All language subtitles for The.Eyes.Of.Orson.Welles.2018.1080
Afrikaans
Albanian
Amharic
Arabic
Armenian
Azerbaijani
Basque
Belarusian
Bengali
Bosnian
Bulgarian
Catalan
Cebuano
Chichewa
Chinese (Simplified)
Chinese (Traditional)
Corsican
Croatian
Czech
Danish
English
Esperanto
Estonian
Filipino
Finnish
Frisian
Galician
Georgian
German
Greek
Gujarati
Haitian Creole
Hausa
Hawaiian
Hebrew
Hindi
Hmong
Hungarian
Icelandic
Igbo
Indonesian
Irish
Japanese
Javanese
Kannada
Kazakh
Khmer
Korean
Kurdish (Kurmanji)
Kyrgyz
Lao
Latin
Latvian
Lithuanian
Luxembourgish
Macedonian
Malagasy
Malay
Malayalam
Maltese
Maori
Marathi
Mongolian
Myanmar (Burmese)
Nepali
Norwegian
Pashto
Persian
Polish
Punjabi
Romanian
Russian
Samoan
Scots Gaelic
Serbian
Sesotho
Shona
Sindhi
Sinhala
Slovak
Slovenian
Somali
Spanish
Sundanese
Swahili
Swedish
Tajik
Tamil
Telugu
Thai
Turkish
Ukrainian
Urdu
Uzbek
Vietnamese
Welsh
Xhosa
Yiddish
Yoruba
Zulu
Odia (Oriya)
Kinyarwanda
Turkmen
Tatar
Uyghur
Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:02,000 --> 00:00:07,000
Downloaded from
YTS.MX
2
00:00:08,000 --> 00:00:13,000
Official YIFY movies site:
YTS.MX
3
00:00:58,090 --> 00:00:59,090
-Dear Orson Welles...
4
00:01:01,530 --> 00:01:04,079
Look where we are, one of the wonders of the
5
00:01:04,080 --> 00:01:05,080
world.
6
00:01:11,130 --> 00:01:12,719
With an eye like yours, you'll have noticed
7
00:01:12,720 --> 00:01:14,670
something missing in this skyline.
8
00:01:17,890 --> 00:01:19,499
The Twin Towers are no more.
9
00:01:24,980 --> 00:01:26,659
All things come to an end, don't they?
10
00:01:27,470 --> 00:01:30,030
People, buildings, cities.
11
00:01:30,970 --> 00:01:33,169
That was one of the big themes in your movies.
12
00:01:34,610 --> 00:01:36,559
You died more than 30 years ago.
13
00:01:38,120 --> 00:01:40,519
Since then, some things haven't changed.
14
00:01:42,950 --> 00:01:45,520
But quite a lot has changed since you died.
15
00:01:47,080 --> 00:01:48,939
Life has become far more visual.
16
00:01:51,940 --> 00:01:54,430
Something called the Internet has come along.
17
00:01:56,660 --> 00:01:58,759
It's hard to explain, but see those two guys at
18
00:01:58,760 --> 00:01:59,760
the bottom of this shot?
19
00:02:01,010 --> 00:02:03,709
They're using mobile phones to send
20
00:02:03,710 --> 00:02:05,810
pictures, not just words.
21
00:02:07,730 --> 00:02:10,189
Or order pizza or book a flight
22
00:02:10,850 --> 00:02:12,037
or watch 'Citizen Kane'.
23
00:02:13,580 --> 00:02:16,120
Phones are televisions and travel agents
24
00:02:16,130 --> 00:02:17,130
now.
25
00:02:18,110 --> 00:02:20,300
The Internet is like black magic.
26
00:02:21,950 --> 00:02:24,289
The addict in you, the adrenaline junkie would
27
00:02:24,290 --> 00:02:25,290
love it.
28
00:02:26,450 --> 00:02:28,069
What you would have done with the Internet.
29
00:02:30,190 --> 00:02:32,199
There've been other big changes since you died.
30
00:02:33,160 --> 00:02:35,109
We've had an African-American president in the
31
00:02:35,110 --> 00:02:36,110
Oval Office.
32
00:02:37,020 --> 00:02:39,580
Oh, and a guy who thinks he's Charles Foster Kane.
33
00:02:43,450 --> 00:02:45,709
The world has become more Wellesian, Orson.
34
00:02:46,760 --> 00:02:49,030
The despots that you were fascinated by
35
00:02:49,360 --> 00:02:50,439
are gaining ground.
36
00:02:51,400 --> 00:02:52,870
Things seem exaggerated.
37
00:02:55,160 --> 00:02:56,212
But what is Wellesian?
38
00:02:58,570 --> 00:02:59,570
Who were you?
39
00:03:03,840 --> 00:03:06,241
When I told a waitress recently that I was making
40
00:03:06,440 --> 00:03:08,253
a film about you, she said, "Oh, that
41
00:03:09,110 --> 00:03:10,116
big creepy actor?
42
00:03:10,490 --> 00:03:11,599
He gave me the willies."
43
00:03:13,070 --> 00:03:14,942
You did act the creeps, didn't you?
44
00:03:15,830 --> 00:03:16,830
And bullies.
45
00:03:17,930 --> 00:03:20,037
In 'The Third Man', the camera wooshed into
46
00:03:20,710 --> 00:03:23,709
Harry Lime, your most famous character,
47
00:03:24,580 --> 00:03:26,950
a monster, a smirker,
48
00:03:27,850 --> 00:03:28,850
in the limelight.
49
00:03:32,260 --> 00:03:34,059
So the waitress was partly right.
50
00:03:35,830 --> 00:03:37,179
Can we look at you anew, Orson?
51
00:03:38,750 --> 00:03:40,354
Can we tell your story anew?
52
00:03:41,770 --> 00:03:42,770
Can we?
53
00:03:47,560 --> 00:03:49,373
I went to this secure storage unit in
54
00:03:50,110 --> 00:03:51,110
New York.
55
00:03:54,940 --> 00:03:56,319
And found this box.
56
00:04:00,550 --> 00:04:01,719
What's in the box?
57
00:04:02,890 --> 00:04:04,316
An aspect of you, Orson?
58
00:04:06,740 --> 00:04:09,439
You left no autobiography, but you left
59
00:04:09,500 --> 00:04:10,610
something else.
60
00:04:12,420 --> 00:04:13,830
I took the box in a taxi.
61
00:04:14,640 --> 00:04:16,159
That's me, 40 years after I saw
62
00:04:17,220 --> 00:04:19,829
your film 'Touch of Evil' on TV as a boy.
63
00:04:21,240 --> 00:04:23,442
I didn't understand it, but I swooned.
64
00:04:25,160 --> 00:04:26,510
I felt the woosh of love.
65
00:04:27,410 --> 00:04:29,870
You threw a rope to me when I watched it, Orson.
66
00:04:31,520 --> 00:04:33,717
When I'm nervous now anywhere in the world,
67
00:04:34,400 --> 00:04:36,460
I hum the tune that plays on 'Touch of Evil''s
68
00:04:36,830 --> 00:04:37,830
pianola.
69
00:04:38,480 --> 00:04:40,809
It's a sultry lullaby of sorts.
70
00:04:51,890 --> 00:04:54,590
I took the box in a plane and now
71
00:04:54,620 --> 00:04:55,729
it's in my flat.
72
00:04:56,800 --> 00:04:57,856
What's in the box, Orson?
73
00:04:59,260 --> 00:05:02,680
Not words or films but drawings.
74
00:05:03,490 --> 00:05:05,420
Many have never been seen before.
75
00:05:06,770 --> 00:05:07,770
What's in the box, Orson?
76
00:05:09,420 --> 00:05:10,440
Visual thinking.
77
00:05:11,720 --> 00:05:12,720
What's in the box, Orson?
78
00:05:13,710 --> 00:05:15,799
A sketchbook of your life.
79
00:05:18,950 --> 00:05:21,302
Look how freely your quill moves across the page
80
00:05:21,500 --> 00:05:23,300
of this BBC TV documentary.
81
00:05:23,750 --> 00:05:25,073
Scratch and scribble, lines
82
00:05:26,540 --> 00:05:28,849
faster than you could think, for the back of the
83
00:05:28,850 --> 00:05:29,899
head and the lapel.
84
00:05:33,500 --> 00:05:35,600
Then more careful for the nose.
85
00:05:36,580 --> 00:05:38,130
You were obsessed by noses.
86
00:05:39,530 --> 00:05:41,196
Old-school technique, dipping into
87
00:05:42,170 --> 00:05:43,170
an inkwell.
88
00:05:45,680 --> 00:05:47,599
Where would you start the story of your drawing
89
00:05:47,600 --> 00:05:48,600
life, Orson?
90
00:05:50,710 --> 00:05:53,439
You said that at nine, "I'd started to paint.
91
00:05:53,740 --> 00:05:55,919
That's what I loved the most always."
92
00:05:56,980 --> 00:05:59,589
And then later, "I'd never been
93
00:05:59,590 --> 00:06:02,199
excited by movies as movies as the way
94
00:06:02,290 --> 00:06:05,020
I've been excited by magic or bullfighting
95
00:06:05,470 --> 00:06:06,789
or painting."
96
00:06:10,280 --> 00:06:12,379
Your guardian, Dr. Ben Stein, encouraged you to
97
00:06:12,380 --> 00:06:14,560
study art in the Windy City.
98
00:06:15,790 --> 00:06:17,379
What a transit lounge.
99
00:06:18,610 --> 00:06:19,839
Was it a visual treat?
100
00:06:37,330 --> 00:06:39,269
Did it affect your looking life?
101
00:06:41,750 --> 00:06:44,420
You could look at Chicago Square on like this.
102
00:06:45,530 --> 00:06:48,560
But surely the city of the first great skyscrapers
103
00:06:48,950 --> 00:06:50,300
made you look upwards.
104
00:06:57,880 --> 00:07:00,379
And you became the greatest ever filmmaker of
105
00:07:00,380 --> 00:07:01,459
looking upwards.
106
00:07:04,420 --> 00:07:05,620
Whether it's by craning.
107
00:07:09,330 --> 00:07:11,459
Oh, I'm shooting below people's feet.
108
00:07:12,330 --> 00:07:15,129
I've got this waiting for 20000
109
00:07:15,170 --> 00:07:17,310
tons of marble to suggest power.
110
00:07:19,760 --> 00:07:22,600
You wouldn't have to request to miniaturised
111
00:07:22,650 --> 00:07:23,650
a character.
112
00:07:24,140 --> 00:07:25,239
Not so loud.
113
00:07:25,430 --> 00:07:27,169
You want to bring all the officials down on this.
114
00:07:27,760 --> 00:07:28,760
Ask who you are.
115
00:07:31,880 --> 00:07:34,429
You lived here and had a drawing studio
116
00:07:34,430 --> 00:07:35,569
here in Rush Street.
117
00:07:36,880 --> 00:07:38,869
It was just big enough for your band and a large
118
00:07:38,870 --> 00:07:39,870
drawing board.
119
00:07:40,850 --> 00:07:43,759
Your teacher said that you did dozens of sketches
120
00:07:43,760 --> 00:07:46,220
here, but three, most of them away.
121
00:07:47,870 --> 00:07:50,569
But you studied drawing here, didn't you?
122
00:07:51,050 --> 00:07:53,000
The Art Institute of Chicago
123
00:07:53,920 --> 00:07:55,099
in your early teens.
124
00:07:56,540 --> 00:07:59,239
Do you remember as a boy sitting on the tail
125
00:07:59,240 --> 00:08:00,649
of its famous lions?
126
00:08:03,030 --> 00:08:04,030
And inside.
127
00:08:04,380 --> 00:08:05,380
What did you see?
128
00:08:10,500 --> 00:08:11,500
Europe.
129
00:08:14,890 --> 00:08:15,890
Myths.
130
00:08:16,820 --> 00:08:17,820
Bodies.
131
00:08:20,730 --> 00:08:21,730
Selfhood.
132
00:08:26,010 --> 00:08:27,810
Pointers to your future.
133
00:08:29,720 --> 00:08:32,000
Translucent ceilings lit from above.
134
00:08:32,600 --> 00:08:34,669
A technique used in the trial
135
00:08:36,240 --> 00:08:38,690
could be similar to the right.
136
00:08:39,880 --> 00:08:41,500
Where are you? I need Mr. BLOCK.
137
00:08:41,700 --> 00:08:42,700
You are high here.
138
00:08:43,419 --> 00:08:46,009
And citizen, can you talk about the
139
00:08:46,010 --> 00:08:47,989
people as though you own them?
140
00:08:49,210 --> 00:08:51,709
Years later, if you knew someone who was going
141
00:08:51,710 --> 00:08:54,259
to the Art Institute, he told them to go
142
00:08:54,260 --> 00:08:56,299
and see these miniature rims.
143
00:08:57,510 --> 00:08:59,789
Did there look there wideness
144
00:09:00,180 --> 00:09:02,729
influence any of the visuals in your films,
145
00:09:02,740 --> 00:09:03,879
the train of voicing of.
146
00:09:04,860 --> 00:09:05,860
I think.
147
00:09:18,150 --> 00:09:20,789
If you could be here now, your eyes would be
148
00:09:20,790 --> 00:09:21,929
ducting. Awesomer.
149
00:09:22,900 --> 00:09:24,999
Chicago's got new ways of seeing.
150
00:09:35,610 --> 00:09:38,070
So you're drawing and painting life had begun.
151
00:09:39,720 --> 00:09:41,909
It continued for 60 years.
152
00:09:42,630 --> 00:09:43,799
You drew everywhere.
153
00:09:43,800 --> 00:09:45,613
You went to there at least a thousand
154
00:09:46,860 --> 00:09:47,860
of your artworks.
155
00:09:48,600 --> 00:09:49,600
Where are they now?
156
00:09:51,730 --> 00:09:54,399
Many are in Michigan, in Ann
157
00:09:54,400 --> 00:09:57,100
Arbor, which was named after its trees.
158
00:10:02,050 --> 00:10:04,599
Here in the University of Michigan's archive,
159
00:10:05,770 --> 00:10:06,940
they have your relics.
160
00:10:16,520 --> 00:10:17,990
Your beloved knows Putti.
161
00:10:21,360 --> 00:10:24,200
Kuchu war as Rochester in Jane Eyre.
162
00:10:25,350 --> 00:10:28,169
Letters from you and to you.
163
00:10:28,890 --> 00:10:30,389
This one's from Vivien Lee.
164
00:10:38,010 --> 00:10:40,620
And then there are your drawings themselves.
165
00:10:54,420 --> 00:10:57,240
Another place where I find your artworks was here.
166
00:10:58,080 --> 00:10:59,340
Can you guess where I am?
167
00:11:02,080 --> 00:11:03,110
And who lives here?
168
00:11:04,210 --> 00:11:05,350
Brace yourself. Awesome.
169
00:11:06,190 --> 00:11:08,649
It's Beatrice, your third daughter.
170
00:11:09,950 --> 00:11:12,499
She's in her 60s now, which is still
171
00:11:12,500 --> 00:11:15,049
a rocker chick and sometimes
172
00:11:15,050 --> 00:11:16,340
drives with no hands.
173
00:11:28,890 --> 00:11:30,329
So what am I doing? First getting these are
174
00:11:30,330 --> 00:11:32,682
though, all of those should be his paintings, if
175
00:11:32,860 --> 00:11:33,860
I remember. Right.
176
00:11:34,000 --> 00:11:35,610
That is gorgeous. That is not.
177
00:11:35,790 --> 00:11:37,960
Well, it does. I see that fabulous.
178
00:11:38,150 --> 00:11:39,150
A Christmas card.
179
00:11:40,990 --> 00:11:42,190
It was a Christmas card.
180
00:11:42,580 --> 00:11:44,529
That's sort of what I saw this morning when I got
181
00:11:44,530 --> 00:11:46,840
up. That's right. I called it Broadway Blues.
182
00:11:46,940 --> 00:11:47,940
Mm hmm.
183
00:11:48,520 --> 00:11:50,789
And that, you know about a
184
00:11:51,060 --> 00:11:52,060
producer saying so.
185
00:11:52,390 --> 00:11:54,880
Sorry, Mr. Wells, we have got around to
186
00:11:55,300 --> 00:11:56,440
reading. Yes.
187
00:11:56,660 --> 00:11:57,660
Yes.
188
00:11:58,030 --> 00:12:00,370
He's saying, hey, but my players are.
189
00:12:00,440 --> 00:12:01,450
Yes, exactly that.
190
00:12:02,140 --> 00:12:04,779
That's him. And where did the money go to?
191
00:12:04,830 --> 00:12:07,179
You see, it's just it's my life and my father.
192
00:12:07,360 --> 00:12:08,634
Some sign he put here some
193
00:12:10,090 --> 00:12:11,169
Broadway blues.
194
00:12:11,920 --> 00:12:13,989
This is in Munich. This is when he was traveling
195
00:12:13,990 --> 00:12:15,459
with his father around the world.
196
00:12:15,490 --> 00:12:16,929
This is before he got to Ireland was.
197
00:12:16,930 --> 00:12:19,380
No. Oh, yes. This is probably when he was about, I
198
00:12:19,450 --> 00:12:20,450
think, 12.
199
00:12:21,850 --> 00:12:23,620
And that's in Munich.
200
00:12:23,890 --> 00:12:26,759
And then here he's an idealist
201
00:12:26,770 --> 00:12:27,770
family. This.
202
00:12:29,090 --> 00:12:31,099
So he'd been to Shanghai at this point they so
203
00:12:31,100 --> 00:12:32,539
hence this particular one.
204
00:12:33,050 --> 00:12:35,690
And then these look like German Karaca
205
00:12:35,700 --> 00:12:37,820
Chinese weighted to Germany, obviously
206
00:12:38,270 --> 00:12:39,829
a drawing of you painting Austen.
207
00:12:40,640 --> 00:12:42,970
Look how many kisses you put on this letter.
208
00:12:58,870 --> 00:13:01,124
And I just had a look at this picture and then
209
00:13:01,400 --> 00:13:03,969
I remembered that this was the day that
210
00:13:05,180 --> 00:13:07,490
the painting he drew when they threw him out of
211
00:13:07,750 --> 00:13:10,339
the window, when I
212
00:13:10,340 --> 00:13:11,480
said, you can't come back.
213
00:13:11,540 --> 00:13:14,059
You can't touch your movie, which is this
214
00:13:14,060 --> 00:13:15,060
one. Yeah.
215
00:13:15,230 --> 00:13:16,790
And as you can see, the anger in it.
216
00:13:16,820 --> 00:13:18,049
I mean, you can just.
217
00:13:19,880 --> 00:13:20,880
Thank you.
218
00:13:34,460 --> 00:13:36,409
You took a line for a walk.
219
00:13:39,160 --> 00:13:41,679
Portraits, sketches and letters.
220
00:13:42,250 --> 00:13:44,590
Costume designs, stage layouts.
221
00:13:45,650 --> 00:13:48,019
Backdrop plans, Christmas cards,
222
00:13:48,680 --> 00:13:51,049
pictures of your loves and travels.
223
00:13:52,120 --> 00:13:53,860
You drew compulsively.
224
00:13:54,460 --> 00:13:55,960
A lifetime of lines.
225
00:13:58,090 --> 00:14:00,299
Were you in the zone when you drew awesome like
226
00:14:00,300 --> 00:14:01,779
sports people are in the zone.
227
00:14:02,680 --> 00:14:05,240
Do your sketches Shusha on conscious?
228
00:14:14,590 --> 00:14:17,559
Can we glimpse in them the story of your life?
229
00:14:17,980 --> 00:14:20,380
It's politics, love and power.
230
00:14:35,420 --> 00:14:36,759
Ordinary people. Awesome.
231
00:14:37,730 --> 00:14:39,259
The 20th century was theirs.
232
00:14:40,010 --> 00:14:41,870
Many got to vote for the first time.
233
00:14:42,860 --> 00:14:44,440
Old elites lost power.
234
00:14:48,300 --> 00:14:50,850
Was they extraordinary wells, very
235
00:14:50,900 --> 00:14:51,900
ordinary?
236
00:14:52,850 --> 00:14:54,799
Did you know many working class people?
237
00:14:57,720 --> 00:14:59,429
My own allegiance
238
00:15:00,270 --> 00:15:03,019
is stronger to the idea of citizenship
239
00:15:03,030 --> 00:15:05,879
than my own loyalty is greater the idea
240
00:15:05,880 --> 00:15:08,429
of myself as a member of the human family
241
00:15:08,850 --> 00:15:10,320
than it is to a as a member of
242
00:15:11,370 --> 00:15:12,370
any profession.
