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Speaker 1: I am David Rodgers. I was an editor, director, and

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Speaker 1: producer on the Office. Well, hello, there, one and all

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Speaker 1: all of you, I'm talking to you there. Welcome to

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Speaker 1: this week's episode of The Office Deep Dive. I am

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Speaker 1: your host Brian Baumgartner. Today, I am thrilled. I'm I'm

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Speaker 1: pleased as punch, as they say, to bring on the

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Speaker 1: man who worked well. He worked tirelessly on the Office.

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Speaker 1: I don't think he slept at home for ten years. No,

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Speaker 1: he worked to keep the show as fresh, authentic, and

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Speaker 1: well hilarious is possible. And listen his decisions. They actually

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Speaker 1: changed the way that um one viewed the show because

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Speaker 1: he was the person who would decide what would stay

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Speaker 1: and what would go and how we would see an

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Speaker 1: experience it all. He was our ridiculously talented editor and

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Speaker 1: later are ridiculously talented producer and director. David Rogers, or

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Speaker 1: as I and everyone I know calls him Dave. Now,

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Speaker 1: Dave was actually the very first editor brought onto the

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Speaker 1: Office team. And listen, he was more than just a

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Speaker 1: colleague a co worker. He was actually a true fan

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Speaker 1: of the show from day one. He had has and

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Speaker 1: had an encyclopedia knowledge of the show. He remembered every

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Speaker 1: moment from every episode. I feel like he was the

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Speaker 1: reason Dwight loved Battlestar Galactica. He helped Meredith get hit

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Speaker 1: by a car, and he even had his own nicknames

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Speaker 1: for the cat, like just guess who was called to

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Speaker 1: blu roon. No, it wasn't me, uh Dave. Also, he's

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Speaker 1: a force in the world of TV. The Office won

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Speaker 1: five Emmy's total, two of those went to Dave. He's

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Speaker 1: become a trusted collaborator for so many who worked on

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Speaker 1: the show. He went on to work with Mindy Kaling

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Speaker 1: on The Mendy Project, and Greg Daniels and Steve Carrell

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Speaker 1: on Space Force, among many others. You may also recognize

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Speaker 1: him for his well distinctive voice. He was the voice

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Speaker 1: behind dunder Mifflin's very own documentarian. But before we get

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Speaker 1: into the meat of this interview, and before I let

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Speaker 1: you relive the show through his words, I wanted to

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Speaker 1: let you know that you can also relive the show

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Speaker 1: through our our brand new book, Welcome to dunder Mifflin,

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Speaker 1: The Ultimate Oral History of the Office, which you can

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Speaker 1: pre order on amas on right now. So go ahead,

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Speaker 1: do that. Trust me, You're gonna love it. Then come

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Speaker 1: back here because the time has come for you to

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Speaker 1: be carried away by the incredible wealth of knowledge that

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Speaker 1: is Dave Rogers. Bubble and Squeak, I love it. Bubble

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Speaker 1: and squeaker, Bubble and squeaker cookie every month left over

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Speaker 1: from the night before. Oh my god, oh boy, wow,

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Speaker 1: you look exactly the same. Do you want to know what?

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Speaker 1: You know? You don't say that. Everyone keeps saying it

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Speaker 1: that I look exactly you know. I mean, well, I

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Speaker 1: wanted to say it to you first, so you know what,

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Speaker 1: you wouldn't say it to me. Good to see you too.

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Speaker 1: It's like way too long. I know, you have to

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Speaker 1: sit over there. I mean, that's the rule. I saw

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Speaker 1: Mr Correll yesterday. Yeah, yes, he seemed good. Yeah, he's

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Speaker 1: been in he's been in editing a lot. Hey. Yeah.

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Speaker 1: I don't think I realized that he and Greg wrote

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Speaker 1: the pilot, created it together. I think Steve had the

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Speaker 1: idea and then they kind of hammered out like kind

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Speaker 1: of a loose thing, and then Gregg wrote in. Then

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Speaker 1: he would give notes and stuff, you know, and then

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Speaker 1: I think that was the process. But I think I

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Speaker 1: think Steve had the idea and it came to Greg

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Speaker 1: and was like, hey, what do you think about that?

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Speaker 1: So yeah, let's let's do it. And then they that

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Speaker 1: was it. They pitched and you know, how's Malkovich. He's good,

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Speaker 1: He's good. It's uh. You know. One of the things

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Speaker 1: that we're striving to do is have this kind of

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Speaker 1: dual you know, they do a little bit they joust

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Speaker 1: like they're friendly and but there's some jousting and things

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Speaker 1: like that. We're struggling to create new relationships that are

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Speaker 1: different from Michael Scott because he has like one assistant

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Speaker 1: and it's like or like his secretary. And he was saying,

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Speaker 1: he's you know that he has a line where he goes,

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Speaker 1: I really like to get shut up Brad, and it's

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Speaker 1: like we even changed it to like thank you, Brad

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Speaker 1: because it was too much like shut up Dwight. You know.

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Speaker 1: So we're trying cognisant of that. Yeah. Yeah, yeah. The

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Speaker 1: context or the character might be different, but how it's

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Speaker 1: going to be perceived in some small level is going

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Speaker 1: to be you're sort of built in expectation. That's fascinating. Um, okay,

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Speaker 1: rewinding back, Um two thousand fourish, what are you doing

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Speaker 1: prior to working on the show. So I was working

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Speaker 1: on the Seinfeld DVDs. You know, I came up, I

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Speaker 1: was assistant editor and Seinfeld that I started cutting. I

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Speaker 1: cut the clip show for that aired right before the

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Speaker 1: series finale, and uh, I would always kind of come

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Speaker 1: back and do some Seinfeld things whenever things would pop up.

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Speaker 1: So we were working on the DVDs. We were going

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Speaker 1: through pulling you know, the bloopers behind the scenes and

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Speaker 1: interviewing a bunch of you know, everybody from cast to crew,

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Speaker 1: and making these many documentaries inside looks of all the

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Speaker 1: episodes and just being really meticulous with things. So I

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Speaker 1: was working on that. We we were getting the first

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Speaker 1: three seasons out, and uh the line producer from News Radio,

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Speaker 1: which was another show I had worked on, Ken Sibornac,

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Speaker 1: said Hey, I have a pilot. I think you know

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Speaker 1: you'd be good for it. Uh I said okay, and

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Speaker 1: then uh I was like, yeah, I'd love to. Let's talk.

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Speaker 1: And then I didn't hear back from him, and uh,

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Speaker 1: you know, I understood. I always wanted it just to

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Speaker 1: him to say, hey, the directors is going with his editor,

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Speaker 1: you know, and be like, okay, that makes sense. But I.

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Speaker 1: I didn't hear back, and then uh, I was all right,

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Speaker 1: And then I get an email from him like I know,

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Speaker 1: I know, I owe you a phone call. We got

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Speaker 1: picked up for five episodes. I think you'd be great

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Speaker 1: for the series, you know, would you like to come

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Speaker 1: in and meet Greg Daniels. I'll send you the the pilot.

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Speaker 1: I was like, yeah. So I watched the pilot and

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Speaker 1: I loved it and it was so I was like,

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Speaker 1: oh God, he's so it's dark, you know, and I

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Speaker 1: love that. Uh. I mean for me, it's the moment.

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Speaker 1: I'm a huge six million dollar Man fan. So him

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Speaker 1: doing an impression of the six million dollar Man, like

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Speaker 1: referencing it and doing it. They just went on and on,

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Speaker 1: and I was like, I looked at this and I go,

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Speaker 1: I'm doing this show. And I came and I met

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Speaker 1: with Greg and we just hit it off right away,

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Speaker 1: and we were talking about things, and it's funny. I

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Speaker 1: I was talking about all the characters and I said,

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Speaker 1: I feel like Dwight would like Battlestar Galactica. And this

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Speaker 1: was before the new Battlestar Galactica, but I thought like

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Speaker 1: Star Trek was too mainstream and cool for him that

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Speaker 1: he would like this kind of smaller, more cultish old show,

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Speaker 1: and uh, I said, I could just I could just

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Speaker 1: see him having like a viper on his desk, you know,

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Speaker 1: like an old model of a of a viper. And

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Speaker 1: so it was funny that when the new show came

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Speaker 1: up and that we they did work that in that

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Speaker 1: he became a Battlestar Galactica fan. But I'm one of

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Speaker 1: my birthdays just as a side note, like Greg bought

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Speaker 1: me a huge model of a Cylon base ship like

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Speaker 1: from the original series. And and in the penultimate episode,

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Speaker 1: I got to direct Dwight hangs a Galactica in his

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Speaker 1: office and they were like, do you want the new

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Speaker 1: one or the old one. I'm like, oh, I want

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Speaker 1: the original series one, you know totally, and I have that.

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Speaker 1: I have the model and Rain signed it for me,

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Speaker 1: you know. But I love He's got he's got a

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Speaker 1: line with his you know, his son, who's he just

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Speaker 1: he looks at the Galactica the same way I look

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Speaker 1: at the Galactica. So it was just kind of it

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Speaker 1: was just kind of funny how that all came together.

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Speaker 1: But uh, yeah, I just met with Greg. We just

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Speaker 1: hit it off, and that was it, and then I

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Speaker 1: was like, okay, I'm hired and I'm starting on Diversity

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Speaker 1: Day was the first episode, and so you were the

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Speaker 1: only editor hired at that point. I was the only

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Speaker 1: editor hired. And I'll say this the deep the Seinfeld DVDs,

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Speaker 1: Jerry and Larry came in to watch one of the

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Speaker 1: documentaries that like how the show began, and Jerry saw

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Speaker 1: it and was like, well, this needs to be on TV.

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Speaker 1: And so then I'm working. Then we're making the Seinfeld story.

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Speaker 1: So now I'm I'm I'm editing to get this thing

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Speaker 1: on TV and we're starting on the office. And I said, Greg,

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Speaker 1: I said, there's gonna be a little bit of overlap.

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Speaker 1: There are days where I'll be editing with Jerry Seinfeld,

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Speaker 1: so I'll have to go there and and do that.

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Speaker 1: I said, I'm finishing up, but there's gonna be some

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Speaker 1: So there were a couple of days where he's like,

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Speaker 1: when are you completely done? And I'm like, I'm almost done.

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Speaker 1: I'm almost done, but I was there was a little overlap,

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Speaker 1: but um, yeah, so I I sorry, go ahead. I

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Speaker 1: started on a Diversity Day. Yeah, but that first season,

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Speaker 1: then you're working on your finishing up the Seinfeld project

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Speaker 1: and you're the only editor on the show. I was

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Speaker 1: the only editor at first, And then we weren't sure

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Speaker 1: when we were going to air. Originally was going to

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Speaker 1: be March, and then they said there's a chance it

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Speaker 1: might be you know earlier, and Greg said, I'm not

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Speaker 1: going on the air in February. I don't want to

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Speaker 1: be up against everybody's huge stunt episodes. So that meant

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Speaker 1: we would be on the air in January. And because

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Speaker 1: of that, then there was pressure to get the episodes done.

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Speaker 1: So Stu Bass, who's a veteran editor, he came in

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Speaker 1: and so we were we were tag team on a

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Speaker 1: few episodes. So like, I think there were somewhere I cut,

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Speaker 1: there was a couple where he cut, there was somewhere

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Speaker 1: he'd finished, you know. He like I would do the

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Speaker 1: assembly and he would work with the director and vice versa.

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Speaker 1: Do you feel like you got the aesthetic of the

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Speaker 1: show right away? How much was Greg directing you in

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Speaker 1: terms of how he wanted the show to look or feel. Um,

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Speaker 1: I think I got it right away. I mean I

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Speaker 1: just was like, oh, this is funny, and I mean

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Speaker 1: there's definitely a little difference with finding uh, just the

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Speaker 1: style of the mockumentary and having these kind of cameras

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Speaker 1: moving around. Um, we played around a lot definitely that

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Speaker 1: first season. We spent a lot of time. You know.

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Speaker 1: One of the things that was cool was that they

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Speaker 1: shot you guys, I think, in two different outfits, Like

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Speaker 1: we could take general views of you of just like

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Speaker 1: you guys sitting in the office. And even if we

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Speaker 1: shot of for episode one, it also worked for episode

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Speaker 1: three and episode five and then two and four you

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Speaker 1: might have had similar clothes or something like that. You know,

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Speaker 1: there was something where we had general views that we

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Speaker 1: could kind of steal from one episode and put into another. Um.

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Speaker 1: The one thing that was knew about this kind of

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Speaker 1: show than anything I had done before was usually, you know,

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Speaker 1: when you're editing comedy, it's like fast, fast, fast, and

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Speaker 1: you're pacing it up. And here it was like, no,

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Speaker 1: we need these moments of of breath and it's holding

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Speaker 1: on reactions, and you know, it's a little different than

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Speaker 1: anything I had done before. But once you get into

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Speaker 1: and you're like, Okay, now I know what's what we're

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Speaker 1: looking for. Well, we just explored things and and tried

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Speaker 1: and you know, especially even with the theme song and

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Speaker 1: the main title, different things. Oh my god, we had

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Speaker 1: he sent out like to the cast, he maybe sent

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Speaker 1: to you, like, hey, give me five songs that you

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Speaker 1: guys look. So I was building different main titles, you know,

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Speaker 1: twenty we did like twenty five different songs. Here was

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Speaker 1: a song here, there was a song here. John Krasinski

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Speaker 1: had a song from Sloan that was like this is great,

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Speaker 1: um and uh. And I'd have to cut the picture

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Speaker 1: though too. And it wasn't just like all right, I'll

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Speaker 1: just lay the song in. So I was like cutting

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Speaker 1: multiple versions of picture. But ultimately we went with you know,

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Speaker 1: I think Jay Ferguson was the composer and we just

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Speaker 1: his version. That was the one we used from the beginning.

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Speaker 1: Were you planning on using the footage that John Krasinski shot?

