WEBVTT - Chris Haston 0:00:00.120 --> 0:00:02.280 O gave us the over attention. We need everything you've 0:00:02.320 --> 0:00:06.120 got fast. Waiting on Reparations would be the podcast. Tune 0:00:06.120 --> 0:00:09.239 in every Thursday, Politics and wordplay. We fight for the 0:00:09.240 --> 0:00:11.520 people because they got us in the worst way, from 0:00:11.520 --> 0:00:15.040 the Hill Cooper, the Bomb Bay, from the Left en 0:00:15.080 --> 0:00:18.520 Clave to what the neo Kane Every Thursday the Headie 0:00:18.560 --> 0:00:20.759 Conversation and to break us off with some break because 0:00:20.760 --> 0:00:24.920 we wait in the Rea. Listen to Waiting on Reparations 0:00:24.920 --> 0:00:27.800 on the I Heart Radio app, Apple Podcasts or wherever 0:00:27.840 --> 0:00:32.280 you get your podcast. On the latest season of The 0:00:32.360 --> 0:00:36.160 Next Question with Katie Correct podcast, Katie dives into Well 0:00:36.640 --> 0:00:40.760 Katie Here, exclusive podcast only conversations between Katie and the 0:00:40.800 --> 0:00:44.080 people who made her memoir Going There Possible. Katie is 0:00:44.080 --> 0:00:48.839 a pack rad and she has basically her own archive 0:00:48.920 --> 0:00:52.839 of sorts in her basements. Plus, Katie explores some of 0:00:52.840 --> 0:00:55.680 the big news stories she's covered over the decades and 0:00:55.800 --> 0:00:58.760 the people behind them, like Anita Hill. I thought I 0:00:58.800 --> 0:01:02.280 could just get back to my and that was impossible. 0:01:02.640 --> 0:01:05.319 It was not going to be the same. There's plenty 0:01:05.360 --> 0:01:09.520 of Katie's signature curiosity and no holds barred interviews, along 0:01:09.560 --> 0:01:12.320 with some of her own revealing answers. We spent a 0:01:12.400 --> 0:01:15.920 lot of time together around a dining room table here 0:01:15.920 --> 0:01:19.360 and in the city, and you know, it was a 0:01:19.520 --> 0:01:23.560 very intense experience. All episodes of Next Question with Katie 0:01:23.600 --> 0:01:26.680 Curic are available now. Listen on the I Heart Radio app, 0:01:26.760 --> 0:01:32.760 Apple Podcasts, or wherever you get your podcasts. From Cavalry Audio, 0:01:33.200 --> 0:01:35.800 the studio that brought you The Devil Within and The 0:01:35.840 --> 0:01:40.559 Shadow Girls, comes a new true crime podcast, The Pink 0:01:40.640 --> 0:01:44.200 Moon Murders. The local sheriff believes there may be more 0:01:44.319 --> 0:01:46.520 than one killery. They were afraid just face it out 0:01:46.520 --> 0:01:49.080 in that area. The family was targeted, most of them 0:01:49.120 --> 0:01:52.160 targeted while they were sleeping. The Pink Moon Murders is 0:01:52.200 --> 0:01:54.840 available on February twenty second, and you can follow The 0:01:54.840 --> 0:01:58.040 Pink Moon Murders on the I Heart Radio app, Apple Podcasts, 0:01:58.200 --> 0:02:06.360 or wherever you get you a podcast. M My name 0:02:06.400 --> 0:02:09.600 is Chris Hasten and I'm an NBC staff photographer and 0:02:09.639 --> 0:02:13.480 I was the key photographer on the Office and a 0:02:13.639 --> 0:02:26.840 man of Kate Flannery. Hello Office family, Hi everyone, welcome 0:02:27.360 --> 0:02:31.480 to another episode of the Office Deep Dive. I am 0:02:31.520 --> 0:02:35.640 your host, Brian Baumgartner. Today I have a very special 0:02:35.680 --> 0:02:39.920 guest joining me. He was an essential part of the 0:02:40.000 --> 0:02:43.960 crew of the Office, and in many ways he has 0:02:44.000 --> 0:02:48.720 actually helped shape our memories from the show. He's the 0:02:48.800 --> 0:02:53.079 reason that we have so many incredible behind the scene 0:02:53.160 --> 0:02:57.200 photos from our time on set because he was our 0:02:57.320 --> 0:03:05.040 extremely talented and absolutely hilarious NBC staff photographer. That's right, 0:03:05.360 --> 0:03:12.079 we're bringing on the incomparable Chris Hasten. Now what, why 0:03:12.120 --> 0:03:17.760 are you talking to the NBC