Re: Imaginary conversations

London, 1964.

Agent: Hey, Niv, siddown, I got some great news for ya!
Niven: Really? How splendid.
Agent: I gotta new picture lined up for ya! It's gonna be yuge!
Niven: Pardon me?
Agent: Yuge! Bigger than Ben Hur!
Niven: Huge! Well that sounds most welcome. What can you tell me about it?
Agent: You're starring opposite some of the most talented actors ever. Peter Sellers, Woody Allen and - get this - Orson Welles!
Niven: How perfectly convivial.
Agent: You're also starring with the most beautiful actresses in the world! Dalia Lavi, Barbara Bouchet, Joanna Pettet... we even got Ursula Andress!
Niven: Wonderful!
Agent: And get this... you know you were Ian Fleming's personal choice to play Jimmy Bond... well you're gonna finally get to play him! In Casino Royale, the first Bond novel no less! Whaddya say to all that!!
Niven: How extraordinary. May I see the script?
Agent: Script? You don't need to see no script, Niv baby - with that much talent assembled, what could possibly go wrong?

"How was your lamb?" "Skewered. One sympathises."


Re: Imaginary conversations

C&D, once again I'm pretty sure that this is very close to reality!  ajb007/lol  ajb007/lol  ajb007/lol


Re: Imaginary conversations

1972. (McCartney farm, Mull of Kintyre.)

Linda: So who was on the phone, Paul?
Paul: Oh, that was George.
Linda: Hmm- Ringo phoned yesterday or the night before. I’m wondering if John will phone tomorrow and you guys are getting back together?
Paul: No, no- it was George Martin. He’s writing the score for the new James Bond picture and would like me to write & sing the title song.
Linda: James Bond, eh? I like that Sean Connery!
Paul: No, it’ll be Roger Moore. Sean Connery said never again... again.
Linda: Roger Moore- The Saint? The Persuaders? Mmmm...
Paul: Yeah, I think he’ll be good. Anyway, George wants the song real quick, say by tomorrow, so he can work it into the score.
Linda: Well, dinner’s in half an hour. Do you want a cup of tea before you write the song or after?
Paul: Oh, before, I think.
(Linda goes to the kitchen, makes two cups of tea, and returns to find Paul scribbling away.)
Paul: Changed my mind, that’s it ready now.
Linda: That took you longer than normal.
Paul: Yeah, well, I thought I'd do the B-side as well.


Re: Imaginary conversations

Pinewood Studios. 1964.

GUY HAMILTON: Just say the lines and don’t worry too much about the pronunciation or accent, OK?
GERT FROBE: Sehr gut.
GUY HAMILTON: Alright then. Take one, cameras rolling…action!
SEAN CONNERY: Do you really expect me to talk?
GERT FROBE: Nein, Herr Bond. Ich erwarte dass du stirbst!
GUY HAMILTON: Cut! No, no, no. You just say your lines perfectly normally, remember?
SEAN CONNERY: (wearily) How could I? This is impossible!
GERT FROBE: (wearily) Wie könnte ich? Das ist unmöglich!
GUY HAMILTON: We’ll fix this mess somehow, guys. Just say the lines and the editor can do the rest.
PETER HUNT: I heard that!
CUBBY BROCCOLI: How’s it going on set, everyone?


Re: Imaginary conversations

ajb007/biggrin  I'm just waiting for Higgins to come along and complain about your Deutsch- that's what he usually does to me!


Re: Imaginary conversations

JOHN BARRY: But what does "thunderball" even mean, for chrissake? You can't expect me to write a song with a crazy title like that!
CUBBY: John, the studio won't green-light your other number. Their days of asking are all gone... It's got to be "thunderball"!
McCLORY: And besides, Shirley's still threatening to sue if we run with Dionne's version of 'Kiss Kiss'. Her fight goes on and on and on...
HARRY: Damoiselles and danger have filled that number's past...
JOHN BARRY: A pity if it grieves 'em. Okay, so who do we record a *new* song with?
CUBBY: Any woman you want we'll get... subject to Dana's approval.
JOHN BARRY: Let's switch to a male vocal. How about Tom Jones? He knows the meaning of success...
McCLORY: That just leaves this hang-up of yours over the lyrics? Don, Johnny... any ideas?
DON BLACK: Just taking a few notes here. Hmm, let's see. 'He looks at this world and wants it all. And he strikes like...'
JOHNNY CASH: '...Thunderball, your fiery breath can burn the coldest man!' That's it! Yes, siree! Yee-aah!
JOHN BARRY and DON BLACK throw their hands up in despair and faint on Johnny's last note... before returning in short order with a(nother) classic Bond song!

