Chapter 25

When we arrived in Los Angeles, we were swept up in a tidal wave of media hype. As defending champions of the Best Film and other awards, we were a hot topic. We were a few days early, which were filled with interviews and TV appearances. ‘Thirteen Women’ was controversial, seeing that it acknowledged the Devil without a mention of God. The ultra-right was in an uproar, which meant that everybody else supported us, ‘just for the hell of it!’

We were the last to arrive on the night. Our costume supplier had done us proud with sumptuous gowns, rather than the ‘Housewives’ ones he had originally thought of, and we had the same three tables as we had the previous year. As the evening proceeded; Tony collected the Visual Effects award on behalf of his technical crew. He then returned to collect the one for Editing. He was back again, pulling me with him, as we collected the one for Directing. He gave a short speech thanking the Academy for the awards and letting the cat out of the bag that I had done most of the location and studio directing.

Kym picked up the Best Original Screenplay. We had the band playing ‘See you later, Alligator’ with the scene from the film showing behind them. Anyone who had wondered where the song fitted in were no longer uncertain after the alligator had sunk under water with the victim in its jaws. After that, I won the Supporting Actress and Jeff got the Supporting Actor. Our comediennes came on and did a five-minute skit of repartee that showed their friendship was more than skin deep. We missed out on Cinematography and Best Actress, but Eric took the Best Actor statuette. We were all standing as he held it up. Then the band was back, doing ‘Thirteen Women’ with the shots of each of us on the screen as we were mentioned, just as it was in the film. Of course, the final award was a slam dunk, with us all on stage to take the Best Picture. When Kym passed it to me to hold, she grinned.

“Don’t go giving this one to anybody to look after, honey. This one is yours, to keep.”

I managed to stay awake into the early hours after this. I had gone down to where our friends were, as I did the year before, to get photos taken with the statuette. I had been told that the Fan Club webmaster was awake and on hand to put the picture on the site. Sherona told me that she had taken pictures off the big screen on her phone, of Tony, Tony and me, and Eric, that were being uploaded while I was with them.

Back at the party, there was a lot of love, a lot of booze and a lot of laughing. I stayed off the alcohol and was able to lead a bewildered Jeff off to bed, both of us clutching our Oscars, him with one and me with two. I was going to follow Kym’s advice and wasn’t letting this one go. I had been kissed by all the men, and most of the women, with the American backers promising me the earth – I only had to ask.

Jeff and I were eating breakfast when Jacquie came in, a list of people who wanted to talk to us in her hand. She ran through them, and I picked the ones who had been kinder to us last year, telling her that we’ll see the others over the next couple of days. Later, that morning, we were in a TV studio, talking to a trio of hosts. Eric, Tony, Jeff, and I were the guests, and it was a good session that ran for nearly an hour. They showed some clips, asked us about our take on the characters, our religious beliefs, and our plans for the future.

Tony said that he had plans to see the sequel come to the screen but didn’t get led into letting anything else out. The other three of us spoke about a film that we had finished filming, to be released in a couple of months. Of course, subsequent interviews wanted to know more about our next film and a lot more about the sequel.

Before they left, I gave Kym a copy of the screenplay for ‘Wind’. Our core group stayed in America for three more days. The rest had gone back in the charter, so we had to take a commercial airline. When we arrived, there was a contingent of the media to welcome us, but it wasn’t as many as before. Perhaps it was the perception that this had been an American film, rather than a British one.

A few days later, I was visited by Agnes, and her photographer, for another interview, as well as another picture of her with two statuettes this time. She asked about the next film, so I told her to ask David for the release date. She had seen it, at our garden party, so had the details. I referred her to David about the review screening before printing anything.

She asked me about the sequel to ‘Women.’ I was cagey but did tell her that the screenplay had been written and that a meeting to organise backers would take place. One thing I did tell her was that it would be a British film.

Two weeks after that, we had a meeting in Jim’s office. Tony, David, Jeff, and I met with Jim and Horatio. Bronte had finished the storyboard sketches from the film, which I had in a folder. I hadn’t told Jeff the details of the meeting in the plane, so he was ready to learn what we had been getting up to.

Jim congratulated us on our success, which was making him richer by the day. Horatio gave me and Jeff our latest account figures to look at later. I had a quick glance at mine and immediately doubled what I was prepared to put in. The others deferred to me, so I gave Jim a copy of the screenplay.

