Leslie, thanks for that nice report! It made you almost feel like you were on the Yale campus, amid all those brown stone buildings covered with Ivy.
And regarding OSOTW, if the Oja deal with Showtime happens, Oja and Peter Bogdanovich will be doing the editing and presumably know best how to do it, since it's all clearly indicated in the script.
If you read the script and then evaluate all the footage in the Paris vault, I don't think it really should be that difficult for an experienced film editor to put it all together... but everyone seems to think they'd be second-guessing Orson Welles.
Yes, of course it couldn't be Orson Welles editing, (except for the 40 minutes he did edit), but it will be better than not seeing it at all.
It seems to me that the key is getting a really good film editor like Dede Allen or Donn Cambern who were doing the kind of staccato cutting they helped make so popular in the late sixties. That would seem to be a perfect solution, since they could edit it like it was made in that period, which of course it was.
And so what if it's now percevied as dated, because it's set in such a well-defined period of turmoil and social change? Instead of being seen as a setback, I think it makes it even more interesting. No need to spend millions of dollars on sets and costumes trying to re-create the 70's. You can show a movie that was actually shot in the seventies...
I think it should be seen for that reason alone. Imagine if somehow ZABRISKIE POINT had been buried by MGM and never released back in 1971. Now, 30 years later it's uncovered and released in today's market. It would probably be hailed as Antonioni's great American masterpiece, although it certainly wasn't thought of as a masterpiece by critics at the time of it's release. In fact something very similar happened this year when Rialto released Jean Pierre Melville's ARMY OF SHADOWS (made in 1969) in America for the first time this year. Critics hailed it as "a masterpiece."