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Speaker 1: I used to lead whitewater expeditions and somebody said you should,

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Speaker 1: you should start filming them, and I said, you mean,

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Speaker 1: like with a camera or something. All right, I'll try it.

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Speaker 1: I just wanted to go kayaking every day, and I

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Speaker 1: tried it, and I suppose I was okay at it.

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Speaker 1: And that's really what I tell you now that I'm

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Speaker 1: doing this, I really like it. I didn't plan on

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Speaker 1: any of this, but it's really fun. It is. It's fun. Hi.

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Speaker 1: My name is Randall Einhorn, and I am the executive

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Speaker 1: producer and director of the show Abbot Elementary. Hello everybody,

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Speaker 1: and welcome back to today's episode of Off the Beat.

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Speaker 1: This is your host, Brian Baumgartner. In a great mood

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Speaker 1: today because we have a very special guest, my old friend.

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Speaker 1: You know him, you love him, Randall Einhorn. He's a director,

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Speaker 1: he's an amazing cinematographer and as you know, he is

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Speaker 1: the guy who made the camera a character on the Office.

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Speaker 1: He made the show what it is, and that alone

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Speaker 1: makes him a legend. But it's no surprise that since

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Speaker 1: then he has worked on other huge shows Parks and Wreck,

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Speaker 1: Wilfred Fargo. It's always sunny in Philadelphia and most recently

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Speaker 1: Abbot Elementary. Since I had Randall on the office deep dive,

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Speaker 1: I've been wanting to get him back on off the

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Speaker 1: beat here and dive deeper into his whole career, all

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Speaker 1: of his work outside of the office, tracing the mockumentary

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Speaker 1: from the olden days of dunder Mifflin now to Abbot Elementary,

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Speaker 1: and will also answer some long awaited questions. What is

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Speaker 1: the future of network sitcoms? Is it okay that it's

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Speaker 1: always sunny? Has such unlikable characters? What is the real

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Speaker 1: power of the camera? Randall, He's seen it all, and

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Speaker 1: he's filmed at all and I can't wait for you

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Speaker 1: to hear our conversation. So, without further ad here's Randall Einhorn,

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Speaker 1: Bubble and Squeak. I love it, Bubble and Squeak, Bubble

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Speaker 1: and Squeaker cook at every month left over from the

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Speaker 1: Knob people. Hello, what's up, buddy? How you doing? Brother?

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Speaker 1: How are you? I'm very well. You know. I didn't

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Speaker 1: reach out to you because I wanted my love to

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Speaker 1: just seep into your soul. I love seeing you for

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Speaker 1: the first time in such a long time. You look good,

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Speaker 1: you too? Wow? How are you. I'm good. It's it's been.

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Speaker 1: It's been good. It's been a busy time, but fun. Well,

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Speaker 1: you're the busiest man in television, as best I can tell,

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Speaker 1: it's been. It's been busy. Abbot kept me busy. We didn't,

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Speaker 1: you know, work long days, but you know we did.

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Speaker 1: We finished twenty two episodes and I directed ten of them,

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Speaker 1: like an idiot. Okay. So then I just took a pilot,

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Speaker 1: as you do. Um, no rest for the Wicked I was.

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Speaker 1: You know, I was planning on taking some time off,

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Speaker 1: but I just fell in love with another pilot. So

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Speaker 1: I'm doing a pilot. But before that, I shoot the pilot.

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Speaker 1: I'm going to go to do the Grand Canyon again.

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Speaker 1: You are, Yeah, fourth time in five years, two hundred

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Speaker 1: and twenty five miles of rafting. Really good, beautiful play.

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Speaker 1: So I'll have you know, some some ramble time. Yes, Now,

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Speaker 1: when you go back to your your your roots, and

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Speaker 1: we'll talk about that in a minute. You go back

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Speaker 1: to the to the bush, to the brush. Do you

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Speaker 1: cut off from the world, like, do you leave cell

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Speaker 1: phones at home? No? I take it for photos, okay,

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Speaker 1: but I mean you're not checking email or no, No,

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Speaker 1: there's no means to do that. I have a SAT phone,

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Speaker 1: but you can get text messages. But I'm you know,

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Speaker 1: what are you gonna do? Tell me when to get back? Right?

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Speaker 1: What do you? Yeah? So do you take a SAT

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Speaker 1: phone in case, you know, you get injured in something?

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Speaker 1: That's that's what you do? Yeah, okay, Yeah, I've been

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Speaker 1: watching that show alone. Have you seen that show alone?

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Speaker 1: That's My friends show? Is it? Yeah? Yeah, I kind

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Speaker 1: of I've kind of gotten sucked in a little bit

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Speaker 1: to it, and I think it's more what would be

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Speaker 1: the show that I would be least likely to participate?

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Speaker 1: That would be it. That's probably it. Yeah, that's probably

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Speaker 1: watching people skinning, by the way, expertly skinning squirrels and

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Speaker 1: being so grateful for that squirrel. Have you ever have

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Speaker 1: you ever ate squirrel? Yeah? Eaten squirrel? You have? It's

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Speaker 1: so bad. It's better than rat. You haven't eaten rat?

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Speaker 1: You have? Yeah, survivor one. They were eating rats because

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Speaker 1: there are a lot of rats around, okay, and there

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Speaker 1: was a little bit just left on the grill and

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Speaker 1: maybe maybe I might may have tried it. But if

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Speaker 1: you had squirrel like my choice, Yeah, it was yummy.

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Speaker 1: It was great. Did you prepare the squirrel? No? I

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Speaker 1: did not. My neighbors did. Yeah. Okay, Uh, this is

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Speaker 1: where we start with, so we can do a whole

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Speaker 1: episode of things Randall has eaten. No, I know that

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Speaker 1: we could. Actually, that's that is the thing that I know. Um. Look,

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Speaker 1: we've had you on before, obviously, and really we talked

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Speaker 1: about the office. I am not joking when I say

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Speaker 1: I think your story is one of the most interesting

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Speaker 1: in all of the thing we call Hollywood. Talk to

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Speaker 1: me a little bit now. I know. Originally you're from

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Speaker 1: the Cincinnati area, which is where my father hails from.

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Speaker 1: For Thomas, Kentucky, since Entucky as they call it. Ye.

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Speaker 1: Did you have any interest in film filming when you

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Speaker 1: were a kid? No, none, whatsoever. I really didn't have

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Speaker 1: any interest in until I started doing it, you know,

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Speaker 1: until I started filming outdoor adventure stuff. Right. Yeah. I

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Speaker 1: used to lead whitewater expeditions and somebody said you should,

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Speaker 1: you should start filming them, and I said, you mean,

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Speaker 1: like with a camera or something, and all right, I'll

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Speaker 1: try it. I just wanted to go kayaking every day,

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Speaker 1: and I tried it, and I suppose I was okay

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Speaker 1: at it. And that's really but I tell you now

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Speaker 1: that I'm doing this, I really like it. I didn't

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Speaker 1: plan on any of this, but it's really fun. It is.

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Speaker 1: It's fun. It is so you were just like you

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Speaker 1: were just an outdoors men, like you just wanted outdoor adventure.

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Speaker 1: Could you have seen yourself just living that life for

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Speaker 1: your whole life? I still can, Ok, yeah, back pocket

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Speaker 1: In case the whole directing thing it doesn't work out,

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Speaker 1: I can go back to being a raft guide. Yeah. No,

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Speaker 1: I never. I never that was the plan. I just was.

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Speaker 1: I was guiding, and I was doing a lot of

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Speaker 1: kayaking and leading expeditions, and I figured that was what

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Speaker 1: I was going to do. I never saw myself getting

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Speaker 1: out of that. But you know, one thing led to

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Speaker 1: another and I got hired. I convinced Mark Burnett that

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Speaker 1: he should hire me to shoot the Whitewater sections of

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Speaker 1: Eco Challenge, which is a five hundred mile wilderness adventure race,

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Speaker 1: and he was foolish enough to hire me. And then

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Speaker 1: I convinced him he should hire me to be the

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Speaker 1: deep DP on Survivor one, and he did that, and

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Speaker 1: then all these years later, here I am. Yeah, and

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Speaker 1: you when you first started filming. Now, when you say

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Speaker 1: someone said you should film these things? Was this like

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Speaker 1: filming like for tourists, like just filming them going down

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Speaker 1: the river? Yep? Okay. I used to kayak ahead and

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Speaker 1: film film the tourists going down the rapids, and my

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Speaker 1: kayak on kayak down the next section of rapids. I

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Speaker 1: hop out and filmed the tourists and I'd sell them

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Speaker 1: photos and video. Okay. Yeah? And then how did you

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Speaker 1: get from there to convincing Burnett to hire you on

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Speaker 1: Eco Challenge? Like? What are the steps there? I was.

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Speaker 1: I was a sponsored whitewater kayaker and a lot a

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Speaker 1: bunch of kayaks, and a friend of mine was a

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Speaker 1: locations manager and he called me to ask if I

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Speaker 1: could help him find a river section for Eco Challenge

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Speaker 1: and got it. I had, like, you know, twenty kayaks,

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Speaker 1: and so Mark and I and my buddy the locations

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Speaker 1: manager went out and started searching for for river sections

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Speaker 1: to do with an Eco Challenge race. Yeah. And then

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Speaker 1: and then I think the interesting part is where I

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Speaker 1: came to the United States to after being away for

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Speaker 1: like twenty three years, and I was I was shooting

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Speaker 1: something for Ben Silverman. Yes, I was shooting Sean White

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Speaker 1: and Jeremy Jones in Jackson Hole right in Jacksonville, And

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Speaker 1: for some reason, you know, I was filming those guys

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Speaker 1: and Ben said, that's the guy who we need to

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Speaker 1: be the documentarian in the office. Like why he took

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Speaker 1: me from Jackson holl extreme skiing to that's the guy

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Speaker 1: we need, I don't know, but it worked out. So. Um. Yeah,

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Speaker 1: when that opportunity came up, were you all in Like

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Speaker 1: were you like, yes, I can do that. Yeah, I

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Speaker 1: do have this really foolish sense of bravada. Yes, okay, yeah,

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Speaker 1: you and I, You and I share that in some regards. Yeah, easy,

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Speaker 1: you can do it. Ye today, were you hesitant because

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Speaker 1: I mean, you're you're an outdoorsman, You're like doing, you know,

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Speaker 1: filming extreme sports and you're out there and you love

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Speaker 1: that stuff. Was there a part of you that was like,

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Speaker 1: well I could do it, but I think I'd rather

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Speaker 1: stay here Or were you did you see the path

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Speaker 1: changing for you and and and saw where that might lead? Um?

