Celebrities

Orson Welles Net Worth

Orson Welles Net Worth is
$20 Million

Orson Welles Biography

Orson Welles Net Worthy of: Orson Welles was an American actor, director, article writer, and producer who have had a net worthy of of $20 million. A few of his best known functions were the Broadway creation Caesar in 1937, the debut of the Mercury Theatre which highlighted probably the most well-known radio broadcasts The Battle of the Worlds in 1938, and probably the most popular movies ever, 1941’s Citizen Kane. Welles worked well in film, radio, and theater. George Orson Welles was created in Kenosha, Wisconsin in-may 1915 and passed on in October 1985. Welles received an Oscar in 1942 for Citizen Kane and received an Honorary Award for the Academy Award sin 1971. Wells novel The Battle of the Worlds.G. The broadcast triggered widespread panic that aliens had been invading the planet earth. Wells starred as Charles Foster Kane, and also co-wrote, directed, and created Citizen Kane. He was voted the best film director ever in 2002 in two British Film Institute polls of critics and directors. He became popular for his radio broadcast adaptation of the H. He also received three Grammy Awards for Greatest Spoken Word Documenting. In 1975 he was presented with the American Film Institute Life time Accomplishment Award. Orson was wedded 3 x and had four kids. Orson Welles passed on on October 10, 1985 from a coronary attack at 70 years aged.


Known for movies

Quick Facts

Full NameOrson Welles
Net Worth$20 Million
Date Of BirthMay 6, 1915
DiedOctober 10, 1985, Hollywood, Los Angeles, California, United States
Height1.87 m
ProfessionScreenwriter, Television producer, Production Designer, Film producer, Voice Actor, Film director, Playwright, Costume designer, Theatre Director, Music Arranger, Film Editor, Radio personality, Television Director
EducationSchool of the Art Institute of Chicago, Todd Seminary for Boys
NationalityAmerican
SpousePaola Mori (m. 1955–1985), Rita Hayworth (m. 1943–1947), Virginia Nicholson (m. 1934–1940)
ChildrenBeatrice Welles, Rebecca Welles, Michael Lindsay-Hogg, Christopher Welles Feder
ParentsRichard Head Welles, Beatrice Ives
SiblingsDickie Welles
AwardsAcademy Award for Best Original Screenplay, Academy Honorary Award, AFI Life Achievement Award, Peabody Award, Cannes Best Actor Award, Grammy Award for Best Spoken Word Album, DGA Lifetime Achievement Award, David di Donatello Luchino Visconti Award, Retro Hugo for Best Dramatic Presentation, Short Form, Homage for Overall Work
NominationsAcademy Award for Best Actor, Academy Award for Best Director, Golden Lion, Grand Jury Prize, Golden Globe Award for Best Supporting Actor – Motion Picture, BAFTA Award for Best Foreign Actor
MoviesCitizen Kane, Touch of Evil, Chimes at Midnight, The Magnificent Ambersons, The Trial, The Lady from Shanghai, The Stranger, The Third Man, Othello, Mr. Arkadin, F for Fake, The Other Side of the Wind, The Immortal Story, Macbeth, Don Quixote, It's All True, Too Much Johnson, Journey into Fear, Jane Eyre, Filming Othello, The Transformers: The Movie, David and Goliath, The Fountain of Youth, The Hearts of Age, A Man for All Seasons, Treasure Island, The Long, Hot Summer, Compulsion, Three Cases of Murder, Tomorrow Is Forever, The Merchant of Venice, The Southern Star, The Dreamers, The Black Rose, The Orson Welles Show, Prince of Foxes, Orson Welles' Magic Show, Catch-22, The Muppet Movie, Casino Royale, Black Magic, Man in the Shadow, Monsieur Verdoux, The V.I.P.s, Battle of Neretva, The Kremlin Letter, The Man Who Saw Tomorrow, Curd Cheese, Moby Dick, Filming The Trial, One Man Band
TV ShowsAround the World with Orson Welles, In the Land of Don Quixote, Orson Welles' Great Mysteries, The Dean Martin Celebrity Roast, Jack London's Tales of the Klondike, Tut: The Boy King, Scene of the Crime (US)


Interesting Facts

#Fact
1 He directed Erskine Sanford in five films: Citizen Kane (1941), The Magnificent Ambersons (1942), The Stranger (1946), The Lady from Shanghai (1947) and Macbeth (1948).
2 Has been played by Steven Lamprinos in Hollywood Mouth 2 (2014). The director of that film, Jordan Mohr, wanted an Orson Welles character in the movie because she is from Venice, California, where Touch of Evil (1958) was filmed.
3 Laurence Olivier strongly considered casting Welles as the Duke of Buckingham in Richard III (1955) but felt obligated to cast his close friend Ralph Richardson in the role. Olivier came to regret this decision as he believed that Welles would have added an element of conspiracy to the film.
4 He had three Shakespearean roles in common with Laurence Olivier: (1) Welles played Othello in Othello (1952) while Olivier played him in Othello (1965), (2) Welles played King Lear in Omnibus: King Lear (1953) while Olivier played him in King Lear (1983) and (3) Welles played Shylock in The Merchant of Venice (1969) while Olivier played him in The Merchant of Venice (1973).
5 His full name is George Orson Welles. He was named "George" in honor of writer George Ade, who was a friend of the family. His middle name was in honor of another family friend, a man named Orson Wells (without the "e").
6 The Last Picture Show (1971) was filmed in black and white because of Welles' famous remark to Peter Bogdanovich and Polly Platt, when director and crew were uncertain on how to film the locations without using too many colors. Welles, who was on the set, replied: "Of course you'll film it in black and white!" The advice proved to be helpful because the film was praised for (among other qualities) its cinematography, which earned Robert Surtees an Oscar nomination.
7 Became a father for the fourth time at age 40 when his third wife Paola Mori gave birth to their daughter Beatrice Welles on November 13, 1955.
8 Became a father for the third time at age 29 when his second wife Rita Hayworth gave birth to their daughter Rebecca Welles on December 17, 1944.
9 Became a father for the second time at age 25 when his married lover Geraldine Fitzgerald gave birth to their son Michael Lindsay-Hogg on June 5, 1940.
10 Became a father for the first time at age 22 when his first wife Virginia Nicolson gave birth to their daughter Christopher Welles on March 27, 1938.
11 Once referred to the audience as "the big, many-headed beast crouching out there in the darkness".
12 Welles was so impressed with Dorothea Durham that he walked on stage where she was performing at the Club Rhumboogie and put $500 in her hand. Durham, who went by the stage name La Garbo, was a popular dancer in the 1930s and 1940s on the West Coast. She also danced at the Cotton Club in Harlem and in Duke Ellington's "Jump for Joy", and appeared as a dancer in movies such as Cabin in the Sky (1943).
13 Film critics lobbied for him to record an audio commentary for Citizen Kane (1941), but he refused, stating that he was tired of talking about it.
14 George, his given name, was in honor of his father's friend, humorist George Ade.
15 He remained good friends with Joseph Cotten until the end of his life, despite a working relationship that was often considered demanding of the older Cotten.
16 He and John Huston were good friends from the 1940s to Welles' death in 1985. Both men coincidentally made their spectacular debut as directors in 1941 (Welles with Citizen Kane (1941) and Huston with The Maltese Falcon (1941)). Both would eventually be directed by the other: Welles' had a cameo in Huston's adaptation of Moby Dick (1956) and Huston played the lead in Welles' unfinished The Other Side of the Wind (2016).
17 He directed two actors to Oscar nominations: Himself (Best Actor, Citizen Kane (1941)), and Agnes Moorehead (Best Supporting Actress, The Magnificent Ambersons (1942)).
18 His last completed work as director was "The Orson Welles Show", a never broadcast television show.
19 Was friends with Josip Broz Tito, a partisan guerrilla leader who fought the Nazis in World War II Yugoslavia, and who later became president of the country.
20 When execs at RKO could not decide to greenlight Citizen Kane (1941), Welles asked the studio for film equipment and a small crew so he could spend the midway time doing test shots. Not wanting its new import from New York to sour on his deal with RKO, the studio granted the request. Welles proceeded to shoot actual scenes of the movie. By the time execs realized what he had done, Welles had many key scenes completed. RKO greenlit the film, having already--albeit unknowingly--financed the picture.
21 He died only two hours after being interviewed on The Merv Griffin Show (1962) on October 10, 1985. Reportedly, Welles died working with a typewriter in his lap.
22 He was awarded 2 Stars on the Hollywood Walk of Fame for Motion Pictures at 1600 Vine Street; and for Radio at 6652 Hollywood Boulevard in Hollywood, California.
23 Was close friends with Bud Cort.
24 He was made a Fellow of the British Film Institute in recognition of his outstanding contribution to film culture.
25 He was of German, Irish and Scottish heritage.
26 Was George Lucas' first choice as the voice for Darth Vader, but he thought the voice would be too recognizable.
27 CBS wanted him to host The Twilight Zone (1959) but the producers felt that he requested too much money. He was ultimately ruled out in favor of the show's creator, Rod Serling.
28 Biography in: "The Scribner Encyclopedia of American Lives". Volume One, 1981-1985, pages 861-864. New York: Charles Scribner's Sons, 1998.
29 John Ford, whom Welles admired as the greatest American director and who, in turn, admired Welles as a director and actor, wanted to cast him as Mayor Frank Skeffington in his movie adaption of Edwin O'Connor's novel The Last Hurrah (1958). Welles was unable to accept the role due to scheduling conflicts, and Spencer Tracy was cast instead.
30 Hated working on The Transformers: The Movie (1986), where he voiced Unicron. When asked about the film, he not only could not remember the name of his character, but he described the film as being "I play a big toy who attacks a bunch of smaller toys.".
31 His performance as Charles Foster Kane in Citizen Kane (1941) is ranked #12 on Premiere magazine's 100 Greatest Movie Characters of All Time.
32 His performance as Harry Lime in The Third Man (1949) is ranked #93 on Premiere magazine's 100 Greatest Movie Characters of All Time.
33 Merv Griffin claimed in his DVD collection "Merv Griffin: Interesting People" that Welles died two hours after giving Merv an interview in which he had said to ask him anything, "for this interview, there are no subjects about which I won't speak". In the past, Welles refused to speak about the past.
34 Profiled in in J.A. Aberdeen's "Hollywood Renegades: The Society of Independent Motion Picture Producers" (Palos Verdes Estates, CA: Cobblestone Entertainment).
35 In the 1930s, he worked at various radio stations in New York City, at different times of the day. He found it difficult to be on time for his live shows because he had to use taxicabs and the heavy New York City traffic meant that he was often late. He soon found a loophole in the law that said you didn't have to be sick to hire an ambulance, so he did just that and had the drivers blast their sirens as he traveled from one station to the next, and that way he was on time.
36 Has been played by Vincent D'Onofrio twice: Ed Wood (1994) and Five Minutes, Mr. Welles (2005).
37 Longtime companions with Oja Kodar. They lived together until his death.
38 Most of his movie projects never got finished or released due to financial problems and disputes with studio executives. Some of his unfinished productions are: The Deep (1970) (Laurence Harvey's death made a finished movie impossible), The Merchant of Venice (1969) and Don Quixote (1992).
39 Was a passionate painter
40 Was very good friends with Peter Bogdanovich, in whose house he lived for several years during Bogdanovich's affair with Cybill Shepherd. Welles even gave Bogdanovich written instructions to finish his last film, The Other Side of the Wind (2016), before his death.
41 Considered black and white to be "the actor's best friend", feeling that it focused more on the actor's expressions and feelings than on hair, eye or wardrobe color.
42 His father was an alcoholic.
43 Ranked #9 in Empire (UK) magazine's "The Greatest directors ever!" [2005].
44 His average dinner famously consisted of two steaks cooked rare and a pint of scotch whiskey. This contributed to his obesity in his later life and his eventual death.
45 Before deciding on adapting the life of William Randolph Hearst in Citizen Kane (1941), Welles intended his first film to be an adaptation of Joseph Conrad's "Heart of Darkness". Coincidentally, he was Francis Ford Coppola's first choice for the role of Colonel Kurtz in Apocalypse Now (1979), itself an adaptation of "Heart of Darkness".
46 Was the narrator for many of the trailers for Star Trek: The Motion Picture (1979).
47 Was named #16 on the 50 Greatest Screen Legends list of the American Film Institute.
48 He made The Lady from Shanghai (1947) towards the end of his marriage to Rita Hayworth. They were constantly fighting at the time and (some say as a comeuppance to Hayworth) he made her cut off most of her long, luxurious red hair and dye it bright platinum blonde.
49 Lobbied to get the role of Don Vito Corleone in The Godfather (1972), even offered to lose a good deal of weight in order to get the role. Francis Ford Coppola, a huge fan of his, had to turn him down because he already had Marlon Brando in mind for the role and felt Welles would not be right for the role.
50 Laurence Olivier had wanted to cast him as Buckingham in Richard III (1955), his film of William Shakespeare's play "Richard III", but gave the role to Ralph Richardson, his oldest friend, because Richardson wanted it. In his autobiography, Olivier says he wishes he had disappointed Richardson and cast Welles instead, as he would have brought an extra element to the screen, an intelligence that would have gone well with the plot element of conspiracy.
51 Wrote his novel "Mr. Arkadian" during an extended stay with Laurence Olivier and his wife Vivien Leigh. Welles was appearing at Olivier's St. James Theater in London at the time.
52 He had wanted to make films of two literary masterpieces, Herman Melville's "Moby Dick" and Joseph Heller's "Catch-22", but had to be satisfied in having supporting roles in the films made of the two books by John Huston (Moby Dick (1956)) and Mike Nichols (Catch-22 (1970)).
53 Told Peter Bogdanovich that, as a practicing magician, he became adept at the old carny trick of fortune-telling, but he became so good at it that it scared him. He was worried that he would come to believe he actually did have the power to tell the future, like the self-deluded fortune tellers known as a "shut eye".
54 When he signed on to direct Touch of Evil (1958), instead of reading the book on which it was based--a pulp novel named "Badge of Evil"--Welles completely changed an early draft of the script.
55 Was suggested as a possible suspect by author Mary Pacios, in the mutilation murder of actress Elizabeth Short, known as "The Black Dahlia" case, in Los Angeles in 1947. Among other reasons, Pacios suggested Welles as a suspect because Welles' artwork for the surreal bizarre funhouse set in The Lady from Shanghai (1947) was similar in many ways to the mutilation and bisection of Elizabeth Short. Harry Cohn, the head of Columbia Pictures--the studio that produced The Lady from Shanghai--ordered the footage cut before release because of its disturbing resemblance to the murder.
56 His 1937 Broadway stage production of William Shakespeare's "Julius Caesar"--in which the setting was changed to a modern Fascist Rome to reflect the Benito Mussolini era, but in which Shakespeare's language was completely retained--became, and still remains, the longest-running Broadway production of the play. Welles played Brutus. This production was never filmed, but years later Welles' former working partner John Houseman produced a traditional film version of the play for Metro-Goldwyn-Mayer, starring James Mason as Brutus, Marlon Brando as Marc Antony, and John Gielgud as Cassius.
57 Biography in: John Wakeman, editor. "World Film Directors, Volume One, 1890- 1945". Pages 1168-1185. New York: The H.W. Wilson Company, 1987.
58 Was voted the Second Greatest Film Director of all time by Entertainment Weekly.
59 Was possibly not as tall as is often reported. According to Simon Callow's "Orson Welles: The Road to Xanadu", medical records exist from a Welles physical in 1941. His weight is listed as 218, and his height at 72" - 6 feet even. Biographers Charles Higham and Frank Brady describe Welles as being 6'2", though they never provide a source. Biographer Barbara Leaming often comments on his height, but never gives an exact measurement. An early Current Biography article on Welles describes him as being "tall and chubby", while a later one gives the obviously incorrect 6'3-1/2" height. If you average all the figures and based on his size compared to other actors, he probably in fact stood a little over 6 feet tall (6'1" to 6'2").
60 He became obese in his 40s, weighing over 350 pounds towards the end of his life.
61 Has provided voice for some songs by the heavy metal band Manowar: "Dark Avenger" and "Defender".
62 He was the studio's first choice to play the voice-over role of OMM in THX 1138 (1971). However, director George Lucas insisted on casting the relatively unknown stage actor James Wheaton instead.
63 Has the distinction of appearing in both the American Film Institute and British Film Institute's #1 movie. For AFI, it was Citizen Kane (1941). For BFI, it was The Third Man (1949). Welles shares this distinction with Joseph Cotten, who also starred in both movies.
64 He portrayed the title character on the syndicated radio show "The Lives of Harry Lime" (also known as "The Third Man") (1951-52). This was based on his character from the film The Third Man (1949).
65 Host/narrator of the BBC/Mutual Radio's "The Black Museum" (1952).
66 Frank Sinatra was the godfather of his and Rita Hayworth's daughter, Rebecca Welles.
67 Posthumously inducted into the Radio Hall of Fame in 1988.
68 Made a Hollywood satire, The Other Side of the Wind (2016), starring John Huston and Peter Bogdanovich. Though it was completed, the post-production process was not and the film also ran into legal problems.
69 He tried to make a film version of Miguel de Cervantes y Saavedra' book "Don Quixote". He started working on it in 1955 and continued to film through the 1970s with Francisco Reiguera and Akim Tamiroff starring. An incomplete version was released in Spain in 1992.
70 He was born on the same day that Babe Ruth hit his very first home run.
71 A bootleg tape of a short-tempered (and foul-mouthed) Welles arguing with a recording engineer during a voice-over session has been widely distributed. It was used as the basis for an episode of the animated series Pinky and the Brain (1995), with The Brain reading cleaned-up versions of Orson's rantings (the episode's title, "Yes, Always", is taken from one of Welles' complaints). Ironically, the actor who plays The Brain, Maurice LaMarche, dubbed the voice of the actor who portrays Welles in Ed Wood (1994).
72 Despite his reputation as an actor and master filmmaker, he maintained his memberships in the International Brotherhood of Magicians and the Society of American Magicians (neither of which are unions, but fraternal organizations), and regularly practiced sleight-of-hand magic in case his career came to an abrupt end. Welles occasionally performed at the annual conventions of each organization, and was considered by fellow magicians to be extremely accomplished.
73 On October 30, 1938, he directed "The Mercury Theatre On the Air" in a dramatization of "The War of the Worlds", based on H.G. Wells' novel. Setting the events in then-contemporary locations (The "landing spot" for the Martian invasion, Grover's Mill, New Jersey, was chosen at random with a New Jersey road map) and dramatizing it in the style of a musical program interrupted by news bulletins, complete with eyewitness accounts, it caused a nationwide panic, with many listeners fully convinced that the Earth was being invaded by Mars. The next day, Welles publicly apologized. While many lawsuits were filed against both Welles and the CBS radio network, all were dismissed. The incident is mentioned in textbook accounts of mass hysteria and the delusions of crowds.
74 One of only six actors to receive an Academy Award nomination for Best Actor for his first screen appearance. The other five actors are: Paul Muni, Lawrence Tibbett, Alan Arkin, James Dean and Montgomery Clift.
75 Ashes are buried inside an old well covered by flowers, within the rural property of the now-deceased, then-retired bullfighter Antonio Ordóñez, Ronda, Malaga, Spain.
76 Died on the same day as Yul Brynner.
77 ABC-TV wanted him to play Mr. Roarke on Fantasy Island (1977), but the series' producer, Aaron Spelling, insisted on Ricardo Montalban.
78 H.G. Wells was driving through San Antonio, Texas, and stopped to ask the way. The person he happened to ask was none other than Welles', who had recently broadcast "The War of the Worlds" on the radio. They got on well and spent the day together.
79 Welles' Oscar statuette sold for $861,542, when it was auctioned by Nate D. Sanders Memorabilia on December 20, 2011.
80 Once ate 18 hot dogs in one sitting at Pink's, a Los Angeles hot dog stand.
81 Has been played by Steven Lamprinos in Hollywood Mouth 2 (2014). The director of that film, Jordan Mohr, wanted an Orson Welles character in the movie because she is from Venice, California, where Touch of Evil (1958) was filmed.
