Your sophistication seeped into many facets, some of immense, period-place style and others possessing a pulp-ish/hard-boiled core.
Quality examples of the aforementioned can be found in Shoot on Sight; Citizen Smith; Coronation Street; Woman in Gold; Only When I Laugh; Doctors; Spooks; Dragon Quest: The Cursed King; The Cleopatras; Sixty Six; Rumpole of the Bailey; The New Avengers; Puppeteer; The Great Riviera Bank Robbery; The Upside of Anger; Red Eagle; Treasure Island '77; Space Race; The Last Days of Pompeii '84; Risen; Eichmann; Killer Net; Doctor Who; The Professionals; The Persuaders!; Fakers; Elliott from Earth; The House of Eliott; Soft Bed, Hard Battles; Face to Face; The Dreaming; D is for Detroit; Pretorius; Gerry; Nicholas and Alexandra; Silent Witness; The Crown; Thriller '73; Roald Dahl's Tales of the Unexpected; Zorro: The Series '90; and Casanova '05.
Ah, but to space-opera buffs, you gained a regal spot among Blake's 7 fans (during that breakthrough, first-series run) as the icy Federation Commander Travis, who stayed in unflinching pursuit of the ever eschewing starship, Liberator.
That you wove in and out of so many impressive productions for so many years made you one of the hardest working in the field. That you're now gone, Mr. Greif, is heartbreaking, but through the marvelous material you've left behind, you'll continue to inspire, influence and of course, delight with all the erudite charm you invested into each of your creme-de-la-creme achievements.
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