All language subtitles for Love me 2.ENG

- Ready?
- Thank you. Action.

Action!

Oh, I�thought he was gonna say
his part first.

- You say it.
- All right.

Say it.

Gee, I don't�know,
I have school tomo... No, wait.

Absolutely dreadful actress.

But why would Orson
wanna do that to himself?

She's kind of a Cybill Shepherd take-off.

Was she?

Oh, okay.

Clearly Orson was giving Peter
a hard time about his�relationship

with Cybill Shepherd
after Last Picture Show.

Cybill was�19, I think,
when Peter discovered her.

With Orson, you never quite know
what is gonna happen.

Peter said, "Orson's making fun of me

and things�I've said to Cybill."

- Tomorrow's Sunday, Mavis.
- Pardon?

You'll be�flying down with us to Mexico.

Gee, I don't�know,
I have school on Monday.

I'll, uh, write a note to your teacher.

That's it.

I was supposedly, like, his girlfriend

and I was really young,
and he was very old.

He's like, "Mavis! Mavis! Come here!"

It was... It was very strange.

Mother seems�to think a little young blood
would be good for us.

- You could be�right at that.
- Well, she's always right.

Excuse me, fellas,
I think we have a confrontation.

- Once again. John?
- Yeah.

You took a look back at the girl
after "She's always right."

Excuse me, fellas,
I think we have ourselves a confrontation.

In this story, Hannaford takes away
this blond girl from�Peter's character

who�s kind of a crude, sexual power play.

We like your�little friend.

"We like your little friend."

She's mine.

- Cut.
- Again.

Again.

He thrived�on friction.

So, the old�man can still score.

How he scores and who he scores with,

now that, my friend, gets us
into some very interesting country.

I think Orson was fascinated
by this macho thing.

It's part of where the concept
of The Other Side of the Wind

was even born.

The whole mystique of the, uh...

the he-man.

This picture we're gonna make
is against he-men.

The initial conception
of The Other Side of the Wind,

that it was gonna be
a little bit of a satire of�an obsessively

masculine character, like Hemingway.

So, it's no coincidence this film
takes place July 2nd,

the date of Hemingway's death.

Hemingway?
That, uh,�left hook of his was overrated.

And the character displayed certain

tendencies of, perhaps,
latent homosexuality.

He wants to fuck him. He wants to fuck
his leading man. Don't you see that?

Don't you see that there in his movies?
And he can't acknowledge that.

Orson was very comfortable
with himself and his feminine side.

But he could fall
right into a guy-guy role.

I think Orson was always kind
of interested in that duality in men.

You've had so much written about you,

and you were so far ahead of your time
in achievement.

Has your success made you less willing
to challenge than you were in those times?

Oh, I think not at all.
I think I'm much more of a...

of a renegade than I was then.

- In what way?
- Oh, in about every way.

The best scene I've seen
in The Other Side of the Wind

is the sex scene in the car,
from the film within the film...

which is seven minutes long
in the version Welles edited.

Yes, it's long, long.

Everybody talks about the sexy car scene.

I remember it�having
quite an impression on me.

I remember being in my mid-teens,

and having the screening of this footage.

The footage of Oja was remarkably erotic.

Of her in a car

uh, with a hose being poured over the car,
creating all these droplets and the...

the windshield wipers going.

The car never moved,
and they had a couple of guys with hoses.

Hundreds of feet of garden hoses.

We robbed water from all of his neighbors.

I did all the little things on set.

And Orson yelled down to me, "Hey kid,
pick up that hose and make rain."

What?

One of our paraplegic friends
was pushed down the road,

holding two�lights in his hands,
impersonating car in a motion.

The movie inside the movie,
it's about�love, about sex, about�desire.

It's incredibly hot.

And it's unlike anything he'd ever done.

His earlier films were rather prudish
in their�treatment of sexuality.

He was, he called himself prudish.

And he didn't think films�needed nudity.

Come, Desdemona.

I have but an hour of love
to spend with thee.

Orson felt that explicit sexuality

was distracting from the art
in the narrative.

He said, "It just shows
a lack of imagination."

He never�talked about sex.

That's why Oja such a shock.

I think the things I contributed
to his creativity was the eroticism.

I introduced�the sex.

I ask Orson,
"How do you want me to do this?"

"Well," he said, "any way
you feel like it. It's�your story."

So, I thought what kind of female
I should be.

