WEBVTT - Brian Wittle 0:00:01.440 --> 0:00:04.480 Look for your children's eyes and you will discover the 0:00:04.600 --> 0:00:08.239 true magic of a forest. Find a forest near you 0:00:08.480 --> 0:00:11.920 and start exploring it. Discover the forest dot Org. Brought 0:00:11.960 --> 0:00:14.120 to you by the United States Forest Service and the 0:00:14.160 --> 0:00:17.960 AD Council. Hey, it's de Lieper. I'm here to tell 0:00:18.000 --> 0:00:20.800 you about my brand new podcast, Relief at Your Service. 0:00:21.120 --> 0:00:23.720 I'll be sitting down with the world's most inspiring minds 0:00:23.760 --> 0:00:26.120 to uncover what makes them tick and what they've learned 0:00:26.160 --> 0:00:28.880 from the obstacles life has thrown at them, including Sir 0:00:28.960 --> 0:00:32.440 Elton John. After a lot of upsets, a lot of disappointments, 0:00:32.440 --> 0:00:34.640 a lot of betrayals, It's turned out to be the 0:00:34.680 --> 0:00:37.879 most wonderful life right now that I've could ever imagined. 0:00:38.360 --> 0:00:40.720 Listen to do Relief at Your Service on the I 0:00:40.840 --> 0:00:46.400 Heart Radio app, Apple Podcasts, or wherever you get your podcasts. Hello, 0:00:46.479 --> 0:00:50.280 this is Christina Hutchinson and Karin Fisher. We're thrilled to 0:00:50.320 --> 0:00:53.360 announce that our show, Guys with the Anti flut Shaming 0:00:53.400 --> 0:00:57.400 Podcast is returning to wide release. That's right, every Friday, 0:00:57.400 --> 0:00:59.440 we talked to one of our favorite comedians or an 0:00:59.480 --> 0:01:02.640 expert in the field of sexuality, love and relationships to 0:01:02.720 --> 0:01:05.240 hear what all the fos are about. Subscribe now and 0:01:05.360 --> 0:01:09.320 listen to the Luminary Original podcast. Guys, we've starting January 0:01:09.880 --> 0:01:13.360 one on the I Heart Radio app, Apple Podcasts or 0:01:13.480 --> 0:01:22.280 wherever you get your podcasts. My name is Brian Whittle, 0:01:22.360 --> 0:01:25.720 and I was the boom operator and sometimes sound mixer 0:01:25.840 --> 0:01:37.120 and one time actor on the Office. Well, hello everybody, 0:01:37.160 --> 0:01:40.840 and thank you for joining us once again here at 0:01:41.120 --> 0:01:44.440 the Office Deep Dive. As always, I am your host, 0:01:44.920 --> 0:01:48.640 Brian Baumgartner. This week's guest. This is this is cool, 0:01:48.920 --> 0:01:52.080 okay one, He's the greatest, all right. In fact, he 0:01:52.160 --> 0:01:55.320 is so great that the writers on the Office actually 0:01:55.480 --> 0:01:58.640 named a character after him. Do you remember the boom 0:01:58.640 --> 0:02:01.960 operator in season Mine, that guy, the one who almost 0:02:02.040 --> 0:02:06.080 broke up Jim and Pam. Yep, that's our guy. Well, 0:02:06.520 --> 0:02:11.040 that's our guy's name. Today's guest is Brian Whittle. Now, 0:02:11.200 --> 0:02:14.760 to be fair, although the real Brian was also the 0:02:14.760 --> 0:02:19.240 boom operator for the Office, he did anything but cause 0:02:19.360 --> 0:02:22.839 any workplace drama. No, Brian is a gym and he's 0:02:22.880 --> 0:02:24.960 known as one of the best in the business. He 0:02:25.040 --> 0:02:29.079 did an impossible thing for many. He mastered the art 0:02:29.360 --> 0:02:34.680 of mockumentary sound dealing with the long takes on the office, 0:02:34.919 --> 0:02:40.720 dodging crazy camera angles, and he participated in the many 0:02:40.760 --> 0:02:45.680 sound on sound off debates on set. Now Boom operators 0:02:45.720 --> 0:02:48.640 are known for their ability to soak up all of 0:02:48.680 --> 0:02:54.760 the stories. Remember they're hearing everything, you guys. Brian is 0:02:54.960 --> 0:02:57.600 not one to disappoint Today he is here to talk 0:02:57.639 --> 0:03:02.680 about the art of leaning in to imperfection, Steve Correll's 0:03:02.720 --> 0:03:08.600 Silent Airport goodbye, and well, of course, his notorious namesake 0:03:09.080 --> 0:03:12.760 on the show, Bryan Whittle. This really is a special one. 0:03:13.080 --> 0:03:16.440 I won't keep you waiting as our residents sound guy. 0:03:16.480 --> 0:03:19.760 Brian has done enough of that over the years, so 0:03:19.840 --> 0:03:24.480 please give a warm welcome to the incredible Brian Whittle. 