1. Kane And Lynch Dog Days

Running time119 minutesCountryUnited StatesLanguageEnglishBudget$839,727Box office$1.6 million (1991 re-release)Citizen Kane is a 1941 American by, its producer, co-screenwriter, director and star. The picture was Welles's.

Nominated for in nine categories, it won an by and Welles. Considered by many critics, filmmakers, and fans to be the, Citizen Kane was voted as such in five consecutive polls of critics, and it topped the 's list in 1998, as well as its. Citizen Kane is particularly praised for 's cinematography, 's editing, 's music, and its narrative structure, all of which have been considered innovative and precedent-setting.The examines the life and legacy of, played by Welles, a character based in part upon the American newspaper magnates and, Chicago tycoons and, and aspects of the screenwriters' own lives. Upon its release, Hearst prohibited mention of the film in any of his newspapers. Kane's career in the publishing world is born of idealistic social service, but gradually evolves into a ruthless pursuit of power.

Narrated principally through, the story is told through the research of a reporter seeking to solve the mystery of the newspaper magnate's dying word: 'Rosebud'.After the successes of Welles's and the controversial 1938 radio broadcast ' on, Welles was courted by Hollywood. He signed a contract with in 1939. Although it was unusual for an untried director, he was given the freedom to develop his own story, to use his own cast and crew, and to have. Following two abortive attempts to get a project off the ground, he wrote the, collaborating on the effort with Herman Mankiewicz. Principal photography took place in 1940 and the film received its American release in 1941.While a critical success, Citizen Kane failed to recoup its costs at the box office. The film faded from view after its release, but was subsequently returned to the public's attention when it was praised by such French critics as and given an American revival in 1956.

The film was released on on September 13, 2011, for a special 70th-anniversary edition. Citizen Kane was an inductee of the 1989 inaugural group of 25 films that established the list. The affair between Kane and Susan Alexander is exposed by his political opponent, Boss Jim W. Gettys In a mansion in, a vast palatial estate in, the elderly is on his deathbed. Holding a, he utters a word, 'Rosebud', and dies; the globe slips from his hand and smashes on the floor.

A obituary tells the life story of Kane, an enormously wealthy newspaper publisher. Kane's death becomes sensational news around the world, and the newsreel's producer tasks reporter Jerry Thompson with discovering the meaning of 'Rosebud'.Thompson sets out to interview Kane's friends and associates.

He tries to approach his wife, Susan Alexander Kane, now an who runs her own nightclub, but she refuses to talk to him. Thompson goes to the private archive of the late banker Walter Parks Thatcher. Through Thatcher's written memoirs, Thompson learns that Kane's childhood began in poverty in Colorado.In 1871, after a gold mine is discovered on her property, Kane's mother Mary Kane sends Charles away to live with Thatcher so that he would be properly educated. It is also implied that Kane's father could be violent towards his son and that is another reason she wants to send him away. While Thatcher and Charles' parents discuss arrangements inside, the young Kane plays happily with a in the snow outside his parents' boarding-house and protests being sent to live with Thatcher. Furious at the prospect of exile from his own family to live with a man he does not know, the boy strikes Thatcher with his sled and attempts to run away.Years later, after gaining full control over his trust fund at the age of 25, Kane enters the newspaper business and embarks on a career of.

He takes control of the New York Inquirer and starts publishing scandalous articles that attack Thatcher's business interests. After the stock market crash in 1929, Kane is forced to sell controlling interest of his newspaper empire to Thatcher.Back in the present, Thompson interviews Kane's personal business manager, Mr. Bernstein recalls how Kane hired the best journalists available to build the Inquirer 's circulation. Kane rose to power by successfully manipulating public opinion regarding the and marrying Emily Norton, the niece of a President of the United States.Thompson interviews Kane's estranged best friend, Jedediah Leland, in a.

Leland recalls how Kane's marriage to Emily disintegrates more and more over the years, and he begins an affair with amateur singer Susan Alexander while he is running for. Both his wife and his political opponent discover the affair and the ends his political career. Leland asks to be transferred to a newspaper in Chicago.

Kane marries Susan and forces her into a humiliating career for which she has neither the talent nor the ambition, even building a large opera house for her. Leland begins to write a negative review of Susan's opera debut; Kane fires him, but finishes the negative review and prints it.Back in the present, Susan now consents to an interview with Thompson and recalls her failed opera career. Kane finally allows her to abandon her singing career after she attempts suicide. After years spent dominated by Kane and living in isolation at Xanadu, Susan leaves Kane.

