Orson Welles : The Stories of His Life This is Orson Welles Me and Orson Welles: A Novel What Ever Happened to Orson Welles? : A Portrait of an Independent Career War of the Worlds: Mars' Invasion of Earth, Inciting Panic and Inspiring Terror from H.G. Wells to Orson Welles and Beyond Orson Welles Rosebud : The Story of Orson Welles Orson Welles: Interviews Orson Welles: The Road to Xanadu

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• by Orson Welles, Peter Bogdanovich, Jonathan Rosenbaum, Orson Wells.
• In 1992, the first publication of This Is Orson Welles brought a priceless document to light. In the late '60s and early '70s, filmmaker Peter Bogdanovich had conducted extensive interviews with Welles, but a number of circumstances--including the director's decision to compose an autobiography that he never got around to writing--kept the interviews out of the public eye. Edited and annotated by Jonathan Rosenbaum, these conversations give wonderful insights into Welles's craft and personality. ...
• Rosenbaum presents a meticulous chronology of Welles's life, closely following his day-to-day activities from his birth in 1915 to his death in 1985. Anyone who thinks that Welles was an essentially lazy and profligate artist will be astonished at how hard he worked and how much he accomplished, even after the completion of Citizen Kane. Another treat found in the book is a detailed description--complete with rare photographic stills--of the original Magnificent Ambersons, Welles's impressive follow-up to Kane, which can now be seen only in a tragically truncated version. ...
• This 1998 reissue of the volume contains a fond new introduction by Bogdanovich and another crucial piece of Welles minutia, excerpts from his 58-page memo to Universal Pictures about the editing of Touch of Evil. ... With such grand material between two covers, This Is Orson Welles is the most informative and entertaining book available on one of the 20th century's greatest artists. ...
• Orson Welles: The Man and his Movies, Larger Than Life .
• What impresses me about the Welles/Bogdanovich volume is the raucous sense of humour Welles brings to the conversation, always as lively and as larger-than-life as Welles was. Also, Bogdanovich has laced the book with pertinent interviews, articles, anecdotes that elucidate certain points of the text, as well as Welles' lines cut from "Magnificent Ambersons" and the long memorandum he wrote to Universal studio chiefs and cc'd to Chuck Heston, trying to save what I consider his masterwork,.
• But most of all, I am touched that when all the world was dumping on Welles, when he was being derided as a has-been and a spendthrift, that up-and-coming director Bogdanovich gave him his friendship and accorded him the respect he was so shamefully denied. Even Pauline Kael couldn't resist savaging Welles, and she wrote a particularly nasty and libelous article that Welles didn't write any of the screenplay to "Citizen Kane. ...
• Of all Hollywood's sins (and I retain in memory a cross-indexed catalogue of them), the fact that even when Welles started getting "lifetime achievement" accolades, he still couldn't get any financing for his movie projects, on which he worked until his last days, leaves the bitterest taste in my mouth. There must be certain people destined to the lowest rungs of hell -- or at least purgatory -- for creating a world in which Orson Welles' last paid acting role was as the voice of the evil planet in a "Transformers" movie.

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• Orson Welles first shocked the world in 1938 when, with the Mercury Theater, he convinced radio listeners that aliens had landed and were invading New Jersey. Welles was 23 and The War of the Worlds made broadcast history. ...
• But Welles never again reached that pinnacle of success. ... Of course, when Welles was on the set of another director's film, it was clear who was in charge. ...
• Charles Foster Kane in Welles' masterpiece. ...
• Orson Welles: The Road to Xanadu .
• This Is Orson Welles by Orson Welles .
• The Magic World of Orson Welles .
• Orson was a beautiful man, he was not only a genius as a director, an actor, a writer but as a person he was bigger than life and I don't mean just in girth. ...
• I think Orson knew it was going to be important, but after all it was my first movie, and I was so thrilled to be in a movie, and with Orson Welles, I mean that was my prize right there. ...
• In fact, whenever anybody did come on, Orson had softball and some gloves, and they would start throwing the ball around, and then he'd say, "if you don't want us to waste time get off the set and we'll go back to work. ...
• D: Orson Welles. ...
• Orson Welles, Victor Mature, Folco Lulli. ...
• Joseph Cotten, Orson Welles, Dolores del Rio. ...
• Narrated by Orson Welles. ...
• May 99 on TCM || Star of the Month || Director of the Month || Theme of the Month || Louise Brooks || Casino Night || Katharine Hepburn || Jules Verne || May Day || Memorial Day || Orson Welles || Psychological Killers Back to Top || TCM Home Page Legal Notice || Privacy Notice ©2001 Turner Classic Movies. ...

