1
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[steps are slow to approach]

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Ladies and gentlemen, good night.

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This is the story of Orson Welles' last film & apos;  The Other Side of the Wind.

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[man1] Uh, this is May 11, 1971,
The Other Side of the Wind.

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Orson Welles.
Um...

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- Voice number eight.
- [man 2] Scrolling.

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[man 3] Because you always start announcing
before I roll.
Alright, now,

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I will announce it.

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- Scene 58, take one.
- [Clapboard locked]

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[Cumming] What you will watch
consists of pieces of material

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that Orson and others left behind.

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Many of Orson's films began
with death...

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and so is ours.

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[playing intro music]

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When Orson Welles died yesterday,
him, ┬ as he did most of his life,

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amidst several film projects.

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[reporter 1] This is the end of a career
which once promised so much.

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[Reporter 2] He is a human giant
who made Citizen Kane,

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who once scared the Americans to death
with War of the Worlds.

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[Reporter 3] He was called a genius
almost from birth.

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He's spreading two,
doing Shakespeare at ten.

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Unfortunately, his last years have never been matched by the promise of his early years.

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[Reporter 3] He drifted to a lower job
and grew very fat.

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[reporter 4] Films never finish.

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There is this,
The Other Side of the Wind,

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about a world-famous filmmaker.

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Maybe Welles's vision of him.

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[Cumming] How do we summarize someone's life
and the truth of that life

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he rarely does the same thing.

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Almost all stories are almost certain  a kind of lie.

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But not this time.

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[Cumming] This time, the story is
The Other Side of the Wind

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being notified by people
who is there:

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cast and crew, friends and family.

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- Oh my God, did you shoot from there?
- Why not?

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[Drama of dramatic classical music]

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[man] Orson said,
"They will love me when I die."

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[woman]
No, Orson... once said that.

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- [man] Almost right.
- [woman] That's not true.

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[man sighs]

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Our film has long started
Something's wrong.

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And they are really wrong.

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But it began at a promising time
for Orson.

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Let's watch.

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- [film roll rotates]
- [applause on film]

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[master] Mr. Orson Welles.

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[audience applauds]

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[man 1] Every time you say his name,

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people will say,
"What has he done since Citizen Kane?"

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[man 2] Citizen Kane,
the biggest motion picture ever made.

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[man 1]
He made a good film and then...

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"What happened to Orson Welles?"

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Every list of films is great,
. Many of them lead with Citizen Kane  and said it was the best film made.

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Um...

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- Are you?
- No, of course not.

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- That's interesting.
- The only one I'm next..., that's...

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- The Magnificent Ambersons?
- Not.

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- What I'm preparing at this time.
- Oh, the next one.

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That will make history.

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- Can you give us that title?
- I haven't decided what that is.

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- Oh!
- [laughter]

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[man] That will be the last big effort
in his lifetime.

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Opportunity to say,
"This is my masterpiece."

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What really becomes a big basis
difference between this image

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and what have you done?

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Because all the other things I've done
have been controlled,

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each frame is controlled.

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But I want to take the whole story
and make the picture

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as if it were a documentary.
The actors will improvise.

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Have you done anything like that before
with others...

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Nobody has done it before, you know.

77
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But it seems to me like
shoot and shoot,

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and aren't you afraid of the end result
won't have control?

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- I save...
- Not a little, noáno, I really don't.

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[man] I can't even count
how many times have I heard Orson say...

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The biggest thing in the movie
is a divine accident.

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[man] "Embrace the accident."

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And my definition of a film director

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is "the person who led the accident."

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[Welles] They are this divine accident.

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This is what keeps the film
from death.

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Every time it happens, boom!

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Genius will come out.

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[Welles]
Everywhere, there are beautiful accidents.

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There is smell in the air, there is a display

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that changes - all resonance
from what you expect.

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Sometimes I have an accident.

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I made an image where someone
was reached through the Touch of Evil window,

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and find eggs...

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And we make a fuss about it,
you know.

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But I want to go further.

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[woman] Then on the basis of
from what you say, "it sounds as if

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everything will be the
series of "your divine accident."

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- [Welles] If we're lucky.
- If you're lucky.

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That's right.
You know,
we will go fishing for an accident.

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I think that can be very interesting, you know?

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[man] Yes, yes.

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Do you feel any hatred

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for what did Hollywood do to you, or failed to offer you?

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[man] At that time,
Orson lost his ability

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to finance his own work in America.

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You are in the sense of seclusion,
is not it?

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- You've been in America too long.
- [Welles] Yes, yes.

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[male 1]
Orson has been in Europe for two decades.

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Because he feels very betrayed by Hollywood.

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I think he is permanently traumatized
by Touch of Evil.

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[man 2] Studio said,

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"God, Welles functions
at that level of intelligence.

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We will make
films for movies with them."

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That's what you think.

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[Welles] Then they saw the rough piece.

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They were so horrified that I was fired.

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And no one has ever explained what made them horrified.

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[woman]
After Crime, no one will touch it.

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They really don't want to.

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[man 3] ┬A Popular press
has forgotten it.

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[man 1] People don't pursue Orson
to work with him.

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[Welles] I thought I had to make it
a very successful box office image.

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[clock ticks]

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I think I'm too old
not to make it.

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- [man 4] Orson needs a comeback film...
- And?

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[man 4]... and it must be strong.

128
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This is one thing to know what you want,
that's another thing

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to find out how to get through the door
when it's open.

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["Cheree" playing]

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[Male 1] Hollywood changed
in the 70s, changed big.

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[man 2]
Hollywood just started around & apos; 66.

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[man 3] Bonnie and Clyde,
Five Easy Pieces.

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[man 1] Easy Rider.

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[male 4]
Children with beards take over.

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We are children playing games,
when we make.

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What film is for me,
and what drama is for me, this is a game.

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[male 3] A thirty-five year old man
has taken over the show business.

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The studios don't know anymore
what makes money.

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The studios collapsed.

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[man 2] When Warner Brothers stopped
making a cartoon, everything was over.

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- [shots]
- ΓÖ¬ Cheree, Cheree ΓÖ¬

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[male 1] In new Hollywood,

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everyone has this extraordinary respect
for Orson Welles.

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ΓÖ¬ Oh, honey ΓÖ¬

146
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[man 2] He is somewhere
Lord Zen and God.

147
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ΓÖ¬ Oh, honey ΓÖ¬

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[man 1] I mean, of course, Citizen Kane
is probably the biggest film ever made,

149
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but I'm not sure the film is the best.

150
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ΓÖ¬ I love you ΓÖ¬

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- [man 2] Lady From Shanghai.
- [man 3] Mirror order.

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- [man 4] Oh, wow!
- [woman] Wow!

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ΓÖ¬ Cheree, Cheree ΓÖ¬

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[man 5]
How can you think of doing that?

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ΓÖ¬ My comic book fantasy ΓÖ¬

156
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[Man 6] He is a prototypical
independent filmmaker.

157
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ΓÖ¬ Oh, I love you ΓÖ¬

158
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[man 2] Oh, my God, huh.

159
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Bells are the most perfect film ever made.

160
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- [warriors shout]
- ΓÖ¬ Oh, honey ΓÖ¬

161
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The opportunity to make my film
in America...

162
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it's been very difficult,
but I think it's getting easier.

163
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Images become more adventurous.

164
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Opportunities in front of me are bigger,
more than five years ago.

165
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[man 2] Orson wants it because he wants it to
to make a film about Hollywood.

166
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[Cumming] That was a siren call
which attracted Orson back to Hollywood.

167
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And this is where - the story really starts.

168
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In the setting at the Beverly Hills Hotel
on July 4, 1970.

169
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[man]
One day in 1970, near July 4,

170
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I'm at the Schwab Drug Store in Hollywood.

171
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[Cumming] This is cameraman Gary Graver.

172
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He shot - Orson's everything was directed
during the last 15 years of his life.

173
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[woman] Tell us how you met Orson Welles.

174
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[Graver] I read at Variety that Orson
Welles is at the Beverly Hills Hotel.

175
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I returned to the telephone booth,
called him...

176
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[telephone ringing]

177
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... and I was surprised,
he answered the phone.

178
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- "Hello?"
I said, "Oh, Orson Welles?"
- Hello?

179
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I said, "I'm Gary Graver,
. I'm an American cameraman."

180
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- [Welles] Come and say to me.
- "I have to talk to you."

181
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I want to do it now!

182
00:10:03,186 --> 00:10:05,626
And he said, "Get more
to the Beverly Hills Hotel soon."

183
00:10:06,564 --> 00:10:07,398
Wow!

184
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I rushed to the Beverly Hills Hotel,
knocking on the door,  and there Orson.

185
00:10:12,570 --> 00:10:15,615
- I said, "I want to work with you."
- Why?

186
00:10:15,740 --> 00:10:19,202
Orson said, "We will do some tests,
and if I like what you do,

187
00:10:19,285 --> 00:10:20,662
we will start the script."

188
00:10:20,954 --> 00:10:22,789
And I'm very worried about that.

189
00:10:22,872 --> 00:10:26,126
[Welles] Cut.
Come back again.
Stop it!
Gary, you have to listen to me.

190
00:10:27,127 --> 00:10:30,797
[Graver] The test, as you see here,
is an Orson shot

191
00:10:30,880 --> 00:10:34,509
sitting in Beverly Hills Hotel
rented bungalows,

192
00:10:34,801 --> 00:10:36,136
and I shot him.

193
00:10:36,469 --> 00:10:39,264
He said, "You are the second cameraman
that is what called me.

194
00:10:40,265 --> 00:10:42,767
The first is Gregg Toland
on Citizen Kane."

195
00:10:43,184 --> 00:10:44,352
He said, "Now you.  So, that means luck.

196
00:10:45,186 --> 00:10:46,563


197
00:10:47,522 --> 00:10:49,232
I want to work with you. "

198
00:10:50,275 --> 00:10:52,569
And we started making films titled:

199
00:10:52,652 --> 00:10:54,612
[overlapping sounds]
The Other Side of the Wind.  The Other Side of the Wind.
What is it?

200
00:10:58,074 --> 00:11:00,034
You can make yourself crazy
trying to get an answer for that one.

201
00:11:00,994 --> 00:11:04,622
[Cumming] The pride of this film
is that there are actually two films in one.

202
00:11:06,291 --> 00:11:10,461
[Welles] The Other Side of the Wind
is divided into two parts.

203
00:11:11,504 --> 00:11:15,341
which is the story of the last day
the director's life.

204
00:11:15,842 --> 00:11:19,470
And there is the film
which was made by the director,

205
00:11:20,013 --> 00:11:24,017
which has just broken
due to lack of funds.

206
00:11:25,894 --> 00:11:29,063
[woman] almost simultaneously moving together.

207
00:11:29,480 --> 00:11:32,317
[in French] So, what film is this?

208
00:11:33,526 --> 00:11:37,363
- This is the story of an old director.
- Yes?

209
00:11:39,115 --> 00:11:42,994


210
00:11:43,119 --> 00:11:49,083


211
00:11:49,167 --> 00:11:54,881
One generation is even older than me.
It's hard to imagine that.

212
00:11:54,964 --> 00:11:56,007
[chuckles]

213
00:11:56,883 --> 00:12:00,303
[man 1] The Other Side of Wind
is a film about an old film director.

214
00:12:00,386 --> 00:12:03,890
[woman] Too bad Hollywood
is not liked.

215
00:12:03,973 --> 00:12:05,892
[man 2] Great American film artists...

216
00:12:05,975 --> 00:12:07,953
[male 3] It was rejected in Hollywood,
went to Europe...

217
00:12:07,977 --> 00:12:09,646
[Woman 2] And come to Hollywood.

218
00:12:09,729 --> 00:12:12,065
That is a veiled version of himself.

219
00:12:12,148 --> 00:12:15,860
Good.
Will it make it
an autobiographical character for you?

220
00:12:15,944 --> 00:12:19,239
No. Everyone will think
is autobiography, but not.

221
00:12:19,739 --> 00:12:21,032
Yes.
Nonsense.

222
00:12:21,616 --> 00:12:24,176
- [man 2] Of course.
- [man 3] That must be an autobiography.

223
00:12:24,202 --> 00:12:25,429
[man 1] One hundred percent Orson.

224
00:12:25,453 --> 00:12:28,623
[man 4]
No doubt - this is an autobiographical film.

225
00:12:29,457 --> 00:12:30,667
[man 1] He hates it.

226
00:12:31,084 --> 00:12:34,295
He doesn't want to be analyzed
through his films.

227
00:12:36,673 --> 00:12:38,049
[man] Ten-hut!

228
00:12:39,008 --> 00:12:41,427
[man 1] Actually,
The Other Side of the Wind starts

229
00:12:41,511 --> 00:12:43,638
because of the conversation I have
with Orson.

230
00:12:43,721 --> 00:12:44,931
Who is Ini┬āman?

231
00:12:45,431 --> 00:12:48,643
[man] Peter Bogdanovich started
as a film historian.

232
00:12:48,726 --> 00:12:50,603
And Orson, he is my hero.

233
00:12:51,104 --> 00:12:54,399
He said, "Isn't it a shame you can't do it? A good little book about me?" [Chuckles]

234
00:12:55,191 --> 00:12:57,402
I said, "I would love to do it
an interview - book with you."

235
00:12:57,485 --> 00:12:58,685
He said, "Okay, let's do it."

236
00:13:00,280 --> 00:13:01,280
And he said...

237
00:13:01,406 --> 00:13:03,908
[Welles]
Do you know why I can't sleep last night?

238
00:13:03,992 --> 00:13:04,826
[Bogdanovich] Why?

239
00:13:04,909 --> 00:13:07,954
[Welles] I have that story
I've worked for years.

240
00:13:08,079 --> 00:13:11,124
[Bogdanovich] I said, "What is that?"
"Well, it's about an older film director

241
00:13:11,207 --> 00:13:14,252
and a young film director,
and betrayal

242
00:13:14,752 --> 00:13:16,170
of their" friendship "."

243
00:13:17,297 --> 00:13:18,381
Not that.

244
00:13:18,715 --> 00:13:22,760
[Welles] I'm crazy enough to do that
in preference to other things.

245
00:13:23,303 --> 00:13:25,823
- [Bogdanovich] Oughta immediately made it.
- [Welles] soon.

246
00:13:25,847 --> 00:13:27,265
[Bogdanovich] "I have to make it now."

247
00:13:30,560 --> 00:13:32,228
- [Welles] Cut.
- [laughter]

248
00:13:37,775 --> 00:13:41,446
[Bogdanovich] He called me and he said,
"What did you do on Thursday?"

249
00:13:41,988 --> 00:13:45,033
And I said, "I'm going to Texas to start my first film."

250
00:13:51,247 --> 00:13:53,041
But this was before all that.

251
00:13:53,958 --> 00:13:56,377
Orson said, "What time is your flight?"

252
00:13:56,586 --> 00:13:58,046
[chuckles] I said, "Three o'clock."

253
00:13:58,129 --> 00:14:02,592
He said, "Can you meet me during the day
where does the plane fly low above the street?"

254
00:14:02,842 --> 00:14:04,635
I said, "Yes, okay. What do we do?"

255
00:14:04,761 --> 00:14:07,201
"I will tell you about that when I see you.
Meet me during the day."

256
00:14:09,307 --> 00:14:11,410
- [man] Take one, second...
- [Welles] Let me announce it.

257
00:14:11,434 --> 00:14:13,770
Bus Studio,  Scene 55, Take one!

258
00:14:14,896 --> 00:14:16,105
Is the mic fine?

259
00:14:16,189 --> 00:14:19,275
[Bogdanovich]
At first, he told me to play cineaste,

260
00:14:19,567 --> 00:14:21,167
You know, there are men who write about films.

261
00:14:22,570 --> 00:14:24,530
Mr. Hannaford?
Uh, Mr. Hannaford.

262
00:14:24,614 --> 00:14:27,742
[Bogdanovich] Jake Hannaford
main character, an old director.

263
00:14:28,242 --> 00:14:31,079
Mr. Hannaford, uh,
in the body of your film,

264
00:14:31,245 --> 00:14:35,083
how significant will you be related to your father's suicide trauma?

265
00:14:35,458 --> 00:14:38,544
[Bogdanovich] Orson told me to do it
like Jerry Lewis.
And it's like,

266
00:14:38,795 --> 00:14:41,798
"Mr. Hannaford, do you think
that the cinema is like a phallus?"

267
00:14:42,673 --> 00:14:44,509
Orson thinks it's funny.

268
00:14:45,385 --> 00:14:49,639
I do things like Jerry
and break myself.
[laughs]

269
00:14:49,722 --> 00:14:50,890
He said, "Don't laugh!"

270
00:14:51,474 --> 00:14:52,975
He wants a free train.

271
00:14:53,976 --> 00:14:55,728
[Welles] Okay, come back!
Back!

272
00:14:55,812 --> 00:14:57,105
Sun goes into the lens.

273
00:14:59,232 --> 00:15:00,232
Mr. Hannaford!

274
00:15:00,650 --> 00:15:01,650
Mr. Hannaford?

275
00:15:02,735 --> 00:15:04,278
[woman chuckles]

276
00:15:05,738 --> 00:15:07,156
[Welles] This is a crazy picture.

277
00:15:07,323 --> 00:15:09,867
It's not a work of fiction,
it's a bit of everything.

278
00:15:10,243 --> 00:15:12,578
You hate it or hate it,
like most people.

279
00:15:12,662 --> 00:15:13,704
[audience laughs]

280
00:15:14,205 --> 00:15:16,416
This is a kind of departure in filming.

281
00:15:19,836 --> 00:15:22,547
The Other Side of the Wind
is structured around the party

282
00:15:22,630 --> 00:15:24,924
cast for the director,
Jake Hannaford.

283
00:15:25,508 --> 00:15:27,552
This gives him the opportunity to affirm
relevance  among the biggest names
from the new Hollywood movement.

284
00:15:27,635 --> 00:15:31,264
Orson starts shooting fragments
from this scene,

285
00:15:32,014 --> 00:15:34,725
and will continue to do it
for the next five years.

286
00:15:34,809 --> 00:15:38,980
[Welles] Chabrol, get one!

287
00:15:41,607 --> 00:15:43,484
[man] During party scenes,
Orson wants to have an actual filmmaker...

288
00:15:45,069 --> 00:15:48,739
Thank you.

289
00:15:49,198 --> 00:15:50,198
- [man]... in front of the camera.
- [Clapboard locked]

290
00:15:50,283 --> 00:15:51,993
- But then...
- [Welles] For Henry and Paul!

291
00:15:52,201 --> 00:15:54,287
- Roll five, take one.
- [laughs]

292
00:15:55,079 --> 00:15:57,623
He wants a little from two young directors.

