Speaker 1: Hi, I'm Arden Marine Fromentationabal and then will you accept
Speaker 1: this Rose podcast? And I'm Julianne Robinson, an Emmy nominated
Speaker 1: director of Bridgeton And where are the hosts of Lady
Speaker 1: of the Road? A funny and inspiring podcast where we
Speaker 1: have conversations with influential women about their lives and we
Speaker 1: get self help advice because we are always looking to
Speaker 1: improve ourselves. True story. We talk about money, health, relationships,
Speaker 1: you name it, from inspiring women like Joan Jet, Nicole Buyer,
Speaker 1: Lauren Lopez, Raheta and more. Listen and subscribe to Lady
Speaker 1: of the Road on the I Heart Radio app, Apple
Speaker 1: podcast or wherever you get your podcasts. The Gangster Chronicles
Speaker 1: podcast is a weekly conversation that revolves around underworld and
Speaker 1: criminals and entertainers to victims, crime and law enforcement. We
Speaker 1: cover all facets of the game gains. The Chronicles podcast
Speaker 1: doesn't glorify from modilstit of activities. We just discussed the
Speaker 1: ramifications and repercussions of these activities. Because at the Wall
Speaker 1: she played gamester games who are ultimately rewarded with Gangster Prizes.
Speaker 1: Our Heart Radio is number one for podcast, but don't
Speaker 1: take our word forward find against the Chronicles podcast I
Speaker 1: Heart Radio at wherever you get your podcast. Hi, I'm
Speaker 1: Hillary Clinton and I'm so excited to be back with
Speaker 1: a third season of You and Me both. When I
Speaker 1: started this podcast, we were going through some tough times,
Speaker 1: and let's face it, we still are. And here's what
Speaker 1: I know. We cannot get through this alone. So please
Speaker 1: join me for more conversations with people who will make
Speaker 1: you think, make you laugh, and help us find a
Speaker 1: path forward. This season, I'll be talking about the state
Speaker 1: of our democracy with experts and with people organizing on
Speaker 1: the ground. We'll draw inspiration from some amazing people like
Speaker 1: Olympic star Alison Felix and Grammy Award winner Brandy Carlisle.
Speaker 1: And we'll get into the hard stuff with writer Cheryl
Speaker 1: Strait and my dear friend and colleague Juma Aberdeen. So
Speaker 1: join us listen to you and Me both on the
Speaker 1: I Heart Radio app, Apple Podcast or wherever you get
Speaker 1: your podcast. My name is Randoline Horn. I was the
Speaker 1: director of photography on the Office and sometimes Director of
Speaker 1: the Office. Hello everybody, thanks for joining us back here
Speaker 1: on the Office Deep Dive. As always, I am your host,
Speaker 1: Brian Baumgartner, now today we have such a treat for you.
Speaker 1: This episode, all right, is the beginning of a kind
Speaker 1: of mini series, a deep dive within the deep dive,
Speaker 1: if you will, about the camera on the Office, specifically
Speaker 1: the camera as a character. As I have said many times,
Speaker 1: the thing that I am most proud of about the
Speaker 1: Office is the attention to detail about the camera. Every
Speaker 1: shot was meticulously thought out to make it feel like
Speaker 1: a real documentary. In every scene we shot, there was
Speaker 1: always a conversation about the camera's angle, the way that
Speaker 1: it moved, and the intention of the camera. And so
Speaker 1: who better to talk about all of this than the
Speaker 1: guy who shot it, the guy who was holding the camera,
Speaker 1: Randall Einhorn. Now I love Randall's story. Okay, I'm not
Speaker 1: gonna give it away, but let me just say that
Speaker 1: he started out as a river guide deep in Australia,
Speaker 1: might down Under into wilderness, and then he ended up
Speaker 1: as dep of the Office. It's incredible. And even though
Speaker 1: Randall is this like adventurer, e outdoorsman guy who'd rather
Speaker 1: sleep in dirt than a bed, he is also the
Speaker 1: sweetest guy that you'll ever meet. And he and I
Speaker 1: have spent many a night at his home, which used
Speaker 1: to be an ash ram, drinking wine, looking at the
Speaker 1: stars and talking about life and the things that are
Speaker 1: really important. And as you'll hear momentarily, he still holds
Speaker 1: what we did on the office as something truly special. Folks,
Speaker 1: there may be some tears today. Okay, I'm not saying
Speaker 1: who's but you're gonna find out soon enough. So please
Speaker 1: welcome the man behind the camera, Randall Einhorn. Bubble and squeak.
Speaker 1: I love it. Bubble and squeak, Bubble and squeaker. Cookie
Speaker 1: every month, lift over from the Natty. I mean, you
Speaker 1: know how it is here you're over there. It's just
Speaker 1: been crazy. I just came up for air myself. I
Speaker 1: just I did a pilot for HBO Max that I
Speaker 1: just finished shooting on Friday. Yeah, you know pilot. It's
Speaker 1: really good. Really yeah. They're doing eight shows in the
Speaker 1: next uh this thank you volumes on the left here, Okay,
Speaker 1: no one has adjusted the volume yet. I'm going to that.
Speaker 1: It's on the left. You watch me if I get
Speaker 1: too much of you. I just just did this on
Speaker 1: the left. Nothing nothing at all. Can't hear it at all.
Speaker 1: I can hear you. Now, try to get back out
Speaker 1: last it. Um, So it's HBO Max. It's got eighty
Speaker 1: new shows that they're doing next year, and mine was
Speaker 1: I hope one of them. Have you seen Launch forty nine? No? Um,
Speaker 1: I mean unless that makes me sound dumb, and then
Speaker 1: yes I have, but I don't remember much about it.
Speaker 1: Remind me you haven't seen Nobody watched it. It was
Speaker 1: an hour on AMC. This feels weird talking to you
Speaker 1: looking at you with through the microphone and the headphones.
Speaker 1: Why we're just having a chat? Um, What did you
Speaker 1: do Lodge forty I did the pilot for that on
Speaker 1: AMC and that was an hour and it was on
Speaker 1: just after A Better Call Saul. Here's my issue. AMC
Speaker 1: is just confusing to me, and I'll tell you why.
Speaker 1: The reason is, they do remarkable shows, but I never
Speaker 1: understand when it's things are on right, So I just eventually,
Speaker 1: But I'm the schmuck that like, I'm like, oh, shoot,
Speaker 1: Better Call Saul has had four episodes and then I
Speaker 1: go buy them on Amazon or whatever. So I'm I'm
Speaker 1: I guess I'm contributing to their bottom. Certainly are thank
Speaker 1: you very much? Maybe they used to do it for
Speaker 1: Lodge forty nine by um. All right, so now you're
Speaker 1: a big time Hollywood director of super big time, really
Speaker 1: big time. If I can draw Randall Ironhorn, super big,
Speaker 1: super big, super big. Does anyone ask you like, oh,
Speaker 1: is this your production company? And You're like, no, I'm
Speaker 1: just super big time. It's a super big time. I
Speaker 1: actually have a production company name finally, because I have.
