NEW YORK — In an op-ed in the New York Times, Salma Hayek pronounced that her refusals to‘s advances led to a calamity knowledge making the 2002 Frida Kahlo biopic “ .”
“For years, he was my monster,” Hayek wrote in her account, published Wednesday.
Hayek, who frequently starred in films expelled by Weinstein’s Miramax in the 1990s, credited Weinstein with assisting her start her career. But she pronounced that the film noble would spin up at her doorway “at all hours of the night, hotel after hotel, plcae after location.”
Her refusals — of massages, showers and sex — barbarous him, she wrote. “I don’t consider he hated anything some-more than the word ‘no,'” wrote Hayek.
When Hayek brought “Frida,” which she was producing, to Miramax to distribute, Weinstein done vast demands as payback, she wrote. Hayek pronounced he insisted on rewrites, some-more financing and, many heinously to her, a sex stage with full frontal nudity.
In sequence to finish what was a labor of adore for Hayek, she agreed. But she pronounced she had a shaken relapse while sharpened the scene. “My physique wouldn’t stop great and convulsing,” wrote Hayek.
“It was not since we would be exposed with another woman,” she wrote. “It was since we would be exposed with her for Harvey Weinstein.”
Even still, Weinstein primarily refused to give the film a melodramatic release. He eventually relented after vigour from executive Julie Taymor and Hayek. It went on to sum $56.3 million worldwide and land 6 Oscar nominations, winning two.
Dozens of women have accused Weinstein of passionate harassment, and countless women have pronounced he raped them. Weinstein, who is now under review for passionate attack in 4 cities, has denied all allegations of nonconsensual sex. Representatives for Weinstein didn’t immediately return messages Wednesday.
“Why do so many of us, as womanlike artists, have to go to fight to tell the stories when we have so much to offer? Why do we have to fight tooth and spike to say the dignity?” Hayek wrote. “I consider it is since we, as women, have been devalued artistically to an faulty state, to the indicate where the film attention stopped making an bid to find out what womanlike audiences wanted to see and what stories we wanted to tell.”