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Part One

It's difficult to respond to your questions concerning my memories of WALKABOUT,and A CLOCKWORK ORANGE without somehow intermingling their histories and my relationship with Nicolas Roeg,as you will see as I start with WALKABOUT.Sometime,probably in 1966,on one of my many business trips from New York to London,I went out to Pinewood Studios to visit Jerry Epstein who was producing "The Countess From Hong Kong",directed by Charlie Chaplin and starring Marlon Brando and Sophia Loren. Jerry was intended to be my partner in a movie I hoped to produce based on a best seller book I had optioned.Jerry was an an experienced producer and his long connection with Chaplin gave him many important contacts in the business and I was just beginning as a principal, rather than as a lawyer for principals.Another friend,Lew Allen was producing"Fahrenheit 451" at Pinewood directed by Francois Truffaut,starring Julie Christie and Oscar Werner.I had known Lew(and his wife ,(the playwright-screenwriter Jay Presson Allen)since he was the producer of the film of the play"The Connection" and I had been the lawyer for Jack Gelber,the playwright-screenwriter and Shirley Clarke,who directed the film. Lew would ,a few years later ,be my partner in the film "The Queen" and even later still in a huge London stage musical"I and Albert" directed by John Schlesinger.The cinematographer for Fahrenheit was one Nicolas Roeg and that is where I met Julie and Nic.

A few years later,after I had produced "The Queen" in New York,which had become a great success, in New York and at the Cannes Film Festival I was living in Los Angeles in a new partnership with Ray Wagner on"Henderson The Rain King" by Saul Bellow and some other known works which I had optioned.Ray had just produced "Petulia" directed by Dick Lester,starring George C.Scott and Julie Christie and the cinematographer was Nic Roeg and we became close friends.In addition to the many projects that Ray and I were developing I was seperately obsessed with making a film of A CLOCKWORK ORANGE which I had optioned in 1966 and after much time spent with Nic,knowing that he had written screenplays,was an extraordinary cinematographer and wanted to direct, I believed that Nic could be an ideal director of the film,which I conceived as low budget,that is ,if financial backing had the same faith as I did.I wasn't getting backing for the film with such "hot"directors as John Boorman(after "Point Blank") or Ted Kotcheff with such as Mick Jagger or the then very hot(after "Blowup") David Hemmings and even the promise of music by some of the Beatles and Rolling Stones who were fans of the project.So as I continued to try to set it up and Nic and I continued to talk.One day I got a phone call from Max Raab who had financed a documentary film,directed by Academy Award Winning documentary filmmaker Lewis Clyde Stoumen,for which I had been his lawyer,'saying that he wanted to finance the picture and was amenable to allowing Nic to direct.Max was an investor(as was Apple,the Beatles company and rock and roll legends Leiber&Stoller and which years later George Harrison produced as a movie and in which recently Ewan McGregor appeared on the London stage) and thus Associate Producer for a Broadway play directed by Alan Arkin that I had produced .He was a film buff and owned a small movie theater in Philadelphia where he lived.He also was co owner of a large clothing operation that had provided him with a vast multi,multi miilion dollar fortune. And so I was to move to London,first to produce a film called "All the Right Noises" starring Olivia Hussey(her first picture following "Romeo and Juliet")Judy Carne and Tom Bell and introducing Leslie Anne Down.Ironically it was Nic Roeg who asked that I read the script written by a friend of his and Max Raab who agreed to finance it.I will get back to my memories of A CLOCKWORK ORANGE but now tell you about WALKABOUT.

