WEBVTT - David Rogers 0:00:01.440 --> 0:00:04.480 Look for your children's eyes and you will discover the 0:00:04.559 --> 0:00:08.200 true magic of a forest. Find a forest near you 0:00:08.440 --> 0:00:11.920 and start exploring it. Discover the Forest dot org brought 0:00:11.960 --> 0:00:14.080 to you by the United States Forest Service and the 0:00:14.160 --> 0:00:19.360 AD Council. We've all felt left out, and for people 0:00:19.360 --> 0:00:21.840 who moved to this country, that feeling lasts more than 0:00:21.880 --> 0:00:25.760 a moment. We can change that. Learn how it belonging 0:00:25.800 --> 0:00:28.319 begins with us dot org. Brought to you by the 0:00:28.320 --> 0:00:34.199 AD Council. From Cavalry Audio, the studio that brought you 0:00:34.240 --> 0:00:37.560 The Devil Within and The Shadow Girls, comes a new 0:00:37.680 --> 0:00:42.720 true crime podcast, The Pink Moon Murders. The local sheriff 0:00:42.760 --> 0:00:45.320 believes there may be more than one killery. They were 0:00:45.320 --> 0:00:47.560 afraid just face it out in that area. The family 0:00:47.600 --> 0:00:50.440 was targeted, most of them targeted while they were sleeping. 0:00:50.720 --> 0:00:53.760 The Pink Moon Murders is available on February twenty second, 0:00:53.880 --> 0:00:55.760 and you can follow The Pink Moon Murders on the 0:00:55.800 --> 0:00:58.960 I Heart Radio app, Apple Podcasts, or wherever you get 0:00:59.000 --> 0:01:07.720 your podcasts. I am David Rodgers. I was an editor, 0:01:07.840 --> 0:01:17.319 director and producer on the Office. Well, hello there, one 0:01:17.360 --> 0:01:21.080 and all all of you, I'm talking to you there. 0:01:21.840 --> 0:01:25.839 Welcome to this week's episode of the Office Deep Dive. 0:01:26.360 --> 0:01:31.360 I am your host, Brian Baumgartner today, I am thrilled. 0:01:31.920 --> 0:01:35.720 I'm I'm pleased as punch, as they say, to bring 0:01:35.760 --> 0:01:39.760 on the man who worked well. He worked tirelessly on 0:01:39.800 --> 0:01:43.560 the Office. I don't think he slept at home for 0:01:43.840 --> 0:01:49.880 ten years. So he worked to keep the show as fresh, authentic, 0:01:50.080 --> 0:01:55.600 and well hilarious is possible. And listen his decisions. They 0:01:55.640 --> 0:02:01.240 actually changed the way that um one view the show 0:02:01.440 --> 0:02:04.080 because he was the person who would decide what would 0:02:04.120 --> 0:02:08.000 stay and what would go, and how we would see 0:02:08.040 --> 0:02:14.160 an experience it all. He was our ridiculously talented editor 0:02:14.360 --> 0:02:20.120 and later are ridiculously talented producer and director David Rogers, 0:02:20.400 --> 0:02:25.600 or as I and everyone I know calls him Dave. Now, 0:02:26.520 --> 0:02:30.520 Dave was actually the very first editor brought onto the 0:02:30.600 --> 0:02:33.920 Office team. And listen, he was more than just a 0:02:33.960 --> 0:02:37.840 colleague a co worker. He was actually a true fan 0:02:38.440 --> 0:02:42.960 of the show from day one. He had has and 0:02:43.160 --> 0:02:49.160 had an encyclopedia knowledge of the show. He remembered every 0:02:49.280 --> 0:02:52.960 moment from every episode. I feel like he was the 0:02:53.000 --> 0:02:57.200 reason Dwight loved Battlestar Galactica. He helped Meredith get hit 0:02:57.240 --> 0:02:59.720 by a car, and he even had his own nicknames 0:02:59.800 --> 0:03:04.280 for the cast, like just guess who was called to 0:03:04.520 --> 0:03:09.760 blu roon. No, it wasn't me, uh Dave. Also, he's 0:03:09.760 --> 0:03:12.359 a force in the world of TV. The Office won 0:03:12.440 --> 0:03:17.520 five Emmy's total, two of those went to Dave. He's 0:03:17.560 --> 0:03:20.720 become a trusted collaborator for so many who worked on 0:03:20.760 --> 0:03:22.840 the show. He went on to work with Mindy Kaling 0:03:23.360 --> 0:03:26.680 on The Mendy Project, and Greg Daniels and Steve Carrell 0:03:26.880 --> 0:03:31.320 on Space Force, among many others. You may also recognize 0:03:31.400 --> 0:03:35.600 him for his well distinctive voice. He was the voice 0:03:35.960 --> 0:03:41.160 behind dunder Mifflin's very own documentarian. But before we get 0:03:41.200 --> 0:03:44.160 into the meat of this interview, and before I let 0:03:44.200 --> 0:03:48.320 you relive the show through his words, I wanted to 0:03:48.400 --> 0:03:51.280 let you know that you can also relive the show 0:03:51.440 --> 0:03:56.000 through our our brand new book, Welcome to dunder Mifflin, 0:03:56.200 --> 0:03:59.400 The Ultimate Oral History of the Office, which you can 0:03:59.440 --> 0:04:03.880 pre order on Amazon right now. So go ahead do that, 0:04:04.120 --> 0:04:06.800 trust me, you're gonna love it. Then come back here, 0:04:07.280 --> 0:04:10.240 because the time has come for you to be carried 0:04:10.280 --> 0:04:16.400 away by the incredible wealth of knowledge that is Dave Rogers, 0:04:20.440 --> 0:04:25.120 Bubble and squeak I love it. Bubble and squeak on 0:04:27.600 --> 0:04:31.839 bubble and squeaker cookie every month, left over from the 0:04:32.000 --> 0:04:49.240 night before. Oh my god, oh boy, wow, you look 0:04:49.320 --> 0:04:51.960 exactly the same. Do you want to know what? You know? 0:04:52.160 --> 0:04:54.039 You don't say that. Everyone keeps saying it that I 0:04:54.040 --> 0:04:57.080 look exactly you know. I mean, well, I wanted to 0:04:57.160 --> 0:05:00.440 say it to you first, so yeah, I usually you 0:05:00.440 --> 0:05:05.920 wouldn't say it to me. Good to see you too. 0:05:06.839 --> 0:05:09.680 It's like way too long, I know, are you going 0:05:09.800 --> 0:05:13.280 to sit over there? Okay, I mean that's the rule. Yeah. 0:05:14.520 --> 0:05:21.040 I saw Mr Correll yesterday. Yeah, yes, he seemed good. Yeah, 0:05:21.200 --> 0:05:24.520 he's been in he's been in editing a lot, he has. Yeah. 0:05:24.720 --> 0:05:27.840 I don't think I realized that he and Greg wrote 0:05:27.839 --> 0:05:30.320 the pilot, created it together. I think Steve had the 0:05:30.360 --> 0:05:32.400 idea and then they kind of hammered out like kind 0:05:32.400 --> 0:05:34.280 of a loose thing, and then Gregg wrote it and 0:05:34.320 --> 0:05:37.120 then he would give notes and stuff, you know, and 0:05:37.160 --> 0:05:40.120 then I think that was the process. But I think 0:05:40.360 --> 0:05:42.520 I think Steve had the idea and it came to 0:05:42.600 --> 0:05:44.920 Greg and was like, hey, what do you think about that? 0:05:45.279 --> 0:05:48.120 So yeah, let's let's do it, and then they that 0:05:48.240 --> 0:05:52.480 was it they pitched and you know, how's Malkovich. He's good, 0:05:52.760 --> 0:05:55.360 He's good. It's uh. You know. One of the things 0:05:55.360 --> 0:05:58.240 that we're striving to do is have this kind of 0:05:58.839 --> 0:06:01.120 dual you know, they they due a little bit, they 0:06:01.200 --> 0:06:03.800 joust like they're friendly and but there's some jousting and 0:06:03.839 --> 0:06:06.880 things like that. We're struggling to create new relationships that 0:06:06.920 --> 0:06:09.720 are different from Michael Scott because he has like one 0:06:09.760 --> 0:06:13.360 assistant and it's like or like his secretary. And he 0:06:13.440 --> 0:06:14.960 was saying, he's you know that he has a line 0:06:15.000 --> 0:06:16.880 where he goes, I really like to get shut up Brad, 0:06:17.000 --> 0:06:20.040 and it's like we even changed it to like thank you, 0:06:20.080 --> 0:06:22.719 Brad because it was too much like shut up Dwight. 0:06:23.000 --> 0:06:28.400 You know. So we're trying cognizant of that. Yeah, yeah, yeah. 0:06:28.560 --> 0:06:33.120 The context or the character might be different, but how 0:06:33.160 --> 0:06:35.960 it's going to be perceived in some small level is 0:06:36.000 --> 0:06:40.839 going to be you're sort of built in expectation. That's fascinating. 0:06:42.120 --> 0:06:49.160 Um okay, rewinding back, Um two thousand fourish, what are 0:06:49.200 --> 0:06:51.920 you doing prior to working on the show. So I 0:06:52.000 --> 0:06:55.039 was working on the Seinfeld DVDs. You know, I came up. 0:06:55.160 --> 0:06:57.640 I was assistant editor and Seinfeld that I started cutting. 0:06:57.640 --> 0:07:00.680 I cut the clip show for that right before the 0:07:01.000 --> 0:07:03.880 series finale, and Uh, I would always kind of come 0:07:03.880 --> 0:07:07.560 back and do some Seinfeld things whenever things would pop up. 0:07:08.080 --> 0:07:11.200 So we were working on the DVDs. We were going 0:07:11.240 --> 0:07:14.800 through pulling you know, the bloopers behind the scenes and 0:07:15.040 --> 0:07:18.080 interviewing a bunch of you know, everybody from cast to crew, 0:07:18.480 --> 0:07:22.200 and making these many documentaries inside looks of all the 0:07:22.240 --> 0:07:26.040 episodes and just being really meticulous with things. So I 0:07:26.080 --> 0:07:28.000 was working on that. We we were getting the first 0:07:28.000 --> 0:07:34.080 three seasons out, and uh the line producer from News Radio, 0:07:34.240 --> 0:07:36.840 which was another show I had worked on, Ken Sibornac, 0:07:37.520 --> 0:07:40.360 said Hey, I have a pilot I think you know 0:07:40.440 --> 0:07:43.120 you'd be good for Uh. I said okay, and then 0:07:43.200 --> 0:07:45.360 uh I was like, yeah, I'd love to let's talk. 0:07:45.840 --> 0:07:49.680 And then I didn't hear back from him, and uh, 0:07:49.920 --> 0:07:52.360 you know, I understood. I always wanted it just to 0:07:52.400 --> 0:07:56.120 him to say, hey, the directors is going with his editor, 0:07:56.280 --> 0:07:59.360 you know, and be like, okay, that makes sense, but 0:07:59.360 --> 0:08:01.400 you've never heard back. I just I didn't hear back, 0:08:01.440 --> 0:08:03.840 and then uh, I was all right, and then I 0:08:03.880 --> 0:08:05.640 get an email from him, like I know I know, 0:08:05.760 --> 0:08:08.000 I owe you a phone call. We got picked up 0:08:08.040 --> 0:08:11.640 for five episodes. I think you'd be great for the series, 0:08:12.320 --> 0:08:14.200 you know, would you like to come in and meet 0:08:14.400 --> 0:08:19.240 Greg Daniels. I'll send you the the pilot. I was like, yeah. 0:08:19.360 --> 0:08:22.400 So I watched the pilot and I loved it, and 0:08:22.440 --> 0:08:24.360 it was so I was like, oh God, he's so 0:08:25.280 --> 0:08:30.320 it's dark, you know, and I love that. Uh. I mean, 0:08:30.360 --> 0:08:32.520 for me, it's the moment. I'm a huge six million 0:08:32.559 --> 0:08:36.400 dollar Man fan. So him doing an impression of the 0:08:36.440 --> 0:08:38.959 six million dollar Man, like referencing it and doing it. 0:08:41.120 --> 0:08:43.199 They just went on and on, and I was like, 0:08:43.360 --> 0:08:45.280 I looked at this and I go, I'm doing this show. 0:08:45.920 --> 0:08:48.680 And I came and I met with Greg and we 0:08:48.760 --> 0:08:50.400 just hit it off right away and we were talking 0:08:50.400 --> 0:08:53.000 about things and it's funny. I I was talking about 0:08:53.040 --> 0:08:54.920 all the characters, and I said, I feel like Dwight 0:08:55.400 --> 0:08:58.280 would like Battlestar Galactica. And this is before the new 0:08:58.320 --> 0:09:01.600 Battlestar Galactica. But I thought like Star Trek was too 0:09:01.640 --> 0:09:04.000 mainstream and cool for him, that he would like this 0:09:04.120 --> 0:09:08.800 kind of smaller, more cultish old show. And uh, I said, 0:09:08.840 --> 0:09:10.680 I could just I could just see him having like 0:09:10.720 --> 0:09:13.079 a viper on his desk, you know, like an old 0:09:13.440 --> 0:09:15.679 model of of a viper. And so it was funny 0:09:15.720 --> 0:09:18.280 that when the new show came up and that we 0:09:18.400 --> 0:09:21.680 they did work that in that he became a Battlestar 0:09:21.760 --> 0:09:24.920 Galactica fan. But I'm one of my birthdays. Just as 0:09:24.920 --> 0:09:27.680 a side note, like Greg bought me a huge model 0:09:27.760 --> 0:09:31.040 of a Cylon base ship like from the original series. 