“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.
“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.
“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.”
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.
She talks mordantly about “the power from ‘Pulp,’” and reminds me that it’s in the Library of Congress, part of the American narrative.
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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.
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“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.”
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.”
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.
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.
But beneath that reserve and golden aura, she has learned to be a street fighter.
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.
“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.”
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.”
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.
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“I didn’t feel threatened,” she recalls. “I thought he was being super idiosyncratic, like this was your kooky, eccentric uncle.”
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.”
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.”
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.”
“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.
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.
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.
Through a representative, Weinstein, who is in therapy in Arizona, agreed that “she very well could have said this.”
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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.
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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.”
“Mr. Weinstein acknowledges making a pass at Ms. Thurman in England after misreading her signals in Paris,” the statement said. “He immediately apologized.”
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.”
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.”
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.
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.
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.”
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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.
“I just walked away stunned, like ‘O.K., well there’s my half-assed apology,’” Thurman says.
Weinstein confirmed Friday that he apologized, an unusual admission from him, which spurred Thurman to wryly note, “His therapy must be working.”
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.
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“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.
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“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.
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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.”
Harvey Weinstein Uma Thurman breaks silence on Harvey Weinstein The Kill Bill actor told the New York Times of encounter in London: ‘He tried to shove himself on me. He tried to expose himself’ Uma Thurman and Harvey Weinstein attend a promotional brunch for Quentin Tarantino’s The Hateful Eight in New York City in January 2016. Photograph: Owen Hoffmann/Patrick McMullan via Getty Images
Uma Thurman has broken her silence about her experiences with the disgraced film producer Harvey Weinstein. In an interview with the New York Times, the actor described an attempted sexual assault in Weinstein’s suite at the Savoy hotel in London in the mid-1990s.
Weinstein has been accused of sexual harassment, assault and rape by multiple women. Thurman, the star of movies including Pulp Fiction and Kill Bill, said last year she would come forward about her experiences with Weinstein when she was ready to do so.
Rose McGowan's memoir Brave details alleged rape by Harvey Weinstein Read more
Speaking to the New York Times, she said: “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.”
The actor also accused her former representatives, Creative Artists Agency, of being “connected” to Weinstein’s predatory behavior – CAA has issued an apology – and accused director Quentin Tarantino of failing to protect her when she crashed a car in Mexico while they were making Kill Bill.
The attempted assault in London, she told the Times, came after a meeting with Weinstein in a hotel room in Paris, during which he wore a bathrobe.
“I didn’t feel threatened,” she said. “I thought he was being super idiosyncratic, like this was your kooky, eccentric uncle.”
Thurman said the producer instructed her to follow him down a hallway.
“I followed him through a door and it was a steam room,” she said. “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.”
Weinstein, who is the subject of police investigations in New York, Los Angeles, Beverly Hills and London, is now in therapy in Arizona. British police investigating Weinstein have received two further allegations of sexual assault, sources have told the Press Association. He has denied all allegations of non-consensual sexual contact.
Thurman said that at the time of the alleged London assault, she was staying with a friend in Fulham. The following day, she said, Weinstein sent her a large bunch of roses.
“They were yellow,” Thurman said. “And I opened the note like it was a soiled diaper and it just said, ‘You have great instincts.’”
The actor returned to the Savoy to confront Weinstein, she said, taking her friend with her. She asked Weinstein to meet her in the bar. However, New York Times columnist Maureen Dowd writes, his assistants convinced her to return upstairs alone.
Thurman said 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.”
A spokesman for Weinstein told the Times Thurman “very well could have said this”.
According to the Times, Thurman’s “memory of the incident abruptly stops there”.
Facebook Twitter Pinterest Uma Thurman emerged from a meeting with Weinstein ‘disheveled’, according to a friend. ‘She was really shaking.’ Photograph: Jim Spellman/WireImage
Thurman’s friend, Ilona Herman, told the Times that when Thurman returned from meeting Weinstein, “she was very disheveled and so upset and had this blank look. 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 told the Times that when Thurman was able to talk again, she said Weinstein had threatened to derail her career. Weinstein apparently brushed off the incident, though, and his assistants started calling again to talk about projects.