Speaker 1: I sold three pilots this year. Um, sad Unicorn, sad Unicorn. Yeah,
Speaker 1: because the iron Horn is unicorn? And why is it sad?
Speaker 1: Because it's funny when a unicorn is sad? Right, that
Speaker 1: might be the best production company name that I've ever heard,
Speaker 1: Sad Unicorn, Like, yeah, I will say, I don't know why.
Speaker 1: The only other name that is popping into my head
Speaker 1: that that I think can compete with Sad Unicorn is
Speaker 1: bad Robot. I think bad Robot. That's a really good
Speaker 1: That's a really good one. I also thought about Misery
Speaker 1: Loves Company. There you go. That sounded like a game
Speaker 1: show ceo on the end, you have all Right, I'm
Speaker 1: gonna say that I was about to compliment you, but
Speaker 1: I don't. I don't feel I don't feel quiet. Um
Speaker 1: now I don't I don't feel quite ready. Um. All right,
Speaker 1: so now you're this big time super big, super big,
Speaker 1: super big time sorry, super big time, um writer, producer.
Speaker 1: What were you doing prior to the years two thousand
Speaker 1: and five ish four ish five ish? What were what
Speaker 1: were you working on? Then? So I came in. The
Speaker 1: reason I got to the office is I was deepeeing
Speaker 1: some extreme sports stuffy snowboarding with Sean White and Jeremy
Speaker 1: Jones who are snowboarders, and Jackson Hole and Ben Silverman
Speaker 1: decided that I was the guy to shoot the office
Speaker 1: because I can shoot outdoor extreme sports, so therefore you
Speaker 1: should shoot the office because you've I mean, I came
Speaker 1: from outdoor adventure sports. I came from the Eco Challenge,
Speaker 1: and then I was a DP on Survivor as well
Speaker 1: the whole time, the first season of Survivor, the first
Speaker 1: season I did be the first one, and then I
Speaker 1: ended up, you know, being operator on six More. Wow.
Speaker 1: So I came from outdoor adventure pursuits and then I
Speaker 1: ended up in a fluorescent uh office? Right? And did
Speaker 1: you work with Ben? How did you know Ben? Because
Speaker 1: Ben came to Jackson Hole while I was shooting this
Speaker 1: extreme sports stuff. And decided I was the guy. And
Speaker 1: so he went to Greg and said, this is our guy. Yeah,
Speaker 1: this is our guy. And Greg and I said a
Speaker 1: meeting to meet at a coffee being near here, which
Speaker 1: was on Santa Monica Boulevard. And I knew of a
Speaker 1: coffee being on Santa Monica Boulevard, so I was new
Speaker 1: to the Los Angeles. I lived to our from a
Speaker 1: stoplight in Australia, so I knew of a coffee being
Speaker 1: on Santa Martica Boulevard. I went there and I waited
Speaker 1: for Greg for like fifteen minutes, and then I figured,
Speaker 1: oh I should I should call and see where he is. Well,
Speaker 1: he was at the coffee being on Santa Monica just
Speaker 1: about twenty ten miles away. So I showed up for
Speaker 1: the meeting about forty five minutes late. But Greg's all right.
Speaker 1: So yeah, we hung out and that's my first meeting
Speaker 1: with Greg. And did and then did you wait? Or
Speaker 1: were you were? You were hired pretty quickly after that.
Speaker 1: I was hired pretty quickly after that. I think in
Speaker 1: that initial conversation, like I I, I referred to the
Speaker 1: office as a tofu hot dog, and I remember Greg
Speaker 1: kind of latched onto that I think he liked it.
Speaker 1: But what what it meant to me is it's it's
Speaker 1: good food wrapped like chunk food, so you had you
Speaker 1: had to always kind of dissect it and kind of,
Speaker 1: you know, put it in a veneer, and you're always
Speaker 1: putting it under a veneer of something just caught or
Speaker 1: just just cleaned, or shoot it on a long lens,
Speaker 1: so it appears to be privileged information, which is extra
Speaker 1: juicy for the viewer. Right. We talked a lot about
Speaker 1: what I thought it should look like because I really
Speaker 1: came from a documentary world, and um, it always feels
Speaker 1: false to me when I see a camera right next
Speaker 1: to people who were having a very into conversation. And
Speaker 1: I told Greg, I think that that camera should be
Speaker 1: a very very long way away so that the viewers
Speaker 1: really leaning in they feel privileged by it. They feel
Speaker 1: like it feels it reads more honest if it's camera
Speaker 1: is a long way away as opposed to its just
Speaker 1: being right there, because people would have an awareness of
Speaker 1: that camera and it's subliminal. But to me, it makes sense.
Speaker 1: Ken Koppas talked to me a little bit about having
Speaker 1: to work for a shot that he didn't want the
Speaker 1: camera necessarily in the right place to get the perfect
Speaker 1: set up television shot. That if there was a filing
Speaker 1: cabinet in the way, or if there was a pillar
Speaker 1: in the way, that that was actually a good thing
Speaker 1: that the camera had to work to find it. Yeah,
Speaker 1: Einstein said, in the midst of difficulty lies opportunity. And
Speaker 1: I think that what we did on the Office, like
Speaker 1: when we build the first season we shot on you know,
Speaker 1: in J. J. Abrams office, there was a real office
Speaker 1: with real doors and real low ceilings and real everything,
Speaker 1: and everything was difficult, and every single thing that made
Speaker 1: it more difficult may it better because you had to
Speaker 1: work for it, and it made it seem more real.
Speaker 1: So we were always putting stuff in the way, and
Speaker 1: you know, making it the more inconvenient was the more
Speaker 1: real and grounded it felt, which I think allowed the
Speaker 1: comedy to go a little bit further because the more
Speaker 1: grounded the look of it, maybe you can push things
Speaker 1: a little bit more comedically. Right. I remember, Um, you
Speaker 1: shooting constantly and being like, yeah, I think this shot
Speaker 1: is too pretty, and you would just pull you yourself
Speaker 1: would just pull the plant over so there would be
Speaker 1: some leaves in the corner of the screen again, like
Speaker 1: trying to block it. Yeah, trying to trying to be
Speaker 1: hidden as if we were, you know, gleaning something that
Speaker 1: we were privileged to see. You know, we did that
Speaker 1: all the time on Survivor. If people are having a
Speaker 1: conversation just back way up the beach, and it makes
Speaker 1: it feel more real. Um. I remember when we've moved
Speaker 1: out of JJ's office and we built and on a stage.
Speaker 1: We had like a I don't know, a thirty thousand
Speaker 1: square foot stage. We and we built this office. And
Speaker 1: normally in normal television shows, they would they would make
Speaker 1: the walls so that it can fly away, and they
Speaker 1: would make everything so you can shoot through. You know,
Speaker 1: you can pull a wall away and shoot put the
Speaker 1: camera there easily. And we didn't do any of that.
Speaker 1: Everything that made it more difficult made it better. And
Speaker 1: it's I think we owe it all to Einstein. In
Speaker 1: the midst of difficulty lies opportunity. I think that's brilliant.