0:09:31.640 --> 0:09:34.439 And and in the penultimate episode, I got to direct 0:09:34.960 --> 0:09:38.640 Dwight hangs a Galactica in his office and they were like, 0:09:38.640 --> 0:09:39.840 do you want the new one or the old one. 0:09:39.880 --> 0:09:42.600 I'm like, oh, I want the original series one, you know, totally, 0:09:42.600 --> 0:09:44.439 and I have that. I have the model and Rain 0:09:44.520 --> 0:09:47.120 signed it for me, you know. But I love he's 0:09:47.120 --> 0:09:49.320 got he's got a line with his you know, his son, 0:09:49.360 --> 0:09:52.439 who's he just he looks at the Galactica the same 0:09:52.480 --> 0:09:54.880 way I look at the Galactica. So it was just 0:09:54.960 --> 0:09:56.440 kind of it was just kind of funny how that 0:09:56.480 --> 0:09:59.280 all all came together. But yeah, I just met with Greg. 0:09:59.320 --> 0:10:01.080 We just hit it off and that was it. And 0:10:01.120 --> 0:10:03.600 then I was like, Okay, I'm hired and I'm starting 0:10:03.600 --> 0:10:06.560 on a diversity day was the first episode, and so 0:10:06.679 --> 0:10:08.960 you were the only editor hired at that point. I 0:10:09.000 --> 0:10:11.640 was the only editor hired. And I'll say this the 0:10:11.720 --> 0:10:15.240 deep the Seinfeld DVDs, Jerry and Larry came in to 0:10:15.360 --> 0:10:18.880 watch one of the documentaries that like how the show began, 0:10:19.440 --> 0:10:21.680 and Jerry saw it and was like, well, this needs 0:10:21.720 --> 0:10:24.800 to be on TV. And so then I'm working. Then 0:10:24.840 --> 0:10:27.880 we're making the Seinfeld story. So now I'm I'm I'm 0:10:28.040 --> 0:10:31.120 editing to get this thing on TV and we're starting 0:10:31.120 --> 0:10:33.080 on the office And I said, Greg, I said, there's 0:10:33.080 --> 0:10:34.960 gonna be a little bit of overlap. There are days 0:10:34.960 --> 0:10:37.679 where I'll be editing with Jerry Seinfeld, so I'll have 0:10:37.760 --> 0:10:40.120 to go there and and do that. I said, I'm 0:10:40.160 --> 0:10:42.040 finishing up, but there's gonna be some So there were 0:10:42.080 --> 0:10:43.440 a couple of days where he's like, when are you 0:10:43.480 --> 0:10:46.400 completely done? And I'm like, I'm almost done. I'm almost done, 0:10:46.480 --> 0:10:50.960 but I was there was a little overlap, but um, yeah, 0:10:51.000 --> 0:10:53.640 so I I sorry, go ahead. I started on a 0:10:53.679 --> 0:10:58.200 diversity day. Yeah, but that first season, then you're working 0:10:58.240 --> 0:11:00.840 on your finishing up the Seinfeld project and you're the 0:11:00.880 --> 0:11:02.720 only editor on the show. I was the only editor 0:11:02.760 --> 0:11:06.360 at first, and then we weren't sure when we were 0:11:06.360 --> 0:11:09.160 going to air. Originally was going to be March, and 0:11:09.160 --> 0:11:11.920 then they said there's a chance it might be you know, earlier, 0:11:12.280 --> 0:11:14.840 and Greg said, I'm not going on the air in February. 0:11:14.920 --> 0:11:18.239 I don't want to be up against everybody's huge stunt episodes. 0:11:18.600 --> 0:11:21.000 So that meant we would be on the air in January. 0:11:21.080 --> 0:11:23.199 And because of that, then there was pressure to get 0:11:23.240 --> 0:11:27.319 the episodes done. So Stu Bass, who's a veteran editor, 0:11:27.400 --> 0:11:29.640 he came in and so we were we were tag 0:11:29.640 --> 0:11:32.600 team on a few episodes. So like, I think there 0:11:32.600 --> 0:11:34.880 were somewhere I cut, There was a couple where he cut, 0:11:34.920 --> 0:11:37.760 there was somewhere he finished. You know, he like I 0:11:37.800 --> 0:11:39.440 would do the assembly and he would work with the 0:11:39.480 --> 0:11:43.560 director and vice versa. Do you feel like you got 0:11:43.600 --> 0:11:46.080 the aesthetic of the show right away? How much was 0:11:46.160 --> 0:11:50.320 Greg directing you in terms of how he wanted the 0:11:50.320 --> 0:11:54.360 show to look or feel. Um, I think I got 0:11:54.400 --> 0:11:56.600 it right away. I mean I just was like, oh, 0:11:56.640 --> 0:11:58.800 this is funny. And I mean there's definitely a little 0:11:58.800 --> 0:12:03.040 difference with ending the just the style of the mockumentary 0:12:03.080 --> 0:12:06.920 and having these kind of cameras moving around. Um, we 0:12:07.280 --> 0:12:10.120 played around a lot. Definitely that first season. We spent 0:12:10.200 --> 0:12:12.760 a lot of time. You know. One of the things 0:12:12.760 --> 0:12:14.800 that was cool was that they shot you guys, I 0:12:14.840 --> 0:12:17.840 think in two different outfits. Like we could take general 0:12:17.920 --> 0:12:21.120 views of you of just like you guys sitting in 0:12:21.160 --> 0:12:24.439 the office. And even if we shot of for episode one, 0:12:24.559 --> 0:12:27.960 it also worked for episode three and episode five and 0:12:28.000 --> 0:12:30.920 then two and four. You might have had similar clothes 0:12:31.000 --> 0:12:32.800 or something like that. You know, there was something where 0:12:32.800 --> 0:12:35.480 we had general views that we could kind of steal 0:12:35.520 --> 0:12:40.360 from one episode and put into another. Um. The one 0:12:40.400 --> 0:12:42.720 thing that was knew about this kind of show than 0:12:42.800 --> 0:12:45.640 anything I had done before was usually you know, when 0:12:45.679 --> 0:12:48.559 you're editing comedy, it's like fast, fast, fast, and you're 0:12:48.559 --> 0:12:49.920 pacing it up. In here, it was like, no, we 0:12:49.960 --> 0:12:55.000 need these moments of of breath and it's holding on reactions, 0:12:55.080 --> 0:12:58.400 and you know, it's a little different than anything I 0:12:58.440 --> 0:13:01.480 had done before. But once you get into and you're like, Okay, 0:13:01.520 --> 0:13:04.720 now I know what's what we're looking for. Well, we 0:13:04.840 --> 0:13:07.880 just explored things and and tried and you know, especially 0:13:07.880 --> 0:13:11.680 even with the theme song and the main title, different things, 0:13:11.720 --> 0:13:14.640 Oh my god, we had he sent out like to 0:13:14.720 --> 0:13:16.960 the cast, he maybe sent to you like, hey, give 0:13:16.960 --> 0:13:19.600 me five songs that you guys look. So I was 0:13:19.640 --> 0:13:23.160 building different main titles, you know, twenty we did like 0:13:23.160 --> 0:13:25.640 twenty five different songs. Here was a song here, there 0:13:25.679 --> 0:13:27.920 was a song here. John Krasinski had a song from 0:13:27.960 --> 0:13:32.319 Sloan that was like this is great, um and uh. 0:13:32.360 --> 0:13:34.160 And I'd have to cut the picture though too. And 0:13:34.240 --> 0:13:35.760 it wasn't just like all right, I'll just lay the 0:13:35.800 --> 0:13:39.199 song in. So I was like cutting multiple versions of picture. 0:13:39.480 --> 0:13:41.800 But ultimately we went with you know, I think Jay 0:13:41.840 --> 0:13:45.120 Ferguson was the composer and we just his version that 0:13:45.240 --> 0:13:47.520 was the one we used. From the beginning. Were you 0:13:47.600 --> 0:13:51.199 planning on using the footage that John Krasinski shot? There 0:13:51.280 --> 0:13:53.280 was no plan, Like stuff came in and it was 0:13:53.320 --> 0:13:55.520 like okay, I'll use this and use that, you know, 0:13:55.679 --> 0:13:58.079 I mean, we just there were all kinds of things. 0:13:58.080 --> 0:14:01.000 So it was like circling stuff the water cooler. You know. 0:14:01.080 --> 0:14:04.360 We were just just trying things like to make a 0:14:04.440 --> 0:14:07.080 main title and things that would hit. And you know, 0:14:08.400 --> 0:14:10.959 it was hit with the music. So when the song, 0:14:11.440 --> 0:14:13.280 when the rhythm of the song was different, it had 0:14:13.320 --> 0:14:16.200 to be totally recut. When we had different songs and 0:14:16.200 --> 0:14:17.960 and and you know, there were different versions of the 0:14:17.960 --> 0:14:20.760 main title. There's a longer version. I think for the 0:14:20.800 --> 0:14:23.560 super Bowl episode we did a longer version of the song. 0:14:23.920 --> 0:14:25.880 We did shorter versions, you know, towards the end, we 0:14:25.920 --> 0:14:28.280 would get you know, do really short versions because we 0:14:28.280 --> 0:14:31.480 needed more time for show. There's also a version and 0:14:31.520 --> 0:14:33.000 maybe it was the Super Bowl where there was just 0:14:33.040 --> 0:14:35.640 more of the cast, and then towards the after Steve left, 0:14:35.680 --> 0:14:38.000 also it was we have okay, here's a shot of 0:14:38.040 --> 0:14:40.440 Phyllis and Stanley, here's a shot of Kevin and Angela 0:14:40.520 --> 0:14:42.760 and Oscar. You know, so we would we would get 0:14:42.760 --> 0:14:48.200 more more people into the main title. Randall talked about 0:14:48.440 --> 0:14:52.640 there were rules that they had was sort of dictated, 0:14:53.160 --> 0:14:56.240 you know, by Ken's original vision and by Greg that 0:14:56.880 --> 0:15:01.000 they would not shoot a shot that is impossible to 0:15:01.080 --> 0:15:04.040 get as a documentary. Like if we came up to 0:15:04.080 --> 0:15:06.840 a house and they knocked on the door, there would 0:15:06.880 --> 0:15:10.200 not be a camera inside the house shooting out because 0:15:10.240 --> 0:15:12.320 the crew wouldn't have if we've just arrived there, there 0:15:12.320 --> 0:15:15.480 would be no camera from inside, right. But more than that, 0:15:16.640 --> 0:15:21.480 if Michael is standing at his office door and we 0:15:21.560 --> 0:15:26.160 are shooting Michael, we can't play a camera directly behind 0:15:26.360 --> 0:15:29.880 Michael because we would then shoot that cameraman in reality, right, 0:15:30.200 --> 0:15:33.600 So we were bound by the traditional rules of documentary 0:15:33.680 --> 0:15:36.560 that everything was happening in the exact moment. And I 0:15:36.640 --> 0:15:41.600 remember Randall and Matt fighting directors who were wanting the 0:15:41.640 --> 0:15:44.440 cameras to be placed you on a second pass or whatever, 0:15:45.040 --> 0:15:48.040 and them saying, no, we can't be there because we 0:15:48.080 --> 0:15:51.320 would have just filmed ourselves, right. And that's and that's 0:15:51.360 --> 0:15:52.960 the thing. And it's like you have to give time, 0:15:53.000 --> 0:15:55.640 at least even in editing. You have to give time 0:15:55.920 --> 0:15:58.080 to be like, well, this camera could have moved now 0:15:58.520 --> 0:16:02.040 and then been here, you know. I remember we're arguing 0:16:02.080 --> 0:16:05.200 with Claire Scanlon who was another editor once because she 0:16:05.200 --> 0:16:07.200 was doing something. She's like, donnaa and and Greg's like, no, 0:16:07.760 --> 0:16:11.560 you can't. And there are not seven cameras in the room, 0:16:11.680 --> 0:16:13.960 so you have to choose your angles and limbs. You know. 0:16:14.160 --> 0:16:16.760 They were just I can't even remember what the exact 0:16:16.800 --> 0:16:19.400 situation was, but we were like, yeah, no, and she 0:16:19.480 --> 0:16:21.680 was like, Dave, do you do this? I said, yeah, yeah, 0:16:21.720 --> 0:16:24.320 this is what I follow wed. You know, you have 0:16:24.400 --> 0:16:27.040 to kind of do this thing. But we yeah, I 0:16:27.040 --> 0:16:29.040 mean when you watch the cameras and you watch the editing, 0:16:29.080 --> 0:16:31.560 you'll see, for the most part, we do follow these 0:16:31.640 --> 0:16:34.520 these rules and there aren't you know, these shots in 0:16:34.560 --> 0:16:38.400 typical coverage that you would see on another show. Right. 0:16:38.680 --> 0:16:43.200 Do you did you work with the DP or camera 0:16:43.200 --> 0:16:45.360 guys at all about this or was this just sort 0:16:45.400 --> 0:16:48.880 of like understood, like everything just kind of works because 0:16:48.880 --> 0:16:51.560 you both got it. Yeah, we got it. I mean 0:16:51.600 --> 0:16:54.040 we would see what they would do and be like, Okay, 0:16:54.080 --> 0:16:56.000 this is you know, and there will be some communication 0:16:56.080 --> 0:16:58.120 like they would ask, hey, how's this working or how's 0:16:58.160 --> 0:17:01.040 this and you know, the shan when we would you know, 0:17:01.080 --> 0:17:03.400 someone would say something and you know, we started doing 0:17:03.400 --> 0:17:06.440 like these slight pushions and it got fun. But sometimes 0:17:06.480 --> 0:17:08.960 I felt like the show it would go a little 0:17:09.000 --> 0:17:10.600 too much like this, and I said, oh, we're we're 0:17:10.640 --> 0:17:12.920 pushing in. We're missing I think there was something once 0:17:13.000 --> 0:17:15.399 with you where you were saying something and Angela was 0:17:15.440 --> 0:17:19.280 next to you, and Angela had a sour look. The 0:17:19.359 --> 0:17:21.879 camera pushed in so much on you, and in a 0:17:21.920 --> 0:17:23.840 few of the takes you couldn't see her, like she 0:17:23.920 --> 0:17:25.879 got framed out, and it was like you have to 0:17:26.000 --> 0:17:29.600 kind of you know, I said, let's let's be aware 0:17:29.640 --> 0:17:31.920 and and so easy on that. But for the most part, no, 0:17:32.040 --> 0:17:34.880 I mean the camera, the DP and the camera work 0:17:34.920 --> 0:17:38.080 Matt Randall Sarah. I mean, they were amazing what they 0:17:38.080 --> 0:17:40.160 would get and the footage that we would we would 0:17:40.200 --> 0:17:41.760 get in there, and you know, sometimes it was just 0:17:42.080 --> 0:17:43.520 a lot of footage and it was like, all right, 0:17:43.520 --> 0:17:45.359 how do we you know, mind through this and putting 0:17:45.400 --> 0:17:48.520 the puzzle together? How do we get from this coverage 0:17:48.560 --> 0:17:51.520 to this coverage and back? And you know, when you 0:17:51.560 --> 0:17:54.359 are shooting multiple takes, obviously you know, having characters match 0:17:54.440 --> 0:17:57.680 