Kane's butler Raymond recounts that, after Susan leaves him, Kane begins violently destroying the contents of her bedroom. He suddenly calms down when he sees a snow globe and says 'Rosebud'.Thompson concludes that he is unable to solve the mystery and that the meaning of Kane's last word will forever remain an enigma.Back at Xanadu, Kane's belongings are being cataloged or discarded by the staff. They find the sled on which the eight-year-old Kane was playing on the day that he was taken from his home in Colorado.

Deeming it junk, they throw it into a furnace. As the sled burns, the camera reveals its trade name, ignored by the staff: 'Rosebud.' Ray Collins, Dorothy Comingore, Orson Welles andThe beginning of the film's ending credits state that 'Most of the principal actors in Citizen Kane are new to motion pictures. The is proud to introduce them.' The cast is listed in the following order:.

as, Kane's best friend and a reporter for The Inquirer. Cotten also appears (hidden in darkness) in the News on the March screening room. as, Kane's mistress and second wife. as Mary Kane, Kane's mother. as Emily Monroe Norton Kane, Kane's first wife.

as, Kane's political rival and the incumbent governor of New York. as Herbert Carter, editor of The Inquirer. Sanford also appears (hidden in darkness) in the News on the March screening room. as Mr. Bernstein, Kane's friend and employee at The Inquirer. as Jerry Thompson, a reporter for News on the March.

Alland also voices the narrator of the News on the March newsreel. as Raymond, Kane's butler. as Walter Parks Thatcher, a banker who becomes Kane's legal guardian.

as Signor Matiste, vocal coach of Susan Alexander Kane. as John, headwaiter at the El Rancho nightclub. Schilling also appears (hidden in darkness) in the News on the March screening room. as Mr. Rawlston, News on the March producer. as Bertha Anderson, attendant at the library of Walter Parks Thatcher. as Jim Kane, Kane's father.

A penalty will be applied to your score. Hindi typing test. The U came too early.Doublet is when you typed a character twice. For example homee or commmunity.Other mistakes are not categorized.Red is if you decide to not fix a mistake. For example, you typed huose instead of house.

as Charles Foster Kane III, Kane's son. as, age eight. as Charles Foster Kane, a wealthy newspaper publisher.Additionally, appears as the entertainer at the head of the chorus line in the Inquirer party sequence,: 40–41 and cinematographer makes a as an interviewer depicted in part of the News on the March newsreel. Actor makes a cameo appearance as a reporter smoking a pipe at the end of the film. Pre-production Development.

Welles's 1938 radio broadcast of ' caught the attention ofHollywood had shown interest in Welles as early as 1936.: 40 He turned down three scripts sent to him by In 1937, he declined offers from, who asked him to head his film company's story department, and, who wanted him for a supporting role in. 'Although the possibility of making huge amounts of money in Hollywood greatly attracted him,' wrote biographer Frank Brady, 'he was still totally, hopelessly, insanely in love with the theater, and it is there that he had every intention of remaining to make his mark.' Orson Welles at his Hollywood home in 1939, during the long months it took to launch his first film projectWelles spent the first five months of his RKO contract trying to get his first project going, without success. 'They are laying bets over on the RKO lot that the Orson Welles deal will end up without Orson ever doing a picture there,' wrote.: 15 It was agreed that Welles would film, previously adapted for The Mercury Theatre on the Air, which would be presented entirely through a.

After elaborate pre-production and a day of test shooting with a hand-held camera—unheard of at the time—the project never reached production because Welles was unable to trim $50,000 from its budget.: 30–31 Schaefer told Welles that the $500,000 budget could not be exceeded; as war loomed, revenue was declining sharply in Europe by the fall of 1939.: 215–216He then started work on the idea that became Citizen Kane. Knowing the script would take time to prepare, Welles suggested to RKO that while that was being done—'so the year wouldn't be lost'—he make a humorous political thriller.

Welles proposed The Smiler with a Knife, from a novel by.: 33–34 When that project stalled in December 1939, Welles began brainstorming other story ideas with screenwriter, who had been writing Mercury radio scripts. 'Arguing, inventing, discarding, these two powerful, headstrong, dazzlingly articulate personalities thrashed toward Kane', wrote biographer.: 245–246 Screenplay. Hearst was disturbed by the film's supposed depiction of, but Welles always denied that Susan Alexander Kane was based on Davies.Welles never confirmed a principal source for the character of. Houseman wrote that Kane is a of different personalities, with Hearst's life used as the main source.