293
00:15:57,832 --> 00:16:00,334
- Don't humble... Don't patronize me.
- Let me stay.
Alright, let me finish.

294
00:16:00,418 --> 00:16:03,713


295
00:16:03,796 --> 00:16:05,524
- If you are really honest...
- Can I talk to him?

296
00:16:05,548 --> 00:16:07,985
- Yes, but if you are an honest person...
- Can I talk to him or not?

297
00:16:08,009 --> 00:16:10,011
[man] Uh, Dennis Hopper appeared.

298
00:16:10,178 --> 00:16:14,891
[Welles] Dennis Hopper, filmmaker,
is the main lead actor.

299
00:16:15,016 --> 00:16:17,351
- [man] He's amazingly stoned...
- [laughter]

300
00:16:17,435 --> 00:16:19,353
... and is keeping Jake Hannaford away.

301
00:16:19,812 --> 00:16:22,356
- Jake, everyone knows about you.
- Yes I know.

302
00:16:23,065 --> 00:16:26,068
[Cumming] With the lead role
Jake Hannaford hasn't been cast yet,

303
00:16:26,486 --> 00:16:29,363
Welles plays the role of director
dead camera.

304
00:16:30,406 --> 00:16:32,783
[Welles]
Do you believe film is also magic?

305
00:16:32,950 --> 00:16:34,660
- [chuckles]
- Right.

306
00:16:34,744 --> 00:16:37,622
When Elvis Presley was 21 years old,
he came to me and said...

307
00:16:38,164 --> 00:16:41,167
He must do this fight scene.
He said, "I have never hit a woman before.  Must hit Debra Paget."

308
00:16:41,250 --> 00:16:42,960
And I said, "But you don't really hit people in movies."

309
00:16:43,753 --> 00:16:46,339
He said, "I think you will say it."
not really shooting real bullets on people.

310
00:16:46,422 --> 00:16:49,926
I have seen wood chips on the wall. "

311
00:16:50,009 --> 00:16:51,886
- [Welles] He said" that?
- Yes

312
00:16:51,969 --> 00:16:53,221
[Welles] Yes, but not you
the confusing reality with magic?

313
00:16:53,888 --> 00:16:56,432
In other words, ┬ I believe
people will believe anything in movies.

314
00:16:56,516 --> 00:17:00,603
[chuckles]

315
00:17:01,103 --> 00:17:02,103
[Welles] The reality is very bad,
items that are weak compared to magic.

316
00:17:02,522 --> 00:17:06,108
[man] Orson is a person who strongly believes in magic.

317
00:17:09,070 --> 00:17:10,988


318
00:17:11,155 --> 00:17:15,535
Ideas - maybe...
maybe what you see is not real.
[chuckles]

319
00:17:16,452 --> 00:17:20,456
You might be wondering
why do I look weird on television.

320
00:17:21,332 --> 00:17:23,793
And that's part of it, I have to confess to you,

321
00:17:24,877 --> 00:17:27,129
the fact that you see my nose like that.

322
00:17:30,591 --> 00:17:32,468
[woman] He is really a very handsome man.

323
00:17:32,552 --> 00:17:35,471
He always hides it with a different nose.
He doesn't like it,

324
00:17:35,555 --> 00:17:38,140
he thinks it's too weak
or something.
I like the nose.

325
00:17:38,599 --> 00:17:40,309
[interviewer] He changed the nose?
Oh

326
00:17:41,811 --> 00:17:44,939
In most of the films that I show,
I'm wearing a fake nose,

327
00:17:45,606 --> 00:17:47,608
is usually as large as I can find.

328
00:17:49,694 --> 00:17:52,196
[man] He said, "All my life,
I've been hiding behind a mask."

329
00:17:52,613 --> 00:17:56,117
And he created the
wall with these masks,

330
00:17:57,076 --> 00:17:58,869
hides the real Orson.

331
00:18:05,960 --> 00:18:09,255
[Welles] The Other Side of the Wind
is fully masked.

332
00:18:10,172 --> 00:18:11,340
In other words,

333
00:18:12,091 --> 00:18:14,802
a party shot by a documentary crew

334
00:18:14,885 --> 00:18:18,055
in a style that would never have been
my style as a film director.

335
00:18:18,347 --> 00:18:22,268
And the movie in the movie
is imitating me  the character of my director
tried to make an art film.

336
00:18:22,727 --> 00:18:26,689
[Welles in French] This is not my film.

337
00:18:27,607 --> 00:18:29,066
- It's a film by its character.
- Yes!

338
00:18:29,150 --> 00:18:31,152
[Welles in English]
You will see a movie in a film

339
00:18:31,861 --> 00:18:34,405
it's not a movie I've ever made.

340
00:18:34,488 --> 00:18:36,699
There is no plot.

341
00:18:37,783 --> 00:18:38,826
The point is about my character
chasing a girl,

342
00:18:39,118 --> 00:18:42,788
chasing him or something.

343
00:18:43,039 --> 00:18:44,957
A small game "catch me if you can."

344
00:18:45,124 --> 00:18:47,001
That's pretty clear
film made by Hannaford

345
00:18:47,084 --> 00:18:49,920


346
00:18:50,588 --> 00:18:55,384
is Orson & sosáattempt┬áto satirize
European atmosphere theater.

347
00:18:55,593 --> 00:18:57,511
[man] Which was popular in the 60s.

348
00:19:01,140 --> 00:19:03,517
[Welles in French]
And it's very funny to make,

349
00:19:03,601 --> 00:19:06,062
because I have freedom, joy,

350
00:19:06,479 --> 00:19:10,358
to make films that are not films
by Orson Welles.

351
00:19:11,776 --> 00:19:12,610
Yes.

352
00:19:12,693 --> 00:19:15,488
Because this is a film made with a mask.

353
00:19:17,490 --> 00:19:19,033
[male 1] With this film,

354
00:19:19,408 --> 00:19:22,203
Mr. Welles is a professional
who became an amateur.

355
00:19:23,162 --> 00:19:24,205
And it works.

356
00:19:25,414 --> 00:19:28,417
[man 2] Pretty much everything
All he does is save money.

357
00:19:29,377 --> 00:19:31,879
[man 3]
Because Orson paid to shoot himself.

358
00:19:33,589 --> 00:19:36,384
[man 2] Gary Graver gave him a small and precise crew.

359
00:19:36,467 --> 00:19:38,010
[Welles] Oh, boy!

360
00:19:38,094 --> 00:19:40,179
[crew clapping, cheering]

361
00:19:40,262 --> 00:19:44,767
[man 4] By the way, Frank Marshall,
producer Indiana Jones,

362
00:19:45,017 --> 00:19:47,645
- Isn't he part of the crew?
- [man 2] Yes.

363
00:19:48,062 --> 00:19:51,732
That was before I understood what was done by a producer.
[chuckles]

364
00:19:52,566 --> 00:19:55,444
[man 5] There are noble feelings
freedom and innocence

365
00:19:55,528 --> 00:19:58,614
what Welles  always wants.

366
00:19:59,240 --> 00:20:02,284
Because they made up
when they left.

367
00:20:04,203 --> 00:20:06,956
[man 4] We have the whole crew
who will let him do anything.

368
00:20:07,456 --> 00:20:10,000
The only one who doesn't give him a flak
is Oja.

369
00:20:10,543 --> 00:20:11,544
[Welles] It's called...

370
00:20:13,003 --> 00:20:15,256
is Oja.
Oja Kodar.

371
00:20:17,299 --> 00:20:19,593
[Cumming] Bintang and co-authors

372
00:20:19,677 --> 00:20:24,473
the film in the film
is a young Croatian artist, Oja Kodar.

373
00:20:25,433 --> 00:20:27,309
She's also Orson's lover.

374
00:20:28,602 --> 00:20:31,856
[man 1] Orson only loves Oja,
it is the love of his life.

375
00:20:32,606 --> 00:20:35,901
[man 2] And he considers it
an artistic collaborator.

376
00:20:37,236 --> 00:20:39,905
[in Croatia] When we first met...

377
00:20:40,531 --> 00:20:41,531
um...

378
00:20:43,409 --> 00:20:44,785
I'm still very young...

379
00:20:45,494 --> 00:20:47,621
[Oja in English]
For me, he looked threatening.

380
00:20:47,705 --> 00:20:49,165
[Oja young continues to be unclear]

381
00:20:49,248 --> 00:20:50,875
[Oja lama] With his robe...

382
00:20:51,333 --> 00:20:54,086
he is the personification
of the wind itself.

383
00:20:55,296 --> 00:20:57,548
But I know the other side of this wind.

384
00:20:58,382 --> 00:21:02,344
Because Orson is an
wind that is capable of caressing you,

385
00:21:02,428 --> 00:21:05,556
lifts you, makes you dance.

386
00:21:05,765 --> 00:21:07,183
[Welles] It's time for recognition.

387
00:21:07,558 --> 00:21:11,228
- [man] Um... he's also married.
- Good night, Oja.

388
00:21:11,479 --> 00:21:13,481
[woman] Olga... I call her Olga.

389
00:21:13,606 --> 00:21:15,232
That's the real name, you know?

390
00:21:15,524 --> 00:21:19,612
My father was fascinated by this double life.

391
00:21:20,738 --> 00:21:23,199
It becomes interesting
and it's not boring,

392
00:21:23,699 --> 00:21:25,826
this incredible double life.

393
00:21:27,453 --> 00:21:29,705
Why is my mother married,
I will never know.

394
00:21:30,539 --> 00:21:33,042
But... that's the choice.

395
00:21:35,294 --> 00:21:38,172
[Welles] We leave Miss Kodar,
for now.

396
00:21:41,801 --> 00:21:44,970
[man 1] Orson has shot
this material for years

397
00:21:45,095 --> 00:21:48,182
with his own money, with the hope that he can collect more money  complete when people see
what is he an hero.

398
00:21:48,265 --> 00:21:50,392
But I don't think he tried to get
funds from the studio at first.

399
00:21:50,643 --> 00:21:55,356
[Cumming] In fact, Orson sneaked
into an abandoned studio backlots  with pseudonym
and filming┬ complicated criticism

400
00:21:57,775 --> 00:22:02,071
Hollywood itself.

401
00:22:02,154 --> 00:22:05,157
Is that revenge?

402
00:22:05,574 --> 00:22:06,867
[Woman 1] The Magnificent Ambersons
is the beginning

403
00:22:08,786 --> 00:22:09,954


404
00:22:12,206 --> 00:22:15,209


405
00:22:15,292 --> 00:22:19,672
from what we can call...
the betrayal period.

406
00:22:20,214 --> 00:22:24,134
[woman 2]
My father was betrayed by many people.

407
00:22:24,885 --> 00:22:27,555
Does he bring it to himself?
Who knows?

408
00:22:28,681 --> 00:22:29,681
Maybe.

409
00:22:31,684 --> 00:22:34,103
[Oja]
While editing The Magnificent Ambersons,

410
00:22:34,186 --> 00:22:37,147
Orson is practically ordered
by the US government

411
00:22:37,231 --> 00:22:39,984
to go to Brazil to make a documentary.

412
00:22:40,484 --> 00:22:42,278
[Welles] So I arranged for filming

413
00:22:43,070 --> 00:22:44,572
a voodoo witch doctor.

414
00:22:44,697 --> 00:22:47,575
And I returned to the office
and found it, on my desk,

415
00:22:47,741 --> 00:22:49,410
in film script...

416
00:22:50,911 --> 00:22:52,663
is a long steel needle.

417
00:22:54,623 --> 00:22:56,375
This is a sign of voodoo.

418
00:22:59,336 --> 00:23:01,672
When I was in South America,

419
00:23:01,964 --> 00:23:04,049
the studio sees Ambersons

420
00:23:04,258 --> 00:23:06,176
and say it's too down-beat.

421
00:23:06,719 --> 00:23:08,971
- [grimace]
- And they started to cut it.

422
00:23:09,597 --> 00:23:13,267
[man] The editor used to send the
telegram said,

423
00:23:13,350 --> 00:23:15,561
"Come back from Brazil.  They take photos of The Ambersons again.
We are all bound by contracts.

424
00:23:16,312 --> 00:23:20,524
We can't do anything about it.
You are the only one who can stop it.

425
00:23:20,608 --> 00:23:24,987
Back "

426
00:23:25,279 --> 00:23:26,322
And he doesn't know.

427
00:23:27,573 --> 00:23:28,573
[Welles] I was fired by the studio.

428
00:23:30,159 --> 00:23:31,827
I have never recovered from the attack.

429
00:23:32,578 --> 00:23:34,663
They destroyed Ambersons  and destroy me.

430
00:23:36,040 --> 00:23:37,750
I didn't get a job as director
for years afterwards.

431
00:23:38,250 --> 00:23:40,377
[man] He is considered someone
who doesn't really care

432
00:23:42,004 --> 00:23:44,965
about the commerciality of a project

433
00:23:48,177 --> 00:23:50,971
by many people in Hollywood.

434
00:23:51,055 --> 00:23:53,140
Therefore, Orson needs to get funding
from non-traditional sources.

435
00:23:53,641 --> 00:23:54,892
And, finally, it works.

436
00:23:55,726 --> 00:24:00,189


437
00:24:00,564 --> 00:24:02,942


438
00:24:03,943 --> 00:24:06,445
[Woman 1] But, about the money,
this is complicated.

439
00:24:07,279 --> 00:24:10,950
When I was there,
it was Spanish producer...

440
00:24:11,033 --> 00:24:13,285
- [man 2] Andrés Gómez.
- [man 1] Right, Andrés Gómez.

441
00:24:13,535 --> 00:24:17,581
I am not a movie star,
but I found money.

442
00:24:18,123 --> 00:24:20,709
[Male 3] We have money from G├│mez,
but we need more.

443
00:24:20,960 --> 00:24:24,713
[man 2] So, Orson found French producer
Dominique Antoine.

444
00:24:24,797 --> 00:24:27,257
[Antoine]
Yes, so I had money at that time

445
00:24:27,341 --> 00:24:30,678
because I┬aad made an association
with Shah's brother-in-law.

446
00:24:30,761 --> 00:24:32,012
[male 1] Shah of Iran.

447
00:24:32,221 --> 00:24:33,847
[man 2] And he has a dictatorship.

448
00:24:34,181 --> 00:24:37,351
[Antoine]
Brother-in-law and I created together

449
00:24:37,434 --> 00:24:39,436
company
is called Les Films de L & apos; Astrophore.

450
00:24:39,520 --> 00:24:40,771
[male 3] L & apos; Astrophore.

451
00:24:40,854 --> 00:24:43,691
The Iran company based in Paris.

452
00:24:44,525 --> 00:24:48,612
[Antoine] So, I said to Orson, "Another Side of the Wind, of course, we do it."  [man] I believe he came
with a bag full of money.

453
00:24:51,281 --> 00:24:54,660
[Antoine]
Orson like the Cheshire Cat.

454
00:24:54,743 --> 00:24:57,371
With a smile from one ear
to the other.
And he snores.

455
00:24:57,454 --> 00:25:02,209
[Antoine purring]

456
00:25:02,584 --> 00:25:04,670
[birds screaming]

457
00:25:04,753 --> 00:25:06,338
- [Oja] Money makes a miracle.
- [Welles] Yes.

458
00:25:07,423 --> 00:25:09,758
- [birds screaming]
- [Welles] Yes.

459
00:25:10,384 --> 00:25:12,219
You are a bad boy, and you know that.

460
00:25:12,928 --> 00:25:14,680
Confused?

461
00:25:16,473 --> 00:25:17,473
Don't worry about that.
That is not the most important thing.

462
00:25:18,434 --> 00:25:21,478
What's important

463
00:25:21,895 --> 00:25:23,313
did Orson finally have the money
for his comeback film.

464
00:25:23,605 --> 00:25:27,067


465
00:25:28,027 --> 00:25:30,696
What he doesn't have is a prominent man.

466
00:25:33,741 --> 00:25:36,243
[Bogdanovich]
I remember one time we were in Paris,

467
00:25:36,452 --> 00:25:39,955
and he has recorded it a lot
without the main character.

468
00:25:40,330 --> 00:25:42,082
[interviewer] Are you going to play the director?

469
00:25:42,499 --> 00:25:44,626
[Welles]
Who has to play it is John Huston.

470
00:25:46,587 --> 00:25:48,797
Huston is the best,
and I'm the second best.

471
00:25:49,131 --> 00:25:51,884
If I can't get Huston,
is no one other than me.

472
00:25:51,967 --> 00:25:52,967
[interviewer] Yes.

473
00:25:53,093 --> 00:25:55,813
[Bogdanovich] And he sort of paced up and down the road, said,

474
00:25:55,929 --> 00:25:59,224
"But why should I give it to Huston? That's
mostly, I have to play it myself."

475
00:26:01,643 --> 00:26:03,145
[Welles] If I have to...

476
00:26:03,937 --> 00:26:07,357
pretty close to the pearl gate
to fight

477
00:26:07,441 --> 00:26:09,151
with the man who opened it,

478
00:26:09,818 --> 00:26:13,280
I would suggest that the reason is
to let me go to heaven

479
00:26:13,405 --> 00:26:15,741
is that I don't play that beautiful part.

480
00:26:15,866 --> 00:26:17,868
[audience chuckles]

481
00:26:18,243 --> 00:26:20,454
[Welles]
And gave it to John Huston.

482
00:26:20,913 --> 00:26:24,583
This is part of the selflessness that I regretted since.

483
00:26:24,666 --> 00:26:27,044
- [roaring laughter]
- [audience laughs]

484
00:26:29,505 --> 00:26:33,008
[Oja] John Huston was
The sexiest old devil I have ever met.

485
00:26:35,260 --> 00:26:36,512
I try to live...

486
00:26:37,554 --> 00:26:40,015
live life as best you can.

487
00:26:41,350 --> 00:26:42,893
[Antoine] Why does he want John Huston?

488
00:26:43,393 --> 00:26:45,604
They love - outside of others, they are brothers!

489
00:26:45,687 --> 00:26:47,564
[laughs]

490
00:26:47,898 --> 00:26:51,193
[man] The thing about Orson Welles
and my father is that they really are

491
00:26:51,735 --> 00:26:54,446
able to revive their own mythology

492
00:26:55,197 --> 00:26:57,241
and camping - wake up a little.

493
00:26:58,909 --> 00:27:02,162
That's a lot of smoke and mirrors.
You don't know what's real and what's not.

494
00:27:02,246 --> 00:27:03,872
And that is what they play.

495
00:27:05,332 --> 00:27:09,419
They have known each other to many people,
and they are both rapscallions.

496
00:27:10,796 --> 00:27:12,506
John likes Orson Welles.

497
00:27:16,885 --> 00:27:18,971
And he received a call one morning,

498
00:27:19,054 --> 00:27:22,057
and he said, "Oh, my God!"
And I said, "What?"
He said, "This is Orson.

