F for Fake

And that was also a very interesting thing because that's partially what drew me to want to make this.

It's like I'd seen To Catch a Predator before I saw Close Up by Abbas Kiarostami and before I saw Orson Welles' F for Fake.

This was like the first – those two movies were the things that made me want to make movies in the specific sort of way that I make them.

And – but, you know – To Catch Predator, I saw before all those and that was maybe the first time I'd ever seen anything that was mixing truth and fiction, you know, kind of these, the artifice of having adult actors pretending to be children and these houses that were converted into sets and these props, you know, these things that are very mundane everyday objects like cookies and pepperoni pizzas and Sweet tea in the hands of the show.

...

in like F for Fake.

The whole film is kind of a magic trick.

Yeah.

Um, spoilers for F for Fake.

Fake.Um, but, uh, and, and, you know, like, uh, Gilliam was into the magic, and Méliès, the, the early, uh, film, silent film guy who did all those trick films like, uh, Journey to the Moon, where he sort of realized you can stop the film and start the film and do double exposures and that sort of thing.

Yeah.

This is not multiple choice.

In F for Fake, Wells focuses extensively on what notorious art forger?

Well, there's Elmer de Orly, the painter, but there's another forger in there who forges with his text.

You have Clifford Irving, who wrote the book about Howard Hughes, which is a tissue of lies, but Elmer de Orly is the artist that you're looking for.

...

F for Fake and s- and some of the, the films Orson was doing later in his life.

Mm-hmm.

And Gary was a very creative, artistic guy and helped me a lot during those early days.