Eng They'll Love Me When I'm Dead (2018)

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Ladies and gentlemen, good evening.

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This is the story
of Orson Welles' last movie,

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<i>The Other Side of the Wind.</i>

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Uh, this is May 11th, 1971,
<i>The Other Side of the Wind.</i>

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Orson Welles. Um...

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- Sound roll number eight.
- Rolling.

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'Cause you always start announcing
it before I roll. All right, now,

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I'll announce it.

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Scene 58, take one.

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<i>What you're about to watch
is made up of fragments of the materials</i>

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<i>that Orson and others left behind.</i>

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<i>Many of Orson's films started
with a death...</i>

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<i>and so does ours.</i>

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When Orson Welles died yesterday,
he was, as he had been most of his life,

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in the midst of several film projects.

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It was the end of a career
that had once promised so much.

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He was a giant of a man
who made <i>Citizen Kane,</i>

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who once scared America half to death
with his<i> War of the Worlds.</i>

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He'd been called a genius
almost from birth.

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He was reading at two,
performing Shakespeare at ten.

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Regrettably, his later years never matched
the promise of his early years.

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He drifted off to lesser work
and grew enormously fat.

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Movies were never finished.

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There was this one,
<i>The Other Side of the Wind,</i>

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about a world-famous filmmaker.

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Perhaps Welles' vision of himself.

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<i>How we sum up a person's life
and the truth of that life</i>

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<i>are rarely he same thing.</i>

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Almost any story is almost certainly

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some kind of lie.

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But not this time.

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<i>This time, the story
of </i>The Other Side of the Wind

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<i>is being told by the people
who were there:</i>

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<i>cast and crew, friends and family.</i>

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- My God, you're shooting from over there?
- Why not?

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Orson said,
"They'll love me when I'm dead."

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No, Orson denied ever saying that.

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- It's almost true.
- It's not true.

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Our movie starts long before
things went wrong.

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And they did go horribly wrong.

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But it begins at a moment of promise
for Orson.

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Let's watch.

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Mr. Orson Welles.

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Every time you'd mention his name,

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people would say,
"What did he do since <i>Citizen Kane?"</i>

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<i>Citizen Kane,</i>
the greatest motion picture ever made.

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He made such a great movie and then...

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"Whatever happened to Orson Welles?"

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Every list of great films,
many of them lead with <i>Citizen Kane</i>

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and say it's the finest film made.

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Um...

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- Do you agree?
- No, certainly not.

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- That's interesting.
- My next one is though, that's the...

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<i>- The Magnificent Ambersons?</i>
- No.

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- The one I'm preparing at this moment.
- Oh, the next one.

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That's gonna make history.

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- Could you give us the title of that?
- I haven't decided what it is yet.

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Oh!

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It would become a last big effort
in his lifetime.

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The chance to say,
"This is my masterpiece."

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What will really be the big basic
differences between this picture

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and anything else you've ever done?

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Because everything else I've ever done
has been controlled,

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every frame is controlled.

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But I would like to take a whole story
and make the picture

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as though it were a documentary.
The actors are gonna be improvising.

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Have you done that kind of thing before
with other...

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Nobody's ever done it before, you know.

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But that seems to me like
shooting and shooting,

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and aren't you afraid the end result
won't have any control?

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- I keep...
- Not a bit, no, I really am not.

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I can't even count
the number of times I heard Orson say...

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The greatest things in movies
are divine accidents.

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"Embrace that accident."

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And my definition of a film director

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is "the man who presides over accidents."

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They're these divine accidents.

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It's the only thing that keeps films
from being dead.

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Every time one would happen, boom!

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Genius would come out.

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Everywhere, there are beautiful accidents.

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There's a smell in the air, there's a look

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that changes the whole resonance
of what you expected.

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Sometimes I've had those accidents.

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I made a picture in which somebody
reached through a window in <i>Touch of Evil,</i>

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and found the egg...

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And we made a whole scene about it,
you know.

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But I wanna go further.

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Then on the basis
of what you've said, it sounds as though

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the whole thing is going to be a series
of your "divine accidents."

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- If we're lucky.
- If you're lucky.

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That's right. You know,
we're going to go fishing for accidents.

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Which I think can be very exciting,
you know?

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Yeah, yeah.

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Do you feel any kind of resentment

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for what Hollywood did to you,
or failed to offer you?

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At the time,
Orson had lost his ability

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to finance his own work in America.

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You are in some sense an exile,
aren't you?

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- You've been out of America a long time.
- Yes, yes.

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Orson had been in Europe for two decades.

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Because he felt very betrayed
by Hollywood.

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I think he was permanently traumatized
by <i>Touch of Evil.</i>

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The studio said,

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"God, Welles is functioning
at such a level of brilliance.

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We're gonna make
film after film with him."

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That's what you think.

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Then they saw a rough cut of it.

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They were so horrified that I was fired.

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And nobody's ever explained
what horrified them.

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After <i>Evil,</i> nobody would touch him.

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They really wouldn't.

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The popular press
had forgotten about him.

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People weren't chasing Orson down
to work with him.

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I think I have to make
a very successful box office picture.

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I think I'm getting too old
not to have made one.

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- Orson needed a comeback film...
- And?

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...and it had to be strong.

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It's one thing to know what you want,
it's another thing

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to know how to go through the door
when it opens.

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Hollywood was changing
in the '70s, changing huge.

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The new Hollywood began around '66.

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<i>Bonnie and Clyde,
Five Easy Pieces.</i>

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<i>Easy Rider.</i>

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The kids with beards were taking over.

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We are children playing games,
when we create.

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Which is what movies are to me,
and what drama is to me, it's a game.

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Thirty-five-year-old men
had taken over show business.

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The studios didn't know anymore
what was making money.

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The studios were collapsing.

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When Warner Brothers stopped
making cartoons, it was over.

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In the new Hollywood,

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everybody had this incredible reverence
for Orson Welles.

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He was somewhere between
Zen master and God.

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I mean, sure, <i>Citizen Kane</i>
was maybe the greatest film ever made,

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but I'm not even sure it's his best film.

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- <i>Lady From Shanghai.</i>
- The mirror sequence.

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- Oh, wow!
- Wow!

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How could you even think to do that?

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He was a prototypical
independent filmmaker.

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Oh, my God, yes.

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<i>Chimes</i> is the most perfect film ever made.

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The chance to make my films
in America's...

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has been very hard,
but I think it's getting easier.

145
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Pictures are becoming more adventurous.

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The opportunities ahead of me are greater,
much than they were five years ago.

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Orson wanted in because he wanted
to do a film about Hollywood.

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<i>It was the siren's call
that drew Orson back to Hollywood.</i>

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<i>And this is where the story really begins.</i>

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<i>In a bungalow at the Beverly Hills Hotel
on the 4th of July, 1970.</i>

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One day in 1970, near the 4th of July,

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I was at Schwab's Drugstore in Hollywood.

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<i>This is cameraman Gary Graver.</i>

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<i>He shot everything Orson directed
for the last 15 years of his life.</i>

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Tell us how you met Orson Welles.

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I read in <i>Variety</i> that Orson
Welles was at the Beverly Hills Hotel.

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I went back to the phone booth,
called him up...

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...and to my surprise,
he answered the phone.

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- "Hello?" I said, "Oh, Orson Welles?"
- Hello?

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I said, "I'm Gary Graver,
I'm an American cameraman."

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- Come and talk to me.
- "I've got to talk to you."

162
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I want to talk to you now!

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And he said, "Get over
to the Beverly Hills Hotel right away."

164
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Wow!

165
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I raced over to the Beverly Hills Hotel,
knocked on the door, and there was Orson.

166
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- I said, "I'd like to work with you."
- Why?

167
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Orson said, "We'll make some tests,
and if I like what you do,

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we'll start a script."

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And I was very nervous about it.

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Cut. Go back again. Stop it!
Gary, you must listen to me.

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The tests, as you see here,
are shots of Orson

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sitting in the Beverly Hills Hotel
bungalow that he rented,

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and I was shooting him.

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He said, "You're the second cameraman
that's called me up.

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The first one was Gregg Toland
on <i>Citizen Kane."</i>

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He says, "Now you.

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So, it must mean good luck.

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I would like to work with you."

179
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And we began to make a movie called:

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<i>The Other Side of the Wind.</i>

181
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<i>The Other Side of the Wind. </i>What is that?

182
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You could drive yourself nuts
trying to get an answer to that one.

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<i>The conceit of this movie
is that it is actually two movies in one.</i>

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<i>The Other Side of the Wind</i>
is divided into two sections.

185
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There is the film which is made
by documentary cameramen,

186
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which is the story of the last day
of the director's life.

187
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And there is the film
which is made by the director,

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which has just broken down
for lack of funds.

189
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And these two stories
almost simultaneously move together.

190
00:11:39,115 --> 00:11:42,994
So, what is this film about?

191
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- It's the story of an old director.
- Yeah?

192
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A generation even older than me.
It's difficult to imagine that.

193
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<i>The Other Side of the Wind</i>
is a movie about an aging film director.

194
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The darling of Hollywood
who fell out of favor.

195
00:12:03,973 --> 00:12:05,892
The great American film artist...

196
00:12:05,975 --> 00:12:07,953
That gets rejected in Hollywood,
goes to Europe...

197
00:12:07,977 --> 00:12:09,646
And comes back to Hollywood.

198
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It was a thinly-veiled version of himself.

199
00:12:12,148 --> 00:12:15,860
Okay. Would that make him
an autobiographical character for you?

200
00:12:15,944 --> 00:12:19,239
No. Everybody will think
it's autobiographical, but it's not.

201
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Yeah. Bullshit.

202
00:12:21,616 --> 00:12:24,176
- Of course it is.
- It must be autobiographical.

203
00:12:24,202 --> 00:12:25,429
A hundred percent Orson.

204
00:12:25,453 --> 00:12:28,623
No doubt it's an autobiographical movie.

205
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He hated that.

206
00:12:31,084 --> 00:12:34,295
He didn't want to be analyzed
through his films.

207
00:12:36,673 --> 00:12:38,049
Ten-hut!

208
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Actually,
<i>The Other Side of the Wind</i> started

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because of a conversation I had
with Orson.

210
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Who is this man?

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00:12:45,431 --> 00:12:48,643
Peter Bogdanovich started
as a film historian.

212
00:12:48,726 --> 00:12:50,603
And Orson, he was my hero.

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00:12:51,104 --> 00:12:54,399
He said, "Isn't it a pity you can't do
a nice little book about me?"

214
00:12:55,191 --> 00:12:57,402
I said, "I'd be happy to do
an interview book with you."

215
00:12:57,485 --> 00:12:58,685
He said, "Fine, let's do it."

216
00:13:00,280 --> 00:13:01,280
And he said...

217
00:13:01,406 --> 00:13:03,908
You know why I was sleepless last night?

218
00:13:03,992 --> 00:13:04,826
Why?

219
00:13:04,909 --> 00:13:07,954
I've got a story that
I've worked on for many years.

220
00:13:08,079 --> 00:13:11,124
I said, "What's that?"
"Well, it's about an older film director

221
00:13:11,207 --> 00:13:14,252
and a young film director,
and the betrayal

222
00:13:14,752 --> 00:13:16,170
of their friendship."

223
00:13:17,297 --> 00:13:18,381
Not that it matters.

224
00:13:18,715 --> 00:13:22,760
I am crazy enough to do that
in preference to anything else.

225
00:13:23,303 --> 00:13:25,823
- Oughta make it right away.
- Right away.

226
00:13:25,847 --> 00:13:27,265
"I must make it now."

227
00:13:30,560 --> 00:13:32,228
Cut.

228
00:13:37,775 --> 00:13:41,446
He calls me up and he says,
"What are you doing Thursday?"

229
00:13:41,988 --> 00:13:45,033
And I said, "I'm going to Texas
to start my first film."

230
00:13:51,247 --> 00:13:53,041
But this was before all that.

231
00:13:53,958 --> 00:13:56,377
Orson said, "What time is your plane?"

232
00:13:56,586 --> 00:13:58,046
I said, "Three o'clock."

233
00:13:58,129 --> 00:14:02,592
He said, "Can you meet me at noon
where the planes fly low over the street?"

234
00:14:02,842 --> 00:14:04,635
I said, "Yeah, okay. What are we doing?"

235
00:14:04,761 --> 00:14:07,201
"I'll tell you about it when I see you.
Just meet me at noon."

236
00:14:09,307 --> 00:14:11,410
- Take one, second...
- Let me announce it.

237
00:14:11,434 --> 00:14:13,770
Bus Studio, Scene 55, Take one!

238
00:14:14,896 --> 00:14:16,105
The mic all right?

239
00:14:16,189 --> 00:14:19,275
At first, he had me playing a cineaste,

240
00:14:19,567 --> 00:14:21,167
you know, a guy who writes about movies.

241
00:14:22,570 --> 00:14:24,530
Mr. Hannaford? Uh, Mr. Hannaford.

242
00:14:24,614 --> 00:14:27,742
Jake Hannaford's
the leading character, an old director.

243
00:14:28,242 --> 00:14:31,079
Mr. Hannaford, uh,
in the body of your film work,

244
00:14:31,245 --> 00:14:35,083
how significantly would you relate
the trauma of your father's suicide?

245
00:14:35,458 --> 00:14:38,544
Orson had me do it
like Jerry Lewis. And it was like,

246
00:14:38,795 --> 00:14:41,798
"Mr. Hannaford, do you think
that the cinema is like a phallus?"

247
00:14:42,673 --> 00:14:44,509
Orson thought that was hilarious.

248
00:14:45,385 --> 00:14:49,639
I did some stuff like Jerry
and broke myself up.

249
00:14:49,722 --> 00:14:50,890
He said, "Don't laugh!"

250
00:14:51,474 --> 00:14:52,975
He wanted a free train.

251
00:14:53,976 --> 00:14:55,728
All right, come back! Come back!

252
00:14:55,812 --> 00:14:57,105
Sun got in the lens.

253
00:14:59,232 --> 00:15:00,232
Mr. Hannaford!

254
00:15:00,650 --> 00:15:01,650
Mr. Hannaford?

255
00:15:05,738 --> 00:15:07,156
It's a crazy picture.

256
00:15:07,323 --> 00:15:09,867
It's not a work of fiction,
it's a little of everything.

257
00:15:10,243 --> 00:15:12,578
You either hate it or loathe it,
like most people.

258
00:15:14,205 --> 00:15:16,416
It's kind of a departure in moviemaking.

259
00:15:19,836 --> 00:15:22,547
<i>The Other Side of the Wind</i>
is structured around a party

260
00:15:22,630 --> 00:15:24,924
being thrown for the director,
Jake Hannaford.

261
00:15:25,508 --> 00:15:27,552
This gives him a chance to assert
his relevance

262
00:15:27,635 --> 00:15:31,264
amongst the biggest names
of the new Hollywood movement.

263
00:15:32,014 --> 00:15:34,725
Orson began shooting fragments
of this scene,

264
00:15:34,809 --> 00:15:38,980
and would continue to do so
for the next five years.

265
00:15:41,607 --> 00:15:43,484
Chabrol, take one!

266
00:15:45,069 --> 00:15:48,739
During the party scenes,
Orson wanted to have actual filmmakers...

267
00:15:49,198 --> 00:15:50,198
Thanks.

268
00:15:50,283 --> 00:15:51,993
...on camera.

269
00:15:52,201 --> 00:15:54,287
- But then...
- For Henry and Paul!

270
00:15:55,079 --> 00:15:57,623
Roll five, take one.

271
00:15:57,832 --> 00:16:00,334
He wanted a fight of two young directors.

272
00:16:00,418 --> 00:16:03,713
- Don't condescend... Don't patronize me.
- Let me finish. Well, let me finish.

273
00:16:03,796 --> 00:16:05,524
- If you're really an honest man...
- Can I talk to him?

274
00:16:05,548 --> 00:16:07,985
- Yeah, but if you're an honest man...
- May I speak with him or not?

275
00:16:08,009 --> 00:16:10,011
Uh, Dennis Hopper showed up.

276
00:16:10,178 --> 00:16:14,891
Dennis Hopper, filmmaker,
extraordinary leading actor.

277
00:16:15,016 --> 00:16:17,351
He got incredibly stoned...

278
00:16:17,435 --> 00:16:19,353
...and was debating Jake Hannaford.

279
00:16:19,812 --> 00:16:22,356
- Jake, everybody knows about you.
- Yeah, I know.

280
00:16:23,065 --> 00:16:26,068
<i>With the lead role
of Jake Hannaford not yet cast,</i>

281
00:16:26,486 --> 00:16:29,363
<i>Welles played the role of the director
off camera.</i>

282
00:16:30,406 --> 00:16:32,783
Do you believe movies are also magic?

283
00:16:32,950 --> 00:16:34,660
Right.

284
00:16:34,744 --> 00:16:37,622
When Elvis Presley was 21,
he came to me and said...

285
00:16:38,164 --> 00:16:41,167
he's gotta do this fight scene.
He says, "I've never hit a woman before.

286
00:16:41,250 --> 00:16:42,960
Gotta hit Debra Paget."

287
00:16:43,753 --> 00:16:46,339
And I said, "But you don't
really hit people in movies."

