Picture the scene. It is 1973 and
Laurence Olivier, then widely regarded as the greatest actor in the
English speaking world, has just finished recording the introduction to
the first of 26 episodes of The World At War, which I am producing.
It’s
been a long day, and Olivier, tired and somewhat unwell, clearly
regards his work as done. He pushes back his chair, slides his red
braces back on to his shoulders and wearily gets to his feet.
The first recording sessions of the narration had been tricky, even tense. Olivier was exhausted by his recent theatre work.
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