My Week with Marilyn (21 page)

Tomorrow I'm going to Heathrow to see those police. (I may mention Plod's name.) It's to be a conference. I am afraid they are expecting someone older than me but it can't be helped. I'll just have to play the officer to the hilt. The RAF wasn't exactly the Life Guards, but I do know how. Most of those senior cops are just sergeant-majors at heart. As soon as they realise that I am serious, they'll settle down.

The police at the airport were very suspicious. They assumed that I had come out there to arrange some sort of publicity stunt. Luckily I have experience of this sort of planning — defending Dalcross airport against infiltration
²⁷
— and I managed to get their interest. Which corridor, which car park, which tunnel etc.

SLO really does want a very low-key reception for MM. He and Vivien will come to meet her. The press can have a short question and answer session plus pictures in a room especially set up between Immigration and the cars. MM and AM have to go through Immigration and Customs, no matter what, but the police have promised to whisk them through alone.

So together we planned the whole thing like a military manoeuvre. I ended by telling them not to alter our plan in any way unless advised by me. (Milton Greene and Irving Stein and some publicity types are coming in ahead of MM and Mr P says that they are certain to try to change everything.)

In the end the cops became great chums. They all want to be the one who stands next to MM and protects her from the mob. She has that effect on all men, I guess. They certainly do not want a riot in their airport. Memories of Johnny Ray are all too recent. I was very Old Etonian Guards officer visiting the Sergeants' Mess, even though they are in black tunics covered in silver braid. But we understood one another.

David Orton came in again this afternoon. He gets nicer and nicer, and receives my plaintive enquiries about a job with twinkles and winks.

‘Wait until next week. It's the middle of summer, you know.'

What can that mean? I know it is summer. It is extremely hot. But I trust him to help. I'm very lucky that he has become a friend.

Garrett Moore is being very difficult about Parkside House again. What about the phone bill? What about the mess and the possible damage? I keep telling him that it will only be MM, AM and a Scotland Yard detective – although in reality I'm none too sure about this. There are always hangers-on, but they are meant to be at Tibbs Farm.

The Moores' servants will stay on at the house for MM, paid by Garrett who will be recompensed by MMP. This way, Garrett hopes
not to lose them. Garrett is like a child, whining about someone playing with his toys.
²⁸
Joan says nothing – just smiles and flutters those amazing eyelashes. She is the most seductive woman since Cleopatra. She and Vivien are in the same mould only she is passive where Vivien is active. Joan is older of course, but when she plays the piano for a concert, most of the men in the audience are close to fainting. I suppose Joan and Vivien know each other – it's not the sort of question to ask either of them – probably through Papa: lucky old man. I would be putty in Joan's hands, but I have to be tough with Garrett. I'm sure he can't resist £120 per week and I'm sure he can't resist the slightest chance to get his hand up MM's skirt. I know he is meant to be so brilliantly clever, but he is also extremely vain.

Mr P is pleased by the airport arrangements and by the bodyguard, although we haven't met him yet. None of the film production crew will be put on salary until 23 July, and he depends on me to negotiate with Garrett and Mrs C-P.

The costume designer came in to arrange her contract. Beatrice ‘Bumble' Dawson
²⁹
is a jolly, ginny neurotic old bird who SLO has used many times. She smokes continuously and grinds her teeth. In an effort to conquer this last habit, she is trying to replace it with twisting a lock of hair, a psychoanalyst trick which results in simultaneous grinding and twisting! She laughs a lot, between puffs, and is very sympathetic.

I can see why SLO has chosen so many chums. It is going to make life in the studio very easy. But I wonder if MM and Co will appreciate that sort of atmosphere.

MM finally married Arthur Miller in New York over the weekend. Nobody here knows if that is good or bad for the film. Rumour has it that she panicked at the last minute and tried to get out of it.