243
00:15:12,840 --> 00:15:15,690
I don't take art as seriously as politics.
244
00:15:16,710 --> 00:15:18,980
The hotel now he's in Paris, 1960,
245
00:15:20,020 --> 00:15:21,099
a TV interview.
246
00:15:22,100 --> 00:15:23,940
How solid you are in the frame
247
00:15:25,050 --> 00:15:27,929
and then your laugh and that trademark cigar.
248
00:15:30,350 --> 00:15:33,320
But where did your belief in citizenship start?
249
00:15:35,460 --> 00:15:37,230
With your mother, Beatrice.
250
00:15:38,280 --> 00:15:40,739
She co-founded the Women's Alliance
251
00:15:40,830 --> 00:15:42,330
to help Chicago's poor,
252
00:15:43,430 --> 00:15:46,169
her activism was inspired by this Unitarian
253
00:15:46,170 --> 00:15:48,960
Church, which was open to all races
254
00:15:48,990 --> 00:15:49,990
and classes.
255
00:15:51,270 --> 00:15:53,249
The Women's Alliance hosted speeches on the
256
00:15:53,250 --> 00:15:55,159
persecution of Jews in Russia.
257
00:15:57,680 --> 00:15:59,569
Your mother was the first woman in your hometown
258
00:15:59,570 --> 00:16:02,359
of Kenosha ever to be elected to public
259
00:16:02,360 --> 00:16:03,360
office.
260
00:16:05,010 --> 00:16:06,780
She had a community tree planted.
261
00:16:08,760 --> 00:16:11,399
I think it's this one to raise
262
00:16:11,400 --> 00:16:13,360
money so that every Canosa child between
263
00:16:14,070 --> 00:16:16,860
2 and 14 would receive
264
00:16:16,920 --> 00:16:18,049
a Christmas gift.
265
00:16:19,430 --> 00:16:21,949
One of the reasons you painted and drew Christmas
266
00:16:21,950 --> 00:16:25,220
trees so often awesome in impasto,
267
00:16:27,380 --> 00:16:29,240
snow, white paint and black card.
268
00:16:30,740 --> 00:16:33,249
A black line helix daubed with green and
269
00:16:33,250 --> 00:16:35,919
red, a gothic black
270
00:16:35,920 --> 00:16:37,359
ink tree in the sunshine.
271
00:16:39,100 --> 00:16:41,589
An eight second test of pine
272
00:16:42,910 --> 00:16:44,860
agrees a tree encased
273
00:16:46,720 --> 00:16:49,239
magenta and sage, a
274
00:16:49,240 --> 00:16:51,429
pine branch and ink and brush wash.
275
00:16:54,340 --> 00:16:57,299
Helix and White tonight were just two hieroglyph.
276
00:16:59,920 --> 00:17:02,059
All distant reminders of your mother, perhaps.
277
00:17:02,900 --> 00:17:04,430
What a woman she was.
278
00:17:05,359 --> 00:17:06,739
This film should be about her.
279
00:17:08,579 --> 00:17:11,439
She laid the foundation of your political beliefs,
280
00:17:12,200 --> 00:17:13,829
but she died when you were just nine.
281
00:17:16,960 --> 00:17:19,309
And then the Wall Street crash came.
282
00:17:21,640 --> 00:17:24,579
The depression brought new realism in American
283
00:17:24,700 --> 00:17:27,249
art, but something more personal happened
284
00:17:27,250 --> 00:17:28,916
to you. Orson, that further shaped
285
00:17:30,010 --> 00:17:31,010
your politics.
286
00:17:34,030 --> 00:17:35,030
Took a boat.
287
00:17:35,190 --> 00:17:37,839
The S.S. Baltic to Ireland
288
00:17:38,950 --> 00:17:40,749
explicitly to draw and paint.
289
00:17:45,430 --> 00:17:48,059
We can feel your 16 year old eyes darting about
290
00:17:48,070 --> 00:17:49,200
on the Baltic. Awesome.
291
00:17:49,900 --> 00:17:52,239
There are four liquor's alone in this small
292
00:17:52,240 --> 00:17:53,950
section of one of your drawings.
293
00:17:55,090 --> 00:17:58,019
They're befuddled. Suspicious or glowing?
294
00:18:01,700 --> 00:18:04,489
What you saw on the boat was people,
295
00:18:05,240 --> 00:18:07,759
real people like you'd seldom
296
00:18:07,760 --> 00:18:08,760
seen before.
297
00:18:14,360 --> 00:18:16,810
What about this woman's twisty jaw line and pursed
298
00:18:16,940 --> 00:18:17,940
lips?
299
00:18:19,920 --> 00:18:22,460
And these two profiles that
300
00:18:22,480 --> 00:18:23,650
they know you were drawing them.
301
00:18:27,330 --> 00:18:28,680
Did this guy.
302
00:18:30,950 --> 00:18:33,920
Your background was privileged, but on the Baltic,
303
00:18:34,430 --> 00:18:37,009
you met migrants and really looked at
304
00:18:37,010 --> 00:18:38,010
them.
305
00:18:38,270 --> 00:18:41,299
You later became fascinated by aging, sagging
306
00:18:41,300 --> 00:18:42,300
faces.
307
00:18:43,200 --> 00:18:45,219
It's just 23 in the play.
308
00:18:45,240 --> 00:18:46,259
Heartbreak House.
309
00:18:47,070 --> 00:18:49,259
You were like the man you drew on the Baltic.
310
00:18:51,210 --> 00:18:53,070
Were you in a hurry to get old Dawson
311
00:18:53,820 --> 00:18:56,369
youth or you or
312
00:18:56,370 --> 00:18:59,099
maybe in the months and Ireland, your youth
313
00:18:59,160 --> 00:19:00,160
ended and
314
00:19:01,680 --> 00:19:03,809
then you set foot on Ireland?
315
00:19:06,090 --> 00:19:07,560
You wrote Our very landing was
316
00:19:08,640 --> 00:19:09,640
dramatic.
317
00:19:11,260 --> 00:19:13,479
Men and women good on their knees, weeping for
318
00:19:13,480 --> 00:19:14,480
joy.
319
00:19:14,890 --> 00:19:17,769
It's almost beyond belief that two days
320
00:19:17,770 --> 00:19:20,499
journeying from the world's greatest metropolis
321
00:19:21,010 --> 00:19:23,680
brings one to a land where an intelligent
322
00:19:23,950 --> 00:19:26,589
and aristocratic people lives in
323
00:19:26,680 --> 00:19:28,329
archaic simplicity.
324
00:19:31,260 --> 00:19:33,510
Intelligent, aristocratic,
325
00:19:33,960 --> 00:19:35,283
archaic, the words you used
326
00:19:36,570 --> 00:19:38,040
about the Irish were rich.
327
00:19:38,100 --> 00:19:41,039
Indeed, you wrote in 16
328
00:19:41,040 --> 00:19:43,349
short years of living, nothing
329
00:19:43,590 --> 00:19:46,079
comparable with Galway in the west of Ireland
330
00:19:46,320 --> 00:19:49,769
has loomed so unexpectedly or breathtakingly
331
00:19:50,190 --> 00:19:51,270
on my horizon.
332
00:19:54,040 --> 00:19:56,560
You bought a donkey, she dog and cart
333
00:19:56,620 --> 00:19:57,620
and roughed it.
334
00:19:59,750 --> 00:20:02,180
You wrote, I curled up under the cart
335
00:20:02,420 --> 00:20:03,420
and fell asleep.
336
00:20:05,360 --> 00:20:07,700
There were nights too spent in cottages,
337
00:20:07,940 --> 00:20:10,790
weeks, weddings and match makings.
338
00:20:46,320 --> 00:20:48,839
My week with the band of gypsies, my
339
00:20:48,840 --> 00:20:51,690
mountain climbs, my night
340
00:20:51,780 --> 00:20:52,780
in the quagmire,
341
00:20:55,170 --> 00:20:57,650
you really encountered the old world.
342
00:20:59,700 --> 00:21:02,489
You spoke of these people who produced
343
00:21:02,520 --> 00:21:05,489
and flourished in Teuton Common's time.
344
00:21:08,170 --> 00:21:10,326
You painted hundreds of landscapes here, but
345
00:21:10,450 --> 00:21:11,450
destroyed them.
346
00:21:14,070 --> 00:21:16,660
It was the people and faces that you preferred.
347
00:21:22,200 --> 00:21:24,990
He went to the Ahran Islands and came across
348
00:21:25,090 --> 00:21:27,599
a visual world as exciting as
349
00:21:27,600 --> 00:21:28,600
Chicago.
350
00:21:48,290 --> 00:21:50,450
It's here that the documentaries Robert Flaherty
351
00:21:50,900 --> 00:21:52,762
had made this film, which he'd started
352
00:21:53,420 --> 00:21:55,369
shooting in the same year that you were there.
353
00:21:57,800 --> 00:22:00,109
His eyes scanned between faces to
354
00:22:00,770 --> 00:22:02,269
the camera, pans between them.
355
00:22:06,380 --> 00:22:08,779
Your mother had taken you to see his early film,
356
00:22:08,780 --> 00:22:11,209
Nanook of the North, and you loved it.
357
00:22:13,190 --> 00:22:15,589
Now you were in the world of his movies.
358
00:22:20,580 --> 00:22:21,580
More profiles,
359
00:22:23,160 --> 00:22:24,930
pencil and then ink wash.
360
00:22:25,860 --> 00:22:27,210
Same for Mr Costello.
361
00:22:27,440 --> 00:22:28,560
A Gallaway shopkeeper.
362
00:22:31,490 --> 00:22:33,640
This man has sold himself to the black one.
363
00:22:33,740 --> 00:22:34,740
Your note says.
364
00:22:36,000 --> 00:22:38,249
And so you have devils and wanking around the edge
365
00:22:38,250 --> 00:22:39,250
of the page
366
00:22:41,120 --> 00:22:43,829
and ski slope noses, your most
367
00:22:43,860 --> 00:22:45,780
geometric Irish sketches.
368
00:22:46,650 --> 00:22:48,510
It's like you're using a protractor.
369
00:22:50,740 --> 00:22:52,029
And then you work for Dublin.
370
00:22:58,220 --> 00:23:01,019
Were you famously blagged your way into the Gate
371
00:23:01,030 --> 00:23:02,030
Theater?
372
00:23:03,230 --> 00:23:06,259
You claim to be famous and then in Ireland
373
00:23:06,320 --> 00:23:07,320
became so.
374
00:23:09,300 --> 00:23:11,439
You drew makeup sketches for the performance at
375
00:23:11,440 --> 00:23:13,509
the gate that made headlines.
376
00:23:13,940 --> 00:23:15,070
Carl Alexander.
377
00:23:17,220 --> 00:23:20,420
But again, your eyes darted to new types of faces
378
00:23:22,030 --> 00:23:23,460
in the three on the right.
379
00:23:23,490 --> 00:23:25,109
Your hand was getting freer.
380
00:23:26,070 --> 00:23:28,800
Looking at Irish people was training you to look
381
00:23:29,460 --> 00:23:30,460
to draw.
382
00:23:32,880 --> 00:23:34,259
Talk about taking a line for.
383
00:23:41,570 --> 00:23:44,189
So to your mother's politics and Harlins
384
00:23:44,580 --> 00:23:46,736
now let's add a third encounter with working
385
00:23:47,130 --> 00:23:48,130
people.
386
00:23:50,710 --> 00:23:52,999
Two years after Ireland, you went here.
387
00:23:53,590 --> 00:23:54,590
Morocco.
388
00:23:57,670 --> 00:23:59,679
Another new visual world for you.
389
00:24:14,030 --> 00:24:15,349
A faster place with it.
390
00:24:17,110 --> 00:24:19,413
New polls in your Irish drawings is confidently
391
00:24:19,940 --> 00:24:20,940
done.
392
00:24:21,200 --> 00:24:23,989
Is this guys on the left, his left elbow
393
00:24:23,990 --> 00:24:25,040
and has raised knee.
394
00:24:26,980 --> 00:24:29,559
Less than a dozen pencil lines give us
395
00:24:29,560 --> 00:24:30,800
the shape of his body.
396
00:24:30,850 --> 00:24:31,850
Hundreds, his Juba.
397
00:24:33,240 --> 00:24:35,789
This is better still the diagonal of the
398
00:24:35,790 --> 00:24:38,160
long pipe of the big guy on the left
399
00:24:38,660 --> 00:24:41,279
set the line for the shadows on his face.
400
00:24:41,700 --> 00:24:43,023
JButton legs on the wall on
401
00:24:44,220 --> 00:24:45,220
the left.
402
00:24:47,320 --> 00:24:49,599
You were seeing real people better than ever.
403
00:24:49,630 --> 00:24:50,630
Awesome.
404
00:24:54,570 --> 00:24:56,640
And these three women thing
405
00:24:58,330 --> 00:25:00,759
from left to right, a dark face,
406
00:25:01,030 --> 00:25:02,260
what looks like glasses.
407
00:25:02,710 --> 00:25:05,410
And then that beautiful single eye.
408
00:25:18,080 --> 00:25:20,839
And a drawing like this is echoed 22
409
00:25:20,850 --> 00:25:21,850
years later.
410
00:25:22,140 --> 00:25:24,869
In a moment like this in your film, Mr. Arkadin.
411
00:25:28,240 --> 00:25:30,641
You walked towards us and then one of your frames
412
00:25:31,180 --> 00:25:32,349
within frames.
413
00:25:37,010 --> 00:25:39,770
Also, in the summer of 1933, you went here,
414
00:25:40,310 --> 00:25:43,130
Spain, to the gypsy quarter of Seville.
415
00:25:45,490 --> 00:25:46,690
Working people again,
416
00:25:48,700 --> 00:25:51,210
traditional culture, again, the
417
00:25:51,220 --> 00:25:54,099
non Anglo world, the non Protestant
418
00:25:54,100 --> 00:25:55,619
world, Catholics and Arabs were
419
00:25:56,680 --> 00:25:58,579
more expressive than Protestants.
420
00:25:59,110 --> 00:26:01,839
More visual in the beginning was not
421
00:26:01,990 --> 00:26:02,990
the word.
422
00:26:03,850 --> 00:26:05,680
Your life experience was broadening.
423
00:26:16,770 --> 00:26:19,680
And also in 1933, of course, Hitler
424
00:26:19,740 --> 00:26:21,455
became chancellor of Germany, Italy
425
00:26:22,650 --> 00:26:24,180
was a police state. By then.
426
00:26:26,360 --> 00:26:29,279
Then a year you were in New York doing radio
427
00:26:29,670 --> 00:26:30,846
upon medium intimate and
428
00:26:32,190 --> 00:26:34,769
personal dictators and
429
00:26:34,770 --> 00:26:36,770
Democrats were devoted to it.
430
00:26:38,770 --> 00:26:40,769
It let you get into the minds of the people
431
00:26:41,650 --> 00:26:43,659
and let you whisper to them or boom, that
432
00:26:44,340 --> 00:26:45,959
big voice of yours.
433
00:26:46,930 --> 00:26:49,190
You wanted to be the listeners, Grio, a
434
00:26:49,480 --> 00:26:52,450
conciliatory, their consciousness raiser.
435
00:26:55,020 --> 00:26:57,769
And so you acted as the announcer in a radio
436
00:26:57,770 --> 00:27:00,769
play by Archibald
437
00:27:00,770 --> 00:27:01,770
MacLeish.
438
00:27:03,720 --> 00:27:06,359
It's set in a central square in a city,
439
00:27:06,900 --> 00:27:08,859
a conquerer like Hitler's coming.
440
00:27:10,060 --> 00:27:12,470
It's getting closer and clipped,
441
00:27:12,570 --> 00:27:14,759
English accented voice of the announcer
442
00:27:15,150 --> 00:27:17,040
describing what he sees.
443
00:27:17,590 --> 00:27:19,249
It's coming clear.
444
00:27:19,380 --> 00:27:21,869
The shadow of the sun takes him.
445
00:27:22,500 --> 00:27:24,239
They cover their faces with fingers they color
446
00:27:24,240 --> 00:27:26,040
before they fall this fall on the stone.
447
00:27:26,310 --> 00:27:27,339
He's a long ways walking.
448
00:27:27,780 --> 00:27:29,489
He marches with rattle of metal.
449
00:27:29,800 --> 00:27:31,199
He tremble at the shadow.
450
00:27:31,760 --> 00:27:34,320
He mounts, but the filament stamps on the stairway
451
00:27:35,050 --> 00:27:36,050
turns.
452
00:27:36,540 --> 00:27:37,540
His arm rises.
453
00:27:38,410 --> 00:27:39,589
These guys is opening.
454
00:27:41,760 --> 00:27:42,760
There's no one.
455
00:27:44,040 --> 00:27:45,040
There's no one at all.
456
00:27:46,890 --> 00:27:47,890
No one.
457
00:27:48,720 --> 00:27:49,949
The helmet is hollow.
458
00:27:51,180 --> 00:27:53,220
The metal is empty. The armor is empty.
459
00:27:53,370 --> 00:27:54,680
I tell you, there's no one at all there.
460
00:27:55,770 --> 00:27:57,970
The people invent their oppressors.
461
00:27:59,070 --> 00:28:00,510
They wish to believe in them.
462
00:28:01,710 --> 00:28:03,750
They wish to be free of their freedom.
463
00:28:04,430 --> 00:28:07,319
Look, this is rising.
464
00:28:07,810 --> 00:28:10,469
It arms rising, watching his arm
465
00:28:10,470 --> 00:28:11,470
as it rises.
466
00:28:14,400 --> 00:28:15,400
Shouting
467
00:28:19,010 --> 00:28:20,010
like.
468
00:28:43,160 --> 00:28:45,210
This is a calling.
469
00:28:57,690 --> 00:28:59,700
Fascism as a beast
470
00:29:00,480 --> 00:29:02,460
in Ireland, joujou mostly faces
471
00:29:03,210 --> 00:29:05,730
quite a few of your later paintings and drawings
472
00:29:06,050 --> 00:29:07,050
are faceless.
473
00:29:07,530 --> 00:29:09,530
Like the conqueror was faceless.
474
00:29:09,620 --> 00:29:10,620
Awesome.
475
00:29:16,350 --> 00:29:18,506
And in films, you usually tried to hide your
476
00:29:18,960 --> 00:29:21,719
face under whiskers, a false nose
477
00:29:21,990 --> 00:29:23,089
or thick makeup.
478
00:29:25,140 --> 00:29:27,549
And look awesome at how your wife, Paola,
479
00:29:27,730 --> 00:29:29,520
Beatrice's mother, painted you.
480
00:29:33,820 --> 00:29:35,469
We'll come to your love life later.
481
00:29:35,830 --> 00:29:37,270
But you can't wait for that.
482
00:29:40,740 --> 00:29:43,440
If your mom ceded your political life awesome
483
00:29:43,870 --> 00:29:45,720
on your trips abroad, people it.
484
00:29:46,770 --> 00:29:49,099
The rise of fascism made it ramrod.
485
00:29:50,040 --> 00:29:52,559
So you came here to Harlem and
486
00:29:52,560 --> 00:29:53,560
New York.
487
00:29:54,960 --> 00:29:56,549
The year was 1936.
488
00:29:57,090 --> 00:29:59,219
Your progressive politics were taking on a new
489
00:29:59,220 --> 00:30:00,220
dimension.
490
00:30:00,810 --> 00:30:02,279
The Depression had led the U.S.
491
00:30:02,280 --> 00:30:04,560
government to launch the previous year
492
00:30:04,980 --> 00:30:06,744
a nationwide theater project to give
493
00:30:07,650 --> 00:30:09,806
jobs to unemployed theater and entertainment
494
00:30:10,230 --> 00:30:11,230
workers.
495
00:30:12,930 --> 00:30:14,792
This woman, Holly Flanagan, as much of
496
00:30:15,450 --> 00:30:17,940
an activist as your mother made it happen.
497
00:30:18,840 --> 00:30:19,950
Did she remind you of her?
498
00:30:23,660 --> 00:30:25,699
The Harlem Renaissance had been a big story in the
499
00:30:25,700 --> 00:30:28,519
1920s, but a decade later,
500
00:30:28,870 --> 00:30:30,389
80 percent of Harlemites had no
501
00:30:31,400 --> 00:30:32,400
work.
