Open discussion about ILM and the magic they create. Also VFX and movies in general. Anyone can post topics here.

Moderator: malducin

#33878
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.)
#33879
Kmart wrote: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! :lol: 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?

When was the film even shot?
#33880
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.)

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.
#33882
Kmart wrote: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.)

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.


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.
Maybe if it is a period film(70s)ILM might do environment work to establish some settings?

edit: I changed the title to "ILM helps Netflix finish Orson Welles' final film". That seems more fitting to what ILM is likely doing.
#33947
A part of me thinks this is some big joke but it is not April Fools.

It is just an odd type of project for ILM to take on.

There are summaries about this project suggesting it is about a filmmaker who premieres his film and I'm thinking maybe ILM has something to do with that part. Vfx for a film in the film. I really don't know though.

Whiskytree is working on it too and they do mostly environmental work.
#33950
This film was one of Frank Marshall's first jobs, so maybe he used old connections to get ILM involved.

I found a listing for John Levin, an ILM guy, as VFX director of photography and/or animator (weird?), under linkedin, as working on the film. Anybody know of him?

I queried netflix about it this morning, and this afternoon a different person there at flix sent me a list of OTHER projects they are willing to talk about, without mentioning WIND at all.
#33951
[quote="ShaneP"
Whiskytree is working on it too and they do mostly environmental work.[/quote]

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!)
#33952
Kmart wrote:
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!)


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.

Is Othello the one that opens with the aerial shot push in of the miniature Globe Theater?
#33953
I believe you're thinking of a shot in the 2nd reel of KANE, when the camera pushes in on a miniature and there's a soft cut to a crane down inside a club.

The foreground stuff in OTHELLO is during the funeral procession; they have all the people carrying the bodies and the mourners walking on plywood or 2x4s where there is no set at all, and the foreground is all just scaled-down pieces.

In WIND, you're seeing the footage that the Huston character has shot at various times, so you're seeing his foreground miniature work (which is deliberately not great looking as I understand it.) But then again, Welles may have also used the technique elsewhere. The book on WIND mentions one such shot, but an old AFI book on filmmaking (I think it may be CALLED filmmaking) has a Platt interview that goes on at length about this big tarp-thing Welles called the whale that he would have her use to mask foregrounds out. Then he had her melt sticks and use them to create a very stylized forest that a character would wander through (I know it all sounds weird, but this is Welles, y'know?)