82 He was considered for the role of Don Vito Corleone in The Godfather (1972) before Marlon Brando was cast.
83 Laurence Olivier strongly considered casting Welles as the Duke of Buckingham in Richard III (1955) but felt obligated to cast his close friend Ralph Richardson in the role. Olivier came to regret this decision as he believed that Welles would have added an element of conspiracy to the film.
84 Along with Laurence Olivier, Woody Allen, Warren Beatty, Kenneth Branagh, Clint Eastwood and Roberto Benigni, he is one of only seven people to receive Academy Award nominations for both Best Actor and Best Director for the same film: Welles for Citizen Kane (1941), Olivier for Hamlet (1948), Allen for Annie Hall (1977), Beatty for Reds (1981), Branagh for Henry V (1989), Eastwood for Unforgiven (1992) and Benigni for Life Is Beautiful (1997).
85 He had three Shakespearean roles in common with Laurence Olivier: (1) Welles played Othello in Othello (1952) while Olivier played him in Othello (1965), (2) Welles played King Lear in Omnibus: King Lear (1953) while Olivier played him in King Lear (1983) and (3) Welles played Shylock in The Merchant of Venice (1969) while Olivier played him in The Merchant of Venice (1973).
86 His full name is George Orson Welles. He was named "George" in honor of writer George Ade, who was a friend of the family. His middle name was in honor of another family friend, a man named Orson Wells (without the "e").
87 The Last Picture Show (1971) was filmed in black and white because of Welles' famous remark to Peter Bogdanovich and Polly Platt, when director and crew were uncertain on how to film the locations without using too many colors. Welles, who was on the set, replied: "Of course you'll film it in black and white!" The advice proved to be helpful because the film was praised for (among other qualities) its cinematography, which earned Robert Surtees an Oscar nomination.
88 Became a father for the 4th time at age 40 when his 3rd wife Paola Mori gave birth to their daughter Beatrice Welles on November 13, 1955.
89 Became a father for the 3rd time at age 29 when his 2nd wife Rita Hayworth gave birth to their daughter Rebecca Welles on December 17, 1944.
90 Became a father for the 2nd time at age 25 when his married lover Geraldine Fitzgerald gave birth to their son Michael Lindsay-Hogg on June 5, 1940.
91 Became a father for the 1st time at age 22 when his 1st wife Virginia Nicolson gave birth to their daughter Christopher Welles on March 27, 1938.
92 Once referred to the audience as "the big, many-headed beast crouching out there in the darkness".
93 Welles was so impressed with Dorothea Durham that he walked on stage where she was performing at the Club Rhumboogie and put $500 in her hand. Durham, who went by the stage name La Garbo, was a popular dancer in the 1930s and 1940s on the West Coast. She also danced at the Cotton Club in Harlem and in Duke Ellington's "Jump for Joy", and appeared as a dancer in movies such as Cabin in the Sky (1943).
94 Film critics lobbied for him to record an audio commentary for Citizen Kane (1941), but he refused, stating that he was tired of talking about it.
95 George, his given name, was in honor of his father's friend, humorist George Ade.
96 He remained good friends with Joseph Cotten until the end of his life, despite a working relationship that was often considered demanding of the older Cotten.
97 He and John Huston were good friends from the 1940s to Welles' death in 1985. Both men coincidentally made their spectacular debut as directors in 1941 (Welles with Citizen Kane (1941) and Huston with The Maltese Falcon (1941)). Both would eventually be directed by the other: Welles' had a cameo in Huston's adaptation of Moby Dick (1956) and Huston played the lead in Welles' unfinished The Other Side of the Wind.
98 Directed two actors to Oscar nominations: Himself (Best Actor, Citizen Kane (1941)), and Agnes Moorehead (Best Supporting Actress, The Magnificent Ambersons (1942)).
99 His last completed work as director was "The Orson Welles Show", a never broadcast television show.
100 Was friends with Josip Broz Tito, a partisan guerrilla leader who fought the Nazis in World War II Yugoslavia, and who later became president of the country.
101 When execs at RKO could not decide to greenlight Citizen Kane (1941), Welles asked the studio for film equipment and a small crew so he could spend the midway time doing test shots. Not wanting its new import from New York to sour on his deal with RKO, the studio granted the request. Welles proceeded to shoot actual scenes of the movie. By the time execs realized what he had done, Welles had many key scenes completed. RKO greenlit the film, having already--albeit unknowingly--financed the picture.
102 He died only two hours after being interviewed on The Merv Griffin Show (1962) on October 10, 1985. Reportedly, Welles died working with a typewriter in his lap.
103 He was awarded 2 Stars on the Hollywood Walk of Fame for Motion Pictures at 1600 Vine Street; and for Radio at 6652 Hollywood Boulevard in Hollywood, California.
104 Was close friends with Bud Cort.
105 He was made a Fellow of the British Film Institute in recognition of his outstanding contribution to film culture.
106 He was of German, Irish and Scottish heritage.
107 Was George Lucas' first choice as the voice for Darth Vader, but he thought the voice would be too recognizable.
108 CBS wanted him to host Twilight Zone (1959) but the producers felt that he requested too much money. He was ultimately ruled out in favor of the show's creator, Rod Serling.
109 Biography in: "The Scribner Encyclopedia of American Lives". Volume One, 1981-1985, pages 861-864. New York: Charles Scribner's Sons, 1998.
110 John Ford, whom Welles admired as the greatest American director and who, in turn, admired Welles as a director and actor, wanted to cast him as Mayor Frank Skeffington in his movie adaption of Edwin O'Connor's novel The Last Hurrah (1958). Welles was unable to accept the role due to scheduling conflicts, and Spencer Tracy was cast instead.
111 Hated working on The Transformers: The Movie (1986), where he voiced Unicron. When asked about the film, he not only could not remember the name of his character, but he described the film as being "I play a big toy who attacks a bunch of smaller toys.".
112 His performance as Charles Foster Kane in Citizen Kane (1941) is ranked #12 on Premiere magazine's 100 Greatest Movie Characters of All Time.
113 His performance as Harry Lime in The Third Man (1949) is ranked #93 on Premiere magazine's 100 Greatest Movie Characters of All Time.
114 Merv Griffin claimed in his DVD collection "Merv Griffin: Interesting People" that Welles died two hours after giving Merv an interview in which he had said to ask him anything, "for this interview, there are no subjects about which I won't speak". In the past, Welles refused to speak about the past.
115 Profiled in in J.A. Aberdeen's "Hollywood Renegades: The Society of Independent Motion Picture Producers" (Palos Verdes Estates, CA: Cobblestone Entertainment).
116 In the 1930s, he worked at various radio stations in New York City, at different times of the day. He found it difficult to be on time for his live shows because he had to use taxicabs and the heavy New York City traffic meant that he was often late. He soon found a loophole in the law that said you didn't have to be sick to hire an ambulance, so he did just that and had the drivers blast their sirens as he traveled from one station to the next, and that way he was on time.
117 Has been played by Vincent D'Onofrio twice: Ed Wood (1994) and Five Minutes, Mr. Welles (2005).
118 Longtime companions with Oja Kodar. They lived together until his death.
119 Most of his movie projects never got finished or released due to financial problems and disputes with studio executives. Some of his unfinished productions are: The Deep (1970) (Laurence Harvey's death made a finished movie impossible), The Merchant of Venice (1969) and Don Quixote (1992).
120 Was a passionate painter
121 Was very good friends with Peter Bogdanovich, in whose house he lived for several years during Bogdanovich's affair with Cybill Shepherd. Welles even gave Bogdanovich written instructions to finish his last film, The Other Side of the Wind, before his death.
122 Considered black and white to be "the actor's best friend", feeling that it focused more on the actor's expressions and feelings than on hair, eye or wardrobe color.
123 His father was an alcoholic.
124 Ranked #9 in Empire (UK) magazine's "The Greatest directors ever!" [2005].
125 His average dinner famously consisted of two steaks cooked rare and a pint of scotch whiskey. This contributed to his obesity in his later life and his eventual death.
126 Before deciding on adapting the life of William Randolph Hearst in Citizen Kane (1941), Welles intended his first film to be an adaptation of Joseph Conrad's "Heart of Darkness". Coincidentally, he was Francis Ford Coppola's first choice for the role of Colonel Kurtz in Apocalypse Now (1979), itself an adaptation of "Heart of Darkness".
127 Was the narrator for many of the trailers for Star Trek: The Motion Picture (1979).
128 Was named #16 on the 50 Greatest Screen Legends list of the American Film Institute.
129 He made The Lady from Shanghai (1947) towards the end of his marriage to Rita Hayworth. They were constantly fighting at the time and (some say as a comeuppance to Hayworth) he made her cut off most of her long, luxurious red hair and dye it bright platinum blonde.
130 Lobbied to get the role of Don Vito Corleone in The Godfather (1972). Francis Ford Coppola, a huge fan of his, had to turn him down because he already had Marlon Brando in mind for the role and felt Welles would not be right for the role.
131 Laurence Olivier had wanted to cast him as Buckingham in Richard III (1955), his film of William Shakespeare's play "Richard III", but gave the role to Ralph Richardson, his oldest friend, because Richardson wanted it. In his autobiography, Olivier says he wishes he had disappointed Richardson and cast Welles instead, as he would have brought an extra element to the screen, an intelligence that would have gone well with the plot element of conspiracy.
132 Wrote his novel "Mr. Arkadian" during an extended stay with Laurence Olivier and his wife Vivien Leigh. Welles was appearing at Olivier's St. James Theater in London at the time.
133 He had wanted to make films of two literary masterpieces, Herman Melville's "Moby Dick" and Joseph Heller's "Catch-22", but had to be satisfied in having supporting roles in the films made of the two books by John Huston (Moby Dick (1956)) and Mike Nichols (Catch-22 (1970)).
134 Told Peter Bogdanovich that, as a practicing magician, he became adept at the old carny trick of fortune-telling, but he became so good at it that it scared him. He was worried that he would come to believe he actually did have the power to tell the future, like the self-deluded fortune tellers known as a "shut eye".
135 When he signed on to direct Touch of Evil (1958), instead of reading the book on which it was based--a pulp novel named "Badge of Evil"--Welles completely changed an early draft of the script.
136 Was suggested as a possible suspect by author Mary Pacios, in the mutilation murder of actress Elizabeth Short, known as "The Black Dahlia" case, in Los Angeles in 1947. Among other reasons, Pacios suggested Welles as a suspect because Welles' artwork for the surreal bizarre funhouse set in The Lady from Shanghai (1947) was similar in many ways to the mutilation and bisection of Elizabeth Short. Harry Cohn, the head of Columbia Pictures--the studio that produced The Lady from Shanghai--ordered the footage cut before release because of its disturbing resemblance to the murder.
137 His 1937 Broadway stage production of William Shakespeare's "Julius Caesar"--in which the setting was changed to a modern Fascist Rome to reflect the Benito Mussolini era, but in which Shakespeare's language was completely retained--became, and still remains, the longest-running Broadway production of the play. Welles played Brutus. This production was never filmed, but years later Welles' former working partner John Houseman produced a traditional film version of the play for Metro-Goldwyn-Mayer, starring James Mason as Brutus, Marlon Brando as Marc Antony, and John Gielgud as Cassius.
138 Biography in: John Wakeman, editor. "World Film Directors, Volume One, 1890- 1945". Pages 1168-1185. New York: The H.W. Wilson Company, 1987.
139 Was voted the Second Greatest Film Director of all time by Entertainment Weekly.
140 Was possibly not as tall as is often reported. According to Simon Callow's "Orson Welles: The Road to Xanadu", medical records exist from a Welles physical in 1941. His weight is listed as 218, and his height at 72" - 6 feet even. Biographers Charles Higham and Frank Brady describe Welles as being 6' 2", though they never provide a source. Biographer Barbara Leaming often comments on his height, but never gives an exact measurement. An early Current Biography article on Welles describes him as being "tall and chubby", while a later one gives the obviously incorrect 6' 3-1/2" height. If you average all the figures and based on his size compared to other actors, he probably in fact stood a little over 6 feet tall (6' 1" to 6' 2").
141 He became obese in his 40s, weighing over 350 pounds towards the end of his life.
142 Has provided voice for some songs by the heavy metal band Manowar: "Dark Avenger" and "Defender".
143 He was the studio's first choice to play the voice-over role of OMM in THX 1138 (1971). However, director George Lucas insisted on casting the relatively unknown stage actor James Wheaton instead.
144 Has the distinction of appearing in both the American Film Institute and British Film Institute's #1 movie. For AFI, it was Citizen Kane (1941). For BFI, it was The Third Man (1949). Welles shares this distinction with Joseph Cotten, who also starred in both movies.
145 Portrayed the title character on the syndicated radio show "The Lives of Harry Lime" (also known as "The Third Man") (1951-52). It was based on his character from the film The Third Man (1949).
146 Host/narrator of the BBC/Mutual Radio's "The Black Museum" (1952).
147 Frank Sinatra was the godfather of his and Rita Hayworth's daughter, Rebecca Welles.
148 Posthumously inducted into the Radio Hall of Fame in 1988.
149 Made a Hollywood satire, The Other Side of the Wind, starring John Huston and Peter Bogdanovich. Though it was completed, the post-production process was not and the film also ran into legal problems.
150 He tried to make a film version of Miguel de Cervantes y Saavedra' book "Don Quixote". He started working on it in 1955 and continued to film through the 1970s with Francisco Reiguera and Akim Tamiroff starring. An incomplete version was released in Spain in 1992.
151 He was born on the same day that Babe Ruth hit his very first home run.
152 A bootleg tape of a short-tempered (and foul-mouthed) Welles arguing with a recording engineer during a voice-over session has been widely distributed. It was used as the basis for an episode of the animated series Pinky and the Brain (1995), with The Brain reading cleaned-up versions of Orson's rantings (the episode's title, "Yes, Always", is taken from one of Welles' complaints). Ironically, the actor who plays The Brain, Maurice LaMarche, dubbed the voice of the actor who portrays Welles in Ed Wood (1994).
153 Despite his reputation as an actor and master filmmaker, he maintained his memberships in the International Brotherhood of Magicians and the Society of American Magicians (neither of which are unions, but fraternal organizations), and regularly practiced sleight-of-hand magic in case his career came to an abrupt end. Welles occasionally performed at the annual conventions of each organization, and was considered by fellow magicians to be extremely accomplished.
154 On October 30, 1938, he directed "The Mercury Theatre On the Air" in a dramatization of "The War of the Worlds", based on H.G. Wells' novel. Setting the events in then-contemporary locations (The "landing spot" for the Martian invasion, Grover's Mill, New Jersey, was chosen at random with a New Jersey road map) and dramatizing it in the style of a musical program interrupted by news bulletins, complete with eyewitness accounts, it caused a nationwide panic, with many listeners fully convinced that the Earth was being invaded by Mars. The next day, Welles publicly apologized. While many lawsuits were filed against both Welles and the CBS radio network, all were dismissed. The incident is mentioned in textbook accounts of mass hysteria and the delusions of crowds.
155 One of only six actors to receive an Academy Award nomination for Best Actor for his first screen appearance. The other five actors are: Paul Muni, Lawrence Tibbett, Alan Arkin, James Dean and Montgomery Clift.
156 Ashes are buried inside an old well covered by flowers, within the rural property of the now-deceased, then-retired bullfighter Antonio Ordóñez, Ronda, Malaga, Spain.
157 Died on the same day as Yul Brynner.
158 ABC-TV wanted him to play Mr. Roarke on Fantasy Island (1977), but the series' producer, Aaron Spelling, insisted on Ricardo Montalban.
159 H.G. Wells was driving through San Antonio, Texas, and stopped to ask the way. The person he happened to ask was none other than Welles', who had recently broadcast "The War of the Worlds" on the radio. They got on well and spent the day together.
160 Welles' Oscar statuette sold for $861,542, when it was auctioned by Nate D. Sanders Memorabilia on December 20, 2011.
161 Once ate 18 hot dogs in one sitting at Pink's, a Los Angeles hot dog stand.


