Speaker 1: Did you know that on the day Dr King was shot,
Speaker 1: the all black security detail normally assigned to him was
Speaker 1: called off. They're the ones who would not allow him
Speaker 1: to stay at any hotel with balconies. Did you ever
Speaker 1: asked what this was all about? This is the MLK tapes.
Speaker 1: The first episodes are available now. Listen on the I
Speaker 1: Heart Radio app, Apple podcasts, or wherever you get your podcasts. Hi, guys,
Speaker 1: I'm Jade Ivan and I host Tell Me About It,
Speaker 1: the podcast that is the antithesis of a success story podcast,
Speaker 1: where we leave things like girl Boss, energy and lucky
Speaker 1: breaks at the door and instead celebrate and commiserate about
Speaker 1: all the things that make us human. This is the
Speaker 1: podcast manifestation of those conversations you have with your best
Speaker 1: friend at four am. We have all kinds of women
Speaker 1: from all different walks of life, like Gwen Stefani, Steph Schep,
Speaker 1: A Man and a Knox, La La Kent, Raven Simone,
Speaker 1: and Joe Joe. Listen to Tell Me About It with
Speaker 1: Jade Ivan on the I Heart Radio app, Apple podcast
Speaker 1: or wherever you get your podcasts. Big Brother, North Korea's
Speaker 1: Forgotten Prince is a new true crime podcast that dives
Speaker 1: deep into the life and mysterious assassination of the man
Speaker 1: once destined to be North Korea's next dictator. Join me,
Speaker 1: even Lee as we investigate a twisting tale of espionage, palas, gossip,
Speaker 1: and political backstabbing, and dive into the motives and suspects
Speaker 1: behind the most bizarre assassination plot of the century. Listen
Speaker 1: to Big Brother on the I Heart Radio app, Apple
Speaker 1: Podcast or wherever you get your podcasts coming February. My
Speaker 1: name is Veda Samarne, and I was the script supervisor
Speaker 1: on the Ontice. Welcome, Welcome, one and all to the
Speaker 1: Office Deep Dive. It is nice to be back with
Speaker 1: you all on this fine Tuesday or whatever day you
Speaker 1: happen to be listening. I am your host, Brian Baumgartner.
Speaker 1: Today we're wrapping up our little mini deep dive on
Speaker 1: the women of the Office with a woman who was
Speaker 1: truly the glue of our show. She kept everything together,
Speaker 1: our script supervisor, Veda Somarn. This is someone I respect
Speaker 1: and admire so much. Okay, she was with us on
Speaker 1: set every single day making sure that we did our
Speaker 1: jobs and set our lines, and that the director, the
Speaker 1: editor and the writers all got what they needed to
Speaker 1: make a great show as well, and so how was
Speaker 1: she repaid, Well, she was repaid by the cast with
Speaker 1: groans with eye rolls, because when we were having fun
Speaker 1: shooting set, when Veda came in, Oh, well it's because
Speaker 1: we did something wrong. Oh, that's how we repaid her.
Speaker 1: But I really do. I love her and Veda and
Speaker 1: I we had a special connection because Kevin's car on
Speaker 1: the show was actually vedas car in real life. Yeah,
Speaker 1: remember Kevin's fuzzy steering wheel cover. Now that that's all
Speaker 1: Veda think of this, the simple task of keeping the
Speaker 1: entire cast on track, helping everyone with lines, marking every take,
Speaker 1: supporting the director, editors, actors, props, wardrobe all at the
Speaker 1: same time. She even made sure all of the clocks
Speaker 1: and watches were set to the same time. Yeah, yeah,
Speaker 1: that was all her too. Now, when we spoke all
Speaker 1: the way back in February, she was working on Steve
Speaker 1: Correll and Greg Daniels show Space Force, lots of other
Speaker 1: office cast and crew, so she was getting to hang
Speaker 1: out with that crew almost every day in that moment.
Speaker 1: Lucky her, and well lucky you, because now you get
Speaker 1: to listen to my conversation with the incomparable Vada Samarn,
Speaker 1: Bubble and Squeak. I love it, Bubble and Squeak, Bubble
Speaker 1: and Squeaker cook at every month. Left over from the
Speaker 1: night before. Oh my god, how are you so good
Speaker 1: to see you? Oh my gosh, I know it's been
Speaker 1: so long. So all right there, right, yeah, right by that.
Speaker 1: It's always so fun to see people from the office.
Speaker 1: It's well, you were just working with a bunch of all. Yeah,
Speaker 1: that was a really cool experience to be back with,
Speaker 1: you know, Steve bunch of us, Dave Rogers. Yeah, it
Speaker 1: was very cool. Yeah. Is that that? Wait? Who is it? Well? Yeah, yeah, um,
Speaker 1: do you still have the RAB four? No? Oh gosh, okay,
Speaker 1: So you know, I remembered a good story about that,
Speaker 1: you know, because the prop Department always had to change
Speaker 1: my license plate right a right to make in Pennsylvania.
Speaker 1: And I once drove home with the Pennsylvania plates, I remember,
Speaker 1: and when I got home, I thought, oh my god.
Speaker 1: That's not good, is it? You know? And then and
Speaker 1: then of course I didn't know how to get them off,
Speaker 1: so I had to drive back the next morning with
Speaker 1: the mom. But it doesn't reflect well on the prop
Speaker 1: department that's yeah, they had. But also I remember there
Speaker 1: were all these stickers all over it that were like
Speaker 1: Pennsylvania stickers that I had. I just left on as
Speaker 1: because Kevin was always there, so my car was always
Speaker 1: right there. And it's that's that's another continuity thing that
Speaker 1: I thought of, you know, like the car continuity. There
Speaker 1: was so many weird kinds of continuity, right, all right,
Speaker 1: So first, how did you get hooked in? Was it
Speaker 1: through Ken Kappas? Yes? I had done a movie with him.
Speaker 1: I did a movie that he wrote called Sexual Life,
Speaker 1: So I knew him from that and he knew I
Speaker 1: was smart and that, you know, I could figure stuff out,
Speaker 1: and you know that this show was going to require
Speaker 1: someone who could figure yourself out? Right, And you came
Speaker 1: in Diversity day right, Yes, that's the second episode. Yes, yes, yes,
Speaker 1: they didn't do the pilot. I never met the person
Speaker 1: who did the pilot. But no, I did every other
Speaker 1: episode after that though. I just stuck with it. I
Speaker 1: mean why wouldn't. I mean, it's the best show to
Speaker 1: work on the way the show was shot. Was that
Speaker 1: more difficult for you? In other words? Like there are
Speaker 1: no marks, so much improving that would affect you a
Speaker 1: lot too. Yes, it made my job completely different. I
Speaker 1: had to reinvent it. I think everyone did, you know,
Speaker 1: in their own job, their own department, of their own capacity,
Speaker 1: they had to reinvent what they normally do. You had
Speaker 1: to throw it out the window and start all over again.
