Contractually None

Full passage

During negotiations for her first major film role, Rosanna MacKail insists that boundaries around nudity, intimate scenes, violence and control on set are made explicit.

This, she thought, was what Claire had always done best. She turned atmosphere into terms. She took the invisible pressure in a room and made each part identify itself.

‘Third,’ Claire continued, ‘the acting contract is separate from any recording, soundtrack, promotional or credits-song agreement.’

‘Yes,’ Catherine said.

‘That includes original song, performance rights, publishing, soundtrack album, single release, promotional appearances, music video, trailer use and broadcast excerpts.’

Catherine looked at Rosanna. ‘There is genuine interest in a song.’

‘I know,’ Rosanna said. ‘There may even be one. But not as a condition of the role and not as a reward for giving you the role. If I write something, it will be because the film needs it and because I want to write it.’

Adrian said, ‘That is the only basis on which I would want one.’

Claire made a note, perhaps of his answer, perhaps of the fact that Catherine had not said it first.

Claire looked at Rosanna before continuing.

‘If this film is being used to reach you, then the contract cannot prevent the approach. But it can prevent the production from owning your response.’

Rosanna said, ‘That may be the most comforting thing anyone has said today.’

‘It was not meant to be comforting.’

‘No. That is probably why it worked.’

‘Fourth,’ Claire said. ‘Nudity.’

‘None,’ Adrian said.

‘Contractually none.’

‘Yes.’

‘Fifth. Sex scenes.’

Catherine opened a folder.

‘There is one intimate scene between Anna and Thomas, as discussed.’

Rosanna spoke before Claire could continue.

‘I have read it again. I understand why it is there. They still love each other, but love has stopped being a defence. That interests me. I will not do explicit sex. I will not do nudity. I will accept physical intimacy if it is about the marriage and not about the audience remembering that the woman playing Anna has sold records.’

Adrian answered without hesitation.

‘That is also how I understand the scene.’

‘Then we agree artistically. Claire will now make it unbearable professionally.’

Claire did not smile.

‘Closed set. Essential personnel only. No still photography. No improvisation of physical action without prior agreement. Final blocking agreed before cameras roll. Any change on the day requires Rosanna’s consent without pressure caused by schedule, cost or the presence of crew.’

Catherine wrote this down.

‘That is a long condition.’

‘It is a short one compared with the argument that follows if it is not written.’

Philip said quietly, ‘It should be written.’

Rosanna looked at him.

He did not often enter negotiations. When he did, people tended to listen.

Adrian nodded.

‘It will be written.’

Claire continued.

‘Violence.’

Rosanna turned back to the table.

‘Yes. I want clarity on that. Paolo dies off screen in a road accident. There is a break-in. There is the confrontation in the archive house. There is a struggle over the documents. I do not want the film to become one of those stories where the woman is dragged, bound, threatened and rescued so that everyone can admire her courage afterwards.’

‘Nor do I,’ Adrian said.

‘Does Anna get kidnapped?’

‘No.’

‘Does Sophie?’

‘Absolutely not.’

‘Is Sophie physically endangered?’

‘No. There is one moment when Anna fears the house has been entered while Sophie is asleep, but the child is not touched and not used as a hostage.’

Rosanna’s expression changed.

‘I want that scene handled carefully.’

‘It is meant to show Anna’s fear, not exploit the child.’

‘Those can become the same thing if you point the camera in the wrong direction.’

‘I know.’

‘Good. Then do not.’

Adrian accepted the instruction as though it were useful rather than impertinent.

Rosanna liked him a little more for that, though not enough to let him see it.

Claire asked, ‘Any physical violence against Anna?’

‘A man grabs her arm during the archive-house sequence and tries to take the envelope. Thomas intervenes, but Anna keeps hold of the documents. There is no beating, no torture, no abduction.’

‘Who resolves the struggle?’

‘Anna does,’ Adrian said. ‘Thomas stops the man reaching her again. Anna retains the evidence.’

Rosanna looked at him carefully.

‘That distinction matters.’

‘I know.’

‘Does Thomas save her?’

‘He helps her. He does not save her.’

‘Does Sir Malcolm?’

‘No.’

‘Does any man arrive at the end and explain the whole plot so Anna can be grateful?’

Adrian almost smiled.

‘No.’

Claire glanced at Rosanna.

‘That one may not need to go in the contract.’

‘It should go somewhere,’ Rosanna said.

Catherine said, ‘The ending is Anna’s.’