Speaker 1: But that was he said it in German. It didn't
Speaker 1: sound as lyrical m hm instinct. I don't know what
Speaker 1: it is, but oh, you bring out your German. Yeah,
Speaker 1: if I sneak, that's all I can say. Really. Um so,
Speaker 1: the only thing that was changed from the practical office
Speaker 1: space too when we set up on the sound stage,
Speaker 1: because we wanted the whole uh dimensions and everything to
Speaker 1: be the same. Wasn't there like a nine inches increased
Speaker 1: in the conference room or something like that? I think
Speaker 1: I think we made the conference room like nine inches wider,
Speaker 1: and we made the kitchen like a foot and a
Speaker 1: half wider, okay, just to try to get your ass
Speaker 1: in the corner, just because I'm not a small ass,
Speaker 1: just to try to get it as far into the
Speaker 1: corner to shoot that, you know, exactly. And the kitchen
Speaker 1: was still really really really hard to shoot. And you know,
Speaker 1: I had all these reflective surfaces all all over. And
Speaker 1: I think we made the doors like four inches higher
Speaker 1: because I don't remember. We were. We boomed the whole show,
Speaker 1: which was crazy but but really worth it. And the
Speaker 1: camera would go in and the cameras I'm six five
Speaker 1: and the camera was like another I'm five ten. I
Speaker 1: thought you'd pick up on that anyway, you think of
Speaker 1: me at six five, right, six five? That's how I
Speaker 1: think of myself too. Anyway, Um you know, I'm five ten,
Speaker 1: and the camera would be another you know, four inches
Speaker 1: above my head and then and then the boom would
Speaker 1: come in the room over my head. So we had
Speaker 1: all the you know, entering a room was always a
Speaker 1: an adventure. Yeah, So we we tried to shoot the
Speaker 1: office as cruthful as possible, and there were rules. For instance,
Speaker 1: we could not show where another camera was because that
Speaker 1: would that would give up the lie. Like in in
Speaker 1: other words, if someone if a camera is standing in
Speaker 1: a doorway, um, and another character comes to that doorway
Speaker 1: and I'm over the shoulder of that character, we would
Speaker 1: never show that character standing in that doorway because there
Speaker 1: should be another camera there. So we would never show
Speaker 1: a big wide shot of a room. That is completely
Speaker 1: conventional in all television. You would see the wide and
Speaker 1: then you would see the tights, and within that wide
Speaker 1: there should have been cameras inside. In the right. If
Speaker 1: it's a documentary, if Steve standing at his office and
Speaker 1: someone is filming Steve and then we cut, we go back,
Speaker 1: and then we have a camera that's shooting over Steve.
Speaker 1: To the rest of the of of the people in
Speaker 1: the bullpen watching, you should see a camera man standing
Speaker 1: behind them. Yeah. And and the rule that we came
Speaker 1: up with is if it could have possibly been done
Speaker 1: by being at least skilled verite documentary cameraman, we could
Speaker 1: do it. If not, we shouldn't do it right. Um.
Speaker 1: And so we always we always tried to figure out
Speaker 1: another way of doing it. And I think that that
Speaker 1: made it cooler. It made it made it so much
Speaker 1: more challenging and and more interesting. But we had rules.
Speaker 1: We had rules that we would not break. Did you
Speaker 1: ever catch a camera man. We would whip through each
Speaker 1: other at times, but we would hope that you would
Speaker 1: never use the take where we whipped through each other. Um.
Speaker 1: But we would also just duck and Matt would know
Speaker 1: that I have to duck down, or I would he
Speaker 1: would duck down when I'm whipping through him. You remember
Speaker 1: one of your favorite examples of doing that. There are
Speaker 1: so many. We were always we were always hiding. We
Speaker 1: were always hiding from each other because we were shooting
Speaker 1: three sixty. Which is a tricky thing about lighting that
Speaker 1: set is we were just using the fluorescent lights to
Speaker 1: make these scoops, these light scoops to send out a
Speaker 1: soft wall. Um. I don't know what wait to say
Speaker 1: that again, these light scoops to send out a soft wash.
Speaker 1: So we had these say that again, we had these
Speaker 1: We made these milar box. These boxes out a cardboard
Speaker 1: with milar inside of them and a piece of diffusion.
Speaker 1: You would stick that milar that. You'd stick that box
Speaker 1: on a light and that's the light that would send
Speaker 1: out a nice soft wash to the rest of the room.
Speaker 1: But not on a fluorescence. We weren't really using fluorescence.
Speaker 1: We were really using fluorescence. Yep, unbelievable. Get you fired
Speaker 1: from other shows, Well, that's that's what you're supposed to
Speaker 1: do on our show. Do whatever would get you fired
Speaker 1: on other shows. I didn't know any better. Sound it
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Speaker 1: What grows in the forest trees, Sure, No. What else
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Speaker 1: I'm Zoe de Chanelle and I'm so excited to be
Speaker 1: joined by my friends and cast mates Hannah Simone and
Speaker 1: Lamar and Morris to recap our hit television series, New Girl.
Speaker 1: Join us every Monday on the Welcome to Our Show podcast,
Speaker 1: where we'll share behind the scenes stories of your favorite
Speaker 1: New Girl episodes, revealed the truth behind the legendary game
Speaker 1: True American, and discuss how this show got made with
Speaker 1: the writers, guest stars, and directors who made the show
Speaker 1: so special. Fans have been begging us to do a
Speaker 1: New Girl recap for years, and we finally made a
Speaker 1: podcast where we answer all your burning questions like is
Speaker 1: there really a bear in every episode of New Girl?
Speaker 1: Plus each week you'll hear hilarious stories like this at
Speaker 1: the end when he says you got some schmid on
Speaker 1: your face. I feel like I pitched that joke. I
Speaker 1: believe that I feel like I did. I'm not on
Speaker 1: a thousand percent I want to say that was I
Speaker 1: tossed that one out. Listen to the Welcome to Our
Speaker 1: Show podcast on the I Heart Radio app, Apple podcast
Speaker 1: or wherever you get your podcasts, and you know, there
Speaker 1: were so many things that were done to create this
Speaker 1: ultra reality and working conditions that we're not on the
Speaker 1: outside pleasant. We were stuck in that room. We were
Speaker 1: there all day long camera moving around, which really the
Speaker 1: other potentially most important character and the whole show was
Speaker 1: the camera itself in terms of creating that family and
Speaker 1: everybody there. It was the camera guys and one boom operator.
Speaker 1: We were all in there together. We were just you know,
Speaker 1: fitting in where you could get in. I mean, so
Speaker 1: much of that place was not not an easy place
Speaker 1: to move and it wasn't convenient, but it was awesome,
Speaker 1: I mean, being able to work all that out. And
Speaker 1: you know, having come from a cinema verity style, documentary style.
