View allAll Photos Tagged changing
This is another image from one of our breaks from the whole social distancing thing. We took a walk in the bright, harsh mid-day light and passed a local quick oil change operation. I saw the word ‘Change’ in yellow, set against the red and white of the building and all that set against the hard blue of the sky. Another harsh light abstract arrived at by taking things out of their normal context by means of a suitable tight, in-camera crop. And Red Rule applies, of course. - JW
Date Taken: 2020-03-29
Tech Details:
Taken using a hand-held Nikon D800 fitted with an AF-S Nikkor 24-120mm 1:4.0 lense set to 86mm, ISO100 (Auto ISO), Daylight WB, Shutter Priority Mode, f/6.3, 1/500 sec. PP in free Open Source RAWTherapee from Nikon RAW/NEF source file: apply vignetting correction, apply correction for barrel distortion, enable shadows/highlights and recover highlights, apply a little additional contrast and Chromaticity as well as increasing lightness vary slightly in L-A-B mode, boost Vibrance a little, sharpen, save. PP in free Open Source GIMP: clone out some dirt spots on the shite part of the sign, use the dodge-burn tool to very slightly lighten the corners to deal with a little residual vignetting, apply a very small amount of overall saturation – just enough to clean up the reds of a slight magenta cast, sharpen, save, add fine black-and-white frame, add bar and text on left, save, scale image to 2048 px wide for posting online, sharpen very slightly, save.
PLEASE, NO invitations or self promotions, THEY WILL BE DELETED. My photos are FREE to use, just give me credit and it would be nice if you let me know, thanks.
The lighthouse has a lantern room that was added in 2019, as it had originally. The lighthouse also received many other upgrades and repairs as well.
---------------------------------------------------------------
The first light on Shipley Head was a lantern hoisted up a mast, it was established in 1885.
The present tower replaced the mast light in 1903 and was built using local people from the area.
Tower Height: 7.92 meters (26ft)
Light Height: 14.5 meters (48ft) above water level
Light Characteristic: Changed from continues red to flashing white
I want to wish everyone on flickr a Merry Christmas... since I've been doing everything from my android. I seem to leave my account without maintaining it much. hopefully that will change in the upcoming year... I do occasionally fly thru here & visit your sites. I definite appreciate your coming around here from time to time.
Best wishes for a very happy 2014. :)
変わらないために変わる
それは
大切なものを守ることに似ている
Hirono-machi, Fukushima 2014
PENTACON six TL with CZJ Biometar MC 80/2.8
FUJICOLOR PRO400
developed and scanned by photo kanon
.....
こちらの作品は過去に「わたしをみる」シリーズの一枚として投稿しています。今回福島県いわき市と広野町で撮影した写真を「いつかかわっていく景色」として紹介するにあたり、再度アップロードしています。
This picture was uploaded last year.
For my new project "Will Change", I post it on Flickr again.
.....
八木香保里 写真展 #019
「ブーケ」
2015年6月18日（木）－28日（日）
服と花のアトリエショップ tocolier
東京都大田区上池台1-40-5-1F
展示の詳細は下記リンクよりご覧ください。
どうぞよろしくお願いいたします。
Great Malvern station dates back to 1861 but the Hitachi IET design 2016. The IETs are being introduced onto GWR services such as this 06.52 from London Paddington. One thing that rarely changes is the station clock!
Luhan & Pontus
I've made some changes on few dolls recently, and now I did a few changes on these 2 boys!
The only thing I did on Luhan was that I tried to "dye" his hair with a black pencil and water like I did on that Ombré hair : www.flickr.com/photos/89863259@N08/15165925309/
It's hard to see, but a little darker than before, and also did dark circles under his eyes (Now he looks like Tao! ^w^)
And for Pontus, I did the same with his hair, a blue pencil and water and I LOVE IT! He looks better in blueish hair than his blone. =)
Some of the gals and guys in the 1965 Barbie/Skipper Deluxe Dream House have some new outfits;- Blonde BC and brunette Swirl are wearing some new PAK items (the pale pink sheath skirt and the pale pink body-blouse, which has never been on a doll… it still was on its hanger with the purse still attached to it. I still kept the string on it under the pants,) that they mixed with the snappy red PAK pieces, and black and orange accessories they already owned … and my blonde SL Ken who was gifted to me by Dean is wearing ‘Roving Reporter’ from 1965, that was part of the lot that came with my Ken Susy Goose wardrobe. I also changed my pale blonde AG into ‘Invitation To Tea’ and my Titian Swirl into ‘Mood For Music'. Miss Barbie is also wearing ‘Sporting Casuals’ but she wasn’t in the frame…. Oh well, maybe next time!