Even as I continued to develop CLOCKWORK with screenplays by Terry Southern and Anthony Burgess with Nic ,obviously spending much time with him socially as well ,I ultimately learned from him that he was also developing a screenplay with a company that was then a mini studio called National General and that the rights were entangled with a company headed by Richard Lester and that he was frustrated by not being able to get the go ahead to make that film,which was his obsession.He asked me if I would be interested in seeing what i could do. Having now in my mind that perhaps he wanted to make this before CLOCKWORK(and before some other works that I had acquired for him to do in the future)I agreed to pursue it and was so impressed that I asked Max Raab if he would finance it and in a great leap of faith he agreed.WALKABOUT ,written by James Vance Marshall,was a classic novel in Australia,read in schools,about 2 American Southern children who alone survive a plane crash and are thus alone in the vast dessert.Not so for Nic and Edward Bond,the playwright who with Nic had conjured up the film they had in mind.The screenplay was at 65 pages,an outline, merely a collection of terse dialogue and sort of a roadmap to what Nic had in mind.It was clear to me why no studio would finance it,especially after he had co-directed "Performance" which was not pleasing to most studio mentalities.At any rate after a lot of time with Nic trying his best to explain his vision I loved and was excited about the idea but untangling and negotiating the acquisition of the rights would go on on for about one year,during which time Stanley Kubrick(who had been given the novel by Terry Southern, at my request,about 5 years earlier),had finally read it and decided that he must direct CLOCKWORK and I was now organising Nic to go forward with WALKABOUT.

Our first disagreement came about in the casting of the little English boy.Nic had advocated the use of his son Nico and I was insistent that his younger son Luko play the role and that is finally the happy result.I was also insistent about John Barry providing the score.Another happy result.After watching several of her film performances and meeting with her we both agreed on Jenny Agutter.The Aborigine boy David Gulpilill was found by Nic ,on his recci to Australia. We all Knew that taking these children to the mountains,desserts and forests of Australia for a low budget film was a great resposibility and I have a vivid memory of David on the ground,shocked and stunned when the Toyota Jeeplike vehicle he was riding in overturned with Nic very concerned comforting him in the mumbo jumbo jargon they had learned to communicate.It was at one both touching and comical.Nic was the general of the army and the father of the family.Nic's then wife, the late Susan Stevens,the mother of 4 of nic's sons,who had starred in many films herself,was the family mother.On one flight in a small propeller flight over the bush to our location with Nic,Sue,Jenny , Luko and myself aboard we heard the pilot,his door open,shouting "we're not going to make it" just as we seemed to be descending into a forest only to pull up at the last moment .I couldn"t understand,momentarily frozen as I was,why all were calm ,with Nic then telling me calmly that Australian pilots must always be in contact with airport towers because the country has so much vast uninhabited areas that a downed plane can sometimes never be found and that the pilot was merely communicating that he would repeat the landing.He had apparently told all of his family earlier,but he forgot to tell me. I enjoy a memory(never to be repeated-,gourmand-oenophile,cook,that I am)of David offering me a gift of a Bat,he had caught,to eat describing it as "bush taka" and in view of the company happily wanting me to share his generosity.Feeling like someone in one of those old jungle or Cowboys and Indian old movies I was compelled to give David his desired pleasure and eat Bat. He was pleased.

When WALKKABOUT was invited to be the British entry at the Cannes Film Festival(we had firstwanted it to be the Australian entry but Australia,at that time seemingly did not want to advertise it's Aborigine population)we had a very difficult time getting David a visa to go,but we ultimately succeeded and it was riveting though perhaps incongruous,to see him in his tuxedo.He apparently thereafter,acted in some movies,produced a movie and married a French model and lived in Paris.The Australian Government attempt to hide the Aborigine has.as we know today,ultimately failed.They did not like the film's scene of the partially nude Aborigies around the burned out car.I has a hand in that scene.After principal photography was completed,back in London,a well known American record producer named Phil Ramone came to see me and gave me a paper bag with audio cassettes in it that he told me could be used in the film.I found 2 that i liked and 1 that I thought would be great in the film and that was why I suggested to Nic that we use Rod Stewart singing "Gasoline Alley" as it appears in the picture. My relationship with Nic on that picture was one of my favorite collaborations because Nic was willing to listen and try things suggested.In the editing room in Sidney I had the idea of the intercut of Jenny in the tree with David and the unclad Aborigine Women and even as Tony Gibbs,the brilliant editor and Nic seemed to humor me,Nic agreed we could try it and there it is and it is much discussed enjoyed.That is collaboration!!

