WEBVTT - Veda Semarne 0:00:00.800 --> 0:00:03.320 Did you know that on the day Dr King was shot, 0:00:03.360 --> 0:00:06.680 the all black security detail normally assigned to him was 0:00:06.720 --> 0:00:10.559 called off. They're the ones who would not allow him 0:00:10.600 --> 0:00:15.320 to stay at any hotel with balconies. Did you ever 0:00:15.360 --> 0:00:22.200 asked what this was all about? This is the MLK tapes. 0:00:22.560 --> 0:00:25.560 The first episodes are available now. Listen on the I 0:00:25.640 --> 0:00:30.840 Heart Radio app, Apple podcasts, or wherever you get your podcasts. Hi, guys, 0:00:30.920 --> 0:00:33.519 I'm Jade Ivan and I host Tell Me About It, 0:00:33.640 --> 0:00:37.440 the podcast that is the antithesis of a success story podcast, 0:00:37.720 --> 0:00:41.720 where we leave things like girl Boss, energy and lucky 0:00:41.800 --> 0:00:45.840 breaks at the door and instead celebrate and commiserate about 0:00:45.880 --> 0:00:48.599 all the things that make us human. This is the 0:00:48.600 --> 0:00:52.200 podcast manifestation of those conversations you have with your best 0:00:52.240 --> 0:00:55.200 friend at four am. We have all kinds of women 0:00:55.360 --> 0:00:59.400 from all different walks of life, like Gwen Stefani, Steph Schep, 0:00:59.680 --> 0:01:03.200 A Man and a Knox, La La Kent, Raven Simone, 0:01:03.480 --> 0:01:05.600 and Joe Joe. Listen to Tell Me About It with 0:01:05.720 --> 0:01:08.920 Jade Ivan on the I Heart Radio app, Apple podcast 0:01:09.120 --> 0:01:13.280 or wherever you get your podcasts. Big Brother, North Korea's 0:01:13.319 --> 0:01:16.080 Forgotten Prince is a new true crime podcast that dives 0:01:16.080 --> 0:01:18.800 deep into the life and mysterious assassination of the man 0:01:18.920 --> 0:01:22.120 once destined to be North Korea's next dictator. Join me, 0:01:22.280 --> 0:01:26.560 even Lee as we investigate a twisting tale of espionage, palas, gossip, 0:01:26.720 --> 0:01:30.360 and political backstabbing, and dive into the motives and suspects 0:01:30.520 --> 0:01:34.240 behind the most bizarre assassination plot of the century. Listen 0:01:34.280 --> 0:01:36.559 to Big Brother on the I Heart Radio app, Apple 0:01:36.600 --> 0:01:47.080 Podcast or wherever you get your podcasts coming February. My 0:01:47.200 --> 0:01:50.720 name is Veda Samarne, and I was the script supervisor 0:01:50.880 --> 0:01:59.800 on the Ontice. Welcome, Welcome, one and all to the 0:02:00.040 --> 0:02:03.160 Office Deep Dive. It is nice to be back with 0:02:03.200 --> 0:02:07.560 you all on this fine Tuesday or whatever day you 0:02:07.640 --> 0:02:11.359 happen to be listening. I am your host, Brian Baumgartner. 0:02:12.040 --> 0:02:16.959 Today we're wrapping up our little mini deep dive on 0:02:17.160 --> 0:02:21.000 the women of the Office with a woman who was 0:02:21.040 --> 0:02:25.280 truly the glue of our show. She kept everything together, 0:02:25.880 --> 0:02:30.440 our script supervisor, Veda Somarn. This is someone I respect 0:02:30.440 --> 0:02:34.000 and admire so much. Okay, she was with us on 0:02:34.080 --> 0:02:38.120 set every single day making sure that we did our 0:02:38.280 --> 0:02:41.480 jobs and set our lines, and that the director, the 0:02:41.680 --> 0:02:45.120 editor and the writers all got what they needed to 0:02:45.200 --> 0:02:48.960 make a great show as well, and so how was 0:02:49.000 --> 0:02:52.920 she repaid, Well, she was repaid by the cast with 0:02:53.200 --> 0:02:58.760 groans with eye rolls, because when we were having fun 0:02:59.320 --> 0:03:03.799 shooting set, when Veda came in, Oh, well it's because 0:03:03.800 --> 0:03:08.079 we did something wrong. Oh, that's how we repaid her. 0:03:09.240 --> 0:03:12.480 But I really do. I love her and Veda