- ^ "I did a very elaborate production for [Heart of Darkness], such as I've never done again—never could," Welles said. "I shot my bolt on preproduction on that picture. We designed every camera setup and everything else—did enormous research in aboriginal, Stone Age cultures in order to reproduce what the story called for. I'm sorry not to have got the chance to do it."[22]: 31
- ^ Welles later used the subjective camera in The Magnificent Ambersons, in a sequence that was later all but eliminated because it did not work in that picture. "Heart of Darkness is one of the few stories that it's very well adapted to, because it relies so heavily on narration," Welles said. "The camera was going to be Marlow ... He's in the pilot house and he can see himself reflected in the glass through which you see the jungle. So it isn't that business of a hand-held camera mooching around pretending to walk like a man."[22]: 31
- ^ First published in Critical Inquiry, "The Scripts of Citizen Kane" was described by Rosenbaum as "the definitive piece of scholarship on the authorship of Kane—and sadly one of the least well known". He wrote that many biographers may wrongly assume that Carringer included all of its facts in his later book, The Making of Citizen Kane.[33]: 18, 247
- ^ According to RKO records, Sloane was paid $2,400 for shaving his head.[13]
- ^ Speaking to Bogdanovich, Welles corrects himself when speaking about who suggested the "test" shooting: "That was Toland's idea—no, it was Ferguson's idea, the art director."[48]: 19:25–19:31
- ^ "I used the whole Mercury cast, heavily disguised by darkness," Welles said. "And there they all are—if you look carefully, you can see them. Everybody in the movie is in it. ... Yes, I'm there."[22]: 78
- ^ No figures can be found for the cost of filming Susan's attempted suicide, but filming the nightclub scene was budgeted at $1,038 and cost $1,376.79.[49]: 74
- ^ "It took nerve to shoot from down there, with that steel brace right in front of the camera, but I thought rightly that at that point they'd be looking at Leland and not at me."[22]: 61–62
- ^ Welles states, "There's all that stuff about McCormick and the opera. I drew a lot from that from my Chicago days. And Samuel Insull." A known supporter of President Roosevelt, the fact that both McCormick and Hearst were opposed to FDR's successful attempts to control radio and moderate control of print may have been an incentive for Welles to use his film as a smear against both men.[22]: 49
- ^ Charlie Lederer insisted that Hearst and Davies never saw Citizen Kane and condemned it based on the outrage of trusted friends, wrote his stepdaughter (and Welles's daughter) Chris Welles Feder. "In Charlie's view, Hearst was more distressed by the movie's insinuation ... that Marion was a failed and pathetic alcoholic that he was by any unflattering references to himself."[91]
- ^ Kevin Brownlow believes that Lean's brother David was influential on (if not co-writer of) this review. Years later Welles thanked David Lean for the article.[123]: notes
- ^ The colorized Citizen Kane footage appears at approximately 1:17:00.
- ^ Reprinted in Gottesman, Ronald (ed.). Focus on Citizen Kane. Englewood Cliffs, New Jersey: Prentice-Hall, 1976. ISBN 0-13-949214-3
- ^ Excerpted in "My Orson", Bogdanovich's new introduction to the second edition of This is Orson Welles[198]: xxiv–xxvii
- ^ Reprinted in Gottesman, Ronald (ed.). Perspectives on Citizen Kane. New York: G. K. Hall & Co., 1996. ISBN 978-0-8161-1616-4
- ^ Reprinted in Naremore, James (ed.). Orson Welles's Citizen Kane: A Casebook in Criticism. Oxford: Oxford University Press, 2004. ISBN 978-0-19-515892-2
- ^ Contains Kael's controversial essay "Raising Kane", originally printed in The New Yorker (February 20 and 27, 1971), as well as the full script by Mankiewicz and Welles.
- ^ Reprinted in Rosenbaum, Jonathan (ed.). Discovering Orson Welles. Berkeley: University of California Press, 2007, ISBN 978-0-520-25123-6
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