Well, Ambersons is going alright, though the damned Hays office is giving us a hell of a time with all thier codes against my film. I mean, really, is anyone offended by the possiblitiy that horse genitals might been seen? If you are, get the hell out of my theatre!
At the same time, Cotten and I are working at another film, called Journey Into Fear in order to fufill my last film contract with RKO. After this I can move on to hopefully better things.
((side note: I would like to apologize for being absent for so long. A lot of shit happened at the same time and I've been trying to keep from drowning. But it's finally all settled down and hopefully I'll fall back into updating this. Please don't forget your dear ol' Orson!!))
So Kane was up in the Oscars for Best Writing (*bow*), Best Actor in a Leading Roll (*bows*), Best Art Direction, Best Cinematography, Best Director (*bow*), Best Film Editing, Best Music, Best Picture (*bows*) and Best Sound.
Ladies and Gentlemen, my film deserved all of this, but because of the politics all we won was Best Writing, which was shared between Mankiewitz and myself. I wasn't there for the award, I've been too busy filming my newest film. Mankiewitz got the award in my absesense. He still hasn't accepted that he didn't write that screenplay by himself and that even if he had, his contract says it automatically becomes property of the Mercury Theatre. He's just lucky I gave him any credit....
Ah, thing are just messed up. Ambersons isn't going too well, but we'll see how it goes...
Finally! The Jesus idea is out, so I am finally managed to convince RKO to buy the rights to Booth Tarkington's The Magnificent Ambersons. I was considering casting Mrs. Del Rio as the leading female role, but I figured she couldn't convincingly play a Anglo-Saxon rich women. So I'm trying to Dolorese Costello out of retirement. But we'll see. Most of my Mercurians have wandered into other contracts. I mean, it has been nine months since the end of Kane. Damn contracts!
I ran to catch an elevator and just barely made it into the lift when the doors closed behind me. To my left I was vaguely aware of one other man in the elevator with me, but I didn't look over. Instead, I glance to my right to adjust my hat in the mirror and to my amazement, I saw it was Mr. William Randolph Hearst looking furiously and steadfastly straight ahead. Well, how could I pass this up? "Uh...Hello Mr. Hearst, I'm not sure if you remember me, but my name is Orson Welles." "I know who you are," he replied petulantly. "Well, I'm not sure if you also know, I have a movie coming out soon and if you would like tickets I could get you some to the premire." He didn't answer, but continued to avoid my gaze.
At the lobby, he strode quickly and angerily from the elevator and exited the building.
"Kane would have accepted the tickets!" I shouted after his retreating figure.
Well, yesterday was the primere of my fabulous - if I don't say so myself - film, Citizen Kane. Finally I was able to defeat Hearst and get my work out there. I took John Barrymore to the opening, who has said of me, "Orson Welles?! He's an exhibitionist, a publicity seeker, a headline hunter, a cheap sensationalist...why, he's another John Barrymore!". A reporter asked why John was there and he replied with a perfect deadpan face, "You might say I'm a relative. I think it's time the public heard the truth - Orson is, in fact, the bastard son of Ethel and the Pope." Fabulous man!
"Last Wednesday afternoon, I went to see a picture that had the most terrific critical build-up of any picture ever made. After seeing the picture, I felt that everything that had been said was an understatement," wrote the Skolsky of the New York Post Hollywood Reporter, which has often told RKO and Schaefer to ditch me exclaimed, "Mr. Genius comes through; Kane astonishing picture" "Now that the wrappers are off if can be safely stated that the supression of this film would have been a crime...it comes close to being the most sensational film ever made in Hollywood," shouted The New York Times.
I've chosen my next film to be Booth Tarkington's The Magnificent Ambersons, though I think RKO might pressure me not to actually appear in it. We'll see how this turns out.
Native Son opened today. I had the play go without intermission - which totally stunned the audience - and I didn't have the programs handed out until after the performance. I didn't want the atmosphere to be distrubed by audience members looking over the cast list or rustling the papers. Just to give up some idea of the reaction to my latest stage wonder:
Richard Wright, the author wrote to Houseman and myself, "let me thank both of you for the energy talent speed and courage which both of your brought to the staging producing and directing of native song stop i have said time and time again and i say now that i feel that native son has been in the hands of the two most gallant men in the theatrical world stop good luck always to both of you stop richard wright." Sidney Whipple - an old hater of mine - declared, "Native Son proves that Orson Welles, whether you like to admit it or not, is not a boy wonder but actuall the greatest theatrical director of the modern stage." Brooks Atkinson: "It is as if the theatre has been shaken up and recharged with life."
It is great to be back at the theatre. I am appreciated here, I am loved here, I am respected here. Why do I want to return to Hollywood?
Native Son's in it's final week of rehersal, but that isn't the big news. If you were to look at the Time and Life magazines, you'll see that Henry Luce - the owner of both - has joined my cause and is fighting against Hearst. RKO and Schaefer declared, "A free speech, a free press, and a screen free for expression tell the story of American democracy." Way to go Schaefer! Kane will blow away the critics. What am I talking about? It already has blown away the critics!
March 1941: ((backing up a little, because I messed up dates a little))
Well Houseman is back in Hollywood, I am quite suprised. After our little showdown at Chasen's he swore never to contact me again, and I guess with good reasons. I mean, I did throw a flaming can of sterno at his head. Well two. Alright, three! But I was drunk! ish Anyway, Houseman managed to get the producing rights to Richard Wrights book gone play Native Son and he called me up to ask if I wanted to direct it. Well, I need something to get my mind off this whole Hearst thing, so I've taken the job. Most of my Mercurians shall be in it, and I'm bringing back Canada Lee. The man's a fabulous actor, saved my life once actually. If you need to surround yourself with people, make sure one of them is a former prizefighter. So Native Son is a go! It'll be nice to return to the stage. I'm respected and appreciated there.
