January 8.
Citron called to tell me Universal had accepted our gross deal and closed with Welles. I’m really pleased about this. I think we have a chance at a better picture than almost any I could make now. I’m bound to learn a great deal from Welles, in any case. I think he has what I need now.
January 10, New York.
Over lunch Charles Laughton broached the possibility of doing some Shakespeare with him and Buzz Meredith. One thing is clear: An American actor has to take drastic steps to work in the classics because no one will help him do it. If you don’t work in the great roles, you’re just sluffing. An actor’s career is meaningless without them. Now let’s see how well, if at all, we can implement this laudable resolve.
January 14, Los Angeles
I arrived on time, but the day, as usual, wasn’t nearly long enough for all the stuff I had to do in it. The main stuff, of course, was meeting Welles. He seems to be all he’s said to be, which is a good deal. In five days on the picture he’s rewritten the script. Almost all of it’s different, and almost all of it’s better. There’s a lot to do, but he might bring it off.
January 21.
I woke a little late and reread Orson’s rewrite of Touch of Evil. It now lacks only good dialogue to make it a really meritable script. The makeup test was a great success. Bud Westmore made me look so acceptably Mexican they’re cutting the covering lines about my not being. Orson thinks a moustache is in order; if I start today I can just make it. We also had a Mexican tailor begin work on a suit, which will help.
