title: Messerschmitt Bf 110

text: Although the Me 210 entered service in mid-1941, it was plagued with problems and was withdrawn from service for further development. In the wake of the failure of the Me 210, the Bf 110G was designed. The G model was fitted with DB 605B engines, producing 1,085 kW (1,475 PS) at their "Notleistung" (war emergency) top-level setting, and 997 kW (1,355 PS) at 5.8 km (19,000 ft) altitude. The Bf 110G also had upgraded nose armament, and underwent some changes which improved the aerodynamics of the aircraft. The rear cockpit access was moved forward from the transversely-hinged, "tilt-open" rearmost canopy glazing to a side/top hinged opening section of the main canopy, opening to port, with a new rearmost framed glazing section fixed in place. No Bf 110 G-1 existed, so the Bf 110 G-2 became the baseline Bf 110G. A large number of "Rüstsätze" field conversion packs were available, making the G subtype the most versatile production version of the Bf 110.


title: Messerschmitt Bf 110

text: The initial batch of six pre-series production G-0 aircraft built in June 1942 were followed by 797 G-2, 172 G-3 and 2,293 of the night fighter-dedicated, three-seater G-4 models; built between December 1942 and April 1945. Pilots reported the Bf 110G to be a "mixed bag" in the air, in part due to all changes between the G and F series. The Bf 110G was considered a superior gun platform with excellent all-around visibility, and considered, until the advent of the Heinkel He 219, to be one of the Luftwaffe's best night fighters.


title: Messerschmitt Bf 110

text: The Bf 110's main strength was its ability to mount unusually powerful air-to-air weaponry. Early versions had four 7.92 mm (.312 in) MG 17 machine guns in the upper nose and two 20 mm MG FF/M cannons fitted in the lower part of the nose. Later versions replaced the MG FF/M with the more powerful 20 mm MG 151/20 cannons and many G-series aircraft, especially those which served in the bomber-destroyer role, had two 30 mm (1.18 in) MK 108 cannons fitted instead of the MG 17. The defensive armament initially consisted of a single, flexibly mounted 7.92 mm (.312 in) MG 15 machine gun. Late F-series and prototype G-series were upgraded to a 7.92 mm (.312 in) MG 81 machine gun with a higher rate of fire, and the G-series was equipped with the twin-barreled MG 81Z. Many G-series night fighters were retrofitted or factory-built with the "Schräge Musik" off-bore gun system, which fired upward at an oblique angle for shooting down bombers while passing underneath; it was frequently equipped with two 20 mm MG FF/M, but field installations of the 20 mm MG 151/20 or 30 mm (1.18 in) MK 108 cannons were also used. The "Schräge Musik" weapons were typically mounted immediately in front of the rear cockpit.


title: Messerschmitt Bf 110

text: The Bf 110 G-2/R1 was also capable of employing armament such as the "Bordkanone" series 37 mm (1.46 in) BK 3,7 autofed cannon, mounted in a conformal ventral gun pod under the fuselage. A single hit from this weapon was usually enough to destroy any Allied bomber.


title: Messerschmitt Bf 110

text: The initial Bf 110 C-1/B fighter-bomber could carry two 250 kg (551 lb), two 500 kg (1,102 lb), or two 1,000 kg (2,204 lb) bombs on two ETC 500 racks under the fuselage and, starting with the Bf 110 E-0, could be supplemented by four additional 50 kg (110 lb) bombs on ETC 50 racks under the wing.


title: Messerschmitt Bf 110

text: After a period of use on bombing and reconnaissance, the type found its niche during the winter of 1940-41 as a night fighter in defensive operations. At first the three main crew members had no special equipment for night operations and relied on their eyes alone to find enemy aircraft in the dark. Ground-controlled interception began from mid 1941 and the 110 began to take its toll on RAF bombers and was soon an aircraft to be feared. Airborne radar was used experimentally during 1941, effective up to a maximum distance of 3.5 km/ 2.2 miles and capable of bringing the 110 to within 200m/655 ft of a target.


title: Messerschmitt Bf 110

text: By July 1942, the Bf 110F-4 was the first version to be designed specifically as a night fighter. It was something of a stop gap measure, though armed with four 7.92mm/ 0.31 In machine guns and two 20 mm / 0.78 In cannon.


title: Messerschmitt Bf 110

text: Heavy fighter/fighter-bomber, extreme range versions based on C-series, prepared to operate with external fuel tanks. Often stationed in Norway.


title: Messerschmitt Bf 110

text: The final version, similar to the G, was cancelled before any prototypes were ready after important documents were lost in an air raid on the Waggonbau Gotha factory, which was leading the H-development.


title: Messerschmitt Bf 110

text: This aircraft is displayed as fully assembled at the Royal Air Force Museum's London site at Hendon, North London. A G-series night fighter, it was likely built in 1944. It served with "Nachtjagdgeschwader 3", the unit responsible for the night air defence of Denmark and North Germany until Germany's surrender in May 1945.


title: Messerschmitt Bf 110

text: It was one of five Bf 110s taken by the British for technical evaluation. In 1946, it was selected for preservation by the Air Historical Branch. It was eventually moved to the RAF Museum in 1978, where it has remained ever since.


title: Messerschmitt Bf 110

text: Additionally, the Technik Museum Speyer preserves the wings and other parts from a Bf 110 that were recovered from a lake in Sweden in 1995. During the war, the aircraft landed on the frozen lake after being damaged by Swedish anti-aircraft fire.


title: Messerschmitt Bf 110

text: This aircraft is made from a wide range of original spare parts found all over the world. It is currently owned and displayed by a private foundation in Denmark.


title: A Passage to India

text: A Passage to India is a 1924 novel by English author E. M. Forster set against the backdrop of the British Raj and the Indian independence movement in the 1920s. It was selected as one of the 100 great works of 20th century English literature by the "Modern Library" and won the 1924 James Tait Black Memorial Prize for fiction. "Time" magazine included the novel in its "All Time 100 Novels" list. The novel is based on Forster's experiences in India, deriving the title from Walt Whitman's 1870 poem "Passage to India" in "Leaves of Grass".


title: A Passage to India

text: The story revolves around four characters: Dr. Aziz, his British friend Mr. Cyril Fielding, Mrs. Moore, and Miss Adela Quested. During a trip to the fictitious Marabar Caves (modeled on the Barabar Caves of Bihar), Adela thinks she finds herself alone with Dr. Aziz in one of the caves (when in fact he is in an entirely different cave; whether the attacker is real or a reaction to the cave is ambiguous), and subsequently panics and flees; it is assumed that Dr. Aziz has attempted to assault her. Aziz's trial, and its run-up and aftermath, bring to a boil the common racial tensions and prejudices between Indians and the British during the colonial era.


title: A Passage to India

text: "A Passage to India" is a reflection of Forster's visit to India in 1912–13 and his duration as private secretary to Tukojirao III, the Maharajah of Dewas Senior in 1921–22. He dedicated the book to his friend Ross Masood.


title: A Passage to India

text: British schoolmistress, Adela Quested, and her elderly friend, Mrs. Moore, visit the fictional Indian city of Chandrapore. Adela is to decide if she wants to marry Mrs. Moore's son, Ronny Heaslop, the city magistrate.


title: A Passage to India

text: Meanwhile, Dr. Aziz, a young Indian Muslim physician, is called from dining with friends by Major Callendar, Aziz's superior at the hospital, but is delayed. Disconsolate at finding him gone, Aziz walks back and enters his favourite mosque on impulse. Seeing Mrs Moore there, he yells at her not to profane this sacred place, but the two then chat and part as friends. When Mrs. Moore relates her experience later, Ronny becomes indignant at the native's presumption.


title: A Passage to India

text: Because the newcomers had expressed a desire to meet Indians, Mr. Turton, the city tax collector, invites several to his house, but the party turns out awkwardly, due to the Indians' timidity and the Britons' bigotry. Also there is Cyril Fielding, principal of Chandrapore's government-run college for Indians, who invites Adela and Mrs. Moore to a tea party with him and a Hindu-Brahmin professor named Narayan Godbole. At Adela's request, he extends his invitation to Dr. Aziz.


title: A Passage to India

text: At the party, Fielding and Aziz become friends and Aziz promises to take Mrs. Moore and Adela to see the distant Marabar Caves. Ronny arrives and, finding Adela "unaccompanied" with Dr. Aziz and Professor Godbole, rudely breaks up the party.


title: A Passage to India

text: Aziz mistakenly believes that the women are offended that he has not followed through on his promise and arranges an outing to the caves at great expense to himself. Fielding and Godbole are supposed to accompany the expedition, but they miss the train. In the first cave they visit, Mrs. Moore is overcome with claustrophobia and disturbed by the echo. When she declines to continue, Adela and Aziz climb the hill to the upper caves, accompanied by a guide.


title: A Passage to India

text: Asked by Adela whether he has more than one wife, Aziz is disconcerted by her bluntness and ducks into a cave to compose himself. When he comes out, he is told by the guide that Adela has gone into a cave by herself. After quarreling with the guide, Aziz discovers Adela's field glasses broken on the ground and puts them in his pocket. He then looks down the hill and sees Adela speaking to Miss Derek, who has arrived with Fielding in a car. Aziz runs down and greets Fielding, but Miss Derek and Adela drive off, leaving Fielding, Mrs. Moore and Aziz to return to Chandrapore by train.


title: A Passage to India

text: Aziz is arrested on arrival and charged with sexually assaulting Adela. The run-up to his trial increases racial tensions. Adela alleges that Aziz followed her into the cave and that she fended him off by swinging her field glasses at him. The only evidence is the field glasses in the possession of Aziz. When Fielding proclaims his belief in Aziz's innocence, he is ostracised and condemned as a blood-traitor.


title: A Passage to India

text: While awaiting the trial, Mrs Moore becomes concerned at her failing health; taking a ship to England, she dies on the way. Then during the trial, Adela admits that she had been similarly disoriented by the cave's echo. She was no longer sure who or what had attacked her and, despite great demand to persist in her accusation, withdrew the charge. When the case is dismissed, Heaslop breaks off his engagement to Adela and she stays at Fielding's house until a return to England is arranged.


title: A Passage to India

text: Although he is vindicated, Aziz is angry that Fielding befriended Adela after she nearly ruined his life. Believing it to be the gentlemanly thing to do, Fielding convinces Aziz not to seek monetary redress, but the men's friendship suffers and Fielding departs for England. Believing that he is leaving to marry Adela for her money, and bitter at his friend's perceived betrayal, Aziz vows never again to befriend a white person.


