Orson Welles filmography

[on Citizen Kane (1941) being colorized] Keep Ted Turner and his goddamned Crayolas away from my mov Show more [on Citizen Kane (1941) being colorized] Keep Ted Turner and his goddamned Crayolas away from my movie. Hide

A poet needs a pen, a painter a brush, and a director an army. A poet needs a pen, a painter a brush, and a director an army.

A film is never really good unless the camera is an eye in the head of a poet. A film is never really good unless the camera is an eye in the head of a poet.

[on Hollywood in the 1980s] We live in a snake pit here... I hate it but I just don't allow myself t Show more [on Hollywood in the 1980s] We live in a snake pit here... I hate it but I just don't allow myself to face the fact that I hold it in contempt because it keeps on turning out to be the only place to go. Hide

[on his famous "cuckoo clock" speech in The Third Man (1949) ("In Italy for 30 years under the Borgi Show more [on his famous "cuckoo clock" speech in The Third Man (1949) ("In Italy for 30 years under the Borgias they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance. In Switzerland, they had brotherly love--they had 500 years of democracy and peace, and what did that produce? The cuckoo clock.] When the picture came out, the Swiss very nicely pointed out that they've never made any cuckoo clocks--they all come from the Schwarzwald [Black Forest] in Bavaria. Hide

You know, I always loved Hollywood. It was just never reciprocated. You know, I always loved Hollywood. It was just never reciprocated.

Race hate isn't human nature; race hate is the abandonment of human nature. Race hate isn't human nature; race hate is the abandonment of human nature.

[on the many documentary films he had narrated] I never saw the movies. That's always been a conditi Show more [on the many documentary films he had narrated] I never saw the movies. That's always been a condition of mine in narrating a film--that I don't have to see any footage. Otherwise, I won't accept the job. Hide

[on his favorite directors] I prefer the old masters; by which I mean: John Ford, John Ford and John Show more [on his favorite directors] I prefer the old masters; by which I mean: John Ford, John Ford and John Ford. Hide

[on Anthony Asquith] One of the nicest, most intelligent people who was ever in films... and my God, Show more [on Anthony Asquith] One of the nicest, most intelligent people who was ever in films... and my God, he was polite. I saw him, all alone on the stage once, trip on an electric cable, turn around, and say, "I beg your pardon" to it. Hide

[on Tim Holt, with whom he worked in The Magnificent Ambersons (1942)] One of the most interesting a Show more [on Tim Holt, with whom he worked in The Magnificent Ambersons (1942)] One of the most interesting actors that's ever been in American movies, and he decided to be just a cowboy actor. Made two or three important pictures in his career, but was very careful not to follow them up--went straight back to bread-and-butter Westerns... he was the most marvelous fellow to work with you can imagine. Hide

I know that in theory the word is secondary in cinema, but the secret of my work is that everything Show more I know that in theory the word is secondary in cinema, but the secret of my work is that everything is based on the word. I always begin with the dialogue. And I do not understand how one dares to write action before dialogue. I must begin with what the characters say. I must know what they say before seeing them do what they do. Hide

I think it is always a tremendously good formula in any art form to admit the limitations of the for Show more I think it is always a tremendously good formula in any art form to admit the limitations of the form. Hide

[on Jean-Luc Godard] His gifts as a director are enormous. I just can't take him very seriously as a Show more [on Jean-Luc Godard] His gifts as a director are enormous. I just can't take him very seriously as a thinker - and that's where we seem to differ, because he does. His message is what he cares about these days, and, like most movie messages, it could be written on the head of a pin. Hide

Even if the good old days never existed, the fact that we can conceive such a world is, in fact, an Show more Even if the good old days never existed, the fact that we can conceive such a world is, in fact, an affirmation of the human spirit. Hide

I'm not rich. Never have been. When you see me in a bad movie as an actor (I hope not as a director) Show more I'm not rich. Never have been. When you see me in a bad movie as an actor (I hope not as a director), it is because a good movie has not been offered to me. I often make bad films in order to live. Hide