Last edited by Shady Tree (25th Jul 2020 19:14)

Critics and material I don't need. I haven't changed my act in 49 years.


Re: Imaginary conversations

ajb007/lol  ajb007/lol  ajb007/lol  ajb007/lol

McClory has a cheek talking about someone threatening to sue!


Re: Imaginary conversations

1969. (The Swiss Alps. Cubby, Harry, Peter Hunt and Syd Cain (covering for Ken Adam) are location scouting for OHMSS. They are in a cable car ascending a high Alp.)

Harry: This is the fourth one today, I don’t know what you’re looking for, Syd. This one was too high, that one was too low…
Syd: I’ll know it when I see it, Harry.
Cubby: Now remember, guys, not to let them know we’re from James Bond. They’ll put their prices up at least ten times if they know that.
Peter: Sure, Cubby, we’re just a party of businessmen looking to rent a mountaintop restaurant for meetings and so on.
Cubby: Yes, that’s it. We’re just a party of businessmen. Best not to call me “Cubby”, either.
(The cable car docks and they get out.)
Manager: Guten Abend, meine Herren.
Harry: Er, hi, do you speak English?
Manager: But of course, sir.
Peter: Would it be possible for us to have a look around before we have some drinks and perhaps a meal?
Manager: Certainly, sir. Under what name shall I put the party?
Harry: The name’s Saltzman- Harry Saltzman.
(Cubby, Peter and Syd exchange glances.)
Manager: This way, please. As you can see, we have spectacular views of the Alps from the fine scenic windows.
Syd: Yes, very impressive. (Whispers.) Guys, I think this is just what we’re looking for.
Cubby: And what’s through there?
Manager: That leads to the outdoor curling rink- would you like to see it?
Harry: Sure, why not? You only live twi… er, once.
(Peter and Syd start to look worried. Cubby, used to Harry by now, simply rolls his eyes.)
Peter: I like this curling rink.
Syd: Yes, it’s perfect! This will fit in.
Manager: And through this way, gentlemen…. The accommodation. These corridors lead to magnificently outfitted apartments.
Harry: This looks fine. What do you think, Cubby… er, I mean, Albert?
Cubby: Yes, this will do just nicely. May we see the skiing room please?
Manager: But of course, if you’ll just follow me… there you are?
Peter: (Whispers.) This is just perfect!
Syd: (Whispers.) I think we’ve found it!
Cubby: And now we should go to the dining room, I think.
Manager: Certainly.
Harry: We’ll have a table for 007, no wait, I mean for four.
(They walk through to the dining room and sit down.)
Manager: Would you like to order drinks, gentlemen?
Peter: A Lowenbrau for me.
Syd: I’ll just have a Cola.
Cubby: Some dry white wine, please?
Harry: I’ll have a vodka martini, shaken not stirred.
Manager: I shall return in a few moments. (Departs.)
Syd: Guys, this is it. This is the perfect location.
Peter: I agree, we won’t find anything better than this.
Cubby: Then we’ll have to start talking money with them soon.
Harry: Good thing they don’t know who we are, eh!
(The manager returns with the drinks.)
Manager: Here you are, gentlemen.
Cubby: Thank you. We’d like to enquire about renting the whole place for a few weeks, perhaps a couple of months?
Manager: The whole place? That would be very expensive, but I’m sure you can afford it, since you are, shall we say, On Her Majesty’s Secret Service.
Cubby, Peter, Syd: HARRY!!!
Manager: I have been expecting you...


Re: Imaginary conversations

ajb007/lol   ajb007/lol   ajb007/lol

A short one...

TULA: Try to hold it down and take it slow. And just enjoy the motion. If you just relax and push it back. There is no limitation.
GONZALES' HENCHMAN: Say, you have big hands, honey... and [gulp!] isn't that an adam's apple?
ROGER: Well, I... think he got the point...

Critics and material I don't need. I haven't changed my act in 49 years.


Re: Imaginary conversations

ajb007/biggrin  ajb007/biggrin  ajb007/biggrin


Re: Imaginary conversations

1997. (Stoke Poges Hotel.)