“This is the sequel to ‘Thirteen Women’. It is called ‘Wind of Change’ and is set in Kent. There are only four witches that have made it from Tallahassee. If you read it, you’ll see that it’s a very tight cast, most of them clients of this agency. The directors will be David and me. The editing and visual effects will be looked after by Tony, with the database of demons he created for ‘Women’. The screenplay is an adaptation of an original by Kym and written by me. We are telling you that we think that we can fund the making of it with our own money. I’m willing to put up fifteen million, I just peeked at my account.”

“What part do I play, Julia? We wouldn’t be sitting here unless you have something up your sleeve.”

“We are asking you if you would like to be our producer, Jim. You can put up some money, if you want, for a percentage of the gross. We will be asking our cast to work for a percentage, so it’s only the crew who will be on salary. The other expenses would be catering, security, transport, and studio hire. David and Tony already have studio deals in place, with their offices there. You could make it a company thing if you register ‘Younger Films’. You’ll have the last two best directors, the last two crews of the best films: two, if not three, Oscar winners in the cast. We think we can film it this summer, as long as the weather holds. Read it first, then we can have another meeting. But first, here are some storyboards from the film.”

I pulled the file out and showed everyone the pictures. All of us, who had read it, could see where they fitted in. I left the file with the screenplay. If I was any judge of character, Jim and Horatio would read the screenplay and then talk to some of their friends.

“What sort of percentage are we talking about, Julia?”

“I’m putting in fifteen million for a ten percent return of gross. I don’t know what the others are offering, but I think that a producer should be able to come up with the same. The main cast would be on two percent, and the smaller parts on one percent. The crews will be on salary, with a share of two percent bonus of the gross, payable at six months, and twelve months after release. The only other costs would be transport, catering and costume. I think that we could finish it with forty or fifty million up front. If you make the six of us the shareholders of Younger Films, any profit could go towards making more pictures.”

Jim sat back and smiled.

“Well, that’s an offer I have to look at very seriously. How much will you be putting in, David?”

“With the success of ‘Turbulence’, I’ve got seven and a half for a five percent return. How about you, Tony?”

“I’m with you, guys. With the money I’ll get from ‘Women’ I’ll match that. I’ll be looking forward to only filming something that I’m happy with.”

Horatio entered the discussion.

“How many cast members are on percentage, Julia?”

“Four witches and four shopkeepers so far, plus the crew share, which makes eighteen percent. That means that we have a total of thirty-eight percent accounted for. There should be two more shop keepers, so that takes it to forty-two percent. We’re probably looking at another six to eight speaking parts, which will bring it to fifty percent. If the film makes a hundred million, that’s a million per percentage – two hundred million and we’re talking two million per percentage. At that, we’re all ahead with a hundred million to play with, after taxes and paying the incidental expenses. Where are we with ‘Turbulence” Horatio?”

He looked in a folder on his lap.

“Last figure I had was eight hundred million. ‘Women’ has gone past six hundred and fifty million, with the surge after the Oscars helping. My guess is that it will go past a billion, world-wide. Your two hundred million to be in profit is very tempting. Less that that will be a disappointment, but still a tax break, with some seed money left for future projects.”

We wound up the meeting with smiles and handshakes. I thought it went well. Jeff was hyper when we were heading home. As a leading actor, he would be on the two percent. I pointed out that I had included myself in that list, so it was beholden on us to make it work.

Two weeks later, Jim let us know that he had secured the fifteen million. We were ready to go. Horatio organised company deeds and contracts for us to sign. We came out of that meeting, each with an eighth share in ‘Younger Film Corporation’. Jim had secured his funding from friends who wanted a part of the new venture. One of them, I found out later, was Kurt, eager to secure a future with his two successful directors as part of the deal.

A new bank account was opened, with Horatio transferring our money in, as clients of the agency. Tony got his people to do a bank transfer. We founded the company with forty-five million, with half of it locked away for three months in term deposits, earning interest.

We now had the meeting of likely actors and the crews to arrange. It took place at our home, with a closed party, where all we had was cold meats, salads, and drink. The gate was shut to keep it private. I had used the agency printer to print a couple of dozen screenplays. Jim had read the one I had left and thought that it stood a good chance at being a hit.

With the various crews, Eric, Jack, Kurt, Kym, Cynthia, Moyra, Belle, and Samantha joining us we called for some hush. Jim took the lead and announced the formation of a new motion picture company, with the bulk of the shareholders present. He then indicated that I would tell them what the first project will be.

