They’d run through blocking, lighting, all of that, earlier. Colby, out of the loose billowing shirt and into more formal period clothing—ivory and blue today, which suited him, complimenting unruly dark hair and big blue eyes—was sitting behind the cameras and watching while Cherry performed touch-up work on his lips. He’d drop in for one more scene using this office, a meeting with Jim, after Jason and Jim finished.
Jim Whitwell was another big name on this production, and not even the biggest; that was yet to come. But he’d been around for decades, greying brown hair atop that round expressive face, solid and hardworking and a guarantee of quality, usually very British and very historical or otherwise epic. He’d worked with Colby on The Far Cry of Guns, because apparently every single