Some events and details were invented,: 444 and Houseman wrote that he and Mankiewicz also 'grafted anecdotes from other giants of journalism, including, and Mank's first boss,.' : 444 Welles said, 'Mr. Hearst was quite a bit like Kane, although Kane isn't really founded on Hearst in particular.

Many people sat for it, so to speak'.: 78 He specifically acknowledged that aspects of Kane were drawn from the lives of two business tycoons familiar from his youth in Chicago— and.: 49The character of Jedediah Leland was based on drama critic, 's uncle and Welles's close boyhood friend.: 66 Some detail came from Mankiewicz's own experience as a drama critic in New York.: 77–78The assumption that the character of Susan Alexander Kane was based on Marion Davies was a major reason Hearst tried to destroy Citizen Kane. Welles denied that the character was based on Davies, whom he called 'an extraordinary woman—nothing like the character played in the movie.' : 49 He cited Insull's building of the, and McCormick's lavish promotion of the opera career of his second wife, as direct influences on the screenplay.: 49As a known supporter of President Roosevelt, whom both McCormick and Hearst opposed based on his successful attempts to control the content of radio programs and his ongoing efforts to control print, Welles may have had incentive to use the film to smear both men.The character of Jim W. Gettys is based on, a leader in New York City's infamous political machine.: 61Welles credited 'Rosebud' to Mankiewicz.: 53 Biographer wrote that the symbol of Mankiewicz's own damaged childhood was a treasured bicycle, stolen while he visited the public library and not replaced by his family as punishment.

He regarded it as the prototype of Charles Foster Kane's sled.: 300 In his 2015 Welles biography, reported that Mankiewicz himself stated that the word 'Rosebud' was taken from the name of a famous racehorse,. Mankiewicz had a bet on the horse in the, which he won, and McGilligan wrote that 'Old Rosebud symbolized his lost youth, and the break with his family'.

In testimony for the Lundberg suit, Mankiewicz said, 'I had undergone psycho-analysis, and Rosebud, under circumstances slightly resembling the circumstances in Citizen Kane, played a prominent part.' The News on the March sequence that begins the film satirizes the journalistic style of, the news documentary and dramatization series presented in movie theaters by From 1935 to 1938: 47 Welles was a member of the uncredited company of actors that presented the original.: 77Houseman claimed that banker Walter P. Thatcher was loosely based on.: 55 Bernstein was named for Dr. Maurice Bernstein, appointed Welles's guardian;: 65–66 Sloane's portrayal was said to be based on Bernard Herrmann. Herbert Carter, editor of The Inquirer, was named for actor.: 155 Production Casting. The was an independent company founded by Orson Welles and John Houseman in 1937.

The company produced theatrical presentations, radio programs, films, and phonographic recordings.Citizen Kane was a rare film in that its principal roles were played by actors new to motion pictures. Ten were billed as Mercury Actors, members of the skilled repertory company assembled by Welles for the stage and radio performances of the Mercury Theatre, an independent theater company he founded with Houseman in 1937.: 119–120 'He loved to use the Mercury players,' wrote biographer Charles Higham, 'and consequently he launched several of them on movie careers.' : 155The film represents the feature film debuts of, and Welles himself. Despite never having appeared in feature films, some of the cast members were already well known to the public. Cotten had recently become a Broadway star in the hit play with: 187 and Sloane was well known for his role on the radio show.: 187 Mercury actor was a star of the stage in New York and London.Not all of the cast came from the Mercury Players. Welles cast, an actress who played supporting parts in films since 1934 using the name 'Linda Winters', as Susan Alexander Kane. A discovery of, Comingore was recommended to Welles by Chaplin,: 170 who then met Comingore at a party in Los Angeles and immediately cast her.: 44Welles had met stage actress while visiting New York on a break from Hollywood and remembered her as a good fit for Emily Norton Kane,: 188 later saying that she looked the part.: 169 Warrick told Carringer that she was struck by the extraordinary resemblance between herself and Welles's mother when she saw a photograph of Beatrice Ives Welles.

