Okay, some further details...
THE DEEP: Stefan Droessler, trying to discern Welles' intentions from the footage at hand, set the film up using a dream sequence format. He emphasized that there was no concrete proof for this structure - he was just going by the footage present. The footage was a mix of B&W and color, based simply on what was easiest to do from the materials at hand, and having nothing to do with the film itself. In other words, there was no artistic reasoning for one scene in color and another in B&W. The workprint follows a linear plotline, which most everyone is familiar with. Michael Bryant and Oja Kodar are on their honeymoon, when they see another boat. Leaving the boat is Lawrence Harvey's character, who splits with Oja when Bryant leaves to try and salvage anything of value from Harvey's boat. Harvey has told them that the other people on board are dead, which of course turns out to be untrue when Bryant arrives. Welles and Jeanne Moreau remain on board, and the ship is sinking. Bryant, being the sailor, tries to fix the situation. Welles has several amusing one liners, such as responding to Bryant's order to start working the pump with a "Sieg Heil, mein fuhrer" comment. The stuff with Harvey and Kodar is a mix of mundane and odd; Harvey is supposed to be from Florida, and has a pronounced southern accent. An annoying story flaw is Oja's repeated chances to take Harvey out, which she repeatedly fails to do.
Some shots are dubbed, some are silent; there are a good deal of closeups, and on one occasion, night shots are mixed with day. The workprint lasted about 116 minutes, and a good 30 of that could be dumped easily. This would have been akin to THE STRANGER, a short thriller that showed Welles could helm a commercial project. It appears that not much will happen with it from here on out though, as Oja has apparently put the breaks on doing anything further with it. Also learned that the shoot was not very friendly; Moreau, when asked, basically refused to comment about it.
IT'S ALL TRUE: Saw further material, rushes to be exact, for the sequence where Jacare and company arrive in Rio. Some nice footage, but nothing revelatory. More interesting was the discussion of how RKO deliberately torpedoed the film, and more explanation for Welles' decision to go. Welles, because he had gotten out of the draft, was under great pressure from Hearst and groups like the American Legion (prodded by Hearst), to brand Welles as a coward, Commie, etc for not going into the Army. So Welles felt compelled to make IAT, as his way of contributing to the war effort. Welles was supposed to have a budget of at least $1 million, but RKO cut him off long before he reached that point. Joe McBride read a phone transcript between two of RKO's execs that details the thought processes at work within the company, as well as the blatant racism at work.
MR ARKADIN: This would be the reconstruction under way, and it works quite well, though it still needs some work to finish it up. As I think has been mentioned, there aren't vast quantities of new material, it's more a question of how it's been organized. The film opens with the shot of Milly on the beach, and uses the Spanish title card, moving straight into the film. The band is now playing "Silent Night" as Van Stratten walks to Zouk's place, which I don't think worked a well as the original music, but part of that was due I think to the music not fading out as the camera pulls away down that dark corridor as Guy climbs the steps. The flashback structure is used, and there is some subjective footage within the place at end, taken from the Spanish version, in addition to a silent shot of the plane crashing. The credits with the hanging bats plays at the end, with the cast introduced via clips, as we've seen. Regarding the inclusion of this version in Criterion's DVD edition of the film, I'm not sure I'm at liberty to say what I heard, but I imagine people will be pleased.
DON QUIXOTE: More workprint material, as preserved by the Cinematheque Francaise; it didn't appear to be in much order, but there were several scenes I had not seen before, such as Sancho dancing in front of a group of clapping children, DQ and Sancho being interviewed about their trip to the moon, DQ causing sheep to "stampede," before being thrown from his horse and run over by the sheep; DQ in the outdoor bath, with "Cerveza Don Quixote" signs in the background; Sancho and DQ in the midst of modern Spain, with appaluding crowds around them; and DQ in an oxcart, with Sancho berating those who have stuck him in there. Some of this material had Welles dubbing, and some did not. Quality was pretty good.
Esteve Riambau presented a powerpoint presentation on the film, detailing its production history, beginning in 1955, up through 1972, when Gary Graver shot what was apparently the final footage made for the project, color shots done in Pamplona.
Ciro Giorgini then presented some further rushes from the film, and spoke about them. We then saw some of the Patty McCormack footage, which included her dialogue, but not Welles' as he wanted to dub himself later. This footage included OW and PM on a patio, with her reading the beginning of the book. Footage of the two of them in a carriage, and the famous movie theater scene, were also included, though the movie theater scene still lacks any sound.
ORSON WELLES TALKS WITH ROGER HILL: These two 30 minute interviews were done for Welles' planned autobiographical project ORSON WELLES SOLO. The topics covered included discussion of Todd School, Everybody's Shakespeare, Marching Song, and more. Hortense Hill appears with Roger in the second part.