[on finding work to Hollywood in the late 1950s after spending several years in Europe] I went a yea Show more [on finding work to Hollywood in the late 1950s after spending several years in Europe] I went a year without almost nothing, just sitting at home waiting for the phone to ring. And then I got a couple of jobs. The Long, Hot Summer (1958), which I hated making--I've seldom been as unhappy in a picture. Hide

[to Dick Cavett] I'm always sorry to hear that anybody I admire has been an actor... When did you go Show more [to Dick Cavett] I'm always sorry to hear that anybody I admire has been an actor... When did you go straight? Hide

If spiritually you're part of the cat family, you can't bear to be laughed at. You have to pretend w Show more If spiritually you're part of the cat family, you can't bear to be laughed at. You have to pretend when you fall down that you really wanted to be down there to see what's under the sofa. The rest of us don't at all mind being laughed at. Hide

I hate it when people pray on the screen. It's not because I hate praying, but whenever I see an act Show more 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. Hide

I have all the equipment to be a politician. Total shamelessness. I have all the equipment to be a politician. Total shamelessness.

[on Meyer Lansky] He was probably the #1 gangster in America. I knew them all. You had to. If you li Show more [on Meyer Lansky] He was probably the #1 gangster in America. I knew them all. You had to. If you lived, as I did, on Broadway during that period, if you lived in nightclubs, you could not not know them. I liked screwing the chorus girls, and I liked meeting all the different people who would come in, and I liked staying up until five in the morning, and they used to love to go to nightclubs. They would come and sit at your table... [asked how Lee Strasberg did with the Hyman Roth character, who was supposed to be Lansky, in The Godfather: Part II (1974)] Much better than the real thing. Meyer Lansky was a boring man. Hyman Roth is who he should have been! They all should have been like that, and none of them were. "The Godfather" was the glorification of a bunch of bums who never existed. The best of them were the kind of people you'd expect to drive a beer truck. They had no class. The classy gangster is a Hollywood invention. Hide

I hate television. I hate it as much as peanuts. But I can't stop eating peanuts. I hate television. I hate it as much as peanuts. But I can't stop eating peanuts.

[asked about the rumor that he directed part of Compulsion (1959), credited to Richard Fleischer] Di Show more [asked about the rumor that he directed part of Compulsion (1959), credited to Richard Fleischer] Dick Fleischer is a director who doesn't need and wouldn't welcome any help from me. Hide

Hollywood died on me as soon as I got there. I wish to God I'd gone there sooner. It was the rise of Show more Hollywood died on me as soon as I got there. I wish to God I'd gone there sooner. It was the rise of the independents that was my ruin as a director. Hide

[At RKO Radio Pictures working on "Heart of Darkness", a film he later abandoned] This is the bigges Show more [At RKO Radio Pictures working on "Heart of Darkness", a film he later abandoned] This is the biggest electric train set any boy ever had! Hide

[on Luis Buñuel] He's a deeply Christian man who hates God as only a Christian can and, of course, Show more [on Luis Buñuel] He's a deeply Christian man who hates God as only a Christian can and, of course, he's very Spanish. Hide

[on Nostradamus' ability to predict the future] One might as well make predictions based on random p Show more [on Nostradamus' ability to predict the future] One might as well make predictions based on random passages from the phone book. Hide

I want to give the audience a hint of a scene. No more than that. Give them too much and they won't Show more 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. Hide

[on a lunch encounter with Richard Burton] Richard Burton had great talent. He's ruined his great gi Show more [on a lunch encounter with Richard Burton] Richard Burton had great talent. He's ruined his great gifts. He's become a joke with a celebrity wife. Now he just works for money, does the worst shit. And I wasn't rude. To quote Carl Laemmle, "I gave him an evasive answer. I told him, 'Go fuck yourself'.". Hide

I'm not bitter about Hollywood's treatment of me, but over its treatment of D.W. Griffith, Josef von Show more I'm not bitter about Hollywood's treatment of me, but over its treatment of D.W. Griffith, Josef von Sternberg, Erich von Stroheim, Buster Keaton and a hundred others. Hide

