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The rift between public and private life that figures so prominently in the work of Orson Welles, from CITIZEN KANE to THE BIG BRASS RING, is ironically a factor that has tended to obscure substantial portions of his own life and work.
While only some of these —- THE OTHER SIDE OF THE WIND, THE MAGIC SHOW, DON QUIXOTE, and THE DREAMERS — advanced beyond script and preproduction stages, nearly all of the scripts went through countless revisions; there are nine drafts of THE DREAMERS alone.
But the obstacles she has to face, many of them continuations of the same financial and logistical difficulties that blocked these projects when Welles was alive, are a good deal more daunting and complex than one might initially assume.
Welles essentially left behind two estates — one of them controlled by his wife Paola Mori and daughter Beatrice (complicated still further by the death of Mori in 1986), the other controlled by Kodar and it is only recently that a final settlement has been reached.
This is one reason why the publication of As a sample of Welles’s creativity in his mid-sixties, this original screenplay offers ample evidence that he was continuing to move in fresh and unexpected directions.
Yet to call it “characteristic” of his late work in any but the broadest terms would be misleading, if only because every Welles project represented a fresh departure — a virtue that regrettably kept him “unbankable” as a director throughout most of his career.
Eastwood, Newman, Redford and Reynolds all simply declined, each giving a separate reason.