Orson Welles The One-Man Band 1995
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Short filmTranscript
00:00:00You
00:00:30You
00:01:00You
00:01:06The illusionists
00:01:09the stage illusionists
00:01:11Their last great golden age came to an end with the last great days of the stage among magicians
00:01:18There were giants in those days. That was when theater was
00:01:23theater
00:01:24still be glamoured and a dazzle with
00:01:28theatricality
00:01:29By way of homage to those grand old wonder workers. We're going to recreate for you a few moments of illusion in the high old style
00:01:38Only the tricks will be new
00:01:44I know the brunt of some tricks from Orson Welles
00:01:47signless silhouette
00:01:50Verschleierung
00:01:51abstraction seiner selbst
00:01:53oder einfach nur ein Spiel
00:01:55Vielleicht ist dieser Trick zu gut gelungen. Die Person Welles verschwindet hinter ihrem Umriss. Irgendwann wird er nur noch zum stilisierten Schatten seiner selbst. Am Ende seines Lebens werden böse Stimmen immer lauter. Ausgebranntes Genie, halb erloschener Vulkan. Der Mythos Welles verselbststÀndigt sich.
00:02:20Ladies and gentlemen, I wouldn't fool you
00:02:321975, 10 Jahre vor seinem Tod, Welles kehrt nach Hollywood zurĂŒck. Das American Film Institute ehrt seinen verlorenen Sohn.
00:02:42Jahrzehntelang hatte man sich in Hollywood nicht fĂŒr ihn interessiert. Jetzt verleiht man ihm zur allgemeinen Ăberraschung den Life Achievement Award.
00:02:49Welles Karriere beginnt kometengleich. Er ist Wunderkind, dann Erfolgsregisseur am New Yorker Theater, dann skandalöser Radiomacher. Bereits mit 23 ist er Autor, Regisseur, Schauspieler, Journalist und in allem ein Star.
00:03:13Hollywood ruft. Citizen Kane macht den 26-JĂ€hrigen mit einem Schlag weltberĂŒhmt.
00:03:21Aber der GĂŒnstling wird unbequem. In Hollywood hĂ€lt man ihn fĂŒr zu verschwenderisch, rebellisch, exzentrisch. Bald findet er in Amerika keine Arbeit mehr. Er wĂ€hlt das Exil in Europa.
00:03:33Doch auch die europÀischen Produzenten gehen auf Distanz. Von Film zu Film wird die Arbeit schwieriger. Das Wenige, das er vollenden kann, wird von der Kritik bewundert und vom Publikum missachtet. Viele seiner Projekte bleiben liegen.
00:03:46FĂŒr Welles ist die RĂŒckkehr nach Los Angeles nicht der RĂŒckzug aufs Alten Teil. Er ist entschlossen, Hollywood neu zu erobern. In seinem HandgepĂ€ck bringt er erste Ausschnitte eines neuen Films mit, den er in Amerika fertigstellen will.
00:04:16A writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer, a writer
00:04:46That old phrase is the only one I know to say it. My heart is full, with a full heart with all of it. I thank you.
00:05:01This honor I can only accept in the name of all the mavericks. A maverick may go his own way, but he doesn't think that it's the only way, or ever claim that it's the best one, except maybe for himself.
00:05:26And don't imagine that this raggle-taggle gypsy-o is claiming to be free. It's just that some of the necessities to which I am a slave are different from yours. As a director, for instance, I pay myself out of my acting jobs. I use my own work to subsidize my work. In other words, I'm crazy.
00:05:50But not crazy enough to pretend to be free. But it's a fact that many of the films you've seen tonight could never have been made otherwise. Or if otherwise, well, they might have been better, but certainly they wouldn't have been mine.
00:06:17The truth is, I don't believe that this great evening would ever have brightened my life if it weren't for this, my own particular contrariety.
00:06:31I leave you now, in default of the eloquence this high occasion deserves, with another very short scene from the same film, a piece of which you saw earlier with John Huston and Peter Bogdanovich, just by way of saying good night.
00:06:56From one who will remember tonight, not as a sort of gala visit, but as a very happy homecoming. And who remains not only your obedient servant, but also in this age of supermarkets, your friendly neighborhood grocery store.
00:07:16Wells shows excerpts from his latest film, The Other Side of the Wind, his most ambitious project for a long time, just as important to him as Citizen Kane.
00:07:47I'm Marvin P. Fassbender.
00:07:50Of course you are.
00:08:16This is Mr. Hannaford's night. Let's save the questions for him, huh? You two are very close, aren't you?
00:08:30Yes, I'd like to ask you about that.
00:08:32Why?
00:08:33Come on, Hodder, like, why do you think you have to be as rude as he is?
00:08:36I don't think he'll be as rude as you are in print anyway.
00:08:38I liked your last picture. No, I know that it was, it was repetitive, but, uh, and, but, uh, and, but I...
00:08:47But for what it was, it worked.
00:08:49Yeah, well, she wasn't that kind to me in her review. Not that she did me too much harm. I mean, how much harm can you do to the third biggest grocer in movie history to make that much? How modest.
00:08:58Yes, did you know that when his own production company goes public, that your friend there stands to walk away with $40 million?
00:09:05Yeah, and she's going to say that I'm just going to keep on writing that I, I, that I stole everything from you, Skipper. I'm never going to walk away from that.
00:09:11Well, it's all right to borrow from each other. What we must never do is borrow from ourselves.
00:09:26Of course you're close, you two. You have to be. You have no choice.
00:09:35Please, dear lady, don't tell us what you mean by that.
00:10:05Welles' desire for a new beginning did not come to him. On the contrary, the call that he was burned out and unable to complete films strengthened him.
00:10:13For some, his fame has always been a virtuosic swindle. Others see a giant brought to him by chance. Who should you believe? What has he done during his last years?
00:10:25Oya Koda. For 20 years, until his death, she was Welles' life companion and closest employee.
00:10:33She made his personal archive full of unknown films and fragments. But the longer Oya hesitated to publish it, the more it was forgotten.
00:10:55And still I'm not cured completely. But cured enough to show people that Orson was working the last 20 years of his life.
00:11:05Usually they say, so what did he do 20 years? Nothing. He was doing commercials, narrations, but really nothing serious, which is not true.
00:11:18The smell of the never-completion attaches to the work of Welles from time to time.
00:11:23In total, he was only able to finish 12 films, and almost all of them were edited, changed, mutilated by the producers.
