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“We wanted to end
the story with a very rich
saturated look and that’s why we went with Fuji because the new stock really brings out the colours very strongly and can produce that
particular over-saturated look.”
NIGEL COLE, DIRECTOR
in production
While all those technicalities have been thoroughly thought out, the beginnings of Saving Grace involve the classic movie story of sheer chance and being in the right place at the right time. Crowdy - then working in Los Angeles - had been looking for a movie idea that would bring him home. The inspiration came when he heard a couple of sto- ries ... the terrible tale of a driver who had a sneezing fit that caused his head to be hurled into the driving wheel, where it jammed and freakish- ly caused a fatal crash; and another
of a widow who found she was left with nothing because her husband had covered up huge debts.
The final piece of the jigsaw came when Crowdy discovered that marijua- na was more valuable than gold. So he put all these three bits of information together and began working on that as the premise for Saving Grace. The final piece of the movie jigsaw came when he was mulling over the idea in a Los Angeles coffee bar and thinking about with whom he might work on the script. “I was discussing this with a friend when this very good-looking
young man walked past. My friend thought he would be perfect for the role of Grace’s young gardener. So I started talking with him - and that’s how Craig Ferguson got involved, as co-writer and star!” said Crowdy.
Astonishing but true! And if that sort of good luck sticks with the movie team then it’s a fair bet that Saving Grace will go on to enjoy the same sort of furtune at the box office. ■ JOHN MILLAR
Saving Grace was originated on Fujicolor Motion Picture Negative
Photos top left & right: scenes from Saving Grace; centre right: Martin Clunes; above: director of photography John de Borman BSC.