Orson Welles(19151985), actor, writer, director |
Government Orson Welles Actor, writer, director Born: May 15, 1915, in Kenosha, Wisconsin Died: November 22, 1985 Other Orson Welles Sites Orson Welles materials in the Lilly Library, Indiana University Orson Welles: Ten Years After His Death Orson Welles' Mr. Arkadin A Maze of Death Was Citizen Kane Really About Hearst? by Orson Welles Orson Welles Films Actor/Director The Hearts of Age, 1934 Too Much Johnson, 1938 Citizen Kane, 1941 The Magnificent Ambersons, 1942 The Stranger, 1944 The Lady from Shanghai, 1945 Macbeth, 1947 Othello, 1952 Don Quixote (unfinished), 1954 Confidential Report, 1955 Mr. Arkadin, 1955 Touch of Evil, 1957 The Trial, 1962 Chimes at Midnight, 1966 Falstaff, 1966 The Immortal Story, 1968 F For Fake, 1975 The Other Side of the Wind (unfinished), 1975 Actor The Swiss Family Robinson, 1940 Journey Into Fear, 1942 It's All True, 1942 (incomplete, released 1993) Jane Eyre, 1942 (as Edward Rochester) Follow the Boys, 1944 Tomorrow is Forever, 1946 Duel in the Sun, 1947 (narrator only) Black Magic, 1949 Prince of Foxes, 1949 The Third Man, 1949 The Black Rose, 1950 Return to Glennascaul, 1951 Ghost Story, 1951 Trent's Last Case, 1953 The Beast, 1953 Trouble in the Glen, 1954 Si Versailles M'Etait Contι, 1954 Napoleon, 1954 Three Cases of Murder, 1955 Out of Darkness, 1955 (narrator only) Moby Dick, 1956 Man with a Shadow, 1957 Pay the Devil, 1957 The Long Hot Summer, 1958 Roots of Heaven, 1958 South Seas Adventure, 1958 (narrator only) David and Goliath, 1959 High Journey, 1959 (narrator only) Compulsion, 1959 Ferry to Hong Kong, 1959 The Tartars, 1960 Lafayette, 1961 King of Kings, 1961 (narrator only) Dιsordre, 1961 Lafayette, 1962 (as Benjamin Franklin) Der Grosse Atlantik, 1962 (narrator) Rogopag, 1962 The VIPs, 1963 The Finest Hours, 1964 (narrator only) Marco the Magnificent, 1965 A King's Story, 1965 (narrator only) In Paris Burning?, 1966 A Man for All Seasons, 1966 I'll Never Forget Whatshisname, 1967 Casino Royale, 1967 The Sailor from Gilbratar, 1967 Oedipus the King, 1968 Kampf um Rom, 1968 House of Cards, 1969 The Southern Star, 1969 Tepepa, 1969 Barbed Water, 1969 (narrator only) Una Su 13, 1969 Michael the Brave, 1969 The Kremlin Letter, 1970 Start the Revolution Without Me, 1970 (narrator only) The Battle of Neretva, 1970 Waterloo, 1970 Catch 22, 1970 Directed by John Ford, 1971 (documentary, narrator only) Sentinels of Silence, 1971 (narrator only) A Safe Place, 1971 Malpertuis, 1972 Get to Know Your Rabbit, 1972 Necromancy, 1972 Canterbury Tales, 1972 Rogopag, 1972 Treasure Island, 1972 (as Long John Silver) Ten Days Wonder, 1975 (narrator) Bugs Bunny Superstar, 1975 Challenge of Greatness, 1976 (narrator only) The Other Side of the Wind, 1976 (unfinished) Voyage of the Damned, 1976 The Filming of Othello, 1978 The Late Great Planet Earth, 1979 (co-narrator only) The Muppet Movie, 1979 Tesla, 1979 It Happened One Christmas, 1979 (TV) The Man Who Saw Tomorrow, 1981 Butterfly, 1982 Someone to Love, 1987 (released posthumously) Orson Welles Photos Click on photo for larger version.
| A film is never really good unless the camera is an eye in the head of a poet.
