By Ray Pride


 The film to be released in 2015, the centenary year of Orson Welles birth
LOS ANGELES, CA, May 7, 2015 – Forty five years after the first scenes were filmed and 30 years after his death, legendary director Orson Welles’ never-before- seen final film THE OTHER SIDE OF THE WIND, has launched a campaign today on Indiegogo, the world’s largest global crowdfunding platform. Indiegogo campaign link  and Twitter and Facebook.

THE OTHER SIDE OF THE WIND is a scathing tale of friendship, betrayal, media and ambition in Hollywood and stars cinematic legends John Huston, Peter Bogdanovich, Oja Kodar, Robert Random, Lilli Palmer, Edmond O’Brien, Cameron Mitchell, Mercedes McCambridge, Norman Foster, Dennis Hopper, Paul Stewart, Peter Jason and Susan Strasberg.

THE OTHER SIDE OF THE WIND has set a campaign goal of $2,000,000 through June 14, 2015 to fund the editing, score and post production.

Among the cinephile-worthy campaign perks are:

  • A limited number of 35mm film prints that will be struck from the actual film
  • A coffee table book of behind-the-scenes photography of the making of the film
  • Original canisters that housed the film’s negatives
  • Invitations to the world premiere, and Q&A screenings with the filmmakers

“Had crowdfunding been around in the 1970’s, I believe Orson would have embraced it as a way of engaging filmgoers directly,” said Producer Filip Jan Rymsza. “Shot over five years in multiple formats, finishing the film is a huge technical undertaking.”

“Indiegogo is honored to expose a global audience to Orson Welles’ cinematic brilliance,” said Marc Hofstatter, Indiegogo’s Head of Film Outreach. “This campaign provides fans the unique opportunity to become part of film history by helping to bring a maverick director’s final project to life so it can be enjoyed for years to come.”

said Beatrice Welles.
Peter Bogdanovich, who stars in the film, said, “In the end, let’s let the people finish

Orson’s last film.”

“I’m thrilled to finally be nearing the end of the long journey to finish Orson’s last picture. It’s wonderful that all of us can come together with the same goal, to preserve his cinematic genius and honor his legacy,” said Producer Frank Marshall, who worked closely with Orson Welles and served as line producer on THE OTHER SIDE OF THE WIND.

The year 2015 marks the 100th anniversary of Welles’ birth, and there is no better way to commemorate his extraordinary life and impact on filmmaking than to complete the last film of his career.

Fans of the film around the globe can contribute to THE OTHER SIDE OF THE WIND through June 14, 2015 at orson-welles-last-film/x/4216615, and help bring this cinematic treasure to audiences.

About the Film

THE OTHER SIDE OF THE WIND is a scathing tale of friendship, betrayal, media and ambition in Hollywood that unspools as a fast-cutting, kaleidoscopic film-within-a-film. It’s the last night in the life of Jake Hannaford (John Huston), a once-legendary director trying to finish a sexy, edgy film intended to reinvent his career. In a series of encounters with reporters, studio heads, members of his entourage, acolytes and enemies, elements of Hannaford’s art and life come to the fore. The all-star cast includes cinematic legends John Huston, Peter Bogdanovich, Oja Kodar, Robert Random, Lilli Palmer, Edmond O’Brien, Cameron Mitchell, Mercedes McCambridge, Norman Foster, Dennis Hopper, Paul Stewart, Peter Jason and Susan Strasberg. The film is being produced by Filip Jan Rymsza, Frank Marshall and Jens Koethner Kaul.

About Indiegogo

Indiegogo empowers people around the world to fund what matters to them. As the largest global crowdfunding platform, campaigns have launched from almost every country around the world with millions of dollars being distributed every week due to contributions made by the Indiegogo community. At its core, Indiegogo is an open platform dedicated to democratizing the way people raise funds for any project–creative, entrepreneurial or cause-related. The company was launched in 2008 and is

“My father struggled his whole life to find funding to finish his pictures, but never as

much as he did for this one. He would truly be ecstatic to know that it was “the people

who really cared about his work” who, in the end, brought his last dream to fruition,”

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon