Production Story
It began when Sara Dee reported on The British Film Day at Pinewood Studios, organised by Gareth Owen.
It was for the Cinema Two programme on BBC Radio 2.
With an invitation from Bill Harrison to visit the studios again, Sara took every opportunity to meet up with all the experienced personnel at the club bar as often as she could. Hanging on every word and going through an episode or two over the years, Sara learned a few unwritten rules about the film business, especially thanks to Bill’s guidance. Sara also built up a wealth of contacts that were all willing to help this young lady succeed in her endeavours to motivate her acting career. The day came when Sara gave them an opportunity, but it was one that meant she would have to do more than just act…
“I want to write a film script for someone I know,” said Alan Moss down the telephone one evening in 1997. “That’s a good idea. Who are you thinking to write one for?” Sara casually responded.
“You!”
Two weeks later a script called ‘Café De Paris’ arrived and with a few changes it was soon complete. Sara immediately took it to her friends at Pinewood. “It’s a lovely story and an excellent role for you” said Don Sharpe, (a man with an Oscar and other awards to his name for sound work), “Yeah we’ve all been there sometime haven’t we” said David Ball, (an excellent line producer), “You’ve got to make this one, you know you have, we’re all here to help you” added Steve Jaggs, (manager of Pinewood Studios).
So, inspired with thoughts that ‘it must be good’ Sara went off to make Café De Paris. Starting at the top, like her father always told her, Sara vowed that this little film was going to be ‘big’.
First, ask more questions. Not taking ‘no’ for an answer Sara often retorted: - “I need to speak with you at your convenience, I’ve got wheels will travel, anywhere you like, anytime, but please see me!” - visits were made to everyone who knew anything about the business of making a film. One of her first victims was Richard Pun at Fuji who Sara had met at the Fuji Scholarship Awards as a guest of Sir Norman Wisdom’s. Richard later remarked, “That young lady knows how to get what she wants!”
Her next victim was a man Sara hadn’t seen since 1992 at Thames Television, Peter Turl, “Hi Sara, I just thought I’d call to see how you’re doing and ...”
“Hello Peter I’m making a film, you must have some money, how about £500?”
“Err Okay.”
A few gems of information, a helpful assessment of the budget by line producer David Ball (estimated at £25,000), a few dead ends and almost a year later Sara felt confident Café D’ Paris could happen. But who could be trusted to be a part of the team and see this vision too? According to one contact a big name should be on board to help sell the film. Could they get Bryan Forbes to play Docker the café proprietor? No, too busy in America. How about a member of the crew being a respected name? Anything was worth a try.
Then a chat with Kevin Nelson, who cast Sara in the feature film ‘Jim’s Gift’, reaped rewards. He knew Gordon Hickie who made his name as a D P on Leon The Pig Farmer, Clockwork Mice, Driven and The Big Swap. A script was sent and his showreel arrived… a tense time began, would he be willing to work on this 12 minute short ‘Café De Paris’?
Time began to drag and neither Alan nor Sara felt they had the wherewithal to make the project work, nothing was happening. They met one sunny afternoon in 1998. Alan had had enough; he wanted out of the project, the script was Sara’s to do with what she pleased. All motivation had gone, no real funding was available, they needed a trust worthy Production Manager or nothing would work. Sara sat there feeling very alone. Then she used her ace card. “Would it change anything if I told you Gordon Hickie wants to shoot the film?” Alan stared at her in amazement, then held back for a moment before he said, “We need a Production Manager.”
Sara responded immediately, “I’ll find one”.
Confidence restored and regrouping accomplished, Frank Scantori joined the team. A wizard with low budget films and a good friend, “For you ‘sweetness’, anything, what do you need...?” So the crew was in place and the cast was being sort. Auditions were held to find a co-star ‘Mickey’. The day arrived and Sara chose to go to the auditions on her trusty motorbike. It rained! She arrived in sodden leathers, borrowed Alan’s jacket to wear as a top and sat for two hours in a cold puddle watching potential Mickey’s wander in and out of the audition room. Then Dan Fredenburgh walked in, the last of the chosen few; Mickey was there like magic!
Frank was gathering his crew, Gordon was being inspirational with lighting design ideas and Sara was looking for the ‘nuts and bolts’ for everyone to work with while throwing possible casting ideas into the pot.
One day, sitting with the award winning sound man Don Sharpe, back in the Pinewood bar, Don Exclaimed, “Roger Sapsford’s over there, the man you need to speak to from Fuji” In a moment Sara muscled her way through the crowd introduced herself and said “I’ve already spoken to Richard Pun about stock for my film but I get the impression it’s you I should be speaking to.” Slightly bowled over by the sudden intrusion Roger recovered quickly to assess the situation and confidently replied, “You’re quite right, I am. So, how can I help you?”
Taken to one side Sara told Roger all about ‘Café De Paris’ and the 16mm film stock Sara needed. Roger looked at the script, read the scenario and asked Sara to make Gordon write down the stock requirements.
Sara returned to the Pinewood bar some days later and showed the stock list to Roger. He put his hand to his head in a near faint. Sara held her breath. He turned to say, “ only joking!” Sara continued to hold on to her resolve as they wandered away to discuss the matter more privately.
“I don’t want to give you the 16 mil stock you want for this film. But if you shoot it 35 you’ve got it!”
“But I can’t, I haven’t got a 35 mil camera!”
“Don’t worry!” Roger interjected, a phrase Sara was to hear from him many times again, “Call Hugh Whittaker at Panavision, mention my name, he’ll help you”.
