Orson Welles - Oja Kodar Papers (1910-2000, bulk 1965-1985)

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• Summary Information
• Access and Use
• Biography
• Arrangement
• Collection Scope and Content Note
• Subject Terms
• Contents List
• Theater
• Radio
• Film
• Television
• Other projects
• Magic
• Name and topical
• Personal
• Oja Kodar
• Sound
• Motion Picture
• Realia
• Clippings and articles
• Additions to the Welles-Kodar Papers (2015)
• Additional Descriptive Data

Summary Information

Title: Orson Welles - Oja Kodar Papers
Creator: Welles, Orson, 1915-1985 Creator: Kodar, Oja
Inclusive dates: 1910-2000
Bulk dates: 1965-1985
Extent: 41.5 Linear feet (27 record center boxes, 15 manuscript boxes, 4 flat oversize boxes, and 1 oversize drawer )
Extent: 27 record center boxes, 15 manuscript boxes, 4 flat oversize boxes, and 1 oversize drawer
Abstract:

The Orson Welles – Oja Kodar Papers includes scripts, production documents, photographs, and other materials from Orson Welles's work in film and other media. General correspondence, topical files, papers related to Oja Kodar, and personal materials also make up a portion of collection. The bulk of the papers date from the 1960s to the 1980s with a smaller amount of material from the 1930s-1950s. The Additions to the Welles-Kodar Papers series, acquired in 2015, complements the scripts, correspondence and photographs already held, but also include annotated typescripts of drafts for a planned memoir, additional on-the-set photographs from films, television, and other projects, personal photographs, and documents from collaborations between Welles and Kodar.

Call number: welleskodar
Language: The material is in English.
Repository: University of Michigan Library (Special Collections Research Center), Screen Arts Mavericks & Makers

Access and Use

Access Restrictions:

The collection is open for research.

Copyright:

Copyright has not been transferred to the Regents of the University of Michigan. Permission to publish must be obtained from the copyright holder(s).

Preferred Citation:

Orson Welles - Oja Kodar Papers, University of Michigan Library (Special Collections Research Center)

Collection History

Acquisition Information:

Acquired from Oja Kodar, 2005 and 2015.

Arrangement

The Welles-Kodar Papers has been divided into fourteen series:

1. Theater
2. Radio
3. Film
4. Television
5. Other projects
6. Magic
7. Name and topical
8. Personal
9. Oja Kodar
10. Sound
11. Motion pictures
12. Realia
13. Articles and clippings
14. Additions to the Welles-Kodar Papers (2015).

Biography

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 A merican 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

OJA KODAR (Olga Palinkas), 1941-

Oja Kodar was born as Olga Palinkas on the Dalmatian coast of Yugoslavia. As a young woman, she worked in film in television in Belgrade. She then studied sculpture at the Academy of Fine Arts in Zagreb. She first met Orson Welles in 1961 when he was filming The Trial. They developed a relationship but parted ways for several while Welles continued his work. In 1963, Oja left Zagreb to study sculpture at Ecole des Beaux Arts in Paris. They resumed their relationship sometime around 1967-1968.

The first of Welles's films in which Kodar appeared was The Deep (1967-1970). Thereafter, Kodar worked on many of Welles's film projects, including F for Fake, The Other Side of the Wind, The Dreamers, The Magic Show, and The Big Brass Ring. Kodar worked in various capacities including actress, lead actress, co-author, and author. At the time of this finding aid's writing, Oja Kodar lives and works in Croatia.

Collection Scope and Content Note

The Orson Welles - Oja Kodar Papers primarily document the creative activities of Orson Welles during the last two decades of his life. The papers also contain a smaller amount of materials from the 1930s through the early 1960s. The materials in this collection were obtained from Oja Kodar, his companion and creative collaborator from the 1960s until his death in 1985. Additional papers were acquired in 2015 and are described below in the Additions to the Welles-Kodar Papers series.

The Welles-Kodar Papers have been divided into thirteen series: Theater, Radio, Film, Television, Other projects, Magic, Name and topical, Personal, Oja Kodar, Sound, Motion pictures, Realia, and Articles and clippings. Though much of the collection was loose and unordered, any parts of the collection that were grouped or organized by Welles, his assistants, or Oja Kodar have generally been kept in their original order. The loose, unorganized papers were then arranged according to the patterns that seemed exist in the material that was organized. Essentially, the current organization of the collection is an attempt to more fully implement the organizational schemes that Welles and Kodar were employing in the collection.

The first five series (Theatre, Radio, Film, Television, Other projects) represent the bulk of the collection and are arranged by project. For example, all materials relating to Citizen Kane including correspondence, photographs, and production documents, are kept together, physically and intellectually. The projects are then ordered chronologically. For example, immediately after the Citizen Kane (1941) materials are materials related to Welles' next project, The Magnificent Ambersons (1942). There are two exceptions to this project-based arrangement, where two groups of materials were kept together by production company (Astrophore and Roprama Film). Researchers should also note that Welles often worked on several projects at once so a memo filed, for example, under F for Fake (1974), may touch on Blind Window , which he was working on in roughly the same time period. Browsing through material from projects that occurred during the same general time period may therefore be a useful search strategy for researchers.

The Magic series, consists of a small amount of magic books, scripts for tricks, correspondence with magicians, and playing cards, reflects Orson Welles' strong, life-long interest in magic.

The remaining seven series (Name and topical, Personal, Kodar, Sound, Motion pictures, Realia, and Articles and clippings) contain material not generated during the making or distribution of Welles' creative projects. The Name and topical series consists of an alphabetical set of subject and name files material may range from correspondence with friends to posters from film festivals honoring or featuring Welles's work. The Name and topical series also includes correspondence with many famous filmmakers and actors and actresses. The Personal series contain photographs of Welles and materials relating to childhood friends, family, Welles's houses, and personal legal and financial matters. The Oja Kodar series includes material from her career as a sculptor, scripts she wrote, and some correspondence and personal material.

The final series: Sound, Motion pictures, Realia, and Articles and clippings, are relatively small (taken together they take up roughly 3 linear feet). Some material of note include cigar boxes on which Welles jotted various notes and a set of acetate records which seem to include a rare Welles radio performance.

The Theater series consists of a few files (about .1 linear feet) with he contents made up primarily of photographs and some programs from relatively early in his career, including the Mercury Theatre, as well as some from after he started working in film. Dates span 1934-1960.

In 2015, the library acquired the remaining Orson Welles papers in the possession of Oja Kodar. The Additions to the Wells-Kodar Papers series has been arranged into eleven series, mirroring the arrangement of the papers in the original acquisition. The series are: Theater, Radio, Film, Television, Other Projects, Magic, Name and Topical Files, Personal, Oja Kodar, Biographical Works, Clippings and Articles, and Oversize Photographs.

The Radio series consists of a few files (about .1 linear feet), related to Welles' work in the late 30's and early 1940s, including photographs, scripts, articles, and correspondence.

The Film series is the largest in the added material, comprising ca. 3 linear feet of scripts, drafts, correspondence, articles and clippings, promotional materials, and photographs. Films represented include both those directed by Welles and those directed by others in which he acted or participated. The series is arranged chronologically by film, dated according to their first public showing or general release date. Unfinished or unreleased projects are identified with an approximate date range of the years in the work took place.

The material related to the earliest films from the 1940s and 1950s consists primarily of photographs. Later unfinished films of particular interest include The Deep , Because of the Cats , The Other Side of the Wind , Crazy Weather , Assassin/The Safe House , The Other Man , The Dreamers , Big Brass Ring , and King Lear . Also included is articles, promotional materials, correspondence, and photographs from Don Quixote , filmed on and off from the late 1950's to the early 1970s. Materials are primarily related to the version which was released in 1992 after a the footage was edited and finished by director Jesus Franco, but the photographs are from the original filming.

As with drafts in the earlier accessions, Welles typically worked on scripts in sections, producing successive drafts which he then amended. The collection preserves many pages of these working drafts, which sometimes also include Welles's typed or written notes about the story and characters, along with messages to and from his typists. Minimal reorganization of the papers was done in order to preserve evidence of the process, and there are many files of "drafts" which may contain repetitions and out-of-sequence pages, filed as they were found. As Welles often worked by inserting new pages into older drafts or blending together several different versions of a scene, page numbers may not follow a logical sequence. In many cases no information about the script material was recorded before it was filed away, so dating the drafts is difficult. The dates assigned to this material are approximate. Because of the lack of identifying information on some of the material, a miscellaneous sub-series is included at the end of the series, which includes unidentified photographs and drafts of scripts.

The Television series comprises about .4 linear feet, and includes scripts, photographs, correspondence, and other materials relating to projects that were originally meant for television. This includes The Orson Welles Show , a talk show that only ever shot one episode with guests Burt Reynolds and the Muppets. Aslo included are materials related to Orson's Bag , a collection of short films including Swinging London, Stately Homes, and the Merchant of Venice, the contents of which were eventually released in 1995 as part of The One-Man Band . Other materials reflect the initial stages of a Christmas TV movie and a special for NBC.

The Other Projects series (.1 linear ft.) includes materials related to Welles' non-film related work, including advertising and vioceover work, as well as correspondence about various job offers.

The Magic series (about .5 linear ft.) includes scripts, correspondence, photographs, and other materials related to Orson Welles magic performances, including the Mercury Wonder Show , and television specials The World of Magic and Orson Welles' Magic Show. Also included are collected printed magic tricks, drafts of trick patter that he used during performances, articles and clippings, and drawings of costumes.

The Name and Topical Files series (approximately 1 linear ft.) contains primarily correspondence and various other materials arranged alphabetically by the name of a person, place, event, or subject. The series includes letters from directors and film executives such as Martin Scorsese and August Coppola, actors and actresses such as Charleton Heston and Charles Fawcett, close friends such as Roger Hill and Peter Bogdanovich, and some fans of Welles's work. Also included are posters, programs, and other materials related to film festivals and tributes to welles, including the Cannes International Film Festival and the American Academy of Arts and Letters.

The Personal series (1 linear ft) includes a variety of materials related to Welle's personally, rather than his screen work. This includes drafts of his writing including essays and articles about various topics, including Shakespeare and tributes and remarks about others in the film business, as well as untitled, unidentified drafts. Also in this series are works by others given to or collected by Welles including poems, short stories, and tributes. Most significant is the material from Welles' unpublished memiors, both in draft form and shorter more organized versions, along with notes, correspondence, and photographs meant for the book. Additionally, there are miscellaneous personal documents, including the notes he would write himself with lists of things that needed to be done, and notebooks with similar content as well as several doodles, one a self protrait. Correspondence with his daughters and Oja is also found in this series, as well as personal and family photographs, some from very early in his life.

The Oja Kodar series (approximately .75 linear ft.) consists of materials related to Oja Kodar's work both with and Without Orson Welles, as well as correspondence, and personal matters. The series is divided into subseries for film, writing, name and topical files, and personal. The writing and film subseries both include unpublished drafts of scripts and stories. The personal subseries included several topics related to Orson Welles' estate after his death, including real estate, legal papers related to the dispute over film rights, and Oja's eulogy for Welles. Also included are materials from her sculpture work and photographs.

The Biographical Works series (about .25 linear ft.) includes published and unpublished works about Welles written by others, including a collection of annotated correspondence, "Orson!:An Original Play", drafts of biographies by Jonathan Rosenbaum and Barbara Leaming, and a copy of The Unknown Orson Welles .

The Clippings and Articles series (approximately .5 linear ft.) is a collection of articles and clippings about Welles from various publications including magazines and newspapers. Materials are mainly arranged chronologically from before 1970 to 2014, but also included are folders of undated materials, undated clippings from Croatian/Yugoslavian publications, and photographs clipped from articles.

The Oversize series comprises two oversize boxes with oversize photographs that correspond with materials in the Film, Television, Magic, Personal, and Oja Kodar series and follows the same order. The magic subseries includes pages from a scrapbook with images from vintage magic ephemera together with images of Welles performing magic.

Subject Terms

Genre Terms:

• Clippings.
• Correspondence.
• Drafts (documents)
• Interviews.
• Manuscripts.
• Phonograph records.
• Photographs.
• Radio scripts.
• Screenplays.

Subjects:

• Actors -- United States.
• Magic tricks.
• Motion picture producers and directors.
• Motion pictures -- Production and direction.
• Motion pictures -- United States -- 20th century.
• Radio -- United States -- 20th century.
• Theater -- Production and direction.
• Theater -- United States -- 20th century.