502
00:30:33,200 --> 00:30:35,420
And you and your team decided to make an
503
00:30:35,450 --> 00:30:38,119
African-American theater production of
504
00:30:38,120 --> 00:30:39,650
Shakespeare's Macbeth.
505
00:30:40,460 --> 00:30:42,559
You were fascinated by Macbeth.
506
00:30:43,540 --> 00:30:46,030
You built a plasticine model of the stage,
507
00:30:46,390 --> 00:30:49,299
a stylized jungle Berkoff was painted.
508
00:30:51,580 --> 00:30:53,920
Production was conceived visually as
509
00:30:54,190 --> 00:30:57,190
a series of pictures and chromatic ascension.
510
00:30:59,600 --> 00:31:00,839
The setting would be Haiti,
511
00:31:02,820 --> 00:31:04,169
the witches would be voodoo.
512
00:31:06,200 --> 00:31:08,980
Ten thousand people showed up at the opening
513
00:31:10,410 --> 00:31:11,410
searchlights.
514
00:31:11,770 --> 00:31:12,770
Roads were blocked.
515
00:31:14,170 --> 00:31:16,839
The excitement of something new, a new
516
00:31:16,840 --> 00:31:19,269
way of seeing and being seen.
517
00:31:20,870 --> 00:31:23,989
Black intellectuals in ermine and jewels.
518
00:31:26,870 --> 00:31:29,150
Inside, what were they about to see,
519
00:31:29,930 --> 00:31:30,950
their own people?
520
00:31:31,170 --> 00:31:32,170
Plasticizers.
521
00:31:37,550 --> 00:31:38,930
At the center of culture
522
00:31:41,490 --> 00:31:42,490
and claim.
523
00:31:51,730 --> 00:31:54,749
Want to see the Lafayette 9 Orson 80 summers
524
00:31:54,750 --> 00:31:55,829
after your triumph?
525
00:31:58,290 --> 00:31:59,290
You sure?
526
00:31:59,760 --> 00:32:01,260
Okay, look.
527
00:32:07,920 --> 00:32:08,920
It's no more.
528
00:32:09,180 --> 00:32:10,859
It's apartments instead.
529
00:32:14,540 --> 00:32:17,309
100000 people saw your voodoo
530
00:32:17,310 --> 00:32:18,310
Macbeth.
531
00:32:19,750 --> 00:32:22,450
The company and the crew of one hundred and ten
532
00:32:22,610 --> 00:32:25,180
African-Americans went on tour with it
533
00:32:25,630 --> 00:32:26,630
around the country.
534
00:32:30,480 --> 00:32:33,209
The wind of change blew through the 1930s,
535
00:32:33,530 --> 00:32:34,829
your 1930s.
536
00:32:36,090 --> 00:32:38,040
The decade when you were in your 20s,
537
00:32:39,000 --> 00:32:40,230
your activism grew.
538
00:32:42,210 --> 00:32:44,250
Since we're talking about social justice,
539
00:32:44,820 --> 00:32:47,123
I bet you're expecting me to mention The Cradle
540
00:32:47,310 --> 00:32:49,829
Will Rock, the most famous left
541
00:32:49,830 --> 00:32:51,496
wing theater story of the time you
542
00:32:52,380 --> 00:32:53,380
directed it.
543
00:32:53,490 --> 00:32:55,559
But the federal theater projects, government
544
00:32:55,560 --> 00:32:56,560
sponsors are there.
545
00:32:56,640 --> 00:32:58,650
Guards padlock the theater.
546
00:33:00,760 --> 00:33:02,659
Are you getting goose bumps thinking about it
547
00:33:02,660 --> 00:33:03,859
after all these years?
548
00:33:04,920 --> 00:33:05,920
What did you do?
549
00:33:06,570 --> 00:33:07,959
Locked out of your own theater?
550
00:33:08,340 --> 00:33:10,890
You and your team had the audience
551
00:33:10,950 --> 00:33:11,950
march way uptown to
552
00:33:13,470 --> 00:33:14,719
an empty theater.
553
00:33:17,140 --> 00:33:19,210
Your fancy sets were left behind.
554
00:33:20,650 --> 00:33:23,019
Union rules meant that your actors couldn't
555
00:33:23,020 --> 00:33:24,909
perform on the new stage.
556
00:33:26,130 --> 00:33:28,384
So all that could happen was that the composer
557
00:33:28,650 --> 00:33:31,439
Mark Bloodstone could sit at a piano
558
00:33:31,530 --> 00:33:33,196
on the empty stage and do the show
559
00:33:34,410 --> 00:33:35,410
alone.
560
00:33:36,220 --> 00:33:37,479
Well, guess what?
561
00:33:37,550 --> 00:33:40,089
Awesome, they've made a film of it.
562
00:33:42,560 --> 00:33:44,275
Cooks up and blitzed and on his own
563
00:33:45,140 --> 00:33:46,140
and nervous.
564
00:33:47,260 --> 00:33:48,260
I
565
00:33:50,990 --> 00:33:51,990
lie.
566
00:33:53,020 --> 00:33:55,839
But then famously, your actors
567
00:33:55,840 --> 00:33:58,689
stood up in the stalls and joined
568
00:33:58,690 --> 00:33:59,690
in.
569
00:34:08,570 --> 00:34:09,570
Spotlight.
570
00:34:18,080 --> 00:34:20,089
And then a crane shot to help the spirits
571
00:34:20,620 --> 00:34:21,620
soar.
572
00:34:26,520 --> 00:34:28,190
Just search
573
00:34:29,860 --> 00:34:30,860
history.
574
00:34:33,600 --> 00:34:35,280
Talk about people's theater.
575
00:34:37,449 --> 00:34:39,250
And in the same year as this.
576
00:34:39,550 --> 00:34:41,859
What a 1937 you had
577
00:34:42,239 --> 00:34:45,280
you major anti-fascism more explicit.
578
00:34:45,670 --> 00:34:47,800
You ripped into another Shakespeare play,
579
00:34:48,280 --> 00:34:50,499
the one that stimulated your visual imagination
580
00:34:50,500 --> 00:34:53,349
most and your political imagination
581
00:34:53,350 --> 00:34:55,809
to Julius Caesar
582
00:34:56,800 --> 00:34:59,349
as a teenager. You do Mark Anthony speech to
583
00:34:59,350 --> 00:35:00,760
the people like this.
584
00:35:01,000 --> 00:35:02,679
He casts a vast shadow
585
00:35:03,580 --> 00:35:05,785
already. You are thinking of Julius Caesar in
586
00:35:06,010 --> 00:35:07,010
terms of lighting.
587
00:35:08,620 --> 00:35:10,689
And look what I found in the box or some
588
00:35:11,410 --> 00:35:13,510
drawings from about 1950.
589
00:35:14,850 --> 00:35:17,130
You were planning a film of Julius Caesar.
590
00:35:19,030 --> 00:35:21,539
You imagine a camera above a light,
591
00:35:22,240 --> 00:35:23,979
a pink and black sky.
592
00:35:24,390 --> 00:35:27,119
Maybe the stormy night in Rome after the plot
593
00:35:27,150 --> 00:35:29,159
to kill Caesar is hatched.
594
00:35:30,260 --> 00:35:32,980
And Luke, you planned to shoot it in Rome's
595
00:35:33,030 --> 00:35:34,030
EU are.
596
00:35:36,150 --> 00:35:38,600
The Chile monumental district built by Mussolini's
597
00:35:39,120 --> 00:35:40,120
fascists.
598
00:35:43,540 --> 00:35:46,089
You saw Caesar as an ancient Mussolini, didn't
599
00:35:46,090 --> 00:35:47,090
you?
600
00:35:48,380 --> 00:35:50,780
And the ancient crowd didn't resist.
601
00:35:51,200 --> 00:35:53,739
They didn't resist the Conqueror MacLeish's
602
00:35:53,770 --> 00:35:54,770
play.
603
00:35:56,270 --> 00:35:58,519
You wanted to use a hanging miniature in front of
604
00:35:58,520 --> 00:35:59,520
the camera.
605
00:35:59,750 --> 00:36:01,360
An old Hollywood technique.
606
00:36:07,730 --> 00:36:10,969
You thought of the capital as a kind of beehive,
607
00:36:12,870 --> 00:36:15,469
but back in 1937, your
608
00:36:15,470 --> 00:36:17,540
visual ideas were even bolder.
609
00:36:18,790 --> 00:36:21,610
It seen images of the Nazi Nuremberg rallies.
610
00:36:22,690 --> 00:36:25,359
The vertical torch lights made columns
611
00:36:25,420 --> 00:36:26,560
like a Roman temple.
612
00:36:27,710 --> 00:36:29,510
So you hide your stage production.
613
00:36:29,930 --> 00:36:30,930
Look the same.
614
00:36:31,100 --> 00:36:32,300
And guess what? Awesome.
615
00:36:34,310 --> 00:36:36,920
They re-created your production in the film,
616
00:36:37,040 --> 00:36:38,510
me and Orson Welles.
617
00:36:40,220 --> 00:36:42,829
Square on shocked that graphic white
618
00:36:42,830 --> 00:36:45,230
lighting camera glides in
619
00:36:45,500 --> 00:36:47,300
as the audience gets engrossed.
620
00:36:54,210 --> 00:36:56,719
Case, but every noise we
621
00:36:56,730 --> 00:36:57,730
still.
622
00:36:58,340 --> 00:37:00,709
And all this before Hitler invaded Poland.
623
00:37:05,070 --> 00:37:06,719
We've come a long way from your mother's
624
00:37:06,720 --> 00:37:08,360
Unitarian, good deeds.
625
00:37:09,850 --> 00:37:12,639
But the story of your social ideas isn't over yet.
626
00:37:13,090 --> 00:37:14,090
Far from it.
627
00:37:14,890 --> 00:37:17,559
You were only 22 when you did Cesar on
628
00:37:17,560 --> 00:37:19,719
the stage after radio
629
00:37:20,170 --> 00:37:23,110
and theater. You found a new medium of the people
630
00:37:23,920 --> 00:37:24,920
movies.
631
00:37:25,420 --> 00:37:27,690
Your first feature, of course, was 'Citizen Kane'.
632
00:37:28,510 --> 00:37:30,372
It changed cinema and is known for its
633
00:37:31,000 --> 00:37:33,879
expressionism and critique of vainglory.
634
00:37:36,200 --> 00:37:38,809
But it's most touching moment is related to
635
00:37:38,810 --> 00:37:41,360
your mother's ideas or your time
636
00:37:41,420 --> 00:37:42,420
in Ireland.
637
00:37:42,590 --> 00:37:44,089
Why did you try laughing at me again?
638
00:37:44,390 --> 00:37:46,999
Charles Foster Kane is in the rented room of
639
00:37:47,000 --> 00:37:49,880
a working class woman, Susan Alexander,
640
00:37:50,500 --> 00:37:52,509
who offered him a place to clean up after
641
00:37:53,030 --> 00:37:55,340
he got covered in mud by a passing car.
642
00:37:55,560 --> 00:37:57,079
I'm wiggling both my ears.
643
00:37:57,230 --> 00:37:59,480
Same time I'm at the top right here.
644
00:37:59,600 --> 00:38:01,707
Photos of a woman who looks a bit like your
645
00:38:01,850 --> 00:38:02,850
mother.
646
00:38:05,070 --> 00:38:07,709
It took me two solid years and the best boy school
647
00:38:07,710 --> 00:38:09,959
in the world to learn that trick fellow taught it
648
00:38:09,960 --> 00:38:11,760
to me. Now the president of Venezuela.
649
00:38:19,570 --> 00:38:21,070
They play a kid's shadow game.
650
00:38:21,880 --> 00:38:24,099
He's famous, but she doesn't know it.
651
00:38:25,300 --> 00:38:27,520
She's probably one of the most ordinary people
652
00:38:28,120 --> 00:38:29,380
he's met in his life.
653
00:38:31,510 --> 00:38:34,210
The camera drifts in the look of love.
654
00:38:34,240 --> 00:38:36,849
Perhaps some of the softest
655
00:38:36,850 --> 00:38:39,579
lighting in the film, your small
656
00:38:39,580 --> 00:38:42,789
tribute to a powerless but sincere
657
00:38:42,850 --> 00:38:45,550
woman. I guess you got onto that.
658
00:38:46,180 --> 00:38:48,760
You know, it turned out a virgin in
659
00:38:50,350 --> 00:38:52,569
Hollywood was more interested in glamorous people
660
00:38:52,570 --> 00:38:53,710
in the 1940s.
661
00:38:54,010 --> 00:38:56,929
But you spoke highly of this unpolished
662
00:38:57,090 --> 00:38:58,090
B-movie.
663
00:38:59,070 --> 00:39:01,569
A scene like this must have caught
664
00:39:01,570 --> 00:39:02,570
your eye.
665
00:39:02,800 --> 00:39:04,179
A white couples in Harlem.
666
00:39:04,720 --> 00:39:07,570
Well, you did your Macbeth and they go into a bar.
667
00:39:08,860 --> 00:39:10,389
No fancy lighting here.
668
00:39:11,020 --> 00:39:13,869
No wells and angles, but a social
669
00:39:13,870 --> 00:39:17,139
setting. Not often seen in escapist
670
00:39:17,470 --> 00:39:18,470
Hollywood cinema.
671
00:39:24,290 --> 00:39:26,691
In its old tree, the film that you shot in Brazil
672
00:39:27,040 --> 00:39:29,829
in the early 1940s but didn't complete.
673
00:39:30,220 --> 00:39:32,819
There's a similar sincerity and
674
00:39:32,920 --> 00:39:34,900
fame that I'm talking about now,
675
00:39:35,950 --> 00:39:37,570
famous in five different
676
00:39:38,560 --> 00:39:40,059
different sound of the world.
677
00:39:41,530 --> 00:39:43,920
They might be different colors
678
00:39:44,600 --> 00:39:47,289
at different churches, but the same
679
00:39:47,290 --> 00:39:50,079
fate, different like over the same hangover,
680
00:39:50,320 --> 00:39:52,309
different joke with the same laugh, the different
681
00:39:54,490 --> 00:39:55,490
humanity.
682
00:39:56,810 --> 00:39:59,369
Thank God for the different because it's out of
683
00:39:59,370 --> 00:40:01,320
those differences, the culture grows
684
00:40:02,010 --> 00:40:04,079
and grows big in all directions.
685
00:40:05,950 --> 00:40:08,169
It's like a Soviet film by Eisenstein.
686
00:40:09,040 --> 00:40:11,950
Brilliant close-ups of On Hollywood's Faces.
687
00:40:12,710 --> 00:40:15,369
And this same track is one of your radio
688
00:40:15,370 --> 00:40:16,370
broadcasts.
689
00:40:16,820 --> 00:40:18,340
But safe in Central America.
690
00:40:19,960 --> 00:40:22,599
Argentina, thank God for Walt Disney
691
00:40:23,190 --> 00:40:25,959
and Captain Grant or fellow Carmen
692
00:40:25,960 --> 00:40:28,630
Miranda. Thank God for Chavez, Villalobos
693
00:40:28,640 --> 00:40:31,619
and a thousand unknown troubadours who improvise
694
00:40:31,660 --> 00:40:34,120
the people song. Thank God for Mark Twain
695
00:40:34,480 --> 00:40:37,119
and Mickey Rooney and all the others
696
00:40:37,990 --> 00:40:38,990
living there.
697
00:40:43,980 --> 00:40:46,460
And look, awesome, low angle, a
698
00:40:46,540 --> 00:40:47,540
girl crying.
699
00:40:47,820 --> 00:40:50,499
And is that your hand reaching up to console
700
00:40:50,500 --> 00:40:51,500
her?
701
00:40:58,170 --> 00:41:00,989
In 1947, Joseph McCarthy was elected
702
00:41:00,990 --> 00:41:04,170
senator in your home state, Wisconsin.
703
00:41:05,610 --> 00:41:07,290
You made political speeches, no.
704
00:41:08,880 --> 00:41:11,579
One said, in this shrinking world,
705
00:41:11,700 --> 00:41:14,340
adult education must first enlist
706
00:41:14,430 --> 00:41:16,530
in the war against provincialism.
707
00:41:18,200 --> 00:41:20,013
Educators are sworn to the tremendous
708
00:41:20,750 --> 00:41:23,449
task of telling people about
709
00:41:23,480 --> 00:41:24,480
each other.
710
00:41:27,400 --> 00:41:29,115
You received hate mail, hundreds of
711
00:41:29,920 --> 00:41:30,920
letters.
712
00:41:31,360 --> 00:41:34,179
One asked if you would allow your daughters
713
00:41:34,180 --> 00:41:35,709
to be touched by Negroes.
714
00:41:36,860 --> 00:41:39,163
Another said, if you and the other Jews of your
715
00:41:39,500 --> 00:41:41,313
class and the Negroes want us to love
716
00:41:42,050 --> 00:41:44,389
you, why not better yourself?
717
00:41:47,580 --> 00:41:50,010
J. Edgar Hoover had your name
718
00:41:50,190 --> 00:41:52,230
added to the security register.
719
00:41:53,870 --> 00:41:55,130
Were you scared? Awesome.
720
00:41:56,120 --> 00:41:58,069
If so, you didn't show it,
721
00:41:58,700 --> 00:42:01,150
especially in the case of the African-American
722
00:42:01,310 --> 00:42:03,560
soldier, Isaac Woodard.
723
00:42:04,190 --> 00:42:05,239
Here's your drawing of him.
724
00:42:09,260 --> 00:42:12,349
In your BBC TV show, Orson Welles Sketchbook.
725
00:42:12,950 --> 00:42:15,650
He told his Story Square on Wall Street,
726
00:42:15,660 --> 00:42:18,679
the camera underplaying your rage
727
00:42:18,860 --> 00:42:21,420
was on a bus and the way fell ill.
728
00:42:23,160 --> 00:42:24,949
He asked the bus driver to let him off.
729
00:42:25,490 --> 00:42:26,750
Bus driver refused.
730
00:42:27,020 --> 00:42:29,239
UCLA was an argument.
731
00:42:30,600 --> 00:42:32,710
The end of which a policeman was called in to drag
732
00:42:32,750 --> 00:42:34,579
the boy out of the bus, took him behind a building
733
00:42:34,580 --> 00:42:35,599
and beat him viciously.
734
00:42:36,920 --> 00:42:39,530
And while he was unconscious, poor Jen over him,
735
00:42:40,880 --> 00:42:43,539
put him in jail, charged he was drunkenness
736
00:42:43,540 --> 00:42:44,540
and assault.
737
00:42:47,390 --> 00:42:49,759
When the boy regained consciousness, he discovered
738
00:42:49,760 --> 00:42:50,760
that he was blind.
739
00:42:51,860 --> 00:42:54,139
The policeman had literally beaten out his eyes.
740
00:42:56,850 --> 00:42:58,410
A terrible crime in itself.
741
00:42:58,710 --> 00:43:01,559
But the fact that Woodard ended up blind
742
00:43:01,890 --> 00:43:03,959
seemed to dig deep into you.
743
00:43:04,230 --> 00:43:05,639
Such a visual person.
744
00:43:08,980 --> 00:43:10,401
And so on radio, you tried to
745
00:43:11,530 --> 00:43:12,951
hunt down the cop who blinded
746
00:43:14,320 --> 00:43:15,320
him.
747
00:43:17,690 --> 00:43:19,389
The policeman's name wasn't known.
748
00:43:19,650 --> 00:43:21,809
So you called him Officer X?
749
00:43:22,940 --> 00:43:25,520
You said that he brought the justice of how and
750
00:43:25,670 --> 00:43:26,989
Fitz to America.
751
00:43:29,470 --> 00:43:31,750
You went on Officer X,
752
00:43:32,110 --> 00:43:33,159
I'm talking to you.
753
00:43:33,820 --> 00:43:36,699
Where stands the sum of common fellowship?
754
00:43:37,420 --> 00:43:39,489
When will it rise in your dark country?
755
00:43:40,620 --> 00:43:43,139
I must know Officer X, because I
756
00:43:43,140 --> 00:43:45,510
must know where the rest of us are going
757
00:43:45,810 --> 00:43:47,940
in our American experiment.
758
00:43:50,570 --> 00:43:51,629
You continued awesome.
759
00:43:52,610 --> 00:43:55,579
We will blast at your name Officer X..
760
00:43:56,240 --> 00:43:59,570
I will find means to remove from you all refuge
761
00:43:59,870 --> 00:44:00,889
Officer X.
762
00:44:01,580 --> 00:44:02,929
You can't get rid of me.