499
00:27:24,643 --> 00:27:27,563
He wants me to come to Carefree, Arizona."

500
00:27:27,688 --> 00:27:29,148
[playing heavy rock music]

501
00:27:38,115 --> 00:27:40,742
[man 1]
Gary called me around 10:00 a.m.

502
00:27:40,868 --> 00:27:44,079
"Mike, can you be in Arizona tomorrow?"

503
00:27:44,163 --> 00:27:46,331
[man 2] "Orson put together
filming ten days."

504
00:27:46,415 --> 00:27:49,042
[man 3] I will go down for ten days.
He needs me.

505
00:27:49,126 --> 00:27:52,296
[man 4] Go to the desert
in the middle of nowhere.

506
00:27:52,379 --> 00:27:55,340
[man 2] "This will be like summer camp,
I don't know if there is money.

507
00:27:55,424 --> 00:27:58,135
- Are you interested?"
- And I said, "Yes."

508
00:27:58,218 --> 00:27:59,978
- "Yes. Sounds like fun."
- Of course.

509
00:28:00,053 --> 00:28:02,014
I'm driving to Arizona.

510
00:28:02,472 --> 00:28:05,642
I suddenly - seen
and there was a Zabriskie Point house.

511
00:28:07,686 --> 00:28:10,731
[man 1] This is definitely not a coincidence  that the location Orson chose
for filming in Arizona

512
00:28:10,814 --> 00:28:14,193
actually the house next to

513
00:28:14,818 --> 00:28:17,446
to home┬Antonioni exploded
at Zabriskie Point.

514
00:28:17,529 --> 00:28:20,949
[Bogdanovich]
On the Other Side of the Wind,

515
00:28:24,620 --> 00:28:26,496
Orson wants to push further
than Antonioni.

516
00:28:26,580 --> 00:28:28,832
[man 1] Orson is the most important
independent filmmaker.

517
00:28:29,875 --> 00:28:32,961
I am part of the core crew, not from 80,

518
00:28:34,588 --> 00:28:36,882
but six people plus Orson.

519
00:28:37,466 --> 00:28:40,135


520
00:28:40,969 --> 00:28:43,722
[Antoine]
He wants to be in a kind of circus.

521
00:28:44,973 --> 00:28:46,600
Full of oyoyoyo people.

522
00:28:47,309 --> 00:28:49,937
I fell right in the cream keg.

523
00:28:50,520 --> 00:28:52,200
You know,
I fell right in the middle.

524
00:28:53,065 --> 00:28:56,235
For me to have luck
to work with Orson Welles,

525
00:28:56,902 --> 00:29:01,240
oh, that's very interesting,
even when it's difficult.

526
00:29:06,578 --> 00:29:09,122
[man] I mean, the first day of filming,
he fired the healthy man.

527
00:29:09,623 --> 00:29:12,501
Can you just slow down?
Otherwise I will fall from the car.

528
00:29:14,586 --> 00:29:16,797
[woman]
The work of everyone is very difficult.

529
00:29:16,880 --> 00:29:19,591
[Male 1] I have built sets, schlep sets,
hanging lamps.

530
00:29:19,675 --> 00:29:22,886
[woman] This young man, very worried
to get this thing for Orson

531
00:29:22,970 --> 00:29:26,181
- That he ran through the glass plate.
- [man 1] Destroy it.

532
00:29:26,390 --> 00:29:28,100
Fortunately, I walked very fast...

533
00:29:28,183 --> 00:29:30,602
[Male 1] He is in the living room
before the glass piece

534
00:29:30,686 --> 00:29:33,689
has finished flowing down the floor.

535
00:29:34,273 --> 00:29:36,400
- [man 2] Oh, that's great.
- [woman] That - crazy.

536
00:29:36,483 --> 00:29:37,859
[man 1] That's crazy,

537
00:29:38,402 --> 00:29:42,030
but that's the kind of thing that happens
to people who work like Orson.

538
00:29:43,490 --> 00:29:46,410
I chose John Huston at the
airport in Phoenix.

539
00:29:47,744 --> 00:29:49,955
[man 3] I said, "Mr. Huston,
I am glad you are here."

540
00:29:50,163 --> 00:29:53,166
I said, "We've been waiting for you
for three years in this film.

541
00:29:53,250 --> 00:29:56,420
We have shot at you."
And Huston looked very worried.
He said,

542
00:29:57,254 --> 00:29:59,881
"Have you acted in this photo
for three years?"

543
00:30:01,633 --> 00:30:03,385
Write it down, someone.

544
00:30:03,760 --> 00:30:05,971
[crew laughs]

545
00:30:06,596 --> 00:30:07,596
[Welles] Cut.

546
00:30:07,931 --> 00:30:10,142
- I make love.
- [Welles] LetΓÇÖs do it one more time.

547
00:30:10,225 --> 00:30:12,602
Small, still masculine campier.

548
00:30:13,437 --> 00:30:14,437
Once again.

549
00:30:15,522 --> 00:30:18,900
[man 3] The Other Side of the Wind
is not a complete departure for Orson.

550
00:30:19,192 --> 00:30:20,902
[man 1] And that is reflected

551
00:30:20,986 --> 00:30:25,365
the process that Orson
has gone through in Europe in making his own films.

552
00:30:26,074 --> 00:30:27,701
[Cumming] Welles well means

553
00:30:27,784 --> 00:30:30,454
that he was exiled from the
facility from Hollywood.

554
00:30:31,330 --> 00:30:33,373
[Welles] I have a different style
as a director,

555
00:30:33,874 --> 00:30:35,876
because I know things that I can't ask for.

556
00:30:36,626 --> 00:30:38,462
[man 1] For example, with Othello,

557
00:30:38,754 --> 00:30:42,049
there is a fight scene
where the punch is thrown,

558
00:30:42,341 --> 00:30:44,217
but then production must be closed

559
00:30:44,301 --> 00:30:47,012
while Orson goes
to make more money - as an actor.

560
00:30:47,637 --> 00:30:50,932
And the reaction shot
from the person who was hit

561
00:30:51,475 --> 00:30:54,895
shot two years later
and a thousand miles away.

562
00:30:57,022 --> 00:30:58,065
It works.

563
00:30:59,274 --> 00:31:01,114
[man 2]
Who would have thought that was possible?

564
00:31:02,319 --> 00:31:05,572
- [audience applauds]
- [optimistic music playing on the show]

565
00:31:10,035 --> 00:31:11,078
Good evening.

566
00:31:11,787 --> 00:31:12,788
Now...

567
00:31:13,330 --> 00:31:17,250
the first thing you might ask
yourself is, "What is Orson Welles

568
00:31:18,251 --> 00:31:20,003
doing as the┬ahost of a comedy show?"

569
00:31:21,755 --> 00:31:27,094
[man] I met Orson at Kopykats, the performance
we did with a group of imitators.

570
00:31:27,177 --> 00:31:28,845
[Announcer] Starring Rich Little.

571
00:31:29,012 --> 00:31:32,432
[Little]
I was in the studio doing a routine

572
00:31:32,724 --> 00:31:35,519
called "Famous Celebrity Sneezing."

573
00:31:35,852 --> 00:31:38,146
[imitating Donald Duck sneezing]

574
00:31:39,231 --> 00:31:41,733
I said, "Orson Welles, sneeze."

575
00:31:41,942 --> 00:31:45,862
I don't know that he just came
into the studio.
I go...

576
00:31:46,530 --> 00:31:49,574
[deep, dramatic voice] "Aah-aah-choo."

577
00:31:50,367 --> 00:31:52,911
And he put his arm on my shoulder
and said...

578
00:31:53,745 --> 00:31:55,831
"I never sneezed."

579
00:31:56,623 --> 00:31:58,834
[laughs]

580
00:31:59,418 --> 00:32:00,418
We click.

581
00:32:00,836 --> 00:32:04,047
Well, well, Orson, I don't know how
this event can benefit you.

582
00:32:04,131 --> 00:32:05,549
[audience laughs]

583
00:32:08,260 --> 00:32:10,178
[phone rings]

584
00:32:13,473 --> 00:32:17,936
[Small] He called me at home, and told me
about this film, The Other Side of the Wind,

585
00:32:18,353 --> 00:32:22,566
and am I interested in playing
a wide-eyed young director.

586
00:32:23,567 --> 00:32:25,610
I said, "Good, good.  Only one condition.
That I have
for shooting my scene in about three weeks."

587
00:32:25,694 --> 00:32:30,198
He said,   "Oh, no, no.
I might need you for about a week."

588
00:32:30,490 --> 00:32:35,245
When I was introduced to John Huston,

589
00:32:37,789 --> 00:32:39,958
Orson approached him and said,
"John, this is... Rich Little.

590
00:32:40,041 --> 00:32:44,087


591
00:32:44,421 --> 00:32:48,550
He is one of the world's biggest impressionists. "

592
00:32:49,509 --> 00:32:50,719
And John Huston said:

593
00:32:50,886 --> 00:32:54,347
[imitating Huston]" Oh well,
then we will be fine,

594
00:32:54,431 --> 00:32:57,017
because I like art, you know. "

595
00:32:58,310 --> 00:33:01,021
[imitating Welles]
" No, no, not some kind of impressionist.

596
00:33:01,688 --> 00:33:02,856
He does the sound. "

597
00:33:05,108 --> 00:33:08,653
[imitating Huston]" Why did he do that?
Why can't they get real people? "

598
00:33:09,446 --> 00:33:11,072
[small laughter]

599
00:33:13,950 --> 00:33:16,244
[Cumming]
Orson fills films with

600
00:33:16,328 --> 00:33:18,622
characters based on film community icons.

601
00:33:19,873 --> 00:33:21,917
Like screenwriter John Milius.

602
00:33:23,043 --> 00:33:24,753
Film critic Pauline Kael.

603
00:33:25,337 --> 00:33:28,131
I only want to know what he represents.  [Cumming] And head
Paramount Pictures, Robert Evans.  I started looking for the figure of Rich Little
should be Peter.

604
00:33:28,215 --> 00:33:31,635
[audience applauds]

605
00:33:32,594 --> 00:33:35,597


606
00:33:35,680 --> 00:33:36,848


607
00:33:37,724 --> 00:33:42,729
The character is young,
successful director who imitates.

608
00:33:42,896 --> 00:33:44,773
And that's what Peter did.

609
00:33:45,315 --> 00:33:46,566
I'm Peter Bogdanovich.

610
00:33:47,275 --> 00:33:49,778
What do I say?
Oh, action!

611
00:33:50,946 --> 00:33:55,283
And then I started thinking, "Well,
is John Huston supposed to be Orson?"

612
00:33:56,409 --> 00:34:00,080
I remember - thinking, "Oh, my goodness, this is starting to become very strange." ¥

613
00:34:02,374 --> 00:34:04,918
I remember the one time we filmed...

614
00:34:05,377 --> 00:34:06,377
Brooksie.

615
00:34:06,586 --> 00:34:09,714
- Here, beside you, captain.
- Do you know what I want for my birthday?

616
00:34:10,715 --> 00:34:11,715
[Welles] Cut.

617
00:34:12,092 --> 00:34:13,510
John can't drive.

618
00:34:14,469 --> 00:34:16,596
And he never gave us this.

619
00:34:16,680 --> 00:34:18,390
- My camera is gone.
- Oh, Jesus!

620
00:34:18,515 --> 00:34:21,395
- [man 1] Of course, that is a stick shift.
- Give me a magazine, fast!

621
00:34:21,768 --> 00:34:24,288
[man 1] And I'm a bit worried,
Because I have to return the car.

622
00:34:24,354 --> 00:34:26,064
- It's stopped.
- The magazine jammed.

623
00:34:26,147 --> 00:34:27,482
The car also stopped.

624
00:34:27,983 --> 00:34:29,734
[engine racing]

625
00:34:29,818 --> 00:34:33,029
- Let's put it in the drive.
On "D."
- [grinding gear]

626
00:34:33,905 --> 00:34:36,305
[Little] Looks like we're going to go
directly to the lake.

627
00:34:37,659 --> 00:34:38,743
John said to me,

628
00:34:39,077 --> 00:34:41,705
"Oh, Rich, you will get a good bill."

629
00:34:41,788 --> 00:34:45,834
& apos; Orson Welles, John Huston,
and Kaya Kecil,

630
00:34:46,710 --> 00:34:48,044
all sink & apos; "

631
00:34:48,378 --> 00:34:50,297
[small laugh]

632
00:34:53,717 --> 00:34:56,678
This is a picture of love for death.

633
00:34:57,178 --> 00:34:59,139
You came to my party after all.

634
00:35:00,098 --> 00:35:01,766
Enter. I'll take you.

635
00:35:09,524 --> 00:35:12,485
[Bogdanovich] This is Jake Hannaford's
70th birthday party.

636
00:35:13,945 --> 00:35:15,322
He died at the end.

637
00:35:15,947 --> 00:35:20,118
[man 1] And there are some questions
whether it is an accident or suicide.

638
00:35:21,536 --> 00:35:25,081
[Bogdanovich] So, what you see
is reconstruction...

639
00:35:25,165 --> 00:35:27,834
- Roll tape!
- 40, David, take six.

640
00:35:28,752 --> 00:35:32,130
[Bogdanovich]... consists of all this
different recordings, all put together.

641
00:35:32,797 --> 00:35:35,467
- Mr. Hannaford.
- Happy birthday, Jake!

642
00:35:36,134 --> 00:35:40,096
[man] All documentaries, the like
that we are all very familiar with today,

643
00:35:41,014 --> 00:35:42,390
he is - preventing.

644
00:35:42,474 --> 00:35:43,892
[Viewers shout] Happy birthday!

645
00:35:44,017 --> 00:35:47,604
[man 2] And for that, Gary might be the ideal cameraman  because Gary was very fast.

646
00:35:47,687 --> 00:35:49,397
[man 3] Gary Graver is the key person
in the film.

647
00:35:52,192 --> 00:35:55,111
He's the closest person to Orson.

648
00:35:55,362 --> 00:35:57,947
[man 1] Gary really is like his son
Orson doesn't have.

649
00:35:58,907 --> 00:36:02,827


650
00:36:03,662 --> 00:36:06,706
Orson and Gary, father...

651
00:36:07,248 --> 00:36:08,333
Not so much.

652
00:36:08,917 --> 00:36:10,960
- Orson is not a father.
- [Welles] Action.

653
00:36:11,169 --> 00:36:14,631
Back!
Back, backup,
backup.
Immediately!

654
00:36:14,714 --> 00:36:17,217
- Rise!
Up!
Up!
- [woman] Bored, huh.

655
00:36:17,842 --> 00:36:18,968
Paternal, no.

656
00:36:19,552 --> 00:36:21,012
[Welles] It's slower!
Stop!

657
00:36:22,055 --> 00:36:23,139
Move slowly!

658
00:36:24,140 --> 00:36:26,142
[no sound]

659
00:36:26,851 --> 00:36:29,813
[man] The enthusiasm of my father Gary
for making films

660
00:36:29,896 --> 00:36:32,315
is something I don't think about
I've seen it equal.

661
00:36:33,066 --> 00:36:37,612
Every time my father
is not actively involved in shooting,

662
00:36:37,696 --> 00:36:39,906
he saw that time was gone.

663
00:36:42,283 --> 00:36:44,744
[woman]
Gary and I, we got married when I was 21 years old.

664
00:36:45,787 --> 00:36:48,415
And if he is scheduled
is at home at 10:00,

665
00:36:48,540 --> 00:36:52,961
and it lasted until 4:00 in the morning,
oh, fine, he stayed.

666
00:36:55,046 --> 00:36:56,046
[Welles] Action!

667
00:36:56,715 --> 00:36:58,925
[Bogdanovich] Gary did what he was told.

668
00:36:59,259 --> 00:37:01,428
Orson puts the camera where he wants to,

669
00:37:01,511 --> 00:37:04,264
and Gary, you know, is only his slave.

670
00:37:05,056 --> 00:37:08,435
[man] Orson will have a camera
his eyes and he said, "Come here, Gary."

671
00:37:08,643 --> 00:37:13,106
And then he moved his head to the side,
and he said, "Here it is, see that?"

672
00:37:14,816 --> 00:37:16,776
And I have to make it right.

673
00:37:20,029 --> 00:37:22,574
[man 1] When I look back,
It's very complicated.

674
00:37:23,742 --> 00:37:25,076
You want to please him,

675
00:37:25,160 --> 00:37:27,579
because you know he is an artist.

676
00:37:28,997 --> 00:37:31,166
[man 2]
I mean, mungkin something that is possible with Orson.

677
00:37:31,499 --> 00:37:33,219
[male 1]
Everything must happen soon,

678
00:37:33,251 --> 00:37:35,962
even when we don't understand what we do.

679
00:37:36,963 --> 00:37:38,006
There is no script.

680
00:37:39,048 --> 00:37:41,926
[woman] She keeps writing it
when she goes together.

681
00:37:42,010 --> 00:37:44,345
And fiddy-owney-owney-own!

682
00:37:44,429 --> 00:37:46,824
[Male] Sometimes I have a problem
understand some lines.

683
00:37:46,848 --> 00:37:47,682
What?

684
00:37:47,766 --> 00:37:50,769
I remember that line
great "anonymous gang-shag".

685
00:37:50,852 --> 00:37:54,063
"And the cold, dim, anonymous gang-shag."

686
00:37:54,147 --> 00:37:56,858
[man] And I don't know what it really means.
[chuckles]

687
00:37:57,275 --> 00:38:01,529
Did someone please tell me
why did I go to a stupid party

688
00:38:01,613 --> 00:38:04,032
with all these stupid dolls?

689
00:38:04,824 --> 00:38:06,785
[man] I don't know what all these dolls are.

690
00:38:06,868 --> 00:38:08,578
[man 2]
There are dummies by the pool.

691
00:38:08,703 --> 00:38:11,539
They were there because Orson said,
"Let's put these dolls out there."

692
00:38:12,123 --> 00:38:13,416
But it's like, "Well, why?"

693
00:38:13,917 --> 00:38:15,502
[man 3] It doesn't make sense to me.

694
00:38:16,085 --> 00:38:18,797
[man 4]
But Orson knew exactly what he wanted.

695
00:38:19,214 --> 00:38:21,341
Every part is here.

696
00:38:21,800 --> 00:38:22,800
For Baker,  one.

697
00:38:23,426 --> 00:38:26,012
[Little]
We are doing a scene and Orson says...

698
00:38:26,179 --> 00:38:28,139
[Welles]
Now midget goes from behind you...

699
00:38:28,723 --> 00:38:31,059
You all feel the midget touches your feet.

700
00:38:31,309 --> 00:38:33,520
[Little]
"Midget runs between your legs."

