"What fascinates me is that both films are intensely personal and autobiographical. Welles gives us a portrait of a gargantuan man of unlimited ambitions and appetites, whose excesses outran his resources. Hitchcock gives us a man obsessed with control, who had a fetish not simply for blondes in general but for the specific features of a specific blonde. Both plots are labyrinthine. Kane as a character turned out to be uncannily prophetic of Welles's own life. Scottie as a character reflected not only Hitchcock's fetishes but his fears. The films originated in the self-knowledge of their makers. They guide our eyes: "Look here... now there... focus on this... now that... make this connection... feel this absence. That is the best I can say about what it is like to be me."" - Adriano

Yasujirô Ozu's "Tokyo Story" places third overall, but Ebert recommends "Floating Weeds." See filmography: http://www.imdb.com/name... \\ "Tokyo Story" finishes first in the BFI Ten Greatest Films of All Time, as chosen by 358 directors: http://www.bfi.org.uk/news... - Adriano