and what they're doing, and so it was always fun, 0:17:57.800 --> 0:18:01.359 but sometimes it was hard. It's interesting. So Claire came 0:18:02.119 --> 0:18:08.119 from reality. Claire came from reality and documentaries, documentaries, and 0:18:08.119 --> 0:18:09.600 I think she may have done I mean, I don't 0:18:09.680 --> 0:18:11.560 I think she had done some scripted. I'm not sure 0:18:11.600 --> 0:18:14.399 how much comedy. And she came Actually it was like 0:18:14.480 --> 0:18:19.040 season it was into season four she came in. Uh, 0:18:19.200 --> 0:18:23.600 Dean Holland was leaving. So I so after after season one, 0:18:23.720 --> 0:18:27.040 we got picked up for six episodes of season two, 0:18:27.240 --> 0:18:28.920 so it was just me doing that and I said, 0:18:28.920 --> 0:18:30.720 if we get picked up for more, we need to 0:18:30.760 --> 0:18:33.320 get a second editor, and so we brought in Dean Holland, 0:18:33.359 --> 0:18:35.520 who was someone who I had worked with before. So 0:18:35.520 --> 0:18:38.120 it was me and him doing the episodes after that, 0:18:38.320 --> 0:18:40.280 and then he was leaving with Mike Sure to go 0:18:40.359 --> 0:18:42.440 do Parks and Wreck, at which point I said, Okay, 0:18:42.440 --> 0:18:44.840 we need to bring in some editors, and so we 0:18:44.880 --> 0:18:48.720 brought in Stu Bass again and Claire Scanlin. And Claire 0:18:48.760 --> 0:18:51.040 just I mean, she hited out of the park right away. 0:18:51.160 --> 0:18:54.280 I mean she just got it great, great sensibility. And 0:18:54.320 --> 0:18:56.639 then season the next season it was just me and 0:18:56.640 --> 0:18:59.800 Claire like we were, we were editing together and alternating 0:18:59.800 --> 0:19:01.959 its UF and uh, yeah, she was great. She just 0:19:02.000 --> 0:19:04.680 got it. A team player too. I'd help her out 0:19:04.680 --> 0:19:07.880 with stuff, She'd helped me out. I mean just just yeah, 0:19:08.080 --> 0:19:12.560 just great. Were there things that you felt like, either 0:19:12.600 --> 0:19:14.640 with you or Dean or you and Claire you can 0:19:14.760 --> 0:19:17.600 decide or maybe it was the same or different. Were 0:19:17.600 --> 0:19:22.040 there specific strength that you had that you felt like 0:19:22.160 --> 0:19:24.520 maybe you would take over this moment of an episode, 0:19:24.560 --> 0:19:26.960 even if it was hers or vice versa. Do you 0:19:27.000 --> 0:19:29.560 remember anything like that? No? I mean I will tell 0:19:29.600 --> 0:19:32.960 you something funny about the finale, but no, there was 0:19:33.000 --> 0:19:34.920 never anything like that. I mean we would just look 0:19:34.960 --> 0:19:36.920 at each other's stuff, like she would show me her that, 0:19:36.960 --> 0:19:38.960 I'd give her some feedback or notes. I'd be like, 0:19:39.040 --> 0:19:41.120 try this, and she would look at mine and say, hey, 0:19:41.160 --> 0:19:43.200 maybe if you do this. Like it was pretty open. 0:19:43.920 --> 0:19:47.080 It was great having Claire. She did bring like a 0:19:47.119 --> 0:19:50.880 sensibility and I think just being a female, like there 0:19:50.880 --> 0:19:53.200 were things that just as a male like oh, I'm 0:19:53.240 --> 0:19:56.080 I'm missing you know this kind of component, especially with 0:19:56.119 --> 0:19:58.320 some of the relationship stuff that she had, I think 0:19:58.359 --> 0:20:02.640 a more sense of of a sense about But I'll 0:20:02.720 --> 0:20:07.960 say with the finale was interesting because I think I edited, 0:20:08.400 --> 0:20:11.200 or maybe Claire edited the first half of the show, 0:20:12.000 --> 0:20:15.120 and I edited the second half, and the first half 0:20:15.200 --> 0:20:17.639 was like more I think, more comedy stuff, and the 0:20:17.680 --> 0:20:20.560 second half was like more poignant stuff. I'm trying to 0:20:20.600 --> 0:20:23.119 remember how we and and at some point Greg watched 0:20:23.119 --> 0:20:25.200 the cut and we thought it was great. It was 0:20:25.280 --> 0:20:27.240 long and it was great, and then he's like, all right, 0:20:27.680 --> 0:20:30.160 I want you guys to switch and now I want 0:20:30.200 --> 0:20:32.040 Claire to do this half and you do this in 0:20:32.160 --> 0:20:34.880 and we were like, that's insane, that's he was brilliant. 0:20:34.920 --> 0:20:37.320 I mean, it made sense like suddenly, now I was 0:20:37.520 --> 0:20:40.200 reworking some of her scenes, she was reworking some of mine. 0:20:40.520 --> 0:20:42.080 If you remember, at the end, we had this whole 0:20:42.080 --> 0:20:45.480 thing with the plant with planty and you know, yes, 0:20:45.560 --> 0:20:48.360 Claire brought up planty. Yeah, and it was the whole 0:20:48.359 --> 0:20:50.439 thing with planting. You know, she had cut it out 0:20:50.840 --> 0:20:53.359 and Greg said, no, no, you can't. You can't lose planning. 0:20:53.560 --> 0:20:55.840 We lost planning. I mean ultimately Greg was like, yeah, 0:20:56.040 --> 0:20:57.760 like it's got to go. And that's you know, and 0:20:57.880 --> 0:21:00.320 Greg and I mean, what a brilliant screw up. Though 0:21:00.400 --> 0:21:04.280 the finale was so great, so satisfying, I think as 0:21:04.320 --> 0:21:07.159 a series ender, you know, just just everything, all the 0:21:07.200 --> 0:21:10.239 things that were hit in there. You know, everybody had 0:21:10.280 --> 0:21:13.040 their their moments. It was definitely one of those things 0:21:13.080 --> 0:21:16.640 where where he had a switch. I'd have to I'm 0:21:16.680 --> 0:21:18.280 trying to remember who did who did what, But I 0:21:18.320 --> 0:21:21.440 remember like at the end, I was instrumental with the 0:21:21.600 --> 0:21:24.520 end to some degree. I ended up shooting the building. 0:21:24.560 --> 0:21:27.199 The last shot you see of the dunder Mifflin building. 0:21:27.800 --> 0:21:31.000 I went out with my little cannon point and shoot 0:21:31.400 --> 0:21:33.160 and I shot the building. And because then we said, 0:21:33.160 --> 0:21:37.000 oh we'll do this with Pam. She takes the painting away, 0:21:37.080 --> 0:21:39.520 but at the end we go into the painting because 0:21:39.520 --> 0:21:42.000 we needed like this just nice poignant ending. I go, 0:21:42.119 --> 0:21:43.800 I got it. I got it, and we go into 0:21:43.840 --> 0:21:46.800 the painting and it dissolves into the building and that's 0:21:46.840 --> 0:21:49.720 the last shot you see. And so I shot this building. 0:21:50.200 --> 0:21:52.640 And then even Matt so own r d P said 0:21:52.880 --> 0:21:55.080 I'll shoot it also with our cameras we'll see you know, 0:21:55.480 --> 0:21:57.399 and he shot it and it looked nice too. But 0:21:57.600 --> 0:22:00.960 for some reason, like I got this lighting and or 0:22:01.040 --> 0:22:03.240 Greg just he gets used to what he sees and 0:22:03.240 --> 0:22:05.240 he's like, no, I like this one. And that was it. 0:22:05.440 --> 0:22:07.840 That was the last shot. It dissolves from the painting 0:22:07.920 --> 0:22:12.480 into this into the building. So how much after we 0:22:12.640 --> 0:22:15.280 shot the finale did you do that? It was probably 0:22:15.280 --> 0:22:16.919 a month and a half. Listen. We didn't finish the 0:22:16.960 --> 0:22:21.959 show until the morning of I mean we were at 0:22:21.960 --> 0:22:24.760 the mix till one in the morning, and at midnight, 0:22:25.080 --> 0:22:28.680 I go, hey, Greg, I just realized the end titles 0:22:28.800 --> 0:22:31.959 are going to run over the most poignant moments of 0:22:32.000 --> 0:22:37.840 the show. And he goes, fuck. Howard had a call NBC. 0:22:37.920 --> 0:22:40.159 It was midnight and we had a figure and you know, 0:22:40.240 --> 0:22:42.720 ultimately like they ran a promo or something, you know, 0:22:43.000 --> 0:22:46.040 because the week before I directed the one, the week 0:22:46.080 --> 0:22:51.240 before the ARM, the penultimate one, the titles ran underneath 0:22:52.760 --> 0:22:55.320 We had a promo for the finale, I think that 0:22:55.400 --> 0:22:58.880 came after ARM, and so the credits just ran underneath 0:22:58.880 --> 0:23:00.720 that promo. But here we are. It was like what 0:23:00.760 --> 0:23:03.119 do we you know, what do we do? Because Greg 0:23:03.200 --> 0:23:05.280 is like, we can't make it. You know, there's no 0:23:05.320 --> 0:23:08.359 tag for the first run, and we didn't think about, 0:23:08.400 --> 0:23:09.960 like we just it's just not something that would come 0:23:10.040 --> 0:23:11.840 up in your head because normally we would run it under, 0:23:12.040 --> 0:23:14.720 you know, a tag or something. But in this, the 0:23:14.800 --> 0:23:17.080 end of this, it just ends. And so we got 0:23:17.119 --> 0:23:20.760 clearance to get a promo or something fifteen seconds twenty 0:23:20.760 --> 0:23:23.240 seconds and ran the credits under that. And then in 0:23:23.240 --> 0:23:27.359 the re airs we pulled out Michael and Dwight dancing 0:23:27.359 --> 0:23:30.200 to Rosalita at the wedding and that became the tag. 0:23:31.080 --> 0:23:33.320 So it runs under that when you see it in syndication, 0:23:33.640 --> 0:23:36.480 that's where the end of credits now run. That moved 0:23:36.520 --> 0:23:41.919 to the end. I was the last guy there, so 0:23:42.000 --> 0:23:44.159 I have video footage of It's sad when they were 0:23:44.160 --> 0:23:45.880 tearing down the sets, like I was the only when 0:23:45.880 --> 0:23:49.880 they're editing, like everybody else was gone, Like Greg wasn't 0:23:49.880 --> 0:23:52.399 even there, Like I'm editing. I was doing whatever, like 0:23:52.440 --> 0:23:55.240 the syndication cuts or you know, for season nine and 0:23:55.280 --> 0:23:58.760 the DVD stuff for that. And and then I went through, 0:23:58.800 --> 0:24:01.119 I I filmed, I did a walk through of the sets. 0:24:01.119 --> 0:24:03.199 It's kind of sad, but I have this foot has 0:24:03.240 --> 0:24:04.800 no one seen it. At some point if we do 0:24:04.880 --> 0:24:10.480 another collective, you know, DVD or retrospective or something, I 0:24:10.520 --> 0:24:22.480 have this footage to offer. Wow. 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Go to 0:25:42.640 --> 0:25:46.040 Indeed dot com slash office Deep Dive to claim your 0:25:46.119 --> 0:25:50.679 seventy five dollar credit before March one. Indeed dot Com 0:25:50.800 --> 0:25:55.240 slash Office Deep Dive terms and conditions apply. Need to hire, 0:25:55.640 --> 0:26:00.040 you need Indeed. What's up? Guys and I am a 0:26:00.200 --> 0:26:02.040 millions and we are the host of the Earnier Leisure 0:26:02.119 --> 0:26:05.320 podcast where we break down business models and examine the 0:26:05.400 --> 0:26:08.120 latest trans and finance. We hold court and have exclusive 0:26:08.160 --> 0:26:10.120 interviews with some of the biggest names of business, sport, 0:26:10.160 --> 0:26:13.320 and entertainment, from DJ Khaled to Mark Cuban, Rick Ross 0:26:13.320 --> 0:26:16.440 and Shaquille O'Neil. I mean our alumnilists expansive. Listen in 0:26:16.560 --> 0:26:19.200 as our guests reveal their business models, hardships and triumphs, 0:26:19.200 --> 0:26:21.280 and their respective fields. The knowledge is in death and 0:26:21.320 --> 0:26:24.320 the questions are always delivered from your standpoint. We want 0:26:24.320 --> 0:26:26.199 to know what you want to know. We talked to 0:26:26.280 --> 0:26:29.240 the legends of business, sports, and entertainment about how they 0:26:29.240 --> 0:26:32.080 got their start and most importantly, how they make their money. 