title: A Passage to India

text: Two years later, Aziz has moved to the Hindu-ruled state of Mau and is now the Raja's chief physician by the time Fielding returns, married to Stella, Mrs. Moore's daughter from a second marriage. Though the two meet and Aziz still feels drawn to Fielding, he realises that they cannot be truly friends until India becomes independent from British rule.


title: A Passage to India

text: The nature of critiques of "A Passage to India" is largely based upon the era of writing and the nature of the critical work. While many earlier critiques found that Forster's book showed an inappropriate friendship between colonizers and the colonized, new critiques on the work draw attention to the depictions of sexism, racism and imperialism in the novel.


title: A Passage to India

text: Reviews of "A Passage to India" when it was first published challenged specific details and attitudes included in the book that Forster drew from his own time in India. Early critics also expressed concern at the interracial camaraderie between Aziz and Fielding in the book. Others saw the book as a vilification of humanist perspectives on the importance of interpersonal relationships, and effects of colonialism on Indian society. More recent critiques by postcolonial theorists and literary critics have reinvestigated the text as a work of Orientalist fiction contributing to a discourse on colonial relationships by a European. Today it is one of the seminal texts in the postcolonial Orientalist discourse, among other books like "Heart of Darkness" by Joseph Conrad, and "Kim" by Rudyard Kipling.


title: A Passage to India

text: "A Passage to India" emerged at a time where portrayals of India as a savage, disorganized land in need of domination were more popular in mainstream European literature than romanticized depictions. Forster's novel departed from typical narratives about colonizer-colonized relationships and emphasized a more "unknowable" Orient, rather than characterizing it with exoticism, ancient wisdom and mystery. Postcolonial theorists like Maryam Wasif Khan have termed this novel a Modern Orientalist text, meaning that it portrays the Orient in an optimistic, positive light while simultaneously challenging and critiquing European culture and society. However, Benita Parry suggests that it also mystifies India by creating an "obfuscated realm where the secular is scanted, and in which India’s long traditions of mathematics, science and technology, history, linguistics and jurisprudence have no place."


title: A Passage to India

text: One of the most notable critiques comes from literary professor Edward Said, who referenced "A Passage to India" in both "Culture and Imperialism" and "Orientalism". In his discussion about allusions to the British Empire in early 20th century novels, Said suggests that though the work subverted typical views on colonialism and colonial rule in India, it also fell short of outright condemning either nationalist movements in India or colonialism itself. Of Forster's attitude toward colonizer-colonized relationships, Said says Forster:. . . found a way to use the mechanism of the novel to elaborate on the already existing structure of attitude and reference without changing it. This structure permitted one to feel affection for and even intimacy with some Indians and India generally, but made one see Indian politics as the charge of the British, and culturally refused a privilege to India nationalism.Stereotyping and Orientalist thought is also explored in postcolonial critiques. Said suggests that Forster deals with the question of British-Indian relationships by separating Muslims and Hindus in the narrative. He says Forster connects Islam to Western values and attitudes while suggesting that Hinduism is chaotic and orderless, and subsequently uses Hindu characters as the background to the main narrative. Said also identifies the failed attempt at friendship between Aziz and Fielding as a reinforcement of the perceived cultural distance between the Orient and the West. The inability of the two men to begin a meaningful friendship is indicative of what Said suggests is the irreconcilable otherness of the Orient, something that has originated from the West and also limits Western readers in how they understand the Orient.


title: A Passage to India

text: Other scholars have examined the book with a critical postcolonial and feminist lens. Maryam Wasif Khan's reading of the book suggests "A Passage to India" is also a commentary on gender, and a British woman's place within the empire. Khan argued that the female characters coming to "the Orient" to break free of their social roles in Britain represent the discord between Englishwomen and their social roles at home, and tells the narrative of "pioneering Englishwomen whose emergent feminism found form and voice in the colony".


title: A Passage to India

text: Sara Suleri has also critiqued the book's orientalist depiction of India and its use of racialized bodies, especially in the case of Aziz, as sexual objects rather than individuals.


title: A Passage to India

text: In 1960, the manuscript of "A Passage to India" was donated to Rupert Hart-Davis by Forster and sold to raise money for the London Library, fetching the then record sum of £6,500 for a modern English manuscript.


title: Anglesey

text: Anglesey (; ) is an island off the north-west coast of Wales. It forms a principal area known as the Isle of Anglesey, that includes Holy Island across the narrow Cymyran Strait and some islets and skerries. Anglesey island, at , is the largest in Wales, the seventh largest in Britain, largest in the Irish Sea and second most populous there after the Isle of Man. Isle of Anglesey County Council administers , with a 2011 census population of 69,751, including 13,659 on Holy Island. The Menai Strait to the mainland is spanned by the Menai Suspension Bridge, designed by Thomas Telford in 1826, and the Britannia Bridge, built in 1850 and replaced in 1980. The largest town is Holyhead on Holy Island, whose ferry service with Ireland handles over two million passengers a year. The next largest is Llangefni, the county council seat. From 1974 to 1996 Anglesey was part of Gwynedd. Most full-time residents are habitual Welsh speakers. The Welsh name Ynys Môn is used for the UK Parliament and Senedd (Welsh Parliament) constituencies. The postcodes are LL58–LL78. It is also a historic county of Wales.


title: Anglesey

text: The English name of the island may be derived from the Old Norse; either "Ǫngullsey" "Hook Island" or "Ǫnglisey" "Ǫngli's Island". No record of such an Ǫngli survives, but the place name was used by Viking raiders as early as the 10th century and later adopted by the Normans during their invasions of Gwynedd. The traditional folk etymology reading the name as the "Island of the Angles (English)" may account for its Norman use but has no merit, as the Angles' name itself is probably cognate with the shape of the Angeln peninsula. All of them ultimately derive from the proposed Proto-Indo-European root "*ank-" ("to flex, bend, angle"). Throughout the 18th and 19th centuries and into the 20th, it was usually spelt Anglesea in documents, a spelling that is still occasionally used today.


title: Anglesey

text: "Ynys Môn", the island's Welsh name, first appeared in the Latin "Mona" of various Roman sources. It was likewise known to the Saxons as "Monez". The Brittonic original was in the past taken to have meant "Island of the Cow". This view is untenable according to modern scientific philology and the etymology remains a mystery.


title: Anglesey

text: Poetic names for Anglesey include the Old Welsh "Ynys Dywyll" (Shady or Dark Isle) for its former groves and "Ynys y Cedairn" (Isle of the Brave) for its royal courts; Gerald of Wales' "Môn Mam Cymru" ("Môn, Mother of Wales") for its agricultural productivity; and "Y fêl Ynys" (Honey Isle).


title: Anglesey

text: There are numerous megalithic monuments and menhirs on Anglesey, testifying to the presence of humans in prehistory. Plas Newydd is near one of 28 cromlechs that remain on uplands overlooking the sea. The Welsh Triads claim that Anglesey was once part of the mainland.


title: Anglesey

text: Historically, Anglesey has long been associated with the druids. The Roman conquest of Anglesey began in 60 CE when the Roman general Gaius Suetonius Paulinus, determined to break the power of the druids, attacked the island using his amphibious Batavian contingent as a surprise vanguard assault and then destroyed the shrine and the nemeta (sacred groves). News of Boudica's revolt reached him just after his victory, causing him to withdraw his army before consolidating his conquest. The island was finally brought into the Roman Empire by Gnaeus Julius Agricola, the Roman governor of Britain, in AD 78. During the Roman occupation, the area was notable for the mining of copper. The foundations of Caer Gybi, a fort in Holyhead, are Roman, and the present road from Holyhead to Llanfairpwllgwyngyll was originally a Roman road. The island was grouped by Ptolemy with Ireland ("Hibernia") rather than with Britain ("Albion").


title: Anglesey

text: British Iron Age and Roman sites have been excavated and coins and ornaments found, especially by the 19th-century antiquarian William Owen Stanley. After the Roman departure from Britain in the early 5th century, pirates from Ireland colonised Anglesey and the nearby Llŷn Peninsula. In response to this, Cunedda ap Edern, a Gododdin warlord from Scotland, came to the area and began to drive the Irish out. This was continued by his son Einion Yrth ap Cunedda and grandson Cadwallon Lawhir ap Einion; the last Irish invaders were finally defeated in battle in 470. Anglesey as an island had a good defensive position, and so Aberffraw became the site of the court, or "Llys", of the Kingdom of Gwynedd. Apart from a devastating Danish raid in 853, it remained the capital until the 13th century, when improvements to the English navy made the location indefensible. Anglesey was also briefly the most southerly possession of the Norwegian Empire.


title: Anglesey

text: After the Irish, the island was invaded by Vikings — some raids were noted in famous sagas (see Menai Strait History) — and by Saxons, and Normans, before falling to Edward I of England in the 13th century. The connection with the Vikings can be seen in the name of the island. In ancient times it was called "Maenige" and received the name "Ongulsey" or Angelsoen, from where the current name originates.


title: Anglesey

text: Anglesey (with Holy Island) is one of the 13 historic counties of Wales. In medieval times, before the conquest of Wales in 1283, "Môn" often had periods of temporary independence, when frequently bequeathed to the heirs of kings as a sub-kingdom of Gwynedd. The last times this occurred were a few years after 1171, after the death of Owain Gwynedd, when the island was inherited by Rhodri ab Owain Gwynedd, and between 1246 and about 1255, when it was granted to Owain Goch as his share of the kingdom. After the conquest of Wales by Edward I, Anglesey became a county under the terms of the Statute of Rhuddlan of 1284. Hitherto it had been divided into the "cantrefi" of Aberffraw, Rhosyr and Cemaes.


title: Anglesey

text: The Shire Hall in Llangefni was completed in 1899. During the First World War, the Presbyterian minister and celebrity preacher John Williams toured the island as part of an effort to recruit young men as volunteers. The island's location made it ideal for monitoring German U-Boats in the Irish Sea, with half a dozen airships based at Mona. German POWs were kept on the island. By the end of the war, some 1,000 of the island's men had died on active service.


title: Anglesey

text: During the Second World War, Anglesey received Italian POWs. The island was designated a reception zone, and was home to evacuee children from Liverpool and Manchester.


title: Anglesey

text: In 1971, a 100,000 ton per annum aluminum smelter was opened by Rio Tinto Zinc Corporation and British Insulated Callender's Cables with Kaiser Aluminum and Chemical Corporation as a 30 per cent partner.


