1
00:00:11,400 --> 00:00:15,280
Dear Orson Welles,

2
00:00:15,280 --> 00:00:18,920
look where we are, one of the
wonders of the world.

3
00:00:26,400 --> 00:00:28,360
missing in this skyline.

4
00:00:30,560 --> 00:00:33,160
The Twin Towers are no more.

5
00:00:37,760 --> 00:00:39,880
All things come to an end, don't
they?

6
00:00:39,880 --> 00:00:43,560
People, buildings, cities.

7
00:00:43,560 --> 00:00:46,960
That was one of the big themes in
your movies.

8
00:00:46,960 --> 00:00:50,160
You died more than 30 years ago.

9
00:00:50,160 --> 00:00:51,240
Since then,

10
00:00:51,240 --> 00:00:53,320
some things haven't changed.

11
00:00:54,800 --> 00:00:57,400
But quite a lot has changed since
you died.

12
00:00:58,920 --> 00:01:01,280
Life has become far more visual.

13
00:01:03,600 --> 00:01:06,800
Something called the internet has
come along.

14
00:01:08,240 --> 00:01:12,360
It's hard to explain, but see those
two guys at the bottom of this shot?

15
00:01:12,360 --> 00:01:15,960
They're using mobile phones to send
pictures,

16
00:01:15,960 --> 00:01:18,760
not just words.

17
00:01:18,760 --> 00:01:23,800
Or order pizza, or book a flight,
or watch Citizen Kane.

18
00:01:24,400 --> 00:01:27,640
Phones are televisions and travel
agents now.

19
00:01:28,920 --> 00:01:31,600
The internet is like black magic.

20
00:01:31,600 --> 00:01:35,520
The addict in you, the adrenaline
junkie, would love it.

21
00:01:36,760 --> 00:01:39,240
What you would have done with the
internet.

22
00:01:40,520 --> 00:01:43,200
There've been other big changes
since you died.

23
00:01:43,200 --> 00:01:46,480
We've had an African-American
president in the Oval Office.

24
00:01:46,480 --> 00:01:50,040
Oh, and a guy who thinks he's
Charles Foster Kane.

25
00:01:53,120 --> 00:01:56,280
The world has become more Wellesian,
Orson.

26
00:01:56,280 --> 00:02:00,720
The despots that you were
fascinated by are gaining ground.

27
00:02:00,720 --> 00:02:05,760
Things seem exaggerated, but what is
Wellesian?

28
00:02:07,600 --> 00:02:09,000
Who were you?

29
00:02:12,760 --> 00:02:16,320
When I told a waitress recently that
I was making a film about you,

30
00:02:16,320 --> 00:02:21,360
she said, "Oh, that big creepy
actor. He gave me the willies."

31
00:02:21,400 --> 00:02:23,880
You did act creeps, didn't you?

32
00:02:23,880 --> 00:02:26,040
And bullies.

33
00:02:26,040 --> 00:02:29,480
In the Third Man, the camera
whooshed into Harry Lime,

34
00:02:29,480 --> 00:02:32,520
your most famous character.

35
00:02:32,520 --> 00:02:36,640
A monster, a smirker in the
limelight.

36
00:02:39,400 --> 00:02:42,280
So, the waitress was partly right.

37
00:02:43,160 --> 00:02:46,000
Can we look at you anew, Orson?

38
00:02:46,000 --> 00:02:48,840
Can we tell your story anew?

39
00:02:48,840 --> 00:02:50,680
Can we?

40
00:02:54,680 --> 00:02:58,240
I went to this secure storage
unit in New York...

41
00:03:01,600 --> 00:03:03,480
..and found this box.

42
00:03:06,920 --> 00:03:09,160
What's in the box?

43
00:03:09,160 --> 00:03:11,160
An aspect of you, Orson.

44
00:03:12,960 --> 00:03:16,840
You left no autobiography but you
left something else.

45
00:03:18,280 --> 00:03:20,480
I took the box in a taxi.

46
00:03:20,480 --> 00:03:25,560
That's me, 40 years after I saw your
film Touch Of Evil on TV as a boy.

47
00:03:26,800 --> 00:03:29,280
I didn't understand it, but I
swooned.

48
00:03:30,520 --> 00:03:32,760
I felt the whoosh of love.

49
00:03:32,760 --> 00:03:35,560
You threw a rope to me when I
watched it, Orson.

50
00:03:36,560 --> 00:03:39,360
When I'm nervous now, anywhere in
the world,

51
00:03:39,360 --> 00:03:43,280
I hum the tune that plays on
Touch Of Evil's pianola.

52
00:03:43,280 --> 00:03:45,600
It's a sultry lullaby of sorts.

53
00:03:56,200 --> 00:04:00,880
I took the box on a plane and now
it's in my flat.

54
00:04:00,880 --> 00:04:03,200
What's in the box, Orson?

55
00:04:03,200 --> 00:04:07,320
Not words or films, but drawings.

56
00:04:07,320 --> 00:04:10,440
Many have never been seen before.

57
00:04:10,440 --> 00:04:12,960
What's in the box, Orson?

58
00:04:12,960 --> 00:04:15,200
Visual thinking.

59
00:04:15,200 --> 00:04:17,240
What's in the box, Orson?

60
00:04:17,240 --> 00:04:19,440
A sketchbook of your life.

61
00:04:22,400 --> 00:04:24,560
Look how freely your quill moves
across the page

62
00:04:24,560 --> 00:04:26,720
of this BBC TV documentary.

63
00:04:26,720 --> 00:04:29,000
Scratch and scribble.

64
00:04:29,000 --> 00:04:31,080
Lines faster than you can think

65
00:04:31,080 --> 00:04:33,000
for the back of the head and the
lapel.

66
00:04:36,040 --> 00:04:38,200
Then more careful for the nose.

67
00:04:38,200 --> 00:04:40,680
You were obsessed by noses.

68
00:04:41,880 --> 00:04:45,440
Old school technique, dipping into
an ink well.

69
00:04:47,840 --> 00:04:51,080
Where would you start the story of
your drawing life, Orson?

70
00:04:52,360 --> 00:04:55,520
You said that, "At nine I started
to paint.

71
00:04:55,520 --> 00:04:58,560
"That's what I loved the most,
always."

72
00:04:58,560 --> 00:05:00,600
And then, later,

73
00:05:00,600 --> 00:05:03,320
"I've never been excited by movies
as movies,

74
00:05:03,320 --> 00:05:06,760
"as the way I've been excited
by magic, or bull-fighting,

75
00:05:06,760 --> 00:05:08,560
"or painting."

76
00:05:11,360 --> 00:05:14,520
Your guardian, Dada Bernstein,
encouraged you to study art

77
00:05:14,520 --> 00:05:16,640
in the Windy City.

78
00:05:16,640 --> 00:05:19,120
What a transit lounge.

79
00:05:19,120 --> 00:05:21,280
Was it a visual treat?

80
00:05:36,760 --> 00:05:39,600
Did it affect your looking life?

81
00:05:41,520 --> 00:05:45,240
We could look at Chicago square on,
like this,

82
00:05:45,240 --> 00:05:48,440
but surely the city of the
first-grade skyscrapers

83
00:05:48,440 --> 00:05:50,360
made you look upwards.

84
00:05:56,800 --> 00:06:00,720
And you became the greatest ever
film-maker of looking upwards.

85
00:06:03,240 --> 00:06:07,640
Whether it's by craning...

86
00:06:07,640 --> 00:06:10,480
..shooting below people's feet...

87
00:06:10,480 --> 00:06:12,000
Mr Arkadin is waiting for you.

88
00:06:12,000 --> 00:06:13,000
Thanks.

89
00:06:13,000 --> 00:06:14,560
20,000 tonnes of marble...

90
00:06:14,560 --> 00:06:16,080
..to suggest power...

91
00:06:17,760 --> 00:06:19,640
So you wouldn't have to request...

92
00:06:19,640 --> 00:06:22,560
..to miniaturize a character...

93
00:06:22,560 --> 00:06:25,320
Not so loud! You want to bring all
the officials down on us?

94
00:06:25,320 --> 00:06:26,680
Suppose they ask who you are?

95
00:06:29,320 --> 00:06:34,320
You lived here and had a drawing
studio, here, on Rush Street.

96
00:06:34,520 --> 00:06:38,240
It was just big enough for your bed
and a large drawing board.

97
00:06:38,240 --> 00:06:42,200
Your teacher said that you did
thousands of sketches here,

98
00:06:42,200 --> 00:06:45,040
but threw most of them away.

99
00:06:45,040 --> 00:06:47,800
But you studied drawing here, didn't
you,

100
00:06:47,800 --> 00:06:50,760
The Art Institute of Chicago,

101
00:06:50,760 --> 00:06:52,080
in your early teens?

102
00:06:53,320 --> 00:06:57,920
Do you remember, as a boy, sitting
on the tail of its famous lions?

103
00:06:59,520 --> 00:07:01,800
And, inside, what did you see?

104
00:07:06,120 --> 00:07:07,640
Europe?

105
00:07:10,560 --> 00:07:12,360
Myths?

106
00:07:12,360 --> 00:07:13,600
Bodies?

107
00:07:16,080 --> 00:07:19,120
Selfhood?

108
00:07:21,320 --> 00:07:23,920
Pointers to your future?

109
00:07:25,160 --> 00:07:27,880
Translucent ceilings lit from
above?

110
00:07:27,880 --> 00:07:30,400
A technique you'd use in
The Trial...

111
00:07:31,520 --> 00:07:34,160
A piece of work, a little
bit to the right.

112
00:07:34,160 --> 00:07:36,600
Who are you? My name is Bluck.

113
00:07:36,600 --> 00:07:39,480
Are you employed here? Oh no, I'm
one of them... ..and Citizen Kane.

114
00:07:39,480 --> 00:07:43,760
You talk about the people as though
you own them.

115
00:07:43,760 --> 00:07:47,160
Years later, if you knew someone who
was going to the Art Institute,

116
00:07:47,160 --> 00:07:51,840
you told them to go and see these
miniature rooms.

117
00:07:51,840 --> 00:07:54,800
Did their look, their wideness,
influence any of the visuals

118
00:07:54,800 --> 00:07:56,160
in your films?

119
00:07:56,160 --> 00:07:59,000
You're supposed to train her voice,
Senor Matiste. But, Mr Kane...

120
00:07:59,000 --> 00:08:00,360
Nothing more.

121
00:08:11,600 --> 00:08:15,480
If you could be here now your eyes
would be darting, Orson.

122
00:08:15,480 --> 00:08:18,480
Chicago's got new ways of seeing.

123
00:08:28,320 --> 00:08:32,200
So, your drawing and painting life
had begun.

124
00:08:32,200 --> 00:08:35,080
It continued for 60 years.

125
00:08:35,080 --> 00:08:39,040
You drew everywhere you went, so
there are at least a thousand

126
00:08:39,040 --> 00:08:40,680
of your artworks.

127
00:08:40,680 --> 00:08:42,400
Where are they now?

128
00:08:43,720 --> 00:08:47,920
Many are in Michigan, in Ann Arbor,
which was named

129
00:08:47,920 --> 00:08:49,520
after its trees.

130
00:08:53,760 --> 00:08:57,240
Here, in the University of
Michigan's archive,

131
00:08:57,240 --> 00:08:59,080
they have your relics.

132
00:09:07,480 --> 00:09:09,640
Your beloved nose putty.

133
00:09:12,240 --> 00:09:15,920
A coat you wore as
Rochester in Jane Eyre.

134
00:09:15,920 --> 00:09:19,320
Letters from you and to you.

135
00:09:19,320 --> 00:09:21,520
This one's from Vivien Leigh.

136
00:09:28,160 --> 00:09:31,360
And then, there are your drawings
themselves.

137
00:09:43,640 --> 00:09:47,400
Another place where I found your
artworks was here.

138
00:09:47,400 --> 00:09:49,200
Can you guess where I am?

139
00:09:51,280 --> 00:09:53,280
And who lives here?

140
00:09:53,280 --> 00:09:55,160
Brace yourself, Orson.

141
00:09:55,160 --> 00:09:56,520
It's Beatrice.

142
00:09:56,520 --> 00:09:58,760
Your third daughter.

143
00:09:58,760 --> 00:10:03,160
She's in her 60s now but is still a
rocker chick,

144
00:10:03,160 --> 00:10:05,640
and sometimes drives with no hands.

145
00:10:16,520 --> 00:10:18,800
So, what am I doing first? Getting
these? So, those.

146
00:10:18,800 --> 00:10:21,880
All of those should be his
paintings, if I remember right.

147
00:10:21,880 --> 00:10:24,560
That is gorgeous, that, isn't it?
What, this...?

148
00:10:24,560 --> 00:10:27,640
Oh, isn't that fabulous? That was a
Christmas card.

149
00:10:28,600 --> 00:10:30,080
That was a Christmas card.

150
00:10:30,080 --> 00:10:32,440
That's sort of what I saw this
morning when I got up.

151
00:10:32,440 --> 00:10:35,600
That's what... I call it
Broadway Blues. Mm-hm, got it.

152
00:10:35,600 --> 00:10:39,360
And that's, you know, about a
producer saying,

153
00:10:39,360 --> 00:10:43,400
"So sorry, Mr Welles, we haven't
got around to reading it yet."

154
00:10:43,400 --> 00:10:45,520
You know, it's just like the usual.

155
00:10:45,520 --> 00:10:48,000
And he's saying, "How about my
play?" Is that...? Yes, exactly.

156
00:10:48,000 --> 00:10:49,640
That's him, that's him.

157
00:10:49,640 --> 00:10:51,560
You see? "And where did the money
go to?"

158
00:10:51,560 --> 00:10:53,960
You see? It's just...it's the life
of my father, almost.

159
00:10:53,960 --> 00:10:57,680
Some...and he put here, some
Broadway Blues.

160
00:10:57,680 --> 00:10:59,120
This is in Munich.

161
00:10:59,120 --> 00:11:01,800
This is when he was travelling with
his father around the world.

162
00:11:01,800 --> 00:11:04,160
This was before he got to Ireland,
wasn't it? Oh, yes.

163
00:11:04,160 --> 00:11:06,600
This was probably when he was about,
I think, 12.

164
00:11:08,040 --> 00:11:11,600
And that's in Munich, and then here
he is...

165
00:11:11,600 --> 00:11:13,040
I don't know... "Dearest family."

166
00:11:13,040 --> 00:11:16,440
This... So, he'd been to Shanghai at
this point, hadn't she? Yes.

167
00:11:16,440 --> 00:11:18,520
Yes. So, hence this particular one.

168
00:11:18,520 --> 00:11:21,200
And then these look like German...
Mm-hm. ..caricatures.

169
00:11:21,200 --> 00:11:23,440
He's on his way to Germany,
obviously.

170
00:11:23,440 --> 00:11:25,320
A drawing of your painting, Orson,

171
00:11:25,320 --> 00:11:28,320
and look how many kisses you put on
this letter.

172
00:11:43,040 --> 00:11:45,440
And I just went, "Wow, look at this
picture!"

173
00:11:45,440 --> 00:11:49,320
Then I remembered that this was the
day...

174
00:11:49,320 --> 00:11:52,600
..the painting he drew when they
threw him out of Touch Of Evil.

175
00:11:53,880 --> 00:11:57,200
When they said, "You can't come
back, you can't touch your movie."

176
00:11:57,200 --> 00:11:58,920
Which is this one? Yeah.

177
00:11:58,920 --> 00:12:02,240
And if you can see the anger in it,
I mean, you can just...

178
00:12:03,320 --> 00:12:05,360
Can't you?

179
00:12:05,360 --> 00:12:07,040
Wow.

180
00:12:17,320 --> 00:12:19,480
You took a line for a walk.

181
00:12:22,000 --> 00:12:26,960
Portraits, sketches and letters,
costume designs, stage layouts,

182
00:12:28,040 --> 00:12:31,120
backdrop plans, Christmas cards,

183
00:12:31,120 --> 00:12:34,240
pictures of your loves, and
travels.

184
00:12:34,240 --> 00:12:36,480
You drew compulsively.

185
00:12:36,480 --> 00:12:38,040
A lifetime of lines.

186
00:12:40,080 --> 00:12:42,920
Were you in the zone when you drew,
Orson, like sports people

187
00:12:42,920 --> 00:12:44,520
are in the zone?

188
00:12:44,520 --> 00:12:47,360
Do your sketches show us your
unconscious?

189
00:12:55,560 --> 00:12:59,040
Can we glimpse in them the story of
your life,

190
00:12:59,040 --> 00:13:01,680
its politics, love and power?

