and Gregg Toland at work on
Citizen Kane (1941); the camera appears to be one of the very few brand-new
Mitchell Camera Corp BNCs which were made before the World War II embargo on the manufacture of new production cameras (excepting those intended for the U.S. Army Signal Corps and U.S. allies). Some film historians believe
Citizen Kanes visual brilliance was due primarily to Toland's contributions, rather than director
Orson Welles'. Many Welles scholars, however, maintain that the visual style of
Kane is similar to many of Welles's other films, and hence should be considered the director's work. Nevertheless, the Welles movies that most resemble
Citizen Kane (
The Magnificent Ambersons,
The Stranger, and
Touch of Evil) were shot by Toland collaborators
Stanley Cortez and
Russell Metty (at
RKO). In a 1970 interview on
The Dick Cavett Show, Welles told the story of how he met Toland, whom Welles considered "the greatest cameraman who ever lived". Although
Citizen Kane was Welles's first feature, it was Toland—whom Welles already knew by reputation—who sought out Welles: [Toland] came to my office and said, "I want to work in your picture. My name is Toland." And I said, "Why do you, Mr. Toland?" And he said, "Because you've never made a picture. You don't know what cannot be done." So I said, "But I really don't! Can you tell me?" And [Toland] said, "There's nothing to it." And [he] gave me a day-and-a-half lesson—and he was right! While shooting
Kane, Welles and Toland (among others) insisted that Welles gave lighting instructions that fall normally under the director of photography's responsibility. Many of the transitions in the film are done as lighting cues on set (such as the transition at the opening of the film from the outside of Xanadu into Kane's bedroom for his death), where lights are dimmed up and down on stage. Apparently, Welles was unaware that one could achieve the effects optically on a film so he instructed the crew to dim the lights as they would have done on a theater production, which led to the unique dissolves. Different areas of the frame dissolve at different times, based on the lighting cue. However, the visuals were truly a collaboration, as Toland contributed great amounts of technical expertise that Welles needed so that he could achieve his vision. Years later, Welles acknowledged: "Toland was advising him on camera placement and lighting effects secretly so the young director would not be embarrassed in front of the highly experienced crew."
Cinematography innovations Toland's techniques were revolutionary in the art of cinematography. Cinematographers before him used a shallow
depth of field to separate the various planes on the screen, creating an impression of space as well as stressing what mattered in the frame by leaving the rest (the foreground or background) out of focus. In Toland's lighting schemes, shadow became a much more compelling tool, both dramatically and pictorially, to separate the foreground from the background and so to create space within a two-dimensional frame while keeping all of the picture in focus. According to Toland, this visual style was more comparable with what the eyes see in real life since vision blurs what is not looked at rather than what is. For
John Ford's
The Long Voyage Home (1940), Toland leaned more heavily on back-projection to create his deep focus compositions, such as the shot of the island women singing to entice the men of the
SS Glencairn. He continued to develop the technologies that would allow for him to create his images in
Citizen Kane.
Deep focus and lighting techniques Toland innovated extensively on
Citizen Kane, creating deep focus on a sound-stage, collaborating with set designer
Perry Ferguson so ceilings would be visible in the frame by stretching bleached muslin to stand in as a ceiling, allowing placement of the microphone closer to the action without being seen in frame. He also modified the
Mitchell Camera to allow a wider range of movement, especially from low angles. ″It was Toland who devised a remote-control system for focusing his camera lens without having to get in the way of the camera operator who would now be free to pan and tilt the camera." The main way to achieve deep focus was closing down the
aperture, which required increasing the lighting intensity, lenses with better
light transmission, and faster
film stock. On
Citizen Kane, the cameras and coated lenses used were of Toland's own design working in conjunction with engineers from Caltech. His lenses were treated with
Vard Opticoat to reduce glare and increase light transmission. He used the
Kodak Super XX film stock, which was, at the time, the fastest film available, with an ASA
film speed of 100. Toland had worked closely with a Kodak representative during the stock's creation before its release in October 1938, and was one of the first cinematographers using it heavily on set. Lens apertures employed on most productions were usually within the f/2.3 to f/3.5 range; Toland shot his scenes in between f/8 and f/16. This was possible because several elements of technology came together at once: the
technicolor three strip process, which required the development of more powerful lights, had been developed and the more powerful
Carbon Arc light was beginning to be used. By utilizing these lights with the faster stock, Toland was able to achieve apertures previously unattainable on a stage shoot.
Optical print shots and in-camera composites Gregg Toland collaborated on a number of shots with
special-effects cinematographer
Linwood G. Dunn. Although these looked like they were using deep focus, they were actually a
composite of two different shots. Some of these shots were composited with an
optical printer, a device which Dunn improved upon over the years, which explains why foreground and background are both in focus even though the lenses and film stock used in 1941 could not allow for such
depth of field. But Toland strongly disliked this technique, since he felt he was "duping," (i.e. a copy of a copy) thereby lowering the quality of his shots. Thus other shots (like the shot of Susan Alexander Kane's bedroom after her suicide attempt, with a glass in the foreground and Kane entering the room in the background) were in-camera composites, meaning the film was
exposed twice—another technique that Linwood Dunn improved upon.
Citizen Kane and The Long Voyage Home Toland had already had experience with heavy in-camera compositing, and many of the shots in
Citizen Kane look similar in composition and dynamics to a number of shots in Ford's
The Long Voyage Home. For instance, both movies contain shots that create an artificial lighting situation such that a character is lit in the background and walks or runs through dark areas to the foreground, where his arrival triggers, off-screen, a light not on before. The result is so visually dramatic because a character moves, only barely visible, through vast pools of shadow, only to exit the shadow very close to the camera, where his whole face is suddenly completely lit. This use of much more shadow than light, soon one of the main techniques of
low-key lighting, heavily influenced
film noir.
The Long Voyage Home and
Citizen Kane share a number of other striking similarities: • Both films allowed lenses at times to distort faces in
close-up, especially during low-key lighting sequences described above. • Sets, both interiors and exteriors, were lit mostly from the floor instead of from the rafters high above. A radical departure from Hollywood's traditional lighting, this technique also took much longer to execute, thus contributing significantly to production costs. However, the effect was strikingly more realistic, since light sources placed closer to the characters allowed softer lighting, which lights placed far above the set could not produce. • Both directors, Welles as well as Ford, put Toland's credit as cinematographer on screen at the same time as their own credit as director (director/producer in Welles's case), an unusual and conspicuously generous tribute; in both films, Toland's credit was also the same size as the director's.
Credit '', placing Toland on same card as
Orson Welles, the director, because Welles felt he deserved it. In addition to sharing a title card with Toland on
Kane — an indication of the high esteem the director held for his cameraman — Welles also gave him a cameo in the film as the reporter who is slow to ask questions when Kane returns from Europe. Welles called Toland: "the greatest gift any director—young or old—could ever, ever have. And he never tried to impress on us that he was performing miracles. He just went ahead and performed them. I was calling on him to do things only a beginner could be ignorant enough to think anybody could ever do, and there he was,
doing them." Toland was the subject of an "Annals of Hollywood" article in
The New Yorker, "The Cameraman", by Hilton Als (June 19, 2006, p. 46). ==Other works==