• Welles' Influence on Hitchcock.
• (left) Welles' shock cut; (right) Hitchcock's shocking revelation .
• Hall looks at Psycho and Touch of Evil to show that even Hitch couldn't resist the charms — and stylistic strategies — of Orson Welles.
• The next time you watch the beginning of Psycho, as the camera slowly moves from a distant view of the cityscape of Phoenix into a close-up of the hotel room window, consider another even more famous film opening — the dazzling crane and dolly shot that encompasses the first three minutes of Orson Welles' Touch of Evil, made in 1958, just two years before Psycho. ...
• Was Hitchcock, in the opening of Psycho, trying to one-up Welles' experiment with the limits of the dolly shot? Yes, without even a shadow of a doubt.
• Hitchcock was out to prove he could beat Welles' technical feat in distance if not in time. While the final result — with obvious dissolves between separate shots — was not quite up to his original ambition, Hitchcock's opening clearly displays the influence of Welles.
• It's time Welles and his crew members on Touch of Evil receive proper credit for some of the praise of Psycho directed toward Hitchcock.
• Except for auteurist roll calls of the great director, Welles and Hitchcock are almost never mentioned in the same breath because, despite their concurrent Hollywood careers, they and their films have always been viewed through different lenses. Welles, despite the attempts of various critics to resurrect the standings of his later, mutilated films, is often seen as the child prodigy who burned out, his bombastic personality and baroque style too much for Hollywood to digest. ...
• Welles, who was busy shooting It's All True in South America, was much less fortunate. ... Though both were highly nonconformist and possessed enormous egos, Welles was painted as the "bad boy" of Hollywood, while Hitchcock became the Boy Scout, earning the studio's respect and praise in spite of his obsession with murder.
• With the exception of their occasional use of the celebrated Bernard Herrmann, and Welles' foray into the thriller genre with The Stranger (1946), there are few points of stylistic and thematic overlap between the two before Touch of Evil and Psycho. Although both directors' visuals are clearly influenced by German Expressionism, Welles prefers distortion and high- contrast black-and-white compositions, while Hitchcock typically presents a surface normality, favoring less visual distortion and greyer shades of black. Where Welles' films are extravagant explorations of bloated, corrupt, tragic figures, Hitchcock's are tense, compact, precisely filmed explorations of guilt and obsession that often feel more like pure heroic adventures (The 39 Steps, Notorious, North by Northwest, et al. ... Not to say that Welles' films aren't as much fun as Hitchcock's, or that Hitchcock's are not as intellectually stimulating as Welles', but watching a Welles film is like eating prime rib, rich and leaving you with an overstuffed feeling. ...

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• Orson Welles & the.
• ANNOUNCER The Columbia Broadcasting System and its affiliated stations present Orson Welles and the Mercury Theatre on the Air in "The War of the Worlds" by H. ... (MUSIC: MERCURY THEATRE MUSICAL THEME) ANNOUNCER Ladies and gentlemen, the director of the Mercury Theatre and star of these broadcasts, Orson Welles. ORSON WELLES We know now that in the early years of the twentieth century this world was being watched closely by intelligences greater than man's, and yet as mortal as his own. ... CBS ANNOUNCER (INTERRUPTS THE ACTUAL RADIO PLAY) You are listening to a CBS presentation of Orson Welles and the Mercury Theatre on the Air in an original dramatization of "The War of the Worlds" by H. ... (MUSIC SWELLS UP AND OUT) ORSON WELLES This is Orson Welles, ladies and gentlemen, out of character to assure you that "The War of The Worlds" has no further significance than as the holiday offering it was intended to be. ... Wells, the seventeenth in its weekly series of dramatic broadcasts featuring Orson Welles and the Mercury Theatre on the Air. ...

