Also known as “The Making Of Double Booked”
For this post about the outtakes from my video “Double Booked”, I decided to try something different and give a comprehensive post-release analysis. This will therefore contain a considerable amount of spoilers. Now I don’t think my productions are often known for suspense and drama, but if anyone has not seen the full video, they can scroll to the bottom and find the link to download the outtakes clip. Much of what I write about here will be supplemented by the alternate takes below, showing how this shoot unfolded.
The location of this video was a hotel, a Hampton Inn that I selected because of its proximity to the train station for me to pick up Sandra, and easy enough for Danielle to drive out to. In the past, I had been very reluctant to use this type of setting, and some are nicer than others. However, I have come to recognize the value of having a private starting point when nothing else is available on short notice, and still be able to branch out for more exciting scenes, whether outside the room or driving to nearby outdoor locations. In this case I constructed the story as actually taking place at a hotel, so it worked out fine, using elevators and vending machines as part of the scenery.
After the opening title screens, I start with an exterior night-time shot zooming in on the higher floors of the hotel. Most of the video takes place in room 518. This establishing photography was taken on the Monday evening after the shoot. That is because the real time was in the afternoon. I debated whether to show the outside at night, however it is central to the story that both ladies arrive in the room and immediately get ready for bed. Thus, it had to take place at night. Even though there are brief moments of light filtering through the window, which I did try to darken, it was more important to set the scene in the evening.
During these opening moments, the Spanish guitar playing of Peanuth O’Toole is heard in the background, providing the motif for the lovely Latina Sandra Reyes. She appears riding in the elevator, which is the first time I have ever recorded that type of situation. We had to wait a while, as I had mentioned, this was the only elevator that was working, so it was crowded as we went all the way to the lower level. Only on the return trip up, was I able to film Sandra standing there, checking her phone, and looking very serious. It is a small thing, but I think this character development came out very well.
In reality, our room was right around the corner from the elevators. But I wanted to shoot a scene of Sandra taking a long walk down the hallway. So we jump from the elevator car to making her way from the opposite direction toward the room. At one point, she had bugged me about “borrowing” some maid’s uniform that must have been on a cart left outside by the cleaning staff. This is because we planned to use Danielle’s friend later in the production, however, she did not appear on camera.
Sandra walks up to the door, and I cut to her using the key, while having the room number plainly in view. When she enters and starts to shut the door, I switch to a perspective inside the room, showing her close the door. I think this was edited in nicely, considering multiple takes I had to work with. It will be seen in the outtakes, that she was nervous and in her first attempt, Sandra followed this by closing the latch as well. But that would not work, since Danielle has to enter the room later on. In addition, I cut as soon as she turns around and prepares to walk forward, because she flubbed her opening line a couple of times. “Oh my God, I can’t believe they just booked me in here,” she says, playing the part of the unhappy business woman.
I then switched to a reverse angle for when she complains about the room being too small. (It was!) However, I initially had given her a line following where she says, “But, whatever.” This really doesn’t work with the attitude I was trying to give her character, so I cut it in the final video. This then required piecing together her movement toward the closet where she puts away her things.
She then turns to approach the bed. I like how this was clipped together, from her closing the closet door to the zoomed in shot with her arm still in that position before walking forward. But there were additional takes required, to get just the right action of her spinning around to sit down on the mattress. Here, she looks lovely lying back on the bed. Unfortunately, Sandra totally garbled her line, “Well, I might as well just get changed”. I thought about adding a subtitle scrolling across the screen as a joke, but that would probably be too much. There is truth to the stereotype about Spanish women speaking so fast!
Sandra then proceeds to take off her jacket. She immediately continued without missing a beat, to stand and start undoing her skirt. I did not want her to undress on screen at this point, so I had to stop and go back to fit in the alternate takes. The transition from her rising off the bed to walking back to the closet flows smoothly enough, I thought. The next shot has her already taking out her nightgown as a preview for the audience. But in the middle of taking off her shoes, I started to tell her something while she kept moving. So I had to make a cut, and start again when she drops off her other heel.
