Tarantino ‘regrets’ Uma Thurman car-driving scene

Quentin Tarantino and Uma Thurman
Updated 07 February 2018
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Tarantino ‘regrets’ Uma Thurman car-driving scene

LOS ANGELES: Hollywood director Quentin Tarantino said persuading actress Uma Thurman to perform a car-driving scene on the set of “Kill Bill” — which ended with her in the hospital — is the “biggest regret” of his life.
Thurman, 47, in an interview with The New York Times published on Saturday, said she had an enormous fight with Tarantino after the car crashed and accused him of trying to kill her.
She walked back her criticism of Tarantino somewhat in an Instagram post on Monday, saying she does not believe now that he acted with “malicious intent.”
Tarantino delivered his account of the incident which occurred on set in Mexico in an interview published on Monday in Deadline Hollywood.
“None of us ever considered it a stunt,” the 54-year-old director said. “Maybe we should have, but we didn’t.”
He said he drove the strip of road himself to ensure it would be “easy and safe enough for Uma to drive.
“I came in there all happy telling her she could totally do it, it was a straight line, you will have no problem,” he said.
“I told her it would be safe. And it wasn’t. I was wrong,” he said. “I didn’t force her into the car. She got into it because she trusted me.”
Tarantino said it was decided at the last minute because of the light to have Thurman drive the car in the opposite direction.
“And I didn’t think I needed to run the road again to make sure there wasn’t any difference, going in the opposite direction,” he said. “That was one of my most horrendous mistakes, that I didn’t take the time to run the road, one more time.


Chip Wickham ushers in winds of change on the jazz scene

Updated 22 May 2018
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Chip Wickham ushers in winds of change on the jazz scene

PARIS: The hotly hyped “British jazz invasion” has been the toast of international scenesters for some months now, with breathy adjective-heavy sprawls penned on both sides of the Atlantic paying tribute to a fresh generation of musos who grew up not in the conservatoires but the clubs, channelling the grit and groove of grime into a distinctly hip, 21st century strain of freewheeling, DIY improvised music.

Now the Arab world has its own outpost in the form of Chip Wickham, a UK-born flautist, saxophonist and producer whose second album grew out of extended stints teaching in the GCC. “Shamal Wind” takes its name from the Gulf’s primal weather patterns, and there’s a distinctly meditative, Middle Eastern vibe to the title track, a slow-burning, moody vamp, peppered with percussive trills, with hints of Yusef Lateef to be found in Wickham’s wandering woodwind musings.

There’s rather less goatee-stroking to be found across the four further up-tempo cuts, which swap soul-searching for soul-jazz, soaked in the breezy bop of a vintage Blue Note release. Recorded over a hot summer in Madrid, a heady Latin pulse drives first single, “Barrio 71” — championed by the likes of Craig Charles — with Spanish multi-percussionist David el Indio steaming up a block party beat framing Wickham’s gutsy workout on baritone sax.

Having previously worked with electronic acts, including Nightmares on Wax and Jimpster, one imagines the dancefloor was a key stimulus behind Wickham’s rhythmically dense, but harmonically spare compositional approach. Phil Wilkinson’s sheer, thumped piano chords drive the relentless nod of second single “Snake Eyes,” Wickham’s raspy flute floating somewhere overhead, readymade to be skimmed off for the anticipated remix market.

In truth, Manchester-raised Wickham is both too thoughtful, and too thoughtless, to truly belong to the London-brewed jazz invasion — Shamal Wind yo-yos between meditative meandering and soulful strutting with a wilful disrespect for trend.