In 1937 Cotten became an inaugural member of Welles's Mercury Theatre company, starring in Broadway productions of Julius Caesar, The Shoemaker's Holiday and Danton's Death, and in radio dramas presented on The Mercury Theatre on the Air and The Campbell Playhouse.

* Orson Welles's Chimes at Midnight ( 1966 ) compiles the two Henry IV plays into a single, condensed storyline, while adding a handful of scenes from Richard II and Henry V. The movie, also known as Falstaff, features Welles himself in the title role.

The film's plot structure also bears similarity to Orson Welles's Citizen Kane ( 1941 ), particularly the opening scenes with Lawrence's death and the reporter inquiring notables at Lawrence's funeral.

Returning once again to a reworking of the past, this time the supposed murder of director Thomas Ince by Orson Welles's bête noire William Randolph Hearst, The Cat's Meow was a modest critical success but made little money at the box office.

* Plainsboro is mentioned in the description of the battle area in Orson Welles's 1938 radio broadcast, The War of the Worlds, when the radio announcer describes the aftermath of the purported Martian invasion at nearby Grover's Mill.

While at CBS, Herrmann met Orson Welles, and wrote or arranged scores for Welles's Mercury Theatre on the Air and Campbell Playhouse series ( 1938 – 1940 ), which were radio adaptations of literature and film.

Welles's bosses at RKO Radio Pictures, after losing money on Citizen Kane, urged Welles to choose as his next film a subject with more commercial appeal.

Much of the troupe would later appear in Welles's films at RKO, particularly Citizen Kane and The Magnificent Ambersons.

In the opening sequence of Orson Welles's Touch of Evil ( 1958 ), she appeared as Zita, the dancer who dies at the end of the famous first tracking shot, during which her character exclaims to a border guard, " I keep hearing this ticking noise inside my head!

In Orson Welles's film version of Macbeth ( 1948 ), Fleance is briefly seen again at the very end of the movie.

What is only hinted at in Welles's documentary is that de Hory had recently served a two-month sentence in a Spanish prison for homosexuality and consorting with criminals.

Signs visible in the scene refer to a " Coach Roskie " and a " Mrs. Collins ", the names of actual staff at the school during Welles's time there.

Welles's broadcast of War of the Worlds is just a story, but maybe there really are aliens at loose.

Release was delayed due to Cohn ordering extensive editing and re-shoots by his assistants at Columbia, who insisted on cutting about an hour from Welles's final cut.

In 1971, a fire broke out at Welles's home and the only known complete print of Too Much Johnson was destroyed.

However, Time Magazine gave the production a rave review, and Welles's innovations have been echoed in many subsequent modern productions, which have seen parallels between Caesar's fall and the downfalls of various governments in the twentieth century.

That production was followed by Welles's and Edwin Denby's adaption of Horse Eats Hat and, in 1937, Marlowe's Doctor Faustus and Marc Blitzstein's The Cradle Will Rock.

Perhaps America's most famous radio drama broadcast is Orson Welles's The War of the Worlds, a 1938 version of the H. G. Wells novel, which convinced large numbers of listeners that an actual invasion from Mars was taking place.

Opinions vary on the artistic value of the resulting production: some see Welles's mercilessly pared-down script ( the running time was around 100 minutes without an interval, several characters were eliminated, dialogue was moved around and borrowed from other plays, and the final two acts were reduced to a single scene ) as a radical and innovative way of cutting away peripheral elements of Shakespeare's tale ; others thought Welles's version was a mangled and lobotomised version of Shakespeare's tragedy which lacked the psychological depth of the original.

Welles's film was given little publicity despite the many stars in the cast.

As Welles's rough cut no longer exists, no true " director's cut " is possible, but Murch was able to assemble a version incorporating most of the existing material, omitting some of the Keller scenes ( though some were retained, either because they had replaced Welles scenes which no longer existed and were necessary to the plot, or because Welles had approved of their inclusion ).

