My Editor Is Broken!

Colin and Christie don clown noses at TARcon.<br />
(Photo by bluelena)
Colin and Christie don clown noses at TARcon.
(Photo by bluelena)
In part one of the Colin and Christie interview, we left off with Colin handing the phone to Christie so that he could eat his dinner. We pick things back up with Christie.

There have been some comments made in interviews since the Race about the editing, and you guys seem to have some very strong feelings about editing on the Race. Would you care to elaborate any on that, or do you

Well, I mean, there's just certain things that we were criticized for that, in actuality, never really happened. And the audience was given that perception, because of the editing. An example—and the reason we use this as an example is because it's an easy one to explain—is in the twelfth—I think it was the twelfth episode. It was right after we were Yielded. And, basically, the reality of what happened was, you know, we've just been Yielded. And, of course, it was this traumatic thing because, you know, of course, “Oh no, Chip and Kim, they turned on Colin and Christie, and Colin and Christie are in last place all of a sudden.” And it was this huge thing. Of course, it was a great moment that they wanted to capture.

And, anyway, when we’re in the Jeepney, we had a camera crew that was riding in front of us. The cameraman was actually in the trunk of the car. The trunk was open, and the cameraman was sitting in the trunk with his sound guy holding him into the trunk. Literally following our Jeepney. And what would happen is they would pull up—you know, they would race, and then they would race in front of us. And our Jeepney driver would slow down to let them, you know, come in front of us so they could film us from the front side. And then they'd race on the other side of us—we’re on the highway; it’s a two-lane highway—so they'd race on the side and try to stay with us on the side. And, of course, our Jeepney driver was slowing down, because, I mean, he doesn't understand.


You know, he knows it's this television show. He's not really getting that it's a—you know, he feels like he needs to slow down for the race, although the rule is—and they promise you—that production is never supposed to slow you down. So, in that case, it definitely was because any time they wanted to come in front of us, our Jeepney driver would slow down and let them do that, you know? And they were sort of controlling our speed.

So after this goes on for about ten minutes, I'm like, you know, “Don't worry about that. They'll slow down and speed up for you. They're not supposed to interfere with us. So you keep going and just ignore them and run them over if you have to,” you know, like this. And I'm frustrated. I'm like, “Run them over if you have to, because you don't need to slow down.” And, of course, what you see on the television is you see me say, "It's ok, run them over." And then they cut to this random shot of pedestrians on the side of the road.

Which, in actuality, you know, we're on the highway which, I think they kind of show you we're on the highway and, I mean, if you can think of it in terms of this production in general, you wouldn't even have a film crew that would even be able to film the outside of the car at that time, because our film crew, of course, is on the inside of the car with us. And then the other film crew, which is the one that's slowing us down, which is the one I'm talking to, is inside of a car in front of us speeding on a highway. I mean, there's no pedestrians anywhere in our sight, you know?

And it gives the perception—I mean, yeah, that comes out of your mouth: "Oh, it's ok, run them over." Obviously, if someone's in another car—and they're in as big of a car as we're in—it's not like, you know . . . it's a figure of speech, which you totally get when you realize you're talking about someone else in a car versus when the editors mislead you to believe you're talking about pedestrians on the side of the road.

It's things like that. And, of course, plenty of sentences that were pieced together. I mean, they didn't just do that with Colin. They did it with a couple of people, you know? Chip had a few. [how did this one get missed?] And sometimes they're doing it, I guess, to try to just tell the story and create that story arc. But there were a couple times when Colin and I were very conscious not to say that we—yeah, we've seen past seasons. We've seen other teams kind of, “Oh, we're going to win. We've got it all.” And we knew, we knew we were being cast as that very competitive team. We knew we were being cast as that sort of alpha-male team that they were lacking this season. And they were hoping, really hoping, for us to be that overconfident team. And, of course, we knew the entire time anything could happen. And I don’t want look like the asshole who says, “Oh, we're going to win, we're going to win,” and then we lose, you know? So we promised each other we would never even go there. And yet you would see them piece together different things that Colin had said that made him—I think it was in the second of third episode, the first episode we win, the first leg of the Race we win and the third episode—you see a sentence pieced together from three different sentences where he says, "I've sized up the competition." That's one sentence, you know, that they take part of. Well, they specifically started with, "I've sized up the competition, and"—and, of course, you can say, “I've sized up the competition, and I think so-and-so and so-and-so and so-and-so are really strong,” you know? You can answer it any way. But, of course, they only get, "I've sized up the competition," and then there's another quote, "I feel confident." And you can go back to that sentence. Actually, if you have them recorded, this is an easy reference to go back. You can hear, I think it's either three or four different inflections in this one sentence that basically had Colin saying, "We've sized up the competition, and we're pretty much going to win," you know?