Speaker 1: While I had done a shameful amount of reality TV,
Speaker 1: it wasn't my flavor of choice. It was just something
Speaker 1: I had done. So I was really used to just
Speaker 1: trying to fit in where we could get in, and
Speaker 1: like you know, the other operator and then DP and
Speaker 1: then director of the show, Matt Son, we had shot
Speaker 1: a bunch of reality gun together. You know, they talk
Speaker 1: about the line when you know the line is is,
Speaker 1: and cameras want to be on one side of the
Speaker 1: line or another. They don't want to be on either
Speaker 1: side of the line because one person's face will be
Speaker 1: looking left to right, and you want the person they're
Speaker 1: talking to face to be looking right to left. If
Speaker 1: you're on the wrong side of the line, you'll end
Speaker 1: up with two people looking left to right and it
Speaker 1: won't look like they're having a conversation. So we always
Speaker 1: paid a lot of tension to the line. But it's
Speaker 1: also that one thing that we just kind of were
Speaker 1: so versed in because you have to be when you're
Speaker 1: telling a story that is truly caught, that line comes
Speaker 1: very naturally. So blocking scenes was a blast, and it
Speaker 1: was so much fun just Matt and I just looking
Speaker 1: at each other and the boom boom person operator looking
Speaker 1: at us like, Okay, where do I go? Um? And
Speaker 1: that's not my problem, right, because you're a sound guy, right.
Speaker 1: But a ton You bring up a great point that
Speaker 1: a ton of our rehearsal time was really about not
Speaker 1: blocking of actors, but blocking of the cameras and and
Speaker 1: in every show, you you have to, you know, figure
Speaker 1: out where the camera is and how it's moving. But
Speaker 1: the intricacies of that to make sure that you could
Speaker 1: capture the action was truly masterful. Well we I think
Speaker 1: we spend a lot we spent a lot less time
Speaker 1: on that on the office, blocking, blocking camera and blocking.
Speaker 1: You know, for me, the best way of of gleaning
Speaker 1: a scene on the office was everybody be with there
Speaker 1: a d and I will shoot what I can. And
Speaker 1: that's kind of how we did it. And I remember
Speaker 1: Harold Ramis came in and he everybody's so excited. Harold
Speaker 1: Raymis is all I said, Oh my god, Carold Ramos said,
Speaker 1: And he spent like a week extra just blocking the show.
Speaker 1: And there was a point where, you know, the rehearsal
Speaker 1: was done and he had a theory of how it
Speaker 1: would be blocked, and you know, Matt and I just
Speaker 1: kind of stood back and used our fingers as if
Speaker 1: there were cameras and you get this, I'll get this. Great,
Speaker 1: we'll cross the line here, we'll come over there, we'll
Speaker 1: come around here. You don't need duck because I'm zooming
Speaker 1: through you to get this line. And I'll duck from
Speaker 1: you to zoom through, and Harold looked at me and
Speaker 1: he says, I should just throw my plans out right.
Speaker 1: I'm like, no, Mr Ramas, it's a real privilege sort
Speaker 1: of that is so happy to here. I'm sure that
Speaker 1: all that work you did in there with graces and
Speaker 1: this is okay. I'll keep it for a little bit.
Speaker 1: And then we just blocked another scene. He because I
Speaker 1: should chuck this out right. I'm like, no, Mr Ramas,
Speaker 1: it's really great to see you coming away in with
Speaker 1: with a plan. He just don't ship me, kid, I
Speaker 1: should get rid of this. I'm like, oh, you could
Speaker 1: keep it as back up. Oh my gosh, that is amazing. Yeah. Well,
Speaker 1: one of the things that um, one of the things
Speaker 1: that Ken mentioned was that actually in traditional documentaries you
Speaker 1: don't see that whippan that um there was some discussion
Speaker 1: slash argument early on about people not wanting to include that,
Speaker 1: but you know, he felt like that on television, that
Speaker 1: that those visual cues of of messiness was was really important.
Speaker 1: Did you feel the same way. Yeah, I remember, like
Speaker 1: I just watched an earlier episode of the Office, and
Speaker 1: my god, the camera work because outstanding was the one
Speaker 1: one thing I took away, but um, you know, it's
Speaker 1: kind of insistent that if if somebody would, you know,
Speaker 1: like if Michael was wanted to close his office door,
Speaker 1: the persistence of the camera, it's like, no, I'm gonna
Speaker 1: look through the blinds, Okay, you close the blinds, Okay,
Speaker 1: I'm gonna come around of these and I'm gonna get in,
Speaker 1: and just it just made it feel more delicious and
Speaker 1: that that the camera was no cozy and it was
Speaker 1: really was not relenting. It wasn't going to give you
Speaker 1: the space. It might let you think you have the
Speaker 1: space to go have a private moment, but it probably
Speaker 1: had another angle on you anyway. But that but that's
Speaker 1: what I mean about the camera being a character itself,
Speaker 1: that it was an active participant in the action. Yeah,
Speaker 1: it's certainly, you know, I definitely feel like the camera
Speaker 1: was was a character in the show. And some of
Speaker 1: the some of the best direction I ever got from
Speaker 1: directors was the type of direction you had give an actor.
Speaker 1: You feel this, you're you're worried about this, you're curious
Speaker 1: about that, but you know this, And it was kind
Speaker 1: of a similar type of direction you'd give an actor,
Speaker 1: And that was some of the best, you know, um
Speaker 1: inspiration as a camera like to that that the camera
Speaker 1: always had a point of view, it had an agenda,
Speaker 1: It had its own stories it wanted to tell, regardless
Speaker 1: of what the characters in the show wanted to tell.
Speaker 1: That was the thing that I was the most proud of.
Speaker 1: I think of everything in the show, how much care
Speaker 1: and thought was put into the camera, and not just
Speaker 1: their attitude, but the camera as it related to the
Speaker 1: other characters in the space. Every single scene, there was
Speaker 1: always a decision made, and I'm tremendously proud of that.
Speaker 1: And you're working that, thank you. Yeah, it was. It
Speaker 1: was so much fun. I mean I remember doing scenes
Speaker 1: and I think that at any different time, the camera
Speaker 1: would have a different relationship with the characters, just like
Speaker 1: another character would have a different relationship with the character.
Speaker 1: Like I would look at Jenna and I would you know,
Speaker 1: Jenna would smile and I would smile back. I just
Speaker 1: could not not um. You know, at times I think
Speaker 1: I was probably somebody who is invasive to Michael Scott's privacy,
Speaker 1: or when you caught Michael Scott in an embarrassing moment
Speaker 1: and he really wishes you weren't there. Um, that's where
Speaker 1: I think so much of the fun is, or when
Speaker 1: Rain thinks he's gonna he's gonna pull one over on Jim,
Speaker 1: and you just kind of like, Okay, I'm gonna go
Speaker 1: along with this with you because it'll be fun and
Speaker 1: it'll make a great TV story. So, yeah, you had
Speaker 1: it definitely felt like I had relationships with everybody on
Speaker 1: that show. Yeah, and the you just brought us something
Speaker 1: that I hadn't had sort of forgotten about or hadn't
Speaker 1: thought about how significant it was. But on most television shows,
Speaker 1: as an actor, when you're shooting it the camera, the
Speaker 1: person who's operating the camera is typically very dead faced,
Speaker 1: often just looking into the lens or having their head
Speaker 1: down or sort of turned away, and the sort of
Speaker 1: traditional um, you know, that's just sort of traditionally how
Speaker 1: it's done because you're attempting to not distract the actor
Speaker 1: from whatever they're saying, whether it's serious or dramatic or
Speaker 1: funny or whatever. But you would laugh, like you would
Speaker 1: specifically ask the camera laugh and interact with the action
Speaker 1: that's going on, and that's so rare and also helpful
Speaker 1: most of the time, probably really unprofessional. Well, no, but
Speaker 1: I think no, but I think that was part of it.
