Orson Welles Net Worth 2017: Short Bio & Wiki

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Orson Welles Net Worth, Biography & Wiki 2017

George Orson Welles was born on the 6th May 1915, in Kenosha, Wisconsin USA, and was an actor, director, producer as well as a writer. As Orson Welles, he was widely recognized for his works in theatre as well as film and radio, including the 1937 Broadway stage play “Caesar”, the legendary 1938 radio drama “The War of the Worlds” – which caused mass panic among the audience – as well as for his motion picture credits such as “Citizen Kane” (1941), “Confidential Report” (1955) and “Touch of Evil” (1958). He passed away in 1985.

Have you ever wondered how much wealth one of the greatest actors and directors of Hollywood accumulated for live? How rich would Orson Welles be today? According to sources, it is estimated that the amount of Orson Welles’ net worth, as of early 2017, would exceed the sum of $20 million, acquired through his career in the moviemaking industry which was active between 1931 and his death.

Orson Welles Net Worth $20 million

Orson was born to Beatrice Ives who was a pianist, and Richard Head Welles who was a businessman. After matriculating from the Todd Seminary for Boys in Woodstock, Illinois, he was rewarded with a Harvard scholarship, however, decided to attend the Art Institute of Chicago, but which he abandoned after only a few weeks.

Orson debuted as an actor in 1931, in Gate Theater in Dublin, Ireland, appearing in “Jew Suss” stageplay. After performing in several more Gate’s productions, he relocated to London, UK, and immediately after back to the states. In 1936 Welles joined the Federal Theatre Program for which he produced several successful performances such as “Voodoo Macbeth”, “Horse Eats Hat” and “Dr. Faustus”. However, the real breakthrough came with the Broadway production of “Caesar” in 1937, which was followed by a radio broadcast of “The War of the Worlds”, a radio drama adaptation of H. G. Wells’ eponymous novel, Which caused mass panic among listeners as it was so realistic that people believed that New York City was being attacked by extraterrestrials. However, all these engagements helped Orson Welles to establish himself in the entertainment industry, and boosted the wealth that he had inherited from his father.

In 1941, Welles had another huge success with the movie drama “Citizen Kane”, in which he not only performed in the star role, but also co-wrote directed and produced. For this project, he was rewarded with the prestigious Academy Award. In 1946 he appeared in the drama noir movie “The Stranger”, after which he moved to Europe where he was cast for several Italian movies, such as “Black Magic” (1948), “The Third Man” and “Prince of Foxes”, both in 1949. Through the 1950s, ‘60s and ‘70s, Welles worked alternating between Europe and the States, appearing in and directing classics such as “Confidential Report” (1955), “Touch of Evil” (1958), “Crack in the Mirror” (1960) as well as “The Trial” (1962) and “The Deep” (1967). All these achievements had a huge impact on Orson Welles‘ net worth.

In 1970, he settled in Los Angeles, California, and began working on Hollywood movies including “Waterloo” (1970). In the course of the following years, he produced several movies including his own “F for Fake’ (1973), and also narrated the 1986 animated movie “The Transformers: The Movie” as well as 1981 TV mini-series “Tales of the Klondike”. In 1979, Welles appeared in “The Muppet Movie” while between 1981 and 1981 he starred as Robin Masters in “Magnum, P.I.”. In his career, Welles added 123 acting credits to his professional portfolio, and over 60 directing and producing credits as well. In 1975 he was honored with an American Film Institute Award for Life Achievement, while in 2002, posthumously, the British Film Institute named him the greatest film director of all time. It is certain that all these ventures helped Orson Welles to earn a significant amount of wealth.

When it comes to his personal life, Welles was married three times – with Virginia Nicolson, between 1934 and 1940, with whom he had one child. In 1943, he married actress Rita Hayworth, and during their five-year long marriage, they had one child too. From 1955 ’til his death in 1985, he was married to Paola Mora, who is also the mother of one of Welles’ children. He passed away from a heart attack at the age of 70, on the 10th October 1985 in Los Angeles, California, USA.

Quick Facts

Birth date: May 6, 1915
Birth place: Kenosha, Wisconsin, United States
Death date: October 10, 1985, Hollywood, Los Angeles, California, United States
Height:1.87 m
Profession:Actor
Education:Todd Seminary for Boys
Nationality:American
Spouse:Paola Mori (m. 1955–1985), Rita Hayworth (m. 1943–1947), Virginia Nicholson (m. 1934–1940)
Children:Beatrice Welles, Rebecca Welles, Christopher Welles Feder
Parents:Beatrice Ives, Richard Head Welles
Siblings:Dickie Welles
imdb.com/name/nm0000080/
en.wikipedia.org/wiki/Orson_Welles