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Speaker 1: I was very aware of like, Okay, well now I'm

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Speaker 1: going to go from outside into an office and this

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Speaker 1: is not my happy place right Certainly I was aware

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Speaker 1: of that, But then I figured I could still go

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Speaker 1: to my happy place when I'm not working, which is

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Speaker 1: what I do now now. I go. I spend forty

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Speaker 1: to fifty sixty days a year doing outdoor stuff on

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Speaker 1: rivers and so forth. Yeah, but also also, you know,

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Speaker 1: I saw the pilot of the Office, and I thought,

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Speaker 1: that's that would be really fun to shoot to tell

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Speaker 1: jokes from the camera. I was very attracted to. Oh

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Speaker 1: so you saw the pilot. Yeah, would you saw the

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Speaker 1: pilot and you were like, Oh, I get this, I

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Speaker 1: can do this, or I can do this better. Yes, Yes,

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Speaker 1: that's very interesting. I don't think i'd heard that before. Wow. Yeah,

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Speaker 1: because I didn't do the pilot of the office, but

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Speaker 1: I remember Ben. You know, it's a really funny choice.

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Speaker 1: But I think for Ben to make is that I

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Speaker 1: can go extreme skiing with these these great, really talented athletes,

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Speaker 1: and that to think I could also do the office

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Speaker 1: for some reason, well, Ben is a crazy genius in

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Speaker 1: that way. I mean, let's be let's be clear. I

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Speaker 1: mean he's he sees things, you know. I mean it's

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Speaker 1: very well documented what he sees in business and the

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Speaker 1: and the business of film, but also talent as well,

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Speaker 1: that he sees things that mortals do not at times,

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Speaker 1: and we'll take an out of the box choice because

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Speaker 1: he feels it right. Yeah, and I mean to his credit,

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Speaker 1: I think you know, Greg, Greg and I hit it

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Speaker 1: off immediately. And Greg was you know, he said, you're

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Speaker 1: telling jokes with a camera. I'm like, yeah, I'm trying to.

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Speaker 1: He just Greg some you should direct some. I'm like, okay,

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Speaker 1: I'll try that. I'm sure I could do that. So

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Speaker 1: in terms of your move into directing, once you're on

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Speaker 1: the show, you're carrying the fifty pound heavy thing and

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Speaker 1: dping the show and Greg gives you an opportunity to direct. Now,

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Speaker 1: we talked before about what a one, what a bold choice,

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Speaker 1: and how thankful you are to him for giving you

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Speaker 1: that opportunity. Were you immediately kind of smitten by it?

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Speaker 1: Did you love it with directing? Yeah? Absolutely, as soon

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Speaker 1: as I got my chance, because I got to see,

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Speaker 1: you know, by this point, I don't know how many

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Speaker 1: episodes I HADDP. I suppose thirty or so, So I

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Speaker 1: got to see all these really great directors do great

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Speaker 1: and I got to see some do good and seeing

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Speaker 1: what worked and what didn't work, and seeing what work

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Speaker 1: with actor is not necessarily other actors and seeing how

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Speaker 1: they influence the camera. Those were all That was a

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Speaker 1: great education. I mean that was a great education. We're

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Speaker 1: shooting thirty plus, you know, forty page scripts five days

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Speaker 1: a week, and I got to see it. I got it.

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Speaker 1: It was such a great school. Yeah. It occurs to me, however,

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Speaker 1: that in the world of unscripted, when you're out there

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Speaker 1: shooting say the first season of Survivor or Fear Factor

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Speaker 1: or certainly Eco Challenge, where people are going I don't

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Speaker 1: know how many miles per hour just down a rapid,

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Speaker 1: you are in a way directing yourself. Now, I'm not

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Speaker 1: dismissing there are directors who are working with you and

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Speaker 1: you guys are talking about stuff. But that's the thing

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Speaker 1: is that live in the moment shot you have to

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Speaker 1: make the choice because it's not repeatable, essentially correct, and

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Speaker 1: you know those those things. You know, there were producers

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Speaker 1: there who are basically writing down what happened. They weren't

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Speaker 1: saying can you get me a shot of this or

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Speaker 1: can you get me a shot of that? Oh? No,

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Speaker 1: you know, we were we were camera operators who were

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Speaker 1: telling a story. We're definitely self directing, right, you know,

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Speaker 1: they couldn't keep up with where we were going at

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Speaker 1: times because I would go out with you know, the

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Speaker 1: contestants on a raft, or I'd go on a hike

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Speaker 1: with them and i'd you know, tell them what happened

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Speaker 1: on the way back. But in the first one, they

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Speaker 1: really weren't. There's nobody really directing camera. Yeah. I mean

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Speaker 1: you've talked about how how reality wasn't really your thing,

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Speaker 1: but clearly it taught you a lot at how do

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Speaker 1: you how do you think it prepared you for your

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Speaker 1: next career? I do think reality television makes gives people

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Speaker 1: some some people really great skills. It makes you know,

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Speaker 1: camera operators more autonomous and more story forward, so they're

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Speaker 1: telling the complete parts of a story. Worry. It also

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Speaker 1: does wonderful thing for editors. Editors are just taking this

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Speaker 1: mess of footage and weaving it into a story. So

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Speaker 1: editors are doing what writers normally do right into reality television.

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Speaker 1: So I think it gives everybody very very high level

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Speaker 1: of skill. It's also just the hours on the camera

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Speaker 1: or under the camera, shooting eight hours a day and

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Speaker 1: trying to make it look artful. That's great training. Whereas normally,

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Speaker 1: like on a TV show, but you're really rolling the

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Speaker 1: camera maybe two hours a day or something like that. Right,

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Speaker 1: It occurred to me when you were just talking. Do

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Speaker 1: you feel like when you were shooting there's a mess

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Speaker 1: of footage? Right, there's guys, you know, eating bugs or

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Speaker 1: surviving in one way or the other, or going down

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Speaker 1: the river. Do you feel like you started to self edit?

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Speaker 1: Did you start to construct shots thinking about how it

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Speaker 1: would fit together to tell a story of even a

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Speaker 1: character that you were watching. Absolutely, you know, I certainly

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Speaker 1: self editing and making a shot end and making a

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Speaker 1: story end and knowing how you know, just to let

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Speaker 1: them walk their foot go through the frame and they

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Speaker 1: walk off into the distance and you end the shot

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Speaker 1: and the shot at a big wide shot. So, I

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Speaker 1: mean the reality television it gets you, you know, how

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Speaker 1: you come into a scene and how you get out

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Speaker 1: of a scene. The stuff that happens happens in the middle.

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Speaker 1: That's up to them saying interesting stuff. But at the

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Speaker 1: beginning of a scene, the end of a scene, you

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Speaker 1: should be able to create those as as a camera operator.

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Speaker 1: Was there anything about the reality or unscripted that lent

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Speaker 1: itself to comedy specifically? Not really? Okay, you know, just

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Speaker 1: being that observational, verite style documentary that we were shooting,

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Speaker 1: just being a fly on the wall. I think it

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Speaker 1: was interesting. I don't know that it lent itself to comedy,

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Speaker 1: right per se. I think that, you know, yeah, but

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Speaker 1: it's interesting because you you know, you were obviously an

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Speaker 1: active participant as you were holding the camera in the office,

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Speaker 1: and oftentimes, you know, you would find things that were

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Speaker 1: happening in the room that buttoned a joke or buttoned

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Speaker 1: what was saying that wasn't necessarily scripted by a writer.

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Speaker 1: I guess that's sort of where I'm going with this,

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Speaker 1: Like somebody says something that the camera into the person

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Speaker 1: operating the camera into it's as funny, and there's one

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Speaker 1: of your famous like quick zip ins to a face

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Speaker 1: and then a pan over. You know a lot of

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Speaker 1: that stuff, and I don't think you guys ever got

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Speaker 1: as much credit as you deserve for that. I mean

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Speaker 1: a lot of that times when people are laughing out

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Speaker 1: loud as they're watching the show is due to what

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Speaker 1: you guys are doing with the camera as much as

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Speaker 1: the actors, as much as the writers or anything else.

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Speaker 1: Thank you. Yeah, we talked a lot about the office.

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Speaker 1: If you want, you can go back and listen to

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Speaker 1: Randall's deep dive into the show. He was great. I

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Speaker 1: made him cry. I remember that. Thanks man, But one

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Speaker 1: of the shows that comes out of the gate for you, Randall.

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Speaker 1: He begins getting opportunities to direct other shows, and Greg

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Speaker 1: Daniels lets him go, and eventually he decides that it's

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Speaker 1: time for him to move on and take that fifty

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Speaker 1: pound camera off his back and begin directing. My recollection

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Speaker 1: is is that you got hired to do a full

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Speaker 1: season of It's Always Sunny? How did that come about? Yeah?