• Orson Welles.
• Orson Welles.
• The NFT pays tribute to the American genius Orson Welles, with a major retrospective of classics, rarities and shorts.
• Actor, producer, director, novelist, columnist and even professional magician, Welles was a man of prodigious talent, never more so than when directing.
• This season examines his work as a director and features the classics Touch of Evil, The Magnificent Ambersons, Macbeth and The Lady from Shanghai, plus fragments from The Dreamers, Orson Welles on Stage in Dublin and the Arena documentary The Orson Welles Story. ...
• Orson Welles .

• 'Me and Orson Welles' .
• This 1937 photo of a young Arthur Anderson with Orson Welles from Welles' production of Julius Caesar inspired Kaplow's book.
• Me and Orson Welles by Robert Kaplow.
• 10, 2003 -- Robert Kaplow discusses his new novel, Me and Orson Welles, on Morning Edition, a show he has often interrupted via his satirical alter ego, Moe Moskowitz. ...
• Me and Orson Welles reflects a lifelong interest in the theatre and in the 1930s. ... Specifically, I remember 10 years ago sitting in the basement of the Rutgers University Library, looking through a copy of Theatre Arts Monthly from 1937, and there was a photograph from Welles's production of Julius Caesar which featured Welles in a dark coat and black gloves, sitting at the edge of the stage. ...
• Lost and Found Sound: Orson Welles Plays Brutus in 'Julius Caesar' Robert Trout Recalls Orson Welles' 'War of the Worlds' Robert Kaplow (a. ...

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• Charlton Heston, Janet Leigh, Welles, Joseph Calleia, Akim Tamiroff, and Marlene Dietrich. ...
• Touch of Evil was released by Universal in 1958 on the bottom half of a double bill, in a version butchered by the studio over Welles's passionate protests. The last Hollywood film by the famous maker of Citizen Kane, it was hardly a success at the box office or with critics, seeming to confirm the story told in Welles's obituaries in 1985 that he never lived up to the promise of his first film. The same story was repeated earlier this year by the American Film Institute's poll determining the 100 "best" American movies: though Citizen Kane was number one, none of Welles's other movies made the list. ...
• Still, the version we saw was the butchered original release, which included scenes not shot by Welles and excluded about 15 minutes of his own work; in the mid-70s a longer version, the one shown at a pre-1958 preview, was released. This version, produced months after Welles had been removed from the picture, still disregarded many of his wishes, as indicated in a long memo he wrote to Universal in 1957 after seeing the studio's initial cut. Only now, following Reader critic Jonathan Rosenbaum's publication of excerpts from Welles's memo in a 1992 issue of Film Quarterly, has an attempt been made to produce a version incorporating Welles's 1957 suggestions. ...
• Investigating the case is the corrupt police chief of the American half of the town, Hank Quinlan (Welles himself), since the explosion occurred on the American side; Vargas, correctly assuming that the bomb was planted in Mexico, observes Quinlan's investigation closely. ...
• Welles, conflating the two stories with Quinlan's search for redemption, creates a labyrinthine film, wedding a common motif in Welles films--that of an oversize character on a quest--to another key Welles theme: self-deception. ... It may be that, as he says, he framed "nobody that wasn't guilty," but clearly Welles condemns Quinlan's violations of the law. ...
• Not only were titles originally printed over it, obscuring much of the action and detracting from the shot's complexity, but Henry Mancini's music crowded out much of the ambient sound Welles had so carefully scored. ... " Welles's virtuosic camera (aided by the brilliant cinematographer Russell Metty, whose complex composition and lighting work as well for Welles as they did for Douglas Sirk) moves sideways, cranes up, cranes down, moves in and out, and shifts direction, establishing a maze of movements and interconnections: more than once Vargas and Susan's movement parallels that of Linnekar's car, linking their destiny to his imminent death. The sound design--music emerging from various establishments, growing louder and quieter--reveals the importance of Welles's previous work in radio: he's particularly sensitive to the way sound can evoke space. ...
• Welles's camera reduces the physical differences between Quinlan and Grandi at the end of a key scene, first showing them seated together, then pulling back and up, equating them. And Welles presents Quinlan's brutal interrogation of Sanchez in two separate long takes, grouping multiple characters in a cramped apartment, conveying not only the interrogation's claustrophobia but the way that Quinlan's corruption ensnares all around him. ...

