1 00:00:05,440 --> 00:00:07,480 Speaker 1: We can say whatever you want. Your name and what 2 00:00:07,520 --> 00:00:10,040 Speaker 1: you are on the Office. My name is Claire Scanlon 3 00:00:10,200 --> 00:00:12,719 Speaker 1: and I was an editor on the Office from season 4 00:00:12,800 --> 00:00:17,280 Speaker 1: five for five years through the finale. That was so 5 00:00:17,360 --> 00:00:23,599 Speaker 1: long I can see. Okay, my name is Claire Scanlon 6 00:00:23,600 --> 00:00:34,400 Speaker 1: and I was an editor on the Office. Hello everyone, 7 00:00:36,200 --> 00:00:41,040 Speaker 1: that just made me laugh. Welcome back to the Office 8 00:00:41,240 --> 00:00:45,880 Speaker 1: deep Dive where we dive deep into the Office. As 9 00:00:45,920 --> 00:00:49,720 Speaker 1: the title indicates, I am your host, Brian Bonm Gartner. 10 00:00:50,200 --> 00:00:55,920 Speaker 1: Today I have the absolute pleasure and privilege of bringing 11 00:00:55,960 --> 00:00:59,880 Speaker 1: you my conversation with the one and only Claire ski 12 00:01:00,040 --> 00:01:04,520 Speaker 1: end Lyn. Oh she's just great. Just wait, um. Claire 13 00:01:05,440 --> 00:01:08,680 Speaker 1: was an editor on our show, a great one. In fact, 14 00:01:08,840 --> 00:01:13,319 Speaker 1: she won an Emmy for editing the final episode. But 15 00:01:13,600 --> 00:01:16,240 Speaker 1: one thing that was so special about the Office, and 16 00:01:16,800 --> 00:01:18,840 Speaker 1: I know I've talked about this, but but you really 17 00:01:19,240 --> 00:01:22,080 Speaker 1: you need to understand just how rare it is. There 18 00:01:22,160 --> 00:01:25,959 Speaker 1: was a synergy, a real synergy between all of the 19 00:01:26,000 --> 00:01:30,319 Speaker 1: members of the cast and of the crew. Everyone talked 20 00:01:30,600 --> 00:01:35,600 Speaker 1: to everyone, everyone had input and value. Everyone could try 21 00:01:35,600 --> 00:01:39,760 Speaker 1: on a new hat if they wanted. Even I a 22 00:01:39,840 --> 00:01:44,080 Speaker 1: lowly actor, I could walk right up to the writer's 23 00:01:44,160 --> 00:01:46,600 Speaker 1: room and tell them what I thought about something, or 24 00:01:46,640 --> 00:01:50,240 Speaker 1: the editors area, the editing bay as we call it, 25 00:01:50,280 --> 00:01:53,560 Speaker 1: and I have real conversations with Claire or with our 26 00:01:53,640 --> 00:01:58,240 Speaker 1: other amazing editor, Dave Rodgers about the show. So ideas 27 00:01:58,520 --> 00:02:01,720 Speaker 1: came from all different people, all of the time, right 28 00:02:01,800 --> 00:02:04,360 Speaker 1: up until the very end. So the fact that Claire 29 00:02:04,400 --> 00:02:07,520 Speaker 1: and I even have a relationship, her as an editor 30 00:02:07,560 --> 00:02:10,760 Speaker 1: and me as an actor, that speaks to the extra 31 00:02:11,080 --> 00:02:15,600 Speaker 1: special specialness of our set. And speaking of people taking 32 00:02:15,600 --> 00:02:20,040 Speaker 1: on different roles, well, Claire also directed a couple of 33 00:02:20,040 --> 00:02:24,840 Speaker 1: episodes of The Office, Yes, her first ever directing job, 34 00:02:25,280 --> 00:02:28,360 Speaker 1: which of course has launched her into a full blown 35 00:02:28,600 --> 00:02:32,720 Speaker 1: directing career. Yeah, Claire is kind of a big deal. 36 00:02:33,000 --> 00:02:35,680 Speaker 1: If you watch television, there is no doubt you have 37 00:02:35,800 --> 00:02:40,720 Speaker 1: seen something she has done, maybe The Unbreakable Kimmy Schmidt 38 00:02:40,960 --> 00:02:44,720 Speaker 1: or Brooklyn nine nine, or The Mindy Project or her 39 00:02:44,800 --> 00:02:48,079 Speaker 1: recent film Set It Up. Oh, and did I mention 40 00:02:48,240 --> 00:02:50,880 Speaker 1: that she won an Emmy for editing the finale of 41 00:02:50,919 --> 00:02:55,000 Speaker 1: the Office. She's just too good. She's too good at 42 00:02:55,240 --> 00:02:59,320 Speaker 1: at everything. Anyway, you will understand how stoked I was 43 00:02:59,480 --> 00:03:02,000 Speaker 1: to get to see her and to talk to her. 44 00:03:02,360 --> 00:03:06,560 Speaker 1: It was truly my pleasure. Here is my friend, the 45 00:03:06,680 --> 00:03:18,400 Speaker 1: incredibly multi talented and impossibly brilliant Claire Scandling. Bubble and Squeak. 46 00:03:19,720 --> 00:03:25,560 Speaker 1: I love it, Bubble and squeak on Bubble and Squeaker 47 00:03:25,639 --> 00:03:44,040 Speaker 1: cookie every moment left over from the nubb before. How 48 00:03:44,080 --> 00:03:52,080 Speaker 1: are you good? God? Golfing? What's going on? Why is 49 00:03:52,120 --> 00:04:01,200 Speaker 1: it always about golfing? Working card outside? We can That's 50 00:04:01,200 --> 00:04:06,800 Speaker 1: what I was, right, well, um, oh my gosh, how 51 00:04:06,840 --> 00:04:10,520 Speaker 1: are you good? Good? Really good? I was like teasing. 52 00:04:10,560 --> 00:04:13,360 Speaker 1: I was like this because in the emails, like conveniently located, 53 00:04:13,800 --> 00:04:20,440 Speaker 1: I'm like Greg, and I brought a ton of pictures too, 54 00:04:20,560 --> 00:04:23,160 Speaker 1: and yeah, yeah, it was really actually fun going to 55 00:04:23,279 --> 00:04:26,719 Speaker 1: I haven't weirdly, I have a lot of pictures of you. Really. 56 00:04:26,920 --> 00:04:30,599 Speaker 1: I was just like, I was, it's time to tell 57 00:04:30,600 --> 00:04:33,480 Speaker 1: you the truth that I was totally obsessed with you 58 00:04:33,560 --> 00:04:35,240 Speaker 1: and stopped you. You just didn't know what I did 59 00:04:35,240 --> 00:04:42,240 Speaker 1: it very surreptitiously. Really. Yeah, see your pictures. I know 60 00:04:42,279 --> 00:04:46,040 Speaker 1: I'm pulling pulling them up right now. The office. Um, 61 00:04:46,080 --> 00:04:49,839 Speaker 1: there's one just that's like a rap some and you 62 00:04:49,920 --> 00:04:53,120 Speaker 1: in the middle. This is like one of our story boards, 63 00:04:53,160 --> 00:04:58,560 Speaker 1: you know, just like classic office storyboard. That's the very 64 00:04:58,640 --> 00:05:02,640 Speaker 1: last next session, that's for the finality. Yeah, that's Matt, 65 00:05:02,760 --> 00:05:08,840 Speaker 1: So in case you couldn't recognize him, he was Colonel Sanders, 66 00:05:08,600 --> 00:05:13,480 Speaker 1: which having had just worked on I'm trying to be 67 00:05:13,480 --> 00:05:16,000 Speaker 1: trying to be very diplomatic about this, but having just 68 00:05:16,040 --> 00:05:19,560 Speaker 1: worked on another handheld show, it makes you really appreciate 69 00:05:19,880 --> 00:05:23,920 Speaker 1: Matt and Sarah's work because it's such a skill, it's 70 00:05:23,920 --> 00:05:27,719 Speaker 1: such an art, and so few people can do it well. 71 00:05:27,920 --> 00:05:33,760 Speaker 1: So few. Well, it's crazy because they came from reality. Yes, 72 00:05:34,120 --> 00:05:37,839 Speaker 1: but they knew how to construct the story. They knew 73 00:05:37,880 --> 00:05:40,800 Speaker 1: not to go to you guys until you started speaking, 74 00:05:40,880 --> 00:05:44,719 Speaker 1: which is such a palletic, artful thing that they never 75 00:05:44,760 --> 00:05:48,799 Speaker 1: got credit for her because no one appreciates the storytelling 76 00:05:48,839 --> 00:05:51,520 Speaker 1: they were doing and understanding the level of difficulty except 77 00:05:51,520 --> 00:05:53,440 Speaker 1: other camera operators that would come and work on the 78 00:05:53,440 --> 00:05:56,720 Speaker 1: show and fail. The editors really knew it, and the 79 00:05:56,760 --> 00:05:59,760 Speaker 1: other people who tried and couldn't do it would like 80 00:06:00,000 --> 00:06:02,200 Speaker 1: cut to you and be like, no, he Kevin hasn't 81 00:06:02,240 --> 00:06:04,280 Speaker 1: spoken yet. You can't cut to Kevin because how do 82 00:06:04,279 --> 00:06:07,480 Speaker 1: these the documentary filmmaker know that Kevin's going to speak? Right? 83 00:06:07,960 --> 00:06:10,520 Speaker 1: I talked with Matt about this also, and I'd kind 84 00:06:10,520 --> 00:06:13,400 Speaker 1: of forgotten about this. Really. The only way they cheated 85 00:06:13,480 --> 00:06:16,720 Speaker 1: was they would have us do handles occasionally, right, So 86 00:06:16,920 --> 00:06:20,400 Speaker 1: like Michael, yes, just to give them a reason to 87 00:06:20,440 --> 00:06:23,279 Speaker 1: get over there, always looking for the reason right right 88 00:06:23,680 --> 00:06:26,120 Speaker 1: that he knew to do. That was awesome. Do you 89 00:06:26,160 --> 00:06:32,760 Speaker 1: feel like was editing on the Office more or less 90 00:06:33,080 --> 00:06:38,880 Speaker 1: difficult because of the way that it was. Because it 91 00:06:38,920 --> 00:06:43,200 Speaker 1: was incredibly difficult. It was not easier than a more 92 00:06:43,320 --> 00:06:48,400 Speaker 1: studio style Hollywood typical Hollywood sitcom or single camp show, 93 00:06:48,880 --> 00:06:53,040 Speaker 1: much much more difficult. But that said, you had so 94 00:06:53,120 --> 00:06:58,560 Speaker 1: much creativity and so much leeway. I think because Greg 95 00:06:58,720 --> 00:07:04,440 Speaker 1: and Paul Engen really respected the editor, the act of editing, 96 00:07:04,720 --> 00:07:08,760 Speaker 1: the storytelling of editing, they gave so much leeway. So 97 00:07:08,960 --> 00:07:12,360 Speaker 1: and they and especially Greg was not reverential with his 98 00:07:12,440 --> 00:07:15,920 Speaker 1: scripts and himself as well, like when he would come 99 00:07:15,920 --> 00:07:18,320 Speaker 1: into post, like take that talking head from act one 100 00:07:18,360 --> 00:07:20,720 Speaker 1: and put it in three. And I remember doing casual 101 00:07:20,840 --> 00:07:24,480 Speaker 1: Fridays and it was kind of too many storylines, way 102 00:07:24,520 --> 00:07:27,720 Speaker 1: too long, and I was like, you know, this one 103 00:07:28,000 --> 00:07:30,280 Speaker 1: needs how I was like, I don't know, you know, 104 00:07:30,360 --> 00:07:33,400 Speaker 1: I had cut this behemoth, you know, towards the end, 105 00:07:33,440 --> 00:07:35,360 Speaker 1: they were all getting to be like forty minute long 106 00:07:35,480 --> 00:07:37,480 Speaker 1: episodes and you're cutting a show out of the show. 107 00:07:37,880 --> 00:07:41,440 Speaker 1: But this one in particular, I felt like, I don't 108 00:07:41,440 --> 00:07:43,480 Speaker 1: know what we're going to do. And he was just genius, 109 00:07:43,520 --> 00:07:46,400 Speaker 1: Like there was one Kelly Poor story that just became 110 00:07:46,440 --> 00:07:48,000 Speaker 1: like almost like two shots and it was just like 111 00:07:48,080 --> 00:07:51,200 Speaker 1: a little pop and it was so good as a 112 00:07:51,200 --> 00:07:53,960 Speaker 1: result of it, and he just moved stuff every which way. 113 00:07:54,160 --> 00:07:56,960 Speaker 1: Once he sees that your boss is doing that, it 114 00:07:57,040 --> 00:07:59,600 Speaker 1: kind of gives you a freer hand to do it yourself, 115 00:08:00,200 --> 00:08:04,480 Speaker 1: right Because I came on season five, so that's a 116 00:08:04,600 --> 00:08:10,440 Speaker 1: great point. So before you started you were editing documentaries. 117 00:08:10,760 --> 00:08:15,440 Speaker 1: This was the very first scripted television show I ever edited, period, 118 00:08:15,800 --> 00:08:19,440 Speaker 1: So I like literally went from no scripted to the 119 00:08:19,560 --> 00:08:23,120 Speaker 1: number one company. It was just like, wow, try by 120 00:08:23,160 --> 00:08:26,760 Speaker 1: fire first, one go for it. I knew that if 121 00:08:26,760 --> 00:08:28,800 Speaker 1: I didn't do a good job, I wouldn't get as back. 122 00:08:29,040 --> 00:08:32,000 Speaker 1: Like it was that simple. And Dave Rogers was amazing 123 00:08:32,200 --> 00:08:34,880 Speaker 1: and he always would watch my cuts, but initially especially 124 00:08:34,880 --> 00:08:36,680 Speaker 1: with me, like this is what we do. Stays, don't 125 00:08:36,679 --> 00:08:39,200 Speaker 1: cut away, don't pre lab stay on the joke, till 126 00:08:39,240 --> 00:08:41,840 Speaker 1: the end, you know, like that was just something it 127 00:08:41,880 --> 00:08:44,840 Speaker 1: would take kind of just like a more seasoned person 128 00:08:44,880 --> 00:08:47,360 Speaker 1: to know. But then in other ways, I think because 129 00:08:47,360 --> 00:08:50,600 Speaker 1: of my background, I was very comfortable with all of 130 00:08:50,640 --> 00:08:53,240 Speaker 1: the shooting style, whereas I think other editors that would 131 00:08:53,240 --> 00:08:57,840 Speaker 1: come on would be like, WHOA, what the heck? Um? 132 00:08:57,880 --> 00:09:00,160 Speaker 1: I remember my job interview with Gen Sila out of 133 00:09:00,240 --> 00:09:03,120 Speaker 1: Mike Sure, Paul Eversen, and Greg Daniel, so not an 134 00:09:03,120 --> 00:09:06,600 Speaker 1: intimidating group at all to be interviewing me. I literally 135 00:09:06,600 --> 00:09:10,160 Speaker 1: like almost knew too little to be intimidated, Like I 136 00:09:10,440 --> 00:09:15,000 Speaker 1: should have been shaking that group, like, but I almost was. 137 00:09:15,040 --> 00:09:18,040 Speaker 1: Just like I knew Paul socially from in our twenties. 138 00:09:18,160 --> 00:09:20,680 Speaker 1: I knew him when he was writing. Clarissa explains it 139 00:09:20,720 --> 00:09:26,240 Speaker 1: all personally. So what happened was a good friend of mine, 140 00:09:26,240 --> 00:09:31,400 Speaker 1: Grady Cooper, who ended up editing quipond Um. He said, Hey, Claire, 141 00:09:31,440 --> 00:09:33,160 Speaker 1: I heard there's a spinoff of the Office. Would you 142 00:09:33,200 --> 00:09:35,000 Speaker 1: mind putting my name in the hat and giving it 143 00:09:35,000 --> 00:09:37,520 Speaker 1: to Paul? And I called Paul and said, hey, my 144 00:09:37,520 --> 00:09:39,000 Speaker 1: friend wants to put his name in the hat for 145 00:09:39,040 --> 00:09:40,559 Speaker 1: the new show. And he's like, well, what about you. 146 00:09:41,040 --> 00:09:43,280 Speaker 1: I was like what and he's like, what about you 147 00:09:43,320 --> 00:09:44,560 Speaker 1: don't want to put your name in the hat? You're 148 00:09:44,559 --> 00:09:47,720 Speaker 1: an editor too, And I said, okay, I never It 149 00:09:47,800 --> 00:09:50,200 Speaker 1: just didn't even cross my mind that I would even 150 00:09:50,240 --> 00:09:53,600 Speaker 1: have a chance. So Paul was conspicuously quiet in that 151 00:09:53,679 --> 00:09:56,560 Speaker 1: meaning because I knew him, you know, socially. And I 152 00:09:56,720 --> 00:10:00,800 Speaker 1: met Greg and Suzanne at Paul's birthday party one year. 153 00:10:00,800 --> 00:10:03,440 Speaker 1: I think, um, and to me, they were like the 154 00:10:03,480 --> 00:10:06,520 Speaker 1: grown ups, which is so funny. They were like the 155 00:10:06,600 --> 00:10:08,680 Speaker 1: perhaps they had a kid already like I was in 156 00:10:08,720 --> 00:10:11,240 Speaker 1: my twenties, and they were just so mature. They were 157 00:10:11,320 --> 00:10:14,400 Speaker 1: so mature, and I remember thinking like, oh, that's the 158 00:10:14,480 --> 00:10:17,360 Speaker 1: dad when I went into the interview, like that, he's 159 00:10:17,400 --> 00:10:21,480 Speaker 1: a dad. And so I met with them. I said, 160 00:10:21,559 --> 00:10:25,000 Speaker 1: I don't have any narrative editing background. I don't have 161 00:10:25,120 --> 00:10:28,679 Speaker 1: I'm not this isn't my forte and I come from documentary. 162 00:10:28,720 --> 00:10:30,600 Speaker 1: In fact, I've worked with a lot of your camera 163 00:10:30,640 --> 00:10:32,600 Speaker 1: operators because we were all under the same roof at 164 00:10:32,600 --> 00:10:37,240 Speaker 1: Mark Burnett Productions, and um, guys like that's a plus 165 00:10:37,240 --> 00:10:40,520 Speaker 1: that you've never done narrative. And I do come from documentary. 166 00:10:40,559 --> 00:10:42,800 Speaker 1: I don't really come as much from reality. I've done 167 00:10:42,960 --> 00:10:47,520 Speaker 1: tons of docs before and weirdly docks on comedians. Um, 168 00:10:47,720 --> 00:10:50,720 Speaker 1: I gravitated towards like Carol Burnett, a woman of character, 169 00:10:50,840 --> 00:10:53,760 Speaker 1: carry grant a class apart Bob new Harden button and 170 00:10:53,800 --> 00:10:56,400 Speaker 1: it didn't. I didn't set out with comedy in mind 171 00:10:56,400 --> 00:10:58,000 Speaker 1: when I was I just kind of veered that way, 172 00:10:58,080 --> 00:11:00,560 Speaker 1: like just like I don't know, it's kind of follow 173 00:11:00,600 --> 00:11:02,840 Speaker 1: my lap that way. So Greg was very keen on 174 00:11:02,880 --> 00:11:05,400 Speaker 1: the fact that I hadn't come up through the system, 175 00:11:05,600 --> 00:11:07,920 Speaker 1: and I can see now in retrospect why that wasn't 176 00:11:07,920 --> 00:11:12,319 Speaker 1: attractive quality, just and that you do thwart the script structure, 177 00:11:12,640 --> 00:11:16,640 Speaker 1: which is like the script is Bible, and no other 178 00:11:16,679 --> 00:11:19,000 Speaker 1: show runner lets you do that, Like can you imagine 179 00:11:19,040 --> 00:11:22,040 Speaker 1: being on another show saying, oh, I put that three 180 00:11:22,120 --> 00:11:25,360 Speaker 1: even though you wrote it in act one. But Greg 181 00:11:25,360 --> 00:11:28,360 Speaker 1: two was also very reverential to the script on set. 182 00:11:28,920 --> 00:11:32,360 Speaker 1: You know, if a director didn't shoot the words, he 183 00:11:32,480 --> 00:11:37,600 Speaker 1: was pissed. But all fund runs. Improv is great, but 184 00:11:37,679 --> 00:11:40,160 Speaker 1: you better have gotten at least one or two takes 185 00:11:40,200 --> 00:11:42,960 Speaker 1: with the scripted. And then in post he didn't care 186 00:11:43,120 --> 00:11:44,360 Speaker 1: like and post he's like, let me see it the 187 00:11:44,400 --> 00:11:46,200 Speaker 1: way it was written, Okay, now let's throw everything up 188 00:11:46,200 --> 00:11:49,439 Speaker 1: in the air and start over again, which was so liberating, 189 00:11:49,600 --> 00:11:53,200 Speaker 1: and I think that's also what led to just a 190 00:11:53,280 --> 00:11:57,240 Speaker 1: whole level of another layer of comedy that other shows 191 00:11:57,280 --> 00:11:59,640 Speaker 1: didn't have that opportunity for. Like, you couldn't have done 192 00:11:59,679 --> 00:12:01,600 Speaker 1: what we did with the b roll and the talking 193 00:12:01,679 --> 00:12:05,520 Speaker 1: I mean, you could take a show that was way 194 00:12:05,520 --> 00:12:08,120 Speaker 1: too long, if it was too much exposition, you just 195 00:12:08,160 --> 00:12:09,960 Speaker 1: had someone do a talking head, and then you could 196 00:12:10,600 --> 00:12:13,360 Speaker 1: delve right into the scene mid scene. You could just 197 00:12:13,400 --> 00:12:16,040 Speaker 1: get rid of so much of the shoe leather. So 198 00:12:16,160 --> 00:12:19,240 Speaker 1: it was just such an unusual show that way. I 199 00:12:19,240 --> 00:12:25,040 Speaker 1: think obviously that mockumentary style worked because it worked for 200 00:12:25,080 --> 00:12:27,200 Speaker 1: Parks and rec and Modern Family quite well. You know, 201 00:12:27,240 --> 00:12:29,960 Speaker 1: other shows really were able to take that on and 202 00:12:30,000 --> 00:12:34,000 Speaker 1: move forward with it. Yes, I mean, I don't know 203 00:12:34,040 --> 00:12:37,040 Speaker 1: that I would say better than The Office, but I 204 00:12:37,040 --> 00:12:40,800 Speaker 1: would just say it was clearly a format that worked 205 00:12:40,960 --> 00:12:45,600 Speaker 1: in comedy, and other comedies stemmed from that. I think 206 00:12:45,600 --> 00:12:50,240 Speaker 1: that for me, what's interesting is that we had rules 207 00:12:50,640 --> 00:12:53,840 Speaker 1: in terms of how the camera worked, things that we 208 00:12:53,840 --> 00:12:57,440 Speaker 1: were not allowed to break. Randall's talked about like, no, 209 00:12:57,640 --> 00:13:00,720 Speaker 1: I'm not going to do a shot if I can't 210 00:13:00,760 --> 00:13:04,040 Speaker 1: physically get it. If we have two cameras and one 211 00:13:04,080 --> 00:13:07,440 Speaker 1: cameras shooting from right behind Steve, then we can't shoot 212 00:13:07,480 --> 00:13:10,000 Speaker 1: Steve front on, or we would see the camera right 213 00:13:10,160 --> 00:13:13,160 Speaker 1: And he talked about one of Greg's sort of adages 214 00:13:13,360 --> 00:13:16,640 Speaker 1: early on was everything that makes it harder makes it better. 215 00:13:17,000 --> 00:13:19,480 Speaker 1: You know, if the angle wasn't perfect and you didn't 216 00:13:19,520 --> 00:13:24,080 Speaker 1: have everybody's face, that led led to the voyeurism and 217 00:13:24,160 --> 00:13:27,160 Speaker 1: the realness of it. And I think the show's after 218 00:13:27,200 --> 00:13:31,040 Speaker 1: the Office that emulated. Yeah, no Parkinson MC didn't quite 219 00:13:31,080 --> 00:13:33,320 Speaker 1: do it the same, which is fine. No, No, they 220 00:13:33,320 --> 00:13:36,360 Speaker 1: didn't do it. And I think Modern Family they did 221 00:13:36,360 --> 00:13:38,880 Speaker 1: a monitored family. I directed one, and I remember going 222 00:13:38,920 --> 00:13:44,240 Speaker 1: in and you know, it's essentially construct that very heavily 223 00:13:44,320 --> 00:13:46,880 Speaker 1: borrowed some you know, from the Office. I think they 224 00:13:46,880 --> 00:13:50,040 Speaker 1: would all be very comfortable saying that. And I remember 225 00:13:50,040 --> 00:13:52,280 Speaker 1: being like, well, let's get an over of cam doing this, 226 00:13:52,320 --> 00:13:55,520 Speaker 1: and then we don't do overs. It's basically a percinium. 227 00:13:55,520 --> 00:13:57,920 Speaker 1: It's a multi cam just with no audience, and that 228 00:13:58,000 --> 00:14:00,600 Speaker 1: you have two cameras only just shooting us on my circle. 229 00:14:01,000 --> 00:14:03,520 Speaker 1: It's just it was a very different way of shooting 230 00:14:03,640 --> 00:14:06,880 Speaker 1: very percent like being on stage, but they also don't 231 00:14:06,920 --> 00:14:10,360 Speaker 1: acknowledge that the cameras there except in the talk yeah yeah, 232 00:14:10,400 --> 00:14:13,680 Speaker 1: and the talking heads. I feel like Phil Dumpy sometimes 233 00:14:13,720 --> 00:14:16,559 Speaker 1: just stairs in the camera, but not like Guilty. I 234 00:14:16,600 --> 00:14:18,360 Speaker 1: feel like he's done that a couple of times. But 235 00:14:18,679 --> 00:14:22,120 Speaker 1: I'm no expert on modern family. I did one, but 236 00:14:22,240 --> 00:14:25,640 Speaker 1: I do think that well, I think there were so 237 00:14:25,640 --> 00:14:28,280 Speaker 1: many special things about the office that are unlike other 238 00:14:28,320 --> 00:14:30,080 Speaker 1: ones that have used that, you know, I think there 239 00:14:30,120 --> 00:14:32,440 Speaker 1: was a willingness to be ugly. I think that's why 240 00:14:32,480 --> 00:14:35,360 Speaker 1: the camera operators and the dps never got acknowledged, and 241 00:14:35,400 --> 00:14:38,720 Speaker 1: nobody was going out of their way to be not 242 00:14:38,920 --> 00:14:42,600 Speaker 1: under fluorescent lights. I mean, it was not a pretty set, 243 00:14:43,120 --> 00:14:45,080 Speaker 1: and if it was, it would have been weird. So 244 00:14:45,120 --> 00:14:49,920 Speaker 1: do you think they didn't get appreciated because I feel 245 00:14:49,960 --> 00:14:52,800 Speaker 1: like so. I worked with director of photographies all the time, 246 00:14:53,280 --> 00:14:56,640 Speaker 1: and you always want them on your side. Yet at 247 00:14:56,640 --> 00:15:00,280 Speaker 1: the same time it's a constant battle with comedy. When 248 00:15:00,280 --> 00:15:03,840 Speaker 1: I come onto a project, my goals, my objectives are 249 00:15:03,880 --> 00:15:06,720 Speaker 1: almost diametrically opposed to what the dp's job is. The 250 00:15:06,840 --> 00:15:09,680 Speaker 1: dp's job, especially if there's a woman in the scene 251 00:15:09,880 --> 00:15:13,800 Speaker 1: is to make her beautiful. Nothing else matters. Nothing. Whereas 252 00:15:13,800 --> 00:15:16,000 Speaker 1: when you said you had Randle in here and you 253 00:15:16,040 --> 00:15:20,320 Speaker 1: were talking about soon they understood and accepted the world 254 00:15:20,400 --> 00:15:24,880 Speaker 1: of the Office and the goal was comedy. Whereas I 255 00:15:24,920 --> 00:15:27,920 Speaker 1: find myself having to say, I need this scene cross covered. 