0:26:32.240 --> 0:26:34.480 Earn your Leisia is a college business class mixed with 0:26:34.520 --> 0:26:37.520 pop culture. Want to learn about the real estate game, unclears, 0:26:37.560 --> 0:26:40.080 how the stock market works. We got you interested in 0:26:40.119 --> 0:26:42.560 starting a truck and company or vending machine business. Not 0:26:42.600 --> 0:26:45.240 really sure about how taxes or credit work. We got 0:26:45.240 --> 0:26:48.240 it all covered. The Earnier Leisure podcast is available now. 0:26:48.560 --> 0:26:51.439 Listen to Earnier Leisure on the Black Effect podcast Network, 0:26:51.640 --> 0:26:54.680 I Heart Radio, app, Apple Podcasts, or wherever you get 0:26:54.720 --> 0:27:03.040 your podcasts. Conquer your New year's resolution to be more 0:27:03.080 --> 0:27:06.879 productive with the Before Breakfast podcast. In each bite sized 0:27:06.920 --> 0:27:11.280 daily episode, time management and productivity expert Laura vander Caam 0:27:11.480 --> 0:27:13.520 teaches you how to make the most of your time 0:27:13.720 --> 0:27:16.680 both at work and at home. These are the practical 0:27:16.720 --> 0:27:19.720 suggestions you need to get more done with your day. 0:27:19.920 --> 0:27:22.879 Just as lifting weights keeps our body strong as we age, 0:27:23.119 --> 0:27:26.399 learning new skills is the mental equivalent of pumping iron. 0:27:26.680 --> 0:27:43.320 Listen to Before Breakfast wherever you get your podcasts? So well, 0:27:43.440 --> 0:27:46.480 you've worked in multi camp shows and you know, the 0:27:46.560 --> 0:27:51.360 office not having any sort of laugh track or music 0:27:51.600 --> 0:27:55.720 underneath underscoring stuff. Did that make your job harder? I 0:27:55.760 --> 0:27:58.760 had done single camera also, did I could a show 0:27:58.800 --> 0:28:01.760 called Andy Richard Controls the Universe with their music under 0:28:01.800 --> 0:28:04.440 that there was, and I did another show called The O'Keefe. Yeah, 0:28:04.480 --> 0:28:07.960 I mean everything had had music, um, but it made 0:28:07.960 --> 0:28:11.159 it easier not to have to score things, to not 0:28:11.280 --> 0:28:14.080 have to, you know, because especially I've worked on show 0:28:14.160 --> 0:28:17.080 since like The Mindy Project and even now on on 0:28:17.119 --> 0:28:20.440 a Space Force, you know, where like we have to 0:28:20.840 --> 0:28:22.879 you spend a lot of time hunting for like temp 0:28:22.960 --> 0:28:25.960 cues and things like that before the composer comes in 0:28:26.040 --> 0:28:29.639 and does their thing. But yeah, I mean the office 0:28:29.760 --> 0:28:32.320 just never needed it, like we didn't, you know. And 0:28:32.359 --> 0:28:34.080 there were a couple of times where we slip things 0:28:34.080 --> 0:28:37.359 in because they it felt like okay, the documentarian, like 0:28:37.400 --> 0:28:41.080 at the end of dinner Party, we play Hunter's song, 0:28:41.560 --> 0:28:44.239 and uh, it's because the document you can logically say 0:28:44.280 --> 0:28:46.560 the documentarian would have taken it and played it like 0:28:46.640 --> 0:28:50.600 it's their choice. Dinner Party is one that I wanted 0:28:50.640 --> 0:28:54.200 to talk to you about. You cut that, Yeah, yeah, 0:28:54.560 --> 0:28:59.320 and that was certainly one of probably the top two 0:29:00.440 --> 0:29:07.160 episodes that utilized the cringe comedy factor more than anything else. 0:29:07.640 --> 0:29:11.040 Did you respond to that kind of episode? I? Yeah, 0:29:11.440 --> 0:29:13.719 you know, it was a different episode, and just that 0:29:13.720 --> 0:29:17.680 they're at this house and you're seeing Michael acting, you know, 0:29:17.720 --> 0:29:21.080 in a different way than he acts so much, you know, 0:29:21.640 --> 0:29:24.280 more like just an elevated way of him acting than 0:29:24.320 --> 0:29:26.840 at work. He's so happy to have everybody there, but 0:29:26.880 --> 0:29:31.160 it's also so uncomfortable, you know. Um. And I love 0:29:31.200 --> 0:29:33.560 the way he liked it. Doesn't he like trick Jim 0:29:33.560 --> 0:29:38.280 and Pam to get yes? And? Uh, yeah, I love 0:29:38.320 --> 0:29:40.920 the comedy. I had one I pitched one joke that 0:29:41.040 --> 0:29:43.960 made it in where Michael goes and looks at his 0:29:44.040 --> 0:29:46.920 TV and it's you know, it's really small and it's 0:29:46.960 --> 0:29:49.560 hanging on the wall and we were sitting I was 0:29:49.600 --> 0:29:53.000 sitting in Video Village with Gene and Lee, the writers, 0:29:53.400 --> 0:29:57.000 and I go he should say, uh man, I love this. 0:29:57.440 --> 0:30:00.360 I could just stand here and watch TV all day. 0:30:00.400 --> 0:30:03.360 And Jean like yes, and he ran out and he 0:30:03.360 --> 0:30:06.680 told Paul some people's favorite. Yeah. So I was like, 0:30:06.720 --> 0:30:08.400 and I think it made it in Like I was 0:30:08.440 --> 0:30:10.120 so happy he made it, like in one of those 0:30:10.160 --> 0:30:13.160 like Jeff's or something or one of those quotes. But 0:30:13.200 --> 0:30:16.200 that was my my quote because it was like, I 0:30:16.440 --> 0:30:18.760 he just stood there, and I was like, that's what's funny. 0:30:18.760 --> 0:30:20.600 He's like that, not that he would be sitting down 0:30:20.720 --> 0:30:23.040 relaxing that he could be I could just stand here, 0:30:23.800 --> 0:30:27.440 And it's funny because brought up that moment as one 0:30:27.480 --> 0:30:30.560 of the times he could not laugh and specifically Steve 0:30:31.240 --> 0:30:33.440 saying something like, oh and it can tilt and it 0:30:33.480 --> 0:30:36.280 moves just and just kind of bangs the walls. Just 0:30:36.360 --> 0:30:39.760 the slightest amount were wires hanging down. I mean that scene. 0:30:39.800 --> 0:30:41.960 We have tons of bloopers, like they could not keep 0:30:42.000 --> 0:30:44.560 it together that episode. They could not keep it together, 0:30:44.600 --> 0:30:47.320 but that that scene with the TV and you could 0:30:47.360 --> 0:30:49.000 just see the wires and John be like, oh, I 0:30:49.000 --> 0:30:51.280 see the you know, and you're gonna get the wires, 0:30:51.440 --> 0:30:53.760 you know, you know, Like whatever, he was just talking 0:30:53.760 --> 0:30:57.400 because it was like, it just looks so unprofessionally set up, 0:30:57.800 --> 0:31:01.400 you know, Oh my god. And I think we were 0:31:01.400 --> 0:31:05.400 on strike. The writers were on strike when that episode started. Yeah, 0:31:05.560 --> 0:31:10.200 the timeline to refresh your memory is Dinner Party was 0:31:10.240 --> 0:31:14.800 the episode that was completed before the strike, before the 0:31:14.800 --> 0:31:18.960 stow that was written and we could have shot it. 0:31:19.960 --> 0:31:22.840 And we showed up for work on that first day 0:31:22.880 --> 0:31:25.360 of shooting and I believe they got a couple of 0:31:25.400 --> 0:31:30.080 talking heads in and Steve said I'm not coming in. 0:31:31.400 --> 0:31:33.800 That was and that was it. Yeah, what do you 0:31:33.800 --> 0:31:37.440 remember about that time? I just was like, Okay, well 0:31:37.520 --> 0:31:40.120 this is that's what we do. Listen. I'm a union guy. 0:31:40.200 --> 0:31:43.000 I'm in the most picture editors guild in the d 0:31:43.080 --> 0:31:46.240 g A. So I if the writers, you know, if 0:31:46.280 --> 0:31:49.040 there's a strike, you know, I support my my brothers 0:31:49.040 --> 0:31:50.960 and sisters and the other unions. I think I marched 0:31:51.000 --> 0:31:53.280 a couple of days more and more just to see people, 0:31:53.760 --> 0:31:55.200 you know, because it was like three or four months. 0:31:55.240 --> 0:31:56.680 I was like, yeah, I was hanging out with Mindy 0:31:56.800 --> 0:31:59.680 and uh, you know, Brent and Paul and you know, 0:32:00.120 --> 0:32:03.040 just just marching. What was funny too, was like I 0:32:03.080 --> 0:32:06.160 was going to direct that season. This was season uh four, 0:32:06.280 --> 0:32:08.280 So I was going to direct that season. And I 0:32:08.280 --> 0:32:11.760 remember when we came back, Kent said, I don't know, 0:32:12.040 --> 0:32:14.800 you know what promises were made, and I said, it's okay. 0:32:14.920 --> 0:32:17.680 Let's just because they didn't know how many episodes would 0:32:17.680 --> 0:32:20.000 be left, and you know, and I was like, it's okay, 0:32:20.000 --> 0:32:21.920 we just want to get back to work. I'll direct. 0:32:22.080 --> 0:32:24.200 I'll get my first one at some point, I'm not worried. 0:32:24.800 --> 0:32:27.440 And and I got mine, you know. I season five. 0:32:27.520 --> 0:32:30.200 Early on in season five was when I got my 0:32:30.200 --> 0:32:33.440 my first episode to direct. And was that your first directing? 0:32:33.960 --> 0:32:38.600 That was my first directing? Was employee transfer of any television, 0:32:38.640 --> 0:32:41.360 of any television? Yeah? And I had you know, I 0:32:41.400 --> 0:32:44.920 had a huge Halloween you know, we had the Halloween opening. 0:32:45.760 --> 0:32:48.520 You were Batman, you were the Joker. Yeah, there were 0:32:48.520 --> 0:32:50.320 three Jokers. So I had this nice, you know, this 0:32:50.400 --> 0:32:53.240 great fun thing with the costumes, and then uh and 0:32:53.280 --> 0:32:56.480 then I had three stories. I had Jim and Pam, 0:32:56.680 --> 0:32:59.800 Pam meeting Jim's brothers for the first time. I had 0:33:00.080 --> 0:33:06.160 uh Dwight coming in wearing Cornell paraphernalia and pissing off Andy. 0:33:06.400 --> 0:33:10.240 And then I had Michael Holly and Darryl driving and 0:33:10.960 --> 0:33:15.520 you know, breaking up, and it was funny. I showed up. 0:33:15.600 --> 0:33:17.920 Was my first day of filming, I think was that 0:33:18.040 --> 0:33:20.080 and I was so I mean, I had so much 0:33:20.120 --> 0:33:22.800 anxiety that night before, and I show up and I 0:33:23.080 --> 0:33:26.240 go to crew parking and I'm on the bus with 0:33:26.320 --> 0:33:29.440 the extras. You know, we're sitting, everyone's talking, they're excited, 0:33:29.480 --> 0:33:30.760 and they're like, oh no, no no, no, no no, no no, 0:33:31.240 --> 0:33:33.080 and then like and they're like, oh, I'm like, I'm 0:33:33.080 --> 0:33:36.080 the director, and like the extras look, you know, their 0:33:36.120 --> 0:33:38.479 faces just kind of dropped. But I'm like, I'm you know, 0:33:38.600 --> 0:33:40.720 I'm because I'm a regular guy. I just I don't 0:33:40.720 --> 0:33:42.320 know they tell me. And then I get there, like 0:33:42.360 --> 0:33:44.120 oh no, you can park here. You don't have to 0:33:44.120 --> 0:33:46.160 be at base camp. You could be here at as 0:33:46.640 --> 0:33:48.840 I don't know, I get the call sheet. This was it. 0:33:48.880 --> 0:33:51.600 No one specifically told me where to park, and but 0:33:51.640 --> 0:33:53.600 it was so great. I mean, everybody was so supportive, 0:33:53.600 --> 0:33:56.400 the cast, the crew. I have, you know, have a script. 0:33:56.520 --> 0:33:59.560 Kim Ferry from Harry I think got everybody to sign 0:34:00.040 --> 0:34:02.360 a script for me. So it's got cast and crew 0:34:02.400 --> 0:34:05.520 and it it really means a lot. Yeah, what did 0:34:05.520 --> 0:34:09.560 that mean for you to be given that opportunity by Greg? Oh, 0:34:09.600 --> 0:34:12.640 I mean him at the world to be trusted. Uh listen. 0:34:12.640 --> 0:34:15.240 In season one, I had started kind of helping out 0:34:15.800 --> 0:34:18.040 Season one. He did the basketball episode was the first 0:34:18.239 --> 0:34:19.880 thing he had directed, and he's like, I want you 0:34:19.920 --> 0:34:21.759 on set with me. So I would be there and 0:34:21.800 --> 0:34:24.360 sometimes he'd be back with video village and I he's like, 0:34:24.400 --> 0:34:26.160 you yell cut when we got it, and you know, 0:34:26.200 --> 0:34:29.120 I'm nervous, but I would yell cut sometimes. And I 0:34:29.160 --> 0:34:32.480 designed a couple of the shots just discussing stuff with 0:34:32.520 --> 0:34:33.800 him or was like, hey, I think if we do that. 0:34:33.920 --> 0:34:36.520 You know, we needed like just more comedy bits, single 0:34:36.600 --> 0:34:38.799 things to cut two and then cut more back to 0:34:38.840 --> 0:34:41.680 the story. And and I remember the one bit that 0:34:41.719 --> 0:34:45.560 I did was where Michael's like, Jim, Jim, Jim, give 0:34:45.600 --> 0:34:46.680 me the ball, give me the ball, and he looks 0:34:46.680 --> 0:34:49.080 away and Jim throws it and it's like, you know, 0:34:49.280 --> 0:34:52.680 rockets past him and jim My bad. You know that 0:34:52.719 --> 0:34:55.560 that that kind of thing Um and I had. Also 0:34:56.280 --> 0:34:59.480 one of the things I had done was sometimes you know, 0:34:59.480 --> 0:35:02.080 if we were sing a shot or something, I might say, oh, 0:35:02.160 --> 0:35:04.200 we can just do you know in editing, we we 0:35:04.239 --> 0:35:07.000 would That's a different thing. Is like rewriting and saying, hey, 0:35:07.040 --> 0:35:09.399 if we just get a talking head here, we can 0:35:09.560 --> 0:35:11.719 cut all of this out time wise and just come 0:35:11.719 --> 0:35:14.480 in here. Claire talked about Yeah, one of the things 0:35:14.560 --> 0:35:19.520 I did was the episode fun Run where um Michael 0:35:19.600 --> 0:35:23.600 drives in and he hits So the first time, you know, 0:35:23.800 --> 0:35:26.200 when we got the footage originally he came in and 0:35:26.200 --> 0:35:29.040 he stopped short, and we panned to the right, you know, 0:35:29.160 --> 0:35:31.319 off him, like a quick whip pant, and you would 0:35:31.400 --> 0:35:33.920 just see Meredith laying there in the street, and it 0:35:33.920 --> 0:35:37.279 would went back and I said, Greg, you have to 0:35:37.360 --> 0:35:39.680 come see this. Like I said, it doesn't look like 0:35:39.719 --> 0:35:42.000 he hit her. It looks like he stopped short and 0:35:42.080 --> 0:35:45.040 found her just lying like as if she's passed out. 0:35:45.600 --> 0:35:47.640 And so we're talking about reshoots and stuff, and I said, 0:35:47.680 --> 0:35:49.440 I think I think we could do something where we 0:35:49.440 --> 0:35:52.120 wouldn't even need Steve, like I can use his footage. 