At this point, I begin fading in with the music that will be used for Danielle’s character. I’ve mentioned before, how I like Peanuth’s country guitar here as it suggests a more simple and innocent personality. Even though the first time we see Danielle she is dressed in a smart and sexy business suit, perhaps she is away from home and now in the big city. When Sandra finally enters the bathroom, I do a cross-fade to Danielle carrying her suitcase up the stairs.
Originally, I had asked her to give a line commenting about the out of service elevator, which she would follow up by saying, “Oh, well!” with a big smile, to demonstrate the good nature of her character. However, I thought her voice came off as too syrupy, and would not make a good impression for the first time she speaks. So I did not use the video sound, and only had the music playing, which is also consistent with Sandra’s entrance.
When I cut to the view outside the stairwell in the hallway, Danielle’s walking pace was a little too quick. But more so, I wanted to slow down to capture how gorgeous she looks. I changed this to half speed slow motion as she approaches me, and she does a nice job of not looking directly at the camera. Her eyes are focused past me, further down the hallway. I then change back to regular speed to follow the young lady from behind. There is one more cut to show her approaching the room and using the key card, and stepping inside.
The music fades out as she walks across from the bed and now delivers her first spoken line on camera, commenting about what a nice room it is. I cut to a close-up shot, with Danielle keeping her arm in the same position, on her hip, as she even appreciates the colors. She then moves over to place her luggage on a low end table. As she is unpacking, I moved my camera around a bit, trying to follow her actions. For this reason, I dropped out the sound and faded back in to the country guitar that is her character’s theme. I did like this shot, with Danielle seen from the side or behind, but catching her front reflection in the mirror.
This little interlude fades out with a cut to a new angle, directly in back of Danielle, to watch her pull off her top in what would ultimately be a tremendous tease. There is a quick cut as she started to go for her skirt, and I had to tell her to reach for her bra instead. I thought this was edited all right, as her fingers simply move from the waist of her skirt to start reaching up for the clasp behind her back. We then fade out once she grabs her grey tank-top and pulls this on.
The next scene has Sandra emerging from the bathroom already changed into her nightgown. This take was actually an alternate, which we came up with after some back and forth discussion. The outtakes will show Sandra’s original reaction, and this exchange. When we cut back to Danielle, she is already in her plaid pajama bottoms. She did have a line where, smiling, she greets Sandra’s character with an “Oh, hello there!” But the angle I shot at caught Danielle’s friend sitting in the corner. I did not notice until editing, so that take was ruined.
After the shot I was able to salvage, I switched the angle for one of my favorite scenes of the video. Sandra is questioning the girl, having just stepped out of the bathroom, and Danielle is leaning over her suitcase. Even in her pajama bottoms, she looks so great. The whole sequence had cuts between each line as the two ladies go back and forth. This was probably the beginning of some of the editing troubles once they had to start interacting with each other. But I thought the continuity held together well enough. Sandra kept her arms folded once she moved into the position, and Danielle holding her pose once she sat down, until directed to move.
I then shot at a different angle for Danielle’s next line, followed by a shot of just Sandra for her reply. The girls then move over to the desk with the phone, and I pan across to follow Danielle who was in the lead. Again, this was probably where I had a bit of a challenge orchestrating the call to the front desk, with Sandra moving into view. The girls delivered their lines, and Sandra kept her arms folded staying in character. When she says, “Well that’s not good enough,” I cut to an angle just showing Sandra.
It was after Danielle’s next line that I ran into an issue with Sandra’s delivery. She was supposed to say “No, I won’t share my room with another woman.” However, as the outtakes show, she added a little too much body language, wiping her hands together as if she wants to be done with the other girl, while rushing her dialogue. I had to cut out the last part and right after she says “No”, jump to her line, “I was here first.” Not our finest moment of creative editing.
The rest of the scene was executed with Sandra announcing that Danielle has to leave and heading over to the girl’s suitcase. Danielle reacts with a mild protest, which could have been stronger, but gosh she is cute. I like to think that her character was going through a period of shocked disbelief. I had to cut to give direction when Sandra crouches down to retrieve Danielle’s shoes and put them in her bag. Then she marches over to what would be a difficult scene by the window.
