[steps are slow to approach]
Ladies and gentlemen, good night.
This is the story of Orson Welles' last film & apos; The Other Side of the Wind.
[man1] Uh, this is May 11, 1971, The Other Side of the Wind.
Orson Welles. Um...
- Voice number eight. - [man 2] Scrolling.
[man 3] Because you always start announcing before I roll. Alright, now,
I will announce it.
- Scene 58, take one. - [Clapboard locked]
[Cumming] What you will watch consists of pieces of material
that Orson and others left behind.
Many of Orson's films began with death...
and so is ours.
[playing intro music]
When Orson Welles died yesterday, him, ┬ as he did most of his life,
amidst several film projects.
[reporter 1] This is the end of a career which once promised so much.
[Reporter 2] He is a human giant who made Citizen Kane,
who once scared the Americans to death with War of the Worlds.
[Reporter 3] He was called a genius almost from birth.
He's spreading two, doing Shakespeare at ten.
Unfortunately, his last years have never been matched by the promise of his early years.
[Reporter 3] He drifted to a lower job and grew very fat.
[reporter 4] Films never finish.
There is this, The Other Side of the Wind,
about a world-famous filmmaker.
Maybe Welles's vision of him.
[Cumming] How do we summarize someone's life and the truth of that life
he rarely does the same thing.
Almost all stories are almost certain a kind of lie.
But not this time.
[Cumming] This time, the story is The Other Side of the Wind
being notified by people who is there:
cast and crew, friends and family.
- Oh my God, did you shoot from there? - Why not?
[Drama of dramatic classical music]
[man] Orson said, "They will love me when I die."
[woman] No, Orson... once said that.
- [man] Almost right. - [woman] That's not true.
[man sighs]
Our film has long started Something's wrong.
And they are really wrong.
But it began at a promising time for Orson.
Let's watch.
- [film roll rotates] - [applause on film]
[master] Mr. Orson Welles.
[audience applauds]
[man 1] Every time you say his name,
people will say, "What has he done since Citizen Kane?"
[man 2] Citizen Kane, the biggest motion picture ever made.
[man 1] He made a good film and then...
"What happened to Orson Welles?"
Every list of films is great, . Many of them lead with Citizen Kane and said it was the best film made.
Um...
- Are you? - No, of course not.
- That's interesting. - The only one I'm next..., that's...
- The Magnificent Ambersons? - Not.
- What I'm preparing at this time. - Oh, the next one.
That will make history.
- Can you give us that title? - I haven't decided what that is.
- Oh! - [laughter]
[man] That will be the last big effort in his lifetime.
Opportunity to say, "This is my masterpiece."
What really becomes a big basis difference between this image
and what have you done?
Because all the other things I've done have been controlled,
each frame is controlled.
But I want to take the whole story and make the picture
as if it were a documentary. The actors will improvise.
Have you done anything like that before with others...
Nobody has done it before, you know.
But it seems to me like shoot and shoot,
and aren't you afraid of the end result won't have control?
- I save... - Not a little, noáno, I really don't.
[man] I can't even count how many times have I heard Orson say...
The biggest thing in the movie is a divine accident.
[man] "Embrace the accident."
And my definition of a film director
is "the person who led the accident."
[Welles] They are this divine accident.
This is what keeps the film from death.
Every time it happens, boom!
Genius will come out.
[Welles] Everywhere, there are beautiful accidents.
There is smell in the air, there is a display
that changes - all resonance from what you expect.
Sometimes I have an accident.
I made an image where someone was reached through the Touch of Evil window,
and find eggs...
And we make a fuss about it, you know.
But I want to go further.
[woman] Then on the basis of from what you say, "it sounds as if
everything will be the series of "your divine accident."
- [Welles] If we're lucky. - If you're lucky.
That's right. You know, we will go fishing for an accident.
I think that can be very interesting, you know?
[man] Yes, yes.
Do you feel any hatred
for what did Hollywood do to you, or failed to offer you?
[man] At that time, Orson lost his ability
to finance his own work in America.
You are in the sense of seclusion, is not it?
- You've been in America too long. - [Welles] Yes, yes.
[male 1] Orson has been in Europe for two decades.
Because he feels very betrayed by Hollywood.
I think he is permanently traumatized by Touch of Evil.
[man 2] Studio said,
"God, Welles functions at that level of intelligence.
We will make films for movies with them."
That's what you think.
[Welles] Then they saw the rough piece.
They were so horrified that I was fired.
And no one has ever explained what made them horrified.
[woman] After Crime, no one will touch it.
They really don't want to.
[man 3] ┬A Popular press has forgotten it.
[man 1] People don't pursue Orson to work with him.
[Welles] I thought I had to make it a very successful box office image.
[clock ticks]
I think I'm too old not to make it.
- [man 4] Orson needs a comeback film... - And?
[man 4]... and it must be strong.
This is one thing to know what you want, that's another thing
to find out how to get through the door when it's open.
["Cheree" playing]
[Male 1] Hollywood changed in the 70s, changed big.
[man 2] Hollywood just started around & apos; 66.
[man 3] Bonnie and Clyde, Five Easy Pieces.
[man 1] Easy Rider.
[male 4] Children with beards take over.
We are children playing games, when we make.
What film is for me, and what drama is for me, this is a game.
[male 3] A thirty-five year old man has taken over the show business.
The studios don't know anymore what makes money.
The studios collapsed.
[man 2] When Warner Brothers stopped making a cartoon, everything was over.
- [shots] - ΓÖ¬ Cheree, Cheree ΓÖ¬
[male 1] In new Hollywood,
everyone has this extraordinary respect for Orson Welles.
ΓÖ¬ Oh, honey ΓÖ¬
[man 2] He is somewhere Lord Zen and God.
ΓÖ¬ Oh, honey ΓÖ¬
[man 1] I mean, of course, Citizen Kane is probably the biggest film ever made,
but I'm not sure the film is the best.
ΓÖ¬ I love you ΓÖ¬
- [man 2] Lady From Shanghai. - [man 3] Mirror order.
- [man 4] Oh, wow! - [woman] Wow!
ΓÖ¬ Cheree, Cheree ΓÖ¬
[man 5] How can you think of doing that?
ΓÖ¬ My comic book fantasy ΓÖ¬
[Man 6] He is a prototypical independent filmmaker.
ΓÖ¬ Oh, I love you ΓÖ¬
[man 2] Oh, my God, huh.
Bells are the most perfect film ever made.
- [warriors shout] - ΓÖ¬ Oh, honey ΓÖ¬
The opportunity to make my film in America...
it's been very difficult, but I think it's getting easier.
Images become more adventurous.
Opportunities in front of me are bigger, more than five years ago.
[man 2] Orson wants it because he wants it to to make a film about Hollywood.
[Cumming] That was a siren call which attracted Orson back to Hollywood.
And this is where - the story really starts.
In the setting at the Beverly Hills Hotel on July 4, 1970.
[man] One day in 1970, near July 4,
I'm at the Schwab Drug Store in Hollywood.
[Cumming] This is cameraman Gary Graver.
He shot - Orson's everything was directed during the last 15 years of his life.
[woman] Tell us how you met Orson Welles.
[Graver] I read at Variety that Orson Welles is at the Beverly Hills Hotel.
I returned to the telephone booth, called him...
[telephone ringing]
... and I was surprised, he answered the phone.
- "Hello?" I said, "Oh, Orson Welles?" - Hello?
I said, "I'm Gary Graver, . I'm an American cameraman."
- [Welles] Come and say to me. - "I have to talk to you."
I want to do it now!
And he said, "Get more to the Beverly Hills Hotel soon."
Wow!
I rushed to the Beverly Hills Hotel, knocking on the door, ┬áand there Orson.
- I said, "I want to work with you." - Why?
Orson said, "We will do some tests, and if I like what you do,
we will start the script."
And I'm very worried about that.
[Welles] Cut. Come back again. Stop it! Gary, you have to listen to me.
[Graver] The test, as you see here, is an Orson shot
sitting in Beverly Hills Hotel rented bungalows,
and I shot him.
He said, "You are the second cameraman that is what called me.
The first is Gregg Toland on Citizen Kane."
He said, "Now you. So, that means luck.
I want to work with you. "
And we started making films titled:
[overlapping sounds] The Other Side of the Wind. The Other Side of the Wind. What is it?
You can make yourself crazy trying to get an answer for that one.
[Cumming] The pride of this film is that there are actually two films in one.