Net Worth & Salary

TitleSalary
The Kremlin Letter (1970) $50,000
Compulsion (1959) $100,000
The Roots of Heaven (1958) settlement of debts worth $15,000
The Long, Hot Summer (1958) $150,000
Man in the Shadow (1957) $60,000
Lucy Meets Orson Welles (1956) $5,000
Moby Dick (1956) £6,000
Around the World with Orson Welles (1955) £75 per episode
Trouble in the Glen (1954) £10,000
I Love Lucy (1951) $15,000
The Third Man (1949) $100,000
Black Magic (1949) $100,000
Macbeth (1948) $100,000 (for acting, adapting and directing)
The Stranger (1946) $50,000
Tomorrow Is Forever (1946) $20,000
Follow the Boys (1944) $50,000
Jane Eyre (1943) $100,000
The Kremlin Letter (1970) $50,000
Compulsion (1959) $100,000
The Roots of Heaven (1958) settlement of debts worth $15,000
The Long, Hot Summer (1958) $150,000
Man in the Shadow (1957) $60,000
Lucy Meets Orson Welles (1956) $5,000
Moby Dick (1956) £6,000
Around the World with Orson Welles (1955) £75 per episode
Trouble in the Glen (1954) £10,000
I Love Lucy (1951) $15,000
The Third Man (1949) $100,000
Black Magic (1949) $100,000
Macbeth (1948) $100,000 (for acting, adapting and directing)
The Stranger (1946) $50,000
Tomorrow Is Forever (1946) $20,000
Follow the Boys (1944) $50,000
Jane Eyre (1943) $100,000


Trademarks

#Trademark
1 Known for his use of low camera angles, tracking shots, deep focus and elaborate crane shots in his films.
2 Frequently wrote, directed and starred in films that feature the rise and fall of main characters (Charles Foster Kane in Citizen Kane (1941), Gregory Arkadin in _Confidential Report (1955)_, Detective Hank Quinlan in Touch of Evil (1958)) who, in classic Shakespearean style, are unmade by their own vices.
3 Frequently cast Joseph Cotten, Everett Sloane and Oja Kodar
4 One of the most recognizable deep voices in all of film, radio or television.
5 More than often than not sported a beard
6 Known for his use of low camera angles, tracking shots, deep focus and elaborate crane shots in his films.
7 Films that he wrote/directed often revolve around the rise and fall of main characters (Kane, Quinlan, Arkardin) who, in classic Shakespearean style, are unmade by their own vices.
8 Frequently casts Joseph Cotten, Everett Sloane and Oja Kodar
9 One of the most recognizable deep voices in all of film, radio or television.