So, already, especially in the beginning, it's sort of creating an audience's perception of, “Hmm, who does this team think they are?”
So, already, especially in the beginning, it's sort of creating an audience's perception of, “Hmm, who does this team think they are?” And the reality is he never, never said that. Of course, there's so many instances of things—like at the bricks and, of course, the police station—things that you never see the entire story.


Never. And of course, the way that it is cut gives you a very one-sided perception. I mean, it's not giving you all sides of the story, because, you know, we can't show you three days' worth of footage in one hour. It's more of a, “Ok, we're going to condense a story, and it's going to be a one-sided view of whatever perception we want the audience to have.”

I mean, did you realize going into this that this was going to happen?

Yes. Very much so. I realized it, and the difference between Colin and I, and why Colin—I mean, I can only imagine what the casting directors, you know, were just drooling after they met Colin, because you can tell that he is not a person that—you know, where you have someone like Chip and Kim and Brandon and Nicole, and even myself, who are very conscious of what comes out of your mouth, you never forget the cameras are there. You also very much can think in sound bytes. Ok? And you realize that a lot of what you say can be chopped up. And you hear yourself. And so you make sure you just don't ever even say anything, you know?

Someone like Colin, even though he can consciously go, “Oh, I know they're going to edit things,” he still is unable to really piece together—you know, there would be things that happened, and I would say, ”That's not going to look very good.” He was like, “What do you mean? This happened and this happened. They've got to show this and that.” And I go, “No no no, they don't have to show any of that.” But he would never—he always just saw a condensed version of what was really happening. He could never see that they would literally take a voiceover that you said in episode 3 and, you know, place it as if it's your thought in episode 7 about something altogether different than what you were talking about when you originally made the statement.

And, I mean, as much as you can recognize that—if it's only a little bit of taking out of context—because you talk to any of the teams and they'll say, “Yes, there were things that were taken out of context. Yes, they piece together sentences.” But I don't think any team that ran the Race with us would deny—anyone from the Brothers to Chip and Kim to the Moms . . . even Mirna and Charla, yeah; I know Charla was making comments about some of the editing—that would say that we were not completely edited out context.

And the thing about us talking about the editing is that we're not the only ones that say that. It's not like we say that and then the other teams are like, “Oh, no no. They really were like that.” I mean, every interview, repeatedly, they're like—the Brothers have said in interviews—the one thing we found, the most common, after watching each episode, was trying to explain Colin and Christie and saying, “They're not that way.” The Moms said the same thing. These are people that—you know, the difference is that these are people that we spent a lot of time with. And, I mean, they have seen the entire story of everything that's happened.

Because you really can manipulate anyone's perception of reality if you have enough footage.
And so they obviously understand it from—I mean, all of communication, everything is all in context. I mean, it's so beautiful, what reality TV can do. I mean, especially once you run the Race, you realize—once you've been part of a reality television show—you realize the beauty of it. Because you really can manipulate anyone's perception of reality if you have enough footage. Yeah, and make it seem so real. And, while you recognize that to a certain extent, when you see the stories—and again, obviously we can't show everything because, you know, we don't have enough time. But when you see certain aspects being highlighted, versus other aspects that would make the story a lot more balanced and a lot more well-rounded not even being shown at all, you’ve got to wonder. Ok? It's a very unbalanced perception of what you're trying to create, which makes sense because—

They're going for the entertainment value. They're not going for balanced and—

Exactly. You understand that, and we understand that.