Contents List

Container / Location		Title
		Theater [series]: The Theater series is relatively small (approximately 0.2 linear feet) and consists of materials arranged chronologically by production. It is mostly comprised of photographs and playbills from a variety of the Mercury Theatre productions in the 1930s and 1940s, including The Tragical History of Dr. Faustus , Around the World in 80 Days, and Five Kings .
Box   1		Trilby (1934)
Box   1		Photograph,  1938
		Horse Eats Hats (1936)
Box   1		Photographs, [1936]
Box   Oversize 27		Oversize photograph, [1936]
		The Tragical History of Dr. Faustus (1937)
Box   Oversize 27		Oversize photograph, [1937]
		Danton's Death (1938)
Box   1		Photographs, [1938]
		Heartbreak House (1938)
Box   1		Photograph, [1938]
		Shoemaker's Holiday (1938)
Box   1		Photographs, [1938]
		Too Much Johnson (1938)
Box   1		Playbills, [1938]
Box   1		Program,  1938
Box   1		Photographs and negatives, [1938]
		Five Kings (1939)
Box   1		Program, [1939]
Box   1		Playbill,  1939
Box   1		Photographs and negatives, [1939]
		The Green Goddess (1939)
Box   1		Photographs, [1939]
		Around the World in 80 Days (1946)
Box   1		Program,  1946
Box   1		Playbill, [1946]
Box   1		Legal rights materials,  1982
Box   Oversize 26		Articles and clippings, [1946]
Box   1		Photographs, [1946]
		Macbeth (1947) ("Utah Macbeth")
Box   1		Photographs, [1947] (2.0 folders)
		Faust / An Evening with Orson Welles (1950)
Box   1		Photograph,  1950
		The Blessed and the Damned (1950)
Box   1		Photograph, [1950]
		Radio [series]: The Radio series consists of a handful of files (approximately 0.1 linear feet) consisting of scripts and photographs of radio broadcasts in the 1930s and 1940s as well as some newspaper clippings. The series is arranged chronologically by show and broadcast dates.
		Mercury Theatre on the Air (broadcast )  September 11, 1938-December 2, 1938
		War of the Worlds (broadcast October 30, 1938)
Box   Oversize 27		Articles and clippings,  1938
Box   1		Fan mail,  1938
		Heart of Darkness (broadcast November 6, 1938)
Box   1		Script fragment (pages removed from book, glued on paper and annotated) [1938]
		This is My Best (broadcast )  March 13, 1945-April 24, 1945
		Heart of Darkness (broadcast March 13, 1945)
Box   1		Photographs,  1945
		Franklin Delano Roosevelt memorial remarks (broadcast April 13, 1945)
Box   1		Script (mimeograph),  1945
		The Adventures of Sherlock Holmes (broadcast 1954-1955)
		The Final Problem (broadcast December 21, 1954)
Box   1		Photograph,  1954
		Orson Welles Presents the Movie Moguls (planned for broadcast )  February 21, 1979-April 4, 1979
		Scripts
Box   1		Samuel Goldwyn (annotated photocopy),  1979
Box   1		Harry Cohn (annotated photocopy),  1979
Box   1		David O. Selznick (annotated photocopy),  1979
Box   1		Pre-production letter,  1978
		Multi-project and administrative
Box   1		Miscellaneous photographs of Orson Welles broadcasts, and  1941-1944 undated
		Film [series]: The Film series is the largest series in the collection, consisting of approximately 15.5 linear feet of scripts, production records, correspondence, photographs, and other materials generated by Orson Welles's film work. Much of the material is related to Welles's later films, many of which remain unfinished. These films include The Dreamers , The Other Side of the Wind , The Big Brass Ring , Assassin , and The Cradle Will Rock . The collection also contains material related to earlier films such as Touch of Evil , F for Fake , The Trial, and Citizen Kane . The series is arranged chronologically by film. For example, all materials relating to Citizen Kane including correspondence, photographs, and production documents, are kept together, physically and intellectually. Immediately after the Citizen Kane materials are materials related to Welles's next project, The Magnificent Ambersons. It is important to note that Welles often worked on several projects simultaneously and a memo filed under one project may touch on another project that he was working on at about the same time. For example, materials relating to The Other Side of the Wind also include some references to F for Fake . Researchers may therefore find additional materials by browsing through material from projects that were being worked on during the same time period. Completed films, theatrical productions, and radio broadcasts are dated according to their first public showing or general release date. Unfinished or unreleased projects are identified with an approximate date range of the years in the work took place. Within each project, material is roughly arranged by type and position in the creative process with scripts coming first, then pre-production, production, and post-production documents, and lastly photographs and negatives. It is important to note that there are two groups of files that are exceptions to the project-based arrangement. These two groupings of materials relating to production and investment companies Astrophore & Avenel, and Roprama Film were part of the original order of the collection (i.e. Welles or Kodar or an assistant grouped them in this way). The Astrophore and Avenel material consists of records related to The Other Side of the Wind , F for Fake , Blind Window , and other projects. Roprama Film was a Swiss company established by Welles in 1966. The Roprama files include material related to The Other Side of the Wind , Because of the Cats , and The Deep . Various stages of the writing process, including treatments and stories, are represented in the film scripts in the Welles -- Kodar Papers. Where multiple scripts for a particular project are present, folders of script materials have been placed in presumed chronological order within a project. Welles typically worked on scripts in sections, using a script typing service or secretary to produce successive drafts which he then amended and edited. The collection preserves many pages of these working drafts, which sometimes also include Welles's typed or written notes about the story and characters, along with messages to and from his typists. To preserve as much evidence as possible of his working methods, the archivist performed minimal reorganization of the papers, and there are many files of "draft pages" which may contain repetitions and out-of-sequence pages, filed as they were found. As Welles often worked by inserting new pages into older drafts or blending together several different versions of a scene, page numbers may not follow a logical sequence. After Welles worked on them some pages were placed in folders or envelopes labeled with the state of completion, date, or name of a character or scene, but in many cases no information about the script material was recorded before it was filed away by Welles or Kodar. The precise date of Welles's later corrections and additions to these pages is generally not clear, and there may be multiple photocopies of pages bearing the same typed dates that have different undated hand-written changes. Many of Welles's unfilmed screenplays, like an adaptation of Shakespeare’s King Lear or The Cradle Will Rock (Welles's dramatization of the story of his famous 1937 Federal Theater production) were essentially completed, while a few, like an adaptation of a screenplay about the Robert Kennedy assassination by Donald Freed and Jack Kimbrough, were apparently never finalized. Additional script notes: A film project, The Big Brass Ring was close to production but fell through (though it was filmed by another director after Welles's death). Welles himself also adapted the screenplay as a novella, versions of which closely resemble the screenplay with the shooting directions removed. The novella drafts are filed after the screenplay. Welles worked on The Other Side of the Wind for a number of years before its completion was blocked by problems with a financial backer. There are numerous versions of its script, including a "Lined Script" with editor’s notes about footage that had been shot to that time. Numerous later drafts show that the film continued to evolve afterwards.
		Heart of Darkness (1939)
Box   1		Pre-production materials,  1939
Box   1		Photographs,  1939
		Citizen Kane (1941)
Box   1		Souvenir program,  1941
Box   Oversize 26		Articles and clippings,  1941
Box   1		Advertising and publicity,  1941
Box   1		Photographs,  1941 (6.0 folders)
		The Magnificent Ambersons (1942)
Box   1		Production document,  1942
Box   1		Post-production materials,  1942
Box   1		Advertising and publicity, [1942]
Box   1		Clipping,  1942
Box   1		Photographs and negatives,  1942 (3.0 folders)
		It's All True (1942)
Box   1		Script for "Casino Urca" segment (annotated typescript),  March 23, 1942
Box   1		Production materials,  1942
Box   1		Clipping,  1942
Box   1		Photographs and negatives,  1942 (3.0 folders)
		Journey Into Fear (1943)
Box   1		Photographs,  1942
		Follow the Boys (1944)
Box   1		Legal rights materials,  1984
Box   1		Photographs,  1943 (2.0 folders)
		Tomorrow is Forever (1945)
Box   1		Script fragment (annotated mimeograph),  1945
Box   1		Photographs,  1945
		The Stranger (1946)
Box   1		Script fragment (annotated typescript), [1946]
Box   Oversize 27		Pressbook (O.W.'s copy),  1946
Box   Oversize 27		Articles and clippings, [1946 ?]
Box   Oversize 27		Photograph, [1946 ?]
Box   1		Photograph, [1946 ?]
		Macbeth (1948)
Box   1		Reviews (mimeograph), [1950 ?]
Box   Oversize 26		Articles & clippings, [1948 ?]
Box   1		Photographs, [1948]
		The Lady from Shanghai (1947)
Box   1		Partial script (handwritten) and fragment (annotated mimeograph), [1947]
Box   1		Advertising and publicity,  1947
Box   Oversize 26		Articles and clippings, [1947]
Box   Oversize 26		Photographs,  1947 (3.0 folders)
Box   2		Photographs,  1947
		Black Magic (1949)
Box   2		Advertising and publicity,  1949
Box   Oversize 26		Advertisement for Black Magic,  1949
Box   Oversize 26		Articles and clippings,  1949
Box   2		Photographs, [1949]
		The Third Man (1949)
Box   2		Sheet music (printed, includes Orson Welles and Joseph Cotten autographs), [1949]
Box   2		Japanese publication/advertising [?],  1976
Box   2		Photographs,  1949
		Prince of Foxes (1949)
Box   2		Photographs, [1949]
		The Black Rose (1950)
Box   2		Photographs, [1950]
		Othello (1950)
Box   2		Photographs, [1952 ?]
		Julius Caesar (1953)
Box   2		Draft pages (annotated typescript),  undated
		Trouble in the Glen (1954)
Box   2		Photographs, [1954]
		Mr. Arkadin / Confidential Report (1955)
Box   2		Negatives, [1955 ?]
		Moby Dick (1956)
Box   2		Advertising and publicity, [1956]
Box   2		Photograph,  1955
		Don Quixote (1957-1963)
Box   2		Legal materials (rights, proof of ownership, etc.),  1990-1991
		The Long, Hot Summer (1958)
Box   Oversize 27		Advertising and publicity,  1958
Box   2		Photographs, [1958]
		The Man in the Shadow (1958)
Box   2		Photographs,  1957-1958
		The Roots of Heaven (1958)
Box   2		Photographs, [1958]
		Touch of Evil (1958)
Box   2		Album of photographs (titled "1851 Touch of Evil" on spine),  1957
Box   2		Photographs,1957
		Compulsion (1959)
Box   2		Photographs,  1959
		Crack in the Mirror (1960)
Box   2		Photographs, [1960]
		The Trial (1962)
		Scripts
Box   2		Draft "OW’s Final Original" (typescript), annotated,  July 2, 1962 (8.0 folders)
Box   2		[Final?] Draft (photocopy of typescript) (Copy 1),  undated (5.0 folders)
Box   2		[Final?] Draft (photocopy of typescript) (Copy 2),  undated (5.0 folders)
Box   2		Photographs, [1962]
Box   2		Contact prints of Nicolas Tikhomiroff film, [1962] (3.0 folders)
Box   3		Contact prints of Nicolas Tikhomiroff film, [1962]
Box   3		Review,  1963
		The V.I.P.s (1963)
Box   3		Photographs,  1963
		Falstaff / Chimes at Midnight (1965)
Box   3		Prize Cinéma d'essai-Targa AIACE,  1969
Box   3		Photographs, [1965 ?]
Box   3		Contact prints of Nicolas Tikhomiroff film, [1965 ?]
		A Man for All Seasons (1966)
Box   3		Photographs, [1966]
		The Masque of the Red Death (1967)
		Scripts
Box   3		Draft (carbon copy, 10-3-67)
Box   3		[Final?] Draft (by Orson Welles and Oja Kodar) (photocopy of typescript, undated) (2.0 folders)
		Is Paris Burning? (1966)
Box   3		Photograph,  1966
		Casino Royale (1967)
Box   3		Photographs,  1967
		Oedipus the King (1967)
Box   3		Photographs, [1967]
		I'll Never Forget What's'isname (1967)
Box   3		Photographs, [1967]
		Santo Spirito (1967-1969 ?)
		Scripts
Box   3		Draft (carbon copy with annotations and edits, undated) (3.0 folders)
Box   3		Draft (carbon copy, undated) (2.0 folders)
Box   3		[Final?] Draft (photocopy of typescript, undated) (2.0 folders)
		The Deep / Dead Reckoning (1967-1970)
		Scripts
Box   3		Draft "Dead Reckoning" (annotated photocopy of annotated typescript), [1967-1970] (3.0 folders)
Box   3		"List of clips" (annotated typescript), [1967-1969]
Box   3		Legal materials,  1986
Box   3		Legal rights materials "Conversations with Sean Connery,"  1979
Box   3		Plot summary, [1967-1970]
Box   3		Photographs, [1967-1970]
Box   3		Contact prints of Nicolas Tikhomiroff film, [1967-1970]
		House of Cards (1968)
Box   3		Photographs, [1968]-1969
		Roprama (1969-1976)
Box   3		Legal and financial,  1969-1976
		Because of the Cats (1969)
		Scripts
Box   3		[Final?] Draft (photocopy of typescript), [1969] (4.0 folders)
Box   3		Production materials, [1969]
		The Southern Star (1969)
Box   3		Photographs, [1969]
		The Kremlin Letter (1969)
Box   3		Production materials,  1969
Box   3		Photographs, [1969]
		Catch 22 (1970)
Box   3		Photographs, negatives, and color slides, [1970] (slides of Orson Welles on set with Peter Bogdonavich)
		Waterloo (1970)
Box   3		Advertising and publicity, [1960]
		Other Side of the Wind (1970-1976)
		Scripts
Box   3		Draft "First Version" (typescript and photocopy),  March 15, 1971-March 17, 1971 (2.0 folders)
Box   3		Draft "2nd Version" (annotated typescript and photocopy, 160 pp.),  March 22, 1971-April 12, 1971 (4.0 folders)
Box   3		Draft pages and story notes (annotated typescript, carbon, and photocopy), and  March 16, 1971-April 28, 1971 undated (3.0 folders)
Box   3		Draft (annotated typescript, carbon, and photocopy, 190 pp.),  April 2, 1971-May 2, 1971 (2.0 folders)
Box   3		Draft (annotated typescript, carbon, and photocopy, 190 pp.),  April 2, 1971-May 2, 1971 (2.0 folders)
Box   3		Draft (annotated typescript, carbon, and photocopy, 189 pp.), April, 2,  1971-May 4, 1971
