Sie werden mich lieben, wenn ich tot bin

This documentary details the up & downs Orson Welles went through getting financing for many of his projects particularly his last, The Other Side of the Wind. Welles, who became a wunderkind after his major breakthrough Citizen Kane, never got the same treatment or respect for the remainder of his life, always securing backing for his films in fits & starts (he'd occasionally had shooting projects languishing for years at a time as he'd take acting jobs or towards the end of his life becoming a pitch person for wine & board games solely to secure necessary completion funds) which ultimately would add to his stature as being a problematic visionary (a sad episode occurs when he tries to get money to finish his film during his own AFI awards ceremony). More of a story of what could've been, this depressing account leaves one fuming at the film community for abandoning this gargantuan talent & not giving him his due.

The "cute" usage of available feature and personal film scenes, often totally out of context, is inexcusable in a documentary. If the director wanted a spoken word by Welles in this thing, it was grabbed from whatever decade is available. In addition, much "general stock footage" is seen for "atmosphere." Sometimes almost randomly. Just awful. I watched this after "The Other Side of the Wind," which makes it really irritating. There are some amazing docs out there.

And Alan Cumming is just too precious.

If you are a fan of film making and film makers then this documentary certainly has the right subject matter. There are elements of this which reminded me of Lost In La Mancha, another documentary about a doomed project where the maverick director tried their best to drag the film to life. But if you are looking for insight in to the mind and passion of Orson Wells, then be prepared to wade through over an indulgent stylised presentation. It somehow finds a half-way house between a typical talking heads documentary and a pure voiceover (like Senna), and it doesn't really work, you don't really have an idea of who is talking. The extensive use of footage from different sources is just a distraction to the narrative that is being told by voiceovers The biggest misstep is Alan Cummings, I have no idea what he's purpose was. He did not feature enough to be a narrator, he did not have any kind of associate with anyone involved in The Other Side of The Wind, it was just pointless.

"The Other Side of The Wind" was Orson Welles last attempt at filmmaking before his death. It is a true testament to the genius of the greatest director of our generation, and is a shame that the movie will never be seen because the only movies that are made now are corporate projects, and art is not optional, and is even disregarded in the name of greed.

Orson Welles, as most people know, could not get financing for his movies later on in his life. Why? The reason is because film studios have become corporate machines, making money rather than making art. Since the days of Star Wars and Jaws, film studios have been much more concerned with the idea of box office receipts than with the idea of presenting filmmakers as artisans. These days, news papers are obsessed with the box office of a film even more than the plot.

Welles, in his later years, was against all the paper pushers and money launderers that populate the film industry. Unfortunately, he also had to pander to them to get funding. So he went into a depression and made some terrible choices, relegating himself into a characterture of his former self, appearing in ridiculous films, TV commercials, and started on a downhill slide that culminated in making some absolute disasters in order to try to accumulate any kind of investments.

At one point, he attempted to communicate this in a film called "The Other Side of the Wind" in which the main character, a Director, coming to terms with his 70th birthday, is confronted by a younger version of himself in the form of another Boy Wonder who makes commercial films which are successful money makers. The two characters are played by the legendary John Huston as the older man and Peter Bogdanovich as the Wunderkind. At the time the film was being shot, Huston was most like the real character of Welles himself, and Bogdanovich was a hybrid of all the successful Lucases and Spielbergs of the world.

In addition, the story of "Wind" also includes a playful 70's type of Avant Guarde film, one that would easily have fit in with the "Easy Rider" and "Zabriskie Point" genre of films which represented the alternative film industry. The story then zigzags back and forth between the "real" story of the Director and the "fantasy" story of the trippy film, with Welles' Muse, the gorgeous Oja Kodar as the lead girl, traipsing thru endless psychedelic environments, followed by a mute boy, and culminating in a fantasy sex scene while being driven by another actor in a car in a rainstorm-- a scene as erotic as possible in the era of free love and experimentation.

However, the documentary is more complex, and captures the essence of Welles' philosophy of life in which he is constantly at odds with the business of filmmaking throughout his entire life.

The saddest part of the story is when Welles, who was dependent on Peter Bogdanovich at one point, betrays his friend by saying negative things about him on a talk show. One wonders what was his motive in doing so -- was Welles being subconsciously self-destructive? Was he jealous of Peter's ability to make financially successful films? There is even a part in the shooting of "Wind" where he casts a 19-year-old girl as the pawn between the two Directors, and one is immediately reminded of Bogdanovich's obsession with Cybil Sheppard, who was also 19 when she was cast as the actress in "Last Picture Show."

In fact, so much of "Wind" is a reflection of Welles' life, that it is almost another attempt at telling the story of "8 1/2", which captures Fellini's trials and tribulations while making a film that also would never be released. Welles is subconsciously telling us the story of his life, all the while denying that this was his intention.

The best film about the making of "The Other Side of the Wind" (2018) is "The Other Side of the Wind," but this companion piece "They'll Love Me When I'm Dead" is an interesting documentary, too, about the making of a film that was already about its own making. Orson Welles's picture concerns a film unfinished at the time of the director's death, leaving behind a slough of footage for his friends and admirers to assemble into a finished product, which is what has been distributed by Netflix after all these decades. Two films in one, the outer one, from the cameras of documentary filmmakers, already contains a considerable amount of analysis of the meaning of the film within and its director, too. In this respect, it's a wonder there's much ground left to cover in "They'll Love Me When I'm Dead." Welles's film is so multi-layered, though, and so much footage was left out of the ultimate release (reportedly, cutting near 100 hours down to about two), that even this documentary about it allows for multiple and contradictory interpretations and, yet, doesn't even cover much of what also must be a compelling story of what's happened to the film since the death of Welles.

Some of the stuff from the talking heads here is irrelevant (e.g. Welles's reported fondness for Fudgsicals) and armchair psychology, but there's enough information about the production of "The Other Side of the Wind," with clips not used in the release print edited in here, as well as looks at some of Welles's other pictures to make this documentary worthwhile. I think the end clip of Welles wishing that everyone would see his film is especially apt given its final distribution by Netflix, which as the most-popular online movie streaming service offers the best hope of fulfilling that wish. And, Welles's film may be the best thing Netflix has yet distributed. It's a fitting end for a film, too, that is partly about the death of classical Hollywood and the rise of a New Hollywood that admires an auteur of the prior generation and which features then-new forms of motion-picture making and viewing--TV, 16 and 8mm cameras and the drive-in theatre--technologies and platforms that themselves have since been largely or, at least, partially superseded by computers, digital technology, smart phones and streaming.