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为什么乌玛·瑟曼如此愤怒

更新时间:2018-2-7 10:14:18 来源:纽约时报中文网 作者:佚名

This Is Why Uma Thurman Is Angry
为什么乌玛·瑟曼如此愤怒

Yes, Uma Thurman is mad.

是的,乌玛·瑟曼(Uma Thurman)很气愤。

She has been raped. She has been sexually assaulted. She has been mangled in hot steel. She has been betrayed and gaslighted by those she trusted.

她被强奸、被性侵,被困在滚烫的钢铁残骸里,被信任的人背叛和伤害。

And 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.

我们说的不是她在《杀死比尔》(Kill Bill)中扮演的那个满身鲜血的新娘。我们说的是和昆汀·塔伦蒂诺(Quentin Tarantino)电影中的地狱场景一样残忍、是非不分、充满报复和歧视女性的世界。

We’re talking about Hollywood, where even an avenging angel has a hard time getting respect, much less bloody satisfaction.

我们说的是好莱坞。在这里,即便是复仇天使也很难获得尊重,更别说血腥的满足感了。

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. The Miramax troika was the ultimate in indie cool. 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. (With a foot fetish thrown in.) But beneath the glistening Oscar gold, there was a dark undercurrent that twisted the triangle.

瑟曼在1994年的《低俗小说》(Pulp Fiction)中扮演狐媚的米娅·华莱士(Mia Wallace),后来在《杀死比尔1》(2003)和《杀死比尔2》(2004)中扮演凶残的贝娅特丽克丝·基杜(Beatrix Kiddo)。她是哈维·韦恩斯坦(Harvey Weinstein)和昆汀·塔伦蒂诺创作神话中敏捷优雅的女神。米拉麦克斯(Miramax)公司的这个铁三角组合堪称独立酷片的终极配置。瑟曼和塔伦蒂诺一起构思出了血腥新娘的创意,心醉神迷的塔伦蒂诺经常说瑟曼是他的缪斯,两人的关系堪比阿尔弗雷德·希区柯克(Alfred Hitchcock)与英格丽·褒曼(Ingrid Bergman)式的传奇。(还要加上恋足癖。)但在闪闪发光的奥斯卡小金人的掩盖下,一股暗流扭曲了这个铁三角。

“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.

《低俗小说》让韦恩斯坦收获了财富和尊重。瑟曼说,在一场募捐活动上,韦恩斯坦把她介绍给贝拉克·奥巴马(Barack Obama)总统,说正是因为她,他才有了自己的房子。

“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.

 “我对哈维的复杂感情令我对在我之后被伤害的所有女性感到非常愧疚,”前不久的一个晚上,在她位于曼哈顿东区River House的雅致公寓里,瑟曼对我说,她一边吸烟一边喝白葡萄酒,把空披萨盒子扔进壁炉,看上去痛苦万分。

“I am one of the reasons that a young girl would walk into his room alone, the way I did. Quentin used Harvey as the executive producer of ‘Kill Bill,’ a movie that symbolizes female empowerment. 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.”

 “那些年轻女孩像我当年那样独自走进他的房间,我也是造成这一切的原因之一。昆汀让哈维当上了《杀死比尔》的执行制片人,那是一部象征女性权力的影片。那些羔羊之所以走进屠宰场,是因为她们相信,地位那样高的人不会对你做这种不法的勾当,但他们确实会。”

Thurman stresses that Creative Artists Agency, her former agency, was connected to Weinstein’s predatory behavior. It has since issued a public apology. “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.

瑟曼强调她的前经纪公司创新艺人(Creative Artists Agency)和韦恩斯坦的性猎捕行为有关。该公司已公开道歉。“我既是受害者的身份,又在当时参与了掩盖,所以这是一种非常奇怪的分裂,”她说。

She talks mordantly about “the power from ‘Pulp,’” and reminds me that it’s in the Library of Congress, part of the American narrative.

她言辞尖酸地谈到了“来自《低俗小说》的力量”,并提醒我这部电影已被国会图书馆(Library of Congress)收录,成了美国叙事的一部分。

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.