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Speaker 1: I did. I got I got hired to do a

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Speaker 1: full season of It's Always Sunny. And when I first

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Speaker 1: I don't know if I can say this on here,

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Speaker 1: you can say whatever, say whatever. But I watched it

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Speaker 1: and I'm like, I don't know, it's I don't think

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Speaker 1: it's sad. It's not me. And I remember my agent

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Speaker 1: at the time he says, smoke a joint watch four.

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Speaker 1: So I'm like, oh no, this is really funds pretty

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Speaker 1: good stuff. And I took it. I took the job

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Speaker 1: and I had a blast doing that. I had a

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Speaker 1: really good time on Sonny. It was it's really fast,

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Speaker 1: and I remember coming into it and the director I

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Speaker 1: watched for a couple of days on sad he says, look,

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Speaker 1: there's not much you can do. It's four people all

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Speaker 1: at once, like well, surely punctuation, so you know, I

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Speaker 1: can punctuate the jokes. I could certainly give you some

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Speaker 1: help with the comedic timing, but it came pretty well

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Speaker 1: banked because they all wrote it and then they all

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Speaker 1: acted in it. So what I could do there is

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Speaker 1: actually create ins and outs and punctuation to jokes and

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Speaker 1: had a blast doing And I love those guys. Why

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Speaker 1: do you think you were hired? Was there an experience

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Speaker 1: that that you had that that made them want want

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Speaker 1: you to come on for such a long time? I

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Speaker 1: think telling jokes with the camera from the office that

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Speaker 1: they did see that I could tell jokes and start

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Speaker 1: scenes and begins you know, get get obviously at the beginning,

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Speaker 1: middle and the end, but also in a way that

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Speaker 1: amplified the comedy. Yeah, you know, it's always sunny. Is

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Speaker 1: certainly a cruder show, isn't the right word? Very different

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Speaker 1: than the office at that time or parks and recreation.

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Speaker 1: How was that for you working on that? Being so

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Speaker 1: different from where you had come from. You know, there

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Speaker 1: was always a lesson, I think, and everything they were

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Speaker 1: doing there there was a lesson by doing the wrong thing.

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Speaker 1: They there are points of view, were deplorable and completely wrong,

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Speaker 1: but in doing so there was a message I think

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Speaker 1: behind that. Yes, I mean all those characters, they're all

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Speaker 1: good people who were talking about things that um were

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Speaker 1: relevant and important to them at the time and culturally important.

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Speaker 1: It's just that they were doing the wrong thing to

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Speaker 1: talk about it, and that was pretty funny. Yeah, It's

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Speaker 1: like Michael Stodd, Michael Scott was not that he was

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Speaker 1: always you know, it wasn't saying the right thing, but

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Speaker 1: it wasn't It wasn't mean spirit. It was just coming

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Speaker 1: from a place of not knowing any better, right, Yeah,

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Speaker 1: I mean, I think the difference is and that's actually

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Speaker 1: my argument now for when people say you couldn't you

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Speaker 1: couldn't make the office today. You know, for me on

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Speaker 1: the office when he would say or do something inappropriate,

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Speaker 1: I don't know, to say the least, you had fifteen

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Speaker 1: other people telling you that that was not good what

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Speaker 1: he said. So it was an example, I think, and

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Speaker 1: always sunny. We didn't always see the other side of it,

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Speaker 1: which which just yeah, it's just that the tone of

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Speaker 1: it is different. What do you see as the show's

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Speaker 1: heart always sunny? I mean, I suppose the show is

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Speaker 1: hard as they have each other. As deplorable as all

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Speaker 1: of them are, they still have each other, right, And

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Speaker 1: I think that it's it's you know, leading leading by

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Speaker 1: bad example, right, all the all their things that they

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Speaker 1: gang does, this, gang fights, this gang fights that they

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Speaker 1: do it all in the wrong way. But they know

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Speaker 1: where they're all coming from. They know what the point

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Speaker 1: of view is. It's coming that they want to portray. Yeah,

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Speaker 1: so you you start in reality, you know, then you're

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Speaker 1: doing mockumentary. Now you're doing a show for an extended

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Speaker 1: period of time that the camera style is totally different.

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Speaker 1: Did you find that challenging in a way or were

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Speaker 1: you just continuing to roll down a trajectory? No, you know,

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Speaker 1: I mean, for me, form follows function, and from day

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Speaker 1: one that I started on, it's always sunny. Is like,

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Speaker 1: I should have three cameras here because you want you

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Speaker 1: want this, you want bat and you want the Master.

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Speaker 1: You know, it's this not a precious show. It doesn't

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Speaker 1: need to look great. We should have three cameras rolling

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Speaker 1: on this, and so I introduced the third camera to

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Speaker 1: my seasons It's Always Sunny, and they've never shot ever

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Speaker 1: again without three cameras, right, So that show is shot

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Speaker 1: in three days. An episode of It's Always Sunny shot

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Speaker 1: in three days because it's three cameras going all at once.

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Speaker 1: And you know, to me that was the style of

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Speaker 1: the show is already established, and I don't think it's

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Speaker 1: a director's job to go and a guest director to

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Speaker 1: go create something that's, you know, not consistent with the

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Speaker 1: rest of the season. So I think guest directing it's

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Speaker 1: always about doing the best job you can within the

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Speaker 1: constraints of the show and within the style of the show. Right.

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Speaker 1: But that's pretty genius in terms of you seeing, well, look,

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Speaker 1: we're not going to change the style. We're just going

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Speaker 1: to make things more efficient and potentially at least more alive.

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Speaker 1: I e. The fewer takes you have is always better

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Speaker 1: as long as you can get it right. That makes

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Speaker 1: so much that I didn't know that there's that sense.

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Speaker 1: I think there's this thing if an actor thinks you're

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Speaker 1: going to do ten takes like some directors do on

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Speaker 1: all shows, you see that there is a point of

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Speaker 1: diminishing returns and being aware of those. If you're going

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Speaker 1: in and you think they think you're going to do

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Speaker 1: four takes, you're gonna get four great takes. Everybody's just

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Speaker 1: gonna leave it out there, you know they're gonna really

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Speaker 1: And that's I think there's some wisdom in that, is

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Speaker 1: actress just believing he's only gonna do three takes, right,

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Speaker 1: and you're gonna get the gold and then and then

407
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Speaker 1: you can keep digging, digging if you think there's more

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Speaker 1: in there. I'm sorry, like I'm digging away. You're so digging.

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Speaker 1: I'm like someone is just digging the hell out of you.

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Speaker 1: A group chat um you that just reminded me of

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Speaker 1: us working together and being in the conference room or

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Speaker 1: somewhere and just the side looks that you and I

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Speaker 1: would of each other and others when it was like

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Speaker 1: we're going again, we're going again, we're going again, and

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Speaker 1: at some point someone would say, why tell us what

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Speaker 1: we're not getting. We'll do it. I promise you just

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Speaker 1: tell us what we're not getting so we can do it.

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Speaker 1: You know, it's always sunny. It's so crazy that you

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Speaker 1: just told me that because one of the things that

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Speaker 1: I was going to say to you is it's always

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Speaker 1: felt to me like a multi cam show like it

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Speaker 1: just even though it's not, and I know it's not,

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Speaker 1: but it has that feel and that style in a way.

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Speaker 1: It's always felt that way to me. So that's that's

425
00:25:43,200 --> 00:25:46,560
Speaker 1: so interesting that you kind of forced it into that

426
00:25:48,560 --> 00:25:51,720
Speaker 1: you finish that, and I think this, for me is

427
00:25:51,880 --> 00:25:55,840
Speaker 1: what I'm the most proud of you for. You start

428
00:25:55,880 --> 00:25:59,640
Speaker 1: working on a couple of things which are huge changes.

429
00:26:00,080 --> 00:26:03,000
Speaker 1: One is Wilfred that I came and joined you for

430
00:26:03,280 --> 00:26:08,840
Speaker 1: a tiny bit on that, and also Fargo, which I

431
00:26:08,960 --> 00:26:15,359
Speaker 1: consider to be one of the most underappreciated, not that

432
00:26:15,440 --> 00:26:19,400
Speaker 1: people don't love it, but it's never talked about so

433
00:26:19,480 --> 00:26:22,840
Speaker 1: much for some reason, and I don't exactly know why,

434
00:26:22,920 --> 00:26:27,360
Speaker 1: but it is a brilliant show. And again, these are

435
00:26:27,359 --> 00:26:32,680
Speaker 1: two shows that don't follow your lineage from the way

436
00:26:32,680 --> 00:26:36,200
Speaker 1: that they're shot to really the tone you know from

437
00:26:36,240 --> 00:26:39,400
Speaker 1: the office and then to always sunny. First, let's talk

438
00:26:39,440 --> 00:26:42,880
Speaker 1: about Wilfred. How did that come about? So I read

439
00:26:42,920 --> 00:26:45,520
Speaker 1: the script of Wilfred and I you know, I lived

440
00:26:45,520 --> 00:26:48,439
Speaker 1: in Australia for seventeen years and I was amazed when

441
00:26:48,480 --> 00:26:49,960
Speaker 1: I read that script, but I didn't know about the

442
00:26:49,960 --> 00:26:53,679
Speaker 1: show existing in Australia. It felt so much in my

443
00:26:53,720 --> 00:26:57,119
Speaker 1: wheelhouse for firm a show that I would like, and

444
00:26:57,200 --> 00:27:02,560
Speaker 1: I'm always attracted to high degree of difficulty and I

445
00:27:02,640 --> 00:27:07,000
Speaker 1: read that script and I thought, Wow, I can really

446
00:27:07,040 --> 00:27:11,840
Speaker 1: make a mess of this. Wow, that's gonna make me

447
00:27:11,880 --> 00:27:14,800
Speaker 1: try it even harder. And so I just thought I

448
00:27:14,880 --> 00:27:17,320
Speaker 1: was really attractive. If I could pull this off, this

449
00:27:17,600 --> 00:27:22,679
Speaker 1: really interesting obscure tone, that'll be really fun, that'll be

450
00:27:22,760 --> 00:27:26,400
Speaker 1: something special. So I think it's like me and paddling

451
00:27:26,400 --> 00:27:30,200
Speaker 1: Whitewater's the bigger, the harder, the rapid, the more exciting

452
00:27:30,240 --> 00:27:33,000
Speaker 1: it is to do it. And like many things with me,

453
00:27:33,080 --> 00:27:37,040
Speaker 1: I just think you really enjoy that high degree of difficulty.