staff photographer. That doesn't 0:03:17.800 --> 0:03:22.239 make sense. Well, Chris was that, but he also has 0:03:22.320 --> 0:03:26.880 become a part of our family. Yes, that's right. He 0:03:26.960 --> 0:03:31.960 became the main man of Kate Flannery a ka Meredith Palmer, 0:03:32.040 --> 0:03:35.600 who actually makes a cameo at the top of this 0:03:35.640 --> 0:03:40.640 episode today. Gosh, I love these two. Everyone in the 0:03:40.720 --> 0:03:46.680 Office community loves these two. Now, in addition to the Office, Chris, 0:03:47.040 --> 0:03:52.720 having worked for NBC since, has worked on some other 0:03:52.760 --> 0:03:56.360 shows you may have heard of maybe, Okay, you've definitely 0:03:56.360 --> 0:03:59.880 heard of them. The TV he's touched is almost unreal, 0:04:00.360 --> 0:04:05.960 you know, like Friends, Seinfeld, Fresh, Prince of bel Air, Community, 0:04:06.280 --> 0:04:10.280 The Tonight Show with Johnny Carson. He has done it all, 0:04:10.840 --> 0:04:15.480 but only one show really changed his life because I 0:04:15.520 --> 0:04:22.000 mean romantically right. Um. I will tell you also that 0:04:22.560 --> 0:04:27.520 Chris also played a huge role in my upcoming book 0:04:28.160 --> 0:04:32.640 that's right. Welcome to dunder Mifflin is coming out November. 0:04:34.360 --> 0:04:38.840 You can preorder it on Amazon right now, So go 0:04:38.960 --> 0:04:42.200 grab yourself a copy, Grab one for your friends, grab 0:04:42.240 --> 0:04:45.919 one for your family. Get ready to be blown away. 0:04:46.080 --> 0:04:48.680 I cannot wait for you guys to read it. And 0:04:48.800 --> 0:04:53.360 Chris offered so many behind the scenes photos that are 0:04:53.400 --> 0:04:56.640 included in this book, so I'm so excited to talk 0:04:56.680 --> 0:05:02.279 to him about those moments. But now get ready to focus. 0:05:03.720 --> 0:05:08.120 Get it like, focus the camera. We're focusing. Well, we're 0:05:08.120 --> 0:05:12.240 focusing on the man behind the camera. Please give a 0:05:12.279 --> 0:05:21.240 warm welcome to the amazing Chris Hasten. Everybody. Bubble and Squeak. 0:05:22.560 --> 0:05:28.800 I love it. Bubble and squeak, Bubble and Squeaker, cooking 0:05:28.839 --> 0:05:42.640 at every month, left over from the night before. What 0:05:43.200 --> 0:05:48.200 is happening? What's up, daddyo? How are you? I'm great man, 0:05:48.279 --> 0:05:51.560 good to see you. Where is your mustache? Oh? I 0:05:51.600 --> 0:05:54.039 haven't had that since COVID. Man, it just got too 0:05:54.040 --> 0:05:55.800 hot and sweaty. If you know what I'm saying. That's 0:05:55.800 --> 0:05:59.160 what she said, But no, I shaved it off just 0:05:59.200 --> 0:06:02.080 because wearing a maut call the time was impossible. Right, 0:06:02.520 --> 0:06:06.000 Oh that's smart. Kate. Would you get out of my 0:06:06.000 --> 0:06:08.000 eye line please? I've always wanted to say that to 0:06:08.040 --> 0:06:10.440 an actor. Get the hell out of my eyeline. Is 0:06:10.520 --> 0:06:13.920 Kate there? Ate there? Right now? Kate, Kate, come here? 0:06:13.960 --> 0:06:16.480 She is there. This is her Mike, this is this 0:06:16.560 --> 0:06:20.440 is where she does her How are you, Kate? What 0:06:20.720 --> 0:06:24.320 is happening? I'm talking to your man, I know, I 0:06:24.360 --> 0:06:26.080 love it. I can barely hear you on the headphones. 0:06:26.600 --> 0:06:29.720 Oh that's okay. It looks like it looks like a 0:06:30.880 --> 0:06:33.840 Broadway show curtain behind you. I mean this is a 0:06:33.920 --> 0:06:36.440 man every night just for him, an audience of one. 0:06:39.080 --> 0:06:40.599 All right, can I get on? Can I get on? 0:06:41.760 --> 0:06:44.120 Are you guys going to talk? I love you too. 0:06:45.720 --> 0:06:53.159 We're being recorded, don't worry. Alright, alright there, Well there's 0:06:53.200 --> 0:06:56.839 a comedy portion of the interview right. Oh, it only 0:06:56.880 --> 0:07:00.880 begins there. It's so good to see. So you're well, 