WELLESNET MESSAGE BOARD

Nice link to Wellesnet article by Ray Kelly here: https://thefilmstage.com/mank-review-david-fincher-misfires-with-stagnant-tale-of-hollywood-history/ Paragraph that begins "So let’s talk about Orson Welles. Word’s circulated that some version of Jack Fincher’s screenplay stepped in line with P...

Howard Koch stated that the creative decisions (setting the story in present-day US and presenting it as a series of new reports) came from Welles, who was adamant that WOTW be the next broadcast: http://www.speakingofradio.com/blog/interviews/Chuck_Schaden_Interviews_-_Howard_Koch_100688_WBBM_Radi...

I=Eye wrote: Oja wants to see the film get finished, but she wants it done right, and by the right people. People who cannot be trusted financially cannot be trusted artistically either. Given that Oja seems content to let the people who cannot be trusted financially or artistically for $1 million,...

At first all the focus was on whether the film would be edited in time for the 2015 Cannes film festival and the Welles centennial. But now in retrospect, it looks like what was happening was that this whole thing was put together in such a way so as to create a public push and public promotion jug...

Perhaps Mr. Rosenbaum should write an article about "What Dope Does To Critics".

Colomena:

I think Welles discusses this with Leslie Megahey in the great Arena/BBC interview. It's hard to find on the net now; the Youtube and Vimeo uploads are gone.

Some of these Welles scholars like Droessler worry about Welles's "legacy". Stefan Droessler, Jonathan Rosenbaum, Oja Kodar, and company had better start worrying about their own legacies. Right now their carefully built up reputations are swirling down the toilet, and it is their own fau...

Not intending to shoot you down, but to point out a the usual blatant contradiction by Oja Kodar: Droessler insisted that the fourth reel was never filmed - something Oja confirmed to him, apparently. To elaborate, Welles's pared-down version of The Merchant of Venice focuses entirely on the story o...

There are various versions of this slanderous story circulating around. Here is the most explicit one, recently related by Oja herself at Woodstock: THE DEEP was not finished because Jeanne Moreau refused to dub her lines. It had nothing to do with Lawrence Harvey's death. Jeanne Moreau and Welles a...

Here is a link to the interview: http://www.adorocinema.com/noticias/filmes/noticia-113308/

Best to view it through Chrome and have Google translate.

When I asked for a more detailed explanation, and how he knew Marshall hadn't put any of his own money into the project, no response was given. Not only was no response given: there has not been a single post at that site since July 4th, when those two strange WIND diatribes went up. Strange, becau...

1. Rochester in JANE EYRE.
2. Cesare Borgia in PRINCE OF FOXES
3. General Dreedle in CATCH-22
4. Self(?) in SOMEONE TO LOVE
5. Narration in KING OF KINGS

Just a couple of quick points: Your Cloutier quotations are fascinating - where did you get them from? The Rosabella documentary? One is from ROSABELLA, which I have not seen; the other is from a documentary about OTHELLO. The Tonti quotation is also from ROSABELLA. They were posted by Wellesnetter ...

As an aside, I'd like to point out that Beatrice Welles's role in the DQ work print saga, real or alleged, is a red herring. In our attempts to trace the existence and whereabouts of the Bonanni work print over the years, time and locale has been everything. In the beginning, we just wanted confirma...

As for the disparity between Giorgini talking about Beatrice meeting Bonanni in Paris, and Bonanni saying they met in Rome (and being quite specific about where they met, on which square), I've always attributed this to Giorgini misremembering a second-hand anecdote, whereas Bonanni was there. But ...