It's just frustrating.

Yeah. And, of course, you sign your life away basically, prior to becoming part of the show. They even have passages in there where it says, “We can put a double, a stand-in, for you, portray them as you. We can use other peoples' voices, portray them as something you said.”


You know, all of these things that you're signing, of course.

Colin: They're telling us, ”We've never done that.”

Yeah, they go, “Oh, no, no, no, no. We don't do these kind of things. It's just standard reality television Don't believe that.”

Colin's a sales guy. He should know that people say all those kind of things to get people to sign.

Yeah. Exactly. Right? Another thing, too, is I had been approached by a couple of reality shows before, and I was very apprehensive and not interested, like The Bachelor and The Bachelorette, Mr. Personality. And a big part of it was because I knew—I had friends do them—that there's got to be a certain amount of editing. And, you know, there's always that fear that, ”What if they edit me to be the bad guy?” And see that's the sort of thing that when you're signing up—I feel like this is sort of human nature—because they say, “You may be depicted in a negative way and,” you know, “be okay with that,” that kind of thing. You're signing this. But I don't think anyone who's signing it sees themselves as the bad guy.

Of course not.

And the scary part is sometimes it's a great thing. I mean, even Chip has said in interviews, when asked about Colin, he says, “Well, Colin was definitely not that bad, and I'm definitely not that good,” you know? So it can be a really good thing for you. I mean, that's the thing. When you're signing up for the show, you don't know if you're the bad guy or the good guy. And, I mean, I don't know if it would have made a difference anyway as far as the other shows. But I just was never interested. And with the Race, The Amazing Race, researching it, it's always been known as one of those shows that's not about creating that drama. You didn't have the former contestants talking about—you know, where you hear on a lot of the shows, Survivor and things like this, like, “Oh, well, they don't show you the whole story,” or, “They take things out of context.” You didn't see that kind of drama. And, of course, that was probably why it was lacking ratings also, even though production would say, “We're a classier reality show. We're about the challenges and what we have our contestants doing on a day-to-day basis. It's interesting enough that we don't have to create that kind of drama.”


And that was a big reason why we considered, okay, I'm not really into reality TV, but, man, obviously, the idea of being able to run a race around the world . . . it's something that Colin and I are—I mean, it's so hard to turn away even if you don't want to be on reality TV.


At the same time, we're thinking, “Well, they're a classier show. They don't do that sort of thing. They don't have to create the drama. They get the natural drama of what happens.” We were naïve in thinking that they wouldn't. And, actually, I don't think they really have in the past a whole lot. I mean, I've talked to a couple of the former contestants, you know, the Guidos, and, you know, a couple of the teams talking about things that they did. And even when I was given advice . . . you know, the Guidos, it was funny. We talked to them at the finale night.

Yeah. We heard that they talked you into coming to TARCon.

Well, they—yeah. And they came up—you know, we watched all the episodes, but I'm trying to think of what it was that supposedly they were most criticized for. It was something like they blocked someone.

Yeah. Pushing Emily and Nancy.

Yeah. So we talk to him, and we were talking about different things in editing. He goes, “Christie,” he goes, “I'll be honest. When you handle the—“ I mean, this was his advice, and I think it was very smart—we didn't really take it, but I think it was smart, very smart advice. He goes, “We didn't do that.” He goes, “But on the Rosie O'Donnell Show, we said that we did, and we just apologized for it,” you know? He goes, “And suddenly everybody that had hated us loved us all of a sudden. And the funny thing was, we never even did it.” It was like this idea of saying that you did and apologizing for it, because everybody has this newfound respect for you. “And so we were lying about doing it.” And he goes, “So if I were you, I would just—everything, things that you didn't do—I'd just be like, ‘well, I'm just so sorry that I told the driver to run over those innocent people,’” you know? Like it's funny. People are actually going to like you more, even if you just own up to things you didn't do. And I really can say, in looking back, I'm sure—because people do. I mean, that's human nature. People are, “Oh, well, look at them. They're so mature. And look how much they've learned. And they're apologizing for everything they did.”
I think a big part of it is because, if they had shown more of my personality and the way that I am, I think Colin would have looked a lot less aggressive.
I guess I was so angry at the editors in general and the production, and personally, I feel, picking on Colin—of course, again, he gave them a lot of . . . he was easy to pick on. And like I said, he doesn't think in sound bites, and he just says all kinds of stuff. And it's like an editor's dream, you know? I can only imagine. I'm sure when they met me, because I know that they loved the idea that I had been in pageants. And when they cast Nicole also, I'm sure their agenda was, “Ooh, this will be good drama. They're very well known names in Texas pageants, and we're going to get a lot of drama out of this.” So that was something they were hoping for. And I think also, on the show, you don't really see a whole lot of my personality. It's sort of in the background. I think a big part of it is because, if they had shown more of my personality and the way that I am, I think Colin would have looked a lot less aggressive.

