WEBVTT - Claire Scanlon 0:00:05.440 --> 0:00:07.480 We can say whatever you want. Your name and what 0:00:07.520 --> 0:00:10.040 you are on the Office. My name is Claire Scanlon 0:00:10.200 --> 0:00:12.719 and I was an editor on the Office from season 0:00:12.800 --> 0:00:17.280 five for five years through the finale. That was so 0:00:17.360 --> 0:00:23.599 long I can see. Okay, my name is Claire Scanlon 0:00:23.600 --> 0:00:34.400 and I was an editor on the Office. Hello everyone, 0:00:36.200 --> 0:00:41.040 that just made me laugh. Welcome back to the Office 0:00:41.240 --> 0:00:45.880 deep Dive where we dive deep into the Office. As 0:00:45.920 --> 0:00:49.720 the title indicates, I am your host, Brian Bonm Gartner. 0:00:50.200 --> 0:00:55.920 Today I have the absolute pleasure and privilege of bringing 0:00:55.960 --> 0:00:59.880 you my conversation with the one and only Claire ski 0:01:00.040 --> 0:01:04.520 end Lyn. Oh she's just great. Just wait, um. Claire 0:01:05.440 --> 0:01:08.680 was an editor on our show, a great one. In fact, 0:01:08.840 --> 0:01:13.319 she won an Emmy for editing the final episode. But 0:01:13.600 --> 0:01:16.240 one thing that was so special about the Office, and 0:01:16.800 --> 0:01:18.840 I know I've talked about this, but but you really 0:01:19.240 --> 0:01:22.080 you need to understand just how rare it is. There 0:01:22.160 --> 0:01:25.959 was a synergy, a real synergy between all of the 0:01:26.000 --> 0:01:30.319 members of the cast and of the crew. Everyone talked 0:01:30.600 --> 0:01:35.600 to everyone, everyone had input and value. Everyone could try 0:01:35.600 --> 0:01:39.760 on a new hat if they wanted. Even I a 0:01:39.840 --> 0:01:44.080 lowly actor, I could walk right up to the writer's 0:01:44.160 --> 0:01:46.600 room and tell them what I thought about something, or 0:01:46.640 --> 0:01:50.240 the editors area, the editing bay as we call it, 0:01:50.280 --> 0:01:53.560 and I have real conversations with Claire or with our 0:01:53.640 --> 0:01:58.240 other amazing editor, Dave Rodgers about the show. So ideas 0:01:58.520 --> 0:02:01.720 came from all different people, all of the time, right 0:02:01.800 --> 0:02:04.360 up until the very end. So the fact that Claire 0:02:04.400 --> 0:02:07.520 and I even have a relationship, her as an editor 0:02:07.560 --> 0:02:10.760 and me as an actor, that speaks to the extra 0:02:11.080 --> 0:02:15.600 special specialness of our set. And speaking of people taking 0:02:15.600 --> 0:02:20.040 on different roles, well, Claire also directed a couple of 0:02:20.040 --> 0:02:24.840 episodes of The Office, Yes, her first ever directing job, 0:02:25.280 --> 0:02:28.360 which of course has launched her into a full blown 0:02:28.600 --> 0:02:32.720 directing career. Yeah, Claire is kind of a big deal. 0:02:33.000 --> 0:02:35.680 If you watch television, there is no doubt you have 0:02:35.800 --> 0:02:40.720 seen something she has done, maybe The Unbreakable Kimmy Schmidt 0:02:40.960 --> 0:02:44.720 or Brooklyn nine nine, or The Mindy Project or her 0:02:44.800 --> 0:02:48.079 recent film Set It Up. Oh, and did I mention 0:02:48.240 --> 0:02:50.880 that she won an Emmy for editing the finale of 0:02:50.919 --> 0:02:55.000 the Office. She's just too good. She's too good at 0:02:55.240 --> 0:02:59.320 at everything. Anyway, you will understand how stoked I was 0:02:59.480 --> 0:03:02.000 to get to see her and to talk to her. 0:03:02.360 --> 0:03:06.560 It was truly my pleasure. Here is my friend, the 0:03:06.680 --> 0:03:18.400 incredibly multi talented and impossibly brilliant Claire Scandling. Bubble and Squeak. 0:03:19.720 --> 0:03:25.560 I love it, Bubble and squeak on Bubble and Squeaker 0:03:25.639 --> 0:03:44.040 cookie every moment left over from the nubb before. How 0:03:44.080 --> 0:03:52.080 are you good? God? Golfing? What's going on? Why is 0:03:52.120 --> 0:04:01.200 it always about golfing? Working card outside? We can That's 0:04:01.200 --> 0:04:06.800 what I was, right, well, um, oh my gosh, how 0:04:06.840 --> 0:04:10.520 are you good? Good? Really good? I was like teasing. 