Huw Wheldon: When eventually Kane was made it was an enormous success as all the world knows, and it has gone on being a success, and it’s a long time ago now. Have you ever regretted that so great a success came so early?Orson Welles: Well, I’ve regretted early successes in many fields, but I don’t regret that in Kane because it was the only chance I ever had of that kind. I’m glad I had it at any time in my life—I wish I had it more often. I wish I had, you know, a chance like that every year; there would be 18 pictures, not just one.HW: Two, Ambersons.OW: Two, except Ambersons. At the end of it there’s a very serious piece of surgery involved there, a change.HW: Which wasn’t done by you.OW: No. There are two short scenes in it I didn’t write or direct and over 3 reels were taken out in their entirety, and they were, in my view, the reason for making the film, not simply good reels, but the whole film was a preparation for those reels which were too tough and too… er—in those days, too hard-boiled for the exhibitors’ tastes, and by the time I returned from South America—that’s a long story I won’t go into—to supervise the release of Ambersons, RKO had fallen into the hands of the counterrevolutionary forces. And I no longer was invited into the cutting-room.
BBC Monitor - 1960.

Huw Wheldon: When eventually Kane was made it was an enormous success as all the world knows, and it has gone on being a success, and it’s a long time ago now. Have you ever regretted that so great a success came so early?
Orson Welles: Well, I’ve regretted early successes in many fields, but I don’t regret that in Kane because it was the only chance I ever had of that kind. I’m glad I had it at any time in my life—I wish I had it more often. I wish I had, you know, a chance like that every year; there would be 18 pictures, not just one.

HW: Two, Ambersons.
OW: Two, except Ambersons. At the end of it there’s a very serious piece of surgery involved there, a change.

HW: Which wasn’t done by you.
OW: No. There are two short scenes in it I didn’t write or direct and over 3 reels were taken out in their entirety, and they were, in my view, the reason for making the film, not simply good reels, but the whole film was a preparation for those reels which were too tough and too… er—in those days, too hard-boiled for the exhibitors’ tastes, and by the time I returned from South America—that’s a long story I won’t go into—to supervise the release of Ambersons, RKO had fallen into the hands of the counterrevolutionary forces. And I no longer was invited into the cutting-room.

BBC Monitor - 1960.

    1. auteurodyssey reblogged this from strangewood
    2. stealingintolanguage reblogged this from strangewood
    3. magnificentlyorsonian reblogged this from strangewood
    4. orsonwellesestate reblogged this from strangewood
    5. filmcastlive reblogged this from strangewood
    6. motionpicturesatarevolution reblogged this from strangewood
    7. ikaristwin reblogged this from strangewood
    8. strangewood posted this