0:07:01.000 --> 0:07:06.040 everybody's okay, yes, yes, absolutely fine? All right, So I 0:07:06.080 --> 0:07:08.680 want to go I want to go backwards in time 0:07:08.839 --> 0:07:13.320 a little bit. How did you get into photography? Well, 0:07:13.360 --> 0:07:16.080 as a kid, you know, you always hear those stories. Oh, 0:07:16.120 --> 0:07:18.480 when I was nine or eleven years old. You know, 0:07:18.560 --> 0:07:20.640 when I was nine, somebody put a camera in my 0:07:20.720 --> 0:07:24.280 hand and I fell in love with it. And when 0:07:24.600 --> 0:07:26.920 you know, all the kids in the neighborhood. I'm from 0:07:26.960 --> 0:07:31.280 southern California, so skateboarding and surfing was it. So when 0:07:31.280 --> 0:07:34.560 everyone else is skateboarding half pipes and pools, I was 0:07:34.640 --> 0:07:38.200 taking photos of everybody, of everybody doing half pipes and 0:07:38.240 --> 0:07:41.680 pool Okay, exactly. So we're still best friends. So you know, 0:07:41.800 --> 0:07:45.120 we we always have our war stories, and mine has 0:07:45.160 --> 0:07:48.640 to do with photography. But it just yeah, I just 0:07:48.800 --> 0:07:52.160 I just started landing jobs here and they're working really 0:07:52.160 --> 0:07:54.600 hard to get into places. And I was going to 0:07:54.680 --> 0:07:58.400 school at the time in Torrance, and UM started working 0:07:58.600 --> 0:08:01.840 for an age to see shooting auto racing. That's my 0:08:01.880 --> 0:08:05.600 first professional gig, shooting auto racing. We shot off road 0:08:05.680 --> 0:08:09.320 racing and eventually road racing, and yeah, it was great. 0:08:09.360 --> 0:08:12.680 I'm self taught. So they had a studio there, which 0:08:12.680 --> 0:08:14.200 is the main reason I wanted to work there, and 0:08:14.200 --> 0:08:17.160 then I taught myself lighting. It's funny, about a year 0:08:17.240 --> 0:08:20.280 before I started at NBC, which, by the way, I 0:08:20.320 --> 0:08:22.800 did this waiting for NBC to open up. Somebody goes, 0:08:22.840 --> 0:08:25.520 do you ever think of shooting people? I go, no way, man, 0:08:26.200 --> 0:08:29.280 I said, people get up and walk out on photo shoots. 0:08:29.280 --> 0:08:31.040 There's no way I'm ever going to shoot people. A 0:08:31.120 --> 0:08:35.520 year later, I'm shooting some of the worst subjects. No, 0:08:35.520 --> 0:08:38.360 no offense, but you know, no, I mean none taken. 0:08:38.440 --> 0:08:40.640 That was the early days. But wait a second. You 0:08:40.679 --> 0:08:44.360 were self taught. I've taught myself lighting. I've taught myself 0:08:44.400 --> 0:08:47.600 about exposure. I've taught myself, you know. I mean, I 0:08:47.679 --> 0:08:50.720 had one year of college that that's all I needed. 0:08:51.160 --> 0:08:53.000 But I went to a small Christian school, so they 0:08:53.040 --> 0:08:56.720 offered nothing. I shot for the newspaper and the yearbook, 0:08:56.800 --> 0:08:59.040 which they were awful. I looked back on that stuff 0:08:59.080 --> 0:09:02.280 and go find O then what I know now you know? 0:09:03.760 --> 0:09:06.000 But yeah, it was just it's it's a learning thing 0:09:06.280 --> 0:09:08.640 all the way. And um, you know, I've been at 0:09:08.760 --> 0:09:11.199 NBC for a really, really long time and now I'm 0:09:11.200 --> 0:09:14.520 the head guy. Now you're it, okay, But before that, 0:09:14.600 --> 0:09:18.240 you're shooting off road racing. So you're shooting cars off 0:09:18.320 --> 0:09:21.520 the road in the desert. We pre run for two 0:09:21.600 --> 0:09:24.839 days and find our spots and then we'd either camp there, 0:09:24.880 --> 0:09:27.280 somebody would drop us off, and then the race would start, 0:09:27.320 --> 0:09:30.600 and you pretty much kind of new, Okay, well there's 0:09:30.600 --> 0:09:32.720 a hundred cars and I've seen about ninety five of 0:09:32.720 --> 0:09:34.360 them on I'm getting the heck out of here. And 0:09:34.440 --> 0:09:37.440 it was dangerous because we were down in Mexico. You know, 0:09:37.559 --> 0:09:40.960 you pull over machine guns in your face and you 0:09:41.080 --> 0:09:43.360 either have a bunch of photos. We had a lot 0:09:43.400 --> 0:09:46.720 of racer photos all the time, or my my boss 0:09:46.720 --> 0:09:50.160 would go get Playboy magazines at garage sales. And it's 0:09:50.240 --> 0:09:52.959 amazing how far you can get with the federal ally 0:09:53.040 --> 0:09:55.560 with a machine gun in your face and a Playboy magazine. 