[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:06.14,0:00:08.78,Default,,0000,0000,0000,,Hi my name is Tony and\Nthis is Every Frame a Painting.
Dialogue: 0,0:00:08.98,0:00:11.39,Default,,0000,0000,0000,,So this channel’s been going well,\Nwhich means it’s about time
Dialogue: 0,0:00:11.39,0:00:13.34,Default,,0000,0000,0000,,-Time for a confession?
Dialogue: 0,0:00:13.44,0:00:15.00,Default,,0000,0000,0000,,Yeah, time for a confession.
Dialogue: 0,0:00:15.00,0:00:17.50,Default,,0000,0000,0000,,I have stolen more ideas from\Nthis film than from any other
Dialogue: 0,0:00:17.78,0:00:20.78,Default,,0000,0000,0000,,-F for Fake\N-F for Fake
Dialogue: 0,0:00:21.78,0:00:24.17,Default,,0000,0000,0000,,-Ladies and gentlemen,\Nby way of introduction
Dialogue: 0,0:00:24.37,0:00:26.58,Default,,0000,0000,0000,,-this is a film about trickery
Dialogue: 0,0:00:27.87,0:00:29.00,Default,,0000,0000,0000,,-and fraud
Dialogue: 0,0:00:29.88,0:00:31.24,Default,,0000,0000,0000,,-about lies.
Dialogue: 0,0:00:32.44,0:00:35.01,Default,,0000,0000,0000,,Wait sorry I’m doing this wrong.\NCan we start over?
Dialogue: 0,0:00:38.41,0:00:41.71,Default,,0000,0000,0000,,This is an essay film by Orson Welles.\NIt’s called F for Fake.
Dialogue: 0,0:00:41.71,0:00:43.74,Default,,0000,0000,0000,,And it's one of my personal bibles.
Dialogue: 0,0:00:44.20,0:00:46.30,Default,,0000,0000,0000,,Everything I know about editing,\NI learned from this film.
Dialogue: 0,0:00:47.00,0:00:49.30,Default,,0000,0000,0000,,But today, I want to talk about\None basic thing:
Dialogue: 0,0:00:51.30,0:00:54.90,Default,,0000,0000,0000,,-We found out this really simple rule\Nthat maybe you have all heard before
Dialogue: 0,0:00:54.90,0:00:57.00,Default,,0000,0000,0000,,-but it took us a long time to learn it.
Dialogue: 0,0:00:57.50,0:00:59.04,Default,,0000,0000,0000,,When you’re structuring a video essay
Dialogue: 0,0:00:59.04,0:01:01.00,Default,,0000,0000,0000,,there’s one thing\Nyou really want to avoid.
Dialogue: 0,0:01:01.50,0:01:03.40,Default,,0000,0000,0000,,-I think that’s about it.\N-And then?
Dialogue: 0,0:01:03.75,0:01:06.20,Default,,0000,0000,0000,,-No, that’s it.\N-And then?
Dialogue: 0,0:01:06.70,0:01:10.30,Default,,0000,0000,0000,,-Then nothing else cuz I’m done ordering\N-And then?
Dialogue: 0,0:01:10.50,0:01:12.00,Default,,0000,0000,0000,,-If you tell a story that’s
Dialogue: 0,0:01:14.00,0:01:15.20,Default,,0000,0000,0000,,-you’re in big trouble.
Dialogue: 0,0:01:15.42,0:01:19.00,Default,,0000,0000,0000,,This is the #1 mistake\NI make in my own work.
Dialogue: 0,0:01:19.00,0:01:21.40,Default,,0000,0000,0000,,Like here.\NWatch how repetitive this is.
Dialogue: 0,0:01:22.00,0:01:23.50,Default,,0000,0000,0000,,-Choosing to take the money.
Dialogue: 0,0:01:23.50,0:01:25.00,Default,,0000,0000,0000,,-Choosing not to fight back.
Dialogue: 0,0:01:25.00,0:01:26.50,Default,,0000,0000,0000,,-Choosing to hide their emotions.