00:11:29The brilliance of the house Emberson, Mr. Arcadian in the sign of the evil, hardly a film could appear as Welles wanted it.
00:11:37All his countless other projects, only rumors, traces, assumptions.
00:11:42All his countless other projects, only rumors, traces, assumptions.
00:12:12All this for one movie?
00:12:19I mean, that's about ten, ten movies at least.
00:12:24It's going to be a lot of work.
00:12:26Well, let's get organized. I'm going to go get the truck over there.
00:12:30Get the dolly too.
00:12:42Okay.
00:12:45Okay.
00:13:03When you and other people, when they see this material, you will see what youth he had in him.
00:13:09And what an energy, and what a fun he had.
00:13:16You know, all these things that he was trying to do and couldn't do, didn't turn him into a bitter old man.
00:13:22And also he was someone who didn't like to talk about the past and about things that didn't work.
00:13:29He kept saying, sour grapes is not my dish.
00:13:32Which, it's kind, sometimes it's more my dish, but never was his dish.
00:13:39What I want to show is that he was an unbeatable man.
00:13:43That he had an enormous courage that nothing was going to stop him of making movies.
00:13:48And sometimes in my heart I was, I hoped that he would stop making movies.
00:13:54Because they, just to look for a money, it takes half of your life.
00:14:00And that's what happened.
00:14:02He was a very good painter and he was a wonderful writer.
00:14:07And if he was just...
00:14:10This was...
00:14:12He came back to Hollywood with a lot of energy, new ideas, projects.
00:14:40He didn't dislike being in Hollywood again, far from it.
00:14:43And there were a lot of offers to do commercials, narrations.
00:14:48He did things to, as he said, to be able to pay his groceries.
00:14:56Talking about money, do you think if you'd had a great deal of it, it would have made your films better?
00:15:02Or did your poverty help your creativity in any way?
00:15:07Did my poverty help my creativity?
00:15:13No.
00:15:19No.
00:15:20I think, however, that it is possible to spoil a young director by giving him too much money.
00:15:29So that he does not learn one of the main arts of directing.
00:15:36Which is the ability to walk away from something.
00:15:41Does Orson Welles, the director, ever get in the way of Orson Welles, the writer?
00:15:45Or how closely does one follow the other?
00:15:49I think of it as a happy marriage.
00:15:55Seriously, no, I don't think so.
00:15:58I rewrite when I have an original script and in Shakespeare somebody didn't write it.
00:16:03I am rewriting all the time on the set.
00:16:07How much obligation do you feel to a mass audience?
00:16:13I would love to have a mass audience.
00:16:17You're looking at a man who's been searching for a mass audience.
00:16:22And if I had one, I'd be obliged.
00:16:26That's all I can say.
00:16:40This is a script of F.O. Fake.
00:16:43Actually, these are the notes.
00:16:45This is his handwriting.
00:16:47These are the notes for the trailer of Fake.
00:16:49I don't know if you know anything about Fake.
00:16:52It's a story of...
00:16:54It's really an essay on fakers and so-called experts.
00:17:00And Orson did the trailer, which we are going to see later, I hope.
00:17:04It's a wonderful trailer.
00:17:05It's actually...
00:17:06The film talks about lies.
00:17:09And his trailer is a lie in itself.
00:17:22This lady...
00:17:25Does she know more than she's telling?
00:17:27Ladies and gentlemen...
00:17:28Or is she telling more than she knows?
00:17:31Ladies and gentlemen, I've been asked to provide a few words of explanation.
00:17:36Now, how shall I begin?
00:17:38We're talking about movies.
00:17:39Begin with the director.
00:17:41You ought to do that.
00:17:42Modesty forbids.
00:17:44Oh? Oh.
00:17:45Well, we all know what the critics have said about the movie.
00:17:47Our movie coming soon to this theater.
00:17:49Delicious.
00:17:50Delirious.
00:17:51Delightful.
00:17:52Go on.
00:17:54I'm quoting the critics.
00:17:55They've acclaimed it as a cinematic...
00:18:00I know one thing.
00:18:03I never offered a painting or a drawing to a museum who didn't buy it.
00:18:09They never refused one.
00:18:11The author of the Fake autobiography was also the author of a real biography about a faker.
00:18:16The great art faker, Elmira.
00:18:18The great faker of the 20th century becomes a modern folk hero for the rest of us...
00:18:25...who have a bit of loss in ourselves...
00:18:28...but simply don't have the courage or the opportunity to express it.
00:18:34The following commercial message, which is fairly brief and completely dishonest...
00:18:38...concerns the advent soon on this same screen of the motion picture entitled F for Fake...
00:18:43...which rips the veil of secrecy from a whole series of scandalous items.
00:18:47For instance, the 22 Picassos, worth who knows how many millions.
00:18:51How did this young woman get her hands on them?
00:18:54Why did her grandfather soak them all in gasoline and burn them to ashes?
00:18:59People wonder why it was so difficult to get permission to show this film in America.
00:19:03They should remember that when F for Fake was playing to packed houses in the rest of the world...
00:19:07...Howard Hughes was still alive.
00:19:09Supposedly.
00:19:10And if Coda was carrying on with Picasso in the south of France...
00:19:14...how did Hughes, who was busy at the time growing his toenails in Vancouver...
00:19:18...make it to those secret meetings on the Mexican pyramid?
00:19:21And what about the tiger?
00:19:24Who is under that sheet?
00:19:28By what strange chain of circumstances did this savage beast move from Managua...
00:19:33...to a penthouse swimming pool in Beloit, Wisconsin?
00:19:35And who is this man?
00:19:38See F for Fake, the movie that dares to ask that question.
00:19:41The UFOs, Gary, we were going to mention.
00:19:44Remember that the unidentified flying objects only appeared after my radio broadcast?
00:19:49And what about that flying object? And here?
00:19:52Ladies and gentlemen, suppose I come right out with it and admit to you now...
00:19:56...that my old Martian hoax on the radio was...
00:20:00...well, not exactly...
00:20:02...a hoax.
00:20:12That there were secret sponsors of that broadcast...
00:20:15...who were in fact some rather...
00:20:19...influential beings from outer space.
00:20:25You smile.
00:20:26Ten seconds more, Orson.
00:20:28I think they're smiling, Gary, and I'd just like to remind them...
00:20:33...that it is since that broadcast that there have been in this country alone...
