Sam Westwood's Hollywood

Elvis quits Hollywood
From Forgotten Films: 1966-1971 by Nolan Hendricks, 1998

"After Easy Come, Easy Go hit theatres in March 1967, rumors began circulating that Elvis Presley was thinking about ending his film career. Easy Come, Easy Go became infamous for the campy 'Yoga Is As Yoga Does' sequence featuring legendary character actress Elsa Lanchester. These novelty numbers and increasingly poor scripts, as demonstrated in Elvis' next film Clambake, led to him becoming increasingly frustrated.

On June 26th, 1967, Elvis would start filming his final movie, Speedway (1968). The picture cast him opposite another big recording star, Nancy Sinatra. After filming was completed, Elvis Presley shocked many by announcing his retirement from films. This naturally infuriated Tom Parker, who reluctantly went along with it..."

One of the handful of films Elvis was attached to at the time he quit movies, Stay Away Joe, remained in production as late as August 1967. Eventually, MGM backed out of the project and the script would later become retooled by a young Canadian filmmaker named Arthur Ericson--

Outtake from Sam Westwood's Hollywood

Sam Westwood is talking about the Summer of 1967 and drug culture

Sam: What was I doing during the Summer of Love? (laughs)

'Mary Rose' was in post-production and I was filming 'Journey To Shiloh'. I have always been active in civil rights causes. That was as radical as I got. In those days, I was really focused on work.

Living near the beach, though--I was friendly with people who could be labeled as hippies. Pre-Charles Manson, it seemed harmless. Harris was a little hippie-ish--

A voice is heard next to Sam. It's quite obvious that it belongs to Harris Walker.

Harris (off camera): In the late 60's and early 70's, if there were available drugs, I was usually in. (laughs)

Sam doesn't seem to find this as funny.

Sam: In those days, you would go to Hollywood parties and there was a really wide assortment of people. I liked that. It wasn't boring. It was surreal because you'd have the Old Hollywood stars in one corner. Henry Fonda, for example. Then someone like Natalie Wood who was technically Old Hollywood but still young enough to dabble with New Hollywood--
 
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Conversations with Harris
**A little mood music for the next few posts, if you like that with your reading material**

Cult movie star and character actor Harris Walker being interviewed on tape by Nolan Hendricks, circa 1988/89. Interviews later released with full permission of Harris Walker for a project by Nolan called Conversations with Harris.


Harris: I wanted to be an actor from a very young age. But nobody really supported it.

Nolan: From what you have told me, it wasn't easy--

Harris: I was the second of four kids. When I was a child, I was...well, I was the whipping boy. I couldn't wait to get out. There weren't resources in those days, nobody you could run to for help if you were the victim of child abuse or molestation--

Nolan, can you...stop the tape? Please. This is...hard to talk about.

Harris' tone hints that he sounds rather upset about bringing his childhood up. When the interview goes back to being recorded, Harris is now talking about high school.

Harris: Ok. Is it back on?

Nolan: Yes.

Harris: As I got older, I played football and started lifting weights. I wanted to be strong so as to defend myself at home. And against bullies. It wasn't out of trying to impress people. I also wanted to do theatre or art classes, but my parents didn't support that. I did it anyway. Screw 'em.

It was getting easier to defy them and not face consequences. I started fighting back at home. Keeping busy with sports and drama club was my escape. I was in some school plays and dated a girl briefly who was in the drama club. She went away and...I never saw her again. From what I gather, she came back a few months later. Never gave it much thought for many years--

Can we stop the tape again, Nolan? I'd rather talk to you about this without the tape rolling.

The tape stops. It continues with Harris talking about heading to California in the summer of 1966.

Harris: Right after graduation, I hopped a bus and took off to Los Angeles.

Nolan: A lot of people show up and think they can break into films or TV right away. There is a lot of hard work involved if you want to make it--

Harris: See, that's just the thing. I thought I'd show up and become a star overnight. It doesn't work like that. Even Sam had to pay his dues.

