they show different parts of this film on a documentary on disc 2 of Criterion's F FOR FAKE, anyone seen it? the part they showed of Huston and Bogdonavitch didnt look that great, the editing was too jumpy, but the car scene looked cool...
Quesion... For anyone who saw the car scene where the girl is screwing the young guy in the passenger's seat... What's the name of the young actor who is getting some in this scene?
I'm not sure who the guy in the car was, but he does definately looks alot like a young John Savage (The Deer Hunter). I thought the scene with Huston and Bogdonavich was pretty cool, and the jumpy editing made it look way ahead of it's time.
sharei agree it definitly was different, referring to the scene with Huston and Bog... I probably would need to see it in context.
The thing is... I love Bogdonavitch as a director (for a few great films) but I really don't think he's much of an actor unlike Huston, who is incredible.
I have a question:
Do you own the F for FAKE Criterion collection? If so... there is a documentary called ONE MAN BAND on there and they have clips from a Q and A with Welles talking to a bunch of students, do you know where this comes from?
Yes, I do own the Criteron DVD for F for Fake. I think it said somewhere where it came from in Bogdanovich and Welles book This is Orson Welles. I'll take a look later.
shareThe film of Welles talking to an auditorium full of students was shot after a screening of "The Trial". He had Gary Graver shoot it as part of a planned essay film to be called "Filming 'The Trial'" which presumably would have been something along the lines of "Filming 'Othello'". Unfortunately, the hour-and-a-half (I think) of Q&A is all that he shot for it.
I saw a large chunk, if not all, of this at an American Cinematheque thing and Welles has got to be one of the most engaging speakers EVER. He had this room full of kids eating out of his hand! VERY entertaining stuff, if you don't sit down expecting more than a filmed record of an audience Q&A.
Apparently there a lot of quick cuts throughout the whole film. It's not really "ahead of its time," it is taking the French New Wave to its logical extreme. Dennis Hopper, who worked on this project and was a fan of the jump-cut himself, has said Orson went too far with the experimental touch on this film.
For anyone who's seen Hopper's The Last Movie, you know that's quite a statement.