Just before the wedding, a car full of reporters chasing the happy couple crashed and the
Paris Match
woman was killed. MM was very badly shaken and saw it as a bad omen – as if one was needed. The poor girl seems to invite disaster. Perhaps she
needs
calamity, so that she is permanently in that helpless condition from which everyone wants to rescue her. But SLO, and Mr P for that matter, do not see her in that light and have no desire to do so. SLO probably once thought the whole thing would be a bit of a lark. He could have fun, make money and add considerably to
his
glamour. SLO's charm can be devastating – but will it work on MM? Of course, Vivien loves SLO despite his charm, not because of it. She is very demanding of his time and his attention – almost to the point of obsession. But she always defers to him as the great actor and the great star – even though she won an Oscar first
³⁰
and is really more famous.

Vivien makes it quite clear that she regards SLO as more important than her, but I wonder if this will help him in his dealings with MM. He must not be grandiose or condescending. MM is too big to be treated like that.

Richard Addinsell
³¹
came in this evening to talk about music. He is quiet and modest with a very good reputation for film music. SLO wants a catchy romantic melody for the theme of the movie. Evidently MM has agreed to sing it. She did sing in
Gentlemen Prefer Blondes
and she has a low husky sort of voice, slight but not unpleasant.

The question of how much music there will be in the film has still not been solved. Rattigan wants very little but SLO disagrees and MM wants lots.

Meanwhile Vivien – who created the role MM will play – sides with Rattigan. I think the music might give the film another sort of appeal (i.e. to make up for the obvious deficiencies in Rattigan's script), but I couldn't say this, even to Mr P. The general line is that with SLO and MM in the same film, everyone will flock to see it since everyone is in love with one or the other. But the play seems to me a very doubtful vehicle for two great stars, and Rattigan is going to write the screenplay too. Perhaps enough people will go to see it out of curiosity. ‘What on earth made him/her want to do a film with her/him?'

That's something I'm curious about too.

Dave Orton, first assistant director to be, has a plan to get me the job of third assistant director. He has a friend who works in the ACT union office. This friend is going to tell him when the number of unemployed 3rd Ast Dirs on the union books gets really low, which it does every summer. When there are only four or five left he will ring the union and ask for a 3rd Ast Dir right away. They will send him the list of names and he will say that none of them is suitable – which is probably true. Then he will tell them that he has a young man already working in the Production Office and ask them to issue a temporary card to him. This they will have to do, and then I can work on the film on a temporary card. Once the film is over, I will have done a film and can apply for a permanent card. This is the only way round the ‘no film, no card; no card, no film' rule.

David is brilliant. He is a very nice man underneath that gruff exterior and rather like Mr P. Both of them expect their orders to be carried out to the letter.

Every morning when Mr P comes in he asks me: ‘What's the first thing you do, Colin?'

‘You check, Mr Perceval.'

‘And what is the second thing you do?'

‘You check again, Mr Perceval.'

‘Grmph.'

I mentioned this to David who explained that the slightest mistake in the movie world, which causes filming to be delayed by even an hour, can cause chaos later and cost millions. Just imagine the problem if everyone made a little careless slip now and again – so no one must. Directors and producers only hire you if they can be absolutely sure you will get it right. This means that you must have a well prepared fall-back position just in case things do go wrong, even if it's not your fault. Eyes in the back of your head are a necessity not a luxury. Unlike in the Army, the blame will always fall on the lowliest person involved, and on this film that is going to be me. Never mind. I enjoy the challenge, and, for the first time, I think maybe I might have made the right decision not to do a fourth year at Oxford.

My policeman came for his interview today – first with me and then with Mr P. We have codenamed him PLOD to confuse the Yanks.

He is absolutely perfect. He looks like a favourite uncle. He has a great sense of humour but is very shrewd underneath. He only retired from the police force a few months ago, so he knows everyone in Scotland Yard. Thank goodness he is extremely unimpressed by the film world and even by MM's glamorous image. I made it clear that his principal duty was going to be to protect MM against photographers as well as lunatic fans. He gave a very wry grin and pointed out that it is not against the law to take a photograph of Miss Monroe, or anyone else.