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Speaker 1: There was no plan, Like stuff came in and it

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Speaker 1: was like, okay, I'll use this and use that, you know.

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Speaker 1: I mean, we just there were all kinds of things.

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Speaker 1: So it was like circling stuff the water cooler. You know.

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Speaker 1: We were just just trying things like to make a

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Speaker 1: main title and things that would hit, and you know,

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Speaker 1: it was hit with the music. So when the song

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Speaker 1: when the rhythm of the song was different, it had

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Speaker 1: to be totally recut. When we had different songs, and

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Speaker 1: and and you know, there were different versions of the

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Speaker 1: main title. There's a longer version. I think for the

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Speaker 1: super Bowl episode we did a longer version of the song.

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Speaker 1: We did shorter versions, you know, towards the end we

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Speaker 1: would get you know, do really short versions because we

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Speaker 1: needed more time for show. There's also a version and

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Speaker 1: maybe it was the Super Bowl where there was just

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Speaker 1: more of the cast, and then towards the after Steve left,

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Speaker 1: also it was we have okay, here's a shot of

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Speaker 1: Phillis and Stanley, here's a shot of Kevin and Angela

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Speaker 1: and Oscar. You know, so we would we would get

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Speaker 1: more more people into the main title. Randall talked about

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Speaker 1: there were rules that they had was sort of dictated,

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Speaker 1: you know, by Ken's original vision and by Greg that

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Speaker 1: they would not shoot a shot that was imposed posible

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Speaker 1: to get as a documentary. Like if we came up

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Speaker 1: to a house and they knocked on the door, there

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Speaker 1: would not be a camera inside the house shooting out

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Speaker 1: because the crew wouldn't have if we've just arrived there,

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Speaker 1: there would be no camera from inside, right. But more

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Speaker 1: than that, if Michael is standing at his office door

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Speaker 1: and we are shooting Michael, we can't play a camera

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Speaker 1: directly behind Michael because we would then shoot that cameraman

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Speaker 1: in reality. Right. So we were bound by the traditional

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Speaker 1: rules of documentary that everything was happening in the exact moment.

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Speaker 1: And I remember Randall and Matt fighting directors who were

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Speaker 1: wanting the cameras to be placed you on a second

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Speaker 1: pass or whatever, and them saying, no, we can't be

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Speaker 1: there because we would have just filmed ourselves, right. And

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Speaker 1: that's and that's the thing. And it's like you have

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Speaker 1: to give time, at least even in editing, you have

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Speaker 1: to give time to be like, well, this camera could

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Speaker 1: have moved now and then been here, you know. I

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Speaker 1: remember we're arguing with Claire Scanlon, who was another editor

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Speaker 1: once because she was doing something. She's like DONNAA and

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Speaker 1: and Greg's like, no, you can't, and there are not

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Speaker 1: seven cameras in the room, so you have to choose

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Speaker 1: your angles and limbs. You know. They were just I

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Speaker 1: can't even remember what the exact situation was, but they

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Speaker 1: were like, yeah, no, and she was like, Dave, do

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Speaker 1: you do this, I said, yeah, yeah, this is what

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Speaker 1: I follow wed. You know, you have to kind of

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Speaker 1: do this thing. But we yeah, I mean when you

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Speaker 1: watch the cameras and you watch the editing, you'll see,

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Speaker 1: for the most part, we do follow these these rules.

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Speaker 1: And there aren't you know, these shots in typical coverage

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Speaker 1: that you would see on another show. Right. Do you

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Speaker 1: did you work with the DP or camera guys at

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Speaker 1: all about this or was this just sort of like understood,

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Speaker 1: like everything just kind of works because you both got it. Yeah,

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Speaker 1: we got it. I mean we would see what they

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Speaker 1: would do and be like, okay, this is you know,

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Speaker 1: and there will be some communication like they would ask, hey,

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Speaker 1: how's this working or how's this and you know the

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Speaker 1: push in when we would you know, someone would say

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Speaker 1: something and you know, we started doing like these slight

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Speaker 1: pushings and it got fun. But sometimes I felt like

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Speaker 1: the show it would go a little too much like this,

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Speaker 1: and I said, oh, we're we're pushing in. We're missing

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Speaker 1: I think there was something once with you where you

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Speaker 1: were saying something and Angela was next to you, and

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Speaker 1: Angela had a this sour look. The camera pushed in

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Speaker 1: so much on you, and in a few of the

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Speaker 1: takes you couldn't see her, like she got framed out,

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Speaker 1: and it was like you have to kind of you know,

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Speaker 1: I said, let's let's be aware and and so easy

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Speaker 1: on that. But for the most part, no, I mean

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Speaker 1: the camera, the DP and the camera work Matt Randall Sarah,

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Speaker 1: I mean, they were amazing what they would get and

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Speaker 1: the footage that we would we would get in there,

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Speaker 1: and you know, sometimes it was just a lot of

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Speaker 1: footage and it was like, all right, how do we

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Speaker 1: you know, mind through this and putting the puzzle together?

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Speaker 1: How do we get from this coverage to this coverage

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Speaker 1: and back? And you know, when you are shooting multiple takes,

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Speaker 1: obviously you know, having characters match and what they're doing

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Speaker 1: and so it was always fun, but sometimes it was hard.

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Speaker 1: It's interesting. So Claire came from reality. Claire came from

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Speaker 1: reality and documentaries, documentaries and I think she may have

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Speaker 1: done I mean, don't I think she had done some scripted.

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Speaker 1: I'm not sure how much comedy. And she came Actually

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Speaker 1: it was like season it was into season four she

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Speaker 1: came in. Uh, Dean Holland was leaving. So I so

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Speaker 1: after after season one we got picked up for six

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Speaker 1: episodes of season two, so it was just me doing that,

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Speaker 1: and I said, if we get picked up for more,

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Speaker 1: we need to get a second editor, and so we

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Speaker 1: brought in Dean Holland, who was someone who I had

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Speaker 1: worked with before, so it was me and him doing

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Speaker 1: the episodes after that, and then he was leaving with

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Speaker 1: Mike Sure to go do Parks and Wreck, at which

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Speaker 1: point I said, Okay, we need to bring in some editors,

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Speaker 1: and so we brought in Stu Bass again and Claire

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Speaker 1: Scanlin and Claire just I mean, she hit it out

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Speaker 1: of the park right away. I mean she just got

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Speaker 1: it great, great sensibility. And then season the next season

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Speaker 1: was just me and Claire, like we were, we were

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Speaker 1: editing together and alternating and stuff, and uh yeah, she

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Speaker 1: was great. She just got it. A team player too.

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Speaker 1: I'd help her out with stuff, She'd helped me out.

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Speaker 1: I mean just just yeah, just great. Were there things

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Speaker 1: that you felt like, either with you or Dean or

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Speaker 1: you and Claire you can decide or maybe it was

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Speaker 1: the same or different. Were there specific strengths that you

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Speaker 1: had that you felt like, maybe you would take over

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Speaker 1: this moment of an episode, even if it was hers

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Speaker 1: or vice versa. Do you remember anything like that? No,

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Speaker 1: I mean I will tell you something funny about the finale,

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Speaker 1: but no, there was never anything like that. I mean

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Speaker 1: we would just look at each other stuff like she

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Speaker 1: would show me her that I'd give her some feedback

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Speaker 1: or notes. I'd be like, try this, and she would

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Speaker 1: look at mine and say, hey, maybe if you do this,

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Speaker 1: Like it was pretty open. It was great having Claire.

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Speaker 1: She did bring like a sensibility and I think just

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Speaker 1: being a female, like there were things that just as

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Speaker 1: a male, like oh, I'm I'm missing you know, this

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Speaker 1: kind of component, especially with some of the relationship stuff

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Speaker 1: that she had, I think a more sensitive a sense about.

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Speaker 1: But I'll say with the finale was interesting because I

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Speaker 1: think I edited, or maybe Claire edited the first half

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Speaker 1: of the show and I edited the second half, and

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Speaker 1: the first half was like more I think, more comedy stuff.

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Speaker 1: In the second half was like more poignant stuff. I'm

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Speaker 1: trying to remember how we did. And and at some

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Speaker 1: point Greg watched the cut and we thought it was great.

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Speaker 1: It was long and it was great, and then he's like,

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Speaker 1: all right, I want you guys to switch and now

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Speaker 1: I want Claire to do this half and you do

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Speaker 1: this in and we were like, that's insane, that's he

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Speaker 1: was brilliant. I mean it made sense, like suddenly now

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Speaker 1: I was reworking some of her scenes, she was reworking

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Speaker 1: some of mine. If you remember, at the end, we

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Speaker 1: had this whole thing with the plant with planty, you know, yes,

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Speaker 1: Claire brought up planty. Yeah, and it was the whole

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Speaker 1: thing with planting. You know, she had cut it out

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Speaker 1: and Greg said, no, no, you can't. You can't lose Planty.

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Speaker 1: We lost planning. I mean ultimately Greg was like, yeah,

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Speaker 1: like it's got to go. And that's you know, and

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Speaker 1: Greg and I mean, what a brilliant script. Though. The

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Speaker 1: finale was so great, so satisfying, I think as a

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Speaker 1: series ender, you know, just just everything, all the things

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Speaker 1: that were hit in there. You know, everybody had their

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Speaker 1: their moments. It was definitely one of those things where

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Speaker 1: where he had a switch. I'd have to I'm trying

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Speaker 1: to remember who did who did what, But I remember

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Speaker 1: like at the end, I was instrumental with the end

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Speaker 1: to some degree. I ended up shooting the building, the

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Speaker 1: last shot you see of the dunder Mifflin building. I

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Speaker 1: went out with my little cannon point and shoot, and

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Speaker 1: I shot the building and because then we said, oh,

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Speaker 1: we'll do this with Pam, she takes the painting away.

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Speaker 1: But at the end we go into the painting because

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Speaker 1: we needed like this just nice poignant ending. I go,

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Speaker 1: I got it. I got it, and we go into

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Speaker 1: the painting and it dissolves into the building and that's

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Speaker 1: the last shot, you see. And so I shot this building.

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Speaker 1: And then even Matt so own r d P said

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Speaker 1: I'll shoot it also with our cameras we'll see you know,

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Speaker 1: and he shot it and it looked nice too. But

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Speaker 1: for some reason, like I got this lighting and or

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Speaker 1: Greg just he gets used to what he sees and

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Speaker 1: he's like, no, I like this one. And that was it.

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Speaker 1: That was the last shot. It dissolves from the painting

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Speaker 1: into this into the building. So how much after we

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Speaker 1: shot the finale did you do that? It was probably

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Speaker 1: a month and a half. Listen. We didn't finish the

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Speaker 1: show until the morning of I mean we were at

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Speaker 1: the mix till one in the morning, and at midnight,

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Speaker 1: I go, hey, Greg, I just realized the end titles

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Speaker 1: are going to run over the most poignant moments of

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Speaker 1: the show. And he goes fuck. Howard had a call NBC.

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Speaker 1: It was midnight and we had a figure and you know,

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Speaker 1: ultimately like they ran a promo or something, you know,

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Speaker 1: because the week before I directed the one, the week

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Speaker 1: before the ARM, the penultimate one, the titles ran underneath

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Speaker 1: We had a promo for the finale, I think that

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Speaker 1: came after ARM and so the credits just ran underneath

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Speaker 1: that promo. But here we are. It was like what

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Speaker 1: do we you know, what do we do? Because Greg

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Speaker 1: is like, we can't make it. You know, there's no

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Speaker 1: tag for the first run, and we didn't think about,

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Speaker 1: like we just it's just not something that would come

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Speaker 1: up in your head because normally we would run it

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Speaker 1: under you know, a tag or something. But in this,

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Speaker 1: the end of this, it just ends. And so we

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Speaker 1: got clearance to get a promo or something fifteen seconds,

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Speaker 1: twenty seconds and ran the credits under that. And then

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Speaker 1: in the re airs we pulled out Michael and Dwight

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Speaker 1: dancing to Rosalita at the wedding and that became the tag.

