You know those the clapper, you know, when you are in a movie and somebody like is like, you know, scene two, take one.

I was the clapper for a movie and I was in a,

I thought it would be faster and better if I did it really quickly

and got the fuck out of the shot.

So I would be like, I'd run in and I'd go, scene two, take two, and I'd hit it and run away.

And they would be like, the entire purpose of your job is that we can sync the video to the audio.

So when you move, you are doing a bad job.

And I was like, it's my first movie. Well, yeah, plus, and also, like, the editors need to see the info on that because that helps them.

It's the, yeah, it's the clap.

I was like an intern, and I was like, I'm helping.

I'm so fast.

I'm the fastest clapper these fox have ever seen.

And they were like, she sucks.

Did you think you were like signaling when they could start the scene, like a director, like action?

I think I thought that it was a requirement of film to do it, maybe by some kind of cosmic law.

And the faster I could do it and get out of their, the faster they

could do their job. I was the fluffer on some pretty high-end productions. And I didn't

understand what the job even was. You want to go as fast as possible with that one. It was jarring.

They gave me many tools to accomplish my trade.

This guy's the best goddamn fluffer I've ever seen.

God, he's stupid, he stinks, he costs like

$5,000 a day, but he's the best goddamn fluffer I've ever seen, and we will keep him.

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