288
00:16:46,422 --> 00:16:49,926
He says, "I suppose you're gonna say they
don't really shoot real bullets at people.

289
00:16:50,009 --> 00:16:51,886
I've seen the wood splinter off the wall."

290
00:16:51,969 --> 00:16:53,221
- He said that?
- Yeah.

291
00:16:53,888 --> 00:16:56,432
Yeah, but aren't you
confusing reality with magic?

292
00:16:56,516 --> 00:17:00,603
In other words, I believe
people will believe anything in movies.

293
00:17:02,522 --> 00:17:06,108
Reality is always poor,
weak stuff compared to magic.

294
00:17:09,070 --> 00:17:10,988
Orson was a big believer in magic.

295
00:17:11,155 --> 00:17:15,535
The idea that maybe...
maybe what you see isn't real.

296
00:17:16,452 --> 00:17:20,456
You may have wondered
why I look so peculiar on the television.

297
00:17:21,332 --> 00:17:23,793
And it's partly, I must confess to you,

298
00:17:24,877 --> 00:17:27,129
the fact that you see my nose as it is.

299
00:17:30,591 --> 00:17:32,468
He's really a very handsome man.

300
00:17:32,552 --> 00:17:35,471
He always hides it with different noses.
He doesn't like it,

301
00:17:35,555 --> 00:17:38,140
he thinks it's too weak-looking
or something. I love his nose.

302
00:17:38,599 --> 00:17:40,309
He changes noses? Oh.

303
00:17:41,811 --> 00:17:44,939
In most of the films that I appear in,
I put on a false nose,

304
00:17:45,606 --> 00:17:47,608
usually as large as I can find.

305
00:17:49,694 --> 00:17:52,196
He said, "All my life,
I've hidden behind masks."

306
00:17:52,613 --> 00:17:56,117
And he had created a wall
with these masks,

307
00:17:57,076 --> 00:17:58,869
hiding the real Orson.

308
00:18:05,960 --> 00:18:09,255
<i>The Other Side of the Wind</i>
is entirely masked.

309
00:18:10,172 --> 00:18:11,340
In other words,

310
00:18:12,091 --> 00:18:14,802
the party shot by a documentary crew

311
00:18:14,885 --> 00:18:18,055
is in a style that wouldn't have been
my style as a movie director.

312
00:18:18,347 --> 00:18:22,268
And the movie within a movie
is an impersonation by me

313
00:18:22,727 --> 00:18:26,689
of my director character
trying to make an art movie.

314
00:18:27,607 --> 00:18:29,066
It's not my film.

315
00:18:29,150 --> 00:18:31,152
- It's a film by the character.
- Yes!

316
00:18:31,861 --> 00:18:34,405
You will see the movie within a movie

317
00:18:34,488 --> 00:18:36,699
is not a movie I would ever have made.

318
00:18:37,783 --> 00:18:38,826
There was no plot.

319
00:18:39,118 --> 00:18:42,788
Essentially it was about my character
chasing a girl,

320
00:18:43,039 --> 00:18:44,957
chasing her around or something.

321
00:18:45,124 --> 00:18:47,001
A little game of "catch me if you can."

322
00:18:47,084 --> 00:18:49,920
It was pretty clear
the film that Hannaford's making

323
00:18:50,588 --> 00:18:55,384
is Orson's attempt to satirize
European atmospheric cinema.

324
00:18:55,593 --> 00:18:57,511
Which was popular back in the '60s.

325
00:19:01,140 --> 00:19:03,517
And it was very amusing to make,

326
00:19:03,601 --> 00:19:06,062
because I had the freedom, the joy,

327
00:19:06,479 --> 00:19:10,358
to make a film that is not a film
by Orson Welles.

328
00:19:11,776 --> 00:19:12,610
Yes.

329
00:19:12,693 --> 00:19:15,488
Because it's a film made with a mask.

330
00:19:17,490 --> 00:19:19,033
With this film,

331
00:19:19,408 --> 00:19:22,203
Mr. Welles is a professional
who's become an amateur.

332
00:19:23,162 --> 00:19:24,205
And it worked.

333
00:19:25,414 --> 00:19:28,417
Pretty much everything
he was doing was to save money.

334
00:19:29,377 --> 00:19:31,879
Because Orson paid for the shoot himself.

335
00:19:33,589 --> 00:19:36,384
Gary Graver provided him with
a small, proper crew.

336
00:19:36,467 --> 00:19:38,010
Oh, boy!

337
00:19:40,262 --> 00:19:44,767
By the way, Frank Marshall,
producer of <i>Indiana Jones,</i>

338
00:19:45,017 --> 00:19:47,645
- wasn't he part of the crew?
- Yeah.

339
00:19:48,062 --> 00:19:51,732
It was before I understood
what a producer did.

340
00:19:52,566 --> 00:19:55,444
There's a glorious sense
of freedom and innocence

341
00:19:55,528 --> 00:19:58,614
that Welles was always yearning for.

342
00:19:59,240 --> 00:20:02,284
Because they were making things up
as they went along.

343
00:20:04,203 --> 00:20:06,956
We have an entire crew
who would let him do anything.

344
00:20:07,456 --> 00:20:10,000
The only one who didn't give him any flak
was Oja.

345
00:20:10,543 --> 00:20:11,544
Her name...

346
00:20:13,003 --> 00:20:15,256
is Oja. Oja Kodar.

347
00:20:17,299 --> 00:20:19,593
<i>The star and the co-writer</i>

348
00:20:19,677 --> 00:20:24,473
<i>of the movie within the movie was
a young Croatian artist, Oja Kodar.</i>

349
00:20:25,433 --> 00:20:27,309
<i>She was also Orson's lover.</i>

350
00:20:28,602 --> 00:20:31,856
Orson just loved Oja,
it was the love of his life.

351
00:20:32,606 --> 00:20:35,901
And he considered her
an artistic collaborator.

352
00:20:37,236 --> 00:20:39,905
When we first met...

353
00:20:40,531 --> 00:20:41,531
um...

354
00:20:43,409 --> 00:20:44,785
I was very young...

355
00:20:45,494 --> 00:20:47,621
<i>To me, he looked somehow menacing.</i>

356
00:20:49,248 --> 00:20:50,875
With his cape...

357
00:20:51,333 --> 00:20:54,086
he was a personification
of the wind itself.

358
00:20:55,296 --> 00:20:57,548
But I knew the other side of this wind.

359
00:20:58,382 --> 00:21:02,344
Because Orson was the wind
that was capable of caressing you,

360
00:21:02,428 --> 00:21:05,556
lifting you, making you dance.

361
00:21:05,765 --> 00:21:07,183
Time for a confession.

362
00:21:07,558 --> 00:21:11,228
- Um... he was also married.
- Good night, Oja.

363
00:21:11,479 --> 00:21:13,481
Olga... I call her Olga.

364
00:21:13,606 --> 00:21:15,232
That's her real name, you know?

365
00:21:15,524 --> 00:21:19,612
My father was fascinated
by this double life.

366
00:21:20,738 --> 00:21:23,199
It became intriguing
and it was not boring,

367
00:21:23,699 --> 00:21:25,826
this unbelievable double life.

368
00:21:27,453 --> 00:21:29,705
Why my mother stayed married,
I'll never know.

369
00:21:30,539 --> 00:21:33,042
But... that's her choice.

370
00:21:35,294 --> 00:21:38,172
We'll leave Miss Kodar aside,
for the moment.

371
00:21:41,801 --> 00:21:44,970
Orson had been shooting
this material for years

372
00:21:45,095 --> 00:21:48,182
with his own money, in the hopes
that he could raise more money

373
00:21:48,265 --> 00:21:50,392
to finish when people saw
what he was shooting.

374
00:21:50,643 --> 00:21:55,356
But I don't think he tried to get funding
from the studios at first.

375
00:21:57,775 --> 00:22:02,071
<i>In fact, Orson was sneaking
into abandoned studio backlots</i>

376
00:22:02,154 --> 00:22:05,157
<i>under assumed names
and filming an elaborate critique</i>

377
00:22:05,574 --> 00:22:06,867
<i>of Hollywood itself.</i>

378
00:22:08,786 --> 00:22:09,954
<i>Was it vengeance?</i>

379
00:22:12,206 --> 00:22:15,209
<i>The Magnificent Ambersons</i>
was the beginning

380
00:22:15,292 --> 00:22:19,672
of what we can call...
the period of betrayal.

381
00:22:20,214 --> 00:22:24,134
My father was betrayed by a lot of people.

382
00:22:24,885 --> 00:22:27,555
Did he bring that on himself? Who knows?

383
00:22:28,681 --> 00:22:29,681
Maybe.

384
00:22:31,684 --> 00:22:34,103
Whilst editing <i>The Magnificent Ambersons,</i>

385
00:22:34,186 --> 00:22:37,147
Orson was practically ordered
by the US government

386
00:22:37,231 --> 00:22:39,984
to go to Brazil to make a documentary.

387
00:22:40,484 --> 00:22:42,278
And so I arranged to film

388
00:22:43,070 --> 00:22:44,572
a voodoo witch doctor.

389
00:22:44,697 --> 00:22:47,575
And I came back to the office
and found that, on my desk,

390
00:22:47,741 --> 00:22:49,410
in a script of the film...

391
00:22:50,911 --> 00:22:52,663
was a long, steel needle.

392
00:22:54,623 --> 00:22:56,375
This was the mark of the voodoo.

393
00:22:59,336 --> 00:23:01,672
While I was in South America,

394
00:23:01,964 --> 00:23:04,049
the studio previewed <i>Ambersons</i>

395
00:23:04,258 --> 00:23:06,176
and said it was too down-beat.

396
00:23:06,719 --> 00:23:08,971
And they started cutting it.

397
00:23:09,597 --> 00:23:13,267
The editor used to send him
telegrams saying,

398
00:23:13,350 --> 00:23:15,561
"Come back from Brazil.

399
00:23:16,312 --> 00:23:20,524
They are re-shooting <i>The Ambersons.</i>
We are all under contract.

400
00:23:20,608 --> 00:23:24,987
We can do nothing against that.
You are the only one who can stop that.

401
00:23:25,279 --> 00:23:26,322
Come back."

402
00:23:27,573 --> 00:23:28,573
And he didn't.

403
00:23:30,159 --> 00:23:31,827
I was fired by the studio.

404
00:23:32,578 --> 00:23:34,663
I never recovered from that attack.

405
00:23:36,040 --> 00:23:37,750
They destroyed <i>Ambersons</i>

406
00:23:38,250 --> 00:23:40,377
and destroyed me.

407
00:23:42,004 --> 00:23:44,965
I didn't get a job as a director
for years afterwards.

408
00:23:48,177 --> 00:23:50,971
He was considered somebody
who didn't care that much

409
00:23:51,055 --> 00:23:53,140
about the commerciality of a project

410
00:23:53,641 --> 00:23:54,892
by many in Hollywood.

411
00:23:55,726 --> 00:24:00,189
Therefore, Orson needed to get financing
from untraditional sources.

412
00:24:00,564 --> 00:24:02,942
And, eventually, it worked.

413
00:24:03,943 --> 00:24:06,445
But, regarding the money,
it's complicated.

414
00:24:07,279 --> 00:24:10,950
When I was there,
it was a Spanish producer...

415
00:24:11,033 --> 00:24:13,285
- Andrés Gómez.
- Right, Andrés Gómez.

416
00:24:13,535 --> 00:24:17,581
I was not a financier of the film,
but I did find some money.

417
00:24:18,123 --> 00:24:20,709
We had some money from Gómez,
but we needed more.

418
00:24:20,960 --> 00:24:24,713
So, Orson found French producer
Dominique Antoine.

419
00:24:24,797 --> 00:24:27,257
Yeah, so I had the money at that time

420
00:24:27,341 --> 00:24:30,678
because I had made an association
with the brother-in-law of the Shah.

421
00:24:30,761 --> 00:24:32,012
The Shah of Iran.

422
00:24:32,221 --> 00:24:33,847
And he had a dictatorship.

423
00:24:34,181 --> 00:24:37,351
The brother-in-law and I created together

424
00:24:37,434 --> 00:24:39,436
a company
called Les Films de L' Astrophore.

425
00:24:39,520 --> 00:24:40,771
L' Astrophore.

426
00:24:40,854 --> 00:24:43,691
The Iranian company that was Paris-based.

427
00:24:44,525 --> 00:24:48,612
So, I said to Orson, <i>"The Other
Side of the Wind, </i>of course we do it."

428
00:24:51,281 --> 00:24:54,660
I believe she came
with a satchel full of money.

429
00:24:54,743 --> 00:24:57,371
Orson was like the Cat of Cheshire.

430
00:24:57,454 --> 00:25:02,209
With a smile from one ear
to the other one. And he was purring.

431
00:25:07,423 --> 00:25:09,758
- Money makes miracles.
- Yeah.

432
00:25:10,384 --> 00:25:12,219
Yeah.

433
00:25:12,928 --> 00:25:14,680
You're a bad boy, and you know it.

434
00:25:16,473 --> 00:25:17,473
Confused?

435
00:25:18,434 --> 00:25:21,478
Don't worry about it.
It's not the most important thing.

436
00:25:21,895 --> 00:25:23,313
What <i>is</i> important

437
00:25:23,605 --> 00:25:27,067
is that Orson finally had the money
for his comeback film.

438
00:25:28,027 --> 00:25:30,696
<i>What he didn't have was a leading man.</i>

439
00:25:33,741 --> 00:25:36,243
I remember one time we were in Paris,

440
00:25:36,452 --> 00:25:39,955
and he'd already shot a lot of footage
without the leading character.

441
00:25:40,330 --> 00:25:42,082
Would you play the director?

442
00:25:42,499 --> 00:25:44,626
Who should play it is John Huston.

443
00:25:46,587 --> 00:25:48,797
Huston is the best,
and I'm the second best.

444
00:25:49,131 --> 00:25:51,884
If I can't get Huston,
there's nobody else but me.

445
00:25:51,967 --> 00:25:52,967
Yeah.

446
00:25:53,093 --> 00:25:55,813
And he's sort of pacing
up and down the street, saying,

447
00:25:55,929 --> 00:25:59,224
"But why should I give it to Huston? It's
a great part, I should play it myself."

448
00:26:01,643 --> 00:26:03,145
If I should ever...

449
00:26:03,937 --> 00:26:07,357
get close enough to the pearly gates
to have an argument

450
00:26:07,441 --> 00:26:09,151
with the man who opens them,

451
00:26:09,818 --> 00:26:13,280
I would suggest that the reason
to let me into heaven

452
00:26:13,405 --> 00:26:15,741
is that I didn't play that wonderful part.

453
00:26:18,243 --> 00:26:20,454
And gave it instead to John Huston.

454
00:26:20,913 --> 00:26:24,583
It's a piece of unselfishness
which I have regretted ever since.

455
00:26:29,505 --> 00:26:33,008
John Huston was
the sexiest old devil I ever met.

456
00:26:35,260 --> 00:26:36,512
I'm trying to live...

457
00:26:37,554 --> 00:26:40,015
live life as best as I possibly can.

458
00:26:41,350 --> 00:26:42,893
Why'd he want John Huston?

459
00:26:43,393 --> 00:26:45,604
They loved each other, they were brothers!

460
00:26:47,898 --> 00:26:51,193
The thing about Orson Welles
and my dad is that they were really

461
00:26:51,735 --> 00:26:54,446
able to live up to their own mythology

462
00:26:55,197 --> 00:26:57,241
and camp that up a little bit.

463
00:26:58,909 --> 00:27:02,162
It is a lot of smoke and mirrors.
You don't know what's real and what's not.

464
00:27:02,246 --> 00:27:03,872
And that's what they're playing with.

465
00:27:05,332 --> 00:27:09,419
They'd known each other for so many years,
and they were both rapscallions.

466
00:27:10,796 --> 00:27:12,506
John loved Orson Welles.

467
00:27:16,885 --> 00:27:18,971
And he received a call one morning,

468
00:27:19,054 --> 00:27:22,057
and he said, "Oh, my God!"
And I said, "What?" He said, "It's Orson.

469
00:27:24,643 --> 00:27:27,563
He wants me to come to Carefree, Arizona."

470
00:27:38,115 --> 00:27:40,742
Gary called me at about 10:00 at night.

471
00:27:40,868 --> 00:27:44,079
"Mike, can you be in Arizona tomorrow?"

472
00:27:44,163 --> 00:27:46,331
"Orson's putting together
a ten-day shoot."

473
00:27:46,415 --> 00:27:49,042
Would I come down for ten days.
He needed me.

474
00:27:49,126 --> 00:27:52,296
To go to the desert
in the middle of nowhere.

475
00:27:52,379 --> 00:27:55,340
"It's gonna be like summer camp,
I don't know if there's any money.

476
00:27:55,424 --> 00:27:58,135
- Are you interested?"
- And I said, "Yes."

477
00:27:58,218 --> 00:27:59,978
- "Yeah. That sounds like fun."
- Absolutely.

478
00:28:00,053 --> 00:28:02,014
I'm in my car driving to Arizona.

479
00:28:02,472 --> 00:28:05,642
I suddenly looked up
and there was the <i>Zabriskie Point</i> house.

