00:00I don't remember saying that.
00:01That is the weirdest thing I've ever heard.
00:03Terrible dialogue.
00:04God knows I've played enough killers.
00:06I specialize in psychos.
00:13You've been spending too much time with your vibrator.
00:19God, I don't remember saying that.
00:22Or thinking that.
00:24Sphere?
00:25No, not Sphere.
00:26It's the name of the building, Sliver.
00:31You've been spending too much time with your vibrator.
00:34I certainly have.
00:35I made a rule that no one was allowed to even say that word for years.
00:39And that's why.
00:40Because what terrible dialogue, okay?
00:47Clearly written by a man without enough to do.
00:53With love to Bob De Niro.
00:55How could I love you?
00:57You treat me like I'm your fucking dog.
01:03Casino.
01:04How could I love you?
01:05Treat me like I'm your fucking dog.
01:07There were the looks I loved because they were beautiful and poignant.
01:12Like the bride look, dressed like Barbie, getting married, wanting to let go of a troubled past so I could
01:22move into my troubled future.
01:24The beautiful blue courage with the go-go boots that I go on the plane and go to the bank
01:31with him, which is just so heavenly.
01:33But there's also the tragic looks, like that hideous gold pants and jacket that I come back to the house
01:41in that's just bad, but it's so good.
01:45It's just so on point.
01:48Impeccable costuming, Rita Ryack, come on.
01:50I put my costumes in my contract in the 80s and everyone made fun of me.
01:57What do you want all these old clothes for?
01:59What are you, some kind of hoarder?
02:01Like, what is your problem?
02:02You're so crazy.
02:03But women never get paid.
02:05We didn't get paid in the business.
02:06And I walked out one day.
02:08I was on an episodic TV show and I walked out and my underwear and bras were all for sale
02:14on like a folding plastic table outside.
02:17And I was so embarrassed and humiliated.
02:20I was like, I just, this is just so degrading.
02:24And I just went to my manager and I was like, Chuck, I want my costumes in my contract.
02:29He goes, that is the weirdest thing I've ever heard.
02:31I'm like, I just don't want them auctioning off my underwear anymore.
02:35If I keep them, great.
02:36If I burn them, great.
02:37If I give them to goodwill, great.
02:40But this, not anymore.
02:43And then when I started to get very successful, people started making fun of me.
02:46Why are you taking your costumes home?
02:48Well, because guess what?
02:49I'm like Debbie Reynolds.
02:51And Carrie Fisher was my good friend.
02:53And she started giving me a lot more good advice.
02:55Get branding out of your contract.
02:57Because, you know, I've got me with my Star Wars buns on Pez machines in China.
03:03And I'm making zero dollars.
03:05Don't let people take advantage of you, Sharon.
03:07And Carrie taught me how to write my contract.
03:10Because Debbie taught her.
03:12The studios still want to give me a hard time.
03:15You can't have that in your contract.
03:16Well, guess what?
03:17Carrie did and so did Debbie and so do I.
03:19They're going to sale.
03:21I gave all my costumes to auction.
03:24That's going to happen in December.
03:28Okay, I'd have to be pretty stupid to write a book about killing and then kill someone.
03:32Oh, I should read this the way I actually read it, right?
03:36I'd have to be pretty stupid to write a book about killing and then kill someone the way I described
03:41it in my book.
03:43I'm not stupid.
03:50And that's the way I said it in the movie.
03:55I'd have to be pretty stupid to write a book about killing and then kill somebody the way I described
04:00it in my book.
04:00My amazing acting teacher Roy London said to me, Sharon, this is an action movie and you have seven pages
04:08of dialogue here.
04:09Anything in these seven pages that isn't riveting and absolutely necessary will be cut out of this movie because it's
04:19not action.
04:20If it isn't moving like the rest of the film, it's out.
04:25So let's get to it.
04:26It had to be so dangerous, so important, so compelling that you couldn't take your eyes off it or it
04:33would be out of the film.
04:34They would show the film to the press and then immediately bring them in to interview me.
04:40And they were terrified.
04:42They would sit down off opposite me and panic.
04:45I think it would be fair to say that that has not changed.
04:50People are still terrified of me.
04:54I'm starting to learn that there are just places and things I can't do by myself that I need an
05:01icebreaker.
05:01It's very hard for people to understand.
05:05I am a fragile, little, delicate, shy, private, loner, gentle, very empathetic artist.
05:27Not that character.
05:29Not at all like that character.
05:32Nothing to do with that character.
05:35And all your behavior could really, really hurt my feelings.
05:40The basic construct of a woman declaring herself as separate and indomitable was and remains a terrifying construct.
05:55You know how much I hate this fucking planet.