00:20:37...authenticated sightings.
00:20:40You still think it's a joke?
00:20:42Good.
00:20:45That's the way we want you to feel about it.
00:20:48For now.
00:20:49We'd like to make this little commercial message as modest as possible.
00:20:55So we'll just say that critics all over the world have called it a masterpiece.
00:21:04The trailer for F for Fake was, as expected, rejected by the American distributors.
00:21:09Too long, too extravagant.
00:21:40Or, for example, what...
00:21:42...how Europeans looked at American tourists.
00:21:49Or...
00:21:50...the doorman of a chic French hotel looked at that tourist.
00:21:57I'm talking about France.
00:21:59He's a little French clochard.
00:22:01I kept a lot of pictures.
00:22:02Orson hated, as I told you, memorabilia.
00:22:04And he would doodle and so on...
00:22:06...and then he would just wash it and throw it away and so on.
00:22:09And I was always around saving things and, you know...
00:22:12...so I don't have as many as one would think.
00:22:14Through 20 years I could have accumulated so many things.
00:22:17Orson Welles in everyday life...
00:22:19...well, he was not at all this man bigger than life that everybody imagines.
00:22:23Behind his appearance there was a modesty and even timidity.
00:22:27He hated this image of a megalomaniac that people had of him...
00:22:30...and this was his answer to that.
00:22:37Hero, tragedy, megalomaniac.
00:22:40People like to confuse him with the great roles he loved so much.
00:22:43He amused himself with these clichés and played with them.
00:23:07Do you feel you're keeping up with your competitors in the other stately homes?
00:23:12Some of them all you get is a guided tour of the kitchen garden...
00:23:15...and a quick look at the family thumbscrew.
00:23:17Shall we put on hair as best we can?
00:23:20Hello.
00:23:21This is my son, Alger.
00:23:24How do you do?
00:23:26Hello.
00:23:27Gosh.
00:23:28Oh, I say.
00:23:29Golly.
00:23:30Thank you, Peter.
00:23:34And there's my wife, Countess.
00:23:40She's a great favorite of the tourists.
00:23:42She's a very fine dramatic recitation.
00:23:45Ah, Lady Plumfield.
00:23:47And if pushed, she'll take off her cardigan.
00:23:50There's the butler, Blemish.
00:23:53Oh?
00:23:54He does animal impressions.
00:23:57Do some of your animal impressions, Blemish.
00:24:04He says he doesn't want to.
00:24:06Pity.
00:24:08Temperamental old devil.
00:24:10I'd give him the sack, but we need the eggs.
00:24:15You seem to be giving the tourists wonderful entertainment.
00:24:18It just seems a pity you're stuck out here in the country.
00:24:21Oh, we're hoping to bring the show into town...
00:24:24...just as soon as we can sell the house.
00:24:27But then you'll have nowhere to live.
00:24:29Oh, we don't live in the house.
00:24:33We live here.
00:24:35Would you care for a cup of tea?
00:25:00Scene 58, take 1.
00:25:06Okay?
00:25:10Scene.
00:25:12The after deck.
00:25:17A fair morning.
00:25:20A fair morning.
00:25:23A fair morning.
00:25:26A fair morning.
00:25:31Tied up, twisted...
00:25:34...eyes like coal still glowing in the ashes of a ruin...
00:25:39...Ahab lifts up to the clearness of the morn...
00:25:43...his splintered helmet of a brow.
00:25:47This glad, this happy air, this winsome sky...
00:25:52...at last seems almost to dissolve the canker-wrinkled beating in his heart.
00:25:58The cruel stepmother world...
00:26:02...now throws affectionate arms around that stubborn neck.
00:26:08Old Ahab drops a tear into the sea.
00:26:14Not as the vast Pacific holds such wealth...
00:26:19...as that one drop.
00:26:23Cut.
00:26:26Scene 59, take 2.
00:26:46It's unbelievable that after 20 years after squatters raped this house...
00:26:51...the traces of Orson's work are still here.
00:26:55He was always doing different projects at the same time.
00:26:58Occasionally I would leave him for a day or two...
00:27:01...and when back he would present me with something new...
00:27:04...like Moby Dick, for example.
00:27:07He started to shoot it with his own money all by himself...
00:27:11...if I remember well, between some shots of F.O. Fake.
00:27:16One evening he simply asked his cameraman to stay a little longer...
00:27:20...and that was the beginning.
00:27:25Cut.
00:27:32Call me Ishmael.
00:27:38Some years ago, never mind how long...
00:27:42...I thought that I would sail about a little...
00:27:45...and see the watery part of the world.
00:27:49Whenever I grow grim about the mouth and hazy in the eyes...
00:27:54...whenever it's a damp November in my soul...
00:27:59...I count it time to get to sea.
00:28:03Almost all men, sometime or other...
00:28:06...cherish these same feelings toward the ocean.
00:28:11Why do the old Persians hold the ocean holy?
00:28:17And the still deeper meaning of that story of Narcissus...
00:28:22...who, because he could not grasp the mild...
00:28:27...tormenting image in the fountain...
00:28:31...plunged into it and drowned.
00:28:37That same image we ourselves see in all rivers...
00:28:44...in oceans and in lakes and wells.
00:28:49The image of the ungraspable.
00:28:56The phantom of life.
00:29:02And that is the key to it all.
00:29:09No one knows exactly when and why...
00:29:14...Wells decided to read individual chapters of Moby Dick by Herman Melville.
00:29:19The fragments in Oya Koda's archive were apparently created without a plan.
00:29:23Wells follows his own system.
00:29:26He works parallel to countless projects...
00:29:29...with which he continues whenever he has time and desire.
00:29:38Looks like a basement of Xanadu.
00:29:41Although Orson wasn't anything like that.
00:29:43He didn't keep memorabilia.
00:29:47I would say that...
00:29:51...two most important things for him...
00:29:54...he said, were a good pair of shoes and a good typewriter.
00:29:58And I must add that he had two more things.
00:30:02One is this 16 millimeter editing table...
00:30:07...that went all over the world with us.
00:30:10And something more precious than that, at least for me...
00:30:14...is this suitcase.
00:30:18Often people took Orson's cigar as his trademark.
00:30:22But to me it was this suitcase.
00:30:25It contained, as he used to say, the tools of his profession.
00:30:29During these years we were on the road most of the time...
00:30:32...and Orson wanted to be able to shoot at any moment, in any place.