and 0:03:12.520 --> 0:03:17.639 I we had a special connection because Kevin's car on 0:03:17.680 --> 0:03:22.520 the show was actually vedas car in real life. Yeah, 0:03:22.639 --> 0:03:27.440 remember Kevin's fuzzy steering wheel cover. Now that that's all 0:03:27.520 --> 0:03:31.560 Veda think of this, the simple task of keeping the 0:03:31.760 --> 0:03:36.640 entire cast on track, helping everyone with lines, marking every take, 0:03:36.760 --> 0:03:40.800 supporting the director, editors, actors, props, wardrobe all at the 0:03:40.840 --> 0:03:44.240 same time. She even made sure all of the clocks 0:03:44.360 --> 0:03:49.040 and watches were set to the same time. Yeah, yeah, 0:03:49.040 --> 0:03:51.720 that was all her too. Now, when we spoke all 0:03:51.760 --> 0:03:56.520 the way back in February, she was working on Steve 0:03:56.560 --> 0:04:01.760 Correll and Greg Daniels show Space Force, lots of other 0:04:02.200 --> 0:04:05.160 office cast and crew, so she was getting to hang 0:04:05.200 --> 0:04:09.840 out with that crew almost every day in that moment. 0:04:10.200 --> 0:04:15.240 Lucky her, and well lucky you, because now you get 0:04:15.280 --> 0:04:22.279 to listen to my conversation with the incomparable Vada Samarn, 0:04:26.400 --> 0:04:33.920 Bubble and Squeak. I love it, Bubble and Squeak, Bubble 0:04:33.960 --> 0:04:37.800 and Squeaker cook at every month. Left over from the 0:04:37.960 --> 0:04:53.840 night before. Oh my god, how are you so good 0:04:53.880 --> 0:04:58.680 to see you? Oh my gosh, I know it's been 0:04:58.760 --> 0:05:03.279 so long. So all right there, right, yeah, right by that. 0:05:04.400 --> 0:05:06.600 It's always so fun to see people from the office. 0:05:06.640 --> 0:05:10.279 It's well, you were just working with a bunch of all. Yeah, 0:05:10.520 --> 0:05:13.960 that was a really cool experience to be back with, 0:05:14.040 --> 0:05:20.560 you know, Steve bunch of us, Dave Rogers. Yeah, it 0:05:20.720 --> 0:05:29.880 was very cool. Yeah. Is that that? Wait? Who is it? Well? Yeah, yeah, um, 0:05:30.040 --> 0:05:33.880 do you still have the RAB four? No? Oh gosh, okay, 0:05:33.920 --> 0:05:37.520 So you know, I remembered a good story about that, 0:05:37.600 --> 0:05:39.719 you know, because the prop Department always had to change 0:05:39.720 --> 0:05:42.520 my license plate right a right to make in Pennsylvania. 0:05:42.520 --> 0:05:45.719 And I once drove home with the Pennsylvania plates, I remember, 0:05:46.279 --> 0:05:48.479 and when I got home, I thought, oh my god. 0:05:48.839 --> 0:05:51.760 That's not good, is it? You know? And then and 0:05:51.760 --> 0:05:53.320 then of course I didn't know how to get them off, 0:05:53.320 --> 0:05:55.240 so I had to drive back the next morning with 0:05:55.320 --> 0:05:59.200 the mom. But it doesn't reflect well on the prop 0:05:59.279 --> 0:06:03.720 department that's yeah, they had. But also I remember there 0:06:03.720 --> 0:06:05.839 were all these stickers all over it that were like 0:06:05.880 --> 0:06:10.240 Pennsylvania stickers that I had. I just left on as 0:06:10.320 --> 0:06:13.120 because Kevin was always there, so my car was always 0:06:13.480 --> 0:06:16.440 right there. And it's that's that's another continuity thing that 0:06:16.520 --> 0:06:19.680 I thought of, you know, like the car continuity. There 0:06:19.720 --> 0:06:23.720 was so many weird kinds of continuity, right, all right, 0:06:23.800 --> 0:06:27.200 So first, how did you get hooked in? Was it 0:06:27.200 --> 0:06:31.000 through Ken Kappas? Yes? I had done a movie with him. 0:06:31.160 --> 0:06:34.400 I did a movie that he wrote called Sexual Life, 0:06:34.760 --> 0:06:36.640 So I knew him from that and he knew I 0:06:36.680 --> 0:06:39.000 was smart and that, you know, I