480
00:28:07,686 --> 00:28:10,731
It's clearly no coincidence

481
00:28:10,814 --> 00:28:14,193
that the location that Orson chose
to shoot in Arizona

482
00:28:14,818 --> 00:28:17,446
is in fact the house next door

483
00:28:17,529 --> 00:28:20,949
to the house Antonioni blew up
in <i>Zabriskie Point.</i>

484
00:28:24,620 --> 00:28:26,496
On <i>The Other Side of the Wind,</i>

485
00:28:26,580 --> 00:28:28,832
Orson wanted to push further
than Antonioni.

486
00:28:29,875 --> 00:28:32,961
Orson was the ultimate
independent filmmaker.

487
00:28:34,588 --> 00:28:36,882
I was part of a core crew, not of 80,

488
00:28:37,466 --> 00:28:40,135
but of six people plus Orson.

489
00:28:40,969 --> 00:28:43,722
He wanted to be in a kind of circus.

490
00:28:44,973 --> 00:28:46,600
Full of young people.

491
00:28:47,309 --> 00:28:49,937
I fell right in the vat of cream.

492
00:28:50,520 --> 00:28:52,200
You know,
I fell right in the middle of it.

493
00:28:53,065 --> 00:28:56,235
For me to have the luck
to work with Orson Welles,

494
00:28:56,902 --> 00:29:01,240
oh, it was so exciting,
even when it was difficult.

495
00:29:06,578 --> 00:29:09,122
I mean, the first day of shooting,
he fired the sound man.

496
00:29:09,623 --> 00:29:12,501
Can you please just slow down?
Otherwise I'm going to fall off the car.

497
00:29:14,586 --> 00:29:16,797
Everybody's job was really difficult.

498
00:29:16,880 --> 00:29:19,591
I had built sets, schlep sets,
hung lights.

499
00:29:19,675 --> 00:29:22,886
This young kid, so anxious
to get this thing for Orson

500
00:29:22,970 --> 00:29:26,181
- that he ran through the plate glass.
- Shattered it.

501
00:29:26,390 --> 00:29:28,100
Fortunately, I was going so fast...

502
00:29:28,183 --> 00:29:30,602
He was in the living room
before the pieces of glass

503
00:29:30,686 --> 00:29:33,689
had finished cascading down to the floor.

504
00:29:34,273 --> 00:29:36,400
- Oh, it's great.
- It was crazy.

505
00:29:36,483 --> 00:29:37,859
It is insane,

506
00:29:38,402 --> 00:29:42,030
but it's the kind of thing that happens
to people who are working like Orson.

507
00:29:43,490 --> 00:29:46,410
I picked John Huston up at the airport
in Phoenix.

508
00:29:47,744 --> 00:29:49,955
I said, "Mr. Huston,
I'm thrilled you're here."

509
00:29:50,163 --> 00:29:53,166
I said, "We've been waiting for you
for three years to be in this film.

510
00:29:53,250 --> 00:29:56,420
We've been shooting around you."
And Huston looked really alarmed. He said,

511
00:29:57,254 --> 00:29:59,881
"You've been acting in this picture
for three years?"

512
00:30:01,633 --> 00:30:03,385
Write that down, somebody.

513
00:30:06,596 --> 00:30:07,596
Cut.

514
00:30:07,931 --> 00:30:10,142
- I fucked that up.
- Let’s do it once again.

515
00:30:10,225 --> 00:30:12,602
The little campier still, but masculine.

516
00:30:13,437 --> 00:30:14,437
Once again.

517
00:30:15,522 --> 00:30:18,900
<i>The Other Side of the Wind</i>
is not a complete departure for Orson.

518
00:30:19,192 --> 00:30:20,902
And it reflected

519
00:30:20,986 --> 00:30:25,365
the process that Orson had been going
through in Europe in making his own films.

520
00:30:26,074 --> 00:30:27,701
<i>Welles' exile had meant</i>

521
00:30:27,784 --> 00:30:30,454
<i>that he was exiled from the facilities
of Hollywood.</i>

522
00:30:31,330 --> 00:30:33,373
I have a different style
as a director,

523
00:30:33,874 --> 00:30:35,876
because I know of things I can't ask for.

524
00:30:36,626 --> 00:30:38,462
For example, with <i>Othello,</i>

525
00:30:38,754 --> 00:30:42,049
there's a fight scene
where a punch is thrown,

526
00:30:42,341 --> 00:30:44,217
but then production had to shut down

527
00:30:44,301 --> 00:30:47,012
while Orson went off
to make more money as an actor.

528
00:30:47,637 --> 00:30:50,932
And the reaction shot
of the guy getting punched

529
00:30:51,475 --> 00:30:54,895
was shot two years later
and a thousand miles away.

530
00:30:57,022 --> 00:30:58,065
It worked.

531
00:30:59,274 --> 00:31:01,114
Who would've thought that was possible?

532
00:31:10,035 --> 00:31:11,078
Good evening.

533
00:31:11,787 --> 00:31:12,788
Now...

534
00:31:13,330 --> 00:31:17,250
the first thing you're probably asking
yourself is, "What is Orson Welles

535
00:31:18,251 --> 00:31:20,003
doing as the host of a comedy show?"

536
00:31:21,755 --> 00:31:27,094
I met Orson on <i>Kopykats,</i> a show
we did with a bunch of impersonators.

537
00:31:27,177 --> 00:31:28,845
Starring Rich Little.

538
00:31:29,012 --> 00:31:32,432
I was in the studio doing a routine

539
00:31:32,724 --> 00:31:35,519
called "Famous Celebrity Sneezing."

540
00:31:39,231 --> 00:31:41,733
I said, "Orson Welles, sneezing."

541
00:31:41,942 --> 00:31:45,862
I did not know that he'd just come
into the studio. I went...

542
00:31:46,530 --> 00:31:49,574
"Aah-aah-choo."

543
00:31:50,367 --> 00:31:52,911
And he put his arm on my shoulder
and said...

544
00:31:53,745 --> 00:31:55,831
"I never sneeze."

545
00:31:59,418 --> 00:32:00,418
We clicked.

546
00:32:00,836 --> 00:32:04,047
Well, gee, Orson, I don't know how
this show could afford you.

547
00:32:13,473 --> 00:32:17,936
He phoned me at home, and told me
about this movie, <i>Other Side of the Wind,</i>

548
00:32:18,353 --> 00:32:22,566
and would I be interested in playing
a wide-eyed, young director.

549
00:32:23,567 --> 00:32:25,610
I said, "Well, great.

550
00:32:25,694 --> 00:32:30,198
Just on one condition. That I have
to shoot my scenes in about three weeks."

551
00:32:30,490 --> 00:32:35,245
He said, "Oh, no, no.
I'll probably need you for about a week."

552
00:32:37,789 --> 00:32:39,958
When I was introduced to John Huston,

553
00:32:40,041 --> 00:32:44,087
Orson went up to him and said,
"John, this is Rich Little.

554
00:32:44,421 --> 00:32:48,550
He's one of the world's
greatest impressionists."

555
00:32:49,509 --> 00:32:50,719
And John Huston said:

556
00:32:50,886 --> 00:32:54,347
"Oh, well,
then we're gonna get along fine,

557
00:32:54,431 --> 00:32:57,017
because I'm into art, you know."

558
00:32:58,310 --> 00:33:01,021
"No, no, not that kind of impressionist.

559
00:33:01,688 --> 00:33:02,856
He does voices."

560
00:33:05,108 --> 00:33:08,653
"Why would he do that?
Why couldn't they get the real people?"

561
00:33:13,950 --> 00:33:16,244
<i>Orson populated the film with characters</i>

562
00:33:16,328 --> 00:33:18,622
<i>based on the icons of the film community.</i>

563
00:33:19,873 --> 00:33:21,917
<i>Like screenwriter John Milius.</i>

564
00:33:23,043 --> 00:33:24,753
<i>Film critic Pauline Kael.</i>

565
00:33:25,337 --> 00:33:28,131
I just want to know what he represents.

566
00:33:28,215 --> 00:33:31,635
<i>And the head of
Paramount Pictures, Robert Evans.</i>

567
00:33:32,594 --> 00:33:35,597
I started to figure out that Rich Little's
supposed to be Peter.

568
00:33:37,724 --> 00:33:42,729
The character was a young,
successful director who did imitations.

569
00:33:42,896 --> 00:33:44,773
And that's what Peter did.

570
00:33:45,315 --> 00:33:46,566
I'm Peter Bogdanovich.

571
00:33:47,275 --> 00:33:49,778
What's the word I say? Oh, action!

572
00:33:50,946 --> 00:33:55,283
And so then I started to think, "Well,
is John Huston supposed to be Orson?"

573
00:33:56,409 --> 00:34:00,080
I remember thinking, “Oh, my gosh,
this is starting to get really weird.”

574
00:34:02,374 --> 00:34:04,918
I can remember one time we shot a scene...

575
00:34:05,377 --> 00:34:06,377
Brooksie.

576
00:34:06,586 --> 00:34:09,714
- Right here by your side, skipper.
- You know what I'd like for my birthday?

577
00:34:10,715 --> 00:34:11,715
Cut.

578
00:34:12,092 --> 00:34:13,510
John couldn't drive.

579
00:34:14,469 --> 00:34:16,596
And he never told us this.

580
00:34:16,680 --> 00:34:18,390
- My camera's gone out.
- Oh, Jesus!

581
00:34:18,515 --> 00:34:21,395
- Certainly, it was a stick-shift.
- Give me the magazine, quick!

582
00:34:21,768 --> 00:34:24,288
And I was kinda worried,
'cause I had to return the car.

583
00:34:24,354 --> 00:34:26,064
- It's stopped.
- The magazine jammed.

584
00:34:26,147 --> 00:34:27,482
The car stopped, too.

585
00:34:29,818 --> 00:34:33,029
Let's put it in drive. In "D."

586
00:34:33,905 --> 00:34:36,305
It looked like we were gonna go
right into the lake.

587
00:34:37,659 --> 00:34:38,743
John said to me,

588
00:34:39,077 --> 00:34:41,705
"Oh, Rich, you'll get good billing."

589
00:34:41,788 --> 00:34:45,834
'Orson Welles, John Huston,
and Rich Little,

590
00:34:46,710 --> 00:34:48,044
all drowned'."

591
00:34:53,717 --> 00:34:56,678
This is a picture about the love of death.

592
00:34:57,178 --> 00:34:59,139
You came to my party after all.

593
00:35:00,098 --> 00:35:01,766
Get in. I'll drive you.

594
00:35:09,524 --> 00:35:12,485
This is Jake Hannaford's
70th birthday party.

595
00:35:13,945 --> 00:35:15,322
He died at the end of it.

596
00:35:15,947 --> 00:35:20,118
And there was some question as to
whether it was an accident or suicide.

597
00:35:21,536 --> 00:35:25,081
So, what you're seeing
is a reconstruction of the...

598
00:35:25,165 --> 00:35:27,834
- Roll tape!
- 40, David, take six.

599
00:35:28,752 --> 00:35:32,130
...made up of all this
different footage, all put together.

600
00:35:32,797 --> 00:35:35,467
- Mr. Hannaford.
- Happy birthday, Jake!

601
00:35:36,134 --> 00:35:40,096
The whole documentary, the kind
that we're all so accustomed to today,

602
00:35:41,014 --> 00:35:42,390
he was inventing.

603
00:35:42,474 --> 00:35:43,892
Happy birthday!

604
00:35:44,017 --> 00:35:47,604
And for that, Gary was probably
an ideal cameraman,

605
00:35:47,687 --> 00:35:49,397
because Gary was very fast.

606
00:35:52,192 --> 00:35:55,111
Gary Graver was the key person
on the film.

607
00:35:55,362 --> 00:35:57,947
He was the closest person to Orson.

608
00:35:58,907 --> 00:36:02,827
Gary was really like the son
Orson didn't have.

609
00:36:03,662 --> 00:36:06,706
Orson and Gary, father-son...

610
00:36:07,248 --> 00:36:08,333
No. Not so much.

611
00:36:08,917 --> 00:36:10,960
- Orson isn't very paternal.
- Action.

612
00:36:11,169 --> 00:36:14,631
Go back! Go back, back up,
back up. Quickly!

613
00:36:14,714 --> 00:36:17,217
- Up! Up! Up!
- Bossy, yes.

614
00:36:17,842 --> 00:36:18,968
Paternal, no.

615
00:36:19,552 --> 00:36:21,012
Slower! Stop!

616
00:36:22,055 --> 00:36:23,139
Move slowly!

617
00:36:26,851 --> 00:36:29,813
My father Gary's enthusiasm
for filmmaking

618
00:36:29,896 --> 00:36:32,315
was something I don't think
I've ever seen equaled.

619
00:36:33,066 --> 00:36:37,612
Every moment that my dad
was not actively engaged in shooting,

620
00:36:37,696 --> 00:36:39,906
he looked at that as time lost.

621
00:36:42,283 --> 00:36:44,744
Gary and I, we got married when I was 21.

622
00:36:45,787 --> 00:36:48,415
And if he was scheduled
to be home at 10:00,

623
00:36:48,540 --> 00:36:52,961
and it went until 4:00 in the morning,
oh, well, he stayed.

624
00:36:55,046 --> 00:36:56,046
Action!

625
00:36:56,715 --> 00:36:58,925
Gary did as he was told.

626
00:36:59,259 --> 00:37:01,428
Orson put the camera where he wanted to,

627
00:37:01,511 --> 00:37:04,264
and Gary was, you know, just his slave.

628
00:37:05,056 --> 00:37:08,435
Orson would have the camera to
his eye and he'd say, "Come here, Gary."

629
00:37:08,643 --> 00:37:13,106
And then he'd move his head to the side,
and he said, "This is it, see it?"

630
00:37:14,816 --> 00:37:16,776
And I had to make it exactly right.

631
00:37:20,029 --> 00:37:22,574
When I look back on it,
it's so complicated.

632
00:37:23,742 --> 00:37:25,076
You wanted to please him,

633
00:37:25,160 --> 00:37:27,579
because you knew he was such an artist.

634
00:37:28,997 --> 00:37:31,166
I mean, anything was possible with Orson.

635
00:37:31,499 --> 00:37:33,219
Everything had to happen right away,

636
00:37:33,251 --> 00:37:35,962
even when we didn't quite understand
what we were doing.

637
00:37:36,963 --> 00:37:38,006
There was no script.

638
00:37:39,048 --> 00:37:41,926
He was constantly writing it
as he was going along.

639
00:37:42,010 --> 00:37:44,345
And fiddy-owney-owney-own!

640
00:37:44,429 --> 00:37:46,824
Sometimes I had trouble
understanding some of the lines.

641
00:37:46,848 --> 00:37:47,682
What?

642
00:37:47,766 --> 00:37:50,769
I remember one line was
the great "anonymous gang-shag."

643
00:37:50,852 --> 00:37:54,063
"And the cool, dim, anonymous gang-shag."

644
00:37:54,147 --> 00:37:56,858
And I didn't know
what that meant actually.

645
00:37:57,275 --> 00:38:01,529
Would somebody please tell me
why I'm going to a stupid party

646
00:38:01,613 --> 00:38:04,032
with all these stupid dummies?

647
00:38:04,824 --> 00:38:06,785
I had no idea
what all these dummies were.

648
00:38:06,868 --> 00:38:08,578
There were dummies out by the pool.

649
00:38:08,703 --> 00:38:11,539
They were there 'cause Orson said,
"Let's put these dummies out there."

650
00:38:12,123 --> 00:38:13,416
But it was like, "Well, why?"

651
00:38:13,917 --> 00:38:15,502
Didn't make any sense to me.

652
00:38:16,085 --> 00:38:18,797
But Orson knew exactly what he wanted.

653
00:38:19,214 --> 00:38:21,341
Every part of it was here.

654
00:38:21,800 --> 00:38:22,800
To Baker, one.

655
00:38:23,426 --> 00:38:26,012
We were doing a scene and Orson said...

656
00:38:26,179 --> 00:38:28,139
Now a midget goes from behind you...

657
00:38:28,723 --> 00:38:31,059
All of you feel
midgets touching your feet.

658
00:38:31,309 --> 00:38:33,520
"Midgets running between your legs."

659
00:38:33,728 --> 00:38:35,522
- All right.
- Keep acting?

660
00:38:35,605 --> 00:38:37,482
It’s what you do to make this work, right?

661
00:38:37,565 --> 00:38:41,236
Orson said, "Everybody look up!
Midgets on the roof!"

662
00:38:41,903 --> 00:38:45,240
I said, "Orson, what the heck
is this midgets bit?"

663
00:38:45,824 --> 00:38:49,828
And he said, "We're going to put
the midgets in later, in Spain."

664
00:38:50,411 --> 00:38:52,038
And then walked away.

665
00:38:54,707 --> 00:38:57,502
The rule of thumb was
Orson knows what he's doing,

666
00:38:57,794 --> 00:39:00,713
don't question anything. Just do it.

667
00:39:01,256 --> 00:39:04,259
I'm not sure he knew where this movie
was going, and, um...

668
00:39:04,759 --> 00:39:07,303
I'm not sure anybody did, actually.

