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The following document-an "outtake" from This is Orson Welles by Orson Welles and Peter Bogdanovich, a book I recently edited for HarperCollins -is excerpted from a 58-page memo written by Welles to Edward Muhl, the Universal Pictures studio chief, in 1957. The excerpting was carried out by Welles and Bogdanovich in the early 1970s for This is Orson Welles as part of a larger chronology of the making of Touch ofEvil, only portions of which can be given here. (Unfortunately, I haven't seen the original, uncut memo and can't comment on the missing material.) After shooting on Touch of Evil concluded on April 2, 1957, editing and dubbing under Welles' supervision, mainly with Virgil Vogel, continued until Welles flew to New York on June 6 to appear on Steve Allen's TV show. When he returned, a new editor, Aaron Stell, had been assigned by the studio to the picture, and Welles was asked to let him work alone. AfterWelles quarreled with post-production head Ernest Nims about when he could start shooting a few inserts needed for narrative clarity, and Muhl decided to look at the rough cut for the first time, Welles left for Mexico around June 29th to work on his Don Quixote. Objecting to the rapid crosscutting between scenes in the first five reels, Muhl assigned Nims to recut these reels. Welles returned from Mexico and viewed Nims' cut in late August; he returned to Mexico for more work on Quixote in September and October. After screening the new cut on November 4, Muhl |