256 00:15:28,360 --> 00:15:31,480 Speaker 1: I've got two comedy giants. Fill in the blank. On 257 00:15:31,600 --> 00:15:34,120 Speaker 1: the Office, it was everybody was a comedy giant. So 258 00:15:34,160 --> 00:15:36,600 Speaker 1: I have two comedy giants and I need I can't 259 00:15:36,600 --> 00:15:39,600 Speaker 1: anticipate what they're gonna do and say, like, I need 260 00:15:39,640 --> 00:15:41,920 Speaker 1: that coverage. What if one does something and there's an 261 00:15:41,920 --> 00:15:44,360 Speaker 1: electricity in the take and you cannot recreate that. I 262 00:15:44,400 --> 00:15:47,040 Speaker 1: don't care. When cutting the Mindy Project pilot, it was 263 00:15:47,160 --> 00:15:49,200 Speaker 1: Ed and Mindy in a scene and they did all 264 00:15:49,200 --> 00:15:52,520 Speaker 1: this beautiful studio style, but Ed and Mindy were griffing 265 00:15:52,600 --> 00:15:56,720 Speaker 1: and doing great fun runs and I was screwed. You know, 266 00:15:57,280 --> 00:16:01,200 Speaker 1: I was screwed. So I'm always pushing, especially when there's 267 00:16:01,240 --> 00:16:04,040 Speaker 1: such strong comedy people to cross cover, and a DP 268 00:16:04,160 --> 00:16:09,080 Speaker 1: will always fight. A typical DP that doesn't buy into 269 00:16:09,120 --> 00:16:11,640 Speaker 1: the comedy and the joy of what it is to 270 00:16:11,680 --> 00:16:14,800 Speaker 1: shoot comedy will always fight. But she's got to look beautiful. 271 00:16:14,880 --> 00:16:17,080 Speaker 1: She's got to be lit this way, and it's always 272 00:16:17,080 --> 00:16:19,240 Speaker 1: she for the most part. It's like I don't know 273 00:16:19,280 --> 00:16:22,840 Speaker 1: where it's taught in cinematography school, but all women must 274 00:16:22,920 --> 00:16:26,640 Speaker 1: be beautiful always at all times, like it's evil. Like 275 00:16:26,720 --> 00:16:29,280 Speaker 1: Carol Burnett never adhered to that, and she was the 276 00:16:29,400 --> 00:16:33,160 Speaker 1: number one person on television throughout the seventies, like think 277 00:16:33,200 --> 00:16:37,560 Speaker 1: about Unice Unite was hideous, and she was the first 278 00:16:37,600 --> 00:16:40,080 Speaker 1: to like make fun of her aesthetics. And yet she 279 00:16:40,080 --> 00:16:42,080 Speaker 1: could come out every evening and do her Q and 280 00:16:42,160 --> 00:16:45,120 Speaker 1: A and be gorgeous in a Bob mackiegown, you know. 281 00:16:45,200 --> 00:16:47,560 Speaker 1: So like you know, she could bring it if she 282 00:16:47,640 --> 00:16:50,360 Speaker 1: wanted to be beautiful, But where's the fun and that 283 00:16:50,960 --> 00:16:54,960 Speaker 1: I don't know. It's a struggle, it's and it's truly 284 00:16:55,000 --> 00:16:57,920 Speaker 1: a conversation I have to have every time, you know. 285 00:16:58,160 --> 00:17:00,560 Speaker 1: So I I just you caught me on a terror 286 00:17:00,560 --> 00:17:02,600 Speaker 1: on something that I feel very passionately about. And I 287 00:17:02,640 --> 00:17:06,040 Speaker 1: think coming up through the office where it was a given, Oh, 288 00:17:06,160 --> 00:17:08,959 Speaker 1: this doesn't look like right? Who cares? They're hilarious, Like 289 00:17:09,119 --> 00:17:15,000 Speaker 1: I don't care. You know, well, that's something that I think, well, 290 00:17:15,280 --> 00:17:18,960 Speaker 1: quite obviously, the face of television in a way began 291 00:17:19,040 --> 00:17:22,400 Speaker 1: to change with our show. Yeah, And I also think 292 00:17:22,440 --> 00:17:26,000 Speaker 1: the egalitarian nature of the Office was something wonderful and 293 00:17:26,040 --> 00:17:29,520 Speaker 1: desperately needed. And I think what was so wonderful is 294 00:17:29,600 --> 00:17:34,919 Speaker 1: how all the characters just very slightly and almost it 295 00:17:35,000 --> 00:17:37,960 Speaker 1: just seemed like so organically like it just seemed that 296 00:17:38,000 --> 00:17:40,639 Speaker 1: you sort of just started to fall in love with 297 00:17:41,119 --> 00:17:44,040 Speaker 1: the regular guy and the regular girl, you know, so 298 00:17:44,119 --> 00:17:46,199 Speaker 1: like and on the Office, the regular guy of the 299 00:17:46,240 --> 00:17:49,360 Speaker 1: regular girl could be Stanley and it could be Oscar. 300 00:17:49,840 --> 00:17:52,119 Speaker 1: And I think this was a time when you weren't 301 00:17:52,119 --> 00:17:54,959 Speaker 1: seeing that much diversity in primetime television, especially in comedy. 302 00:17:55,000 --> 00:17:58,119 Speaker 1: But see, it's interesting what you're saying right now. It 303 00:17:58,280 --> 00:18:01,359 Speaker 1: never felt intention No, that's what I'm saying. I think 304 00:18:01,400 --> 00:18:05,240 Speaker 1: it was like, well, I said slyly, but I don't 305 00:18:05,240 --> 00:18:09,640 Speaker 1: know that it was Greg or your intentions, the writer's 306 00:18:09,640 --> 00:18:12,520 Speaker 1: intention to be like, let's make America love the everyman. 307 00:18:13,080 --> 00:18:15,240 Speaker 1: This wasn't like Willie Lohman time. You know, I don't 308 00:18:15,280 --> 00:18:18,159 Speaker 1: think that that was their agenda. I do know, and 309 00:18:18,200 --> 00:18:21,080 Speaker 1: I'm sure Greg's talked about the differences between season one 310 00:18:21,119 --> 00:18:23,240 Speaker 1: and season two and the mandate, because I think that 311 00:18:23,359 --> 00:18:26,840 Speaker 1: was huge, you know, humanizing Michael in a way that 312 00:18:26,880 --> 00:18:29,640 Speaker 1: you needed to from season one, and I think even 313 00:18:29,640 --> 00:18:34,120 Speaker 1: though the mandate was specifically directed at Michael, this humanitarianism 314 00:18:34,280 --> 00:18:37,200 Speaker 1: kind of slipped down to all of the character. Yes 315 00:18:39,680 --> 00:18:41,960 Speaker 1: when yours with Holly of course is a famous one, 316 00:18:42,080 --> 00:18:46,040 Speaker 1: but like even someone is arch as Angela once in 317 00:18:46,040 --> 00:18:48,840 Speaker 1: a while, just seeing that glimpse of vulnerability and you 318 00:18:48,880 --> 00:18:51,840 Speaker 1: show me vulnerability, I'm on board with that character for life. 319 00:18:52,119 --> 00:18:54,600 Speaker 1: And I think the opposite that was every single person 320 00:18:54,640 --> 00:18:57,200 Speaker 1: practically on the show. Like I remember, I remember when 321 00:18:57,200 --> 00:19:00,280 Speaker 1: Ellie came on. She came on just a little after me, 322 00:19:00,760 --> 00:19:02,240 Speaker 1: and so we were kind of like the new girls. 323 00:19:02,600 --> 00:19:05,480 Speaker 1: And I didn't know how you guys introduced new characters. 324 00:19:05,640 --> 00:19:08,680 Speaker 1: I didn't know, like the writers just let them flounder 325 00:19:09,400 --> 00:19:12,280 Speaker 1: and they waited for the actor to show them who 326 00:19:12,280 --> 00:19:15,199 Speaker 1: they were. And it either worked her didn't. Obviously with 327 00:19:15,240 --> 00:19:19,360 Speaker 1: Ellie Kemper it worked. But I remember cutting Secretary's Day 328 00:19:19,440 --> 00:19:21,639 Speaker 1: and she had a scene where Michael took her like 329 00:19:21,680 --> 00:19:24,119 Speaker 1: Michael was very resistant but was told you gotta take 330 00:19:24,119 --> 00:19:26,440 Speaker 1: your secretary out to launch hot Secretary's Day, it's the rule. 331 00:19:26,680 --> 00:19:30,400 Speaker 1: And then she has a meltdown and I remember thinking like, oh, 332 00:19:30,640 --> 00:19:32,800 Speaker 1: she's going to make it because I didn't know, Like 333 00:19:32,920 --> 00:19:34,960 Speaker 1: I didn't hadn't seen much of her work before that. 334 00:19:35,840 --> 00:19:38,080 Speaker 1: She was given like, hi, I'm Aren. You know. It 335 00:19:38,160 --> 00:19:40,880 Speaker 1: was a great scene and she was definitely driving it, 336 00:19:41,200 --> 00:19:43,760 Speaker 1: and he was the reactor to everything that she was doing, 337 00:19:43,800 --> 00:19:46,280 Speaker 1: and she gave him great stuff to work with. And 338 00:19:46,320 --> 00:19:49,760 Speaker 1: in this I was like, she's got the chops. She 339 00:19:49,800 --> 00:19:51,439 Speaker 1: can play with Michael. I mean, she can play with 340 00:19:51,440 --> 00:19:54,720 Speaker 1: Steve Carrell, so she's gonna make it. So I think 341 00:19:54,800 --> 00:19:56,960 Speaker 1: that it was a very intimidate. I remember when Kathy 342 00:19:57,000 --> 00:19:59,399 Speaker 1: Bates came on, she was I hope this is okay 343 00:19:59,400 --> 00:20:02,400 Speaker 1: to say, but like we were cutting her first few 344 00:20:02,440 --> 00:20:06,719 Speaker 1: takes and her voice was a little warbly. She was 345 00:20:06,800 --> 00:20:10,520 Speaker 1: so nervous and she told you guys like and everyone 346 00:20:10,560 --> 00:20:12,719 Speaker 1: was like, you're freaking Oscar Winner, How are you nervous 347 00:20:12,720 --> 00:20:14,520 Speaker 1: to come play with us? You know this is a low, 348 00:20:14,680 --> 00:20:17,199 Speaker 1: this is a nice She's like, you don't get it, 349 00:20:17,480 --> 00:20:19,560 Speaker 1: you don't get it. And I think I feel like 350 00:20:19,600 --> 00:20:21,719 Speaker 1: even I don't know that any of us got it. 351 00:20:21,960 --> 00:20:24,760 Speaker 1: Because it was popular and I knew it was good. 352 00:20:25,000 --> 00:20:26,760 Speaker 1: I knew it made me feel something in my heart. 353 00:20:27,359 --> 00:20:30,439 Speaker 1: But just this whole like kids watching it now, and 354 00:20:30,720 --> 00:20:32,520 Speaker 1: I mean, it can only imagine what it's like to 355 00:20:32,600 --> 00:20:35,000 Speaker 1: be in your shoes, like not being able to watch 356 00:20:35,040 --> 00:20:36,800 Speaker 1: down the street. I don't even more so than when 357 00:20:36,840 --> 00:20:42,119 Speaker 1: it was on the air. Weird. It is weird, yeah, 358 00:20:42,160 --> 00:20:45,160 Speaker 1: And I think by the way, of course, it's she's 359 00:20:45,200 --> 00:20:47,879 Speaker 1: cant it's it wore off. You know, she's not the 360 00:20:47,880 --> 00:20:51,159 Speaker 1: when did you see on TV? The episodes don't have that, 361 00:20:51,200 --> 00:20:54,240 Speaker 1: but I just remember being bowled over by that and 362 00:20:54,600 --> 00:20:57,520 Speaker 1: how it seems so easy from the inside and then 363 00:20:57,720 --> 00:21:00,199 Speaker 1: coming in from the outside, How was it for you 364 00:21:00,240 --> 00:21:03,400 Speaker 1: when you came in? I mean, you know, I can 365 00:21:03,560 --> 00:21:07,400 Speaker 1: speak to this. There were two hires. You probably don't 366 00:21:07,440 --> 00:21:10,919 Speaker 1: know this, but season five they hired two editors, me 367 00:21:11,080 --> 00:21:14,160 Speaker 1: and another one. And without me really getting it because 368 00:21:14,160 --> 00:21:16,199 Speaker 1: it was so new to me, I just saw, oh, well, 369 00:21:16,240 --> 00:21:18,080 Speaker 1: if we're all good, we'll all just stay and we'll 370 00:21:18,080 --> 00:21:20,880 Speaker 1: go in the next season. I'm so dumb, like not 371 00:21:20,960 --> 00:21:24,000 Speaker 1: realizing like they're just gonna go with one. This is 372 00:21:24,040 --> 00:21:28,720 Speaker 1: a test, it's a survivor. It was awful, Like I'm 373 00:21:28,760 --> 00:21:31,000 Speaker 1: so glad I was ignorant of it. And my very 374 00:21:31,080 --> 00:21:35,760 Speaker 1: first season season five um. The episode I did with 375 00:21:35,920 --> 00:21:38,520 Speaker 1: Paul Feig was nominated for an Emmy for Best Editing, 376 00:21:38,760 --> 00:21:40,879 Speaker 1: So like, boom, I've never done a narrative before and 377 00:21:40,920 --> 00:21:43,080 Speaker 1: I get my first narrative. I mean, like, it's so 378 00:21:43,160 --> 00:21:45,960 Speaker 1: unfair because I feel like I came into the most 379 00:21:45,960 --> 00:21:49,440 Speaker 1: popular comedy and then I got nominated for Best Editing, 380 00:21:49,880 --> 00:21:52,040 Speaker 1: but like I did not even I was like when 381 00:21:52,080 --> 00:21:54,520 Speaker 1: I realized that it was kind of it was going 382 00:21:54,560 --> 00:21:56,680 Speaker 1: to be one or the other. I was so grateful 383 00:21:56,720 --> 00:21:58,400 Speaker 1: that I got nominated for an Emmy because I felt 384 00:21:58,400 --> 00:22:01,800 Speaker 1: like if I hadn't the other one had, then how 385 00:22:01,840 --> 00:22:03,600 Speaker 1: do you not, Like I still think they would have 386 00:22:03,680 --> 00:22:06,439 Speaker 1: hired me, but like that would have been harder to explain, 387 00:22:06,480 --> 00:22:07,960 Speaker 1: Like wait, how do you not go with the person 388 00:22:08,000 --> 00:22:10,119 Speaker 1: that cut you a Emy nomination? It was just like 389 00:22:10,320 --> 00:22:13,120 Speaker 1: very all good