But also, the politics of how he wrote this memo really very quickly, and how he had phrased things politically to try to get what he wanted. And in the end he did not get everything he wanted. We were able to... We were told by the studio that everyone was dead who had worked behind the camera on the film. And Rick, who's a bit of a detective, thought, 'I bet you they're not. Let's see if we can find Ernie Nims, who was head of post-production at Universal at that time. Who had been an editor on The Stranger, a film that Welles directed in 1946.' And so he just started looking through the phone book in Los Angeles, and came up with a few names like that, and started dialling. And I think on the fourth or fifth call he found Ernie Nims, who was I think in his late 80's by that time, 86 or so. 'Is this Ernie Nims?' 'Yes.' 'Are you the Ernie Nims who worked with Orson Welles?' 'Yes, that's me.' 'We're doing Touch of Evil.' 'What a fantastic film, yes, the problem with Orson was, he was just ahead of his time. He was 20 years ahead of his time. If you made that film in 1977, instead of '57 there would have been no problem. But you know, he was ahead of his times, you know?' 'Do you have any additional material?' 'Yes, I've got a couple of boxes up in the attic. I'll tell you what – he said – I have to go play golf this afternoon. I'll put them on the porch of my house. You guys can come and pick them up.' 'Wait a minute, we're in San Francisco, we're not in Los...' 'No, I'll put them on the porch. You can...' 'No, don't...' So click, he hung up. So we called somebody at Universal. 'Could you go to this address? And if there are two file boxes on the porch of this house, pick them up.' And sure enough there were. When we got them, and they were delivered to us up in Bolinas, which is where we were working, and they had great stuff in them, memos back and forth from Orson Welles to the studio, and with Ernie Nims, private memos. And a great section of memos from Welles to Henry Mancini, who was the composer of music for the film, about the kind of sound that Welles wanted for the film. And this was Mancini's big breakthrough film. He had been kind of struggling a bit in Universal Television. And this possibility of doing the music for this film was a big leap ahead for Henry Mancini.