• Orson Welles.
• Orson Welles en 1937 .
• Orson Welles (6 de mayo de 1915 - 10 de octubre de 1985) fue un actor, director, guionista y productor estadounidense. Nació como George Orson Welles en Kenosha, en el estado de Wisconsin. ...
• A los 18 años Welles comenzó a trabajar en el teatro en Irlanda. ...
• Pisteriormente, Welles convenció al guionista Herman J. ... Tras unos retoques que él mismo realizó en el guión, Welles dirigió la película bajo el título de Ciudadano Kane. ...
• Welles murió en Los Ángeles. ...

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• Encyclopedia: Orson Welles.
• George Orson Welles (May 6, 1915 - October 10, 1985) is commonly considered one of Hollywood's greatest directors, as well as a fine actor and screenwriter. ...
• Welles was born in Kenosha, Wisconsin. ... Dickie Welles was terribly unsuited to this role and became a homeless drunk. Orson inherited the role of wonder boy and seemed magically adept at it, though his personal relationships surely suffered because of it. ...
• Welles drew a great deal of attention in 1937 with a production of Shakespeare's Julius Caesar set in Fascist Italy. ...
• In the summer of 1938, Welles and the Mercury Theatre began weekly broadcasts of short radio plays based on classic or popular literary works. ... This brought Welles his first public notoriety on a national level—the program created panic among listeners who found it completely convincing. Welles's adaptation of H. ...
• Welles was once again the centre of controversy with his first film, Citizen Kane (1941). ...
• Welles' second film for RKO was the more traditional The Magnificent Ambersons, adapted from the Pulitzer Prize-winning novel by Booth Tarkington, and on which RKO executives hoped to make back the money lost by Citizen Kane's relative commercial failure. During the production, Welles was asked to make a documentary film about South America on behalf of the U. ... Welles left the United States to begin shooting this documentary after puting together the first rough cut of The Magnificent Ambersons, on the understanding that further editing decisions would be carried out via telegram. At this point RKO, in a perilous financial situation and fearing another commercial failure, wrested control of the film from the Welles' Mercury Productions staff, cut over fifty minutes of footage, and added a reshot, upbeat ending: the cut footage, including Welles's original ending to The Magnificent Ambersons has been lost, apparently permanently. This event marked the beginning of a recurring pattern in Welles' Hollywood career of damaging executive interference. ...

• Orson Welles.
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• Starring Orson Welles, Joseph Cotten.
• Holly Martins (Joseph Cotten) is an alcoholic pulp writer come to visit his old friend Harry Lime (Orson Welles). ...
• Orson Welles.
• Starring Orson Welles, Joseph Cotten.
• Director : Orson Welles.
• As a piece of filmmaking it ticks all the right boxes: a precociously talented director and lead actor in Orson Welles, Gregg Toland's innovative cinematography, a strong screenplay by Welles and Herman J Mankiewicz, rich scoring from Bernard Herrmann, and so on. ...
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• Featured review : Touch of GeniusAn outstanding film showing that Welles never lost his eye. ... basically if you love films, this is a must, as is every Welles film really!"He was a good detective, and a lousy cop"The greatest "B movie" of all time. ...
• What started out as a contractual obligation of Orson Welles grew into the creation of a finely directed and competently acted masterpiece of cinema.
• Orson Welles' Macbeth 1951 .
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• Featured review : Orson Welles' Macbeth is an expressionist masterpiece about a doomed man of ordinary ambition who believes an evil prophecy that he will become King. The shortest of Shakespeare's tragedies, Welles long considered Macbeth to be the most filmable of the Bard's work. ... As depicted by Welles, the title character is not a warrior king or.

