"The Billy Crystal Comedy Hour" is likely not remembered by many people, except for Billy Crystal himself. The variety/talk show ran from January 30 through February 27 in 1982, lasting a grand total of five episodes. Crystal was already a successful comedian and beloved figure in the industry thanks to the popularity of his 1970s stand-up work and his role in the 1977 sitcom "Soap," so he had connections. He was able to secure guest appearances from many of his famous comedian friends, including Rick Moranis, Dave Thomas, Robin Williams, and John Candy for the debut episode. Subsequent guests included Morgan Fairchild, the Manhattan Transfer, Nell Carter, Shelley Duvall, Cindy Williams, Al Jarreau, and Smokey Robinson.
"The Billy Crystal Comedy Hour" fell right in between "Soap" and "Saturday Night Live" on Crystal's professional timeline, and it might be considered something of a dip in his career. The show was canceled after only two episodes aired,...
"The Billy Crystal Comedy Hour" fell right in between "Soap" and "Saturday Night Live" on Crystal's professional timeline, and it might be considered something of a dip in his career. The show was canceled after only two episodes aired,...
- 4/30/2024
- by Witney Seibold
- Slash Film
Mr. Wilder And Me author Jonathan Coe on Billy Wilder’s Private Life Of Sherlock Holmes after speaking with Paul Diamond (Ial Diamond’s son): “They shot all the footage but a lot of it was never scored, never dubbed, never graded. So the three-hour-version, which so many of us yearn for, never did exist in fact.” Photo: Anne-Katrin Titze
In the second instalment, Mr. Wilder And Me author Jonathan Coe and I discuss how key scenes happen while characters are eating and why a dumpling was changed for the German edition of the novel. Also: Marthe Keller with her Bobby Deerfield (directed by Sydney Pollack) co-star Al Pacino and the infamous cheeseburger ordered at Bayerischer Hof in Munich; Billy Wilder’s Fedora, Greece, and brie; Bewitched, overdressing and underdressing; yearning for unattainable movies, Orson Welles and The Other Side Of The Wind (documented in Morgan Neville's They’ll Love Me When I’m Dead...
In the second instalment, Mr. Wilder And Me author Jonathan Coe and I discuss how key scenes happen while characters are eating and why a dumpling was changed for the German edition of the novel. Also: Marthe Keller with her Bobby Deerfield (directed by Sydney Pollack) co-star Al Pacino and the infamous cheeseburger ordered at Bayerischer Hof in Munich; Billy Wilder’s Fedora, Greece, and brie; Bewitched, overdressing and underdressing; yearning for unattainable movies, Orson Welles and The Other Side Of The Wind (documented in Morgan Neville's They’ll Love Me When I’m Dead...
- 7/21/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Mr. Wilder And Me author Jonathan Coe on Billy Wilder’s Private Life Of Sherlock Holmes after speaking with Paul Diamond (Ial Diamond’s son): “They shot all the footage but a lot of it was never scored, never dubbed, never graded. So the three-hour-version, which so many of us yearn for, never did exist in fact.”
In the second instalment, Mr. Wilder And Me author Jonathan Coe and I discuss how key scenes happen while characters are eating and why a dumpling was changed for the German edition of the novel. Also: Marthe Keller with her Bobby Deerfield (directed by Sydney Pollack) co-star Al Pacino and the infamous cheeseburger ordered at Bayerischer Hof in Munich; Billy Wilder’s Fedora, Greece, and brie; Bewitched, overdressing and underdressing; yearning for unattainable movies, Orson Welles and The Other Side Of The Wind (documented in Morgan Neville's They’ll Love Me When I’m Dead...
In the second instalment, Mr. Wilder And Me author Jonathan Coe and I discuss how key scenes happen while characters are eating and why a dumpling was changed for the German edition of the novel. Also: Marthe Keller with her Bobby Deerfield (directed by Sydney Pollack) co-star Al Pacino and the infamous cheeseburger ordered at Bayerischer Hof in Munich; Billy Wilder’s Fedora, Greece, and brie; Bewitched, overdressing and underdressing; yearning for unattainable movies, Orson Welles and The Other Side Of The Wind (documented in Morgan Neville's They’ll Love Me When I’m Dead...