[Welles] The Other Side of the Wind is divided into two parts.
which is the story of the last day the director's life.
And there is the film which was made by the director,
which has┬ájust broken due to lack of funds.
[woman] almost simultaneously moving together.
[in French] So, what film is this?
- This is the story of an old director. - Yes?
One generation is even older than me. It's hard to imagine that.
[chuckles]
[man 1] The Other Side of Wind is a film about an old film director.
[woman] Too bad Hollywood is not liked.
[man 2] Great American film artists...
[male 3] It was rejected in Hollywood, went to Europe...
[Woman 2] And come to Hollywood.
That is a veiled version of himself.
Good. Will it make it an autobiographical character for you?
No. Everyone will think is autobiography, but not.
Yes. Nonsense.
- [man 2] Of course. - [man 3] That must be an autobiography.
[man 1] One hundred percent Orson.
[man 4] No doubt - this is an autobiographical film.
[man 1] He hates it.
He doesn't want to be analyzed through his films.
[man] Ten-hut!
[man 1] Actually, The Other Side of the Wind starts
because of the conversation I have with Orson.
Who is Ini┬āman?
[man] Peter Bogdanovich started as a film historian.
And Orson, he is my hero.
He said, "Isn't it a shame you can't do it? A good little book about me?" [Chuckles]
I said, "I would love to do it an interview - book with you."
He said, "Okay, let's do it."
And he said...
[Welles] Do you know why I can't sleep last night?
[Bogdanovich] Why?
[Welles] I have that story I've worked for years.
[Bogdanovich] I said, "What is that?" "Well, it's about an older film director
and a young film director, and betrayal
of their" friendship "."
Not that.
[Welles] I'm crazy enough to do that in preference to other things.
- [Bogdanovich] Oughta immediately made it. - [Welles] soon.
[Bogdanovich] "I have to make it now."
- [Welles] Cut. - [laughter]
[Bogdanovich] He called me and he said, "What did you do on Thursday?"
And I said, "I'm going to Texas to start my first film."
But this was before all that.
Orson said, "What time is your flight?"
[chuckles] I said, "Three o'clock."
He said, "Can you meet me during the day where does the plane fly low above the┬ástreet?"
I said, "Yes, okay. What do we do?"
"I will tell you about that when I see you. Meet me during the day."
- [man] Take one, second... - [Welles] Let me announce it.
Bus Studio, ┬áScene 55, Take one!
Is the mic fine?
[Bogdanovich] At first, he told me to play cineaste,
You know, there are men who write about films.
Mr. Hannaford? Uh, Mr. Hannaford.
[Bogdanovich] Jake Hannaford main character, an old director.
Mr. Hannaford, uh, in the body of your film,
how significant will you be related to your father's suicide trauma?
[Bogdanovich] Orson told me to do it like Jerry Lewis. And it's like,
"Mr. Hannaford, do you think that the cinema is like a phallus?"
Orson thinks it's funny.
I do things like Jerry and break myself. [laughs]
He said, "Don't laugh!"
He wants a free train.
[Welles] Okay, come back! Back!
Sun goes into the lens.
Mr. Hannaford!
Mr. Hannaford?
[woman chuckles]
[Welles] This is a crazy picture.
It's not a work of fiction, it's a bit of everything.
You hate it or hate it, like most people.
[audience laughs]
This is a kind of departure in filming.
The Other Side of the Wind is structured around the party
cast for the director, Jake Hannaford.
This gives him the opportunity to affirm relevance among the biggest names from the new Hollywood movement.
Orson starts shooting fragments from this scene,
and will continue to do it for the next five years.
[Welles] Chabrol, get one!
[man] During party scenes, Orson wants to have an actual filmmaker...
Thank you.
- [man]... in front of the camera. - [Clapboard locked]
- But then... - [Welles] For Henry and Paul!
- Roll five, take one. - [laughs]
He wants a little from two young directors.
- Don't humble... Don't patronize me. - Let me stay. Alright, let me finish.
- If you are really honest... - Can I talk to him?
- Yes, but if you are an honest person... - Can I talk to him or not?
[man] Uh, Dennis Hopper appeared.
[Welles] Dennis Hopper, filmmaker, is the main lead actor.
- [man] He's amazingly stoned... - [laughter]
... and is keeping Jake Hannaford away.
- Jake, everyone knows about you. - Yes I know.
[Cumming] With the lead role Jake Hannaford hasn't been cast yet,
Welles plays the role of director dead camera.
[Welles] Do you believe film is also magic?
- [chuckles] - Right.
When Elvis Presley was 21 years old, he came to me and said...
He must do this fight scene. He said, "I have never hit a woman before. Must hit Debra Paget."
And I said, "But you don't really hit people in movies."
He said, "I think you will say it." not really shooting real┬ábullets on people.
I have seen wood chips on the wall. "
- [Welles] He said" that? - Yes
[Welles] Yes, but not you the confusing reality with magic?
In other words, ┬ I believe people will believe anything in movies.
[chuckles]
[Welles] The reality is very bad, items that are weak compared to magic.
[man] Orson is a person who strongly believes in magic.
Ideas - maybe... maybe what you see is not real. [chuckles]
You might be wondering why do I look weird on television.
And that's part of it, I have to confess to you,
the fact that you see my nose like that.
[woman] He is really a very handsome man.
He always hides it with a different nose. He doesn't like it,
he thinks it's too weak or something. I like the nose.
[interviewer] He changed the nose? Oh
In most of the films that I show, I'm wearing a fake nose,
is usually as large as I can find.
[man] He said, "All my life, I've been hiding behind a mask."
And he created the wall with these masks,
hides the┬áreal Orson.
[Welles] The Other Side of the Wind is fully masked.
In other words,
a party shot by a documentary crew
in a style that would never have been my style as a film director.
And the movie in the movie is imitating me the character of my director tried to make an art film.
[Welles in French] This is not my film.
- It's a film by its character. - Yes!
[Welles in English] You will see a movie in a film
it's not a movie I've ever made.
There is no plot.
The point is about my character chasing a girl,
chasing him or something.
A small game "catch me if you can."
That's pretty clear film made by Hannaford
is Orson & sosáattempt┬áto satirize European atmosphere theater.
[man] Which was popular in the 60s.
[Welles in French] And it's very funny to make,
because I have freedom, joy,
to make films that are not films by Orson Welles.
Yes.
Because this is a film made with a mask.
[male 1] With this film,
Mr. Welles is a professional who became an amateur.
And it works.
[man 2] Pretty much everything All he does is save money.
[man 3] Because Orson paid to shoot himself.
[man 2] Gary Graver gave him a small and precise crew.
[Welles] Oh, boy!
[crew clapping, cheering]
[man 4] By the way, Frank Marshall, producer Indiana Jones,
- Isn't he part of the crew? - [man 2] Yes.
That was before I understood what was done by a producer. [chuckles]
[man 5] There are noble feelings freedom and innocence
what Welles┬á always wants.
Because they made up when they left.
[man 4] We have the whole crew who will let him do anything.
The only one who doesn't give him a flak is Oja.
[Welles] It's called...
is Oja. Oja Kodar.
[Cumming] Bintang and co-authors
the film in the film is a young Croatian artist, Oja Kodar.
She's also Orson's lover.
[man 1] Orson only loves Oja, it is the love of his life.
[man 2] And he considers it an artistic collaborator.
[in Croatia] When we first met...
um...
I'm still very young...
[Oja in English] For me, he looked threatening.
[Oja young continues to be unclear]
[Oja lama] With his robe...
he is the personification of the wind itself.
But I know the other side of this wind.
Because Orson is an wind that is capable of caressing you,
lifts you, makes you dance.
[Welles] It's time for recognition.
- [man] Um... he's also married. - Good night, Oja.
[woman] Olga... I call her Olga.
That's the real name, you know?
My father was fascinated by this double life.
It becomes interesting and it's not boring,
this incredible double life.
Why is my mother married, I will never know.
But... that's the choice.
[Welles] We leave Miss Kodar, for now.
[man 1] Orson has shot this material for years
with his own money, with the hope that he can collect more money complete when people see what is he an hero.
But I don't think he tried to get funds from the studio at first.
[Cumming] In fact, Orson sneaked into an abandoned studio backlots with pseudonym and filming┬ complicated criticism
Hollywood itself.
Is that revenge?
[Woman 1] The Magnificent Ambersons is the beginning
from what we can call... the betrayal period.
