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January 1994


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Film and TV Studies Discussion List <[log in to unmask]>
Bob Kosovsky <[log in to unmask]>
Tue, 25 Jan 1994 01:32:20 EST
Film and TV Studies Discussion List <[log in to unmask]>
text/plain (34 lines)
Derek Bouse <[log in to unmask]> comments on the "restored" IT'S ALL
TRUE by Orson Welles.
First of all, it's not "restored" because Welles never even got to the
editing stage (apparently he often left this aspect of his films to
others).  It is a hypothetical realization based on the outline of the
plot.  The filmmakers at the NY Film Festival made this very clear.
While the images were very beautiful, in my opinion the editor did not
have a clear sense of pacing, and often (perhaps out of sense of respect)
retained every foot of every take, rather than aim at something where
pacing would play a part in the final product.
The filmmakers also made it clear that the Welles crew did not have a
sound camera.  There is no sound element that is lost because there never
was one.  This shouldn't be so surprising because Welles was always very
concerned about sound in his films.  That he would make a 6-track recording
of the end of the party scene in THE MAGNIFICENT AMBERSONS - so as to
accurately capture the collage of sound of a 6-way conversation is to be
expected, given his background in radio techniques.  Apparently all the
sound of IT'S ALL TRUE was to be done at the post-sync stage.
I think that in time IT'S ALL TRUE will be used in a way similar to the
material which is now called EISENSTEIN'S MEXICAN FILM.  It's very useful
and extremely interesting for film scholars (especially the latter, which
has mutliple takes of each scene, unlike the Welles realization) to study,
but I don't think the general public will find it terribly interesting.
Bob Kosovsky
Student, PhD Program in Music                   Librarian
Graduate Center                                 Music Division
City University of New York                     The New York Public Library
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