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Speaker 1: So it runs under that when you see it in syndication,

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Speaker 1: that's where the end of credits now run. That moved

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Speaker 1: to the end. Interesting I was the last guy there,

425
00:22:41,280 --> 00:22:43,520
Speaker 1: so I have video footage of It's sad when they

426
00:22:43,520 --> 00:22:45,200
Speaker 1: were tearing down the sets, like I was the only

427
00:22:45,200 --> 00:22:49,080
Speaker 1: when they're editing, like everybody else was gone, Like Greg

428
00:22:49,160 --> 00:22:51,760
Speaker 1: wasn't even there, Like I'm editing. I was doing whatever,

429
00:22:51,800 --> 00:22:54,520
Speaker 1: like the syndication cuts or you know, for season nine

430
00:22:54,640 --> 00:22:57,440
Speaker 1: and the DVD stuff for that, and and then I

431
00:22:57,800 --> 00:22:59,920
Speaker 1: went through I I filmed, I did a walk through

432
00:23:00,040 --> 00:23:02,159
Speaker 1: of the sets. It's kind of sad, but I have

433
00:23:02,240 --> 00:23:03,880
Speaker 1: this foot has no one seen it. At some point

434
00:23:03,880 --> 00:23:09,240
Speaker 1: if we do another collective you know, DVD or retrospective

435
00:23:09,320 --> 00:23:33,440
Speaker 1: or something, I have this footage to offer. Wow. So, well,

436
00:23:33,520 --> 00:23:36,600
Speaker 1: you've worked in multi camp shows and you know, the

437
00:23:36,680 --> 00:23:41,480
Speaker 1: office not having any sort of laugh track or music

438
00:23:41,720 --> 00:23:45,800
Speaker 1: underneath underscoring stuff. Did that make your job harder? I

439
00:23:45,840 --> 00:23:48,680
Speaker 1: had done single camera also, I did I kud a

440
00:23:48,680 --> 00:23:51,640
Speaker 1: show called Andy Richter Controls the Universe. Was their music

441
00:23:51,680 --> 00:23:53,800
Speaker 1: under that there was? And I did another show called

442
00:23:53,800 --> 00:23:57,080
Speaker 1: The O'Keefe. Yeah, I mean everything had had music, um,

443
00:23:57,119 --> 00:24:00,320
Speaker 1: but it made it easier not to have to or

444
00:24:00,320 --> 00:24:03,680
Speaker 1: things to not have to, you know, because especially I've

445
00:24:03,680 --> 00:24:06,520
Speaker 1: worked on show since like the Mindy Project and even

446
00:24:06,520 --> 00:24:10,040
Speaker 1: now on on a space force, you know, where like

447
00:24:10,119 --> 00:24:12,199
Speaker 1: we have to you spend a lot of time hunting

448
00:24:12,320 --> 00:24:15,199
Speaker 1: for like temp cues and things like that before the

449
00:24:15,240 --> 00:24:19,119
Speaker 1: composer comes in and does their thing. But yeah, I

450
00:24:19,119 --> 00:24:22,040
Speaker 1: mean the office just never needed it, like we didn't,

451
00:24:22,080 --> 00:24:23,440
Speaker 1: you know. And there were a couple of times where

452
00:24:23,440 --> 00:24:26,399
Speaker 1: we slip things in because they it felt like, okay,

453
00:24:26,400 --> 00:24:30,080
Speaker 1: the documentarian, Like at the end of Dinner Party, we

454
00:24:30,160 --> 00:24:33,240
Speaker 1: play Hunter's song, and uh, it's because the document you

455
00:24:33,280 --> 00:24:35,959
Speaker 1: can logically say the documentarian would have taken it and

456
00:24:36,000 --> 00:24:40,200
Speaker 1: played it like it's their choice. Dinner Party is one

457
00:24:40,240 --> 00:24:44,560
Speaker 1: that I wanted to talk to you about. You cut that, yeah, yeah,

458
00:24:44,640 --> 00:24:49,480
Speaker 1: and that was certainly one of probably the top two

459
00:24:50,560 --> 00:24:57,280
Speaker 1: episodes that utilized the cringe comedy factor more than anything else.

460
00:24:57,760 --> 00:25:01,160
Speaker 1: Did you respond to that kind of episode? I yeah,

461
00:25:01,560 --> 00:25:03,800
Speaker 1: you know, it was a different episode, and just that

462
00:25:03,840 --> 00:25:07,800
Speaker 1: they're at this house and you're seeing Michael acting, you know,

463
00:25:07,840 --> 00:25:11,199
Speaker 1: in a different way than he acts so much, you know,

464
00:25:11,760 --> 00:25:14,399
Speaker 1: more like just an elevated way of him acting than

465
00:25:14,440 --> 00:25:16,919
Speaker 1: at work. He's so happy to have everybody there, but

466
00:25:17,000 --> 00:25:21,280
Speaker 1: it's also so uncomfortable, you know. Um, and I love

467
00:25:21,320 --> 00:25:23,680
Speaker 1: the way he liked it, doesn't he like trick Jim

468
00:25:23,680 --> 00:25:28,359
Speaker 1: and Pam to come yes and uh yeah, I love

469
00:25:28,440 --> 00:25:31,040
Speaker 1: the comedy. I had one I pitched one joke that

470
00:25:31,119 --> 00:25:34,080
Speaker 1: made it in where Michael goes and looks at his

471
00:25:34,160 --> 00:25:37,000
Speaker 1: TV and it's you know, it's really small and it's

472
00:25:37,040 --> 00:25:39,679
Speaker 1: hanging on the wall and we were sitting I was

473
00:25:39,680 --> 00:25:43,120
Speaker 1: sitting in Video Village with Gene and Lee the writers,

474
00:25:43,520 --> 00:25:47,119
Speaker 1: and I go he should say, uh, man, I love this.

475
00:25:47,560 --> 00:25:49,960
Speaker 1: I could just stand here and watch TV all day.

476
00:25:50,480 --> 00:25:53,439
Speaker 1: And Jean like yes, and he ran out and he

477
00:25:53,480 --> 00:25:56,800
Speaker 1: told Paul some people's favorite. Yeah. So I was like,

478
00:25:56,840 --> 00:25:58,520
Speaker 1: and I think it made it in. Like I was

479
00:25:58,560 --> 00:26:00,040
Speaker 1: so happy he made it, like in one of it

480
00:26:00,160 --> 00:26:03,119
Speaker 1: was like Jeff's or something or one of those quotes,

481
00:26:03,160 --> 00:26:05,640
Speaker 1: but that was my my quote because it was like,

482
00:26:06,000 --> 00:26:08,360
Speaker 1: I he just stood there, and I was like, that's

483
00:26:08,359 --> 00:26:10,080
Speaker 1: what's funny. He's like that, not that he would be

484
00:26:10,119 --> 00:26:12,439
Speaker 1: sitting down relaxing, that he could be I could just

485
00:26:12,520 --> 00:26:17,320
Speaker 1: stand here. It's funny because brought up that moment as

486
00:26:17,400 --> 00:26:20,200
Speaker 1: one of the times he could not laugh and specifically

487
00:26:20,320 --> 00:26:23,320
Speaker 1: Steve saying something like, oh and it can tilt and

488
00:26:23,400 --> 00:26:26,240
Speaker 1: it moves just and just kind of bangs the walls

489
00:26:26,280 --> 00:26:29,520
Speaker 1: just the slightest amount were wires hanging down. I mean

490
00:26:29,520 --> 00:26:31,600
Speaker 1: that scene. We have tons of bloopers, like they could

491
00:26:31,640 --> 00:26:34,239
Speaker 1: not keep it together that episode. They could not keep

492
00:26:34,280 --> 00:26:37,159
Speaker 1: it together. But that that scene with the TV and

493
00:26:37,200 --> 00:26:39,000
Speaker 1: you can just see the wires and John be like, oh,

494
00:26:39,040 --> 00:26:41,080
Speaker 1: I see the you know, and you're gonna get the

495
00:26:41,080 --> 00:26:43,520
Speaker 1: wires or no, you know, like whatever. He was just

496
00:26:43,560 --> 00:26:47,000
Speaker 1: talking because it was like it just looks so unprofessionally

497
00:26:47,080 --> 00:26:51,160
Speaker 1: set up, you know, Oh my god. And I think

498
00:26:51,200 --> 00:26:53,760
Speaker 1: we were on strike. The writers were on strike when

499
00:26:53,760 --> 00:26:58,560
Speaker 1: that episode started. Yeah, the timeline to refresh your memory

500
00:26:58,600 --> 00:27:03,040
Speaker 1: is Dinner Party was the episode that was completed before

501
00:27:03,200 --> 00:27:07,440
Speaker 1: the strike, before the stri that was written and we

502
00:27:07,640 --> 00:27:11,440
Speaker 1: could have shot it. And we showed up for work

503
00:27:11,920 --> 00:27:14,679
Speaker 1: on that first day of shooting and I believe they

504
00:27:14,720 --> 00:27:19,320
Speaker 1: got a couple of talking heads in and Steve said

505
00:27:19,359 --> 00:27:23,320
Speaker 1: I'm not coming in and that was and that was it. Yeah,

506
00:27:23,560 --> 00:27:27,320
Speaker 1: what do you remember about that time? I just was like, Okay,

507
00:27:27,640 --> 00:27:30,240
Speaker 1: this is that's what we do. Listen. I'm a union guy.

508
00:27:30,320 --> 00:27:33,119
Speaker 1: I'm in the most Picture Editors Guild in the d

509
00:27:33,200 --> 00:27:36,360
Speaker 1: g A. So I if the writers, you know, if

510
00:27:36,359 --> 00:27:39,160
Speaker 1: there's a strike. You know, I support my my brothers

511
00:27:39,160 --> 00:27:41,080
Speaker 1: and sisters and the other unions. I think I marched

512
00:27:41,119 --> 00:27:43,399
Speaker 1: a couple of days more and more just to see people,

513
00:27:43,880 --> 00:27:45,320
Speaker 1: you know, because it was like three or four months.

514
00:27:45,359 --> 00:27:46,800
Speaker 1: I was like, yeah, I was hanging out with Mindy

515
00:27:46,920 --> 00:27:49,800
Speaker 1: and uh you know, Brent and Paul and you know,

516
00:27:50,160 --> 00:27:53,159
Speaker 1: just just marching. What was funny too, was like I

517
00:27:53,200 --> 00:27:56,280
Speaker 1: was going to direct that season. This was season uh four,

518
00:27:56,359 --> 00:27:58,359
Speaker 1: So I was going to direct that season. And I

519
00:27:58,400 --> 00:28:01,879
Speaker 1: remember when we came back, Kent said, I don't know,

520
00:28:02,119 --> 00:28:04,959
Speaker 1: you know, what promises were made, and I said it's okay.

521
00:28:05,040 --> 00:28:07,800
Speaker 1: Let's just because they didn't know how many episodes would

522
00:28:07,800 --> 00:28:10,080
Speaker 1: be left, and you know, and I was like, it's okay,

523
00:28:10,119 --> 00:28:12,040
Speaker 1: we just want to get back to work. I'll direct.

524
00:28:12,160 --> 00:28:14,280
Speaker 1: I'll get my first one at some point. I'm not worried.

525
00:28:14,920 --> 00:28:17,919
Speaker 1: And I got mine, you know. I season five. Early

526
00:28:17,960 --> 00:28:20,439
Speaker 1: on in season five was when I got my my

527
00:28:20,480 --> 00:28:23,560
Speaker 1: first episode to direct. And was that your first directing?

528
00:28:24,080 --> 00:28:28,760
Speaker 1: That was my first directing was employee transfer of any television,

529
00:28:28,760 --> 00:28:31,479
Speaker 1: of any television. Yeah, and I had you know, I

530
00:28:31,520 --> 00:28:35,040
Speaker 1: had a huge Halloween. You know, we had the Halloween opening.

531
00:28:35,880 --> 00:28:38,600
Speaker 1: You were Batman, you were the joker. Yeah, there were

532
00:28:38,640 --> 00:28:40,400
Speaker 1: three jokers. So I had this nice, you know, this

533
00:28:40,520 --> 00:28:43,360
Speaker 1: great fun thing with the costumes, and then uh, and

534
00:28:43,400 --> 00:28:46,600
Speaker 1: then I had three stories. I had Jim and Pam,

535
00:28:46,800 --> 00:28:49,960
Speaker 1: Pam meeting Jim's brothers for the first time. I had

536
00:28:51,000 --> 00:28:56,280
Speaker 1: Dwight coming in wearing Cornell paraphernalia and pissing off Andy.

537
00:28:56,520 --> 00:29:00,320
Speaker 1: And then I had Michael Holly and Darryl draw iving

538
00:29:00,320 --> 00:29:05,080
Speaker 1: and you know, breaking up soode and it was funny.

539
00:29:05,120 --> 00:29:07,440
Speaker 1: I showed up was my first day of filming, I

540
00:29:07,440 --> 00:29:09,680
Speaker 1: think was that and I was so I mean, I

541
00:29:09,680 --> 00:29:12,560
Speaker 1: had so much anxiety that night before. And I show

542
00:29:12,640 --> 00:29:15,120
Speaker 1: up and I go to Crew Parking and I'm on

543
00:29:15,200 --> 00:29:19,000
Speaker 1: the bus with the extras. You know, we're sitting, everyone's talking,

544
00:29:19,000 --> 00:29:20,600
Speaker 1: they're excited, and they're like oh no, no no, no, no,

545
00:29:20,600 --> 00:29:22,880
Speaker 1: no no, and then like and they're like, oh, You'm

546
00:29:22,880 --> 00:29:25,960
Speaker 1: like I'm the director, and like the extras like, you know,

547
00:29:26,000 --> 00:29:28,320
Speaker 1: their faces just kind of dropped. But I'm like, I'm

548
00:29:28,360 --> 00:29:30,400
Speaker 1: you know, I'm because I'm a regular guy. I just

549
00:29:30,560 --> 00:29:32,480
Speaker 1: I don't know. They tell me. And then I get there, like,

550
00:29:32,480 --> 00:29:34,200
Speaker 1: oh no, you can park here. You don't have to

551
00:29:34,240 --> 00:29:36,840
Speaker 1: be at base camp. You could be here as I

552
00:29:36,880 --> 00:29:38,960
Speaker 1: don't know, I get the call sheet. This was it.

553
00:29:39,000 --> 00:29:41,719
Speaker 1: No one specifically told me where to park, and but

554
00:29:41,760 --> 00:29:43,680
Speaker 1: it was so great. I mean, everybody was so supportive,

555
00:29:43,720 --> 00:29:46,000
Speaker 1: the cast, the crew. I have. You know, I have

556
00:29:46,040 --> 00:29:49,160
Speaker 1: a script Kim Ferry from Harry I think got everybody

557
00:29:49,200 --> 00:29:52,080
Speaker 1: to sign a script for me. So it's got cast

558
00:29:52,120 --> 00:29:54,880
Speaker 1: and crew and it it really means a lot. Yeah,

559
00:29:55,120 --> 00:29:57,240
Speaker 1: well what did that mean for you to be given

560
00:29:57,280 --> 00:30:00,360
Speaker 1: that opportunity by Greg? Oh? I mean him at the

561
00:30:00,400 --> 00:30:03,640
Speaker 1: world to be trusted. Uh listen. In season one, I

562
00:30:03,680 --> 00:30:06,560
Speaker 1: had started kind of helping out Season one. He did

563
00:30:06,600 --> 00:30:09,240
Speaker 1: the basketball episode was the first thing he had directed,

564
00:30:09,280 --> 00:30:10,680
Speaker 1: and he's like, I want you on set with me.

