In interviews over the years, Thurman has offered a Zen outlook - even when talking about her painful breakup from Hawke. Her two older kids with Ethan Hawke, Maya, an actress, and Levon, a high school student, also drop by. Luna is in her pj’s, munching on a raw cucumber. Stretching out her lanky frame on a brown velvet couch in front of the fire, Thurman tells her story, with occasional interruptions from her 5-year-old daughter with her ex, financier Arpad Busson. So what you really saw was a person buying time.”īy Thanksgiving, Thurman had begun to unsheathe her Hattori Hanzo, Instagramming a screen shot of her “roaring rampage of revenge” monologue and wishing everyone a happy holiday, “(Except you Harvey, and all your wicked conspirators - I’m glad it’s going slowly - you don’t deserve a bullet) - stay tuned.” “I was not a groundbreaker on a story I knew to be true. “I used the word ‘anger’ but I was more worried about crying, to tell you the truth,” she says now. When asked about the scandal on the red carpet at the October premiere for her Broadway play, “The Parisian Woman,” an intrigue about a glamorous woman in President Trump’s Washington written by “House of Cards” creator Beau Willimon, she looked steely and said she was waiting to feel less angry before she talked about it. “I stand as both a person who was subjected to it and a person who was then also part of the cloud cover, so that’s a super weird split to have,” she says. Thurman stresses that Creative Artists Agency, her former agency, was connected to Weinstein’s predatory behavior. And all these lambs walked into slaughter because they were convinced nobody rises to such a position who would do something illegal to you, but they do.”
#UMA THURMAN POISON IVY MOVIE#
Quentin used Harvey as the executive producer of ‘Kill Bill,’ a movie that symbolizes female empowerment. “I am one of the reasons that a young girl would walk into his room alone, the way I did. “The complicated feeling I have about Harvey is how bad I feel about all the women that were attacked after I was,” she told me one recent night, looking anguished in her elegant apartment in River House on Manhattan’s East Side, as she vaped tobacco, sipped white wine and fed empty pizza boxes into the fireplace. “Pulp Fiction” made Weinstein rich and respected, and Thurman says he introduced her to President Barack Obama at a fund-raiser as the reason he had his house. (With a foot fetish thrown in.) But beneath the glistening Oscar gold, there was a dark undercurrent that twisted the triangle. A spellbound Tarantino often described his auteur-muse relationship with Thurman - who helped him conceive the idea of the bloody bride - as an Alfred Hitchcock-Ingrid Bergman legend. The Miramax troika was the ultimate in indie cool. Playing foxy Mia Wallace in 1994’s “Pulp Fiction” and ferocious Beatrix Kiddo in “Kill Bill,” Volumes 1 (2003) and 2 (2004), Thurman was the lissome goddess in the creation myth of Harvey Weinstein and Quentin Tarantino. We’re talking about Hollywood, where even an avenging angel has a hard time getting respect, much less bloody satisfaction. She has been betrayed and gaslighted by those she trusted.Īnd we’re not talking about her role as the blood-spattered bride in “Kill Bill.” We’re talking about a world that is just as cutthroat, amoral, vindictive and misogynistic as any Quentin Tarantino hellscape.
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