This interview was conducted by the CBC show Close-Up in 1960, a couple of years after Welles directed what is considered by many to be the final film noir masterpiece, Touch Of Evil; its brilliance as well as Welles’ preferred cut (the majority of which was restored in 1998, years after his death) would not be realized for decades, hence it not being mentioned at all in this interview. It is without a doubt one of my favourite interviews to watch and listen to (a lot of wisdom in this, as I hang on to almost every word that Mr. Welles speaks). The formal yet relaxed hotel setting, the thick yet classy cigar smoke, the black and white contrast, all so mysterious yet revealing.
Close-Up: Orson Welles – The 1960 Paris Interview
(Via the CBC Digital Archives)
Included are Mr. Welles’ thoughts on Citizen Kane, magic, critics, politics, where he calls home, his great voice, American actors, the importance of practice, theatre, directing while acting, his feelings regarding art, posterity, how Kane became so innovative (great story), making Othello, luck, TV vs. Film, and his future film aspirations (shades of F For Fake in these words), all of which make this interview without a doubt worth your time if you’re a fan of the man’s work and a cinephile with an hour to spare.
“You spoke of Citizen Kane. It’s the only picture I’ve ever made with a contract of that kind. If anybody would give me another contract of that kind, I think I could make a picture better than that. But I’ve never been given a second chance.” —Orson Welles, as told to Bernard Braden of CBC.