0:03:28.480 --> 0:03:36.000 Bubble and Squeak. I love Bubble and Squeak on Bubble 0:03:36.040 --> 0:03:39.880 and Squeaker cook at every month lift over from the 0:03:40.040 --> 0:03:59.640 night before? Hello, check, check check? How do I sound? Five? Four? 0:04:00.040 --> 0:04:03.680 Read to one? He sounds great and exactly the same 0:04:03.720 --> 0:04:09.440 as always, Brian. How are you good? Good? How are 0:04:09.480 --> 0:04:12.280 you doing? Brian? Oh my gosh, it's so good to 0:04:12.320 --> 0:04:15.400 see you. We spent a lot of time in type 0:04:15.480 --> 0:04:20.200 quarters together. We really really did. How's everybody you're surviving. 0:04:20.480 --> 0:04:24.680 You're good healthy, Yeah, yeah, I'm doing really well. My 0:04:24.800 --> 0:04:27.120 kids they're right down the hall. They promised to be 0:04:27.200 --> 0:04:34.720 quiet to understand the importance of South. Yeah, definitely. So 0:04:35.200 --> 0:04:38.040 things are going well, things really well. I'm so happy 0:04:38.080 --> 0:04:41.120 to talk to you. There's well. I mean, there was 0:04:41.760 --> 0:04:45.719 eventually a very important character on the Office named after you. 0:04:45.760 --> 0:04:48.719 We'll talk about that. How did you get into sound? 0:04:49.080 --> 0:04:53.440 What was your journey for for getting into sound? My 0:04:53.520 --> 0:04:57.440 journey for getting into sound was basically, well, I moved 0:04:57.440 --> 0:04:59.400 here with the idea that I think that a lot 0:04:59.400 --> 0:05:02.560 of people think that they're gonna be Steven Spielberg. But 0:05:02.680 --> 0:05:05.640 I was a little too irresponsible to follow that path, 0:05:06.560 --> 0:05:10.279 so I uh so I ended up doing sound, which 0:05:10.320 --> 0:05:14.480 was actually still really awesome. And basically I came here. 0:05:14.520 --> 0:05:16.279 I had a friend named Jeff Haley, who is now 0:05:16.360 --> 0:05:19.680 a very famous steady cam operator, who was doing sound. 0:05:19.760 --> 0:05:21.920 The person I actually grew up with back in Pennsylvania, 0:05:22.120 --> 0:05:24.280 and he was doing sound, so he helped me get 0:05:24.320 --> 0:05:28.240 into it. I got on this movie called Ed with 0:05:28.440 --> 0:05:32.840 Matt le Blanc from Friends and back in the mid nineties, 0:05:32.960 --> 0:05:35.640 and that movie was a non union movie that then 0:05:35.760 --> 0:05:38.279 struck and turned union and so I got very lucky. 0:05:38.720 --> 0:05:41.400 I got in the Union right away. Uh. And then 0:05:41.440 --> 0:05:45.400 shortly after that, I met Ben Patrick, who was Jeff's friend. 0:05:46.080 --> 0:05:48.200 He was just starting out to doing sound, but he 0:05:48.279 --> 0:05:51.839 was already a mixer, and he, uh, we did. We 0:05:51.839 --> 0:05:55.120 did a bunch of really low budget, really horrible, awful, 0:05:55.320 --> 0:05:58.719 hundred dollar a day, you know, crap movies for a 0:05:58.760 --> 0:06:01.159 couple of years. But I was already in the Union, 0:06:01.600 --> 0:06:04.800 and I just didn't know anybody, uh in the age 0:06:05.279 --> 0:06:07.119 back then there was still a lot of non union 0:06:07.160 --> 0:06:10.640 movies you could do. Nowadays, that isn't the case anymore. 