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[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?
Although when we caught up with Adam Di Vello, who created and served as executive producer on , and executive producer Sean Travis, both seemed surprised by the sheer amount of nostalgia that continues to exist for the show.
It’s not very intrusive, so you can see those details, and then we craft those scenes very carefully in edit.
You can really rewrite a scene or bring out if there’s, like, a spark between two characters when we shoot an hour-long dinner with them, and we want to condense it to a 45-second or two-minute scene.
That’s when we went back and shot the whole first scene of Lauren walking on the beach, and we had that voice-over over it where she said, ‘This was the best year of my life, the last year in high school,’ or whatever. It was initially going to be a straight ensemble, not Lauren’s point of view, but doing that gave the whole show a focus, and made it clearer and easier for us to not have confessionals or interviews.
It all started with or any shows like that, so it was like, ‘Let’s take those out and make it feel like it’s a scripted series, but having the kids create the dialogue, and we’ll edit it together to make it make sense.’ It was very difficult in the beginning…
Brian Graden at MTV, our boss at the time, specifically challenged us by saying, ‘ owns that space with the confessional.