Produce (Short) Movies

March 2, 2010

FILMMAKING: Integrity and Choosing the Right Collaborators

Please forgive me for not writing in a long time. A lot has been happening and it has been challenging to keep up with posting. (Such is the life of a full time college student)

Today’s post deals with picking the right colleagues.

Why am I posting this now?

Well, I spent this weekend shooting footage for NAZ Today of the Sedona Film Festival.

Sedona Film Fest 2010

Sedona Film Fest 2010

I got a tremendous quantity and high quality of footage, including an event called “Conversation with Michael Moore” and several great interviews with directors and producers of the films being screened at the festival.

NAZ Today is also usually nice enough to let me post my stuff here, which is cool, especially for this event, because it is totally in line with this blogs main goal, which is to inform actors and other new filmmakers (and older filmmakers) how to do their thing better or to get started or to simply be an inspiration (as others have inspired me).

This material also would have been really great on my reel… But unfortunately, I probably will never get my hands on the footage again.

The colleague I went with to the festival decided that his ambition was more important than a team win or having integrity.

He, essentially, stole material from me, didn’t credit me and used me to get into the festival.

I am pretty shocked and distraught because I have never found this behavior at NAZ Today.

NEVER EVER.

I love working at NAZ Today because it is so collaborative. And while the work environment at NAZ Today encourages personal achievement, it has never been in a sketchy way, such as it was with this new guy this weekend.

That’s why I felt so comfortable there, because it meshed with my personal values and beliefs.

Maybe he doesn’t know that NAZ Today’s M.O. is that we support each other rather than screwing each other over.

But, to me, integrity in any environment is always the best choice.

Ironically, he’s the one that really screwed himself over because when one acts out of integrity, one loses trust.

And he is not good enough to be as arrogant. His shots were lousy and his news package was laughable. And you know who suffers for this? Not me. NAZ Today and Sedona Film Fest for being represented so poorly. I would have posted the package here but it’s too embarrassing.

I’m excellent at what I do, and I’m great at finding great stories. I have worked on the professional level and I would hook up everyone I know if given the opportunity, as long as I like them, trust them, and respect them.

I don’t feel trust, respect or liking for this new guy. (who would?) He’s a douchebag, and he will be treated as such for the rest of the time I have to be around him.

As a side note, I’m going to look at the upside of not getting the Michael Moore material for my reel by reminding myself that I’m a comedian, a comic writer and a comedic director/producer.

I’m not a news person, though I am getting stronger at the comedy (especially working in live TV) by working at NAZ Today, so in an indirect way it is helping with my goals.

So I officially shrug my shoulders and walk away and let them have Mr. Douchebag if they want him.

And my point in writing this is that, if I did care or really need the Sedona Film Fest material for my reel, I would have been really messed up by choosing a shooting partner that lacked integrity.

I actually didn’t choose him, he showed up and I let him help, which was a bad choice, I guess, but at the time I thought I could trust everyone within the NAZ Today organization.

I’ll just take a page out of my hero Trey Parker’s philosophy and be sure to fart on Mr.Douchebag every time I see him. :-)

Anyhoo, here are some stills I took at the event. They’re pretty low quality, but that’s what I have…

Sedona Film Fest 2010

Sedona Film Fest 2010

Michael Moore at Sedona Film Fest 2010

Michael Moore at Sedona Film Fest 2010

Jerry Stiller at Sedona Film Fest 2010

Jerry Stiller at Sedona Film Fest 2010

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January 23, 2010

To Sundance or not to Sundance?

One of the questions I often get when asked about how to become an actor is whether or not to go to Sundance, the big film festival that happens in Utah every January.

I’ve never gone.

I get invitations to parties and to roommate with people every year, but I’ve been to Salt Lake City other times of the year and the idea of a large portion of Los Angelenos descending upon that tiny town every year makes me hyperventilate from claustrophobia.

I mean, should the opportunity come when my schedule is free, then I might check it out, but I don’t personally think it will benefit most actors and there are better ways to network.

Sundance started as a way for the indie filmmaker to get the word out about his or her film, but it has gotten so big that it has become a celebrity stomping ground, complete with schwag tents and photo-ops if you are on the A-list.