0:06:11.240 --> 0:06:13.880 But you know, I just made phone calls and met 0:06:13.920 --> 0:06:17.200 more people, and uh eventually met a guy named Forest 0:06:17.200 --> 0:06:20.080 Williams who was doing a lot of spelling projects, and 0:06:20.120 --> 0:06:22.359 so I got on those and I basically did spelling 0:06:22.400 --> 0:06:26.560 shows Melrose Place nine O two and oh oh, not 0:06:26.720 --> 0:06:34.760 spelling bees. I didn't. Just that guy, Yeah, yeah, just him. 0:06:35.279 --> 0:06:38.359 And I did a bunch of his shows until about 0:06:38.400 --> 0:06:40.839 until basically up until I got on the office, you know. 0:06:40.880 --> 0:06:43.120 And then from then on I was like, okay, half 0:06:43.120 --> 0:06:46.200 hour comedy, it's the way to go. Did Ben Patrick 0:06:46.320 --> 0:06:49.320 bring you onto the office? He did? He did and 0:06:49.440 --> 0:06:52.320 uh not until the very beginning of the third season. 0:06:53.000 --> 0:06:56.480 He tried to during the second season. But during the 0:06:56.520 --> 0:06:58.919 second season, and you probably remember this, they didn't have 0:06:58.960 --> 0:07:02.039 a full order for the whole show. They would say, like, 0:07:02.279 --> 0:07:04.800 what we're gonna do two episodes? Oh we got three more, 0:07:04.839 --> 0:07:07.800 Oh we got two more. And he kept kept calling me. 0:07:07.800 --> 0:07:09.960 He's like, come over, come over, come over, because they 0:07:10.040 --> 0:07:12.960 kept the boom operators kept quitting on the Office. This 0:07:13.080 --> 0:07:15.760 was so hard, you know, because you would do like 0:07:15.880 --> 0:07:19.880 forty and fifty minute takes. That's a long time to 0:07:19.920 --> 0:07:22.440 put your arms up you or to be crammed in 0:07:22.440 --> 0:07:25.080 a corner, or to be you know, hiding under something 0:07:25.160 --> 0:07:27.480 or you know, contorting your body in these weird positions. 0:07:28.160 --> 0:07:29.760 But they just didn't have a fore order. But then 0:07:29.880 --> 0:07:32.240 when the third season came around, they had a fo order. 0:07:32.320 --> 0:07:35.360 They gave me a great offer. And The Office at 0:07:35.360 --> 0:07:38.280 the time was my favorite show. So to get a 0:07:38.360 --> 0:07:41.040 call to go work on your favorite show for a 0:07:41.120 --> 0:07:44.080 full season for a really good raid, I was like, hell, yeah, 0:07:44.200 --> 0:07:47.160 I'm on my way. So you were a fan of 0:07:47.160 --> 0:07:49.560 the show, watched the first I watched it before I 0:07:49.560 --> 0:07:52.120 worked on it. Yeah, So him calling you were like, 0:07:52.360 --> 0:07:54.600 let's go. So what was it like showing up there 0:07:54.800 --> 0:07:57.120 then for the first time on a show that you're 0:07:57.120 --> 0:07:59.280 a fan of, and it sounds like you have done 0:07:59.360 --> 0:08:02.200 mostly drawing muz stuff before. You don't want to cross 0:08:02.200 --> 0:08:06.760 spelling drama. Yeah, so nighttime so gas, which we're pouring 0:08:06.800 --> 0:08:11.559 as hell. Yeah yeah, yeah. That was my main bread 0:08:11.560 --> 0:08:14.240 and butter up until then, which was still fun, but 0:08:14.400 --> 0:08:16.560 this I knew it was going to be way more fun. 0:08:16.640 --> 0:08:18.360 And also it was with Ben, who was one of 0:08:18.400 --> 0:08:21.840 my closest friends, right, so yeah, I remember, right, I 0:08:22.200 --> 0:08:25.640 was very excited and uh it was gay. Witch Hunt 0:08:25.920 --> 0:08:29.040 was the first episode of season three, which to this 0:08:29.160 --> 0:08:33.920 day is probably my favorite episode, and it was incredible, 0:08:33.920 --> 0:08:35.160 you know, because you get to see It's like when 0:08:35.160 --> 0:08:36.960 you watch a show and you're a fan of it 0:08:37.000 --> 0:08:38.640 and then you go visit the set and you see 0:08:38.640 --> 0:08:41.280 the set and you see that that line, you know, 0:08:41.360 --> 0:08:44.319 between your