In his latest film essay The Eyes Of Orson Welles, director and cinephile Mark Cousins presents a hugely compelling and deeply personal look at one of his cinematic heroes in a film in which he was afforded unequalled access to Welles’ huge body of work and some of his most cherished drawings and sketches by the late director’s daughter Beatrice.
Constructed in the style of a love letter, The Eyes Of Orson Welles offers an in-depth look at what made the legendary director tick by chartering his sociopolitical worldview, love life and work ethic throughout his career. Using the second person device throughout and at times deliberately filmed in the unmistakable Wellesian style, Cousins presents an unabashedly indulgent and hugely gratifying insight into a life dedicated to the love of filmmaking in its purest form by the man who wrote the rule book on modern cinema by taking risks and thinking outside the box,...
Constructed in the style of a love letter, The Eyes Of Orson Welles offers an in-depth look at what made the legendary director tick by chartering his sociopolitical worldview, love life and work ethic throughout his career. Using the second person device throughout and at times deliberately filmed in the unmistakable Wellesian style, Cousins presents an unabashedly indulgent and hugely gratifying insight into a life dedicated to the love of filmmaking in its purest form by the man who wrote the rule book on modern cinema by taking risks and thinking outside the box,...
- 7/2/2018
- by Linda Marric
- HeyUGuys.co.uk
Cannes Classics 2018’s opening nighter is Irish filmmaker Mark Cousins’ intimate documentary “The Eyes of Orson Welles,” which was invited to Cannes before Netflix pulled its own two Welles entries, the completed “The Other Side of the Wind” and Morgan Neville’s accompanying Welles documentary “They’ll Love Me When I’m Dead.”
Cousins (“The Story of Film: An Odyssey”) narrates his charming love letter to the late Welles, which is the first original film backed by the Filmstruck and TCM partnership (as well as the BBC and other funders), and is for sale to Cannes buyers.
“I’m interested in a more personal voice,” he said in a phone interview from Scotland, “in what happens when you look someone in the eye, as it were, and address them directly. It’s a more intimate and emotional language.”
He first adopted letter-writing on “Eisenstein and Lawrence,” his 2016 documentary short about...
Cousins (“The Story of Film: An Odyssey”) narrates his charming love letter to the late Welles, which is the first original film backed by the Filmstruck and TCM partnership (as well as the BBC and other funders), and is for sale to Cannes buyers.
“I’m interested in a more personal voice,” he said in a phone interview from Scotland, “in what happens when you look someone in the eye, as it were, and address them directly. It’s a more intimate and emotional language.”
He first adopted letter-writing on “Eisenstein and Lawrence,” his 2016 documentary short about...
- 5/9/2018
- by Anne Thompson
- Thompson on Hollywood
Cannes Classics 2018’s opening nighter is Irish filmmaker Mark Cousins’ intimate documentary “The Eyes of Orson Welles,” which was invited to Cannes before Netflix pulled its own two Welles entries, the completed “The Other Side of the Wind” and Morgan Neville’s accompanying Welles documentary “They’ll Love Me When I’m Dead.”
Cousins (“The Story of Film: An Odyssey”) narrates his charming love letter to the late Welles, which is the first original film backed by the Filmstruck and TCM partnership (as well as the BBC and other funders), and is for sale to Cannes buyers.
“I’m interested in a more personal voice,” he said in a phone interview from Scotland, “in what happens when you look someone in the eye, as it were, and address them directly. It’s a more intimate and emotional language.”
He first adopted letter-writing on “Eisenstein and Lawrence,” his 2016 documentary short about...
Cousins (“The Story of Film: An Odyssey”) narrates his charming love letter to the late Welles, which is the first original film backed by the Filmstruck and TCM partnership (as well as the BBC and other funders), and is for sale to Cannes buyers.
“I’m interested in a more personal voice,” he said in a phone interview from Scotland, “in what happens when you look someone in the eye, as it were, and address them directly. It’s a more intimate and emotional language.”
He first adopted letter-writing on “Eisenstein and Lawrence,” his 2016 documentary short about...
- 5/9/2018
- by Anne Thompson
- Indiewire
When Netflix announced March 14 it would be financing and distributing a finished cut of Orson Welles’ “The Other Side of the Wind,” the company opened a new chapter in one of the wildest, most frustrating sagas of film lore.
The legendary director shot his final film between 1970 and 1976, but a series of financial setbacks kept him from realizing his vision before his death in 1985. In the 32 years since, surviving members of the production had attempted to complete the project, but for legal reasons were unable to procure the more than 1,000 reels of negatives from a vault in Paris until the streaming giant stepped in this week.
The negatives are now safely in Los Angeles, in the hands of the team that will edit the film, according to a March 14 note from producer Filip Jan Rymsza. A short video released the next day on Yahoo details the process of shipping the reels.