could figure stuff out, 0:06:39.040 --> 0:06:42.440 and you know that this show was going to require 0:06:42.480 --> 0:06:46.240 someone who could figure yourself out? Right, And you came 0:06:46.240 --> 0:06:50.760 in Diversity day right, Yes, that's the second episode. Yes, yes, yes, 0:06:51.000 --> 0:06:53.640 they didn't do the pilot. I never met the person 0:06:53.680 --> 0:06:56.680 who did the pilot. But no, I did every other 0:06:56.680 --> 0:07:00.480 episode after that though. I just stuck with it. I 0:07:00.520 --> 0:07:02.800 mean why wouldn't. I mean, it's the best show to 0:07:02.880 --> 0:07:06.400 work on the way the show was shot. Was that 0:07:06.520 --> 0:07:08.919 more difficult for you? In other words? Like there are 0:07:08.920 --> 0:07:13.560 no marks, so much improving that would affect you a 0:07:13.560 --> 0:07:18.640 lot too. Yes, it made my job completely different. I 0:07:18.640 --> 0:07:21.400 had to reinvent it. I think everyone did, you know, 0:07:21.480 --> 0:07:25.880 in their own job, their own department, of their own capacity, 0:07:25.920 --> 0:07:29.880 they had to reinvent what they normally do. You had 0:07:29.880 --> 0:07:32.000 to throw it out the window and start all over again. 0:07:32.600 --> 0:07:37.280 Because this was really different. At the beginning, no one 0:07:37.360 --> 0:07:39.960 was allowed on set. None of the crew members remember that, 0:07:41.080 --> 0:07:44.040 because the idea was that it was going to feel 0:07:44.080 --> 0:07:47.160 like a real office and you guys were going to 0:07:47.400 --> 0:07:51.160 get acquainted with the space and feel like you were 0:07:51.480 --> 0:07:53.720 home when you were there, so that you would feel 0:07:53.760 --> 0:07:56.800 free to do whatever. So the way that affected me 0:07:57.120 --> 0:08:00.560 was humongous because first of all, I I had to 0:08:00.560 --> 0:08:03.800 be in the green room with the writer the entire 0:08:04.520 --> 0:08:06.440 I think it was two or three seasons we did. 0:08:07.360 --> 0:08:10.680 So I was outside the main office. I was outside 0:08:10.720 --> 0:08:14.040 the door, and so between takes we both have to 0:08:14.200 --> 0:08:17.800 run in, I mean literally run in to give our notes. 0:08:19.400 --> 0:08:24.480 And the nose slating meant that I had to reinvent 0:08:24.520 --> 0:08:26.800 the way I did my notes because I had to 0:08:26.840 --> 0:08:29.120 be able to signal to the editors where all the 0:08:29.240 --> 0:08:31.880 good parts were. So I had to use time code 0:08:32.480 --> 0:08:36.360 instead of slates to separate out each part of it. 0:08:36.440 --> 0:08:38.720 So I had to create a new way of doing 0:08:38.720 --> 0:08:41.280 the notes. This was at the beginning. Later on I 0:08:41.360 --> 0:08:44.120 got a little bit more traditional, a little bit more, 0:08:45.280 --> 0:08:49.120 but at the beginning it was totally new. Um, you 0:08:49.120 --> 0:08:53.000 would just slate the scene and the camera would just 0:08:53.080 --> 0:08:55.560 keep rolling, and a lot of what was on the 0:08:55.600 --> 0:08:58.280 camera was just the camera sitting on the ground and 0:08:58.360 --> 0:09:01.520 feet walking by. So they had to use my notes 0:09:02.000 --> 0:09:05.640 literally to find the takes and to find the coverage. 0:09:05.920 --> 0:09:09.080 Like I'd say, here, the camera's going wide now, so 0:09:09.120 --> 0:09:11.959 we're going to get a three shot of the accounting department. 