Speaker 1: I mean, I think it actually we talk about the
Speaker 1: camera as the character, but it really was you. I mean,
Speaker 1: it really was the operator of the camera who was
Speaker 1: that character, much like you know the quote unquote documentarian
Speaker 1: who was usually the director who was asking questions during
Speaker 1: the talking. That's fascinating. I never thought about that before,
Speaker 1: but you're laughing. And total lack of professionalism was actually
Speaker 1: a benefit. It's unbelievable that in the terrible lighting I
Speaker 1: do and the terrible lighting right, and I don't know,
Speaker 1: you know, for me, form follows function. The fact that
Speaker 1: you're the camera has a point of view and it's
Speaker 1: really trying to discover things, and it has its own
Speaker 1: agenda that informs why that show looks that way, which
Speaker 1: is other shows that I did don't have that look.
Speaker 1: It's a real important for me to try to find
Speaker 1: the right look for any show I'm doing, and being
Speaker 1: a character in that place, investigating what the stories that
Speaker 1: are going on informed to me how that show should look.
Speaker 1: It's really documentary, right, I mean, it was really about
Speaker 1: trying to find all of the elements of making a documentary,
Speaker 1: and in a true documentary, it's being put together solely
Speaker 1: in the editing bay, and the story that's happening actually
Speaker 1: in real time that you don't get retakes of. You
Speaker 1: get what you get, whereas in this you were really
Speaker 1: telling the story in the moment visually that then you know,
Speaker 1: we take the best takes, and we do. But but
Speaker 1: but how that story is told is influenced way more
Speaker 1: by you as the operator of the camera then in
Speaker 1: post the editors might disagree. But I I think the
Speaker 1: attitude that the camera has on set is certainly how
Speaker 1: the story is told. Do you think the editors would disagree? No, No,
Speaker 1: I don't know. I'm just giving him a dig. No, No,
Speaker 1: I think they loved, they enjoyed that attitude, and they
Speaker 1: always would would cut that attitude in there because I
Speaker 1: think that was a really a special sauce that no
Speaker 1: other show had. And although we didn't shoot a whole
Speaker 1: lot of wonders, right, so one shot that carries us
Speaker 1: through an entire scene that you can't really cut up.
Speaker 1: You you really were oftentimes by connecting, as you said,
Speaker 1: Jenna to John, we see John and then we see
Speaker 1: Rain looking at John looking at Jenna, and you you
Speaker 1: see the realization from all of those characters. What's happening
Speaker 1: in that moment. It's not an Orson Wells however many
Speaker 1: minutes a wonder, but you're still creating the story that
Speaker 1: an editor can't change. We did, We did a lot.
Speaker 1: I mean I always tried to do a lot of
Speaker 1: Warners because I thought they told so much. They gave
Speaker 1: so much background us to where everybody was, and and
Speaker 1: things just would often line up so beautifully. Um. I
Speaker 1: really enjoy those things where you see Steve go into
Speaker 1: his office and the camera tried to go into his
Speaker 1: office and he just shuts the door, and then he
Speaker 1: just shuts the blinds, and then he just shuts the
Speaker 1: other blinds and then he goes around to the other
Speaker 1: You know, I really enjoy that. It tells me what
Speaker 1: the camera's thinking in a really cool way. Do you
Speaker 1: remember any happy accidents or things that happened in Warners
Speaker 1: that you you would not have been able to get
Speaker 1: if you had shot it differently? Which certainly tried to
Speaker 1: shoot Like the gym and Pam Kiss, I was so
Speaker 1: far away from them. Ken Cooppas was directing, and I
Speaker 1: was in the kitchen and all the lights were out
Speaker 1: and we just had barely barely light on, and it
Speaker 1: was a really long lens shot. It was probably three
Speaker 1: d millimeter long lens shot. It's really so it just
Speaker 1: felt it felt so real, and I remember doing it
Speaker 1: is like, you know, I was actually getting choked up,
Speaker 1: and I knew very well that I was John Krasinski
Speaker 1: and Jenna Fisher and that there was craft service just
Speaker 1: out the out the door, and I would see John
Speaker 1: and Jenna there in a minute, but I would still
Speaker 1: get emotionally involved. I would get invested because it, to me,
Speaker 1: when I was shooting, looked real and I was with
Speaker 1: those characters and it all felt real. Yeah, that's amazing.
Speaker 1: Well that was beautiful. My um, what I was thinking
Speaker 1: of was not nearly as sweet as what you said.
Speaker 1: We tried to do kind of a wonder. I don't
Speaker 1: think it was actually a wonder, but in stress relief
Speaker 1: in the episode where the fake fire drill happens, where
Speaker 1: Dwight lights the fire, and we tried to do that.
Speaker 1: And I don't know if you remember this, but there's
Speaker 1: a shot where Kevin me I'm running through the office,
Speaker 1: I'm running through the kitchen to go from the I've
Speaker 1: just raided the vetting machine and I'm running through the
Speaker 1: kitchen and I shoulder you, I nudge you. You go
Speaker 1: down on the on your ass on the ground, and
Speaker 1: Chris Workman, who was the camera assistant, huge beefy, very
Speaker 1: strong guy, reaches down, picks you up by the shoulders.
Speaker 1: You stand back up with the camera and keep filming.
Speaker 1: And that that stayed in. Oh man. I was so
Speaker 1: proud of that, you and more of me, but of you,
Speaker 1: and most I was really proud of Chris. I mean
Speaker 1: he picked me up like I'm not small and is
Speaker 1: not small, um and he just picked me up with
Speaker 1: one arm and I'm like, did I fall down? I'm
Speaker 1: like yeah, he kept rolling and it is in the
Speaker 1: show and it's great. It's felt so real. I remember,
Speaker 1: I remember, I'm backing up, backing up, backing up, backing up.
Speaker 1: Not fast enough. Boom, I'm up again. Thank you Chris. Yeah.
Speaker 1: It's funny because like on on normal, normal TV shows,
Speaker 1: where there's always a guy who's guiding you backwards, and
Speaker 1: I never wanted and I was always weirded out by
Speaker 1: somebody guiding me to where I should be because I
Speaker 1: always always kind of looked half look behind me and
Speaker 1: half looped through the viewfinder and just normally it's a
Speaker 1: grip who's doing that. And I never wanted that. I
Speaker 1: never never allowed that. But Chris was there that day.