I was a...hick from Topeka. There were some rude awakenings. This guy came up to me and said: "Hey kid, wanna do some physique shots?"

Nolan: That doesn't sound very suspicious at all.

Harris: Oh no, not at all. I was incredibly naive. I get there and was asked to strip. I thought it would just be shirtless or you know, underwear shots. I was starving, needed the money and wound up having to use my body to earn it. I'm not proud of that fact.

Nolan: I want to mention that you had regular jobs though--

Harris: Yeah, at a hamburger stand. I had a rude customer and you know, spat in their burger.

Harris makes a spitting sound. Nolan is heard laughing awkwardly.

Harris: Not my shining moment. So I had another guy come up to me. "Hey kid, ya wanna make a movie?".

This was all in the span of...I don't know....three months?

Anyway, it was an eight-millimetre solo porn loop. Got me in trouble later and my first management team dropped me. I also did some...uh...what you could call artistic modelling. I still did that as late as my first brush with Hollywood films. Usually in New York City, which was another entirely different debacle. By fall, I realized I needed to get my s*** together and take some actual acting classes. And find a job to pay for it. So I took a job at a movie theatre as an usher.

I want to set something straight while we are talking. I did nude photos, I did a dirty movie, but I never resorted to soliciting myself. That was a nasty rumour that hit---

Nolan: I know that isn't true.

Harris: Good. I got around, but not for money. Never.

Nolan:
You were discovered at the end of the year.

Harris: Yes. I had this friend who was trying to get work. We'd met taking acting classes and he'd drive me around. I went with him to this audition. He got the job, but a casting agent saw me and asked if I would be interested in auditioning for a shaving cream commercial. That led to me getting my first agent.

Nolan: Things started to happen fast for you.

Harris: It was really weird. In only several months, I had left home, done some rather...questionable work and then landed legitimate modeling gigs. And commercials--

Nolan: And spat in someone's burger (chuckles)

Harris: Yeah, that too. Promise me you won't ever do that, ok?

Nolan: You don't have to worry about that, Harris.

Harris: Good.
 
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Fearless Vampire Killers: The Aftermath
From Mod Horror Super Special: A look at horror films in the 1960's by Nolan Hendricks, 1996:

Excerpts from a chapter on the films of the late Roman Polanski. A few lines about the MGM release The Fearless Vampire Killers (1967) starring Jill St. John.


Producer Martin Ransohoff tried to get Polanski to cast Sharon Tate instead. By the time Polanski got around to casting, Tate had her contract with Ransohoff bought out by Universal Pictures. As a result, this left Polanski with his original choice, Jill St. John. At the time, St. John was engaged to pop singer Jack Jones--

Fearless Vampire Killers was upstaged by another film Jill St. John had in release around the same time, the Frank Sinatra vehicle Tony Rome--

Polanski and St John became popular fodder for the gossip columnists. As Jack Jones remembers it:

"Jill became so infatuated with Roman Polanski that I knew our days together were numbered. She broke our engagement off not long after the film came out"

Jill St. John and Roman Polanski would marry on January 20th, 1968--

Abigail Folger, heiress, human rights activist and writer being quoted in a 1994 People Magazine article:

"It was a weird pairing, Jill was a very glitzy Hollywood actress. Roman was more the intellectual type. To be honest, I didn't really click with her..."

Natalie Wood talking about Robert Wagner in a 1983 television interview with Barbara Walters:

Walters
(voiceover): It's obvious that Robert Wagner is a painful subject for Natalie, but she politely answers when asked about her late ex-husband's friendship with Polanski and St. John.

Cut to Natalie Wood: I knew RJ was very close friends with Jill St. John and that he'd hang around with Jill and Roman Polanski quite often--

Jay Sebring, Celebrity hairstylist and one-time boyfriend of Sharon Tate to Playboy Magazine, 1975:

"Sharon and I knew them, but not very well..."
 
