On his centenary, looking at Orson Welles’ Macbeth, the horror film no one likes to call a horror film.
The writing guru William Zinser once said words to the effect that if you wish to write long sentences, you best be a genius, the movie version equivalent of which is, probably, if you want to do long takes, be Orson Welles.
There wasn’t a shot Welles thought he couldn’t get, and it didn’t matter if we’re talking the artistic majesty of Citizen Kane, or any of a number of the cheapjack efforts Welles, having fallen from Hollywood grace, spent the bulk of his life trying to cadge up funds to shoot.
With May 6 marking Welles’ centenary, Kane will get still more props as not only one of the two or three best pictures ever made, but the sole picture on which Welles had complete artistic control. He was 25 when he made it, a conqueror of Broadway, the radio, and now Hollywood, and after racing off to South America to shoot a war effort the next year and leaving his Magnificent Ambersons footage in the hands of others, Welles would essentially be kicked out of Camelot on account of the final result, with a reputation for not seeing projects through.
More… “Orson Welles’ Horrorshow”