Speaker 1: He was there. He totally caught me. I think maybe
Speaker 1: he was opening the door for me as well, because
Speaker 1: I was rushing back, you were rushing backwards. There was
Speaker 1: the door. We kind of got missed time because the
Speaker 1: door was I don't remember, but I shouldered you and thought, oh,
Speaker 1: that's bad, and then realized we were still going, and
Speaker 1: I kept going. He was still going. I remember also
Speaker 1: there was a time there was some on the basketball episode,
Speaker 1: John got his nose a bloody nose, and the story
Speaker 1: was he was supposed to get a bloody nose, but
Speaker 1: he actually really got a bloody nose. So I'm I'm
Speaker 1: rushing right in there because John's bleeding and I'm shooting it,
Speaker 1: and he stayed with it. He's like, okay, all right,
Speaker 1: we've cut because my nose hurts. But I remember we
Speaker 1: just so rold with it. I also remember up on
Speaker 1: the roof, Dwight and Michael we're throwing a watermelon off
Speaker 1: the roof onto a trampoline to try to hit Stanley's car.
Speaker 1: And they didn't think they'd be able to hit Stanley's car.
Speaker 1: But and we thought, okay, we're gonna have to do
Speaker 1: this visual effects and it's going to be a fake
Speaker 1: Watermelon's gonna smash on the car. And we're all, you know,
Speaker 1: leaning over the roof in harnesses, and they throw the
Speaker 1: watermelon off. It hits the trampoline and hits Stanley's car
Speaker 1: and dense the roof and it was a real It
Speaker 1: really happened. So I just pan back up to them
Speaker 1: and they just kept going with it. It was it
Speaker 1: was fantastic. Um. There was another thing that has come up.
Speaker 1: Talk to me a little bit about the positioning of
Speaker 1: the talking heads and and where certain characters were shot
Speaker 1: and if there was there a reason for which direction
Speaker 1: there was, and and I don't know if you know
Speaker 1: everybody else and anybody ever got this. It just meant
Speaker 1: meant something to me. And that was, you know, everybody
Speaker 1: was shot, UM pointing into the office where Leslie was
Speaker 1: sitting so in front of Stanley except for Jim, because
Speaker 1: I thought that Jim was the one person who was
Speaker 1: going to leave that place and they had something bigger
Speaker 1: they wanted to do, and so Jim got to his
Speaker 1: position was looking out the window and the parking lot
Speaker 1: in the sun. And eventually once Jim and Pam got together,
Speaker 1: then Jim and Pam were both in front of the
Speaker 1: windows because they're both going to leave this place and
Speaker 1: go to some place better. That's awesome. I love that.
Speaker 1: That's like, what do they call the kids an easter egg?
Speaker 1: That's an easter egg for the kids. That's an Easter egg.
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Speaker 1: So you were telling stories in the reality world and
Speaker 1: then you know, being the director of photography and holding
Speaker 1: the camera. But then now you move into directing for
Speaker 1: your first time. So what was the first thing you directed?
Speaker 1: You know it was it was the office because Greg said,
Speaker 1: you're telling jokes with the camera, like trying to He
Speaker 1: says you should direct some I'll try too. And Greg started,
Speaker 1: you know, insisted that I start directing. And you started
Speaker 1: with the webisodes, right, No, No, I started with um
Speaker 1: first one I did was I think I'm right the
Speaker 1: accountants Las Contador Contadores. I thought I thought I was.
Speaker 1: I thought I didn't initiation Ben Franklin, and then office party.
Speaker 1: I thought it was after that, We're gonna check the records.
Speaker 1: I mean, didn't we check the records? Guys? Didn't I
Speaker 1: do them? As anyone listening, I think I'm right. I
Speaker 1: think The Accounts was first, but it doesn't matter. So
Speaker 1: NBC and Ben and Greg, Um, this idea is hatched,
Speaker 1: or a request is made from the network that while
Speaker 1: we're not shooting one summer, we want to continue UM
Speaker 1: to tell stories of other cast members who maybe don't
Speaker 1: get as much attention during some of the episodes. And
Speaker 1: we created the first ever digital streaming series for a network,
Speaker 1: which was called Los Contadores The Accountants, and you directed that. Um,
Speaker 1: how was that different or what did you think doing it? Well,
Speaker 1: remember that it was done without resources, none, none, whatsoever. Um.
Speaker 1: I shot it on a camera you could buy at
Speaker 1: uh arget. It was like a camera. I was pulling
Speaker 1: my own focus. I think I had a gaffer and
Speaker 1: and a and a grip and that was it. We
Speaker 1: had nobody else and so I shot it with one
Speaker 1: camera and I directed it and it was really fast
Speaker 1: and it was really fun. And I love the Accountants.
Speaker 1: I mean, that's the cool that's that's really where the
Speaker 1: cool kids are. It really is what I remember you
Speaker 1: saying when we started working on that was kind of like,
Speaker 1: I don't know what it is. It's it's like there's
Speaker 1: school or there's work. And then there's like, you know,
Speaker 1: an extracurricular activity or something that you get to do
Speaker 1: which is still at school, but you can be a
Speaker 1: little bigger. And I remember you saying like, we don't
Speaker 1: have to play even by our own weird rules for
Speaker 1: the office, Like we can invent a different style for
Speaker 1: for this to exist. And it's I went back and
Speaker 1: watched it. It's really fun. Yeah, it was just fun
Speaker 1: to just to do do it such a skeleton crew,
Speaker 1: I mean everything, But like when we went to New York.
Speaker 1: Remember the first time we went to New York was me,
Speaker 1: Greg and Steve. That was it. And then we had
Speaker 1: we had to hire a We had to hire a
Speaker 1: union gaffer and a grip and they just sat in
Speaker 1: the van and the whole day they just sat in
Speaker 1: the van. Who who hell? Who held the camera? I
Speaker 1: shot it on a tiny little you know, consumer camera.
Speaker 1: Did Yeah, we just take it like a three thousand
Speaker 1: dollar camera there and it just sticks in my bag.
Speaker 1: You just put it in your suitcase and took it
Speaker 1: on a plane with Steve Carrell and Greg Daniels and
Speaker 1: shot shots outside of New York City. Yeah, because New
Speaker 1: York City looks beautiful and anything you could do to
Speaker 1: it in a lighting sense, it's probably gonna screw it up.
Speaker 1: So we just shot what was there. That's amazing. Yeah,
Speaker 1: I would love to see the stuff with it that
Speaker 1: we shot that. We just played that. We just you know,
Speaker 1: we're just screwing around because there was a bunch did
Speaker 1: you have what did you have security or no? No
Speaker 1: one was closing off the street, you know, nothing, nothing
Speaker 1: at all. I remember with a night did Steve have
Speaker 1: a trailer? Like, I'm so curious about all of this.