Dialogue: 0,0:01:26.50,0:01:28.00,Default,,0000,0000,0000,,-Choosing not to trust someone.
Dialogue: 0,0:01:28.00,0:01:29.50,Default,,0000,0000,0000,,-Choosing to wait out the discomfort.
Dialogue: 0,0:01:29.50,0:01:30.30,Default,,0000,0000,0000,,-Choosing to get--
Dialogue: 0,0:01:31.70,0:01:35.45,Default,,0000,0000,0000,,This is a list you could put\Nin any order. That’s why it’s so boring.
Dialogue: 0,0:01:35.75,0:01:39.17,Default,,0000,0000,0000,,-What should happen between\Nevery beat that you’ve written down
Dialogue: 0,0:01:39.17,0:01:42.08,Default,,0000,0000,0000,,-is either the word\NTHEREFORE or BUT.
Dialogue: 0,0:01:42.08,0:01:46.50,Default,,0000,0000,0000,,-So what i'm saying is you come up\Nwith an idea that's like, this happens
Dialogue: 0,0:01:46.80,0:01:49.50,Default,,0000,0000,0000,,-What are those?\N-My pubes. I got em from Scott Tenorman.
Dialogue: 0,0:01:49.60,0:01:51.30,Default,,0000,0000,0000,,-and THEREFORE this happens.
Dialogue: 0,0:01:51.40,0:01:54.00,Default,,0000,0000,0000,,-Cartman, you don’t buy pubes.\NYou grow them yourself.
Dialogue: 0,0:01:54.00,0:01:56.30,Default,,0000,0000,0000,,-You're saying pubes are worth nothing?\N-Yeah.
Dialogue: 0,0:01:56.40,0:01:58.00,Default,,0000,0000,0000,,-BUT this happens.
Dialogue: 0,0:01:58.20,0:01:59.80,Default,,0000,0000,0000,,-And I’ll give you the pubes.\N-Sweet.
Dialogue: 0,0:01:59.80,0:02:01.30,Default,,0000,0000,0000,,-THEREFORE this happens.
Dialogue: 0,0:02:01.33,0:02:02.70,Default,,0000,0000,0000,,-Aw goddamn it!
Dialogue: 0,0:02:03.70,0:02:05.90,Default,,0000,0000,0000,,So throughout this movie,\NOrson Welles does the exact same thing.
Dialogue: 0,0:02:05.99,0:02:09.11,Default,,0000,0000,0000,,Except he doesn’t connect scenes,\Nhe connects thoughts.
Dialogue: 0,0:02:09.11,0:02:12.15,Default,,0000,0000,0000,,-You’re a painter.\NWhy do you want people to do fakes?
Dialogue: 0,0:02:12.85,0:02:17.50,Default,,0000,0000,0000,,-Because fakes are as good as the real\Nones and there’s a market and a demand
Dialogue: 0,0:02:18.10,0:02:21.86,Default,,0000,0000,0000,,-If you didn’t have an art market,\Nthen fakers could not exist.
Dialogue: 0,0:02:22.10,0:02:23.50,Default,,0000,0000,0000,,Even though this movie is an essay
Dialogue: 0,0:02:23.70,0:02:26.62,Default,,0000,0000,0000,,each moment has the connective logic\Nof a South Park episode.
Dialogue: 0,0:02:27.20,0:02:30.70,Default,,0000,0000,0000,,The second rule in this movie is to have\Nmore than one story, moving in parallel
Dialogue: 0,0:02:30.90,0:02:34.97,Default,,0000,0000,0000,,-I’ll quote Hitchcock again. He said\Nthe name of making movies is
Dialogue: 0,0:02:37.50,0:02:38.95,Default,,0000,0000,0000,,-He’s absolutely right.
Dialogue: 0,0:02:39.00,0:02:41.40,Default,,0000,0000,0000,,-You want to have two things going.
Dialogue: 0,0:02:41.50,0:02:44.00,Default,,0000,0000,0000,,-You reach the peak of one,\Nyou go to the other.
Dialogue: 0,0:02:44.30,0:02:45.88,Default,,0000,0000,0000,,-I hope you know what you’re doing.
