not going to look very nice in it." The make-up was applied by Gilliam's wife, Maggie. During production, Helmond spent ten hours a day with a mask glued to her face; her scenes had to be postponed due to the blisters this caused. Ian Holm as Mr Kurtzmann, Sam's boss Bob Hoskins as Spoor, a government-employed heating engineer who resents Harry Tuttle Michael Palin as Jack Lint. Robert De Niro read the script and expressed interest in the role, but Gilliam had already promised the part to Palin, a friend and regular collaborator. Palin described the character as "someone who was everything that Jonathan Pryce's character wasn't: he's stable, he had a family, he was settled, comfortable, hard-working, charming, sociable – and utterly and totally unscrupulous. That was the way we felt we could bring out the evil in Jack Lint." Ian Richardson as Mr Warrenn, Sam's new boss at Information Retrieval Peter Vaughan as Mr Eugene Helpmann, the Deputy Minister of Information Supporting cast Cameos Co-writer Charles McKeown as Harvey Lime, Sam's co-worker. Director Terry Gilliam as the smoking man at Shang-ri La Towers. Production Writing Gilliam developed the story and wrote the first draft of the screenplay with Charles Alverson, who was paid for his work but was ultimately uncredited in the final film. For nearly 20 years, Gilliam denied that Alverson had made any material contribution to the script. When the first draft was published and original in-progress documents emerged from Alverson's files, however, Gilliam begrudgingly changed his story. This was too late for either credit on the film or a listing on the failed Oscar nomination for Alverson; he has said that he would not have minded the Oscar nomination, even though he didn't think much of the script or the finished film. Gilliam, McKeown, and Stoppard collaborated on further drafts. Brazil was developed under the titles The Ministry and 1984 ½, the latter a nod not only to Orwell's original Nineteen Eighty-Four but also to 8½ directed by Federico Fellini; Gilliam often cites Fellini as one of the defining influences on his visual style. During the film's production, other working titles floated about, including The Ministry of Torture, How I Learned to Live with the System—So Far, and So That's Why the Bourgeoisie Sucks, before settling with Brazil, relating to the name of its escapist signature tune. In an interview with Salman Rushdie, Gilliam stated: