That's well put, Roger.
Here's an interesting excerpt from an interview on The Trial that Welles did shortly after the film was released which seems to tie in with the dream nature of the story:
"We were due to leave Paris for Yugoslavia in two weeks when we were told that we wouldn't be able to put up a single set there because the producer had already made another film in Yugoslavia and hadn't paid his debts. That's why we had to use that abandoned station. I had planned to make a completely different film. Everything was improvised at the last moment, because the whole physical concept of my film was quite different. It was based on the absence of sets. And the gigantic nature of the sets, which people have objected to, is partly due to the fact that the only setting I could find was that old abandoned station (the Gare D'Orsay). An empty railway station is vast. In the production as I originally envisaged it, the sets were to gradually disappear. The number of realistic elements was to gradually diminish, and to be seen to diminish by the spactators, until only open space remained, as if everything had been dissolved away"
From This is Orson Welles:
PB: ...I think it is like some terrible dream
OW: But it isn't a reproduction of a dream - that's a very important point to make.
PB: It gives you the feeling of a dream.
OW: Yes, related to the experience of dreaming...the magical part of dreaming is what I was looking for, trying to achieve. Because dreams do have something to do with magic, and I believe in magic as the main source of poetry*. We create entire worlds in our dreams - full of people we've never seen, places we've never been to - that seem to echo and reverberate with worlds and memories that we've never experienced. And yet, there they are, real, within the context of that sleeping experience - when we're in touch with whatever we're in touch with, which people have only begun to guess at. And so it would have been disastrous to have symbolism, in the ordinary sense of the word in it, because a symbol is my statement to you and the audience, and I'm not there. I mustn't tell you anything. I must make you think that there are things happening in the next room that you don't know about; that's the thing of a dream. That they are richly happening. Totally ambiguous, you know. Signalling to us magically, but never in the sense of the egghead symbol, only in the symbolism of magic. That symbolism is very valid, and I prefer not to talk about it...it's an invocation of something.