When you get a very active aurora display the view is constantly changing...at times it is tough to decide where to aim the camera. This shot taken while we were fighting some clouds at Dyckesville, WI on October 8, 2015. Light pollution at lower right is Marinette, WI, at lower left is Oconto.
IMAGE UPDATED 6/7/16
Copyright
All my photographic and video images are copyrighted. All rights are reserved. Please do not use, copy or edit any of my photographs without my written permission. If you want to use my photo for commercial or private use, please contact me. Please do not re-upload my photos at any location on the internet without my written consent.
"Towns are like people. Old ones often have character, the new ones are interchangeable." -- Wallace Stegner, Angle of Repose
Nikkormat FT3, Nikkor 24mm f2.8, Ilford XP-2.
Is this photo from 2017 or a few decades earlier? The last time an unbranded triple grey 92 was on the clays was probably before privatisation...the only difference between now and then being the style of overhead warning flash on the loco front. GB 92044 heads the 6S93/0159 Dollands Moor GBRf to Irvine Caledonian Paper Gb China clay tanks through Balshaw Lane Jn (Charnock Richard) on 11.1.17.
I had to find a fence somewhere and finally, I did. This shot is taken at "Happy Valley" in Caloundra on the Sunshine Coast north of Brisbane. This is a large beachside park between Bullcock Beach and Kings Beach and where Pumicestone Passage which divides Bribie Island and the mainland used to make its entry to Moreton Bay by a tricky bar. The day we went up, it was late morning low tide so that we could, for the first time walk across to Bribie Island, now North Bribie.
So what's this all about - well, a lot of change since I was a kid when we took our annual holidays with Mum and Dad here. In those days there was no park and in fact the whole scene in front was one of lightly vegetated sand dunes (no water in foreground) all the way out to the sea, more or less where you see it now. Except in those days, you couldn't see it.
A little out of frame to the right was Pumicestone Passage with the Caloundra bar beyond, about three quarters up the RHS of the shot. It was a reasonably deep channel and fast flowing when the tide was running in or out and deep enough so that just beyond Bullcock Beach which was actually in the passage to the right had wharves where a fleet of prawn trawlers tied up and sold their catch. By the early 90's, the sand dunes were starting to diminish and they eventually all washed away or perhaps blew away too, leaving a wide beach with lagoons and small channels as seen here. It has been that way with small changes from month to month for 25 years.
Across the other side of the Passage was the northern tip of Bribie Island, one of the three large sand islands in Moreton Bay and you could only get there by way of the bridge from Caboolture at the southern end and then drive up the beach by 4WD or via a boat across from anywhere in Caloundra. The north end of the island was quite narrow in parts.
Then along came the inclement weather that contributed to the devastating floods of 2022 and nature took over to finish a job it had started years before. The sea punched a hole through the narrow northern part of Bribie Island and created a new passage that grew wider as time went by opposite the Golden Beach area of Caloundra. Balancing this, the old channel gradually got shallower and filled with sand, some drifting, some blown I believe and at least at low tide now part of Caloundra and able to be walked to where once us kids were forbidden to play in case we fell into the deep, swift flowing water.
For the first time in my life, we achieved the impossible and walked across to what was Bribie Island. As Bluey and Co. would say "Hooray"!
Model: Tania d'Anconia
Photographer: Justin Bonaparte
Ch-ch-changes
(Turn and face the strange)
Ch-ch-changes
(Don't want to be a richer man)
Ch-ch-changes
(Turn and face the strange)
Ch-ch-changes
(Just gonna have to be a different man)
Time may change me
But I can't trace time...
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Dhillon's/Taste of India in San Jon, New Mexico seems to be a thing of the past...surely, those prices are...
please please please please please look at it on black (in the lightbox)
sorry for replacing the other one, thank you for commenting on it if you did :)
oh and thank you sooooo much Benjamin H for your testimonial! <-- amazing person right there
i don't like this anymore :/ agh why do i keep changing my mind? !
