A vintage interview captures the artist reflecting on Citizen Kane and expounding on directing, acting and writing and his desire to bestow a valuable legacy upon his profession. The scene is a hotel room in Paris. The year 1960. The star, Orson Welles. This is a pearl of cinematic memorabilia.

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Does Orson Welles live to work, or work to live? Neither, says the celebrated filmmaker and actor. He doesn’t actually see a need to separate the two. “Work is an expression of life for me,” he says in this 1960 episode of Close-Up. In the first of a two-part interview, Welles discusses creativity, politics, the press and art criticism. He also ponders the idea of “home” and comments on the impact of Citizen Kane, a film he made when he was only in his mid-20s.

Orson Welles: The Paris Interview, part 1

American actors aren’t good at period pieces. Television is a second-rate medium. Friendship is more important than art. These are just a few of the assertions made by Orson Welles this 1960 episode of Close-Up, the second of a two-part interview with the renowned filmmaker and actor. While chatting with CBC’s Bernard Braden, Welles also discusses what he thinks was his best acting role ever (Harry Lime in the film The Third Man), and sings the praises of his cameraman on Citizen Kane.

Orson Welles: The Paris Interview, part 2

Scenes & Extras

1. World Citizens
2. Early Success
3. Spreading Yourself Too Thin
4. Politics, the Press, and Criticism
5. Magic and Destiny
6. The Commerce of Art
7. Home
8. The Voice and Emotion
9. How Americans View Period Pieces
10. Directing or Acting
11. Friendship over Art
12. Gregg Toland’s Help on Citizen Kane
13. An Un-deserved Reputation
14. A Creative Wish

Source: cbc.ca

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