她的百老汇新剧《巴黎女人》(Parisian Woman)讲述了身在特朗普总统治下的华盛顿的一个迷人女子的阴谋故事,剧本出自《纸牌屋》剧创鲍尔·威利蒙(Beau Willimon)之手。在10月首演仪式红毯上被问及相关丑闻时,她表情坚定,说要等到不那么愤怒时再谈论此事。

“I used the word ‘anger’ but I was more worried about crying, to tell you the truth,” she says now. “I was not a groundbreaker on a story I knew to be true. So what you really saw was a person buying time.”

“我用的词是‘愤怒’,但说实话,我更担心哭泣,”她现在说。“这个故事我知道它是真实的,我不是率先揭发的人。所以其实你看到的是一个人在争取时间。”

By 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.”

到感恩节的时候,瑟曼开始拔出她那把半藏刀。她在Instagram上发布了一张自己在“复仇的狂杀”中的独白截图,并祝大家节日快乐,“(除了你哈维,还有你所有的恶毒同谋——我很高兴这件事是慢慢来的——你们不配一枪毙命)——请继续关注。”

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. Luna is in her pj’s, munching on a raw cucumber. Her two older kids with Ethan Hawke, Maya, an actress, and Levon, a high school student, also drop by.

瑟曼舒展修长的身姿,躺在壁炉前的棕色天鹅绒沙发上讲述自己的故事,偶尔被她和金融家前夫阿尔帕德·比松(Arpad Busson)的5岁女儿打断。卢娜(Luna)穿着睡衣,正在大声嚼着一根生黄瓜。她和伊桑·霍克(Ethan Hawke)所生的两个较年长的孩子玛雅(Maya)和列翁(Levon)也来了。玛雅现在是一名演员,列翁还在上高中。

In interviews over the years, Thurman has offered a Zen outlook — even when talking about her painful breakup from Hawke. (She had a brief first marriage to Gary Oldman.) Her hall features a large golden Buddha from her parents in Woodstock; her father, Robert Thurman, is a Buddhist professor of Indo-Tibetan studies at Columbia who thinks Uma is a reincarnated goddess.

多年来,瑟曼在采访中一直表现出一种禅宗的态度——即便是在谈到与霍克的痛苦分手时。(她与加里·奥德曼[Gary Oldman]的第一段婚姻颇为短暂。)她家门厅里有住在伍德斯托克的父母送给她的一尊大金佛。她的父亲罗伯特·瑟曼(Robert Thurman)是在哥伦比亚大学从事印藏研究的教授,信奉佛教。他认为乌玛是女神转世。

But beneath that reserve and golden aura, she has learned to be a street fighter.

但在这种矜持与美好的气质之下,她已经学会作一个街头斗士。

She says when she was 16, living in a studio apartment in Manhattan and starting her movie career, she went to a club one winter night and met an actor, nearly 20 years older, who coerced her afterward when they went to his Greenwich Village brownstone for a nightcap.

她说16岁时,她住在曼哈顿的一处单间公寓里,开始自己的电影生涯。一个冬天的晚上,她在一家夜总会认识了一个比她大近20岁的男演员。后来,当他们去此人在格林威治村的褐砂石房屋喝夜酒时,她遭到对方胁迫。

“I was ultimately compliant,” she remembers. “I tried to say no, I cried, I did everything I could do. He told me the door was locked but I never ran over and tried the knob. When I got home, I remember I stood in front of the mirror and I looked at my hands and I was so mad at them for not being bloody or bruised. Something like that tunes the dial one way or another, right? You become more compliant or less compliant, and I think I became less compliant.”

“我最终屈从了,”她回忆说。“我试过拒绝,我哭了,我做了力所能及的一切。他和我说门锁上了,但我从来没有跑过去试试门把手。回到家的时候,我记得我站在镜子前面,看着自己的双手。我因为它们没有流血或受伤而感到非常生气。这种事情无论如何都会对人有影响,对吧?你会变得更加顺从,或是不那么顺从。我觉得自己变得不那么顺从了。”

Thurman got to know Weinstein and his first wife, Eve, in the afterglow of “Pulp Fiction.” “I knew him pretty well before he attacked me,” she said. “He used to spend hours talking to me about material and complimenting my mind and validating me. It possibly made me overlook warning signs. This was my champion. I was never any kind of studio darling. He had a chokehold on the type of films and directors that were right for me.”

