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Orson Welles with reporters after the notorious War of the Worlds broadcast.

Welles’ stage design for his 1938 production of Julius Caesar—evidence of his visual sense that he used in his Hollywood projects.

A frame from The Hearts of Age, a short film co-produced by the 19-year-old Welles in 1934. The film offered little insight into Welles filmmaking abilities that would soon appear (see the next image).

Welles-directed footage for his abortive 1938 stage production of Too Much Johnson provided hints of the film style he was beginning to develop—such as this scene that foreshadowed shots at Xanadu at the end of Citizen Kane. Little more than a year later, Welles would be prowling the RKO studio.

From left: Welles, Herman Mankiewicz, and John Houseman writing Citizen Kane in Victorville.

The 1940 RKO yearbook includes a rare reference to the original name for Welles' first film: "John Citizen USA."

On the set shooting Citizen Kane. Welles is in a wheelchair after his ankle injury; legendary cinematographer Gregg Toland is wrapped around the camera dolly.

Ruth Warrick (Emily Monroe Norton) in the only-known image that shows a Citizen Kane set built several feet above the stage floor (background), done so Gregg Toland could shoot from extremely low angles—a key element in the visual goals for the film.

The warm woody interiors of the real-life Hearst Castle (above) were the complete opposite of the gloomy vision of Xanadu in Citizen Kane (below)—one of many examples in the film that showed how the character of Kane was not based entirely on William Randolph Hearst.

Designer Perry Ferguson created Xanadu as a dark Gothic nightmare—nothing like the "palace" that Kane's second wife Susan dreamed of living in.

Makeup artist Maurice Seiderman adds bags under Welles’ eyes for one of the 27 setups that aged Kane from 27 to 78.

The theatrical trailer for Citizen Kane has the only known backstage footage from the film, including this shot “for purposes of ballyhoo” of dancers from the party set at the New York Inquirer singing on the set used for "Georgie’s Place"—the scenes cut by the censors because the locale was “inescapably a brothel.” Note the set for Mary Kane’s boarding house (left, rear), also on Stage 8 at RKO in Culver City.

After months of delays, Citizen Kane premiered at New York’s Palace Theater on May 1, 1941, followed by near-unanimous acclaim from America’s film critics—and large doses of crow-eating by Welles’ detractors, who had said success for the first-time director would be impossible.

The first “mention” of Citizen Kane in Hearst newspapers after the film was banned from their pages appeared in October 1941 in this advertisement for a “Big Screen Attraction”; five months after the film was released, its name was still not published in Hearst papers.

Decades after the filming of Citizen Kane, some of the statues used on the set of the great hall of Xanadu were stored in a warehouse near the lot that once housed RKO’s studios in Culver City. Still visible were tags that read “Xanadu, Florida.”

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This is the caption for the test image.

This is a shot on the set.

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