The passion that had taken the form of a great love for literature and for life gradually stripped itself of the love for literature and turned to what it really was—a passion for life, for reality, for physical, sexual, objectual, existential reality around me. This is my first and only great love and the cinema in a way forced me to turn to it and express only it.
Cinema is identical to life, because each one of us has a virtual and invisible camera which follows us from when we’re born to when we die. In reality cinema is an infinite film sequence-shot. Each individual film interrupts and rearranges this infinite sequence-shot and thus creates meaning, which is what happens to us when we die. It is only at our moment of death that our life, to that point undecipherable, ambiguous, suspended, acquires a meaning. Montage thus plays the same role in cinema as death does in life.
"During all my life I have never exerted an act of violence, neither physical nor moral. Not because I am fanatically for no-violence. If this is a form of ideological, self-pressure, it is violence too. In my life I have never exerted any violence, neither physical nor moral, simply because I trusted to my nature, that is my culture…" .
Peter Bogdanovich: How about Rogopag?
Orson Welles: Can’t believe that. I was never in a picture with a name like that.
Bogdanovich: In one episode directed by Pasolini. You played a movie director.
Welles: Oh, yes… Censored, in Italy at least, after one single screening in Venice.
Bogdanovich: I didn’t think it was very good.
Welles: No? Why?
Bogdanovich: It was sort of obscure and arty—
Welles [laughs]: “Obscure and arty.” Simply because it didn’t happen on the banks of the Mississippi, it’s obscure and arty… You mustn’t be asked about anything that isn’t, you know, Judge Shit on the Range or something—
Bogdanovich [laughing]: Well, among other things wrong with it, they dubbed you into Italian.
Welles: I played it in Italian! The exhibitors must have thought the Italian public couldn’t stand my accent. They have a terrible snobbism about accents in Italy. So much so that lots of their leading actors—the girls especially—have never been heard in Italy speaking their own language in their own voices; they’re dubbed by radio actors.
Bogdanovich: I didn’t know that.
Welles: Yes. If your accent is vaguely of the north, let’s say, then everybody in the south hoots with laughter. So of course my own little touch of Kenosha would have been fatal. I read a poem in that one, and Pasolini told everyone that he’d never heard an Italian actor read Italian poetry with such simplicity and directness. He tried to get me to play a pig a couple of years ago when I was in Vienna.
Bogdanovich [laughing]: Really a pig?
Welles: A German pig. Something really obscene.
Bogdanovich: You like Pasolini?
Welles: Terribly bright and gifted. Crazy mixed-up kid, maybe—but on a very superior level. I mean Pasolini the poet, spoiled Christian, and Marxist ideologue. There’s nothing mixed up about him on a movie set. Real authority and a wonderfully free way with the machinery.