[woman 2] My father was betrayed by many people.
Does he bring it to himself? Who knows?
Maybe.
[Oja] While editing The Magnificent Ambersons,
Orson is practically ordered by the US government
to go to Brazil to make a documentary.
[Welles] So I arranged for filming
a voodoo witch doctor.
And I returned to the office and found it, on my desk,
in film script...
is a long steel needle.
This is a sign of voodoo.
When I was in South America,
the studio sees Ambersons
and say it's too down-beat.
- [grimace] - And they started to cut it.
[man] The editor used to send the telegram said,
"Come back from Brazil. They take photos of The Ambersons again. We are all bound by contracts.
We can't do anything about it. You are the only one who can stop it.
Back "
And he doesn't know.
[Welles] I was fired by the studio.
I have never recovered from the attack.
They destroyed Ambersons and destroy me.
I didn't get a job as director for years afterwards.
[man] He is considered someone who doesn't really care
about the commerciality of a project
by many people in Hollywood.
Therefore, Orson needs to get funding from non-traditional sources.
And, finally, it works.
[Woman 1] But, about the money, this is complicated.
When I was there, it was Spanish┬áproducer...
- [man 2] Andr├⌐s G├│mez. - [man 1] Right, Andr├⌐s G├│mez.
I am not a movie star, but I found money.
[Male 3] We have money from G├│mez, but we need more.
[man 2] So, Orson found French producer Dominique Antoine.
[Antoine] Yes, so I had money at that time
because I┬aad made an association with Shah's brother-in-law.
[male 1] Shah of Iran.
[man 2] And he has a dictatorship.
[Antoine] Brother-in-law and I created together
company is called Les Films de L & apos; Astrophore.
[male 3] L & apos; Astrophore.
The Iran┬ácompany based in Paris.
[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.
[Antoine] Orson like the Cheshire Cat.
With a smile from one ear to the other. And he snores.
[Antoine purring]
[birds screaming]
- [Oja] Money makes a miracle. - [Welles] Yes.
- [birds screaming] - [Welles] Yes.
You are a bad boy, and you know that.
Confused?
Don't worry about that. That is not the most important thing.
What's important
did Orson finally have the money for his comeback film.
What he doesn't have is a prominent man.
[Bogdanovich] I remember one time we were in Paris,
and he has recorded it a lot without the main character.
[interviewer] Are you going to play the director?
[Welles] Who has to play it is John Huston.
Huston is the best, and I'm the second best.
If I can't get Huston, is no one other than me.
[interviewer] Yes.
[Bogdanovich] And he sort of paced up and down the road, said,
"But why should I give it to Huston? That's mostly, I have to play it myself."
[Welles] If I have to...
pretty close to the pearl gate to fight
with the man who opened it,
I would suggest that the reason is to let me go to heaven
is that I don't play that beautiful part.
[audience chuckles]
[Welles] And gave it to John Huston.
This is part of the selflessness that I regretted since.
- [roaring laughter] - [audience laughs]
[Oja] John Huston┬áwas The sexiest old devil I have ever met.
I try to live...
live life as best you can.
[Antoine] Why does he want John Huston?
They love - outside of others, they are brothers!
[laughs]
[man] The thing about Orson Welles and my father is that they really are
able to revive their own mythology
and camping - wake up a little.
That's a lot of smoke and mirrors. You don't know what's real and what's not.
And that is what they play.
They have known each other to many people, and they are both rapscallions.
John likes Orson Welles.
And he received a call one morning,
and he said, "Oh, my God!" And I said, "What?" He said, "This is Orson.
He wants me to come to Carefree, Arizona."
[playing heavy rock music]
[man 1] Gary called me around 10:00 a.m.
"Mike, can you be in Arizona tomorrow?"
[man 2] "Orson put together filming ten days."
[man 3] I will go down for ten days. He needs me.
[man 4] Go to the desert in the middle of nowhere.
[man 2] "This will be like summer camp, I don't know if there is money.
- Are you interested?" - And I said, "Yes."
- "Yes. Sounds like fun." - Of course.
I'm driving to Arizona.
I suddenly - seen and there was a Zabriskie Point house.
[man 1] This is definitely not a coincidence that the location Orson chose for filming in Arizona
actually the house next to
to home┬Antonioni exploded at Zabriskie Point.
[Bogdanovich] On the Other Side of the Wind,
Orson wants to push further than Antonioni.
[man 1] Orson is the most important independent filmmaker.
I am part of the core crew, not from 80,
but six people plus Orson.
[Antoine] He wants to be in a kind of circus.
Full of oyoyoyo people.
I fell right in the cream keg.
You know, I fell right in the middle.
For me to have luck to work with Orson Welles,
oh, that's very interesting, even when it's difficult.
[man] I mean, the first day of filming, he fired the healthy man.
Can you just slow down? Otherwise I will fall from the car.
[woman] The work of everyone is very difficult.
[Male 1] I have built sets, schlep sets, hanging lamps.
[woman] This young man, very worried to get this thing for Orson
- That he ran through the glass plate. - [man 1] Destroy it.
Fortunately, I walked very fast...
[Male 1] He is in the living room before the glass piece
has finished flowing down the floor.
- [man 2] Oh, that's great. - [woman] That - crazy.
[man 1] That's crazy,
but that's the kind of thing that happens to people who work like Orson.
I chose John Huston at the airport in Phoenix.
[man 3] I said, "Mr. Huston, I am glad you are here."
I said, "We've been waiting for you for three years in this film.
We have shot at you." And Huston looked very worried. He said,
"Have you acted in this photo for three years?"
Write it down, someone.
[crew laughs]
[Welles] Cut.
- I make love. - [Welles] LetΓÇÖs do it one more time.
Small, still masculine campier.
Once again.
[man 3] The Other Side of the Wind is not a complete departure for Orson.
[man 1] And that is reflected
the process that Orson has gone through in Europe in making his own films.
[Cumming] Welles well means
that he was exiled from the facility from Hollywood.
[Welles] I have a different style as a director,
because I know things that I can't ask for.
[man 1] For example, with Othello,
there is a fight scene where the punch is thrown,
but then production must be closed
while Orson goes to make more money - as an┬áactor.
And the reaction shot from the person who was hit
shot two years later and a thousand miles away.
It works.
[man 2] Who would have thought that was possible?
- [audience applauds] - [optimistic music playing on the show]
Good evening.
Now...
the first thing you might ask yourself is, "What is Orson Welles
doing as the┬ahost of a comedy show?"
[man] I met Orson at Kopykats, the performance we did with a group of imitators.
[Announcer] Starring Rich Little.
[Little] I was in the studio doing a routine
called "Famous Celebrity Sneezing."
[imitating Donald Duck sneezing]
I said, "Orson Welles, sneeze."
I don't know that he just came into the studio. I go...
[deep, dramatic voice] "Aah-aah-choo."
And he put his arm on my shoulder and said...
"I never sneezed."
[laughs]
We click.
Well, well, Orson, I don't know how this event can benefit you.
[audience laughs]
[phone rings]
[Small] He called me at home, and told me about this film, The Other Side of the Wind,
and am I interested in playing a wide-eyed young director.
I said, "Good, good. Only one condition. That I have for shooting my scene in about three weeks."
He said, ┬á "Oh, no, no. I might need you for about a week."
When I was introduced to John Huston,
Orson approached him and said, "John, this is... Rich Little.
He is one of the world's biggest impressionists. "
And John Huston said:
[imitating Huston]" Oh well, then we will be fine,
because I like art, you know. "
[imitating Welles] " No, no, not some kind of impressionist.
He does the sound. "
[imitating Huston]" Why did he do that? Why can't they get real people? "
[small laughter]
[Cumming] Orson fills films with
characters based on film community icons.
Like screenwriter John Milius.
Film critic Pauline Kael.
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.
[audience applauds]
The character is young, successful director who imitates.
And that's what Peter did.
I'm Peter┬áBogdanovich.
What do I say? Oh, action!
And then I started thinking, "Well, is John Huston supposed to be Orson?"
I remember - thinking, "Oh, my goodness, this is starting to become very strange." ¥
I remember the one time we filmed...
Brooksie.
- Here, beside you, captain. - Do you know what I want for my birthday?
[Welles] Cut.
John can't drive.
And he never gave us this.
- My camera is gone. - Oh, Jesus!
- [man 1] Of course, that is a stick shift. - Give me a magazine, fast!