‘Yes, yes, protect her
person
,' I said, but of course he is right.

Since he is to live in MM's house at Englefield Green, all expenses paid on a huge salary, he isn't going to refuse. Mrs Plod will have to put up with this somehow, he said with a chuckle. ‘I hope she's jealous.'

I wheeled him in to Mr P, who loved him of course, since they both hate showbiz. Mr P made it clear that he trusted me to make the appointment, he just wanted to discuss the sensitive nature of the job. My eyebrows went up but Plod's didn't. (I suspect they never do.) Mr P grumbled and rumbled round the subject for a while but what emerged was that Plod's second duty was to act as a spy for LOP, with me as his contact. He would be the only person in Englefield Green whom we could trust for a commonsense report on what was going on there. MM was notoriously unreliable and unpredictable. Plod would be her shadow and could keep us informed, not of her private life of course (of course!) but of any developments which might affect the progress of the film. This would be immensely helpful on the mornings when she clearly had no intention of leaving the house. Then we could arrange for other things to film. Mr P explained that it would take 2½ hours every morning to put on MM's make-up, wig and costume. She had to be at Pinewood Studios by 7 a.m. if filming was to start at 9.30 a.m. This meant that she had to leave Englefi eld by 6.30 a.m. ‘Laurence will arrive at 6.45 a.m. promptly, Colin, and you will already be there to greet him,' Mr P said gravely.

On the days that MM had decided not to come at all, if we could be made aware of that by, say, 7.30, we could switch the schedule round to film shots without MM in them. Even these needed a couple of hours to set up and light, so every minute was vital.

Plod took all this in with a few gruff chuckles. I don't think Mrs Plod needs 2½ hours to do her hair and make-up in the morning. (I have known ladies take all day.) The other thing Plod had to do was sign a document swearing that he wouldn't sell information to the newspaper. I think quite a few people have to sign this as Mr P had the form typed and ready. I haven't had to sign anything. I'm sure (I hope) he knows by now that I am absolutely loyal to SLO and him.

Plod will start next Monday, 9 July – and I will take him round and show him all the relevant addresses then. Someone from the Legal Department at Pinewood has contracted Parkside and Tibbs from then on, so Plod can move in if necessary. He is a very honourable man, and I think he will be a great ally.

Mr P and I went down to Pinewood Studios in a hired car. We didn't tell the driver but he was on trial for the job as MM's chauffeur. I think he will be perfect. He is very stupid, and never shows any emotion at all. The car, an Austin Princess, has a glass division and normally Plod will ride up front with the driver, while MM rides in the back. I wonder if AM will come to watch his bride filming, or stay in his study and write plays.

Pinewood is guarded by a studio police force which is hell-bent on keeping out the press and other intruders. Every vehicle is checked at the gate just like in the RAF. Once inside there are three huge studios joined by a very long concrete corridor. The other side of this corridor are the star dressing rooms, crowd dressing rooms, make-up rooms, wardrobe rooms etc. Across a little private road is the club house, with bars and a restaurant. MM's and SLO's dressing rooms are going to be at the end of one of the side corridors, opposite the restaurant. It really is all very like an RAF base with its hangars, offices and officers' mess.

We are going to alternate between Studios A and B while other minor British films are being made in Studio C. There is a large ‘lot' for filming outside scenes, but our film doesn't have many of these as far as I can see.

Mr P and I first inspected MM's dressing-room suite. Filming doesn't start for four weeks but she must have somewhere suitable to relax in when she comes for rehearsals in three weeks' time.

We were shown a series of what looked like old cowsheds which made me anxious.

‘Don't worry Colin. The scene builders and set dressers only need 48 hours to convert this into the Dorchester. We are just here to check which ones have been allotted to us.'

We were shown round by Teddy Joseph, the production manager to be, who is still working on another film here at the moment. Small, bespectacled, a bit like a penguin, he will be Mr P's right arm when filming starts. Teddy showed me round the various departments. We will use Pinewood facilities for everything but the stars.