Castlegar News May 4, 1986 ENTERTAINMENT The Marlane Hotel —=OPEN— SUNDAYS In the Pub — 11 a.m. - 12 midnight LIVE MUSIC WEEKDAYS — EXOTIC DANCERS OPEN 4 P.M. DAILY WESTAR & COMINCO VOUCHERS ACCEPTED Reservations for Private Parties — 365-3294 Located | mile south of Weigh Scales in Ootischenia Mary E. Elliott EXHIBITION OF PAINTINGS Color with a Zing! NATIONAL hemp poll CENTRE 9:30 a.m. to 4:30 p.m. Weekdays 10:30 a.m. to 4:30 p.m. Weekends Evening Reception Thurs., May 15. 8 to 10 ‘Simplicity — with strength @ diffused quality of rich watercolor washes set agains! sharp contrasting growth forms. This Week in DEXTER’S PUB MON. THRU SAT Webster Bulletin Board MAY DAY PICNIC All welcome Sunday, May 4 Birchbonk Picnic Grounds from 11:00 a.m. sunshine ond socializing in solidarity with Lone people oround the world. 3/34 REGIONAL ARTHRITIS SUPPORT GROUP jing, May 6, 7:30 - 9:30 p.m. Trail Regional Hospite! (Edocotton Room). Helen James, Occupational Therapist 's of aids and adaptations. For turther in- formation call Carolyn, 368-6347 or Jonice, 364-1470. 2/35 ART SHOW Crescent Valley Hall, Crescent Valley. May 10, 10 o.m. to 8 p.m. Retreshments. Work by Rose Allenbrand. 2/36 ROBSON RIVER OTTERS CASH BINGO Seturdey. May 10 at Arena Complex. Advance tickets rie at Johnny's Grocery, Castlegar Pharmasave. Moun Ski & Sports ond comet Food Mart. $9 at door. Early Birds 6p.m., regular 7 ‘end District non-profit The first 10 words ore each. Boldteced wor ds (which must be used for headings) count as two words. tra charge for o second insertion while the e enty-tive percent ond the fourth consecutive insertion 1s half-price. Minimum charge is $3.50 (whether od 1s for one, two or three times). Oe Deodlines ore 5 p.m. Thursdays for Sunday's poper S p.m. Mondays tor Wednesday's paper Notices host ‘be brought to the Castlegar News ot 197 Columbia A\ Bulletin Board Y= ; @\ABRIEL’S Now Open 7 Days a Week and we havea New Luncheon Menu Luncheon 11:30 a.m 10 p.m. 4:30 - 9:30 p.m. 365-6028 Sat. Dinner 5 Sundays LOS ANGELES (AP) — In the 1940s, Cary Grant and Irene Dunne could earn $150,000 a picture. Today Sylvester Stallone gets $12 million a movie and Dustin Hoffman can collect $6 million. Star salaries are soaring to dizzying heights, prompting concerns that the film industry is losing its economic balance. The escalation, some in the industry say, is caused in part by the new aggressive companies, such as Cannon MERYL STREEP . . .one of the highest-paid actresses Films and Tri-Star Pictures which need big names to market their movies and are willing to pay big bucks for recognizable faces. “The trend continues down the line,” said Art Murphy, Daily Variety's financial expert. “Stars of the 1960s and 1970s like Bruce Dern and George Segal are asking $750,000 per picture and getting it, whereas they were paid $400,000 before.” Stallone is the current contract king. MGM-UA paid him $15 million for writing, directing and starring in Rocky IV Columbia recently completed filming of Ishtar, co-starring Hoffman and Warren Beatty. The salary for each was $6 million. CONCEALS FACTS Stars and their agents are loath to discuss salary matters, and the studios refuse comment. However, recent published reports cite the following rates: Sylvester Stallone ($12 million), Dustin Hoffman, Stars' salaries sky rocket Warren Beatty, Robert Redford ($6 million), Eddie Murphy, Richard Lak lire Harrison Ford, Bill | Murray ($5 y ($4 ion), . Robert De Niro, Al Pacino, Chevy Chase, Meryl Streep, Goldie Hawn ($3 million), Diane Keaton, Sally Field ($2.5 million), Jessica, Lange, Jane Fonda, Kathleen Turner ($2 million), Sean Penn, Madonna, Mickey Rourke, Tom Cruise, Richard Gere ($1 million to $1.5 million). The list doesn’t include Clint Eastwood, who works only for his own company: his annual take would put him near the top of the list. = Nor do the figures take into account the percentages of profits exacted by