experience of just being a fan and now 0:08:44.360 --> 0:08:47.120 suddenly you're like, you know, behind the curtain and seeing 0:08:47.120 --> 0:08:49.920 how it all gets put together. So it was great 0:08:50.120 --> 0:08:53.040 and uh, I was ecstatic to be there. So you 0:08:53.559 --> 0:08:55.840 you were hired at the beginning of season three, did 0:08:55.840 --> 0:09:00.720 you note anything right, away about the set and how 0:09:00.800 --> 0:09:04.000 your job might be a little more challenging on this 0:09:04.080 --> 0:09:06.920 show than something before. No, I mean, the only thing 0:09:06.920 --> 0:09:09.440 I thought would be more challenging is just the way 0:09:09.480 --> 0:09:12.480 it was shot, you know, two handheld cameras and just 0:09:12.720 --> 0:09:15.640 with constant resetting of each scene that we're doing. We 0:09:15.800 --> 0:09:19.640 run through it, reset, run through it, reset. And if 0:09:19.640 --> 0:09:22.559 you remember, we shot on tape, you know, we had 0:09:22.600 --> 0:09:24.520 these Sony nine hundreds where you actually put like a 0:09:24.600 --> 0:09:28.160 videotape inside the thing, and I believe they were fifty 0:09:28.200 --> 0:09:32.000 four minutes long. So that was probably the scariest thing 0:09:32.000 --> 0:09:33.719 to me, was like, oh my god, we might roll 0:09:33.800 --> 0:09:37.160 for fifty four minutes. You know. It was like no 0:09:37.240 --> 0:09:41.000 longer on the sixth boom Operator in two seasons. So 0:09:41.480 --> 0:09:43.200 I was like, I hope I can do this now, 0:09:43.200 --> 0:09:47.280 do you? Did you have to do anything like work out? 0:09:47.679 --> 0:09:50.520 Kind of? Yeah? I started like, do made doing more 0:09:50.559 --> 0:09:53.000 with push ups and going to the gym, which I 0:09:53.120 --> 0:09:55.319 already did, but I just, you know, kind of did 0:09:55.320 --> 0:09:57.920 it more. And I never thought of like my job 0:09:57.960 --> 0:09:59.480 as being something I had to keep in shape for 0:10:00.679 --> 0:10:03.240 until I got to the office, you know. But the 0:10:03.280 --> 0:10:06.640 thing was, it was so much fun that you just 0:10:06.720 --> 0:10:11.880 didn't feel the pain until afterwards, you know, right, So 0:10:11.960 --> 0:10:16.960 to tell people your job as the boom operator, talk 0:10:17.040 --> 0:10:19.520 people through what that would mean like we're in the 0:10:19.559 --> 0:10:24.840 conference room physically, what described what what that would be like. 0:10:24.960 --> 0:10:29.240 The conference room is a unique situation which I'm sure 0:10:29.320 --> 0:10:33.840 everyone you've talked to so far has attested to. But basically, 0:10:34.120 --> 0:10:36.760 when Nick would be there too, Nick Carbone, who was 0:10:36.840 --> 0:10:39.360 the other boom operator and the person who put everybody's 0:10:39.360 --> 0:10:43.160 mics on, so he would generally get whoever seated, you know, 0:10:43.240 --> 0:10:45.160 So we'd both be back on the right side wall, 0:10:45.720 --> 0:10:48.000 and I would usually be in I'd be in the 0:10:48.000 --> 0:10:49.760 middle of the room along one of the windows, and 0:10:49.760 --> 0:10:52.480 I'd be reaching out for Steve usually or whoever was 0:10:52.520 --> 0:10:56.040 addressing the crowd, and I'd usually get him. And then 0:10:56.080 --> 0:10:59.319 whoever sat towards the front, which was usually Dwight, he 0:10:59.400 --> 0:11:02.400 sat over by the door kind of right, and whoever 0:11:02.400 --> 0:11:04.160 else would coming out of the door. So I would 0:11:04.160 --> 0:11:06.480 be reaching out and getting all those people, and then 0:11:06.559 --> 0:11:08.800 Nick would be back at the other other side. But 0:11:08.840 --> 0:11:11.760 I have to cram against the wall. Yeah, so he's 0:11:11.800 --> 0:11:15.320 showing me. So he's got both hands above his head. 0:11:15.600 --> 0:11:19.920 He is holding this mike, which is is not particularly heavy. 