So.. “Hello, my name’s Sara Dee, I was given your name by Roger Sapsford, I need to see you as soon as possible can I book an appointment with you? I’ll see you at your convenience and I can travel to your office its no problem”
“Err, err, well let me see. Emm Thursday at ten okay?”
“I’ll be there. How do I get to Panavision”?
“Down the A40, look for the B&Q on the right you can’t miss it”.
On the Thursday at 9.40 Sara was sitting in her car staring out at a derelict site near the B&Q off the A40. She called Panavision and asked the receptionist for directions. It was at least another six miles away. Ignoring thoughts that she might not be very welcome and with seconds to spare Sara found herself, at last, in reception, Hugh Whittaker being called for.
A tall, dark, friendly gentle giant of a man arrived and tentatively asked, “Err, Sara Dee?” He looked surprised as Sara stood, official and streamlined in her tailored suit “Yes, hello.” They shook hands and Sara felt confident whatever the situation she would win and would gain the support of this man.
Sara was led through the building, grabbing a quick drink at a coffee bar Hugh inquired, “So what do you want to do when you grow up?” Wanting time to think and being a little bit phased Sara responded, “I’ll save that for the office if you don’t mind.” Hugh assured her that it was no less private in the office as his door was always open. ... Eventually they arrived.
Sitting more comfortably with a desk between him and this strange young lady. Surrounded by pictures of his wife and family, his secretary within speaking distance he asked, “So how can I help you?”
“Well,” Sara began, “I’m making this film and....”
“Thank God for that!” Hugh interrupted in relief, “I thought you were selling web sites!”
With the ice truly broken, the story of Café De Paris unfolded, the team was revealed and a list of supporting contacts were listed, not that Hugh would ever be impressed with a name dropping episode. He’s left to speak with Gordon Hickie on the telephone and the gear is set!
Meanwhile the search for a café began in earnest; Alan and Frank were out on the road looking for the perfect venue. Sara was pushed to get a name on the cast list! The shoot, which looked likely to happen when the long nights were drawing in during October and November 1998, was near. Richard Ridings was considered for Docker. His agent seemed keen but Alan, having seen his picture, was very unsure.
With pressure starting to build to make more money for the shoot and still with so many loose ends to tie up Sara began to feel the strain. Then a good friend, Gareth Owen, called and invited Sara to a black tie bash, The Executives Ball on Park Lane. All her associates from Pinewood were there including Andy Birmingham who took her for a spin on the dance floor to check out the full circle, skirted cocktail dress she was wearing. She escapes for just enough time to meet p with John Lee and Ron Pearce. They were no strangers to Sara having entertained her at Pinewood on a couple of previous occasions but this time Sara meant business. “I need lights for my film Ron, you said you would help me. Can you do this for me?” Ron was delighted although a little out of touch with things at Lee Lighting because of his recent semi-retirement. He introduces Sara to Jackie and the lighting requirements and deals are left to Gordon and Frank.
Sara was whipped up and flung around the dance floor, just a few more times, before being spotted and introduced to Neal Mockler from Deluxe labs who offered to do the best deal possible on the film processing. Knowing Alan had used him before and coming highly recommended by her partner that evening Gareth, Sara asked him to send all the relevant details and quotes. The evening was over, goodbyes and good lucks were delivered and she left alone to walk to her car.
Outside Sara met a ragged young Irish man. His soft accent reminded her of Mickey, the struggling artist in Café De Paris. He implored her to give him just a little money so he could go to Amsterdam. Sara could see a man with a dream. She had been helped many times over because she wanted to realise a dream herself, one she was willing to work for. Sara had twenty pounds in her pocket, enough to last the weekend, if she was careful; all the rest was for her film. Here was a man asking for help.
“What are you going to do when you get to Amsterdam?” Sara enquired
“I’m an artist”. He presents her with a blunt pencil from his combat jacket pocket.
“An artist!” Sara can hardly believe it, she feels like she’s staring at Mickey, a Mickey who never quite made it, standing there in all her finery, having attended a party, just as Lauren appears in the film to confront Mickey.
Glittering in diamante, (hoping for diamonds), Sara gave the stranger £10.
“This would let me live for 6 weeks!” he remarked startled.
“Not after you’ve bought yourself a set of pencils and an artists pad it won’t. Promise me you will do that”.
“I promise I will if you tell me your name”
“It’s Sara. Sara Dee.”
“Sara, why are you giving me this?”
“I know what it’s like to have a dream and I know I wouldn’t be where I am without help from my friends. I want to know what it feels like to be someone who can help others for a change. What’s your name?”
“James Sweeney, but you’ll forget that after tonight”
“James! That’s a rich name. You should believe in yourself James Sweeney. When you’re out of this rut and a few rungs up your ladder, maybe you’ll see my name in lights somewhere, if you do, ask to see me, I won’t forget your name, but I will expect to see that you’ve made your way somehow.”
“I can’t do it no one ever gives me a break...” (He stops himself), “Not until tonight.”
“You have a dream you believe in. Don’t let anyone take that away. Your breaks will come.”
Another tramp tried hassling Sara for money and James told him to go away. Sara thanked him and was stunned by the look in his face, like he had never been thanked in his life before. She walked to her car and got in, a few yards up the road the lights stopped her. James was there, he put his hand on her window and Sara presses hers against it. “I won’t forget you James Sweeney”, she mouthed as she stared at a man who had a new, unfamiliar sensation of hope in his eyes. Sara drove away with a heavy heart.
