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The Quiller Memorandum (1966) Poster

Trivia

George Segal was the first actor to play the character Quiller in film and TV and is the only one to ever play him on the big screen. Michael Jayston is the second and last actor to play Quiller, having played him in the TV series Quiller (1975).
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A television series Quiller (1975) starring the Quiller character was made nine years after this movie.
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This espionage film's score was composed by John Barry who became notable for the early James Bond spy film soundtracks. Barry composed the score for this film between the Bond movies Thunderball (1965) and You Only Live Twice (1967).
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One of a number of spy films that actress Senta Berger appeared in during the mid-1960s and the same release year of 1966. The other films were Bang! Bang! You're Dead! (1966), Danger Grows Wild (1966) and The Ambushers (1967).
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Alec Guinness appeared in this espionage movie thirteen years before he would play John le Carré's famous spy character George Smiley in Tinker Tailor Soldier Spy (1979).
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In adapting Adam Hall / Trevor Dudley Smith's novel "The Berlin Memorandum", Harold Pinter largely altered the emphasis of the book to be less of a spy thriller and more of a meditation on the human condition and the duplicitous nature of identity.
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The source novel "The Berlin Memorandum" is billed in the credits as being by Adam Hall. This is a pseudonym for author Trevor Dudley Smith.
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The theme music played throughout the film was recorded by Matt Monro as "Wednesday's Child". The song is playing on the radio in the reception of Quiller's hotel and appears on several of Monro's albums.
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The name of the agency that Quiller worked for was MI6.
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The film received three BAFTA nominations: Best British Screenplay, Best British Art Direction (Colour) and Best British Film Editing but failed to win any.
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Average Shot Length = ~7.4 seconds. Median Shot Length = ~7.6.
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This movie was made and released only about a year after the film's source novel 'The Berlin Memorandum' by Trevor Dudley Smith (as Adam Hall) was first published in 1965.
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Back-to-back consecutive espionage movie for director Michael Anderson whose previous film had been Operation Crossbow (1965).
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