“Friends, when we finished ‘Thirteen Women’, Kym gave me a screenplay for the sequel and permission to do with it as I wish. I’m sorry, Kym, but I ended up with the premise of relocated witches and it being set in Kent. Almost everything else is new. It will be set in Pluckley and will be a very creepy story. I have some screenplays here, which I’ll give to all of the actors here, tonight. You are all invited to be part of it. I already have an idea of who should play what part. Every one of you here will be on a percentage. The entire crews will have a salary, and a share with a percentage bonus paid after six and twelve months. We do not intend to pay up-front amounts, as it will be the success of the film that will make you rich. The film will be produced by the new company, and we have enough funding to make it.”

One of the cameramen put his hand up.

“Julia, there are crews here from Tony’s films as well as from David’s. How will that work?”

“There will be a split of the workload. You guys are all the first unit crews. Tony will be in charge of locations, and the editing and visual effects, with his camera and sound crews working with David and myself directing, alongside Cecil and his first unit. We intend to make this film reasonably quickly, when you read the screenplay, you’ll see how. We will start shooting at the beginning of June and hope to have the exterior work done by the end of July. There shouldn’t be too much studio work, but the post-production will take time with the amount of C.G.I. that will be needed. We want you guys to pass around your copies but keep them under wraps. That way you won’t be surprised by whatever comes up, which means that you’ll almost be able to direct yourselves. Only joking!”

We gave all the actors a copy, and the leaders of the crews one each. Kurt had already read the one I had left with Kym. She came over to me and gave me a hug.

“Julia, you little devil, I’ve read that screenplay twice and it almost kept me awake. It really is creepy. You’ve done a tremendous job rewriting it and I fully endorse it.”

“Thanks, Kym. It will still be credited as adapted from your original screenplay.”

“We’ve talked about it, and we want it to be the film that we should have made years ago. I kept out of Kurt’s films, and he kept out of mine, until ‘Women’. You have written a wonderful pair of characters in the barmaid and the market owner. We want to play those, and, finally, get to kiss each other on screen. Then I can retire, gracefully.”

“That would be wonderful, Kym!”

I hugged her, and then Kurt came over to get a hug as well. I waved to David and Tony to join us and told them the news. Eric saw us and came over to tell us that he wanted to be in the film, even before reading the screenplay. We had our core cast, ready to go, and with both Kurt and Kym in it, with their stellar reputations, I could see that two hundred million estimate being smashed.

It was a very quiet party, with most of the main people with their heads in the screenplay. By eleven, most had read it through and were discussing various aspects of it, with the cameramen planning a small group going to Pluckley to scope out locations with Tony. Those of us who had already read it were talking about the logistics and timings. We all had a free summer, so were ready to film.

Jacquie was going round with a notebook, getting the contact details of everyone present, as a database for our salaried workforce and those who would be paid on the success of the film. We had decided that all percentage payments would follow the six/twelve pattern, with stakeholders and cast members getting residuals once a month, thereafter.

From then on, it was a hive of activity. I organised office space for me and Jeff at the studio, close to David. Tony and the camera units were off scouting locations after doing research on all the haunted spots. I was invited to tour the chosen sites once they had decided, and I had to hand it to Tony; his eye was as good as ever. We had meetings with the local council, the village, the shopkeepers, and the police. I was now thrust into the real organisation of making a film and was loving it. Jeff was wonderful; able to talk to all the villagers as one of them. We were allowed to get the set builders in to create the shopfronts to suit the story, temporary signage that would only go up when we were filming. Where we needed interior shots, we agreed on payments. A lot of the village were happy to be part of it, and we had a big pool of extras who would be paid by the day.

Jacquie was in the thick of it and managed to get Bronte to help out. She was on her way to being the company secretary once we had a physical location for the film company. We rented a farmer’s field and thirty caravans, so that the crews could stay on site for the two months. Most of us in the cast lived nearby. Kym and Kurt came to stay in one of my spare rooms for the two months, and the outside started to look like a car park, once we had the hired portable studio parked, with Tony showing Jeff how it all worked.

We all had a little respite, as ‘Lost in the Gale’ had its reviewer screening, the release and premiere in a London cinema. We had no problem getting enough screens to be eligible for the Oscars next year, seeing that we were all now established. There was a flurry of interviews after that and then it was back to work.

Before the beginning of June, we had all learned new things. Once we started filming, it went like a dream. Both Tony and David told me that having the units read the screenplay first was a real change. There were less arguments, and the cameras were set up before we arrived on the sets. We did all the shots in, and around, the manor house, with we four witches, in three days, with the only retakes needed being minor mistakes.