669
00:39:09,347 --> 00:39:13,309
It's quite clear that Rich wasn't
comfortable with Orson's process.

670
00:39:13,810 --> 00:39:15,061
Wasn't a team player.

671
00:39:15,728 --> 00:39:18,773
Realistically, I suppose
he was counting down the days

672
00:39:18,857 --> 00:39:21,317
until he knew he had to leave.

673
00:39:21,901 --> 00:39:24,571
My three weeks was up, and I had to leave,

674
00:39:25,238 --> 00:39:28,533
because I had club engagements
that I can't get out of.

675
00:39:29,701 --> 00:39:31,870
And if I don't show up I'm gonna be sued.

676
00:39:32,662 --> 00:39:34,831
And I thought to myself, "Oh, my gosh,

677
00:39:34,914 --> 00:39:37,041
I'm not gonna be able
to finish this part."

678
00:39:41,212 --> 00:39:43,423
Well, here's what I remember happened.

679
00:39:43,590 --> 00:39:45,008
It was the last night.

680
00:39:45,717 --> 00:39:47,802
The film was practically finished.

681
00:39:49,053 --> 00:39:51,514
We were supposed to shoot
this big scene.

682
00:39:52,265 --> 00:39:55,643
We went to get him, Saturday morning,
he was gone.

683
00:39:57,562 --> 00:40:01,065
We were all there waiting for him,
and he never showed up.

684
00:40:01,608 --> 00:40:04,360
As I recall, he wanted to go
to New Orleans for something.

685
00:40:04,444 --> 00:40:06,084
He had an engagement in Las Vegas.

686
00:40:06,154 --> 00:40:10,241
Allegedly, Orson's secretary
had been having a relationship

687
00:40:10,325 --> 00:40:11,367
with Rich Little.

688
00:40:11,451 --> 00:40:13,828
He missed his wife
and he was tired of working.

689
00:40:13,912 --> 00:40:17,707
Orson said, "No! You're on a contract here
for the next..." And he left and went.

690
00:40:19,584 --> 00:40:20,668
You don't do that to Orson.

691
00:40:22,337 --> 00:40:23,796
He felt betrayed.

692
00:40:25,340 --> 00:40:28,968
I could've come back later
and finished the scenes.

693
00:40:29,052 --> 00:40:32,889
We never discussed that, and I...
That always puzzled me.

694
00:40:33,514 --> 00:40:36,935
I thought, "They're gonna have to do
all those scenes over again.

695
00:40:37,018 --> 00:40:38,937
Oh, my gosh! I can't imagine."

696
00:40:40,104 --> 00:40:41,314
It was crazy.

697
00:40:42,273 --> 00:40:45,526
I have replaced actors
on the second week of shooting.

698
00:40:45,902 --> 00:40:47,320
But after seven weeks...

699
00:40:48,071 --> 00:40:49,071
it's impossible.

700
00:40:51,991 --> 00:40:54,327
I called him, I said, "How's it going?"

701
00:40:55,620 --> 00:40:56,620
"Terrible.

702
00:40:57,413 --> 00:41:00,249
I just blew 25 Gs
and I don't have that kind of bread.

703
00:41:00,625 --> 00:41:02,377
I had to pay off Rich Little."

704
00:41:02,835 --> 00:41:04,253
- "Why?"
- "He can't act!"

705
00:41:04,921 --> 00:41:07,161
"Oh, gee, I'm sorry to hear that.
What are you gonna do?"

706
00:41:07,256 --> 00:41:11,094
"I don't know what I'm gonna do.
I just can't use any of his stuff."

707
00:41:11,970 --> 00:41:14,013
He is a rough magician, isn't he?

708
00:41:14,389 --> 00:41:18,101
So I said, "That's terrible,
Orson. Why don't I play it?"

709
00:41:18,935 --> 00:41:20,895
He is a rough magician, isn't he?

710
00:41:21,646 --> 00:41:24,232
And then he said,
"Well, you're playing that other part."

711
00:41:25,733 --> 00:41:27,735
I said, "You can just cut me out of that."

712
00:41:32,115 --> 00:41:35,368
All right, men! Let's get organized.
Now where shall we start?

713
00:41:37,036 --> 00:41:41,374
John Huston goes, "Peter, how many
movies have you actually acted in now?"

714
00:41:42,291 --> 00:41:47,296
"Well, this is my second, Mr. Huston."
"Two? Makes it easy to count!"

715
00:41:50,550 --> 00:41:52,552
Scene three X, take one.

716
00:41:54,053 --> 00:41:57,181
Ah, red light.

717
00:41:57,724 --> 00:41:59,225
- No, we...
- Mr. Hannaford.

718
00:41:59,392 --> 00:42:01,728
Oh, shit, I'm sorry. I'll do that again.

719
00:42:01,811 --> 00:42:03,571
- Start again?
- Yeah, do it better.

720
00:42:03,646 --> 00:42:05,406
- You must deal with every situation.
- Okay.

721
00:42:07,358 --> 00:42:10,903
Why snap your finger? We're not cutting.
Uh-uh.

722
00:42:12,405 --> 00:42:15,074
Orson said, "Play it like it's us."

723
00:42:18,077 --> 00:42:19,662
<i>In case you haven't noticed,</i>

724
00:42:19,746 --> 00:42:24,500
<i>Peter Bogdanovich went from playing
exactly who he was in 1970,</i>

725
00:42:24,917 --> 00:42:26,294
<i>a young writer,</i>

726
00:42:26,377 --> 00:42:31,090
<i>a celebrated movie director.</i>

727
00:42:32,216 --> 00:42:35,762
My book on Hannaford's been canceled.
Indefinitely.

728
00:42:36,220 --> 00:42:39,060
Yeah, the first five chapters took
the two of us three and a half years.

729
00:42:39,140 --> 00:42:43,227
Finally, I just had to start
directing myself so I could eat.

730
00:42:44,145 --> 00:42:47,106
- Ha! Good. Now right away...
- Do another one. Right.

731
00:42:47,774 --> 00:42:49,317
- Action?
- Action.

732
00:42:49,859 --> 00:42:52,487
I had to start directing myself
so I could eat!

733
00:42:53,738 --> 00:42:55,740
- Cut! Very good.
- That was good.

734
00:42:56,991 --> 00:43:00,578
At that time, Orson had
more influence on me than anybody.

735
00:43:01,913 --> 00:43:03,998
There's a number of myths
about you already,

736
00:43:04,082 --> 00:43:07,251
even though you're young. Like the fact
that you had a goal set for yourself

737
00:43:07,335 --> 00:43:09,735
that you would make a movie
at the same age Orson Welles did.

738
00:43:09,796 --> 00:43:13,216
Oh, I wanted... I thought I'd be a failure
if I didn't make a movie

739
00:43:13,466 --> 00:43:16,928
at least by the time I was 25,
which is when Orson made

740
00:43:17,261 --> 00:43:21,599
<i>Citizen Kane,</i> and I was a disaster
'cause I didn't make one until I was 27.

741
00:43:23,643 --> 00:43:26,687
My films aren't like
his films, but he inspired me.

742
00:43:30,108 --> 00:43:32,652
Their relationship started
as mentor/mentee.

743
00:43:32,819 --> 00:43:36,280
But Peter was at the top
of an arc of a meteoric rise.

744
00:43:37,782 --> 00:43:39,575
You're as successful as you are

745
00:43:40,326 --> 00:43:43,287
and you have a gorgeous lady,
as you do have.

746
00:43:43,371 --> 00:43:44,539
Cybill, uh...

747
00:43:44,622 --> 00:43:46,916
Yes, let's not discuss what...
Yes, go ahead.

748
00:43:46,999 --> 00:43:50,878
You have her, you have four pictures
in a row that make 30 million dollars.

749
00:43:51,629 --> 00:43:53,548
A guy has to learn to hate you.

750
00:43:54,882 --> 00:43:57,635
Bogdanovich had outpaced his mentor.

751
00:44:02,849 --> 00:44:06,561
Orson realized, "He has money, I don't.

752
00:44:06,644 --> 00:44:08,688
I'm Orson Welles, he's not.

753
00:44:13,317 --> 00:44:15,653
- What's wrong?
- The future.

754
00:44:16,988 --> 00:44:18,364
What's the matter with it?

755
00:44:19,198 --> 00:44:21,450
We cannot all be masters.

756
00:44:22,827 --> 00:44:26,706
Nor all masters cannot be truly followed.

757
00:44:28,166 --> 00:44:30,501
I remember,
we were sitting at lunch one day,

758
00:44:30,877 --> 00:44:33,004
and on top of the refrigerator was this

759
00:44:33,087 --> 00:44:35,882
industrial size bag of Fritos.

760
00:44:36,382 --> 00:44:40,469
Orson tore the top of it off, poured most
of the contents onto the kitchen table,

761
00:44:40,636 --> 00:44:43,389
sat down, took a big bunch of Fritos,
put it in his mouth.

762
00:44:44,724 --> 00:44:46,684
So, of course, I did the same thing.

763
00:44:50,313 --> 00:44:53,858
Absolutely out of the blue,
Orson just turned to me and said,

764
00:44:53,941 --> 00:44:57,153
"If anything happens to me, I want you
to promise me you'll finish the picture."

765
00:44:57,945 --> 00:45:00,323
I said, "Oh Jesus, Orson,
why do you say a thing like that?

766
00:45:00,448 --> 00:45:02,259
Nothing’s gonna happen to you.
Why do you say..."

767
00:45:02,283 --> 00:45:04,243
"I know, nothing's gonna happen."

768
00:45:06,037 --> 00:45:07,637
Hey, why pick on me?

769
00:45:08,164 --> 00:45:11,334
I mean, the man is infested
with disciples. I'm the apostle, lady.

770
00:45:12,251 --> 00:45:15,296
The film deals with the betrayal
of friendship.

771
00:45:16,088 --> 00:45:17,548
Movies and friendship.

772
00:45:18,174 --> 00:45:19,634
Those are mysteries.

773
00:45:20,176 --> 00:45:22,136
He tested people with that.

774
00:45:23,429 --> 00:45:27,850
Betrayal can only come
if there's an initial love present.

775
00:45:28,017 --> 00:45:31,062
- You two are very close, aren't you?
- Yes, I'd like to ask you about that.

776
00:45:31,854 --> 00:45:36,734
Orson created an environment where
others would get sucked into it.

777
00:45:37,985 --> 00:45:40,071
It was all within Orson's control.

778
00:45:41,113 --> 00:45:43,449
And he was creating an inevitability.

779
00:45:43,824 --> 00:45:46,118
She's gonna say I stole everything
from you, skipper,

780
00:45:46,202 --> 00:45:47,828
I'm never gonna walk away from that.

781
00:45:47,995 --> 00:45:49,835
Well, it's all right to borrow
from each other.

782
00:45:49,872 --> 00:45:51,832
What we must never do
is borrow from ourselves.

783
00:45:55,503 --> 00:45:57,338
We winked and nodded at each other,

784
00:45:57,421 --> 00:45:59,882
which was like,
my God, this is going to happen.

785
00:45:59,966 --> 00:46:02,260
This inevitability is going to occur.

786
00:46:02,760 --> 00:46:06,055
'Course you're close, you two.
You have to be.

787
00:46:07,473 --> 00:46:08,516
You have no choice.

788
00:46:12,937 --> 00:46:16,232
<i>Orson had gone to
the looking glass and passed beyond it.</i>

789
00:46:18,067 --> 00:46:21,696
<i>The story was now being re-written
in real time.</i>

790
00:46:24,949 --> 00:46:28,077
There was a scene in which Hannaford
comes into the party

791
00:46:28,160 --> 00:46:30,037
with a blond teenager on his arm.

792
00:46:30,162 --> 00:46:31,414
She was pretty young.

793
00:46:31,497 --> 00:46:33,249
What was her name, Mavis Henshaw?

794
00:46:33,332 --> 00:46:35,793
- What's your name, sweetie?
- Mavis Henscher.

795
00:46:36,085 --> 00:46:39,755
Actually, she was this little
waitress we found at a breakfast place.

796
00:46:39,839 --> 00:46:41,559
Want me to bring you another scotch?

797
00:46:42,008 --> 00:46:46,178
And we just went... “That's Mavis.”

798
00:46:46,554 --> 00:46:50,224
She didn't know who Orson Welles was.
She didn't know who John Huston was.

799
00:46:51,017 --> 00:46:54,520
And there were times
when their combined energies

800
00:46:54,603 --> 00:46:57,273
could barely get a performance out of her.

801
00:46:57,648 --> 00:46:59,984
- Ready?
- Thank you. Action.

802
00:47:00,318 --> 00:47:01,318
Action!

803
00:47:01,360 --> 00:47:03,404
Oh, I thought he was gonna say
his part first.

804
00:47:03,487 --> 00:47:04,847
- You say it.
- All right.

805
00:47:05,698 --> 00:47:06,532
Say it.

806
00:47:06,657 --> 00:47:09,201
Gee, I don't know,
I have school tomo... No, wait.

807
00:47:09,493 --> 00:47:11,412
Absolutely dreadful actress.

808
00:47:12,288 --> 00:47:14,665
But why would Orson
wanna do that to himself?

809
00:47:15,416 --> 00:47:17,752
She's kind of a Cybill Shepherd take-off.

810
00:47:18,127 --> 00:47:19,127
Was she?

811
00:47:19,628 --> 00:47:20,713
Oh, okay.

812
00:47:21,255 --> 00:47:25,343
Clearly Orson was giving Peter
a hard time about his relationship

813
00:47:25,426 --> 00:47:27,803
with Cybill Shepherd
after <i>Last Picture Show.</i>

814
00:47:28,304 --> 00:47:31,140
Cybill was 19, I think,
when Peter discovered her.

815
00:47:32,975 --> 00:47:35,978
With Orson, you never quite know
what is gonna happen.

816
00:47:36,937 --> 00:47:39,273
Peter said, "Orson's making fun of me

817
00:47:39,357 --> 00:47:41,317
and things I've said to Cybill."

818
00:47:41,400 --> 00:47:43,444
- Tomorrow's Sunday, Mavis.
- Pardon?

819
00:47:43,527 --> 00:47:45,988
You'll be flying down with us to Mexico.

820
00:47:46,238 --> 00:47:48,324
Gee, I don't know,
I have school on Monday.

821
00:47:48,866 --> 00:47:50,993
I'll, uh, write a note to your teacher.

822
00:47:51,494 --> 00:47:53,496
That's it.

823
00:47:55,289 --> 00:47:58,042
I was supposedly, like, his girlfriend

824
00:47:58,125 --> 00:48:00,920
and I was really young,
and he was very old.

825
00:48:01,170 --> 00:48:04,173
He's like, "Mavis! Mavis! Come here!"

826
00:48:04,256 --> 00:48:06,509
It was... It was very strange.

827
00:48:07,093 --> 00:48:10,096
Mother seems to think a little young blood
would be good for us.

828
00:48:10,179 --> 00:48:12,765
- You could be right at that.
- Well, she's always right.

829
00:48:12,848 --> 00:48:15,226
Excuse me, fellas,
I think we have a confrontation.

830
00:48:15,976 --> 00:48:17,395
- Once again. John?
- Yeah.

831
00:48:17,478 --> 00:48:20,356
You took a look back at the girl
after "She's always right."

832
00:48:21,107 --> 00:48:24,110
Excuse me, fellas,
I think we have ourselves a confrontation.

833
00:48:24,902 --> 00:48:29,323
In this story, Hannaford takes away
this blond girl from Peter's character

834
00:48:29,407 --> 00:48:31,450
who’s kind of a crude, sexual power play.

835
00:48:31,951 --> 00:48:33,744
We like your little friend.

836
00:48:33,869 --> 00:48:35,871
"We like your little friend."

837
00:48:35,955 --> 00:48:36,956
She's mine.

838
00:48:38,165 --> 00:48:39,500
- Cut.
- Again.

839
00:48:39,583 --> 00:48:40,918
Again.

840
00:48:43,129 --> 00:48:44,630
He thrived on friction.

841
00:48:45,631 --> 00:48:47,675
So, the old man can still score.

842
00:48:48,134 --> 00:48:51,220
How he scores and who he scores with,

843
00:48:51,804 --> 00:48:54,515
now that, my friend, gets us
into some very interesting country.

844
00:48:57,852 --> 00:49:01,814
I think Orson was fascinated
by this macho thing.

845
00:49:03,190 --> 00:49:07,069
It's part of where the concept
of <i>The Other Side of the Wind</i>

846
00:49:07,153 --> 00:49:08,446
was even born.

847
00:49:09,196 --> 00:49:11,198
The whole mystique of the, uh...

848
00:49:11,991 --> 00:49:12,991
the he-man.

849
00:49:14,410 --> 00:49:17,913
This picture we're gonna make
is against he-men.

850
00:49:19,123 --> 00:49:21,523
The initial conception
of <i>The Other Side of the Wind,</i>

851
00:49:21,584 --> 00:49:26,046
that it was gonna be
a little bit of a satire of an obsessively

852
00:49:26,505 --> 00:49:29,216
masculine character, like Hemingway.

853
00:49:30,217 --> 00:49:33,512
So, it's no coincidence this film
takes place July 2nd,

854
00:49:34,096 --> 00:49:35,556
the date of Hemingway's death.

