Touch Of Evil Essay

He was intrigued, though, by the presence of Orson Welles in a draft of the film’s cast list.

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Heston remembered Welles chewing the man out after the third or forth time the shot had been wrecked: "Look, I don’t care what you say, just move your lips, we can dub it in later.

He kept forgetting his single line, ruining the entire take.

Welles shot thirteen pages of script, most of it in a single shot as complicated as the film’s opening.

He scheduled the now-celebrated "shoe box" scene for the first day of shooting.

Welles’ devotion to the long take with camera movement meant that shots often became like theatrical performances, with a huge number of actors and technicians having to be coordinated to achieve a single result.

The material had been planned to take three days, and the Universal suits, satisfied, left Welles in peace thereafter.

Welles decided to put obnoxious Universal executives off with a remarkable display.

On TOUCH OF EVIL, the long takes he had come to favor as a storytelling technique now became a way of saving shooting time and money.

Several successive takes were ruined by the bit actor playing the customs man, who became terrified on seeing the huge entourage of booms, lights, cameras, actors, and vehicles bearing down on him determinedly from across town.

Heston remembers trying to get in a few more takes of the film’s famous first shot before daylight.


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