She characterized her own personal relationship with Welles as motherly.: 14'He trained us for films at the same time that he was training himself,' recalled Agnes Moorehead. 'Orson believed in good acting, and he realized that rehearsals were needed to get the most from his actors. That was something new in Hollywood: nobody seemed interested in bringing in a group to rehearse before scenes were shot. But Orson knew it was necessary, and we rehearsed every sequence before it was shot.'

: 9When The March of Time narrator asked for $25,000 to narrate the News on the March sequence, Alland demonstrated his ability to imitate Van Voorhis and Welles cast him.Welles later said that casting character actor in the small part of the waiter at the El Rancho broke his heart. Corrado had appeared in many Hollywood films, often as a waiter, and Welles wanted all of the actors to be new to films.: 171Other uncredited roles went to as in the faux newsreel; as Hillman, a man at Madison Square Garden, and a man in the News on the March screening room; and, and as reporters at Xanadu.When Kathryn Trosper Popper died on March 6, 2016 at the age of 100, she was reported to have been the last surviving actor to appear in Citizen Kane.

Jean Forward, a soprano who dubbed the singing voice of Susan Alexander, was the last surviving performer from the film before her death in 2016. Warrick was the last surviving member of the principal cast at the time of her death in 2005., who played Kane's young son, was the last surviving credited cast member of Citizen Kane when he died in 2007. Sound stage entrance, as seen in theProduction advisor Miriam Geiger quickly compiled a handmade film textbook for Welles, a practical reference book of film techniques that he studied carefully. He then taught himself filmmaking by matching its visual vocabulary to, which he ordered from the Museum of Modern Art,: 173 and films by,: 1172: 1171 and.: 209 The one film he genuinely studied was 's,: 29 which he watched 40 times. 'As it turned out, the first day I ever walked onto a set was my first day as a director,' Welles said. 'I'd learned whatever I knew in the projection room—from Ford. After dinner every night for about a month, I'd run Stagecoach, often with some different technician or department head from the studio, and ask questions.

Kane And Lynch Dog Days

'How was this done?' 'Why was this done?' It was like going to school.' : 29Welles's cinematographer for the film was, described by Welles as 'just then, the number-one cameraman in the world.' To Welles's astonishment, Toland visited him at his office and said, 'I want you to use me on your picture.' He had seen some of the Mercury stage productions (including: 66) and said he wanted to work with someone who had never made a movie.: 59 RKO hired Toland on loan from: 10 in the first week of June 1940.: 40'And he never tried to impress us that he was doing any miracles,' Welles recalled.

'I was calling for things only a beginner would have been ignorant enough to think anybody could ever do, and there he was, doing them.' Cinematographer wanted to work with Welles for the opportunity of trying experimental camera techniques that other films did not allow.On June 29, 1940—a Saturday morning when few inquisitive studio executives would be around—Welles began filming Citizen Kane.: 69: 107 After the disappointment of having Heart of Darkness canceled,: 30–31 Welles followed Ferguson's suggestion: 57 and deceived RKO into believing that he was simply shooting. 'But we were shooting the picture,' Welles said, 'because we wanted to get started and be already into it before anybody knew about it.' : 57At the time RKO executives were pressuring him to agree to direct a film called The Men from Mars, to capitalize on 'The War of the Worlds' radio broadcast. Welles said that he would consider making the project but wanted to make a different film first. Welles fell ten feet while shooting the scene in which Kane shouts at the departing Boss Jim W. Gettys; his injuries required him to direct from a wheelchair for two weeks.Welles usually worked 16 to 18 hours a day on the film.

He often began work at 4 a.m. Since the special effects make-up used to age him for certain scenes took up to four hours to apply. Welles used this time to discuss the day's shooting with Toland and other crew members. The special contact lenses used to make Welles look elderly proved very painful, and a doctor was employed to place them into Welles's eyes. Welles had difficulty seeing clearly while wearing them, which caused him to badly cut his wrist when shooting the scene in which Kane breaks up the furniture in Susan's bedroom. Welles placed Toland's credit with his own to acknowledge the cinematographer's contributions.The most innovative technical aspect of Citizen Kane is the extended use of, where the foreground, background, and everything in between are all in sharp focus.