What does that mean for the beginning or intermediate actor?

It means that you could probably meet some interesting or even powerful people at the event, and see a lot of great movies premiere and attend some awesome parties, but it won’t do much for your career.

As a filmmaker, the advice I’ve gotten regarding Sundance is that you should go if you have something screening, otherwise it’s kind of a waste of resources. A fun waste, but a waste.

My advice would be to seek out smaller film festivals. If you are from LA, go anywhere in the nation that has a film festival and you will find filmmakers from Los Angeles. YAY!

If you are not from L.A., go to the festivals that are local to you. The reason is that most festivals favor local filmmaking talents and encourage them to apply. This means that you will be networking with filmmakers in your area, which means you have a good chance of being cast in their next project (or at least auditioning.)

And don’t forget to go to the galas at these smaller festivals. Sure, you may have to pay a bit of an entrance fee, but it’s like an automatic set up for you to talk with people. Tables are shared typically (awesome!) and lots of mingling ensues. Congratulate the people that win awards and follow up after the event with an email. Ideally, you got to see their project during the festival. Tell them what you liked about their work and that you would like to get involved in their next project if there is an appropriate roll.

Finally, if you do go to Sundance, go to the workshops. Great place to meet people. And also waiting on lines for standby tickets for films. But really, you’ll meet people everywhere when you go. After all, it is Sundance and a majority of the industry people go just to chat it up with other industry people.

And as always, Have Fun!

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January 2, 2010

A Few of Good Resources for Los Angeles Actors…

I was thinking about a friend who recently moved to LA to do some acting and was trying to decide what resources I would refer him to.

There are three off the top of my head that I wish I had discovered earlier.

The first is Suzanne Lyon’s Flash Forward workshops, which I have mentioned here several times.

The second is Jeffrey Gund’s InfoList, which is a regular email that gives you information on the latest events and workshops in town.

And the third is CCI, Center For Cultural Innovation.

They focus a lot on the business of art and I had the pleasure of going to one of their free artists info days which they hold approximately every 6 months.

The topics at that even ranged from legal assistance to doing your own PR to getting yourself organized (called “Getting Your S**t Together”), and while CCI tends to be more geared toward visual artists, I found it to be extremely valuable for other artists, such as actors, filmmakers, musicians, etc…

Great networking, too!

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December 29, 2009

“Ten Steps to Wrapping up 2009…and Giving Yourself the best Holiday Ever!”

It is tremendously helpful to start the new year with a clean slate and I, in some way or another, usually go through my previous year and review all that has happened, all the successes I have achieved, where it has left me at the end of the year, and, most importantly, where I am headed in the next year.

I have done many different systems that all work well, depending on the sort of mind frame I am in and the sort of experience I see myself having in the new year.

Suzanne Lyons runs a workshop in December called Launching the Future, and though the even has already passed, here is a message from Suzanne on how to get “complete” with the previous year, so that you may step into 2010 full steam ahead and with all of your energy moving toward what you want to achieve.

Suzanne with Alfred Molina "Undertaking Betty"
“Ten Steps to Wrapping up 2009…and Giving Yourself the best Holiday Ever!” by Suzanne Lyons

1) Take a thorough serious look at your year. Go through your calendar, day timer, diary, etc. See where you are out of communication, out of touch, and out of integrity with colleagues, family and friends. Make a complete list.

2) Take your list and write up what you would need to do or say to clean things up (to be complete). I am not saying that you have to take the actions. You can take the actions if you want to, but often just the act of acknowledging what is incomplete will have it disappear.

3) Go back through your year and take note of all the projects, areas and anything from your “To Do” list that is incomplete or unfinished.

4) Take this list and write out what actions you could take to be finished or be complete. It is up to you whether or not you take the actions, but once again in order to be complete with 2009 it is important to take note of the above and acknowledge what is left unfinished.

5) Accomplishments: Now it’s time to brag! I love this part. Go through your year again and this time make a list of all of your accomplishments…no matter how small you think some of them might be. All too often we focus on what’s wrong, what we didn’t get done or what we should have done. So now I want you to focus on everything you accomplished. Claim it! Be proud of it! Take joy and pleasure in it!