在《低俗小说》之后,瑟曼结识了韦恩斯坦和他的第一任妻子伊芙。“在他侵犯我之前,我跟他是很熟的,”她说。“他之前会花好几个小时和我讨论资料,称赞我的想法,给我肯定。可能这让我忽略了警告信号。这个人是支持我的。我从不是什么制片公司的宠儿。他对适合我的那种类型的电影和导演有着绝对的控制。”

Things soon went off-kilter in a meeting in his Paris hotel room. “It went right over my head,” she says. They were arguing about a script when the bathrobe came out.

在韦恩斯坦巴黎的酒店房间内,事情很快开始奇怪起来。“我完全无法理解,”她说。当浴袍松开时,他们正在争论一个剧本。

“I didn’t feel threatened,” she recalls. “I thought he was being super idiosyncratic, like this was your kooky, eccentric uncle.”

“我没有被威胁的感觉,”她回忆道。“我以为他只是极其怪诞,好像他是你荒唐古怪的叔叔一样。”

He told her to follow him down a hall — there were always, she says, “vestibules within corridors within chambers” — so they could keep talking. “Then I followed him through a door and it was a steam room. And I was standing there in my full black leather outfit — boots, pants, jacket. And it was so hot and I said, ‘This is ridiculous, what are you doing?’ And he was getting very flustered and mad and he jumped up and ran out.”

他让她跟着他穿过一个大厅——她说总是会有“内室里的过道里连廊”——这样他们就能继续说话。“然后我跟着他走过了一扇门,进到了一间蒸汽房里。我穿着全套的黑色皮革衣服——皮靴、皮裤和皮夹克,就站在那里。房间非常热,我说,‘这太荒唐了,你在做什么?’他又变得非常慌乱、生气,跳起来跑了出去。”

The first “attack,” she says, came not long after in Weinstein’s suite at the Savoy Hotel in London. “It was such a bat to the head. He pushed me down. He tried to shove himself on me. He tried to expose himself. He did all kinds of unpleasant things. But he didn’t actually put his back into it and force me. You’re like an animal wriggling away, like a lizard. I was doing anything I could to get the train back on the track. My track. Not his track.”

她说,第一次“侵犯”不久之后便在韦恩斯坦的伦敦萨沃伊酒店(Savoy hotel)套房内发生了。“这简直是当头一棒。他把我推倒,试图压在我的身上,露出自己的身体。他做了所有各种让人不愉快的事情。但他并没有真的执意要做,没有强迫我。而你就像一个扭动着逃跑的动物一样,像只蜥蜴。我尽自己一切可能让事情重回正轨。我的轨道,不是他的。”

She was staying in Fulham with her friend, Ilona Herman, Robert De Niro’s longtime makeup artist, who later worked with Thurman on “Kill Bill.”

她当时与朋友伊洛娜·赫尔曼(Ilona Herman)一起在富勒姆住下,赫尔曼是与罗伯特·德尼罗(Robert De Niro)长期合作的化妆师,后来与瑟曼在《杀死比尔》(Kill Bill)中有过合作。

“The next day to her house arrived a 26-inch-wide vulgar bunch of roses,” Thurman says. “They were yellow. And I opened the note like it was a soiled diaper and it just said, ‘You have great instincts.’” Then, she says, Weinstein’s assistants started calling again to talk about projects.

“第二天,就有一捆26英寸宽的粗俗玫瑰送到了她的家里,”瑟曼说。“是黄玫瑰。我像打开脏尿布一样打开了留言,上面只写了‘你的直觉很棒’。”她说,然后,韦恩斯坦的助手又开始给她打来了电话谈项目。

She thought she could confront him and clear it up, but she took Herman with her and asked Weinstein to meet her in the Savoy bar. The assistants had their own special choreography to lure actresses into the spider’s web and they pressured Thurman, putting Weinstein on the phone to again say it was a misunderstanding and “we have so many projects together.” Finally she agreed to go upstairs, while Herman waited on a settee outside the elevators.

她本以为自己可以与他面对面把事情说清,只要带上赫尔曼,让韦恩斯坦来萨沃伊酒店的大堂吧见她。可那些助手自有特别的手段引诱女演员们走进他们织好的网中,他们让韦恩斯坦接了电话,再次表示那只是一个误会,并且“我们有这么多项目在一起”,他们说服了瑟曼。她最终同意上楼,让赫尔曼在电梯外的长沙发上等候。

Once the assistants vanished, Thurman says, she warned Weinstein, “If you do what you did to me to other people you will lose your career, your reputation and your family, I promise you.” Her memory of the incident abruptly stops there.

