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We very carefully craft it to see the spark of attraction.
Looking at looks — blinks and stuff — and then add music to make it work. That was the part where each episode we would finish editing, and we thought, 'Oh, we made a little movie there Sometimes we didn’t have the dialogue; we didn’t have them saying what the story is, and [the challenge became] how are we going to show it?
Natasha actually became a good friend and a friend of the show, and she came back and did a slowed-down a cappella version for the finale, which was so nice.” Back to the addictive drama that unfolded in the glittering lights and darkened nightclubs (Les Deux! ) of Hollywood on was, could we tell a reality story without using the techniques of documentary, and particularly confessional interviews?[If] stuff happens off camera, or stuff happens on the weekends, or when we weren’t shooting, we would go back and get it on camera. ”Part of the mastery of — something that was even mocked by James Franco and Mila Kunis in a Funny or Die sketch — was that the producers managed to get so much out of people who sometimes said so little.So, if Audrina heard that Justin Bobby was off doing something that she ain’t happy with, we’d have her sit down and tell Lauren about it, just so that we have it on camera. Were they actually going out to meals and simply staring at one another? How did the producers craft these long stares into meaningful, impactful drama that sustained the show’s forward momentum?It’s a shooting-and-editing puzzle to get it to work.” Di Vello: “I always said that if we wrote the show, we would have had much bigger story lines than what we were dealing with.I think we would have had gigantic, soap-opera-type story lines.