As soon as she pulled open the blinds, I knew it was much too bright on a Sunday afternoon for the night-time story I was trying to tell. In the editing program, I reduced the brightness and gave it a darker effect. It seems reasonable to suggest there could be bright lights outside the hotel, from a highway or other buildings. The next angle has Sandra pretending to slide the window up, and I edited in this as a sound effect. It was also pretty hilarious when I realized she did not have any panties on under her nightgown. That alone makes this shot worth watching.
I cut to zoom outside the window, again with muted lighting. It didn’t come out too bad, showing the parked cars and snowy walkway below. By this time, Danielle has come over, and asks Sandra, “What are you doing?” Sandra executes a near flawless pantsing, although it took a couple of takes, and Danielle’s gasp is well timed and cute. Then I had to cut as we worked out some of the physical comedy, which plays out as Sandra pushes the other girl onto a comfy chair, enabling her to remove the pajama bottoms and toss them out the window.
I am well aware this was rather clunky and forced. Sandra was asked to throw the discarded clothes behind the blinds, and out of view. But dealing with articles of clothing, there are shots I later realized where bits of fabric are still in view. I tried to minimize this. It does require some suspension of disbelief. Another quick cut allows Sandra to take off Danielle’s panties and shove them behind the window blinds, this time completely out of sight.
Now when Danielle stands up, and shyly tugs on her grey tank-top, trying desperately to cling to some modesty, I am also aware that Sandra is looking at me. She did not realize I was going for a lingering shot of Danielle. And to be fair, I did not notice Sandra staring directly at the camera, since I was totally absorbed by capturing a bottomless Danielle. We then cut to the girls in the same positions, but now Sandra has her lines explaining her motive for what she is doing. She proceeds to go through the rest of the things in Danielle’s bag, tossing each piece of clothing out the window. Danielle was not reacting enough here, so we cut to a better angle, with her now moving around muttering “Oh my God…” and flashing her cheeks in the process.
The next bit of fun is when Sandra continues to fish around in the suitcase, and discovers the Hello Kittty panties. Yes, it’s the third time I’ve trotted out this pair. But it was not meant for Danielle to wear, only to provide a spot of embarrassment from Sandra finding them. The cuts between their respective lines worked out well, and Sandra wastes no time throwing them out the window.
The remaining items are taken out of the suitcase one by one, and discarded as well. But due to the quick up and down motions of Sandra, I was maneuvering the camera quite a bit. I had to drop out the video sound, and therefore add in some music. I went with a selection from the opening’s Spanish guitar. This has been established as her character’s theme, and now she is doing her worst by throwing away all of the other girl’s clothes.
When Danielle’s character finally responds, the action of Sandra pulling off her top came out OK, but I had to cut when Danielle started to turn away and I had to remind her to cover herself with her arms and hands. This she does nicely, when I jump back to this position. After a few lingering seconds of her bashful pose, I switch to an angle behind her. The direction I gave her was to look over her shoulder and say, “Now What?” It was meant to be an exasperated whine as in, “What could possibly happen now?” When I was putting this together, I saw that it comes across like she is looking at me, literally asking what to do next. That was not my intention, and I debated to delete this frame. However, in the end, I decided it was more important to have more time showing Danielle’s naked backside. And I need her line as statement pregnant with possibility, to finish up the first part of the video.
The second part opens with the girls in the same position. Sandra has her reply that she is going to call for room service, and take a nice long bath. There is a cut in the middle, as Sandra had to try a couple of lines to get the bath part down. Still, she insisted on saying “a long, nice bath”. I’m no acting coach, so after a few attempts, I tend to just want to move on. We then cut to an angle showing the completely bare Danielle, as Sandra explains that this means she will have to answer the door. There is a cut before Danielle runs her hands through her hair saying, “You can’t be serious…”
This then starts the second scene with a call to the front desk. Danielle has already dropped her arms, as Sandra has herself a seat and picks up the phone. There was a quick cut as we discussed how to do this. Sandra displays a moment of independent thinking, when she adlibs the contents of her meal, “chicken wings, French fries, yeah, a diet Pepsi”, which I zoom in as she says the last part. I was pleased with her initiative here.
