It was only after discussing Cornwall with her mother that she realised her parents had tried to soak up the racism around her, and she had believed, or colluded in, the pretence that it wasn’t happening. Ten years ago, Newton was still maintaining in interviews that she had never experienced racism in Britain. However, I suspect the timeline is wonkier than those milestones suggest. And I realised: ‘Oh, that wasn’t a relationship? Oh, you mean I’d been abused?’ And I thought it was sex.” It was the first of several turning points: meeting her husband, film-maker Ol Parker, whom she married at 25 seeing Eve Ensler’s The Vagina Monologues motherhood and activism (she is on the board of Ensler’s V-Day campaign). “And the first session – the first session! – it was about sexual abuse. I thought: ‘Fuck, I’m going to die.’” She called a friend, and began therapy.
THANDIE NEWTON MOVIES SKIN
Because my ribs were so close to my skin it was like my heart was coming out. “I was lying in bed and I remember feeling my heart against my ribcage. “Ramming my fingers so hard down my throat … I was so thin,” she says. Photograph: Allstar/WARNER BROS.Īt Cambridge, where she read anthropology, Newton’s sense of shame nearly consumed her. Newton with Noah Taylor in her debut feature film, Flirting (1991).
THANDIE NEWTON MOVIES FREE
So any hint of joy or freedom was like ‘Agggh!’” she wails, waving her arms: “The savage is set free from her cage! I was always being sent to the baby class, which was so humiliating.” She was the only pupil of colour, barred from a photo, she says, because she wore braids. Newton grew up in Penzance, Cornwall, where her parents – her dad is white British, her mother black, from Zimbabwe – sent her to a Catholic school. “I’m just this piece-of-shit black person who hotels don’t want,” she says. “I was continually told that the reason people were appalled at seeing me with this guy was because I was black.” That was his explanation when hotel staff dumped their bags on the street. “I don’t relate it to a name, because I don’t know what I’m going to do with all of this,” she says. “Oh, I wouldn’t use the word ‘relationship’, love,” she says with a pitying edge. Just to give you the greatest hits,” she begins and launches into her back catalogue: from the director who promised to frame above her bare breasts (“total fucking lie”) to the audition where she was asked to fondle herself with a camera between her legs, only to learn years later that the director played the film at private parties, on to the ex “who hit me round the face”, and finally to the the “serious sexual abuse” she suffered in one of her relationships. She quite often does this, casts her listener as a sort of linguistic handmaiden. “So much of what’s happened in my life has led to the … What’s the opposite of ownership?” she asks. It seems a terrible pity to reach this peace only after working for 25 years.
THANDIE NEWTON MOVIES DRIVER
And then I’d get my driver to drive it back to my babysitter.” Maybe it fed her sense of being in healthful service because she says: “I was naked 70% of the time on set – 70%!” – and it was the first time I felt in control of my body at work.” Literally get your whole boob and milk yourself. She cups an imaginary breast to demonstrate. While filming, Newton was breastfeeding Booker: hand-squeezing “like a lovely goat”. She plays Maeve, a prostitute in a wild west theme park peopled by artificially intelligent androids. Newton is a puzzling blend of forthright and defensive, and it is easy to see why her new show, HBO’s Westworld, adapted by JJ Abrams from Michael Crichton’s original, drew her thoughts inward.
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