The Other Side of the Wind (Orson Welles, 2018)

Discussions of specific films and franchises.
Post Reply
Message
Author
User avatar
diamonds
Joined: Sun Apr 24, 2016 2:35 pm

Re: The Other Side of the Wind (Orson Welles, 2018)

#201 Post by diamonds » Wed Aug 29, 2018 10:30 am


User avatar
Big Ben
Joined: Mon Feb 08, 2016 12:54 pm
Location: Great Falls, Montana

Re: The Other Side of the Wind (Orson Welles, 2018)

#202 Post by Big Ben » Wed Aug 29, 2018 10:46 am

Hard to not see Huston as a stand in for Welles in that trailer but I've fairly certain that info has been divulged well before I said anything. Regardless the Welles fanatic in me in eager to see this. The handful of people who have seen it have raved about it.

User avatar
Roger Ryan
Joined: Wed Apr 28, 2010 12:04 pm
Location: A Midland town spread and darkened into a city

Re: The Other Side of the Wind (Orson Welles, 2018)

#203 Post by Roger Ryan » Wed Aug 29, 2018 11:06 am

After seeing ragged workprint footage for years, it's a real treat to see this material straight from the camera negative - those colors are extraordinary. A truly great trailer as well that captures the inherent dramatic conflict and the rapid-edit style of the film while only teasing the major set-pieces.

User avatar
pzadvance
Joined: Mon Nov 21, 2011 7:24 pm
Location: Los Angeles, CA

Re: The Other Side of the Wind (Orson Welles, 2018)

#204 Post by pzadvance » Wed Aug 29, 2018 11:17 am

It’s so insane that this will just be on Netflix in two months

User avatar
FrauBlucher
Joined: Mon Jul 15, 2013 8:28 pm
Location: Greenwich Village

Re: The Other Side of the Wind (Orson Welles, 2018)

#205 Post by FrauBlucher » Wed Aug 29, 2018 11:30 am

All I can say is wow. This is going to be a cinematic treat.

User avatar
Drucker
Your Future our Drucker
Joined: Wed May 18, 2011 9:37 am

Re: The Other Side of the Wind (Orson Welles, 2018)

#206 Post by Drucker » Wed Aug 29, 2018 11:43 am

Amazing. I've seen a few sequences projected, including the
SpoilerShow
sex in the back of a car
but this looks to be the real deal.

User avatar
domino harvey
Dot Com Dom
Joined: Wed Jan 11, 2006 2:42 pm

Re: The Other Side of the Wind (Orson Welles, 2018)

#207 Post by domino harvey » Wed Aug 29, 2018 11:46 am

Anyone know who the final credited editors are for the film? I think Welles winning a posthumous Best Director Oscar is a stretch, but Editing may well be in reach

User avatar
Roger Ryan
Joined: Wed Apr 28, 2010 12:04 pm
Location: A Midland town spread and darkened into a city

Re: The Other Side of the Wind (Orson Welles, 2018)

#208 Post by Roger Ryan » Wed Aug 29, 2018 11:51 am

domino harvey wrote:
Wed Aug 29, 2018 11:46 am
Anyone know who the final credited editors are for the film? I think Welles winning a posthumous Best Director Oscar is a stretch, but Editing may well be in reach
Bob Murawski (The Hurt Locker) is responsible for most of the editing. Welles edited approximately 40 minutes of segments spread throughout the film (mostly the "film-within-the-film" footage); my understanding is that Murawski kept most of the Welles-edited material intact with, perhaps, some modifications (Welles didn't have access to all of the original camera negative - Murawski did). The credits read "Edited by Bob Murawski & Orson Welles".

User avatar
FrauBlucher
Joined: Mon Jul 15, 2013 8:28 pm
Location: Greenwich Village

Re: The Other Side of the Wind (Orson Welles, 2018)

#209 Post by FrauBlucher » Wed Aug 29, 2018 11:54 am

domino harvey wrote:I think Welles winning a posthumous Best Director Oscar is a stretch
But a nomination wouldn’t be, especially if he gets a finalist slot for the DGA.