0:09:55.679 --> 0:09:59.800 Isn't that great? It's sounds like the federalities are there 0:09:59.880 --> 0:10:05.360 right now. Actually, um so yourself taught as a photographer 0:10:05.440 --> 0:10:08.200 and then you're shooting off road and then you find 0:10:08.240 --> 0:10:12.640 out about a job at NBC. This is no In 0:10:12.720 --> 0:10:16.320 nineteen eighty I found out, okay, okay, first of all 0:10:16.480 --> 0:10:18.839 my senior high school, I'm like, wait a minute, somebody 0:10:18.880 --> 0:10:22.439 gets paid to take pictures in the movies. And then 0:10:22.520 --> 0:10:25.360 I really freaked out. And then I ended up meeting 0:10:25.360 --> 0:10:28.000 a guy, went to and went to NBC and Burbank 0:10:28.559 --> 0:10:31.440 and it was the Johnny Carson stage and Billy Crystal 0:10:31.480 --> 0:10:34.040 was doing a pilot It's back when he did You 0:10:34.160 --> 0:10:37.960 Look Marvelous. It was the beginning of that. And I 0:10:38.000 --> 0:10:39.400 was there with a girl and she goes, hey, I 0:10:39.480 --> 0:10:41.120 know that guy down there, and it happened to be 0:10:41.160 --> 0:10:43.120 a friend of her mom's and she knew that he 0:10:43.160 --> 0:10:46.600 worked there. I never knew it, and uh, she slipped 0:10:46.640 --> 0:10:49.120 him a note and he invented invited us down. We 0:10:49.160 --> 0:10:51.800 went into the lab, which was my office for twenty 0:10:51.840 --> 0:10:54.880 five years, and I'm I immediately hit him up and 0:10:54.920 --> 0:10:57.920 he's like, you know. After three months, he's like, don't 0:10:57.920 --> 0:11:00.960 ever call me again. And I bugged him every year 0:11:02.000 --> 0:11:03.800 just I knew something. I knew it was going to happen. 0:11:03.840 --> 0:11:06.880 And it was NBC the whole time, because that was it, 0:11:07.240 --> 0:11:11.800 you know, NBC was the network. And finally, after five 0:11:11.880 --> 0:11:14.240 years they called and said, you're still interested. And I 0:11:14.400 --> 0:11:17.560 went in as a lab guy, wiping everybody's nose and 0:11:17.640 --> 0:11:20.959 taking out their trash. And again I go in there 0:11:20.960 --> 0:11:23.800 and I learned how they do it big time. And 0:11:23.880 --> 0:11:27.080 what's funny about it is no photographer on staff would 0:11:27.080 --> 0:11:30.920 tell me stay out of an actress, Eyeline, don't hit 0:11:30.960 --> 0:11:34.600 on the actresses, don't don't do this, don't do that. 0:11:34.720 --> 0:11:36.280 And I just went and I got to say it, 0:11:36.320 --> 0:11:38.560 and I was a nervous wreck, but I never showed it. 0:11:38.640 --> 0:11:40.840 And you know, I've worked on some of the biggest 0:11:40.840 --> 0:11:44.440 shows in history. Right, what was the first show that 0:11:44.480 --> 0:11:47.240 you worked on out of the lab, like when they 0:11:47.320 --> 0:11:51.160 let you go on set? Well, Punky Brewster, the original 0:11:51.160 --> 0:11:54.480 Punky Brewster was done on our lot and nobody and 0:11:54.760 --> 0:11:57.200 everyone was bored with a lot of shows, and this 0:11:57.280 --> 0:12:01.079 was a kid show. And I knew that there were 0:12:01.120 --> 0:12:03.360 some old school actors on there, and I thought, man, 0:12:03.400 --> 0:12:05.800 maybe I can handle this, and they said, go, yeah, 0:12:05.840 --> 0:12:07.600 go grab a camera and go. And we used to 0:12:07.640 --> 0:12:10.640 use these gigantic housings that went around a nikon or 0:12:10.640 --> 0:12:14.080 a cannon that sound proved it. I grabbed it and 0:12:14.120 --> 