Otello

When he made La rosa nera (1950), Orson Welles insisted that the coat his character wore be lined with mink, even though the lining would never be visible in the finished film. The producers acquiesced to this demand. When the shoot was over, the coat disappeared. In "Othello", Orson Welles can be seen wearing the same coat, complete with mink lining.

This film by Orson Welles, was 'restored' by a group in Chicago in 1991/2. The film was transferred to, and enhanced in video, (D1 format) retaining it as black and white. The audio was completely rebuilt, including the score, in Stereo Surround. All dialogue, however was original. This was a problem as some of the dialogue was distorted and unintelligible. John Fogelson, editor, was a major supervisor of the project. Ed Golya, Lorita DeLacerna, and Steve Wilke, were digital editors. And Ed Golya remixed the soundtrack. The process took 9 months. It was purchased for distribution by Castle Hill, and taken to New York where it went through another transformation before release. The restoration engineer in New York, Paul Michael, restored the audio that was supplied on 35mm optical negatives. He was able to remove the distortion, optical pops and surface noise that is inherent with Optical negatives. The restored audio was then sent to Sound One for the final mix. Unintelligible dialogue was replaced with 'sound-alikes'. This decision was made for the entertainment value of the film. The original mono music was then reintroduced into the final product. Basically, the film was retransferred, and the rebuilt sound effects tracks were added. This was done at Sound One, in NYC.. The credits were adjusted to place Lee Dickter (sp?) as Re-recording Mixer, and Ed Golya as Sound Effects Editor.

Edited into Histoire(s) du cinéma: La monnaie de l'absolu (1999)