0:04:10.560 --> 0:04:13.360 I was like this because in the emails, like conveniently located, 0:04:13.800 --> 0:04:20.440 I'm like Greg, and I brought a ton of pictures too, 0:04:20.560 --> 0:04:23.160 and yeah, yeah, it was really actually fun going to 0:04:23.279 --> 0:04:26.719 I haven't weirdly, I have a lot of pictures of you. Really. 0:04:26.920 --> 0:04:30.599 I was just like, I was, it's time to tell 0:04:30.600 --> 0:04:33.480 you the truth that I was totally obsessed with you 0:04:33.560 --> 0:04:35.240 and stopped you. You just didn't know what I did 0:04:35.240 --> 0:04:42.240 it very surreptitiously. Really. Yeah, see your pictures. I know 0:04:42.279 --> 0:04:46.040 I'm pulling pulling them up right now. The office. Um, 0:04:46.080 --> 0:04:49.839 there's one just that's like a rap some and you 0:04:49.920 --> 0:04:53.120 in the middle. This is like one of our story boards, 0:04:53.160 --> 0:04:58.560 you know, just like classic office storyboard. That's the very 0:04:58.640 --> 0:05:02.640 last next session, that's for the finality. Yeah, that's Matt, 0:05:02.760 --> 0:05:08.840 So in case you couldn't recognize him, he was Colonel Sanders, 0:05:08.600 --> 0:05:13.480 which having had just worked on I'm trying to be 0:05:13.480 --> 0:05:16.000 trying to be very diplomatic about this, but having just 0:05:16.040 --> 0:05:19.560 worked on another handheld show, it makes you really appreciate 0:05:19.880 --> 0:05:23.920 Matt and Sarah's work because it's such a skill, it's 0:05:23.920 --> 0:05:27.719 such an art, and so few people can do it well. 0:05:27.920 --> 0:05:33.760 So few. Well, it's crazy because they came from reality. Yes, 0:05:34.120 --> 0:05:37.839 but they knew how to construct the story. They knew 0:05:37.880 --> 0:05:40.800 not to go to you guys until you started speaking, 0:05:40.880 --> 0:05:44.719 which is such a palletic, artful thing that they never 0:05:44.760 --> 0:05:48.799 got credit for her because no one appreciates the storytelling 0:05:48.839 --> 0:05:51.520 they were doing and understanding the level of difficulty except 0:05:51.520 --> 0:05:53.440 other camera operators that would come and work on the 0:05:53.440 --> 0:05:56.720 show and fail. The editors really knew it, and the 0:05:56.760 --> 0:05:59.760 other people who tried and couldn't do it would like 0:06:00.000 --> 0:06:02.200 cut to you and be like, no, he Kevin hasn't 0:06:02.240 --> 0:06:04.280 spoken yet. You can't cut to Kevin because how do 0:06:04.279 --> 0:06:07.480 these the documentary filmmaker know that Kevin's going to speak? Right? 0:06:07.960 --> 0:06:10.520 I talked with Matt about this also, and I'd kind 0:06:10.520 --> 0:06:13.400 of forgotten about this. Really. The only way they cheated 0:06:13.480 --> 0:06:16.720 was they would have us do handles occasionally, right, So 0:06:16.920 --> 0:06:20.400 like Michael, yes, just to give them a reason to 0:06:20.440 --> 0:06:23.279 get over there, always looking for the reason right right 0:06:23.680 --> 0:06:26.120 that he knew to do. That was awesome. Do you 0:06:26.160 --> 0:06:32.760 feel like was editing on the Office more or less 0:06:33.080 --> 0:06:38.880 difficult because of the way that it was. Because it 0:06:38.920 --> 0:06:43.200 was incredibly difficult. It was not easier than a more 0:06:43.320 --> 0:06:48.400 studio style Hollywood typical Hollywood sitcom or single camp show, 0:06:48.880 --> 0:06:53.040 much much more difficult. But that said, you had so 0:06:53.120 --> 0:06:58.560 much creativity and so much leeway. I think because Greg 0:06:58.720 --> 0:07:04.440 and Paul Engen really respected the editor, the act of editing, 0:07:04.720 --> 0:07:08.760 the storytelling of editing, they gave so much leeway. So 0:07:08.960 --> 0:07:12.360 and they and especially Greg was not reverential with his 0:07:12.440 --> 0:07:15.920 scripts and himself as well, like when he would come 0:07:15.920 --> 0:07:18.320 into post, like take that talking head from act one 0:07:18.360 --> 0:07:20.720 and put it in three. And I remember doing casual 0:07:20.840 --> 0:07:24.480 Fridays and it was kind of too many storylines, way 0:07:24.520 --> 0:07:27.720 too long, and I was like, you know, this one 0:07:28.000 --> 0:07:30.280 needs how I was like, I don't know, you know, 0:07:30.360 --> 0:07:33.400 I had cut this behemoth, you know, towards the end, 0:07:33.440 --> 0:07:35.360 they were all getting to be like forty minute long 0:07:35.480 --> 0:07:37.480 episodes and you're cutting a show out of the show. 0:07:37.880 --> 0:07:41.440 But this one in particular, I felt like, I don't 0:07:41.440 --> 0:07:43.480 know what we're going to do. And he was just genius, 0:07:43.520 --> 0:07:46.400 Like there was one Kelly Poor story that just became 0:07:46.440 --> 0:07:48.000 like almost like two shots and it was just like 0:07:48.080 --> 0:07:51.200 a little pop and it was so good as a 0:07:51.200 --> 0:07:53.960 result of it, and he just moved stuff every which way. 0:07:54.160 --> 0:07:56.960 Once he sees that your boss is doing that, it 0:07:57.040 --> 0:07:59.600 kind of gives you a freer hand to do it yourself, 0:08:00.200 --> 0:08:04.480 right Because I came on season five, so that's a 0:08:04.600 --> 0:08:10.440 great point. So before you started you were editing documentaries. 0:08:10.760 --> 0:08:15.440 This was the very first scripted television show I ever edited, period, 0:08:15.800 --> 0:08:19.440 So I like literally went from no scripted to the 0:08:19.560 --> 0:08:23.120 number one company. It was just like, wow, try by 0:08:23.160 --> 0:08:26.760 fire first, one go for it. I knew that if 0:08:26.760 --> 0:08:28.800 I didn't do a good job, I wouldn't get as back. 0:08:29.040 --> 0:08:32.000 Like it was that simple. And Dave Rogers was amazing 0:08:32.200 --> 0:08:34.880 and he always would watch my cuts, but initially especially 0:08:34.880 --> 0:08:36.680 with me, like this is what we do. Stays, don't 0:08:36.679 --> 0:08:39.200 cut away, don't pre lab stay on the joke, till 0:08:39.240 --> 0:08:41.840 the end, you know, like that was just something it 0:08:41.880 --> 0:08:44.840 would take kind of just like a more seasoned person 0:08:44.880 --> 0:08:47.360 to know. But then in other ways, I think because 0:08:47.360 --> 0:08:50.600 of my background, I was very comfortable with all of 0:08:50.640 --> 0:08:53.240 the shooting style, whereas I think other editors that would 0:08:53.240 --> 0:08:57.840 come on would be like, WHOA, what the heck? Um? 0:08:57.880 --> 0:09:00.160 I remember my job interview with Gen Sila out of 0:09:00.240 --> 0:09:03.120 Mike Sure, Paul Eversen, and Greg Daniel, so not an 0:09:03.120 --> 0:09:06.600 intimidating group at all to be interviewing me. I literally 0:09:06.600 --> 0:09:10.160 like almost knew too little to be intimidated, Like I 0:09:10.440 --> 0:09:15.000 should have been shaking that group, like, but I almost was. 0:09:15.040 --> 0:09:18.040 Just like I knew Paul socially from in our twenties. 0:09:18.160 --> 0:09:20.680 I knew him when he was writing. Clarissa explains it 0:09:20.720 --> 0:09:26.240 all personally. So what happened was a good friend of mine, 0:09:26.240 --> 0:09:31.400 Grady Cooper, who ended up editing quipond Um. He said, Hey, Claire, 0:09:31.440 --> 0:09:33.160 I heard there's a spinoff of the Office. Would you 0:09:33.200 --> 0:09:35.000 mind putting my name in the hat and giving it 0:09:35.000 --> 0:09:37.520 to Paul? And I called Paul and said, hey, my 0:09:37.520 --> 0:09:39.000 friend wants to put his name in the hat for 0:09:39.040 --> 0:09:40.559 the new show. And he's like, well, what about you. 0:09:41.040 --> 0:09:43.280 I was like what and he's like, what about you 0:09:43.320 --> 0:09:44.560 don't want to put your name in the hat? You're 0:09:44.559 --> 0:09:47.720 an editor too, And I said, okay, I never It 0:09:47.800 --> 0:09:50.200 just didn't even cross my mind that I would even 