0:09:12.720 --> 0:09:14.960 And then now and this take we got a close 0:09:15.040 --> 0:09:16.680 up of Kevin, and this take we got a close 0:09:16.760 --> 0:09:18.560 up evangel and this take we got a close up 0:09:18.559 --> 0:09:22.120 of Oscar. You know, it's like every take was a 0:09:22.160 --> 0:09:25.880 different piece of coverage or you know, a continuity there was. 0:09:26.080 --> 0:09:29.200 There was so much continuity. But luckily everyone was on 0:09:29.240 --> 0:09:30.959 top of it, so it wasn't just me, but I 0:09:31.000 --> 0:09:35.600 was definitely needed. I needed to track so much because 0:09:35.679 --> 0:09:38.760 you know, the episodes would take the place in the 0:09:38.800 --> 0:09:42.040 course of a day, so it all had to make 0:09:42.080 --> 0:09:45.240 sense right right right, like what was on even what 0:09:45.320 --> 0:09:48.720 was on people's desks or yes, because things would change 0:09:48.760 --> 0:09:51.280 through the course of the day. Yeah, and if we 0:09:51.280 --> 0:09:55.199 were going backwards or write Office Olympics, you know, like 0:09:55.320 --> 0:09:57.600 which games had been played. You know, you had to 0:09:57.640 --> 0:10:00.000 know at every moment we tried to shoot an order. 0:10:00.400 --> 0:10:03.200 Usually we had to know which games have been played 0:10:03.240 --> 0:10:05.840 to know what each part of the office looked like. 0:10:06.280 --> 0:10:07.920 There was a lot too, you know. I had to 0:10:07.960 --> 0:10:13.160 have like special charts for everything, like what else. Well, 0:10:13.920 --> 0:10:16.880 for example, the clock was always in the shot and 0:10:16.880 --> 0:10:21.400 it didn't run it we said it. But when I 0:10:21.440 --> 0:10:24.400 prepped for each episode, I had to assign a time 0:10:24.480 --> 0:10:27.960 to each scene so that the set decorator could just 0:10:28.040 --> 0:10:31.400 take that list and set the clock. And they had. 0:10:31.960 --> 0:10:34.520 We realized after the first couple of shows that we 0:10:34.600 --> 0:10:36.560 had to set it for every scene, no matter what, 0:10:36.679 --> 0:10:39.199 because you never knew what the camera was going to capture. 0:10:39.720 --> 0:10:43.320 I remember in the Hot Girl episode when they were 0:10:43.320 --> 0:10:45.480 buying purses, you know, I had to keep track. That's 0:10:45.520 --> 0:10:48.280 another one. I had to keep track of what purse 0:10:48.400 --> 0:10:51.400 was on what desk at what time, like who bought what? 0:10:52.920 --> 0:10:56.880 And I remember very distinctly this was the moment I 0:10:56.920 --> 0:11:01.000 realized that we had to be so careful about continuity. 0:11:01.000 --> 0:11:04.440 We had to make sure the whole office was correct 0:11:04.640 --> 0:11:09.320 for every scene because we were shooting a close up 0:11:09.400 --> 0:11:14.040 of Dwight, and I remember Randall just suddenly went around 0:11:14.040 --> 0:11:15.920 to the other side of Dwight so you could see 0:11:16.000 --> 0:11:19.440 Katie in the background Amy Adams, you know, and you 0:11:19.480 --> 0:11:22.120 could suddenly see that he had the purse that he 0:11:22.160 --> 0:11:26.240 bought later on his desk, and so of course I 0:11:26.240 --> 0:11:29.360 had to run in, No, that's not there yet. But 0:11:29.480 --> 0:11:32.280 that's when I realized, no, we can't leave anything out, 0:11:32.400 --> 0:11:35.080 you know, everything has to be correct for every moment, 0:11:35.880 --> 0:11:39.760 because I don't know where the cameras are gonna see. Yes, 0:11:40.120 --> 0:11:44.439 I remember you with the clock and with the watches 0:11:44.800 --> 0:11:48.840 on people's risk, and I said later and I have 0:11:49.040 --> 0:11:52.360 used this since that the greatest decision that I ever 0:11:52.600 --> 0:11:58.480 unwittingly made was that Kevin did not, Thank God, because 0:11:58.520 --> 0:12:02.560 having to adjust that watch every scene and the clock, 0:12:02.640 --> 0:12:06.720 you're right, well, the watches. I got a little more 0:12:06.720 --> 0:12:09.600 easy going about the watches. I decided only if someone 0:12:10.160 --> 