Joe Dante on THE OTHER SIDE OF THE WIND
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- Опубліковано 14 вер 2019
- The story of The Other Side of the Wind - a film begun by Orson Welles in 1970 that finally arrived in theaters in 2018 - encapsulates the ongoing struggles of the great director when it came to getting a movie made. Finally assembled long after Welles’ death by Peter Bogdanovich, Frank Marshall and editor Bob Murawski, the released cut reveals Welles was an experimental artist to the last shot. Starring a quirky cast worthy of Touch of Evil that included John Huston, Susan Strasberg, Edmond O’Brien and Bogdanovich.
As always, you can find more commentary, more reviews, more podcasts, and more deep-dives into the films you don't know you love yet over on the Trailers From Hell mothership:
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So glad to see Joe talk about how wonderful the actual film is, not just the story behind it. I truly believe that it is a masterpiece and will hopefully grow to be revered in Welles’s canon beside his other groundbreaking works. The only reason people who find it messy and disorganized think that it must not be Welles’s true vision is because he was trying something completely different, even by today’s standards, and I think it’s just throwing off everybody’s idea of what a Welles picture should be. But, by all accounts, this greatly resembles the movie Orson wanted to make and finish.
Excellent commentary. I remember you being there for the 40 minute screening of TOSOTW. Loved your question from the audience on "The Orson Welles Show". By the way I'm directing a movie with our mutual friend Robert Picardo.
All the best,
Stanley Sheff
Editor, The Orson Welles Show.
What a delight to see that clip of Joe Dante in the audience of Welles’s talk show in 1979. They should have included Welles’s answer to his question though.
So great to see Joe talk about the film. I actually worked a few days on the film, the party scene. I knew Gary Graver from some Sequoia Pictures films we worked on
A real masterpiece
IN FALL OF 1976 -- I WAS JUST 18 YEARS OLD ....and once was truly fortunate to be in the same 'room' as Orson Welles. Wait -- not just a big room. A very Big Room ... and it was, in fact, the TONIGHT SHOW stage at NBC in Burbank.
On that Fall day, a friend of mine, a publicist for NBC, casually asked me if I wanted to watch the taping of that night's Carson show -- but Johnny was off that night and (THE) Orson Welles was the Guest Host. So there I was -- in utter awe of one of my heroes ... and little did I comprehend, he was simply a man. Albeit a voraciously talented man.
Between commercials, Mr. Welles would sit there in the darkened stage and puff silently on his baby-armed sized Cigars. Upon the return from the whatever was being sold on the tube, he would interview the two guests that night.
In short -- 'THE OTHER SIDE OF THE WIND' is a 1970's shot film and finally edited for release some 46 years later.
I must see 'THE OTHER SIDE OF THE WIND' to barely complete the first circle in my personal Orson Welles school of filmmaking.
For in 1976, Orson Welles was 61 years young ... (the same age I am now) But when he co-wrote & directed arguably the best film ever made, 'CITIZEN KANE' ... Orson Welles was mere 25 years old.
It all goes so fast.
D.A.
it's amazing such a young person could make such a mature movie.
"HOLLYWOOD BOULEVARD!" BTW... pure brilliance having maestro Dante reacquaint us with this particular gem. And our Sherwood Oaks Experimental College interview with Orson Welles was a small part of this.
Great film. Bleak vision. Criminally overlooked.
Oh I need to watch it now. Thanks Joe
It needs a blu ray release it's a crazy mad masterpiece
I hope I get to see it someday
Great commentary, one of the best films of the decade, is there a way we'll ever get to see Hopper/Welles?
The other side of the Wind is amazing
I always wish that Welles had gotten in touch with Roger Corman, Corman could have helped with making films in exchange for staring in Corman films.
I think Welles was pretty self-destructive. He got in his own way a lot, and liked to blame everyone else and his lack of pull for the fact he wasn't able to get projects done. It's almost like he enjoyed it. I'm sure there were avenues open to him, but he probably told himself they were beneath him.
Hear, hear - bravo!
WOW. This I gotta see.
Gary Graver works here is fantastic
I got to see Gary Graver speak before screening a print of Touch of Evil. Very nice guy and it's sad he didn't get to see this film as Joe mentions.
i finally saw it last year and man, it was mind-blowing and i'm glad the film finally came out as it is a great book-end to orson welles.
Omg you guys did it!!!
I saw this on the Big Screen at The Music Box Theater in Chicago and it was monumental... it was both brilliant and boring at the same time and it was a documentary of what it means to be an artist in a commercial industry
John Huston, playing himself pretty much, as he did in Chinatown.
Good director. You wouldn't even want to share a fence with him though, let alone work with him.
There is a wonderful Edmond O'Brien/L.Q. Jones anecdote in Wm. Stratton's TheWild Bunch, which might be the best book about movie making ever written. Also nice to see Cameron Mitchell with a good part.
I loved the actual film within the film. The cinematography and new wave editing was phenomenal. The content of the actual mockumentary aspect didn't really click with me even though i feel it should. Will be worth revisiting in the future.
The making of documentary on the other hand was incredibly disappointing. The selling point was "40 years in the making" yet there isn't a single word on the process of finding the film, restoring the film, editing the film. Nothing. It was just a giant 'Orson Welles is the best' documentary.
Frank Marshall made a shorter piece (forty-odd minutes, I think) called ‘A Final Cut for Orson’ buried on the Trailers page for “...Wind” on Netflix that deals with all of that stuff. Well worth looking for.
Yes, A Final Cut for Orson will put a lot of meat on the bone
@@karlmortoniv2951 Thanks heaps! I will definitely seek that out.