Quotes

#Quote
1 You know, I always loved Hollywood. It was just never reciprocated.
2 [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.
3 [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.
4 [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.
5 [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.
6 [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.
7 [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.
8 [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.
9 [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.
10 [on Luis Buñuel] He's a deeply Christian man who hates God as only a Christian can and, of course, he's very Spanish.
11 [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.
12 [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.".
13 [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.
14 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.
15 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.
16 [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.
17 I have all the equipment to be a politician. Total shamelessness.
18 [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.
19 [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.
20 [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.
21 [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.
22 [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.
23 [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".
24 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.".
25 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.
26 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.
27 [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'.".
28 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.
29 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.
30 A poet needs a pen, a painter a brush, and a director an army.
31 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.
32 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.
33 [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.
34 [on Nostradamus' ability to predict the future] One might as well make predictions based on random passages from the phone book.
35 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!
36 [to Dick Cavett] I'm always sorry to hear that anybody I admire has been an actor... When did you go straight?
37 [on Stanley Kubrick] Among the young generation, Kubrick strikes me as a giant.
38 The optimists are incapable of understanding what it means to adore the impossible.
39 [on Edward G. Robinson] An immensely effective actor.
40 [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.
41 [on René Clair] A real master: he invented his own Paris, which is better than recording it.
42 [on James Cagney] No one was more unreal and stylized, yet there is no moment when he was not true.
43 [on his favorite directors] I prefer the old masters; by which I mean: John Ford, John Ford and John Ford.
44 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.
45 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.
46 Living in the lap of luxury isn't bad, except you never know when luxury is going to stand up.
47 Race hate isn't human nature; race hate is the abandonment of human nature.
48 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.
49 Hollywood is the only industry, even taking in soup companies, which does not have laboratories for the purpose of experimentation.
50 A good artist should be isolated. If he isn't isolated, something is wrong.
51 Everybody denies that I am genius - but nobody ever called me one.
52 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.
53 I passionately hate the idea of being with it; I think an artist has always to be out of step with his time.
54 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.
55 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.
56 A film is never really good unless the camera is an eye in the head of a poet.
57 I don't pray because I don't want to bore God.
58 I think it is always a tremendously good formula in any art form to admit the limitations of the form.
59 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.
60 My doctor told me to stop having intimate dinners for four. Unless there are three other people.
61 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.
62 [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!
63 [on Citizen Kane (1941) being colorized] Keep Ted Turner and his goddamned Crayolas away from my movie.
64 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.
65 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.
66 I hate television. I hate it as much as peanuts. But I can't stop eating peanuts.
67 [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.
68 Movie directing is the perfect refuge for the mediocre.
69 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.
70 I started at the top and worked down.
71 I'm not very fond of movies. I don't go to them much.
72 [on pop idol Donny Osmond] He has Van Gogh's ear for music.
73 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.
74 You know, I always loved Hollywood. It was just never reciprocated.
75 [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.
76 [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.
77 [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.
78 [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.
79 [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.
80 [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.
81 [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.
82 [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.
83 [on Luis Buñuel] He's a deeply Christian man who hates God as only a Christian can and, of course, he's very Spanish.
84 [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.
85 [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.".
86 [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.
87 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.
88 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.
89 [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.
90 I have all the equipment to be a politician. Total shamelessness.
91 [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.
92 [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.
93 [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.
94 [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.
95 [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.
96 [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".
97 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.".
98 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.
99 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' (qv], 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.
100 [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'.".
101 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.
102 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.
103 A poet needs a pen, a painter a brush, and a director an army.
104 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.
105 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.
106 [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.
107 [After his first tour of RKO Radio Pictures] This is the biggest toy-train set any boy ever had.
108 [on Nostradamus' ability to predict the future] One might as well make predictions based on random passages from the phone book.
109 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!
110 [to Dick Cavett] I'm always sorry to hear that anybody I admire has been an actor... When did you go straight?
111 [on Stanley Kubrick] Among the young generation, Kubrick strikes me as a giant.
112 The optimists are incapable of understanding what it means to adore the impossible.
113 [on Edward G. Robinson] An immensely effective actor.
114 [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.
115 [on René Clair] A real master: he invented his own Paris, which is better than recording it.
116 [on James Cagney] No one was more unreal and stylized, yet there is no moment when he was not true.
117 [on his favorite directors] I prefer the old masters; by which I mean: John Ford, John Ford and John Ford.
118 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.
119 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.
120 Living in the lap of luxury isn't bad, except you never know when luxury is going to stand up.
121 Race hate isn't human nature; race hate is the abandonment of human nature.
122 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.
123 Hollywood is the only industry, even taking in soup companies, which does not have laboratories for the purpose of experimentation.
124 A good artist should be isolated. If he isn't isolated, something is wrong.
125 Everybody denies that I am genius - but nobody ever called me one.
126 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.
127 I passionately hate the idea of being with it; I think an artist has always to be out of step with his time.
128 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.
129 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.
130 A film is never really good unless the camera is an eye in the head of a poet.
131 I don't pray because I don't want to bore God.
132 I think it is always a tremendously good formula in any art form to admit the limitations of the form.
133 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.
134 My doctor told me to stop having intimate dinners for four. Unless there are three other people.
135 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.
136 [At RKO Radio Pictures working on "Heart of Darkness", a film he later abandoned] This is the biggest electric train set a boy ever had!
137 [on Citizen Kane (1941) being colorized] Keep Ted Turner and his goddamned Crayolas away from my movie.
138 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.
139 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.
140 I hate television. I hate it as much as peanuts. But I can't stop eating peanuts.
141 [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.
142 Movie directing is the perfect refuge for the mediocre.
143 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.
144 I started at the top and worked down.
145 I'm not very fond of movies. I don't go to them much.
146 [on pop idol Donny Osmond] He has Van Gogh's ear for music.
147 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.


Pictures

All Orson Welles pictures

Won Awards

Won awards

YearAwardCeremonyNominationMovieAward shared with
2014 Cinema Eye Honors Award Cinema Eye Honors Awards, US The Influentials F for Fake (1973)
1985 Career Achievement Award National Board of Review, USA
1984 Lifetime Achievement Award Directors Guild of America, USA
1983 BFI Fellowship British Film Institute Awards
1983 Luchino Visconti Award David di Donatello Awards
1978 Career Achievement Award Los Angeles Film Critics Association Awards
1975 Life Achievement Award American Film Institute, USA
1974 Sant Jordi Sant Jordi Awards Best Foreign Film (Mejor Película Extranjera) F for Fake (1973)
1972 Bronze Wrangler Western Heritage Awards Western Documentary The Last of the Wild Mustangs (1972) Norman Muse, Gus Jekel
1971 Honorary Award Academy Awards, USA

For superlative artistry and versatility in the creation of motion pictures. Orson Welles was not ... More

1970 Career Golden Lion Venice Film Festival Homage for overall work
1966 20th Anniversary Prize Cannes Film Festival Campanadas a medianoche (1965)
1966 Technical Grand Prize Cannes Film Festival Campanadas a medianoche (1965)
1964 Critics Award French Syndicate of Cinema Critics Best Film Le procès (1962)
1960 Star on the Walk of Fame Walk of Fame Motion Picture On 8 February 1960. At 1600 Vine Street.
1960 Star on the Walk of Fame Walk of Fame Radio On 8 February 1960. At 6552 Hollywood Blvd.
1959 Best Actor Cannes Film Festival Compulsion (1959) Dean Stockwell, Bradford Dillman
1959 Peabody Award Peabody Awards The Fountain of Youth (1958)
1952 Grand Prize of the Festival Cannes Film Festival The Tragedy of Othello: The Moor of Venice (1952)
1942 Oscar Academy Awards, USA Best Writing, Original Screenplay Citizen Kane (1941) Herman J. Mankiewicz
1939 Hugo Hugo Awards Best Dramatic Presentation - Short Form Howard Koch, Anne Froelich

Nominated Awards

Nominated awards

YearAwardCeremonyNominationMovieAward shared with
1993 International Fantasy Film Award Fantasporto Best Film The Tragedy of Othello: The Moor of Venice (1952)
1983 Razzie Award Razzie Awards Worst Supporting Actor Butterfly (1982)
1982 Golden Globe Golden Globes, USA Best Motion Picture Actor in a Supporting Role Butterfly (1982)
1968 BAFTA Film Award BAFTA Awards Best Foreign Actor Campanadas a medianoche (1965)
1968 Golden Berlin Bear Berlin International Film Festival Histoire immortelle (1968)
1966 Palme d'Or Cannes Film Festival Campanadas a medianoche (1965)
1962 Golden Lion Venice Film Festival Le procès (1962)
1948 Grand International Award Venice Film Festival Macbeth (1948)
1947 Grand International Award Venice Film Festival The Stranger (1946)
1942 Oscar Academy Awards, USA Best Actor in a Leading Role Citizen Kane (1941)
1942 Oscar Academy Awards, USA Best Director Citizen Kane (1941)
1939 Hugo Hugo Awards Best Dramatic Presentation - Short Form For "Around the World in Eighty Days", episode of "The Mercury Theater on the Air" (radio).
1939 Hugo Hugo Awards Best Dramatic Presentation - Short Form For "A Christmas Carol", episode of "The Campbell Playhouse" (radio).
1939 Hugo Hugo Awards Best Dramatic Presentation - Short Form John Houseman

2nd Place Awards

2nd place awards

YearAwardCeremonyNominationMovieAward shared with
1941 NYFCC Award New York Film Critics Circle Awards Best Director Citizen Kane (1941)
1941 NYFCC Award New York Film Critics Circle Awards Best Actor Citizen Kane (1941)


Filmography

Actor

TitleYearStatusCharacter
The Golden Honeymoon 1970 Short
Upon This Rock 1970 TV Movie Michelangelo (voice)
Is It Always Right to Be Right? 1970 Short Narrator (voice)
Waterloo 1970/I Louis XVIII
The Name of the Game 1970 TV Series Narrator
Catch-22 1970 Brig. Gen. Dreedle
Start the Revolution Without Me 1970 The Narrator
The Kremlin Letter 1970 Bresnavitch
The Merchant of Venice 1969 TV Short Shylock
12 + 1 1969 Maurice Markau
Bitka na Neretvi 1969 Senator
Kampf um Rom II - Der Verrat 1969 Justinian
The Southern Star 1969 Plankett
Tepepa 1969 Colonel Cascorro
To Build a Fire 1969 Narrator (voice)
The Last Roman 1968 Emperor Justinian
House of Cards 1968 Leschenhaut
Oedipus the King 1968 Tiresias
The Immortal Story 1968 TV Movie Mr. Charles Clay
I'll Never Forget What's'isname 1967 Jonathan Lute
The Sailor from Gibraltar 1967 Louis de Mozambique
Casino Royale 1967 Le Chiffre
A Man for All Seasons 1966 Cardinal Wolsey
Paris brûle-t-il? 1966 Consul Raoul Nordling
Treasure Island 1965 Short Long John Silver
Chimes at Midnight 1965 Falstaff
Marco the Magnificent 1965 Akerman, Marco's Tutor
La isla del tesoro 1965 Short Long John Silver
The Finest Hours 1964 Documentary Narrator (voice)
The V.I.P.s 1963 Max Buda
Ro.Go.Pa.G. 1963 The 'Director' (segment "La ricotta")
The Trial 1962 Albert Hastler - The Advocate / Narrator
King of Kings 1961 Narrator (voice, uncredited)
I tartari 1961 Burundai
Lafayette 1961 Benjamin Franklin
The Battle of Austerlitz 1960 Robert Fulton
An Arabian Night 1960 TV Movie Storyteller
Crack in the Mirror 1960 Hagolin Lamerciere
David and Goliath 1960 King Saul
High Journey 1959 Short Narrator (voice)
Ferry to Hong Kong 1959 Captain Hart
Compulsion 1959 Jonathan Wilk
Masters of the Congo Jungle 1958 Documentary Narrator, English Language Version (voice)
The Roots of Heaven 1958 Cy Sedgewick
Colgate Theatre 1958 TV Series Narrator
The Fountain of Youth 1958 TV Short Host / narrator
South Seas Adventure 1958 Supplemental Narrator (voice)
The Vikings 1958 Narrator (voice, uncredited)
The Long, Hot Summer 1958 Will Varner
Touch of Evil 1958 Police Captain Hank Quinlan
Man in the Shadow 1957/I Virgil Renchler
I Love Lucy 1956 TV Series Orson Welles
Moby Dick 1956 Father Mapple
Ford Star Jubilee 1956 TV Series Oscar Jaffe
Moby Dick Rehearsed 1955 TV Movie An Actor Manager Father Mapple Ahab
Mr. Arkadin 1955 Gregory Arkadin
Napoléon 1955 Sir Hudson Lowe
Three Cases of Murder 1955 Lord Mountdrago ("Lord Mountdrago" segment)
Trouble in the Glen 1954 Sanin Cejador y Mengues
Royal Affairs in Versailles 1954 Benjamin Franklin
Omnibus 1953 TV Series King Lear
L'uomo la bestia e la virtù 1953 Captain Perella - the Beast
Return to Glennascaul 1953 Short Narrator / Orson Welles
Trent's Last Case 1952 Sigsbee Manderson
Othello 1951 Othello
The Black Rose 1950 Bayan
Prince of Foxes 1949 Cesare Borgia
The Third Man 1949 Harry Lime
Black Magic 1949 Joseph Balsamo aka Count Cagliostro
Macbeth 1948 Macbeth
The Lady from Shanghai 1947 Michael O'Hara
Duel in the Sun 1946 Narrator (voice, uncredited)
The Stranger 1946 Professor Charles Rankin
Tomorrow Is Forever 1946 John Andrew MacDonald / Erik Kessler
Follow the Boys 1944 Orson Welles
Jane Eyre 1943 Edward Rochester
The Magnificent Ambersons 1942 Narrator (voice)
Journey Into Fear 1942 Colonel Haki
Citizen Kane 1941 Kane
Swiss Family Robinson 1940 Opening Narrator (uncredited)
The Green Goddess 1939 Short Rajah / Narrator
Too Much Johnson 1938 Keystone Kop
The Hearts of Age 1934 Short Death
Someone to Love 1987 Danny's Friend
The Transformers: The Movie 1986 Unicron (voice)
The Enchanted Journey 1984 Pippo (voice)
Where Is Parsifal? 1984 Klingsor
Hot Money 1983 Sheriff Paisley
Magnum, P.I. 1981-1983 TV Series Robin Masters
Slapstick of Another Kind 1982 Aliens' Father (voice, uncredited)
Butterfly 1982 Judge Rauch
Wagner e Venezia 1982 TV Short Richard Wagner (voice)
Tales of the Klondike 1981 TV Mini-Series Narrator
History of the World: Part I 1981 Narrator (voice)
The Man Who Saw Tomorrow 1981 Narrator
The Greenstone 1980 Short Narrator (voice)
Shogun 1980 TV Mini-Series Narrator
Shogun 1980 TV Movie Narrator (voice)
Tajna Nikole Tesle 1980 J.P. Morgan
The Double McGuffin 1979 Narrator (voice)
The Muppet Movie 1979 Lew Lord
The New Media Bible: Book of Genesis 1979 Video Narrator
The Biggest Battle 1978 Narrator (voice, uncredited)
A Woman Called Moses 1978 TV Series Narrator
Rime of the Ancient Mariner 1977 Short Narrator (voice)
Some Call It Greed 1977 Narrator (voice)
It Happened One Christmas 1977 TV Movie Henry F. Potter
Hot Tomorrows 1977 Parklawn Mortuary (voice)
Voyage of the Damned 1976 José Estedes
Rikki-Tikki-Tavi 1975 TV Short Narrator / Nag / Chuchundra (voice)
Ein Unbekannter rechnet ab 1974 U. N. Owen (voice)
Sutjeska 1973 Winston Churchill
The Man Who Came to Dinner 1972 TV Movie Sheridan Whiteside
Treasure Island 1972 Long John Silver
Get to Know Your Rabbit 1972 Mr. Delasandro
Necromancy 1972 Mr. Cato
London 1971 Short Winston Churchill George Bernard Shaw
Freedom River 1971 Short Narrator (voice)
Ten Days Wonder 1971 Théo Van Horn - un multimillionnaire qui vit en despote dans sa maison
Night Gallery 1971 TV Series Narrator (segment "Silent Snow, Secret Snow")
A Safe Place 1971 The Magician
Malpertuis 1971 Cassavius
The Deep 1970 Russ Brewer

