![]() There's a 1960 interview of Welles, which Kael mentions early in the essay - it's here: Kael was a huge Welles fan but she was turning on him because of other discourses in which she had a stake. ![]() For ten years he'd been on this Anglo-American television circuit, and Kael was chagrined that in all the popular attention on Welles, fueled by the auteur theory, and the development of film programs on both coasts, Welles typically elided the collaborative labors of Herman Mankiewicz, Gregg Toland as well as others involved in Citizen Kane. Welles was typically on television during these days trying to raise money for The Other Side of the Wind. ![]() She was by now reviewing half the year at The New Yorker feeling for her during her hiatus, her editor (who was paying her too little), William Shawn, assigned her a long piece on the scholarship emerging around the authorship of the Citizen Kane script. ![]()
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