Box   4		Draft (annotated typescript, carbon, and photocopy, 189 pp.), April, 2,  1971-May 4, 1971 (3.0 folders)
Box   4		Draft (photocopy of annotated typescript, 189 pp.)(copy 1),  April 2, 1971-May 4, 1971 (4.0 folders)
Box   4		Draft (photocopy of annotated typescript, 189 pp.)(copy 2),  April 2, 1971-May 4, 1971 (4.0 folders)
Box   4		Draft "Old Version" (annotated photocopy of typescript, incomplete), April 2, 1971-May, 2 and  1971 undated (3.0 folders)
Box   4		Draft (photocopy of annotated typescript, 191 pp.)(copy 1), [1971 ?] (4.0 folders))
Box   4		Draft (photocopy of annotated typescript, 191 pp.)(copy 2), [1971 ?] (4.0 folders))
Box   4		Draft (photocopy of typescript, 191 pp.),  December 28, 1972-January 3, 1973 (4.0 folders)
Box   4		Draft pages (annotated typescript, carbon, and photocopy), and  April 2, 1971-January 18, 1973 undated
Box   4		Draft "Just Pre-Second Arizona" (annotated photocopy of typescript, 146 pp.),  May 30, 1973 (3.0 folders)
Box   4		Draft "Pre (2nd) Arizona" (annotated typescript, carbon, and photocopy, 211 pp.),  undated (4.0 folders)
Box   4		Draft (original typescript for first 57 pgs. of "Pre (2nd) Arizona"),  undated
Box   4		Draft (annotated photocopy of "Pre (2nd) Arizona" draft with inserts, 211 pp.),  undated (4.0 folders)
Box   4		Draft pages ("Check with Latest Script") (annotated typescript and photocopy), and  December 28, 1972-February 27, 1974 undated (2.0 folders)
Box   4		Lined Script (draft with editing notes) (annotated carbon and photocopy),  March 5, 1974-March 8, 1974 (7.0 folders)
Box   5		Lined Script (draft with editing notes) (annotated carbon and photocopy),  March 5, 1974-March 8, 1974 (2.0 folders)
Box   5		Draft pages (annotated typescript and photocopy), and  March 12, 1974 undated
Box   5		Draft (incomplete) (annotated typescript and photocopy), and  February 28, 1974-March 14, 1974 undated
Box   5		Draft pages (annotated typescript and photocopy), and  February 5, 1974-March 18, 1974 undated (5.0 folders)
Box   5		"Old Pages Subsequently Re-Typed" (annotated typescript, carbon, and photocopy), and  February 12, 1974-March 18, 1974 undated (8.0 folders)
Box   5		Draft pages "Correct ‘She’/’Critic’" (annotated typescript and photocopy,) March 18, 1974[?] and  undated
Box   5		Draft "Correct Cutting Copy" (annotated typescript and photocopy, 232 pp.), Mid-September,  1974 (5.0 folders)
Box   5		Synopsis of Hannaford film and character notes (from folder "Correct Cutting Copy" Mid-September 1974) (photocopy of typescript), (copy 1)  undated
Box   5		Synopsis of Hannaford film and character notes (photocopy of typescript), (copy 2)  undated
Box   5		Draft pages (from folder "Correct Cutting Copy" Mid-September 1974) (annotated typescript, carbon, and photocopy), Mid-September,  1974
Box   5		Draft (photocopy of "Correct Cutting Copy," 232 pp.), Mid-September 1974 (copy 1) (4.0 folders)
Box   5		Draft (photocopy of "Correct Cutting Copy," 232 pp.), Mid-September 1974 (copy 2) (4.0 folders)
Box   5		Draft pages (from folder with "Correct Cutting Copy" Copy 1) (manuscript, typescript, and photocopy), Mid-September 1974
Box   5		Draft pages (incorporating photocopy of "Correct Cutting Copy" Mid-September 1974) (typescript and photocopy, annotated),  undated (5.0 folders)
Box   5		Bound Draft (appears to be photocopy of"Correct Cutting Copy" Mid-September 1974) (photocopy of annotated typescript, 232 pp.),  undated
Box   5		Draft pages "Los Angeles Pages Complete" (annotated typescript and carbon),  April 3, 1975-April 18, 1975 (4.0 folders)
Box   6		Draft pages "Extra Pages -- Los Angeles" (annotated typescript, carbon, and photocopy), and  April 3, 1975-April 18, 1975 undated (2.0 folders)
Box   6		"Transcripts -- Paul & Henry -- Dennis Hopper" (annotated typescript and carbon),  undated
Box   6		Draft pages "Old Wind Scripts & Treatment" (annotated typescript and carbon),  undated
		Production and post-production materials (includes some legal & financial materials)
Box   6		"Bogdanovich letter,"  1975
Box   6		Completion notes,  ca. 1983
Box   6		"Correspondence,"  1975
Box   6		"Correspondence on 'Wind',"  1978
Box   6		"Dominique Antoine,"  1975-1976
Box   6		"Editing -- Paris -- Marie Sophie Dubuis,"  1975
Box   6		"Frank Marshall," 19891-1991
Box   6		"Letter to Gomez,"  1974
Box   6		Loose production and post-production materials,  1974-1977
Box   6		"Meeting -- Los Angeles-June 3, 1975"  1975
Box   6		"Memo from cutters,"  1974
Box   6		"Old Wind can lists,"  undated
Box   6		"Some memos, cables, contract," and  1975 undated
Box   6		"Telex,"  1973-1976
Box   6		"Telex excerpts,"  1975
Box   6		"Weissberger correspondence & others," and  1976 undated
Box   6		"Wind [?] accounts,"  May 1989 1975-1989
		Financial materials
Box   6		"Accts.,"  1975-1976
Box   6		"Astrophore -- Finances,"  1975
Box   6		"Budget -- June 1, 1975"  1975
Box   6		"Elmo," and  1976 undated
Box   6		"Financial Report -- November 3, 1975"  1975
Box   6		"House rental,"  1975
Box   6		Loose financial materials,  1975-1977
		Legal and administrative materials
Box   6		"Business correspondence 1970s" and  1977-1980 undated
Box   6		"Cloutier,"  1978
Box   6		"Copyright," and  1976 undated
Box   6		"Jim George,"  1978
Box   6		Loose legal and administrative materials,  1974-1983 (2.0 folders)
Box   6		"More Jim George,"  1978
Box   6		"'Wind' contract, Cronshaw accounting, Lab…,"  1974-1978
Box   6		[Untitled file],  1977-1978
Box   6		Clippings and articles,  1986
Box   6		Photographs, [1974 ?] and  undated
Box   6		Color slides "Orson & John & Peter OK's (Arizona 'Wind')",  1974
		A Safe Place (1971)
Box   6		Photograph,  1971
		Ten Days' Wonder (1971)
Box   6		Production materials [?],  1971
Box   6		Advertising and publicity,  1972
		Surinam / Victory (1971)
		Scripts
Box   6		Draft pages (annotated typescript and carbon copy), March 5 [1971 ?] (5.0 folders)
Box   6		Draft pages (annotated typescript and carbon copy), March 5-9, [1971 ?] (4.0 folders)
Box   6		Draft pages (carbon copy), March 10-13, [1971 ?] (2.0 folders)
Box   7		Draft pages (carbon copy), March 10-13, [1971 ?]
Box   7		Draft pages (annotated carbon copy), March 14-21, [1971 ?] (3.0 folders)
Box   7		Draft pages (annotated typescript and carbon) March 15-23, [1971 ?] and  undated (3.0 folders)
Box   7		Draft pages (annotated carbon copy), March 5-April 9, [1971 ?] (3.0 folders)
Box   7		Complete early draft and misc. pages (typescript and carbon copy, annotated), March 5 -- April 9, [1971 ?] and  undated (4.0 folders)
Box   7		Late Draft (photocopy of typescript), [1971 ?] (3.0 folders)
Box   7		[Final?] Draft (typescript and photocopy), [1971 ?] (3.0 folders)
Box   7		Draft pages (annotated typescript and carbons), [1971 ?]
Box   7		Draft pages (typescript and carbon copy), [1971 ?]
Box   7		Pre-production materials, [1971]
		A Revolution in Modern Art (1972)
Box   7		Script (annotated typescript),  1972
Box   7		Pre-production materials,  1972
		Crazy Weather (1972 ?)
		Scripts
Box   7		Draft (with longer introduction) (photocopy of annotated typescript), undated (3.0 folders)
Box   7		Draft pages (photocopy of typescript), undated
Box   7		Draft (photocopy of annotated typescript, 143 pgs.), undated (3.0 folders)
Box   7		Draft (photocopy of annotated typescript) (3.0 folders)
		Jesus Christ Superstar (1973)
Box   7		Post-production materials,  1973
		Treasure Island (1973)
Box   8		Production materials,  1973
Box   8		Photographs, [1973]
		Astrophore and Avenel (1973-1977) (records generated during production/financing firm's involvement with The Other Side of the Wind, F for Fake, Blind Window, and other projects)
Box   Oversize 27		Advertising and publicity,  1975
Box   8		"Astrophore letters, contracts,"  1974 (3.0 folders)
Box   8		"Avenel Inc. Laviolette latest work on Wind 1991"  1989
Box   8		"Avenel / Personnel,"  1977
Box   8		"Bill [Cronshaw],"  1974-1975
Box   8		[Claude Fielding],  1974
Box   8		"Dominique letter,"  1974
Box   8		[Empty folders], and  1991 undated
Box   8		"'Epic' memo to Dominique [Antoine]," [1975 ?]
Box   8		"F. Tax Notes,"  1973-1974
Box   8		"Letters, memos, drafts to Astrophore,"  1974-1975
Box   8		[Loose pre-production, production, and post-production materials],  1972-1979 (2.0 folders)
		F for Fake (1974)
Box   8		Script fragment, [1970s]
Box   8		Pre-production materials,  1971
Box   8		Post-production,  1973-1976
Box   8		Notes and fragments, [1970s]
Box   8		Legal materials,  1973-1974
Box   8		Photographs of Howard Hughes and Clifford I rving,  1938-1947
Box   8		Photographs, [1974 ?]
Box   8		Reviews,  1975
		The Rider (1974)
Box   8		Pre-production materials,  1974
		Mercedes / Blind Window (1974-1975)
		Scripts
Box   8		Draft "Blind Window" (incomplete version) (photocopy of typescript) (Copy 1),  August 11, 1974 (2.0 folders)
Box   8		Draft "Blind Window" (incomplete version) (photocopy of typescript) (Copy 2),  August 11, 1974 (2.0 folders)
Box   8		Draft "’Blind Window’ Original-Final Typing" (typescript),  January 21, 1975 (4.0 folders)
Box   8		Draft fragment (annotated photocopy of typescript),  undated
Box   8		Draft (untitled, missing pp. 1-2) (photocopy of typescript),  undated (4.0 folders)
Box   8		Draft (untitled) (photocopy of annotated typescript),  undated (4.0 folders)
Box   8		Draft "Blind Window" (typescript and annotated photocopy),  undated (5.0 folders)
Box   8		Draft "Mercedes" (photocopy of typescript),  undated (2.0 folders)
Box   9		Draft "Mercedes" (photocopy of typescript),  undated
Box   9		Draft (incomplete) (as "Mercy" by Oja Kodar) (photocopy of typescript),  undated
Box   9		Draft pages (annotated typescript, carbon, and photocopy),  undated (6.0 folders)
Box   9		Draft pages (annotated typescript, manuscript, and carbon),  undated (5.0 folders)
Box   9		Development material,  1982
Box   Oversize 26		“Oja’s Storyboard,”  undated
		The Inferno (1975)
Box   9		Pre-production/development material,  1975
		Assassin (1975-1976)
		Scripts
Box   9		Original Version (as "Sirhan Sirhan" by Donald Freed with Jack Kimbrough) (photocopy of typescript),  undated (3.0 folders)
Box   9		Draft (photocopy of typescript),  November 15, 1975 (3.0 folders)
Box   9		Draft pages (typescript and photocopies), November 15.  1975
Box   9		Draft pages (carbon copy),  undated
Box   9		Story notes (annotated typescript),  undated
Box   9		Draft "Old" (annotated typescript),  undated (3.0 folders)
Box   9		Draft "Helen Original" (carbon copy),  undated (4.0 folders)
Box   9		Draft "Non-Helen Carbon" (typescript, carbon copy, and photocopy),  undated (4.0 folders)
Box   9		Draft (photocopy of "Non-Helen Carbon"),  undated (3.0 folders)
Box   9		Draft (carbon copy) (copy 1),  undated (2.0 folders)
Box   9		Draft (carbon copy) (copy 2),  undated (2.0 folders)
Box   9		Draft pages "Assassin Work Copy 5-3-76" (annotated and edited typescript and carbon copy),  May 3, 1976 (2.0 folders)
Box   9		Draft pages "Gomez, Draper" (annotated and edited typescript and carbon copy), and  May 3, 1976-May 5, 1976 undated
Box   9		Draft pages (annotated and edited typescript and carbon copy), and  May 3, 1976-May 5, 1976 undated
Box   9		Draft pages (annotated and edited typescript and carbon copy), and  May 5, 1976 undated
Box   9		Draft pages (annotated and edited typescript and carbon copy), and  May 5, 1976-May 12, 1976 undated
Box   9		Draft pages "Assassin Work Sheets" (typescript and carbon copy, annotated and edited), and  May 3, 1976-May 6, 1976 undated
Box   10		Draft pages "Assassin Work Sheets" (typescript and carbon copy, annotated and edited), and  May 3, 1976-May 6, 1976 undated (2.0 folders)
Box   10		Draft pages (typescript and carbon copy), and  May 3, 1976-May 6, 1976 undated
Box   10		Draft pages (typescript and carbon copy),  May 4, 1976-May 6, 1976
Box   10		Draft pages (typescript and carbon copy, annotated and edited), and  May 3, 1976-May 12, 1976 undated (3.0 folders)
Box   10		Development and pre-production materials,  1975-1976 (2.0 folders)
		Seven Percent Solution (1976)
Box   10		Pre-production materials,  1975
		Of Sharks and Men (1976)
Box   10		Pre-production materials,  1976
		Murder by Death (1976)
Box   10		Pre-production materials,  1975
		Voyage of the Damned (1976)
Box   Oversize 27		Advertising and publicity,  1976
Box   10		Photographs,  1976
		The Late Great Planet Earth (1976)
Box   10		Photographs, and  1976 undated
		The Other Man / Honorary Consul (1977)
		Scripts
Box   10		Draft "Original" (some pages missing) (photocopy of typescript),  undated
Box   10		[Final?] Draft ("by Orson Welles and Oja Kodar") (photocopy of typescript) (Copy 1),  undated (4.0 folders)
Box   10		[Final?] Draft ("by Orson Welles and Oja Kodar") (photocopy of typescript) (Copy 2),  undated (4.0 folders)
Box   10		Draft pages (typescript, annotated),  undated (18.0 folders)
Box   11		Draft pages (typescript, annotated),  undated (16.0 folders)
Box   11		Development materials,  1977
		Dead Giveaway (1977)
Box   11		Script outline, [1977]
		Filming Othello (1978)
Box   11		Post-production materials,  1982
Box   11		Advertising and publicity,  1980-1982
		The Old Chevalier / Two Chevaliers ? (1978 ?)
Box   11		Script (mimeograph), (2 copies)  1978
		The Best Hotel in Kandros (1970s ?)
Box   11		Partial script (annotated carbon), [1970s ?]
		Compliments of the Season (1970s ?)
Box   11		Script draft pages (annotated photocopies), [1970s ?]
		The Secret of Nicola Tesla (1980)
Box   11		Photographs,  1979
		The Dreamers (1980-1985)
		Scripts
Box   11		Script (as De Capo) (photocopies of typescript), [1979 ?]
Box   11		"Master script" (typescript),  September 9, 1985 (2.0 folders)
Box   11		"Fifth revised screenplay" (photocopies of typescript) (Copy 1), [1980-1985 ?]
Box   11		"Fifth revised screenplay" (typescript) (Copy 2), [1980-1985 ?]
Box   11		"Sixth revised screenplay" (photocopies of typescript) (Copy 1), [1980-1985 ?]
Box   11		"Sixth revised screenplay" (photocopies of typescript) (Copy 2), [1980-1985 ?]
Box   11		"Seventh revised screenplay" (photocopies of typescript), [1980-1985 ?]
Box   11		"Ninth revised screenplay" (annotated photocopies of annotated typescript), [1980-1985 ?]
Box   12		"Ninth revised screenplay" (photocopies of annotated typescript), [1980-1985 ?]
Box   12		"Original" script (typescript & photocopies),  undated
Box   12		Script (photocopies with light blue paper cover), [1980-1985 ?]
Box   12		Script (photocopies with light blue paper cover), [1980-1985 ?]