0:09:50.240 --> 0:09:53.600 have a chance. So Paul was conspicuously quiet in that 0:09:53.679 --> 0:09:56.560 meaning because I knew him, you know, socially. And I 0:09:56.720 --> 0:10:00.800 met Greg and Suzanne at Paul's birthday party one year. 0:10:00.800 --> 0:10:03.440 I think, um, and to me, they were like the 0:10:03.480 --> 0:10:06.520 grown ups, which is so funny. They were like the 0:10:06.600 --> 0:10:08.680 perhaps they had a kid already like I was in 0:10:08.720 --> 0:10:11.240 my twenties, and they were just so mature. They were 0:10:11.320 --> 0:10:14.400 so mature, and I remember thinking like, oh, that's the 0:10:14.480 --> 0:10:17.360 dad when I went into the interview, like that, he's 0:10:17.400 --> 0:10:21.480 a dad. And so I met with them. I said, 0:10:21.559 --> 0:10:25.000 I don't have any narrative editing background. I don't have 0:10:25.120 --> 0:10:28.679 I'm not this isn't my forte and I come from documentary. 0:10:28.720 --> 0:10:30.600 In fact, I've worked with a lot of your camera 0:10:30.640 --> 0:10:32.600 operators because we were all under the same roof at 0:10:32.600 --> 0:10:37.240 Mark Burnett Productions, and um, guys like that's a plus 0:10:37.240 --> 0:10:40.520 that you've never done narrative. And I do come from documentary. 0:10:40.559 --> 0:10:42.800 I don't really come as much from reality. I've done 0:10:42.960 --> 0:10:47.520 tons of docs before and weirdly docks on comedians. Um, 0:10:47.720 --> 0:10:50.720 I gravitated towards like Carol Burnett, a woman of character, 0:10:50.840 --> 0:10:53.760 carry grant a class apart Bob new Harden button and 0:10:53.800 --> 0:10:56.400 it didn't. I didn't set out with comedy in mind 0:10:56.400 --> 0:10:58.000 when I was I just kind of veered that way, 0:10:58.080 --> 0:11:00.560 like just like I don't know, it's kind of follow 0:11:00.600 --> 0:11:02.840 my lap that way. So Greg was very keen on 0:11:02.880 --> 0:11:05.400 the fact that I hadn't come up through the system, 0:11:05.600 --> 0:11:07.920 and I can see now in retrospect why that wasn't 0:11:07.920 --> 0:11:12.319 attractive quality, just and that you do thwart the script structure, 0:11:12.640 --> 0:11:16.640 which is like the script is Bible, and no other 0:11:16.679 --> 0:11:19.000 show runner lets you do that, Like can you imagine 0:11:19.040 --> 0:11:22.040 being on another show saying, oh, I put that three 0:11:22.120 --> 0:11:25.360 even though you wrote it in act one. But Greg 0:11:25.360 --> 0:11:28.360 two was also very reverential to the script on set. 0:11:28.920 --> 0:11:32.360 You know, if a director didn't shoot the words, he 0:11:32.480 --> 0:11:37.600 was pissed. But all fund runs. Improv is great, but 0:11:37.679 --> 0:11:40.160 you better have gotten at least one or two takes 0:11:40.200 --> 0:11:42.960 with the scripted. And then in post he didn't care 0:11:43.120 --> 0:11:44.360 like and post he's like, let me see it the 0:11:44.400 --> 0:11:46.200 way it was written, Okay, now let's throw everything up 0:11:46.200 --> 0:11:49.439 in the air and start over again, which was so liberating, 0:11:49.600 --> 0:11:53.200 and I think that's also what led to just a 0:11:53.280 --> 0:11:57.240 whole level of another layer of comedy that other shows 0:11:57.280 --> 0:11:59.640 didn't have that opportunity for. Like, you couldn't have done 0:11:59.679 --> 0:12:01.600 what we did with the b roll and the talking 0:12:01.679 --> 0:12:05.520 I mean, you could take a show that was way 0:12:05.520 --> 0:12:08.120 too long, if it was too much exposition, you just 0:12:08.160 --> 0:12:09.960 had someone do a talking head, and then you could 0:12:10.600 --> 0:12:13.360 delve right into the scene mid scene. You could just 0:12:13.400 --> 0:12:16.040 get rid of so much of the shoe leather. So 0:12:16.160 --> 0:12:19.240 it was just such an unusual show that way. I 0:12:19.240 --> 0:12:25.040 think obviously that mockumentary style worked because it worked for 0:12:25.080 --> 0:12:27.200 Parks and rec and Modern