Archive for the ‘Touch of Evil’ Category

Peter Bogdanovich and James Naremore to discuss Orson Welles and screen TOUCH OF EVIL at the Indianapolis Museum of Art on January 29

Friday, January 29th, 2010

Touch of Evil will be screened at the Indianapolis Museum of Art on Friday, January 29 at 7:00 and director Peter Bogdanovich will be on hand to introduce the film and talk about working with Welles. After the screening Bogdanovich will be joined by James Naremore, the author of The Magic World of Orson Welles, to answer questions from the audience.

In an interview with Nuvo, the Indianapolis alternative newspaper, Scott Shoger asks Mr. Bogdanovich mostly Welles related questions, including when he thinks The Other Side of the Wind might be free from the many legal entanglements that have surrounded it for over 35 years.

NUVO: Do you think we’ll see The Other Side of the Wind this year?

PETER BOGDANOVICH: It’s so complicated I don’t even know where to begin. But to put it in a nutshell, we’ve been trying to work it out, with [the help of] Showtime for about ten years, and they’re very keen to do it. There are just various legal entanglements that keep cropping up that prevent it from going forward. And my guess is that it’ll be resolved in the next few months, and that we should be able to start editing it. I’ve been saying that for a long time… Once we get past the legal issues, I think it’s a six to ten month job to get it cut, because there’s an awful lot of film to go through…

NUVO: Are you frustrated at this point, or has it been so long that you’ve come to terms with this delay?

PETER BOGDANOVICH: There’s no word to describe how frustrated I am. Frustrated is too easy a word: It’s agony. Orson asked me, if anything ever happened to him, would I finish the film? He asked me that in 1975, and he died 10 years later. And now it’s another 25 years later, and we’re still trying to do the job he asked me to do. It’s kind of grotesque.

Read the entire interview HERE.

William Alland on working with ORSON WELLES from JULIUS CAESAR to TOUCH OF EVIL

Monday, November 23rd, 2009

Richard Linklater’s Me and Orson Welles had its New York City premiere on November 23, and the next day, on November 24, there was a dedication by Chris Welles Feder and Christian McKay of a plaque in memory of Orson Welles’s Mercury Theatre which once stood at the site of the current building which now occupies the lot at 110 West 41st street.

That is why Wellesnet will be recalling some of the memories of the original cast members of Julius Caesar this week, beginning with these filmed recollections of one of the founding members of Orson Welles’s Mercury Theatre company, Mr. William Alland.

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Part One: Meeting Welles, Theater and Radio

Part Two: Hollywood and Citizen Kane to Touch of Evil

Photos of William Alland and Orson Welles can be seen at Wellesnet’s Facebook page HERE.

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William Alland most famously played the reporter Thompson in Citizen Kane, and was one of the original Mercury Theatre actors, having first met Welles early in his career in 1936. He then went on to play the part of Marullus in Julius Caesar, and joined the other Mercury Actors when they went to Hollywood. Alland debuted as a film actor in Citizen Kane and worked with Welles on several of his subsequent films, including playing one of the murderers in Macbeth.

Mr. Alland also had roles in many of Welles’s radio shows, most notably playing several parts in the notorious War of the Worlds broadcast.

John McCarty, a colleague from Cinefantastique magazine, recently wrote to tell me he had filmed an long interview segment with Mr. Alland for a documentary project and had just recently placed it on YouTube for everyone to enjoy.

I asked John to write a short introduction for his documentary, The Man Who Pursued Rosebud, and he readily complied. In looking at Mr. Alland’s comments, what I found especially interesting, is how his account of his first meeting with Orson Welles differed so greatly from what John Houseman recorded in his own autobiography, Run Though. Like the reporter he played in Citizen Kane, it seems William Alland and Mr. Houseman have two very different memories of how they first came to meet the great man!

So after you watch John McCarty’s documentary, I have included the relevant comments from John Houseman’s book, where he recalls his own take on how William Alland became a member of the Mercury Theatre.

It should also be noted that William Alland is portrayed in a featured part in Me and Orson Welles, by the actor Iain McKee. In the movie he is known only as “Vakhtangov” which is explained by Mr. Houseman in the excerpt from his autobiography.

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THE MAN WHO PURSUED ROSEBUD

By John McCarty

In 1994, I published a book titled The Fearmakers (St. Martin’s Press), a compendium of essay-profiles of twenty filmmakers who, in my opinion, had the greatest influence on the evolution of the terror-horror-suspense film genre from the silent era to the present (circa 1993). One of these filmmakers was Jack Arnold, the director of such enduring sci-fi/horror classics of the 1950s as It Came From Outer Space, Tarantula, The Creature of From the Black Lagoon, The Incredible Shrinking Man, and others.

