French composer and multiple Oscar- and Grammy-winner Michel Legrand is scoring Orson Welles' final film, "The Other Side of the Wind," Variety has learned.
Said producer Frank Marshall: “After working with Michel on ‘F for Fake' and wanting a jazz-based score, Orson always spoke about him doing the music for ‘Wind.'  So it is wonderful to have this three-time Academy Award winner on board, and a thrill to sit and spot the music with Michel, who, at 86 years old, still has tremendous energy, creativity and a twinkle in his eye.”
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Seven of his 13 Oscar nominations are for songs, many of which have gone on to become standards: "I Will Wait for You," "The Windmills of Your Mind," "What Are You Doing the Rest of Your Life?," "Pieces of Dreams," "How Do You Keep the Music Playing?" and two from "Yentl," "Papa, Can You Hear Me?" and "The Way He Makes Me Feel." Legrand is responsible for some of the most memorable film music of the past 60 years.
The composer calls it "one of the most exciting and delicate scores" he has written in his 60 years of working in movies. "I asked myself constantly, ‘How would Orson have reacted?' The very subject of the film touched me: the idea of the passage of time, the renewal of inspiration. I am proud to be the link between these two Welles films. I take it as a gift from Orson, through the clouds."
Bogdanovich has consulted on the edit, working with Marshall and producer Filip Jan Rymsza to complete the film per Welles' original vision. The long-awaited "Wind" was in production off and on from 1970 to 1976; it stars Welles' directing colleagues John Huston and Peter Bogdanovich.
Netflix is expected to stream the film at some point in the future, probably later this year.
Orchestral recording began on Monday in Belgium and will continue with a jazz ensemble later this week in Paris. Legrand, 86, has been secretly working on the film since December.
 
The veteran composer, whose work includes "Yentl," "Summer of '42," "The Thomas Crown Affair" and “The Umbrellas of Cherbourg,” scored Welles' last completed film, "F for Fake," in 1974. Welles died in 1985. This will mark Legrand's second Welles project.
 
His other scores include "The Umbrellas of Cherbourg," "The Young Girls of Rochefort," "Ice Station Zebra," "The Go-Between," "Lady Sings the Blues" and "The Three Musketeers." His five Grammys include one for his television score for "Brian's Song" and two for his 1975 jazz album "Images."

Then you applied to CalArts?
Is that why you like to work with actors?
James Mangold was first mentioned in Variety on June 30, 1982, when he won a $1,000 student prize for the sound on his film “Future View.” At California Institute of the Arts, he found a mentor in director Alexander Mackendrick (“The Ladykillers,” “Sweet Smell of Success”), who stressed the importance of character and story rather than “fine-art” film-school fanciness. It’s a lesson Mangold has used on all his films, including “Cop Land” (1997) “Walk the Line” (2005), “3:10 to Yuma” (2007) and his latest, “Logan,” a spinoff of the “X-Men” franchise. Still, Mangold convinced Fox to make “Logan” a film about real people, rather than a VFX green-screen extravaganza.
I think it still is. He thought the actual act of telling a story in front of a camera was the greatest challenge for young filmmakers. To some directors, the crane shot and the digital-vs-film arguments and the prime-vs.-zoom lens athleticism are more attractive than the nuts and bolts of “How do I make an emotionally arresting scene that moves you?” I was his teaching assistant for two years. He said the problem for most filmmakers is that they focused on the equipment, on the technical aspects of making a movie — but they were lost when it came to blocking, acting and working out the story with actors. Sandy believed you didn’t need more than what Orson Welles had in terms of technology, and it’s really about what you’re putting in front of the camera that determines the quality of the film. In my third year, he wanted me to transfer to the acting school.
I’d been making Super 8 since I was 12. At home in upstate New York, I had an editing system I’d built in the attic; I was building miniatures, animating — I was a one-man band.
So you transferred to acting?
I was among the students interviewed by producer Bob Rogers, and they asked me to make the film. At home, I had been a one-man operation and suddenly I was learning about budgets, communication with marketing executives, and responsibility in dealing with huge companies like General Motors and Disney. I learned a lot. At that time (1982), Disney was building Epcot Center; Disney and General Motors wanted a documentary about automobiles and transportation. I started when I was 17.
“Every tentpole seems to be about the end of the world. I felt the formula was tired,” he says. “I think even audiences are exhausted and certain aspects of storytelling have gotten monotonous.” Instead, he wanted to focus on a makeshift family and its members’ very human concerns.
What was “Future View” like?
It was fun. It was basically a promotional film, and the sound involved a lot of revving engines and supersonic jets.
When did you know you wanted to direct?
What advice did he give you?
He was an island of narrative-driven storytelling, which I was very attracted to. He was like a West Coast dad for me. He didn’t usually work with first-year students, but he liked my Super 8 projects.
Alexander Mackendrick was a great director. How was he as a teacher?
That was a breakthrough year in my life; it was thrilling. I auditioned and got into the acting program, and I spent one year there. Don Cheadle was another student. It was eye opening. I was still Sandy’s assistant, but I was an actor learning movement, fight training, voice training.
It started then and it all came from Sandy’s impulse.” /> I was the only one. I loved acting. I think Sandy recognized that he was creating something that was good. I was the prototype for the program that now exists at CalArts — a film-directing program that’s a combined effort of the theater and film schools.
The gamble paid off with big box office ($617 million worldwide) and Oscar buzz.