0:11:20.240 --> 0:11:22.920 It's made to try to be as light as possible. 0:11:23.679 --> 0:11:29.440 But most shows you how about I don't know, forty 0:11:29.480 --> 0:11:33.840 five minutes of lighting set up and then you shoot 0:11:33.920 --> 0:11:37.400 for about ten minutes. And we always joked that our 0:11:37.400 --> 0:11:40.040 show was the reverse, right. It would set up for 0:11:40.080 --> 0:11:43.560 ten minutes, try not to make the lighting all that beautiful, 0:11:43.720 --> 0:11:46.800 and then we would shoot for forty five minutes. So you, 0:11:47.120 --> 0:11:50.079 over the course of the day are I don't know, 0:11:50.679 --> 0:11:54.480 twelve to fourteen times doing thirty to forty five minute 0:11:54.559 --> 0:11:59.040 runs with both of your hands above your head. Yeah, 0:11:59.360 --> 0:12:03.600 it was really challenging, to say the least. Um, what 0:12:03.679 --> 0:12:07.120 a lot of people have talked about is how confined 0:12:07.320 --> 0:12:11.960 the space is much more confined than a normal show. Obviously, 0:12:12.120 --> 0:12:14.000 on a lot of shows their walls that you can 0:12:14.040 --> 0:12:19.199 move from our initial pilot show, which was a room 0:12:19.280 --> 0:12:22.679 that could not be moved because it was actually production officers. 0:12:23.440 --> 0:12:26.240 It was a real room. When we moved to the 0:12:26.280 --> 0:12:30.480 sound stage, it was completely reconstructed exactly the same way, 0:12:30.679 --> 0:12:35.400 except I think Greg allowed like eighteen inches in the 0:12:35.400 --> 0:12:39.240 conference room. It was like eighteen inches wide for someone 0:12:39.280 --> 0:12:43.480 to stand after the side camera or yeah, but we 0:12:43.480 --> 0:12:47.600 were all in there in a very small space, especially 0:12:47.640 --> 0:12:51.960 when we had fourteen sixteen cast members or whatever in 0:12:52.000 --> 0:12:56.920 the room, the two of you, two cameras, I mean, 0:12:57.520 --> 0:13:01.520 very very confined space. Yeah, that's actually in that room. 0:13:01.640 --> 0:13:03.600 Or if we had say a lot of people in 0:13:03.679 --> 0:13:06.920 Steve's office for example, you know, that would be even 0:13:06.920 --> 0:13:10.480 more confined. Or back in like a corner of the annex, 0:13:10.760 --> 0:13:15.040 or in the break room where sometimes I would have 0:13:15.160 --> 0:13:17.960 to lay up on top of those vending machines that 0:13:18.000 --> 0:13:20.439 are in it. Oh, that's right there. Scenes where I 0:13:20.480 --> 0:13:23.320 would lay up there and boom from up there from 0:13:23.360 --> 0:13:25.360 just laying on my side on like a ferny pad 0:13:25.480 --> 0:13:27.040 or something. Or I would at least be tucked in 0:13:27.040 --> 0:13:29.640 the corner standing on an apple box with that and 0:13:29.679 --> 0:13:32.680 it's full extension and I can't have no weight behind 0:13:32.720 --> 0:13:35.480 me to leverage or anything. So it's really you know, 0:13:35.520 --> 0:13:38.120 it's like tipping you over. Yeah. The other thing that 0:13:38.200 --> 0:13:41.360 it's become kind of my go to joke on set, 0:13:41.920 --> 0:13:47.440 the camera takes forever to get set, the lighting and 0:13:47.480 --> 0:13:51.160 anytime there's a lighting adjustment or like a camera adjustment, 0:13:51.360 --> 0:13:56.920 it's totally okay, it's totally appropriate everybody stops respectfully and 0:13:57.000 --> 0:14:02.200 they do their word. When something happens with sound to 0:14:02.240 --> 0:14:05.080 the end of the world, it's like, immediately everyone gets 0:14:05.240 --> 0:14:12.840 so angry. Yeah right, like if you, oh, look, we 0:14:12.880 --> 0:14:16.400 need to make an adjustment