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Behind the Scenes in Hollywood: Eve Bregman

In this second installment of “Behind the Scenes in Hollywood,” we talk to veteran television editor, Eve Bregman, who’s worked on everything from Dirty Jobs to The Real L Word, which we suspect might actually be the same show. Eve stepped out of her edit bay long enough to tell us about working for Ilene Chaiken, explain why lesbians make the best editors, and give some good advice about how to be on a reality show and not shame your family.

Eve Bregman, Editor

AfterEllen: Let’s get right to it. You edited The Real L Word.

Eve Bregman: Yes.

AE: And?

EB: I’ve been sworn to secrecy with a million dollar [non-disclosure] contract.

AE: If I give you a million dollars, will you tell me?

EB: Maybe.

AE: Maybe?

EB: Give it to me in cash. [laughs] I can tell you this. I thought it was really hot and really sexy. Don’t give me that look.

AE: This is just my face.

EB: [laughs] It’s reality TV. You have to draw the line between what is porn and what is reality TV.

AE: I think it’s a dotted line. Was this the most sexually graphic show you’ve ever worked on?

EB: Absolutely. It’s Showtime!

AE: For a reality show, it has a great pedigree: Showtime and Magical Elves.

EB: They knew Magical Elves would do a good job. Having done Top Chef and [previously,] Project Runway, they’re top-notch when it comes to reality TV.

AE: That’s true. Were you with the crew while they were shooting?

EB: No, as an editor, I don’t go on any of the shoots. But I can say many of the camera operators and the audio people were lesbians, and if not lesbian, mostly women. That allowed for a lot more freedom [from] the cast.

I think they were completely comfortable doing what they did.

It was great they had many lesbian crew, not only to make the cast more comfortable, but in this business, women aren’t hired as frequently as men. It was awesome having a primarily female crew.

AE: We’ve talked in the past about how often you’re the only woman editor on a show.

EB: Yeah, I’ve been at companies where it’s 25 men and two women.

AE: I know quite a few editors and many of them are lesbians.

EB: I’m sure a lot of the straight female editors may disagree, but at the places I’ve been, it’s typically been 15 guys and four lesbians.

AE: Why are lesbians drawn to editing?

EB: I think, like cinematography, editing is kind of a technical field. I don’t mean to stereotype…

AE: Oh, go ahead!

EB: But I’ll go ahead! Lesbians tend to be more technical and enjoy more mathematical and mechanical things. Maybe there’s something about that. You need to know a lot about computers and to some extent, math.

AE: Because you’re working with timecode?

EB: Yes. Timing and timecode, even with the music, it’s related to math in certain ways. So, yes, there are straight women editors, but there are a lot of lesbians.

AE: Before The Real L Word, you worked on a show for TLC called…

EB: Toddlers & Tiaras. I don’t want to talk about that.

AE: Why? What could possibly go wrong with 2-year-olds wearing dental caps and three pounds of mascara?

EB: When you see the actual pagents, it becomes more shocking. I would love to see Toddlers & Tiaras, 20 Years Later.

AE: That’s a great idea. You should pitch it.

EB: You should pitch it.

AE: I think it’s already on the air. It’s called Real Housewives. Do you exclusively cut reality shows?

EB: Mostly, I do what’s called “docu-series” shows.

AE: That’s a fancy word for “reality TV,” Eve.

EB: OK, you got me! No. It’s a documentary series. They’re shows where you’re actually learning something.

AE: I’ve learned a lot about personality disorders. I can diagnose a reality show diva in the first five minutes of any first episode. I prefer expert-driven reality shows like Dog Whisperer or Dirty Jobs. Mike Rowe is my pretend lesbro.

EB: I’ve worked on Dirty Jobs.

AE: Lucky! When did you decide you wanted to be an editor?

EB: It’s funny, but a lot of editors are also directors. If you look at editors’ IMDb pages, many of them are also directors. I feel that if you’re not actively working as a director, editing can help you learn how to become a better director.

And as a director, everyone should edit something. Because it’s only in the edit room, do you realize, “Oh f—. I totally needed that shot. I should have done this, I should have done that.”

AE: What was the most shocking thing you saw while editing The Real L Word?

EB: Nothing shocks me, usually, but I was shocked. I will say that.

AE: Were any animals harmed in the making of the film?

EB: No animals harmed in the making of the film. But you saw how much those lesbians love dogs. There were so many dogs in that show, it was hilarious. Surprisingly, not so many cats, but a plethora of dogs.

AE: In your mind, which dog was the break-out dog?

EB: I can’t say.

AE: You don’t know, or you’re not allowed to say?

EB: I’m not allowed to say anything.

AE: This ongoing lock-down is ridiculous! Fine. Did you feel uncomfortable editing any of the scenes, like the stripper party or strap-on festivities?

EB: Not at all. It was actually kind of fun. [laughs] I don’t mind. The funny thing is, when you’re working with these characters, you really begin to feel like — not that you know them — you’re so intimate with them. You see everything.

AE: Most people know that reality shows edit things in certain way to extend a scene or create an arc. But some think they create drama where there was none, and a few believe they purposefully make nice people look evil or bananas.

EB: There are people who are shocked when they see [themselves] on the air, which is just insane, because they did it in front of the camera. But many other people are portrayed in a good light. They have compelling stories, too. You don’t have to act crazy to be noticed.

AE: I think some people get carried away and regret it later.

EB: Maybe being in the industry, I think I would know what to do and what not to do [in front of the cameras] because you can start to forget the cameras are there.

But if you’re not crazy, you won’t come off as crazy. If you’re not a bitch, you won’t look like a bitch. But if you are, don’t think we’re not going to use it. Because we will.

AE: You’re going to be cutting Season 2. Do you want to give any advice to the next cast?

EB: I think I just did.

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