Roger Spottiswoode: Now, Pierce, you just have to sit there with a vodka waiting to see who Carver will send. You hope, but don’t know for sure, that it will be Paris.
Pierce: Sure, Roger, got that. I just sit with the vodka in my hand, maybe take a sip or two, then she’s in the door.
Roger: That’s it- action!
(Pierce moodily takes a sip of the vodka. Teri enters.)
Bond: I was curious who Carver would send.
Paris: He’s on to you.
Bond: Well, we know where you stand.
Roger: Cut! That’s good, but a little slow. Take 2, action!
(Pierce less moodily takes another sip of the vodka. Teri enters.)
Bond: I was curious who Carver would send.
Paris: He’s on to you.
Bond: Well, we know where you stand. You made your bed.
Roger: Cut! A bit more life to it, please. Action!
(Pierce happily takes a big sip of the vodka. Teri enters.)
Bond: I wash curioush who Carver would shend.
Roger: Cut! Pierce, what’s with the Sean Connery impression? Do it again- action!
(Pierce sloppily pours the rest of the vodka down his throat.)
Bond: Carver? Jusht let me get to him! I’ll show that Carver!
Roger: Cut! ….let’s resume tomorrow, everybody.


Re: Imaginary conversations

This one is not meant to be funny.

1969. (CTS Recording Studio)

Hal David: Is he here yet?
John Barry: No, but he’ll be here soon. I’ve been running the orchestra through the track.
Hal: I had to come, this is a proud moment for both of us.
John: Yes, I was so glad he agreed to do it.
(The door opens and a frail Louis Armstrong walks in, handkerchief and trumpet in hand.)
Louis Armstrong: Hello, everyone.
(The orchestra silently look on with awe.)
John: Thank you for coming, Mr Armstrong.
Satch: Oh, call me “Satch”, please.
John: Satch, this is Hal David who wrote the words to the song. I’m John Barry, I wrote the music and will be conducting the orchestra.
Satch: It’s a great song, I’m looking forward to it. Lovely words, Hal.
Hal: Thank you, Mr Armst… Satch.
John: Now, I’ve written in these sections for you to play on your trumpet at the solo and at the ending.
Satch: I’m sorry, John, but I don’t think I can manage. I’ve been ill, you see, just out of hospital especially to sing your song.
Hal: But you’ve got your trumpet with you.
Satch: Damn right, they’ll have to pry it out of my cold dead hands. It goes everywhere with me.
John: Well, in that case- Derek?
Derek Watkins: Yes, John?
John: Would you play the trumpet parts I’ve written into the score please?
Derek: (Gulping at the thought of playing lead trumpet in front of Louis Armstrong.) Er… sure, John.
John: Then, let’s get going. Mr Arm… Louis… Satch, would you please stand at the mike there?
Satch: Sure.
John: Then let’s go for a take. 5, 4, 3, 2, 1…

(Satch sings “We Have All The Time In The World”, his very frailty adding to the emotion of the lyric. By the time the last notes of the song fade the orchestra, seasoned professionals all, are choking back their tears.)

Satch: Was that all right?
John: Oh dear God, yes. It was magnificent.
Hal: Thank you, thank you.
Satch: I just want to say thank you for giving me this job.
(Barry and David reach for their handkerchiefs.)
John: Er.. yes, thank you for singing our song.
Derek: Hey, Satch!
Satch: Hi Chops! Great solo!
Derek: Fancy doing some blues while you’re here?
Satch: Do I? You bet!

(The band start playing some hot blues. Satch, who didn’t have enough puff to play the parts John Barry had written into the song they were recording, grabs his trumpet and chimes in with the band overcome with the power of the blues. All present have a fabulous time, Satch appears 20 or 30 years younger. The tune comes to its inevitable end.)

Satch: Thanks, guys, that was great.
The entire orchestra: Thank YOU, Satch!

(Once more a frail old man, Satch departs. John Barry and Hal David share a look saying “This is a moment I will remember.”)


(Sentimental ol'Barbel- this is basically true, though I have made up some of the dialogue. I'd love to hear the blues they played after the main song!)


Re: Imaginary conversations

Nice one Barbel  ajb007/cheers

sadly now for something Rude and crude but it's what I do   ajb007/wink

Eon's office Desk a hand reaches for a phone ......