Interesting Facts

#Fact
1He directed Erskine Sanford in five films: Citizen Kane (1941), The Magnificent Ambersons (1942), The Stranger (1946), The Lady from Shanghai (1947) and Macbeth (1948).
2Has 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.
3Laurence 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.
4He 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).
5His 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").
6The 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.
7Became 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.
8Became 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.
9Became 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.
10Became 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.
11Once referred to the audience as "the big, many-headed beast crouching out there in the darkness".
12Welles 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).
13Film 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.
14George, his given name, was in honor of his father's friend, humorist George Ade.
15He 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.
16He 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).
17He directed two actors to Oscar nominations: Himself (Best Actor, Citizen Kane (1941)), and Agnes Moorehead (Best Supporting Actress, The Magnificent Ambersons (1942)).
18His last completed work as director was "The Orson Welles Show", a never broadcast television show.
19Was 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.
20When 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.
21He 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.
22He 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.
23Was close friends with Bud Cort.
24He was made a Fellow of the British Film Institute in recognition of his outstanding contribution to film culture.
25He was of German, Irish and Scottish heritage.
26Was George Lucas' first choice as the voice for Darth Vader, but he thought the voice would be too recognizable.
27CBS 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.
28Biography in: "The Scribner Encyclopedia of American Lives". Volume One, 1981-1985, pages 861-864. New York: Charles Scribner's Sons, 1998.
29John 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.
30Hated 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.".
31His performance as Charles Foster Kane in Citizen Kane (1941) is ranked #12 on Premiere magazine's 100 Greatest Movie Characters of All Time.
32His performance as Harry Lime in The Third Man (1949) is ranked #93 on Premiere magazine's 100 Greatest Movie Characters of All Time.
33Merv 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.
34Profiled in in J.A. Aberdeen's "Hollywood Renegades: The Society of Independent Motion Picture Producers" (Palos Verdes Estates, CA: Cobblestone Entertainment).
35In 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.
36Has been played by Vincent D'Onofrio twice: Ed Wood (1994) and Five Minutes, Mr. Welles (2005).
37Longtime companions with Oja Kodar. They lived together until his death.
38Most 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).
39Was a passionate painter
40Was 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.
41Considered 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.
42His father was an alcoholic.
43Ranked #9 in Empire (UK) magazine's "The Greatest directors ever!" [2005].
44His 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.
45Before 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".
46Was the narrator for many of the trailers for Star Trek: The Motion Picture (1979).
47Was named #16 on the 50 Greatest Screen Legends list of the American Film Institute.
48He 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.
49Lobbied 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.
50Laurence 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.
51Wrote 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.
52He 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)).
53Told 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".
54When 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.
55Was 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.
56His 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.
57Biography in: John Wakeman, editor. "World Film Directors, Volume One, 1890- 1945". Pages 1168-1185. New York: The H.W. Wilson Company, 1987.
58Was voted the Second Greatest Film Director of all time by Entertainment Weekly.
59Was 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").
60He became obese in his 40s, weighing over 350 pounds towards the end of his life.
61Has provided voice for some songs by the heavy metal band Manowar: "Dark Avenger" and "Defender".
62He 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.
63Has 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.
64He 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).
65Host/narrator of the BBC/Mutual Radio's "The Black Museum" (1952).
66Frank Sinatra was the godfather of his and Rita Hayworth's daughter, Rebecca Welles.
67Posthumously inducted into the Radio Hall of Fame in 1988.
68Made 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.
69He 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.
70He was born on the same day that Babe Ruth hit his very first home run.
71A 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).
72Despite 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.
73On 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.
74One 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.
75Ashes 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.
76Died on the same day as Yul Brynner.
77ABC-TV wanted him to play Mr. Roarke on Fantasy Island (1977), but the series' producer, Aaron Spelling, insisted on Ricardo Montalban.
78H.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.
79Welles' Oscar statuette sold for $861,542, when it was auctioned by Nate D. Sanders Memorabilia on December 20, 2011.
80Once ate 18 hot dogs in one sitting at Pink's, a Los Angeles hot dog stand.
81Has 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.
82He was considered for the role of Don Vito Corleone in The Godfather (1972) before Marlon Brando was cast.
83Laurence 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.
84Along 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).
85He 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).
86His 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").
87The 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.
88Became 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.
89Became 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.
90Became 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.
91Became 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.
92Once referred to the audience as "the big, many-headed beast crouching out there in the darkness".
93Welles 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).
94Film 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.
95George, his given name, was in honor of his father's friend, humorist George Ade.
96He 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.
97He 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.
98Directed two actors to Oscar nominations: Himself (Best Actor, Citizen Kane (1941)), and Agnes Moorehead (Best Supporting Actress, The Magnificent Ambersons (1942)).
99His last completed work as director was "The Orson Welles Show", a never broadcast television show.
100Was 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.
101When 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.
102He 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.
103He 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.
104Was close friends with Bud Cort.
105He was made a Fellow of the British Film Institute in recognition of his outstanding contribution to film culture.
106He was of German, Irish and Scottish heritage.
107Was George Lucas' first choice as the voice for Darth Vader, but he thought the voice would be too recognizable.
108CBS 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.
109Biography in: "The Scribner Encyclopedia of American Lives". Volume One, 1981-1985, pages 861-864. New York: Charles Scribner's Sons, 1998.
110John 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.
111Hated 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.".
112His performance as Charles Foster Kane in Citizen Kane (1941) is ranked #12 on Premiere magazine's 100 Greatest Movie Characters of All Time.
113His performance as Harry Lime in The Third Man (1949) is ranked #93 on Premiere magazine's 100 Greatest Movie Characters of All Time.
114Merv 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.
115Profiled in in J.A. Aberdeen's "Hollywood Renegades: The Society of Independent Motion Picture Producers" (Palos Verdes Estates, CA: Cobblestone Entertainment).
116In 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.
117Has been played by Vincent D'Onofrio twice: Ed Wood (1994) and Five Minutes, Mr. Welles (2005).
118Longtime companions with Oja Kodar. They lived together until his death.
119Most 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).
120Was a passionate painter
121Was 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.
122Considered 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.
123His father was an alcoholic.
124Ranked #9 in Empire (UK) magazine's "The Greatest directors ever!" [2005].
125His 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.
126Before 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".
127Was the narrator for many of the trailers for Star Trek: The Motion Picture (1979).
128Was named #16 on the 50 Greatest Screen Legends list of the American Film Institute.
129He 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.
130Lobbied 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.
131Laurence 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.
132Wrote 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.
133He 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)).
134Told 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".
135When 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.
136Was 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.
137His 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.
138Biography in: John Wakeman, editor. "World Film Directors, Volume One, 1890- 1945". Pages 1168-1185. New York: The H.W. Wilson Company, 1987.
139Was voted the Second Greatest Film Director of all time by Entertainment Weekly.
140Was 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").
141He became obese in his 40s, weighing over 350 pounds towards the end of his life.
142Has provided voice for some songs by the heavy metal band Manowar: "Dark Avenger" and "Defender".
143He 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.
144Has 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.
145Portrayed 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).
146Host/narrator of the BBC/Mutual Radio's "The Black Museum" (1952).
147Frank Sinatra was the godfather of his and Rita Hayworth's daughter, Rebecca Welles.
148Posthumously inducted into the Radio Hall of Fame in 1988.
149Made 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.
150He 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.
151He was born on the same day that Babe Ruth hit his very first home run.
152A 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).
153Despite 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.
154On 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.
155One 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.
156Ashes 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.
157Died on the same day as Yul Brynner.
158ABC-TV wanted him to play Mr. Roarke on Fantasy Island (1977), but the series' producer, Aaron Spelling, insisted on Ricardo Montalban.
159H.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.
160Welles' Oscar statuette sold for $861,542, when it was auctioned by Nate D. Sanders Memorabilia on December 20, 2011.
161Once 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
1Known for his use of low camera angles, tracking shots, deep focus and elaborate crane shots in his films.
2Frequently 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.
3Frequently cast Joseph Cotten, Everett Sloane and Oja Kodar
4One of the most recognizable deep voices in all of film, radio or television.
5More than often than not sported a beard
6Known for his use of low camera angles, tracking shots, deep focus and elaborate crane shots in his films.
7Films 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.
8Frequently casts Joseph Cotten, Everett Sloane and Oja Kodar
9One of the most recognizable deep voices in all of film, radio or television.