191
00:13:15,520 --> 00:13:20,240
Ordinary people, Orson, the 20th
century was theirs.

192
00:13:20,240 --> 00:13:22,960
Many got to vote for the first time.

193
00:13:22,960 --> 00:13:24,840
Old elites lost power.

194
00:13:28,240 --> 00:13:31,400
Was the extraordinary Welles ever
ordinary?

195
00:13:32,520 --> 00:13:35,280
Did you know many working class
people?

196
00:13:37,160 --> 00:13:40,080
My own allegiance is stronger

197
00:13:40,080 --> 00:13:42,400
to the idea of citizenship

198
00:13:42,400 --> 00:13:46,440
and my own loyalty is greater to the
idea of myself as a member

199
00:13:46,440 --> 00:13:51,360
of the human family, than it is to
a...as a member of any profession.

200
00:13:51,680 --> 00:13:55,440
I don't take art as seriously as
politics.

201
00:13:55,440 --> 00:14:00,440
The Hotel Marais in Paris, 1960, a
TV interview.

202
00:14:00,520 --> 00:14:03,400
How solid you are in the frame.

203
00:14:03,400 --> 00:14:06,680
And then your laugh and that
trademark cigar.

204
00:14:08,520 --> 00:14:11,920
But where did your belief in
citizenship start?

205
00:14:13,360 --> 00:14:16,160
With your mother, Beatrice.

206
00:14:16,160 --> 00:14:21,120
She co-founded the Women's Alliance
to help Chicago's poor.

207
00:14:21,120 --> 00:14:24,680
Her activism was inspired by this
Unitarian Church,

208
00:14:24,680 --> 00:14:27,520
which was open to all races and
classes.

209
00:14:28,560 --> 00:14:31,080
The Women's Alliance hosted speeches
on the persecution

210
00:14:31,080 --> 00:14:32,920
of Jews in Russia.

211
00:14:34,600 --> 00:14:37,600
Your mother was the first woman in
your hometown of Kenosha ever

212
00:14:37,600 --> 00:14:39,880
to be elected to public office.

213
00:14:41,720 --> 00:14:44,120
She had a community tree planted.

214
00:14:45,320 --> 00:14:47,400
I think it's this one.

215
00:14:47,400 --> 00:14:52,400
To raise money so that every Kenosha
child between two and 14

216
00:14:52,400 --> 00:14:55,600
would receive a Christmas gift.

217
00:14:55,600 --> 00:14:59,840
One of the reasons you painted and
drew Christmas trees so often,
Orson?

218
00:14:59,840 --> 00:15:03,160
In impasto...

219
00:15:03,160 --> 00:15:06,560
..snow white paint on black card...

220
00:15:06,560 --> 00:15:10,600
..a black line helix daubed with
green and red...

221
00:15:10,600 --> 00:15:14,440
..a Gothic black ink tree
in the sunshine...

222
00:15:14,440 --> 00:15:18,040
..an eight second felt-tip pine...

223
00:15:18,040 --> 00:15:21,720
..a tree encased...

224
00:15:21,720 --> 00:15:24,200
..magenta and sage...

225
00:15:24,200 --> 00:15:26,760
..a pine branch and ink in brush
wash.

226
00:15:29,080 --> 00:15:32,120
The helix in white, now, reduced
to a hieroglyph.

227
00:15:34,400 --> 00:15:37,200
All distant reminders of your
mother, perhaps?

228
00:15:37,200 --> 00:15:39,640
What a woman she was.

229
00:15:39,640 --> 00:15:41,720
This film should be about her.

230
00:15:42,960 --> 00:15:46,200
She laid the foundation of your
political beliefs

231
00:15:46,200 --> 00:15:48,360
but she died when you were just
nine.

232
00:15:50,800 --> 00:15:53,440
And then the Wall Street crash
came.

233
00:15:55,240 --> 00:15:59,320
The Depression brought new realism
in American art

234
00:15:59,320 --> 00:16:02,200
but something more personal happened
to you, Orson,

235
00:16:02,200 --> 00:16:04,080
that further shaped your politics.

236
00:16:05,480 --> 00:16:07,120
FOGHORN BLARES

237
00:16:07,120 --> 00:16:10,840
You took a boat, the SS Baltic, to
Ireland.

238
00:16:11,840 --> 00:16:13,880
Explicitly to draw and paint.

239
00:16:18,040 --> 00:16:22,400
We can feel your 16-year-old eyes
darting about on the Baltic, Orson.

240
00:16:22,400 --> 00:16:24,840
There are four lookers alone in this
small section

241
00:16:24,840 --> 00:16:27,320
of one of your drawings.

242
00:16:27,320 --> 00:16:30,520
They're befuddled, suspicious, or
glowing.

243
00:16:33,600 --> 00:16:37,080
What you saw on the boat was people.

244
00:16:37,080 --> 00:16:40,480
Real people, like you'd seldom seen
before.

245
00:16:45,840 --> 00:16:48,960
What about this woman's twisty
jawline and pursed lips?

246
00:16:51,160 --> 00:16:53,480
And these two profiles?

247
00:16:53,480 --> 00:16:55,480
Did they know you were drawing them?

248
00:16:58,240 --> 00:16:59,880
Did this guy?

249
00:17:01,920 --> 00:17:06,560
Your background was privileged but
on the Baltic you met migrants

250
00:17:06,560 --> 00:17:08,800
and really looked at them.

251
00:17:08,800 --> 00:17:13,480
You later became fascinated by
ageing, sagging faces.

252
00:17:13,480 --> 00:17:16,440
Aged just 23 in the play
Heartbreak House,

253
00:17:16,440 --> 00:17:18,560
you were like the man you drew

254
00:17:18,560 --> 00:17:23,240
on the Baltic. Were you in a
hurry to get old, Orson?

255
00:17:23,240 --> 00:17:26,000
Did youth bore you?

256
00:17:26,000 --> 00:17:29,880
Or maybe, in the months in Ireland,
your youth ended?

257
00:17:31,040 --> 00:17:33,560
And then you set foot on Ireland.

258
00:17:35,440 --> 00:17:38,960
You wrote, "Our very landing was
dramatic.

259
00:17:40,320 --> 00:17:43,840
"Men and women got on their knees,
weeping for joy.

260
00:17:43,840 --> 00:17:47,640
"It's almost beyond belief that
two day's journeying

261
00:17:47,640 --> 00:17:51,280
"from the world's greatest
metropolis brings one to a land

262
00:17:51,280 --> 00:17:54,880
"where an intelligent and
aristocratic people lives

263
00:17:54,880 --> 00:17:57,120
"in archaic simplicity."

264
00:17:59,560 --> 00:18:03,800
Intelligent, aristocratic,
archaic...

265
00:18:03,800 --> 00:18:07,360
The words you used about the Irish
were rich indeed.

266
00:18:07,360 --> 00:18:12,120
You wrote, "In 16 short years of
living, nothing comparable

267
00:18:12,120 --> 00:18:16,000
"with Galway on the west of Ireland
has loomed so unexpectedly,

268
00:18:16,000 --> 00:18:19,080
"or breathtakingly, on my horizon."

269
00:18:21,400 --> 00:18:24,400
You bought a donkey, Sioheog, and
cart and roughed it.

270
00:18:26,840 --> 00:18:30,600
You wrote, "I curled up under the
cart and fell asleep.

271
00:18:32,320 --> 00:18:34,720
"There were nights, too, spent in
cottages,

272
00:18:34,720 --> 00:18:37,960
"wakes, weddings and matchmakings.

273
00:19:11,560 --> 00:19:16,120
"My week with a band of Gypsies,
my mountain climbs,

274
00:19:16,120 --> 00:19:17,960
"my night in the quagmire."

275
00:19:20,040 --> 00:19:22,640
You really encountered the old
world.

276
00:19:24,440 --> 00:19:28,160
You spoke of these people who
produced and flourished

277
00:19:28,160 --> 00:19:30,280
in Tutankhamun's time.

278
00:19:32,520 --> 00:19:34,480
You painted hundreds of landscapes
here

279
00:19:34,480 --> 00:19:37,560
but destroyed them.

280
00:19:37,560 --> 00:19:40,960
It was the people and faces
that you preferred.

281
00:19:45,960 --> 00:19:50,040
You went to the Aran Islands and
came across a visual world

282
00:19:50,040 --> 00:19:52,080
as exciting as Chicago.

283
00:20:11,760 --> 00:20:13,480
PENCIL SCRATCHES

284
00:20:13,480 --> 00:20:18,200
More profiles, pencil and then ink
wash.

285
00:20:18,200 --> 00:20:21,280
Same for Mr Costello, a Galway
shopkeeper.

286
00:20:23,840 --> 00:20:28,320
"This man has sold himself to the
black one," your note says,

287
00:20:28,320 --> 00:20:33,080
and so you have devils winking
around the edge of the page.

288
00:20:33,080 --> 00:20:37,320
And ski slope noses, your most
geometric Irish sketches.

289
00:20:38,440 --> 00:20:40,440
It's like you were using a
protractor.

290
00:20:42,040 --> 00:20:44,080
And then you were for Dublin...

291
00:20:49,480 --> 00:20:54,280
..where you famously blagged your
way into the Gate Theatre.

292
00:20:54,280 --> 00:20:58,320
You claim to be famous and then, in
Ireland, became so.

293
00:20:59,840 --> 00:21:02,520
You drew make-up sketches for the
performance

294
00:21:02,520 --> 00:21:04,360
at the Gate that made headlines.

295
00:21:04,360 --> 00:21:06,080
Karl Alexander.

296
00:21:07,720 --> 00:21:11,240
But again, your eyes darted to new
types of faces.

297
00:21:12,760 --> 00:21:16,240
In the three on the right, your hand
was getting freer.

298
00:21:16,240 --> 00:21:20,440
Looking at Irish people was training
you to look, to draw.

299
00:21:22,640 --> 00:21:24,760
Talk about taking a line for a walk!

300
00:21:30,640 --> 00:21:33,520
So, to your mother's politics and
Ireland's,

301
00:21:33,520 --> 00:21:36,960
now let's add a third encounter with
working people.

302
00:21:39,840 --> 00:21:43,400
Two years after Ireland, you went
here, Morocco.

303
00:21:46,520 --> 00:21:49,080
Another new visual world for you.

304
00:22:01,520 --> 00:22:03,200
A faster place, was it?

305
00:22:04,560 --> 00:22:08,440
No pose in your Irish drawings is as
confidently done

306
00:22:08,440 --> 00:22:12,600
as this guy's on the left, his left
elbow and his raised knee.

307
00:22:14,080 --> 00:22:17,720
Less than a dozen pencil lines give
us the shape of his body

308
00:22:17,720 --> 00:22:19,400
under his djellaba.

309
00:22:19,400 --> 00:22:23,240
And this is better still, the
diagonal of the long pipe

310
00:22:23,240 --> 00:22:26,920
of the big guy on the left sets the
line for the shadows

311
00:22:26,920 --> 00:22:31,240
on his face, djellaba and legs and
the wall on the left.

312
00:22:33,400 --> 00:22:36,040
You were seeing real people better
than ever, Orson...

313
00:22:40,120 --> 00:22:42,640
..and these three women are
haunting.

314
00:22:44,120 --> 00:22:48,200
From left to right...a dark face,
what looks like glasses,

315
00:22:48,200 --> 00:22:51,080
and then that beautiful single eye.

316
00:23:02,880 --> 00:23:07,360
And a drawing like this is echoed,
22 years later, in a moment

317
00:23:07,360 --> 00:23:09,200
like this in your film, Mr Arkadin.

318
00:23:12,600 --> 00:23:14,080
You walk towards us,

319
00:23:14,080 --> 00:23:16,800
and then one of your frames within
frames.

320
00:23:21,200 --> 00:23:25,440
Also in the summer of 1933, you went
here, Spain,

321
00:23:25,440 --> 00:23:27,800
to the Gypsy Quarter of Seville.

322
00:23:29,080 --> 00:23:30,760
Working people again.

323
00:23:32,320 --> 00:23:34,720
Traditional culture again.

324
00:23:34,720 --> 00:23:38,560
The non-Anglo world, the
non-Protestant world.

325
00:23:38,560 --> 00:23:41,680
Catholics and Arabs were more
expressive than Protestants,

326
00:23:41,680 --> 00:23:43,920
more visual.

327
00:23:43,920 --> 00:23:46,840
In the beginning was not the word.

328
00:23:46,840 --> 00:23:49,480
Your life experience was broadening.

329
00:23:59,280 --> 00:24:04,280
And also in 1933, of course, Hitler
became Chancellor of Germany.

330
00:24:04,520 --> 00:24:06,480
Italy was a police state by then.

331
00:24:08,480 --> 00:24:13,480
Within a year, you were in New York
doing radio, a pawn medium,

332
00:24:13,480 --> 00:24:15,840
intimate and personal.

333
00:24:15,840 --> 00:24:18,840
Dictators and democrats were devoted
to it.

334
00:24:20,440 --> 00:24:23,200
It let you get into the minds of the
people.

335
00:24:23,200 --> 00:24:28,200
It let you whisper to them or boom
that big voice of yours.

336
00:24:28,200 --> 00:24:32,200
You wanted to be the listener's
griot, their consigliere,

337
00:24:32,200 --> 00:24:34,120
their consciousness-raiser...

338
00:24:36,080 --> 00:24:40,360
..and so you acted as the announcer
in a radio play

339
00:24:40,360 --> 00:24:42,280
by Archibald MacLeish.

340
00:24:44,360 --> 00:24:47,440
It's set in a central square in a
city.

341
00:24:47,440 --> 00:24:50,480
A conqueror, like Hitler, is coming.

342
00:24:50,480 --> 00:24:54,200
He's getting closer, and your
clipped, English accented voice

343
00:24:54,200 --> 00:24:57,320
as the announcer describing what he
sees.

344
00:24:57,320 --> 00:24:58,880
He's coming.

345
00:24:58,880 --> 00:25:00,680
He's clear of the shadow.

346
00:25:00,680 --> 00:25:02,400
The sun takes him.

347
00:25:02,400 --> 00:25:06,600
They cover their faces with fingers,
they cower before and they fall,
they sprawl on the stone.

348
00:25:06,600 --> 00:25:09,400
He's alone where he's walking.
He marches with rattle of metal.

349
00:25:09,400 --> 00:25:10,960
He tramples his shadow.

350
00:25:10,960 --> 00:25:12,600
He mounts by the pyramid,

351
00:25:12,600 --> 00:25:14,400
stamps on the stairway,

352
00:25:14,400 --> 00:25:15,800
turns.

353
00:25:15,800 --> 00:25:18,840
His arm rises, his visor is
opening...

354
00:25:20,440 --> 00:25:21,840
..there's no-one.

355
00:25:22,920 --> 00:25:24,520
There's no-one at all.

356
00:25:25,680 --> 00:25:27,520
No-one.

357
00:25:27,520 --> 00:25:29,880
The helmet is hollow.

358
00:25:29,880 --> 00:25:31,960
The metal is empty. The armour is
empty.

359
00:25:31,960 --> 00:25:34,400
I tell you, there's no-one at all
there.

360
00:25:34,400 --> 00:25:39,440
The people invent their oppressors,
they wish to believe in them.

361
00:25:39,960 --> 00:25:42,440
They wish to be free of their
freedom.

362
00:25:42,440 --> 00:25:44,360
Look, it's his arm.

363
00:25:44,360 --> 00:25:47,040
It is rising, his arm's rising.

364
00:25:47,040 --> 00:25:49,240
They're watching his arm as it
rises.

365
00:25:49,240 --> 00:25:51,920
They stir, they cry, they cry out,
they are shouting.

366
00:25:51,920 --> 00:25:53,520
CHEERING

367
00:25:53,520 --> 00:25:55,040
They're shouting with happiness.

368
00:25:55,040 --> 00:25:58,160
Listen! They're shouting like troops
in a victory.

369
00:25:58,160 --> 00:25:59,560
Listen!

370
00:25:59,560 --> 00:26:04,520
The city of masterless men has found
a master.

371
00:26:05,080 --> 00:26:08,440
You'd say it was they were the
conquerors,

372
00:26:08,440 --> 00:26:11,080
they that had conquered.

373
00:26:11,080 --> 00:26:13,440
CHEERING AND SHOUTING

374
00:26:19,040 --> 00:26:22,280
The city is fallen.

375
00:26:33,200 --> 00:26:35,960
Fascism as a beast.

376
00:26:35,960 --> 00:26:39,000
In Ireland, you drew mostly faces.