[man 1] And I'm a bit worried, Because I have to return the car.
- It's stopped. - The magazine┬ájammed.
The car also stopped.
[engine racing]
- Let's put it in the drive. On "D." - [grinding gear]
[Little] Looks like we're going to go directly to the lake.
John said to me,
"Oh, Rich, you will get a good bill."
& apos; Orson Welles, John Huston, and Kaya Kecil,
all sink & apos; "
[small laugh]
This is a picture of love for death.
You came to my party after all.
Enter. I'll take you.
[Bogdanovich] This is Jake Hannaford's 70th birthday party.
He died at the end.
[man 1] And there are some questions whether it is an accident or suicide.
[Bogdanovich] So, what you see is reconstruction...
- Roll tape! - 40, David, take six.
[Bogdanovich]... consists of all this different recordings, all put together.
- Mr. Hannaford. - Happy birthday, Jake!
[man] All documentaries, the like that we are all very familiar with today,
he is - preventing.
[Viewers shout] Happy birthday!
[man 2] And for that, Gary might be the ideal cameraman because Gary┬áwas very fast.
[man 3] Gary Graver is the key person in the film.
He's the closest person to Orson.
[man 1] Gary really is like his son Orson doesn't have.
Orson and Gary, father...
Not so much.
- Orson is not a father. - [Welles] Action.
Back! Back, backup, backup. Immediately!
- Rise! Up! Up! - [woman] Bored, huh.
Paternal, no.
[Welles] It's slower! Stop!
Move slowly!
[no sound]
[man] The enthusiasm of my father Gary for making films
is something I don't think about I've seen it equal.
Every time my father is not actively involved in shooting,
he saw that time was gone.
[woman] Gary and I, we got married when I was 21 years old.
And if he is scheduled is at home at 10:00,
and it lasted until 4:00 in the morning, oh, fine, he stayed.
[Welles] Action!
[Bogdanovich] Gary did what he was told.
Orson puts the camera where he wants to,
and Gary, you know, is only his slave.
[man] Orson will have a camera his eyes and he said, "Come here, Gary."
And then he moved his head to the side, and he said, "Here it is, see that?"
And I have to make it right.
[man 1] When I look back, It's very complicated.
You want to please him,
because you know he is an artist.
[man 2] I mean, mungkin something that is possible with Orson.
[male 1] Everything must happen soon,
even when we don't understand what we do.
There is no script.
[woman] She keeps writing it when she goes together.
And fiddy-owney-owney-own!
[Male] Sometimes I have a problem understand some lines.
What?
I remember that line great "anonymous gang-shag".
"And the cold, dim, anonymous gang-shag."
[man] And I don't know what it really means. [chuckles]
Did someone please tell me why did I go to a stupid party
with all these stupid dolls?
[man] I don't know what all these dolls are.
[man 2] There are dummies by the pool.
They were there because Orson said, "Let's put these dolls out there."
But it's like, "Well, why?"
[man 3] It doesn't make sense to me.
[man 4] But Orson knew exactly what he wanted.
Every part is here.
For Baker, ┬áone.
[Little] We are doing a scene and Orson says...
[Welles] Now midget goes from behind you...
You all feel the midget touches your feet.
[Little] "Midget runs between your legs."
- Alright. - Continue acting?
This is what you did to make this work, right?
[Little] Orson said, "Everyone is looking for! Crazy on the roof!"
I said, "Orson, what's the matter is this a midget bit?"
And he said, "We will put the midget later, in Spain."
And then leave.
The rule of thumb is Orson knows what he is doing,
don't ask anything. Just do it.
I'm not sure he knows where this film goes, and, um...
I'm not sure anyone did it, actually. [chuckles]
[man 1] It's quite clear that Rich isn't comfortable with the Orson process.
Not a team player.
[man 2] Realistically, I think he is counting down the days
until he knew he had to leave.
[Little] My three weeks are up, and I have to go,
because I have club involvement that I can't get out.
And if I don't show up, I will be prosecuted.
And I thought, "Oh, my goodness,
I won't be able to to finish this part."
[male 3] Well, this is what I remember happening.
That was the last night.
[man 4] This film is practically complete.
[man 3] We were supposed to shoot this big scene.
We went to get him, Saturday morning, he left.
[woman] We are all waiting for him, and he never appears.
[Male 3] As I recall, he wanted to go to New Orleans for something.
[woman] He has responsibility in Las Vegas.
[Male 1] Allegedly, Orson's secretary has been in a relationship
with Rich Little.
[Male 3] He misses his wife and he's tired of working.
Orson said, "No! You're contracting" here for the next... "And he goes and goes.
You didn't do that to Orson.
[man 2] He feels betrayed.
[Little] I can come back later and finish the scene.
We never discussed it, and I... It always confuses me.
I thought, "They have to do it all the scenes again.
Gosh! I can't imagine."
[man 4] That's crazy.
I changed the actor on the second week of filming.
But after seven weeks...
not possible.
[telephone ringing]
[Bogdanovich] I called him, I said, "How are you doing?"
"Bad. I just blew 25 Gs and I don't have that kind of bread.
I have to pay Rich Little."
- "Why?" - "He can't act!"
"Oh, wow, I'm sorry to hear that. What will you do?"
"I don't know what I will do. I can't use the items."
She's a rough witch, isn't she?
[Bogdanovich] So I said, "That's terrible, Orson. Why don't I play it?"
She's a rough witch, isn't she?
And then he said, "Well, you play the other part."
I said, "You can cut me out of it."
All right, friend! Let's be organized. Now where will we start?
[male 1] John Huston said, "Peter, how many films did you really act now?"
"Now, this is the second, Mr. Huston." "Two? Make it easy to count!" [chuckles]
[Welles] Scene three ┬X, take one.
- Ah, red lights. - [low murmur]
- Not us... - Mr. Hannaford.
Oh, shit, I'm sorry. I will do it again.
- Start again? - [Welles] Yes, do better.
- You have to face all situations. - Well.
Why snap your finger? We don't cut. Uh-uh
Orson said, "Play like us."
[Cumming] If you don't pay attention,
Peter Bogdanovich left playing precisely who he was in 1970,
a young writer,
exactly who he was in 1974: a famous film director.
My book about ┬áHannaford has been canceled. Without limit.
Yes, the first five chapters took both of us three and a half years.
Finally, I have to start directing myself so I can eat.
- [Welles] Ha! Well. Now, soon... - Do something else. Right.
- Action? - [Welles] Action.
I have to - start directing so I can eat!
- [Welles] Cut! Very good. - That is good.
[Bogdanovich] At that time, sonOrson had more influence on me than anyone.
[host] There are a number of myths about you already,
even though you are still young. Like a fact that you have a set of goals for yourself
that you will film at the same age Orson Welles did it.
Oh, I want... I think I will fail if I don't make a film
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.
[Bogdanovich] My film isn't like that the films, but he inspired me.
[man 2] Their relationship begins as a mentor / mentee.
[man 1] But Peter is above from the arc that skyrocketed.
[crowd clapping]
[interviewer] You are as successful as you are and you have a beautiful woman, like you have.
Cybill, uh...
Yes, let's not discuss what... Yes, please.
You have it, you have four pictures in a row that generate 30 million dollars.
A man must learn to hate you.
[man] Bogdanovich has surpassed his mentor.
ΓA¬ No matter what the future brings... Γ¬
[man 2] Orson realized, "He has money, I don't. I'm Orson┬áWelles, he's not.
- [grunting] - [giggling]
- What's wrong? - Future.
What's the problem?
We can't be masters.
Not all masters - can't really be followed.
[Bogdanovich] I remember, we sat at lunch one day,
and above the fridge there is this
bag size of Fritos industry.
Orson rips the top, the most echoed contents onto the kitchen table,
sit down, take a large group of Fritos, put it in his mouth.
So, of course, I do the same thing.
[rattling hard]
Really suddenly, Orson just turned to me and said,
"If something happens to me, I want - you to promise me you will finish the picture."
I said, "Oh Jesus, sonáOrson, why did you say something like that?
NothingΓÇÖs gonna┬áhappen to you. Why did you say... "
" I know, nothing will happen. "
[young Bogdanovich] Hey, why choose me?
I mean, theаāman is filled with with students. I apostle, miss. This film deals with betrayal friendship.
Films and friendship.
That is a mystery.
He tests people with that.
[man] Betrayal can come if there is an initial love gift.