FILMING THE TRIAL: Parts of this have been seen, but the entire thing is a nice look at the film, with a few added topics thrown in. The TRIAL trailer opens the film, and the deleted computer scene is included with subtitles, due to the missing audio. 82 min in length.
OTHER SIDE OF THE WIND: Saw a series of scenes, all of which had different editing than what we've seen elsewhere. They all looked pretty nice as well, despite not being taken from the negative. The scenes were prefaced with a clip taken, I assume, from the Mayles short about Welles, where he describes the concept of the film.
First scene was one I had never seen, with Hannaford, Brooks Otterlake, Charles Pister, and Charles Higgam in a car, with the two film scholars peppering Hannaford with inane questions (is the camera a phallus and so on). Hannaford is ignoring them, commenting only that he needs a drink. Otterlake, however, is happy to entertain them, while he pours Hannaford a glass of booze. It's quite a funny scene.
Next up is the screening room scene between Billy (Norman Foster) and producer Max David, which includes extra footage of the film within a film. Again, some amusing dialogue ( Max: "He looks like a girl." Billy: "They all do nowadays"). The scene was missing the end lines about Hannaford making it up as went along, for reasons I am unaware of.
The party scene was next, which had a bit I didn't recall: Juliette Rich stumbles over her words, ending in a buzzer sound on the soundtrack, like she was disqualified from a game show. There was an additional bit of footage when Hannaford is presented with his birthday cake and told to make a wish. He comments that it will "take a lot of blowing" and then asks "Where's Miss Rich?"
The car sex scene with Oja's character, John Dale, and the driver is longer, and ends with the driver trying to take Oja himself, which results in Dale and Oja being tossed out the car bare-assed, after which he follows her home.
A second birthday party scene is present, with Paul Mazursky, Henry Jaglom, and Dennis Hopper, shot in B&W. They make a variety of pompous film comments, with Jaglom's "character" berating Hannaford for his treatment of actresses.
Finally, the scene where Dale leaves the production for good. The scene in the film within the film is a sex scene between Dale and Oja set in the open on a wire box spring. The only sound is Hannaford giving direction to Oja, and mocking Dale, making frequent jokes about Dale's sexual prowess, which resulting in him walking off into the distance naked, to Hannaford's jibes.
VIVA ITALIA: aka PORTRAIT OF GINA, an early attempt at the essay film, blending still shots and interviews with Rossano Brazzi and Lollabrigida, with appearances by Vittorio De Sica and Paola Mori. I found it quite entertaining, and important as an early chapter on the road to F FOR FAKE.
CITIZEN OF AMERICA: ORSON WELLES AND THE BALLAD OF ISAAC WOODARD: This was not the actual documentary of that name, but a promo version intended to give a taste of what the actual film will be like. Hopefully, full financing will be found, as the promo reel was excellent.
OTHELLO: As mentioned this was the European release version, and the not the hack-job restoration. I haven't seen the French tape people here have mentioned, but I presume this is the same thing, albeit with the English soundtrack. I liked it more than the American cut, and was glad to see it, since we'll never see it released here, unless Beatrice learns from the studios and decides to double-dip with an expanded release.
ORSON WELLES' JEREMIAH: In the style of the readings from Moby Dick, with Welles performing a three minute reading from the Bible's Book of Jeremiah.
ORSON WELLES SELLS HIS SOUL TO THE DEVIL: Jay Bushman's short film, set during the rehearsals for DR FAUSTUS. Jay told us that he's planning to mount the full play this is a part of next year in LA, with the eventual goal of making a feature film out of it. I liked the short film, which featured an actor fairly well-suited to play Welles, which is a rarity.
There were new prints of THE STRANGER, LADY FROM SHANGHAI, JANE EYRE, and JOURNEY INTO FEAR, all of which looked good. And there were/are screenings of a variety of fasincating documentaries and other materials, which I will be updating on Wellesnet itself, now that I am aware of most of them.
What else...Christopher Welles Feder brought copies of her sel-published book The Movie Director to sell, with the proceeds going to the Munich Film Museum's Welles' work. It's quite a moving work, a series of poems/dramatic monologues written both from the "movie director's" point of view, and of his family, lovers, and friends. She made it clear that this was fiction, and not to be taken as a factual portrait of Welles or anyone else involved, but it's obviously tempting to read between the lines. She is working on a memoir of her father, and hopes that this first book could get a publishing deal as well as a result. It certainly deserves one.
And I think that is about it; I can try to answer any questions, and Roger will weigh in at some point soon with his opinions and news as well.