0:12:15.400 was going to be camera, because that, yeah, there was 0:12:15.559 --> 0:12:20.000 enough for us to worry about. There was so much, right, 0:12:20.679 --> 0:12:26.400 Who does the script supervisor serve well? The script supervisor 0:12:26.559 --> 0:12:30.320 is a department of one, so you're your own boss. Yes, 0:12:30.600 --> 0:12:34.760 it's really hard to manage. I remember that if there 0:12:34.840 --> 0:12:38.079 was a Kelly line about how she was, she was 0:12:38.120 --> 0:12:40.720 a department of one and her department was so hard 0:12:40.760 --> 0:12:46.480 to manage. Lets saw that applied to script supervisors, right. 0:12:47.280 --> 0:12:50.120 But in terms of I guess, I don't know. It's 0:12:50.120 --> 0:12:53.840 so interesting to me, Like in terms of you know, 0:12:53.880 --> 0:12:56.800 you're talking about needing to do stuff for the editors. 0:12:57.360 --> 0:13:00.880 You've got writers chirping at you, telling you. You know 0:13:00.920 --> 0:13:04.160 that they want lines a certain way. You serve them all. 0:13:04.200 --> 0:13:07.079 I mean, you production, you keep track of a lot 0:13:07.120 --> 0:13:09.719 of information about the scripts, and you know how much 0:13:09.800 --> 0:13:13.040 is shot, how much remains. You keep track of all 0:13:13.080 --> 0:13:16.280 the scenes and you know if anything's missing you tell 0:13:16.320 --> 0:13:19.839 them right away, or you keep track of scenes and 0:13:19.920 --> 0:13:25.040 what um the director or the writers want to include 0:13:25.040 --> 0:13:29.080 in the cut. For the editor and for the For 0:13:29.120 --> 0:13:31.520 the actors, you're helping them with lines. Sometimes they don't 0:13:31.720 --> 0:13:34.840 treat it as help, but you basically are helping them 0:13:34.880 --> 0:13:39.000 remember their lines. And you work for the writers in 0:13:39.040 --> 0:13:41.920 the sense that you're trying to make sure the script 0:13:42.000 --> 0:13:45.440 is properly shot and that all the lines are as written, 0:13:46.080 --> 0:13:49.560 especially on the Office, because I mean, let's face it, 0:13:49.559 --> 0:13:53.160 it was like Shakespeare. The lines were beautiful. They had 0:13:53.200 --> 0:13:57.439 to be said exactly as written at least once or twice, 0:13:57.840 --> 0:14:00.360 just because they were so beautifully written. It just had 0:14:00.440 --> 0:14:03.200 to be that way. So I was a real I 0:14:03.280 --> 0:14:08.839 was a real stickler for the bourbage, you know. The people. Yeah, 0:14:09.000 --> 0:14:11.240 people would cower when I came towards them. If they 0:14:11.240 --> 0:14:13.280 had like a whole paragraph that they had to say, 0:14:13.280 --> 0:14:15.040 they would be so nervous that I was going to 0:14:15.480 --> 0:14:18.480 tell them they were doing it all wrong. But you know, 0:14:18.559 --> 0:14:20.680 for the most part, I just wanted the comedy to 0:14:20.760 --> 0:14:23.520 be for it to be as funny as it possibly 0:14:23.520 --> 0:14:26.080 could be. Right. I want to talk about that a 0:14:26.080 --> 0:14:29.480 little bit, that relationship between the actors and you on 0:14:29.560 --> 0:14:35.120 the show, Like did you did you feel comfortable with everybody? Well, 0:14:35.240 --> 0:14:38.200 like Rain for example, like Rain would give you hell. 0:14:39.080 --> 0:14:40.960 I loved him, you know, I loved everybody. It was 0:14:42.000 --> 0:14:44.680 everybody had a different way. You know. I think a 0:14:44.680 --> 0:14:47.880 lot of actors just they wanted to be so perfect 0:14:47.920 --> 0:14:51.240 that they get frustrated and and sometimes they take it 0:14:51.280 --> 0:14:53.480 out on me a little bit. But I don't really 0:14:53.560 --> 0:14:55.760 take it personally, and I know there's a lot of 0:14:55.760 --> 0:15:01.200 pressure