Special Collections Library
University of Michigan

Finding aid for
Richard Wilson - Orson Welles Papers, 1930-2000
Bulk: 1930-1991

Finding aid created by Sally Vermaaten, 2008-2009 (Partial funding provided by the Berton and Lois Kemp Fund); Most scripts processed by Frank Uhle, 2006Encoded finding aid prepared by Sally Vermaaten, 2009

Summary Information
Title: Richard Wilson - Orson Welles Papers
Creator: Richard Wilson, 1915-1991, Creator: Orson Welles, 1915-1985
Inclusive dates: 1930-2000
Bulk dates: 1930-1991
Extent: 61 boxes, 2 oversize drawers (approximately 63 linear feet)
Abstract:
The collection includes business and personal correspondence, production materials, scripts, photographs, motion picture, and sound recordings related to Richard Wilson and Orson Welles's work in radio, theater, and film from the 1930s to the 1950s. Also included are materials related to each man's later solo careers and personal life.
Call number: Wilson-Welles
Language: The material is in English
Repository: Special Collections Library, University of Michigan

Access and Use
Acquisition Information:

Acquired from Christopher Wilson, 2005.

Access Restrictions:

The records are open for research.

Copyright:

Permission to publish material from this collection must be obtained from the University of Michigan Special Collections Library and the individual copyright holder.

Processing Information:

processing info

Alternate Format:

alternate formats

Preferred Citation:

[Item title/description and date, folder title, box no.], Richard Wilson - Orson Welles Papers, Special Collections Library, University of Michigan


Arrangement

The Wilson-Welles Papers has been divided into seven series:

  1. Orson Welles
  2. Richard Wilson
  3. Mercury Theatre/Mercury Productions
  4. Sound
  5. Motion Pictures
  6. Realia
  7. Bill Krohn: It's All True (1993).


Biography

RICHARD WILSON, 1915-1991

Richard Wilson was a producer, director, writer, actor, and a longtime associate of Orson Welles. As a member of the Mercury Theatre and Mercury Productions, Richard Wilson worked closely with Orson Welles on classic films, including Citizen Kane , The Magnificent Ambersons , The Lady From Shanghai , and Macbeth . Wilson also worked with Welles on stage productions such as Julius Caesar and The Cradle Will Rock and played various roles on many Orson Welles/Mercury Theatre radio broadcasts, including the famous "War of the Worlds" broadcast.

Richard Wilson was born on December 25, 1915 in McKeesport, Pennsylvania. Not long after, Wilson's family moved to Denver, Colorado where Wilson attended public school. After graduation, Wilson attended the University of Denver but left before graduating to pursue an acting career in New York City. The first radio acting role Richard Wilson landed was a barking sled dog on the popular radio show Renfrew of the Mounted . In 1937, Wilson happened to perform in a radio broadcast with Orson Welles and thereafter they began a long and close working relationship. Richard Wilson joined Orson Welles and John Houseman when they founded the Mercury Theatre in 1937. Wilson collaborated with Welles in radio, working in various capacities on Mercury Summer Theater , Orson Welles Almanac , Campbell Radio Playhouse , and Mercury Theatre on the Air . Wilson also worked on the Mercury's stage productions, including the legendary modern-dress staging of Julius Caesar , as well as The Cradle Will Rock , Heartbreak House , Danton's Death , Five Kings , and Native Son .

When Orson Welles was lured to Hollywood by an RKO contract, which granted Welles an unprecedented amount of artistic freedom, Richard Wilson followed. Wilson served as Welles's executive assistant and as an actor in Citizen Kane . He also was Welles's right-hand man during Journey Into Fear and The Magnificent Ambersons . During Welles's next film project, the never-finished It's All True , Richard Wilson worked in Brazil with his future wife, Elizabeth Anderson.

During World War II, Richard Wilson applied his film experience in the Operations Division of the Presentation Branch of the Office of Strategic Services and as head photographic officer for the Secretariat of the United Nations at its first conference and formation ceremonies in San Francisco in 1945.

After the War, Richard Wilson once again joined Orson Welles and Mercury Productions, and worked as associate producer for The Lady from Shanghai and Macbeth . Wilson also co-produced the Mercury's stage production of Around the World in 80 Days .

In the late 1940's, Orson Welles left America for a series of acting roles in Europe. He also began filming Othello in Spain and Morocco. During this time, Richard Wilson stayed in Hollywood, managing Mercury Productions business and handling Welles's affairs in Los Angeles.

As Orson Welles lingered in Europe and the Mercury Productions business slowed down, Richard Wilson began his solo career. He first became associate producer to Leonard Goldstein. Wilson produced or helped in the production of several westerns and Ma and Pa Kettle movies. In 1955, Richard Wilson launched his own directorial career by writing and directing The Man with the Gun , a Robert Mitchum and Angie Dickinson western. Over the course of the next decade, Wilson would direct several films, including: Big Boodle , starring Errol Flynn; Raw Wind in Eden with Ester Williams; Al Capone with Rod Steiger; Pay or Die with Ernest Borgnine; and Wall of Noise starring Suzanne Pleshette.

In 1965, Richard Wilson joined Paramount and became special executive assistant to Howard W. Koch. In 1968, after working with Koch, Wilson produced and directed the racy hit Three in the Attic . In the 1970s and 1980s, Wilson worked on various film and television projects through his production company, Hermes Productions, and he taught directing at the University of Southern California. During this period, Wilson also wrote and spoke on Orson Welles and the work of the Mercury Theatre and Mercury Productions.

After footage, long-believed to have been destroyed or lost, from the never-completed 1942 project It's All True was found in studio vaults, Richard Wilson began to work on reconstructing a key part of the film according to Orson Welles's vision. Wilson worked from his personal memories of the originally intended direction of It's All True , which he was co-producing with Welles, Mercury papers and research materials Wilson had saved over the years, and documents collected during several research trips. Starting in 1986, versions of this reconstruction and short documentary, titled Four Men on a Raft were shown and praised at film festivals in Venice, Rio de Janeiro, Chicago, London, Telluride (Colorado), and Hawaii.

While in the process of turning this short film into the full-length documentary that would eventually be released in 1993 as It's All True: Based on an Unfinished Film by Orson Welles , Richard Wilson passed away. He died on August 21, 1991 of pancreatic cancer in Santa Monica. His It's All True collaborators (Bill Krohn, Myron Meisel, et. al.) completed the film, which was awarded "Best Documentary" by the International Monitor and Los Angeles Film Critics Association and given a special citation by the National Society of Film Critics.

Richard Wilson was survived by his wife, Elizabeth Anderson Wilson. Born on July 24, 1914, Elizabeth was the daughter of silent film actress Myrtle Owen. Elizabeth Wilson wrote for film and television, and her credits included a Raw Wind in Eden and Invitation to a Gunfighter . In 1951, Elizabeth Wilson testified before the House Un-American Activities Committee, admitting to a brief membership in the Communist Party. Elizabeth Wilson died on July 25, 2000. Richard and Elizabeth Wilson had one son, Christopher Wilson, and several grandchildren.

ORSON WELLES, 1915-1985

From American National Biography Online :

"Welles, Orson (6 May 1915-10 Oct. 1985), director and actor, was born George Orson Welles in Kenosha, Wisconsin, the son of Richard Hodgon Welles, an inventor and businessman, and Beatrice Ives, a talented amateur musician. Welles was precocious, his pampered childhood abruptly ending after his mother's death when he was nine. At eleven he was enrolled in the progressive Todd School in Woodstock, Illinois, where he directed and acted in classics by Shakespeare and Shaw. After graduation in 1930, he spent a summer at the Chicago Art Institute.

His father died in late December 1930, and the following August Welles set out for a walking and painting tour of Ireland. Although he lacked professional experience, he talked his way into a position with the Gate Theater in Dublin, where he made his stage debut at the age of sixteen. Welles remained in Dublin until March 1933 when he returned to the United States. Although he received respectable notices abroad, he was at first unable to get theatrical work at home. In September 1933 he was offered a place in Katharine Cornell's touring company, in which Welles made his American professional debut that year in The Barretts of Wimpole Street . He married socialite Virginia Nicholson in 1934 and moved to New York. He divorced Nicholson in 1940; they had one child. In New York, with John Houseman, a young theatrical producer, he formed one of the most important partnerships in the American arts. Houseman was running the Negro section of the Works Progress Administration's Federal Theater Project, for which Welles mounted in 1936 a "voodoo version of Macbeth ," with an all-black cast plus dancers and drummers. The opening night attracted a crowd of thousands outside the Lafayette Theater in Harlem, and the innovative dynamism of the production as well as the publicity surrounding it launched Welles as a major figure in the American theater.

Over the next three years Welles and Houseman produced a remarkable array of theatrical events, including a striking version of Marlowe's Dr. Faustus , a politically styled production of Shakespeare's Julius Caesar , and Marc Blitzstein's controversial opera, The Cradle Will Rock . In 1937 Welles and Houseman founded the Mercury Theater, which attracted a talented ensemble of actors, many of whom later followed Welles to Hollywood. In addition to his stage career, Welles appeared regularly on radio, playing the Shadow in a weekly adventure drama. He soon had the Mercury Theater on the air, experimenting with the possibilities of radio drama. His best-known Mercury radio play was an updated version of H. G. Wells's science fiction tale, The War of the Worlds , broadcast on Halloween night. Simulating news coverage of a Martian invasion of the United States, the production created panic along the eastern seaboard. The broadcast received widespread publicity and won Welles a contract with RKO Radio Pictures. In July 1939 he went to Hollywood to begin his career in films, the medium that would largely occupy him for the rest of his life.

Welles's unprecedented contract to direct, star in, write, and edit a motion picture was the envy of the movie industry. After some false starts, he settled on an idea developed with Houseman and veteran scriptwriter Herman Mankiewicz, loosely based on the life of newspaper magnate William Randolph Hearst. Citizen Kane , Welles's first feature-length film, so outraged Hearst that he tried to buy the negative and, failing that, banned any mention of the movie in his newspapers. The film, released on 1 May 1941, fared only moderately well at the box office. However, Citizen Kane was directed with such stylistic verve and with such innovative use of cinematography, sound, and music and within such a daring narrative structure that it became one of the most celebrated films ever made.

Welles next directed a costly and ambitious movie based on Booth Tarkington's bestselling novel, The Magnificent Ambersons . Welles had not finished its editing when he went to Brazil to begin shooting a film for the U.S. Office of the Coordinator of Inter-American Affairs. The project was designed to help strengthen relationships among nations of the Western Hemisphere and to counter Nazi influence in South America. Although he shot miles of film, It's All True was never completed. In Welles's absence, the studio severely edited The Magnificent Ambersons and released it without fanfare during the summer of 1942. Although Welles complained throughout his life about the butchering of the release print, critics have regarded The Magnificent Ambersons as one of his greatest films. Welles's last venture at RKO was the 1943 movie version of Eric Ambler's thriller Journey into Fear , which Welles starred in, cowrote, and without credit did much of the direction. In September 1943 he married Hollywood star Rita Hayworth; they had one child and were divorced in 1947. Although he continued to be heard on radio, Welles spent the remaining war years working for the government in various capacities and writing political journalism, mostly essays and editorials.

During the postwar years Welles assumed a frantic pace: acting on radio and in movies, directing and producing for both stage and screen, and giving speeches, making radio broadcasts, and writing editorials and newspaper columns in support of progressive political causes. In 1946 he completed, as director, costar, and coscenarist, a film melodrama, The Stranger ; staged an innovative version of Cole Porter's musical Around the World in Eighty Days in New York; and began work as director and costar with Hayworth on The Lady from Shanghai , which was released after much studio revision in 1948. In 1947 Welles prepared another stage version of Macbeth for the Utah Centennial Festival in Salt Lake City. Later that year he directed a film version of the play for Republic Pictures in twenty-one days on a small budget to prove that classics could be made cheaply and be accessible to the average moviegoer; it was released in 1948.

At the end of the 1940s Welles moved to Europe, where for years he acted in films. Among the most celebrated of the roles he created was Harry Lime in Carol Reed's The Third Man (1949). Also in 1949 he began work on a film version of Othello , which received widespread critical acclaim from the European press when it was released in 1952. To make this film, Welles established a pattern he would often repeat, using his earnings as an actor to underwrite his work as a director, for increasingly he was forced to rely on his own intermittent financing to produce his films.

By the 1950s Welles was recognized, at least by European critics, as one of America's most important filmmakers. He next directed Mr. Arkadin , a film based on his own script. Released in 1955, the film was not shown in the United States until 1962. In 1955 he married Paola Mori; they had one child. That same year Welles also appeared in a dramatic version of Moby Dick in London, and the next year he played King Lear on the New York stage. At the insistence of Charlton Heston, who was to star in the film, Welles returned to Hollywood to direct the offbeat and suspenseful Touch of Evil (1958), in which he also played the lead. In Europe in 1962 he began filming his version of Franz Kafka's labyrinthine novel The Trial , which was released in 1963.

During the early 1960s Welles initiated work on a long-standing project about Shakespeare's Falstaff, primarily using material from the two Henry IV plays. The majestic but uneven Chimes at Midnight was released in 1966. Another film, The Immortal Story , based on an Isak Dinesen tale, appeared in 1968. Although Welles continued to work on his own films, Don Quixote, The Deep , and The Other Side of the Wind , none was completed, and he spent his later years acting in films and appearing on the celebrity circuit, making television guest appearances and doing voice-overs for commercials. His last released film, F for Fake (1975), about art forgeries, was premiered at film festivals in New York and San Sebastián.

During the final years of his life Welles received increasing recognition for the quality and originality of his film work. In 1970 the Academy of Motion Picture Arts and Sciences awarded him a special Oscar, and he was presented with a Life Achievement Award by the American Film Institute in 1975. He assisted in a number of documentaries about his career, cooperated in the writing of two books about himself, and continued to trade on his magnificent voice by recording readings of literary works. Until the end, his prodigality stayed with him. Just before his death, financing of his film version of King Lear fell through because of its inflated budget and extremely difficult production requirements. Welles died in Hollywood.

Welles's bold experimentation as a director and actor, on the stage, on radio, and in films, established him as one of the great artists of the twentieth century. However, he will probably be best remembered as a filmmaker of international reputation. Citizen Kane appears on virtually every film critic's list of ten best movies and is regarded by many as the singular achievement of one hundred years of American films. The great French critic André Bazin noted that through his distinctive style Welles had achieved a major breakthrough in the evolution of film language."

--Charles L. P. Silet. "Welles, Orson." American National Biography Online http://www.anb.org/articles/18/18-01233.html (February 2000). Access Date: Mon Feb 16 2009


Collection Scope and Content Note

The Richard Wilson-Orson Welles Papers document many aspects of the two men's creative collaboration in radio, theater, and film for the Mercury Theater and Mercury Productions. Material related to several moments in Welles's post-Mercury Productions solo work and life form part of the collection. Richard Wilson's post-Mercury Productions work is also represented. The collection includes business and personal correspondence, production materials, scripts, photographs, and audio and motion picture recordings.

Materials relating to classic films such as Citizen Kane , The Magnificent Ambersons , The Lady From Shanghai, and Macbeth are included in the collection. The original filming and 1980s-1990s reconstruction, led by Richard Wilson, of the suddenly-terminated Welles film, It's All True (1942) is particularly well-documented.

The Wilson-Welles collection has been divided into seven series: Orson Welles; Richard Wilson; Mercury Theatre/Mercury Productions; Sound; Motion Pictures; Realia; and Bill Krohn: It's All True (1993).

The three primary series: Orson Welles, Richard Wilson, and Mercury Theatre/Mercury Productions have been largely organized by production type (e.g. Theater, Radio, and Film) and then chronologically by project. Completed films, theatrical productions, and radio broadcasts are dated according to their first public showing or general release date. Unfinished or unreleased projects are dated according to the year in which most of the work on the project took place.

Correspondence and business papers for each project are located together under the project name. An important exception to this organizational scheme was necessitated by the fact that Welles frequently worked on several projects simultaneously and a single letter or memo may address several projects. Sets of memos and correspondence are filed with the project to which they are most closely related. Notable examples of overlapping projects and sets of memoranda that address at least two films are Macbeth and Othello (much of the information related to Othello is actually in correspondence in the Macbeth files), and The Magnificent Ambersons and It's All True (much of the information related to The Magnificent Ambersons is contained within the It's All True files).

The Richard Wilson and Orson Welles series also contains material related to both men's families and personal lives.

Subject Terms

    Subjects:
    • Mercury Productions.
    • Mercury Theatre.
    • Actors--United States--20th century.
    • Motion picture actors and actresses.
    • Motion picture producers and directors.
    • Motion pictures--Production and direction.
    • Motion pictures--United States--20th century.
    • Radio--United States--20th century.
    • Radio actors and actresses.
    • Radio programs--Production and direction.
    • Theater--Production and direction.
    • Theater--United States--20th century.
    • Campbell Radio Playhouse (Radio program)
    • Citizen Kane (Motion picture)
    • Hello Americans (Radio program)
    • It's All True (Motion picture)
    • Lady from Shanghai (Motion picture: 1947)
    • Macbeth (Motion picture: 1948)
    • Magnificent Ambersons (Motion picture)
    • Mercury Theatre on the air (Radio program)
    • Orson Welles Show (Radio program)
    • Othello (Motion picture: 1952)
    • War of the Worlds (Radio program)
    Contributors:
    • Mercury Productions.
    • Mercury Theatre.
    • Hermes Productions.
    • Paramount Pictures Corporation.
    • RKO Pictures.
    • Benamou, Catherine L., 1956-
    • Bogdanovich, Peter, 1939-
    • Krohn, Bill.
    • Welles, Orson, 1915-1981.
    • Wilson, Elizabeth,1914-2000.
    • geogname
    Genre Terms:
    • Audiotapes.
    • Clippings.
    • Correspondence.
    • Drafts.
    • Manuscripts.
    • Motion pictures.
    • Phonograph records.
    • Photographs.
    • Radio scripts.
    • Screenplays.
    • Slides (photographs).
    Contents List
       Container / Location    Title
     
    Orson Welles [series]:

    The Orson Welles series (7 linear ft.) consists of textual material including correspondence, scripts, and personal papers, as well as photographs related to Orson Welles’s work and life outside of the Federal Theater Project, and Mercury Theatre/ Mercury Productions. Papers related to films in which he acted (such as The Third Man ), films he directed (such as Touch of Evil ) theatrical work done in Europe, and personal material related to his family and friends are part of this series.

    The Orson Welles series has been organized primarily by production type (e.g. Theater, Radio, and Film) and then chronologically by project. Completed films, theatrical productions, and radio broadcasts are dated according to their first public showing or general release date. Unfinished or unreleased projects are dated according to the year in which most of the work on the project took place.

    Correspondence and business papers for each project are located together under the project name. An important exception to this organizational scheme was necessitated by the fact that Welles frequently worked on several projects simultaneously and a single letter or memo may address several projects. Sets of memos and correspondence are filed with the project to which they are most closely related. For example, Welles directed the editing of Macbeth and filmed Othello in between acting roles, including his roles in Prince of Foxes and Black Magic , so discussions of his acting work may occur in the Othello and Macbeth correspondence and production documents.

    The relatively small Theatre subseries (approximately one linear inch) relates to theatrical work Orson Welles did before the Federal Theatre project and materials related to Welles’s European theatrical work in the 1950s including The Blessed and the Damned which consisted of two plays by Orson Welles ( Time Runs and The Unthinking Lobster ) and An Evening With Orson Welles , which featured Time Runs , Eartha Kitt singing songs in a variety of languages, and a scene from Othello.

    The Film subseries (0.7 linear ft + oversize) contains materials related to the non-Mercury Productions films in which Orson Welles was involved--as director, producer, or actor. This subseries contains photographs, script materials, production correspondence and documents, and newspaper clippings from films such as The Third Man (1949) and The Stranger (1946).

    The Name and topical file (roughly 4 linear ft + oversize) consists mostly of correspondence that is not directly related to a particular Welles film, theatre, or other project. An original set of 1973 transcripts of interviews with Orson Welles conducted by director/actor Peter Bogdanovitch that would become the basis of the 1992 book This is Orson Welles are included in this series. Accompanying the transcripts is an April 3, 1973 letter from Bogdanovich's secretary Rita Lowen to Richard Wilson. A few pages of the transcripts are missing, but the set seems to be an otherwise complete record of 11 tapes of interviews.

    The most voluminous part (3 linear ft) of the Name and topical file consists of fan mail written to Orson Welles from people all over the world, primarily between 1948 and 1952. A few pieces of personal correspondence between Orson Welles and Richard Wilson unrelated to any particular project as well as several folders of correspondence about the Orson Welles Archive now held at Indiana University are also included in the Name and topical file.

    The Personal material (0.5 linear ft + oversize) in the Orson Welles series includes correspondence with Welles’s guardian and father-figure, Maurice A. Bernstein and his wife Hazel. This correspondence is particularly rich and contains: a synopsis of script by Maurice and Hazel Bernstein, childhood drawings by Beatrice Welles, as well as text of letters Orson Welles wrote to Bernstein from Ireland in 1931-1932. Other materials in the personal series, including Welles’s personal appointment book for the year 1947, an album of photographs of Beatrice Welles, tax information, information related to awards and tributes, and a photograph collage of Rita Hayworth represent interesting fragments of Welles’s personal life.