Speaker 1: Because this was really different. At the beginning, no one
Speaker 1: was allowed on set. None of the crew members remember that,
Speaker 1: because the idea was that it was going to feel
Speaker 1: like a real office and you guys were going to
Speaker 1: get acquainted with the space and feel like you were
Speaker 1: home when you were there, so that you would feel
Speaker 1: free to do whatever. So the way that affected me
Speaker 1: was humongous because first of all, I I had to
Speaker 1: be in the green room with the writer the entire
Speaker 1: I think it was two or three seasons we did.
Speaker 1: So I was outside the main office. I was outside
Speaker 1: the door, and so between takes we both have to
Speaker 1: run in, I mean literally run in to give our notes.
Speaker 1: And the nose slating meant that I had to reinvent
Speaker 1: the way I did my notes because I had to
Speaker 1: be able to signal to the editors where all the
Speaker 1: good parts were. So I had to use time code
Speaker 1: instead of slates to separate out each part of it.
Speaker 1: So I had to create a new way of doing
Speaker 1: the notes. This was at the beginning. Later on I
Speaker 1: got a little bit more traditional, a little bit more,
Speaker 1: but at the beginning it was totally new. Um, you
Speaker 1: would just slate the scene and the camera would just
Speaker 1: keep rolling, and a lot of what was on the
Speaker 1: camera was just the camera sitting on the ground and
Speaker 1: feet walking by. So they had to use my notes
Speaker 1: literally to find the takes and to find the coverage.
Speaker 1: Like I'd say, here, the camera's going wide now, so
Speaker 1: we're going to get a three shot of the accounting department.
Speaker 1: And then now and this take we got a close
Speaker 1: up of Kevin, and this take we got a close
Speaker 1: up evangel and this take we got a close up
Speaker 1: of Oscar. You know, it's like every take was a
Speaker 1: different piece of coverage or you know, a continuity there was.
Speaker 1: There was so much continuity. But luckily everyone was on
Speaker 1: top of it, so it wasn't just me, but I
Speaker 1: was definitely needed. I needed to track so much because
Speaker 1: you know, the episodes would take the place in the
Speaker 1: course of a day, so it all had to make
Speaker 1: sense right right right, like what was on even what
Speaker 1: was on people's desks or yes, because things would change
Speaker 1: through the course of the day. Yeah, and if we
Speaker 1: were going backwards or write Office Olympics, you know, like
Speaker 1: which games had been played. You know, you had to
Speaker 1: know at every moment we tried to shoot an order.
Speaker 1: Usually we had to know which games have been played
Speaker 1: to know what each part of the office looked like.
Speaker 1: There was a lot too, you know. I had to
Speaker 1: have like special charts for everything, like what else. Well,
Speaker 1: for example, the clock was always in the shot and
Speaker 1: it didn't run it we said it. But when I
Speaker 1: prepped for each episode, I had to assign a time
Speaker 1: to each scene so that the set decorator could just
Speaker 1: take that list and set the clock. And they had.
Speaker 1: We realized after the first couple of shows that we
Speaker 1: had to set it for every scene, no matter what,
Speaker 1: because you never knew what the camera was going to capture.
Speaker 1: I remember in the Hot Girl episode when they were
Speaker 1: buying purses, you know, I had to keep track. That's
Speaker 1: another one. I had to keep track of what purse
Speaker 1: was on what desk at what time, like who bought what?
Speaker 1: And I remember very distinctly this was the moment I
Speaker 1: realized that we had to be so careful about continuity.
Speaker 1: We had to make sure the whole office was correct
Speaker 1: for every scene because we were shooting a close up
Speaker 1: of Dwight, and I remember Randall just suddenly went around
Speaker 1: to the other side of Dwight so you could see
Speaker 1: Katie in the background Amy Adams, you know, and you
Speaker 1: could suddenly see that he had the purse that he
Speaker 1: bought later on his desk, and so of course I
Speaker 1: had to run in, No, that's not there yet. But
Speaker 1: that's when I realized, no, we can't leave anything out,
Speaker 1: you know, everything has to be correct for every moment,
Speaker 1: because I don't know where the cameras are gonna see. Yes,
Speaker 1: I remember you with the clock and with the watches
Speaker 1: on people's risk, and I said later and I have
Speaker 1: used this since that the greatest decision that I ever
Speaker 1: unwittingly made was that Kevin did not, Thank God, because
Speaker 1: having to adjust that watch every scene and the clock,
Speaker 1: you're right, well, the watches. I got a little more
Speaker 1: easy going about the watches. I decided only if someone
Speaker 1: was going to be camera, because that, yeah, there was
Speaker 1: enough for us to worry about. There was so much, right,
Speaker 1: Who does the script supervisor serve well? The script supervisor
Speaker 1: is a department of one, so you're your own boss. Yes,
Speaker 1: it's really hard to manage. I remember that if there
Speaker 1: was a Kelly line about how she was, she was
Speaker 1: a department of one and her department was so hard
Speaker 1: to manage. Lets saw that applied to script supervisors, right.
Speaker 1: But in terms of I guess, I don't know. It's
Speaker 1: so interesting to me, Like in terms of you know,
Speaker 1: you're talking about needing to do stuff for the editors.
Speaker 1: You've got writers chirping at you, telling you. You know
Speaker 1: that they want lines a certain way. You serve them all.
Speaker 1: I mean, you production, you keep track of a lot
Speaker 1: of information about the scripts, and you know how much
Speaker 1: is shot, how much remains. You keep track of all
Speaker 1: the scenes and you know if anything's missing you tell
Speaker 1: them right away, or you keep track of scenes and
Speaker 1: what um the director or the writers want to include
Speaker 1: in the cut. For the editor and for the For
Speaker 1: the actors, you're helping them with lines. Sometimes they don't
Speaker 1: treat it as help, but you basically are helping them
Speaker 1: remember their lines. And you work for the writers in
Speaker 1: the sense that you're trying to make sure the script
Speaker 1: is properly shot and that all the lines are as written,
Speaker 1: especially on the Office, because I mean, let's face it,
Speaker 1: it was like Shakespeare. The lines were beautiful. They had
Speaker 1: to be said exactly as written at least once or twice,
Speaker 1: just because they were so beautifully written. It just had
Speaker 1: to be that way. So I was a real I
Speaker 1: was a real stickler for the bourbage, you know. The people. Yeah,
Speaker 1: people would cower when I came towards them. If they
Speaker 1: had like a whole paragraph that they had to say,
Speaker 1: they would be so nervous that I was going to
Speaker 1: tell them they were doing it all wrong. But you know,
Speaker 1: for the most part, I just wanted the comedy to
Speaker 1: be for it to be as funny as it possibly
Speaker 1: could be. Right. I want to talk about that a
Speaker 1: little bit, that relationship between the actors and you on
Speaker 1: the show, Like did you did you feel comfortable with everybody? Well,
Speaker 1: like Rain for example, like Rain would give you hell.