565
00:30:10,760 --> 00:30:12,920
Speaker 1: So I would be there and sometimes he'd be back

566
00:30:13,120 --> 00:30:15,360
Speaker 1: with video village and he's like, you yell cut when

567
00:30:15,480 --> 00:30:17,200
Speaker 1: we got it, and you know, I'm nervous, but I

568
00:30:17,240 --> 00:30:20,160
Speaker 1: would yell cut sometimes. And I designed a couple of

569
00:30:20,160 --> 00:30:23,200
Speaker 1: the shots just discussing stuff with him, or was like, hey,

570
00:30:23,240 --> 00:30:24,800
Speaker 1: I think if we do that. You know, we needed

571
00:30:24,840 --> 00:30:27,560
Speaker 1: like just more comedy bits, single things to cut two

572
00:30:27,600 --> 00:30:30,280
Speaker 1: and then cut more back to the story. And and

573
00:30:30,400 --> 00:30:34,160
Speaker 1: I remember the one bit that I did was where

574
00:30:34,240 --> 00:30:36,120
Speaker 1: Michael's like, Jim, Jim, Jim, give me the ball, give

575
00:30:36,120 --> 00:30:37,959
Speaker 1: me the ball, and he looks away and Jim throws

576
00:30:38,040 --> 00:30:40,760
Speaker 1: it and it's like, you know, rockets past him and

577
00:30:41,200 --> 00:30:43,760
Speaker 1: Jim my bad. You know that that that kind of

578
00:30:43,800 --> 00:30:46,880
Speaker 1: thing Um and I had. Also one of the things

579
00:30:46,960 --> 00:30:50,000
Speaker 1: I had done was sometimes, you know, if we were

580
00:30:50,000 --> 00:30:52,320
Speaker 1: missing a shot or something, I might say, oh, we

581
00:30:52,560 --> 00:30:54,560
Speaker 1: can just do you know in editing, we we would

582
00:30:54,760 --> 00:30:57,080
Speaker 1: and that's a different things like rewriting and saying, hey,

583
00:30:57,160 --> 00:30:59,520
Speaker 1: if we just get a talking head here, we can

584
00:30:59,640 --> 00:31:01,800
Speaker 1: cut all of this out time wise and just come

585
00:31:01,840 --> 00:31:04,600
Speaker 1: in here. Claire talked about, Yeah, one of the things

586
00:31:04,680 --> 00:31:09,600
Speaker 1: I did was the episode fun Run where Um, Michael

587
00:31:09,720 --> 00:31:13,719
Speaker 1: drives in and he hits so the first time, you know,

588
00:31:13,880 --> 00:31:16,280
Speaker 1: when we got the footage originally he came in and

589
00:31:16,320 --> 00:31:19,160
Speaker 1: he stopped short, and we panned to the right, you know,

590
00:31:19,280 --> 00:31:21,480
Speaker 1: off him, like a quick whip pant and you would

591
00:31:21,480 --> 00:31:24,040
Speaker 1: just see Meredith laying there in the street and it

592
00:31:24,040 --> 00:31:27,400
Speaker 1: would win back and I said, Greg, you have to

593
00:31:27,480 --> 00:31:29,760
Speaker 1: come see this. Like I said, it doesn't look like

594
00:31:29,840 --> 00:31:32,120
Speaker 1: he hit her. It looks like he stopped short and

595
00:31:32,200 --> 00:31:35,160
Speaker 1: found her just lying like as if she's passed out.

596
00:31:35,720 --> 00:31:37,720
Speaker 1: And so we're talking about reshoots and stuff, and I said,

597
00:31:37,760 --> 00:31:39,520
Speaker 1: I think I think we could do something where we

598
00:31:39,520 --> 00:31:42,240
Speaker 1: wouldn't even need Steve, like I can use his footage.

599
00:31:42,560 --> 00:31:44,520
Speaker 1: And so I have a version with our line producer

600
00:31:44,560 --> 00:31:47,240
Speaker 1: Ken Sipborneck where I said, we do this and Dan Beals,

601
00:31:47,240 --> 00:31:50,120
Speaker 1: who was a p A. He was, he sat there

602
00:31:50,200 --> 00:31:52,680
Speaker 1: on the steering wheel, he had his sleeve. We did

603
00:31:52,680 --> 00:31:56,040
Speaker 1: a whip I had kent. We kind of threw him

604
00:31:56,040 --> 00:31:58,680
Speaker 1: against the windshield and then he would he bounced off

605
00:31:58,720 --> 00:32:02,520
Speaker 1: and rolled off, and then we whipped back and I

606
00:32:02,680 --> 00:32:04,920
Speaker 1: edited this. So I had a version with with Michael

607
00:32:05,040 --> 00:32:08,160
Speaker 1: driving whipped off. You saw ken't hit the windshield. He

608
00:32:08,200 --> 00:32:11,200
Speaker 1: came off, whipped back to Michael and Michael like looking,

609
00:32:12,040 --> 00:32:14,800
Speaker 1: you know, shocked, and I'm like, all right, let's do it.

610
00:32:14,880 --> 00:32:16,440
Speaker 1: So then I was there, you know with the I

611
00:32:16,440 --> 00:32:20,360
Speaker 1: guess second unit with UH with Kate Flannery, and I

612
00:32:20,360 --> 00:32:23,680
Speaker 1: would kind of slam her, you know, slam her onto

613
00:32:23,680 --> 00:32:25,880
Speaker 1: the windshield, so she would kind of fall hit the

614
00:32:25,880 --> 00:32:29,120
Speaker 1: windshield and she would fall off and land on pads.

615
00:32:29,640 --> 00:32:31,840
Speaker 1: And uh, she says, because I got on the Tonight

616
00:32:31,880 --> 00:32:34,600
Speaker 1: Show or one of these talks because of that, she

617
00:32:34,720 --> 00:32:37,520
Speaker 1: got more popular because she got hit by Michael's car.

618
00:32:37,680 --> 00:32:40,360
Speaker 1: You know, it was one of one of those things.

619
00:32:40,520 --> 00:32:43,480
Speaker 1: So so you know, it was great to finally be

620
00:32:43,480 --> 00:32:45,720
Speaker 1: given the opportunity to say, Hey, I really want to direct,

621
00:32:46,120 --> 00:32:47,960
Speaker 1: give me a shot. And I was happy. Like everybody,

622
00:32:47,960 --> 00:32:51,240
Speaker 1: the response to employee transfer was was really positive. So

623
00:32:51,320 --> 00:32:56,080
Speaker 1: that was really rewarding to yah, Um, what do you

624
00:32:56,160 --> 00:33:00,840
Speaker 1: think it is about you and Greg's relationship that makes

625
00:33:00,840 --> 00:33:04,000
Speaker 1: it work so well and that you've continued to work

626
00:33:04,040 --> 00:33:07,840
Speaker 1: on other things with him after I think, I mean,

627
00:33:08,560 --> 00:33:11,600
Speaker 1: there's definitely a trust like he I think he you know,

628
00:33:11,640 --> 00:33:14,120
Speaker 1: he likes what I do. He likes the speed that

629
00:33:14,160 --> 00:33:17,080
Speaker 1: I'm able to do it. He knows. I'm talking to Mindy.

630
00:33:17,160 --> 00:33:20,440
Speaker 1: I got dinner. Mindy and my girlfriend and I had

631
00:33:20,480 --> 00:33:24,320
Speaker 1: dinner recently and Mindy said something she goes. Greg said

632
00:33:24,320 --> 00:33:28,760
Speaker 1: this about Dave. She goes, Dave's never political when it

633
00:33:28,800 --> 00:33:32,760
Speaker 1: comes to editing and making a show. Like, I'm not

634
00:33:32,880 --> 00:33:35,600
Speaker 1: sitting there. I never even occurred to me to be like, oh, well,

635
00:33:35,600 --> 00:33:37,480
Speaker 1: this writer wrote this joke, I'm gonna put this in,

636
00:33:37,600 --> 00:33:39,480
Speaker 1: or this one did this. I mean to me, I

637
00:33:39,560 --> 00:33:41,280
Speaker 1: just was doing what I thought, Hey, this is what

638
00:33:41,360 --> 00:33:42,920
Speaker 1: I think is funnier. This is what I think is

639
00:33:43,360 --> 00:33:46,720
Speaker 1: the best. So I think Greg appreciates that that. I'm

640
00:33:46,760 --> 00:33:50,040
Speaker 1: just like, Dave is just gonna do what's funniest. If

641
00:33:50,040 --> 00:33:53,280
Speaker 1: it's an actor ad lib that's funnier than the scripted line,

642
00:33:53,560 --> 00:33:56,840
Speaker 1: that's what's gonna Dave's gonna put in, and in Greg's.

643
00:33:56,880 --> 00:34:00,240
Speaker 1: In fairness to Greg, Greg will go with that as well. Listen,

644
00:34:00,240 --> 00:34:05,120
Speaker 1: I've unlocked shows. We had a show Lice Claire finished

645
00:34:05,160 --> 00:34:08,040
Speaker 1: it with Greg and they cut out the last scene

646
00:34:08,360 --> 00:34:11,279
Speaker 1: like they ended it with Meredith saying, hey, let's go

647
00:34:11,320 --> 00:34:13,960
Speaker 1: get a drink. And I said, you cut out the

648
00:34:13,960 --> 00:34:16,480
Speaker 1: scene of them in the bar and the and Greg's

649
00:34:16,520 --> 00:34:19,120
Speaker 1: like yeah, he goes, did you miss it? I go yeah,

650
00:34:19,360 --> 00:34:21,600
Speaker 1: And this is like mixed, it's ready to be delivered,

651
00:34:21,840 --> 00:34:24,960
Speaker 1: you know. And uh, Greg goes, all right, we'll do

652
00:34:25,000 --> 00:34:26,440
Speaker 1: a version of what you want and let me look

653
00:34:26,480 --> 00:34:28,480
Speaker 1: at it, you know, but trying don't have don't have

654
00:34:28,520 --> 00:34:30,480
Speaker 1: this stuff because I didn't like this in that conversation.

655
00:34:30,520 --> 00:34:32,359
Speaker 1: At the end, I'm like, yeah, no problem, I'll take

656
00:34:32,400 --> 00:34:34,560
Speaker 1: out that stuff and I'll find some trims. It's not

657
00:34:34,600 --> 00:34:37,240
Speaker 1: too disruptive. In the rest of the show. It's like, okay,

658
00:34:37,400 --> 00:34:40,520
Speaker 1: and that was it, and I re so I changed

659
00:34:40,560 --> 00:34:43,239
Speaker 1: the episode. We remixed. I mean, it was just it was,

660
00:34:43,320 --> 00:34:44,600
Speaker 1: you know, we just had to do a fix. We

661
00:34:44,640 --> 00:34:48,880
Speaker 1: had a picture fix in this and I remember Kate

662
00:34:48,960 --> 00:34:51,120
Speaker 1: came up, was really happy. She came to the edic

663
00:34:51,200 --> 00:34:53,520
Speaker 1: She's like, oh my god, like and I was like, yeah,

664
00:34:53,520 --> 00:34:55,279
Speaker 1: I missed that scene. I didn't think. I think we

665
00:34:55,320 --> 00:34:58,799
Speaker 1: need that scene. It's really nice. And the writer, the

666
00:34:58,840 --> 00:35:02,040
Speaker 1: writer was home sick and she gets a DVD delivered

667
00:35:02,080 --> 00:35:03,799
Speaker 1: and she's like, what's this The show already locked, Like

668
00:35:03,840 --> 00:35:05,680
Speaker 1: what is it? Like? She didn't know that I had

669
00:35:05,719 --> 00:35:08,800
Speaker 1: unlocked and relocked it. So she was so excited because

670
00:35:08,800 --> 00:35:11,319
Speaker 1: this was the scene that she wanted. Also, you know,

671
00:35:11,440 --> 00:35:12,960
Speaker 1: it was a staff writer and she was like, oh

672
00:35:13,000 --> 00:35:16,080
Speaker 1: my god. But I think that all goes to you know,

673
00:35:16,120 --> 00:35:19,239
Speaker 1: with Greg knows like I will always fight for what's best.

674
00:35:19,360 --> 00:35:22,960
Speaker 1: I will work crazy hours, and you know he will

675
00:35:22,960 --> 00:35:25,440
Speaker 1: always get my honest and best opinion. I'm never at

676
00:35:25,480 --> 00:35:27,960
Speaker 1: a point where I'm like I don't care like that,

677
00:35:28,040 --> 00:35:30,319
Speaker 1: never had. I ate once in a while say that,

678
00:35:31,200 --> 00:35:33,880
Speaker 1: But the truth is it's not It's not true. And

679
00:35:33,920 --> 00:35:35,759
Speaker 1: I'll think about it, and I'll think about edits and

680
00:35:35,800 --> 00:35:37,839
Speaker 1: I will, you know, get up early in the morning

681
00:35:37,880 --> 00:35:39,600
Speaker 1: to oh, I want to tweak this and fix this

682
00:35:39,680 --> 00:35:41,920
Speaker 1: and how can I make this better? And you know,

683
00:35:42,000 --> 00:35:43,799
Speaker 1: there are times where I've argued with him on stuff.

684
00:35:43,840 --> 00:35:45,279
Speaker 1: I go, we can why would we do this? Da

685
00:35:45,320 --> 00:35:48,120
Speaker 1: da da da, And he'll make a point. I'll be like, okay,

686
00:35:48,280 --> 00:35:51,000
Speaker 1: I that makes sense, Like sometimes I just need that

687
00:35:51,160 --> 00:35:52,839
Speaker 1: or I need to know why. And there were other

688
00:35:52,920 --> 00:35:55,839
Speaker 1: moments where we had some long stuff. I remember being

689
00:35:55,840 --> 00:35:58,480
Speaker 1: with Jen Salada and there was a scene where Roy

690
00:35:58,600 --> 00:36:01,399
Speaker 1: is being nice to Pam and he gets her out

691
00:36:01,440 --> 00:36:03,799
Speaker 1: of a meeting and he helps her with her car

692
00:36:03,920 --> 00:36:06,279
Speaker 1: or something, and they're walking in the parking lot and

693
00:36:06,320 --> 00:36:09,440
Speaker 1: it's like, okay, we get it. And Jen wanted longer

694
00:36:09,480 --> 00:36:11,360
Speaker 1: and longer and longer. And I remember being in the

695
00:36:11,680 --> 00:36:14,160
Speaker 1: bag like a little shit there, you know, with Greg

696
00:36:14,440 --> 00:36:16,120
Speaker 1: and I go like this, I'm sitting there in front

697
00:36:16,120 --> 00:36:17,920
Speaker 1: of my monitor and I hold up my hand like this.