I then indulged in a gratuitous pan of Danielle’s profile, from toe to head. Because I was moving the camera around, I had to drop out the video sound, and once more added in the Spanish guitar. I figured this worked since Danielle’s undressed state is a direct result of Sandra’s manipulation of events. Whether or not this was quality filmmaking, I definitely wanted to showcase Danielle’s nudity. After Sandra finishes her phone conversation with the camera still on the other girl’s face, we cut so that Danielle could give the comical inquiry, “Did you get anything for me?” The next shot of Sandra’s negative reply was something I thought came out well.
For the next part, I switch to a pulled-back angle with both ladies in view. This is so Sandra can announce it is time for her bath. She gets out of the chair and walks past Danielle, with the camera panning across to follow her smoothly to the bathroom. Then we cut to Danielle, who after a pause, follows the steps of the other woman.
When she reaches the shut bathroom door, I switch to a closer view, as she tries the locked handle and knocks on the door. Danielle does a nice job sounding nervous, asking to be let in, or at least given a towel. It’s by no means over the top, but her character is clearly aware of the impending consequences. I left her standing there for a few seconds more, as I squeezed around to get a tilted angle of her rear end, and side view of her breast. Again, the larger point of my work is always to capture the beauty of women, even if it runs counter to proper filmmaking design. I then cut, so I could frame a proper shot of Danielle leaning her hand and face on the bathroom door, looking quite vulnerable.
The next part fades in, with Danielle sitting glumly in the foreground, perhaps contemplating her fate. There comes a knock at the door. This is where we used Danielle’s friend, so she could stand outside and even speak her line. I wanted the friend to appear on camera as an extra, but she was too shy. Nevertheless, I was grateful to have her around and have her participate. Danielle stands up, and shuffles over to the door. If nothing else, it gives us another full length display of her enjoyable backside. She cracks open the door, asking who is it, and her friend replies that it is room service.
Now here, I wanted to capture a point of view shot facing Danielle as she stands in the doorway. Without any dialogue, it is a stretch to reason why she opens up the door fully, but it is pure eye candy. I added her country guitar theme, perhaps suggesting that her innocent demeanor would compel her to be polite and open the door, even when she is not wearing a stitch of clothing. She then covers herself shyly with her hands, and I continue the interlude, simply because it was an adorable pose.
We then cut back to inside the room, Danielle hugging her body as she faces the open door and says “Hi…” The hotel staff, played by her friend, apologizes for the mix up and says there was a dilemma in the kitchen. This was supposed to be a “delay”. But I am not going to fault an unpaid extra who was pulled into this at the last moment. Danielle then says, “OK, thank you,” and shuts the door, closing the latch as well. I noticed in the next cut, the latch is open again. That is because we almost forgot and left her friend standing outside in the hallway, and had to let her back in the room!
Obviously the whole point of the room service bit was to add to Danielle’s character’s embarrassment by exposing her to another person. But on the next cut when Sandra steps out of the bathroom clad in only a towel, it is revealed that she has something else in mind. She teases the naked girl, “So… showing off for the hotel staff?” There is another cut so I could give Danielle her line, stressing her response should be somewhat mortified. “No! You made me do this,” the sweet brunette replies. Another cut follows, before Sandra tells her that she needs to be punished.
I then switch to a close-up angle of Danielle as she grimaces in disbelief. “Punished?” From here, we had to discuss how we were going to handle the action. After another cut, still focusing on Danielle, Sandra reaches for her arm and pulls her away from the door. The two girls make their way to the bed, with Danielle confused and asking, “What are you doing?” I had to cut to figure out the best angle to shoot this scene. When we resume, Sandra has her back at an angle toward the camera, and pulls Danielle over her lap. A few light taps on Danielle’s rear follow, and I start to move around to capture more of the fun. There is another cut here, since very often in a spanking scene, there is laughter and giggles on the first attempt. I pick up again, now facing the seated Sandra and Danielle stretched out across her. Again, she repeats more forcefully this time, ‘What are you doing?” and even lifts her bottom.