Quotes

#Quote
1You 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.
14Hollywood 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.
15We'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.
17I 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".
24In 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.".
25After [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.
26I 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'.".
28I 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.
29I 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.
30A poet needs a pen, a painter a brush, and a director an army.
31I 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.
32The 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.
35I 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.
38The 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.
44If 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.
45I 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.
46Living in the lap of luxury isn't bad, except you never know when luxury is going to stand up.
47Race hate isn't human nature; race hate is the abandonment of human nature.
48I 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.
49Hollywood is the only industry, even taking in soup companies, which does not have laboratories for the purpose of experimentation.
50A good artist should be isolated. If he isn't isolated, something is wrong.
51Everybody denies that I am genius - but nobody ever called me one.
52I'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.
53I passionately hate the idea of being with it; I think an artist has always to be out of step with his time.
54The 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.
55I 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.
56A film is never really good unless the camera is an eye in the head of a poet.
57I don't pray because I don't want to bore God.
58I think it is always a tremendously good formula in any art form to admit the limitations of the form.
59I 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.
60My doctor told me to stop having intimate dinners for four. Unless there are three other people.
61For 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.
64I 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.
65If 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.
66I 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.
68Movie directing is the perfect refuge for the mediocre.
69I'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.
70I started at the top and worked down.
71I'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.
73Even 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.
74You 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.
87Hollywood 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.
88We'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.
90I 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".
97In 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.".
98After [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.
99I 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'.".
101I 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.
102I 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.
103A poet needs a pen, a painter a brush, and a director an army.
104I 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.
105The 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.
109I 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.
112The 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.
118If 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.
119I 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.
120Living in the lap of luxury isn't bad, except you never know when luxury is going to stand up.
121Race hate isn't human nature; race hate is the abandonment of human nature.
122I 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.
123Hollywood is the only industry, even taking in soup companies, which does not have laboratories for the purpose of experimentation.
124A good artist should be isolated. If he isn't isolated, something is wrong.
125Everybody denies that I am genius - but nobody ever called me one.
126I'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.
127I passionately hate the idea of being with it; I think an artist has always to be out of step with his time.
128The 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.
129I 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.
130A film is never really good unless the camera is an eye in the head of a poet.
131I don't pray because I don't want to bore God.
132I think it is always a tremendously good formula in any art form to admit the limitations of the form.
133I 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.
134My doctor told me to stop having intimate dinners for four. Unless there are three other people.
135For 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.
138I 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.
139If 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.
140I 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.
142Movie directing is the perfect refuge for the mediocre.
143I'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.
144I started at the top and worked down.
145I'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.
147Even 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

Won awards

YearAwardCeremonyNominationMovieAward shared with
2014Cinema Eye Honors AwardCinema Eye Honors Awards, USThe InfluentialsF for Fake (1973)
1985Career Achievement AwardNational Board of Review, USA
1984Lifetime Achievement AwardDirectors Guild of America, USA
1983BFI FellowshipBritish Film Institute Awards
1983Luchino Visconti AwardDavid di Donatello Awards
1978Career Achievement AwardLos Angeles Film Critics Association Awards
1975Life Achievement AwardAmerican Film Institute, USA
1974Sant JordiSant Jordi AwardsBest Foreign Film (Mejor Película Extranjera)F for Fake (1973)
1972Bronze WranglerWestern Heritage AwardsWestern DocumentaryThe Last of the Wild Mustangs (1972)· Norman Muse, Gus Jekel
1971Honorary AwardAcademy Awards, USA

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

1970Career Golden LionVenice Film FestivalHomage for overall work
196620th Anniversary PrizeCannes Film FestivalCampanadas a medianoche (1965)
1966Technical Grand PrizeCannes Film FestivalCampanadas a medianoche (1965)
1964Critics AwardFrench Syndicate of Cinema CriticsBest FilmLe procès (1962)
1960Star on the Walk of FameWalk of FameMotion PictureOn 8 February 1960. At 1600 Vine Street.
1960Star on the Walk of FameWalk of FameRadioOn 8 February 1960. At 6552 Hollywood Blvd.
1959Best ActorCannes Film FestivalCompulsion (1959)· Dean Stockwell, Bradford Dillman
1959Peabody AwardPeabody AwardsThe Fountain of Youth (1958)
1952Grand Prize of the FestivalCannes Film FestivalThe Tragedy of Othello: The Moor of Venice (1952)
1942OscarAcademy Awards, USABest Writing, Original ScreenplayCitizen Kane (1941)· Herman J. Mankiewicz
1939HugoHugo AwardsBest Dramatic Presentation - Short Form· Howard Koch, Anne Froelich

Nominated Awards

Nominated awards

Nominated awards

YearAwardCeremonyNominationMovieAward shared with
1993International Fantasy Film AwardFantasportoBest FilmThe Tragedy of Othello: The Moor of Venice (1952)
1983Razzie AwardRazzie AwardsWorst Supporting ActorButterfly (1982)
1982Golden GlobeGolden Globes, USABest Motion Picture Actor in a Supporting RoleButterfly (1982)
1968BAFTA Film AwardBAFTA AwardsBest Foreign ActorCampanadas a medianoche (1965)
1968Golden Berlin BearBerlin International Film FestivalHistoire immortelle (1968)
1966Palme d'OrCannes Film FestivalCampanadas a medianoche (1965)
1962Golden LionVenice Film FestivalLe procès (1962)
1948Grand International AwardVenice Film FestivalMacbeth (1948)
1947Grand International AwardVenice Film FestivalThe Stranger (1946)
1942OscarAcademy Awards, USABest Actor in a Leading RoleCitizen Kane (1941)
1942OscarAcademy Awards, USABest DirectorCitizen Kane (1941)
1939HugoHugo AwardsBest Dramatic Presentation - Short FormFor "Around the World in Eighty Days", episode of "The Mercury Theater on the Air" (radio).
1939HugoHugo AwardsBest Dramatic Presentation - Short FormFor "A Christmas Carol", episode of "The Campbell Playhouse" (radio).
1939HugoHugo AwardsBest Dramatic Presentation - Short Form· John Houseman

2nd Place Awards

2nd place awards

2nd place awards

YearAwardCeremonyNominationMovieAward shared with
1941NYFCC AwardNew York Film Critics Circle AwardsBest DirectorCitizen Kane (1941)
1941NYFCC AwardNew York Film Critics Circle AwardsBest ActorCitizen Kane (1941)


