The Other Side of the Wind

At age 55, after two decades in exile,

Orson Welles returned to Hollywood

to start work on his comeback film, THE OTHER SIDE OF THE WIND.

Production began in 1970

and lasted, off and on, through early 1976,

with editing continuing into the 1980s.

Mired in complex legal, financial, and political turmoil,

he was not able to finish the picture.

Welles died in 1985,

leaving behind nearly 100 hours of footage,

a workprint consisting of assemblies and a few edited scenes,

annotated scripts, memos, thoughts, and directives.

This is an attempt to honor and complete his vision.

NETFLIX PRESENTS

That's the car...

What was left of it after the accident.

If it was an accident.

Hannaford, before he changed his mind,

was going to give the car

to the young leading actor of his last movie,

John Dale.

And Hannaford was supposed to have saved him,

at some earlier date,

from committing suicide.

Or so the story goes...

As for his own death,

his admirers were sure that Hannaford did not intend

to drive the car off that bridge.

"A corny ending," they said.

J.J. Hannaford would never be guilty of that.

But there were other opinions.

He died many summers ago,

July 2nd.

For years, I personally didn't want this document shown,

because, frankly, I didn't like the way I came off in the piece.

But I'm old enough now,

not to care anymore

how my role in Jake's life is interpreted.

My name is Brooks Otterlake,

probably Hannaford's most successful acolyte.

Anyway, this little historical document

has been put together from many sources.

From all the footage shot by TV and documentary filmmakers,

and also the students, critics and young directors

who happened to bring 16 and 8mm cameras,

having been invited to Jake's

70th birthday party.

That was long before cell phone cameras

and computerized images.

The choice of this material is an attempt

to sketch a film likeness of the man himself as he looked...

through all those different viewfinders.

Hannaford's own unfinished last motion picture

is part of this testimony,

The Other Side of the Wind.

It has been left, just as it was

when they showed it at his party,

on what turned out to be

the last day of his life.

Mark it. Steam Bath, Take nine.

Action.

Alright, sweetie.

You know where to go.

Cut.

Thank you, everybody, that's a wrap.

Jake, Brooksie's riding with you if that's okay.

Mr. Hannaford, your meeting with wardrobe is at 8:00 a.m.

Let's make it at 7:00. Let's get the hell out of here.

- Happy birthday, Jake! - Same scene, 9:00 o'clock Monday.

Zarah Valeska is the one giving the party.

According to Jake, she's the greatest cook in the world.

Is she the one who talked Jake into letting all the media get at him at once?

We're the "Close Up on Hannaford" people.

- And these ladies are from Life, I guess. - Look over here!

I'm independent.

Pister, from The Film Institute.

Everybody else not assigned transportation

can collect in the carpool.

Maggie, you can be chaperone.

Mostly the nudies are driving their own cars.

I want to make sure they can get home.

- And the beards? - A TV special for the BBC.

No, ma'am, CBC.

I'm doing a film and he's doing a book on Mr. Hannaford.

And I know somebody somewhere who isn't.

But mine is the authorized biography.

It's certainly one of them, Miss Rich.

May I present Maggie Noonan, our film editor.

Miss Juliette Rich, the celebrated critic.

Isn't that trying just a little hard to be funny?

Come on, Matt, I ain't trying to be funny. Ask the boss.

He thinks they're lousy.

I know what he thinks.

Hey, Costello, step over here, will ya?

Who let you in?

He'll want you with him, Mr. Otterlake. He always does.

- Where is he? - Where's who?

Where's Jake's car? Do you know?

You want to ride out with the boss?

You can just catch him at the studio gate.

Mr. Pister.

The first name is Marvin.

- What? - Isn't it?

This is Matt Costello,

he's Mr. Hannaford's personal assistant.

I do all the dirty jobs.

I'm supposed to be selling the picture.

- You'll just have to wait. - Hi, Billy.

Sorry, Brooksie, I was talking to him.

I guess you'll be riding with Jake, wont you?

So they tell me.

Once again!

The bus with the green stripes, marked "Students,"

is for the students.

- We should ride with you. - Let's go.

Can you wait for our second camera?

- You're going to make a... - Hang on, wait for me.

Come on!

The jazz musicians...

and the midgets

in the blue chartered bus.

Where's The Baron?

Here, sir.

What's the plan for the head of the studio?

Billy's screening the film with him.

I know it should have been you, Baron,

but according to Jake,

I'm more Max's style.

Who knows? Maybe he's right.

Jake?

Isn't he always?

We'll see about that.

I had hoped to ride with the naked ladies.

You're lucky you aren't with the midgets.

All students from the Movie University of Southern California...

or whatever you are...

in the bus with the green stripes.

According to Jake, I'm more Max's style.

Maybe he's right.

Hi, Max, remember me? Billy Boyle.

I've seen you in some Hannaford films, haven't I?

Some early ones on very late TV.

He let me play a few friends of the heroes for a while.

- We're both reformed... - Where is he?

...actors, aren't we?

Jake?

Well I...

- I don't think we ought to wait for him. - Is he still on the set?

I don't actually know just where he is at the moment.

Alright, the crew...

the jazz musicians...

and the midgets...

in the blue chartered bus.

Zimmer, I've got a message for you.

From Jake? I got that message.

- Everybody got it. - Not this message.

I'm fired?

That's the message?

Why?

Would somebody please tell me

why I'm going to his party?

You're invited.

All these stupid dummies.

They're invited.

This is toward the beginning.

It comes right after what we were shooting today.

She leaves the steam room

and here's this character waiting for her.

Right here!

- Through the window right there. - Come on, man.

Life was never like this in Hicksville, huh, Julie?

- Hicksville? - Yeah, that little town you were born in.

I remember, Polack extraction.

Richiviski?

You seem to know quite a lot about me, Mr. Costello.

Call me Matt.

Matt here, he knows about everybody.

Keep it quiet.

He's on that committee,

the one that decides if you're an American.

Maybe you didn't know that these people are still in business.

You mean that Mr. Hannaford's investigating me?

We're still in business, huh?

What am I going to see, everything he's shot up until now?

The first couple of reels, Max.

The last part's already out at the ranch.

Zarah's giving him this party.

She's invited all these movie freaks.

We'll see the rest of the stuff when we get out there.

Zarah's expecting you, Max.

So is Jake.

I was expecting him here.

Fine. Rolling. Hello, hello...

I'm ready to go.

Just go right ahead and talk, Mr. Hannaford.

- Don't mind us. - I'll go first.

Mr. Hannaford, is the camera eye a reflection of reality?

Or is reality a reflection of the camera eye?

Or is the camera merely a phallus?

I want a drink.