In the early 2000s, Robert Rodriguez’s office called negative cutter Mo Henry, who had worked on all the director’s movies, starting with a pro bono job on his scrappy debut, “El Mariachi,” with bad news: There would be no negatives to cut on his next pic, “Spy Kids 2: The Island of Lost Dreams,” because Rodriguez had decided to go digital.
“When I saw him changing, that’s when I realized,” Henry says. “I knew then that it was going to end.”
As it happens, it didn’t end. Henry is still working — “semiretired,” she says. The skill of cutting a motion-picture negative to precisely match the film editor’s final cut is still needed — though a lot less often these days.
Two decades ago, Henry worked on more than 30 films a year. In 2001, she cut “Heist,” “Mulholland Drive,” “Training Day,” “Swordfish” and “Shrek,” among more than two dozen films.
“When I saw him changing, that’s when I realized,” Henry says. “I knew then that it was going to end.”
As it happens, it didn’t end. Henry is still working — “semiretired,” she says. The skill of cutting a motion-picture negative to precisely match the film editor’s final cut is still needed — though a lot less often these days.
Two decades ago, Henry worked on more than 30 films a year. In 2001, she cut “Heist,” “Mulholland Drive,” “Training Day,” “Swordfish” and “Shrek,” among more than two dozen films.
- 7/26/2019
- by Calum Marsh
- Variety Film + TV
When legendary director Orson Welles began shooting “The Other Side of the Wind” — an art-imitates-life story about a famous Hollywood director (played by John Huston) struggling to finish his final masterpiece — in 1970, he could never have predicted the long and winding road his own film was about to travel. Plagued by financial and legal issues, the production, which spanned years, was never completed, let alone released. Welles died in 1985.
Ultimately, more than 1,000 reels of film languished in a Paris vault until 2017, when producers Frank Marshall (a production manager on the initial shoot) and Filip Jan Rymsza spearheaded efforts to finally complete the film, which was released theatrically and streamed by Netflix on Nov. 2.
To reach this point, a team of artisans including Oscar-winning editor Bob Murawski (“The Hurt Locker”) and negative archivist Mo Henry, the negative cutter of better than 300 films, notably “The Dark Knight” and “The Matrix,” labored for...
Ultimately, more than 1,000 reels of film languished in a Paris vault until 2017, when producers Frank Marshall (a production manager on the initial shoot) and Filip Jan Rymsza spearheaded efforts to finally complete the film, which was released theatrically and streamed by Netflix on Nov. 2.
To reach this point, a team of artisans including Oscar-winning editor Bob Murawski (“The Hurt Locker”) and negative archivist Mo Henry, the negative cutter of better than 300 films, notably “The Dark Knight” and “The Matrix,” labored for...
- 11/15/2018
- by Iain Blair
- Variety Film + TV
The story of Orson Welles’ unfinished and final film, “The Other Side of the Wind,” which will screen at the New York Film Festival September 29, is the stuff of legend. Produced over six years from cobbled-together funds, the chain of title was a legal nightmare: French courts held the film’s negative captive, while Welles’ partially edited workprints had been held in Croatia since his death in 1985.
Producers Filip Jan Rymsza and Frank Marshall (who cut his teeth on the rag-tag film 44 years ago) brought together the various rights holders, including the Welles family; Netflix acquired the negative and united the available elements. Then, they faced a potentially even bigger problem: How do you salvage an incomplete, long-neglected and complicated Orson Welles film without Welles himself?
To capture this story of technical and filmmaking challenges, IndieWire interviewed the filmmakers behind the monumental effort, and screened the 40-minute “A Final Cut For Orson,...
Producers Filip Jan Rymsza and Frank Marshall (who cut his teeth on the rag-tag film 44 years ago) brought together the various rights holders, including the Welles family; Netflix acquired the negative and united the available elements. Then, they faced a potentially even bigger problem: How do you salvage an incomplete, long-neglected and complicated Orson Welles film without Welles himself?
To capture this story of technical and filmmaking challenges, IndieWire interviewed the filmmakers behind the monumental effort, and screened the 40-minute “A Final Cut For Orson,...
- 9/28/2018
- by Chris O'Falt
- Indiewire
Nearly 50 years after it began production, Orson Welles’ notoriously unfinished film is ready for its premiere, thanks to a “long, agonizing journey” that found a happy ending with streaming giant Netflix. In March of last year, Netflix announced that it had acquired the film and was set to fund its completion, which was to be overseen by producers Frank Marshall (who also served as production manager of the film when it first began shooting in 1970) and Filip Jan Rymsza. More than 1,000 reels of film negatives languished in a Paris vault until March 2017, when the Netflix deal allowed it to be given over to a Marshall-led team of editors, including Oscar-winning editor Bob Murawski, plus sound mixer Scot Millan and negative cutter Mo Henry.
For Marshall, a veteran producer who went on to produce films like “Jurassic World”, plus the “Indiana Jones” and “Jason Bourne” franchises, it was a Hollywood dream come true.
