Bill Cammack

So I found my new ‘out’ in the very first video clips I had selected. I hadn’t considered it an out because I thought I was going to use all that footage that I had initially logged. Even with the new ‘out’ being so close to the beginning of my selects, I still had too much footage to make the show as short as I wanted it.

The problem was that it took too long for Dante to get to the point where Veronica asked him how many girls he had had sex with. If I just took the relevant part at the end, it didn’t make sense to just jump into their conversation there. If I took it from the beginning, it was too long, because the pacing of an hour and some-odd movie is going to be different from the pacing of a 4-minute show. I decided I needed both, but not Dante’s full explanation of why women just have to “be there” for a guy to enjoy them, and a guy has to do so much more work to please a chick. I took the parts I needed and decided to bridge with dialogue as if someone ran the wrong clip to start off the show. I felt this was the best way to establish how it got to the point that Dante says something about the number of women that have had sex with him, which leads to Veronica’s question and gets the real dialogue started.

Now that I knew what clips I was going to use, I had to write the dialogue AGAIN to work with the new sections. Interestingly enough, the new dialogue had a REALLY good ‘out’ that I could have punched to my credits with. I was really debating using it instead of the ‘out’ that I chose during the previous process. I decided to stick with the out from the clip, even though I wasn’t really breaking continuity. I ended with a clip on “Swingers”, and ended with Brainy’s dialogue on “American Pimp”, so really, either one would have worked for me. I ended up using both by getting back into the ‘out’ clip earlier so that in effect, there are two ‘outs’. There’s the dialogue-out and then the show-out instead of just having one or having the dialogue set up the final clip.

Actually, I skipped a step or a few. The new dialogue-out came from visual support of a line I was working on for one of the bridges beween clips. I was looking through college pictures of various girls’ dorm rooms because at the time, I had a line that said “… you don’t want to know what she was doing in college :D”. As I was looking through them, the pictures became the actual point instead of the support of the point. The point became that there’s visual proof that the girl/woman you’re currently dating or married to spent time with other guys before you, and you have no idea whether that was intimate time or not…. Therefore, there’s no reason for you to make a big deal out of what she did in the past. Once I wrote the new lines, based on the pictures, I didn’t know how punchy it was until I looked at the footage. So, even when writing something, you don’t know if the delivery is going to give it a different meaning or usefulness than when you wrote it.

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