Family quite well. You know, 0:12:27.240 --> 0:12:29.960 other shows really were able to take that on and 0:12:30.000 --> 0:12:34.000 move forward with it. Yes, I mean, I don't know 0:12:34.040 --> 0:12:37.040 that I would say better than The Office, but I 0:12:37.040 --> 0:12:40.800 would just say it was clearly a format that worked 0:12:40.960 --> 0:12:45.600 in comedy, and other comedies stemmed from that. I think 0:12:45.600 --> 0:12:50.240 that for me, what's interesting is that we had rules 0:12:50.640 --> 0:12:53.840 in terms of how the camera worked, things that we 0:12:53.840 --> 0:12:57.440 were not allowed to break. Randall's talked about like, no, 0:12:57.640 --> 0:13:00.720 I'm not going to do a shot if I can't 0:13:00.760 --> 0:13:04.040 physically get it. If we have two cameras and one 0:13:04.080 --> 0:13:07.440 cameras shooting from right behind Steve, then we can't shoot 0:13:07.480 --> 0:13:10.000 Steve front on, or we would see the camera right 0:13:10.160 --> 0:13:13.160 And he talked about one of Greg's sort of adages 0:13:13.360 --> 0:13:16.640 early on was everything that makes it harder makes it better. 0:13:17.000 --> 0:13:19.480 You know, if the angle wasn't perfect and you didn't 0:13:19.520 --> 0:13:24.080 have everybody's face, that led led to the voyeurism and 0:13:24.160 --> 0:13:27.160 the realness of it. And I think the show's after 0:13:27.200 --> 0:13:31.040 the Office that emulated. Yeah, no Parkinson MC didn't quite 0:13:31.080 --> 0:13:33.320 do it the same, which is fine. No, No, they 0:13:33.320 --> 0:13:36.360 didn't do it. And I think Modern Family they did 0:13:36.360 --> 0:13:38.880 a monitored family. I directed one, and I remember going 0:13:38.920 --> 0:13:44.240 in and you know, it's essentially construct that very heavily 0:13:44.320 --> 0:13:46.880 borrowed some you know, from the Office. I think they 0:13:46.880 --> 0:13:50.040 would all be very comfortable saying that. And I remember 0:13:50.040 --> 0:13:52.280 being like, well, let's get an over of cam doing this, 0:13:52.320 --> 0:13:55.520 and then we don't do overs. It's basically a percinium. 0:13:55.520 --> 0:13:57.920 It's a multi cam just with no audience, and that 0:13:58.000 --> 0:14:00.600 you have two cameras only just shooting us on my circle. 0:14:01.000 --> 0:14:03.520 It's just it was a very different way of shooting 0:14:03.640 --> 0:14:06.880 very percent like being on stage, but they also don't 0:14:06.920 --> 0:14:10.360 acknowledge that the cameras there except in the talk yeah yeah, 0:14:10.400 --> 0:14:13.680 and the talking heads. I feel like Phil Dumpy sometimes 0:14:13.720 --> 0:14:16.559 just stairs in the camera, but not like Guilty. I 0:14:16.600 --> 0:14:18.360 feel like he's done that a couple of times. But 0:14:18.679 --> 0:14:22.120 I'm no expert on modern family. I did one, but 0:14:22.240 --> 0:14:25.640 I do think that well, I think there were so 0:14:25.640 --> 0:14:28.280 many special things about the office that are unlike other 0:14:28.320 --> 0:14:30.080 ones that have used that, you know, I think there 0:14:30.120 --> 0:14:32.440 was a willingness to be ugly. I think that's why 0:14:32.480 --> 0:14:35.360 the camera operators and the dps never got acknowledged, and 0:14:35.400 --> 0:14:38.720 nobody was going out of their way to be not 0:14:38.920 --> 0:14:42.600 under fluorescent lights. I mean, it was not a pretty set, 0:14:43.120 --> 0:14:45.080 and if it was, it would have been weird. So 0:14:45.120 --> 0:14:49.920 do you think they didn't get appreciated because I feel 0:14:49.960 --> 0:14:52.800 like so. I worked with director of photographies all the time, 0:14:53.280 --> 0:14:56.640 and you always want them on your side. Yet at 0:14:56.640 --> 0:15:00.280 the same time it's a constant battle with comedy. When 0:15:00.280 --> 0:15:03.840 I come onto a project, my goals, my objectives are 0:15:03.880 --> 0:15:06.720 almost diametrically opposed to what the dp's job is. The 0:15:06.840 --> 0:15:09.680 dp's job, especially if there's a woman in the scene 0:15:09.880 --> 0:15:13.800 is to make her beautiful. Nothing else matters. Nothing. Whereas 0:15:13.800 --> 0:15:16.000 when you said you had Randle in here and you 0:15:16.040 --> 0:15:20.320 were talking about soon they understood and accepted the world 0:15:20.400 --> 0:15:24.880 of the Office and the goal was comedy. Whereas I 0:15:24.920 --> 0:15:27.920 find myself having to say, I need this scene cross covered. 