- You two are very close, aren't you? - Yes, I want to ask that.
[man] Orson creates an environment where the others will be sucked into it.
It's all in Orson's control.
And he's creating something inevitable.
He'll say I stole everything from you, skipper,
I will never go far from it.
Well, it's okay to borrow from each other.
What we cannot do is to borrow from your own amu
[laughter]
[man] We wink and nod to each other,
which is like, God, this will happen.
This will happen.
& apos; Of course you are close, you two. You must.
You have no choice.
[Cumming] Orson goes to the glass that looks and passes it.
The story is now being rewritten in real time.
[man] There is a┬áscene where Hannaford comes to party
with a blonde teen on his arm.
[man 2] He is quite young.
[man 3] What's the name, Mavis Henshaw?
- What's your name, honey? - Mavis Henscher.
[Male 4] Actually, this is a small waiter we found at the breakfast place.
[Mavis] Want me to give you another scotch?
And we just left... Itu £ That's Mavis. ΓÇ ¥ [laughs]
He doesn't know who Orson Welles is. He doesn't know who John Huston is.
And there is a time when their energy is combined
can hardly get the performance from him.
- [Huston] Ready? - [Welles] Thank you. Actions.
Action!
Oh, I guess he will say the part first.
- [Welles] You said it. - OK.
Say it.
Wow, I don't know, I have a Tomo school... No, wait.
[Bogdanovich] The actress is really terrible.
[man 2] But why does Orson want to do it to himself?
[man 3] He is like a shepherd from Cybill Shepherd.
[man 2] What is he?
Oh well.
[man 1] Obviously Orson gave Peter difficult times about his relationship with Cybill Shepherd after Last Picture Show.
Cybill was┬á19, I think, when Peter found it.
With Orson, you never know what will happen.
[man] Peter said, "Orson made fun of me
and things I said to Cybill."
- [Huston] Tomorrow week, Mavis. - Sorry?
[Huston] You will stay with us to Mexico.
Wow, I don't know, I have a school on Monday.
I will, uh, write a note for your teacher.
[Welles] That's all. [laughs]
[woman] I should, like, her boyfriend
and I am very young, and he is very old.
She's like, "Mavis! Mavis! Come here!" [chuckles]
That... That's very strange.
Mother seems - to think a little young blood will be good for us.
- You can do that - alright. - Well, he is always right.
Excuse me, friends, I think we have confrontation.
- [Welles] One more time. John? - Yes
You look back at the girl after "She's always right."
Excuse me, friends, I think we have confrontation.
[man] In this story, Hannaford takes it This blonde girl is from the #Peter
character whoΓÇÖs the type of game, rough sexual power.
We like your little friend.
[Welles] "We like your little friend."
She's mine.
- [Welles] Cut. - Again.
[Welles] Again.
[chuckles]
[woman] He is growing rapidly.
So, the old man can still score.
How does he judge and with whom he gets the value,
now, my friend, gets us to some very interesting countries.
[man 1] I think Orson was fascinated by this macho thing.
That's part of the concept The Other Side of the Wind
even born.
[Welles] All mystics from, uh...
man.
This image we will make is against men.
[man 1] Initial conception from the Other Side of the Wind,
it will happen obsessive little satire
masculine characters, like Hemingway.
[man 2] So, it's no coincidence that this film took place July 2,
date of Hemingway's death.
Hemingway? That, uh, elelele hook is too exaggerated.
[male 1] And the character displayed is certain
tendency, maybe, latent homosexuality.
He wants to fuck her. He wants to make love the main guy. Don't you see that?
Don't you see that it is in the films? And he can't admit that.
[man 1] Orson is very comfortable with himself and his feminine side.
[man 2] But he can fall right into the role of men.
[man 1] I think Orson is always good is attracted to duality in men.
[interviewer] You have written a lot about you,
and you are far ahead of your time in achievement.
Does your success make you less willing to challenge than times like that?
Oh, I don't think at all. I think I'm more than...
from a rebel than I was at that time.
- [interviewer] In what way? - [Welles] Oh, in everything.
[Man] The best scene I've seen on the other side of the wind
is a sex scene in a car, from a movie in a movie...
seven minutes long in the Welles version was edited.
[man] Yes, it's long, long.
[Oja] Everyone talks about the sexy car scene.
I remember that - experiencing it enough impression on me. [clears throat]
I remember being in my middle teens,
and have playback of this recording.
Oja's recording is very erotic.
About him in the car
uh, with the hose poured into the car, creates all the droplets and...
windshield wipers.
[man 1] The car never moves, and they have several men with hoses.
[Male 2] Hundreds of feet of garden hose.
We robbed all the neighbors of the water.
[man 3] I do all the little things on the set.
And Orson shouted to me, "Hey boy, take that hose and make it rain."
[scoffs] What?
[Oja] One of our paralyzed friends was pushed onto the road,
holding two lights in his hand, imitating the car in a motion.
[man 4] Films in movies, This is about ┬love, about sex, about ain design.
Very hot.
[man 2] And it's not like anything he has ever done.
Previous films were rather disrespectful in the persecution of their sexuality.
[Bogdanovich] He, he calls himself polite.
And he doesn't think that the film is nudity.
Come on, Desdemona.
I have one hour of love to spend time with you.
[man 1] Orson felt explicit sexuality
distracts from art in narration.
[Bogdanovich] He said, "It only shows lack of imagination."
[Oja] He never talked about sex.
[Bogdanovich] That's why Oja was very surprised.
[Oja] I think the things I contributed for his creativity were eroticism.
I introduce sex.
I asked Orson, "How do you want me to do this?"
"Well," he said, "in any way you feel like that. This is your story."
So, what do I think women are like I have to.
So, I decided to become a praying grasshopper.
Wow, my password!
[man 1] He sits on his lap and makes love to him
while her┬ácharacter boyfriend is driving a car.
The chain hit his chest.
[Male 4] He asked Oja, ΓÇ $ Give the appearance of animals. Ç? ¥
[man 3] I still remember fantastic colors,
rhythm, pulsating rhythm. ItΓÖÖs like a cinematic equivalent to orgasm.
But he shot him, like, three years period.
He shot some in his yard in Los Angeles, then
he shot more in his backyard in France.
[man 4] At one time, was Gary Graver with a wig,
playing young men.
This film is exploratory - Orson's wish.
[rotating film]
Author Peter Bartel
describes the Other Side of Wind as
"a desperate person." shared by desperate men. "
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,
so he can work for Orson.
[shout]
[man 2] He is the only man I know who worked with Orson Welles and Ed Wood.
Gary recorded this film, ┬áOne Million AC / DC.
That is the first in the world bisexual dinosaur films.
[woman screaming]
- What is that? - [roaring creatures]
Don't worry, itáit can't eat us here.
[man 2] This is not what Gary wants to have as his trademark in his career.
The other side of Wind is film.
This will be his claim to fame. This is what will do it
take him to new heights.
Orson said, "Gary, if you get a job in another film, you come to me.
If I need you, you can't do it."
[Man 2] In the end, I think he found the easiest path to making all this work
is to do pornographic films.
- Gary does a lot of porn. - [shout]
[Man 2] Hundreds of films that he never had wanted his name to be associated with,
he works - under the assumed name.
[woman] Akdov Telmig.
That "gimlet vodka" is spelled backwards.
[Male 1] He shot this semi porn film
and he asks if I want to be part of this one called 3 A.M.
I think that... is... an element of pornography for that.
And Orson knows that this is important to Gary, ┬á to complete this film,
so he wants to help him.
[clock clanging]
He came and he was at Gary's house, and they cut it together.
And Orson finally cut the shower scene, huh.
Yes.
[woman] I'm sorry.
- Oh! - Yes, that is true.
Orson is very decisive. He really likes it, "Okay, we have to cut here, we go there."
There is no pharumphing.
It feels like, ┬á "I have to get this from that folder,
so I can make Gary go back to work ainagain."
[man] Gary's work never ends.
He is outdated, for sure.
[man 2] I think there are two opportunities
that he was hospitalized because of fatigue.
He just naturally fainted.
- [Welles] Now, Gary. Gary? - [pounding]
- [man] Are you okay, Gary? - [Welles] Do you feel fine?
[Gary] Yes, I'm fine.
[Man] I thought he had been thrown in a towel with another director.
[man 2] And he will try. He will tell Orson,
"I can't." But somehow,
Orson will always find a way to make him change his mind.