     
    Theater
     
    Winter of Discontent (1930)
    Box   1  
    Script,  undated (photocopy of annotated text, in folder marked by Richard Wilson as "Todd School Five Kings")
     
    Androcles and the Lion (1930)
    Box   1  
    Program, [1930]
     
    Twelfth Night (1932)
    Box   1  
    Photographs and negatives,  undated
     
    Trilby (1934)
    Box   1  
    Clipping,  1950
    Box   1  
    Photograph,  undated
     
    Hamlet (1934)
    Box   1  
    Photographs, [1934]
     
    The Blessed and the Damned (1950)
    Box   1  
    Program, [1950]
    Box   1  
    Clippings and articles,  1950
     
    Moby Dick (1950)
    Box   1  
    Clippings and articles,  1950
     
    Othello (1951)
    Box   1  
    Publicity by Mercury Productions,  1951
     
    Commercial Recordings
     
    In the American Tradition (1945)
    Box   1  
    Clippings and articles,  1949
     
    Film
     
    Hearts of Age (1934)
    Box   1  
    Photographs and negatives,  undated (proof sheets)
     
    Jane Eyre (1944)
     
    Scripts
    Box   1  
    Revised Final (annotated mimeograph copy),  February 2-March 20, 1943 (3 folders)
    Box   1  
    Clippings and articles,  1948
    Box   1  
    Photographs,  undated
     
    Follow the Boys (1944)
    Box   1  
    Photographs and negatives,  undated
     
    Tomorrow is Forever (1946)
    Box   1  
    Photographs,  1945 and  undated
     
    The Stranger (1946)
    Box   1  
    Post-production correspondence,  1946
    Box   1  
    Clippings and articles, [1946]
    Box   55  
    Oversize articles and clippings,  1946
    Box   55  
    Oversize poster,  1946
    Box   1  
    Photograph and negative,  undated
     
    Cyrano de Bergerac (1948)
    Box   1  
    Clippings and articles,  1948
     
    Thanks, America (1948)
    Box   1  
    Clipping,  1948
     
    Salome (1948)
    Box   1  
    Clipping,  1948
     
    Black Magic (1949)
    Box   1  
    Pre-production and post-production correspondence,  1947-1949
    Box   1  
    Clippings and articles,  1949 (2 folders)
     
    The Third Man (1949)
    Box   1  
    Pre-production documents,  1946
    Box   1  
    Clippings and articles,  1950 (3 folders)
     
    Prince of Foxes (1949)
    Box   1  
    Clippings and articles,  1949-1950 (2 folders)
     
    Portrait of an Assassin (1949)
    Box   1  
    Clippings and articles,  1949
     
    The Black Rose (1950)
    Box   1  
    Clippings and articles,  1950
     
    Trent’s Last Case (1952)
    Box   1  
    Photograph,  undated
     
    Trouble in the Glen (1954)
    Box   Large map case drawer 8  
    Oversize (30" by 39") movie poster, [1954]
     
    Touch of Evil (1958)
     
    Scripts
    Box   1  
    First Draft Screenplay (as "Badge of Evil" by Paul Monash) (photocopy of typescript),  undated (3 folders)
    Box   1  
    Draft (incomplete) (photocopy of annotated typescript),  February 13-18, 1957 (2 folders)
    Box   1  
    Revised Final (annotated typescript (1 pg.) and photocopy),  January 29-February 18, 1957 (2 folders)
    Box   1  
    Continuity with dialogue (photocopy of typescript),  March 3, 1958 (3 folders)
     
    F for Fake (1974)
    Box   1  
    Production correspondence,  September 29, 1972 (consists of one letter from Orson Welles to Richard Wilson)
     
    Filming Othello (1987)
    Box   1  
    Clippings and articles,  1987
     
    The Cradle Will Rock (1984)
    Box   1  
    Script, revised,  October 25, 1984 --  November 27, 1984
     
    Multi-project
    Box   1  
    Photograph of Orson Welles, [ca. 1950s]
     
    Writings
    Box   1  
    The Mercury Shakespeare: edited for reading and arranged for staging by Orson Welles and Roger Hill; Julius Caesar ,  1939 (slide and negative of page image)
    Box   1  
    Editorials in Free World magazine,  1944 (reprinted, bound and inscribed as a gift to Orson Welles)
    Box   1  
    "Orson Welles Almanac," New York Post , clippings,  January 22, 1945 and  February 6, 1945
    Box   1  
    Invasion from Mars: Interplanetary Stories : selected by Orson Welles, correspondence,  1949 (consists of one letter regarding royalties from publisher)
     
    Name and topical file
    Box   1  
    A C Black, Ltd.,  1949
    Box   1  
    Adamski, George  1950
    Box   1  
    American Federation of Television and Radio Artists,  1952
    Box   1  
    Antioch Notes (Antioch College, OH),  1950-1951
    Box   1  
    Author's League of America, Inc.,  1951-1953
     
    Bogdanovich, Peter
     
    This is Orson Welles (1992)
    Box   1  
    Interview transcripts,  1973 (annotated carbons marked "Copy 4") (1 folder)
    Box   2  
    Interview transcripts,  1973 (annotated carbons marked "Copy 4") (9 folders)
    Box   2  
    Draft of Chapter 4, "Van Nuys,"  undated (photocopies)
    Box   2  
    Draft of Chapter 9, "Welles’ Career: A Chronology," by Jonathan Rosenbaum,  1991 (annotated photocopies) (2 folders)
    Box   2  
    Burrelle’s Press Clipping Bureau,  1950
    Box   2  
    Charitable and non-profit organization solicitations,  1949-1951
    Box   2  
    Coxey, George,  undated
    Box   2  
    David Feldman and Associates,  1952
    Box   2  
    Decca Records, Inc.  1951
    Box   2  
    Don the Beachcomber,  1950-1952
    Box   2  
    Fan mail,  1948-January 1950 (most originally unopened) (16 folders)
    Box   3  
    Fan mail,  February 1950 --  June 1950 (most originally unopened) (16 folders)
    Box   4  
    Fan mail,  July 1950 --  May 1951 (most originally unopened) (25 folders)
    Box   5  
    Fan mail,  June 1951 --  1955 undated (most originally unopened; last folder contains original package labels and large envelopes in which some fan mail was housed) (20 folders)
    Box   5  
    Flectcher, Lucille,  1939 (carbon letter to Fletcher from unidentified sender requesting edits to an article on Welles, with attached description of Welles’s eating habits)
    Box   5  
    Hill, Roger,  1938 (consists of 2 copies of circular produced by Roger Hill about Welles, "The Foremost Name in American Esthetic Life Today")
    Box   5  
    International Platform Association,  1950-1951
    Box   5  
    Interpress: Internationaler Biographischer Pressidienst,  1949
    Box   5  
    Johnston, Alva, "undated (includes carbon of typescript article draft on Welles [partial draft of "How to Raise a Child: The Education of Orson Welles, Who Didn’t Need It," The Saturday Evening Post ,  1940 ?])
    Box   5  
    Klausner, Bertha,  1950
    Box   5  
    Lotos Club,  1950-1953
    Box   5  
    Magda by Hermann Sudermann,  undated (copy of text without covers, signed and annotated by Orson Welles)
    Box   5  
    Marlborough Fine Art, Ltd.,  1953
    Box   5  
    Miscellaneous Welles clippings and articles,  1940-1950 (all about or mentioning Welles) (8 folders)
    Box   6  
    Orson Welles archive,  1969-1982 and  undated (primarily regards sale to Lilly Library, Indiana University; correspondents include: Orson Welles, Peter Bogdanovich, Richard Wilson, L. Arnold Weissberger, and Indiana University faculty and staff) (4 folders)
    Box   55  
    Oversize international Welles clippings and articles,  1958-1964
    Box   6  
    The Phoenix (magic newsletter),  1950-1951
    Box   6  
    Robinson, William Albert,  1943-1951
    Box   6  
    The Roosevelt American (Seattle, Washington),  1952 (1 issue)
    Box   6  
    Samuels, Abe,  1950
    Box   6  
    Screen Directors' Guild, Inc.,  1950
    Box   6  
    Screen Writers' Guild, Inc.,  1950
    Box   6  
    Southern Conference for Human Welfare,  1946
    Box   6  
    Strother, Edward S.,  1950
    Box   6  
    Summaries of telephone conversations between Orson Welles and unidentified (possibly Peter Bogdanovich?),  November 13, 1978 --November 24,  1978
    Box   6  
    William Morris Agency, Inc.,  1946
    Box   6  
    Wilson, Richard, [1943] --  1979 and  undated
    Box   6  
    Zamboanga Supper Club,  1950
     
    Personal
    Box   6  
    Album of Beatrice Welles photographs and cards (belonged to Maurice and Hazel Bernstein [?]), [1955-circa 1964]
    Box   6  
    Appointment book,  1947 (includes daily logs of phone calls)
    Box   6  
    Caricatures of Orson Welles by Randy Cook and unknown artist,  undated
    Box   33  
    Glass-plate negatives and photographic prints labeled "Welles pictures when child and at Todd School -- with mother, etc.,"  February, 1939 (no prints of negatives 4 and 11; includes photos of Orson Welles as a teenager and with Virginia and Chris Welles)
    Box   6  
    Family photographs,  undated
    Box   6  
    Listing of Christmas cards and gifts sent,  1942 (includes addresses)
    Box   6  
    Maurice "Dadda" and Hazel Bernstein correspondence,  1937-1962 and  undated
    Box   6  
    Memoir [by Maurice Bernstein] of Orson Welles’s early years [handwritten draft],  undated
    Box   6  
    Notes and fragments,  undated
    Box   55  
    Oversize photograph collage of Rita Hayworth (pasted on verso of headshot of Rita Hayworth),  undated
    Box   6  
    Receipts and bills,  1945-1951
    Box   6  
    Resume, [1941 ?]
    Box   6  
    Tax information,  1950-1952
     
    Tribute and award event materials
    Box   6  
    American Film Institute discussion,  November, 1978
    Box   55  
    American Film Institute Third Annual Award for Life Achievement in Motion Pictures and Television,  1975 (oversize)
    Box   6  
    Hollywood Foreign Press’ Tribute to Orson Welles (held October 18, 1981),  1981
    Box   6  
    Memorial tribute (held November 2, 1985),  1985-1986 (includes correspondence, messages to be read at tribute, planning notes, and obituaries) (2 folders)
    Box   6  
    Virginia Welles correspondence,  1950 (consists of one letter)
     
    Richard Wilson [series]:

    The Richard Wilson series (roughly 20 linear ft) consists of scripts, memos, correspondence, notes, research, photographs, and other materials stemming from Richard Wilson and his post-Mercury Productions work. Most of the material was generated during his projects, including films such as The Man With the Gun , Invitation to a Gunfighter , Al Capone , Pay or Die , and Three in the Attic . Also part of the series are many papers relating to the partial reconstruction of and documentary about Welles’s unfinished 1942 film, It's All True , which Wilson co-produced, co-wrote, and co-directed.

    Correspondence and materials related to professional and personal events and relationships, especially from the 1960s-1980s, represent the variety of projects Wilson advised on or personally undertook. Evidence of Richard Wilson’s personal life, including his service for the Office of Strategic Services during World War II, represented by select documents and many photographs of the first U.N. Conference in San Francisco, can also be found here.

    In later years Richard Wilson gave public lectures on the career of Orson Welles, and the collection includes many research materials that Wilson gathered including photocopies of scripts, memos, books, and other items. Some originals from which these photocopies were made are in this collection and can be found in the Mercury and Orson Welles series. Some photocopies were made for Richard Wilson at other institutions that have been notified of the presence of reproductions here. Though not primary-source material, these photocopies have been retained because of their value in Wilson’s research and their close connection to several projects Wilson was working on in the last decades of his life.

    The Film subseries (8 linear ft. + oversize) is organized chronologically by film. The series contains a variety of materials including scripts, production records, correspondence, and photographs. Scripts may encompass various stages of the writing process, including treatments and stories. There is material relating to films that Richard Wilson helped produce, such as some of the "Ma & Pa Kettle" films. Richard Wilson’s directorial work is also represented, including the westerns The Man With the Gun and Invitation to a Gunfighter and the early gangster movies Al Capone and Pay or Die .

    Richard Wilson’s work that would eventually result in It’s All True: Based on an unfinished film by Orson Welles (1993) encompasses 3 linear ft. and represents the largest portion of this subseries. Though, for convenience, all materials leading up to the 1993 documentary have been kept together, the It’s All True documents actually represent two different, but closely related projects. The first project, Four Men on a Raft , was a short, 22-minute reconstruction and documentary by Richard Wilson and Bill Krohn of the "Jangadeiros" segment of the original 1942 film. The second project is the feature-length 1993 motion picture consisting of a fuller documentary about the original film as well as the reconstruction of the "Jangadeiros" segment. This subseries contains no original material from the 1941-1942 filming, expect for a single frame of unidentified footage of Orson Welles and Richard Wilson in Brazil in 1942 that was attached to a letter from Rogério Sganzerla in the production correspondence.

    The Name and topical file is an alphabetical file primarily consisting of correspondence, scripts, conversation notes, publicity, and other various materials that Richard Wilson collected about a topic, event, or institution. Film and theater figures such as Peter Bogdanovich, John Houseman, Joseph E. Levine, and Howard W. Koch are represented in this subseries.

    The Journals and Digests subseries is largely composed of 4 distinct sets of materials. All four groups are chronological communications files kept by Richard Wilson during the 1980s and 1990s. Much of the material concerns the making of Four Men on a Raft and It’s All True (1993), but materials related to other professional projects and personal matters are also included. The material has been kept in its original order (with the exception of switching rough, reverse chronological to forward chronological order).

    The first group of Journals and Digests material spans from April 1987 to September 1990 and was originally housed in 3 brown binders labeled "Continuous Vol. 1," "Continuous Vol. 2," and "Continuous Vol. 3.". The Continuous volumes consist entirely of photocopies (on yellow paper) of outgoing correspondence, incoming correspondence, meeting reports, notes from phone conversations, copies of receipts, and other miscellaneous papers.

    The second group of chronological communication files spans from December, 1985 to October 1990 and was originally housed in 2 red binders labeled "Journal I" and "Journal II." These volumes consist mostly of handwritten notes on meetings and phone conversations, but also include a small amount of incoming and outgoing correspondence and a few transcripts of interviews.

    The third group of material spans from March, 1988 to May 1990 and is composed of five spiral-bound notebooks. These notebooks are labeled "Journal" with rough date ranges for each. The notebooks are mostly filled with handwritten notes on phone conversations as well as some random jottings.

    "Digests," or indices to correspondence and conversation notes saved on Richard Wilson’s computer, make up the fourth and last group of material in the Journals and Digests subseries. Brief entries including date, correspondent, a brief subject, and the file name represent each communication.

    The Research subseries primarily consists of research material Richard Wilson compiled in the 1980s-1990s on Orson Welles and the Mercury Theatre/Mercury Productions. The bulk of the material is photocopies of correspondence, photographs, memos, and other documents from the 1930s-1950s. Clippings, articles, and photocopies from monographs on Welles or the Mercury Theater/Mercury Productions also are also included, as are microfiche, microfilm, and card files. Many materials were roughly grouped by Richard Wilson and have been kept in these original groupings. It is important to note that research clearly done as part of one particular project is placed with that project. For example, clippings and articles on the Cuban Revolution collected in preparation for Richard Wilson's proposed film Fidel Castro are with the rest of the materials for that film in the film subseries.

     
    Theater
     
    Sergeant Steiner
     
    Scripts
    Box   7  
    Original version (typescript),  undated
    Box   7  
    Script development, November, 1  1961 (annotated typescript with interleaved changes)
    Box   7  
    Wilson copy -- marked for scene (set) changes (annotated copy consisting of carbon copy, contact print, and typescript pages), February, 13  1962 --  July 14, 1962
    Box   7  
    Final revised draft (typescript),  undated
    Box   7  
    Script (mimeograph),  undated
    Box   7  
    Script (mimeograph),  undated
    Box   7  
    Script (mimeograph),  undated
    Box   7  
    Script revision materials,  1961-1962 (consists of notes, script fragments, notes from conversations, memos, and a synopsis of the book, Cross of Iron , that Sergeant Steiner is based on)
    Box   7  
    Correspondence,  1962-1963 (related to pre-production, correspondents include Richard Boone, Pat Duggan, Howard Koch, Jean Rosethal)
    Box   7  
    Casting,  1962 (includes photographs of potential actors) (2 folders)
     
    The Importance of Being Earnest (1984)
    Box   7  
    Script,  October 22, 1984 (heavily annotated pages of notebook paper on which photocopies of the play are pasted; related papers including prop lists, a character index, and various notes precede the script) (2 folders)
     
    Heartbreak House (California Artists Repertory Theater production, 1985)
     
    Scripts
    Box   7  
    Script (annotated photocopies),  undated
    Box   7  
    Script (annotated photocopies),  undated
    Box   7  
    Script (annotated photocopies),  undated
    Box   7  
    Miscellaneous papers,  undated (essay by Alan Napier, "How to Approach a Production of Shaw's Heartbreak House ," and notes)
    Box   7  
    Program, [1985]
    Box   7  
    Clippings and articles,  1985 and  undated
     
    Film
     
    Outpost in Morocco (1949)
    Box   7  
    Distribution bill,  1951
     
    The Prince Who Was a Thief (1951)
    Box   7  
    Production budget,  1950
     
    Man with the Gun (1955) (alternate title: The Deadly Peacemaker )
    Box   7  
    Script,  undated (mimeograph, original "MCA Story Department" cover)
    Box   7  
    Budget,  September 20, 1954 (typewritten)
    Box   55  
    Oversize clippings and articles,  1955 (all from Variety )
    Box   55  
    Oversize photographs,  undated
    Box   7  
    Photographs, [1954] (stills and various casual cast and crew photos) (6 folders)
     
    Strange Homecoming (1955)
     
    Scripts
    Box   8  
    "Strange Homecoming," (novelette by Martin De Vries, Max Brand’s Western Magazine , July 1952),  1952
    Box   8  
    Story adaptation by Elizabeth and Richard Wilson (mimeograph),  undated
    Box   8  
    Story adaptation by Elizabeth and Richard Wilson (photocopy),  undated
    Box   8  
    Story Department summaries,  1953-1957
    Box   8  
    Notes and fragments,  undated
    Box   8  
    Production documents,  1954-1971
     
    "Kettles" (1955) (Richard Wilson's original folder title)
    Box   8  
    The Kettles in the Tall Corn , Final screenplay, (Producer's copy, annotated typescript),  February 2, 1955
    Box   8  
    Correspondence,  1953 (consists of one letter from Edward Muhl)
    Box   Wooden cabinet drawer 12  
    Ma and Pa Kettle at Home (1954) oversize (36" by 14") movie poster,  1954 (2 copies)
    Box   8  
    The Kettles in the Ozarks , budget status report,  1955
    Box   8  
    Kettles story ideas,  1952-1955
    Box   8  
    Clippings and articles,  1954 (consists of one copy of Films in Review )
     
    The Big Boodle (1957)
    Box   8  
    Photographs,  undated (5 folders)
     
    Al Capone (1959)
    Box   8  
    Correspondence,  1959 (single letter by Senator John L. McClellan)
    Box   8  
    Distribution records,  1959-1980 and  undated (consists primarily of statements of production earnings from Allied Artists) (2 folders)
    Box   8  
    Clippings and articles,  1973
    Box   8  
    Photographs,  1959
     
    Fidel Castro (1959)
     
    Scripts
    Box   8  
    Screen story (annotated typescript),  undated
    Box   8  
    Screen story (annotated carbon copies of partial drafts and fragments),  undated
    Box   8  
    Story treatment (annotated carbon copy of typescript),  undated
    Box   8  
    Correspondence,  1959 and  undated
     
    Interviews
    Box   8  
    Alberto Bayo (carbon copy of typed transcript) [1959]
    Box   8  
    Faure Chaumont (annotated carbon copy of typed transcript),  July 8, 1959
    Box   8  
    Alfonso Gutiérrez (annotated carbon copy of typed report),  July 12, 1959
    Box   8  
    Pedro Miret (carbon copy of typed transcript),  July 9, 1959
    Box   8  
    Jesús Montané (annotated carbon copy of typed transcript),  June 20, 1959
    Box   8  
    Jesús Montané, second interview (annotated carbon copy of typed transcript),  July 4, 1959
    Box   8  
    Pastorita Nunez, (carbon copy of typed report),  July 3, 1959
    Box   8  
    Haydeé Santamaría (carbon copy of typed transcript),  July 4, 1959
    Box   8  
    Rolando Cubelas Secades (carbon copy of typed transcript),  July 8, 1959
    Box   8  
    Manuel Uziel (carbon copy of typed transcript),  June 29, 1959
    Box   8  
    "Assault on Moncada" [essay, possibly partial screen story draft] (annotated thermofax and carbon copies),  undated
    Box   8  
    "Che Guevara" (carbon copy of typewritten translation of article by Che Guevara on the Cuban Revolution),  undated
    Box   8  
    "A Revolution that Starts," Parts II and III, by Che Guevara (typescript copy of "a translation made from the O Cruzeiro magazine, International issue, dated July 16, 1959)  September 3, 1959
    Box   8  
    Travel documents,  1959
    Box   8  
    Notes and fragments,  1959 and  undated
     
    Clippings and articles
    Box   8  
    Publicity,  1959
    Box   8  
    Research,  1959-1960 (4 folders)
    Box   9  
    Research,  1959-1960 (1 folder; also includes  1959 pamphlet 90 Miles to Hell: The Rape of a Nation by Jack Brady)
    Box   9  
    Photograph,  undated
     
    Jacob's Ladder (1960)
     
    Scripts
    Box   9  
    Script (1 mimeograph and 1 photocopy),  undated (includes list of places submitted)
    Box   9  
    Synopsis,  1950 (by Donna H. May)
     
    Production
    Box   9  
    Production documents,  1958-1964 and  undated (2 folders)
    Box   9  
    Scene outlines,  1959
    Box   9  
    Certificate of stock in Jacobs Ladder Corporation,  1960
    Box   9  
    Clippings and articles,  1961
     
    Pay or Die (1960)
    Box   9  
    Distribution records,  1967-1969
    Box   9  
    Clippings and articles,  1960 and  undated
    Box   9  
    Photographs,  undated (largely film stills and actor portraits) (2 folders)
     
    The Little Woman (1960)
    Box   9  
    Outline and summary,  1960 and  undated (note from Richard Wilson attached to summary)
    Box   9  
    Notes and fragments,  1960 and  undated (includes notes from conversations)
    Box   9  
    Clippings and articles,  1960
     
    The Marked Man (1960)
     
    Scripts
    Box   9  
    "Story idea and Argument for a Western Screenplay," (carbon copy),  undated
    Box   9  
    "Story idea and Argument for a Western Screenplay," (2 mimeograph copies),  undated
    Box   9  
    Story department summaries,  1960
    Box   9  
    Synopses,  undated
    Box   9  
    Notes and fragments,  undated
    Box   9  
    Production documents,  1960
     
    Night Without End (1962)
     
    Scripts
    Box   9  
    Script (carbon copy of typescript),  January 29, 1962
    Box   9  
    Script, Temporary complete (mimeograph of typescript),  January 29, 1962
     
    A Summer Affair (1962)
     
    Scripts
    Box   9  
    Script (mimeograph of typescript),  April 2, 1962
    Box   9  
    Script (partial carbon copy),  May 2, 1962
     
    Production
    Box   9  
    Budgets,  1962
    Box   9  
    Cast lists,  1962
    Box   9  
    Production breakdown, [1962] (forms detailing each scene/stage in production)
    Box   9  
    Miscellaneous,  1962
     
    I Married a Psychiatrist (1962)
    Box   9  
    Story synopsis and review,  January 31, 1962
     
    Wall of Noise (1963)
    Box   9  
    Correspondence,  1962 (single letter by Jack Warner)
    Box   9  
    Photographs, [1963]
     
    Invitation to a Gunfighter (1964)
    Box   9  
    Story notes and fragments,  1963 and undated
     
    Production
    Box   9  
    Contract,1964 [?] (thermofax, almost entirely illegible)
    Box   9  
    Production documents,  1963-1965 and  undated
    Box   55 (oversize)  
    Production documents (oversize),  undated
    Box   Wooden cabinet drawer 12  
    Shot layout sketches,  undated
    Box   9  
    Shot layout sketches,  undated
    Box   9  
    Storyboard (combination of pen and ink and mimeograph),  undated
    Box   55  
    Distribution records (oversize),  1965-1967 (2 folders)
    Box   9  
    Distribution records,  1968-1969
    Box   9  
    Fan mail,  1963-1965 and  undated
    Box   9  
    Preview cards, [1964] (preview audience reactions to and ratings of film on postage-paid postcards)
    Box   9  
    Clippings and articles,  1964-1968 (includes letter from Lothar Seznec enclosing French reviews; also includes Italian reviews with translations) (2 folders)
    Box   9  
    Photographs (includes stills of Janice Rule Gazzara and a letter from Richard Wilson to Gazzara) (3 folders))
    Box   55  
    Oversize photographs,  undated
     
    The Idol (1965)
    Box   10  
    Production documents,  1964-1966 and  undated (2 folders)
    Box   10  
    Casting photographs and notes,  1965
     
    Imperial Woman (1965)
    Box   10  
    Story documents,  1955-1965
     
    Judith (1966)
     
    Photographs
    Box   10  
    Contact sheets of Pierluigi footage,  undated
    Box   10  
    Contact sheets of Secchiarolli footage,  undated
    Box   55  
    Oversize photographs,  undated
     
    Here Kitty, Kitty (1966)
     
    Scripts
    Box   10  
    Revised screenplay,  February 22, 1966
    Box   10  
    Synopsis,  undated
    Box   10  
    Production documents,  1965-1966
     
    The Treasure (1966)
    Box   10  
    Production documents,  1966
     
    Hunters and the Horns (1967)
    Box   10  
    Screen treatment (typescript),  undated
    Box   10  
    Production documents,  1967
     
    Three in the Attic (1968)
     