I passionately hate the idea of being with it; I think an artist has always to be out of step with h Show more I passionately hate the idea of being with it; I think an artist has always to be out of step with his time. Hide

I think it's very harmful to see movies for movie makers because you either imitate them or worry ab Show more I think it's very harmful to see movies for movie makers because you either imitate them or worry about not imitating them and you should do movies innocently and i lost my innocence. Every time i see a picture i lose something i don't gain. I never understand what directors mean when they compliment me and say they've learned from my pictures because i don't believe in learning from other people's pictures. You should learn from your own interior vision and discover innocently as though there had never been D.W. Griffith or [Sergei M. Eisenstein] or [John Ford] or [Jean Renoir] or anybody. Hide

Hollywood is the only industry, even taking in soup companies, which does not have laboratories for Show more Hollywood is the only industry, even taking in soup companies, which does not have laboratories for the purpose of experimentation. Hide

If there hadn't been women we'd still be squatting in a cave eating raw meat, because we made civili Show more 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 girlfriends. And they tolerated it and let us go ahead and play with our toys. Hide

[on why he hired Fortunio Bonanova for Citizen Kane (1941)] I saw him as the leading man with Kathar Show more [on why he hired Fortunio Bonanova for Citizen Kane (1941)] I saw him as the leading man with Katharine Cornell in "The Green Hat" when I was about eight years old. I never forgot him. He looked to me like a leading man in a dirty movie. Sent for him the minute I wrote that part. He was a great romantic leading man. When he was prompting her [Dorothy Comingore] in the opera, he was so marvelous. God, he was funny. Hide

I do not suppose I shall be remembered for anything. But I don't think about my work in those terms. Show more 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. Hide

[Irving Thalberg] was the biggest single villain in the history of Hollywood. Before him, a producer Show more [Irving Thalberg] was the biggest single villain in the history of Hollywood. Before him, a producer made the least contribution, by necessity. The producer didn't direct, he didn't act, he didn't write--so, therefore, all he could do was either (a) mess it up, which he didn't do very often, or (b) tenderly caress it. Support it. Producers would only go to the set to see that you were on budget, and that you didn't burn down the scenery... Once you got the educated producer, he has a desk, he's gotta have a function, he's gotta do something. He's not running the studio and counting the money--he's gotta be creative. That was Thalberg. The director became the fellow whose only job was to say, "Action!" and "Cut!". Suddenly you were "just a director" on a "Thalberg production". A role had been created in the world. Just as there used to be no conductor of symphonies... He convinced [Louis B. Mayer] that without him, his movies wouldn't have any class. Remember that quote Mayer gave? All the other moguls were "dirty kikes making nickelodeon movies". He used to say that to me all the time. Hide

I don't pray because I don't want to bore God. I don't pray because I don't want to bore God.

I started at the top and worked down. I started at the top and worked down.

The only good artists are feminine. I don't believe an artist exists whose dominant characteristic i Show more The only good artists are feminine. I don't believe an artist exists whose dominant characteristic is not feminine. It's nothing to do with homosexuality, but intellectually an artist must be a man with feminine aptitudes. Hide

[on Stanley Kubrick] Among the young generation, Kubrick strikes me as a giant. [on Stanley Kubrick] Among the young generation, Kubrick strikes me as a giant.

[on rumors that he, and not Robert Stevenson, directed Jane Eyre (1943)] I invented some of the shot Show more [on rumors that he, and not Robert Stevenson, directed Jane Eyre (1943)] I invented some of the shots--that's part of being that kind of producer. And I collaborated on it, but I didn't come around behind the camera and direct it. Certainly, I did a lot more than a producer ought to, but Stevenson didn't mind that. And I don't want to take credit away from him, all of which he deserves... In fact, we got along very well, and there was no trouble. Hide

After [Irving Thalberg] died, Norma Shearer--one of the most minimally talented ladies ever to app Show more After [Irving Thalberg] died, Norma Shearer--one of the most minimally talented ladies ever to appear on the silver screen and who looked like nothing, with one eye crossed over the other--went right on being the queen of Hollywood. Everybody used to say, "Mrs. Thalberg is coming", "Miss Shearer is arriving", as though they were talking about Sarah Bernhardt. Hide

