"I got four, and there’s one more. It’s a biggie. And again, this is one that’s maybe a little bit of a stretch in terms of it being a con man movie, but I actually don’t think so. It’s F for Fake. If I was numbering these, this might be number one. It’s a movie that’s really hard to define. It’s pretty commonly termed a filmic essay by Orson Welles on the subject of fakery, but it’s a lot more than that. It’s so many things. I don’t even know how to start talking about it. At its essence, it is about what we were just talking about. It’s about the charlatans and fakery and the notion of fake versus real, and the notion of the con versus legitimacy, I guess. And he just digs into that pretty deeply. And also in a way that’s so incredibly entertaining. The way that the movie’s cut, also, you would think that, today with our shorter and shorter attention spans and our notions of fast cutting, you would think that the way that Orson Welles, the style in which he cuts this film, would be easily absorbed by us. But I actually… You know, I have friends of mine who are much, much younger than me. You know, it actually took a second viewing to kind of absorb the film. I mean, it really is still pretty insane, the abstract way that Welles cut this whole thing together and made the whole together work. I feel like he’s absolutely self-aware; that’s part of the act. That’s what’s fun. And that’s why that opening sequence in the train station, you see him putting on that character and very much doing the… You know, I think he’s aware of it. I think he’s also aware that it’s kind of funny, that that’s part of the gag, you know, is pretending to be somebody you’re not, putting that on. Putting on that big cape and that big hat, and being that guy. And, you know, if you’re Orson Welles, you can pull it off."