Oh dear, only a member of the board for a little more than a week, and already I am faced with a snippy reply to a post based on a misreading of it. Let me try again. I think that Jess Franco has more talent than he is generally given credit for (Fritz Lang, no piker, singled out Franco's Succubus for special praise). I do not think he is remotely on the same level as Welles, a true genius. By calling the Quixote footage "crappy", I am referring only to its material condition, not its artistic quality. The footage is incomplete, with bad to nonexistent audio, and is comprised of faded dupes, as the negative is nowhere to be found. I am of the opinion that Oja Kodar should never have let that footage see the light of day until she had the wherewithal and resources to restore and assemble it properly. That opinion is debatable, but, I think, valid. Again, I do not think Franco should have been let near the footage, as montage is not his strong point. His very real qualities, of being able to shoot quickly, imaginatively, cheaply, and innovatively, are what led to him being chosen by Welles to shoot 2nd unit on Chimes. Welles used Franco during shooting, not during the editing, and his stint as 2nd unit director really gives him no special insight into how Welles would have assembled Quixote. Of course, the guy that was in the editing room with Welles, and who could provide valuable insight for a decent assemblage, and who was willing to do so, Mauro Bonnani, is ignored and treated like the enemy by Oja. But that is another story. Finally, I have always been impressed by Welles' lack of snobbery in choosing his associates. Look at Gary Graver's list of credits; like Franco, porno and genre films. For Welles, this did not seem to matter. He could see talent where others saw only makework and hackdom. On a very elemental level, as the film Ed Wood points out, Welles had more in common with the likes of Franco and Wood, than he does with Spielberg and Cukor.