on them. You were very, very skilled at that, 0:15:01.640 --> 0:15:05.400 particularly when we were in the conference room, and I 0:15:05.480 --> 0:15:09.400 just recall at times, you know, being in between a 0:15:09.520 --> 0:15:15.560 take and there being a kind of pause that when 0:15:15.600 --> 0:15:18.200 you're inside the conference room, you weren't quite sure what 0:15:18.240 --> 0:15:20.880 was happening, Like it felt like nothing was happening, and 0:15:20.920 --> 0:15:24.760 then you would turn the corner and it would be like, oh, 0:15:24.960 --> 0:15:30.880 somebody's getting it now, somebody is getting it from Beta. Um. 0:15:30.920 --> 0:15:34.880 But I think it was all truly it felt like 0:15:35.440 --> 0:15:40.080 everybody was working to try to make it the best 0:15:40.120 --> 0:15:44.680 show that was. That was so lovely and unusual about 0:15:44.680 --> 0:15:48.240 that show. Like, I mean, for nine years, I was 0:15:48.320 --> 0:15:50.800 excited to go to work. I got up, I was 0:15:50.880 --> 0:15:53.880 happy that I was going to see the scenes I 0:15:53.920 --> 0:15:55.360 was going to see that day, and I was so 0:15:55.400 --> 0:15:58.600 excited to see everybody at work, you know, every day. 0:15:58.920 --> 0:16:01.880 So and I think everyone felt that way. We all 0:16:02.160 --> 0:16:03.840 loved it so much. We wanted it to be as 0:16:03.880 --> 0:16:08.200 good as possible. So sometimes it took you know, a 0:16:08.240 --> 0:16:13.640 little bit of bullying, you know, to get some Sometimes 0:16:13.640 --> 0:16:16.600 people would argue with me about lines, well I would 0:16:16.600 --> 0:16:20.360 make them say, like every article, every little word, because 0:16:20.400 --> 0:16:22.760 I could feel the rhythm of the line, like I 0:16:22.880 --> 0:16:25.240 knew how the line was supposed to sound. It was 0:16:25.280 --> 0:16:29.960 in my head. So I just ignored when people thought 0:16:29.960 --> 0:16:33.120 I was crazy because I knew I was right, and 0:16:32.760 --> 0:16:37.520 it quite often the line would get a laugh after 0:16:37.600 --> 0:16:40.960 they added that tiny little word like a just like 0:16:41.640 --> 0:16:45.880 one little word could make all the difference on that show. 0:16:46.040 --> 0:16:48.840 I've never seen that any other show. How much after 0:16:48.880 --> 0:16:52.320 you handed in your note, were you in dialogue with 0:16:52.400 --> 0:16:55.880 Dave Rogers or Claire or Dean or not really like 0:16:56.200 --> 0:16:59.520 once because you're shooting the next That absolutely was because 0:16:59.560 --> 0:17:01.560 they were right there. They were in the next building, 0:17:02.280 --> 0:17:06.600 which is such a luxury because that doesn't happen very often. 0:17:06.680 --> 0:17:09.960 So I could go over there at lunchtime or between 0:17:10.000 --> 0:17:13.080 scenes and say, you know, here's what's happening. A lot 0:17:13.119 --> 0:17:14.800 of times I would have to talk to them about 0:17:14.840 --> 0:17:17.120 the director, because we had a different director for each 0:17:17.119 --> 0:17:21.520 episode almost, you know, and so many newcomers who were 0:17:21.560 --> 0:17:24.359 experienced directors, but they had never worked on the show before, 0:17:25.000 --> 0:17:28.400 so sometimes I thought they weren't quite getting it right. 0:17:28.840 --> 0:17:31.199 So I'd go and talk to Dave and what do 0:17:31.240 --> 0:17:34.399 you think about what we shot yesterday? Does it is 0:17:34.480 --> 0:17:37.280 this director getting it? Is there any way that I 0:17:37.280 --> 0:17:39.399 could kind of nudge them in one direction or another? 