They'll Love Me When I'm Dead

[Wellesnet]

Morgan Neville's "They'll Love Me When I'm Dead"
Trailer: http://www.wellesnet.com/trailer-love-me-dead/

[RayKelly]

The poster:

[Terry]

Looks like Mort Drucker (who's still around, bless him.)

[Le Chiffre]

I like the new poster. Yes, must be influenced by Drucker. Welles looks like he's about to clap his own head off.
Apropos in it's sense of MADness:

[Le Chiffre]

The cheerful chaos look of the poster for THEY'LL LOVE ME WHEN I'M DEAD also makes a curious contrast with the poster for THE OTHER SIDE OF THE WIND, which seems more wistful and nostalgiac, rather like the poster for Bogdanivich's THE LAST PICTURE SHOW (right down to the alternating wording of the titles):

[leamanc]

Is that Cybill Shepherd with Bogdanovich in the poster art?

[jbrooks]

Is that Cybill Shepherd with Bogdanovich in the poster art?

Looks like her. And she's in the film (the documentary -- not Wind).

[Terry]

I like the new poster. Yes, must be influenced by Drucker. Welles looks like he's about to clap his own head off.
Apropos in it's sense of MADness:

That particular one is by the late, great Jack Davis, one of MAD's stable of brilliant caricaturists back in the day (including Jack Rickard, Harry North Esq., Bill Elder, and John Severin [who was mostly over at Cracked.])

[jbrooks]

I caught the documentary at the NYFF over the weekend, and overall, I think it's quite well done and very interesting. But I have a few initial complaints.

1.Neville goes for percieved artistry over accuracy and clarity. He doesn't identify speakers -- so the viewer has to recognize someone (or someone's voice) or else the viewer is simply left wondering who is speaking and what the sources of the speaker's insights are.

2. Neville's filming of interview subjects at odd angles -- from the side or just showing part of their heads, etc. -- is pretentious and infuriating. And it adds to the confusion (see point #1 above).

3. Neville takes footage out of context and uses it in a misleading way. Clips where Welles was actually talking about other movies are used to suggest that he is talking about "The Other Side of the Wind." For example, there is a clip from "Filming Othello" in which Welles said that he kept "Othello" in his head that is used to suggest that Welles was saying that he kept "The Other Side of the Wind" in his head.

4. Welles' falling out with Bogdanovich is discussed but not explained. The film shows Welles lashing out at Bogdanovich, and Bogdanvich speaks about that. But there's no explanation as to why Welles was angry with him. The fact that Welles felt betrayed by Bogdanovich directing "Saint Jack," which Welles himself had been set to direct, is entirely ommitted. Instead, the viewer is left to think that Welles was just a disloyal jerk who insulted his friend on TV.

[Terry]

I never cared for that style of cinéma vérité which likes wobbling about while zoomed in on someone's ear or nostril. It always reminds me of this old line from Hitchhiker's Guide to the Galaxy: "when all the programmes on all the channels actually were made by actors with cleft pallettes speaking lines by dyslexic writers filmed by blind cameramen instead of merely seeming like that, it somehow made the whole thing more worthwhile."

[smartone]

will be going next week to a screening in NYC
will try to post something

[RayKelly]

They’ll Love Me When I’m Dead is opening the SFFILM series in San Francisco on November 11 at The Castro.
We are happy to announce there will be a discount for Wellesnet guests.
Full details on discounted tickets at The Castro may be found at http://www.wellesnet.com/sffilm-theyll-love-me-when-im-dead/

Also, the IFC Center in New York's West Village begin its run of the documentary on November 2.

[Wellesnet]

They’ll Love Me When I’m Dead Movie Review | NYFF 2018:
https://www.theyoungfolks.com/review/12 ... nyff-2018/

The story of The Other Side of the Wind is a microcosm of the life and work of Welles himself—ahead of its time and ground-breaking, yet doomed by a mixture of personal hubris and seemingly cosmic interference—and it is this dueling story of art and artist that Neville seeks to tell with this new film.

Eager to create a film unlike anything before it, The Other Side of the Wind ambitiously sought to be two films in one.

Both films, of course, were autobiographical—the Hannaford scenes mimicking Welles’ fruitless attempts to gain money from a metamorphosed film industry which acknowledged his brilliance but refused him monetary support, the Oja scenes externalized figments of internal yearning for the muse that fired his imagination in his last decades.

[smartone]

Saw a screening last night of They'll Love Me When I'm Dead

the Good
Gives very good overview of Welles leading up to movie
Great footage of Welles talking about his motivations and goals of filming TOSOW
Has a decent collections of talking heads (Peter Bogdanovich , Frank Marshall ,Rich Little others)
Stories of the actually filming of TOSOTW which were super informative

the Not So Good
Tried to replicate Wellsian film angles and quick cut with the talking heads which was distracting and unnecessary
Not enough insights from the talking heads
Alan Cummings narration was good but some parts he was on camera in very arty ways which was unnecessary and did not work at all

it was pretty good doc in general -
Overall any Welles fan will enjoy it and a good companion to the TOSOTW

[Le Chiffre]

the Not So Good
Tried to replicate Wellsian film angles and quick cut with the talking heads which was distracting and unnecessary
Not enough insights from the talking heads
Alan Cummings narration was good but some parts he was on camera in very arty ways which was unnecessary and did not work at all

I agree that the artiness of the talking heads and Cummings narration was unnecessary, but I didn't find it all that distracting. The doc does a good job of telling the convoluted story in a way that's clear and comprehensive, although 90 minutes is not really enough time to do much more then skim the surface of it. In that sense, it reminded me a bit of Chuck Workman's MAGICIAN. There are some amazing moments in it though, like the Tonight Show excerpt (which, according to Ray's new article, was obtained with a lot of difficulty). Overall, I thought the good vastly outweighed the not so good. Definitely a good companion to TOSOTW.