0:12:16.240 I was fumbling and all that. It was only thirty 0:12:16.280 --> 0:12:19.080 six frames, so you have to you get through thirty 0:12:19.080 --> 0:12:21.400 six frames and then you uh, you know, you got 0:12:21.400 --> 0:12:23.760 to switch it out. But anyway, I went down there 0:12:23.800 --> 0:12:26.960 and started doing that, and I'm sure the pictures were awful. Uh. 0:12:27.080 --> 0:12:30.040 And then the second thing. The second thing was like 0:12:30.240 --> 0:12:33.000 instantaneous because they knew I can handle myself. I started 0:12:33.000 --> 0:12:36.240 shooting the Johnny Carson Show. That was a rotation thing, 0:12:36.360 --> 0:12:39.360 so everybody did it, you know, every fourth or fifth week. However, 0:12:39.360 --> 0:12:44.040 many photographers were in that roster for it, and that was, um, 0:12:44.080 --> 0:12:46.760 that was show biz, baby, That's how I re's when 0:12:46.800 --> 0:12:52.600 I got bit wow, yeah Carson Show, right, I mean 0:12:52.720 --> 0:12:55.520 for for comedians at the time, I mean appearing on 0:12:55.600 --> 0:12:59.440 that and you're back there shooting at How amazing was that? 0:13:00.200 --> 0:13:03.920 Just that dude. It's like Stephen Wright would come into 0:13:03.920 --> 0:13:05.760 the green room and I'd be sitting there waiting for 0:13:05.800 --> 0:13:08.160 the show to start, and we never shot Johnny's monologue 0:13:08.200 --> 0:13:12.440 unless it was required or asked by the producers, and 0:13:12.440 --> 0:13:14.640 and like Stephen Wright would be there and like I'd 0:13:14.640 --> 0:13:16.960 be like, hey, man, I mean, it's just like you're 0:13:17.000 --> 0:13:20.600 trying not to like, you know, throw up. And uh. 0:13:20.760 --> 0:13:23.000 I would always you know, with the comedians especially, I 0:13:23.080 --> 0:13:24.760 did it with some of the musicians. But I'm like, hey, 0:13:24.800 --> 0:13:27.000 if you want me to send you some photos, which 0:13:27.080 --> 0:13:28.520 you know, I didn't have the authority to do that 0:13:28.559 --> 0:13:31.560 in the beginning, but once it was really rolling, I 0:13:31.760 --> 0:13:33.920 and you know, you know, I send Stephen Wright some 0:13:34.040 --> 0:13:37.240 photos and Jeff Fox were the God. That guy is 0:13:37.240 --> 0:13:39.920 such a great guy. He saw me recently. He goes, Hey, 0:13:39.920 --> 0:13:41.319 by the way, I don't hang a lot of stuff 0:13:41.320 --> 0:13:43.600 in my house, but there's a black and white that 0:13:43.679 --> 0:13:47.000 you shot of me and Johnny is belly laughing. He goes, 0:13:47.040 --> 0:13:50.080 that hangs right outside my kitchen and it's like my Buddha. 0:13:50.120 --> 0:13:54.160 I touch it every morning. Which, man, that's that's my 0:13:54.240 --> 0:13:57.960 payoff right there. That is awesome. Who was the coolest 0:13:58.000 --> 0:14:00.000 person on the on the Tonight Show that you shot? 0:14:00.440 --> 0:14:05.160 Like for you, dude? I mean god, we go sit 0:14:05.240 --> 0:14:08.760 in the audience durring rehearsals and the Chili Peppers would 0:14:08.800 --> 0:14:11.600 play for like an hour, and Iggy Pop would just 0:14:11.679 --> 0:14:14.439 come this far from your face and just be screaming 0:14:14.480 --> 0:14:17.120 at you l a singing, and they love that stuff 0:14:17.120 --> 0:14:19.280 because we're an audience of like ten people that wanted 0:14:19.320 --> 0:14:22.520 to see them. I don't know, man, it was I 0:14:22.520 --> 0:14:27.160 mean Jimmy Stewart, Uh, you know, I can't even I 0:14:27.640 --> 0:14:31.800 can't even think it was all great. So you shot 0:14:31.920 --> 0:14:37.880 Jimmy Stewart and me, So that's pretty much all I 0:14:37.920 --> 0:14:40.920 really talked about. I mean, that's kind of right. I 0:14:40.920 --> 0:14:45.560 mean that's there's nothing in between those two. Um, in 0:14:45.560 --> 0:14:49.040 addition to the tonight's show. And you mentioned this before NBC, 0:14:49.320 --> 0:14:54.760 was it right? I mean NBC was us. By the way, 0:14:55.240 --> 0:14:57.880 Warren Littlefield and I we were, we were handed hand 0:14:57.880 --> 0:14:59.840 with each other and he calls me his mussy t 0:15:00.000 --> 0:15:03.640 the photographer. Really yeah, because I was there through that 0:15:03.720 --> 0:15:06.760 whole era, and I was a go getter and young 0:15:06.880 --> 0:15:11.160 and willing to just do anything. So Cheers. You shot Cheers. 