A Quote by Joseph Cotten
Orson Welles lists Citizen Kane as his best film, Alfred Hitchcock opts for Shadow of a Doubt, and Sir Carol Reed chose The Third Man - and I'm in all of them.
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I mean, everyone says Citizen Kane. It isn't that great, anyway. And Orson Welles I knew well, of course. He made other incredible films that no one would let him make, which were much better than Citizen Kane, really.
When I was younger, all my friends were older - John Ford, Howard Hawks, Alfred Hitchcock, Orson Welles, Jimmy Stewart and Cary Grant. I loved talking to those people.
I discovered Orson Welles in college; my freshman English professor screened 'Citizen Kane' for us, and I wound up writing a 20-page term paper on it.
Orson Welles was a force of nature, who just came in and wiped the slate clean. And Citizen Kane is the greatest risk-taking of all time in film. I don’t think anything had even seen anything quite like it. The photography was also unlike anything we’d seen. The odd coldness of the filmmaker towards the character reflects his own egomania and power, and yet a powerful empathy for all of them--it’s very interesting. It still holds up, and it’s still shocking. It takes storytelling and throws it up in the air.
As a kid I watched the Academy Awards on television and always wanted one - or several - like one of my favorite directions, John Ford. He won six. On the other hand, Orson Welles, who's on the top of my list, didn't win any. Alfred Hitchcock didn't win any. Howard Hawks didn't win any.
I worked with the best directors - Martin Scorsese, John Huston, David Lynch, Alfred Hitchcock. Alfred Hitchcock was great.
Directors who have inspired me include Billy Wilder, Federico Fellini, lngmar Bergman, John Ford, Orson Welles, Werner Herzog, Stanley Kubrick, Alfred Hitchcock, Francis Ford Coppola and Ernst Lubitsch. In art school, I studied painters like Edward Hopper, who used urban motifs, Franz Kafka is my favorite novelist. My approach to film stems from my art background, as I go beyond the story to the sub-conscious mood created by sound and images.
They know you're not Alfred Hitchcock, but you need to be enough Alfred Hitchcock for them not to be bothered by it. That's a reassuring thing.
It's hard to imagine anyone interested in film not being a fan of Alfred Hitchcock because he's such a key influence on the entire history of cinema - it's hard to escape his shadow.
I fell in love with Errol Flynn and Tyrone Power and Basil Rathbone and Hitchcock and Orson Welles and John Huston.
I wanted to meet Orson Welles. So I was like, whatever, somehow get me in on this. I'm able to get cast in it, but Orson Welles worked alone. He worked before all of us worked. He didn't want to work with anyone else.
Orson Welles, one of the best of the best. One of the strongest. As strong as an animal. He somehow was pushed out of the business because he would spend the entire budget of the film before he had even done half the pre-production.
Like so many people, I only remembered Orson Welles as this huge, fat, bearded figure selling wine in TV commercials. So whenever anyone said I looked like Orson Welles I said that I wasn't that fat, and I would get on a diet, quickly.
Like so many people, I only remembered Orson Welles as this huge, fat, bearded figure selling wine in TV commercials. So whenever anyone said I looked like Orson Welles I said that I wasnt that fat, and I would get on a diet, quickly.
'The Third Man,' directed by Carol Reed and written by Graham Greene, is, quite simply, one of the finest movies ever made.
It's Toby Jones playing Alfred Hitchcock, not Alfred Hitchcock. We all felt that his silhouette was crucial, so his nose and lips were crucial as well. We had to build it out a bit to get the silhouette. But, with my nose being so small within the proportion of my face, the first nose was too big. I felt like a nose on parade.
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