“We’ve found a café. It’s in Stamford Hill but we need to paint it because Gordon says it’s too bright”. So the money started to go out for pre production, £200 here, and £400 there. Sara worked every day she could. 6am starts doing weather reports for the Information Service telephone network. Her voice broke several times during her endless weeks of voicing reports but the hours allowed time to sort things out for her film.
A shift was changed, Sara forgot, she was out looking for the jewellery and shoes for her character as ‘Lauren’, in Kensington. She missed a late shift at work; the pressure was on to keep her job.
Then a role with Norman Wisdom, it was a daylong shoot at the Millennium Studios from 8am. Ronan Wilson who Sara had sat next to at the Executives Ball owned the studio! Sara was still working on the film at 2am the next day. It was a dream come true to work with Norman, she had been weight training over the last year especially for the role. At last she was acting again and when she was asked to cry, during Norman’s repeated rendition of ‘Don’t Laugh At Me ‘Cos I’m A Fool’, Sara released the relief she felt standing there in front of the camera and the tears fell freely.
Rehearsals for Café De Paris started, all the financial control was given to Frank. Sara found it hard and disturbing not knowing what was going on as she concentrated on Lauren. Not only that but her character had changed from a soft misguided, lost soul to a hard calculating manipulator. All preconceptions of her role had to be destroyed.
“...What is Lauren now, why is she so hard, what happened to the love she had for Mickey? I don’t understand her anymore. .”
Time was running out. The pressure built up, the nose bleeds started. . The ’Tall Man’ and ‘Docker’ were found, both acquaintances of Sara’s. The ‘writer’ was a friend of Dan’s and the ‘student’, a friend of Franks. One bad nosebleed during a rehearsal and Dan called a halt and suggested Sara was given some space.
A week passes by. A date was set for the weekend over bonfire night. It’s postponed then the date was set again for the next weekend. Sara found herself in a salon being treated to a makeover, hair cut and nylon nails. Totally transformed by Michelle Jones, Sara looked ready to play Lauren but still couldn’t find the hard, ruthless, confident character within.
On the day before the shoot, Sara sorted out the equipment insurance, a van was hired and the crew were ready. The café was painted, the catering sorted; Frank had done his job as Production Manager and was ready to step into the role of Assistant Director.
Bewildered, not quite focused on reality, numb inside from her struggle to find Lauren, Sara arrived on set with the support of Martin Pavey, who went on to write the music. First a garden party scene that ended up on the cutting room floor. In the centre of Blackheath a theatre director Charles Thomas and his wife actually held a real champagne party for their friends. Then everyone travelled to the café in Stamford Hill. On arrival a mass of flight cases were being loaded out of the van while Sara looked on in amazement, not knowing half the people there but knowing they are there because she had a dream, was able to pull a few strings and find a bit of money.
The first day ran through smoothly with Dan as Mickey doing all his lines and scenes, The lighting was changed subtly as the film was shot chronologically. Sara fed Dan his lines still searching for Lauren. Wrap time 3.30am.
In bed, Sara stared at the ceiling. After one and a half years, tomorrow she would be Lauren. “Tomorrow Lauren must live. Why did she leave Mickey for riches?” Then a metaphor came to her in a flash. Mickey was a struggling artist like a desert cactus; he could live in the heat and the cold and flourish.
Lauren, however, needed a more comfortable life she couldn’t live in the protection of Mickey’s shadow she needed a chance to shine, so she had allowed herself to be plucked and put in a crystal vase, on show for all the world to admire. Lauren would always love Mickey but couldn’t share his life; she would have to fight against her love for him, for her right to survive in comfort.
“I’ve found Lauren!” Sara whispered to Dan in the back storage room of the Café that was used as the make up room, “I know why she’s left Mickey”.
“Do you want to tell me?” Dan enquired.
Sara unravelled her story and sat comfortably with Lauren for the rest of the day. A lady being pulled apart by her needs and desires at great emotional cost and thus being hard and ruthless.
Tension mounted, the lighting was being set, and Alan was desperate to move on because of the time factor. Gordon stopped him short, “I need to get this right. Sara’s got to look good, that’s what we’re here for after all” He spent time to set up the framing of the shot perfectly.
Sara was secretly grateful that someone was looking out for her.
Gordon had to leave at a timely moment when the Tall Man arrived in the plot, when the atmosphere of the film totally changed. Bruce Jackson took over and everything felt different just when it was necessary. Mike Cuckson, looking debonair and handsomely confident played his role well, stole the scene and ripped Lauren away.
The wrap time was 6.30am. A shooting star chased through the sky as the tired crew went home.
Day three and two flash back scenes were left to shoot before the limo arrived in the evening. Bruce shot the artists studio scene where Mickey and Lauren stood together naked, by an electric bar fire. Destined for the cutting room floor along with the courage it took Sara & Dan to make it work. The party scene was next, it survived and made an interesting diversion in the final film, and then the limousine arrived. . .
Gordon particularly wanted to shoot this part. It seemed to take an age to set up the shot. The weather was freezing outside. The AA arrived. There was a problem with the engine. A crowd of almost ghostly, Hasidic Jews gathered to see what was going on. They stared silently. The atmosphere was eerie and unreal with these black figures looking on. Sara was asked to sit in the car and minutes passed by before the heating was switched on. Tempers sounded frayed outside, sound men popped in to take wild tracks of the cars engine, it’s doors closing, leather seats squeaking. The windows were steamed up and a shuffle of feet passed by closely as Frank was heard asking the onlookers to stand to one side. Gordon eventually sat in the car, and checked the lighting and camera.