title: Anglesey

text: In 1974, Anglesey became a district of the new county of Gwynedd. The Local Government (Wales) Act 1994 abolished the 1974 county and the five districts on 1 April 1996, when Anglesey became a separate unitary authority. In 2011, the Welsh Government appointed a panel of commissioners to administer the council, which meant the elected members were not in control. The commissioners remained until an election was held in May 2013, restoring an elected Council. Before the period of direct administration, there had been a majority of independent councillors. Though members did not generally divide along party lines, these were organised into five non-partisan groups on the council, containing a mix of party and independent candidates. The position has been similar since the election, although the Labour Party has formed a governing coalition with the independents.


title: Anglesey

text: Brand new council offices were built at Llangefni in the 1990s for the new Isle of Anglesey County Council.


title: Anglesey

text: Anglesey is a low-lying island with low hills spaced evenly over the north. The highest six are Holyhead Mountain, ; Mynydd Bodafon, ; Mynydd Llaneilian, ; Mynydd y Garn, ; Bwrdd Arthur, ; and Mynydd Llwydiarth, . To the south and south-east, the island is divided from the Welsh mainland by the Menai Strait, which at its narrowest point is about wide. In all other directions the island is surrounded by the Irish Sea. At , it is the 52nd largest island of Europe and just smaller than the main island of Singapore.


title: Anglesey

text: There are several scattered small towns that even out the population. The largest are Holyhead, Llangefni, Benllech, Menai Bridge, and Amlwch. Beaumaris (Welsh: "Biwmares") in the east features Beaumaris Castle, built by Edward I during his Bastide campaign in North Wales. Beaumaris is a yachting centre, with boats moored in the bay or off Gallows Point. The village of Newborough (Welsh: "Niwbwrch"), in the south, created when townsfolk of Llanfaes were relocated for the building of Beaumaris Castle, includes the site of Llys Rhosyr, another court of medieval Welsh princes featuring one of the United Kingdom's oldest courtrooms. The centrally localted Llangefni is the island's administrative centre. The town of Menai Bridge (Welsh: "Porthaethwy") in the south-east, expanded to accommodate workers and construction when the first bridge to the mainland was being built. Hitherto Porthaethwy had been one of the main ferry ports for the mainland. A short distance from the town lies Bryn Celli Ddu, a Stone Age burial mound.


title: Anglesey

text: Nearby is the village with the longest name in Europe, Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiliogogogoch, and Plas Newydd, ancestral home of the Marquesses of Anglesey. The town of Amlwch lies in the north-east of the island and was once largely industrialised, having grown in the 18th century to support a major copper-mining industry at Parys Mountain.


title: Anglesey

text: Other settlements include Cemaes, Pentraeth, Gaerwen, Dwyran, Bodedern, Malltraeth and Rhosneigr. The Anglesey Sea Zoo is a local attraction offering looks at local marine wildlife from common lobsters to congers. All fish and crustaceans on display are caught round the island and placed in habitat reconstructions. The zoo also breeds lobsters commercially for food and oysters for pearls, both from local stocks. Sea salt ("Halen Môn", from local sea water) is produced in a facility nearby, having formerly been made at the Sea Zoo site.


title: Anglesey

text: There are a few natural lakes, mostly in the west, such as Llyn Llywenan, the largest on the island, Llyn Coron, and Cors Cerrig y Daran, but rivers are few and small. There are two large water supply reservoirs operated by Welsh Water. These are Llyn Alaw to the north of the island and Llyn Cefni in the centre of the island, which is fed by the headwaters of the Afon Cefni.


title: Anglesey

text: The climate is humid (though less so than neighbouring mountainous Gwynedd) and generally equable thanks to the Gulf Stream. The land is of variable quality and has probably lost some fertility. Anglesey has the northernmost olive grove in Europe and presumably in the world.


title: Anglesey

text: The coastline is classed as an Area of Outstanding Natural Beauty, with many sandy beaches, notably along its east coast between Beaumaris and Amlwch and west coast from Ynys Llanddwyn through Rhosneigr to the bays around Carmel Head. The north coast has sharp cliffs with small bays. Anglesey Coastal Path outlining the island is long and touches 20 towns and villages. The starting point is St Cybi's Church, Holyhead.


title: Anglesey

text: Tourism is now the major economic activity. Agriculture comes second, with local dairies being some of the most productive in the region.


title: Anglesey

text: Major industry is restricted to Holyhead (Caergybi), which until 30 September 2009 supported an aluminium smelter, and the Amlwch area, once a copper mining town. Nearby stood Wylfa Nuclear Power Station and a former bromine extraction plant. With construction starting in 1963, the two Wylfa reactors began producing power in 1971. One reactor was decommissioned in 2012, the other in 2015.


title: Anglesey

text: Anglesey has three wind farms on land. There were plans to install tidal-flow turbines near The Skerries off the north coast, and for a major biomass plant on Holy Island (Ynys Gybi). Developing such low-carbon-energy assets to their full potential forms part of the Anglesey Energy Island project.


title: Anglesey

text: When the aluminium smelter closed in September 2009, it cut its workforce from 450 to 80, in a major blow to the island's economy, especially to Holyhead. The Royal Air Force station RAF Valley (Y Fali) holds the RAF Fast Jet Training School and 22 Sqn Search and Rescue Helicopters, both units providing employment to about 500 civilians. RAF Valley is now the 22 Sqn Search and Rescue headquarters.


title: Anglesey

text: The range of smaller industries is mostly in industrial and business parks such as Llangefni and Gaerwen, notably an abattoir, fine chemical manufacturing, and factories for timber production, aluminium smelting, fish farming and food processing. The island is on one of the main road routes from Britain to Ireland, via ferries from Holyhead on Holy Island to Dún Laoghaire and Dublin Port.


title: Anglesey

text: Plans were offered in 2013 by Horizon, a subsidiary of Hitachi, to start production in the 2020s. Though enthusiastically endorsed by Anglesey Council and Welsh Assembly members, protesters raised doubts about its economic and safety claims, and in January 2019 Hitachi announced it was putting development on hold.


title: Anglesey

text: On 17 January 2019, Hitachi-Horizon Nuclear Power announced it was abandoning plans to build a nuclear plant on the Wylfa Newydd site in Anglesey. There had been concern that the start might have involved too much public expenditure, but Hitachi-Horizon say the decision to scrap has cost the company over £2 billion.


title: Anglesey

text: Much of Anglesey is used for relatively intensive cattle and sheep farming, but several important wetland sites have protected status and the lakes all have significant ecological interest, including a wide range of aquatic and semi-aquatic bird species. In the west, the Malltraeth Marshes are believed to support an occasional visiting bittern, and the nearby estuary of the Afon Cefni has a bird population made famous internationally by the paintings of Charles Tunnicliffe, who lived and died at Malltraeth on the Cefni estuary. The RAF airstrip at Mona is a nesting site for skylarks. The sheer cliff faces at South Stack near Holyhead provide nesting sites for large numbers of auks, including puffins, razorbills and guillemots, along with choughs and peregrine falcons. Anglesey holds several tern species, including the roseate tern on three breeding sites – see Anglesey tern colonies.


title: Anglesey

text: There are marked occurrences of the "Juncus subnodulosus"–"Cirsium palustre" fen-meadow plant association marked by hydrophilic grasses, sedges and forbs.


title: Anglesey

text: Almost the whole coastline of Anglesey is designated as an Area of Outstandng Natural Beauty (AONB) to protect the aesthetic appeal and variety of the island's coastal landscape and habitats from inappropriate development. The coastal zone of Anglesey was classed as an AONB in 1966 and confirmed as such in 1967. The AONB is predominantly coastal, covering most of Anglesey's coastline, but includes Holyhead Mountain and Mynydd Bodafon. Large areas of other land protected by the AONB form the backdrop to the coast. The AONB is about 221 sq. m (85 sq mi) and is the largest in Wales, covering a third of the island.


title: Anglesey

text: A number of Anglesey habitats gain still greater protection through UK and European designations of their nature conservation value. These include:


title: Anglesey

text: The AONB takes in three sections of open, undeveloped coastline designated as Heritage Coast. These non-statutory designations complement the AONB and cover about of the coastline. The sections are:


title: Anglesey

text: Popular recreations include sailing, angling, cycling, walking, wind surfing and jet skiing. They place pressures and demands on the AONB, while stoking the local economy.


title: Anglesey

text: It belongs to the International Island Games Association. Anglesey's biggest successes were at the 1997 Island Games in Jersey, (11th in the medals table, with two gold, three silver and nine bronze medals) and the 2005 Island Games in the Shetland Islands, (again 11th, with 4 gold, 2 silver and 2 bronze).


title: Anglesey

text: The annual Anglesey Show is held on the second Tuesday and Wednesday of August. Farmers from around the country compete in livestock–rearing contests, including sheep and cattle. Other events have included the Channel 4 archaeological television programme "Time Team" (series 14), transmitted on 4 February 2007, and Gottwood, an electronic music and arts festival held each summer at the Carreglwyd estate.


title: Anglesey

text: The Druidic college at Anglesey is referred to in the metal band Eluveitie's song "Inis Mona", referring to Ynys Môn.


title: Anglesey

text: Capital Cymru, a commercial contemporary hit radio station, also covers Gwynedd. Môn FM, a volunteer community radio station, broadcasts from the county town, Llangefni.


title: Anglesey

text: In 2017 filming took place for the Netflix TV series "Free Rein". Scenes were used in all three series. Locations included Newborough Warren and Beaumaris Pier. In 2018, the BBC began a three-part series entitled "Anglesey: Island Lives", detailing the lives of several residents of the island. In the first episode, Kris Hughes, a noted companion of the Druid community and the Anglesey Druid Order, was followed as the order marked the Summer Solstice.


title: Anglesey

text: Anglesey is a stronghold of the Welsh language. According to the 2011 census it was the local authority with the second highest proportion of Welsh speakers. The earlier percentages were these:


title: Anglesey

text: Today, Welsh is less widely used, but remains the dominant language in some areas, particularly in the centre, including Llangefni and some parts of the south coast. The island's five secondary schools vary widely in the proportions of their pupils from predominantly Welsh-speaking homes, and in those who can speak Welsh:


title: Anglesey

text: The geology of Anglesey is complex and frequently targeted for geology field trips by schools and colleges. Younger strata in Anglesey rest upon a foundation of old Precambrian rocks that appear at the surface in four areas:


title: Anglesey

text: These rocks are schists and phyllites, often contorted and disturbed. The general line of strike of the formations in the island is from north-east to south-west. A belt of granitic rocks lies just north-west of the central Precambrian mass, reaching from Llanfaelog near the coast to the vicinity of Llanerchymedd. Between this granite and the Precambrian of Holyhead is a narrow tract of Ordovician slates and grits with Llandovery beds in places, spreading out in the north of the island between Dulas Bay and Carmel Point. A small patch of Ordovician strata lies on the northern side of Beaumaris. In parts, these Ordovician rocks are much folded, crushed and metamorphosed, and associated with schists and altered volcanic rocks which are probably Precambrian. Between the eastern and central Precambrian masses Carboniferous rocks are found. Carboniferous Limestone occupies a broad area south of Lligwy Bay and Pentraeth, and sends a narrow spur in south-westwards by Llangefni to Malltraeth Sands. It is underlain on the north-west by a red basement conglomerate and yellow sandstone (sometimes considered of Old Red Sandstone age). Limestone occurs again on the north coast around Llanfihangel and Llangoed; and in the south-west round Llanidan near the Menai Strait. Puffin Island is made of Carboniferous Limestone. Malltraeth Marsh is occupied by Coal Measures, and a small patch of the same formation appears near Tal-y-foel Ferry on the Menai Strait. A patch of rhyolitic/felsitic rocks forms Parys Mountain, where copper and iron ochre have been worked. Serpentine (Mona Marble) is found near Llanfair-yn-Neubwll and upon the opposite shore in Holyhead. Anglesey is the only onshore part of the UK to have sediments dated to the Early Middle Miocene (?Langhian).