Filmography

Actor

Actor

TitleYearStatusCharacter
Royal Affairs in Versailles1954Benjamin Franklin
Omnibus1953TV SeriesKing Lear
L'uomo, la bestia e la virtù1953Captain Perella - the Beast
Return to Glennascaul1953ShortNarrator / Orson Welles
Trent's Last Case1952Sigsbee Manderson
Othello1951Othello
The Black Rose1950Bayan
Prince of Foxes1949Cesare Borgia
The Third Man1949Harry Lime
Black Magic1949Joseph Balsamo aka Count Cagliostro
Macbeth1948Macbeth
The Lady from Shanghai1947Michael O'Hara
Duel in the Sun1946Narrator (voice, uncredited)
The Stranger1946Professor Charles Rankin
Tomorrow Is Forever1946John Andrew MacDonald / Erik Kessler
Follow the Boys1944Orson Welles
Jane Eyre1943Edward Rochester
The Magnificent Ambersons1942Narrator (voice)
Journey Into Fear1942Colonel Haki
Citizen Kane1941Kane
Swiss Family Robinson1940Opening Narrator (uncredited)
The Green Goddess1939ShortRajah / Narrator
Too Much Johnson1938Keystone Kop
The Hearts of Age1934ShortDeath
Someone to Love1987Danny's Friend
The Transformers: The Movie1986Unicron (voice)
The Enchanted Journey1984Pippo (voice)
Where Is Parsifal?1984Klingsor
Hot Money1983Sheriff Paisley
Magnum, P.I.1981-1983TV SeriesRobin Masters
Slapstick of Another Kind1982Aliens' Father (voice, uncredited)
Butterfly1982Judge Rauch
Wagner e Venezia1982TV ShortRichard Wagner (voice)
Tales of the Klondike1981TV Mini-SeriesNarrator
History of the World: Part I1981Narrator (voice)
The Man Who Saw Tomorrow1981Narrator
The Greenstone1980ShortNarrator (voice)
Shogun1980TV Mini-SeriesNarrator
Shogun1980TV MovieNarrator (voice)
Tajna Nikole Tesle1980J.P. Morgan
The Double McGuffin1979Narrator (voice)
The Muppet Movie1979Lew Lord
The New Media Bible: Book of Genesis1979VideoNarrator
The Biggest Battle1978Narrator (voice, uncredited)
A Woman Called Moses1978TV SeriesNarrator
Rime of the Ancient Mariner1977ShortNarrator (voice)
Some Call It Greed1977Narrator (voice)
It Happened One Christmas1977TV MovieHenry F. Potter
Hot Tomorrows1977Parklawn Mortuary (voice)
Voyage of the Damned1976José Estedes
Rikki-Tikki-Tavi1975TV ShortNarrator / Nag / Chuchundra (voice)
Ein Unbekannter rechnet ab1974U. N. Owen (voice)
Sutjeska1973Winston Churchill
The Man Who Came to Dinner1972TV MovieSheridan Whiteside
Treasure Island1972Long John Silver
Get to Know Your Rabbit1972Mr. Delasandro
Necromancy1972Mr. Cato
London1971ShortWinston Churchill George Bernard Shaw
Freedom River1971ShortNarrator (voice)
Ten Days Wonder1971Théo Van Horn - un multimillionnaire qui vit en despote dans sa maison
Night Gallery1971TV SeriesNarrator (segment "Silent Snow, Secret Snow")
A Safe Place1971The Magician
Malpertuis1971Cassavius
The Deep1970Russ Brewer
The Golden Honeymoon1970Short
Upon This Rock1970TV MovieMichelangelo (voice)
Is It Always Right to Be Right?1970ShortNarrator (voice)
Waterloo1970/ILouis XVIII
The Name of the Game1970TV SeriesNarrator
Catch-221970Brig. Gen. Dreedle
Start the Revolution Without Me1970The Narrator
The Kremlin Letter1970Bresnavitch
The Merchant of Venice1969TV ShortShylock
12 + 11969Maurice Markau
Bitka na Neretvi1969Senator
Kampf um Rom II - Der Verrat1969Justinian
The Southern Star1969Plankett
Tepepa1969Colonel Cascorro
To Build a Fire1969Narrator (voice)
The Last Roman1968Emperor Justinian
House of Cards1968Leschenhaut
Oedipus the King1968Tiresias
The Immortal Story1968TV MovieMr. Charles Clay
I'll Never Forget What's'isname1967Jonathan Lute
The Sailor from Gibraltar1967Louis de Mozambique
Casino Royale1967Le Chiffre
A Man for All Seasons1966Cardinal Wolsey
Paris brûle-t-il?1966Consul Raoul Nordling
Treasure Island1965ShortLong John Silver
Chimes at Midnight1965Falstaff
Marco the Magnificent1965Akerman, Marco's Tutor
La isla del tesoro1965ShortLong John Silver
The Finest Hours1964DocumentaryNarrator (voice)
The V.I.P.s1963Max Buda
Ro.Go.Pa.G.1963The 'Director' (segment "La ricotta")
The Trial1962Albert Hastler - The Advocate / Narrator
King of Kings1961Narrator (voice, uncredited)
I tartari1961Burundai
Lafayette1961Benjamin Franklin
The Battle of Austerlitz1960Robert Fulton
An Arabian Night1960TV MovieStoryteller
Crack in the Mirror1960Hagolin Lamerciere
David and Goliath1960King Saul
High Journey1959ShortNarrator (voice)
Ferry to Hong Kong1959Captain Hart
Compulsion1959Jonathan Wilk
Masters of the Congo Jungle1958DocumentaryNarrator, English Language Version (voice)
The Roots of Heaven1958Cy Sedgewick
Colgate Theatre1958TV SeriesNarrator
The Fountain of Youth1958TV ShortHost / narrator
South Seas Adventure1958Supplemental Narrator (voice)
The Vikings1958Narrator (voice, uncredited)
The Long, Hot Summer1958Will Varner
Touch of Evil1958Police Captain Hank Quinlan
Man in the Shadow1957/IVirgil Renchler
I Love Lucy1956TV SeriesOrson Welles
Moby Dick1956Father Mapple
Ford Star Jubilee1956TV SeriesOscar Jaffe
Moby Dick Rehearsed1955TV MovieAn Actor Manager Father Mapple Ahab
Mr. Arkadin1955Gregory Arkadin
Napoléon1955Sir Hudson Lowe
Three Cases of Murder1955Lord Mountdrago ("Lord Mountdrago" segment)
Trouble in the Glen1954Sanin Cejador y Mengues

