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Photoshoot with Matthew Raetz
Actor/Model
Learn more about Matt here
and here
Lake Vista
New Orleans, Louisiana
Actors in a historical play head to a performance in Popayan, Colombia.
Popayan, Colombia, 2013
All images © Michael Evans
All Rights Reserved
I'm pleased to announce my new photo book, My Colombia: The First Seven Years.
You can preview and purchase the book at: bit.ly/2qFiAAy
To learn more about my life in Colombia, check out this article: bit.ly/2qxcFyX
William Eythe, giving the lens a rather intense - stare. Probably a portrait taken for "Mr. Reckless", 1948
Burt Lancaster in the 1947 film "Desert Fury". My restoration and colorization of a Hal Wallis Productions publicity photo.
Daniel Mangin has described how Lancaster´s incredibly movie career got started:
"For an actor whose screen debut, the 1946 film noir classic "The Killers," made him an instant star, Burt Lancaster's first few seconds on celluloid are remarkably subdued. He lies motionless in bed, his face in shadow. The brightest light in the shot shines on his T-shirted chest as he learns that two hit men are on their way to rub him out. He's nearly invisible as he passively accepts his fate, his face in shadow until just before he's murdered."
"As Kate Buford points out in her absorbing new biography of the actor, Lancaster, who was born in 1913 and died in 1994, had the makings of a star: broad shoulders, a chiseled face, brilliant blue eyes, defiantly wayward hair and an iconic smile -- much mimicked by impersonators during his heyday -- that he called "The Grin." Though he was a big man, he moved with grace on-screen, thanks to years of touring as a circus acrobat.
David O. Selznick, the legendary producer of "Gone With the Wind," had the chance to put him under contract in the mid-1940s but declined. Following the paradigm of Hollywood's golden age, Selznick looked for personality types he could showcase in a series of similar roles, and he'd already signed one ravishing hunk, Guy Madison (a star remembered these days only by fey folk of a certain vintage). Who needed another?"
"Selznick's rejection was actually a stroke of luck -- one of many -- for Lancaster. He hooked up with Harold Hecht, an agent who accurately gauged the social and economic forces transforming the motion-picture business after World War II. Within a few years, not only had Hecht helped engineer Lancaster's superstardom (Lew Wasserman, the head of MCA, also played a key role), Hecht and Lancaster had become the producers of "Marty," "Trapeze" (Lancaster's homage to his circus days) and other hits. In the 1950s and early 1960s their company was the most successful independent outfit distributing through United Artists."
(Salon)
It has been eight weeks today since I said goodbye to my beloved Jet. I miss that boy every single day more than I can ever say. ❤❤ I still can't even talk much about him without breaking up. I wonder sometimes when I will stop doing a double-take when I see Bear thinking 'is that Jet or Bear' like I always did. Sigh...
My heart is crushed but I always knew there would be room to fill some of the emptiness. Over the weekend, we welcomed two new members into our family. Koji and Bodhi are 10 week old siblings. My plan was to adopt two black kittens but never planned to adopt a kitten with markings like Jet, it just happened that way. Koji has a white chest patch and a few white patches on his belly like Jet. They named him Shadow at the rescue. I named him Koji after Andrew Koji, the martial arts star of the series 'Warrior'. He is an amazing martial artist and actor and I wanted to honor Jet Li by keeping that tradition going. Koji is very outgoing and adventurous. Bodhi is a fuzzy little buddy who is so very shy. He loves when I play with him but it will be time before he is comfortable, and that is totally okay. It was funny to find out his rescue name was Bear.. obviously I already have a Bear though it would have been a perfect name for him, he looks like one.
They are so tiny and such joyous little beings, I could watch their antics for hours. They don't really meow, but make little squeaky and whimpering noises when they play together. It will be a long process before even beginning the introductions to Bear, Lucca and Marky as they must be isolated completely for 10 days. We will slowly introduce them after that. The other kitties are not sure about what is happening but they don't like the bathroom door being closed. I have my Ring camera in the room so I can check on the kittens at any time and it goes off to let me know when they wake up from their naps. 24 hour surveillance. 😄
We will all have a good time and I am sure they will unknowingly help me with the healing process.
Actor head shots. Thanks for the inspiration from Shineylewis, Regina Pagles.
Lighting: AB800 in medium softbox CR, AB800 with grid, fill with 64" PLM with cover for fill.