luck happened that year. It was kind 390 00:22:13,160 --> 00:22:36,600 Speaker 1: of bounders, so you learned to edit scripted shows on 391 00:22:36,680 --> 00:22:41,639 Speaker 1: the office, but really coming from you know, documentary, specifically 392 00:22:41,680 --> 00:22:46,440 Speaker 1: comedy documentaries, this felt comfortable. Yeah, and also, by the way, 393 00:22:46,560 --> 00:22:49,800 Speaker 1: like that same camaraderie that led to such a strong ensemble, 394 00:22:50,119 --> 00:22:52,879 Speaker 1: it extended through I remember talking to John about this 395 00:22:52,920 --> 00:22:54,520 Speaker 1: one time and we were just sitting I think he 396 00:22:54,600 --> 00:22:57,240 Speaker 1: directed an episode. You know, I was ahead, so I 397 00:22:57,280 --> 00:22:58,879 Speaker 1: would come to stick John, I think you need to 398 00:22:58,880 --> 00:23:00,680 Speaker 1: get this shot, you know, like you need to get 399 00:23:00,720 --> 00:23:02,960 Speaker 1: this because otherwise how do we It was the bulldozer 400 00:23:03,119 --> 00:23:05,600 Speaker 1: Rain was taking a bulldozer in the warehouse and smashing 401 00:23:05,600 --> 00:23:09,000 Speaker 1: it to the wall, and you needed the reverse and 402 00:23:09,000 --> 00:23:10,440 Speaker 1: and I was like, I think you need that reverse, 403 00:23:10,680 --> 00:23:12,879 Speaker 1: and we were in there and he's like, oh yeah, 404 00:23:13,000 --> 00:23:15,320 Speaker 1: no ego, Like it was fine for me to tell 405 00:23:15,400 --> 00:23:17,719 Speaker 1: John and he needed this shot. Like I would come 406 00:23:17,760 --> 00:23:19,320 Speaker 1: to set a lot, Dave would come to set a 407 00:23:19,320 --> 00:23:21,639 Speaker 1: lot and there was like that's not normal, like that 408 00:23:21,720 --> 00:23:24,640 Speaker 1: you always are inviting that. By the way, I always 409 00:23:24,680 --> 00:23:26,760 Speaker 1: asked the editor to come to set. Why wouldn't I 410 00:23:26,760 --> 00:23:28,800 Speaker 1: want an extra pair of eyes that might be catching something? 411 00:23:28,800 --> 00:23:31,400 Speaker 1: Because I'm in the thick of it with five other questions, 412 00:23:31,480 --> 00:23:34,240 Speaker 1: like why wouldn't I want someone having my back. It's 413 00:23:34,280 --> 00:23:36,840 Speaker 1: just a lovely thing to have. It's not about ego 414 00:23:37,040 --> 00:23:39,840 Speaker 1: or power. Being a no tour, there's no such thing. 415 00:23:40,320 --> 00:23:42,919 Speaker 1: First of all. But with John, we were cutting his 416 00:23:43,000 --> 00:23:45,960 Speaker 1: episode and I remember just being like, this is such 417 00:23:45,960 --> 00:23:49,080 Speaker 1: a cool place to work, like being just truly grateful, 418 00:23:49,960 --> 00:23:52,439 Speaker 1: and I was like, I am happy to come in 419 00:23:52,480 --> 00:23:55,120 Speaker 1: here every day. And I was like He's like yeah, 420 00:23:55,400 --> 00:23:57,320 Speaker 1: He's like, there's not one person like that you want 421 00:23:57,359 --> 00:23:58,960 Speaker 1: to like put your head down when you see them 422 00:23:58,960 --> 00:24:01,000 Speaker 1: walking down the hall. He's like, there's not one person 423 00:24:01,520 --> 00:24:04,440 Speaker 1: that I'm like avoid, like where you're like in high 424 00:24:04,440 --> 00:24:06,919 Speaker 1: school or your first job or something, or like that 425 00:24:06,960 --> 00:24:10,040 Speaker 1: person sucks. He's like, there's not one. There were over 426 00:24:10,080 --> 00:24:11,960 Speaker 1: a hundred people there and he couldn't come. And we, 427 00:24:12,080 --> 00:24:14,720 Speaker 1: by the way, we were totally gossiping, like he could 428 00:24:14,720 --> 00:24:16,960 Speaker 1: have told me that there was no reason. There's no 429 00:24:17,160 --> 00:24:19,600 Speaker 1: I mean, I wouldn't tell this story if he actually 430 00:24:19,680 --> 00:24:22,919 Speaker 1: named somebody, like but like we were like, come on, 431 00:24:22,960 --> 00:24:25,520 Speaker 1: there's gotta be somebody. Like everyone had their charm, you know, 432 00:24:25,600 --> 00:24:28,920 Speaker 1: like everyone had the quirks, their piccadillos. Greg could drive 433 00:24:28,920 --> 00:24:31,520 Speaker 1: me crazy and I would talk to him about it. 434 00:24:31,600 --> 00:24:35,000 Speaker 1: But like that's crazy right there, Like the show runner 435 00:24:35,000 --> 00:24:37,200 Speaker 1: could drive me crazy, and then I could say, Greg, 436 00:24:37,280 --> 00:24:40,360 Speaker 1: you're driving me crazy. Like I remember on the finale, 437 00:24:41,400 --> 00:24:45,240 Speaker 1: there was this whole tangent and I'm sure you'll remember 438 00:24:45,240 --> 00:24:49,439 Speaker 1: this about planting a tree. Andy sees the tree in 439 00:24:49,520 --> 00:24:54,200 Speaker 1: the office and says that tree Planty. Yes, exactly, Planty 440 00:24:54,240 --> 00:24:56,560 Speaker 1: has been in here all its life. We've got to 441 00:24:56,600 --> 00:24:59,159 Speaker 1: set Planty free. And you guys go out to the 442 00:24:59,200 --> 00:25:01,360 Speaker 1: parking lot, you plant Planty, and then you go all 443 00:25:01,359 --> 00:25:03,480 Speaker 1: the way back up to the office and then the 444 00:25:03,640 --> 00:25:05,479 Speaker 1: ending and you hug, and then you go to the 445 00:25:05,480 --> 00:25:07,159 Speaker 1: parking lot and you go to your respective cars, And 446 00:25:07,200 --> 00:25:11,600 Speaker 1: that's truly the end of leaving dunder Mifflin and UM. 447 00:25:11,640 --> 00:25:13,760 Speaker 1: I was writing notes down and we were over time 448 00:25:14,200 --> 00:25:17,600 Speaker 1: for the finale, and we were all Greg was incredibly emotional, 449 00:25:17,920 --> 00:25:20,159 Speaker 1: but doing that guy thing where you don't let on 450 00:25:20,200 --> 00:25:23,239 Speaker 1: that you're emotional, so you're just kind of weird, you know, 451 00:25:23,320 --> 00:25:26,520 Speaker 1: like where you're just like heretic and sometimes irrational, but 452 00:25:26,600 --> 00:25:28,359 Speaker 1: like what you really want to say is I'm really sad, 453 00:25:28,400 --> 00:25:30,360 Speaker 1: but you're not going to say those words because you're 454 00:25:30,359 --> 00:25:33,199 Speaker 1: a guy. So I was just taking out notes. We 455 00:25:33,200 --> 00:25:37,320 Speaker 1: were too long, and I had already pitched to cut Planty, 456 00:25:37,480 --> 00:25:40,000 Speaker 1: and I truly believed he said, okay, while we tried 457 00:25:40,040 --> 00:25:42,760 Speaker 1: cutting Planty, and I wrote it down and I did 458 00:25:42,760 --> 00:25:47,040 Speaker 1: it and it was better because not because that whole 459 00:25:47,040 --> 00:25:49,720 Speaker 1: styling wasn't interesting, but it was just almost just the 460 00:25:49,760 --> 00:25:52,960 Speaker 1: physicality of being in the office, having Creed play the 461 00:25:53,000 --> 00:25:56,400 Speaker 1: song and then taking Planting down to the parking lot, 462 00:25:56,400 --> 00:25:58,680 Speaker 1: and it was like a hiccup to something wonderful. You 463 00:25:58,720 --> 00:26:01,280 Speaker 1: didn't need that hiccup. It's it was just an unnecessary 464 00:26:01,320 --> 00:26:04,280 Speaker 1: extra beat. As sweet and poignant as it was, there 465 00:26:04,320 --> 00:26:06,680 Speaker 1: were already like ten sweet and poignant moments that were 466 00:26:06,680 --> 00:26:11,280 Speaker 1: happening with Creed song, and too much poignancy diluted what 467 00:26:11,359 --> 00:26:15,879 Speaker 1: was there. So I cut planting and Howard happened to 468 00:26:15,920 --> 00:26:18,639 Speaker 1: be walking by and I showed it to Howard, and 469 00:26:18,800 --> 00:26:22,160 Speaker 1: Greg's assistant Alyssa was also walking by, and I showed 470 00:26:22,160 --> 00:26:24,960 Speaker 1: it to her, and they both separately went to Greg 471 00:26:24,960 --> 00:26:27,800 Speaker 1: and said, oh my god, it's so much better without planting. 472 00:26:28,240 --> 00:26:31,200 Speaker 1: And he came storming into my bay and he said, 473 00:26:32,200 --> 00:26:35,800 Speaker 1: you you put that back in? How dare you? I 474 00:26:35,840 --> 00:26:38,399 Speaker 1: never did. You're sabotaging me. You're trying to get and 475 00:26:38,440 --> 00:26:40,679 Speaker 1: I was like what he was at a hundred? I 476 00:26:40,720 --> 00:26:42,560 Speaker 1: was like, bring it down. I said, first of all, 477 00:26:43,080 --> 00:26:46,639 Speaker 1: I would never intentionally do something to sabotage you that. 478 00:26:46,760 --> 00:26:48,199 Speaker 1: I was like, if you don't know that about me 479 00:26:48,240 --> 00:26:50,159 Speaker 1: by now, I am just I am not that person. 480 00:26:50,480 --> 00:26:52,840 Speaker 1: I'm just I don't even think I could sabotage someone 481 00:26:52,880 --> 00:26:55,520 Speaker 1: if I tried, Like if that was my goal, I said, 482 00:26:55,880 --> 00:27:01,320 Speaker 1: you created this show. I am here, whose service what 483 00:27:01,480 --> 00:27:04,680 Speaker 1: you created? And help you realize what you want. And 484 00:27:04,800 --> 00:27:07,120 Speaker 1: he calmed down, like he was like, so first let's 485 00:27:07,160 --> 00:27:10,919 Speaker 1: get this paranoia out. Is that they happened to be 486 00:27:10,960 --> 00:27:12,879 Speaker 1: walking by, which was true on both counts. They have 487 00:27:13,000 --> 00:27:15,280 Speaker 1: maybe and that would happen all the time. By the way, 488 00:27:15,400 --> 00:27:17,080 Speaker 1: we would just be wide by whether doors open, because 489 00:27:17,080 --> 00:27:19,800 Speaker 1: it would get in sufferably hot and interesting things that 490 00:27:19,920 --> 00:27:21,720 Speaker 1: I would walk by a people's bays and poke my 491 00:27:21,760 --> 00:27:24,440 Speaker 1: head And it was just a very inclusive environment. When 492 00:27:24,440 --> 00:27:26,639 Speaker 1: people are waiting for their next scene and they were 493 00:27:26,640 --> 00:27:28,520 Speaker 1: born to being in their trailer, they'd come and show 494 00:27:28,560 --> 00:27:31,480 Speaker 1: me something and it wasn't show me myself. It was like, hey, 495 00:27:31,760 --> 00:27:33,720 Speaker 1: what you got this funny show me a funny scene, 496 00:27:33,720 --> 00:27:34,920 Speaker 1: Like I just want to see what's going on in 497 00:27:34,960 --> 00:27:37,200 Speaker 1: the show, Like actors would come in all the time. 498 00:27:37,280 --> 00:27:40,560 Speaker 1: So he said, okay, we'll show me, and then I 499 00:27:40,560 --> 00:27:43,040 Speaker 1: showed it to him and he's like, okay, leave it out. 500 00:27:43,640 --> 00:27:45,439 Speaker 1: But like it was like I had to talk him 501 00:27:45,480 --> 00:27:48,360 Speaker 1: off alledge. I think that's what makes him so interesting 502 00:27:48,480 --> 00:27:51,600 Speaker 1: is he does clearly have and I think it was 503 00:27:51,640 --> 00:27:54,400 Speaker 1: for the better ultimately for the show. This I don't 504 00:27:54,440 --> 00:27:58,320 Speaker 1: want to say inferiority complex, but this like someone's always 505 00:27:58,359 --> 00:27:59,760 Speaker 1: going to try to get one over on me kind 506 00:27:59,800 --> 00:28:02,200 Speaker 1: of and going on like and you're just you almost 507 00:28:02,200 --> 00:28:05,320 Speaker 1: have to, Like like with every coworker and or boss, 508 00:28:05,400 --> 00:28:06,840 Speaker 1: I think you kind of have to just to really 509 00:28:06,840 --> 00:28:10,280 Speaker 1: get to know their psychology. And you're working with this, 510 00:28:10,359 --> 00:28:13,800 Speaker 1: you know, pound gorilla, Greg Daniels, who's so so so 511 00:28:13,880 --> 00:28:17,119 Speaker 1: smart and so funny that like to stand up to 512 00:28:17,200 --> 00:28:20,960 Speaker 1: him require some hotspun your own, and it's kind of empowering. 