Orson Welles

i've seen the first 40 minutes on a bootleg dvd and i love it. as long as they keep jesus franco out of it (shouldn't be too difficult what with him being dead and all) it should be a great watch.

The agreement calls for producers to deliver to Netflix, among other elements, a 35mm print of the completed film, which leaves the door open to some type of theatrical release.

You better bet yer fuckin' ass.

Someone said that all of Welles' films, despite some stylistic/thematic resemblance, were all sui generis. I doubt this cut of OSOTW will be "horrifying," but based of the clips and accounts it should be an ungainly, arresting thing, whether it's good or not.

(might be received more like recent Malick then like Chimes at Midnight)

xxp

the thing i'm most worried about is that it's the sort of film that _ought_ to be seen on a bootleg dvd. it is, by design, an unfinished mess.

ya sure? i'm sure OW wanted it to feel "70s" and improvisational but i think he wanted to finish it, and for it not to be a mess. None of his finished (signed) films are messes, exactly, not even the multiple Mr Arkadins.

well, the conceit is that a washed-up, aging director had a party on what turned out to be the last day of his life and invited everybody with a camera there. at that party, he showed the unfinished rushes of his film in progress. so what i saw, at least, cuts between those unfinished rushes and "guerilla" footage filmed on about every kind of camera imaginable at the party. my feeling is that "chaotic mess" is kind of baked into that structure.

The summaries I've read of his working method -- Welles writing scraps of dialogue on 5x7 cards which we would give to an amused John Huston -- don't augur well for what we'll see.

I'm more disappointed that he never got to film The Big Brass Ring

i guess if i'm worried about anything it's about the way welles handled the homosexuality - that part of the story wasn't really prevalent in the first 40 minutes i saw, but it apparently starts becoming important in a major way later in the film, and that aspect of it might well turn out to be badly dated.

The summaries I've read of his working method -- Welles writing scraps of dialogue on 5x7 cards which we would give to an amused John Huston -- don't augur well for what we'll see.

― the Rain Man of nationalism. (Alfred, Lord Sotosyn)

hell, i'm just glad welles got rid of rich little.

Homosexuality's in his and Oja Kodar's script for TBBR too, and, arguably, in every one of his films (especially The Immortal Story). I suppose he saw it as an form of self-love.

there's a lot of queer in The Trial, too, more than i remembered

if it's not bigotry (and i haven't seen any in him previously) i don't give a shit about "badly dated." Films were made when they were made.

Morbz otm

so do Bogdanovich & Co have more OW editorial-intention evidence for this than the guys who did It's All True?

I can't pin down why, but I have this deep distrust of Bogdanovich

http://www.movies.ie/wp-content/uploads/2015/06/2i27jiv.jpg

"But...I am here. Can you not believe?"

I feel like he really thinks he is that guy, and that is the problem

But he directed this oh wait

https://en.wikipedia.org/wiki/To_Sir,_with_Love_II

Kind of a Tarantino-esque film nerd who did a couple decent films but I think mainly of him drooling over the fact Orson Welles would hang out with him

He did a number of good to excellent films, actually. I think his respect for and knowledge of Welles probably makes him as good a candidate as any to be involved... assuming that he's crowding 80 isn't a mitigating factor.

btw he was a critic first, which T Who Shall Not Be Named most assuredly isn't.

very fair and I appreciate your analysis

https://en.wikipedia.org/wiki/Peter_Bogdanovich#Film_critic

Who the Devil Made It is essential.

also if Wiki is to be believed, he wrote his first book about Welles 9 years before they became friends.

oh gosh

I completely misremembered

it's from this bit of the great outdoor fight

🗻

Akrakabo is really awesome, love the traditional breaking out from behind the modern veil at the end. I think I went back to the 2 minute mark and re-listened to the end 2 or 3 times in a row. Will listen to Accelerate for sure. I don't have much knowledge of Bachata but your comment has me intrigued. i feel like afro pop has a natural lean into the carribean music scene of course, but i would be curious to listen for the links to more classic afro-latin music, perhaps this is already happening? like wizkid-popcaan is a natural fit of course, but what about Wizkid teaming up with Mexican or Columbian pop-stars?

speaking of wizkid, Sweet Love is fantastic, happy to see he stuck with the Yoruba as well. This is maybe my favourite first blush of a Wizkid song, normally he takes a bit for me to really get into. Maybe that bodes well for its shot at breaking out internationally. What do you guys figure his track to a breakout US hit is? Now that he has name recognition from One Dance, does he hope for a streaming hit that breaks though? or would he get enough of a push to get on radio before that? i assume the former, but not sure if he gets a push on radio due to the deal. And does he get on some spotify recommended playlists?

