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|Also Known As:||Sharon Yvonne Stone||Died:|
|Born:||March 10, 1958||Cause of Death:|
|Birth Place:||Meadville, Pennsylvania, USA||Profession:||actor, model, producer, waitress, counter girl|
Biography CLOSE THE FULL BIOGRAPHY
ert De Niro, in Martin Scorsese's "Casino" (1995). No part had ever made such heavy demands on the actress and she was a Golden Globe-winning and Oscar-nominated revelation, letting loose with a corker of a performance as the beautiful and unstable, ultimately pathetic moll with no inner life. Now a highly-paid, much-in-demand diva with her own production company (Chaos) and a first-look deal with Miramax, Stone filmed a remake of the noir classic "Diabolique" (1996) with Isabelle Adjani and Chazz Palminteri before playing a death-row inmate whose lawyer (Rob Morrow) works to save her from execution in "Last Dance" (1996). The former, a pale imitation of the 1955 classic, was notable more for her battle with its producer over refusing to bare her flesh, while the latter - despite presenting a uniquely drab, unglamorous Stone - followed too closely on the heels of the similarly-themed "Dead Man Walking" (1995). Protecting her hard-won stardom, Stone was a clever manipulator of her public image, on heavy press days reportedly changing outfits between each interview and photo session, a practice unheard of since the days of Carole Lombard and Norma Shearer. On the red carpet, Stone became thee fashion...
ert De Niro, in Martin Scorsese's "Casino" (1995). No part had ever made such heavy demands on the actress and she was a Golden Globe-winning and Oscar-nominated revelation, letting loose with a corker of a performance as the beautiful and unstable, ultimately pathetic moll with no inner life.
Now a highly-paid, much-in-demand diva with her own production company (Chaos) and a first-look deal with Miramax, Stone filmed a remake of the noir classic "Diabolique" (1996) with Isabelle Adjani and Chazz Palminteri before playing a death-row inmate whose lawyer (Rob Morrow) works to save her from execution in "Last Dance" (1996). The former, a pale imitation of the 1955 classic, was notable more for her battle with its producer over refusing to bare her flesh, while the latter - despite presenting a uniquely drab, unglamorous Stone - followed too closely on the heels of the similarly-themed "Dead Man Walking" (1995). Protecting her hard-won stardom, Stone was a clever manipulator of her public image, on heavy press days reportedly changing outfits between each interview and photo session, a practice unheard of since the days of Carole Lombard and Norma Shearer. On the red carpet, Stone became thee fashion trendsetter. When donning a Gap turtleneck to the Oscars, she was crowned the fashion queen of Hollywood for going against the grain, but infusing her own personal style to great effect. Her personal life, however, and the wreckage of her real-life femme fatalities had solidified an image as an "ice princess," a tag she sought to lose in order to be taken seriously as an actress.
Stone went to work changing the public's perception of her, crediting Miramax executive Harvey Weinstein with having the foresight to see she could convincingly play a relatively normal, single mother "when everyone else said it was impossible." The fact that her production company ultimately financed 1998's "The Mighty" made his decision infinitely easier. That said, her strong, emotional performance in a secondary role confirmed her range, and her marriage to San Francisco Examiner editor Phil Bronstein helped with her transition. Stone finally began to achieve the diversity she had craved with movies like the animated "Antz" (1998) and "Sphere" (1998), an unfortunately lackluster Barry Levinson venture where she appeared as a biochemist. The flop was forgotten in the face of Albert Brooks' "The Muse" (1999), where she was fantastic as a Greek muse who lends her inspiration to Hollywood types, but not without turning their lives upside down with her demands.
Stone appeared in fine form in a brief role in "Simpatico" and resurfaced occasionally in low-profile projects - including "Picking Up the Pieces" (2000), "Beautiful J " (2000) and HBO's lesbian-themed "If These Walls Could Talk 2" (2000) - but her marriage to Bronstein kept her away from Hollywood - both geographically and on film - for many years. In 2001, the actress was further sidelined by an unexpected health issue when she suffered a brain aneurysm that nearly proved fatal. Following several surgeries and her eventual recovery, Stone appeared in a public service announcement meant to educate the public on recognizing the signs of a stroke.
Her recovery coincided with the end of her marriage to Bronstein, leaving Stone to return to Hollywood looking as fit and fabulous as ever, lighting up the big screen in director Mike Figgis' sly reinvention of a haunted house thriller "Cold Creek Manor" (2003). Stone gave one of her most campy and unsatisfying turns as the villainous model-cum-mogul Laurel Hadare opposite Halle Berry in the laughable flop "Catwoman" (2004). Offscreen, she was the subject of a courtroom battle after producers backed out of an alleged verbal $19.36 million agreement for her to star in a sequel to "Basic Instinct." She later settled, with part of deal including a planned sequel.