0:15:28.360 --> 0:15:31.480 I've got two comedy giants. Fill in the blank. On 0:15:31.600 --> 0:15:34.120 the Office, it was everybody was a comedy giant. So 0:15:34.160 --> 0:15:36.600 I have two comedy giants and I need I can't 0:15:36.600 --> 0:15:39.600 anticipate what they're gonna do and say, like, I need 0:15:39.640 --> 0:15:41.920 that coverage. What if one does something and there's an 0:15:41.920 --> 0:15:44.360 electricity in the take and you cannot recreate that. I 0:15:44.400 --> 0:15:47.040 don't care. When cutting the Mindy Project pilot, it was 0:15:47.160 --> 0:15:49.200 Ed and Mindy in a scene and they did all 0:15:49.200 --> 0:15:52.520 this beautiful studio style, but Ed and Mindy were griffing 0:15:52.600 --> 0:15:56.720 and doing great fun runs and I was screwed. You know, 0:15:57.280 --> 0:16:01.200 I was screwed. So I'm always pushing, especially when there's 0:16:01.240 --> 0:16:04.040 such strong comedy people to cross cover, and a DP 0:16:04.160 --> 0:16:09.080 will always fight. A typical DP that doesn't buy into 0:16:09.120 --> 0:16:11.640 the comedy and the joy of what it is to 0:16:11.680 --> 0:16:14.800 shoot comedy will always fight. But she's got to look beautiful. 0:16:14.880 --> 0:16:17.080 She's got to be lit this way, and it's always 0:16:17.080 --> 0:16:19.240 she for the most part. It's like I don't know 0:16:19.280 --> 0:16:22.840 where it's taught in cinematography school, but all women must 0:16:22.920 --> 0:16:26.640 be beautiful always at all times, like it's evil. Like 0:16:26.720 --> 0:16:29.280 Carol Burnett never adhered to that, and she was the 0:16:29.400 --> 0:16:33.160 number one person on television throughout the seventies, like think 0:16:33.200 --> 0:16:37.560 about Unice Unite was hideous, and she was the first 0:16:37.600 --> 0:16:40.080 to like make fun of her aesthetics. And yet she 0:16:40.080 --> 0:16:42.080 could come out every evening and do her Q and 0:16:42.160 --> 0:16:45.120 A and be gorgeous in a Bob mackiegown, you know. 0:16:45.200 --> 0:16:47.560 So like you know, she could bring it if she 0:16:47.640 --> 0:16:50.360 wanted to be beautiful, But where's the fun and that 0:16:50.960 --> 0:16:54.960 I don't know. It's a struggle, it's and it's truly 0:16:55.000 --> 0:16:57.920 a conversation I have to have every time, you know. 0:16:58.160 --> 0:17:00.560 So I I just you caught me on a terror 0:17:00.560 --> 0:17:02.600 on something that I feel very passionately about. And I 0:17:02.640 --> 0:17:06.040 think coming up through the office where it was a given, Oh, 0:17:06.160 --> 0:17:08.959 this doesn't look like right? Who cares? They're hilarious, Like 0:17:09.119 --> 0:17:15.000 I don't care. You know, well, that's something that I think, well, 0:17:15.280 --> 0:17:18.960 quite obviously, the face of television in a way began 0:17:19.040 --> 0:17:22.400 to change with our show. Yeah, And I also think 0:17:22.440 --> 0:17:26.000 the egalitarian nature of the Office was something wonderful and 0:17:26.040 --> 0:17:29.520 desperately needed. And I think what was so wonderful is 0:17:29.600 --> 0:17:34.919 how all the characters just very slightly and almost it 0:17:35.000 --> 0:17:37.960 just seemed like so organically like it just seemed that 0:17:38.000 --> 0:17:40.639 you sort of just started to fall in love with 0:17:41.119 --> 0:17:44.040 the regular guy and the regular girl, you know, so 0:17:44.119 --> 0:17:46.199 like and on the Office, the regular guy of the 0:17:46.240 --> 0:17:49.360 regular girl could be Stanley and it could be Oscar. 