next adaptation was simple, as his Richard had been widely praised on stage. For the stage production, Olivier had modelled some of the crookback king's look on a well-known theatrical producer at the time, Jed Harris, whom Olivier called "the most loathsome man I'd ever met". Years later Olivier discovered that Walt Disney had also used Harris as his basis for the Big Bad Wolf in the film The Three Little Pigs. Alexander Korda, who had given Olivier his initial roles on film, provided financial support for the film. Screenplay Most of the dialogue is taken straight from the play, but Olivier also drew on the 18th century adaptations by Colley Cibber and David Garrick, including Cibber's line, "Off with his head. So much for Buckingham!". Like Cibber and Garrick, Olivier's film opens with material from the last scenes of Henry VI, Part 3, to introduce more clearly the situation at the beginning of the story. A key change in the story involved the seduction of Anne. It is split into two scenes instead of one, and an element of perversity is added—whereas in the original play she is following a coffin with the corpse of her father-in-law, in this film the coffin contains the corpse of her husband. John Cottrell has been quoted as saying this makes "the young widow's seduction even more daring and revolting than it is in the original, and [gives] Anne's capitulation" in the second part after a passionate kiss "a new and neurotic twist". This is accomplished by cutting lines, changing lines, and changing the sequence of some lines. Olivier makes other small and subtle additions in the stage direction. When Richard's nephew makes a joke about his uncle's hunchback ("you should bear me on your shoulder"), Richard spins round and gives the boy a malevolent glare making the boy stagger back. This bit of stage direction is original to Olivier. Olivier also silently mimes some actions spoken of in his soliloquies such as when he whispers insinuations about Clarence into the ear of King Edward. In general the lengthy play is heavily cut. In an interview with Roger Manvell, Olivier discussed how unwieldy and complex the play is: The character of Queen Margaret is cut entirely, the role of the Duchess of York (Helen Haye) is significantly reduced, the role of Edward IV's wife Elizabeth is also reduced, and the execution of Clarence