Me and orson welles book summary
Zac Efron and Zoe Kazan in Film Based on Theater History - The New York TimesSign in. There, he meets and begins a casual friendship with Gretta Adler, their friendship based on a shared love and goal of a profession in the creative arts. But also on this trip, Richard stumbles across the Mercury Theatre and meets Orson Welles , who, based on an impromptu audition, offers Richard an acting job as Lucius in his modern retelling of Julius Caesar, which includes such stalwart Mercury Theatre players as Joseph Cotten and George Coulouris. In other words, whatever Welles wants, the cast and crew better deliver. These requests include everything, even those of a sexual nature. Welles does not believe in conventions and will do whatever he wants, which includes not having a fixed opening date, although the unofficial opening date is in one week's time.
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Remember that Orson Welles himself didn't always look like Orson Welles. He was a master of makeup and disguise, and even when appearing in the first person, liked to use a little putty to build up a nose he considered a tad too snubbed. We can almost accept that this is the Great Man. Twenty-four years after his death at 70, Welles is more than ever a Great Man. There is something about his manner, his voice and the way he carries himself that evokes greatness, even if it is only his own conviction of it. He is widely thought of as having made one masterpiece, " Citizen Kane " and several other considerable films, but flaming out into uncompleted projects and failed promise. Yet today even such a film as "The Magnificent Ambersons" , with its ending destroyed by the studio, often makes lists of the greatest of all time.
Me and Orson Welles is an enchanting coming-of-age story set in s Manhattan, on Broadway to be exact. Its hero, year-old New Jersey-born Richard Samuels, has a great many ideas about himself, all steeped in stage and screen.
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So much is going on! So much to be part of! Though specific in its period references — the musical choices in particular are fresh and precise — this movie is much more than an exercise in nostalgia for those storied old days, when Harold Ross edited The New Yorker, Orson Welles bestrode the boards of the Mercury Theater and Brooks Atkinson reviewed plays for The New York Times. Which can be a painful, disillusioning experience as well as a source of exhilaration. This, at any rate, is what Richard, Mr. His evident relish in the dimensions of this role is a crucial part of the performance. Though perhaps not to work with him.