Page 45 of Christmas at the Movies
‘Oh, me too!’ said Sarah. ‘I’ve always thought it was about the magic of storytelling.’ Bergman’s film was like a love letter to stories and cinema.
‘The character of Alexander is based on Bergman himself. Like the boy in the movie, he received a magic lantern from an aunt when he was ten. It was what made him want to make movies.’ Noa took a sip of his coffee.
‘What madeyouwant to make movies?’ asked Sarah. She had so many questions for him – where he got his inspiration, which actors he’d enjoyed working with most – and which he’d found difficult. She’d met a few directors in her BBC days, but nobody of Noa’s stature.
‘I got a Super Eight camera for Christmas when I was a kid. From that point onwards, I saw life through a lens.’ He formed a circle with his thumb and forefinger, and, holding it up to his right eye, trained his gaze on Sarah.
Sarah squirmed under his scrutiny. She wasn’t used to being studied like this; most of the time she felt invisible.
‘Was it hard to get your first film made?’ she asked, trying to deflect his attention.
It didn’t work.
‘Have you ever acted, Sarah?’ asked Noa, lowering his hand. ‘The camera would love those golden eyes of yours.’
Noa was acting likeshewas the interesting one, not him.
Is he flirting with me?
Sarah dismissed the thought immediately. Judging from the red-carpet photos she’d seen in magazines, Noa only dated stunning actresses – usually ones who appeared in his movies.
‘No, but my daughter, Holly, wants to act,’ said Sarah. ‘It’s a shame she’s not here tonight, I know she’d love to meet you. And James – my husband – too. He’s a big fan of your work.’
‘Tell me about him,’ said Noa. ‘This husband of yours. Are you happily married like the Ekdahls in the movie?’
Sarah thought about his question. How could you sum up three decades of marriage? ‘Well, yes … most of the time. I mean, he’s a great dad, he works hard—’
‘Oh, dear …’ said Noa, wincing. ‘That doesn’t sound like a glowing endorsement.’
‘Marriage is just … complicated.’ Sarah looked down at her wedding ring, thinking about the argument she and James had had earlier that evening. He was right – theyhadhelped each other through some very tough times. They’d had plenty of good times, too. But somehow, recently, they’d stopped havingfuntogether. There was just no time for it.
‘I’ll have to take your word for it.’ Noa didn’t sound convinced. ‘I’ve never been brave enough to make it down the aisle.’ He smiled at Sarah. ‘Your husband’s a lucky guy.’
Remembering her argument with James, Sarah hardly felt like a poster child for wedded bliss. Feeling self-conscious,she stood up and put their empty cups in the bin. ‘Do you want another drink?’
He came over and leant against the counter. Sarah could smell his aftershave – a woody, musky scent. ‘I don’t suppose you have anything a bit stronger back there …’
‘We don’t have a licence to serve alcohol,’ said Sarah.
‘Shame,’ said Noa. He rubbed his temples, then dragged his hands down his artfully stubbled cheeks. He had chunky silver rings on several fingers. ‘I’ve had a complete nightmare of a day.’
Sarah held up her finger. ‘Hang on a minute. I’ve just remembered something.’
She went into the office and found a bottle of whisky in a filing cabinet. It had been a gift from one of the regulars who attended the Golden Oldies screenings, who’d been grateful to James for programming her Fitbit.
Sarah returned to the lobby, waving it in the air. ‘Look what I found.’
Noa rubbed his hands together.
Sarah poured them each a generous measure. She wasn’t normally a whisky drinker, but nothing about this night was normal. ‘Cheers.’ She touched her glass to Noa’s. The whisky burnt as it slid down Sarah’s throat. ‘So tell me why your day was such a nightmare.’
‘How long do you have …’ He sighed.
‘All night,’ said Sarah, smiling.
‘I’m shooting a movie at Merricourt Manor,’ the director explained. ‘We decided to film on location here in the UK because of the tax breaks.’
‘But it’s winter,’ said Sarah. She remembered from her BBC days that location shoots – even on films set in winter – usually occurred in the summer, when the days were longer and the weather better.
