Peter Bogdanovich: Interviews

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CS Interview: Peter Bogdanovich on The Other Side of the Wind

A lot of long takes.

It was the whole production. It got great reviews in its original release, except in The New York Times. He thought the central character was shallow. Orson suggested they open it in tents around the country. AFI: You had a close relationship with Welles for many years. How did he feel about the film? It depressed him actually.

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It was a struggle to get him to talk about KANE. Reluctantly he talked about it; I would trick him into it sometimes.

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I think he thought he was making a pretty good picture. I was influenced by a general feeling of fearlessness.

Interviewed by: Raymond De Felitta

Your email address will not be published. Your Comment. But it was so bad It was so mediocre, it was a disservice to Ford. Their stuff was a kind of premature eulogy. And it's so important that people know what a great artist John Ford is. Bogdanovich's remark recalled something else he once said - that all of the good films have already been made. And so maybe that is why, in a roundabout sort of way, his new film is named " The Last Picture Show. And one of the things in the back of my mind was the hope that maybe we could help break that silly taboo against black and white.

A lot of pictures shouldn't be shot in color. Orson Welles told me once that all the great performances have been in black and white. That is almost literally the truth. There's something mysterious and enriching about black and white.


Color is too realistic. A film critic before he became a director, Bogdanovich is still working on a major project, a "definitive" book about Welles. She never interviewed Orson or anybody who worked on the picture. I talked not long ago with Orson's secretary, and all she said was, If Orson Welles didn't write 'Citizen Kane,' then what was all that stuff I was typing?

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Orson was her scapegoat in her war against Andrew Sarris and the other auteurists. But she really should have done a better job of researching. Orson is very upset, but how can he answer?

What can be say? Whatever he says, he will doubtless say it in Bogdanovich's book.

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Other projects at the moment, Bogdanovich said, include a monthly column on Hollywood for Esquire, updating his monographs on Howard Hawks and Alfred Hitchcock for book publication and doing a book on Raoul Walsh. He has just finished directing " What's Up, Doc?

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I wanted to work at Warner's - there are so many ghosts there, more ghosts than at any studio, except maybe Paramount - and I suggested a three-sentence outline that eventually became 'What's Up, Doc?. He does a sort of Cary Grant kind of performance, pratfalls with a straight face. I had seen him in dozens of movies, of course, and I had a chance to meet him several years ago when I visited the set of Ford's 'Cheyenne Autumn. He kept saying there were too many words in the role.

Peter Bogdanovich: Interviews -

He didn't like roles with words. So finally Ben came around. But he was dead-set against rehearsals. I said we were going to get together to just sort of read through the lines.

Peter Bogdanovich: Interviews Peter Bogdanovich: Interviews
Peter Bogdanovich: Interviews Peter Bogdanovich: Interviews
Peter Bogdanovich: Interviews Peter Bogdanovich: Interviews
Peter Bogdanovich: Interviews Peter Bogdanovich: Interviews
Peter Bogdanovich: Interviews Peter Bogdanovich: Interviews
Peter Bogdanovich: Interviews Peter Bogdanovich: Interviews

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