0:35:52.480 --> 0:35:54.400 And so I have a version with our line producer 0:35:54.440 --> 0:35:57.120 Ken Sipborneck where I said, we do this and Dan Beals, 0:35:57.120 --> 0:36:00.120 who was a p A he was, he sat there 0:36:00.120 --> 0:36:02.560 on the steering wheel, he had his sleeve. We did 0:36:02.600 --> 0:36:05.920 a whip. I had Kent. We kind of threw him 0:36:05.960 --> 0:36:08.560 against the windshield and then he would he bounced off 0:36:08.600 --> 0:36:12.400 and rolled off, and then we whipped back and I 0:36:12.560 --> 0:36:14.800 edited this so I had a version with with Michael 0:36:14.920 --> 0:36:18.040 driving whipped off. You saw Kent hit the windshield, he 0:36:18.120 --> 0:36:21.120 came off, whipped back to Michael, and Michael like looking, 0:36:21.960 --> 0:36:24.680 you know, shocked, and they're like, all right, let's do it. 0:36:24.760 --> 0:36:26.319 So then I was there, you know, with the I 0:36:26.320 --> 0:36:30.239 guess second unit with UH with Kate Flannery, and I 0:36:30.239 --> 0:36:33.520 would kind of slam her, you know, slam her onto 0:36:33.560 --> 0:36:35.759 the windshield, so she would kind of fall hit the 0:36:35.760 --> 0:36:39.000 windshield and and she would fall off and land on pads. 0:36:39.520 --> 0:36:41.720 And uh, she says, because I got on the Tonight 0:36:41.760 --> 0:36:44.520 Show or one of these talks because of that, she 0:36:44.600 --> 0:36:47.360 got more popular because she got hit by Michael's car. 0:36:47.560 --> 0:36:49.120 You know, it was one of one of those things 0:36:49.680 --> 0:36:53.280 that's so so, you know, it was great to finally 0:36:53.280 --> 0:36:55.080 be given the opportunity to say, hey, I really want 0:36:55.080 --> 0:36:57.319 to direct, give me a shot. And I was happy, 0:36:57.360 --> 0:37:00.560 like everybody, the response to employee transfer was was really positive, 0:37:00.960 --> 0:37:05.960 so that was really rewarding to um what do you 0:37:06.080 --> 0:37:10.719 think it is about you and Greg's relationship that makes 0:37:10.719 --> 0:37:13.879 it work so well, and that you've continued to work 0:37:13.920 --> 0:37:17.719 on other things with him after I think, I mean, 0:37:18.440 --> 0:37:21.480 there's definitely a trust like he I think he you know, 0:37:21.520 --> 0:37:24.000 he likes what I do. He likes the speed that 0:37:24.040 --> 0:37:26.960 I'm able to do it. He knows. I'm talking to Mindy. 0:37:27.040 --> 0:37:30.319 I got dinner. Mindy and my girlfriend and I had 0:37:30.360 --> 0:37:34.200 dinner recently, and Mindy said something, she goes. Greg said 0:37:34.200 --> 0:37:38.640 this about Dave. She goes, Dave's never political when it 0:37:38.680 --> 0:37:42.640 comes to editing and making a show. Like, I'm not 0:37:42.760 --> 0:37:45.480 sitting there. I never even occurred to me to be like, oh, well, 0:37:45.520 --> 0:37:47.400 this writer wrote this joke, I'm gonna put this in, 0:37:47.480 --> 0:37:49.400 or this one did this. I mean to me, I 0:37:49.440 --> 0:37:51.160 just was doing what I thought, Hey, this is what 0:37:51.239 --> 0:37:52.840 I think is funnier. This is what I think is 0:37:53.239 --> 0:37:56.600 the best. So I think Greg appreciates that that. I'm 0:37:56.640 --> 0:37:59.879 just like Dave is just gonna do what's funniest. If 0:38:00.000 --> 0:38:03.160 it's an actor ad lib that's funnier than the scripted line, 0:38:03.440 --> 0:38:06.759 that's what's gonna Dave's gonna put in and in Greg's 0:38:06.760 --> 0:38:10.120 In fairness to Greg, Greg will go with that as well. Listen, 0:38:10.120 --> 0:38:15.040 I've unlocked shows. We had a show Lice Claire finished 0:38:15.040 --> 0:38:17.920 it with Greg and they cut out the last scene 0:38:18.280 --> 0:38:21.160 like they ended it with Meredith saying, hey, let's go 0:38:21.200 --> 0:38:23.840 get a drink. And I said, you cut out the 0:38:23.880 --> 0:38:26.800 scene of them in the bar and and Greg's like yeah, 0:38:26.840 --> 0:38:29.359 he goes, did you miss it? I go yeah, and 0:38:29.400 --> 0:38:31.960 this is like mixed, it's ready to be delivered, you know. 0:38:32.520 --> 0:38:35.319 And uh, Greg goes, all right, we'll do a version 0:38:35.320 --> 0:38:36.680 of what you want and let me look at it, 0:38:36.719 --> 0:38:38.480 you know, but try and don't have don't have this 0:38:38.480 --> 0:38:40.520 stuff because I didn't like this in that conversation at 0:38:40.520 --> 0:38:42.480 the end, I'm like, yeah, no problem, I'll take out 0:38:42.520 --> 0:38:45.320 that stuff and I'll find some trims. It's not too disruptive. 0:38:45.360 --> 0:38:47.400 In the rest of the show. It's like okay, And 0:38:47.440 --> 0:38:51.080 that was it, and I re so I changed the episode. 0:38:51.520 --> 0:38:53.400 We remixed. I mean, it was just it was, you know, 0:38:53.400 --> 0:38:54.719 we just had to do a fix. We had a 0:38:54.719 --> 0:38:59.279 picture fix in this and I remember Kate came up, 0:38:59.360 --> 0:39:01.279 was really happy. She came to the edic. She's like, 0:39:01.320 --> 0:39:03.480 oh my god, like and I was like, yeah, I 0:39:03.520 --> 0:39:05.399 missed that scene. I didn't think I think we need 0:39:05.440 --> 0:39:08.959 that scene. It's really nice. And the writer, the writer 0:39:09.160 --> 0:39:12.040 was home sick and she gets a DVD delivered and 0:39:12.080 --> 0:39:13.840 she's like, what's this The show already locked? Like what 0:39:13.920 --> 0:39:16.040 is it? Like? She didn't know that I had unlocked 0:39:16.040 --> 0:39:18.839 and relocked it. So she was so excited because this 0:39:18.920 --> 0:39:21.440 was the scene that she wanted. Also, you know, there 0:39:21.520 --> 0:39:23.239 was a staff writer and she was like, oh my god. 0:39:24.120 --> 0:39:26.120 But I think that all goes to you know, with 0:39:26.360 --> 0:39:29.160 Greg knows like I will always fight for what's best. 0:39:29.239 --> 0:39:32.839 I will work crazy hours, and you know he will 0:39:32.840 --> 0:39:35.319 always get my honest and best opinion. I'm never at 0:39:35.360 --> 0:39:37.839 a point where I'm like I don't care like that, 0:39:37.960 --> 0:39:40.200 never had I ate once in a while say that, 0:39:41.080 --> 0:39:43.759 but the truth is it's not It's not true, and 0:39:43.800 --> 0:39:46.000 I'll think about it. I'll think about edits and I will, 0:39:46.120 --> 0:39:47.960 you know, get up early in the morning to oh, 0:39:48.000 --> 0:39:49.880 I want to tweak this and fix this and how 0:39:49.920 --> 0:39:52.120 can I make this better? And you know, there are 0:39:52.160 --> 0:39:53.880 times where I've argued with him on stuff. I go, 0:39:54.000 --> 0:39:55.840 we can why would we do this? Da da da da, 0:39:55.880 --> 0:39:58.160 And He'll make a point. I'll be like, Okay, I 0:39:58.640 --> 0:40:00.880 that makes sense. Like something times I just need that 0:40:01.040 --> 0:40:02.759 or I need to know why. And there were other 0:40:02.800 --> 0:40:05.759 moments where we had some long stuff. I remember being 0:40:05.760 --> 0:40:08.359 with Jen Salata and there was a scene where Roy 0:40:08.480 --> 0:40:11.319 is being nice to Pam and he gets her out 0:40:11.320 --> 0:40:13.680 of a meeting and he helps her with her car 0:40:13.800 --> 0:40:16.160 or something, and they're walking in the parking lot and 0:40:16.200 --> 0:40:19.320 it's like, okay, we get it. And Jen wanted longer 0:40:19.360 --> 0:40:21.520 and longer and longer. And I remember being in the 0:40:21.560 --> 0:40:24.040 bag like a little shit there, you know, with Greg 0:40:24.320 --> 0:40:26.000 and I go like this, I'm sitting there in front 0:40:26.040 --> 0:40:27.839 of my own and I hold up my hand like this. 0:40:28.520 --> 0:40:30.480 He goes, what are you doing? I go, this is 0:40:30.520 --> 0:40:34.040 me at home, changing the channel, and he goes, all right, 0:40:34.400 --> 0:40:36.759 make it ten seconds. And then, you know, so like 0:40:36.840 --> 0:40:39.160 we got it. We go short because it wasn't like 0:40:39.480 --> 0:40:41.359 this is just them walking. It's like we I want 0:40:41.360 --> 0:40:43.440 to get back now to the other stuff, Like we 0:40:43.520 --> 0:40:45.640 get it. They're walking. There's enough of a moment of them. 0:40:45.800 --> 0:40:47.839 It's not like it was short. But I didn't need 0:40:47.880 --> 0:40:51.359 twenty seconds of that, you know, things like that. So there, 0:40:51.360 --> 0:40:59.000 you know, he yeah, but I think Greg appreciates it, 0:40:59.200 --> 0:41:21.160 you know, because I'm like I'm honest, Why did people 0:41:21.320 --> 0:41:26.840 respond to the Jim Pam story so much? Oh? I 0:41:26.880 --> 0:41:34.160 mean she's adorable. I mean that's your perspective, that's the 0:41:34.320 --> 0:41:36.760 that's my perspective. He's I mean, he is a super 0:41:36.760 --> 0:41:40.000 sweet guy and he's sensitive and he's funny, and you know, 0:41:40.120 --> 0:41:43.919 he's good looking. But she's adorable and and she's being 0:41:43.960 --> 0:41:47.520 treated terribly by Roy and it's like, you want something 0:41:47.560 --> 0:41:49.960 better for her, And that's it. That's what it all 0:41:50.000 --> 0:41:52.960 comes down to. I think that's it. You know that, 0:41:53.040 --> 0:41:56.120 and here's this guy that would be perfect for her 0:41:56.560 --> 0:41:58.440 and they would be happy, and you just want to 0:41:58.440 --> 0:42:01.319 see that. Yeah, I think that it a lot of 0:42:01.360 --> 0:42:06.040 it has to do also with the editing work that 0:42:06.080 --> 0:42:09.920 you guys did and the way the writers wrote the 0:42:10.000 --> 0:42:12.560 story right, you couldn't get tired of them because there 0:42:12.600 --> 0:42:16.040 would be whole episodes where nothing would happen between them, 0:42:16.120 --> 0:42:20.440 so it just naturally happened slow. Um. I felt like 0:42:20.480 --> 0:42:23.800 that gave it room to breathe and ultimately brought people 0:42:24.520 --> 0:42:26.960 into that story because not only were they dying for 0:42:27.000 --> 0:42:29.040 them to get together, they were they were dying to 0:42:29.200 --> 0:42:33.919 see more of them, and they were intentionally withheld from that. 0:42:34.239 --> 0:42:36.440 Do you think that's true? Oh yeah, yeah, I mean 0:42:36.480 --> 0:42:39.680 I think definitely that it's It was the center of 0:42:39.680 --> 0:42:41.600 the show, but off center, do you know what I mean? 0:42:41.640 --> 0:42:44.560 It wasn't it would come in and and then go, 0:42:45.200 --> 0:42:46.879 you know, back off a bit. It was I mean, 0:42:46.880 --> 0:42:49.920 that's not The show has many components, so it was 0:42:50.000 --> 0:42:52.920 like like an ensemble. It was like, here's one element 0:42:52.960 --> 0:42:55.600 of the show. Here's another element, here's another element, here's 0:42:55.600 --> 0:42:58.160 another element. So it wasn't like, hey, here's just a 0:42:58.160 --> 0:43:01.160 show about you know, two people. I mean, look, they didn't. 0:43:02.000 --> 0:43:05.279 We we played it. We timed everything nice too. I 0:43:05.320 --> 0:43:08.600 think that there was a certain pacing to their relationship. 