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Forms part of Robert Altman Archive. Includes materials for films The Afterglow, Black and Blue, Cookie's Fortune, The Gingerbread Man, Gun, Kansas City, McTeague, Mrs, Parker and the Vicious Circle, The Player, Pret-a-Porter, and Robert Altman's Jazz '34: Remembrances of Kansas City Swing,. Records include scripts, legal files, publicity materials, photographs and correspondence.

The Rudolph papers include scripts, articles and clippings, publicity and press materials, books, photographs, artifacts/realia, audio and moving image materials, posters, awards, and branded crew garments and caps from many of Alan Rudolph's projects. Photographer Joyce Rudolph is represented by hundreds of professional and personal slides and photographs, including many candid on-set shots.

The collection consists of professional and personal correspondence, assorted clippings, film festival awards and memorabilia, and scripts and production documents related to Alan Rudolph's filmmaking career, spanning his early work in Riot (1969), through 2002's The Secret Lives of Dentists. Also included are a plethora of documents from various unproduced projects. In the Artifacts and Graphics series are a small selection of props from Rudolph's films, most notably The Moderns, along with an assortment of film cast and crew branded gear, including caps, shirts, and jackets, movie posters, and a representation of some of the numerous awards won by the Rudolphs.

A small sub-series of material devoted to friend and mentor, Robert Altman, consists of articles and reviews, assorted programs, and, most notably, photographs taken by Joyce Rudolph.

Joyce Rudolph is represented by hundreds of her professional and sought-after on-set photographs, company stills, and candid shots, all taken during the filming of projects by Alan Rudolph and a wide variety of other notable filmmakers.

A series of Audio and Moving Image material consists of several VHS tapes, several movie video disks as well as two soundtracks. The Artwork series contains an assortment of drawings and paintings, most likely created by Alan Rudolph, along with two large acrylic paintings used as props in The Moderns.

Alan Campbell , American actor and screenwriter, wrote, with his wife Dorothy Parker, screenplays for Hollywood studios during the 1930s. The collection contains the correspondence and writings of Alan Campbell and Dorothy Parker. Included is World War II correspondence, scripts, screenplays, fragments of several short stories, a play, as well as typescripts of pieces by some of Campbell and Parker's contemporaries.

The Alan Campbell and Dorothy Parker Collection consists of four series, Correspondence, Financial Papers, Writings and Miscellaneous. The Collection contains correspondence and writings of Alan Campbell and Dorothy Parker. Included is correspondence from Campbell to Parker, written during World War II; several letters from Zeppo Marx; and a few letters from Leland Hayward and Rosalie Stewart, with many references to other celebrities. Also included is a portion of the Campbell-Parker collaboration on the screenplay A Star is Born, written with Robert Carson. Campbell’s writings include the script for Told to the Children while Parker is represented by fragments of several short stories and her play The Coast of Illyria. The collection also includes typescripts of pieces written by contemporaries of Campbell and Parker, including Stephen Vincent Benét, Elliott Nugent, John O’Hara, Robert Penn Warren, and Sagittarius (aka Olga Katzin).

Forms part of Robert Altman Archive. Includes materials related to films Aria, Basements, Beyond Therapy, The Caine Mutiny Court Martial, Come Back to the Five and Dime Jimmy Dean, Jimmy Dean, Fool for Love, HealtH, Images, Laundromat, O.C, and Stiggs, Popeye, Rake's Progress, Secret Honor, Streamers, Tanner '88, Two by South, Records include scripts, legal files, publicity materials, photographs and correspondence.

Forms part of the Robert Altman Archive. Includes materials related to films Aria, Basements, Beyond Therapy, The Caine Mutiny Court Martial, Come Back to the Five and Dime Jimmy Dean, Jimmy Dean, Fool for Love, HealtH, Images, Laundromat, O.C, and Stiggs, Popeye, Rake's Progress, Secret Honor, Streamers, Tanner '88, Two by South, Records include scripts, legal files, publicity materials, photographs and correspondence.

Forms part of the Robert Altman Archive. Includes materials related to films Brewster McCloud, Buffalo Bill and the Indians or Chief Sitting Bull's History Lesson, The California Split, Images, The Late Show, The Long Goodbye, Mash, McCabe and Mrs. Miller, Nashville, A Perfect Couple, The Quintet, Remember My Name, Rich Kids, Thieves Like Us, 3 Women, A Wedding, and Welcome to L.A.. Records include scripts, legal files, publicity materials, photographs and correspondence.

Forms part of Robert Altman Archive. Includes Business and Financial records and a Chronological series (30 linear feet) that includes daily logs and correspondence for many of Robert Altman's production companies.