Who said that only the famous actors are good? Here my favorite two : Eugenia Paspala' and Maria Amerikanou
You can see the finished product here. 308.peugeot.com.cn/ Directed by Antony Hoffman
Dutch postcard by Drukkerij Uitg. Int. Filmpers, Amsterdam, no. 5019. Elvis Presley, Dolores Hart, Carolyn Jones, Liliane Montevecchi and Jan Shepard in King Creole (Michael Curtiz, 1958).
When The Beatles came to America in 1965 there was only one person they wanted to meet: Elvis Presley (1935-1977). Elvis had more multi-platinum album sales than any other performer, with twelve albums selling over 2 million copies.
Elvis Aaron Presley was born in Tupelo, Mississippi, in 1935. He moved with his family to Memphis, Tennessee when he was 13 years old. His musical career began in 1953 when he recorded a song at the later Sun Studio that was released on Sam Phillips' Sun Records. Accompanied by guitarist Scotty Moore and bassist Bill Black, Presley became an early populariser of rockabilly, an uptempo, backbeat-driven fusion of country and rhythm and blues. The record company RCA Victor took over his contract in a deal prepared by Colonel Tom Parker, who would serve as the singer's manager for more than two decades. Presley's first single 'That's All Right' was released in July 1954. This was followed by 'Heartbreak Hotel', an American number one hit, in January 1956. After a series of successful television appearances and records that reached the top of the sales charts, he was regarded as rock 'n' roll's most prominent figure. His energetic interpretations of songs and sexually provocative stage performances, combined with a remarkably appealing fusion of multi-ethnic influences that coincided with the rise of the civil rights movement, made him at once immensely popular and controversial. The America of the immediate post-World War II period saw great economic growth, with young people having more to spend. Individual development gradually became more important and so a youth culture emerged with various subcultures that opposed the older generation. Presley was the embodiment of this and thus became the first pop idol. Elvis made his debut as an actor in the film Love Me Tender (Robert D. Webb, 1956). Although he was not at the top of the bill, the film's initial title, The Reno Brothers, was changed to capitalise on his last number one hit: 'Love Me Tender' had topped the charts earlier that month. To capitalise even more on Presley's popularity, four musical numbers were added to the original strict actor's role. Although critics cracked the film, it did well with filmgoers. Soon followed more films, including Jailhouse Rock (Richard Thorpe, 1957) and King Creole (Michael Curtiz, 1958) with Carolyn Jones and Walter Matthau, In 1958, he was drafted into the army.
On 2 March 1960, Elvis Presley returned to the US and was given an honourable discharge with the rank of sergeant. The train taking him from New Jersey to Tennessee was stormed by a crowd the entire way. In Nashville, he recorded songs for a new album and the single 'Stuck on You', which quickly became a number one hit. Two weeks later, he recorded a pair of ballads that would become among his best-selling singles, 'It's Now or Never' and 'Are You Lonesome Tonight?' In October, 'G.I. Blues' was a number one album. It was the soundtrack to Presley's first film since his return, G.I. Blues (Norman Taurog, 1960) with Juliet Prowse and Leticia Roman. On 25 March, another benefit concert took place in Hawaii, raising money for a memorial to the attack on Pearl Harbor. It was Presley's last public appearance for the next seven years. Colonel Parker had manoeuvred Presley into a busy schedule of making formulaic, modest-budget musical film comedies. Initially, Presley insisted on pursuing serious roles, but when two films of a more dramatic nature - the Western Flaming Star (Don Siegel, 1960) with Steve Forrest and Dolores Del Rio, and Wild in the Country (Philip Dunne, 1961) with Tuesday Weld - met with less commercial success, he resigned himself to the formula. Even among the 27 films, he made in the 1960s, there were still a few exceptions to the formula. In Viva Las Vegas (George Sidney, 1964) he met his perfect match in the stunningly beautiful Ann-Margreta who was a more independent-than-usual female co-star. The film was a big hit. His other films were almost universally criticised, but almost all were profitable. Hal Wallis, the producer of nine of these films, declared: "A Presley film is the only certainty Hollywood knows." After seven years of no live performances, Elvis returned to the stage in 1968 in the television comeback special Elvis, which resulted in a long series of concerts in Las Vegas and a series of highly profitable tours. In 1973, Presley performed in the first satellite concert broadcast worldwide, Aloha from Hawaii. Long-term drug abuse ruined his health and he died in 1977 at the age of 42. He had one daughter Lisa Marie (1968). Presley is one of the best-selling solo artists in the history of the music industry with estimated sales of approximately 600 million records worldwide.
