Thank you! Don't forget to confirm subscription in your email.
Good evening, ladies and gentleman. My name is Orson Welles. I am an actor. I am a writer. I am a producer. I am a director. I am a magician. I appear onstage and on the radio. Why are there so many of me and so few of you?
I was nine. I saw Orson Welles in 'Julius Caesar.' It was involving, emotional, imaginative. I've never forgotten it.
I love beautiful black-and-white movies - anything Bette Davis, especially 'Now', 'Voyager', 'Casablanca', 'Mildred Pierce'; anything by Orson Welles, Truffaut, or Godard; and 'Paper Moon' by Peter Bogdanovich.
I was watching Orson Welles and Jean Vigo films at a ridiculously young age.
Fortunately, John Houseman is a marvelous writer and he sat in on so many story conferences. He worked with Welles, you know, and he's a marvelous man.
If I could steal someone's dream myself, I'd have to go for one of Orson Welles.
When Orson Welles was acting in 'Compulsion,' the director Richard Fleischer let him just take over and direct the courtroom scenes. To be able to see Welles - who knew more about directing than anyone - direct himself and the other actors, it was unbelievable and unforgettable.
It always amazed me that he was able to do it, and that Orson Welles was able to do it. I never understood it because the talents are absolutely opposite - polar opposites.
I grew up on the crime stuff. Spillane, Chandler, Jim Thompson, and noir movies like Fuller, Orson Welles, Fritz Lang. When I first showed up in New York to write comics back in the late 1970s, I came with a bunch of crime stories but everybody just wanted men in tights.
Like so many people, I only remembered Orson Welles as this huge, fat, bearded figure selling wine in TV commercials. So whenever anyone said I looked like Orson Welles I said that I wasn't that fat, and I would get on a diet, quickly.