855
00:49:36,182 --> 00:49:40,519
Hemingway?
That, uh, left hook of his was overrated.

856
00:49:41,937 --> 00:49:44,231
And the character displayed certain

857
00:49:44,732 --> 00:49:47,359
tendencies of, perhaps,
latent homosexuality.

858
00:49:49,528 --> 00:49:52,507
He wants to fuck him. He wants to fuck
his leading man. Don't you see that?

859
00:49:52,531 --> 00:49:55,784
Don't you see that there in his movies?
And he can't acknowledge that.

860
00:49:56,744 --> 00:50:01,457
Orson was very comfortable
with himself and his feminine side.

861
00:50:02,666 --> 00:50:06,170
But he could fall
right into a guy-guy role.

862
00:50:06,837 --> 00:50:11,759
I think Orson was always kind
of interested in that duality in men.

863
00:50:13,969 --> 00:50:15,969
You've had so much written about you,

864
00:50:16,013 --> 00:50:18,599
and you were so far ahead of your time
in achievement.

865
00:50:19,099 --> 00:50:23,687
Has your success made you less willing
to challenge than you were in those times?

866
00:50:23,771 --> 00:50:27,149
Oh, I think not at all.
I think I'm much more of a...

867
00:50:27,566 --> 00:50:29,610
of a renegade than I was then.

868
00:50:30,486 --> 00:50:33,280
- In what way?
- Oh, in about every way.

869
00:50:34,949 --> 00:50:37,535
The best scene I've seen
in <i>The Other Side of the Wind</i>

870
00:50:37,618 --> 00:50:40,018
is the sex scene in the car,
from the film within the film...

871
00:50:40,829 --> 00:50:43,832
which is seven minutes long
in the version Welles edited.

872
00:50:44,500 --> 00:50:45,918
Yes, it's long, long.

873
00:50:46,210 --> 00:50:49,296
Everybody talks about the sexy car scene.

874
00:50:49,964 --> 00:50:53,092
I remember it having
quite an impression on me.

875
00:50:57,137 --> 00:50:59,390
I remember being in my mid-teens,

876
00:50:59,515 --> 00:51:02,768
and having the screening of this footage.

877
00:51:03,686 --> 00:51:07,856
The footage of Oja was remarkably erotic.

878
00:51:09,733 --> 00:51:11,527
Of her in a car

879
00:51:11,819 --> 00:51:17,157
uh, with a hose being poured over the car,
creating all these droplets and the...

880
00:51:17,783 --> 00:51:19,952
the windshield wipers going.

881
00:51:21,078 --> 00:51:24,957
The car never moved,
and they had a couple of guys with hoses.

882
00:51:25,040 --> 00:51:26,680
Hundreds of feet of garden hoses.

883
00:51:26,750 --> 00:51:29,503
We robbed water from all of his neighbors.

884
00:51:30,087 --> 00:51:32,423
I did all the little things on set.

885
00:51:32,506 --> 00:51:36,927
And Orson yelled down to me, "Hey kid,
pick up that hose and make rain."

886
00:51:38,387 --> 00:51:40,264
What?

887
00:51:41,056 --> 00:51:44,476
One of our paraplegic friends
was pushed down the road,

888
00:51:44,560 --> 00:51:48,689
holding two lights in his hands,
impersonating car in a motion.

889
00:51:50,941 --> 00:51:54,945
The movie inside the movie,
it's about love, about sex, about desire.

890
00:51:55,613 --> 00:51:57,906
It's incredibly hot.

891
00:51:58,699 --> 00:52:01,035
And it's unlike anything he'd ever done.

892
00:52:02,411 --> 00:52:06,165
His earlier films were rather prudish
in their treatment of sexuality.

893
00:52:06,874 --> 00:52:08,754
He was, he called himself prudish.

894
00:52:09,460 --> 00:52:11,420
And he didn't think films needed nudity.

895
00:52:11,920 --> 00:52:13,088
Come, Desdemona.

896
00:52:13,839 --> 00:52:16,342
I have but an hour of love
to spend with thee.

897
00:52:16,884 --> 00:52:19,386
Orson felt that explicit sexuality

898
00:52:19,470 --> 00:52:22,264
was distracting from the art
in the narrative.

899
00:52:23,265 --> 00:52:25,726
He said, "It just shows
a lack of imagination."

900
00:52:26,518 --> 00:52:28,228
He never talked about sex.

901
00:52:28,771 --> 00:52:30,606
That's why Oja such a shock.

902
00:52:32,483 --> 00:52:37,780
I think the things I contributed
to his creativity was the eroticism.

903
00:52:38,197 --> 00:52:39,823
I introduced the sex.

904
00:52:48,874 --> 00:52:52,002
I ask Orson,
"How do you want me to do this?"

905
00:52:52,252 --> 00:52:56,674
"Well," he said, "any way
you feel like it. It's your story."

906
00:52:57,299 --> 00:52:59,718
So, I thought what kind of female
I should be.

907
00:53:00,761 --> 00:53:03,222
So, I decided to be a praying mantis.

908
00:53:06,725 --> 00:53:08,644
Wow, my word!

909
00:53:09,728 --> 00:53:13,816
She sat on his lap and made love to him

910
00:53:13,899 --> 00:53:16,735
while her character's boyfriend
was driving the car.

911
00:53:16,985 --> 00:53:19,571
Her chain beating against her breasts.

912
00:53:20,781 --> 00:53:24,159
He ask Oja, “Give animal look.”

913
00:53:24,660 --> 00:53:27,955
I still remember the fantastic color,

914
00:53:28,205 --> 00:53:32,793
the rhythm, the pulsing rhythm. It’s like
a cinematic equivalent of an orgasm.

915
00:53:34,002 --> 00:53:36,463
But he shot that over,
like, a three-year period.

916
00:53:36,922 --> 00:53:39,550
He shot part of it in his driveway
in Los Angeles, and then

917
00:53:40,008 --> 00:53:42,761
he shot more of it
in his backyard in France.

918
00:53:43,470 --> 00:53:47,057
At one moment,
it's Gary Graver with false hair,

919
00:53:47,266 --> 00:53:49,143
playing the young guy.

920
00:53:50,477 --> 00:53:54,189
The film is an exploration
of Orson's desire.

921
00:54:01,196 --> 00:54:03,407
The writer Peter Bartel

922
00:54:03,574 --> 00:54:05,951
described <i>The Other Side of the Wind </i>as

923
00:54:06,285 --> 00:54:10,038
"a desperate venture
shared by desperate men."

924
00:54:12,332 --> 00:54:15,753
As production lagged on,
the financiers and the crew

925
00:54:16,170 --> 00:54:17,337
became restless.

926
00:54:21,467 --> 00:54:24,219
Gary would be pleading with Orson,
"I gotta eat."

927
00:54:25,596 --> 00:54:28,766
Once in a while, Gary would
actually have to work to make money.

928
00:54:31,059 --> 00:54:33,437
Gary would take other jobs in B movies,

929
00:54:33,520 --> 00:54:35,731
just so that he could afford
to work for Orson.

930
00:54:37,858 --> 00:54:41,111
He's the only guy I know who
worked with Orson Welles and Ed Wood.

931
00:54:41,195 --> 00:54:44,364
Gary shot this film, <i>One Million AC/DC.</i>

932
00:54:44,907 --> 00:54:47,659
It was the world's first
bisexual dinosaur movie.

933
00:54:49,953 --> 00:54:51,413
What's that?

934
00:54:52,456 --> 00:54:54,792
Don't worry, it can't eat us in here.

935
00:54:58,837 --> 00:55:02,966
It’s not what Gary wanted to have
as his trademark in his career.

936
00:55:03,550 --> 00:55:06,428
<i>The Other Side of the Wind</i> was the film.

937
00:55:06,804 --> 00:55:09,556
This was gonna be his claim to fame.
This is the one that would

938
00:55:09,723 --> 00:55:11,141
take him to new heights.

939
00:55:11,266 --> 00:55:15,062
Orson said, "Gary, if you get a job
on another movie, you come to me.

940
00:55:15,771 --> 00:55:18,649
If I need you, you can't do it."

941
00:55:19,858 --> 00:55:24,530
Ultimately, I think he found the
easiest path towards making all this work

942
00:55:24,988 --> 00:55:26,573
was to do adult films.

943
00:55:27,282 --> 00:55:29,535
Gary did a lot of porn.

944
00:55:29,868 --> 00:55:33,664
Hundred or so films that he never
wanted to have his name associated with,

945
00:55:33,997 --> 00:55:36,166
he worked under an assumed name.

946
00:55:36,542 --> 00:55:37,918
Akdov Telmig.

947
00:55:38,418 --> 00:55:40,921
That's "vodka gimlet" spelled backwards.

948
00:55:42,130 --> 00:55:45,217
He was shooting these
semi-porn movies

949
00:55:45,300 --> 00:55:50,430
and he asked me if I wanted to be a part
of this one called<i> 3 A.M.</i>

950
00:55:50,973 --> 00:55:53,892
I think that was...
it had pornographic elements to it.

951
00:55:55,811 --> 00:55:59,523
And Orson knew that this was important
to Gary, to get this movie done,

952
00:55:59,606 --> 00:56:00,816
so he wanted to help him.

953
00:56:03,402 --> 00:56:06,905
He came over and he was at Gary's house,
and they cut it together.

954
00:56:08,490 --> 00:56:11,535
And Orson ended up
cutting the shower scene, yeah.

955
00:56:11,743 --> 00:56:12,743
Yeah.

956
00:56:12,828 --> 00:56:13,996
Excuse me.

957
00:56:14,788 --> 00:56:17,207
- Oh!
- Yeah, it's totally true.

958
00:56:19,501 --> 00:56:23,881
Orson was very decisive. He was very like,
"Okay, we need to cut here, we go there."

959
00:56:23,964 --> 00:56:25,883
There was no pharumphing around.

960
00:56:25,966 --> 00:56:27,846
It was like, "I need to get this
off the docket,

961
00:56:27,885 --> 00:56:29,595
so I can get Gary back to work again."

962
00:56:31,263 --> 00:56:32,723
Gary's work never ended.

963
00:56:34,224 --> 00:56:36,351
He got worn down on it, for sure.

964
00:56:37,102 --> 00:56:38,854
I think there were two occasions

965
00:56:39,187 --> 00:56:42,065
that he was hospitalized for exhaustion.

966
00:56:42,691 --> 00:56:45,319
He just physically was collapsing.

967
00:56:46,361 --> 00:56:48,363
Now, Gary. Gary?

968
00:56:50,574 --> 00:56:52,894
- You all right, Gary?
- You feel all right?

969
00:56:52,993 --> 00:56:54,161
Yeah, I'm all right.

970
00:56:57,164 --> 00:57:00,417
I think he might have thrown
the towel in with any other director.

971
00:57:01,293 --> 00:57:04,463
And he would try. He would tell Orson,

972
00:57:04,880 --> 00:57:07,382
"I can't." But somehow,

973
00:57:07,883 --> 00:57:11,803
Orson would always find a way
to get him to change his mind.

974
00:57:13,430 --> 00:57:15,098
The costs were tremendous.

975
00:57:15,265 --> 00:57:18,602
You don't go through
multiple divorces unscathed.

976
00:57:20,812 --> 00:57:22,689
Orson would push you

977
00:57:22,898 --> 00:57:26,485
to the point where you said,
"Fuck you, fat man,

978
00:57:26,568 --> 00:57:29,947
and take that legend
and shove it where the sun don't shine."

979
00:57:30,030 --> 00:57:31,782
And just at that moment,

980
00:57:32,115 --> 00:57:34,534
where he could feel
that he had gone too far,

981
00:57:35,410 --> 00:57:38,622
he would wrap his arm around you
and basically say,

982
00:57:38,705 --> 00:57:42,125
"Have I told you what a great job
you've been doing for me lately?"

983
00:57:44,753 --> 00:57:48,340
There's no doubt about it that he
seemed to be doing everything he could

984
00:57:48,465 --> 00:57:51,093
to alienate as many people as possible.

985
00:57:51,760 --> 00:57:53,762
But why? What is all that about?

986
00:57:54,388 --> 00:57:55,597
It's strange.

987
00:57:57,683 --> 00:58:01,269
I fear dying
before I have accomplished something

988
00:58:01,895 --> 00:58:02,895
that I'm...

989
00:58:03,522 --> 00:58:06,817
not ashamed of, that I'm even
a little proud of. I'm afraid...

990
00:58:07,401 --> 00:58:10,570
that I will be taken away
before I have justified

991
00:58:10,988 --> 00:58:13,240
the luck and joy that I've had.

992
00:58:17,869 --> 00:58:19,246
Relax totally.

993
00:58:19,871 --> 00:58:21,957
Relax your face, sad, empty.

994
00:58:22,207 --> 00:58:25,711
Empty. Now say, "Many happy returns,"
so I hardly hear you.

995
00:58:26,837 --> 00:58:28,839
Many happy returns.

996
00:58:28,922 --> 00:58:30,549
You pronounced it too carefully.

997
00:58:33,427 --> 00:58:35,303
Many happy returns.

998
00:58:43,061 --> 00:58:44,061
There is a...

999
00:58:44,396 --> 00:58:48,066
inconclusiveness, or a lack of definition

1000
00:58:48,608 --> 00:58:51,945
that is basic to this effort of Orson's.

1001
00:58:53,822 --> 00:58:56,533
You know, was it some sort
of endless odyssey?

1002
00:58:57,451 --> 00:58:58,702
We'll never know.

1003
00:59:00,787 --> 00:59:03,582
Orson knew what he wanted. He knew.

1004
00:59:03,665 --> 00:59:05,292
- Take 21.
- Action.

1005
00:59:05,375 --> 00:59:06,960
What happened to the lights?

1006
00:59:07,044 --> 00:59:09,921
But, unless you have a brain
that works like that,

1007
00:59:10,422 --> 00:59:12,174
how does anyone else know?

1008
00:59:16,928 --> 00:59:20,223
It was this circus of scattered souls.

1009
00:59:21,475 --> 00:59:23,977
We were totally out of reality.

1010
00:59:24,603 --> 00:59:26,104
What was happening on the set

1011
00:59:26,188 --> 00:59:29,316
was so much like what was happening
in the movie.

1012
00:59:29,691 --> 00:59:32,235
It was like, "Wait a minute.
That's Orson.

1013
00:59:32,319 --> 00:59:36,114
Is it? Orson, is that you?"
"No, that's John Huston. It's not me."

1014
00:59:37,824 --> 00:59:39,701
John didn't know what Orson was doing.

1015
00:59:39,910 --> 00:59:43,330
He said, "I just can't figure out
what the hell he's putting together."

1016
00:59:43,663 --> 00:59:46,383
Come forward with your matches,
looking, everybody, quickly.

1017
00:59:47,709 --> 00:59:50,087
But it's Orson, it'll be something.

1018
00:59:50,378 --> 00:59:52,339
Test one, take one!

1019
00:59:55,133 --> 00:59:56,593
Keep moving here.

1020
01:00:01,723 --> 01:00:05,936
One night in particular,
I was listening to John and Orson,

1021
01:00:06,436 --> 01:00:10,107
and John was saying, “What the hell
is this movie about, Orson?"

1022
01:00:10,565 --> 01:00:13,985
And Orson said,
"It's about a miserable prick.

1023
01:00:14,945 --> 01:00:17,322
This is his swan song.

1024
01:00:18,031 --> 01:00:19,616
It's about us."

1025
01:00:22,869 --> 01:00:26,748
My father felt that film was
a sort of slightly vulgar art-form.

1026
01:00:27,624 --> 01:00:29,668
He made one for them and one for himself,

1027
01:00:30,085 --> 01:00:32,796
and was able to play the system,

1028
01:00:33,296 --> 01:00:35,006
more like a poker player.

1029
01:00:35,090 --> 01:00:37,217
Orson couldn't have been
more different, yeah.

1030
01:00:38,927 --> 01:00:41,346
My father was such a perfectionist,

1031
01:00:41,888 --> 01:00:44,474
and movies were his canvas.

1032
01:00:44,975 --> 01:00:48,186
Every shot of my father's movies
are a painting.

1033
01:00:50,814 --> 01:00:54,568
And Orson's line was that Huston
was willing to sell out.

1034
01:00:55,527 --> 01:00:57,988
I kept waiting for my big scene
with John Huston,

1035
01:00:58,238 --> 01:01:00,657
the one time he was supposed
to really interact with me.

1036
01:01:01,449 --> 01:01:03,869
One day, we were shooting and I said,

1037
01:01:03,952 --> 01:01:05,912
"Where's John?"
He hadn't been around for a while,

1038
01:01:05,954 --> 01:01:08,754
and one of the crew said, "He's off
making some little film somewhere."

1039
01:01:12,919 --> 01:01:15,881
It was a huge success.

1040
01:01:16,214 --> 01:01:18,925
“Masterpiece,” they called it.

1041
01:01:20,051 --> 01:01:23,471
It was wonderful for my father.
A Kipling story

1042
01:01:23,555 --> 01:01:27,517
in the Atlas Mountains was heaven,
heaven on earth.