    Scripts
    Box   10  
    Continuity with dialogue, revised draft (as "Untitled Comedy,"  January 12, 1968
    Box   10  
    Continuity with dialogue, revised draft (as "Untitlted Comedy," with new sequences inset, photocopies of typescript),  January 12, 1968
    Box   10  
    Continuity with dialogue, Director's Copy, revised draft with sketches and production notes (as "Untitled Comedy," annotated photocopies),  1968
    Box   10  
    Storyboard (combination of pen and ink and mimeograph),  undated
    Box   10  
    Continuity with dialogue with handwritten shooting and cutting notes (as "Unititled Comedy," photocopies),  undated (2 folders)
    Box   10  
    Final structure (as "Untitled Comedy," annotated and cut-and-stapled photocopies of script with note by Richard Wilson: "Basic structure of picture as cut by RW when RW forced off picture by AIP…"),  July 1986
    Box   10  
    Distribution records,  1968-1984 and  undated
    Box   10  
    Slides of Chapel Hill, North Carolina locations,  undated (potential shooting locations)
    Box   55  
    Oversize publicity,  1968-1969 (includes clippings, press sheets, press releases, production facts, and a promotional biography of RW)
    Box   56  
    Oversize photographs (proof sheets),  1968 (6 folders)
     
    Skullduggery (1968)
     
    Scripts
    Box   10  
    Screenplay, Final draft (mimeograph),  September 12, 1968 (with laid-in note)
    Box   10  
    Screenplay, Revised final (mimeograph),  October 4, 1968
    Box   10  
    Production documents,  1968-1969
     
    It’s All True / Four Men on a Raft (1993)
     
    Scripts
    Box   10  
    Script (manuscript),  February 17, 1986
    Box   10  
    Script (manuscript),  March 8, 1986
    Box   10  
    [Revised] script (annotated photocopies),  March 13, 1986
    Box   10  
    Revised script (annotated photocopies),  March 17, 1986
    Box   10  
    Revised script (annotated photocopies),  March 18, 1986 3 copies, 2 annotated)
    Box   10  
    Script (manuscript), [February --  March, 1986 ?]
    Box   10  
    Revised script (annotated photocopies),  April 6, 1986 (3 copies, 2 annotated)
    Box   10  
    Script, as shot and cut (annotated photocopies),  April, 1986
    Box   10  
    Notes and fragments, [1986]
    Box   11  
    Script (photocopies), [1986]
    Box   11  
    Screenplays (annotated photocopies), [1986]
    Box   11  
    Scripts (annotated photocopies and typescripts), [1986]
    Box   11  
    Notes (90 min version),  April 22, 1987-April 25, 1987 and  undated
    Box   11  
    Script, Wilson corrections of BK draft (annotated photocopies),  May 5-7, 1987
    Box   11  
    Script by Bill Krohn and Richard Wilson, (90 min version) (photocopies),  May 7, 1987 (4 copies, one annotated)
    Box   11  
    Script (90 min version) (annotated photocopies),  May 7, 1987
    Box   11  
    Script (90 min version) (annotated photocopies),  October 7, 1987
    Box   11  
    Script (90 min version) (annotated photocopies),  October 9, 1987
    Box   11  
    Script (90 min version) (annotated photocopies),  October 13, 1987
    Box   11  
    Script (90 min version) (annotated photocopies and printouts), [October 1987]
    Box   11  
    Script, second draft, (90 min version) (photocopies),  November 6, 1987 (3 copies)
    Box   11  
    Script fragments and notes, [1987]-1989 and  undated
    Box   11  
    Revised script (90 min version) (printouts and photocopies),  April 4, 1988 (2 copies)
    Box   11  
    Revised script: Wilson cut copy, Krohn original (90 min version) (annotated printouts and photocopies),  ca. April 4, 1988
    Box   11  
    Project summaries,  August 7-8, 1988 and  undated
    Box   11  
    Partial screenplay (90 min version) (annotated photocopies),  August 13, 1988
    Box   11  
    Screenplay (90 min version) (annotated photocopies),  August 13-14, 1988
    Box   11  
    Final copy: Four Men on a Raft (90 min version) (printouts)  February 25, 1989
    Box   11  
    Screenplay (90 min version) (annotated printouts),  February 29, 1989
    Box   11  
    Screenplay marked "Krohn -- Script for Dos Santos" (90 min version),  February 1989
    Box   11  
    Original printed copy of corrected screenplay (90 min version) (annotated printouts),  March 26, 1989
    Box   11  
    Corrected draft (annotated photocopy),  March 30, 1989
    Box   11  
    Draft (annotated),  March 31, 1989
    Box   11  
    Screenplay marked "Krohn (Wilson) Corrections" (90 min version) (annotated photocopies),  March 1989
    Box   11  
    Screenplay marked "Krohn Final Corrections" (90 min version) (annotated photocopies),  May 2, 1989
    Box   11  
    Treatment (manuscript in spiral notebook),  June 1989
    Box   11  
    Screenplay with manuscript critique by unidentified reader, [1988-1989 ?]
    Box   11  
    Outlines (90 min version) (annotated photocopies and typescripts), [1980s]
    Box   11  
    Partial screenplay (90 min version) (annotated printouts), [1980s]
    Box   11  
    Screenplay (90 min version) (annotated printouts and photocopies), [1980s]
    Box   11  
    Screenplay (90 min version) (annotated printouts and photocopies), [1980s]
    Box   11  
    Screenplay (photocopy), [1980s]
    Box   11  
    Synopsis [1980s]
    Box   11  
    Synopsis: Four Men on a Raft, (90 min version) (annotated printouts), [1980s]
    Box   11  
    Script (photocopies), [1980s]
    Box   11  
    Script with synopsis (photocopies), [1980s]
    Box   11  
    Script [90 min] (photocopies with typed corrections), [1980s]
    Box   11  
    Script by Richard Wilson and Bill Krohn, (photocopies) [1980s]
    Box   11  
    Script (annotated printouts and photocopies), [1980s-1990s] (2 copies)
     
    Research
    Box   11  
    Catherine Benamou’s draft notes for her book, It’s All True ,  undated
    Box   11  
    Clippings, articles, and documents on Brazil and Brazilian film,  1980s
    Box   11  
    Notes and fragments,  1986 and  undated
    Box   11  
    Partial drafts of writings by Bill Krohn, Peter Bogdanovich, and Catherine Benamou, (annotated photocopies),  1989 and  undated (2 folders)
    Box   11  
    Photocopies of  1930s-1950s Mercury documents,  undated (2 folders)
    Box   12  
    Photocopies of  1930s-1950s Mercury documents,  undated (8 folders)
    Box   12  
    Photoduplicates of photographs from Lilly Library, [1980s] (2 folders)
    Box   12  
    Research on RKO,  1986
    Box   12  
    Statement by George Fanto,  undated
    Box   12  
    Transcript of interview with George Fanto,  1987
    Box   12  
    Transcripts of interviews with unidentified interviewees, [1980s-1990s]
    Box   12  
    Research and production correspondence,  1978-1992 and  undated (includes telephone memos and notes) (14 folders)
    Box   13  
    Research and production correspondence,  1978-1992 and  undated (includes telephone memos and notes) (10 folders)
    Box   13  
    Footage information and inventories,  1985-1989
     
    Production
    Box   13  
    Budget, [ca. 1980] --  1989 (5 folders)
    Box   13  
    Documents and notes,  1986-1988 and  undated
    Box   13  
    Music, [1980s]
    Box   13  
    NEA grant application,  1988
    Box   13  
    Legal title materials,  1985
     
    Publicity
    Box   13  
    Articles and clippings,  1986-1994 (3 folders)
    Box   13  
    Film festival abstracts, [1986-1988 ?]
    Box   13  
    Notes and fragments,  1987-1991 and  undated
    Box   13  
    Brazilian postcards and travel brochures, [1986 ?]
    Box   13  
    Photographs and negatives of Fortaleza and Cinédia,  1986
    Box   13  
    Photographs of Grande Othello,  1979 [?] (two inscribed: one to "Orsie," one to Richard Wilson)
    Box   13  
    Photographs and negatives of interviews taken by Gary Graver,  1986
    Box   13  
    Photographs taken in Brazil by Catherine Benamou,  1991
    Box   13  
    35 mm film snippets, [1980s-1990s]
     
    Medea (undated)
     
    Scripts
    Box   13  
    Continuity with dialogue,  undated (2 copies in 2 folders)
    Box   Wooden cabinet drawer 12  
    Set designs,  undated (photographs of pencil illustrations and models; mimeographs of architectural plans)
     
    The Methanol Lady (undated)
     
    Scripts
    Box   14  
    Screen story (photocopy),  undated
    Box   14  
    Synoptic overview (photocopy),  undated (includes casting suggestions)
     
    The Nymph and the Lamp (undated)
     
    Scripts
    Box   14  
    Continuity with dialogue (mimeograph),  undated
    Box   14  
    Continuity with dialogue (mimeograph),  undated
     
    [Unidentified project on the Revolutionary War] (undated)
    Box   14  
    Partial screen story (annotated photocopy),  undated
     
    Multi-project and administrative
    Box   14  
    Correspondence and notes relating to multiple projects,  1952-1973 and  undated
    Box   14  
    Photographs of Richard Wilson directing and on set, [circa 1950s-1960s]
     
    Television
     
    The Love Chronicles: The Curse of the Kings (1980)
     
    Scripts
    Box   14  
    Alternate continuity,  December 5, 1979
    Box   14  
    Continuity with dialogue,  January 22, 1980 (2 copies in 2 folders, one annotated)
    Box   14  
    Novel step outline,  undated
    Box   14  
    Notes and fragments,  1979 and  undated
    Box   14  
    Research,  undated
     
    Kingston’s Landing (1980)
    Box   14  
    Production documents,  1980
     
    [Untitled project on magic] (1982)
    Box   14  
    Interviews with Ralph Arbitelle (photocopies),  1982
    Box   14  
    Research material,  undated
     
    Autopsy (undated)
     
    Scripts
    Box   14  
    Continuity with dialogue,  undated
    Box   14  
    Script continuity,  undated
    Box   14  
    Production documents,  undated
     
    Other projects
     
    [Unidentified article in Variety by Richard Wilson advocating a training program for film professionals] (January 1956)
    Box   14  
    Correspondence from readers,  1956
    Box   14  
    "It’s Not Quite All True," [article by Richard Wilson], Sight and Sound , Autumn  1970
     
    Dramatic Master Production Series [audio cassette tape set produced by Hermes Productions for Entertainment Marketing Company, Inc. slated to feature Orson Welles] (1983)
    Box   14  
    Correspondence,  1983
     
    The Maze Man [novel] (1983)
    Box   14  
    Partial draft,  1983-1986 (2 folders)
    Box   14  
    Partial draft,  undated (with outline and notes) (2 folders)
    Box   14  
    Notes and fragments,  1981-1986 and  undated
    Box   14  
    Clippings and articles,  1983-1987 and  undated
     
    Theatre of the Imagination [audio compilation of Orson Welles radio stories] (1988)
    Box   14  
    Correspondence,  1988-1989
    Box   14  
    Interviews,  1988 (draft transcripts of interviews with Frank and Arlene Goodman, Geraldine Fitzgerald, Richard Barr (with Frank Beacham), Arlene Francis (with Frank Beacham), Bill Alland, and John Houseman)
    Box   14  
    Notes & fragments,  1988
    Box   14  
    Program,  1988 (listing of contents, approximate times)
    Box   14  
    Publicity postcard,  1988
    Box   14  
    Articles & clippings,  1988
    Box   14  
    Album covers and liner notes,  1988
     
    Shanghied [essay on The Lady from Shanghai ] (1990)
    Box   14  
    Drafts,  1990 (several drafts include annotations)
     
    Name and topical file
    Box   15  
    Academy of Motion Picture Arts and Sciences and the Academy Foundation: Jack Oakie Lecture on Comedy in Film,  1989
    Box   15  
    American Cinematheque,  1991
     
    American Film Institute
    Box   15  
    ‘Craft’ seminar,  November 1, 1983
    Box   15  
    Film/TV Documentation: A Workshop for Educators, Researchers and Librarians,  1978
    Box   15  
    Arthur Anderson,  1991
    Box   15  
    Bacher, Lutz,  1976
    Box   15  
    BBC TV,  1986-1990 (includes  undated transcript of BBC interview of Orson Welles, "Broadcast by Turner Network February 1990")
    Box   15  
    Beacham, Frank,  1988-1989 and  undated
     
    Block, Peter M.,  1989
    Box   15  
    Bogdanovich, Peter
    Box   15  
    Correspondence,  1969-1970 (includes as attachment photocopy of extensive memo written by Orson Welles to Ed Muhl regarding Touch of Evil )
     
    Scripts
    Box   15  
    The Last Picture Show , Revised First Draft,  July 24, 1970
    Box   15  
    The Last Picture Show , Final Draft, Revised  October 2, 1970 (2 copies)
    Box   15  
    What's Up, Doc? Second Draft,  May 1971
    Box   15  
    The Streets of Laredo , First Draft,  June 2, 1972
    Box   15  
    Bowers, William, The Gun Fighter [script],  1949
    Box   15  
    Bolt, Robert, Doctor Zhivago [script],  1964
    Box   15  
    [?], Brian,  1991
    Box   15  
    Buarque De Hollanda, Heloisa,1987
    Box   15  
    Callow, Simon,  1988-1990
     
    Carpenter, Francis
    Box   15  
    Correspondence,  1943-1963 and  undated
     
    The Francis Carpenter Story [script]
    Box   15  
    Continuity draft,  undated (as Navy Log: The Star, The Francis Carpenter Story )
    Box   15  
    Drafts,  undated (mostly typescript, some annotated with suggested edits by Richard Wilson)
    Box   15  
    Notes and fragments,  1962 and  undated
    Box   15  
    United States Navy service records,  1943-1956
    Box   15  
    Carringer, Robert L. [1985]-1990
    Box   15  
    Catala, Jose M.,  1988
    Box   15  
    Challenge Pictures legal stock,  1977-1984 and  undated
    Box   15  
    Challenge Pictures special account,  1979-1983 and  undated
    Box   15  
    Charlet, Martin,  1988
    Box   15  
    Citizen Welles, Inc. [interview with Richard Wilson],  1986 (marked "Richard Wilson Interview; Unedited; Production Transcript")
    Box   15  
    Cook, Norman,  ca. 1959
     
    Corea, Nick,  1976
    Box   15  
    Correspondence,  1976
    Box   15  
    Poppa Sal [screenplay],  undated
    Box   15  
    Documentary Festival of New York,  1991
    Box   15  
    Duffield, Brainerd,  1977
    Box   15  
    E., Karen L.,  undated
    Box   15  
    Espace Van Gogh, Arles,  1990
    Box   15  
    Fliers from film festival screenings of Orson Welles and Mercury Productions films, [1970s-1980s]
    Box   15  
    Foreign stamps [ca. 1950s] (in Universal-International Pictures envelope)
     
    France, Richard
    Box   15  
    Correspondence,  1989-1990 and  undated
    Box   15  
    Draft of Introduction to Orson Welles on Shakespeare ,  undated
    Box   15  
    Friends of Old-Time Radio,  1988
    Box   15  
    Friends of the Lilly Library,  1986
    Box   15  
    Gable, Betty,  1988
    Box   15  
    Gary, Romain, Millions of Dollars [script],  undated
    Box   16  
    Geham, Geoff,  1989
    Box   16  
    Gordon, Lee,  1989
    Box   16  
    Henning, Linda Kay, The Totally Awsome Importance of -- Like, Being Earnest, Fer Sure! [sic] [script],  1984
     
    Hermes Productions, Inc.
    Box   16  
    Cancelled checks,  1972
    Box   16  
    Negatives of headshots of unidentified actresses, [ca. 1970s]
    Box   16  
    Partial Directors Guild of America agreement,  1989
    Box   16  
    Stationery,  undated
    Box   16  
    Tax returns and financial records,  1960-1970
    Box   16  
    Tax returns and financial records,  1971-1989
    Box   16  
    Hill, Roger,  1976-1990 and  undated (includes correspondence with Oja Kodar and partial draft of Hill’s memoirs)
    Box   16  
    Hinton, James, Juan Caraveo [script],  undated
    Box   16  
    Hodges, Mike, The Cradle Will Rock: Midnight Shakes the Memory [script],  1988
    Box   16  
    Houseman, John,  1988 and  undated (includes transcript of interview by Simon Callow)
    Box   16  
    Hynn, Peter,  1989
    Box   16  
    India,  1966 (clippings)
    Box   16  
    Indiana University Department of Spanish and Portuguese,  1991
    Box   16  
    Inspiration Point,  1962 and  undated (relating to community opposition to a building project at Inspiration Point, Santa Monica, CA)
    Box   16  
    Jaffe Agency,  1965-1969
    Box   16  
    Jones, Waring,  1970-1971
    Box   16  
    Juvenile delinquency,  1953
    Box   16  
    Keogh, Tom,  1988
    Box   16  
    Kliman, Bernice,  1990
    Box   16  
    Koch, Howard W.  1964-1966 and  undated (2 folders)
    Box   16  
    Krohn, William, [1984] (includes copies of transcripts of interview with Orson Welles, Gary Graver, Oja Kodar, Richard Wilson)
     
    Lager, Lance
    Box   16  
    Correspondence, memoranda, and notes,  1978-1979 and  undated
    Box   16  
    Shrieks of Silence [script],  1986
    Box   16  
    Landers Agency, Inc.,  1964
    Box   16  
    Lebo, Harlan J.,  1990
    Box   16  
    Lenihan, John,  1973
    Box   16  
    Levine, Joseph E.,  1965-1966
    Box   16  
    Lightstone, Howard,  1964-1966
     
    Lilly Library, Indiana University
    Box   16  
    Correspondence,  1983-1990 and  undated
    Box   16  
    Photographs of Richard Wilson at Lilly Library,  1986
    Box   16  
    Lipscott, Alan Mother-Sir [script and original leather binder],  1955 (2 folders)
    Box   16  
    Litto, George,  1969-1971
    Box   16  
    London Weekend Television Limited,  1988
    Box   16  
    Los Angeles County Museum of Art,  1986
    Box   16  
    Lovett, Gene,  1973-1987 and  undated
     
    Lundberg, Dan
    Box   16  
    Correspondence,  undated
     
    Scripts
    Box   16  
    "An Untitled Idea for a Motion Picture on a Most Vital, Contemporary Warning," [story], circa  1951 (includes typed copy of related newspaper article)
    Box   16  
    Untitled (from the novel River Rats) , First version,  1963
    Box   16  
    Moon Gold ,  undated
    Box   16  
    Worse Than Death [story],  undated
    Box   16  
    Luskin, Bernard J.,  1988
    Box   16  
    MacArthur Center for American Theatre, Florida State University,  1977 and  undated (includes 2 photographic print copies from Heartbreak House and various copy negatives of Mercury Theatre productions)
    Box   16  
    McDermott, Pat,  1958
    Box   16  
    Meadow, Herb, Proud River: Drawn from the Journals, Letters and Documents of John Wesley Powell [script],  1949
    Box   16  
    Milius, John, Los Gringos [script],  undated
    Box   16  
    Museum of Broadcasting (New York),  1988-1989
    Box   16  
    Naremore, James, Draft of The Magic World of Orson Welles (as Bright Lucifer: Orson Welles in America ), with attached letter,  1975
    Box   16  
    National Repertory Theatre Foundation,  1984
    Box   17  
    Nelson, David,  1989
    Box   17  
    New York Shakespeare Festival: Film at the Public,  1988
    Box   17  
    New York University [interview with Richard Wilson],  1987
    Box   17  
    Noble, Peter,  undated
     
    Nouryeh, Andrea J.
    Box   17  
    Correspondence,  1988 and  undated
    Box   17  
    Draft of "Welles’ Native Son : A Synthesis of Experience in Theatre, Radio and Film,"  1988
    Box   17  
    Otherworld Media,  1988
    Box   17  
    Phonurgia nova,  1990
    Box   17  
    Pollack, Sidney,  1990
     
    Research Center for the Federal Theatre Project, George Mason University
    Box   17  
    Correspondence,  1979
    Box   17  
    Federal One ,  1976-1979 (various issues of "An irregular publication of the Research Center for the Federal Theatre Project")
    Box   17  
    Forms and ephemera,  1979 and  undated
    Box   17  
    Oral history abstracts,  undated
    Box   17  
    Video abstracts,  1986
    Box   17  
    Revere, Anne,  1949
    Box   17  
    Richard Wilson archive,  1968-1985 and  undated (includes correspondence with various libraries, appraisals and inventories) (2 folders)
    Box   17  
    Richeport, Madeleine,  1988-1990
    Box   17  
    RKO General Pictures,  undated (consists of inventory of items in their Orson Welles Collection)
    Box   17  
    Roadshow Productions, Ltd.,  undated
     
    Rosenbaum, Jonathan
    Box   17  
    Draft of review of Citizen Welles and Chimes at Midnight , [1989]
    Box   17  
    Schimel, Adolph (for the Yeshiva University Scholarship Fund),  1952
    Box   17  
    Shores, Lynn Charlie Chan at the Wax Museum [photographs],  undated (12 stills)
    Box   17  
    Simms, Jay,  1979
    Box   17  
    Simon, William,  1987
    Box   17  
    Simonelli, Glenn,  1990
    Box   17  
    Smith-Welles, Beatrice,  1988
    Box   17  
    Society to Preserve and Encourage Radio Drama, Variety and Comedy (SPERDVAC),  1975-1986 (includes Award of Merit given to Richard Wilson)
    Box   17  
    Somner, Pearl,  1988
    Box   17  
    South-Bank Show,  1988
    Box   17  
    Stein, Robert,  1989
    Box   17  
    The Steel Trap with Joe Cotton (single photograph),  1952
    Box   17  
    Smith, Steven C.
    Box   17  
    Stewart, Douglass M., Jr.  1990
    Box   17  
    Stone, N. B., Jr.,  undated
    Box   17  
    Szadkowski, Joe,  1989
     
    Thomas, François
    Box   17  
    Interview with Paul Stewart, Los Angeles,  March 29, 1982 (draft of transcript, partially photocopied, partially printed out; interview published in Positif no. 332, October 1988)
    Box   17  
    "Summary of  1982 Thesis,"  undated
    Box   17  
    Tiffany Publishing Company,  1991
    Box   17  
    Tricorn Productions,  1977
    Box   17  
    Turner Entertainment Co.,  1991
    Box   17  
    Unger, Kurt,  1988
    Box   17  
    United Productions of America,  1946 and  undated
    Box   17  
    University of California Los Angeles, "Notes on the Original Version of Macbeth ,"  1980 (text of talk accompanying film screening)
    Box   17  
    University of Southern California School of Cinema-Television, "Directing: Mis En Scene," [course taught by Richard Wilson],  1990
    Box   17  
    Voytek (copies of set sketches for unidentified project),  1988
     
    War of the Worlds 50th Anniversary, Grover’s Mill, New Jersey,  October, 1988 (also includes some material related to an adaptation of War of the Worlds broadcast on NPR,  October 30, 1988 and a Friends of Old Time Radio Conference,  October 20-22, 1988)
    Box   17  
    Clippings and articles,  1988
    Box   17  
    Commemorative programs,  1988 (includes text of the original radio script)
    Box   17  
    Correspondence,  1988-1990
    Box   17  
    Ephemera,  1988
    Box   17  
    Scripts,  1988 (includes scripts for three adaptations of War of the Worlds ; one script annotated to show Richard Wilson’s lines in the original broadcast)
    Box   17  
    Photographs (also includes 2 photographs from a Friends of Old Time Radio Conference),  October 1988
    Box   17  
    Wilson, Christopher,  1999-2000
     
    Wilson, Elizabeth
    Box   17  
    Clippings and articles,  1951-1978 and  undated (newspaper clippings about Elizabeth Wilson and clippings collected by her)
    Box   17  
    Correspondence,  1978-1996 and  undated (personal and professional correspondence)
    Box   17  
    It's All True (1993) materials,  1986-1994 (consists of Elizabeth Wilson's notes on  1986 Venice Film Festival, correspondence with Bill Krohn, AFI, newspaper clipping)
    Box   17  
    Miscellaneous papers,  1995-1997 and  undated (includes notes, stationery, Writers Guild of America earnings statement)
    Box   Large map case drawer 8  
    Oversize poster for Cave of Outlaws (51 of 436), story and screenplay by Elizabeth Wilson, [1951]
     