377
00:26:39,000 --> 00:26:42,640
Quite a few of your later paintings
and drawings are faceless,

378
00:26:42,640 --> 00:26:45,920
like the conqueror was faceless,
Orson.

379
00:26:51,520 --> 00:26:55,600
And in films, you usually tried to
hide your face under whiskers,

380
00:26:55,600 --> 00:26:58,280
a false nose or thick make-up.

381
00:26:59,960 --> 00:27:02,400
And look, Orson, at how your wife
Paola,

382
00:27:02,400 --> 00:27:04,400
Beatrice's mother, painted you.

383
00:27:07,920 --> 00:27:10,240
We'll come to your love life later.

384
00:27:10,240 --> 00:27:12,240
Bet you can't wait for that.

385
00:27:14,920 --> 00:27:17,440
If your mum seeded your political
life, Orson,

386
00:27:17,440 --> 00:27:20,680
then your trips abroad peopled it.

387
00:27:20,680 --> 00:27:25,240
The rise of fascism made it ramrod
and so you came here,

388
00:27:25,240 --> 00:27:27,160
to Harlem in New York.

389
00:27:28,480 --> 00:27:30,480
The year was 1936.

390
00:27:30,480 --> 00:27:34,240
Your progressive politics were
taking on a new dimension.

391
00:27:34,240 --> 00:27:36,480
The depression had led the
US Government to launch,

392
00:27:36,480 --> 00:27:38,520
the previous year,

393
00:27:38,520 --> 00:27:42,440
a nationwide theatre project to
give jobs to unemployed theatre

394
00:27:42,440 --> 00:27:44,280
and entertainment workers.

395
00:27:45,840 --> 00:27:49,360
The Harlem renaissance had been a
big story in the 1920s

396
00:27:49,360 --> 00:27:53,760
but, a decade later, 80% of
Harlemites had no work...

397
00:27:54,960 --> 00:27:58,440
..and you and your team decided to
mount an African-American theatre

398
00:27:58,440 --> 00:28:01,880
production of Shakespeare's Macbeth.

399
00:28:01,880 --> 00:28:04,920
You were fascinated by Macbeth.

400
00:28:04,920 --> 00:28:07,640
You built a plasticine model of the
stage.

401
00:28:07,640 --> 00:28:10,680
The stylised jungle backcloth was
painted.

402
00:28:12,400 --> 00:28:16,520
The production was conceived
visually as a series of pictures

403
00:28:16,520 --> 00:28:18,400
in chromatic ascension.

404
00:28:20,280 --> 00:28:22,200
The setting would be Haiti.

405
00:28:23,400 --> 00:28:25,440
The witches would be voodoo.

406
00:28:26,440 --> 00:28:29,400
10,000 people showed up at the
opening.

407
00:28:30,720 --> 00:28:33,160
Searchlights. Roads were blocked.

408
00:28:34,320 --> 00:28:39,200
The excitement of something new, a
new way of seeing and being seen.

409
00:28:40,720 --> 00:28:43,720
Black intellectuals in ermine and
jewels.

410
00:28:46,360 --> 00:28:49,400
Inside, what were they about to see?

411
00:28:49,400 --> 00:28:51,640
Their own people classicised.

412
00:28:56,720 --> 00:28:58,480
At the centre of culture...

413
00:28:59,760 --> 00:29:01,480
..and acclaim.

414
00:29:01,480 --> 00:29:03,400
APPLAUSE

415
00:29:09,880 --> 00:29:12,640
Want to see the Lafayette now,
Orson,

416
00:29:12,640 --> 00:29:15,080
80 summers after your triumph?

417
00:29:16,120 --> 00:29:17,560
Are you sure?

418
00:29:17,560 --> 00:29:18,920
OK.

419
00:29:18,920 --> 00:29:20,080
Look.

420
00:29:25,480 --> 00:29:26,960
It's no more.

421
00:29:26,960 --> 00:29:28,720
It's apartments instead.

422
00:29:31,840 --> 00:29:35,600
100,000 people saw your
Voodoo Macbeth.

423
00:29:37,200 --> 00:29:40,840
The company and the crew of 110
African-Americans

424
00:29:40,840 --> 00:29:44,280
went on tour with it around the
country.

425
00:29:47,480 --> 00:29:50,000
The wind of change blew through the
1930s.

426
00:29:50,000 --> 00:29:51,920
Your 1930s.

427
00:29:54,680 --> 00:29:59,280
In 1937, you made your
anti-fascism more explicit.

428
00:29:59,280 --> 00:30:01,880
You ripped into another Shakespeare
play,

429
00:30:01,880 --> 00:30:05,160
the one that stimulated your visual
imagination most,

430
00:30:05,160 --> 00:30:08,440
and your political imagination, too.

431
00:30:08,440 --> 00:30:10,400
Julius Caesar.

432
00:30:10,400 --> 00:30:12,720
As a teenager, you drew
Mark Antony's speech

433
00:30:12,720 --> 00:30:14,400
to the people like this...

434
00:30:14,400 --> 00:30:17,240
..he casts a vast shadow.

435
00:30:17,240 --> 00:30:21,760
Already, you were thinking of
Julius Caesar in terms of lighting.

436
00:30:21,760 --> 00:30:24,360
And look what I found in the box,
Orson,

437
00:30:24,360 --> 00:30:27,680
drawings from about 1950.

438
00:30:27,680 --> 00:30:30,720
You were planning a film of
Julius Caesar.

439
00:30:31,680 --> 00:30:35,240
You imagine a camera above a light.

440
00:30:35,240 --> 00:30:38,720
A pink and black sky, maybe the
stormy night in Rome

441
00:30:38,720 --> 00:30:42,520
after the plot to kill Caesar is
hatched,

442
00:30:42,520 --> 00:30:46,120
and, look, you plan to shoot it in
Rome's EUR...

443
00:30:48,160 --> 00:30:52,520
..the chilly monumental district
built by Mussolini's fascists.

444
00:30:55,240 --> 00:30:59,600
You saw Caesar as an ancient
Mussolini, didn't you?

445
00:30:59,600 --> 00:31:03,280
And the ancient crowd didn't resist,
like they didn't resist

446
00:31:03,280 --> 00:31:05,920
the conqueror in MacLeish's play.

447
00:31:07,520 --> 00:31:10,720
You wanted to use a hanging
miniature in front of the camera,

448
00:31:10,720 --> 00:31:12,800
an old Hollywood technique.

449
00:31:18,440 --> 00:31:21,800
You thought of the capital as a kind
of beehive.

450
00:31:23,400 --> 00:31:27,960
But back in 1937, your visual
ideas were even bolder.

451
00:31:29,080 --> 00:31:32,760
You'd seen images of the Nazi
Nuremberg rallies.

452
00:31:32,760 --> 00:31:37,800
The vertical torchlights made
columns like a Roman temple,

453
00:31:37,800 --> 00:31:40,800
so, you had your stage production
look the same.

454
00:31:40,800 --> 00:31:42,520
And guess what, Orson?

455
00:31:43,880 --> 00:31:45,360
They recreated your production

456
00:31:45,360 --> 00:31:48,400
in the film, Me And Orson Welles.

457
00:31:49,640 --> 00:31:53,160
Square-on shot, that graphic white
lighting,

458
00:31:53,160 --> 00:31:56,760
the camera glides in as the audience
gets engrossed.

459
00:31:56,760 --> 00:31:59,440
Caesar! Caesar!

460
00:31:59,440 --> 00:32:02,480
FANFARE OF TRUMPETS

461
00:32:02,480 --> 00:32:04,240
Peace.

462
00:32:04,240 --> 00:32:06,960
Bid every noise be still.

463
00:32:06,960 --> 00:32:09,920
And all this before Hitler invaded
Poland.

464
00:32:13,400 --> 00:32:18,040
We've come a long way from your
mother's Unitarian good deeds.

465
00:32:18,040 --> 00:32:21,080
But the story of your social
ideas isn't over yet,

466
00:32:21,080 --> 00:32:22,840
far from it.

467
00:32:22,840 --> 00:32:26,560
You were only 22 when you did Caesar
on the stage.

468
00:32:26,560 --> 00:32:31,440
After radio and theatre, you found a
new medium of the people.

469
00:32:31,440 --> 00:32:32,960
Movies.

470
00:32:32,960 --> 00:32:35,880
Your first feature, of course, was
Citizen Kane,

471
00:32:35,880 --> 00:32:39,280
it changed cinema and is known for
its expressionism

472
00:32:39,280 --> 00:32:41,440
and critique of vainglory.

473
00:32:43,280 --> 00:32:46,560
But it's most touching moment is
related to your mother's ideas,

474
00:32:46,560 --> 00:32:49,120
or your time in Ireland.

475
00:32:49,120 --> 00:32:51,160
Why don't you try laughing at me,
again?

476
00:32:51,160 --> 00:32:55,320
Charles Foster Kane is in the rented
room of a working-class woman,

477
00:32:55,320 --> 00:32:59,080
Susan Alexander, who offered him a
place to clean up

478
00:32:59,080 --> 00:33:01,880
after he got covered in mud by a
passing car.

479
00:33:01,880 --> 00:33:04,360
I'm wiggling both my ears at the
same time, see?

480
00:33:04,360 --> 00:33:07,560
And at the top right here, photos of
a woman who looks a bit

481
00:33:07,560 --> 00:33:09,000
like your mother.

482
00:33:10,920 --> 00:33:13,480
It took me two solid years and the
best boys' school

483
00:33:13,480 --> 00:33:15,080
in the world to learn that trick.

484
00:33:15,080 --> 00:33:18,160
Fellow who taught it to me is now
the President of Venezuela.

485
00:33:18,160 --> 00:33:19,800
THEY LAUGH TOGETHER

486
00:33:19,800 --> 00:33:21,360
That's it!

487
00:33:24,800 --> 00:33:27,040
They play a kids' shadow game.

488
00:33:27,040 --> 00:33:30,360
He's famous but she doesn't know it.

489
00:33:30,360 --> 00:33:33,120
She's probably one of the most
ordinary people he's met

490
00:33:33,120 --> 00:33:34,560
in his life.

491
00:33:34,560 --> 00:33:36,360
It's supposed to be a rooster.

492
00:33:36,360 --> 00:33:40,400
The camera drifts in. The look of
love, perhaps?

493
00:33:40,400 --> 00:33:43,440
Some of the softest lighting in the
film.

494
00:33:43,440 --> 00:33:47,640
Your small tribute to a powerless
but sincere woman.

495
00:33:47,640 --> 00:33:50,040
I'm awful ignorant, but I guess you
caught on to that.

496
00:33:50,040 --> 00:33:54,360
You know, I bet it turns out I've
heard your name a million times.

497
00:33:54,360 --> 00:33:57,560
And It's All True, the film that
you shot in Brazil in the early

498
00:33:57,560 --> 00:34:01,320
1940s but didn't complete...there's
a similar sincerity.

499
00:34:03,480 --> 00:34:06,520
It's the sameness I'm talking about,
now.

500
00:34:06,520 --> 00:34:09,080
Sameness in spite of difference,

501
00:34:09,080 --> 00:34:11,280
different sounds for the words,

502
00:34:11,280 --> 00:34:15,720
but the same idea. Different
colours, but the same spirit.

503
00:34:15,720 --> 00:34:18,360
Different churches, but the same
faith.

504
00:34:18,360 --> 00:34:20,400
Different liquor, but the same
hangover.

505
00:34:20,400 --> 00:34:21,920
Different joke, but the same
laughter.

506
00:34:21,920 --> 00:34:26,200
Different nation, the same humanity.

507
00:34:26,200 --> 00:34:29,120
Thank God for the differences,
because it's out of those

508
00:34:29,120 --> 00:34:32,480
differences that culture grows and
grows big,

509
00:34:32,480 --> 00:34:34,360
in all directions at once.

510
00:34:35,440 --> 00:34:38,400
It's like a Soviet film by
Eisenstein.

511
00:34:38,400 --> 00:34:41,880
Brilliant close-ups of
un-Hollywood-y faces

512
00:34:41,880 --> 00:34:45,720
and this soundtrack is one of your
radio broadcasts,

513
00:34:45,720 --> 00:34:49,080
about South and Central America.

514
00:34:49,080 --> 00:34:50,760
And look, Orson!

515
00:34:50,760 --> 00:34:53,040
Low angle, a girl crying,

516
00:34:53,040 --> 00:34:56,520
and is that your hand reaching up to
console her?

517
00:35:02,560 --> 00:35:07,240
In 1947, Joseph McCarthy was elected
senator in your home state,

518
00:35:07,240 --> 00:35:08,960
Wisconsin.

519
00:35:10,040 --> 00:35:13,200
You made political speeches now.

520
00:35:13,200 --> 00:35:18,200
One said, "In this shrinking world,
adult education must first enlist

521
00:35:18,440 --> 00:35:22,080
"in the war against provincialism.

522
00:35:22,080 --> 00:35:26,000
"Educators are sworn to the
tremendous task of telling

523
00:35:26,000 --> 00:35:27,960
"people about each other."

524
00:35:30,960 --> 00:35:32,720
You received hate mail.

525
00:35:32,720 --> 00:35:34,720
Hundreds of letters.

526
00:35:34,720 --> 00:35:37,400
One asked if you would "allow your
daughters

527
00:35:37,400 --> 00:35:40,040
"to be touched by negroes?"

528
00:35:40,040 --> 00:35:44,200
Another said, "If you and the other
Jews of your class and the negroes

529
00:35:44,200 --> 00:35:47,880
"want us to love you, why not better
yourself?"

530
00:35:50,320 --> 00:35:55,360
J Edgar Hoover had your named added
to the security register.

531
00:35:56,280 --> 00:35:58,440
Were you scared, Orson?

532
00:35:58,440 --> 00:36:01,040
If so, you didn't show it.

533
00:36:01,040 --> 00:36:04,520
Especially in the case of the
African-American soldier,

534
00:36:04,520 --> 00:36:06,200
Isaac Woodard.

535
00:36:06,200 --> 00:36:08,200
Here's your drawing of him.

536
00:36:11,160 --> 00:36:14,680
In your BBC TV show, Orson Welles'
Sketchbook,

537
00:36:14,680 --> 00:36:18,240
you told his story square-on,
straight to camera,

538
00:36:18,240 --> 00:36:20,560
underplaying your rage.

539
00:36:20,560 --> 00:36:25,360
He was on a bus, on the way felt
ill, and he asked the bus driver

540
00:36:25,360 --> 00:36:28,600
to let him off. The bus driver
refused, abusively.

541
00:36:28,600 --> 00:36:30,720
There was an argument,

542
00:36:30,720 --> 00:36:33,960
at the end of which a policeman was
called in, who dragged the boy

543
00:36:33,960 --> 00:36:37,840
out of the bus, took him behind a
building and beat him viciously.

544
00:36:37,840 --> 00:36:41,480
And when he was unconscious,
poured gin over him,

545
00:36:41,480 --> 00:36:45,200
put him in jail, charged him
with drunkenness and assault.

546
00:36:47,640 --> 00:36:52,120
When the boy regained consciousness,
he discovered that he was blind.

547
00:36:52,120 --> 00:36:54,600
The policeman had literally beaten
out his eyes.

548
00:36:56,760 --> 00:37:00,360
A terrible crime in itself, but the
fact that Woodard ended

549
00:37:00,360 --> 00:37:05,400
up blind seemed to dig deep into
you, such a visual person.

550
00:37:08,320 --> 00:37:11,240
And so, on radio, you tried to hunt

551
00:37:11,240 --> 00:37:13,960
down the cop who blinded him.

552
00:37:16,720 --> 00:37:21,760
The policeman's name wasn't known,
so you called him Officer X.

553
00:37:21,760 --> 00:37:25,920
You said that he brought the justice
of Dachau and Auschwitz to America.

554
00:37:28,000 --> 00:37:29,240
You went on,

555
00:37:29,240 --> 00:37:32,200
"Officer X, I'm talking to you.

556
00:37:32,200 --> 00:37:35,640
"Where stands the sun of common
fellowship?

557
00:37:35,640 --> 00:37:38,720
"When will it rise in your dark
country?

558
00:37:38,720 --> 00:37:42,520
"I must know, Officer X, because I
must know where the rest

559
00:37:42,520 --> 00:37:45,880
"of us are going in our American
experiment."

560
00:37:48,160 --> 00:37:50,240
You continued, Orson.

561
00:37:50,240 --> 00:37:54,800
"We will blast out your name,
Officer X. I will find means

562
00:37:54,800 --> 00:37:58,800
"to remove from you all
refuge, Officer X.