1043
01:01:28,268 --> 01:01:30,187
But to think that, at that moment,

1044
01:01:31,188 --> 01:01:36,526
the industry is not paying the same amount
of respect to Welles is sad.

1045
01:01:43,366 --> 01:01:45,994
He once turned to me and he said,

1046
01:01:47,037 --> 01:01:50,123
<i>"Citizen Kane</i> is the greatest curse
of my life.

1047
01:01:51,041 --> 01:01:52,834
Every time I do anything,

1048
01:01:54,002 --> 01:01:57,631
people start comparing this to where
it stands vis-à-vis

1049
01:01:57,714 --> 01:02:00,008
what they call
the greatest American movie.

1050
01:02:00,467 --> 01:02:01,468
This is my curse."

1051
01:02:03,803 --> 01:02:07,933
No other director has ever been held up
to such an impossible standard.

1052
01:02:10,977 --> 01:02:15,190
What <i>The Other Side of the Wind</i> is about
is, in a sense, a bookend

1053
01:02:15,482 --> 01:02:18,193
to <i>Citizen Kane,</i>
about the tragic end of...

1054
01:02:19,152 --> 01:02:20,987
somebody who had become great...

1055
01:02:22,364 --> 01:02:24,574
and then had lost his place in America.

1056
01:02:26,243 --> 01:02:27,403
Well, you know,

1057
01:02:28,662 --> 01:02:29,871
Orson said...

1058
01:02:33,708 --> 01:02:35,710
"No story has a happy ending,

1059
01:02:36,086 --> 01:02:38,546
unless you stop telling it
before it's over with."

1060
01:02:40,924 --> 01:02:43,093
The tragedy of
<i>The Other Side of the Wind</i>

1061
01:02:43,176 --> 01:02:45,470
started with Andrés Vicente Gómez.

1062
01:02:46,137 --> 01:02:48,265
He was our Spanish co-producer.

1063
01:02:49,849 --> 01:02:52,769
I'm not sure how much I can say
about this without getting into...

1064
01:02:53,061 --> 01:02:55,563
um... muddy legal waters.

1065
01:02:56,231 --> 01:02:59,818
Yeah, I was there and I really,
to this day, don't know...

1066
01:02:59,901 --> 01:03:02,821
Whoa... Oh, wait a minute. I do know.

1067
01:03:02,946 --> 01:03:04,656
Oh, this story I can't tell.

1068
01:03:07,701 --> 01:03:12,289
Andrés Gómez had supposedly put up
a couple of hundred thousand dollars

1069
01:03:12,372 --> 01:03:15,166
towards production costs
on <i>The Other Side of the Wind,</i>

1070
01:03:15,250 --> 01:03:19,546
and was on the set. He left,
and we were told that

1071
01:03:19,629 --> 01:03:23,383
he was going to pick up
the next tranche of investment,

1072
01:03:23,508 --> 01:03:26,344
something in the order
of a quarter of a million dollars.

1073
01:03:27,137 --> 01:03:30,432
We were running out of cash
and we kept, "Where's Andrés?

1074
01:03:30,515 --> 01:03:33,351
Where's Andrés? When is he coming back?"
Well, he never did come back.

1075
01:03:38,023 --> 01:03:41,063
I've heard that he vanished with some
money, but I don't know if that's true.

1076
01:03:41,109 --> 01:03:43,403
I don't know... He may have vanished
with his own money.

1077
01:03:44,738 --> 01:03:47,338
The problem is everybody
got their information from Orson.

1078
01:03:48,366 --> 01:03:51,286
Nobody has direct evidence
of how the money disappeared.

1079
01:03:52,912 --> 01:03:56,333
I read that he blamed me
'cause of the finance fiasco,

1080
01:03:56,583 --> 01:03:58,209
which is totally untrue.

1081
01:03:59,085 --> 01:04:00,670
I made a settlement with him.

1082
01:04:00,754 --> 01:04:03,798
There was no complaint,
there was no anything.

1083
01:04:04,924 --> 01:04:07,886
If it was true, why didn't they make
any claim to me, you know?

1084
01:04:10,472 --> 01:04:13,224
It created chaos. I mean,
suddenly we're not filming.

1085
01:04:14,184 --> 01:04:16,686
And then we're even blaming each other.

1086
01:04:19,189 --> 01:04:21,608
You can imagine what happens to morale.

1087
01:04:27,322 --> 01:04:30,241
And then we're just all sorta,
"What's Orson gonna do?"

1088
01:04:33,578 --> 01:04:34,578
Mark it.

1089
01:04:36,623 --> 01:04:37,623
Go!

1090
01:04:38,833 --> 01:04:42,170
Orson certainly was having trouble
getting the film finished,

1091
01:04:42,379 --> 01:04:46,466
and when the production
had to move to Los Angeles

1092
01:04:46,925 --> 01:04:51,388
and needed interiors that could work
to double the Arizona house,

1093
01:04:51,596 --> 01:04:55,350
Peter had Orson move into his house
in Beverly Hills to shoot there.

1094
01:04:56,976 --> 01:04:59,776
What happened is, I think Orson
sort of took advantage of that.

1095
01:04:59,813 --> 01:05:02,065
Peter told Orson
he could stay at his house

1096
01:05:02,148 --> 01:05:04,567
for maybe two, three weeks a month.

1097
01:05:05,068 --> 01:05:05,902
Right on!

1098
01:05:05,985 --> 01:05:08,113
Well, he stayed on and off
for three years.

1099
01:05:09,155 --> 01:05:10,073
Right on!

1100
01:05:10,156 --> 01:05:13,326
Peter and Cybill Shepherd
were living in the east wing.

1101
01:05:13,868 --> 01:05:15,412
It was a very large house.

1102
01:05:16,121 --> 01:05:17,247
And he ate a lot.

1103
01:05:19,332 --> 01:05:23,002
Ah, the French champagne...

1104
01:05:23,753 --> 01:05:26,548
has always been celebrated
for its excellence.

1105
01:05:27,382 --> 01:05:29,110
Fudgsicles!

1106
01:05:29,134 --> 01:05:30,885
He had to have them all the time.

1107
01:05:30,969 --> 01:05:34,013
He got very angry
if there were no Fudgsicles.

1108
01:05:34,973 --> 01:05:37,684
And I had strict orders
never to disturb him.

1109
01:05:38,977 --> 01:05:40,645
And then I smell smoke one day.

1110
01:05:41,646 --> 01:05:43,231
He was in the downstairs guest room.

1111
01:05:43,314 --> 01:05:45,859
And I followed it down
up to the door and tap-tap-tap,

1112
01:05:45,942 --> 01:05:47,527
"Orson, is everything okay?"

1113
01:05:47,944 --> 01:05:49,864
"Yes, it's taken care of."

1114
01:05:51,448 --> 01:05:53,616
He'd put a lit cigar in his robe pocket.

1115
01:05:55,076 --> 01:05:56,286
He was miserable.

1116
01:05:56,911 --> 01:05:59,539
He was never as fat as he was then.

1117
01:05:59,956 --> 01:06:01,875
And it was because of the movie.

1118
01:06:02,876 --> 01:06:05,086
Over time,
Peter gave more to Orson

1119
01:06:05,170 --> 01:06:07,547
than he ever imagined
he was going to give.

1120
01:06:08,840 --> 01:06:11,926
Don't give up the ship, eh, Brooksie?

1121
01:06:12,093 --> 01:06:13,303
I'm not.

1122
01:06:14,804 --> 01:06:17,140
It's really embarrassing
because he's broke.

1123
01:06:18,141 --> 01:06:19,601
Don't think I'm not ready to...

1124
01:06:21,728 --> 01:06:24,314
Don't think I'm not ready
to put up a fight for you.

1125
01:06:25,940 --> 01:06:28,568
I think, for a long time,
you could sort of justify,

1126
01:06:28,651 --> 01:06:30,862
"Well, Orson needs me.

1127
01:06:32,113 --> 01:06:35,408
I'm helping him, maybe something good
will come out of it."

1128
01:06:37,202 --> 01:06:38,745
It's you I'm thinking of.

1129
01:06:40,163 --> 01:06:42,415
- God, I don't...
- Don't touch anything.

1130
01:06:43,249 --> 01:06:46,169
"It's you I'm thinking of."
Right into the door, that one.

1131
01:06:47,504 --> 01:06:49,130
It's you I'm thinking of.

1132
01:06:50,256 --> 01:06:53,176
At a certain point, it was like,
it should be time for Orson to...

1133
01:06:53,384 --> 01:06:56,221
to go, but Orson's not going,
and how do I sorta...

1134
01:06:56,888 --> 01:06:58,598
try to tell him to do that?

1135
01:07:02,018 --> 01:07:05,855
We who somehow glow
a little in his light...

1136
01:07:07,690 --> 01:07:08,775
the fireflies,

1137
01:07:09,442 --> 01:07:11,903
he does quite often swallow whole.

1138
01:07:13,363 --> 01:07:17,200
It's a fact that some of us,
he chews on rather slowly.

1139
01:07:20,370 --> 01:07:21,370
Cut.

1140
01:07:25,458 --> 01:07:27,669
<i>Orson commandeered Peter's screening room</i>

1141
01:07:27,752 --> 01:07:29,712
<i>and turned it into his editing suite.</i>

1142
01:07:30,380 --> 01:07:32,966
<i>There he worked all hours,
piecing together</i>

1143
01:07:33,466 --> 01:07:34,551
The Wind.

1144
01:07:37,262 --> 01:07:38,805
This is a Moviola.

1145
01:07:39,305 --> 01:07:42,725
It's a machine for editing film.

1146
01:07:43,893 --> 01:07:46,729
Orson decided
on a completely new approach.

1147
01:07:46,813 --> 01:07:48,147
Orson cut it.

1148
01:07:48,439 --> 01:07:51,693
He cut it, every take, in a lot of parts

1149
01:07:51,776 --> 01:07:53,903
- and he reconstruct it.
- Action!

1150
01:07:54,571 --> 01:07:55,571
Curtain.

1151
01:07:55,822 --> 01:07:57,448
- Curtain.
- A film is...

1152
01:07:57,991 --> 01:07:59,325
never right

1153
01:07:59,784 --> 01:08:01,744
until it's right musically.

1154
01:08:02,620 --> 01:08:05,790
- I ended up working as an editor.
- Cut!

1155
01:08:06,291 --> 01:08:09,961
I spent six months on what I call
the bathroom orgy scene.

1156
01:08:11,004 --> 01:08:12,297
There were 500 edits.

1157
01:08:12,797 --> 01:08:17,677
And I spent six months with him editing
two frames here, five frames here, six...

1158
01:08:17,760 --> 01:08:21,764
He kept editing it a little bit more
and a little bit more.

1159
01:08:24,559 --> 01:08:26,639
His whole concept
of <i>The Other Side of the Wind</i>

1160
01:08:26,811 --> 01:08:30,690
was evolving, that's what he said. I said,
"Well, how can it be evolving now?"

1161
01:08:31,649 --> 01:08:33,192
He said, "It's all in the editing."

1162
01:08:33,776 --> 01:08:34,902
I've never forgotten.

1163
01:08:35,361 --> 01:08:37,238
"It's all in the editing."

1164
01:08:39,657 --> 01:08:42,827
The jigsaw pieces were separated by

1165
01:08:43,244 --> 01:08:44,704
breaks in time.

1166
01:08:44,912 --> 01:08:48,082
Jesus, with all your troubles,
what's one lousy leading man?

1167
01:08:48,291 --> 01:08:51,794
There was no way for the picture
to be put together, except in my mind.

1168
01:08:52,378 --> 01:08:55,006
Jesus, what's one lousy leading man?

1169
01:08:55,840 --> 01:08:56,840
Cut!

1170
01:09:00,011 --> 01:09:01,771
It was funny, 'cause,
after all that,

1171
01:09:01,846 --> 01:09:04,057
Orson still wanted Hollywood
to embrace him.

1172
01:09:04,974 --> 01:09:06,768
And I think he thought that the AFI

1173
01:09:06,851 --> 01:09:09,896
uh, Life Achievement Award
was going to be that moment.

1174
01:09:10,563 --> 01:09:14,275
The American Film Institute
presents a salute to Orson Welles.

1175
01:09:15,276 --> 01:09:17,612
I was the Founding Director
of the AFI.

1176
01:09:17,695 --> 01:09:19,697
I started the Life Achievement Awards.

1177
01:09:19,781 --> 01:09:21,621
To salute an outstanding individual

1178
01:09:21,658 --> 01:09:25,203
for his lifetime contributions
to the art of motion pictures.

1179
01:09:25,411 --> 01:09:29,082
We concluded that Orson
should be the next recipient,

1180
01:09:29,666 --> 01:09:32,585
but <i>The Other Side of the Wind</i> intruded.

1181
01:09:33,920 --> 01:09:35,463
Peter was my medium.

1182
01:09:35,546 --> 01:09:36,815
Stevens called me.

1183
01:09:36,839 --> 01:09:38,817
Peter said, "Orson would like
to show something

1184
01:09:38,841 --> 01:09:41,177
from his new film,
<i>The Other Side of the Wind."</i>

1185
01:09:41,678 --> 01:09:42,929
I said, "Fine."

1186
01:09:44,597 --> 01:09:48,017
It was a big deal, because we were trying
to sell the movie then.

1187
01:09:48,101 --> 01:09:49,536
He was trying to sell the film.

1188
01:09:49,560 --> 01:09:51,789
He thought he was going to get
the money to finish it.

1189
01:09:51,813 --> 01:09:53,648
Which was not unreasonable,

1190
01:09:53,940 --> 01:09:56,526
but it would grow ever more complicated

1191
01:09:56,734 --> 01:09:58,736
as we got nearer to the time.

1192
01:10:00,571 --> 01:10:03,366
Nobody exceeded Orson in charm

1193
01:10:03,449 --> 01:10:06,786
when he turned it on and he came to play.

1194
01:10:08,788 --> 01:10:10,790
This was all of Hollywood there.

1195
01:10:11,374 --> 01:10:15,169
What a better forum to present
the movie at? I mean...

1196
01:10:16,671 --> 01:10:19,525
Now, how about a look
at the future of our gifted friend?

1197
01:10:19,549 --> 01:10:21,092
<i>The Other Side of the Wind.</i>

1198
01:10:21,509 --> 01:10:25,430
It's about a celebration in honor
of a famous movie director

1199
01:10:26,222 --> 01:10:27,432
who is not Orson.

1200
01:10:28,516 --> 01:10:31,936
And all of the movie freaks and filmmakers
in the world are in at this bash

1201
01:10:32,019 --> 01:10:34,480
that I'm talking about,
including a brilliant young director

1202
01:10:34,772 --> 01:10:38,609
who, by another coincidence,
is not Peter Bogdanovich,

1203
01:10:39,652 --> 01:10:41,279
but is played by Peter Bogdanovich.

1204
01:10:43,239 --> 01:10:46,868
Orson thought the AFI was
that moment where everyone was going to

1205
01:10:46,951 --> 01:10:48,619
give him his just desserts.

1206
01:10:49,162 --> 01:10:50,997
This picture is beautiful.

1207
01:10:51,748 --> 01:10:53,374
And so are you, dear Orson.

1208
01:10:58,963 --> 01:11:01,048
This honor I can only accept

1209
01:11:01,841 --> 01:11:03,885
in the name of all the mavericks.

1210
01:11:05,219 --> 01:11:06,971
And don't imagine that this

1211
01:11:07,472 --> 01:11:10,308
raggle taggle gypsyo
is claiming to be free.

1212
01:11:11,267 --> 01:11:14,812
It's just that some of the necessities
to which I am a slave

1213
01:11:15,980 --> 01:11:17,315
are different from yours.

1214
01:11:18,024 --> 01:11:20,359
He was not sucking up to the audience.

1215
01:11:20,443 --> 01:11:23,070
He was basically saying,
"Fuck you," to the audience,

1216
01:11:23,154 --> 01:11:26,407
"Why haven't you acknowledged
my genius today?"

1217
01:11:26,491 --> 01:11:29,952
Let us raise our cups then,

1218
01:11:30,745 --> 01:11:35,041
standing as some of us do
on opposite ends of the river,

1219
01:11:36,209 --> 01:11:37,335
and drink together

1220
01:11:38,002 --> 01:11:39,921
to what really matters to us all.

1221
01:11:41,214 --> 01:11:44,050
To our crazy and beloved profession.

1222
01:11:45,134 --> 01:11:47,428
To the movies, to good movies.

1223
01:11:47,929 --> 01:11:49,722
To every possible kind.

1224
01:11:52,183 --> 01:11:54,018
Orson makes a great speech.

1225
01:11:54,560 --> 01:11:57,980
And then he worked in
a clip of his new film.

1226
01:11:58,314 --> 01:11:59,941
The scene...

1227
01:12:00,858 --> 01:12:03,277
that you're going to see
takes place in a projection room.

1228
01:12:03,361 --> 01:12:06,280
Waiting there is the big studio boss.

1229
01:12:06,364 --> 01:12:08,157
The stooge is trying to sell

1230
01:12:08,574 --> 01:12:12,036
the unfinished movie that Jake is making,

1231
01:12:12,745 --> 01:12:14,247
for which he needs end money.