MGW. " Hi Dame Maggie, It's Michael here, just checking in with you, to see if you've given
any more thought to our offer
( sounds of scraping )
Dame Maggie: " Oh how nice Michael, oh F**king hell !"
MGW : "Anything wrong Maggie ? "
Dame Maggie : Nothing, just in the middle of a rough shag ...
MGW : sorry, I'll call back later
Dame Maggie : No, I'm having my pipe filled ....
MGW : Sorry again, I'll call back
Dame Maggie : No it's all part of my F**king preparations for the part This M character
is a pipe smoker, so I've taking the F**king thing up
MGW : And the strong profanities are ?
Dame Maggie : He was in the Navy so it will be all F**k this and F**k that and the other
MGW :  the other ?
Dame Maggie : He probably just call that F**king too !
( sound of phlegm being coughed up )
MGW : are you Ok ..... ?....
Dame Maggie : Just F**king coughing up a lung  hold on I have to spit this out !!
MGW : I don'y think this is really needed for the part after all .......
Dame Maggie : When I play a character I commit 100%, so like any old Sailor
I'll be spitting, swearing, smoking and goosing any young lady close by.  I was
thinking of lighting my Fa*ts  for some added authenticity ..
MGW : Look Dame Maggie, I'll have to call you back. ( replaces receiver )
( Dials another number and awaits an answer )
MGW : Oh hi, Barbara. I think you are right, we should go with.......  Dame Judi for M after all

“I remember the last thing my Nan said to me before she died.
‘What are you doing here with that hammer?’”..... Lee Mack.


Re: Imaginary conversations

ajb007/lol  ajb007/lol  ajb007/lol  ajb007/lol   Priceless! Love it!


Re: Imaginary conversations

Eon Prop Warehouse. 2002.

BARBARA BROCCOLI: Now…what’s next…
MICHAEL G WILSON: It says here in the script there’s meant to be an invisible car.
NEAL PURVIS: That’s right, exactly how I wrote it. Bond drives up a ramp and then it turns invisible and then it fires missiles and flips upside down and….
MICHAEL G WILSON: That all sounds exciting.
BARBARA BROCCOLI: There’s just one problem. This warehouse is completely empty! Where’s the custom car we ordered for use in the film?
PETER LAMONT: (proudly) It’s right here in front of you.
BARBARA BROCCOLI: I can’t see anything…
PETER LAMONT: That’s the whole point. It’s invisible.
BARBARA BROCCOLI: How’s Pierce supposed to drive the thing if he can’t see it?
PETER LAMONT: That’s your problem, not mine. If you wanted a visible car you should have asked for one.
MICHAEL G WILSON: How much did this cost?
PETER LAMONT: Two and a half million dollars…
BARBARA BROCCOLI: Could we send it back?
BARBARA BROCCOLI: You’d better start re-writing that script, Neal…


Re: Imaginary conversations

ajb007/biggrin  ajb007/biggrin  ajb007/biggrin


Re: Imaginary conversations

This thread is by far my favourite thread of the year!  ajb007/lol  ajb007/lol  ajb007/lol

"How was your lamb?" "Skewered. One sympathises."


Re: Imaginary conversations

1971. (Las Vegas. Sammy Davis, Jr, is just coming off stage.)

Dean Martin: Hey, great show Sam, great show!
Frank Sinatra: Yeah, you did well there.
Sammy: Thanks, guys.
Frank: Waddya wanna do now, guys? Hit the casino?
Sammy: No, I got an idea- come with me, guys.
Dean: What you (Hic!) got in mind there, pally?
Sammy: It’s a surprise- follow me.
(Sammy leads Dean and Frank to a cinema.)
Frank: A film? You wanna watch a movie?
Sammy: Yeah, it’s the new James Bond movie “Diamonds Are Forever”.
Dean: Ha, Matt Helm beats James Bond every time.
Frank: Yeah, you would say that.
Sammy: This James Bond film is different- I’m in it!
Frank/Dean: What?
Sammy: No kidding, it’s set right here in Vegas. Just you wait until James goes into a casino, you’ll see me there!
Frank: Hey, that’s fantastic, Sam.
Dean: Last James Bond movie I saw (Hic!) there was this guy from New Zealand or somewhere being Bond.
Sammy: No, it’s back to the other fella. Hey, quiet guys, it’s starting.
(Onscreen.) Connery: My name ish Bond, Jamesh Bond.
Dean: Oh yeah, the big Irish guy, I remember him. (Hic!)
Sammy: Sshh!
(Time passes….)
Sammy: (Whispers.) Right guys, he’s going into the casino, watch carefully…
Frank: I don’t see you, Sam.
Dean: I see two James Bonds but I don’t see you.
Sammy: But.. but… I’m supposed to be there! Harry promised!
Dean: Looks like they cut you out of the movie, my man.
Sammy: I don’t understand, I’m supposed to be there!
Frank: Well, Sam, I only got one thing to say- that’s life, and I can’t deny it.