563
00:37:58,800 --> 00:38:01,200
"You can't get rid of me.

564
00:38:01,200 --> 00:38:05,600
"God judge me if this isn't the most
pressing business I have.

565
00:38:05,600 --> 00:38:08,640
"The blind soldier fought for me
during the war.

566
00:38:08,640 --> 00:38:11,200
"I have eyes, he hasn't.

567
00:38:11,200 --> 00:38:13,360
"I have a voice on radio."

568
00:38:18,600 --> 00:38:22,360
Orson, the research carried out by
you and your associates did help

569
00:38:22,360 --> 00:38:24,000
find the officer.

570
00:38:24,000 --> 00:38:27,520
He was Chief of Police
Lynwood Lanier Shull.

571
00:38:27,520 --> 00:38:32,040
He was tried, found not guilty,
and returned to his job.

572
00:38:39,040 --> 00:38:43,960
Which brings us to here, Orson, and
another story about the law.

573
00:38:44,040 --> 00:38:45,960
Do you recognise this place?

574
00:38:45,960 --> 00:38:47,920
One of your favourite cities.

575
00:38:47,920 --> 00:38:50,000
The City of Light.

576
00:38:50,000 --> 00:38:51,680
He drew and painted it.

577
00:38:56,160 --> 00:38:59,360
You've seen the Eiffel Tower a
hundred times, of course.

578
00:38:59,360 --> 00:39:01,160
But wait till you see this.

579
00:39:01,160 --> 00:39:03,960
From the year 2000, it has...

580
00:39:03,960 --> 00:39:05,960
..sparkled.

581
00:39:07,920 --> 00:39:12,360
We're here, Orson, to end the story
of your political evolution.

582
00:39:13,600 --> 00:39:15,640
You made a film, mostly here.

583
00:39:15,640 --> 00:39:18,880
The Trial, from the novel by Kafka.

584
00:39:18,880 --> 00:39:20,680
In the box I found this.

585
00:39:22,360 --> 00:39:25,760
I think it's one of your early
drawings for the film.

586
00:39:25,760 --> 00:39:29,240
Josef K, who is accused of a
non-specified crime,

587
00:39:29,240 --> 00:39:31,800
is in the middle, casting a shadow.

588
00:39:33,280 --> 00:39:38,320
On either side are the two agents
who arrest him on his 30th birthday.

589
00:39:38,600 --> 00:39:41,880
In the novel, K's helped by a
painter, hence the paintings

590
00:39:41,880 --> 00:39:43,840
on the wall, is that right?

591
00:39:45,880 --> 00:39:48,760
And above, a light exactly like the
one you sketched

592
00:39:48,760 --> 00:39:51,680
for your abandoned film on
Julius Caesar.

593
00:39:52,680 --> 00:39:54,760
You have such lights in The Trial.

594
00:39:54,760 --> 00:39:56,800
They're totalitarian for you.

595
00:39:58,760 --> 00:40:00,480
Who are they?

596
00:40:00,480 --> 00:40:03,000
I can't expect you to know
where the interrogation

597
00:40:03,000 --> 00:40:04,400
commission is sitting.

598
00:40:04,400 --> 00:40:05,960
That's right, I don't.

599
00:40:08,480 --> 00:40:11,600
But then, in Paris, you decided to
film in the abandoned

600
00:40:11,600 --> 00:40:13,120
Gare d'Orsay.

601
00:40:18,800 --> 00:40:20,240
Low angle.

602
00:40:20,240 --> 00:40:21,880
Plunging perspective.

603
00:40:21,880 --> 00:40:24,080
And your drawing comes to life.

604
00:40:25,520 --> 00:40:30,160
And one of your crane shots - a
rise, like an aeroplane taking off.

605
00:40:37,840 --> 00:40:40,160
The drawing has that facelessness
again.

606
00:40:42,800 --> 00:40:46,400
The Trial is about facelessness.

607
00:40:46,400 --> 00:40:48,680
The law has no name.

608
00:40:48,680 --> 00:40:50,760
Officer X.

609
00:40:50,760 --> 00:40:52,560
Very well, then.

610
00:40:52,560 --> 00:40:54,560
Just go ahead with your work, my
boy.

611
00:40:56,640 --> 00:40:59,920
The Trial was your portrait
of the 20th century.

612
00:40:59,920 --> 00:41:03,400
Its desk-bound armies of salary men.

613
00:41:03,400 --> 00:41:05,840
He's ill! You can't talk business to
him now!

614
00:41:05,840 --> 00:41:09,360
It was a Rene Magritte painting in
which the law,

615
00:41:09,360 --> 00:41:11,840
played by you, is faceless at
times.

616
00:41:11,840 --> 00:41:14,520
We can discuss anything.

617
00:41:14,520 --> 00:41:17,240
Mummified and steaming like a
racehorse.

618
00:41:17,240 --> 00:41:21,720
And you famously changed the ending
of the novel.

619
00:41:21,720 --> 00:41:26,360
Kafka had Josef K lead the henchmen
to the place of his execution.

620
00:41:26,360 --> 00:41:27,840
He acquiesces.

621
00:41:29,200 --> 00:41:30,600
You.

622
00:41:34,520 --> 00:41:35,920
You.

623
00:41:37,040 --> 00:41:40,000
Anthony Perkins whispers, at
first...

624
00:41:42,360 --> 00:41:43,600
You.

625
00:41:44,960 --> 00:41:48,320
..and then yells the yell of the
century.

626
00:41:48,320 --> 00:41:49,640
Yo-o-ou!

627
00:41:49,640 --> 00:41:51,000
Yo-o-ou! Yo-o-ou!

628
00:41:51,000 --> 00:41:52,840
Yo-o-ou! Yo-o-ou! Yo-o-ou!

629
00:41:52,840 --> 00:41:55,920
You dummies! You'll have to do it!

630
00:41:55,920 --> 00:41:58,200
You'll have to kill me!

631
00:41:58,200 --> 00:42:00,440
Come on. Come on!

632
00:42:00,440 --> 00:42:03,160
A salary man and the Final Solution.

633
00:42:03,160 --> 00:42:05,080
K LAUGHS MANIACALLY

634
00:42:05,080 --> 00:42:08,080
K was a pawn in the game of the
century.

635
00:42:13,000 --> 00:42:16,400
In this unedited hand-held shot,
which captures the atmosphere

636
00:42:16,400 --> 00:42:21,440
of a Q&A after a screening of The
Trial, you explain your change.

637
00:42:21,600 --> 00:42:23,960
One of the changes you made in the
story

638
00:42:23,960 --> 00:42:27,560
was at the very end when Josef K is
killed.

639
00:42:27,560 --> 00:42:32,320
He's killed in a very alarmingly
different way than in the book,

640
00:42:32,320 --> 00:42:36,280
and I was really curious as to why
you changed both the way

641
00:42:36,280 --> 00:42:38,680
he was killed and the way he was
acting when he died.

642
00:42:38,680 --> 00:42:41,360
Because the book was written before
the Holocaust.

643
00:42:47,600 --> 00:42:52,600
And I couldn't bear the defeat of K
in the book, after the Holocaust.

644
00:42:55,320 --> 00:42:59,280
I'm not Jewish, but we are all
Jewish since the Holocaust.

645
00:43:01,760 --> 00:43:06,760
And I couldn't bear for him to
submit to death as he does in Kafka.

646
00:43:08,000 --> 00:43:12,040
Masochistically submit to death.

647
00:43:12,040 --> 00:43:16,360
It...it, er...it stank of the old
Prague ghetto to me.

648
00:43:21,720 --> 00:43:25,520
Your politics had come a long way
from Kenosha and the community tree

649
00:43:25,520 --> 00:43:27,120
of your mother.

650
00:43:27,120 --> 00:43:30,360
You'd travelled the world, fallen
for Irish islanders

651
00:43:30,360 --> 00:43:33,960
and Moroccan merchants, and been
outraged by racism.

652
00:43:35,680 --> 00:43:40,040
You'd felt at home in Harlem, become
an idealist, and used three

653
00:43:40,040 --> 00:43:45,080
art forms - radio, theatre and film,
to dramatise and visualise

654
00:43:45,400 --> 00:43:46,840
your ideas.

655
00:43:49,080 --> 00:43:52,560
But the Europe you so admired
disgraced itself in the 1930s

656
00:43:52,560 --> 00:43:57,560
and '40s, and it's hard not to see
that disgrace in some

657
00:43:57,600 --> 00:43:59,040
of your drawings.

658
00:43:59,040 --> 00:44:00,840
PENCIL SCRATCHES

659
00:44:06,960 --> 00:44:10,400
Even in a scribble on a menu
in Rio de Janeiro.

660
00:44:12,880 --> 00:44:17,920
What political smoke signals you
sent. What a trail you left.

661
00:44:19,280 --> 00:44:23,720
We've tried to follow that trail,
Orson, to see where it leads.

662
00:44:25,040 --> 00:44:27,280
Eight years after you died,
there was a movie called

663
00:44:27,280 --> 00:44:32,160
Groundhog Day in which the same
elements were relived over and over.

664
00:44:33,240 --> 00:44:35,680
It's sometimes good to rewind the
clock, isn't it?

665
00:44:37,800 --> 00:44:42,800
It's good to look at a life again,
through another lens.

666
00:44:56,800 --> 00:44:59,720
What's the story of your love life,
Orson?

667
00:45:01,520 --> 00:45:04,440
You'd probably prefer me to talk
about politics than love

668
00:45:04,440 --> 00:45:07,040
but you're not here to stop me.

669
00:45:07,040 --> 00:45:09,920
You travelled the world and fell in
love everywhere.

670
00:45:10,880 --> 00:45:13,760
What, and who, and how did you love?

671
00:45:14,920 --> 00:45:17,240
I think there are four answers.

672
00:45:17,240 --> 00:45:20,880
You loved places, you loved
visually,

673
00:45:20,880 --> 00:45:24,320
you believed in the chivalry of
love, like it was a waltz,

674
00:45:24,320 --> 00:45:27,800
and you felt the guilt and end of
love.

675
00:45:37,000 --> 00:45:40,600
Let's start with your love of places
and this place,

676
00:45:40,600 --> 00:45:42,400
Arizona.

677
00:45:42,400 --> 00:45:45,240
When you lived here, you didn't go
for walks but you seem

678
00:45:45,240 --> 00:45:47,640
to have loved the sunshine.

679
00:45:47,640 --> 00:45:50,280
Crayon on watercolour paper.

680
00:45:52,440 --> 00:45:55,560
The opposite of that totalitarian
spotlight.

681
00:46:00,360 --> 00:46:04,240
Chalk and paint and felt-tip pen to
conjure a storm

682
00:46:04,240 --> 00:46:05,960
over the red rocks.

683
00:46:10,440 --> 00:46:15,120
The first place you loved was
Grand Detour, Illinois.

684
00:46:15,120 --> 00:46:18,000
Your father, Dick, who took you
travelling,

685
00:46:18,000 --> 00:46:20,120
owned this hotel there.

686
00:46:22,040 --> 00:46:25,800
Dick built a ballroom on the first
floor and you recalled sneaking

687
00:46:25,800 --> 00:46:29,240
up there at night, in the moonlight,
and dancing.

688
00:46:31,680 --> 00:46:35,200
And you had a hut across from it,
that was your art studio

689
00:46:35,200 --> 00:46:36,680
when you were a boy.

690
00:46:36,680 --> 00:46:40,240
Is that it in the bottom left of
this picture, Orson?

691
00:46:40,240 --> 00:46:42,680
As you know, the hotel burnt down.

692
00:46:43,760 --> 00:46:45,600
Look what's there now.

693
00:46:51,080 --> 00:46:54,520
You called Grand Detour "one of
those lost worlds,

694
00:46:54,520 --> 00:46:57,760
"one of those Edens that you get
thrown out of."

695
00:47:04,360 --> 00:47:08,120
Look, Orson, it's still a kind of
Eden.

696
00:47:09,600 --> 00:47:11,320
Your first love.

697
00:47:11,320 --> 00:47:13,480
GEESE CALL

698
00:47:13,480 --> 00:47:15,800
For the rest of your life, you
talked about places

699
00:47:15,800 --> 00:47:18,440
of preindustrial innocence.

700
00:47:18,440 --> 00:47:21,840
"Merry Englands," you often called
them.

701
00:47:21,840 --> 00:47:26,800
Timeless places of joy, unspoilt
nature and love.

702
00:47:30,520 --> 00:47:33,280
I hate do this to you, Orson, but
here's another Eden,

703
00:47:33,280 --> 00:47:37,200
a snowy Eden, in Citizen Kane.

704
00:47:37,200 --> 00:47:40,640
A building like the Sheffield hotel.

705
00:47:40,640 --> 00:47:42,200
Come on, boys!

706
00:47:42,200 --> 00:47:44,640
The union's forever! Be careful,
Charles.

707
00:47:44,640 --> 00:47:47,120
Mrs Kane? Pull your muffler round
your neck, Charles.

708
00:47:47,120 --> 00:47:49,840
Mrs Kane, I think we shall have to
tell him now.

709
00:47:49,840 --> 00:47:51,600
Yes.

710
00:47:51,600 --> 00:47:54,360
I'll sign those papers now,
Mr Thatcher.

711
00:47:54,360 --> 00:47:56,880
You people seem to forget that I'm
the boy's father.

712
00:47:56,880 --> 00:48:00,000
Parents arguing, as yours did in
the Sheffield.

713
00:48:00,000 --> 00:48:01,720
Ain't nothing wrong with Colorado.

714
00:48:01,720 --> 00:48:04,200
I don't see why we can't raise our
own son, just because we come

715
00:48:04,200 --> 00:48:05,240
in to some money.

716
00:48:05,240 --> 00:48:07,560
Glad he met with some mischance.

717
00:48:07,560 --> 00:48:11,520
Your film, Chimes At Midnight, was
part set in such an Eden,

718
00:48:11,520 --> 00:48:13,840
The Boar's Head Tavern.

719
00:48:13,840 --> 00:48:17,440
You loved to have actors swirl,
women and laughter.

720
00:48:17,440 --> 00:48:20,720
It was a labyrinth,
this pleasure dome.

721
00:48:20,720 --> 00:48:22,480
This playpen.

722
00:48:22,480 --> 00:48:25,960
And you designed and oversaw the
painting of it yourself.

723
00:48:25,960 --> 00:48:30,560
The place from your unconscious in
which you wake up as Falstaff.

724
00:48:32,200 --> 00:48:36,680
Here's where you shot some of the
Boar's Head Tavern scenes, in Spain,

725
00:48:36,680 --> 00:48:39,120
another one of your beloved places.

726
00:48:45,640 --> 00:48:48,960
This guy was in the film and still
lives here.

727
00:48:52,560 --> 00:48:55,240
What other places did you love?

728
00:48:55,240 --> 00:48:59,520
319 West 14th Street, Manhattan,
where you lived

729
00:48:59,520 --> 00:49:02,200
with your first wife, Virginia.

730
00:49:02,200 --> 00:49:06,000
It's Gothic in your drawing but,
guess what, Orson?

731
00:49:06,000 --> 00:49:07,280
It's still here.

732
00:49:09,040 --> 00:49:13,200
You said that it had "space, charm,
electric ice box,

733
00:49:13,200 --> 00:49:16,680
"garden, and all for $55 a month.

734
00:49:16,680 --> 00:49:19,320
"Virginia's having the time of her
life here.

735
00:49:19,320 --> 00:49:22,480
"A real home, and all the rest of
it."

736
00:49:22,480 --> 00:49:25,720
With Virginia, you had your first
daughter, Chris.

737
00:49:27,600 --> 00:49:31,360
The second aspect of your love life
is how visual it was.

738
00:49:32,440 --> 00:49:35,080
When you were 17, you saw this film.

739
00:49:35,080 --> 00:49:37,920
Dolores del Rio swims naked.

740
00:49:37,920 --> 00:49:42,080
You fell in love with her visually,
and later became her lover

741
00:49:42,080 --> 00:49:43,480
in real life.

742
00:49:44,680 --> 00:49:47,920
The man in this scene is
Joel McCrea, but the imagery

743
00:49:47,920 --> 00:49:50,840
sums up your love life.

744
00:49:50,840 --> 00:49:55,320
Staring, obsessive, love at first
glance.

745
00:49:55,320 --> 00:49:58,960
Moonlit and flickering to capture
the look of love,

746
00:49:58,960 --> 00:50:00,800
what looking feels like.

747
00:50:06,280 --> 00:50:08,160
You and Dolores.

748
00:50:08,160 --> 00:50:11,640
Beatrice says that she was the true
love of your life.