6) Acknowledgment: There are two sides to this one. Giving and receiving. Both are very important and both are missing in our culture. And it is all part of being complete. In all of 2009, what would you like to be acknowledged for. For example, “I would like to be acknowledged for sticking to my weekly exercise program.” Write out a list of all the things you want to be acknowledged for and share it with a friend. Perhaps you could have a friend or family member do the exercise so you can share your lists with each other. A friend of mine, with her family, does the accomplishment and acknowledgment lists every Christmas. Wow!

7) Acknowledging others: Who do you want to acknowledge? Make a list and include the acknowledgement in your holiday cards, calls and emails. Acknowledge not only what they did, but also who they are for you and the difference they have made in your life.

8) Expectations: A friend of mine once said that “human beings are walking expectations just waiting to be unfulfilled”. So that said, what about going into the holiday with your friends and family with absolutely no expectations at all! Just allow them to do what they do and be who they be and have no reaction. Just keep falling in love with them over and over again no matter what. Wouldn’t that be a fun adventure to take on for the holidays?

9) Appreciation and Gratitude: There is a great quote by Melody Beattie where she says that “Gratitude unlocks the fullness of life. It turns what we have into enough, and more. It turns denial into acceptance, chaos to order, confusion to clarity. Gratitude makes sense of our past, brings peace for today, and creates a vision for tomorrow.” Create a list of all the wonderful things you appreciate and are grateful for. Come up with at least 50! Look at this list everyday and keep adding to it.

10) Contribution: Since this is the season for giving, the greatest gift you can give is yourself….your time, your love, your kind words, your ongoing commitment to be an example for humanity…bringing excitement, possibility, joy, love and passion to everything you do and everyone you touch!

(BTW, I recommend you sign up for Suzanne Lyon’s newsletter by going to her website!)

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December 15, 2009

Happy 50th Anniversary to The Second City!

The Second City

The Second City

In case you were not aware, some of the greatest comedians of our time were gathered in Chicago this weekend to celebrate the 50th anniversary of The Second City

Second City is considered the Harvard of comedym and almost everyone involved in comedy for the past 35 years is an alum or is in some way related to the famous comedy school.

(For example, I studied improv in New York at Chicago City Limits, which is an offshoot of Second City.)

Anyway, it’s exciting and it must have been quite a fun party!

You can see pictures from the event if you become a fan of their Facebook Page

An NPR article states:

“From the beginning, The Second City has always been an unparalleled incubator of talent, launching the careers of a who’s who of Hollywood, television and Saturday Night Live stars: Alan Arkin, Paul Sand, Barbara Harris, Fred Willard, Robert Klein, Peter Boyle, Joan Rivers, Harold Ramis, John Belushi, Gilda Radner, Dan Aykroyd, Bill Murray, Eugene Levy, Tim Kazurinsky, Mary Gross, John Candy, Rick Moranis, Dave Thomas, Martin Short, George Wendt, Shelly Long, Bonnie Hunt, Mike Myers, Chris Farley, Tim Meadows, Steve Carell, Steven Colbert, Rachel Dratch, Tina Fey, Horatio Sanz and many, many more.”

Here is the link to the rest of the article from NPR on the Second City 50th Anniversary Celebration.

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December 11, 2009

Los Angeles Networking: Six Degrees of Entertainment and Silverlake Film, Music, TV & New Media Holiday Party!

I received this invitation from my friend Ruby Lopez. She and I did several Flash Forwards (along with a number of other Suzanne Lyon’s workshops).

I will not be in Los Angeles on the 15th, so I will not be able to attend, but I figured I would pass it on to you, my readers.

I think a lot of Flash Forward alums are going to show up, and if so, this is definitely worth going to. All the people I met through FF are wonderful and very good at networking and being strategic about their careers.

If you go, have fun and post your experiences here in the comments section!

