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"There was nothing about camerawork that any intelligent person couldn't learn in half a day." — Orson Welles on the value of ignorance in filmmaking.

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Cinephilia, anti-authoritarianism, & fuck AI

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61,824 Aufrufe • vor 3 Jahren •via X (Twitter)

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7 Kommentare

Profilbild von Mehdi Belka
Mehdi Belkavor 3 Jahren

Citizen Kane was and still one of the most beautiful movie i have ever watched 🥕❤️

Profilbild von Alexis
Alexisvor 3 Jahren

🐐

Profilbild von Bobcat
Bobcatvor 3 Jahren

Outstanding.

Profilbild von UnitedForever
UnitedForevervor 3 Jahren

@video_order

Profilbild von Nikola Krestonosich Celis
Nikola Krestonosich Celisvor 3 Jahren

@DescargaBot

Profilbild von Mehdi Belka
Mehdi Belkavor 3 Jahren

We exist to create. @AboraMagazine

Profilbild von Mark Mayerson
Mark Mayersonvor 1 Jahr

I wish he had mentioned cinematographer Greg Toland by name.

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Orson Welles on Alfred Hitchcock's "Shadow of a Doubt" (1943) "Welles: The American movie [by Hitchcock] I liked most was the one Thornton Wilder wrote. Joseph Cotten was in it Bogdanovich: "Shadow of a Doubt" (1943)—it’s his favorite, too. Welles: Thornton’s natural warmth was a big help. There’s a certain icy calculation in a lot of Hitch’s work that puts me off. He says he doesn't like actors, and sometimes it looks as though he doesn’t like people." ("This is Orson Welles", Orson Welles and Peter Bogdanovich, 1992) P.S: Remembering Joseph Cotten on his 121st birthday!
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Orson Welles on Alfred Hitchcock's "Shadow of a Doubt" (1943) "Welles: The American movie [by Hitchcock] I liked most was the one Thornton Wilder wrote. Joseph Cotten was in it Bogdanovich: "Shadow of a Doubt" (1943)—it’s his favorite, too. Welles: Thornton’s natural warmth was a big help. There’s a certain icy calculation in a lot of Hitch’s work that puts me off. He says he doesn't like actors, and sometimes it looks as though he doesn’t like people." ("This is Orson Welles", Orson Welles and Peter Bogdanovich, 1992) P.S: Remembering Joseph Cotten on his 121st birthday!

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Touch of Evil (1958) A bomb is set to explode in 3 minutes, followed by a masterful, ultra tense shot without a single cut, timed to last exactly 3 minutes. Back in '58, this was a breath-taking example of brave filmmaking by Orson Welles.
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"Buster Keaton was, as we are now beginning to realize, the greatest of all the clowns in the history of Cinema." --- Orson Welles
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ORSON WELLES recalls crossing paths with Hitler and Churchill whilst talking with Dick Cavett in 1970. (worth remembering however that as well as being a wonderful anecdotalist Welles was also an arch fabulist)
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In 1971, Orson Welles appeared on a PBS show called The Silent Years, where silent films were showcased, and Orson provided introductions and outros for them. Here's a clip from the show, where Mr. Welles offers high praise for Buster Keaton while introducing The General (1926).
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Orson Welles on the reason he chose to make "The Trial" (1962) & deviating from Kafka's work: "Interviewer: In the transposition of 'The Trial' to the cinema, there is a fundamental change; in Kafka’s book, K’s character is more passive than in the film. Welles: I made him more active, properly speaking. I do not believe that passive characters are appropriate to drama. I have nothing against Antonioni, for example, but, in order to interest me, the characters must do something, from a dramatic point of view, you understand. Interviewer: Was 'The Trial' an old project? Welles: I once said that a good film could be drawn from the novel, but I, myself, didn’t think of doing it. A man came to see me and told me he believed he could find money so that I could make a film in France. He gave me a list of films and asked that I choose. And from that list of fifteen films I chose the one that, I believe, was the best: The Trial. Since I couldn’t do a film written by myself, I chose Kafka." (Orson Welles' intervie with Juan Cobos, Miguel Rubio & Pruneda, Cahiers du Cinéma, 1964)
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Orson Welles on the reason he chose to make "The Trial" (1962) & deviating from Kafka's work: "Interviewer: In the transposition of 'The Trial' to the cinema, there is a fundamental change; in Kafka’s book, K’s character is more passive than in the film. Welles: I made him more active, properly speaking. I do not believe that passive characters are appropriate to drama. I have nothing against Antonioni, for example, but, in order to interest me, the characters must do something, from a dramatic point of view, you understand. Interviewer: Was 'The Trial' an old project? Welles: I once said that a good film could be drawn from the novel, but I, myself, didn’t think of doing it. A man came to see me and told me he believed he could find money so that I could make a film in France. He gave me a list of films and asked that I choose. And from that list of fifteen films I chose the one that, I believe, was the best: The Trial. Since I couldn’t do a film written by myself, I chose Kafka." (Orson Welles' intervie with Juan Cobos, Miguel Rubio & Pruneda, Cahiers du Cinéma, 1964)