00:30:37We traveled for months with the very unusual objects...
00:30:40...which he used to tie up different scenes, different locations, projects.
00:30:45Seeing our luggage people must have thought that we were completely crazy.
00:30:51Wells' artistic life is like a vagabond.
00:30:55He follows the footsteps of the films in which he is the actor.
00:30:58Not always the roles are grateful.
00:31:00But he finances his own projects from the high wages.
00:31:03He lets himself pay the wages and goes to the set of his own films.
00:31:08The director does not follow the locations of his films...
00:31:11...but makes sure as a nomad that they always accompany him in his hand luggage.
00:31:24No matter where he finds the pictures and motifs...
00:31:27...an attitude here, a shot for a new project there...
00:31:30...they always serve only as backdrops for his own universe.
00:31:34His work evolves over the years into a patchwork without chronology.
00:31:39All solutions are right for the craftsman...
00:31:42...to be able to reject the world of his own vision at any time.
00:31:58Spain
00:32:06On his travels, Spain is more than just a stage.
00:32:09For 30 years he tries to complete his Don Quixote.
00:32:13A close friend of many Toreros, he loves the fight for everything.
00:32:17As a young man, he already carried himself into the arena.
00:32:20The passion remains with him for a lifetime.
00:32:28Spain
00:32:54Travel, shoot, travel again.
00:32:56A window crosses the landscape and a new idea is created.
00:33:00A small, humorous portrait of Winston Churchill.
00:33:27I always remember that if I was being hanged...
00:33:30...the crowd would be twice as big.
00:33:32Hanging, if properly conducted, is, I believe, an absolutely painless death.
00:33:40Well, it may come to that.
00:33:42Winston, I care neither for your politics nor your face.
00:33:47Do not distress yourself, my dear.
00:33:50You are not likely to come into contact, neither.
00:33:53If you were my husband, I'd poison your coffee.
00:33:56If you were my wife, I'd drink it.
00:33:58Winston, you are drunk.
00:33:59And you, my dear, are ugly.
00:34:02But tomorrow, I'll be sober.
00:34:07This is a town for a sweet tooth.
00:34:11Sweet things to listen to.
00:34:15Sweet things to...
00:34:18...look at.
00:34:21And...
00:34:23...sweet things to eat.
00:34:42When the world was young, I used to run riot in there.
00:34:45How sweet it was.
00:34:50You know, there's an old English...
00:34:52No, Irish. Irish proverb.
00:34:55And I'm not making this up. It's real.
00:34:58Beware of three things, it goes.
00:35:03Beware of three things.
00:35:05The wicked west wind.
00:35:08The potato blight.
00:35:10And the smile of an Englishman.
00:35:13Well, I like to amend that to the smile of an English tailor.
00:35:21Do you mind standing naturally, sir?
00:35:24I am standing naturally.
00:35:26Now, are you really?
00:35:30Congratulations.
00:35:32Are we ready, Mr. Johnson?
00:35:34Quite ready, Mr. Mipleton.
00:35:40Eighteen. Eighteen.
00:35:41Sixteen. Sixteen.
00:35:42Eleven and a half. Eleven and a half.
00:35:44Seven and three quarters. Seven and three quarters.
00:35:48What is it?
00:35:50Oh, no.
00:35:55God bless my soul.
00:36:03That's a good one, eh?
00:36:07Make a note, Mr. Johnson.
00:36:09Right shoulder three inches dropped.
00:36:11My right shoulder?
00:36:13Well, I can assure you, sir, no one else's.
00:36:15Three inches.
00:36:17Make that three and a half, Mr. Johnson.
00:36:20Fourteen. Fourteen.
00:36:23And incredible, though it may seem.
00:36:25And incredible, though it may seem.
00:36:27Fifty-three. Fifty-three.
00:36:29Three buttons.
00:36:31One to fasten, if possible.
00:36:33One breast pocket and two sides.
00:36:35I always like to have a pocket where...
00:36:37I should advise you to leave the pocket situation to us, sir.
00:36:40If you don't mind.
00:36:42Certainly, sir.
00:36:45Eighteen. Eighteen.
00:36:47Nine and a half. Nine and a half.
00:36:48Three. Three.
00:36:49Good Lord.
00:36:59Fifty-nine.
00:37:01Fifty-nine?
00:37:08I notice we do not wear suspenders, sir.
00:37:13No doubt on account of our veins.
00:37:17Well, today is the 23rd of April.
00:37:21Shall we say the first fitting around about the 9th of December?
00:37:24The 9th of December?
00:37:26Well, I...
00:37:28This, I take it, sir, is a wallet.
00:37:30A wallet?
00:37:31This sticking out at the back.
00:37:34No, that's me.
00:37:37Oh, I'm so sorry.
00:37:39I'd never have mentioned it if I'd known.
00:37:41How very unfortunate for you.
00:37:43Rest assured, sir, we shall do everything we can...
00:37:45in the most difficult circumstances imaginable.
00:37:47I suppose you'll be requiring this.
00:37:49Off the peg, I take it.
00:37:51And a most peculiarly shaped peg, sir.
00:37:54If I may say so.
00:38:07Good morning, sir.
00:38:11Good morning.
00:38:41Documents, as well as movies.
00:39:01But the house stands today, undamaged, in Madrid.
00:39:05Poetry and truth cannot be separated.
00:39:11But the house stands today, undamaged, in Madrid.
00:39:37The Deep.
00:39:39This project often raised doubts, too.
00:39:42With this thriller, as usual, paid out of his own pocket,
00:39:45Wells hoped to find his way to the general public.
00:40:09They're sailing up the west coast of Africa...
00:40:11on their way to the Mediterranean.
00:40:14Not a breath of air, so they're becalmed.
00:40:17To save gas, they're not using their auxiliary engine.
00:40:21Out in these waters, they might expect to be very much alone.
00:40:25But there's someone else out there.
00:40:31Another boat.
00:40:34Somebody is rowing over to them.
00:40:39The stranger has a very strange tale to tell.
00:40:42He's alone.
00:40:44Everyone else on that boat of his is dead.
00:41:09In the meantime, they're postponing the shoot for next year.
00:41:40Trapped there on a boat that's shipping water fast and ready to sink.
00:41:47And his young wife, trapped on their boat, with a raving mania.
00:41:57What happens next?
00:42:02Have to leave that to the ticket buyers.
