LEE MARVIN BIOPIC: BACKGROUND & POSSIBILITIES

A Lee Marvin biopic would seem like a natural following the surprise success (except to me, of course) of the publication of Lee Marvin Point Blank in 2013.  Why? Well, one would just naturally assume that any non-fiction title that made the NY Times, Publisher’s Weekly and Wall Street Journal’s best seller list in the top five would have studios and executive producers just scrambling for the rights. Sadly, that has not been the case (yet) but it can be rectified with a little background info.
I have written about the possibility previously on this blog, as readers may have noticed. I’ve brought up the subject based on lead actors, young and old, possible directors, even casting ideas for supporting characters.

Schaffner Press decided to include the sunburst image and green banner highlight for Lee Marvin Point Blank’s paperback release in 2014.

Why have I written about it? A couple of reasons. First and foremost, the market for biopics has gained enormous interest lately, as detailed earlier this year in Market Watch.
Secondly, I would be less than an honest if I said the idea of a Lee Marvin biopic based on my book had not crossed my mind while I was working on it. It took me nearly 20 years to get a publisher interested in my book and the idea of a biopic existed even then.
My agent, Mike Hamilburg and I were constantly being told that the proposal is well-written but that there wasn’t a market for a Lee Marvin bio. Then Tim Schaffner of Schaffner Press agreed to publish it on almost a whim in 2013. It won several awards when it came out and, as previously mentioned, in June of 2014, the e-book made the NY Times bestseller list at #4. Wall Street Journal and Publisher’s Weekly, too! So much for there not being any interest in the project.
Okay, all that said, it was my agent, Mike, Hamilburg, who first suggested I write a film treatment based on the book.

I did just that, submitted it to him and was told that he would then shop it around as he thought it was one of the best he had ever come across. This, coming from the guy who helped put together the film American Hustle (!) Unfortunately, Mike fell into a coma around the holidays and died New Year’s Day, 2016. The project has been in free fall ever since, with no agent and no way to contact anyone to pitch it to for a possible option, which is a VERY frustrating situation.

One of the rare times Lee Marvin himself played a real-life character on film was RCMP’s Edgar Millen in DEATH HUNT.

Lee Marvin as Edgar Millen in DEATH HUNT.

I feel without a doubt Marvin’s PTSD and how he dealt with it is a major selling point. The time period it encompasses is also a popular aspect. I like to think of it as sort of The Hurt Locker meets “Mad Men.”
A good example of success in this area is FX Channel’s show about Bette Davis & Joan Crawford called “Feud” which was extremely popular and dealt with the same time period as the bulk of my Marvin bio. It too, was based on a popular book (by Shaun Considine that came out in 1989). I hope I won’t have to wait that long for an option but you get the point I’m making:
There is an audience for a great biopic just waiting to be seen and I own the copyright and the registration with the Writer’s Guild.
So, with that in mind, I unabashedly state that if anybody reading this has possible industry connections and likes the idea of a Lee Marvin biopic, do not hesitate to contact me here and we can definitely work out a deal. Seriously. Let me know and we can get the ball rolling. Until then, here’s hoping some clear thinking investor/producer/entrepreneur reads this and does indeed make contact. Fingers crossed.

Title page with logline, tagline, copyright & WGA registration for the film treatment FROM HELL TO HOLLYWOOD based on LEE MARVIN POINT BLANK.

-Dwayne Epstein

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MASSIVE LEE MARVIN PHOTO SALE OF OVER 100 ORIG. IMAGES!

