“As the writing team came back from Victorville, and as Houseman returned to New York, Welles took over the task of making the script into a picture. From mid-April to mid-July, the script came down to 172 pages [from 268]. Many episodes were abandoned—for example, Kane's honeymoon with his first wife, Emily; a later meeting between Kane and his father, when the older man is remarried to a ‘young tart’; Kane's son's involvement in a fascist movement; a good deal of political byplay with an oil scandal; scenes in Rome, when Thatcher goes to visit Kane; an affair Susan Kane has with a younger man at Xanadu. These deletions made Kane simpler to follow—and we should realize that nothing hurt it more on first release than its difficulty. In addition, Welles strengthened the line of dramatic consequence—the way Kane's career hinges upon the exposure of the love nest during the electoral battle with Jim Gettys, and the way Susan's nightmare career breaks the bond between Kane and Leland.”

—from “Rosebud: The Story of Orson Welles,” by David Thomson; pg. 147