Tarantino y los asesinatos Manson



Sabiendo que Thurman fue persuadida por Tarantino para conducir el coche, a pesar del miedo de ella por la poca seguridad del vehículo, y del desastre posterior, no cuesta nada imaginarse Death Proof y la inclusión de Zoë Bell en la película como una especie de "perdón" a posteriori por parte del director.

Veremos en qué queda todo esto.

"Since the revelations about Weinstein became public last fall, Thurman has been reliving her encounters with him — and a gruesome episode on location for “Kill Bill” in Mexico made her feel as blindsided as the bride and as determined to get her due, no matter how long it took.

With four days left, after nine months of shooting the sadistic saga, Thurman was asked to do something that made her draw the line.

In the famous scene where she’s driving the blue convertible to kill Bill — the same one she put on Instagram on Thanksgiving — she was asked to do the driving herself.

But she had been led to believe by a teamster, she says, that the car, which had been reconfigured from a stick shift to an automatic, might not be working that well.

She says she insisted that she didn’t feel comfortable operating the car and would prefer a stunt person to do it. Producers say they do not recall her objecting.

“Quentin came in my trailer and didn’t like to hear no, like any director,” she says. “He was furious because I’d cost them a lot of time. But I was scared. He said: ‘I promise you the car is fine. It’s a straight piece of road.’” He persuaded her to do it, and instructed: “ ‘Hit 40 miles per hour or your hair won’t blow the right way and I’ll make you do it again.’ But that was a deathbox that I was in. The seat wasn’t screwed down properly. It was a sand road and it was not a straight road.” (Tarantino did not respond to requests for comment.)

Thurman then shows me the footage that she says has taken her 15 years to get. “Solving my own Nancy Drew mystery,” she says.

It’s from the point of view of a camera mounted to the back of the Karmann Ghia. It’s frightening to watch Thurman wrestle with the car, as it drifts off the road and smashes into a palm tree, her contorted torso heaving helplessly until crew members appear in the frame to pull her out of the wreckage. Tarantino leans in and Thurman flashes a relieved smile when she realizes that she can briefly stand.

“The steering wheel was at my belly and my legs were jammed under me,” she says. “I felt this searing pain and thought, ‘Oh my God, I’m never going to walk again,’” she says. “When I came back from the hospital in a neck brace with my knees damaged and a large massive egg on my head and a concussion, I wanted to see the car and I was very upset. Quentin and I had an enormous fight, and I accused him of trying to kill me. And he was very angry at that, I guess understandably, because he didn’t feel he had tried to kill me.”

Even though their marriage was spiraling apart, Hawke immediately left the Abbey of Gethsemani in Kentucky to fly to his wife’s side.

“I approached Quentin in very serious terms and told him that he had let Uma down as a director and as a friend,” he told me. He said he told Tarantino, “Hey, man, she is a great actress, not a stunt driver, and you know that.” Hawke added that the director “was very upset with himself and asked for my forgiveness.”

Two weeks after the crash, after trying to see the car and footage of the incident, she had her lawyer send a letter to Miramax, summarizing the event and reserving the right to sue.

Miramax offered to show her the footage if she signed a document “releasing them of any consequences of my future pain and suffering,” she says. She didn’t.

Thurman says her mind meld with Tarantino was rattled. “We were in a terrible fight for years,” she explains. “We had to then go through promoting the movies. It was all very thin ice. We had a fateful fight at Soho House in New York in 2004 and we were shouting at each other because he wouldn’t let me see the footage and he told me that was what they had all decided.”

Now, so many years after the accident, inspired by the reckoning on violence against women, reliving her own “dehumanization to the point of death” in Mexico, and furious that there have not been more legal repercussions against Weinstein, Thurman says she handed over the result of her own excavations to the police and ramped up the pressure to cajole the crash footage out of Tarantino.

“Quentin finally atoned by giving it to me after 15 years, right?” she says. “Not that it matters now, with my permanently damaged neck and my screwed-up knees.”

(Tarantino aficionados spy an echo of Thurman’s crash in his 2007 movie, “Death Proof,” produced by Weinstein and starring Thurman’s stunt double, Zoë Bell. Young women, including a blond Rose McGowan, die in myriad ways, including by slamming into a windshield.)

As she sits by the fire on a second night when we talk until 3 a.m., tears begin to fall down her cheeks. She brushes them away.

“When they turned on me after the accident,” she says, “I went from being a creative contributor and performer to being like a broken tool.”

Thurman says that in “Kill Bill,” Tarantino had done the honors with some of the sadistic flourishes himself, spitting in her face in the scene where Michael Madsen is seen on screen doing it and choking her with a chain in the scene where a teenager named Gogo is on screen doing it.

