Tough question. I totally understand why Welles would not want to trust Hollywood again after what happened to Ambersons, Shanghai, and then, to a lesser extent (though i haven't seen the studio cut) to Touch of Evil (though perhaps this was the greatest crime of all). And if i had made Citizen Kane, and then made the work which the complete Ambersons seems to have been, and then had the studio release what we now have (which, we all can admit, is only half the story) - i would take ten years to finance each picture, if that was what it took for final cut.
Yet, if a hired hand is the definition of Journeyman, Welles was a kind of hired hand on Touch of Evil, which is, i think, his greatest achievement, because it is the perfect marriage of artistry and spectacle. If i could have had Welles making twenty pictures like Touch of Evil, and someone was able to restore them to Welles' vision after the fact, i would pick that for sure (as a viewer and lover of Welles' films). However, again, if it had been my films that were constantly being changed around after i'd finished with them, there's no way i would have agreed to it.
Then again, he wasn't really given the option was he. One of the main key times he was offered a contract and turned it down because it didn't include final cut was on Other Side of the Wind, i think. Anyway, this is a pretty touchy subject with Wellesians, i fear - and understandably.
You may remember me from such sites as imdb, amazon and criterionforum as Ben Cheshire.