Orson Welles had in mind a breathtaking production design for his adaptation of one of the most famous novels of the 20th century, Franz Kafka’s The Trial. However, when the producers refused to stump up the money he needed, this uncrowned king among filmmakers decided that the tale of the trial of Josef K. would be nothing short of one huge nightmare, and he shot various takes and scenes in different cities (from Zagreb via Paris to Rome) in a magical, black-and-white veil of shadows and reflections. The atmosphere combining the repulsive and the comic would certainly have appealed to Kafka. “The point is not whether K. is guilty or innocent,” states Orson Welles. “It’s an attitude towards guilt and innocence – that’s the point of the story.”