- 7/21/2023
- by Jennie Kermode
- eyeforfilm.co.uk
Paul McCartney’s post-Beatles music career will be the focus of an upcoming documentary directed by Morgan Neville.
The tentatively titled Man on the Run, “the definitive document of Paul’s emergence from the dissolution of the world’s biggest band and his triumphant creation of a second decade of musical milestones — a brilliant and prolific stretch,” was announced at a pre-Grammy Universal Music Group party Saturday night; Umg’s television arm Polygram Entertainment will also produce the documentary, a teaser for which was shown at the event.
According to the Hollywood Reporter,...
The tentatively titled Man on the Run, “the definitive document of Paul’s emergence from the dissolution of the world’s biggest band and his triumphant creation of a second decade of musical milestones — a brilliant and prolific stretch,” was announced at a pre-Grammy Universal Music Group party Saturday night; Umg’s television arm Polygram Entertainment will also produce the documentary, a teaser for which was shown at the event.
According to the Hollywood Reporter,...
- 2/5/2023
- by Daniel Kreps
- Rollingstone.com
This review of “Mosquito State” was first published in September 2020 after the film’s premiere at the Venice Film Festival.
On the film-festival circuit, Polish-American filmmaker Filip Jan Rymsza is best known for shepherding the unfinished, long-neglected Orson Welles movie “The Other Side of the Wind” to completion in 2018, and for producing two accompanying documentaries, Morgan Neville’s “They’ll Love Me When I’m Dead” and Ryan Suffern’s short “A Final Cut for Orson.”
“The Other Side of the Wind” and “They’ll Love Me When I’m Dead” both premiered two years ago at the Venice International Film Festival, so it makes sense that Rymsza’s debut as a feature director, “Mosquito State,” debuted at that same festival in 2020, alongside another Rymsza-produced Welles project, the documentary “Hopper/Welles.” The creepy, cerebral thriller is bold and weird and wildly unlike anything Welles might have done, though you could probably call it the “Citizen...
On the film-festival circuit, Polish-American filmmaker Filip Jan Rymsza is best known for shepherding the unfinished, long-neglected Orson Welles movie “The Other Side of the Wind” to completion in 2018, and for producing two accompanying documentaries, Morgan Neville’s “They’ll Love Me When I’m Dead” and Ryan Suffern’s short “A Final Cut for Orson.”
“The Other Side of the Wind” and “They’ll Love Me When I’m Dead” both premiered two years ago at the Venice International Film Festival, so it makes sense that Rymsza’s debut as a feature director, “Mosquito State,” debuted at that same festival in 2020, alongside another Rymsza-produced Welles project, the documentary “Hopper/Welles.” The creepy, cerebral thriller is bold and weird and wildly unlike anything Welles might have done, though you could probably call it the “Citizen...
- 8/26/2021
- by Steve Pond
- The Wrap
Grafting Cronenbergian body horror onto the 2008 financial crisis, Filip Jan Rymsza’s horror-tinged Mosquito State takes its title very literally, beginning with the up-close birth of a mosquito and ends, quite appropriately, with an insect apocalypse as the stock market collapses. In-between those potent images, however, is a work with plenty of grandiose ideas and little sense of how to communicate them. Thematically muddled but visually stunning, Rymsza’s film serves as a warning call for those who prioritize form over all else, elaborately staged shots doing little to hide the ever-growing narrative inconsistencies.
Its ostensible protagonist is Richard Boca (Beau Knapp), an investment-firm “golden goose” whose finance-bro colleagues openly disdain him. He’s awkward, introverted, and something of a wunderkind: his algorithm “Honeybee” is both incredibly lucrative for the firm and modeled on colony-collapse disorder, a phenomenon wherein the worker bees disappear, leaving the queen bee with outsize resources...
Its ostensible protagonist is Richard Boca (Beau Knapp), an investment-firm “golden goose” whose finance-bro colleagues openly disdain him. He’s awkward, introverted, and something of a wunderkind: his algorithm “Honeybee” is both incredibly lucrative for the firm and modeled on colony-collapse disorder, a phenomenon wherein the worker bees disappear, leaving the queen bee with outsize resources...