0:17:49.840 --> 0:17:52.119 And I think this was a time when you weren't 0:17:52.119 --> 0:17:54.959 seeing that much diversity in primetime television, especially in comedy. 0:17:55.000 --> 0:17:58.119 But see, it's interesting what you're saying right now. It 0:17:58.280 --> 0:18:01.359 never felt intention No, that's what I'm saying. I think 0:18:01.400 --> 0:18:05.240 it was like, well, I said slyly, but I don't 0:18:05.240 --> 0:18:09.640 know that it was Greg or your intentions, the writer's 0:18:09.640 --> 0:18:12.520 intention to be like, let's make America love the everyman. 0:18:13.080 --> 0:18:15.240 This wasn't like Willie Lohman time. You know, I don't 0:18:15.280 --> 0:18:18.159 think that that was their agenda. I do know, and 0:18:18.200 --> 0:18:21.080 I'm sure Greg's talked about the differences between season one 0:18:21.119 --> 0:18:23.240 and season two and the mandate, because I think that 0:18:23.359 --> 0:18:26.840 was huge, you know, humanizing Michael in a way that 0:18:26.880 --> 0:18:29.640 you needed to from season one, and I think even 0:18:29.640 --> 0:18:34.120 though the mandate was specifically directed at Michael, this humanitarianism 0:18:34.280 --> 0:18:37.200 kind of slipped down to all of the character. Yes 0:18:39.680 --> 0:18:41.960 when yours with Holly of course is a famous one, 0:18:42.080 --> 0:18:46.040 but like even someone is arch as Angela once in 0:18:46.040 --> 0:18:48.840 a while, just seeing that glimpse of vulnerability and you 0:18:48.880 --> 0:18:51.840 show me vulnerability, I'm on board with that character for life. 0:18:52.119 --> 0:18:54.600 And I think the opposite that was every single person 0:18:54.640 --> 0:18:57.200 practically on the show. Like I remember, I remember when 0:18:57.200 --> 0:19:00.280 Ellie came on. She came on just a little after me, 0:19:00.760 --> 0:19:02.240 and so we were kind of like the new girls. 0:19:02.600 --> 0:19:05.480 And I didn't know how you guys introduced new characters. 0:19:05.640 --> 0:19:08.680 I didn't know, like the writers just let them flounder 0:19:09.400 --> 0:19:12.280 and they waited for the actor to show them who 0:19:12.280 --> 0:19:15.199 they were. And it either worked her didn't. Obviously with 0:19:15.240 --> 0:19:19.360 Ellie Kemper it worked. But I remember cutting Secretary's Day 0:19:19.440 --> 0:19:21.639 and she had a scene where Michael took her like 0:19:21.680 --> 0:19:24.119 Michael was very resistant but was told you gotta take 0:19:24.119 --> 0:19:26.440 your secretary out to launch hot Secretary's Day, it's the rule. 0:19:26.680 --> 0:19:30.400 And then she has a meltdown and I remember thinking like, oh, 0:19:30.640 --> 0:19:32.800 she's going to make it because I didn't know, Like 0:19:32.920 --> 0:19:34.960 I didn't hadn't seen much of her work before that. 0:19:35.840 --> 0:19:38.080 She was given like, hi, I'm Aren. You know. It 0:19:38.160 --> 0:19:40.880 was a great scene and she was definitely driving it, 0:19:41.200 --> 0:19:43.760 and he was the reactor to everything that she was doing, 0:19:43.800 --> 0:19:46.280 and she gave him great stuff to work with. And 0:19:46.320 --> 0:19:49.760 in this I was like, she's got the chops. She 0:19:49.800 --> 0:19:51.439 can play with Michael. I mean, she can play with 0:19:51.440 --> 0:19:54.720 Steve Carrell, so she's gonna make it. So I think 0:19:54.800 --> 0:19:56.960 that it was a very intimidate. I remember when Kathy 0:19:57.000 --> 0:19:59.399 Bates came on, she was I hope this is okay 0:19:59.400 --> 0:20:02.400 to say, but like we were cutting her first few 0:20:02.440 --> 0:20:06.719 takes and her voice was a little warbly. She was 0:20:06.800 --> 0:20:10.520 so nervous and she told you guys like and everyone 0:20:10.560 --> 0:20:12.719 was like, you're freaking Oscar Winner, How are you nervous 0:20:12.720 --> 0:20:14.520 to come play with us? You know this is a low, 0:20:14.680 --> 0:20:17.199 this is a nice She's like, you don't get it, 0:20:17.480 --> 0:20:19.560 you don't get it. And I think I feel like 0:20:19.600 --> 0:20:21.719 even I don't know that any of us got it. 0:20:21.960 --> 0:20:24.760 Because it was popular and I knew it was good. 0:20:25.000 --> 0:20:26.760 I knew it made me feel something in my heart. 