The legendary director shot his final film between 1970 and 1976, but a series of financial setbacks kept him from realizing his vision before his death in 1985. In the 32 years since, surviving members of the production had attempted to complete the project, but for legal reasons were unable to procure the more than 1,000 reels of negatives from a vault in Paris until the streaming giant stepped in this week.
The negatives are now safely in Los Angeles, in the hands of the team that will edit the film, according to a March 14 note from producer Filip Jan Rymsza. A short video released the next day on Yahoo details the process of shipping the reels.
- 3/20/2017
- by Andrew Lapin
- Indiewire
Milan — A long-lost Orson Welles film that was believed destroyed in a 1970 fire has been discovered in a northern Italian warehouse and will finally make its public debut 75 years after being filmed, an Italian film archive announced Thursday.
The silent film "Too Much Johnson," a slapstick comedy made just before Welles went to Hollywood to film "Citizen Kane," was found in a box that had been stored for years in the northeastern city of Pordenone before being identified, said Giuliana Puppin, a spokeswoman for the archive, Cineteca del Friuli.
How the 35mm nitrate print arrived in Pordenone remains a mystery.
Found by a shipping company, it was turned over at some point to a local film society – but the film seemed of no particular value and was left unopened for many years, Puppin said.
"We don't know where the box came from. There were no documents with it. We don't know the road it took,...
The silent film "Too Much Johnson," a slapstick comedy made just before Welles went to Hollywood to film "Citizen Kane," was found in a box that had been stored for years in the northeastern city of Pordenone before being identified, said Giuliana Puppin, a spokeswoman for the archive, Cineteca del Friuli.
How the 35mm nitrate print arrived in Pordenone remains a mystery.
Found by a shipping company, it was turned over at some point to a local film society – but the film seemed of no particular value and was left unopened for many years, Puppin said.
"We don't know where the box came from. There were no documents with it. We don't know the road it took,...
- 8/8/2013
- by AP
- Huffington Post
British film director Michael Lindsay-Hogg will check paternity after years of rumours that giant of cinema was his father
The British film and theatre director Michael Lindsay-Hogg, best known for making films for the Beatles and for co-directing Brideshead Revisited for Granada television in 1981, is to settle the question of whether he is the son of Orson Welles in a planned autobiography.
Lindsay-Hogg, 59, has often brushed away a persistent rumour that he is Welles's only son, a rumour fuelled by his strong resemblance to the director.
Now the identity of the baronet's real father has been queried once again by Welles's first child, the writer Chris Welles Feder. As a childhood friend of Lindsay-Hogg, Welles Feder has said she has always known he might well be her brother.
Writing in her new autobiography, In My Father's Shadow, Welles Feder remembers knowing him when they lived next to each other in beachside homes.
The British film and theatre director Michael Lindsay-Hogg, best known for making films for the Beatles and for co-directing Brideshead Revisited for Granada television in 1981, is to settle the question of whether he is the son of Orson Welles in a planned autobiography.
Lindsay-Hogg, 59, has often brushed away a persistent rumour that he is Welles's only son, a rumour fuelled by his strong resemblance to the director.
Now the identity of the baronet's real father has been queried once again by Welles's first child, the writer Chris Welles Feder. As a childhood friend of Lindsay-Hogg, Welles Feder has said she has always known he might well be her brother.
Writing in her new autobiography, In My Father's Shadow, Welles Feder remembers knowing him when they lived next to each other in beachside homes.
- 1/31/2010
- by Vanessa Thorpe
- The Guardian - Film News
Orson Welles's daughter gives touching insights on her father, says Caroline Boucher
It can be tough being the child of a star, and being the eldest of Orson Welles's three daughters was no exception. She got off to a pretty poor start when he elected to call her Christopher. "Wait and see, darling girl," he said. "The day will come when you'll love your name and thank your old father for having christened you while you were still in your mother's womb." As she chose to write the book under the name of Chris Welles Feder, it's safe to assume Welles Sr was wrong on that one.
It should have been a wonderful childhood, and much of the early part was. Born in 1938, Chris grew up in the golden years of Hollywood. Her adoring and fun father was around, even after he divorced her mother, actress Virginia Nicolson,...
It can be tough being the child of a star, and being the eldest of Orson Welles's three daughters was no exception. She got off to a pretty poor start when he elected to call her Christopher. "Wait and see, darling girl," he said. "The day will come when you'll love your name and thank your old father for having christened you while you were still in your mother's womb." As she chose to write the book under the name of Chris Welles Feder, it's safe to assume Welles Sr was wrong on that one.
It should have been a wonderful childhood, and much of the early part was. Born in 1938, Chris grew up in the golden years of Hollywood. Her adoring and fun father was around, even after he divorced her mother, actress Virginia Nicolson,...
- 1/31/2010
- by Caroline Boucher
- The Guardian - Film News
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