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On Her Majesty's Secret Service (United Artists, June 14th, 1967)
On Her Majesty's Secret Service (United Artists, June 14th, 1967)

Directed by Lewis Gilbert

Written by Richard Maibaum and Edward O'Malley

Music by Burt Bachrach and Hal David. “The World Is Not Enough” and "The Look Of Love" performed by Dusty Springfield [1]

Full Cast Listing


Sean Connery as James Bond 007

Catherine Deneuve as Teresa "Tracy" Di Vincenzo/Tracy Bond

Donald Pleasance as Blofeld

Charles Boyer as Marc-Andre Draco- The head of the Union Corse, a Corsican crime syndicate. He is also the father of Tracy.

Ilse Steppat as Irma Bunt- Blofeld's henchwoman.
Returns in You Only Live Twice (1969).

Britt Ekland as Olympe – Draco's female assistant

Bernard Lee as M – Head of the British Secret Service

Lois Maxwell as Miss Moneypenny

Desmond Llewelyn as Q

George Baker as Sir Hilary Bray – Herald in the London College of Arms, who Bond impersonates in Piz Gloria. Baker also provided the voice of Bond imitating Bray.

Yuri Borienko as Grunther – Blofeld's brutish chief of security at Piz Gloria.

Bernard Horsfall as Shaun Campbell – 007's colleague who tries to aid Bond in Switzerland as part of Operation Bedlam.

Blofeld's Angels Of Death:

Julie Ege as Helen, a Scandinavian girl

Jenny Hanley as an Irish girl

Anouska Hempel as an Australian girl

Wendy Richard as an English girl

Catherina Von Schell as Nancy, a Hungarian girl at the clinic whom Bond seduces

Angela Scoular as Ruby Bartlett, an English girl at the clinic suffering from an allergy to chickens

Mona Chong as a Chinese girl

Sylvana Henriques as a Jamaican girl

Lana Wood as an American girl

Zara as an Indian girl

Karin Dor as a German girl

Helena Ronee as an Israeli girl

From the IMDB trivia section page

Richard Maibaum co-wrote the script alongside Edward O'Malley. O'Malley would go on to pen the script for 1969's You Only Live Twice and 1971's Diamonds Are Forever. He also wrote the scripts to the Nigel Turner detective movies starring future James Bond (and star of The Saint) Roger Moore.

Two popular Dusty Springfield songs feature on the soundtrack: 'The World Is Not Enough' and 'The Look Of Love' [1]

'The World Is Not Enough' is a reference to a scene in the film where
Bond, while visiting the College of Arms, finds that the family motto of Sir Thomas Bond is "The World Is Not Enough".

Final James Bond film for Sean Connery.

Despite the much darker tone and tragic ending, On Her Majesty’s Secret Service still received positive reviews and did brisk box office.

Brigitte Bardot was considered for the role of Tracy Di Vincenzo/Bond before Catherine Deneuve was cast.

Charles Boyer had turned down a proposed rival production of Casino Royale also for United Artists. The film, which was to be comedic in nature, never made it into production.

Deneuve and Boyer would later appear together again in The April Fools (1969) opposite Jack Lemmon and Myrna Loy.

Wendy Richard and future Bond girl Joanna Lumley (You Only Live Twice) later appeared together on an episode of Are You Being Served? In which Richard played the regular role of Miss Brahms.

[1] No relation to the 1999 OTL James Bond theme by Garbage. This theme is a big Dusty Springfield ballad penned by Bacharach and David along the lines of “You Don’t Have To Say You Love Me”. As mentioned, Casino Royale is not made ITTL. This leaves Burt Bachrach and Hal David free to pen the score for this film.
 