on Steve's top, Everyone's like, 0:14:17.280 --> 0:14:22.760 oh yeah, I know. I don't know where that came 0:14:22.840 --> 0:14:25.080 from or why it is that way, but it is 0:14:25.120 --> 0:14:29.920 that way. It's universal every set. It's universal across all 0:14:30.000 --> 0:14:33.560 shows of all time. How does that make you feel? 0:14:34.120 --> 0:14:36.720 Is it aggravating? Oh yeah, it used to make me mad, 0:14:36.880 --> 0:14:38.360 you know, and used to make me, i don't know, 0:14:38.520 --> 0:14:40.280 hurt my feelings or whatever. And I'm like, hey, this 0:14:40.320 --> 0:14:43.160 is just as important as ever. We can't shoot unless 0:14:43.200 --> 0:14:47.320 we do this, so it's it's it's important. But nowadays 0:14:47.400 --> 0:14:49.560 it's just it's just funny, you know. And you know, 0:14:49.560 --> 0:14:51.280 I've been doing this a long time, and so you 0:14:51.360 --> 0:14:53.640 just tell them, hey, look we gotta fix it. Do 0:14:53.640 --> 0:14:56.640 you want do you want the sound or not? You know? 0:14:57.720 --> 0:15:01.120 Well that as you know, that has become my joke. 0:15:01.280 --> 0:15:04.640 Now it's set, which I just try to exaggerate it 0:15:04.680 --> 0:15:08.800 because it makes me laugh. I'll just go waiting on sound, 0:15:09.320 --> 0:15:12.320 waiting on sound. Everybody remember when we used to say, uh, 0:15:12.640 --> 0:15:18.640 you're getting carboned because of Nick, because you would have 0:15:18.640 --> 0:15:20.800 to come in and fix the people's mics, and we'd 0:15:20.800 --> 0:15:24.960 be like, oh, we're getting carboned. Yes, we're getting carbone 0:15:25.400 --> 0:15:28.240 and yeah. He always made him very nervous. He did 0:15:28.280 --> 0:15:39.040 not like that particular aspect of the job. It's a 0:15:39.080 --> 0:15:42.640 hard time for hiring, so you need a hiring partner 0:15:42.840 --> 0:15:47.600 built for hard times. That's Indeed. If you're hiring, you 0:15:47.640 --> 0:15:50.680 need Indeed because Indeed is the hiring partner where you 0:15:50.720 --> 0:15:54.440 can attract, interview, and hire all in one place. 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Now I'm 0:17:26.960 --> 0:17:30.200 on a mission to expose the truth of the entire industry. 0:17:30.800 --> 0:17:35.000 In this weekly investigative podcast, me and my host Rebecca 0:17:35.040 --> 0:17:39.400 Mellinger and Caroline Cole, We'll examine one infamous team treatment 0:17:39.440 --> 0:17:45.320 facility each season. First up, Provo Canyon School. This one 0:17:45.440 --> 0:17:48.679 is personal. When you first get there, you have to 0:17:48.760 --> 0:17:57.280 experience girls screaming lock dot, peeing themselves in the hallway, 0:17:57.359 --> 0:18:04.400 sleeping and you're like, where am I, Holy hack? This 0:18:04.480 --> 0:18:09.320 is not what I expected. Listen to Trapped and treatment 0:18:09.440 --> 0:18:13.000 on the I Heart Radio app, Apple podcast or wherever 0:18:13.119 --> 0:18:18.080 you get your podcast. M Hi, I'm Elizabeth Dutton and 0:18:18.160 --> 0:18:21.600 I'm Elizabeth Dutton. Wait sorry, do you want to say 0:18:21.600 --> 0:18:23.359 your name? No, I'm good. Good, go ahead. We're the 0:18:23.359 --> 0:18:27.240 hosts of Ridiculous Crime. People love true crime, right, the mystery, 0:18:27.400 --> 0:18:30.640 the intrigue, the human frailty totally. But what a lot 0:18:30.680 --> 0:18:32.720 of us don't like is the blood and the guts 0:18:32.720 --> 0:18:34.639 and the mayhem. Wait wait, wait, wait, some of us 0:18:34.680 --> 0:18:37.480 do like the mayhem. Okay, but let's be real, there's 0:18:37.520 --> 0:18:40.679 nothing funny about murder. Okay, that's our show gives you 0:18:40.680 --> 0:18:43.919 stories like the kidnapping of Frank Sinatra Jr. And the 0:18:43.920 --> 0:18:47.680 Max Headrooms