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~~ PDF Ebook Making Movies With Orson Welles, by Gary Graver

PDF Ebook Making Movies With Orson Welles, by Gary Graver

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Making Movies With Orson Welles, by Gary Graver

Making Movies With Orson Welles, by Gary Graver



Making Movies With Orson Welles, by Gary Graver

PDF Ebook Making Movies With Orson Welles, by Gary Graver

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Making Movies With Orson Welles, by Gary Graver

In 1958, Gary Graver moved from his hometown of Portland, Oregon to Los Angeles, California with dreams of an acting career in Hollywood. Soon after his arrival, he caught a double bill in a small theater on Hollywood Boulevard, the lower half of which was the recently released Touch of Evil. Upon viewing the B classic, Graver decided he wanted to be a director and spent many years honing his craft, as both a cinematographer and a director, not to mention writer, actor, and producer―much like his idol, Orson Welles.

In 1970, when Graver learned that Welles was in town, he impulsively called up the director and offered him his services as a cameraman. It was only the second time in Welles's career that he had received such an offer from a cinematographer, the other being from Gregg Toland, who worked on one of the greatest films ever, Citizen Kane.

In Making Movies with Orson Welles, Graver recounts the highs and lows of the moviemaking business as he and one of the most important and influential directors of all time struggled to get films produced. The two men collaborated on more than a dozen projects, including F for Fake, Filming Othello, and the still-unreleased The Other Side of the Wind. Their close friendship and creative filmmaking partnership would endure for 15 years, until Welles' death in 1985. Also including a filmography of works and 20 photos from Graver's personal collection, this fascinating memoir recalls what it was like to work with the legendary Welles and offers advice and tales of caution for future filmmakers.

  • Sales Rank: #2081097 in Books
  • Published on: 2011-10-18
  • Released on: 2011-10-18
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .53" w x 5.50" l, .60 pounds
  • Binding: Paperback
  • 212 pages

From Booklist
The final years of cinematic icon Welles have received greater attention recently, first in Joseph McBride’s What Ever Happened to Orson Welles? (2006) and now in the intimate memoir of Welles’ cinematographer during the period, in which he worked tirelessly on a number of projects, completing few. Much of the focus is on the ambitious The Other Side of the Wind, which remains unfinished and unseen, but here, too, is the scoop on his final releases, F for Fake and Filming Othello, as well as on such tantalizing unrealized projects as The Cradle Will Rock and The Big Brass Ring. Although Graver’s account, completed by Rausch after Graver’s death, is betimes disjointed and self-aggrandizing, it provides invaluable, fly-on-the-wall glimpses of the legendary director’s eccentric but effective working methods during his obscure guerrilla filmmaking phase; some surprising revelations (e.g., Welles was asked to helm Popeye, later directed by Robert Altman); and entertaining anecdotes manifesting Welles’ famously larger-than-life personality. --Gordon Flagg

Review
Enlightening memoir and homage to the legendary filmmaker....While this look at Welles' frenetic, independent filmmaking is a boon to film scholars and critics, fans of the actor and director will enjoy discovering the man behind the black cape. Making Movies with Orson Welles reveals why watching movies by Orson Welles is such an exhilarating experience. (Foreword Reviews)

It provides invaluable, fly-on-the-wall glimpses of the legendary director's eccentric but effective working methods during his obscure guerrilla filmmaking phase; some surprising revelations (e.g., Welles was asked to helm Popeye, later directed by Robert Altman); and entertaining anecdotes manifesting Welles' famously larger-than-life personality. (Booklist)

Making Movies with Orson Welles is a crucial contribution to the literature about Welles....Graver loved Orson Welles, and this book allows us to share the love. (National Board Of Review)

Graver writes of the 'incredible, surreal privilege' of working with Welles with affection and insight. (Film Comment)

Gary Graver, one of Orson Welles' closest collaborators, has written a superb book on Welles. It is a captivating and insightful look at their extraordinary relationship, a must-have for Welles fans and academians alike. (Frank Marshall, Producer, Raiders of the Lost Ark)

About the Author
Gary Graver (1938-2006) was a respected cinematographer who worked on nearly 200 films. He served as cameraman for such filmmakers as Paul Bartel, Budd Boetticher, John Cassavetes, Ron Howard, Steven Spielberg, and Orson Welles.

