Ce que j'allais dire - la question étant posée dans un ancien numéro de DVDVISIOn sur des films mutilés - mais la carrière du monsieur mérite le respect total ; j'ai vu qu'il a aussi monté Citizen KaneSwan a écrit :Le pourquoi et la nature sont connus - quelques éléments ici. La question est de savoir s'il avait conservé certains éléments dans ses archives.Boubakar a écrit :Néanmoins, il emporte avec lui le pourquoi du remontage de La Splendeur des Amberson ainsi que la nature des scènes disparues...
Robert Wise (1914-2005)
Modérateurs : cinephage, Karras, Rockatansky
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Director Budd Boetticher once suggested to me that Orson Welles might possibly be the most overrated filmmaker in history. Having worked with Welles, what are your thoughts on this observation?
I don't think that's so. I worked with the man. I edited his first two films, Citizen Kane and The Magnificent Ambersons, and I think he was absolutely brilliant. For me, the fact that he was only 25 years old when he made Citizen Kane, which has been called the greatest film ever made — to me, that justifies his praise and testifies to his talent.
Welles left for Rio before postproduction was completed on The Magnificent Ambersons. The members of the Mercury Theatre group and yourself were left to complete the film. Tell me a little bit about that.
He had to go to Rio, and we were left to finish editing the film. You see, with Citizen Kane, we hadn't screened it for a test audience. But the studio decided they wanted to have a test screening for The Magnificent Ambersons, and it was a disaster. The audience didn't like it at all, and they laughed at a lot of it at inappropriate times. A lot of the audience walked out. It was just terrible. And this was a very long film, so we decided to take it back and do some editing and try to cut out some of the places where the laughs were bad. We did that, and then we took it out again for another screening. This time things were a little better, but there were still some bad laughs, so we had to cut it again. We cut it three times. Finally, we had cut so much that there was a continuity problem, so we had to add a scene with Georgie and his mother. Since Orson wasn't around, I was asked to direct that scene. I did, and we added that to the film. When we screened it the fourth time, there were no walk-outs and no bad laughs. Everything seemed to play all right, so that's the way the picture went out
Welles had a well-documented resentment toward the film because of the alterations the studio ordered. Did Welles ever direct any of that resentment toward you?
I don't think so. I think he understood that I was the editor and I was working under the studio's direction. I was working with Jack Moss, who was Orson's man on the picture. So I don't think Orson had any resentment toward us. I think he understood that we were just doing what we had to do.
Source: Bright Lights film journal
I don't think that's so. I worked with the man. I edited his first two films, Citizen Kane and The Magnificent Ambersons, and I think he was absolutely brilliant. For me, the fact that he was only 25 years old when he made Citizen Kane, which has been called the greatest film ever made — to me, that justifies his praise and testifies to his talent.
Welles left for Rio before postproduction was completed on The Magnificent Ambersons. The members of the Mercury Theatre group and yourself were left to complete the film. Tell me a little bit about that.
He had to go to Rio, and we were left to finish editing the film. You see, with Citizen Kane, we hadn't screened it for a test audience. But the studio decided they wanted to have a test screening for The Magnificent Ambersons, and it was a disaster. The audience didn't like it at all, and they laughed at a lot of it at inappropriate times. A lot of the audience walked out. It was just terrible. And this was a very long film, so we decided to take it back and do some editing and try to cut out some of the places where the laughs were bad. We did that, and then we took it out again for another screening. This time things were a little better, but there were still some bad laughs, so we had to cut it again. We cut it three times. Finally, we had cut so much that there was a continuity problem, so we had to add a scene with Georgie and his mother. Since Orson wasn't around, I was asked to direct that scene. I did, and we added that to the film. When we screened it the fourth time, there were no walk-outs and no bad laughs. Everything seemed to play all right, so that's the way the picture went out
Welles had a well-documented resentment toward the film because of the alterations the studio ordered. Did Welles ever direct any of that resentment toward you?
I don't think so. I think he understood that I was the editor and I was working under the studio's direction. I was working with Jack Moss, who was Orson's man on the picture. So I don't think Orson had any resentment toward us. I think he understood that we were just doing what we had to do.
Source: Bright Lights film journal
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Alors ça c'est bizarre
ce matin en sport on avait le droit de prendre des Cds pour écouter pendant le cours. Tout le monde a oublié sauf une amie qui avait en autres: la BO de West Side Story. On se l'ai alors écouté pendant 2h et là qu'est ce que j'entends? Je rentre chez moi, regarde la télé et voit que le réalisateur est mort. Bizarre et dommage.
ce matin en sport on avait le droit de prendre des Cds pour écouter pendant le cours. Tout le monde a oublié sauf une amie qui avait en autres: la BO de West Side Story. On se l'ai alors écouté pendant 2h et là qu'est ce que j'entends? Je rentre chez moi, regarde la télé et voit que le réalisateur est mort. Bizarre et dommage.
"T'en loupes pas une avec ton Gene Kelly"-K-Chan- Sans Gene Kelly, plus de Sailor"-Boukabar
"C'est toujours un plaisir de lire Sailor!"-Ed Gene Kelly's Topic Meine Website: http://gene.kelly.free.fr
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Oui, mais cela ne m'étonne qu'à moitié. Ses oeuvres ont un côté artisanat solide sans que l'on puisse reconnaître le cinéaste entre mille, ce qui peut expliquer ce genre de proposRatatouille a écrit :Et je commence à lire un peu partout sur le net, sur différents sites, que Robert Wise était surtout reconnu pour être un "bon technicien". Dire une telle chose de l'homme qui nous a offert The Sand Pebbles, The Haunting ou bien encore The Day the Earth Stood Still, ça m'énerve...
Night of the hunter forever
Caramba, encore raté.
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en effet,c'est attristant ...ce cinéaste était l'un des derniers "dinosaures" avec Richard Fleischer...RIP Robert.Ratatouille a écrit :Et je commence à lire un peu partout sur le net, sur différents sites, que Robert Wise était surtout reconnu pour être un "bon technicien". Dire une telle chose de l'homme qui nous a offert The Sand Pebbles, The Haunting ou bien encore The Day the Earth Stood Still, ça m'énerve...
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Où l'on voit qu'il n'est nul besoin d'être un "auteur" pour signer de grands films.Ratatouille a écrit :Et je commence à lire un peu partout sur le net, sur différents sites, que Robert Wise était surtout reconnu pour être un "bon technicien". Dire une telle chose de l'homme qui nous a offert The Sand Pebbles, The Haunting ou bien encore The Day the Earth Stood Still, ça m'énerve...
En revanche cela peut s'avérer suffisant pour en réaliser de fort mauvais.
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Je ne dis pas que tous ses films sont bons, mais il réussi au moins un grand film dans chacun des genres qu'il a abordé.Jeremy Fox a écrit :Là, on va dans l'excès inverse. Des mauvais films sans aucun intérêt, il en a réalisé certains lui aussi je trouve.Gentleman Jim a écrit :Un réalisateur qui a touché à quasiment tous les genres avec autant de génie à chaque fois.
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Je ne l'avais pas compris dans ce sensGentleman Jim a écrit :Je ne dis pas que tous ses films sont bons, mais il réussi au moins un grand film dans chacun des genres qu'il a abordé.Jeremy Fox a écrit : Là, on va dans l'excès inverse. Des mauvais films sans aucun intérêt, il en a réalisé certains lui aussi je trouve.