So, I�decided to be a praying mantis.

Wow, my�word!

She sat on his lap and made love to him

while her�character's boyfriend
was driving the car.

Her chain beating against her breasts.

He ask Oja, �Give animal look.�

I still remember the fantastic color,

the rhythm, the pulsing rhythm. It�s like
a cinematic equivalent of an orgasm.

But he shot that over,
like, a three-year period.

He shot part of it in his driveway
in Los Angeles, and then

he shot more�of it
in his backyard in France.

At one moment,
it's Gary Graver with false hair,

playing the young guy.

The film is�an exploration
of Orson's desire.

The writer Peter Bartel

described The Other Side of the Wind as

"a desperate�venture
shared by desperate men."

As production lagged on,
the financiers and the crew

became restless.

Gary would�be pleading with Orson,
"I gotta eat."

Once in a�while, Gary would
actually have to work to make money.

Gary would�take other jobs in B movies,

just so that he could afford
to work for Orson.

He's the only guy I know who
worked with Orson Welles and Ed Wood.

Gary shot this film,�One Million AC/DC.

It was the�world's first
bisexual dinosaur movie.

What's that?

Don't worry,�it can't eat us in here.

It�s not what Gary wanted to have
as his trademark in his career.

The Other Side of the Wind was the film.

This was gonna be his claim to fame.
This is the one that would

take him to�new heights.

Orson said, "Gary, if you get a job
on another movie, you come to me.

If I need you, you can't do it."

Ultimately, I think he found the
easiest path towards making all this work

was to do�adult films.

Gary did a�lot of porn.

Hundred or so films that he never
wanted to have his name associated with,

he worked�under an assumed name.

Akdov Telmig.

That's "vodka gimlet" spelled backwards.

He was shooting these
semi-porn movies

and he asked me if I wanted to be a part
of this one called 3 A.M.

I think that�was...
it had pornographic elements to it.

And Orson knew that�this was important
to Gary,�to get this movie done,

so he wanted to help him.

He came over and he was at Gary's house,
and they cut it together.

And Orson ended up
cutting the shower scene, yeah.

Yeah.

Excuse me.

- Oh!
- Yeah, it's�totally true.

Orson was very decisive. He was very like,
"Okay, we need to cut here, we go�there."

There was no pharumphing around.

It was like,�"I need to get this
off the docket,

so I can get Gary back to work�again."

Gary's work never ended.

He got worn�down on it, for sure.

I think there were two occasions

that he was hospitalized for exhaustion.

He just�physically was collapsing.

Now, Gary. Gary?

- You all right, Gary?
- You feel all right?

Yeah, I'm all right.

I think he�might have thrown
the towel in with any other director.

And he would try. He would tell Orson,

"I can't." But somehow,

Orson would always find a way
to get him to change his mind.

The costs were tremendous.

You don't go�through
multiple divorces unscathed.

Orson would push you

to the point where you said,
"Fuck you, fat man,

and take that legend
and shove it where the sun don't shine."

And just at that moment,

where he could feel
that he had gone too far,

he would wrap his arm around you
and basically say,

"Have I told you what�a great job
you've been doing for me lately?"

There's no doubt about it that he
seemed to be doing everything he could

to alienate as many people as possible.

But why? What is all that about?

It's strange.

I fear dying
before I have accomplished something

that I'm...

not ashamed of,�that I'm even
a little proud of. I'm afraid...

that I will be taken away
before I have justified

the luck and joy that I've had.

Relax totally.

Relax your face, sad, empty.

Empty. Now�say, "Many happy returns,"
so I hardly hear you.

Many happy�returns.

You pronounced it too carefully.

Many happy�returns.

There is a...

inconclusiveness, or a lack of definition

that is basic to this effort of Orson's.

You know, was it some sort
of endless odyssey?

We'll never know.

Orson knew what he wanted. He�knew.

- Take 21.
- Action.

What happened to the lights?

But, unless you have a brain
that works like that,

how does�anyone else know?

It was this circus of scattered souls.

We were totally out of reality.

What was happening on the set

was so much like what was happening
in the movie.

It was like, "Wait a minute.
That's Orson.

Is it? Orson, is that you?"
"No, that's John Huston. It's not me."

John didn't know what Orson was doing.

He said,�"I just can't figure out
what the hell he's putting together."

Come forward�with your matches,
looking, everybody, quickly.

But it's Orson, it'll be something.