DATE: TUESDAY, DEC. 15, 2009

LOCATION: THE BUNGALOW CLUB — MELROSE
7174 Melrose Ave.
Los Angeles CA 90046

Phone: 323-964-9494

TIME: 7pm to 10pm

NO COVER CHARGE

(RSVP deadline: December 15, 2009 4:00 PM)

http://www.meetup.com/Six-Degrees-of-Entertainment/

Six Degrees is about networking with other professionals in the Film, TV, Music and New Media industries. Everything in entertainment is interrelated. You could be a director looking for an actor, agent or composer for your movie. Or a producer looking for a web marketing expert for a webisode. Or a screenwriter looking for an agent or manager. Come and join us in our monthly meetup events and meet other industry professionals in a fun, casual setting.

FYI: There’s street parking if you get there early. Otherwise, there’s valet.

Looking forward to seeing you there! Please rsvp and bring as many guests as you want.

Thank you! Happy Holidays!

FYI: I’ve extended the invitation to two additional industry related meetup groups. So, it’s sure to be a great turnout!

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November 17, 2009

TEN STEPS TO SUCCESS IN HOLLYWOOD (Or any Business)

Suzanne Lyons

Suzanne Lyons

(The following post is by Suzanne Lyons, a friend of mine and a brilliant coach, mentor and producer. Click Here if you would like to join her newsletter. I highly recommend it!)


TEN STEPS TO SUCCESS IN HOLLYWOOD
(Or any Business)

1. SET A GOAL – Do a one year goal. For example, “By December 1st, 2010 I will _________________________ _________________________________________. Then break it down into monthly milestones: January 1st, February 1st, March 1st, etc.

2. DESIGN YOUR PITCH – Do a FANTASTIC logline for your project or yourself depending on whether or not you are selling your script or yourself. Then prepare a two minute pitch to expand on the logline. If you are pitching yourself be sure to design your pitch drawing from highlights from your career and your personal life. I usually make a list of 5 to 10 highlights from my career and personal life and then I choose the ones I want to use in my pitch. As producers you should always have a great pitch ready that is about you because you will constantly be enrolling people in YOU, whether they be financiers, agents, directors, etc.

3. CREATE A DISPLAY OF WHO YOU KNOW (MAP OF RELATIONSHIPS) – Categorize the names of everyone you know in the industry, ie. producers, writers, casting directors, directors, entertainment attorneys, etc. Call everyone on your Map and tell them what you’re up to.

4. NETWORK – Continue to expand your Map. Network, Network, Network. Get out there and meet people. Sometimes to push myself a little I will set a goal like “I will meet 10 new people this month”. See my October Newsletter for some great tips on Networking and creating Relationships.

5. MAKE REQUESTS AND OFFERS – Make requests (not favors) of people on your Map. For example, “I’m really committed to meeting 3 new directors for my film project. Do you know any directors you could introduce or refer me to.” Also, end every call and conversation with “Is there anything I can do for you”. We all to often forget to do this and it means a lot to the person on the other end of the phone.

6. CREATE A HITLIST – Target who you need to talk to or meet with. RESEARCH. Read the trades. Make a list of 10 to 20 names and start calling. This could be one of the requests that you make to people on your Map. For example, “I am looking to set up a meeting with John Doe, Casting Director. He is on my Hitlist as someone I really want to meet. I know you have worked with him before and was wondering if I could use you name when I called him.”

7. BRAINSTORMING – Get ideas outside of what you alone can come up with. So often we try to do it alone and it’s crazy. In the Flash Forward workshops over the years we had a built in one-hour exercise called “Brainstorming” where we divided into teams of six or eight people and then divide up the time equally. Then one person would state what they needed and then they would be quiet and just listen and take notes as everyone threw ideas at them. They were not allowed to comment on the ideas at all. They just wrote everything down and then took from the ideas what they wanted. It was extremely successful.

8. KEEP STATS – I know this doesn’t sound like fun and we all get a bit squeamish when we think about statistics. However, it is such a great wake up call to what actions you are really taking as opposed to what you are just talking about. Make a list of 3 to 5 categories you want to track and then add up the actions you have taken on a weekly basic. In the workshops I have led I always include this as part of the program. People are always shocked at how few calls they have made compared to what they thought they had. Categories could include: Number of production companies contacted about my project; number of meetings set; number of auditions; number of scripts sent out; number of new relationship made, etc.