The cost is extraordinary.
You don't go - pass some divorce without injury.
[man 3] Orson will encourage you
to the point where you said, "Fuck you, fat man,
and take the legend and push it where the sun doesn't shine."
And right at that time,
where he can feel that he's too far away,
he will wrap his arms around you and basically say,
"Have I told you what a great job Have you done for me lately?"
[man 4] There is no doubt about that that he seems to do everything he can
to alienate as many people as possible.
But why? What does all that mean?
This is weird.
I'm afraid of dying before I reach something that I...
not embarrassed, atthat I even a little proud. I am afraid...
that I will be taken away before I am justified
the luck and excitement that I have.
[Welles] Calm down completely.
Relax your face, sad, empty.
Empty. Now, maybe, "Many are happy to come back," so I didn't hear you.
Lots of happy┬áreturns.
You say it too carefully.
Lots of happy┬áreturns.
[man 2] There are...
incompatibility, or lack of definition
which is the basis of Orson's efforts.
You know, is that some kind of endless wandering?
We will never know.
Orson knows what he wants. He already knows.
- [man] Take 21. - [Welles] Action.
What happened to the lights?
[woman] But, unless you have a brain that works like that,
how do others know?
It is this scattered soul circus.
We are really out of reality.
What happened on the set
very similar to what happened in the film.
[man] It feels like, "Wait a minute. That's Orson.
What is that? Orson, is that you?" "No, that's John Huston. Not me."
[woman] John doesn't know what Orson did.
He said, ┬á "I just can't find out what he did together."
[Welles] Let's go forward with your match, look for, everybody, fast.
[woman] But that's Orson, it will be something.
[man] Test one, take one!
[laughter, chat]
[Welles] Keep moving here.
[unclear chat]
[woman] One night in particular, I was┬álistening┬áto John and Orson,
and John said, £Γ What is this is this film about, Orson? "
And Orson said, " It's about miserable puncture.
This is the song.
This is about us. "
[man] My father felt that the film was a kind of rather vulgar art.
He made one for them - and one for himself,
and could play the system,
more like a poker player . Orson may not be more different, yes.
[woman] My father is a perfectionist,
and the film is his canvas.
Every shot of my father's film is a painting.
[ man] And the Orson line - is that Huston is willing to sell.
[man 2] I keep waiting for my big scene with John Huston,
one time he should to really interact with me.
One day, we were filming and I said,
"Where is John?" He hasn't been there for a long time,
and one of the crew said, "He left making a small film somewhere."
[man] It was a big success.
- £ £ The Masterpiece, ΓÇ ¥ they call it. - [crowd shouting]
That's very beautiful for my father. Kipling's story
in the Atlas Mountains is heaven, heaven on earth.
But to think that, at that time,
this industry doesn't pay the same amount respect to Welles is sad.
[man 1] He once turned to me and he said,
"Citizen Kane is the biggest curse in my life.
Every time I do anything,
people start comparing this to where it stands vis-├á-vis
what they call the biggest American film.
This is my curse. "
No other director has ever been arrested for an impossible standard like that.
What's the other side of the wind is about is, in a sense, a bookend
to Citizen Kane, about the tragic end... . someone who is great...
and then has his place in America.
[Bogdanovich] Yes, you know,
Orson said...
"No story ends happy,
unless you stop telling it before it ends. "
[Oja] Tragedy The Other Side Winds starts with ┬AAndr├⌐s Vicente G├│mez.
He is our co-producer from Spain.
[man 2] I'm not sure how much I can say about this without going into...
um... muddy legal┬áwaters.
[man 3] Yes, I was there and I really, to this day, don't know...
Whoa... Oh, wait a minute. I know.
Oh, a story that I can't tell.
[man 1] Andr├⌐s G├│mez should install it several hundred thousand dollars
the production costs on the other side of the wind,
and is on the set. He left, and we were told that
he will take the next tranche┬áof investment,
something in the order of quarter of a million dollars.
We ran out of cash and we continued, "Where is Andr?
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.
I don't know... He might have disappeared with his own money.
[man 3] The problem is everyone gets information from Orson.
No one has direct evidence how the money is lost. [Male 4] I read that he blamed me & apos; Causes of financial failure ,
which is completely untrue. I made an agreement with him. No complaints, nothing.
If that's true, why didn't they do it? any claim to me , You know?
It creates chaos. I mean, we suddenly didn't shoot.
And then... we even blame each other.
You can — think about what happens to work morale.
And then we are all a bit, "What will Orson do?"
[man] Mark it.
Leave!
[man 1] Orson naturally had difficulty completing films,
and when production must move to Los Angeles
and requires an interior that can function to double Arizona homes,
Peter had┬áOrson moved to his house in Beverly Hills to film there.
[man 2] What happened was, I thought Orson sort of took advantage of it.
[man 3] Peter told Orson he could live in his house
for maybe - two, three weeks a month.
Right!
[Shepherd] Well, he stayed and left for three years.
Right!
[male 4] Peter and Cybill Shepherd live in the east wing.
[Shepherd] It's a very big house.
And he eats a lot.
Ah, French champagne...
always celebrated for its excellence.
- [Shepherd] Fudgsicles! - [Welles chuckles]
[Shepherd] He must have it all the time.
He is very angry if there is no Fudgsicles.
And I have strict orders Don't ever bother him.
And then I smell smoke one day.
He is in the guest room downstairs.
And I followed it to the door and tap-tap,
"Orson, is everything okay?"
[imitating the Welles voice] "Yes, it's been taken care of."
He put a lit cigar in the pocket of his robe.
[woman] He is miserable.
He was never as fat as he was at that time.
And that's because of the film.
[man 2] Over time, Peter gives more to Orson
than he imagined he will give.
[Huston] Don't give up the ship, eh, Brooksie?
I don't.
[Welles] It's embarrassing because he's bankrupt.
Don't think I'm not ready...
Don't think I'm not ready yet to fight for you.
[man 2] I think, for a long time, You can justify,
"Well, Orson needs me.
I help ┬him, maybe something good will come out of it."
You are what I think.
- God, I'm not... - [Welles] Don't touch anything.
"That's you I think." Right at the door, that one.
You are what I think.
[man 2] At some point, it's like, It should be time for Orson to...
to go, but Orson didn't leave, and how...
try to tell imhim to do that?
[sighs]
We are somehow shining little in the light...
fireflies,
he doesn't swallow often enough.
This is a fact - some of us, he chewed rather slowly.
[Welles] Cut.
[Cumming] Orson confiscated the áPeter
screening room and turn it into an editing room.
There he worked for hours, connecting together
Wind.
[Welles] This is Moviola.
This is a┬achachine for editing movies.
[Oja] Orson decided with a totally new approach.
[man] Orson cut it off.
He cut it, every take, many parts
- and he reconstructs. - Action!
Curtain.
- Curtain. - [Welles] Film is...
never true
until musical right.
- [man 2] I finally worked as an editor. - [Welles] Cut!
I spent six months for what I call the bathroom orgy scene.
There are 500 edits.
And I spent six months with him editing two frames here, five frames here, six...
He keeps editing it a little more and a little more.
[man] All the concepts The Other Side of the Wind
developing, that's what he said. "I said, " Now, how can it develop now? "
He said," That's all in editing. "
I never forgot. " That's all in editing. "
[Welles ] Jigsaw pieces are separated by
break in time.
Jesus, with all your problems, What is a prominent bad person?
There is no way for that image to be ┬┬ together, except in my mind.
Jesus, what is a very bad person?
[Welles] Cut!
[man 2] That's funny, because, after all that,
Orson still wants Hollywood for And I think he thinks that AFI
uh, the Life Achievement Award will be that moment.
[Announcer] The American┬á Film Institute greetings to Orson Welles.
[Male] I am the Founding Director of AFI.
I started the Life Achievement Award.
[announcer] To pay respect to extraordinary individuals
for the periodic contribution to the art of moving images.
[man] We conclude that Orson must be the next recipient,
but the other side of the wind breaks through.
Petrus is my┬ámedium.
[Bogdanovich] Stevens called me.
[man] Peter said, "Orson wants to show something
from his new film, The Other Side of the Wind."
I said, "Good."
That was big┬ádeal, ┬ábecause we tried to sell the film.
[Man] He is trying to sell films.
[woman] He thinks he will get it money to finish it.
[man] That doesn't make sense,
but it will get more complicated as we have - closeer to time.