Re: Imaginary conversations

1972. (New Orleans Airport.)

Mr Bleeker: (Getting into plane.) Good morning Mrs Bell, how are you?
Mrs Bell: I think I’m fully recovered now, thank you.
Mr Bleeker: Yes, that week in hospital seems to have done you good. No ill effects now?
Mrs Bell: The doctor says I should be careful to avoid stressful situations.
Mr Bleeker: That’s fine. Now, if you’ll just press this button here…
Mrs Bell: I see your plane is working again.
Mr Bleeker: Yes, the man from Washington, Mr Leiter, sent two men round with a lot of glue and the wings are back on and everything is as it was before. Now, if you’d take hold of this…
Mrs Bell: The, uh, other instructor won’t be back then?
Mr Bleeker: Now, we’ve been through this Mrs Bell. That man was not a qualified flight instructor and had no business giving you a lesson.
Mrs Bell: Yes, you did say that. I don’t, uh, suppose you have his address? Or perhaps his phone number?
Mr Bleeker: You’re thinking of breaking our contract? You still have at least six months of lessons to pay for!
Mrs Bell: No, it’s not that, I just thought you might know where he went to.
Mr Bleeker: No I don’t know his phone number, I don’t know his address, and I don’t know where he went to. Now, if you’d please just…
Mrs Bell: Perhaps that Mr Leiter might know his phone number?
Air Traffic Control: (Over radio.) Look, I’m sure this is all very fascinating but would you mind please moving that plane off our runway? Now!!!


Re: Imaginary conversations

ajb007/lol  ajb007/lol  ajb007/lol  Who wouldn't want a flying lesson off Sir Roger?  ajb007/biggrin

Maz Kanata in Star Wars always reminds me of Mrs Bell, bless her.


"How was your lamb?" "Skewered. One sympathises."


Re: Imaginary conversations

ajb007/lol  We had some fun with that in the Shakespeare version https://www.ajb007.co.uk/post/867472/#p867472


Re: Imaginary conversations

Greenscreen studio. 2002.

LEE TAMAHORI: That’s it…make a face like you’re windsurfing away from the crest of a tidal wave, desperately battling the elements as you sail triumphantly through the air…
PIERCE BROSNAN: *pain face*
LEE TAMAHORI: Excellent Pierce! And…CUT! This’ll be one for the history books, eh?
PIERCE BROSNAN: You could say that…


Re: Imaginary conversations

1962. (ADR rooms, post-production.)

Terence: Right, we’re all set here. Nikki, are you ready to go?
Nikki: Of course, Terence.
Terence: Right then, I’ll start the film where we stopped. 3...2...1
Nikki: “W6N... W6N... W6N. Calling G7W. How do you hear me? Over. “
Terence: Great, that was the last line I needed for that scene. Now…

Terence: Ok, film set up. Ready there, Nikki?
Nikki: Say when!
Terence: 3...2...1
Nikki: “Trench, Sylvia Trench. I admire your luck, Mr...”
Terence: Fine, thanks Nikki. Now just give me a few moments…

Terence: Right, organised. You set, Nikki?
Nikki: I’m ready.
Terence: Ok.  3...2...1
Nikki: “What are you doing here? Looking for shells?”
Terence: Great, thank you.
Nikki: Er, Terence?
Terence: Yes, Nikki, what is it?
Nikki: Am I doing ALL the female voices in this film?
Terence: No, no, of course not.
Nikki: Well, who am I not doing then?
Terence: Lois Maxwell is doing her own voice as Miss Moneypenny.
Nikki: All right, who else?
Terence: Er…. Either Sister Rose or Sister Lily.
Nikki: And that’s it?
Terence: Yes, I think so.
Nikki: That’s a bit “above and beyond”, don’t you think? I should get a credit, or a raise, or both!
Terence: Now, Nikki, that’s not in your contract.
Nikki: Well, how about a part where I get seen?
Terence: I can’t promise that. I can promise you more work, though.
Nikki: Hmph. All right…



Terence: Ok, all set here. Nikki?
Nikki: Ready when you are.
Terence: Right. 3...2...1
Nikki: “Do what? Last time you said that, you went off to Jamaica. I haven't seen you for six months!”
Terence: ...and fine, thank you.
Nikki: Er, Terence?
Terence: Yes?
Nikki: About what we were discussing last time…?
Terence: Ah yes, I’ll see the producers and ask for you.
Nikki: Hmph. All right...