05:59So this has got to be from Total Recall.
06:02You know how much I hate this fucking planet.
06:06I worked really hard on this part because I had to believably beat up Arnold Schwarzenegger.
06:13And that's a big ask.
06:15I worked at a gym called Eaton's Gym, which was what I called a lung cut gym.
06:22Like no air conditioning.
06:24They had the bicycles that had fans in the wheel.
06:27And if you wanted some air, you had to bike harder.
06:31I had to kick Arnold in the head with a straight up kick.
06:35And Arnold was over six foot tall.
06:38So that meant that I had to do a complete direct leg extension above my head in order to kick
06:44him in the head.
06:45When I found out I got the part, I changed the way I was eating.
06:49I changed the way I was thinking.
06:51Arnold changed my reality on fitness.
06:59Oh, some people deserve to die.
07:03God knows I played enough killers that this could be any number of characters.
07:09Some people deserve to die.
07:11I specialize in psychos.
07:14I could have met any of them.
07:15Some people deserve to die.
07:18I executive produced this film and took my role as executive producer
07:23far more seriously than anyone else did because,
07:25you know, they usually called women's production deals vanity deals.
07:29So they could knock you off any time that they didn't agree with what you were doing.
07:34Fortunately, they ultimately agreed with most of my decisions because they were good ones.
07:41For example, on the gunslinging, there were no female quick draw artists anymore.
07:46So they wanted to dress a man up to be my stunt double, which didn't look right.
07:52And so I made the executive decision that I would learn to quick draw.
07:56And I became the fastest female quick draw artist in America.
08:00All of the men on the show were like,
08:03well, then we're not going to be doubled either.
08:04It became this real serious competition,
08:07which was fantastic for the movie because the movie is about a gun contest.
08:12We really did compete to see who was going to be the fastest quick draw.
08:18Who was?
08:19You're looking at her.
08:23You ready to leave the world behind?
08:25Not just for us, but for your sister.
08:28The answer you're searching for.
08:30Yes, ma'am.
08:32Euphoria.
08:33The answer you're searching for.
08:36Yes, ma'am. Thank you.
08:38I said this to Sidney Sweeney in an effort to get her to stop being a fangirl
08:43and to come and work for me on the show within the show on Euphoria.
08:49And she agreed to stop being a fangirl,
08:52which you can see from Sidney's now new lingerie line.
08:58Didn't take.
09:00Okay.
09:01Honey, all the gods drink.
09:04That's funny.
09:05Oh, this is from The Muse.
09:07Honey, all the gods drink.
09:09That was the greatest experience.
09:11Albert Brooks, what a genius.
09:14You know, his real name, his actual birth name is Albert Einstein.
09:18He changed his name to Albert Brooks for comedy,
09:21because it's kind of hard to be called Albert Einstein.
09:24But he is so brilliant.
09:26The Albert Brooks that you see in movies is how he really is.
09:31He's that funny all the time, all day long, that dry.
09:34It was exceptionally marvelous.
09:37And then all of the terrific directors from Jim Cameron to Marty to Rob Reiner.
09:43God love him.
09:45It was absolutely such a compliment that they showed up to allow me to be their muse.
09:52I sent a man to do what was clearly a woman's job.
09:59No recollection.
10:00I sent a man to do what was clearly a woman's job.
10:03Brian Murphy took me out to lunch and he said, I wrote you a part.
10:11And I said, okay, well, you don't seem to be very excited.
10:18And I said, well, I don't know what it is yet.
10:20People write parts for me was a bit of regularity and I don't take all of them.
10:26He wanted me to have a monkey on my shoulder for the entire part.
10:31To which I replied, I had a massive brain hemorrhage and a stroke.
10:36And I'm not particularly comfortable with anything on my head.
10:41Could I have a different sort of animal, something that's just not on my head?
10:46To which he replied, no.
10:48That took a bit of negotiating.
10:50Then the monkey, who was amazing, came over to my house and we spent a day together at my house.
11:00The monkey and I had a blast on this project.
11:04I could do this thing where I would be just like, oh, and kind of turn quickly.
11:08And if I turned in a certain way, the monkey would fling his tail and wrap it around my neck
11:14and we would just turn and then it would turn over my shoulder and go.
11:19Which was just flamboyant malice that was just fabulous for the character.
11:26No offense to all of the amazing gentlemen who have been my co-stars,
11:30but I have to say the monkey, the best.
11:44The monkey here.
11:44What do you think?
11:45Being good.
11:45The monkey here.
11:45The monkey here.ally
11:45be warm. The monkey
11:45here. The monkey
11:45here. The monkey
11:45turned out guy. So that's
11:46Foot on the luck режим 해완 of its day. Do you? That's clear
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