Box   12		Script (photocopies with blue paper cover) (Copy 1), [1980-1985 ?]
Box   12		Script (photocopies with blue paper cover) (Copy 2), [1980-1985 ?]
Box   12		Script (photocopies with black plastic cover) (Copy 1), [1980-1985 ?]
Box   12		Script (photocopies with black plastic cover) (Copy 2), [1980-1985 ?]
Box   12		Script (photocopies with red paper cover) (Copy 1), [1980-1985 ?]
Box   12		Script (photocopies with red paper cover) (Copy 2), [1980-1985 ?]
Box   12		Script (annotated photocopies with black paper cover), [1980-1985 ?]
Box   12		Script (annotated photocopies with black paper cover), [1980-1985 ?]
Box   12		Script (annotated photocopies with silver paper cover), [1980-1985 ?]
Box   12		Draft pages (manuscript and annotated printouts), [1980-1985 ?]
Box   12		Draft pages (manuscript and annotated photocopies), [1980-1985 ?]
Box   12		Draft pages "These new pages go into old red scripts in order to complete them," (annotated typescript and photocopies), [1980-1985 ?]
Box   12		Draft pages (photocopies), [1980-1985 ?]
Box   12		Draft pages "New material," (annotated typescripts), [1980-1985 ?]
Box   12		Draft pages "Possible final changes for 'the farewell'" (annotated printouts/photocopies), [1980-1985 ?]
Box   12		Draft pages (annotated photocopies, [1980-1985 ?]
Box   12		Draft pages "unidentified" (annotated photocopies and manuscript), [1980-1985 ?]
Box   12		Draft page (annotated typescript), [1980-1985 ?]
Box   12		Production materials, [1980-1985 ?]
Box   Oversize 26		Oversize budget materials,  1985
Box   13		Legal materials,  1979-1988
		Courage is Their Weapon (1981)
Box   13		Letter of thanks,  1981
		The Big Brass Ring (1981-1982)
		Scripts
Box   13		Draft (annotated photocopy of typescript), 6-22-82 (3.0 folders)
Box   13		Draft (photocopy of typescript) (Copy 1), 6-22-82 (3.0 folders)
Box   13		Draft (photocopy of typescript) (Copy 2), 6-22-82 (3.0 folders)
Box   13		Draft "Master May 27" (typescript and photocopy), May 27, [1982] (4.0 folders)
Box   13		Draft (photocopy of typescript),  May 27, 1982 (3.0 folders)
Box   13		Bound Proof (Santa Teresa Press),  1987
Box   13		Draft (photocopy of typescript),  undated (3.0 folders)
Box   13		Draft (incomplete) (photocopy of typescript),  undated (2.0 folders)
Box   13		Draft (photocopy of typescript, annotated),  undated (3.0 folders)
Box   13		Novella draft pages (annotated typescript and photocopy),  undated (9.0 folders)
Box   13		Novella draft (photocopy of annotated typescript),  undated (2.0 folders)
Box   13		Novella draft (end missing) (photocopy of annotated typescript),  undated (2.0 folders)
Box   13		Novella draft (incomplete) (photocopy of annotated typescript),  undated
Box   14		Novella draft (missing first 10 pgs; some pgs. duplicated) (photocopy of typescript, annotated, undated) (3.0 folders)
Box   14		Novella draft (missing pg. 55) (annotated photocopy of typescript),  undated (3.0 folders)
Box   14		Novella draft (photocopy of typescript),  undated (3.0 folders)
Box   14		[Final?] Novella draft (photocopy of typescript) (Copy 1),  undated (3.0 folders)
Box   14		[Final?] Novella draft (photocopy of typescript) (Copy 2),  undated (3.0 folders)
Box   14		Production material, and  1982 undated
Box   14		Book publishing materials,  1981-1990
		Genocide (1982)
Box   14		Premier material,  1982
		King Lear (1983-1985)
		Scripts
Box   14		Drafts (various pages), (typescript and photocopy with annotations and edits),  December 23, 1983 (11.0 folders)
Box   14		Draft "Uncorrected Original Pages" (photocopy of typescript, annotated),  undated (3.0 folders)
Box   14		Draft "Current Part II" (typescript and photocopy, annotated and edited),  undated (3.0 folders)
Box   14		Draft pages (photocopy of typescript, edited),  undated (3.0 folders)
Box   14		Shot breakdown, notes, and partial script (typescript and photocopy, annotated and edited),  undated
Box   14		Draft (typescript and photocopy, annotated and edited),  undated (4.0 folders)
Box   14		Draft "Page 28 Removed & Reinserted" (photocopy, annotated),  undated (3.0 folders)
Box   14		Breakdown and Script (photocopy of typescript),  undated (3.0 folders)
Box   14		Draft "Master Un-numbered" (typescript and photocopy),  undated (3.0 folders)
Box   15		Late Draft (photocopy of typescript),  undated (3.0 folders)
Box   15		Bound [Final?] Draft (photocopy of typescript) (Copy 1),  undated
Box   15		Bound [Final?] Draft (photocopy of typescript) (Copy 2),  undated
		Production
Box   15		"Budget 5-2-85,"  1985
Box   15		"Budget May 3 85,"  1985
Box   15		"Budget as of August 1985"  1985
Box   15		"Charles Brabant, etc. telegrams,"  1984
Box   15		"Correspondence from France,"  1984-1985
Box   15		Costume sketches, [1983-1985 ?] (5.0 folders)
Box   15		Costume sketches and miscellaneous notes (formerly in "Dom Delouise and His Friends" binder), [1982-1985 ?]
Box   15		Loose production materials,  1984-1985
Box   Oversize 27		Photographs of costume sketches, [1983-1985 ?]
Box   15		Negatives of costume sketches, [1983-1985 ?]
Box   15		Photographs, [1983-1985 ?]
		A Matter of Life (1984)
Box   Oversize 27		Informational booklet on film and coronary artery bypass at the Texas Heart Institute,  1984
		The Cradle Will Rock (1984)
		Scripts
Box   15		Partial draft "Revised screenplay by Ring Lardner, Jr." (photocopies),  1984
Box   15		Draft pages "Copies Old" (annotated and edited), and  August 10-September 29, 1984 undated (8.0 folders)
Box   15		Draft pages (annotated and edited),  August 10-September 29, 1984
Box   15		Draft pages (annotated and edited), and  August 10-30, 1984 undated
Box   15		Draft pages "Copies New August " (annotated and edited), and  August 10-30, 1984 undated (3.0 folders)
Box   15		Draft pages "OW Work Sheets" (annotated and edited), and  August 10-September 7, 1984 undated (2.0 folders)
Box   16		Draft pages "OW Work Sheets" (annotated and edited), and  August 10-September 7, 1984 undated (3.0 folders)
Box   16		Draft pages (annotated and edited), and  August 10-October 8, 1984 undated (3.0 folders)
Box   16		Draft pages (annotated and edited),  August 10-October 2, 1984
Box   16		Draft pages "Long Scene..." (annotated and edited), and  August 10-October 8, 1984 undated (5.0 folders)
Box   16		Draft pages "Maybe after piano..." (annotated and edited), and  August 10-October 8, 1984 undated (4.0 folders)
Box   16		Draft pages (annotated and undated), and  August 10-October 9, 1984 undated (4.0 folders)
Box   16		Draft pages "New 10-5-84" (annotated and edited), and  August 17-September 29, 1984 undated
Box   16		Draft pages (annotated and edited), August 29 [1984] crossed out and  undated
Box   16		Draft pages "Stitt" (annotated and edited), and  August 30-October 8, 1984 undated
Box   16		Draft pages (annotated and edited), and  August 30-October 12, 1984 undated (2.0 folders)
Box   16		Draft pages "Cradle Rehearsal, Julie Work Problem, Auditioning Chorus," and  September 7, 1984 undated
Box   16		Draft pages (annotated and edited), and  September 29, 1984 undated (3.0 folders)
Box   16		"Faustus Play" (excerpts) (typescript, annotated), and  September 29, 1984 undated
Box   16		Late Draft, and  October 19-November 8, 1984 undated (3.0 folders)
Box   16		Draft pages (annotated typescript and photocopy),  undated (3.0 folders)
Box   16		Draft pages (with notes) (annotated typescript and photocopy),  undated (5.0 folders)
		Research
Box   16		Photocopy of interview transcript of Philip Barber,  1975
Box   16		Photocopy of interview transcript of Howard Da Silva,  1976
Box   16		Photocopy of interview transcript of Lehman Engel,  1976
		Development and pre-production
Box   17		"Budget,"  October 22, 1984
Box   17		"Cradle contract,"  1984
Box   17		Location scouting photograph files, [1984 ?] (2.0 folders)
Box   17		Location scouting photograph files, [1984 ?] (3.0 folders)
Box   17		Loose development and pre-production material,  1984
		Dead Giveaway (1987)
		Scripts
Box   17		[Final?] Draft (by Gary Graver, Orson Welles, and Oja Kodar) (photocopy of typescript),  1987 (3.0 folders)
		Multi-project and administrative
Box   17		Loose memo, [1939-1940]
		Television [series]: The Television series comprises about 0.25 linear feet of material related to Orson Welles's work on and appearances in television shows and made-for-television-films. Materials include photographs, scripts, and a small amount of pre-production/production materials. The materials include scripts from a never-completed CBS television special known as "Orson’s Bag" that was to include scenes with Welles portraying Winston Churchill, others from Shakespeare’s "Merchant of Venice," and a Welles visit to "Swinging London."
		King Lear (1953)
Box   17		Photographs, [1953]
		I Love Lucy (1956)
Box   17		"Lucy Meets Orson Welles" photographs, [1956]
		Ford Star Jubilee (1956)
Box   17		"Twentieth Century" photographs, [1956]
		Fountain of Youth (1958)
Box   17		Photographs, [1958 ?]
		Orson’s Bag (1968-1970)
		Scripts
Box   17		Draft pages (various scenes) (typescript, carbon, and photocopy, annotated), April 10 --  September 11, 1969 (5.0 folders)
Box   17		Pre-production material,  1969-1970
		The U.S.S. Intrepid -- An American Celebration [1970s-1980s ?]
Box   17		Pre-production materials, [1970s-1980s]
		The Man Who Came to Dinner (1972)
Box   17		Post-production materials, [1972]
Box   17		Fan mail,  1973
		The Clock / Alpha Caper (1973)
Box   17		Pre-production material,  1973
		Nero Wolfe (1976)
Box   17		Pre-production materials,  1976
		NBC's First 50 Years (1976)
Box   17		Clipping, [1976]
		The Tonight Show Starring Johnny Carson (1976-1978)
Box   17		Production materials,  1976
Box   17		Photographs,  1976-1978
		It Happened One Christmas (1977)
Box   17		Photograph,  1979
		Dean Martin Celebrity Roasts (1977-1978)
Box   17		Production materials,  1977-1978
		The Merv Griffin Show (1978)
Box   17		Fan mail / "Jewish letters,"  1978-1979 (2.0 folders)
		The Man Who Saw Tomorrow / Nostradamus (1981)
Box   17		Pre-production materials,  1979
		Dom DeLuise and His Friends (1982)
Box   17		Pre-production material,  1982
		Arena: Orson Welles (BBC interview) (1982)
Box   17		Pre-production material,  1982
Box   17		Miscellaneous interview requests and project proposals,  1973-1984
		Other projects [series]: The Other projects series consists of a handful of files (approximately 0.1 linear ft) about Welles's work in formats and genres besides theater, radio, and film. The series includes: various writings (including autobiography fragments); material related to Orson Welles's work in advertising in the 1970s and 1980s (including Welles's various handwritten draft script ideas for a Nikka Whiskey commercial); and material relating to commercial recordings.
		Advertising
Box   17		Domecq Sherry pre-production and post-production materials,  1975-1976
Box   17		Jim Beam magazine advertisement,  undated
Box   17		Nikka Whiskey (Japan) pre-production, production, and post-production materials,  1975-1976
Box   17		Paul Masson magazine advertisements,  1981
Box   17		Preview Subscription TV,  undated
		Writings
Box   17		Autobiography legal materials,  1981
Box   17		Daniel Durkin McGraw outline draft pages (annotated carbon, photocopy, and typescript),  1976
Box   17		Draft pages of autobiography (photocopy of typescript),  undated
Box   17		"Jean Renoir: 'the Greatest of All Directors,'" Los Angeles Times, clipping,  February 18, 1979
Box   17		Mr. Arkadin (novel) legal materials,  1980-1984
Box   17		Reprinted "Inklings," column from the Highland Park News (Highland Park, Illinois),  1929 1939
		Commercial recordings
Box   17		T he Happy Prince booklet,  1946
Box   17		Teletalent, Introductory Course in Both the English Language and English Literature production and post-production materials,  1985
Box   17		Twelfth Night Mercury Text Records, proofs of record labels, [1938 ?]
		Magic [series]: The Magic is made up of a relatively small amount of material (approximately 0.5 linear feet) including magic books, scripts for tricks, correspondence with magicians, and playing cards. The material reflects Orson Welles's strong, life-long interest in magic. Magicians who are represented in the series include: Doug Henning, Abb Dickison, Don Bice, John Daniel's, Milt Larsen, and Max Maven.
Box   17		Correspondence with magicians, and  1975-1985 undated
		Film Magic Show (1976-1978)
Box   17		Script draft sections (annotated typescript), [1976-1978]
Box   17		Pre-production and production materials,  1976
Box   17		"Instructions to assistant for new card effect,"  undated
Box   17		"Magic tricks" scripts (annotated typescripts and carbons),
Box   17		Magical equipment and book orders, and  1976-1982 undated
Box   17		Negatives of "headless man" trick,  undated
Box   17		Photocopies of magic materials,  undated
Box   17		Photographs and negatives of photo shoot for cover of French Vogue,  1982
Box   17		Requests to perform magic,  1978-1981
Box   17		Television program Magic with the Stars (1981) photograph,  1981
		Print materials
Box   17		Corinda. 13 Steps to Mentalism. Louis Tannen, NYC, 1968.
Box   17		Curry, Paul. Paul Curry Presents. 1974.
Box   17		Gaughan, John. Antonia Divolo: a Souvenir of his Performance. 1986.
Box   17		Hilliard, John Northern. Card Magic A Practical on Modern Card Conjuring. Carl Waring Jones, Minneapolis, Minnesota.
Box   17		Kaplan, George G. The Fine Art of Magic. Fleming Book Co., York, Pennsylvania,  1948
Box   17		Kaye, Marvin. The Handbook of Mental Magic. Stein and Day, New York, 1975.
Box   17		Larsen, William W., Sr. The Mental Mysteries and Other Writings of William W. Larsen, Sr. Genii Publishing Company, 1977.
Box   18		Lewis Ganson. Dai Vernon's Ultimate Secrets of Card Magic. The Supreme Magic Company, Devon, England, [196-].
Box   18		Miller, Hugh. Al Koran's Professional Presentations. The Supreme Magic Company, Devon, England, [196-]
Box   18		Playing cards,  undated
