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So, Technicolor asked that we assemble all of these rolls
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A Final Cut for Orson: 40 Years in the Making

So, Technicolor askedthat we assemble all of these rolls in key number order and these are...

So, Technicolor asked
that we assemble all of these rolls in key number order and these are the key numbers, which is kind of hard to read

Full Transcript

00:00:01.000 --> 00:00:04.042
So, Technicolor asked that we assemble all of these rolls
00:00:04.545 --> 00:00:05.838
in key number order
00:00:06.505 --> 00:00:08.716
and these are the key numbers,
00:00:08.924 --> 00:00:10.634
which is kind of hard to read.
Duration
11 seconds
Views
27
Timestamp in Movie
00:10:14
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.
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
And the party would then be shot by all these different cameras and formats, - A Final Cut for Orson: 40 Years in the Making 00:14
And the party would then be shot by all these different came...
Orson said, - A Final Cut for Orson: 40 Years in the Making 00:10
Orson said,
Orson had, himself, edited - A Final Cut for Orson: 40 Years in the Making 00:05
Orson had, himself, edited
How much harm can you do to the third biggest grosser - A Final Cut for Orson: 40 Years in the Making 00:04
How much harm can you do to the third biggest grosser
So, we had an idea from what he'd cut - A Final Cut for Orson: 40 Years in the Making 00:09
So, we had an idea from what he'd cut
The editing was so unique. - A Final Cut for Orson: 40 Years in the Making 00:09
The editing was so unique.
When Peter and I sat down with Bob, we knew - A Final Cut for Orson: 40 Years in the Making 00:09
When Peter and I sat down with Bob, we knew
Get that spook outta here. - A Final Cut for Orson: 40 Years in the Making 00:05
Get that spook outta here.
When I moved to Studio City, I became friends with Gary Graver, - A Final Cut for Orson: 40 Years in the Making 00:07
When I moved to Studio City, I became friends with Gary Grav...