[audience applauds]
[man] Nothing exceeds Orson in charm
when he turned it on and he came to play.
[man 2] This is all Hollywood there.
What is a better forum to present the film? I mean...
[Frank Sinatra] Now, what if you see in the future our talented friends?
The Other Side of the Wind.
It's about celebrating the honor of a famous film director who is not Orson.
And all the weird movies and filmmakers in the world are at this party
I'm talking about, including brilliant young directors
which, by other coincidences, is not Peter Bogdanovich,
but played by Peter Bogdanovich.
[man 2] Orson thought that AFI was then where everyone would go
give him dessert.
This picture is beautiful.
And so are you, dear Orson.
[applause]
[Welles] I can only accept this honor
on behalf of all mavericks.
And don't imagine this shake gipyyo claim free.
It's just a number of needs which I am a slave
different from yours.
[man] He doesn't suck the audience.
He basically said, "Damn you," to the audience,
"Why don't you admit it is my genius today?"
- [applause] - Let's lift our glass,
stands as some of us do at the opposite end of the river
and drink together
for what really matters to us all.
For our profession that is crazy and loved.
To the cinema, to a good movie.
For each type possible.
[man] Orson made a good speech.
[man 2] And then he worked clips of his new film.
[Welles] Scene...
that you will see takes place in the projection room.
Waiting for a big studio boss.
The henchman tries to sell unfinished films that Jake made,
where he will end money.
[laughter]
I just think it's sad.
He is begging for money.
- What happened? - I'm not sure, Max.
- You... You better ask Jake. - I better read the script.
There are none.
Jake, he... just made it while walking.
He did it before.
[man] Nobody gave a dime aimhim.
[man 2] He thinks he will be attractive someone who will open a safe and say, "Whatever you need."
And he doesn't understand.
Alright, go home! ┬áWho┬ágives a poop?
You who are stiff can keep all these items together. We will have our own film.
Real film!
Maybe he just doesn't love us like before.
Maybe.
[man 2] Orson once told me,
"Los Angeles is the only city where each road leads to the airport.
If you are here, Hollywood can't wait to get you out of here."
[Oja] Clouds intasi crossing our films gathered from all directions.
[Bogdanovich] The new┬áHollywood ends around & apos; 75.
Star Wars and Jaws are blockbusters,
not a private film, and change - atmosphere.
[Welles] I have a chance,
right after homage, revived my career in America.
But it was destroyed by Iran.
[crowds shout]
[reporter] Iran's Islamic revolution.
[reporter 2] Many foreign-owned businesses and their assets confiscated without payment.
[man 1] Financing gets a big problem.
The Iranian company, they just turned off the spigot.
[Oja] You see, Shah himself
is the sister-in-law of our producer.
[man 3] When he was overthrown by Ayatollah...
[chuckles]
... the film ┬ was confiscated by someone...
Well, here it is... if anyone wants to see it.
[Male 3]... and sent to a safe in Paris.
[Welles] The Iranians tried to move it out of Paris just two months ago.
[man 1] Orson sued to finish the film.
[Bogdanovich] Then, you know, he got messed up.
The French┬ácourt is locked The Other Side of the Wind in the vault.
[man 1] Orson can't access the film.
[crowd singing is not clear]
[gunshot]
[The song continues to be unclear]
[Welles] When you hear that cry, "Death to the Shah,"
it doesn't come fully from Iranians.
[man 1] Now, almost everything is shot
at this time.
And Orson┬áwas broken hearted.
[audience applauds]
I don't want... doesn't want to be introduced,
because I don't want this to look like an official event.
- [laughter] - It stops now.
Stop now. Back.
About ten feet, You get a much better shot.┬áZoom.
[laughter]
[woman] Sir, my question is a little personal.
What is the biggest event in your life in relation to your work as a movie star?
The biggest moment is always there
when you know the money is in the bank.
[laughter, applause]
The point is, you have fallen in love with impossible media,
because it is very difficult to get for your photos.
It's very difficult to get distribution.
I believe we have to work in constant recognition
the fact that we are lucky to work,
and that our luck is too big to confuse it
with the highest justice.
Especially, because every intelligent person knows
that there is no justice in the world.
Whatever the type.
God, this is vodka.
[laughter]
This... [chuckles]
That's all. Don't go Shoot me laugh and say nothing.
Come on, I don't want... I don't want to record myself...
[woman] Sometimes I try to imagine Orson
have a different bedroom in a different hotel.
And the door to this room is locked. And under the bed
are hidden boxes and boxes from the film.
Who knows?
[interviewer] A number of things you have done, films that you have made,
it has been going on for a long time. You have returned to them, taken it.
[Welles] Yes, there are only two main projects that have not been completed.
Don Quixote.
And the other, ichawhich has been longer is The Other┬á Side of the Wind.
[man] I don't know how many other photos Orson is somewhere
unfinished. Some, some.
[Bogdanovich] The Deep is finished.
He just needs to repeat the actors.
But he never did it.
[Anto] Venetian merchant. If you listen to Orson,
the sound was stolen, that's the reason why he didn't finish the picture.
[man] Dreamer.
Dreamers are that big project will be a very beautiful film.
[interviewer] Do you want to finish the picture and do it with it?
Are you happy when everything is finished and cut?
[Welles] No
No, because you always hope that you can make it better.
I hate every kind of goodbye.
And every time the light goes out, is a little dead and a little goodbye.
[man] I have a feeling,
which I have no proof,
that he wants to finish it The Other Side of the Wind.
[Man] I always thought that we would do it never finished the film until he died.
Because...
he feels that if we finish the film he will die.
Next to that...
[Oja] This question:
Orson doesn't like to finish the film.
Actually there is no logic in it, because it didn't finish the film
will commit suicide, and Orson love life.
And live for him mainly consists of filmmaking.
That implies that he will act in another director's film
to finance and direct his own.
Then before the end,
he will throw away all this money and effort,
which he invested in the film,
for pleasure the┬ásheer doesn't solve it.
[man] Myth that he doesn't want to finish the film
is complete and total nonsense.
[woman laughing] Such nonsense.
[man] He wants to solve it correctly.
I mean, look at the movie which has finished.
Hello!
[Oja] One can only imagine what is pain and suffering
He lasted for years when he finished.
[laughter]
Kane. Othello. Macbeth.
Foreigners. Mr. Arkadin. And The Trial.
Touch Crime. Lady┬áfrom Shanghai. Eternal Story.
Bells on ┬áMidnight. F for Fake.
And of course,
he does everything to continue with the Other Side of the Wind.
[Man] I often see him at Ma Maison,
a French restaurant in Los Angeles.
[man 2] He will eat there seven days a week.
[Male 3] He will go to Ma Maison for lunch.
[Male 4] He has his own desk,
and there are most businesses involved. I mean, like Burt Reynolds.
[Male 5] Jack Nicholson.
[man 4] Henry Jaglom is a regular.
- I will finish it ┬this. - [man] Yes.
- Chewing theamerero. - [man chuckles]
He's not an ogre everyone thinks he's, at all.
[man 6] This strange idea
Orson is sitting around Ma Maison fuck all
insulting.
Miss Tracy. Prepare a rich and famous contract standard
for Kermit┬áthe Frog and company.
[Bogdanovich] We've had all this lunch and we talked about everything.
And he's focused on getting an film┬Aback so he can finish it The Other Side of the Wind.
We created a company called Weljag.
And we lied and we claimed to have several million dollars to pay brother Shah Iran
one and a half million he requested.
And that will free the film.
He's outrageous. He is willing to lie completely,
because he doesn't have respect for stupid processes
who has held the film.
So, we left - and we testified.
[Welles] The biggest part of this film
made before there is an partnership with Iranians.
[Bogdanovich] We are interested in on the basis of Code┬áNapol├⌐on,
who said the artist had the film.
It's almost done,
but the failure of Iranians
to pay the money that should be
delay us for years,
and several people died.
[Bogdanovich] That is the focus,
Another side finishing of the wind.
And then the French court announced
the producer has a film.
Not Orson.
So, he returned to the first stage.
[Welles] You have to protect yourself.
There are subjects that we don't think about.
You know, it's like avoiding a mirror.
I don't really like to see in any mirror form.
[man] In Orson's life,
there is an essential feeling cannot be trusted by people.
This is a world view, and it really goes
pretty well through everything.
After that, I knew I could not believe it.
He is angry.
[man 2] Betrayal is the key to all of Orson's work.
