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If you want a happy ending, that depends, of course, on where you stop your story.
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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.
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A toast, Jedediah, to love on my terms. Those are the only terms anybody ever knows — his own.
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Don't let Ted Turner deface my movie with his crayons
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Ladies and gentlemen, I have a grave announcement to make. Incredible as it may seem, strange beings who landed in New Jersey tonight are the vanguard of an invading army from Mars.
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I'm never certain of a performance - my own or the other actors' - or the script or anything... But to me it seems there's only one place in the world the camera can be, and the decision usually comes immediately.
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I don't regard my career as something so precious that it comes before my convictions.
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I try to be a Christian... I don't pray really, because I don't want to bore God.
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The only way to stay out of trouble is to grow old, so I guess I'll concentrate on that. Maybe I'll live so long that I'll forget her—maybe I'll die trying.
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He [Welles] was an onlooker at the clumsy, poignant suicide of "The Man on the Ledge," which took place in New York in 1938, when a boy perched for fourteen hours on a window-sill of the Gotham Hotel before plunging into the street. "I stood in the crowd outside for a long time," Welles says pensively, "and wanted to make a film of it all. But they tell me that in the Hollywood version of the film they gave the boy a reason for what he did. That's crazy. It's the crowd that needs explaining."
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Even if I'd stayed [in the US] to finish The Magnificent Ambersons I would've had to make compromises on the editing, but these would've been mine and not the fruit of confused and often semi-hysterical committees. If I had been there myself I would have found my own solutions and saved the pictures in a form which would have carried the stamp of my own effort.
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On the RKO studio:
This is the biggest electric train set any boy ever had.
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A long-playing full shot is what always separates the men from the boys. Anybody can make movies with a pair of scissors and a two-inch lens.
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Let's face it. Jazz has made some dangerous friends. There's something of the opium eater in your jazz cultist. His enthusiasm affects him like a drug habit, removing him, it seems, from the uninitiated and less paranoid world about him and encouraging many of the attitudes of full-blown megalomania.
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I think I made essentially a mistake in staying in movies but it's a mistake I can't regret because it's like saying I shouldn't have stayed married to that woman but I did because I love her. I would have been more successful if I hadn't been married to her, you know. I would have been more successful if I'd left movies immediately, stayed in the theatre, gone into politics, written, anything. I've wasted a greater part of my life looking for money and trying to get along, trying to make my work from this terribly expensive paintbox which is a movie. And I've spent too much energy on things that have nothing to do with making a movie. I'ts about two percent movie-making and ninety-eight percent hustling. It's no way to spend a life.
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As for my style, for my vision of the cinema, editing is not simply one aspect; it's the aspect.
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A policeman's job is only easy in a police state.
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One should make movies innocently — the way Adam and Eve named the animals, their first day in the garden…Learn from your own interior vision of things, as if there had never been a D. W. Griffith, or a Eisenstein, or a [John] Ford, or a [Jean] Renoir, or anybody.
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But you can't emphasize "beef", that's like his wanting me to emphasize "in" before "July"! Come on, fellows, you're losing your heads! I wouldn't direct any living actor like this in Shakespeare! The way you do this, it's impossible!
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"We know a little place in the American Far West, where Charlie Briggs chops up the finest prairie-fed beef and tastes..." (pauses, and continues with a note of disgust in his voice) This is a lot of shit, you know that! You want one more? One more on the beef?
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A bad word from a colleague can darken a whole day. We need encouragement a lot more than we admit, even to ourselves.
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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.
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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.
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There are only two emotions in a plane: boredom and terror.
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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's 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.
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Quote of the day
Pleasure only starts once the worm has got into the fruit; to become delightful, happiness must be tainted with poison.
Georges Bataille
Orson Welles
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Born:
May 6, 1915
Died:
October 10, 1985
(aged 70)
Bio:
George Orson Welles was an American actor, director, writer, and producer who worked in theatre, radio, and film.
Known for:
Citizen Kane (1941)
Touch of Evil (1958)
Chimes at Midnight (1965)
The Magnificent Ambersons (1942)
The Trial (1962)
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