A famous French documentary director has chosen to match his talents with those of a powerful subject who talks on his youth, his formative years, his life and work. Reichenbach on Welles on Welles, one might say.
These recollections help to explain something of the creative processes of film making, comparing the behaviour of Welles the director and Welles the man. Orson at home, Orson interviewed at the Cannes Festival, Orson shooting a scene with Jeanne Moreau… Orson in portrait. No less. (MIFF) Continue reading
Sean Axmaker, Keyframe wrote:
When handed the raw materials from an unfinished documentary about Elmyr de Hory, an art forger whose life was being written up by biographer Clifford Irving, Orson Welles took the opportunity to make something far beyond the concept of the traditional documentary. F for Fake has been called the Orson Welles’ first essay film, a true enough statement if you limit the accounting to feature films, but he had been doing short-form non-fiction since 1955, when he made Around the World with Orson Welles (a.k.a. Around the World) for British television. Continue reading
Making its debut with Romeo and Juliet on 3 December 1978, and concluding nearly seven years later with Titus Andronicus on 27 April 1985, the BBC Television Shakespeare project was the single most ambitious attempt at bringing the Bard of Avon to the small screen, both at the time and to date.
Producer Cedric Messina was already an experienced producer of one-off television Shakespeare presentations, and was thus ideally qualified to present the BBC with a daunting but nonetheless enticingly simple proposition: a series of adaptations, staged specifically for television, of all 36 First Folio plays, plus Pericles (The Two Noble Kinsmen was considered primarily John Fletcher’s work, and the legitimacy of Edward III was still being debated). Continue reading
Thriller (aka. Boris Karloff’s Thriller) was an hour-long TV Horror anthology series that originally aired on NBC from 1960 to 1962. Horror fans who grew up in the 1960’s and 1970’s were nearly enraptured with the content and structure of this show. Indeed, in his non-fiction book on horror, Danse Macabre, Stephen King calls Thriller “the best horror series ever put on TV” (224; 1983 ed). At the beginning of each hour, Hollywood’s master of the macabre himself, Boris Karloff, would set the tone and prime the viewers for frightful and chilling dramatizations based on the works of some of the era’s greatest writers in the genre – writers like Robert E Howard, Cornell Woolrich, Richard Matheson, and Robert Bloch. Each episode was shot in eerie black and white and offered at least one story, with a few episodes dividing the hour between two or three shorter plays. Continue reading
This short clip (10mins) features colour footage shot of costume tests for Welles unfinished project “The Merchant of Venice” from 1969 and whilst there is no sound to the footage, the music is part of a score that Welles had commissioned for “The Merchant of Venice” by Angelo Francesco Lavagnino. Continue reading
Alexander Kluge: Jeder Zirkus hat ein Ende
10vor11 Kulturmagazin, 25./26.6.18, RTL
Die 1509. und zugleich letzte Ausgabe des Kulturmagazins 10 VOR 11. Zum Abschied mit Überlänge. Mit Hannelore Hoger, Thomas Gottschalk, Friedrich Kittler, Dirk Baecker, Andrea Komlosy, Jürgen Kocka, Olli Schulz, Helge Schneider, Michel Serres, Niklas Luhmann, Heiner Müller, Hans-Thomas Janka, Andrea Kunder, David Gross (Nobelpreisträger), Rainer Weiss (Nobelpreisträger), Karin Mölling, Sir Henry, Sophie Rois, Präsident Trump und vielen anderen Gästen. Mit viel Musik, Information, Dialog, Bildern und Zusammenarbeit mit Partnern. Von Philosophie über Kunst und Wissenschaft bis zur “Abrüstung vom Sinnzwang”. So nah sind sich Helge Schneider und Michel Serres sonst nirgends gekommen. Continue reading
Description: Directed by George Schaefer, this light made-for-television drama is based upon the novel of the same name by Robert Oliphant. Starring Bette Davis as Esther Cimino, a 73-year-old widow, the film traces the events following Esther’s son George’s (George Hearn) decision that she is no longer capable of caring for herself in her elderly state. Despite her protests, Esther is ruled incompetent by the legal system, leading her to wage a court battle to regain not only her estate but her dignity as well. Also starring Penny Fuller and Christopher Guest, A Piano for Mrs. Cimino first aired on February 3, 1982 on CBS and was later nominated for an Emmy for Outstanding Film Editing. Continue reading