Vivid memories include my total passionate support of Nics's desire to end the picture ,as it does ,with part of the great A.E.Hausman poem despite opposition from everywhere,including Max Raab who wanted the picture to end when the children found the road. At an early screening in London I asked 2 of the most sophisticated and cynical men I knew,who I invited to see the film,about the debate.Both George Axelrod,the playwright-screenwriter and the late Kenneth Tynan,critic and one time head of the National Theater were adamantly in agreement that the poem created a powerful.emotional moment and that we should never allow it's removal and we did not.Because of the violence in the father's scene and the sexuality and National Geogrphic type nudity we were hit by questions of ratings.We were less concerned with the ratings than,(as the fathers of 6 sons between us)with the effect on children who we wanted to see the picture.We had screenings for school children with their teachers and their parents and asked the children to write reviews and answer questions which responses were remarkable .Almost universally the response was what we had expected and hoped for.We had made the film with our own children in mind and it seemed that the parents and children had no problems with the harsh moments.Most children said that the Aborigine died of a broken heart.Most critics have much more analysis. Even with the approval and support of Parents Magazine and many others like it,when 20th Century Fox took over the distribution they had to win a ratings battle.Luckily we could provide the childrens letters,and much more. WALKABOUT opened in New York and London about 6 months before A CLOCKWORK ORANGE. Oddly enough WALKABOUT received far better reviews from the critics than CLOCKWORK even though CLOCKWORK had major supporters and was a blockbuster. Fox simply did not know how to market WALKABOUT and admitted it but would not listen to suggestions.Executives lived in fear of being fired for any innovation.It was a time when Darryl Zanuck was ousted,there was a threat of hostile takeover and we were caught in the middle.Fortunately it is still being bought,rented,televised and in many cases revered.No picture in my career makes me prouder. Now some more memories of A CLOCKWORK ORANGE --I read the Burgess novel,no easy matter

P.S.-I see now that David Gulpilil appears in my friend Philip Noyce's new film "Rabbit Proof Fence" and another new film ,the title of which is something like "The Searcher" or "The Tracker" and Luc Roeg is a top Personal Manager(having been a producer and an agent)for some high level film people. Now some more memories of A CLOCKWORK ORANGE --Probably in 1965 or early 1966,while I was ending practising law(and still producing plays)Terry Southern,who has been my client and dear friend for many years and who knew that I was starting to option books in hopes of beginning a movie producer career,suggested that I read an English novel titled "A Clockwork Orange" by Anthony Burgess.I had already optioned several books including "Henderson the Rain King" and "End of the Road" by John Barth, with the hope that Terry,who was a hot novelist("Candy") and screenwriter at that moment (Dr. Strangelove,The Cincinnati Kid,The Loved One, etc)could be proposed by me as screenwriter and thus get a studio to pay him to write the screenplay and we could co produce together.When I read the book(no easy matter) I was electrified with excitement. All of my work has been influenced by my love of music and my history of involvement with the music industry.This book read like music to me(and as I later found out,to some of The Beatles and to some of The Rolling Stones) The Nadsat language that Burgess created was musical to me. All of my work has always had a socially significant underpinning.This black humour book had that as well. I visualised a movie opening with a futuristic monolith of a building darkened except for one lit up apartment wherein a young man is playing with a snake and listening to Brahms or Shubert or better still,my favorite, The Chorale,"Ode to Joy",from Beethoven's Ninth Symphony.I was hooked and almost immediately started my quest to acquire the rights( and I also started reading other Burgess books which I would later option-but that's another story).Being able to tell Deborah Rogers who was the agent for Burgess,some of the higher profile clients I represented and some of the books I had optioned and being able to tell her that I wanted Terry to write the screenplay helped enormously.The fact that noone else was interested(despite all that is in print of people who say they sought the rights or held the rights) also helped and by March of 1966 I had the option.