Right. I think they were going for the "you're the submissive girlfriend" story line.

Exactly. Well, exactly. And I think that's what they decided to go for. I don't think that's the way they cast us.

Right. Right.

If you've spent even 30 minutes with me, I mean, you would never—I don't think the casting directors cast us that way. I think the casting directors cast us hoping that--and assuming--that I would be just as aggressive as Colin, and expecting that. And what happened is I just kept it all in, because I'm on TV. You're just very cautious. People are more conscious of it. And Colin is not.

Your experience in the pageants has taught you all that.

Yeah. Oh, yeah. I mean, even in interviews, I had one of the storytellers cut off his camera, he got so frustrated. He's like, ”You don't ever open up.” And I'm like, “What are you talking about? I'm opening up. I just don't have the same—“— Of course, you know, he wanted me to be as angry as when I was at the time. “I'm just not as angry now. I'm very analytical, so now I'm just telling you what I thought I was feeling and why I did what I did.” And it sounds too rational. You can't use it for the voiceover. You know what I mean? It just doesn't work. They want, “I feel this and he felt this,” you know?

And I think because they weren't getting a whole lot of that from me, they just decided, —“Ok, we're just going to kind of like cut her out, and we're going to play her down.” And I think it ended up kind of turning into this submissive/dominant sort of perception.

Right. Because they can cast you for one thing, but once they start getting the material in—


—the actual video in, it can change all the perceptions and everything.

Exactly. Because I think there was no—besides the whole standing in the doorway kind of thing with Mirna and Charla—they really didn't have a whole lot to work with me as far as portraying me. And I truly believe that is the way that they had—again, like I said, the alpha male team. I mean, we were that aggressive, and that's how you would perceive us if you met us. Definitely very competitive and that kind of thing.

But for television purposes, I think even what aggression you did see, I mean, it was there the whole time. Again, I think it would have taken away. You just wouldn't have seen Colin as the villain the way they—you know what I mean? Because in our relationship and in our team dynamic, there were so many times that I was more dominating, and yet they would kind of cut that out and show Colin explaining the situation, instead of actually showing . . . like getting the plane tickets into Egypt, the 12-hour plane tickets. I did all of that, but you see Colin explain it so you assume he does.


And I think a big part of that is because, as the audience, your perception is, he's the leader. He's the aggressor. She's sort of in the background, you know?

And I—

I have no idea why they did that. But my assumption is that I don't think Colin would have looked as aggressive. And you can even, in some of the Insider footage, I think there's a little bit where Chip and Kim kind of talk about our relationship. Chip talks about our relationship. And then you hear him kind of talk as me being more of the aggressor rather than Colin. I think probably the audience watched that going, “That doesn't really make sense,” you know? “I don't really get that.”


Whereas he does. He's seeing the whole time, and he's not seeing sort of the dwindled-down version of easily digestible characters for the audience to take in.

Right. You know, I will say I was in the Colin and Christie camp during the Race, you know. I'm from Austin and so I had to root for you guys. And I pretty much thought that—I never bought into the whole submissive story because I pretty much thought you all could both be pretty bitchy and nasty to each other, you know? It seemed pretty equal on that point, both in the good and the bad.


And just equally supportive of each other and also equally critical of yourselves and each other.

