Interesting, atacolomb: Frankly, that sturdy box of "The Fiftieth Limited Collector's Edition of CITIZEN KANE" acts as a bookend for my laserdisc collection, and I am afraid to move it now. I may have entirely forgotten Mr. Lebo's book. But I do remember the facsimile draft of the screenplay, which in my opinion, is the most valuable thing in the box, besides the VHS copy of the film itself. My box also came with a small, tipped-in label the size of a business card, inscribed: "By permission of the Orson Welles' Estate," which I assume means, Beatrice Welles. I think Todd Baesen has carried that off somewhere.
Like you, I have a laserdisc edition of CITIZEN KANE, and the DVD.
My point is, though, that all of the laserdisc, DVD, and now Blu-Ray wizardry may be destroying Orson Welles' playful technical homages to the past. Others have already commented on the "correcting" of the lighting at several points, the rain on the windows of Bernstein's office, and the removal of painstakingly created scratches in "The Newsreel." I am thinking of my first magical moment, in Shea's Theater, when there was a kind of rude sound glitch, and then, the huge, stark, stylized, SILENT letters of the title erupted on the screen -- like the crude lettering we had begun to associate with "Socialist Realism" in Russian films like BATTLESHIP POTEMKIN . . . even in Geneva, Ohio, even vaguely in the mind of a ten year-old like myself. That crackle -- and certain others -- still carried over into the 16mm version that I used to show to my Film and Mass Media class, thirty years later.
I suppose that those glitches have now been removed, but did Welles want some of them there?
That's my point.