As time has gone by, though, Touch of Evil has acquired a large cult following, and it now regularly appears on lists of the best films of the century. What is not generally known is that the film never accurately reflected Welles's intentions for it. In July 1957, the studio took over the editing of the film and prevented him from participating in its completion. In an odd turn of events, however, a 58-page memo that Welles wrote in 1957 was recently rediscovered, and a small team on which I was film editor and sound mixer has used that remarkable document to bring Touch of Evil as close as possible to Welles's original concept. - Walter Murch, 1998
posted by Trurl on Jun 14, 2011 - 37 comments

The long take, an uncut, uninterrupted shot in film, is seen by some as the counter to CGI, the last great field for cinematic art. The linked page features six clips from 1990 on, plus the opening shot from Orson Welles' 1958 film, Touch of Evil. Alfred Hitchcock's film from a decade earlier, Rope, took the long cut further, with the whole film shot in eight takes of up to 10 minutes each, a decision shaped by the limit of the physical recording media. With digital media, the long take could be pushed further, as with Russian Ark, from 2002. The movie was shot in one long take, with the narrative working through the history of Russia, set within The State Hermitage Museum, and captured in one day on the 4th take. If the long takes are a tad long for you, try the "short" long takes that are one-shot music videos [videos inside] [more inside]
posted by filthy light thief on Dec 28, 2010 - 74 comments

::Call me Ishmael::Don Quixote::A Lesson for all Actors::Father Mapple's Sermon::The Lost Films of Orson Welles:: [more inside]
posted by vronsky on Feb 14, 2008 - 23 comments

The Other Side of the Wind is the lost last film of Orson Welles, a reputed unseen masterpiece, that may finally see the light of day in late 2008. The film tells the story of Jake Hannaford (played by John Huston), an aging movie director who has to film a low budget sex-and-symbolism flick to avoid getting overtaken by the Movie Brats of the Spielberg/Coppola generation. After providing voiceovers to two documentaries on the Persepolis ceremonies of 1971 and an intimate portrait of the Shah of Iran, Welles obtained Iranian financing to finish The Other Side of the Wind. Unfortunately, after the Islamic Revolution of 1979, the bank accounts of his Iranian financier were seized, which led to the negatives for the film getting locked in a French vault. After Orson Welles died in 1985, his lover/collaborator Oja Kodar had to settle his estate with Orson's estranged (but never divorced) wife Paola Mori. There the matter might have rested, if not for an unfortunate coincidence. (More inside.)
posted by jonp72 on Apr 15, 2007 - 50 comments