“What’s happening out there?” Sara asked him
“Don’t worry about that you just concentrate on Lauren”
They sat in silence and Sara tried to focus on her role. Here was where Lauren cries.
The driver arrived, Alan joined everyone in the back, a close up of the ripped photograph was taken, then the entrance of the Tall Man, then they were moving off, looking for a place where lights could flash by the windows. Sara felt overwhelmed. It was time to call a halt regardless of how asserting her self would be taken. Never before had she asked for time, but without it now the film would suffer.
“Stop the car!” cried Sara, “I’m not ready, I don’t want to cry, it’s the end of the film and I don’t want to cry”
Alan talked to her about the struggle she had gone through to get this far, about her hopes for this film to work.
When, at last, she was on the edge of tears Alan rushed round to hug her and the tears flowed. He rushed back to the front “Drive!” he shouted to the driver, “Roll Camera!” he shouted to Gordon.
The last shot was done and they drove back to the café in complete silence. Sara held on to Mike Cucksons hand and trembled. Back at the café, in a flash the driver opened Sara’s door. “Where’s my lady?” he said offering his arm, “you’re going to be a star someday I know it, you’re lovely and I wish you all the best”. He kissed her hand and Sara thanked him sincerely.
Mike Cuckson congratulated “his little actress”. At last, as the shoot was wrapped, Sara only just began to feel welcome and at home. The gear was already packed and sitting outside with a freezing crew huddled around the flight cases. Good byes were said and telephone numbers exchanged.
Then a lone voice shouted, “Look!” everyone looked to the sky to see a shooting star race past, the last of the meteor shower that had passed by throughout the weekend. “Surely something wonderful has been born!” Sara sighed in hope.
The earliest Christmas cards on record were sent out to the whole cast and crew. The thank you cards were given to Lee Lighting, Panavision and especially to Roger at Fuji. Without him having taken the initial risk it would have been very difficult to secure the support of others.
Keith Falkner offered a better deal at Technicolor, wiping Deluxe out of the picture, and Peter Turl was willing to utilise his business, ‘Vision Decision’ to start an account. He met up with Sara at the South Bank. She was literally ‘loaded’, money in cash for him in one pocket and money in cash for Technicolor in the other. The deal was struck under the table in the Royal Festival Hall. It was late and Sara had yet to make her way to the labs.
“Once you’re on Bath Road off the M4 just look for the chimney with Technicolor written on it, you can’t miss it” Sara was told. Where had she heard directions like that before!
She found Bath Road. It was dark, well after midnight and a thick fog had descended. Sara got to know every lump and bump on Bath Road and there was no chance of seeing a chimney unless it appeared three yards in front of her. At around 1.30 am she discovered the whereabouts of Technicolor, gave them the film rushes and made her way home.
“It’s a shame about the sound though isn’t it” said Clapper Loader Genny during a routine thank you call. Apparently Frank had taken the sound tapes to De Laine Lee and there was nothing on them. Three days work, not a blip.
“Do you know who I feel sorry for?” said Martin Pavey. Forlorn Sara believed it must be her, but no.... “The boom operator!” he finished. They laughed, (what else can you do); the poor man had spent three nights with his hands up in the air for nothing. “It’s going to be tough but we’ll fix it!” Martin added taking on the task of recreating all the sounds without a guide track.
Sara found a job at London News Network over Christmas to find the funds to finish the film.
Alan edited the film together line by line with no mag track to follow. Every piece of dialogue was made visible from each character. Sara got the mute cutting copy on to tape and was astounded at the sheer brilliance and professional look of the film. A mute VHS was sent to Dan to practice lip sync. Rumours spread that Dan’s agent was so stunned by the film she had shown the mute copy to David Puttnam.
One by one the artists went to Pearsons to re dub their voices with Martin at the helm and Alan Directing. Only one word was said not belonging to the original artist, “Okay”.
Strangely enough the performances were enhanced by the re-voicing sessions and Martin’s wizardry on Audio Vision and Sound Scape made the whole thing look and sound remarkable.
“By another quirk of fate the film is better than it would otherwise have been. It’s just making us work hard…” Sara told people at the Pinewood bar without letting on what the troubles were. Oh such a brilliant liar as most actresses must be!
Surrounding her were Roger Sapsford, Andy Birmingham, Alan Lowne, David Ball and a host of others. They all wanted to know how the film was going. Then a stranger with a ponytail stepped forward and enquired, “What’s going on here?”
“Err, I’ve just made a little film and all these people have helped me to do it” Sara piped up.
“How good is this film then” the stranger asked.
Sara, without thinking replied, “If I could show it at Cannes it would win the best film award”
“You’ve got your showing at Cannes” announced the stranger and gave his business card to her. ‘Colin Ritchie from Quantel’.
Wanting to know how else he could help he suggested the titles were designed using their new Domino system and already had two designers in mind to help, Kate and Helen.
Sara rushed back to Don Sharpe, who she had been visiting for lunch, to tell him the news. He was very pleased for her and Sara could hardly believe what was happening!
With only the dialogue complete, a mag track was finally made and Alan took it away to do the final cut. A few reaction shots and a few trims are all that were needed. Sara telecined the result and was devastated! “What’s happened to the film, where’s the story gone”. In tears and unable to face Alan eventually he called her. Having sought advise from Line Producer Mike Nunn, Sara stayed calm as she told Alan she wasn’t happy with the edit. Alan fought for his right to keep what was there and not change a thing. He was flying out to America in two days leaving Sara with the postproduction. Something had to be agreed. They met and discussed the changes.