瑟曼说,助手们消失后,她警告韦恩斯坦,“如果你对别人做你对我做过的事情,我保证你会失去你的事业、你的名声和你的家庭,”她对那件事的记忆骤然停止于此。

Through a representative, Weinstein, who is in therapy in Arizona, agreed that “she very well could have said this.”

在亚利桑那州接受治疗的韦恩斯坦通过一名代表承认,“她很可能这么说过。”

Downstairs, Herman was getting nervous. “It seemed to take forever,” the friend told me. Finally, the elevator doors opened and Thurman walked out. “She was very disheveled and so upset and had this blank look,” Herman recalled. “Her eyes were crazy and she was totally out of control. I shoveled her into the taxi and we went home to my house. She was really shaking.” Herman said that when the actress was able to talk again, she revealed that Weinstein had threatened to derail her career.

在楼下,赫尔曼开始感到紧张。“好像过了很长的时间,”这位朋友告诉我。电梯门终于打开,瑟曼走了出来。“她显得非常疲倦,很不高兴,一脸的冰冷,”赫尔曼回忆道。“她的眼睛充满怒火,她完全失去了控制。我把她推进出租车,我们一起回到了我住的地方。她真的是全身发抖。”赫尔曼说,当这位女演员能再次说出话来时,她透露,韦恩斯坦威胁说要毁掉她的事业。

Through a spokesperson, Weinstein denied ever threatening her prospects and said that he thought she was “a brilliant actress.” He acknowledged her account of the episodes but said that up until the Paris steam room, they had had “a flirtatious and fun working relationship.”

韦恩斯坦通过一名代表否认曾威胁过瑟曼的前程,并说他认为她是“一位出色的女演员”。韦恩斯坦承认她对这些事件的描述,但说在巴黎蒸汽房的事情发生前,他们曾一直有“一种打情骂俏的、有趣的工作关系”。

“Mr. Weinstein acknowledges making a pass at Ms. Thurman in England after misreading her signals in Paris,” the statement said. “He immediately apologized.”

“韦恩斯坦承认,在巴黎错读了她的信号后,曾在英国与瑟曼女士调情,”代表发来的声明说。“他马上道了歉。”

Thurman says that, even though she was in the middle of a run of Miramax projects, she privately regarded Weinstein as an enemy after that. One top Hollywood executive who knew them both said the work relationship continued but that basically, “She didn’t give him the time of day.”

瑟曼说,虽然她当时正在参加米拉麦克斯的项目,但在那之后,她已私下里把韦恩斯坦视为敌人。一位认识他们两人的好莱坞上层高管说,两人的工作关系仍在继续,但基本上,“她对他态度冷淡。”

Thurman says that she could tolerate the mogul in supervised environments and that she assumed she had “aged out of the window of his assault range.”

瑟曼说,她在有监管的环境中可以容忍那个大亨,她认为自己“已经老到不在他的攻击范围之中了”。

She attended the party he had in SoHo in September for Tarantino’s engagement to Daniella Pick, an Israeli singer. In response to queries about Thurman’s revelations, Weinstein sent along six pictures of chummy photos of the two of them at premieres and parties over the years.

去年9月,她参加了韦恩斯坦在苏荷区办的一次聚会,那是为了庆祝塔伦蒂诺与以色列歌手丹妮拉·皮克(Daniella Pick)订婚。在回答关于瑟曼爆料的问题时,韦恩斯坦发来了六张他们两人非常友好地在一起的照片,是多年来在首映式上和派对上拍的。

And that brings us to “the Quentin of it all,” as Thurman calls it. The animosity between Weinstein and Thurman infected her creative partnership with Tarantino.

这就把我们带到了用瑟曼的话说是“所有这一切之中的昆汀”。韦恩斯坦与瑟曼之间的敌意影响了她与塔伦蒂诺的创造性合作。

Married to Hawke and with a baby daughter and a son on the way, Thurman went to the Cannes Film Festival in 2001. She says Tarantino noticed after a dinner that she was skittish around Weinstein, which was a problem, since they were all about to make “Kill Bill.” She says she reminded Tarantino that she had already told him about the Savoy incident, but “he probably dismissed it like ‘Oh, poor Harvey, trying to get girls he can’t have,’ whatever he told himself, who knows?” But she reminded him again and “the penny dropped for him. He confronted Harvey.”