Test one, take one!

Keep moving here.

One night in particular,
I was�listening�to John and Orson,

and John was saying, �What the hell
is this movie about, Orson?"

And Orson said,
"It's about a miserable prick.

This is his swan song.

It's about us."

My father felt that film was
a sort of slightly vulgar art-form.

He made one for them�and one for himself,

and was able to play the system,

more like a poker player.

Orson couldn't have been
more different, yeah.

My father was such a perfectionist,

and movies were his canvas.

Every shot of my father's movies
are a painting.

And Orson's line�was that Huston
was willing to sell out.

I kept waiting for my big scene
with John Huston,

the one time he was supposed
to really interact with me.

One day, we were shooting and I said,

"Where's John?"
He hadn't been around for a while,

and one of the crew said, "He's off
making some little film somewhere."

It was a huge success.

�Masterpiece,� they called it.

It was wonderful for my father.
A Kipling story

in the Atlas Mountains was heaven,
heaven on earth.

But to think that, at that moment,

the industry�is not paying the same amount
of respect to Welles is sad.

He once turned to me and he said,

"Citizen Kane is the greatest curse
of my life.

Every time I do anything,

people start comparing this to where
it stands vis-�-vis

what they call
the greatest American movie.

This is my curse."

No other director has ever been held up
to such an impossible standard.

What The Other Side of the Wind is about
is, in a sense, a bookend

to Citizen Kane,
about the tragic end of...

somebody who had become great...

and then had�lost his place in America.

Well, you know,

Orson said...

"No story has a happy ending,

unless you�stop telling it
before it's over with."

The tragedy of
The Other Side of the Wind

started with�Andr�s Vicente G�mez.

He was our�Spanish co-producer.

I'm not sure how much I can say
about this without getting into...

um... muddy legal�waters.

Yeah, I was there and I really,
to this day, don't know...

Whoa... Oh, wait a minute. I do know.

Oh, this story I can't tell.

Andr�s G�mez had supposedly put up
a couple of hundred thousand dollars

towards production costs
on The Other Side of the Wind,

and was on the set. He left,
and we were told that

he was going to pick up
the next tranche�of investment,

something in the order
of a quarter of a million dollars.

We were running out of cash
and we kept, "Where's Andr�s?

Where's Andr�s? When is he coming�back?"
Well, he never did come back.

I've heard that he vanished with some
money, but I don't know if that's true.

I don't know... He may have vanished
with his own money.

The problem is everybody
got their information from Orson.

Nobody has direct evidence
of how the money disappeared.

I read that he blamed me
'cause of the finance fiasco,

which is totally untrue.

I made a settlement with him.

There was no complaint,
there was no anything.

If it was�true, why didn't they make
any claim to me, you know?

It created chaos. I mean,
suddenly we're not filming.

And then�we're even blaming each other.

You can�imagine what happens to morale.

And then we're just all sorta,
"What's Orson gonna do?"

Mark it.

Go!

Orson certainly was having trouble
getting the film finished,

and when the production
had to move to Los Angeles

and needed interiors that could work
to double the Arizona house,

Peter had�Orson move into his house
in Beverly Hills to shoot there.

What happened is, I think Orson
sort of took advantage of that.

Peter told Orson
he could stay at his house

for maybe�two, three weeks a month.

Right on!

Well, he stayed on and off
for three years.

Right on!

Peter and Cybill Shepherd
were living in the east wing.

It was a very large house.

And he ate a lot.

Ah, the French champagne...

has always�been celebrated
for its excellence.

Fudgsicles!

He had to have them all the time.

He got very angry
if there were no Fudgsicles.

And I had strict orders
never to disturb him.

And then I smell smoke one day.

He was in the downstairs guest room.

And I followed it down
up to the door and tap-tap-tap,

"Orson, is everything okay?"

"Yes, it's taken care of."

He'd put a lit cigar in his robe pocket.

He was miserable.

He was never as fat as he was then.

And it was because of the movie.

Over time,
Peter gave more to Orson

than he ever imagined
he was going to give.

Don't give up the ship, eh, Brooksie?

I'm not.

It's really embarrassing
because he's broke.

Don't think I'm not ready to...

Don't think I'm not ready
to put up a fight for you.

I think, for a long time,
you could sort of justify,

"Well, Orson needs me.

I'm helping�him, maybe something good
will come out of it."

It's you I'm thinking of.