- 8/26/2021
- by Christian Gallichio
- The Film Stage
"One minute I was standing next to a deep fryer, and the next I was watching the sunset over the Sahara." Focus Features has released the official trailer for Roadrunner: A Film About Anthony Bourdain, a new doc film about the late Anthony Bourdain. Everyone knows about him, everyone loves him (for the most part), and everyone knows that unfortunately he took his own life a few years ago. This film is made by one of my favorite doc filmmakers – Morgan Neville, of the acclaimed docs 20 Feet from Stardom, Best of Enemies: Buckley vs. Vidal, Keith Richards: Under the Influence, Won't You Be My Neighbor?, and They'll Love Me When I'm Dead previously. Roadrunner is a comprehensive doc about Anthony Bourdain and his extensive career as a chef, writer and host, revered and renowned for his authentic approach to food, culture and travel. This looks like everything I was...
- 6/3/2021
- by Alex Billington
- firstshowing.net
Photo: 'They’ll Love Me When I’m Dead'/Netflix Orson Welles was a filmmaker known for being ahead of his time, quirky, and experimental. Of course, Citizen Kane (1941) will forever be his most revered work, but there’s much more to his legacy. His catalog includes several other classics, such as the historical dramas Macbeth (1948) and Othello (1951). In the later years of his career, he tried his hand at experimental films such as the docudrama F for Fake (1973) that followed the world of art forgery. However, even with so much output, his drive to create never wavered. There was one film that he desperately wanted to finish before he died: The Other Side of the Wind (2018). Related article: Bigger than Ant-Man: A Tribute to Paul Rudd – The Winner’s Journey Related article: Video | The Artist Evolves: All Leonardo DiCaprio Roles & Performances, 1980s to 2020 Filmography Director Morgan Neville’s documentary...
- 1/29/2021
- by Joshua Valdez
- Hollywood Insider - Substance & Meaningful Entertainment
Producer Filip Jan Rymsza, editor Bob Murawski, along with Peter Bogdonavich and Frank Marshall, surprised the film world in 2018 when they finished Orson Welles’ final project The Other Side of the Wind. Two documentaries about making the film accompanied Wind’s release and a moment in film history was made. We spoke with the team during the New York Film Festival that year and thought their journey was over. So it was a surprise to learn Rymsza and Murawski had a fourth project from the material, debuting at this year’s Venice Film Festival.
Gary Graver, Welles’ cinematographer for Wind, shot nearly five hours of footage on two cameras when Orson Welles met Dennis Hopper for dinner in November 1970. Only thirty seconds of the footage appears in The Other Side of the Wind, but the conversation shows Welles curious about this alleged leader of the New Hollywood, a maverick like Welles,...
Gary Graver, Welles’ cinematographer for Wind, shot nearly five hours of footage on two cameras when Orson Welles met Dennis Hopper for dinner in November 1970. Only thirty seconds of the footage appears in The Other Side of the Wind, but the conversation shows Welles curious about this alleged leader of the New Hollywood, a maverick like Welles,...
- 10/8/2020
- by Joshua Encinias
- The Film Stage
For almost 40 years, the 100 hours of surviving footage that Orson Welles shot in the early 1970s for the movie “The Other Side of the Wind” remained largely unseen. First the director struggled in vain to finish the film, then its rights were tied up after his death. But that four decades of frustration has turned into a flurry of activity: In the last two years, that footage has been used not only in the completed version of “The Other Side of the Wind” that finally premiered at the Venice Film Festival in 2018, but in two different documentaries about the film, Morgan Neville’s “They’ll Love Me When I’m Dead” and Ryan Suffern’s short doc “A Final Cut for Orson.”
And now it’s serving as the basis for yet another side of “The Other Side of the Wind,” and another posthumous film on which Welles is credited as director.
And now it’s serving as the basis for yet another side of “The Other Side of the Wind,” and another posthumous film on which Welles is credited as director.
- 9/8/2020
- by Steve Pond
- The Wrap
You wait the best part of 30 years for one and then two come along at once…Orson Welles movies.
