Payday Loans
Donald Sutherland

  1. David Tomlinson, Mary Poppins, 1963.       Richard Harris, James Mason, George Sanders  and Terry-Thomas were also  in the mix for Mr Banks in Walt Disney’s supercalifragilisticexpialidocious  version of PL Travers’ books -  an eight-Oscar triumph for Uncle Walt! This would have  been a major boost for a career barely begun. “I was always cast as an artistic homicidal maniac. But at least, I was artistic!”... spluttering through TV sketches with Terry-Thomas and Fortinbras in a tele Hamlet shot in the castle of Elsinore, itself.
  2. John Alderson,  Doctor Who #25: The Gunfighters, TV, 1966.     The first choice proved unavailable for Wyatt Earp when Doc1 William Hartnell was in Tombstone, Arizona, circa 1891.  Sutherlan's sub was a true Brit (from County Durham) who had made many a TV and movie Western in Hollywood. 
  3. Rod Taylor, Zabriskie Point, 1970.        Italian style... Director Michelangelo Antonioni rejected him but two other Rome maestros, Bernardo Bertolucci and Federico Fellini, fell heavily for Sutherlan dsix years later… for Casanova.
  4. Dustin Hoffman, Straw Dogs, 1971.        Just 18 months earlier and he would have been chosen as one of Peter Vaughan’s bovver yokels not the timorous hero. Sutherland passed for “ideological reasons” (violence)and to make Paul Mazursky’s Alex In Wonderland. “And I was sooooo wrong.”
  5. Jon Voight, Deliverance, 1972.        “John Boorman [the UK director] came and virtually lived with me for two weeks and tried to persuade me to play the role. James Dickey [the author] was on the phone every day. But I didn’t want to do it because it was... violent!”  A bum move, he later agreed
  6. Burt Lancaster, Executive Action, 1973.       The first film to question the Warren Commission's report into the JFK assassination was Sutherland’s baby. As producer and star. He ordered a scenario from Mark Lane and Donald Free, authors of Rush To Judgment and Secret Honour, but could not raise a budget. Dalton Trumbo’s final script absolved the CIA - totally contrary to Sutherland’s take
  7. Robert Stephens, La nuit tous les chattes sont gris, France, 1977.    During their longstint on Bertolucci's 1900, Sutherland agreed to co-star in the debut of French superstar Gérard Depardieu's MAB Films - but final dates clashed.
  8. Nicol Williamson, Excalibur, 1981.        “He’s got his manic quality, this dangerous humour,”said UK director John Boorman. “So, he was a possibility for Merlin. He would’ve loved it but he was making Ordinary People. He’s the only actorI talked to it despite the rumours about Sean Connery, Lee Marvin and Max von Sydow.I didn’t know Nicol... We talked for anhour.He has a slightly eerie quality. Rather like Merlin, you feel he’s not quite human.”
  9. David Naughton, An American Werewolf In London, 1981.     Momentarily committed to John Landis’ would-be Hollywood debut, as he shopped around studios with Shlock under his arm. Talk about a sign of things to come...
  10. Sean Connery, Der Name der Rose/The Name of the Rose, France-Italy-West Germany, 1986.       Réalisateur Jean-Jacques Annaud was not keen on 007 as Umberto Eco’s medieval monk turned detective.  Columbia Pictures even refused financing if Connery was involved as his post-Bond star was imploding. Naturally, Brando topped Annaud’s further 14 ideas. Six Americans: Marlon Brando, Robert De Niro, Frederic Forrest, Paul Newman, Jack Nicholson, Roy Scheider; four Brits: Michael Caine, Albert Finney, Ian McKellen, Terence Stamp; plus the Canadian Sutherland, French Yves Montand, Irish Richard Harris, Italian Vittorio Gassman and Swedish Max von Sydow. Connery’s reading was the best and his career exploded anew. Two years later, he won his support Oscar for The Untouchables.

  11. Derek Jacobi, Dead Again, 1990.     Sutherland and Maximilian Schell were early selections for the stuttering antiques dealer-cum-hypnotist Franklyn Madson. (Talk about giving the game away). Jacobi, of course, was was the definitive stutterer – as the Roman emperor in I, Claudius, TV, 1976. He used to be Kenneth Branagh’s mentor, acting teacher and director of his stage Hamlet, and this is the second of his five Branagh films.
  12. Burt Reynolds, Striptease, 1996.      Eager for a comeback via hot cameos, Burt Reynolds agreed to audition for the sleazy senator.“I knew I had to do something a little drastic. So I took my hair off and sent it sailing across the room.”Like Connery in Wrong Is Right (aka The Man With The Deadly Lens), 1982.     The difference being that Sean did it in the film.
  13. Ian Holm, The Sweet Hereafter, 1997.        Booked  for the lawyer Mitchell Stephens, Sutherland had to leave the flawless fiilm. Holm was the literal eleventh hour (closer to midnight!) subsititute. Chicago critic Roger Ebert highly praised this “unflinching lament for the human condition.”

 

 

 





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