Mary Rose (1967)
Mary Rose (Universal, December 21st, 1967)

Directed by Alfred Hitchcock

Written By Jay Presson Allen (Based on the play Mary Rose by J.M. Barrie)

Cast

Sharon Tate as Mary Rose

Rod Taylor as Simon- Husband of Mary Rose

James Stewart as Mr. Morland- Mary Rose's father

Ingrid Bergman as Mrs. Morland- Mary Rose's mother

Fay Compton as Mrs. Otery-Housekeeper

Leo G. Carroll as Mr. Amy

Bernard Cribbins as Cameron

With Sam Westwood as Kenneth- Son of Simon and Mary Rose

Plot

A man named Kenneth (Westwood) visits a haunted house that’s for sale. He explains to the keeper of the house, Mrs. Otery (Compton), that he used to live there as a child. Kenneth points out details he remembers. There’s a hidden door that leads to another room, but it’s locked. He inquires about the ghost stories. Mrs. Otery reluctantly tells him it’s just some scared little woman, nothing to fear. Kenneth then has an off-camera spooky encounter with the unseen ghost.

The film then flashes back to when the house was new. The parents of Mary Rose, Mr. and Mrs. Morland (Stewart and Bergman) and a friend of theirs, Mr. Amy (Carroll) are introduced. Finally, we meet Mary Rose (Tate). She's eighteen and wants to marry an older man named Simon (Taylor). The Morlands want to talk to Simon alone first. Mary Rose goes up to the attic to knock on the floor to let Simon know she’s nearby and supporting him. Mr. and Mrs. Morland tells Simon a story about Mary Rose that they feel he should know before marrying her. When Mary Rose was a child, they took her to an island in Scotland’s Outer Hebrides on a vacation. The name of the place translates to “The Island That Likes To Be Visited" in Gaelic. During the holiday, Mary Rose would go missing for thirty days. She is found again in the same spot she vanished from, not realizing she had been gone. Mr. and Mrs. Morland never told her what happened. Simon is not bothered by the story. Mary Rose's parents consent to the marriage. Simon and Mary reunite, celebrate, and Mary mentions taking him to her favorite island in the Hebrides someday.

Cut to a few years later with Mary Rose and her husband on vacation on the very same island. The couple has a three-year-old son back home named Kenneth. A ferryman named Cameron (Cribbins) has lunch with them.
Cameron tells Simon and Mary Rose stories about the island, one of which was the story of Mary Rose’s disappearance that doesn’t quite click with her. As they prepare to leave, Mary Rose disappears once again.

The film cuts to almost thirty years later at the house with the now elderly Morlands and Mr. Amy. Mary Rose was never found. Simon comes back to see them. He’s a Captain of a vessel in WWI. Kenneth is missing and thought to be taken prisoner of war. They get news. Mary Rose has been found. Cameron found her back in the spot where they left her thirty years ago and he’s bringing her home. When she arrives, they discover that Mary Rose is still young. And Mary Rose likewise cannot fathom what’s happened to her. She keeps crying for Kenneth, her son.

The film cuts back to Kenneth, who the audience realizes is much older than he appears, with Mrs. Otery in the now abandoned haunted house. Kenneth goes through the tiny door to the other room and discovers that the ghost is, of course, his mother, Mary Rose. Kenneth's interaction with Mary resolves her ghostly wandering and searching for her long-lost son. In a sequence full of effects, the film ends with Mary Rose returning to the island.

Reception

Reviews for Mary Rose were mixed. Westwood and Tate were praised for their performances. Press on Allen's very talky script seemed to be the major source of criticism. Pauline Kael commented in an early 1968 essay that "Tate is very haunting in her portrayal of Mary Rose. And Sam Westwood proves that he is a very capable young actor who helps bring a level of boyish naivety to the role of Kenneth. The film seems to go nowhere until the last half. And it's very moving. If one can make it that far. It would work better as an episode of Alfred Hitchcock Presents than as a feature film"

From Sam Westwood's infamous Interview Magazine cover feature, 1982

"Kael was kind of right in her review when she said I brought a level of "boyish naivety" to the part. Hitch said he wanted to use a youthful-looking actor to make the character appear more how Mary Rose remembered him as a child. What led him to cast me, I'll never know. I actually got some good reviews, but if you didn't get what he was doing, it probably came off as miscasting--"

Or as Hitchcock himself would admit towards the end of his life:

"I cast Sam Westwood because I wanted a young man to play Mary Rose's son. He is older in the script, but I wanted to audience to wonder if the same thing had happened to Kenneth when he too had gone missing. Had this man been rendered ageless as well? I think it got lost on critics, but Mr. Westwood did a credible job"

The film still did reasonable box office, and Hitchcock would be vindicated somewhat when Mary Rose was nominated for several Academy Awards.
 
