1 See, for example, Naremore, The Magic World of Orson Welles; Naremore, “The Walking Shadow: Welles's Expressionist Macbeth,” in Literature/Film Quarterly; McBride, “The Other Side of Orson Welles,” in American Film; Rosenbaum, Discovering Orson Welles.

2 Along for the Ride (Dir. Nick Ebeling, 2017).

3 The Last Movie Book; Shafrazi, Bockris, and Hopps, Dennis Hopper: Photographs, 1961–1967; Hopper, Rose and The Dennis Hopper Trust, Dennis Hopper: Colors, The Polaroids.

4 Naremore, The Magic World of Orson Welles, p. 2.

5 Hopper and Hundley, “Dennis Hopper Interviewed by Jessica Hundley,” in Dennis Hopper: Photographs, 1961–1967, p. 417.

6 Winkler, Dennis Hopper: The Wild Ride of a Hollywood Rebel, p. 2.

7 Ibid., p. 3.

8 Ibid., p. 4.

9 Naremore, Magic World, p. 3.

10 Ibid., p. 4.

11 Ibid., p. 17.

12 Winkler, Wild, p. 4.

13 Ibid., p. 4.

14 Ibid., p. 9.

15 Ibid., p. 10.

16 Hodenfield, “Citizen Hopper (1986),” in Dennis Hopper: Interviews, p. 129.

17 Ibid.

18 Orléan, “Photography, Writing, Acting… Movie Making Had Everything in One Package: Interview with Dennis Hopper,” in Dennis Hopper & the New Hollywood, p. 125.

19 Winkler, Wild, p. 126.

20 Ibid.

21 Ibid., p. 152.

22 Ibid., p. 165.

23 Ibid., p. 166.

24 Ibid., p. 165.

25 Kael, Mankiewicz, and Welles, The Citizen Kane Book, p. 42.

26 Truffaut, “Foreword,” in Orson Welles: A Critical View, p. 7.

27 Ibid., p. 27.

28 Carringer, The Scripts of Citizen Kane; Naremore, Magic World.

29 Golden, “A Conversation with Terry Southern,” in Paris Review, p. 227.

30 Barber, “American Psycho,” in Dennis Hopper: Interviews, p. 184.

31 Eisenschitz and Southern, “Correspondence,” in Senses of Cinema.

32 Ibid., para 3.

33 Vensterke, “Rare Interview Orson Welles About a Touch of Evil (9 June 1958),” at DJOHAL.

34 Haskell, “The Magnificent Ambersons: What Is and What Might Have Been,” at The Criterion Collection.

35 Simpson, “Presenting Orson Welles: An Exhibition Challenge,” in Orson Welles in Focus: Texts and Contexts, p. 220.

36 Rosenbaum, Discovering, p. 3.

37 Ibid.

38 Reidlinger, “Orson Welles—Painter,” in Senses of Cinema; Naremore, Walking Shadow.

39 Reidlinger, Painter.

40 Naremore, Walking Shadow, p. 364.

41 Cousins, “Taking a Line for a Walk,” in Sight and Sound, p. 42.

42 Ibid., p. 45.

43 Ibid.

44 Rosenbaum, Discovering.

45 FilmKunst, “Orson Welles Talks About Bullfighting,” at YouTube.

46 Bogdanovich and Welles, This Is Orson Welles.

47 Ibid., p. 44.

48 McBride, Other Side, p. 14.

49 Gagne, “Where Is the Other Side of the Wind? Or Quien Es Mas Macho: Orson Welles, John Huston or Ernest Hemingway?” in Cineaste, p. 4.

50 McBride, Other Side.

51 Ibid., p. 17.

52 Shafrazi, Photographs.

53 Zyman, “On Art and Film: A Final Note,” in Dennis Hopper: A System of Moments, p. 241.

54 Hopper, Interviewed, p. 473.