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Well, I was always called when
I was young as the self styled genius.

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All I heard about was the self
styled genius. So that's what I

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took seriously, that I was styling
myself a genius. And you know,

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anybody can do that. Toast Jedediah
to love on my terms? Was it

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the only terms anybody ever knows.
You know, my first picture would never

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have been made, never, in
a million years, if the producer had

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lived in Hollywood, had had a
knowledge of Hollywood. It was a total

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accident, total piece of luck,
like winning six hundred thousand dollars from a

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quarter in a jackpot. And it
couldn't go on. And I knew that

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because they took my next picture away
from me and butchered the end of it.

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I was going to show them that
they were wrong. And I have

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spent the rest of my life showing
people trying to prove that what is said

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is wrong. And that's been an
enormous waste of spirit and of energy.

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That's a mistake that will be corrected
one of these dates. Well, I've

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always hated Hollywood, but I hate
almost everything in the modern world, and

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Hollywood is simply the most pleasant place
to live in left. I don't know

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how to run a newspaper, mister
Patcher. I just try everything I can

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think of. You know, I
am a romantic, and I was a

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romantic in the early nineteenth century way. I wanted every experience, every kind

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of thing, and so I went
to Hollywood in that spirit, and I

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should have left in that spirit.
There's only one person in the world to

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decide what I'm going to do,
and that's me. I don't believe there

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is any wisdom and compromise unless you're
a politician. And to the extent that

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movies are politics, I don't belong
in movies. My pictures don't work at

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all unless they work my way.
It's not because I think they're better that

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way. They simply fall apart unless
they're done my way. Oh, it

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isn't nobility, it's a self protection. You're right, mister Thatcher. I

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did lose a million dollars last year. I expect to lose a million dollars

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this year. I expect to lose
a million dollars next year. You know,

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mister Thatcher. At the rate of
a million dollars a year, I

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have to close this place in sixty
years. Ask anybody of my age what

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they feel about themselves when they're young, I think you'll get a very waffly

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answer. I think of myself of
having been an awfully nice fellow then,

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and I may have blacked out,
you know, whole sections of dreadful behavior,

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but I've genuinely blocked them out.
I don't remember them. I just

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see myself. There's an Angelically movie
from one show. I think I did

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pretty well under the circumstances. I
am going to make King Lear and a

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picture called The Dreamers, and I'll
go on saying that until I don't.

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But it looks as though it's going
to happen. But you know, I've

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had a wonderful, fascinating life.
I can't comply. I am the luckiest

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person I know, and I'd rather
be remembered as a good guy than as

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a difficult genius. Those words you
just heard were from legendary actor, director,

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and personal all time favorite of this
host Orson Wells. That clip was

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filmed by Entertainment Tonight, one week
prior to the death of Wells. It's

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reflective and we can hear subtle regrets
he has, most particularly with his first

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film, Citizen Kane. Our story
begins in nineteen thirty eight when orson wells

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radio telling of War of the World's
caused nass hysteria. Because of this,

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RKO Pictures studio head George Schaefer wanted
to work with Wells because he commanded attention.

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Wells was facing monumental debt due to
the failure of his most two recent

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plays, so he took the Landmark
deal for one hundred thousand dollars for two

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pictures in full creative control. In
July of nineteen thirty nine, he began

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work on his first feature film that
would look at a man that had wealth

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and power, but his inability to
love, care, and be open to

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emotion shelters him and limits his happiness. That film would be Citizen Kane,

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and to this day there is controversy
surrounding it. It is still unknown if

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Wells made this film as an attack
against then media mogul William Randolph Hurst.

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To make the film, Wells borrought
on Hermann Mankowitz to help write the script,

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and Greg Toland, a cinematographer.
In our next clip from a nineteen

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seventy the interview on The Dick Cabot
Show, Wells discusses making his first film,

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the issues with Hurst in the studio, and other aspects of note.

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Though hear how charming Wells can be
in self depreciating that is one of the

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things that allowed Wells to get away
with so much and keep some people in

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the studio behind him during the filming
of this film twenty six years old,

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and you made Citizen Kane and they
said you can't do these things. You

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can't have the background and focus or
whatever it was, or you can't shoot

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a scene that way, mister Wells
or young mister Wells or orson or whatever

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they call you then and you knew
that you could. And how did you

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know this? Because I didn't know
any better. And it's very much in

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the line with what Jack was saying
earlier in the show. It comes from

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from just, you know, sheer
dumbness. You're sure it's got to be

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your good and your Gretcha's ignorance.
There's no authority in the world like it.

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But there's got to be something more
than that. Technically, I mean,

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how did you know that? You
know technically that the whole bag of

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movies can be learned in about a
day and a half. Kids, you

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not now, how does it work? How do you do it? You

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get a guy who knows it and
ask him and that's the end of it.

