0:00:06.140,0:00:08.780 Hi my name is Tony and[br]this is Every Frame a Painting. 0:00:08.980,0:00:11.389 So this channel’s been going well,[br]which means it’s about time 0:00:11.389,0:00:13.340 -Time for a confession? 0:00:13.440,0:00:15.000 Yeah, time for a confession. 0:00:15.000,0:00:17.500 I have stolen more ideas from[br]this film than from any other 0:00:17.779,0:00:20.779 -F for Fake[br]-F for Fake 0:00:21.779,0:00:24.170 -Ladies and gentlemen,[br]by way of introduction 0:00:24.370,0:00:26.580 -this is a film about trickery 0:00:27.870,0:00:29.000 -and fraud 0:00:29.880,0:00:31.240 -about lies. 0:00:32.439,0:00:35.010 Wait sorry I’m doing this wrong.[br]Can we start over? 0:00:38.410,0:00:41.710 This is an essay film by Orson Welles.[br]It’s called F for Fake. 0:00:41.710,0:00:43.739 And it's one of my personal bibles. 0:00:44.200,0:00:46.300 Everything I know about editing,[br]I learned from this film. 0:00:47.000,0:00:49.300 But today, I want to talk about[br]one basic thing: 0:00:51.300,0:00:54.900 -We found out this really simple rule[br]that maybe you have all heard before 0:00:54.900,0:00:57.000 -but it took us a long time to learn it. 0:00:57.500,0:00:59.040 When you’re structuring a video essay 0:00:59.040,0:01:01.000 there’s one thing[br]you really want to avoid. 0:01:01.500,0:01:03.400 -I think that’s about it.[br]-And then? 0:01:03.750,0:01:06.200 -No, that’s it.[br]-And then? 0:01:06.700,0:01:10.300 -Then nothing else cuz I’m done ordering[br]-And then? 0:01:10.500,0:01:12.000 -If you tell a story that’s 0:01:14.000,0:01:15.200 -you’re in big trouble. 0:01:15.420,0:01:19.000 This is the #1 mistake[br]I make in my own work. 0:01:19.000,0:01:21.400 Like here.[br]Watch how repetitive this is. 0:01:22.000,0:01:23.500 -Choosing to take the money. 0:01:23.500,0:01:25.000 -Choosing not to fight back. 0:01:25.000,0:01:26.500 -Choosing to hide their emotions. 0:01:26.500,0:01:28.000 -Choosing not to trust someone. 0:01:28.000,0:01:29.500 -Choosing to wait out the discomfort. 0:01:29.500,0:01:30.300 -Choosing to get-- 0:01:31.700,0:01:35.450 This is a list you could put[br]in any order. That’s why it’s so boring. 0:01:35.750,0:01:39.170 -What should happen between[br]every beat that you’ve written down 0:01:39.170,0:01:42.080 -is either the word[br]THEREFORE or BUT. 0:01:42.080,0:01:46.500 -So what i'm saying is you come up[br]with an idea that's like, this happens 0:01:46.800,0:01:49.500 -What are those?[br]-My pubes. I got em from Scott Tenorman. 0:01:49.600,0:01:51.300 -and THEREFORE this happens. 0:01:51.400,0:01:54.000 -Cartman, you don’t buy pubes.[br]You grow them yourself. 0:01:54.000,0:01:56.300 -You're saying pubes are worth nothing?[br]-Yeah. 0:01:56.400,0:01:58.000 -BUT this happens. 0:01:58.200,0:01:59.800 -And I’ll give you the pubes.[br]-Sweet. 0:01:59.800,0:02:01.300 -THEREFORE this happens. 0:02:01.330,0:02:02.700 -Aw goddamn it! 0:02:03.700,0:02:05.900 So throughout this movie,[br]Orson Welles does the exact same thing. 0:02:05.990,0:02:09.110 Except he doesn’t connect scenes,[br]he connects thoughts. 0:02:09.110,0:02:12.150 -You’re a painter.[br]Why do you want people to do fakes? 0:02:12.850,0:02:17.500 -Because fakes are as good as the real[br]ones and there’s a market and a demand 0:02:18.100,0:02:21.860 -If you didn’t have an art market,[br]then fakers could not exist. 0:02:22.100,0:02:23.500 Even though this movie is an essay 0:02:23.700,0:02:26.620 each moment has the connective logic[br]of a South Park episode. 0:02:27.200,0:02:30.700 The second rule in this movie is to have[br]more than one story, moving in parallel 0:02:30.900,0:02:34.970 -I’ll quote Hitchcock again. He said[br]the name of making movies is 0:02:37.500,0:02:38.950 -He’s absolutely right. 0:02:39.000,0:02:41.400 -You want to have two things going. 0:02:41.500,0:02:44.000 -You reach the peak of one,[br]you go to the other. 0:02:44.300,0:02:45.879 -I hope you know what you’re doing. 0:02:48.879,0:02:53.300 -You pick the other up where you want it[br]When it loses interest, drop it. 0:02:56.500,0:02:58.100 How does this work in an essay film? 0:02:58.200,0:03:01.500 -Well, let’s say you have two stories.[br]Let one of them build up. 0:03:01.500,0:03:06.019 -When it reaches peak interest,[br]switch to the other. Let this one build. 0:03:06.019,0:03:09.470 -And when this gets to the top,[br]go back to the first. Simple, right? 0:03:11.000,0:03:13.190 -Except F for Fake doesn’t[br]just have two things. 0:03:13.190,0:03:16.340 There's also stories about[br]Orson Welles, Howard Hughes 0:03:16.340,0:03:19.160 a woman named Oja,[br]and even the making of this movie. 0:03:19.700,0:03:23.540 And by building each story carefully,[br]Welles can jump between all six of these 0:03:23.540,0:03:25.500 without ever losing the audience. 0:03:25.700,0:03:28.600 So when I’m making a video essay,[br]this is what’s going through my head. 0:03:29.800,0:03:33.300 -And then?[br]-No "and then!" 0:03:33.370,0:03:35.470 And I got all of that[br]from watching this film. 0:03:35.470,0:03:38.870 Which more than anything has taught me:[br]it’s not about what you get. 0:03:38.870,0:03:42.300 It’s how you cut it and[br]what comes out the other end. 0:03:45.170,0:03:49.170 Remember, video essays aren’t essays.[br]They’re films. 0:03:49.170,0:03:52.870 So you want to structure and[br]pace them like a filmmaker would. 0:03:52.870,0:03:55.930 Therefore and But.[br]Meanwhile, back at the ranch. 0:03:55.930,0:03:58.500 And if you don’t believe me,[br]you should at least trust Orson Welles 0:03:58.800,0:04:01.090 who somehow figured this out[br]over 40 years ago. 0:04:01.400,0:04:04.190 -Why not?[br]I’m a charlatan. 0:04:04.190,0:04:06.400 But whatever. Let’s wrap up this essay. 0:04:06.900,0:04:08.300 -Now it’s time for an introduction. 0:04:09.000,0:04:13.600 Hi, my name is Tony and this concludes[br]Year One of Every Frame a Painting. 0:04:14.700,0:04:15.910 I’d like to thank you for watching. 0:04:15.910,0:04:19.110 -and wish you all a very pleasant 0:04:19.110,0:04:20.870 -good evening.