For Marshall, a veteran producer who went on to produce films like “Jurassic World”, plus the “Indiana Jones” and “Jason Bourne” franchises, it was a Hollywood dream come true.
- 6/4/2018
- by Kate Erbland
- Indiewire
Cannes Film Festival director Thierry Fremaux is in an unenviable position. He needs, and loves, to bring name auteur filmmakers to his festival. There aren’t enough of them, and one of his auteur suppliers just pulled out of Cannes 2018. Last year, Netflix delivered Noah Baumbach (“The Meyerowitz Stories”) and 2011 Camera D’or jury head Bong Joon Ho (“Okja”). When the Official Selection is announced tomorrow morning, it won’t include Netflix films from Alfonso Cuaron (“Roma”), Jeremy Saulnier (“Hold the Dark”), and Paul Greengrass (“Norway”).
That’s because the granddaddy of all festivals is in France, whose film industry maintains a complex, legally binding system of funding and releasing movies in which shares of revenues are given back to producers for production. It used to be the envy of the film world; now, it looks hopelessly out of date.
Any movie that plays in French theaters must wait 36 months...
That’s because the granddaddy of all festivals is in France, whose film industry maintains a complex, legally binding system of funding and releasing movies in which shares of revenues are given back to producers for production. It used to be the envy of the film world; now, it looks hopelessly out of date.
Any movie that plays in French theaters must wait 36 months...
- 4/11/2018
- by Anne Thompson
- Thompson on Hollywood
Cannes Film Festival director Thierry Fremaux is in an unenviable position. He needs, and loves, to bring name auteur filmmakers to his festival. There aren’t enough of them, and one of his auteur suppliers just pulled out of Cannes 2018. Last year, Netflix delivered Noah Baumbach (“The Meyerowitz Stories”) and 2011 Camera D’or jury head Bong Joon Ho (“Okja”). When the Official Selection is announced tomorrow morning, it won’t include Netflix films from Alfonso Cuaron (“Roma”), Jeremy Saulnier (“Hold the Dark”), and Paul Greengrass (“Norway”).
That’s because the granddaddy of all festivals is in France, whose film industry maintains a complex, legally binding system of funding and releasing movies in which shares of revenues are given back to producers for production. It used to be the envy of the film world; now, it looks hopelessly out of date.
Any movie that plays in French theaters must wait 36 months...
That’s because the granddaddy of all festivals is in France, whose film industry maintains a complex, legally binding system of funding and releasing movies in which shares of revenues are given back to producers for production. It used to be the envy of the film world; now, it looks hopelessly out of date.
Any movie that plays in French theaters must wait 36 months...
- 4/11/2018
- by Anne Thompson
- Indiewire
“The Other Side of the Wind,” Orson Welles’ final unfinished film, is finally approaching completion. According to Welles fan site Wellesnet, a cut of the film screened for a select group of Hollywood elite Tuesday in Santa Monica, 42 years after principal photography finished. An attendee at the screening described it as more than a rough cut, but not a final product. Filmmakers in attendance at the screening included Paul Thomas Anderson, Quentin Tarantino, Peter Bogdanovich, and Rian Johnson.
Last year, Netflix announced it was acquiring the movie and funding its completion, which has been overseen by producers Frank Marshall and Filip Jan Rymsza. Bogdanovich, who was charged by Welles with finishing the film in the event of his death, is an executive producer.
Last year, Netflix announced it was acquiring the movie and funding its completion, which has been overseen by producers Frank Marshall and Filip Jan Rymsza. Bogdanovich, who was charged by Welles with finishing the film in the event of his death, is an executive producer.
- 1/19/2018
- by Jude Dry
- Indiewire
“The Other Side of the Wind,” Orson Welles’ unfinished last movie, is nearing completion, Variety reports. Netflix announced in March that it was acquiring the movie and funding the competition effort, which has been overseen by producers Frank Marshall and Filip Jan Rymsza. As the movie enters the post-production phase, Netflix and the producers have brought on an all-star team of Oscar winners to help assist with the movie’s restoration, including Oscar-winning editor Bob Murawski and sound mixer Scot Millan. Negative cutter Mo Henry is also being brought on.
Read More:Netflix Acquires ‘The Other Side of the Wind,’ Orson Welles’ Unfinished Swan Song
“After all these years, I can’t quite believe we are starting post production on ‘The Other Side of the Wind,'” Marshall told Variety. “Thanks to Netflix, we have been able to assemble an amazingly talented post-production team to take on the exciting and daunting...
Read More:Netflix Acquires ‘The Other Side of the Wind,’ Orson Welles’ Unfinished Swan Song
“After all these years, I can’t quite believe we are starting post production on ‘The Other Side of the Wind,'” Marshall told Variety. “Thanks to Netflix, we have been able to assemble an amazingly talented post-production team to take on the exciting and daunting...
- 11/8/2017
- by Zack Sharf
- Indiewire
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