		Name and topical [series]: The Name and Topical series (approximately 4 linear ft.) contains material not directly related to a particular film, theater, TV, or other project. The series is arranged alphabetically by the name of a person, place, event, or subject. The Name and topical series is primarily made up of correspondence, though other materials, including posters, flyers, writings, financial and legal documents, and clippings can also be found here. The Name and topical series includes letters from filmmakers such as Franco Zeffirelli and Steven Spielberg, actors and actresses such as Barbra Streisand and Jimmy Stewart, universities and other organizations asking Welles to visit or perform, close friends such as Roger Hill and Peter Bogdanovich, and fans of Welles's work. The fan mail includes a large group of letters written in response to an appearance Welles made on the Merv Griffith Show in which expressed a desire to see a history of the Jewish people filmed or a recorded reading of the Hebrew Bible made. Posters, programs, and other materials related to film festivals and tributes also make up a portion of the Name and topical file. A notable example of this material is a carbon draft of Welles's acceptance speech of the American Film Institute's Lifetime Achievement Award. Material from the Chicago International Film Festival includes a copy of letter from President Jimmy Carter expressing the nation's pride in Welles. Multiple sets of transcripts of director, actor, and writer Peter Bogdanovich's interviews with Orson Welles that would become the basis of the 1992 book This is Orson Welles are included in the Name and topical series. Some of these transcripts have manuscript annotations and edits by Welles. Another group of material of note in this series is the Arnold Weissberger materials, which primarily date from 1973-1976. Weissberger was Orson Welles's lawyer. During this time period, Weissberger also received, filtered, and often responded to Welles's mail on his behalf. Weissberger would send reports of correspondence and foward interesting project proposals to Welles. The Weissberger correspondence therefore contains many offers of acting and directing work for Welles. Letters in the Weissberger files, show, for example, that Welles was asked to direct Warren Beatty in Dick Tracy in 1975 and that he was offered the role of the Nazi in Marathon Man . Because the Weissberger materials came to the archive already grouped together and because many letters address more than one project, this correspondence has been kept together in its original order rather than being dispersed by project. Many other Weissberger letters which were either loose or filed with projects can be found in various theater, film, TV, and other projects series.
Box   18		A & M Records, (A Miscellaneous)  1976
Box   18		ABC Sports, (A Miscellaneous)  1983
Box   18		Académie des Beaux-Arts,  1983
Box   18		Acapulco Encuertro Mundial de Comunicacion,  1974
Box   18		Actor's Fund of America, (A Miscellaneous)  undated
Box   18		Acuna, Frank,  1974-1975
Box   18		American Academy and Institute of Arts and Letters,  1983
Box   18		American Federation of Radio & Television Artists (AFTRA),  1969
Box   18		American Film Institute, Award for Life Achievement in Motion Pictures and Television,  1975
Box   Oversize 26		American Film Institute, Award for Life Achievement in Motion Pictures and Television,  1975
Box   Oversize 27		American Film Institute "Working with Welles,"  1978-1979
Box   18		American Film Institute,  1969-1979
Box   18		American Friends of the Hebrew University, Judah L. Magnes Award,  1979
Box   18		American Program Bureau,  1974
Box   18		American Repertory Theatre, (A Miscellaneous)  1982
Box   18		Amnesty International,  1976
Box   18		Argenet, Constance, (A Miscellaneous)  1977-1978
Box   18		Baby, Yvonne, (B Miscellaneous)  1982
Box   18		Baker, Glenn A. (B Miscellaneous)
Box   18		Barnabe Productions, (B Miscellaneous)  1975
Box   18		Barr, Richard,  1971
Box   18		Barrault, J., (B Miscellaneous)  1982
Box   18		Barrymore, Lionel,  1942
Box   18		BBC,  1973-1989
Box   18		Beaume, Georges, (B Miscellaneous)  1982
Box   18		Beckerman, Sidney
Box   18		Benny, Jack (Young & Rubicam Advertising, Inc.),  1940
Box   18		Beverly Hills Hotel,  1976
Box   18		Bick, Larry?, (B Miscellaneous)  1976
Box   18		Bloch, Richard I., (B Miscellaneous)  1983
Box   18		Blumenfeld, Eli,  1978-1979
		Bogdanovich, Peter
Box   18		Correspondence,  1970-1982
		This is Orson Welles (1992)
Box   18		Draft of introduction,  January 23, 1992
		Interview transcripts,  ca. 1970s
Box   18		Copy 1, Tapes 1 & 2 (annotated typescript)
Box   18		Copy 1, Tape 3 (annotated typescript)
Box   18		Copy 1?, Tape 4 (annotated typescript)
Box   18		Copy 1, Tape 5, uncorrected (annotated typescript)
Box   18		Copy 1, Tape 6, corrections made (annotated typescript)
Box   18		Copy 1, Tape 7 (annotated typescript)
Box   18		Copy 1, Tape 8, Cut (annotated typescript)
Box   18		Copy 1, Tape 9 (annotated typescript)
Box   18		Copy 1, Tape 10 (annotated typescript)
Box   18		Copy 3, Tape 1 & 2, Cut (annotated carbon)
Box   18		Copy 3, Tape 3, Cut (annotated carbon)
Box   18		Copy 3, Tape 4, Cut (annotated carbon)
Box   18		Copy 3, Tape 5, Cut (annotated carbon)
Box   18		Copy 3, Tape 6, Cut (annotated carbon)
Box   18		Copy 3, Tape 7, Cut (annotated carbon)
Box   18		Copy 3, Tape 8, uncorrected (annotated carbon)
Box   18		Copy 3, Tape 9, Cut (annotated carbon)
Box   18		Copy 3, Tape 10, Cut (annotated carbon)
Box   18		Copy 3, Tape 11, Cut (annotated carbon)
Box   18		Tape 4 O.W. Corrections (annotated carbon)
Box   18		Tape 5 (annotated carbon)
Box   18		Tape Six (annotated carbon)
Box   18		Tape Seven (annotated carbon)
Box   18		Tape Eight (annotated carbon)
Box   18		Tape Nine (annotated carbon)
Box   18		Tape Ten (annotated carbon)
Box   18		Tape Eleven, 2 not corrected copies (annotated carbon)
Box   18		NY Tape 2nd copy (annotated carbon)
Box   18		NY Tape 3rd copy (annotated carbon)
Box   19		Draft, Part 2 Guaymas (typescript with blue covers)
Box   19		Draft, Part 3 New York (typescript with blue covers)
Box   19		Draft, Part 4 Van Nuys (typescript with blue covers)
Box   19		Draft, Part 5 Beverly Hills (typescript with blue covers)
Box   19		Draft, Part 6 Hollywood (typescript with blue covers)
Box   19		Draft, Part 7 Paris (typescript with blue covers)
Box   19		Draft, Part 8 Carefree (typescript with blue covers)
Box   19		Draft, Part 9 Hollywood (typescript with blue covers)
Box   19		Draft, Part 10 Welles' Career (typescript with blue covers)
Box   19		Draft (as The World of Orson Welles), Chapter 1 Rome (photocopies of annotated typescript with black covers)
Box   19		Draft (as The World of Orson Welles), Chapter 2 Guaymas (photocopies of annotated typescript with black covers)
Box   19		Draft (as The World of Orson Welles), Chapter 3 New York (photocopies of annotated typescript with black covers)
Box   19		Draft (as The World of Orson Welles), Chapter 4 Van Nuys (photocopies of annotated typescript with black covers)
Box   19		Draft (as The World of Orson Welles), Chapter 5 Beverly Hills (photocopies of annotated typescript with black covers)
Box   19		Draft (as The World of Orson Welles), Chapter 6 Hollywood (photocopies of annotated typescript with black covers)
Box   19		Draft (as The World of Orson Welles), Chapter 7 Paris (photocopies of annotated typescript with black covers)
Box   19		Draft (as The World of Orson Welles), Chapter 8 Carefree (photocopies of annotated typescript with black covers)
Box   19		Draft (as The World of Orson Welles), Chapter 9 Welles' Career (photocopies of annotated typescript with black covers)
Box   19		Draft (as The World of Orson Welles), Chapter 1 Rome (photocopies of annotated typescript with light blue covers)
Box   20		Draft (as The World of Orson Welles), Chapter 2 Guaymas (photocopies of annotated typescript with light blue covers)
Box   20		Draft (as The World of Orson Welles), Chapter 3 New York (photocopies of annotated typescript with light blue covers)
Box   20		OW Chapter 2 -- rewrite (annotated typescript)
Box   20		Welles radio research,  1969-1971
		Reproduction photographs and negatives of Welles film stills, footage
Box   20		Black Magic,  1969
Box   20		Citizen Kane,  1969
Box   20		The Fountain of Youth,  1969
Box   20		The Immortal Story,  1969
Box   20		It's All True,  1969
Box   20		Macbeth,  1969
Box   20		The Magnificent Ambersons,  1969
Box   20		Mr. Arkadin,  1969
Box   20		One Man Band (TV),  1969
Box   20		Othello,  1969
Box   20		The Other Side of the Wind,  1969
Box   20		The Stranger,  1969
Box   20		The Trial,  1969
Box   20		Bonnefous, Edouard, (B Miscellaneous)  1984
Box   20		Brabant, [?], (B Miscellaneous)  undated
Box   20		Brigham Young University, (B Miscellaneous)  1977
Box   20		British Film Institute, Fellow of the Institute,  1983
Box   20		Brooks, Samuel M., (B Miscellaneous)  1978
Box   20		Bruce Burdick Group, (B Miscellaneous)  1978
Box   20		Brundall, Laurence, (B Miscellaneous)  1983
Box   20		Buhl, WU ?, (B Miscellaneous)  1975
Box   20		Butt, Joe,  1977
Box   20		Cahiers du Cinema, (C Miscellaneous)  1982
Box   Oversize 27		Canadian National Exhibition,  1979
Box   20		Canon U.S.A., Inc., (C Miscellaneous)  1976
Box   20		Cantigny (Wheaton, Illinois), (C Miscellaneous)  1982
Box   20		Cards, photos, and clippings sent by fans to be autographed, [ca. 1960s-1980s]
		Carringer, Robert
Box   20		Correspondence,  undated
Box   20		Draft of "The Scripts of Citizen Kane,"  undated
Box   20		Castrovilli, Mariangiola,  undated
Box   20		Chandler, Fred, (C Miscellaneous)  1980
Box   20		Chase, Stanley, (C Miscellaneous)  1975
Box   20		Christman, R. J., (C Miscellaneous)  1979
Box   20		City Magazine (Paris), (C Miscellaneous)  1985
Box   20		Cody, Sebastian, (C Miscellaneous)  1985
Box   20		Collins, Anne, (C Miscellaneous)  1983
Box   20		Collins, Michael Comingore, (C Miscellaneous)  1985
Box   20		Collins Publishers, (C Miscellaneous)  1982
Box   20		Comune di Fiesole, "Città di Fiesole ai Maestri del Cinema" award,  1973
Box   20		Coppola, Francis Ford,  undated
Box   20		Cosma, Thomas S., (C Miscellaneous)  1984
Box   20		Cotten, Patricia,  1985
Box   20		Currie, Hector, (C Miscellaneous)  1975
Box   20		Dalyrymple, Jean, (D Miscellaneous)  1978
Box   20		David Paradine Films, Ltd., (D Miscellaneous)  1974
Box   20		Deane, Lesley, (D Miscellaneous)  1976
Box   20		Delta Kappa Alpha, (D Miscellaneous)  1977
Box   Oversize 26		Delta Kappa Alpha poster, (Oct-Nov) (2 copies, both autographed by Welles)  undated
Box   20		DeLuise, Dom,  1984
Box   20		Dolivet, Louis (D Miscellaneous)
Box   20		Dublin Gate Theatre (Edwards-mad Liammoir Productions), (D Miscellaneous)  1978
Box   20		Dunaway, Faye,  1975
Box   20		Edwards, Hilton,  1978
Box   20		Emergency Black Survival Fund, (E Miscellaneous)  1982
Box   20		Empty envelopes and folders with labels,  undated
Box   20		Enders, Bob, (E Miscellaneous)  1983
Box   20		Entertainment Hall of Fame Foundation,  1976
Box   20		Epstein, Edward Z., (E Miscellaneous)  1982
Box   20		Esquire, (E Miscellaneous)  1973
Box   20		Fairbanks, Douglas, Jr.,  1982
Box   20		Faulkner, Trader,  1978-1979
Box   20		Fawcett, Charles, and  1981-1985 undated
Box   20		Festival Cinematographique International de Paris, Tribute to Jeanne Moreau, 19780
		Film festivals, tributes, and retrospectives
Box   20		American Cinematheque "Orson Welles: The Actor,"  1991
Box   20		American Film Institute, Kennedy Center, (telegram from George Stevens)  1973
Box   Oversize 27		Athens International Film Festival (Ohio),  1976
Box   20		British Film Institute, National Film Theatre,  1985
Box   20		Chicago International Film Festival,  1978
		Chicago International Film Festival,  1978
Box   20		Cinema Village (New York City) Film Repertory Festival,  undated
Box   20		Festival do Rio,  1984
Box   20		Festival of Two Worlds (Spoleto, Italy),  1980
Box   20		Hawaii International Film Festival,  1987
Box   20		Hollywood Foreign Press Association's Tribute to Orson Welles,  1981
Box   Oversize 26		Institute of Contemporary Art and the Boston Phoenix, “Orson Welles: the self in repertory,”  1981
		La Foundation Philip Morris Pour La Cinema,  undated
Box   20		L'Unite Cinéma de la Maison de la Culture du Havre, "Orson Welles Retrospective,"  March 1982
Box   20		Limelight (New York City),  undated
Box   20		Public Theater (New York City) / Joseph Papp,  undated
Box   Oversize 27		Public Theater (New York City) / Joseph Papp,  undated
Box   20		Seattle Filmhouse,  1986
Box   20		Fireside Theatre (Garden City, NY), (F Miscellaneous)  1976
Box   20		Fischer, [?], (F Miscellaneous)  1982
Box   20		Ford, Gerald R.,  1976
Box   20		Foster, Norman,  1976
Box   20		Fournier, Rift, (F Miscellaneous)  1972
Box   20		France, Richard,  1976
Box   20		Fremas, Vera, (F Miscellaneous)  1975
Box   20		Friends of Washington Square Church,  1982
Box   20		Frost, Ron, (F Miscellaneous)  1976
Box   20		Garrison, Greg, and  1976-1984 undated
Box   20		Godard, Jean Luc,  1982
Box   20		Goldman, Milton, (G Miscellaneous)  1984
Box   20		Gomez, Andres Vicente,  undated
Box   20		Gorlinsky, S. A.,  1976
		Graver, Gary
Box   20		Correspondence, and  1973-1976 undated
Box   20		Trick or Treat script by Gary Graver (annotated photocopy, "Orson's corrections for Gary's script"),  undated
Box   20		Photocopy of A Hell of a Woman by Jim Thompson,  undated
Box   20		Griles, Edd, (G Miscellaneous)  1979
Box   20		Gilliatt, Penelope, (G Miscellaneous)  1972
Box   20		Geiger, Dorothy,  1978-1983
Box   20		Golden Union Pictures, (G Miscellaneous)  1972
Box   20		Goldsoble, Donald, (G Miscellaneous)  1977
Box   20		Greenpeace,  1978
Box   20		Guess, Lawrence J.,  1976
Box   20		Guggenheim, Paul, (G Miscellaneous)  undated
Box   20		Gurgo-Salice, P. G., (G Miscellaneous)  1972
Box   20		Handleman, Alan, (H Miscellaneous)  1976
Box   20		Harvard University,  1972
Box   20		Hasty Pudding Club, Man of the Year award, (H Miscellaneous)  1979
Box   20		Hemisphere Films (Elstree) Limited,  1974
Box   20		Heston, Charleton, and  1974-1985 undated
Box   20		Hickey, Michael, (H Miscellaneous)  1979
Box   20		Hill, Hortense Gettys,  1975
		Hill, Roger
Box   20		Correspondence, [1940s]-1985 and  undated (2.0 folders)
Box   20		Photocopies of early (ca. 1930s-1950s) correspondence and materials,  undated
Box   21		Photocopies of early (ca. 1930s-1950s) correspondence and materials,  undated (2.0 folders)
Box   21		Ruth Hortense Gettys Hill Memorial, (audiocassette of program in Sound series)  1982
		Small press and privately published materials
Box   21		One Man's Time and Chance: A Memoir of Eighty Years 1895/1975 by Roger Hill,  1977
Box   21		One Man's Time and Chance: A Memoir of Eighty Years 1895/1975 draft pages,  undated
