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  1. Vor einem Tag · After discussing the widely admired Casablanca, Citizen Kane, 2001: A Space Odyssey and La Dolce Vita, Ebert turned his attention to more of a leftfield selection, the 1984 Michael Apted documentary 28 Up, the fourth entry in the wider British documentary series Up, which focuses on the lives of ten males and four females at different points in their lives.

  2. Vor 21 Stunden · A central question is, to put it bluntly, the question at the center of your story. It sounds self-explanatory in theory, but nothing in storytelling is ever really that simple. In STORY, Robert McKee says, “Hunger for the answer to the major dramatic question grips the audience’s interest, holding it to the last act’s climax.”.

  3. www.americancinematheque.com › now-showing › citizen-kane-6/23/24CITIZEN KANE - American Cinematheque

    Vor 3 Tagen · Trailblazing in so many respects, from Gregg Toland’s complex camera and lighting to Bernard Herrmann’s score to one of the finest ensemble casts (including Joseph Cotten, Everett Sloane and Agnes Moorehead) ever assembled. With an Academy Award-winning script by Welles and Herman J. Mankiewicz.

  4. Vor einem Tag · Sudhakaran points out that while these conventions have merit, filmmakers like Orson Welles in "Citizen Kane" have successfully used high-angle shots to great effect without adhering strictly to ...

  5. That’s all really, it broke the “rules” in the right way because Orson Welles didn’t know any better and just happened to make a decent film that didn’t follow how movies normally worked. Someone was bound to do it, but it paved the way for films like Sunset Boulevard which progressed the idea of what a “Hollywood Picture” could be.

  6. Vor 3 Tagen · Del Río was at his side during the filming and controversy of Citizen Kane (1941). The film, considered a masterpiece today, caused a media scandal by directing open criticism against the media magnate William Randolph Hearst , who began to boycott Orson's projects.

  7. Vor 4 Tagen · Tales of Hollywood actors turning down profit participation in huge hits are rampant, as when Orson Welles rejected the initial $75,000 plus 10 percent of the gross offer on 1949’s The Third Man ...