701
00:38:33,728 --> 00:38:35,522
- Alright.
- Continue acting?

702
00:38:35,605 --> 00:38:37,482
This is what you did to make this work, right?

703
00:38:37,565 --> 00:38:41,236
[Little] Orson said, "Everyone is looking for!
Crazy on the roof!"

704
00:38:41,903 --> 00:38:45,240
I said, "Orson, what's the matter
is this a midget bit?"

705
00:38:45,824 --> 00:38:49,828
And he said, "We will put the midget later, in Spain."

706
00:38:50,411 --> 00:38:52,038
And then leave.

707
00:38:54,707 --> 00:38:57,502
The rule of thumb is
Orson knows what he is doing,

708
00:38:57,794 --> 00:39:00,713
don't ask anything.
Just do it.

709
00:39:01,256 --> 00:39:04,259
I'm not sure he knows where this film
goes, and, um...

710
00:39:04,759 --> 00:39:07,303
I'm not sure anyone did it, actually.
[chuckles]

711
00:39:09,347 --> 00:39:13,309
[man 1] It's quite clear that Rich isn't comfortable with the Orson process.

712
00:39:13,810 --> 00:39:15,061
Not a team player.

713
00:39:15,728 --> 00:39:18,773
[man 2] Realistically, I think
he is counting down the days

714
00:39:18,857 --> 00:39:21,317
until he knew he had to leave.

715
00:39:21,901 --> 00:39:24,571
[Little]
My three weeks are up, and I have to go,

716
00:39:25,238 --> 00:39:28,533
because I have club involvement
that I can't get out.

717
00:39:29,701 --> 00:39:31,870
And if I don't show up, I will be prosecuted.

718
00:39:32,662 --> 00:39:34,831
And I thought, "Oh, my goodness,

719
00:39:34,914 --> 00:39:37,041
I won't be able to
to finish this part."

720
00:39:41,212 --> 00:39:43,423
[male 3]
Well, this is what I remember happening.

721
00:39:43,590 --> 00:39:45,008
That was the last night.

722
00:39:45,717 --> 00:39:47,802
[man 4] This film is practically complete.

723
00:39:49,053 --> 00:39:51,514
[man 3] We were supposed to shoot
this big scene.

724
00:39:52,265 --> 00:39:55,643
We went to get him, Saturday morning,
he left.

725
00:39:57,562 --> 00:40:01,065
[woman] We are all waiting for him,
and he never appears.

726
00:40:01,608 --> 00:40:04,360
[Male 3] As I recall, he wanted to go
to New Orleans for something.

727
00:40:04,444 --> 00:40:06,084
[woman]
He has responsibility in Las Vegas.

728
00:40:06,154 --> 00:40:10,241
[Male 1] Allegedly, Orson's secretary
has been in a relationship

729
00:40:10,325 --> 00:40:11,367
with Rich Little.

730
00:40:11,451 --> 00:40:13,828
[Male 3] He misses his wife
and he's tired of working.

731
00:40:13,912 --> 00:40:17,707
Orson said, "No! You're contracting" here
for the next... "And he goes and goes.

732
00:40:19,584 --> 00:40:20,668
You didn't do that to Orson.

733
00:40:22,337 --> 00:40:23,796
[man 2] He feels betrayed.

734
00:40:25,340 --> 00:40:28,968
[Little] I can come back later
and finish the scene.

735
00:40:29,052 --> 00:40:32,889
We never discussed it, and I...
It always confuses me.

736
00:40:33,514 --> 00:40:36,935
I thought, "They have to do it
all the scenes again.

737
00:40:37,018 --> 00:40:38,937
Gosh!
I can't imagine."

738
00:40:40,104 --> 00:40:41,314
[man 4] That's crazy.

739
00:40:42,273 --> 00:40:45,526
I changed the actor
on the second week of filming.

740
00:40:45,902 --> 00:40:47,320
But after seven weeks...

741
00:40:48,071 --> 00:40:49,071
not possible.

742
00:40:49,781 --> 00:40:51,491
[telephone ringing]

743
00:40:51,991 --> 00:40:54,327
[Bogdanovich]
I called him, I said, "How are you doing?"

744
00:40:55,620 --> 00:40:56,620
"Bad.  I just blew 25 Gs
and I don't have that kind of bread.

745
00:40:57,413 --> 00:41:00,249
I have to pay Rich Little."

746
00:41:00,625 --> 00:41:02,377
- "Why?"
- "He can't act!"

747
00:41:02,835 --> 00:41:04,253
"Oh, wow, I'm sorry to hear that.
What will you do?"

748
00:41:04,921 --> 00:41:07,161
"I don't know what I will do.
I can't use the items."

749
00:41:07,256 --> 00:41:11,094
She's a rough witch, isn't she?

750
00:41:11,970 --> 00:41:14,013


751
00:41:14,389 --> 00:41:18,101
[Bogdanovich] So I said, "That's terrible,
Orson.
Why don't I play it?"

752
00:41:18,935 --> 00:41:20,895
She's a rough witch, isn't she?

753
00:41:21,646 --> 00:41:24,232
And then he said,
"Well, you play the other part."

754
00:41:25,733 --> 00:41:27,735
I said, "You can cut me out of it."

755
00:41:32,115 --> 00:41:35,368
All right, friend!
Let's be organized.
Now where will we start?

756
00:41:37,036 --> 00:41:41,374
[male 1] John Huston said, "Peter, how many
films did you really act now?"

757
00:41:42,291 --> 00:41:47,296
"Now, this is the second, Mr. Huston."
"Two? Make it easy to count!"
[chuckles]

758
00:41:50,550 --> 00:41:52,552
[Welles] Scene three ┬X, take one.

759
00:41:54,053 --> 00:41:57,181
- Ah, red lights.
- [low murmur]

760
00:41:57,724 --> 00:41:59,225
- Not us...
- Mr. Hannaford.

761
00:41:59,392 --> 00:42:01,728
Oh, shit, I'm sorry.
I will do it again.

762
00:42:01,811 --> 00:42:03,571
- Start again?
- [Welles] Yes, do better.

763
00:42:03,646 --> 00:42:05,406
- You have to face all situations.
- Well.

764
00:42:07,358 --> 00:42:10,903
Why snap your finger?
We don't cut.
Uh-uh

765
00:42:12,405 --> 00:42:15,074
Orson said, "Play like us."

766
00:42:18,077 --> 00:42:19,662
[Cumming] If you don't pay attention,

767
00:42:19,746 --> 00:42:24,500
Peter Bogdanovich left playing
precisely who he was in 1970,

768
00:42:24,917 --> 00:42:26,294
a young writer,

769
00:42:26,377 --> 00:42:31,090
exactly who he was in 1974:
a famous film director.

770
00:42:32,216 --> 00:42:35,762
My book about  Hannaford has been canceled.
Without limit.

771
00:42:36,220 --> 00:42:39,060
Yes, the first five chapters took
both of us three and a half years.

772
00:42:39,140 --> 00:42:43,227
Finally, I have to start
directing myself so I can eat.

773
00:42:44,145 --> 00:42:47,106
- [Welles] Ha!
Well.
Now, soon...
- Do something else.
Right.

774
00:42:47,774 --> 00:42:49,317
- Action?
- [Welles] Action.

775
00:42:49,859 --> 00:42:52,487
I have to - start directing
so I can eat!

776
00:42:53,738 --> 00:42:55,740
- [Welles] Cut!
Very good.
- That is good.

777
00:42:56,991 --> 00:43:00,578
[Bogdanovich] At that time, sonOrson had
more influence on me than anyone.

778
00:43:01,913 --> 00:43:03,998
[host] There are a number of myths
about you already,

779
00:43:04,082 --> 00:43:07,251
even though you are still young.
Like a fact
that you have a set of goals for yourself

780
00:43:07,335 --> 00:43:09,735
that you will film
at the same age Orson Welles did it.

781
00:43:09,796 --> 00:43:13,216
Oh, I want... I think I will fail
if I don't make a film

782
00:43:13,466 --> 00:43:16,928
at least when I was 25 years old,
was when Orson was created  Citizen Kane, and I was a disaster
Because I didn't make it until I was 27 years old.

783
00:43:17,261 --> 00:43:21,599
[Bogdanovich] My film isn't like that
the films, but he inspired me.

784
00:43:23,643 --> 00:43:26,687


785
00:43:30,108 --> 00:43:32,652
[man 2] Their relationship begins
as a mentor / mentee.

786
00:43:32,819 --> 00:43:36,280
[man 1] But Peter is above
from the arc that skyrocketed.

787
00:43:36,364 --> 00:43:37,698
[crowd clapping]

788
00:43:37,782 --> 00:43:39,575
[interviewer]
You are as successful as you are  and you have a beautiful woman,
like you have.

789
00:43:40,326 --> 00:43:43,287
Cybill, uh...

790
00:43:43,371 --> 00:43:44,539
Yes, let's not discuss what...
Yes, please.

791
00:43:44,622 --> 00:43:46,916
You have it, you have four pictures in a row that generate 30 million dollars.

792
00:43:46,999 --> 00:43:50,878
A man must learn to hate you.

793
00:43:51,629 --> 00:43:53,548
[man] Bogdanovich has surpassed his mentor.

794
00:43:54,882 --> 00:43:57,635
ΓA¬ No matter what the future brings... Γ¬

795
00:43:58,719 --> 00:44:02,765
[man 2]
Orson realized, "He has money, I don't.  I'm Orson Welles, he's not.

796
00:44:02,849 --> 00:44:06,561
- [grunting]
- [giggling]

797
00:44:06,644 --> 00:44:08,688
- What's wrong?
- Future.

798
00:44:09,522 --> 00:44:11,858


799
00:44:13,317 --> 00:44:15,653


800
00:44:16,988 --> 00:44:18,364
What's the problem?

801
00:44:19,198 --> 00:44:21,450
We can't be masters.

802
00:44:22,827 --> 00:44:26,706
Not all masters - can't really be followed.

803
00:44:28,166 --> 00:44:30,501
[Bogdanovich] I remember,
we sat at lunch one day,

804
00:44:30,877 --> 00:44:33,004
and above the fridge there is this

805
00:44:33,087 --> 00:44:35,882
bag size of Fritos industry.

806
00:44:36,382 --> 00:44:40,469
Orson rips the top, the most echoed
contents onto the kitchen table,

807
00:44:40,636 --> 00:44:43,389
sit down, take a large group of Fritos,
put it in his mouth.

808
00:44:44,724 --> 00:44:46,684
So, of course, I do the same thing.

809
00:44:46,767 --> 00:44:47,810
[rattling hard]

810
00:44:50,313 --> 00:44:53,858
Really suddenly,
Orson just turned to me and said,

811
00:44:53,941 --> 00:44:57,153
"If something happens to me, I want - you
to promise me you will finish the picture."

812
00:44:57,945 --> 00:45:00,323
I said, "Oh Jesus, sonáOrson,
why did you say something like that?

813
00:45:00,448 --> 00:45:02,259
Nothing’s gonna happen to you.
Why did you say... "

814
00:45:02,283 --> 00:45:04,243
" I know, nothing will happen. "

815
00:45:06,037 --> 00:45:07,637
[young Bogdanovich] Hey, why choose me?

816
00:45:08,164 --> 00:45:11,334
I mean, theаāman is filled with
with students.
I apostle, miss.  This film deals with betrayal
friendship.

817
00:45:12,251 --> 00:45:15,296
Films and friendship.

818
00:45:16,088 --> 00:45:17,548
That is a mystery.

819
00:45:18,174 --> 00:45:19,634
He tests people with that.

820
00:45:20,176 --> 00:45:22,136
[man] Betrayal can come
if there is an initial love gift.

821
00:45:23,429 --> 00:45:27,850
- You two are very close, aren't you?
- Yes, I want to ask that.

822
00:45:28,017 --> 00:45:31,062
[man] Orson creates an environment where
the others will be sucked into it.

823
00:45:31,854 --> 00:45:36,734
It's all in Orson's control.

824
00:45:37,985 --> 00:45:40,071
And he's creating something inevitable.

825
00:45:41,113 --> 00:45:43,449
He'll say I stole everything
from you, skipper,

826
00:45:43,824 --> 00:45:46,118


827
00:45:46,202 --> 00:45:47,828
I will never go far from it.

828
00:45:47,995 --> 00:45:49,835
Well, it's okay to borrow from each other.

829
00:45:49,872 --> 00:45:51,832
What we cannot do
is to borrow from your own amu

830
00:45:51,916 --> 00:45:53,292
[laughter]

831
00:45:55,503 --> 00:45:57,338
[man] We wink and nod to each other,

832
00:45:57,421 --> 00:45:59,882
which is like,
God, this will happen.

833
00:45:59,966 --> 00:46:02,260
This will happen.

834
00:46:02,760 --> 00:46:06,055
& apos; Of course you are close, you two.
You must.

835
00:46:07,473 --> 00:46:08,516
You have no choice.

836
00:46:12,937 --> 00:46:16,232
[Cumming] Orson goes to the
glass that looks and passes it.

837
00:46:18,067 --> 00:46:21,696
The story is now being rewritten
in real time.

838
00:46:24,949 --> 00:46:28,077
[man] There is a scene where Hannaford
comes to party

839
00:46:28,160 --> 00:46:30,037
with a blonde teen on his arm.

840
00:46:30,162 --> 00:46:31,414
[man 2] He is quite young.

841
00:46:31,497 --> 00:46:33,249
[man 3] What's the name, Mavis Henshaw?

842
00:46:33,332 --> 00:46:35,793
- What's your name, honey?
- Mavis Henscher.

843
00:46:36,085 --> 00:46:39,755
[Male 4] Actually, this is a small
waiter we found at the breakfast place.

844
00:46:39,839 --> 00:46:41,559
[Mavis]
Want me to give you another scotch?

845
00:46:42,008 --> 00:46:46,178
And we just left... Itu £ That's Mavis. ΓÇ ¥
[laughs]

846
00:46:46,554 --> 00:46:50,224
He doesn't know who Orson Welles is.
He doesn't know who John Huston is.

847
00:46:51,017 --> 00:46:54,520
And there is a time
when their energy is combined

848
00:46:54,603 --> 00:46:57,273
can hardly get the performance from him.

849
00:46:57,648 --> 00:46:59,984
- [Huston] Ready?
- [Welles] Thank you.
Actions.

850
00:47:00,318 --> 00:47:01,318
Action!

851
00:47:01,360 --> 00:47:03,404
Oh, I guess he will say
the part first.

852
00:47:03,487 --> 00:47:04,847
- [Welles] You said it.
- OK.

853
00:47:05,698 --> 00:47:06,532
Say it.

854
00:47:06,657 --> 00:47:09,201
Wow, I don't know,
I have a Tomo school... No, wait.

855
00:47:09,493 --> 00:47:11,412
[Bogdanovich]
The actress is really terrible.

856
00:47:12,288 --> 00:47:14,665
[man 2] But why does Orson
want to do it to himself?

857
00:47:15,416 --> 00:47:17,752
[man 3]
He is like a shepherd from Cybill Shepherd.

858
00:47:18,127 --> 00:47:19,127
[man 2] What is he?

859
00:47:19,628 --> 00:47:20,713
Oh well.

860
00:47:21,255 --> 00:47:25,343
[man 1] Obviously Orson gave Peter
difficult times about his relationship  with Cybill Shepherd
after Last Picture Show.

861
00:47:25,426 --> 00:47:27,803
Cybill was 19, I think,
when Peter found it.

862
00:47:28,304 --> 00:47:31,140
With Orson, you never know what will happen.

863
00:47:32,975 --> 00:47:35,978
[man]
Peter said, "Orson made fun of me

864
00:47:36,937 --> 00:47:39,273
and things I said to Cybill."

865
00:47:39,357 --> 00:47:41,317
- [Huston] Tomorrow week, Mavis.
- Sorry?

866
00:47:41,400 --> 00:47:43,444
[Huston]
You will stay with us to Mexico.

867
00:47:43,527 --> 00:47:45,988
Wow, I don't know,
I have a school on Monday.

868
00:47:46,238 --> 00:47:48,324
I will, uh, write a note for your teacher.

869
00:47:48,866 --> 00:47:50,993


870
00:47:51,494 --> 00:47:53,496
[Welles] That's all.
[laughs]

871
00:47:55,289 --> 00:47:58,042
[woman]
I should, like, her boyfriend

872
00:47:58,125 --> 00:48:00,920
and I am very young,
and he is very old.

873
00:48:01,170 --> 00:48:04,173
She's like, "Mavis! Mavis! Come here!"
[chuckles]

874
00:48:04,256 --> 00:48:06,509
That... That's very strange.

875
00:48:07,093 --> 00:48:10,096
Mother seems - to think a little young blood
will be good for us.

876
00:48:10,179 --> 00:48:12,765
- You can do that - alright.
- Well, he is always right.

877
00:48:12,848 --> 00:48:15,226
Excuse me, friends,
I think we have confrontation.

878
00:48:15,976 --> 00:48:17,395
- [Welles] One more time.
John?
- Yes

879
00:48:17,478 --> 00:48:20,356
You look back at the girl
after "She's always right."

880
00:48:21,107 --> 00:48:24,110
Excuse me, friends,
I think we have confrontation.

881
00:48:24,902 --> 00:48:29,323
[man] In this story, Hannaford takes it
This blonde girl is from the #Peter

882
00:48:29,407 --> 00:48:31,450
character  whoΓÇÖs the type of game, rough sexual power.

883
00:48:31,951 --> 00:48:33,744
We like your little friend.

884
00:48:33,869 --> 00:48:35,871
[Welles] "We like your little friend."

885
00:48:35,955 --> 00:48:36,956
She's mine.

886
00:48:38,165 --> 00:48:39,500
- [Welles] Cut.
- Again.

887
00:48:39,583 --> 00:48:40,918
[Welles] Again.

888
00:48:41,293 --> 00:48:43,003
[chuckles]

889
00:48:43,129 --> 00:48:44,630
[woman] He is growing rapidly.

890
00:48:45,631 --> 00:48:47,675
So, the old man can still score.

891
00:48:48,134 --> 00:48:51,220
How does he judge and with whom he gets the value,

892
00:48:51,804 --> 00:48:54,515
now, my friend, gets us
to some very interesting countries.

893
00:48:57,852 --> 00:49:01,814
[man 1] I think Orson was fascinated by this macho thing.

894
00:49:03,190 --> 00:49:07,069
That's part of the concept
The Other Side of the Wind

895
00:49:07,153 --> 00:49:08,446
even born.

896
00:49:09,196 --> 00:49:11,198
[Welles] All mystics from, uh...

897
00:49:11,991 --> 00:49:12,991
man.

898
00:49:14,410 --> 00:49:17,913
This image we will make
is against men.