Box   21		One Man's Time and Chance: A Memoir of Eighty Years 1895/1975 Hortense Gettys Hill Memorial Edition by Roger Hill,  1982
Box   21		Rip Van Winkle Renascent by Roger Hill and Orson Welles, (with sign "Orson's Final Book: Copies will be available in stores soon")  1984
Box   Oversize 26		Reprint of William Little, “The Illustrated London News,” Vol. 30, January to (with accompanying letter from Roger Hill to Orson Welles, undated)  June 1857
Box   21		Hollander, Neil and Harald Mertes. The Last Sailors: The Final Days of Working Sail dust jacket,  undated
Box   21		Holliman, Earl, (H Miscellaneous)  1983
Box   21		Hostellerie "La Poularde," (H Miscellaneous)  1981
Box   Oversize 26		"How to Raise a Child: The Education of Orson Welles, Who Didn't Need It," by Alva Johnson and Fred Smith, Saturday Evening Post,  1940
Box   21		Hoyt, John,  1978
Box   21		Huston, John,  1971
Box   21		Ide Production Inc.,  1976
Box   21		Institute of Directors (UK),  1972
Box   21		Internationale Theatre Festival (Venice),  1985
Box   21		It's All Jazz,  undated
Box   21		Jacobson, Glenn,  1977
Box   21		Jaglom, Henry,  1983
Box   21		Japan. Embassy (France),  1984
Box   21		Kanin, Fay, (K Miscellaneous)  1981
Box   21		Kanin, Garson,  1976-1979
Box   21		Kelley, Thomas F., Sr., (K Miscellaneous)  1982
Box   21		Kendis, [?], (K Miscellaneous)  1976
Box   21		Kennedy, Harold J., (K Miscellaneous)  undated
Box   21		Kenworthy Snorkel Camera Systems, Inc., (K Miscellaneous)  1974
Box   21		Kobal, John C., (K Miscellaneous)  1975
Box   21		Kobler, John, (K Miscellaneous)  1975
Box   21		Kodar, Oja, and  1974 undated
Box   21		Kohner, Walter, (K Miscellaneous)  1980
Box   21		Kolker, Robert P., (K Miscellaneous)  1968
Box   21		Krasner, Louis, (K Miscellaneous)  1978
Box   21		Krohn, Bill,  1982
Box   21		LaRiche, William,  1975
Box   21		Lazar, Irving Paul,  1977-1984
Box   21		Leaming, Barbara,  1982-1983
		Lederer, Charles,  1975
Box   21		Correspondence,  1975
Box   21		Drafts of Orson Welles' foreword to The Times We Had: Life with William Randolph Hearst, and (typescript and carbon)  1975 undated
Box   21		Leedon, Paul, (L Miscellaneous)  1976
Box   21		Lemmon, Jack,  1980
Box   21		Levitas, David, (L Miscellaneous)  undated
Box   21		Lewis, Elizabeth Barzditis, (L Miscellaneous)
Box   21		Lilford, John, (L Miscellaneous)  1984
Box   21		Machado, José Betttencourt, (M Miscellaneous)  1976
Box   21		Madger Studios, (M Miscellaneous)  1979
Box   21		Magee, David,  1983
Box   21		March of Dimes Jack Benny Memorial Award Dinner (Milton Berle, chairman),  1982
Box   21		Mark Twain and the American Moses, (M Miscellaneous)  1984
Box   21		Marks, David, (M Miscellaneous)  1983
Box   21		Marx, Bob,  1976
Box   21		Massachusetts Center Repertory Company, (M Miscellaneous)  1976
Box   21		Matywas, Martine, (M Miscellaneous)  undated
Box   21		McBride, Joseph,  undated
Box   21		McDowall, Roddy,  1982
Box   21		Meszaros, Michael, (M Miscellaneous)  1976
Box   21		Michael Anthony Productions, (M Miscellaneous)  1978
Box   21		Miller, Michael,  undated
Box   21		Millstein, Bill, (M Miscellaneous)  1975
Box   21		Mitchell, Ray M., (M Miscellaneous)  1976
Box   21		Moore, Tom,  1976
Box   21		Moriarty, Frank, (M Miscellaneous)  undated
Box   21		Morrison, Richard, (M Miscellaneous)  1979
Box   21		Motion Picture Seminar of the Northwest, (M Miscellaneous)  1976
Box   21		Mudd, Lynnc Myrtle, (M Miscellaneous)  1971
Box   21		Myers, Stephanie, (M Miscellaneous)  1976
Box   21		Neapolis Edizioni Musical,  1970
Box   21		Needleman, Stuart W., (N Miscellaneous)  undated
Box   21		New York Times Magazine, (N Miscellaneous)  1979
Box   21		Nilsson, Byron A., (N Miscellaneous)  1979
Box   21		Niort, G. de,  1973
Box   21		Norton, John, (N Miscellaneous)  1976
Box   21		Notes and fragments,  undated
Box   21		Oldenburg, J. William, (O Miscellaneous)  undated
Box   21		O'Malley, Rex,  1976
Box   21		Onassis, Jacqueline Kennedy,  1983
Box   21		Oregon State University, (O Miscellaneous)  1977
Box   21		Orson Welles á la Cinémateque (Paris event),  1982-1986
Box   21		Orson Welles Cinema, (O Miscellaneous)  1973
Box   21		Palmer [?], C. M., (P Miscellaneous)  1975
Box   21		Pan American, (P Miscellaneous)  1982
Box   21		Paris Film Festival: Tribute to Jeanne Moreau, (P Miscellaneous)  1978
Box   21		Paris Opera,  1975
Box   21		Playboy,  1976
Box   21		Perkins, Anthony,  1973
Box   21		Peterson, Janet Phillips, (P Miscellaneous)  1979
Box   21		Philippio, Eduardo de,  undated
Box   21		Plantier, Daniel Toscan du,  1982
Box   21		Pratt Institute,  1978
Box   21		Puerto Rico postcards and photo, [1960s-1970s]
Box   21		Rabinovich, Menny, (R Miscellaneous)  1978
Box   21		Rascheff, Julius, "Color Microfiche Study Guide of Orson Welles' masterpiece Touch of Evil by Julius Rascheff,"  1976
Box   21		Reagan, Ronald,  1982
Box   21		Reid, Michael, (R Miscellaneous)  1973
Box   21		Renaud, Cl. T., (R Miscellaneous)  1972
Box   21		Renoir, Sophie, (R Miscellaneous)  1982
Box   21		Resnick, Saul, (R Miscellaneous)  1976
Box   21		Resource Exchange Project, Pacific Community Self Development Society, (R Miscellaneous)  1975
Box   21		Ross, Herbert, (R Miscellaneous)  1975
Box   21		Rubin, Benny, and  1979 undated
Box   21		Rubino, Elisabeth J., (R Miscellaneous)  1975
Box   21		Ruth, Marianne, (R Miscellaneous)  1981
Box   21		Sabbaugh, Pierre,  1983
Box   21		San Fernando Valley Criminal Bar Association, (S Miscellaneous)  1985
Box   21		Sang, Lewis M.,  1976
Box   21		Saturday Evening Post,  1976
Box   21		Savinggrace, Peter, (S Miscellaneous)  1977
Box   21		Schaefer, George, (S Miscellaneous)  1975
Box   21		Schriftman, Shirley, (S Miscellaneous)  1976
Box   21		Schwartz, Jon, (S Miscellaneous)  1982
Box   21		Seaman, Cedric, (S Miscellaneous)  undated
Box   21		Selsman, Mike, (S Miscellaneous)  1975
Box   21		Selwart, Tonio,  1975-1985
Box   21		Shapiro, Stephen G., (S Miscellaneous)  1976
Box   21		Sheet music,  1930-1967
Box   21		Shiaras, Daniel, (S Miscellaneous)  1982
Box   21		Sinatra, Nancy Lambert,  1984
Box   21		Singer, Eugene,  1976
Box   21		Slattery, William J., (S Miscellaneous)  1971
Box   21		Society of American Vintage-Radio Enthusiasts,  1976
Box   21		Solomon, Paul, (S Miscellaneous)  1981
Box   21		Sonnenschein, Robert, II, (S Miscellaneous)  undated
Box   21		Spielberg, Steven,  1982
Box   21		Stample, Mike, (S Miscellaneous)  undated
Box   21		Stewart, James,  undated
Box   21		Street, John, (S Miscellaneous)  1974
Box   21		Streisand, Barbra,  1972
Box   21		Strugatz, Barry, (S Miscellaneous)  undated
Box   21		Swedish Royal Society, (S Miscellaneous)  1982
Box   21		Tasca, Alessandro, and  1984 undated
Box   21		Tell, Michael Ivan, transcript of Orson Welles interview,  1985 ca. 1985
Box   21		Theatrical souvenirs, and  1906 undated
Box   21		Thorsson, Elena, (T Miscellaneous)  1983
Box   21		Toland, Mrs. Greg, (T Miscellaneous)  1981
Box   21		Triangle Productions, Inc.,  1974
Box   21		Teleradio (Spain), (T Miscellaneous)  1983
Box   21		Tynan, Kathleen, (T Miscellaneous)  1983
Box   21		United States Embassy (Spain), (U Miscellaneous)  1975
Box   21		University of California Los Angeles,  1985
Box   21		University of East Anglia (UK), (U Miscellaneous)  1982
Box   21		Van Nest, Clint, (V Miscellaneous)  1979
Box   21		Video-Films S.A., (V Miscellaneous)  1983
Box   21		Viertel, Peter,  1982-1984
Box   21		Vogue, (V Miscellaneous)  1982
Box   21		Walt Disney Productions, (W Miscellaneous)  1976
Box   21		Warrick, Ruth,  1975-1976
Box   21		Wasserman, Steve,  undated
Box   21		WCBS, script of Camera Three: Leni Riefenstahl,  1973
Box   21		WEEI Newsradio, (W Miscellaneous)  1977
Box   21		Weinberg, Herman G., (W Miscellaneous)  1969
Box   21		Welles, Edward C., (W Miscellaneous)  1979
Box   21		Wells, Robert L., (W Miscellaneous)  1979
Box   21		Weissberger, Arnold,  1973-1976
Box   21		Wheelock, Ward,  1939
Box   21		William Morris Agency (on behalf of Neil Diamond),  1979
Box   21		Wilson, Richard, and  1974-1979 undated
Box   21		Winner, Michael, (W Miscellaneous)  1975
Box   21		Wise, Robert, (W Miscellaneous)  1984
Box   21		World Centre for Shakespear Studies,  1974
Box   21		World Wildlife Fund -- U.S., (W Miscellaneous)  1978
Box   21		Yosha, Yaky, (Y Miscellaneous)  1979
Box   21		Yugoslavia Embassy (France), (Y Miscellaneous)  1973
Box   21		Zanuck, Richard D.,  1980
Box   21		Zeffirelli, Franco,  1975
Box   21		Unidentified correspondents, and  1973-1984 undated
		Personal [series]: The Personal series (approximately 0.3 linear feet) includes a variety of material types that are all of more personal nature. Correspondence with members of the Welles family, including Welles's daughters Chris, Rebecca, and Beatrice is included in the Personal series, as are headshots and other photographs of Orson Welles unrelated to any particular film project. Passports, obituaries, and information related to houses and automobiles can also be found here.
Box   21		Automobiles,  1976
Box   21		Correspondence with Beatrice Welles, and  1973-1984 undated
Box   21		Correspondence with Chris Welles [Feder],  1982
Box   21		Correspondence with classmates and family friends,  1975-1983
Box   21		Correspondence with Paola Mori Welles, and  1984 undated
Box   21		Correspondence with Rebecca Welles, and  1978-1984 undated
Box   21		Dog license receipts,  1970
Box   21		Estate of Hazel Bernstein,  1971-1973
Box   21		Financial records,  1970-1984
Box   21		House in Madrid, Spain,  1975-1976
Box   21		House in Orvilliers, France,  1976
Box   21		Miscellaneous postcards, souvenirs, and autographs,  1910-1977
Box   21		Obituaries, memorial tributes, and correspondence with Oja Kodar regarding Orson Welles' death,  1985 (3.0 folders)
Box   22		Obituaries, memorial tributes, and correspondence with Oja Kodar regarding Orson Welles' death,  1985
Box   22		Passports and British work permit,  1968-1983
Box   22		Photographs of childhood and teenage Orson Welles,  undated
Box   22		Photographs of Orson Welles, [1940s-1980s] (2.0 folders)
Box   22		Photographs of Orson Welles (autographed),  1973
Box   22		Sketch "Sweet bug,"  undated
Box   22		Stationery and card stamped with Orson Welles signature stamp,  undated
Box   22		Who's Who biographical information,  1939
Box   Oversize 26		Photographs of Orson Welles by Tony Esparza, [1970s-1980s]
Box   Oversize 26		Photograph of Orson Welles by Denis Taranto, [1970s-1980s]
		Oja Kodar [series]: Kodar The Kodar series (approximately 0.75 linear feet) includes material generated by Oja Kodar's career as a sculptor as well as scripts written by Kodar, and some correspondence.
		Film and television
		Secret Fire [1970s -- 1980s]
Box   22		Script (photocopy) [1970s -- 1980s]
		Rainbow Machine/Somebody Else [1970s -- 1980s]
		Scripts
Box   22		Photocopy, [1970s -- 1980s]
Box   22		Photocopy, [1970s -- 1980s] (copy 1)
Box   22		Photocopy, [1970s -- 1980s] (copy 2)
Box   22		Pre-production materials, [1970s -- 1980s]
		Divine Words [1980s -- 1990s]
Box   22		Script draft pages (photocopies and manuscript), [1980s -- 1990s]
		Jaded (1989)
Box   22		Production materials,  1988 (4.0 folders)
		Something About Her [1990s]
Box   22		Pre-production materials, [1990s]
Box   22		Pre-production materials,  1991
		Damaged Goods [1998]
Box   22		Pre-production materials,  1998
Box   22		Multiproject and administrative, [1970s -- 1990s]
		Writings
		The Third Class Passenger [1980s -- 1990s]
Box   22		Typescript, [1980s -- 1990s]
Box   22		Unidentified, [1980s -- 1990s]
		Sculpture
Box   22		Announcements, [1970s -- 1980s]
Box   22		Galleries, [1970s]
Box   22		Photographs, [1970s -- 1980s]
Box   Oversize 26		Oversize photographs, [1970s -- 1980s]
		Name and topical
Box   22		American Cinamatheque,  1991
Box   22		Association des Autuers de Films,  1973
Box   22		Cancellieri, Franco,  1975
Box   22		Cannes Film Festival,  1986
Box   22		Clothing and costume records, and  1979 undated
Box   22		Dove Audio,  1994
Box   22		Entertainment Tonight,  1982
Box   22		Fawcett, Charles,  undated
Box   22		Jaglom, Henry,  1985-1987
Box   22		Johnson, Nathaniel,  1985
Box   22		Jourdan, Charles,  1978
Box   22		Krohn, Bill,  1985
Box   22		Ma Maison restaurant,  1983-1985
Box   22		Mairie d'Orvilliers,  1973-1974
Box   22		Palinkas, Nina, [1980s]
Box   22		PECF,  1968
Box   22		Perfume,  1978
Box   22		Production et Éditions Cinématographiques Françaises,  1967
Box   22		RAI Radiotelevisione Italiana,  1990
Box   22		Rosenbaum, Jonathan,  1985
Box   22		Rodman, Howard,  1986
Box   22		START (Croatia),  1971
Box   22		Syndicat Francais des Artistes-Interpretes,  1972-1975
Box   22		Tre Mondi,  1990
Box   22		Union des Artistes,  1973
Box   22		Weitzman, Sarah, [1980s]
Box   22		Winter, Grace,  1986
Box   22		Unidentified, [1970s -- 1980s]
		Personal
Box   22		Financial, [1970s -- 1980s]
Box   22		Notes and fragments, [1970s-1990s]
Box   22		Medical,  1974-1975
Box   22		Photographs,  undated
Box   22		Stationery,  undated
		Sound [series]: The audio material in the Welles-Kodar Papers is arranged by format and each item is assigned an identifier (e.g. WKMC-1). Where present, the original labels of the recording have simply been transcribed here. Preservation note: The series includes unique acetate phonographic recordings of various radio broadcasts, including one a seemingly rare recording of "The Chicken Wagon Family." These acetate records should not be played on a normal turntable as it will unfortunately destroy them.
		Phonograph records
		12-inch records
Box   23		(WKPHON-1) The Begatting of the President, Orson Welles, Mediarts,  1969
Box   23		(WKPHON-2) President Ronald Reagan Reads Stories from the Old Testament, Ronald Reagan, Nickelodeon, (accompanied by letter from Roger Hill)  1984
Box   23		(WKPHON-3 and WKPHON-4) Leonard Bernstein’s New York Philharmonic Debut, New York Philharmonic, Leonard Bernstein (conductor), New York Philharmonic, (Intermission: Orson Welles reads An American scripture by Nancy Hale) (2 record set) (2 copies, WKPHON-3 signed by Orson Welles)  1983
Box   23		(WKPHON-5 and WKPHON-6) I Know What It Is To Be Young, Orson Welles, GNP Crescendo, (2 copies)  1985
Box   23		(WKPHON-7) Citizen Kane Original Motion Picture Soundtrack, Bernard Herrmann, Mark56,  1978
Box   23		(WKPHON-8) Dracula Original Radio Broadcasts, Orson Welles, Mark56,  1976
Box   23		(WKPHON-9), The Shadow Volume 4, Orson Welles, Mark56,  1978