454
00:27:37,080 --> 00:27:39,919
Speaker 1: I think it makes you pay attention more, you know,

455
00:27:40,119 --> 00:27:44,800
Speaker 1: keeps you on your feet and that's exciting. Yeah, if

456
00:27:44,840 --> 00:27:48,960
Speaker 1: you haven't checked out Wilfred everybody, you definitely should. It's

457
00:27:49,000 --> 00:27:51,600
Speaker 1: one of those where you're like, what, what the what?

458
00:27:51,880 --> 00:27:57,959
Speaker 1: But you really gave the show heart. I felt like

459
00:27:58,200 --> 00:28:04,879
Speaker 1: I found it very funny, totally bizarre, but really relatable

460
00:28:05,160 --> 00:28:10,520
Speaker 1: and human and realistic in a bizarre way. Yeah, I

461
00:28:11,359 --> 00:28:15,080
Speaker 1: really enjoyed that I came to play with you for

462
00:28:15,520 --> 00:28:19,119
Speaker 1: a couple of episodes, and I think you may have

463
00:28:19,160 --> 00:28:21,880
Speaker 1: told me this that you guys were trying to get

464
00:28:22,000 --> 00:28:27,280
Speaker 1: Robin Williams on the show, and I was like his

465
00:28:27,560 --> 00:28:33,199
Speaker 1: orderly and he wanted people for his orderlies that he

466
00:28:33,200 --> 00:28:35,879
Speaker 1: had worked with before, something like that, or you were

467
00:28:35,920 --> 00:28:39,360
Speaker 1: trying to make him more comfortable because he and I

468
00:28:39,400 --> 00:28:44,240
Speaker 1: had worked together before. Do you remember all of that? No, No,

469
00:28:44,280 --> 00:28:46,960
Speaker 1: I just remember loving you and wanting to work with you. Okay, well,

470
00:28:47,520 --> 00:28:52,320
Speaker 1: perfect orderly with a fake head. Yeah. It was a

471
00:28:52,360 --> 00:28:56,400
Speaker 1: weird episode, very weird, very weird. I remember Robin Williams

472
00:28:56,440 --> 00:28:58,520
Speaker 1: after we do a bunch of takes, he says he

473
00:28:58,600 --> 00:29:01,120
Speaker 1: said to me, says he bought some boss, can I

474
00:29:01,200 --> 00:29:04,440
Speaker 1: try something? I'm like, you could do whatever you want,

475
00:29:07,200 --> 00:29:13,280
Speaker 1: thank you? Yeah? God, yeah. But we shot that show

476
00:29:13,280 --> 00:29:17,160
Speaker 1: on Stills cameras. Do you remember that? Now? I do

477
00:29:17,600 --> 00:29:20,800
Speaker 1: shot that entire series on Still's camera as long vintage

478
00:29:20,880 --> 00:29:24,000
Speaker 1: lenses I bought off eBay And that was from the pilot.

479
00:29:24,120 --> 00:29:27,000
Speaker 1: Is like, you know, form follows function. I wanted I

480
00:29:27,040 --> 00:29:32,400
Speaker 1: wanted Elijah's dementia to be mirrored visually, so anytime he

481
00:29:32,600 --> 00:29:36,720
Speaker 1: was going deep into his dementia. We would shoot on

482
00:29:36,760 --> 00:29:40,160
Speaker 1: these We would shoot in a seventy millimeter aspect ratio,

483
00:29:40,200 --> 00:29:42,160
Speaker 1: and the only way you can do shoot seventy millimeter

484
00:29:42,200 --> 00:29:46,280
Speaker 1: aspect ratio is by shooting seventy millimeter film, which is

485
00:29:46,400 --> 00:29:50,400
Speaker 1: crazy expensive, or shooting on these stills cameras and these

486
00:29:50,480 --> 00:29:53,440
Speaker 1: nice old vintage lenses that were the depth of field

487
00:29:53,520 --> 00:29:56,080
Speaker 1: was so shallow. It gave the show a really cool

488
00:29:56,120 --> 00:29:59,360
Speaker 1: look and we ended up winning an Award for cinematography

489
00:29:59,400 --> 00:30:02,400
Speaker 1: on that show. That is I totally forgot that you

490
00:30:02,480 --> 00:30:05,440
Speaker 1: did that. How did they let you do that? That

491
00:30:05,600 --> 00:30:08,719
Speaker 1: is so crazy? It is crazy. I can't believe we

492
00:30:08,760 --> 00:30:11,479
Speaker 1: did it. I'm like, I was convinced that this is

493
00:30:11,560 --> 00:30:14,840
Speaker 1: this is what I wanted to do, and it it worked,

494
00:30:15,040 --> 00:30:17,640
Speaker 1: It really did. And you know, that was my very

495
00:30:17,640 --> 00:30:20,040
Speaker 1: first pilot. But yeah, we cold. You can buy those

496
00:30:20,040 --> 00:30:23,719
Speaker 1: cameras at costco. How many of those did you direct? Uh?

497
00:30:23,920 --> 00:30:32,120
Speaker 1: Fifty one of fifty four? Dear goodness? Yeah, wow, yeah, wow, folks,

498
00:30:32,200 --> 00:30:35,600
Speaker 1: that doesn't happen. Just so you know, unless you're in

499
00:30:35,680 --> 00:30:38,280
Speaker 1: a b unless you're d you're really shooting a multi

500
00:30:38,280 --> 00:30:42,160
Speaker 1: camera show, then it can happen. Jimmy Burrows can do that,

501
00:30:42,200 --> 00:30:46,080
Speaker 1: but not many others who are shooting other shows. How

502
00:30:46,080 --> 00:30:50,480
Speaker 1: did you make that work with scouting locations and everything else?

503
00:30:50,840 --> 00:30:53,920
Speaker 1: How did you do that? Um? Well, we had you know,

504
00:30:53,920 --> 00:30:56,760
Speaker 1: we'd have, um, you have all all the episodes written

505
00:30:57,160 --> 00:31:00,520
Speaker 1: all at once, and so we shot it. You'd shoot

506
00:31:00,520 --> 00:31:05,520
Speaker 1: a movie, you'd shoot scene fourteen from episode ten right

507
00:31:05,560 --> 00:31:09,760
Speaker 1: next to scene one from episode you know two, and

508
00:31:09,840 --> 00:31:12,000
Speaker 1: so you had just had to keep all that in

509
00:31:12,160 --> 00:31:15,800
Speaker 1: order and had to really pay attention continuity. And so

510
00:31:15,840 --> 00:31:17,600
Speaker 1: what what we used to do on that show is

511
00:31:17,640 --> 00:31:20,880
Speaker 1: I would I would we would be doing scenes that

512
00:31:20,960 --> 00:31:23,640
Speaker 1: were after a scene we wouldn't be shooting for weeks.

513
00:31:24,400 --> 00:31:26,640
Speaker 1: So I would say, okay, let's go read the scene

514
00:31:26,880 --> 00:31:29,880
Speaker 1: right before this scene so we know where we're coming here,

515
00:31:30,200 --> 00:31:33,240
Speaker 1: and so the actors would kind of we'd perform it

516
00:31:33,280 --> 00:31:35,040
Speaker 1: and then they would figure out where they need to

517
00:31:35,080 --> 00:31:37,840
Speaker 1: be in this scene even though we hadn't shot that

518
00:31:38,000 --> 00:31:41,560
Speaker 1: scene before, which that happens all the time, but never

519
00:31:41,720 --> 00:31:45,360
Speaker 1: so much is you know, episode ten and episode one

520
00:31:45,520 --> 00:31:48,080
Speaker 1: shooting at the same day. But then again I had

521
00:31:48,080 --> 00:31:52,320
Speaker 1: Elijah Wood who shot three movies at once, you know right,

522
00:31:52,520 --> 00:31:56,760
Speaker 1: Well that yeah, I mean, that's it that's a long movie. Yeah.

523
00:31:56,800 --> 00:31:59,120
Speaker 1: I mean if you're doing six and a half seven

524
00:31:59,160 --> 00:32:04,440
Speaker 1: hour mo wow, yeah, wow, then I want to Fargo.

525
00:32:04,920 --> 00:32:06,680
Speaker 1: Fargo is one of my favorites. I mean, you and

526
00:32:06,760 --> 00:32:09,080
Speaker 1: I've talked about it. How did you get? How did

527
00:32:09,080 --> 00:32:12,360
Speaker 1: you get? Now? Was this your relationship on Wilfred and

528
00:32:12,440 --> 00:32:14,840
Speaker 1: with the network? Is that how they allowed you to

529
00:32:14,880 --> 00:32:17,880
Speaker 1: come into Fargo? Yeah? You know, I had I had

530
00:32:17,920 --> 00:32:20,560
Speaker 1: an overall deal at Effects for some time, and I

531
00:32:20,800 --> 00:32:23,920
Speaker 1: knew John Landgraff and I had some development there. But

532
00:32:24,040 --> 00:32:26,360
Speaker 1: I think, you know, looking at Fargo in my body

533
00:32:26,360 --> 00:32:29,320
Speaker 1: of work, that's kind of a jump that I would

534
00:32:29,320 --> 00:32:33,560
Speaker 1: be eligible for something like that. But I had also

535
00:32:33,680 --> 00:32:37,120
Speaker 1: done Nurse Jackie by this point. I did the final

536
00:32:37,160 --> 00:32:39,880
Speaker 1: two episodes of one season, and then I came back

537
00:32:39,960 --> 00:32:43,200
Speaker 1: and was executive producer and director of the next season.