0:20:27.359 --> 0:20:30.439 But just this whole like kids watching it now, and 0:20:30.720 --> 0:20:32.520 I mean, it can only imagine what it's like to 0:20:32.600 --> 0:20:35.000 be in your shoes, like not being able to watch 0:20:35.040 --> 0:20:36.800 down the street. I don't even more so than when 0:20:36.840 --> 0:20:42.119 it was on the air. Weird. It is weird, yeah, 0:20:42.160 --> 0:20:45.160 And I think by the way, of course, it's she's 0:20:45.200 --> 0:20:47.879 cant it's it wore off. You know, she's not the 0:20:47.880 --> 0:20:51.159 when did you see on TV? The episodes don't have that, 0:20:51.200 --> 0:20:54.240 but I just remember being bowled over by that and 0:20:54.600 --> 0:20:57.520 how it seems so easy from the inside and then 0:20:57.720 --> 0:21:00.199 coming in from the outside, How was it for you 0:21:00.240 --> 0:21:03.400 when you came in? I mean, you know, I can 0:21:03.560 --> 0:21:07.400 speak to this. There were two hires. You probably don't 0:21:07.440 --> 0:21:10.919 know this, but season five they hired two editors, me 0:21:11.080 --> 0:21:14.160 and another one. And without me really getting it because 0:21:14.160 --> 0:21:16.199 it was so new to me, I just saw, oh, well, 0:21:16.240 --> 0:21:18.080 if we're all good, we'll all just stay and we'll 0:21:18.080 --> 0:21:20.880 go in the next season. I'm so dumb, like not 0:21:20.960 --> 0:21:24.000 realizing like they're just gonna go with one. This is 0:21:24.040 --> 0:21:28.720 a test, it's a survivor. It was awful, Like I'm 0:21:28.760 --> 0:21:31.000 so glad I was ignorant of it. And my very 0:21:31.080 --> 0:21:35.760 first season season five um. The episode I did with 0:21:35.920 --> 0:21:38.520 Paul Feig was nominated for an Emmy for Best Editing, 0:21:38.760 --> 0:21:40.879 So like, boom, I've never done a narrative before and 0:21:40.920 --> 0:21:43.080 I get my first narrative. I mean, like, it's so 0:21:43.160 --> 0:21:45.960 unfair because I feel like I came into the most 0:21:45.960 --> 0:21:49.440 popular comedy and then I got nominated for Best Editing, 0:21:49.880 --> 0:21:52.040 but like I did not even I was like when 0:21:52.080 --> 0:21:54.520 I realized that it was kind of it was going 0:21:54.560 --> 0:21:56.680 to be one or the other. I was so grateful 0:21:56.720 --> 0:21:58.400 that I got nominated for an Emmy because I felt 0:21:58.400 --> 0:22:01.800 like if I hadn't the other one had, then how 0:22:01.840 --> 0:22:03.600 do you not, Like I still think they would have 0:22:03.680 --> 0:22:06.439 hired me, but like that would have been harder to explain, 0:22:06.480 --> 0:22:07.960 Like wait, how do you not go with the person 0:22:08.000 --> 0:22:10.119 that cut you a Emy nomination? It was just like 0:22:10.320 --> 0:22:13.120 very all good luck happened that year. It was kind 0:22:13.160 --> 0:22:36.600 of bounders, so you learned to edit scripted shows on 0:22:36.680 --> 0:22:41.639 the office, but really coming from you know, documentary, specifically 0:22:41.680 --> 0:22:46.440 comedy documentaries, this felt comfortable. Yeah, and also, by the way, 0:22:46.560 --> 0:22:49.800 like that same camaraderie that led to such a strong ensemble, 0:22:50.119 --> 0:22:52.879 it extended through I remember talking to John about this 0:22:52.920 --> 0:22:54.520 one time and we were just sitting I think he 0:22:54.600 --> 0:22:57.240 directed an episode. You know, I was ahead, so I 0:22:57.280 --> 0:22:58.879 would come to stick John, I think you need to 0:22:58.880 --> 0:23:00.680 get this shot, you know, like you need to get 0:23:00.720 --> 0:23:02.960 this because otherwise how do we It was the bulldozer 0:23:03.119 --> 0:23:05.600 Rain was taking a bulldozer in the warehouse and smashing 0:23:05.600 --> 0:23:09.000