Weinstein’s spokesperson denied any threat to Thurman’s career and said the producer thought she was “a brilliant actress” with whom he had had “a flirtatious and fun working relationship”.
“Mr Weinstein acknowledges making a pass at Ms Thurman in England after misreading her signals in Paris,” the spokesperson said. “He immediately apologized.”
Thurman said: “The complicated feeling I have about Harvey is how bad I feel about all the women that were attacked after I was. 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.”
Weinstein is considering legal action following Thurman’s allegations in the New York Times. Ben Brafman, his attorney, said his client is “stunned and saddened by what he claims to be false accusations”.
After her experience with Weinstein, Thurman said, Tarantino’s failure to protect her during the filming that led to the car crash was another blow. She says a “furious” Tarantino pressured her to drive a car for a shot when she thought it was job for a stunt performer. Thurman crashed the car into a palm tree.
“Harvey assaulted me but that didn’t kill me,” she said. “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.”
Tarantino did not comment to the Times, which said producers on the film did not recall Thurman objecting to driving the car she crashed.
“I had really always felt a connection to the greater good in my work with Quentin,” Thurman said, “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?”
When Uma Thurman was asked, at the October premiere of her Broadway play The Parisian Woman whether or not she had anything to say about Harvey Weinstein, the producer who helped launch her to stardom in Pulp Fiction and the Kill Bill films, she answered that she would prefer to wait until she was less angry before she said anything.
“I used the word ‘anger’ but I was more worried about crying, to tell you the truth,” she told The New York Times’s Maureen Dowd in an interview published online Saturday in which she details an alleged attack by Weinstein, and discussed a fraught relationship with frequent collaborator Quentin Tarantino.
“I knew him pretty well before he attacked me,” she said of Weinstein, explaining that he deliberately groomed her while they worked together on Pulp Fiction, the film film that rocketed Thurman, Tarantino, and Weinstein’s Miramax Films to the forefront of American cinema in the 1990s. “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.”
Thurman told Dowd about an incident in a Paris hotel in which Weinstein put a bathrobe on and told her to follow him into a steam room while the two were arguing about a script. “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.” Not long afterward, Weinstein attempted to force himself on her again at the Savoy Hotel in London, Thurman said. According to the actress, he pushed her down and tried to expose himself to her. Thurman described her behavior as “like an animal wriggling away, like a lizard” as she did her best to get away from him.
Shortly after, she went back to his hotel again to confront him about it, bringing a friend with her. While the friend was told to wait outside the room on a couch, Thurman recalls telling 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.” When she exited the room quite some time later looking flustered and upset, the friend said that Thurman told her Weinstein had threatened to ruin her career. A spokesperson for Weinstein told the Times that he denies ever threatening Thurman but that he acknowledges that he did make a pass at her in the Parisian hotel room, and that he immediately apologized for the London incident.
Thurman’s deteriorating relationship with Weinstein helped wreck her collaboration with Tarantino, she said. Thurman says Tarantino confronted Weinstein about the attempted assault she’d told him about before, after which Weinstein apologized to Thurman. A Weinstein spokesperson confirmed to the Times that he had done this. What ultimately ruined Thurman and Tarantino’s working relationship, she said, was an accident on the set of Kill Bill during which the director pushed her to drive a car that a teamster had told her wasn’t fully safe. Thurman crashed the car and was hospitalized. She returned to set with her neck in a brace, permanently damaged knees, and a concussion. She had a huge fight with Tarantino in which she accused him of trying to kill her, and another later when he and Miramax refused to release the footage of the crash to her. It took Thurman 15 years to obtain the video, which the Times also published with the interview.