749
00:50:13,960 --> 00:50:17,480
In The Lady From Shanghai, the
camera glided towards another

750
00:50:17,480 --> 00:50:20,080
of your loves, Rita Hayworth.

751
00:50:20,080 --> 00:50:21,920
It was your eyes, Orson.

752
00:50:23,400 --> 00:50:27,400
You saw her on the cover of Life
magazine and immediately pledged

753
00:50:27,400 --> 00:50:29,400
to marry her. Good evening.

754
00:50:29,400 --> 00:50:32,640
"Dearest little loved one," you
wrote.

755
00:50:32,640 --> 00:50:35,280
"I love you more
tonight than ever.

756
00:50:35,280 --> 00:50:36,360
"Really,
really.

757
00:50:36,360 --> 00:50:37,440
"Even more!"

758
00:50:40,480 --> 00:50:43,080
And how's this for the look of love?

759
00:50:45,440 --> 00:50:47,320
You move in again.

760
00:50:47,320 --> 00:50:49,360
The point of view of a kiss...

761
00:50:49,360 --> 00:50:51,360
# ..don't...

762
00:50:51,360 --> 00:50:54,640
..framed along one of your famed
diagonals.

763
00:50:54,640 --> 00:50:56,640
# ..away...

764
00:50:58,720 --> 00:51:01,160
Then you seem summoned from below,

765
00:51:01,160 --> 00:51:03,120
drawn by her tractor beam.

766
00:51:03,120 --> 00:51:05,400
# ..comes a change of...

767
00:51:05,400 --> 00:51:08,120
Your make-up artist wanted to put
beads of sweat on her brow,

768
00:51:08,120 --> 00:51:12,200
but you said, "Horses sweat! Rita
glows."

769
00:51:12,200 --> 00:51:16,880
# ..rain will start. #

770
00:51:16,880 --> 00:51:21,560
She kept your love letters and notes
in her make-up box for years.

771
00:51:24,240 --> 00:51:27,720
With Rita, of course, you had your
second daughter, Rebecca.

772
00:51:31,000 --> 00:51:34,640
You cast your third wife, Paola, as
your daughter

773
00:51:34,640 --> 00:51:39,680
in Mr Arkadin, Orson, a film about a
powerful man with a mysterious past.

774
00:51:40,440 --> 00:51:42,800
My daughter! I want to speak to my
daughter!

775
00:51:42,800 --> 00:51:44,320
Yes, father. Have you...

776
00:51:44,320 --> 00:51:46,960
And you gave Paola these concerned
close-ups,

777
00:51:46,960 --> 00:51:51,480
as she hears that her father
was less than he seemed.

778
00:51:51,480 --> 00:51:53,400
Tell him it's too late, too late.

779
00:51:53,400 --> 00:51:55,120
It's too late.

780
00:51:59,160 --> 00:52:01,920
His relationship with your mother,
did he woo her?

781
00:52:01,920 --> 00:52:04,600
Oh, he wooed her. Yes, I mean how
they met!

782
00:52:04,600 --> 00:52:07,880
They were in Fregenae and she was
walking on the beach

783
00:52:07,880 --> 00:52:10,880
and he was with Visconti and he saw
her and he said,

784
00:52:10,880 --> 00:52:15,880
"I've got to meet her." So she was a
young starlet and the next day

785
00:52:16,040 --> 00:52:18,920
she got a phone call and it was
Visconti's assistant.

786
00:52:18,920 --> 00:52:22,400
Answered - you know, "Mr Visconti
would like for you to do a trial,"

787
00:52:22,400 --> 00:52:24,400
and she was so excited,

788
00:52:24,400 --> 00:52:26,280
and, of course, she went rushing
over there

789
00:52:26,280 --> 00:52:28,520
and instead she met Orson Welles.

790
00:52:41,120 --> 00:52:45,480
In 1961, while filming The Trial,
you met Oja Kodar.

791
00:52:47,160 --> 00:52:50,720
She became your long-term lover and
companion.

792
00:52:50,720 --> 00:52:53,760
Look how you introduced her in F For
Fake.

793
00:52:55,880 --> 00:53:00,800
Glimpsed, glanced, ogled, long lens.

794
00:53:00,800 --> 00:53:03,560
The centre of a network of men's
looks.

795
00:53:07,880 --> 00:53:09,920
A head-turner.

796
00:53:09,920 --> 00:53:11,680
An eye-opener.

797
00:53:11,680 --> 00:53:14,240
No scene in your films is more about
looking,

798
00:53:14,240 --> 00:53:16,680
it splinters in seductions.

799
00:53:16,680 --> 00:53:19,000
The look of love as a mosaic.

800
00:53:23,520 --> 00:53:27,960
So, you loved places, Orson, and you
loved visually.

801
00:53:27,960 --> 00:53:32,960
The third aspect of your love life
is its attraction to chivalry.

802
00:53:41,600 --> 00:53:45,280
The millennium-old idea of the
chivalrous knight in love

803
00:53:45,280 --> 00:53:48,880
is so archaic now, so like a faded
pencil line.

804
00:53:52,680 --> 00:53:57,720
Lancelot and Guinevere, Arthurian
legend, the Middle Ages,

805
00:53:57,920 --> 00:54:00,320
but more than most artists of the
20th century,

806
00:54:00,320 --> 00:54:03,200
you filled-in the line drawings.

807
00:54:07,880 --> 00:54:12,280
You believed in these Samurai, these
courtiers, who behaved

808
00:54:12,280 --> 00:54:15,720
with honour, who played by the rules
of love and courtship,

809
00:54:15,720 --> 00:54:20,720
from the era of the Magna Carta,
the myths held true for centuries.

810
00:54:20,960 --> 00:54:25,040
One of the best interviews you gave,
to Bernard Levin, takes this
further.

811
00:54:25,040 --> 00:54:27,520
You're leaning forward again,

812
00:54:27,520 --> 00:54:30,160
close-up and in profile at first.

813
00:54:30,160 --> 00:54:32,320
And I'm rather fond of chivalry and
honour,

814
00:54:32,320 --> 00:54:35,640
and I...I...

815
00:54:35,640 --> 00:54:40,720
..to use a hackneyed, drug store
psychiatry word,

816
00:54:41,120 --> 00:54:44,920
I identify with Quixote to the
extent that I am interested

817
00:54:44,920 --> 00:54:46,840
in outmoded virtues.

818
00:54:48,640 --> 00:54:50,680
The virtues of chivalry?

819
00:54:50,680 --> 00:54:54,240
Yes, honour, personal honour and
courage, and things like that.

820
00:54:54,240 --> 00:54:56,560
Well, you're clearly a romantic,
whatever else you are.

821
00:54:56,560 --> 00:54:59,400
Very much so. Well, I suppose so.
That is one way of putting it.

822
00:54:59,400 --> 00:55:02,080
But is... Aren't you a romantic
in a very unromantic time?

823
00:55:02,080 --> 00:55:03,320
Yes.

824
00:55:03,320 --> 00:55:04,840
Do you feel out of your time?

825
00:55:04,840 --> 00:55:06,320
Oh, yes.

826
00:55:06,320 --> 00:55:09,600
I think every self-respecting artist
ought to.

827
00:55:10,800 --> 00:55:15,040
Which brings us, Orson, to the most
out-of-time knight in your art.

828
00:55:15,040 --> 00:55:19,760
An absurd but glorious man who rails
against everything and doesn't seem

829
00:55:19,760 --> 00:55:22,600
to realise that chivalry
is long dead.

830
00:55:24,960 --> 00:55:28,360
He was one of your obsessions, this
man.

831
00:55:28,360 --> 00:55:32,080
He made what you called a home movie
about Don Quixote and his sidekick

832
00:55:32,080 --> 00:55:34,040
squire, Sancho Panza.

833
00:55:34,040 --> 00:55:36,760
And others will cheer you from the
windows.

834
00:55:36,760 --> 00:55:41,000
You filmed the Don against the sky,
his head in the clouds.

835
00:55:41,000 --> 00:55:43,240
The monster has kidnapped the
Princess,

836
00:55:43,240 --> 00:55:45,720
but I shall free her, Sancho.

837
00:55:45,720 --> 00:55:48,160
Wait, sir, don't let the devil
deceive you.

838
00:55:48,160 --> 00:55:53,120
And here's a moment which tells us
something about the Don and love.

839
00:55:53,400 --> 00:55:57,480
He thinks the woman...look, it's
Paola...has been kidnapped

840
00:55:57,480 --> 00:55:58,880
by the Vespa.

841
00:55:58,880 --> 00:56:00,760
Who is this lunatic?

842
00:56:00,760 --> 00:56:03,360
Don Quixote de la Mancha. Knight
errant...

843
00:56:03,360 --> 00:56:06,040
Ever the gallant knight, he wants to
rescue her.

844
00:56:06,040 --> 00:56:09,640
This isn't your editing, of course,
you never finished the film.

845
00:56:09,640 --> 00:56:12,840
But does the moment capture some of
the energy you wanted?

846
00:56:12,840 --> 00:56:14,720
The absurdity?

847
00:56:14,720 --> 00:56:18,280
But also the Don's desire to do the
right thing?

848
00:56:18,280 --> 00:56:20,400
How can you treat your liberator
like that?!

849
00:56:20,400 --> 00:56:21,640
What a nut!

850
00:56:21,640 --> 00:56:24,840
Now, promise you'll go to El Toboso
and inform my Dulcinea...

851
00:56:24,840 --> 00:56:27,280
Imbecile! ..or I'll run you through!

852
00:56:31,040 --> 00:56:34,800
And in your painting, the Don's head
is against the sun.

853
00:56:35,920 --> 00:56:40,400
Like Icarus, such a delicate man in
your painting.

854
00:56:40,400 --> 00:56:42,000
He'll be burnt.

855
00:56:43,160 --> 00:56:46,760
The Don doesn't look at Sancho
Panza.

856
00:56:46,760 --> 00:56:49,600
And, in the book and film, they
bicker.

857
00:56:49,600 --> 00:56:52,200
But you have them joined at the hip.

858
00:56:53,280 --> 00:56:55,440
They're on the road of life
together.

859
00:56:55,440 --> 00:56:57,800
Opposites but indivisible.

860
00:56:57,800 --> 00:56:59,520
Yin and yang.

861
00:56:59,520 --> 00:57:03,960
Your Sancho Panza is thick smears at
the Don's elbow...

862
00:57:07,280 --> 00:57:09,400
..a blur to him, in some ways...

863
00:57:11,040 --> 00:57:13,080
..in love, in other ways.

864
00:57:13,080 --> 00:57:14,680
You relished this.

865
00:57:17,400 --> 00:57:19,520
The thickness of their story.

866
00:57:22,040 --> 00:57:24,160
Their themes, their history.

867
00:57:26,720 --> 00:57:30,320
The novel's author, Cervantes, set
out to mock chivalry,

868
00:57:30,320 --> 00:57:32,360
but ended up celebrating it.

869
00:57:33,440 --> 00:57:37,240
Maybe Laurel and Hardy were the
knights of your time?

870
00:57:39,160 --> 00:57:43,920
And your one painting of a
bullfighter is knight-like.

871
00:57:43,920 --> 00:57:48,120
He's a slayer in a swirl of light,
like your St George with his dragon

872
00:57:48,120 --> 00:57:51,040
against the sun, like Don Quixote.

873
00:57:51,040 --> 00:57:54,840
His head lowered as if in prayer
at his own violence.

874
00:58:00,600 --> 00:58:03,880
The figure in your art that you
loved most was another knight,

875
00:58:03,880 --> 00:58:07,360
but a penniless one who lived in
The Boar's Head.

876
00:58:07,360 --> 00:58:09,200
One of your Edens.

877
00:58:10,600 --> 00:58:13,120
On The Dean Martin Show, you painted
him in a way,

878
00:58:13,120 --> 00:58:15,600
but the canvas was your own face.

879
00:58:15,600 --> 00:58:17,640
He was what you might call a
swinger.

880
00:58:17,640 --> 00:58:20,000
MUSIC: Greensleeves

881
00:58:22,160 --> 00:58:24,800
Only 15th century.

882
00:58:25,920 --> 00:58:28,400
They didn't call them swingers, but
they swung.

883
00:58:28,400 --> 00:58:30,640
AUDIENCE TITTER

884
00:58:30,640 --> 00:58:33,560
And nobody more so than Sir John.

885
00:58:39,400 --> 00:58:40,800
Your intensity.

886
00:58:42,240 --> 00:58:46,480
You forget to speak, as if you're
lost in the transformation.

887
00:58:49,120 --> 00:58:52,360
He was a funny man, he was a fat
man.

888
00:58:52,360 --> 00:58:53,920
But he was a great man.

889
00:58:53,920 --> 00:58:56,440
Then, Shakespearian language.

890
00:58:56,440 --> 00:58:59,160
He was a wit,

891
00:58:59,160 --> 00:59:04,160
and, as he said himself, he was not
only witty in himself,

892
00:59:05,400 --> 00:59:08,200
but the cause that wit was in other
men.

893
00:59:09,240 --> 00:59:13,160
This huge hill of fat, this ton
of man.

894
00:59:15,960 --> 00:59:17,760
This reverend vice.

895
00:59:19,000 --> 00:59:20,640
This grey iniquity.

896
00:59:21,640 --> 00:59:23,680
Then Eden again?

897
00:59:24,680 --> 00:59:29,680
He was a spokesman, you might say,
for merry England,

898
00:59:29,680 --> 00:59:34,720
the old merry England of May
mornings and midsummer eves.

899
00:59:37,760 --> 00:59:39,200
When even villainy was innocent.

900
00:59:44,520 --> 00:59:47,400
And, of course, you filmed Falstaff
in Chimes At Midnight.

901
00:59:49,520 --> 00:59:53,400
Your drawings for the Battle of
Shrewsbury sequence are a gallery

902
00:59:53,400 --> 00:59:55,920
of horsemen, of chevalier...

903
00:59:56,960 --> 00:59:58,360
..in pen...

904
01:00:00,840 --> 01:00:02,480
..coloured brush and pen.

905
01:00:08,520 --> 01:00:12,120
And this, the swiftest and the best,
in brush only.

906
01:00:16,040 --> 01:00:19,280
In pose and concision, it's as good
as this.

907
01:00:27,720 --> 01:00:30,720
This bed scene in Chimes At
Midnight - with you,

908
01:00:30,720 --> 01:00:35,400
Doll Tearsheet, Prince Hal and his
friend, Ned Poins - is remarkable.

909
01:00:36,920 --> 01:00:40,560
You get up and move left, and then a
swirl of movement,

910
01:00:40,560 --> 01:00:42,560
like a '60s love-in.

911
01:00:42,560 --> 01:00:46,200
I owe her money and whether she be
damned for that, I don't know.

912
01:00:46,200 --> 01:00:49,960
But, Hal, am I not fallen away?

913
01:00:49,960 --> 01:00:51,840
Like a Tintoretto painting.

914
01:00:53,240 --> 01:00:57,000
Like you, he liked to have people
almost roll in the foreground.

915
01:00:57,000 --> 01:00:59,120
He looked up at the world.

916
01:01:03,920 --> 01:01:07,280
Everybody in bed, the camaraderie of
love.

917
01:01:07,280 --> 01:01:10,120
The bed scene is another Eden.

918
01:01:11,520 --> 01:01:13,000
There's Beatrice.

919
01:01:13,000 --> 01:01:16,080
The water itself was a good water,
but for the party who owned it...

920
01:01:16,080 --> 01:01:20,000
But the loving world of Chimes At
Midnight will come to an end.

921
01:01:20,000 --> 01:01:22,880
Men of all sorts take a pride to
gird at me, the brain of this...

922
01:01:22,880 --> 01:01:26,000
Which brings us to the last aspect
of your love life.

923
01:01:26,000 --> 01:01:29,000
Do you believe in love at all,
Mrs Bannister?

924
01:01:30,800 --> 01:01:32,800
Give me the wheel.

925
01:01:32,800 --> 01:01:35,200
The Lady From Shanghai, again.

926
01:01:35,200 --> 01:01:39,440
You and Rita look purposefully
ahead but she steers.

927
01:01:43,120 --> 01:01:46,640
I was taught to think about love in
Chinese.

928
01:01:46,640 --> 01:01:50,280
The way a Frenchman thinks about
laughter in French?

929
01:01:51,880 --> 01:01:56,600
The Chinese say it is difficult for
love to last long,

930
01:01:56,600 --> 01:02:00,800
therefore, one who loves
passionately is cured of love

931
01:02:00,800 --> 01:02:02,440
in the end.

