Lamont: I think Hadji, MartynH, and especially Roger (with his ability to study and interpret the script) have this footage fairly pegged, but I would be a little more cautious in suggesting how the material might eventually be used in a finished THE OTHER SIDE OF THE WIND. It might be commentary, it might be background, it might even be central.
The b&w photography, the general sound quality, and the (rough) editing are really impressive, more striking -- perhaps for being in b&w -- than I remember from some other out-take footage of the film.
The first sequence is quick and choppy, but it articulates the themes that may very well hold the picture together: the motivative power structure that created The Movies, the male dominated operation, the exploitation of women, the constant war between "the old" and "the new" from the Renaissance to the "Young Turk" film makers of the 1970's, the place of Hollywood movies as a serious art form in American Society.
The second sequence is quite similar, with the addition of Dennis Hopper, as Roger notes. But quite a bit of the stuff has been reshot, there's more camera movement, there's a solid two-shot, there are even a couple of establishing shots. This sequence may be simply a refinement of the first, or it may have been meant as part of an another purpose.
I'm, again, impressed by the quality of these prints, and I wonder where "sboudriot" got them. Having read the script for THE OTHER SIDE OF THE WIND myself, having hurt my head studying its pages, spent time listening to some of Bogdanovich's ideas, and watched over two hours of out-takes Stefan Droessler brought from Munich two years ago, I'm puzzled by how little "movie-movie" and real continuity there seem to be in the fuller mother lode portion of the main material. [A great deal of the material I saw lacked a sound track.] It's as if establishing shots, key sequences, (and footage like this material brought to us by "sboudriot") have been kept apart, perhaps in that Paris vault.
All of these observations are meant to emphasize how crucial the editing in the finished THE OTHER SIDE OF THE WIND is going to have to be.
As Roger points out, THE OTHER SIDE OF THE WIND was originally inspired by Orson Welles' mature disenchantment with his youthful idol, Ernest Hemingway. But, I think, Welles came to recognize the same selfish male qualities within himself, and within some of the peer directors he most admired. For that reason, John Huston, old friend and collaborator -- a "successful" director -- was a perfect choice for his lead, J.J. "Jake" Hanaford. And there was also a seasoning of George Stevens, whom some said tended to develop a scarcely sublimated letch for his leading men. But, if we're lucky, I think we'll find that, on a certain level, THE OTHER SIDE OF THE WIND is a film about Orson Welles himself (as a number of his major pictures were).
Anyway, I can assure everyone that, in the main footage, Paul Mazursky, Henry Jaglom, and Dennis Hopper are colorfully "at The Party" (still arguing but more politely). Paul and Henry have better hair cuts, and Dennis has trimmed his beard!