Speaker 1: We stayed at the w and Steve and I we
Speaker 1: got in and we went to go get We went
Speaker 1: to Johnny's for a slice. And at the time, there
Speaker 1: was you know, the forty year old Virgin posters were
Speaker 1: a Times Square, and there was the Chipmunks movie that
Speaker 1: he was in, and the office was getting big, and
Speaker 1: and I remember Steve and I walking to Johnny's and
Speaker 1: then walking home on Times Square where there's a bazillion people,
Speaker 1: and Steve being as gracious to the first person who
Speaker 1: stopped him as he was to the thousandth person that
Speaker 1: stopped him. He just was never in a hurry, never
Speaker 1: wanted to go. It was great. That's who that guy is.
Speaker 1: That is who that guy is. Initiation was two thousand six,
Speaker 1: which was which was what season? Oh dang it, you
Speaker 1: got it in the right order, and I changed it
Speaker 1: around because I thought you were wrong. Um, all right,
Speaker 1: so you are telling stories by holding the camera. You've
Speaker 1: told stories shooting through reality. Now you finally got your
Speaker 1: first chance to actually direct a scripted program, which was
Speaker 1: on the Office initiation Yeah, and um I think yeah.
Speaker 1: B J wrote it and it was when Dwight takes
Speaker 1: b J out to the farm to initiate him. And
Speaker 1: there was one of my favorite lines of the Office
Speaker 1: that we got to do improv of that was just
Speaker 1: as you plant that seat in the ground, I am
Speaker 1: going to plant my seat in you. And it made
Speaker 1: the television so amazing and it made telesion that is
Speaker 1: so amazing. Um, how did leaving the office so going
Speaker 1: to the beat Farm or you know, we think about
Speaker 1: the show as being so stuck in that one place,
Speaker 1: and it's known obviously the iconic the office, the bullpen
Speaker 1: that we shot most of the stuff in. But then
Speaker 1: as the seasons began to move and we started to
Speaker 1: go out, for example, the Beat Farm, did that alter anything?
Speaker 1: Leaving that bullpen? Environment. I think, well, you know, if
Speaker 1: we try to make the bullpen environment seemed like a
Speaker 1: prison um, which I think we did um, then outside
Speaker 1: could be the liberation, a liberating feeling, Dick, get people outside,
Speaker 1: get people breathing fresh air. Like there's a scene in
Speaker 1: the Beat Farm right just back the camera's way off,
Speaker 1: really really far away, and it's just Dwight and b
Speaker 1: J in the you know, b J on his knees
Speaker 1: planting a seed and and uh and just back the
Speaker 1: camera way off and just let the sun play. And
Speaker 1: it was just gorgeous. So I tried to make it
Speaker 1: up a reprieve a break from women, not the of
Speaker 1: fluorescent tubes. Was that a metaphor? No, I don't know
Speaker 1: what a metaphor. I don't either. It might have been
Speaker 1: someone just sent it. But I should say that word
Speaker 1: a lot. So I've just been trying. I've been trying
Speaker 1: to use the word metaphor dramaturgy, and I'm gonna try
Speaker 1: to work it in here some place. The word I
Speaker 1: keep using is juxtaposition. Juxtaposition nice, yeah, because there's an
Speaker 1: X in it, and words with exs make you seem
Speaker 1: real smart. Contextual is as well. I mean contextualize a
Speaker 1: great word. When you contextualize the juxtaposition of ideas, it's
Speaker 1: um usually enlightening. This good stuff. Um I uh. But
Speaker 1: that was the first time we went to the Beat Farm.
Speaker 1: That was the first time at the at the Beat Farm. Yeah,
Speaker 1: and you know, it was it was It was really
Speaker 1: really cool to get to direct a show, the show
Speaker 1: because everybody had in my back. Everybody was so supportive
Speaker 1: and tolerant and and I knew how I wanted to
Speaker 1: shoot it too, but everybody was just so behind me,
Speaker 1: and that just felt incredible, you know. And I think
Speaker 1: I've gone on and I've directed fifteen or sixteen episodes
Speaker 1: of the show, and Greg Daniels like, bless his heart,
Speaker 1: he was you know, I started to think, maybe I
Speaker 1: want to do more directing, and Greg, let me go
Speaker 1: direct other TV shows and come back to the office
Speaker 1: two d P. And nobody in this industry does that.
Speaker 1: Nobody does that for people. Yea. So he wanted you
Speaker 1: to be able to pursue what you wanted to do
Speaker 1: and welcomed you back whenever you could certainly did. That's
Speaker 1: pretty special. That's really special. Yeah. No, I mean, everybody
Speaker 1: you know that you're shooting twenty two episodes or something
Speaker 1: in a season, and and everybody needs to be there
Speaker 1: pulling their weight, and Greig's like, no, you should go
Speaker 1: do something else. Yeah, it's awesome. Yeah you know that's Greg.
Speaker 1: It's Greg. Yeah. So end of season six, you leave
Speaker 1: the office. How difficult was it to make that decision
Speaker 1: to leave? You know? I mean I think that's when
Speaker 1: I stopped dpeeing. Yeah, when I stopped dpeying, that was
Speaker 1: That was scary. I was really scary because I knew
Speaker 1: I could shoot. I mean I didn't go to film school.
Speaker 1: I didn't go to school. I I you know, I
Speaker 1: barely graduated high school, but I high school, you mean
Speaker 1: third grade? I do. Um, you know. I didn't really
Speaker 1: have a backup plan other than maybe I could go
Speaker 1: back to the office if they say don't. Didn't work,
Speaker 1: and it was a very good job, and I had
Speaker 1: fun doing it every single day. But I started I
Speaker 1: fell in love with directing. I still love shooting, but
Speaker 1: I fell in love with directing. And it was scary
Speaker 1: because I had this job for six years. And in television,
Speaker 1: having a job for six years is unheard of. There
Speaker 1: are very few shows that get to do that and
Speaker 1: I was making good money, and I moved my family
Speaker 1: out here from Australia to try so I could go
Speaker 1: home at night. And it was scary to step away,
Speaker 1: but I really felt very safe that I was that
Speaker 1: Greg would always be there, he'd always let me back
Speaker 1: in right, And you know, a lot of conversation obviously
Speaker 1: about when Steve left, but I remember when you left
Speaker 1: and it was a deeply emotional time for us as well.
