Bob Murawski (The Hurt Locker) is responsible for most of the editing. Welles edited approximately 40 minutes of segments spread throughout the film (mostly the "film-within-the-film" footage); my understanding is that Murawski kept most of the Welles-edited material intact with, perhaps, some modifications (Welles didn't have access to all of the original camera negative - Murawski did). The credits read "Edited by Bob Murawski & Orson Welles".domino harvey wrote: ↑Wed Aug 29, 2018 11:46 amAnyone know who the final credited editors are for the film? I think Welles winning a posthumous Best Director Oscar is a stretch, but Editing may well be in reach
The Other Side of the Wind (Orson Welles, 2018)
- Roger Ryan
- Joined: Wed Apr 28, 2010 12:04 pm
- Location: A Midland town spread and darkened into a city
Re: The Other Side of the Wind (Orson Welles, 2018)
- FrauBlucher
- Joined: Mon Jul 15, 2013 8:28 pm
- Location: Greenwich Village
Re: The Other Side of the Wind (Orson Welles, 2018)
But a nomination wouldn’t be, especially if he gets a finalist slot for the DGA.domino harvey wrote:I think Welles winning a posthumous Best Director Oscar is a stretch
- domino harvey
- Dot Com Dom
- Joined: Wed Jan 11, 2006 2:42 pm
Re: The Other Side of the Wind (Orson Welles, 2018)
I agree. I think the unprecedented nature of it will be encouraged by the Academy as free press for next year's ceremony, and I can see the Old Guard rallying to make it happen
- domino harvey
- Dot Com Dom
- Joined: Wed Jan 11, 2006 2:42 pm
Re: The Other Side of the Wind (Orson Welles, 2018)
Thanks, I'm now certain it will win: the Academy can honor Welles and the lengthy post-production process without anyone complaining about the bigger category going to a dead manRoger Ryan wrote: ↑Wed Aug 29, 2018 11:51 amThe credits read "Edited by Bob Murawski & Orson Welles".
- Persona
- Joined: Wed Mar 07, 2018 1:16 pm
Re: The Other Side of the Wind (Orson Welles, 2018)
Murawski oversaw this cut based on Welles' notes and the work-print blueprints, if you will, but the editorial department on this one is MASSIVE. In addition to all the standard crew and film restoration artists and digital intermediate techs and assistant editors and whatnot, you also have about half a dozen very established editors credited as additional editors: Jonathon Braun, Arnaud Petit, Yves Deschamps (The Life of Jesus, Paris 36), Paul Hart, and Marie-Sophie Dubus (Cemetery Without Crosses, Le Cercle Rouge, Possession -- I'm assuming her work was on the original print since she worked with Welles on F for Fake but maybe she was brought in to help and consult)...
You can see why. What a monumental undertaking.
I find it really interesting that Welles' final film was shot by Gary Graver--basically, a porn director. And yet this finished version is scored by da musical god Michael Legrand.
Think this is going to be a fascinating mix of "high" and "low" art and I only hope its editing aesthetic doesn't give me a headache (anything in the Tony Scott ballpark of shot/cut frequency usually starts to grind on me).
You can see why. What a monumental undertaking.
I find it really interesting that Welles' final film was shot by Gary Graver--basically, a porn director. And yet this finished version is scored by da musical god Michael Legrand.
Think this is going to be a fascinating mix of "high" and "low" art and I only hope its editing aesthetic doesn't give me a headache (anything in the Tony Scott ballpark of shot/cut frequency usually starts to grind on me).
- bearcuborg
- Joined: Fri Sep 14, 2007 2:30 am
- Location: Philadelphia via Chicago
Re: The Other Side of the Wind (Orson Welles, 2018)
I have to say, the modern look is a bit stunning to me. I’m also not used to such color in a Welles film, since I’m so used to grain in his work. However, I’m fascinated and filled with anticipation.