00:42:10The death of the actor, Lawrence Harvey,
00:42:13makes the completion of the film impossible,
00:42:15even though only a few scenes are missing.
00:42:20Around the same time, back in the Mediterranean.
00:42:23Wells begins work on a merchant from Venice.
00:42:26From Carnival, he brings a few pictures.
00:42:28They must create enough atmosphere.
00:42:34Look to my house.
00:42:40Jessica.
00:42:53Go in.
00:42:55Lock up my doors.
00:43:10The Merchant of Venice
00:43:17The Merchant of Venice is to be a short TV adaptation of Shakespeare's play.
00:43:22The shooting seems to be well financed,
00:43:24but Wells has problems with the tax authorities.
00:43:27The moneylenders withdraw,
00:43:29and he tries once more to finish the work on his own,
00:43:32so as not to drag on another unfinished project.
00:43:39Venice
00:43:45He leaves the expensive Venice.
00:43:47A small village on the Dalmatian coast has to replace the city of lagoons.
00:43:51The window cross goes on the journey again,
00:43:53and wooden domes double the masked carnival guests
00:43:56that Shylock encountered on his way.
00:44:09The Merchant of Venice
00:44:39Shylock
00:44:58Shylock
00:45:00Albeit I neither lend nor borrow,
00:45:03by taking nor by giving of excess,
00:45:07yet to supply the ripe wand of my friend,
00:45:10I'll break a custom.
00:45:13Is he yet possessed how much he would?
00:45:17Three thousand dockets.
00:45:20It is a good round sum.
00:45:22And for three months?
00:45:25Three months from twelve.
00:45:28Let me see the rate.
00:45:31Well, Shylock, shall we be beholding to you?
00:45:37Signor Antonio,
00:45:40many a time and oft on the Rialto,
00:45:44you have rated me about my monies
00:45:48and my usances.
00:45:51Still have I borne it with a patient shrug,
00:45:55for sufferance is the badge of all our tribe.
00:45:59You call me,
00:46:01misbeliever,
00:46:03cutthroat,
00:46:06dog,
00:46:09and spit upon my Jewish gabardine,
00:46:13and all for the use of that which is my own.
00:46:17Go to them.
00:46:19You come to me and you say,
00:46:21Shylock...
00:46:35The cut can begin.
00:46:37This time he finally thinks he has achieved his goal,
00:46:40but then the negatives disappear.
00:46:42The circumstances of the robbery can never be fully clarified.
00:46:51Years later, somewhere in the world,
00:46:54Wells will unpack the camera
00:46:56and repeat the Shylock monologue,
00:46:58the monologue that is forever missing in his merchant of Venice.
00:47:06He hath disgraced me,
00:47:10laughed at my losses, mocked at my gains,
00:47:14cooled my friends, heated mine enemies,
00:47:19scorned my nation.
00:47:24And what's his reason?
00:47:29I am a Jew.
00:47:32I am a Jew.
00:47:36Hath not a Jew
00:47:38hands,
00:47:41hath not a Jew eyes,
00:47:44organs, dimensions, senses, affections, passions,
00:47:49fed with the same food, heard with the same weapons,
00:47:52subject to the same diseases, healed by the same means,
00:47:56warmed and cooled by the same
00:47:59summer and winter.
00:48:01If you prick us, do we not bleed?
00:48:05If you tickle us, do we not laugh?
00:48:10If you poison us, do we not die?
00:48:16And if you wrong us,
00:48:21shall we not revenge?
00:48:25If we are like you in the rest,
00:48:27we will resemble you in that.
00:48:31The villainy you teach us,
00:48:35we will execute.
00:48:37It shall go hard,
00:48:41and I will better the instruction.
00:48:47I was noticing a continuity between
00:48:50the trial and a lot of your films dating back to
00:48:54Citizen Kane, as your view seems to be opposed
00:48:57to some of the best interests of the corporate elite,
00:49:00of which you speak directly about in the trial.
00:49:04And I was wondering if you thought your personal
00:49:06financial position as a film director
00:49:09is directly related to the fact that
00:49:12a lot of your views and your films throughout these ages
00:49:15have not, you know,
00:49:18these ages have not exactly expressed their interests.
00:49:26Would anybody like to answer that question?
00:49:30Well, my personal opinion...
00:49:33Good. Stand up. Let's hear it.
00:49:35My personal opinion is that it's true,
00:49:37and that from what I've read from your career,
00:49:41although I wasn't alive at the time you first were making films,
00:49:45that you've had a tremendous problem
00:49:50with the press and corporate bureaucracy dating back,
00:49:53you know, since the earliest portions of your career,
00:49:55and that this is continuing today,
00:49:57and that's one of the reasons why you've been unable
00:50:00to finish some of your more recent projects.
00:50:04Well, the only...
00:50:06There are only two main projects which are unfinished.
00:50:10One is The Other Side of the Wind,
00:50:13and I tell you that my partner in that project
00:50:16is the brother-in-law of the late Shah of Iran.
00:50:19You will understand why we are having a little legal difficulty.
00:50:24The other unfinished film is Don Quixote,
00:50:27which was a private exercise of mine,
00:50:30and it will be finished, as an author will finish it,
00:50:33at my own good time, when I feel like it.
00:50:36It is not unfinished because of financial reasons,
00:50:40and when it is released,
00:50:42its title is going to be
00:50:44When Are You Going to Finish Don Quixote?
00:50:53Welles is now used to being questioned
00:50:56about his many unfinished projects,
00:50:58and, as usual, he only tells half the truth.
00:51:00He knows that his reputation of not being able to finish films
00:51:03is hard on him.
00:51:05As soon as it becomes clear that he has difficulties
00:51:08with The Other Side of the Wind,
00:51:10all those who have always known it feel confirmed.
00:51:14As long as it is about celebrating the director of Citizen Kane,
00:51:17Welles' doors are wide open.
00:51:19But as soon as he tries to launch his new projects,
00:51:22he is rejected.
00:51:35THE OTHER SIDE OF THE WIND
00:52:05THE OTHER SIDE OF THE WIND
00:52:36When we made THE OTHER SIDE OF THE WIND,
00:52:38our crew consisted basically of very, very young people, 19, 20.
00:52:47Once we had to shoot certain scenes
00:52:49from THE OTHER SIDE OF THE WIND on a real studio lot,
00:52:52but we couldn't afford the fee.
00:52:54So we chose one weekend when we were sure
00:52:56that nobody would be there working.