698
00:36:18,640 --> 00:36:20,600
Speaker 1: He goes, what are you doing? I go, this is

699
00:36:20,600 --> 00:36:24,160
Speaker 1: me at home changing the channel, and he goes, all right,

700
00:36:24,520 --> 00:36:26,880
Speaker 1: make it ten seconds. And then you know, so like

701
00:36:26,960 --> 00:36:29,239
Speaker 1: we got it. We go short because it wasn't like

702
00:36:29,600 --> 00:36:31,480
Speaker 1: this is just them walking. It's like we I want

703
00:36:31,480 --> 00:36:33,560
Speaker 1: to get back now to the other stuff. Like we

704
00:36:33,640 --> 00:36:35,759
Speaker 1: get it, they're walking. There's enough of a moment of them.

705
00:36:35,880 --> 00:36:37,960
Speaker 1: It's not like it was short. But I didn't need

706
00:36:37,960 --> 00:36:41,439
Speaker 1: twenty seconds of that, you know, things like that. So there,

707
00:36:41,480 --> 00:36:49,120
Speaker 1: you know he channel. Yeah, but I think Greg appreciates it,

708
00:36:49,280 --> 00:37:11,280
Speaker 1: you know, because I'm like, I'm honest, why did people

709
00:37:11,440 --> 00:37:17,200
Speaker 1: respond to the Jim Pam story so much? Oh? I mean,

710
00:37:19,000 --> 00:37:24,600
Speaker 1: she's adorable. I mean that's your perspective, that's the that's

711
00:37:24,640 --> 00:37:27,200
Speaker 1: my perspective. He's I mean, he is a super sweet

712
00:37:27,239 --> 00:37:30,120
Speaker 1: guy and he's sensitive and he's funny, and you know,

713
00:37:30,200 --> 00:37:34,040
Speaker 1: he's good looking. But she's adorable and and she's being

714
00:37:34,040 --> 00:37:37,640
Speaker 1: treated terribly by Roy and it's like you want something

715
00:37:37,680 --> 00:37:40,040
Speaker 1: better for her. And that's it. That's what it all

716
00:37:40,120 --> 00:37:43,040
Speaker 1: comes down to. I think that's it. You know that,

717
00:37:43,160 --> 00:37:46,239
Speaker 1: and here's this guy that would be perfect for her

718
00:37:46,680 --> 00:37:48,560
Speaker 1: and they would be happy, and you just want to

719
00:37:48,560 --> 00:37:51,560
Speaker 1: see that. Yeah. I think that a lot of it

720
00:37:51,600 --> 00:37:56,359
Speaker 1: has to do also with the editing work that you

721
00:37:56,400 --> 00:38:00,839
Speaker 1: guys did and the way the writers wrote the story, right,

722
00:38:00,960 --> 00:38:03,040
Speaker 1: you couldn't get tired of them because there would be

723
00:38:03,239 --> 00:38:06,520
Speaker 1: whole episodes where nothing would happen between them, So it

724
00:38:06,680 --> 00:38:11,080
Speaker 1: just naturally happened slow. Um. I felt like that gave

725
00:38:11,120 --> 00:38:15,080
Speaker 1: it room to breathe and ultimately brought people into that

726
00:38:15,120 --> 00:38:17,360
Speaker 1: story because not only were they dying for them to

727
00:38:17,360 --> 00:38:19,879
Speaker 1: get together, they were they were dying to see more

728
00:38:20,160 --> 00:38:24,440
Speaker 1: of them, and they were intentionally withheld from that. Do

729
00:38:24,480 --> 00:38:26,600
Speaker 1: you think that's true. Oh yeah, yeah, I mean I

730
00:38:26,640 --> 00:38:30,120
Speaker 1: think definitely that it's It was the center of the show,

731
00:38:30,160 --> 00:38:31,840
Speaker 1: but off center. Do you know what I mean? It

732
00:38:31,920 --> 00:38:35,480
Speaker 1: wasn't it would come in and and then go, you know,

733
00:38:35,560 --> 00:38:37,319
Speaker 1: back off a bit. It was I mean, that's not

734
00:38:37,360 --> 00:38:40,640
Speaker 1: The show has many components, so it was like like

735
00:38:40,680 --> 00:38:43,479
Speaker 1: an ensemble. It was like here's one element of the show.

736
00:38:43,560 --> 00:38:46,839
Speaker 1: Here's another element, here's another element, here's another element. So

737
00:38:46,880 --> 00:38:49,319
Speaker 1: it wasn't like, hey, here's just a show about you know,

738
00:38:49,400 --> 00:38:53,360
Speaker 1: two people. I mean, look, they didn't. We We played it.

739
00:38:53,440 --> 00:38:56,200
Speaker 1: We timed everything nice too. I think that there was

740
00:38:56,480 --> 00:38:59,120
Speaker 1: a certain pacing to their relationship. I don't know if

741
00:38:59,120 --> 00:39:02,600
Speaker 1: anybody talks you about Casino Night, Yes, there was a

742
00:39:02,680 --> 00:39:05,640
Speaker 1: huge discussion. They talked about the huge discussion. Yes, that's

743
00:39:05,800 --> 00:39:07,640
Speaker 1: one of the things that I wanted to get into

744
00:39:07,719 --> 00:39:09,200
Speaker 1: with you because I was in the room where the

745
00:39:09,280 --> 00:39:13,239
Speaker 1: huge discussions. Yes, let's have let's talk about the huge discussion. Now,

746
00:39:13,280 --> 00:39:16,320
Speaker 1: which scene in Casino Night is this when Jim Jim

747
00:39:16,360 --> 00:39:19,600
Speaker 1: professes his love or the kiss when he professes his

748
00:39:19,640 --> 00:39:23,799
Speaker 1: love is? Uh? Originally, like, the concept was we would

749
00:39:23,840 --> 00:39:26,480
Speaker 1: just see the aftermath of it, and there was a

750
00:39:26,560 --> 00:39:29,040
Speaker 1: huge discussion about no, no, no, we should see you know,

751
00:39:29,280 --> 00:39:32,879
Speaker 1: and and it was Greg and Ken the actors were

752
00:39:32,880 --> 00:39:35,479
Speaker 1: there and stuff, and it was like, yeah, it's it's

753
00:39:35,640 --> 00:39:39,000
Speaker 1: cool to do something as a documentary to be like, oh,

754
00:39:39,040 --> 00:39:42,600
Speaker 1: we're just capturing the moment after. But there's something unsatisfying,

755
00:39:42,640 --> 00:39:45,239
Speaker 1: I think for an audience member to not see a

756
00:39:45,280 --> 00:39:47,880
Speaker 1: piece of this. And uh, I think we made the

757
00:39:47,960 --> 00:39:51,080
Speaker 1: right choice in letting them have a conversation. And you

758
00:39:51,120 --> 00:39:53,360
Speaker 1: think it's and you think that's it, Like, you know,

759
00:39:53,400 --> 00:39:55,359
Speaker 1: he says I'm in love with you and she's like

760
00:39:55,400 --> 00:39:58,799
Speaker 1: I can't, and then you think that's you know, he's like,

761
00:39:58,840 --> 00:40:01,800
Speaker 1: I just don't want to be friends, you know, and

762
00:40:02,160 --> 00:40:05,480
Speaker 1: that's it, and you think, okay, we're done. And then

763
00:40:05,520 --> 00:40:07,920
Speaker 1: at the end, what a what an ending? I mean

764
00:40:07,920 --> 00:40:09,799
Speaker 1: you talk about a cliffhang or what a what an

765
00:40:09,920 --> 00:40:12,840
Speaker 1: ending that he comes in and what a great kiss too,

766
00:40:12,960 --> 00:40:16,600
Speaker 1: And I mean kudos to the actors because it's you know,

767
00:40:16,960 --> 00:40:19,920
Speaker 1: even in our small world on the set, like there

768
00:40:20,160 --> 00:40:23,280
Speaker 1: just was a sense of pressure of like like here's

769
00:40:23,280 --> 00:40:25,839
Speaker 1: a big moment that we're dealing with, and they just

770
00:40:26,160 --> 00:40:29,880
Speaker 1: they just fucking awesome, you know, and it's such a

771
00:40:29,920 --> 00:40:32,640
Speaker 1: great kiss and what he does and what she does,

772
00:40:32,800 --> 00:40:35,280
Speaker 1: and you know, it's just and then that we stop

773
00:40:35,320 --> 00:40:37,400
Speaker 1: and again it's a timing thing of them. It's after

774
00:40:37,520 --> 00:40:39,600
Speaker 1: and they look at each other and then boom we

775
00:40:39,640 --> 00:40:44,440
Speaker 1: go to black. You know I can see, yeah, like

776
00:40:44,520 --> 00:40:47,279
Speaker 1: the timing of it, yeah, because it's that moment of

777
00:40:47,320 --> 00:40:51,120
Speaker 1: like where they look at each other after like what now,

778
00:40:51,280 --> 00:40:55,040
Speaker 1: and then we go to black. And then the next season,

779
00:40:55,160 --> 00:41:00,120
Speaker 1: Greg he had that opening. Man, everything gets slowly revere.

780
00:41:00,239 --> 00:41:02,839
Speaker 1: You see this aspect, this aspect, and you see Pam

781
00:41:02,920 --> 00:41:05,239
Speaker 1: doesn't have a ring, Jim is in the now a

782
00:41:05,280 --> 00:41:07,759
Speaker 1: different location and it's like, well, what happened? And then

783
00:41:08,000 --> 00:41:14,080
Speaker 1: we find out, right, Um, did you shoot two versions

784
00:41:14,200 --> 00:41:16,680
Speaker 1: of Casino Night or what did the discussion in that

785
00:41:16,719 --> 00:41:20,319
Speaker 1: scenario happened beforehand? Did you cut that multiple ways? No?

786
00:41:20,480 --> 00:41:22,920
Speaker 1: We just we shot it the way that ended up air,

787
00:41:23,280 --> 00:41:24,759
Speaker 1: and we just did version. I mean you could have

788
00:41:24,880 --> 00:41:27,239
Speaker 1: edited I guess a certain way and and seen it

789
00:41:27,400 --> 00:41:31,279
Speaker 1: like the aftermath. But that point the decision was, yeah

790
00:41:31,280 --> 00:41:32,839
Speaker 1: it was and you saw it and you were like, oh, yeah,

791
00:41:32,840 --> 00:41:34,839
Speaker 1: we want to see this well I and we had

792
00:41:34,840 --> 00:41:37,560
Speaker 1: other discussions like that on other episodes. The proposal, I

793
00:41:37,600 --> 00:41:39,880
Speaker 1: don't know if Greg this this was I was moving

794
00:41:40,040 --> 00:41:43,239
Speaker 1: right into you. No, no, literally right now. I mean,

795
00:41:43,600 --> 00:41:47,600
Speaker 1: um so what I was told and reminded about was yes,

796
00:41:47,680 --> 00:41:52,000
Speaker 1: the proposal the great h sound or no? Sound great

797
00:41:52,440 --> 00:41:54,560
Speaker 1: it because it was written in a way, you know,

798
00:41:54,680 --> 00:41:57,160
Speaker 1: the production aspects of that where we built this on

799
00:41:57,200 --> 00:42:00,239
Speaker 1: a huge parking lot and we had trucks team we

800
00:42:00,280 --> 00:42:02,080
Speaker 1: oil just doing figure eights to make it look like

801
00:42:02,120 --> 00:42:04,319
Speaker 1: they're passing, you know, so they have enough room like

802
00:42:04,480 --> 00:42:08,960
Speaker 1: cars passing driving by, and uh, Jim and Pam, you know,

803
00:42:09,000 --> 00:42:11,040
Speaker 1: the original concept was like that we couldn't hear them.

804
00:42:11,040 --> 00:42:12,600
Speaker 1: We would just see it, and then we had a

805
00:42:12,680 --> 00:42:18,040
Speaker 1: version where you would hear it, and ultimately, uh, Greg

806
00:42:18,080 --> 00:42:22,640
Speaker 1: went with the version where you can't hear them and

807
00:42:22,680 --> 00:42:25,800
Speaker 1: then he changed his mind that morning that we were wearing.

808
00:42:25,880 --> 00:42:28,560
Speaker 1: He's like, no, I've slept on it, and I want

809
00:42:28,600 --> 00:42:32,120
Speaker 1: to put the one where they can hear them the

810
00:42:32,239 --> 00:42:35,080
Speaker 1: morning that we're airing. Yeah, So then it was like

811
00:42:35,280 --> 00:42:37,520
Speaker 1: I think I think it was like that morning he's like, okay,

812
00:42:37,719 --> 00:42:40,600
Speaker 1: so we we did the one where there you can

813
00:42:40,640 --> 00:42:42,279
Speaker 1: hear them, and I think, listen, I think both of

814
00:42:42,320 --> 00:42:46,959
Speaker 1: them were great versions, but I think it's probably better

815
00:42:47,000 --> 00:42:48,719
Speaker 1: to to hear. I mean, we waited so long for

816
00:42:48,760 --> 00:42:51,279
Speaker 1: this moment, it was probably better to better to hear

817
00:42:51,320 --> 00:42:53,759
Speaker 1: it and not just see it, because you didn't want

818
00:42:53,800 --> 00:42:56,040
Speaker 1: any kind of confusion of like what happened? You know.

