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Under the sway of the French, Jaglom, like many of his contemporaries, wanted to do it all: not just act or write, but edit, direct, and produce as well. They didn’t want to be directors for hire by some baboon in the front office with a big, fat cigar; they wanted to be filmmakers or, as the French would have it, auteurs, a term popularized in America by Andrew Sarris in the sixties. Simply put, an auteur was to a film what a poet was to poetry or a painter was to painting. Sarris argued, controversially, that even studio directors such as Howard Hawks, John Ford, and Alfred Hitchcock, or bottom-of-the-bill toilers like Sam Fuller, displayed personal styles, were the sole authors of their pictures, and were therefore authentic artists. Welles, of course, was the very avatar of an auteur.
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Peter Biskind (My Lunches with Orson: Conversations between Henry Jaglom and Orson Welles)