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In my real movie-going days, which were the thirties, you didn't stand in line. You strolled down the street and sallied into the theater at any hour of the day or night.

Orson Welles

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Orson Welles
Age: 70 †
Born: 1915
Born: May 6
Died: 1985
Died: October 10
Actor
Character Actor
Director
Film Actor
Film Director
Film Editor
Film Producer
Librettist
Magician
Playwright
Radio Personality
Kenosha
Wisconsin
George Orson Welles
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Theater
Didn
Line
Real
Streets
Going
Stand
Days
Strolled
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Thirties
Movie
Street

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Ecstasy is not really part of the scene we can do on celluloid.
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In attempting to explain F For Fake's state-side failure, it has occurred to me that perhaps the subject matter was at least partially to blame, and that this country is so blissfully enslaved by the notion of the special sanctity of the expert that an overtly anti-expert film was bound to go too much against the national grain.
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I feel I have to protect myself against things. So I'm pretty careful to lose most of them.
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Criminals are never very amusing. It's because they're failures. Those who make real money aren't counted as criminals. This is a class distinction, not an ethical problem.
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I have always been more interested in experiment, than in accomplishment.
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Human nature is eternal therefore one who follows his nature keeps his original nature, in the end.
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I'd make my promises now if I wasn't so busy arranging to keep them.
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I was spoiled in a very strange way as a child, because everybody told me, from the moment I was able to hear, that I was absolutely marvelous, and I never heard a discouraging word for years, you see. I didn't know what was ahead of me.
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I started at the top and worked my way down.
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I think I made essential a mistake in staying in movies, because I - but it's a 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.'
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Hollywood expects you to experiment but on a film that makes money and if you don't make money, you're to blame. Your job is to make money.
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I hate women, hate them generally, not in particular but in an abstract way. I hate them because one never really learns anything about them. They are inscrutable.
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I don't say we all ought to misbehave, but we ought to look as if we could.
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If you've noticed that I don't use long takes, it's not because I don't like them, but because no one gives me the necessary means to treat myself to them. It's more economical to make one image, then this image and then that image, and try to control them later, in the editing studio.
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I 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.
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I have the terrible feeling that, because I am wearing a white beard and am sitting in the back of the theatre, you expect me to tell you the truth about something. These are the cheap seats, not Mount Sinai.
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A good artist should be isolated. If he isn't isolated, something is wrong.
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