0:15:11.320 --> 0:15:14.440 I shot the end of Cheers. I was Leno's photographer 0:15:14.480 --> 0:15:16.800 when Carson left for the first five years, and we 0:15:16.920 --> 0:15:18.480 flew to Boston and we were in the Bull and 0:15:18.520 --> 0:15:21.520 Finch the night it went off the air, but Paramount 0:15:21.600 --> 0:15:24.200 sent me upstairs above the Bull and Finch to be 0:15:24.240 --> 0:15:26.800 in a room with the cast while they watched TV. 0:15:26.880 --> 0:15:30.400 And they go, you really shouldn't be there, but try 0:15:30.400 --> 0:15:35.840 and get photos the finale. This was the finale. They 0:15:35.880 --> 0:15:39.640 were watching the finale on TV in a hotel room 0:15:39.680 --> 0:15:42.000 in Boston. It wasn't a big room, and it was 0:15:42.040 --> 0:15:46.680 really dark, and yeah, it was very intimate. I've been 0:15:46.720 --> 0:15:50.160 in some scary places, Brian Well, but that was I 0:15:50.240 --> 0:15:55.160 remember that night after the finale. They did the Tonight 0:15:55.200 --> 0:16:00.760 Show afterward, and so you were with them through I was, Yeah, 0:16:00.760 --> 0:16:02.400 there were a lot of photos I did not take 0:16:02.440 --> 0:16:05.520 that night. In fact, I was with I'm sorry I 0:16:05.520 --> 0:16:08.920 didn't work. I was. I was with the cast all day. 0:16:09.200 --> 0:16:12.760 I was in a limo with Kelsey Grammer doing business 0:16:13.200 --> 0:16:16.760 on his way to the State House. And uh, Kelsey 0:16:16.800 --> 0:16:18.440 wasn't having a good phone call. He was on that 0:16:18.480 --> 0:16:20.880 phone in a limo behind with the cable, you know, 0:16:21.000 --> 0:16:23.600 And and the door opens and he gets out and 0:16:23.720 --> 0:16:26.040 we walked up the steps of the Statehouse for him 0:16:26.120 --> 0:16:29.120 to bang a gavel, And yeah, it was. I was. 0:16:29.840 --> 0:16:32.200 I've been in some places, Brian, and there's some other 0:16:32.200 --> 0:16:36.200 stories will tell when we're not being recorded. I'm sure 0:16:36.560 --> 0:16:39.520 I remember seeing the cast of Cheers that night on 0:16:39.560 --> 0:16:43.440 the Tonight Show, and I don't bombed. Weren't they I 0:16:43.480 --> 0:16:48.800 don't bombed. That's exactly how it appeared. Was drunk appeared 0:16:48.960 --> 0:16:53.120 appeared to me. That is so amazing. And so also, 0:16:53.640 --> 0:16:57.920 you shot Seinfeld, you shot Saved by the Bell Fresh, 0:16:57.920 --> 0:17:01.320 Prince of bel Air, Will and Gray. You've spoken to 0:17:01.360 --> 0:17:03.480 me a lot about friends you were. You were at 0:17:03.560 --> 0:17:07.720 NBC the whole time, friends was on right, I did, Uh, 0:17:08.119 --> 0:17:11.520 Usually I did the pilot gallery. The gallery is there's 0:17:11.560 --> 0:17:13.600 two types of photography. I do as their unit and 0:17:13.680 --> 0:17:16.679 gallery unit is something that you're on a set. You 0:17:16.680 --> 0:17:18.520 shoot images that look like they're coming out of the 0:17:18.520 --> 0:17:22.120 motion picture camera. I take a liberty with that because 0:17:22.160 --> 0:17:25.320 there are sometimes you don't want the camera on a set. 0:17:25.640 --> 0:17:28.359 Could be on the floor shooting this wide room shot, 0:17:28.440 --> 0:17:31.640 but I don't want some actress coming at me, going 0:17:31.760 --> 0:17:34.320 that is a terrible photo of me. So I I 0:17:34.359 --> 0:17:37.480 sort of take the liberty of getting better pictures that way. 0:17:37.480 --> 0:17:39.679 But the gallery stuff is kind of the rock and 0:17:39.760 --> 0:17:44.639 roll stuff. And I have been fortunate to do several 0:17:44.720 --> 0:17:48.800 years of galleries of the biggest shows on NBC Wow. 0:17:49.160 --> 0:17:53.240 And the galleries are kind of pre set up shots 0:17:53.800 --> 0:17:57.640 for those listening that usually happens right before a season starts. 