Gang: I have to disagree.
Henry Jaglom is, after all, a creation of Orson Welles.
They encouraged each other.
Welles appeared in Jaglom's first film, and Welles made his last appearance in a Jaglom picture.
Jaglom followed Welles' advice. He avoided studio entanglements. He formed his own stock company of friends and lovers. After financing that first film, A SAFE PLACE, using Welles' name and influence (and someone has said a Wellsian family inheritance), he worked out a finance plan whereby each succeeding film was paid for from the modest profits of the last one. Exactly the kind of plan Welles no doubt always dreamed of carrying out.
Jaglom's films, like those of Welles were more successful in Europe than in America. As time went on, Jaglom wrote, produced, directed, often acted in his own films. He encouraged up and coming talent like Jack Nicholson, as well as giving work to bad goods like Welles or Dennis Hopper, and a series of Oja Kodar-like beauties such as Tuesday Weld, Karen Black, Taryn Power, Patrice Townsend, Andrea Marcovicci and Oja Kodar herself.
He worked through his themes: Love, women, war, corruption, consumerism, reputation, marriage, divorce, and film making.
Most of all, he made the kind of film Welles was always working toward, the personal documentary. But like Welles, though he has stayed within certain genres, he has seldom repeated himself.
Henry Jaglom has been what we believe Welles to have been, an independent artist. As such, he has committed the unforgivable sins in America of making some bad choices and failing occasionally. He has made films about his own personal concerns and obsessions which, as for all of us, have changed as he has matured, or at least, grown older. But that is what an artist does. Otherwise, he becomes M. Night Shyamalan, a franchise, a safe money maker, repeating the same film over and over again.
None of Jaglom's pictures are CITIZEN KANE or F FOR FAKE, but A SAFE PLACE, TRACKS, SITTING DUCKS, ALWAYS, EATING, LAST SUMMER IN THE HAMPTONS, and FESTIVAL IN CANNES are significant films in their small, different ways. And he was perceptive enough to give Welles the "final cut" one last time in SOMEONE TO LOVE.
Jaglom has been making his own films for thirty-five years, and at age sixty-five, he has two new ones in post production. Welles would have been proud of him.