538
00:32:43,480 --> 00:32:45,080
Speaker 1: And when I look at that show, I don't I

539
00:32:45,080 --> 00:32:50,520
Speaker 1: think totally it is a half hour, but totally it

540
00:32:50,680 --> 00:32:55,080
Speaker 1: shares some a lot of DNA with hours. So I

541
00:32:55,120 --> 00:32:57,880
Speaker 1: submitted and said, look, you know, yes, I have this

542
00:32:58,000 --> 00:33:00,960
Speaker 1: body of work that is I mean, Wilfred had some

543
00:33:01,040 --> 00:33:03,320
Speaker 1: heavy stuff and it's some really dramatic stuff in it,

544
00:33:03,840 --> 00:33:05,760
Speaker 1: But I said look at look at the show Nurse

545
00:33:05,840 --> 00:33:10,440
Speaker 1: Jackie and consider that it's not really the comedy of

546
00:33:10,520 --> 00:33:13,080
Speaker 1: that show is not what I was interested in. And

547
00:33:13,960 --> 00:33:18,120
Speaker 1: Eric Schreyer watched it, watched my episodes of Nurse Jackie,

548
00:33:18,160 --> 00:33:20,480
Speaker 1: and he said, yeah, I totally get it. And so

549
00:33:20,680 --> 00:33:23,840
Speaker 1: that's how I got on Fargo, is somebody actually being

550
00:33:23,840 --> 00:33:26,400
Speaker 1: open minded enough to look at a half hour and

551
00:33:26,520 --> 00:33:30,120
Speaker 1: consider it how that would translate into an hour if

552
00:33:30,160 --> 00:33:33,480
Speaker 1: I was to direct Fargo. What was different about working

553
00:33:33,520 --> 00:33:37,400
Speaker 1: on Fargo than anything you've done before. It was really cold.

554
00:33:37,960 --> 00:33:42,520
Speaker 1: It's really really cold, you know. But comedies you tend

555
00:33:42,560 --> 00:33:45,400
Speaker 1: to shoot both angles. I mean, I think that's that's

556
00:33:45,400 --> 00:33:47,840
Speaker 1: the best way to shoot comedy, is that everybody's getting

557
00:33:47,840 --> 00:33:50,720
Speaker 1: everything all at once. The actors are feeding off each other,

558
00:33:50,720 --> 00:33:54,360
Speaker 1: You're never missing a moment. Fargo, like Nurse Jackie, was

559
00:33:54,440 --> 00:33:58,000
Speaker 1: much more composed, and you were actually lighting the DP

560
00:33:58,320 --> 00:34:02,800
Speaker 1: was actually lighting shots, not scenes. So you really needed

561
00:34:02,840 --> 00:34:04,840
Speaker 1: to break it down and think, Okay, I'm going I

562
00:34:04,920 --> 00:34:07,600
Speaker 1: know I'm opening with this, I want to come close

563
00:34:07,680 --> 00:34:10,719
Speaker 1: in on Martin or Billy Bob, and you know, you're

564
00:34:10,719 --> 00:34:13,920
Speaker 1: shooting one side at a time. So that's a very

565
00:34:13,920 --> 00:34:16,480
Speaker 1: different thing. Than just like what we do in comedy

566
00:34:16,520 --> 00:34:19,239
Speaker 1: a lot our times is it just has to be

567
00:34:19,360 --> 00:34:22,600
Speaker 1: more planned. It takes a lot longer, that's for sure.

568
00:34:23,200 --> 00:34:26,160
Speaker 1: You know the waffle Hut scene. There's the pilot of

569
00:34:26,200 --> 00:34:29,960
Speaker 1: episode season two. There's a waffle Hut scene where Kieran

570
00:34:30,040 --> 00:34:33,239
Speaker 1: Culkin comes in and shoots his way out of the

571
00:34:33,280 --> 00:34:38,120
Speaker 1: waffle hut. And we didn't have enough This is winter

572
00:34:38,200 --> 00:34:43,400
Speaker 1: in Calgary. We didn't have enough nighttime to shoot the

573
00:34:43,760 --> 00:34:47,360
Speaker 1: amount of shots we needed for that scene. So we

574
00:34:47,480 --> 00:34:50,719
Speaker 1: built that set on green screen and we shot all

575
00:34:50,840 --> 00:34:54,160
Speaker 1: shot that everything on green screen, and then we took

576
00:34:54,200 --> 00:34:56,959
Speaker 1: that set and built it out in the tun drop

577
00:34:57,160 --> 00:34:59,359
Speaker 1: in the snow and shot the rest of it because

578
00:34:59,360 --> 00:35:02,680
Speaker 1: we had in side to outside links and so on

579
00:35:02,719 --> 00:35:06,799
Speaker 1: and so forth. So you know, it really required having

580
00:35:06,960 --> 00:35:09,960
Speaker 1: a real good plan is how that would all come

581
00:35:10,000 --> 00:35:13,200
Speaker 1: together to shoot the same scene on two locations. It's

582
00:35:13,200 --> 00:35:17,080
Speaker 1: pretty interesting you talked before about when you don't direct

583
00:35:17,120 --> 00:35:21,160
Speaker 1: a pilot, when you come into a show like for example,

584
00:35:21,239 --> 00:35:25,120
Speaker 1: it's always sunny and you're tied to that form that exists,

585
00:35:25,160 --> 00:35:27,600
Speaker 1: and you feel like your job is to do it

586
00:35:27,600 --> 00:35:29,640
Speaker 1: as well as you can, but not to mess with

587
00:35:29,680 --> 00:35:34,040
Speaker 1: the form that's there. Did you feel a pressure or

588
00:35:34,800 --> 00:35:39,640
Speaker 1: was there an attempt by you to channel the Cohen Brothers.

589
00:35:40,120 --> 00:35:43,480
Speaker 1: I mean, I know that sounds weird, but like that show,

590
00:35:43,560 --> 00:35:48,319
Speaker 1: and partly why I find it so well done is

591
00:35:48,360 --> 00:35:53,680
Speaker 1: I feel like the shots come straight out of the

592
00:35:53,760 --> 00:35:56,160
Speaker 1: Cone Brothers. Yeah, you know, so if you look at

593
00:35:56,200 --> 00:35:58,880
Speaker 1: the couplet of the Cone Brothers stuff. Certainly like Fargo.

594
00:35:59,480 --> 00:36:02,480
Speaker 1: The only long lens shot in all of Fargo everything

595
00:36:02,560 --> 00:36:05,560
Speaker 1: was like twenty nine thirty two forty mills a long

596
00:36:05,640 --> 00:36:08,840
Speaker 1: lens on Fargo, right, it was all shot pretty wide.

597
00:36:09,360 --> 00:36:12,400
Speaker 1: The only long lens shot is the opening shot of

598
00:36:12,440 --> 00:36:17,160
Speaker 1: the car. Yeah, and that was shot by the second

599
00:36:17,280 --> 00:36:20,359
Speaker 1: unit DP, just out on his own. They told us,

600
00:36:20,360 --> 00:36:22,000
Speaker 1: they said, go get a shot of a car driving,

601
00:36:22,440 --> 00:36:25,359
Speaker 1: and so he did this really really long lens shot

602
00:36:25,440 --> 00:36:27,880
Speaker 1: of the car driving. And I remember in my episode,

603
00:36:28,360 --> 00:36:34,000
Speaker 1: so it's the moment where all our Platque's character finds

604
00:36:34,719 --> 00:36:39,080
Speaker 1: the cash, that's the money, and I remember I shot

605
00:36:39,120 --> 00:36:42,760
Speaker 1: it exactly the same way. I shot it really really

606
00:36:42,800 --> 00:36:47,280
Speaker 1: really long lens. So yeah, very cognizant, very very aware

607
00:36:47,320 --> 00:36:50,640
Speaker 1: of paying tribute to how that that film was done.

608
00:36:51,280 --> 00:36:53,759
Speaker 1: And I was really that was really fun. It was

609
00:36:53,800 --> 00:37:14,400
Speaker 1: really cool. He worked on so many amazing shows that

610
00:37:14,520 --> 00:37:17,880
Speaker 1: we've discussed in that the Muppets as well, Nurse Jackie.

611
00:37:17,880 --> 00:37:21,720
Speaker 1: You bring up Parks and Wreck and many many more.

612
00:37:22,080 --> 00:37:27,880
Speaker 1: Abbot Elementary is your current show that is a smash

613
00:37:28,520 --> 00:37:35,719
Speaker 1: bang boom success. You returned now to a documentary or

614
00:37:35,880 --> 00:37:43,560
Speaker 1: mockumentary style show. How did you get involved with Abbot Elementary? Um?

