Elizabeth on set of the 1969 film ANNE OF THE THOUSAND DAYS in which her husband Richard Burton starred whilst she played the small role of a courtesan (while wearing La Peregrina!) She longed for the role of Anne Boleyn (which was eventually given to Genevieve Bujold) but was deemed too old for the part and was given a smaller role. The producer, Hal Wallis, later remembered a lunch with Elizabeth in 1967. “Elizabeth hung on my every word. I was surprised by her attention, as there was no part in the picture for her. Over an elaborate dessert she took a deep breath and said, ‘Hal, I’ve been thinking about it for weeks. I have to play Anne Boleyn!’ My fork stopped halfway to my mouth. Anne Boleyn? Elizabeth was plump and middle-aged; Anne was a slip of a girl. The fate of the picture hung in the balance. I could scarcely bring myself to look at Richard.” Richard “handled it beautifully. He put his hand on hers, looked her directly in the eye, and said, ‘Sorry, luv. You’re too long in the tooth.’”
The Martha Hyer Residence aka The Janss Residence was designed by the well-known and well regarded Los Angeles architect William Krisel of Palmer, Krisel & Lindsay in 1952 for Los Angeles socialite Gina Janss. In December 1957, blonde bombshell Martha Hyer paid $95,000 for the ultra modern hillside hideaway at 8688 Hollywood Boulevard high above the Sunset Strip. This mid-century modern beauty had sweeping views of the whole of the Los Angeles Basin from the Palos Verdes Peninsula all the way to Santa Monica and Catalina Island beyond. She eventually left sometime before her marriage to producer Hal B. Wallis in 1966 due to security concerns stemming from a robbery of her valuable art collection.
a story (from Young Justice) of where the reader is Hal Jordan’s niece and instead of Wally dying, it’s the reader and Wally gets upset that not only did the reader die, but his unborn child and tells the team that she was pregnant and Hal gets upset at Wally
“I can’t believe it,” Wally whispered. His hands laid on your stomach, staring at it in wonder.
You shifted on the bed, chuckling to yourself. “Wally, you’ve been saying that all day.” Wally laid his head on your stomach, pressing his ear to your tiny bump.
“I can’t help it, Babe,” Wally replied, meeting your eye. “This is just so wonderful.” You sat up a little, smiling when he leaned forward to kiss you.
“Walls?” you asked, reaching out to run a hand through his red hair. “When do you think we should tell everyone? I’m four mouths along now.”
Wally paled, sitting up quickly. “I don’t know. Is your Uncle Hal still going to kill me if he even suspects we’re together?”
“Uncle Hal is not going to kill you,” you soothed, moving to get off the bed. “He might be a little upset, but Uncle Hal will be happy about this. He loves kids.”
“That doesn’t make me feel better,” Wally replied, following you as you headed towards the kitchen. “Though, I suppose we could tell a few select people that aren’t your uncle.”
You rolled your eyes, opening the refrigerator. Wally followed you, wrapping his arms around you to rest his chin on your shoulder. “Any thoughts about dinner?”
“Oh, how about everything?” Wally kissed your neck, tickling you. You giggled before taking out several leftovers. Slipping out of his grasp, you went to grab some plates. Wally leaned against the fridge, his expression becoming serious. “(Y/N), I was thinking about something.”
“If it’s about food, you’re sleeping on the couch tonight,” you replied, giving him a smile before focusing on plating the leftovers.
Wally snorted. “No, it’s not about food.” He looked at his bare feet. “I was wondering if maybe we should make our retirement from superhero life official?”
You glanced up at him in surprise. “I thought we already did? After the big mission with the Reach, that is?”
“Yeah, but…” Wally began, moving towards you to take the plates from you. He set them on the table, facing away from you. “I just have a bad feeling about this mission.”
“A bad feeling?” You placed a hand on his shoulder, turning him around to face you. “What do you mean?”
“I just…I’m afraid something is going to happen,” Wally explained, his arms wrapping around your waist to pull you to him. Your baby bump pressing against his stomach.
“Wally, nothing is going to happen,” you reassured, smiling with the utmost confidence. “We’re going to kick the Reach’s butt, and then we can focus on our little one.” You grabbed Wally’s hand and laid it on your stomach.
“Yeah,” Wally whispered as you pulled him into a hug. His arms tightened around you, a feeling of dread brewing in his stomach. When you pulled away a few moments later, Wally gave you a smile that didn’t reach his eyes.
“I’m starving,” you remarked, sitting down to dig into the food on your plate. Wally watched you for a moment, hating how it felt like it was going to be the last time he saw you.
Cairo’s homosexuality posed one of the biggest obstacles to securing overall approval of the picture. Hammett didn’t mince words in the novel. “This guy is queer,” says Sam Spade’s secretary as she hands him an engraved card bearing his name - Mr Joel Cairo. He speaks in a “high-pitched thin voice,” carries “gaily colored silk handkerchiefs fragrant of chypre,” and walks in “mincing, bobbing steps.” … Hal Wallis realised that American audiences - not to mention the Hays Office - were not ready for a candid look at homosexuality, which traditionally drew laughs and jeers out front.
After seeing Lorre’s first day’s work, Wallis dashed off a memo to Huston: “Don’t try and get a nancy quality into him, because if you do we will have trouble with the picture.” Huston bent to Breen’s will. In the scene, Effie presents Cairo’s calling card to a bemused Spade, who holds it to his nose.
“Gardenia,” says Effie.
“Quick, darling, in with him,” replies Spade.
The rest Huston left to Lorre’s subtlety and the viewer’s imagination.
The svelte 137-pound Lorre who stepped before the camera seemed younger, fitter, swifter. More was asked of him and he asked more of himself. The role was the best of its kind to come his way in years and Lorre knew it.
“I’d often shoot a scene with Peter and find it quite satisfactory, nothing more,” recalled Huston -
But then I would see it on the screen in rushes and discover it to be far better than what I had perceived on the set. Some subtlety of expression was seen by the camera and recorded by the microphone that the naked eye and ear did not get. He’d be doing little things that the camera close on him would pick up that standing a few feet away you wouldn’t see. It was underplaying; it was a play that you would see if you were close to him, as a close-up, as a camera is close. Things would flicker there and burn up slightly, like a lamp, and then dim down, and come on again. You’re watching something as if it were in motion.
from The Lost One: A Life of Peter Lorre -Stephen D Youngkin