A good artist should be isolated. If he isn't isolated, something is wrong.
Almost all serious stories in the world are stories of failure with a death in it.
But there is more lost paradise in them than defeat. Ask not what you can do for your country. Ask what's for lunch.
By nature, I am an experimentalist. I don't believe much in accomplishment.
Cinema as a means of expression fascinates me.
Create your own visual style... let it be unique for yourself and yet identifiable
for others. Criticism is the essence of creation. Ecstasy is not really part of the scene we can do on celluloid.
Every actor in his heart believes everything bad that's printed about him.
Every true artist must, in his own way, be a magician, a charlatan.
Everybody denies I am a genius but nobody ever called me one!
Everything I do today took me 25 years! Fake is as old as the Eden tree.
For thirty years people have been asking me how I reconcile X with Y! The truthful answer is that I don't. Everything about me is a contradiction and so is everything about everybody else. We are made out of oppositions; we live between two poles. There is a philistine and an aesthete in all of us, and a murderer and a saint. You don't reconcile the poles. You just recognize them.
Friendship creates only the illusion of not being alone. Gluttony is not a secret vice. He is as unaffected as Albert Einstein. Hollywood expects you to experiment but on a film that makes money and if you don't make money, you're to blame. Your job is to make money.
Hollywood is a gold-plated suburb suitable for golfers, gardeners, assorted middlemen, and contented movies stars. I am none of these things.
Hollywood is the only industry, even taking in soup companies, which does not have laboratories for the purpose of experimentation. I discovered at the age of six that everything was a phony, worked with mirrors. Since then, I've always wanted to be a magician. I do not suppose I shall be remembered for anything. But I don't think about my work in those terms. It is just as vulgar to work for the sake of posterity as to work for the sake of money. I don't pray because I don't want to bore God. I don't say we all ought to misbehave, but we ought to look as if we could.
I don't want any description of me to be accurate; I want it to be flattering. I don't think people who have to sing for their supper ever like to be described truthfully - not in print anyway. We need to sell tickets, so we need good reviews.
I feel I have to protect myself against things. So I'm pretty careful to lose most of them. I hate it when people pray on the screen. It's not because I hate praying, but whenever I see an actor fold his hands and look up in the spotlight, I'm lost. There's only one other thing in the movies I hate as much, and that's sex. You just can't get in bed or pray to God and convince me on the screen.
I hate television. I hate it as much as peanuts. But I can't stop eating peanuts. I hate women, hate them generally, not in particular but in an abstract way. I hate them because one never really learns anything about them. They are inscrutable. I have a great love and respect for religion, great love and respect for atheism. What I hate is agnosticism, people who do not choose. I have an unfortunate personality. I have the terrible feeling that, because I am wearing a white beard and am sitting in the back of the theatre, you expect me to tell you the truth about something. These are the cheap seats, not Mount Sinai. I love informality. I hate dressing up. I hate to be conventional and I hate every kind of snob. I passionately hate the idea of being with it, I think an artist has always
to be out of step with his time. I seem to have no dress sense at all. I'm always being listed in New York among one of the ten worst dressed men of the year. Someone once described me as "looking like an unmade bed." He was right!
I started at the top and worked my way down. I think we're a kind of desperation. We're sort of a maddening luxury. The
basic and essential human is the woman, and all that we're doing is trying to
brighten up the place. That's why all the birds who belong to our sex have prettier
feathers because males have got to try and justify their existence.
I want to give the audience a hint of a scene. No more than that. Give them
too much and they won't contribute anything themselves. Give them just a
suggestion and you get them working with you. That's what gives the theater
meaning: when it becomes a social act. I'd make my promises now if I wasn't so busy arranging to keep them.