[man 3] They are mostly about two men who love each other,
and one betrays the other.
[gunshot]
[man] Wow, this is a difficult area,
but it must come from something in his life.
Actually, this starts as early as you like.
There are a number of betrayals in the childhood of Welles...
I don't like a pair of eyes...
[man]... it's really basic to him, formative for him.
... looking at me.
[Bogdanovich] His childhood is a mess.
Without seeing it.
[Bogdanovich] His mother died, died on his birthday.
And then his father got drunk.
He told his father that he didn't do it wanted to see him unless he realized.
His father - fell asleep.
[Man] Suicide, take one.
[man 2] Welles believes his father committed suicide.
"Is it suicide?"
[Male 2] Drinked to death in a hotel room in Chicago when Welles was 15 years old.
- [Welles] Announce again. - [man] Suicide, take two.
[clapboard locked]
[man 3] This is the greatest source of error in his life.
[man 2] And he said, "I don't think . You can overcome your mistakes."
He said, "You have to live with your mistakes."
[interviewer] this betrayal...
is a theme that you use in other films.
Someone betrays their best friends,
or they betray their values where they believe.
- [Welles] Yes. - Uh...
[Welles] Which is worse, do you think?
[interviewer] I think it betrays the values that you believe in.
We are there!
Now we find a difference between us.
For me, the worst is betraying friends.
[Bogdanovich] We are very close for a while.
And I love you, and I think he loves me.
[Welles] I like him. I like it very much.
I consider it a true friend.
And I ask you to welcome him. Burt Reynolds.
[applause]
[Bogdanovich] But Bert Reynolds and Orson,
they said something not too good about me, on television.
We have friends together, of course, eteráPeter Bogdanovich.
That's right. The fact is,
You must thank me for the fact that you were asked to be
in a picture that might be the most unsuccessful in your past.
- [audience laughs] - [people shout]
My feeling is that the photo needs you.
Yes.
No, it needs more.
[laughter]
- [Welles] Right. - [sighs]
[Reynolds] I have a difference getting him on this event
and made him host the show.
- [Welles] How do you make it go away? - Well, that's the problem.
[audience applauds]
[Huston] This is the sick one.
This is a sight We both hope we will never be able to do it.
Hey.
Remember when you first appeared in my location?
Yes, I don't even have
back home. Only that...
used cassette recorders.
A ragged boy.
[Bogdanovich] So, I wrote him a note where I said,
"I look forward to last night to see it what you think about me
and I think I know."
And he sent back an envelope...
[Welles] The envelope.
[Bogdanovich]... with two letters in it.
One word he was really horrified
and he feels betrayed our friendship.
And another letter says that I deserve it.
He said, "Please choose."
What do I do ┬áwrong, Daddy?
You can smell sweet ass.
[Bogdanovich sighs]
[interviewer] Display Last Image, Paper Moon.
Some of the early films. They say, "Bogdanovich is
the best we have. He is on his way."
They don't say that anymore.
What happened?
[man] Peter, because of a personal situation,
ends on rocks in several ways.
But Orson is far out there is on the rocks.
Orson is rocks and waves and wind.
Cut.
[Bogdanovich] Years later,
we started talking on the phone a little more.
But it's not the same.
And I said to him,
"I feel like I made a lot of mistakes."
And he said,
"Good...
it seems impossible to to live life without making many of them."
He died a week later.
Our next speaker is Orson 's friend and cameraman for about 15 years,
and friends, very good friends. Underlining.
He worked on OtherThe Other Side of the Wind and F for False...
[woman] At the warning, Gary broke down.
That is most of his life gone, do you know?
He has more contact with Orson than he did with his children.
The sad thing for me is that I want to talk to Orson.
I wish I could talk to him
and tell him a lot of things right now. That...
that's what is possible
makes me feel sad.
[man] That just broke your heart.
He says things like,
"I don't know what to do tomorrow." You know?
And, uh...
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. "
[man] Gary ends with Orson's ashes
in the trunk of his car for one and a half years,
waiting... where are we going to go Bury him, you know?
[man] I'm sorry for everything...
great things that Orson did
which was never displayed.
And that's why I keep chasing you, Gary.
I keep - Keep an eye on the Other Side of the Wind Will be released.
This... This is what we started The Other Side of the Wind with.
Arriflex.
And then┬áOrson can see there.
[man] There was a print job in the middle of Gary's belongings.
[woman] And she did try to cut the movie before she died.
But...
without Orson, it doesn't track.
Gary will have a perfect story his head, he can't record it in a movie.
[man] But without a doubt,
I believe that my father will do it - immediately answer "yes." - [Gary] Yes.
That he will do it again.
[Shepherd] Many people want to see the Other Side of the Wind made.
[man 1] This is the greatest movie never released, you know.
[man 2] What was Orson really destined for?
What is... the original form?
This is an eternal search.
[Man] I shot someone for Love,
which is Orson's last film as an actor, before he died.
And he turned - to me and he said...
"We come to the world alone, we die alone, we live alone. Love and friendship are the closest things
we can find
to create illusions
that we are not alone. "
[man] So, I was working on it, after Orson died,
and I got a knock on my door. And that's John Huston.
He said, "You have an Orson record that I haven't seen."
I said, "Well, I'll put it for you."
As far as this film is concerned, I think you have the ending.
[man] Why?
[Welles] Because we arrived at the end. [chuckles]
[laughs]
- [man] I'm glad you met today. - Me too.
[man] Thank you. Stay a little longer?
[Welles] Really can't keep recording this.
- [man] Why? - [Welles] Too sweet.
[man] I don't mean to say "cut."
I will say "cut." I am a director.
- Say... - Cut!
- Tell the camera. - What?
- Tell the camera. - I did it.
Can you do it again?
Do you want me to say "cut" again?
- To the┬ácamera... - [Welles] Want to improvise
and do it twice. Cut!
[audience laughs]
[applause]
[chuckles]
[man] Huston turned to me and he said,
"He let you do that?"
He said, "Oh, that's amazing. I always want him in the movie to laugh.
That's very..." And he started crying.
He starts crying, Huston.
Watching Orson laugh.
[no sound]
Movie clips, cans, years of work and ideas.
Does Welles see everything as an endless circle
full of sound and anger, signifies nothing?
Or, maybe for him,
failure is simple the more interesting ending.
[man] Orson talks about ways imagine again the Other Side of the Wind.
How did he receive it?
Suppose, during the course from the picture, it turns out
that it was a more interesting hearing the actors and myself talked about it
rather than making a picture. That will be a picture.
Oh, maybe that's what happened he talked about. [laughs]
Maybe he said that The Other Side Wind is like a documentary.
[man 2] At one point, he talked about turning it into a documentary.
[male 3] Yes. Oh, yes.
[man 4] As he always does, innovates with forms.
[man 5] You show people making films.
So, it's like a documentary.
See what I mean? That... It's free.
Maybe it's not the picture.
Maybe it's only talking about making pictures.
We just go.
Let me show it again.
Maybe it's only talking about making pictures.
[Bogdanovich] Well, that makes sense to me.
I remember him talking to me about that.
[Bogdanovich] That's all in editing.
[man 1] The Other Side of Wind and his life are inseparable.
[man 2] The whole documentary that we are all used to today...
he is - preventing.
[woman] Now, who will watch this film?
What type of people do you think will be your audience?
That's a good question.
- I hope everything. - [laughs]
[laughter]
[Drama of dramatic classical music]
["Why CanΓÇÖt I Touch It" play]
ΓÖ¬ Well, it seems so real I can see it ΓÖ¬
ΓÖ¬ And it seems so real I can feel it ΓÖ¬
ΓÖ¬ And it seems so real I can hear it ΓÖ¬
ΓÖ¬ So why ΓΓ¬
ΓÖ¬ Can't I touch it? ΓÖ¬
ΓÖ¬ So why ΓΓ¬
ΓÖ¬ Can't I touch it? ΓÖ¬
¬ ¬ Then it looks so real I can see it ΓÖ¬
ΓÖ¬ And that feels so real I can feel it ΓÖ¬
ΓÖ¬ And it feels so real I can feel it ΓÖ¬
ΓΓ¬ And that sounds very real I can hear it ΓÖ¬
ΓÖ¬ So why ΓΓ¬
ΓÖ¬ Can't I touch it? ΓÖ¬
ΓÖ¬ So why ΓΓ¬
ΓÖ¬ Can't I touch it? ΓÖ