513 00:28:21,440 --> 00:28:24,199 Speaker 1: And I always did it. I didn't always, you know, 514 00:28:24,240 --> 00:28:27,080 Speaker 1: I had confidence in what he had created, so I 515 00:28:27,080 --> 00:28:29,080 Speaker 1: wanted to make sure it was the best version of 516 00:28:29,080 --> 00:28:32,520 Speaker 1: what was written and acted, and I'd make good arguments 517 00:28:32,520 --> 00:28:34,760 Speaker 1: and then he'd make great counter argument. We have a 518 00:28:34,800 --> 00:28:38,080 Speaker 1: really good discourse to get to lock and I think 519 00:28:38,120 --> 00:28:41,240 Speaker 1: that was also very unique and special. You know, I 520 00:28:41,280 --> 00:28:44,880 Speaker 1: always have Greg in my head when I'm directing, because 521 00:28:44,920 --> 00:28:48,240 Speaker 1: I heard his opinion on everybody else's, you know, as 522 00:28:48,240 --> 00:28:50,280 Speaker 1: an editor, I heard what he thought of every director, 523 00:28:50,360 --> 00:28:52,440 Speaker 1: and he thought the world of many and then like 524 00:28:52,800 --> 00:28:54,880 Speaker 1: sometimes he'd be like, how could they not have gotten that? 525 00:28:54,960 --> 00:28:57,280 Speaker 1: Like and I always in my mind like let's just 526 00:28:57,280 --> 00:28:59,480 Speaker 1: do one more, like thinking like what didn't I get? 527 00:28:59,520 --> 00:29:01,600 Speaker 1: What would? I'd be like, how can they gotten that? 528 00:29:01,680 --> 00:29:04,440 Speaker 1: You know? I always want to have that showrunner in 529 00:29:04,480 --> 00:29:07,520 Speaker 1: the back of my head saying and that show runner's voice, 530 00:29:07,600 --> 00:29:11,720 Speaker 1: because Greg was my first is always Greg. Right, did 531 00:29:11,720 --> 00:29:15,720 Speaker 1: you feel anything? Um, I mean, you were the only 532 00:29:15,760 --> 00:29:19,040 Speaker 1: woman editor. Was that a thing for you? Did you 533 00:29:19,160 --> 00:29:23,720 Speaker 1: feel no? If anything? Like I remember like so much 534 00:29:23,720 --> 00:29:26,400 Speaker 1: personal stuff going now for me, Jenna coming into my office, 535 00:29:26,440 --> 00:29:28,960 Speaker 1: shutting the door and be like this is what you 536 00:29:29,000 --> 00:29:32,000 Speaker 1: need to do, like just giving it to me, no nonsense. 537 00:29:32,200 --> 00:29:36,800 Speaker 1: I mean, if anything, I feel like, um, gender was 538 00:29:36,920 --> 00:29:40,360 Speaker 1: just not even an issue. And you know when people 539 00:29:40,360 --> 00:29:42,480 Speaker 1: saw that there was a problem, it was such a 540 00:29:42,480 --> 00:29:46,320 Speaker 1: close knit group that people actually did something about it. 541 00:29:46,360 --> 00:29:47,920 Speaker 1: Like they didn't just like sit and let you like 542 00:29:48,000 --> 00:29:50,160 Speaker 1: kind of fester in a corner, and they were like, hey, 543 00:29:50,280 --> 00:29:53,880 Speaker 1: let me poke you, let me help you. I think 544 00:29:53,880 --> 00:29:56,720 Speaker 1: in any I wish more women directors had been there. 545 00:29:56,960 --> 00:29:59,240 Speaker 1: I wish it wasn't just me Mindy and Jen. There 546 00:29:59,280 --> 00:30:02,560 Speaker 1: were three women directors and we were all in house, right, 547 00:30:02,640 --> 00:30:07,960 Speaker 1: Denny came, there was one woman director. But before before 548 00:30:08,040 --> 00:30:10,680 Speaker 1: your time, I will say, and I mean, this is 549 00:30:10,680 --> 00:30:14,040 Speaker 1: not to besmirch anybody, and I'm not trying to be controversial. 550 00:30:14,440 --> 00:30:17,880 Speaker 1: And you've heard like how wonderful. Of course, I will say, 551 00:30:18,080 --> 00:30:22,880 Speaker 1: I just don't think in two thousand and four people 552 00:30:22,920 --> 00:30:24,760 Speaker 1: were thinking like this, like I just don't think it was. 553 00:30:24,840 --> 00:30:27,520 Speaker 1: It was like here's your here's your stable, here's the 554 00:30:27,560 --> 00:30:32,680 Speaker 1: people they do comedy. Go. But that said, I will 555 00:30:32,720 --> 00:30:36,080 Speaker 1: speak to the writer's room. The writer's room was conspicuously 556 00:30:36,440 --> 00:30:39,600 Speaker 1: lack of diversity, homogeneous white guys from Harvard, Like, that's 557 00:30:39,640 --> 00:30:43,200 Speaker 1: just a And when I got there, Ellie said, Hey, 558 00:30:43,400 --> 00:30:46,400 Speaker 1: my sister is a writer. I feel weird. Would you 559 00:30:46,560 --> 00:30:50,440 Speaker 1: give her worked? Paul, who's the show owner then? And 560 00:30:50,480 --> 00:30:54,200 Speaker 1: I said, Paul, your male to female ratio in the 561 00:30:54,200 --> 00:30:56,800 Speaker 1: writer's room is abysmal. And this is really I read this. 562 00:30:56,840 --> 00:30:59,720 Speaker 1: It's a one. It's about a Doug committing suicide in 563 00:31:00,920 --> 00:31:03,160 Speaker 1: it was really funny and I was like, this is 564 00:31:03,200 --> 00:31:06,120 Speaker 1: Carrie Kemper, it's all sister, but it's good, Like don't 565 00:31:06,200 --> 00:31:08,960 Speaker 1: let that you know, don't let that nepotism scare you off. 566 00:31:09,040 --> 00:31:13,640 Speaker 1: And here we had no nepotism issues on our show. Really, 567 00:31:15,720 --> 00:31:19,080 Speaker 1: that said he interviewed her, It was good because that 568 00:31:19,080 --> 00:31:21,960 Speaker 1: would have been a hard thing if she hadn't been 569 00:31:22,000 --> 00:31:24,800 Speaker 1: able to write. But it got better, and I do 570 00:31:24,880 --> 00:31:26,280 Speaker 1: think that it was just like, I don't think there 571 00:31:26,320 --> 00:31:27,920 Speaker 1: was malice. I think that's the way it happens in 572 00:31:28,000 --> 00:31:30,680 Speaker 1: every writer's room and every and it's like, hey, I 573 00:31:30,680 --> 00:31:32,600 Speaker 1: got a show. The people I trust came out of 574 00:31:32,640 --> 00:31:34,200 Speaker 1: school with me. Oh, I just happened to go to 575 00:31:34,200 --> 00:31:36,600 Speaker 1: Harvard and write for lampoo. I don't think it's malicious, 576 00:31:36,600 --> 00:31:39,200 Speaker 1: like Conan O'Brien's like, hey, Greg, come out. I'm working 577 00:31:39,200 --> 00:31:41,000 Speaker 1: on this great show called The Simpsons. You should really 578 00:31:41,080 --> 00:31:43,600 Speaker 1: check it out. Thanking of the Hill. Then, you know, 579 00:31:44,000 --> 00:31:47,800 Speaker 1: I don't think it's an agenda. I'm just glad that. Um, 580 00:31:47,840 --> 00:31:51,560 Speaker 1: it got better over the course of the years. Yeah, 581 00:31:52,000 --> 00:31:54,280 Speaker 1: what we talked about this a little bit, but I 582 00:31:54,520 --> 00:31:57,840 Speaker 1: don't want to miss it. If there's something what specifically 583 00:31:58,840 --> 00:32:04,480 Speaker 1: made editing the Office harder than a traditional show, um, 584 00:32:04,520 --> 00:32:07,200 Speaker 1: I think it was the volume. Let's start with the volume. 585 00:32:07,280 --> 00:32:10,240 Speaker 1: The scripts were long, so I think you were, I 586 00:32:10,280 --> 00:32:14,520 Speaker 1: think you'd have like seven days to complete your cut, 587 00:32:14,800 --> 00:32:17,200 Speaker 1: so you figure, if it's a forty page script, which 588 00:32:17,360 --> 00:32:20,240 Speaker 1: more and more often they were, you were cutting a 589 00:32:20,320 --> 00:32:25,040 Speaker 1: forty minute assembly or editor's cut, and then from that 590 00:32:25,080 --> 00:32:27,320 Speaker 1: there were just so many steps to get it to time, 591 00:32:27,360 --> 00:32:30,920 Speaker 1: and cutting twenty minutes out of a forty minute show 592 00:32:31,320 --> 00:32:34,760 Speaker 1: is it's kind of bonkers. I mean, that's why I 593 00:32:34,800 --> 00:32:37,840 Speaker 1: think the NBC dot Com came up, The Accountants and 594 00:32:37,960 --> 00:32:41,000 Speaker 1: all of those great spinoffs, which at the time webisodes 595 00:32:41,040 --> 00:32:43,960 Speaker 1: were great. I mean we do webisodes and deleted scenes. 596 00:32:44,160 --> 00:32:46,920 Speaker 1: I mean it was you could use the word overshooting. 597 00:32:46,920 --> 00:32:49,800 Speaker 1: I mean I liked it because I remember Ed was 598 00:32:49,840 --> 00:32:53,920 Speaker 1: once saying like, this is crazy that we're shooting. This 599 00:32:54,000 --> 00:32:56,640 Speaker 1: is crazy. That's what we're doing. This is not fair. 600 00:32:56,720 --> 00:32:58,560 Speaker 1: We were working as to the book, like it's not 601 00:32:58,960 --> 00:33:01,960 Speaker 1: it's not normal. But it made the show better because 602 00:33:02,000 --> 00:33:04,400 Speaker 1: we had so many different Like I remember, there was 603 00:33:04,400 --> 00:33:07,800 Speaker 1: a storyline it was Jim and Pam had a silent fight, 604 00:33:08,360 --> 00:33:11,880 Speaker 1: and it was established you track it throughout the day. 605 00:33:12,040 --> 00:33:15,400 Speaker 1: It was really well done, well directed, well acted, and 606 00:33:15,440 --> 00:33:18,240 Speaker 1: at the end of the day, Jim or Pam I 607 00:33:18,240 --> 00:33:21,000 Speaker 1: can't even remember at this point says I'm really sorry, 608 00:33:21,160 --> 00:33:23,080 Speaker 1: and they hold hands in the parking lot as they 609 00:33:23,080 --> 00:33:25,080 Speaker 1: walked to their car, and it's resolved. Or I don't 610 00:33:25,080 --> 00:33:27,240 Speaker 1: even know that anyone apologizes. I think it just looks 611 00:33:27,600 --> 00:33:30,080 Speaker 1: and no one will ever know that storyline, you know, 612 00:33:30,160 --> 00:33:32,520 Speaker 1: like all these and that when that one didn't even 613 00:33:32,520 --> 00:33:35,800 Speaker 1: make it to deleted scenes, and now it was really good, 614 00:33:35,960 --> 00:33:40,520 Speaker 1: Like there were so many good C D e F 615 00:33:40,800 --> 00:33:46,400 Speaker 1: storylines never got to see, right, Yeah, they're somewhere buried 616 00:33:46,440 --> 00:33:51,080 Speaker 1: in avid Um archives. So you did an interview with 617 00:33:51,240 --> 00:33:54,719 Speaker 1: on the Ringer and you said, when you do documentaries, 618 00:33:54,760 --> 00:33:57,640 Speaker 1: you have to be comprehensive and watch everything that the 619 00:33:57,640 --> 00:34:02,640 Speaker 1: subject has ever done. And you said, subliminably, subliminably, Oh 620 00:34:02,680 --> 00:34:07,920 Speaker 1: my god, it's Michael Scott, subliminably through osmosis. I was 621 00:34:07,960 --> 00:34:11,200 Speaker 1: getting my comedy doctorate watching the best of the best, 622 00:34:11,239 --> 00:34:14,240 Speaker 1: comprehensively seeing everything they've ever done. So as a result, 623 00:34:14,520 --> 00:34:19,359 Speaker 1: I kept working towards comedy. Um. Was there anything in 624 00:34:19,480 --> 00:34:24,040 Speaker 1: terms of comedy that you learned from the office. I 625 00:34:24,080 --> 00:34:26,879 Speaker 1: remember I had a quote board, and I don't see 626 00:34:26,880 --> 00:34:29,040 Speaker 1: if I can find it on my quote board. I don't. 627 00:34:29,120 --> 00:34:32,040 Speaker 1: It was like a white board, and um, I had 628 00:34:32,160 --> 00:34:35,720 Speaker 1: one quest and I never put who said what? But um, 629 00:34:35,760 --> 00:34:37,680 Speaker 1: I'll tell you who was. There was one I heard 630 00:34:37,760 --> 00:34:42,440 Speaker 1: is I do have it. I'll say it directly. I 631 00:34:42,480 --> 00:34:46,839 Speaker 1: compulled some of that air out and then it says 632 00:34:46,920 --> 00:34:49,600 Speaker 1: there's a lot of comedy in that air. And it 633 00:34:49,719 --> 00:34:51,920 Speaker 1: was me trying to get a show to time, and 634 00:34:51,960 --> 00:34:54,080 Speaker 1: I said, I could, you know, rather than cut stuff, 635 00:34:54,280 --> 00:34:55,960 Speaker 1: I can pull some are out. And it was Paul 636 00:34:56,000 --> 00:34:58,120 Speaker 1: Eberstine who's like, there's a lot of comedy in that air, 637 00:34:58,480 --> 00:35:02,960 Speaker 1: and I think it's letting things breathe. It's just such 638 00:35:03,000 --> 00:35:05,960 Speaker 1: a pacing issue. It's a dance. It's a rhythm. They say, 639 00:35:06,000 --> 00:35:08,160 Speaker 1: if you know, if if you're a good dancer, you'll 640 00:35:08,160 --> 00:35:09,759 Speaker 1: be a good editor, or you can't be a good 641 00:35:09,880 --> 00:35:12,800 Speaker 1: editor unless you can dance, because it's all pacing in rhythm. 642 00:35:13,280 --> 00:35:17,240 Speaker 1: And that's so true, and that's why those reaction passes 643 00:35:17,400 --> 00:35:19,680 Speaker 1: was like kind of gold for us, you know, just 644 00:35:20,120 --> 00:35:23,120 Speaker 1: when a scene wasn't working, just anyone. I mean, there's 645 00:35:23,120 --> 00:35:26,640 Speaker 1: the famous gym. Every two seconds is like commenting for 646 00:35:26,719 --> 00:35:28,960 Speaker 1: you and you're saying, but I also liked it when 647 00:35:29,040 --> 00:35:31,200 Speaker 1: it was coming from someone else's point Jim was the 648 00:35:31,200 --> 00:35:33,439 Speaker 1: great entree in the first few seasons, but I feel 649 00:35:33,480 --> 00:35:36,600 Speaker 1: like everyone had their own particular take on the comedy, 650 00:35:36,920 --> 00:35:39,680 Speaker 1: which would make that reaction that much more powerful. Like 651 00:35:39,800 --> 00:35:42,600 Speaker 1: going to create oblivious, you know, that's just as funny, 652 00:35:42,640 --> 00:35:44,359 Speaker 1: like not like everyone's like, what's going on in there? 