I appreciate the positive response, Max. Re the lines which you quote: after numerous attempts (even employing a magnifying glass) I could not construe the five words which followed "to" in my original transcription and decided that a dissolve might elicit the impression which the film editor Francoise Widhoff was trying to convey. As for "liquefied", I can't be certain if I literally read that word in the subtitles, but "terrified", which also came to mind while I was trying to decipher my handwriting, doesn't account for some of the letters I see. It's also not as striking as "liquefied". So until I see Cavalier"s "Vies" again, I'll keep "liquefied", which has elicited positive response from other readers as well.
Barry
On Thu, 29 Apr 2010 10:29:08 +1000, Max Richards <[log in to unmask]> wrote:
>Yes, Barry.
>
>As for:
>
>> Once he summoned me. He started to . . .
>> I was liquefied.
>
>- very tantalising.
>
>Max
>>Quoting andrew burke <[log in to unmask]>:
>
>> Lots of energy and 'live' lingo in this one, Barry. I liked it - even the
>> frayed line endings which kept it jagged - a fast-growing organic poem.
>>
>> Andrew
>>
>> On 29 April 2010 03:05, Barry Alpert <[log in to unmask]> 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.
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