932
01:02:02,440 --> 01:02:05,120
Well, that's a hard way of thinking.

933
01:02:05,120 --> 01:02:08,640
But it seems borne out by your love
life, Orson.

934
01:02:08,640 --> 01:02:11,360
It was full of guilt
and sadness.

935
01:02:11,360 --> 01:02:13,880
Your relationship with
Hayworth quickly waned.

936
01:02:15,320 --> 01:02:19,560
You draw yourself crying and, in one
of your most surprising images,

937
01:02:19,560 --> 01:02:22,760
also for Hayworth,
you have a devil

938
01:02:22,760 --> 01:02:25,120
visit you
in her absence.

939
01:02:25,120 --> 01:02:28,920
You had affairs.
Is the devil your guilt?

940
01:02:28,920 --> 01:02:31,960
Or your guilt and sadness combined?

941
01:02:31,960 --> 01:02:34,000
You called this pencil and
watercolour sketch,

942
01:02:34,000 --> 01:02:39,040
with its miserable sun, Another
Self-Portrait Of Self-Pity.

943
01:02:42,120 --> 01:02:43,800
And how about this?

944
01:02:49,240 --> 01:02:53,080
You're far from Eden here. The smoke
from the factories gathers

945
01:02:53,080 --> 01:02:54,640
to show your mood.

946
01:02:59,440 --> 01:03:02,600
And then there is this drawing of
Paola.

947
01:03:02,600 --> 01:03:05,080
Very pregnant and she had a horrible
pregnancy,

948
01:03:05,080 --> 01:03:06,840
she must have been a bitch, and...

949
01:03:06,840 --> 01:03:08,560
Pregnant with you?

950
01:03:08,560 --> 01:03:10,560
Yeah.

951
01:03:10,560 --> 01:03:12,960
I Feel Lousy is
one of your most

952
01:03:12,960 --> 01:03:15,280
ambiguous drawings,
Orson.

953
01:03:15,280 --> 01:03:20,320
Are you just recording Paola's
feeling bad or empathising with it?

954
01:03:20,320 --> 01:03:22,040
Or mirroring it?

955
01:03:22,040 --> 01:03:24,040
Is it you that feels bad?

956
01:03:31,080 --> 01:03:34,120
You showed the death of love, the
perversion of love,

957
01:03:34,120 --> 01:03:36,880
most visually, Orson, in Morocco.

958
01:03:37,960 --> 01:03:39,240
And Venice.

959
01:03:41,160 --> 01:03:43,480
You know what I'm going to say,
don't you?

960
01:03:43,480 --> 01:03:44,680
Othello.

961
01:03:44,680 --> 01:03:45,920
Strumpet!

962
01:03:45,920 --> 01:03:47,640
Weep'st thou for him to my face?

963
01:03:47,640 --> 01:03:49,600
Oh, banish me, my lord, but kill me
not!

964
01:03:49,600 --> 01:03:51,600
Down, strumpet!

965
01:03:51,600 --> 01:03:53,440
Kill me tomorrow, let me live
tonight!

966
01:03:53,440 --> 01:03:58,480
Othello kills Desdemona,
facelessness now is murder.

967
01:04:16,560 --> 01:04:19,040
And when she's dead...

968
01:04:19,040 --> 01:04:20,440
..this.

969
01:04:23,200 --> 01:04:27,160
This circle in the ceiling was
inspired by this Mantegne painting

970
01:04:27,160 --> 01:04:28,880
in Mantua, wasn't it?

971
01:04:30,040 --> 01:04:33,040
You had a ceiling built to echo it
visually

972
01:04:33,040 --> 01:04:37,080
and, before James Bond films, you
liked a circular ceiling.

973
01:04:39,320 --> 01:04:40,960
Your camera's low enough

974
01:04:40,960 --> 01:04:42,840
to show it well, to halo him,

975
01:04:42,840 --> 01:04:44,760
to anti-halo him.

976
01:04:44,760 --> 01:04:46,640
Sophie, what was her last name
again?

977
01:04:46,640 --> 01:04:47,880
She married years ago.

978
01:04:47,880 --> 01:04:50,280
Well, what's her married name?

979
01:04:50,280 --> 01:04:54,240
Nothing extenuate, nor set down
aught in malice.

980
01:04:54,240 --> 01:04:56,080
Love as hell, not Eden.

981
01:04:57,320 --> 01:05:00,360
You had the camera on a scaffold,
here.

982
01:05:00,360 --> 01:05:04,800
Not wisely, but too well.

983
01:05:08,480 --> 01:05:10,440
Is that how you loved?

984
01:05:10,440 --> 01:05:13,560
Not wisely, but too well?

985
01:05:16,280 --> 01:05:20,960
The death of love, the back of love,
they're not much fun to talk about,

986
01:05:20,960 --> 01:05:22,440
are they, Orson?

987
01:05:22,440 --> 01:05:24,680
I wonder, am I losing you here?

988
01:05:26,440 --> 01:05:29,600
We're getting on to kingship in a
moment, but before we do,

989
01:05:29,600 --> 01:05:33,240
one more chord about passion dying.

990
01:05:33,240 --> 01:05:37,440
It's in Chimes At Midnight again and
you know what's coming, don't you?

991
01:05:37,440 --> 01:05:40,160
The most resonant line in your art.

992
01:05:41,280 --> 01:05:44,320
Here it is, in your screenplay in
Michigan.

993
01:05:45,440 --> 01:05:47,760
Are you ready to be heartbroken?

994
01:05:49,040 --> 01:05:51,440
"I know thee not, old man.

995
01:05:51,440 --> 01:05:54,080
"The prince, the boy, says to the
man

996
01:05:54,080 --> 01:05:55,760
"that the dream is over."

997
01:05:56,960 --> 01:05:59,160
Their friendship is over.

998
01:05:59,160 --> 01:06:02,720
Vertical spears like the Nuremberg
searchlights,

999
01:06:02,720 --> 01:06:04,360
then you break through.

1000
01:06:04,360 --> 01:06:06,040
God save thee, my sweet boy!

1001
01:06:06,040 --> 01:06:11,040
And the back of the new king, your
old drinking and cavorting pal.

1002
01:06:11,280 --> 01:06:12,440
My king.

1003
01:06:12,440 --> 01:06:14,080
My Jove.

1004
01:06:16,240 --> 01:06:19,520
I speak to thee, my heart.

1005
01:06:19,520 --> 01:06:23,080
I know thee not, old man, fall to
thy prayers.

1006
01:06:28,280 --> 01:06:31,880
How ill white hairs become a fool
and jester.

1007
01:06:34,280 --> 01:06:37,840
I have long dreamed of such a kind
of man,

1008
01:06:37,840 --> 01:06:42,680
so surfeit-swell'd, so old and so
profane,

1009
01:06:42,680 --> 01:06:46,120
but, being awak'd, I do despise my
dream.

1010
01:06:48,960 --> 01:06:50,840
Despise.

1011
01:06:50,840 --> 01:06:53,520
Wouldn't "reject" have been enough?

1012
01:06:53,520 --> 01:06:56,120
Shakespeare's pen was a dagger here.

1013
01:06:57,800 --> 01:07:01,720
Not only an end of love but a
rewrite of its history.

1014
01:07:01,720 --> 01:07:05,480
Till then, I banish thee on pain of
death,

1015
01:07:05,480 --> 01:07:08,880
as I have done the rest of my
misleaders, not to come near

1016
01:07:08,880 --> 01:07:11,960
our person by ten mile.

1017
01:07:14,080 --> 01:07:18,240
And Falstaff falls to his knees,
like John Houseman did,

1018
01:07:18,240 --> 01:07:22,200
as he realises who has the power and
who can control the love.

1019
01:07:23,960 --> 01:07:26,280
Hal's exclusion order.

1020
01:07:26,280 --> 01:07:30,880
You wanted to be Falstaff, Orson,
but let's face it,

1021
01:07:30,880 --> 01:07:32,720
you were Hal.

1022
01:07:37,680 --> 01:07:42,720
The prince, the knight, loving a
lot but, in your exhilaration,

1023
01:07:43,920 --> 01:07:46,000
moving on to other loves.

1024
01:07:46,000 --> 01:07:47,720
Other worlds.

1025
01:07:47,720 --> 01:07:50,200
So, we move on to our next world.

1026
01:08:48,160 --> 01:08:51,040
All the decent people in your life
and work, Orson,

1027
01:08:51,040 --> 01:08:55,320
your mother, your head teacher,
Michael O'Hara in The Lady From
Shanghai,

1028
01:08:55,320 --> 01:09:00,360
Joseph Cotton's character Jedediah
Leland in Citizen Kane,

1029
01:09:00,360 --> 01:09:04,920
Don Quixote, Charlton Heston's
character in Touch Of Evil,

1030
01:09:04,920 --> 01:09:07,440
Sir John Falstaff.

1031
01:09:07,440 --> 01:09:11,280
These knights and pawns are often
exemplary and right.

1032
01:09:12,720 --> 01:09:16,000
But there's another type of person
who excited you more.

1033
01:09:17,680 --> 01:09:21,680
Dive deeper into your unconscious
and you find him there.

1034
01:09:23,760 --> 01:09:28,400
This creature from the black lagoon.
He is, of course, the king.

1035
01:09:30,440 --> 01:09:32,480
You mocked the king in Chimes At
Midnight.

1036
01:09:37,680 --> 01:09:39,880
He can't even get up onto his
throne.

1037
01:09:39,880 --> 01:09:44,880
He has a pot for a crown and speaks
like John Gielgud.

1038
01:09:45,040 --> 01:09:46,360
Harry.

1039
01:09:48,280 --> 01:09:53,040
I do not only marvel where thou
spendst thy time,

1040
01:09:53,040 --> 01:09:56,000
but also how thou art accomplished.

1041
01:09:56,000 --> 01:09:59,440
But you were attracted to the
grandeur of kingship.

1042
01:10:03,560 --> 01:10:06,960
Admit it, Orson, your tastes were
regal.

1043
01:10:08,720 --> 01:10:12,000
Is it true that the director
Richard Fleischer once accused

1044
01:10:12,000 --> 01:10:15,280
you of treating a lowly photographer
as if you were royalty?

1045
01:10:15,280 --> 01:10:18,280
"I am royalty!" you barked back.

1046
01:10:20,720 --> 01:10:23,680
You used to say that you're a king
actor.

1047
01:10:24,880 --> 01:10:28,200
You were fascinated by a Latvian
gun-runner and friend

1048
01:10:28,200 --> 01:10:30,280
of Nazis Himmler and Goering.

1049
01:10:30,280 --> 01:10:32,040
His name was Michael Oliend.

1050
01:10:32,040 --> 01:10:35,760
You visited him in this mansion,
designed by Raphael.

1051
01:10:37,120 --> 01:10:40,920
You should have played Napoleon,
Orson, or Henry VIII.

1052
01:10:43,600 --> 01:10:48,200
Actor Geraldine Fitzgerald said
that you were like a lighthouse.

1053
01:10:48,200 --> 01:10:52,080
"When you were caught in his beam,
he was utterly dazzling.

1054
01:10:52,080 --> 01:10:55,760
"When the beam moves on, you're
plunged into darkness."

1055
01:11:00,400 --> 01:11:04,640
Kingship in your work is visual
about lawmaking.

1056
01:11:04,640 --> 01:11:09,000
Suffocating, isolating and about
ambition.

1057
01:11:09,000 --> 01:11:12,760
Totalitarianism, corruption and
madness.

1058
01:11:14,560 --> 01:11:17,280
Let's take visual first, Orson.

1059
01:11:17,280 --> 01:11:20,960
Most aspects of your visual style
were extravagant.

1060
01:11:20,960 --> 01:11:24,000
As we saw in the pawn section, you
had moments of realism

1061
01:11:24,000 --> 01:11:27,040
in your work, but you mostly
rejected them.

1062
01:11:29,120 --> 01:11:31,280
This was more your style.

1063
01:11:31,280 --> 01:11:34,880
Macbeth - a distant castle, misty
middle ground.

1064
01:11:42,840 --> 01:11:46,200
It's like Charles Foster Kane's
isolated castle.

1065
01:11:49,200 --> 01:11:52,200
Castles fired your imagination.

1066
01:11:52,200 --> 01:11:54,600
Especially if they were crumbling.

1067
01:11:56,880 --> 01:12:00,160
This etching of yours looks like
there's been a fire.

1068
01:12:00,160 --> 01:12:02,160
You had an eye on Piranesi's

1069
01:12:02,160 --> 01:12:04,960
imaginary prison sketches of the
1700s.

1070
01:12:12,080 --> 01:12:16,960
The lens you liked to use most,
the 18.5, was a king lens,

1071
01:12:16,960 --> 01:12:18,480
you could say.

1072
01:12:18,480 --> 01:12:20,520
It made the world bulge.

1073
01:12:20,520 --> 01:12:22,920
Whole is the marble, founded as the
rock.

1074
01:12:22,920 --> 01:12:27,440
You slung it low, of course, to make
foreground people look massive.

1075
01:12:27,440 --> 01:12:29,160
Quiet, confined.

1076
01:12:30,200 --> 01:12:32,600
Bound into saucy doubts and fears.

1077
01:12:34,560 --> 01:12:37,240
To make patterns between near and
far.

1078
01:12:40,640 --> 01:12:43,480
It was expressionist, this lens.

1079
01:12:43,480 --> 01:12:45,920
It was good at abstraction.

1080
01:12:47,280 --> 01:12:52,280
Beyond visual things, your king men
are lawmakers and lawbreakers.

1081
01:12:53,480 --> 01:12:55,200
That lens, again.

1082
01:12:55,200 --> 01:12:58,440
A seated king, an insolent press
baron.

1083
01:12:58,440 --> 01:13:03,040
Yes, tell Wheeler, you provide the
prose poems, I'll provide the war.

1084
01:13:03,040 --> 01:13:04,480
That's fine, Mr Kane.

1085
01:13:04,480 --> 01:13:06,280
Yes! I rather like it myself.

1086
01:13:06,280 --> 01:13:09,360
And here in your late film, The
Immortal Story, you're a king,

1087
01:13:09,360 --> 01:13:12,440
of sorts, in a carriage.

1088
01:13:12,440 --> 01:13:15,480
The running man is a sailor you've
just picked up.

1089
01:13:15,480 --> 01:13:18,560
You'll pay him to have sex with a
woman.

1090
01:13:18,560 --> 01:13:19,920
You're a pimp king.

1091
01:13:20,920 --> 01:13:23,720
Making the rules, setting down the
law.

1092
01:13:24,800 --> 01:13:26,760
Treating others like pawns.

1093
01:13:27,880 --> 01:13:31,120
And here's your Hank Quinlan in
Touch Of Evil.

1094
01:13:31,120 --> 01:13:34,160
Belly first, then looming above the
camera.

1095
01:13:34,160 --> 01:13:36,200
Then a Wellesian body twist.

1096
01:13:37,560 --> 01:13:39,600
He's a king in his own mind,

1097
01:13:39,600 --> 01:13:42,840
a detective who thinks the law's for
little people,

1098
01:13:42,840 --> 01:13:45,720
for pawns, not for him.

1099
01:13:45,720 --> 01:13:48,960
He's above the law and bends it to
his will.

1100
01:13:52,400 --> 01:13:55,360
Beyond their visual and legal lives,

1101
01:13:55,360 --> 01:13:59,120
your kings are often suffocated or
imprisoned.

1102
01:13:59,120 --> 01:14:01,760
They're trapped inside their
castles.

1103
01:14:05,120 --> 01:14:08,720
They can't escape their own power,

1104
01:14:08,720 --> 01:14:10,600
their own thoughts...

1105
01:14:12,160 --> 01:14:14,160
..their echo chambers.

1106
01:14:16,720 --> 01:14:19,960
Beatrice tells us this was painted
in frustration

1107
01:14:19,960 --> 01:14:22,800
at the Universal film studio
stopping you completing

1108
01:14:22,800 --> 01:14:24,560
Touch Of Evil.

1109
01:14:24,560 --> 01:14:27,240
It's an isolation picture, too,
isn't it?

1110
01:14:27,240 --> 01:14:30,040
A Piranesi in the desert.

1111
01:14:30,040 --> 01:14:32,680
You were the king forced to
abdicate.

1112
01:14:51,080 --> 01:14:55,640
Intense visuals, a man above the
law, isolation.

1113
01:14:55,640 --> 01:14:58,360
You know where this is leading, I'm
sure.

1114
01:14:58,360 --> 01:15:01,040
To Scotland, and your film, Macbeth.

