Hello Welles fans,
My name is Dylan. I am sixteen, and my many passions include black and white movies, Bernard Herrmann, stop-motion animation, old movies and scores, and black and white cinematography (I know, it's pretty uncommon for a teen living in today's world to have a passion for these things, but here I am). Of course, I am a huge fan of Welles, as his black and white work is without a doubt some of the finest to ever grace film. I had no idea there was a little group of Welles fans online at a forum, and it's nice I found this site. Today, I experianced The Magnificent Ambersons for the first time (I had seen parts of it on tv, and I read/researched a lot from various books about it's tragic history prior to my viewing). Like many, I thought of it to be an extraordinary and beautiful film, even with the knowledge of the cuts. I was already in love with Herrmann's poetic score, from the material I had heard from Herrmann's recording 'Welles Raises Kane', Herrmann's tribute to Welles that consisted of themes from both Ambersons and Kane. I was actually expecting to hear less of his music in the released version, and was surprised that most of the music heard in the film is his (the last two scenes, of course, were scored by Roy Webb, who also scored the original Cat People and some film noir movies). I don't have the Magnificent Ambersons cd yet, as it is out of print, but I am anxious to hear how Herrmann developed the themes for the heartbreaking finale.
I am most intrigued by this Ambersons restoration project that a few Welles fans here are organizing, and I would love to view what you have accomplished so far. Is there anyway somebody here can make a copy of the workprint restoration available to me?
I like the ideas discussed. If I was a little older, had more money, and more equipment, an expressionistic stop-motion paper cut out sequence for the restoration would be interesting to tackle (as I stated above, one of my passions is stop-motion, something I have greatly studied, though I'm just now getting to do a little of), but then again, it would make the entire thing a bit too surreal (and of course, it's something that would take an enormous amount of time and effort).
I love the idea of opening and closing the film with the narrator, somebody sitting in a chair near a fireplace (filmed in black and white of course, make it very poetic and have the cinematography be in the Welles signirture style)...and having the film cut to the narrator where a scene was deleted- have him tell us what's happening, then cutting back to the film. How about somebody who looks like Welles, and have a Welles impresonator dub the dialogue?
Well, I better get going. Take care.