Orson Welles

He has two stars on the Hollywood Walk of Fame: for motion pictures at 1600 Vine Street and for radio at 6652 Hollywood Boulevard.

Biography in: John Wakeman, editor. "World Film Directors, Volume One, 1890- 1945". Pages 1168-1185. New York: The H.W. Wilson Company, 1987.

Biography in: John Wakeman, editor. "World Film Directors, Volume One, 1890- 1945". Pages 1168-1185. New York: The H.W. Wilson Company, 1987.

In 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.

In 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.

His 1937 Broadway stage production of William Shakespeare's "Julius Caesar", in which the setting was changed to a modern Fascist Rome to reflect the 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 MGM, starring James Mason as Brutus, Marlon Brando as Marc Antony and John Gielgud as Cassius.

Father with Virginia Nicholson of Christopher Welles (b. 1937). Father with Rita Hayworth of Rebecca Welles (b. . Father with Paola Mori of Beatrice Welles, whom Welles made the sole heir of his estate.

Father with Virginia Nicholson of Christopher Welles (b. 1937). Father with Rita Hayworth of Rebecca Welles (b. (December 17, 1944). Father with Paola Mori of Beatrice Welles, whom Welles made the sole heir of his estate.

His 1937 Broadway stage production of William Shakespeare's "Julius Caesar", in which the setting was changed to a modern Fascist Rome to reflect the 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 MGM, starring James Mason as Brutus, Marlon Brando as Marc Antony and John Gielgud as Cassius.

On 30 October 1938, he directed the Mercury Theatre On the Air in a dramatization of "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 eye-witness 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.

On 30 October 1938, he directed the Mercury Theatre On the Air in a dramatization of "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 eye-witness 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.

His performance as Charles Foster Kane in Citizen Kane is ranked #12 on Premiere Magazine's 100 Greatest Movie Characters of All Time.

Before deciding on adapting the life of William Randolph Hearst in Citizen Kane , he 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 Col. Kurtz in Apocalypse Now , itself an adaptation of "Heart of Darkness".

Has the distinction of appearing in both the American Film Institute and British Film Institute's #1 movie. For AFI it was Citizen Kane . For BFI it was The Third Man . Welles shares this distinction with Joseph Cotten, who also starred in both movies.

Was 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").

Has 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.

Before deciding on adapting the life of William Randolph Hearst in Citizen Kane (1941), he 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 Col. Kurtz in Apocalypse Now (1979), itself an adaptation of "Heart of Darkness".

Was 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").

His performance as Charles Foster Kane in Citizen Kane (1941) is ranked #12 on Premiere Magazine's 100 Greatest Movie Characters of All Time.

When execs at RKO couldn't decide on greenlight-ing Citizen Kane (1941), Orson asked for film equipment and a small crew released so he could spend the mid-way time doing test shots. Not wanting their New-York-import to grow cold with the RKO deal, they granted the request ... Orson proceeded to shoot actual scenes of the movie. By the time execs realized what he had done, Orson had many key scenes complete. They green-lit Citizen Kane (1941) ... Already having financed the picture, unknowingly.

Directed 2 actors to Oscar nominations: Himself (Best Actor, Citizen Kane (1941)), and Agnes Moorehead (Best Supporting Actress, The Magnificent Ambersons (1942)).

He 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 (1972).

Film 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.

He made The Lady from Shanghai 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.

Was the subject of author Mary Pacios' book about the Black Dahlia murder in Los Angeles in 1947, which has been called the most gruesome, if not most famous murder in the city's history. Pacios supposed that Welles was the unknown murderer who slaughtered struggling actress Elizabeth Short. However, the book was considered pure nonsense and debunked by many historians.

Was suggested as a possible suspect by author Mary Pacios, in Elizabeth Short's ("The Black Dahlia") mutilation murder in Los Angeles in 1947. Among other reasons, Pacios suggested Welles as a suspect because Welles' artwork for the surreal bizarre fun-house set in The Lady From Shanghai was similar in many ways to the mutilation and bisection of Elizabeth Short. Harry Cohn, the head of Columbia, ordered the footage cut before release because of its disturbing resemblance to the murder.

He 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.

His performance as Harry Lime in The Third Man is ranked #93 on Premiere Magazine's 100 Greatest Movie Characters of All Time.

Portrayed the title character on the syndicated radio show "The Lives of Harry Lime" (also known as "The Third Man") . It was based on his character from the film The Third Man .

Portrayed the title character on the syndicated radio show "The Lives of Harry Lime" (also known as "The Third Man") (1951-1952). It was based on his character from the film The Third Man (1949).