Sources: Wikipedia (Dutch and German), and IMDb.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
My photography teacher taught me that a lot of pictures become more interesting when a person/actor is present.
That was missing here :-)
HSS!
British postcard by Picturegoer, London, no. W. 410. Photo: Columbia. Orson Welles in The Lady from Shanghai (Orson Welles, 1947).
American actor, director, writer and producer Orson Welles (1915-1985) worked in theatre, radio and film, both in the US and in Europe. He is remembered for his innovative work in all three media, most notably Caesar (1937), a groundbreaking Broadway adaptation of Julius Caesar and the debut of the Mercury Theatre; The War of the Worlds (1938), one of the most famous broadcasts in the history of radio; and Citizen Kane (1941), ranked as one of the all-time greatest films. His other films include The Magnificent Ambersons (1942), Touch of Evil (1958) and Le Procès/The Trial (1962).
George Orson Welles was born in Kenosha, Wisconsin, in 1915. He was the second son of Beatrice (née Ives) and Richard Hodgdon Head Welles. In 1919, his parents separated and moved to Chicago. His father, who made a fortune as the inventor of a popular bicycle lamp, became an alcoholic and stopped working. His brother ‘Dickie’ was institutionalized at an early age because he had learning difficulties. Welles's mother, a beautiful concert pianist, had to support her son and herself. In 1924, Beatrice died of hepatitis in a Chicago hospital, just after Welles's ninth birthday. He was taken in by Dudley Crafts Watson. At the age of ten, Orson ran away from home with Watson's third daughter, Marjorie. They were found a week later, singing and dancing for money on a street corner in Milwaukee. Welles' father died when Orson was 15. Maurice Bernstein, a physician from Chicago, became his guardian. His school teacher Roger Hill provided Welles with an ad hoc educational environment that proved invaluable to his creative experience, allowing Welles to perform and stage theatrical experiments and productions. Welles was awarded a scholarship to Harvard University, but he chose instead to travel to Europe. In Ireland, he strode into the Gate Theatre in Dublin and claimed he was a Broadway star. The manager of Gate, Hilton Edwards, was impressed by his brashness and an impassioned quality in his audition. Welles made his stage debut at the Gate in 1931, appearing in Jew Suss as the Duke. He acted to great acclaim, word of which reached the United States. On returning to the United States he wrote the immensely successful Everybody's Shakespeare. In 1933, he toured in three off-Broadway productions with Katharine Cornell's company, including two roles in Romeo and Juliet. In 1934, he shot his first film, an eight-minute short titled The Hearts of Age, and he married Chicago actress Virginia Nicholson. By 1935 Welles was supplementing his earnings in the theatre as a radio actor, working with many actors who would later form the core of his Mercury Theatre.
In 1936, the Federal Theatre Project (part of Roosevelt's Works Progress Administration) put unemployed theatre performers and employees to work. Orson Welles was hired by John Houseman and assigned to direct a play for the Federal Theatre Project's Negro Theatre Unit. His production of Macbeth was set in the Haitian court of King Henri Christophe, with voodoo witch doctors for the three Weird Sisters. The play was received rapturously and later toured the nation. At 20, Welles was hailed as a prodigy. A few minutes of Welles’ ‘Voodoo Macbeth’ was recorded on film in the documentary We Work Again (1937). Welles rehearsed Marc Blitzstein's political operetta, The Cradle Will Rock, but because of severe federal cutbacks in the Works Progress projects, the show's premiere at the Maxine Elliott Theatre was cancelled. In a last-minute move, Welles announced to waiting ticket-holders that the show was being transferred to the Venice, twenty blocks away. Some cast, crew and audience members walked the distance on foot. Lacking the participation of the union members, The Cradle Will Rock began with Blitzstein introducing the show and playing the piano accompaniment on stage with some cast members performing from the audience. This impromptu performance was well received and played at the Venice for two more weeks. Welles and Houseman then formed the Mercury Theatre, of which Welles became executive producer and whose repertory company eventually included the actors Agnes Moorehead, Joseph Cotten, Dolores del Río, Everett Sloane, and Erskine Sanford. The first Mercury Theatre production was William Shakespeare's tragedy Julius Caesar, set in a contemporary frame of fascist Italy. The production was widely acclaimed. In the second year of the Mercury Theater, Welles shifted his interests to radio. He adapted, directed and played Hamlet for CBS and Les Misérables for Mutual with great success. CBS gave the Mercury Theatre a weekly hour-long show to broadcast radio plays based on classic literary works. In 1938, their adaptation of The War of the Worlds by H. G. Wells brought Welles instant fame. The combination of the news bulletin form of the performance with the between-breaks dial spinning habits of listeners from the rival more popular Edgar Bergen/Charlie McCarthy program was later reported in the media to have created widespread confusion. Wikipedia: “Panic was reportedly spread among listeners who believed the news reports of a Martian invasion. The myth of the result created by the combination was reported as fact around the world and disparagingly mentioned by Adolf Hitler in a public speech some months later. The 1975 docudrama The Night That Panicked America was based on events centering on the production of, and events that resulted from the program.”