615
00:37:43,600 --> 00:37:48,040
Speaker 1: I got sent to the script by Quinta, and you know,

616
00:37:48,080 --> 00:37:49,719
Speaker 1: we really hit it off. And up until this point,

617
00:37:49,760 --> 00:37:52,080
Speaker 1: I had a moratorium on Zooms. I wasn't going to

618
00:37:52,160 --> 00:37:54,279
Speaker 1: do any more zooms. I's gonna take that out of

619
00:37:54,320 --> 00:37:57,319
Speaker 1: my TOOLSHD. But you know when I when I heard

620
00:37:57,360 --> 00:38:00,120
Speaker 1: the story and met Quinta, it was like, this is

621
00:38:00,160 --> 00:38:04,399
Speaker 1: a story about unsung heroes. And you know, I think

622
00:38:05,480 --> 00:38:08,800
Speaker 1: everybody's got a teacher in their life that means something

623
00:38:08,800 --> 00:38:11,440
Speaker 1: to them if they remember something about and they were

624
00:38:11,480 --> 00:38:14,319
Speaker 1: affected in some way. I really fell in love with

625
00:38:14,320 --> 00:38:19,120
Speaker 1: with what teachers do? You know? Being a public school teacher,

626
00:38:19,640 --> 00:38:24,040
Speaker 1: you're you're you're gonna make not enough money. You're not

627
00:38:24,080 --> 00:38:26,680
Speaker 1: going to be well enough paid for the important job

628
00:38:26,719 --> 00:38:30,160
Speaker 1: that you do. Absolutely, yeah, Therefore, the reasons you're doing

629
00:38:30,160 --> 00:38:33,960
Speaker 1: it for are all the right reasons, and I just

630
00:38:34,080 --> 00:38:36,400
Speaker 1: felt like this would be this would be a really

631
00:38:36,480 --> 00:38:40,239
Speaker 1: you know, nice love letter to teachers, but also just

632
00:38:40,360 --> 00:38:44,960
Speaker 1: meeting Quinta us, like, Okay, you're something special. Yes, I

633
00:38:44,960 --> 00:38:46,759
Speaker 1: would like to do your pilots very much, thank you.

634
00:38:47,120 --> 00:38:50,319
Speaker 1: And I did. And it's funny like I ended up

635
00:38:50,320 --> 00:38:52,680
Speaker 1: shooting a lot of that pilot. I actually operated the

636
00:38:52,680 --> 00:38:56,640
Speaker 1: camera on every every camera on every scene. We had

637
00:38:56,640 --> 00:38:58,839
Speaker 1: three cameras, and I would just take one camera to time,

638
00:38:59,120 --> 00:39:01,279
Speaker 1: then I'd moved on to camera and move on next

639
00:39:01,280 --> 00:39:04,200
Speaker 1: camera so that the operator that wasn't operating at that

640
00:39:04,320 --> 00:39:06,600
Speaker 1: moment could see what I was doing and why I

641
00:39:06,680 --> 00:39:10,920
Speaker 1: was doing it. Because it's really hard to train teach instincts.

642
00:39:11,680 --> 00:39:14,280
Speaker 1: You know, they could observe the instinct, but I didn't

643
00:39:14,280 --> 00:39:17,799
Speaker 1: really have the words to tell them about the instinct, right,

644
00:39:17,880 --> 00:39:20,799
Speaker 1: you know. I would always talk to the cameraman like

645
00:39:20,840 --> 00:39:24,640
Speaker 1: you would talk to um an actor. You know this,

646
00:39:25,239 --> 00:39:28,799
Speaker 1: you know she knows this, you know he he does

647
00:39:28,840 --> 00:39:30,840
Speaker 1: not know she knows this, and that would really inform

648
00:39:31,160 --> 00:39:33,880
Speaker 1: the camera's point of view. But only on the pilot

649
00:39:33,920 --> 00:39:37,200
Speaker 1: in particular, I operated the camera because I thought that

650
00:39:37,200 --> 00:39:40,080
Speaker 1: that was that was something I could bring in terms

651
00:39:40,080 --> 00:39:43,200
Speaker 1: of the style. And now we've got really great camera

652
00:39:43,239 --> 00:39:46,280
Speaker 1: operators and um, I don't do that so much anymore.

653
00:39:47,160 --> 00:39:50,759
Speaker 1: They did the camera operators, Uh, share your lineage and

654
00:39:50,800 --> 00:39:54,360
Speaker 1: come from reality TV or no? Yeah, yeah yeah. The

655
00:39:54,760 --> 00:39:59,200
Speaker 1: camera operators on on Avid Elementary all come from reality

656
00:39:59,200 --> 00:40:05,000
Speaker 1: television and documentaries. Wow. I think it proves really good skills.

657
00:40:05,719 --> 00:40:08,240
Speaker 1: Why was it the best choice in terms of style

658
00:40:08,440 --> 00:40:11,960
Speaker 1: for this show? I think what I liked about it

659
00:40:12,040 --> 00:40:14,400
Speaker 1: is what I like about documentaries is you have this

660
00:40:14,560 --> 00:40:20,839
Speaker 1: veneer of people being very earnest and very real at

661
00:40:20,920 --> 00:40:24,520
Speaker 1: times when they don't think they're being observed, you know,

662
00:40:24,600 --> 00:40:27,200
Speaker 1: So those long lens shots of like Pam and Jim,

663
00:40:27,239 --> 00:40:31,200
Speaker 1: and those long lens shots of Gregory and Jeanine, you

664
00:40:31,200 --> 00:40:34,520
Speaker 1: can put this veneer on it that it there's an

665
00:40:34,520 --> 00:40:38,120
Speaker 1: air of authenticity that I think comes through you when

666
00:40:38,120 --> 00:40:41,160
Speaker 1: you back up on the backup away from the characters

667
00:40:41,440 --> 00:40:44,400
Speaker 1: and zoom into the lens. So I think what I

668
00:40:44,440 --> 00:40:47,359
Speaker 1: like about the mocumentaries. I love the notion that you're

669
00:40:47,400 --> 00:40:50,840
Speaker 1: catching these people when they don't know they're being watched,

670
00:40:51,560 --> 00:40:54,000
Speaker 1: or if they know they are being watched, how they

671
00:40:54,160 --> 00:40:57,279
Speaker 1: interact like when you catch Steve saying something that, oh,

672
00:40:57,400 --> 00:40:59,800
Speaker 1: I know, I just said something that's not entirely great,

673
00:41:00,360 --> 00:41:03,480
Speaker 1: there's something really fun about that. There's another layer of it. Yeah,

674
00:41:03,520 --> 00:41:06,160
Speaker 1: there's there's just another layer of comedy and another layer

675
00:41:06,200 --> 00:41:09,640
Speaker 1: of of heart you can find. I think by making

676
00:41:09,640 --> 00:41:12,680
Speaker 1: it a mocumentary, you talked about wanting to show the

677
00:41:12,719 --> 00:41:17,960
Speaker 1: teachers as as being heroes. Using this style, does this

678
00:41:18,120 --> 00:41:21,600
Speaker 1: help you accomplish that goal in a way or get

679
00:41:21,640 --> 00:41:24,359
Speaker 1: to know the characters more. I think it helps you

680
00:41:24,360 --> 00:41:27,440
Speaker 1: find them when they're being selfless in a real, honest

681
00:41:27,480 --> 00:41:30,840
Speaker 1: way and seeing them do the right thing. Even Ava

682
00:41:30,920 --> 00:41:34,080
Speaker 1: Ava's going to grow it like this much each season,

683
00:41:34,600 --> 00:41:37,560
Speaker 1: you know, because she's still all about self. But when

684
00:41:37,560 --> 00:41:40,400
Speaker 1: you see those real moments that they're playing so real

685
00:41:41,120 --> 00:41:43,799
Speaker 1: because of this veneer that you put on it, it's

686
00:41:43,800 --> 00:41:47,200
Speaker 1: just rich. It just it just hits you as a viewer.

687
00:41:47,400 --> 00:41:50,120
Speaker 1: I agree. I really like. I actually I really like

688
00:41:50,200 --> 00:41:53,640
Speaker 1: when you activate a viewer and you make them to

689
00:41:53,760 --> 00:41:56,759
Speaker 1: trying to look around a corner. Yes, I remember doing

690
00:41:56,920 --> 00:42:00,200
Speaker 1: on Fargo that I was doing these dolly pushes that

691
00:42:00,560 --> 00:42:06,840
Speaker 1: the dolly grip some slower, even slower, annoyingly slow, like

692
00:42:06,960 --> 00:42:11,200
Speaker 1: annoyingly slow, and there you're agitating the viewer. You're you're

693
00:42:11,239 --> 00:42:14,960
Speaker 1: poking at them, You're getting them kissed off, or you

694
00:42:14,960 --> 00:42:18,560
Speaker 1: know whatever. It is apprehension. You know, it's an interesting thing,

695
00:42:18,600 --> 00:42:21,320
Speaker 1: and I think that a mockumentary has the ability to

696
00:42:21,680 --> 00:42:25,320
Speaker 1: really make the viewer a participant rather than a passenger.

697
00:42:25,920 --> 00:42:29,359
Speaker 1: Do you feel like, like on the Office, are the

698
00:42:29,400 --> 00:42:33,600
Speaker 1: cameras in Abbot elementary? Are they? Are they characters? Do

699
00:42:33,680 --> 00:42:37,440
Speaker 1: they have a perspective? Yeah? I think so. I think

700
00:42:37,480 --> 00:42:41,359
Speaker 1: certain actors have different relationships and thretained cameras. Yeah, like

701
00:42:41,440 --> 00:42:43,919
Speaker 1: Tyler James Williams. He talks about that that there's one

702
00:42:43,960 --> 00:42:48,640
Speaker 1: camera operator, Jeremiah, who catches him all the time. It's

703
00:42:48,719 --> 00:42:51,799
Speaker 1: like and I look up, there he is, there, he is.