title: Anglesey

text: Under the name "GeoMôn", affirming its extraordinary geological heritage, the island gained membership of the European Geoparks Network in spring 2009. and the Global Geoparks Network in September 2010.


title: Anglesey

text: Anglesey is linked to the mainland by the Britannia Bridge, carrying the A55 from Holyhead, and the Menai Suspension Bridge, carrying the A5 trunk road. The A5025 round the northern edge of Anglesey and the A4080 round the southern edge form a ring.


title: Anglesey

text: The six railway stations are Holyhead, Valley, Rhosneigr, Ty Croes, Bodorgan and Llanfairpwll. All are on the North Wales Coast Line, with services operated by Avanti West Coast to London Euston, and by Transport for Wales Rail to Chester, Manchester Piccadilly, Birmingham New Street and Cardiff Central. Historically the island was also served by the Anglesey Central Railway which ran from Gaerwen to Amlwch, and the Red Wharf Bay branch line between Holland Arms railway station and Red Wharf Bay.


title: Anglesey

text: By air, Anglesey Airport has a twice-daily scheduled service to Cardiff Airport, where connections worldwide can be made.


title: Anglesey

text: The ferry port of Holyhead handles over two million passengers a year. Stena Line and Irish Ferries sail to Dublin (previously to Dún Laoghaire), forming the main surface transport link from central and northern England and Wales to Ireland.


title: Anglesey

text: Anglesey is independently represented in the Island Games (as "Ynys Môn"). The team finished joint 17th in the 2009 Games hosted by Åland, winning medals in gymnastics, sailing, and shooting.


title: Anglesey

text: Anglesey made an unsuccessful bid for the 2009 games, led by Ynys Môn MP Albert Owen, in the hope of more than £3m of spending if it had hosted the event. However, Anglesey lacks two needful facilities: a six-lane competition swimming pool and an athletics track.


title: Anglesey

text: Several precursors to the modern football codes were popular in Anglesey. They had few rules and were quite violent. Rhys Cox at the turn of the 18th century described a game in Llandrygan ending with "numbers of players... left here and there on the road, some having limbs broken in the struggle, others severely injured, and some carried on biers to be buried in the churchyard nearest to where they had been mortally injured." William Bulkeley, in his April 1734 diary, records that the violence of such games left no hard feelings, with both sides parting "as good friends as they came, after they had spent half an hour together cherishing their spirits with a cup of ale... having finished Easter Holydays innocently and merrily."


title: Anglesey

text: This arrived in the 1870s and met with local resistance for its perceived associations with drunkenness and rowdiness and the lower classes. One critic called it an "un-Christian practice". An Anglesey League of teams from Amlwch, Beaumaris, Holyhead, Menai Bridge, Llandegfan, and Llangefni was formed in the 1895–96 season. This gave way in 2020 to the North Wales Coast West Football League.


title: Anglesey

text: The Ynys Môn football team represents Anglesey at the biannual Island Games, winning gold in 1999. In 2018, the island was chosen to host the 2019 Inter Games Football Tournament, where the men's team won gold and the women's team won silver.


title: Anglesey

text: For the aborted 2020–21 season, Llangefni Town and Holyhead Hotspur were due to play in the Cymru North league, the second tier of the Welsh football league system, after winning the Welsh Alliance League two years before. There were due to be nine Anglesey sides in the same season's fourth tier North Wales Coast West Football League Premier Division: Aberffraw, Amlwch Town, Bodedern Athletic, Bro Goronwy, Gaerwen, Gwalchmai, Menai Bridge Tigers, Pentraeth and Trearddur Bay Bulls. There are a further nine teams in Division One.


title: Anglesey

text: Llangefni RFC is the island's highest competing team in the WRU Division One North. Llangoed hosts an annual rugby sevens contest. Touring sides have included Manhattan RFC.


title: Anglesey

text: Anglesey Hunt, formed in 1757, was the second oldest fox hunting association in Wales after Tivyside Hunt in Cardiganshire.


title: Anglesey

text: Every September the Anglesey Festival of Running includes a marathon, a half-marathon, 10-km and 5–km races, and children's contests. Its slogan is "Run the Island". There are at present no 400-metre, all-weather, synthetic tracks on the island, the nearest being between Bangor and the Britannia Bridge on the mainland.


title: Anglesey

text: The Anglesey Circuit (Welsh: Trac Môn) is a licensed MSA and ACU championship racing circuit that opened in 1997. It hosts many events all year round and is a popular track.


title: Anglesey

text: The Beaumaris Cricket Club formed in 1858. Clubs at Holyhead, Amlwch and Llangefni formed in the following decade, but not until the 1880s was the sport popular outside the upper classes. Bodedern Cricket Club was formed in 1947.


title: Anglesey

text: The Menai Strait hosts two annual open-water contests: the Menai Strait Swim from Foel to Caernarfon (1 mile), and the Pier to Pier Open Water Swim, between Beaumaris and Garth Pier, Bangor. There is a 25-metre pool at Plas Arthur Leisure Centre in Llangefni.


title: The Other Side of the Wind

text: The Other Side of the Wind is a 2018 satirical drama film, directed, co-written, co-produced and co-edited by Orson Welles, and posthumously released in 2018 after forty-eight years in development. The film stars John Huston, Bob Random, Peter Bogdanovich, Susan Strasberg, and Oja Kodar.


title: The Other Side of the Wind

text: Intended by Welles to be his Hollywood comeback, the film began shooting in 1970 and resumed on and off until 1976. Welles continued to intermittently work on the project into the 1980s, but it became embroiled in legal, financial and political complications which prevented it from being completed. Despite Welles' death in 1985, filming was completed and several attempts were made at reconstructing the unfinished film. In 2014, the rights were acquired by Royal Road and the project was overseen by Bogdanovich and producer Frank Marshall.


title: The Other Side of the Wind

text: The story utilizes a film-within-a-film narrative which follows the last day in the life of an aging Hollywood film director (Huston) as he hosts a screening party for his unfinished latest project. The film was shot in an unconventional documentary style featuring a rapid-cutting approach between the many cameras of the story's numerous journalists and news-people with both color and black-and-white footage, 8-M.M. and 16-M.M. It was intended among other things as a satire of both the passing of Classic Hollywood and of the avant-garde film-makers of Europe and New Hollywood in the 1970s. The unreleased results would be called "the Holy Grail of cinema". It holds the record for the longest production time in history at forty-eight years.


title: The Other Side of the Wind

text: "The Other Side of the Wind" had its world premiere at the 75th Venice International Film Festival on August 31, 2018, and was released on November 2, 2018, by Netflix to critical praise, accompanied by a documentary, "They'll Love Me When I'm Dead".


title: The Other Side of the Wind

text: The film opens by describing the final day of Jake Hannaford, an aging Hollywood director who was killed in a car crash on his 70th birthday, with narration from an elderly Brooks Otterlake, who had been a protégé of Hannaford's. Just before his death, Hannaford was trying to revive his waning career by making a flashy film, laden with gratuitous sex scenes and violence, with mixed results. At the time of Hannaford's party, this film (titled "The Other Side of the Wind") has been left unfinished after its star stormed off the set, for reasons not immediately apparent to the audience.


title: The Other Side of the Wind

text: A screening of some incomprehensible parts of Hannaford's unfinished experimental film takes place, in order to attract "end money" from studio boss Max David. Hannaford himself is absent, and a loyal member of his entourage, the former child star Billy Boyle, makes an inept attempt to describe what the film is about. Intercut during this, we see various groups setting out for Hannaford's seventieth birthday party at an Arizona ranch. Hannaford arrives with a young Brooks Otterlake, a commercially successful director with a talent for mimicking celebrities, who credits much of his success to his close study of Hannaford.


title: The Other Side of the Wind

text: Many journalists attending the party brandish cameras, and shoot out invasive questions, eventually querying Hannaford's sexuality and whether he has long been a closeted homosexual, in spite of his macho public persona. Hannaford has a history of seducing the wife or girlfriend of each of his leading men, but maintains a strong attraction to the leading men themselves.


title: The Other Side of the Wind

text: Several party guests comment on the conspicuous absence of John Dale, Hannaford's leading man in his latest film, whom Hannaford first discovered when Dale was attempting suicide by jumping into the Pacific Ocean off the Mexican coast. As the party proceeds, Hannaford finds out that Dale's suicide attempt had been faked, and that he had actually set off to Mexico to find Hannaford. Meanwhile, guests are shown more scenes from the film at the ranch's private cinema. One scene makes it clear why Dale left the film – he stormed off the set in anger, in the middle of a sex scene in which he was being goaded by Hannaford off-screen.


title: The Other Side of the Wind

text: As the party continues, Hannaford gets progressively drunker. He is washing his face in the bathroom when he breaks down in front of Otterlake, asking for the young director's help to revive his career. A series of power outages in the middle of Hannaford's party interrupts the screening. The party continues by lantern-light, and eventually reconvenes to an empty drive-in cinema, where the last portion of Hannaford's film is screened.


title: The Other Side of the Wind

text: Having realized at the party that Otterlake is not going to financially support Hannaford's new film, the two have a mournful last exchange in the drive-in theatre, realising that their friendship is at an end. Intrusive journalist Juliette Rich has asked Hannaford the most explicit questions of all about his sexuality. At this moment, Hannaford slaps Rich in drunken outrage, while a drunken Billy Boyle mounts an impassioned defense of the director. As dawn breaks at the ranch, Dale is walking around the mostly empty house, having only just arrived the morning after. He finally arrives at the drive-in just as a drunken Hannaford is leaving and asks him to get in the sports car with him, but Dale does not. Hannaford drives away, leading to his fatal car accident.