fuckin love Thando Lok'dlala, Nkwz should sing on every SA house song. I feel like DrumeticBoyz have turned a corner toward pop, but managing to stay a bit true to their GQOM roots. I agree longneck, definitely got some of Babes affect on it for sure.

dog latin, are you around? there is new Eddy Kenzo, called Jubilation

📹

I like it, not as much as Sitya Loss, but another great track, curious to hear from another Kenzo fan

really love this new durban track too, Colours Of Sound - Emuva (feat. SneMusiq). brutal name for the DJ's but this song is getting me thru some cold winter days. feels like driving around a rich neighbourhood and not giving a shit that the folks in it are looking down on you.

📹

/The fundamental level of these people's unseriousness contrasted with the seriousness of their jobs is fucking mindblowing./

A different story in the Senate, really.

"It’s true Democrats hold only nine of the 20 seats on the committee, and would only have been able to condition Rosenstein’s approval on his willingness to appoint a special prosecutor if they had stood together and persuaded at least one Republican to join them. But had the parties been reversed, the Republican Party would have formed a united phalanx to demand that Rosenstein, /as a patriotic American/, must look beyond party and promise to give the country a truly independent, non-partisan investigation. There would have been press conferences with all nine senators wearing flag pins and looking stern, a major media offensive asking which Democrat on the committee cared enough about this nation to join them, and possibly the composition of some songs about brave deputy attorneys general.

"Instead, the Democrats only managed some grumbling and a few uncoordinated questions at the hearing."

https://theintercept.com/2017/03/07/senate-democrats-blow-best-chance-to-demand-special-russia-prosecutor🔗/

^^ No, I don't understand this post either. I was just reading the thread and then the app (or a third man) generated this post.

Thought those were some of Welles' 5x7 dialogue cards : )

@labuzamovies
The only real concern I see is what Netflix will do with the 35mm. Do they even have a vault?

they can use an orange is the new black jail cell set

they could invest in a norwegian insane asylum

Ignatiy V on the 75th anniv of Ambersons

http://www.avclub.com/article/75-years-later-orson-welles-troubled-follow-citize-251171

next year at Cannes?

http://www.wellesnet.com/netflix-eyes-cannes-for-the-other-side-of-the-wind-premiere/

hfs "My Lunches With Orson" does not disappoint! Dying @ his petty European prejudices ("Sardinians have stubby fingers. Croatians have short necks. Everybody knows these things.")

he was OTM about Reagan, Ike, and FDR, fullashit about Renoir, Jimmy Stewart, Bogart.

is that the Jaglom book?

Croatians have short necks

"Orson you can't say that"

"Measure them, measure them!"

well it's credited to Biskind (cuz he edited it) but yes it's transcripts of Jaglom's recordings. Which Orson asked him to make (contrary to what is stipulated upthread)

it's just a joy to read, laugh-out-loud funny

I'm still waiting for the third volume in paperback of Callow's biography. Hardcovers are beyond my budget atm.

It's solid, the best critical bio.

it's odd, prior to this book, outside of his involvement with Easy Rider I had absolutely no knowledge of Jaglom's work. Never heard of it, never seen any of it.

jaglom has always skeeved me out viscerally

wiki summaries of his work do not inspire confidence. and the one lunch where Orson gives him notes on one of his screenplays (which sounds fucking awful) his suggestions are 100% better than the crap Jaglom had.

I don't think Welles cultivated a group of wormy little fuckers but they certainly sought him out

Some of Jaglom's films are worth seeing imho - Tracks, Sitting Ducks, Can She Bake a Cherry Pie?, Deja Vu. His debut, A Safe Place, which tries to relocate the nouvelle vague to New York and features a cameo from Welles as a magician in Central Park, is one of the great 'I wish I could have seen the faces of the Columbia executives when they screened this one' movies.

There's not a lot going on in this interview, but I didn't expect to see Welles and Andy Kaufman together!
https://www.youtube.com/watch?v=xrGlWAFy1LU

oh hell yeah, i just stumbled on that video a few weeks ago during an andy kaufman youtube wormhole. so good

well there is something going on, Welles talking to Kaufman about a show he apparently hated doing.

Is Welles subbing for Dinah Shore there? It's obviously not the Carson set (tho I'm p sure OW subbed there too).

Merv Griffin show, I think

OK, he was a guest with Griffin a lot (including the evening before he died). The set looks a little too homey for Merv though.

OK, it is Griffin, per the AV Club...