criterionforum.org

FrauBlucher wrote:Hopefully, this is Criterion....

Calvin wrote:

FrauBlucher wrote:Hopefully, this is Criterion....

They may well be who she's referring to but, from the Distribpix blog posted above, it would seem that Cohen would be interested too (are they "major" yet?).

Drucker wrote:Luckily this being a UK release, hopefully there's a better US label also prepping a release. Very disappointing.

FrauBlucher wrote:It's looking more and more likely that CC will release Chimes at Midnight.

Elon Green from NY magazine wrote:Josh Karp’s new book, Orson Welles's Last Movie: The Making of The Other Side of the Wind — written up recently in these pages — contains a marvelous, little-known story about the legendary filmmaker’s involvement in a high-end mid-1970s pornographic film

Numero Trois wrote:NSFW: Watch the Porn Scene Edited by Orson Welles

Elon Green from NY magazine wrote:Josh Karp’s new book, Orson Welles's Last Movie: The Making of The Other Side of the Wind — written up recently in these pages — contains a marvelous, little-known story about the legendary filmmaker’s involvement in a high-end mid-1970s pornographic film

In One-Man Band, the third volume in his epic and all-inclusive four-volume survey of Orson Welles’s life and work, the celebrated British actor Simon Callow again probes in comprehensive and penetrating detail into one of the most complex, contradictory artists of the twentieth century, whose glorious triumphs (and occasional spectacular failures) in film, radio, theater, and television introduced a radical and original approach that opened up new directions in the arts.

This volume begins with Welles’s self-exile from America, and his realization that he could function only to his own satisfaction as an independent film maker, a one-man band, in fact, which committed him to a perpetual cycle of money raising. By 1964, he had filmed Othello, which took three years to complete; Mr. Arkadin, the most puzzling film in his output; and a masterpiece in another genre, Touch of Evil, which marked his one return to Hollywood, and like all too many of his films was wrested from his grasp and reedited. Along the way he made inroads into the fledgling medium of television and a number of stage plays, of which his 1955 London Moby-Dick is considered by theater historians to be one of the seminal productions of the century. His private life was as spectacularly complex and dramatic as his professional life. The book reveals what it was like to be around Welles, and, with an intricacy and precision rarely attempted before, what it was like to be him, answering the riddle that has long fascinated film scholars and lovers alike: Whatever happened to Orson Welles?

big ticket wrote:Happy to share that volume three of Simon Callow's Welles biography has received a release date!

http://www.wellesnet.com/simon-callows- ... il-in-u-s/

In One-Man Band, the third volume in his epic and all-inclusive four-volume survey of Orson Welles’s life and work, the celebrated British actor Simon Callow again probes in comprehensive and penetrating detail into one of the most complex, contradictory artists of the twentieth century, whose glorious triumphs (and occasional spectacular failures) in film, radio, theater, and television introduced a radical and original approach that opened up new directions in the arts.

This volume begins with Welles’s self-exile from America, and his realization that he could function only to his own satisfaction as an independent film maker, a one-man band, in fact, which committed him to a perpetual cycle of money raising. By 1964, he had filmed Othello, which took three years to complete; Mr. Arkadin, the most puzzling film in his output; and a masterpiece in another genre, Touch of Evil, which marked his one return to Hollywood, and like all too many of his films was wrested from his grasp and reedited. Along the way he made inroads into the fledgling medium of television and a number of stage plays, of which his 1955 London Moby-Dick is considered by theater historians to be one of the seminal productions of the century. His private life was as spectacularly complex and dramatic as his professional life. The book reveals what it was like to be around Welles, and, with an intricacy and precision rarely attempted before, what it was like to be him, answering the riddle that has long fascinated film scholars and lovers alike: Whatever happened to Orson Welles?