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Orson Welles’ personal working copy of the script for the famed film, ‘Citizen Kane.’ The 156-page script, the last revised draft before the final shooting script, contains numerous annotations, revisions, and deletions, as well as the addition of a few new scenes.
Orson Welles and Herman J. Mankiewicz, the creative minds behind the acclaimed screenplay, produced seven total scripts for ‘Citizen Kane,’ each with critical modifications that culminated with the Oscar-winning script. The present script, clearly stamped “Second Revised Final Script” on the cover page, is Welles’ own copy of the sixth and final draft before the shooting script. All of the written changes in the script are in the hand of Welles’ assistant, Kathryn Trosper, as indicated by the blue pencil “Trosper” in the upper left hand corner of the cover. Additional text in pencil on the cover page includes, “Mr. Welles,” “new Breakfast scene,” as well as a listing of all pages on which changes had been made.
“The Citizen Kane script is the most important screenplay of all time,” said Leila Dunbar, Director of Sotheby’s Collectibles Department. “It was a collaboration where Herman Mankiewicz set the foundation and Orson Welles added the emotion, depth and power, raising the text to a much higher level. Mankiewicz gave the story life but Welles made it immortal.”
In 1941 the young Robert Wise met the equally young Orson Welles. And the rest, as they say, is film-history. Director Robert Wise talks about Orson Welles and working on ‘Citizen Kane’ (3:29 — 6:20) and his films in this 45 minute documentary.
“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.” —Orson Welles
“A three second exposure meant that subjects had to stand very still to avoid being blurred, and holding a smile for that period was tricky. As a result, we have a tendency to see our Victorian ancestors as even more formal and stern than they might have been.”
(This post has received an insane amount of notes and I just want it to be known that I reposted it not for that purpose. It was pretty hard to see the images in the original post as it was just one long image so I just cropped it. I did credit the original.)
I love Ingrid. More than any other actress, I think. I’m in no way an expert, but you only need to see a couple of films before you realise how amazing she is. What I love most about her, I think, is that underneath that warmth and vulnerability, and that lovely face, there’s someone real, recognisable, rather than an icon. I can imagine she would make a great sandwich, and know how much a pint of milk costs. She would be great fun in the pub. (I judge a lot of actors by how much fun they would be in the pub).
For a long time I’d only seen the Hitchcocks and Casablanca, and those alone are perfection, but the later films are in some ways even better, in terms of performance, and depth of character. Anastasia is an amazing bit of acting, and gives her a proper chance to show her range. (Also, bonus Yul Brynner in a tunic, which is always good). But I love her best when she’s being adorable, which she often is, and when she lets her hair down, and we see the true loveliness of her.
Favourite Role: Anna Kalman in Indiscreet (1958) which is a joy of a film, and also lets her be funny, which doesn’t happen often enough.
Another good place to start: Alicia Huberman in Notorious (1946) which is a corker of a role in a flawless film. Alternatively, Dr Constance Petersen in Spellbound (1945) - it’s a Hitchcock double rec, folks - because she’s glorious, and gets to be the protagonist, and also you get Greg Peck at his most beautiful, which is very.