Cinematographer Toland did this through his experimentation with lenses and lighting. Toland described the achievement in an article for Theatre Arts magazine, made possible by the sensitivity of modern speed film:New developments in the science of motion picture photography are not abundant at this advanced stage of the game but periodically one is perfected to make this a greater art. Of these I am in an excellent position to discuss what is termed 'Pan-focus', as I have been active for two years in its development and used it for the first time in Citizen Kane. Through its use, it is possible to photograph action from a range of eighteen inches from the camera lens to over two hundred feet away, with extreme foreground and background figures and action both recorded in sharp relief. Hitherto, the camera had to be focused either for a close or a distant shot, all efforts to encompass both at the same time resulting in one or the other being out of focus. This handicap necessitated the breaking up of a scene into long and short angles, with much consequent loss of realism.

With pan-focus, the camera, like the human eye, sees an entire panorama at once, with everything clear and lifelike.Another unorthodox method used in the film was the low-angle shots facing upwards, thus allowing ceilings to be shown in the background of several scenes. Every set was built with a ceiling which broke with studio convention, and many were constructed of fabric that concealed microphones.

Welles felt that the camera should show what the eye sees, and that it was a bad theatrical convention to pretend that there was no ceiling—'a big lie in order to get all those terrible lights up there,' he said. He became fascinated with the look of low angles, which made even dull interiors look interesting. One extremely low angle is used to photograph the encounter between Kane and Leland after Kane loses the election.

A hole was dug for the camera, which required drilling into the concrete floor.: 61–62Welles credited Toland on the same title card as himself. 'It's impossible to say how much I owe to Gregg,' he said. 'He was superb.' : 59 He called Toland 'the best director of photography that ever existed.' Sound Citizen Kane 's sound was recorded by Bailey Fesler and re-recorded in post-production by audio engineer,: 85 both of whom had worked in radio.: 102 Stewart said that Hollywood films never deviated from a basic pattern of how sound could be recorded or used, but with Welles 'deviation from the pattern was possible because he demanded it.' Although the film is known for its complex soundtrack, much of the audio is heard as it was recorded by Fesler and without manipulation.: 102Welles used techniques from radio like overlapping dialogue.

The scene in which characters sing 'Oh, Mr. Kane' was especially complicated and required mixing several soundtracks together.: 104 He also used different 'sound perspectives' to create the illusion of distances,: 101 such as in scenes at Xanadu where characters speak to each other at far distances. Welles experimented with sound in post-production, creating audio montages,: 94 and chose to create all of the sound effects for the film instead of using RKO's library of sound effects.: 100Welles used an aural technique from radio called the 'lightning-mix'. Welles used this technique to link complex sequences via a series of related sounds or phrases. For example, Kane grows from a child into a young man in just two shots. As Thatcher hands eight-year-old Kane a sled and wishes him a Merry Christmas, the sequence suddenly jumps to a shot of Thatcher fifteen years later, completing the sentence he began in both the previous shot and the chronological past. Other radio techniques include using a number of voices, each saying a sentence or sometimes merely a fragment of a sentence, and splicing the dialogue together in quick succession, such as the projection room scene.: 413–412 The film's sound cost $16,996, but was originally budgeted at $7,288.: 105Film critic and director wrote that 'Before Kane, nobody in Hollywood knew how to set music properly in movies.

Kane was the first, in fact the only, great film that uses radio techniques. A lot of filmmakers know enough to follow 's advice to fill the eyes with images at all costs, but only Orson Welles understood that the sound track had to be filled in the same way.' Of The Clipper wrote 'of all of the delectable flavours that linger on the palate after seeing Kane, the use of sound is the strongest.' : 1171 Make-up The make-up for Citizen Kane was created and applied by Maurice Seiderman (1907–1989), a junior member of the RKO make-up department.: 19 He had not been accepted into the union, which recognized him as only an apprentice, but RKO nevertheless used him to make up principal actors.: 19 'Apprentices were not supposed to make up any principals, only extras, and an apprentice could not be on a set without a journeyman present,' wrote make-up artist, who became friends with Seiderman in 1979. 'During his years at RKO I suspect these rules were probably overlooked often.'

: 19 'Seiderman had gained a reputation as one of the most inventive and creatively precise up-and-coming makeup men in Hollywood,' wrote biographer Frank Brady.: 253On an early tour of RKO, Welles met Seiderman in the small make-up lab that he created for himself in an unused dressing room.: 19 'Welles fastened on to him at once,' wrote biographer Charles Higham, as Seiderman had developed his own makeup methods 'that ensured complete naturalness of expression—a naturalness unrivaled in Hollywood.' : 157 Seiderman developed a thorough plan for aging the principal characters, first making a plaster cast of the face of each of the actors who aged. He made a plaster mold of Welles's body down to the hips.: 46'My sculptural techniques for the characters' aging were handled by adding pieces of white modeling clay, which matched the plaster, onto the surface of each bust,' Seiderman told Norman Gambill.

