Along with Oja Kodar, cinematographer and low-budget filmmaker Gary Graver was the most faithful and indefatigable of Orson Welles’s collaborators over the last quarter century of his life, and this endearing but ramshackle feature-length video by Graver (1993) is like a conducted tour through the cameraman’s closet. The most precious documents on view are the original trailers for Citizen Kane and F for Fake, both in effect autonomous short works by Welles. (The first was made during the production of Kane; the second, nine minutes long, was made more than three years after the European release of F for Fake, and because the feature’s U.S. distributor refused to process it, it survives only as a black-and-white work print.) But Graver is too generous and too indiscriminate to stop there, so he also offers the trailers for David and Goliath (a cheesy epic in which Welles plays King Saul) and Kodar’s first feature, Jaded (a singular exploitation item that’s still unreleased here, in which one can catch glimpses of Welles’s unreleased The Merchant of Venice). There are also a few fugitive clips from better-known Welles features, but the main topic discussed is the filming of Welles’s unreleased The Other Side of the Wind, which still awaits completion funding; its plot isn’t described and no final footage is glimpsed, but its production is recalled by Cameron Mitchell, Susan Strasberg, Frank Marshall, Peter Jason, Curtis Harrington, and Peter Bogdanovich. Stacy Keach is also interviewed about his encounter with Welles during the shooting of the Pia Zadora vehicle Butterfly, and Graver also throws in bits of two of his own early shorts: one of them is narrated by Welles; the other is included on the pretext that Graver was only 23 when he made it, the same age he says Welles was when he made Kane (actually Welles was 25). We also get two whiskey ads featuring Welles made for Japanese TV, a magic act featuring Welles and Graver on the Tonight Show, a personal statement by Graver’s producer, a few tests shot by Graver for Welles, and other ephemera. Much of the organization seems arbitrary, but if you’re a Welles aficionado you’re bound to find most of the material intriguing.