The Business and Financial series (68 linear feet) are business records that range from payroll, paid bills, general ledgers, insurance, banking transactions, residuals and other financial documents. There are two sub-series beginning with the Personal sub-series, and ending with the Accounting and General Business sub-series both organized chronologically. The documents range in date from 1969-2007.

The Legal series (7.5 linear feet) are legal documents with the majority of documents originating from three law firms, Lane & Mittendorf, and Mitchell, Silberberg & Knupp, and Frankfort, Garbus, Klein & Selz all of which represented Robert Altman personally and professionally from 1969-2005. The series largely consists of business and financial documents. The series includes personal, business and financial, real estate and expandable file folders from Jerome Walsh's law office. The majority of files were created by Robert Altman's lawyer Jerome Walsh.

The Chronological series (30 linear feet) includes daily logs and correspondence for many of Robert Altman's production companies. Materials consist of daily logs, desk calendars, daily planners and correspondence consisting of incoming and outgoing faxes created during production of several of his films.

Forms part of the Robert Altman Archive. The Commercials series (1 linear foot) includes materials from Robert Altman's commercial production company, Villains. These materials consist of scripts, storyboards, correspondence, and production notebooks.

Commercials, 1984, 2001-2005 forms part of the Robert Altman Archive. The Commercials series (1 linear foot) includes materials from Robert Altman's commercial production company, Villains. These materials consist of scripts, storyboards, correspondence, and production notebooks.

The Orson-Welles and Alessandro Tasca di Cutò papers reflect the working and personal relationship between Orson Welles and Alessandro Tasca di Cutò. He was a producer for many of Orson Welles’s films, but two were especially significant for Orson Welles: The Chimes at Midnight (also known as Falstaff, 1965) and Don Quixote (1955-73, unfinished). In both cases, Welles shot the material over a period of years, and on a shoestring budget. The majority of the archive consists of an assortment of letters, handwritten notes, and telegrams that Welles sent to Tasca di Cutò concerning the day-to-day working needs of the filmmaker.

The majority of the archive lies in its assortment of letters, handwritten notes, and telegrams that Welles sent to Tasca di Cutò concerning the day-to-day working needs of the filmmaker. The collection is divided into four series: Correspondence, Projects, Photographs, and Miscellaneous.

In the Correspondence series, the bulk of the letters are written from 1960-1964. Alessandro is usually referred to as Sandro by Orson Welles. The majority of letters are from Welles to Tasca di Cutò mainly discussing film production details. Welles signs many of his letters with just “O”. There is also a letter from Welles to Joseph Marks head of MAfilm in Hungary from 1985. The correspondence contains several references related to Orson Welles’s death in 1985, including a photocopy of a telegram of condolence from France’s President Francois Mitterand to Tasca di Cutò, and from Ann Rogers, Welles’s one-time secretary in London. In the Various to Tasca section letters include correspondence from Paola Mori and Rebecca Welles Manning along with business contacts. The letters are a combination of typed and handwritten letters and some letters are photocopies of originals.

The Projects series includes information on films Orson Welles acted and directed. Included in this series are scripts, production documents such as budgets and filming schedules, and photographs. The films include: "Black Magic", "Nella terra di Don Chisciotte" (In the Land of Don Quixote) a documentary, "Chimes at Midnight", "The Other Side of the Wind", "The Big Brass Ring", "The Dreamers", "King Lear", "The Cradle Will Rock", "Mercedes", "It’s All True", "The Unseen", "Don Quixote", and "Saladino". The "Chimes at Midnight" documents include 22 costume sketches that are attributed to Orson Welles, but are left unsigned. In "Don Quixote" there are eleven drawings and paintings by several different artists depicting scenes from "Don Quixote" based on stills from some early footage. The drawings are from different artists but all are in the style of Gustave Dore. The drawings were to show Don Quixote “reading his book and getting his Big Idea.” The unfinished projects include: "It’s All True", "The Other Side of the Wind", "The Big Brass Ring", "King Lear", "The Cradle Will Rock", "Saladino" and "Don Quixote".

Photographs are included in each project, but the Photographs series contains photographs of Alessandro Tasca di Cutò on set and in some of his acting roles.

Miscellaneous contains material such as stationary, and programs from many Orson Welles tributes. Included is a photocopy of a legal document that is a confirmation of ownership rights to Oja Kodar for some of Orson Welles’s material. The Clippings and Articles contains general clippings from several publications from 1943-1985 documenting Orson Welles’s career with some in French and Spanish.

The Orson Welles-Chris Welles Feder Collection is an assortment of material on Orson Welles collected by his eldest daughter Chris Welles Feder. She was born Christopher Welles in 1938 to Orson Welles and Virginia Nicolson Welles. The collection includes letters written by Orson Welles to his first wife, Virginia Nicolson, and family photographs. Also included are clippings and articles, audiovisual materials such as movies or TV shows dedicated to Orson Welles, and miscellaneous material such as postcards, exhibition programs, and catalogs. The collection has five series: Correspondence, Clippings and Articles, Photographs, Audiovisual, and Miscellaneous.