My contribution to Holly Skye's change project. | The photo appears in the video created by Holly; it appears approximately at the 9:37 mark.
We have the P O W E R to www.change.org the world.
_
Being from South Florida, I don't often get to witness the changing of the seasons ... such a pity since it's one of my favorite things to witness.
There's something special about the changing of the seasons, as we're so richly rewarded with the amazing display of colors that autumn brings with its arrival.... yellows, reds, oranges, even varied tones of greens ... all play a role in the visual delight of fall. The air is usually crisp and cool, the sky is usually deep blue and often void of clouds, which really allows the changing colors of the leaves to stand out even more so.
This image was taken in Park City, in the Deer Valley area specifically in the middle of a stand of tall aspens. As I hiked around amongst them, I was alerted to the sound of the dry leaves under my hiking boots ... crunch, crunch ... another favorite fall related cue of mine. As I looked up towards the sky, I was overwhelmed by the fascinating view above me. If I couln't be amongst the brown bears at this moment, this was a certainly a runner up for moments of awe and appreciation of the beauty and splendor that surrounds us. Really makes one feel one with nature.
Why do I live in south Florida if I love the mountains, the seasonal changes, the wildlife so much? I really have no idea! LOL. Well, that's not entirely true, for every geography has its own beauty and uniqueness - just like people - and it takes diversity to make us really appreciate what we have each and every moment. It is my hope that everyone takes stock on what they have in their own surroundings and, though its not quite Thanksgiving Day yet (yikes, is it really just around the corner?), truly appreciate the beauty and be thankful of all that is around you.
Thanks for stopping by to view and for all of your thoughts and comments. Another crazy week ahead of me, but then I plan on getting back to the norm in my life. Hope everyone has a wonderful weekend!
© Debbie Tubridy / © TNWA Photography - All of my images are protected by copyright and may not be used on any site, blog, or forum without my permission.
Photos of new and old Raleigh station about a month before the change over. City of Greensboro leads the Sunday Charlotte-Raleigh train.
Okay, the world is most definitely experiencing "Climate Change" but when I went, stupidly, our for my walk, this morning and looked across to Arran it had almost disappeared!! The dark area on the horizon is actually Holy Isle which stands just off the east coast of Arran.
It has definitely been an experience of "climate change" for me this week!! Snow, last weekend, strong winds and rain during most of this week and today, not so windy but it rained and rained when I was one hour away from home!! Soaked to the skin when I walked through the door ... "climate change" it must be!!
Our Daily Challenge ~ Starts With The Letter "C" ...
Stay Safe and Healthy Everyone!
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... Thanks to you all!
"Because things are the way they are, things will not stay the way they are."
Bertolt Brecht
this was taken at calinan, davao city, philippines.
Copyright © Paojus Alquiza. All rights reserved. Please note that the fact that "This photo is public" doesn't mean it is public domain or a free stock image. Therefore, its use without written consent by the author is illegal and punished by law.
Today (23/12/2017) is the last day of operation by First of the Green Line 702 service from Bracknell-London Victoria via Windsor and Slough. From 27th December Reading Buses will take on the route which will run hourly throughout the day, seven days a week. There will also be a special free vintage bus service covering the route on Christmas Eve.
Seen in Bracknell bus station in April 2017 is Volvo B9TL / Wright 37276 LK58EDL about to depart for London.
Earlier today, while enjoying a walk with my wife around UVIC, I took this photo of some leaves changing colours in the afternoon breeze.
Fuji X-Pro 1
Fuji XF 60mm f/2.4R
Previously,
The motorman of Motor 51 is out on the platform pulling down the trolly pole prior to changing directions during a switching move at Emery.
I live right by here, It never ceases to amaze me how the scene, though the same, looks
so different in the changing seasons even to the time of day and the light.
Even so, it is still beautiful to me.
If you have the time, please view in the light box.
French postcard by Editions F. Nugeron, no. Star 130. Photo: Air France / Distribution VU. Caption: Orson Wells (sic), Septembre 1967.
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 aging 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 on 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.
In the summer of 1996 Class 60 no.60035 passes Bedlinog with a loaded MGR from Cwmbargoed Disposal Point to Aberthaw.
This was around the time Class 60s replaced pairs of Class 37s on these trains and this is the first time I saw a Class 60 on the branch. I never been back to the line since but will make the effort again one day as the scenary is superb.