1232
01:12:20,378 --> 01:12:21,671
I just think it was sad.

1233
01:12:22,880 --> 01:12:24,882
He was practically begging for money.

1234
01:12:27,718 --> 01:12:30,888
- What happens here?
- I'm not really sure, Max.

1235
01:12:31,848 --> 01:12:35,101
- You... You better ask Jake.
- I'd better read the script.

1236
01:12:37,979 --> 01:12:39,146
There isn't one.

1237
01:12:43,025 --> 01:12:45,444
Jake, he’s just making it up
as he goes along.

1238
01:12:47,446 --> 01:12:48,823
He's done it before.

1239
01:12:54,203 --> 01:12:55,872
Nobody gave him a dime.

1240
01:12:59,292 --> 01:13:02,086
He thought he was going to attract

1241
01:13:03,087 --> 01:13:06,591
somebody who would open up the vault
and say, "Whatever you need."

1242
01:13:06,841 --> 01:13:08,092
And he didn't get it.

1243
01:13:08,676 --> 01:13:11,971
All right, go home! Who gives a shit?

1244
01:13:12,263 --> 01:13:16,434
You stiffs can put all this stuff
together. We'll have our own movie.

1245
01:13:17,184 --> 01:13:18,686
A real movie!

1246
01:13:19,270 --> 01:13:20,813
A real movie!

1247
01:13:23,774 --> 01:13:26,319
Maybe she just don't love us
like she used to.

1248
01:13:28,738 --> 01:13:29,822
Maybe.

1249
01:13:31,741 --> 01:13:33,284
Orson said to me once that,

1250
01:13:33,367 --> 01:13:37,079
"Los Angeles is the only city where
every road leads to the airport.

1251
01:13:38,414 --> 01:13:41,417
If you're here, Hollywood can't wait
to get you out of here."

1252
01:13:47,465 --> 01:13:51,385
The clouds around our film
were gathering from all directions.

1253
01:13:52,970 --> 01:13:55,932
The new Hollywood ended around '75.

1254
01:13:57,433 --> 01:14:00,603
<i>Star Wars</i> and <i>Jaws</i> were blockbusters,

1255
01:14:00,937 --> 01:14:05,232
not personal films,
and changed the atmosphere.

1256
01:14:07,193 --> 01:14:08,819
I did have the chance,

1257
01:14:08,903 --> 01:14:13,199
right after the tribute,
of reviving my career in America.

1258
01:14:14,533 --> 01:14:16,786
But it was destroyed by the Iranians.

1259
01:14:19,163 --> 01:14:20,957
Iran's Islamic revolution.

1260
01:14:22,625 --> 01:14:24,752
Many foreign-owned businesses

1261
01:14:24,877 --> 01:14:27,463
and their assets confiscated
without payment.

1262
01:14:29,048 --> 01:14:31,550
Financing got into deep trouble.

1263
01:14:31,884 --> 01:14:35,388
The Iranian company,
they simply shut off the spigot.

1264
01:14:36,055 --> 01:14:38,140
You see, the Shah himself

1265
01:14:38,307 --> 01:14:41,143
was the brother-in-law of our producer.

1266
01:14:42,770 --> 01:14:45,272
When he was overthrown by the Ayatollah...

1267
01:14:47,316 --> 01:14:51,028
...the film was confiscated by somebody...

1268
01:14:51,487 --> 01:14:55,324
Well, here it is...
if anybody wants to see it.

1269
01:14:55,449 --> 01:14:58,119
...and sent to a vault in Paris.

1270
01:14:59,704 --> 01:15:03,624
The Iranians attempted to move it
out of Paris only two months ago.

1271
01:15:04,834 --> 01:15:07,128
Orson sued to finish his film.

1272
01:15:07,670 --> 01:15:09,390
Then, you know, he got fucked.

1273
01:15:19,932 --> 01:15:22,518
The French court locked
<i>The Other Side of the Wind </i>in a vault.

1274
01:15:23,060 --> 01:15:25,563
Orson couldn't have access to the film.

1275
01:15:44,331 --> 01:15:47,043
When you hear the cry,
"Death to the Shah,"

1276
01:15:49,253 --> 01:15:52,256
it doesn't come entirely
from the Iranian people.

1277
01:15:59,847 --> 01:16:02,433
Now, pretty much everything was shot

1278
01:16:03,309 --> 01:16:04,435
by this time.

1279
01:16:05,352 --> 01:16:07,229
And Orson was heartbroken.

1280
01:16:16,030 --> 01:16:18,032
I didn't wanna...
don't wanna be introduced,

1281
01:16:18,157 --> 01:16:21,702
because I don't want this to seem
like a formal occasion.

1282
01:16:23,162 --> 01:16:25,748
That stops right now.

1283
01:16:26,582 --> 01:16:27,958
Stops right now. Back.

1284
01:16:28,084 --> 01:16:30,795
About ten feet,
you get a much better shot. Zoom.

1285
01:16:34,090 --> 01:16:36,383
Sir, my question is a little bit personal.

1286
01:16:36,634 --> 01:16:40,888
What are the greatest events of your life
in relation to your work as a film star?

1287
01:16:41,555 --> 01:16:43,599
The greatest moment is always

1288
01:16:44,391 --> 01:16:46,310
when you know the money's in the bank.

1289
01:16:50,523 --> 01:16:53,984
The point is, you have fallen in love
with an impossible medium,

1290
01:16:54,068 --> 01:16:57,530
because it's so hard to get the money
for your pictures.

1291
01:16:57,905 --> 01:17:00,699
It's so hard to get the distribution.

1292
01:17:01,492 --> 01:17:03,077
I believe we should work

1293
01:17:03,536 --> 01:17:06,330
in the constant recognition

1294
01:17:07,289 --> 01:17:10,918
of the fact that we are lucky
to be working,

1295
01:17:11,460 --> 01:17:14,797
and that our luck is too great
to confuse it

1296
01:17:15,214 --> 01:17:17,007
with ultimate justice.

1297
01:17:17,675 --> 01:17:21,887
Particularly,
since any intelligent person knows

1298
01:17:22,012 --> 01:17:24,181
that there is no justice in the world.

1299
01:17:25,558 --> 01:17:26,767
Of any kind.

1300
01:17:29,270 --> 01:17:30,437
My God, it's vodka.

1301
01:17:35,359 --> 01:17:36,986
This...

1302
01:17:41,365 --> 01:17:44,994
That's all. Don't go on
shooting me laughing and saying nothing.

1303
01:17:45,077 --> 01:17:47,580
Come on, I don't want...
I don't want footage of myself...

1304
01:17:53,335 --> 01:17:55,921
Sometimes I try to imagine Orson

1305
01:17:56,046 --> 01:17:58,632
having different bedrooms
in different hotels.

1306
01:17:59,008 --> 01:18:02,887
And the door to this room is locked.
And under the bed

1307
01:18:03,179 --> 01:18:06,515
are hidden boxes and boxes of film.

1308
01:18:07,600 --> 01:18:08,600
Who knows?

1309
01:18:10,311 --> 01:18:12,991
A number of the things
you've done, films you've made,

1310
01:18:13,022 --> 01:18:16,108
have gone on for a very long time.
You've come back to them, picked them up.

1311
01:18:16,192 --> 01:18:19,195
Yeah, there are only two
main projects which are unfinished.

1312
01:18:19,570 --> 01:18:20,571
<i>Don Quixote.</i>

1313
01:18:23,282 --> 01:18:26,702
And the other one, which has been
much longer is <i>The Other Side of the Wind.</i>

1314
01:18:28,704 --> 01:18:31,832
I don't know how many other pictures
Orson's got somewhere

1315
01:18:31,916 --> 01:18:34,835
that were never finished. A few, a few.

1316
01:18:36,545 --> 01:18:38,631
<i>The Deep</i> was finished.

1317
01:18:40,049 --> 01:18:42,301
He just needed to loop the actors.

1318
01:18:43,677 --> 01:18:44,720
But he never did.

1319
01:18:48,641 --> 01:18:52,436
<i>The Merchant of Venice.</i>
If you are listening to Orson,

1320
01:18:52,603 --> 01:18:56,649
the sound was stolen, that's the reason
why he didn't finish the picture.

1321
01:18:58,776 --> 01:18:59,776
<i>The Dreamers.</i>

1322
01:19:00,110 --> 01:19:03,405
<i>The Dreamers</i> was a major project that
would've been a really beautiful film.

1323
01:19:05,783 --> 01:19:08,383
Do you like to finish
a picture and be done with it?

1324
01:19:08,452 --> 01:19:11,121
Are you happy when it's all done and cut?

1325
01:19:11,288 --> 01:19:12,288
No.

1326
01:19:12,998 --> 01:19:15,501
No, because you always hope
you can make it better.

1327
01:19:16,627 --> 01:19:18,420
I hate every kind of goodbye.

1328
01:19:18,587 --> 01:19:21,882
And every time those lights go out,
it's a little death and a little goodbye.

1329
01:19:26,303 --> 01:19:27,638
I have a feeling,

1330
01:19:28,889 --> 01:19:31,392
for which I have no evidence,

1331
01:19:32,476 --> 01:19:35,688
that he never wanted to finish
<i>The Other Side of the Wind.</i>

1332
01:19:40,985 --> 01:19:45,447
I always thought that we would
never finish the film until he died.

1333
01:19:45,990 --> 01:19:46,990
Because...

1334
01:19:47,700 --> 01:19:50,327
he felt that if we finished the film
he would die.

1335
01:19:56,292 --> 01:19:57,334
On the other hand...

1336
01:19:59,878 --> 01:20:01,297
This question:

1337
01:20:01,714 --> 01:20:04,425
Orson did not like to finish his films.

1338
01:20:05,426 --> 01:20:09,013
There is really no logic in it,
because not to finish his films

1339
01:20:09,096 --> 01:20:12,474
would have been suicidal,
and Orson loved life.

1340
01:20:13,517 --> 01:20:14,935
And life for him

1341
01:20:15,394 --> 01:20:17,938
mainly consisted of making the movies.

1342
01:20:27,656 --> 01:20:31,702
It implied that he would act
in other director's movies

1343
01:20:31,827 --> 01:20:34,580
in order to finance and to direct his own.

1344
01:20:34,830 --> 01:20:36,749
Then just before the end,

1345
01:20:37,166 --> 01:20:40,085
he would throw away
all this money and effort,

1346
01:20:40,627 --> 01:20:42,629
which he invested into his film,

1347
01:20:42,880 --> 01:20:45,382
for the sheer pleasure
of not finishing it.

1348
01:20:47,176 --> 01:20:49,762
The myth of him not wanting
to complete his films

1349
01:20:49,845 --> 01:20:51,722
is complete and total nonsense.

1350
01:20:51,847 --> 01:20:54,099
Such bullshit.

1351
01:20:54,224 --> 01:20:56,143
He wanted to finish them correctly.

1352
01:20:56,852 --> 01:20:59,063
I mean, look at the movies
that were finished.

1353
01:20:59,897 --> 01:21:00,897
Hello!

1354
01:21:02,191 --> 01:21:05,319
One can only imagine
what the pain and suffering

1355
01:21:05,402 --> 01:21:08,280
he endured through the years
when he did finish.

1356
01:21:11,367 --> 01:21:14,036
<i>Kane. Othello. Macbeth.</i>

1357
01:21:14,119 --> 01:21:16,955
<i>Stranger. Mr. Arkadin. </i>And <i>The Trial.</i>

1358
01:21:17,456 --> 01:21:21,543
<i>Touch of Evil. Lady from Shanghai.
Immortal Story.</i>

1359
01:21:21,627 --> 01:21:23,879
<i>Chimes at Midnight. F for Fake.</i>

1360
01:21:25,923 --> 01:21:27,007
And, of course,

1361
01:21:27,257 --> 01:21:30,803
he did everything to continue
with <i>The Other Side of the Wind.</i>

1362
01:21:34,681 --> 01:21:37,309
I used to see him at Ma Maison,

1363
01:21:37,393 --> 01:21:39,520
a French restaurant in Los Angeles.

1364
01:21:39,603 --> 01:21:41,363
He would eat there seven days a week.

1365
01:21:41,397 --> 01:21:43,190
He'd go to Ma Maison for lunch.

1366
01:21:43,982 --> 01:21:45,359
He had his own table,

1367
01:21:45,442 --> 01:21:49,363
and there was mostly business involved.
I mean, like Burt Reynolds.

1368
01:21:49,613 --> 01:21:50,864
Jack Nicholson.

1369
01:21:51,657 --> 01:21:53,450
Henry Jaglom was a regular.

1370
01:21:53,784 --> 01:21:55,702
- I'll finish this.
- Yes.

1371
01:21:55,786 --> 01:21:57,663
Chewing the burger.

1372
01:21:58,122 --> 01:22:00,791
He wasn't the ogre
everybody thought he was, at all.

1373
01:22:01,208 --> 01:22:03,210
This weird notion

1374
01:22:03,293 --> 01:22:06,171
that Orson was sitting around Ma Maison
doing fuck all

1375
01:22:06,255 --> 01:22:07,589
is insulting.

1376
01:22:08,173 --> 01:22:12,261
Miss Tracy. Prepare the standard
rich and famous contract

1377
01:22:12,344 --> 01:22:14,680
for Kermit the Frog and company.

1378
01:22:15,389 --> 01:22:18,308
We'd had all these lunches
and we talked about everything.

1379
01:22:18,559 --> 01:22:21,895
And he was focusing on getting
the film back so he could finish

1380
01:22:21,979 --> 01:22:23,480
<i>The Other Side of the Wind.</i>

1381
01:22:26,942 --> 01:22:28,944
We created a company called Weljag.

1382
01:22:32,364 --> 01:22:36,034
And we lied and we claimed to have
several million dollars

1383
01:22:36,535 --> 01:22:38,412
to pay the Shah of Iran's brother

1384
01:22:38,495 --> 01:22:40,747
the million and a half he was asking for.

1385
01:22:40,873 --> 01:22:42,583
And that would free the film.

1386
01:22:45,043 --> 01:22:48,422
He was outrageous.
He was willing to completely lie,

1387
01:22:48,505 --> 01:22:51,550
because he didn't have any respect
for the stupid process

1388
01:22:51,633 --> 01:22:53,051
that had held his film back.

1389
01:22:56,180 --> 01:22:57,848
So, we went and we testified.

1390
01:22:57,931 --> 01:23:00,017
The great part of the film

1391
01:23:00,559 --> 01:23:05,272
was made before there was a partnership
with the Iranians.

1392
01:23:06,773 --> 01:23:09,610
We were appealing
on the basis of the Code Napoléon,

1393
01:23:10,235 --> 01:23:12,279
that says the artist owns the film.

1394
01:23:12,446 --> 01:23:14,531
It's close to being finished,

1395
01:23:15,157 --> 01:23:18,160
but the failure of the Iranians

1396
01:23:18,410 --> 01:23:20,746
to pay the money they were supposed to

1397
01:23:21,163 --> 01:23:23,040
delayed us for years,

1398
01:23:23,165 --> 01:23:24,791
and several actors died.

1399
01:23:26,502 --> 01:23:28,378
That's what his whole focus was,

1400
01:23:28,462 --> 01:23:30,839
finishing <i>The Other Side of the Wind.</i>

1401
01:23:32,966 --> 01:23:35,761
And then the French judiciary announced

1402
01:23:36,261 --> 01:23:38,305
the producer owns the film.

1403
01:23:38,764 --> 01:23:39,806
Not Orson.

1404
01:23:42,643 --> 01:23:44,436
So, he's back to stage one.

1405
01:23:50,734 --> 01:23:52,611
You have to protect yourself.

1406
01:23:52,819 --> 01:23:54,821
There are subjects we don't think about.

1407
01:23:55,822 --> 01:23:58,158
You know, it's like avoiding the mirror.

1408
01:23:59,117 --> 01:24:01,620
I don't much like to look
in any form of mirror.

1409
01:24:04,498 --> 01:24:05,624
In Orson's life,

1410
01:24:05,707 --> 01:24:10,045
there's a sense of the essential
untrustworthiness of people.

1411
01:24:11,296 --> 01:24:14,633
It's a world view,
and that really does run

1412
01:24:14,716 --> 01:24:16,718
pretty well through everything.

1413
01:24:17,803 --> 01:24:20,097
After that, I knew I couldn't trust him.

1414
01:24:21,181 --> 01:24:22,516
He was mad.

1415
01:24:23,850 --> 01:24:26,770
Betrayal was key to all of Orson's work.

1416
01:24:27,271 --> 01:24:30,274
They're mostly about
two guys who love each other,

1417
01:24:30,899 --> 01:24:32,276
and one betrays the other.

1418
01:24:37,531 --> 01:24:39,575
Gosh, this is difficult territory,

1419
01:24:40,284 --> 01:24:42,869
but it must have stemmed
from something in his life.

1420
01:24:44,997 --> 01:24:47,749
Actually, it starts as early as you like.

1421
01:24:50,794 --> 01:24:55,549
There are a number of betrayals
in Welles' childhood...

1422
01:24:55,632 --> 01:24:57,759
I don't like a pair of eyes...

1423
01:24:58,510 --> 01:25:02,806
...that were absolutely fundamental
to him, formative to him.