Right. And when we talk about the editing and creating an audience perception like even—I know Chip was in Dallas at Lance and Marshall's place, and we were talking about it and they were interviewing. And he even said, he goes, “You know, Kim and I, we fought a lot. You just don't see it. It doesn't make the air. I mean, we weren't that team. We are the fan favorites.” We weren't going to be—whether they won or not.

Right. Yes. That's the story line that they've kind of decided on.
And in reality, that's not what happened. In reality, it was Brandon and Nicole taking Father/Daughter cab.
Exactly. And that's the thing with Colin and I. And we realized later—we had gotten a call actually., from an editor. He's since left the show, but he was the head editor of the whole thing. And he has been since season one. But we met him because he came down and did all the B-roll stuff in the beginning with us, so we got to know him. He obviously traveled. He was at home. He did call us after the first leg of the Race and—or, no, we called him, because it was something that they showed us—taking Dennis and Erika's cab. And, in reality, that's not what happened. In reality, it was Brandon and Nicole taking the Father/Daughter cab, and we had all decided on a line. And, actually, it was Colin's idea to allow however—when you get there, you take the cab. And the Twins were first, and the Father/Daughter were second. We were third, then Dennis and Erika, and then Brandon and Nicole.

And Colin's the only one who knows Spanish. He's the one who called the cab place, uses the local phone from his car, calls the cab place, asks for five cabs. And, at first, everyone is thinking, “Oh, well, we're going to fight over these cabs. They're not getting here at the same time.” Colin, you know, I give him credit for saying—although I didn't like it, because it didn't really work out, because then Dennis and Erika ended up getting eliminated—Colin was like, “Let's just take it in the order that we all arrived,” which we pretty much all arrived at the same time but just in the order that we walked up.


And the first cab comes and we watch the Twins take it. The second cab comes, and I guess, obviously fighting for survival, Brandon and Nicole realize, “Well, we're the last team.” So they go ahead and take the second cab in front of the Father/Daughter. There's this big fight that happens. Father/Daughter says, “Oh, we're going to Yield you the next time, blah blah blah.” Brandon and Nicole get in the cab, and they drive off. Well, the next cab comes. Dennis and Erika are going, “Ooh, what are you going to do?” you know? Now they're last.


And we go, “Well, I don't think this is going to be the deciding factor on elimination,” so we go ahead and let the Father/Daughter take the next cab to come. We took the next one, and then Dennis and Erika took the last one. And it doesn't show any of that. It shows us taking, you know—of course, I think Dennis and Erika were more angry than we were, because we are good friends and, obviously, they knew the reality. And I think their big thing was “we at least want Brandon and Nicole to be shown for who they are.” And the whole thing is edited out. Right?

Right. Yeah, we heard there was some name-calling, too, as the cab drove away with Brandon and Nicole.

Honestly, I don't remember that. I know I saw Marsha say something about that. I don't remember that happening.

Yeah. Okay.

Yeah. I don't remember that happening. But they did definitely take their cab. And, yeah, there were definitely words exchanged. But I don't remember that.


And I know Nicole; it doesn't sound like her. I mean, I'm sure something negative might have come out, but, I don't know. That thing just doesn't sound—

It doesn't sound like what I saw on the Race. Of course, I know we didn't see the whole thing with her. But, you know—

Yeah. Well, I know Jim and Marsha were really upset and threatened to be Yielding and everything like that. Well, all of that gets taken out. And we're thinking, I don't understand. I mean, I could understand them sort of editing something different than what really happened because it's more interesting or they're trying to create more drama. But what really happened was way more dramatic than what they actually show.

And, of course, it made us look like the bad guys. And so we were like, “What the heck?” So we were good friends with Eric, so we call Eric. We go, “Why would that be shown? And he tells us at that point, he goes, “Well, first of all, with that, actually, we weren't trying to make you guys look like the bad guy in that situation. With that, we just didn't have time to show the real situation. We had to condense it down, and that was the final cut they decided on. There were a few final cuts; that's the one that the producers oked.”