Two years later, a Texas-based video production company contacted me about developing the book into a documentary series for the fast-growing home video market. Each half-hour segment would focus on one of these master fearmakers and include clips from their films as well as interviews with co-workers, cast members, film historians, and even the filmmakers themselves if they were still around. I signed on as narrator, script supervisor, co-director, interviewer, and chief cook and bottle washer.

After selecting a baker’s dozen from the twenty in my book for the thirteen segments that would be produced, I gave the producers a list of potential interviewees. For the segment on Jack Arnold, the interviewee I most hoped to get was William Alland, Universal’s “house producer” of science-fiction and horror films in the ‘50s – and, not unimportantly to me, the man who had played Jerry Thompson, the reporter in pursuit of the identity of “rosebud” in the Orson Welles masterpiece Citizen Kane.

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Comments from a Orson Welles Cineaste in New Zealand

Wednesday, March 11th, 2009

While Orson Welles spent time all over the world, and in at least five of the seven continents, I’m not quite sure if he ever made it to New Zealand or Australia.

However, I find it rather amazing that today, due to the internet, we can get input from people down under, just as easily as from a neighbor next door.

A perfect example of this is this interesting blog I just stumbled across from Christopher Banks, in New Zealand, who, like the Kiwi director Peter Jackson, obviously loves the work of Orson Welles.

The link to his site is here, which gives you an additional links to a very interesting article by Jonathan McCalmont, comparing TOUCH OF EVIL to CITIZEN KANE, complete with clips from YOU TUBE.

Here is the text of Christopher Banks recent post from his blog down under:

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Jonathan McCalmont has done an interesting post comparing elements of “Citizen Kane” and “Touch of Evil”. Some great insights into how the Wellesian style permeates two very different films, with particular regard to his clever use of sound.

(He also references the not-so-famed opening sequence of “Contact”, a film I’m also very fond of. What has happened to Robert Zemeckis these days?)

The combination of Welles’ backgrounds in radio and theatre – both very immediate media – made for some very exciting and dynamic films in “Citizen Kane” and also in the butchered masterpiece “The Magnificent Ambersons” as he brought the tricks of his earlier trades along with him to the cinema.

I can’t think of a better illustration of his passion for every frame of celluloid he exposed than his 58-page memo to Universal upon seeing what they’d done to the original release version of “Touch of Evil”. Without it, we would never have the restored version we have today.

The last holy grail from the Welles vault is his last narrative feature, “The Other Side Of The Wind”. Shot but never edited, it’s been stuck in various vaults for years while estate lawyers get their act together.

Given what is known about Welles’ frenetic and fast-paced intentions for the editing style, it will be a vast departure from his earlier work. Had it been released in 1972, it could well have been as ahead of its time as “Citizen Kane” was in 1941.

Henry Mancini on the scoring of Orson Welles’s TOUCH OF EVIL

Sunday, October 12th, 2008

Orson Welles had a perception of everything in the film, including the music. He knew. He truly understood film scoring.Touch of Evil was one of the best things I’ve ever done.

—Henry Mancini

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While Orson Welles often had trouble in his dealings with producers and studio executives, he usually attracted the highest calibre of artistic collaborator, who would often turn in their best work for an Orson Welles film. This certainly was the case with Henry Mancini’s score for Touch of Evil, even though Welles didn’t choose him for the job, or even confer with him about the use of music in the movie. As Mancini relates in this excerpt from his autobiography Did They Mention the Music?, he was simply assigned to the picture by Joesph Gershenson, the head of the music department at Universal. Mancini then visited the set to observe Welles at work, but only met the director briefly, apparently when Welles was still working on his first cut of the picture.

However, Mancini’s creative juices were still very much inspired by Welles, since the director had already written several memos to Joseph Gershenson explaining where and what type of music he wanted included in his movie. Unfortunately, by the time Mancini was actually composing the score, Welles was no longer a welcome presence on the Universal lot. As Welles later explained to Peter Bogdanovich: “The music, which I didn’t have anything to do with, was, I thought, quite well done. But I wasn’t there as I would normally be—like a mother hen, on every note.”

It’s also interesting to note that Mancini’s Touch of Evil music was issued as his first movie soundtrack album, although by the time it appeared in record stores in late 1958, the film had already long been gone from movie theaters.

