I've noticed that, particularly in F for Fake and the scene from Other Side of the Wind, Welles' editing style is as furious as the most disconcerting new wave pictures, like Muriel. I also know Welles was (and is) revered in France, especially by new wave directors. This is probably naive of me, but which way around did the influence most go? Did Welles' editing style only get this radical after Godard? Or is it that we were only allowed to see Welles' editing in all its glory after the new wave had gone into full swing?
Welles tells us that Cohn removed what he calls shock effects from Lady from Shanghai - did this include the editing? Kane is edited so that the placing of scenes creates beautiful contrasts and disjunctions, but still each dialogue scene of Kane and Ambersons, at least, usually played out in one take. The rhythm of the cuts in these later works is absent from his earlier work.