9. GET A MENTOR – No matter what level you are at. Make it easy for them. Request only a little of their time over a very specific period of time. For example, three ten-minute conversations over the next four weeks, or a half-hour coffee meeting, or a lunch together. Also, please be prepared with your questions ready and it is important that you generate the conversation. It is not your mentor’s job to generate it. Remember it is a business relationship so always acknowledge them for their time.

10. CREATE A SUPPORT STRUCTURE FOR YOURSELF – It is extremely important to be held accountable for your promises! We’re only human after all and sometimes when the going gets tough the tough get going. Don’t let that happen. Be held accountable for your word and your actions. Every Tuesday morning a group of 6 of us get together to talk about our goals and what actions we are going to take that week. On Friday we email in what we have done so far, and what is still left to do before we meet the next Tuesday. It really helps keep us focused and on target, and the coaching and brainstorming we do with each other is priceless.

A BONUS TIP: HAVE FUN AND ACKNOWLEDGE YOURSELF DAILY! We are here to have fun (no matter what business you’re in) so keep that in mind at all times. The more you take on having every action, every milestone and every goal as FUN, the more people will want to play with you and the more you will attract into your life everything you want. Also, don’t wait for others to acknowledge you. Acknowledge yourself. In the Launching the Future workshop I lead I include a page where people list what they want to be acknowledged for, just to get them in the habit of acknowledgment.

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November 3, 2009

Learning FilmMaking: Self-Education vs. Formal Education vs. Fast Education

I found this site a long time ago and was somewhat impressed by the content of what they were teaching…

Apparently, the 4-day Travel Channel Academy teaches you how to shoot travel videos so that you can become a professional videographer for the travel genre of filmmaking.

I was at one time considering this indulgent program because at the time I was doing so much traveling and still photography that it seemed like the obvious next step.

But after thinking about it I recognized that 4 days was a bit short to get one’s career rolling.

Additionally, I am now in a program (at Northern Arizona University) that costs about the same (for one, 4 month semester) but is infinitely longer, more thorough and will teach me more and leave me with a much better reel.

And it’s accredited, so I’m getting a legit degree as well.

On a website/blog like this that encourages you to go out and just start shooting, would say that there are three steps to getting good at all this.

The first is to go out and do it and learn as much as you can on your own.
The second is to get a mentor and around people so that you can watch and pick up their better habits and techniques. (actually, the best thing would be to combine the first and second steps)
The third is formal education, but only if you’re still getting to work hands-on and only it is an excellent program.

Don’t do 4 day programs that promise you a career. It’s a good place to start for some people I suppose. It’s a FUN place to start for a lot of people, which I think it what initially drew me in.

I would love to get some feedback on this… Anyone take this course or one like it? Any thoughts on this subject?

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October 6, 2009

Directing Movies: Cut Aways and Inserts

When you are directing movies, you should have your shot list planned out ahead of time.

This is especially important if you are on a tight budget and don’t really have a lot of leeway in terms of schedule.

You need to be able to get your shots as economically as possible in terms of time and financial expense.

Meanwhile, you also have to keep you mind on the final cut of the film and how you will put it together so that it looks good.

Last time, I wrote about three shots that you MUST get, especially when you are starting out as a director.

In this post, I am going to write about an additional set of shots that would be wise for you to get, too.

I had one mentor who didn’t like the term “insert” because he said that the entire movie is one insert after another, referring to the clips with the actors talking as also being inserts.

But for our purposes, we will call them “inserts” (sometimes also referred to as “cut aways” or “cut away shots”) and we will define them in the following manner: shots that you put in the movie that you “insert” between the shots of the actors conversing.

If you don’t get them, its not a big deal… but it helps the final look of your film and can make editing easier.

Here are two reasons to get inserts:

1. Esthetically pleasing and interesting to the audience… tells the story visually rather than verbally (helps you avoid talking heads in your movies)
2. It is easier to editing if you have the option of using inserts and if there were mistakes or lack of continuity between shots while shooting, you can hide them with inserts

The first use of inserts is to tell the story visually.

When James Stewart takes a step up on the stepladder, Hitchcock shows a shot of the stepladder (22 seconds into the YouTube video). Not a necessary shot, but it makes it much more interesting to the audience.