Orson Welles's growing fame drew Hollywood offers, lures that the independent-minded Welles resisted at first. RKO Radio Pictures president George Schaefer eventually offered him complete artistic control and signed Welles in a two-picture deal, although Welles had a budget limit for his projects. In Hollywood, Welles toyed with various ideas for his first project. RKO rejected Welles's first two movie proposals but agreed on the third offer, Citizen Kane (1941), for which Welles co-wrote, produced, directed and performed the lead role. Co-scriptwriter Joseph Mankiewicz based the original outline on an exposé of the life of William Randolph Hearst, whom he knew socially and came to hate, having once been great friends with Hearst's mistress, Marion Davies. Kane's megalomania was modelled loosely on Robert McCormick, Howard Hughes and Joseph Pulitzer as Welles wanted to create a broad, complex character, intending to show him in the same scenes from several points of view. On Welles's instruction, John Houseman wrote the opening narration as a pastiche of The March of Time newsreels. Autobiographical allusions to Welles were worked in, most noticeably in the treatment of Kane's childhood and particularly, regarding his guardianship. Once the script was complete, Welles attracted cinematographer Gregg Toland, and actors from his Mercury Theatre. After gossip columnist Hedda Hopper saw a preview screening of Citizen Kane, the attempted suppression of Citizen Kane started. Hearst's media outlets boycotted the film. They exerted enormous pressure on Hollywood, but RKO gave the film a limited release. The film was well-received critically and garnered nine Academy Award nominations. Welles was nominated as a producer, director, writer and actor, but won only for Best Original Screenplay, shared with Mankiewicz. Today, the film is considered by most film critics and historians to be one of the classics in film history.
Orson Welles's second film for RKO was The Magnificent Ambersons (1942), adapted from the Pulitzer Prize-winning novel by Booth Tarkington. At RKO's request, Welles worked also on an adaptation of Eric Ambler's spy thriller, Journey into Fear (Norman Foster, 1943), co-written with Joseph Cotten. In addition to acting in the film, Welles was the producer. Changes throughout RKO caused re-evaluations of both projects. RKO took control of The Magnificent Ambersons and ordered to edit the film into a ‘commercial’ format. They removed fifty minutes of Welles's footage, re-shot sequences, rearranged the scene order, and added a happy ending. It resulted in an expensive flop for RKO, although The Magnificent Ambersons received four Academy Award nominations including Best Picture and Best Supporting Actress for Agnes Moorehead. Welles found no studios interested in him as a director after the disaster of The Magnificent Ambersons and worked on radio. In 1943, he married Rita Hayworth. They had one child, Rebecca Welles, and divorced five years later in 1948. In between, Welles found work as an actor in other films. He starred in the film adaptation of Jane Eyre (Robert Stevenson, 1944), trading credit as associate producer for top billing over Joan Fontaine. He had a cameo in the wartime salute Follow the Boys (A. Edward Sutherland, 1944), in which he performed his magic act ‘sawing’ Marlene Dietrich in half. In 1946, Sam Spiegel produced The Stranger (Orson Welles, 1946), starring Edward G. Robinson, Loretta Young and Welles. The film follows the hunt for a Nazi war criminal living under an alias in the United States. Although disputes occurred during editing between Spiegel and Welles, the film was a box office success and it helped his standing with the studios. He then filmed The Lady from Shanghai (Orson Welles, 1947) for Columbia Pictures, in which his then-estranged second wife Rita Hayworth co-starred. Cohn disliked Welles's rough-cut and ordered extensive editing and re-shoots. Approximately one hour of Welles's first cut was removed, including much of a climactic confrontation scene in an amusement park funhouse. The film was considered a disaster in America at the time of release, though the closing shootout in a hall of mirrors has since become a touchstone of film noir. Welles convinced Republic Pictures to let him direct a low-budget version of Macbeth (Orson Welles, 1948). Republic initially trumpeted the film as an important work but decided it did not care for the Scottish accents and held up general release for almost a year after early negative press reaction. In the late 1970s, a fully restored version of Macbeth was released that followed Welles's original vision.