Pieced together from the 1,083 reels of footage for The Other Side Of The Wind (which debuted in 2018), Hopper/Welles is the latest ‘new’ feature from the industry titan, who died in 1985.
Ahead of its world premiere at the Venice Film Festival, we spoke to producer Filip Jan Rymsza about the backstory behind the movie, on which he re-teamed with The Other Side Of The Wind editor Bob Murawski (The Hurt Locker).
The intimate and revelatory documentary captures a 1970 meeting between the Citizen Kane director and the then-rising star Dennis Hopper, who had just made Easy Rider. The encounter came about when Hopper agreed to a cameo role in Welles’ troubled The Other Side Of The Wind. Welles flew Hopper from New Mexico to Los Angeles, where he cooked him a pasta...
Pieced together from the 1,083 reels of footage for The Other Side Of The Wind (which debuted in 2018), Hopper/Welles is the latest ‘new’ feature from the industry titan, who died in 1985.
Ahead of its world premiere at the Venice Film Festival, we spoke to producer Filip Jan Rymsza about the backstory behind the movie, on which he re-teamed with The Other Side Of The Wind editor Bob Murawski (The Hurt Locker).
The intimate and revelatory documentary captures a 1970 meeting between the Citizen Kane director and the then-rising star Dennis Hopper, who had just made Easy Rider. The encounter came about when Hopper agreed to a cameo role in Welles’ troubled The Other Side Of The Wind. Welles flew Hopper from New Mexico to Los Angeles, where he cooked him a pasta...
- 9/4/2020
- by Andreas Wiseman
- Deadline Film + TV
Timothy Greenfield-Sanders on filming Toni Morrison: "The camerawork that was done in Toni's home by the river, all of that was done by Mead Hunt." Photo: Timothy Greenfield-Sanders
In the second instalment of my conversation with director/photographer Timothy Greenfield-Sanders he recalls memories of Tennessee Williams, Bette Davis, Orson Welles, and Ingmar Bergman, and relates an early Ernest Hemingway insight. We discuss Fran Lebowitz, Oprah Winfrey, Walter Mosley, and Russell Banks in Toni Morrison: The Pieces I Am and his longtime cinematographer Graham Willoughby who became Morgan Neville's trusted Dp on.
Timothy Greenfield-Sanders: "When she says 'I highly recommend that you have a friend that wins a Nobel Prize!' Classic Fran Lebowitz." Photo: Timothy Greenfield-Sanders
Timothy credits his editor Johanna Giebelhaus for the clip from John M. Stahl's Imitation of...
In the second instalment of my conversation with director/photographer Timothy Greenfield-Sanders he recalls memories of Tennessee Williams, Bette Davis, Orson Welles, and Ingmar Bergman, and relates an early Ernest Hemingway insight. We discuss Fran Lebowitz, Oprah Winfrey, Walter Mosley, and Russell Banks in Toni Morrison: The Pieces I Am and his longtime cinematographer Graham Willoughby who became Morgan Neville's trusted Dp on.
Timothy Greenfield-Sanders: "When she says 'I highly recommend that you have a friend that wins a Nobel Prize!' Classic Fran Lebowitz." Photo: Timothy Greenfield-Sanders
Timothy credits his editor Johanna Giebelhaus for the clip from John M. Stahl's Imitation of...
- 6/27/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
After taking a trip to Mister Rogers’ neighborhood, Morgan Neville is visiting the vaunted halls of Shangri-La — Rick Rubin’s iconic Malibu recording studio nestled in the remote, beachside wilderness and home to legendary sessions from artists like Adele, Eminem, Jay-z, Lady Gaga, and more.
The four-part documentary series “Shangri-La” is a collaboration between Neville, who directed the first two episodes, Jeff Malmberg (who directs the last two), and Rubin himself, who’s on board as an executive producer. Per Showtime’s official synopsis, the series focuses on the creative conversation and emotional side of making music, as Neville interviews Rubin and his visiting musicians inside the peaceful estate.
Rubin co-founded Def Jam Records while enrolled at NYU in the ’80s, and the bearded producer helped launch everyone from Public Enemy to the Beastie Boys under the label. He went on to run American Recording and Columbia Records, but it...