0:17:58.320 --> 0:18:01.240 You'll shoot the cast in various poses that will be 0:18:01.320 --> 0:18:05.840 used for publicity and marketing throughout the year. Right, So 0:18:05.920 --> 0:18:07.840 the covers you see on TV guides, or you're sitting 0:18:07.840 --> 0:18:09.320 at a light and there's a bus next to you, 0:18:09.400 --> 0:18:12.880 that's all the stuff that we do. Yeah, so you 0:18:12.920 --> 0:18:16.479 had I'm skipping ahead quite a bit here, but you 0:18:16.600 --> 0:18:21.320 had one of the most famous at least from our show, 0:18:21.400 --> 0:18:26.320 The Office, that George Sarah painting UM Sunday in the 0:18:26.359 --> 0:18:32.040 park on the isle of French words um, and thought 0:18:32.040 --> 0:18:35.240 it was just a reservoir. Isn't that a French word? Right? 0:18:35.800 --> 0:18:38.880 But you you set up the Office characters as though 0:18:38.960 --> 0:18:41.440 they were in that painting. One you're tell me a 0:18:41.480 --> 0:18:43.920 little bit about about that or your idea behind that. 0:18:45.040 --> 0:18:48.720 One of our top designers at NBC is named Sean Serrio. 0:18:48.920 --> 0:18:52.199 He's an award winning guy. It was his gig and 0:18:52.280 --> 0:18:56.920 he always gets the real cool gigs. So we got 0:18:56.960 --> 0:19:02.040 together and I took the original painting, not the original, 0:19:02.119 --> 0:19:04.640 but you know, I took that image and and sort 0:19:04.640 --> 0:19:06.959 of traced over and I took out a couple of 0:19:06.960 --> 0:19:09.800 people or added a couple of people, and I placed 0:19:09.840 --> 0:19:12.280 everyone where I thought, you know, with Craig Robinson in 0:19:12.320 --> 0:19:16.600 the hat, or Jim and Pam walking in with the umbrella, 0:19:16.720 --> 0:19:18.520 or Kate, you know, with a drink in her hand. 0:19:18.800 --> 0:19:22.600 So we sort of designed all of that. We pretty 0:19:22.680 --> 0:19:26.880 much shot everyone singly except Jim and Pam were there together. 0:19:27.520 --> 0:19:31.800 And that I mean, you guys were amazing because you 0:19:32.040 --> 0:19:34.200 look like you're there with a bunch of people. That's 0:19:34.200 --> 0:19:36.400 the beauty of photography. Man, it's nothing but a big 0:19:36.440 --> 0:19:40.760 fat lie and U production. You can't. Everyone can't just 0:19:40.800 --> 0:19:43.760 stop what they're doing and walk off set. So we did. 0:19:43.880 --> 0:19:45.680 We did everybody one at a time, and I had 0:19:45.680 --> 0:19:47.160 plenty of time with you guys. We had a really 0:19:47.160 --> 0:19:51.880 good time. Yeah, yeah, we did. What was let's exclude 0:19:51.880 --> 0:19:55.440 the office for a second. What was your favorite other show, 0:19:55.640 --> 0:19:58.560 let's say to shoot at NBC. Well, one of the 0:19:58.600 --> 0:20:02.760 most intense, most incredible shoots for me was Homicide Life 0:20:02.800 --> 0:20:05.280 on the Street. I think it was the third season. 0:20:05.680 --> 0:20:09.120 I mean it was like if Breaking Bad was going 0:20:09.200 --> 0:20:10.879 and they asked me to go do that photo shoot. 0:20:11.400 --> 0:20:13.960 It was like that because it was just rich and 0:20:14.400 --> 0:20:19.000 sets in Baltimore were unbelievable, and I knew the show 0:20:19.040 --> 0:20:21.760 inside and out. And that's another thing too, is I 0:20:21.800 --> 0:20:24.800 really like to know what I'm doing going in. Sometimes 0:20:24.840 --> 0:20:28.120 I don't pilot. You just don't know. But this one 0:20:28.160 --> 0:20:30.680 I knew. I knew the Box was a sacred place 0:20:30.760 --> 0:20:33.080 and that the bad, the worst people in Baltimore were 0:20:33.119 --> 0:20:35.560 inside the box and Andre Brower was going to be 0:20:35.600 --> 0:20:39.240 really in their face. So those are some pretty phenomenal photos. 