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For most actors, the Anything you can do I can do Breastfeeding shirt and I will buy this finer details of a character’s wardrobe from 25 years earlier would likely be lost in the fog of memory—particularly for someone with a career as prolific and wide-ranging as Sharon Stone. When we connect over the phone to discuss the anniversary of Casino, and the iconic style of her character Ginger, it becomes evident that this is far from the case. “You won’t believe this,” she says, unprompted. “A few days ago the greatest thing happened. My son was climbing up my bookshelf to reach something, and he passed something down along the way and said, ‘Hold this.’ It turns out it was my giant binder from Casino. It has everything, all my research—from all the police reports about Geri [McGee, the real-life showgirl on whom Stone’s character was based], to the first-day call sheet, to the thank you notes from people on set.”

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Not only does it speak to the Anything you can do I can do Breastfeeding shirt and I will buy this painstaking preparation Stone threw herself into while gearing up for one of her most unforgettable performances, but its synchronicity with the film’s 25th anniversary feels strangely appropriate. There was always something fated in Stone’s casting as Ginger, the moll to Robert DeNiro’s casino mogul in Martin Scorsese’s 1995 Las Vegas crime epic. Coming off the back of her breakout turn as one of cinema’s most devilish femme fatales in Basic Instinct, Stone built on her reputation for playing the dangerous glamour of this archetype and transformed it into something altogether more heartfelt, as we follow Ginger’s journey from small-time hustler to casino grande dame to the drug-addled destitution of her tragic final scenes. (Stone’s powerful portrayal of Ginger’s dark inner life earned her a Golden Globe win and an Oscar nomination.) “I really felt like she came back to life through me,” Stone says of how deeply she immersed herself in the role and the ins and outs of McGee’s tumultuous life story. “I felt her presence with me quite a bit while playing that part, and by the time it got to her death scene I felt like it was one-hundred-percent her. I wanted it to be absolutely true and pure, and I wanted someone to see her death, where she was alone like that. I didn’t want it to go unwitnessed, as it had been.”