The four-part documentary series “Shangri-La” is a collaboration between Neville, who directed the first two episodes, Jeff Malmberg (who directs the last two), and Rubin himself, who’s on board as an executive producer. Per Showtime’s official synopsis, the series focuses on the creative conversation and emotional side of making music, as Neville interviews Rubin and his visiting musicians inside the peaceful estate.
Rubin co-founded Def Jam Records while enrolled at NYU in the ’80s, and the bearded producer helped launch everyone from Public Enemy to the Beastie Boys under the label. He went on to run American Recording and Columbia Records, but it...
- 6/2/2019
- by Ben Travers
- Indiewire
Won't You Be My Neighbor? director Morgan Neville with Anne-Katrin Titze, quoting Fred Rogers on what is essential in life: "Love that conquers hate. Peace that rises triumphant over war. And justice that proves more powerful than greed." Photo: Don Reid of The Roxy Hotel
Morgan Neville, the director of the Oscar-winning 20 Feet From Stardom; Best Of Enemies: Buckley Vs. Vidal (with Robert Gordon on the feud between Gore Vidal and William F Buckley); The Music Of Strangers on Yo-Yo Ma and the Silk Road Ensemble, and They'll Love Me When I'm Dead, on the making of Orson Welles's The Other Side Of The Wind (a Special Events selection and highlight of the 56th New York Film Festival) was honoured at the National Board of Review Gala this week with the William K Everson Film History Award.
Morgan Neville on Fred Rogers: "His superpower was this piercing sincerity. He...
Morgan Neville, the director of the Oscar-winning 20 Feet From Stardom; Best Of Enemies: Buckley Vs. Vidal (with Robert Gordon on the feud between Gore Vidal and William F Buckley); The Music Of Strangers on Yo-Yo Ma and the Silk Road Ensemble, and They'll Love Me When I'm Dead, on the making of Orson Welles's The Other Side Of The Wind (a Special Events selection and highlight of the 56th New York Film Festival) was honoured at the National Board of Review Gala this week with the William K Everson Film History Award.
Morgan Neville on Fred Rogers: "His superpower was this piercing sincerity. He...
- 1/13/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
This story about “The Other Side of the Wind” first appeared in the Race Begins issue of TheWrap’s Oscar magazine.
Peter Bogdanovich was at home on a Monday morning in 1970 when he got a call from his friend Orson Welles. “What are you doing on Thursday?” Welles said to Bogdanovich, a critic, film scholar and occasional actor just venturing into directing.
“I’m flying to Texas to make ‘The Last Picture Show,'” said Bogdanovich, whose career would explode with that classic film.
Welles was undeterred. “What time are you leaving?” he said. “Three o’clock,” Bogdanovich said. “Good,” said Welles. “Meet me on that road by the airport at noon.”
Nearly 40 years later, Bogdanovich chuckles thinking of the conversation. “I said to Orson, ‘What are you doing?'” he said. “He had read the script to ‘The Last Picture Show’ and referred to it as a dirty picture.
Peter Bogdanovich was at home on a Monday morning in 1970 when he got a call from his friend Orson Welles. “What are you doing on Thursday?” Welles said to Bogdanovich, a critic, film scholar and occasional actor just venturing into directing.
“I’m flying to Texas to make ‘The Last Picture Show,'” said Bogdanovich, whose career would explode with that classic film.
Welles was undeterred. “What time are you leaving?” he said. “Three o’clock,” Bogdanovich said. “Good,” said Welles. “Meet me on that road by the airport at noon.”
Nearly 40 years later, Bogdanovich chuckles thinking of the conversation. “I said to Orson, ‘What are you doing?'” he said. “He had read the script to ‘The Last Picture Show’ and referred to it as a dirty picture.
- 11/16/2018
- by Steve Pond
- The Wrap
"They'll Love Me When I'm Dead" is the new documentary feature, directed by Morgan Neville, revolving around the making and filming of "The Other Side of the Wind", directed by Orson Welles ("Citizen Kane"), streaming exclusively on Netflix November 2, 2018:
"...'They'll Love Me When I'm Dead', takes its name from a sarcastic comment Welles made to Peter Bogdanovich, following Welles' return to the U.S. in the early 1970's to shoot his ill-fated Hollywood comeback film. The documentary concludes with his death in October 1985..."