Stone next gave a great performance as a racecar driver's wife and the mother of an exhibitionist Lolita teen in Jim Jarmusch's "Broken Flowers" (2005). The low-profile indie earned less attention than Stone's presence at the World Economic Forum in Switzerland that year, where her impromptu fund-drive for malaria-preventing mosquito nets in Africa ended up digging unnecessarily into the pockets of UNICEF for an expense that was already covered by the African government. The following spring, her misguided philanthropic efforts were again under fire when she attended a press conference in Israel and declared that she would "kiss just about anybody for peace in the Middle East." However, no one could fault the actress for her tireless fundraising for AIDS awareness and research through her many AMFAR charity functions.
After over a decade of sequel speculation, Stone returned to the familiar territory that made her famous in "Basic Instincts 2: Risk Addiction" (2006). As promised, the nearly 50-year-old actress bared all in her return as the ice pick-wielding crime novelist Catherine Trammell, creating what she hoped would be a big enough stir to lure curiosity seekers into the multiplexes. But "Basic Instinct 2" took a critical and theatrical drubbing, while the actress received unbridled scorn for a performance that was deemed embarrassing and comical.
Stone rebounded yet again, and was the recipient of warm praise for her mature and grounded performance in "Bobby" (2006), first-time director Emilio Estevez's engaging look at the 16 hours prior to Senator Robert F. Kennedy's assassination at the Ambassador Hotel in Los Angeles, as seen through the eyes of several guests and employees. Following the film's debut at the 2006 Venice Film Festival, it received a nine minute-long standing ovation, particularly for Stone and co-star Demi Moore. Stone proved that her comeback was no fleeting success, giving a powerhouse performance the following year in Nick Cassavetes' "Alpha Dog," a fact-based drama in which she played the devastated mother of a murdered teen. Stone had no fewer than three feature releases scheduled for 2008, including independent films "If I'd Known I Was a Genius" and "The Year of Getting to Know Us.">Despite the debate and controversy, Stone emerged as a legitimate movie star, looking every bit the part of the classic Hollywood femme fatales whom critics likened her to. Screenwriter J Ezsterhas hoped Stone could bring the same depth to more of his middling male fantasies and though she really did not want to do "Sliver" (1993), another sizzling sex melodrama, she could not find any other part she liked better. Retreating into the much more familiar and conventionally sympathetic role as the victim of a psychotic voyeur was a disappointment and ultimately a waste of her fiery talent. Trying to stretch beyond the image of her past two films, she begged for the frigid wife role - they offered her much more to play the girlfriend - in "Intersection" (1994), which was a limited success and earned the actress a nomination at the Razzie Awards.
Harkening back to her earlier years when she was often cast opposite impossibly larger than life men of action, Stone paired with Sylvester Stallone in the explosive "The Specialist" (1994). She failed to offer much depth and could not make Sly look sexy, with New York Times film critic Janet Maslin likening the spectacle to seeing "the Hindenberg crash into the Titanic." Stone fared better in the risk-taking Western "The Quick and the Dead" (1995), signing on as co-producer and paying half of Leonardo DiCaprio's wages out of her own salary when the project ran into difficulties. Critical reception was uneven, but Stone was terrifically fun as a distaff version of a Clint Eastwood-like gunfighter, the film featured a pre-stardom Russell Crowe, and director Sam Raimi helmed the smartly derivative tale with style to spare. Later in the year, she gave her strongest dramatic performance to date as Ginger, the Vegas hustler who wins the heart of Rob
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Stone was admitted to the hospital in late September 2001 with bleeding in the brain thought to be caused by a tiny aneurysm.
"Carole Lombard, Clark Gable, Ginger Rogers, Fred Astaire... that was my idea of what it was supposed to be like. I thought, well, I can do that even if no one else does. What cares? I dress up to show that I am happy and grateful to be there. That's what you do where I come from. I don't feel like saying fuck you. I feel like saying THANK you."---Sharon Stone on stardom as quoted in The New Yorker, March 25, 1996.
"People have started to call me Miss Stone instead of just Sharon, which I'm sure is a combination of my age and my attitude... I have found such peace of mind finally as an artist, such a sense of... OK, whatever happens from now on in, I touched my dream. It's different now. I'm no longer draggin' that Buick up the hill."---Stone to Los Angeles Times, December 31, 1995.
