Music Producers
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There's nothing like having seasonal allergies to pollen producing plants to make you appreciate winter. Although I dearly love taking photographs during the spring and summer months, the pollen produced by trees and plants does make me sneeze. When rain falls during those seasons, it knocks the pollen from the sky. However, placing new flower buds in water also does the same trick.
Having seen this oil platform anchored off the coast of Applecross in the Scottish Highlands for the past few months, we finally took the perfect opportunity of dead flat calm conditions to kayak the more than three miles to get a closer look.
This is the Northern Producer, originally built as a drilling rig in Norway in 1976 before conversion to a floating production facility in 1991. It was formerly in the North Sea, north of the Shetland Islands - and has recently arrived in Loch Kishorn for decommissioning.
I was very glad to have my little waterproof Olympus TG-4, that handles RAW files! My next uploads will give more of a sense of scale of this massive structure.
Explored: April 20, 2023
Master Feed Mill in Hillsboro, Ohio
Full-line mill, manufacturing a broad range of animal and livestock feeds that are available bagged or in bulk.
Serves a wide range of producers in the livestock industry including horse and cattle establishments, dairymen, goat and sheep producers, livestock showman and wildlife enthusiasts.
I've taken a shot from this spot before but its so compelling a scene its pretty hard to walk past. This was the last night that the Producer was in this spot before sailing to a new project out in Nigeria so I couldn't resist not going down for her last night.
Chelsea afternoon
Copyright 2008 Ron Diorio
Courtesy of Peter Hay Halpert Fine Art
Current Exhibition:
Hometown
Peter Hay Halpert Fine Art
September 4 - October 31
511 West 25th Street
Gallery 306
Recent videos
pay back
www.flickr.com/photos/av_producer/2931750330/
An American tragedy
www.flickr.com/photos/av_producer/2914215623/
No strings attached
www.flickr.com/photos/av_producer/2748856567/
Hospice
The North Sea Producer berthed next to Middlesbroughs Riverside stadium on the River Tees.
The unit is 236 metres long and operates at a water depth of 92 metres. The North Sea Producer has a daily production capacity of 76,000 barrels of oil and has a storage capacity of 560,000 barrels.
IMO: 8124058
MMSI: 234148000
Call Sign: MWGF2
Flag: United Kingdom (GB)
AIS Type: Other
Gross Tonnage: 52434
Deadweight: 99800 t
Length × Breadth: 233m × 40m
Year Built: 1984
Status: Active
Read more at www.marinetraffic.com/ais/details/ships/shipid:185647/mms...
©pauldowning2015 All Rights Reserved. This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
She was sitting there just clean and pretty in the light November rain. I think she is taking a rest before the loading or unloading will begin. My 24-70 lens really seemed to want to do this, raining or not.
Thank you for you kind and warm visits my friends. You are much appreciated! :)
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved - Contact: Albéric Jouzeau
'North Sea Producer', Middlehaven.
My son Thomas and I went down to Middlehaven and the Transporter Bridge for a bit of Sunday afternoon photography. Quite pleased with the result here - although I'd forgotten she was in dock and it wasn't the original reason for heading down that way.
Built in 1983/4, the product tanker Dagmar Maersk worked in the MacCulloch oil field, 250km north-east of Aberdeen, for ConocoPhillips.
It was then converted on the Tees from 1996-97, in the same dock it’s in now, into an FPSO (floating production storage and offloading) vessel, eventually sailing off back, renamed North Sea Producer, into the North Sea on April 8, 1997.
It’s currently owned by the North Sea Production Company - a 50/50 split between conglomerates Maersk and Odebrecht
It could operate at a water depth of 92 metres, is 236m long and had a daily production capacity of 76,000 barrels of oil, plus a storage capacity of 560,000 barrels. Now it’s uncrewed, unpowered and awaiting its fate in Middlehaven Dock on the River Tees.
Rothrist got a dual power Eem923 unit to shunt the local producers. Some of them using large amounts of steel other materials being delivered by train. Here the shunting team is returning back to the station and will then push in the other direction to the small shunting yard of Rothrist.
Okay, this is like the worst office portrait ever, a colleague took it with a camera. But in all it represents the day's highlight, a project finally launching. I don't know what I do to deserve it, but somehow I always end up being the producer, so a helmet and a signal lamp were in order. So the project went live today, Champaign was served (none for me, thanks) and everyone was happy. Finally some time to prepare for christmas.
Leaving the River Tees for an unknown fate in Lagos.
