Larry, much thanks for posting the interview.
One point I find confusing is the discussion of the film as a documentary or a mockumentary. As we know the film was always intended by Welles to be a psuedo-documentary about the last day of Hannaford's life, compiled from the cameras of the various journalists and documentarians filming his birthday party. This documentary-style footage was to have been inter-cut in some fashhion with the film-within-a-film footage of Hannaford's last film "The Other Side of the Wind." Okay, we are all aware of that.
But when Bogdanovich states
We’re going to put the whole thing in the form of a documentary about the making of a film, that was a mockumentary of itself. So we can jump in and say, “we didn’t shoot this.” We won’t connive to do that too often, so we can involve the audience as much as possible, but there will always be an unfinished quality to it, because it is unfinished. If we don’t do that, we’ll have a problem with Beatrice Welles (who controls the Welles estate).
Does he mean that the whole piece will be framed as a documentary about the making of Orson Welles' last movie? Or does he just mean that he'll continue the Welles conceit that it was a documentary about the making of Hannaford's last movie? It sounds to me as though he means the former. And the former is the only alternative that would presumably placate Beatrice. But if it's a real documentary about a fake documentary then it wouldn't make sense for Bogdanovich to do the narration as his character, would it? And wouldn't a real documentary have to include additional material from Bogdanovich, Marshall, Oja, etc. about the making of the film? (I'd love to see that sort of stuff as a DVD extra, but not as part of the film itself).
Also, I would be disapointed if the final film turns out to be just a documentary about the film -- in which Bogdanovich, or anyone, jumps into the narrative and says "Welles never got around to filming the next scene ..." or the like. I don't think the film would work as a film if it were presented in that fashion.
On the other hand, I would be more hopeful if the pseudo-documentary form could be maintained throughout. I think it would work if we had brief inserts of Bogdanovich in character doing the narration and explaining any missing bits (e.g. "There was nobody there to film when Hannaford crashed his car, but the burning wreckage was found later that morning.") But wouldn't Beatrice object to that sort of thing? (Not to suggest that she has any actual right to object, of course).