“I approached Quentin in very serious terms and told him that he had let Uma down as a director and as a friend,” Thurman’s husband at the time, Ethan Hawke, told the Times. He said Tarantino was “was very upset with himself and asked for my forgiveness.” (Tarantino did not comment for the Times piece.) After Weinstein’s fall sparked the current movement against assault and abuse in Hollywood, Thurman handed over her own research to the police—“Solving my own Nancy Drew mystery”—and put the pressure on The Weinstein Company to release video of the crash.
“I am one of the reasons that a young girl would walk into his room alone, the way I did,” Thurman said. “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.”
Uma Thurman has finally spoken out against Harvey Weinstein after hinting for months that she was one of the movie mogul's alleged victims.
In an article in The New York Times on Saturday, Thurman, 47, describes several incidents in which Weinstein forced himself on her in a London hotel room on one occasion and that he led her into a steam room in Paris in another incident but backed away when she asked him what he was doing.
She says the most aggressive encounter, which took place at London's Savoy Hotel some time between 1994 and 2002, felt like 'a bat to the head'.
'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,' she said.
Within hours of her claims becoming public, British police sources said they had launched investigations into two additional sexual assaults Weinstein is accused of.
It is not known if hers is one of the new claims they are probing.
Weinstein, through his representative, described the Paris incident as a 'flirtatious exchange' and admits 'making a pass at her' in London afterwards but says it was not violent or even physical.
He threatened legal action against the actress who he claims has 'embellished' the truth.
Uma Thurman claims Harvey Weinstein forced himself on her in a hotel room in London while they were working together sometime between Pulp Fiction (1994) and Kill Bill (2002). They are pictured together in 2016
Thurman, 47, is pictured leaving her New York City apartment not long after her interview was published on Saturday morning. She was on the phone and clutching her vape
On Saturday, Thurman also described a years-long dispute she has had with Quentin Tarantino, with whom she formed one of the most iconic actor/director duos, over an accidental car crash which happened when they were filming Kill Bill in 2002.
She alleges that Tarantino pressured her into performing a driving stunt in an unsafe care which she was reluctant to take the wheel of. She crashed while filming and injured her neck as a result.
Thurman has been trying for years to obtain raw footage of the crash from Miramax for years but they have always refused.
Tarantino eventually 'atoned' and gave it to her recently, and she is now trying to hold Miramax accountable for it. She shared the video with the Times on Saturday.
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.'
Tarantino's representatives did not respond to DailyMail.com on Saturday and Miramax has not commented on the footage.
The first Weinstein incident was in Paris after she had appeared in Pulp Fiction in 1994, which Miramax produced.
She and Weinstein got to know each other after the film was released. It won him and Miramax critical acclaim and was a standout role for Thurman.
They had gotten to know each other well before the first inappropriate encounter in a Paris hotel she said. At the time, Weinstein was married to his wife Eve and she was with Ethan Hawke.
He took her into a steam room while she was dressed 'in full leather' and he in a robe. Weinstein became embarrassed when she asked him what he was doing.
'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,' she said.
The London incident followed, she said.
Thurman (above on Saturday morning after her comments were published) said she felt partially responsible for the other girls who claim they have been abused by Weinstein
Thurman claims the incident happened at the Savoy Hotel in London sometime between 1994 and 2002
The day after that alleged attack, Thurman claims he sent her an ostentatious bouquet of yellow roses the next day with a note which said: 'You have great instincts.'
She returned to the hotel the next day to confront him, taking with her a male friend for protection.
Weinstein would not meet them in the bar so she went up to his room at his request, she recalled, and scolded him over what he had done.
'If you do what you did to me to other people you will lose your career, your reputation and your family, I promise you,' she said she told him.
Weinstein appeared to corroborate her version of this conversation, telling The Times: 'She very well could have said this.'
He acknowledged the Paris incident, saying that he 'made a pass after misreading her signals' but did not comment on the London claims - when he is alleged of throwing himself on her.