He goes, “But . . . now that you're calling me, I want you guys to be prepared, because no team has ever been edited out of context in Amazing Race history than you guys, and especially Colin. And I want you to be prepared for that.” And of course Colin is like, “What do you mean? Am I the villain?” And he said, Oh no you're not the villain.” And I'm like, “Oh, God.” Now we watch the season, and he's always a villain. So I guess he's trying to let us down lightly. I have no idea. But he goes, “Oh, no. You're not the villain. No, Mirna is definitely the villain in the beginning, and then towards the end, Nicole becomes the villain,” I guess because they show her whining or something. And he goes, “Well, I hope I’m not going to be like an asshole like Wil,” Isn't that the couple where he's like the asshole?

Wil. Yes.

Yeah. And of course, Colin makes him look like a nice guy.

No one can make Wil look like a nice guy.

Ok. Well, I don't know if I can remember him, honestly. But I just remember the editor says, ”There's going to be plenty of times—” He gave examples. He gave the example of the caviar, which when we watched it, we didn't think was that bad, I guess because we were expecting it to be really bad. “It's the caviar scene, the brick-making scene, and the jail scene. Those things.” Of course, he doesn't tell us anything about sentences being taken out of context or piecing together sentences. He just gave us certain scenarios of things that they don't show the whole story, and things that they do show, there's a lot that are taken out of context.
And I told him, you know, these people are creating your entire persona on television. They are the people who create the stories.
“And so you're going to be watching and going, ‘Wait a minute. That's not what happened,’” he goes, but, I mean . . . and you are just hearing my side of this, and I obviously didn't like the way it was portrayed. But he felt that—and I'll be honest, Colin wasn't the nicest that he could have been to the storytellers, which I never understood why. And I told him, these people are creating your entire persona on television. They are the people who create the stories. They're the people who see the story lines, and they're only human. And, if you're not nice to them, even if you're nice to everyone—because, I mean, the teams loved us, because we were literally buying the tickets for them, you know? We were researching for them. They were constantly—there were so many times especially Chip and Kim and Brandon and Nicole were so vulnerable in our hands, because we were literally like making plans for them, their travel arrangements, that we could have just completely screwed them. I just trust . . . and I can't believe now—especially knowing that in the end they Yielded us—that they trusted us so much at the time. So that was different, and Colin is doing assuming, “Well the storytellers are seeing all of that.” Well, they're also human, and so they're not—you know, Colin felt like—and you would, you’d get mad at the storytellers, because I did an interview about Nicole, and they would constantly be trying . . . I mean, you could see them coming from a mile away. I mean, you can tell they're trying to get you to say something negative, you know? Something.


And you’d get frustrated, like, “I'm not an idiot. I can totally see what you’re trying to do. You're not going to manipulate me, and the fact that you think that you can, you know, because you're not giving me enough credit means that, you know, I don't like you.” That's total negative energy that I want nothing to do with. You know, it started with the whole Nicole thing, which was very aggravating. Which I think is very interesting they never even showed that we know each other. Obviously, they didn't get enough to work with.


But where Colin got upset at the storytellers was in the very beginning, when we start the Race, and Dennis trips, and the father trips, Jim. Well, now you can look at it in slow motion, and you can just take the tape and put it in slow motion and see exactly what happened. At the time, how everyone gets it in their head that Colin trips Dennis, ok, how even Dennis and Erika in the beginning—of course, they never show that we become friends and start this alliance afterwards. I mean, they cut out our entire friendship. And we are probably the closest of all teams that are friends after the Race. Dennis and Erika and Colin and I are probably the closest teams to each other. But the reason they get in their head that it was Colin who possibly tripped him was because it was a storyteller who came up to Erika and said, "Hey, how do you feel about Colin tripping Dennis?" "Oh, I didn't know Colin tripped Dennis. But, oh, now that you say that." And the same thing with the other cast. Well, we didn't realize that that had happened, and it wasn't until the first time we actually—I don't know if they show you this. We're over in the—we go over to the island. This is in the first episode. And we spend the night in tents on the island. This is the first time we really get to talk to the cast.