"Welles is the protagonist of my documentary," said Neville. "...it is so autobiographical, even though he said it was not..."
"The Other Side of the Wind" (1976) written/directed by Welles, was recently restored for a theatrical run, starring John Huston, Robert Random, Peter Bogdanovich, Susan Strasberg and Oja Kodar:
"...'The Other Side of The Wind', covers the 70th birthday party of...
"...'They'll Love Me When I'm Dead', takes its name from a sarcastic comment Welles made to Peter Bogdanovich, following Welles' return to the U.S. in the early 1970's to shoot his ill-fated Hollywood comeback film. The documentary concludes with his death in October 1985..."
"Welles is the protagonist of my documentary," said Neville. "...it is so autobiographical, even though he said it was not..."
"The Other Side of the Wind" (1976) written/directed by Welles, was recently restored for a theatrical run, starring John Huston, Robert Random, Peter Bogdanovich, Susan Strasberg and Oja Kodar:
"...'The Other Side of The Wind', covers the 70th birthday party of...
- 10/25/2018
- by Michael Stevens
- SneakPeek
"This is a movie that everybody in this room, myself included, has been waiting decades to see," Kent Jones, director of the New York Film Festival, said Saturday at a screening of Orson Welles' The Other Side of the Wind.
The event was preceded by a showing of They'll Love Me When I'm Dead, a companion documentary that details Other Side of the Wind's 48-year-long production process.
After the screenings, moderators Jones and Martin Scorsese sat down with producers Frank Marshall and Filip Jan Rymsza, executive producer and star Peter Bogdanovich, editor Bob Murawski and They'll Love Me director ...
The event was preceded by a showing of They'll Love Me When I'm Dead, a companion documentary that details Other Side of the Wind's 48-year-long production process.
After the screenings, moderators Jones and Martin Scorsese sat down with producers Frank Marshall and Filip Jan Rymsza, executive producer and star Peter Bogdanovich, editor Bob Murawski and They'll Love Me director ...
- 10/1/2018
- The Hollywood Reporter - Film + TV
"This is a movie that everybody in this room, myself included, has been waiting decades to see," Kent Jones, director of the New York Film Festival, said Saturday at a screening of Orson Welles' The Other Side of the Wind.
The event was preceded by a showing of They'll Love Me When I'm Dead, a companion documentary that details Other Side of the Wind's 48-year-long production process.
After the screenings, moderators Jones and Martin Scorsese sat down with producers Frank Marshall and Filip Jan Rymsza, executive producer and star Peter Bogdanovich, editor Bob Murawski and They'll Love Me director ...
The event was preceded by a showing of They'll Love Me When I'm Dead, a companion documentary that details Other Side of the Wind's 48-year-long production process.
After the screenings, moderators Jones and Martin Scorsese sat down with producers Frank Marshall and Filip Jan Rymsza, executive producer and star Peter Bogdanovich, editor Bob Murawski and They'll Love Me director ...
- 10/1/2018
- The Hollywood Reporter - Movie News
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSJia Zhangke's In the Qing Dynasty, a project the auteur has been preparing since as early as 2007, is set to begin shooting in Spring 2019.
Jia Zhangke's historical epic In The Qing Dynasty, to be produced by Johnnie To, will have action by Ching Siu Tung. pic.twitter.com/LZsHboTw54— Asian Film Strike (@AsianFilmStrike) April 27, 2017 Recommended Viewinga neon-lit trailer for Harmony Korine's highly-anticipated The Beach Bum, which will be released in March of 2019. For GQ, Nicolas Cage provides a candid self-analysis of his personal favorite characters he has played in his singular acting career, from Castor Troy to Charlie Kaufman (with nods to German Expressionism and Fritz Lang!).Nuri Bilge Ceylan's latest, The Wild Pear Tree, has been selected as the Turkish entry for the Foreign Language award at the 91st Academy Awards next year.