I don't think history can possibly be true. Possibly! I'll tell you why. We all know people who get Show more I don't think history can possibly be true. Possibly! I'll tell you why. We all know people who get things written about, and we know that they're lies written. I told a story to Buck Henry, last year in Weymouth, and he told the story that he thought I told him to a newspaper that I read the other day, and it bears not the *slightest* resemblance to what I said! Now, that's an intelligent man, a year later, meaning me well, and that's the gospel according to Buck Henry, and it's totally apocryphal. Imagine what nonsense everything else is! Hide

[on pop idol Donny Osmond] He has Van Gogh's ear for music. [on pop idol Donny Osmond] He has Van Gogh's ear for music.

[on James Cagney] No one was more unreal and stylized, yet there is no moment when he was not true. [on James Cagney] No one was more unreal and stylized, yet there is no moment when he was not true.

[on his friend William Faulkner] I never saw him anything but wildly drunk through the years. He mus Show more [on his friend William Faulkner] I never saw him anything but wildly drunk through the years. He must have been sober to produce that great body of work. Hide

[on making I tartari (1961)] Victor Mature and I had an extended sword fight, on which I worked day Show more [on making I tartari (1961)] Victor Mature and I had an extended sword fight, on which I worked day after day. And in no shots--full, long, medium--at any moment is Victor Mature EVER involved! Not even to hold the sword and look menacing... He said, "Oh, I don't want to do any of that stuff.". Hide

Movie directing is the perfect refuge for the mediocre. Movie directing is the perfect refuge for the mediocre.

I'm not very fond of movies. I don't go to them much. I'm not very fond of movies. I don't go to them much.

[Louis B. Mayer] offered me his studio! He was madly in love with me, because I wouldn't have anythi Show more [Louis B. Mayer] offered me his studio! He was madly in love with me, because I wouldn't have anything to do with him, you know? Twice he brought me over--spent all day wooing me. He called me "Orse". Whenever he sent for me, he burst into tears, and once he fainted. To get his way. It was fake, absolutely fake. The deal was, I'd have the studio, but I'd have to stop acting, directing and writing--making pictures. But Mayer was self-righteous, smarmy, waving the American flag, doing deals with The Purple Gang [a violent gang of hijackers and killers] in Detroit... before the unions, it was all Mafia. But no one called it the Mafia. Just said "the mob". Hide

In his time, Samuel Goldwyn was considered a classy producer because he never deliberately did anyth Show more In his time, Samuel Goldwyn was considered a classy producer because he never deliberately did anything that wasn't his idea of the best-quality goods. I respected him for that. He was an honest merchant. He may have made a bad picture, but he didn't know it was a bad picture. And he was funny. He actually once said to me, in that high voice of his, "Orson, for you I'd write a blanket check." He said, "With Warner Brothers, a verbal commitment isn't worth the paper it's written on.". Hide

Everybody denies that I am genius - but nobody ever called me one. Everybody denies that I am genius - but nobody ever called me one.

We're born alone, we live alone, we die alone. Only through our love and friendship can we create th Show more 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. Hide

[on working with Charlton Heston] All you have to do is point and Chuck can go in any direction. He' Show more [on working with Charlton Heston] All you have to do is point and Chuck can go in any direction. He's spent a lot of years being a movie star. Hide

[on Federico Fellini] His films are a small-town boy's dream of a big city. His sophistication works Show more [on Federico Fellini] His films are a small-town boy's dream of a big city. His sophistication works because it is the creation of someone who doesn't have it. But he shows dangerous signs of being a superlative artist with little to say. Hide

[on Gary Cooper] You'd see him working on the set and you'd think, "My God, they're going to have to Show more [on Gary Cooper] You'd see him working on the set and you'd think, "My God, they're going to have to retake that one!". He almost didn't seem to BE there. And then you'd see the rushes, and he'd fill the screen. Hide

