You are right, MartynH, as is tony and keats, about psychoanalysis, but somewhere in the remarks resides a mixed message. It depends on the subject, and how far we are willing to take it or not take it.
Orson Welles, it seems to me, is a special case because of his extraordinary experiences in youth, both promising and crushing, how he dealt with them, and how they turn up in so much of his art. In another man, another artist, that cigar might be . . . well . . . just a cigar.
But when from his own lips, Welles confesses the irreparable loss of his mother, a feeling that he caused his father's death, his rescue by a father figure [or father figures], a rage at "betrayal" by one of his best friends, a notion until late in life no woman quite offered him completion, an obsession in old age with control of daughters [and sons?], then the choices he made in his work become hard to ignore.
I don't consider it "dollar book Freud," as he dismissed in another context, but just a reasonable conclusion drawn from human logic.
In CITIZEN KANE, we have abandonment by the mother (and in a sense unwitting betrayal of the father, not to mention "betrayal" [imagined] by a best friend); in THE MAGNIFICENT AMBERSONS (loss of mother, irrelevance of father and grandfather, rejection and banishment of a maternal figure); in THE STRANGER (murder of the old friend, guilt, obsession, willingness to sacrifice a wife); in THE LADY FROM SHANGHAI (betrayal by the love object and best friend); in MACBETH (murder of the father figure and best friend); in OTHELLO (betrayal by "best friend," murder of innocent wife); in MR. ARKADIN (loss of daughter, surreptitious murders, murder of old friend, subterfuges to conceal real biography); in TOUCH OF EVIL (corrosive loss of first love, substitution for maternal figure, projection of guilt on others); in THE TRIAL (rejection by the World); in FALSTAFF (rejection of the old mentor); in THE IMMORTAL STORY (voyeurism); in DON QUIJOTE (rejection of the modern world, and an attempt to recover a paradise lost), etc.
Only with F FOR FAKE does Welles appear to come to terms with his losses, defeats, and compromises -- in his celebration of Art, his praise of Oja Kodar, and a tip of his hat to Ernest Hemingway, Pablo Picasso, and Howard Hughes, his models. He may have carried on this summing up, more darkly, in THE OTHER SIDE OF THE WIND.
As some of us say, you do not have to buy all of that, or even most of it, to determine Orson Welles was "a special case."