    Scripts
    Box   17  
    Loser Take All (alternate title: Leave Yesterday Behind ), First draft,  August 31, 1977
    Box   17  
    Loser Take All (alternate title: Leave Yesterday Behind ), Rev. Final Draft,  February 24, 1978
    Box   17  
    Body Games , First draft,  1978
    Box   17  
    Body Games , First and second drafts,  1978 (2 folders)
    Box   18  
    Doing Daggett ,  undated
    Box   18  
    Ghost Music (A Play in Two Acts),  undated
    Box   18  
    Natural Victim ,  undated
    Box   18  
    Story draft fragment,  undated
    Box   18  
    Statement on Communist Party activities, [1951 ?]
    Box   18  
    Travel,  1979-1981 and  undated (clippings, packing lists, instructions for housesitter)
    Box   18  
    Wisconsin Center for Film and Theater Research,  undated
    Box   18  
    Wood, Bret,  undated
    Box   18  
    Wood, Chris,  1989
    Box   18  
    Write on Cue,  1988
    Box   18  
    Zander, Bob and Earl,  1986 (includes transcript of Jonathan Rosenbaum speaking event, October 15, 1986)
    Box   18  
    [?], Fred,  1989
    Box   18  
    [?], George, [1988]
    Box   18  
    [?], Mike,  1984
    Box   18  
    [?], Randy,  1990
    Box   18  
    [?], Robin,  1991
     
    Journals and digests
    Box   18  
    Continuous Vol. 1,  April 8, 1987-March 24, 1988 (3 folders)
    Box   18  
    Continuous Vol. 2,  March 7, 1988-February 29, 1989 (3 folders)
    Box   18  
    Continuous Vol. 3,  March 1, 1989-September 13, 1990 (3 folders)
    Box   18  
    Journal I,  December 30, 1985-March 13, 1988 (4 folders)
    Box   18  
    Journal II,  March 13, 1988-October 7, 1990 (3 folders)
    Box   18  
    [Correspondence (copies) to be placed in journals or continuous files],  September 6, 1988-December 17, 1988 and  undated (originally house together in accordion folder)
    Box   18  
    Notebook journals,  March 17, 1988-May 29, 1990 (3 notebooks in 5 folders)
    Box   19  
    Notebook journals,  March 17, 1988-May 29, 1990 (2 notebooks in 5 folders)
    Box   19  
    Digest,  1987-1991 (formerly housed in brown binder, correspondence computer file indices)
    Box   19  
    Notebook digest,  1987-1990 (mostly correspondence computer file indices, also lists a few drafts of Richard Wilson’s writings)
     
    Research
     
    Card files (consist of annotated typed index cards)
    Box   21  
    Alphabetical records for documents and recordings with call numbers assigned by Richard Wilson, [1980s] (2 boxes)
    Box   20  
    "Photo File," alphabetical records for photographs with call numbers assigned by Richard Wilson, [1980s]
    Box   19  
    Clippings and articles and book chapters on Orson Welles,  1970-1999 and  undated (2 folders)
    Box   19  
    Clippings on radio drama revivals,  1988
    Box   19  
    Fragments of BBC Orson Welles interview transcripts, [1970s-1980s]
    Box   19  
    Log of Richard Wilson -- Orson Welles correspondence  1948-1951 [1980s]
    Box   19  
    Mercury radio research, [1980s]
    Box   20  
    Microforms
    Box   20  
    RKO microfiche,  1941-1947 (2 boxes)
    Box   20  
    RKO "Welles Files" microfilm, [1940s] (5 reels; labeled roll numbers 2, 3, 6, 7, and 10)
    Box   19  
    Miscellaneous photographs,  undated
    Box   19  
    Notes and fragments,  1984-1990 and  undated
    Box   19  
    Original duplicate photographs from the Lilly Library, Indiana University,  1937-1943 (photos and one negative from Dr. Faustus (1937) , The Magnificent Ambersons (1942), It’s All True (1942), and Journey Into Fear (1943))
    Box   19  
    Photocopies and reproductions of Mercury and Orson Welles materials from the New York Public Library Performing Arts Research Center, [1980s]
    Box   19  
    Photocopies of Citizen Kane trailer continuity,  January 29, 1941
    Box   19  
    Photocopies of Heart of Darkness documents,  1939
    Box   19  
    Photocopies of Lilly Library (Indiana University) Mercury documents, [1930s-1950s] (6 folders)
    Box   19  
    Photocopies of Lou Lindsay correspondence with Orson Welles and Richard Wilson,  1948-1949 and  undated
    Box   19  
    Photocopies of Magnificent Ambersons cutting notes and two endings, [1942] and  undated
    Box   19  
    Photocopies of Magnificent Ambersons storyboard, [1942 ?]
    Box   19  
    Photocopies of Magnificent Ambersons transcribed preview comment cards,  1942
    Box   19  
    Photocopies of Mercury Productions and Orson Welles correspondence,  1939-1947
    Box   19  
    Photocopies of Mercury Productions and Orson Welles correspondence,  1942-1971 (RKO documents, mostly related to It’s All True , Journey Into Fear , and Magnificent Ambersons )
    Box   20  
    Photocopies of Mercury Productions and Orson Welles correspondence,  1942-1971 (RKO documents, mostly related to It’s All True , Journey Into Fear , and Magnificent Ambersons ) (4 folders)
    Box   20  
    Photocopies of Mercury Theatre’s "Biography of Orson Welles,"  1941
    Box   20  
    Photocopies of photographs from Mercury Productions films,  1940s (formerly in binder) (2 folders)
    Box   20  
    Photocopies of photographs from Richard Wilson films,  1950s-1960s
    Box   20  
    Photocopies of script "The Man Who Dreamed Too Much," The Shadow ,  1944
    Box   20  
    Photocopies of transcribed excerpts of reviews for Othello (1951) and The Blessed and the Damned (1951),  1950-1951
    Box   20  
    Photocopies of various Mercury theatrical material,  1930s-1940s
    Box   20  
    Postcards of Orson Welles and Rita Hayworth,  1978-1987
    Box   20  
    Statement "Open Season on Orson" by unidentified author in response to a memoir by John Houseman,  1972
    Box   20  
    Thomas H. Ince images,  undated
    Box   20  
    Unfiled index cards for documents with call numbers assigned by Richard Wilson, [1980s]
    Box   20  
    Unidentified slides, [1980s-1990s]
     
    Personal
    Box   21  
    Addresses and business card,  1987 and  undated
    Box   21  
    Biographical,  1939-1988
    Box   21  
    Driving records,  1935 1989
     
    Financial records
    Box   21  
    Area Investments, Inc.  1963 and  undated
    Box   21  
    Kleiner-Bell (Cantor & Fitzgerald) investments,  1959-1968
    Box   21  
    "Orson [Welles]’s acc[oun]ts with us [Richard and Elizabeth Wilson?],"  1946-1950
    Box   21  
    Stocks and miscellaneous investments,  1958-1966 and  undated
    Box   21  
    Taxes,  1940-1942 1945-1955 1989 (some years also include check stubs, bank deposit slips, and check photocopies) (9 folders)
    Box   21  
    Health record,  1988
    Box   21  
    Home,  1984-1987
    Box   21  
    Notes and fragments,  1977-1989 and  undated
    Box   21  
    Obituaries,  1991-1992
    Box   21  
    Photographs and negatives of Richard and Elizabeth Wilson,  1980-1987 and  undated
    Box   21  
    Portrait of Richard Wilson (artist unknown),  undated
    Box   21  
    Stationery,  undated
    Box   21  
    Travel writings,  ca. 1990 (includes two short journalistic essays by Richard Wilson, " Adventures in Arles" and "Adventrues in Avignon")
     
    World War II service
    Box   21  
    "APC [Alien Property Custodian] Pictures of value to R&A" (listing of German films),  undated
    Box   21  
    Correspondence,  1945-1946 (mostly regarding UN Conference on International Organization, San Francisco, 1945)
    Box   21  
    "Film Program, List I, A Title List of Film Available to Federal Agencies,"  June 1944 (annotated mimeograph of typescript)
    Box   Wooden cabinet drawer 12  
    "Mapa Cómico da Europa (Guerra de 1940)" [color lithograph comic map of WWII in Europe] by Carlos Ribeiro published by Livraria Barateira, Rua Nova da Trindade, 70, 72, 76 & 78, Lisbon
    Box   21  
    "Presentation Proposal, Department of State,"  February 1, 1945 (proposal for the creation of a Presentation Division in the State Department, with attached memo from H.C. Barton, Jr. "Chief, Presentation Branch," to Richard Wilson)
    Box   22  
    "Selected Sources and Topics, Subject III, F.E.S.P., Visual Aids Original Copy,"  November 1944 and  undated (listings of Japanese films and subject indices to films with Japanese and Chinese subjects; originally housed in two binders) (2 folders)
     
    Photographs
     
    United Nations Conference on International Organization in San Francisco,  April 25, 1945-June 26, 1945
    Box   22  
    Airport,  1945
    Box   57  
    Airport,  1945 (oversize)
    Box   57  
    Committee meetings (oversize),  [1945] (4 folders)
    Box   22  
    Gaspar color prints, San Francisco Opera House,  1945
    Box   57  
    Harry Truman, [1945] (oversize; in San Francisco and at Conference; please note Truman also appears in UN Charter signing ceremony and airport photos)
    Box   57  
    Portraits, [1945] (oversize)
    Box   57  
    Richard Wilson,  1945 (oversize; consists of one photo of Richard Wilson and Edward Stettinius, Jr. and one photo of Richard Wilson and Rita Hayworth)
    Box   22  
    Richard Wilson and the Presentation Branch,  1945 (includes preparations for Conference, construction of stages, and meetings)
    Box   22  
    San Francisco Opera House proceedings,  1945
    Box   57  
    San Francisco Opera House proceedings,  1945 (oversize)
    Box   22  
    Signing of UN Charter ceremony,  June 26, 1945
    Box   22  
    Loose envelopes and notes,  1945 (envelopes formerly housed photographs)
     
    Mercury Theatre/Mercury Productions [series]:

    The materials in the Mercury series document some of the earliest and best-known work of both Richard Wilson and Orson Welles. The papers are broken up into subseries that include Theater, where Welles and the Mercury first won critical acclaim, Radio, where they gained national attention via the War of the Worlds " broadcast, then Film, where Welles and the Mercury created movies such as Citizen Kane . The Multi-project and administrative subseries contains records not primarily linked to one project or medium but that are general administrative or business documents.

    Within each subseries, material is arranged by project. For example, materials relating to Citizen Kane are kept together, physically and intellectually. Projects are organized chronologically. To enable search and discovery of relevant materials, it may be helpful to think of the arrangement as not only project-based, but as a chronological file as well.

    Important note: Notable exceptions to the project-based organizational scheme were necessitated by the fact that Welles frequently worked on several projects simultaneously. Therefore, a single letter or memo may address multiple projects. Sets of memos and correspondence are filed with the project to which they are most closely related.

    Two examples of overlapping projects and sets of memoranda are Macbeth and Othello (much of the information related to Othello is actually in correspondence in the Macbeth files), and The Magnificent Ambersons and It’s All True (much of the information related to The Magnificent Ambersons is contained within the It’s All True files).To take full advantage of the collection, a researcher interested in a particular film or theatrical project should also consult materials from projects Welles was working on during the same time period.

    As general rule, photocopies of Mercury materials have not been included in this series. For example, a photocopy made in the 1980s of a playbill for the Mercury Theatre’s production of Horse Eats Hat (1937), is not included in this series with the original materials, but is with Richard Wilson’s research materials. The two exceptions to this rule are correspondence between Orson Welles and Richard Wilson and some drafts of scripts.

    The Theater subseries (0.6 linear ft + oversize) consists of both W.P.A. Federal Theater Project and Mercury Theater materials. Scripts, photographs, playbills, programs, and some production documents make up the bulk of the theater material. The scripts in the collection include several original copies as well as later editions, some of which contain notes about Welles’s staging of the plays.

    The Radio subseries (2.5 linear ft) contains a large number of scripts from the Orson Welles Show (presented by Lady Esther Cosmetics from September, 1941 to January, 1942), including un-aired material and multiple drafts of some titles. However, the collection contains only a few scripts from the original Mercury Theater On the Air and its successor the Campbell Playhouse . Shows (e.g. Campbell Playhouse and Orson Welles Almanac ) are ordered chronologically and individual broadcasts arranged alphabetically within each show. The original author of the story and the Mercury staffer who adapted it are indicated when shown on the script, though in many cases there was no writer listed, even for well-known stories by Charlotte Bronte (Jane Eyre), Edgar Allan Poe (The Cask of Amontillado), Daphne Du Maurier (Rebecca) and Ernest Hemingway (A Farewell to Arms).

    Hundreds of and telegrams and letters written to Orson Welles and the Mercury Theater after the War of the Worlds broadcast make up a large part of the Radio subseries. Most of the letters in the collection come out in strong support of the broadcast and praise Welles and the Mercury Theatre for their production. However, though designated "fan mail," the letters contain a mixture of positive and negative comments. This War of the Worlds fan mail is organized geographically by state and city. The box originally containing War of the Worlds fan mail also contained a few letters regarding other Mercury Theatre on the Air broadcasts, as well as one unexplained photo of damage from a 1938 hurricane in Long Island, NY.

    Most episodes Hello Americans (November, 1942 to January, 1943) are present as well, some in annotated mimeograph copies marked "as broadcast." The return of the Mercury Theater as a summer half-hour program in 1946 is also represented by a number of examples, including some stories that were reprised from previous Welles shows.

    The Film subseries (7 linear ft. + oversize) spans from Welles’s earliest film ideas upon arriving in Hollywood in 1939 to the production of Othello in 1952.

    The collection's earliest Mercury film script is for Welles’s unproduced version of Joseph Conrad’s Heart of Darkness , a typewritten original which includes numerous storyboard drawings, likely in Welles’s own hand. Citizen Kane is represented by two original scripts and a "breakdown" of shots without dialogue. There are also several different scripts for his follow-up The Magnificent Ambersons , including an original mimeograph copy of the estimating script, which contains scenes cut from the final release version. Welles’s 1947 Columbia picture The Lady From Shanghai is represented by a script for the film "as shot," while for his Republic version of Macbeth there is a shooting script along with two scripts used in post-production that were filed by Wilson with a series of detailed memos and notes on the editing process. The scripts for Mercury films also include an unproduced script called "Two on an Island" by John Twist and famed radio writer Norman Corwin, who worked with Welles in the broadcast medium, and for Jane Eyre , which Welles acted in.

    In addition to scripts, the Film subseries also contains photographs of most Mercury film productions, including informal shots of the cast and crew as well as official publicity stills and headshots. Production documents, which range from memoranda between Orson Welles, Richard Wilson, RKO, and other key players, to notes, sketches and casts lists also comprise an important part of this series.

    Mercury Productions’ never-completed film It’s All True (1942) is particularly well represented in the Richard Wilson -- Orson Welles Papers. The bulk of the It’s All True is comprised of a uniquely rich and comprehensive body of photographs and negatives from the filming in South America. Also included are 5 folders of original production memos, reports, and correspondence regarding It’s All True project from its earliest stages, when Welles intended to make a film based on the story of jazz, to detailed reports of filming activities in South America, to unsuccessful post-production efforts to salvage at least parts of the project. The primary correspondents in this production file include Richard Wilson, Orson Welles, Jack Moss, and Robert Meltzer. Correspondence from and/or materials related to Duke Ellington, Louis Armstrong, and Brazilian performer Grande Othello are also included in the production documents. Besides correspondence and memos, the production file also contains contractual, travel, and insurance documents and notes. The It’s All True materials also include Orson Welles’s personal travel documents, (originally stuffed into a large envelope) which are made up of visas, plane tickets, bills for hotels, restaurants, and other services, a limited amount of ephemera, as well as snapshots of Welles and others in South America (the majority of the photographs of Welles in South America are located with It’s All True . Photographs and Negatives).

    Though it is unclear if it is associated with a particular project, a version of Othello (consisting of pages ripped out of a book and stapled together) with extensive annotations by Welles, mostly dialogue cuts, has been included with the Othello film materials.

    The Multi-project and administrative subseries (0.5 linear ft) includes several index card files of stories received, stories broadcast, and quotations. Other multi-project and administrative material includes an alphabetical file of story reviews written by Mercury Productions staff in the 1940s with assigned grades of appropriateness for screen, stage, radio that also includes some later reviews of possible television stories. Photographs of Mercury cast and crew are also part of this subseries.

     
    Theater [subseries]:
     
    Macbeth (1936) (also known as "Voodoo" Macbeth)
     
    Scripts
    Box   23  
    Fragment, [1936] (single typescript page, heavily annotated in blue and gray pencil)
    Box   23  
    Script with production notes,  undated (photocopy of typescript) (2 folders)
    Box   23  
    Clippings and articles,  1949
    Box   23  
    Slides,  undated
    Box   23  
    Photographs,  undated (taken from printed photographs [?])
     
    Horse Eats Hat (1936)
    Box   58  
    Oversize photographs, [1936]
    Box   23  
    Slides,  undated
    Box   23  
    Photographs,  undated (taken from printed photographs [?])
     
    The Tragical History of Dr. Faustus (1937)
     
    Scripts
    Box   23  
    Partial draft, [1936] (carbon copy of typescript with annotations and corrections)
    Box   23  
    Script from University of Southern California Bing Theater production,  February 8-18, 1989 (photocopy of typescript) (2 copies)
    Box   23  
    Programs,  1937
    Box   23  
    Playbills, [1937]
    Box   23  
    Slides,  undated
    Box   58  
    Oversize photographs, [1937]
    Box   23  
    Photographs, [1937]
     
    The Second Hurricane (1937)
    Box   23  
    Script, [1937] (annotated carbon and typescript)
     
    The Cradle Will Rock (1937)
    Box   23  
    Synopsis, [1937] (by Marc Blitzstein, typescript)
    Box   23  
    Programs,  1937
    Box   23  
    Playbills, [1937]
    Box   23  
    Publicity, [1937] (consists of typed experts of reviews)
    Box   23  
    Clippings and articles,  1950
     
    Julius Caesar (1937)
     
    Scripts
    Box   23  
    Script with production notes,  undated (photocopy of typescript, annotated) (2 folders)
    Box   23  
    Notes and fragments, [1937] (page of draft with pasted print text of original play heavily changed and annotated in pencil; two pages of handwritten scene summary notes)
    Box   Wooden cabinet drawer 12  
    Mock-up tabloid newspaper Daily Report issue dated "Roma, Veneris, Martius 16, 710" with headline "Dictator Slain; Rome Revolts," [1937]
    Box   23  
    Production documents, [1937] (consists of carbon of cast listing)
    Box   23  
    Programs,  1937 (program includes Julius Caesar and Shoemaker’s Holiday )
    Box   23  
    Publicity, [1938]
    Box   23  
    Clippings and articles,  1948-1950
    Box   23  
    Slides,  undated
    Box   23  
    Photographs, [1937]
     
    The Shoemaker’s Holiday (1938)
     
    Scripts
    Box   23  
    Script,  January 1, 1938 (carbon copy)
    Box   23  
    Playbills, [1938] (also states "In Repertory with Julius Caesar ")
    Box   23  
    Publicity, [1938] (annotated carbon draft of article or press release by Alexander Campbell titled " The Shoemaker’s Holiday at the Mercury Theatre")
    Box   23  
    Notes and fragments, [1938] (fragment of carbon of "How a Gallant Should Behave Himself in a Playhouse," from The Gull’s Hornbook by Thomas Dekker…" and print of title page of  1600 edition of Shoemaker’s Holiday from microfilm)
    Box   23  
    Photographs, [1938]
    Box   58  
    Oversize photographs, [1938] (includes portrait of Hiram Sherman in costume, inscribed "For Virginia [Welles], a hay-drum-derry and a happy birthday, Love, Chubby")
     
    Heartbreak House (1938)
    Box   23  
    Production documents,  1938 (consists of single cablegram from George Bernard Shaw, March 17, 1938)
    Box   Wooden cabinet drawer 12  
    Playbill,  1938 (proofs, 2 copies)
    Box   23  
    Playbills, [1938] (one mentions "In Repertory with Julius Caesar ")
    Box   23  
    Clippings and articles,  1950
    Box   23  
    Photographs,  undated
    Box   58  
    Oversize photograph, [1938] (headshot of Orson Welles in costume)
     
    Too Much Johnson (1938)
     
    Scripts
    Box   23  
    Draft,  undated (plus page from earlier draft) (carbon and annotated typescript)
    Box   23  
    Fragment, [1938] (carbon)
    Box   23  
    Photographs,  undated
    Box   23  
    Slides,  undated
     
    Danton’s Death (1938)
    Box   23  
    Script fragments, [1938] (annotated typescript and carbon copies of script sections, two pages have sketching of sets and faces on verso)
    Box   23  
    Program draft, [1938] (annotated carbon)
    Box   23  
    Programs,  1938
    Box   Wooden cabinet drawer 12  
    Playbills,  1938 (proofs, one annotated)
    Box   23  
    Publicity, [1938] (includes Mercury Theatre reprinting of a Brooks Atkinson review and a Mercury Theatre brochure, "Apropos Danton’s Death by Georg Buchner")
    Box   23  
    Photographs,  undated
     
    Five Kings (1939)
     
    Scripts
    Box   23  
    Draft,  undated (photocopy of annotated typescript) (4 folders)
    Box   23  
    Fragments, [1939] (annotated typescript and annotated pasted print pages)
     
    Production
    Box   23  
    Set sketches, [1939]
    Box   23  
    Posters, [1939] (reading "Five Kings Co. Hotel" and "Five Kings Co. Theatre")
    Box   23  
    Notes and fragments, [1939]
    Box   23  
    Program fragment, [1939] (single page)
    Box   23  
    Souvenir programs,  1939 (2 copies, one clean and complete, one annotated with missing pages; includes photographs and descriptions of other Mercury Theatre productions)
    Box   23  
    Playbill, [1939]
    Box   58  
    Oversize playbill, [1939]
    Box   23  
    Publicity, [1939]
    Box   23  
    Clippings and articles,  1949
    Box   23  
    Slides,  undated
    Box   23  
    Photographs and negatives,  undated (2 folders)
     
    Native Son (1941)
    Box   23  
    Programs,  1941 (2 programs contain laid-in notes, one note is from Janet Levy to Orson Welles; the other, from Frank Goodman to Richard Wilson)
    Box   23  
    Production documents,  1941 (single cable from Orson Welles to Richard Wilson)
    Box   23  
    Slides,  undated
    Box   23  
    Photographs,  undated
     
    The Mercury Wonder Show (1943)
    Box   23  
    Playbill, [1943]
    Box   23  
    Photograph,  undated
     
    Around the World in 80 Days (1946)
    Box   23  
    Production documents,  1946 and  undated
    Box   23  
    Programs,  1946
    Box   23  
    Souvenir program,  1946
    Box   23  
    Clippings and articles,  1949
    Box   23  
    Photographs,  undated (2 folders; photographs in second folder were originally housed an envelope along with an accompanying note, which have been kept with the photographs)
    Box   58  
    Oversize photographs,  undated (pasted onto scrap theater poster board from other miscellaneous production, formerly framed in light yellow and red wooden frames)
     
    Macbeth (1947)
    Box   23  
    Production documents,  1947 and  undated
    Box   23  
    Program,  1947
    Box   23  
    Clippings and articles,  1949
    Box   33  
    Color slides,  1947 (with original box, addressed to Vern Adix,  1112 E 2nd S, Salt Lake City Utah; also noted on front "Send to Wilson of Macbeth Co")
     