Additionally, the shot at 36 seconds shows what he sees when he looks down from the top step of the ladder. We see his reaction first, but the story is told well visually because we get to see the height to which he is he is reacting.

The second reason is for editing purposes…

I’m going to use another Jimmy Stewart film:

Let’s say at the shot at 1 minute 40 seconds, Jimmy Stewart did that line a few times when he was by the sign of Bedford Falls (1 minute 35 seconds) but the director Frank Capra decided he didn’t like Stewart’s expression in any of the takes or the sound was bad on all the takes.

He could have gotten him frolicking in the snow (the shot at 1 minute 40 seconds) “for safety” and then ADR’d (recording the audio of Stewart to put over the visuals) the audio of Stewart later on.

But he still got the shot of him frolicking in the snow (with the tree in the foreground).

(As a side note, when getting these shots where you just need some action or a close up on something, don’t be afraid as a director to coach from off camera. As long as the actor isn’t saying lines, you can pull your coaching out of the final cut. This is also helpful when you are trying to get a reaction shot from an actor when the actor does not have dialogue. You can say things like, “can you blink a few times and look up and to the right?” and then get rid of your own voice when editing.)

Please give feedback on this post. I feel like I’ve explained it simply enough, but I might need more visuals to make my point.

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September 26, 2009

Movie Directing: Framing your Shots

This post is directed more to those who do not have a lot of directing/set experience…

To be efficient when you get to the editing process, you probably want to get the bare minimum of three shots when you are shooting your project.

The first is the establishing shot. Sometimes it’s a medium two shot. Either way, it’s the shot that lets the audience know where we are and where the actors are in relation to each other.

Lets say you’re doing a basic two person scene. You want to do a couple of takes where you have both actors evenly shown on camera.

Sometimes you don’t even need this shot, because the eyelines will tell the proximity of the actors, but when you’re starting out, it’s a good idea to get this shot.

Next you want to get a close up of each of the actors. This constitutes your two other shots (presuming you’re doing a two person scene).

You want to get these for a couple of reasons.

First of all, in this day and age, most people have been exposed to movies and TV most of their lives. After the wide shot you get first, most people are used to the camera moving in closer for a tighter shot with only one actor on camera (or if the second one is on camera, it is “Over the shoulder” or OTS shot.

Second, it makes the story you are telling much more intimate for the audience. In the wide shot, the audience gets a sense of what’s going on, but when you move in tighter, they are able to experience the ride of the story with the characters.

This is especially important in a lot of comedy movies where the comedy is based on the reaction of the actor. We need to see, close up, the reaction of the actor to what is transpiring around them. This adds the “oomf” in comedy that the audience needs to find the scene amusing.

This is also important in drama, though, because as actors on screen are thinking, we need to know they are thinking and reacting without them wildly gesturing, as they do in the theater.

If they are in a wide shot, they can make their movements bigger, but if the desired impact is for the audience to move with the character emotionally, the camera should be in a close up and the actor does not have to do much to have an impact.

I just found this video on YouTube. Watch Cameron Diaz’s reaction in The Holiday… She does almost nothing, but we can tell she is processing a lot. She’s in a close-up so we are moving with her emotionally (as well as with Jude Law, who is pouring his heart out.)

Another good example comes later in the vid when Drew Barrymore is also having a moment of revelation. Her reactions are small, and the camera even pushes in a little to make the moment more intimate.

This scene from There’s Something About Mary has the establishing shot. As the converse, they move to a close up. After the line, “I work with retards…” The camera takes a moment to get Mary’s reaction (about 45 seconds into the video)… A shift of the body and a scratch of the neck as she looks down… we know she has been affected by his last comment. We know she’s processing his last comment.

Obviously in the faster, more physical comedy, this is not necessary…

This is one of my favorite scenes from the Marx Brothers. Very little dialogue. Comedy is from the action… Thus a wider shot…

So to summarize, as you (director) are making your shot lists, include the basics…

1. Wider “two shot” with both actors…
2. Close up for actor #1
3. Close up for actor #2

If there are other actors in the scene, get close ups on them, too. Even if they only have a line or two, you’ll be glad you did when you get to editing, because sometimes you just need to cut away to them to get a reaction. (I’ll do another post on cut aways and inserts later)

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