”Rhinestone,” with Dolly Parton and Sylvester Stallone as costars, didn`t do much at the box office, but the two of them sure had a good time doing it. In the June issue of Ladies` Home Journal Parton says Stallone is
”nuts, sick, crazy, a scream! He`s pretty to look at, too. . . Sly is the perfect balance of total ego and total insecurity. I see how his mind works. If you were in love with him, he`d pick out all your weaknesses and either use them to help you or use them against you. I always told him he was spectacular but that he had a blind spot where compassion and spirituality ought to be.”
In the ”How Ugly Was She?” department is this description of herself from Joan Rivers, talking on the ”Hour Magazine” TV show about her teens:
”Even Elephant Man would say pass–and there I stood dreaming of being a movie star. I was the Pia Zadora of my generation.”
Everyone knows about Broadway`s greatest hits, ”Camelot,” ”My Fair Lady,” etc. But let`s look into one of the all-time bombs: ”Holly Golightly,” which opened and closed in 1966. ”Producer David Merrick sank more than half a million dollars into (this) musical adaptation of Truman Capote`s `Breakfast at Tiffany`s,` ” writes Rebecca Stefoff in ”Mary Tyler Moore: The Woman Behind the Smile.” In it Moore, fresh from being Dick Van Dyke`s perky TV wife, Laura Petrie, played a neurotic nympho. It was miscasting raised to an art, and the show closed after its third preview performance. Merrick dubbed it ”my Bay of Pigs.” Newsweek called it ”the show-business equivalent of the sinking of the Titanic.” Moore, her head held high, faced the press at Sardi`s and said the only thing she looked forward to was ”the warm goodbyes.”
REPLAYS
”You can`t blame a writer for what the characters say.” Truman Capote ”When I have something to hide, I let the character speak.” Isaac Bashevis Singer
”That trite little whimsy about characters getting out of hand; it is as old as the quills. My characters are galley slaves.” Vladimir Nabokov