Speaker 1: I mean, I remember us talking about it, and you're
Speaker 1: talking about some of your fear or anxiety, but feeling
Speaker 1: like it was it was time. And you know, as
Speaker 1: one of those quite frankly core cast members um that
Speaker 1: we're together. I remember that being a very it was
Speaker 1: very difficult for us. We knew we were going to
Speaker 1: miss you. I missed everybody, and it was it was
Speaker 1: that that was tricky. It was like leaving home. You know,
Speaker 1: It's like you know you need to or you're not
Speaker 1: going to grow, but at the same time, the home
Speaker 1: is a great place. What are you most proud of
Speaker 1: about the show or thankful for? You know, what I'm
Speaker 1: thankful for is Greg giving me the chance, Gregg and
Speaker 1: Bet and giving me the chance. I mean it's completely
Speaker 1: changed my life. I'm you know, it's and they did
Speaker 1: it in such a gracious way. That's another thing I
Speaker 1: think about. It's like there was never a bad idea
Speaker 1: on the office, never a bad If somebody in craft
Speaker 1: service gave Graig an idea, He's like, that's a great idea,
Speaker 1: he would go run with it. So it was it
Speaker 1: was just I think what I love so much about
Speaker 1: it is it was just so collaborative and it wasn't
Speaker 1: always easy to find a way to do something, but
Speaker 1: we always figured it out. And and I think it
Speaker 1: was Greg he first said, yeah, everything we do everything
Speaker 1: that everything makes it harder, makes it better, which I
Speaker 1: think is kind of a metaphor for life. You know,
Speaker 1: it strikes me. You know, Ben told me that he
Speaker 1: went to Kevin Riley and said, this guy Greg Daniels
Speaker 1: is the guy, the guy who had not worked very
Speaker 1: much at all in in live action program And then
Speaker 1: Ben goes to Greg and says, this guy Randa line Horn,
Speaker 1: he's the guy someone who's never shot a script and show.
Speaker 1: And it's like these kids got given the keys to
Speaker 1: this really cool toy that Ricky Gervais created and went Okay, well,
Speaker 1: let's you know what, let's not worry about doing it
Speaker 1: how other people would do it, because we haven't done that.
Speaker 1: Let's do it in our own way. I think there's
Speaker 1: there's there's something very liberating about not knowing how to
Speaker 1: do something that you come up with your your own
Speaker 1: way of doing it. That might be special. You know,
Speaker 1: I didn't. I had no formal film training whatsoever. I
Speaker 1: just thought I like that, Oh that's cool, and that's
Speaker 1: what I would, you know, I would just get to
Speaker 1: chase what I felt was cool, not what I thought
Speaker 1: I knew. Yeah, the notion of hiring a documentarian to
Speaker 1: be the documentarian on a scripted TV show, when you
Speaker 1: dissect that, I don't know that that's necessarily the wisest choice,
Speaker 1: but it really worked. And I think obviously Ben saw
Speaker 1: something and and Greg saw something, and it's not necessarily
Speaker 1: the choice that I think people would ever make, but
Speaker 1: they did. They did. Where do you think you would
Speaker 1: be right now if the office had never happened? Australia?
Speaker 1: Probably the out Yeah. I love Rain. Remember Rain used
Speaker 1: to make fun of my accident, which I don't hear.
Speaker 1: Do I have? You do have an accent now when
Speaker 1: you listen to this, You'll be like, oh yeah, I
Speaker 1: mean no, my rain rains. My there I was. It
Speaker 1: was beautiful, caught a while bull my gold just beautiful,
Speaker 1: so amazing. Um. I just want you to know that
Speaker 1: I think the work you did in creating the vision
Speaker 1: of this show and the aesthetic is truly all inspiring.
Speaker 1: Thank you. Yeah, and all of your success, um is
Speaker 1: well deserved. Even though you're an idiot reality guy. Um,
Speaker 1: you turned out to be pretty dead gum smart and
Speaker 1: I love you, ma'am, thank you. I love you too.
Speaker 1: It was a pretty unhappy reality guy. It was my
Speaker 1: first scripted job and I've I was really lucky. Alright,
Speaker 1: awesome anything else you guys? That was fun. Dude, I
Speaker 1: can't believe I cheered up, is greg guy, But yeah,
Speaker 1: I can't. I can't believe it. How incredible was that?
Speaker 1: I had so much fun talking to Randall? And as
Speaker 1: I told him after the recording, he really surprised me
Speaker 1: during that interview. He was so smart and insightful. I mean,
Speaker 1: I didn't think he was dumb before, but he quoted
Speaker 1: Albert Einstein, who does that. And by the way, Randall
Speaker 1: only has one testicle, so that kind of thinking from
Speaker 1: a man with one testicle is also very impressive. Maybe
Speaker 1: we'll get Randall back to talk about that story. That's
Speaker 1: a gem of a story on another occasion. But thank
Speaker 1: you Randall. Listen, his work on the Office so special.
Speaker 1: It would not have been The Office without Randall. Anyway,
Speaker 1: that's gonna do it for this week, Folks, stay tuned
Speaker 1: next week as we dive deeper into all things camera
Speaker 1: with some actors on that subject, and till then, have
Speaker 1: a great week. The Office Deep Dive is hosted and
Speaker 1: executive produced by me Brian Baumgartner, alongside our executive producer
Speaker 1: Lange Lee. Our senior producer is Tessa Kramer, our producer
Speaker 1: is Adam Massias, our associate producer is Emily Carr, and
Speaker 1: our assistant editor is Diego Tapio. My main man in
Speaker 1: the booth is Alec Moore. Our theme song Bubble and Squeak,
Speaker 1: performed by my great friend Creed Bratton, and the episode
Speaker 1: was mixed by seth Olansky The Black Effect present. I
Speaker 1: didn't know, maybe you didn't either, but the history of
Speaker 1: black people ain't rooted in slavery. Oh, no is royalty,
Speaker 1: not despair. Beat out here and every day in February,
Speaker 1: I will give you a Black history fact that I
Speaker 1: didn't know and maybe you didn't either. It's a rugged, ratchet,
Speaker 1: realistic look at history. Listen so I didn't know, maybe
Speaker 1: you didn't either. On the Black Effect Podcast Network, our
Speaker 1: Heart Radio app, Apple podcast, or just wherever you get
Speaker 1: your podcast from. Hi, my name is Cassidy Zachary and
Speaker 1: I am April Callahan, and we are fashion historian YEP
Speaker 1: and co hosts and the creators of the podcast Dressed
Speaker 1: the History of Fashion, which is dedicated to investigating the
Speaker 1: significance of dress from throughout history and around the world.
Speaker 1: And we are so excited to bring you a brand
Speaker 1: new season celebrating groundbreaking fashion figures and explain the history
Speaker 1: of everything from courses to blue jeans. Dressed the History
Speaker 1: of Fashion is available on the I Heart Radio, app,
Speaker 1: Apple podcast, or wherever else you listen to your favorite shows.
Speaker 1: New episode Strapped every Tuesday and Thursday. The art world,
Speaker 1: it is essentially a money laundering business. The best fakes
Speaker 1: are still hanging on people's walls. You know they don't
Speaker 1: even know or suspect that their fakes. I'm Alec Baldwin
Speaker 1: and this is a podcast about deception, greed, and forgery
Speaker 1: in the art world. I just walked in and saw
Speaker 1: this great red painting presuming to be a rothco. Of course,
Speaker 1: art forgeries only happen because there's money to be made,
Speaker 1: a lot of money. I'm listening to how what they're
Speaker 1: paying for these things. It was an incredible amounts of money.
Speaker 1: You knew the painting was fake. Um. Listen to Art
Speaker 1: Fraud on the I Heart Radio app, Apple podcasts, or
Speaker 1: wherever you get your podcasts.