At the end of each week, each housemate is required to sit down and be interviewed about the past week's events. Unlike the normal day-to-day taping, these interviews, which are referred to as "confessionals," involve the subject looking directly into the camera while providing opinions and reflective accounts of the week's activities, which are used in the final, edited episodes. The producers instruct the cast to talk about whatever they wish,   and to speak in complete sentences, to reinforce the perception on the part of the home viewer that the cast is speaking to them. Winick described this practice as "like therapy without the help."  The confessionals were originally conducted by Mary-Ellis Bunim and Jonathan Murray , but were eventually delegated to production staff members like George Verschoor and Thomas Klein. Beginning with the second season (Los Angeles), a small soundproof room was incorporated into each house for this purpose, which itself has also become known as the Confessional. (The soundproofing practice appears to have been discontinued in later seasons.   )
The unsung heroes of the reality show industry are the editors -- the ones who have to sift together hundreds of hours of footage of people conversing, eating and generally doing very little of interest and try to turn it into compelling television. It's not just a matter of cutting the boring stuff -- it's about creating clear stories from whatever they can grab. They're cutting and pasting bits of footage -- a little from last week, then a little from yesterday, a little from three weeks ago -- to tell a coherent story. This is how you get infamous incidents like what happened in the Real World: New York , when a romance between castmates was wholly invented by an editor (one of said cast members was in a real relationship at the time -- you can imagine their surprise when the episode aired).