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40th Academy Awards April 10th, 1968
List of 40th Academy Awards winners and nominees
(For first-time readers, winners are bolded)

40th_Academy_Awards.jpg

Best Picture

In The Heat Of The Night

The Graduate
Bonnie & Clyde
Cool Hand Luke
Mary Rose


Best Actor

Paul Newman, Cool Hand Luke


Dustin Hoffman, The Graduate
Warren Beatty, Bonnie & Clyde
Rod Steiger, In The Heat Of The Night
Sidney Poitier, In The Heat Of The Night

Best Actress

Audrey Hepburn, Wait Until Dark


Sandy Dennis, Up The Down Staircase
Faye Dunaway, Bonnie & Clyde
Edith Evans, The Whisperers
Anne Bancroft, The Graduate

Best Supporting Actor

Gene Hackman, Bonnie & Clyde

Rod Taylor, Mary Rose
Cecil Kellaway, Guess Who's Coming To Dinner
Michael J. Pollard, Bonnie & Clyde
John Cassavetes, The Dirty Dozen

Best Supporting Actress

Estelle Parsons, Bonnie & Clyde

Judy Garland, Valley Of The Dolls
Katharine Ross, The Graduate
Beah Richards, Guess Who's Coming To Dinner
Ingrid Bergman, Mary Rose

Best Director

Arthur Penn – Bonnie and Clyde

Mike Nichols – The Graduate
Stanley Kramer – Guess Who's Coming to Dinner
Richard Brooks – In Cold Blood
Norman Jewison – In the Heat of the Night


Best Screenplay Written Directly For The Screen


Bonnie and Clyde by David Newman and Robert Benton

Divorce, American Style by Norman Lear and Robert Kaufman
Guess Who's Coming To Dinner by William Rose
La Guerre Est Finie by Jorge Semprun
Two For The Road by Frederic Raphael

Best Screenplay Based On Material From Another Medium

In The Heat Of The Night by Sterling Siliphant

Cool Hand Luke by Donna Pearce and Frank R. Pierson
The Graduate by Calder Willingham and Buck Henry
In Cold Blood by Richard Brooks
Mary Rose by Jay Presson Allen

Best Cinematography

Robert Burks, Mary Rose

Burnett Guffey, Bonnie & Clyde
Conrad Hall, In Cold Blood
Richard H. Kline, Camelot
Robert Surtees- The Graduate

Best Art/Set Decoration

Mary Rose

Camelot
The Taming Of The Shrew
Valley Of The Dolls
Thoroughly Modern Millie


Best Costume Design

Theodora Van Rankle, Bonnie & Clyde

John Truscott, Camelot
Bill Thomas, The Happiest Millionaire
Edith Head, Mary Rose
Jean Louis, Thoroughly Modern Millie

Best Film Editing

In the Heat of the Night – Hal Ashby

Beach Red
– Frank P. Keller
The Dirty Dozen – Michael Luciano
Doctor Dolittle – Samuel E. Beetley and Marjorie Fowler
Guess Who's Coming to Dinner – Robert C. Jones

Best Sound

In The Heat Of The Night

The Dirty Dozen
Beach Red
Mary Rose
Bonnie & Clyde


Best Original Song

"Theme From Valley Of The Dolls" from Valley Of The Dolls

"The World Is Not Enough" from On Her Majesty's Secret Service
"The Eyes Of Love" from Banning
"To Sir, With Love" from To Sir, With Love
"The Bare Necessities" from The Jungle Book


