An interview with a blotto Lee Marvin.
A profile of Marlon Brando, 33, holed up in a hotel suite in Kyoto where he was filming Sayonara.
My guide tapped at Brando's door, shrieked "Marron!," and fled away along the corridor, her kimono sleeves fluttering like the wings of a parakeet.
A profile of the hardworking Samuel L. Jackson, whose movies have grossed more than any actor’s ever.
FRANCO: “Straight” and “gay” are fairly recent phenomena. One of the things the great book Gay New York: Gender, Urban Culture and the Making of the Gay World, 1890–1940 is about is the way those labels have changed behavior. Between World War I and World War II, straight guys could have sex with other guys and still be perceived as straight as long as they acted masculine. Whether you were considered a “fairy” or a “queer” back then wasn’t based on sexual acts so much as outward behavior. Into the 1950s, 1960s and so on, the straight and gay thing came up based on your sexual partner. Because of those labels, you do it once and you’re gay, so you get fewer guys who are kind of in the middle zone. It sounds as though I’m advocating for an ambiguous zone or something, but I’m just interested in the way perception changes behavior.
A profile of Justin Timberlake:
This need to succeed, to become his generation’s multi-talented Sammy Davis Jr., is part of what makes him appealing to filmmakers. “I needed someone who could be a Frank Sinatra figure, someone who could walk into the room and command all the attention,” says David Fincher, of casting Timberlake as Sean Parker, the Facebook investor and rogue, in The Social Network. “I didn’t want someone who would just say, ‘I know how to play groovy.’ You can’t fake that stuff. That’s the problem with making movies about a rock star—actors have spent their lives auditioning and getting rejected, and rock stars haven’t.”
A rare interview with Gene Hackman, who says Welcome to Mooseport was his last movie, unless he “could do it in my own house.”