Box   23		(WKPHON-10, WKPHON-11) Great American Documents, Henry Fonda, Helen Hayes, James Earl Jones, Orson Welles, Leonard Bernstein, Columbia, (2 copies)  1976
		12-inch acetate records
Box   23		(WKPHON-12) "Mutiny on the Bounty" / "The Chicken Wagon Family," Burgess Meredith & Orson Welles (78 rpm, Audiodiscs, Medallion, 1939)
		Audiocassettes (formerly housed in Corona Super cigar box)
Box   24		(WKCA-1) [unidentified]
Box   24		(WKCA-2) "Mamba in the House," Thomas San Pietro,  undated
Box   24		(WKCA-3) "Nolan Van Way In Live Concert," Nolan Van Way,  undated
Box   24		(WKCA-4) "Spirit of St. Louis," Orson Welles, narr.,  undated
Box   24		(WKCA-5) "Old Chevalier (2),"  undated
Box   24		(WKCA-6) "Sense of Wonder," Van Morrison, The Town House,  undated
Box   24		(WKCA-7) "Othello’s," Paul Kaufman,  undated
Box   24		(WKCA-8) "Corine’s Quest," Dominque N,  November 1983
Box   24		(WKCA-8) "Corine’s Quest," Dominque N,  November 1983
Box   24		(WKCA-9 to WKCA-12) This Is Orson Welles, Orson Welles & Peter Bogdanovich, Caedmon, (4 audiocassette set)  1992
Box   24		(WKCA-13) "Hortense Gettys Hill Memorial Rockford Ill.,"  April 1982
		Microcassettes (formerly housed in Corona Super cigar box)
Box   24		(WKMC-1) "War Orphan for Henry,"  undated
Box   24		(WKMC-2) [unidentified]
Box   24		(WKMC-3) [unidentified]
Box   24		(WKMC-4) [unidentified]
Box   24		(WKMC-5) [unidentified]
Box   24		(WKMC-6) [unidentified]
Box   24		(WKMC-7) [unidentified]
		Motion Picture [series]: The Motion picture series consists of 3 VHS videocassettes.
		VHS
Box   24		(WKVID-1) "Yugoslav Army is Assisting Serbian Terrorism" / "A Legacy of Genocide -- The Serbian Death Squads," Martin Sheen, CAN/HDZ,  undated
Box   24		(WKVID-2) "They Shoot Monuments,"  undated
Box   24		(WKVID-3) "Falstaff (Chimes at Midnight)," (retaped/PAL)  undated
		Realia [series]: The realia series is relatively small, consisting only of empty cigar boxes on which Welles wrote down small notes and an empty bottle of a liver medication taken by Welles'
Box   24		Four wooden cigar boxes (3 of the 4 are boxes written on by Orson Welles)
Box   24		Empty bottle of medicine (Citiolase) with box and mailing envelope, [1985]
		Clippings and articles [series]: The collection includes approximately 1 linear feet of newspaper clippings and articles, which the archivist has grouped into articles and clippings about Orson Welles, Oja Kodar, or other, miscellaneous topics. The clippings about Orson Welles have been further divided into several broad categories including critiques, profiles, and published photographs.
		Orson Welles
Box   25		Critiques and historical, -  1970s 1980s (3.0 folders)
Box   Oversize 27		Oversize critiques and historical, -  1970s 1980s
Box   25		Miscellaneous,  1930s-1950s
Box   25		Photos,  1930s-1950s
Box   25		Photos, -  1970s 1980s
Box   Oversize 27		Oversize photos, -  1970s 1980s
Box   25		Profiles, -  1970s 1980s (7.0 folders)
Box   Oversize 26		Oversize profiles,  1930s-1950s
Box   Oversize 26		Oversize profiles, -  1970s 1980s
Box   25		Reviews,  1930s-1950s
Box   Oversize 26		Oversize reviews, --  1970s 1980s
Box   25		Miscellaneous,  1930s-1950s
Box   25		Miscellaneous, -  1970s 1980s (5.0 folders)
Box   Oversize 27		Oversize miscellaneous, -  1970s 1980s
Box   25		Oja Kodar, -  1970s 1980s
Box   Oversize 27		Oversize Oja Kodar, -  1970s 1980s
		Additions to the Welles-Kodar Papers (2015) [series]:
		Theater [series]: The Theater series consists of a few files (about .1 linear feet) with he contents made up primarily of photographs and some programs from relatively early in his career, including the Mercury Theatre, as well as some from after he started working in film. Dates span 1934-1960.
		Todd Theater Festival, Woodstock, IL  1934 [subseries]: (1.0 folder)
Box   28		Photographs  1934 (1.0 folder)
		Horse Eats Hat  1936 [subseries]:
Box   28		Photographs  1936 (1.0 folder)
		Macbeth (Voodoo Macbeth)  1936 [subseries]:
Box   28		Photographs  1936 (1.0 folder)
Box   28		Program  1936 (1.0 folder)
		Doctor Faustus  1937 [subseries]:
Box   28		Photographs  1937 (1.0 folder)
Box   28		Programs  1937 (1.0 folder)
		Mercury Theatre  1930s [subseries]:
Box   28		Programs  1938 (1.0 folder)
Box   28		Photographs  1930s (1.0 folder)
		Five Kings  1939 [subseries]:
Box   28		Photographs  1939 (1.0 folder)
		Native Son [subseries]:
Box   28		Photographs (1.0 folder)
		Moby Dick - Rehearsed  1955 [subseries]:
Box   28		Script  1955 (1.0 folder)
Box   28		Correspondence  1971 (1.0 folder)
		Chimes at Midnight  1960 [subseries]:
Box   28		Photographs  1960s (1.0 folder)
		Miscellaneous  Undated [subseries]:
Box   28		Unidentified Photographs (1.0 folder)
		Radio [series]: The Radio series consists of a few files (about .1 linear feet), related to Welles' work in the late 30's and early 1940s, including photographs, scripts, articles, and correspondence.
		N.B.C. Radio [subseries]:
Box   28		Photographs  1940 (1.0 folder)
		The Orson Welles Show [subseries]:
Box   28		Script  1942 (1.0 folder)
		War of the Worlds [subseries]:
Box   28		Legal Correspondence  1975 (1.0 folder)
Box   28		Articles and Clippings  1938-1979 (1.0 folder)
Box   28		Script  Undated (1.0 folder)
		Film [series]: The film series is the largest in the added material, comprising ca. 3 linear feet of scripts, drafts, correspondence, articles and clippings, promotional materials, and photographs. Films represented include both those directed by Welles and those directed by others in which he acted or participated. The series is arranged chronologically by film, dated according to their first public showing or general release date. Unfinished or unreleased projects are identified with an approximate date range of the years in the work took place. The material related to the earliest films from the 1940s and 1950s consists primarily of photographs. Later unfinished films of particular interest include The Deep, Because of the Cats, The Other Side of the Wind, Crazy Weather, Assassin/The Safe House, The Other Man, The Dreamers, Big Brass Ring, and King Lear. Also included is articles, promotional materials, correspondence, and photographs from Don Quixote, filmed on and off from the late 1950's to the early 1970s. Materials are primarily related to the version which was released in 1992 after a the footage was edited and finished by director Jesus Franco, but the photographs are from the original filming. As with drafts in the earlier accessions, Welles typically worked on scripts in sections, producing successive drafts which he then amended. The collection preserves many pages of these working drafts, which sometimes also include Welles's typed or written notes about the story and characters, along with messages to and from his typists. Minimal reorganization of the papers was done in order to preserve evidence of the process, and there are many files of "drafts" which may contain repetitions and out-of-sequence pages, filed as they were found. As Welles often worked by inserting new pages into older drafts or blending together several different versions of a scene, page numbers may not follow a logical sequence. In many cases no information about the script material was recorded before it was filed away, so dating the drafts is difficult. The dates assigned to this material are approximate. Because of the lack of identifying information on some of the material, a miscellaneous sub-series is included at the end of the series, which includes unidentified photographs and drafts of scripts.
		Heart of Darkness (1939) [subseries]:
Box   28		Photographs  1939 (1.0 folder)
		Citizen Kane (1941) [subseries]:
Box   28		Photographs  1940s (2.0 folders)
Box   28		Promotional Materials  1991 (1.0 folder)
		The Magnificent Ambersons (1942) [subseries]:
Box   28		Photographs  1940s (2.0 folders)
		Jane Eyre (1943) [subseries]:
Box   28		Photographs  1943 (1.0 folder)
		The Stranger (1946) [subseries]:
Box   28		Photographs  1940s (1.0 folder)
		The Lady from Shanghai (1947) [subseries]:
Box   28		Photographs  1940s (1.0 folder)
		Macbeth (1948) [subseries]:
Box   28		Photographs  1940s (1.0 folder)
		Black Magic (1949) [subseries]:
Box   29		Photographs  1940s (1.0 folder)
		The Third Man (1949) [subseries]:
Box   29		Photographs  1940s (1.0 folder)
		Prince of Foxes (1949) [subseries]:
Box   29		Photographs  1940s (1.0 folder)
		The Black Rose (1950) [subseries]:
Box   29		Photographs  1940s (1.0 folder)
		Othello (1952) [subseries]:
Box   29		Photographs  1950s (1.0 folder)
		Moby Dick (1956) [subseries]:
Box   29		Photographs  1950s (1.0 folder)
		The Long, Hot Summer (1958) [subseries]:
Box   29		Photographs (1.0 folder)
		Man in the Shadow (1958) [subseries]:
Box   29		Photographs  1950s (1.0 folder)
		The Roots of Heaven (1958) [subseries]:
Box   29		Photographs (1.0 folder)
		Touch of Evil (1958) [subseries]:
Box   29		Photographs (2.0 folders)
		Compulsion (1959) [subseries]:
Box   29		Photographs (1.0 folder)
		The Tartars/ I Tartari (1961) [subseries]:
Box   29		Photographs (1.0 folder)
		The Trial (1962) [subseries]:
Box   29		Scripts and Drafts  1960s (3.0 folders)
		A Man for All Seasons (1966) [subseries]:
Box   29		Photographs (1.0 folder)
		Casino Royale (1967) [subseries]:
Box   29		Photographs (1.0 folder)
		The Deep/Dead Reckoning (1960s) [subseries]:
Box   29		Scripts/Drafts  1960s (3.0 folders)
Box   29		Correspondence  1974 (2.0 folders)
Box   29		Photographs  1960s (2.0 folders)
		The Sailor from Gibraltar (1967) [subseries]:
Box   30		Photographs  1960s (1.0 folder)
		House of Cards (1968) [subseries]:
Box   30		Photographs  1960s (1.0 folder)
		Because of the Cats (1969) [subseries]:
Box   30		Photographs  1960s (1.0 folder)
		The Southern Star (1969) [subseries]:
Box   30		Photographs  1960s (1.0 folder)
		Catch-22 (1970) [subseries]:
Box   30		Photographs  1960s (1.0 folder)
		The Other Side of the Wind (1970) [subseries]:
Box   30		Scripts and Drafts  Undated (2.0 folders)
Box   30		Promotional Materials  1991 (1.0 folder)
Box   30		Notes  1970s (1.0 folder)
Box   30		Articles and Clippings  2014 (1.0 folder)
Box   30		Correspondence  1978-1979 (2.0 folders)
Box   30		Photographs  Undated (2.0 folders)
		Crazy Weather (1970s) [subseries]:
Box   31		Scripts/Drafts  1973 (1.0 folder)
		Future Shock (1972) [subseries]:
Box   31		Photographs  1970s (1.0 folder)
		Treasure Island (1973) [subseries]:
Box   31		Photographs  1970s (1.0 folder)
		F for Fake (1974) [subseries]:
Box   31		Scripts and Drafts  1970s (6.0 folders)
Box   31		Articles and Clippings  1976 (1.0 folder)
Box   31		Promotional Materials  1970s (1.0 folder)
Box   31		Photographs  1970s (1.0 folder)
Box   31		Scrapbook  1975 (1.0 folder)
		Assassin/The Safe House (1970s) [subseries]:
Box   32		Scripts and Drafts  1970s (1.0 folder)
Box   32		Notes  1970s (1.0 folder)
		The Other Man (1977) [subseries]:
Box   32		Scripts and Drafts  1970s (3.0 folders)
		The Secret of Nicola Tesla (Tajna Nikole Tesle) (1980) [subseries]:
Box   32		Photographs  1980s (1.0 folder)
		The Man Who Saw Tomorrow (1981) [subseries]:
Box   32		Photographs  1980s (1.0 folder)
		Dreamers (1982) [subseries]:
Box   32		Scripts and Drafts  1980s (4.0 folders)
Box   32		Correspondence  1982 (1.0 folder)
Box   32		Photographs  1980s (1.0 folder)
		Big Brass Ring (1982) [subseries]:
Box   33		Scripts and Drafts  1980s (3.0 folders)
Box   33		Correspondence  1987 (1.0 folder)
		The Cradle Will Rock (1980s) [subseries]:
Box   33		Scripts and Drafts  1980s (2.0 folders)
Box   33		Correspondence  1980s (1.0 folder)
		King Lear (1985)  1985 [subseries]:
Box   33		Scripts  1980s (1.0 folder)
Box   33		Correspondence  1980s (1.0 folder)
		Someone to Love (1987) [subseries]:
Box   33		Correspondence and Promotional Materials  1987 (1.0 folder)
		Don Quijote de Orson Welles (1992) [subseries]:
Box   33		Articles  1992 (1.0 folder)
Box   33		Promotional Materials  1992 (1.0 folder)
Box   33		Correspondence  1992 (1.0 folder)
Box   33		Photographs  1960s (1.0 folder)
		Miscellaneous [subseries]:
Box   34		Promotional Photographs  Undated (1.0 folder)
Box   34		Unidentified Photographs  Undated (3.0 folders)
Box   34		Unidentified Scripts and Drafts  Undated (1.0 folder)
		Television [series]: The Television series comprises about .4 linear feet, and includes scripts, photographs, correspondence, and other materials relating to projects that were originally meant for television. This includes The Orson Welles Show, a talk show that only ever shot one episode with guests Burt Reynolds and the Muppets. Aslo included are materials related to Orson's Bag, a collection of short films including Swinging London, Stately Homes, and the Merchant of Venice, the contents of which were eventually released in 1995 as part of The One-Man Band. Other materials reflect the initial stages of a Christmas TV movie and a special for NBC.
		Orson's Bag (1968-1971) [subseries]:
Box   34		Script  1960s (1.0 folder)
Box   34		Notes and Drafts  1969 (1.0 folder)
Box   34		Photographs (Swinging London)  1969 (3.0 folders)
Box   34		Photographs (Stately Homes) (1.0 folder)
Box   34		Photographs (Merchant of Venice)  1969 (2.0 folders)
		The Masque of the Red Death [subseries]:
Box   34		Script  1967 (1.0 folder)
		The Orson Welles Show [subseries]:
Box   34		Burt Reynolds  1970s (1.0 folder)
Box   34		The Muppets  1970s (1.0 folder)
Box   34		Correspondence  Undated (1.0 folder)
Box   34		Scripts and Drafts  Undated (1.0 folder)
Box   34		Photographs  Undated (1.0 folder)
		ABC Comedy Hour [subseries]:
Box   34		Photographs  1972 (1.0 folder)
		Untitled Christmas Movie [subseries]:
Box   34		Notes  Undated (1.0 folder)
		Television Specials (Misc.) [subseries]:
Box   34		Correspondence  undated (1.0 folder)
		Other Projects [series]: The Other Projects series (.1 linear ft.) includes materials related to Well's non-film related work, including advertising and vioceover work, as well as correspondence about various job offers.
Box   35		The Old Chevalier (1.0 folder)
Box   35		20th Century Records  1976 (1.0 folder)
Box   35		Voice-over Work  1972-1980 (1.0 folder)
Box   35		Job Offer Correspondence  1974-1983 (1.0 folder)
		Advertising
Box   35		Nikka Whiskey Commercial  1976 (1.0 folder)
Box   35		Brazil Nut Ad  1975-1976 (1.0 folder)