• Citizen Kane is the first film directed by Orson Welles, and is loosely based on the life of the newspaper magnate William Randolph Hearst. ...
• Welles) to love. ...
• Overwhelmingly, endlessly, Orson Welles shows fragments of the life of the man, Charles Foster Kane, and invites us to combine them and reconstruct him. ...
• The film combines revolutionary cinematography (by Gregg Toland) with an Oscar-winning screenplay (by Welles and Herman J. ... Welles' from his stint at the Mercury Theater, such as Joseph Cotten and Agnes Moorehead. ...
• Film scholars and historians view Citizen Kane as Welles' attempt to create a new style of filmmaking by studying the various forms of movie making, and combining them all into one. Examination of the techniques used by Welles and his crew reveals elements of expressionism in the use of light and shadow, noting the influence of German and Russian filmmakers. ... (Welles actually tripped and broke his ankle during the filming of that scene, but the scene continued and made it into the final print of the film. ...
• Welles' crew used black cloth draped above the set to produce the illusion of a regular room with a ceiling, while the boom mikes were hidden above the cloth. ...
• During the filming (June 29, 1940 - October 23, 1940), Welles prevented studio executives of RKO from visiting the set. ... Welles' RKO contract had given him complete control over the production of the film when he signed on with the studio, something that he never again was allowed to exercise when making motion pictures. ...
• The most notable reference to Hearst comes early in the film, as Kane (played by Welles) provides a quote that mirror's Hearst's own comment on the Spanish American War: "You provide the pictures, I'll provide the war. ...
• The Oscar for Best Writing, Original Screenplay was shared by Welles and Herman J. ...
• Academy Award for Best Picture - Orson Welles, producer .
• Best Actor in a Leading Role - Orson Welles .
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• "Orson Welles Interviews".
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• Orson Welles was big. ...
• Welles drove much of the nation into a panic, when at the age of 23 he wrote, produced and starred in the radio drama "War of the Worlds. ...
• Orson Welles was a tremendously complex and very public man who relished an audience and any chance to make his voice heard, whether it was on stage doing Shakespeare or chatting with Johnny Carson on late night TV. ...
• Author Mark Estrin presents Orson Welles in his own words In his new book "Orson Welles Interviews. ...

• Birth Name: George Orson Welles.
• Orson Welles - The actor, director, writer, producer, and editor first made history with War of the Worlds , the 1938 Mercury Theater broadcast that panicked a nation, and then again with Citizen Kane (1941) , often cited as the greatest movie ever made.
• George Orson Welles made his debut in Kenosha on May 6, 1915, born in his parents' half of the duplex at 463 1/2 Park Ave. ... Orson's mother, Beatrice Ives Welles, was an accomplished pianist, suffragette, community activist -- and the first woman elected to political office in Kenosha: she became Chairman of the Board of Education. She was involved with a Chicago doctor named Maurice Bernstein, and the Welleses moved to Chicago in 1918, when Orson was not yet 4 years old. Welles last visited Kenosha in 1942 for his grandmother's funeral. ...
• In his myth-crumpling book Orson Welles: The Road to Xanadu  (Viking, 1995, ISBN 0-670-86722-5), author Simon Callow includes a self-deprecating Welles quote: "I never blamed my folks for Kenosha -- Kenosha always blamed my folks for me. " Callow also stresses that despite his short time here, a part of Kenosha "remained with Orson Welles, however far he wandered," and that "Kenosha always felt slighted by Welles, but Welles expressed himself -- not unaware of the incongruity -- very warmly toward his origins. ...
• Orson Welles's pioneering, influential cinema was imaginative, ambitious and technically daring. ... Before his dramatic arrival in Hollywood, Welles had carved a considerable reputation in theater and radio. ... Their first great success was Welles's staging of an all-black "voodoo" Macbeth, which demonstrated Welles's penchant for stretching existing forms beyond established limits. Welles and Houseman eventually formed their own repertory company, the Mercury Theatre, enjoying success with their 1937 production of Julius Caesar, which Welles rewrote and set in contemporary Fascist Italy. Soon Welles was also directing the Mercury players in weekly, hour-long radio dramas for CBS. ... Seeking to capitalize on Welles's notoriety, RKO brought him to Hollywood to produce, direct, write and act in two films for $225,000 plus total creative freedom and a percentage of the profits. ...
• After several projects (among them an adaptation of Joseph Conrad's Heart of Darkness) came to naught, the 25 year-old Welles made what is generally described as the most stunning debut in the history of film. Initially called AMERICAN and later retitled CITIZEN KANE, Welles's film was a bold, brash and inspired tour-de-force that told its story from several different perspectives, recounting the rise and corruption of an American tycoon, Charles Foster Kane (modeled on publishing magnate William Randolph Hearst). With the brashness of someone new to Hollywood, Welles pushed existing filmmaking techniques as far as they would go, creating a new and distinctive film aesthetic. ...