    Multi-project and administrative
    Box   23  
    Press releases, [1937-1938]
    Box   23  
    Playbills, [1938-1939] (includes repertory schedules)
    Box   23  
    Subscription forms, [1938]
    Box   58  
    Oversize playbill, [1938]
    Box   58  
    Oversize financial document,  1939
     
    Concerts
    Box   58  
    Announcements for Lehman Engel Singers in "Christmas Madrigals and Chansons,"  1937
     
    Radio [subseries]:
     
    The Mercury Theater on the Air: First Person Singular (broadcast  July 11, 1938-September 5, 1938)
     
    Scripts
    Box   23  
    Dracula ,  October 11, 1990 (printout of  October 11, 1990 broadcast adaptation by Richard Wilson)
    Box   23  
    My Little Boy ,  undated (mimeograph copy, end missing)
     
    The Open Window (annotated typescript),  undated
     
    The Mercury Theater on the Air (broadcast  September 11, 1938-December 2, 1938)
     
    War of the Worlds (broadcast October 30, 1938)
     
    Fan mail
    Box   23  
    United States,  1938 (arranged alphabetically by state, city) (23 folders)
    Box   24  
    United States,  1938 (arranged alphabetically by state, city) (22 folders)
    Box   24  
    Canada,  1938
    Box   24  
    International,  1938
    Box   24  
    [No location given],  1938
    Box   24  
    Other broadcasts,  1938
    Box   24  
    Original box label,  undated
    Box   24  
    Clippings and articles,  1938-1950
    Box   24  
    Slides,  undated
    Box   24  
    Photograph and negative,  undated
     
    The Free Company His Honor the Mayor (broadcast April 5, 1941)
    Box   24  
    Request for permission to broadcast,  1950
     
    The Orson Welles Show (Sponsored by Lady Esther Cosmetics) (broadcast  September 15, 1941-February 2, 1942)
     
    Scripts
    Box   24  
    Alice Adams ,  December 1, 1941 (mimeograph)
    Box   24  
    The All American Team (by John Fante),  October 22, 1941 (carbon)
    Box   24  
    And Stars in the Sky ,  November 28, 1941 (carbon)
    Box   24  
    Another American Tragedy ,  October 31, 1941 (carbon)
    Box   24  
    The Apple Tree (by Galsworthy, adapted by Roger Quayle Denny),  October 21, 1941 and  January 12, 1942 (two drafts; carbon and photocopy of annotated typescript) [see also Mercury Summer Theater scripts]
    Box   24  
    Ask the Dust (by John Fante),  September 19, 1941 (carbon)
    Box   24  
    Benedict Arnold Script ,  September 19, 1941 (carbon)
    Box   24  
    Black Marigolds (by Bilhana),  October 6, 1941 (carbon)
    Box   24  
    The Black Pearl (by Norman Foster),  September 15, 1941 and  October 1, 1941 (two drafts, carbons)
    Box   24  
    Boogie Woogie in Boston (by Elliot Paul),  September 14, 1941 (carbon)
    Box   25  
    Bottle Party ,  undated and  August 29, 1941 (two drafts; carbons)
    Box   25  
    The Cask of Amontillado (adapted by Roger Denny),  September 15, 1941 (carbon)
    Box   25  
    The Chaser ,  October 3, 1941 (carbon)
    Box   25  
    Christmas Verse (by G.K. Chesterton),  December 18, 1941 (carbon)
    Box   25  
    The Curse of the Yehonala (by Roger Quayle Denny),  December 11, 1941 (carbon)
    Box   25  
    The Dark Hall ,  October 6, 1941 (carbon)
    Box   25  
    Dear Lonely Lady (by Roger Quayle Denny),  October 10, 1941 (carbon)
    Box   25  
    The Diamond Necklace ,  October 1, 1941 (carbon)
    Box   25  
    Evening Primrose ,  September 15, 1941 (mimeograph)
    Box   25  
    The Exact Science of Matrimony ,  October 9, 1941 (carbon)
    Box   25  
    Eye Hath not Seen (by John Fante),  October 31, 1941 (two drafts; annotated typescript and carbon)
    Box   25  
    A Farewell to Arms ,  November 21, 1941 (carbon)
    Box   25  
    Folk Songs of Ibiza (by Elliot Paul),  October 10, 1941 (carbon)
    Box   25  
    The Garden of Allah ,  December 6, 1941 (carbon)
    Box   25  
    Gold Mounted Guns ,  October 7, 1941 (carbon)
    Box   25  
    The Golden Honeymoon ,  September 15, 1941 (carbon)
    Box   25  
    The Happy Hypocrite ,  January 21, 1942 (carbon)
    Box   25  
    The Happy Prince (by Oscar Wilde),  September 6, 1941 and  December 12, 1941 (two drafts; annotated carbons)
    Box   25  
    The Happy Prince and The Story Teller ,  September 19, 1941 (carbon)
    Box   25  
    The Hitch-Hiker (by Lucille Fletcher),  November 1, 1941 (carbon)
    Box   25  
    The House ,  October 15, 1941 (carbon)
    Box   25  
    I Play Hamlet (by Roger Quayle Denny),  December 9, 1941 (carbon)
    Box   25  
    I’m a Fool ,  September 24, 1941 (carbon)
    Box   25  
    If In Years to Come (by Earl Reed Silvers, adapted by Roger Quayle Denny),  October 9, 1941 (carbon)
    Box   25  
    Jane Eyre ,  January 16, 1942 (typescript)
    Box   25  
    Kangaroo Loves Me (by Geoffrey Household, adapted by John Fante),  November 11, 1941 (carbon)
    Box   25  
    The Killers ,  undated (carbon)
    Box   25  
    The Knife (by Brendan Gill),  October 22, 1941 (carbon)
    Box   25  
    The Lady or the Tiger ,  November 11, 1941 (carbon)
    Box   25  
    The Light in the Valley (by Michael Manning),  October 16, 1941 (carbon)
    Box   25  
    Little Gentleman (by Booth Tarkington),  undated (carbon)
    Box   25  
    Little Miss Haley (by Roger Quayle Denny),  January 13, 1942 (carbon)
    Box   25  
    The Lost Sanjak ,  September 13, 1941 (carbon)
    Box   25  
    The Lost Stars ,  October 8, 1941 (carbon)
    Box   25  
    Louise ,  September 30, 1941 (carbon)
    Box   25  
    The Lumber Room (by Saki, adapted by Roger Quayle Denny),  December 4, 1941 (carbon)
    Box   25  
    The Maysville Minstrel ,  September 13, 1941 (carbon)
    Box   25  
    Monsieur Beaucaire (by Booth Tarkington, adapted by Michael Wilson),  December 1, 1941 (carbon)
    Box   25  
    Mr. Sampson (by Charles Lee, adapted by John Fante),  October 28, 1941 (carbon)
    Box   25  
    Murder in the Bank (by John Patrick),  September 17, 1941 (two copies; carbons)
    Box   25  
    Original Radio Drama Written for Orson Welles,  November 28, 1941 (carbon)
    Box   25  
    Pigs Is Pigs ,  undated (carbon)
    Box   25  
    The Prisoner of Assiout (by Grant Allen, adapted by Norman Foster),  September 17, 1941 and  October 14, 1941 (two drafts, carbons)
    Box   25  
    Purple and Fine Linen (by May Edginton, adapted by Roger Quayle Denny),  November 1, 1941 (carbon)
    Box   25  
    A Question of Approach ,  September 15, 1941 (carbon)
    Box   25  
    Rebecca ,  November 17, 1941 (carbon)
    Box   25  
    Rolls and Salt ,  September 24, 1941 (carbon)
    Box   25  
    Romance ,  October 15, 1941 (carbon)
    Box   25  
    Salome ,  September 23, 1941 (carbon)
    Box   25  
    The Salvation of Pisco Gabor (by John Fante),  October 2, 1941 (carbon)
    Box   25  
    The Sexes (by Dorothy Parker),  September 15, 1941 (carbon)
    Box   25  
    Shake Hands with the Dragon ,  September 20, 1941 (some pages show title as Shake Hands with the Devil ; carbon)
    Box   25  
    The Shirt Collar (by H.C. Andersen),  November 1, 1941 (carbon)
    Box   25  
    The Silver Hilt ,  November 18, 1941 (carbon)
    Box   25  
    Someone Else ,  January 19, 1942 (mimeograph copy)
    Box   25  
    Something’s Going to Happen to Henry (by Shore and Solomon, adapted by R. Meltzer),  October 28, 1941 (carbon)
    Box   25  
    A Source of Irritation (by Stacy Aumonier, adapted by Roger Quayle Denny),  October 29, 1941 (carbon)
    Box   25  
    Stage 14 (by Richard Carlson),  December 9, 1941 (carbon)
    Box   25  
    Supper for Two (by R. Denny),  October 3, 1941 (carbon)
    Box   25  
    The Swing Shift (by Foster Carling),  November 21, 1941 (carbon)
    Box   25  
    Symptoms of Being Thirty-Five (by Ring Lardner, adapted by Vera Eikel),  November 5, 1941 and  December 1, 1941 (two drafts; carbons)
    Box   25  
    The Third Hour (by Geoffrey Household, suggested treatment by Elliot Paul),  undated (carbon)
    Box   25  
    The Third Ingredient (by O. Henry, adapted by Roger Quayle Denny),  October 17, 1941 (carbon)
    Box   25  
    Variation on a Theme (by Orson Welles),  December 3, 1941 (typescript)
    Box   25  
    Water of Iturrigorri (by Geoffrey Household, adapted by John Fante),  December 3, 1941 (carbon)
    Box   25  
    Wild Oranges ,  October 29, 1941 (carbon)
    Box   25  
    You’re Perfectly Fine (by Dorothy Parker),  September 9, 1941 (two copies; typescript and carbon)
    Box   25  
    Young Mrs. Moon ,  December 12, 1941 (by Nelia Gardner White, adapted by Roger Quayle Denny) (carbon)
    Box   25  
    Youth ,  November 18, 1941 (carbon)
     
    Production documents
    Box   25  
    Story ideas,  1941 (printed forms with typed and handwritten comments; forms labeled "Record of Material: Orson Welles, Mercury Theatre on the Air" and include story synopses, reader remarks, and rights information; also includes appendices with listings of material owned, pending, and performed, as well as an author index; formerly housed in binder) (2 folders)
    Box   25  
    Staff assignments,  1941 (annotated, typewritten task lists arranged in tabbed sections by name of Mercury Theatre cast or crew member assigned; also contains a small amount of "Current Assignments" arranged by day and a list of "Scripts for Shows")
    Box   25  
    Negatives,  undated ("Negative enlargement from B/W photo on RW’s wall: Orson Welles, Richard Wilson, Jack Moss & Jiminy Cricket at table under umbrella")
     
    Cavalcade of America (broadcast  September 28, 1942-October 26, 1942)
     
    Scripts
    Box   25  
    Admiral of the Ocean Sea ,  October 12, 1942 (two mimeograph copies with manuscript notes, bound)
    Box   25  
    Clippings and articles,  1949
     
    Hello Americans (broadcast  November 15, 1942-January 31, 1942)
     
    Scripts
    Box   25  
    [ Alphabet A thru C ],  December 6, 1942 (mimeograph copy, annotated)
    Box   25  
    Alphabet C thru S (full script and two partial copies), December 13, 1942) (mimeograph and carbon copy, annotated
    Box   25  
    [ Alphabet S thru Z ] Abednego ,  December 20, 1942 (marked ‘as broadcast’) (mimeograph and carbon copy, annotated)
    Box   25  
    The Andes (marked ‘as broadcast’),  November 22, 1942 (mimeograph copy, annotated)
    Box   25  
    Bolivar’s Idea ,  January 31, 1943 (mimeograph copy, annotated)
    Box   25  
    [ Brazil ] (marked ‘as broadcast’),  November 15, 1942 (mimeograph copy, annotated)
    Box   25  
    Feed the World (marked ‘as broadcast’),  January 17, 1943 (mimeograph copy, annotated)
    Box   25  
    The Islands ,  November 29, 1942 (annotated mimeograph copy)
    Box   25  
    Mexico ,  January 10, 1943 (mimeograph copy)
     
    Orson Welles Commentaries (broadcast  September 16, 1945-October 6, 1946)
    Box   25  
    Correspondence,  1946 (regarding Welles’s broadcasts on the Isaac Woodward, Jr. case and the show’s cancellation)
     
    Orson Welles Almanac (broadcast  January 26, 1944-July 19, 1944)
    Box   25  
    Photograph,  1944 (of  May 24, 1944 program before audience of servicemen)
     
    Mercury Summer Theater (broadcast  June 7, 1946-September 13, 1946)
     
    Scripts
    Box   25  
    The Apple Tree ,  undated (mimeograph copy, annotated [January 12,  1942 crossed out from use on Orson Welles Show?]) [see also Orson Welles Show scripts]
    Box   25  
    Around the World in 80 Days ,  June 7, 1946 (mimeograph copy, annotated)
    Box   25  
    Golden Honeymoon/Romeo and Juliet (mimeograph copy, annotated, August 2, 1946)
    Box   25  
    The Hitch-Hiker ,  June 21, 1946 (mimeograph copy, annotated)
    Box   25  
    King Lear (two incomplete drafts),  September 13, 1946 (typescript and mimeograph copy, annotated)
    Box   25  
    King Lear [Final draft?],  September 13, 1946 (typescript and mimeograph copy, annotated)
    Box   25  
    Mote Farm Murder ,  July 26, 1946 (mimeograph copy, annotated)
    Box   25  
    A Passenger to Bali ,  July 5, 1946 (mimeograph copy)
    Box   25  
    Production documents,  1946-1952 and  undated (includes 2 items related to a proposed  1952 TV series)
    Box   25  
    Clippings and articles, [1946]
     
    Multi-project and administrative
    Box   25  
    Broadcast listings,  undated (annotated typescript listings of Mercury Theatre’s and Welles’s radio broadcasts; one list also appears to inventory scripts and recordings)
    Box   25  
    Clippings and articles,  1949 and  undated
    Box   25  
    Photographs and negatives,  1941 and  undated (of unidentified radio broadcasts)
     
    Commercial Recordings
     
    Twelfth Night (1938)
    Box   58  
    Oversize score by Marc Blitzstein,  June 11, 1938 (handwritten)
    Box   25  
    Advertisements, [1938]
     
    Macbeth (1940)
    Box   25  
    Clipping,  1950
     
    Film [subseries]:
     
    The Heart of Darkness (1939)
     
    Scripts
    Box   26  
    Character descriptions, [1939] (mimeograph)
    Box   26  
    Draft with partial storyboards (typescript, annotated), [1939] (5 folders)
    Box   26  
    "Story angles,"  1939
    Box   26  
    Synopsis, [1939]
    Box   26  
    Production documents,  1939 and  undated
    Box   26  
    Photograph,  undated
    Box   26  
    Negative,  undated
     
    Smiler with a Knife (1940)
    Box   26  
    Pre-production and production documents,  1940
     
    Two on an Island (1940)
     
    Scripts
    Box   26  
    Estimating Script by Norman Corwin and John Twist,  September 14-November 2, 1940 (mimeograph copy) (3 folders)
     
    Citizen Kane (1941)
     
    Scripts
    Box   26  
    First Rough Draft (as "American"),  April 16, 1940 (photocopy of typescript) (5 folders)
    Box   26  
    "Houseman’s Edit of American" (incomplete draft),  undated (photocopy of annotated typescript) (2 folders)
    Box   26  
    Shots in "March of Time" Sequence,  April 18, 1940 (photocopy of typescript)
    Box   26  
    "Changes,"  April 28, 1940 (photocopy of typescript)
    Box   26  
    Breakdown, First Draft (as "Welles #3"),  May 10, 1940 (photocopy of annotated typescript) (2 folders)
    Box   26  
    Second Draft Continuity (as "Orson Welles #3"),  May 16-June 15, 1940 (photocopy of annotated typescript) (5 folders)
    Box   26  
    Shot Breakdown,  June 6-17, 1940 (mimeograph or photocopy of mimeograph)
    Box   26  
    Final Script,  June 18-19, 1940 (photocopy of typescript) (4 folders)
    Box   26  
    Revised Final,  June 24, 1940 (photocopy of typescript) (4 folders)
    Box   26  
    Second Revised Final Script,  July 9, 1940 (photocopy of typescript) (3 folders)
    Box   26  
    Draft [Second Revised Final w/changes?],  undated (photocopy of annotated typescript) (3 folders)
    Box   26  
    Second Revised Final (various pages),  July 9, 1940 (photocopy of annotated typescript)
    Box   26  
    Third Revised Final Script,  July 16, 1940 (mimeograph copy) (4 folders)
    Box   26  
    Late Draft [Shooting Script?],  undated (mimeograph copy) (2 folders)
    Box   26  
    Cutting Continuity,  February 21, 1941 (photocopy of typescript) (2 folders)
    Box   27  
    Production
    Box   27  
    Cast listing,  January 9, 1941
    Box   Wooden cabinet drawer 12  
    Financial document,  November 16, 1940 (annotated carbon)
    Box   27  
    Set design,  1940 and  undated (photographs of drawings; printout of color photograph of the prop "Rosebud")
    Box   27  
    Souvenir program,  1941 (3 copies)
    Box   27  
    "Welles statement on ‘Kane’",  undated (annotated carbon)
    Box   27  
    Fan mail,  1949 (single letter)
    Box   27  
    Clippings and articles, [1940]-1950 and  undated
    Box   Wooden cabinet drawer 12  
    Clippings and articles,  1947 (articles from papers in Copenhagen and Brussels)
    Box   59  
    Oversize photographs,  undated
    Box   27  
    Photographs,  1940-1941 and  undated (2 folders)
    Box   27  
    Negatives,  undated
     
    Lord Haw Haw (1941)
    Box   27  
    Pre-productions documents,  1941
     
    Master of Ballantrae (1941)
    Box   27  
    Pre-production documents,  1941-1942
     
    The Magnificent Ambersons (1942)
     
    Scripts
    Box   27  
    Estimating Script,  August 15-September 30, 1941 (mimeograph, annotated) (5 folders)
    Box   27  
    Final Script (incomplete),  October 7, 1941 (photocopy of annotated typescript) (3 folders)
    Box   27  
    Draft pages,  October 14-15, 1941 (blue/pink "changes") (mimeograph of annotated typescript)
    Box   27  
    Final Script,  October 7-15, 1941 (photocopy of annotated typescript) (3 folders)
    Box   27  
    Cutting Continuity (131 min. version),  March 12, 1942 (photocopy of typescript) (2 folders)
    Box   27  
    Cutting Continuity (88 min. version),  June 11, 1942 (photocopy of typescript)
     
    Production
    Box   27  
    Casting,  1942
    Box   27  
    Editing,  1942
    Box   27  
    Clippings and articles, [1942]-1950 (includes French cinema magazine)
    Box   27  
    Photographs,  1941-1942 and  undated (2 folders)
    Box   59  
    Oversize photographs,  undated
    Box   27  
    Negative,  1942 and  undated
     
    It’s All True (1942)
     
    Scripts
    Box   27  
    Treatment,  undated
    Box   27  
    First Draft Continuity, "Cinematographic and Sonorescent Accompaniment for Chronological and Historical Concert of American Jazz," (by Elliot Paul)  September 5, 1941 (mimeograph)
    Box   27  
    Continuity, "My Friend Bonito" (by Norman Foster and John Fante),  September 17, 1941 (2 copies, mimeographs; alternate title, "Bonito the Bull") (2 folders)
    Box   27  
    Continuity, ["My Friend Bonito"] by Joe Noriega with Shifra Haran,  undated (2 copies, one partial and one complete; carbons; alternate title, "Bonito the Bull")
    Box   27  
    Partial continuity,  undated (pp. 29-59)
    Box   27  
    "Jangandeiros" story and production notes,  undated (one sheet includes sketch by Orson Welles; alternate title: "Four Men on a Raft")
    Box   27  
    Production documents,  July 12, 1941 --  September 16, 1942 and  undated (5 folders)
    Box   27  
    Orson Welles travel documents,  1942 (includes photographs, ephemera, and official documents) (2 folders)
    Box   27  
    Richard and Elizabeth Wilson travel documents,  1942
    Box   59  
    Oversize production documents,  October 1, 1941 --  January 24, 1942 (Louis Armstrong contract)
    Box   59  
    Oversize Richard Wilson travel document,  1942
     
    Research
     
    Country and continent reports (all carbons with typed, yellow paper covers, no authors given; U.S. government reports [?] containing of basic information on each country)
    Box   27  
    Argentina,  undated
    Box   27  
    Bolivia,  undated
    Box   27  
    Brazil,  undated
    Box   27  
    Chile,  undated
    Box   28  
    Columbia,  undated
    Box   28  
    Costa Rica,  undated
    Box   28  
    Cuba,  undated
    Box   28  
    Ecuador,  undated
    Box   28  
    Guatemala,  undated
    Box   28  
    Mexico,  undated
    Box   28  
    Nicaragua,  undated
    Box   28  
    Paraguay,  undated
    Box   28  
    Peru,  undated
    Box   28  
    Salvador,  undated
    Box   28  
    South America,  undated (typescript; introductory note by "Miriam")
    Box   28  
    Uruguay,  undated
    Box   28  
    Venezuela,  undated
    Box   28  
    "Francisco José Do Nascimento, ‘Dragon of the Sea’," "Jaganda," and "The Raid of the Sao Pedro" [reports],  undated
    Box   28  
    Musical Tour through South America [a report to the members of the Committee on Inter-American Relations in the Field of Music by Carelton Sprague Smith],  1940 (3 folders)
    Box   28  
    "Rio de Janeiro Carnival: a description by Bruno Cheli -- Dir. Gen. Of RKO Pictures Do Brazil,"  undated
    Box   28  
    Samba sheet music,  undated
    Box   28  
    Drawing [by Orson Welles?] "Re Pinto I do Fortaleza," [1942]
    Box   28  
    Blank Western Union forms,  1941-1942
    Box   28  
    Notes and fragments, [1942]
    Box   28  
    Press releases,  undated
    Box   28  
    Clippings and articles,  1941-1949 and  undated
    Box   59  
    Oversize clippings and articles,  1942
     
    Photographs and negatives, [1942] (note that photographs of Wilson, Welles, and crew are dispersed among the various shooting locations and scenes)
    Box   28  
    [Beach shots, Rio de Janeiro]
    Box   28  
    [Carnaval, day] (3 folders)
    Box   28  
    [Carnval, day] (color photographs and film cuts)
    Box   28  
    [Carnaval, night]
    Box   28  
    Carnval inside -- night; whites
    Box   28  
    Extras & scenes from Club Republica Sequence shot at Cinedia Studio
    Box   28  
    The Frevo Dance -- Carnaval
    Box   28  
    [Grande Othello cooking]
    Box   28  
    Grande Othello in café scene
    Box   28  
    Grande Othello Praco Onze Seq. (2 folders)
    Box   28  
    Jangada; Jangadeiros -- at home and in Rio [de Janeiro] (4 folders)
    Box   29  
    [Jangada and Jangeiros] (color)
    Box   29  
    King Momo parade (2 folders)
    Box   29  
    Night Carnaval parade (2 folders)
    Box   29  
    Niteroi Beach -- day Carnaval (2 folders)
    Box   29  
    Rio [de Janeiro] night club orchestra
    Box   29  
    Rio [de Janeiro] streets & suburbs -- day Carnaval (2 folders)
    Box   29  
    Rio Tennis Club (3 folders)
    Box   29  
    School of the Samba stills (5 folders)
    Box   29  
    Shots of [Orson] Welles, shots of [Phil] Reisman -- all sorts (2 folders)
    Box   29  
    Stills of crew on Carnaval (2 folders)
    Box   29  
    Stills of Ouro Preto Easter Festival (2 folders)
    Box   29  
    Stills of Ray Ventura Orch[estra] outside Cinedia Studios (2 folders)
    Box   29  
    Teatro Municipal -- night
    Box   30  
    Teatro Municipal -- night (3 folders)
    Box   30  
    Teatro Republico -- night (3 folders)
    Box   30  
    [Welles alone and with others] (includes photos of Welles directing, getting off plane, meeting with crew members, at Carnaval, etc.) (3 folders)
    Box   30  
    Miscellaneous
    Box   59  
    Oversize photographs, [1942]
    Box   30  
    Empty envelopes originally loose among miscellaneous photographic materials, [1950s-1990s]
    Box   30  
    Exposed black and white 35mm film footage of Jangadeiros (6-frame segments), [1942]
    Box   33  
    Glass-plate negatives (originally housed in 2 boxes; "Box A: Stills of Welles with various people: Argentina (& Brazil?)" and "Box B: Stills of Welles, stills taken at Jangada Club, etc.)
    Box   30  
    Color transparencies (includes stills from most shooting locations) (3 folders)
    Box   30  
    Kodachrome boxes originally housing color transparencies,  1942 (7 boxes in 3 folders)
    Box   30  
    Slides, [1942]
     
    Journey Into Fear (1943)
    Box   30  
    Photographs and negatives,  1942 and  undated
     
    Salome [1946]
    Box   30  
    Screenplay by Fletcher Markle,  undated
     
    Room with a View (1947)
    Box   30  
    Pre-production document,  1947
     
    The Lady from Shanghai (1948)
     
    Scripts
    Box   30  
    Screenplay as Shot,  December 20, 1946 (carbon) (4 folders)
    Box   30  
    Production documents,  1946-1947
    Box   30  
    Clippings and articles,  1948-1949
    Box   30  
    Photographs,  1975-1977
     
    Macbeth (1948)
     
    Scripts
    Box   31  
    Shooting Script,  June 10-12, 1947 (mimeograph, annotated)
    Box   31  
    Continuity and Editing Scripts and notes (annotated typescript, carbon and mimeograph pages,  September 6, 1947-April 19, 1948 (7 folders)
     
    Production
    Box   31  
    Production correspondence,  1947-1950 and  undated (5 folders)
    Box   31  
    Production documents,  1947-1949 and  undated (2 folders)
    Box   31  
    Research,  undated
    Box   31  
    Set sketches, [1948 ?]
     