Writer

Writer

TitleYearStatusCharacter
The Other Side of the Wind2017post-production
Something Elseinspired by filming
Citizen Vader2014Short characters
F for favor2008Short writer
The Hitchhiker2007radio script - uncredited
The Magnificent Ambersons2002TV Movie 1942 screenplay
Moby Dick2000Short play
Around the World with Orson WellesTV Mini-Series documentary 1 episode, 1955 writer - 5 episodes, 1955 - 2000 script - 1 episode, 1955
The Big Brass Ring1999earlier screenplay
The Way to Santiago1998Short writer
The Big Brass Ring1997Documentary short
The Hearts of Age1997Short concept
Don Quixote1992uncredited
Orson Welles' Magic Show1985TV Short
The Spirit of Charles Lindbergh1984Short
Orson Welles' The Dreamers1982Documentary short written by
Filming 'Othello'1978Documentary writer
NBC: The First Fifty Years - A Closer Look1976TV Movie documentary
F for Fake1973Documentary writer
Treasure Island1972adapted for the screen by - as O.W. Jeeves
London1971Short
The Deep1970
The Golden Honeymoon1970Short
The Merchant of Venice1969TV Short
Vienna1968Short writer
The Immortal Story1968TV Movie
The Bible: In the Beginning...1966uncredited
Treasure Island1965Short
Chimes at Midnight1965
La isla del tesoro1965Short
The Trial1962written by
Tempo1961TV Series written by - 1 episode
Orson Welles at Large: Portrait of Gina1958TV Short documentary
Colgate Theatre1958TV Series teleplay - 1 episode
The Fountain of Youth1958TV Short
Touch of Evil1958screenplay
Orson Welles and People1956TV Movie
Moby Dick Rehearsed1955TV Movie
Mr. Arkadin1955screenplay / story
Orson Welles' Sketch Book1955TV Series 6 episodes
Othello1951uncredited
The Unthinking Lobster1950Short
The Third Man1949uncredited
Macbeth1948adaptation - uncredited
The Lady from Shanghai1947screenplay
Monsieur Verdoux1947based on an idea by
The Stranger1946uncredited
The Story of Samba1943Short
The Magnificent Ambersons1942script writer
Journey Into Fear1942screenplay
Citizen Kane1941original screen play
The Green Goddess1939Short adaptation
Too Much Johnson1938writer
The Hearts of Age1934Short

Director

Director

TitleYearStatusCharacter
The Other Side of the Wind2017post-production
Moby Dick2000Short
Around the World with Orson Welles1955-2000TV Mini-Series documentary 7 episodes
It's All True1993Documentary
Don Quixote1992original footage
Orson Welles' Magic Show1985TV Short
The Spirit of Charles Lindbergh1984Short
Orson Welles' The Dreamers1982Documentary short
Filming 'The Trial'1981Documentary
The Orson Welles Show1979TV Movie as G.O. Spelvin
Filming 'Othello'1978Documentary
F for Fake1973Documentary
London1971Short
The Deep1970
The Golden Honeymoon1970Short
The Merchant of Venice1969TV Short
The Southern Star1969opening scenes, uncredited
Vienna1968Short
The Immortal Story1968TV Movie
Treasure Island1965Short
Chimes at Midnight1965
Nella terra di Don Chisciotte1964TV Series documentary
The Trial1962
Sinners Go to Hell1962uncredited
Tempo1961TV Series 1 episode
David and Goliath1960his own scenes, uncredited
Orson Welles at Large: Portrait of Gina1958TV Short documentary
Colgate Theatre1958TV Series 1 episode
The Fountain of Youth1958TV Short
Touch of Evil1958
Orson Welles and People1956TV Movie
Moby Dick Rehearsed1955TV Movie
Mr. Arkadin1955
Orson Welles' Sketch Book1955TV Series 6 episodes
Three Cases of Murder1955segment "Lord Mountdrago", uncredited"
Othello1951
The Unthinking Lobster1950Short
Black Magic1949uncredited
Macbeth1948
The Lady from Shanghai1947uncredited
The Stranger1946
The Story of Samba1943Short
The Magnificent Ambersons1942
Journey Into Fear1942uncredited
Citizen Kane1941
The Green Goddess1939Short
Too Much Johnson1938
The Hearts of Age1934Short

Producer

Producer

TitleYearStatusCharacter
Orson Welles' Magic Show1985TV Short producer
Orson Welles' The Dreamers1982Documentary short producer
Filming 'The Trial'1981Documentary producer
The Deep1970producer
The Golden Honeymoon1970Short producer
The Merchant of Venice1969TV Short producer
Vienna1968Short producer
Nella terra di Don Chisciotte1964TV Series documentary producer - 1 episode
Colgate Theatre1958TV Series producer - 1 episode
The Fountain of Youth1958TV Short producer
Orson Welles and People1956TV Movie producer
Mr. Arkadin1955producer
Othello1951producer - uncredited
Macbeth1948producer - uncredited
The Lady from Shanghai1947producer
Jane Eyre1943associate producer - uncredited
The Story of Samba1943Short producer
The Magnificent Ambersons1942producer - uncredited
Journey Into Fear1942producer - uncredited
Citizen Kane1941production
The Green Goddess1939Short producer
Too Much Johnson1938producer

Editor

Editor

TitleYearStatusCharacter
The Other Side of the Wind2017post-production
F for Fake1973Documentary uncredited
Nella terra di Don Chisciotte1964TV Series documentary
The Trial1962uncredited
Mr. Arkadin1955uncredited
Too Much Johnson1938

Music Department

Music Department

TitleYearStatusCharacter
Colgate Theatre1958TV Series musical arrangement - 1 episode
The Fountain of Youth1958TV Short music arranger / musical arrangement
Orson Welles and People1956TV Movie music arranger

Costume Designer

Costume Designer

TitleYearStatusCharacter
Chimes at Midnight1965
Mr. Arkadin1955uncredited
Macbeth1948uncredited

Production Designer

Production Designer

TitleYearStatusCharacter
The Fountain of Youth1958TV Short
Orson Welles and People1956TV Movie
Portrait d'un assassin1949uncredited

Soundtrack

Soundtrack

TitleYearStatusCharacter
Passage to Mars2016Documentary performer: "The War of the Worlds"
Welcome to the Basement2015TV Series performer - 1 episode
Shindig!1965TV Series performer - 1 episode

Cinematographer

Cinematographer

TitleYearStatusCharacter
The Magnificent Ambersons1942uncredited

Art Department

Art Department

TitleYearStatusCharacter
Macbeth1948set designer - uncredited

Art Director

Art Director

TitleYearStatusCharacter
Mr. Arkadin1955uncredited

Camera Department

Camera Department

TitleYearStatusCharacter
Nella terra di Don Chisciotte1964TV Series documentary additional photographer