0:43:08.600 --> 0:43:11.440 I don't know if anybody talks you about Casino Night, Yes, 0:43:12.080 --> 0:43:15.080 there was a huge discussion. They talked about the huge discussion. Yes, 0:43:15.160 --> 0:43:17.239 that's one of the things that I wanted to get 0:43:17.280 --> 0:43:18.960 into with you because I was in the room where 0:43:19.000 --> 0:43:22.000 the huge discussions. Yes, let's have let's talk about the 0:43:22.040 --> 0:43:24.839 huge discussion. Now, which scene in Casino Night is this 0:43:24.880 --> 0:43:28.719 when Jim Jim professes his love or the kiss when 0:43:28.719 --> 0:43:33.200 he professes his love is uh? Originally, like the concept 0:43:33.239 --> 0:43:35.960 was we would just see the aftermath of it. And 0:43:36.040 --> 0:43:38.160 there was a huge discussion about no, no, no, we 0:43:38.160 --> 0:43:41.000 should see you know, and and it was Greg and 0:43:41.160 --> 0:43:44.520 Ken the actors were there and stuff, and it was like, yeah, 0:43:44.520 --> 0:43:48.440 it's it's cool to do something as a documentary to 0:43:48.480 --> 0:43:51.000 be like, oh, we're just capturing the moment after. But 0:43:51.120 --> 0:43:53.880 there's something unsatisfying I think for an audience member to 0:43:53.960 --> 0:43:57.399 not see a piece of this. And uh, I think 0:43:57.400 --> 0:43:59.520 we made the right choice in letting them have a 0:43:59.560 --> 0:44:02.839 conversation Asian. And you think it's and you think that's it, 0:44:02.920 --> 0:44:04.480 Like you know, he says I'm in love with you 0:44:04.560 --> 0:44:08.120 and she's like I can't. And then you think that's 0:44:08.200 --> 0:44:10.320 you know, he's like I just don't want to be friends, 0:44:10.560 --> 0:44:14.080 you know, and that's it. And you think, okay, we're done, 0:44:14.239 --> 0:44:16.799 we're done. And then at the end, what a what 0:44:16.960 --> 0:44:19.040 an ending? I mean you talk about a cliffhang or 0:44:19.080 --> 0:44:21.360 what a what an ending that he comes in and 0:44:21.440 --> 0:44:24.480 what a great kiss too? And I mean kudos to 0:44:24.520 --> 0:44:27.680 the actors because it's you know, even in our small 0:44:27.719 --> 0:44:30.719 world on the set, like there just was a sense 0:44:30.760 --> 0:44:34.239 of pressure of like, like, here's a big moment that 0:44:34.280 --> 0:44:38.520 we're dealing with, and they just they just fucking awesome, 0:44:38.840 --> 0:44:41.200 you know, and it's such a great kiss and what 0:44:41.239 --> 0:44:44.000 he does and what she does, and you know, it's 0:44:44.040 --> 0:44:45.840 just and then that we stop and again it's a 0:44:45.880 --> 0:44:48.040 timing thing of them. It's after and they look at 0:44:48.040 --> 0:44:50.840 each other and then boom we go to black. You 0:44:50.880 --> 0:44:55.920 know I can see, oh yeah, like the timing of it. Yeah, 0:44:55.960 --> 0:44:58.920 because it's that moment of like where they look at 0:44:58.960 --> 0:45:02.040 each other after like what now, and then we go 0:45:02.120 --> 0:45:06.479 to black. And then the next season, Greg he had 0:45:06.520 --> 0:45:11.000 that opening. Man, everything gets slowly revealed. You see this aspect, 0:45:11.080 --> 0:45:13.680 this aspect and you see Pam doesn't have a ring, 0:45:14.239 --> 0:45:16.839 Jim is in the now a different location, and it's like, well, 0:45:16.840 --> 0:45:21.279 what happened? And then we find out, right, Um, did 0:45:21.320 --> 0:45:25.560 you shoot two versions of Casino Night or what did 0:45:25.600 --> 0:45:28.799 the discussion in that scenario happened beforehand? Did you cut 0:45:28.840 --> 0:45:31.520 that multiple ways? No, we just we shot at the 0:45:31.520 --> 0:45:34.120 way that ended up, and we just did version. I 0:45:34.120 --> 0:45:36.080 mean you could have edited I guess a certain way 0:45:36.200 --> 0:45:39.759 and and seen it like the aftermath, but that point 0:45:39.800 --> 0:45:41.960 the decision was yeah it was and you saw it 0:45:42.000 --> 0:45:43.359 and you were like, oh yeah, we want to see 0:45:43.360 --> 0:45:45.840 this well. And we had other discussions like that on 0:45:45.840 --> 0:45:48.680 other episodes. The proposal, I don't know if Greg this 0:45:48.680 --> 0:45:52.160 this was. I was moving right into no, no literally 0:45:52.239 --> 0:45:55.560 right now. I mean, um, so what I was told 0:45:55.760 --> 0:46:00.600 and reminded about was, yes, the proposal the great sound 0:46:00.680 --> 0:46:03.680 or no sound was it because it was written in 0:46:03.680 --> 0:46:06.160 a way, you know, the production aspects of that where 0:46:06.160 --> 0:46:08.680 we built this on a huge parking lot and we 0:46:08.760 --> 0:46:11.680 had trucks eight wheelers doing figure eight to make it 0:46:11.680 --> 0:46:13.799 look like they're passing, you know, so they have enough 0:46:13.880 --> 0:46:18.600 room like cars passing driving by, and uh, Jim and Pam, 0:46:18.640 --> 0:46:20.600 you know, the original concept was like that we couldn't 0:46:20.640 --> 0:46:22.239 hear them. We would just see it, and then we 0:46:22.280 --> 0:46:27.280 had a version where you would hear it, and ultimately, uh, 0:46:27.560 --> 0:46:32.360 Greg went with the version where you can't hear them, 0:46:32.440 --> 0:46:35.279 and then he changed his mind that morning that we 0:46:35.360 --> 0:46:38.120 were wearing He's like, no, I've slept on it, and 0:46:38.160 --> 0:46:41.080 I want to put the one where they can hear 0:46:41.120 --> 0:46:44.640 them the morning that we're airing. Yeah, so then it 0:46:44.760 --> 0:46:46.319 was like I think I think it was like that 0:46:46.400 --> 0:46:49.319 morning He's like, okay, so we we did the one 0:46:49.360 --> 0:46:51.560 where there you can hear them, and I think listen, 0:46:51.600 --> 0:46:55.480 I think both of them were great versions, but I 0:46:55.520 --> 0:46:57.799 think it's probably better to to hear. I mean, we 0:46:57.840 --> 0:46:59.799 waited so long for this moment, it was probably better 0:46:59.840 --> 0:47:02.799 to uh, better to hear and not just see it, 0:47:02.840 --> 0:47:04.960 because you didn't want any kind of confusion of like 0:47:05.239 --> 0:47:08.560 what happened. You know. I think that ultimately we made 0:47:08.560 --> 0:47:11.680 the right choice. But I'll tell you this is they 0:47:11.719 --> 0:47:15.080 didn't destroy the one with the no sound. And when 0:47:15.120 --> 0:47:18.760 it was time to make the DVDs, they almost screwed 0:47:18.880 --> 0:47:22.279 up and had that one and and Jake Aust was 0:47:22.320 --> 0:47:25.040 our a P at the time, and he was like, 0:47:25.400 --> 0:47:27.680 wait a minute, you know, like that almost got burned 0:47:27.680 --> 0:47:31.640 onto DVDs they were doing QC and uh He's like, 0:47:32.280 --> 0:47:34.719 I mean, some some heads rolled because it was like 0:47:34.760 --> 0:47:37.759 this needs to be labeled and not you know, either 0:47:38.360 --> 0:47:41.279 not here anywhere where it would get mixed in. You know. 0:47:42.040 --> 0:47:43.600 You know, I've had a number of people talk to 0:47:43.600 --> 0:47:47.440 me about that moment, and I will say to you, 0:47:48.880 --> 0:47:55.920 I remember very very specifically the way that looked. I 0:47:56.000 --> 0:48:00.480 remember him going down, I remember the rain, I remember 0:48:00.520 --> 0:48:03.880 the eighteen wheelers going by right, and that's such a 0:48:03.960 --> 0:48:08.840 spy shot. I don't remember what he said, Yeah, you 0:48:08.880 --> 0:48:11.880 know what I mean? Like how it was. It's almost 0:48:12.280 --> 0:48:15.600 irrelevant which choice, because like she's like, what are you doing? 0:48:15.680 --> 0:48:18.960 He says, I can't wait anymore. And it's not I mean, 0:48:19.000 --> 0:48:21.240 it's not about like the dialogue being like that sharp, 0:48:21.960 --> 0:48:24.439 but it is having that help of that audio que 0:48:24.520 --> 0:48:26.719 and and again there's plenty of other sound going on. 0:48:26.800 --> 0:48:29.040 It's not like, hey, this is as clear as day, 0:48:29.080 --> 0:48:31.160 but it was just at least you could could But 0:48:31.400 --> 0:48:34.440 I understand what you're saying. Yeah, um, talk to me 0:48:34.480 --> 0:48:37.200 a little bit while we're on the subject of sound 0:48:37.280 --> 0:48:41.120 about Company Picnic and the decision to cut the sound 0:48:41.800 --> 0:48:46.120 when you find out that Pam is pregnant. Okay, yeah, 0:48:46.200 --> 0:48:48.600 so that was That was the episode where I made 0:48:48.600 --> 0:48:54.720 my office acting ray bands guy, um um, I believe 0:48:54.760 --> 0:48:59.000 it's guy wearing ray bands. Yeah. Uh. And it's funny. 0:48:59.040 --> 0:49:01.400 I have friends and anytime it shows up. And I 0:49:01.440 --> 0:49:04.440 have friends now whose kids watched the show and they're like, 0:49:05.320 --> 0:49:08.359 that's Dave. You know they see me on there with 0:49:08.400 --> 0:49:11.920 My one line was that your acting was my acting 0:49:11.920 --> 0:49:15.320 debut on across any platform. That was your acting debut. 0:49:15.640 --> 0:49:18.680 Oh no, no, no, I have acted before, I have 0:49:18.800 --> 0:49:22.400 shown up. It's funny. I mean a Gilmore Girls episode 0:49:23.200 --> 0:49:26.080 and uh, I have one line. I go, sure, but 0:49:26.200 --> 0:49:30.480 it was such that sounds like a word, not an 0:49:30.600 --> 0:49:32.839 that's a line of work. A matter of fact, as 0:49:33.000 --> 0:49:35.640 when I edited that for my own acting reel, it 0:49:35.760 --> 0:49:38.000 was so short. I had to add like to still 0:49:38.080 --> 0:49:40.239 frames at the end because I'm on, you know, it's 0:49:40.239 --> 0:49:42.160 a Guilmard Girls. They cut it so tight, and I'm like, 0:49:42.600 --> 0:49:45.040 but uh, but I remember it was such an all 0:49:45.120 --> 0:49:48.160 star day for me, like just being on the set 0:49:48.200 --> 0:49:50.440 as an actor because I was an assistant editor. I 0:49:50.480 --> 0:49:52.840 had taken acting classes to become better as a director, 0:49:53.320 --> 0:49:54.719 so and then I was going out. I did I 0:49:54.760 --> 0:49:57.040 did voice work. I'm on a cartoon. I did like 0:49:57.080 --> 0:50:01.080 thirty four episodes of an animation show called the Shinzo, 0:50:01.160 --> 0:50:05.120 which is a Japanese anime show, and speak Japanese. I 0:50:05.160 --> 0:50:08.759 didn't speak Japanese. This was like the English every American version. 0:50:08.760 --> 0:50:13.640 You're really good at the American version shows. Yeah, so 0:50:13.800 --> 0:50:16.560 uh but uh, but I would say this. So the 0:50:16.600 --> 0:50:21.600 Gilder Girls, like Melissa McCarthy was there. Lauren Graham is 0:50:21.600 --> 0:50:24.520 in the scene and I think she was dating Matthew 0:50:24.560 --> 0:50:26.680 Perry at the time, so he was there. It was 0:50:26.719 --> 0:50:28.200 on the Warner Brothers lot and he was there like 0:50:28.320 --> 0:50:30.600 just joking around. He did the slate a couple of times, 0:50:30.600 --> 0:50:33.120 so it was like really an really a fun day. 0:50:33.160 --> 0:50:36.920 But I have one one word. I go, sure, sure, 0:50:38.320 --> 0:50:42.760 why did they not hire me? Alright? So sorry company, 0:50:42.800 --> 0:50:46.680 Picnic Company Picnic the decision to not use sound there 0:50:46.840 --> 0:50:50.239 when she you find out she's pregnant, Yeah, you have 0:50:50.360 --> 0:50:52.279 to have sound. I don't think you really know what 0:50:52.520 --> 0:50:54.719 happens if there's no mention in Paul. I think it 0:50:54.760 --> 0:50:56.120 was like, no, I don't think you needed at all. 0:50:56.360 --> 0:50:59.160 There was one version where it wasn't in, and I 0:50:59.239 --> 0:51:01.440 was like, if we don't have that, like no one 0:51:01.440 --> 0:51:02.920 pays attention to it, but it's in the back of 0:51:02.960 --> 0:51:05.120 your mind, like we need to have some little crumb. 0:51:05.600 --> 0:51:07.759 But uh, I think they're acting. Just played it like 0:51:07.800 --> 0:51:11.080 you knew right away from their acting what what had happened. 0:51:11.080 --> 0:51:13.279 And they never go back. You know, it's such a 0:51:13.280 --> 0:51:16.520 sweet moment. Pam is like nodding, and Jim is like, 0:51:17.400 --> 0:51:18.920 you know, oh my god. He gives her a big 0:51:19.040 --> 0:51:22.600 hug and uh, and I think it's this joyous surprise 0:51:22.920 --> 0:51:25.880 for the audience and they never go back to the game. 0:51:26.239 --> 0:51:28.480 They never go back to the volleyball game or anything. 0:51:37.239 --> 0:51:40.960 I'm Emilia on this podcast. I'm taking you on a search, 0:51:41.440 --> 0:51:48.319 a search for love. Hard working Latina seeks cool, down 0:51:48.360 --> 0:51:52.040 to earth guy slip. It's hard out there for a 0:51:52.080 --> 0:51:55.080 girl to find Mr Right. I have to meet a 0:51:55.080 --> 0:51:58.719 lot of Mr Wrongs. He'd invite me over to have 0:51:59.080 --> 0:52:01.880 dinner with his family. I knew he didn't tell them 0:52:01.920 --> 0:52:04.640 that it was transgender. Dating as a trans woman can 0:52:04.680 --> 0:52:08.000 be complicated, but there were other reasons. I felt like 0:52:08.040 --> 0:52:11.160 I couldn't always be myself, and he's asking me things 0:52:11.160 --> 0:52:13.239 about my family, like my mom's in prison and my 0:52:13.280 --> 0:52:16.960 grandmother was arrested for working with the Mexican drug cartel. 0:52:17.920 --> 0:52:22.719 This scrumbs my love story. It's to show about the 0:52:22.760 --> 0:52:25.200 things we set up for and the bits of ourselves 0:52:25.239 --> 0:52:29.200 that make us who we are. Listen to Crumbs as 0:52:29.239 --> 0:52:32.120 part of the Michael la podcast Network, available on the 0:52:32.120 --> 0:52:35.279 I Heart Radio app, Apple Podcasts, or wherever you get 0:52:35.320 --> 0:52:41.280 your podcasts. Hi. I'm Glory Adam, host of Well Read 0:52:41.320 --> 0:52:45.080 Black Girl. Each week, I sit in close conversation with 0:52:45.120 --> 0:52:48.440 one of my favorite authors of color and share stories 0:52:48.480 --> 0:52:52.319 about how they found their voice. Hone their craft and 0:52:52.440 --> 0:52:55.720 navigated the publishing world, and composed some of the most 0:52:55.840 --> 0:53:00.840 beautiful and meaningful words I've ever read. We journey together 0:53:01.160 --> 0:53:05.640 through the cultural moment where art, culture and literature collide, 0:53:06.280 --> 0:53:09.080 and pay homage to the women whose books we grew 0:53:09.239 --> 0:53:13.000 up reading. And of course I check in with members 0:53:13.080 --> 0:53:15.719 of the Well Read Black Girl book Club. It's a 0:53:15.840 --> 0:53:19.520 literary kickback you never knew you needed, and you're all 0:53:19.600 --> 0:53:23.319 invited to join the club. So tell your friends, tell 0:53:23.400 --> 0:53:26.720 their friends so we can be friends who love books. 