Apparently, Welles was unaware that one could achieve the effects optically on a film so he instructed the crew to dim the lights the way you would on a theater production, which led to the unique dissolves. Many of the transitions in the film are done as lighting cues on set (such as the transition at the opening of the film from the outside of Xanadu into Kane's bedroom for his death), where lights are dimmed up and down on stage. While shooting Kane, Welles and Toland (among others) insisted that Welles gave lighting instructions that fall normally under the director of photography's responsibility. You don't know what cannot be done." So I said, "But I really don't! Can you tell me?" And said, "There's nothing to it." And gave me a day-and-a-half lesson-and he was right! Toland?" And he said, "Because you've never made a picture. My name is Toland." And I said, "Why do you, Mr. came to my office and said, "I want to work in your picture. Although Citizen Kane was Welles's first feature, Toland-whom Welles already knew by reputation-sought out the young director himself:
In a 1970 interview on the Dick Cavett Show, Welles told the story of how he met Toland, whom Welles considered "the greatest cameraman who ever lived".
Nevertheless, the Welles movies that most resemble Citizen Kane ( The Magnificent Ambersons, The Stranger, and Touch of Evil) were shot by Toland collaborators Stanley Cortez and Russell Metty (at RKO). Many Welles scholars maintain that the visual style of Kane is similar to many of Welles's other films, and hence should be considered the director's work. Some film historians believe Citizen Kane 's visual brilliance was due primarily to Toland's contributions, rather than director Orson Welles'. Orson Welles and Gregg Toland at work on Citizen Kane (1941) the camera appears to be one of the very few brand-new Mitchell Camera Corp BNCs which were made before the World War II embargo on the manufacture of new production cameras (excepting those intended for the U.S. He is interred in the Hollywood Forever Cemetery in Hollywood, California. Toland died in his sleep in Los Angeles, California on Septemof coronary thrombosis at the age of 44. Everything was in focus, from three inches to infinity". Three feet from the lens, in the center of the foreground, was another face, and then, over a hundred yards away was the rear wall of the studio, showing telephone wires and architectural details. It was a shot of a face three inches from the lens, filling one-third of the left side of the frame. He carried in his wallet a strip of film taken with this lens, of which he was very proud. "Just before he died he had worked out a new lens with which he had made spectacular shots. Just before his death, he was concentrating on the "ultimate focus" lens to make near and far objects equally distinct. He worked with many of the leading directors of his era, including John Ford, Howard Hawks, Erich von Stroheim, King Vidor, Orson Welles, and William Wyler. Over a seven-year span (1936–1942), he was nominated five times for the Academy Award for Best Cinematography, including an Academy Award for his work on Wuthering Heights (1939). His trademark chiaroscuro, side-lit style originated by accident: While shooting the short film The Life and Death of 9413: a Hollywood Extra (1928), one of two available 400W bulbs burned out, leaving only a single bulb for lighting.ĭuring the 1930s, Toland became the youngest cameraman in Hollywood but soon one of its most sought-after cinematographers. He became an assistant cameraman a year later. Toland got his start in the film industry at the age of 15, working as an office boy at the Fox studio. His mother moved to California several years after his parents divorced in 1910. Toland was born in Charleston, Illinois on to Jennie, a housekeeper, and Frank Toland.
2.4 Citizen Kane and The Long Voyage Home.2.3 Optical print shots and in-camera composites.
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