Speaker 1: I loved him, you know, I loved everybody. It was
Speaker 1: everybody had a different way. You know. I think a
Speaker 1: lot of actors just they wanted to be so perfect
Speaker 1: that they get frustrated and and sometimes they take it
Speaker 1: out on me a little bit. But I don't really
Speaker 1: take it personally, and I know there's a lot of
Speaker 1: pressure on them. You were very, very skilled at that,
Speaker 1: particularly when we were in the conference room, and I
Speaker 1: just recall at times, you know, being in between a
Speaker 1: take and there being a kind of pause that when
Speaker 1: you're inside the conference room, you weren't quite sure what
Speaker 1: was happening, Like it felt like nothing was happening, and
Speaker 1: then you would turn the corner and it would be like, oh,
Speaker 1: somebody's getting it now, somebody is getting it from Beta. Um.
Speaker 1: But I think it was all truly it felt like
Speaker 1: everybody was working to try to make it the best
Speaker 1: show that was. That was so lovely and unusual about
Speaker 1: that show. Like, I mean, for nine years, I was
Speaker 1: excited to go to work. I got up, I was
Speaker 1: happy that I was going to see the scenes I
Speaker 1: was going to see that day, and I was so
Speaker 1: excited to see everybody at work, you know, every day.
Speaker 1: So and I think everyone felt that way. We all
Speaker 1: loved it so much. We wanted it to be as
Speaker 1: good as possible. So sometimes it took you know, a
Speaker 1: little bit of bullying, you know, to get some Sometimes
Speaker 1: people would argue with me about lines, well I would
Speaker 1: make them say, like every article, every little word, because
Speaker 1: I could feel the rhythm of the line, like I
Speaker 1: knew how the line was supposed to sound. It was
Speaker 1: in my head. So I just ignored when people thought
Speaker 1: I was crazy because I knew I was right, and
Speaker 1: it quite often the line would get a laugh after
Speaker 1: they added that tiny little word like a just like
Speaker 1: one little word could make all the difference on that show.
Speaker 1: I've never seen that any other show. How much after
Speaker 1: you handed in your note, were you in dialogue with
Speaker 1: Dave Rogers or Claire or Dean or not really like
Speaker 1: once because you're shooting the next That absolutely was because
Speaker 1: they were right there. They were in the next building,
Speaker 1: which is such a luxury because that doesn't happen very often.
Speaker 1: So I could go over there at lunchtime or between
Speaker 1: scenes and say, you know, here's what's happening. A lot
Speaker 1: of times I would have to talk to them about
Speaker 1: the director, because we had a different director for each
Speaker 1: episode almost, you know, and so many newcomers who were
Speaker 1: experienced directors, but they had never worked on the show before,
Speaker 1: so sometimes I thought they weren't quite getting it right.
Speaker 1: So I'd go and talk to Dave and what do
Speaker 1: you think about what we shot yesterday? Does it is
Speaker 1: this director getting it? Is there any way that I
Speaker 1: could kind of nudge them in one direction or another?
Speaker 1: And sometimes you'd say, you know, just get more reaction shots,
Speaker 1: get tons of reactions for this episode because I'm going
Speaker 1: to really need them, or or they'd say, you know,
Speaker 1: you're not. This director is not getting enough angles. I
Speaker 1: need more angles to be able to pace the scene
Speaker 1: the way I need to pace it, because that was
Speaker 1: a big thing for them, pacing for the comedy. I
Speaker 1: remember some instances, but I want to talk to you
Speaker 1: about how you were tracking not just continuity within an episode,
Speaker 1: but also continuity within relationships that spanned Marc right, I was,
Speaker 1: and Um sometimes that was very difficult. Well, first of all,
Speaker 1: I didn't always know what or remember like what parts
Speaker 1: of the script had ended up in the final cut,
Speaker 1: because it was half of it basically would be in
Speaker 1: the final cut, So I didn't always remember what had
Speaker 1: actually aired. And then if something was stated in season
Speaker 1: two and then in season five we revisited that idea,
Speaker 1: sometimes I wouldn't remember that we'd already said something about that.
Speaker 1: I'll give you an example, like UM, who started at
Speaker 1: Dunder Mifflin first, Pam or Jim. Okay, that was a
Speaker 1: big issue that the fans noticed because early on we
Speaker 1: said it was Pham, I believe, and then later on
Speaker 1: we said Jim had been there or the I. I I
Speaker 1: don't remember which round it was. But it was years,
Speaker 1: literally years later, that we addressed it again and contradicted ourselves,
Speaker 1: and that was you know, I would catch those things
Speaker 1: quite often, but I couldn't catch all of them. It
Speaker 1: was just too hard. There were two characters and yeah,
Speaker 1: and they all had their own stories with different relationships.
Speaker 1: There was some question about like how many kids did
Speaker 1: Meredith actually have? Was it one or two? Because she
Speaker 1: says when she's being described to Michael when he's trying
Speaker 1: to write a funny message on her birthday card season
Speaker 1: the second season, for the first season, thinking they say
Speaker 1: she has two kids, and then later she only had one.
Speaker 1: So then I think it was in a way episode
Speaker 1: that we addressed that issue and why she wouldn't talk
Speaker 1: about the other kid, right right, right, And I think
Speaker 1: that was the other thing I remember Greg talking about,
Speaker 1: which was, yeah, the webisodes. Was that a part of
Speaker 1: the history of the show too, or was it just
Speaker 1: the episodes or was it everything we shot, Like, Yeah,
Speaker 1: there's a lot to keep track of. Yeah, and the
Speaker 1: writers had to try to keep it all on their
Speaker 1: heads too, you know. So hopefully with everybody thinking about it,
Speaker 1: most of the problems got addressed. But I'm sure, you know,
Speaker 1: I'm sure there are things that the fans are still
Speaker 1: finding little nuggets. So you would take the script and
Speaker 1: you would break it. So, so tell me, like the
Speaker 1: process of what how you would break down a script. Well,
Speaker 1: I would do that on the weekends. Would take the
Speaker 1: script and um, for each scene, I would you know,
Speaker 1: note for myself the significant things that happened for each
Speaker 1: character and each scene, and then what time of day
Speaker 1: that was, so that I would be able to create
Speaker 1: like a story flow for myself. After the first season,
Speaker 1: I believe there was almost always a beast story as well,
Speaker 1: So I would separate out the A the B. Sometimes
Speaker 1: there was a C story and I'd color code them
Speaker 1: so that I'd see each story separately and how it
Speaker 1: developed over the course of the day. So, like you're tracking, say,
Speaker 1: if Michael and Carrol have something this episode, and Jim
Speaker 1: and Pam or you know, Darryl and Jim or something, right,
Speaker 1: you're tracking all like, in the middle of the day,
Speaker 1: they're not speaking to each other, you know that, I
Speaker 1: know that. You know, Okay, that's that's about four hours
Speaker 1: into the day. And then a couple hours later something
Speaker 1: happens that makes them bond again. And yeah, that that.