The Correspondence series contains letters written mainly by Orson Welles to his wife Virginia Nicolson from 1937-1952. They were married in 1934 and separated in 1939 when Orson moved to Hollywood and Virginia visited Ireland with her friend Geraldine Fitzgerald. By 1940 the couple legally divorced. The letters are a combination of handwritten and typed letters and some include drawings in the margins by Welles. A significant series of letters are the ones written between July-August 1939 to Virginia. They provide insight into Welles's professional transition from New York to Hollywood, describing his first month on the West Coast and his introduction to the world of movie-making. Responses from Virginia Nicolson Welles are not included. The early photographs, wedding announcement, and Christmas card of 1937 had been housed together in an album.

The Clippings and Articles series includes newspaper clippings from 1936-2004 on both Orson and Virginia, but the majority are about Orson Welles’s career. Also included are clippings from society pages from the 1930’s announcing Orson Welles and Virginia Nicolson's marriage, the birth of their daughter Christopher, and the couple’s divorce. Some clippings include annotations in the margins by Chris Welles Feder.

The Photographs series includes a wedding portrait of Virginia and Orson Welles’s marriage in 1934. Also included are childhood photographs of Chris Welles Feder with Orson Welles along with photographs of Rebecca Welles Manning, Orson Welles’s daughter with Rita Hayworth. Also included are headshots of Orson Welles for different productions and some photographs of him as a child. Production photographs from "Too Much Johnson" (1938) and "Macbeth" (1948) both directed by Orson Welles are in the collection.

Audiovisual Material is an assortment of audio cassette tapes and VHS tapes. Included are three Smithsonian Historical Performances audio cassettes of the radio dramatization of "Les Miserables" recorded by Orson Welles in 1937. VHS tapes include movies Welles made guest appearances in and television shows, and Criterion Collection material about his life and work.

The Miscellaneous series contains an assortment of legal documents, press packets and exhibit and awards programs from Orson Welles tributes and retrospectives.

The papers, originally from the files of Orson Welles's London agent, Bill Cronshaw, consists of film clippings, film rolls, and photographs; production and post-production notes and schedules; portions of the script (some annotated by Welles); business and and financial materials; and correspondence related to the film "Dead Reckoning, later, "The Deep." A limited amount of miscellaneous materials not associated with the film are also included.

The collection, originally from the files of Orson Welles's London agent, Bill Cronshaw, consists of film clippings, film rolls, and photographs; production and post-production notes and schedules; portions of the script (some annotated by Welles); business and and financial materials; and correspondence related to the film "Dead Reckoning." A limited amount of miscellaneous materials not associated with the film are also included.

The Correspondence series consists of the letters and telegrams of Lawrence Harvey, Jeanne Moreau, Orson Welles, Michael Bryant, and others associated with the actors and the film, as well as several personal letters to Orson Welles.

The Scripts series includes fragments of the old original script, handwritten pages with notes, dialogue changes, an annotated photocopy of the working script, and several copies of “Jugoslav New Shooting, TV Interview, Dialogue.” In addition, there are notes and lists regarding scripts and dialogue pages.

Production and Post-Production contains the notes, letters, and telegrams of agents, merchants, actors, and producers, some in Welles’ hand or signed by Welles. These materials provide information related to casting; cameramen, film equipment and processing; boats, costumes and props; sound dubbing and post-synching; editing; and film scenes. Several shooting schedules give details of filming on the water and at several other locations from October 26 through November 9, 1969. To-do lists and handwritten notes include information on scheduling, travel, and shipments. There are several postcards of Hvar, a Croatian island; Modra Spilja a cave in the Croatian Adriatic; and a map fragment of Biscayne Bay related to filming locations.

The Business and Financial series is comprised of cast contracts, as well as invoices, lists, correspondence, and handwritten notes related to costs for staff, filming, sets, travel, storage, and expenses while on location. Correspondence regarding service agreements, nationality of the film, the novel “Dead Calm,” and film rights is included.

Photographs and Film include black and white photographs of the boats used in the film. There are color film clips of specific scenes and cast members with handwritten lists, typed notes, and annotated script pages. A significant number of the clips are numbered but unidentified. Also included are three rolls of unidentified film.

The Miscellaneous series consists of correspondence, financial information, and a contract related to Welles’ participation in the films "Sarajevo," "Battle on the Neretva River," and "The Immortal Story." In addition to a list of expenses for "The Other Side of the Wind," there is correspondence regarding Welles’s 1974 tax return. Also included is a typed transcript of a1969 interview of Welles.