Orson Welles

This 1960 interview with Orson Welles in Paris offers a profound look into the life and philosophy of the legendary filmmaker and actor. Across the conversation, Welles addresses the trajectory of his career, his collaborative process, and his views on the medium of film.### Career and Artistic Philosophy• Early Success and Public Perception: Welles reflects on his early career, noting that he experienced a significant success in Ireland at a young age (4:11), and describes feeling that his subsequent career has been a 'downhill' journey in the eyes of the public (4:19). He rejects the idea of 'spreading himself too thin,' arguing that artists should explore multiple mediums rather than specialize (8:32).• Directing and Acting: When discussing his dual role as actor and director, Welles asserts that in film, it is quite easy to direct oneself (35:24). He emphasizes that while he values his collaborations, particularly with cinematographers like Greg Toland (40:12), he remains more interested in experimentation than established, safe success (9:15).• The 'Citizen Kane' Legacy: Welles expresses a surprising dislike for the 'Rosebud' device in Citizen Kane, calling it a 'rather tawdry device' (22:15) and a 'dollar book gag' (22:25). He credits the technical innovations of the film partly to the 'great spirit' of Toland and partly to his own 'gift of ignorance'—not knowing what he was supposedly not allowed to do (43:08).### Personal Philosophy and 'Home'• The Concept of Home: In a poignant moment (21:38), Welles reveals that the idea of 'home' is a struggle for him. Because his childhood was defined by constant relocation, he never formed a singular sense of home, despite having lived in many places (21:49). He expresses a fondness for Spain, specifically Avila, which he describes as a 'strange, tragic place' (24:53).• On Criticism and Posterity: Welles admits that he is 'against posterity on principle' (9:30), finding it as vulgar as the obsession with success. He also shares his belief in amateurism as the best approach to criticism (14:13), arguing that professionals often lack the necessary detachment to evaluate art in their own fields.### Views on Media• Television: Welles offers a critical assessment of television, labeling it a 'second-rate' and 'secondhand' medium for entertainment (47:49). He believes television is better suited as a medium for journalism, communication, and ideas rather than drama (48:38).