Dialogue: 0,0:02:48.88,0:02:53.30,Default,,0000,0000,0000,,-You pick the other up where you want it\NWhen it loses interest, drop it.
Dialogue: 0,0:02:56.50,0:02:58.10,Default,,0000,0000,0000,,How does this work in an essay film?
Dialogue: 0,0:02:58.20,0:03:01.50,Default,,0000,0000,0000,,-Well, let’s say you have two stories.\NLet one of them build up.
Dialogue: 0,0:03:01.50,0:03:06.02,Default,,0000,0000,0000,,-When it reaches peak interest,\Nswitch to the other. Let this one build.
Dialogue: 0,0:03:06.02,0:03:09.47,Default,,0000,0000,0000,,-And when this gets to the top,\Ngo back to the first. Simple, right?
Dialogue: 0,0:03:11.00,0:03:13.19,Default,,0000,0000,0000,,-Except F for Fake doesn’t\Njust have two things.
Dialogue: 0,0:03:13.19,0:03:16.34,Default,,0000,0000,0000,,There's also stories about\NOrson Welles, Howard Hughes
Dialogue: 0,0:03:16.34,0:03:19.16,Default,,0000,0000,0000,,a woman named Oja,\Nand even the making of this movie.
Dialogue: 0,0:03:19.70,0:03:23.54,Default,,0000,0000,0000,,And by building each story carefully,\NWelles can jump between all six of these
Dialogue: 0,0:03:23.54,0:03:25.50,Default,,0000,0000,0000,,without ever losing the audience.
Dialogue: 0,0:03:25.70,0:03:28.60,Default,,0000,0000,0000,,So when I’m making a video essay,\Nthis is what’s going through my head.
Dialogue: 0,0:03:29.80,0:03:33.30,Default,,0000,0000,0000,,-And then?\N-No "and then!"
Dialogue: 0,0:03:33.37,0:03:35.47,Default,,0000,0000,0000,,And I got all of that\Nfrom watching this film.
Dialogue: 0,0:03:35.47,0:03:38.87,Default,,0000,0000,0000,,Which more than anything has taught me:\Nit’s not about what you get.
Dialogue: 0,0:03:38.87,0:03:42.30,Default,,0000,0000,0000,,It’s how you cut it and\Nwhat comes out the other end.
Dialogue: 0,0:03:45.17,0:03:49.17,Default,,0000,0000,0000,,Remember, video essays aren’t essays.\NThey’re films.
Dialogue: 0,0:03:49.17,0:03:52.87,Default,,0000,0000,0000,,So you want to structure and\Npace them like a filmmaker would.
Dialogue: 0,0:03:52.87,0:03:55.93,Default,,0000,0000,0000,,Therefore and But.\NMeanwhile, back at the ranch.
Dialogue: 0,0:03:55.93,0:03:58.50,Default,,0000,0000,0000,,And if you don’t believe me,\Nyou should at least trust Orson Welles
Dialogue: 0,0:03:58.80,0:04:01.09,Default,,0000,0000,0000,,who somehow figured this out\Nover 40 years ago.
Dialogue: 0,0:04:01.40,0:04:04.19,Default,,0000,0000,0000,,-Why not?\NI’m a charlatan.
Dialogue: 0,0:04:04.19,0:04:06.40,Default,,0000,0000,0000,,But whatever. Let’s wrap up this essay.
Dialogue: 0,0:04:06.90,0:04:08.30,Default,,0000,0000,0000,,-Now it’s time for an introduction.
Dialogue: 0,0:04:09.00,0:04:13.60,Default,,0000,0000,0000,,Hi, my name is Tony and this concludes\NYear One of Every Frame a Painting.
Dialogue: 0,0:04:14.70,0:04:15.91,Default,,0000,0000,0000,,I’d like to thank you for watching.
Dialogue: 0,0:04:15.91,0:04:19.11,Default,,0000,0000,0000,,-and wish you all a very pleasant
Dialogue: 0,0:04:19.11,0:04:20.87,Default,,0000,0000,0000,,-good evening.