Writer

TitleYearStatusCharacter
The Other Side of the Wind 2018 post-production
Something Else inspired by filming
Citizen Vader 2014 Short characters
F for favor 2008 Short writer
The Hitchhiker 2007 radio script - uncredited
The Magnificent Ambersons 2002 TV Movie 1942 screenplay
Moby Dick 2000 Short play
Around the World with Orson Welles TV Mini-Series documentary 1 episode, 1955 writer - 5 episodes, 1955 - 2000 script - 1 episode, 1955
The Big Brass Ring 1999 earlier screenplay
The Way to Santiago 1998 Short writer
The Big Brass Ring 1997 Documentary short
The Hearts of Age 1997 Short concept
Don Quixote 1992 uncredited
Orson Welles' Magic Show 1985 TV Short
The Spirit of Charles Lindbergh 1984 Short
Orson Welles' The Dreamers 1982 Documentary short written by
Filming 'Othello' 1978 Documentary writer
NBC: The First Fifty Years - A Closer Look 1976 TV Movie documentary
F for Fake 1973 Documentary writer
Treasure Island 1972 adapted for the screen by - as O.W. Jeeves
London 1971 Short
The Deep 1970
The Golden Honeymoon 1970 Short
The Merchant of Venice 1969 TV Short
Vienna 1968 Short writer
The Immortal Story 1968 TV Movie
The Bible: In the Beginning... 1966 uncredited
Treasure Island 1965 Short
Chimes at Midnight 1965
La isla del tesoro 1965 Short
The Trial 1962 written by
Tempo 1961 TV Series written by - 1 episode
Orson Welles at Large: Portrait of Gina 1958 TV Short documentary
Colgate Theatre 1958 TV Series teleplay - 1 episode
The Fountain of Youth 1958 TV Short
Touch of Evil 1958 screenplay
Orson Welles and People 1956 TV Movie
Moby Dick Rehearsed 1955 TV Movie
Mr. Arkadin 1955 screenplay / story
Orson Welles' Sketch Book 1955 TV Series 6 episodes
Othello 1951 uncredited
The Unthinking Lobster 1950 Short
The Third Man 1949 uncredited
Macbeth 1948 adaptation - uncredited
The Lady from Shanghai 1947 screenplay
Monsieur Verdoux 1947 based on an idea by
The Stranger 1946 uncredited
The Story of Samba 1943 Short
The Magnificent Ambersons 1942 script writer
Journey Into Fear 1942 uncredited
Citizen Kane 1941 original screen play
The Green Goddess 1939 Short adaptation
Too Much Johnson 1938 writer
The Hearts of Age 1934 Short

Director

TitleYearStatusCharacter
The Other Side of the Wind 2018 post-production
Moby Dick 2000 Short
Around the World with Orson Welles 1955-2000 TV Mini-Series documentary 7 episodes
It's All True 1993 Documentary
Don Quixote 1992 original footage
Orson Welles' Magic Show 1985 TV Short
The Spirit of Charles Lindbergh 1984 Short
Orson Welles' The Dreamers 1982 Documentary short
Filming 'The Trial' 1981 Documentary
The Orson Welles Show 1979 TV Movie as G.O. Spelvin
Filming 'Othello' 1978 Documentary
F for Fake 1973 Documentary
London 1971 Short
The Deep 1970
The Golden Honeymoon 1970 Short
The Merchant of Venice 1969 TV Short
The Southern Star 1969 opening scenes, uncredited
Vienna 1968 Short
The Immortal Story 1968 TV Movie
Treasure Island 1965 Short
Chimes at Midnight 1965
Nella terra di Don Chisciotte 1964 TV Series documentary
The Trial 1962
Sinners Go to Hell 1962 uncredited
Tempo 1961 TV Series 1 episode
David and Goliath 1960 his own scenes, uncredited
Orson Welles at Large: Portrait of Gina 1958 TV Short documentary
Colgate Theatre 1958 TV Series 1 episode
The Fountain of Youth 1958 TV Short
Touch of Evil 1958
Orson Welles and People 1956 TV Movie
Moby Dick Rehearsed 1955 TV Movie
Mr. Arkadin 1955
Orson Welles' Sketch Book 1955 TV Series 6 episodes
Three Cases of Murder 1955 segment "Lord Mountdrago", uncredited"
Othello 1951
The Unthinking Lobster 1950 Short
Black Magic 1949 uncredited
Macbeth 1948
The Lady from Shanghai 1947 uncredited
The Stranger 1946
The Story of Samba 1943 Short
The Magnificent Ambersons 1942
Journey Into Fear 1942 uncredited
Citizen Kane 1941
The Green Goddess 1939 Short
Too Much Johnson 1938
The Hearts of Age 1934 Short

Producer

TitleYearStatusCharacter
Orson Welles' Magic Show 1985 TV Short producer
Orson Welles' The Dreamers 1982 Documentary short producer
Filming 'The Trial' 1981 Documentary producer
The Deep 1970 producer
The Golden Honeymoon 1970 Short producer
The Merchant of Venice 1969 TV Short producer
Vienna 1968 Short producer
Nella terra di Don Chisciotte 1964 TV Series documentary producer - 1 episode
Colgate Theatre 1958 TV Series producer - 1 episode
The Fountain of Youth 1958 TV Short producer
Orson Welles and People 1956 TV Movie producer
Mr. Arkadin 1955 producer
Othello 1951 producer - uncredited
Macbeth 1948 producer - uncredited
The Lady from Shanghai 1947 producer
Jane Eyre 1943 associate producer - uncredited
The Story of Samba 1943 Short producer
The Magnificent Ambersons 1942 producer - uncredited
Journey Into Fear 1942 producer - uncredited
Citizen Kane 1941 production
The Green Goddess 1939 Short producer
Too Much Johnson 1938 producer

Editor

TitleYearStatusCharacter
The Other Side of the Wind 2018 post-production
F for Fake 1973 Documentary uncredited
Nella terra di Don Chisciotte 1964 TV Series documentary
The Trial 1962 uncredited
Mr. Arkadin 1955 uncredited
Too Much Johnson 1938

Music Department

TitleYearStatusCharacter
Colgate Theatre 1958 TV Series musical arrangement - 1 episode
The Fountain of Youth 1958 TV Short music arranger / musical arrangement
Orson Welles and People 1956 TV Movie music arranger

Costume Designer

TitleYearStatusCharacter
Chimes at Midnight 1965
Mr. Arkadin 1955 uncredited
Macbeth 1948 uncredited

Production Designer

TitleYearStatusCharacter
The Fountain of Youth 1958 TV Short
Orson Welles and People 1956 TV Movie
Portrait d'un assassin 1949 uncredited

Soundtrack

TitleYearStatusCharacter
Passage to Mars 2016 Documentary performer: "The War of the Worlds"
Welcome to the Basement 2015 TV Series performer - 1 episode
Shindig! 1965 TV Series performer - 1 episode

Cinematographer

TitleYearStatusCharacter
The Magnificent Ambersons 1942 uncredited

Art Department

TitleYearStatusCharacter
Macbeth 1948 set designer - uncredited

Art Director

TitleYearStatusCharacter
Mr. Arkadin 1955 uncredited

Camera Department

TitleYearStatusCharacter
Nella terra di Don Chisciotte 1964 TV Series documentary additional photographer

