"Hollywood is the only industry, even taking in soup companies, which does not have laboratories for the purpose of experimentation"
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Welles skewers Hollywood with the kind of deadpan that lands because it feels less like a joke than a field report. He picks “soup companies” on purpose: the most mundane, industrial example of R&D imaginable. If even Campbell’s has a lab, why doesn’t the dream factory? The jab isn’t just that Hollywood plays it safe; it’s that it’s proud of not needing to learn. Movies are treated as intuition, charisma, and luck, not a craft that benefits from systematic trial, failure, and iteration.
The subtext is personal. Welles was the wunderkind who collided head-on with an industry built to manage risk. Citizen Kane is now canon, but it was also a cautionary tale: a young auteur given unusual freedom, then punished when the result threatened power. His career became a long argument with studios that wanted predictable products, not experiments. So “no laboratories” reads like a complaint from someone who kept trying to run experiments anyway, often in exile, on scraps of financing, outside the system’s official permission structure.
Context matters: mid-century Hollywood was vertically integrated, engineered for efficiency, and addicted to formulas that could be tested not in labs but at the box office. The only experiment that counts is opening weekend. Welles is calling out a culture where innovation happens accidentally, then gets reverse-engineered into a new template. It’s a line that still stings because it frames conservatism not as cowardice, but as infrastructure.
The subtext is personal. Welles was the wunderkind who collided head-on with an industry built to manage risk. Citizen Kane is now canon, but it was also a cautionary tale: a young auteur given unusual freedom, then punished when the result threatened power. His career became a long argument with studios that wanted predictable products, not experiments. So “no laboratories” reads like a complaint from someone who kept trying to run experiments anyway, often in exile, on scraps of financing, outside the system’s official permission structure.
Context matters: mid-century Hollywood was vertically integrated, engineered for efficiency, and addicted to formulas that could be tested not in labs but at the box office. The only experiment that counts is opening weekend. Welles is calling out a culture where innovation happens accidentally, then gets reverse-engineered into a new template. It’s a line that still stings because it frames conservatism not as cowardice, but as infrastructure.
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