763
00:44:04,020 --> 00:44:06,176
God judge me if this isn't the most pressing
764
00:44:06,840 --> 00:44:08,249
business I have.
765
00:44:08,580 --> 00:44:11,100
The blind soldier fought for me during the war.
766
00:44:11,880 --> 00:44:12,930
I have eyes.
767
00:44:13,050 --> 00:44:14,050
He hasn't.
768
00:44:14,490 --> 00:44:16,360
I have a voice on radio.
769
00:44:22,200 --> 00:44:24,389
Awesome, the research carried out by you and your
770
00:44:24,390 --> 00:44:27,030
associates did help find the officer.
771
00:44:27,810 --> 00:44:30,679
He was chief of police Linwood Linear Schull.
772
00:44:31,500 --> 00:44:34,079
He was tried, found not guilty
773
00:44:34,530 --> 00:44:36,119
and returned to his job.
774
00:44:40,230 --> 00:44:42,869
Years later, again, in your sketchbook program,
775
00:44:43,230 --> 00:44:45,539
you drew out the lesson of the without incident.
776
00:44:46,160 --> 00:44:47,369
Why should I speed it up?
777
00:44:47,550 --> 00:44:50,489
I are leaning forward into the lens,
778
00:44:50,730 --> 00:44:52,320
into your passionate theme.
779
00:44:53,520 --> 00:44:55,889
I'm willing to admit that policeman has a
780
00:44:55,890 --> 00:44:57,419
difficult job, very hard job,
781
00:44:58,830 --> 00:45:00,829
but it's the essence of our society that the
782
00:45:00,840 --> 00:45:02,460
policeman's job should be hard.
783
00:45:03,330 --> 00:45:05,939
He's there to protect, protect the
784
00:45:05,940 --> 00:45:07,900
free citizen, not to chase criminals.
785
00:45:07,920 --> 00:45:09,389
That's an incidental part of his job.
786
00:45:11,130 --> 00:45:13,289
Free citizen is always more of a nuisance to the
787
00:45:13,290 --> 00:45:15,719
policeman than the criminal knows what to do about
788
00:45:15,720 --> 00:45:16,720
the criminal.
789
00:45:18,270 --> 00:45:20,219
I know it's very nice to look out of our window in
790
00:45:20,220 --> 00:45:21,920
our comfortable home and see the policemen that
791
00:45:21,930 --> 00:45:23,010
protecting our home.
792
00:45:23,030 --> 00:45:24,689
We should be grateful for the policeman, but I
793
00:45:24,690 --> 00:45:27,269
think we should be grateful, too, for the
794
00:45:27,270 --> 00:45:28,691
laws which protect us against
795
00:45:30,060 --> 00:45:31,060
the policemen.
796
00:45:33,900 --> 00:45:35,010
Which brings us to here.
797
00:45:35,040 --> 00:45:37,800
Awesome. And another story about the law.
798
00:45:39,180 --> 00:45:40,469
You recognize this place?
799
00:45:41,190 --> 00:45:42,719
One of your favorite cities.
800
00:45:43,230 --> 00:45:44,340
The City of Light.
801
00:45:45,390 --> 00:45:46,440
He drew and painted it.
802
00:45:51,800 --> 00:45:54,589
You've seen the Eiffel Tower 100 times, of course.
803
00:45:55,160 --> 00:45:58,460
But when you see this from the year 2000.
804
00:45:58,670 --> 00:46:01,340
It has sparkled.
805
00:46:04,100 --> 00:46:06,256
We're here. Awesome to end the story of your
806
00:46:06,590 --> 00:46:07,760
political evolution.
807
00:46:10,010 --> 00:46:13,039
You made a film loosely here, the trial
808
00:46:13,190 --> 00:46:14,389
and the novel by Kafka.
809
00:46:15,550 --> 00:46:17,199
In the box, I find this.
810
00:46:19,120 --> 00:46:21,039
I think it's one of your early drawings for the
811
00:46:21,040 --> 00:46:22,040
film.
812
00:46:22,910 --> 00:46:25,669
Joseph Kay, who's accused of an unspecified
813
00:46:25,670 --> 00:46:28,579
crime in the middle, casting a shadow.
814
00:46:30,470 --> 00:46:33,099
On either side are the two agents who arrest
815
00:46:33,100 --> 00:46:34,570
him on his 30th birthday.
816
00:46:36,010 --> 00:46:38,510
In the novel case helped by a painter.
817
00:46:38,590 --> 00:46:40,090
Hence the paintings on the wall.
818
00:46:40,300 --> 00:46:41,300
Is that right?
819
00:46:43,460 --> 00:46:45,420
And above highlight exactly like the one
820
00:46:45,960 --> 00:46:48,179
you sketched for your abandoned film of Julius
821
00:46:48,180 --> 00:46:49,180
Caesar.
822
00:46:50,810 --> 00:46:52,519
You have such lights in the trial.
823
00:46:52,920 --> 00:46:54,739
They're totalitarian for you
824
00:46:56,980 --> 00:46:57,980
or them.
825
00:46:59,180 --> 00:47:01,630
I can't expect you to know where the interrogation
826
00:47:01,820 --> 00:47:02,820
commission is sitting.
827
00:47:02,960 --> 00:47:03,960
That's right. I don't.
828
00:47:07,190 --> 00:47:09,679
But then in Paris, you decided to film
829
00:47:09,710 --> 00:47:11,300
in the abandoned garden or say.
830
00:47:18,340 --> 00:47:20,859
Low angle, plunging perspective
831
00:47:21,500 --> 00:47:22,960
and your drawing comes to life
832
00:47:25,020 --> 00:47:27,610
and one of your screenshots, arrays
833
00:47:27,790 --> 00:47:29,349
like an airplane taking off.
834
00:47:38,190 --> 00:47:40,139
The drawing has that facelessness again.
835
00:47:43,520 --> 00:47:45,630
The trial is about facelessness.
836
00:47:46,770 --> 00:47:49,650
The law has no name Officer
837
00:47:49,680 --> 00:47:50,680
X.
838
00:47:53,400 --> 00:47:54,900
Go ahead with your work. My boy.
839
00:47:57,720 --> 00:48:00,269
The trial was your portrait of the 20th century.
840
00:48:00,900 --> 00:48:03,469
It's deskbound armies of salarymen.
841
00:48:05,220 --> 00:48:06,599
You can't see him now.
842
00:48:06,970 --> 00:48:09,690
He was a René Magritte painting in which the law
843
00:48:10,620 --> 00:48:13,349
played by you is faceless at times.
844
00:48:14,530 --> 00:48:17,620
Any mummified and steaming
845
00:48:17,640 --> 00:48:18,719
like a racehorse.
846
00:48:20,020 --> 00:48:22,500
And you famously changed the ending of the novel
847
00:48:23,520 --> 00:48:26,549
Kafka Joseph K lead the henchman
848
00:48:26,580 --> 00:48:28,199
to the place of his execution.
849
00:48:28,440 --> 00:48:29,550
He acquiesces.
850
00:48:39,940 --> 00:48:42,100
Anthony Perkins whispers at first.
851
00:48:48,270 --> 00:48:50,829
And then yells the yell of the century.
852
00:48:51,250 --> 00:48:52,830
Yeah, yeah.
853
00:48:53,560 --> 00:48:54,800
Oh, yeah.
854
00:48:57,680 --> 00:48:58,680
Yeah.
855
00:48:59,190 --> 00:49:00,910
You have to kill me
856
00:49:03,700 --> 00:49:05,800
a salary man in the final solution.
857
00:49:08,790 --> 00:49:10,358
He was a pawn in the game of the
858
00:49:11,320 --> 00:49:12,320
century.
859
00:49:17,020 --> 00:49:19,869
In this on edited hand-held shot, which captures
860
00:49:19,870 --> 00:49:22,749
the atmosphere of a Q&A after a screening
861
00:49:22,750 --> 00:49:25,959
of the trial, you explain your change.
862
00:49:26,260 --> 00:49:27,550
What are the changes you made?
863
00:49:27,700 --> 00:49:30,399
The story was at the very at the very end when
864
00:49:30,910 --> 00:49:32,140
Joseph is killed.
865
00:49:32,200 --> 00:49:34,749
He's killed in a very
866
00:49:34,750 --> 00:49:37,090
alarmingly different way than in the book.
867
00:49:37,180 --> 00:49:39,969
And I was really curious as to
868
00:49:40,480 --> 00:49:42,339
why you changed both the way he was killed and the
869
00:49:42,340 --> 00:49:44,619
way he was acting when he died because the book
870
00:49:44,620 --> 00:49:46,469
was written before the Holocaust.
871
00:49:53,100 --> 00:49:56,210
And I couldn't bear the defeat
872
00:49:56,300 --> 00:49:58,969
of Kay in the book after
873
00:49:58,970 --> 00:49:59,989
the Holocaust.
874
00:50:01,120 --> 00:50:02,394
I'm not Jewish, but we are
875
00:50:03,670 --> 00:50:05,670
all Jewish. Since the Holocaust.
876
00:50:08,100 --> 00:50:10,650
And I couldn't bear for him to submit
877
00:50:10,770 --> 00:50:13,469
to death, as he does
878
00:50:13,600 --> 00:50:16,319
in Kafka Masochistic, fully
879
00:50:17,520 --> 00:50:20,369
submit to death that it it stank
880
00:50:20,370 --> 00:50:22,739
of the old brow Prague ghetto to me.
881
00:50:30,740 --> 00:50:33,169
Your politics had come a long way from Kenosha
882
00:50:33,320 --> 00:50:35,119
and the community tree of your mother.
883
00:50:36,080 --> 00:50:38,138
You'd traveled the world, fallen for Irish
884
00:50:38,690 --> 00:50:41,269
Islanders and Moroccan merchants and
885
00:50:41,270 --> 00:50:42,979
been outraged by racism.
886
00:50:45,010 --> 00:50:46,600
It felt at home in Harlem.
887
00:50:46,930 --> 00:50:48,547
Become an idealist and used three
888
00:50:49,510 --> 00:50:52,119
art forms radio, theater
889
00:50:52,210 --> 00:50:53,925
and film to dramatize and visualize
890
00:50:55,150 --> 00:50:56,150
your ideas.
891
00:50:58,920 --> 00:51:01,809
But the Europe you so admired disgraced itself
892
00:51:01,900 --> 00:51:03,670
in the 1930s and 40s.
893
00:51:05,010 --> 00:51:07,599
And it's hard not to see that disgrace in
894
00:51:07,600 --> 00:51:08,890
some of your drawings.
895
00:51:17,560 --> 00:51:20,320
Even in a scribble on a menu in Rio de Janeiro.
896
00:51:23,820 --> 00:51:26,489
What political smoke signals use and
897
00:51:27,210 --> 00:51:28,890
what a trail you left.
898
00:51:30,480 --> 00:51:32,499
We've tried to follow that trail horse and
899
00:51:33,720 --> 00:51:34,889
see where it leads.
900
00:51:36,390 --> 00:51:38,459
Eight years after you died, there was a movie
901
00:51:38,460 --> 00:51:41,039
called Groundhog Day in which the same
902
00:51:41,100 --> 00:51:43,770
elements were relived over and over.
903
00:51:45,000 --> 00:51:47,279
It's sometimes good to rewind the clock, isn't it?
904
00:51:49,990 --> 00:51:52,360
It's good to look at our life again
905
00:51:52,810 --> 00:51:54,639
through another lens.
906
00:52:09,560 --> 00:52:11,420
What's the story of your love life?
907
00:52:11,530 --> 00:52:12,530
Awesome.
908
00:52:14,480 --> 00:52:16,779
You'd probably prefer me to talk about politics
909
00:52:16,780 --> 00:52:18,949
and love, but you're not here to stop me.
910
00:52:20,270 --> 00:52:22,159
You traveled the world and fell in love
911
00:52:22,240 --> 00:52:23,240
everywhere.
912
00:52:24,350 --> 00:52:26,929
What and who and how did you love?
913
00:52:28,940 --> 00:52:30,590
I think there are five answers.
914
00:52:31,310 --> 00:52:34,010
You loved places he loved visually.
915
00:52:34,640 --> 00:52:36,260
You believed in the chivalry.
916
00:52:36,380 --> 00:52:38,959
Love does if it was
917
00:52:38,960 --> 00:52:39,960
a waltz.
918
00:52:41,330 --> 00:52:44,089
You are an omnivorous lover and you felt
919
00:52:44,090 --> 00:52:46,190
the guilt and end of love.
920
00:52:51,520 --> 00:52:53,410
Let's start with your love of places
921
00:52:54,120 --> 00:52:55,799
and this place, Arizona.
922
00:52:57,100 --> 00:52:59,709
When you lived here, you didn't go for walks, but
923
00:52:59,710 --> 00:53:01,750
you seem to have loved the sunshine
924
00:53:03,010 --> 00:53:05,039
crayon on watercolor paper.
925
00:53:07,560 --> 00:53:10,260
The opposite of that totalitarian spotlight.
926
00:53:16,080 --> 00:53:18,138
Chalk and paint and felt to pen to conjure
927
00:53:18,840 --> 00:53:21,030
a storm over the Red Rocks.
928
00:53:26,320 --> 00:53:28,929
The first place you loved was Grand
929
00:53:28,960 --> 00:53:31,899
Detour, Illinois, your father,
930
00:53:31,900 --> 00:53:33,370
Dick. It took you traveling on
931
00:53:34,540 --> 00:53:35,540
this hotel there.
932
00:53:38,400 --> 00:53:40,556
Dick built a ballroom on the first floor and
933
00:53:40,940 --> 00:53:43,400
you recalled sneaking up there at night
934
00:53:43,700 --> 00:53:45,679
in the moonlight and dancing
935
00:53:48,730 --> 00:53:50,809
and you had a hut across from it.
936
00:53:51,170 --> 00:53:53,869
Who's your arch to do it when you were a boy at
937
00:53:54,120 --> 00:53:56,059
it in the bottom left of this picture?
938
00:53:56,090 --> 00:53:57,090
Awesome.
939
00:53:57,530 --> 00:53:59,630
Did you know the hotel burned down?
940
00:54:01,130 --> 00:54:02,199
Look what's there now.
941
00:54:08,750 --> 00:54:10,710
He called grandaughter one of those lost
942
00:54:11,590 --> 00:54:13,599
worlds. One of those etten's
943
00:54:14,200 --> 00:54:15,610
that you get thrown out of.
944
00:54:22,530 --> 00:54:23,530
Look awesome.
945
00:54:24,140 --> 00:54:26,030
It's still a kind of Eden.
946
00:54:28,430 --> 00:54:29,480
Your first love.
947
00:54:32,040 --> 00:54:34,559
For the rest of your life, you talked about places
948
00:54:34,560 --> 00:54:36,569
of pre-industrial innocence.
949
00:54:37,200 --> 00:54:39,840
Mary Englands you often call them.
950
00:54:40,700 --> 00:54:43,770
Timeless places of joy, unspoilt
951
00:54:43,790 --> 00:54:45,559
nature and love.
952
00:54:49,840 --> 00:54:52,420
I hate to do this to yourson, but here's another
953
00:54:52,480 --> 00:54:55,030
Eden, a snowy Eden in
954
00:54:55,540 --> 00:54:57,969
'Citizen Kane' and building like the Sheffield
955
00:54:57,970 --> 00:54:58,970
Hotel.
956
00:55:03,300 --> 00:55:04,966
Be careful, Joe, blow your muffler
957
00:55:06,120 --> 00:55:07,120
around your neck.
958
00:55:07,530 --> 00:55:09,499
I think will have to tell him now.
959
00:55:10,070 --> 00:55:11,070
Yes.
960
00:55:11,910 --> 00:55:13,900
I'll sign those papers now that
961
00:55:14,880 --> 00:55:17,219
people seem to forget that I'm the boy's father.
962
00:55:17,310 --> 00:55:19,889
Parents are doing as yours did in
963
00:55:19,890 --> 00:55:21,749
the Sheffield Co..
964
00:55:22,380 --> 00:55:24,629
I don't see why we can't raise our own son just
965
00:55:24,630 --> 00:55:27,650
because of the money he met with mischance.
966
00:55:28,520 --> 00:55:31,260
Your film Chimes at Midnight was part set
967
00:55:31,320 --> 00:55:32,350
in such an Eden.
968
00:55:32,670 --> 00:55:34,050
The Boar's Head Tavern.
969
00:55:34,880 --> 00:55:37,469
You love to have actors, swell women and
970
00:55:37,470 --> 00:55:38,470
laughter.
971
00:55:38,760 --> 00:55:40,020
It was a labyrinth.
972
00:55:40,290 --> 00:55:42,989
This pleasure dome is playpen.
973
00:55:43,950 --> 00:55:46,469
And you designed and oversaw the painting of it
974
00:55:46,530 --> 00:55:47,530
yourself.
975
00:55:47,640 --> 00:55:49,306
The place from your unconscious in
976
00:55:50,190 --> 00:55:52,079
which you wake up as Falstaff.
977
00:55:54,120 --> 00:55:56,070
Here's where you shot some of the Boar's Head
978
00:55:56,100 --> 00:55:58,199
Tavern scenes in Spain.
979
00:55:58,890 --> 00:56:00,809
Another one of your beloved places.
980
00:56:08,210 --> 00:56:10,969
This guy was in the film and still lives here.
981
00:56:15,500 --> 00:56:17,090
What other places did you love?
982
00:56:18,230 --> 00:56:20,889
Three hundred and nineteen West 14th Street,
983
00:56:20,890 --> 00:56:22,948
Manhattan, where you lived with your first
984
00:56:23,500 --> 00:56:24,500
wife, Virginia.
985
00:56:25,480 --> 00:56:27,069
It's Gothic and your drawing.
986
00:56:27,940 --> 00:56:30,280
But guess what? Orson it's still here.
987
00:56:32,580 --> 00:56:35,190
You said that it had space charm,
988
00:56:35,310 --> 00:56:36,829
electric icebox, garden and all
989
00:56:37,950 --> 00:56:39,810
for fifty five dollars a month.
990
00:56:40,500 --> 00:56:42,479
Virginia's having the time of our life here.
991
00:56:43,350 --> 00:56:45,260
A real home. And all the rest of it.
992
00:56:46,630 --> 00:56:49,469
With Virginia, you had your first daughter, Chris.
993
00:56:51,550 --> 00:56:54,070
And in The Magnificent Ambersons, there's another
994
00:56:54,130 --> 00:56:56,629
Paradice Christmas
995
00:56:56,630 --> 00:56:59,260
kind of scene with bells on the same track.
996
00:57:00,530 --> 00:57:03,320
The snow was a blanket and the clarinet.
997
00:57:07,900 --> 00:57:08,900
All right.
998
00:57:09,960 --> 00:57:11,000
There already is about.
999
00:57:11,320 --> 00:57:12,770
There's no bags of other bags.
1000
00:57:13,960 --> 00:57:16,214
Only in a studio could such an idealized scene
1001
00:57:16,690 --> 00:57:17,690
be shot.
1002
00:57:18,930 --> 00:57:21,849
And that's what you used, the biggest ice box
1003
00:57:21,910 --> 00:57:22,989
in Los Angeles.
1004
00:57:24,600 --> 00:57:26,969
It was on this corner, but it's gone now.
1005
00:57:29,020 --> 00:57:30,639
This part of downtown L.A.
1006
00:57:30,820 --> 00:57:33,789
is now one of the most deprived the U.S..
1007
00:57:37,440 --> 00:57:39,300
Paradises don't last.
1008
00:57:43,490 --> 00:57:45,548
The second aspect of your love life is how
1009
00:57:46,100 --> 00:57:48,739
visual it was when
1010
00:57:48,740 --> 00:57:50,809
you were 17. You saw this film
1011
00:57:51,330 --> 00:57:53,150
2N Del Rio Swims Naked.
1012
00:57:54,230 --> 00:57:56,719
You fell in love with her visually and
1013
00:57:56,810 --> 00:57:59,450
later became her lover in real life.
1014
00:58:01,250 --> 00:58:03,340
The man in this scene is Joel McCrea.
1015
00:58:03,920 --> 00:58:05,537
But the imagery sums up your love
1016
00:58:06,530 --> 00:58:09,770
life, staring obsessive
1017
00:58:10,490 --> 00:58:13,010
love at first glance, moonlit
1018
00:58:13,070 --> 00:58:15,470
and flickering. To capture the look of love.
1019
00:58:16,250 --> 00:58:17,869
What looking feels like.
1020
00:58:24,140 --> 00:58:25,140
You and Dolores.