title: The Other Side of the Wind

text: Meanwhile, Hannaford's symbolic film finishes screening to a now-almost-empty drive-in theatre. The only person still watching is the actress who starred in it. She watches the final scene, and drives off as Hannaford's closing narration says:


title: The Other Side of the Wind

text: Hannaford's experimental film-within-a-film, shot as a spoof of European arthouse cinema typified by Antonioni, and performed without any dialogue, is visually striking, but has very little narrative coherence. The following scenes are shown, in this order:


title: The Other Side of the Wind

text: Due to the 48 years taken for the film to be completed, and the advanced age of many of the actors playing Hollywood veterans, most cast members died long before the film's 2018 release. The first two major cast members to pass away were Stafford Repp in November 1974 (before principal photography had even been completed), and Norman Foster in July 1976 (only six months after filming wrapped). Both had shot all of their scenes in the first half of 1974. Other cast members who died before the film's 2018 release included Huston, Strasberg, Palmer, O'Brien, McCambridge, Mitchell, Stewart, Selwart, Tobin, Carroll, Rubin, Mazursky, Hopper, Harrington, Chabrol, Audran, Jessel, Rossitto, Wilson, Graver, and of course Welles himself (who has a cameo as an offscreen journalist). Over the years, while the film's negative remained sealed in a Paris vault, several production members expressed frustration at their inability to see the film - Tonio Selwart, for instance, was in his late 70s when he acted in it, and considered it his "swan song" from acting. In 1992, he said that he would probably never see the film, considering both his advanced age and declining eyesight. He died in 2002, aged 106, with the film still unreleased.


title: The Other Side of the Wind

text: Shot over many years in many locations, the film had many crew members, some of whom may be difficult to ascertain. The following crew list also contains the locations where they worked and any authenticating references. The crew members often were performing multiple tasks, so that defining the various roles is difficult.


title: The Other Side of the Wind

text: The film had a troubled production history. Like many of Welles' personally funded films, the project was filmed and edited on-and-off for several years.


title: The Other Side of the Wind

text: The project evolved from an idea Welles had in 1961 after the suicide of Ernest Hemingway. Welles had known Hemingway since 1937, and was inspired to write a screenplay about an aging macho bullfight enthusiast who is fond of a young bullfighter. Nothing came of the project for a while, but work on the script resumed in Spain in 1966, just after Welles had completed "Chimes at Midnight". Early drafts were entitled "Sacred Beasts" and turned the older bullfight enthusiast into a film director. At a 1966 banquet to raise funds for the project, Welles told a group of prospective financiers:


title: The Other Side of the Wind

text: The film features an exceptionally large number of film directors in acting roles, including Claude Chabrol, Norman Foster, Gary Graver, Curtis Harrington, Dennis Hopper, Henry Jaglom and Paul Mazursky, mostly playing Hannaford's entourage of journalists and young film-makers. Other Hollywood celebrities who were friends of Welles were asked to participate, including Jack Nicholson, but either declined or were unavailable.


title: The Other Side of the Wind

text: Impressionist Rich Little was originally cast as Brooks Otterlake, but his role was recast part of the way through. There are differing accounts as to the reason for his departure. Welles expressed dissatisfaction with the impressionist's acting ability, and stated that he fired him. Little says that he doesn't know why he lost contact with Welles part of the way through filming. Cinematographer Gary Graver tells a different story: "We shot many, many scenes with him, and he was quite good in each of them. ... One day, completely out of the blue, Rich showed up with his suitcase in his hand. 'Orson,' he said, 'I haven't seen my wife in a long time. I have to go home.' And like that, he was gone! ... Orson didn't get angry. He just sat there looking incredulous. He couldn't believe what was happening. The rapport between Orson and Rich had been a good one, so no one had expected Rich's sudden departure." Filming was completed with Bogdanovich playing Otterlake. This necessitated reshooting all of Little's scenes. Little's interpretation of the Otterlake character would have had him using a different accent or impression for every single scene – a device which Joseph McBride thought "uncomfortably labored". By contrast, although Bogdanovich did several impressions in character as Otterlake, he played most of his scenes with his own voice. Previously, Bogdanovich played cineaste Charles Higgam by doing an impression of Jerry Lewis at Welles' request.


title: The Other Side of the Wind

text: The characters played by Foster, Selwart, Jessel, McCambridge, O'Brien, Stewart, Wilson, Mitchell, Carroll and Repp form Hannaford's entourage, representing the "Old Hollywood"; while Chabrol, Harrington, Hopper, Jaglom and Mazursky play thinly veiled versions of themselves, representing the "New Hollywood". The "Old Hollywood" characters serve as something of a chorus for Hannaford, providing various commentaries on his life. According to the shooting script, Welles intended to provide the film's short opening narration, intending to dub it in post-production. However, he never recorded it. Many of the cast and crew worked for free, or for low wages, or in exchange for favours from Welles. Huston, a close friend of Welles, worked for the nominal fee of $75,000 – some of which is still owed to his estate, after one of the film's producers embezzled part of the budget. Welles said he could not afford to pay his cinematographer Gary Graver, so instead gave him his 1941 Academy Award statuette for the script of "Citizen Kane" by way of thanks. McBride's salary comprised two boxes of cigars. Mazursky recalled that he was never paid for his one night of acting.


title: The Other Side of the Wind

text: Welles described the film's unconventional style to Peter Bogdanovich during an interview on the set:


title: The Other Side of the Wind

text: John Huston confirmed that the film was photographed in a highly unconventional style: "It's through these various cameras that the story is told. The changes from one to another – color, black and white, still, and moving – made for a dazzling variety of effects." He added that principal photography was highly improvised, with the script only loosely being adhered to. At one point, Welles told him, "John, just read the lines or forget them and say what you please. The idea is all that matters."


title: The Other Side of the Wind

text: In addition to the tightly edited montage of different styles for the main film, Hannaford's film-within-the-film was photographed in an entirely different style, at a much slower pace, as a pastiche of Antonioni. Welles said at the time: "There's a film with the film, which I made [in 1970–71] with my own money. It's the old man's attempt to do a kind of counterculture film, in a surrealist, dreamlike style. We see some of it in the director's projection room, some of it at a drive-in when that breaks down. It's about 50% of the whole movie. Not the kind of film I'd want to make; I've invented a style for him."


title: The Other Side of the Wind

text: In 1972, Welles said that filming was "96% complete" (which seems to have been an exaggeration, since many of the film's key scenes were not shot until 1973–1975 – although it was true that "The Other Side of the Wind", the film-within-the-film, was complete by that stage) and in January 1976 the last scene of principal photography was completed.


title: The Other Side of the Wind

text: Much of the party scene was filmed in 1974 on Stage 1 at Southwestern Studio in Carefree, Arizona, a suburb of Phoenix, with John Huston, Peter Bogdanovich, Susan Strasberg, Stafford Repp, Dan Tobin, Norman Foster, Cathy Lucas, Peter Jason, and others. Welles used the living room set and furniture designed for "The New Dick Van Dyke Show" that remained standing when the show left Southwestern Studio to return to CBS in Hollywood.


title: The Other Side of the Wind

text: Other party scenes were shot in 1974 in a private mansion among the boulders of Carefree, not far from the studio, that was rented by Welles and used as his and other members of the company's residence during the shoot. The opposite house on the same street was used in Michelangelo Antonioni's film "Zabriskie Point".


title: The Other Side of the Wind

text: Further party scenes were shot in Bogdanovich's own Beverly Hills house, which Welles stayed in for over two years in 1974–1976, after the film's financial problems meant that the crew could no longer go on renting the Arizona studio and mansion. Parts of the scenery from the previous shoot were redeployed to the Beverly Hills house.


title: The Other Side of the Wind

text: Other scenes were shot in Reseda (where the drive-in cinema scenes were filmed in the same location as the climax of Bogdanovich's "Targets"), Century City (where the skyscrapers form the backdrop of some of Hannaford's film), Connecticut, France (at Welles' house in Orvilliers), the Netherlands, England, Spain, Belgium, and the Metro-Goldwyn-Mayer back-lot in Hollywood.


title: The Other Side of the Wind

text: The scenes shot on the M.G.M. back-lot, viewed in Hannaford's film-within-a-film, were photographed without M.G.M.'s permission. Welles was smuggled onto the back-lot in a darkened van, while the rest of the cast and crew pretended to be a group of film students visiting the studio. The crew was not confident that they would ever be able to access the back-lot again, and so filmed everything over one long, amphetamine-fuelled week-end in 1970, without sleep. The back-lot, which was seriously dilapidated, was demolished shortly afterwards, and only one more film – "That's Entertainment!" (1974) – was shot there before its demolition.


title: The Other Side of the Wind

text: When Welles moved back to the United States in the late 1960s, the script's setting changed to Hollywood, and second-unit photography started in August 1970. Principal photography in 1970–1971 focused on Hannaford's film-within-a-film. Welles was initially unsure whom to cast as the film director and whether to play the role himself, finally settling in 1974 on his friend the actor-director John Huston. The few party scenes shot before 1974 were shot without Huston, and often contained just one side of a conversation, with Huston's side of the conversation filmed several years later and intended to be edited into the earlier footage.


title: The Other Side of the Wind

text: Filming ground to a halt late in 1971 when the U.S. government decided that Welles' European company was a holding company, not a production company, and retrospectively presented him with a large tax bill. Welles had to work on numerous other projects to pay off this debt, and filming could not resume until 1973. During that time, Welles acted in a number of other projects to raise funds, and secured further financing in France, Iran and Spain. Some scenes were shot intermittently in 1973, as and when cast were available (as with Lilli Palmer's scenes, all shot in Spain without any other cast present); but the film's main production block did not begin until early 1974, when major shooting of the party happened in Arizona.