    Publicity
    Box   31  
    Correspondence,  undated (two notes from reviewers)
    Box   31  
    European reviews (translated, typed excerpts),  1948
    Box   31  
    Posters, [1948]
    Box   31  
    "Macbeth by William Shakespeare: A Discussion of the Photoplay by Hardy R. Finch," [1948]
    Box   31  
    "Shakespeare with Tears,"  undated (article by Richard Wilson)
    Box   59  
    Oversize advertisement,  1948
    Box   59  
    Oversize exhibitor manual,  1948
    Box   31  
    Compilation of excerpted texts on Shakespeare, film, Orson Welles, and the Mercury Production’s Macbeth ,  undated (annotated carbon)
    Box   31  
    Clippings and articles, [1947]-1950
    Box   31  
    Photographs and negatives, [1947] (mostly production stills, 3 folders)
    Box   59  
    Oversize photographs,  1948
    Box   60  
    Oversize photographs,  1948 (3 folders)
    Box   31  
    Slides,  undated (black and white of set sketches)
     
    King Lear (1948)
    Box   31  
    Clippings and articles,  1948
     
    Julius Caesar (1950)
    Box   31  
    Clippings and articles,  1949-1950
     
    Ulysses (1950)
    Box   31  
    Clippings and articles,  1949-1950
     
    Othello (1952)
    Box   31  
    Annotated script (pages torn from book),  undated
     
    Production
    Box   31  
    Budgets,  undated
    Box   31  
    Correspondence,  1948-1952
    Box   31  
    Clippings and articles,  1949-1952 undated
    Box   31  
    Photographs and negatives,  undated
     
    Multi-project and administrative
    Box   31  
    Biographies of Orson Welles,  1941 and  undated (1 box)
     
    Card files (all consist of typed and annotated index cards) (1 box)
    Box   33  
    Quotations, [circa 1940s] (mostly alphabetical by subject; also contains loose cards from a "Self-pronouncing index of proper names") (1 box)
    Box   33  
    Inventory of scripts and recordings of Orson Welles radio work, [circa 1940s] (divided by type, e.g. "Special Broadcasts," "Sustainers (series)"; originally and currently housed with "Partial index…" below) (partial box)
    Box   33  
    Partial index (I-Z) of stories broadcast, [circa 1940s] (alphabetical by story title; originally and currently housed with "Inventory of scripts…" above) (partial box)
    Box   32  
    Scripts received and returned,  1941-1942 (alphabetical by title) (1 box)
    Box   32  
    Scripts received and returned,  1945-1947 (mostly alphabetical by title; includes return receipts at end of file; some loose, letter-sized material originally folded in back of file removed) (1 box)
    Box   31  
    Scripts received and returned,  1945-1947 (loose letter-sized material removed from card file)
    Box   33  
    Story index,  1941 (basic information on possible stories; includes card at front with vital statistics on Rita Hayworth) (1 box)
    Box   31  
    Clippings and articles,  1947-1957 (story ideas?)
    Box   31  
    Miscellaneous administrative documents,  1939-1950
    Box   32  
    Miscellaneous financial documents,  1945-1951 and  undated (includes correspondence and memos regarding financial matters including various purchases, storage of theatrical sets, shipping sound equipment, money transfer issues, and some tax information) (2 folders)
    Box   32  
    Miscellaneous incoming correspondence,  1951 and  undated
    Box   32  
    Miscellaneous legal documents,  1945-1954 and  undated
    Box   32  
    Story reports,  1941 --  1952 (story reviews by Mercury Productions staff, including grades of appropriateness for screen, stage, radio; includes some later story reports for television story ideas; alphabetical by story title; last folder not alphabetical by title, but rather in a folder of stories for possible television production) (21 folders)
     
    Research
    Box   32  
    "Continuity and Shooting Script" [glossary of terms],  undated (thermofax)
    Box   32  
    John Ford filmography,  undated (mimeograph)
    Box   32  
    Notes and fragments,  1941 and  undated
    Box   32  
    Stationery,  undated (includes several pieces of blank stationery signed by Orson Welles; one piece signed by Richard Wilson)
    Box   32  
    Photographs and negatives of Orson Welles and Mercury staff and RKO studios, [ca. 1937]-1941
    Box   32  
    Photographs of Hot Mikado (1939) taken on same roll of film as Five Kings photographs, [1939]
    Box   60  
    Oversize photographs (headshots) of Orson Welles, [1930s-1940s]
     
    Sound [series]:

    The Sound series (9 linear ft. + oversize) spans from the early 1940s to the early 1990s and is organized by format.

    The earliest audio recordings are phonograph records and soft vinyl "flexi" and Sound Scriber records, which are labeled as containing notes on Macbeth as well as material generated during Richard Wilson’s solo film production work. Some early acetate records that were likely cut in the office as Wilson or Welles ware also included here, though the contents of many of these are unknown.

    The bulk of the audio is comprised of reel-to-reel and audiocassette tapes. Sets of reel-to-reels and cassettes of Welles’s radio work, created by Richard Wilson as part of the preparation for the Theatre of the Imagination , represent a major portion of the sound recordings. Other recordings range from interviews, to Richard Wilson's telephone conversations, to lectures given by Richard Wilson on Welles and the Mercury, to tributes to Welles. Various soundtrack materials for a few Richard Wilson films are also included.

    Several commercial records, including jazz, samba, and pop recordings have been retained in the collection though it is uncertain whether they were used in or for any production by Wilson or Welles.

    To facilitate access, a few of the reel-to-reels and one cassette in this series have been transferred onto recordable compact discs. The numbering and labeling of the CD-Rs corresponds to the numbering of the tape reels and audiocassettes.

     
    Open reel tapes
    Box   34  
    (WWRR-1 to WWRR-29) Set of 30 numbered 1800-foot tapes,  January 14, 1979-January 28, 1979 and  undated (some reels are labeled with various short descriptions e.g. "Welles as Actor" "Welles Exile" "Welles Today" [possibly dictated draft of monograph on Orson Welles or interviews with Welles?] )
    Box   35  
    (WWRR-30-WWRR-64) Orson Welles radio programs, set of 118 numbered 1800-foot tapes,  undated (typed labels on boxes describing contents of reel, some gaps in numbering, 2 copies of most reels, 3 reels separated in envelope labeled "The tapes in this envelope are from the Wilson set of tapes in the file cabinet and not from the Welles Collection in the box.") (1 of 4 boxes)
    Box   36  
    (WWRR-65 to WWRR-99) Orson Welles radio programs, set of 118 numbered 1800-foot tapes,  undated (typed labels on boxes describing contents of reel, some gaps in numbering, 2 copies of most reels, 3 reels separated in envelope labeled "The tapes in this envelope are from the Wilson set of tapes in the file cabinet and not from the Welles Collection in the box.") (2 of 4 boxes)
    Box   37  
    (WWRR-100 to WWRR-132) Orson Welles radio programs, set of 118 numbered 1800-foot tapes,  undated (typed labels on boxes describing contents of reel, some gaps in numbering, 2 copies of most reels, 3 reels separated in envelope labeled "The tapes in this envelope are from the Wilson set of tapes in the file cabinet and not from the Welles Collection in the box.") (3 of 4 boxes)
    Box   38  
    (WWRR-133 to WWRR-152) Orson Welles radio programs, set of 118 numbered 1800-foot tapes,  undated (typed labels on boxes describing contents of reel, some gaps in numbering, 2 copies of most reels, 3 reels separated in envelope labeled "The tapes in this envelope are from the Wilson set of tapes in the file cabinet and not from the Welles Collection in the box.") (4 of 4 boxes)
    Box   39  
    (WWRR-153) "Orson Welles -- Roger Hill; Orson Welles -- AFI [American Film Institute Lifetime Achievement Award]; toward end of this: Orson’s description of Other Side of the Wind ,"  undated
    Box   39  
    (WWRR-154) "Critique "Endangered Species" by Baurj[?] Kyle,"  undated
    Box   39  
    (WWRR-155 and WWRR-156) "Richard Wilson [Lecture] at USC ‘Films of Orson Welles,’" 2 reels  February 28, 1983
    Box   39  
    (WWRR-157) "RW at Florida State The Films of Orson Welles,"  undated
    Box   39  
    (WWRR-158) "Cut AFI [American Film Institute Lifetime Achievement Award] Tribute Intro; Foreign Press Award [Hollywood Foreign Press Association Award] Speech; Intro of Roger Hill,"  undated
    Box   39  
    (WWRR-159) "AFI [American Film Institute Lifetime Achievement Award] speech,"  February 9, 1975
    Box   39  
    (WWRR-160) "Trims For. Press [Hollywood Foreign Press Association Award],"  October 18, 1981
    Box   39  
    (WWRR-161) "Conversation P. Lazarus," 196[1?] (unboxed)
    Box   39  
    (WWRR-162) "Kay John re. delay; Peter Taylor re. overtime and schedule; David Greunnier [?]; Dick Collins, Robert Ellen Miller [?]; HK; Bill Slinson; Notes on Dubbing procedure,"  August 9, 1965 (unboxed)
    Box   39  
    (WWRR-163) "IAT: Int[erview]: Betty Wilson BW,"  December 20, 1992 (from Bill Krohn files)
    Box   39  
    (WWRR-164) "1/4" copy of R.12 of Bogdanovich & Welles -- furniture throwing in Rio,"  undated (from Bill Krohn files)
    Box   39  
    (WWRR-165 and WWRR-166) "It’s All True,"  undated (2 reels) (from Bill Krohn’s files)
    Box   40  
    (WWRR-167 to WWRR-173) "Doorway to Life," set of 7 acetate open-reel audio tapes containing 25 episodes, originally aired  1947-1948 of a radio program produced by William Alland,  undated
    Box   40  
    (WWRR-175) 1 polyester open-reel audio tape labeled "5) Adam" (possibly a recording of "Life with Adam", an episode of the Mercury Summer Theatre radio program originally aired on  July 19, 1946 ?),  undated
    Box   40  
    (WWRR-176) 1 polyester open-reel audio tape labeled "Orson Welles Tribute"  November 1, 1985 (in box labeled "Buzzy’s Recording")
    Box   40  
    (WWRR-177) 1 reel of polyester open-reel audio tape labeled "3) War of Worlds A & B",  undated
    Box   40  
    (WWRR-174)1 acetate open-reel audio tape marked "Heart of Darkness R-1" (could be either of Welles’s  1938 or  1945 radio versions of "Heart of Darkness" or something related to the "Heart of Darkness" film project?),  undated
     