Sara left Alan that evening, with the stress promoting another nosebleed, knowing she would have to make her own decisions on this one. With Alan gone she asked editor and director Jim Groom to help her. She wrote down what Alan and herself had discussed and added what she believed would be good for the film. Armed with the original mute video, cutting copy and script, Jim took care in assessing the film and eventually agreed. (Jim used a Steinbeck that had once belonged to Stanley Kubrick. Café De Paris was the first completed film to be edited on the machine since Jim bought it). Sara was then knocked back with the flu for two weeks. Time dragged through February Jim then caught the flu bug but eventually bit by bit, decision by careful decision the film was complete. The final telecine was done at 124 Facilities, but Sara then decided to change a shot that seemed to stick out a mile. This was done, happy now, the cutting copy was given to TKT at Pinewood and they got on with the job of cutting the negative.
Martin started to find the sound bites, the coffee mugs, the flower vase, typewriter, cappuccino machine, using Sara in different jackets for the movement of each person, and using other sounds from CDs. Once complete he concentrated on his passion, the Music! It was left entirely up to Martin to decide what he felt was right. He wrote a very romantic theme that had sinister undertones. It complemented the film perfectly.
Then it was a waiting game. Quantel were busy with the NAB show in the US coming up so titles for Café De Paris were on hold. Not only that but Sara had discovered a problem with a Trade Mark. ‘Café De Paris’, was written on the menu board in the film. This had to be changed, dropping the ‘e’ in De. This shot was repaired on the Quantel Domino too but it all took time. To keep things moving Helen put the titles and credits on to video so Martin could finish off the music score. They looked very sexy! The final pieces were then carefully output on to film taking 30 seconds for every frame of picture. 28 hours later the neg. was ready to ship off to the labs. It was then Sara realised how prudent it was to have chosen Technicolor, a sister company to Quantel.
The bank holidays during May had stalled the working week and hampered the progress, time before Cannes was now very short. Sara picked up the bits of neg. the next day and rushed to TKT to finish the final cut. This was rushed back to Technicolor for an answer print and grading session. Sara was astounded at the perfection of the corrected shot and seeing the titles and credits on the big screen made her fully appreciate the work that had gone into them. Alan, (back from the US), and Gordon attended the first grade. Alan was on his own for the second session because Martin & Sara were in Pinewood finishing a Dolby surround sound Dub made possible through Mike Carter, again during a meeting at, you’ve guessed it, the Pinewood Bar.
Sara had been ill the night before the session. Martin had scraped her off the bathroom floor and bundle her into the car. Later that morning, once the answer print was recovered from Technicolor, Martin felt too ill to drive leaving Sara to take over and get them to Pinewood. They arrived safely, met John Hayward and Richard, (who were working on the dub for them), and promptly collapsed on the settee at the back of theatre one. As much as Martin would have liked to have participated more but most of the work had been done anyway and the illness prevented him. John was left to complete the final Dolby mix, which he did beautifully. Next door, ‘Eyes Wide Shut’, Kubrick’s last film, was being dubbed in complete secrecy. Having used his editing machine and now being next door to his final sound mix, Kubrick seemed to be shadowing the project.
The sound should have been ready that afternoon in time for the second grade but John wanted to get it perfect, being very impressed with the work that had already gone into film. So, Alan was on his own. There was a glitch on Lauren’s dialogue and that had to be repaired the following Monday. The journey home was horrendously slow, with sick stops made along the way down the A40.
On Monday, quite recovered, the dub was completed and, for safety, a mag track was made as well as the Tascam of the Dolby surround sound that was destined for the optical print.
Colin Ritchie had organised flights on Quantel’s private jet on the Thursday so time was short. Using the mag and the answer print the film was graded and telecined on to Digi Beta under close scrutiny from Gordon Hickie. This copy was for use at Cannes. The Optical Print was looked at and picked up on the Wednesday afternoon. Followed by a leisurely stay at a hotel near Farnborough airport.
After a wonderful journey on the private jet with the final optical print being clutched tightly on Sara’s lap, Sara and Martin arrived safely at The Cannes Film Festival 1999, called into The British Pavilion and handed the Beta tape to Colin Ritchie. It was put into the Quantel Domino system and was ready to show on request throughout the festival. On the following Tuesday all the industry professionals who’d helped Sara, congregated on the yacht ‘Fantastique’. Eating strawberries and drinking champagne Sara, at last, let her hair down. Already ‘punch drunk’ the champagne hardly touched her.
She had finished her first 35mm film, as a producer, with a credit list worthy of any block busting feature, Lee lighting, Fuji Film, Quantel Graphics, Colour by Technicolor, Dolby Surround Sound, Sara’s parents Alan & Mildred, who helped financially and now, a showing at Cannes.
With only one invitation and three guests of her own Sara ventured into the Technicolor party. It was a very slim chance that they would all get in. As the receptionist searched through pages and pages of names, Chris Gaçon who was standing just by the entrance spotted Sara.
He rushed to meet her. “I have three guests.” Sara said sheepishly. “No matter, come in, come in!” He ushered them all through with the receptionist looking very put out. “He must have liked my prompt payment,” Sara whispered to her guests Martin Pavey, his niece Megan and her French boyfriend Marciel, who had both been invaluable French interpreters during their stay.
