From my 2007 collection Discovering Orson Welles and the Chicago Reader (October 29, 1993). -– J.R.
I’m one of the people who receives an acknowledgment in the final credits of It’s All True: Based on an Unfinished Film by Orson Welles, but in fact I regret the contribution I made to this film. During a phone conversation with Bill Krohn, one of the writers, directors, and producers, Bill told me that one of the French producers, Jean-Luc Ormières, was looking desperately for a composer for the documentary who wouldn’t charge too much money. I suggested Jorge Arriagada — the Chilean film composer who at that point had written the scores for something like a couple of dozen films by Râúl Ruiz, a filmmaker I greatly admire as well as a friend — and Arriagada wound up getting hired for the job. I recall having heard that Arriagada mainly worked for Ruiz because he liked to do so rather than out of economic necessity, and this fact combined with Ruiz’s own Welles worship and Arriagada’s South American background made him seem ideal. Unfortunately, this conclusion was built on the common Anglo-American fallacy that Latin America is something like a single homogeneous culture — the same assumption, I presume, that years later would prompt Colin MacCabe, the producer at the British Film Institute of a series of national film histories on film or video assigned to various filmmakers, to assign the whole of Latin American cinema to one (admittedly very talented and knowledgeable) Brazilian director, Nelson Pereira dos Santos, yielding his 93-minute Cinema of Tears in 1995. Read more