819
00:42:56,440 --> 00:42:59,759
Speaker 1: I think that ultimately we made the right choice. But

820
00:43:00,040 --> 00:43:02,759
Speaker 1: it I'll tell you this is they didn't destroy the

821
00:43:02,800 --> 00:43:05,640
Speaker 1: one with the no sound, and when it was time

822
00:43:05,680 --> 00:43:10,720
Speaker 1: to make the DVDs, they almost screwed up and had

823
00:43:10,760 --> 00:43:13,320
Speaker 1: that one and and Jake Aust was our a P

824
00:43:13,520 --> 00:43:16,200
Speaker 1: at the time, and he was like, wait a minute,

825
00:43:16,239 --> 00:43:18,560
Speaker 1: you know, like that almost got burned onto DVDs. They

826
00:43:18,560 --> 00:43:23,040
Speaker 1: were doing QC and uh. He's like, I mean, some

827
00:43:23,040 --> 00:43:25,800
Speaker 1: some heads rolled because it was like this needs to

828
00:43:25,840 --> 00:43:29,680
Speaker 1: be labeled and not you know, either not here anywhere

829
00:43:29,680 --> 00:43:32,320
Speaker 1: where it would get mixed in. You know. You know,

830
00:43:32,360 --> 00:43:34,080
Speaker 1: I've had a number of people talk to me about

831
00:43:34,120 --> 00:43:39,799
Speaker 1: that moment, and I will say to you, I remember

832
00:43:40,920 --> 00:43:47,680
Speaker 1: very very specifically the way that looked. I remember him

833
00:43:47,760 --> 00:43:51,080
Speaker 1: going down, I remember the rain, I remember the eighteen

834
00:43:51,080 --> 00:43:54,760
Speaker 1: wheelers going by, right, and that's such a spy shot.

835
00:43:55,600 --> 00:43:59,160
Speaker 1: I don't remember what he said. Yeah, I know what

836
00:43:59,200 --> 00:44:03,960
Speaker 1: I mean, like how it was. It's almost irrelevant which choice,

837
00:44:04,080 --> 00:44:06,120
Speaker 1: because like she's like, what are you doing? He says,

838
00:44:06,239 --> 00:44:09,279
Speaker 1: I can't wait anymore. And it's not I mean, it's

839
00:44:09,280 --> 00:44:12,120
Speaker 1: not about like the dialogue being like that sharp, but

840
00:44:12,200 --> 00:44:14,839
Speaker 1: it is having that help of that audio que and

841
00:44:14,840 --> 00:44:17,080
Speaker 1: and again there's plenty of other sound going on. It's

842
00:44:17,080 --> 00:44:19,279
Speaker 1: not like, hey, this is as clear as day, but

843
00:44:19,360 --> 00:44:21,600
Speaker 1: it was just at least you could could. But I

844
00:44:21,680 --> 00:44:24,640
Speaker 1: understand what you're saying. Yeah, um, talk to me a

845
00:44:24,680 --> 00:44:27,640
Speaker 1: little bit while we're on the subject of sound about

846
00:44:27,719 --> 00:44:32,120
Speaker 1: Company Picnic and the decision to cut the sound when

847
00:44:32,160 --> 00:44:36,440
Speaker 1: you find out that Pam is pregnant. Okay, Yeah, so

848
00:44:36,480 --> 00:44:38,839
Speaker 1: that was That was the episode where I made my

849
00:44:39,000 --> 00:44:45,000
Speaker 1: office acting ray bands guy um um, I believe it's

850
00:44:45,040 --> 00:44:49,319
Speaker 1: guy wearing bands. Yeah. Uh, And it's funny. I have

851
00:44:49,400 --> 00:44:51,640
Speaker 1: friends and put anytime it shows up. And I have

852
00:44:51,960 --> 00:44:54,560
Speaker 1: friends now whose kids watch the show and they're like,

853
00:44:55,440 --> 00:44:58,440
Speaker 1: that's Dave. You know they see me on there with

854
00:44:58,520 --> 00:45:02,400
Speaker 1: my one line that you're acting was my acting debut

855
00:45:02,440 --> 00:45:06,960
Speaker 1: on across any platform. That was your acting debut. Oh no, no, no, no,

856
00:45:07,000 --> 00:45:10,320
Speaker 1: I have acted before, I have shown up. It's funny.

857
00:45:10,320 --> 00:45:14,200
Speaker 1: I mean a Gilmore Girls episode and uh, I have

858
00:45:14,320 --> 00:45:17,680
Speaker 1: one line. I go, sure, but it was such that

859
00:45:17,760 --> 00:45:21,360
Speaker 1: sounds like a word, not a line. That's a line

860
00:45:21,360 --> 00:45:23,840
Speaker 1: of work. A matter of fact, as when I edited

861
00:45:23,880 --> 00:45:26,520
Speaker 1: that for my own acting reel, it was so short.

862
00:45:26,640 --> 00:45:28,799
Speaker 1: I had to add like to still frames at the

863
00:45:28,960 --> 00:45:31,000
Speaker 1: end because I'm on, you know, it's a gilmord Girls.

864
00:45:31,000 --> 00:45:33,400
Speaker 1: They cut it so tight, and I'm like, but uh,

865
00:45:33,600 --> 00:45:35,799
Speaker 1: but I remember. It was such an all star day

866
00:45:35,840 --> 00:45:38,560
Speaker 1: for me, like just being on the set as an

867
00:45:38,560 --> 00:45:40,919
Speaker 1: actor because I was an assistant editor. I had taken

868
00:45:40,960 --> 00:45:43,600
Speaker 1: acting classes to become better as a director. So and

869
00:45:43,680 --> 00:45:45,720
Speaker 1: then I was going out. I did I did voice work.

870
00:45:45,760 --> 00:45:48,239
Speaker 1: I'm on a cartoon. I did like thirty four episodes

871
00:45:48,280 --> 00:45:52,279
Speaker 1: of an animation show called Shinzo, which is a Japanese

872
00:45:52,560 --> 00:45:56,239
Speaker 1: anime show and speak Japanese. I didn't speak Japanese. This

873
00:45:56,320 --> 00:46:03,400
Speaker 1: was like the English American version. You're really good American versions. Yeah,

874
00:46:03,600 --> 00:46:06,600
Speaker 1: so uh but uh but I would say this, So

875
00:46:06,640 --> 00:46:11,240
Speaker 1: the Gilder girls, like Melissa McCarthy was there. Lauren Graham

876
00:46:11,640 --> 00:46:14,240
Speaker 1: is in the scene, and I think she was dating

877
00:46:14,280 --> 00:46:16,640
Speaker 1: Matthew Perry at the time, so he was there. It

878
00:46:16,719 --> 00:46:18,200
Speaker 1: was on the Warner Brothers lot and he was there

879
00:46:18,239 --> 00:46:20,279
Speaker 1: like just joking around. He did the slate a couple

880
00:46:20,320 --> 00:46:22,719
Speaker 1: of times. So it was like really an really a

881
00:46:22,760 --> 00:46:27,040
Speaker 1: fun day. But I have one one word. I go, sure, sure,

882
00:46:28,440 --> 00:46:32,880
Speaker 1: why did they not hire me? Alright? So sorry company

883
00:46:32,920 --> 00:46:36,800
Speaker 1: Picnic Company Picnic. The decision to not use sound there

884
00:46:36,960 --> 00:46:40,359
Speaker 1: when she you find out she's pregnant, Yeah, you have

885
00:46:40,440 --> 00:46:42,400
Speaker 1: to have sound. I don't think you really know what

886
00:46:42,600 --> 00:46:44,840
Speaker 1: happens if there's no mention in Paul. I think it

887
00:46:44,880 --> 00:46:46,239
Speaker 1: was like, no, I don't think you needed at all.

888
00:46:46,480 --> 00:46:49,279
Speaker 1: There was one version where it wasn't in and I

889
00:46:49,360 --> 00:46:51,560
Speaker 1: was like, if we don't have that, like no one

890
00:46:51,560 --> 00:46:53,040
Speaker 1: pays attention to it, but it's in the back of

891
00:46:53,080 --> 00:46:56,320
Speaker 1: your like we need to have some little crumb. But uh,

892
00:46:56,400 --> 00:46:58,440
Speaker 1: I think they're acting just played it like you knew

893
00:46:58,840 --> 00:47:01,279
Speaker 1: right away from their acting what what had happened. And

894
00:47:01,280 --> 00:47:04,040
Speaker 1: they never go back. You know, it's such a sweet moment.

895
00:47:04,200 --> 00:47:07,680
Speaker 1: Pam is like nodding and Jim is like, you know,

896
00:47:07,760 --> 00:47:09,879
Speaker 1: oh my god. He gives her a big hug and uh,

897
00:47:10,400 --> 00:47:13,920
Speaker 1: and I think it's this joyous surprise for the audience.

898
00:47:14,239 --> 00:47:16,719
Speaker 1: And they never go back to the game. They never

899
00:47:16,800 --> 00:47:38,040
Speaker 1: go back to the volleyball game or anything. Do you

900
00:47:38,080 --> 00:47:42,320
Speaker 1: have a favorite episode? Um, I have a few favorites,

901
00:47:42,360 --> 00:47:45,040
Speaker 1: and there's something that I haven't cut. I love Employee

902
00:47:45,040 --> 00:47:47,800
Speaker 1: Transfer because it was my first. I love ARM because

903
00:47:47,800 --> 00:47:49,520
Speaker 1: it was my last, and I had so many great

904
00:47:49,520 --> 00:47:51,440
Speaker 1: things to do in there. I had. I have Darryl

905
00:47:51,560 --> 00:47:57,320
Speaker 1: dancing with everybody. Jim plays this video for Pam and uh,

906
00:47:57,360 --> 00:47:59,080
Speaker 1: you know, it was so sweet. I'm the voice of

907
00:47:59,080 --> 00:48:03,320
Speaker 1: the documentary, you know, things like that, and uh, Dwight

908
00:48:03,719 --> 00:48:06,560
Speaker 1: gets to propose to Angela and he cuts her off,

909
00:48:06,640 --> 00:48:08,319
Speaker 1: and and you know, there's all this stuff with the

910
00:48:08,400 --> 00:48:09,960
Speaker 1: with the kids. So I mean, I love I love

911
00:48:10,040 --> 00:48:13,440
Speaker 1: that episode, but uh, I love the finale. The finale

912
00:48:13,560 --> 00:48:17,640
Speaker 1: is one of my favorites. I love the negotiation. I

913
00:48:17,719 --> 00:48:20,359
Speaker 1: just think like that, you know, is an episode. Mike

914
00:48:20,400 --> 00:48:22,480
Speaker 1: Schure wrote that one, and that to me is like

915
00:48:22,520 --> 00:48:24,840
Speaker 1: an like you could show that in a screenwriting class

916
00:48:24,840 --> 00:48:26,959
Speaker 1: and be like, look at this, Like it starts out

917
00:48:27,000 --> 00:48:29,080
Speaker 1: here and then there's a twist, and it goes here,

918
00:48:29,120 --> 00:48:30,920
Speaker 1: and then there's a twist and again, you know, and

919
00:48:30,960 --> 00:48:33,239
Speaker 1: it's just so funny, like he and it's just the

920
00:48:33,680 --> 00:48:38,040
Speaker 1: basic premises Michael wears he buys a woman's suit and

921
00:48:38,120 --> 00:48:42,440
Speaker 1: doesn't realize it and where that ends up going. You know. Um,

922
00:48:42,640 --> 00:48:45,280
Speaker 1: I love Booze Cruise and I didn't edit Booze Cruise.

923
00:48:45,320 --> 00:48:49,960
Speaker 1: I I love Michael dancing that he does a motivation dance,

924
00:48:50,440 --> 00:48:52,920
Speaker 1: and I love that as we call it, like the

925
00:48:53,520 --> 00:48:58,680
Speaker 1: seconds of silence, seconds of silence outside with Jim and Pam.