Miscellaneous

Miscellaneous

TitleYearStatusCharacter
Trick or Treats1982magical advisor

Thanks

Thanks

TitleYearStatusCharacter
Silent Times2017in memory of
Tim May Presents Reptile2014Video acknowledgment
Identyfikatsiya Porna2013Short special thanks
The Debridement of Rome2012Short acknowledgment
Incident at Barstow2011dedicatee
Variations on a High School Romance2010inspirational thanks
Dahmer vs. Gacy2010special thanks
Citizen Toxie: The Toxic Avenger IV2000special thanks
As Long as He Lives1998Short dedicatee
Continental1990acknowledgment
Dieter & Andreas1989Short grateful acknowledgment
Waxwork1988dedicated to - as Wells
Moonlighting1985TV Series in memory of - 1 episode
Wojna swiatów - nastepne stulecie1981dedicatee

Self

Self

TitleYearStatusCharacter
Who's Out There?1975Documentary shortHost
Bugs Bunny Superstar1975DocumentaryNarrator (voice)
Orson Welles - das vermarktete Genie1975TV Movie documentaryHimself
ABC Late Night1975TV SeriesHimself - Host / Narrator
Tomorrow Coast to Coast1975TV SeriesHimself
The Challenge... A Tribute to Modern Art1975Documentary
AFI Life Achievement Award: A Tribute to Orson Welles1975TV SpecialHimself
Survival1975TV Series documentaryHimself - Narrator
Une légende une vie: Citizen Welles1974TV Movie documentaryHimself
Great Mysteries1973-1974TV SeriesHimself - Host / Himself (host)
Paradise Garden1974ShortHimself (voice)
Franklin & Jefferson Proposal Film1973Documentary shortNarrator (voice)
Parkinson1971-1973TV SeriesHimself - Guest / Himself
Kelly Country1973DocumentaryHimself - Commentator
F for Fake1973DocumentaryHimself - Narrator (voice)
Above San Francisco1973DocumentaryNarrator (voice)
The Dick Cavett Show1970-1973TV SeriesHimself - Guest / Himself
Macbeth - Power and Corruption (Polanski's the Tragedy of Macbeth)1973Documentary shortHimself - Narrator (voice)
The Shah of Iran1972DocumentaryHimself - Narrator
Omnibus1972TV Series documentaryHimself - Presenter
V.I.P.-Schaukel1972TV Series documentaryHimself
The Last of the Wild Mustangs1972TV Short documentaryHimself - Narrator
Vive le cinéma1972TV Series documentaryHimself
Future Shock1972Documentary shortNarrator
The Marty Feldman Comedy Machine1971-1972TV SeriesHimself - Guest
The ABC Comedy Hour1972TV SeriesHimself
The Silent Years1971TV Series documentaryHimself - Host
Directed by John Ford1971DocumentaryNarrator (voice)
Sentinels of Silence1971Documentary shortNarrator (English) (voice)
The 43rd Annual Academy Awards1971TV SpecialHimself - Honorary Award Recipient (pre-recorded)
The Dean Martin Show1967-1971TV SeriesHimself
Soft Self-Portrait of Salvador Dali1970DocumentaryNarrator (voice)
Laugh-In1970TV SeriesHimself
The David Frost Show1970TV SeriesHimself - Guest Host / Himself - Guest
A Horse Called Nijinsky1970DocumentaryNarrator (voice)
Barbed Water1969DocumentaryHimself - Narrator (voice)
The Joey Bishop Show1969TV SeriesHimself
Vienna1968ShortHimself
The Jackie Gleason Show1968TV SeriesHimself
Portrait: Orson Welles1968TV Short documentaryHimself
Ten Days That Shook the World1967TV Movie documentaryNarrator (voice)
Around the World of Mike Todd1967TV Movie documentaryHimself - Narrator
The Levin Interview1967TV Series documentaryHimself
Disorder Is 20 Years Old1967DocumentaryHimself
Reflets de Cannes1966TV Series documentaryHimself
National Geographic Specials1965-1966TV Series documentaryHimself - Narrator / Narrator
Schwierigkeiten beim Zeigen der Wahrheit?1966TV Series documentaryHimself
Late Show London1966TV SeriesHimself
Orson Welles in Spain1966Documentary shortHimself
Shindig!1965TV SeriesHimself - Singer
Tempo1961-1965TV SeriesHimself
A King's Story1965DocumentaryNarrator (voice)
Nella terra di Don Chisciotte1964TV Series documentaryHimself
Der große Atlantik1963DocumentaryHimself - Narrator
Biography1963TV Series documentaryHimself
Wide World of Entertainment1963TV MovieHimself
The Jack Paar Program1962TV SeriesHimself
Monitor1962TV Series documentaryHimself
Pariser Journal1962TV Series documentaryHimself
Orson Welles: The Paris Interview1960TV Movie documentaryHimself
Hollywood - Ein Vorort in vier Anekdoten1960TV Short documentaryHimself (uncredited)
Cinq colonnes à la une1960TV SeriesHimself
Cinépanorama1959TV Series documentaryHimself
Orson Welles at Large: Portrait of Gina1958TV Short documentaryHimself - Host
The Steve Allen Plymouth Show1957-1958TV SeriesHimself
What's My Line?1958TV SeriesHimself - Guest Panelist
Orson Welles and People1956TV MovieHimself - Narrator (voice)
Out of Darkness1956TV Series documentaryHimself - Narrator