1424
01:25:03,223 --> 01:25:04,349
...staring at me.

1425
01:25:05,142 --> 01:25:07,060
His childhood was a mess.

1426
01:25:07,644 --> 01:25:09,187
With no look in them.

1427
01:25:09,855 --> 01:25:12,899
His mother died, died on his birthday.

1428
01:25:13,400 --> 01:25:15,277
And then his father was a drunk.

1429
01:25:17,070 --> 01:25:20,866
He told his father that he didn't
wanna see him unless he was sober.

1430
01:25:23,368 --> 01:25:24,453
His father died.

1431
01:25:25,370 --> 01:25:26,413
Suicide, take one.

1432
01:25:26,663 --> 01:25:29,499
Welles was convinced
his father committed suicide.

1433
01:25:29,708 --> 01:25:31,460
"Would-be suicide?"

1434
01:25:32,127 --> 01:25:36,506
Drank himself to death in a hotel
room in Chicago when Welles was 15.

1435
01:25:38,342 --> 01:25:40,886
- Announce it again.
- Suicide, take two.

1436
01:25:42,012 --> 01:25:45,599
This was the greatest
source of guilt in his life.

1437
01:25:48,143 --> 01:25:52,314
And he said, "I don't think
you can get over your guilt."

1438
01:25:52,397 --> 01:25:54,441
He said,
"You have to live with your guilt."

1439
01:25:57,110 --> 01:25:58,612
This treason...

1440
01:25:58,695 --> 01:26:01,156
is a theme that you use in other films.

1441
01:26:02,032 --> 01:26:05,619
Either people betray their best friends,

1442
01:26:05,869 --> 01:26:09,289
or they betray their values
in which they believe.

1443
01:26:09,373 --> 01:26:10,832
- Yes.
- Uh...

1444
01:26:11,208 --> 01:26:12,918
Which is worse, do you think?

1445
01:26:13,085 --> 01:26:15,885
I suppose it's to betray
the values in which you believe.

1446
01:26:16,171 --> 01:26:17,171
There we are!

1447
01:26:17,631 --> 01:26:19,758
Now we found the difference between us.

1448
01:26:20,050 --> 01:26:22,552
To me, the worst thing
is to betray a friend.

1449
01:26:28,225 --> 01:26:29,985
We were very close for a while.

1450
01:26:32,521 --> 01:26:35,065
And I loved him, and I think he loved me.

1451
01:26:35,816 --> 01:26:37,943
I like him. I like him very much.

1452
01:26:38,944 --> 01:26:40,529
I consider him a true friend.

1453
01:26:41,446 --> 01:26:44,366
And I ask you to welcome him.
Burt Reynolds.

1454
01:26:47,869 --> 01:26:50,080
But Bert Reynolds and Orson,

1455
01:26:50,163 --> 01:26:53,417
they said a couple of not very nice things
about me, on television.

1456
01:26:54,501 --> 01:26:56,920
We have a mutual friend,
of course, Peter Bogdanovich.

1457
01:26:57,003 --> 01:26:58,505
That's right. As a matter of fact,

1458
01:26:59,339 --> 01:27:02,259
you have me to thank for the fact
that you were asked to be

1459
01:27:02,342 --> 01:27:06,138
in the picture which was probably
the least successful of any in your past.

1460
01:27:09,766 --> 01:27:11,935
My feeling was that the picture
needed you.

1461
01:27:12,018 --> 01:27:13,018
Yeah.

1462
01:27:13,145 --> 01:27:14,688
No, it needed a lot more.

1463
01:27:18,567 --> 01:27:19,943
That's right.

1464
01:27:20,026 --> 01:27:23,071
I had the distinction
of getting him on this show

1465
01:27:23,363 --> 01:27:24,614
and having him host the show.

1466
01:27:24,698 --> 01:27:27,176
- How did you get him off?
- Well, that was the thing.

1467
01:27:29,870 --> 01:27:31,747
This is the one that hurts.

1468
01:27:31,872 --> 01:27:34,291
This is a scene
we both hoped we'd never get to.

1469
01:27:36,710 --> 01:27:37,710
Hey.

1470
01:27:39,004 --> 01:27:41,590
Remember when you first appeared
on that location of mine?

1471
01:27:42,549 --> 01:27:43,759
Yeah, I didn't even have

1472
01:27:44,301 --> 01:27:46,386
fare back home. Just that...

1473
01:27:47,429 --> 01:27:48,805
secondhand tape recorder.

1474
01:27:48,889 --> 01:27:50,682
A raggedy-ass kid.

1475
01:27:53,059 --> 01:27:55,604
So, I wrote him a note in which I said,

1476
01:27:55,687 --> 01:27:58,482
"I tuned in last night to see
what you think about me

1477
01:27:58,940 --> 01:28:00,317
and I guess I found out."

1478
01:28:02,277 --> 01:28:04,821
And he sent me back a envelope...

1479
01:28:04,905 --> 01:28:06,031
The envelope.

1480
01:28:07,115 --> 01:28:08,909
...with two letters in it.

1481
01:28:09,826 --> 01:28:12,913
One said he was absolutely horrified

1482
01:28:12,996 --> 01:28:15,916
and that he felt he'd betrayed
our friendship.

1483
01:28:17,125 --> 01:28:19,044
And the other letter said I deserved it.

1484
01:28:19,127 --> 01:28:21,129
He said, "Take your pick."

1485
01:28:21,713 --> 01:28:23,131
What'd I do wrong, Daddy?

1486
01:28:24,508 --> 01:28:26,510
You can kiss my sweet ass.

1487
01:28:31,848 --> 01:28:33,892
<i>Last Picture Show, Paper Moon.</i>

1488
01:28:34,476 --> 01:28:37,854
Some of those early films.
They said, "Bogdanovich is

1489
01:28:38,355 --> 01:28:40,857
the best we've got. He's on his way."

1490
01:28:41,066 --> 01:28:42,943
They don't say that anymore.

1491
01:28:44,069 --> 01:28:45,195
What happened?

1492
01:28:45,821 --> 01:28:48,615
Peter, due to personal situations,

1493
01:28:48,698 --> 01:28:51,034
ended up on the rocks in a number of ways.

1494
01:28:51,743 --> 01:28:54,663
But Orson was way beyond
being on the rocks.

1495
01:28:55,038 --> 01:28:58,375
Orson was the rocks
and the waves and the wind.

1496
01:29:01,044 --> 01:29:02,044
Cut.

1497
01:29:04,631 --> 01:29:06,049
Many years later,

1498
01:29:06,508 --> 01:29:08,844
we started talking
on the phone again a bit.

1499
01:29:10,595 --> 01:29:12,180
But it wasn't the same.

1500
01:29:14,474 --> 01:29:15,767
And I said to him,

1501
01:29:16,810 --> 01:29:19,104
"I feel like I made so many mistakes."

1502
01:29:20,981 --> 01:29:21,982
And he said,

1503
01:29:23,024 --> 01:29:24,024
"Well...

1504
01:29:24,651 --> 01:29:27,612
it does seem to be impossible
to go through life

1505
01:29:28,363 --> 01:29:30,949
without making a great many of them."

1506
01:29:34,077 --> 01:29:35,787
He died within a week later.

1507
01:29:46,840 --> 01:29:51,970
Our next speaker has been Orson's friend
and cameraman for about 15 years,

1508
01:29:52,220 --> 01:29:55,807
and a friend, very good friend. Underline.

1509
01:29:56,057 --> 01:29:58,310
He worked on <i>The Other Side of the Wind</i>
and <i>F for Fake...</i>

1510
01:29:58,393 --> 01:30:00,812
At the memorial, Gary broke down.

1511
01:30:01,646 --> 01:30:04,858
That was a big piece of his life gone,
you know?

1512
01:30:05,775 --> 01:30:08,820
He had more contact with Orson
than he did with his children.

1513
01:30:10,280 --> 01:30:13,491
The thing that's sad to me really is that

1514
01:30:13,825 --> 01:30:15,076
I wanna talk to Orson.

1515
01:30:16,244 --> 01:30:17,579
I wish I could talk to him

1516
01:30:17,829 --> 01:30:19,956
and tell him a lot of things
right now. That's...

1517
01:30:20,248 --> 01:30:21,291
that's what probably

1518
01:30:21,875 --> 01:30:23,585
makes me feel saddest of all.

1519
01:30:24,336 --> 01:30:25,795
It just broke your heart.

1520
01:30:26,588 --> 01:30:27,839
He said stuff like,

1521
01:30:28,089 --> 01:30:31,134
"I don't know what to do tomorrow."
You know?

1522
01:30:32,052 --> 01:30:33,052
And, uh...

1523
01:30:33,762 --> 01:30:35,680
He said, "I wake up every morning,
what I do is

1524
01:30:35,764 --> 01:30:38,600
I call Orson and he tells me
what I'm supposed to do today.

1525
01:30:38,683 --> 01:30:41,144
And I don't know what to do tomorrow."

1526
01:30:43,355 --> 01:30:45,148
Gary ended up with Orson's ashes

1527
01:30:45,231 --> 01:30:47,609
in the trunk of his car
for a year and a half,

1528
01:30:48,026 --> 01:30:50,904
waiting for... where are we gonna
bury him, you know?

1529
01:30:53,740 --> 01:30:55,742
I'm sorry for all the...

1530
01:30:56,284 --> 01:30:58,328
great things that Orson did

1531
01:30:59,037 --> 01:31:00,330
that were never shown.

1532
01:31:01,289 --> 01:31:03,208
And that's why I keep after you, Gary.

1533
01:31:03,625 --> 01:31:06,670
I keep hoping <i>The Other Side of the Wind</i>
will be released.

1534
01:31:12,801 --> 01:31:15,804
This... This is what we started
<i>The Other Side of the Wind </i>with.

1535
01:31:15,929 --> 01:31:16,930
Arriflex.

1536
01:31:17,597 --> 01:31:19,724
And then Orson could look there.

1537
01:31:23,603 --> 01:31:27,190
There was a work print
amidst Gary's belongings.

1538
01:31:29,067 --> 01:31:31,695
And he did try to cut the movie
before he died.

1539
01:31:33,321 --> 01:31:34,321
But...

1540
01:31:35,448 --> 01:31:37,534
without Orson, it didn't track.

1541
01:31:38,952 --> 01:31:43,456
Gary would have the story perfect in
his head, he just couldn't get it on film.

1542
01:31:46,167 --> 01:31:47,669
But without any doubt,

1543
01:31:48,628 --> 01:31:50,839
I believe that my father would've

1544
01:31:51,006 --> 01:31:53,008
- immediately answered "yes."
- Yes.

1545
01:31:53,258 --> 01:31:54,843
That he would do it all over again.

1546
01:31:57,721 --> 01:32:00,807
A lot of people wanna see
<i>The Other Side of the Wind</i> get made.

1547
01:32:02,642 --> 01:32:06,271
It is the greatest movie
never released, you know.

1548
01:32:10,525 --> 01:32:12,944
What did Orson really mean by it?

1549
01:32:13,737 --> 01:32:17,323
What is its... its true form?

1550
01:32:18,158 --> 01:32:19,784
It's an eternal quest.

1551
01:32:21,453 --> 01:32:23,038
I shot <i>Someone to Love,</i>

1552
01:32:23,121 --> 01:32:26,374
which is Orson's last movie as an actor,
before he died.

1553
01:32:28,043 --> 01:32:30,045
And he turns to me and he says...

1554
01:32:30,712 --> 01:32:34,132
"We come into the world alone,
we die alone, we live alone.

1555
01:32:34,674 --> 01:32:37,385
Love and friendship is the nearest thing

1556
01:32:37,677 --> 01:32:38,928
that we can find

1557
01:32:39,596 --> 01:32:41,806
to create the illusion

1558
01:32:42,474 --> 01:32:44,267
that we are not totally alone."

1559
01:32:45,727 --> 01:32:48,438
So, I'm working on that, after Orson died,

1560
01:32:48,730 --> 01:32:52,901
and I get a knock on my door.
And it's John Huston.

1561
01:32:53,401 --> 01:32:56,905
He says, "You have footage of Orson
that I haven't seen."

1562
01:32:56,988 --> 01:32:58,823
I said, "Well, I'll put it up for you."

1563
01:32:59,282 --> 01:33:02,827
As far as this movie is concerned,
it seems to me you've got your ending.

1564
01:33:03,411 --> 01:33:04,245
Why?

1565
01:33:04,329 --> 01:33:08,041
Because we have come to the end.

1566
01:33:12,212 --> 01:33:14,672
- I'm glad you came today.
- So am I.

1567
01:33:15,340 --> 01:33:17,008
Thank you. Stay a little longer?

1568
01:33:17,092 --> 01:33:18,772
Really can't go on recording this.

1569
01:33:18,802 --> 01:33:20,762
- Why?
- It's got too sweet.

1570
01:33:21,221 --> 01:33:22,555
I'm not gonna say "cut."

1571
01:33:22,639 --> 01:33:24,599
I'll say "cut." I'm a director.

1572
01:33:24,682 --> 01:33:25,682
- Say it...
- Cut!

1573
01:33:25,767 --> 01:33:27,477
- Say it into the camera.
- What?

1574
01:33:27,602 --> 01:33:29,437
- Say it into the camera.
- I did.

1575
01:33:30,021 --> 01:33:31,106
Can you do it again?

1576
01:33:31,564 --> 01:33:33,066
You want me to say "cut" again?

1577
01:33:33,149 --> 01:33:35,002
- Into the camera...
- Wants to improvise

1578
01:33:35,026 --> 01:33:36,653
and do it twice. Cut!

1579
01:33:49,207 --> 01:33:51,042
Huston turned to me and he said,

1580
01:33:52,127 --> 01:33:53,419
"He let you do that?"

1581
01:33:53,753 --> 01:33:57,507
He said, "Oh, that's wonderful.
I've always wanted him on film laughing.

1582
01:33:57,590 --> 01:33:59,425
That was so... "And he started crying.

1583
01:34:00,802 --> 01:34:02,220
He started crying, Huston.

1584
01:34:03,179 --> 01:34:05,431
Watching Orson laughing.

1585
01:34:24,951 --> 01:34:30,582
<i>Clips of films, the cans,
the years of work and ideas.</i>

1586
01:34:31,749 --> 01:34:34,919
<i>Did Welles see it all as an endless loop</i>

1587
01:34:35,003 --> 01:34:38,965
<i>full of sound and fury,
signifying nothing?</i>

1588
01:34:41,467 --> 01:34:43,178
<i>Or, perhaps for him,</i>

1589
01:34:44,387 --> 01:34:46,973
<i>failure was simply
a more interesting ending.</i>

1590
01:34:50,310 --> 01:34:54,314
Orson talked about ways to
re-imagine <i>The Other Side of the Wind.</i>

1591
01:34:54,814 --> 01:34:55,899
How did he put it?

1592
01:34:56,566 --> 01:35:00,028
Supposing, during the course
of the picture, that it turns out

1593
01:35:00,236 --> 01:35:04,240
that it's more interesting hearing
the actors and myself talk about it

1594
01:35:04,324 --> 01:35:06,576
than making the picture.
That will be the picture.

1595
01:35:09,871 --> 01:35:12,207
Oh, maybe that's what
he was talking about.

1596
01:35:12,373 --> 01:35:15,627
Maybe he was saying that <i>The Other Side
of the Wind</i> was like a documentary.

1597
01:35:15,710 --> 01:35:18,230
At one point, he was talking about
turning it into a documentary.

1598
01:35:18,254 --> 01:35:19,130
Yeah. Oh, yeah.

1599
01:35:19,214 --> 01:35:22,008
As he always had done,
innovating with the form.

1600
01:35:22,091 --> 01:35:24,928
You were showing people
making a movie.

1601
01:35:25,011 --> 01:35:27,513
So, it was like a documentary.

1602
01:35:28,014 --> 01:35:29,891
See what I mean?
It's that... It's that free.

1603
01:35:30,433 --> 01:35:32,227
Maybe it isn't even the picture.

1604
01:35:32,435 --> 01:35:34,979
Maybe it's just talking about
making the picture.

1605
01:35:35,313 --> 01:35:36,314
We're just gonna go.

1606
01:35:38,566 --> 01:35:39,484
Let me show that again.

1607
01:35:39,567 --> 01:35:41,694
Maybe it's just talking about
making the picture.

1608
01:35:41,778 --> 01:35:43,821
Well, that makes perfect sense to me.

1609
01:35:44,364 --> 01:35:46,241
I remember him talking to me about that.

1610
01:35:46,366 --> 01:35:48,368
It's all in the editing.

1611
01:35:48,493 --> 01:35:51,913
<i>The Other Side of the Wind</i>
and his life were inseparable.

1612
01:35:52,205 --> 01:35:56,459
The whole documentary
that we're all so accustomed to today...

1613
01:35:56,876 --> 01:35:58,086
he was inventing.

1614
01:35:59,921 --> 01:36:01,673
Well, who's gonna watch this film?

1615
01:36:02,173 --> 01:36:05,009
What kind of people do you think
are gonna be your audience?

1616
01:36:05,677 --> 01:36:07,387
That's a wonderful question.

1617
01:36:07,720 --> 01:36:09,722
I hope everybody.