It’s exciting to see Shyamalan on such confident footing once more, all these years later.
Welles was not in Los Angeles to defend his film because he was on location in Brazil, directing an anthology film named "It's All True," which Nelson Rockefeller thought would cement wartime relationships between the United States and Latin America, and which almost everyone else, possibly except for Welles and his team, thought was a cockamamie project from the beginning.
"The Nelson Proj-ect," as Welles was later sardonically to call it, would include a Mexican bullfighting sequence, a documentary about carnaval in Rio, a lot of samba dancing in Technicolor, and a black and white sequence telling the story of four poor peasants who sailed their raft more than 1,000 miles to ask the president of Brazil for help for their people.
Much of the footage for "It's All True" had already been shot when the studio, RKO, pulled the plug on Welles' budget and ordered him home. The movie was never released, "Ambersons" was butchered badly in his absence, and his career, which began with what many believe is the greatest film ever made, never ever quite recovered. Welles spent the rest of his life fighting a reputation as a dilettante who didn't finish things, but the "It's All True" fiasco was not his fault.
Now here is a documentary named "It's All True" which brings together much of the surviving footage from the American adventure, and adds interviews with Welles, cinematographer Joseph Biroc, his associate Richard Wilson and others who worked on the project.