The first option payment in 1966,for one year was $1000. Yes,I know that it has been printed that Burgess in interviews(Playboy,Rolling Stone,etc.),still in print,still taken as gospel, said he sold the rights for $500 and got only a few pennies more..I have the contract if you would like to print it. Bear in mind that that $1000.was only for the first year and Burgess was to receive, and did receive more $1000. payments as well as the full excercise price payment. Add those payments to his percentage of net profits,sales of the suddenly famous book as well as new interest in his other books and a new career as a screenwriter and celebrity and you will see how fraudelent his $500. sale price statement was...and is. By my count to date he has recieved and his estate continues to receive thousands. of dollars (well over $100,000)from the film,(not to say the least of what he receives from book royalties which were close to nil prior to the film). I also can include the monies he recieved from me for options on several of his other books and the payment he received for a screenplay of CLOCKWORK.And one can add the sums he suddenly received to write screenplays.In passing let me explode another myth which appears in a book about Stanley Kubrick by John Baxter ,which states that a British critic named Adrian Turner saw the Burgess screenplay and it was more than 300 pages long.More nonsense.The Burgess screenplay,which I have,is 89 pages long.There is much more that is incorrect in that book as well as in Lee Hill"s book "Grand Guy Terry Southern "which is loaded with inaccuracies(including that Terry dropped an option just as Kubrick agreed to do the picture-he had no option then as I had the only option from March 1966 on,that David Puttnam set it up at Paramount,which never happened,that Paramount put it in turnaround which never happened,that Max Raab co produced THE MAN WHO FELL TO EARTH which is not true etc etc.)and out and out falsehoods.Film history continues to be created by third parties who were not at the dance.The other night,for example,WALKABOUT was on TV on THE INDEPENDENT FILM CHANNEL.which I admire,but the information on screen stated that that screenplay was 14 pages long and that Nic Roeg never visited the locations-before filming.This is not only nonsense,but also insulting to Nic and the screenwriter,the emminent British playwright,Edward Bond.And so it goes. Noone has ever attempted to corroborate any facts with me.

After many failed attempts beginning in 1966 of trying to get financing fot the film with Mick Jagger to star ,Terryand I were at the opening party at the Plaza Hotel,for Antonioni's film BLOWUP and we talked to David Hemmings who was an instant hot new star who was going out to Hollywood to star in "Camelot" and he instantly agreed to star in CLOCKWORK.He knew the book and loved it. A few days later I flew out to LA to see if I could get his new heat to get financing. I went to the set of POINT BLANK which Chartoff,Winkler and Bernard were producing to see if the director John Boorman would be interested. I had seen a movie he had directed for a rock group and I was impressed that in my opinion he was able to make something out of nothing. Despite the fact that in my heart I really wanted Nic Roeg to direct and Mick Jagger to star I was not getting anywhere with the studios with that desire .Well,again I got a fast yes from Boorman who also knew and loved the book.It seemed as I would continue to learn ,the English were fans.

Next step was to get Hemmings and Boorman's agency, the William Morris Agency to know and understand the project (which was obviously not the usual kind of movie they would normally come accross )to help sell the package.Luckily the agent was Joe Wizan,who later on was a successfull producer and studio executive.Joe could read and had taste.But all of his attempts to get U.S.studio backing were unsuccessfull.

Thereafter there were many trips to London to try my efforts there with the Roeg-Jagger package.The problem was that the "censor"Lord Trevelyan would give the film an X rating which would preclude all of the huge number of Mick's teenage fans from buying theater tickets and hence investors were so wary of that economic loss that they would not finance it. I tried everywhere,Mick's agents tried,my agents tried and tried but no takers.This even with the promise of a music score by some Stones and some Beatles.

Back in LA ,with Ray Wagner we were co developing several projects with studios when he got a "go" on his own film "Loving" so my wife and I decided to sub lease out my then rented Malibu beachhouse and go back to our Bridgehampton,L.I. house for the summer. Soon thereafter I received a phone call from Brian Epstein,the manager of The Beatles saying that he knew of me from the play that I produced in which the Beatles company had invested and of the project which "the boys" had told him about and that he would like to meet with me on his next trip to New York with regard to his desire to co produce and finance CLOCKWORK.Well you can imagine my excitement at the potential of that partnership for me and for the film.Unfortunately it was not to be and before our meeting ever took place Brian was dead. But it was not too long thereafter that Max Raab called to say that he was prepared to finance the film as I originally dreamed,with Nic to direct and Mick to star.

