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Author: admin, 25.06.2015New Dominion Pictures, which has made hundreds of episodes for the National Geographic, Discovery and Travel channels, shot preparatory footage in October 2009 for a possible TV series about deep time using me as the host. I’ve also presented sequences concerning the history and prehistory of Lourdes for the Travel Channel and am preparing films on the archaeology of the eastern Sahara and the little-known cave art of northern France. But I decided to call the Gaumont executive, Francois Fries, who was listed on the form, to ask if Gaumont had rejected the film based on a reader’s report.
For decades, it lay in a draw with my scenario as I plunged into caverns and deserts and left attempts at cracking the film world far behind.
Even though the hit men mistake their target while reconnoitering, the CIA chief is forced to ask the Interior Minister to expel them.
For the CIA chief who has toyed with the poet, the attache becomes a problem of conscience: the attache has dug his own grave by making it look like he is linked to a Libyan 5th column, and letting him go would destabilize the new government. Fries became flustered and said that he hadn’t seen the report - that he’d simply thought the project couldn’t be for Gaumont because it was in English - so he offered me a job on the spot to make up for the gaffe, while he tried to push the project to the next level. All the same, the chief, knowing he is about to retire, and disobeying heavy political intimidation, manages to free the poet thanks to the clout of the Minister of Culture – an old informant for Amnesty International. He prefaced the reading by saying that the negative comments in the report were the reasons why the firm had rejected my script.
Being taken for a double agent, the attache is abandoned by everyone who had supported him.
After asking me the name of the screenplay, which he never seemed to have heard of, Francois found the following report and started reading it in a fast mumble – hardly listening to himself as he raced through to get me off the phone.
Ironically, we were equally slow on the up-take, since Francois wasn’t paying full attention to what he was reading and I was a foreigner, whose comprehension of the kind of aphoristic literary French, which the report is written in, is a bit slow, especially when it’s delivered at breakneck speed, so we realized nearly simultaneously that the reader - who I later learned was the French screenwriter, Christian Creseveur - had found no flaws and loved the “brilliant” treatment for the “great finesse” with which it had “pulled off a long shot”.
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