It was a fun party and Sara began to realise just how much completing a film meant to those in the industry who knew how difficult it could be. The gravity of what she had achieved was slowly sinking in. David Ball was at the party along with Hugh Edwin Jones, the North Welsh film commissioner. Sara was able to tell David that his budget was pretty much on the nose. Peter Turl was footing the debt at the time but Sara did duly pay it off by 2003.
Later, one evening back on Tursiops an American boarded the yacht. He was about to make a film and Sara was very keen to hear all about it. He took her to one side and relayed the film’s story. for over an hour under the stars above Cannes. It was an emotional journey and Sara was very touched and impressed. She implored him to make the film and not let anyone stop him. He promised he would do his best. Just before he left he presented Sara with his business card. Scott Ross from Digital Domain, the man behind the effects on ‘Titanic’. Oops! How patronising must her pleas for him to make the film despite any opposition have sounded! But perhaps he was inspired too by her undaunted persistence.
Sara’s final night at Cannes was spent on the yacht, feeling very at home as a welcome guest of Roger Sapsford. Hugh from Panavision with John and Ron from Lee Lighting shared the luxury cruiser. It was a quiet night. Sara met film director Chris Barfoot that night that became a good friend having dubbed her “Sara with the shiny hair.” A deep sleep in her hotel room lasted too long. Breakfast was missed and Quantel’s private jet was waiting. She joined Colin Richie in the cab to the airport and sat with Roger in the “Cigar with wings” as Kate and Helen had called it. With one last sound dub for television and a pile of business cards to follow up, once she was home, Sara felt exhausted, and emotionally drained but very happy.
Back home, tired, hungry, broke and with a devastating leak having destroyed the kitchen, Sara’s feet were dramatically planted firmly back on the ground.
“Oh Steve what should I do now?”
“Have a screening here at Pinewood.”
So, with Steve Jaggs backing her all the way, the legendary ‘Studio 7’ was hired for an evening. Quantel went out of their way to print invitations and posters for the film.
Sara invited the whole world including Bryan Forbes, just in case he could make it.
It took a couple of hours to dress the green room with a buffet, drinks, photos from the shoot and flowers with the colour theme of yellow and white. Eventually a host of people began to arrive and Martin, who stood behind the bar, was soon inundated with drinks requests. As the room swelled with the crowd he struggled to oblige.
Sara stood at the back of the auditorium having welcomed most of the guests in at the door. Many others had slipped in from another entrance and Sara was astounded and surprised to see who had arrived. The head of Technicolor was there rubbing shoulders with Roger from Fuji and Patrick from Lee Lighting, the designers from Quantel, Gareth Owen, Chris Kenny, Alan Lowne... Only Frank, Alan and the Limo driver arrived from the cast and crew but the auditorium was almost full of faces; some she recognised from the Pinewood bar as prestigious line producers and directors. Sara’s own family was represented by her Auntie Marjorie and cousin Ruth and Martin’s by his nephew Rowan. Colin Ritchie stood with Sara and when the audience was settled she was ushered forward by him to make a speech. With all her experience as a live presenter nothing prepared her for this exposure. Her film, her efforts, her contacts, her enthusiasm, her money, her talent, everything about her was on show with this film. The moment had arrived to prove to all these people she was worth the support. The speech was short and sweet just a thank you to everyone for being there and finished with the words,
“...Now after three years of having only a dream I can say, ladies and gentlemen here is Café D’ Paris!”
The film was shown and the audience remained quiet as the credits rolled to the sound of the brilliant music score by Martin Pavey that left a haunting impression of the story. It took the projectionist to close the curtains before the stunned audience began their applause. Sara was pushed again by Colin Ritchie to speak. As she moved forward the applause gained momentum & Sara felt a little unnerved. Staring again at the crowd of high calibre faces she relayed more personal thanks to those involved. The most pleasing moment came when, before she managed to finish the sentence about Martin’s music, a hum of agreement came from the auditorium and was followed by thunderous applause.
Sara had gained her moment of credibility and her efforts as a producer were truly praised. From this day forward she would be treated very differently in the Pinewood Bar. This young floozy from the Pinewood bar had gained a wealth of respect. Martin’s music was the most praised element. He had obviously been granted a victorious moment for his talents as a composer. Gordon Hickie had not disappointed those interested in his work either. It was well received. It was a gloriously looking film. It was worthy of the applause.
One thing Sara was aware of, Café D’ Paris was not the ideal personification of her acting talents and there was more work to be done to prove herself worthy of this challenging profession. But it wasn’t long before Café D’ was handed to the likes of Director Andy Wilson and Casting Director Jeremy Zimmermann who both, by 2005, cast Sara in new television dramas. Andy was also impressed at having been introduced to Hugh Edwin Jones by Sara when Sara had found out at an Equity meeting that he wanted to make a film in Wales. She wasn’t forgotten and her good turn was rewarded.
Café D’ Paris was shown again at Pinewood once for a society of film camera operators and once for a society that represented film sound personnel, AMPS.
Sara hosted the first but left Colin Ritchie to host the second as she was in Manchester with her family particularly to see her father who was desperately ill. The story about the post-production sound having to be recreated from scratch apparently left them in awe. Sara and Martin wished they could have been there but was thankful for Colin’s help and support at that time.
A few short days before Café D’ Paris was to be shown for the third time Sara’s father died surrounded by the one thing that mattered most in his life, his family. The last showing at Pinewood Studios of Café D’ Paris, that credited Sara’s parents as associate producers, was attributed to her Dad, Alan Milward Smith.
The episode was over.