Sometime in late 1969 and early 1970 when we were in preparation I started to receive visits from some L.A. based Warners executives always inquiring about CLOCKWORK and when our N.Y. lawyer Bob Montgomery said that a N.J. accountant had made a $100,000 offer for the rights for some anonymous person I intuited that it was Kubrick to whom Terry Southern had given the book many years earlier. He had not read it earlier ,apparently,because the copy Terry gave him was the US paperback with bikers pictured on the cover and which had a glossary of the Nadsat language and it was unappetising to him.Obviously someone had touted it to him all these years later. Only a few years ago I learned that he was secretly in touch with Terry with implied promises of Terry's draft of a Michael Cooper spec version being used while trying to get information from Terry.A few years ago Terry's son Nile gave me a copy of a letter that Stanley sent to Terry which illustrates his motives which were predominantly founded in economic greed and paranoia.It is clear in the letter he knew,even though I did not at that time ,until too late, that Terry had sold his share of potential producers profits (that I had voluntarily assigned to him as part of our original arrangement,)to Max Raab for $5000 and 10% of Max 's profits and what my Burgess deal was.When I refused the N.J. deal I knew that I would hear from someone other than him ,at first,someone to ferret out information in a deceptive manner.

I just continued to go forward preparing for production until John Calley,a much wiser.more straightforward intelligence who was a friend of mine and who was as close to Stanley Kubrick as anyone could be and who was running Warner Brothers telephoned me and became the intermediary for a deal to ultimately be made by us with Warners. Although it was not my original dream,it all turned well with Nic quickly able to go to his dream.,WALKABOUT. and Stanley Kubrick making CLOCKWORK a big box office hit.Oddly enough WALKABOUT opened in New York in the summer and CLOCKWORK at years end and WALKABOUT received much better reviews from the critics and only fair business and CLOCKWORK did huge business.

I have always thought that any of the directors I had asked to do the picture would do it successfully.The difference is that they thought it was dark and Kubrick did it in bright white light. The one aspect of the film that I do not admire,and in fact I think does not use the brilliance of the ironic black humour of the novel which got me hooked in the first place is the so called cat lady scene,In the novel(which by the way has one more chapterin the UK than the US edition and that chapter is hopeful).In the novel this boy who idolises Beethoven("the great Ludwig van B"") accidentally "kills the woman by striking her with her bust of Beethoven.Stanley Kubrick used a phallic piece of statuary and missed a large essence of the heart of the story.,in my opinion. I FEEL LIKE THIS IS TURNING INTO A BOOK-DO YOU NEED ANYTHING MORE??

MAN WHO FELL I was living in L.A.,having returned from years of living in London and had offices at Columbia Pictures in Burbank for a deal to develop a picture with Howard Zieff and also the novel "Out Of Africa"which I had optioned. The director was to be Nicolas Roeg with whom I had produced in a very happy collaboration, "WALKABOUT"and who was originally scheduled by me to direct "A CLOCKWORK ORANGE".We had also developed several other projects together and were very close friends.

On one occasion when Nic was in L.A. we were at the studio working and heard that there was a screening there that night of "EMANUELLE" which we wanted to see.My marriage had officially ended and I had a date with Candy Clark and Nic's was unofficially severing and I got him a date with a beautiful girl I knew.At the end of the evenng he asked if we could switch next time.And so began his long affair with Candy.On a visit to his room at the Beverly Hills Hotel where Columbia had put him up he asked if I would like to read a sceenplay by Paul Mayersberg(who I had commisioned several times in London to write screenplays (and most recently wrote"The Croupier")which Nic wanted to direct next.Candy who was there said she had agreed to be in it, I read it then and there and said I liked it's potential and Nic asked me if I would produce it. The screenplay was adapted from a novel by Walter Tevis who had also written the novel "The H ustler",which was made into a wonderfull picture. So despite that I thought to myself that the script was lean I knew that the"Walkabout "script was originally only 65 pages.and so I enthusiastically agreed.So Nic,Candy and I agred to go forward together.

I was in London,why I don''t remember ,when Maggie Abbott Page 2 a friend and an agent at ICM was campaigning for David Bowie to play the lead.Nic had been thinking about Peter OToole.I was very enthusiastic about David in the music world and I loved his record of "Space Oddity"(oddly enough the first draft screenplay ended with some of the lyrics of Elton John's "Rocket Man")but it wasn't until Maggie provided us with the documentary"Cracked Actor" that we were both excited about David and knew that he was the only person to play the part.So now we had to convince him.