Jia Zhangke's historical epic In The Qing Dynasty, to be produced by Johnnie To, will have action by Ching Siu Tung. pic.twitter.com/LZsHboTw54— Asian Film Strike (@AsianFilmStrike) April 27, 2017 Recommended Viewinga neon-lit trailer for Harmony Korine's highly-anticipated The Beach Bum, which will be released in March of 2019. For GQ, Nicolas Cage provides a candid self-analysis of his personal favorite characters he has played in his singular acting career, from Castor Troy to Charlie Kaufman (with nods to German Expressionism and Fritz Lang!).Nuri Bilge Ceylan's latest, The Wild Pear Tree, has been selected as the Turkish entry for the Foreign Language award at the 91st Academy Awards next year.
- 9/26/2018
- MUBI
"Orson was such a perfectionist." Netflix has unveiled the first trailer for the documentary They'll Love Me When I'm Dead, a film about the story of and making of Orson Welles' final film, The Other Side of the Wind, which was finished and is also being released this year. This documentary is also the second film this year made by the incredibly talented Morgan Neville, who also directed the wonderful Won't You Be My Neighbor? about Mr. Rogers. In the final 15 years of the life of legendary director Orson Welles he pins his Hollywood comeback hopes on a project, The Other Side of the Wind, in itself a film about an aging director trying to finish his last great movie. They'll Love Me When I'm Dead is about what happened, and why he never finished it, and the final days of Orson the filmmaker. This looks way better than the actual film itself.
- 9/24/2018
- by Alex Billington
- firstshowing.net
Peter Medak’s new documentary “The Ghost of Peter Sellers,” about the catastrophic production of the actor’s failed 1973 pirate comedy “Ghost in the Noonday Sun,” begins with a little back-patting.
Medak, who also directed the classic films “The Ruling Class” and “The Changeling,” says he’s fairly certain that no filmmaker has ever made a movie about the making of his own movie before. “It’s incredible,” he remarks. And also “completely insane.”
That statement isn’t strictly true. Richard Rush made a documentary about his Oscar-nominated drama “The Stunt Man” called “The Sinister Saga of Making ‘The Stunt Man,'” and Richard Stanley catalogued his catastrophic production of “The Island of Dr. Moreau” (which was eventually finished by John Frankenheimer) in “Lost Soul: The Doomed Journey of Richard Stanley’s ‘Island of Dr. Moreau.'” But it’s always intriguing, regardless, to look back at what was, what could have been,...
Medak, who also directed the classic films “The Ruling Class” and “The Changeling,” says he’s fairly certain that no filmmaker has ever made a movie about the making of his own movie before. “It’s incredible,” he remarks. And also “completely insane.”
That statement isn’t strictly true. Richard Rush made a documentary about his Oscar-nominated drama “The Stunt Man” called “The Sinister Saga of Making ‘The Stunt Man,'” and Richard Stanley catalogued his catastrophic production of “The Island of Dr. Moreau” (which was eventually finished by John Frankenheimer) in “Lost Soul: The Doomed Journey of Richard Stanley’s ‘Island of Dr. Moreau.'” But it’s always intriguing, regardless, to look back at what was, what could have been,...
- 9/8/2018
- by William Bibbiani
- The Wrap
By the time Hal Ashby made it to the director’s chair in 1970 after a stint as one of the most acclaimed film editors of the 1960s, he’d grown out his hair to a shaggy fullness more in keeping with the hippie-ish message he sent over the airwaves when accepting his 1968 Oscar for editing “In the Heat of the Night”: “I hope we can use all of our talents and creativity for peace, and for love.”
Ashby would never lose his vibey guru mien thereafter, and through the Me Decade, he turned out a remarkable stretch of socially conscious, bitingly funny and character-rich pictures — including “The Last Detail,” “Shampoo” and “Being There” — that have made him a giant among cineastes who see the ’70s as Hollywood’s most satisfyingly adult and uncompromising period. But if there’s still the sense that Ashby isn’t as sanctified as American...