0:17:40.440 --> 0:17:43.159 And sometimes you'd say, you know, just get more reaction shots, 0:17:43.200 --> 0:17:45.560 get tons of reactions for this episode because I'm going 0:17:45.640 --> 0:17:48.320 to really need them, or or they'd say, you know, 0:17:48.359 --> 0:17:51.600 you're not. This director is not getting enough angles. I 0:17:51.680 --> 0:17:54.679 need more angles to be able to pace the scene 0:17:54.720 --> 0:17:57.159 the way I need to pace it, because that was 0:17:57.800 --> 0:18:02.320 a big thing for them, pacing for the comedy. I 0:18:02.359 --> 0:18:05.560 remember some instances, but I want to talk to you 0:18:05.600 --> 0:18:11.800 about how you were tracking not just continuity within an episode, 0:18:12.119 --> 0:18:18.959 but also continuity within relationships that spanned Marc right, I was, 0:18:19.359 --> 0:18:23.320 and Um sometimes that was very difficult. Well, first of all, 0:18:23.960 --> 0:18:28.879 I didn't always know what or remember like what parts 0:18:28.920 --> 0:18:30.920 of the script had ended up in the final cut, 0:18:31.200 --> 0:18:33.840 because it was half of it basically would be in 0:18:33.880 --> 0:18:36.960 the final cut, So I didn't always remember what had 0:18:37.000 --> 0:18:43.680 actually aired. And then if something was stated in season 0:18:43.720 --> 0:18:49.480 two and then in season five we revisited that idea, 0:18:49.760 --> 0:18:52.920 sometimes I wouldn't remember that we'd already said something about that. 0:18:53.240 --> 0:18:56.679 I'll give you an example, like UM, who started at 0:18:56.760 --> 0:19:00.320 Dunder Mifflin first, Pam or Jim. Okay, that was a 0:19:00.359 --> 0:19:04.719 big issue that the fans noticed because early on we 0:19:04.800 --> 0:19:08.440 said it was Pham, I believe, and then later on 0:19:09.520 --> 0:19:11.159 we said Jim had been there or the I. I I 0:19:11.280 --> 0:19:13.679 don't remember which round it was. But it was years, 0:19:13.840 --> 0:19:17.919 literally years later, that we addressed it again and contradicted ourselves, 0:19:18.960 --> 0:19:22.400 and that was you know, I would catch those things 0:19:22.520 --> 0:19:24.800 quite often, but I couldn't catch all of them. It 0:19:24.920 --> 0:19:29.920 was just too hard. There were two characters and yeah, 0:19:29.960 --> 0:19:33.240 and they all had their own stories with different relationships. 0:19:33.720 --> 0:19:36.000 There was some question about like how many kids did 0:19:36.040 --> 0:19:39.760 Meredith actually have? Was it one or two? Because she 0:19:39.840 --> 0:19:45.240 says when she's being described to Michael when he's trying 0:19:45.280 --> 0:19:49.000 to write a funny message on her birthday card season 0:19:49.240 --> 0:19:54.080 the second season, for the first season, thinking they say 0:19:54.119 --> 0:19:57.040 she has two kids, and then later she only had one. 0:19:58.600 --> 0:20:00.520 So then I think it was in a way episode 0:20:00.560 --> 0:20:04.880 that we addressed that issue and why she wouldn't talk 0:20:04.880 --> 0:20:09.000 about the other kid, right right, right, And I think 0:20:09.280 --> 0:20:12.560 that was the other thing I remember Greg talking about, 0:20:12.920 --> 0:20:16.199 which was, yeah, the webisodes. Was that a part of 0:20:16.240 --> 0:20:18.320 the history of the show too, or was it just 0:20:18.520 --> 0:20:22.560 the episodes or was it everything we shot, Like, Yeah, 0:20:23.000 --> 0:20:26.040 there's a lot to keep track of. Yeah, and the 0:20:26.040 --> 0:20:27.760 writers had to try to keep it all on their 0:20:27.760 --> 0:20:32.399 heads too, you know. So hopefully with everybody thinking about it, 0:20:33.080 --> 0:20:36.720 most of the problems got addressed. But I'm sure, you know, 0:20:36.760 --> 0:20:38.640 I'm sure there are things that the fans are still 0:20:38.680 --> 0:20:42.960 finding little nuggets. So you would take the script and 0:20:43.000 --> 0:20:45.479 