Speaker 1: I was definitely tracking that kind of thing, and I
Speaker 1: would get a lot of questions about that from the actors. Yes,
Speaker 1: like when is this happening we're shooting scenes out of order? Yeah?
Speaker 1: And when did I get angry? Yes? Right? Am I
Speaker 1: building up to it now or has it already happened? Right?
Speaker 1: So you have this chart, and I'm fascinated about this.
Speaker 1: So are you Once actors get in wardrobe, if the
Speaker 1: wardrobe is changing, does that get added to your chart?
Speaker 1: I mean, every department keeps their own continuity, so I'm
Speaker 1: just really checking it. Right. The Yankee Swap episode must
Speaker 1: be the most complicated and difficult. You know, when does
Speaker 1: Phillis have the mit? She gives it to Michael, And
Speaker 1: when we're shooting scenes out of order, who has it?
Speaker 1: What are they doing with it? Yeah, definitely had to
Speaker 1: have a very clear chart of that. I remember Mike
Speaker 1: Sure and I were in the Green room for that,
Speaker 1: because that was when we still were not allowed on set.
Speaker 1: And I remember he's we had so many charts on
Speaker 1: the walls, and one of the charts was his tally
Speaker 1: of how many times he had to run in each day.
Speaker 1: Oh my gosh, you do that document, Oh my god,
Speaker 1: like how many times he had to run in that
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Speaker 1: that on the day Doctor King was shot, the old
Speaker 1: Black Security detail normally assigned to him was called off.
Speaker 1: They're the ones who would not allow him to stay
Speaker 1: at any hotel with balconies. That security union was reassigned
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Speaker 1: What was the emergency that caused? Usually moved another fire?
Speaker 1: Did you ever ask what this was all about? And
Speaker 1: then this is the MLK tapes. The first episodes are
Speaker 1: available now. Listen on the I Heart radio app, Apple
Speaker 1: Podcasts or wherever you get your podcast on an episode
Speaker 1: by episode basis, you're a department of one, so you
Speaker 1: serve yourself and you're served by yourself. But are you like,
Speaker 1: who are you working closest with on a weekday? Is
Speaker 1: it the right yours? Is it the director or it's
Speaker 1: usually the director, but I mean the director and the actors.
Speaker 1: But um on the office, the writer was very involved,
Speaker 1: so that that was I also worked very closely with
Speaker 1: the writers. That isn't always the case on comedies. Usually
Speaker 1: the writer comes to set, but quite often they'll send
Speaker 1: a writer to supervise the writing for them. You know,
Speaker 1: there will be like a designated writer who's on set,
Speaker 1: but on the office it was usually the writer of
Speaker 1: the episode would be on set. Did you have any
Speaker 1: special secrets or ways that you dealt with any of
Speaker 1: the particular actors on set? I mean, your relationship with
Speaker 1: each actor is different. Well, there were different ways I
Speaker 1: would have to phrase things, like would you try one
Speaker 1: where you say it this way? Or you know, with you,
Speaker 1: I would just say, you know, here's the line in
Speaker 1: the script. You know, there wasn't a lot of attitude there,
Speaker 1: so you would just you just say, okay, but I
Speaker 1: want to say it this way. You know. We would
Speaker 1: just negotiating and it would be quick, easy. Yes, there
Speaker 1: would be some negotiation, Yes okay. But sometimes I would
Speaker 1: have to word things carefully because and I remember once
Speaker 1: I told one of the actors, um, it's funnier this way,
Speaker 1: and I realized, no, I can't say it that way
Speaker 1: because he got so mad at me. Don't tell me
Speaker 1: what's funny. Yeah. I mean that's the thing is that
Speaker 1: I imagine on some shows there would be a level
Speaker 1: of defensiveness or like I don't feel like we had that.
Speaker 1: I feel like everybody was trying very hard. Yeah, yeah,
Speaker 1: everybody wanted it to be funny and want you know,
Speaker 1: I felt like there was an understanding. They knew that
Speaker 1: I was saying something because I thought it would improve
Speaker 1: their line or improve the scene. Yes, it wasn't. It
Speaker 1: wasn't ever personal for me, So I think I think
Speaker 1: the most part, people were really nice to me. I
Speaker 1: think it was more I just remember fondly. Actually, I
Speaker 1: don't know if you felt that way, but I remember
Speaker 1: just a very you know, almost like family like when again,
Speaker 1: like when you would turn the corner, it would be like,
Speaker 1: oh no, here's bed. Oh boy. Um No, it was fun.
Speaker 1: It was frustrating to me that I couldn't prompt lines
Speaker 1: because I just was usually too far away. My voice
Speaker 1: doesn't care very well. And people would end up just
Speaker 1: laughing when they asked for a line because they couldn't
Speaker 1: hear it. That's exactly so frustrating for me. I mean,
Speaker 1: I've always I liked prompting lines. I tried to do
Speaker 1: it in a timely fashion, but I don't know if
Speaker 1: you remember. After a while we asked the stand ins
Speaker 1: Stephen Socks and that's right, Mary Socks to be on lines.
Speaker 1: If it was a long scene, they would kind of
Speaker 1: crouch somewhere closer and just be How was that came
Speaker 1: from me? Because I said, you know, it's really not
Speaker 1: on this show. I really can't be on the lines
Speaker 1: all the time. So we set up that system where
Speaker 1: Lori and Stephen would sit in the room and just
Speaker 1: give lines really quickly, because that's what you need when
Speaker 1: you're an actor, right, you need to hear the line
Speaker 1: just really quickly so you can stick with the momentum
Speaker 1: of the scene, right, so it doesn't you don't lose
Speaker 1: this scene. I do. I do remember, though, again I
Speaker 1: don't know why. Every all my memories go back to
Speaker 1: the conference room, but just being in the conference room,
Speaker 1: someone going well, what is it? What's the line? And
Speaker 1: you here, and then everyone just laughing because there was
Speaker 1: just no embarrassed there was no way to hear um.
Speaker 1: How difficult was it to track all of the improv
Speaker 1: stuff that happened, Well, I couldn't really track it. I
Speaker 1: mean I would just say, okay, here this is a
Speaker 1: big chunk of improv, and I try to describe to
Speaker 1: the editor what was happening in that section, and and
Speaker 1: I try to make sure there were points where they
Speaker 1: could cut in and out of the improv sections, and
Speaker 1: that was all I could really do, just make sure
Speaker 1: that everything up to the improv matched and everything coming
Speaker 1: out of it man, and that there were angles to
Speaker 1: cut two in case they needed to cut out of it.