title: The Other Side of the Wind

text: Filming resumed for an intensive four months of production in January to April 1974, when most of the party scenes were shot, but principal photography was undermined by serious financial problems, including embezzlement by one of the investors, who fled with much of the film's budget. Barbara Leaming described the situation in her biography of Welles, based on extensive interviews with Welles:


title: The Other Side of the Wind

text: The film's producer Dominique Antoine subsequently endorsed the above account from Barbara Leaming as being "entirely accurate". A July 1986 article in "American Cinematographer" also corroborates this story, describing Antoine's arrival in Arizona on the set at Southwestern Studios late at night. Welles himself told interviewer Tom Snyder in 1975: "I got a backer, and we shot a couple of weeks, and then that backer ran away with my money as well as his." This story is further corroborated by Peter Bogdanovich, who wrote in November 1997 of the production, "another producer ran back to Europe with $250,000 of Orson's money and never was heard from again (although I recently saw the person on TV accepting an Oscar for coproducing the Best Foreign Film of the year)". In 2008, film scholars Jean-Pierre Berthomé and François Thomas identified Spanish producer Andrés Vicente Gómez (who collected a Best Foreign Picture Oscar in 1994) as the alleged embezzler, and they date his withdrawal from the project to 1974. Gómez first met Welles in Spain in 1972, during the making of "Treasure Island", in which they were both involved. Gómez then negotiated Welles' deal with the Iranian-owned, Paris-based , the first product of which was the 1973 film "F for Fake", followed by "The Other Side of the Wind". As well as the accusation of embezzlement, Welles also had this to say of Gómez: "My Spanish producer never paid my hotel bill for the three months that he kept me waiting in Madrid for the money for "The Other Side of the Wind". So I'm scared to death to be in Madrid. I know they're going to come after me with that bill."


title: The Other Side of the Wind

text: Gómez responded to these accusations in a 2001 memoir, subsequently reproduced on his company website:


title: The Other Side of the Wind

text: Gómez was later interviewed for "They'll Love Me When I'm Dead", a 2018 documentary on the making of the film, in which he said, "I read he blamed me because of the finance fiasco, which is totally untrue. I made a settlement with him, there was no complaint, there was no anything. If it was true, why didn't they make any claim from me, you know?"


title: The Other Side of the Wind

text: With the film's mounting financial problems after the March 1974 disappearance of Gómez and the simultaneous disappearance of many of the film's funds, Welles had to abandon the Arizona shoot in April 1974 before he could complete all principal photography. In particular, although he had shot seven weeks of footage with Rich Little in one of the lead roles, the re-casting of Peter Bogdanovich in the role meant that many of the film's key scenes had to be re-shot. Accordingly, in 1974 Welles moved into Bogdanovich's Beverly Hills mansion, where he lived on and off for the next few years, and where he intermittently shot more party scenes, until principal photography finally wrapped in January 1976.


title: The Other Side of the Wind

text: In February 1975, Welles was awarded an AFI Lifetime Achievement Award, and used the star-studded ceremony as an opportunity to pitch for funding to complete the film. (With a touch of irony, one of the scenes he showed his audience featured Boyle screening a rough cut of Hannaford's latest film to a studio boss, in a bid for "end money" to complete his picture.) Sure enough, one producer made what Welles later called a "wonderful offer", but Antoine turned it down on the assumption that an even better offer would arrive. No such offer came, and Welles later bitterly regretted the refusal, commenting before his death that if he had accepted it "the picture would have been finished now and released".


title: The Other Side of the Wind

text: Welles estimated that the editing of the film in a distinctive and experimental style would take approximately one year of full-time work (which was how long he had spent on the experimental, rapidly cut editing of his previous completed film, "F for Fake" – like "F for Fake", the film would have averaged approximately one edit per second, and would have lasted around half an hour longer). On "F for Fake", Welles had used three separate moviolas, arranged side by side, to simultaneously edit the film. He would perform the cuts to the negative himself, then leave an editing assistant at each moviola to complete the edit while he moved to the next moviola to begin the next edit. "The Other Side of the Wind" necessitated even more complicated editing, and Welles lined up five moviolas in a semi-circle around a table, with a staff of assistants to help him.


title: The Other Side of the Wind

text: A change of management at the Iranian production company in 1975 resulted in tensions between Welles and the backers. The new management saw Welles as a liability, and refused to pay him to edit the film. The company made several attempts to reduce Welles' share of the film profits from 50% to 20%, and crucially, attempted to remove his artistic control over the film's final cut. Welles made numerous attempts to seek further financial backing to pay him to complete the editing full-time, including attempting to interest a Canadian backer, but no such funding materialised, and so Welles only edited the film piecemeal in his spare time over the next decade, between other acting assignments which the heavily indebted actor-director needed to support himself.


title: The Other Side of the Wind

text: Welles filmed 96 hours of raw footage (45 hours for the party scenes, and 51 hours for the film-within-a-film), including multiple takes of the same scenes, reshoots with different cast members (e.g. Peter Bogdanovich substituting for Rich Little) but did not complete the following elements:


title: The Other Side of the Wind

text: By 1979, forty minutes of the film had been edited by Welles. But in that year, the film experienced serious legal and financial complications. Welles' use of funds from Mehdi Boushehri, the brother-in-law of the Shah of Iran, became troublesome after the Shah was overthrown. A complex, decades-long legal battle over the ownership of the film ensued, with the original negative remaining in a vault in Paris. At first, the revolutionary government of Ayatollah Khomeini had the film impounded along with all assets of the previous regime. When they deemed the negative worthless, there was extensive litigation as to the ownership of the film. By 1998, many of the legal matters had been resolved and the Showtime cable network had guaranteed "end money" to complete the film.


title: The Other Side of the Wind

text: However, continuing legal complications in the Welles estate and a lawsuit by Welles' daughter, Beatrice Welles, caused the project to be suspended. When Welles died in 1985 he had left many of his assets to his estranged widow Paola Mori, and after her own death in 1986, these were inherited by their daughter, Beatrice Welles. However, he had also left various other assets, from his house in Los Angeles to the full ownership and artistic control of all his unfinished film projects, to his long-time companion, mistress and collaborator Oja Kodar, who co-wrote and co-starred in "The Other Side of the Wind". Since 1992, Beatrice Welles has claimed in various courts that under California law, she had ownership of all of Orson Welles' completed and incomplete pictures (including those which he did not own the rights of himself in his own life), and "The Other Side of the Wind" has been heavily affected by this litigation. "The Guardian" described how she "stifled an attempt by US cable company Showtime and Oja Kodar (Welles's partner in the latter part of his life) to complete "The Other Side of the Wind"", while "The Daily Telegraph" stated that Beatrice Welles had "blocked" the film. Matters have been exacerbated by much personal animosity between Oja Kodar and Beatrice Welles – Beatrice blames Kodar for causing the break-up of her parents' marriage, while Kodar blames Beatrice for attempting to block the screening or re-release of a number of her father's works, including "Citizen Kane", "Othello", "Touch of Evil", "Chimes at Midnight" and "Filming Othello". (The latter claim has been supported by film critic Jonathan Rosenbaum, who has accused Beatrice of being solely motivated by profit in claiming royalties from these films, then settling out of court as studios have been keen to avoid costly legal battles.) A clause of Welles' will, specifying that anybody who challenges any part of Kodar's inheritance will be automatically disinherited, remains unenforced – Kodar sought to have it enforced in the 1990s, but could not afford the legal fees as the case dragged on.


title: The Other Side of the Wind

text: Although the original negative of the film long remained in a Paris vault, two workprint versions of much of the raw footage were privately held – one by Welles' cinematographer Gary Graver, who shot the film, and one by Welles himself, who covertly smuggled a copy out of Paris after the legal difficulties started. Welles left his own workprint copy to Kodar, as part of the clause of his will giving her all his unfinished film materials. (Kodar can be seen visiting a storeroom containing these materials in the "Orson Welles: One Man Band" documentary.)


title: The Other Side of the Wind

text: Over the years, there were repeated attempts to clear the remaining legal obstacles to the film's completion, and to obtain the necessary finance. Those most closely involved in these efforts were Gary Graver (the film's cinematographer), Oja Kodar (as Welles' partner, co-writer and co-star of the film, and director of one of its sequences, as well as the copyright holder of Welles' unfinished work), director Peter Bogdanovich (a co-star and investor, although he only wants the return of his $500,000 rather than any share of profits), film critic Joseph McBride (who has a supporting role in the film), and Hollywood producer Frank Marshall, one of whose first jobs in the film business was as production manager on the film. Marshall in particular was instrumental in getting several major studios in the late 1990s to watch a rough cut, although most were put off by the film's legal issues.


title: The Other Side of the Wind

text: Before a deal was put together in 1998, Oja Kodar screened Gary Graver's rough cut of the film for a number of famous directors in the 1980s and 1990s, seeking their help in completing the film, but they all turned it down for various reasons. These included John Huston (who was by then terminally ill with emphysema and was unable to breathe without oxygen tubes), Steven Spielberg, Oliver Stone, Clint Eastwood and George Lucas. Lucas reportedly claimed to be baffled by the footage, saying he did not know what to do with it, and that it was too avant-garde for a commercial audience. Kodar subsequently accused both Eastwood and Stone of plagiarism from the film, citing Eastwood's performance in "White Hunter Black Heart" (1990) as a copy of John Huston's, including one line of dialogue ("I'm Marvin P. Fassbender." "Of course you are."), and Stone's adoption of the film's distinctive rapidly cut editing and camera style for his "JFK" (1991), "Nixon" (1995) and "Natural Born Killers" (1994).


title: The Other Side of the Wind

text: A turning point came in 1998, when Mehdi Boushehri changed his mind, and was convinced by the film's surviving makers that his best hope of recouping his money was to see the film released. He therefore compromised on his earlier claims to owning two thirds of the film, and reduced the share he claimed. This resolved several of the film's legal problems. Boushehri died in 2006, but his heirs similarly accepted that the best hope of any return on Boushehri's investment was for the film to finally be released. The 1998 deal struck with Boushehri led to funding being put up by the Showtime network, until the lawsuit from Beatrice Welles later that year stalled matters once more.


title: The Other Side of the Wind

text: Peter Bogdanovich announced in 2004 that he planned to restore the film and release it soon thereafter. He cited a conversation before Welles' death in which "Orson said to me, 'If anything happens to me, you will make sure you finish it, won't you?' It was, of course, a compliment and also a terrible moment. He pressed me to give some assurance." However, there remained both legal challenges, and technical challenges over replicating Welles' avant-garde editing style.


title: The Other Side of the Wind

text: In 2006, Oja Kodar expressed concerns about a proposed deal Beatrice Welles had made with Showtime to turn the film into a "kind of" documentary, with the intention of never allowing it to be released as a completed theatrical film. A new deal was then eventually struck in 2007, in which the three parties previously involved (Oja Kodar as the heir of Welles' unfinished work, Mehdi Boushehri's heirs, and the Showtime Network) agreed to pay off Beatrice Welles with an undisclosed sum and/or share of profits from the film. At a March 29, 2007, appearance at the Florida Film Festival, Bogdanovich, in response to a question about the status of the film, stated that the four parties involved had come to an agreement earlier that week and that the film would be edited and released in the very near future. Bogdanovich also stated in an April 2, 2007, press report that a deal to complete the film was "99.9% finished", with a theatrical release planned for late 2008.