While working as a film editor, Wise was called on to shoot additional scenes for Orson Welles's The Magnificent Ambersons ( 1942 ).

According to historian Winters, " Welles's opinion of the military abilities of both men was very low, but he did not question Butler's skill as a ' police magistrate ' in charge of civil affairs.

A promising project, Orson Welles's The Deep ( 1970 ) with Jeanne Moreau, was never finished.

He composed the score for Welles's second film, The Magnificent Ambersons ( 1942 ); like the film itself, the music was heavily edited by the studio, RKO Pictures.

The Shadow knows ...." According to historian Frank Brady, Welles's " voice as the ' invisible ' Shadow was perfect.

In 1951, during a break in the making of Othello, Mac Liammóir produced Orson Welles's ghost-story Return to Glennascaul which was directed by Hilton Edwards.

Orson Welles's masterpiece Citizen Kane was also released.

" Welles's name as coauthor was drowned out by voices all through the audience calling out, " Mank!

Richard Meryman concludes that " taken as a whole ... Citizen Kane was overwhelmingly Welles's film, a triumph of intense personal magic.

He was a member of the regular cast of Orson Welles's Ceiling Unlimited, for which he also wrote the December 14, 1942, episode, " War Workers ".

Some of the character's dialogue on how to run a newspaper are direct quotes from Welles's comments on how to make a motion picture ( though this was his first ).

The film is not based on Orson Welles's script The Cradle Will Rock, which was to be an autobiographical account of the play's production.

After the broadcast of March 31, 1940 — a reprise of Jane Eyre, after Welles's suggestion of Alice Adams was not accepted — Welles and Campbell parted amicably.

His second film was the Orson Welles's The Stranger as Noah, the brother of Loretta Young's character.

* Tex ( t )- Mex, a new book from the University of Texas Press, features an article on Orson Welles and Touch of Evil entitled: ' Hallucinations of Miscegenation and Murder: Dancing along the Mestiza / o Borders of Proto-Chicana / o Cinema with Orson Welles's Touch of Evil.

Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented.

He conducted the live performances, including Welles's famous adaptation of H. G. Wells's The War of the Worlds broadcast on October 30, 1938, which consisted entirely of pre-existing music.

Herrmann also created the music for Welles's CBS radio series the Orson Welles Show ( 1941 – 1942 ), which included the debut of his wife Lucille Fletcher's suspense classic, The Hitch-Hiker ; Ceiling Unlimited ( 1942 ), a program conceived to glorify the aviation industry and dramatize its role in World War II ; and The Mercury Summer Theatre on the Air ( 1946 ).

* On December 21, 1942, CBS aired " Gremlins ," a whimsical story written by Louise Fletcher, on an episode of Orson Welles's patriotic radio series Ceiling Unlimited.

Quiet, Please had its roots in The Campbell Playhouse ( 1938 – 1941 ), the successor to Orson Welles's The Mercury Theatre on the Air, which achieved notoriety with its 1938 adaptation of H. G. Wells's novel The War of the Worlds.

As the library was not equipped to synchronize the recovered soundtrack with the film element, producer and restoration specialist Rick Schmidlin suggested that award-winning film editor Walter Murch be enlisted on the project ( the two had worked together on the 1998 restoration of Orson Welles's Touch of Evil ).

* This piece was also further popularized among many Americans when it was used as the theme to Orson Welles's famous radio series, The Mercury Theatre on the Air.

Far from serving as a traditional documentary on Elmyr de Hory, the film also incorporates Welles's companion Oja Kodar, notorious " hoax-biographer " Clifford Irving, and Orson Welles himself, in an autobiographical role.

Welles's autobiographical asides in the film reflect on his 1938 radio adaptation of The War of the Worlds, which caused a nationwide panic with its fake news broadcast.

He edited This is Orson Welles ( 1992 ) by Welles and Peter Bogdanovich, a collection of interviews and other materials relating to Welles, and was consultant on the re-editing of Welles's Touch of Evil released in 1998, based on a lengthy memo written by Welles to Universal Pictures in the 1950s.