Orson Welles left Hollywood for Europe. In Italy, he starred as Cagliostro in Black Magic (Gregory Ratoff, 1948) with Akim Tamiroff. His co-star impressed Welles so much that Tamiroff would appear in four of Welles's later productions. Welles starred as Harry Lime in Carol Reed's The Third Man (1949), alongside Joseph Cotten. The film was an international smash hit. Welles also appeared as Cesare Borgia in the Italian film Prince of Foxes (Henry King, 1949), and as the Mongol warrior Bayan in The Black Rose (Henry Hathaway, 1950), both with Tyrone Power. Welles was channelling his money from acting jobs into a self-financed film version of Shakespeare's play Othello. From 1949 to 1951, Welles filmed Othello (1952) on location in Europe and Morocco. Suzanne Cloutier co-starred as Desdemona. When it premiered at the Cannes Film Festival it won the Palme d'Or, but the film did not receive a general release in the United States until 1955. Welles's daughter, Beatrice Welles-Smith, restored Othello in 1992 for a wide re-release. Welles played the murdered victim in Trent's Last Case (Herbert Wilcox, 1952) and the title role in the 'Lord Mountdrago' segment of Three Cases of Murder (George More O'Ferrall, 1954). Herbert Wilcox cast Welles as the antagonist in Trouble in the Glen (1954) opposite Margaret Lockwood, and John Huston cast him as Father Mapple in Moby-Dick (1956), starring Gregory Peck. Welles's next turn as director was Mr. Arkadin (Orson Welles, 1955), filmed in France, Germany, Spain and Italy on a very limited budget. Welles played a billionaire who hires a man (Robert Arden) to delve into the secrets of his past. The film co-starred Welles's third wife, Paola Mori. Frustrated by his slow progress in the editing room, producer Louis Dolivet removed Welles from the project and finished the film without him as Confidential Report. In 1956, Welles returned to Hollywood and guest-starred on radio and television shows. His next film role was in Man in the Shadow (Jack Arnold, 1957) for Universal Pictures, starring Jeff Chandler. Around this time period, Welles began to suffer from weight problems that would eventually cause a deterioration in his health. Welles stayed on at Universal to co-star with Charlton Heston in Touch of Evil (Orson Welles, 1958). Originally only hired as an actor, Welles was promoted to director by Universal at the insistence of Heston. He reunited with many actors and technicians with whom he had worked in the 1940s including Joseph Cotten, Marlene Dietrich and Akim Tamiroff. Filming proceeded smoothly, but after the end of production, the studio re-edited the film, re-shot scenes, and shot new exposition scenes to clarify the plot. In 1978, a longer preview version of the film was discovered and released. Next, Welles filmed his adaptation of Miguel de Cervantes' novel Don Quixote in Mexico, starring Mischa Auer as Quixote and Akim Tamiroff as Sancho Panza. While filming would continue in fits and starts for several years, Welles would never complete the project. Welles continued acting, notably in The Long, Hot Summer (Marin Ritt, 1958) and Compulsion (Richard Fleischer, 1959), but soon he returned to Europe.
In Italy, Orson Welles directed his own scenes as King Saul in David e Golia/David and Goliath (Ferdinando Baldi, Richard Pottier, 1959). In Hong Kong, he co-starred with Curt Jürgens in Ferry to Hong Kong (Lewis Gilbert, 1959). In Paris, he co-starred in Crack in the Mirror (Richard Fleischer, 1960). In Yugoslavia, he starred in I tartari/The Tartars (Richard Thorpe, 1962) and Bitka na Neretvi/Battle of Neretva (Veljko Bulajić, 1969). In 1962, Welles directed Le Procès/The Trial (Orson Welles, 1962), based on the novel by Franz Kafka and starring Anthony Perkins as Josef K, Jeanne Moreau and Romy Schneider. The film failed at the box office, but during the filming, he met Oja Kodar, who became his muse, star and mistress for the rest of his life. Welles played a film director in La Ricotta (1963)—Pier Paolo Pasolini's segment of the anthology film Ro.Go.Pa.G. He continued taking what work he could find acting, narrating or hosting other people's work, and began filming Campanadas a medianoche/Chimes at Midnight (Orson Welles, 1966). Filmed in Spain, it was a condensation of five Shakespeare plays, telling the story of Falstaff (Welles) and his relationship with Prince Hal (Keith Baxter). Then followed Histoire immortelle/The Immortal Story (Orson Welles, 1968) with Jeanne Moreau, which had a successful run in French theatres. He appeared as Cardinal Wolsey in A Man for All Seasons (Fred Zinnemann, 1966) for which he won considerable acclaim. Welles began directing The Deep, based on the novel Dead Calm by Charles Williams and filmed off the shore of Yugoslavia. The cast included Jeanne Moreau, Laurence Harvey and Oja Kodar. Personally financed by Welles and Kodar, they could not obtain the funds to complete the project, and it was abandoned a few years later after the death of Harvey. The surviving footage was eventually edited and released by the Filmmuseum München. In 1969, Welles played a supporting role in John Huston's The Kremlin Letter. Drawn by the numerous offers he received to work in television and films, and upset by a tabloid scandal reporting his affair with Kodar, Welles moved back to America in 1970.