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Orson Welles on Vittorio De Sica & 'Shoeshine' (1946): “In handling a camera I feel that I have no peer. But what De Sica can do, that I can’t do. I ran his 'Shoeshine' (1946) again recently and the camera disappeared, the screen disappeared; it was just life . . ." (Welles' Quote mentioned in "I Lost it at the Movies" by Pauline Kael, 1965) P.S: On this day, 80 years ago, "Shoeshine" (1946) premiered in Rome, Italy.
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Orson Welles on Vittorio De Sica & 'Shoeshine' (1946): “In handling a camera I feel that I have no peer. But what De Sica can do, that I can’t do. I ran his 'Shoeshine' (1946) again recently and the camera disappeared, the screen disappeared; it was just life . . ." (Welles' Quote mentioned in "I Lost it at the Movies" by Pauline Kael, 1965) P.S: On this day, 80 years ago, "Shoeshine" (1946) premiered in Rome, Italy.

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Frost: You saw the Davos speech…. just blabbing on random things. Republicans were talking a lot about cognitive decline when it was a president of a different party. Now, we hear nothing from them. Any person who sees the president in his speeches blabbering incoherently knows that there is something bigger going on there.
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Orson Welles' 'Citizen Kane' had its world premiere in New York on this day in 1941. Its opening sequence, as the camera glides toward the castle and the glowing window holds its place, stands among the most remarkable in the history of cinema.
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Now on Internet Archive: My high quality RF VHS tape rip of the Orson Welles movie 'The Man Who Saw Tomorrow', a deranged pseudo documentary from 1981 about the prophecies of Nostradamus.
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Now on Internet Archive: My high quality RF VHS tape rip of the Orson Welles movie 'The Man Who Saw Tomorrow', a deranged pseudo documentary from 1981 about the prophecies of Nostradamus.

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Orson Welles on why "Citizen Kane" (1941) was banned in Russia & what he considers to be an obligation of every artist: "Interviewer: In 'Citizen Kane' (1941) and 'Lady from Shanghai' (1947), were you intending to criticize American civilization? Welles: I certainly was. I think every artist has an obligation to criticize his own civilization, his contemporaries. It’s clearly and obviously the task of an artist of any ambition. Every French person ought to criticize the present French civilization. It’s a responsibility. Interviewer: But was it your intention to criticize a capitalistic viewpoint? Welles: The capitalistic viewpoint as opposed to the materialistic view point? If I admitted that I was criticizing capitalism, it would look as if I were adopting a Marxist attitude, and that’s not so. It’s no accident that 'Citizen Kane' (1941) is banned in Russia. They don’t like it at all, any more than the capitalists like it. I am an anti-materialist. I don’t like money or power, or the harm they do to people. It’s a very simple old idea. And I am specially opposed to plutocracy; it’s American plutocracy that I am attacking, from different angles in several films: 'The Magnificent Ambersons' (1942), 'Lady from Shanghai' (1947), and 'Citizen Kane' (1941). Interviewer: And in 'Touch of Evil' (1958)? Welles: There too, but from now on I’m more interested in the abuse of power by the police and the State, because today the State is more powerful than money. So I’m looking for a way of saying that." (Orson Welles' interview with Bazin, Bitsch, Domarchi, 1958) P.S: On this day, 85 years ago, "Citizen Kane" (1941) premiered in New York City, USA.
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Orson Welles on why "Citizen Kane" (1941) was banned in Russia & what he considers to be an obligation of every artist: "Interviewer: In 'Citizen Kane' (1941) and 'Lady from Shanghai' (1947), were you intending to criticize American civilization? Welles: I certainly was. I think every artist has an obligation to criticize his own civilization, his contemporaries. It’s clearly and obviously the task of an artist of any ambition. Every French person ought to criticize the present French civilization. It’s a responsibility. Interviewer: But was it your intention to criticize a capitalistic viewpoint? Welles: The capitalistic viewpoint as opposed to the materialistic view point? If I admitted that I was criticizing capitalism, it would look as if I were adopting a Marxist attitude, and that’s not so. It’s no accident that 'Citizen Kane' (1941) is banned in Russia. They don’t like it at all, any more than the capitalists like it. I am an anti-materialist. I don’t like money or power, or the harm they do to people. It’s a very simple old idea. And I am specially opposed to plutocracy; it’s American plutocracy that I am attacking, from different angles in several films: 'The Magnificent Ambersons' (1942), 'Lady from Shanghai' (1947), and 'Citizen Kane' (1941). Interviewer: And in 'Touch of Evil' (1958)? Welles: There too, but from now on I’m more interested in the abuse of power by the police and the State, because today the State is more powerful than money. So I’m looking for a way of saying that." (Orson Welles' interview with Bazin, Bitsch, Domarchi, 1958) P.S: On this day, 85 years ago, "Citizen Kane" (1941) premiered in New York City, USA.