2001年,瑟曼参加戛纳电影节时,已与霍克结婚,女儿仍是婴儿,儿子还怀在身上。她说,一次晚餐后,塔伦蒂诺注意到她在韦恩斯坦旁边时很紧张,这是个问题,因为他们很快就要一起拍摄《杀死比尔》。她说,她提醒塔伦蒂诺,她已经向他讲过在萨沃伊发生的事情,但“他可能没把那当回事儿,而是觉得‘哦,可怜的哈维,癞蛤蟆想吃天鹅肉’,谁知道他怎么对自己解释的?”但她再次提醒了他,“他终于明白了。他直接对哈维有所表示。”

Later, by the pool under the Cypress trees at the luxurious Hotel du Cap, Thurman recalls, Weinstein said he was hurt and surprised by her accusations. She then firmly reiterated what happened in London. “At some point, his eyes changed and he went from aggressive to ashamed,” she says, and he offered her an apology with many of the sentiments he would trot out about 16 years later when the walls caved in.

瑟曼回忆说,那天晚些时候,在豪华的杜章酒店(Hotel du Cap)的柏树下,韦恩斯坦说,他感到难过,并对她的指控感到惊讶。她随后坚定地重复了在伦敦发生的事情。“在某个时刻,他的眼神变了,从好斗变为羞愧,”她说,他向她表示道歉,他当时的许多流露也是他在16年后遭人唾弃时搬出来的东西。

“I just walked away stunned, like ‘O.K., well there’s my half-assed apology,’” Thurman says.

“我震惊地走开了,我在想‘好吧。好吧,这就是我得到的草草了事的道歉,”瑟曼说。

Weinstein confirmed Friday that he apologized, an unusual admission from him, which spurred Thurman to wryly note, “His therapy must be working.”

韦恩斯坦证实他道了歉,这种承认对他来说不同寻常,也引来了瑟曼的挖苦:“他的治疗显然奏效了。”

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.

自从去年秋天有关韦恩斯坦的爆料公之于众后,瑟曼一直在重温她与他的几次遭遇——以及拍摄《杀死比尔》期间,在墨西哥的一个拍摄现场发生的令人毛骨悚然的事情,那件事让她觉得自己像影片中的新娘一样遭到了意外打击,也让她下了同样的决心,无论如何要得到自己应得的东西。

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

那个施虐狂的故事已经拍摄了九个月,只剩下最后的四天,瑟曼被要求做的一件事,遭到了她的拒绝。

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.

在影片中她驾驶着蓝色敞篷车去杀死比尔的那个有名的场面中——就是感恩节时她在Instagram上发的那个片段中——她被要求亲自开车。

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.

但是,她说,一名卡车司机的话让她觉得,那辆从手动换挡改装为自动换挡的车,可能不太好开。

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.

她说,她坚持认为对自己操纵那辆车没有信心,最好是让一名特技演员来开。制片人表示,他们不记得她曾拒绝开车。

“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.)

“昆汀来到我的活动工作室,和所有的导演一样,他不喜欢听任何人说不,”瑟曼说。“他很生气,因为我浪费了他们许多时间。但我很害怕。他说:‘我向你保证车子没问题。那段路也很直。’”他说服了她去开车,并指示她说:“‘让车速达到每小时40英里,否则你的头发飘得样子不对。(如果没拍成的话)我会让你再做一次。’但是,我置身其中的是一个死亡之盒。司机的座椅没有被正确地拧紧在车架子上。那是一段碎沙路,而且一点也不直。”(塔伦蒂诺没有回复记者的置评请求。)

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

之后,瑟曼给我放了她说她花了15年时间才拿到的片段。“解决了我自己的南希·德鲁悬疑,”她说。

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.

片段的拍摄角度来自安装在卡尔曼吉亚(Karmann Ghia)跑车后面的摄像机。看着瑟曼竭力控制那辆车的场景很令人恐怖,车滑出了道路,撞到一棵棕榈树上,她扭曲的身体被无奈地卡住,直到摄制人员出现在画面中,把她从汽车残骸中解救出来。塔伦蒂诺的头出现在画面中,当瑟曼意识到自己可以暂时站起来时,她脸上闪过一丝宽慰的微笑。

“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.”