* Dedicated to Ray Sherman, solo pianist on TANYA’S THEME and THE BLUE (ANGEL) PIANOLA *

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As the camera roves through the streets of the Mexican bordertown, the plan was to feature a succession of different and contrasting Latin American musical numbers – the effect, that is, of our passing one cabaret orchestra after another. In honky-tonk districts on the border, loudspeakers are over the entrance of every joint, large or small, each blasting out it’s own tune by way of a “come-on” or “pitch” for the tourists. The fact that the streets are invariably loud with this music was planned as a basic device throughout the entire picture. The special use of contrasting “mambo-type” rhythm numbers with rock ‘n’ roll will be developed in some detail at the end of this memo, when I’ll take up details of the “beat” and also specifics of musical color and instrumentation on a scene-by-scene and transition-by-transition basis.

—Orson Welles, from his 58-page memo

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HENRY MANCINI ON SCORING TOUCH OF EVIL

From Did They Mention the Music? - Contemporary Books, 1989

I once referred to the music department at Universal as a salt mine. But it was a good salt mine, and younger composers in film today do not have access to that kind of on-the-job training. Being on staff there I was called upon to do everything. I mean, everything. Whenever they needed a piece of source music, music that comes from a source in the picture, such as a band, a jukebox, or a radio, they would call me in. I would do an arrangement on something that was in the Universal library, or I would write a new piece for a jazz band or a Latin band or whatever. I guess in every business you have to learn the routine—in film scoring, the clichés—before you can begin to find your own way.

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Rick Schmidlin on the re-editing and restoration of Orson Welles’s noir masterpiece TOUCH OF EVIL

Wednesday, October 8th, 2008

An Interview with

RICK SCHMIDLIN

The re-edit producer of ORSON WELLES’ masterpiece TOUCH OF EVIL

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The following interview with Rick Schmidlin took place shortly after the re-edited version of the film debuted in 1998. Since that time I’ve not spoken with Rick, although I was quite happy that he posted many comments about his work on the Touch of Evil re-edit right here at the Wellesnet message board.

Now, I’m pleased to report that Rick has returned to the Wellesnet messageboard, and I’m sure he’ll be willing to answer any questions about the new Touch of Evil DVD that readers may have for him. I’ll also be speaking to him about the new Touch of Evil DVD shortly, so there will be an update to add to this interview in the near future.

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There are scenes in TOUCH OF EVIL I neither wrote nor directed, about which I know absolutely nothing. I’ve been working since I was 17, I’ve directed 8 films, and I’ve been able to edit only three of them myself: CITIZEN KANE, OTHELLO and DON QUIXOTE—in 17 years! They always tear the film out of my hands—violently. For my style, for my vision of the cinema, editing is not simply one aspect: it’s the aspect. The only time one is able to exercise control over the film is in the editing.

—Orson Welles, in a 1958 interview with Cahiers du Cinema

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LAWRENCE FRENCH: How did the re-editing and restoration of TOUCH OF EVIL come about?

RICK SCHMIDLIN: What happened was about four years ago I was trying to get a laserdisc done on TOUCH OF EVIL. I thought it would be a good idea, to do a laserdisc, the way other discs have been done on different Welles films. There could be commentary to document the different versions of the film. I then talked to a friend, Allen Daviau, (the cinematographer of E.T.) and asked him if he knew anything about TOUCH OF EVIL. He told me that there had been a recent article in Film Quarterly, that excerpted a memo from Orson Welles to Universal about the editing of the film, and I should talk to Jonathan Rosenbaum. So I talked to Jonathan, and looked at the short version of the memo, and found out there was a complete 58-page memo written by Welles, that still existed—indicating the editorial changes he wanted to make before the release of the film. So I met with my friend Louis Feola, the President of Universal Home video, and they decided it was a great idea, and then they decided to re–issue TOUCH OF EVIL theatrically.

LAWRENCE FRENCH: How did you find Welles 58-page memo?

RICK SCHMIDLIN: What happened was once we got the go-ahead, the project was put in the hands of Jim Waters and Bob O’Neil at Universal, and they put in a request to Lew Wasserman (the former chairman of Universal Studios) to see if they could find the memo. Within 48 hours Lew Wasserman had produced an copy of the original memo for us. Jonathan Rosenbaum and I are doing a book on TOUCH OF EVIL, for the UC Press, which will include the 58-page memo, as well as Orson Welles’ original screenplay. The book will have all the documents we worked with, because I want people to understand what we did (Due to rights issues the screenplay was unable to be included in the book and it never appeared.)

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