His performance as Harry Lime in The Third Man (1949) is ranked #93 on Premiere Magazine's 100 Greatest Movie Characters of All Time.

Host/narrator of the BBC/Mutual Radio's "The Black Museum" .

Host/narrator of the BBC/Mutual Radio's "The Black Museum" (1952).

He 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.

He 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.

John 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 . Welles was unable to accept the role due to scheduling conflicts, and Spencer Tracy was cast instead.

When he signed on to direct Touch of Evil , instead of reading the book on which it was based, a pulp novel named "Badge of Evil," he completely changed an early draft of the script.

John 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.

When 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," he completely changed an early draft of the script.

CBS wanted him to host "Twilight Zone" but the producers felt that he requested too much money. He was ultimately ruled out in favor of the show's creator, Rod Serling.

CBS 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.

He died only two hours after being interviewed on "The Merv Griffin Show" on October 10, 1985.

He died only two hours after being interviewed on "The Merv Griffin Show" (1962) on October 10, 1985.

Most 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 (Laurence Harvey's death made a finished movie impossible), The Merchant of Venice (TV) and Don Quixote .

Most 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) (TV) and Don Quijote de Orson Welles (1992).

He was the studio's first choice to play the voiceover role of "OMM" in THX 1138 . However, director George Lucas insisted on casting the relatively unknown stage actor James Wheaton instead.

He was the studio's first choice to play the voiceover role of "OMM" in THX 1138 (1971). However, director George Lucas insisted on casting the relatively unknown stage actor James Wheaton instead.

Lobbied to get the part of Don Vito Corrleone in The Godfather . Francis Ford Coppola, a fan of his, had to turn him down because he already had Marlon Brando in mind for the role and felt Welles wouldn't be right for it.

Was 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.

Made 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.

Made a Hollywood satire, The Other Side of the Wind (1972), starring John Huston and Peter Bogdanovich. Though it was completed, the post-production process was not and the film also ran into legal problems.

Lobbied to get the part of Don Vito Corrleone in The Godfather (1972). Francis Ford Coppola, a fan of his, had to turn him down because he already had Marlon Brando in mind for the role and felt Welles wouldn't be right for it.

Was 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 (1972), before his death.

Declined the chance to be the voice of Darth Vader in Star Wars: Episode IV - A New Hope .

'American Broadcasting Company (ABC) [us]' wanted him to play Mr. Roarke on "Fantasy Island" (1977), but Aaron Spelling insisted on Ricardo Montalban.

American Broadcasting Company (ABC) ' wanted him to play Mr. Roarke on "Fantasy Island" , but Aaron Spelling insisted on Ricardo Montalban.

Was the narrator for many of the trailers for Star Trek: The Motion Picture .

Was the narrator for many of the trailers for Star Trek: The Motion Picture (1979).

Biography in: "The Scribner Encyclopedia of American Lives". Volume One, 1981-1985, pages 861-864. New York: Charles Scribner's Sons, 1998.

Biography in: "The Scribner Encyclopedia of American Lives". Volume One, 1981-1985, pages 861-864. New York: Charles Scribner's Sons, 1998.

Hated working on The Transformers: The Movie , where he voiced Unicron. When asked about the film, he not only couldn't 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.".

Hated working on The Transformers: The Movie (1986), where he voiced Unicron. When asked about the film, he not only couldn't 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.".

He was inducted into the Radio Hall of Fame in 1988.

Has been played by Vincent D'Onofrio twice: Ed Wood and Five Minutes, Mr. Welles .

Has been played by Vincent D'Onofrio twice: Ed Wood (1994) and Five Minutes, Mr. Welles (2005).

A bootleg tape of a short-tempered (and foul-mouthed) Orson 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 cartoon show "Pinky and the Brain" , with The Brain reading cleaned-up verions of Orson's rantings (the episode's title, "Yes, Always", is taken from one of Orson's complaints). Ironically, the actor who plays The Brain, Maurice LaMarche, dubbed the voice of the actor who portrays Orson Welles in Ed Wood .

A bootleg tape of a short-tempered (and foul-mouthed) Orson 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 cartoon show "Pinky and the Brain" (1995), with The Brain reading cleaned-up verions of Orson's rantings (the episode's title, "Yes, Always", is taken from one of Orson's complaints). Ironically, the actor who plays The Brain, Maurice LaMarche, dubbed the voice of the actor who portrays Orson Welles in Ed Wood (1994).

Ranked #9 in Empire (UK) magazine's "The Greatest directors ever!"

Ranked #9 in Empire (UK) magazine's "The Greatest directors ever!" [2005]

Welles' Oscar statuette sold for $861, 542, when it was auctioned by Nate D. Sanders Memorabilia on December 20, 2011.