To read that Welles agreed to edit a porno movie directed by Graver's alter ego Robert McCallum shows the trough into which the Great One had sunk. Maybe Welles should have taken some of those important phone calls he avoided earlier in his career.
I recently purchased a copy of 3AM, the porn flick Gary Graver directed (as Robert McCallum). The film has a lesbo shower scene in it that, according to WHATEVER HAPPENED TO ORSON WELLES, was edited by Welles himself. After viewing the scene I must say I was rather struck not only by it's intensity, but also by it's artistry (for a porn flick, that is). Not only the visuals, but the soundtrack is interesting too, with a wordless, moaning female singer that reminded me of George Antheil's score for the avante-garde horror classic DEMENTIA, as well as, strangely enough, the wailing female chorus in CHIMES AT MIDNIGHT's battle sequence. Since Welles considered editing to be THE most important aspect of filmmaking, should we consider this scene to be part of the Wellesian ouvre?
His best short subject was a compilation of hundreds of images of closed/abandoned/converted- to-other-uses/soon-to-be-demolished movie palaces taken during his travels around the world. This was definitely a labor of love, as the film – the title of which escapes me – was never released. It was certainly an editing achievement on a par with F FOR FAKE.
I'd like to see it. Jaglom did a similar thing when he set SOMEONE TO LOVE in a theatre earmarked for destruction. Maybe Welles had a hand in editing that one, too. I sympathize with Gary Graver's Welles-like battles with producers, and was amazed at some of the budgets he cited: 55K for TRICKS OR TREATS and 125K for MOON IN SCORPIO. That probably wouldn't pay for catering on most major Hollywood projects today.
Lock outs are common today. They're called "down-sizings," or "lay-offs," and our movies and other popular arts say little about them.
Most of our fine arts, as well as our popular art, is decorative, easily adapted to commercial advertising, of little lasting value to ordinary people, except as the sensory Muzak in their lives. We value our art, as we do everything else, by how much money it makes.
…learn some history of why our Popular Arts offer so many explosions, meaningless sexual encounters, fart jokes and appeals to our greed. The fact is that large corporate, political and commercial interests think we are stupid; they have profits and data to support that idea. In case you hadn't noticed, they have defanged the once dangerous beast known as American Art.