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• Kino > Direktoroj > Aktoroj > Orson WELLES .
• La usona aktoro, scenaristo kaj reÄ�isoro Orson WELLES naskiÄ�is je la 6-a de majo 1915 en Kenosha, Viskonsino kaj mortis je la 10-a de oktobro 1985 en LosanÄ�eleso. ...
• Mondfamon Welles gajnis pro la filmo Citizen Kane, al kiu li kontribuis kiel scenaristo, aktoro kaj reÄ�isoro. ...
• Orson WELLES, kiu ankaÅ­ famas pro siaj filmigoj de Åœekspiraj verkoj, en 1971 gajnis Honor-Oskaron. ...

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• A creation of Orson Welles, the dramatic radio adaptation of the science fiction novel The War of the Worlds was so convincing that hundreds of thousands of Americans were deceived by it. Announcements before, during and after the broadcast failed to shatter the illusion created by the drama, and both CBS and Welles issued apologies for hoaxing the public. ...
• Wells is no relation to dramatist and film-maker Orson Welles, who went on to even greater fame (or notoriety) by directing Citizen Kane. ...
• Welles played recordings of the radio reports of the Hindenburg disaster to the cast to demonstrate the mood he wanted. ...
• Wells and Orson Welles was broadcast on Radio KTSA San Antonio on October 28, 1940 the former expressed a lack of understanding of the apparent panic and suggested that it was, perhaps, only pretence put on, like the American version of Halloween, for fun. ...
• Other radio stations around the world have also repeated the broadcast, and it has been released several times on LP, tape and CD, sometimes accompanied by other Welles dramatizations. ...

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• This is Orson Welles.
• by Orson Welles (Author), Orson Wells (Author), Peter Bogdanovich (Author).
• In 1992, the first publication of This Is Orson Welles brought a priceless document to light. In the late '60s and early '70s, filmmaker Peter Bogdanovich had conducted extensive interviews with Welles, but a number of circumstances--including the director's decision to compose an autobiography that he never got around to writing--kept the interviews out of the public eye. Edited and annotated by Jonathan Rosenbaum, these conversations give wonderful insights into Welles's craft and personality. ...
• Rosenbaum presents a meticulous chronology of Welles's life, closely following his day-to-day activities from his birth in 1915 to his death in 1985. Anyone who thinks that Welles was an essentially lazy and profligate artist will be astonished at how hard he worked and how much he accomplished, even after the completion of Citizen Kane. Another treat found in the book is a detailed description--complete with rare photographic stills--of the original Magnificent Ambersons, Welles's impressive follow-up to Kane, which can now be seen only in a tragically truncated version. ...
• This 1998 reissue of the volume contains a fond new introduction by Bogdanovich and another crucial piece of Welles minutia, excerpts from his 58-page memo to Universal Pictures about the editing of Touch of Evil. ... With such grand material between two covers, This Is Orson Welles is the most informative and entertaining book available on one of the 20th century's greatest artists. ...
• This title is a potpourri of material by and about Welles (1915-1985), who wrote, directed and starred in the classic Citizen Kane , played a masterful Harry Lime in The Third Man and wrote, directed and acted in other films that have garnered a devoted if relatively small following. The bulk of the book consists of a series of interviews conducted by director/author Bogdanovich with Welles (interspersed with letters, memos and telegrams), as well as a chronology of Welles's life and career, a. ...
• Peter Bogdanovich's interviews with Orson Welles demonstrate (although it was probably not his intention) that his subject was a "monstre sacré", but not a genius. He tries to deny Pauline Kael's thesis ("Raising Kane") where the famous film critic made clear, that the real author of Citizen Kane's screenplay was Herman Mankiewicz and not Welles. But as the pages go on, Bogdanovich's interviews painfully describe the errors of a "boy-wonder" who could have been almost everything, if he had not been Orson Welles. ... The best quote of the book: Peter Bogdanovich: And you don't love theatre anymore? Orson Welles: I love empty theatres. For explanations, refer to page 3 of 'This is Orson Welles". ...

