Aaron Sorkin, the talented writer of multiple mediums, was the recent subject of an ongoing project dedicated to creative inspirations. The entertainment news website Deadline Hollywood started an interesting series of video interviews entitled “The Film That Lit My Fuse,” with such previous subjects as Russell Crowe, Edward James Olmos and Oliver Stone. I like the concept as well as many of the responses I’ve seen. However, the recent one with Aaron Sorkin bears special mention here.
Why the special mention? Readers of Lee Marvin Point Blank are aware of several of the bibliographies I constructed in the back of the book and one of the ones that I was most proud of was “Films Lee Marvin Could Have Made” in which I speculate on roles he would have played had he lived. Since Aaron Sorkin had his breakout success with the stage and film version of A Few Good Men (1992), I could not help but speculate what Marvin would have been like in the role of Marine Col. Nathan R. Jessup.

Lee Marvin n THE DIRTY DOZEN, or how he might have looked in A FEW GOOD MEN.

Jack Nicholson as Col. Nathan R. Jessup in director Rob Reiner’s film version Aaron Sorkin’s AFEW GOOD MEN.

Don’t get me wrong. I think Nicholson was superb in the role. I just think it would have been interesting to see what Marvin would have done with it. When I saw it in the theater when it first came out, I remember thinking that I could easily hear Marvin bark that famous line: “YOU CAN’T HANDLE THE TRUTH!”
In the video, which I’ve linked below, Sorkin’s response to the questions and his anecdotal remembrances are fascinating. Like him, I enjoy a good courtroom drama and also consider the T.V. show “M*A*S*H” to be the best of the best. I also consider William Goldman one of the all-time greats and was pleasantly surprised to discover he was a coach and mentor to Sorkin.
One minor quibble, though. He’s incorrect when he says 12 Angry Men (1957) has only one set consisting of the jury room throughout the film. The film opens in the courtroom with the jury receiving their instructions from the judge and closes with an exterior shot of the courthouse with two jurors exchanging good byes. Minor quibble, I grant you but worth mentioning.
Oh, and speaking of courtroom dramas, Lee Marvin was no stranger to the genre, having taken the witness stand in The Caine Mutiny (1954), The Rack (1956) and as the title subject seen below……

Lee Marvin as Korean War era defendant Paul Ryker in SGT. RYKER.

  • Dwayne Epstein.


The Film That Lit My Fuse: ‘The Trial Of The Chicago 7’ Writer-Director Aaron Sorkin

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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!
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
DONAVAN’S REEF P.R (1963): 1
SGT. RYKER (1963): 2
THE KILLERS (1964): 3
SHIP OF FOOLS(1965): 3
CAT BALLOU (1965): 1
POINT BLANK (1967): 4
MONTE WALSH (1970): 1
PRIME CUT (1972): 1
SPIKES/ICEMAN(1974-73): 1
SPIKES GANG: (1974) 1
BIG RED ONE (1980): 2
DEATH HUNT (1981): 5
GORKY PARK (1983): 2
DELTA FORCE(1986): 1
MARINE AWARD (1963): 2
1971 PR PIC: 1
MICHELE TRIOLA (Approx. 1960): 2
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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Buzz Kulik, the underrated director of classic TV-movies (Brian’s Song, ’71), mini-series (From Here to Eternity, ’79), and more than a few neglected theatrical films (Riot, ’69, Villa Rides, ’68, Warning Shot, ’67)  agreed to be interviewed by yours truly for Lee Marvin: Point Blank back in 1994. He had worked with Marvin during the golden age of live television but my interest was in the televison production, Sgt. Ryker. Aired originally in two-parts in 1963, it was lated edited together to capitlize on Marvin’s fame and shown successfully in theatres in 1968.
Sadly, Kulik passed away on January 13, 1999, making the never-before-seen comments below a lasting tribute to his memory. Feel free to check them out and comment, and when you have time, check out some the above mentioned productions. You won’t be disappointed….

Buzz Kulik (left) directs Jim Brown on the set of 1969's Riot.

Buzz Kulik (left) directs Jim Brown on the set of 1969’s Riot.

Dwayne: Well, what I really wanted to talk about is Sgt. Ryker. Was that made for TV and then released theatrically, or was it the other way around?
Buzz: That was made for television. It was the first two hour movie made for television and was shown on separate nights. It got a good response so Universal decided to release it overseas and it did very well. I haven’t seen it in years.
D: It’s available on video. I think it’s public domain, so it’s fairly inexpensive. What I wanted to know about was the storyline. Was that something you planned to be ambiguous?
B: That was something we, everybody involved, talked about. Lee and I talked about it and worked it out.
D: In your opinion, was he guilty?

Theatrically released poster art for Sgt. Ryker.

Theatrically released poster art for Sgt. Ryker.

B: [Laughs] Oh no, no. You’re not going to get me to say.
D: He had a line, “I made one mistake, boys. I came back!” Was that his way of saying he was guilty or innocent?
B: I think that was the character’s way of saying, “Look, I’m struggling for my life, here. You’re not going to pin this on me.” That’s how Lee played it. He played the character.
D: Did you work with him in anything else?
B: We did two or three things together. He was a terrific personality. A real ballsy kind of guy. Had a great humor about him. He was a Marine, through and through. I got along great with him. He was a good friend.
D: Do you remember when you last saw him?
B: When did he die?
D: 1987.
B: I guess it was a year or two before he died. He had stopped drinking. It was at a social function. He was there with his last wife, Pam. We chatted. I guess that was it.
D: What, in your opinion, would Lee Marvin bring to a part? How would he approach a role?
B: Well, he wasn’t one of those kind of guys who was into method acting. He didn’t dig deep into his inner soul. He was very instinctive. When I saw Cat Ballou, I thought he was wonderful. All instinct. He wouldn’t ask what his motivation was. It was all instinct with him and he had very good instincts.
D: How did he use those instincts for Sgt. Ryker?
B: The story was very well-written within the framework of what we had to work with. For him, it was a straightforward proposition. He took what he had learned in the military.
D: What do you remember most about him?
B: He had great humor and energy. What I remember most is his energy. He was always moving. I never saw him in repose.
D: How did he get along with the rest of the cast?
B: Vera Miles and he got along great. He got along great with everybody. Guys loved him because he was a guy. The crew loved him.
D: What do you think his success was attributed to?
B: He had a wonderful presence that came from the energy he generated. Some actors go through all kinds of machinations for a role. Lee would have none of it. He just worked through his incredible energy. I think that’s why he drank, work off some of that energy. My experience was that I was prepared for it. It happened that I had heard it happened to other directors. It didn’t take much because he really couldn’t hold his liquor that much.

Snippets for the media from the Sgt. Ryker pressbook

Snippets for the media from the Sgt. Ryker pressbook

He didn’t drink on the set. Not while we were working. But if there was a break, he just had so much tightly wound energy, he needed to have something happen. We shot that in 20 days, which is about a month. …. When it came to his drinking, it didn’t take much to put him over the hill. [END]

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