something and you think, oh, that's just awful, don't just overpaint the whole thing right away. Like give yourself a minute to really step back from it and find one good thing in it and start over painting, but leave the good thing. And before you overpaint it, make sure you turn it every single direction. Turn it upside down, turn it sideways. Look at it

from every direction because you don't know where your inspiration is coming from. And I agree. I think Basquiat is just unbelievable talent. And he also showed us another way to be, another way to express ourselves, another opportunity. You know, you'd look at it and you go, why is it affecting me so much? When you go to an art museum and you're going around the corner, you see a big basket because you go out people, it, you can't dismiss it. There's something, um, so fluid about it. So casual, this feeling of just being connected to the canvas.

It's I don't know, it's just talent, I guess, but he's fun. Who else do you like? Well, you know, with this Rothko show that has been going on, and then if you follow the show that you start getting your daily Rothko, and you, it's just, you look at these colors and you think the same thing. Why is this having such a tremendous impact on me? And how did he do it? And why? And what does it mean? And it just evokes so much. And I feel this way. I'm a huge Gerard Richter fan. And I just love these paintings and the impact and movement of these paintings. And, you know, Helen Frankenthal, the color aspect of what she did was so moving

and interesting and the way she did it was all her own. And I just, you know, I just, I don't know, I'm a little bit of an artaholic. I've spent most of my life on the road in museums on my day off. And that's been a fantastic education. Well, it's cool you've been, it's a little bit like any kind of personal pursuit, like time really flies if you're really focused on a painting, whether you're a novice or great, it's a meditation and you've been really well received. So I'm going to make a prediction about you, whether you want it or not, but there's going to be some role or live streaming

Apple show or something you're going to be in and be brilliant. If you feel like you want that, because I can just tell talking to you, put the camera on this woman because you have all this energy and all this emotion. It's all right there. So that's my prediction. You have yours. David, would you like to make a prediction? I think it was, it's wonderful talking to Sharon. She's so articulate and so, uh, exactly as I remember. And she's got such a voice that is very unique and, uh, well known and, uh, voices never change with people. It's always, you know, you get older and people go on their lives and it's always, there's something interesting about somebody's voice. It's like a fingerprint.

I like hearing Sharon's voice. I like hearing all she has to say today and very cool of her to talk to us. Thank you for coming on, Sharon. Really, really enjoyed it. I wish you all the best. I was so excited that you asked me to come on. First, because I haven't seen either one of you in quite a while and it's just good to see you both. And it's good to see you both well and good. And it's good to see that,

you know, we're all still standing. You know, we devoted ourselves and agreed to do this. And, you know, it's hard to hold on. You have to really want it. It has to be everything to you to hold on. And it's really nice to see that we're all still surviving together. So I just really appreciate that you took your time and invited me into your world. Thank you.

Thank you, Sharon. All right, Sharon, we'll talk to you soon and thank you and have a great day. This has been a presentation of Odyssey. Please follow, subscribe. All right, Sharon, we'll talk to you soon and thank you and have a great day.