- Roger Ryan
- Joined: Wed Apr 28, 2010 12:04 pm
- Location: A Midland town spread and darkened into a city
Re: The Other Side of the Wind (Orson Welles, 2018)
Same situation with Welles' F For Fake (1975) - the new footage (roughly 50%) was shot by Graver and Legrand did the score. Graver could get equipment and worked for free, the perfect accomplice for Welles' shooting methods. The tragic element is that Graver had counted on Wind giving him a higher profile (and the ability to leave the exploitation stuff behind), only for the film not to be finished in his lifetime.
- Persona
- Joined: Wed Mar 07, 2018 1:16 pm
Re: The Other Side of the Wind (Orson Welles, 2018)
Thanks for that insight, Roger. Really fascinating. And speaking of fascinating:
https://deadline.com/2018/08/orson-well ... 202453685/
I can't wait for the documentary about the making of this thing.
https://deadline.com/2018/08/orson-well ... 202453685/
I can't wait for the documentary about the making of this thing.
- Roger Ryan
- Joined: Wed Apr 28, 2010 12:04 pm
- Location: A Midland town spread and darkened into a city
Re: The Other Side of the Wind (Orson Welles, 2018)
I have no idea what Bart is saying about the film being "re-written". It wasn't really "re-edited" either since it was never fully edited to begin with. And how, exactly, was Frank Marshall involved for 25 years of a 48-year project when he was there at the beginning and now the end? Searching the globe for footage? It's been well-known for decades that the camera negative was being stored at a Paris lab. A very carelessly-written piece which seems determined to undermine Welles yet again and discredit those who like his films despite the lack of narrative coherence.https://deadline.com/2018/08/orson-well ... 202453685/
"...It will finally unveil at the Venice Film Festival following a meticulous and painstaking process of re-editing and re-writing funded by Netflix."
- Big Ben
- Joined: Mon Feb 08, 2016 12:54 pm
- Location: Great Falls, Montana
Re: The Other Side of the Wind (Orson Welles, 2018)
What was this shot on? I'm guessing whatever Welles could get his hands on? The trailer is hypnotic.
- Persona
- Joined: Wed Mar 07, 2018 1:16 pm
Re: The Other Side of the Wind (Orson Welles, 2018)
IMDB says 8mm, 16mm, and 35 mm. 4K Digital Intermediate.
- Roger Ryan
- Joined: Wed Apr 28, 2010 12:04 pm
- Location: A Midland town spread and darkened into a city
Re: The Other Side of the Wind (Orson Welles, 2018)
There was a very deliberate use of varying film stocks. The footage of Hannaford's film was shot on 35mm whereas the rest was shot on 16mm and 8mm (and, possibly, even videotape) meant to represent the formats used by the documentary and news crews, as well as various hangers-on, who have gathered to follow Hannaford on his 70th birthday. Note that the aspect ratio changes as well: 1.85:1 for Hannaford's film; 1.37:1 for everything else.
- Persona
- Joined: Wed Mar 07, 2018 1:16 pm
- domino harvey
- Dot Com Dom
- Joined: Wed Jan 11, 2006 2:42 pm
Re: The Other Side of the Wind (Orson Welles, 2018)
Well... it was fun to believe this was getting a Best Director nomination. Lots of polite positive reviews, but nothing to indicate this has a chance like Netflix hoped
- Altair
- Joined: Wed Aug 14, 2013 12:56 pm
- Location: England
Re: The Other Side of the Wind (Orson Welles, 2018)
I'm not sure anyone really thought it would - maybe Legrand's score, which is getting plenty of praise, will be nominated. From Netfleix's point of view, they can say they helped rescue a pivotal part of film history, while Roma competes more seriously for awards. At any rate, having seen the trailer and read the first wave of reviews, I'm incredibly excited to see it - it sounds incredibly rich in the true Wellesian fashion.
