Endless Forms Most Beautiful and Most Wonderful

I wonder if you would comment on the frequency of multiple mirrors that you use in a number of your films, in which a man — usually a man — but a character in distress sees himself over and over and over in these mirrors. I can give you an impressive answer which will embarrass me, and I can also remind you that I'm a magician, and that people say that everything a magician does is done with mirrors, you know, which is a frivolous answer. And then I can try to give a serious answer, which is that the camera is a peculiar kind of mirror and that turning the mirror on it seems to me a kind of magical thing to do.

CITIZEN KANE dir. Orson Welles (1941)

THE LADY FROM SHANGHAI dir. Orson Welles (1947)

THE TRIAL dir. Orson Welles (1962)