IMO: 8124058
MMSI: 234148000
Call Sign: MWGF2
Flag: United Kingdom (GB)
AIS Type: Other
Gross Tonnage: 52434
Deadweight: 99800 t
Length × Breadth: 233m × 40m
Year Built: 1984
Docked at Nigg. Awaiting her fate, this 40-year-old vessel was once an oil tanker before being converted into an FPSO - Floating Production Storing and Offloading - in 2012/13. It may be recycled or recommissioned, but in the meantime, it is quietly rusting away after the oilfields that she worked on were shut down.
Aircraft: Rockwell B-1B Lancer (85-0087)
Unit: 34th Bomb Squadron
Base: Ellsworth AFB, SD
Website: One Mile High Photography
Facebook: www.facebook.com/OneMileHighPhotography
N804CE, an Embraer EMB-135LR ERJ135, on approach to runway 24R at Toronto Pearson International Airport in Mississauga, Ontario.
It was arriving from South Bend, Indiana.
Serial number 145326 began its career as N727AE with American Eagle Airlines, Inc. on October 17, 2000. It is currently operated by Cummins Inc. of Columbus, Indiana.
CE = Cummins Engine Company, the corporation's original name.
You can also follow my work on Instagram ;D
www.instagram.com/yasha_jakovsky/
Director: Yasha Jakovsky
Producer: Dolph Lundgren
Title: Searching for the spirit of Winnetou
Writers: Karl May (novel) and Yasha Jakovsky idea
Stars: Branscombe Richmond, Eric Roberts, Rutger Hauer, Robert Davi, Pierce Brosnan, Amanda Wass, Anna Sinyakina, Grigoriy Dobrygin, Colin Farrell, Sean Penn, Liam Neeson, Scott Adkins, Dira Paes, Boyd Holbrook, Kim Basinger, Dolph Lundgren, Lorenzo Lamas, Lewis Van Bergen, Peta Wilson
(I think this actors / actress will be interesting for this adventure, what do you think ?).
Genres: Western | Adventure | Action
Country: Croatia
Language: English
Filming Locations: Baške Oštarije, Plitvička jezera, Slapovi Krke (Croatia)
Release Date: 2017
Budget: 9, 000,000 $
Storyline: Old Shatterhand meat Winnetou in his dreams, he told him where to find cursed gold, this task will not be easy because the gold is buried into the Damned Mountain and our hero is not young anymore. Old Shatterhand went to a dangerous mission with his wife (Wendy), son (James) and daughter (Lana). Furthermore, on the mission our heroes will have many challenges like wicked ghosts, greedy mercenaries, dangerous Indians etc. In this adventure Old Shatterhand & company will need more than help of a spirit of Winnetou if they want to achieve. Will they succeed and reach their goal, find out in this new episode.
If Steven Spielberg ever saw this photo maybe he will use that location for his future project, Baške Oštarije is beautiful place ;).
P.s. Photo and idea by Yasha Jakovsky シ
On the photo is my assistant Director :o).
www.youtube.com/watch?v=0lCwHHEfOvc
Little surprise
Ms Cholpon Idrisova, Associate Producer of "Under Heaven" from Kyrgyzstan participated in 8th BIFFES 2016 at Bengaluru.
The film is directed by Dalmira Tilepbergen. The story is about two brothers, rebellious Kerim and conscientious Aman, live with their mother and work at the family stonemason business. Their father has been forced to work in Russia in order to pay off Kerim's debt incurred as a result of his eldest son's drug dealing activities. Both brother fall for a local village girl., Saltanat which ultimately leads to a bitter dispute and unforeseen tragic consequences.
ANTIBIOTIC USE REQUIRES GOOD STEWARDSHIP
A recent study at the University of Saskatchewan's Western College of Veterinary Medicine into antibiotic use in the cow-calf sector didn't find many situations where antimicrobials were being used inappropriately.
For the first time in a good while I've picked up a camera. I've been scouting this spot for a good while waiting to get this shot at dawn and I was finally rewrded.
Producer: Outland Industries
Class: Heavy Cybernetic Platform Armament
Action: Short recoil, gas assisted
Caliber: 14.5 x 114 mm APHEI, telescope case
Firing rate: 600 rpm
Effective range: 3000 m horizontal, 2000 m vertical at standard habitation levels
Muzzle velocity: 1012 m/s at standard habitation levels
Nicknamed the "Barking Scorpion" due to its association as the primary paired weapon of the SCRP-10N model Heavy Cybernetic Platform and its distinctive firing report.
Calling this a rifle is a bit dubious due to its ridiculous proportions and firepower. Fully automatic and feeding from a linkless feed system as either a backback or more commonly from the internal ammunition bay of a HCP. A recoiling barrel and internal counter-recoil systems are used to mitigate as much of the recoil as possible.