stars. Hoffman has reportedly drawn $25 million for his interest in Tootsie. Cannon chairman Menahem Golati and Yoram Globus, president, insist Cannon's star salaries are based on sound business practices. Globus used Cannon's deal with Stallone for Cobra as an example: WARREN BEATTY $6 million for new film The star was paid an unrefundable $500,000 with the promise of a total salary of $12 million if the movie was made. “We sold Cobra to our world distributors and the picture was assured a profit before it started filming,” Globus said. Art Murphy said the extended product life of films also has contributed to skyrocketing salaries. $28 million Rhinestone, for which Stallone was paid $4 million and Dolly Parton $2 million. “After a film plays in theatres, it goes to casse’ ites, pay-TV, cable TV, network TV and syndication,” he said “In anticipation of these new markets, agents and lawyers are making deals that include an assumed percentage of future receipts.” Crities argue that the salary escalation is suicidal for the film industry, adding to the ever-mounting costs of a movie, which has risen from $10 million to $15 million in five years. They also cite the failure of such starry movies as the Michael Caine reportedly draws $1 —_ a movie. SYLVESTER STALLONE . - $12 million per movie “Everyone talks about actor’s salaries,” he said. “What about producers? What about the millions Steven Spielberg made on two pictures alone, E.T. and Indiana Jones?” James Stewart's agents made a landmark dea! for Winchester °73 in 1950. Unwilling to pay Stewart's asking price of $250,000, Universal agreed instead to assure him half the profits. The deal earned him a fortune and set the pattern for star contracts of the future. The late Steve McQueen became the forerunner for today’s big-buck stars when he was paid $2 million for Papillon in 1972. Book an entertaining rehash By ROD CURRIE The Canadian Press People magazine, quoted on the cover of Conversations with Capote, says it’s “juicy stuff - outrageous, provocative, entertaining.” Don't believe a word of it. Except, arguably, taining.” “enter The famous American author Truman Capote spent his life lusting after the limelight, throwing scandalous parties, ‘engaging in bitchy verbal battles on TV and'elsewhere and tittle-tattling @bout fellow cele! As he put it, rather coyly: 5 gets as much publicity as I "t know anybody who for doing nothing.” thrust for notoriety, he made his life an open ‘at the time of his death in 1984 on the eve of his irthday, many literary figures lamented that he had pon ier much of his time, talent and health in the pursuit oo celebrity, riches and pleasure. HI ARROW BEER & WINE STORE OP PEN MON. Large Zelection of i c 's Wine & Beer © ELEGANT GLASSW. © CHILLED WINES ¢ COLD BEER © MUNCHIES + © T-SHIRTS & HATS He gave seemingly endless interviews on TV and in such big American magazines as Esquire, Playboy and Rolling Stone. MUCH REHASHED And so this book of conversations, recorded over the last two years ‘of his life by author Lawrence Grobel, rehashes Capote’s oft-stated views .on sex, booze, the famous, Hollywood. writing and other subjects too numerous to mention, and offers remarkably few new insights. BOOK REVIE Still, the serpent-tongued Capote's remarks were often so intense they retain some entertainment value in their retelling, even if they have long since run out of juice or the power to outrage Grobel, an author also known as “the interviewer's interviewer” for his penetrating Playboy stories on such stars as Marion Brando, Henry Fonda and Joan Collins, flatly states that Capote was a genius. The trouble is, Grobel hangs on Capote’s every word and there is much idle chat int the book that isn't worth recording. Author James Michener, in an adoring introduction to Grobel's book, hails Capote as a great man of letters but is not quite sure of his genius status Aircraft art 651 - 18th St., Costleger MAPLE