1021
00:58:25,760 --> 00:58:28,069
Beatrice says that she was the true love of your
1022
00:58:28,070 --> 00:58:29,070
life.
1023
00:58:31,740 --> 00:58:33,400
And the lady from Shanghai.
1024
00:58:33,500 --> 00:58:36,399
A camera glided towards another of your loves.
1025
00:58:36,630 --> 00:58:37,630
Rita Hayworth.
1026
00:58:38,280 --> 00:58:39,599
It was your eyes.
1027
00:58:41,610 --> 00:58:44,000
You saw her on the cover of Life magazine
1028
00:58:44,280 --> 00:58:46,650
and immediately pledged to marry her
1029
00:58:47,850 --> 00:58:49,260
dearest little loved one.
1030
00:58:49,290 --> 00:58:50,290
You wrote, I love
1031
00:58:51,870 --> 00:58:53,369
you more tonight than ever.
1032
00:58:54,030 --> 00:58:55,030
Really? Really.
1033
00:58:55,260 --> 00:58:56,260
Even more.
1034
00:58:59,580 --> 00:59:01,369
And how's this for the look of love?
1035
00:59:04,590 --> 00:59:07,099
You move in again, the point
1036
00:59:07,100 --> 00:59:08,100
of view of a kiss.
1037
00:59:20,330 --> 00:59:21,519
A change
1038
00:59:23,570 --> 00:59:25,939
in her skills on return of.
1039
00:59:27,760 --> 00:59:30,670
Framed on one of your famed diagnose.
1040
00:59:39,380 --> 00:59:41,319
Then you seem summoned from below.
1041
00:59:41,870 --> 00:59:43,760
Drawn by her tractor beam,
1042
00:59:46,650 --> 00:59:48,953
your makeup artist wanted to put beads of sweat
1043
00:59:49,190 --> 00:59:51,889
on her beret, but you said horses
1044
00:59:51,890 --> 00:59:54,020
sweat. Rita glows.
1045
01:00:02,090 --> 01:00:04,344
She kept her love letters, notes in her makeup
1046
01:00:04,730 --> 01:00:06,189
books for years.
1047
01:00:12,130 --> 01:00:14,139
With Rita, of course, you had your second
1048
01:00:14,140 --> 01:00:15,429
daughter, Rebecca.
1049
01:00:19,210 --> 01:00:21,189
You cast your third wife, Paola,
1050
01:00:21,880 --> 01:00:22,880
as your daughter.
1051
01:00:23,000 --> 01:00:24,559
Mr. Clinton, Morsan
1052
01:00:25,960 --> 01:00:28,900
film about a powerful man with a mysterious past.
1053
01:00:30,010 --> 01:00:32,050
I want to speak to my father.
1054
01:00:32,450 --> 01:00:34,989
Have you see? Can you give Pilar these concerned
1055
01:00:34,990 --> 01:00:35,990
close-ups?
1056
01:00:36,740 --> 01:00:39,539
She hears that her father was less than he seeming
1057
01:00:39,940 --> 01:00:41,440
away. Tell him it's too late.
1058
01:00:41,520 --> 01:00:42,520
Too late.
1059
01:00:48,640 --> 01:00:49,909
His relationship with your mother.
1060
01:00:50,510 --> 01:00:52,250
Did he hurt? Oh, he would.
1061
01:00:52,340 --> 01:00:53,870
Yes. I mean, how they met.
1062
01:00:54,260 --> 01:00:57,020
They were in Phrygian and she was walking
1063
01:00:57,080 --> 01:00:59,650
on the beach and he was with Visconti and
1064
01:00:59,660 --> 01:01:01,309
he saw and he said, I got to meet her.
1065
01:01:01,760 --> 01:01:04,189
So she was a young starlet.
1066
01:01:04,370 --> 01:01:06,829
And the next day, she got a phone call
1067
01:01:06,920 --> 01:01:09,469
and it was this Conti's assistant
1068
01:01:09,480 --> 01:01:11,783
and said, you know, Mr. Visconti would like for
1069
01:01:11,840 --> 01:01:13,010
you to do a trial.
1070
01:01:13,190 --> 01:01:14,940
And she was so excited.
1071
01:01:14,960 --> 01:01:16,989
And of course, SIPTU at rushing over there
1072
01:01:16,990 --> 01:01:18,619
earnings that she met Orson Welles.
1073
01:01:32,300 --> 01:01:35,189
In 1961, while filming the trial,
1074
01:01:35,400 --> 01:01:36,810
you met. Oh, Yaku da.
1075
01:01:38,580 --> 01:01:41,010
She became your long term lover and companion.
1076
01:01:42,320 --> 01:01:44,909
Look how you introduced her in a Hefe for fake
1077
01:01:47,790 --> 01:01:50,710
glimpsed, glanced at gold
1078
01:01:51,270 --> 01:01:54,209
long lens, the center of a network
1079
01:01:54,210 --> 01:01:55,290
of men's looks.
1080
01:02:02,390 --> 01:02:03,390
An eye opener.
1081
01:02:04,220 --> 01:02:06,469
No scene in your film is more about looking
1082
01:02:06,800 --> 01:02:08,749
in splinters and seductions.
1083
01:02:09,750 --> 01:02:11,790
The look of love as a mosaic.
1084
01:02:16,600 --> 01:02:18,609
So you loved places, Orson, and you loved
1085
01:02:18,980 --> 01:02:19,980
visually.
1086
01:02:21,120 --> 01:02:23,699
The third aspect of your love life
1087
01:02:24,060 --> 01:02:26,490
is its attraction to chivalry.
1088
01:02:35,380 --> 01:02:37,389
The millennium old idea of the chivalrous
1089
01:02:37,920 --> 01:02:40,320
knight in love is so archaic,
1090
01:02:41,080 --> 01:02:42,469
so like a faded pencil.
1091
01:02:46,890 --> 01:02:49,390
Lantle, look, I'm gonna be a Syrian led
1092
01:02:49,400 --> 01:02:51,060
to the Middle Ages.
1093
01:02:52,310 --> 01:02:54,719
But more than most artists of the 20th century
1094
01:02:54,950 --> 01:02:57,329
have filled in the line drawings.
1095
01:03:02,850 --> 01:03:05,390
You believed in these samurai, these
1096
01:03:05,400 --> 01:03:07,900
courtiers who behaved with honor.
1097
01:03:08,790 --> 01:03:11,559
By the rules of love and courtship from the era
1098
01:03:11,560 --> 01:03:14,199
of the Magna Carta, the myths held
1099
01:03:14,200 --> 01:03:15,559
true for centuries.
1100
01:03:16,420 --> 01:03:18,674
One of the best interviews you give to Bernard
1101
01:03:18,760 --> 01:03:21,380
Levin was not only takes this further, you're
1102
01:03:21,430 --> 01:03:23,739
leaning forward again on the subject
1103
01:03:24,000 --> 01:03:25,719
and in profile at first.
1104
01:03:26,030 --> 01:03:28,300
And I'm rather fond of chivalry and honor.
1105
01:03:29,130 --> 01:03:30,859
And I I
1106
01:03:31,980 --> 01:03:34,030
to use it to the hackneyed
1107
01:03:34,710 --> 01:03:37,400
drugstore psychiatry word.
1108
01:03:37,410 --> 01:03:40,239
I identify with Quixote to the extent
1109
01:03:40,360 --> 01:03:43,360
that I am interested in outmoded virtues,
1110
01:03:46,070 --> 01:03:48,129
the virtues of chivalry and yes, on
1111
01:03:48,580 --> 01:03:50,969
personal honor and courage and things like that.
1112
01:03:51,160 --> 01:03:52,749
Well, you're clearly a romantic.
1113
01:03:52,780 --> 01:03:53,849
Whatever else you want.
1114
01:03:54,020 --> 01:03:56,460
As much as it is, I think it
1115
01:03:56,550 --> 01:03:58,804
is. Aren't you a romantic in a very unromantic
1116
01:03:59,110 --> 01:04:00,550
time, you guess?
1117
01:04:00,650 --> 01:04:01,989
Do you feel out of your time?
1118
01:04:02,680 --> 01:04:05,032
Oh, yes, but I don't think every self-respecting
1119
01:04:05,530 --> 01:04:06,530
artist talked to.
1120
01:04:08,470 --> 01:04:10,869
Which brings us awesome to the most out of time
1121
01:04:10,870 --> 01:04:13,599
night in your art, an absurd
1122
01:04:13,630 --> 01:04:16,239
but glorious man who rails against
1123
01:04:16,330 --> 01:04:18,437
everything and doesn't seem to realize that
1124
01:04:18,580 --> 01:04:20,589
chivalry is long dead.
1125
01:04:23,170 --> 01:04:25,179
He was one of your obsessions, this man.
1126
01:04:26,760 --> 01:04:28,469
He made what you called a home movie.
1127
01:04:28,600 --> 01:04:31,469
But Don Quixote and his sidekick, Squire
1128
01:04:31,530 --> 01:04:33,588
Central Panter, others will cheer you from
1129
01:04:34,110 --> 01:04:35,110
the window.
1130
01:04:35,490 --> 01:04:37,450
You filmed the dawn against the sky, his
1131
01:04:38,070 --> 01:04:39,269
head in the clouds
1132
01:04:40,700 --> 01:04:42,010
giving up the princess.
1133
01:04:42,640 --> 01:04:44,420
But you are
1134
01:04:45,430 --> 01:04:48,090
not only a bit.
1135
01:04:48,180 --> 01:04:50,309
And here's a woman which tells us something about
1136
01:04:50,310 --> 01:04:52,719
the dawn and the love he
1137
01:04:52,860 --> 01:04:54,410
thinks the woman gets.
1138
01:04:54,570 --> 01:04:56,520
Paola has been kidnaped
1139
01:04:57,090 --> 01:04:58,090
by the vestberg.
1140
01:04:58,820 --> 01:05:00,270
Who? This lunatic.
1141
01:05:00,520 --> 01:05:02,110
Don't get updated. I'm on shock.
1142
01:05:02,250 --> 01:05:03,389
Knight errant than ever.
1143
01:05:03,390 --> 01:05:05,369
The gallant knight. He wants to rescue her.
1144
01:05:06,030 --> 01:05:07,620
This isn't your editing, of course.
1145
01:05:07,870 --> 01:05:09,030
You never finished the film.
1146
01:05:09,750 --> 01:05:12,239
But does the moment capture some of the energy you
1147
01:05:12,240 --> 01:05:14,039
wanted? The absurdity,
1148
01:05:15,030 --> 01:05:17,579
but also Don's desire to
1149
01:05:17,580 --> 01:05:18,810
do the right thing.
1150
01:05:19,690 --> 01:05:20,699
You treat your liver.
1151
01:05:21,530 --> 01:05:23,520
That's not a promise you'll go to.
1152
01:05:24,420 --> 01:05:26,309
Oh, I don't know.
1153
01:05:32,540 --> 01:05:34,794
And in your painting, the Dons head is against
1154
01:05:35,300 --> 01:05:36,300
the sun.
1155
01:05:37,130 --> 01:05:38,130
Like Icarus.
1156
01:05:39,370 --> 01:05:41,320
Such a delicate man in your painting,
1157
01:05:41,910 --> 01:05:42,910
he'll be burnt.
1158
01:05:44,580 --> 01:05:46,749
The dawn doesn't look at Central Pend.
1159
01:05:48,520 --> 01:05:50,349
In the book and film, they bicker.
1160
01:05:51,480 --> 01:05:53,400
But you have them joined at the hip.
1161
01:05:55,270 --> 01:05:58,239
They're on the road of life together, opposites
1162
01:05:58,270 --> 01:06:00,969
but indivisible, yin and yang,
1163
01:06:01,610 --> 01:06:04,809
your essential Penza is thick smears
1164
01:06:04,900 --> 01:06:06,219
at the Donze Elbel.
1165
01:06:09,920 --> 01:06:11,489
A blur to him in some ways.
1166
01:06:13,850 --> 01:06:15,516
And love in other ways, you relish
1167
01:06:16,700 --> 01:06:17,700
this.
1168
01:06:20,520 --> 01:06:22,139
The thickness of their story.
1169
01:06:25,290 --> 01:06:27,270
Their themes, their history.
1170
01:06:30,130 --> 01:06:32,090
The novel's author, 70s, set out to mock
1171
01:06:32,890 --> 01:06:34,556
chivalry, but ended up celebrating
1172
01:06:35,620 --> 01:06:36,620
it.
1173
01:06:37,180 --> 01:06:39,091
Maybe Laurel and Hardy were the knights
1174
01:06:39,850 --> 01:06:40,850
of your time.
1175
01:06:43,080 --> 01:06:45,383
And your one painting of a bullfighter is night
1176
01:06:45,570 --> 01:06:46,570
like.
1177
01:06:48,040 --> 01:06:49,951
He's a slayer in a swirl of light, like
1178
01:06:50,650 --> 01:06:53,590
your son George with his dragon against the sun,
1179
01:06:53,620 --> 01:06:56,500
like Don Quixote, his head Lord,
1180
01:06:56,590 --> 01:06:59,200
as if in prayer at his own violence.
1181
01:07:05,460 --> 01:07:08,010
The figure in your arc that you loved most
1182
01:07:08,100 --> 01:07:10,919
was another night, but a penniless one
1183
01:07:11,190 --> 01:07:14,219
who lived in the boar's head, one of your Eden's.
1184
01:07:15,890 --> 01:07:18,139
On the Dean Martin Show, you painted him in a way,
1185
01:07:18,560 --> 01:07:21,050
but the canvass was your own face.
1186
01:07:22,220 --> 01:07:23,360
You might call a swinger.
1187
01:07:28,320 --> 01:07:30,170
Late 18th century.
1188
01:07:31,870 --> 01:07:34,010
They didn't call him swingers, but they swung.
1189
01:07:36,730 --> 01:07:39,359
And nobody more so than Sir John.
1190
01:07:46,440 --> 01:07:49,010
Your intensity, if
1191
01:07:49,020 --> 01:07:50,979
we get to speak, is if you're lost in the
1192
01:07:50,980 --> 01:07:51,980
transformation.
1193
01:07:56,100 --> 01:07:57,909
You're a funny man, he was a fat man.
1194
01:07:59,580 --> 01:08:02,120
He was a great man then Shakespearean
1195
01:08:02,130 --> 01:08:04,919
language with.
1196
01:08:07,120 --> 01:08:08,120
He said himself.
1197
01:08:09,170 --> 01:08:11,040
You was not only Widdy and MSL.
1198
01:08:12,900 --> 01:08:15,530
At the cause, which was in other men.
1199
01:08:16,939 --> 01:08:18,330
A huge chill about
1200
01:08:19,510 --> 01:08:20,889
this town of man.
1201
01:08:24,000 --> 01:08:25,869
This Reverend Feis.
1202
01:08:27,399 --> 01:08:28,779
Gray and equidae
1203
01:08:30,020 --> 01:08:31,329
then eatin' again.
1204
01:08:33,140 --> 01:08:34,189
He was a spokesman.
1205
01:08:35,069 --> 01:08:36,929
You might say for marrying
1206
01:08:38,279 --> 01:08:39,819
the old Mary England of
1207
01:08:41,040 --> 01:08:43,739
Maine mornings and Midsummer Eves.
1208
01:08:46,859 --> 01:08:48,350
And even villainy was innocent.
1209
01:08:53,910 --> 01:08:56,066
And of course, she filmed Falstaff Chimes at
1210
01:08:56,430 --> 01:08:57,430
midnight.
1211
01:08:59,080 --> 01:09:01,089
Your drawings for the Battle of Shrewsbury
1212
01:09:01,090 --> 01:09:03,880
sequence are a gallery of horsemen
1213
01:09:04,270 --> 01:09:05,270
of chevallier
1214
01:09:06,910 --> 01:09:07,910
compan.
1215
01:09:10,770 --> 01:09:12,029
Colored brush and pen.
1216
01:09:18,899 --> 01:09:21,600
This swiftest in the best brush
1217
01:09:21,660 --> 01:09:22,660
only.
1218
01:09:26,649 --> 01:09:29,259
In Poe's and concision, it's as good as
1219
01:09:29,260 --> 01:09:30,260
this.
1220
01:09:39,149 --> 01:09:41,579
This bed scene in Chimes at midnight, which you
1221
01:09:41,729 --> 01:09:44,519
don't hear shit, Prince Howe and his friend
1222
01:09:44,550 --> 01:09:47,350
Nail points his remarkable recovery.
1223
01:09:48,470 --> 01:09:50,789
You get up and move left and then
1224
01:09:51,090 --> 01:09:53,950
a swirl of movement like a 60s love-in.
1225
01:09:54,390 --> 01:09:56,910
I owe her money. Whether she'd be dead for that,
1226
01:09:56,940 --> 01:09:57,940
I don't know.
1227
01:10:00,350 --> 01:10:01,979
Might not fall anyway.
1228
01:10:02,100 --> 01:10:03,689
Like a Tintoretto painting.
1229
01:10:05,490 --> 01:10:07,793
Like you, he like to have people almost roll in
1230
01:10:08,010 --> 01:10:09,010
the foreground.
1231
01:10:09,480 --> 01:10:11,010
He looked up at the world.
1232
01:10:15,770 --> 01:10:17,630
He's about everybody in bed.
1233
01:10:18,080 --> 01:10:19,520
The camaraderie of love,
1234
01:10:20,780 --> 01:10:23,079
the beds here is another Eden
1235
01:10:23,440 --> 01:10:25,689
of I was there is Beatrice.
1236
01:10:26,170 --> 01:10:28,789
All right. Felt good about you.
1237
01:10:30,030 --> 01:10:32,480
And it brings us to the fourth aspect of your love
1238
01:10:32,630 --> 01:10:35,159
life after place, visual
1239
01:10:35,160 --> 01:10:36,890
ality and chivalry.
1240
01:10:37,480 --> 01:10:39,080
How omnivorous you were.
1241
01:10:41,590 --> 01:10:43,991
Your relationships with the man you loved weren't
1242
01:10:44,140 --> 01:10:46,689
sexual, but it sounds as if they
1243
01:10:46,690 --> 01:10:48,880
were as intense as those with women.
1244
01:10:49,750 --> 01:10:51,710
Your letters are full of ardent love for
1245
01:10:52,270 --> 01:10:53,380
male friends.
1246
01:10:54,070 --> 01:10:55,900
You adored use of cotton, didn't you?
1247
01:10:57,130 --> 01:10:59,020
Can I mention John Heisman?
1248
01:11:01,140 --> 01:11:03,899
Here in New York in December 1934,
1249
01:11:04,130 --> 01:11:05,259
age 19.
1250
01:11:05,730 --> 01:11:08,160
You were playing Tybalt and Romeo and Juliet.
1251
01:11:09,990 --> 01:11:12,539
A British Romanian grain merchant turned
1252
01:11:12,540 --> 01:11:15,090
theater producer came to see the show.
1253
01:11:16,080 --> 01:11:17,080
It was Heisman.
1254
01:11:19,050 --> 01:11:21,720
He called your performance obscene, terrible
1255
01:11:21,780 --> 01:11:24,960
and driven by some irresistible interior
1256
01:11:25,020 --> 01:11:26,020
violence.
1257
01:11:27,930 --> 01:11:29,841
He visited your dressing room and found
1258
01:11:30,510 --> 01:11:31,510
you half naked.
1259
01:11:32,040 --> 01:11:34,409
The two of you went outside to a nearby bar.
1260
01:11:35,040 --> 01:11:37,319
Your dedicated biographer, Simon Callow,
1261
01:11:37,590 --> 01:11:39,479
says you wooed Iceman.
1262
01:11:40,470 --> 01:11:42,270
You said that he fell in love with you.
1263
01:11:44,250 --> 01:11:45,479
It was part of a pattern.
1264
01:11:47,090 --> 01:11:49,729
You seem to become addicted to Jack Carter,
1265
01:11:50,120 --> 01:11:52,219
the actor who played the lead in your voodoo
1266
01:11:52,220 --> 01:11:53,220
Macbeth.
1267
01:11:54,230 --> 01:11:56,539
You threw your arms around him crying with
1268
01:11:56,540 --> 01:11:58,550
gratitude. According to Houseman.
1269
01:11:59,880 --> 01:12:01,693
You wooed him and went carousing with
1270
01:12:02,510 --> 01:12:03,859
him in the bars of Harlem.
1271
01:12:04,730 --> 01:12:06,788
You loved as passionately as a bullfighter
1272
01:12:07,670 --> 01:12:08,670
fights.