00:52:58We entered the lot as film students
00:53:00while Orson was hidden in a van.
00:53:02Whenever a guard passed by, he took a cover.
00:53:05You know, this situation did not make him upset or frustrated.
00:53:09He actually loved to trick them.
00:53:11But, of course, the trick couldn't last after the weekend,
00:53:14so he stayed awake for 48 hours
00:53:17while his cameramen took shifts and slept.
00:53:21THE OTHER SIDE OF THE WIND
00:53:32Of course we had disappointments and sad moments
00:53:35when Orson used to say,
00:53:37black dogs were barking at the door.
00:53:39But he never allowed them to enter to win over our moods.
00:53:42He would immediately invent a story to chase them away.
00:53:45THE OTHER SIDE OF THE WIND
00:53:48You cannot imagine what kind of theatre I had in my living room.
00:53:53All Shakespeare was played there.
00:53:56He was great Romeo.
00:53:58And you know that he was a great Juliet.
00:54:01He...
00:54:04Oh, he was such a fun.
00:54:09One day while looking at some old footage called One Man Band,
00:54:13where he played all the different characters,
00:54:15he joked and said,
00:54:17I myself have always been One Man Band.
00:54:20He was planning to do his autobiographical film
00:54:23and this was going to be its title.
00:54:26Oh, oh!
00:54:30Welcome to Swinging London.
00:54:33I say, this thing is on, isn't it?
00:54:35HE HUMS
00:54:41The One Man Band is coming
00:54:44Dig my sweet box of it
00:54:47That's me drum, drum, drumming here
00:54:49Comes the One Man Band
00:54:51The One Man Band is coming
00:54:54Dig that music of it
00:54:56That's me drum, drum, drumming here
00:54:59Comes the One Man Band
00:55:01Man band is coming, it calms the one-man band.
00:55:05We continue our swinging tour with a visit to Carnaby Street, the mecca of the hip cats.
00:55:10Ah, this is not in fact Carnaby Street, this is... somewhere else.
00:55:16Up there he is, father rides beneath the bedclothes, and a funny little squeaker.
00:55:23Well, this isn't actually our Carnaby Street, but I'm sure that...
00:55:26Hello?
00:55:29Hear them tell him he's a shillin'?
00:55:31Now go away.
00:55:49Back now among the bright lights of Swinging London,
00:55:52the new playground of the International Jet Set.
00:55:56Please buy my violets.
00:55:58London.
00:55:59Wow, London, it's certainly changed in the last couple of years.
00:56:07Violet.
00:56:08Please buy my violets.
00:56:10No, thank you.
00:56:14Dirty postcards.
00:56:16Please buy my dirty postcards, nice filthy postcards.
00:56:20What?
00:56:21Oh, um, not just at the moment, thank you very much.
00:56:26And now we're in the heart of London's clubland.
00:56:29Why don't we take a look in at one of these famous clubs?
00:56:33Take it away, baby.
00:56:35You are a pretty lady, do slip, please.
00:56:38Drumming that drum, drum, drumming it calms the one-man band.
00:56:43I think acting is like sculpture.
00:56:54In other words, it's what you take away from yourself to reveal the truth of what you're
00:57:02doing that makes a performance.
00:57:07A performance, what it is, deserves to be considered great or important.
00:57:13He is always entirely made up of the actor himself and entirely achieved by what he has
00:57:21left in the dressing room before he came out in front of the camera.
00:57:25There is no such thing as becoming another character by putting on a lot of makeup.
00:57:31You may need to put the makeup, but what you're really doing is undressing yourself and even
00:57:38tearing yourself apart and presenting to the public that part of you which corresponds
00:57:45to what you were playing.
00:57:47And there is a villain in each of us, a murderer in each of us, a fascist in each of us, a
00:57:53saint in each of us.
00:57:55And the actor is the man or woman who can eliminate from himself those things which
00:58:04will interfere with that truth.
00:58:55Do you believe in magic?
00:59:06Well, you do believe your eyes, don't you?
00:59:11And our cameras do not lie, really.
00:59:15They're seeing what you see without the slightest hint of technological trickery, sidearm snookery,
00:59:22hanky-panky or runny gazoo.
00:59:30Magic has an innocence that appeals to me.
00:59:35It's a return to childhood.
00:59:37It renews the sense of on a certain level.
00:59:42It's like playing with toys.
00:59:43It's pure play.
00:59:46And sometimes it can be a little more than that.
00:59:48It can have a kind of second-rate poetry that I find attractive.
00:59:54Great magic, you know, there's a moment when you suspend disbelief and it becomes a very
01:00:01good kind of theater.
01:00:05We actors pretend to be modest, you know?
01:00:14But no magician is modest.
01:00:15Every magician is the greatest magician in the world.
01:00:27Nobody is completely grown up and no work of art, God what a terrible thing have I said,
01:00:35No movie is made by a complete adult, you know?
01:00:47First of all, I don't know any complete adults in civilian life, so how could they have infiltrated
01:00:53movies, you know?
01:00:55It's unthinkable.
01:00:57Listen, I was preparing for this show, you know?
01:01:02And I hired my writer, Gags Beasley.
01:01:06Not Gags Beasley.
01:01:07Gags Beasley, the ace comedy writer for 57 years in this business.
01:01:12He has given me the A material for the Orson Welles show.
01:01:16He is the cheapest comic, the cheapest comedy writer that there's going.
01:01:21Are you kidding?
01:01:22I'm paying him $1.50 a joke.
01:01:24$1.50 a joke?
01:01:26$1.50, yes.
01:01:27You called that cheap?
01:01:28You should pay him by the laugh.
01:01:30Well, he could never get paid then.
01:01:32That's right.
01:01:33I feel it's my moral obligation to censor all the sick, perverted ideas on that disgusting
01:01:42program.
01:01:43How do you do, Mr. Welles?
01:01:45And I must say, I am shocked at you.
01:01:50Why?
01:01:50Having this low comedy from this bear and this frog who allows it to happen.
01:01:58Having this on your show, I'm absolutely shocked, a man of your stature.
01:02:03No, I like this form of television because it's about people.
01:02:09That's my favorite subject.
01:02:11And it belongs uniquely to the tube.
01:02:13A talk show wouldn't work.
01:02:14It simply couldn't happen on a movie screen or a stage.
01:02:17And for me, that makes it irresistible.
01:02:20Television is the one theater I've never really worked in.