926
00:48:59,480 --> 00:49:04,560
Speaker 1: Well even talking before about the specific moment of the

927
00:49:04,640 --> 00:49:09,239
Speaker 1: end of Casino Night, I think my overwhelming memory of

928
00:49:09,360 --> 00:49:15,880
Speaker 1: you is you're an incredible artist and really know your job,

929
00:49:16,600 --> 00:49:20,759
Speaker 1: but you are also so excited. I mean to say

930
00:49:20,760 --> 00:49:23,280
Speaker 1: that you were a fan. I mean I call myself

931
00:49:23,320 --> 00:49:25,040
Speaker 1: a fan of the show right like I was. I

932
00:49:25,080 --> 00:49:27,839
Speaker 1: thought The Office was an excellent show. I'm a fan

933
00:49:27,920 --> 00:49:30,160
Speaker 1: of that show regardless of the fact I worked on it,

934
00:49:30,520 --> 00:49:32,959
Speaker 1: and I felt like for you, you were the same way,

935
00:49:33,040 --> 00:49:36,120
Speaker 1: Like you were excited by a great moment that the

936
00:49:36,160 --> 00:49:39,760
Speaker 1: actors gave, like you were excited about something the cameras

937
00:49:39,760 --> 00:49:42,400
Speaker 1: did that looked cool that you were able to put together,

938
00:49:43,280 --> 00:49:48,000
Speaker 1: and yeah, that that spirit was pretty awesome. Well, it's

939
00:49:48,000 --> 00:49:51,200
Speaker 1: funny we had a we had this environment and post

940
00:49:51,280 --> 00:49:54,240
Speaker 1: because we would see things. We had a whole different

941
00:49:54,600 --> 00:49:56,680
Speaker 1: you know, like people quote the show, right, but we

942
00:49:56,680 --> 00:49:59,640
Speaker 1: would quote stuff and you guys, by the time we

943
00:49:59,680 --> 00:50:01,719
Speaker 1: would to set, like three days later, I'd be like,

944
00:50:01,719 --> 00:50:03,640
Speaker 1: oh my god, this is so funny. You guys don't

945
00:50:03,640 --> 00:50:05,600
Speaker 1: even know what we're talking about, because at that point

946
00:50:05,640 --> 00:50:08,759
Speaker 1: you've had like seven other pages of dialogue to memorize

947
00:50:08,840 --> 00:50:11,200
Speaker 1: and things like that, you know. So it was like

948
00:50:11,520 --> 00:50:14,520
Speaker 1: I'd be like, going, oh my god, what Steve. And

949
00:50:14,560 --> 00:50:17,160
Speaker 1: I find myself like there are mannerisms that I do,

950
00:50:17,360 --> 00:50:19,600
Speaker 1: Like there are things that people will say to Michael

951
00:50:19,600 --> 00:50:22,759
Speaker 1: Scott and I'll be like, well, and you know, like

952
00:50:23,120 --> 00:50:25,480
Speaker 1: and and I say that I do that. Even yesterday

953
00:50:25,560 --> 00:50:27,600
Speaker 1: I said something to Greg and I'm like, I'm doing

954
00:50:27,640 --> 00:50:29,560
Speaker 1: Steve Carrell. Like there was something where I was like,

955
00:50:31,000 --> 00:50:34,600
Speaker 1: you know, like like doing these things. But I remember

956
00:50:35,040 --> 00:50:36,759
Speaker 1: I used to call everybody by their character name, or

957
00:50:36,760 --> 00:50:39,239
Speaker 1: at least like the writers, like Mindy. I'm sure you

958
00:50:39,280 --> 00:50:42,680
Speaker 1: know people call you Kevin because they, you know, just

959
00:50:42,760 --> 00:50:45,640
Speaker 1: out of like Kevin. But I used to like deliberately,

960
00:50:45,719 --> 00:50:48,080
Speaker 1: like I got into this mindset where I had nicknames

961
00:50:48,320 --> 00:50:50,640
Speaker 1: for Paul, Like I would call him tob larone, like

962
00:50:50,680 --> 00:50:52,600
Speaker 1: things that Michael Scott didn't even call him. I would

963
00:50:52,640 --> 00:50:55,719
Speaker 1: call make up nicknames for Toby, and uh, you know,

964
00:50:55,800 --> 00:50:57,839
Speaker 1: I mean, I was just a huge fan of all

965
00:50:57,920 --> 00:51:01,319
Speaker 1: you guys. I mean just to I just I yeah,

966
00:51:01,440 --> 00:51:04,160
Speaker 1: I love the show, and I was so glad to

967
00:51:04,200 --> 00:51:08,200
Speaker 1: be working on stuff from season one, just these dark endings.

968
00:51:08,239 --> 00:51:10,160
Speaker 1: Like people some people, you know, they say, oh they

969
00:51:10,160 --> 00:51:13,000
Speaker 1: didn't like season one, or they like it later once

970
00:51:13,040 --> 00:51:15,200
Speaker 1: they see where season two and three are, they can

971
00:51:15,239 --> 00:51:17,520
Speaker 1: go back and they appreciate it more. I loved it

972
00:51:17,560 --> 00:51:19,320
Speaker 1: out of the gate. I was like, oh my god,

973
00:51:19,800 --> 00:51:22,359
Speaker 1: this like it's a sitcom that doesn't end on it

974
00:51:22,360 --> 00:51:23,839
Speaker 1: It's not tied up in a bow at the end

975
00:51:23,840 --> 00:51:26,520
Speaker 1: of the episode, and like they all hate Michael at

976
00:51:26,520 --> 00:51:29,879
Speaker 1: the end of the Healthcare I mean, Greg's favorite moment

977
00:51:29,920 --> 00:51:34,480
Speaker 1: you know was I still have my vagina. Remember, you

978
00:51:34,520 --> 00:51:36,960
Speaker 1: know a vagina is different from a uterus. I still

979
00:51:37,040 --> 00:51:40,319
Speaker 1: have my vagina. I mean I remember, I remember for

980
00:51:40,480 --> 00:51:44,000
Speaker 1: the rap party the hundred. Yeah we have, but we

981
00:51:44,040 --> 00:51:45,960
Speaker 1: had the rap party, and so you know, we would

982
00:51:46,000 --> 00:51:47,640
Speaker 1: make the gag rail and we show you know, we

983
00:51:47,680 --> 00:51:49,719
Speaker 1: would put bloopers and we would show the crew. And

984
00:51:49,719 --> 00:51:52,000
Speaker 1: then I did something different. I said, oh, I'm going

985
00:51:52,040 --> 00:51:54,319
Speaker 1: to do a highlights of a hundred, and I did,

986
00:51:54,360 --> 00:51:56,759
Speaker 1: and we did account from like episode one here just

987
00:51:56,800 --> 00:51:59,560
Speaker 1: a quick line, just a quick thing to identify, and

988
00:51:59,600 --> 00:52:01,440
Speaker 1: we got all the casts, like everybody had a had

989
00:52:01,440 --> 00:52:03,000
Speaker 1: a moment. But it was like finding what is this

990
00:52:03,120 --> 00:52:05,640
Speaker 1: kind of you know, something that just says, here's a

991
00:52:05,680 --> 00:52:07,680
Speaker 1: line from here, Here's a line from here, Here's a

992
00:52:07,760 --> 00:52:11,160
Speaker 1: moment from here, here's you know, Michael hitting Meredith with

993
00:52:11,200 --> 00:52:14,160
Speaker 1: the car, here's you know, I mean, just these little things.

994
00:52:14,160 --> 00:52:15,960
Speaker 1: And it was it's so and it's on the DVD.

995
00:52:16,239 --> 00:52:18,960
Speaker 1: I mean, it's just great to see like just this thing.

996
00:52:19,000 --> 00:52:22,440
Speaker 1: And I remember everybody like just getting excited and lighting up,

997
00:52:22,440 --> 00:52:24,279
Speaker 1: but like just at this kind of thing and what

998
00:52:24,320 --> 00:52:28,960
Speaker 1: we had done, you know. Yeah, so it's crazy. So

999
00:52:29,120 --> 00:52:32,440
Speaker 1: you won two Emmys. Won two Emmys on the Office

1000
00:52:32,680 --> 00:52:35,160
Speaker 1: for the job and for the finale. Yeah, I co

1001
00:52:36,000 --> 00:52:38,279
Speaker 1: won those with Dean Holland and I for the job

1002
00:52:38,320 --> 00:52:42,359
Speaker 1: in Claire Scanlon for the finale, Yeah, and to ace

1003
00:52:42,800 --> 00:52:47,880
Speaker 1: American Cinema Editor Awards as well. Um, you were the

1004
00:52:47,960 --> 00:52:53,120
Speaker 1: most honored department on the show. Ye, right, No actress one,

1005
00:52:53,440 --> 00:52:57,520
Speaker 1: two writers one. You know, the show one once. It's

1006
00:52:57,560 --> 00:53:00,920
Speaker 1: just interesting to me, you know, Well, surely what was

1007
00:53:00,960 --> 00:53:03,640
Speaker 1: really rewarding was the finale to be reward you know,

1008
00:53:03,680 --> 00:53:06,640
Speaker 1: because we had we were not the fresh new show

1009
00:53:06,680 --> 00:53:09,840
Speaker 1: at that point, so it was really rewarding to to

1010
00:53:10,000 --> 00:53:12,440
Speaker 1: win the finale. And like I said, we won the

1011
00:53:12,480 --> 00:53:15,600
Speaker 1: Emmy and the American Cinema Editor Award in case Eddie

1012
00:53:15,600 --> 00:53:19,160
Speaker 1: for that. Um. But but especially you know with the Emmy,

1013
00:53:19,200 --> 00:53:23,360
Speaker 1: I just think it was our peers. You know, you know,

1014
00:53:23,400 --> 00:53:26,200
Speaker 1: you have editors and so it's editors voting on editors.

1015
00:53:26,360 --> 00:53:28,239
Speaker 1: So I think there's they recognized what you were doing.

1016
00:53:28,880 --> 00:53:31,120
Speaker 1: I think they recognized it. And I think, listen, there's

1017
00:53:31,120 --> 00:53:32,960
Speaker 1: so much of it is like, oh what what is

1018
00:53:33,000 --> 00:53:34,759
Speaker 1: kind of hot and popular? You could be the best

1019
00:53:34,880 --> 00:53:37,239
Speaker 1: editor in the world if you're not working on you know,

1020
00:53:37,440 --> 00:53:40,040
Speaker 1: a show that has all these pieces that isn't in

1021
00:53:40,040 --> 00:53:42,320
Speaker 1: the zeitgeist to show you know, you're not going to

1022
00:53:42,440 --> 00:53:47,319
Speaker 1: get that recognition, you know. And so with with The Office, though,

1023
00:53:47,400 --> 00:53:49,320
Speaker 1: here was something that we were doing that was fresh

1024
00:53:49,360 --> 00:53:53,200
Speaker 1: and new and such a great script. And look, we

1025
00:53:53,440 --> 00:53:58,040
Speaker 1: lied to everybody too about Steve, and I remember Greg

1026
00:53:58,320 --> 00:54:01,640
Speaker 1: felt really bad about lying to people because he was

1027
00:54:01,719 --> 00:54:04,440
Speaker 1: lying to family and friends. And I was like, I

1028
00:54:04,440 --> 00:54:07,400
Speaker 1: remember writing something. I said, Greg, I said, listen, in

1029
00:54:07,440 --> 00:54:10,960
Speaker 1: today's day and age, everything gets spoiled. It's not like

1030
00:54:11,000 --> 00:54:12,920
Speaker 1: it used to be that you could have this surprise.

1031
00:54:13,640 --> 00:54:17,240
Speaker 1: I said, So this is what we're doing, is we're

1032
00:54:17,360 --> 00:54:19,920
Speaker 1: giving people something. Because we even had hit the footage

1033
00:54:19,920 --> 00:54:22,920
Speaker 1: of Steve transferred. We didn't have it done at Universal.

1034
00:54:23,400 --> 00:54:26,000
Speaker 1: We had it done secretly somewhere else. Did you know

1035
00:54:26,080 --> 00:54:28,160
Speaker 1: he was showing up to set that day? I knew

1036
00:54:28,160 --> 00:54:30,440
Speaker 1: that he was showing up, I think a day or

1037
00:54:30,440 --> 00:54:32,640
Speaker 1: two before somebody spilled the beans to me. But I've

1038
00:54:32,680 --> 00:54:35,840
Speaker 1: talked to a number of people who didn't know until

1039
00:54:36,680 --> 00:54:40,200
Speaker 1: the assistant director said Steve's in the makeup trailer. There

1040
00:54:40,239 --> 00:54:42,719
Speaker 1: were some people who did not know until until then.

1041
00:54:42,880 --> 00:54:45,560
Speaker 1: I'm so curious as to who from the cast didn't

1042
00:54:45,600 --> 00:54:47,960
Speaker 1: know that day because I knew, I mean because I

1043
00:54:48,000 --> 00:54:49,919
Speaker 1: came to set that day because I knew, Hey, he's

1044
00:54:49,920 --> 00:54:52,720
Speaker 1: coming at this time. So Claire and I went to set.

1045
00:54:53,160 --> 00:54:56,279
Speaker 1: So Steve agrees to come. It's a big secret. It's

1046
00:54:56,360 --> 00:55:00,600
Speaker 1: kept from the network. And so even after he shot

1047
00:55:00,680 --> 00:55:04,000
Speaker 1: his scenes, you took it somewhere else, so we get

1048
00:55:04,040 --> 00:55:07,080
Speaker 1: the footage transferred, like we get the video is transferred,

1049
00:55:07,520 --> 00:55:11,360
Speaker 1: and you know, it's it's basically it's taken on digitally

1050
00:55:11,800 --> 00:55:13,880
Speaker 1: and then it's put into the Aviot's It's like in

1051
00:55:14,000 --> 00:55:16,360
Speaker 1: files that are put into the Abbots. And normally we

1052
00:55:16,440 --> 00:55:18,919
Speaker 1: do all our stuff at Universal. On the Universal lot

1053
00:55:19,400 --> 00:55:21,359
Speaker 1: was where we would transfer and that's where we would mix.

1054
00:55:21,800 --> 00:55:24,919
Speaker 1: We did not. We took his scenes and we got

1055
00:55:24,920 --> 00:55:28,080
Speaker 1: them transferred somewhere else. And what you made them sign

1056
00:55:28,120 --> 00:55:31,240
Speaker 1: like non disclosure or they were friends or something or yeah,

1057
00:55:31,040 --> 00:55:33,840
Speaker 1: yeah little Timmy's basement, Like what do you mean you

1058
00:55:33,920 --> 00:55:38,759
Speaker 1: actually it was Eric Culjyn, who was our ap. His

1059
00:55:38,920 --> 00:55:42,839
Speaker 1: father worked at another level. It was level three. I mean,

1060
00:55:42,840 --> 00:55:45,600
Speaker 1: they do big shows and stuff like that. So we

1061
00:55:45,640 --> 00:55:48,680
Speaker 1: took it there and we had a transferred there like

1062
00:55:48,719 --> 00:55:50,759
Speaker 1: in a room where it was like, Okay, this is

1063
00:55:50,800 --> 00:55:52,879
Speaker 1: where it's gonna be. Transfer Like, we just didn't want

1064
00:55:53,640 --> 00:55:57,040
Speaker 1: We didn't want NBC execs to have access to the dailies,

1065
00:55:57,080 --> 00:55:59,239
Speaker 1: because they can there's a way, I think where they

1066
00:55:59,280 --> 00:56:01,640
Speaker 1: can access you know, the footage. They can look at

1067
00:56:01,680 --> 00:56:04,240
Speaker 1: dadlies and things like that. We didn't want that because

1068
00:56:04,280 --> 00:56:08,000
Speaker 1: we didn't want them ultimately to promo Steve Carrell returns

1069
00:56:08,080 --> 00:56:11,920
Speaker 1: because Steve didn't want that. And there was also as

1070
00:56:11,920 --> 00:56:15,680
Speaker 1: a surprise. It's like there's just enough footage of him

1071
00:56:15,800 --> 00:56:19,320
Speaker 1: as a surprise that you're like blown away. My mom

1072
00:56:19,560 --> 00:56:22,359
Speaker 1: cringes it at Michael Scott like she you know, so

1073
00:56:22,520 --> 00:56:26,120
Speaker 1: much of the time, like she would cringe, but man,

1074
00:56:26,280 --> 00:56:29,239
Speaker 1: she watched that finale moment. She would rewind and watch

1075
00:56:29,360 --> 00:56:33,920
Speaker 1: him showing up you know that reveal fifty times. She's like, David,

1076
00:56:34,120 --> 00:56:36,839
Speaker 1: I can't stop watching it, you know. I mean, it's

1077
00:56:36,840 --> 00:56:38,920
Speaker 1: just such a great moment with the reveal. It's like

1078
00:56:38,960 --> 00:56:41,520
Speaker 1: I can't be your best man, but you know. And

1079
00:56:41,520 --> 00:56:45,760
Speaker 1: and so we were secretive about it, and and Greg.