899
00:49:19,123 --> 00:49:21,523
[man 1] Initial conception
from the Other Side of the Wind,

900
00:49:21,584 --> 00:49:26,046
it will happen
obsessive little satire

901
00:49:26,505 --> 00:49:29,216
masculine characters, like Hemingway.

902
00:49:30,217 --> 00:49:33,512
[man 2] So, it's no coincidence that this film
took place July 2,

903
00:49:34,096 --> 00:49:35,556
date of Hemingway's death.

904
00:49:36,182 --> 00:49:40,519
Hemingway?
That, uh, elelele hook is too exaggerated.

905
00:49:41,937 --> 00:49:44,231
[male 1]
And the character displayed is certain

906
00:49:44,732 --> 00:49:47,359
tendency, maybe,
latent homosexuality.

907
00:49:49,528 --> 00:49:52,507
He wants to fuck her.
He wants to make love
the main guy.
Don't you see that?

908
00:49:52,531 --> 00:49:55,784
Don't you see that it is in the films?
And he can't admit that.

909
00:49:56,744 --> 00:50:01,457
[man 1] Orson is very comfortable
with himself and his feminine side.

910
00:50:02,666 --> 00:50:06,170
[man 2] But he can fall
right into the role of men.

911
00:50:06,837 --> 00:50:11,759
[man 1] I think Orson is always good
is attracted to duality in men.

912
00:50:13,969 --> 00:50:15,969
[interviewer]
You have written a lot about you,

913
00:50:16,013 --> 00:50:18,599
and you are far ahead of your time
in achievement.

914
00:50:19,099 --> 00:50:23,687
Does your success make you less willing to challenge than times like that?

915
00:50:23,771 --> 00:50:27,149
Oh, I don't think at all.
I think I'm more than...

916
00:50:27,566 --> 00:50:29,610
from a rebel than I was at that time.

917
00:50:30,486 --> 00:50:33,280
- [interviewer] In what way?
- [Welles] Oh, in everything.

918
00:50:34,949 --> 00:50:37,535
[Man] The best scene I've seen
on the other side of the wind

919
00:50:37,618 --> 00:50:40,018
is a sex scene in a car,
from a movie in a movie...

920
00:50:40,829 --> 00:50:43,832
seven minutes long
in the Welles version was edited.

921
00:50:44,500 --> 00:50:45,918
[man] Yes, it's long, long.

922
00:50:46,210 --> 00:50:49,296
[Oja]
Everyone talks about the sexy car scene.

923
00:50:49,964 --> 00:50:53,092
I remember that - experiencing it
enough impression on me.
[clears throat]

924
00:50:57,137 --> 00:50:59,390
I remember being in my middle teens,

925
00:50:59,515 --> 00:51:02,768
and have playback of this recording.

926
00:51:03,686 --> 00:51:07,856
Oja's recording is very erotic.

927
00:51:09,733 --> 00:51:11,527
About him in the car

928
00:51:11,819 --> 00:51:17,157
uh, with the hose poured into the car,
creates all the droplets and...

929
00:51:17,783 --> 00:51:19,952
windshield wipers.

930
00:51:21,078 --> 00:51:24,957
[man 1] The car never moves,
and they have several men with hoses.

931
00:51:25,040 --> 00:51:26,680
[Male 2] Hundreds of feet of garden hose.

932
00:51:26,750 --> 00:51:29,503
We robbed all the neighbors of the water.

933
00:51:30,087 --> 00:51:32,423
[man 3]
I do all the little things on the set.

934
00:51:32,506 --> 00:51:36,927
And Orson shouted to me, "Hey boy,
take that hose and make it rain."

935
00:51:38,387 --> 00:51:40,264
[scoffs] What?

936
00:51:41,056 --> 00:51:44,476
[Oja] One of our paralyzed friends
was pushed onto the road,

937
00:51:44,560 --> 00:51:48,689
holding two lights in his hand,
imitating the car in a motion.

938
00:51:50,941 --> 00:51:54,945
[man 4] Films in movies,
This is about ┬love, about sex, about ain design.

939
00:51:55,613 --> 00:51:57,906
Very hot.

940
00:51:58,699 --> 00:52:01,035
[man 2]
And it's not like anything he has ever done.

941
00:52:02,411 --> 00:52:06,165
Previous films were rather disrespectful
in the persecution of their sexuality.

942
00:52:06,874 --> 00:52:08,754
[Bogdanovich]
He, he calls himself polite.

943
00:52:09,460 --> 00:52:11,420
And he doesn't think that the film is nudity.

944
00:52:11,920 --> 00:52:13,088
Come on, Desdemona.

945
00:52:13,839 --> 00:52:16,342
I have one hour of love
to spend time with you.

946
00:52:16,884 --> 00:52:19,386
[man 1] Orson felt explicit sexuality

947
00:52:19,470 --> 00:52:22,264
distracts from
art in narration.

948
00:52:23,265 --> 00:52:25,726
[Bogdanovich] He said, "It only shows
lack of imagination."

949
00:52:26,518 --> 00:52:28,228
[Oja] He never talked about sex.

950
00:52:28,771 --> 00:52:30,606
[Bogdanovich] That's why Oja was very surprised.

951
00:52:32,483 --> 00:52:37,780
[Oja] I think the things I contributed
for his creativity were eroticism.

952
00:52:38,197 --> 00:52:39,823
I introduce sex.

953
00:52:48,874 --> 00:52:52,002
I asked Orson,
"How do you want me to do this?"

954
00:52:52,252 --> 00:52:56,674
"Well," he said, "in any way
you feel like that.
This is your story."

955
00:52:57,299 --> 00:52:59,718
So, what do I think women are like
I have to.

956
00:53:00,761 --> 00:53:03,222
So, I decided to become a praying grasshopper.

957
00:53:06,725 --> 00:53:08,644
Wow, my password!

958
00:53:09,728 --> 00:53:13,816
[man 1]
He sits on his lap and makes love to him

959
00:53:13,899 --> 00:53:16,735
while her character
boyfriend is driving a car.

960
00:53:16,985 --> 00:53:19,571
The chain hit his chest.

961
00:53:20,781 --> 00:53:24,159
[Male 4] He asked Oja, ΓÇ $ Give the appearance of animals. Ç? ¥

962
00:53:24,660 --> 00:53:27,955
[man 3]
I still remember fantastic colors,

963
00:53:28,205 --> 00:53:32,793
rhythm, pulsating rhythm.
ItΓÖÖs like
a cinematic equivalent to orgasm.

964
00:53:34,002 --> 00:53:36,463
But he shot him,
like, three years period.

965
00:53:36,922 --> 00:53:39,550
He shot some in his yard
in Los Angeles, then

966
00:53:40,008 --> 00:53:42,761
he shot more
in his backyard in France.

967
00:53:43,470 --> 00:53:47,057
[man 4] At one time,
was Gary Graver with a wig,

968
00:53:47,266 --> 00:53:49,143
playing young men.

969
00:53:50,477 --> 00:53:54,189
This film is exploratory -
Orson's wish.

970
00:53:57,484 --> 00:53:59,027
[rotating film]

971
00:54:01,196 --> 00:54:03,407
Author Peter Bartel

972
00:54:03,574 --> 00:54:05,951
describes the Other Side of Wind as

973
00:54:06,285 --> 00:54:10,038
"a desperate person."
shared by desperate men. "

974
00:54:12,332 --> 00:54:15,753
When production lags, investors and crew  become nervous. Gary will ask Orson," I have to eat. " [woman] Once in a while, Gary will actually have to work to making money.  [male 1]
Gary will take another job in film B,

975
00:54:16,170 --> 00:54:17,337
so he can
work for Orson.

976
00:54:21,467 --> 00:54:24,219
[shout]

977
00:54:25,596 --> 00:54:28,766


978
00:54:31,059 --> 00:54:33,437


979
00:54:33,520 --> 00:54:35,731


980
00:54:36,899 --> 00:54:37,775


981
00:54:37,858 --> 00:54:41,111
[man 2] He is the only man I know who
worked with Orson Welles and Ed Wood.

982
00:54:41,195 --> 00:54:44,364
Gary recorded this film,  One Million AC / DC.

983
00:54:44,907 --> 00:54:47,659
That is the first in the world
bisexual dinosaur films.

984
00:54:47,743 --> 00:54:49,369
[woman screaming]

985
00:54:49,953 --> 00:54:51,413
- What is that?
- [roaring creatures]

986
00:54:52,456 --> 00:54:54,792
Don't worry, itáit can't eat us here.

987
00:54:58,837 --> 00:55:02,966
[man 2] This is not what Gary wants to have
as his trademark in his career.

988
00:55:03,550 --> 00:55:06,428
The other side of Wind is film.

989
00:55:06,804 --> 00:55:09,556
This will be his claim to fame.
This is what will do it

990
00:55:09,723 --> 00:55:11,141
take him to new heights.

991
00:55:11,266 --> 00:55:15,062
Orson said, "Gary, if you get a job
in another film, you come to me.

992
00:55:15,771 --> 00:55:18,649
If I need you, you can't do it."

993
00:55:19,858 --> 00:55:24,530
[Man 2] In the end, I think he found the easiest
path to making all this work

994
00:55:24,988 --> 00:55:26,573
is to do pornographic films.

995
00:55:27,282 --> 00:55:29,535
- Gary does a lot of porn.
- [shout]

996
00:55:29,868 --> 00:55:33,664
[Man 2] Hundreds of films that he never had
wanted his name to be associated with,

997
00:55:33,997 --> 00:55:36,166
he works - under the assumed name.

998
00:55:36,542 --> 00:55:37,918
[woman] Akdov Telmig.

999
00:55:38,418 --> 00:55:40,921
That "gimlet vodka" is spelled backwards.

1000
00:55:42,130 --> 00:55:45,217
[Male 1] He shot this
semi porn film

1001
00:55:45,300 --> 00:55:50,430
and he asks if I want to be part
of this one called 3 A.M.

1002
00:55:50,973 --> 00:55:53,892
I think that... is...
an element of pornography for that.

1003
00:55:55,811 --> 00:55:59,523
And Orson knows that this is important
to Gary,   to complete this film,

1004
00:55:59,606 --> 00:56:00,816
so he wants to help him.

1005
00:56:00,899 --> 00:56:03,235
[clock clanging]

1006
00:56:03,402 --> 00:56:06,905
He came and he was at Gary's house,
and they cut it together.

1007
00:56:08,490 --> 00:56:11,535
And Orson finally
cut the shower scene, huh.

1008
00:56:11,743 --> 00:56:12,743
Yes.

1009
00:56:12,828 --> 00:56:13,996
[woman] I'm sorry.

1010
00:56:14,788 --> 00:56:17,207
- Oh!
- Yes, that is true.

1011
00:56:19,501 --> 00:56:23,881
Orson is very decisive.
He really likes it,
"Okay, we have to cut here, we go there."

1012
00:56:23,964 --> 00:56:25,883
There is no pharumphing.

1013
00:56:25,966 --> 00:56:27,846
It feels like,   "I have to get this
from that folder,

1014
00:56:27,885 --> 00:56:29,595
so I can make Gary go back to work ainagain."

1015
00:56:31,263 --> 00:56:32,723
[man] Gary's work never ends.

1016
00:56:34,224 --> 00:56:36,351
He is outdated, for sure.

1017
00:56:37,102 --> 00:56:38,854
[man 2] I think there are two opportunities

1018
00:56:39,187 --> 00:56:42,065
that he was hospitalized because of fatigue.

1019
00:56:42,691 --> 00:56:45,319
He just naturally fainted.

1020
00:56:46,361 --> 00:56:48,363
- [Welles] Now, Gary.
Gary?
- [pounding]

1021
00:56:50,574 --> 00:56:52,894
- [man] Are you okay, Gary?
- [Welles] Do you feel fine?

1022
00:56:52,993 --> 00:56:54,161
[Gary] Yes, I'm fine.

1023
00:56:57,164 --> 00:57:00,417
[Man] I thought he had been thrown in a towel with another director.

1024
00:57:01,293 --> 00:57:04,463
[man 2]
And he will try.
He will tell Orson,

1025
00:57:04,880 --> 00:57:07,382
"I can't."
But somehow,

1026
00:57:07,883 --> 00:57:11,803
Orson will always find a way to make him change his mind.

1027
00:57:13,430 --> 00:57:15,098
The cost is extraordinary.

1028
00:57:15,265 --> 00:57:18,602
You don't go - pass
some divorce without injury.

1029
00:57:20,812 --> 00:57:22,689
[man 3] Orson will encourage you

1030
00:57:22,898 --> 00:57:26,485
to the point where you said,
"Fuck you, fat man,

1031
00:57:26,568 --> 00:57:29,947
and take the legend
and push it where the sun doesn't shine."

1032
00:57:30,030 --> 00:57:31,782
And right at that time,

1033
00:57:32,115 --> 00:57:34,534
where he can feel
that he's too far away,

1034
00:57:35,410 --> 00:57:38,622
he will wrap his arms around you
and basically say,

1035
00:57:38,705 --> 00:57:42,125
"Have I told you what a great job
Have you done for me lately?"

1036
00:57:44,753 --> 00:57:48,340
[man 4] There is no doubt about that that he
seems to do everything he can

1037
00:57:48,465 --> 00:57:51,093
to alienate as many people as possible.

1038
00:57:51,760 --> 00:57:53,762
But why?
What does all that mean?

1039
00:57:54,388 --> 00:57:55,597
This is weird.

1040
00:57:57,683 --> 00:58:01,269
I'm afraid of dying before I reach something  that I...

1041
00:58:01,895 --> 00:58:02,895
not embarrassed, atthat I even
a little proud.
I am afraid...

1042
00:58:03,522 --> 00:58:06,817
that I will be taken away
before I am justified

1043
00:58:07,401 --> 00:58:10,570
the luck and excitement that I have.

1044
00:58:10,988 --> 00:58:13,240
[Welles] Calm down completely.

1045
00:58:17,869 --> 00:58:19,246
Relax your face, sad, empty.

1046
00:58:19,871 --> 00:58:21,957


1047
00:58:22,207 --> 00:58:25,711
Empty.
Now, maybe, "Many are happy to come back,"
so I didn't hear you.

1048
00:58:26,837 --> 00:58:28,839
Lots of happy returns.

1049
00:58:28,922 --> 00:58:30,549
You say it too carefully.

1050
00:58:33,427 --> 00:58:35,303
Lots of happy returns.

1051
00:58:43,061 --> 00:58:44,061
[man 2] There are...

1052
00:58:44,396 --> 00:58:48,066
incompatibility, or lack of definition

1053
00:58:48,608 --> 00:58:51,945
which is the basis of Orson's efforts.

1054
00:58:53,822 --> 00:58:56,533
You know, is that some kind of endless wandering?

1055
00:58:57,451 --> 00:58:58,702
We will never know.

1056
00:59:00,787 --> 00:59:03,582
Orson knows what he wants.
He already knows.

1057
00:59:03,665 --> 00:59:05,292
- [man] Take 21.
- [Welles] Action.

1058
00:59:05,375 --> 00:59:06,960
What happened to the lights?

1059
00:59:07,044 --> 00:59:09,921
[woman] But, unless you have a brain
that works like that,

1060
00:59:10,422 --> 00:59:12,174
how do others know?

1061
00:59:16,928 --> 00:59:20,223
It is this scattered soul circus.

1062
00:59:21,475 --> 00:59:23,977
We are really out of reality.

1063
00:59:24,603 --> 00:59:26,104
What happened on the set

1064
00:59:26,188 --> 00:59:29,316
very similar to what happened
in the film.

1065
00:59:29,691 --> 00:59:32,235
[man] It feels like, "Wait a minute.
That's Orson.

1066
00:59:32,319 --> 00:59:36,114
What is that?
Orson, is that you?"
"No, that's John Huston. Not me."

1067
00:59:37,824 --> 00:59:39,701
[woman]
John doesn't know what Orson did.

1068
00:59:39,910 --> 00:59:43,330
He said,   "I just can't find out
what he did together."

1069
00:59:43,663 --> 00:59:46,383
[Welles] Let's go forward with your match, look for, everybody, fast.

1070
00:59:47,709 --> 00:59:50,087
[woman]
But that's Orson, it will be something.

1071
00:59:50,378 --> 00:59:52,339
[man] Test one, take one!

1072
00:59:52,756 --> 00:59:55,050
[laughter, chat]

1073
00:59:55,133 --> 00:59:56,593
[Welles] Keep moving here.

1074
00:59:56,676 --> 00:59:58,678
[unclear chat]

1075
01:00:01,723 --> 01:00:05,936
[woman] One night in particular,
I was listening to John and Orson,

1076
01:00:06,436 --> 01:00:10,107
and John said, £Γ What is this
is this film about, Orson? "

1077
01:00:10,565 --> 01:00:13,985
And Orson said,
" It's about miserable puncture.

1078
01:00:14,945 --> 01:00:17,322
This is the song.

1079
01:00:18,031 --> 01:00:19,616
This is about us. "

1080
01:00:22,869 --> 01:00:26,748
[man] My father felt that the film was
a kind of rather vulgar art.

1081
01:00:27,624 --> 01:00:29,668
He made one for them - and one for himself,

1082
01:00:30,085 --> 01:00:32,796
and could play the system,

1083
01:00:33,296 --> 01:00:35,006
more like a poker player .  Orson may not be
more different, yes.

1084
01:00:35,090 --> 01:00:37,217
[woman]
My father is a perfectionist,

1085
01:00:38,927 --> 01:00:41,346
and the film is his canvas.

1086
01:00:41,888 --> 01:00:44,474
Every shot of my father's film
is a painting.

1087
01:00:44,975 --> 01:00:48,186
[ man] And the Orson line - is that Huston
is willing to sell.

1088
01:00:50,814 --> 01:00:54,568
[man 2] I keep waiting for my big scene
with John Huston,

1089
01:00:55,527 --> 01:00:57,988
one time he should
to really interact with me.

1090
01:00:58,238 --> 01:01:00,657


1091
01:01:01,449 --> 01:01:03,869
One day, we were filming and I said,

1092
01:01:03,952 --> 01:01:05,912
"Where is John?"
He hasn't been there for a long time,

1093
01:01:05,954 --> 01:01:08,754
and one of the crew said, "He left
making a small film somewhere."

1094
01:01:12,919 --> 01:01:15,881
[man] It was a big success.

1095
01:01:16,214 --> 01:01:18,925
- £ £ The Masterpiece, ΓÇ ¥ they call it.
- [crowd shouting]

1096
01:01:20,051 --> 01:01:23,471
That's very beautiful for my father.
Kipling's story

1097
01:01:23,555 --> 01:01:27,517
in the Atlas Mountains is heaven,
heaven on earth.

1098
01:01:28,268 --> 01:01:30,187
But to think that, at that time,

1099
01:01:31,188 --> 01:01:36,526
this industry doesn't pay the same amount
respect to Welles is sad.