1273
01:12:10,890 --> 01:12:13,529
But of course, the bull fight ends and death.
1274
01:12:16,870 --> 01:12:19,509
Which brings us to the last aspect of your love
1275
01:12:19,510 --> 01:12:22,029
life. Guilt and the death of
1276
01:12:22,030 --> 01:12:23,030
love.
1277
01:12:23,150 --> 01:12:24,589
Even Thomas is badass.
1278
01:12:28,030 --> 01:12:29,030
Give me the.
1279
01:12:29,600 --> 01:12:30,919
The lady from Shanghai.
1280
01:12:30,950 --> 01:12:32,763
Again, you and Rita look purposefully
1281
01:12:34,070 --> 01:12:36,470
ahead, but she steers.
1282
01:12:40,490 --> 01:12:42,859
I was taught to think about love in Chinese,
1283
01:12:44,060 --> 01:12:46,880
the way a Frenchman thinks about laughter
1284
01:12:47,060 --> 01:12:48,060
French.
1285
01:12:49,550 --> 01:12:50,569
The Chinese say.
1286
01:12:51,950 --> 01:12:54,020
It is difficult for love to last long.
1287
01:12:54,530 --> 01:12:57,170
Therefore, one who loves passionately
1288
01:12:58,090 --> 01:12:59,090
is cured.
1289
01:13:00,680 --> 01:13:02,029
That's a hard way of thinking.
1290
01:13:03,420 --> 01:13:05,759
But it seems borne out by your love life.
1291
01:13:05,790 --> 01:13:06,790
Awesome.
1292
01:13:07,110 --> 01:13:09,300
It was full of guilt and sadness.
1293
01:13:09,900 --> 01:13:12,750
Your relationship with Heyworth quickly waned.
1294
01:13:14,160 --> 01:13:15,780
You draw yourself crying.
1295
01:13:16,460 --> 01:13:18,539
And in one of your most surprising images
1296
01:13:18,960 --> 01:13:20,920
also for Haber's, you have a devil visit
1297
01:13:21,810 --> 01:13:23,610
you in her absence.
1298
01:13:24,390 --> 01:13:26,879
You had affairs is the devil.
1299
01:13:26,930 --> 01:13:29,760
Your guilt or your guilt and sadness
1300
01:13:29,790 --> 01:13:30,790
combined.
1301
01:13:31,350 --> 01:13:33,989
He called this pencil and watercolor sketch with
1302
01:13:33,990 --> 01:13:36,859
its miserable sun, another self
1303
01:13:36,860 --> 01:13:38,850
portrait of self-pity.
1304
01:13:42,300 --> 01:13:43,510
And how about this?
1305
01:13:49,350 --> 01:13:51,120
You're far from Eden here.
1306
01:13:51,270 --> 01:13:53,789
The smoke from the factories gathers to show
1307
01:13:53,790 --> 01:13:54,790
your mood.
1308
01:13:59,900 --> 01:14:02,850
In 168th. And then there's this drawing of Bhola,
1309
01:14:03,290 --> 01:14:05,250
right, pregnant and she's had a horrible
1310
01:14:05,390 --> 01:14:08,090
pregnancy. She must be a bitch and
1311
01:14:08,660 --> 01:14:09,829
pregnant with you. Yeah.
1312
01:14:11,630 --> 01:14:13,688
I feel lousy is one of your most ambiguous
1313
01:14:14,300 --> 01:14:15,300
drawings, Orson.
1314
01:14:16,580 --> 01:14:19,040
Are you just recording Paolo's feeling bad
1315
01:14:19,580 --> 01:14:22,669
or empathizing with it or mirroring
1316
01:14:22,670 --> 01:14:25,460
it? Is it you that feels bad?
1317
01:14:33,340 --> 01:14:34,689
You showed the death of love.
1318
01:14:34,750 --> 01:14:37,300
The perversion of love most visually
1319
01:14:37,630 --> 01:14:39,010
awesome in Morocco
1320
01:14:40,270 --> 01:14:41,270
and Venice.
1321
01:14:43,560 --> 01:14:45,000
You know what I'm going to say, don't you?
1322
01:14:46,340 --> 01:14:49,359
A fellow sufferer,
1323
01:14:50,390 --> 01:14:52,050
I know how
1324
01:14:52,980 --> 01:14:53,980
bad you.
1325
01:14:55,120 --> 01:14:57,620
A fellow killed Desdemona.
1326
01:14:58,440 --> 01:14:59,840
Facelessness night.
1327
01:15:00,250 --> 01:15:01,250
Is murder.
1328
01:15:01,680 --> 01:15:03,060
He's blinded by jealousy.
1329
01:15:03,870 --> 01:15:05,279
Another margarita painting.
1330
01:15:20,440 --> 01:15:21,469
And when she's dead.
1331
01:15:23,320 --> 01:15:24,320
This
1332
01:15:27,970 --> 01:15:30,028
circle in the ceiling was inspired by this
1333
01:15:30,310 --> 01:15:32,859
Montagnier painting and Mantua, wasn't
1334
01:15:32,860 --> 01:15:33,860
it?
1335
01:15:34,570 --> 01:15:37,239
You had a ceiling built to echo it visually.
1336
01:15:38,630 --> 01:15:41,080
And before James Bond films, you liked to circular
1337
01:15:41,450 --> 01:15:43,999
ceiling only to be used for Jean
1338
01:15:44,000 --> 01:15:45,960
Vigo cameras low enough to short well to
1339
01:15:46,640 --> 01:15:49,369
hailo him to anti-Hitler him.
1340
01:15:49,920 --> 01:15:51,350
Sophie, what was her last name?
1341
01:15:51,800 --> 01:15:52,879
She married years ago.
1342
01:15:53,340 --> 01:15:54,349
What's her married name?
1343
01:15:55,600 --> 01:15:58,420
Nothing extenuate, no set down in malice.
1344
01:15:59,850 --> 01:16:00,960
Love as hell.
1345
01:16:01,040 --> 01:16:02,840
Not even to speak.
1346
01:16:02,940 --> 01:16:04,939
You had the camera on a scaffold here.
1347
01:16:07,540 --> 01:16:08,540
Wisely, but.
1348
01:16:14,900 --> 01:16:17,509
Is that how you loved not wisely,
1349
01:16:17,540 --> 01:16:18,540
but too well?
1350
01:16:21,460 --> 01:16:23,560
But love doesn't just perish naturally.
1351
01:16:23,650 --> 01:16:25,561
In Shakespeare's play, it's poisoned by
1352
01:16:26,170 --> 01:16:28,779
Jagow whispering gossip in the murder
1353
01:16:28,930 --> 01:16:30,069
of fellow's ear.
1354
01:16:32,920 --> 01:16:34,810
You talked well in filming Othello.
1355
01:16:35,210 --> 01:16:36,640
It's like an art critic.
1356
01:16:36,770 --> 01:16:39,339
Does the film was more an illustrated lecture
1357
01:16:39,370 --> 01:16:40,390
than a documentary?
1358
01:16:40,510 --> 01:16:43,270
The visual style of the film
1359
01:16:43,780 --> 01:16:45,446
mirrors the marriage at the center
1360
01:16:46,600 --> 01:16:49,119
of the play, which is not that
1361
01:16:49,180 --> 01:16:50,649
also on Desdemona.
1362
01:16:51,820 --> 01:16:54,259
The first marriage of or fellow
1363
01:16:55,360 --> 01:16:58,259
the either filming Othello
1364
01:16:58,270 --> 01:16:59,887
had a late night film to multiply
1365
01:17:00,970 --> 01:17:03,729
like so many, and you were both cautious and
1366
01:17:03,730 --> 01:17:06,220
bold and how you discussed your film
1367
01:17:06,550 --> 01:17:07,569
and used clips.
1368
01:17:07,830 --> 01:17:09,879
Now the grandeur and simplicity
1369
01:17:10,420 --> 01:17:11,645
are the more the dizzying
1370
01:17:13,630 --> 01:17:16,779
camera movements, the tortured compositions,
1371
01:17:16,780 --> 01:17:19,359
the grotesque shadows and insane
1372
01:17:19,390 --> 01:17:20,390
distortion.
1373
01:17:22,300 --> 01:17:24,400
The Argo, he is the
1374
01:17:25,120 --> 01:17:26,739
agent of chaos.
1375
01:17:29,880 --> 01:17:32,159
Jagow torpedoes the marriage with gossip.
1376
01:17:32,940 --> 01:17:34,560
You did it with style.
1377
01:17:36,830 --> 01:17:37,830
The death of love.
1378
01:17:38,180 --> 01:17:39,180
The back of love.
1379
01:17:39,590 --> 01:17:41,149
They're not much fun to talk about.
1380
01:17:41,180 --> 01:17:42,180
Are they arson?
1381
01:17:42,770 --> 01:17:44,319
I wonder, am I losing you here?
1382
01:17:46,890 --> 01:17:49,095
We're getting on to kingship in a moment, but
1383
01:17:49,310 --> 01:17:50,927
before we do, one more Kord about
1384
01:17:52,130 --> 01:17:53,200
passion dying.
1385
01:17:53,930 --> 01:17:55,579
It's in chimes at midnight again.
1386
01:17:56,390 --> 01:17:57,800
And you know what's coming, don't you?
1387
01:17:58,460 --> 01:18:01,090
The most resonant line in your art.
1388
01:18:02,370 --> 01:18:04,409
Here it is in your screenplay in Michigan.
1389
01:18:06,650 --> 01:18:08,240
Are you ready to be heartbroken?
1390
01:18:10,480 --> 01:18:12,489
I know the not old man.
1391
01:18:13,000 --> 01:18:15,550
The prince. The boy says to the man
1392
01:18:15,710 --> 01:18:17,350
that the dream is over.
1393
01:18:18,790 --> 01:18:20,020
Their friendship is over.
1394
01:18:21,040 --> 01:18:23,770
Vertical spears like the Nuremberg searchlights.
1395
01:18:24,760 --> 01:18:25,840
Then you break through
1396
01:18:28,300 --> 01:18:30,909
the back of the new king year old drinking
1397
01:18:31,000 --> 01:18:32,229
and cavorting, pal.
1398
01:18:33,240 --> 01:18:34,540
Bye bye.
1399
01:18:35,680 --> 01:18:36,680
Show.
1400
01:18:39,420 --> 01:18:41,199
Speak to me by heart.
1401
01:18:42,280 --> 01:18:44,949
I know being not old man faltered,
1402
01:18:44,960 --> 01:18:45,960
I praise.
1403
01:18:51,640 --> 01:18:54,219
Al White has become a fool
1404
01:18:54,220 --> 01:18:55,220
and gesta.
1405
01:18:57,590 --> 01:19:00,439
I have long dreamed of such a kind of man,
1406
01:19:01,310 --> 01:19:04,250
so surface swell, so old
1407
01:19:04,460 --> 01:19:07,399
and so profane, but being awake,
1408
01:19:08,120 --> 01:19:09,950
I do despise my dream.
1409
01:19:13,010 --> 01:19:14,676
Despise this body, wouldn't reject
1410
01:19:15,770 --> 01:19:16,770
have been enough?
1411
01:19:17,750 --> 01:19:20,600
Shakespeare's pen was a dagger here, a grave
1412
01:19:20,610 --> 01:19:23,209
to keep for the not only an end of
1413
01:19:23,210 --> 01:19:25,550
love, but a rewrite of its history.
1414
01:19:26,240 --> 01:19:27,808
Till then, I banish thee on pain
1415
01:19:28,880 --> 01:19:30,791
of death as I have done the rest for my
1416
01:19:31,490 --> 01:19:34,160
mislead us not to come near
1417
01:19:34,170 --> 01:19:36,109
our passing by.
1418
01:19:36,110 --> 01:19:37,110
Ten by.
1419
01:19:39,040 --> 01:19:41,270
And Falstaff falls to his knees
1420
01:19:41,570 --> 01:19:43,334
like John Heisman did as he realizes
1421
01:19:44,510 --> 01:19:47,089
he has the power and who can control the
1422
01:19:47,090 --> 01:19:50,039
love means and hurls
1423
01:19:50,120 --> 01:19:51,319
exclusion order.
1424
01:19:52,090 --> 01:19:53,489
You wanted to be full staff.
1425
01:19:53,800 --> 01:19:54,800
Awesome.
1426
01:19:55,040 --> 01:19:57,949
But let's face it, you ask how
1427
01:19:58,070 --> 01:19:59,449
qualities give you?
1428
01:20:04,620 --> 01:20:06,539
The prince, the night
1429
01:20:07,200 --> 01:20:08,425
loving a lot, but in your
1430
01:20:09,720 --> 01:20:10,720
exhilaration.
1431
01:20:11,070 --> 01:20:13,619
Moving on to other loves, other
1432
01:20:13,620 --> 01:20:14,620
worlds.
1433
01:20:15,090 --> 01:20:17,550
So we move on to our next world.
1434
01:21:17,210 --> 01:21:19,469
Oh, the decent people in your life and work.
1435
01:21:19,500 --> 01:21:22,169
Awesome. Your mother, your head teacher,
1436
01:21:22,530 --> 01:21:24,810
Michael O'Hara and the lady from Shanghai.
1437
01:21:25,290 --> 01:21:27,989
Joseph Cotton's character, Jedediah Leland.
1438
01:21:28,340 --> 01:21:29,340
And 'Citizen Kane'.
1439
01:21:29,940 --> 01:21:30,940
Don Quixote.
1440
01:21:31,320 --> 01:21:33,790
Charlton Heston's Character and 'Touch of Evil'.
1441
01:21:34,790 --> 01:21:36,060
Sir John Falstaff.
1442
01:21:37,290 --> 01:21:40,439
These knights and pongs are often exemplary
1443
01:21:40,710 --> 01:21:41,710
and right.
1444
01:21:42,870 --> 01:21:45,540
But there's another type of person excited you
1445
01:21:45,630 --> 01:21:46,630
more.
1446
01:21:47,940 --> 01:21:50,194
Dove deeper into your unconscious and you find
1447
01:21:50,640 --> 01:21:51,640
him there.
1448
01:21:54,370 --> 01:21:57,020
This creature from the Black Lagoon, he
1449
01:21:57,070 --> 01:21:59,050
is, of course, the king.
1450
01:22:01,320 --> 01:22:03,260
You mocked the king and chimes at midnight.
1451
01:22:08,710 --> 01:22:10,800
You can't even get up onto his throne.
1452
01:22:11,600 --> 01:22:13,364
He has a port for a crown and speaks
1453
01:22:14,430 --> 01:22:15,630
like John Gielgud.
1454
01:22:19,970 --> 01:22:22,520
I do not only marvel well,
1455
01:22:22,570 --> 01:22:23,710
I'll spend say, time.
1456
01:22:25,310 --> 01:22:26,460
So was a.
1457
01:22:28,230 --> 01:22:30,539
But you were attracted to the grandeur of
1458
01:22:30,540 --> 01:22:31,540
kingship.
1459
01:22:35,760 --> 01:22:36,869
Admited awesome.
1460
01:22:37,500 --> 01:22:39,109
Your tastes were regal.
1461
01:22:41,220 --> 01:22:43,499
Is it true that the director, Richard Fleischer,
1462
01:22:43,920 --> 01:22:46,440
once accused you of treating a lowly photographer
1463
01:22:46,830 --> 01:22:48,060
as if you are royalty?
1464
01:22:48,630 --> 01:22:49,680
I am royalty.
1465
01:22:50,220 --> 01:22:51,220
You barked back.
1466
01:22:54,220 --> 01:22:56,449
He used to say that you're a king actor.
1467
01:22:57,880 --> 01:23:00,719
And you were fascinated by Latvian gun runner
1468
01:23:00,970 --> 01:23:03,369
and friend of Nazis himura and Gehring.
1469
01:23:03,730 --> 01:23:06,430
His name was Michael OLIEN in this time
1470
01:23:06,760 --> 01:23:08,770
in this mansion designed by Rafaelle.
1471
01:23:10,820 --> 01:23:13,419
He should have played Napoleon or
1472
01:23:13,460 --> 01:23:14,529
Henry the eighth.
1473
01:23:17,610 --> 01:23:20,279
Actor Geraldine Fitzgerald said that you were like
1474
01:23:20,280 --> 01:23:22,739
a lighthouse when you were
1475
01:23:22,900 --> 01:23:23,939
and has been.
1476
01:23:24,240 --> 01:23:25,700
He was utterly dazzling.
1477
01:23:26,370 --> 01:23:28,477
When the beam moves on, you're plunged into
1478
01:23:28,920 --> 01:23:29,920
darkness.
1479
01:23:35,050 --> 01:23:37,789
Kinship. In your work is visual about
1480
01:23:37,790 --> 01:23:40,399
lawmaking, suffocating,
1481
01:23:40,820 --> 01:23:43,219
isolating and about ambition,
1482
01:23:43,940 --> 01:23:46,580
totalitarianism, corruption
1483
01:23:47,360 --> 01:23:48,360
and madness.
1484
01:23:49,910 --> 01:23:51,319
Let's take a visual first.
1485
01:23:51,380 --> 01:23:52,380
Awesome.
1486
01:23:52,700 --> 01:23:55,699
Most aspects of your visual style were extravagant
1487
01:23:56,600 --> 01:23:58,189
as we saw in the porn section.
1488
01:23:58,520 --> 01:24:00,380
You had moments of realism in your work.
1489
01:24:01,400 --> 01:24:03,458
But you mostly rejected them, you famously
1490
01:24:04,100 --> 01:24:06,739
walked out of this film, Lucchino Visconti's
1491
01:24:06,740 --> 01:24:08,630
Neorealist LEITHEAD A tremor.
1492
01:24:10,700 --> 01:24:12,807
It's hard to imagine you doing a simple pan
1493
01:24:13,280 --> 01:24:14,280
like this.
1494
01:24:16,340 --> 01:24:18,859
Shoulder height to show a fisherman
1495
01:24:18,860 --> 01:24:20,159
scene. Naturally,
1496
01:24:21,830 --> 01:24:23,479
this was more your style.
1497
01:24:24,080 --> 01:24:25,354
Macbeth at Distant Castle.
1498
01:24:26,210 --> 01:24:27,760
Misty MiddleGround.
1499
01:24:36,120 --> 01:24:39,149
It's like Charles Foster Keynes isolated castle.
1500
01:24:42,750 --> 01:24:44,880
Castles fired your imagination.
1501
01:24:45,930 --> 01:24:47,580
Especially if they were crumbling.
1502
01:24:50,740 --> 01:24:52,749
This etching of yours looks like there's been a
1503
01:24:52,750 --> 01:24:53,750
fire.
1504
01:24:54,250 --> 01:24:56,979
You had an eye on Piran Azeez imaginary prison
1505
01:24:56,980 --> 01:24:59,109
sketches of the seventeen hundreds.
1506
01:25:06,620 --> 01:25:10,249
The land you like to use most 18.5
1507
01:25:10,520 --> 01:25:11,659
was a king land.
1508
01:25:11,690 --> 01:25:15,020
You could say it made the world bulge
1509
01:25:15,350 --> 01:25:17,840
the is the marble, it is the rock.
1510
01:25:17,920 --> 01:25:20,223
You slung at low, of course, to make four grand
1511
01:25:20,600 --> 01:25:23,239
people massive cramped
1512
01:25:23,570 --> 01:25:26,200
confinement bound into
1513
01:25:26,240 --> 01:25:27,920
Soshi doubts and fears
1514
01:25:29,920 --> 01:25:32,420
to make patterns between near and far.
1515
01:25:36,440 --> 01:25:38,450
It was expressionists, this lens.
1516
01:25:39,380 --> 01:25:42,000
It was good to abstraction between
1517
01:25:42,030 --> 01:25:43,100
classes I took over.
1518
01:25:43,510 --> 01:25:46,100
Beyond visual things, King men
1519
01:25:46,280 --> 01:25:48,770
are lawmakers and law breakers.
1520
01:25:49,790 --> 01:25:52,669
That lends again a seated king,
1521
01:25:53,150 --> 01:25:55,960
an insolent press baron Arsdale JUILA.
1522
01:25:56,000 --> 01:25:58,040
You provide the prose poems.
1523
01:25:58,190 --> 01:26:00,280
I'll provide the war that
1524
01:26:01,330 --> 01:26:02,489
I like to write.
1525
01:26:03,250 --> 01:26:05,689
And here in your late film, The Immortal Story,
1526
01:26:05,780 --> 01:26:08,570
you're a king of sorts in a carriage.
1527
01:26:09,500 --> 01:26:11,869
The running man is a sailor you've just picked up.