- God, I don't...
- Don't touch anything.

"It's you I'm thinking of."
Right into the door, that one.

It's you I'm thinking of.

At a certain point, it was like,
it should be time for Orson to...

to go, but Orson's not going,
and how do I sorta...

try to tell�him to do that?

We who somehow glow
a little in his light...

the fireflies,

he does�quite often swallow whole.

It's a fact�that some of us,
he chews on rather slowly.

Cut.

Orson commandeered�Peter's screening room

and turned it into his editing suite.

There he worked all hours,
piecing together

The Wind.

This is a Moviola.

It's a�machine for editing film.

Orson decided
on a completely new approach.

Orson cut it.

He cut it, every take, in�a lot of parts

- and he reconstruct�it.
- Action!

Curtain.

- Curtain.
- A film is...

never right

until it's right musically.

- I ended up working as an editor.
- Cut!

I spent six months on what I call
the bathroom orgy scene.

There were 500 edits.

And I spent six months with him editing
two frames here, five frames here, six...

He kept editing it a little bit more
and a little bit more.

His whole concept
of The Other Side of the Wind

was evolving, that's what he said.�I said,
"Well, how can it be evolving now?"

He said, "It's all in the editing."

I've never forgotten.

"It's all in the editing."

The jigsaw pieces were separated by

breaks in time.

Jesus, with�all your troubles,
what's one lousy leading man?

There was no�way for the picture
to be�put together, except in my mind.

Jesus, what's one lousy leading man?

Cut!

It was funny, 'cause,
after all that,

Orson still wanted Hollywood
to embrace him.

And I think�he thought that the AFI

uh, Life Achievement Award
was going to be that moment.

The American�Film Institute
presents a salute to Orson Welles.

I was the Founding Director
of the AFI.

I started the Life Achievement Awards.

To salute an outstanding individual

for his�lifetime contributions
to the art of motion pictures.

We concluded that Orson
should be the next recipient,

but The Other Side of the Wind intruded.

Peter was my�medium.

Stevens called me.

Peter said, "Orson would like
to show something

from his new film,
The Other Side of the Wind."

I said, "Fine."

It was a big�deal,�because we were trying
to sell the movie then.

He was�trying to sell the film.

He thought he was going to get
the money�to finish it.

Which was not unreasonable,

but it would grow ever more complicated

as we got�nearer to the time.

Nobody exceeded Orson in charm

when he�turned it on and he came to play.

This was all of Hollywood there.

What a better forum to present
the movie at? I mean...

Now, how about a look
at the future of our gifted friend?

The Other Side of the Wind.

It's about a celebration in honor
of a famous movie director

who is not Orson.

And all of the movie freaks and filmmakers
in the world are in at this bash

that I'm talking about,
including a brilliant young director

who, by another coincidence,
is not Peter Bogdanovich,

but is�played by Peter Bogdanovich.

Orson thought the AFI was
that moment where everyone was going to

give him his�just desserts.

This picture is beautiful.

And so are you, dear Orson.

This honor I can only accept

in the name of all the mavericks.

And don't imagine that this

raggle taggle gypsyo
is claiming to be free.

It's just that some of the necessities
to which I am a slave

are different from yours.

He was not sucking up to the audience.

He was basically saying,
"Fuck you," to the audience,

"Why haven't you acknowledged
my genius today?"

Let us raise our cups then,

standing as some of us do
on opposite ends of the river,

and drink together

to what really matters to us all.

To our crazy and beloved profession.

To the movies, to good movies.

To every�possible kind.

Orson makes a great speech.

And then he worked in
a clip of his new film.

The scene...

that you're going to see
takes place in a projection room.

Waiting there is the big studio boss.

The stooge is trying to sell

the unfinished movie that Jake is making,

for which he�needs end money.

I just think it was sad.

He was�practically begging for money.

- What happens�here?
- I'm not really sure, Max.

- You... You better ask Jake.
- I'd better read the script.

There isn't one.

Jake, he�s just�making it up
as he goes along.

He's done it�before.

Nobody gave�him a dime.

He thought he was going to attract

somebody who would open up the vault
and say, "Whatever you need."

And he�didn't get it.

All right, go home!�Who�gives a shit?

You stiffs can put all this stuff
together. We'll have our own movie.

A real movie!

A real movie!

Maybe she�just don't love us
like she used to.

Maybe.

