This appeared Cinema Scope no. 11 (summer 2002). — J.R.
“You can’t smell email,” Raúl Ruiz insisted to me the night before we had this interview at the 2002 Rotterdam Film Festival, explaining to me why he didn’t have any truck with the Internet. He added that lately he’s been collecting various first editions, excommunications, and death sentences, many of them from the 19th century and earlier, and he can smell all of them.
At first I was surprised by this old-fashioned form of resistance, but then the more I thought about it, the more I realized that Raúl is basically a 19th century figure. His largely Borgesian canon of 19th and early 20th century English and American writers (Chesterton, Stevenson, Wells, Harte, Hawthorne, Melville, et al) and his taste for rambling narratives and tales within tales smacks of a Victorian temperament.
I first encountered Ruiz’s work during my first trip to the Rotterdam Film Festival, in 1983, and it was there where we first became friends three years later —- as well as where we had this interview on January 26, in the lobby of the hotel where we were both staying. (Raúl had a small DV camera with him, and from time to time would idly shoot people coming through the hotel’s revolving-door entrance from where we sat a few yards away –- something, he explained, that he needed for his new Chilean TV series.)
Asked to produce a Welles tribute at the festival three months after Welles’s death, in early 1986, I met Oja Kodar —- Welles’s companion and major collaborator since the 60s — for the first time, and on my own initiative, knowing Ruiz’s affinity for both Isak Dinesen and Welles, lobbied unsuccessfully for Ruiz as the ideal person to film The Dreamers -— a cherished late Welles project starring Oja -— incorporating the material that Welles had already shot for it.… Read more »