1528
01:26:12,680 --> 01:26:14,569
You'll pay him to have sex with a woman.
1529
01:26:16,000 --> 01:26:18,729
You're a Benny king making
1530
01:26:18,730 --> 01:26:21,010
the rules, setting down the law,
1531
01:26:22,480 --> 01:26:24,829
treating others like the homes
1532
01:26:32,200 --> 01:26:34,552
you arrived, where the sex has to happen in your
1533
01:26:34,660 --> 01:26:36,129
own home in Madrid.
1534
01:26:36,190 --> 01:26:37,190
Awesome.
1535
01:26:39,240 --> 01:26:41,411
And here's your Hank Quinlan and 'Touch of Evil'
1536
01:26:42,500 --> 01:26:45,270
barely first, then looming above the camera,
1537
01:26:45,830 --> 01:26:47,819
then a whale's in body twist.
1538
01:26:49,310 --> 01:26:52,489
He's a king in his own mind, a detective.
1539
01:26:52,920 --> 01:26:56,120
He thinks the laws for little people, for poems,
1540
01:26:56,300 --> 01:26:58,939
not for him, he's above the law
1541
01:26:59,270 --> 01:27:00,899
and bend to his will.
1542
01:27:05,150 --> 01:27:07,459
Beyond their visual and legal lives,
1543
01:27:07,990 --> 01:27:11,119
your kings are often suffocated or imprisoned.
1544
01:27:11,750 --> 01:27:13,729
They're trapped inside their castles.
1545
01:27:18,360 --> 01:27:20,369
They can't escape their own power,
1546
01:27:21,810 --> 01:27:22,859
their own thoughts.
1547
01:27:25,470 --> 01:27:26,939
Their echo chambers.
1548
01:27:30,110 --> 01:27:33,079
Beatrice tells us this was painted in frustration
1549
01:27:33,530 --> 01:27:35,637
at the Universal Film Studios, stopping you
1550
01:27:35,840 --> 01:27:37,060
completing 'Touch of Evil'.
1551
01:27:38,360 --> 01:27:40,939
It's an isolation picture, too, isn't it?
1552
01:27:41,510 --> 01:27:42,859
Appear uneasy in the desert.
1553
01:27:44,030 --> 01:27:46,249
You were the king forced to abdicate.
1554
01:28:06,560 --> 01:28:09,109
Intense visuals, a man above the law.
1555
01:28:09,620 --> 01:28:10,620
Isolation.
1556
01:28:10,940 --> 01:28:12,680
You know where this is leading, I'm sure.
1557
01:28:13,370 --> 01:28:15,140
To Scotland. And your film?
1558
01:28:15,260 --> 01:28:16,260
Macbeth.
1559
01:28:23,480 --> 01:28:25,770
It first imagined my bath in your teens
1560
01:28:26,030 --> 01:28:28,649
in this drawing and your everybody's Shakespeare
1561
01:28:28,650 --> 01:28:30,169
book and we've seen your Voodoo
1562
01:28:31,470 --> 01:28:33,779
Macbeth of 1936.
1563
01:28:35,930 --> 01:28:37,220
Just nine years later.
1564
01:28:37,700 --> 01:28:39,979
What a long nine years they must have seemed
1565
01:28:40,250 --> 01:28:43,129
two marriages, WOR radio stardom,
1566
01:28:43,220 --> 01:28:45,109
Hollywood fame for films.
1567
01:28:46,010 --> 01:28:48,859
You were filming it on the cheap for a B movie
1568
01:28:48,860 --> 01:28:49,860
studio.
1569
01:28:51,320 --> 01:28:53,574
You imagined the film's landscape with angular
1570
01:28:53,660 --> 01:28:55,129
trees against the sky.
1571
01:28:58,060 --> 01:29:00,420
The film would be shot quickly in the studio.
1572
01:29:00,930 --> 01:29:02,899
So you came up with this main set.
1573
01:29:06,060 --> 01:29:08,309
Scotland can sometimes look like a production.
1574
01:29:08,310 --> 01:29:09,600
Designers had a hand in it.
1575
01:29:13,170 --> 01:29:16,049
The characters were to be horned like cattle
1576
01:29:16,230 --> 01:29:17,230
or rams.
1577
01:29:18,870 --> 01:29:20,310
It was your most graphic film.
1578
01:29:21,040 --> 01:29:23,789
The witches pagan symbols that
1579
01:29:23,790 --> 01:29:26,142
set it looked like something you'd see in a fish
1580
01:29:26,520 --> 01:29:29,350
tank, an underwater Macbeth.
1581
01:29:29,460 --> 01:29:31,969
Perhaps your
1582
01:29:31,980 --> 01:29:33,329
contrasts were violent
1583
01:29:35,200 --> 01:29:37,729
slo mo mist then dissolve
1584
01:29:37,730 --> 01:29:38,760
to this Close-Up.
1585
01:29:40,540 --> 01:29:42,696
One of the most contrasty images in American
1586
01:29:43,510 --> 01:29:44,510
film.
1587
01:29:46,380 --> 01:29:47,939
Then we're behind the head of Macbeth.
1588
01:29:48,640 --> 01:29:51,149
This king whose ambition is detestable,
1589
01:29:51,590 --> 01:29:54,209
this Hank Quinlan, the Stellan.
1590
01:29:54,780 --> 01:29:55,780
This Foust
1591
01:30:05,730 --> 01:30:07,886
the real world seemed to enter the film as a
1592
01:30:08,100 --> 01:30:09,100
nightmare.
1593
01:30:11,440 --> 01:30:13,989
Macbeth.. So in the shadow of himself
1594
01:30:14,560 --> 01:30:17,449
that he doesn't even realize that he's free.
1595
01:30:18,280 --> 01:30:20,699
He feels railroaded by the witches prophecy.
1596
01:30:21,730 --> 01:30:24,189
He's a slave to his own lust for power.
1597
01:30:25,390 --> 01:30:27,939
You've dived so deep nigh that you're in the land
1598
01:30:27,940 --> 01:30:28,940
of the surreal.
1599
01:30:31,220 --> 01:30:32,220
The colonnade.
1600
01:30:32,770 --> 01:30:34,810
It's like a Caraco nightmare painting.
1601
01:30:34,850 --> 01:30:35,850
Orson.
1602
01:30:38,910 --> 01:30:41,260
At least categorize lable image in macbeth.
1603
01:30:41,530 --> 01:30:44,109
and in all your art, I think is
1604
01:30:44,110 --> 01:30:45,460
the shot. Awesome.
1605
01:30:46,600 --> 01:30:48,699
It looks like Klyde scene from an airplane.
1606
01:30:50,280 --> 01:30:53,039
Or an archipelago with a colossus ending
1607
01:30:53,040 --> 01:30:54,040
in it.
1608
01:30:54,340 --> 01:30:55,340
Turtle.
1609
01:31:02,600 --> 01:31:05,209
Macbeth's one of the few films I wanted to draw
1610
01:31:05,300 --> 01:31:06,300
as I watched.
1611
01:31:10,680 --> 01:31:12,689
The fourth aspect of your kingship is its
1612
01:31:13,200 --> 01:31:15,479
totalitarianism and corruption.
1613
01:31:17,750 --> 01:31:19,520
These themes are in Sezer, of course,
1614
01:31:20,330 --> 01:31:22,633
and in your Cesare a Borgia and the film Prince
1615
01:31:22,910 --> 01:31:25,429
of Foxes draw a map of all he
1616
01:31:25,430 --> 01:31:26,704
conquers the King, actors,
1617
01:31:28,100 --> 01:31:29,819
big shoulders and flowing gun.
1618
01:31:30,160 --> 01:31:31,160
The ultimate goal.
1619
01:31:31,940 --> 01:31:32,940
Wanted to.
1620
01:31:34,390 --> 01:31:36,759
One kingdom, one king
1621
01:31:37,240 --> 01:31:38,240
shares a border.
1622
01:31:39,360 --> 01:31:41,700
You made Prince of Foxes in the same year.
1623
01:31:42,180 --> 01:31:44,370
You played your most corrupt character,
1624
01:31:44,730 --> 01:31:47,810
Harry Lime, who profiteers from penicillin
1625
01:31:47,820 --> 01:31:49,350
stolen from hospitals.
1626
01:31:50,280 --> 01:31:52,869
He famously talks of the Borgias as
1627
01:31:52,890 --> 01:31:55,709
you casually put on gloves and the camera lines
1628
01:31:55,740 --> 01:31:58,310
in what the fella sends
1629
01:31:59,200 --> 01:32:01,170
naturally for 30 years under the Borgias.
1630
01:32:01,200 --> 01:32:04,080
They had warfare, terror, murder, bloodshed,
1631
01:32:04,140 --> 01:32:06,749
but they produced Michelangelo, Leonardo da Vinci
1632
01:32:07,020 --> 01:32:08,840
and the Renaissance in Switzerland.
1633
01:32:09,060 --> 01:32:10,060
Brotherly love.
1634
01:32:10,890 --> 01:32:13,470
500 years of democracy and peace.
1635
01:32:13,540 --> 01:32:14,760
And what did that produce?
1636
01:32:15,740 --> 01:32:16,740
The cuckoo clock.
1637
01:32:17,510 --> 01:32:18,931
Call it a scene you wrote, of
1638
01:32:20,010 --> 01:32:22,949
course, cinema's most famous strike
1639
01:32:23,220 --> 01:32:24,959
of the authoritarian bell.
1640
01:32:29,000 --> 01:32:31,329
In the late 1930s, before 'Citizen Kane',
1641
01:32:32,030 --> 01:32:34,088
you were to make a film about an even more
1642
01:32:34,250 --> 01:32:37,079
dangerous man, ivory trader.
1643
01:32:37,130 --> 01:32:39,709
KURTZ And Joseph Conrad's novella,
1644
01:32:39,800 --> 01:32:40,850
Heart of Darkness.
1645
01:32:44,380 --> 01:32:47,109
Here's your sketch of the compound where he lives
1646
01:32:48,310 --> 01:32:49,510
in 1938.
1647
01:32:49,670 --> 01:32:51,880
You adapted to darkness for radio.
1648
01:32:52,300 --> 01:32:54,309
You played Kurtz, of course, and tried to
1649
01:32:54,880 --> 01:32:57,310
capture his genius, his panic,
1650
01:32:57,640 --> 01:32:58,640
his tyranny.
1651
01:32:59,590 --> 01:33:01,790
A way of life is weird
1652
01:33:02,230 --> 01:33:04,209
enough to effectively back my station
1653
01:33:05,320 --> 01:33:06,320
freshies mine.
1654
01:33:07,780 --> 01:33:09,999
I have no right to take me away.
1655
01:33:11,010 --> 01:33:13,869
Bank manager Lubitsch
1656
01:33:14,020 --> 01:33:16,499
Yojimbo wants my hobby.
1657
01:33:17,220 --> 01:33:18,520
His Verloc major.
1658
01:33:18,670 --> 01:33:20,620
Why? Don't excite yourself.
1659
01:33:21,570 --> 01:33:22,570
You're
1660
01:33:24,900 --> 01:33:25,900
sick,
1661
01:33:28,280 --> 01:33:30,340
not so sick if you'd like to believe.
1662
01:33:33,090 --> 01:33:35,729
Heart of darkness is set during one of the worst
1663
01:33:35,730 --> 01:33:36,869
human atrocities.
1664
01:33:36,910 --> 01:33:39,419
Orson Belgium's colonization
1665
01:33:39,420 --> 01:33:40,420
of the Congo.
1666
01:33:41,370 --> 01:33:44,149
KURTZ was for you a fascist
1667
01:33:44,160 --> 01:33:45,160
king.
1668
01:33:45,980 --> 01:33:48,620
That's the end of the king line, in a way.
1669
01:33:49,070 --> 01:33:52,489
Except for one more thing, the madness
1670
01:33:52,580 --> 01:33:53,580
of kingship.
1671
01:33:55,250 --> 01:33:57,890
In 1953, you played King Lear
1672
01:33:58,040 --> 01:33:59,329
live on TV.
1673
01:34:00,410 --> 01:34:02,949
That lolking angle, that roaring
1674
01:34:02,960 --> 01:34:04,029
king of voice,
1675
01:34:14,270 --> 01:34:16,579
he says, Oh, let me not be mad.
1676
01:34:16,610 --> 01:34:18,229
Not mad, sweet heaven.
1677
01:34:20,630 --> 01:34:23,300
But he's driven by the burdens of power
1678
01:34:23,390 --> 01:34:24,390
and family.
1679
01:34:28,460 --> 01:34:30,920
The camera pulls out and lightning
1680
01:34:31,160 --> 01:34:32,659
and that expressionism again.
1681
01:34:40,540 --> 01:34:43,089
Did you intend this to be Lere Lawson?
1682
01:34:46,710 --> 01:34:49,589
It's like it's raining here or it's a lightning
1683
01:34:49,590 --> 01:34:50,590
storm.
1684
01:34:52,710 --> 01:34:54,866
You did Christopher Marlowe's first on stage
1685
01:34:55,330 --> 01:34:56,590
in 1937.
1686
01:34:57,160 --> 01:34:58,826
You heard him say, I refused to be
1687
01:34:59,680 --> 01:35:02,289
insane. I do not claim the sanctuary
1688
01:35:02,290 --> 01:35:03,290
of the madhouse.
1689
01:35:03,850 --> 01:35:06,279
Do not think I stumbled into the pit.
1690
01:35:07,000 --> 01:35:09,640
Pray for the free man who damned hymns
1691
01:35:09,700 --> 01:35:10,700
of.
1692
01:35:16,810 --> 01:35:18,430
Did you dam yourself?
1693
01:35:18,490 --> 01:35:19,490
Awesome.
1694
01:35:20,080 --> 01:35:21,609
And if so, for what?
1695
01:35:23,870 --> 01:35:24,870
Politics.
1696
01:35:27,950 --> 01:35:29,979
Love power.
1697
01:35:31,030 --> 01:35:32,030
Glory.
1698
01:35:33,090 --> 01:35:34,090
Excitment.
1699
01:35:34,950 --> 01:35:37,409
Loneliness define
1700
01:35:38,850 --> 01:35:39,850
fury.
1701
01:35:53,840 --> 01:35:56,840
Dear mom, I pray
1702
01:35:56,850 --> 01:35:59,589
in your letters when you show
1703
01:35:59,650 --> 01:36:01,850
these unlucky deeds and
1704
01:36:02,680 --> 01:36:05,619
speak of me as nothing
1705
01:36:05,630 --> 01:36:06,630
extenuate.
1706
01:36:09,770 --> 01:36:12,770
So the world kept turning
1707
01:36:13,230 --> 01:36:14,659
after high tide.
1708
01:36:15,600 --> 01:36:16,669
Who'd have guessed?
1709
01:36:18,510 --> 01:36:21,119
It sounds as if I'd have taken to the
1710
01:36:21,120 --> 01:36:22,380
21st century.
1711
01:36:23,790 --> 01:36:24,929
I wasn't tired of living.
1712
01:36:26,010 --> 01:36:27,350
I wasn't tired of Rs.
1713
01:36:29,870 --> 01:36:32,930
In your letter, mark, you'll split
1714
01:36:32,990 --> 01:36:35,089
my politics from my love.
1715
01:36:35,530 --> 01:36:36,830
But the same thing.
1716
01:36:37,520 --> 01:36:39,319
Or at least hold the same route.
1717
01:36:40,490 --> 01:36:42,350
You missed how, honey.
1718
01:36:42,780 --> 01:36:43,850
I found it all.
1719
01:36:45,220 --> 01:36:48,520
You do know that life is a circus.
1720
01:36:48,730 --> 01:36:49,730
Don't show.
1721
01:36:52,210 --> 01:36:53,919
Beatrice still seems to.
1722
01:36:57,390 --> 01:36:59,459
Was this Martha in your box?
1723
01:37:01,820 --> 01:37:02,820
No.
1724
01:37:03,450 --> 01:37:05,759
My ending was the lady from Shanghai
1725
01:37:07,010 --> 01:37:09,600
at a print shop sidewalk
1726
01:37:09,610 --> 01:37:10,799
intending to find.
1727
01:37:14,130 --> 01:37:15,459
Everybody is.
1728
01:37:15,480 --> 01:37:16,840
Somebody is cool.
1729
01:37:17,790 --> 01:37:20,340
The only way to stay out of trouble is to grow.
1730
01:37:20,490 --> 01:37:22,080
So I guess I'll concentrate on
1731
01:37:23,170 --> 01:37:25,070
maybe our lives or long.
1732
01:37:29,220 --> 01:37:30,739
Maybe I'm a guy
1733
01:37:32,480 --> 01:37:34,636
that's more important than the ending of the
1734
01:37:34,950 --> 01:37:35,950
trial.
1735
01:37:37,040 --> 01:37:39,709
And as you're so taken by my drawings.
1736
01:37:39,980 --> 01:37:41,089
How about this one
1737
01:37:42,960 --> 01:37:44,430
lady would be a woman.
1738
01:37:44,520 --> 01:37:47,149
Johnson is not only a brawling,
1739
01:37:47,630 --> 01:37:49,550
bumbling and inept
1740
01:37:51,020 --> 01:37:52,179
pursed lips.
1741
01:37:52,580 --> 01:37:53,840
I adore her.
1742
01:37:54,430 --> 01:37:55,900
The toffs were their drinkers.
1743
01:37:56,300 --> 01:37:58,870
Noses and eyes closed
1744
01:37:59,800 --> 01:38:02,569
amidst all the power and politics
1745
01:38:02,570 --> 01:38:04,579
of which you speak. My line ran naturally
1746
01:38:05,210 --> 01:38:06,770
to doodles like this.
1747
01:38:08,660 --> 01:38:10,640
Does he remind you of anyone?
1748
01:38:13,590 --> 01:38:16,290
And several lifetimes ago, before
1749
01:38:16,320 --> 01:38:18,084
Cain, I made a large number of phone
1750
01:38:18,970 --> 01:38:20,520
calls, too much jobs.
1751
01:38:22,270 --> 01:38:25,149
There was a scene where a well-dressed young man
1752
01:38:25,150 --> 01:38:27,729
on police officers had their hats
1753
01:38:27,730 --> 01:38:28,730
removed.
1754
01:38:30,650 --> 01:38:33,279
It was absurd, like a Mack Senate
1755
01:38:33,310 --> 01:38:34,310
comedy.
1756
01:38:40,230 --> 01:38:41,970
That's cluelessness again.
1757
01:38:42,330 --> 01:38:43,469
Like so much life.
1758
01:38:47,760 --> 01:38:50,109
And since you mention Mr. Archi
1759
01:38:50,850 --> 01:38:53,109
call if you its climax
1760
01:38:53,560 --> 01:38:56,359
a stalk of the film like a shadow.
1761
01:38:56,420 --> 01:38:59,390
But the world of my story is absurd.
1762
01:39:00,290 --> 01:39:02,970
Kim's character Zouk was Luster's at its
1763
01:39:03,430 --> 01:39:06,169
peak. If he catches me out here dancing
1764
01:39:06,170 --> 01:39:08,899
around in my arms, does
1765
01:39:08,900 --> 01:39:10,550
it remind you of anything?
1766
01:39:11,510 --> 01:39:13,609
Laurel and Hardy, perhaps.
1767
01:39:16,930 --> 01:39:19,689
My camera was usual a low, of course,
1768
01:39:19,720 --> 01:39:21,435
but the humanity in Stein and Dolly
1769
01:39:22,510 --> 01:39:24,119
is the same childish.
1770
01:39:24,210 --> 01:39:25,270
The circus.
1771
01:39:25,300 --> 01:39:27,679
The comedic de la Punchinello.
1772
01:39:27,910 --> 01:39:30,699
What's new in the UK called Punch and Judy?
1773
01:39:35,100 --> 01:39:37,590
I did scores of pictures and sent
1774
01:39:37,600 --> 01:39:38,600
pics.
1775
01:39:40,630 --> 01:39:43,169
There were conventional ones in the red
1776
01:39:43,200 --> 01:39:44,200
and white.
1777
01:39:45,930 --> 01:39:47,530
It come down the chimney.
1778
01:39:47,890 --> 01:39:48,920
I'll be by the fire.
1779
01:39:53,190 --> 01:39:55,500
But I remember that as I drew,
1780
01:39:56,000 --> 01:39:59,190
he started to look like he was on the stage
1781
01:39:59,250 --> 01:40:01,689
taking a ball per chance
1782
01:40:02,200 --> 01:40:03,239
call.