Both of us went back to L.A. and I got Columbia to fly us to N.Y. to talk to Robert Redford about "Out of Africa''.Maggie arranged that we could meet with David at a house he was renting in the East 20's. .Maggie crashed at our hotel suite with us.

It was prearranged that Nic would go downtown to David and I would wait at Elaines restaurant for Redford's call(he was shooting) which had been pre arranged earlier and for Nic's call. Redford ultimately had too many committments lined up for years but back at Elaines again ,I think it was after midnight,when I got the call to go downtown somewhere in the 20s ,in the snow , to David's house. The door was opened by a lovely looking black girl with orange colored short hair wearing a "Clockwork Orange" sweater.She was named Ava Cherry, a fine singer and at that moment a good omen. Nic and David had had a lot of time together and he was in the picture if a deal could get done and he could deal with some legal problems he had.Maggie was ecstatic and so were we.She had worked tirelessly on his behalf. Nevertheless she would ultimately be replaced by Michael Lippman (and he by the late Robert Littman(who had become Nic's agent upon the departure from agenting of Peter Witt ,who appeared in the movie))Eventually a deal was done.

It was my intention that David compose the music soundtrack( not songs-but songs if appropriate ) Page 3 for the movie which David would perform on the world tour he had set up following the production.Of course this would be great promotion. The executives at Columbia who thought we were after Redford for this picture turned the project down,as did several others but the 2 new owners of the London company British Lion,Michael Deeley and Barry Spikings who had a great success with" The Deer Hunter",which they had produced for EMI were anxious to get British Lion into more visible world stage action and they agreed to finance the picture.I remember well the meeting at their London office clearly.Robert Littman,representing Nic, and I wanted to reject the deal based upon the minimum fee offered Nic but Nic was determined and a deal was done. It was agreed that it would be a Si Litvinoff-British Lion Production of a Nicolas Roeg film with Si Litvinoff ,Producer and Michael Deeley and Barry Spikings as Executive producers.

What resulted is an example of the modus operandi of Micheal Deeley,or as the crew called him "devious deeley" "wheely deeley" etc. And Bobby Littman's impersonation of Deeley's entrance into a room "hello he lied",tells the tale. I rented my friend Harry Joe"Cocoa" Brown's large house on n.Roxbury drive in Beverly Hills as an office and as a residence for Nic and other top personnel coming from London. It had been the home of Harry Joe Brown (Cocoa"s father)a very well known Hollywood director. Nic's picture "Don't Look Now"had been a huge hit in London and he was English and David of course was an English star and Mayersberg was English so I suggested that we try to make it an Eady Plan movie which means you get extra monies from UK box office receipts if you comply by having a major percentage of English personell. This would require an English crew in New PAGE 4 Mexico ,where Brian Eatwell who was our English production designer on "Walkabout"would repeat on this one ,had found our locations.Brian knew the area but mostly New Mexico had White Sands,a perfect location to represent space.

My suggestion was accepted despite the potential immigration and labor union problems of bringing in the English. A great idea that would come back to haunt me later. Additional casting was simple for me since Rip Torn and Terry Southern(I wanted Terry to do a promo piece for Esquire magazine and he wound up in the picture) had been my clients when I practised law in NYC years earlier,friends like Buck Henry,Linda Hutton(Donald Cammel's girl friend)Sabrina Guiness,(who originally was to come and look after my young sons who I had custody of for the summer and wound up in the picture),Peter Witt,who had been my client and friend and later Nic's agent, and my then girl friend Claudia Jennings(a movie star and Playboy cover girl )were all in my phone book and all accepted the minuscule fees of $15,000 tops .I did have to meet with Buck's agent,now a well known producer,Mace Neufeld. So, Tony Richmond who was also on the "Walkabout"journey would be the D.P.,May Routh, Brian Eatwell's wife ,was costume designer and Linda de Vetta ,the wife of Tony Richmond was to do the makeup.It was the "Walkabout" family. And to a great degree the Roxbury house was the family home.