The two scenes in the butchers shops took a day each, and then Moyra and Samantha were just there to help out. The shopkeepers were Eric as the butcher, Jack as the chemist, and Jeff as the owner of the general clothing store. Kurt and Kym were the market owner and barmaid, heavily made up to give them a bit more age. The salon and post office owners were friends of Eric from the ensemble that popped up in his TV show, as was the local policeman and vicar. The wives were all from that ensemble as well.

There were a lot of general takes of village life. David and I shared the directing. The opening sequence was the sun just over the horizon, and the shopkeepers arriving to open up. The scenes, in the pub, between Kurt and Kym, were eye-openers, as was the one scene with her in his bed. The final scene was done at night, in the Screaming Woods. We had speakers that emitted low screams as the scene unfolded, rising to a crescendo as the demons were supposed to emerge. The vicar had the final words, standing in front of the two pools of empty clothes, as he made the sign of the cross and whispered ‘Amen’. The odd thing was, that when the scene was cut, and the sound turned off, the screaming continued. We packed up the equipment and were out of there, double time!

One of the locals had filmed it on his phone, sending it to social media. It was a good job that we were packing up, as the village was invaded by thrill seekers and fans, after seeing me and Cynthia in the clip. The villagers asked us if they could keep the settings and would have a ‘Wind Week’ every year once the film was released.

We had run through the twenty million into the filming, and the term deposit was cashed in to cover the rest of the production. The caravans were all picked up, the village was tidied up, and we all went home. Kurt and Kym went back to France. It didn’t take very long for studio work, as we had been able to do almost every scene in the actual locations, taking a leaf out of Eric’s TV series, with smaller cameras. Tony, David, and the technical guys got themselves settled in for the editing and special effects.

Jeff and I had a week at the apartment in Palma, to relax and think about our future. A lot depended on how ‘Lost in the Gale’ went at the box office, especially in America, seeing that it was a quirky ‘British’ film. We needn’t have worried. Although it was running at lower numbers there, the slack was taken up by screenings in other countries, particularly Canada, Australia, and New Zealand. We had nearly a year before ‘Wind’ would be released, so now had that time to see what else we could come up with.

Back at home, Jeff and I were asked, by Burberry, if we could do another photo shoot for their winter collection, and we were also special guests at a number of catwalks. It made me think that my next film could have some kind of fashion slant. We could have high fashion, with Anna’s creations, Burberry, and our usual dress supplier. The problem was that so many films had been made around that plotline, with very little left over.

As usual, we closed up the house in November and went to Spain for the winter. This time, Jacquie and Bronte stayed with us in Palma, while the others were near Valencia, with Samantha and her partner joining them now that she was earning enough to take a holiday. We took the ferry to Valencia and stayed in a hotel over Christmas and New Year, with all of us having a big Christmas Dinner in one of the local restaurants. They were happy to see us, Oscar winners dining there was enough to put a smile on many faces. There were even Spanish versions of ‘Turbulence’ and ‘Women’ in their cinemas now, so we were easily recognised.

Jacquie was keeping us up with the sales of the films, and we were getting nice returns. ‘Turbulence’ had levelled out at just under the billion, but ‘Women’ had surged past that and was now sitting at around a billion and a quarter. Still a long way from ‘Titanic’ that was over two point two. “Gale’ was a surprise, as it was doing steadily, gaining almost a million a week after the initial first two weeks with over forty million. The other thing was that DVD sales had started kicking in, with the returns being smaller, but steady.

It was on the ferry back to Palma that I saw something that triggered an idea for the next project. We were pulling into the port of Palma, and I was gazing at the scenery when my eyes were caught by an obvious party of wealthy folks, on a luxury yacht, with the girls in a colourful array of gorgeous dresses and the guys looking elegant in shirts and slacks. That’s when the idea of the story took hold.

Back at the apartment, I took myself to the desk, with a notebook and a pencil, jotting down ideas for scenes. It would be set on a yacht, with a group of socialites on a pleasant trip in the Caribbean, when a storm blows in, suddenly. There would be internal tensions, love affairs, and hatred, before the storm makes them all fear for their lives. The socialites would become one with the crew, who they had previously shunned as just paid lackeys, as they all fought to stay alive. I opened up my laptop and started a new file with the working title. It was to be called ‘The Eye of the Storm’.

Marianne Gregory © 2024