title: The Other Side of the Wind

text: There were then further complications in 2007, through the intervention of Paul Hunt. He had worked on the film in the 1970s as a line producer, an assistant editor, assistant camera operator and gaffer, and was described by Gary Graver's son as "the strangest, weirdest guy you've ever met". Kodar had approached him to see if he could broker a deal, guiding him as to who controlled the rights and suggesting what kind of deal they would accept. Together with his producing partner Sanford Horowitz, Hunt formed a company, Horowitz Hunt LLC, and within three months had a signed deal with Mehdi Boushehri, with an option to acquire his rights of the movie. On August 6, 2007, Horowitz Hunt LLC filed with the US Copyright office Mehdi Boushehri's signed agreement to transfer the rights to the movie.


title: The Other Side of the Wind

text: In March 2008, Bogdanovich said that there was over a year's worth of work left to be done, and a month later, he filmed the opening of the Los Angeles vault where Oja Kodar had kept the workprint material cut by Welles, along with other positive film materials. However, the full original negative remained sealed in a warehouse in France. Throughout the rest of 2008, some work was done on the Los Angeles material. In June 2008, the Showtime Network set up an editing suite in Los Angeles, to begin preliminary logging in work on all of the material. Bogdanovich personally directed the work, Tim King was the Showtime Executive in charge of post-production, Sasha Welles (a nephew of Oja Kodar) worked on the production as an assistant editor, and internships were advertised for people to work on cataloguing the film materials.


title: The Other Side of the Wind

text: Horowitz Hunt LLC eventually began negotiations with Oja Kodar to acquire her rights, but they were unsuccessful in coming to terms with Kodar, when Beatrice Welles put an injunction on access to the negative stored at the LTC Film Vault in Paris, by proclaiming an inheritance claim, thus preventing the opening of the Paris vault containing the full 96 hours of original negatives, some of which had not even been seen by Welles in his lifetime. The attorney for Boushehri neglected to send in their documentation nullifying Beatrice's claim and thus the project stalled once again. This resulted in the closure of the Showtime editing suite in December 2008, and Showtime eventually put the project on hold.


title: The Other Side of the Wind

text: An article in "Variety" in February 2009 stated that Showtime was still willing to pay for its completion, but they wanted to be sure all the materials existed. The negative still resided in a vault in Paris, unseen since the 1970s, but permission from all the estates had to be obtained before access to the negative could be granted. Bogdanovich stated, "It's going to happen in the next month or so. We’re aiming for Cannes [in 2010]. Everybody wants it to happen. It's film history. It will be something for it to finally be seen after all these years."


title: The Other Side of the Wind

text: In January 2010, during a public Q&A after a screening of one of his films in Columbus, Ohio, Bogdanovich stated that the film had been examined and was in good condition, but "Orson left such a mess with who owned what", and wondered whether editing the film would even be possible. Bogdanovich indicated that the original negative was in excellent condition, with the picture quality being far superior to the poor-quality workprints seen in public so far. In 2012, he went on to say that he had examined the material himself, and told Canada's "Toro" magazine:


title: The Other Side of the Wind

text: A report in "The Guardian" in January 2011, suggested, once again, that a legal settlement was close and that a release would be possible in the near future. However, Oja Kodar denied that this was the case.


title: The Other Side of the Wind

text: Paul Hunt died in 2011. That same year, Sanford Horowitz and financier John Nicholas launched a company called "Project Welles The Other Side LLC" and the website www.projectwelles.com to attract additional capital and complete negotiations with Kodar and Beatrice Welles. Their goal was to present an uncluttered account of events, make peace with all the players, present their chain of title compiled by the law firm of Mitchell, Silberberg & Knuff and gain access to the film negatives stored in the LTC Film vault in Paris.


title: The Other Side of the Wind

text: By 2011, all copyright difficulties had theoretically been resolved between the respective parties. However, the Showtime network, which had previously pledged to provide funding for the project, refused to specify what the budget would be. Oja Kodar stated that she did not want a repeat of the debacle over Welles' posthumously completed "Don Quixote", which was universally panned after being cheaply put together from badly decayed, incomplete footage which was sloppily edited, badly dubbed, and often incoherent. As such, she would not grant permission to proceed until she had received assurances that the project would be done professionally, and to a high standard, with an adequate budget.


title: The Other Side of the Wind

text: In March 2012, Matthew Duda, the Showtime executive who had championed funding for "The Other Side of the Wind" since 1998, retired, and this spelled the end of Showtime's involvement in the project. After his retirement, Duda contended that the greatest obstacle to the film's completion had been Oja Kodar. "Her price kept changing," Duda said. "She kept getting higher and higher, and then she said we'd sabotaged her [nonexistent offer for more money]." Josh Karp, in his history of the film, concurred:


title: The Other Side of the Wind

text: With the withdrawal of Showtime, producer Filip Jan Rymsza intervened in what would ultimately be a successful bid that would break the film's deadlock. Rymsza owned the Los Angeles-based production company Royal Road Entertainment, and had become aware of the film's existence in 2009, being increasingly motivated to try and engineer its release. Very early on, he teamed up with both German producer Jens Koethner Kaul (who had already tried approaching Kodar in negotiations), and Frank Marshall.


title: The Other Side of the Wind

text: On October 28, 2014, Royal Road Entertainment announced that it had negotiated an agreement, with the assistance of Marshall, and would purchase the rights to complete and release "The Other Side of the Wind". Bogdanovich and Marshall would oversee completion of the film in Los Angeles, aiming to have it ready for screening by May 6, 2015 – the 100th anniversary of Welles' birth. Royal Road Entertainment and German producer Jens Koethner Kaul acquired the rights held by and the late Mehdi Boushehri. They reached an agreement with Oja Kodar, who inherited Welles' ownership of the film, and Beatrice Welles, manager of the Welles estate.


title: The Other Side of the Wind

text: On May 1, 2015, it was disclosed that the film was far from completed. Post-production was to be funded by pre-selling distribution rights, but in December some potential distributors asked to see edited footage from the negative, not the worn workprint. "People want to help us, but they have a business decision to make", producer Frank Marshall told "The New York Times". "They would first like to see an edited sequence, and I think that is a fair request."


title: The Other Side of the Wind

text: A 40-day crowdfunding drive was launched May 7, 2015, on the Indiegogo website, with a goal of raising $2 million for digital scanning and editing. Plans were announced for the 1,083 reels of pristine negative footage to be flown from Paris to Los Angeles for 4K resolution scanning and editing by Affonso Gonçalves. Producers hoped to complete "The Other Side of the Wind" in 2015, the 100th anniversary of Welles' birth, but no specific release date was identified. Noting that completion of the film should not be driven by a deadline, Marshall said, "We still think we will make it this year."


title: The Other Side of the Wind

text: The Indiegogo campaign deadline was extended in June and the goal revised to $1,000,000 after potential outside investors offered to match that amount. Acknowledging that the campaign had struggled, Marshall said that his objective was to put the first 15 to 20 minutes of the film together to win over a distributor who will help finish the post-production. "They don't trust the fact that he was this genius and the guy that made "Citizen Kane", "Touch of Evil" and "The Magnificent Ambersons", and there might be this fantastic movie in there", Marshall said. The campaign closed on July 5, 2015, having raised $406,405. At the end of 2015, efforts to complete the film were at an impasse.


title: The Other Side of the Wind

text: On April 5, 2016, Wellesnet announced that Netflix had been negotiating for months on a two-picture deal worth $5 million for the completion of "The Other Side of the Wind" and a companion documentary. The potential deal requested the approval of Oja Kodar to finalize the agreement. In mid-March 2017, it was confirmed Netflix would distribute the film.


title: The Other Side of the Wind

text: In March 2017, the original negative, alongside dailies and other footage, arrived in Los Angeles, allowing the film's post-production work to resume. Later, the negatives were scanned in the offices of Technicolor in Hollywood.


title: The Other Side of the Wind

text: In November 2017, it was reported that various members had been hired to the post-production team, including Bob Murawski as editor, Scott Millan as sound mixer, and Mo Henry as negative cutter. The Herculean efforts to edit the 16mm and 35mm footage, match the workprint materials to the original negative and undertake much-needed ADR and sound restoration is detailed in the documentary short "A Final Cut for Orson".


title: The Other Side of the Wind

text: In January 2018, a rough cut of the film was screened for a small, select group of invite-only attendees. Amongst those present were producer Filip Jan Rymsza, directors Paul Thomas Anderson, Quentin Tarantino and Rian Johnson; actors Danny Huston (son of the film's star, John Huston) and Crispin Glover; and "The Other Side of the Wind" cast and crew members Peter Bogdanovich, Lou Race, Neil Canton, and Peter Jason.


title: The Other Side of the Wind

text: In March 2018, Michel Legrand (who had previously composed the score for Welles' 1973 film "F for Fake") was announced as providing the score to the film. He had been secretly working on the film since December 2017. Orchestral recording began on March 19, 2018, in Belgium, and continued with a jazz ensemble later that week in Paris, although Legrand could not be present for the recording sessions, having been hospitalised with pneumonia at the time. Speaking of his work on the project, Legrand stated:


title: The Other Side of the Wind

text: The film had its world premiere at the 75th Venice International Film Festival on August 31, 2018. It was also screened at the Telluride Film Festival in Colorado on September 1, 2018 and the New York Film Festival on September 29, 2018. It was released to select theaters and debuted on Netflix on November 2, 2018.


title: The Other Side of the Wind

text: As a member of the cast, film historian Joseph McBride saw the rushes, and later saw a two-hour rough cut assembled by Gary Graver in the late 1990s to attract potential investors. McBride wrote that the film "serves as both a time capsule of a pivotal moment in film history – an 'instant' piece of period nostalgia set in the early seventies – and a meditation on changing political, sexual and artistic attitudes in the United States during that period." However, he differentiated the bulk of the film – which he praised very highly – from the footage of Hannaford's film-within-a-film:


title: The Other Side of the Wind

text: Film critic and historian Jonathan Rosenbaum has seen most of the film, either in rushes, or in scenes cut by Welles, and has praised its reflections on "late-60s media, not to mention its kamikaze style", and has contrasted this with the opinion of David Thomson, who has not seen the film, and who wrote in his highly critical biography of Welles, "One day, it may be freed. I hope not. "The Other Side of the Wind" should stay beyond reach." John Huston described a private screening in which Orson Welles showed the unfinished film to some friends: "I didn't get to see it, but those who did tell me it is a knockout."