704
00:42:52,400 --> 00:42:55,640
Speaker 1: Our camera operators are really great, um friend and Jeremiah

705
00:42:55,719 --> 00:42:59,040
Speaker 1: and Drew really good camera operators. And I think they're

706
00:42:59,080 --> 00:43:02,000
Speaker 1: all looking for something all the time. In your first

707
00:43:02,000 --> 00:43:04,160
Speaker 1: meeting with Greg Daniels on the Office, you talked about

708
00:43:04,160 --> 00:43:08,520
Speaker 1: the office being the tofu hot dog, the good food

709
00:43:08,680 --> 00:43:10,920
Speaker 1: wrapped like junk food. Do you think that applies to

710
00:43:10,960 --> 00:43:15,120
Speaker 1: Abbot as well? Yeah? I suppose it does, you know,

711
00:43:15,680 --> 00:43:19,319
Speaker 1: but I wanted I wanted Abbot to look. I mean,

712
00:43:19,400 --> 00:43:22,440
Speaker 1: you know, the office had its a look that people

713
00:43:22,480 --> 00:43:25,920
Speaker 1: came there from nine to five, punch the clock. The

714
00:43:25,960 --> 00:43:28,040
Speaker 1: only one who really wanted to stay or you know,

715
00:43:28,400 --> 00:43:32,560
Speaker 1: is Michael and Dwight. And that's if you know. Dwight

716
00:43:32,680 --> 00:43:35,840
Speaker 1: wanted to stay longer because more time with Michael. Yeah,

717
00:43:36,080 --> 00:43:37,799
Speaker 1: everybody else is like just punch of the clock, they're

718
00:43:37,800 --> 00:43:40,439
Speaker 1: ready to go home. So it kind of had a

719
00:43:40,520 --> 00:43:45,840
Speaker 1: flatter look you look forward to getting out of Abbot.

720
00:43:45,880 --> 00:43:49,440
Speaker 1: I really wanted it to make these people look like heroes.

721
00:43:50,040 --> 00:43:55,960
Speaker 1: So we certainly lighted a lot prettier and shoot on

722
00:43:56,320 --> 00:44:00,399
Speaker 1: prettier lenses just to make these people look as good

723
00:44:00,400 --> 00:44:05,920
Speaker 1: as they deserve. To any favorite memories so far shooting, Oh,

724
00:44:05,960 --> 00:44:08,719
Speaker 1: I remember, I'm the pilot. We were trying to get

725
00:44:08,800 --> 00:44:12,080
Speaker 1: the kids to be quiet, and this is during COVID, right,

726
00:44:12,440 --> 00:44:15,440
Speaker 1: and they're six years old and seven years old, and

727
00:44:15,719 --> 00:44:17,839
Speaker 1: they've never been Most of them have never been on

728
00:44:17,960 --> 00:44:20,960
Speaker 1: a film set before. None of them had been in

729
00:44:21,080 --> 00:44:25,759
Speaker 1: school for like a year, ye right. None of them

730
00:44:25,760 --> 00:44:28,319
Speaker 1: had been in a room with thirty other six year

731
00:44:28,360 --> 00:44:33,600
Speaker 1: olds in two years. So they were going crazy, rest

732
00:44:33,880 --> 00:44:37,160
Speaker 1: going crazy, and it was It was the greatest. It

733
00:44:37,239 --> 00:44:39,759
Speaker 1: was so cool, and you know we're old trying okay,

734
00:44:39,800 --> 00:44:44,920
Speaker 1: quiet quiet, please quiet please? Yeah, right, yes, seriously quiet quietly,

735
00:44:45,000 --> 00:44:47,480
Speaker 1: got quiet down, and Quinton and I are just trying

736
00:44:47,480 --> 00:44:49,880
Speaker 1: in adies are trying to get me be quiet, and

737
00:44:50,040 --> 00:44:52,239
Speaker 1: Cheryl leave. Ralph walks in the room and she says,

738
00:44:52,840 --> 00:44:56,839
Speaker 1: good morning, class. My name is Cheryl Lee. I am

739
00:44:56,920 --> 00:45:00,239
Speaker 1: your teacher today. What do we do when I say yet,

740
00:45:01,239 --> 00:45:05,359
Speaker 1: we'd be quiet? We did really good casting here. This

741
00:45:05,440 --> 00:45:10,040
Speaker 1: is great. We're gonna be hit. Quin and I were like,

742
00:45:10,080 --> 00:45:15,800
Speaker 1: oh my god, you well you apparently you guys didn't

743
00:45:15,800 --> 00:45:18,319
Speaker 1: get the memo like the hardest things to work with

744
00:45:18,440 --> 00:45:22,399
Speaker 1: or what animals and children? How is that still? They?

745
00:45:22,600 --> 00:45:26,000
Speaker 1: I mean, talk about the challenges of that on a

746
00:45:26,080 --> 00:45:28,840
Speaker 1: day to day basis, On a day to day basis,

747
00:45:28,880 --> 00:45:33,000
Speaker 1: they make everybody smile. There you go. They make everything

748
00:45:33,080 --> 00:45:38,120
Speaker 1: harder and everything better every day. It's so cool. Add

749
00:45:38,200 --> 00:45:41,919
Speaker 1: kids do it and everything gets real, real, real. One

750
00:45:42,080 --> 00:45:45,279
Speaker 1: there's you know, they have a they pumpkin, you know,

751
00:45:45,680 --> 00:45:48,800
Speaker 1: sit there quietly at you know, act like you're coloring,

752
00:45:49,040 --> 00:45:51,839
Speaker 1: but don't make any sounds. You know. Oh, you can

753
00:45:51,840 --> 00:45:54,640
Speaker 1: only use one one pen. One pen color because we

754
00:45:54,680 --> 00:45:56,560
Speaker 1: hear your pen go down, you pick up another one,

755
00:45:57,160 --> 00:45:59,600
Speaker 1: or we hear you move in your chair. So there's

756
00:45:59,600 --> 00:46:01,719
Speaker 1: a really used by day, you know, used by day

757
00:46:01,760 --> 00:46:05,480
Speaker 1: with the kids is that they're gonna get bored and

758
00:46:05,520 --> 00:46:08,719
Speaker 1: therefore we all need to do our work and we

759
00:46:08,760 --> 00:46:10,719
Speaker 1: need to have it together. We need to have a plan.

760
00:46:11,280 --> 00:46:14,160
Speaker 1: So the actors are very aware of that. They see

761
00:46:14,239 --> 00:46:19,000
Speaker 1: them turn and getting bored and restless. And exactly these

762
00:46:19,040 --> 00:46:24,320
Speaker 1: actors are. They act like their teachers, and they they

763
00:46:24,360 --> 00:46:27,600
Speaker 1: they embody their teachers to get what we need out

764
00:46:27,640 --> 00:46:30,280
Speaker 1: of the kids. Out of the kids are the greatest.

765
00:46:30,520 --> 00:46:32,040
Speaker 1: You know. There was a little boy in the pilot,

766
00:46:32,520 --> 00:46:35,560
Speaker 1: this boy named Abraham whom Janine's telling him to turn

767
00:46:35,600 --> 00:46:38,760
Speaker 1: around and be quiet, and then starts counting to three

768
00:46:38,960 --> 00:46:42,560
Speaker 1: and he just does this. He just did that on

769
00:46:42,600 --> 00:46:46,080
Speaker 1: his own. He just did that on his own. So okay,

770
00:46:46,120 --> 00:46:51,480
Speaker 1: I'm not ignoring you, ignoring you. And he's um and

771
00:46:51,520 --> 00:46:54,120
Speaker 1: he's been he's been in the show so much in

772
00:46:54,160 --> 00:46:56,719
Speaker 1: the background. We've used him for stuff that because he's

773
00:46:56,760 --> 00:46:59,440
Speaker 1: really smart, he's gonna do great work. We've given him lines.

774
00:46:59,760 --> 00:47:03,880
Speaker 1: We given you know, so many kids, so many lines,

775
00:47:04,160 --> 00:47:07,600
Speaker 1: and when they get their chance. Oh they're so you know,

776
00:47:07,640 --> 00:47:10,120
Speaker 1: I remember Abraham came up to me, you know, in

777
00:47:10,160 --> 00:47:14,439
Speaker 1: the first season he says, so, mister Randall, sir, is there,

778
00:47:14,760 --> 00:47:17,680
Speaker 1: how what can I do to prove myself that I

779
00:47:17,840 --> 00:47:20,960
Speaker 1: deserve a line? I can handle a lot. I'm like, dude,

780
00:47:20,960 --> 00:47:22,960
Speaker 1: You've already done it. I'm just waiting for the moment

781
00:47:23,000 --> 00:47:26,839
Speaker 1: to give you a line. And now we're giving just

782
00:47:26,880 --> 00:47:29,279
Speaker 1: finding these kids that you know, they focus on you

783
00:47:29,320 --> 00:47:31,440
Speaker 1: and they make eye contact even even though you have

784
00:47:31,480 --> 00:47:35,040
Speaker 1: a mask on, and they you could see them paying attention.

785
00:47:35,600 --> 00:47:39,359
Speaker 1: And we're giving all these cool kids these really cool opportunities.

786
00:47:39,400 --> 00:47:42,799
Speaker 1: I think it's really fun. That's awesome. It's really cool.

787
00:47:43,120 --> 00:47:47,240
Speaker 1: Speaking of awesome, a few weeks ago, the show Abbott

788
00:47:47,280 --> 00:47:51,200
Speaker 1: Elementary basically it sweeps the Golden Globes. Can you talk

789
00:47:51,239 --> 00:47:54,719
Speaker 1: about this? How did that feels? I mean, it's really cool.

790
00:47:54,719 --> 00:47:58,000
Speaker 1: I mean feeling the love that we're getting is incredible.

