Editing Citizen Kane (section)

===Make-up===
The make-up for ''Citizen Kane'' was created and applied by Maurice Seiderman, a junior member of the RKO make-up department.<ref name="Citizen Seiderman">{{cite journal |last=Smith |first=Dick |author-link=Dick Smith (make-up artist) |date=October–November 1999 |title=Citizen Seiderman |url=http://mydigitalpublication.com/publication/?i=211197&p=18# |journal=Make-Up Artist Magazine |issue=21 |pages=18–25 |access-date=January 25, 2015 |archive-url=https://web.archive.org/web/20150207215356/http://mydigitalpublication.com/publication/?i=211197&p=18 |archive-date=February 7, 2015 |url-status=live}}</ref>{{Rp|19}} He had not been accepted into the union, which recognized him as only an apprentice, but RKO nevertheless used him to make up principal actors.<ref name="Citizen Seiderman"/>{{Rp|19}} "Apprentices were not supposed to make up any principals, only extras, and an apprentice could not be on a set without a journeyman present," wrote make-up artist [[Dick Smith (make-up artist)|Dick Smith]], who became friends with Seiderman in 1979. "During his years at RKO I suspect these rules were probably overlooked often."<ref name="Citizen Seiderman"/>{{Rp|19}} "Seiderman had gained a reputation as one of the most inventive and creatively precise up-and-coming makeup men in Hollywood," wrote biographer Frank Brady.<ref name="Brady"/>{{Rp|253}}

On an early tour of RKO, Welles met Seiderman in the small make-up lab that he created for himself in an unused dressing room.<ref name="Citizen Seiderman"/>{{Rp|19}} "Welles fastened on to him at once," wrote biographer Charles Higham, as Seiderman had developed his own makeup methods "that ensured complete naturalness of expression—a naturalness unrivaled in Hollywood."<ref name="Higham"/>{{Rp|157}} Seiderman developed a thorough plan for aging the principal characters, first making a plaster cast of the face of each of the actors who aged. He made a plaster mold of Welles's body down to the hips.<ref name="Gambill">{{cite journal |last=Gambill |first=Norman |date=November–December 1978 |title=Making Up Kane |journal=[[Film Comment]] |volume=14 |issue=6 |pages=42–48}}</ref>{{Rp|46}}

"My sculptural techniques for the characters' aging were handled by adding pieces of white modeling clay, which matched the plaster, onto the surface of each bust," Seiderman told Norman Gambill. When Seiderman achieved the desired effect, he cast the clay pieces in a soft plastic material<ref name="Gambill"/>{{Rp|46}} that he formulated himself.<ref name="Citizen Seiderman"/>{{Rp|20}} These appliances were then placed onto the plaster bust and a four-piece mold was made for each phase of aging. The castings were then fully painted and paired with the appropriate wig for evaluation.<ref name="Gambill"/>{{Rp|46–47}}

Before the actors went before the cameras each day, the pliable pieces were applied directly to their faces to recreate Seiderman's sculptural image. The facial surface was underpainted in a flexible red plastic compound;<ref name="Gambill"/>{{Rp|43}} The red ground resulted in a warmth of tone that was picked up by the [[panchromatic film]]. Over that was applied liquid grease paint, and finally a colorless translucent talcum.<ref name="Gambill"/>{{Rp|42–43}} Seiderman created the effect of skin pores on Kane's face by stippling the surface with a negative cast made from an orange peel.<ref name="Gambill"/>{{Rp|42, 47}}

Welles often arrived on the set at 2:30&nbsp;am,<ref name="Welles TIOW"/>{{Rp|69}} as application of the sculptural make-up took 3½ hours for the oldest incarnation of Kane. The make-up included appliances to age Welles's shoulders, breast, and stomach.<ref name="Citizen Seiderman"/>{{Rp|19–20}} "In the film and production photographs, you can see that Kane had a belly that overhung," Seiderman said. "That was not a costume, it was the rubber sculpture that created the image. You could see how Kane's silk shirt clung wetly to the character's body. It could not have been done any other way."<ref name="Gambill"/>{{Rp|46}}

Seiderman worked with Charles Wright on the wigs. These went over a flexible skull cover that Seiderman created and sewed into place with elastic thread. When he found the wigs too full, he untied one hair at a time to alter their shape. Kane's mustache was inserted into the makeup surface a few hairs at a time, to realistically vary the color and texture.<ref name="Gambill"/>{{Rp|43, 47}} He also made [[scleral lens]]es for Welles, Dorothy Comingore, George Coulouris, and Everett Sloane to dull the brightness of their young eyes. The lenses took a long time to fit properly, and Seiderman began work on them before devising any of the other makeup. "I painted them to age in phases, ending with the blood vessels and the ''[[arcus senilis]]'' of old age."<ref name="Gambill"/>{{Rp|47}} Seiderman's tour de force was the breakfast montage, shot all in one day. "Twelve years, two years shot at each scene," he said.<ref name="Gambill"/>{{Rp|47}}

[[File:Citizen-Kane-Welles-Breakfast.jpg|thumb|right|Kane ages convincingly in the breakfast montage, make-up artist Maurice Seiderman's tour de force]]

The major studios gave screen credit for make-up only to the department head. When RKO make-up department head [[Mel Berns]] refused to share credit with Seiderman, who was only an apprentice, Welles told Berns that there would be no make-up credit. Welles signed a large advertisement in the Los Angeles newspaper:<ref name="Citizen Seiderman"/>{{Rp|22}}<ref name="Gambill"/>{{Rp|48}}

<blockquote>THANKS TO EVERYBODY WHO GETS SCREEN CREDIT FOR "CITIZEN KANE"<br />AND THANKS TO THOSE WHO DON'T<br />TO ALL THE ACTORS, THE CREW, THE OFFICE, THE MUSICIANS, EVERYBODY<br />AND PARTICULARLY TO MAURICE SEIDERMAN, THE BEST MAKE-UP MAN IN THE WORLD<ref name="Citizen Seiderman"/>{{Rp|20}}</blockquote>