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• The next morning Orson Welles' name was known to the whole of America. ...
• The 23-year-old Welles' scam earned him a dream contract in Hollywood. ...
• Welles also used quick transitions and strong juxtapositioning, and his radio work had familiarized him with the possibilities of sound. ...
• Power is a central theme in Welles' movies. In 1942, Welles directed The Magnificent Andersons, which tells about a family who lose their power and wealth. ... The movie was not successful, and Welles long hoped for an opportunity to reshoot the ending. ...

• Have Welles news? Contact me here.
• In Welles news, the screenings of "The Unknown Orson Welles" in New York and Los Angeles provided some information on where some of the projects are going; in Los Angeles, Oja Kodar and Gary Graver appeared to discuss their experiences with Welles, and according to a post by Lawrence French on the message board, they stated that $3 to $4 million is needed in completion funds for The Other Side of the Wind; further, the fight with Mehdi Bousheri over the rights ended with Bousheri's death, but a proposed deal with Showtime fell through after Beatrice Welles stepped in with the standard legal threats. ...
• In a chat on the Home Theater Forum, Warner Bros reps answered a question about any Welles films they might have (ie Ambersons) by stating that Ambersons would be released at some point. ...
• James Naremore, who wrote one of the best books on Welles in The Magic World of Orson Welles, is editing a volume in Oxford's Casebooks in Criticism series on Citizen Kane, to be published in June 2004; the press copy for Citizen Kane: A Casebook states: "Citizen Kane is arguably the most admired and significant film since the advent of talking pictures. ... Selections range from the anecdotal -- Peter Bogdanovich's interview with Orson Welles -- to the critical, with discussions on the scripts and sound track, and a discussion of what accounts for the film's enduring popularity. ...
• Joseph McBride's upcoming book on Welles, titled What Ever Happened to Orson Welles?: A Portrait of an Independent Filmmaker is given as December 2004, which may or may not be correct. ...
• Finally, what would an update be without Beatrice Welles-related lawsuit news? A federal judge in California ruled that Welles could resell the original Oscar™ she possesses for her father's screenplay work on Kane; the Academy of Motion Picture Arts and Sciences had contested her plant to sell the Oscar, bringing up the thorny issue of her signing an agreement that precluded such sales by giving the Academy first refusal for any sale. The judge ruled that this agreement only applied to the replacement Oscar Welles had received when the original was believed lost. ...
• And with that, I think that largely recaps everything Welles-wise that has been going on the last few weeks. ...
• If you don't read the message board regularly, then you will have missed the following item: an audio version of the play Orson's Shadow is available from LA Theater Works. Also, new books about or including Welles are forthcoming in 2004; the first is by Robert Garis, titled simply The Films of Orson Welles, and described as "a comprehensive overview of Orson Welles' life and career, highlighting the shape of the filmmaker's career, his astonishing precocity and his extraordinary gifts that resulted in both splendid successes and puzzling failures"; the second is Irving Singer's Three Philosophical Filmmakers : Hitchcock, Welles, Renoir, the Welles portion of which is described as "Considering the work of Welles, Singer shows how and why the theme of vanished origins--"the myth of the past"--recurs in many of his films, starting with the Rosebud motif in Citizen Kane and continuing much later in his little-known masterpiece The Immortal Story. ...
• I have updated the Orson Welles Show page with further information supplied by the editor of that show, Stanley Sheff. ...
• OCTOBER 14, 2003: Tonight is the first screening (Showtime, 10 PM EST) of the North American version of the documentary Orson Welles: The One Man Band, and I wanted to post a few random thoughts about it. To begin with, it's marvelous to finally see the many clips of the various unfinished and otherwise missing in action Welles projects in good quality, rather than the so-so bootlegs that have been going around for the last few years. And frankly, anything that stirs interest in Welles is a good thing, I think. ... The "Stately Homes" clip might do a bit to convince people Welles could do comedy, as it's a funny little piece. ... I'm not sure the idea of using clips of Welles' finished films works too well in the context of what the documentary was trying to accomplish, but it serves to open a somewhat esoteric subject to a more general audience interested in film and Welles. So in the end, it's well worth catching, and like so many of Welles' own projects, it now has multiple permutations of its own. ...