title: The Other Side of the Wind

text: Andrés Vicente Gómez, who was originally involved in the film's production, has been quoted in the press stating his opposition to the film ever being completed; he believes it would be an "act of betrayal". His argument is that the film was always unlikely to be finished because Welles' "physical condition was delicate. He didn't have the energy to cut it." However, as Gómez was accused by Orson Welles, Dominique Antoine, Peter Bogdanovich, Mehdi Boushehri and others of embezzling $250,000 of the film's budget and absconding with the proceeds, he does have a strong motive for wanting the film to not reach wider public attention. Additionally, Gómez's links to the film were severed in 1974; but filming was not finished until 1976, when most of the editing started.


title: The Other Side of the Wind

text: Director Rian Johnson told "Vanity Fair" in April 2018 he had seen a 117-minute edit – minus its Michel Legrand score – twice, including a screening in Santa Monica, California, on January 16, 2018, with Quentin Tarantino, Alexander Payne and other VIPs, who "were all gobsmacked".


title: The Other Side of the Wind

text: On the review aggregator Rotten Tomatoes, the film holds an approval rating of , based on reviews with an average rating of . The website's critic consensus reads: "A satisfying must-watch for diehard cineastes, "The Other Side of the Wind" offers the opportunity to witness a long-lost chapter in a brilliant filmmaker's career." Metacritic gives the film a weighted average score of 78 out of 100, based on 32 critics, indicating "generally favorable reviews".


title: The Other Side of the Wind

text: Film critic and author of "Orson Welles in Italy" Alberto Anile, who watched the film at its premiere during the 75th Venice International Film Festival, called it "one of Welles's major works". Film historian and actor in the film Joseph McBride confessed: "The final result exceeds even my high expectations."


title: The Other Side of the Wind

text: The film was included on dozens of Best Films of 2018 lists, including "Sight & Sound", "Film Comment", "The Hollywood Reporter", "The Los Angeles Times" and "Vanity Fair". It received awards from the National Board of Review, National Society of Film Critics, Los Angeles Film Critics Association, San Francisco Film Critics Circle and others.


title: The Other Side of the Wind

text: In 2020, Rymsza and Murawski assembled "Hopper / Welles", a 129-minute film composed of largely unseen outtakes from "The Other Side of the Wind" shot in November 1970 in Los Angeles. The film is a conversation between Welles and Dennis Hopper on politics, religion and film-making.


title: The Other Side of the Wind

text: A 2021 feature-length experimental documentary film about the people of Venice in Los Angeles, California, "The Brother Side of the Wake", produced and directed by Gerry Fialka, was billed as a remake of "The Other Side of the Wind."


title: Mr. Bean (character)

text: Mr. Bean is a fictional character from the British comedy television programme "Mr. Bean", its animated spin-off, and two live-action feature films. He was created and portrayed by Rowan Atkinson and made his first appearance on television in the pilot episode which first aired on 1 January 1990.


title: Mr. Bean (character)

text: Mr. Bean lives in Flat 2, 12 Arbour Road, Highbury, London, England. His first name and his profession, if any, are never mentioned; he introduces himself simply as "Bean." In the first film adaptation, "Bean", "Mr." appears on his passport in the "first name" field, and he is shown employed as a guard at London's National Gallery. His date of birth is given variously as 15 September 1956, or as 6 January 1955 (the latter being Rowan Atkinson's actual date of birth).


title: Mr. Bean (character)

text: At the beginning of episode two onwards, Mr. Bean falls from the sky in a beam of light, accompanied by a choir singing "Ecce homo qui est faba" ("Behold the man who is a bean"), recorded by Southwark Cathedral Choir. These opening sequences were initially in black and white in episodes two and three, and were intended by the producers to show his status as an "ordinary man cast into the spotlight". However, later episodes showed Mr. Bean dropping from the night sky in a deserted London street against the backdrop of St Paul's Cathedral. At the end of episodes three and six he is also shown being sucked right back up into the sky in the respective background scenes (black scene in episode 3 and street scene in episode 6). Atkinson has acknowledged that Mr. Bean "has an alien aspect to him". In the animated series (episode, "Double Trouble") he is taken inside a spacecraft with "aliens" who look exactly like him and even have their own plushy toys. In an obvious homage, the aliens send him back home in a beam of light and music similar to the opening of the original "Mr. Bean" series.


title: Mr. Bean (character)

text: Mr. Bean wears a brown tweed jacket, a white shirt, a thin red tie, brown trousers, black shoes and a black digital calculator watch. He occasionally changes his outfit to suit the scene he is in.


title: Mr. Bean (character)

text: In the episode "The Return of Mr. Bean", when Bean is heading to a fancy restaurant to celebrate his birthday, he wears a grey suit with a dark red tie. In the same episode he wears a tuxedo. In the episode "The Curse of Mr. Bean", when Bean is heading for the park to make a sandwich for his lunch, he wears a long dark green overcoat with a light green shirt and a dark green tie. In the same episode when Bean goes to watch a horror film with his girlfriend, he is wearing his trademark clothes but with a light colored brown sweater instead of his trademark brown tweed jacket.


title: Mr. Bean (character)

text: Mr. Bean is immature, self-absorbed, extremely competitive and brings various abnormal schemes and contrivances to everyday tasks. He rarely speaks, and when he does, it is normally only a few mumbled words which are in a comically low-pitched voice. Mr. Bean often seems unmindful of basic aspects of the way the world works, and the programme typically features his attempts at what would generally be considered simple activities, such as going for a swim, using a television set, redecorating, or attending church. The humour largely comes from his original (and often absurd) solutions to problems – usually self-inflicted – and his total disregard for others when solving them, his pettiness and occasional malevolence.


title: Mr. Bean (character)

text: Atkinson cited the earlier comedy character Monsieur Hulot, created by French comedian and director Jacques Tati, as an influence on the character. Atkinson also cited the influence of Peter Sellers, who had previously played similar "fumbling fool" characters, notably Hrundi Bakshi in "The Party" (1968) and Inspector Clouseau in "The Pink Panther" films.


title: Mr. Bean (character)

text: Mr. Bean is the main character of both the titular TV series and its animated spin-off, as well as of feature films based on the series, "Bean" (1997) and "Mr. Bean's Holiday" (2007). Bean also made guest appearances at the and in the 2017 Chinese film "Top Funny Comedian: The Movie". Atkinson also portrayed Bean in several sketches for Comic Relief and also in television advertisements throughout the years such as REMA 1000, M&M's, Fujifilm, Nissan Tino, Snickers and most recently for Etisalat in 2019.


title: Russian-occupied territories

text: Russian-occupied territories are lands under Russian military occupation. The term is applied to territories in Georgia (Abkhazia and South Ossetia), Moldova (Transnistria), and parts of Ukraine.


title: Russian-occupied territories

text: Following the Second Nagorno-Karabakh War between Armenia (including the Republic of Artsakh) and Azerbaijan, Russia sent peacekeepers into the region.


title: Russian-occupied territories

text: Following the dissolution of the Soviet Union in 21 December 1991, many Moldovans all over the former Moldavian Soviet Socialist Republic started demanding unification with Romania, that "Moldovan" (which was asked to be referred to as Romanian) be written in the Latin alphabet and not in the Cyrillic one and that it become the only official language of Moldova. This was not well received in modern Gagauzia, an ethnically Turkic region in Moldova, and in most of the left bank of the Dniester river. Here, Russian-speakers who formed the majority in the region advocated Russian be kept as the official language of Moldova alongside Moldovan (which was still to be written in Cyrillic and not to be referred to as Romanian), and that Moldova not unify with Romania. Differences erupted into the Transnistria War in 1992, which following the bloody 1992 battle of Tighina resulted in victory of the separatists, who had earlier declared the independence of Transnistria, following a Russian military intervention in Transnistria which is still present today in the area and which still defends the Transnistrian regime today despite Moldovan requests to withdraw from what still legally is its internationally recognized land. Following the end of the war, Transnistria has made several requests for becoming a part of Russia.


title: Russian-occupied territories

text: After the Russo-Georgian War, President Medvedev signed decrees on 26 August 2008 recognising the independence of Abkhazia and South Ossetia as sovereign states. Russia established diplomatic relations with these partially recognised states and placed Russian troops in both. Russian security forces were deployed along the demarcation lines with Georgia.


title: Russian-occupied territories

text: Many international journalists and media companies, such as Al Jazeera, BBC and Radio Free Europe/Radio Liberty, as well as non-governmental organizations, have referred to Abkhazia and South Ossetia as Russian-occupied territories.


title: Russian-occupied territories

text: The Georgian parliament unanimously passed a resolution on 28 August 2008 formally declaring Abkhazia and South Ossetia as Russian-occupied territories and Russian troops as occupying forces. The law forbids entry into the regions from Russia and subjects violators to a fine or imprisonment. Abkhazia may only be entered from Zugdidi Municipality, via the Enguri Bridge. South Ossetia, however, does not allow entry of foreigners from Georgian-controlled territory. The crossing points into South Ossetia have been effectively closed for locals as well since September 2019, while a special permit regime is in place by South Ossetian de facto authorities for two crossing points: Akhalgori - Odzisi (Mtskheta Municipality) and Karzmani (Sachkhere Municipality).


title: Russian-occupied territories

text: In April 2010, the Georgian parliament's foreign affairs committee asked the legislative bodies of 31 countries to declare Abkhazia and South Ossetia as territories under Russian occupation and to recognize the massive displacement of civilians from those regions by Russia as amounting to ethnic cleansing. The Russian Foreign Ministry retaliated, asking Georgia to abolish the law. Meanwhile, the United Nations General Assembly annually condemned the forced demographic changes taking place in both regions as result of the displacement and the refusal of the right of return of Internally displaced persons (in practical terms, ethnic Georgians). In 2022 95 UN members supported the resolution, with 12 against and 56 abstentions. It noted in a 2022 report, acknowledged with the same resolution, the Russian enforcement of the de facto border which violates "freedom of movement" principles.


title: Russian-occupied territories

text: After the Russian military invasion that resulted in Ukrainian control over the Crimean peninsula and parts of the Donetsk and Luhansk oblasts being lost, the situation regarding the Crimean peninsula is more complex since Russia annexed the territory in March 2014 and now administers it as two federal subjects - the Republic of Crimea and the federal city of Sevastopol. Ukraine continues to claim Crimea as an integral part of its territory, supported by most foreign governments and United Nations General Assembly Resolution 68/262, although Russia and some other UN member states recognize Crimea as part of the Russian Federation or have expressed support for the 2014 Crimean status referendum.


title: Russian-occupied territories

text: In 2015, the Ukrainian parliament officially set 20 February 2014 as the date of "the beginning of the temporary occupation of Crimea and Sevastopol by Russia", with 7% of Ukraine's territory under occupation.