When Seiderman achieved the desired effect, he cast the clay pieces in a soft plastic material: 46 that he formulated himself.: 20 These appliances were then placed onto the plaster bust and a four-piece mold was made for each phase of aging. The castings were then fully painted and paired with the appropriate wig for evaluation.: 46–47Before the actors went before the cameras each day, the pliable pieces were applied directly to their faces to recreate Seiderman's sculptural image. The facial surface was underpainted in a flexible red plastic compound;: 43 The red ground resulted in a warmth of tone that was picked up by the. Over that was applied liquid grease paint, and finally a colorless translucent talcum.: 42–43 Seiderman created the effect of skin pores on Kane's face by stippling the surface with a negative cast made from an orange peel.: 42, 47Welles often arrived on the set at 2:30 a.m.,: 69 as application of the sculptural make-up took 3½ hours for the oldest incarnation of Kane. The make-up included appliances to age Welles's shoulders, breast, and stomach.: 19–20 'In the film and production photographs, you can see that Kane had a belly that overhung,' Seiderman said. 'That was not a costume, it was the rubber sculpture that created the image. You could see how Kane's silk shirt clung wetly to the character's body.

It could not have been done any other way.' : 46Seiderman worked with Charles Wright on the wigs. These went over a flexible skull cover that Seiderman created and sewed into place with elastic thread. When he found the wigs too full, he untied one hair at a time to alter their shape. Kane's mustache was inserted into the makeup surface a few hairs at a time, to realistically vary the color and texture.: 43, 47 He also made for Welles, Dorothy Comingore, George Coulouris, and Everett Sloane to dull the brightness of their young eyes. The lenses took a long time to fit properly, and Seiderman began work on them before devising any of the other makeup.

'I painted them to age in phases, ending with the blood vessels and the of old age.' : 47 Seiderman's tour de force was the breakfast montage, shot all in one day. 'Twelve years, two years shot at each scene,' he said.: 47.

Kane ages convincingly in the breakfast montage, make-up artist Maurice Seiderman's tour de forceThe major studios gave screen credit for make-up only to the department head. When RKO make-up department head refused to share credit with Seiderman, who was only an apprentice, Welles told Berns that there would be no make-up credit.

Welles signed a large advertisement in the Los Angeles newspaper:: 22: 48THANKS TO EVERYBODY WHO GETS SCREEN CREDIT FOR 'CITIZEN KANE'AND THANKS TO THOSE WHO DON'TTO ALL THE ACTORS, THE CREW, THE OFFICE, THE MUSICIANS, EVERYBODYAND PARTICULARLY TO MAURICE SEIDERMAN, THE BEST MAKE-UP MAN IN THE WORLD: 20 Sets Although credited as an assistant, the film's art direction was done by.: 85 Welles and Ferguson got along during their collaboration.: 37 In the weeks before production began Welles, Toland and Ferguson met regularly to discuss the film and plan every shot, set design and prop. Ferguson would take notes during these discussions and create rough designs of the sets and story boards for individual shots. After Welles approved the rough sketches, Ferguson made miniature models for Welles and Toland to experiment on with a in order to rehearse and perfect each shot. Ferguson then had detailed drawings made for the set design, including the film's lighting design.

Incidental music includes the publisher's theme, 'Oh, Mr. Kane', a tune by with special lyrics by Herman Ruby.The was composed by.: 72 Herrmann had composed for Welles for his Mercury Theatre radio broadcasts.: 63 Because it was Herrmann's first motion picture score, RKO wanted to pay him only a small fee, but Welles insisted he be paid at the same rate as.: 72The score established Herrmann as an important new composer of film soundtracks and eschewed the typical Hollywood practice of scoring a film with virtually non-stop music.

Instead Herrmann used what he later described as 'radio scoring', musical cues typically 5–15 seconds in length that bridge the action or suggest a different emotional response.: 77–78 The breakfast montage sequence begins with a graceful waltz theme and gets darker with each variation on that theme as the passage of time leads to the hardening of Kane's personality and the breakdown of his first marriage.Herrmann realized that musicians slated to play his music were hired for individual unique sessions; there was no need to write for existing ensembles. This meant that he was free to score for unusual combinations of instruments, even instruments that are not commonly heard.