signal hijacking. Oh so you mean ridiculous stories 0:18:47.720 --> 0:18:52.160 like the UK cat Shaver and Pablo Escobars cocaine hippos. Yeah, 0:18:52.280 --> 0:18:55.199 stories like the dudes who stole Buzzy the animatronic whatever 0:18:55.200 --> 0:18:57.560 he was from Disney World and the woman whose husband 0:18:57.560 --> 0:18:59.200 tried to kill her but came back from the dead 0:18:59.240 --> 0:19:01.840 and surprised him at her own funeral. Yeah. That does 0:19:01.880 --> 0:19:05.000 sound good. You can find this new podcast, Ridiculous Crime, 0:19:05.280 --> 0:19:07.800 all over the place, the I Heart Radio app, the 0:19:07.840 --> 0:19:10.680 Apple podcast, or wherever you get your podcast. I don't 0:19:10.720 --> 0:19:25.800 know how you live Ridiculous Crime. I mean, in terms 0:19:25.840 --> 0:19:28.280 of the working environment, being a fan of the show 0:19:28.359 --> 0:19:31.720 coming on, did you have any other impressions of I 0:19:31.760 --> 0:19:34.120 don't know, other people that you were working with, greg 0:19:34.280 --> 0:19:38.040 Or or the cast specifically. Oh, yeah, Well, I mean 0:19:38.040 --> 0:19:40.600 there's a lot of things that were awesome about working 0:19:40.640 --> 0:19:43.119 on that show. And I mean it's hard to honestly 0:19:43.119 --> 0:19:45.480 talk about that show without getting emotional because it was 0:19:45.560 --> 0:19:51.160 such a incredible, just amazing experience. And I think one 0:19:51.359 --> 0:19:54.200 real big thing is that everybody who worked there was 0:19:54.240 --> 0:19:57.280 a fan of the show. Everybody who was there love 0:19:57.320 --> 0:19:59.640 to the show and cheered and rooted for the show 0:19:59.680 --> 0:20:03.120 and to be successful. And we all looked forward to Thursday, 0:20:03.600 --> 0:20:05.440 you know, at eight o'clock. That's when it was on, right, 0:20:05.480 --> 0:20:08.320 eight o'clock back then when you watch TV, when it 0:20:08.359 --> 0:20:10.960 was on, you know, everybody looked forward to it being on. 0:20:11.080 --> 0:20:15.800 And I can remember that website office tally right. Yeah, 0:20:15.880 --> 0:20:18.720 So on Thursday nights at like five o'clock, it's eight 0:20:18.720 --> 0:20:20.960 o'clock back East, but we were all on set and 0:20:21.000 --> 0:20:23.159 we would all start checking our phones and going on 0:20:23.160 --> 0:20:26.359 because all those computers in the bullpen were real and 0:20:26.440 --> 0:20:28.480 you could go online, go to office tally and start 0:20:28.520 --> 0:20:30.880 seeing the comments from all the fans from all over 0:20:30.920 --> 0:20:34.160 the country. That was exciting, you know, to be part 0:20:34.160 --> 0:20:38.240 of something that that many people loved and and cheered for, 0:20:39.080 --> 0:20:42.040 you know, so that I've never experienced anything like that 0:20:42.240 --> 0:20:45.280 on a show before, you know, where everybody there loved it, 0:20:45.280 --> 0:20:47.920 because usually half the crew hates it and half the 0:20:47.960 --> 0:20:50.199 crew is like, I'm gonna be here, it sucks. How 0:20:50.200 --> 0:20:52.280 long are we going to be here? I never felt 0:20:52.280 --> 0:20:55.160 like that on the office ever, no matter how long 0:20:55.200 --> 0:20:57.520 the day was, no matter if even if we were 0:20:57.560 --> 0:20:59.760 remember towards the end, we were working on like Saturdays, 0:20:59.800 --> 0:21:02.879 and I think we worked on a Sunday and I 0:21:02.880 --> 0:21:06.440 didn't care. It was so much fun that it just 0:21:06.720 --> 0:21:09.040 you know, I didn't It didn't bother me at all. Yeah, 0:21:09.080 --> 0:21:13.080 I think that is. I don't think you can overstate 0:21:13.240 --> 0:21:18.159 enough how special and also unique that was, because you know, 0:21:18.920 --> 