1115
01:15:07,400 --> 01:15:10,200
You'd first imagined Macbeth in your
teens,

1116
01:15:10,200 --> 01:15:14,320
in this drawing in your
Everybody's Shakespeare book.

1117
01:15:14,320 --> 01:15:17,760
And we've seen your Voodoo Macbeth
of 1936.

1118
01:15:19,840 --> 01:15:23,040
Just nine years later - what a long
nine years they must have seemed,

1119
01:15:23,040 --> 01:15:26,800
two marriages, war, radio stardom,

1120
01:15:26,800 --> 01:15:31,240
Hollywood fame, four films - you
were filming it on the cheap

1121
01:15:31,240 --> 01:15:32,920
for a B-movie studio.

1122
01:15:34,600 --> 01:15:39,480
You imagined the film's landscape
with angular trees against the sky.

1123
01:15:41,400 --> 01:15:43,920
The film would be shot quickly in a
studio,

1124
01:15:43,920 --> 01:15:46,160
so, you came up with this main set.

1125
01:15:48,640 --> 01:15:51,320
Scotland can sometimes look like a
production designer's

1126
01:15:51,320 --> 01:15:52,920
had a hand in it.

1127
01:15:55,560 --> 01:15:59,400
The characters were to be horned,
like cattle, or rams.

1128
01:16:00,920 --> 01:16:03,040
It was your most graphic film.

1129
01:16:03,040 --> 01:16:05,080
The witches' pagan symbols,

1130
01:16:05,080 --> 01:16:08,960
that set that looked like something
you'd see in a fish tank.

1131
01:16:08,960 --> 01:16:12,200
An underwater Macbeth, perhaps.

1132
01:16:13,440 --> 01:16:15,400
The contrasts were violent.

1133
01:16:16,960 --> 01:16:21,760
Slow-mo mist then dissolved to this
close-up.

1134
01:16:21,760 --> 01:16:25,320
One of the most contrasty images in
American film.

1135
01:16:27,400 --> 01:16:29,600
Then we're behind the head of
Macbeth.

1136
01:16:29,600 --> 01:16:34,120
This king, whose ambition is
detestable, this Hank Quinlan,

1137
01:16:34,120 --> 01:16:37,160
this Stalin, this Faust.

1138
01:16:37,160 --> 01:16:38,680
Say, sir.

1139
01:16:39,760 --> 01:16:44,680
As I did stand there watch upon the
hill, I looked towards Birnam.

1140
01:16:45,920 --> 01:16:49,800
The real world seemed to enter the
film as a nightmare.

1141
01:16:51,680 --> 01:16:54,480
Macbeth, so in the shadow of
himself,

1142
01:16:54,480 --> 01:16:57,920
that he doesn't even realise that
he's free.

1143
01:16:57,920 --> 01:17:01,280
He feels railroaded by the witches'
prophecy,

1144
01:17:01,280 --> 01:17:04,760
he's a slave to his own lust for
power.

1145
01:17:04,760 --> 01:17:09,760
You've dived so deep, now, that in
you're in the land of the surreal.

1146
01:17:10,440 --> 01:17:14,360
The colonnade is like a de Chirico
nightmare painting, Orson.

1147
01:17:17,800 --> 01:17:20,080
The least categoriseable image in
Macbeth,

1148
01:17:20,080 --> 01:17:22,520
and in all your art, I think,

1149
01:17:22,520 --> 01:17:25,200
is this shot, Orson.

1150
01:17:25,200 --> 01:17:27,680
It looks like clouds seen from an
aeroplane.

1151
01:17:27,680 --> 01:17:31,520
Or, an archipelago with a colossus
standing in it.

1152
01:17:40,360 --> 01:17:43,840
Macbeth's one of the few films I
wanted to draw as I watched.

1153
01:17:48,120 --> 01:17:50,160
The fourth aspect of your kingship

1154
01:17:50,160 --> 01:17:52,960
is its totalitarianism and
corruption.

1155
01:17:55,000 --> 01:17:57,480
These themes are in Caesar, of
course,

1156
01:17:57,480 --> 01:18:01,440
and in your Cesare Borgia in the
film, Prince Of Foxes.

1157
01:18:01,440 --> 01:18:04,200
A map of all he conquers.

1158
01:18:04,200 --> 01:18:06,440
The king actor's big shoulders and
flowing gown.

1159
01:18:06,440 --> 01:18:11,440
The ultimate goal...one Italy, one
kingdom.

1160
01:18:12,480 --> 01:18:15,200
One king, Cesare Borgia.

1161
01:18:15,200 --> 01:18:18,960
You made Prince Of Foxes in the same
year that you played

1162
01:18:18,960 --> 01:18:20,880
your most corrupt character -

1163
01:18:20,880 --> 01:18:25,880
Harry Lime, who profiteers from
penicillin stolen from hospitals.

1164
01:18:26,160 --> 01:18:30,120
He famously talks of the Borgias, as
you casually put on gloves

1165
01:18:30,120 --> 01:18:32,600
and the camera glides in.

1166
01:18:32,600 --> 01:18:34,440
Well, what the fella said.

1167
01:18:34,440 --> 01:18:36,680
In Italy, for 30 years under the
Borgias,

1168
01:18:36,680 --> 01:18:39,480
they had warfare, terror, murder and
bloodshed.

1169
01:18:39,480 --> 01:18:41,880
But they produced Michelangelo,
Leonardo da Vinci,

1170
01:18:41,880 --> 01:18:43,280
and the Renaissance.

1171
01:18:43,280 --> 01:18:45,600
In Switzerland they had brotherly
love.

1172
01:18:45,600 --> 01:18:50,040
They had 500 years of democracy and
peace, and what did that produce?

1173
01:18:50,040 --> 01:18:51,440
The cuckoo clock.

1174
01:18:51,440 --> 01:18:52,800
So long, Holly.

1175
01:18:53,920 --> 01:18:57,720
A scene you wrote, of course.
Cinema's most famous strike

1176
01:18:57,720 --> 01:18:59,920
of the authoritarian bell.

1177
01:19:03,080 --> 01:19:06,200
In the late 1930s, before Citizen
Kane,

1178
01:19:06,200 --> 01:19:10,160
you were to make a film about an
even more dangerous man...

1179
01:19:10,160 --> 01:19:13,600
..ivory trader Kurtz in Joseph
Conrad's novella,

1180
01:19:13,600 --> 01:19:15,640
Heart Of Darkness.

1181
01:19:18,080 --> 01:19:21,840
Here's your sketch of the compound
where he lives.

1182
01:19:21,840 --> 01:19:25,560
In 1938, you adapted Heart Of
Darkness for radio.

1183
01:19:25,560 --> 01:19:27,600
You played Kurtz, of course,

1184
01:19:27,600 --> 01:19:31,040
and tried to capture his genius,
his panic, his tyranny.

1185
01:19:32,720 --> 01:19:34,880
How are you tonight, Mr Kurtz?

1186
01:19:34,880 --> 01:19:37,560
Aware enough to be back at my
station.

1187
01:19:38,480 --> 01:19:39,840
That place is mine.

1188
01:19:41,120 --> 01:19:43,120
They have no right to take me away.

1189
01:19:44,440 --> 01:19:49,440
That manager, that stupid scoundrel,
he wants my ivory.

1190
01:19:49,800 --> 01:19:51,600
He's blocked me at every turn.

1191
01:19:51,600 --> 01:19:53,600
Don't excite yourself, Mr Kurtz.

1192
01:19:53,600 --> 01:19:54,960
You're sick, you know.

1193
01:19:54,960 --> 01:19:56,280
Sick?

1194
01:19:57,280 --> 01:19:58,280
Sick?!

1195
01:20:00,280 --> 01:20:02,840
Not so sick as you'd like to
believe.

1196
01:20:04,280 --> 01:20:06,760
Heart of Darkness is set during one

1197
01:20:06,760 --> 01:20:09,440
of the worst human atrocities,
Orson,

1198
01:20:09,440 --> 01:20:12,680
Belgium's colonisation of the Congo.

1199
01:20:12,680 --> 01:20:15,960
Kurtz was, for you, a fascist king.

1200
01:20:17,160 --> 01:20:20,000
That's end of the king line, in a
way.

1201
01:20:20,000 --> 01:20:22,200
Except for one more thing...

1202
01:20:22,200 --> 01:20:24,200
..the madness of kingship.

1203
01:20:26,080 --> 01:20:29,960
In 1953, you played King Lear live
on TV.

1204
01:20:30,960 --> 01:20:32,560
That low king angle.

1205
01:20:32,560 --> 01:20:35,240
That roaring king voice.

1206
01:20:35,240 --> 01:20:38,120
Here I stand, your slave.

1207
01:20:38,120 --> 01:20:43,160
A poor infirm, weak and despised
old man.

1208
01:20:44,240 --> 01:20:46,560
He says, "Oh, let me not be mad.

1209
01:20:46,560 --> 01:20:50,280
"Not mad, sweet heaven."

1210
01:20:50,280 --> 01:20:53,880
But he's driven by the burdens of
power and family.

1211
01:20:57,200 --> 01:21:02,120
The camera pulls out, and lightning,
and that expressionism again.

1212
01:21:02,120 --> 01:21:04,880
THEY SHRIEK
AND THUNDER ROARS

1213
01:21:09,480 --> 01:21:12,360
Did you intend this to be Lear,
Orson?

1214
01:21:15,360 --> 01:21:17,320
It's like it's raining here,

1215
01:21:17,320 --> 01:21:19,320
or it's a lightning storm.

1216
01:21:21,160 --> 01:21:25,440
You did Christopher Marlowe's Faust
on stage in 1937.

1217
01:21:25,440 --> 01:21:28,160
You had him say, "I refuse to be
insane.

1218
01:21:28,160 --> 01:21:31,840
"I do not claim the sanctuary of the
madhouse.

1219
01:21:31,840 --> 01:21:34,920
"Do not think I stumbled into the
pit.

1220
01:21:34,920 --> 01:21:38,080
"Pray for the free man who dammed
himself."

1221
01:21:44,200 --> 01:21:46,360
Did you damn yourself, Orson?

1222
01:21:47,360 --> 01:21:48,960
And, if so, for what?

1223
01:21:50,720 --> 01:21:52,080
Politics?

1224
01:21:54,360 --> 01:21:56,360
Love?

1225
01:21:56,360 --> 01:21:57,880
Power?

1226
01:21:57,880 --> 01:21:59,560
Glory?

1227
01:21:59,560 --> 01:22:01,320
Excitement?

1228
01:22:01,320 --> 01:22:03,320
Loneliness?

1229
01:22:03,320 --> 01:22:05,360
Decline?

1230
01:22:05,360 --> 01:22:06,720
Fury?

1231
01:22:19,680 --> 01:22:21,600
Dear Mark,

1232
01:22:21,600 --> 01:22:24,280
I pray you in your letters,

1233
01:22:24,280 --> 01:22:28,440
when you shall these unlucky deeds
relate,

1234
01:22:28,440 --> 01:22:30,600
speak of me as I am.

1235
01:22:30,600 --> 01:22:32,360
Nothing extenuate.

1236
01:22:35,120 --> 01:22:40,160
So, the world kept turning after I
died?

1237
01:22:40,600 --> 01:22:42,440
Who'd have guessed!

1238
01:22:42,440 --> 01:22:47,160
It sounds as if I'd have taken
to the 21st century.

1239
01:22:48,480 --> 01:22:50,520
I wasn't tired of living.

1240
01:22:50,520 --> 01:22:52,440
I wasn't tired of art.

1241
01:22:54,400 --> 01:22:59,400
In your letter, Mark, you split my
politics from my love,

1242
01:22:59,640 --> 01:23:01,600
but they're the same thing!

1243
01:23:01,600 --> 01:23:04,440
Or, at least, of the same root.

1244
01:23:04,440 --> 01:23:07,800
You missed how funny I found it all!

1245
01:23:09,040 --> 01:23:12,920
You do know that life is a circus,
don't you?

1246
01:23:15,720 --> 01:23:17,680
Beatrice still seems to.

1247
01:23:20,720 --> 01:23:22,720
Was this not in your box?

1248
01:23:22,720 --> 01:23:24,680
ORSON LAUGHS

1249
01:23:26,480 --> 01:23:29,840
My ending of The Lady From Shanghai,

1250
01:23:29,840 --> 01:23:34,400
that crane shot as I walk into the
empty funfair...

1251
01:23:36,720 --> 01:23:40,280
Everybody is somebody's fool.

1252
01:23:40,280 --> 01:23:42,840
The only way to stay out of trouble
is to grow old,

1253
01:23:42,840 --> 01:23:45,520
so I guess I'll concentrate on that.

1254
01:23:45,520 --> 01:23:49,640
Maybe I'll live so long that I'll
forget her.

1255
01:23:51,240 --> 01:23:53,560
Maybe I'll die trying.

1256
01:23:54,640 --> 01:23:58,800
..that's more important than the
ending of The Trial.

1257
01:23:58,800 --> 01:24:02,960
And, as you're so taken by my
drawings, how about this one?

1258
01:24:04,280 --> 01:24:07,800
She's Lady Would-be from Jonson's
Volpone.

1259
01:24:07,800 --> 01:24:11,960
A broad - bumbling and inept.

1260
01:24:11,960 --> 01:24:15,440
Those pursed lips...I adore her.

1261
01:24:15,440 --> 01:24:20,480
The toffs, with their drinker's
noses and eyes closed.

1262
01:24:20,560 --> 01:24:24,080
Amidst all the power and politics of
which you speak,

1263
01:24:24,080 --> 01:24:26,840
my line ran naturally to doodles
like this.

1264
01:24:29,120 --> 01:24:31,240
Does he remind you of anyone?

1265
01:24:33,760 --> 01:24:38,800
And, several lifetimes ago, before
Kane, I made a lark of a film

1266
01:24:38,960 --> 01:24:40,760
called Too Much Johnson.

1267
01:24:42,120 --> 01:24:44,960
There was a scene where a
well-dressed young man

1268
01:24:44,960 --> 01:24:48,120
and police officers had their hats
removed.

1269
01:24:50,160 --> 01:24:53,520
It was absurd, like a
Mack Sennett comedy!

1270
01:24:59,320 --> 01:25:02,720
That's cluelessness again, like so
much of life.

1271
01:25:06,560 --> 01:25:10,080
And since you mentioned Mr Arkadin,

1272
01:25:10,080 --> 01:25:12,480
recall, if you can, its climax.

1273
01:25:12,480 --> 01:25:15,520
I stalk through the film like a
shadow,

1274
01:25:15,520 --> 01:25:17,800
but the world of my story is absurd.

1275
01:25:17,800 --> 01:25:21,560
Akim's character, Zouk, has lost his
pants!

1276
01:25:21,560 --> 01:25:23,680
What will he think if he catches me
out here,

1277
01:25:23,680 --> 01:25:26,040
dancing around in my under-drawers?

1278
01:25:26,040 --> 01:25:29,360
Does it remind you of anything?

1279
01:25:29,360 --> 01:25:31,320
Laurel and Hardy, perhaps?

1280
01:25:34,560 --> 01:25:38,720
My camera was usually lower, of
course, but the humanity

1281
01:25:38,720 --> 01:25:40,760
in Stan and Ollie is the same.

1282
01:25:40,760 --> 01:25:44,880
The childishness, the circus, the
commedia dell'arte, Pulcinella,

1283
01:25:44,880 --> 01:25:48,200
what you in the UK call
Punch and Judy.

1284
01:25:51,920 --> 01:25:54,760
I did scores of pictures of
St Nick.

1285
01:25:57,400 --> 01:26:00,640
There were conventional ones in red
and white.

1286
01:26:02,440 --> 01:26:06,000
He'd come down the chimney, or be
by the fire.

1287
01:26:09,320 --> 01:26:11,640
But I remember that, as I drew,

1288
01:26:11,640 --> 01:26:14,920
he started to look like he was on a
stage,

1289
01:26:14,920 --> 01:26:18,960
taking a bow, perchance a curtain
call.

1290
01:26:21,040 --> 01:26:25,200
Those with a keen eye might say I
painted him more and more

1291
01:26:25,200 --> 01:26:28,120
so he merged with some of the things
that I admire.

1292
01:26:28,120 --> 01:26:30,600
And he morphed!

1293
01:26:30,600 --> 01:26:32,800
His colours changed.

1294
01:26:32,800 --> 01:26:34,600
The red disappeared.

1295
01:26:36,600 --> 01:26:40,320
Or, rather, it shrunk to his nose,
as you see.

