Jaime M, more on this Westmore/TOE thing and the monster connection:
Looking in on the man's life and work, I think it's fair to say that, in order for something to resonate with Welles, it generally had to work on multiple levels. It was an intuitive thing with him, like an audible "click", when the fit was right.
One of OW's passions was stage/movie makeup. As with his cinematographers, Welles would have been apt to choose his makeup collaborators knowledgeably and with care. So, why Bud Westmore for TOE? Because the studio assigned him? Uh, no; I doubt that.
How's this for a thought, instead? In 1954, Welles's Mercury Theater ally, William Alland, produced that Universal classic, "The Creature from the Black Lagoon". Who "created" the creature? Bud Westmore, by then also well-known for his other work, as noted above.
Now, let's remember that, with TOE, we're talking Universal studios, a place that owed much to its monster movies. And we're also talking the 1950's, infamous for another generation of monster flicks, courtesy of American International Pictures and the like ( "I Was a Teenage Werewolf", etc.). Think Welles, with his penchant for lurid, scary stories (by one account he even believed his paternal grandmother to have practised the occult), do we think he would have been too high-flown to have seen all these goings on? Was he oblivious to his (once very close) colleague's success a few years earlier with "The Creature"? Nuh-uh.
Which, then, brings me (finally!) to my point. Imagine Welles taking all these things in and, as a direct result, choosing Bud Westmore for TOE with great deliberation. "Click"! If so, then perhaps TOE was meant to be far more than just a film noir tour-de-force; maybe, just maybe, it was to be OW's own little 50's monster movie, as well, starring a great white monster named Quinlan.
As I said, with Welles, things had to work on a lot of levels; so, why not let's have some fun with this one, too?