Miscellaneous

TitleYearStatusCharacter
Trick or Treats 1982 magical advisor

Thanks

TitleYearStatusCharacter
Silent Times 2018 in memory of filming
Tim May Presents Reptile 2014 Video acknowledgment
Identyfikatsiya Porna 2013 Short special thanks
The Debridement of Rome 2012 Short acknowledgment
Incident at Barstow 2011 dedicatee
Variations on a High School Romance 2010 inspirational thanks
Dahmer vs. Gacy 2010 special thanks
Citizen Toxie: The Toxic Avenger IV 2000 special thanks
As Long as He Lives 1998 Short dedicatee
Continental 1990 acknowledgment
Dieter & Andreas 1989 Short grateful acknowledgment
Waxwork 1988 dedicated to - as Wells
Moonlighting 1985 TV Series in memory of - 1 episode
Wojna swiatów - nastepne stulecie 1981 dedicatee

Self

TitleYearStatusCharacter
The Last Sailors: The Final Days of Working Sail 1984 Documentary Narrator
Physic Connection 1983 Documentary Narrator
The Greatest Adventure--The Story of Man's Voyage to the Moon 1983 Video documentary Himself - Narrator
King Penguin: Stranded Beyond the Falklands 1983 TV Movie Himself - Narrator
AFI Life Achievement Award: A Tribute to John Huston 1983 TV Special Himself
Orson Welles à la cinémathèque 1983 TV Movie Himself
Dom DeLuise and Friends 1983 TV Series Himself
It's All True 1983 TV Series documentary Himself (1983)
The Tonight Show Starring Johnny Carson 1976-1982 TV Series Himself - Guest / Himself - Guest Host
Natalie - A Tribute to a Very Special Lady 1982 TV Movie documentary Himself
Arena 1982 TV Series documentary Himself - Interviewee / Himself
Baryshnikov in Hollywood 1982 TV Movie Himself
Genocide 1982 Documentary Narrator (voice)
Night of 100 Stars 1982 TV Special Himself
Cinéma cinémas 1982 TV Series documentary Himself
La nuit des Césars 1982 TV Series documentary Himself - Le président des Césars
Let Poland Be Poland 1982 TV Movie documentary Himself
Magic with the Stars 1982 TV Movie Himself - Host
The 7th Los Angeles Film Critics Awards 1982 TV Special Himself
Orson Welles' The Dreamers 1982 Documentary short Marcus Kleek
The Quest for Fire Adventure 1982 TV Short documentary Narrator
Filming 'The Trial' 1981 Documentary Himself
Search for the Titanic 1981 Documentary
Real Heroes 1981 Short Himself
This Is Your Life: 30th Anniversary Special 1981 TV Movie documentary Himself
Today 1980 TV Series Himself - Guest
The 6th People's Choice Awards 1980 TV Special Himself - Presenter: Favourite Actor in Motion Picture
The First 40 Years 1980 TV Special Himself
A Step Away 1980 Himself - Narrator (voice)
Paul Masson: Orson Welles, No Wine Before It's Time 1980 Short Himself - Spokesman
The Orson Welles Show 1979 TV Movie Himself
Best of the Dean Martin Show 1979 TV Movie Himself
Dean Martin Celebrity Roast: Joe Namath 1979 TV Special Himself
The Eleven Powers: The Festival of Eka Dasa Rudra 1979 TV Movie documentary Narrator
The Late Great Planet Earth 1979 Documentary Himself - Host / Narrator
Tut: The Boy King 1978 TV Movie documentary Himself - Host
Dinah! 1976-1978 TV Series Himself - Guest
The Magic of David Copperfield 1978 TV Special Himself - Host
Filming 'Othello' 1978 Documentary Host / Othello
Dean Martin Celebrity Roast: Betty White 1978 TV Special Himself - Comedian
The Dean Martin Celebrity Roast: George Burns 1978 TV Special Himself
Dean Martin Celebrity Roast: Jimmy Stewart 1978 TV Special Himself
Mysterious Castles of Clay 1978 Documentary Narrator (voice)
The Dean Martin Celebrity Roast: Frank Sinatra 1978 TV Special Himself
NBC: The First Fifty Years - A Closer Look, Part Two 1978 TV Movie documentary Narrator
The Lions of Capitalism 1977 Documentary Narrator
Dean Martin Celebrity Roast: Peter Marshall 1977 TV Special Himself
Dean Martin Celebrity Roast: Ted Knight 1977 TV Special Himself
Dean Martin Celebrity Roast: Angie Dickinson 1977 TV Special Himself
Dean Martin Celebrity Roast: Danny Thomas 1976 TV Special Himself
Dean Martin Celebrity Roast: Redd Foxx 1976 TV Special Himself
NBC: The First Fifty Years - A Closer Look 1976 TV Movie documentary Himself / Narrator
The New Deal for Artists 1976 TV Movie documentary Narrator (voice)
Dean Martin Celebrity Roast: Joe Garagiola 1976 TV Special Himself
Dean Martin Celebrity Roast: Dean Martin 1976 TV Special Himself
The Dean Martin Celebrity Roast: Muhammad Ali 1976 TV Special Himself
Who's Out There? 1975 Documentary short Host
Bugs Bunny Superstar 1975 Documentary Narrator (voice)
Orson Welles - das vermarktete Genie 1975 TV Movie documentary Himself
ABC Late Night 1975 TV Series Himself - Host / Narrator
Tomorrow Coast to Coast 1975 TV Series Himself
The Challenge... A Tribute to Modern Art 1975 Documentary
AFI Life Achievement Award: A Tribute to Orson Welles 1975 TV Special Himself
Survival 1975 TV Series documentary Himself - Narrator
Une légende une vie: Citizen Welles 1974 TV Movie documentary Himself
Great Mysteries 1973-1974 TV Series Himself - Host / Himself (host)
Paradise Garden 1974 Short Himself (voice)
Franklin & Jefferson Proposal Film 1973 Documentary short Narrator (voice)
Parkinson 1971-1973 TV Series Himself - Guest / Himself
Kelly Country 1973 Documentary Himself - Commentator
F for Fake 1973 Documentary Himself - Narrator (voice)
Above San Francisco 1973 Documentary Narrator (voice)
The Dick Cavett Show 1970-1973 TV Series Himself - Guest / Himself
Macbeth - Power and Corruption (Polanski's the Tragedy of Macbeth) 1973 Documentary short Himself - Narrator (voice)
The Shah of Iran 1972 Documentary Himself - Narrator
Omnibus 1972 TV Series documentary Himself - Presenter
V.I.P.-Schaukel 1972 TV Series documentary Himself
The Last of the Wild Mustangs 1972 TV Short documentary Himself - Narrator
Vive le cinéma 1972 TV Series documentary Himself
Future Shock 1972 Documentary short Narrator
The Marty Feldman Comedy Machine 1971-1972 TV Series Himself - Guest
The ABC Comedy Hour 1972 TV Series Himself
The Silent Years 1971 TV Series documentary Himself - Host
Directed by John Ford 1971 Documentary Narrator (voice)
Sentinels of Silence 1971 Documentary short Narrator (English) (voice)
The 43rd Annual Academy Awards 1971 TV Special Himself - Honorary Award Recipient (pre-recorded)
The Dean Martin Show 1967-1971 TV Series Himself
Soft Self-Portrait of Salvador Dali 1970 Documentary Narrator (voice)
Laugh-In 1970 TV Series Himself
The David Frost Show 1970 TV Series Himself - Guest Host / Himself - Guest
A Horse Called Nijinsky 1970 Documentary Narrator (voice)
Barbed Water 1969 Documentary Himself - Narrator (voice)
The Joey Bishop Show 1969 TV Series Himself
Vienna 1968 Short Himself
The Jackie Gleason Show 1968 TV Series Himself
Portrait: Orson Welles 1968 TV Short documentary Himself
Ten Days That Shook the World 1967 TV Movie documentary Narrator (voice)
Around the World of Mike Todd 1967 TV Movie documentary Himself - Narrator
The Levin Interview 1967 TV Series documentary Himself
Disorder Is 20 Years Old 1967 Documentary Himself
Reflets de Cannes 1966 TV Series documentary Himself
National Geographic Specials 1965-1966 TV Series documentary Himself - Narrator / Narrator
Schwierigkeiten beim Zeigen der Wahrheit? 1966 TV Series documentary Himself
Late Show London 1966 TV Series Himself
Orson Welles in Spain 1966 Documentary short Himself
Shindig! 1965 TV Series Himself - Singer
Tempo 1961-1965 TV Series Himself
A King's Story 1965 Documentary Narrator (voice)
Nella terra di Don Chisciotte 1964 TV Series documentary Himself
Der große Atlantik 1963 Documentary Himself - Narrator
Biography 1963 TV Series documentary Himself
Wide World of Entertainment 1963 TV Movie Himself
The Jack Paar Program 1962 TV Series Himself
Monitor 1962 TV Series documentary Himself
Pariser Journal 1962 TV Series documentary Himself
Orson Welles: The Paris Interview 1960 TV Movie documentary Himself
Cinq colonnes à la une 1960 TV Series Himself
Hollywood - Ein Vorort in vier Anekdoten 1959 TV Short documentary Himself (uncredited)
Cinépanorama 1959 TV Series documentary Himself
Orson Welles at Large: Portrait of Gina 1958 TV Short documentary Himself - Host
The Steve Allen Plymouth Show 1957-1958 TV Series Himself
What's My Line? 1958 TV Series Himself - Guest Panelist
Orson Welles and People 1956 TV Movie Himself - Narrator (voice)
Out of Darkness 1956 TV Series documentary Himself - Narrator
I've Got a Secret 1956 TV Series Himself
The Ed Sullivan Show 1955-1956 TV Series Himself / King Lear
Person to Person 1955 TV Series documentary Himself
Orson Welles' Sketch Book 1955 TV Series Himself - Host
Press Conference 1955 TV Series Himself
Désordre 1949 Documentary short Himself
Battle for Survival 1946 Documentary Narrator
Show-Business at War 1943 Documentary short Himself (uncredited)
Tanks 1942 Documentary short Narrator (voice)
Meet the Stars #2: Baby Stars 1941 Documentary short Himself
The Spanish Earth 1937 Documentary Narrator (English version) (later replaced by Ernest Hemingway) (voice)
Actors Hall of Fame Induction Ceremony 2016 TV Movie Himself
Around the World with Orson Welles 1955-2000 TV Mini-Series documentary Himself - Host
Orson Welles' Magic Show 1985 TV Short Himself
Moonlighting 1985 TV Series Himself
The Merv Griffin Show 1965-1985 TV Series Himself
Scene of the Crime 1984-1985 TV Series Himself - Host / Himself
Amazon 1985 TV Series documentary Himself - Narrator
The Moviemakers 1985 TV Series
The Spirit of Charles Lindbergh 1984 Short Himself
Almonds and Raisins 1984 Documentary Narrator (voice)
In Our Hands 1984 Documentary Himself
The Road to Bresson 1984 Documentary Himself