0:53:28.160 --> 0:53:30.719 Listen to Well Read Black Girl on the I Heart 0:53:30.840 --> 0:53:34.960 Radio app, Apple Podcasts, or wherever you get your podcasts. 0:53:36.360 --> 0:53:39.000 Adoption of teams from foster care is a topic not 0:53:39.160 --> 0:53:41.319 enough people know about, and we're here to change that. 0:53:41.520 --> 0:53:45.000 I'm April Dinnuity, host of the new podcast Navigating Adoption, 0:53:45.080 --> 0:53:48.759 presented by adopt Us Kids. Each episode brings you compelling, 0:53:48.840 --> 0:53:51.920 real life adoption stories told by the families that lived them, 0:53:51.920 --> 0:53:55.759 with commentary from experts. Visit adopt us Kids dot org, 0:53:55.800 --> 0:53:59.560 slash podcast, or subscribe to Navigating Adoption presented by adopt 0:53:59.640 --> 0:54:01.880 us It's brought to you by the U. S Department 0:54:01.880 --> 0:54:04.160 of Health that Human service as Administration for Children and 0:54:04.200 --> 0:54:20.120 Families and the Act Council. Do you have a favorite episode? Um, 0:54:20.160 --> 0:54:21.960 I have a few favorites, and there's some that I 0:54:22.040 --> 0:54:25.080 haven't cut. I love Employee Transfer because it was my first. 0:54:25.440 --> 0:54:27.520 I love ARM because it was my last, and I 0:54:27.560 --> 0:54:29.319 had so many great things to do in there. I had. 0:54:29.560 --> 0:54:33.640 I have Darryl dancing with everybody. Jim plays this video 0:54:34.239 --> 0:54:37.160 for Pam and uh, you know, it was so sweet. 0:54:37.280 --> 0:54:40.960 I'm the voice of the documentarian, you know, things like that, 0:54:41.120 --> 0:54:44.680 and uh, Dwight gets to propose to Angela and he 0:54:44.719 --> 0:54:46.640 cuts her off and and you know there's all this 0:54:46.680 --> 0:54:48.279 stuff with the with the kids. So I mean, I 0:54:48.320 --> 0:54:51.440 love I love that episode. But uh, I love the finale. 0:54:51.680 --> 0:54:55.600 The finale is one of my favorites. I love the negotiation. 0:54:56.400 --> 0:54:59.040 I just think like that, you know, it is an episode. 0:54:59.040 --> 0:55:01.239 Mike Sure wrote that one, And that to me is 0:55:01.239 --> 0:55:03.279 like an like you could show that in a screenwriting 0:55:03.280 --> 0:55:05.560 class and be like, look at this, Like it starts 0:55:05.560 --> 0:55:07.919 out here and then there's a twist, and it goes here, 0:55:07.960 --> 0:55:09.759 and then there's a twist and again, you know, and 0:55:09.800 --> 0:55:12.080 it's just so funny, like he and it's just the 0:55:12.520 --> 0:55:16.880 basic premises Michael wears he buys a woman's suit and 0:55:16.960 --> 0:55:21.400 doesn't realize it and where that ends up going. You know, Um, 0:55:21.440 --> 0:55:24.080 I love Booze Cruise and I didn't edit Booze Cruise. 0:55:24.160 --> 0:55:28.760 I I love Michael dancing that he does a motivation dance, 0:55:29.280 --> 0:55:31.760 and I love that as we call it, like the 0:55:32.360 --> 0:55:38.480 seconds of silence, seconds of silence outside with Jim and Pam. Well, 0:55:38.520 --> 0:55:43.400 even you talking before about that specific moment of the 0:55:43.480 --> 0:55:48.080 end of Casino Night. I think my overwhelming memory of 0:55:48.200 --> 0:55:54.720 you is you're an incredible artist and really know your job, 0:55:55.440 --> 0:55:59.560 but you are also so excited. I mean to say 0:55:59.600 --> 0:56:02.239 that you are fan. I mean I call myself a 0:56:02.239 --> 0:56:04.120 fan of the show, right like I was. I thought 0:56:04.200 --> 0:56:06.880 The Office was an excellent show. I'm a fan of 0:56:06.880 --> 0:56:09.000 that show regardless of the fact I worked on it. 0:56:09.360 --> 0:56:11.799 And I felt like for you, you were the same way. 0:56:11.880 --> 0:56:14.960 Like you were excited by a great moment that the 0:56:15.000 --> 0:56:18.600 actors gave, Like you were excited about something that cameras 0:56:18.600 --> 0:56:20.759 did that looked cool that you were able to put 0:56:20.800 --> 0:56:26.280 together and yeah, that that spirit was pretty awesome. Well, 0:56:26.680 --> 0:56:30.040 it's funny we had we had this environment and post 0:56:30.120 --> 0:56:33.080 because we would see things we had a whole different, 0:56:33.440 --> 0:56:35.520 you know, like people quote the show, right, but we 0:56:35.520 --> 0:56:38.560 would quote stuff, and you guys, by the time we 0:56:38.560 --> 0:56:40.560 would get to set like three days later and be like, 0:56:40.560 --> 0:56:42.480 oh my god, this is so funny. You guys don't 0:56:42.480 --> 0:56:44.479 even know what we're talking about because at that point 0:56:44.480 --> 0:56:47.600 you've had like seven other pages of dialogue to memorize 0:56:47.680 --> 0:56:50.040 and things like that, you know. So it was like 0:56:50.360 --> 0:56:52.600 I'd be like, going, oh my god, what Steve is 0:56:53.280 --> 0:56:56.000 And I find myself like there are mannerisms that I do, 0:56:56.200 --> 0:56:58.400 Like there are things that people will say to Michael 0:56:58.440 --> 0:57:02.279 Scott and be like and you know, likes and and 0:57:02.360 --> 0:57:04.640 I say that I do that. Even yesterday I said 0:57:04.680 --> 0:57:07.120 something to Greg and I'm like, I'm doing Steve Carrell. 0:57:07.239 --> 0:57:10.080 Like there was something where I was like, you know, 0:57:10.520 --> 0:57:14.160 like like doing these things. But I remember I used 0:57:14.160 --> 0:57:15.960 to call everybody by their character name, or at least 0:57:15.960 --> 0:57:18.080 the one like the writers like Mindy. I'm sure you 0:57:18.120 --> 0:57:21.520 know people call you Kevin because they, you know, just 0:57:21.600 --> 0:57:24.480 out of like Kevin. But I used to like deliberately, 0:57:24.560 --> 0:57:26.920 like I got into this mindset where I had nicknames 0:57:27.160 --> 0:57:29.480 for Paul, Like I would call him tob larone. Like 0:57:29.520 --> 0:57:31.479 things that Michael Scott didn't even call him. I would 0:57:31.480 --> 0:57:34.560 call make up nicknames for Toby and uh, you know, 0:57:34.640 --> 0:57:36.680 I mean I was just a huge fan of all 0:57:36.760 --> 0:57:40.400 you guys. I mean just I just I yeah, I 0:57:40.440 --> 0:57:43.120 love the show, and I was so glad to be 0:57:43.200 --> 0:57:47.040 working on stuff from season one, just these dark endings. 0:57:47.080 --> 0:57:49.000 Like people some people, you know, they say, oh, they 0:57:49.000 --> 0:57:51.840 didn't like season one, or they like it later once 0:57:51.880 --> 0:57:54.040 they see where season two and three are, they can 0:57:54.080 --> 0:57:56.360 go back and they appreciate it more. I loved it 0:57:56.400 --> 0:57:58.160 out of the gate. I was like, oh my god, 0:57:58.640 --> 0:58:01.200 this like it's a it coom that doesn't end on it. 0:58:01.200 --> 0:58:02.680 It's not tied up in a bow at the end 0:58:02.680 --> 0:58:05.360 of the episode, and like they all hate Michael at 0:58:05.360 --> 0:58:08.720 the end of the healthcare I mean Greg's favorite moment, 0:58:08.760 --> 0:58:13.480 you know, was I still have my vagina. Remember you know, 0:58:13.720 --> 0:58:15.960 a vagint is different from a uterus. I still have 0:58:16.040 --> 0:58:19.400 my vagina. I mean I remember, I remember for the 0:58:19.480 --> 0:58:23.000 rap party, the hundred yeah we have. But we had 0:58:23.000 --> 0:58:24.960 the rap party, and so you know, we would make 0:58:24.960 --> 0:58:26.720 the gag rail and we show you know, we would 0:58:26.720 --> 0:58:28.680 put bloopers and we would show the crew. And then 0:58:28.720 --> 0:58:30.920 I did something different. I said, oh, I'm going to 0:58:31.000 --> 0:58:33.280 do a highlights of a hundred and I did, and 0:58:33.320 --> 0:58:35.680 we did account for like episode one here just a 0:58:35.760 --> 0:58:38.520 quick line, just a quick thing to identify, and we 0:58:38.600 --> 0:58:40.560 got all the casts, like everybody had a had a moment. 0:58:40.560 --> 0:58:42.280 But it was like finding what is this kind of 0:58:42.800 --> 0:58:45.120 you know, something that just says, here's a line from here, 0:58:45.160 --> 0:58:47.480 Here's a line from here, Here's a moment from here, 0:58:47.800 --> 0:58:51.120 here's you know, Michael hitting Meredith with the car, here's uh, 0:58:51.240 --> 0:58:53.200 you know, I mean, just these little things, and it 0:58:53.280 --> 0:58:55.320 was it's so and it's on the DVD. I mean, 0:58:55.360 --> 0:58:57.880 it's just great to see like just this thing. And 0:58:57.920 --> 0:59:01.280 I remember everybody like just getting excited in lighting up, 0:59:01.280 --> 0:59:03.120 but like just at this kind of thing and what 0:59:03.160 --> 0:59:07.840 we had done, you know. Yeah, so it's crazy. So 0:59:07.960 --> 0:59:10.840 you won two Emmy's. I won two Emmy's on the 0:59:10.880 --> 0:59:13.840 Office for the job and for the finale. Yeah, I 0:59:13.920 --> 0:59:16.800 co won those with Dean Holland and I for the 0:59:16.880 --> 0:59:20.680 job in Claire Scanlon for the finale, Yeah, and to 0:59:20.960 --> 0:59:26.560 ACE American Cinema Editor Awards as well. Um, you were 0:59:26.600 --> 0:59:32.000 the most honored department on the show, right, No actress one, 0:59:32.280 --> 0:59:36.360 two writers won you know the show one once. It's 0:59:36.400 --> 0:59:39.720 just interesting to me, you know. Well, especially what was 0:59:39.800 --> 0:59:42.480 really rewarding was the finale to be reward you know, 0:59:42.520 --> 0:59:45.480 because we had we were not the fresh new show 0:59:45.520 --> 0:59:48.680 at that point, so it was really rewarding to to 0:59:48.840 --> 0:59:51.280 win the finale. And like I said, we won the 0:59:51.320 --> 0:59:54.360 Emmy and the American Cinema Editor Award in case Eddie 0:59:54.440 --> 0:59:58.000 for that um but but especially you know, with the Emmy, 0:59:58.040 --> 1:00:02.200 I just think it was our peers. You know, you know, 1:00:02.240 --> 1:00:05.040 you have editors, and so it's editors voting on editors. 1:00:05.200 --> 1:00:07.080 So I think there's they recognized what you were doing. 1:00:07.720 --> 1:00:09.919 I think they recognize it. And I think, listen, there's 1:00:09.960 --> 1:00:11.800 so much of it is like, oh what what is 1:00:11.840 --> 1:00:13.600 kind of hot and popular? You could be the best 1:00:13.720 --> 1:00:16.080 editor in the world. If you're not working on, you know, 1:00:16.280 --> 1:00:18.840 a show that has all these pieces that isn't in 1:00:18.880 --> 1:00:21.160 the zeitgeist to show, you know, you're not going to 1:00:21.280 --> 1:00:26.160 get that recognition, you know. And so with with The Office, though, 1:00:26.240 --> 1:00:28.160 here was something that we were doing that was fresh 1:00:28.200 --> 1:00:32.120 and new and such a great script. And look, we 1:00:32.280 --> 1:00:36.840 lied to everybody too about Steve, and I remember Greg 1:00:37.160 --> 1:00:40.480 felt really bad about lying to people because he was 1:00:40.560 --> 1:00:43.280 lying to family and friends, and I was like, I 1:00:43.280 --> 1:00:46.240 remember writing something. I said, Greg, I said, listen, in 1:00:46.280 --> 1:00:49.800 today's day and age, everything gets spoiled. It's not like 1:00:49.840 --> 1:00:51.760 it used to be that you could have this surprise. 1:00:52.480 --> 1:00:56.080 I said. So, this is what we're doing, is we're 1:00:56.160 --> 1:00:58.760 giving people something. Because we even had hit the footage 1:00:58.760 --> 1:01:01.720 of Steve Trance for we didn't have it done at Universal. 