Speaker 1: So I had always encouraged that we got reaction shots.
Speaker 1: That was a big deal to get a reaction passed, yeah,
Speaker 1: which would give just cut natural cutaway points through anything
Speaker 1: n n y um. In terms of unscripted stuff or
Speaker 1: even physical gestures, I'm sure that you had an instinct
Speaker 1: least eventually like oh, well, that's going to be in
Speaker 1: the show. The example that I'm thinking about is gay
Speaker 1: witch hunt, so Oscar or Michael going and kissing, Yeah,
Speaker 1: that would be in the show. Yes, yeah. How do
Speaker 1: you signal that out or does that become a specific
Speaker 1: thing that you add in to the script for the
Speaker 1: editor or my script is always the official script. It
Speaker 1: represents what was shot. So I cross out things that
Speaker 1: we don't shoot, and I'll add things that we do
Speaker 1: shoot if they're not in the script, so definitely, I'll
Speaker 1: I'll write that in. So I put this in this
Speaker 1: take Michael kisses Oscar. Every director and the writer love
Speaker 1: that use it if you can, you know, Okay, but
Speaker 1: yeah I did after a while. No, which takes we're
Speaker 1: going to be in the show. Which takes We're gonna
Speaker 1: be looked at the most closely. And you know, I
Speaker 1: knew what Dave would choose when I saw the show.
Speaker 1: You know, at the end of the week, I would
Speaker 1: recognize the takes that he chose. I think I I
Speaker 1: knew he was going to pick that one. After a while. Yeah,
Speaker 1: Like it's this the family thing. I mean, you just
Speaker 1: know people's taste, you know how they work, you know,
Speaker 1: you know you know each other so well after a while.
Speaker 1: I mean, Greg, obviously you are working closely with him
Speaker 1: when he's writing on set, when he's directing. How much
Speaker 1: communication do you have with him about your job specifically?
Speaker 1: It was just when he was on set really when
Speaker 1: he was directing, particularly, and he would interact with me
Speaker 1: a lot. And then I think that's when people find
Speaker 1: out what my job is when they direct something. Were
Speaker 1: there any particular relationships with directors that you felt like
Speaker 1: you worked really well with and and and that working relationship,
Speaker 1: but well, I think well, always when the writer directed
Speaker 1: their own episode, there was a real understanding because I
Speaker 1: always I really appreciated the scripts. The scripts were so good,
Speaker 1: you know, um, and I think that they felt there
Speaker 1: was a lot of support coming from me because I
Speaker 1: wanted the script shot properly, and sometimes, Um, I could
Speaker 1: help a little bit with the angles and the you know,
Speaker 1: the way the scene was shot, because I knew what
Speaker 1: we would traditionally do with a scene like that, you know.
Speaker 1: So I always enjoyed working with Ken Koppas and Paul
Speaker 1: Fieg and um Ken Whittingham, and Yeah, there were certain
Speaker 1: directors that would keep coming back and then I would
Speaker 1: love to work with. It was funny on the office,
Speaker 1: particularly on that show. After a few years, we felt
Speaker 1: like we knew how to make the show, and we
Speaker 1: felt like we didn't even need a director. So the
Speaker 1: director would come on and they would be guided by
Speaker 1: all of us, and sometimes, um, we would wonder about
Speaker 1: how they were shooting something. I remember when time a
Speaker 1: scene was shot, it was a scene in the parking lot.
Speaker 1: We were shooting it from an angle that I thought
Speaker 1: wasn't that right angle for the show, But that was
Speaker 1: just from what was in my head when I read it. Well,
Speaker 1: the next week we came back and reshot it from
Speaker 1: the other angle. I didn't. I hadn't said anything because
Speaker 1: I felt like it wasn't really my place. I mean,
Speaker 1: the director and that DP were were decided to shoot
Speaker 1: it from the other side, but I thought, that's not
Speaker 1: how this is supposed to be shot. So sometimes, you know,
Speaker 1: there was a real feeling that the crew knew the set,
Speaker 1: knew the characters, knew the scripts better than anyone else,
Speaker 1: and so the director would just bring in a few
Speaker 1: interesting ideas that would shake it up a little, which
Speaker 1: was good because it never became formulaic. For that reason,
Speaker 1: I think because we had so many new directors all
Speaker 1: the time. Yeah, well here's some names. Randall Einhorn, Matt Son,
Speaker 1: John Krasinski, me Um, I believe, Steve Carrell, Claire Scanlon,
Speaker 1: Dave Rogers all directed. I'm sure I'm missing some, but
Speaker 1: all directed on the office for the first time. How
Speaker 1: was that for you? Working with inexperienced people, but people
Speaker 1: who knew the show so well? Did that present specific challenges? Yes?
Speaker 1: And no, I mean it um, when we had like
Speaker 1: a famous director coming in, it was always exciting, but
Speaker 1: it was always that was more of a challenge because
Speaker 1: they didn't always get the show, and it was hard
Speaker 1: to politely steer them in the right direction. Um, when
Speaker 1: it was somebody who was working on the show already,
Speaker 1: that problem was already solved. They got the show, they
Speaker 1: knew what the human they knew the humor, they knew,
Speaker 1: they knew the characters, they knew the spaces that we
Speaker 1: generally worked in, and they knew how to make the show. Um.
Speaker 1: But sometimes they didn't know how to direct. Um, but
Speaker 1: just because they hadn't done it before, and sometimes they
Speaker 1: didn't realize all the different things that were their responsibilities.
Speaker 1: And because we all knew how to make the show,
Speaker 1: we would often pick up the slack and we would
Speaker 1: do part of the director's job. And um, that was
Speaker 1: sometimes difficult because we all had so much to do already.
Speaker 1: To have to, you know, help someone out when they
Speaker 1: don't even realize you're helping them out, that was kind
Speaker 1: of hard. Sometimes interesting. Yeah, I mean, you had all
Speaker 1: people just trying to direct this show, but the diverse
Speaker 1: range of experiences. You know, you've got editors, You've got
Speaker 1: Dave Rogers and Claire Scanlon who presumably have never dealt
Speaker 1: with actors before, but they knew what shots they need.
Speaker 1: They knew what shots they needed. And then you've got
Speaker 1: Randall and Matt, who again don't really know how to
Speaker 1: deal with actors, but they know where that camera is.
Speaker 1: Whereas you know, actors, I knew how I wanted it
Speaker 1: to look, but don't talk to me about lenses, right,
Speaker 1: or like what lens we're going to use, you know,
Speaker 1: So it's like coming at it from just different perspectives.