A great help came along when my friend Howard Rubin (who had been the agent for Gerry o 'Hara the writer-director of a movie,"All the Right Noises" I had produced in London with Olivia Hussey) became the head of the New Mexico Film Commission and he helped us enormously even getting us free use of the warehouse where Brian created the spacecraft. Before we left for New Mexico I had t shirts printed with the title spread all over town and with Bowie as star the exposure buzz was Page 5 great. RCA Records would do the Bowie soundtrack for $250,ooo which covered David's fee. Somehow British Lions man Jon Peverall got the English crew into theUSA through Chicago and that obstacle was cleared.The UK crew worked hard despite not being used to the New Mexico weather when the heat was stifling.

When it was stifling I (personally)paid for an open bar after shooting which made the crew feel much better until Michael Deeley arrived in New Mexico several weeks later and demanded a halt. It was at that time that the atmosphere changed.After shooting David,his manager ,Coco,his son Zowie and his entourage were in one place,Nic and Candy were together,Deeley,his wife Spikings,Kip Gowans,the first A.D.And his beautiful wife,the late star Lee Remick , hung together and since my girl friend Claudia Jennings only - came up on weekends I hung out with our many visitors like our pr man Steve Jaffe(now married to Susan Blakeley),the phtographers Catherine Millinaire ,Steve Shapiro and Terry Duffy,Bob Rafelson.Jenny Agutter,Marjoe Gortner etc.,as well as Terry and Rip. And when possible mostly with David.Since I had my 2 young sons with me all that summer and tho I had a nanny for them I spent much time with them as well. Claudia jennings was a many time Playboy cover girl.Playmate of the year ,etc.who also was a stylist and also had starred very well in several movies with her clothes on.In this part of the world she was immediately recognised and drew more attention than David.In the movie she plays the uncredited white wife of Bernie Casey.Oddly enough David knew her before I did since she was a friend of the aforementioned Ava Cherry who David had been with in NYand LA, before the shoot. David,worked like a pro and despite staying up late composing the music we had hoped would be the soundtrack ,was on time with his lines ready. Page 6

When Rip Torn arrived to do his first scene with David in the spacecraft it became immediately clear to me that Rip was wound up like a caged animal and that David was not only tense but also exhausted from staying up all night creating the soundtrack. I quickly got Tequila for Rip and I ground up No Doze for David to snort.He had kept his promise to do no cocaine on the shoot but snorting worked better for him than pills.The scene ultimately was shot despite the fact that Deeley had a tirade believing the powder was cocaine. Slowly the money men were excercising their money based power and my great regret is that I powerlessly watched the pictures control at the end pass from me.It became not the real collaboration all the way, we had in "Walkabout'. By the time I love best,(after the development,)the editing stage, the minds of Nic with Deeley (and Spikings)in charge would replace me in London. They had promised Nic that noone would recut his cut but when Deeley, as my lawyer described it less politely ,tried to outsmart Paramount in dealings they pulled out as distributor and the rights were sold to an exhibitor ,not a distributor who had the picture recut.

To make matters worse Deeley ,as my lawyer politely described it,also tried to outsmart David re the music and David turned him down and the great music he wrote,so perfect for the picture couldn't be used and the soundtrack is a meaningless last minute replacement for what is superb.The soundtrack became David's album "Low".On the album cover David is wearing his anorak from the film. The photo is by Steve Shapiro ,from the film. When David played the Forum,in LA, on the tour he played the music.It was special.And that night he had a party at Ma Maison and David provided limos for us.I recall Nic,Alan Bates,Bette Midler,Jackie Bisset,Tom Waits,Mark Rydell there,to name a few of the guests. Page 7

The haunting thing which should probably be listed with my mistakes is that when we set up the film for Eady plan I had to take my rights through Nic's UK company since mine was closed down,consequently I cannot sue since I do not have what the court calls privity of contract.As far as I know other than what Nic gets from the European directors organisation no profit participations or statements have ever been sent to David,Candy or me and we thought the numbers of presales we saw showed us in profit before we started. Nic,Candy,Brian,Tony,May,Buck,Rip are still my friends.Claudia.Terry and Peter are gone .I have not been in touch with David the last few years but I would like to very much see him again..I remember his visits to me way out to the end of Malibu not to be on the beach but to talk and listen to music.I cherish the lithographs he did and gifted me with. Like Thomas Newton he is extraordinary, and gave an extraordinary performance in a great,original film that I think,despite all, will stand the test of time.