1080
00:56:45,800 --> 00:56:47,320
Speaker 1: I remember Gregg felt bad about lying and I was

1081
00:56:47,320 --> 00:56:49,440
Speaker 1: explaining to him about spoilers. I'm like this is not

1082
00:56:49,560 --> 00:56:52,719
Speaker 1: harming anyone. And it's like a surprise party if someone asked, like,

1083
00:56:52,760 --> 00:56:55,399
Speaker 1: are you throwing me a surprise party and you say no,

1084
00:56:55,840 --> 00:56:58,759
Speaker 1: and the two hours later surprise Like that's what this is.

1085
00:56:58,800 --> 00:57:01,120
Speaker 1: And Greg, I remember he said he felt better, he

1086
00:57:01,160 --> 00:57:03,440
Speaker 1: felt better about that, you know about it. It It was like,

1087
00:57:03,480 --> 00:57:05,560
Speaker 1: I know it's hard, but that's what it is. Like

1088
00:57:05,640 --> 00:57:08,240
Speaker 1: we're we're you know, we have to keep it a secret.

1089
00:57:08,360 --> 00:57:11,800
Speaker 1: And if everybody keeps it a secret, it's a secret.

1090
00:57:12,000 --> 00:57:15,000
Speaker 1: Like that's we're all in it together. Because even you know,

1091
00:57:15,239 --> 00:57:17,800
Speaker 1: I remember, you know Ken Koppas like the day before

1092
00:57:17,960 --> 00:57:20,200
Speaker 1: was like, no, Steve's not in it. He you know,

1093
00:57:20,400 --> 00:57:22,640
Speaker 1: he decided that he ended, he had his exit and

1094
00:57:22,680 --> 00:57:25,760
Speaker 1: all this and it's like, yeah, we're just flying. It's

1095
00:57:25,760 --> 00:57:28,160
Speaker 1: a white, little white lie like that's it and it

1096
00:57:28,280 --> 00:57:33,640
Speaker 1: and it all comes out right. Um, how how did

1097
00:57:33,640 --> 00:57:38,240
Speaker 1: you working on the Office change your life? God? Well,

1098
00:57:39,000 --> 00:57:40,520
Speaker 1: it just was like being you know, like I said,

1099
00:57:40,640 --> 00:57:42,760
Speaker 1: I had worked on Seinfeld, but I was a small

1100
00:57:42,880 --> 00:57:44,919
Speaker 1: part of that show, and it was it was very late.

1101
00:57:45,040 --> 00:57:47,880
Speaker 1: I joined late. I was not instrumental in making that

1102
00:57:47,920 --> 00:57:51,000
Speaker 1: show anything. I just I was lucky to be a

1103
00:57:51,040 --> 00:57:53,520
Speaker 1: part of it. But being part of the office was

1104
00:57:53,600 --> 00:57:56,440
Speaker 1: like you know, coming in right after the pilot and

1105
00:57:56,440 --> 00:57:58,480
Speaker 1: getting to you know, tweaked the pilot a little bit,

1106
00:57:58,720 --> 00:58:02,360
Speaker 1: but you know, just just coming in though from diversity

1107
00:58:02,440 --> 00:58:05,960
Speaker 1: day and and being instrumental in like helping shape the show.

1108
00:58:06,520 --> 00:58:10,120
Speaker 1: Really being part of the creative process. I didn't write,

1109
00:58:10,560 --> 00:58:13,040
Speaker 1: you know, scripts or anything like that, but Greg would

1110
00:58:13,040 --> 00:58:14,880
Speaker 1: always listen, like if you have pitches, if you have

1111
00:58:14,920 --> 00:58:17,440
Speaker 1: any ideas, and sometimes you know, hey, this would get in.

1112
00:58:17,480 --> 00:58:19,840
Speaker 1: That would that would get in, you know, and sometimes

1113
00:58:19,840 --> 00:58:22,240
Speaker 1: like I said, I'd rewrite a joke in the edit

1114
00:58:22,280 --> 00:58:24,360
Speaker 1: bay and we would Okay, we'll go shoot it. Or

1115
00:58:24,400 --> 00:58:26,720
Speaker 1: I would write even the bones, and then I said,

1116
00:58:26,960 --> 00:58:30,160
Speaker 1: have the writers, you know, have them just make it better,

1117
00:58:30,400 --> 00:58:32,640
Speaker 1: like right right, a Sharper joke and stuff like that.

1118
00:58:33,320 --> 00:58:35,479
Speaker 1: Um and yeah. So I mean it changed my life,

1119
00:58:35,480 --> 00:58:37,000
Speaker 1: like just being a part of that show. And and

1120
00:58:37,360 --> 00:58:40,160
Speaker 1: obviously I mean it's nice like to be on something

1121
00:58:40,200 --> 00:58:43,320
Speaker 1: that's popular and people like, oh you work on the Office,

1122
00:58:43,400 --> 00:58:46,480
Speaker 1: like you know, like it's still to this day, people

1123
00:58:46,520 --> 00:58:50,840
Speaker 1: are always you know, surprised and through I mean, I

1124
00:58:50,880 --> 00:58:53,760
Speaker 1: went I was wearing a jacket under Mifflin Saver one

1125
00:58:53,760 --> 00:58:56,960
Speaker 1: of the season. You know, jackets wrap jackets and I

1126
00:58:57,000 --> 00:59:00,440
Speaker 1: was getting coffee and uh, the rist was like, I

1127
00:59:00,520 --> 00:59:02,120
Speaker 1: love your jack What you gonna say? I worked on

1128
00:59:02,120 --> 00:59:05,000
Speaker 1: the show. Oh my god, I love this show. Please

1129
00:59:05,040 --> 00:59:07,800
Speaker 1: tell every you know. I mean like still to this day, people, Uh,

1130
00:59:08,520 --> 00:59:11,520
Speaker 1: people are you know? More and more? Actually I should

1131
00:59:11,520 --> 00:59:14,600
Speaker 1: say you know as do you feel too? Because like

1132
00:59:14,640 --> 00:59:17,000
Speaker 1: I said, there's another there's a whole generation of of

1133
00:59:17,400 --> 00:59:19,920
Speaker 1: people with their kids. I get Facebook messages all the

1134
00:59:19,960 --> 00:59:22,360
Speaker 1: times where they're like, just one of my kids are

1135
00:59:22,360 --> 00:59:25,680
Speaker 1: watching the show. They love it. They've binged it three times.

1136
00:59:25,800 --> 00:59:28,479
Speaker 1: You know. Even my godson I got him. He wanted

1137
00:59:28,520 --> 00:59:30,640
Speaker 1: for Christmas a dunder Mifflin hoodie. I had to buy

1138
00:59:30,640 --> 00:59:32,920
Speaker 1: one from NBC dot com. Do I have anything anymore?

1139
00:59:33,160 --> 00:59:36,160
Speaker 1: I'm like, I all my swag and autograph stuff. You know,

1140
00:59:36,240 --> 00:59:38,480
Speaker 1: he's watched the episodes. He sees me. He hears my

1141
00:59:38,600 --> 00:59:41,080
Speaker 1: voice as the documentary and he sees my name in

1142
00:59:41,120 --> 00:59:44,280
Speaker 1: the credits. Uh. And we talked stuff and people are

1143
00:59:44,320 --> 00:59:46,360
Speaker 1: always asking me about trivia and I'm pretty good my

1144
00:59:46,440 --> 00:59:49,280
Speaker 1: memories that like I said, I'm I slip a little

1145
00:59:49,280 --> 00:59:51,760
Speaker 1: bit with with people's names. And I don't know if

1146
00:59:51,800 --> 00:59:54,400
Speaker 1: that's just age or if like the hard drive is

1147
00:59:54,440 --> 00:59:57,640
Speaker 1: full and overloaded. I've got one. I've got I've got

1148
00:59:57,640 --> 01:00:01,080
Speaker 1: one for you. This is fun, so people they'll come up.

1149
01:00:01,200 --> 01:00:03,280
Speaker 1: You are pretty good with trivia. In fact, we all

1150
01:00:03,280 --> 01:00:06,400
Speaker 1: call you the Encyclopedia. I have one question. This is

1151
01:00:06,440 --> 01:00:08,240
Speaker 1: my one, all right, all right. I was told a

1152
01:00:08,280 --> 01:00:10,600
Speaker 1: while ago it is a name one though, so you

1153
01:00:10,640 --> 01:00:14,040
Speaker 1: got to be careful. This was like the finals of

1154
01:00:14,120 --> 01:00:16,880
Speaker 1: some trivia thing someone won. They told me the question.

1155
01:00:16,960 --> 01:00:19,800
Speaker 1: I've just decided I'm adopting this question. When someone says

1156
01:00:19,800 --> 01:00:22,040
Speaker 1: they know trivia and I asked him this question, Okay,

1157
01:00:22,160 --> 01:00:28,160
Speaker 1: you ready, this is for one billion dollars. What is

1158
01:00:28,360 --> 01:00:38,320
Speaker 1: Gabe Lewis's middle name? Beverley? That was like, this the

1159
01:00:38,440 --> 01:00:43,200
Speaker 1: right spirit you? Now? I think the Leslie David Baker.

1160
01:00:43,200 --> 01:00:45,400
Speaker 1: I've had a lot of people say Leslie. I'm trying

1161
01:00:45,440 --> 01:00:51,920
Speaker 1: to think. Is Susan Susan Susan Gabriel Susan Lewis. Yes,

1162
01:00:52,040 --> 01:00:56,680
Speaker 1: that's good. There you go have you. But thank you

1163
01:00:56,760 --> 01:01:01,240
Speaker 1: for playing. Was really really entertaining. Um, dude, thank you

1164
01:01:01,320 --> 01:01:05,760
Speaker 1: so much for coming in. Yeah, you're you're the encyclopedia

1165
01:01:06,000 --> 01:01:09,480
Speaker 1: and your knowledge and your passion for the show. You know,

1166
01:01:09,560 --> 01:01:11,920
Speaker 1: I think the show in a lot of ways, what

1167
01:01:12,040 --> 01:01:16,360
Speaker 1: made it special was how much people cared. It wasn't

1168
01:01:16,400 --> 01:01:20,120
Speaker 1: about ego. It was truly about making the best show

1169
01:01:20,440 --> 01:01:23,280
Speaker 1: that we could. Yeah, what can you say? I mean? Yeah,

1170
01:01:23,280 --> 01:01:25,160
Speaker 1: the show has changed my life in so many ways,

1171
01:01:25,680 --> 01:01:28,120
Speaker 1: and it's just you know, I love being a part

1172
01:01:28,120 --> 01:01:29,800
Speaker 1: of it. I still love being a part of it.

1173
01:01:30,240 --> 01:01:33,760
Speaker 1: And uh, I just love that we we have this

1174
01:01:33,760 --> 01:01:50,160
Speaker 1: this bond because of it. Yeah, all right, thank you, Dave.

1175
01:01:51,040 --> 01:01:54,160
Speaker 1: What can I say? I could just stand here and

1176
01:01:54,200 --> 01:01:58,240
Speaker 1: listen to you on a podcast all day. Thank you

1177
01:01:58,320 --> 01:02:01,400
Speaker 1: so much for coming by. It was so great to

1178
01:02:01,560 --> 01:02:05,240
Speaker 1: see you and to well to hear from you, and

1179
01:02:05,280 --> 01:02:07,280
Speaker 1: to all of you out there, thank you for listening

1180
01:02:07,400 --> 01:02:10,280
Speaker 1: to another episode of the Office Deep Dive. I hope

1181
01:02:10,320 --> 01:02:14,640
Speaker 1: you have the best week possible And to cap off

1182
01:02:15,000 --> 01:02:18,720
Speaker 1: that amazing week, you can come back next Tuesday to

1183
01:02:18,840 --> 01:02:23,160
Speaker 1: hear part two of my conversation with our wonderful writer

1184
01:02:23,920 --> 01:02:35,720
Speaker 1: Jen Salata. The Office Deep Dive is hosted and executive

1185
01:02:35,720 --> 01:02:40,600
Speaker 1: produced by me Brian Baumgartner, alongside our executive producer Lang Lee.

1186
01:02:41,120 --> 01:02:44,840
Speaker 1: Our senior producer is Tessa Kramer. Our producers are Diego

1187
01:02:45,000 --> 01:02:47,920
Speaker 1: Tapia and Liz Hayes. My main man in the booth

1188
01:02:48,280 --> 01:02:52,320
Speaker 1: is Alec Moore. Our theme song Bubble and Squeak performed

1189
01:02:52,320 --> 01:02:55,360
Speaker 1: by my great friend Cree Bratton, and the episode was

1190
01:02:55,440 --> 01:03:00,080
Speaker 1: mixed by seth olandskip A