Los Angeles -- In the clairvoyant admonition that the imagination is, being the third eye, possibly no other film has ever equaled, at least in the United States, the stature Citizen Kane has enjoyed from the onset of its anticipated release: with such high esteem by its many doe eyed film buffs and student film makers. Even though the working title as everything is here in Hollywood a betrayal of what the final product will be...Heart of Darkness was to be the inaugural film of Welles' entry into the business of movie making.
By all accounts acknowledged at an early age as a prodigy of sorts when it came to the performing arts. It seems this prodigious young man could do anything: act, write, direct, promote, produce. Practically a one man show rivaled only by the great film producer David O. Selznick. More on him later.
As you will see for Welles himself, at the time of the making of Citizen Kane he was new to the movie business and quite green as to the process it would take to fashion this powerful visual story of power, politics and money.
Enter Greg Toland, a master cinematographer and a versatile chap who went to see wells at Paramount...RKO shared the Paramount Lot. I should know I lived not too far from there for five years.
He convinced Welles to bring him on board to create the type of movie Welles was planning to do. What Toland did is inject creative and experimental techniques used in other motion pictures with such deft skill that today many hale Citizen Kane as the template by which American movies use in their cookie cutter approach toward mass entertainment.
In reality the significance of Kane is the fact that they were able to unite many creative tools into one picture. A feat never attempted before and never has since.
Here then is the Citizen Kane interview with the late auteur Orson Welles.
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