They'll Love Me When I'm Dead

[Wellesnet]

Morgan Neville on the Multitudes of Orson Welles and How ‘The Other Side of the Wind’ is a Critique of Machismo:
https://thefilmstage.com/features/morga ... -machismo/

The Daily Beast on
The Insane Story Behind Orson Welles’ Final Film: Porn, Dwarfs, and the Shah of Iran
BEHIND THE SCENES (A new Netflix documentary takes viewers deep inside the five-decade journey to complete the cinema giant’s final picture, ‘The Other Side of the Wind.’):
https://www.thedailybeast.com/the-insan ... ref=scroll

[nickleschichoney]

Morgan Neville, from the interview:

But I think Orson never really understood or found that people who were excessively macho were people who were hiding something underneath and were overcompensating by acting as He-Men.

Interesting, considering that Hannaford's overcompensating masculinity is all that Welles's movie focuses on!

I'm starting to think Morgan Neville never really got TOSOTW.

[Wellesnet]

LA Times lists the doc as one of the overlooked films of the year:

“They’ll Love Me When I’m Dead”: Much more than just a making-of companion piece to Orson Welles’ posthumously completed passion project “The Other Side of the Wind,” unveiled in November on Netflix, this Morgan Neville documentary skillfully resurrects its larger-than-life subject, captured fully inhabiting a richly upholstered space nestled somewhere between genius and madness.

[RayKelly]

The Playlist list includes it on its list of the Top 20 documentaries of 2018:

"F--k you, fat man, take that legend and shove it where the sun don’t shine,” one commentator says colorfully during Morgan Neville’s irreverent look at the making of the Greatest Film Almost Never Made. He’s describing the point to which Orson Welles brought almost all his “The Other Side of the Wind” collaborators (except DP Gary Graves, who emerges as a Leon Vitali-like unsung hero..), before unleashing a charm offensive to win them back onside. But he could also be referencing the Welles-mythos fatigue that some of us might be suffering, and to which Neville’s doc is the mischievous, highly entertaining remedy. The line-up is impeccable — Peter Bogdanovich, Danny Huston, Henry Jaglom, Oja Kodar, Rich Little, Beatrice Welles, Cybill Shepard and more all appear, as do spikily edited archival versions of John Huston, Dennis Hopper, and Welles himself. Whether all this sound and fury was worth the angst, you can now judge for yourself with the reconstituted ‘Wind’ available on Netflix. But this engaging doc is not simply a companion piece: As compelling as any of its arguments, playfully outlined in metafictional extracts from Welles’ back catalogue (especially his already meta “F for Fake“), is the suggestion that perhaps ‘Wind’ might have been better left unfinished, along with the eternal questions about art vs commerce that any discussion of Welles’ later career dredges up. It’s especially illuminating in its comparison between Welles and his star and close friend John Huston, with Huston the cynical pragmatist trusted by Hollywood with budgets and projects the like of which Welles, as ardent a movie evangelist as ever there was, could only dream. So as much as Neville’s doc is about an outsize ego, and an even more massive cinematic legacy, it is also a cautionary tale about how maybe the movies don’t want you to love them so much.

[RayKelly]

They’ll Love Me When I’m Dead has been nominated best feature documentary at the 66th annual Motion Picture Sound Editors Golden Reel Awards.
The awards will be presented Feb. 17 at the Westin Bonaventure in Los Angeles.

[RayKelly]

Morgan Neville talks with The Criterion Collection about F for Fake and They'll Love Me When I'm Dead:

https://www.criterion.com/current/posts/6162-morgan-neville-goes-through-the-looking-glass-with-f-for-fake

or https://youtu.be/AdxIU7BkHx8

[RayKelly]

Netflix is promoting Morgan Neville's THEY'LL LOVE ME WHEN I'M DEAD for Emmy Award consideration. Here's hoping!
http://www.wellesnet.com/netlix-emmy-campaign-love-me-dead/

[Wellesnet]

New review by Daily Republic of Solano County, CA.
‘They’ll Love Me When I’m Dead’: Orson around:
https://www.dailyrepublic.com/things-to ... on-around/

Today we’d call ("The Other Side of the Wind") a meta-mockumentary, but such terms didn’t exist when filming began in 1970. And since Neville’s documentary is a film about the making of a film, which in turn is about the making of a film, the multiple-meta result is enough to make your head spin.

[Wellesnet]

For those who haven't found it yet, Netflix last summer added a good 40-minute podcast with Morgan Neville to the Trailers section of their "They'll Love Me When I'm Dead" package, similar to the way "A Final Cut for Orson" is in the Trailer section for "The Other Side of the Wind."