0:20:39.600 --> 0:20:41.760 I used to enjoy Third Rock from the Sun because 0:20:41.880 --> 0:20:44.919 lith Gao is one of my favorite people in Hollywood, 0:20:45.480 --> 0:20:49.760 and it was a party, oh e R. We had 0:20:49.760 --> 0:20:52.760 a good time on the R even though it was 0:20:52.880 --> 0:20:55.480 very tense. We I don't know if I should say this, 0:20:55.520 --> 0:20:58.320 but I'm going to. Occasionally we'd bring in beer and 0:20:58.359 --> 0:21:01.320 wine and something a little it or sometimes if somebody 0:21:01.359 --> 0:21:04.280 requested it, but we get everybody lit. When we were 0:21:04.280 --> 0:21:06.560 shooting on the backlot at Warner Brothers late at night, 0:21:06.600 --> 0:21:08.960 we'd do these photo shoots of them coming out the 0:21:09.000 --> 0:21:13.240 door into the ambulance. And yeah, those were crazy, wild parties, 0:21:16.200 --> 0:21:20.720 dangerous things. You didn't we didn't have that on our show. 0:21:20.800 --> 0:21:23.320 We didn't. I guess because you guys had a hundred 0:21:23.359 --> 0:21:27.720 people on your show. Maybe I guess that's true. I 0:21:27.720 --> 0:21:32.280 guess that's true. Talk a little bit about your your process. So, 0:21:32.400 --> 0:21:37.040 first off, a multi camera show like Cheers or Friends, 0:21:37.680 --> 0:21:40.080 the cameras are set up, do you have pretty much 0:21:40.240 --> 0:21:43.280 free rome to to be able to take photos from 0:21:43.320 --> 0:21:46.800 anywhere sort of in front? Sometimes if you have an 0:21:46.800 --> 0:21:49.080 actress that doesn't want anybody in her eye line, or 0:21:49.520 --> 0:21:52.200 she'd be too. I don't even say she. I've had 0:21:52.240 --> 0:21:55.159 many many A guy go hey, I can see you moving, 0:21:55.400 --> 0:21:59.960 and you know, well, okay, I'll just let me start 0:22:00.040 --> 0:22:03.040 by saying, a still photographer is the only job on 0:22:03.240 --> 0:22:06.320 set that can be asked not to do their job. 0:22:07.480 --> 0:22:10.119 So you can't have the actor go out, you can't 0:22:10.119 --> 0:22:12.480 have the sound guy leave, you can't have one of 0:22:12.520 --> 0:22:15.760 the camera guys split. So I'm the one person who 0:22:15.760 --> 0:22:18.800 could be asked not do their job. But um, when 0:22:18.840 --> 0:22:22.040 all that's moving, it is one of the most beautiful 0:22:22.080 --> 0:22:24.639 dances you've ever seen. One of my favorite directors in 0:22:24.680 --> 0:22:26.920 the world is Jim Burrows. I have done so many 0:22:26.960 --> 0:22:31.640 projects with Burrows, Will and Grace. I could run up 0:22:31.880 --> 0:22:34.080 to the very front of the lenses and work if 0:22:34.119 --> 0:22:38.399 I wanted to. Uh, I wouldn't do that. I'm I'm big. 0:22:38.520 --> 0:22:41.760 I'm a big dude, and I do take up a 0:22:41.800 --> 0:22:45.000 lot of space. But it's it's a relationship you get 0:22:45.040 --> 0:22:47.919 with the dolly grips. You know, if you've ever seen this, 0:22:48.040 --> 0:22:51.800 if anybody's ever seen the big dollies that cameras roll on, 0:22:52.080 --> 0:22:54.400 those guys will run you over and those things can 0:22:54.520 --> 0:22:57.639 run you over. There a tank. I've seen other guys 0:22:57.680 --> 0:23:01.360 get clipped and it ain't pretty, but it's a dance 0:23:01.520 --> 0:23:04.000 and as long as you know how to dance, you 0:23:04.240 --> 0:23:06.960 will survive in that situation. And there are times where 0:23:07.440 --> 0:23:09.680 Burrows is famous for putting his foot on the dolly 0:23:09.720 --> 0:23:12.480 and kicking it and they're his guys are so good 0:23:12.520 --> 0:23:15.840 they start rolling the wheels and the camera follows the actor. 0:23:15.840 --> 0:23:19.520 Whatever it's it's truly amazing. But I've been in the 0:23:19.560 --> 0:23:21.879 middle of two dollies when that happens, and you just 0:23:21.960 --> 0:23:27.600 gotta get out of there. Um, do you find that 0:23:27.680 --> 0:23:30.520