Yes, this was in 1960. When finally Hall published an edited version of the interview in Paris Review, it was already '62.
Hall: It must be thirty or thirty-five years since you have written any poetry outside the Cantos, except for the Alfred Venison poems. Why is this?
Pound: I got to the point where apart from an occasional lighter impulse, what I had to say fitted the general scheme.
H: Do you think that the modern world has changed the ways in which poetry can be written?
P: There is a lot of competition that never was there before. Take the serious side of Disney, the Confucian side of Disney....
H: Did anyone ever help you with your work? ...I mean by criticism and cutting.
P: Apart from Fordie [Ford Madox Ford], rolling on the floor undecorously and holding his head in his hands, and groaning on one occasion, I don't think anybody helped me through my manuscripts. Ford's stuff appeared too loose then, but he led the right against tertiary archaisms.
H: How did you get started being a poet?
P: My grandfather on one side used to correspond with the local bank President in verse....
H: Can a man of the wrong [political] party use language efficiently?
P: Yes. That's the whole trouble! A gun is just as good, no matter who shoots it.
John Tytell, The Solitary Volcano, pp. 333 ff.; Paris Review #28, pp. 22- .