1100
01:01:43,366 --> 01:01:45,994
[man 1] He once turned to me and he said,

1101
01:01:47,037 --> 01:01:50,123
"Citizen Kane is the biggest curse
in my life.

1102
01:01:51,041 --> 01:01:52,834
Every time I do anything,

1103
01:01:54,002 --> 01:01:57,631
people start comparing this to where
it stands vis-à-vis

1104
01:01:57,714 --> 01:02:00,008
what they call the biggest American film.

1105
01:02:00,467 --> 01:02:01,468
This is my curse. "

1106
01:02:03,803 --> 01:02:07,933
No other director has ever been arrested
for an impossible standard like that.

1107
01:02:10,977 --> 01:02:15,190
What's the other side of the wind is about
is, in a sense, a bookend

1108
01:02:15,482 --> 01:02:18,193
to Citizen Kane,
about the tragic end... .  someone who is great...

1109
01:02:19,152 --> 01:02:20,987
and then has his place in America.

1110
01:02:22,364 --> 01:02:24,574
[Bogdanovich] Yes, you know,

1111
01:02:26,243 --> 01:02:27,403
Orson said...

1112
01:02:28,662 --> 01:02:29,871
"No story ends happy,

1113
01:02:33,708 --> 01:02:35,710
unless you stop telling it before it ends. "

1114
01:02:36,086 --> 01:02:38,546
[Oja] Tragedy
The Other Side Winds  starts with ┬AAndr├⌐s Vicente G├│mez.

1115
01:02:40,924 --> 01:02:43,093
He is our co-producer from Spain.

1116
01:02:43,176 --> 01:02:45,470


1117
01:02:46,137 --> 01:02:48,265


1118
01:02:49,849 --> 01:02:52,769
[man 2] I'm not sure how much I can say
about this without going into...

1119
01:02:53,061 --> 01:02:55,563
um... muddy legal waters.

1120
01:02:56,231 --> 01:02:59,818
[man 3] Yes, I was there and I really,
to this day, don't know...

1121
01:02:59,901 --> 01:03:02,821
Whoa... Oh, wait a minute.
I know.

1122
01:03:02,946 --> 01:03:04,656
Oh, a story that I can't tell.

1123
01:03:07,701 --> 01:03:12,289
[man 1] Andrés Gómez should install it
several hundred thousand dollars

1124
01:03:12,372 --> 01:03:15,166
the production costs
on the other side of the wind,

1125
01:03:15,250 --> 01:03:19,546
and is on the set.
He left,
and we were told that

1126
01:03:19,629 --> 01:03:23,383
he will take the next
tranche of investment,

1127
01:03:23,508 --> 01:03:26,344
something in the order of
quarter of a million dollars.

1128
01:03:27,137 --> 01:03:30,432
We ran out of cash
and we continued, "Where is Andr?

1129
01:03:30,515 --> 01:03:33,351
Where is Andr?
When did he come back? "
Well, he never returned.  I've heard that he disappeared with some people
money, but I don't know if it's true.

1130
01:03:38,023 --> 01:03:41,063
I don't know... He might have disappeared
with his own money.

1131
01:03:41,109 --> 01:03:43,403
[man 3] The problem is everyone
gets information from Orson.

1132
01:03:44,738 --> 01:03:47,338
No one has direct evidence
how the money is lost.  [Male 4] I read that he blamed me
& apos; Causes of financial failure ,

1133
01:03:48,366 --> 01:03:51,286
which is completely untrue.  I made an agreement with him.  No complaints,
nothing.

1134
01:03:52,912 --> 01:03:56,333
If that's true, why didn't they do it?
any claim to me , You know?

1135
01:03:56,583 --> 01:03:58,209
It creates chaos.
I mean,
we suddenly didn't shoot.

1136
01:03:59,085 --> 01:04:00,670


1137
01:04:00,754 --> 01:04:03,798


1138
01:04:04,924 --> 01:04:07,886


1139
01:04:10,472 --> 01:04:13,224


1140
01:04:14,184 --> 01:04:16,686
And then... we even blame each other.

1141
01:04:19,189 --> 01:04:21,608
You can — think about what happens to work morale.

1142
01:04:27,322 --> 01:04:30,241
And then we are all a bit,
"What will Orson do?"

1143
01:04:33,578 --> 01:04:34,578
[man] Mark it.

1144
01:04:36,623 --> 01:04:37,623
Leave!

1145
01:04:38,833 --> 01:04:42,170
[man 1] Orson naturally had difficulty
completing films,

1146
01:04:42,379 --> 01:04:46,466
and when production
must move to Los Angeles

1147
01:04:46,925 --> 01:04:51,388
and requires an interior that can function
to double Arizona homes,

1148
01:04:51,596 --> 01:04:55,350
Peter had Orson moved to his house
in Beverly Hills to film there.

1149
01:04:56,976 --> 01:04:59,776
[man 2] What happened was, I thought Orson
sort of took advantage of it.

1150
01:04:59,813 --> 01:05:02,065
[man 3] Peter told Orson
he could live in his house

1151
01:05:02,148 --> 01:05:04,567
for maybe - two, three weeks a month.

1152
01:05:05,068 --> 01:05:05,902
Right!

1153
01:05:05,985 --> 01:05:08,113
[Shepherd] Well, he stayed and left
for three years.

1154
01:05:09,155 --> 01:05:10,073
Right!

1155
01:05:10,156 --> 01:05:13,326
[male 4] Peter and Cybill Shepherd
live in the east wing.

1156
01:05:13,868 --> 01:05:15,412
[Shepherd] It's a very big house.

1157
01:05:16,121 --> 01:05:17,247
And he eats a lot.

1158
01:05:19,332 --> 01:05:23,002
Ah, French champagne...

1159
01:05:23,753 --> 01:05:26,548
always celebrated
for its excellence.

1160
01:05:27,382 --> 01:05:29,110
- [Shepherd] Fudgsicles!
- [Welles chuckles]

1161
01:05:29,134 --> 01:05:30,885
[Shepherd]
He must have it all the time.

1162
01:05:30,969 --> 01:05:34,013
He is very angry
if there is no Fudgsicles.

1163
01:05:34,973 --> 01:05:37,684
And I have strict orders
Don't ever bother him.

1164
01:05:38,977 --> 01:05:40,645
And then I smell smoke one day.

1165
01:05:41,646 --> 01:05:43,231
He is in the guest room downstairs.

1166
01:05:43,314 --> 01:05:45,859
And I followed it
to the door and tap-tap,

1167
01:05:45,942 --> 01:05:47,527
"Orson, is everything okay?"

1168
01:05:47,944 --> 01:05:49,864
[imitating the Welles voice]
"Yes, it's been taken care of."

1169
01:05:51,448 --> 01:05:53,616
He put a lit cigar in the pocket of his robe.

1170
01:05:55,076 --> 01:05:56,286
[woman] He is miserable.

1171
01:05:56,911 --> 01:05:59,539
He was never as fat as he was at that time.

1172
01:05:59,956 --> 01:06:01,875
And that's because of the film.

1173
01:06:02,876 --> 01:06:05,086
[man 2] Over time,
Peter gives more to Orson

1174
01:06:05,170 --> 01:06:07,547
than he imagined
he will give.

1175
01:06:08,840 --> 01:06:11,926
[Huston]
Don't give up the ship, eh, Brooksie?

1176
01:06:12,093 --> 01:06:13,303
I don't.

1177
01:06:14,804 --> 01:06:17,140
[Welles] It's embarrassing
because he's bankrupt.

1178
01:06:18,141 --> 01:06:19,601
Don't think I'm not ready...

1179
01:06:21,728 --> 01:06:24,314
Don't think I'm not ready yet
to fight for you.

1180
01:06:25,940 --> 01:06:28,568
[man 2] I think, for a long time,
You can justify,

1181
01:06:28,651 --> 01:06:30,862
"Well, Orson needs me.

1182
01:06:32,113 --> 01:06:35,408
I help ┬him, maybe something good
will come out of it."

1183
01:06:37,202 --> 01:06:38,745
You are what I think.

1184
01:06:40,163 --> 01:06:42,415
- God, I'm not...
- [Welles] Don't touch anything.

1185
01:06:43,249 --> 01:06:46,169
"That's you I think."
Right at the door, that one.

1186
01:06:47,504 --> 01:06:49,130
You are what I think.

1187
01:06:50,256 --> 01:06:53,176
[man 2] At some point, it's like,
It should be time for Orson to...

1188
01:06:53,384 --> 01:06:56,221
to go, but Orson didn't leave,
and how...

1189
01:06:56,888 --> 01:06:58,598
try to tell imhim to do that?

1190
01:06:59,724 --> 01:07:00,724
[sighs]

1191
01:07:02,018 --> 01:07:05,855
We are somehow shining
little in the light...

1192
01:07:07,690 --> 01:07:08,775
fireflies,

1193
01:07:09,442 --> 01:07:11,903
he doesn't swallow often enough.

1194
01:07:13,363 --> 01:07:17,200
This is a fact - some of us,
he chewed rather slowly.

1195
01:07:20,370 --> 01:07:21,370
[Welles] Cut.

1196
01:07:25,458 --> 01:07:27,669
[Cumming]
Orson confiscated the áPeter

1197
01:07:27,752 --> 01:07:29,712
screening room  and turn it into an editing room.

1198
01:07:30,380 --> 01:07:32,966
There he worked for hours,
connecting together

1199
01:07:33,466 --> 01:07:34,551
Wind.

1200
01:07:37,262 --> 01:07:38,805
[Welles] This is Moviola.

1201
01:07:39,305 --> 01:07:42,725
This is a┬achachine for editing movies.

1202
01:07:43,893 --> 01:07:46,729
[Oja] Orson decided
with a totally new approach.

1203
01:07:46,813 --> 01:07:48,147
[man] Orson cut it off.

1204
01:07:48,439 --> 01:07:51,693
He cut it, every take, many parts

1205
01:07:51,776 --> 01:07:53,903
- and he reconstructs.
- Action!

1206
01:07:54,571 --> 01:07:55,571
Curtain.

1207
01:07:55,822 --> 01:07:57,448
- Curtain.
- [Welles] Film is...

1208
01:07:57,991 --> 01:07:59,325
never true

1209
01:07:59,784 --> 01:08:01,744
until musical right.

1210
01:08:02,620 --> 01:08:05,790
- [man 2] I finally worked as an editor.
- [Welles] Cut!

1211
01:08:06,291 --> 01:08:09,961
I spent six months for what I call the bathroom orgy scene.

1212
01:08:11,004 --> 01:08:12,297
There are 500 edits.

1213
01:08:12,797 --> 01:08:17,677
And I spent six months with him editing
two frames here, five frames here, six...

1214
01:08:17,760 --> 01:08:21,764
He keeps editing it a little more
and a little more.

1215
01:08:24,559 --> 01:08:26,639
[man] All the concepts
The Other Side of the Wind

1216
01:08:26,811 --> 01:08:30,690
developing, that's what he said. "I said,
" Now, how can it develop now? "

1217
01:08:31,649 --> 01:08:33,192
He said," That's all in editing. "

1218
01:08:33,776 --> 01:08:34,902
I never forgot. " That's all in editing. "

1219
01:08:35,361 --> 01:08:37,238
[Welles ]
Jigsaw pieces are separated by

1220
01:08:39,657 --> 01:08:42,827
break in time.

1221
01:08:43,244 --> 01:08:44,704
Jesus, with all your problems,
What is a prominent bad person?

1222
01:08:44,912 --> 01:08:48,082
There is no way for that image
to be ┬┬ together, except in my mind.

1223
01:08:48,291 --> 01:08:51,794
Jesus, what is a very bad person?

1224
01:08:52,378 --> 01:08:55,006
[Welles] Cut!

1225
01:08:55,840 --> 01:08:56,840
[man 2] That's funny, because,
after all that,

1226
01:09:00,011 --> 01:09:01,771
Orson still wants Hollywood
for  And I think he thinks that AFI

1227
01:09:01,846 --> 01:09:04,057
uh, the Life Achievement Award
will be that moment.

1228
01:09:04,974 --> 01:09:06,768


1229
01:09:06,851 --> 01:09:09,896


1230
01:09:10,563 --> 01:09:14,275
[Announcer] The American  Film Institute
greetings to Orson Welles.

1231
01:09:15,276 --> 01:09:17,612
[Male] I am the Founding Director
of AFI.

1232
01:09:17,695 --> 01:09:19,697
I started the Life Achievement Award.

1233
01:09:19,781 --> 01:09:21,621
[announcer]
To pay respect to extraordinary individuals

1234
01:09:21,658 --> 01:09:25,203
for the periodic contribution
to the art of moving images.

1235
01:09:25,411 --> 01:09:29,082
[man] We conclude that Orson
must be the next recipient,

1236
01:09:29,666 --> 01:09:32,585
but the other side of the wind breaks through.

1237
01:09:33,920 --> 01:09:35,463
Petrus is my medium.

1238
01:09:35,546 --> 01:09:36,815
[Bogdanovich] Stevens called me.

1239
01:09:36,839 --> 01:09:38,817
[man] Peter said, "Orson wants
to show something

1240
01:09:38,841 --> 01:09:41,177
from his new film,
The Other Side of the Wind."

1241
01:09:41,678 --> 01:09:42,929
I said, "Good."

1242
01:09:44,597 --> 01:09:48,017
That was big deal,  because we tried
to sell the film.

1243
01:09:48,101 --> 01:09:49,536
[Man] He is trying to sell films.

1244
01:09:49,560 --> 01:09:51,789
[woman] He thinks he will get it
money to finish it.

1245
01:09:51,813 --> 01:09:53,648
[man] That doesn't make sense,

1246
01:09:53,940 --> 01:09:56,526
but it will get more complicated  as we have - closeer to time.

1247
01:09:56,734 --> 01:09:58,736
[audience applauds]

1248
01:09:58,861 --> 01:10:00,405
[man] Nothing exceeds Orson in charm

1249
01:10:00,571 --> 01:10:03,366
when he turned it on and he came to play.

1250
01:10:03,449 --> 01:10:06,786
[man 2] This is all Hollywood there.

1251
01:10:08,788 --> 01:10:10,790
What is a better forum to present
the film?
I mean...

1252
01:10:11,374 --> 01:10:15,169
[Frank Sinatra] Now, what if you see
in the future our talented friends?

1253
01:10:16,671 --> 01:10:19,525
The Other Side of the Wind.

1254
01:10:19,549 --> 01:10:21,092
It's about celebrating the honor of a famous film director  who is not Orson.

1255
01:10:21,509 --> 01:10:25,430
And all the weird movies and filmmakers
in the world are at this party

1256
01:10:26,222 --> 01:10:27,432
I'm talking about,
including brilliant young directors

1257
01:10:28,516 --> 01:10:31,936


1258
01:10:32,019 --> 01:10:34,480


1259
01:10:34,772 --> 01:10:38,609
which, by other coincidences,
is not Peter Bogdanovich,

1260
01:10:39,652 --> 01:10:41,279
but played by Peter Bogdanovich.

1261
01:10:43,239 --> 01:10:46,868
[man 2] Orson thought that AFI was
then where everyone would go

1262
01:10:46,951 --> 01:10:48,619
give him dessert.

1263
01:10:49,162 --> 01:10:50,997
This picture is beautiful.

1264
01:10:51,748 --> 01:10:53,374
And so are you, dear Orson.

1265
01:10:53,916 --> 01:10:55,918
[applause]

1266
01:10:58,963 --> 01:11:01,048
[Welles] I can only accept this honor

1267
01:11:01,841 --> 01:11:03,885
on behalf of all mavericks.

1268
01:11:05,219 --> 01:11:06,971
And don't imagine this  shake gipyyo
claim free.

1269
01:11:07,472 --> 01:11:10,308
It's just a number of needs
which I am a slave

1270
01:11:11,267 --> 01:11:14,812
different from yours.

1271
01:11:15,980 --> 01:11:17,315
[man]
He doesn't suck the audience.

1272
01:11:18,024 --> 01:11:20,359
He basically said,
"Damn you," to the audience,

1273
01:11:20,443 --> 01:11:23,070
"Why don't you admit it
is my genius today?"

1274
01:11:23,154 --> 01:11:26,407
- [applause]
- Let's lift our glass,

1275
01:11:26,491 --> 01:11:29,952


1276
01:11:30,745 --> 01:11:35,041
stands as some of us do at the opposite end of the river

1277
01:11:36,209 --> 01:11:37,335
and drink together

1278
01:11:38,002 --> 01:11:39,921
for what really matters to us all.

1279
01:11:41,214 --> 01:11:44,050
For our profession that is crazy and loved.

1280
01:11:45,134 --> 01:11:47,428
To the cinema, to a good movie.

1281
01:11:47,929 --> 01:11:49,722
For each type possible.

1282
01:11:52,183 --> 01:11:54,018
[man] Orson made a good speech.

1283
01:11:54,560 --> 01:11:57,980
[man 2] And then he worked
clips of his new film.

1284
01:11:58,314 --> 01:11:59,941
[Welles] Scene...

1285
01:12:00,858 --> 01:12:03,277
that you will see
takes place in the projection room.

1286
01:12:03,361 --> 01:12:06,280
Waiting for a big studio boss.

1287
01:12:06,364 --> 01:12:08,157
The henchman tries to sell  unfinished films that Jake made,

1288
01:12:08,574 --> 01:12:12,036
where he will end money.

1289
01:12:12,745 --> 01:12:14,247
[laughter]

1290
01:12:15,790 --> 01:12:17,792
I just think it's sad.

1291
01:12:20,378 --> 01:12:21,671
He is begging for money.

1292
01:12:22,880 --> 01:12:24,882
- What happened?
- I'm not sure, Max.

1293
01:12:27,718 --> 01:12:30,888


1294
01:12:31,848 --> 01:12:35,101
- You... You better ask Jake.
- I better read the script.

1295
01:12:37,979 --> 01:12:39,146
There are none.

1296
01:12:43,025 --> 01:12:45,444
Jake, he... just made it
while walking.

1297
01:12:47,446 --> 01:12:48,823
He did it before.

1298
01:12:54,203 --> 01:12:55,872
[man] Nobody gave a dime aimhim.

1299
01:12:59,292 --> 01:13:02,086
[man 2] He thinks he will be attractive  someone who will open a safe
and say, "Whatever you need."

1300
01:13:03,087 --> 01:13:06,591
And he doesn't understand.

1301
01:13:06,841 --> 01:13:08,092
Alright, go home!  Who gives a poop?

1302
01:13:08,676 --> 01:13:11,971
You who are stiff can keep all these items
together.
We will have our own film.

1303
01:13:12,263 --> 01:13:16,434
Real film!

1304
01:13:17,184 --> 01:13:18,686
Real film!