Orson said to me once that,

"Los Angeles is the only city where
every road leads to the airport.

If you're�here, Hollywood can't wait
to get you out of here."

The clouds�around our film
were gathering from all directions.

The new�Hollywood ended around '75.

Star Wars and Jaws were blockbusters,

not personal films,
and changed�the atmosphere.

I did have the chance,

right after the tribute,
of reviving my career in America.

But it was�destroyed by the Iranians.

Iran's Islamic revolution.

Many foreign-owned businesses

and their assets confiscated
without payment.

Financing got into deep trouble.

The Iranian�company,
they simply shut off the spigot.

You see, the Shah himself

was the�brother-in-law of our producer.

When he was overthrown by the Ayatollah...

...the film was�confiscated by somebody...

Well, here it is...
if anybody wants to see it.

...and sent to a vault in Paris.

The Iranians�attempted to move it
out of Paris only two months ago.

Orson sued to finish his film.

Then, you know, he got fucked.

The French�court locked
The Other Side�of the Wind in a vault.

Orson couldn't have access to the film.

When you hear the cry,
"Death to the Shah,"

it doesn't come entirely
from the Iranian people.

Now, pretty much everything was shot

by this time.

And Orson�was heartbroken.

I didn't wanna...
don't wanna be introduced,

because I don't want this to seem
like a formal occasion.

That stops right now.

Stops right now. Back.

About ten feet,
you get a much better shot.�Zoom.

Sir, my question is a little bit personal.

What are the greatest events of your life
in relation�to your work as a film star?

The greatest moment is always

when you know the money's in the bank.

The point is, you have fallen in love
with an impossible medium,

because it's so hard to get the money
for your pictures.

It's so hard to get the distribution.

I believe we should work

in the constant recognition

of the fact that we are lucky
to be working,

and that our luck is too great
to confuse it

with ultimate justice.

Particularly,
since any intelligent person knows

that there is no justice in the world.

Of any kind.

My God, it's vodka.

This...

That's all. Don't go on
shooting me laughing and saying nothing.

Come on, I�don't want...
I don't want footage of myself...

Sometimes I try to imagine Orson

having different bedrooms
in different hotels.

And the door to this room is locked.
And under the bed

are hidden boxes and boxes of film.

Who knows?

A number of the things
you've done, films you've made,

have gone on for a very�long time.
You've come back to them, picked them up.

Yeah, there are only two
main projects which are unfinished.

Don Quixote.

And the other one,�which has been
much longer is The Other�Side of the Wind.

I don't know how many other pictures
Orson's got somewhere

that were�never finished. A few, a few.

The Deep was finished.

He just needed to loop the actors.

But he never did.

The Merchant of Venice.
If you are listening to Orson,

the sound�was stolen, that's the reason
why he didn't finish the picture.

The Dreamers.

The Dreamers was a major project that
would've been a really beautiful film.

Do you like to finish
a picture and be done with it?

Are you�happy when it's all done and cut?

No.

No, because you always hope
you can make it better.

I hate every kind of goodbye.

And every�time those lights go out,
it's a little death and a little goodbye.

I have a feeling,

for which I have no evidence,

that he�never wanted to finish
The Other Side of the Wind.

I always thought that we would
never finish the film until he died.

Because...

he felt that if we finished the film
he would die.

On the other hand...

This question:

Orson did not like to finish his films.

There is really no logic in it,
because not to finish his films

would have been suicidal,
and Orson loved life.

And life for him

mainly consisted of making the movies.

It implied that he would act
in other director's movies

in order to finance and to direct his own.

Then just before the end,

he would throw away
all this money and effort,

which he invested into his film,

for the�sheer pleasure
of not finishing it.

The myth of him not wanting
to complete his films

is complete and total nonsense.

Such bullshit.

He wanted to finish them correctly.

I mean, look at the movies
that were finished.

Hello!

One can only imagine
what the pain and suffering

he endured through the years
when he did finish.

Kane. Othello. Macbeth.

Stranger. Mr. Arkadin. And The Trial.

Touch of Evil. Lady�from Shanghai.
Immortal Story.

Chimes at�Midnight. F for Fake.

And, of course,

he did everything to continue
with The Other Side of the Wind.

I used to see him at Ma Maison,

a French�restaurant in Los Angeles.

He would eat there seven days a week.

He'd go to Ma Maison for lunch.

He had his own table,

and there�was mostly business involved.
I mean, like Burt Reynolds.