Best Original Score

Bernard Hermann, Mary Rose

Lalo Schifrin, Cool Hand Luke
Richard Rodney Bennett, Far From The Madding Crowd
Quincy Jones, In Cold Blood
Elmer Bernstein, Thoroughly Modern Millie

Best Scoring- Adaptation Or Treatment

John Williams, Valley Of The Dolls

Burt Bachrach and Hal David, On Her Majesty's Secret Service
DeVol, Guess Who's Coming To Dinner
Alfred Newman & Ken Darby, Camelot
Andre Previn & Joseph Gershenson, Thoroughly Modern Millie


Best Special Visual Effects

Mary Rose

Tobruk


Best Sound Effects

The Dirty Dozen

Mary Rose

Most Wins: Bonnie and Clyde (5)

In The Heat Of The Night and Mary Rose tied for four wins
each.


There are still categories for short subjects, documentaries, cartoons, etc. However, I will only be covering the feature film categories. At some point, I might focus strictly on the main categories.
 
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List of 40th Academy Awards winners and nominees
(For first-time readers, winners are bolded)

View attachment 413651

Best Picture

In The Heat Of The Night

The Graduate
Bonnie & Clyde
Cool Hand Luke
Mary Rose


Best Actor

Paul Newman, Cool Hand Luke


Dustin Hoffman, The Graduate
Warren Beatty, Bonnie & Clyde
Rod Steiger, In The Heat Of The Night
Sidney Poitier, In The Heat Of The Night

Best Actress

Audrey Hepburn, Wait Until Dark


Sandy Dennis, Up The Down Staircase
Faye Dunaway, Bonnie & Clyde
Edith Evans, The Whisperers
Anne Bancroft, The Graduate

Best Supporting Actor

Gene Hackman, Bonnie & Clyde

Rod Taylor, Mary Rose
Cecil Kellaway, Guess Who's Coming To Dinner
Michael J. Pollard, Bonnie & Clyde
John Cassavetes, The Dirty Dozen

Best Supporting Actress

Estelle Parsons, Bonnie & Clyde

Judy Garland, Valley Of The Dolls
Katharine Ross, The Graduate
Beah Richards, Guess Who's Coming To Dinner
Ingrid Bergman, Mary Rose

Best Screenplay Written Directly For The Screen

Bonnie and Clyde by David Newman and Robert Benton

Divorce, American Style by Norman Lear and Robert Kaufman
Guess Who's Coming To Dinner by William Rose
La Guerre Est Finie by Jorge Semprun
Two For The Road by Frederic Raphael

Best Screenplay Based On Material From Another Medium

In The Heat Of The Night by Sterling Siliphant

Cool Hand Luke by Donna Pearce and Frank R. Pierson
The Graduate by Calder Willingham and Buck Henry
In Cold Blood by Richard Brooks
Mary Rose by Jay Presson Allen

Best Cinematography

Robert Burks, Mary Rose

Burnett Guffey, Bonnie & Clyde
Conrad Hall, In Cold Blood
Richard H. Kline, Camelot
Robert Surtees- The Graduate

Best Art/Set Decoration

Mary Rose

Camelot
The Taming Of The Shrew
Valley Of The Dolls
Thoroughly Modern Millie


Best Costume Design

Theodora Van Rankle, Bonnie & Clyde

John Truscott, Camelot
Bill Thomas, The Happiest Millionaire
Edith Head, Mary Rose
Jean Louis, Thoroughly Modern Millie

Best Film Editing

In the Heat of the Night – Hal Ashby

Beach Red
– Frank P. Keller
The Dirty Dozen – Michael Luciano
Doctor Dolittle – Samuel E. Beetley and Marjorie Fowler
Guess Who's Coming to Dinner – Robert C. Jones