Ashby would never lose his vibey guru mien thereafter, and through the Me Decade, he turned out a remarkable stretch of socially conscious, bitingly funny and character-rich pictures — including “The Last Detail,” “Shampoo” and “Being There” — that have made him a giant among cineastes who see the ’70s as Hollywood’s most satisfyingly adult and uncompromising period. But if there’s still the sense that Ashby isn’t as sanctified as American...
- 9/5/2018
- by Robert Abele
- The Wrap
Though he’s already won an Academy Award for “20 Feet from Stardom,” documentarian Morgan Neville isn’t often spoken of by film nerds with the kind of hushed reverence as greats like Errol Morris – but he deserves to be. As one of the top living documentary filmmakers, he has consistently created nonfiction films that are as entertaining as the best of their fiction counterparts with as much insight into their subjects as the more “serious” offerings in the genre.
Continue reading ‘They’ll Love Me When I’m Dead’: Morgan Neville’s Orson Welles’ Doc Is A Cinephiles’ Delight [Venice Review] at The Playlist.
Continue reading ‘They’ll Love Me When I’m Dead’: Morgan Neville’s Orson Welles’ Doc Is A Cinephiles’ Delight [Venice Review] at The Playlist.
- 9/1/2018
- by Kimber Myers
- The Playlist
There has never been a film with a longer gestation period than Orson Welles' at-last completed The Other Side of the Wind, and ace documentarian Morgan Neville paints a frenzied, impressionistic picture of the movie's electric, chaotic, agonizing, stop-and-go creation in this fascinating, self-consciously stylized account. Drawing on footage from the film itself, which began shooting in 1970, as well as from fresh interviews and an amazing trove of diverse Wellesanalia, They'll Love Me When I'm Dead employs a quick-witted, fractured-attention-span style that could be meant to equate with Welles' own proclivity for juggling many ideas and projects at ...
- 8/31/2018
- The Hollywood Reporter - Film + TV
There has never been a film with a longer gestation period than Orson Welles' at-last completed The Other Side of the Wind, and ace documentarian Morgan Neville paints a frenzied, impressionistic picture of the movie's electric, chaotic, agonizing, stop-and-go creation in this fascinating, self-consciously stylized account. Drawing on footage from the film itself, which began shooting in 1970, as well as from fresh interviews and an amazing trove of diverse Wellesanalia, They'll Love Me When I'm Dead employs a quick-witted, fractured-attention-span style that could be meant to equate with Welles' own proclivity for juggling many ideas and projects at ...
- 8/31/2018
- The Hollywood Reporter - Movie News
The New York Film Festival will screen Orson Welles' recently completed final film, The Other Side of the Wind, which was finished by his collaborators this year and is set to stream on Netflix, as part of its special events lineup.
The pic, which follows the last night in the life of a Hollywood filmmaker as he completes his final movie, will screen alongside They'll Love Me When I'm Dead, Morgan Neville's Netflix documentary about the making of Other Side of the Wind.
The fest, presented by the Film Society of Lincoln Center, will also unspool the U.S. premiere ...
The pic, which follows the last night in the life of a Hollywood filmmaker as he completes his final movie, will screen alongside They'll Love Me When I'm Dead, Morgan Neville's Netflix documentary about the making of Other Side of the Wind.
The fest, presented by the Film Society of Lincoln Center, will also unspool the U.S. premiere ...
- 8/23/2018
- The Hollywood Reporter - Film + TV
The New York Film Festival will screen Orson Welles' recently completed final film, The Other Side of the Wind, which was finished by his collaborators this year and is set to stream on Netflix, as part of its special events lineup.
The pic, which follows the last night in the life of a Hollywood filmmaker as he completes his final movie, will screen alongside They'll Love Me When I'm Dead, Morgan Neville's Netflix documentary about the making of Other Side of the Wind.
The fest, presented by the Film Society of Lincoln Center, will also unspool the U.S. premiere ...
The pic, which follows the last night in the life of a Hollywood filmmaker as he completes his final movie, will screen alongside They'll Love Me When I'm Dead, Morgan Neville's Netflix documentary about the making of Other Side of the Wind.
The fest, presented by the Film Society of Lincoln Center, will also unspool the U.S. premiere ...
- 8/23/2018
- The Hollywood Reporter - Movie News
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