1783
01:40:05,380 --> 01:40:07,242
Those with a keen eye might say I paid
1784
01:40:08,040 --> 01:40:10,840
to do more and more, so emerge
1785
01:40:10,900 --> 01:40:12,760
with some of the things that I admire.
1786
01:40:13,540 --> 01:40:14,814
And he morphed, his colors
1787
01:40:16,390 --> 01:40:19,479
changed, but Red disappeared,
1788
01:40:21,670 --> 01:40:23,770
rather a trunk to his nose.
1789
01:40:24,290 --> 01:40:27,359
UC Santa is becoming a drinker
1790
01:40:27,830 --> 01:40:28,899
like Christmas for
1791
01:40:30,390 --> 01:40:31,390
a drunk.
1792
01:40:33,470 --> 01:40:35,600
Sir John, step
1793
01:40:37,300 --> 01:40:39,959
more cards. I did, the more rapid I became,
1794
01:40:39,960 --> 01:40:41,430
the colors leached out
1795
01:40:43,210 --> 01:40:45,859
day became night, and this Christmas, Carol
1796
01:40:45,860 --> 01:40:46,860
of mine
1797
01:40:48,480 --> 01:40:49,890
debacle grow.
1798
01:40:53,200 --> 01:40:55,949
And then even the nose was no longer
1799
01:40:55,950 --> 01:40:56,950
red.
1800
01:40:57,790 --> 01:41:00,329
They took on the tone of a lot of my
1801
01:41:00,330 --> 01:41:01,330
work.
1802
01:41:01,770 --> 01:41:03,093
Call it dark exuberance, if
1803
01:41:04,380 --> 01:41:05,380
you like.
1804
01:41:06,000 --> 01:41:08,369
That's what the lady from Shanghai was.
1805
01:41:09,110 --> 01:41:12,070
I don't like baths, canibus
1806
01:41:13,190 --> 01:41:14,190
and excessive.
1807
01:41:16,550 --> 01:41:19,399
I've often said that Cain has the same
1808
01:41:19,400 --> 01:41:20,400
tension.
1809
01:41:22,940 --> 01:41:25,340
Cain himself is proposed to fast
1810
01:41:25,520 --> 01:41:28,489
close to parity, close to burlesque.
1811
01:41:31,040 --> 01:41:34,029
That roller coaster you showed was like the great
1812
01:41:34,360 --> 01:41:37,279
here in the United
1813
01:41:37,280 --> 01:41:38,280
States.
1814
01:41:51,930 --> 01:41:55,020
I was a satirist.
1815
01:41:56,320 --> 01:41:57,320
Didn't you see that?
1816
01:42:01,460 --> 01:42:02,930
A was training.
1817
01:42:05,390 --> 01:42:07,310
What happens when it fragos
1818
01:42:08,410 --> 01:42:10,399
absurdity becomes the norm?
1819
01:42:35,550 --> 01:42:38,459
The sites and thralls of lust doing spare
1820
01:42:38,460 --> 01:42:40,224
hours more thrive than I that spends
1821
01:42:41,220 --> 01:42:44,069
her life upon my cause.
1822
01:42:49,180 --> 01:42:51,069
How is Ireland these days?
1823
01:42:52,110 --> 01:42:53,110
Yours, Arsen.
1824
01:43:25,260 --> 01:43:26,583
Dear Orson, I just imagined
1825
01:43:27,790 --> 01:43:28,960
that you wrote back to me.
1826
01:43:29,920 --> 01:43:30,920
I wish you had.
1827
01:43:32,590 --> 01:43:34,459
How do I finish a letter like this?
1828
01:43:36,490 --> 01:43:37,989
Should I mention that there's been another
1829
01:43:37,990 --> 01:43:39,159
financial crash?
1830
01:43:40,320 --> 01:43:42,035
Who's a Wall Street screwed up like
1831
01:43:42,850 --> 01:43:44,409
they did in 1929?
1832
01:43:45,280 --> 01:43:46,899
This is Kenosha, where you were born.
1833
01:43:47,150 --> 01:43:48,150
No.
1834
01:43:48,670 --> 01:43:50,826
Parts of it looked like a deserted Hollywood
1835
01:43:50,840 --> 01:43:51,970
studio, a backlot.
1836
01:43:52,630 --> 01:43:54,770
More images from the 1930s.
1837
01:44:03,650 --> 01:44:05,719
The Great Depression that followed the Wall Street
1838
01:44:05,720 --> 01:44:08,000
crash helped form, didn't it?
1839
01:44:08,090 --> 01:44:09,903
Awesome. Will our new depression make
1840
01:44:10,760 --> 01:44:11,760
a new awesome?
1841
01:44:21,060 --> 01:44:23,520
Beatrice had an on opened letter from you
1842
01:44:23,940 --> 01:44:25,529
to your guardian Dadda benching.
1843
01:44:26,660 --> 01:44:29,061
This letter was written on the 14th of October in
1844
01:44:29,300 --> 01:44:31,819
1931 when
1845
01:44:31,820 --> 01:44:33,710
dad was still living in Chicago.
1846
01:44:34,430 --> 01:44:35,810
Any of these unopened?
1847
01:44:39,860 --> 01:44:41,289
Top man.
1848
01:44:44,050 --> 01:44:46,409
Funny you forgot to post something.
1849
01:44:46,650 --> 01:44:48,179
This is insane.
1850
01:44:49,350 --> 01:44:51,509
We were hoping that there'd be some secret in that
1851
01:44:51,510 --> 01:44:53,078
envelope. PAWSON Some new way of
1852
01:44:54,090 --> 01:44:55,090
seeing you.
1853
01:44:55,170 --> 01:44:56,170
Isn't that why?
1854
01:44:56,850 --> 01:44:59,369
But maybe what was in the box and what's
1855
01:44:59,370 --> 01:45:01,680
in the University of Michigan archive?
1856
01:45:02,060 --> 01:45:04,170
There's a bit of a new way of seeing you.
1857
01:45:04,590 --> 01:45:05,590
There's nothing in Agnes.
1858
01:45:05,940 --> 01:45:08,549
Your art has made me look again at your life and
1859
01:45:08,550 --> 01:45:09,550
work.
1860
01:45:11,450 --> 01:45:13,609
This scene in Mr. Codon, for example.
1861
01:45:13,820 --> 01:45:15,859
Oh, it isn't. That's what all these crazy
1862
01:45:15,880 --> 01:45:16,880
Frankensteins.
1863
01:45:18,600 --> 01:45:20,462
Well, you don't understand supposed to
1864
01:45:21,100 --> 01:45:22,100
represent the paintings.
1865
01:45:22,370 --> 01:45:24,460
Now some of it comes with visions and monsters.
1866
01:45:24,910 --> 01:45:27,050
Boy, oh, boy.
1867
01:45:27,250 --> 01:45:28,250
Glad to meet you.
1868
01:45:29,290 --> 01:45:31,250
It's a Goya painting with an added bench
1869
01:45:31,930 --> 01:45:33,459
of Tusa from sternbergh.
1870
01:45:36,460 --> 01:45:39,590
In the same film, this scene near the start
1871
01:45:39,780 --> 01:45:42,590
is what graphic certainly
1872
01:45:43,280 --> 01:45:45,979
it's a murder and chase moment, but who's
1873
01:45:45,980 --> 01:45:48,529
being shot or why doesn't seem to be
1874
01:45:48,530 --> 01:45:49,909
your main concern.
1875
01:45:51,530 --> 01:45:53,840
You're more taken by the steam of the train
1876
01:45:54,350 --> 01:45:56,930
ships within the frame, the angles,
1877
01:45:57,440 --> 01:45:58,440
the cubism.
1878
01:46:02,600 --> 01:46:05,149
And then the lady from Shanghai, you painted
1879
01:46:05,150 --> 01:46:07,230
these sets yourself, didn't you?
1880
01:46:07,590 --> 01:46:09,560
And that was not you walk through a lattice
1881
01:46:10,100 --> 01:46:13,040
shards, a constructivist design.
1882
01:46:13,610 --> 01:46:15,374
If the cops traced it to Grisby like
1883
01:46:16,220 --> 01:46:18,289
this one by ALEXANDRA Extern.
1884
01:46:23,020 --> 01:46:25,930
And a few scenes later in your hall of mirrors.
1885
01:46:26,460 --> 01:46:28,290
We're in the land of my bridge.
1886
01:46:28,320 --> 01:46:29,320
Play it your way.
1887
01:46:30,180 --> 01:46:32,869
You didn't love panel imagery
1888
01:46:34,230 --> 01:46:35,230
erotic.
1889
01:46:36,900 --> 01:46:38,280
In love with lenses.
1890
01:46:42,650 --> 01:46:45,209
And then the lady from Shanghai is like a drawing
1891
01:46:45,590 --> 01:46:46,709
or a knew about her.
1892
01:46:47,400 --> 01:46:49,789
She planned to kill Bannister.
1893
01:46:50,490 --> 01:46:51,510
She and Grisby.
1894
01:46:52,140 --> 01:46:53,250
Isn't that it?
1895
01:46:54,120 --> 01:46:55,949
Is that what's been on the tip of my tongue in
1896
01:46:55,950 --> 01:46:56,950
this letter?
1897
01:46:58,440 --> 01:47:01,080
Many of your films are like charcoal drawings,
1898
01:47:01,540 --> 01:47:04,140
hair nets and grills are hatchings
1899
01:47:04,500 --> 01:47:05,500
shadings.
1900
01:47:11,470 --> 01:47:14,740
Mr. Carden, you used the Segovia Aqueduct
1901
01:47:15,190 --> 01:47:17,000
like an architectural drawing.
1902
01:47:18,080 --> 01:47:19,080
Oh, I went.
1903
01:47:27,390 --> 01:47:29,859
As I'm thinking this, I see this scene
1904
01:47:29,940 --> 01:47:31,479
in the lady from Shanghai.
1905
01:47:32,590 --> 01:47:34,529
Rita wants her cigaret lit.
1906
01:47:35,440 --> 01:47:38,169
Your shot sweeps left with it.
1907
01:47:38,530 --> 01:47:39,850
Mano a mano.
1908
01:47:40,750 --> 01:47:43,239
There's no story need to do this, but there's a
1909
01:47:43,240 --> 01:47:45,670
graphic need, a drawing need.
1910
01:47:46,140 --> 01:47:49,010
God will never be too old to earn a salary.
1911
01:47:49,240 --> 01:47:51,445
And then the shot comes back again, following
1912
01:47:51,910 --> 01:47:53,020
the cigaret again.
1913
01:47:54,970 --> 01:47:57,669
Two simple moments, but they're like this
1914
01:47:57,670 --> 01:47:58,810
drawing of yours.
1915
01:48:01,610 --> 01:48:02,630
Or this destroying.
1916
01:48:06,310 --> 01:48:07,310
That's it.
1917
01:48:07,810 --> 01:48:09,579
That's my light bulb moment.
1918
01:48:09,670 --> 01:48:10,670
Awesome.
1919
01:48:10,750 --> 01:48:12,579
That's what's been on the tip of my tongue.
1920
01:48:13,120 --> 01:48:14,439
Your visual thinking.
1921
01:48:15,310 --> 01:48:17,890
You thought with lines and shapes,
1922
01:48:18,730 --> 01:48:20,710
your films are sketchbooks.
1923
01:48:21,600 --> 01:48:22,600
Calligraphy.
1924
01:48:25,230 --> 01:48:27,435
That's why people who love Laurence Olivier's
1925
01:48:27,840 --> 01:48:30,599
literary and psychological Shakespeare films
1926
01:48:30,930 --> 01:48:31,930
don't like yours.
1927
01:48:32,670 --> 01:48:35,820
Yours were rougher and more to do with space
1928
01:48:35,910 --> 01:48:37,290
and graphics and power.
1929
01:48:38,640 --> 01:48:41,310
Once I realize this, I discover
1930
01:48:41,520 --> 01:48:43,439
that it's sort of said it already.
1931
01:48:44,340 --> 01:48:47,189
He told one of your biographers that Macbeth
1932
01:48:47,220 --> 01:48:50,069
was a violent charcoal sketch of the play.
1933
01:48:51,380 --> 01:48:54,449
And the Nazi Party's filmmaker, Leni Riefenstahl,
1934
01:48:54,570 --> 01:48:57,240
of all people, wasn't far off
1935
01:48:57,270 --> 01:48:58,789
when she said that Welles draws
1936
01:48:59,970 --> 01:49:01,587
marvelous pictures in the margins
1937
01:49:02,640 --> 01:49:03,640
of Shakespeare.
1938
01:49:05,380 --> 01:49:07,144
F for fake was a sketchbook unfolded
1939
01:49:08,020 --> 01:49:11,020
paper touch of evals of fresco.
1940
01:49:11,790 --> 01:49:13,719
The trial is like a lino cut
1941
01:49:14,960 --> 01:49:17,469
Macbeth. The Lady from Shanghai, Othello
1942
01:49:17,550 --> 01:49:20,109
and Mr. Arkadin scratch at
1943
01:49:20,110 --> 01:49:22,540
their characters like your quill and
1944
01:49:22,630 --> 01:49:25,479
ink scratched in the TV sketches.
1945
01:49:26,870 --> 01:49:29,299
Approximately excitingly,
1946
01:49:29,900 --> 01:49:32,770
but in a way that many find too sharp.
1947
01:49:34,490 --> 01:49:36,401
They make you seem mad for contact with
1948
01:49:37,010 --> 01:49:40,039
the world, taking its fragments roughly
1949
01:49:40,820 --> 01:49:43,369
and absorbing them into yourself to
1950
01:49:43,370 --> 01:49:46,220
make art that jagged and fractured.
1951
01:49:49,630 --> 01:49:52,209
In 1953, you went here,
1952
01:49:52,900 --> 01:49:55,629
Edinburgh and Scotland, and made a speech about
1953
01:49:55,630 --> 01:49:57,220
the future of the movies.
1954
01:49:58,750 --> 01:50:01,359
You said that a Hollywood film needs an audience
1955
01:50:01,360 --> 01:50:04,090
of 60 million people to break even.
1956
01:50:05,450 --> 01:50:08,600
But you dreamt of smar more distinctive films
1957
01:50:08,990 --> 01:50:11,120
that could speak to 2 million people.
1958
01:50:12,460 --> 01:50:15,040
Guess what? Orson from the future.
1959
01:50:15,490 --> 01:50:18,100
I can tell you that your dream is sort of
1960
01:50:18,180 --> 01:50:19,180
country.
1961
01:50:21,450 --> 01:50:23,753
Film technology has changed massively since she
1962
01:50:24,090 --> 01:50:25,090
died.
1963
01:50:26,480 --> 01:50:28,520
If many of your films were like sketches,
1964
01:50:29,270 --> 01:50:31,377
if you dreamt of a camera being more like a
1965
01:50:31,640 --> 01:50:34,399
pencil, your dream is coming
1966
01:50:34,400 --> 01:50:35,400
true.
1967
01:50:36,770 --> 01:50:39,469
More than ever, you can draw with a camera.
1968
01:50:39,520 --> 01:50:40,520
No.
1969
01:50:40,950 --> 01:50:43,590
Studio cinema was like history painting.
1970
01:50:44,580 --> 01:50:47,310
Knife film is more like oil painting.
1971
01:50:48,440 --> 01:50:49,440
And look at this.
1972
01:50:49,880 --> 01:50:52,189
An oil painting of, you know,
1973
01:50:52,460 --> 01:50:53,629
it's an accident.
1974
01:50:54,330 --> 01:50:56,899
Our computer didn't copy some footage of you
1975
01:50:56,900 --> 01:50:59,630
properly and so it pixelated it
1976
01:51:00,200 --> 01:51:02,960
and it looks like Manet or Rembrandt.
1977
01:51:07,810 --> 01:51:10,179
We're back in the 1940s when you were making
1978
01:51:10,660 --> 01:51:13,299
'Citizen Kane'. You and cinematographer Gregg
1979
01:51:13,300 --> 01:51:14,672
Toland dreamt of a time when
1980
01:51:15,910 --> 01:51:18,489
there would be no film and the camera would be an
1981
01:51:18,580 --> 01:51:19,750
electronic eye.
1982
01:51:20,990 --> 01:51:23,539
That dream has come tree to.
1983
01:51:27,790 --> 01:51:29,929
On the morning of October the 10th, nineteen
1984
01:51:29,930 --> 01:51:31,860
eighty five, you died.
1985
01:51:34,960 --> 01:51:37,239
It was said that you were at your typewriter when
1986
01:51:37,240 --> 01:51:38,240
it happened.
1987
01:51:38,620 --> 01:51:39,620
This typewriter.
1988
01:51:40,640 --> 01:51:43,199
But your life probably ended in your bathroom.
1989
01:51:44,710 --> 01:51:47,589
But still, is this one of the last things
1990
01:51:47,590 --> 01:51:49,452
in the world those great eyes of yours
1991
01:51:50,100 --> 01:51:51,520
saw? Awesome.
1992
01:51:54,330 --> 01:51:56,192
If you're alive now, if you were still
1993
01:51:57,090 --> 01:51:59,819
seeing, you could be making so
1994
01:51:59,850 --> 01:52:01,100
many films.
1995
01:52:03,200 --> 01:52:06,170
Your archetypes, pond, knights,
1996
01:52:06,350 --> 01:52:09,259
kings and jesters are as relevant
1997
01:52:09,500 --> 01:52:10,500
as ever.
1998
01:52:13,510 --> 01:52:15,617
Your friend Kenneth Tynan said when writing
1999
01:52:16,270 --> 01:52:17,642
about you, the B will always
2000
01:52:19,060 --> 01:52:20,060
make honey.
2001
01:52:22,420 --> 01:52:23,420
What, honey?
2002
01:52:23,530 --> 01:52:24,530
You made.
2003
01:52:27,950 --> 01:52:29,810
What, honey? You could have made.
2004
01:52:34,760 --> 01:52:35,985
In an interview 1962, you
2005
01:52:37,310 --> 01:52:39,979
said being alive means not
2006
01:52:39,980 --> 01:52:42,679
killing the tensions one carries within
2007
01:52:42,680 --> 01:52:43,680
oneself.
2008
01:52:44,060 --> 01:52:46,549
On the contrary, support must seek out
2009
01:52:46,640 --> 01:52:49,399
and cultivate his contradictions.
2010
01:52:53,260 --> 01:52:55,500
Buzzed with contradictions or awesomer,
2011
01:52:56,160 --> 01:52:58,770
you love porn's nights and
2012
01:52:58,790 --> 01:52:59,790
games.
2013
01:53:02,300 --> 01:53:04,399
Do I contradict myself?
2014
01:53:04,730 --> 01:53:06,890
Very well, then I contradict.
2015
01:53:07,640 --> 01:53:10,279
I am large, I contain
2016
01:53:10,280 --> 01:53:11,420
multitudes.
2017
01:53:11,780 --> 01:53:14,359
I, too, am not a bit tamed.
2018
01:53:14,690 --> 01:53:17,510
I, too, am untranslatable.
2019
01:53:17,930 --> 01:53:20,660
I sound my barbaric
2020
01:53:20,900 --> 01:53:21,978
your over the roofs of
2021
01:53:23,540 --> 01:53:24,540
the world.
2022
01:53:28,820 --> 01:53:30,600
We can still hear your sound.
2023
01:53:30,650 --> 01:53:31,650
Awesome.
2024
01:53:31,790 --> 01:53:34,699
And most of all, we can still
2025
01:53:34,790 --> 01:53:36,500
look through your eyes.
2026
01:54:18,010 --> 01:54:20,229
Look, their Sancho Panza, my friend,
2027
01:54:20,530 --> 01:54:23,680
and see those 30 or so wild giants
2028
01:54:24,070 --> 01:54:26,619
with whom I intend to do battle and kill each and
2029
01:54:26,680 --> 01:54:27,680
all of them.
2030
01:54:28,660 --> 01:54:31,189
What Giants Ass and Chapin's are
2031
01:54:31,870 --> 01:54:33,310
the ones you can see over there?
2032
01:54:33,370 --> 01:54:36,700
Answered his master with the huge arms.
2033
01:54:37,690 --> 01:54:38,700
Now look, Greece.
2034
01:54:38,800 --> 01:54:40,270
It's unsure what you see over.
2035
01:54:40,870 --> 01:54:44,350
There aren't giants, but windmills,
2036
01:54:46,930 --> 01:54:48,969
obviously, replied Don Quixote.
2037
01:54:49,360 --> 01:54:52,060
You don't know much about adventures.
134268