    Audiocassettes
    Box   39  
    (WWCA-1 and WWCA-2) " Love Life Chris critique,"  November 7, 1971 (2 tapes)
    Box   39  
    (WWCA-3) "Dick Wilson -- Donovan Roberts -- Poe. [?] Palisades…on Kane,"  March 20, 1972
    Box   39  
    (WWCA-4) "Royale Theatre, Citizen Kane; track of film,"  September 29, 1973
    Box   39  
    (WWCA-5) A: "KSFO ‘Night of Terror’,"  October 29, 1967 B: "Richard Wilson at UCI,"  October 27, 1974
    Box   39  
    (WWCA-6 and WWCA-7) "Mollie Kent -- re. OW, Writing -- Kane & Ambersons,"  January 13, 1977 (2 tapes)
    Box   39  
    (WWCA-8) "Linwood Dunn interviewed by Bob Carringer,"  November 22, 1977
    Box   39  
    (WWCA-9 and WWCA-10) "Dana Randt,"  1977 (2 tapes)
    Box   39  
    (WWCA-11) "Catherine Benamou and Ann Newhouse introduce ‘Samba’ WORT-FM, Madison, Wisconsin,"  February 1978
    Box   39  
    (WWCA-12) "Sara Meric[?]  June 19, 1974 Has OW section,"  November 17, 1978
    Box   39  
    (WWCA-13) A: "Monica -- Accident,  December, 1978 Maurice Smith,  October, 1978 D. Arnett -- S & Sea., December 26, 1978" B: "Orson,"  November 17, 1978
    Box   39  
    (WWCA-14 and WWCA-15) "Welles 5," January 7, [1979] (2 tapes)
    Box   39  
    (WWCA-16 and WWCA-17) "Welles 6, Welles Disc., Welles as Actor,"  January 14, 1979 (2 tapes)
    Box   39  
    (WWCA-18 and WWCA-19) "Welles [7] Disc. Exile/Television,"  undated (2 tapes)
    Box   39  
    (WWCA-20 and WWCA-21) "Welles 8, Welles Today,"  January 28, 1979 (2 tapes)
    Box   39  
    (WWCA-22 and WWCA-23) "Richard Wilson,"  October 5, 1980 (2 tapes)
    Box   39  
    (WWCA-24) "DKA presents: Citizen Kane (I) with: Linwood Dunn & Robert Wise, host: Arthur Knight, USC, Norris Cinema Theater,"  October 24, 1981
    Box   39  
    (WWCA-25) "DKA presents: Citizen Kane (II) with: Linwood Dunn & Robert Wise, host: Arthur Knight, USC, Norris Cinema Theater,"  October 24, 1981
    Box   39  
    (WWCA-26) "DKA presents" A: " Lady from Shanghai With: Richard Wilson, Host: Richard Jewell, Norris Cinema Theatre,"  November 1, 1981 B: " Macbeth (Part I), With: Richard Wilson, Dan O’Herlihy, Alessandro Tasca, Host: Joseph McBride, Norris Cinema Theatre,"  November 8, 1981
    Box   39  
    (WWCA-27) "DKA presents: Macbeth (Part II) With: Richard Wilson, Dan O’ Herlihy, Alessandro Tasca, Host: Joe McBride, Norris Cinema Theatre,"  November 8, 1981
    Box   39  
    (WWCA-28) "DKA presents: The Trial (Part I) With: Orson Welles, Norris Cinema Theatre,"  November 14, 1981
    Box   39  
    (WWCA-29) "Welles The Trial etc. U.S.C.,"  November 14, 1981
    Box   39  
    (WWCA-30) "DKA presents" A: " The Trial (Party II) With: Orson Welles, Norris Cinema Theatre,"  November 14, 1981 B: " F for Fake (Part I) With: Gary Graver, Host: Todd McCarthy, Norris Cinema Theatre,"  November 15, 1981
    Box   39  
    (WWCA-31) "DKA presents" A: " F for Fake (Part II) With: Gary Graver, Host: Todd McCarthy, Norris Theatre,"  November 15, 1981 B: " Fountain of Youth (Part I), With: Orson Welles, Host: Charles Champlain, Norris Theatre,"  November 21, 1981
    Box   39  
    (WWCA-32) "DKA presents: Fountain of Youth (Part II) With: Orson Welles, Host Charles Champlin, Norris Theatre,"  November 21, 1981
    Box   39  
    (WWCA-33) A: "Collins; Wilson Interog-Answers-Corrections 8/30/1980"  January 5, 1982 B: "Francois Thomas,"  March, 1982
    Box   39  
    (WWCA-34 to WW-37) "Barbara Leaming,"  July 8, 1982 (4 tapes, including 2 copies[?])
    Box   39  
    (WWCA-38) "Interviewed (RW) BY Servulo Sequeira -- Mainly about It’s All True and Welles Objectives,"  November 9, 1982
    Box   39  
    (WWCA-39) "Interview, Germans -- Art of Film,"  April, 1983
    Box   39  
    (WWCA-40 and WWCA-41) "Richard Wilson (on Orson Welles) AFI,"  November 1, 1983 (2 tapes)
    Box   39  
    (WWCA-42) "Interviews -- RW by Nicole Smith, use"  November 27, 1983
    Box   39  
    (WWCA-43) "BBC interview -- Welles on Lady from Shanghai and little about Around the World in 80 Days ,"  1983
    Box   39  
    (WWCA-44 and WW-CA45) "Steven Smith re. Bernard Herrmann,"  March 17, 1984 (2 tapes)
    Box   39  
    (WWCA-46 to WW-CA48) "Welles Memorial Tribute,"  November 2, 1985 (3 tapes)
    Box   39  
    (WWCA-49) "KBIG FM 104" A: "Requiem for a Happy Prince,"  December 8, 1985 B: "Orson Welles on the Air,"  December 15, 1985
    Box   39  
    (WWCA-50) A: "Requiem for a Happy Prince By Joe Bellman,"  undated B: "Welles on Air," [December, 1985]
    Box   39  
    (WWCA-51 to WWCA-53) "Orson Welles Radio Tribute #1" A: "Bob Lyne Tribute, Les Miserables ," B: "Final Shadow Broadcast," [1985-January 1986 ?] (3 copies)
    Box   39  
    (WWCA-54 and WWCA-55) "Orson Welles Radio Tribute #2: Dracula on both sides" [1985-January 1986 ?] (2 copies)
    Box   39  
    (WWCA-56 to WWCA-58) "Orson Welles Radio Tribute #3" A: "Misc.: Mercury Theatre on the Air," B: "War of the Worlds," [1985-January 1986 ?] (3 copies)
    Box   39  
    (WWCA-59 and WWCA-60) "Orson Welles Radio Tribute #4, Welles Tribute on; Between Americans ; Fred Allen; Mercury Wonder Show ,"  January 19, 1986 (2 copies)
    Box   39  
    (WWCA-61 to WWCA-63) "Orson Welles Radio Tribute #5" A: "Hitchhiker; Intro to ‘Life with Adam" B: "Third Man; Black Museum; commercials, Orson sings," [January 1986 ?] (3 copies)
    Box   39  
    (WWCA-64) "Conv. with George Fanto Tape 1,"  February 3, 1986 to  February 4, 1986
    Box   39  
    (WWCA-65) "George Fanto / Othello ,"  February 5, 1986 to  February 7, 1986
    Box   39  
    (WWCA-66) "Conv. with George Fanto Tape 3; Welles -- It’s All True -- Othello -- etc.,"  February 7, 1986
    Box   39  
    (WWCA-67 to WWCA-69) "Shifra/Wilson Tape 1 CC," [March 1, 1986] (3 copies)
    Box   39  
    (WWCA-70 and WWCA-71) "Shifra/Wilson Tape 2 CC,"  March 1, 1986 (2 copies)
    Box   39  
    (WWCA-72 and WWCA-73) "Shifra and Betty [Elizabeth Wilson] and Dick [Richard] Wilson,"  March 1, 1986 (2 copies)
    Box   39  
    (WWCA-74 and WWCA-75) "Shifra -- B. [Elizabeth] Wilson,"  March 1, 1986 (2 copies)
    Box   39  
    (WWCA-76 to WWCA-83) "Fanto/Wilson Tape 1," [March 24, 1986] (9 copies)
    Box   39  
    (WWCA-84 to WWCA-90) "Fanto/Wilson Tape 2," [March 24, 1986] (7 copies)
    Box   39  
    (WWCA-91 to WWCA-95) "Fanto/Wilson Tape 3," [March 24, 1986] (5 copies)
    Box   39  
    (WWCA-96) "Fanto/Wilson Interview,"  March 24, 1986
    Box   39  
    (WWCA-97) A: "Fanto interview as shot," B: "Fanto interview as shot (cont.) other items recorded/Wilson Haran Wilson," [March 1986]
    Box   39  
    (WWCA-98) [Unlabeled tape],  April 10, 1986 (with sheet of notes, "Dick Wilson Log…Missy Lane…Shifra")
    Box   39  
    (WWCA-99) "Dick [Richard] Wilson and Bob [Robert] Carringer,"  June 10, 1986
    Box   39  
    (WWCA-100) "Carringer -- Wilson," [June 10,  1986 ?]
    Box   39  
    (WWCA-101) "Richard Wilson,"  June 13, 1986
    Box   39  
    (WWCA-102) "Krohn suggestions,"  September 23, 1986
    Box   39  
    (WWCA-103) "Seattle; Zander; Wilson -- Re: The Magnificent Ambersons ,"  October 15, 1986 (includes small letter from Earl Zander)
    Box   39  
    (WWCA-104) "Dick [Richard] Wilson / Roger Hill Interview WBBM Radio (CBS) Chicago,"  October 30, 1986
    Box   39  
    (WWCA-105) A: "Welles’ unfinished and unseen films by critic/Welles’ scholar Jonathan Rosenbaum," undated, B: "November 7 (Friday)", November 7, [1986]
    Box   39  
    (WWCA-106) "Richard Wilson interviews Reg Armour [ It’s All True ],"  December 19, 1986
    Box   39  
    (WWCA-107 and WWCA-108) "Interview with Reg. Armour, Camera -- G. Graver -- This tape runs thru many of film changes -- has some things not on ¼ mac. Sound,"  December 19, 1986 (2 copies)
    Box   41  
    (WWCA-109) "Armour Interview -- As shot transfer from ¼ inch,"  December 19, 1986
    Box   41  
    (WWCA-110) "‘Escape’ and Intro and Post Prod; Comments, SPERDVAC Convention,"  1986
    Box   41  
    (WWCA-111) "Wilson at SPERDVAC; Dan Haefele interviews," [1986 ?]
    Box   41  
    (WWCA-112 and WWCA-113) "Richard Wilson on It’s All True ,"  January 22, 1987 (2 copies)
    Box   41  
    (WWCA-114) "Richard Wilson interview recorded for PPB, Pacific Pioneer Broadcasters,"  February 24, 1987
    Box   41  
    (WWCA-115 to WWCA-116) "Interview -- Heloisa Buarque de Hollanda, Eliz[abeth Wilson] and Perez It’s All True ,"  March 7, 1987 (2 copies)
    Box   41  
    (WWCA-117) A: "5/14/87-Krohn re. Prod. C;  5/17/87 -- Roger Hill" B: "To Sanyo 482 -- Fanto, Side 1 of Fanto Interview, 5/28/87"  May 1987
    Box   41  
    (WWCA-118) "EW & RW Interview re. Dynasty, etc. Jostein Gripsrud -- Norway,"  June 3, 1987
    Box   41  
    (WWCA-119) "Leonard Maltin,"  December 11, 1987
    Box   41  
    (WWCA-120 to WWCA-122) " Les Misérables (the non-musical sensation) with Orson Welles , Radiola Records,"  1987 (3 tapes)
    Box   41  
    (WWCA-123 to WWCA-170)"Criterion [ Theatre of the Imagination demos? for Voyager Company project], [1987-1988 ?] (48 tapes)
    Box   41  
    (WWCA-171) " Theatre of the Imagination Mercury Radio Tape 2," [1987-1988 ?]
    Box   41  
    (WWCA-172) " Theatre of the Imagination Mercury Radio Tape 3," [1987-1988 ?]
    Box   41  
    (WWCA-173) " Theatre of the Imagination ," [1987-1988 ?]
    Box   41  
    (WWCA-174 and WWCA-175) "Orson Welles Sampler with Roger Hill,"  February, 1988 (2 tapes)
    Box   41  
    (WWCA-176) "#1 Video Seminar,"  March 26, 1988
    Box   41  
    (WWCA-177) "#2 Video Seminar,"  March 26, 1988
    Box   41  
    (WWCA-178) "#3 Video Seminar,"  March 26, 1988
    Box   41  
    (WWCA-300) "My Little Boy -- O. Welles; Portion from Lilly Library,"  March 1988
    Box   41  
    (WWCA-179 and WWCA-180) "BBC -- RKO Story" Episodes 5 & 6,  April 3, 1988 (2 tapes)
    Box   41  
    (WWCA-181) "Bill Alland Interview,"  April 12, 1988
    Box   41  
    (WWCA-182) "Aleksandra Jovicevic doctoral dissertation interview -- Wilson,"  May 12, 1988
    Box   41  
    (WWCA-183 and WWCA-184) "C[atherine] Benamou -- [Richard] Wilson doctoral dissertation interview with Wilson subject: It’s All True et. al,"  May 14, 1988 (2 tapes)
    Box   41  
    (WWCA-185) " Theatre of the Imagination V2, Final Edit and Digitalizes,"  July 20, 1988
    Box   41  
    (WWCA-186) "Lori Pike’s interview with Richard Wilson"  September 26, 1988
    Box   41  
    (WWCA-187) "R. Wilson -- Richard France,"  October 9, 1988
    Box   41  
    (WWCA-188) "War of the Worlds, Radio / Sample, Creation, Minneapolis, MN"  October 19, 1988
    Box   41  
    (WWCA-189) "The Golden Age of Radio with Richard Wilson and Frank Beacham with Hosts Max Schmid & Kathy O’Connell, WBAI-FM/NY,"  October 23, 1988
    Box   41  
    (WWCA-190 and 191) "The Jim Bohannon Show, Frank Beacham and Richard Wilson on Mutual Network,"  October 29, 1988 (3 copies)
    Box   41  
    (WWCA-193) "Theatre of the Imagination Segment National Public Radio -- Weekend Edition,"  November 12, 1988
    Box   41  
    (WWCA-194) "First Interview with Richard France re: 5 Kings and the Mercury in General,"  November 19, 1988
    Box   41  
    (WWCA-195) "Dick Wilson to Ken Myer WEEI, Boston ‘Radio Classics’,"  December 8, 1988
    Box   41  
    (WWCA-196) "Second Interview with Richard France re Kings Welles and the Mercury in general,"  December 9, 1988
    Box   41  
    (WWCA-197 and 198) "Remembering John Houseman…The Will Geer Theatricum Botanicum,"  December 11, 1988 (2 tapes)
    Box   41  
    (WWCA-199) "F[ree?],"  1988
    Box   41  
    (WWCA-200) "Orson Welles Documentary…Karen Latham, New York University,"  1988
    Box   41  
    (WWCA-290 to WWCA-295) Theatre of the Imagination: Radio Stories by Orson Welles and the Mercury Theatre , Voyager [Criterion],  1988 (audiocassettes removed from original album housing due to preservation concerns, but original album artwork and liner notes have been preserved and are available under Wilson. Other projects. Theater of the Imagination )
    Box   41  
    (WWCA-201 and WWCA-202) "Bill Alland -- Talk with RW,"  January 17, 1989 (2 tapes)
    Box   41  
    (WWCA-203) "Interview R. Wilson and Rogerio Sganzeria in Los Angeles Goluinda’s[?],"  January 18, 1989
    Box   41  
    (WWCA-204) "Simon Callow -- Talk with RW about OW Callow Preparation for book on OW, Tape 1,"  January 21, 1989
    Box   41  
    (WWCA-205 and WWCA-206) "Simon Callow -- Talk with RW about OW,"  January 21, 1989 (2 tapes)
    Box   41  
    (WWCA-207 and WWCA-208) "Douglas Fairbanks, Jr. interviewed by Catherine Benamou and Antonio Pedro Tota,"  April 1, 1989 (2 copies)
    Box   41  
    (WWCA-209) "Viewing of preserved footage UCLA Archive, Jangadeiros and Carnaval (BBC),"  June 15, 1989
    Box   41  
    (WWCA-210) "Viewing of preserved footage, UCLA archives -- Carnaval, Ouro Preto, and Bonito,"  June 19, 1989
    Box   41  
    (WWCA-211) "Interview -- RW & Peter Block -- Re. Formation Etc. of a ‘Foundation’ / or OW Material,"  July 9, 1989
    Box   41  
    (WWCA-212 and WWCA-213) "‘Shot list’ and comments, preserved, running with CW & Mossa Bildner,"  July 10, 1989 (2 tapes)
    Box   41  
    (WWCA-214 and WWCA-215) "Running with Mossa -- UCLA Archives," [July 1989 ?] (2 copies)
    Box   41  
    (WWCA-216 and WWCA-217) "Running with Mossa and CW ‘Shot List’ Comments," [July 1989 ?] (2 copies)
    Box   41  
    (WWCA-218) A: "Francois Thomas,"  undated B: Brad Whitford,"  July 11, 1989
    Box   41  
    (WWCA-219) "Golden -- DGA Seminar -- Directing," [December 2, 1989]
    Box   41  
    (WWCA-220) "M. Golden -- DGA Seminar,"  December 2, 1989
    Box   41  
    (WWCA-221) "MonitoRadio: A Broadcast Service of the Christian Science Monitor, Early Edition, Theatre of the Imagination,"  March 6, 1990
    Box   41  
    (WWCA-222 and WWCA-223) "Cathn Int. with Fomar Morel, Krohn, Wilson, translation and comments by Maria Rosa Castro,"  May 1, 1990 (2 copies)
    Box   41  
    (WWCA-224) "Bill K[rohn] -- Translation of Un[?],"  June 15, 1990
    Box   41  
    (WWCA-225) "Betty Gable (from machine) announces death of Roger Hill,"  September 16, 1990
    Box   41  
    (WWCA-226) "John Houseman Int. From: Geo. Fanto,’  October 1, 1990
    Box   41  
    (WWCA-227) A: "Mercury Panel-[?], Herz, Sendak[?], Wilson, Anderson, [?],"November 20,  1990 B: "Dracula rehearsal,"  undated
    Box   41  
    (WWCA-228) A: "[?] -- Int. Lady from Shanghai ,"  November 27, 1990 B: "Notes on conv. with Abby Singer & Paul Laza[?],"  November 29, 1990
    Box   41  
    (WWCA-229) "Oja [Kodar] -- Gary [Graver] at CinemaTec, also most of Wilson,"  April 12, 1991
    Box   41  
    (WWCA-230 to WWCA-233) "An Afternoon with the Independents," [1992 ?] (4 tapes)
    Box   42  
    (WWCA-296 to WWCA-299) Orson Welles and Peter Bogdanovich. This is Orson Welles . Caedmon,  1992 (in original packaging; 4 tapes)
    Box   41  
    (WWCA-234) "Ataulfo Alves -- Leva meu samba,"  undated
    Box   41  
    (WWCA-235) A: "Bira Translation,"  undated B: "Bira Trans Side 2 Has Q & A Press Conf RW[?],"  undated
    Box   41  
    (WWCA-236) "Cliff Thorsness Int.,"  undated
    Box   41  
    (WWCA-237) "Completion of Richard Wilson interview Plus Cliff Thorsness,"  undated
    Box   41  
    (WWCA-238) " Cradle Will Rock , Marc Blitzstein,"  undated
    Box   41  
    (WWCA-239) A: "Folyeysc[?] 40 Recital,"  undated B: "Brazilian songs -- Sergio,"  undated
    Box   41  
    (WWCA-240) "Geo[rge] Fanto Film Interview recorded during shooting -- Much of it is clear,"  undated
    Box   41  
    (WWCA-241) "Gerald O’Laughlin, Acting Class,"  undated
    Box   41  
    (WWCA-242) "Guildud PBS,"  undated
    Box   41  
    (WWCA-301) "Hello Americans --  11/15/1942 Welles -- Carmen Miranda -- Brazil; 1st line missing: Good evening this is Orson Welles,"  undated
    Box   41  
    (WWCA-243) "Herrman-Welles Misc. Sound; Brazee-Armed Forces Radio,"  undated
    Box   41  
    (WWCA-244) " It’s All True ,"  undated
    Box   41  
    (WWCA-245) " It’s All True (musics),"  undated
    Box   41  
    (WWCA-246) "’Jangada’ from Rogério Syanzeila; music for Jangaderios and Carnival"
    Box   41  
    (WWCA-247) "John Houseman Interview,"  undated
    Box   41  
    (WWCA-248) "Lilly Library, Pic Inventory,"  undated
    Box   41  
    (WWCA-249) "Lilly, Mainly Pic Inventory Tape 1,"  undated
    Box   41  
    (WWCA-250) " Magnificient Ambersons ,"  undated
    Box   41  
    (WWCA-251) "[ Magnificent ] Ambersons Track"
    Box   41  
    (WWCA-252) "Mercury Doc. -- Rough Cut,"  undated
    Box   41  
    (WWCA-253) A: "Mexican" B: "Carringer -- S. Stanberg on Kane,"  undated
    Box   41  
    (WWCA-254) "Music of  1942 Carnival,"  undated
    Box   41  
    (WWCA-255) "Music of Brazil #1,"  undated
    Box   41  
    (WWCA-256 and WWCA-257) "Musica Popular Do Norte,"  undated (2 tapes)
    Box   41  
    (WWCA-258 and WWCA-259) "Naremore Wilson"  undated (2 tapes)
    Box   41  
    (WWCA-260) "Naremore Wilson Interview,"  undated
    Box   41  
    (WWCA-261) "Orson Welles -- Peas,"  undated
    Box   41  
    (WWCA-262) "OTRS (KCRW) Tribute to Orson Welles (Pt. 1),"  undated
    Box   41  
    (WWCA-263) "OTR (KCRW) Tribute to Orson Welles (Pt. 2),  undated
    Box   41  
    (WWCA-264) A: "Paul Stewart/Kenny Delmar" B: "Kenny Delmar on WOW,"  undated
    Box   41  
    (WWCA-265) A: "Por causa da hora, Praça 11, Agora é cinza…,"  undated B : "Star spangled banner, Take "A" tram Moon mist…,"  undated
    Box   41  
    (WWCA-266) "Radio clip segments,"  undated
    Box   41  
    (WWCA-267) "Reasons: Jang life better today; Cathn -- translating Globo footage Fanto’s hiring of Donna Francesa…How-Why-; List of Cathn selected stills for Krohn printing,"  undated
    Box   41  
    (WWCA-268) "[Richard Wilson] R.W. Interviews -- A. Sheehan (N.Y.U.) re. Welles Radio,"  undated
    Box   41  
    (WWCA-269) "[Richard] Dick Wilson Interview,"  undated
    Box   41  
    (WWCA-270) "[Richard Wilson] RW Dictation of Fanto Interview,"  undated
    Box   41  
    (WWCA-271) "[Richard Wilson’s] Dick’s voice,"  undated (with sheet of notes headed "Redoes")
    Box   41  
    (WWCA-272) A: "Shadow: The Plot Murder," B: "Shadow: Hounds in the Hills,"  undated
    Box   41  
    (WWCA-273) A: "Shadow, The White Legion," B: "Shadow: Friend of Darkness,"  undated
    Box   41  
    (WWCA-274 and WWCA-275) "Silio Boccanera; Grande Otello/ 3 Praca Once sense and other Carnaval including one from film,"  undated (2 copies)
    Box   41  
    (WWCA-276) "Telephone conv. -- Krohn,"  undated
    Box   41  
    (WWCA-277 and WWCA-278) "Text of It’s All True , ‘Four Men on a Raft,"  undated (2 copies)
    Box   41  
    (WWCA-279 and WWCA-280) "Track of It’s All True , ‘Four Men on a Raft,"  undated (2 copies)
    Box   41  
    (WWCA-281) "Villa Lobos,"  undated
    Box   42  
    (WWCA-282) "War of the Worlds CBS, October 30, 1938"  undated
    Box   42  
    (WWCA-283) "War of the Worlds Invasion from Mars, 1938"  undated
    Box   42  
    (WWCA-284 and WWCA-285) "Welles Interview BBC,"  undated (2 tapes)
    Box   42  
    (WWCA-286) "Welles mss. -- Lilly Library 63-2,"  undated
    Box   42  
    (WWCA-287) "Wilson 2B,"  undated
    Box   42  
    (WWCA-288) "Working with Welles Radio,"  undated
    Box   42  
    (WWCA-289) [Unlabeled],  undated (2 tapes)
     
    Microcassettes
    Box   42  
    (WWMC-1) "AM-INV,"  undated
    Box   42  
    (WWMC-2) "French instant,"  undated
    Box   42  
    (WWMC-3) "Goodman & Wilson; 5 Kings & Around World,"  undated
    Box   42  
    (WWMC-4) "Lilly Cradle Pic Inv,"  undated
    Box   42  
    (WWMC-5) "Portuo Usse [?] 1,"  undated
     
    Digital Audio Tape
    Box   42  
    (WWDAT-1) "Orson Welles IAT 70 Hello Americans November 15, 1942"  undated
    Box   42  
    (WWDAT-2) "Orson Welles II Pres. Vargas’ Birthday & Pan American Day,"  undated
     
    Compact Discs
     
    Reformatted Reel-to-Reels
    Box   42  
    WWRR-28 (2 copies)
    Box   42  
    WWRR-40 (2 copies)
    Box   42  
    WWRR-65 (2 copies)
    Box   42  
    WWRR-71 (2 copies)
    Box   42  
    WWRR-98 (2 copies)
    Box   42  
    WWRR-110 (2 copies)
    Box   42  
    WWRR-111 (2 copies)
    Box   42  
    UM: Special Collections Lib. War of the Worlds [The Brookwood Studio, Inc.],  2007
     
    Phonograph records
     
    10-inch records
    Box   43  
    WWPHON-1 to WWPHON-4 New Orleans Jazz , Kid Ory and his Creole Jazz Band, Columbia Records,  1947 (4 record set)
    Box   43  
    WWPHON-5 to WWPHON-7 Latin American Rhythms, Chu Chu Martinez, ARA,  1946
     
    10-inch acetate records
    Box   43  
    WWPHON-8 "Uncle Tom’s Cabin" / "The Admiral’s Daughter,"  undated (78 rpm, Audiodiscs, Audio Devices, Inc.)
     
    12-inch records
    Box   43  
    WWPHON-9 Original Radio Broadcasts; Orson Welles in 2 Complete Radio Dramas: The Hitch-Hiker and The Master of Ballantrae ,  undated
    Box   43  
    WWPHON-10 O Melhor do Carnaval , Cia Industrial de Discos, Brazil,  1984
    Box   44 (oversize)  
    WWPHON-11 Grizzly , Original Sound Track Recording, Music composed and conducted by Robert O. Ragland, Truluv Records,  1976
    Box   44 (oversize)  
    WWPHON-12 Seven Alone , Music composed and conducted by Robert O. Ragland, Truluv Records, [1974]
    Box   44 (oversize)  
    WWPHON-13 to WWPHON-15 Thank You Orson Welles: Motion Picture Relief Fund Inc., Radio Program, Compliments of Gulf Oil Companies , produced by Young and Rubicam, Inc., recorded by Radio Recorders,  December 7, 1941
    Box   44 (oversize)  
    In the American Tradition [Presidential speeches read by Orson Welles], Decca Records,  1945 (3-record set, all records broken and separated from the collection, but original album packaging retained)
    Box   43 (oversize)  
    12-inch acetate records
    Box   43 (oversize)  
    WWPHON-16 "Prog.: Final graveyard scene Lucia DeLammermoor; Client: Allied Artists,"  November 12, 1959 (Audiodiscs, Audio Devices, Inc.)
    Box   43 (oversize)  
    WWPHON-17 "Prod: Allied Artists --  5908 Title: Pay or Die ; Lucia," [1960] (Presto Recording Company, 33 and 1/3 rpm)
    Box   43 (oversize)  
    WWPHON-18 "#7126 28A" / "1126 46B"  undated (Presto Recording Company)
    Box   43 (oversize)  
    WWPHON-19 "1126 28A" / "1126 46B Please don’t K -- M"  undated (Presto Recording Company, 78 rpm)
    Box   43 (oversize)  
    WWPHON-20 "1126 28 29,"  undated (Presto Recording Company)
    Box   43 (oversize)  
    WWPHON-21 "Caminante copy,"  February 3, 1947 (Prest Recording Company)
     
    Soft vinyl flexi records (mostly 7")
     
    From envelope labeled "Richard Wilson; Personal & confidential"
    Box   43 (oversize)  
    WWPHON-22 "1840 Notes #1" / "1904"
    Box   43 (oversize)  
    WWPHON-23 "1805 A Pick up with other side" / "1805 C"
    Box   43 (oversize)  
    WWPHON-24 "1805  1840 #2" / "1839 2;  1805 3"
    Box   43 (oversize)  
    WWPHON-25 "6027 1;  1904 3" / "1904 2"
    Box   43 (oversize)  
    WWPHON-26 "1839 1;  1904 4" / "6027 3;  6207 2nd cut"
    Box   43 (oversize)  
    WWPHON-27 "1842 2"
    Box   43 (oversize)  
    WWPHON-28 "1842 1"
    Box   43 (oversize)  
    WWPHON-29 "LCB Do this as marked!  1808 both cuts"
    Box   43 (oversize)  
    WWPHON-30 "1653 3"
    Box   43 (oversize)  
    WWPHON-31 "1653 1" / "2"
    Box   43 (oversize)  
    WWPHON-32 "Ma & Pa [Kettle] notes 1"
    Box   43 (oversize)  
    WWPHON-33 "RK 1" / "Fables 2"
    Box   43 (oversize)  
    WWPHON-34 [unlabeled]
    Box   43 (oversize)  
    WWPHON-35 "Fables 1" / "RK 2"
    Box   43 (oversize)  
    WWPHON-36 [unlabeled]
    Box   43 (oversize)  
    WWPHON-37 "1908 1;  1839 2;  1940 2" / "1839 1; 1805"
    Box   43 (oversize)  
    WWPHON-38 "Man Malone [?] 2"
    Box   43 (oversize)  
    WWPHON-39 "Malone"
    Box   43 (oversize)  
    WWPHON-40 "1904 R-1" / "2"
    Box   43 (oversize)  
    WWPHON-41 "1797 1"
    Box   43 (oversize)  
    WWPHON-42 "1795 1" / "2"
    Box   43 (oversize)  
    WWPHON-43 "Ma & Pa Kettle 1" / "2"
    Box   43 (oversize)  
    WWPHON-44 "5"
    Box   43 (oversize)  
    WWPHON-45 [unlabeled]
    Box   43 (oversize)  
    WWPHON-46 "Not typed notes on 6 page line" / "1"
    Box   43 (oversize)  
    WWPHON-47 "W"
    Box   43 (oversize)  
    WWPHON-48 "S of C 4"
    Box   43 (oversize)  
    WWPHON-49 "S of C 3" / "4"
    Box   43 (oversize)  
    WWPHON-50 "S of C 1" / "2"
    Box   43 (oversize)  
    WWPHON-51 "2"
    Box   43 (oversize)  
    WWPHON-52 [unlabeled]
    Box   43 (oversize)  
    WWPHON-53 "Cattle Kate 2"
    Box   43 (oversize)  
    WWPHON-54 "DC" / "FF"
    Box   43 (oversize)  
    WWPHON-55 "AD 4,"  January 18, 1953
    Box   43 (oversize)  
    WWPHON-56 "A.D. 1 Notes,"  January 18, 1953
    Box   43 (oversize)  
    WWPHON-57 "AD 2" / "AD 3,"  January 18, 1953
    Box   43 (oversize)  
    WWPHON-58 "SS symap #1"
    Box   43 (oversize)  
    WWPHON-59 "Sin #4 1" / "#1, #4, 2"
    Box   43 (oversize)  
    WWPHON-60 "June au [?] notes G.S.," October 13, [ca. 1950s]
    Box   43 (oversize)  
    WWPHON-61 "Bernie 6 on Whipland [ ?]" / "DuZancy [?] notes"
    Box   43 (oversize)  
    WWPHON-62 "Whiphand 2,"  October 28, 1951
    Box   43 (oversize)  
    WWPHON-63 "Whiphand 1,"  October 28, 1951
     
    From SoundScriber Recording Discs box (50 rpm?)
    Box   43 (oversize)  
    WWPHON-64 [unlabeled]
    Box   43 (oversize)  
    WWPHON-65 "41" / "42"
    Box   43 (oversize)  
    WWPHON-66 "43" / "44"
    Box   43 (oversize)  
    WWPHON-67 "45" / "46"
    Box   43 (oversize)  
    WWPHON-68 "47" / "48"
    Box   43 (oversize)  
    WWPHON-69 "49" / "410"
    Box   43 (oversize)  
    WWPHON-70 "4-11"
    Box   43 (oversize)  
    WWPHON-71 "R1" / "R2"
    Box   43 (oversize)  
    WWPHON-72 "R3" / "R4"
    Box   43 (oversize)  
    WWPHON-73 "R5" / "R6"
    Box   43 (oversize)  
    WWPHON-74 "7" / "8"
    Box   43 (oversize)  
    WWPHON-75 "9" / "10"
    Box   43 (oversize)  
    WWPHON-76 "10"
    Box   43 (oversize)  
    WWPHON-77 "Macbeth sp[?] notes #1"
    Box   43 (oversize)  
    WWPHON-78 "Macbeth sp[?] notes 3"
    Box   43 (oversize)  
    WWPHON-79 "Macbeth sp[?] notes 5"
    Box   43 (oversize)  
    WWPHON-80 "[Charles] Feldman, [Richard] Wilson phone conversation; Feldman’s reactions re. Macbeth and Ibert payments also Shadow Situation,"  March 23, 1947
    Box   43 (oversize)  
    WWPHON-81 to WWPHON-86 "Hyde -- [Richard] Wilson -- tel[ephone] Carmen ,"  December 26, 1946
    Box   43 (oversize)  
    WWPHON-87 "1" / "2,"  undated
     
    45s
    Box   43 (oversize)  
    WWPHON-88 "Over the Airwaves: The Ballad of Grovers Mill," Tom Marolda, Produced by Marolda for the War of the Worlds Commemorative Committee, Inc. [for the 50th anniversary of the War of the Worlds broadcast], Songgram Music,  October 1988
     
    Audio laserdisc
    Box   43 (oversize)  
    WWALD-1 Theatre of the Imagination: Radio Stories by Orson Welles & The Mercury Theatre , The Voyager Company,  1988
     
    Motion pictures [series]:

    The motion pictures (5 linear ft. + oversize) in the Richard Wilson -- Orson Welles Papers largely date from the 1970s and 1980s and are organized by format.