Archive Footage

TitleYearStatusCharacter
Stars and Stripes 1990 Documentary Himself
Washes Whiter 1990 TV Series documentary Himself - Domestos Creeping Dirt commercial
Hollywood Mavericks 1990 Documentary Himself
With Orson Welles: Stories from a Life in Film 1990 TV Movie documentary Himself
Rita Hayworth: Dancing Into the Dream 1990 TV Movie documentary
AFI Life Achievement Award: A Tribute to Jack Lemmon 1988 TV Special documentary Himself
Hollywood the Golden Years: The RKO Story 1987 TV Series documentary Himself
Arsenal 1986 TV Series Himself
The Muppets: A Celebration of 30 Years 1986 TV Movie Lew Lord
Notre Dame de la Croisette 1981 Documentary Himself (uncredited)
Margret Dünser, auf der Suche nach den Besonderen 1981 TV Movie documentary Himself
The Force Beyond 1977 Documentary Himself (commenting on The War of the Worlds radio broadcast)
America at the Movies 1976 Documentary Himself
Underwelles 1975 Short documentary
Brother Can You Spare a Dime 1975 Documentary Himself
Fellini in città ovvero Frammenti di una conversazione su Federico Fellini 1968 Documentary short Himself
Romy - Portrait eines Gesichts 1967 TV Movie documentary Albert Hastler - The Advocate
Plunder 1965 TV Series Himself
Charmed Lives: A Family Romance Documentary pre-production Himself
Something Else filming
National Endowment for the Arts: United States of Arts 2017 TV Series documentary short Himself
Embers & Dust 2016 Short Professor Richard Pierson / Himself
Arena 1995-2016 TV Series documentary Himself
La otra sala: Clásicos 2016 TV Series documentary
Welcome to the Basement 2013-2015 TV Series Himself / Professor Charles Rankin / Lord Mountdrago / ...
Your Name Here 2015 Documentary Himself
This Is Orson Welles 2015 Documentary Himself
Geheimnisvolle Stadt 2015 TV Movie documentary Himself
Orson Welles, autopsie d'une légende 2015 TV Movie documentary Himself
The Magic History of Cinema 2015 Documentary Himself
E-penser 2015 TV Series documentary Himself
Le Fossoyeur de Films 2015 TV Mini-Series documentary
Timeshift 2015 TV Series documentary Himself - Narrator of 'Americans on Everest'
Magician: The Astonishing Life and Work of Orson Welles 2014 Documentary Himself
Alfonso Sansone produttore per caso 2014
La Revolució Turística 2014 Documentary Himself
The Sixties 2014 TV Mini-Series documentary Himself - episode of The Dean Martin Show
Zero Listillos: Leonardo Raya 2013 TV Series Himself
American Experience 1996-2013 TV Series documentary Himself
René Clément, témoin et poète 2013 TV Movie documentary Himself
Don't Say No Until I Finish Talking: The Story of Richard D. Zanuck 2013 Documentary Jonathan Wilk
Not Fade Away 2012 Police Captain Hank Quinlan in Touch of Evil (uncredited)
Dai nostri inviati: La Rai e l'Istituto Luce raccontano la Mostra del cinema di Venezia 1932-1953 2012 TV Movie documentary Himself
Shakespeare Uncovered 2012 TV Mini-Series documentary Himself
The Man Who Pursued Rosebud: William Alland on His Career in Theatre and Film 2012 Video documentary short Himself
Ninja the Mission Force 2012 TV Series Young Gordon
Just Henry 2011 TV Movie Harry Lime (uncredited)
Shut Up Little Man! An Audio Misadventure 2011 Documentary Himself
Moguls & Movie Stars: A History of Hollywood 2010 TV Mini-Series documentary Charles Foster Kane
Jucy 2010 Voice of the Elephant Lamp
Cameraman: The Life and Work of Jack Cardiff 2010 Documentary Genghis Khan / Bayan
O.W. Kenosha 2009 Video short
Hollywood sul Tevere 2009 Documentary Himself
España, plató de cine 2009 TV Movie documentary Himself
A Vermelha Luz do Bandido 2009 Documentary short
Prodigal Sons 2008 Documentary Himself (uncredited)
Strictly Courtroom 2008 TV Movie documentary Jonathan Wilk (uncredited)
Jeanne M. - Côté cour, côté coeur 2008 TV Movie documentary Himself
Lucifer et moi 2008
Welles Angels 2007 TV Movie documentary Himself
Spine Tingler! The William Castle Story 2007 Documentary Himself
Val Lewton: The Man in the Shadows 2007 TV Movie documentary Himself
The Universe 2007 TV Series documentary Himself - Actor
Locked in the Tower: The Men Behind 'Jane Eyre' 2007 Video documentary short Edward Rochester
Is It Real? 2007 TV Series documentary Himself
Searching for Orson 2006 Documentary Himself
Edge of Outside 2006 Documentary Himself
Boffo! Tinseltown's Bombs and Blockbusters 2006 Documentary Charles Foster Kane (uncredited)
Jeopardy! 2006 TV Series Michael O'hara
Lost in the Thinking 2005 Video short Himself
The Originals 2005 Documentary short Himself
UFO Files 2005 TV Series documentary Himself
Kermit: A Frog's Life 2005 Video short Lew Lord (uncredited)
Cineastas contra magnates 2005 Documentary Himself
The Day That Panicked America 2005 Documentary Himself
Druga strana Wellesa 2005 Documentary Himself
Midnight Movies: From the Margin to the Mainstream 2005 Documentary Himself
Brunnen 2005 Documentary Himself
Horror Business 2005 Video documentary Himself
The Ultimate Film 2004 TV Movie documentary Himself
Shadowing the Third Man 2004 TV Movie documentary Himself
The Hitch Hiker 2004 Short Ronald Adams
The South Bank Show 2004 TV Series documentary Othello
The UFO Conspiracy 2004 Video documentary Himself - Actor
Apple Jack 2003 Short
Rita 2003 TV Movie documentary Himself
Sendung ohne Namen 2002 TV Series documentary Harry Lime
Lost in La Mancha 2002 Documentary Himself
The Paranormal Peter Sellers 2002 TV Movie documentary Himself
Pulp Cinema 2001 Video documentary Himself
I Love Lucy's 50th Anniversary Special 2001 TV Movie documentary
A Huey P. Newton Story 2001 TV Movie documentary Himself (uncredited)
Hollywood Remembers 2000 TV Series documentary
Orson Welles and Rita Hayworth 2000 TV Short documentary Himself
Orson Welles en el país de Don Quijote 2000 TV Movie documentary Himself
Lon Chaney: A Thousand Faces 2000 TV Movie documentary Himself
Moby Dick 2000 Short Captain Ahab Starbuck Ishmael
L'affaire Dominici par Orson Welles 2000 Documentary Himself
ABC 2000: The Millennium 1999 TV Special documentary
According to Occam's Razor 1999 Documentary Himself
Shylock 1999 Documentary Shylock
The Best of Film Noir 1999 Video documentary Himself
E! Mysteries & Scandals 1999 TV Series documentary Himself
The Lady with the Torch 1999 Documentary Himself
Modern Marvels 1999 TV Series documentary Himself
The 20th Century: A Moving Visual History 1999 TV Mini-Series documentary Himself
The Best of the Dean Martin Celebrity Roasts 1998 TV Movie documentary Himself - Roaster
The Great Depression 1998 TV Mini-Series documentary Himself (discusses War Of The Worlds broadcast) (uncredited)
Warner Bros. 75th Anniversary: No Guts, No Glory 1998 TV Movie documentary uncredited
Martian Mania: The True Story of The War of the Worlds 1998 TV Movie documentary Himself
François Chalais, la vie comme un roman 1997 TV Movie documentary Himself
Tudo É Brasil 1997 Documentary Himself
UFO: Down to Earth 1997 TV Series documentary Himself
Who Is Henry Jaglom? 1997 Documentary Himself
20th Century-Fox: The First 50 Years 1997 TV Movie documentary Actor 'Compulsion' (uncredited)
UFOs: 50 Years of Denial? 1997 Documentary Himself (as Orson Wells)
Welles and Hearst 1996 TV Movie documentary Himself
Where Are All the UFO's? 1996 TV Movie documentary Himself - Director of 'War of the Worlds'
The Universal Story 1995 TV Movie documentary Himself
Zweig: A Morte em Cena 1995 Short Himself (uncredited)
Get Shorty 1995 Police Captain Hank Quinlan (uncredited)
Orson Welles: The One-Man Band 1995 Documentary Himself
Biography 1995 TV Series documentary Himself
The First 100 Years: A Celebration of American Movies 1995 TV Movie documentary Himself
A Personal Journey with Martin Scorsese Through American Movies 1995 TV Movie documentary Himself (uncredited)
The War of the Worlds: Great Books 1994 Video documentary Himself (explaining that the broadcast was of the H.G. Wells story)
La classe américaine 1993 TV Movie Himself
Working with Orson Welles 1993 Video documentary Himself
Jean Renoir: Part Two - Hollywood and Beyond 1993 TV Movie documentary Himself
Northern Exposure 1993 TV Series Kane
It's All True 1993 Documentary Himself - Interview
Orson Welles: What Went Wrong? 1992 TV Movie documentary Himself
The Tonight Show Starring Johnny Carson 1992 TV Series Himself
Don Quixote 1992 Don Quixote Sancho Panza (uncredited)
The Magic of David Copperfield XIV: Flying - Live the Dream 1992 TV Special Himself - Special Appearance
Here's Looking at You, Warner Bros. 1991 TV Movie documentary Himself
The Complete Citizen Kane 1991 TV Movie documentary Himself
Empire of the Air: The Men Who Made Radio 1991 Documentary Professor in War of the Worlds Broadcast (uncredited)
Hearts of Darkness: A Filmmaker's Apocalypse 1991 Documentary Himself - from 1938 radio broadcast
Source
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