- hearthesilence
- Joined: Fri Mar 04, 2005 4:22 am
- Location: NYC
Re: The Other Side of the Wind (Orson Welles, 2018)
I never thought an Oscar nomination for best director was realistic - the age alone would probably keep a lot of voters from going for it, but besides that it never struck me as being the least bit commercial. The few filmmakers who've been able to pull a nomination off with that kind of work were pretty popular with Hollywood. (see Terrence Malick and the parade of stars who audition for his films) Welles was admired in his old age but the fact that virtually no one would give him money says a lot, even when he was doing something as great as F for Fake.
-
- Joined: Sun Apr 10, 2011 11:12 am
Re: The Other Side of the Wind (Orson Welles, 2018)
It hasn't been awarded with any regularity recently, but I wouldn't think a Special Achievement Oscar would be beyond the realms of possibility? Either in producing or editing - or both.
- Roger Ryan
- Joined: Wed Apr 28, 2010 12:04 pm
- Location: A Midland town spread and darkened into a city
Re: The Other Side of the Wind (Orson Welles, 2018)
Seriously, The Other Side of the Wind is competing with The Last Movie, We Can't Go Home Again, and Welles' own F for Fake - it was made in that era with that mindset. I don't know what Netflix was thinking, but I'm pretty sure everyone else who worked on this film knew they were completing a joyously indulgent gonzo experiment from the fringes, not an Oscar-winning hopeful.
- Persona
- Joined: Wed Mar 07, 2018 1:16 pm
Re: The Other Side of the Wind (Orson Welles, 2018)
Robert Abele's take is probably my favorite so far:
https://www.thewrap.com/the-other-side-o...s-netflix/
This is gonna be such a fun and fascinating film to dissect, especially for hardcore Welles fans.
I think there might be some awards consideration for Legrand's score and maybe the editing, from what I've heard. But more than likely it will be Roma that is Netflix's heavy awards player this year.
edit: just saw Altair's post, which mine is a bit redundant to. I agree, Altair!
https://www.thewrap.com/the-other-side-o...s-netflix/
This is gonna be such a fun and fascinating film to dissect, especially for hardcore Welles fans.
I think there might be some awards consideration for Legrand's score and maybe the editing, from what I've heard. But more than likely it will be Roma that is Netflix's heavy awards player this year.
edit: just saw Altair's post, which mine is a bit redundant to. I agree, Altair!
- FrauBlucher
- Joined: Mon Jul 15, 2013 8:28 pm
- Location: Greenwich Village
- J Wilson
- Joined: Wed Nov 03, 2004 11:26 am
- Contact:
Re: The Other Side of the Wind (Orson Welles, 2018)
I can see some kind of special recognition or editing award for this; otherwise, it's still too out there for modern audiences to care about, and the misogyny and other politically incorrect material will alienate plenty of people these days. Plus, the film-within-a-film sequences will bore the shit out of a lot of people.
- Persona
- Joined: Wed Mar 07, 2018 1:16 pm
Re: The Other Side of the Wind (Orson Welles, 2018)
It's funny because all through his analysis he does a good job of making the film sound immensely interesting and engaging, but then at the very end there he's just kind of like, "But I'm disappointed." He did give some reasoning, of course, but it feels squashed under all the commentary before that only makes me want to see the movie.
- The Elegant Dandy Fop
- Joined: Thu Dec 09, 2004 3:25 am
- Location: Los Angeles, CA
Re: The Other Side of the Wind (Orson Welles, 2018)
I love Bordwell so much and he's one of the few people who's opinion is worth a damn. I'm curious to see how it grows (or doesn't) on him over time.
- Roger Ryan
- Joined: Wed Apr 28, 2010 12:04 pm
- Location: A Midland town spread and darkened into a city
Re: The Other Side of the Wind (Orson Welles, 2018)
Bordwell's is an excellent analysis, but if he really spent his first viewing counting individual shots (over 2,300, apparently), that might have impinged on his enjoyment!