If I want to pursue the art of painting or music or writing or sculpture it
requires only my time and a few dollars for materials. If, however, I want to
produce a motion picture I have to go out and raise a million dollars!
If there hadn't been women we'd still be squatting in a cave eating raw meat,
because we made civilization in order to impress our girl friends. And they
tolerated it and let us go ahead and play with our toys. If you want a happy ending, that depends, of course, on where you stop your
story. I'm a lurid character! In Italy for thirty years under the Borgias they had warfare, terror, murder,
bloodshed they produced Michelangelo, Leonardo da Vinci and the Renaissance.
In Switzerland they had brotherly love, five hundred years of democracy and peace,
and what did they produce? The cuckoo clock!
It would be so much better if the critics would come, not on first nights, but
on last nights, when they could exercise their undoubted flair for funeral orations.
Living in the lap of luxury isn't bad, except you never know when luxury is
going to stand up. Make up an extra copy of that picture and send it to the Chronicle.
Man is a rational animal who always loses his temper when called upon to act
in accordance with the dictates of reason. Movie directing is a perfect refuge for the mediocre. My definition of success is not having things thrown at me!
My doctor told me to stop having intimate dinners for four. Unless there are
three other people. Nobody who takes on anything big and tough can afford to be modest.
Now I'm an old Christmas tree, the roots of which have died. They just come along and while the little needles fall off me replace them with medallions.
Now we sit through Shakespeare in order to recognize the quotations.
Nowadays, people's interest in motion pictures is restricted to wanting to know whether Veronica Lake's hair is all her own. I don't see how it could be. Only in a police state is the job of a policeman easy. Only very intelligent people don't wish they were in politics, and I'm dumb enough to want to be in there. Paris is the playwright's delight. New York is the home of directors. London, however, is the actor's city, the only one in the world. In London, actors are given their head. Race hate isn't human nature; race hate is the abandonment of human nature.
Rosebud.
The best thing commercially, which is the worst artistically, by and large, is the most successful. The director is simply the audience. So the terrible burden of the director is to take the place of that yawning vacuum, to be the audience and to select from what happens during the day which movement shall be a disaster and which a gala night. His job is to preside over accidents. The enemy of art is the absence of limitations. The enemy of society is middle class and the enemy of life is middle age.
The essential is to excite the spectators. If that means playing Hamlet on a flying trapeze or in an aquarium, you do it. The ideal American type is perfectly expressed by the Protestant, individualist, anti-conformist, and this is the type that is in the process of disappearing. In reality there are few left. The most personal thing I've put in [Touch of Evil] is my hatred of the abuse of police power. It's better to see a murderer go free than for a policeman to abuse his power. [The movies] make the sort of comment only a novel can make, an allusion to the world in which people live, the psychological and economic motivations, the influences of the period in which they lived. The trouble with a movie is that it's old before it's released. It's no accident that it comes in a can. The word genius was whispered into my ear, the first thing I ever heard, while I was still mewling in my crib. So it never occurred to me that I wasn't until middle age. There are a thousand ways of playing a good classic. If it were effective, I would play Hamlet on a trapeze. There are three intolerable things in life cold coffee, lukewarm champagne, and overexcited women. They teach you anything in universities today. You can major in mud pies.
Today I believe that man cannot escape his destiny to create whatever it is
we make jazz, a wooden spoon, or graffiti on the wall. All of these are
expressions of man's creativity, proof that man has not yet been destroyed by
technology. But are we making things for the people of our epoch or repeating
what has been done before? And finally, is the question itself important? We must
ask ourselves that. The most important thing is always to doubt the importance of
the question. We're born alone, we live alone, we die alone. Only through our love and
friendship can we create the illusion for the moment that we're not alone.
When you are down and out something always turns up and it is usually the
noses of your friends. You could write all the IDEAS of all the movies, my own included, on the head
of a pin. You long-faced, over-dressed anarchist!
|
Last modified January 8, 2004 | [Home Page] [Email Webmaster] [Search] | ©1998 Material Facts |