Best Sound

In The Heat Of The Night

The Dirty Dozen
Beach Red
Mary Rose
Bonnie & Clyde


Best Original Song

"Theme From Valley Of The Dolls" from Valley Of The Dolls

"The World Is Not Enough" from On Her Majesty's Secret Service
"The Eyes Of Love" from Banning
"To Sir, With Love" from To Sir, With Love
"The Bare Necessities" from The Jungle Book


Best Original Score

Bernard Hermann, Mary Rose

Lalo Schifrin, Cool Hand Luke
Richard Rodney Bennett, Far From The Madding Crowd
Quincy Jones, In Cold Blood
Elmer Bernstein, Thoroughly Modern Millie

Best Scoring- Adaptation Or Treatment

John Williams, Valley Of The Dolls

Burt Bachrach and Hal David, On Her Majesty's Secret Service
DeVol, Guess Who's Coming To Dinner
Alfred Newman & Ken Darby, Camelot
Andre Previn & Joseph Gershenson, Thoroughly Modern Millie


Best Special Visual Effects

Mary Rose

Tobruk


Best Sound Effects

The Dirty Dozen

Mary Rose

Most Wins:

In The Heat Of The Night: 4

Bonnie and Clyde
: 4

Mary Rose: 4


There are still categories for short subjects, documentaries, cartoons, etc. However, I will only be covering the feature film categories. At some point, I might focus strictly on the main categories.

Very good, but it's strange you've missed out Best Director, although I presume it's the same as OTL?

Also, I vision the version of the song The World is Not Enough is a mixture of Carpenter's Superstar and Garbage's TWINE?
 
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Loved the original version and I'm loving this, but the Mary Rose chapter is missing the footnotes, and as a Doctor Who fan I'm particularly interested in how this affected Bernard Cribbens career.
 
Very good, but it's strange you've missed out Best Director, although I presume it's the same as OTL?

Also, I vision the version of the song The World is Not Enough is a mixture of Carpenter's Superstar and Garbage's TWINE?

Thank you for letting me know! I rushed this out at 2 am and checked thoroughly but thought something seemed off. I'll add that in, it won't take long.

It's more like a repeat of 'You Don't Have To Say You Love Me'. Bachrach and David did the entire score and Dusty Springfield got two songs. And it's not going to butterfly 'We Have All The Time In The World' either. Though that will show up in another film performed by another singer.
 
Loved the original version and I'm loving this, but the Mary Rose chapter is missing the footnotes, and as a Doctor Who fan I'm particularly interested in how this affected Bernard Cribbens career.

What happened with the footnotes is I was under the impression that I was adding too many. Now I feel like it's confused people by being minimal to the point of very few footnotes. Unfortunately, I also didn't realize some footnote markers were still intact. So I do apologize for that. Have been linking occasionally if something might be obscure or to back up something.

Cribbens career goes as IOTL after Mary Rose. So he'll likely do Doctor Who. I don't plan to really go there in my TL as there are so many Doctor TL's already but the show will come up in passing. I did an American version originally, but for now, it's being scrapped.
 
Best Director is fixed now which means...most wins goes to Bonnie And Clyde!

I tried to watch The Graduate for this and shut it off after about twenty minutes. It's in my giveaway DVD pile. Hated to admit it but had to come clean finally. Aside from Faye Dunaway, Bonnie and Clyde never gets old.
 
Best Director is fixed now which means...most wins goes to Bonnie And Clyde!

I tried to watch The Graduate for this and shut it off after about twenty minutes. It's in my giveaway DVD pile. Hated to admit it but had to come clean finally. Aside from Faye Dunaway, Bonnie and Clyde never gets old.

Watched The Graduate for barely the first time a month or so ago. Now I have that Simon and Garfunkel song stuck in my head.

Anyways, good to see Bonnie and Clyde get the award.
 
Hey everyone!

There won't be a post this week, but I just wanted to touch base with all of you. Working on more material, but there might be small hiatuses periodically as I want the next batch of posts to be solid. Also started work on a spin-off mini timeline with a 1968 PoD. More on that soon.
 
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