Paired with a CyberLink Broadspectrum Ballistic Scope allow a sufficiently trained cyborg to lay withering fire on enemy infantry and light vehicles, humans and others alike.
Like all equipment from Outland Industries the Type-145 is packed with redundant components and capabilities. In case the linkless feed belt is damaged it can be easily dropped off and operation may continue from detachable 4 round magazines until repairs can be assumed.
Credits: Benjoo for the muzzlebreak and Epicsunrise117 for the charging handles used in some places.
Queen Sabine Mondestin is a actress, model, singer, dancer, writter, producer, and director.
To know more about this sublime multi talented artist visit her website at www.sabinemondestin.com
Digging through the archive, here's a chimney of an eastern power-heating generating plant (producer) and some apartment buildings (consumers). January 2020., pre-pandemic era.
Taken with Panasonic GX7 digital mirrorless camera and adapted Sigma 135–400mm F4.5–5.6 APO DG ultra-telephoto lens, via off-brand FourThirds-microFourThirds adapter.
The Duchess copper deposit was discovered by Jack Kennedy, the son of pioneer pastoralist Alexander Kennedy, in 1897. In 1906 the Hampden-Cloncurry Copper Mines Ltd acquired it and it became the richest producer in the region. By 1912, Hampden-Cloncurry had also gained control of the rich Trekelano copper mine to the south of the smaller Mount Mascotte mines to the north. The ore was railed to Kuridala for processing. However, in 1918 continuing labour shortages, breakdowns, exhaustion of the high-grade oxidised ore, and the drastic postwar drop in copper prices forced the closure of most of the company’s mines including Duchess. At the time, the Duchess copper mine boasted a 100 ton capacity bin. This elaborate structure was the wonder of northwest Queensland at the time and it enabled a full train to be loaded in a relatively short time. Mining activities in the region then almost ceased. The Duchess mine had produced 204 865 t of ore that yielded 25 155t of copper, 76kg of gold and 62kg of silver.
The Duchess orebody occurred in a steep west-dipping shear zone that cuts granite and dolerite, which are probably the same age as the Burstall Granite, and mica schist and calc-silicate rocks of the Corella Formation. The lode in the upper levels of the mine consisted of bornite and subordinate chalcocite, malachite, and cuptire in calcite, but at deeper levels chalcopyrite with quartz was dominant. The mine was worked to a depth of 259m. Today only concrete footings of the machinery remain, apart from a small pit and trenches excavated by more recent exploration. Malachite forming veins and fracture coatings in quartz, and some pyrite can be found on the site. Numerous smaller copper mines occur in the vicinity of Duchess but most are very small.
The Duchess railway opened on the 21st of October 1912 as a temporary terminus for the Great Western Railway construction project. The Hampden Co pressured for the early completion of the line to Duchess to reach its copper mine situated near the station. Ore was forwarded on the 10th of June 1912 as soon as the rails reached Duchess, several months before all the bridging and ballasting was completely finished, such was the urgency.
When the railway arrived in 1912 a small town sprung up on both sides of the station. Amenity comprised a hotel, store, butcher, school, police station, and a post office. There was a local activity as shown by passenger traffic levels at around 4000 annual journeys. Distant travellers were catered for by the connecting road coach services. A weekly coach ran from here to Camooweal via Colton Hills (320km), taking in mines and pastoral stations on the way. The service departed Duchess on Thursday at 0800am and arrived at Camooweal by 1800pm. Another coach service ran to Trekelano mine twice a week on a day return.
At first there was no water infrastructure required here, locos apparently running to and from Duchess ex Malbon without filing tender tanks. However when the Trekelano tramway opened in 1917 the locos were required to haul a water gin owing to the extra distance involved. In 1918 the manager of the Duchess mine offered Queensland Rail (QR) access to a mine well and this was availed of. QR erected a 30 000 gallon tank for loco water. After the mines closed QR was able to tape the shafts of several mines in turn to maintain supply, which water was suitable after softening.
Rail passenger figures remained firm for a few years by dipped after 1921 and settled at around 1200 annually until the late 1950s when they increased to the mid-1960s, probably due to workers from the Mount Isa Line rehabilitation project. A sharp decline then ensued, and numbers dwindled to a couple of hundreds per year.
The downturn in smelting saw Duchess ore loadings terminate abruptly at the end of 1920. The Hampden Co closed the Duchess mine in 1921 and the site was not revived until 1926 when the dumps were able to be sold for smelting. QR repaired the long unsued siding to allow safe access and over the next 18 months the dumps were completely removed. The Hampden Co has no further use for the mine (its workings completely flooded by then) and none for the rail connection so it sold the siding to QR in 1928. The mine plant and the rail weighbridge were removed at the same time. Penny packets of ore continued to be sent away throughout the 1930s by district gougers and tributers, presumably loaded at the mine siding.
