A real 'quality of the words,' for sure, Barry. This is a delight, a
bit of 'the gossip of eternity' caught on the run....
Doug
On 28-Apr-10, at 1:05 PM, Barry Alpert wrote:
> REMAINS OF ORSON WELLES
>
> via Alain Cavalier’s “Vies”
>
> I’ll bring you somewhere strange.
> This huge character comes towards me
> (he seduced us all),
> “Do you want to work with (for) me?”
> I thought life with Orson would be this insane, magnificent . . .
> Now I’ll show you how it turned out.
>
> Come closer. There’s a strange path.
> Do you want me to guide you?
> I often led Orson like this.
> Come into his house.
>
> Here’s the screenplay he was working on,
> “The Other Side of the Wind”.
> Whenever he started on something he’d
> soon manage to tangle it up.
>
> We had loads of meetings--
> it’s practically all we did.
> Once he summoned me. He started to . . .
> I was liquefied.
>
> The woman to whom he left the house
> must have abandoned it.
> Oja was Rita Hayworth in residence
> under Orson’s bed.
>
> There’s writing on the door.
> “Orson Welles & John Huston shoot well”.
> We were hopelessly filming John Huston. It was almost insane.
> Everyday that passed drove us into the ground.
> He liked junk food and junk papers.
> He died alone in a kitchen.
>
>
> Barry Alpert / Silver Spring MD US / 4-28-10 (2:59 PM)
>
> I left early from a Q & A session with a Korean director whose film
> I had just seen in order to catch the concluding fourth of Alain
> Cavalier’s film “Vies”. Knowing that it focused on the detritus
> remaining in a house abandoned by Orson Welles didn’t prepare me for
> the energizing language of Francoise Widhoff, a film editor who in
> effect directs the director to & thru the site without ever being
> fully visible herself. She’s the source for my text, which I
> certainly didn’t expect to write. I couldn’t stop writing once I
> experienced her particular perspective on Welles and the quality of
> the words which came out of her mouth.
>
Douglas Barbour
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