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A Final Cut for Orson: 40 Years in the Making

Once we secured all the rights, the negative traveled from Paris to L.A

Once we secured all the rights, the negative traveled from Paris to L.A

Full Transcript

00:00:01.000 --> 00:00:03.043
Once we secured all the rights,
00:00:03.168 --> 00:00:07.298
the negative traveled from Paris to L.A.
Duration
7 seconds
Views
18
Timestamp in Movie
00:07:17
Uploaded
Jun 26, 2025
Genres
documentary, short
Production
Royal Road Entertainment,The Kennedy/Marshall Company

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Movie Summary

A glimpse behind the scenes into the complicated process of recovering and completing the final film of legendary director Orson Welles.
And then once the materials arrive in Technicolor, - A Final Cut for Orson: 40 Years in the Making 00:07
And then once the materials arrive in Technicolor,
Once we got the negative back, - A Final Cut for Orson: 40 Years in the Making 00:07
Once we got the negative back,
We had a very old, handwritten inventory from the '70s. - A Final Cut for Orson: 40 Years in the Making 00:13
We had a very old, handwritten inventory from the '70s.
We started to unravel and understand - A Final Cut for Orson: 40 Years in the Making 00:05
We started to unravel and understand
We had to go back to a totally analog way of working. - A Final Cut for Orson: 40 Years in the Making 00:40
We had to go back to a totally analog way of working.
This is its own animal. It's different from anything else I've worked on. - A Final Cut for Orson: 40 Years in the Making 00:30
This is its own animal. It's different from anything el...
Jaws was the first feature I ever worked on - A Final Cut for Orson: 40 Years in the Making 00:12
Jaws was the first feature I ever worked on
I was really impressed how beautifully kept this film was. - A Final Cut for Orson: 40 Years in the Making 00:05
I was really impressed how beautifully kept this film was.
So, Technicolor asked that we assemble all of these rolls - A Final Cut for Orson: 40 Years in the Making 00:11
So, Technicolor asked that we assemble all of these rolls
So, I'm splicing a roll of negative - A Final Cut for Orson: 40 Years in the Making 00:06
So, I'm splicing a roll of negative
We lock it down and wait for 30 seconds. - A Final Cut for Orson: 40 Years in the Making 00:04
We lock it down and wait for 30 seconds.
So, now the heat has dried the cement, - A Final Cut for Orson: 40 Years in the Making 00:05
So, now the heat has dried the cement,
I have to do my work on these really old-fashioned machines, - A Final Cut for Orson: 40 Years in the Making 00:08
I have to do my work on these really old-fashioned machines,
All of the data that we've captured by hand - A Final Cut for Orson: 40 Years in the Making 00:13
All of the data that we've captured by hand
We're kind of the bridge between the film world - A Final Cut for Orson: 40 Years in the Making 00:06
We're kind of the bridge between the film world
These 85 boxes represent - A Final Cut for Orson: 40 Years in the Making 00:31
These 85 boxes represent
So, the workprint here has taken an interesting journey. - A Final Cut for Orson: 40 Years in the Making 00:09
So, the workprint here has taken an interesting journey.
And then from Rome came to L.A., - A Final Cut for Orson: 40 Years in the Making 00:18
And then from Rome came to L.A.,
Orson once told me that the movie was going to be like a painting - A Final Cut for Orson: 40 Years in the Making 00:14
Orson once told me that the movie was going to be like a pai...
And then the frame around the picture - A Final Cut for Orson: 40 Years in the Making 00:06
And then the frame around the picture