“Harvey assaulted me but that didn’t kill me,” she says. “What really got me about the crash was that it was a cheap shot. I had been through so many rings of fire by that point. I had really always felt a connection to the greater good in my work with Quentin and most of what I allowed to happen to me and what I participated in was kind of like a horrible mud wrestle with a very angry brother. But at least I had some say, you know?” She says she didn’t feel disempowered by any of it. Until the crash.

“Personally, it has taken me 47 years to stop calling people who are mean to you ‘in love’ with you. It took a long time because I think that as little girls we are conditioned to believe that cruelty and love somehow have a connection and that is like the sort of era that we need to evolve out of.”"
 
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Lennoniano dijo:
¿Alguien hace un resumen?
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Basicamente...

Uma no queria conducir el coche por que le habían dicho que podia tener problemas.
Quentin insiste en que lo haga y que le pise un poco para que el viento le mueva el pelo.
Uma conduce, el coche es una bañera con ruedas, se le va y se la mete contra una palmera.
Se hace daño en el cuello y en las rodillas. En el cuello le quedan secuelas, supongo que cervicales jodidas para siempre.
Uma acusa a Tarantino de haberla querido matar.
Quentin nunca le enseñó las imágenes del accidente.
Rompieron relaciones.
Tarantino hace Death Proof para pedirle perdón a Uma.
 
Joder, que ostia. A Q le salva al final no? Leo Di Caprio en diagonal. A Bender & Don Harvey les desea sífilis EH. Ni una maldición gitana jajajj
 
Última edición:
Con Quentin es más amable, sí. Hay que tener en cuenta que fue el que accedió a ceder el vídeo del accidente. Más vale tarde que nunca. Y parece que su arrepentimiento es sincero.

Un accidente terrible y desafortunado. A lo largo de la historia del cine ha habido muchos casos así. En cualquier caso hay que separar al artista de su arte. Y la obra de Tarantino sigue ahí, igual que antes. Aunque no deja de corroborar lo que él decía respecto a que sus películas, aunque enclavadas en los géneros, son profundamente personales. A saber cuántos fantasmas se esconden en su obra.
 
Última edición:
Uma si es alguien es por uno de los mejores, o sea, Quentin. Le tiene que agradecer toda su vida profesional y a donde ha llegado.
 
Uma ya había trabajado antes con gente como Gilliam, McNaughton o Frears, eh? Que al que resucitó fue a Travolta.

que sus mejores trabajos son QT, vale, pero tampoco le debe la carrera.

y por cierto, el perdón le inspira Death Proof pero el vídeo se lo guarda unos cuantos añitos. Curioso arrepentimiento.

KLopeK dijo:
Leo Di Caprio en diagonal.
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:?
 
Lo bueno del perdón es que apagarán las antorchas de la jauría feminazi abanderada por la Chastain, la Argento y el pagafantas de Apatow, que pedía que no se financiase su película sobre Polanski.
 
Fell dijo:
Lo bueno del perdón es que apagarán las antorchas de la jauría feminazi abanderada por la Chastain, la Argento y el pagafantas de Apatow, que pedía que no se financiase su película sobre Polanski.
Hacer clic para expandir...

I tant! Lo leí ayer, ya empezaba la caza de brujas a lo Woody Allen, Apatow en ambas por cierto (Apatow muérete), artículos en el Washington Post condenando el cine de autor en general!

Y Uma dice que Quentin se la jugó personalmente para enviarle el vídeo, eh
 
Las declaraciones de Chastain no pueden ser más desafortunadas y en ellas late el pulso de la cacería ciega. Me parece fenomenal y hasta necesario que se posicione, se empodere, denuncie los abusos y reclame el espacio negado durante años. Pero la forma en la que lo hace con Tarantino, incidiendo en cuestiones estéticas de su cine (obviando Death Proof) y resaltándolas como negativas, me parece peligrosísimo. Es decir, censura de lo que éticamente nos incomoda, el mayor enemigo del arte. Me sorprende viniendo de alguien que tenía como mucho más inteligente. Al contrario que Apatow, que lógicamente no me sorprende nada. Un tipo que lleva años haciendo un cine que bajo la premisa de subvertir ciertos clichés, en el fondo mantiene los estereotipos de toda la vida en cuestiones sociales y de relaciones humanas, a los que tan sólo les ofrece una capa de barniz nuevo; películas completamente inofensivas, ausentes de crítica y asépticas ante cualquier poder. Igualito que Tarantino que lleva varias pelis incomodísimas abordando asuntos de género o su revisionismo de la cuestión afroamericana y su encaje en la historia reciente de EEUU. Igualito...
 
Lo de Apatow es de una hipocresía lamentable. Cuando se trata de un amigo suyo lo único que recibimos de su parte es silencio. Basta ver el caso de James Franco.
 
Yo ya me niego a ver cualquier cosa que tenga que ver con la tarada Chastain. Menuda lunática esquizofeminoidestalinista.
 
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