Angel. Barbara Taylor Bradford
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would blaze throughout the British Isles tonight, effigies of Guy Fawkes would be tossed into the flames, fireworks exploded, and potatoes and chestnuts roasted in the fire, as was the tradition – providing it didn’t rain, of course.
‘All being well, we’ll be wrapping the picture on the fifth,’ Aida had said to her, over their snack in the studio restaurant last Tuesday. ‘But I’m afraid we won’t be allowed to have a bonfire. For security reasons, obviously. However, maybe we can come up with something appropriate – to celebrate Bonfire Night as well as the end of the film.’
She had not been able to determine exactly what Aida had meant by appropriate, but she and everyone else would soon know. The wrap party was scheduled to take place in a few hours.
Rosie glanced around as she hurried across the deserted back lot of Shepperton Studios, walking in the direction of her office in the production building.
She had been based here for the past nine months, and the territory had grown so familiar to her it now felt like home. Also, she had enjoyed working with Aida and the crew, who were all British, and with whom she had felt comfortable and at ease from the start.
Quite unexpectedly, it hit her how much she was going to miss Shepperton and everyone connected with the movie. That was not always the case; sometimes she was relieved and thankful when a film was finally in the can, so that she could make a fast escape, fleeing without looking back. But an enormous camaraderie between the cast, crew and production people had built up on Kingmaker, and over the long months of working together the feelings of closeness and intimacy had become more pronounced than ever. Perhaps that was because this particular production had been troubled right from the outset, and in consequence everyone had hung together to fight for it, determined to make it succeed. She was sure it would. In the picture business it was something of a given that a difficult film frequently turned out to be the best, once it was cut, edited and scored, and up there on the screen.
They had all worked incredibly hard, extending themselves beyond the call of duty, even when they were almost too exhausted to continue. Yet somehow they had. And Gavin, who had put his heart and soul into the role of Richard Neville, the Earl of Warwick, had given a stellar performance, an Oscar-winning performance. At least that was her opinion, but, no doubt about it, she was prejudiced.
Pushing open the double glass doors of the production building, Rosie went down the narrow corridor and into her office. After closing the door behind her she leaned against it for a moment, her eyes sweeping around the room, taking everything in: the drawings lining the walls, the racks of costumes, the huge table covered with research and the many and varied accessories she had designed.
During the nine months she had been camped here she had accumulated innumerable possessions, and it struck her that she was facing a great deal of packing in the next few days. It was a relief to know she had her two assistants, Val Horner and Fanny Leyland, to help catalogue her drawings, pack them along with the costumes she wanted to keep for her archive, and box up the books and photographs which had been used for research.
Her main sketches of the costumes for Gavin were pinned on the long wall of the office, and now she walked over and stood looking at them, for a moment studying the designs intently, her head to one side. Then she nodded to herself.
Gavin was right, Kingmaker had been a very demanding film, not only because of its size, elaborateness and huge cast, but also because of the pomp and ceremony and other historical elements in the script, which she had had to take into consideration, and which had naturally influenced her designs. It had been quite a challenge. Nevertheless, she responded well to challenges; they seemed to bring out the best in her. And difficult and backbreaking though the work had been, she was gratified that she had had the opportunity to be part of a picture of such sweep, scope and magnitude.
Right from the beginning, when they had first gone into preproduction, she had been exhilarated about it, brimming with excitement and energy.
Her main focus had been on Gavin, who was cast in the leading role of Warwick. The Earl had been the most powerful man in England during the middle two decades of the fifteenth century. A Yorkshireman of Royal blood, descended from King Edward III, he was the premier Earl of England in his time, and one of the greatest magnates and warrior knights who had ever lived – truly the stuff of legend. It was Warwick who had put his cousin Edward Plantagenet on the throne of England during the civil war between the Royal Houses of York and Lancaster. Commonly known as the War of the Roses, so named because of the emblems of the white rose of York and the red rose of Lancaster, Warwick had been a major player in that war. He had, in the end, been responsible for defeating the Lancastrians in several bloody battles, and had handed the realm to Edward of York, the legitimate heir.
Because Warwick was the power behind the throne and the chief adviser to his nineteen-year-old protégé, King Edward IV, his contemporaries had dubbed him the Kingmaker. This name had stuck over five centuries, hence the title of their movie. The screenplay, by Oscar-winning screenwriter Vivienne Citrine, focused on Warwick in 1461, when he was in his thirty-third year and at the height of his powers, the action continuing for two more years, with the film ending in 1463.
Rosie’s main concern had been to create costumes for Gavin that were medieval in style, but which also suited him, flattered him, looked good on film, were comfortable to wear and move about in.
As always, her aim was to give the clothes genuine historical accuracy. It was her belief that costuming, like sets, must bring a period vividly to life on celluloid, and thus help to make the movie realistic and wholly believable. She was as renowned for her skill at doing this as she was for her immense talent, and it was one of the many secrets of her success as a theatrical designer. Rosalind Madigan’s costumes had long been noted for their unique sense of period, whether it was a period from the past or of the present, and she also made certain they delineated the rank, class and nationality of the characters in a film or a play.
Her research for Kingmaker had been so extensive she realized at one point that she had done far more than she usually did, and than was necessary. But this was because of Gavin. The film was his idea, and his own personal project. He was one of the executive producers, and had even raised the money to finance it. Hollywood had wanted no part of it, despite the fact that Gavin was as big a star as Costner, Stallone and Schwarzenegger, and at the top of the box-office charts. In fact, Gavin had faced the same kind of situation Kevin Costner had when that actor had tried to get the Hollywood studios interested in Dances with Wolves. None of them had wanted to commit to it, and Costner had gone out and done it all himself, had raised the money required with the help of Jake Ebert, an independent producer based in Europe.
The actual concept for Kingmaker had been entirely Gavin’s – his vision – and he had believed in it with such a fervour he had ignited everyone around him, filled them with his own brand of enthusiasm.
A history buff, and long intrigued by Warwick, he had been seized once more by the drama, excitement, achievement, glory and ultimate tragedy of the Earl’s life when reading yet another biography of him. His imagination fired, and filled with inspiration, he had selected a few key years, when Warwick’s star had been at its apex, and had developed his own story outline for the film. He had then hired Vivienne Citrine to write the screenplay. Together they had worked on it for over a year, until Gavin was satisfied it was as perfect as it could ever be, that it truly was a fine shooting script.
Rosie herself had been very taken with the project from its inception. Gavin had first discussed it with her when she had seen him in Beverly Hills late in 1988, and not unnaturally her excitement had known no bounds when he had finally managed to glue it all together last year.
Long before they had started preproduction in England, she had begun her research for the costumes, reading biographies of Warwick and Edward IV, as well as history books about England and France in the Middle Ages. She had studied the art and architecture of the period in order to have a total visual picture of the times, and once she was in London she had spent long hours in the historical costume departments of various museums.
When the assistant director, production designer, production manager, several other members of the unit and Gavin had left the