On the other hand, The Other Side Of The Wind has been in the pipeline so long, it may have curdled. Highly experimental, it may be an artifact of its time (early to mid 1970s). Or it could be timeless. Either way, Indiegogo and Netflix are finishing what Showtime could not -- and there's a lesson in the changing nature of mass media right there. Even the editing technology is nothing Welles would have known, though I'd like to think the man who lined up multiple Movieolas* so he could move from cut to cut while skilled minions stuck the cut film together in his wake might have enjoyed an all-electronic 4K editor that sticks "footage" together as rapidly as you can mark the in and out points (and unsticks them just as fast if you change your mind).
They're starting the sticking-together process now, an amazing development to anyone who has followed even a little of the occasionally bitter feud between Oja Kodar and Beatrice Welles over which of them owns the rights to what parts of the late actor-director's work.
* Or so I read. The editing-room footage in F For Fake shows flatbed editors instead, which spool faster and are gentler to the film. All I ever ran for film editors were tiny Super 8 versions, though I have stuck 16mm film back together in splicers, themselves streamlined artifacts unchanged since before WW II and now undoubtedly rusting away in scrap heaps.
He Worked On A Starship
1 month ago