Jack Nicholson.

Henry Jaglom was a regular.

- I'll finish�this.
- Yes.

Chewing the�burger.

He wasn't�the ogre
everybody thought he was, at all.

This weird notion

that Orson was sitting around Ma Maison
doing fuck all

is insulting.

Miss Tracy. Prepare the standard
rich and famous contract

for Kermit�the Frog and company.

We'd had all these lunches
and we talked about everything.

And he was focusing on getting
the film�back so he could finish

The Other Side of the Wind.

We created a company called Weljag.

And we lied and we claimed to have
several million dollars

to pay the Shah of Iran's brother

the million and a half he was asking for.

And that would free the film.

He was outrageous.
He was willing to completely lie,

because he didn't have any respect
for the stupid process

that had held his film back.

So, we went�and we testified.

The great part of the film

was made�before there was a partnership
with the Iranians.

We were appealing
on the basis of the Code�Napol�on,

that says the artist owns the film.

It's close to being finished,

but the failure of the Iranians

to pay the money they were supposed to

delayed us for years,

and several�actors died.

That's what his whole focus was,

finishing The Other Side of the Wind.

And then the French judiciary announced

the producer owns the film.

Not Orson.

So, he's�back to stage one.

You have to protect yourself.

There are subjects we don't think about.

You know, it's like avoiding the mirror.

I don't much�like to look
in any form of mirror.

In Orson's life,

there's a sense of the essential
untrustworthiness of people.

It's a world view,
and that really�does run

pretty well through everything.

After that, I knew I couldn't trust him.

He was mad.

Betrayal was key to all of Orson's work.

They're mostly about
two guys who love each other,

and one betrays the other.

Gosh, this is difficult territory,

but it must have stemmed
from something in his life.

Actually, it starts as early as you like.

There are a number of betrayals
in Welles' childhood...

I don't like a pair of eyes...

...that were absolutely fundamental
to him, formative to him.

...staring at me.

His childhood was a mess.

With no look in them.

His mother died, died on his birthday.

And then his father was a drunk.

He told his�father that he didn't
wanna see him unless he was sober.

His father�died.

Suicide, take one.

Welles was convinced
his father committed suicide.

"Would-be suicide?"

Drank himself to death in a hotel
room in Chicago when Welles was 15.

- Announce it again.
- Suicide, take two.

This was the greatest
source of guilt in his life.

And he said, "I don't think
you can get over your guilt."

He said,
"You have to live with your guilt."

This treason...

is a theme that you use in other films.

Either people betray their best friends,

or they betray their values
in which they believe.

- Yes.
- Uh...

Which is worse, do you think?

I suppose it's to betray
the values in which you believe.

There we are!

Now we found the difference between us.

To me, the worst thing
is to betray a friend.

We were very close for a while.

And I loved�him, and I think he loved me.

I like him. I like him very much.

I consider him a true friend.

And I ask you to welcome him.
Burt Reynolds.

But Bert Reynolds and Orson,

they said a�couple of not very nice things
about me, on television.

We have a mutual friend,
of course,�Peter Bogdanovich.

That's right. As a matter of fact,

you have me to thank for the fact
that you were asked to be

in the picture which was probably
the least successful of any in your past.

My feeling was that the picture
needed you.

Yeah.

No, it needed a lot more.

That's right.

I had the distinction
of getting him on this show

and having him host the show.

- How did you get him off?
- Well, that was the thing.

This is the one that hurts.

This is a scene
we both hoped we'd never get to.

Hey.

Remember when you first appeared
on that location of mine?

Yeah, I didn't even have

fare back home. Just that...

secondhand tape recorder.

A raggedy-ass kid.

So, I wrote him a note in which I said,

"I tuned in last night to see
what you think about me

and I guess I found out."

And he sent�me back a envelope...

The envelope.

...with two letters in it.

One said he was absolutely horrified

and that he felt he'd betrayed
our friendship.

And the other letter said I deserved it.

He said, "Take your pick."

What'd I do�wrong, Daddy?

You can kiss�my sweet ass.

Last Picture Show, Paper Moon.

Some of those early films.
They said, "Bogdanovich is

the best we've got. He's on his way."

They don't say that anymore.

What happened?

Peter, due to personal situations,

ended up on the rocks in a number of ways.

But Orson was way beyond
being on the rocks.

Orson was�the rocks
and the waves and the wind.