Speaker 1: I just think it's very interesting. I mean, every director
Speaker 1: has their strengths and weaknesses. But um, but when you
Speaker 1: get someone like Ken coppas, you know, it would go
Speaker 1: really smoothly because not only did he understand the show
Speaker 1: and know how to make the show, but he also
Speaker 1: knew all the aspects of directing and what everyone was
Speaker 1: expecting from him. So that was always the best for
Speaker 1: me when it was somebody like that. But um, but
Speaker 1: I know, I really, you know, wanted to support everybody.
Speaker 1: So you know, everybody who directed, I you know, I
Speaker 1: felt like they were bringing a lot of new things
Speaker 1: to the table and some things they just weren't that
Speaker 1: aware of yet. But you know, like some directors would
Speaker 1: you know, like an actor directing would be very aware
Speaker 1: of the acting would be very often very aware of
Speaker 1: what would make the scene funny, which was great, but
Speaker 1: they might not be aware of the angles and the
Speaker 1: different kinds of coverage that we needed and the lighting
Speaker 1: or something, you know, so they wouldn't work with those departments,
Speaker 1: so that those departments would have to jump in and
Speaker 1: pick up the slack. Okay, it's de Leeper. I'm here
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Speaker 1: Listen to do Ali but at your service on the
Speaker 1: I Heart radio app, Apple Podcasts, or wherever you get
Speaker 1: your podcasts. And we're live here outside the Perez family home,
Speaker 1: just waiting for the And there they go, almost on time.
Speaker 1: This morning. Mom is coming out the front door strong
Speaker 1: with a double arm kid carry. Looks like Dad has
Speaker 1: the bags. Daughter is bringing up the rear. Oh but
Speaker 1: the diaper bag wasn't closed. Diapers and toys are everywhere.
Speaker 1: Oh but mom has just nailed the perfect car seat
Speaker 1: buckle for the toddler. And now the eldest daughter, who
Speaker 1: looks to be about nine or ten, has secured herself
Speaker 1: in the booster seat. Dad zips the bag clothes and
Speaker 1: they're off. Ah, but looks like Mom doesn't realize her
Speaker 1: coffee cup is still on the roof of the car.
Speaker 1: And there it goes. That's a shame that mug was
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Speaker 1: you've ever wondered what it's like to make a true
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Speaker 1: for a digital conversation on true crime storytelling. We'll talk
Speaker 1: about how we make our stories dramatic and accurate, and
Speaker 1: how we navigate all the ethical dilemmas that we face
Speaker 1: in the process. Get your tickets now at moment house
Speaker 1: dot com backslash d c l H. That's moment house
Speaker 1: dot com slash d c l H. Michael's search for
Speaker 1: family you know, ends up being his you know, his
Speaker 1: his major journey through the show. Do you have any
Speaker 1: specific recollections or memories about about that? About a man
Speaker 1: who had nobody All he wanted was somebody. He used
Speaker 1: the office as as that somebody and then eventually finding
Speaker 1: love and going away. Well, it was what kept me
Speaker 1: hooked on his character the whole time. I was always
Speaker 1: so interested to see what Steve would do with each
Speaker 1: new situation. What I kept wanting to find out, what
Speaker 1: I was so fascinated with every day was to see
Speaker 1: how the scenes would play out, because I when I
Speaker 1: read the script and studied it over the weekend, I
Speaker 1: always had very specific ideas of about how it would look.
Speaker 1: I mean, I could see the whole the whole episode
Speaker 1: in my head. So I guess what, you know, it's
Speaker 1: just like a personal fascination with you know, is is
Speaker 1: that the way it's going to look? Or is it
Speaker 1: is there going to be something different about it than
Speaker 1: I haven't imagined yet. It was just fascinating to see
Speaker 1: how the actors would play out the scenes and how
Speaker 1: they'd say the lines, because I would love the lines
Speaker 1: and I would want to hear them, and I could
Speaker 1: hear like I could hear your voice in my head.
Speaker 1: I could hear you know, Michael's voice, Jim's voice. You know,
Speaker 1: I knew how the how they generally delivered their lines,
Speaker 1: but I always wanted to hear how these specific lines
Speaker 1: were going to sound. So as far as you know
Speaker 1: the character arc and the journey, I always felt like
Speaker 1: I was just an observer and that you know, and
Speaker 1: the writers were always coming up with interesting new twists. Right,
Speaker 1: there's a I should haven't asking people what were you
Speaker 1: afraid of missing more Steve or Michael Scott. Oh? Well,
Speaker 1: I was afraid that without Michael Scott the show wouldn't work,
Speaker 1: and it did work. So I was proud of us
Speaker 1: that we managed to make it work. But I knew
Speaker 1: personally that I would miss Steve terribly, that my heart
Speaker 1: would ache, that I wouldn't just miss seeing him. And
Speaker 1: it's hard for a crew, you know, when you get
Speaker 1: close to actors, because you can't just go over their house,
Speaker 1: you know, you can't just call them up and say
Speaker 1: you want to have a drink, you know, because it's
Speaker 1: a different kind of relationship, it's a work relationship. So
Speaker 1: you know, I've I knew I would miss him. Yeah,
Speaker 1: as a person, you know, just miss seeing him well,
Speaker 1: and you just sort of occurring to me. But you know,
Speaker 1: for seven years he had the most to say, so
Speaker 1: you were you definitely had the bulk of your work
Speaker 1: with with him. He had long speeches too, which he
Speaker 1: could memorize so fast. No one's amazed me, but I
Speaker 1: would help him. Yeah, he would always warn me, you know,
Speaker 1: I'm going to be all over the place with this,
Speaker 1: you know. So, um, I would just tell him if
Speaker 1: I thought something wasn't working, or if he was leaving
Speaker 1: something out, or you know, he needed to say something
Speaker 1: a little differently. But for the most part, he just
Speaker 1: let him do his thing. Was he always receptive to you? Well,
Speaker 1: he was so sweet, you know he Um, Yes, he
Speaker 1: was always receptive because he knew I I had a concern.
Speaker 1: You know. It wasn't just I wasn't just trying to
Speaker 1: wield my power or something, you know. I actually it
Speaker 1: was genuine. He knew that. So we do have a
Speaker 1: picture we took though, we posed where Steve is going
Speaker 1: like this kind of like who wants to push me away?
Speaker 1: And I'm trying to give him a line, because that's
Speaker 1: the general feeling when the script supervisor gives lines that
Speaker 1: you know they're nagging you. Did you ever feel like
Speaker 1: Toby Toby pretty much always well, something I don't know,
Speaker 1: because my you know, this was a second career for me.
