In companionable silence they continued to look around the city from the wondrous point they were in. Then Bette broke the silence.

”Are you planning to shoot something from here?”  Bette asked, turning to look at Tina.   As they were climbing the steps, Tina had mentioned scouting out the location during her own visit to Paris the past fall.  She had been in Paris the same time that Bette had been there, visiting the city along with the director selected by the production company Tina worked for, for the upcoming film Tina was producing.   She and the director were scouting locations in the area, and had come upon the Tour Saint Jacques.  They could almost visualize sweeping views from the unparalleled vantage point at the top of the Tower as they looked up at it.  As they looked up, they kept circling the garden underneath,  wondering whether they would be able to find a way to access the top floor — which was where Tina and Bette were now standing.

The film Tina was producing was rumored to be a ground-breaking film about violent encounters young gay men and women were exposed to, and Tina thought that the script could be adjusted to allow for a romantic city to be set as a visual counterpoint to the dark violence that was the subject of the film.   She had explained to the production company a city like Paris could function almost like another character of the film.

“I wish,” Tina answered Bette, with a wistful smile. ”Unfortunately, we may not end up shooting in Paris, at all.”

“It’s a shame,” she continued. “We’re making a film about this huge, wonderful world of young people, filled with interesting characters that much of the world doesn’t understand at all.  It needs to be shown in a beautiful, respectful way.  Or else how will people come to understand it, and… how shall I put it, be invested in the future of that generation?”

She went on to explain they could be forced to shoot the bulk of the scenes in other cities, if the production team had been successful at finding cheaper locations.

Bette nodded. “I’m sure you’ll be able to find something that captures or recreates the feel of this,” Bette said, in an encouraging tone. “I think you’re right in setting up the context using a beautiful city as background — which would only serve to enhance the film’s message.  You did that well with your last film, Tina.  And many critics agreed with the strategy and the quality of your work there….. I’m sure you’ll find similar critical support for the decisions you’re taking for this new film… You know, using the unique beauty of Paris…”