User avatar
domino harvey
Dot Com Dom
Joined: Wed Jan 11, 2006 2:42 pm

Re: The Other Side of the Wind (Orson Welles, 2018)

#210 Post by domino harvey » Wed Aug 29, 2018 11:56 am

I agree. I think the unprecedented nature of it will be encouraged by the Academy as free press for next year's ceremony, and I can see the Old Guard rallying to make it happen

User avatar
domino harvey
Dot Com Dom
Joined: Wed Jan 11, 2006 2:42 pm

Re: The Other Side of the Wind (Orson Welles, 2018)

#211 Post by domino harvey » Wed Aug 29, 2018 11:58 am

Roger Ryan wrote:
Wed Aug 29, 2018 11:51 am
The credits read "Edited by Bob Murawski & Orson Welles".
Thanks, I'm now certain it will win: the Academy can honor Welles and the lengthy post-production process without anyone complaining about the bigger category going to a dead man

User avatar
Persona
Joined: Wed Mar 07, 2018 1:16 pm

Re: The Other Side of the Wind (Orson Welles, 2018)

#212 Post by Persona » Wed Aug 29, 2018 12:59 pm

Murawski oversaw this cut based on Welles' notes and the work-print blueprints, if you will, but the editorial department on this one is MASSIVE. In addition to all the standard crew and film restoration artists and digital intermediate techs and assistant editors and whatnot, you also have about half a dozen very established editors credited as additional editors: Jonathon Braun, Arnaud Petit, Yves Deschamps (The Life of Jesus, Paris 36), Paul Hart, and Marie-Sophie Dubus (Cemetery Without Crosses, Le Cercle Rouge, Possession -- I'm assuming her work was on the original print since she worked with Welles on F for Fake but maybe she was brought in to help and consult)...

You can see why. What a monumental undertaking.

I find it really interesting that Welles' final film was shot by Gary Graver--basically, a porn director. And yet this finished version is scored by da musical god Michael Legrand.

Think this is going to be a fascinating mix of "high" and "low" art and I only hope its editing aesthetic doesn't give me a headache (anything in the Tony Scott ballpark of shot/cut frequency usually starts to grind on me).

User avatar
bearcuborg
Joined: Fri Sep 14, 2007 2:30 am
Location: Philadelphia via Chicago

Re: The Other Side of the Wind (Orson Welles, 2018)

#213 Post by bearcuborg » Wed Aug 29, 2018 2:08 pm

I have to say, the modern look is a bit stunning to me. I’m also not used to such color in a Welles film, since I’m so used to grain in his work. However, I’m fascinated and filled with anticipation.

User avatar
Roger Ryan
Joined: Wed Apr 28, 2010 12:04 pm
Location: A Midland town spread and darkened into a city

Re: The Other Side of the Wind (Orson Welles, 2018)

#214 Post by Roger Ryan » Wed Aug 29, 2018 2:49 pm

Persona wrote:
Wed Aug 29, 2018 12:59 pm
...I find it really interesting that Welles' final film was shot by Gary Graver--basically, a porn director. And yet this finished version is scored by da musical god Michael Legrand.
Same situation with Welles' F For Fake (1975) - the new footage (roughly 50%) was shot by Graver and Legrand did the score. Graver could get equipment and worked for free, the perfect accomplice for Welles' shooting methods. The tragic element is that Graver had counted on Wind giving him a higher profile (and the ability to leave the exploitation stuff behind), only for the film not to be finished in his lifetime.

User avatar
Persona
Joined: Wed Mar 07, 2018 1:16 pm

Re: The Other Side of the Wind (Orson Welles, 2018)

#215 Post by Persona » Wed Aug 29, 2018 2:59 pm

Thanks for that insight, Roger. Really fascinating. And speaking of fascinating:

https://deadline.com/2018/08/orson-well ... 202453685/

I can't wait for the documentary about the making of this thing.

User avatar
Roger Ryan
Joined: Wed Apr 28, 2010 12:04 pm
Location: A Midland town spread and darkened into a city

Re: The Other Side of the Wind (Orson Welles, 2018)

#216 Post by Roger Ryan » Wed Aug 29, 2018 3:17 pm

https://deadline.com/2018/08/orson-well ... 202453685/
"...It will finally unveil at the Venice Film Festival following a meticulous and painstaking process of re-editing and re-writing funded by Netflix."
I have no idea what Bart is saying about the film being "re-written". It wasn't really "re-edited" either since it was never fully edited to begin with. And how, exactly, was Frank Marshall involved for 25 years of a 48-year project when he was there at the beginning and now the end? Searching the globe for footage? It's been well-known for decades that the camera negative was being stored at a Paris lab. A very carelessly-written piece which seems determined to undermine Welles yet again and discredit those who like his films despite the lack of narrative coherence. ](*,)

User avatar
Big Ben
Joined: Mon Feb 08, 2016 12:54 pm
Location: Great Falls, Montana

Re: The Other Side of the Wind (Orson Welles, 2018)

#217 Post by Big Ben » Wed Aug 29, 2018 3:22 pm

What was this shot on? I'm guessing whatever Welles could get his hands on? The trailer is hypnotic.