1:01:02.240 --> 1:01:04.840 We had it done secretly somewhere else. Did you know 1:01:04.920 --> 1:01:06.960 he was showing up to set that day? I knew 1:01:07.000 --> 1:01:09.280 that he was showing up, I think a day or 1:01:09.280 --> 1:01:11.480 two before. Somebody spilled the beans to me. But I've 1:01:11.520 --> 1:01:14.640 talked to a number of people who didn't know until 1:01:15.520 --> 1:01:19.040 the assistant directors said Stevens in the makeup trailer. There 1:01:19.040 --> 1:01:21.560 were some people who did not know until until then. 1:01:21.720 --> 1:01:24.400 I'm so curious as to who from the cast didn't 1:01:24.440 --> 1:01:26.760 know that day because I knew. I mean because I 1:01:26.800 --> 1:01:28.760 came to set that day because I knew, Hey, he's 1:01:28.760 --> 1:01:31.560 coming at this time. So Claire and I went to set, 1:01:32.000 --> 1:01:35.120 so Steve agrees to come. It's a big secret. It's 1:01:35.160 --> 1:01:39.440 kept from the network. And so even after he shot 1:01:39.520 --> 1:01:42.840 his scenes, you took it somewhere else. So we get 1:01:42.880 --> 1:01:46.160 the footage transferred, like we get the video is transferred 1:01:46.360 --> 1:01:50.200 and you know, it's it's basically it's taken on digitally 1:01:50.640 --> 1:01:52.720 and then it's put into the Abbot's It's like in 1:01:52.840 --> 1:01:55.200 files that are put into the Abbots. And normally we 1:01:55.280 --> 1:01:57.760 do all our stuff at Universal on the Universal lot 1:01:58.240 --> 1:01:59.880 was where we would transfer, and that's where we would 1:02:00.640 --> 1:02:03.760 we did not. We took his scenes and we got 1:02:03.760 --> 1:02:06.919 them transferred somewhere else. And what you made them sign 1:02:06.960 --> 1:02:10.040 like non disclosure or they were friends or something or yeah, yeah, 1:02:10.240 --> 1:02:13.880 little Timmy's basement, Like what do you actually it was 1:02:14.240 --> 1:02:18.960 Eric Culjin who was our ap. His father worked at 1:02:18.960 --> 1:02:22.360 another level. It was level three. I mean they do 1:02:22.480 --> 1:02:24.760 big shows and stuff like that. So we took it 1:02:24.840 --> 1:02:27.760 there and we had a transferred there like in a 1:02:27.880 --> 1:02:29.960 room where it was like okay, this is where it's 1:02:29.960 --> 1:02:32.760 gonna be transfer. Like we just didn't want We didn't 1:02:32.760 --> 1:02:36.160 want NBC execs to have access to the dailies, because 1:02:36.160 --> 1:02:38.280 they can there's a way I think where they can 1:02:38.320 --> 1:02:40.880 access you know, the footage, they can look at dailies 1:02:40.920 --> 1:02:43.160 and things like that. We didn't want that because we 1:02:43.200 --> 1:02:47.200 didn't want them ultimately to promo Steve Carrell returns because 1:02:47.200 --> 1:02:51.520 Steve didn't want that, and there was also as a surprise. 1:02:51.960 --> 1:02:54.840 It's like there's just enough footage of him as a 1:02:54.880 --> 1:02:59.000 surprise that you're like blown away. My mom cringes it 1:02:59.200 --> 1:03:02.080 at Michael Scott like she you know, so much of 1:03:02.160 --> 1:03:05.600 the time, like she would cringe. But man, she watched 1:03:05.600 --> 1:03:09.040 that finale moment. She would rewind and watch him showing up, 1:03:09.440 --> 1:03:13.040 you know, that reveal fifty times. She's like, David, I 1:03:13.120 --> 1:03:15.800 can't stop watching it, you know. I mean, it's just 1:03:15.880 --> 1:03:17.880 such a great moment with the reveal. It's like I 1:03:17.920 --> 1:03:20.520 can't be your best man, but you know. And and 1:03:20.600 --> 1:03:24.680 so we were secretive about it, and and Greg I 1:03:24.680 --> 1:03:26.480 remember Gregg felt bad about lying and I was explaining 1:03:26.480 --> 1:03:29.200 to him about spoilers. I'm like, this is not harming anyone. 1:03:29.480 --> 1:03:31.560 And it's like a surprise party if someone asked, like 1:03:31.600 --> 1:03:34.200 are you throwing me a surprise party? And you say no, 1:03:34.680 --> 1:03:37.600 and the two hours later surprise, Like that's what this is. 1:03:37.640 --> 1:03:39.960 And Greg I remember he said he felt better, he 1:03:40.000 --> 1:03:42.280 felt better about that, you know about it. It It was like, 1:03:42.320 --> 1:03:44.400 I know it's hard, but that's what it is. Like 1:03:44.520 --> 1:03:47.080 we're we're you know, we have to keep it a secret. 1:03:47.200 --> 1:03:50.640 And if everybody keeps it a secret, it's a secret. 1:03:50.840 --> 1:03:53.840 Like that's we're all in it together. Because even you know, 1:03:54.080 --> 1:03:56.320 I remember, you know Ken kopp Is like the day 1:03:56.360 --> 1:03:59.040 before was like, no, Steve's not in it. He you know, 1:03:59.240 --> 1:04:01.480 he decided that he ended, he had his exit and 1:04:01.520 --> 1:04:04.600 all this and it's like, yeah, we're just flying. It's 1:04:04.600 --> 1:04:06.960 a white, little white lie like that's it and and 1:04:07.240 --> 1:04:12.520 it all comes out right. Um, how how did you 1:04:12.560 --> 1:04:17.880 working on the Office change your life? God? Well, it 1:04:18.000 --> 1:04:19.520 just was like being you know, like I said, I 1:04:19.560 --> 1:04:21.919 had worked on Seinfeld, but I was a small part 1:04:21.960 --> 1:04:23.720 of that show, and it was it was very late. 1:04:23.880 --> 1:04:26.720 I joined late. I was not instrumental in making that 1:04:26.760 --> 1:04:29.840 show anything. I just I was lucky to be a 1:04:29.880 --> 1:04:32.360 part of it. But being part of the Office was 1:04:32.440 --> 1:04:35.280 like you know, coming in right after the pilot and 1:04:35.280 --> 1:04:37.320 getting to you know, tweak the pilot a little bit, 1:04:37.560 --> 1:04:41.200 but you know, just just coming in though from diversity 1:04:41.280 --> 1:04:44.800 day and and being instrumental in like helping shape the show, 1:04:45.360 --> 1:04:48.960 really being part of the creative process. I didn't write 1:04:49.400 --> 1:04:51.880 you know, scripts or anything like that, but Greg would 1:04:51.880 --> 1:04:53.720 always listen, like if you have pitches if you have 1:04:53.760 --> 1:04:56.280 any ideas, and sometimes you know, hey this would get in. 1:04:56.320 --> 1:04:58.680 That would that would get in, you know, and sometimes 1:04:58.680 --> 1:05:00.760 like I said, I'd rewrite a jew oak in the 1:05:00.880 --> 1:05:03.080 edit bay and we would okay, we'll go shoot it. 1:05:03.160 --> 1:05:05.560 Or I would right even the bones, and then I said, 1:05:05.800 --> 1:05:08.959 have the writers, you know, have them just make it better, 1:05:09.240 --> 1:05:11.480 like right right, a Sharper joke and stuff like that. 1:05:12.160 --> 1:05:14.320 Um and yeah, So I mean it changed my life, 1:05:14.320 --> 1:05:15.840 like just being a part of that show. And and 1:05:16.160 --> 1:05:19.000 obviously I mean it's nice like to be on something 1:05:19.040 --> 1:05:22.160 that's popular and people like, oh you work on the office, 1:05:22.240 --> 1:05:25.320 like you know, like it's still to this day people 1:05:25.360 --> 1:05:29.880 are always you know, surprised and throw. I mean, I went, 1:05:30.080 --> 1:05:32.680 I was wearing a jacket under Mifflin Saver one of 1:05:32.680 --> 1:05:35.880 the season, you know, jackets wrap jackets, and I was 1:05:35.920 --> 1:05:39.480 getting coffee and uh, the brist was like, I love 1:05:39.520 --> 1:05:41.320 your jacket. What you gonna say? I worked on the show. 1:05:41.480 --> 1:05:44.280 Oh my god, I love this show. Please tell every 1:05:44.360 --> 1:05:46.640 you know. I mean like still to this day, people, uh, 1:05:47.360 --> 1:05:50.560 people are you know more and more actually I should say, 1:05:50.640 --> 1:05:53.440 you know as as do you feel too, because like 1:05:53.480 --> 1:05:55.840 I said, there's another there's a whole generation of of 1:05:56.240 --> 1:05:58.760 people with their kids. I get Facebook messages all the 1:05:58.800 --> 1:06:01.480 times where they're like, just when my kids are watching 1:06:01.560 --> 1:06:04.520 the show, they love it. They've binged it three times. 1:06:04.640 --> 1:06:07.320 You know. Even my god son I got he wanted 1:06:07.360 --> 1:06:09.480 for Christmas a dunder Mifflin hoodie. I had to buy 1:06:09.480 --> 1:06:11.760 one from NBC dot com. Do I have anything anymore? 1:06:12.000 --> 1:06:15.000 I'm like all my swag and autograph stuff. You know, 1:06:15.080 --> 1:06:17.320 he's watched the episodes, he sees me. He hears my 1:06:17.440 --> 1:06:19.920 voice as the documentary, and he sees my name in 1:06:19.960 --> 1:06:23.440 the credits, and we talked stuff. And people are always 1:06:23.440 --> 1:06:25.680 asking me about trivia. And I'm pretty good my memories. 1:06:26.040 --> 1:06:28.920 Like I said, I'm I slip a little bit with 1:06:28.920 --> 1:06:30.960 with people's names. And I don't know if that's just 1:06:31.160 --> 1:06:34.720 age or if like the hard driver is full and overloaded. 1:06:34.880 --> 1:06:37.040 I've got one, I've got I've got one for you. 1:06:37.240 --> 1:06:40.280 This is fun. So people they'll come up. You are 1:06:40.320 --> 1:06:42.440 pretty good with trivia. In fact, we all call you 1:06:42.480 --> 1:06:45.640 the encyclopedia. I have one question. This is my one, 1:06:45.760 --> 1:06:47.600 all right, all right? I was told a while ago 1:06:47.880 --> 1:06:51.160 it is a name one though, so I'm trying careful. Um, 1:06:51.280 --> 1:06:54.680 This was like the finals of some trivia thing someone won. 1:06:54.800 --> 1:06:57.240 They told me the question. I've just decided I'm adopting 1:06:57.280 --> 1:06:59.520 this question. When someone says they know trivia and I 1:06:59.520 --> 1:07:02.440 asked him this question. Okay, you ready, this is for 1:07:02.560 --> 1:07:12.920 one billion dollars. What is Gabe Lewis's middle name? Beverley? 1:07:15.600 --> 1:07:20.919 That was like the right spirit you Now, I think 1:07:20.960 --> 1:07:22.880 the Leslie David Baker. I've had a lot of people 1:07:22.920 --> 1:07:27.280 say Leslie. I'm trying to think. Is Susan Susan Susan 1:07:27.600 --> 1:07:35.400 Gabriel Susan Lewis's there? You go have you? But thank 1:07:35.440 --> 1:07:39.919 you for playing was really really entertaining. Um, dude, thank 1:07:39.960 --> 1:07:44.600 you so much for coming in. You're you're the encyclopedia 1:07:44.840 --> 1:07:48.320 and your knowledge and your passion for the show. You know, 1:07:48.400 --> 1:07:50.680 I think the show in a lot of ways, what 1:07:50.880 --> 1:07:55.200 made it special was how much people cared. It wasn't 1:07:55.240 --> 1:07:58.920 about ego. It was truly about making the best show 1:07:59.280 --> 1:08:02.120 that we could. Yeah, what can you say? I mean, Yeah, 1:08:02.120 --> 1:08:04.000 the show has changed my life in so many ways, 1:08:04.520 --> 1:08:06.960 and it's just you know, I love being a part 1:08:06.960 --> 1:08:08.600 of it. I still love being a part of it, 1:08:09.080 --> 1:08:12.600 and uh, I just love that we we have this, 1:08:12.600 --> 1:08:29.000 this bond because of it. Yeah, all right, thank you Dave. 1:08:29.880 --> 1:08:33.000 What can I say? I could just stand here and 1:08:33.040 --> 1:08:37.120 listen to you on a podcast all day. Thank you 1:08:37.160 --> 1:08:40.240 so much for coming by. It was so great to 1:08:40.400 --> 1:08:44.080 see you and to well to hear from you, and 1:08:44.120 --> 1:08:46.120 to all of you out there, Thank you for listening 1:08:46.240 --> 1:08:49.120 to another episode of the Office Deep Dive. I hope 1:08:49.160 --> 1:08:53.479 you have the best week possible and to cap off 1:08:53.840 --> 1:08:57.519 that amazing week, you can come back next Tuesday to 1:08:57.680 --> 1:09:02.000 hear part two of my conversation with our wonderful writer 1:09:02.760 --> 1:09:14.520 Jen Salanta. The Office Deep Dive is hosted and executive 1:09:14.560 --> 1:09:19.439 produced by me Brian Baumgartner, alongside our executive producer Lang Lee. 1:09:19.960 --> 1:09:23.679 Our senior producer is Tessa Kramer. Our producers are Diego 1:09:23.800 --> 1:09:26.759 Tapia and Liz Hayes. My main man in the booth 1:09:27.120 --> 1:09:31.160 is Alec Moore. Our theme song Bubble and Squeak, performed 1:09:31.160 --> 1:09:34.200 by my great friend Cree Bratton, and the episode was 1:09:34.280 --> 1:10:00.200 mixed by seth Olandskip Hey Dana Goodyear here. Have you 1:10:00.200 --> 1:10:02.760 ever wondered how a true crime podcast like Lost Hills 1:10:02.800 --> 1:10:06.000 gets made? How we unearthed secrets and tease out the 1:10:06.000 --> 1:10:10.840 truth and deal with complicated characters while tackling sensitive subjects 1:10:10.880 --> 1:10:15.240 like violence, trauma, and deception. Now's your chance to find out. 1:10:15.760 --> 1:10:19.360 Join me and Jake Halpern, host of Pushkin's Deep Cover podcast, 1:10:19.560 --> 1:10:23.320 on March sixteenth for a digital conversation on true crime storytelling. 1:10:23.800 --> 1:10:26.759 Get your tickets now at moment house dot com slash 1:10:26.920 --> 1:10:29.680 d c l H. That's m O M E n 1:10:29.800 --> 1:10:36.960 t house dot com slash d c l H. We've 1:10:37.040 --> 1:10:39.720 all felt left out, and for people who moved to 1:10:39.760 --> 1:10:43.040 this country, that feeling lasts more than a moment. We 1:10:43.080 --> 1:10:46.280 can change that. Learn how it Belonging begins with us 1:10:46.320 --> 1:10:50.920 dot org. Brought to you by the Ad Council. Hey hey, 1:10:50.920 --> 1:10:54.160 this is John O'Briant, entpreneur and a fellow builder just 1:10:54.280 --> 1:10:56.280 like you. Thanks for the help of I Heart Radio 1:10:56.360 --> 1:10:58.720 and Prudential Financial, I'd like to present to you my 1:10:58.880 --> 1:11:01.639 brand new pot hat. It's called Building a Good Life, 1:11:01.720 --> 1:11:04.519 where each week a special friend and I will unpack 1:11:04.720 --> 1:11:08.799 and talk in detail about financial literacy, building, generational wealth building, 1:11:08.800 --> 1:11:12.599 that community building the best version of you. Make sure 1:11:12.640 --> 1:11:14.680 to listen to Building a Good Life on the I 1:11:14.840 --> 1:11:18.519 Heart Radio app, Apple Podcast, or wherever you get your 1:11:18.560 --> 1:11:19.120 podcast