Another (small) gripe I have about Callow's book is that he twice states that Rio is "1000 miles" away from Hollywood. The correct answer is 6,307 miles (which I found online in less time than it's taken to write this much of this paragraph.) Does it matter? I seem to think so. "Meanwhile, 1000 miles away from RKO, Welles was..." Welles was what? In the north of Mexico? Shooting Don Quixote? In 1942?
A curious detail is Callow's description of the release print of Jane Eyre. He cleary states the film opens on a shelf of classic books, of which Eyre is one (uh, not in any print I've seen - though that tacky shot is in the trailer.) He speaks of Welles losing both his producer credit and his top billing, appearing second after the film's STAR, Joan Fontaine (huh? He still has top billing on my print, insofar as his name appears first, on its own page.) Lastly, he describes the last shot of the film being of the novel, emblazoned with "buy this book in the lobby" (the last shot in my print is a page from the book saying "The End" and appended with a blurb about buying war bonds.)
What we seem to be dealing with is an alternate cut, with at the least the opening and closing titles being different. Another domestic/foreign variant, as was the case with Journey into Fear (and according to one report with Black Magic as well.) Has anyone here compared both prints of Eyre to see if there are any other differences?
Also concerning Eyre, he quotes Selznick as stating that Welles was "in charge of the editing." Robert Stevenson had gone off to war, so maybe it was that Welles was in charge of the post production. That would explain (further) to me why the film seems so Wellesian. Did Welles have final cut? Was he in charge of both the domestic and foreign variants? More detail on Eyre's post production is needed.
I'm also curious about the claim of Joan Fontaine (and apparently several others) that Welles took charge of the production on day one, including "directing the director" Robert Stevenson, and that Stevenson only slowly asserted his authority. How long was the shooting then under Welles' authority? Which scenes were shot during this time? Was he functioning as a hands-on Howard Hughes sort of producer or was he defacto director? More detail on principal photography is needed as well.