And there were a few cast members who basically been talking about the whole trip thing. And obviously saw that Colin and Dennis were friends, and so they were like, “Well, what's up with that? We thought you tripped him at the beginning. What's going on?” And Colin was like, “Where would you get that idea?” And then they explain, “Well, it was one of the storytellers.” There were two main storytellers on the Race, and it was one of them that had said that. Well, they asked us that. And we said, “Wait a minute.” And from our perspective, the big thing—we’re not even thinking about, oh, television audience, they're going to think Colin tripped Dennis—we're thinking, this is a race where you form alliances. You don't form alliances. You want people to trust you. And if you get these people from the get-go assuming you're somebody who trips people, that can totally—especially when they've introduced the Yield—that's not good.

So Colin is like, “These people are the enemy,” and was not friendly to them after that. We talked to the producers afterwards, after the Race, to tell them. And this whole thing, it becomes actually this really big deal which Colin says, “We decided to do the Race because we thought you weren't that type of show. Your storytellers put it in their heads. You know that I did not do that.” And they had readily admitted it. Because, actually, you sign away—I mean, you sign a contract that says if you physically harm in any way, intentional or any way, another team, you're automatically kicked off of the Race.


So, when we talked to them, they had already said, “Yeah, we've already reviewed the tape.” You know, we didn't even know that, but they had done that. And he goes, “Yeah. We know you did not do it. We've already reviewed the tape. We've already made sure. And as you know, you would actually not still be on the Race if that had happened.” And he goes, “So we're sorry that they did that. We promise that won't happen again.” And the storyteller came and apologized. He came and apologized. He said, “We're not that kind of show.”

Oh, actually, this particular storyteller is—what's his name again?

Colin: Gary.

Gary from season two?

Gary, yeah. Gary from the second season. Anyway, so the problem is Colin gets upset. And, again, he's not thinking like, you know, where Chip is much smarter in that way of, “Oh, I'm really mad at them, but, hey, I can't show that. I can’t be the bad guy because they're the ones creating who I am.”


And if someone is—I mean, your perception is going to totally—you're human. And even though you may see this guy doing this and that, it's like if you feel . . . And I think even that's where you rationalize: It's ok—even though he didn't really say that—I could see Colin saying that. So it's ok if we kind of piece that sentence together and make him say that. I think that's sort of how it gets rationalized.

And, again, I don't fault the storyteller; I fault Colin, because it's like, you sort of made your bed as far as not—you know, if you'd just won him over and been nice to him, I think you would have been portrayed in a very different light. (Colin speaks in background.) But, yeah, exactly. There's a whole agenda there, because, as Colin's saying, he's gotten him in trouble with the producers. Because that's a big deal. Like when they found out that he had done that, it was a big deal, especially knowing that Colin didn't trip Dennis, you know?

So when they found out the storyteller had done that—

Yeah, it became a very big deal, because they're not supposed to interfere or manipulate the Race in any way whatsoever. In a way, like what we had explained is, “You are manipulating the other teams' perception of us as we're a team they need to fear and they need to worry about because here's this guy tripping—”


You know, a team that can't be trusted.

So we did see Dennis and Erika right away, at least the way it was shown, in their car debating whether he had been tripped.

Yes, you do. Yeah.

And they thought it was by Texas.

Exactly. Exactly. You have storytellers coming up to you. As you're getting your stuff and reading, they're already talking to you.

Oh, really?

Oh, yeah. They're called on-the-fly interviews. So throughout the entire Race, constantly, you have storytellers coming up to you in the middle of a challenge, if they have time to come up to you, going, “What do you feel? What's going on?” You know, any kind of question they can get. Because, again, they're telling the entire story through your words, your voiceover. So the more that they can get you talking about what's going on, the better.

And I mean, again, they've got three days' worth of footage. They can condense everything of what you're doing out and be able to cut—that's how they cut out all of the other camera crews that are in other peoples' view.


You know, that happens all the time. And the storytellers talk to you on camera. That happens all the time, too. But it's so easy to cut that out, you know, obviously it's much better to do that because you get the stories—you make sure the story's being told by the cast.

Okay, enough about editing. In part three, we will move on to the perils of caviar and Zorb envy.