1305
01:13:19,270 --> 01:13:20,813
Maybe he just doesn't love us
like before.

1306
01:13:23,774 --> 01:13:26,319
Maybe.

1307
01:13:28,738 --> 01:13:29,822
[man 2] Orson once told me,

1308
01:13:31,741 --> 01:13:33,284


1309
01:13:33,367 --> 01:13:37,079
"Los Angeles is the only city where
each road leads to the airport.

1310
01:13:38,414 --> 01:13:41,417
If you are here, Hollywood can't wait
to get you out of here."

1311
01:13:47,465 --> 01:13:51,385
[Oja] Clouds intasi crossing our films
gathered from all directions.

1312
01:13:52,970 --> 01:13:55,932
[Bogdanovich]
The new Hollywood ends around & apos; 75.

1313
01:13:57,433 --> 01:14:00,603
Star Wars and Jaws are blockbusters,

1314
01:14:00,937 --> 01:14:05,232
not a private film,
and change - atmosphere.

1315
01:14:07,193 --> 01:14:08,819
[Welles] I have a chance,

1316
01:14:08,903 --> 01:14:13,199
right after homage,
revived my career in America.

1317
01:14:14,533 --> 01:14:16,786
But it was destroyed by Iran.

1318
01:14:16,869 --> 01:14:19,038
[crowds shout]

1319
01:14:19,163 --> 01:14:20,957
[reporter] Iran's Islamic revolution.

1320
01:14:22,625 --> 01:14:24,752
[reporter 2] Many foreign-owned businesses  and their assets confiscated
without payment.

1321
01:14:24,877 --> 01:14:27,463
[man 1] Financing gets a big problem.

1322
01:14:29,048 --> 01:14:31,550


1323
01:14:31,884 --> 01:14:35,388
The Iranian company,
they just turned off the spigot.

1324
01:14:36,055 --> 01:14:38,140
[Oja] You see, Shah himself

1325
01:14:38,307 --> 01:14:41,143
is the sister-in-law of our producer.

1326
01:14:42,770 --> 01:14:45,272
[man 3]
When he was overthrown by Ayatollah...

1327
01:14:45,982 --> 01:14:46,983
[chuckles]

1328
01:14:47,316 --> 01:14:51,028
... the film ┬ was confiscated by someone...

1329
01:14:51,487 --> 01:14:55,324
Well, here it is...
if anyone wants to see it.

1330
01:14:55,449 --> 01:14:58,119
[Male 3]... and sent to a safe in Paris.

1331
01:14:59,704 --> 01:15:03,624
[Welles] The Iranians tried to move it
out of Paris just two months ago.

1332
01:15:04,834 --> 01:15:07,128
[man 1] Orson sued to finish the film.

1333
01:15:07,670 --> 01:15:09,390
[Bogdanovich]
Then, you know, he got messed up.

1334
01:15:19,932 --> 01:15:22,518
The French court is locked
The Other Side of the Wind in the vault.

1335
01:15:23,060 --> 01:15:25,563
[man 1]
Orson can't access the film.

1336
01:15:30,359 --> 01:15:32,862
[crowd singing is not clear]

1337
01:15:34,405 --> 01:15:35,740
[gunshot]

1338
01:15:42,079 --> 01:15:44,248
[The song continues to be unclear]

1339
01:15:44,331 --> 01:15:47,043
[Welles] When you hear that cry,
"Death to the Shah,"

1340
01:15:49,253 --> 01:15:52,256
it doesn't come fully from Iranians.

1341
01:15:59,847 --> 01:16:02,433
[man 1]
Now, almost everything is shot

1342
01:16:03,309 --> 01:16:04,435
at this time.

1343
01:16:05,352 --> 01:16:07,229
And Orson was broken hearted.

1344
01:16:11,609 --> 01:16:13,611
[audience applauds]

1345
01:16:16,030 --> 01:16:18,032
I don't want...
doesn't want to be introduced,

1346
01:16:18,157 --> 01:16:21,702
because I don't want this to look
like an official event.

1347
01:16:23,162 --> 01:16:25,748
- [laughter]
- It stops now.

1348
01:16:26,582 --> 01:16:27,958
Stop now.
Back.

1349
01:16:28,084 --> 01:16:30,795
About ten feet,
You get a much better shot. Zoom.

1350
01:16:30,878 --> 01:16:32,713
[laughter]

1351
01:16:34,090 --> 01:16:36,383
[woman]
Sir, my question is a little personal.

1352
01:16:36,634 --> 01:16:40,888
What is the biggest event in your life
in relation to your work as a movie star?

1353
01:16:41,555 --> 01:16:43,599
The biggest moment is always there

1354
01:16:44,391 --> 01:16:46,310
when you know the money is in the bank.

1355
01:16:46,393 --> 01:16:48,813
[laughter, applause]

1356
01:16:50,523 --> 01:16:53,984
The point is, you have fallen in love
with impossible media,

1357
01:16:54,068 --> 01:16:57,530
because it is very difficult to get
for your photos.

1358
01:16:57,905 --> 01:17:00,699
It's very difficult to get distribution.

1359
01:17:01,492 --> 01:17:03,077
I believe we have to work  in constant recognition

1360
01:17:03,536 --> 01:17:06,330
the fact that we are lucky
to work,

1361
01:17:07,289 --> 01:17:10,918
and that our luck is too big
to confuse it

1362
01:17:11,460 --> 01:17:14,797
with the highest justice.

1363
01:17:15,214 --> 01:17:17,007
Especially,
because every intelligent person knows

1364
01:17:17,675 --> 01:17:21,887
that there is no justice in the world.

1365
01:17:22,012 --> 01:17:24,181
Whatever the type.

1366
01:17:25,558 --> 01:17:26,767
God, this is vodka.

1367
01:17:29,270 --> 01:17:30,437
[laughter]

1368
01:17:30,521 --> 01:17:32,523
This... [chuckles]

1369
01:17:35,359 --> 01:17:36,986
That's all.
Don't go
Shoot me laugh and say nothing.

1370
01:17:41,365 --> 01:17:44,994
Come on, I don't want...
I don't want to record myself...

1371
01:17:45,077 --> 01:17:47,580


1372
01:17:53,335 --> 01:17:55,921
[woman] Sometimes I try to imagine Orson

1373
01:17:56,046 --> 01:17:58,632
have a different bedroom
in a different hotel.

1374
01:17:59,008 --> 01:18:02,887
And the door to this room is locked.
And under the bed

1375
01:18:03,179 --> 01:18:06,515
are hidden boxes and boxes from the film.

1376
01:18:07,600 --> 01:18:08,600
Who knows?

1377
01:18:10,311 --> 01:18:12,991
[interviewer] A number of things you have done, films that you have made,

1378
01:18:13,022 --> 01:18:16,108
it has been going on for a long time.
You have returned to them, taken it.

1379
01:18:16,192 --> 01:18:19,195
[Welles] Yes, there are only two
main projects that have not been completed.

1380
01:18:19,570 --> 01:18:20,571
Don Quixote.

1381
01:18:23,282 --> 01:18:26,702
And the other, ichawhich has been
longer is The Other  Side of the Wind.

1382
01:18:28,704 --> 01:18:31,832
[man] I don't know how many other photos
Orson is somewhere

1383
01:18:31,916 --> 01:18:34,835
unfinished.
Some, some.

1384
01:18:36,545 --> 01:18:38,631
[Bogdanovich] The Deep is finished.

1385
01:18:40,049 --> 01:18:42,301
He just needs to repeat the actors.

1386
01:18:43,677 --> 01:18:44,720
But he never did it.

1387
01:18:48,641 --> 01:18:52,436
[Anto] Venetian merchant.
If you listen to Orson,

1388
01:18:52,603 --> 01:18:56,649
the sound was stolen, that's the reason
why he didn't finish the picture.

1389
01:18:58,776 --> 01:18:59,776
[man] Dreamer.

1390
01:19:00,110 --> 01:19:03,405
Dreamers are that big project
will be a very beautiful film.

1391
01:19:05,783 --> 01:19:08,383
[interviewer] Do you want to finish the
picture and do it with it?

1392
01:19:08,452 --> 01:19:11,121
Are you happy when everything is finished and cut?

1393
01:19:11,288 --> 01:19:12,288
[Welles] No

1394
01:19:12,998 --> 01:19:15,501
No, because you always hope that
you can make it better.

1395
01:19:16,627 --> 01:19:18,420
I hate every kind of goodbye.

1396
01:19:18,587 --> 01:19:21,882
And every time the light goes out,
is a little dead and a little goodbye.

1397
01:19:26,303 --> 01:19:27,638
[man] I have a feeling,

1398
01:19:28,889 --> 01:19:31,392
which I have no proof,

1399
01:19:32,476 --> 01:19:35,688
that he wants to finish it
The Other Side of the Wind.

1400
01:19:40,985 --> 01:19:45,447
[Man] I always thought that we would do it
never finished the film until he died.

1401
01:19:45,990 --> 01:19:46,990
Because...

1402
01:19:47,700 --> 01:19:50,327
he feels that if we finish the film
he will die.

1403
01:19:56,292 --> 01:19:57,334
Next to that...

1404
01:19:59,878 --> 01:20:01,297
[Oja] This question:

1405
01:20:01,714 --> 01:20:04,425
Orson doesn't like to finish the film.

1406
01:20:05,426 --> 01:20:09,013
Actually there is no logic in it,
because it didn't finish the film

1407
01:20:09,096 --> 01:20:12,474
will commit suicide,
and Orson love life.

1408
01:20:13,517 --> 01:20:14,935
And live for him  mainly consists of filmmaking.

1409
01:20:15,394 --> 01:20:17,938
That implies that he will act
in another director's film

1410
01:20:27,656 --> 01:20:31,702
to finance and direct his own.

1411
01:20:31,827 --> 01:20:34,580
Then before the end,

1412
01:20:34,830 --> 01:20:36,749
he will throw away all this money and effort,

1413
01:20:37,166 --> 01:20:40,085
which he invested in the film,

1414
01:20:40,627 --> 01:20:42,629
for pleasure the sheer
doesn't solve it.

1415
01:20:42,880 --> 01:20:45,382


1416
01:20:47,176 --> 01:20:49,762
[man] Myth that he doesn't want
to finish the film

1417
01:20:49,845 --> 01:20:51,722
is complete and total nonsense.

1418
01:20:51,847 --> 01:20:54,099
[woman laughing] Such nonsense.

1419
01:20:54,224 --> 01:20:56,143
[man] He wants to solve it correctly.

1420
01:20:56,852 --> 01:20:59,063
I mean, look at the movie
which has finished.

1421
01:20:59,897 --> 01:21:00,897
Hello!

1422
01:21:02,191 --> 01:21:05,319
[Oja] One can only imagine
what is pain and suffering

1423
01:21:05,402 --> 01:21:08,280
He lasted for years
when he finished.

1424
01:21:08,364 --> 01:21:10,366
[laughter]

1425
01:21:11,367 --> 01:21:14,036
Kane.
Othello.
Macbeth.

1426
01:21:14,119 --> 01:21:16,955
Foreigners.
Mr. Arkadin.
And The Trial.

1427
01:21:17,456 --> 01:21:21,543
Touch Crime.
Lady from Shanghai.
Eternal Story.

1428
01:21:21,627 --> 01:21:23,879
Bells on  Midnight.
F for Fake.

1429
01:21:25,923 --> 01:21:27,007
And of course,

1430
01:21:27,257 --> 01:21:30,803
he does everything to continue
with the Other Side of the Wind.

1431
01:21:34,681 --> 01:21:37,309
[Man] I often see him at Ma Maison,

1432
01:21:37,393 --> 01:21:39,520
a French restaurant in Los Angeles.

1433
01:21:39,603 --> 01:21:41,363
[man 2]
He will eat there seven days a week.

1434
01:21:41,397 --> 01:21:43,190
[Male 3] He will go to Ma Maison for lunch.

1435
01:21:43,982 --> 01:21:45,359
[Male 4] He has his own desk,

1436
01:21:45,442 --> 01:21:49,363
and there are most businesses involved.
I mean, like Burt Reynolds.

1437
01:21:49,613 --> 01:21:50,864
[Male 5] Jack Nicholson.

1438
01:21:51,657 --> 01:21:53,450
[man 4] Henry Jaglom is a regular.

1439
01:21:53,784 --> 01:21:55,702
- I will finish it ┬this.
- [man] Yes.

1440
01:21:55,786 --> 01:21:57,663
- Chewing theamerero.
- [man chuckles]

1441
01:21:58,122 --> 01:22:00,791
He's not an ogre
everyone thinks he's, at all.

1442
01:22:01,208 --> 01:22:03,210
[man 6] This strange idea

1443
01:22:03,293 --> 01:22:06,171
Orson is sitting around Ma Maison
fuck all

1444
01:22:06,255 --> 01:22:07,589
insulting.

1445
01:22:08,173 --> 01:22:12,261
Miss Tracy.
Prepare a rich and famous
contract standard

1446
01:22:12,344 --> 01:22:14,680
for Kermit the Frog and company.

1447
01:22:15,389 --> 01:22:18,308
[Bogdanovich] We've had all this lunch
and we talked about everything.

1448
01:22:18,559 --> 01:22:21,895
And he's focused on getting an
film┬Aback so he can finish it  The Other Side of the Wind.

1449
01:22:21,979 --> 01:22:23,480
We created a company called Weljag.

1450
01:22:26,942 --> 01:22:28,944
And we lied and we claimed to have
several million dollars  to pay brother Shah Iran

1451
01:22:32,364 --> 01:22:36,034
one and a half million he requested.

1452
01:22:36,535 --> 01:22:38,412
And that will free the film.

1453
01:22:38,495 --> 01:22:40,747
He's outrageous.
He is willing to lie completely,

1454
01:22:40,873 --> 01:22:42,583
because he doesn't have respect
for stupid processes

1455
01:22:45,043 --> 01:22:48,422
who has held the film.

1456
01:22:48,505 --> 01:22:51,550
So, we left - and we testified.

1457
01:22:51,633 --> 01:22:53,051
[Welles] The biggest part of this film

1458
01:22:56,180 --> 01:22:57,848
made before there is an
partnership with Iranians.

1459
01:22:57,931 --> 01:23:00,017
[Bogdanovich] We are interested in
on the basis of Code Napoléon,

1460
01:23:00,559 --> 01:23:05,272


1461
01:23:06,773 --> 01:23:09,610


1462
01:23:10,235 --> 01:23:12,279
who said the artist had the film.

1463
01:23:12,446 --> 01:23:14,531
It's almost done,

1464
01:23:15,157 --> 01:23:18,160
but the failure of Iranians

1465
01:23:18,410 --> 01:23:20,746
to pay the money that should be

1466
01:23:21,163 --> 01:23:23,040
delay us for years,

1467
01:23:23,165 --> 01:23:24,791
and several people died.

1468
01:23:26,502 --> 01:23:28,378
[Bogdanovich]
That is the focus,

1469
01:23:28,462 --> 01:23:30,839
Another side finishing of the wind.

1470
01:23:32,966 --> 01:23:35,761
And then the French court announced

1471
01:23:36,261 --> 01:23:38,305
the producer has a film.

1472
01:23:38,764 --> 01:23:39,806
Not Orson.

1473
01:23:42,643 --> 01:23:44,436
So, he returned to the first stage.

1474
01:23:50,734 --> 01:23:52,611
[Welles] You have to protect yourself.

1475
01:23:52,819 --> 01:23:54,821
There are subjects that we don't think about.

1476
01:23:55,822 --> 01:23:58,158
You know, it's like avoiding a mirror.

1477
01:23:59,117 --> 01:24:01,620
I don't really like to see
in any mirror form.

1478
01:24:04,498 --> 01:24:05,624
[man] In Orson's life,

1479
01:24:05,707 --> 01:24:10,045
there is an essential feeling
cannot be trusted by people.

1480
01:24:11,296 --> 01:24:14,633
This is a world view,
and it really goes

1481
01:24:14,716 --> 01:24:16,718
pretty well through everything.

1482
01:24:17,803 --> 01:24:20,097
After that, I knew I could not believe it.

1483
01:24:21,181 --> 01:24:22,516
He is angry.

1484
01:24:23,850 --> 01:24:26,770
[man 2]
Betrayal is the key to all of Orson's work.

1485
01:24:27,271 --> 01:24:30,274
[man 3] They are mostly about
two men who love each other,

1486
01:24:30,899 --> 01:24:32,276
and one betrays the other.

1487
01:24:32,359 --> 01:24:34,361
[gunshot]

1488
01:24:37,531 --> 01:24:39,575
[man] Wow, this is a difficult area,

1489
01:24:40,284 --> 01:24:42,869
but it must come from something in his life.

1490
01:24:44,997 --> 01:24:47,749
Actually, this starts as early as you like.

1491
01:24:50,794 --> 01:24:55,549
There are a number of betrayals
in the childhood of Welles...

1492
01:24:55,632 --> 01:24:57,759
I don't like a pair of eyes...

1493
01:24:58,510 --> 01:25:02,806
[man]... it's really basic
to him, formative for him.

1494
01:25:03,223 --> 01:25:04,349
... looking at me.

1495
01:25:05,142 --> 01:25:07,060
[Bogdanovich] His childhood is a mess.

1496
01:25:07,644 --> 01:25:09,187
Without seeing it.

1497
01:25:09,855 --> 01:25:12,899
[Bogdanovich]
His mother died, died on his birthday.

1498
01:25:13,400 --> 01:25:15,277
And then his father got drunk.

1499
01:25:17,070 --> 01:25:20,866
He told his father that he didn't do it
wanted to see him unless he realized.

1500
01:25:23,368 --> 01:25:24,453
His father - fell asleep.

1501
01:25:25,370 --> 01:25:26,413
[Man] Suicide, take one.

1502
01:25:26,663 --> 01:25:29,499
[man 2] Welles believes
his father committed suicide.

1503
01:25:29,708 --> 01:25:31,460
"Is it suicide?"

1504
01:25:32,127 --> 01:25:36,506
[Male 2] Drinked to death in a hotel
room in Chicago when Welles was 15 years old.

1505
01:25:38,342 --> 01:25:40,886
- [Welles] Announce again.
- [man] Suicide, take two.

1506
01:25:40,969 --> 01:25:41,969
[clapboard locked]

1507
01:25:42,012 --> 01:25:45,599
[man 3] This is the greatest
source of error in his life.

1508
01:25:48,143 --> 01:25:52,314
[man 2] And he said, "I don't think
. You can overcome your mistakes."

1509
01:25:52,397 --> 01:25:54,441
He said,
"You have to live with your mistakes."

1510
01:25:57,110 --> 01:25:58,612
[interviewer] this betrayal...

1511
01:25:58,695 --> 01:26:01,156
is a theme that you use in other films.

