When a startup announced plans last fall to recreate lost footage from Orson Welles’ classic film “The Magnificent Ambersons” using generative AI, I was skeptical. More than that, I was baffled why anyone would spend time and money on something that seemed guaranteed to outrage cinephiles while offering negligible commercial value.
This week, an in-depth profile by the New Yorker’s Michael Schulman provides more details about the project. If nothing else, it helps explain why the startup Fable and its founder Edward Saatchi are pursuing it: It seems to come from a genuine love of Welles and his work.
Saatchi (whose father was a founder of advertising firm Saatchi & Saatchi) recalled a childhood of watching films in a private screening room with his “movie mad” parents. He said he first saw “Ambersons” when he was twelve.
The profile also explains why “Ambersons,” while much less famous than Welles’ first film “Citizen Kane,” remains so tantalizing — Welles himself claimed it was a “much better picture” than “Kane,” but after a disastrous preview screening, the studio cut 43 minutes from the film, added an abrupt and unconvincing happy ending, and eventually destroyed the excised footage to make space in its vaults.
“To me, this is the holy grail of lost cinema,” Saatchi said. “It just seemed intuitively that there would be some way to undo what had happened.”
Saatchi is only the latest Welles devotee to dream of recreating the lost footage. In fact, Fable is working with filmmaker Brian Rose, who already spent years trying to achieve the same thing with animated scenes based on the movie’s script and photographs, and on Welles’ notes. (Rose said that after he screened the results for friends and family, “a lot of them were scratching their heads.”)
So while Fable is using more advanced technology — filming scenes in live action, then eventually overlaying them with digital recreations of the original actors and their voices — this project is best understood as a slicker, better-funded version of Rose’s work. It’s a fan’s attempt to glimpse Welles’ vision.
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Notably, while the New Yorker article includes a few clips of Rose’s animations, as well as images of Fable’s AI actors, there’s no footage showing the results of Fable’s live action-AI hybrid.
By the company’s own admission, there are significant challenges, whether that’s fixing obvious blunders like a two-headed version of the actor Joseph Cotten, or the more subjective task of recreating the complex beauty of the film’s cinematography. (Saatchi even described a “happiness” problem, with the AI tending to make the film’s women look inappropriately happy.)
As for whether this footage will ever be released to the public, Saatchi admitted it was “a total mistake” not to speak to Welles’ estate before his announcement. Since then, he has reportedly been working to win over both the estate and Warner Bros., which owns the rights to the film. Welles’ daughter Beatrice told Schulman that while she remains “skeptical,” she now believes “they are going into this project with enormous respect toward my father and this beautiful movie.”
The actor and biographer Simon Callow — who’s currently writing the fourth book in his multi-volume Welles biography — has also agreed to advise the project, which he described as a “great idea.” (Callow is a family friend of the Saatchis.)
But not everyone has been convinced. Melissa Galt said her mother, the actress Anne Baxter, would “not have agreed with that at all.”
“It’s not the truth,” Galt said. “It’s a creation of someone else’s truth. But it’s not the original, and she was a purist.”
And while I’ve become more sympathetic to Saatchi’s aims, I still agree with Galt: At its best, this project will only result in a novelty, a dream of what the movie might have been.
In fact, Galt’s description of her mother’s position that “once the movie was done, it was done,” reminded me of a recent essay in which the writer Aaron Bady compared AI to the vampires in “Sinners.” Bady argued that when it comes to art, both vampires and AI will always come up short, because “what makes art possible” is a knowledge of mortality and limitations.
“There is no work of art without an ending, without the point at which the work ends (even if the world continues),” he wrote, adding, “Without death, without loss, and without the space between my body and yours, separating my memories from yours, we cannot make art or desire or feeling.”
In that light, Saatchi’s insistence that there must be “some way to undo what had happened” feels, if not outright vampiric, then at least a little childish in its unwillingness to accept that some losses are permanent. It may not, perhaps, be all that different from a startup founder claiming they can make grief obsolete — or a studio executive insisting that “The Magnificent Ambersons” needed a happy ending.
