In 1975, the director Joseph Losey was approached with an offer to make a feature film about the life of Ibn Sa'ud, the first ruler of Saudi Arabia. Funding for the project was to come from an anonymous source, negotiating through a firm of London solicitors.
Losey hired Barbara Bray to perform research, and to translate. The Algerian writer, Kateb Yacine, provided a script in French, but his efforts proved disappointing. Negotiations were made with writers Ring Lardner, Jr., and Robert Bolt, but Lardner wanted too much money, and Bolt was "too indoctrinated with Lawrence." Finally, a script was ordered from Franco Solinas, who had previously worked on Losey's Mr. Klein. By now, several years have transpired, and it is at this point in the story that Reed makes his appearance. From David Caute's 1994 biography, Joseph Losey: A Revenge on Life (p. 455):
Now a fatal row blew up. Patricia Losey had been translating Solinas's pages from the Italian as they arrived. Barbara Bray, who didn't appreciate Losey's habit of 'smuggling' his wife in to the work she herself was engaged on, suggested that the script should be translated into English by the poet and radio playwright (Prix Italia, 1951) Henry Reed, who was also the translator of Leopardi and Ugo Betti. The solicitor Peter Stone duly informed Losey that his clients wished to engage 'a first-class literary translator...' Losey was furious: 'I was amazed and appalled at the brutality of your libel by implication of Patricia's work...' To make matters worse Losey persistently referred to Henry Reed as 'Herbert Reed', i.e. the art critic, Sir Herbert Read. Having read 'Herbert Reed's' translation, he declared it inferior to Patricia's: 'I cannot begin to describe to you my rage and perplexity... [your] insensitivity and discourtesy... after Don Giovanni I am quite sure that Patricia's name will be far more known to the mass audiences that Herbert Reed's [sic].' Worse was to come: the principals put the entire project, plus finance, in the hands of London-based Palestinian entrepreneur Naim Atallah, who promptly dropped Losey.
I was unsure how Barbara Bray might have known Reed, apart from his translations. Then I came across this Wikipedia stub. Bray had been a script editor at the BBC in the 1950s, until she became involved with the playwright Samuel Beckett and moved to Paris in 1961, where she became a well-respected translator, herself.
Ibn Saud was never made, and Solinas's script remained unpublished until after his death in 1982.