I've Got a Secret1956TV SeriesHimself
The Ed Sullivan Show1955-1956TV SeriesHimself / King Lear
Person to Person1955TV Series documentaryHimself
Orson Welles' Sketch Book1955TV SeriesHimself - Host
Press Conference1955TV SeriesHimself
Désordre1949Documentary shortHimself
Battle for Survival1946DocumentaryNarrator
Show-Business at War1943Documentary shortHimself (uncredited)
Tanks1942Documentary shortNarrator (voice)
Meet the Stars #2: Baby Stars1941Documentary shortHimself
The Spanish Earth1937DocumentaryNarrator (English version) (later replaced by Ernest Hemingway) (voice)
Actors Hall of Fame Induction Ceremony2016TV MovieHimself
Around the World with Orson Welles1955-2000TV Mini-Series documentaryHimself - Host
Orson Welles' Magic Show1985TV ShortHimself
Moonlighting1985TV SeriesHimself
The Merv Griffin Show1965-1985TV SeriesHimself
Scene of the Crime1984-1985TV SeriesHimself - Host / Himself
Amazon1985TV Series documentaryHimself - Narrator
The Spirit of Charles Lindbergh1984ShortHimself
Almonds and Raisins1984DocumentaryNarrator (voice)
In Our Hands1984DocumentaryHimself
The Road to Bresson1984DocumentaryHimself
The Last Sailors: The Final Days of Working Sail1984DocumentaryNarrator
Physic Connection1983DocumentaryNarrator
The Greatest Adventure--The Story of Man's Voyage to the Moon1983Video documentaryHimself - Narrator
The Moviemakers1983TV Series
King Penguin: Stranded Beyond the Falklands1983TV MovieHimself - Narrator
AFI Life Achievement Award: A Tribute to John Huston1983TV SpecialHimself
Orson Welles à la cinémathèque1983TV MovieHimself
Dom DeLuise and Friends1983TV SeriesHimself
It's All True1983TV Series documentaryHimself (1983)
The Tonight Show Starring Johnny Carson1976-1982TV SeriesHimself - Guest / Himself - Host / Himself - Guest Host
Natalie - A Tribute to a Very Special Lady1982TV Movie documentaryHimself
Arena1982TV Series documentaryHimself - Interviewee / Himself
Baryshnikov in Hollywood1982TV MovieHimself
Genocide1982DocumentaryNarrator (voice)
Night of 100 Stars1982TV SpecialHimself
Cinéma cinémas1982TV Series documentaryHimself
La nuit des Césars1982TV Series documentaryHimself - Le président des Césars
Let Poland Be Poland1982TV Movie documentaryHimself
Magic with the Stars1982TV MovieHimself - Host
The 7th Los Angeles Film Critics Awards1982TV SpecialHimself
Orson Welles' The Dreamers1982Documentary shortMarcus Kleek
The Quest for Fire Adventure1982TV Short documentaryNarrator
Filming 'The Trial'1981DocumentaryHimself
Search for the Titanic1981Documentary
Real Heroes1981ShortHimself
This Is Your Life: 30th Anniversary Special1981TV Movie documentaryHimself
Today1980TV SeriesHimself - Guest
The 6th People's Choice Awards1980TV SpecialHimself - Presenter: Favourite Actor in Motion Picture
The First 40 Years1980TV SpecialHimself
A Step Away1980Himself - Narrator (voice)
Paul Masson: Orson Welles, No Wine Before It's Time1980ShortHimself - Spokesman
The Orson Welles Show1979TV MovieHimself
Best of the Dean Martin Show1979TV MovieHimself
Dean Martin Celebrity Roast: Joe Namath1979TV SpecialHimself
The Eleven Powers: The Festival of Eka Dasa Rudra1979TV Movie documentaryNarrator
The Late Great Planet Earth1979DocumentaryHimself - Host / Narrator
Tut: The Boy King1978TV Movie documentaryHimself - Host
Dinah!1976-1978TV SeriesHimself - Guest
The Magic of David Copperfield1978TV SpecialHimself - Host
Filming 'Othello'1978DocumentaryHost / Othello
Dean Martin Celebrity Roast: Betty White1978TV SpecialHimself - Comedian
The Dean Martin Celebrity Roast: George Burns1978TV SpecialHimself
Dean Martin Celebrity Roast: Jimmy Stewart1978TV SpecialHimself
Mysterious Castles of Clay1978DocumentaryNarrator (voice)
The Dean Martin Celebrity Roast: Frank Sinatra1978TV SpecialHimself
NBC: The First Fifty Years - A Closer Look, Part Two1978TV Movie documentaryNarrator
The Lions of Capitalism1977DocumentaryNarrator
Dean Martin Celebrity Roast: Peter Marshall1977TV SpecialHimself
Dean Martin Celebrity Roast: Ted Knight1977TV SpecialHimself
Dean Martin Celebrity Roast: Angie Dickinson1977TV SpecialHimself
Dean Martin Celebrity Roast: Danny Thomas1976TV SpecialHimself
Dean Martin Celebrity Roast: Redd Foxx1976TV SpecialHimself
NBC: The First Fifty Years - A Closer Look1976TV Movie documentaryHimself / Narrator
The New Deal for Artists1976TV Movie documentaryNarrator (voice)
Dean Martin Celebrity Roast: Joe Garagiola1976TV SpecialHimself
Dean Martin Celebrity Roast: Dean Martin1976TV SpecialHimself
The Dean Martin Celebrity Roast: Muhammad Ali1976TV SpecialHimself