1512
01:26:02,032 --> 01:26:05,619
Someone betrays their best friends,

1513
01:26:05,869 --> 01:26:09,289
or they betray their values
where they believe.

1514
01:26:09,373 --> 01:26:10,832
- [Welles] Yes.
- Uh...

1515
01:26:11,208 --> 01:26:12,918
[Welles] Which is worse, do you think?

1516
01:26:13,085 --> 01:26:15,885
[interviewer] I think it betrays
the values that you believe in.

1517
01:26:16,171 --> 01:26:17,171
We are there!

1518
01:26:17,631 --> 01:26:19,758
Now we find a difference between us.

1519
01:26:20,050 --> 01:26:22,552
For me, the worst
is betraying friends.

1520
01:26:28,225 --> 01:26:29,985
[Bogdanovich]
We are very close for a while.

1521
01:26:32,521 --> 01:26:35,065
And I love you, and I think he loves me.

1522
01:26:35,816 --> 01:26:37,943
[Welles] I like him.
I like it very much.

1523
01:26:38,944 --> 01:26:40,529
I consider it a true friend.

1524
01:26:41,446 --> 01:26:44,366
And I ask you to welcome him.
Burt Reynolds.

1525
01:26:44,449 --> 01:26:46,493
[applause]

1526
01:26:47,869 --> 01:26:50,080
[Bogdanovich] But Bert Reynolds and Orson,

1527
01:26:50,163 --> 01:26:53,417
they said something not too good
about me, on television.

1528
01:26:54,501 --> 01:26:56,920
We have friends together,
of course, eteráPeter Bogdanovich.

1529
01:26:57,003 --> 01:26:58,505
That's right.
The fact is,

1530
01:26:59,339 --> 01:27:02,259
You must thank me for the fact
that you were asked to be

1531
01:27:02,342 --> 01:27:06,138
in a picture that might be the most unsuccessful in your past.

1532
01:27:06,263 --> 01:27:08,849
- [audience laughs]
- [people shout]

1533
01:27:09,766 --> 01:27:11,935
My feeling is that the photo
needs you.

1534
01:27:12,018 --> 01:27:13,018
Yes.

1535
01:27:13,145 --> 01:27:14,688
No, it needs more.

1536
01:27:14,771 --> 01:27:16,064
[laughter]

1537
01:27:18,567 --> 01:27:19,943
- [Welles] Right.
- [sighs]

1538
01:27:20,026 --> 01:27:23,071
[Reynolds] I have a difference
getting him on this event

1539
01:27:23,363 --> 01:27:24,614
and made him host the show.

1540
01:27:24,698 --> 01:27:27,176
- [Welles] How do you make it go away?
- Well, that's the problem.

1541
01:27:27,200 --> 01:27:28,785
[audience applauds]

1542
01:27:29,870 --> 01:27:31,747
[Huston] This is the sick one.

1543
01:27:31,872 --> 01:27:34,291
This is a sight
We both hope we will never be able to do it.

1544
01:27:36,710 --> 01:27:37,710
Hey.

1545
01:27:39,004 --> 01:27:41,590
Remember when you first appeared in my location?

1546
01:27:42,549 --> 01:27:43,759
Yes, I don't even have

1547
01:27:44,301 --> 01:27:46,386
back home.
Only that...

1548
01:27:47,429 --> 01:27:48,805
used cassette recorders.

1549
01:27:48,889 --> 01:27:50,682
A ragged boy.

1550
01:27:53,059 --> 01:27:55,604
[Bogdanovich]
So, I wrote him a note where I said,

1551
01:27:55,687 --> 01:27:58,482
"I look forward to last night to see it
what you think about me

1552
01:27:58,940 --> 01:28:00,317
and I think I know."

1553
01:28:02,277 --> 01:28:04,821
And he sent back an envelope...

1554
01:28:04,905 --> 01:28:06,031
[Welles] The envelope.

1555
01:28:07,115 --> 01:28:08,909
[Bogdanovich]... with two letters in it.

1556
01:28:09,826 --> 01:28:12,913
One word he was really horrified

1557
01:28:12,996 --> 01:28:15,916
and he feels betrayed
our friendship.

1558
01:28:17,125 --> 01:28:19,044
And another letter says that I deserve it.

1559
01:28:19,127 --> 01:28:21,129
He said, "Please choose."

1560
01:28:21,713 --> 01:28:23,131
What do I do  wrong, Daddy?

1561
01:28:24,508 --> 01:28:26,510
You can smell sweet ass.

1562
01:28:28,470 --> 01:28:30,096
[Bogdanovich sighs]

1563
01:28:31,848 --> 01:28:33,892
[interviewer]
Display Last Image, Paper Moon.

1564
01:28:34,476 --> 01:28:37,854
Some of the early films.
They say, "Bogdanovich is

1565
01:28:38,355 --> 01:28:40,857
the best we have.
He is on his way."

1566
01:28:41,066 --> 01:28:42,943
They don't say that anymore.

1567
01:28:44,069 --> 01:28:45,195
What happened?

1568
01:28:45,821 --> 01:28:48,615
[man] Peter, because of a personal situation,

1569
01:28:48,698 --> 01:28:51,034
ends on rocks in several ways.

1570
01:28:51,743 --> 01:28:54,663
But Orson is far out there
is on the rocks.

1571
01:28:55,038 --> 01:28:58,375
Orson is
rocks and waves and wind.

1572
01:29:01,044 --> 01:29:02,044
Cut.

1573
01:29:04,631 --> 01:29:06,049
[Bogdanovich] Years later,

1574
01:29:06,508 --> 01:29:08,844
we started talking
on the phone a little more.

1575
01:29:10,595 --> 01:29:12,180
But it's not the same.

1576
01:29:14,474 --> 01:29:15,767
And I said to him,

1577
01:29:16,810 --> 01:29:19,104
"I feel like I made a lot of mistakes."

1578
01:29:20,981 --> 01:29:21,982
And he said,

1579
01:29:23,024 --> 01:29:24,024
"Good...

1580
01:29:24,651 --> 01:29:27,612
it seems impossible to
to live life  without making many of them."

1581
01:29:28,363 --> 01:29:30,949
He died a week later.

1582
01:29:34,077 --> 01:29:35,787
Our next speaker is Orson
's friend and cameraman for about 15 years,

1583
01:29:46,840 --> 01:29:51,970
and friends, very good friends.
Underlining.

1584
01:29:52,220 --> 01:29:55,807
He worked on OtherThe Other Side of the Wind
and F for False...

1585
01:29:56,057 --> 01:29:58,310
[woman] At the warning, Gary broke down.

1586
01:29:58,393 --> 01:30:00,812
That is most of his life gone,
do you know?

1587
01:30:01,646 --> 01:30:04,858
He has more contact with Orson
than he did with his children.

1588
01:30:05,775 --> 01:30:08,820
The sad thing for me is that  I want to talk to Orson.

1589
01:30:10,280 --> 01:30:13,491


1590
01:30:13,825 --> 01:30:15,076


1591
01:30:16,244 --> 01:30:17,579
I wish I could talk to him

1592
01:30:17,829 --> 01:30:19,956
and tell him a lot of things
right now.
That...

1593
01:30:20,248 --> 01:30:21,291
that's what is possible

1594
01:30:21,875 --> 01:30:23,585
makes me feel sad.

1595
01:30:24,336 --> 01:30:25,795
[man] That just broke your heart.

1596
01:30:26,588 --> 01:30:27,839
He says things like,

1597
01:30:28,089 --> 01:30:31,134
"I don't know what to do tomorrow."
You know?

1598
01:30:32,052 --> 01:30:33,052
And, uh...

1599
01:30:33,762 --> 01:30:35,680
He said, "I wake up every morning,
what I do is  I call Orson and he tells me what I have to do today.  And I don't know what to do tomorrow. "

1600
01:30:35,764 --> 01:30:38,600
[man] Gary ends with Orson's ashes

1601
01:30:38,683 --> 01:30:41,144
in the trunk of his car
for one and a half years,

1602
01:30:43,355 --> 01:30:45,148
waiting... where are we going to go
Bury him, you know?

1603
01:30:45,231 --> 01:30:47,609
[man] I'm sorry for everything...

1604
01:30:48,026 --> 01:30:50,904
great things that Orson did

1605
01:30:53,740 --> 01:30:55,742


1606
01:30:56,284 --> 01:30:58,328


1607
01:30:59,037 --> 01:31:00,330
which was never displayed.

1608
01:31:01,289 --> 01:31:03,208
And that's why I keep chasing you, Gary.

1609
01:31:03,625 --> 01:31:06,670
I keep - Keep an eye on the Other Side of the Wind
Will be released.

1610
01:31:12,801 --> 01:31:15,804
This... This is what we started
The Other Side of the Wind with.

1611
01:31:15,929 --> 01:31:16,930
Arriflex.

1612
01:31:17,597 --> 01:31:19,724
And then Orson can see there.

1613
01:31:23,603 --> 01:31:27,190
[man] There was a print job
in the middle of Gary's belongings.

1614
01:31:29,067 --> 01:31:31,695
[woman] And she did try to cut the movie
before she died.

1615
01:31:33,321 --> 01:31:34,321
But...

1616
01:31:35,448 --> 01:31:37,534
without Orson, it doesn't track.

1617
01:31:38,952 --> 01:31:43,456
Gary will have a perfect story
his head, he can't record it in a movie.

1618
01:31:46,167 --> 01:31:47,669
[man] But without a doubt,

1619
01:31:48,628 --> 01:31:50,839
I believe that my father will do it  - immediately answer "yes."
- [Gary] Yes.

1620
01:31:51,006 --> 01:31:53,008
That he will do it again.

1621
01:31:53,258 --> 01:31:54,843
[Shepherd] Many people want to see
the Other Side of the Wind made.

1622
01:31:57,721 --> 01:32:00,807


1623
01:32:02,642 --> 01:32:06,271
[man 1] This is the greatest movie
never released, you know.

1624
01:32:10,525 --> 01:32:12,944
[man 2] What was Orson really destined for?

1625
01:32:13,737 --> 01:32:17,323
What is... the original form?

1626
01:32:18,158 --> 01:32:19,784
This is an eternal search.

1627
01:32:21,453 --> 01:32:23,038
[Man] I shot someone for Love,

1628
01:32:23,121 --> 01:32:26,374
which is Orson's last film as an actor,
before he died.

1629
01:32:28,043 --> 01:32:30,045
And he turned - to me and he said...

1630
01:32:30,712 --> 01:32:34,132
"We come to the world alone,
we die alone, we live alone.  Love and friendship are the closest things

1631
01:32:34,674 --> 01:32:37,385
we can find

1632
01:32:37,677 --> 01:32:38,928
to create illusions

1633
01:32:39,596 --> 01:32:41,806
that we are not alone. "

1634
01:32:42,474 --> 01:32:44,267
[man]
So, I was working on it, after Orson died,

1635
01:32:45,727 --> 01:32:48,438
and I got a knock on my door.
And that's John Huston.

1636
01:32:48,730 --> 01:32:52,901
He said, "You have an Orson
record that I haven't seen."

1637
01:32:53,401 --> 01:32:56,905


1638
01:32:56,988 --> 01:32:58,823
I said, "Well, I'll put it for you."

1639
01:32:59,282 --> 01:33:02,827
As far as this film is concerned,
I think you have the ending.

1640
01:33:03,411 --> 01:33:04,245
[man] Why?

1641
01:33:04,329 --> 01:33:08,041
[Welles] Because we arrived at the end.
[chuckles]

1642
01:33:10,668 --> 01:33:12,003
[laughs]

1643
01:33:12,212 --> 01:33:14,672
- [man] I'm glad you met today.
- Me too.

1644
01:33:15,340 --> 01:33:17,008
[man] Thank you.
Stay a little longer?

1645
01:33:17,092 --> 01:33:18,772
[Welles]
Really can't keep recording this.

1646
01:33:18,802 --> 01:33:20,762
- [man] Why?
- [Welles] Too sweet.

1647
01:33:21,221 --> 01:33:22,555
[man] I don't mean to say "cut."

1648
01:33:22,639 --> 01:33:24,599
I will say "cut."
I am a director.

1649
01:33:24,682 --> 01:33:25,682
- Say...
- Cut!

1650
01:33:25,767 --> 01:33:27,477
- Tell the camera.
- What?

1651
01:33:27,602 --> 01:33:29,437
- Tell the camera.
- I did it.

1652
01:33:30,021 --> 01:33:31,106
Can you do it again?

1653
01:33:31,564 --> 01:33:33,066
Do you want me to say "cut" again?

1654
01:33:33,149 --> 01:33:35,002
- To the camera...
- [Welles] Want to improvise

1655
01:33:35,026 --> 01:33:36,653
and do it twice.
Cut!

1656
01:33:36,736 --> 01:33:38,738
[audience laughs]

1657
01:33:38,822 --> 01:33:40,824
[applause]

1658
01:33:42,075 --> 01:33:44,077
[chuckles]

1659
01:33:49,207 --> 01:33:51,042
[man] Huston turned to me and he said,

1660
01:33:52,127 --> 01:33:53,419
"He let you do that?"

1661
01:33:53,753 --> 01:33:57,507
He said, "Oh, that's amazing.
I always want him in the movie to laugh.

1662
01:33:57,590 --> 01:33:59,425
That's very..." And he started crying.

1663
01:34:00,802 --> 01:34:02,220
He starts crying, Huston.

1664
01:34:03,179 --> 01:34:05,431
Watching Orson laugh.

1665
01:34:05,515 --> 01:34:07,517
[no sound]

1666
01:34:24,951 --> 01:34:30,582
Movie clips, cans,
years of work and ideas.

1667
01:34:31,749 --> 01:34:34,919
Does Welles see everything as an endless circle

1668
01:34:35,003 --> 01:34:38,965
full of sound and anger,
signifies nothing?

1669
01:34:41,467 --> 01:34:43,178
Or, maybe for him,

1670
01:34:44,387 --> 01:34:46,973
failure is simple
the more interesting ending.

1671
01:34:50,310 --> 01:34:54,314
[man] Orson talks about ways
imagine again the Other Side of the Wind.

1672
01:34:54,814 --> 01:34:55,899
How did he receive it?

1673
01:34:56,566 --> 01:35:00,028
Suppose, during the course
from the picture, it turns out

1674
01:35:00,236 --> 01:35:04,240
that it was a more interesting hearing
the actors and myself talked about it

1675
01:35:04,324 --> 01:35:06,576
rather than making a picture.
That will be a picture.

1676
01:35:09,871 --> 01:35:12,207
Oh, maybe that's what happened
he talked about.
[laughs]

1677
01:35:12,373 --> 01:35:15,627
Maybe he said that The Other Side
Wind is like a documentary.

1678
01:35:15,710 --> 01:35:18,230
[man 2] At one point, he talked about
turning it into a documentary.

1679
01:35:18,254 --> 01:35:19,130
[male 3] Yes.
Oh, yes.

1680
01:35:19,214 --> 01:35:22,008
[man 4] As he always does,
innovates with forms.

1681
01:35:22,091 --> 01:35:24,928
[man 5] You show people
making films.

1682
01:35:25,011 --> 01:35:27,513
So, it's like a documentary.

1683
01:35:28,014 --> 01:35:29,891
See what I mean?
That... It's free.

1684
01:35:30,433 --> 01:35:32,227
Maybe it's not the picture.

1685
01:35:32,435 --> 01:35:34,979
Maybe it's only talking about
making pictures.

1686
01:35:35,313 --> 01:35:36,314
We just go.

1687
01:35:38,566 --> 01:35:39,484
Let me show it again.

1688
01:35:39,567 --> 01:35:41,694
Maybe it's only talking about
making pictures.

1689
01:35:41,778 --> 01:35:43,821
[Bogdanovich]
Well, that makes sense to me.

1690
01:35:44,364 --> 01:35:46,241
I remember him talking to me about that.

1691
01:35:46,366 --> 01:35:48,368
[Bogdanovich]
That's all in editing.

1692
01:35:48,493 --> 01:35:51,913
[man 1] The Other Side of Wind
and his life are inseparable.

1693
01:35:52,205 --> 01:35:56,459
[man 2] The whole documentary
that we are all used to today...

1694
01:35:56,876 --> 01:35:58,086
he is - preventing.

1695
01:35:59,921 --> 01:36:01,673
[woman] Now, who will watch this film?

1696
01:36:02,173 --> 01:36:05,009
What type of people do you think
will be your audience?

1697
01:36:05,677 --> 01:36:07,387
That's a good question.

1698
01:36:07,720 --> 01:36:09,722
- I hope everything.
- [laughs]

1699
01:36:10,598 --> 01:36:12,600
[laughter]

1700
01:36:13,559 --> 01:36:15,561
[Drama of dramatic classical music]

1701
01:36:20,441 --> 01:36:22,610
["Why CanΓÇÖt I Touch It" play]

1702
01:36:30,952 --> 01:36:35,623
ΓÖ¬ Well, it seems so real
I can see it ΓÖ¬

1703
01:36:36,791 --> 01:36:41,337
ΓÖ¬ And it seems so real
I can feel it ΓÖ¬

1704
01:36:42,213 --> 01:36:47,051
ΓÖ¬ And it seems so real
I can feel it ΓÖ¬

1705
01:36:47,969 --> 01:36:53,349
ΓÖ¬ And it seems so real
I can hear it ΓÖ¬

1706
01:36:53,933 --> 01:36:58,730
ΓÖ¬ So why ΓΓ¬

1707
01:36:59,063 --> 01:37:01,566
ΓÖ¬ Can't I touch it?
ΓÖ¬

1708
01:37:04,944 --> 01:37:10,033
ΓÖ¬ So why ΓΓ¬

1709
01:37:10,116 --> 01:37:12,618
ΓÖ¬ Can't I touch it?
ΓÖ¬

1710
01:37:21,044 --> 01:37:26,090
¬ ¬ Then it looks so real
I can see it ΓÖ¬

1711
01:37:26,841 --> 01:37:31,846
ΓÖ¬ And that feels so real
I can feel it ΓÖ¬

1712
01:37:32,597 --> 01:37:37,310
ΓÖ¬ And it feels so real
I can feel it ΓÖ¬

1713
01:37:38,269 --> 01:37:43,775
ΓΓ¬ And that sounds very real
I can hear it ΓÖ¬

1714
01:37:44,233 --> 01:37:49,447
ΓÖ¬ So why ΓΓ¬

1715
01:37:49,530 --> 01:37:52,116
ΓÖ¬ Can't I touch it?
ΓÖ¬

1716
01:37:55,328 --> 01:38:00,041
ΓÖ¬ So why ΓΓ¬

1717
01:38:00,541 --> 01:38:02,835
ΓÖ¬ Can't I touch it?
ΓÖ