Guy: If you’re ready, Nikki, let’s go. 3...2...1
Nikki: “He's got a diamond run: eight, nine, ten. He's holding on to the six of spades, so I guess he thinks you want it. That last draw was the eight of hearts. He needs kings and queens.”
Guy: That’s fine, thank you.
Nikki: Guy…
Guy: Yes, Nikki, what can I do for you?
Nikki: Terence said he’d see what he could do about getting me a part where I get seen. I don’t suppose…?
Guy: Hmmm, it’s a bit late in the day. Perhaps next time?
Nikki: Hmph. All right…



Terence: If you’re ready, Nikki, let’s go. 3...2...1
Nikki: “Have you, now? Your name's James Bond and you've been admiring my form?”
Terence: Lovely, thank you.
Nikki: Terence….
Terence: Now, I know what you’re going to say, Nikki, but really you’d have to ask Mr Broccoli or Mr Saltzman about that.
Nikki: But they never come here for the dubbing! I don’t see them!
Terence: Ok, I’ll see what I can do- but no promises!
Nikki: Hmph. All right...



Lewis: Right, all set here. Get set, Nikki. 3..2..1
Nikki: "Think again, please. You gave false name to priest."
Lewis: Great, thanks Nikki.
Nikki: Lewis…
Lewis: Can’t do it, Nikki. Not in my power, I’m afraid.
Nikki: Hmph. All right, but this is the last time!



Peter: ...and we’re just about ready. Ok, Nikki, 3...2...1
Nikki: “Your father loves you very much, Tracy. Whatever he may arrange, I know it’s for your happiness”
Peter: Fine, Nikki, thank you.
Nikki: Peter…
Peter: Ah yes, Nikki. Afraid there’s not a lot I can do.
Nikki: Hmph. Right, that’s the last time I do this!



Guy: You all set there, Nikki?  3..2..1
Nikki: “Is there something I can do for you?”
Guy: Thanks Nikki, that was fine.
Nikki: Guy, I mean it, I won’t do any more of these unless I get a proper part.
Guy: I told you, Nikki, you’d have to ask Harry or Cubby.
Nikki: I did ask Harry, and all he said was “Who are you?”
Guy: Sorry, Nikki.
Nikki: Hmph. All right…



Guy: Nikki, don’t even ask me this time!

Nikki: Hmph. I’m not coming back! Never again!



Guy: Ready there, 3...2..1
Nikki: "Why don't you come in and find out?" ....“Chew Mee” ... “Neither have I” ... “Bye-ee!”
Guy: And that’s fine, thanks.
Nikki: Guy, I-
Guy: Nikki, no!
Nikki: Hmph. Goodbye, all of you!



Lewis: ...and ready. 3..2..1
Nikki: “I’m just a humble pilot in the service of the Drax Corporation”
Lewis: Great, Nikki, thanks.
Nikki: Er, Lewis…?
Lewis: Yes, Nikki?
Nikki: You know I’ve been doing this since the series began, don’t you?
Lewis: And very good you have been too, Nikki. Thank you.
Nikki: Well, I just thought-
Lewis: I’ll have a word with Cubby. I promise.
Nikki: Hmph.... I'm speechless!


Re: Imaginary conversations

Nikki van der Zyl should get a speaking  part in Bond26, she has more than deserved it.
Question: Why on earth did she ADR Jane Seymore in LALD?

Last edited by Number24 (26th Jul 2020 16:57)


Re: Imaginary conversations

It was a partial revoice, so at a guess this would be for technical reasons (eg poor sound on a live location) rather than artistic ones. Ms Seymour may have been unavailable for ADR.
If Guy Hamilton had been unhappy with the performance, he'd more likely have wanted the entire part revoiced.