By ShaneP - Mon Mar 26, 2018 10:06 pm
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details, please, this film has been an obsession for me dating back to when I was in my teens, during the 1970s. There's even a slight vfx angle, as I have proposed doing a research-style article on FX in Welles' films for VFX VOICE in commemoration of when WIND finally debuts. (Polly Platt executed a bunch of foreground miniatures for WIND, a technique he exploited very well on his OTHELLO.)It sounds like you know more about this than I do. I always thought Chimes at Midnight was his last film. I love his Falstaff in that! I had no idea he had an unfinished film laying around beyond his Don Quixote. I do know Peter Bogdanovich is involved with its release. And ILM is doing some work on it. Reading some of the synopses, it sounds like there is a film within a film. Maybe that is what ILM is working on?
early to mid 70s, with John Huston playing a Hemingwayesque film director making an arty movie while documentarians make a movie about the movie and another group document them documenting the director. They ran a couple brief scenes back in 1975 at the Welles AFI award dinner, it is cutty like MTV (like a lot of low-budget Welles), a real whirlwind. The film was owned by the Shah of Iran so there were all sorts of legal problems (a whole book came out about this a couple years back.)Yeah perhaps restore is the wrong word for me to use describing what ILM might be doing. Maybe helps complete would be a better description. You're right too because even when George did the SW Special Editions, they went to outside vendors to do the restoration of the negatives while ILM did the vfx work.
I just don't know what ILM would be restoring ... I mean, there are places that do film preservation/restoration, but I haven't heard about ILM being involved with that at all, ever, and I have done a few pieces on that subject and talked to various places.
But was that foreground miniature stuff part of the film in the film or just the film? I ask because 32Ten, the old ILM model shop, is involved too.
I really hope they didn't replace Polly Platt's foreground miniatures with digital stuff -- Platt was a production designer of great renown, and she said she learned more in the weeks on WIND than she had in her whole career, including all the foreground miniature stuff (there's a ton of it at the beginning of Welles' OTHELLO, too.)
The deliberately pretentious art-film imagery in the director-lead-characters film should reflect the era in which it was made, not actually look 'good' -- but i have to assume the involved parties aren't going to mess with Welles artistic intention (or I'll go nuts and get a flamethrower out!)