653 00:35:44,360 --> 00:35:46,880 Speaker 1: And he's just like, you're not even paying a dungeon, 654 00:35:46,960 --> 00:35:50,239 Speaker 1: Like that's funny too. I just found another picture of 655 00:35:50,280 --> 00:35:53,480 Speaker 1: you and me. This is I like this picture so 656 00:35:53,560 --> 00:35:56,920 Speaker 1: much because this picture is us eating lunch together. Like 657 00:35:57,080 --> 00:35:59,399 Speaker 1: that's like it was like high school, right, Like we're 658 00:35:59,440 --> 00:36:01,799 Speaker 1: just sitting and we all, like you just sat down 659 00:36:01,800 --> 00:36:04,880 Speaker 1: and ate with people. You know, that's not the norm 660 00:36:05,360 --> 00:36:08,960 Speaker 1: on other shows. It just doesn't. And you know, we 661 00:36:08,960 --> 00:36:11,960 Speaker 1: were there long enough that people went through big life stuff. 662 00:36:12,160 --> 00:36:14,400 Speaker 1: Like not to get into too much detail, but I 663 00:36:14,400 --> 00:36:17,000 Speaker 1: got divorced on the office, and I can tell you 664 00:36:17,520 --> 00:36:19,839 Speaker 1: there's no other job I would have wanted to have 665 00:36:19,840 --> 00:36:22,320 Speaker 1: been on during that hard time. You know. I remember 666 00:36:22,320 --> 00:36:23,719 Speaker 1: going to a table read once and being like, Paul, 667 00:36:23,760 --> 00:36:26,040 Speaker 1: I have to go to my therapists and he was like, oh, 668 00:36:26,080 --> 00:36:28,320 Speaker 1: co go, you know, you know, like just a given, 669 00:36:28,400 --> 00:36:32,320 Speaker 1: like just such a warm, welcoming just a really really 670 00:36:32,360 --> 00:36:34,960 Speaker 1: I think from the top down, you know, you had 671 00:36:35,040 --> 00:36:40,319 Speaker 1: Ken koppas Greg Daniels, Steve Carrell, So which one of 672 00:36:40,320 --> 00:36:42,120 Speaker 1: those guys is a jackass? It's going to make your 673 00:36:42,160 --> 00:36:45,600 Speaker 1: life a living out? And I'm just think those are 674 00:36:45,840 --> 00:36:49,400 Speaker 1: I mean I barely worked with Ken and after the 675 00:36:49,480 --> 00:36:52,120 Speaker 1: office he kind of took me under his wing when 676 00:36:52,160 --> 00:36:55,320 Speaker 1: I was starting to direct more and was just like, Okay, 677 00:36:55,360 --> 00:36:56,840 Speaker 1: you can do this, you know, and he would just 678 00:36:56,880 --> 00:36:58,879 Speaker 1: like I remember the first show, one of the first 679 00:36:58,920 --> 00:37:01,920 Speaker 1: shows I got was a show called um oh my gosh, 680 00:37:01,960 --> 00:37:04,600 Speaker 1: I can't remember what it was called something men in 681 00:37:04,600 --> 00:37:08,360 Speaker 1: the title. Anyway, it was canceled, but he was helping 682 00:37:08,400 --> 00:37:10,839 Speaker 1: me prep. He was just like, Okay, what's your biggest scene. 683 00:37:10,880 --> 00:37:13,480 Speaker 1: Let's talk it through, Like just really just kind kind 684 00:37:13,560 --> 00:37:15,759 Speaker 1: kind and like saying with Greg Daniels. I did a 685 00:37:15,800 --> 00:37:18,239 Speaker 1: movie called Set it Up. He came in the first 686 00:37:18,280 --> 00:37:20,360 Speaker 1: person I wanted to show it too was Greg Daniels, Like, 687 00:37:20,440 --> 00:37:23,960 Speaker 1: come into post, what's good, what's bad. There's this moment 688 00:37:24,040 --> 00:37:27,759 Speaker 1: where these two are having this conversation and it's like 689 00:37:27,920 --> 00:37:31,560 Speaker 1: she the girl, is holding the guy to task for 690 00:37:31,600 --> 00:37:34,560 Speaker 1: his bad acts, and Greg's like, you need to be 691 00:37:34,600 --> 00:37:36,360 Speaker 1: in a close up here. You need to see the 692 00:37:36,440 --> 00:37:38,920 Speaker 1: moment where she changes her mind and she's letting him 693 00:37:38,960 --> 00:37:41,239 Speaker 1: back him he's so good, Like he's just so good. 694 00:37:41,239 --> 00:37:43,200 Speaker 1: He's like, you need to see her opening the door 695 00:37:43,719 --> 00:37:46,120 Speaker 1: and he was dead right. No one touched that scene 696 00:37:46,160 --> 00:38:10,000 Speaker 1: after Greg, which is really neat. You know. So you start, 697 00:38:10,640 --> 00:38:16,480 Speaker 1: much like Matt Soon Randall them as camera people. In reality, 698 00:38:16,840 --> 00:38:20,879 Speaker 1: you're editing documentaries. You come on the office and then 699 00:38:21,800 --> 00:38:24,799 Speaker 1: you start directing. You've talked about it a little bit 700 00:38:24,880 --> 00:38:28,120 Speaker 1: up to now. It was something that occurred to me. 701 00:38:28,560 --> 00:38:34,279 Speaker 1: You know, you become a director from a very particular background, 702 00:38:34,719 --> 00:38:40,000 Speaker 1: right like editing, assembling and post and Matt Soon and 703 00:38:40,120 --> 00:38:43,440 Speaker 1: Randall like from a really from a camera perspective. But 704 00:38:43,480 --> 00:38:46,920 Speaker 1: the thing that I remember is people on your side 705 00:38:47,520 --> 00:38:51,120 Speaker 1: wanting to have conversations with actors about like how because 706 00:38:51,160 --> 00:38:53,840 Speaker 1: that was something that was new. Did you feel that 707 00:38:53,920 --> 00:38:58,960 Speaker 1: as well? I remember Ken quab Is giving me some 708 00:38:59,000 --> 00:39:01,799 Speaker 1: great advice. He said, everyone there has a job to do. 709 00:39:02,000 --> 00:39:03,440 Speaker 1: Sound Guys got to do so and make sure it 710 00:39:03,480 --> 00:39:05,719 Speaker 1: sounds good. Actors have to be true to their characters. 711 00:39:05,760 --> 00:39:07,640 Speaker 1: Writers have to make sure the jokes are told correctly 712 00:39:07,680 --> 00:39:10,080 Speaker 1: and the story is told dps to make sure everyone 713 00:39:10,320 --> 00:39:12,440 Speaker 1: is on camera that should be and it's blocked correctly 714 00:39:12,960 --> 00:39:15,360 Speaker 1: along with the director. But he said, but the director's 715 00:39:15,719 --> 00:39:18,520 Speaker 1: most important job is to represent the audience. And if 716 00:39:18,520 --> 00:39:20,719 Speaker 1: the director doesn't get it, the director has to raise 717 00:39:20,760 --> 00:39:23,120 Speaker 1: their hand and be the pain in the ass and 718 00:39:23,160 --> 00:39:26,200 Speaker 1: say this isn't working, and that nobody wants to do that. 719 00:39:26,440 --> 00:39:29,040 Speaker 1: Nobody wants. Everyone's gonna look at you and be like, 720 00:39:29,239 --> 00:39:31,080 Speaker 1: oh the funk. I want to go home to my family. 721 00:39:31,280 --> 00:39:34,120 Speaker 1: I don't want to do this. We're just and I've 722 00:39:34,239 --> 00:39:37,400 Speaker 1: had to like be you have to be unpopular sometimes 723 00:39:37,440 --> 00:39:40,760 Speaker 1: to do that, and I it was such helpful advice, 724 00:39:41,160 --> 00:39:44,400 Speaker 1: you know. And I remember I was I was setting 725 00:39:44,480 --> 00:39:47,480 Speaker 1: up a scene and here comes trouble in the conference room. 726 00:39:47,480 --> 00:39:50,880 Speaker 1: It was a party, and um Greene came in and 727 00:39:50,920 --> 00:39:52,200 Speaker 1: he was like, oh no, no, no, I don't think 728 00:39:52,200 --> 00:39:54,480 Speaker 1: I would be here, and we'd already we'd rehearsed it, 729 00:39:54,520 --> 00:39:57,160 Speaker 1: and he's like, this is working. So he's like, I 730 00:39:57,160 --> 00:39:59,040 Speaker 1: think I should do this. This isn't He gave his 731 00:39:59,080 --> 00:40:02,000 Speaker 1: opinion and I was like, okay, let's do that, and 732 00:40:02,080 --> 00:40:04,160 Speaker 1: we started and it didn't work at all, and we 733 00:40:04,200 --> 00:40:06,000 Speaker 1: had to come back to the way I had it done, 734 00:40:06,800 --> 00:40:10,120 Speaker 1: and it was like, oh, I had done my homework. 735 00:40:10,160 --> 00:40:12,920 Speaker 1: I had a reason for I'd really worked, like I 736 00:40:13,520 --> 00:40:16,960 Speaker 1: take prep very seriously. And I understand why Rain came 737 00:40:17,000 --> 00:40:20,920 Speaker 1: at me because he didn't I didn't. He didn't have 738 00:40:21,120 --> 00:40:24,480 Speaker 1: confidence in me, Like why should he. It was my 739 00:40:24,520 --> 00:40:28,600 Speaker 1: second episode of Dragon TV ever, and so just learning 740 00:40:28,600 --> 00:40:31,719 Speaker 1: that dance of like when to speak up, when to 741 00:40:31,920 --> 00:40:35,399 Speaker 1: stand back, and then slowly gain trust. I mean that's 742 00:40:35,440 --> 00:40:38,840 Speaker 1: everything is gaining trust and then proving myself. Like so, 743 00:40:38,880 --> 00:40:40,960 Speaker 1: I remember there was a scene with John and he 744 00:40:41,000 --> 00:40:44,320 Speaker 1: was walking out with Jenna and and he's like, I 745 00:40:44,360 --> 00:40:46,200 Speaker 1: think we should have You know, John, a lot of 746 00:40:46,239 --> 00:40:49,160 Speaker 1: the times had really good ideas. I wish he came 747 00:40:49,239 --> 00:40:53,719 Speaker 1: up with them before we lit. He'd always come up 748 00:40:53,719 --> 00:40:55,680 Speaker 1: with such he was like he would dial in when 749 00:40:55,719 --> 00:40:58,520 Speaker 1: it was actually the cameras up and at Jim would 750 00:40:58,560 --> 00:41:00,440 Speaker 1: never do this, and we would always say, you're absolutely 751 00:41:00,520 --> 00:41:04,719 Speaker 1: right Brown University. Why didn't you come back and bring 752 00:41:04,760 --> 00:41:08,839 Speaker 1: that Brown University education to the rehearsal? Where was your 753 00:41:08,840 --> 00:41:12,000 Speaker 1: head in? So um, He's like, I think it worked 754 00:41:12,000 --> 00:41:13,600 Speaker 1: better this way, and he said, let's let's try that 755 00:41:13,760 --> 00:41:16,080 Speaker 1: and and let's do John's way, and then he did 756 00:41:16,080 --> 00:41:17,919 Speaker 1: it a couple of times he like your way was better. 757 00:41:18,160 --> 00:41:20,240 Speaker 1: So like it was just like finding that like dance 758 00:41:20,520 --> 00:41:23,439 Speaker 1: of like working with people gaining trust. And then after 759 00:41:23,480 --> 00:41:25,680 Speaker 1: that I felt like, Okay, I could do this. But 760 00:41:25,719 --> 00:41:28,439 Speaker 1: I remember the first day was like starting with talking heads. 761 00:41:28,480 --> 00:41:32,160 Speaker 1: It was a very gentle entree into directing, and Paul 762 00:41:32,200 --> 00:41:35,000 Speaker 1: would come for every rehearsal and there were lots of 763 00:41:35,040 --> 00:41:38,640 Speaker 1: safety nuts for me that first week. But I remember 764 00:41:38,640 --> 00:41:40,920 Speaker 1: halfway through the day of my first day ever directing, 765 00:41:41,360 --> 00:41:45,399 Speaker 1: already two questions or lobbed your way that morning and 766 00:41:45,440 --> 00:41:46,799 Speaker 1: I was like I can do this, I can do this. 767 00:41:46,840 --> 00:41:49,440 Speaker 1: It was lunch. I was like collecting myself and I 768 00:41:49,520 --> 00:41:51,799 Speaker 1: was like, why would anyone want to do this? Like 769 00:41:51,840 --> 00:41:53,600 Speaker 1: I was literally and then by the end of the 770 00:41:53,680 --> 00:41:55,680 Speaker 1: day I turned the corner and I was like I 771 00:41:55,719 --> 00:41:58,040 Speaker 1: want to do this, like but it was that halfway 772 00:41:58,080 --> 00:42:01,360 Speaker 1: mark was like brutal kind of Okay, I can I 773 00:42:01,400 --> 00:42:03,760 Speaker 1: can do this. I can do this, and then coming 774 00:42:03,800 --> 00:42:05,959 Speaker 1: around and be like, oh, not only can, I want 775 00:42:06,000 --> 00:42:08,520 Speaker 1: to and that's what you do now, And that's what 776 00:42:08,560 --> 00:42:13,320 Speaker 1: I mean. I never stopped loving editing. I love directing, 777 00:42:13,360 --> 00:42:16,520 Speaker 1: but I really there's something there's your building a world 778 00:42:16,760 --> 00:42:21,239 Speaker 1: in an edit bay, and um writers create out of 779 00:42:21,280 --> 00:42:24,319 Speaker 1: the blue sky. But I feel like editors are like 780 00:42:24,360 --> 00:42:27,200 Speaker 1: sculptors that work with negative space and they shave it 781 00:42:27,239 --> 00:42:30,040 Speaker 1: away and it's a different kind of writing. And I 782 00:42:30,080 --> 00:42:34,560 Speaker 1: think there's something wonderful about seeing what something can be 783 00:42:34,680 --> 00:42:37,480 Speaker 1: and realizing it. Like I felt that way so strongly. 