you would break it. So, so tell me, like the 0:20:45.520 --> 0:20:48.399 process of what how you would break down a script. Well, 0:20:48.400 --> 0:20:50.639 I would do that on the weekends. Would take the 0:20:50.680 --> 0:20:55.679 script and um, for each scene, I would you know, 0:20:55.840 --> 0:20:58.720 note for myself the significant things that happened for each 0:20:58.800 --> 0:21:02.400 character and each scene, and then what time of day 0:21:02.440 --> 0:21:06.679 that was, so that I would be able to create 0:21:06.760 --> 0:21:12.640 like a story flow for myself. After the first season, 0:21:12.800 --> 0:21:15.640 I believe there was almost always a beast story as well, 0:21:17.240 --> 0:21:20.120 So I would separate out the A the B. Sometimes 0:21:20.119 --> 0:21:23.720 there was a C story and I'd color code them 0:21:23.920 --> 0:21:26.919 so that I'd see each story separately and how it 0:21:27.000 --> 0:21:31.040 developed over the course of the day. So, like you're tracking, say, 0:21:31.080 --> 0:21:34.560 if Michael and Carrol have something this episode, and Jim 0:21:34.600 --> 0:21:39.480 and Pam or you know, Darryl and Jim or something, right, 0:21:39.480 --> 0:21:42.360 you're tracking all like, in the middle of the day, 0:21:42.560 --> 0:21:45.000 they're not speaking to each other, you know that, I 0:21:45.040 --> 0:21:47.760 know that. You know, Okay, that's that's about four hours 0:21:47.760 --> 0:21:51.800 into the day. And then a couple hours later something 0:21:51.840 --> 0:21:55.320 happens that makes them bond again. And yeah, that that. 0:21:55.520 --> 0:21:57.919 I was definitely tracking that kind of thing, and I 0:21:57.920 --> 0:22:01.000 would get a lot of questions about that from the actors. Yes, 0:22:01.320 --> 0:22:05.399 like when is this happening we're shooting scenes out of order? Yeah? 0:22:05.520 --> 0:22:09.000 And when did I get angry? Yes? Right? Am I 0:22:09.080 --> 0:22:12.280 building up to it now or has it already happened? Right? 0:22:13.000 --> 0:22:15.919 So you have this chart, and I'm fascinated about this. 0:22:15.960 --> 0:22:21.119 So are you Once actors get in wardrobe, if the 0:22:21.119 --> 0:22:23.760 wardrobe is changing, does that get added to your chart? 0:22:24.840 --> 0:22:28.960 I mean, every department keeps their own continuity, so I'm 0:22:29.000 --> 0:22:34.320 just really checking it. Right. The Yankee Swap episode must 0:22:34.400 --> 0:22:38.040 be the most complicated and difficult. You know, when does 0:22:38.080 --> 0:22:41.680 Phillis have the mit? She gives it to Michael, And 0:22:41.840 --> 0:22:44.919 when we're shooting scenes out of order, who has it? 0:22:45.400 --> 0:22:47.879 What are they doing with it? Yeah, definitely had to 0:22:47.920 --> 0:22:52.400 have a very clear chart of that. I remember Mike 0:22:52.480 --> 0:22:54.720 Sure and I were in the Green room for that, 0:22:54.760 --> 0:22:57.280 because that was when we still were not allowed on set. 0:22:58.200 --> 0:23:01.399 And I remember he's we had so many charts on 0:23:01.440 --> 0:23:05.720 the walls, and one of the charts was his tally 0:23:05.800 --> 0:23:07.880 of how many times he had to run in each day. 0:23:12.000 --> 0:23:16.520 Oh my gosh, you do that document, Oh my god, 0:23:16.640 --> 0:23:19.240 like how many times he had to run in that 0:23:19.400 --> 0:23:30.840 It's really funny. It's a hard time for hiring, so 0:23:30.960 --> 0:23:35.520 you need a hiring partner built for hard times. That's Indeed. 0:23:35.920 --> 0:23:39.119 If you're hiring, you need Indeed because Indeed is the 0:23:39.200 --> 0:23:42.640 hiring partner where you can attract, interview, and hire all 0:23:42.720 --> 0:23:46.040 in one place. 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