MASSIVE LEE MARVIN PHOTO SALE! Please be sure to scroll to the bottom to see ALL images and information required for purchase.
Readers of Lee Marvin Point Blank are well aware of the great photos found within its pages, so now here’s a photo sale to own ALL of my own original 8×10 film-related images for yourself! I have made every attempt to upload as many images as possible, but several dozen are still not able to be shown due to length and size of the blog entry. If a specific image is requested let me know and I’ll do what I can to send it privately.
What this is: All the images listed below are being sold in bulk. It is being sold solely on this website and not via Ebay or other venues for a variety of reasons. All images are ORIGINAL 8x10s put out to promote a given project for film or TV promotion and are in condition from mint to very good. An amazing feat considering most of these photos are several decades old! Descriptions in blue are links to previous blog entries in which the image has been posted with greater clarity. To viewer larger versions of each image simply click on the  image.
How this works: Any and all interested parties need merely reply to this blog entry at the bottom of the page. PAYPAL is the preferred method of payment but may accept check, money order, or Western Union all with seller’s approval. The reply will NOT be seen publicly as I am the only one who can approve the reply and I will keep all messages private and will also respond in private. Any and all questions, offers or comments will be responded to privately. All serious offers will gladly be considered but keep in mind I have set a necessary reserve price that I won’t be making public.
So, feel free to peruse the images below and make me an offer if interested. I’ll respond in kind. Thanks for looking and greatly look forward to doing business with you. Enjoy!
FREE PRIORITY SHIPPING!
FILMS: U.S.S. TEAKETTLE (film debut): 3
HANGMAN’S KNOT (1952): 2
GUN FURY (1953): 1
THE BIG HEAT (1953): 1
SHACK OUT ON 101 (1955): 4
ATTACK! (1956): 1
SEVEN MEN FROM NOW (1956): 1
RAINTREE COUNTY (1957): 1
THE COMANCHEROS (1961) : 1
DONAVAN’S REEF P.R (1963): 1
SGT. RYKER (1963): 2
THE KILLERS (1964): 3
SHIP OF FOOLS(1965): 3
CAT BALLOU (1965): 1
THE PROFESSIONALS (1966): 5
POINT BLANK (1967): 4
MONTE WALSH (1970): 1
POCKET MONEY(1972): 4
PRIME CUT (1972): 1
EMPEROR OF THE NORTH (1973): 1
SPIKES/ICEMAN(1974-73): 1
SPIKES GANG: (1974) 1
SHOUT AT THE DEVIL(1976): 2
GREAT SCOUT & CATHOUSE THURSDAY (1976): 2
AVALANCHE EXPRESS (1979): 10
BIG RED ONE (1980): 2
DEATH HUNT (1981): 5
GORKY PARK (1983): 2
DIRTY DOZEN:THE NEXT MISSION (1985) 6
DELTA FORCE(1986): 1
MISC: PING PONG W/ PAUL FIX & JOHN DEHNER (1960, APPROX): 1
MARINE AWARD (1963): 2
W/ MEYER MISHKIN @ LONDON PREMIERE (1969): 1
PARAMOUNT PROMO (1969): 1
1971 PR PIC: 1
CONTACT SHEETS: U.S.S. TEAKETTLE: 1 (separated)
MICHELE TRIOLA (Approx. 1960): 2
MONTE WALSH: 1
NEWSPAPER PALIMONY PIX: The newspaper I used to work for had a morgue file on the palimony suit with a bunch of pix of Lee and his wife Pam during the trial that the paper let me have for good. They are of varying sizes and include captions. I’d say about 3 dozen in all mostly in sepia tone (but not all) on velox paper as camera-ready images.
FRAGMENTED IMAGES: From newspapers, mostly the 70s & 80s numbering about 2 dozen with captions.

Four studio 8×10 portraits of Lee Marvin from the 60s and 70s.

Extremely rare separated contact sheet of Lee Marvin with Gary Cooper on the set of Marvin’s first film, U.S.S. TEAKETTLE (aka YOU’RE IN THE NAVY NOW). Images can be blown up larger and framed, of course.

Two extremely rare onset photos from Lee Marvin’s first film, U.S.S. TEAKETTLE (aka YOU’RE IN THE NAVY NOW). Top photo, Marvin is on the far right with headphones around his neck. Bottom photo Marvin is running second from left. Also pictured is Millard Mitchell, Jack Warden and Harvey Lembeck.

Photo set from SHACK OUT ON 101 with Terry Moore, Kennan Wynn, Whit Bissel & Jess Barker.

Photo set from SHIP OF FOOLS with Vivien Leigh.

Photo set from THE PROFESSIONALS with Woody Strode, Robert Ryan & Burt Lancaster.

Photo set from POINT BLANK with Angie Dickinson, Carroll O’Connor & Sharon Acker.