    The film materials in this collection were primarily generated by Richard Wilson’s production and directing activities as well as his personal life, which is represented in many Super-8 home movies. The notable exceptions to this are: 3 reels of 16mm Super-X Panchromatic Safety Film dating from 1940 that were purchased in Mexico and shipped to R. A. Baer at RKO in Hollywood (Richard Wilson's wrote short labels on each box); and two reels of 8mm Super-X Panchromatic Safety Film dating from the 1940s purchased in Hollywood that are marked as being from Marshall Head.

    Materials relating to the production of It’s All True (1993) and Four Men on a Raft (1988), Orson Welles-related interviews, tributes, and documentaries, and material relating to a television program World of Magic make up the bulk of the videocassettes.

     
    Film
     
    35 mm film
    Box   45  
    WWFILM-1 and WWFILM-2 [2 reels of unidentified Hermes footage],  July 7, 1976 (TVC Laboratories receipts; positive and negative prints)
    Box   46  
    WWFILM-3 to WWFILM-5 [3 reels of unidentified Hermes footage], [1974 ?] and  March 18, 1975 (originally in Consolidated Film Industries bags)
    Box   47  
    WWFILM-6 to WWFILM-9 [4 reels of unidentified Hermes footage], [1972 ?], (labeled "Hermes 101; D705…," two boxes include work receipts from Consolidated Film Industries)
    Box   40  
    WWFILM-46 to WWFILM-47 [2 reels of unidentified Hermes footage],  July 6, 1972 (marked 1 and 2; rolls 54 and 55e labeled "Hermes-1:00 Rm 'C'" and "Hermes 101 D705-54C" first image on one reel is of lifeguard tower and identifies the director as Richard Wilson and cameraman as Horvath)
    Box   40  
    WWFILM-48 1 box of 12 small reels of 35 mm film with no identification, but film is all date coded  1972 some reels appear to have footage of cars
    Box   40  
    WWFILM-49 to WWFILM-50 [2 reels of unidentified Hermes footage], [1976] (marked 73 on side of boxes, and 705 and Hermes on top of boxes; roll 37 (Night Only) and roll 38 (day/night); roll 38 has rush sticker and "1:30 Room 7)," note inside box that reads: "Hermes Prod. D 705-38C Fog spot 4 ft. from end of roll #3-E54x02108"
    Box   51  
    16 mm
    Box   51  
    WWFILM-43 to WWFILM-45 Wall of Noise , [1963] (3 reels on  1600 ft metal spools in box shipped from John P. Hermes to Jere Guldin)
     
    16 mm Super-X Panchromatic Safety Film
    Box   47  
    WWFILM-10 "#1" shipped to R. A. Baer, RKO, Hollywood, [1941] (retail label on front: "American Photo, Madero 43, Mexico")
    Box   47  
    WWFILM-11 "#2 River Santiago T Agua Dulce" shipped to R. A. Baer, RKO, Hollywood, [1941] (retail label on front: "American Photo, Madero 43, Mexico")
    Box   47  
    WWFILM-12 "#3" shipped to R. A. Baer, RKO, Hollywood, [1941] (retail label on front: "American Photo, Madero 43, Mexico")
     
    8 mm (Super-X Panchromatic Safety Film -- 8)
    Box   47  
    WWFILM-13 "From Marshall Head, 716 Irving Blvd., Hollywood," [1940s] (retail label: "Hollywood Camera Exchange,  1600 Cahuenga, Hollywood 3651")
     
    Super 8
    Box   47  
    WWFILM-14 "Redwoods in the snow,"  April, 1971
    Box   47  
    WWFILM-15 "Ruth’s farewell picnic,"  April, 1974
    Box   47  
    WWFILM-16 "Pyramid Lake -- Beautiful,"  1969
    Box   47  
    WWFILM-17 " ? -- Lamas; Chris -- Faith; Clare -- Norm,"  September 4, 1976
    Box   47  
    WWFILM-18 "Final shots Rudi D-Love Life Locations; at Chris/Barb ceremony [?]"  March 20, 1977
    Box   47  
    WWFILM-19 "Love Life all beach set ups," [1977 ?]
    Box   47  
    WWFILM-20 "Mono Lake,"  April 1977
    Box   47  
    WWFILM-21 "L[ove] L[ife] beach set ups & baby," May,  1972
    Box   47  
    WWFILM-22 "Ski Hut Unlabeled,"  January, 1968
    Box   47  
    WWFILM-23 "Unlabeled,"  January 1968
    Box   47  
    WWFILM-24 "R8 (unlabeled)," [1968 ?]
    Box   47  
    WWFILM-25 "1. Petaluma adobe (exteriors) 2. Picturesque 2nd storey [?] 3. Brief -- Pyramid Lake,"  1969
    Box   46  
    WWFILM-26 "L[ove] L[ife] 4th of July nite,"  July 4, 1971
    Box   46  
    WWFILM-27 "Ruth -- Faith & Ole; BW [Elizabeth Wilson] & RW [Richard Wilson] at Highgate Rd.; Balboa Ave. (backlit) solar building,"  undated
    Box   46  
    WWFILM-28 "Faith _ Clare -- Kite -- Chris -- Barbara,"  April 1976
    Box   46  
    WWFILM-29 "Chris -- Faith visit; Colorado-Dick, Betty [Richard Wilson and Elizabeth Wilson]
    Box   46  
    WWFILM-30 "CIA film of strange lady -- (panning of Rome & Naples)," [1975 ?]
    Box   46  
    WWFILM-31 [Unlabeled], [1970s ?] (with note: "Dick I found this film behind books near door")
    Box   46  
    WWFILM-32 "Xmas  1975 (& few feet of Time Jordan last),"  1975
    Box   46  
    WWFILM-33 [Unlabeled], [1977 ?]
    Box   46  
    WWFILM-34 "1975 Xmas (plus Tim Jordan test),"  1975
    Box   46  
    WWFILM-35 "#2 Chris -- Barb Wedding ceremony,"  March 1977
    Box   46  
    WWFILM-36 "#3 shots of Grandparents,"  March 20, 1977
    Box   46  
    WWFILM-37 "Aspen -- sand dune -- Aztec ruins -- Canyon de Chelly -- Walnut Creek -- ’74 fire -- Lake Tahoe,"  October 1974
    Box   46  
    WWFILM-38 "Baby #2; Faith #2,"  1971-1973
    Box   46  
    WWFILM-39 "Baby #1,"  September 1970
    Box   46  
    WWFILM-40 "Japan,"  November 1972
    Box   46  
    WWFILM-41 "Inspiration Point,"  1941
    Box   46  
    WWFILM-42 [unlabeled],  undated
     
    VHS Videotapes
     
    It’s All True / "Four Men on a Raft"
    Box   48  
    WWVID-1 to WWVID-30 " It’s All True Reels 1-34,"  February 1986 (Reels 21-24 missing; UCL Video) (30 tapes)
    Box   49  
    WWVID-31 to WWVID-41 " It’s All True Reels 36-46,"  February 1986 (Reel 35 missing; UCL Video) (11 tapes)
    Box   49  
    WWVID-55 " ‘Four Men’ (unedited) Fortaleza footage"
    Box   49  
    WWVID-56 "Fanto Interview,"  undated
    Box   49  
    WWVID-57 "Yemanye [?] Ritual -- Foraleza; Interview -- Edmar Morel; Interview -- Grande Otelo, Rio de Janeiro,  August 1989 Directed by Catherine Benamou, Videography by Marcos Bonisson,"  March 25, 1990
    Box   49  
    WWVID-58 "Krohn -- Meisel -- Shot in Brazil It’s All True B.G. in Fortaleza,"  1993 (accompanied by letter from William Krohn to Elizabeth Wilson)
    Box   49  
    WWVID-59 "Copy Brazilian ‘Nem Tuod Éverdade,’"  November, 1986
    Box   49  
    WWVID-60 "4 Men on Raft,"  undated
    Box   49  
    WWVID-61 " It’s All True Reel 9 w/ audio & visual time code,"  undated
    Box   49  
    WWVID-62 "O Globo footage RW & EW (Fortaleza),"  March 31, 1981 [?]"
    Box   49  
    WWVID-63 "VHS of O Globo," [1980s-1990s]
    Box   49  
    WWVID-64 " It’s All True ," [1980s -- 1990s]
    Box   49  
    WWVID-65 "New IAT [ It’s All True ] Neg to Pos,"  June 1986
    Box   49  
    WWVID-66 "Fountain of Youth / 4 Men on a Raft," [1980s -- 1990s]
    Box   49  
    WWVID-67 " Entertainment Tonite L. Maltin [Leonard Maltin] on Orson Welles ‘4 Men Footage;’ R. Wilson [Richard Wilson] interview,"  1988 [?]
    Box   49  
    WWVID-68 "South American Journey Rio Carnival (85) PBS,"  August 12, 1987
    Box   49  
    WWVID-69 " It’s All True Four Men on a Raft 22:08 VHS NTSC DUB American Film Institute,"  July 18, 1986
     
    Orson Welles
    Box   49  
    WWVID-70 " Orson Welles: What Went Wrong , Robert Guenette Productions, Inc."  November 10, 1992 (tape in case labeled "Danny Aiello is The Closer [?])
    Box   49  
    WWVID-71 "Remembering Orson" [1980s-1990s] (attached note: "RW’s [Richard Wilson’s] turn at mike late-good but in profile. Don’t use")
    Box   49  
    WWVID-72 " Monitor interview: Welles on The Trial (ca. 20 min)," [1980s-1990s]
    Box   49  
    WWVID-73 " Chimes at Midnight [?] Orson Welles,"  1966 [?]
    Box   49  
    WWVID-74 " Cradle Will Rock ," [1980s-1990s]
    Box   50  
    WWVID-75 " Remembering Orson ," [1980s -- 1990s]
    Box   50  
    WWVID-76 "The American Film Institute Salute to Orson Welles," [1975]
    Box   50  
    WWVID-77 "Les Dossiers Noirs -- The Real Citizen Kane: William R. Hearst ; Une emission emission écrite et réaliséc par Jean Michel Charlier, coproducer Sheram Grinberg, " [1980s-1990s] (accompanied by sheet with production information)
    Box   50  
    WWVID-78 "Orson Welles last interview The Cradle Will Rock (Houseman) Journey Into Fear ," [1980s-1990s]
     
    Richard Wilson
     
    World of Magic
    Box   50  
    WWVID-42 "Pegicorn Video Wonder of Magic A 25:00 promotional reel VHS copy #1", [1980s]
    Box   50  
    WWVID-43 "Pegicorn Video World of Magic dailies ‘Mysteries of the Masters’ #3A,"  December 7-8, 1982
    Box   50  
    WWVID-44 "Pegicorn Video World of Magic dailies #3B ‘Mysteries of the Masters’," [December 7-8, 1982]
    Box   50  
    WWVID-45 "Pegicorn Video World of Magic dailies roll 3C ‘Mysteries of the Masters’,"  December 7-8, 1982
    Box   50  
    WWVID-46 "Pegicorn Video dailies World of Magic ‘Apprentices #1,"  December 7, 1982
    Box   50  
    WWVID-47 "Pegicorn Video dailies World of Magic ‘Apprentices’ #2,"  December 7, 1982
    Box   50  
    WWVID-48 "Pegicorn Video Corp. The Wonder of Magic off-line editing copy -- Juniors #1 & 2 Masters # 1 & 2 -- New Dimensions in Magic," [1980s]
    Box   50  
    WWVID-49 " The Wonder of Magic 2/5/82; New Dimensions off-line copy 2-20-83,"  February 5, 1982 and  February 20, 1983
    Box   50  
    WWVID-50 "Pegicorn Video World of Magic Living Legends #1 12-8-82 dailies,"  December 8, 1982
    Box   50  
    WWVID-51 "Pegicorn Video Corp. The Wonder of Magic Living Legends II off-line copy,"  March 8, 1983
    Box   50  
    WWVID-52 "Pegicorn Video World of Magic dailies Apprentices #3, Dimensions in Magic #3, audience camera begin. of tape #1,"  December 7, 1982
    Box   50  
    WWVID-53 "Pegicorn Video World of Magic Living Legends #2, Dimensions in Magic #2, Audience in palace, Mysteries of the Masters #2,"  December 7-9, 1982
    Box   50  
    WWVID-54 "Pegicorn Video World of Magic dailies Dimensions in Magic #1/Film to tape transfer of Houdini, castle interviews, etc., Mysteries #1, Entrance palace,"  December 9, 1982
    Box   50  
    WWVID-84 "Pegicorn Video Corp. The Wonder of Magic off-line Masters I; Pelifilm Prod. Part Time Heroes , Experiencing America History ,"  February 20, 1983
    Box   50  
    WWVID-79 "Interview for Citizen Kane Laserdisc supplement; The Voyager Co. [Criterion] Richard Wilson,"  September 18, 1990
    Box   50  
    WWVID-80 "Chris Wilson Films 8mm film xfer, Part 1 of 1 CH 1 & 2 = MOS...Film Technology Company, Inc.,"  December 14, 1999
    Box   50  
    WWVID-81 " Secrets (Bissett) R. W.’s [Richard Wilson’s] editing…Lone Star Pictures International, Inc.,"  1978
    Box   50  
    WWVID-82 "Remainder of reel after ‘Reporter’," [1980s-1990s]
    Box   50  
    WWVID-83 " Sightings Show #3-003 Final edited master (45:43)," [1980s -- 1990s]
     
    Miscellaneous
    Box   50  
    WWVID-85 "2," [1980s -- 1990s]
    Box   50  
    WWVID-86 "Harvesting timber in the rain forest," [1980s -- 1990s]
    Box   50  
    WWVID-87 "17-34," [1980s -- 1990s]
    Box   50  
    WWVID-88 "Sanford Meisner The Theater’s Best Kept Secret ," [1980s-1990s]
    Box   50  
    WWVID-89 [Unlabeled], [1980s -- 1990s]
     
    Laserdiscs
    Box   43  
    WWLD-1 to WWLD-2 The Magnificent Ambersons , Criterion Collection,  1986
    Box   43  
    WWLD-3 to WWLD-5 Citizen Kane , Criterion Collection,  1984
     
    Computer disks [series]:

    The Computer disks series (0.2 linear ft) consists of forty-six 5.25" floppy disks belonging to Richard Wilson. An unsuccessful attempt was made during processing to read these disks in the hopes of printing out their contents. Based on the disks’ labels, most disks appear to contain drafts of Wilson's writings and correspondence.

     
    5.25-inch
    Box   52  
    "Love + Curses,"  March 29, 1990
    Box   52  
    "Love & Curses,"  June 3, 1990
    Box   52  
    "Love & Curses,"  May 16, 1990
    Box   52  
    "Love & Curses,"  May 25, 1990
    Box   52  
    "Love & Curses; Copy Press…,"August 22,  1989
    Box   52  
    "Love & Curses,"  June 15, 1990
    Box   52  
    "Love & Curses Press…,"  October 7, 1988
    Box   52  
    "Love & Curses,"  undated
    Box   52  
    "Love & Curses; R. Wilson, T. Hoffs, E. Daley, J. Hoffs -- Readers,"  October 25, 1989
    Box   52  
    The Maze Man drafts,  1985-1986 and  undated (set of 6 disks)
    Box   52  
    "Novel Chap 11 thru Chapter 19…,"  1985
    Box   52  
    "Chapters 3-10 MAN1…," [1985-1986]
    Box   52  
    "Lady,"  November 8, 1990
    Box   52  
    "BBC interview -- Welles -- on Word 5,"  undated
    Box   52  
    "Correspondence 1A,"  undated
    Box   52  
    "Correspondence 2 [?],"  undated
    Box   52  
    "Correspondence III,"  undated
    Box   52  
    "Correspondence IV,"  undated
    Box   52  
    "Correspondence V,"  undated
    Box   52  
    "Welles9.doc (1915-1951) software program: Microsoft Word,"  undated
    Box   52  
    "Dick in Arles,"  July 1990
    Box   52  
    "Copy 2GM [?] …Revised,"  July 1985
    Box   52  
    "Copy: 1GM [?],"  July 1985
    Box   52  
    "2GM,"  undated
    Box   52  
    "Copy GM-4 [?] Reading Ver.,"  undated
    Box   52  
    "Copy 1GM [?] for reading ver.,"  undated
    Box   52  
    "Journal -- IAT #3,"  undated
    Box   52  
    "Copy Journal IAT -- 2,"  undated
    Box   52  
    "Uniform,"  undated
    Box   52  
    "[?]",  undated
    Box   52  
    "Full,"  undated
    Box   52  
    [Unlabeled],  undated
    Box   52  
    "F,"  undated
    Box   52  
    "W3 -- (Old Sanyo for M3M Compatible),"  undated
    Box   52  
    [Unlabeled],  undated
    Box   52  
    "F,"  undated (3 disks)
    Box   52  
    ".exe [?],"  undated
    Box   52  
    "Formatted -- Word; IAT Rushs; IAT Shots.doc; Brazarch.doc,"  undated
     
    Realia [series]:

    The Realia series (0.8 linear ft + oversize) consists of miscellaneous three-dimensional artifacts, mostly belonging to Richard Wilson and dating from the 1980s. A notable exception to this is an official "Mercury Enterprises, Inc." seal maker from the 1940s and a large wood and paper fan autographed by Orson Welles. Other artifacts include various Super-8 filmmaking accessories and souvenirs from the 50th anniversary of the War of the Worlds broadcast.

    Box   52  
    Mercury Enterprises, Inc., official seal maker (metal), [1940s]
    Box   52  
    Cloth accordion envelope formerly housing Mercury Productions story synopses, [1940s-1950s ?]
    Box   52  
    "Citizen Welles" button, [1989]
    Box   52  
    "The Martians are coming again! Grovers Mill NJ" button for 50th anniversary of the War of the Worlds broadcast,  October 1988
    Box   52  
    Glow-in-the-dark head band set for 50th anniversary of the War of the Worlds broadcast, Grovers Mill NJ, [October 1988]
    Box   52  
    Kodak Movie Album "For filing Twelve 50-ft Movie Reels 8mm or Super 8,"  undated (contains 3 empty reels and Super 8 press tape)
    Box   52  
    Scotch splicing tape, [1960s-1970s]
    Box   52  
    Slow blowing Fusetron fuses,  undated (2 packages 4, 1 package of 5)
    Box   52  
    Super 8 cans,  undated (with empty reels, metal painted bronze, one with "Miko Camera" pricetag)
    Box   61  
    Wood and paper painted white oversized fan signed by Orson Welles in black paint
     
    Bill Krohn It’s All True (1993) [series]:

    The Bill Krohn It’s All True series (2 linear ft.) consists of materials created by Bill Krohn in the course of his work as a co-director of It’s All True (1993). Scripts, research and production records, and photographs and slides document the creation of the 1993 documentary, which Bill Krohn finished with Myron Meisel, Jean-Luc Ormieres, and Catherine Benamou after Richard Wilson, the primary, driving force of the film, passed away in 1991. A few personal items and drafts of Bill Krohn’s articles on Richard Wilson and Orson Welles for Cahiers du Cinema are also included.

     
    Scripts
    Box   53  
    Second draft final and Third draft,  March 31, 1989 and  November 6, 1987 (annotated photocopies; includes inventory of It’s All True film cans)
    Box   53  
    Second draft with production notes,  November 6, 1987
    Box   53  
    Script,  March 31, 1989 (annotated photocopies)
    Box   53  
    Synopsis, [1980s-1990s] (annotated photocopies, with inscription to Monte)
    Box   53  
    Synopsis with production notes, [1980s-1990s] (photocopies)
    Box   53  
    Script, [1990s] (photocopies)
    Box   53  
    Script fragments, [1990s]
     
    Research
    Box   53  
    Catherine Benamou doctoral dissertation materials,  1991
    Box   53  
    "Catherine [Benamou]’s research,"  1991-1993 (formerly in binder)
    Box   53  
    Interview transcripts, logs, and notes,  1988-1992 and  undated (2 folders)
    Box   53  
    Notes and fragments, [1980s-1990s]
    Box   53  
    Partial transcript of Orson Welles interview [with Peter Bogdanovich?] (annotated photocopies),  undated
    Box   53  
    Photocopies of  1930s-1950s Mercury Productions/Orson Welles documents, [1980s-1990s] (6 folders)
    Box   53  
    Photocopies of books and articles, [1980-1990s]
    Box   53  
    Photocopies of book and essay drafts, [1980s-1990s]
    Box   53  
    Photocopies of photographs, [1980s-1990s]
    Box   53  
    Photocopies of Richard Wilson research documents,  1986 and  undated
    Box   53  
    Statements and essays by George Fanto (annotated photocopies),  1986 and  undated
    Box   53  
    Footage inventories and descriptions,  1991-1992 and  undated (mostly from binder labeled "Footage Information")
    Box   54  
    Footage inventories and descriptions,  1991-1992 and  undated (mostly from binder labeled "Footage Information") (2 folders)
    Box   54  
    Production, post-production, and research correspondence,  1985-1994 and  undated (2 folders)
    Box   54  
    Production and post-productions documents and notes, 19851993 and  undated (2 folders)
    Box   54  
    Contracts,  1992-1993
    Box   54  
    Legal title materials,  1985-1992
     
    Publicity
    Box   54  
    Album of French articles and reviews, [1994]
    Box   54  
    Drafts of "Advanced Production Notes" (informational pamphlet on film) [1990s]
    Box   54  
    French leaflet, [1994]
    Box   54  
    Handbill, [1993-1994 ?]
    Box   54  
    Reviews and distribution lists,  1993-1994
    Box   54  
    Press releases,  1993
    Box   54  
    Oversize French posters, [1994]
    Box   54  
    Los Angeles Film Critics Association Achievement Awards program,  1994
    Box   54  
    Writings on It’s All True by Bill Krohn (annotated typescripts and photocopies of articles), 1986-[ca. 1993]
    Box   54  
    Photograph and negatives of  1940s newspaper articles,  1993
    Box   54  
    Photographs of locations in Rio [de Janeiro], [1990s] (2 folders)
     
    Slides
    Box   54  
    Jangadeiros’ families and coco dancers, Fortaleza, Brazil, by Roberta Marques  January, 1993
    Box   54  
    Jangada Museum, Fortaleza, Brazil by Roberta Marques,  January 1993
    Box   54  
    Jangada Museum, Fortaleza, Brazil, Albuquerque brothers -- Renando [?] Pinto, crew on location, by Roberta Marques,  January 1993
    Box   54  
    Jangada Museum, Fortaleza, Brazil, Maria do Carnio de Souza Family Archive by Roberta Marques,  January 1993
    Box   54  
    Marcos Bonisson Reprophotos Welles’s It’s All True ,  1993
    Box   54  
    Production stills Fortaleza, Brazil by Roberta Marques,  January 1993
    Box   54  
    Production stills Rio de Janeiro, Brazil by Marcos Bonisson,  January 1993
    Box   54  
    Tata’s scrapbook photographed by Roberta Marques, Fortaleza, Brazil,  January 1993
     
    Other materials
    Box   54  
    Clippings and articles on Orson Welles and the  1986 Cannes Film Festival,  1986-1988
    Box   54  
    Clippings and articles on Paramount Pictures,  1987-1993
    Box   54  
    "Cy Endfield on audiocassettes (edited transcript)" (printout),  undated
    Box   54  
    Miscellaneous personal,  1994 and  undated
    Box   54  
    Photocopy of transcript of Orson Welles interviewed by Bill Krohn, [1982]
    Box   54  
    Taxes,  1992 (includes memos and receipts from It’s All True business expenses)
    Box   54  
    Tributes to Richard Wilson by Bill Krohn (annotated typescripts and photocopies),  1991
    Box   54  
    Writings on Orson Welles by Bill Krohn (annotated typescripts, printouts, and photocopies), [1980s-1990s]