rifles that were either the Spanish CETME or the Heckler & Koch G3 (based on the CETME). Awards and nominations Emmy Awards 1965: Outstanding Individual Achievements in Entertainment – Actors and Performers (nominated) – David McCallum 1965: Outstanding Program Achievements in Entertainment (nominated) – Sam Rolfe 1966: Outstanding Continued Performance by an Actor in a Leading Role in a Dramatic Series (nominated) – David McCallum 1966: Outstanding Dramatic Series (nominated) – Norman Felton 1966: Outstanding Performance by an Actor in a Supporting Role in a Drama (nominated) – Leo G. Carroll 1966: Individual Achievements in Music – Composition (nominated) – Jerry Goldsmith 1966: Outstanding Achievements in Film Editing (nominated) - Henry Berman, Joseph Dervin, William Gulick 1967: Outstanding Performance by an Actor in a Supporting Role in a Drama (nominated) – Leo G. Carroll Golden Globe Awards 1965: Best TV Star – Male (nominated) – Robert Vaughn 1966: Best TV Star – Male (nominated) – Robert Vaughn 1966: Best TV Star – Male (nominated) – David McCallum 1966: Best TV Show (won) 1967: Best TV Show (nominated) Grammy Awards 1966: Best Original Score Written for a Motion Picture or Television Show (nominated) – Lalo Schifrin, Morton Stevens, Walter Scharf, Jerry Goldsmith Logie Awards 1966: Best Overseas Show (won) Feature films Theatrical releases of episodes The Man From U.N.C.L.E. rated so highly in America and the UK that MGM and the producers decided to film extra footage (often more adult to evoke Bond films) for two of the first season episodes and release them to theaters after they had aired on TV. The episodes with the extra footage that made it to theaters were the original pilot, "The Vulcan Affair", retitled To Trap a Spy and "The Double Affair" retitled as The Spy with My Face. Both had added sex and violence, new sub-plots and guest stars not in the original TV episodes. They were released in early 1966 as an U.N.C.L.E. double-feature program first run in neighborhood theaters, bypassing the customary downtown movie palaces which were still thriving in the mid-1960s and where new movies usually played for weeks or months before coming to outlying screens. A selling point to seeing these films theatrically was that they were being shown in color, at a time when most people had only black and white TVs (and indeed the two first-season episodes that were expanded to feature length, while filmed in color,