0:21:21.359 I say the same thing and people always sort of 0:21:21.440 --> 0:21:24.119 laugh when I say I'm a fan of the show, 0:21:24.240 --> 0:21:26.920 Like it regardless of me or my role or any 0:21:26.960 --> 0:21:30.760 of that. I shoot plenty of stuff that I don't 0:21:30.760 --> 0:21:34.800 ever watch, and it's not because it's bad or because 0:21:34.840 --> 0:21:39.240 I don't support it, or it's just I always feels 0:21:39.320 --> 0:21:42.080 like weird to go back and watch because there's nothing 0:21:42.119 --> 0:21:45.399 I can do. The Office was different because just I 0:21:45.480 --> 0:21:48.359 was a fan of the show. It wasn't like, you know, 0:21:48.400 --> 0:21:50.239 even though I was there from the beginning, I just 0:21:50.480 --> 0:21:54.520 I just love the show. And having the crew also 0:21:55.600 --> 0:22:00.159 believe so strongly in what we were doing, Um, I 0:22:00.160 --> 0:22:03.600 think made a huge difference. Yeah, no, totally, it does. 0:22:03.760 --> 0:22:06.600 It makes a huge difference. And I think a lot 0:22:06.600 --> 0:22:09.119 of that came from Greg, because you know, Greg really 0:22:09.200 --> 0:22:13.200 embraced the crew and really appreciated them and saw them 0:22:13.200 --> 0:22:16.159 as a humongous part. I mean he let people go 0:22:16.240 --> 0:22:18.800 to the table read. You know, I remember going to 0:22:18.800 --> 0:22:21.960 the table reads and then be packed. And prior to that, 0:22:22.040 --> 0:22:24.600 the table read was like a secret meeting that no 0:22:24.600 --> 0:22:27.359 one was allowed to know about and and or talk about. 0:22:27.440 --> 0:22:30.120 It was like treated like it was this big secret. 0:22:31.119 --> 0:22:33.840 But on the Office everybody went. You know, if you 0:22:33.840 --> 0:22:35.560 could fit in the room, you could go. He would 0:22:35.640 --> 0:22:38.600 even let whoever is there. You read this part, and 0:22:38.600 --> 0:22:40.199 you read this little part, you'd be that, like the 0:22:40.240 --> 0:22:43.560 little day player parts that hadn't been assigned yet to anybody. 0:22:43.680 --> 0:22:46.920 And I understand why he wanted an audience for the 0:22:47.200 --> 0:22:50.040 have the script read an audience outside of just the 0:22:50.040 --> 0:22:52.639 writers that wrote it and the actors. You want to 0:22:52.680 --> 0:22:55.480 gauge like how many laughs you get, And that's really 0:22:55.520 --> 0:22:59.360 smart in terms of getting feedback for the initial script. 0:22:59.760 --> 0:23:02.840 It also makes the crew feel like a bigger part 0:23:02.960 --> 0:23:06.639 of the show that I got to watch the evolution 0:23:06.720 --> 0:23:09.480 of an episode from the table read to watching it 0:23:09.520 --> 0:23:12.720 on TV, and I never had that experience before. Yeah, 0:23:12.840 --> 0:23:15.000 no one has brought that up, but I think that's 0:23:15.000 --> 0:23:19.400 a really good point. I think that there's a there's 0:23:19.440 --> 0:23:23.679 a preciousness that we did not have on that show. 0:23:23.840 --> 0:23:26.520 So what I mean by that is I think that 0:23:26.960 --> 0:23:30.720 show runners bosses are trying to protect writers and if 0:23:31.160 --> 0:23:34.720 if something doesn't quite work, they want to let them 0:23:34.760 --> 0:23:38.439 work that out almost in private or in as you know, 0:23:38.600 --> 0:23:42.439 ass to private as possible with people reading it. And 0:23:42.480 --> 0:23:45.880 in that aspect it becomes way more presentational in a way, 0:23:45.920 --> 0:23:50.800 even even the delivery of an episode becomes much more presentational. 0:23:50.880 --> 0:23:54.600 As opposed to collaborative. And I feel like what you're 0:23:54.600 --> 0:23:57.720 saying is really true. No one's talked about that, but yeah, 0:23:57.760 --> 0:24:01.240