‘Eloise In Paris’: The movie never made that earned Uma Thurman millions
Actors earning millions for a single role is hardly unheard of, but it becomes altogether rarer when they take home a substantial paycheque for a film that doesn’t even get made, with Uma Thurman proving to be the biggest beneficiary of Eloise in Paris falling back into development hell.
Adapted from Kay Thompson’s series of popular children’s books, the Kill Bill star was all set to play the part of Nanny in the movie, which would have featured Jordanna Beatty in the title role under the direction of Charles Shyer, who wrote Smokey and the Bandit and The Parent Trap as well as directing Father of the Bride and Jude Law’s remake of Alfie.
Eloise in Paris was announced in early 2008, with production company Handmade Films signing Thurman to a contract that would guarantee her a $4.5million upfront salary in addition to 10% of what were described as “certain receipts”, presumably based on box office success and merchandise sales.
However, the project struggled to gain much traction, with Handmade ultimately attempting to abandon ship altogether, offering Thurman a cancellation fee of $1.5m. In response, the actor filed a $9.6 million lawsuit, as the time she’d spent waiting for production to begin had caused her to miss out on other work.
In August of 2010, it was reported by Variety that both parties had settled the litigation, and Eloise in Paris was back on with Thurman “involved with the project in some capacity”. David Francis, the owner of Almorah – the company which had purchased Handmade in the interim – even referred to “a long-lasting and mutually beneficial relationship with Uma,” which didn’t come to fruition.
Not only did Eloise in Paris never end up happening, but details of Thurman’s contract would then emerge, which listed an exorbitant array of demands relating to both her comfort on set and the way in which her likeness could be used for associated marketing purposes and tie-ins.
According to The Daily Mail, Thurman requested first-class travel, “more favourable dressing facilities” than any other member of the cast, three mobile phones, and the ability to purchase any costumes and wigs her character sported throughout the production at a 50% discount.
In addition, a clause banned Eloise in Paris from using either her name or likeness for an incredibly specific range of merchandising avenues, including “tobacco, weapons, religious items, personal hygiene products, intimate apparel, pornography, gambling, pet food, and stomach or rectal medications.”
As a whimsical, family-friendly comedy about a child getting caught up in an adventure with her nanny when they set off to attend Paris Fashion Week as part of her birthday celebrations, it boggles the mind that the people drafting Thurman’s contract found it necessary to ward off the looming threat of katanas, slot machines, dildos, or suppositories potentially being emblazoned with Eloise in Paris branding to begin with.