DepressedBergman

46,617 Aufrufe • vor 3 Monaten

Orson Welles explains how he sat next to Hitler at a Nazi rally and remembered absolutely nothing about him: In a recorded interview, the legendary filmmaker recalled a strange brush with history from his youth, when he traveled twice through the Austrian-German hiking country with his teachers. One of those teachers, it turned out, was "a sort of a budding Nazi." This was a time when, as Welles put it, the Nazis "were just a very comical kind of minority party of nuts that nobody took seriously at all." But his hiking companion took them very seriously. And when a big Nazi rally was held near Innsbruck, the teacher managed to wangle a place at the table with the leaders of this tiny fringe party. Welles remembered Julius Streicher, the man behind the major anti-Semitic campaigns, and two or three other figures who would later become infamous. And then there was the man seated right next to him. "The man sitting next to me was Hitler, and he made so little impression on me that I can't remember a second of it." When the interviewer asked if Hitler had no personality whatsoever, Welles answered with a single word: "He was invisible." He even wondered aloud whether hypnosis might recover the memory, before dismissing the idea: "No, I think there was nothing there that anybody remembered." That, Welles insisted, was the entire point of the story. Years later the world would watch newsreels of 5,000 people screaming "Sieg Heil Hitler" in unison. But across a dinner table, before the rallies and the uniforms and the cameras did their work, there was simply nothing there to remember.
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Orson Welles explains how he sat next to Hitler at a Nazi rally and remembered absolutely nothing about him: In a recorded interview, the legendary filmmaker recalled a strange brush with history from his youth, when he traveled twice through the Austrian-German hiking country with his teachers. One of those teachers, it turned out, was "a sort of a budding Nazi." This was a time when, as Welles put it, the Nazis "were just a very comical kind of minority party of nuts that nobody took seriously at all." But his hiking companion took them very seriously. And when a big Nazi rally was held near Innsbruck, the teacher managed to wangle a place at the table with the leaders of this tiny fringe party. Welles remembered Julius Streicher, the man behind the major anti-Semitic campaigns, and two or three other figures who would later become infamous. And then there was the man seated right next to him. "The man sitting next to me was Hitler, and he made so little impression on me that I can't remember a second of it." When the interviewer asked if Hitler had no personality whatsoever, Welles answered with a single word: "He was invisible." He even wondered aloud whether hypnosis might recover the memory, before dismissing the idea: "No, I think there was nothing there that anybody remembered." That, Welles insisted, was the entire point of the story. Years later the world would watch newsreels of 5,000 people screaming "Sieg Heil Hitler" in unison. But across a dinner table, before the rallies and the uniforms and the cameras did their work, there was simply nothing there to remember.

History Nerd

75,384 Aufrufe • vor 3 Monaten