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"Well, here it is if anybody wants to see it." https://www.youtube.com/watch?v=nMWHBUTHmf0 The Other Side of the Wind Wikipedia posted:Starring John Huston, Bob Random, Peter Bogdanovich, Susan Strasberg and Oja Kodar, it is a satire of both the passing of Classic Hollywood and the avant-garde filmmakers of the New Hollywood of the 1970s. The film was shot in an unconventional mockumentary style in both color and black-and-white, and it incorporated a film-within-a-film that spoofed the work of Michelangelo Antonioni. Wikipedia New York Times review Wellesnet archive Basically, Netflix untangled the rights issues to not only complete the film, but to also produce two documentaries to be released alongside the film. The first is They'll Love Me When I'm Dead (Variety review) - which is more about the period it was made and Welles himself; plus another on the completion/restoration. Whether it's good or not is besides the point - having a "new" Orson Welles film in 2018 has to be the most exciting thing in cinema this year.
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Sep 5, 2018 13:57
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According to David Bordwell's review, the film has over 2300 shots within the 117 minute runtime, making it have an average shot length of three seconds, which is the same as F for Fake.
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Sep 5, 2018 20:50
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TrixRabbi posted:I should do a Welles watchthrough to prep for this. I've probably only seen ~half his filmography. Easily my most anticipated film of the year. I did this earlier in the year. It helps that most of his filmography has excellent quality Blu-rays. After The Magnificent Amberson's Criterion release comes out later this year, we just need The Trial and Mr. Arkadin in the US (both are out in France). F for Fake also has a doc on his unfinished work - there's apparently reconstructions of the unfinished The Deep, The Merchant of Venice, and Moby Dick Rehearsed based on what survives/was filmed too.
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Sep 5, 2018 23:42
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Some interesting stuff from New Yorker and Wellesnet: http://www.wellesnet.com/final-cut-for-orson-welles/ https://www.newyorker.com/culture/culture-desk/how-orson-welles-the-other-side-of-the-wind-was-rescued-from-oblivion Among the neat things... - 95% of the film came from camera negative, but the audio master recordings were lost and had to be sourced from copies of copies - ILM created some effects shots for unshot or lost footage - Danny Huston performed ADR for his father's character where audio was lost - They used a full 4K HDR workflow
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Sep 30, 2018 20:49
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Raxivace posted:Has there been any word on the blu-rays and posters and whatnot being sent out from the Indiegogo campaign? Nothing solid yet, but at minimum it'll include They'll Love Me When I'm Dead (the 90 min making-of) and Final Cut for Orson (the 38 min doc on the completion/restoration). Here's the trailer for the former doc: https://www.youtube.com/watch?v=H_kOsnGzfYY
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Oct 2, 2018 03:14
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According to a poster on CriterionForum, there WILL be a physical release, but they're not announcing anything until after the Netflix premiere and theatrical run. They're going to have five 35mm prints circulating (one is already making the rounds). WellesNet has a list of festival/college screening dates: http://www.wellesnet.com/festival-screenings-other-side-wind-love-me-dead/ And according to the MPAA website... Rated R for sexual content, graphic nudity and some language.
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Oct 13, 2018 14:35
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One day to go! Here's the limited theatrical release dates/locations: Wellesnet posted:Los Angeles ― Laemmle North Hollywood ― November 2-8
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Nov 1, 2018 16:12
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It's up now, along with They'll Love Me When I'm Dead and Final Cut for Orson.
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Nov 2, 2018 12:52
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Raxivace posted:Are you sure Final Cut for Orson is on there? I'm looking to add it to my list to watch after the movie itself and the other doc, but its not even coming up on search for me. Final Cut for Orson is under "Trailers and More" for The Other Side of the Wind while They'll Love Me When I'm Dead is under "More Like This"
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Nov 2, 2018 21:38
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I found this to be an invigorating, hypnotic puzzle of a film. The way that it effortlessly jumps between characters and the film within the film. I kept thinking of the party being kin to the restaurant scene (or rather, act) in Tati's Playtime in that it keeps up energy for such a sustained amount of time. All while you feel exhausted. Because the characters are. Much of the film resembles a live play in that regard. Some parts I had a huge smile on my face. Only negative thing I can think of is that it drags a little near the end, but it's also when everyone's drunk and already bitter. Maybe they should have put in a shot of a parrot screeching. This was absolutely worth the wait. Also watched Final Cut for Orson, which has some neat stuff like Danny Huston doing overdubs for his father. Only nitpick I can make is that the opening/closing credits are overly conventional. Given that Welles enjoyed unconventional approaches like putting them at the end or even narrating them, it just comes off as lazy.
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Nov 3, 2018 14:48
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Spatulater bro! posted:Egbert, glad to see you loved the film. I'm excited to watch it. I'm going to watch They'll Love Me When I'm Dead in a bit, but according to A Final Cut for Orson... he shot pretty much 99% of the finished film and edited about 45 minutes worth of material. Most of the film within the film was all him, plus a few short bits of the party (the bit that appears in One Man Band). The only visuals he didn't shoot were shots of the dummies getting blasted and some process shots. ILM did the former by using existing footage and shooting re-creations of the dummies on greenscreen. The sound had a ton of work done on it, but it's absolutely consistent to use dubbing for lost audio considering Welles did that all the time. Final Cut has some footage of Danny Huston doing ADR for his father and it's scary how perfect it sounds.
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Nov 3, 2018 21:58
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Raxivace posted:Egbert what do you think the framing device they created using Otterlake? Now that I just watched They'll Love Me When I'm Dead, Welles seemed to be fine with the film changing as needed. He brings up the possibility that it could be edited to be about the making of the film, rather than the film itself. My guess is that the original line was up to date as of the 70s, but it works in context. Really, I think a brilliant idea would be to put up the raw footage up on something like YouTube for people to watch. It's worth noting that even films successfully completed and well-loved don't usually have the luxury of having nearly every frame shot and edited during the original production to survive. Can you imagine what film students could do with this footage in terms of learning the craft of editing? The documentary was very good, though it's pretty depressing. I will say I wasn't expecting to actually seeing clips of the pornos Welles edited for Gary Graver.
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Nov 4, 2018 00:20
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I think an archive in Germany put together reconstructions of The Deep, The Merchant of Venice, and Moby Dick Rehearsed. There's clips from all his then-unfinished work in One Man Band, a documentary co-directed by Oja Kodar that's on the Criterion edition of F for Fake (in full HD on the Blu-ray, too). One thing I'm really happy about They'll Love Me When I'm Dead is how much footage it uses of F for Fake. I hope it gets more people interested in it since it's a fantastic movie. Just rewatched Citizen Kane to "close the loop". Earlier this year, I had rewatched all of his films, inclusive of the multiple cuts of Macbeth, Othello, Touch of Evil, and Mr. Arkadin.
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Nov 4, 2018 05:11
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Teenage Fansub posted:The nightclub/bathroom/car-sex portion of the film-within-a-film was kinda astounding. I know from the doco that it was his parody of European art film, but if Welles had a late career doing psychedelic erotic thrillers, that would've been pretty wonderful. Check out The Immortal Story - shot for French TV in 1968, it's his first color feature and absolutely gorgeous. Shot by Willy Kurant, too. Also, here's the song used in the roadhouse/bathroom scene: https://www.youtube.com/watch?v=AEl920eLGKY 
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Nov 7, 2018 01:45
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