“方向盘在我的肚子上,我的双腿卡在我的身下,”她说。“我感到一阵剧痛,心想,‘天哪,我再也不能走路了。’”她说。“我从医院出来时,脖子上戴着颈箍,膝盖严重损伤,头上有一个鸡蛋大的包,还有脑震荡,我想看看那辆车,我非常不高兴。”昆汀和我大吵了一顿,我指控他想杀死我。他对我的指控很生气,我想这可以理解,因为他不认为他想杀死我。”

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

尽管他们的婚姻正在走向破裂,霍克还是立刻离开了肯塔基州的革责玛尼修道院,飞到了妻子身边。

“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.”

“我非常严肃地与昆汀谈了话,告诉他,作为导演和朋友,他让乌玛失望,”霍克对我说。他说,他告诉塔伦蒂诺,“嘿,伙计,她是个很棒的演员,不是特技演员,你知道这点。”霍克补充说,塔伦蒂诺“本人也非常沮丧,并请求我原谅他”。

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.

车祸发生两周后,为了试图查看汽车和事件的录像,她让律师给米拉麦克斯写了封信,总结了事件经过,并保留了起诉的权利。

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.

她说,米拉麦克斯表示可以让她看那个片段,条件是她签署一份文件,“不追究他们对我未来的疼痛和痛苦的任何责任。”她没有那样做。

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.”

瑟曼说,她与塔伦蒂诺的思想融合出现了裂痕。“我们陷入了一场可怕的争吵中,已经好几年了,”她解释说。“那以后,我们不得不去为片子做宣传。每次都如履薄冰。2004年,我们在纽约的Soho之家决定性地大吵了一场,我们对着彼此大喊大叫,因为他不让我看录像,他告诉我,那是他们的集体决定。”

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.

现在,在事故发生了这么多年之后,受向针对女性的暴力行为算总账的启发,重温自己在墨西哥遭受的“接近死亡的非人待遇”,以及出于对韦恩斯坦还没有面对更多法律后果的愤慨,瑟曼说,她把自我挖掘的结果提供给了警察,也加大了从塔伦蒂诺那里套出车祸片段的压力。

“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.”

“昆汀终于在15年后把它交给了我,赎了罪,对吧?”她说。“不过现在这一点也不重要,我的脖子已受了永久的伤害,膝盖也坏了。”

(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.)

(塔伦蒂诺的粉丝们在他2007年的电影《金刚不坏》[Death Proof]中看到了瑟曼车祸的回响,该片由韦恩斯坦制作,出现在车祸片段中的是瑟曼的特技替身演员佐伊·贝尔[Zoë Bell]。包括染金发的罗丝·麦高恩[Rose McGowan]在内的年轻女性,在影片中以各种各样的方式死去,包括撞到挡风玻璃上。)

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.

当第二个晚上,她坐在壁炉傍,我们谈到凌晨3点时,泪水开始落到她的脸颊上。她用手把眼泪抹去。

“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.”

她说,“事故发生后,他们开始攻击我时,我从一个富有创造力的作贡献者,变成了一个损坏了的工具。”

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.

瑟曼说,在《杀死比尔》中,塔伦蒂诺亲自在一些场景中表演了他自己的施虐才能,比如在屏幕上看到的迈克尔·马德森(Michael Madsen)向她脸上吐痰、以及影片中一个叫Gogo的少年用铁链子卡她脖子的场景。

“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.

“哈维性侵了我,但那没有杀死我,”她说。“车祸的事情真正让我愤怒的是,那个做法很恶劣。车祸发生时,我已经历了那么多的考验。我在我与昆汀的合作中曾一直总能感受到与更大事业的联系,我允许在我身上发生的大部分事情、以及我参与的事情,都有点像是与一个非常愤怒的兄弟在泥巴中进行的一场可怕的摔跤。但至少我有点决定权,对吧?”她说,她并未因其中的任何东西感到过被剥夺了掌握自己命运的权力。直到车祸发生。

“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.”

“就我个人而言,我花了47年的时间才不再称那些对你不好的人是与你‘相爱’。花了很长的时间,因为我觉得,作为女孩子,我们受的影响让我们相信残酷与爱有着某种联系,这是那种我们需要通过变化让其不复存在的时代。”

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