"It's probably not cool, but I go to the Oscars, and I'm damn happy to be there. I like my dress. I'm happy that I get to play too. I go to Cannes, get to ride around with police sirens, stopping cars. I happen to really enjoy it. Am I supposed to pretend this is hell? 'Ohhh, I'm so weighted down with jewels... '"---Sharon Stone quoted in GQ November 1995
Janet Maslin in The New York Times called watching Sharon Stone act with Sylvester Stallone in "The Specialist" (1994) "a disaster not unlike seeing the Hindenburg crash into the Titanic."
"If I was just intelligent, I'd be OK. But I am fiercely intelligent, which most people find very threatening... I have a strong point of view based on my experience. It may or may not be the correct one, but it is an informed one, and I'm willing to fight for it. If I were a petite, brunette, ethnic laywer, then my behavior would be totally acceptable. But we Barbie dolls are not supposed to behave the way I do."---Sharon Stone in Details, April 1992.
"Sharon Stone, in her first major-league role, comes on like a postfeminist Grace Kelly. She turns her haughty, slightly blank, cheerleader sexiness into something vampish and ominous, an all-American beauty mask."---From Owen Gleiberman's review of "Basic Instinct" in Entertainment Weekly, March 20, 1992.
"Now, as we've all seen in my recent reviews, I've been doing good work in not so good movies. So, over the years, I've been devoted to training, studying, working. You're not going to go for brain surgery from somebody who just got their bachelor's. As you train, learn and grow, it's natural that you move into that group of people who are doing the same thing. I've earned my way into the club. Or, at least, into the fringes of the club."---Stone quoted in Movieline, January 1992
"I can only relate it to how she commands the frame that she's in, how the lens deals with her, the sense of stature and the sense of control that she has. So that when the lens is on her, the audience is looking at nothing but her, the audience is looking at nothing but her, and she resonates with that intangible thing, that very intangible and very mysterious thing. Some have it and some don't. Some of our greatest actors don't have it, wonderful actors, but ultimately they lack something. It's real special. It's really part of her. She reminds me of Susan Hayward, Joan Crawford, Grace Kelly: all of those people had that command."---Martin Scorsese quoted in Lloyd Grove's "Sharon's Back in Town" Vanity Fair, March 1996.
"When she walks on the fucking screen, she's a Movie Star! What makes her a movie star is her slightly wounded, really self-involved quality. About 80 percent of it is healthy narcissism, and 20 percent is really unhealthy narcissism in her case. A lot of the unhealthy stuff is something that no one else would like, but also makes you want to save her and take her to bed."
"... a lot of the turbulence and tension between us comes from the fact that Sharon doesn't just have to steal every scene, she has to win every scene."---James Woods, quoted in Vanity Fair, March 1996
"Sometimes the behavior of individuals in the press is dehumanising. And that makes us think there are times when you are not behaving humanely. I've had phases of being battered in the press, which steals your courage... I don't really read much of my press unless it's something I've specifically agreed to. I don't have a clipping service any more. I think it's healthier not to."
"When I lived in a little neighborhood with my house right on the street, and a basketball hoop on my garage, the neighbors were great, they'd tell the paparazzi, 'Get off our street'. Then I moved to the rich neighborhood and the neighbors let the paparazzi shoot through their bushes for another 20 bucks."---Stone to Sarah Gristwood in The Guardian, December 5, 1998.
Received the Knight of the Order of Arts and Letters from the French government in 1995
Sharon Stone wore a $500,000 diamond necklace from jeweler-to-the-stars Harry Winston to the 1994 Academy Awards and then failed to return it. Winston claimed it was a loan. Stone claimed he had agreed to give it to her. She finally gave it back but slapped him with a reported $12 million lawsuit for breach of contract. He called the suit "mind-boggling." It finally was settled, but neither party can discuss the terms.
"If you have a vagina and an attitude in this town, then that's a lethal combination."---Stone Movieline November 2002
"If you act like you know what you're doing, you can do anything you want, except neurosurgery."---Stone US Weekly November 18, 2002.
"Sharon is like a star from another era. Like Elizabeth Taylor, her celebrity is almost her real profession. When she's supposed to be glamorous, at premieres and benefits, she looks glamorous."---Albert Brooks to the New York Daily News, September 16, 2003.
"... we all have a destiny. What's up to us is with how much integrity we meet it."---Stone quoted to Interview, August 2004.
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