WELLESNET MESSAGE BOARD

Hi everybody, I'm the one who started this post. I am very impressed by the fact that it is still active. My name is Sigismondo Sciortino, I told you all about the tragedy of Don Quixote, the impossibility of resolving this situation. Amazing how time has passed. Yet the situation is still the same....

the idea of Welles using a second unit director really makes me laugh...

I'm a friend of Mauro and he told me a different story. I think the "producer" could not find anybody so crazy to put his hands over Welles footage except for mr. Franco. Indeed Bonanni never thought about editing the material. The only thing i see now is that the material is still risking...

Thanks. If anybody could help more with this, i'd really appreciate it, i really need to find it. thanks again

Let me try to be more clear...he says something like when he watches too long a possible location, it's like it dies for him, it dies before he films it. Any suggestioN?

Hi everybody. I remember long time ago, reading in an interview Orson talking about the eye that kills. Not the novel or the movie, he was talking about his eye, whenever he was going to examinate some possible location for his movies...I hope this suggest you something, because i'd like to know whi...

I post this to show just how fleeting that enthusiasm was...I am continuing my fight here in Italy, trying to involve more people...I do hope we can do something really pragmatic here on the net too...a miracolous piece of art is being wasted and we can't stay with our hands in our pockets, waiting...

The problem right now is Bonanni's legal issues with Spain and Oja Kodar. It's like David against Golia, a man against a national cinetheque. And here in Italy, is really sad to say it, but nobody got close to Bonanni in 92' just to say "Let's talk about it, let's make a version with a collaboratio...

Lucy, the horrible work that Franco did was (like Bonanni said)to edit the film following Miguel de Cervantes' novel. This NEVER was in Welles' intentions. And the fact that the material was made of scraps only confirms the insolence of this entire project, that was improperly named (let's not forg...

It's really hard to believe Orson finished the editing, because Bonanni got the material to finish it, and Orson never cameback to Italy to take it, that's why he left us in this Hamletic question now. Dear Lucy, you think Bonanni should give the material to Oja, after what happened with Jesus Fran...

I see The Voice of Cornstarch (sorry i don't remember your name), you are a real Cartesian :). Actually I DO NOT have an answer for your questions. First, I'd like to "sign papers", the more that we can, to show to Mauro our gratitude for protecting this material until now, and to show him how desp...