Speaker 1: I was I was an academic first, and I and
Speaker 1: I was a professor and or history right and film stuff,
Speaker 1: film history, film studies and so My approach was always
Speaker 1: very sort of academic. You know this line, you know,
Speaker 1: and I think I'm might nitpick a little because I
Speaker 1: don't always have the perspective on it. You know, maybe
Speaker 1: this isn't that important, but you know I try. I
Speaker 1: did every script sour for us tries to judge very
Speaker 1: clear clearly in their mind. You know, is this important
Speaker 1: enough for me to interrupt things to for me to
Speaker 1: throw you know, you don't want to throw the actors off.
Speaker 1: You don't want to give them stuff to think about.
Speaker 1: You want them to do their thing. But um, I
Speaker 1: mean as far as continuity goes or lines or any
Speaker 1: of any of that, it's it's never perfect. There's always
Speaker 1: something you can correct, but you have to try to
Speaker 1: be smart about what to correct and what to just leave.
Speaker 1: Because you don't want people to feel like they have
Speaker 1: to pay attention to the lines. You want them to
Speaker 1: pay attention to the acting or there. You don't want
Speaker 1: them to suddenly start paying attention to like where their
Speaker 1: arms are, you know, So I'd really try to correct
Speaker 1: people to add to a minimum. I try to keep
Speaker 1: it to a minimum because in my job, there is
Speaker 1: a certain nerdiness, you know, tend you tend to be
Speaker 1: very attuned to the details, and you don't always see
Speaker 1: the picture. So, you know, I trying to pay attention
Speaker 1: to the directors and to you know, how they're dealing
Speaker 1: with the actors. If they're not giving notes, I'm not
Speaker 1: going to go in and give a note because there's
Speaker 1: a reason they're not giving them yet. They're trying to
Speaker 1: let the actor find something. And over the years, I
Speaker 1: think I've gotten more and more sensitive to that. What
Speaker 1: was it like working with Steve as a director? The
Speaker 1: last episode he directed is the one he proposes to Holly.
Speaker 1: What was it like working so smart? You know? It
Speaker 1: made it pretty easy because he was so nice, so smart,
Speaker 1: so savvy about the show. He was a great director
Speaker 1: to have. Yeah, Towards the end, he had this idea
Speaker 1: that he wanted Threat Level Midnight to be seen on
Speaker 1: the show. Talk to me a little bit about the
Speaker 1: challenge of attempting to piece together and and find the
Speaker 1: continuity of this movie. That was well, the thing about
Speaker 1: that was that it was supposed to be goofy, we're
Speaker 1: doing contnuity for Threat a little lettl Midnight. There was
Speaker 1: going to be something that didn't have continuity, but that's
Speaker 1: a tricky thing because I remember when I first got
Speaker 1: hired to do the show. I remember Ken Quaba saying, we're,
Speaker 1: you know, we're not going to worry about continuity because
Speaker 1: it's a documentary. The documentarians can make mistakes. But that
Speaker 1: only works on certain levels. That works on the level
Speaker 1: of on the cutting level. Like if if the documentarians
Speaker 1: cut in two different pieces of a take cut them
Speaker 1: together in an awkward way, that would be okay. But
Speaker 1: you can't cut together two takes that don't match, because
Speaker 1: then you're implying that this thing happened twice, and it
Speaker 1: only happened once, you know what I mean. So there
Speaker 1: has to be a reality to it that you know. Um,
Speaker 1: So that conuity was actually very important in the end
Speaker 1: and not something I could ignore. And you didn't want
Speaker 1: to imply that the documentarians were saying, Okay, do this again,
Speaker 1: you know, but do it a little differently, because they
Speaker 1: were just supposed to be shooting discreetly, you know, and
Speaker 1: not controlling what was happening. They were all kinds of new,
Speaker 1: new kinds of continuity that I hadn't really thought about before.
Speaker 1: Like if somebody was out of the office, their jacket
Speaker 1: couldn't be on their chair because they were wearing it.
Speaker 1: So you'd have to, you know, look at sort of
Speaker 1: the the opposite side of the continuity what what shouldn't
Speaker 1: be there? And the parking lot, it was the same way.
Speaker 1: What cars should be there and what cars shouldn't be there.
Speaker 1: We have to always think about that. Well, the most
Speaker 1: important carry that was Kevin's car for a long time.
Speaker 1: Do you remember when it first got established? It was
Speaker 1: right away, it was like yeah, yeah, the first season. Yeah.
Speaker 1: I drove it quite a few times in the end, Yes,
Speaker 1: in front of Holloway when she's impressed with me sort
Speaker 1: of most notably, um, yeah, I remember thinking, you know,
Speaker 1: she's so impressed that I'm driving the car. And I
Speaker 1: remember having this idea of just driving it straight over
Speaker 1: the curve. It's just like and just plowing right. And
Speaker 1: then I thought its greatest car. I think I won't
Speaker 1: I think I won't do that. Yeah, but I I
Speaker 1: always remember Rap four. Oh it wasn't the Rap four.
Speaker 1: It was CRV CRV first I forgot, yes, but it
Speaker 1: was Honda c RV. Do you remember there was like
Speaker 1: this fuzzy tiger striped cover over the wheel, over the wheel. Yes,
Speaker 1: after a couple of years, my husband bought that for
Speaker 1: me because the steering wheel get cold. But I remember
Speaker 1: at the production meeting, John was directing the episode where
Speaker 1: you were driving the car, and I asked him I
Speaker 1: should should I take off the fuzzy steering wheel cover,
Speaker 1: and he said, I would never ask you to do that.
Speaker 1: I would never ask you to take off something like that. No,
Speaker 1: that if that's on your car, you leave that. That's
Speaker 1: so great. And we all got a little bump on
Speaker 1: our paycheck if we have are I think it was
Speaker 1: like five dollars that you got if your car was
Speaker 1: in a scene, and they just kept a tally of
Speaker 1: how many times your car was in a scene, and
Speaker 1: you'd get a little bumped for that. Do you get real?
Speaker 1: But the car was in a lot of shots, a
Speaker 1: lot of shots. No, it was anybody who is deemed
Speaker 1: to have power, who thinks differently, is a threat and
Speaker 1: needs to be eliminated. Big Brother. North Korea's Forgotten Prince
Speaker 1: is a new true crime podcast that investigates the life
Speaker 1: and mysterious assassination of the man wants destined to be
Speaker 1: North Korea's next dictator, Kim Jong Nam. Join US as
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Speaker 1: of the Hermit Kingdom's one time air from his early
Speaker 1: promise that he should have been the successor to the
Speaker 1: Deadly Palace, entries a lot of clothing and dabber, you know,
Speaker 1: James bogg kind of stuff about Jim to the power
Speaker 1: struggles that ultimately spelled his doom in North Korea. It's business,
Speaker 1: it's not personal. When somebody challenges you, that challenger must
Speaker 1: be eliminated. Listen to Big Brother on the I Heart
Speaker 1: Radio app, Apple Podcasts or wherever you get your podcasts
Speaker 1: coming February. What grows in the forest trees? Sure? No?
