Uma Thurman has been gracing the world’s movie screens with her ethereal beauty and unique presence for more than 20 years, ever since her breakthrough role in 1988’s “Dangerous Liaisons” opposite John Malkovich and Michelle Pfeiffer. Since then, she’s helped bring all types of films to life, although perhaps her career peak came with her iconic star turns for Quentin Tarantino in “Pulp Fiction” and the two “Kill Bill” films.
Yet despite her butt-kicking abilities and way with witty dialogue in those films, Thurman is actually a very centered and calm presence who’s regarded as one of the most pleasant actresses to work with in Hollywood. No doubt that fact has contributed to her longevity, as she has not only passed 40, but she’s doing it with style and a full resume that includes her latest work in the excellent new indie film “Ceremony” (available with On Demand from some cable services now, but in theaters starting April 8).
In the film, which is squarely in the quirky character-comedy vein of Wes Anderson films like “The Royal Tenenbaums,” Thurman plays a free-spirited and wealthy woman named Zoe who’s about to get married to her longtime fiancé. But when another past boyfriend – the much younger Max (played well by Michael Aragano, who replaced Jesse Eisenberg in the role) – shows up to declare his still-burning love for her, the weekend gets turned upside down as Zoe is torn between two lovers.
“Ceremony” is a fun and often touching romp, a coming-of-age film for Max that doesn’t succumb to sappiness or cliché. And Thurman hits a homer with it. She recently did a round-table interview at the Four Seasons in Beverly Hills to discuss the role and some of her life philosophies.
Q: What was the attraction here in script and character?
UMA: I could tell it was no formulaic pitch for a studio film, it was clearly an independent voice and mind, which tells you it’s going to be a special experience.
What I like is that all of the characters, none are remotely clichéd, all contradictory, he renders people in a very lifelike manner unlike many female characters in film who are devices in plot, room to breathe, tell the truth or lie about it. Max’s characters are all not who they appear to be.
Q: Zoe never says in the movie that she loves her fiancé. Do you think she does?
UMA: I think that I’m sure she has loved her fiancé and has love for him. One of the beautiful things about the piece is it’s all about idealism and compromise, emotionally in some way. She’s been with him a long time, she’s not freshly in love with him, she knows him, and he knows her. She sees a path and a life for herself with with him. It’s different than falling in love with him, she sees him as a partner with her.
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Q: Are you as romantic in real life as you are in your work?
UMA: I’m a romantic, I think I’m actually quite an idealistic person in spite of everything. It gives one a good sense of humor, that’s for sure.
Q: You get the sense that neither guy was really right for her at the end of the day.
UMA: Is anyone perfectly right for anyone? How many people do you know like that? Part of his point is that these are multi-faceted characters who interact one way with one person and another with someone else And who’s going to be the best steward and husband. There’s a whimsy and idealism with falling in love with this younger man who’s passionate and sees only the girl with her but maybe what she needs is this less obvious person.
Q: This is Max Winkler’s first film. What’s Max like as director and did he remind you of any of the other directors you’ve worked with before?
UMA: Yeah. I guess I’ve worked with quite a few directors, and actors work with other directors all the time but directors only work with actors. Directors can’t rub off on each other and how they constructed a scene or shot. Directors are very unique, very different from each other. Max you would have thought made 300 films. He was implacable, very very focused and organized and yet completely available to be in the moment and work with the conditions given him. That flexibility and centeredness is very rare and many get completely stuck if they don’t get exactly one way. Max is a very dexterous dodger.
Q: Ever have that kind of strange moment with a fan?
UMA: I can’t make that relationship, sorry. It’s a performance, a character, a shock. It’s a man crashing her wedding party yet at the same time she’s somewhat thrilled by it. There’s a bit of a daredevil in that character, she’s self-destructive and hasn’t laid down her love of the thrill and the moment. She lives, and that’s something I liked about the character that she’s extremely present. Many characters have an agenda and determination but she’s a whimsical soul who’s lived most of her life without an agenda and now she’s trying to impose once because she’s afraid life is passing her by. Just jumping from one moment to the next without any anchor.
Q: How young do you think is too young for a man to be – how big a gap can a relationship have in age?
UMA: I have no idea how young is too young, I’m not a professional. Ask a doctor.
Q: You get to slap and kiss Michael Angarano, your costar. What’s better?
UMA: It was fun (slapping and kissing mike). I’m not really into slapping people, kissing is always better.
Q: You’re working quite a bit, while many actresses fear being over 40 will make them grandmother roles, but not you. What’s your secret to staying viable?
UMA: I have no idea, it’s a sheer miracle. I stay at home most of the time. They just find me. I’m a busy character with a busy life and I like to walk and that helps stay in shape. I have an active life.
Q: Shooting in Long Island seems like a summer camp experience with these guys.
UMA: It was for the boys. I had to drive back and forth because I have two children and don’t drop them and go off to have fun unfortunately. They’re in school but I went back every night. I love these guys and would love to hang out with them more but I have responsibilities.
Q: These people have a really odd take on life.
UMA: Max always wanted these people to be very whimsical and live in their own fantasy, skating through life trying not to pay bills or be affected by its causality.
Q: How do you find humor amid the rough spots Zoe is going through?
UMA: Humor comes from pain and experience, a good sense of humor is always hard-earned and you deserve your sense of humor. What kind of person would be all interesting if they sat around thinking how great they were. There’s only one superman and you can only play it once.
Q: Charlie Sheen seems to think he’s pretty great.
UMA: And he is, he’s highly intelligent and I hope he’ll be alright. I don’t’ enjoy people enjoying other people’s suffering. All of us suffer. The effort of being joyful is a good effort, but it takes effort.
Q: You have a reputation for being pretty green. What’s that involve for you?
UMA: I try to be more green. I’m ashamed not to be green enough. I’m in NYC, so that helps you walk. I try to recycle, be more conscious and more aware. I don’t know if you just cover entertainment but the whole world is exploding around us, seemingly out of control. I try not to be a mindless consumer, and am trying to consciously downsize my whole life. Who wants to build a life built around materials and worrying about that, or spend more time focused on your family, friends, spiritual side and community. Where’s your pride – accumulation of stuff, or acquiring a life of spirit and merit that means something to you.
Q: The film is full of surprises for all the characters. So what was it that surprised you about it?
UMA: The total lack of cliché surprised me. I think what surprised me and what I really enjoyed is I had not seen that much stuff with so much emotional intelligence. When I see the kids are all right or with max, my favorite kind of writing – on my resume I’m jack of all trades master of none – but my favorite is look at our lives today, an emotional investigation into who we are amongst all these explosions and changes in relationships. Life is really quite extraordinary and all the promises have been broken. TO live in this volatile time is fascinating. This is a small film about a weekend but it touches on how contradictory our values are, and can romanticism be preserved and carried on. I like someone taking on our emotional condition these days, that’s my favorite writing.
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