In an interview about The Other Side of the Wind (2018), Orson Welles said: Supposing, during the course of the picture, that it turns out that it’s more interesting hearing the actors and myself talking than making the picture. That will be the picture! We will talk. Although he quickly abandoned this idea (Chabrol, Mazursky, Jaglom, and Hopper, who were asked to take part in the project, appear on-screen for only a moment), it was developed beautifully in a documentary produced by Filip Jan Rymsza. Bob Murawski edited it from an interview that the director of Citizen Kane (1941) conducted in 1970 with Dennis Hopper, who was on the rise thanks to Easy Rider (1969), a debut that made the charismatic actor one of the New Hollywood’s most important filmmakers. Welles, who, despite his megalomania, never appears on-screen, talks with Hopper, the focal point, about editing, magic, religion, and the films of Buñuel and Antonioni, among other things. The most interesting moments are, however, when the insightful Welles criticizes the maker of such a nonconformist film for not speaking out on the issues of rebellion and politics. It is this thread that makes the conversation from half a century ago so relevant today.
Orson Welles is a cinematic legend, an extremely colorful and complex figure - on the one hand a well-known auteur and star, on the other an undefined character, often analyzed only through the lens of completed works. The author of Citizen Kane seems to be the most characteristic example of an unfulfilled artist. His enormous potential resulted in relatively few films, which highlights the conflict between the outstanding artist, cinema as an art, and the industry and commercial nature of the movies.
1941 Obywatel Kane / Citizen Kane
1946 Intruz / The Stranger
1947 Dama z Szanghaju / The Lady from Shanghai
1958 Dotyk zła / Touch of Evil
1972 Druga strona wiatru / The Other Side of the Wind