		Magic [series]: The Magic series (about .5 linear ft.) includes scripts, correspondence, photographs, and other materials related to Orson Welles magic performances, including the Murcury Wonder Show, and television specials The World of Magic and Orson Welles' Magic Show. Also included are collected printed magic tricks, drafts of trick patter that he used during performances, articles and clippings, and drawings of costumes.
		Mercury Wonder Show (1943) [subseries]:
Box   35		Script  1940s (1.0 folder)
Box   35		Photographs  1940s (1.0 folder)
Box   35		Program  1940s (1.0 folder)
Box   35		The World of Magic  1975 (1.0 folder)
		Orson Welles’ Magic Show [subseries]:
Box   35		Photographs (1.0 folder)
Box   35		Notes and scripts  1980s (1.0 folder)
Box   35		Magic Tricks  undated (1.0 folder)
Box   35		Trick Patter  undated (3.0 folders)
Box   35		Correspondence  undated (1.0 folder)
Box   35		Articles and Clippings  2004 (1.0 folder)
Box   35		Costumes  undated (1.0 folder)
Box   35		Photographs  undated (2.0 folders)
		Name and Topical Files [series]: The Name and Topical Files series (approximately 1 linear ft.) contains primarily correspondence and various other materials arranged alphabetically by the name of a person, place, event, or subject. The series includes letters from directors and film executives such as Martin Scorsese and August Coppola, actors and actresses such as Charleton Heston and Charles Fawcett, close friends such as Roger Hill and Peter Bogdanovich, and some fans of Welles's work. Also included are posters, programs, and other materials related to film festivals and tributes to welles, including the Cannes International Film Festival and the American Academy of Arts and Letters.
Box   36		Académie des Beaux Arts  1984 (1.0 folder)
Box   36		Academy Shuppan, Inc.  1980s (1.0 folder)
Box   36		American Academy of Arts and Letters  1 (1.0 folder)
Box   36		American Film Institute  1986 (1.0 folder)
Box   36		Antoine, Dominique  1980s (1.0 folder))
Box   36		Beograd International Film Festival  1975 (1.0 folder)
Box   36		Bernstein, Hazel  1971 (1.0 folder)
Box   36		Bessy, Maurice  1976-1981 (1.0 folder)
Box   36		Blumenfeld, Eli  1981 (1.0 folder)
Box   36		Bogdanovich, Peter  1970s and Undated (1.0 folder)
Box   36		British Academy of Film and Television Arts  1985 (1.0 folder)
Box   36		Burns, Vincent Godfrey  1975 (1.0 folder)
Box   36		Cahiers du Cinema  Undated (1.0 folder)
Box   36		Carringer, Robert  1982 (1.0 folder)
Box   36		Carrisi, Romina Power  198 (1.0 folder)
Box   36		Cloutier, Suzanne  1982 (1.0 folder)
Box   36		Coalition for International Cooperation and Peace  1975 (1.0 folder)
Box   36		Cody, Sebastian  undated (1.0 folder)
Box   36		Coppola, August  undated (1.0 folder)
Box   36		Costa-Gavras  1986 (1.0 folder)
Box   36		De Filippo, Eduardo  undated (1.0 folder)
Box   36		Denver Museum of Natural History  1976 (1.0 folder)
Box   36		Dickson, Abb  1984 (1.0 folder)
Box   36		Dussart, Philippe  1985 (1.0 folder)
Box   36		Ebal Films  undated (1.0 folder)
Box   36		Entertainment Hall of Fame Foundation  1976 (1.0 folder)
Box   36		Epstein, George  1982 (1.0 folder)
Box   36		Esser, Grace Denton  1985 (1.0 folder)
Box   36		Fan Mail  1971-1984 (1.0 folder)
Box   36		Fawcett, Charles  1982 (1.0 folder)
Box   36		Ferrara-Santamaria, Massimo  1983 (1.0 folder)
		Film Festivals and Retrospectives
Box   36		Programs and Promotional Materials  undated (1.0 folder)
Box   36		Programs and Promotional Materials  1970-2009 (4.0 folders)
Box   36		Film Rights  1982 (1.0 folder)
Box   36		Finlay, Larry  1981-1982 (1.0 folder)
Box   36		Fitzgerald, Michael  undated (1.0 folder)
Box   36		Freedland, George  1980 (1.0 folder)
Box   37		Friars Club  1979-1984 (1.0 folder)
Box   37		Fryer, Robert  1975 (1.0 folder)
Box   37		Gali-Gali, Luxor  undated (1.0 folder)
Box   37		Garrison, Greg  1982-1984 (1.0 folder)
		George, Jim  undated (1.0 folder)
Box   37		Gottesman, Ronald  1975 (1.0 folder)
Box   37		Hammer, Armand  1985 (1.0 folder)
Box   37		Hellwig, Klaus  1976 (1.0 folder)
Box   37		Heston, Charleton  1981 (1.0 folder)
		Hill, Roger
Box   37		Correspondence  1978-1987 (1.0 folder)
Box   37		Photographs  undated (1.0 folder)
Box   37		Writings  1977-1984 (1.0 folder)
Box   37		Hill, (Ruth) Hortense Gettys  1982 (1.0 folder)
Box   37		Hoyt, John  1984 (1.0 folder)
Box   37		Huston, John  1983 (1.0 folder)
Box   37		Jaglom, Henry  1982-1983 (1.0 folder)
Box   37		Jordan, Larry  1976 (1.0 folder)
Box   37		Kanin, Garson  1980 (1.0 folder)
Box   37		Keller, Don  1983 (1.0 folder)
Box   37		Krainin/Sage Productions, inc.  undated (1.0 folder)
Box   37		Lang, Jack  1982 (1.0 folder)
Box   37		Lazar, Irving Paul  1970-1983 (1.0 folder)
Box   37		Lemmon, Jack  undated (1.0 folder)
Box   37		Mankiewicz, Herman  undated (1.0 folder)
Box   37		Masson, Paul  1985 (1.0 folder)
Box   37		Menotti, Gian Carlo  1978-1984 (1.0 folder)
Box   37		Moss, Kendis Rochlen  1985 (1.0 folder)
Box   37		Museum of Modern Art  undated (1.0 folder)
Box   37		Popper, Joe  1985 (1.0 folder)
Box   37		President of France  undated (1.0 folder)
Box   37		Requests for Interview  1975-1982 (1.0 folder)
Box   37		Richard, Edmond  1983 (1.0 folder)
Box   37		Sagan, Francoise  1985 (1.0 folder)
Box   37		Schenker, Augusta  1981 (1.0 folder)
Box   37		Schmidt, Bob  1976 (1.0 folder)
Box   37		Scorsese, Martin  1982 (1.0 folder)
Box   37		Seery, Ray  1985 (1.0 folder)
Box   37		Selsman, Michael  1976 (1.0 folder)
Box   37		Selwart, Tonio  1984 (1.0 folder)
Box   37		Sigurdson, Roy  undated (1.0 folder)
Box   37		Simon Wiesenthal Center  1981 (1.0 folder)
Box   37		Sinatra, Nancy  1984 (1.0 folder)
Box   37		Stevens, George, Jr.  1983 (1.0 folder)
Box   37		Stevens, Maury  undated (1.0 folder)
Box   37		Tarbox, Todd  1976 (1.0 folder)
Box   37		Tasca, Alessandro  1982-1984 (1.0 folder)
Box   37		Teynac, Maurice  undated (1.0 folder)
Box   37		Todesco, Goffredo  1970 (1.0 folder)
Box   37		Vidor, King (1978) (1.0 folder)
Box   37		Weissberger & Harris  1973-1979 (1.0 folder)
Box   37		Wilson, Richard  1980 (1.0 folder)
Box   37		Yugoslav Press and Cultural Center  1981 (1.0 folder)
Box   37		Yugoslav Embassy D.C.  1981 (1.0 folder)
Box   37		Unidentified  1970-1980 (1.0 folder)
		Personal [series]: The Personal Series (1 linear ft) includes a variety of materials related to Welle's personally, rather than his screen work. This includes drafts of his writing including essays and articles about various topics, including Shakespeare and tributes and remarks about others in the film business, as well as untitled, unidentified drafts. Also in this series are works by others given to or collected by Welles including poems, short stories, and tributes. Most significant is the material from Welles' unpublished memiors, both in draft form and shorter more organized versions, along with notes, correspondence, and photographs meant for the book. Additionally, there are miscellaneous personal documents, including the notes he would write himself with lists of things that needed to be done, and notebooks with similar content as well as several doodles, one a self protrait. Correspondence with his daughters and Oja is also found in this series, as well as personal and family photographs, some from very early in his life.
		Writing [subseries]:
Box   38		Lecture on Othello  undated (1.0 folder)
Box   38		Commentary on Shakespeare (1.0 folder)
Box   38		Tributes to others  undated (1.0 folder)
Box   38		Essay on Witch Doctors  undated (1.0 folder)
Box   38		Job/Lamentations  undated
Box   38		Magazine articles  undated (1.0 folder)
Box   38		Paris Vogue  1982 (1.0 folder)
Box   38		English Narrations  undated (1.0 folder)
Box   38		Untitled Drafts  undated (3.0 folders)
		Works by Others [subseries]:
Box   38		Poems and songs  undated (1.0 folder)
Box   38		Stories  undated (1.0 folder)
Box   38		Tributes  undated (1.0 folder)
		Memoir [subseries]:
Box   38		Drafts (6.0 folders)
Box   38		"Confessions of a One Man Band"  undated (1.0 folder)
Box   38		"My Father Wore Black Spats"  1982 (1.0 folder)
Box   39		Notes (1.0 folder)
Box   39		Correspondence (1.0 folder)
Box   39		Photographs  undated (1.0 folder)
		Miscellaneous [subseries]:
Box   39		Financial Records  1980s (1.0 folder)
Box   39		Medical Records  1980s (1.0 folder)
Box   39		Identification and Membership Cards  1981-1982 (1.0 folder)
Box   39		Todd Seminary for Boys  1908-1929 (1.0 folder)
Box   39		Annotated Books  undated (1.0 folder)
Box   39		Miscellaneous Notes  undated (2.0 folder)
Box   39		Notebooks  undated (1.0 folder)
		Family Correspondence [subseries]:
Box   39		Kodar, Oja (Olga Palinkas)  1973 (1.0 folder)
Box   39		Welles, Beatrice  1981-1984 (1.0 folder)
Box   39		Welles, Rebecca  undated (1.0 folder)
Box   39		Welles Feder, Christopher  1983
		Photographs [subseries]:
Box   39		Orson Welles with others  undated (1.0 folder)
Box   39		Family and Yound Orson Welles  undated (1.0 folder)
Box   39		On Set  undated (1.0 folder)
Box   39		Headshots (2.0 folders)
Box   39		Isak Dinesen/Karen Blixen  undated (1.0 folder)
		Oja Kodar [series]: The Oja Kodar Series (approximately .75 linear ft.) consists of materials related to Oja Kodar's work both with and Without Orson Welles, as well as correspondence, and personal matters. The series is divided into subseries for film, writing, name and topical files, and personal. The writing and film subseries both include unpublished drafts of scripts and stories. The personal subseries included several topics related to Orson Welles' estate after his death, including real estate, legal papers related to the dispute over film rights, and Oja's eulogy for Welles. Also included are materials from her sculpture work and photographs.
		Film [subseries]:
Box   40		Valentine/Blue Moon - Legal Correspondence  1986 (1.0 folder)
Box   40		Jaded - Correspondence  1989 (1.0 folder)
Box   40		Jaded - Articles and Clippings  1989 (1.0 folder)
Box   40		Third Class Passenger  1991 (5.0 folders)
Box   40		Time to Love - Script  1992 (1.0 folder)
Box   40		A Time for...  1993 (1.0 folder)
		Writing [subseries]:
Box   41		Blind Window - Draft  1970s (3.0 folder)
Box   41		The Rainbow Machine  1980s (2.0 folder)
Box   41		Ivanka  undated (1.0 folder)
		Name and Topical Files [subseries]:
Box   41		Antoine, Dominique  1979 (1.0 folder)
Box   41		Astrophore Films  1976 (1.0 folder)
Box   41		Barnard, A.M. (Tony)  1985 (1.0 folder)
Box   41		Beacham, Frank  1985 (1.0 folder)
Box   41		Cody, Sebastian  1986 (1.0 folder)
Box   41		Dickson, Abb  2005 (1.0 folder)
Box   41		Droessler, Stefan  undated (1.0 folder)
Box   41		Film Rights Lawsuit  1986 (1.0 folder)
Box   41		Forgan, Rosemary  1985 (1.0 folder)
Box   41		French Ministry of Culture  1985 (1.0 folder)
Box   41		Hill, Roger  1985 (1.0 folder)
Box   41		Johnson, Nathaniel  1986 (1.0 folder)
Box   41		Leuvan, Jean-Mark  1985 (1.0 folder)
Box   41		Mialet, Michel  1976 (1.0 folder)
Box   41		Orson Welles Awards  1989 (1.0 folder)
Box   41		Ropama Film A.G. (1.0 folder)
Box   41		Schenker, Augusta  1986 (1.0 folder)
Box   41		Vandemeere, Piere  1986 (1.0 folder)
Box   41		Weissberger & Harris (1.0 folder)
Box   41		Unidentified  1970-1980 (1.0 folder)
		Personal [subseries]:
Box   41		Orson Welles’ Estate Dispute  1986 (2.0 folder)
Box   41		Real Estate  1986 (1.0 folder)
Box   41		Eulogy for Orson Welles  1985 (1.0 folder)
Box   41		Sculpture  undated (1.0 folder)
Box   41		Articles and Clippings (1.0 folder)
Box   41		Photographs  undated (1.0 folder)
		Biographical Works [series]: The Biographical works series (about .25 linear ft.) includes published and unpublished works about Welles written by others, including a collection of annotated correspondence, "Orson!:An Original Play", drafts of biographies by Jonathan Rosenbaum and Barbara Leaming, and a copy of The Unknown Orson Welles.
Box   41		Manuscripts  2000-2006 (4.0 folders)
Box   41		Published  1977-2004 (2.0 folders)
Box   41		Correspondence  undated (1.0 folder)
		Clippings and Articles [series]: The Clippings and Articles series (approximately .5 linear ft.) is a collection of articles and clippings about Welles from various publications including magazines and newspapers. Materials are mainly arranged chronologically from before 1970 to 2014, but also included are folders of undated materials, undated clippings from Croatian/Yugoslavian publications, and photographs clipped from articles.
Box   42		Articles and Clippings  Before 1970 (1.0 folder)
Box   42		Articles and Clippings  1970-2014 (6.0 folders)
Box   42		Articles and Clippings  undated (1.0 folder)
Box   42		Croatian Publications  undated (1.0 folder)
Box   42		Photographs  undated (1.0 folder)
		Oversize Photographs [series]: The oversize series comprises two oversize boxes with oversize photographs that correspond with materials in the Film, Television, Magic, Personal, and Oja Kodar series and follows the same order. The magic subseries includes pages from a scrapbook with images from vintage magic ephemera together with images of Welles performing magic.
		Film [subseries]:
Box   Box 43		The Stranger  1940s (1.0 folder)
Box   Box 43		Chimes at Midnight  1965 (1.0 folder)
Box   Box 43		Because of the Cats  1969 (1.0 folder)
Box   Box 43		The Deep/Dead Reckoning  1970 (1.0 folder)
Box   Box 43		F for Fake  1974 (1.0 folder)
		Television
Box   Box 43		Orson's Bag (Merchant of Venice)  1969 (1.0 folder)
Box   Box 43		Orson's Bag (Swinging London)  1969 (2.0 folder)
		Magic [subseries]:
Box   Box 44		The Mercury Wonder Show  1943 (1.0 folder)
Box   Box 44		Photographs (1.0 folder)
Box   Box 44		Scrapbook  undated (2.0 folders)
		Personal [subseries]:
Box   Box 43		Photographs  undated (1.0 folder)
		Oja Kodar [subseries]:
Box   Box 44		Photographs (1.0 folder)

Additional Descriptive Data

Related Materials

There are two other major collections that compliment the Orson Welles -- Oja Kodar Papers. The first, the Richard Wilson-Orson Welles Papers (61 boxes), also here at the University of Michigan Special Collections Library, contain 1930s-1950s Mercury Theater material and other papers kept by Welles's friend and long-time associate, Richard Wilson. The second is a concentration of Welles materials (at least 40 boxes) at Indiana University’s Lilly Library, the bulk of which came from the Lilly Library's purchase in the 1970s of many of Welles and Richard Wilson's pre-1949 papers. Orson Welles's kept a third cache of papers in a home in Spain but these papers were destroyed in a house fire in the late 1960s.