The copper ore and limestone traffic revived in the earnest for Mount Isa Mines from the late 1940s and a few thousand tons annually were loaded at Duchess for a while and again in the mid-1960s at around 10 000 annual tons. No copper ore or limestone was loaded after 1970. The largest single burst ore traffic came from the Phosphate Hill mine in 1975 and 1976 when phosphatic rock to the order of 176 000 tons was road trucked to rail at Duchess pending completion of the Flynn to Phosphate Hill railway and associated loaders at the mine.
The station lost its status as a terminus when the line was continued to Butru in 1915 but the place came into its own when the Mount Isa mining filed was discovered and subsequently developed. Traffic for Mount Isa went through Duchess as it was the closest railhead. The railway extension to Mount Isa officially opened on the 17th of May 1929 and Duchess became the junction to Dajarra and Mount Isa from this time. The yard was expanded, and a full suite of signals was installed. The station was protected from three directions (Mount Isa, Dajarra, and Cloncurry) by distant and home signals all worked from a six lever frame near the station office.
Some sidings were re-arranged to a new layout. The goods shed road was lifted at one end and relaid around the Mount Isa curve where a new loading bank was installed. The passing loop was extended at the Dajarra end to run beyond the Mount Isa turn out. A refreshment room was established in 1929 when the new line opened and it catered for passengers on the Mail plus the mixed trains and those transferring to and from the Dajarra service. The rooms remained in business until 1938 and benefited from the Dajarra service being worked from Mount Isa for a period in the 1930s.
Additional staff and their accommodations were placed at Duchess from 1929, including track gangs and train crews. The train crews were necessary to do away with the need for Cloncurry crews to run the full distance to Mount Isa on overnight rest.
The mine siding remained in place until around 1950 when it was lifted and an alternative ore loading ramp provided between the legs of the angle that was served by a new length of siding. The rehabilitation project of 1961 – 1962 saw the crossing loop extended at the Cloncurry end and the Up home signal moved further out.
The place generated enough traffic to justify the appointment of a station master, particularly when the copper boom lasted. However, when ore traffic ceased in 1921 the place was immediately downgraded to a gate. Developments from Mount Isa from 1924 onwards saw the station master position returned in 1928 when construction of the extension was underway and Duchess becoming a junction station. Fettling gangs were placed at Duchess to maintain the track in three directions.
The station master position lasted until 1972 when replaced by Porter-in-Charge under gate conditions but the building and opening of the Phosphate Hill branch and a rise in ore traffic caused the position to be reinstated in 1975. Changed in train running and safe working led to the final demise of the station master office in 1988 and the place was unattended from the 30th of September that year. The introduction of mechanised gangs from 1966 led to the gradual attrition of the fettling gangs and track inspectors and from a high point of 20 or so staff and a dozen departmental residences the Duchess staffing establishment dwindled to nothing by the late 1990s.
In 1988 Train Order Working was implemented here and yard rationalisation was initiated in instalments from this time through to 2004. Removed during this phase were the goods shed, water softener, ore loading siding, goods shed sign and loading bank, the western leg of the angle and, a little later, the eastern leg plus the Dajarra line stub and loop continuation at that end of the yard. The loco water tank was retained as the basis for the town water supply after being lifted from its stand and mountain at ground level. The wooden station office (a 1949 replacement to the original which was destroyed by fire) was demolished in 2006. Its substitute is a new high level, short length, passenger platform and rudimentary shelter.
The Duchess township slowly diminished in concert with the railway attrition and by 2007 was down to a few houses, the hotel, and the corrugated iron public hall (with children’s playground intact). The opening of the Trekelano mine and associated camp 14km out of town in 2005, with the access road junctioning at Duchess, gave the hotel a welcome injection of custom.
Source: Rocks and Landscapes of Northwest Queensland by Laurie Hutton and Ian Withnall, Copper in the Curry by Norman Houghton.
Charcoal Producer.
Minolta X-700. Minolta 55mm f/1.7 Lens. Redscaled AGFA Vista Plus changed iso to 100. Developed in Tetenal Colortec C-41 Rapid Negative Kit. Scanned with Epson 4490.
British postcard in the Picturegoer Series, London, no. W 130. Photo: RKO Radio.
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 institutionalised 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 to travel to Europe instead. 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 the 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 the 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 the 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.
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