Speaker 1: What else grows in the forest? Our imagination, our sense
Speaker 1: of wonder, and our family bonds grow too, because when
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Speaker 1: the Forest dot Org. Brought to you by the United
Speaker 1: States Forest Service and the AD Council. What's the office? Um?
Speaker 1: Your acting debut? Well, I was only in that last Yeah,
Speaker 1: I was in that last episode, and yes, that was
Speaker 1: your acting debut. Any memories about being on set in
Speaker 1: front of the camera. I was always so nervous. I'm
Speaker 1: really shy, so that was not comfortable for me. But
Speaker 1: I like that we were all you know that a
Speaker 1: lot of us were in that final episode, but it
Speaker 1: was I didn't want to have a line or anything.
Speaker 1: What do you remember going into the finale. Did you
Speaker 1: feel like it was time for it to be over?
Speaker 1: I didn't want it to be over. Personally, I would
Speaker 1: have liked to just work on that show for the
Speaker 1: rest of my career. But um, I felt like it
Speaker 1: was smart to decide when your show is going to
Speaker 1: end and wrap it up beautifully instead of just ending
Speaker 1: it suddenly. But it was so sad. It was just
Speaker 1: hard for all of us. I think, yeah, what was
Speaker 1: it do you think about the show that? I mean, obviously,
Speaker 1: it's a job, and in our industry, like having a
Speaker 1: job and a good jobs is a blessing, but it
Speaker 1: felt different. There was something about it. It felt special. Yes, definitely.
Speaker 1: There was a lot of love. You know, there was
Speaker 1: a lot of um caring for the show, caring for
Speaker 1: each other. It was a good environment and you know,
Speaker 1: even though it was very tiring, we were all exhausted,
Speaker 1: it felt good to do that job and to be
Speaker 1: there every day. It was hard to imagine not having that,
Speaker 1: and I really never have found a show where I
Speaker 1: feel that way. So I was right to be sad
Speaker 1: because it really was something that I was losing. I mean,
Speaker 1: I've enjoyed shows I've worked on since then, but never
Speaker 1: I never felt that warmth and that camaraderie in anything else.
Speaker 1: We were all we all laughed so much that sometimes
Speaker 1: it was hard to finish a scene. And I had
Speaker 1: to put that in my notes because you know, I'd
Speaker 1: say this scene was right up until they all broke.
Speaker 1: That was something the editors would mention to me sometimes,
Speaker 1: you know, I can't cut this. It's like somebody's breaking
Speaker 1: in every take. But then also the crew we had
Speaker 1: to you know, we couldn't laugh out loud, and that
Speaker 1: is hard to do sometimes, especially if you're in that
Speaker 1: little talking head room and you're sitting right in front
Speaker 1: of the actor. There were times when I had to
Speaker 1: actually leave the room. But that was one thing that
Speaker 1: made it great to be there every day, because you
Speaker 1: would there was so much that was so funny. There
Speaker 1: was so much laughter. Um talk to me about this
Speaker 1: German lullaby. Oh that appeared in the show that was
Speaker 1: in Mindy's Something, Mindy Road right, Mindy Kaylenk. The episode
Speaker 1: was Night Out Dwight. It was Dwight Dwight sings Ryan
Speaker 1: to Sleep. Yeah. My mother was Viennese, so her first line,
Speaker 1: which was German, and when growing up in Vienna, they
Speaker 1: spoke German and so her mother would sing her German lullabies.
Speaker 1: So when I was a child, she sang German lullabies
Speaker 1: to me when I was falling asleep. So I knew
Speaker 1: a couple of German lullabies. And so I just piped
Speaker 1: up and said, you know, I because I guess she
Speaker 1: wanted him to sing something to her. Yeah, I said,
Speaker 1: well he could sing what my mother sang to me.
Speaker 1: I sang it for was it schlaf kin lynch laugh.
Speaker 1: I'm not schlaf kin lynch law mm hmmm. I think that, yeah,
Speaker 1: And um, I always found it very soothing. So so yeah, well,
Speaker 1: I don't remember the words right now, but I know
Speaker 1: because it starts schlaf kin lynch lav mm hmmmmmm. I
Speaker 1: I don't remember the words at the time, I still
Speaker 1: I remembered the words where I looked them up slow
Speaker 1: can love. That's very funny. Um, the guys, is there
Speaker 1: anything else that I've missed here? Right? Yeah, look at
Speaker 1: your list. I actually hear all this stuff. Do you
Speaker 1: ever say that's what she said? I say it, I
Speaker 1: say it. I say it around friends. I tend to
Speaker 1: not draw attention to that fact, but yes, do you
Speaker 1: say that's what she said? My husband and I say
Speaker 1: it all the time at home, but I try not
Speaker 1: to say it on set anymore because I think people
Speaker 1: do get maybe offended by it, and you know, sets
Speaker 1: are so sensitive now about harassment and saying things like that.
Speaker 1: So I don't say it on set anymore. Just some
Speaker 1: times I have to say it, so I say it
Speaker 1: to myself really quietly. Do you do you think that
Speaker 1: this show could be made now in this woke PC environment?
Speaker 1: I think it was, you know, a perfect storm. It's like,
Speaker 1: you know, everything came together at that moment, all the
Speaker 1: people involved, all the ideas, all the um, you know,
Speaker 1: the crew, that talent, it all came together in a
Speaker 1: way that made it all work. And I don't know
Speaker 1: if we could ever happen exactly that way again. Yeah,
Speaker 1: I don't know if it has to do with the
Speaker 1: time period, or it's just the miracle of all those
Speaker 1: personalities coming together at that moment. Yeah, Veda, thank you
Speaker 1: so much for coming, and yeah for coming to talk
Speaker 1: to me. And you're your perspective having watched it all
Speaker 1: as it happened, is really really to watch. Well, Vada,
Speaker 1: what a delight you are and thank you for speaking
Speaker 1: with me. What a true pleasure to have you in.
Speaker 1: That's what she said. Uh, and thank you listeners for
Speaker 1: joining in. Join us again next week please for another
Speaker 1: riveting conversation, and don't forget to subscribe and leave us
Speaker 1: comments on on whatever podcast platform you see fit. Have
Speaker 1: a great week. The Office. Deep Dive is hosted an
Speaker 1: executive produced by me Brian Baumgartner alongside our executive producer Langley.
Speaker 1: Our senior producer is Tessa Kramer. Our producers are Emily
Speaker 1: Carr and Diego Tapia. Our social media producer is Liz Hayes.
Speaker 1: My main man in the booth is Alec Moore. Our
Speaker 1: theme song Bubble and Squeak, performed by my great friend
Speaker 1: Creed Bratton, and the episode was mixed by seth Olandski.
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