• The Other Side of Orson Welles.
• Will the world ever get a chance to see The Other Side of the Wind, the autobiographically-themed work regarded as Orson Welles’ last major directorial effort? If not, it won’t be because fellow moviemaker and Welles admirer-in-chief Peter Bogdanovich hasn’t done all he could to get it released. Shot in stages beginning in the early ’70s and apparently not completely finished at the time of Welles’ death in 1985, The Other Side of the Wind was the film the director of Citizen Kane and Touch of Evil hoped would return him to the big leagues. Unfortunately for Welles buffs the world over, it has spent decades in legal limbo due to a string of rights disputes. These primarily have involved Oja Kodar, the sculptor and actress who was Welles’ companion in the last years of his life, and Mehdi Mouscheri, Welles’ financial backer and brother-in-law of the Shah of Iran. ...
• According to Bogdanovich, a close friend of Welles’ who had a key acting role in the picture, there’s a possibility the legal situation may be resolved soon, potentially clearing the way for cineastes to finally see if The Other Side of Wind is the masterpiece Welles so desperately wanted it to be.
• That situation involves Oja Kodar, who was Orson’s partner on the picture and owned Orson’s side of it after he died; the Iranian brother-in-law of the Shah of Iran, who owned the other half of it and the Orson Welles estate, which controls the right of publicity and so on. ...
• Hannaford (played by Welles’ friend and fellow directing great, the late John Huston), who is long past his prime in the business. ... Bogdanovich plays Brooks Otterlake, a hot young moviemaker based, he says, on himself and his own relationship with Welles, to some extent. ...
• “It’s a dirty movie,” Welles said. ...
• Bogdanovich recalls first hearing about The Other Side of the Wind as he prepared to head off to shoot his own acclaimed 1971 effort The Last Picture Show, the script of which Welles hadn’t liked and had referred to as a “dirty movie. ” (“It’s an actor’s movie—you’ll get no credit for this,” Welles advised him. ...
• “Just before I was going to shoot in Texas, Welles calls me up and says, ‘I’ve started shooting a movie,’” Bogdanovich remembers. The surprised younger director replied, “You have?” “Yes,” Welles replied. ...
• Welles originally intended for Bogdanovich to play a bit part as a film journalist interviewing Huston’s character. ... Welles planned to shoot the following day, but it turned out that was when the younger director would be flying to Texas. In a preview of the loose, seat-of-the-pants nature of the production to come Welles replied: “Alright, well, meet me at the airport—you know where the planes fly over? Meet me there at noon. ...

• George Orson Welles.
• First of all I have to say that this site is dedicated to Orson Welles, and I hope it will prove useful in people getting to knnow him and his art better. ... Don't forget to visit our special current exhibits, and news on new Welles projects and current events. ...
• Coming soon - Orson in Real Audio.
• Introducing - Orson Welles! .
• Orson Quotes.
• War of the Welles.

• Regie: Orson Welles.
• Darsteller: Orson Welles, Joseph Cotten, u. ...
• Und obwohl Welles Darstellung den Protagonisten als absolut egomanischen, unsympathischen Zeitgenossen zeichnet - was ihm eine Menge Unannehmlichkeiten seitens der realen Vorlage William Randolph Hearst einbrachte - kann man sich am Ende eines gewissen Mitleidsgefühls für den einsamen Kane kaum erwehren. ...

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