Photo set from SHOUT AT THE DEVIL with Pam Marvin.

2 Photo set from THE GREAT SCOUT & CATHOUSE THURSDAY with Elizabeth Ashley & Kay Lenz.

Photo set from AVALANCHE EXPRESS with Robert Shaw, Linda Evans, Mike Connors, Joe Namath, Maximilian Schell & Horst Bucholtz.

Photo set from GORKY PARK with William Hurt and Ian Bannen.

Photo set from THE DIRTY DOZEN: THE NEXT MISSION with Ernest Borgnine, Richard Jaeckel, Larry Wilcox, Ken Wahl, Sonny Landham, Jeff Harding, Michael Paliotti, Jay Benedict, Sam Douglas, Gavan O’Herlihy, Rolf Saxon, Ricco Ross & Stephen Hattersley.

Some but not all of the Velox images used by newspapers during the 1979 “palimony” suit that made headlines for months.

Two separate contact sheets of Michele Triola’s semi-nude modeling days before she met Lee Marvin. Probably the late 50s or early 60s. Images can be blown up larger and framed, of course.

A contact sheet of photos taken on the set of MONTE WALSH of Lee Marvin and Jeanne Moreau, as well as separate images of Ina Balin from THE COMANCHEROS on the same sheet. Images can blown up larger and framed, of course.

Smaller newspaper images from his various films kept on file for the celebrity columns in the 60s-80s. Each measure approx, 3×5, very much like a wallet size photo. Some have captions as shown above.

 

 

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TCM’S “SUMMER UNDER THE STARS” SUBJECT: ANGIE DICKINSON ON LEE MARVIN

Of all the actors Lee Marvin worked with, he worked with one woman more than any other: Angie Dickinson. They first worked together on the TV show “M Squad” and then in The Killers (1964), Point Blank (1967), Death Hunt (1981) and several Bob Hope comedy specials. Their mutual chemistry on screen was palpable but circumstances and timing on each of their projects kept them from doing anything about it offscreen. However, on more than one occassion, it came frustratingly close, as documented in Lee Marvin Point Blank.
Dickinson was one of the few truly important subjects I sought to interview for my book but in spite of her many public appearances, she is an intensely private person. At one point, she and I had both been interviewed for the A & E Biography of Lee and it was then that she finally relented. The show’s producer offered some foreshadowing when I was told Angie really had not said much that the show found useable.
She finally agreed to sit down with me in her southern California home. Polite, courteous and wonderfully acommodating, she nonetheless proved understandably reticent when it came to opening up about her frequent costar. Amazingly, she came up with a great idea. She left the room briefly and returned with the poster from The Killers and said, “Maybe this will jog my memory.” It did the trick. Memories came flooding forth and the day flew by as she remembered all the anecdotes of Lee that eventually went in the book. Most of what she had to say about Lee and her observations and experiences were quite impressive. Some of the few comments that did not make it in the book, follows the pictures from their three films together:

The original ad for THE KILLERS.

The original ad for THE KILLERS.

In POINT BLANK, Angie Dickinson actually drew blood from Lee Marvin, who of course, never said a word about it.

In POINT BLANK, Angie Dickinson actually drew blood from Lee Marvin, who of course, never said a word about it.

Their final film together, Angie Dickinson found Lee Marvin to be much more curmudgeinly during the making of DEATH HUNT.

In their final film together, Angie Dickinson found Lee Marvin to be much more curmudgeonly during the making of DEATH HUNT.

“Lee was the personification of a man.. Ohhh!….He was more than good. You wanted to be good with him. You wanted to be good for him. …Sometimes, as an actor, a certain thing is expected of you, period. But there’s another time, there’s just something more you want to be. He did have a sadness about him. Sad, sad, sad. When people are sad, you want to make them not sad. For me at least, it just made me want to be better. I never analyzed it beyond that. It was just a natural instinct. Of course, the professional side of you, you want to look good in the presence of greatness…. With all of his courage and toughness, he was so shy. That sounds like a dichotomy but it’s not. You can be firm in what you believe in and be shy in how you go about it. He was certainly basically a shy man. He was shy about himself and strong and tough about his principles and therefore his acting.”

 

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