Thurman and Weinstein's first big project together was Pulp Fiction in 1994 in which she starred and which won Miramax notoriety and money. They got to know one another afterwards
The 65-year-old, who has been taking refuge in Arizona since the scandal about him broke in October, has consistently denied the accusations of countless women who say he raped, attacked or harassed them.
For years afterwards, she was forced to see Weinstein and promote their work together against her will.
She told Tarantino about what had happened and he confronted Weinstein, she said.
Thurman also claimed on Saturday that she was raped at the age of 16 by a different man, an actor. She is seen in 1985, aged 15
Weinstein admitted the incident, she claimed, and apologized.
'At some point, his eyes changed and he went from aggressive to ashamed. I just walked away stunned, like "O.K., well there’s my half-a**ed apology,"" she said.
Weinstein confirmed to the Times that he apologized to Thurman.
Thurman had been silent on the issue as other actresses spoke out en masse against Weinstein.
She said she was 'angry' about the scandal when asked about it on the red carpet but did not give other clues.
On Thanksgiving, she shared an Instagram post revealing that she would speak out about it but was not ready to share her experience publicly.
'I said I was angry recently, and I have a few reasons, #metoo in case you couldn’t tell by the look on my face,' she wrote.
'Happy Thanksgiving Everyone! (Except you Harvey, and all your wicked conspirators - I’m glad it’s going slowly - you don’t deserve a bullet) -stay tuned,' she said.
In her interview which was published on Saturday, she said she was angry because she felt her silence may have put other actresses in danger.
'The complicated feeling I have about Harvey is how bad I feel about all the women that were attacked after I was.
Thurman had been largely silent on the issue until Thanksgiving when she shared this Instagram post
HARVEY WEINSTEIN STATEMENT ON UMA THURMAN CLAIMS FIRST STATEMENT 'We have pulled a number of images that demonstrate the strong relationship Mr. Weinstein and Ms. Thurman had had over the years and we wish the New York Times would have published them. 'Mr. Weinstein acknowledges making an awkward pass 25 years ago at Ms. Thurman in England after misreading her signals, after a flirtatious exchange in Paris, for which he immediately apologized and deeply regrets. However, her claims about being physically assaulted are untrue. And this is the first time we have heard those details. 'There was no physical contact during Mr. Weinstein’s awkward pass and Mr. Weinstein is saddened and puzzled as to "why" Ms. Thurman, someone he considers a colleague and a friend, waited 25 years to make these allegations public, noting that he and Ms. Thurman have shared a very close and mutually beneficial working relationship where they have made several very successful film projects together. 'This is the first time we are hearing that she considered Mr. Weinstein an enemy and the pictures of their history tell a completely different story. 'There will be more are detailed response later from Mr. Weinstein’s attorney, Ben Brafman.' SECOND STATEMENT 'Ben Brafman, Mr Weinstein's attorney said that Harvey is stunned and saddened by what he claims to be false accusations by Uma Thurman, someone he has worked closely with for more than two decades. 'Mr Weinstein acknowledges making an awkward pass at Ms Thurman 25 years ago which he regrets and immediately apologized for. 'Why Ms Thurman would wait 25 years to publicly discuss this incident and why according to Weinstein, she would embellish what really happened to include false accusations of attempted physical assault is a mystery to Weinstein and his attorneys. 'Ms Thurman's statements to the Times are being carefully examined and investigated before deciding whether any legal action against her would be appropriate.'
'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,' she said.
Of her initial comments on the topic, she said: 'I used the word anger but I was more worried about crying, to tell you the truth.
'I was not a groundbreaker on a story I knew to be true. So what you really saw was a person buying time.'
This is the scene Thurman was filming for Kill Bill Vol. 1 in 2002 in Mexico when she crashed, injuring her neck. She had fought Tarantino over the scene, saying she wanted a stunt double to do it, and claims he forced her. Now, she has released footage of the crash and has given it to police. She says Tarantino and Weinstein retaliated against her afterwards