784 00:42:37,520 --> 00:42:39,600 Speaker 1: I was so proud of the finale of the series. 785 00:42:40,360 --> 00:42:42,959 Speaker 1: There's this one pam talking head that like, I can't 786 00:42:42,960 --> 00:42:46,120 Speaker 1: wait to show my daughter when she's older, where she says, 787 00:42:46,160 --> 00:42:48,560 Speaker 1: you know, this has been such an amazing experience and 788 00:42:48,719 --> 00:42:52,000 Speaker 1: the documentary has been so invaluable. If I could talk 789 00:42:52,040 --> 00:42:55,000 Speaker 1: to my younger self, I wish I could have told 790 00:42:55,040 --> 00:42:57,640 Speaker 1: her to seize the moment sooner and just stand up 791 00:42:57,640 --> 00:43:00,360 Speaker 1: for yourself and go for it. Like it was so powerful. 792 00:43:00,440 --> 00:43:02,200 Speaker 1: I just even thinking about it makes me like misty 793 00:43:02,200 --> 00:43:03,759 Speaker 1: because it's just like, as a woman, you were just 794 00:43:03,800 --> 00:43:06,440 Speaker 1: not seeing that on TV, you know, and it was 795 00:43:06,520 --> 00:43:09,680 Speaker 1: such a powerful message. So it was a really that 796 00:43:09,800 --> 00:43:12,640 Speaker 1: was a really special just the whole ending was sad 797 00:43:12,680 --> 00:43:15,160 Speaker 1: and special, and it's all a blur because we were 798 00:43:15,160 --> 00:43:17,920 Speaker 1: also pulling all nighters when we were doing it, but 799 00:43:18,160 --> 00:43:20,319 Speaker 1: it was so worth it, and I think we all 800 00:43:20,400 --> 00:43:22,680 Speaker 1: knew when it came to an end that one it 801 00:43:22,760 --> 00:43:26,319 Speaker 1: was the right time, and to that we've all been 802 00:43:26,400 --> 00:43:30,520 Speaker 1: part of something extraordinary. You're proud of how we ended? 803 00:43:30,680 --> 00:43:33,840 Speaker 1: Oh my god, yeah, are you? I mean the last 804 00:43:33,840 --> 00:43:37,120 Speaker 1: two I mean ARM could have been a a RM 805 00:43:37,160 --> 00:43:39,200 Speaker 1: could have been the finale as well. I feel like 806 00:43:39,200 --> 00:43:42,600 Speaker 1: both episodes are so strong, but like having Steve come 807 00:43:42,640 --> 00:43:45,319 Speaker 1: back was great. That was such a special day too, 808 00:43:45,760 --> 00:43:48,000 Speaker 1: you know when he came for the wedding and you 809 00:43:48,000 --> 00:43:51,160 Speaker 1: guys didn't know. You guys know some some some people 810 00:43:51,200 --> 00:43:55,040 Speaker 1: knew obviously, the studio didn't know. The network and studio, 811 00:43:55,080 --> 00:43:58,080 Speaker 1: we're piss We hit the dailies, we went to another 812 00:43:58,200 --> 00:44:01,000 Speaker 1: we outsourced thumb. They never knew and it aired. They 813 00:44:01,000 --> 00:44:06,520 Speaker 1: saw the morning it aired. They were so pissed, really, 814 00:44:06,680 --> 00:44:08,759 Speaker 1: they were piste. Well what we didn't want them to 815 00:44:08,800 --> 00:44:10,680 Speaker 1: promo it and it would have you know, he would 816 00:44:10,680 --> 00:44:12,800 Speaker 1: have been in the promo. And Greg had such a 817 00:44:12,800 --> 00:44:15,560 Speaker 1: guilty conscience and he's like, all these people are asking 818 00:44:15,520 --> 00:44:17,480 Speaker 1: if he's coming back, and we have to lie and 819 00:44:17,520 --> 00:44:19,840 Speaker 1: say no. And he's like Ken don't you feel like 820 00:44:19,840 --> 00:44:21,920 Speaker 1: an awful person for lying to everybody and kids like 821 00:44:21,960 --> 00:44:25,120 Speaker 1: not at all. I feel I feel nothing. I don't care. 822 00:44:25,680 --> 00:44:28,160 Speaker 1: He didn't want them to ruin it. So what we 823 00:44:28,200 --> 00:44:35,319 Speaker 1: did was, yeah, it was great, and you won for 824 00:44:35,400 --> 00:44:38,399 Speaker 1: that episode, yeah, Dave and I. So I was cutting 825 00:44:38,400 --> 00:44:40,040 Speaker 1: the first half and Dave was cutting the second half, 826 00:44:40,080 --> 00:44:42,799 Speaker 1: and then Greg swapped us halfway through and he said, Claire, 827 00:44:42,840 --> 00:44:45,439 Speaker 1: you finish, and Dave you start with the beginning. And 828 00:44:45,560 --> 00:44:48,640 Speaker 1: it was like a mind fun because that's the air. 829 00:44:48,719 --> 00:44:51,359 Speaker 1: You don't I've seen all the dailies. I've seen every 830 00:44:51,360 --> 00:44:53,239 Speaker 1: inch of it, and then you're just swapping it out 831 00:44:53,320 --> 00:44:56,759 Speaker 1: and it was crushing. But then it was great, you know, 832 00:44:56,840 --> 00:45:00,080 Speaker 1: like fresh eyes and everything. So I think that is 833 00:45:00,200 --> 00:45:02,279 Speaker 1: really great. And Dave and I hit at that point, 834 00:45:02,280 --> 00:45:05,439 Speaker 1: we're just like Ying and Yang. We were very very new, 835 00:45:05,719 --> 00:45:09,160 Speaker 1: very much what each other's strengths were. And he just 836 00:45:09,280 --> 00:45:11,160 Speaker 1: he'd been there since season one, so I mean, he 837 00:45:11,239 --> 00:45:13,799 Speaker 1: just was such a He's an encyclopedia. He's so much 838 00:45:13,840 --> 00:45:16,120 Speaker 1: better at me. Like people will throw out a certain 839 00:45:16,160 --> 00:45:19,919 Speaker 1: episode like okay, what season, Like he just knows that said. 840 00:45:19,960 --> 00:45:23,160 Speaker 1: I also haven't gone back and watched them in a 841 00:45:23,200 --> 00:45:26,759 Speaker 1: long time like form for me, someone bring up some 842 00:45:26,960 --> 00:45:30,759 Speaker 1: serious emotions like Niagara or something like. That was such 843 00:45:30,800 --> 00:45:33,759 Speaker 1: a great episode to edit. It was wonderful because there 844 00:45:33,800 --> 00:45:36,319 Speaker 1: was music like I also cut the scene in arm 845 00:45:36,480 --> 00:45:38,440 Speaker 1: even though Dave and I would share like so if 846 00:45:38,480 --> 00:45:40,200 Speaker 1: I was ahead, I would just take some scenes from him, 847 00:45:40,239 --> 00:45:42,279 Speaker 1: and I was. I was good at doing I've done 848 00:45:42,280 --> 00:45:44,319 Speaker 1: all these like documentaries where you had to do these 849 00:45:44,320 --> 00:45:48,080 Speaker 1: opening montages. So for the Jim and Pam, the video 850 00:45:48,120 --> 00:45:50,920 Speaker 1: that Jim gives Pam, I cut that to snow Patrol 851 00:45:51,600 --> 00:45:55,080 Speaker 1: in Dave's episode because I like doing those things and 852 00:45:55,120 --> 00:45:58,160 Speaker 1: he hates doing those things. And um and I got 853 00:45:58,200 --> 00:46:01,600 Speaker 1: to do the Niagara a dancing thing to the Chris 854 00:46:01,640 --> 00:46:04,600 Speaker 1: Brown song and that was really fun. And I remember 855 00:46:05,239 --> 00:46:07,520 Speaker 1: getting to use Randall's footage that he shot I feel 856 00:46:07,520 --> 00:46:12,200 Speaker 1: like Super eight and Niarea. They went to Niagara Falls, 857 00:46:12,239 --> 00:46:14,279 Speaker 1: and I think he I know he shot film. I 858 00:46:14,280 --> 00:46:15,759 Speaker 1: don't think it was Super sixteen, but it could have 859 00:46:15,760 --> 00:46:18,560 Speaker 1: been Super sixteen. Yeah, you know, it was probably Super sixteen. 860 00:46:18,560 --> 00:46:20,480 Speaker 1: It was not shitty enough to be Super and I 861 00:46:20,520 --> 00:46:23,360 Speaker 1: remember seeing and so this was very much like cutting 862 00:46:23,360 --> 00:46:27,040 Speaker 1: a documentary because they didn't speak so Um, there's the 863 00:46:27,160 --> 00:46:30,320 Speaker 1: last scene of Niagara where Jim and Pam are on 864 00:46:30,400 --> 00:46:32,080 Speaker 1: the bow of the boat and he puts his arm 865 00:46:32,120 --> 00:46:34,880 Speaker 1: around her and he looks right into the camera and 866 00:46:34,960 --> 00:46:37,520 Speaker 1: he just like it's not even like cocky, it's just 867 00:46:37,600 --> 00:46:42,520 Speaker 1: like sweet, like I got her, you know. And Jim, 868 00:46:42,600 --> 00:46:44,799 Speaker 1: John and Jenna came into my bay to see it. 869 00:46:44,880 --> 00:46:46,480 Speaker 1: They were like, we need to see this show. We 870 00:46:46,560 --> 00:46:49,560 Speaker 1: need to sign off on this big, big one. And 871 00:46:49,760 --> 00:46:53,080 Speaker 1: after that, I'd like turned around and they're bawling, and 872 00:46:53,120 --> 00:46:55,080 Speaker 1: I was like, yes, because that's all you want to 873 00:46:55,080 --> 00:46:57,439 Speaker 1: do is make people cry, like you were in comment 874 00:46:57,520 --> 00:46:59,880 Speaker 1: but like for the poignant moments, all you want is 875 00:47:00,000 --> 00:47:02,400 Speaker 1: to make people gray. It was awesome. It was awesome 876 00:47:02,480 --> 00:47:04,160 Speaker 1: then coming in there and seeing we kind of shared 877 00:47:04,200 --> 00:47:06,680 Speaker 1: this and no one else will know that, you know, 878 00:47:07,120 --> 00:47:09,640 Speaker 1: but it was really a sweet moment to be a 879 00:47:09,640 --> 00:47:12,440 Speaker 1: part of in their journey, you know, and just almost 880 00:47:12,480 --> 00:47:34,720 Speaker 1: be just a witness to it. Um, put on the headphones. 881 00:47:34,760 --> 00:47:36,399 Speaker 1: I just want to play one thing for you here. 882 00:47:36,880 --> 00:47:40,279 Speaker 1: This is from the finale that you cut. I thought 883 00:47:40,360 --> 00:47:44,160 Speaker 1: it was weird when you picked us to make a documentary, 884 00:47:45,520 --> 00:47:50,440 Speaker 1: but all in all, I think an ordinary paper company 885 00:47:50,560 --> 00:47:53,600 Speaker 1: like dunder Mifflin was a great subject for a documentary. 886 00:47:55,640 --> 00:48:00,040 Speaker 1: There's a lot of beauty and ordinary things. Isn't that 887 00:48:00,200 --> 00:48:10,240 Speaker 1: kind of the point? So Greg having written that, clearly 888 00:48:10,280 --> 00:48:13,520 Speaker 1: he thinks that's what the point was. What did you 889 00:48:13,560 --> 00:48:17,680 Speaker 1: think I was of the office? I don't know if 890 00:48:17,680 --> 00:48:20,400 Speaker 1: he talked about this, but he told me that whenever 891 00:48:20,440 --> 00:48:23,480 Speaker 1: he was stimied or stuck, the moral compass of the 892 00:48:23,480 --> 00:48:26,400 Speaker 1: show was was Pam. And whenever he was stuck and 893 00:48:26,440 --> 00:48:28,680 Speaker 1: what would what would Pam do? Here? He would actually 894 00:48:28,719 --> 00:48:32,479 Speaker 1: say what would Suzanne do here? Did he tell you this? Oh? 895 00:48:32,560 --> 00:48:35,120 Speaker 1: It's it's like the best love letter. I don't think 896 00:48:35,160 --> 00:48:38,160 Speaker 1: I'm speaking out of school here. I thought that was 897 00:48:38,239 --> 00:48:41,239 Speaker 1: like the most romantic thing to say. You know, he 898 00:48:41,320 --> 00:48:44,080 Speaker 1: loves his wife so much he put her in Pam. 899 00:48:44,120 --> 00:48:48,560 Speaker 1: He basically created this whole series. You think it's Michael Scott, 900 00:48:48,600 --> 00:48:52,200 Speaker 1: but it's also Pam. She is the moral compass of 901 00:48:52,239 --> 00:48:56,560 Speaker 1: the show, and she is the person that you you 902 00:48:56,600 --> 00:48:58,960 Speaker 1: want to aspire to be as good as and be 903 00:48:59,080 --> 00:49:01,360 Speaker 1: it good enough to be with if you're a Jim. 904 00:49:02,520 --> 00:49:06,279 Speaker 1: For me, the whole series is all about growing up, 905 00:49:06,800 --> 00:49:09,200 Speaker 1: and when a character grows up, they don't need to 906 00:49:09,280 --> 00:49:12,760 Speaker 1: be in the office. I also think that Michael Scott 907 00:49:12,840 --> 00:49:17,759 Speaker 1: from me, I was nostalgic for because his story, his 908 00:49:18,000 --> 00:49:21,520 Speaker 1: arc is a beautiful one. You know. He is a 909 00:49:21,560 --> 00:49:24,399 Speaker 1: person whose mom is screening out his phone calls at 910 00:49:24,520 --> 00:49:26,440 Speaker 1: night when he's all alone in his office with no 911 00:49:26,560 --> 00:49:28,319 Speaker 1: friends or anyone to hang out in, no family to 912 00:49:28,320 --> 00:49:32,200 Speaker 1: go home