there had been considerable controversy in Kenya the previous year over the whole question of the rehabilitation of lions. A child had been slightly injured by one of George Adamson's lions, and this unfortunate incident provided an unfavorable background to our negotiations. Some members of the government viewed the rehabilitation of lions as a worthwhile project, but others felt that because of their earlier contact with humans, these lions would be likely to approach people in the game parks, and that could create a dangerous situation. Most people fear lions, and for Africans, they are a traditional natural enemy or competitor, so why bring yet another potential man-eater from England?
But the Kenyan government finally agreed to give their permission for Christian to come to Kenya if a suitable area could be found. It had to have water and game, and be in a region where there were neither tourists nor any immediate likelihood of a tourist area developing. It would have to be closed to hunting, and have no resident Africans or their cattle, which could be an easy temptation for the lions. Bill looked at several possibilities while he was in Kenya, but had to return to England, leaving George to continue the search.
Meanwhile, we had not heard from Bill and Virginia in several weeks. We did not dare telephone them in case we were told that it was no longer possible for Christian to go to Kenya. Finally, Bill rang and explained the delay, and he told us that George had just found two suitable areas, and it seemed likely that the Kenyan government would agree to the use of either.
Bill was confident enough to decide that filming would begin at Sophistocat the following Monday. The documentary, to be called The Lion at World's End , would be directed by James Hill, and it was to start with a reconstruction of Bill and Virginia's first meeting with Christian, then record the story exactly as it happened. The documentary would help to attract attention to the need for the protection and conservation of animals, and Christian, through extraordinary luck, was to be the subject and prime beneficiary of the film.
Our excitement was mixed with apprehension. After our experience at the television studios when Christian had appeared on the children's program, we realized that it was impossible to predict how he would react to being filmed. We did not know to what extent we would be involved in the filming, although having no acting ambitions we could reject the old theatrical axiom "Never compete with animals or children."
Bill and James gave strict instructions that Sophistocat was to remain unchanged for the filming. We were asked not to cut our hair, and to be as flamboyantly dressed and as "King's Road" as possible, instructions that we now rather regret. But as the shop would be closed to customers for one or two days, we thought it would be a nice gesture to the patient and tolerant owners if the shop appeared as smart as possible. On Sunday we repainted the walls and floor. It was a nicer gesture than we had intended, for it was an enormous shop and we worked hard all day. Christian was allowed upstairs only late in the afternoon, after the paint had dried on the floor. The last wall was still being completed when Christian knocked over the can, splashing paint everywhere. Surprised, he jumped back, but slipped and fell. Scrambling to his paws, he then ran to the other end of the shop. We were dismayed; white paw marks covered the black floor, and Christian, required to appear as a lion for the cameras the following morning, was an unrecognizable white animal. Until very late that night one of us was repainting the floor, while in the basement, the other, armed with towels and turpentine, was struggling to clean Christian, who just thought it was a new game.
Next day Sophistocat was transformed into a film set. At first Christian was dazzled by the bright lights and confused by all the unfamiliar equipment and camera crew.
But the Kenyan government finally agreed to give their permission for Christian to come to Kenya if a suitable area could be found. It had to have water and game, and be in a region where there were neither tourists nor any immediate likelihood of a tourist area developing. It would have to be closed to hunting, and have no resident Africans or their cattle, which could be an easy temptation for the lions. Bill looked at several possibilities while he was in Kenya, but had to return to England, leaving George to continue the search.
Meanwhile, we had not heard from Bill and Virginia in several weeks. We did not dare telephone them in case we were told that it was no longer possible for Christian to go to Kenya. Finally, Bill rang and explained the delay, and he told us that George had just found two suitable areas, and it seemed likely that the Kenyan government would agree to the use of either.
Bill was confident enough to decide that filming would begin at Sophistocat the following Monday. The documentary, to be called The Lion at World's End , would be directed by James Hill, and it was to start with a reconstruction of Bill and Virginia's first meeting with Christian, then record the story exactly as it happened. The documentary would help to attract attention to the need for the protection and conservation of animals, and Christian, through extraordinary luck, was to be the subject and prime beneficiary of the film.
Our excitement was mixed with apprehension. After our experience at the television studios when Christian had appeared on the children's program, we realized that it was impossible to predict how he would react to being filmed. We did not know to what extent we would be involved in the filming, although having no acting ambitions we could reject the old theatrical axiom "Never compete with animals or children."
Bill and James gave strict instructions that Sophistocat was to remain unchanged for the filming. We were asked not to cut our hair, and to be as flamboyantly dressed and as "King's Road" as possible, instructions that we now rather regret. But as the shop would be closed to customers for one or two days, we thought it would be a nice gesture to the patient and tolerant owners if the shop appeared as smart as possible. On Sunday we repainted the walls and floor. It was a nicer gesture than we had intended, for it was an enormous shop and we worked hard all day. Christian was allowed upstairs only late in the afternoon, after the paint had dried on the floor. The last wall was still being completed when Christian knocked over the can, splashing paint everywhere. Surprised, he jumped back, but slipped and fell. Scrambling to his paws, he then ran to the other end of the shop. We were dismayed; white paw marks covered the black floor, and Christian, required to appear as a lion for the cameras the following morning, was an unrecognizable white animal. Until very late that night one of us was repainting the floor, while in the basement, the other, armed with towels and turpentine, was struggling to clean Christian, who just thought it was a new game.
Next day Sophistocat was transformed into a film set. At first Christian was dazzled by the bright lights and confused by all the unfamiliar equipment and camera crew.
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