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It is much harder than taking home
movies. It's just about three points

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fider. And all these guys who
do it try to make a big mystery

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of it because that's they're living.
And I have the right to say it

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because I had in my first picture, Inkane. The greatest cameraman who ever

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lived was Greg Toland, and he
came to my office and said, I

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want to work in your picture.
My name is Tooland I said, why

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do you, mister Toland? He
said, because you've never made a picture

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and you don't know what cannot be
done. And so I said, but

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I really don't. Can you tell
me? Says, there's nothing to it,

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and he gave me the day and
a half lessons. Then he was

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right, the camera, that's right
to do. And so we had the

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day and a half and there it
was. But the only thing was I've

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been directing in the theater for years
and I nowadays they have lighting people.

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We did then, and I had
some of the greatest lighting people in fact,

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I think, but many of the
shows I lit myself, and I

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was supervised at and I thought a
director did that in a movie. So

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for the first ten days I was
moving the lights around, you see,

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and Toland was behind me, fixing
it up and changing the readings and saying,

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shut up, let him go on. I want to see what he's

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up to, which was very chic
of him, I think. And then

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somebody told me, and then I
went and got on my knees and apologized

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and everything. I thought, that's
what the directors did. Because if you

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see a picture by Ford, for
example, you were speaking of Jack Ford

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earlier, he said, oh,
must be in a one hundred cameramen in

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his long career, and almost every
forward picture you can tell from the look

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of it that it's a forward picture, just from the physical look of it.

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His signature is on it. You
know. When every list of great

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films, of course, many of
them lead with Citizen Kane and say it's

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it's the finest film made. Do
you agree? No, certainly not My

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next one is though, that's no, not the not the one after that,

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the one I am preparing at this
moment, or the next one that's

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going to make history. Could you
give us the title of that I have

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decided what it is yet. Oh
now, could I just check one other

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thing with you? Is it true
that the Hursts tried to actually have the

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film destroyed before it was They tried
to have it destroyed. They even tried

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to frame me one well, in
one town, I was doing some kind

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of date I don't know what,
bond tour, lecture, some kind of

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a gig, and I was in
a nightclub afterwards, waiting to go back

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to my hotel. I have a
little supper, and waiter came up,

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says, as a police officer wants
to see you. Well, I tried

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to hide because if that ever happens, I'm sure I'm guilty. I don't

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know how you are about it,
but you know absolutely. Then I see

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a cop. I know I did
it. There was no way out of

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it. I had to go see
him, and he took me aside,

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and he said, Austin, I
don't know why. They almost called me

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as He says, don't go back
to your hotel room. And I said

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why. He says, they've got
a minor staked out there and a photographer,

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a lady. Luckily a lady.
I think I prefer to tell it

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that way. I mean as opposed
to r and they were going to frame

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me. I would have been in
jail if the you know, were the

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cops waiting to jump in and arrest
me. That was not mister Hurst itself.

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It was somebody in that town who
thought he'd get in good with the

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boss by doing by doing a favorite. I don't think Hurst would have stooped

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to that, would you change?
Oh. I did have a conversation with

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him about about the picture, which
was in an elevator in San Francisco the

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night had opened. We found ourselves
going up together and he'd know my father.

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I never met him, you know, And I introduced myself the things

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you'll do when you're young, you
know, And I said, would you

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like to come to the opening tonight? And he didn't answer, and I

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said, well, mister Kane would
have come. And that's the difference between

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the two people, because the character
of Charles Foster k had enough class to

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have gone to the opening, but
he just very uptight. That was the

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end of that. It wasn't really
about him. It was made up of

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a lot of people. What's the
last time you saw it? I saw

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it that opening in San Francisco and
I snuck out right after it started.

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I've never seen a picture of mine
after I've finished it. You haven't seen

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Citizen Kane in all these years.
No picture I've ever made except as an

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actor. But I never seen a
picture I've directed. Only words yeah,

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well a thousand times in the cutting
room. But why wouldn't want to say

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it now? Because I like to
sit here and think how good it must

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have been? You know? Cool? Is there is there any chance that

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you would change any of it or
do any of it again? Of course

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everything you'd want to change everything,
I think, you know, don't you

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want to change things after you've done
them? And a movie catvic No,

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that was the whole thing. I
just and I like to think, oh,

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yes, and all those great pictures, and I know if I saw

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them. Oh. The battle with
Hurst is the key controversy with this film.

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Hurst owned newspapers, magazines, and
radio stations across the United States,

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and with that came major influence.
If anyone dared cross him or at the

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slightest perceived disrespect, Hurst, with
his power and influence, could take down

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anyone or anything. Wells in this
film used several allusions to Hurst from the

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large incomplete mansion named Xanadu to King's
second wives obsession with puzzles. Even the

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word Rosebud, a Hollywood legend that
Hurst gave this pet name to his mistress's

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genitalia, were all fell by many
to be shots at Hurst. To keep

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this in other activities secret, Wells
had to employ some secretive techniques, as

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explained in this clip from the documentary
The Battle Over Citizen King. When Menkowitz

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proposed the story of Hurst, Wells
seized on this as his last best chance.

