From the Preface to the first volume of Simon Callow’s biography of Orson Welles: 

He publicly constructed himself, from the earliest age — my first press clipping is headed ACTOR, POET, CARTOONIST AND ONLY TEN — in a medium that he courted and denounced in equal measure; and the press returned the compliment. Together they concluded a sort of Faustian pact wherein Welles was meteorically advanced by sensation-hungry newspapers, to whom he pandered shamelessly, until at the height of his fame he fell foul of them; saddled with a preposterous reputation and a personality drawn by him and coloured by them, he found himself unemployable, his work overshadowed by his ever-expanding Self. Even his body became legendary, out of control; whatever his soul consisted of protected from the world by wadding. Locked in a personal relationship as complex and curious as that of Lear and his fool, Welles and the newspapers needed and abominated each other in a co-dependency that only his death dissolved. It is no coincidence that his most famous work is the apotheosis of the newspaper film. 

An interesting addendum to my argument that one can profitably see Citizen Kane as a comedy about newspapers.