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Eli Roth has been documenting the making of "Hostel: Part II" with a series of diary entries for MTV. Yesterday Roth wrote about his secret weapon in the edit room. Today he talks about his favorite mode of transportation on the lot.

One of the other advantages to working with [editor] George Folsey Jr. is that he's always working, and has great contacts at every studio. Right before "Hostel: Part II," George cut a kids movie for Warner Bros. called "Unaccompanied Minors," so he had all his editing machines set up on the Warner lot. Instead of moving to a new place, Warner Bros. just let us stay in the editing rooms, since no one else was scheduled to move into those rooms for a few months.

Warner Bros. has a beautiful, beautiful lot, and every day that I go to work, it feels like something out of "Pee Wee's Big Adventure" or the beginning of "Ed Wood." I see directors like Chris Nolan and Zack Snyder around, and I'm editing next door to Wolfgang Petersen, who's editing his director's cut DVD of "Troy." (That's right, I get to share the same bathroom as Wolfgang Petersen. Kinda awesome. )

But the best thing about working on the Warner lot, by far, is that we have our own golf cart. I couldn't believe it when I first saw it. I mean, I have a thing for golf carts anyway, but to have my own golf cart on a movie lot...this was a dream come true. I ride around in that cart all the time. I have absolutely no idea what we could ever possibly use it for, except for giving tours to friends when they come to visit me in the editing room. I ride all over the lot, looking at the different shows and movies shooting, and usually wind up getting lost or stuck in a dead end somewhere around Joel Silver's company. There's a nice small-town America back-lot where I like to drive to, with fake stores and a fake school and everything. It's so cool. And somewhere in between the coffee drinking and golf cart rides, I have to edit the movie.

Missed any of his daily entries? Click here for the "Eli Roth Diaries" archive.

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Eli Roth has been documenting the making of "Hostel: Part II" with a series of diary entries for MTV. Yesterday Roth introduced us to his editor. Today he reveals his secret weapon in the edit room.

The secret ingredient to a good editing room is the coffee. I never -- ever -- drank coffee before "Hostel: Part II." I just didn't like the taste. Even all those years I worked with David Lynch, I don't think I ever had so much as a single cup, and he's a coffee addict. But somewhere along the way living in Prague I got hooked on the European coffee. It's what got me through the exhaustion of the shoot. I had no idea that if you were tired you could drink coffee and it totally wakes you up (I'm a little slow when it comes to some things.)

By the time I got back to Los Angeles, I was craving the European coffee. Luckily, [the editor] George is a coffee afficionado, and has a beautiful 30-year-old Spanish espresso machine all set up in the editing room. He gets the beans from this place in Beverly Hills, and grinds them up fresh. When I get into the editing room, we usually spend about half an hour making coffee. We just grind up the beans and talk about terrible coffee drinking experiences we've had. By the end of the first week we've pretty much gone through all our stories, but we'll then talk about how great it is that we have the best coffee on the lot, and isn't it wonderful how we can drink all this coffee, and -- oh -- wait, we should probably edit. Then we got into the editing room and start to look at footage.

Missed any of his daily entries? Click here for the "Eli Roth Diaries" archive.

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Eli Roth has been documenting the making of "Hostel: Part II" with a series of diary entries for MTV since March. Here he takes us into the edit room to meet a collaborator.

Once I finish shooting, I usually get sick. Very sick. I go through about three different prescriptions on average when I'm shooting -- and not for the fun kind of illnesses, I'm sorry to say. I get strep throat, sinus infections, chest infections -- it's kind of inevitable. As the director, you can't take a single day off, so you really have no time to recover, and you just have to ride it out and cough your way through it. After you've built up an immunity to your cast and crew, who you've been living, working, and eating with for months, your adrenaline carries you through the end of the shoot, and once you wrap, you just collapse. I usually take about a week off to rest and wind down while my editor assembles footage.

I work with a great editor named George Folsey, Jr., who edited great films like "Animal House," and produced such classics as "Trading Places," and "An American Werewolf in London." I like George because he's old school — he's in his mid-60's. I like working with someone who has far more experience than I do because those are the people you learn the most from, and they always have the best stories. George's son Ryan edited "Cabin Fever," and when Ryan was working on another film George stepped in and edited "Hostel." He literally went from editing "The Pink Panther" to editing "Hostel," which was so low-budget we actually got a free room because we edited in a back room in the "Pink Panther" suite. George also knows everyone in town, so he has tremendous contacts when it comes to setting up things like the sound mix, which is crucial to any movie, and especially a horror movie.

Missed Eli Roth's last few diary entries? Check out his last "Hostel: Part II" column here, and check back right here on the blog for upcoming daily installments.

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