01:02:28All right, a pause for some commercial messages.
01:02:40Well, it's true I have several professions.
01:02:44I write and direct and act in motion pictures and plays.
01:02:54I also do magic.
01:02:58Well, we say the magic word.
01:03:04And here, here's something I always enjoy.
01:03:13It's easy to enjoy.
01:03:28He considered it as a show business.
01:03:40He was not cynical.
01:03:41He rewrote the text, tried to do his best.
01:03:44He was very professional in everything he did.
01:03:58This is the price of freedom or, as he says, his contradiction in himself.
01:04:03During the last few years in Hollywood, nothing has changed about it.
01:04:07A stone's throw away from the dream factory, he designs a new project with Oya Koda,
01:04:13The Dreamers, based on two novels by his favorite author Tanya Blixen.
01:04:18Isaac Dennison was a Dane who wrote under that name,
01:04:23and I've been in love with her since I opened her first book.
01:04:29In life, she was the Baroness Blixen, and to her close friends, she was Tanya.
01:04:36One day, I took a plane to Copenhagen to visit her.
01:04:39She was living then in the same old house where she was born, where she died.
01:04:46I had friends who knew her well and who would drive me there next morning.
01:04:53I spent a sleepless night, and at daybreak, I took the first plane out of Denmark.
01:05:00What could a casual, an uninvited visitor have presumed to offer, except his stammered thanks?
01:05:12The visitor would be a bore, and the lover was too humble and too shy.
01:05:20Except his stammered thanks, the visitor would be a bore,
01:05:26and the lover was too humble and too proud for that.
01:05:34Of course, he never met her, but he loved her talent. He was absolutely,
01:05:39as he would say, innamorato of this woman.
01:05:43The moment the script was finished, Orson started with the production again with his own money.
01:05:48Our house near Hollywood Boulevard was transformed into a 19th-century villa in Milan.
01:05:54We were working in a big secrecy because we knew that under these conditions,
01:05:58shooting could maybe go on for years, and he was afraid to be blamed again
01:06:03for not finishing the film in time.
01:06:05This was the first thing Pellegrina ever wished for, a little white villa in Milan.
01:06:13It was her first possession.
01:06:17This house will always be here,
01:06:21awaiting the return of Pellegrina.
01:06:24Pellegrina says, before that happens, weeds will break through that piano.
01:06:28In any case, you will never hear me speak that name again.
01:06:33You'll never hear her speak to you again.
01:06:37More energy.
01:06:39You'll never hear her speak to you again.
01:06:42More on speech, slower.
01:06:44Okay. You'll never hear her speak to you again.
01:06:49You'll enter into contact with her.
01:06:50Okay. You'll never hear her speak to you again.
01:06:56You're entering the convent.
01:07:01You'll never hear her speak to you again.
01:07:04That's good.
01:07:06Now, I can start away.
01:07:10Now stop and laugh.
01:07:13She laughs.
01:07:15Behold, the miracle.
01:07:16She laughs. Take me along with you, and soon we shall see more of them.
01:07:25It is true, then?
01:07:27Yes.
01:07:29Alone? Like this? And in the dead of night?
01:07:34Pellegrino's dead. Even the servants think so.
01:07:39I had no chance to say goodbye. Will you do that for me?
01:07:45It is struck midnight.
01:07:48The dawn of a new day. At dawn, Luigi will be working in the garden here.
01:07:54Please don't forget, Luigi.
01:07:57I will say goodbye for you.
01:08:02I do not ask where you are bound for.
01:08:08Many places.
01:08:11Little lioness, you will need money.
01:08:17I will earn my money, whoever I will be.
01:08:23Marcus, I will be many persons.
01:08:28Let this go with you, little lioness.
01:08:31I should like you to be easy.
01:08:33This ring will carry you left or right, in all of your directions.
01:08:41Left or right, Marcus. Never home again.
01:08:46Not ever.
01:08:53Ah, here's something, I think. I'd like you to see.
01:08:59You see, Orson did everything himself.
01:09:01He designed the sets. This was to be for the monastery, for the dreamers.
01:09:05For the scene when Pellegrino dies.
01:09:10So this was also to make this monologue?
01:09:13Yes. Actually, we shot that monologue in our house.
01:09:17But for the wide shots, he was planning to do a real monastery.
01:09:21I mean, a real monastery.
01:09:23A fake monastery, but built in a normal grandeur, let's say.
01:09:31Pellegrino Leoni, played by Oya Kodar,
01:09:34fails at the unfulfilled dream of simultaneously wanting to live several lives in one life.
01:09:41Wells himself plays Marcus, who recalls the memories of her death.
01:10:00The truth.
01:10:03Now that you've cornered her, killed her,
01:10:06you want the truth.
01:10:11Pellegrino.
01:10:13Leoni.
01:10:16Primadonna Saluta had in her life two great devouring passions.
01:10:21And what was the first of these, it was for Pellegrino.
01:10:25She was a devil to the other women of the opera.
01:10:28It was a terrible and jealous love.
01:10:31And this other passion, it was not for me, young gentleman.
01:10:35No, I was, for the first half of my life,
01:10:37just such an unhappy young man as you are.
01:10:40I was rich and traveled much.
01:10:42I kept my own corps de ballet to perform before me and my friends,
01:10:46or before me alone.
01:10:49I had thirty young girls who used to dance before me naked.
01:10:56And I was bored to death, young gentleman.
01:10:59I might well have died of boredom
01:11:05had I not happened to hear
01:11:08the small theater stage in Venice.
01:11:14The voice of Pellegrino Leoni.
01:11:22And then I understood
01:11:26I understood the meaning of heaven and earth.
01:11:31And the stars of life and death and eternity.
01:11:38She took you out into a rose garden
01:11:41filled with nightingales.
01:11:48And then lifted you up with her.
01:11:55Higher than the moon.
01:12:25The next day.
01:12:34He designs new plans.
01:12:36The Big Brass Ring.
01:12:38A story from the political world of America.
01:12:41The possible donors want stars,
01:12:43but all negotiations with actors fail.
01:12:45The Cradle Will Rock refers to an earlier theater success.
01:12:49The financing collapses.
01:12:51King Lear fails to keep the promises of the French producers.
01:12:55One disappointment follows the other.
01:12:58And Waltz?
01:13:00He lights a cigarette as if nothing had happened
01:13:03and returns to his beloved magic.
01:13:22THE CRADLE WILL ROCK
01:13:34Enough.