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It was perfect, an American saga, a giant who brings ruin to

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all and to himself. Housman was
dispatched a babysit mank in a little desert

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town called Victorville, you know Mac, which was a drunk jake Rosie keep

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him off the Booswell he wrote this
thing, and Hausman and myself were sort

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of the go between. We would
drive up to get the part of the

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script from bring it back to Rushamton, back and forth. Mank called his

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script American, which was the title
Hurst always claimed for himself. But as

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Hausman remembered, we were also creating
a vehicle suited to a man who at

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twenty four was only slightly less fabulous
than the hero he would be portraying,

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And the deeper we penetrated into the
heart of Charles Foster Kane, the closer

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we seemed to come to the identity
of Orson Wells. As Wells got the

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pages from Victorville, he attacked the
script with all of his craft and with

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all of his life to that point. The boy's loss of his mother that

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never happened to Hurst, It happened
to Wells. He visualized himself as that

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character. See once he could see
himself playing that character. I mean that

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was it, you know. I
think they thought that they could get away

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with I don't think they really realized
how touchy the old man was, and

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that this was Hollywood. Then it
would be hell to pay. They knew

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enough to run it by the lawyers. From that point of view, they

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weren't at risk anyway. If Hurst
sued, that would be great. The

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film would be news everywhere. They'd
write in some lines about Marion's drinking and

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those horrid puzzles. No one in
Hollywood could miss the joke. They'd even

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put in Rosebud, the secret word, which they claimed was Hurst's pet name.

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For Marion's private parts. They'd drive
the old man crazy, turned the

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town on its ear. Got called
in on Monday morning by Jim Wilkinson,

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the head of the editing department.
My boss was saying, listen, you

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know that fellow Orson Welles has come
to the studio. I said, yeah,

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I know, I'm seeing him.
Well, he's pulled a fast food

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on the studio. I said,
what do you mean. He said,

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well, he's got this new picture
and he asked him for okay to make

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three what he called test for this
picture. And they gave the okay and

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he shot the tests, so called
tests, and he said they looked at

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the scenes and realized there's scenes for
the picture. They're not just tests,

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so they've come him a green light
to go ahead and make the picture.

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I never saw anybody more focused.
He knew exactly what he wanted, and

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he and Greg Tolan were on a
completely single wavelength. I never forget the

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day I came in and that they
had sawed a hole out of the board

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floor, which you could do,
and they were both in their hands and

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knees throwing out the dirt like children
in a sandbox. He was totally absorbed

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in himself with the picture of what
he was doing. But you couldn't look

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at those rushes coming in every day
those films shot the day before. They

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were not realizing they were getting something
quite extraordinary about the photography and the angles

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and the shooting. One of us. It was just one of us.

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He was at okaio with his drug
blosh deals and he would not let the

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executives with that studio come anywhere near
the set. They came in and the

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oce and said, who's got a
who's got a baseball? Let's play some

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catch. So so everybody started to
playing catch. But of course it jove

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the breast, absolutely looney. With
his sound stage closed, with control over

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everything on his set, Wells thought, at last he had his project in

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hand. Nothing stopped it. After
one fall down a flight of steps,

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he acted in steel ankle braces and
directed from a wheelchair. He still said

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he hated Hollywood, but at the
studio he'd found the biggest magic kid on

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earth. Then, much like today, nothing stays secret in Hollywood. Eventually

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the word got at out in Hurst
immediately went on the attack. He refused

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to allow his newspapers and radio stations
to advertise the film. He sicked his

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gossip columnists from many newspapers on RKO
Pictures and Wells, and he threatened to

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blackmail studio heads with photos in evidence
of them committing sexually deviant behavior. This

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led to other studios trying to buy
the film from RKO Pictures to destroy it.

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In our final clip for Today,
from the HBO film RKO two eighty

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one, which is a biopic about
the making of Citizen Kane Wells played by

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liv Schreiber, makes an impassioned plea
to the heads of the major studios to

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let his film be released as he
made it good. Afternoon today, er

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man from Germany invaded Greece. He's
already swallowed UH, Poland Denmark, Norway

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and Belgium. He is bombing London
as I speak. Everywhere this man goes

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he crushes the life and the freedom
of his subjects. He shows yellow stars

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and their lapels, He takes their
voices. MM. In this country we

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uh, we still have our voices. We can argue with them, and

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we can sing, and we can
be heard because we are for the moment

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free. No one can tell us
what to say or how to say it,

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can they? Gentlemen? I am
one voice. That is all.

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My picture is one voice, one
view, one opinion, nothing more.

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Men are dying in Europe now and
Americans soon will be, so that we

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can surmount the tyrants and the dictators. Will you send a message across America

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that one man can take away our
voices? So who is mister Hurst and

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who is mister Wells? Well?
Mister Hurst built a palace of brick and

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mortar, and little wars and corpses
piled high. Mister Wells built a palace

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of illusion. Sir, what we
call a matte paintings, a camera trick.

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It's nothing, nothing but a dream. Today you have the chance to

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let the dream triumph. Thank you. Was it successful or did Hurst win

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in his battle to destroy it?
And what is the everlasting legacy of this

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picture? I hope you will join
me next week when we will answer those

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questions and kickstart our month long tribute
to Orson Wells with the review of,

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in my opinion, in the opinion
of many others, the greatest film of

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all time, Citizen Kane for W. M. N. H. And

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Mat Connorton Unleashed. This has been
a classic film revue with Eric Pilcher