I think I'm... I made essentially a mistake staying in movies, because I... but it... it's the mista Show more I think I'm... I made essentially a mistake staying in movies, because I... but it... it's the 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'd left movies immediately. Stayed in the theater, gone into politics, written--anything. I've wasted the greater part of my life looking for money, and trying to get along... trying to make my work from this terribly expensive paint box which is an... a movie. And I've spent too much energy on things that have nothing to do with a movie. It's about 2% movie making and 98% hustling. It's no way to spend a life. Hide

[on director W.S. Van Dyke, aka "Woody"] Woody made some very good comedies. And what a system he ha Show more [on director W.S. Van Dyke, aka "Woody"] Woody made some very good comedies. And what a system he had!... His retakes sometimes took longer than his original shooting schedule... He'd shoot a "Thin Man" or something like that in about 20 days. Then he'd preview it and come back to the studio for 30 days of retakes. For comedy, when you're worried about the laughs, that makes a lot of sense. Hide

[on shooting Macbeth (1948)] Our best crowd scene was a shot where all the massed forces of Macduff' Show more [on shooting Macbeth (1948)] Our best crowd scene was a shot where all the massed forces of Macduff's army are charging the castle. There was a very vivid sense of urgency to it, because what was happening, really, was that we'd just called noon break, and all those extras were rushing off to lunch. Hide

I never could stand looking at Bette Davis, so I don't want to see her act, you see. I hate Woody Al Show more I never could stand looking at Bette Davis, so I don't want to see her act, you see. I hate Woody Allen physically, I dislike that kind of man. [Henry Jaglom], I've never understood why. Have you met him? Oh, yes. I can hardly bear to talk to him. He has the [Charles Chaplin] disease. That particular combination of arrogance and timidity sets my teeth on edge... Like all people with timid personalities, his arrogance is unlimited. Anybody who speaks quietly and shrivels up in company is unbelievably arrogant. He acts shy, but he's not. He's scared. He hates himself, and he loves himself, a very tense situation. It's people like me who have to carry on and pretend to be modest. To me, it's the most embarrassing thing in the world-a man who presents himself at his worst to get laughs, in order to free himself from his hang-ups. Everything he does on the screen is therapeutic. Hide

The optimists are incapable of understanding what it means to adore the impossible. The optimists are incapable of understanding what it means to adore the impossible.

[on Edward G. Robinson] An immensely effective actor. [on Edward G. Robinson] An immensely effective actor.

For thirty years, people have been asking me how I reconcile X with Y! The truthful answer is that I Show more 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. Hide

My doctor told me to stop having intimate dinners for four. Unless there are three other people. My doctor told me to stop having intimate dinners for four. Unless there are three other people.

I have the terrible feeling that, because I am wearing a white beard and am sitting in the back of t Show more I have the terrible feeling that, because I am wearing a white beard and am sitting in the back of the theater, you expect me to tell you the truth about something. These are the cheap seats, not Mount Sinai. Hide

A good artist should be isolated. If he isn't isolated, something is wrong. A good artist should be isolated. If he isn't isolated, something is wrong.

[on television] We live in a world of happy endings with audiences who make every show, no matter ho Show more [on television] We live in a world of happy endings with audiences who make every show, no matter how doomed it is and ready to be canceled, sound like a smash hit. And if not, they have a little black box full of laughter, and they add that to the jokes. And you know that most of the people laughing on that box died long ago. Hide

I liked the cinema better before I began to do it. Now I can't stop myself from hearing the clappers Show more I liked the cinema better before I began to do it. Now I can't stop myself from hearing the clappers at the beginning of each shot. All the magic is destroyed. Hide

[on René Clair] A real master: he invented his own Paris, which is better than recording it. [on René Clair] A real master: he invented his own Paris, which is better than recording it.

Living in the lap of luxury isn't bad, except you never know when luxury is going to stand up. Living in the lap of luxury isn't bad, except you never know when luxury is going to stand up.

The word "genius" was whispered into my ear, the first thing I ever heard, while I was still mewling Show more 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. Hide