01:13:35She can't endure it for much longer.
01:13:38With the speed of light,
01:13:40Laila was transported through a time warp
01:13:43from the ancient past.
01:13:47Time now
01:13:49for her return.
01:13:51Directing your attention
01:13:55to an improbability
01:14:00in the future tense.
01:14:03You have witnessed
01:14:05a materialization,
01:14:08a penetration,
01:14:10now,
01:14:12vaporization.
01:14:20Evaporation.
01:14:22I am a profound pessimist
01:14:27with a sentimental inclination
01:14:31to hope
01:14:34that Pangloss was right
01:14:38and that I'm wrong.
01:14:41I have a sentimental inclination toward hope.
01:14:45I believe in bravery.
01:14:49And...
01:14:53worship it.
01:14:55To me, it's one of the greatest virtues there are.
01:15:00And the fact that I'm a pessimist
01:15:02is part of what gives bravery such an importance to me.
01:15:06Don't call me a macho. That's not what I'm talking about.
01:15:09Rahab
01:15:12is forever
01:15:14Rahab, man.
01:15:18I am the fate's
01:15:20lieutenant
01:15:22under orders.
01:15:26You see an old man cut down to the stump,
01:15:30leaning on a shivered lance,
01:15:33propped on a lonely foot.
01:15:35Does Ahab,
01:15:37Ahab's body's part?
01:15:41But Ahab's soul's a centipede
01:15:44that moves upon a hundred legs.
01:15:46You see me strained, half-stranded,
01:15:49as ropes that tow dismastered frigates in a gale.
01:15:53But ere I'll break,
01:15:56you'll hear me crack.
01:15:59Till you hear that,
01:16:02no Ahab's hauser
01:16:04tows his purpose yet.
01:16:14As a little boy, Orson would once hear a Chinese wise man say,
01:16:19Be careful when you look at the young moon.
01:16:22It is so fragile that your gaze must be completely pure.
01:16:26If it is not, your fate may turn to evil.
01:16:29In his later years, he often remembered this.
01:16:33Perhaps one day he disregarded this advice.
01:16:37I am very, very,
01:16:39I hate to use the word superstitious
01:16:42because I take it more seriously.
01:16:44I'm awfully serious about the moon.
01:16:48I think that Robert Graves was right
01:16:52when he said that the most blasphemous thing
01:16:55that has happened since Alexander cut the Gordian knife,
01:16:59the Gordian knot,
01:17:02is that the moon has been cut.
01:17:04The Gordian knot was when we landed on the moon.
01:17:10And having let loose with a piece of eccentricity of that kind,
01:17:15you'll see who you're dealing with.
01:17:20And the other side of the wind?
01:17:23Only short excerpts of this late masterpiece
01:17:26can be found in Oya's archive.
01:17:29Allegedly, Wells himself had produced a three-hour version of it.
01:17:32But to this day it is not possible
01:17:35to free the film from its legal binding.
01:17:38It seems questionable whether it can ever be released.
01:18:03We had about five or six people when we did this scene.
01:18:08Orson himself, his cameraman, two countesses,
01:18:12our producer, Dominique Antoine,
01:18:15and Orson's accountant.
01:18:17Dominique Antoine was in charge of making the streetlights.
01:18:22Streetlights, forgive me.
01:18:24She was changing green to red and so on.
01:18:26And then we had two countesses.
01:18:29They were in charge of rain.
01:18:30It consisted of two garden water hoses.
01:18:33It was really very funny.
01:18:35If somebody was looking at us at that time,
01:18:37they would really wonder what the hell these people are making.
01:21:31In one of his letters, Wells writes,
01:21:34this film has never been released.
01:21:36For me, professionally, this defeat was fatal.
01:21:40In Los Angeles, you only speak of Wells, the madman.
01:21:43Today I have to start from scratch again.
01:21:46And that is not easy in my age.
01:21:48But in this ridiculous business,
01:21:51we learn to live from enthusiasm and hope.
01:22:00Take six.
01:22:06Help me up, men.
01:22:08Let me stand.
01:22:09So...
01:22:11So...
01:22:12I'm off now. What do you see?
01:22:16I've oversailed it.
01:22:19Got the start.
01:22:23He's chasing me.
01:22:27And not I him.
01:22:30Or any missing.
01:22:33Just...
01:22:35Little Pip.
01:22:37Just Pip.
01:22:39A bad beginning, say a...
01:22:42A bad omen.
01:22:44Omen.
01:22:45Omen.
01:22:47If the gods would speak to man, they'll speak outright,
01:22:50not shake their heads and give an old wife's darkling head.
01:22:53Hands off, you tour of mankind!
01:22:56Old Ahab stands alone
01:22:58among the millions of the peopled earth.
01:23:00Nor gods, nor man, his neighbors.
01:23:03Caught no good.
01:23:05Moby Dick.
01:23:11I'm off there.
01:23:12What do you see?
01:23:15I've oversailed it.
01:23:18Got the start.
01:23:23He's chasing me.
01:23:25And not I him.
01:23:29Or any missing.
01:23:31Huh?
01:23:33Just Little Pip.
01:23:37Huh?
01:23:38A bad beginning, say a...
01:23:40A bad omen.
01:23:43Omen.
01:23:46If the gods would speak to man, they'll speak outright,
01:23:50not shake their heads and give an old wife's darkling head.
01:23:54Hands off, you tour of mankind!
01:23:56Old Ahab stands alone
01:23:59among the millions of the peopled earth.
01:24:02Nor gods, nor man, his neighbors.
01:24:05Oh, no!
01:24:07We're off there. What do you see?
01:24:11Gray shopper!
01:24:13Crowder into the wind's eye!
01:24:25There are never many,
01:24:27never enough of them, but there are.
01:24:30Men born into the world with
01:24:33a gaze fixed
01:24:35on the widest possible horizon.
01:24:39Men who can see
01:24:41without strain
01:24:43beyond the most distant horizon,
01:24:46into that unconquered country
01:24:50we call the future.
01:24:53We call the future.
01:25:01This is Orson Welles,
01:25:04remaining as always,
01:25:06obediently yours.
01:25:23Oh, how I did it!
01:25:25The mastery of the cinema.
01:25:52© BF-WATCH TV 2021
01:26:22© BF-WATCH TV 2021
01:26:52© BF-WATCH TV 2021
01:27:22© BF-WATCH TV 2021