Issue link: https://digital.copcomm.com/i/1061972
80 CINEMONTAGE / Q4 2018 Deschamps due to his association with Antoine. "He was very, very suspicious of people when they were close to the production," he claims. "I was very close to Dominique Antoine, and that's why I introduced her to him. But at that one moment, he decided that I could steal his movie and give it to the producers." Having reached his limit, the editor finally stepped down from Wind, but his sometimes maddening relationship with Welles didn't dampen his appreciation for the filmmaker's editorial acumen. "He was the perfect editor," Deschamps reflects. "If you want to know what kind of editor Orson was, look at F for Fake. It's just a crazy, crazy work of editing. Probably too much, too bright, too fast for the audience — but he was an incredible inventor, an incredible master of the rhythm." Steve Ecclesine with Orson Welles editing The Other Side of the Wind in Beverly Hills in the mid-1970s. Courtesy of Steve Ecclesine Steve Ecclesine today.