1296
01:26:40,320 --> 01:26:43,840
Santa is becoming a drinker in my
Christmas world.

1297
01:26:45,000 --> 01:26:46,320
A drunk.

1298
01:26:47,920 --> 01:26:49,800
Sir John Falstaff.

1299
01:26:51,560 --> 01:26:54,120
The more cards I did, the more rapid
I became.

1300
01:26:54,120 --> 01:26:55,880
The colours leeched out.

1301
01:26:57,440 --> 01:27:01,800
They became night in this Christmas
Carol of mine.

1302
01:27:01,800 --> 01:27:04,200
And the bottle grew.

1303
01:27:06,920 --> 01:27:10,000
And then even the nose
was no longer red.

1304
01:27:11,320 --> 01:27:14,600
They took on the tone of a lot of my
work.

1305
01:27:14,600 --> 01:27:19,080
Call it dark exuberance, if you
like.

1306
01:27:19,080 --> 01:27:22,160
That's what the Lady From Shanghai
was.

1307
01:27:22,160 --> 01:27:27,200
But, Macbeth...tenebrous and
excessive.

1308
01:27:29,280 --> 01:27:33,000
I've often said that Kane
has the same tension.

1309
01:27:34,920 --> 01:27:40,000
Kane himself is close to farce,
close to parody, close to burlesque.

1310
01:27:43,160 --> 01:27:47,360
That roller-coaster you showed
was like the great imperium,

1311
01:27:47,360 --> 01:27:50,200
the United States.

1312
01:28:03,160 --> 01:28:06,280
I was a satirist.

1313
01:28:07,400 --> 01:28:08,960
Didn't you see that?

1314
01:28:11,840 --> 01:28:14,000
The stick was straining.

1315
01:28:16,200 --> 01:28:18,920
What happens when it breaks?

1316
01:28:18,920 --> 01:28:21,640
Absurdity becomes the norm.

1317
01:28:44,800 --> 01:28:49,120
The sots and thralls of lust do
in spare hours more thrive

1318
01:28:49,120 --> 01:28:50,920
than I that spend, sir.

1319
01:28:50,920 --> 01:28:53,360
Life upon my cause.

1320
01:28:58,080 --> 01:29:00,840
How is Ireland these days?

1321
01:29:00,840 --> 01:29:02,360
Yours, Orson.

1322
01:29:32,880 --> 01:29:37,160
Dear Orson, I just imagined that you
wrote back to me.

1323
01:29:37,160 --> 01:29:38,480
I wish you had.

1324
01:29:39,760 --> 01:29:42,280
How do I finish a letter like this?

1325
01:29:43,480 --> 01:29:47,280
Should I mention that there's been
another financial crash?

1326
01:29:47,280 --> 01:29:51,800
The wolves of Wall Street screwed
up, like they did in 1929.

1327
01:29:51,800 --> 01:29:55,200
This is Kenosha, where you were
born, now.

1328
01:29:55,200 --> 01:29:59,000
Parts of it look like a deserted
Hollywood studio back lot.

1329
01:29:59,000 --> 01:30:01,240
Or images from the 1930s.

1330
01:30:09,360 --> 01:30:14,400
The Great Depression that followed
the Wall Street Crash helped form
you, didn't it, Orson?

1331
01:30:14,600 --> 01:30:18,040
Will our new depression make a new
Orson Welles?

1332
01:30:25,960 --> 01:30:29,800
Beatrice had an unopened letter from
you to your guardian,

1333
01:30:29,800 --> 01:30:31,640
Dada Bernstein.

1334
01:30:31,640 --> 01:30:36,240
This letter was written on the 14th
of October in 1931,

1335
01:30:36,240 --> 01:30:38,960
when Dada was still living in
Chicago.

1336
01:30:38,960 --> 01:30:41,000
And it is unopened.

1337
01:30:45,040 --> 01:30:46,400
Nothing in it!

1338
01:30:46,400 --> 01:30:48,000
SHE LAUGHS

1339
01:30:48,000 --> 01:30:49,280
This is too funny.

1340
01:30:49,280 --> 01:30:50,720
He forgot to put something...

1341
01:30:50,720 --> 01:30:52,360
This is insane.

1342
01:30:53,400 --> 01:30:56,960
We were hoping that there'd be some
secret in that envelope, Orson.

1343
01:30:56,960 --> 01:30:58,920
Some new way of seeing you.

1344
01:30:58,920 --> 01:31:00,560
Isn't that wild?

1345
01:31:00,560 --> 01:31:05,320
But maybe what was in the box
and what's in the University of
Michigan archive

1346
01:31:05,320 --> 01:31:07,760
is a bit of a new way of seeing you.

1347
01:31:09,280 --> 01:31:13,080
Your art has made me look again
at your life and work.

1348
01:31:14,560 --> 01:31:17,720
This scene in Mr Arkadin, for
example.

1349
01:31:17,720 --> 01:31:20,200
What's with all these crazy
Frankensteins?

1350
01:31:20,200 --> 01:31:22,520
Now, look, old boy, you don't
understand.

1351
01:31:22,520 --> 01:31:25,080
All these people are supposed to
represent the paintings!

1352
01:31:25,080 --> 01:31:27,280
Now, some of us have come as the
visions and monsters.

1353
01:31:27,280 --> 01:31:29,480
Goya. Who?

1354
01:31:29,480 --> 01:31:31,640
You know Goya. Glad to meet you.

1355
01:31:31,640 --> 01:31:35,560
It's a Goya painting, with an added
pinch of Josef von Sternberg.

1356
01:31:38,280 --> 01:31:40,000
In the same film,

1357
01:31:40,000 --> 01:31:43,040
this scene near the start is what?

1358
01:31:43,040 --> 01:31:45,080
Graphic, certainly.

1359
01:31:45,080 --> 01:31:47,200
It's a murder and chase moment.

1360
01:31:47,200 --> 01:31:48,920
But who's being shot, or why,

1361
01:31:48,920 --> 01:31:51,640
doesn't seem to be your main
concern.

1362
01:31:53,000 --> 01:31:55,640
You're more taken by the steam of
the train,

1363
01:31:55,640 --> 01:31:59,840
the shapes within the frame,
the angles, the Cubism.

1364
01:32:03,600 --> 01:32:05,600
And in The Lady From Shanghai,

1365
01:32:05,600 --> 01:32:08,920
you painted these sets yourself,
didn't you?

1366
01:32:08,920 --> 01:32:14,000
You walked through a lattice,
shards, a constructivist's design...

1367
01:32:16,360 --> 01:32:18,880
..like this one by
Aleksandra Ekster.

1368
01:32:22,920 --> 01:32:25,800
And a few scenes later, in your hall
of mirrors,

1369
01:32:25,800 --> 01:32:29,000
we're in the land of Muybridge.

1370
01:32:29,000 --> 01:32:31,280
..playing it your way. You didn't
know that.

1371
01:32:31,280 --> 01:32:33,480
Panel imagery.

1372
01:32:33,480 --> 01:32:34,920
Erotic.

1373
01:32:36,440 --> 01:32:37,880
In love with lenses.

1374
01:32:42,040 --> 01:32:44,480
And then The Lady From Shanghai
is like a drawing.

1375
01:32:44,480 --> 01:32:46,160
Oh, he knew about her.

1376
01:32:46,160 --> 01:32:50,840
She planned to kill Bannister, she
and Grisby.

1377
01:32:50,840 --> 01:32:53,040
Isn't that it?

1378
01:32:53,040 --> 01:32:55,680
Is that what's been on the tip of my
tongue in this letter?

1379
01:32:57,280 --> 01:33:00,120
Many of your films are like charcoal
drawings.

1380
01:33:00,120 --> 01:33:02,920
Their nets and grilles are
hatchings.

1381
01:33:02,920 --> 01:33:04,400
Shadings.

1382
01:33:09,160 --> 01:33:13,320
In Mr Arkadin, you use
the Segovia Aqueduct

1383
01:33:13,320 --> 01:33:15,520
like an architectural drawing.

1384
01:33:15,520 --> 01:33:17,760
I knew it! Well, what do I win?
This!

1385
01:33:24,600 --> 01:33:26,080
As I'm thinking this,

1386
01:33:26,080 --> 01:33:29,840
I see this scene in
The Lady From Shanghai.

1387
01:33:29,840 --> 01:33:32,680
Rita wants her cigarette lit.

1388
01:33:32,680 --> 01:33:37,680
Your shot sweeps left with it, mano
a mano.

1389
01:33:37,720 --> 01:33:41,480
There's no story need to do this but
there's a graphic need,

1390
01:33:41,480 --> 01:33:43,000
a drawing need.

1391
01:33:43,000 --> 01:33:45,680
..to God she'll never
be too old to earn the salary...

1392
01:33:45,680 --> 01:33:48,000
And then the shot comes back again,

1393
01:33:48,000 --> 01:33:50,080
following the cigarette again.

1394
01:33:51,480 --> 01:33:55,360
Two simple moments, but they're
like this drawing of yours.

1395
01:33:57,680 --> 01:33:59,160
Or, this drawing.

1396
01:34:02,240 --> 01:34:03,480
That's it.

1397
01:34:03,480 --> 01:34:06,520
That's my light bulb moment, Orson.

1398
01:34:06,520 --> 01:34:08,680
That's what's been on the tip of my
tongue...

1399
01:34:08,680 --> 01:34:10,800
..your visual thinking.

1400
01:34:10,800 --> 01:34:14,120
You thought with lines and shapes.

1401
01:34:14,120 --> 01:34:16,920
Your films are sketchbooks.

1402
01:34:16,920 --> 01:34:18,320
Calligraphy.

1403
01:34:20,400 --> 01:34:23,600
That's why people who love
Laurence Olivier's literary

1404
01:34:23,600 --> 01:34:27,520
and psychological Shakespeare
films don't like yours.

1405
01:34:27,520 --> 01:34:30,600
Yours were rougher and more to do
with space

1406
01:34:30,600 --> 01:34:33,280
and graphics and power.

1407
01:34:33,280 --> 01:34:38,320
Once I realise this, I discover that
you'd sort of said it already.

1408
01:34:38,680 --> 01:34:41,280
You told one of your biographers
that Macbeth

1409
01:34:41,280 --> 01:34:44,360
was a violent charcoal sketch of the
play.

1410
01:34:45,560 --> 01:34:50,120
And the Nazi Party's film-maker
Leni Riefenstahl, of all people,

1411
01:34:50,120 --> 01:34:52,760
wasn't far off when she said that,

1412
01:34:52,760 --> 01:34:56,680
"Welles draws marvellous pictures
in the margins of Shakespeare."

1413
01:34:58,920 --> 01:35:01,960
F For Fake was a sketchbook on
folded paper.

1414
01:35:01,960 --> 01:35:05,040
A Touch Of Evil's a fresco.

1415
01:35:05,040 --> 01:35:07,080
The Trial is like a linocut.

1416
01:35:08,120 --> 01:35:11,840
Macbeth, The Lady From Shanghai,
Othello, and Mr Arkadin

1417
01:35:11,840 --> 01:35:16,720
scratch at their characters, like
your quill and ink scratched

1418
01:35:16,720 --> 01:35:19,600
in the TV sketches.

1419
01:35:19,600 --> 01:35:24,640
Approximately, excitingly, but in a
way that many found too sharp.

1420
01:35:26,800 --> 01:35:30,520
They make you seem mad for contact
with the world.

1421
01:35:30,520 --> 01:35:35,280
Taking its fragments roughly and
absorbing them into yourself

1422
01:35:35,280 --> 01:35:38,160
to make art that's jagged and
fractured.

1423
01:35:41,360 --> 01:35:45,880
In 1953, you went here, Edinburgh in
Scotland,

1424
01:35:45,880 --> 01:35:49,880
and made a speech about the future
of the movies.

1425
01:35:49,880 --> 01:35:52,400
You said that a Hollywood film needs

1426
01:35:52,400 --> 01:35:55,480
an audience of 60 million people
to break even.

1427
01:35:56,480 --> 01:36:00,000
But you dreamt of smaller, more
distinctive films

1428
01:36:00,000 --> 01:36:03,160
who could speak to two million
people.

1429
01:36:03,160 --> 01:36:04,880
Guess what, Orson?

1430
01:36:04,880 --> 01:36:09,440
From the future, I can tell you that
your dream has sort of come true.

1431
01:36:11,880 --> 01:36:15,520
Film technology has changed
massively since you died.

1432
01:36:16,720 --> 01:36:19,400
If many of your films were like
sketches,

1433
01:36:19,400 --> 01:36:22,640
if you dreamt of a camera being more
like a pencil,

1434
01:36:22,640 --> 01:36:24,880
your dream is coming true.

1435
01:36:26,480 --> 01:36:30,560
More than ever, you can draw with a
camera now.

1436
01:36:30,560 --> 01:36:34,320
Studio cinema was like history
painting.

1437
01:36:34,320 --> 01:36:37,680
Now, film is more like oil painting.

1438
01:36:37,680 --> 01:36:39,040
And, look at this...

1439
01:36:39,040 --> 01:36:40,760
..an oil painting of you?

1440
01:36:40,760 --> 01:36:43,360
No, it's an accident.

1441
01:36:43,360 --> 01:36:46,800
Our computer didn't copy some
footage of you properly

1442
01:36:46,800 --> 01:36:49,040
and so it pixelated it.

1443
01:36:49,040 --> 01:36:52,040
And it looks like Manet or
Rembrandt.

1444
01:36:56,360 --> 01:37:00,040
Way back in the 1940s, when you were
making Citizen Kane,

1445
01:37:00,040 --> 01:37:03,920
you and cinematographer Gregg
Toland dreamt of a time

1446
01:37:03,920 --> 01:37:08,880
when there would be no film and the
camera would be an electronic eye.

1447
01:37:08,880 --> 01:37:11,720
That dream has come true, too.

1448
01:37:15,480 --> 01:37:18,280
On the morning of October 10th,
1985,

1449
01:37:18,280 --> 01:37:19,760
you died.

1450
01:37:22,360 --> 01:37:25,800
It was said that you were at your
typewriter when it happened.

1451
01:37:25,800 --> 01:37:27,840
This typewriter.

1452
01:37:27,840 --> 01:37:31,720
But your life probably ended in your
bathroom.

1453
01:37:31,720 --> 01:37:35,000
But, still, is this one of the last
things in the world

1454
01:37:35,000 --> 01:37:38,320
those great eyes of yours saw,
Orson?

1455
01:37:40,880 --> 01:37:44,760
If you were alive now, if you were
still seeing,

1456
01:37:44,760 --> 01:37:47,480
you could be making so many films.

1457
01:37:49,400 --> 01:37:54,200
Your archetypes - pawns, knights,
kings and jesters -

1458
01:37:54,200 --> 01:37:56,280
are as relevant as ever.

1459
01:37:59,320 --> 01:38:03,200
Your friend Kenneth Tynan said,
when writing about you,

1460
01:38:03,200 --> 01:38:05,440
"The bee will always make honey."

1461
01:38:07,840 --> 01:38:09,920
What honey you made.

1462
01:38:13,120 --> 01:38:15,480
What honey you could have made.

1463
01:38:15,480 --> 01:38:17,560
BEES BUZZ

1464
01:38:19,680 --> 01:38:24,720
In an interview in 1962, you said,
"Being alive means not killing

1465
01:38:25,200 --> 01:38:28,560
"the tensions one carries within
oneself.

1466
01:38:28,560 --> 01:38:31,040
"On the contrary, a poet must seek
out

1467
01:38:31,040 --> 01:38:33,880
"and cultivate his contradictions."

1468
01:38:37,400 --> 01:38:40,160
You buzzed with contradictions,
Orson.

1469
01:38:40,160 --> 01:38:43,360
You loved pawns, knights, and kings.

1470
01:38:46,040 --> 01:38:48,440
Do I contradict myself?

1471
01:38:48,440 --> 01:38:51,160
Very well, then, I contradict
myself.

1472
01:38:51,160 --> 01:38:53,040
I am large.

1473
01:38:53,040 --> 01:38:55,160
I contain multitudes.

1474
01:38:55,160 --> 01:38:57,880
I, too, am not a bit tamed.

1475
01:38:57,880 --> 01:39:01,080
I, too, am untranslatable.

1476
01:39:01,080 --> 01:39:06,080
I sound my barbaric yawp over the
roofs of the world.

1477
01:39:11,480 --> 01:39:14,400
We can still hear your sound, Orson.

1478
01:39:14,400 --> 01:39:18,920
And, most of all, we can still look
through your eyes.

1479
01:39:20,880 --> 01:39:22,480
Thank you.