Andrew J. Rausch is the author of several books on film including Turning Points in Film History and Fifty Filmmakers: Conversations with Directors from Roger Avary to Steven Zaillian.

Most helpful customer reviews

11 of 11 people found the following review helpful.
Charming memoir of working with Orson Welles
By David McCarthy
During the last 15 years of Orson Welles' life, Gary Graver was Welles' dedicated cameraman. Even though Welles only completed two films during these years (his last masterpiece "F for Fake" and the spellbinding "Filming Othello"), this period was one of great activity and creativity. Graver was with Welles every step of the way. Graver's memoir, structured as a series of anecdotes, gives a wonderful sense of what working with Welles was like. Along with Joseph McBride's "What Ever Happened to Orson Welles" and Peter Tonguette's "Orson Welles Remembered", Graver's book is a bracing corrective to the misconception of Welles' last years as wasted and unproductive. Graver's modesty, loyalty and warmth shine through on every page. Kudos to Andrew Rausch for pushing the book to completion after Graver's death. Highly recommended.

4 of 6 people found the following review helpful.
The last years of Orson Welles
By Cliff Burns
Orson Welles’ films are hard to find and they were chronically hamstrung by production delays, minuscule budgets. Welles became a master editor in order to disguise their shortcomings (anyone who has any doubt need only watch the cutting of the battle scene in “Chimes at Midnight” or the attempted assassination of Cassio in “Othello”). In the final two decades of his life, Welles struggled to secure funds to complete projects, increasingly isolated by an industry that favored youth over experience, big concepts and blockbusters over the classics. It is appropriate that he and cameraman Gary Graver shot test footage for what would have been his last great stab at Shakespeare, an adaptation of “King Lear”. Lear, another old man who lived past his time, cast out, left to rage and snarl in the wilderness (and, oh, yes, Orson could snark and fulminate with the best of them, as Henry Jaglom’s tape recorder attests).

Gary Graver came along during the great man’s decline, offering his services, rounding up crews whenever O.W. had a whim to shoot more footage for “The Other Side of the Wind” or whatever hackwork was paying the bills that particular month. Circumstances forced them to adopt the tactics of guerilla film-makers and Orson pieced together what he could salvage, incorporating the footage into projects that dragged on through several American presidencies.

Mr. Graver’s collaborator, Andrew J. Rausch, and Welles biographer Joseph McBride, do their best to assure us of Mr. Graver’s peerless prowess as a B-roll, second unit director and/or highly esteemed cameraman of classics like, er, “Satan’s Sadists”. But the truth is that by 1970, when Graver met Welles, the latter was in an artistic funk, desperate for whatever help he could get. Graver was in the right place at the right time and he knew how to load film in a camera. Welcome aboard, son…

As a memoir, Making Movies With Orson Welles is more of an oral history–choppy and episodic and structurally creaky. For Welles fans, there are some glimpses of his stubborn genius, a few anecdotes about his working methods, some examples that showed he retained his ferocious intellect even in the wilderness, unpitying and hard-driving, a stern taskmaster for young, inexperienced and ever-changing crews. Graver evinces awe of Orson Welles at every turn, which must have made him an agreeable companion for a notorious egoist and raconteur. But that quality also damages his credibility; Graver is (at best) an unreliable commentator, an apprentice refusing to dish dirt on his master, a minor talent who can’t help continually pinching himself at the prospect of working for the man who made “Kane”.

Diverting hagiography; for completists only.

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