And from that:
On Robert Bresson’s PICKPOCKET: “Robert Bresson was absolutely right to choose Lulli to accompany the ballet of pocket picking and the terrible anxiety that accompanies the novice catpurse. The acting that he managed to coax from a non-professional is miraculous: not only does he bring long hands that might belong to a pianist to the filching of wallets, but he has also endowed his hero with the sort of existential terror of an animal stalking its prey and fearful of being stalked in its turn.
And what made me stumble upon this was reading Pauline Kael’s essay, Raising Kane, and the reference to how Cocteau thought Welles had a look of a dog that has broken its chain and gone to sleep in the flowerbed, I think the following may be an accurate quote:
"Orson Welles is a kind of giant with the look of a child, a tree filled with birds and shadow, a dog that has broken its chain and lies down in the flower beds, an active idler, a wise madman, an island surrounded by people, a pupil asleep in class, a strategist who pretends to be drunk when he wants to be left in peace. He knows better than anyone how to use the apparent nonchalance of true strength to give an impression of drifting, and advances with a half-open eye. The derelict manner he sometimes affects, like some dozing bear, shields him from the cold, restless whirl of the film world. A method that made him pack his bags, leave Hollywood and allow himself to be drawn toward other company and other prospects." — Jean Cocteau