@@karlmortoniv2951 Thanks for bringing it to my attention. I just watched it, and it was incredibly insightful and touched on everything I had hoped "They'll Love Me When I'm Dead" would. Why Netflix decided to bury it amongst the 'trailers' tab on the film instead of it being it's own release is beyond me. I didn't even know Netflix had supplement materials in the trailer tab beyond the trailer itself. I'd wouldn't be surprised how many other films might have something worth watching hidden in there.
Luke Ormsby Frank Marshall has said that Netflix didn’t seem to want the piece and seems to have released it secretly, for some reason. Spread the word about it, hmm? 😊
Hollywood Boulevard is a gem. Worth purchasing alone for the audio commentary from Joe Dante and Alan Arkush. 😍😍😍😍😍
If you watch the Markus Pix UA-cam channel, Markus IS Gary Gravers. So, when you want to make a movie of those times with Orson, contact Markus. It helps that he's a film maker.
Reading the Josh Karp book right now. It's perfect. It gets you going, and the details are really there.
Glad Joe did this. I don’t know if it is completely unlike anything else Welles did though. There are echoes of F for Fakes style, I think.
I tend to assume that those who bang on about “...Wind” being unlike anything else Welles did only ever saw “Citizen Kane.”
The book on the making of the film strongly suggests that the main hold-ups to the film's completion and release came from Orson and Oja K. themselves. In part due to efforts by both to retain ownership of the film. In this instance, Orson really did seem to avoid the work required to finish it. Oja K. is not included in the book's thank you's either - hmmm.
To quote the late Bruce Williamson, a god damn flaming masterpiece.
Plays much better on Netflix with captions than in the theater. Lesser Welles overall but still a fascinating hot mess ( better than Mr. Arkadin). Huston-Bogdanovich scenes that echo Henry IV/Chimes at Midnight the best stuff in the movie. Final image with Huston’s venomous voice over seals the deal
An amazing film discovery by the genius Orson Welles in the last years of his life. Put along side with his masterpiece Citizen Kane, Lady from Shanghai, Touch of Evil, The Trial, Chimes at Midnight and F for Fake. Thank you, Frank Marshall, Peter Bogdanovich and Trailers from Hell. I have the paperback version of the Making of the Other Side of the Wind.
To me it's a tour de force
The movie Orson is making is an homage to Russ Meyer. The rich colors, quick cuts, violence, nudity but no sex, they are all trademarks of Russ Meyer.
Antonioni.
Please tell me this movie has gotten a Blu-Ray/4-K release.
Being a Netflix exclusive, it probably never will. Which is a real shame, because I'd love to own a physical copy.
Luke Ormsby Damn, Me too. 😔
@@cha5 Us too!
I want to see it.
never heard of this film
That's why TFH is here! Check it out.
PLEASE MAKE ANOTHER HORROR FILM,MR DANTE!!! ARMY VS MONSTERS WOULD BE COOL!!! THANKS!!!
is good movie!
I'm a big Welles fan, scholar even, but I was disappointed when I saw the "recovered" version, just as much as when I saw the Don Quixote newly version. Don't think they're anywhere the mastery of the magnificent ambersons, touch of evil, othello, lady from shanghai or his best works. Think they're lauded as masterpieces because of their unusual journey and because the legend behind the man. Now, what Id love to see is what Welles himself called his best picture, "the magnificent ambersons" in a newly directors cut version, but alas, too late for that.
I agree. I wanted to like the movie so much, but the film lacked suspense and tension.
@@batman5224 same here, I really wanted to like it, it was one of those movies that beforehand you almost tell yourself is brilliant, but at the end of the film I couldn't lie to myself, frankly I was bored for long portions, and I know Welles considered boring movies, bad movies, thats why he hated Antonioni
I came in expecting to dislike it because of the entire journey to get this thing made. That usually leads to bad movies. Was very surprised to find a very well made film here. Extremely well done. Very impressed.
I’d recommend watching it again, checking expectations at the door. Expectations is the mother of all frustration.
Chimes at Midnight was Welles personal favorite.
@@FrisenetteYes and no. As a finished picture perhaps (though I dont recall ever reading or hearing him say that, but Welles said in the peter Bogdanovich book that if he had been given control over the final editing of the Magnificent Ambersons, that'd been by far his best movie
This movie failed to engage me, it has moments of brilliance but in the end i couldn't connect with it. An interesting project nonetheless and a film worth discussing.
Peter is a better commentator than director. He could imitate voices. Cary Grant. Jimmy Stewart. James Cagney. Alfred Hitchcock.
And he was a storyteller.
Great looking when he was young.
The stories he tells about the famous people he knew are funnier than his movies.
+
I had really looked forward to the film but was ultimately disappointed. The two actors within the film of the film have zero presence and no nuance at all to their silent acting. Two good actors in those parts would have made all the difference.
I watched 30 minutes of it and switched it off. I like Orson but I have to agree with Friedkin, the film is a mess.
Unfortunately Don Quixote will never be fixed
YOu can watch it, (I have it), but it doesn't really get you going in any way. But there is Akim Tamiroff and Orson Welles together...making a movie. That undercurrent can be deeply felt.
After viewing the movie, I became shockingly disappointed. Don’t get me wrong; I really wanted to like the movie, but the film lacked tension and suspense. Half the time, I could barely understand what the characters were saying. Granted, the film had a very strong opening, but overall, the film was very disappointing. If the film had not been directed by Orson Welles, it probably would not have received as much critical praise.
Watch it again and again. You gotta settle into it. It’s really quite good. Not all films need tension. That’s not the point of this film.
This whole TFH is only semi-valuable and that's just the trailers. The crime scene here is for ego-driven directors, and that means YOU TOO Johnny.
Chaotic but entertaining!