Lavorando con Orson Welles

lettera Orson Welles 1961
lettera Orson Welles 1961

Even if the quality cannot be improved, there is the question of movement. All of your moves from one part of a photograph to another are excellent, and I can think of no possible improvement in terms of composition or choice of where and when to move. But the actual movement is in every case much too slow for the feeling of violence that I want to give. Now I very well know that it would be impossible to control the composition, or the steadiness of the camera, if you actually whipped from one part of a photograph to another – but yet, that whipping effect is what we really need. So I am suggesting that you, in all those cases where there is such movement, undercrank the camera as much as you possibly can. Of course, this means using up a lot of film, but what of it? We need that effect of great violence and speed. For example, where we move from a figure crouching in fear to another figure impaled on a bull’s horn, we should apparently flash across the photograph, to stop instantly and decisively on the second composition. Undercranking is the only answer, so that you will actually be moving slowly enough to control the camera movement – but the finished effect will be of great rapidity.

Estratto di una lettera autografa di Orson Welles ad uno dei suoi operatori mentre si girava la serie La España de Don Quijote (Nella Spagna di Don Chisciotte).

Altre lettere e documenti sulle riprese sono nel mio archivio, uno dei tanti progetti nel cassetto…. come i sogni.

Buon anniversario Orson!

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