User avatar
Persona
Joined: Wed Mar 07, 2018 1:16 pm

Re: The Other Side of the Wind (Orson Welles, 2018)

#218 Post by Persona » Wed Aug 29, 2018 3:38 pm

IMDB says 8mm, 16mm, and 35 mm. 4K Digital Intermediate.

User avatar
Roger Ryan
Joined: Wed Apr 28, 2010 12:04 pm
Location: A Midland town spread and darkened into a city

Re: The Other Side of the Wind (Orson Welles, 2018)

#219 Post by Roger Ryan » Wed Aug 29, 2018 3:58 pm

Big Ben wrote:
Wed Aug 29, 2018 3:22 pm
What was this shot on? I'm guessing whatever Welles could get his hands on? The trailer is hypnotic.
There was a very deliberate use of varying film stocks. The footage of Hannaford's film was shot on 35mm whereas the rest was shot on 16mm and 8mm (and, possibly, even videotape) meant to represent the formats used by the documentary and news crews, as well as various hangers-on, who have gathered to follow Hannaford on his 70th birthday. Note that the aspect ratio changes as well: 1.85:1 for Hannaford's film; 1.37:1 for everything else.

User avatar
Persona
Joined: Wed Mar 07, 2018 1:16 pm

Re: The Other Side of the Wind (Orson Welles, 2018)

#220 Post by Persona » Thu Aug 30, 2018 8:54 pm

Early reactions starting to surface:

http://www.wellesnet.com/other-side-win ... re-review/

User avatar
domino harvey
Dot Com Dom
Joined: Wed Jan 11, 2006 2:42 pm

Re: The Other Side of the Wind (Orson Welles, 2018)

#221 Post by domino harvey » Fri Aug 31, 2018 9:37 am

Well... it was fun to believe this was getting a Best Director nomination. Lots of polite positive reviews, but nothing to indicate this has a chance like Netflix hoped

User avatar
Altair
Joined: Wed Aug 14, 2013 12:56 pm
Location: England

Re: The Other Side of the Wind (Orson Welles, 2018)

#222 Post by Altair » Fri Aug 31, 2018 9:51 am

I'm not sure anyone really thought it would - maybe Legrand's score, which is getting plenty of praise, will be nominated. From Netfleix's point of view, they can say they helped rescue a pivotal part of film history, while Roma competes more seriously for awards. At any rate, having seen the trailer and read the first wave of reviews, I'm incredibly excited to see it - it sounds incredibly rich in the true Wellesian fashion.

User avatar
hearthesilence
Joined: Fri Mar 04, 2005 4:22 am
Location: NYC

Re: The Other Side of the Wind (Orson Welles, 2018)

#223 Post by hearthesilence » Fri Aug 31, 2018 10:13 am

I never thought an Oscar nomination for best director was realistic - the age alone would probably keep a lot of voters from going for it, but besides that it never struck me as being the least bit commercial. The few filmmakers who've been able to pull a nomination off with that kind of work were pretty popular with Hollywood. (see Terrence Malick and the parade of stars who audition for his films) Welles was admired in his old age but the fact that virtually no one would give him money says a lot, even when he was doing something as great as F for Fake.

Calvin
Joined: Sun Apr 10, 2011 11:12 am

Re: The Other Side of the Wind (Orson Welles, 2018)

#224 Post by Calvin » Fri Aug 31, 2018 10:50 am

It hasn't been awarded with any regularity recently, but I wouldn't think a Special Achievement Oscar would be beyond the realms of possibility? Either in producing or editing - or both.

User avatar
Roger Ryan
Joined: Wed Apr 28, 2010 12:04 pm
Location: A Midland town spread and darkened into a city

Re: The Other Side of the Wind (Orson Welles, 2018)

#225 Post by Roger Ryan » Fri Aug 31, 2018 11:52 am

Seriously, The Other Side of the Wind is competing with The Last Movie, We Can't Go Home Again, and Welles' own F for Fake - it was made in that era with that mindset. I don't know what Netflix was thinking, but I'm pretty sure everyone else who worked on this film knew they were completing a joyously indulgent gonzo experiment from the fringes, not an Oscar-winning hopeful.

Post Reply