to, and you see his pain. And then 913 00:49:32,239 --> 00:49:34,160 Speaker 1: the next morning he comes in and he asks like 914 00:49:34,200 --> 00:49:36,840 Speaker 1: a blow hard buffoon, and he tries to force his 915 00:49:37,000 --> 00:49:39,719 Speaker 1: entire workforce into being his family and friends. And I 916 00:49:39,840 --> 00:49:42,920 Speaker 1: forgive him every moment of it because I was led 917 00:49:42,960 --> 00:49:46,600 Speaker 1: into his vulnerability and I saw his cracks, and I 918 00:49:46,719 --> 00:49:49,640 Speaker 1: understand why he's doing what he's doing, and I'm rooting 919 00:49:49,640 --> 00:49:52,200 Speaker 1: for him, and so over the course of it, you 920 00:49:52,239 --> 00:49:55,520 Speaker 1: see each season he grows a little more, and by 921 00:49:55,560 --> 00:50:01,200 Speaker 1: season seven he is finally worthy of Holly, worthy of 922 00:50:01,239 --> 00:50:05,120 Speaker 1: a family. He's grown, He's become the best version of himself, 923 00:50:05,200 --> 00:50:07,960 Speaker 1: and I'm rooting for him and Holly. So for me, 924 00:50:08,000 --> 00:50:10,319 Speaker 1: it was such a clean exit, you know, it was 925 00:50:10,360 --> 00:50:13,480 Speaker 1: so well deserved, so well told, so that I wanted 926 00:50:13,520 --> 00:50:15,880 Speaker 1: to see that journey in others, you know, And and 927 00:50:15,880 --> 00:50:17,640 Speaker 1: it was nice that there was more space for other 928 00:50:17,680 --> 00:50:20,200 Speaker 1: people to have those same goals, and it was nice 929 00:50:20,200 --> 00:50:22,840 Speaker 1: to see Jim and Pam go beyond the fairy tale 930 00:50:23,400 --> 00:50:25,759 Speaker 1: and see like, whoa, there's bumps in marriage? Like that 931 00:50:25,840 --> 00:50:29,160 Speaker 1: was really that was great. I liked being able to 932 00:50:29,200 --> 00:50:32,040 Speaker 1: service more of the characters as a result. But I 933 00:50:32,080 --> 00:50:34,440 Speaker 1: do think that that's kind of what I was alluding 934 00:50:34,480 --> 00:50:37,640 Speaker 1: to earlier. It is giving equal time to lots of 935 00:50:37,680 --> 00:50:39,840 Speaker 1: people who don't normally get I mean, like just the 936 00:50:39,960 --> 00:50:42,600 Speaker 1: very fact that I said the moral compass as a woman, 937 00:50:43,080 --> 00:50:45,320 Speaker 1: I didn't want to beat a dead horse. But there's 938 00:50:45,360 --> 00:50:49,319 Speaker 1: not parody yet, you know, So it's nice that she 939 00:50:49,520 --> 00:50:52,000 Speaker 1: got that part in the show. And then it was 940 00:50:52,080 --> 00:50:56,239 Speaker 1: nice that everyone got their stories told, like what what 941 00:50:56,239 --> 00:50:58,719 Speaker 1: what primetime show had some of the heartfelt moments that 942 00:50:58,760 --> 00:51:03,399 Speaker 1: Phillis Scott. You know how many assistant casting directors get 943 00:51:03,440 --> 00:51:06,799 Speaker 1: to go on become on a network comedy start Like 944 00:51:06,840 --> 00:51:09,600 Speaker 1: I mean, it's just crazy, like the trajectory and the 945 00:51:09,760 --> 00:51:13,520 Speaker 1: impact and the humanity. I keep coming back to that 946 00:51:13,560 --> 00:51:17,000 Speaker 1: word humanity, but it really is a utopic society, and 947 00:51:17,080 --> 00:51:21,480 Speaker 1: I think that it's not shocking that kids are gravitating 948 00:51:21,480 --> 00:51:23,279 Speaker 1: towards that today because I think we see just the 949 00:51:23,280 --> 00:51:27,439 Speaker 1: opposite every day in the news, and it's it's so disheartening, 950 00:51:27,960 --> 00:51:30,400 Speaker 1: you know, and I want to go live in scranted 951 00:51:30,800 --> 00:51:34,120 Speaker 1: in the world of the office, that's the appeal now, 952 00:51:35,239 --> 00:51:38,000 Speaker 1: I think. So. I mean, it's not about getting rich, 953 00:51:38,960 --> 00:51:42,279 Speaker 1: it's not about being popular. It's about being happy and 954 00:51:42,320 --> 00:51:45,319 Speaker 1: being kind to others. I mean, on very few other 955 00:51:45,360 --> 00:51:47,560 Speaker 1: shows do you see people being so kind to each other. 956 00:51:48,840 --> 00:51:52,120 Speaker 1: I mean, I'm not a religious person, but I can 957 00:51:52,120 --> 00:51:54,279 Speaker 1: see why people kind of go to the church of 958 00:51:54,320 --> 00:51:57,720 Speaker 1: the office. Um, when Pam is having a vulnerable moment 959 00:51:57,760 --> 00:52:00,880 Speaker 1: with Dwight and then he says, you're on your period, 960 00:52:01,200 --> 00:52:04,080 Speaker 1: you know, it's undercuts. It's like you're getting to all 961 00:52:04,080 --> 00:52:06,440 Speaker 1: those like feelings. And then of course it's a comedy, 962 00:52:06,480 --> 00:52:11,480 Speaker 1: so it's but like he's really trying. He's a jackass, 963 00:52:11,520 --> 00:52:16,680 Speaker 1: really trying right, right, the intention is there, Yeah, and 964 00:52:16,719 --> 00:52:19,960 Speaker 1: you're kind of route like, oh, he can almost do 965 00:52:20,120 --> 00:52:24,320 Speaker 1: this right, almost almost not quite. Yeah, it wouldn't be 966 00:52:24,320 --> 00:52:28,040 Speaker 1: a comedy if you could. Right. I'll just tell you 967 00:52:28,080 --> 00:52:32,920 Speaker 1: this weird thing that I've settled on here in terms 968 00:52:32,920 --> 00:52:36,920 Speaker 1: of that that your brain would tell you that the 969 00:52:37,000 --> 00:52:41,640 Speaker 1: more general would be the more universal. But with the Office, 970 00:52:41,760 --> 00:52:46,279 Speaker 1: the characters were drawn so specifically, and that ultimately that 971 00:52:46,400 --> 00:52:49,440 Speaker 1: is the thing that I think has made it more universal, 972 00:52:49,520 --> 00:52:53,200 Speaker 1: that it's actually so specific. Yeah, instead of pleasing all 973 00:52:53,239 --> 00:52:56,400 Speaker 1: the people, you're just being true to a character building 974 00:52:56,440 --> 00:52:59,280 Speaker 1: and telling a story, which ultimately does make it appeal 975 00:52:59,360 --> 00:53:03,279 Speaker 1: to more people. It's counterintuitive, yeah, but I mean I 976 00:53:03,320 --> 00:53:05,760 Speaker 1: always get so frustrated and just been working on anything 977 00:53:05,800 --> 00:53:10,719 Speaker 1: new where you are underestimating the sophistication of the audience. 978 00:53:11,280 --> 00:53:16,280 Speaker 1: They are smart and they can sniff out phoniness so quickly, 979 00:53:16,840 --> 00:53:20,520 Speaker 1: especially now and like peak TV. You know, people are 980 00:53:20,560 --> 00:53:25,120 Speaker 1: just so smart. And I think The Office was ahead. 981 00:53:25,400 --> 00:53:27,680 Speaker 1: It was ten years ahead of its time. You just 982 00:53:27,880 --> 00:53:30,680 Speaker 1: was the American officer, I mean in the British Office. Well, 983 00:53:30,719 --> 00:53:33,520 Speaker 1: and now we're maybe that's it. Maybe it was ten 984 00:53:33,560 --> 00:53:35,680 Speaker 1: years ahead of its time. And now because as you 985 00:53:35,760 --> 00:53:39,799 Speaker 1: said before, the show is bigger now. It is like 986 00:53:39,840 --> 00:53:42,080 Speaker 1: people will be like, I watched ever episode I see 987 00:53:42,120 --> 00:53:44,880 Speaker 1: your name. I felt like their kids, they're watching it 988 00:53:44,920 --> 00:53:47,000 Speaker 1: with their kids. My peers are watching They never watched 989 00:53:47,080 --> 00:53:49,399 Speaker 1: my peers didn't watch it when I worked on it, 990 00:53:49,680 --> 00:53:54,440 Speaker 1: but they're watching it now with their children. Right, Well, 991 00:53:54,480 --> 00:53:56,680 Speaker 1: thank you so much for coming to talk to me. Sure, 992 00:53:56,800 --> 00:53:59,759 Speaker 1: this has been great. I am so happy for you 993 00:54:00,120 --> 00:54:04,080 Speaker 1: and your success. Thank you. And you're so smart and 994 00:54:04,239 --> 00:54:08,879 Speaker 1: thoughtful and I just so appreciate and care for you. 995 00:54:08,920 --> 00:54:12,239 Speaker 1: And oh, thank you. Right, that's awfully right back at you. 996 00:54:12,800 --> 00:54:15,479 Speaker 1: Thank you for thinking of me. One thing I didn't 997 00:54:15,480 --> 00:54:18,359 Speaker 1: mention is that, you know, we still work. We still 998 00:54:18,360 --> 00:54:21,680 Speaker 1: work in this town and I see people once in 999 00:54:21,719 --> 00:54:24,640 Speaker 1: a blue moon, I'll bump into um, Greg the p 1000 00:54:24,840 --> 00:54:28,399 Speaker 1: A or um you know. I worked with Danny Chun 1001 00:54:28,440 --> 00:54:31,560 Speaker 1: from time to time, or a writer that we've worked with. 1002 00:54:31,680 --> 00:54:33,600 Speaker 1: But a lot of times on sets, you know, you'll 1003 00:54:33,640 --> 00:54:36,520 Speaker 1: see someone I've worked with, Kelly, and you go up 1004 00:54:36,520 --> 00:54:38,719 Speaker 1: and you're like, Okay, who's the so and so, Like 1005 00:54:38,719 --> 00:54:40,480 Speaker 1: who's like MAT's own over here? And like who you know, 1006 00:54:40,520 --> 00:54:42,759 Speaker 1: who's the no nonsense and who can I talk to 1007 00:54:42,760 --> 00:54:45,319 Speaker 1: about this? And it's just like a shorthand. I call 1008 00:54:45,360 --> 00:54:47,719 Speaker 1: it going to the University of Greg Daniels because we 1009 00:54:47,800 --> 00:54:51,480 Speaker 1: all went to school with under him. He was our master, professor, principal, 1010 00:54:51,920 --> 00:54:54,440 Speaker 1: and then we all shot out and went elsewhere but 1011 00:54:54,560 --> 00:54:56,960 Speaker 1: remembered each other, and oh that's my school. Made over there, 1012 00:54:57,000 --> 00:54:58,800 Speaker 1: so I that's the person I have a shorthand with 1013 00:54:59,239 --> 00:55:02,160 Speaker 1: and when I see that familiar face, it's like coming home. 1014 00:55:02,680 --> 00:55:06,560 Speaker 1: And I just never i'd never, never, never take the 1015 00:55:06,640 --> 00:55:09,000 Speaker 1: office for granted. I don't take any of those years 1016 00:55:09,040 --> 00:55:12,840 Speaker 1: for granted. Every day I walked into that office, I 1017 00:55:12,920 --> 00:55:15,919 Speaker 1: was aware of how good I had it, how good 1018 00:55:15,920 --> 00:55:18,719 Speaker 1: the people, how protected we were, how wonderful it was 1019 00:55:18,800 --> 00:55:22,080 Speaker 1: to be on that stage away from everything, and how 1020 00:55:22,160 --> 00:55:24,160 Speaker 1: kind everybody was to everybody, even when they were in 1021 00:55:24,160 --> 00:55:27,960 Speaker 1: a mood. People were not jackasses. They just weren't. It 1022 00:55:28,040 --> 00:55:33,160 Speaker 1: just wasn't tolerated, which is wonderful. Yeah, oh my god, 1023 00:55:33,239 --> 00:55:37,800 Speaker 1: thank you so much. Like you're I mean, I forget 1024 00:55:37,960 --> 00:55:57,320 Speaker 1: that you're a real smart I know I'm not. Yeah, Oh, 1025 00:55:57,920 --> 00:56:02,560 Speaker 1: how amazing is she? Thank you, Claire for your wisdom 1026 00:56:02,640 --> 00:56:06,279 Speaker 1: and for everything you brought to the show. I am 1027 00:56:06,360 --> 00:56:10,799 Speaker 1: so happy to be an alumni of the University of 1028 00:56:10,840 --> 00:56:13,200 Speaker 1: Greg Daniels, and I love that we got to have 1029 00:56:13,280 --> 00:56:17,640 Speaker 1: this this little class reunion together from all of us 1030 00:56:17,960 --> 00:56:21,720 Speaker 1: here at the office Deep Dive, especially me since I'm talking. 1031 00:56:22,120 --> 00:56:24,920 Speaker 1: Have a great week and we will be back next 1032 00:56:24,960 --> 00:56:30,719 Speaker 1: Tuesday with another brilliant woman from the office, but this time, oh, 1033 00:56:31,360 --> 00:56:34,480 Speaker 1: she is someone who was in front of the camera. 1034 00:56:35,280 --> 00:56:46,640 Speaker 1: See you next week the Office. Deep Dive is hosted 1035 00:56:46,680 --> 00:56:51,160 Speaker 1: an executive produced by me Brian Baumgartner alongside our executive 1036 00:56:51,160 --> 00:56:55,880 Speaker 1: producer Langley. Our senior producer is Tessa Kramer. Our producers 1037 00:56:55,880 --> 00:56:59,560 Speaker 1: are Emily Carr and Diego Tapia, and our intern is 1038 00:56:59,600 --> 00:57:03,160 Speaker 1: Hannah Harris. My main man in the booth is Alec Moore. 1039 00:57:03,640 --> 00:57:07,120 Speaker 1: Our theme song Bubble and Squeak, performed by my great 1040 00:57:07,120 --> 00:57:25,160 Speaker 1: friend Creed Bratton, and the episode was mixed by seth Olandsky.