In Hollywood, Orson Welles continued to self-finance his own film and television projects. While offers to act, narrate and host continued, Welles also found himself in great demand on television talk shows. His primary focus during his final years was The Other Side of the Wind, an unfinished project that was filmed intermittently between 1970 and 1976. Written by Welles, it is the story of an ageing film director (John Huston) looking for funds to complete his final film. Financed by Iranian backers, ownership of the film fell into a legal quagmire after the Shah of Iran was deposed, and disputes still prevent its release. Welles portrayed Louis XVIII of France in Waterloo (Sergey Bondarchuk, 1970), and narrated the historical comedy Start the Revolution Without Me (Bud Yorkin, 1970). He appeared in La décade prodigieuse/Ten Days' Wonder (Claude Chabrol, 1971), co-starring with Anthony Perkins. Wikipedia: “That same year, the Academy of Motion Picture Arts and Sciences gave him an honorary award "For superlative artistry and versatility in the creation of motion pictures". Welles pretended to be out of town and sent John Huston to claim the award. Huston criticized the Academy for awarding Welles, even while they refused to give Welles any work.” Welles played Long John Silver in Treasure Island (John Hough, 1972), an adaptation of the Robert Louis Stevenson novel. He completed F for Fake (Orson Welles, 1973), a personal essay film about art forger Elmyr de Hory and the biographer Clifford Irving, and his documentary Filming Othello (Orson Welles, 1979). During the 1980s, Welles worked on such film projects as The Dreamers, based on two stories by Isak Dinesen. His last film appearance was in Henry Jaglom's Someone to Love (1987), released after his death. Welles had three daughters: Chris Welles Feder (1938), with Virginia Nicholson; Rebecca Welles Manning (1944–2004), with Rita Hayworth; and Beatrice Welles (1955), with Paola Mori. His only known son, British director Michael Lindsay-Hogg (1940), is from Welles's affair with Irish actress Geraldine Fitzgerald, then the wife of Sir Edward Lindsay-Hogg, 4th baronet. On 10 October 1985, Orson Welles appeared in his final interview on The Merv Griffin Show. He died several hours later of a heart attack at his home in Los Angeles. His estranged wife Paola Mori refused to allow most of Welles's friends to attend the funeral, limiting the mourners to just nine: herself, Welles's three daughters, Roger Hill, and three of Welles's friends, as well as the doctor who had signed Welles's death certificate. Welles's companion for the last 20 years, Oja Kodar, was not invited, nor were either of his ex-wives. Welles's ashes were taken to Ronda, Spain, where they were buried in an old well covered by flowers, within the rural property of a long-time friend, retired bullfighter Antonio Ordóñez.
Sources: Ed Stephan (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
An actor at Kentucky's Perryville Battlefield State Historical Park
"You think slavery is right and ought to be extended; while we think it is wrong and ought to be restricted. That I suppose is the rub."
[Letter to Alexander Stephens by Abraham Lincoln, Dec 22, 1860]
"Now we are told in advance the Government shall be broken up unless we surrender to those we [Republicans] have beaten, before we take the offices. In this they [Southern secessionist states] are either attempting to play upon us or they are in dead earnest. Either way, if we surrender, it is the end of us and of the [U.S.] Government. They will repeat the experiment upon us ad libitum. A year will not pass till we shall have to take Cuba as a condition upon which they will stay in the Union."
[President-elect Lincoln in January, 1861 about the vast majority of states being taken hostage by a minority of southern states.]