Daney also praised both the film and Welles' ability to make great films on the subject of power. Welles was disappointed with the film's reception, complaining that "almost nobody has seen it in America, and that drives me nuts." Legacy Welles held Chimes at Midnight in high regard. "It's my favorite picture, yes," he told interviewer Leslie Megahey in a 1982 interview for BBC Arena: If I wanted to get into heaven on the basis of one movie, that's the one I would offer up. I think it's because it is to me the least flawed; let me put it that way. It is the most successful for what I tried to do. I succeeded more completely in my view with that than with anything else.Estrin, Mark W., and Orson Welles, Orson Welles: Interviews. Jackson, Mississippi: University Press of Mississippi, 2002. He also considered it to be his most personal film, along with The Magnificent Ambersons. Many critics, including Peter Bogdanovich and Jonathan Rosenbaum, also consider Chimes at Midnight to be Welles' finest work. Several years after its initial release, film critic Vincent Canby of The New York Times wrote that Chimes at Midnight "may be the greatest Shakespearean film ever made, bar none." Joseph McBride has called it "Welles' masterpiece, the fullest, most completely realized expression of everything he had been working towards since Citizen Kane." In 2006, Roger Ebert praised the film as "a magnificent film, clearly among Welles' greatest work." The Battle of Shrewsbury sequence has been particularly admired, and inspired later movies, including Braveheart and Saving Private Ryan. Film critics have compared it to the Odessa Steps sequence in Battleship Potemkin and the Battle on the Ice sequence in Alexander Nevsky, both directed by Sergei Eisenstein. Kenneth Branagh's Henry V used Welles' Battle of Shrewsbury sequence as an inspiration for the Battle of Agincourt, and depicted Prince Hal's rejection of Falstaff in a way that was more influenced by Chimes at Midnight than from more traditional interpretations of the scene. In 1988, director Patrick Garland staged a version of Chimes at Midnight starring Simon Callow as Falstaff at the Chichester Festival Theatre. Michael Anderegg said that Chimes at Midnights use of wide angle lenses, low-key lighting and costumes, and its focus on the relationship between Falstaff and Prince Hal influenced My Own Private IdahoGus Van Sant's 1991 loose adaptation of Henry IV Parts 1 and 2.