30 film cans, an article printed in Fuji Film’s, summer of ’99 trade magazine ‘Exposure’, a PG rating BBFC certificate on the wall, hundreds of photographs
and a thousand memories are all that is left …
except for one burning question Sara posed to Roger…
“How can I begin to thank all these people who helped me?”
His simple reply continues to energise her determination to this day…
“Be successful!”
POST SCRIPT
A lot of water has rushed under the bridge Since Café D’ Paris was completed and a few people who were inspirational at the time have moved on.
This story is dedicated to dear Roger Sapsford, and was printed out and presented to him at his retirement from Fuji Film party. This brilliant man who had such faith in new filmmakers and was a great supporter of new talent has given so much inspiration and hope to those in the industry. Café D’ Paris was one of the lucky films that got made with him in this invaulable ‘supporting role’ and his, “Don’t worry!” will never be forgotten. I saw him again and for the last time at the Pinewood Studios Birthday party 070707 a decade later, after only texts and e-mails, he died of cancer. The large congregation at his funeral on Valentines Day, spilled out of the doors, it was so packed with friends and family who loved him. I was so moved with tears I failed to sing the final hymn. The stained glass window I staired at instead had a cross x like a kiss in the design and the trees, on the journey to the wake, were all full of mistletoe.
An inspirational person that is not mentioned in the story deserves a mention here. Larry De Waay always had his door open for me and was a constant source of solace when problems loomed large. He had a depth to him and a philosophical outlook on life that he found easy to share in my company. After he died I found out weeks later and was very sad to have only heard via the grape vine.
Dear Don Sharpe was introduced to me by Bill Harrison. He was a member of what they called ‘The Wednesday Club”. Don was exceptionally interested in me, having seen my capabilities and dedication to pursue my goals. It was he who talked through my real ambitions and gave me permission to focus on my acting talent. Don told me how the business could be nasty and how it could turn favourable in an instant. He taught me not to suffer fools gladly and have more belief in my talents and my dreams. He honed my judgement skills and made me aware that I should never work for nothing and be more selective about my choice of work. I had just been honoured with my first break on national television when Don last called to see how I was doing. I listened to him as he reiterated his lessons to me I was at last able to give anecdotes that proved I’d already taken the lessons on board. That call was taken outside in my garden on a balmy summer evening in 2004 and was to be the last conversation we shared. Just before Don died I secured a helpful agent, one of the things Don was hoping I’d achieve. I attended his funeral, wept uncontrollably and miss him still.
My Dolby Mix was arranged thanks to Mike Carter who left Pinewood to join Lip Sync postproduction in Wardour Street. Again via the grape vine I heard he had died of a heart attack. He was only in his early 50’s. He was a good friend to myself and Martin who he showed around the sound department of Pinewood with pride and enthusiasm.
Pinewood Studios have changed, Bill Harrison left soon after my film was complete and went to live in France. Gareth Owen gave me a Pinewood Bear that is named ‘Bill’ after him. We both owe him a great deal where our history and first access to the studios are concerned. My last visit was shortly after the Pinewood Birthday Party 070707. I was visiting director John Hough who found out about my film and enthusiasm after the first screening at Pinewood. Jackie was still serving the regulars their ‘usual’ and remembered my tonic water.
The studio has changed hands from Rank with Steve Jaggs heading a consortium of others and then been replaced by another ownership. At the time of writing the Americans, thanks mainly to Disney taking over the space, have increased security so much there is no way casual vistors would be allowed in and what I achieved there could never be made possible again.
Quantel’s Colin Ritchie is now living in the US and Helen, the designer, has also emigrated.
Martin Pavey continude to work on music and sound for television and film and eventually focused on sound design, making his name brilliantly thanks to working on Ben Wheatley films for Rook and RPC. He's sought after, bonded, and works for many British indie films. Gordon Hickie’s credit is often on television drama series and he has been working again, decades later, with director Simon Cox who brought him to the attention of Keving Nelson and then to me. Alan Moss is now resident in Los Angeles.
Jim Groom completed a film ‘Room 36’ after 11 years work. Having seen me in Café D’ Paris he offered me the added role of Agent Wood’s Look A Like. Room 36 was given a theatrical release in the Odeon Cinema in September 2005 and was reputed to be the best selling pirate DVD in Russia that month. I appeared in the West End Extra newspapeer standing with Frank Scantori who stepped out of being a crew member and played a major role in the film.
Frank also went on to produce & direct a feature ‘Warrior Women’ & often appeared as an actor on TV dramas and feature films. He assisted on the next film I produced seven years later, 'Flash Back' but eventually found his way back to stage performances and excelled as the Porter in The Globes production of Macbeth. The acting world was opening up to him well when he suddenly died of Sleep Apnia, three short days before the first public screening of '15' our third short film that was written especially for him to star along side myself, also directed by Martin Pavey. I spoke at Franks funeral. It was devastatingly sad and, without Frank, making films seems to be increadibly difficult even with more accessible technology. It will never be the same without him.
Out of the cast Dan Fredenburgh is represented by ICM, reputedly one of the top agencies in the world. He played Colin Firth’s brother in ‘Love Actually’ and appeared in a major role with Tom Conti in the television series ‘Donovan’ as a womanising forensic scientist. Chad Shepherd is forever popping up on UK television especially in commercials. The one at time of writing is the Privilege Insurance commercial where you find him back in a greasy spoon café. Mike Cuckson has starred in a spectacular tour as The Big Bopper in the West End and touring musical ‘Heaven Can Wait’ and also found a role in the revamped television ‘Doctor Who’ series. He's a musical actor with musical talent.