Cut.

Many years later,

we started talking
on the phone again a bit.

But it wasn't the same.

And I said to him,

"I feel like I made so many mistakes."

And he said,

"Well...

it does seem to be impossible
to go through life

without making a great many of them."

He died�within a week later.

Our next speaker has been Orson's friend
and cameraman for about 15 years,

and a friend, very good friend. Underline.

He worked on�The Other Side of the Wind
and F for Fake...

At the memorial, Gary broke down.

That was a�big piece of his life gone,
you know?

He had more�contact with Orson
than he did with his children.

The thing that's sad to me really is that

I wanna talk to Orson.

I wish I could talk to him

and tell him a lot of things
right now. That's...

that's what probably

makes me feel saddest of all.

It just broke your heart.

He said stuff like,

"I don't know what to do tomorrow."
You know?

And, uh...

He said, "I wake up every morning,
what I do is

I call Orson and he tells me
what I'm supposed to do today.

And I don't�know what to do tomorrow."

Gary ended up with Orson's ashes

in the trunk of his car
for a year and a half,

waiting for... where are we gonna
bury him, you know?

I'm sorry for all the...

great things that Orson did

that were never shown.

And that's why I keep after you, Gary.

I keep�hoping The Other Side of the Wind
will be released.

This... This is what we started
The Other Side of the Wind with.

Arriflex.

And then�Orson could look there.

There was a work print
amidst Gary's belongings.

And he did try to cut the movie
before he died.

But...

without Orson, it didn't track.

Gary would�have the story perfect in
his head, he just couldn't get it on film.

But without any doubt,

I believe that my father would've

- immediately answered "yes."
- Yes.

That he would do it all over again.

A lot of people wanna see
The Other Side of the Wind get made.

It is the greatest movie
never released, you know.

What did Orson really mean by it?

What is its... its true form?

It's an�eternal quest.

I shot Someone to Love,

which is Orson's last movie as an actor,
before he died.

And he turns�to me and he says...

"We come into the world alone,
we die alone, we live alone.

Love and friendship is the nearest thing

that we can find

to create the illusion

that we are�not totally alone."

So, I'm working on that, after Orson died,

and I get a knock on my door.
And it's John Huston.

He says, "You have footage of Orson
that I haven't seen."

I said, "Well, I'll put it up for you."

As far as�this movie is concerned,
it seems to me you've got your ending.

Why?

Because we have come to the end.

- I'm glad you�came today.
- So am I.

Thank you. Stay a little longer?

Really can't go on recording this.

- Why?
- It's got too�sweet.

I'm not�gonna say "cut."

I'll say "cut." I'm a director.

- Say it...
- Cut!

- Say it into�the camera.
- What?

- Say it into�the camera.
- I did.

Can you do�it again?

You want me�to say "cut" again?

- Into the�camera...
- Wants to improvise

and do it twice. Cut!

Huston turned to me and he said,

"He let you do that?"

He said, "Oh, that's wonderful.
I've always wanted him on film laughing.

That was so... "And he started crying.

He started crying, Huston.

Watching Orson laughing.

Clips of films, the cans,
the years of work and ideas.

Did Welles see it all as an endless loop

full of sound and fury,
signifying nothing?

Or, perhaps for him,

failure was simply
a more interesting ending.

Orson talked about ways to
re-imagine The Other Side of the Wind.

How did he�put it?

Supposing, during the course
of the picture, that it turns out

that it's more interesting hearing
the actors and myself talk about it

than making the picture.
That will be the picture.

Oh, maybe that's what
he was talking about.

Maybe he was�saying that The Other Side
of the Wind was like a documentary.

At one point, he was talking about
turning it into a documentary.

Yeah. Oh, yeah.

As he always had done,
innovating with the form.

You were showing people
making a movie.

So, it was�like a documentary.

See what I mean?
It's that... It's that free.

Maybe it isn't even the picture.

Maybe it's just talking about
making the picture.

We're just�gonna go.

Let me show that again.

Maybe it's just talking about
making the picture.

Well, that makes perfect sense to me.

I remember him talking to me about that.

It's all in the editing.

The Other Side of the Wind
and his life�were inseparable.

The whole documentary
that we're all so accustomed to today...

he was�inventing.

Well, who's gonna watch this film?

What kind of�people do you think
are gonna be your audience?

That's a wonderful question.

I hope everybody.