791
00:47:58,120 --> 00:48:01,120
Speaker 1: And you know, it's funny because I look into the

792
00:48:01,200 --> 00:48:04,360
Speaker 1: other shows that we're competing against, and they're not twenty

793
00:48:04,360 --> 00:48:08,480
Speaker 1: one minute thirty second shows. They're they're twenty eight minutes,

794
00:48:08,520 --> 00:48:11,640
Speaker 1: they're twenty two minutes. They're thirty one minutes, they're sixteen

795
00:48:11,640 --> 00:48:14,560
Speaker 1: minutes whatever a show needs to be, right. What I'm

796
00:48:14,600 --> 00:48:16,840
Speaker 1: so proud of is that we're making we're making this

797
00:48:16,920 --> 00:48:21,120
Speaker 1: show under the constraints of network television, which I don't

798
00:48:21,160 --> 00:48:26,680
Speaker 1: think has been done successfully like this in quite some time. Again. Um,

799
00:48:27,239 --> 00:48:29,719
Speaker 1: so that that I find very rewarding and being you know,

800
00:48:29,840 --> 00:48:35,839
Speaker 1: competing against you know, Barry and the Bear. You read

801
00:48:36,480 --> 00:48:39,920
Speaker 1: you're listening to who our actors are up against, and

802
00:48:39,960 --> 00:48:42,840
Speaker 1: they're they're they're all sitting there at the table just like,

803
00:48:43,160 --> 00:48:46,680
Speaker 1: oh my god, I'll look against blah blah. It's it's

804
00:48:46,760 --> 00:48:50,080
Speaker 1: it's crazy, it's really cool. It's so nice to feel

805
00:48:50,080 --> 00:48:52,359
Speaker 1: the love. It's I think that the reason the show

806
00:48:52,440 --> 00:48:56,600
Speaker 1: has such such such success is it resonates with everybody

807
00:48:56,600 --> 00:49:00,480
Speaker 1: because everybody's had a teacher, everybody's had this really relationship,

808
00:49:00,560 --> 00:49:06,120
Speaker 1: you know, and Quinta has put together a really cool show,

809
00:49:06,239 --> 00:49:09,040
Speaker 1: Like we've been here together since the beginning, and she's

810
00:49:09,760 --> 00:49:14,440
Speaker 1: incredible and just an incredible leader. She knows everybody's name

811
00:49:14,480 --> 00:49:17,359
Speaker 1: on set. She's a great leader and a really good

812
00:49:17,400 --> 00:49:20,919
Speaker 1: human being. So that's awesome. Yeah, it's good to see

813
00:49:20,960 --> 00:49:24,759
Speaker 1: those people rewarded. Yeah, and you know it is you

814
00:49:24,840 --> 00:49:27,880
Speaker 1: bring up a great point about network television. It is

815
00:49:27,920 --> 00:49:32,839
Speaker 1: so has becomes so rare because the constraints are real.

816
00:49:33,200 --> 00:49:36,200
Speaker 1: It forces you into a very specific type of form,

817
00:49:36,719 --> 00:49:40,240
Speaker 1: a type of storytelling, given the time constraints and how

818
00:49:41,000 --> 00:49:45,439
Speaker 1: the acts have to be structured for commercial Where. How

819
00:49:45,440 --> 00:49:49,400
Speaker 1: do you feel like Abbot Elementary can help future network

820
00:49:49,440 --> 00:49:53,239
Speaker 1: television shows and how do you think it and where

821
00:49:53,239 --> 00:49:55,759
Speaker 1: do you see network television going? Why do you keep

822
00:49:55,800 --> 00:49:58,680
Speaker 1: working on them? I mean, you know what I like

823
00:49:58,800 --> 00:50:03,480
Speaker 1: about it being on network television is like some of

824
00:50:03,480 --> 00:50:06,279
Speaker 1: the subject matter that we're dealing with can go to

825
00:50:06,400 --> 00:50:12,040
Speaker 1: every home in America, whatever political, you know, socioeconomic type

826
00:50:12,040 --> 00:50:14,840
Speaker 1: of house. That is. We're talking about things that I

827
00:50:14,880 --> 00:50:17,919
Speaker 1: think are are important, and I think it's really fun.

828
00:50:18,080 --> 00:50:20,880
Speaker 1: It's really fun to push the boundaries like that. I

829
00:50:20,960 --> 00:50:22,760
Speaker 1: did another show called The Mick. I did the pilot

830
00:50:22,800 --> 00:50:25,120
Speaker 1: for the show called The Mick YEP and it was

831
00:50:25,160 --> 00:50:28,880
Speaker 1: like the show could have been on streaming or cable,

832
00:50:29,600 --> 00:50:32,319
Speaker 1: but I really enjoyed the fact that it's it's on

833
00:50:32,640 --> 00:50:35,239
Speaker 1: network and it's really fun to see what you can

834
00:50:35,239 --> 00:50:38,840
Speaker 1: get away with, Yeah, by pushing those boundaries. And what

835
00:50:38,920 --> 00:50:42,200
Speaker 1: I also like is it's it's reaching a lot of people.

836
00:50:42,760 --> 00:50:47,160
Speaker 1: That's an awesome answer, because I think with the decentralization,

837
00:50:47,520 --> 00:50:49,520
Speaker 1: if you will, if that's the way to say it,

838
00:50:49,560 --> 00:50:52,839
Speaker 1: with all the streaming services, it's true, there's a lot

839
00:50:52,880 --> 00:50:57,960
Speaker 1: of amazing work and you can see things now being

840
00:50:58,000 --> 00:51:01,799
Speaker 1: done that you couldn't before. That's a good thing. But

841
00:51:01,840 --> 00:51:05,200
Speaker 1: it's also a good thing to have the challenge of

842
00:51:05,280 --> 00:51:10,960
Speaker 1: making a show that attempts to be more universal, or

843
00:51:11,000 --> 00:51:14,560
Speaker 1: at least, you know, attempts to appeal to a universality

844
00:51:14,640 --> 00:51:18,759
Speaker 1: and not a niche market. I think that's that's really

845
00:51:18,800 --> 00:51:22,839
Speaker 1: well said. Good for you, thank you, Yeah, good luck

846
00:51:22,880 --> 00:51:28,160
Speaker 1: on the pilot. I'm sure it'll be a freaking gangbuster,

847
00:51:28,719 --> 00:51:34,520
Speaker 1: huge success. Like seemingly everything you touch you look amazing.

848
00:51:35,239 --> 00:51:40,960
Speaker 1: I love your face, and uh, it's so good to

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00:51:41,080 --> 00:51:43,920
Speaker 1: catch up. Let's open a bottle of wine. Oh I

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00:51:44,000 --> 00:51:47,040
Speaker 1: love that. Let's open a bottle of wine. So I

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00:51:47,080 --> 00:51:50,560
Speaker 1: got I go. I go away in three weeks time

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00:51:50,680 --> 00:51:53,279
Speaker 1: the Grand Canyon. So I'm prepping for three weeks. I

853
00:51:53,400 --> 00:51:56,360
Speaker 1: go away for three weeks while the rest of the

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00:51:56,400 --> 00:51:59,360
Speaker 1: pilot preps. I get off the river. On the twenty

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00:51:59,360 --> 00:52:03,160
Speaker 1: seventh table, read on the twenty eight, start shooting two

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00:52:03,200 --> 00:52:06,680
Speaker 1: days after that, so it's gonna be busy. You'll be

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00:52:06,760 --> 00:52:10,359
Speaker 1: rested and relax. I'll be rested. Well, let's let's let's

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00:52:10,360 --> 00:52:12,239
Speaker 1: open a bottle of line when I get back. I'm

859
00:52:12,280 --> 00:52:15,080
Speaker 1: so happy for you. Thank you so much, my pleasure.

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00:52:15,239 --> 00:52:30,520
Speaker 1: Good to see you, brother, You too, Randall. Oh man,

861
00:52:30,600 --> 00:52:34,080
Speaker 1: this was so special. It is so amazing to see

862
00:52:34,080 --> 00:52:37,960
Speaker 1: you again and hear all about Abbott. You know what

863
00:52:37,960 --> 00:52:41,600
Speaker 1: I'm gonna do. Someday, I'm gonna make my own documentary

864
00:52:41,680 --> 00:52:45,319
Speaker 1: about your life, but I'm probably gonna need you to

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00:52:45,360 --> 00:52:49,640
Speaker 1: shoot it anyway. Listeners, thank you for being here. I

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00:52:49,680 --> 00:52:52,719
Speaker 1: hope you enjoyed this week's Off the Beat strike that

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00:52:52,880 --> 00:52:56,839
Speaker 1: I know you did. How could you not, because I

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00:52:56,840 --> 00:52:59,879
Speaker 1: I really did. Make sure you tune in next week

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00:53:00,040 --> 00:53:03,479
Speaker 1: and leave a comment on our Instagram page at Off

870
00:53:03,520 --> 00:53:07,160
Speaker 1: the Beat if you would, or go to Apple Podcasts.

871
00:53:07,560 --> 00:53:12,120
Speaker 1: I can't tell you how helpful that is. Also, let

872
00:53:12,160 --> 00:53:16,040
Speaker 1: us know who you want to see on the podcast.

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00:53:16,400 --> 00:53:25,920
Speaker 1: We'll see you next week. Off the Beat is hosted

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00:53:25,960 --> 00:53:30,400
Speaker 1: an executive produced by me Brian Baumgartner, alongside our executive

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00:53:30,440 --> 00:53:34,520
Speaker 1: producer Lang Lee. Our senior producer is Diego Tapia. Our

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00:53:34,560 --> 00:53:38,480
Speaker 1: producers are Liz Hayes, Hannah Harris, and Emily Carr. Our

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00:53:38,520 --> 00:53:42,600
Speaker 1: talent producer is Ryan Papa Zachary and our intern is

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00:53:42,640 --> 00:53:46,879
Speaker 1: Sammy Katz. Our theme song Bubble and Squeak, performed by

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00:53:47,200 --> 00:54:04,320
Speaker 1: the one and only Creed Brett,