Thank you, Christopher, for the praise. As you do, as many do here, I find F FOR FAKE a dazzlingly brilliant film.
I plead guilty to you and Roger Ryan, not to mention Terry (above), that I erred in calling F FOR FAKE, Welles' first color film. I guess the tape copy of THE IMORTAL STORY that my old friend BAMBO-BAMBO Christianson made for me is so desaturated in color that I don't readily think of it as being in color. But of course, it is.
Terry, you are quite right about F FOR FAKE's late entry into Welles' color oeuvre, as I confess, but most of the other films you mention were either never finished, meant as inserts in larger films, murkily credited to others, or finished by different hands.
Stefan Droessler and his restorers have been quietly working on a mountain of Welles material for better than a decade. Every so often, they release a portion through one venue or another: "London," FILMING THE TRIAL, MOBY DICK, "The Golden Honeymoon," etc.
Stefan showed "A Conversation with Roger Hill," a small part of a much greater amount of footage, to Todd Baesen, Larry French and me on his visit to San Francisco before the most recent one. The documentary is a warm, relaxed kind of home movie, taken at the Hills' retirement estate in the Southwest (Sedona, Arizona). Welles and Hill, obviously old friends catching up, sit on what looks (in my memory) like a sun-porch overlooking a river. They reminisce about their time together at Todd School and other subjects, while Hortense Hill straightens them out occasionally, and keeps their coffee cups filled. It is a very nice work, showing Welles, as he so rarely allowed, being away from his public persona.