Archive Footage

Archive Footage

TitleYearStatusCharacter
Charmed Lives: A Family RomanceDocumentary pre-productionHimself
Something Elsefilming
Arena1995-2016TV Series documentaryHimself
La otra sala: Clásicos2016TV Series documentary
Welcome to the Basement2013-2015TV SeriesHimself / Professor Charles Rankin / Lord Mountdrago / ...
Your Name Here2015DocumentaryHimself
This Is Orson Welles2015DocumentaryHimself
Geheimnisvolle Stadt2015TV Movie documentaryHimself
Orson Welles, autopsie d'une légende2015TV Movie documentaryHimself
The Magic History of Cinema2015DocumentaryHimself
E-penser2015TV Series documentaryHimself
Le Fossoyeur de Films2015TV Mini-Series documentary
Timeshift2015TV Series documentaryHimself - Narrator of 'Americans on Everest'
Magician: The Astonishing Life and Work of Orson Welles2014DocumentaryHimself
Alfonso Sansone produttore per caso2014
La Revolució Turística2014DocumentaryHimself
The Sixties2014TV Mini-Series documentaryHimself - episode of The Dean Martin Show
Zero Listillos: Leonardo Raya2013TV SeriesHimself
American Experience1996-2013TV Series documentaryHimself
René Clément, témoin et poète2013TV Movie documentaryHimself
Don't Say No Until I Finish Talking: The Story of Richard D. Zanuck2013DocumentaryJonathan Wilk
Not Fade Away2012Police Captain Hank Quinlan in Touch of Evil (uncredited)
Dai nostri inviati: La Rai e l'Istituto Luce raccontano la Mostra del cinema di Venezia 1932-19532012TV Movie documentaryHimself
Shakespeare Uncovered2012TV Mini-Series documentaryHimself
The Man Who Pursued Rosebud: William Alland on His Career in Theatre and Film2012Video documentary shortHimself
Ninja the Mission Force2012TV SeriesYoung Gordon
Just Henry2011TV MovieHarry Lime (uncredited)
Shut Up Little Man! An Audio Misadventure2011DocumentaryHimself
Moguls & Movie Stars: A History of Hollywood2010TV Mini-Series documentaryCharles Foster Kane
Jucy2010Voice of the Elephant Lamp
Cameraman: The Life and Work of Jack Cardiff2010DocumentaryGenghis Khan / Bayan
O.W. Kenosha2009Video short
Hollywood sul Tevere2009DocumentaryHimself
España, plató de cine2009TV Movie documentaryHimself
A Vermelha Luz do Bandido2009Documentary short
Prodigal Sons2008DocumentaryHimself (uncredited)
Strictly Courtroom2008TV Movie documentaryJonathan Wilk (uncredited)
Jeanne M. - Côté cour, côté coeur2008TV Movie documentaryHimself
Lucifer et moi2008
Welles Angels2007TV Movie documentaryHimself
Spine Tingler! The William Castle Story2007DocumentaryHimself
Val Lewton: The Man in the Shadows2007TV Movie documentaryHimself
The Universe2007TV Series documentaryHimself
Locked in the Tower: The Men Behind 'Jane Eyre'2007Video documentary shortEdward Rochester
Is It Real?2007TV Series documentaryHimself
Searching for Orson2006DocumentaryHimself
Edge of Outside2006DocumentaryHimself
Boffo! Tinseltown's Bombs and Blockbusters2006DocumentaryCharles Foster Kane (uncredited)
Jeopardy!2006TV SeriesMichael O'hara
Lost in the Thinking2005Video shortHimself
The Originals2005Documentary shortHimself
UFO Files2005TV Series documentaryHimself
Kermit: A Frog's Life2005Video shortLew Lord (uncredited)
Cineastas contra magnates2005DocumentaryHimself
The Day That Panicked America2005DocumentaryHimself
Druga strana Wellesa2005DocumentaryHimself
Midnight Movies: From the Margin to the Mainstream2005DocumentaryHimself
Brunnen2005DocumentaryHimself
Horror Business2005Video documentaryHimself
The Ultimate Film2004TV Movie documentaryHimself
Shadowing the Third Man2004TV Movie documentaryHimself
The Hitch Hiker2004ShortRonald Adams
The South Bank Show2004TV Series documentaryOthello
The UFO Conspiracy2004Video documentaryHimself - Actor
Apple Jack2003Short
Rita2003TV Movie documentaryHimself
Sendung ohne Namen2002TV Series documentaryHarry Lime
Lost in La Mancha2002DocumentaryHimself
The Paranormal Peter Sellers2002TV Movie documentaryHimself
Pulp Cinema2001Video documentaryHimself
I Love Lucy's 50th Anniversary Special2001TV Movie documentary
A Huey P. Newton Story2001TV Movie documentaryHimself (uncredited)
Hollywood Remembers2000TV Series documentary
Orson Welles and Rita Hayworth2000TV Short documentaryHimself
Lon Chaney: A Thousand Faces2000TV Movie documentaryHimself
Moby Dick2000ShortCaptain Ahab Starbuck Ishmael
L'affaire Dominici par Orson Welles2000DocumentaryHimself
ABC 2000: The Millennium1999TV Movie documentary
According to Occam's Razor1999DocumentaryHimself
Shylock1999DocumentaryShylock
The Best of Film Noir1999Video documentaryHimself
E! Mysteries & Scandals1999TV Series documentaryHimself
The Lady with the Torch1999DocumentaryHimself
Modern Marvels1999TV Series documentaryHimself
The 20th Century: A Moving Visual History1999TV Mini-Series documentaryHimself
The Best of the Dean Martin Celebrity Roasts1998TV Movie documentaryHimself - Roaster
The Great Depression1998TV Mini-Series documentaryHimself (discusses War Of The Worlds broadcast) (uncredited)
Warner Bros. 75th Anniversary: No Guts, No Glory1998TV Movie documentary uncredited
Martian Mania: The True Story of The War of the Worlds1998TV Movie documentaryHimself
François Chalais, la vie comme un roman1997TV Movie documentaryHimself
Tudo É Brasil1997DocumentaryHimself
UFO: Down to Earth1997TV Series documentaryHimself
Who Is Henry Jaglom?1997DocumentaryHimself
20th Century-Fox: The First 50 Years1997TV Movie documentaryActor 'Compulsion' (uncredited)
UFOs: 50 Years of Denial?1997DocumentaryHimself (as Orson Wells)
Welles and Hearst1996TV Movie documentaryHimself
Where Are All the UFO's?1996TV Movie documentaryHimself - Director of 'War of the Worlds'
The Universal Story1995TV Movie documentaryHimself
Zweig: A Morte em Cena1995ShortHimself (uncredited)
Get Shorty1995Police Captain Hank Quinlan (uncredited)
Orson Welles: The One-Man Band1995DocumentaryHimself
Biography1995TV Series documentaryHimself
The First 100 Years: A Celebration of American Movies1995TV Movie documentaryHimself
A Personal Journey with Martin Scorsese Through American Movies1995TV Movie documentaryHimself (uncredited)
The War of the Worlds: Great Books1994Video documentaryHimself (explaining that the broadcast was of the H.G. Wells story)
La classe américaine1993TV MovieHimself
Working with Orson Welles1993Video documentaryHimself
Jean Renoir: Part Two - Hollywood and Beyond1993TV Movie documentaryHimself
Northern Exposure1993TV SeriesKane
It's All True1993DocumentaryHimself - Interview
Orson Welles: What Went Wrong?1992TV Movie documentaryHimself
The Tonight Show Starring Johnny Carson1992TV SeriesHimself
Don Quixote1992Himself
The Magic of David Copperfield XIV: Flying - Live the Dream1992TV SpecialHimself - Special Appearance
Here's Looking at You, Warner Bros.1991TV Movie documentaryHimself
The Complete Citizen Kane1991TV Movie documentaryHimself
Empire of the Air: The Men Who Made Radio1991DocumentaryProfessor in War of the Worlds Broadcast (uncredited)
Hearts of Darkness: A Filmmaker's Apocalypse1991DocumentaryHimself - from 1938 radio broadcast
Stars and Stripes1990DocumentaryHimself
Washes Whiter1990TV Series documentaryHimself - Domestos Creeping Dirt commercial
Hollywood Mavericks1990DocumentaryHimself
With Orson Welles: Stories from a Life in Film1990TV Movie documentaryHimself
Rita Hayworth: Dancing Into the Dream1990TV Movie documentary
AFI Life Achievement Award: A Tribute to Jack Lemmon1988TV Special documentaryHimself
Hollywood the Golden Years: The RKO Story1987TV Series documentaryHimself
Arsenal1986TV SeriesHimself
The Muppets: A Celebration of 30 Years1986TV MovieLew Lord
Notre Dame de la Croisette1981DocumentaryHimself (uncredited)
Margret Dünser, auf der Suche nach den Besonderen1981TV Movie documentaryHimself
The Force Beyond1977DocumentaryHimself (commenting on The War of the Worlds radio broadcast)
America at the Movies1976DocumentaryHimself
Underwelles1975Short documentary
Brother Can You Spare a Dime1975DocumentaryHimself
Fellini in città ovvero Frammenti di una conversazione su Federico Fellini1968Documentary shortHimself
Romy - Portrait eines Gesichts1967TV Movie documentaryAlbert Hastler - The Advocate
Plunder1965TV SeriesHimself

Is Orson Welles's Net Worth Deserved?