I helped to develop a feature film and was offered a free office at Pinewood to get things moving. I was thwarted by the writers after 10 months of work. My efforts did not go unnoticed by those that mattered at Pinewood but it was a slow burn of less and less invitations and the loss of my wonderful supporters moving on that increased the gap between me and this amazingly magical place.
After a showcase in which I played a dominatrix character I was nominated for a UK Erotic Oscar and have since received some remarkable reviews for my other work on stage many starring roles in new plays and my amazing opportunity to work with Ray Winstone and Karl Johnson, jez Butterworth and Ian rickson at the Royal Court theatre.
After appearing in a film that made Channel Five and presenting on Grananda Men and Motors , 2 Wheels, my television debut programme, as an actress, began at the beginning of 2005. Cast by one of the top-casting directors Jeremy Zimmermann, ‘The Commander’ was broadcast on itv. I was then asked to be on ‘Crime watch UK‘ to help find a missing security guard by playing her for the screen; then I worked for BBC Science programming on a programme called ‘Body Watching’ and was given a comic role in the BBC feature film ‘Riot At The Rite’ directed by Andy Wilson. For this role I was a star for a day in dressing room 76, right next to C Stage at my beloved Pinewood Studios.
With family deaths to navigate the spurt of acting work slowly cooled and it would be years before I found a foothold again in independant films, mainly as a voice artist. Rebuilding from there the in-vision roles started to materialise again .
I still selectively support those in the industry who are determined to make their own films. I honour the contacts I have made and introduce them to projects or people if or when I deem them of significant interest. I have supported feature films and writers with success and will carry the legacy of what I was offered by those amazing stalwarts with honour.
In my office I am surrounded by mementos that remind me of how well I have been accepted into this magical industry. My first Oyster was eaten in The Mezzo Restaurant when I joined Roger for a lunch. The shell sits on my desk. Alex Thomson’s place card from The Café Royal when I was invited to the Fuji Christmas lunch is beside it, signed by the man himself. A birthday card from Don with the message, “about to go up and up” written inside and on the wall, in pride of place
the BBFC certificate for Café D’ Paris with it’s PG rating.
‘Bill’, my treasured Bear, watches over my study as I work each day looking for ways and means to continually,
“…Be Successful!”
SARA DEE
Café D’ Paris
CREDITS
WRITTEN & DIRECTED BY
ALAN MOSS
DIRECTOR OF PHOTOGRAPHY
GORDON HICKIE
ORIGINAL SCORE
MARTIN PAVEY
PRODUCTION CO-ORDINATOR
& 1ST ASSISTANT DIRECTOR
FRANK SCANTORI
PRODUCER
SARA DEE
ASSISTED BY
PETER TURL
ALAN & MILDRED SMITH
Café D’ Paris
CAST
SARA DEE LAUREN
DAN FREDENBURGH MICKEY
MIKE CUCKSON TALL MAN
PAUL WILD DOCKER
CHAD SHEPHERD THE WRITER
LUCY BROWN STUDENT/CUSTOMER
CREW
PRODUCTION ASSISTANT…………………… LISA HANEL
2ND UNIT DoP…………………………………… BRUCE JACKSON
FOCUS PULLER…………………………………. KAI VAN BEERS
CLAPPER LOADER……………………………... GENNY ATLAS
KEY GRIP .…………………………………….… KORNEL DUNIN-BRZEZINSKI
GRIP………………………………….…………… PHILIP BAXTER
SPARK……………………………………………. MARK VEGH
BOOM OPERATOR……………………………… BRIAN HUTTON
GAFFER………………………………………….. JON CARTER
CONTINUITY……………………….……………. PETER HYNES
ART DIRECTOR…………………………………. SARA ALI
ASSISTANT ART DIRECTOR……… ..………… JOHN CARTER
EDITORS .……………………………………… JIM GROOM & ALAN MOSS
DUBBING MIXER….……………………………. MARTIN PAVEY
TELECINE………………………………………… JOHN HERDMAN
STILLS PHOTOGRAPHER………………………. MARYSA LOMBARD & MARTIN PAVEY
MAKE UP………………………………………… MICHELLE JONES
TITLES & GRAPHICS………………………….. KATE & HELEN at QUANTEL
Location The Laurence Café, Stamford Hill, London
Limosine Classic Cars
Catering Mandy’s Oven
Insurance Allan Chapman & James
Titles Quantel Domino System
Neg Cutting TKT Film Services
Sound Equipment Richmond Films
Lighting Equipment Lee Lighting
Stock Fuji Films
Camera & Lenses Panavision
Colour by Technicolor
Dolby Stereo
With Grateful Thanks To
Roger Sapsford, Colin Ritchie, Ron Pearce & Jackie Rowden,
David Ball, Keith Faulkner, Hugh Whittaker & Tracy Prior,
Don Sharpe, Steve Jaggs, Mike Carter, Mike Nunn,
Ali Hussein, David Wilks, Kevin Nelson, Rob Green,
Gareth Owen, Martin Bigham, Bill Stephens,
Fumiko & Charlie Thomas with friends,
and Pinewood Studios
ALL PEOPLE, ORGANISATIONS AND EVENTS IN THIS FILM ARE FICTITIOUS AND BEAR NO REFERENCE TO ANY PEOPLE, ORGANISATIONS AND EVENTS WHICH PRESENTLY ARE, OR HAVE BEEN, IN EXISTENCE.
© SARA DEE PRODUCTIONS