This article uses primary sources to evaluate how Harold Pinter’s screenwriting for the film The Quiller Memorandum (1966) operated in the business context of film production in Britain. In the mid-1960s, British cinema both claimed forms of national distinctiveness and also sought internationalization by drawing on financial and creative resources from both continental Europe and the USA. The Pinter ‘brand’, choices of cast and production personnel, and links with the ascendant spy genre of the period are argued to be aspects of a business risk reduction strategy, mitigating against such risks as working on location in Berlin and expectations set from a distance by US investors, leading to the constant requirement for budgetary management during production. These forces can be regarded as interactions between the film production company as an entrepreneurial organization, the contingent role of brands as repositories of value, and the relatively stable structures of corporate investment by large firms like Rank in the UK and National General Productions in the USA. The article draws on materials in the British Library’s Pinter Archive and the Film Finances Archive.

中文翻译：

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品特、1960 年代英国电影中的作者和企业家精神：奎勒备忘录的经济学

本文使用第一手资料来评估 Harold Pinter 的电影 The Quiller Memorandum (1966) 的编剧如何在英国电影制作的商业环境中运作。在 1960 年代中期，英国电影既声称具有民族特色的形式，又通过利用来自欧洲大陆和美国的财政和创意资源来寻求国际化。品特的“品牌”、演员和制作人员的选择以及与这一时期崛起的间谍类型的联系被认为是降低商业风险战略的一个方面，减轻了诸如在柏林工作的风险和来自美国投资者的距离，导致生产过程中对预算管理的不断要求。这些力量可以看作是电影制作公司作为创业组织、品牌作为价值储存库的偶然作用以及英国Rank和美国National General Productions等大公司相对稳定的企业投资结构之间的相互作用。 . 这篇文章借鉴了大英图书馆品特档案馆和电影财务档案馆中的资料。