A few more playful slaps, and then I cut to allow Danielle to stand up. She twirls around, which gets a nice view in the wall mirror, and comments that she is all red now. This was actually a line that was a genuine reaction, shown in the outtakes. Swinging the camera over to Sandra, I cut and then had her feed off Danielle’s reaction by teasing, “Oh yeah, I bet you enjoy it.” The next shot shows a distressed Danielle, with Sandra seen in the mirror sitting smugly on the bed. “No… No… not at all,” the sweet girl answers, not used to this kinky behavior. Please don’t read into that as Danielle being uncomfortable with the shoot. She agreed to do this scene and laughed about it. Only in the heat of production, she was a little flustered, not being experienced in spanking play.
I then switched to a perspective from inside the door, showing Danielle standing there from behind. Sandra, off camera, gets off the bed, and approaches the girl to take her by the arm and leading her toward the door. All the while, wearing just a towel and her haughty pride, as our valued contributor Mackaie described it. (Happy Birthday, Mackaie!) What follows is a frantic effort to orchestrate one girl throwing the other out in hall, only to be pulled out as well and loose her towel in the process. Easier said than done.
The climax of the production starts with me showing the closed door to the hotel room out in the hallway, and then backing up. At this stage, I am holding the camera, not using the tripod. I had to cut, as the first attempt was too risky. We took some time to go over the scene again. When I started to shoot for the next take, I ended up needing to talk them through certain parts. So I dropped the video sound and started with the hot Latin number by Peanuth O’Toole, “You Lovely Island”, which would take us into the credits.
You can see the girls struggle to get it right, as Danielle rushes out first, and Sandra remains standing in the doorway. I had to tell Danielle to go and get her, which she does, pulling off the towel first and tossing it back inside the room. There is a cut as I had to tell Danielle to just grab Sandra and physically pull her out into the hallway. I’m sorry, folks, these kinds of scenes can be hectic. Quality camera work can take a back seat to the thrill of having two beautiful naked women in a very public setting.
With the music still playing, I do bring back the video sound, so the door slamming locked shut is heard. I then cut to Sandra’s close-up exasperation, “Great! Now we’re both locked out!” Danielle responds in the next shot by jogging past the elevators toward the ice and vending machines. Sandra chases her. I cut to switch to an angle showing them both in the corner, embarrassed and covering, but also fighting with each other. Danielle suggests they go down to the front desk to get the key. Bossy Sandra naturally replies, “I don’t think so… you are!” meaning the other girl is the one to make the trip. Perhaps finally coming out of her shell, Danielle’s character is not so sweet any more and says, “No, you are!” and even adds, “Enough of you right now!”
This bickering, to me, actually felt like echoes of a Lydia and Tara performance. Complete with some pushes and grabs, I was very happy with how Sandra and Danielle played this final part, without needing much prodding from me.
For the concluding scene, I had to cut to Danielle rounding the corner, to head for the stairs that were the way she originally arrived on this floor. Once more, her friend proved valuable for playing look-out, and made this extended scene possible. I recorded Danielle jogging down the length of the hallway fully nude, zooming in with my camera as far as I could until I lost focus. A little shaky at the end, but then I cut back to her just as she is opening the door to the stairwell. We entered the stark empty area, allowing me to once more establish the shot. I noted that there was a certain symmetry, as this is where we first saw Danielle in the video.
She shuffles adorably down the stairs, and I move to shoot over the railing, watching as she goes down another flight. When she disappears from view, this seemed like the best spot to finish and roll the end credits. It is only because my camera’s internal memory was near capacity, that I did not keep her sneaking around and explore other areas of the hotel. We also didn’t plan for that, since she had no spare covering whatsoever. Still, it would have been a blast. I do look forward to showcasing Danielle in more public outdoor locations in future videos.
Below is a link to download the file for the almost 9 minute outtakes and behind the scenes clips.
And… I am done until the spring! Thankfully, that is just a few weeks away.